UNIVERSITY OF CALIFORNIA LIBRARY 
 
 THIS BOOK IS NOT TO BE TAKEN FROM 
 THE READING ROOM 
 
 WHEN DONE WITH, RETURN AT ONCE TO ITS 
 PLACE ON THE SHELVES 
 
LIBRARY 
 
 OF THE 
 
 UNIVERSITY OF CALIFORNIA. 
 
 Class 
 
CEEAMIC LITEEATUEE. 
 
CERAMIC LITERATURE 
 
 AN ANALYTICAL INDEX 
 
 TO THE WORKS PUBLISHED IN ALL LANGUAGES ON THE 
 HISTORY AND THE TECHNOLOGY OF THE 
 
 CERAMIC ART; 
 
 ALSO TO THE CATALOGUES OF PUBLIC MUSEUMS, PRIVATE COLLECTIONS, AND 
 OF AUCTION SALES IN WHICH THE DESCRIPTION OF CERAMIC 
 
 OBJECTS OCCUPY AN IMPORTANT PLACE ; 
 
 AND TO THE MOST IMPORTANT PRICE-LISTS OF THE ANCIENT AND 
 MODERN MANUFACTORIES OF POTTERY AND PORCELAIN. 
 
 Compiles, Classifies, anfc 2>escrtbeo 
 
 BY 
 
 M. L. SOLON, 
 
 Author of " The Art of the Old English Potter;" " The Ancient Art Stoneware of the 
 
 Low Countries;" " The History of the Old English Porcelain;" 
 
 "French Faience;" "Italian Majolica," &c. 
 
 LON DON : 
 
 CHARLES GRIFFIN & COMPANY, LIMITED; 
 
 EXETER STREET, STRAND. 
 
 1910. 
 
77^7 
 
INTRODUCTION. 
 
 IT has been said that ours is an age of bibliographies. One should not wonder 
 at the considerable number of classified lists of books brought out during the 
 last few years as an assistance to scientific and historical researches ; they 
 were but answering a demand created by absolute necessity. In the present 
 state of human knowledge, when so much has been written upon every possible 
 subject, the pursuit of any special branch of learning can scarcely be prosecuted 
 without the use and help of some synoptic survey of the whole range of per- 
 tinent literature. Every student feels the want of a reliable handbook to 
 the knowledge of books, a mentor who will point out to him the best sources 
 from which solid instruction is to be obtained ; every author shall find his 
 task much lightened if an index to all the publications he may have to consult 
 is placed at his disposal. 
 
 Bookland is extending its area with alarming rapidity. Printed 
 matter rushes out in a powerful and far-reaching stream from the printer's 
 press, unceasingly at work all over the civilised world. Raging volcanoes, 
 the lava they vomit with ever-increasing activity, spreads far and wide, and 
 wherever it passes the configuration of the ground is for ever transformed. 
 In the field, where the learned bibliophile once used to move with so much 
 ease and facility, landmarks are gradually obliterated, boundaries are con- 
 tinuously displaced. Who will, soon, da,re to wade, guideless, across the 
 chaos of volumes, pamphlets, and leaflets added every day to the accumulated 
 legacy of untold generations ? Who will, unassisted, attempt to reduce into 
 order their bewildering confusion ? To shape a straight course through a 
 labyrinth in which the way is constantly intersected by fresh paths branching 
 off widely in all directions shall be, at no distant date, placed beyond the 
 range of human possibility. A wise explorer should, therefore, rest satisfied 
 if he succeeds in drawing out the correct chart of a mere corner of the limitless 
 expanse which opens before him. In the wild stretch, ceramic literature 
 forms a quiet oasis. From end to end of the region, the distance is not so 
 great that the traveller should feel his forces exhausted before he has had 
 time to visit its most remote and secreted spots. His discoveries, it is true, 
 shall be of a modest order. No towering summit, no gigantic tree, will meet 
 his eye, breaking with lofty lines the tame features of the landscape. A 
 moment of surprise at the sight of a solitary rock, a pleasant rest by a flowery 
 bush, may occasionally relieve the monotony of his perigrination. He who 
 has undertaken the journey for the love of ceramic art must not and should 
 
 221660 
 
INTRODUCTION. 
 
 not expect anything more. When the days of toil are over he will find his 
 reward in the consciousness that he has acquired, a complete knowledge of 
 the land it has been his pleasure, or his duty, to explore. 
 
 Champfleury was the first to realise the important part that a ceramic 
 bibliography should play in the formation, or the study, of a special library. 
 Before the publication of his work, all we knew of ceramic literature was 
 limited to a feAv stray titles of books on pottery admitted, so to speak, on 
 sufferance in the general catalogues of " Books on Art," and to some short 
 lists hastily compiled by the writers of the general ceramic histories. Nothing 
 there could indicate the extension that might be given to that branch of 
 Bibliography. 
 
 Our own journey of exploration through the " quiet oasis " of ceramic 
 literature was instigated by the perusal of Champfleury 's newly published 
 book. From the very day a copy of it fell into our hands we started, under 
 its trusted guidance, to the conquest of the works of which we find there an 
 inspiriting nomenclature. Had not the task to be undertaken been so clearly 
 pointed out, the notion of forming a library, composed entirely of books 
 treating of pottery and porcelain, would probably never have entered our 
 mind. 
 
 But as we went on collecting volume upon volume, putting under con- 
 tribution the stores of the best booksellers of England and of the Continent, 
 and establishing friendly communication with authors and collectors, we 
 had soon to recognise that our guide-book invaluable as it had proved to 
 be at the outset of our researches was far from containing the whole fund 
 of information that could be gathered. Champfleury was by no means a 
 specialist. Engrossed by many other preoccupations, he had given to the 
 subject a very moderate share of attention. We found that in the sections 
 he had chosen to treat a considerable number of titles could be added to those 
 mentioned riot always with sufficient accuracy. Moreover, the omission of 
 such important groups as those formed by the classical ceramics and the 
 pottery of prehistoric and mediaeval ages left a regrettable gap in the com- 
 pleteness of the scheme. It was evident that to be of real use to those interested 
 in the matter the " Ceramic Bibliography " had to be written over again. 
 
 We did not underrate the difficulties we should have to encounter in the 
 execution of the work when we resolved to attempt it. The following modi- 
 fications and additions were to be introduced in the original plan. Each 
 section had to be completed by the insertion of all the titles omitted, and of 
 those of the numerous publications issued during the past twenty years. 
 Errors had to be rectified, descriptive notices of the works appended in all 
 cases. Entirely new sections had to be constituted, such as Greek vases and 
 Terra-cotta, Roman pottery, Prehistoric, Mediseval, etc., etc. Lastly, a faulty 
 classification had to be replaced by a clear and comprehensive arrangement 
 by subjects, with an easy reference to the full description of each work. 
 
 Of the difficulties with which our way was beset, the greatest one was 
 not that of increasing the previous list by a goodly number of new items ; 
 we found it to consist in the discrimination to be exerted in 'admitting or 
 rejecting certain works which had but an indirect claim to our attention. 
 
 As it happens with regard to the complex constitution of many other 
 
INTRODUCTION. 
 
 sciences, the science of ceramics is inseparably connected with many collateral 
 subjects of study. 
 
 The composition of bodies, glazes, and colours necessitates, on the part 
 of the practical potter, too bent on bringing improvements and innovations in 
 the processes of manufacture, more than a superficial acquaintance with 
 chemistry, physics, and geology. Historical researches on the ancient pottery 
 of all nations shall lead the student into the limitless field of archaeology. The 
 artistic and critical appreciation of the comparative merit of the masterpieces 
 of the fictile art at the finest periods shall plunge the thinker into the depths 
 of aesthetics and philosophy. If the ceramographer is in need of some original 
 information upon pot-making in remote countries, he has generally to consult 
 the books of travels which seldom fail to contain some useful particulars, 
 and in this way the study of ceramics is linked to that of ethnology The 
 manufacture of brick and tile cannot be considered independently from the 
 building art ; it is scarcely necessary to point out how a modest craft becomes 
 thus intimately connected with the noblest conceptions of architecture. 
 
 These cognate exigencies, not to speak of the few minor ones that we 
 leave unmentioned, should be provided for in a ceramic bibliography which 
 has any pretention to approach, if not to exhaust, every ramification of a 
 complex subject. Many a work on chemistry, archaeology, art criticism, 
 travel, and architecture shall have to be introduced in all cases when it supple- 
 ments the shortcomings of the special pottery books. But while making 
 incursions in the fields adjacent to his own grounds, the bibliographer must 
 impose some limits to his wanderings lest he should fall under the reproach 
 of conducting his reader too far away from the limits of permissible deviations. 
 
 Of the numerous works which stand but in distant relation to ceramic 
 art we shall refrain from giving more than a selection. It may be found by 
 some that in exercising our discretion we have erred on the side of excess 
 rather than of insufficiency ; by others that we have unaccountably ignored 
 certain reference books of particular importance ; but everyone will readily 
 admit that the infallible criterion by which such a choice could be regulated 
 is not easy to establish 
 
 Another of the moot points we had to consider, in settling the plan we 
 were to follow, was whether it would be advisable to gather a large selection 
 of such papers and articles as have appeared in serial publications, and insert 
 their titles in our list. This plan has been partially adopted by previous 
 writers, but with such an incomplete and unsatisfactory result as to demon- 
 strate the hopelessness of ever succeeding in the attempt. There is not one 
 set of the transactions of the learned societies of the cultured world and 
 their name is legion which does not contain a large number of reports, essays, 
 or notices referring to the discovery of ancient pottery, the history of local 
 manufacture, the description of some technical process, etc. Most of those 
 publications are of so difficult access, that to investigate their contents stood, 
 for us, beyond the range of possibility ; on the other hand, to advise any 
 reference to certain short-lived journals, or some unobtainable exotic magazine 
 as the case might be would have been resented as a pedantic and somewhat 
 ironical recommendation. We came to the conclusion that, being unable to 
 record the titles of all the fugitive papers that have appeared in the serial 
 
 vii 
 
INTRODUCTION. 
 
 publications, we would ignore them, as a rule. So many exceptions to this 
 decision shall, however, be made in particular instances, that journalistic 
 literature will be, after all, amply represented in our list. 
 
 All essays, monographs, reports, etc., published at first under the auspices 
 of a learned society, and subsequently issued by the author in a separate 
 form, acquire, by this fact, an absolute right to be admitted as independent 
 works. In a few other cases, we have met with articles which, although 
 not yet reprinted from the serial publication in which they were inserted, 
 appeared to us to be of too great a value to be passed under silence. Among 
 these must be counted some original notices referring to subjects still under 
 study, and which supply valuable materials towards a work to be written 
 at a future date ; we shall do our best not to forget any paper of that order, 
 although it is rare to find an essay of real importance that has not been 
 re-issued in the form of a volume or a pamphlet. 
 
 Other series must, obviously, be left in a state of incompleteness. Cata- 
 logues of private collections, price lists, and pattern-books of modern manu- 
 factures, etc., come unquestionably within the scope of our subject. But it 
 cannot be denied that their mighty number would discourage, from the very 
 first, the researches of any one but a particularly well-situated and experienced 
 specialist. We cannot leave them out ; neither can we had it been in our 
 power to draw the complete list find place for all of them. Here, again, 
 we have had to choose and to reject, at the risk of being accused either of having 
 unnecessarily inflated that part of our work, or of being guilty of many 
 unpardonable omissions. 
 
 We must confess that we differ entirely from the opinion of certain 
 librarians and bibliophiles of the " dry-as-dust " school, who assert that the 
 task of a bibliographer should be confined to the minute description of the 
 outward aspect of a volume and the mention of the successive editions through 
 which the work has passed since its original publication. In our estimation, 
 a few remarks concerning the author, the contents, and even the literary, 
 historical, or technical value of each work should in most cases accompany 
 the record of its title. Is it not a common experience with all book lovers 
 that the short MS. notes, written on the flyleaf of an old volume by one 
 of its former possessors, always add much to its interest ? The necessity of 
 supplying some instructive and critical notices has been recognised by Champ- 
 fleury in his " Ceramic bibliography " ; but he has been far from giving to 
 that part of his labour all the attention it required. His occasional annota- 
 tions, remiss and superficial as they be, do much, nevertheless, towards 
 increasing the value and relieving the dryness of a lengthy nomenclature. 
 We have thought it expedient to enlarge considerably upon this portion of 
 the original plan, and to give full scope to the expression of our personal 
 observations. 
 
 By far the larger part of the works, hereafter catalogued and described, 
 is standing on the shelves of our study. Volume after volume has been 
 examined at full leisure, and each of them has received its due share of con- 
 sideration. It is now our intention to record; candidly and to the best of our 
 ability, the opinion we have formed as to their comparative importance and 
 particular utility, from the ceramist's point of view. 
 
 vin 
 
INTRODUCTION. 
 
 In doing so, we are aware that we run the risk of incurring the censure 
 of any reader who may happen to disagree with the gist of our appreciation. 
 Finding himself at variance with us on more than one case, he will emphatically 
 declare that by restricting our labour to the mere compilation of a sober list 
 of titles, we would have placed our ceramic bibliography above all blame, 
 while it would have proved quite as useful for the purpose it is intended to 
 serve. 
 
 This we make so bold as to flatly deny. 
 
 Granted that part of what we have said by way of commentary may be 
 passed over by one who happens to have already formed his opinion on 
 some particular questions, much remains which, in the wide scope of our 
 subject, is not unworthy of his attention. Indeed, after having deplored 
 the presumption with which we have given vent to personal views of decidedly 
 questionable worth, since they stand on some points in absolute contradiction 
 with his own, our hypercritical censor may, one day, have to thank our out- 
 spoken remarks, when embarrassed as to the choice of books he had better 
 consult or purchase to assist his incipient researches on a new branch of study- 
 he condescends to refer to these bibliographical notes he has been so hasty 
 to condemn. 
 
 It is an easy task and a pleasant duty to select for recommendation the 
 leading works which, in each section of the ceramic literature, head the list 
 by right of merit. Upon the foremost among these recognised authorities 
 not enough encomium shall ever be bestowed. The verdict of the public 
 has, long before this, marked them out as incomparable models of the kind, 
 all we can add to emphasise their pre-eminence will still fall short of their 
 deserts. 
 
 Second only to the foregoing works, a few others of minor importance 
 should receive a due meed of praise, in spite of their apparent shortcomings. 
 Of that kind certain incomplete books, the instructive value of which is not 
 maintained throughout, are yet commendable by the exhaustive treatment 
 of some particular subject, neglected by other writers. The reason why an 
 otherwise indifferent volume should not altogether escape recognition shall 
 be carefully explained. 
 
 We shall endeavour to bring to the front the half-forgotten names of the 
 unassuming specialists whose researches and discoveries have supplied fresh 
 contributions to our general store of knowledge. From the well condensed 
 pamphlet, intelligently and patiently elaborated by the early investigator 
 of a still unexplored field of study, we often get as much value in a single coin 
 as the diluted stuff which swells the pages of a recent 4 volume can give 
 us in small change. Many a compiler of encyclopedical works has turned 
 such obscure pamphlets to very profitable use ; but he is apt to forget to name 
 the source from which his materials have been derived. Our efforts to render 
 to each writer the share of credit that directly reverts to him in the collective 
 achievements of his time cannot fail to be appreciated. 
 
 Much discretion has to be exercised by the conscientious reviewer in 
 his attempts to winnow the chaff from the wheat. He must beware of con- 
 demning too readily books which, although manifestedly incomplete, are, 
 nevertheless, possessed of some redeeming points, sufficient to save them from 
 
 ix 
 
INTRODUCTION. 
 
 absolute rejection. Such a volume is, for instance, undoubtedly unreliable 
 as an authority ; an incorrect and out-of-date letterpress would have rendered 
 it worthless, were it not that it contains a remarkable set of plates which can 
 still be of great service to the student. Such another, on the contrary, unites 
 abominable illustrations with a text of standard merit. This one is still 
 entitled to our consideration for having remained for a long time the only 
 text-book upon a subject now placed on new grounds by the advance of modern 
 knowledge. This other, dealing with common-place information regarding 
 the current trade of our days, although of very little interest to the contem- 
 porary, is destined to become ultimately a precious source of materials for 
 the historian of the future. 
 
 The duty of the bibliographer does not, unfortunately, stop at the 
 gratifying labour of making a selection of the best works for special com- 
 mendation. He has to take equal notice of everything that passes between 
 his hands ; and whether it be good, bad, or indifferent he has to render of it 
 a clear-sighted and impartial account. Now, it has to be acknowledged 
 that each large group of works serried together by the requirements of syste- 
 matic classification is composed of items very unequal in their merit. And 
 one should not wonder at it. One may say that of all the historical and 
 scientific topics on which an ill-prepared probationer has ever thought himself 
 fully qualified to discant ; of all the subjects which may tempt an illiterate 
 scribbler to rush into print on the flimsiest pretence, none has perhaps been 
 so freely used and abused in our days as the Ceramic Art, and all questions 
 more or less distantly connected with its study. A word of warning in refer- 
 ence to the worst cases shall not be found out of place in this bibliography. 
 
 One has had but too many occasions to meet with a brilliant article 
 in which, a good-natured reviewer extols, in an influential periodical, the 
 excellence of a newly published work, often nothing better than a mere com- 
 pilation of worn-out materials. Great is the number of candid believers who 
 are caught daily by the meritricious advertisement of the shrewd publisher 
 trying to push the sale of some common-place production by means of a 
 grandiloquent prospectus, supported by laudatory testimonials signed with 
 most creditable names. Plain speaking must be, at all risks, the line followed 
 in this work. Many a trumpery book has long enjoyed through an inex- 
 plicable cause an ill-deserved reputation ; it is time that it should cease 
 to be quoted as an authority. Unvarnished sincerity in the expression of 
 an opinion resting on firm grounds can alone act as a safeguard against the 
 snares set to mislead the first steps of the unexperienced. 
 
 We shall have to point out, for careful avoidance, the designing and 
 bare-faced impositions, as well as the harmless platitude. The vulgar catch- 
 penny ; the so-called popular handbook that some literary Jack-of-all-trades 
 has hastily and carelessly engrossed from unreliable sources with an eye upon 
 our pocket, must be duly signalled. Against such unprofitable lucubrations 
 it is good that the student who has not much time to lose should be fore- 
 warned. 
 
 We mean to run to earth the shameless plagiarism, the pitiable travesty 
 of an unacknowledged model, the impudent patchwork which denotes, on 
 the part of the writer who has signed it with his name, an utter disregard for 
 
INTRODUCTION. 
 
 the feeling known as literary honesty. We shall brand as he deserves the 
 easy-going pilferer who, making use of a few pages of somebody else's book 
 wantonly cut to pieces and awkwardly pasted together again, proudly disports 
 himself before us in the character of an ass under a lion's skin. The worthless 
 productions for which he is responsible have often taken the form of an 
 imposing folio volume, illustrated with numerous plates, badly drawn and 
 cheaply engraved, but made gaudy with gold and colours. Under its garish 
 garb the volume has made its way in the world and has usurped a place in 
 the best libraries. As no serious author has ever thought it worth his while 
 to disprove the erroneous statements with which it abounds, the contents 
 are often taken as solid evidences by the unwary. 
 
 Nor shall we leave undenounced the egregious work, which far from 
 wanting in originality stands out, an arrant oddity, from the rank and 
 file of well-regulated productions. To that order belong the vagaries of the 
 half-demented exegete who sees in the rude traceries incised on primitive 
 pottery a symbolic exposition of the philosophical system and religious beliefs 
 of prehistoric races. And, also, the unpalatable disquisition of the heavy 
 debater, unfolding at full length the nebulous theory by means of which 
 some historical enigma, so far left unexplained, shall, at last, receive a definite 
 solution. 
 
 Lastly, we shall expose, without mercy, the sham erudition of the self- 
 styled historian, the unscrupulous writer who, labouring under an overload 
 of imaginative powers, has not shrunk from fabricating through an artful 
 blending of facts and fictions the proofs he required to support a long train 
 of extravagant speculations. Such fallacies, spawned in an ill-balanced 
 mind from erratic cogitations and unbounded conceit, should be stigmatised 
 and shown up as a danger to all ; they are bad to read, and still worse to 
 remember. Hard as it is to believe, these pernicious writings have exerted 
 a manifest influence on ceramic literature, and we fear that, notwithstanding 
 the warnings repeatedly sounded from right quarters, their dogmatic and 
 confident tone shall long continue to impose upon guileless credulity. 
 
 We hope it will be understood that in providing this bibliography with 
 copious annotations, we were only actuated by the ambition of making it 
 as complete as possible, and rendering it of better use to those whom it is 
 intended to assist. The idea that the authority of our personal judgment 
 could be enforced upon others has never entered our mind. Whether we have 
 expressed admiration or disapproval, interest or indifference, we have merely 
 recorded the impression we have received from an unbiassed examination 
 of the work we had to describe. It is a prima facie, and not a definitive esti- 
 mation of its merits that we venture to offer to our indulgent reader. Let 
 him regard our notes in the same light as he would regard those that the 
 bibliophile is prone to jot upon the blank leaf of his volumes for the benefit 
 of the unknown friend who may happen, in after times, to institute an analytic 
 examination of his library. 
 
 We are well aware that any critical appreciation of a book should be of 
 questionable value were it not supplemented by a synopsis of its contents, 
 and occasionally by the quotation of some weighty passages, to supply such 
 practical information shall be our first duty ; whenever required they shall 
 not be found wanting. x i 
 
INTRODUCTION. 
 
 Our work would belie its title if it did not contain a summary of the 
 history of ceramic literature. 
 
 Before the last sixty years, it could scarcely be said to exist, so scanty 
 was the number of books which could be ranged under that heading. With 
 the exception of the classical publications on Greek vases and those that 
 addressed themselves to the antiquary rather than to the potter all that we 
 had on the subject was limited to a few descriptive notices of the leading 
 manufactories, usually found inserted in the topographical works and local 
 histories, and to a still fewer technical treatises. 
 
 To the formation of admirable collections in which the master-pieces 
 of the ancient potter had been given a place of honour, together with the 
 revival of a long neglected art, may be attributed the development of a 
 new branch of literature. A revolution was being accomplished in the direction 
 of artistic taste. For the first time attention was being drawn to the merit 
 of the productions of a minor art previously regarded with absolute indifference. 
 Upon the larger part of the miscellaneous objects which provoked the 
 covetousness of the curious, everything had yet to be said ; the queries, 
 raised from all sides, remained unanswered, for want of an available authority 
 that could be consulted on the subject. At that juncture, the supply of 
 instructive books had become an imperative want, and it was not long before 
 such a pressing desire- had been amply gratified. Old amateurs can still 
 remember the prolific times which saw a host of histories of the Ceramic Art, 
 monographs of the chief centres of manufacture, eesthetical essays, and practical 
 treatises, brought out in rapid succession apparently without quenching the 
 thirst for more knowledge that the fascinating pursuit of pottery-collecting 
 had excited in all classes of society. 
 
 An instructive survey of the developments of ceramic literature could 
 not be obtained by an arrangement of books by order of publication. From 
 a chronologically classified list of titles we could, to a certain extent, determine 
 the state in which general knowledge stood at the moment when it had been 
 found necessary to institute further researches upon a particular question. 
 We must bear in mind, however, that, far from proceeding steadily and safely 
 in the way of improvement, the progressive march of a science so complex 
 in its constitution is bound to be fitful and irregular in the extreme. Isolated 
 efforts may not always assist and hasten the onward course of a host of toilers ; 
 they may sometimes act as an unwieldy impediment. In the aggregate study 
 of the fictile art many steps have been taken in vain, others have fallen into 
 a decidedly retrogressive direction. 
 
 The general history of ceramic literature has, to be divided into chapters, 
 each of which should be treated almost independently from the others. 
 Whether historical or technical in its purport, every branch of learning has 
 been initiated, stimulated, or retarded, as the case may be, under the pressure 
 of surrounding influences arising from particular circumstances and conditions. 
 
 WTienever a freshly opened section of archaeological or scientific research 
 is passing from its preparatory state into one of broader extension, the increase 
 of printed matter brought out in connection with the movement is not always 
 in proportion to the advance of knowledge already secured by previous labour. 
 If the production of books obeys, like every other production, the call of a 
 xii . 
 
INTRODUCTION. 
 
 growing demand, it may also be influenced by unforeseen eventualities. This 
 is the reason why it may happen that, while some books are published at the 
 precise moment when they were most wanted, others come too soon, before the 
 matter on which they profess to treat has been sufficiently investigated ; 
 others, on the contrary, come too late, when they can add nothing to the 
 knowledge of a subject exhausted long before. 
 
 To know something of the motives which have induced the preparation 
 of a book, and of the circumstances under which it was given to the public, 
 is the only means to form a correct idea of the relation it bears to the general 
 advance and improvement of ceramic literature. 
 
 By becoming acquainted with the fortuitous occurrences to which its 
 production may be ascribed, we are enabled to realise how it is that many 
 a volume, now set aside as a futile and unprofitable fantasy, has at one moment 
 enjoyed an undisputed consideration, and that some others shall never become 
 unworthy of the good opinion that greeted their apparition. 
 
 For instance, the occasion of some examples of a pottery of undefined 
 character and unknown provenance being suddenly revealed, seldom fails to 
 induce some inventive spirit to frame a few conjectures of his own in eluci- 
 dation of the problem. The result of his cogitation is immediately put into 
 print and broadly circulated ; but it goes without saying that the flimsy 
 fabric falls to pieces at the first production of accurate information. 
 
 In the case of a new fad being introduced in the collecting world, it may 
 happen that the object of the fashionable craze is, after all, of very little con- 
 sequence. Pandering to the whim of the hour, many servile pens are soon 
 at work, nevertheless, to sing the praises of the rising idol, and to expatiate 
 upon its unsuspected beauties. But the flowery trash produced under such 
 conditions is doomed to share the fate of the short-lived infatuation which 
 had called it into being ; they both disappear together, to be remembered 
 only as egregious mystifications. 
 
 It has often occurred that, to get rid of the difficulty presented by the 
 solution of some historical enigma, an ingenious theory is built up of plausible 
 inferences, when actual facts and dates have proved unobtainable. Just as 
 it was on the point of being accepted by all, the theory is upset by the discovery 
 of an out-of-the-way volume containing the very information which had, 
 so far, escaped all researches, and settles the uncertain points in quite an 
 unexpected manner. As a matter of course, all that has been previously 
 printed on the question has, henceforth, to be rejected as frivolous and 
 worthless. If, now, we discard any other instances of premature publications 
 to turn our attention towards those which appeared at a comparatively late 
 period, we notice that, amongst the last named, are included most of the 
 standard works which are and shall be considered as incontestable authorities. 
 Whether they condense the totality of aggregated studies, or simply the result 
 of investigations conducted on a special line, the works that have waited 
 until times were ripe for their production mark, as a rule, a memorable epoch 
 in the history of ceramic literature. To that order belong, among others, 
 the comprehensive compendium which forms the crowning stone of a slowly 
 and steadfastly erected edifice. The labour it entailed could not obviously 
 have been undertaken before sufficient material had come to hand, so as to 
 
 xiii 
 
INTRODUCTION. 
 
 allow the writer to produce an exhaustive compilation, and to admit nothing 
 in it which had not stood the test of a strict and protracted examination. 
 One may reasonably assume, therefore, that a really good reference work, 
 uniting to the merit of emanating from a competent pen the further recom- 
 mendation of being a summary of the last acquisition of knowledge, is a 
 substantial improvement upon all those previously written, and should be 
 selected in preference to all others. 
 
 As we have already stated, it is from the detailed records of the favourable 
 circumstances that fostered the extension of ceramic study, in each of its 
 divers branches ; nay, from the isolated particulars we can gather of the 
 conditions under which volume after volume was added to the steadily swelling 
 stock that we can alone evolve a complete picture of the evolutions of the 
 pertinent literature. It is our intention to enter, together with the description 
 of a book whenever such observations may further the end we have in view 
 an account of the latent influences and ambient tendencies which may have 
 instigated its production and ministered to its success. In the first part of 
 our work these remarks shall, necessarily, appear in a desultory order. They 
 shall be summarised and supplemented in the second part by historical sketches 
 briefly relating the birth, growth, and vicissitudes of each separate department 
 of the literature, which will be found prefixed to each section. 
 
 Conducted on such a plan, our labour cannot fail to offer some of the 
 advantages one expects to reap from the use of a truly profitable bibliography. 
 Our ambition has been to make of it more than a silent finger-post in the 
 way to knowledge, we should like the work to be considered as a trustworthy 
 leader, an impartial adviser who can, in most cases, point out the best and 
 shortest channels through which researches should be directed to obtain a 
 rapid and solid instruction. 
 
 An arrangement of the author's names, in alphabetical order, has been 
 adopted in Part I. ; the titles of all the works due to the same writer are 
 given in succession ; each title being accompanied with a descriptive notice. 
 Differing on this point from a common practice, we have refrained from giving 
 any description of the volume considered from the pure bibliographical point 
 of view. Our reason for this neglect is that the works most highly valued 
 by the bibliophile, ancient and rare editions, are scantily represented in the 
 aggregate of ceramic literature. Modern publications, on the other hand, 
 have little, in the outward disparities which distinguish the various reprints 
 of the same work, that may command particular interest ; to give an account 
 of their typographic features would have, unnecessarily, overloaded the 
 notices. We shall not forget, however, to signal|the degree of rarity of the 
 volumes we describe ; in the cases of many pamphlets we may have to say 
 that they are almost impossible to find. It is easily understood that such 
 pamphlets were usually printed in very limited numbers, and the few copies 
 that have not terminated their uncalled for existence in the waste-paper 
 basket have now found a permanent abode in the public libraries, where they 
 can be consulted, if no longer obtainable in the trade. 
 
 In our quotations of prices we have been guided by those marked in the 
 best booksellers' catalogues. But a comparison of the publication price of 
 the book, and the one at which it is offered a few years afterwards, will 
 xiv 
 
INTRODUCTION, 
 
 show that the fluctuation is so great as to render a correct valuation almost 
 impossible. 
 
 We have made it a rule to give an English translation of all the titles in 
 foreign languages ; it may appear scarcely necessary in some instances, but 
 in many others it may be appreciated as affording a rapid and accurate 
 interpretation. 
 
 In the second part we have attempted to give a methodical classification 
 of the works described in the first. 
 
 Under distinctive headings are recorded, in an abridged form, the titles 
 of all the volumes and pamphlets relating to a particular branch of knowledge. 
 They are classified, in each section, according to the country in which they were 
 published, and arranged by date of publication. This disposition enables 
 one to ascertain, at a glance, whether a given subject has been treated in several 
 languages, and which are the earliest and latest books printed on the question. 
 Most of the sections comprise a few subdivisions, formed with the view of 
 preventing confusion and making researches easier and quicker. One could 
 not think, for instance, of amalgamating together, under the general heading 
 of Tiles, the descriptions of mediaeval pavements and the pattern-books of 
 the modern tile-maker ; both ancient and modern tiles had to be arranged 
 under a separate heading. In the case of a work which has its place equallv 
 well marked within two or more categories, the mention of its title shall be 
 repeated. For instance, Meurer's " Majolica Tiles " having been entered in 
 the section " Majolica," must be named again in " Tiles/' Catalogues of 
 collections and sales must form a separate group ; but the titles of those 
 devoted to a special class of pottery, such as " Majolica," " Sevres Porcelain," 
 " Stoneware," " Oriental Ceramics," etc., shall be entered in each of the 
 sections of which they can assist the study. 
 
 I cannot conclude this Introduction without expressing my best thanks to 
 Messrs. Charles Griffin & Co., Ltd., for the unremitting care they have displayed 
 in the production of this work. 
 
 M. L. SOLON. 
 
 May, 1910. 
 
INTRODUCTION. 
 
 allow the writer to produce an exhaustive compilation, and to admit nothing 
 in it which had not stood the test of a strict and protracted examination. 
 One may reasonably assume, therefore, that a really good reference work, 
 uniting to the merit of emanating from a competent pen the further recom- 
 mendation of being a summary of the last acquisition of knowledge, is a 
 substantial improvement upon all those previously written, and should be 
 selected in preference to all others. 
 
 As we have already stated, it is from the detailed records of the favourable 
 circumstances that fostered the extension of ceramic study, in each of its 
 divers branches ; nay, from the isolated particulars we can gather of the 
 conditions under which volume after volume was added to the steadily swelling 
 stock that we can alone evolve a complete picture of the evolutions of the 
 pertinent literature. It is our intention to enter, together with the description 
 of a book whenever such observations may further the end we have in view 
 an account of the latent influences and ambient tendencies which may have 
 instigated its production and ministered to its success. In the first part of 
 our work these remarks shall, necessarily, appear in a desultory order. They 
 shall be summarised and supplemented in the second part by historical sketches 
 briefly relating the birth, growth, and vicissitudes of each separate department 
 of the literature, which will be found prefixed to each section. 
 
 Conducted on such a plan, our labour cannot fail to offer some of the 
 advantages one expects to reap from the use of a truly profitable bibliography. 
 Our ambition has been to make of it more than a silent finger-post in the 
 way to knowledge, we should like the work to be considered as a trustworthy 
 leader, an impartial adviser who can, in most cases, point out the best and 
 shortest channels through which researches should be directed to obtain a 
 rapid and solid instruction. 
 
 An arrangement of the author's names, in alphabetical order, has been 
 adopted in Part I. ; the titles of all the works due to the same writer are 
 given in succession ; each title being accompanied with a descriptive notice. 
 Differing on this point from a common practice, we have refrained from giving 
 any description of the volume considered from the pure bibliographical point 
 of view. Our reason for this neglect is that the works most highly valued 
 by the bibliophile, ancient and rare editions, are scantily represented in the 
 aggregate of ceramic literature. Modern publications, on the other hand, 
 have little, in the outward disparities which distinguish the various reprints 
 of the same work, that may command particular interest ; to give an account 
 of their typographic features would have, unnecessarily, overloaded the 
 notices. We shall not forget, however, to signal|the degree of rarity of the 
 volumes we describe ; in the cases of many pamphlets we may have to say 
 that they are almost impossible to find. It is easily understood that such 
 pamphlets were usually printed in very limited numbers, and the few copies 
 that have not terminated their uncalled for existence in the waste-paper 
 basket have now found a permanent abode in the public libraries, where they 
 can be consulted, if no longer obtainable in the trade. 
 
 In our quotations of prices we have been guided by those marked in the 
 best booksellers' catalogues. But a comparison of the publication price of 
 the book, and the one at which it is offered a few years afterwards, will 
 xiv 
 
INTRODUCTION, 
 
 show that the fluctuation is so great as to render a correct valuation almost 
 impossible. 
 
 We have made it a rule to give an English translation of all the titles in 
 foreign languages ; it may appear scarcely necessary in some instances, but 
 in many others it may be appreciated as affording a rapid and accurate 
 interpretation. 
 
 In the second part we have attempted to give a methodical classification 
 of the works described in the first. 
 
 Under distinctive headings are recorded, in an abridged form, the titles 
 of all the volumes and pamphlets relating to a particular branch of knowledge. 
 They are classified, in each section, according to the country in which they were 
 published, and arranged by date of publication. This disposition enables 
 one to ascertain, at a glance, whether a given subject has been treated in several 
 languages, and which are the earliest and latest books printed on the question. 
 Most of the sections comprise a few subdivisions, formed with the view of 
 preventing confusion and making researches easier and quicker. One could 
 not think, for instance, of amalgamating together, under the general heading 
 of Tiles, the descriptions of mediaeval pavements and the pattern-books of 
 the modern tile-maker ; both ancient and modern tiles had to be arranged 
 under a separate heading. In the case of a work which has its place equallv 
 well marked within two or more categories, the mention of its title shall be 
 repeated. For instance, Meurer's " Majolica Tiles " having been entered in 
 the section " Majolica," must be named again in " Tiles." Catalogues of 
 collections and sales must form a separate group ; but the titles of those 
 devoted to a special class of pottery, such as " Majolica," " Sevres Porcelain," 
 " Stoneware," " Oriental Ceramics," etc., shall be entered in each of the 
 sections of which they can assist the study. 
 
 I cannot conclude this Introduction without expressing my best thanks to 
 Messrs. Charles Griffin & Co., Ltd., for the unremitting care they have displayed 
 in the production of this work. 
 
 M. L. SOLON. 
 
 May, 1910. 
 
CO NTE NTS. 
 
 PAGE 
 
 INTRODUCTION, v 
 PART I. 
 
 A DESCRIPTIVE LIST OF WORKS ARRANGED, IN ALPHABETICAL ORDER, BY NAMES 
 
 OF AUTHORS, 1 
 
 PART II. 
 
 ABBREVIATED TITLES OF THE SAME WORKS, CLASSIFIED UNDER SUBJECTS, COUNTRIES 
 
 OF ORIGIN, AND DATE OF PUBLICATION, . . . . . . . . 475 
 
 TECHNOLOGY, . . .477 
 
 a. Raw Materials and Chemistry, .... . 478 
 
 b. General Treatises of Manufacture. .... . 481 
 
 c. Ovens and Firing, 483 
 
 d. Brick and Tile Manufacture, 484 
 
 e. Pottery Faience Earthenware Stoneware, 486 
 
 /.Porcelain, ......... .488 
 
 q. Colour Making, . 489 
 
 h. China Painting, . 490 
 
 Models and Designs for the use of Ceramic Artists, .... 494 
 
 i. Transfer Printing and Photo-Ceramics, 495 
 
 j. Repairs and Restoration, 495 
 
 k. Trade Regulations Hygiene, 497 
 
 HISTORY OF THE CERAMIC ART, . . . . . 498 
 
 WORKS OF GENERAL INTEREST, . ... . 501 
 
 PREHISTORIC POTTERY (European), 503 
 
 VITRIFIED FORTS, 508 
 
 EARLY POTTERY OF AMERICA. 508 
 
 CLASSICAL CERAMICS, 511 
 
 GREEK VASES, , 511 
 
 a. History Technology Reproductions Interpretations, . . . 515 
 
 6. Catalogues of Greek Vases, 525 
 
 c. Serial Publications, . 530 
 
 ANTIQUE TERRA-COTTA, 531 
 
 a. General Descriptions Reproductions, 536 
 
 b. Museums and Private Collections ; Catalogues, . . . . . 538 
 
 c. Catalogues of Sales, .,,,,,,,., 540 
 xvi 
 
CONTENTS. 
 
 PAGE 
 
 KOMAN POTTERY, 541 
 
 a. General, 544 
 
 b. Gallo-Roman Pottery, 546 
 
 c. Arethian or Samian Ware, .548 
 
 d. Murrhine Vases, . . 548 
 
 e. Antique Vitreous Paste and the Portland Vase, .... 548 
 
 /.Terra-Cotta Lamps, 5-19 
 
 ORIENTAL CERAMICS, 550 
 
 CHINESE, 550 
 
 EGYPTIAN AND ARABIAN, 552 
 
 INDIAN, 554 
 
 JAPANESE, 554 
 
 PALESTINE, 556 
 
 PERSIAN, 556 
 
 TURKISH, 558 
 
 AMERICAN, 558 
 
 EUROPEAN CERAMICS, 559 
 
 AUSTRIAN BOHEMIAN HUNGARIAN, 559 
 
 BELGIAN, . 559 
 
 DANISH, 560 
 
 DUTCH, 560 
 
 ENGLISH, 560 
 
 a. General, 563 
 
 b. Monographs, 564 
 
 c. Wedgwood Ware, 568 
 
 d. Medallions in Vitreous Paste, 570 
 
 FRENCH, 570 
 
 a. General, 572 
 
 b. Monographs, 572 
 
 c. Henri-Deux Ware, 579 
 
 d. Palissy Ware, 580 
 
 e. Sevres Porcelain, 580 
 
 /. Faiences Patriotiques, 584 
 
 GERMAN, 587 
 
 a. General, 587 
 
 b. Monographs, . . 587 
 
 ITALIAN, 590 
 
 Pottery Majolicas-Porcelain, 592 
 
 PORTUGUESE, 596 
 
 RUSSIAN, .597 
 
 SPANISH, .597 
 
 SWEDISH AND NORWEGIAN, 598 
 
 Swiss, 599 
 
 U.S. OF AMERICA, .599 
 
 MEXICAN, ... 601 
 
 b xvii 
 
CONTENTS. 
 
 PAGE 
 
 DECORATIVE TILES 602 
 
 a. Ornamental Pavements, Ancient and Modern, 603 
 
 b. Pattern-books of Modern Manufacture, 607 
 
 ANCIENT STONEWARE, 608 
 
 JACOBA KANNETJEES, 609 
 
 ACOUSTIC POTTERY, 611 
 
 TERRA SIGILLATA, 612 
 
 BUCCAROS, 613 
 
 STOVES, 614 
 
 TOBACCO PIPES, 615 
 
 ARMORIAL CHINA, 615 
 
 MUSICAL CERAMICS, 615 
 
 ARCHITECTURAL TERRA-COTTA, 616 
 
 a. Brick Building, . 616 
 
 b. Pattern-books of Terra-Co tta Manufacturers, 617 
 
 c. Terra-Cotta Figures, . . 618 
 
 BIOGRAPHIES, , 619 
 
 BIBLIOGRAPHY, 623 
 
 PERIODICALS, . . . . . . ' . . 624 
 
 MARKS AND MONOGRAMS, . . ^ 627 
 
 THEORY OF THE CERAMIC ART, . - . 629 
 
 COLLECTING AND COLLECTORS, . 630 
 
 WORKS OF FICTION, 631 
 
 MUSEUMS AND COLLECTIONS, 631 
 
 a. Catalogues of Public Museums, 633 
 
 b. Catalogues of Private Collections, 641 
 
 c. Catalogues of Sales, 644 
 
 EXHIBITIONS, 644 
 
 CATALOGUES OFFICIAL REPORTS REVIEWS, ETC., . 649 
 
 A few works, the titles of which have been entered at the last moment 
 in this second part, will not be found described elsewhere. 
 
 xvni 
 
PART I. 
 
CEEAMIC LITERATURE. 
 
 ABA 
 
 ADE 
 
 ABADIE (Collection A.). Catalogue des 
 faiences frangaises et dtrangeres, 
 etc. Paris, 1888. 8, pp. 21 ; 
 with 3 pi. Catalogue of sale. 
 
 ABBOT (Ch. C.). Primitive industry: 
 or illustrations of the handiwork 
 in stone, bone and clay of the 
 native races of the Northern 
 Atlantic Seaboard of America. 
 Salem, 1881. 8, pp. vi-560. 
 Pottery : pp. 169-184 ; with 25 
 illustr. Pipes: pp. 315-340; 
 with 22 illustr. 15s. 
 
 Clay vessels of the rudest description. 
 
 ABEKEN (Dr. G.).~ Illustrazione di 
 due vasi con dipinture arcaiche. 
 Roma, 1886. 8, pp. 7 ; fold. pi. 
 
 " Explanation of two vases painted in 
 the archaic style." 
 
 The two vases were found near Cervetri ; 
 one is, now, in the Museo Gregoriano, the other 
 in the Berlin Museum. 
 
 ABINGTON (L. J.). Pottery and por- 
 celain (Article in Knight's Penny 
 Cyclopaedia). 
 
 Abington was a well-known character in 
 the "Potteries," where he long worked as a 
 designer and modeller, devoting part of his 
 time to local preaching. 
 
 ADAMBERGER (Collection). - - Auction 
 Catalogue der Kunst-Sammlung 
 von H. A., etc. Wien, 1871. 
 4; 17 illustr. 
 
 ADAMEK (L.). Unsignierte Vasen 
 des Amasis. Ein Beitrag zur 
 griechische Vasenkunde. Prag, 
 1895. 8, pp. 51 ; with 2 pi. and 
 16 illustr. 4 m. 
 
 "The unsigned vases of Amasis. A 
 contribution to the knowledge of Greek 
 vase painting." 
 
 From the examination of twenty vases signed 
 or attributed to Amasis, a black-figure painter 
 of the sixth century, the writer arrives at the 
 conclusion that the artist was of Egyptian 
 origin, and worked at Athens during the reign 
 of his namesake, Amasis. 
 
 (H.). Entwiirfe fur Ziegel- 
 rohbau. Berlin, s.d. 30 Fol. pi. 
 
 " Sketches for brick buildings." 
 
 ADELINE (Jules). Le musde d'anti- 
 quites et le musee ceramique 
 de Rouen. Rouen, Auge, 1882. 
 4, pp. 27 ; with a frontispiece 
 and 30 etch. pi. 15 fcs. 
 
 "The museum of antiquities and the 
 Ceramic Museum of Rouen." 
 
 The etched views show the place the Ceramic 
 collection occupied in the old galleries before 
 they had been transferred to the palatial build- 
 ing erected to contain the united museums 
 of the town. Such specimens of Rouen faience 
 as can be recognised on the plates are, however, 
 drawn on too small a scale to be of much use. 
 
 La l^gende du violon de fai- 
 ence. Paris, Conquest, 1895. 
 8, pp. 46 ; with a portrait of 
 Champfleury and 8 etched vig- 
 nettes. 10 fcs. 
 
 " The legend of the faience,fiddle." 
 
 A pretty volume, in which the actual facts 
 on which Champfleury had grounded his amus- 
 ing novel are related in a somewhat common- 
 place manner. The reason why this small talk, 
 good enough for the gossiping habitues of the 
 curiosity shops, should have been thought worth 
 being given to the public, dressed in such an 
 elegant garb, is not made obvious by the writer. 
 
 ADELMANN (Collection). Die Kunst 
 Sammlungen, etc. Dr. Leofrid 
 Adelmann, Wiirzburg. Cologne, 
 Heberle, 1888. Imp. 4, pp. 211 ; 
 with 30 phototyp. pi. 10s. 
 
 Catalogue of sale. The collection was rich 
 
 1 
 
ADL] 
 
 CERAMIC LITERATURE. 
 
 [ALB 
 
 in ancient stoneware and faience of German 
 manufacture. Ceramics : 411 Nos. ; with 
 8 pi. 
 
 ABLER (F.)- Mittelalterliche Back- 
 steinbauwerke des preussischen 
 Staates. Berlin, 1860-62. 4, 
 2 vols., with engr. pi, chromos., 
 and illustr. 
 
 "Mediaeval brick buildings of the 
 Prussian States." 
 
 AGINCOURT (Seronx d'). Recueil de 
 fragments de sculpture antique 
 en terre cuite. Paris, 1841. Sm. 
 4, pp. 100, with 38 pi. 10 fcs. 
 
 " A selection of fragments of antique 
 sculpture in terra-cotta." 
 
 The private collection of Roman terra-cotta 
 formed by the author of the Histoire de Vart 
 par Us monuments was engraved for this work, 
 in a rather bad style, by G. G. Macchiavelli. 
 D'Agincourt published the volume anony- 
 mously, but repeated references to his previous 
 " immense work " enlighten us as to the name 
 of the writer. It is pompously dedicated to 
 the "Students of the Fine Arts," who, he says, 
 will remember the love he entertained for them, 
 and will, he hopes, cherish his memory. 
 
 AGNEW (Thomas). The collection of 
 Wedgwood ware of Messrs. 
 Thos. Agnew & Sons. Man- 
 chester, s.d. 8, 480 Nos., fold. 
 
 P i. 
 
 One of the early sales of old Wedgwood 
 ware. Good prices were realised. A pair of 
 large vases, No. 292 (insufficiently described), 
 reached 250. 
 
 AIKIN (A.). Illustrations of arts and 
 manufactures ; Papers read be- 
 fore the Society of Arts, etc. 
 London, 1841. 8. 4s. Pottery: 
 pp. 1-104 ; with 6 illustr. 
 
 AKERMAN (John YODge). Archaeological 
 index to remains of antiquity of 
 the Celtic, Romano-British, and 
 Anglo-Saxon periods. London, 
 1847. 8 ; with 19 pi. 8s. 
 
 "Articles on the discovery of potter's kiln, 
 and ancient pottery ; pages 84 to 92. " 
 
 An account of excavations on 
 
 the site of some ancient potteries 
 in the western district of the 
 New Forest, conducted by the 
 Rev. J. Pemberton Bartlett. 
 
 2 
 
 London, Nichols & Sons, 1853. 
 4, pp. 8; with 2 plates. (In 
 Archwologia, vol. xxxv.) 4s. 
 
 The vessels and fragments of pottery repre- 
 sented on the plates are of the usual Romano- 
 British type, decorated with incised patterns. 
 Traces of five potter's kilns were discovered on 
 the spot, buried under three big mounds ; the 
 masonry work was, however, totally ruined. 
 In several other works by Akerman, Secretary 
 to the Society of Antiquaries, illustrated 
 articles on ancient pottery will also be found, 
 namely : 
 
 Account of excavations in an 
 
 Anglo-Saxon burial ground at 
 Harnam Hill, near Salisbury. 
 1854. 4, pp. 20, and 3 pi. 
 
 - Remains of Pagan Saxondom. 
 London, Russell Smith, 1855. 4, 
 pp. 84 ; with 40 pi. in col. (2 pi. 
 of urns). 1 Is., etc. 
 
 ALABASTER (C.). -- Catalogue of 
 Chinese objects in the South 
 Kensington Museum. With an 
 introduction and notes. London, 
 1872. 8. Sect. 1 Porcelain, 
 pp. 7-36. 
 
 ALBERI (Eugenio). Una visita alia 
 manifattura di porcellane di 
 Doccia. Fir enze, 184:0. 8, pp.16. 
 
 "A visit to the porcelain factory of 
 Doccia." 
 
 A brief, but precise, description of the 
 Doccia manufactory as it stood under the 
 direction of the Marquis Carlo Lorenzo Ginori, 
 third of the name. The superior business 
 capacity, the strong will, and the patriotic 
 spirit of the Ginori family, combined with a 
 large private fortune, have saved the Doccia 
 works from the hardships so many undertakings 
 of the same order have had to undergo. The 
 Ginoris always scorned to ask for privileges 
 and State support ; yet under their firm and 
 enlightened management the prosperity of the 
 establishment kept constantly on the increase. 
 The conditions of the Doccia manufactory were 
 already much improved in 1840. The universal 
 Exhibitions to which the firm has always con- 
 tributed have made us aware of the immense 
 progress which has been accomplished within 
 the last fifty years. 
 
 ALBERICI (A.)- Catalogue de la col- 
 lection . . . appartenant a Mr. 
 A. A. Vente a Rome, Avril, 
 1886. Rome, 1886. 4, pp. 94 ; 
 with 16 phototyp. pi. 15 fcs. 
 
 Catalogue of sale of the collection of a Roman 
 
ALB 1 
 
 CERAMIC LITERATURE. 
 
 [ALK 
 
 artist. Greek vases and terra-cottas, Nos. 1-45 ; 
 faiences, Nos. 737-772; porcelain, Nos. 807-825. 
 
 ALBINUS (Petms). Meissnische Berg 
 Chronica. . . . Dresden, 1590. 
 Sm. fol., pp. 205. 20 m. 
 
 "Chronicles of the Meissen Mountains." 
 
 Chapter xxiii. , pp. 173-180, notices clays 
 and earths. Mention is made of a sand em- 
 ployed in the manufacture of Waldeburg stone- 
 ware. The prehistoric pottery found in the 
 province is described at length. 
 
 ALCOCK (Sir Rutherford). Art and art 
 
 industries in Japan. London, 
 Virtue & Co., 1878. 8, wood- 
 cuts. 5s. 
 
 Ceramics might have occupied a larger place 
 in a book dealing with the arts of Japan. The 
 subject is, however, disposed of in one chapter 
 of ten pages, a few of which are devoted to 
 Doulton ware. 
 
 ALEXANDER (Arsene). Jean Carries, 
 imagier et potier. Etude d'une 
 oeuvre et d'une vie. Paris, May 
 et Motteroz, 1895. 4, pp. 209 ; 
 with 20 heliotype pi. and num. 
 illustr. 25 fcs. 
 
 "Jean Carries, image-carver and potter. 
 An essay on his life and his works." 
 
 Palissy has told us, in his memoirs, how a 
 piece of beautiful white pottery, which was 
 fortuitously shown to him, led him to decide 
 upon his vocation ; the sight of a small piece 
 of Japanese stoneware exerted the same con- 
 verting influence on the sculptor, Jean Carries, 
 and made him a potter. Haunted by the desire 
 of having at his command a fictile material 
 which would be dense and hard of texture, 
 smooth and silky of surface, without showing 
 the glaring brilliancy of ordinary glazes, Car- 
 ries threw himself, heart and soul, one day into 
 the fascinating pursuit of ceramic experiments. 
 He found in hard stoneware the male relative, 
 as he called it, of feminine porcelain the very 
 kind of pottery which might yield the ideal 
 material he dreamed of obtaining. The ground- 
 work was thus ready to hand ; the ordinary 
 body requiring only refinement in the process 
 of manipulation. As to its complement of 
 glazes and colours, he trusted to his own in- 
 genuity and perseverance to discover the sub- 
 stances and the mixtures that no professional 
 potter could supply to his satisfaction. His 
 first steps were taken in the dark. The place 
 to which he repaired to prosecute his experi- 
 ments was a distant and lonely village ; his 
 assistants were a few labourers borrowed from 
 a common pot work. He knew no other guide 
 than the impulse of his fancy, no other teach- 
 ing than his mistakes ; but he was systematic, 
 even in his extravagant trials, clear-sighted 
 and practical in his observations. Many an 
 accident opened to him a new line of re- 
 search ; out of an apparent failure often came 
 
 one of his most valued discoveries. One may 
 easily realise that the results obtained so 
 empirically were often unexpected, either 
 felicitous or disappointing, inexplicable in most 
 cases. He employed none but the simplest 
 means, depending chiefly, for the production of 
 curious effects, upon eventual successful firing, 
 over which he seems to have had mysterious 
 command. For a few years he mused and 
 toiled in his retreat, a prey to feverish excite- 
 ment, throwing, turning, modelling, glazing, 
 and firing with his own hands a host of stone- 
 ware pieces of all possible shapes, of all imagin- 
 able and unimaginable hues. Always a surprise 
 and an enchantment for the eye some of them 
 indescribable oddities these pieces display 
 effects of colour blending and harmonies never 
 seen before, and never to be repeated. They 
 show, in common with primitive Japanese 
 pottery, the glorification of failure ; they mark 
 an onward step in the direction of controlling 
 what had hitherto been uncontrollable. Con- 
 jointly with these multi-coloured gems of in- 
 trinsically ceramic qualities, Carries modelled 
 a large number of purely plastic works, masks, 
 busts, figures, etc., which he produced in plain 
 stoneware of sober grey, yellowish or brown 
 tints. The potter and the artist worked hand- 
 in-hand in perfecting many an admirable piece; 
 one is at a loss to decide which of the two 
 deserves our highest praise. One of the chief 
 pre-occupations of their maker was to rescue 
 pottery, as a material, from the undignified 
 condition into which it had been dragged down 
 by the mercenary requirements of modern in- 
 dustry, and to demonstrate, proofs in hand, 
 that stoneware should rank as high as marble 
 or bronze in the estimation of the sculptor, 
 and in this he has partially succeeded. Car- 
 ries' career as a potter did not extend over 
 more than three or four years. Death sur- 
 prised him, still full of schemes for future im- 
 provements, in the thirty-fourth year of his age. 
 
 ALIATA (G.) (Principe di Ucria). Di un 
 vaso greco-siculo, Palermo,18Ql. 
 4, pp. 7 ; with 2 photogr. pi. 
 
 A crater with Arismap and griffins ; on the 
 reverse five Amazons and griffins. 
 
 AL1ZERI (T,). D'una rara majolica 
 nuovamente recata in Gen ova. 
 Genova, 1881. 16, pp. 11. 
 
 " A rare piece of majolica, lately 
 brought to Genoa." 
 
 Description of a majolica painting on tiles, 
 inscribed " Ave Maria, 1529," supposed to have 
 been made at Albissola. 
 
 ALKEMADE (K. van) and SCHELLING (P. 
 van der). Nederlands Displegtig- 
 heden . . . etc. Rotterdam, 
 1731. 3 vols., 12 pi. 16s. 
 
 "The celebration of banquets in ancient 
 Netherland." 
 
 Contains a description of the old drinking 
 vessels used in Holland on festive occasions. 
 Chapter xxxvi., vol. ii., treats of the "Vrouw 
 
 3 
 
ALL] 
 
 CERAMIC LITERATURE. 
 
 [AMA 
 
 Jakobaas Kannetjes." Illustrated with copper 
 plates. 
 
 ALLARD (L). Bernard Palissy, ou le 
 potier de Saintes. Piece his- 
 torique en cinq actes, pre'cedee 
 d'un prologue en deux parties. 
 Paris, Vannier, 1865. 12, pp. 
 168. 
 
 "Bernard Palissy, the potter of Saintes. 
 Historical drama in five acts, and a pro- 
 logue." 
 
 A bad drama written in execrable verse. 
 
 ALLDADD. Rapport sur les Gres 
 molasses, ou Granits are*naces 
 kaoliniques de Dignac. Limoges, 
 1832. 8. 
 
 " Report on the ' Gres molasses ' or 
 kaolinised sandy Granites of Dignac." 
 
 Lettres des fabricants de por- 
 
 celaine de Limoges a Mr. le 
 Secretaire d'Etat, ministre des 
 finances, et a Mr. le Secretaire 
 d'Etat, ministre du commerce et 
 des travaux publics, centre les 
 taxes municipales illegalement 
 etablies sur les matieres qui 
 servent d'aliment a leur industrie. 
 Limoges, Impr. Chapoulaud, 1836. 
 8, pp. 50. 
 
 " Letter addressed by the porcelain 
 manufacturers of Limoges to the Secre- 
 taries of State, the Ministers of Finance, 
 Commerce and Public Works, to protest 
 against the taxes, unduly levied by the 
 Municipality, upon the raw materials 
 employed it their industry." 
 
 Historique et statistique de 
 
 la porcelaine du Limouzin. 
 Limoges, 1837. 8, pp. 24. 
 
 " History and statistics of the Limoges 
 porcelain." 
 
 Etude sur les vases murrhins. 
 
 Limoges, 1846. 8. 
 
 " Researches upon the Murrhine 
 vases " 
 
 The above pamphlets, written by one of the 
 leading manufacturers of Limoges, are now 
 almost unobtainable. 
 
 ALMSTROEM (Robert). Lervarorna och 
 deras tillverkning. (Article in 
 
 Uppftnningarnas bok, the book 
 of inventions.) Stockholm, 1876. 
 8, pp. 95 ; with text illustr. 
 
 " Lessons on ceramic manufacture." 
 
 Abstract of the history of the ceramic art, 
 to which is added a description of the processes 
 of manufacture in use in the factories of Ror- 
 strand, Gustafsberg, and other pottery works 
 of Sweden. 
 
 ALT (W. J.). Catalogue of a collec- 
 tion of articles of Japanese art 
 lent for exhibition by W. J. A. 
 (Bethnal Green Museum). Lon- 
 don, 1876. 8. 
 
 ALZOLA y MINONDO (P. de). El arte 
 industrial en Espafia. Bilbao, 
 1892. 8. 
 
 " The industrial arts of Spain." 
 
 AMANTON (N. N.). Notice biograph- 
 ique sur Leonard Racle, de Dijon. 
 Dijon, Trantin, 1810. 2 e Ed. 8, 
 pp. 17. 
 
 "Biographical notice of Leonard Racle, 
 of Dijon." 
 
 Leonard Racle, architect, had established a 
 faience manufactory at Pont-de-Vaux. His 
 ceramic productions would now be forgotten, 
 but for a few lines that Voltaire has written on 
 the subject. "Mr. Racle," says he, "has a 
 genius which allows him to disdain the favours 
 of kings and princes. The large and beautiful 
 pieces of faience which come out of his factory 
 are masterpieces of the art, and he sells them 
 to people who pay him well." This notice de- 
 scribes his career as a talented architect and 
 engineer, but is, unfortunately, silent as to 
 that part of his life he devoted to the manu- 
 facture of pottery. 
 
 AMATI (Abate Girolamo). Intorno ad 
 alcuni vasi etruschi o italo-greci 
 recentemente scoperti. Roma, 
 1829. 8, pp. 14. (Reprint from 
 the Giornale Arcadio.) 
 
 " On some Etruscan or Italo-Greek 
 vases recently discovered." 
 
 A name inscribed on an antique vase, and 
 believed to be Zeuxis, has given occasion to the 
 antiquary to discant upon the probability of 
 the fan-.ous Greek painter being of Italian 
 origin, since a vase evidently made in Italy is 
 signed with his hand. 
 
 - Sui vasi etruschi illustrati da 
 S. E. il Signer Principe di Canino. 
 Osservazioni. Roma, 1830. 8, 
 2 parts; pp. 23-13. 
 
AMBJ 
 
 CERAMIC LITERATURE. 
 
 [ANG 
 
 "Remarks upon the Etruscan vases 
 described by Prince of Canino." 
 
 An answer to the article written on the 
 subject by Raoul Rochette. 
 
 AMBROSCH (S. A.)- P e Charonte 
 etrusco. Ace. vasorum fict. qua 
 in Mus. Berol. asserv., pictura 
 adhunc ined. Vratislaiv, 1837. 
 4. 
 
 " The Etruscan Charon ; to which is 
 added the description of the inedited 
 vase paintings in the Berlin Museum." 
 
 AME (Efflile). Les carrelages emailles 
 du Moyen-Age et de la Renais- 
 sance, precedes de 1'histoire des 
 anciens pavages ; Mosaiques, 
 Labyrinthes, Dalles incrustees. 
 Paris, Morel, 1859. 4, pp. 207 ; 
 with 90 chromolith pi. 100 fcs. 
 
 " Glazed tiles of the Mediaeval and 
 Renaissance periods ; to which is pre- 
 fixed a history of ancient pavements, 
 Mosaics, Labyrinths, and inlaid slabs." 
 
 English antiquaries may be credited with 
 having been the first to direct adequate atten- 
 tion to the decorative tiles of the middle ages ; 
 the first comprehensive work, which condensed, 
 into a general history of ornamental pavements, 
 the information contained in many detached 
 papers dealing with the subject, is due to a 
 French architect, Mr. E. Ame". The volume 
 places before us well selected examples of the 
 various styles of work successively employed 
 for floor decoration, beginning with Roman 
 Mosaics, next dealing with the inlaid tiles, and 
 ending with the brilliantly-coloured faience 
 pavements of the 16th century. As an ap- 
 pendix to this general survey are attached 
 the description of several Gothic pavements 
 still extant in some ancient edifices of the 
 Yonne Department. 
 
 AMELUNG. -- Personificierung des 
 Lebens in der Natur, in den 
 Vasenmalerei der hellenistischen 
 Zeit. Miinchm, 1888. 8. 
 
 " The impersonation of life in Nature, 
 as represented in the vase paintings of 
 the Hellenic times." 
 
 - Fuhrer durch die Antiken in 
 Florenz. Miinchen, 1897. 8. 
 
 "A guide to the collection of anti- 
 quities in Florence." 
 
 Painted vases, pp. 197 et seq. 
 
 ANCONA (Catalogue of the Collection). Sale 
 at Milan, 1892. 4, with 12 pi. 
 
 by Castelfranca. Prehistoric, 
 Etruscan, Greek, and Roman 
 pottery. 
 
 ANDERSON (J. E.)- A short account 
 of the Mortlake Potteries. 
 Richmond, printed for the 
 author. 1894. 8, pp." 14. 
 
 Records of the ancient stoneware and delf 
 factories established at Mortlake in 1742, with 
 an account of the pottery works existing at the 
 present day. 
 
 ANDRE (A.). Catalogue raisonne du 
 musee archeologique de la ville 
 de Rennes. Rennes, 1863. 8, 
 2d Ed., 1876. 8, pp. 514. 
 
 " Descriptive catalogue of the Rennes 
 Archaeological Museum." 
 
 Greek and Etruscan vases, pp. 60-76 ; Pre- 
 historic, pp. 143, 161 ; European ceramics, pp. 
 337-370 ; Faience of Rennes, 120 Nos. 
 
 ANDRE. Catalogue des faiences 
 d'art peintes par Mr. Andre. 
 Paris, 1878-79, and following 
 years. 8. 
 
 Catalogues of the yearly sales of the works of 
 Mr. Andre, landscape painter, on faience and 
 lava. 
 
 ANGST (H.)- Ziircher Porzellan. 
 Zurich, 1905. 4, pp. 12; with 
 2 col. pi. and 18 illustr. 4s 
 (Eeprint from Die Schweiz.) 
 
 " The Zurich porcelain." 
 
 In August, 1763, Heidigger and F. Korabi, 
 both burgesses of Ziirich, entered into partner- 
 ship to establish the manufacture of porcelain 
 in the town. It was in full working order in 
 1766. The poet and painter, Solomon Gesner, 
 joined the enterprise from the first, supplying 
 designs for the decorators, and painting choice 
 specimens with his own hand. The practical 
 management was in charge of one Adam 
 Spengler, of Schaffhausen. He retained his 
 position until 1791, the year of his death. In 
 the same year the Porcelain Company, which 
 had fallen into bad circumstances, had to be 
 wound up. The manufacture of faience con- 
 tinued to be carried on during a few years. 
 The Zurich porcelain included, besides elegantly 
 painted table and tea services, a great variety 
 of groups and figures enamelled in colours. 
 Little value can be attached to the author's 
 statement that the process of transfer-printing 
 was invented at Ziirich. As a matter of fact, 
 A. Spengler had worked at Derby with his 
 brother, J. J. Spengler, and there had been 
 taught the process, which he imported into 
 Switzerland. 
 
 5 
 
ANS] 
 
 CERAMIC LITERATURE. 
 
 [ARC 
 
 ANSELMI (JL). L'antico eremo di S. 
 Girolamo presso Arcevia ed il 
 suo altare in maiolicha attribuito 
 ad Andrea Delia Robbia, con 
 1'elenco descrittivo del monu- 
 ment! Robbiani esistenti nelle 
 provincie delle Marche. Jassi, 
 Ruggini, 1886. 4, with 1 pi. 
 
 " The ancient hermitage of Saint 
 Girolamo, near Arcevia, and its majolica 
 altar attributed to Andrea Delia Robbia; 
 with a descriptive list of the Delia 
 Robbia works extant in the provinces 
 of the Marches." 
 
 - Le maioliche dei Delia Robbia 
 nella provincia di Pesaro-Urbino. 
 Roma, 1897. 4, pp. 18 ; with 9 
 illustr. (Reprint from the 
 Archimo storico dell'Arte.) 
 
 " The majolica of the Delia Robbias in 
 the province of Pesaro-Urbino." 
 
 ANTALDI-SANTINELLI (March. C.). Cata- 
 logo descrittivo artistico della 
 raccolta di rnaioliche antiche 
 dipinte posseduta dal Municipio 
 di Pesaro. Pesaro, Terenzi, 
 1897. 8, pp. 134; with 1 pi. 
 of marks. 3 fcs. 
 
 " Catalogue of the collection of ancient 
 painted majolica in the possession of the 
 Pesaro municipality." 
 
 The collection, now exhibited in the Pesaro 
 Atheneum, had been previously described by 
 Montanari, and is often referred to in other 
 works. It comprises 553 Nos. 
 
 (Oh,)- Catalogue des anci- 
 ennes faiences frangaises et 
 etrangeres . . . composant la 
 collection C. A. Preface par G. 
 Papillon, Vente a Paris, 3-6 
 Avril, 1895. 4, with 25 pi. 
 
 Deuxieme vente, 23-25 Avril, 
 
 1895. Paris, 1895. 4, with 
 2 pi. 
 
 Catalogues of sale. 
 
 APLIGNY (Le Pileur d'). Traite des 
 
 couleurs mate"rielles et de la 
 maniere de colorer relativement 
 aux differents arts et metiers. 
 
 Paris, Saugrain et Lamy, 1779. 
 12, pp. 342. 5 fcs. 
 
 " Treatise of the substantial colours, 
 and of the methods of using them in the 
 practice of the various arts and crafts." 
 
 This volume, a sort of Handmaid to the 
 Arts, supplies practical directions for painting 
 upon all kinds of materials, including enamel 
 and porcelain, after the methods in use at the 
 times. As it is a mere compilation of the 
 special treatise previously published, it offers 
 no particular interest. 
 
 AQUILA (F. F.). Raccolta di vasi 
 diversi, antichi, etc. Roma, 1713. 
 Obi. fol. 
 
 A collection of divers vases, anti- 
 quities, etc., in the possession of Pope 
 Clement XL, drawn and engraved by F. 
 R Aquila. 
 
 This work, which we have not been able to 
 see, is mentioned in the catalogue of Horace 
 Walpole's library at Strawberry Hill. 
 
 ARCHER (Elizabeth L). - - Porcelain 
 painting. A practical treatise 
 for the use of amateurs. Lon- 
 don, 1860. 16, pp. 30. 
 
 ARCHER (Prof. H. C.). --Report on 
 pottery and porcelain. (In Re- 
 ports on the Vienna Universal 
 Exhibition, 1873. London, 1874. 
 8, vol. iii., pp. 109-169.) 
 
 Prof. H. C. Archer was Director of the 
 Edinburgh Museum of Science and Art. 
 
 - Oriental art in Liverpool. 
 
 Liverpool, 1874. 4. 
 
 Catalogue of the second exhibition of the 
 Liverpool Art Club. 
 
 ARCLAIS de MONTAMY (Didier d 1 ). Traite 
 des couleurs pour la peinture en 
 Email et sur la Porcelaine ; pre- 
 cede de Fart de peindre sur 
 FEmail, et suivi de plusieurs 
 memoires sur differents sujets 
 interessants, tels que le travail 
 de la Porcelaine, 1'art du Stuc- 
 cateur, la maniere d'executer les 
 Camees et les autres pierres 
 figurees, le moyen de perfection- 
 ner la composition du Verre 
 blanc et le travail des Glaces, 
 etc. Paris, Cavelier, 1765. 12, 
 
ARD] 
 
 C ERA MIC LITER A TURE. 
 
 [ARG 
 
 pp. 287. 5 fcs. A German 
 translation was published at 
 Leipzig in 1767. 8. 
 
 " Treatise on colours for enamel and 
 porcelain painting, prefaced with an 
 essay upon the art of enamel painting, 
 and followed by sundry papers treating 
 on subjects of interest namely, the 
 manufacture of porcelain, the art of 
 modelling in stucco, the method of 
 cutting cameos and other figured stones, 
 the way of improving the composition of 
 white glass, the making of mirrors, etc." 
 
 D'Arclay was one of the best chemists of his 
 time. The recipes contained in his book are 
 few in number, but they are all the result of 
 his own practical experiments. He discovered 
 the preparation of a bright red obtained from 
 iron, and he describes the process with great 
 accuracy. Although he was not a professional 
 painter, his advice for painting in vitrifiable 
 colours, which is correct and clear, could not 
 have been better expressed by a practical man. 
 He is less precise when speaking of the manu- 
 facture of porcelain. His remarks on the 
 different constitutions of the French and Ori- 
 ental bodies show that he had studied the 
 subject from a scientific point of view, but he 
 does not leave the field of pure theory. When 
 alluding to the composition of the soft por- 
 celain used by the manufacturers of his time, 
 he simply says that each maker has a different 
 recipe of which he keeps the secret. The work 
 was published after the death of the author. 
 
 ARDANT (H.). Notice historique sur 
 Part ceramique et sur le Musee 
 de Limoges. Limoges, Ducourti- 
 eux, 1869. 8, pp. 33. 
 
 " Historical essay on the ceramic art 
 and the Limoges Museum." 
 
 ARDITO (Michele). Illustrazione di un 
 vaso trovato nelle ruine di Locri. 
 Napoli, 1791. 4, pp. 76, 1 pi. 
 
 "Description of a vase discovered in 
 the ruins of Locri." 
 
 All the classics are put under contribution 
 in this long-winded discourse to prove that the 
 female figure, playing the lyra, painted on the 
 small vase found at Locri, is an allegorical 
 representation of " innocent pleasure." 
 
 ARGNANI (FrederigO). Le ceramiche e 
 maioliche faentine dalla loro 
 origine fino al principio del 
 secolo xvi. Appunti storici del 
 professore F. Argnani, conserv- 
 atore della pinacoteca com- 
 munale di Faenza. Faenza, 
 1889. 4, pp. xii-33, with 20 
 
 double pi. lith. in colour, con- 
 taining a great number of speci- 
 mens. 30 fcs. 
 
 " Pottery and majolica of Faenza ; from 
 their origin up to the beginning of the 
 sixteenth century. Historical documents 
 contributed by Prof. F. A., curator of the 
 civic museum at Faenza." 
 
 We may trust the curator of a civic collection, 
 chiefly composed of pottery of a local origin, to 
 point out to us all the merits of the specimens 
 confided to his care ; but we must bear in mind 
 that these merits may happen to have become 
 magnified and increased in his own eye, by the 
 natural result of a long concentration of mind 
 upon a captivating subject. Prof. Argnani 
 will not entertain any notion which would tend 
 to rob Faenza of the honour of having been 
 the first Italian city in which majolica was 
 ever produced. In the case of pieces of doubt- 
 ful attribution he has no hesitation in ascribing 
 their origin to his beloved town. He resumes, 
 at great length, the controversy started by 
 C. Malagola, and asserts, once more, that the 
 factory of Cafaggiolo has never existed. The 
 inscription, Fatto in Chaffagiolo, found upon 
 certain pieces of ancient majolica should, 
 according to his belief read, Fatto in ca'Fagiolo. 
 Consequently, such pieces ought to be restored 
 to Faenza, where a potter of the name of 
 Faxoli or Fagioli, is supposed to have worked. 
 It might have been expected that the mark on 
 which this contention is based, would have 
 been reproduced for examination and included 
 in the long list of fac-sitnile monograms which 
 covers the two last plates. But it is not to be 
 found there, and the theory of ca'Fagiolo may 
 suffer from this regrettable omission. 
 
 The plates have been drawn and coloured 
 con amore by the author himself, from examples 
 preserved in the museum and the local collec- 
 tions. They represent, mostly, jugs and 
 dishes of a rude description, coarse pieces 
 which have escaped the rapacity of the curi- 
 osity dealer owing to their unprepossessing 
 appearance, and the uncouth style of their 
 decoration. Let not this, however, be taken 
 as a disparagement of their historical value. 
 Rough as they are, their primitive character 
 imparts to them a special interest, inasmuch as 
 pieces of this order are seldom seen in other 
 museums. 
 
 II rinascimento delle cer- 
 amiche maiolicate in Faenza, 
 con appendice di documenti in- 
 edite fornite da C. Malagola. 
 Faenza, 1898. 4, pp. viii-358, 
 and atlas 4 of 40 col. pi. con- 
 taining 193 subjects. 100 fcs. 
 
 " The revival of majolica pottery in 
 Faenza, with an appendix of inedited 
 documents contributed by C. Malagola." 
 
 A supplement to the work described above ; 
 it deals with the history of the Faenza majolica 
 from the later part of the fifteenth century 
 down to the seventeenth. 
 
ARG] 
 
 CERAMIC LITERATURE. 
 
 [ARN 
 
 ARGNANI (Frederigo). Ceramiche e 
 Majoliche archaiche faentine. 
 Faenza, 1903. 4, pp. 39 ; with 
 22 col. pi. and descriptive 
 notices. 25 fcs. 
 
 ARKWRIGHT (I.). Catalogue of the 
 Arkwright Oriental Collection 
 in Sutton - Scarsdale, Chester- 
 field. London, 1893. 4, pp. 18. 
 
 286 Nos. of Chinese and Japanese porcelain, 
 pottery and lacquer. 
 
 ARLIDGE (Dr.). The true history and 
 the interesting legend of the 
 Willow Pattern Plate. Hanley, 
 1882. Sq. 12, pp. 36. Privately 
 printed. 
 
 ARMAIHAC (L. d'). Rapport sur rex- 
 position de ceramique a Saintes, 
 en 1868. Saintes, 1870. 8, 
 pp. 21. 
 
 " Report on the Ceramic Exhibition at 
 Saintes in 1868." 
 
 The town of Saintes is closely associated 
 with the memory of Palissy ; it was, moreover, 
 the centre of an ancient pottery district. All 
 that could illustrate the art- industry of the 
 past had been diligently gathered by the 
 organisers of that exhibition. 
 
 ARMAND (Ch.). Notice d'unfourcon- 
 tinu pour cuire les ciments, les 
 produits ceramiques, etc. Paris, 
 1870. 
 
 " Notice of a continuous oven for firing 
 cements and ceramic products." 
 
 ARNAUD (E.). Exposition Interna- 
 tionale de Philadelphie. Rapport 
 presente a Mr. le Ministre de 
 !' Agriculture et du Commerce 
 sur la ceramique. Paris, 1877. 
 8, pp. 44. 
 
 " Philadelphia International Exhibi- 
 tion. Report on the section of ceramics 
 addressed to the Minister of Agriculture 
 and Commerce." 
 
 ARNAUD et FRANCHE. Manuel de cer- 
 amique industrielle. Paris, 
 Dunot and Pinat, 1906. 8, 
 pp. ix-674 ; with 306 text illustr. 
 12 fcs. 
 
 "A manual of industrial ceramics." 
 8 
 
 ARNAYON (L.). --The collection de 
 faiences provencales. Notes d'un 
 amateur marseillais. Paris, Plon, 
 1902. 4, pp. 73 ; with 8 photogr. 
 pi. 10 fcs. 
 
 " A collection of provincial faience. 
 Notes of a Marseillese amateur." 
 
 Marseilles and Moustiers factories are repre- 
 sented by numerous and select examples. Each 
 section is prefaced with a historical notice. 
 
 Catalogue of sale. Paris, 
 1902. 8 ; with 20 pi. 
 
 Faiences of Moustiers, Marseilles, Nevers ; 
 porcelain of Sevres and Saxony. 
 
 ARM (Paul) Studien zur Vasen- 
 kunde. Leipzig, 1887. 8, pp. 
 170. 4 m. 
 
 " Studies towards the knowledge of 
 vases." 
 
 Researches on Greek epigraphy. An at- 
 tempt to determine the age and the origin of 
 Greek vases through the style and the characters 
 of the inscriptions they bear. 
 
 ARNOULD (Hme. Arthur Delphine de Cool). 
 -La ceramique et les emaux. 
 Paris, L. Allison & Co. (1890?). 
 Sq. 12, pp. 60. 1 fc. 
 
 An elementary treatise of porcelain and 
 enamel painting, forming part of the Biblio- 
 thegue populaire des Ecoles de dessin, published 
 by Rene Me"nard. 
 
 ARNOOX (Leon). - - Lectures on the 
 results of the great exhibition 
 of 1851. Ceramic manufacture, 
 porcelain and pottery. London, 
 D. Bogue, 1853. 8, pp. 41. 
 (Reprint from the Journal of 
 the Society of Arts.} 
 
 - Paris Universal Exhibition, 
 1855. Report on ceramic man- 
 ufactures. London, 1857. 8, 
 pp. 24. (Reprint from the Official 
 Reports of the British Commission. ) 
 
 International Exhibition. 
 
 Paris, 1867. Report on pottery, 
 etc. 
 
 - London International Exhi- 
 bition, 1871. Ceramics. (Reprint 
 from the official reports.) Lon- 
 don, 1871. Sq. 8, pp. 26. 
 
 The Royal Commissions of the International 
 
ARO] 
 
 CERA MIC LIT ERA TURE. 
 
 [AUB 
 
 Exhibitions could not have chosen a reporter 
 better qualified by practical knowledge and 
 sound judgment to indite a comparative review 
 of the ceramic exhibits which had entered into 
 competition. All the reports entrusted to 
 Leon Arnoux's professional experience are 
 marked with the stamp of consummate experi- 
 ence of the art, and evince the impartial 
 appreciations of an unbiased spirit. 
 
 - Pottery. An article in Bevans' 
 British Manufacturing Industries. 
 London, Stanford, 1876. 18, 
 pp. 62. 
 
 AROSA (Collection). --Collection de 
 faiences anciennes hispano-maur- 
 esques, italiennes, hollandaises et 
 franaises. Suite importante de 
 faiences de Delft, etc. Paris, 
 1895. Sm. 4 ; with 6 pi. 
 
 Catalogue of Sales. The collection com- 
 prised 283 Nos. 
 
 ARTAUD (P.)- De la ceramique et 
 principalement des vases sigilles 
 des anciens avec les precedes 
 pour les imiter. 
 
 " On ceramics, and particularly on the 
 sigillated pottery of the ancients, with 
 the method of reproducing it." 
 
 In this very important work Mr. Artaud, 
 curator of the Lyons Museum, has described 
 and illustrated all the various kinds of Roman 
 pottery discovered in the region. The plates 
 were engraved, but the text was never printed ; 
 it forms two folio volumes of MS. deposited 
 in the library of the Palace of Arts. 
 
 ARTIS (E. Tyrell). The Durobrivse of 
 Antoninus, . . . Potters' kilns, 
 implements for . . . the manu- 
 facture of earthen vessels, dis- 
 covered by E. T. A. London, 
 1823-28. Fol., with 21 lith. pi. 
 
 ASCENCIO (J. I.). Azulejos de Tri- 
 ana. Madrid, 1877. 8, pp. 13 
 (Reprint from La Academia.) 
 
 " The tiles of Triana." 
 
 ASHBY (H. I.). How to analyze clay 
 practical methods for practica 
 men. Chicago, Windsor & Ren 
 field, 1898. Pp. 71. 2s. 
 
 ASHPITEL (A.)- On the vases of tin 
 ancients ; particularly of a verj 
 
 splendid blue and white vase 
 found at Pompeii. London, s.d. 
 
 8. 
 
 Treats of a vase of glass paste with white 
 reliefs. 
 
 ASPELIN (J. R.). Antiquites du Nord 
 Finno-Ougrien. Traduction fran- 
 caise by G. Biaudet. Helsingfors, 
 1877-84. 5 vols., 4 ; with 2,187 
 text illustr. 3. 
 
 " Antiquities of North Finno-Ougrian." 
 The prehistoric remains of Finland. 
 
 ASSEGOHD (AlpuOnse).- Notice sur une 
 assiette en faience de Rouen de 
 la collection de Mr. G. Gouellain. 
 Bernay, 1877. 8, pp. 11. 
 
 " Notes upon a plate of Rouen faience 
 in the collection of Mr. Gouellain." 
 
 An interesting plate cleverly painted with 
 the subject of a lady at her toilette, and 
 bearing on the border the arms of Bernart 
 a Norman family. It is supposed that it was 
 made by Caussy, a Rouen manufacturer. The 
 plate had already been made the subject of 
 a paper read by its possessor before the 
 Antiquarian Society of Normandy. 
 
 -Ceramique du Moyen- 
 age et de la Renaissance. Paris, 
 Levy, 1876. Sm. fol, 28 lith. 
 pi. ; no text. 
 
 "Ceramics of the Mediaeval and Ren- 
 aissance period." 
 
 Under the above title have been collected 
 in a special portfolio, the plates representing 
 vases and drinking vessels previously included 
 in the work, Meubles tt Armures du Moyen- 
 Aye, issued by the same publisher. With the 
 exception of a few specimens of ancient stone- 
 ware and Palissy dishes, the objectsfpresented 
 as " Ceramics " are vases of gold, silver, or 
 marble. 
 
 AUBERT (E.)--- Conseils pratiques 
 pour la peinture ceramique a la 
 gouache verifiable. Paris, 1881. 
 8, pp. 16. 2 fcs. 
 
 " Practical advice on the method of 
 ceramic painting with verifiable body- 
 colours." 
 
 This sort of "impasto" painting with 
 coloured clays upon unbaked pottery was 
 then much in favour, under the name of 
 "Barbotine." 
 
 AUBRY (Me.)- Request au Roi sur les 
 secrets de la vraye et parfaite 
 
 9 
 
AUB] 
 
 CERAMIC LITERATURE. 
 
 [AUD 
 
 porcelainede France (1702). Sm. 
 
 4, pp. 8. 
 
 " A request to the King concerning the 
 secret of the true and perfect porcelain 
 of France." 
 
 In compliance with that request, letters- 
 patent were granted, in 1702, to the widow 
 of P. Chicanneau and her sons, for the manu- 
 facture of porcelain, the secret of which they 
 claimed to have discovered, and of which they 
 were making excellent examples at their Saint 
 Cloud factory. This was irrespective of the 
 patent to the same effect obtained by Louis 
 Poterat of Rouen, in 1678, and which was 
 not extinct when the request was granted. 
 
 AUBRY (Me.)- Au Roy. Nouvelle 
 requite de la veuve Chicanneau 
 tendant a obtenir le privilege de 
 fabriquer de la faience qui n'avait 
 pas etc accorde. S.l.n.d. Sm. 
 4, pp. 7. 
 
 "To the King. A further request of 
 Widow Chicanneau in view of obtaining 
 a privilege for the manufacture of faience, 
 already applied for, but not yet granted." 
 
 The Saint Cloud faience was celebrated long 
 before the manufacturers petitioned for a Royal 
 privilege. This was repeatedly refused on 
 account of the competition carried on by 
 neighbouring manufactories. Richly decorated 
 articles and large vases for the decoration of 
 the Royal residences were made at Saint Cloud. 
 A series of fine drug pots, preserved in the 
 pharmacy of the Versailles Hospital, testifies 
 to the ability of their makers. 
 
 AUDIAT (L.). Les oublies. Bernard 
 Palissy. Saintes, 1864. 12, 
 pp. xxi-358. 3 fcs. 
 
 Published on the occasion of the national 
 subscription which had been opened for the 
 purpose of erecting a statue to Palissy in the 
 town of Saintes. Louis Audiat was secretary 
 to the committee. Circumstances obliged him 
 to send his work to the press before it was 
 completed to his satisfaction. Four years later 
 he published a much enlarged and improved 
 edition. 
 
 Bernard Palissy. Etude sur 
 
 sa vie et ses travaux. Paris, 
 Didier, 1868. 12, pp. vii-480. 
 5 fcs. 
 
 This biography is the result of a long and 
 dispassionate study of the Palissic legend. It 
 deserves a larger share of attention than many 
 a more romantic sketch to which certain cele- 
 brated writers have devoted a few moments of 
 passing enthusiasm. The pictures cannot be 
 said to have been brought to an exact focus. 
 At any rate, it is a fair attempt at giving 
 a plain and correct delineation of a very 
 complex character, hitherto somewhat distorted 
 by idealistic and poetical considerations. All 
 
 10 
 
 biographers have yielded, more or less, to the 
 captivating interest presented by the romance ; 
 few of them have attempted to reduce the 
 legendary account to a tale of sober truth. 
 The task, as a matter of fact, offers immense 
 difficulties, and no adequate thanks would 
 reward the trouble taken in its accomplishment. 
 Documentary information is limited to the auto- 
 biographic details given by Palissy himself, and 
 we find them either incomplete or misleading. 
 Contemporary writings are singularly silent 
 about him. As to the deceptive lights thrown 
 upon his magnified figure by modern hero 
 worshippers, they hinder rather than assist 
 a critical appreciation of his true personality. 
 They may be likened to the mosses and 
 climbers which, clinging to the trunk of an 
 old tree, conceal its original shape. Although 
 full of admiration for the great man whose life 
 and deeds he has undertaken to depict, Audiat 
 intends to be strictly impartial, his first care 
 is to warn his readers against the danger of 
 accepting blindfold all the statements vouched 
 for by previous biographers. "Too much 
 importance has been attached," says he, "to 
 many an inference too hastily drawn from some 
 ambiguous sentence of the memoirs, or even 
 from more explicit passages on which one 
 should place but a limited measure of con- 
 fidence." The accuracy of the tradition is, 
 on many points, open to doubt. It tells of 
 certain facts which are by no means corro- 
 borated by the knowledge we have obtained of 
 the times in which Palissy lived, and also of 
 the remarkable men with whom he found 
 himself in close association. Some of these 
 latter, for instance, have now been recognised 
 as the real promoters of several theories and 
 systems which Palissy has presented as his own. 
 
 The purpose of the book is, obviously, to 
 place before us the presentment of a figure, 
 which differs much from the classical portrait 
 delineated by previous historians. Audiat goes, 
 perhaps, a little too far in that direction when 
 he develops his personal opinion of Palissy in 
 the character of a Huguenot. Convinced that 
 Palissy's abjuration of the religion of his 
 forefathers was never a complete one, the 
 author a fervent Catholic himself does not 
 believe that the convert was, at any time, the 
 staunch Huguenot he is represented to have 
 been. "It may be," says he, "that in his 
 constant hankering after truth, the honest 
 and over-confident man could not help being 
 strongly influenced by the preachings of the 
 fiery apostles of the new faith." But when 
 Palissy joined the Reformed Church it was 
 only as a means of asserting, openly, his 
 sympathy for a social movement which he 
 hailed as the harbinger of a coming era of 
 truth and righteousness ; in short, he never 
 was a "rank heretic" at heart. This is what 
 Audiat endeavours to establish by drawing 
 ingenious deductions from certain events in the 
 life of his hero. 
 
 Of Palissy, as a potter, the work does not 
 tell us much that is not to be found in other 
 biographies. 
 
 Palissy et son biographe. 
 Reponse a Mr. Athanase Coc- 
 querel fils. Paris, Douniol, 1869. 
 8, pp. 48. 2 fcs. 
 
AUD] 
 
 CERAMIC LITERATURE. 
 
 [AUG 
 
 " Palissy and his biographer." 
 
 An answer to the virulent attack directed 
 
 by a Protestant pastor against Audiat's Life 
 
 of Palissy. 
 
 AUDIAT 6t FILLOfl. (Euvres de Maitre 
 Bernard Palissy. 1888. 2 vols. 
 8. 
 
 AUDSLEY (George Ashdown). Notes on 
 
 Japanese art. Head before the 
 Architectural Association, Lon- 
 don, 1872. Illustrated by speci- 
 mens of Japanese art from the 
 collection of J. L. Bowes, Esq. 
 Liverpool, 1872. 4, pp. 31 ; with 
 15 photogr. pi. Printed for 
 private circulation. 12s. 
 
 Catalogue raisonne of the 
 Oriental Exhibition of the Liver- 
 pool Art Club, held at the Club 
 Rooms, No. 4 Sandon Terrace, 
 December, 1872. Liverpool, pub- 
 lished by the Art Club, 1872. 4, 
 pp. 163. 
 
 The richest collections of the town had been 
 put under contribution to impart exceptional 
 interest to this exhibition, the first of an 
 annual series that the newly - founded club 
 intended to hold for the benefit of all art 
 amateurs. Oriental ceramics were particularly 
 well represented. Sections II., III., IV., and 
 VI.- of the catalogue described remarkable 
 examples of Persian ware, Satsuma faience, 
 Kaga ware, as also Chinese and Japanese 
 porcelain. 
 
 - Blue and White. Catalogue 
 of a collection of Oriental por- 
 celain, sold at Liverpool. Liver- 
 pool, D. Marpes, 1878. 8, pp. 
 viii-43 ; photogr. pi. 
 
 - Eirst national porcelain paint- 
 ing competition inaugurated by 
 the Ceramic Art Co., Trenton, 
 N.J. Held in the Waldorf- 
 Astoria Hotel. New York, 1897. 
 16, pp. 21 ; with 3 pi. 
 
 Mr. G. A. Audsley had accepted the task of 
 adjudicating the prizes and reporting on the 
 results of the competition. 
 
 AUDSLEY and BOWES (James Lord). Ker- 
 
 amic art of Japan ; with an in- 
 troductory essay on Japanese 
 
 art, and representation of the 
 marks and inscriptions found on 
 Japanese pottery. London, Soth- 
 eran, 1875. 2 vols., Imp. 4, with 
 42 col. pi. ; 21 pi. in monochrome, 
 4 pi. of marks and illustrations 
 in the text. 2,000 copies printed. 
 Subscription price, 7 7s. An 
 abridged edition was published 
 in 1 881 ; 4, pp. 304, with 32 pi., 
 2 2s. A French translation was 
 printed by F. Didol. Paris, 1877- 
 80. The publication price was 
 500 fcs. 
 
 One of the most sumptuous works devoted 
 to the ceramic art. The chromolithographic 
 plates, executed in Paris under the super- 
 intendence of A. Racinet, surpassed in excel- 
 lence anything that had been produced before. 
 
 G. Audsley, a well-known architect, under- 
 took to deal with that portion of the text in 
 which Japanese ware is considered from the 
 artistic point of view ; the historical part 
 and the classification of the various types of 
 manufacture devolved upon his collaborator, 
 J. L. Bowes. The work was the outcome of 
 the extensive collection formed by the latter ; 
 such a book was the fit companion of such 
 a collection. The history of the ceramic art 
 of Japan could not have been laid on a better 
 foundation. As a consequence of the social 
 revolution which had just occurred in the land 
 of the rising sun, the European market had 
 been flooded with art treasures plundered in 
 sacking the palaces of the Dai'mios. J. Bowes 
 lost no time in securing a large share of this 
 amazing windfall. For a while these examples 
 of an art so varied in its manifestations 
 remained as many open queries to the collector 
 who was at a loss to know where he could 
 acquire the indispensable elements of know- 
 ledge of the subject. A further course of 
 investigation showed that most of the speci- 
 mens afforded in themselves all the information 
 required as to their place and date of manu- 
 facture. With the assistance of the learned 
 Japanese travellers to Europe, few of whom 
 failed to visit the Bowes collection, inscriptions 
 were translated, marks and seals identified, 
 and important enlightenment obtained on 
 many perplexing points. 
 
 Owing to the rapid advance of our know- 
 ledge of Japanese matters, part of the text 
 has now become somewhat out of date. But 
 the illustrations will always remain as models 
 of the kind. They did much to increase the 
 interest just awakened in the collecting world 
 by the ceramics of Japan, and it cannot be 
 denied that, considering the incipient state of 
 the study, no better elucidation of the plates 
 could have been written at the time to act as 
 a guide to the collector. 
 
 AUGIN (A.). Exposition retrospec- 
 tive de Nancy. Impressions et 
 
 11 
 
AUR] 
 
 CERAMIC LITERATURE. 
 
 [AUS 
 
 souvenirs. Nancy, Typ. Crepin- 
 Leblond, 1875. * 8, pp. 464. 
 5 fcs. 
 
 " Retrospective Exhibition of Nancy 
 Impressions and reminiscences." 
 
 Contains the description of the old faience 
 of the province, and of the figures in "Terre de 
 Lorraine," contributed to the Exhibition by 
 local collectors ; also some interesting notices 
 on the history of the ancient manufactories. 
 Ceramics, pp. 189-363. 
 
 AURES (A.). Marques de fabrique 
 du Musee de Nimes, publiees en 
 facsimile. Nimes, 1876. 8, pp. 
 92; with 23 engr. pi. 15 fcs. 
 
 " Facsimiles of Roman pottery marks 
 in the Nimes Museum." 
 
 AURIAC (Gen. Angles d'). Catalogue des 
 vases etrusques et des vases 
 grecs, loniens, Corinthiens, Atti- 
 ques, appartenant a la ville de 
 Grenoble. Grenoble, 1905. 8, 
 pp. 24. 
 
 "Catalogue of the antique vases be- 
 longing to the town of Grenoble." 
 
 AUSCHER (E. S.). Etude critique sur 
 la manufacture de porcelaines 
 de Sevres. Paris, Michelet, 1894. 
 8, pp. 47. 1 fc. 
 
 " A critical study of the porcelain man- 
 ufactory of Sevres." 
 
 To compare the cost of production in private 
 industry and in the national manufactory of 
 Sevres is the blunt-edged weapon wielded by 
 the writer in his bitter attack on the manage- 
 ment of an establishment to which he had been 
 attached for a few years. He inveighs against 
 directors, artists, and workmen, past and 
 present, and blames all that had been, and was 
 being done. Strange to say he does not recom- 
 mend the suppression of this much abused 
 institution, but advocates a series of improve- 
 ments which would evidently leave the door 
 open for the very same blunders he deplores, 
 and against which he took up the cudgels. 
 
 - Les ceramiques cuisant a une 
 haute temperature. Paris, 1899. 
 8, pp. 227; with 35 illustr. 3 fcs. 
 
 "The ceramic wares firing at a high 
 degree of temperature." 
 
 Technical rules and practical observations 
 applicable to the manufacture of stoneware and 
 hard porcelain. 
 
 AUSCHER et GU1LLARD. Marie Antoi- 
 
 12 
 
 nette et la manufacture de Sevres. 
 1901. 8, pp. 19, 2 pi. 
 
 La manufacture de Sevres 
 sous la Revolution. 1902. 8, 
 pp. 19. 
 
 - Les deux premiers conserva- 
 teurs du musee de Sevres. 1903. 
 pp. 19. 
 
 - La ceramique au Chateau de 
 Versailles sous Louis XIV. 1903. 
 pp. 73 ; with 16 illustr. 
 
 The foregoing papers have been reprinted 
 from the Revue de i'histoire de Versailles. 
 
 - A history and description of 
 French porcelain, translated and 
 edited by W. Burton. London, 
 Cassell, 1905. 8, pp. xiv-196; 
 with 24 col. and 48 half-tone pi. 
 1 10s. 
 
 An excellent compendium in which the 
 facts concerning the history of French porcelain 
 are brought up to the present state of know- 
 ledge. 
 
 Les industries ceramiques. 
 Terres cuites, Briques, Tuiles, 
 Faiences, Gres et Porcelaines. 
 Paris, Bailliere, 1901. 18, pp. 
 280 ; with 53 illustr. 5 fcs. 
 
 " Ceramic industries. Terra - cotta, 
 Brick and Tile, Earthenware, Stone- 
 ware, and Porcelain." 
 
 A short technical treatise brought up to date 
 and describing the improved conditions of 
 modern manufacture. 
 
 - Technologic de la ceramique. 
 Paris, Bailliere, 1901. 18, pp. 
 273 ; with 93 illustr. 5 fcs. 
 
 "Ceramic technology." 
 
 A companion to the above volume. Treats 
 especially of raw materials, tools, machinery, 
 ovens, &c. 
 
 AUSSANT (M. J.). Fabrique de pot- 
 eries artistiques a Fontenay, 
 pres de Kennes, au XVI. et au 
 XVII. siecles. Rennes, 1870. 
 8, pp. 35, with 9 photos. 10 fcs. 
 
 " A manufactory of artistic pottery at 
 Fontenay, near Rennes, during the six- 
 teenth and seventeenth centuries." 
 
AVI] 
 
 CERAMIC LITERATURE. 
 
 [BAG 
 
 The Ceramic Exhibition held at Rennes in 
 1864, contained a few specimens ascribed to the 
 Fontenay manufactory. Some fragments of 
 pinnacles and gable-ends, coming from the old 
 houses of the village, seem all that can safely be 
 attributed to the works once existing in the 
 place. The author has been ill-advised in 
 selecting for reproduction and as a fit subject 
 for a lengthy description, a spurious pot em- 
 bossed with religious subjects, which is a well 
 known example of the sham medueval pottery 
 manufactured by Fleishmann of Nuremberg, 
 towards 1845. Dr. Aussant was director of 
 the Museum of Rennes ; a notice of his life 
 and works has been published by Mr. Andre. 
 
 AYISSE (Paul) et RENARD (Emile). -L'art 
 ceramique au XIX. siecle, rec- 
 ueil de modules, dessins, formes 
 et motifs dans tous les styles, en 
 grandeur naturelles. Composi- 
 tions nouvelles et pratiques par 
 nos meilleurs artistes. Paris, 
 F. Desire, 1861. Fol., with 35 
 engr. pi. 2d Ed. (with a new 
 title), Levy, 1876. 
 
 "Ceramic art in the nineteenth cen- 
 tury ; a selection of models, designs, 
 shapes, and subjects of various styles, 
 drawn to the size of execution. Original 
 compositions by our best artists." 
 
 The publication, conducted by two talented 
 designers of the national manufactory of Sevres, 
 was discontinued after the 17th part. 
 
 AYOLIO (F. P.).-Sulle antiche fatture 
 di argila che si trovano in Sicilia. 
 Palermo, L. Dati, 1829. 8, pp. 
 xv-167 ; with 12 engr. pi. 5 fcs. 
 
 "The antique works of clay which are 
 found in Sicily." 
 
 AVON (L'abb'e). - - Antiquites mexi- 
 
 caines du Musee du Grand 
 
 Seminaire de Nimes. Tours, 
 1881. 8, pp. 20 ; vign. 
 
 " Mexican antiquities in the Museum 
 of the Grand Seminary of Nimes." 
 
 Description of a few specimens of Mexican 
 pottery of no particular interest, accompanied 
 with historical notes on ancient Mexican 
 civilisation. 
 
 AXERIO (G.)- Delia fabbricazione dei 
 Laterizi, delle Calci e dei Cem- 
 enti. Delle arte vitraria. Delle 
 arte ceramiche. Milano, 1868. 
 Fol., pp. 83 ; with 21 pi. 5 fcs. 
 
 " The manufacture of bricks, lime, and 
 
 cement The art of glass. The ceramic 
 art." 
 
 Printed after the 1887 Exhibition at the 
 expense of the municipality of Milan. 
 
 AYMAR (A.). Antiquites prehistor- 
 iques, gauloises et romaines du 
 Cheylounet. Le Puy, 1874. 8, 
 pp. 179 ; with 3 pi. " 
 
 "Prehistoric, Gallic, and Roman anti- 
 quities of Cheylounet." 
 Pottery: pp. 92-120. 4 fcs. 
 
 AZAM (Dr.) (Anon.). Lesanciennes 
 faienceries de Bordeaux, par un 
 collectionneur. Bordeaux, Feret, 
 1880. 8, pp. 31; with 5 lith. 
 pi. (Reprint from the Memoires 
 de la Soctite Archeologique de 
 Bordeaux. 5 fcs. 
 
 " The ancient faience manufactories of 
 Bordeaux, by a collector." 
 
 All the official documents relating to the 
 several manufactories which have existed in 
 Bordeaux since 1718 are. given in extenso at the 
 end of this short monograph. The description 
 of a few specimens, as well as their reproduc- 
 tion on the plates, show that the ware produced 
 in these factories was richly and tastefully 
 decorated in blue and in colour, in a style 
 which seems a combination of those of Rouen 
 and of Moustiers. The manufacture of stanni- 
 ferous faience was abandoned at the beginning 
 of this century. It was superseded by imita- 
 tions of English earthenware, which continued 
 to be manufactured with success up to the 
 present day. 
 
 BABELON (Ernest). Le Cabinet des 
 antiques & la Bibliotheque Na- 
 tionale, choix des principaux 
 monuments de 1'antiquite, du 
 Moyen-age et de la Renaissance. 
 Paris, 1888. 3 vols., fol. ; with 
 60 heliogr. pi. Publ., 150 fcs. 
 
 " The cabinet of antiquities at the 
 National Library ; a selection of the- 
 chief examples of art from the antique, 
 mediaeval, and renaissance periods." 
 
 An important series of Greek painted vases 
 and terra-cottas is included in the collection. 
 
 BACHELIER (J. J.). Memoire histori- 
 que de 1'origine et des progres 
 de la manufacture nationale de 
 porcelaine de France, avec des 
 
 13 
 
CERAMIC LITERATURE. 
 
 [BAD 
 
 observations sur toutes les parties 
 de la manutention, et les moyens 
 d'amelioration economique dont 
 elle est susceptible, demande par 
 Mr. d'Angevillier, directeur gen- 
 eral, et remis en 1781 par le 
 Citoyen Bachelier, alors un des 
 inspecteurs de la partie des arts 
 de la dite manufacture. Ce 
 memoire est suivi de plusieurs 
 pieces justificatives sur la reclam- 
 ation du Citoyen Bachelier. 
 Paris, de 1'Impr. de Delance, 
 1799. 32, pp. 59. 10 fcs. 
 
 " Historical memoir of the origin and 
 progress of the national porcelain manu- 
 factory of France, with a few remarks 
 upon all the branches of manufacture and 
 the economical improvements which might 
 be introduced ; written at the request of 
 M. d'Angevillier, general director, and 
 delivered to him in 1781 by Citizen 
 Bachelier, then one of the art inspectors 
 of the aforesaid manufactory. This 
 memoir is accompanied with several vin- 
 dicatory documents in support of the 
 claims of Citizen Bachelier." 
 
 After having directed the artistic department 
 of the Royal manufactory of Sevres for close 
 upon fifty years, Bachelier was abruptly dis- 
 missed from his post in 1798, no reason being 
 given for his dismissal. He protested ener- 
 
 fetically against the arbitrary decision of the 
 tate minister Garat. This memoir was printed 
 with the object of placing before the public a 
 record of the services he had rendered to the 
 factory when acting as the art director, and an 
 outline of those he would still be able to render, 
 if he were reinstated in his former position. A 
 report on the situation of the Royal factory, 
 which he had addressed to the then adminis- 
 trator in 1781, while he was still in office, was 
 reprinted on that occasion. It showed the 
 practical and sensible views Bachelier enter- 
 tained concerning the improvements which 
 could be easily introduced. There is little 
 doubt that he had forcibly pointed out the 
 weakest points in the administrative rules of 
 the national establishment, and in its artistic 
 direction. So clear sighted were his remarks, 
 so practical his suggestions, that, in more than 
 one case, they would still apply to present 
 circumstances. His disregarded advice strikes 
 the reader of the memoir as having lost nothing 
 of their value; one is bound to acknowledge 
 that, were they now given a fair trial, much 
 benefit would result from their application. 
 
 Bachelier was a talented painter and took 
 much interest in the technics of the art. He 
 experimented with success upon the method of 
 painting in wax, the lost process of the ancients. 
 He deserves particularly to be remembered as 
 the founder of the national school of elementary 
 
 14 
 
 drawing at Paris ; a most efficient school, now 
 maintained by the Government, but in which 
 he lost, at the outset, the fruit of all his 
 savings. 
 
 The memoir has been reprinted with his- 
 torical notes, by G. Gouellain. 
 
 BACHOFEN (J. J.). Die Unsterblich- 
 keitslehre der orpischen Theo- 
 logie auf den Grabdenkmalern 
 des Alterthums nach Anleitung 
 einer Vase aus Canosa in Besitz 
 des P. Biardot in Paris. Basel, 
 1867. Obi. fol.; with 1 col. pi. 
 20 m. 
 
 " The belief in Immortality taught by 
 the Orpischian theology and allegorised 
 on the funereal monuments of the 
 ancients, as represented by the subjects 
 painted upon a vase found at Canosa, in 
 the possession of P. Biardot at Paris." 
 
 BACIMI (G.). Le ville Medicee di 
 Cafaggiolo e di Trebbio in Mug- 
 ello. Cenni Storici. Firenze, 
 Baroni e Lastrucci, 1897. 12, 
 pp. 188. 
 
 "The Medicean Villas of Cafaggiolo and 
 Trebbio in Mugello. Historical notes." 
 
 In the chapter devoted to the majolica 
 factory of Cafaggiolo, the author has for ever 
 disposed of the theory propounded by Malagola 
 and Argnani. Not only has he been able to 
 locate the place where the factory stood, the 
 existence of which has been so warmly con- 
 tested, but he has also been able to identify, 
 in some of the marks found on the ware, the 
 initials of some of the potters and painters 
 mentioned in ancient documents as having 
 worked at Cafaggiolo. 
 
 BACKSHELL (W.). Practical guide to 
 painting with ceramic colours on 
 China and Terra-cotta. London, 
 1882. 12. 
 
 BADEN POWELL (B. H.). Handbook of 
 the Manufactures and Arts of 
 the Punjab. Lahore, 1872. 8, 
 vol. ii., pp. 220-234; Porcelain 
 and Pottery. 
 
 The vicinity of Lahore abounds in ruined 
 monuments, some of which, dating from the 
 eleventh century, are richly ornamented with 
 glazed terra- cotta work. Glazing on pottery is 
 now, however, quite a forgotten art in the 
 province. Each village in the Punjab has its 
 pot- works, turning out a large quantity of jars, 
 vases, bowls, and other articles of daily use ; 
 but unglazed pottery only is made. Surface 
 decoration is obtained either by painting with 
 
BAT] 
 
 CERAMIC LITERATURE. 
 
 [BAR 
 
 coloured varnishes and lacquer, or by the ap- 
 plication of an amalgam of silver and mercury. 
 All the processes used by the native potter at 
 the present day are fully described in this 
 . article. 
 
 BAIF (Lazare). Lazari Bayfii annota- 
 tiones in L. 11 de cap ti vis . . . 
 ejusdem annotationes . . . quibus 
 . . . Vasculorum genera expli- 
 cantur. Parisiis . . . Rob. 
 Stephani, 1536. Sm. 4, pp. 203 ; 
 with woodcuts. 20 fcs. 
 
 A 2nd edition was publ. at 
 Basle by Froben in 1540. S. 4. 
 
 Lazare Bait', Abb^ de Charon, was one of the 
 most learned men of the sixteenth century. 
 Sent by Francis I. as Ambassador to the Court 
 of Venice in 1530, he cultivated his taste for 
 classical antiquities during his sojourn in Italy. 
 In the treatise De Vasculis, which forms the 
 second part of this volume, he recorded all the 
 names of vases and vessels which are mentioned 
 by Greek and Latin writers. He also at- 
 tempted to give an account of the forms to 
 which these names might probably apply, of 
 the use to which each form was appropriated, 
 and of the materials they were made of respec- 
 tively. The woodcuts, attributed to Voeriot, 
 are but fanciful inventions of some Renaissance 
 designer, and in no way reproductions of the 
 antique vessels they are supposed to represent. 
 
 A short summary of this treatise, also in 
 Latin, but giving the translation in French of 
 the names of the vases, was issued at Lyons in 
 the same year. It was intended for the use of 
 young scholars. (See Stephanus). 
 
 BALDRY (A. L.). The Wallace collec- 
 tion at Hertford House. Lon- 
 don, Goupil, 1904. 4, pp. 302 ; 
 num. illustr. (10 of ceramics). 
 15s. 
 
 BALECHE et CPAM, Peinture sur por- 
 celaine, sur verre, et sur cristaux, 
 precedes de la manuf. royale de 
 Sevres, etc. Paris, 1847. 12, 
 pp. 32. 2 fcs. 
 
 " Painting on porcelain and glass after 
 the method in use at the royal factory of 
 Sevres." 
 
 BALLANTIHE (A. Randal). Robert Han- 
 cock and his works. Nat, 1730 ; 
 ob., 1817. London, printed at 
 the Chiswick Press, 1885. Sm. 
 4, pp. 50 ; with portr. and 12 
 photogr. pi. 150 copies printed. 
 8s. 
 
 This handsomely printed little volume is of 
 some interest to the collector of Old Worcester 
 China. Robert Hancock had been apprenticed 
 as an engraver to the Battersea enamel works, 
 where he worked under the direction of T. 
 Ravenet. In 1756 he was engaged by the 
 Worcester Porcelain Company, and introduced 
 there the process of decoration by transfer 
 printing after the method he had previously 
 practised at Battersea. He became a partner 
 in the firm in 1772, but retired two years later. 
 Proofs of the copper plates he engraved for 
 china decoration, still preserved in the Royal 
 Porcelain Works of Worcester, are given in the 
 book. 
 
 BALLER (G. .). Sale catalogue of 
 the English portion of the col- 
 lection of porcelain. London, 
 
 1872. 8. 
 
 BALLHEIMER (R.). Griechische Vasen 
 aus dem Hamburger Museum fur 
 Kunst und Gewerbe. Hamburg, 
 1905. 8, pp. 55 ; with 20 illustr. 
 3 m. 
 
 " Greek vases in the Museum of In- 
 dustrial Art in Hamburg." 
 
 BAMMEYILLE (Collection Joly de). Anti- 
 quites egyptiennes, grecques, 
 romaines, etc., decrites par W. 
 Froehner. Paris. 1893. 4, pp. 
 81 ; with 22 pi. 20 fcs. 
 
 Catalogue of sale. Greek terra-cottas : 252 
 Nos. Reproductions of 29 groups and figures 
 of Tanagra and Asia-Minor are given on the 
 plates. 
 
 BARBARACI (G.). Dissertazione sopra 
 un vaso di creta grseco-siculo rap- 
 presentante le cistefore di Cerere. 
 Palermo, 1755. 4, pp. 64; with 
 Ipl. 
 
 " Dissertation upon an earthen vase 
 representing the cistephores of Ceres." 
 
 The vase is a black figured lekithos with a 
 funereal scene. 
 
 BARBER (E. A.). Catalogue of the 
 collection of tobacco pipes de- 
 posited by E. A. Barber in the 
 Pennsylvania Museum. Fair- 
 mount Park, 1882. 8. 
 
 - The pottery and porcelain of 
 the United States ; a historical 
 account of American ceramic art 
 from the earliest times to the 
 
 15 
 
BAR] 
 
 CERAMIC LITERATURE. 
 
 [BAR 
 
 present day. New York, G. P. 
 Putnam & Sons, 1893. 8, pp. 
 xvii-440; with 223 illustr. 1 5s. 
 
 One might say that the introductory chapter 
 on the prehistoric pottery of America, prefixed 
 to a book essentially modern in its tenour, 
 could very well have been dispensed with. 
 Treated in a superficial manner it does not do 
 justice to the subject ; and, moreover, being 
 made to stand as a preface to a purely indus- 
 trial and commercial report, it looks as much 
 out of place as would a condensed history of 
 classical ceramics placed at the head of a Greek 
 book, relating the progress of earthenware 
 manufacture recently established in Greece 
 after the English methods. 
 
 From prehistoric times we jump at once into 
 a survey of the conditions of the potter's trade 
 during the first part of the nineteenth century, 
 a period which, notwithstanding the efforts 
 made for the establishment of a prosperous 
 industry, saw more abortive attempts than 
 lasting successes. 
 
 The historical portion of the work having 
 been thus disposed of, we come to its actual 
 purpose which is to bring together a succession 
 of descriptive notices of the manufactories 
 concurrently at work in the United States. 
 Each of them has its separate article in which 
 its productions are fully examined and illus- 
 trated ; however unimportant, not one of them 
 is forgotten. It is questionable whether what 
 the author has to say about many a pot works 
 which had existed only a few years and was 
 doomed soon to disappear should be noticed in a 
 general history of ceramic art ; but we do not 
 doubt that parts of the book may be of interest 
 to the American reader, who is the best judge 
 of the true value to be attached to the meed of 
 praise so lavishly and inconsiderately distri- 
 buted by a most indulgent critic. A second 
 edition, revised and enlarged, was brought out 
 in 1901. 
 
 BARBER (E. A.)- The Pennsylvania 
 Museum and School of Indus- 
 trial Art. Catalogue of American 
 potteries and porcelain. Phila- 
 delphia, 1893. 8, pp. 43 ; with 
 51 text illustr. Is. 
 
 An interesting feature of this museum is a 
 series of coarse dishes of red and yellow clay, 
 rudely scrolled over with slip decoration or 
 incised traceries, made by Swiss and German 
 immigrants after the methods used in their own 
 country. The dates inscribed upon them range 
 from 1762 to 1847 ; they bear sentences written 
 in German dialects. The rest of the collection, 
 consisting chiefly of articles of domestic ware, 
 is of very recent manufacture. Our compli- 
 ments are due to the artist who has illustrated 
 this catalogue, his pen and ink sketches are 
 models of the kind. 
 
 Historical sketch of the Green 
 
 Point (N.Y.) porcelain works of 
 Ch. Cartlidge & Co. Indianapolis, 
 16 
 
 pp. 59 ; with text 
 
 1895. Sq. 8 
 illustr. 5s. 
 
 Sixty years ago a few English operatives 
 attempted to lay down the foundations of 
 American manufacture upon the debased notions 
 of an industry degenerating in the mother 
 country. They seem to have had no higher 
 ambition than to imitate the standard abomina- 
 tions turned out for the exportation trade by 
 the inferior pot-works of the "Potteries" 
 district. As a matter of course, their produc- 
 tions did not equal in quality the wretehed 
 wares they had taken as models. It is under 
 those conditions that the first manufactory of 
 English China was established in America by 
 Ch. Cartlidge, in 1848. It was closed after 
 eight years of unremunerative efforts. 
 
 This is only one of the many instances of 
 spirited enterprises, which, started at the same 
 period, were doomed to come to a speedy end. 
 Under other climes, scarcely any hopes of 
 ultimate success could be entertained from 
 such a discouraging commencement. But the 
 evolution of the industrial art does not always, 
 in the New World, follow its normal co,urse. 
 Brisk life is suddenly evolved out of an ap- 
 parently inanimate body. A decayed and 
 sapless trunk had been imported from the old 
 Continent ; and, transplanted in fresh soil, it 
 was soon to be covered with verdant and 
 vigorous boughs. Judging from what has been 
 achieved during the past few years, the potter's 
 art should soon attain a high degree of emin- 
 ence. This is no longer a hope, but an absolute 
 certainty. In the meantime, such records as 
 the monograph of the Green Point factory will 
 enable the masters of the day to contrast, with 
 legitimate pride, their refined productions with 
 the miserable results obtained by the half- 
 skilled artisans which were their forerunners. 
 
 The pioneer of china painting 
 in America. 1895. 8, pp. 15 ; 
 with text illustr. (Reprint from 
 the New England Magazine.) 
 
 An account of the life and work of E. Lycett, 
 a china painter born in the " Potteries." He 
 went to New York in 1861, and opened an 
 establishment for the decoration of china, in 
 which a large quantity of richly painted porce- 
 lain has been executed for the American 
 market, either by his own hand or under his 
 direction. 
 
 - Anglo-American pottery. Old 
 English china with American 
 views. A manual for collectors. 
 Indianapolis, 1899. Sq. 8, pp. 
 161-xiv; with 93 text illustr. 
 10s. 
 
 No English collection has yet given ad- 
 mittance to the heavy white earthenware, 
 decorated in blue printing with imaginary 
 landscapes and clumsy garlands of flowers, 
 made in the "Potteries" between 1820 and 
 1850, perhaps the worst period of the manufac- 
 ture. Some of the dinner services of that 
 description were expressly made for the 
 
BAR] 
 
 CERAMIC LITERATURE. 
 
 [BAR 
 
 American market and adorned with views of 
 American towns and scenery. They are now 
 eagerly gathered by the collectors of the D nited 
 States by whom the exhaustive work of Mr. 
 Barber is very highly appreciated. It contains 
 a complete list of the subjects known to be in 
 existence, and in most cases gives the name of 
 the makers. 
 
 In a second edition, issued in 1902, the 
 number of subjects has been increased almost 
 to a thousand, with 135 illustrations. A direc- 
 tory of more than 1 50 private collections in the 
 United States has also been added. 
 
 - Tulip ware, or the Pennsyl- 
 vania German potters. An his- 
 torical sketch of the art of slip 
 decoration in the United States. 
 Philadelphia, 1903. 8, pp. 233 ; 
 with 2 col. pi. and 94 illustr. 
 15s. 
 
 Coarse pieces of pottery decorated in sgraf- 
 fiato, or with coloured slip, are still found in 
 the cottages of Pennsylvania. They were 
 inscribed and dated presents made for a friend, 
 by the German potters settled in America, 
 after the art of their own country. The earli- 
 est known example of the ware is dated 1722. 
 
 - Marks of American potters. 
 Philadelphia,FsitteTSon & White, 
 1904. Sq. 8, pp. 174 ; with 1,000 
 marks and text illustr. 
 
 - Handbooks to the Pennsyl- 
 vania Museum. Salt - glazed 
 stoneware. Philadelphia, 1906. 
 8, pp. 28 ; with 12 illustr. 
 
 - Tin enamelled pottery. 1906. 
 8", pp. 39 ; with 20 illustr. 
 
 - Artificial soft paste porcelain. 
 1907. 8, pp. 32 ; with 15 illustr. 
 
 - Lead-glazed pottery. Part I. 
 Common clays. 1907. Pp.32; 
 with 24 illustr. 
 
 Reliable Primers, compiled from the best 
 sources, intended for the use of the visitors to 
 the museum. 
 
 BARBET de JOUY (Henri). Les Delia 
 
 Robbia, sculpteurs en terre email 
 lee. Etude sur leur travaux 
 suivie d'un catalogue de leur 
 oeuvre fait en Italic en 1853 
 Paris, Renouard, 1855. 12, pp 
 98. 10 fcs. 
 
 2 
 
 " The Delia Robbia, sculptors in enam- 
 elled clay. An essay on their art, to 
 which is added a descriptive catalogue of 
 their work prepared in Italy in 185V 
 
 Vasari's Life of the Painters was, for long, 
 the only source from which information could 
 be obtained regarding the Delia Robbia and 
 their work. Mr. Barbet de Jouy, who had 
 made an exhaustive examination of all the 
 monuments of enamelled faience attributed, 
 in Italy, to Luca and his family, undertook 
 to verify and to supplement the meagre par- 
 ticulars recorded by the Florentine biographer. 
 He found in the Archives, and in the pub- 
 lications of the Arc-hseological Societies, the 
 means of pointing out the inaccuracy of long 
 accredited statements, and of establishing a few 
 important facts unsuspected before. Although 
 knowledge has made great progress since this 
 essay was written, it is still quoted as an 
 authority on the subject. 
 
 BARBIER (Y.). Poteries de la Savoie. 
 (In La Savoie Industrie lie, vol. 
 ii. Chambery, 1875. 8, pp. 561- 
 604.) 
 
 The history, legislation, and statistics of the 
 ancient and modern manufacture of faience and 
 earthenware in the Savoy province. 
 
 BARBIER de MONTAULT (Mgr.). Les car- 
 relages emailles du Chateau de 
 Dissaix (Vienne). Poitiers, 1887. 
 8, pp. 5. 
 
 "The glazed tiles in the Chateau of 
 Dissaix." 
 
 - Fouilles de 1'eglise des Chat- 
 elliers. St. Maixent, 1888. 8, 
 pp. 66 ; with 3 pi. 6 fcs. 
 
 " Excavations on the site of the ancient 
 church of Chatelliers." 
 
 The tiled pavements described in this paper 
 were reproduced in lithography by Lieutenant 
 Esprandieu. 
 
 BARDIM, de Florence (Collection). Cat. of 
 
 sale. London, Christie's, June, 
 1899. Text 8, pp. 81 ; atlas 4, 
 of 71 phototype pi. 
 
 Majolica : 73 Nos. with 1 3 pi. , each containing 
 several subjects. 
 
 BARING GOULD (S.). The Frobishers : 
 a story of the Staffordshire Pot- 
 teries. London, Methuen, 1901. 
 8, pp. 308. 
 
 This sensational story has been framed for 
 the purpose of bringing to the knowledge of 
 the tender-hearted English reader the crying 
 evils connected with the social conditions 
 
 17 
 
BAR] 
 
 CERAMIC LITERATURE. 
 
 [BAR 
 
 of the Staffordshire potters, and particularly 
 the deadly processes of manufacture, from the 
 effects of which they have to suffer. Anyone 
 who has lived in the Potteries and become 
 acquainted with the operatives and their work | 
 will have no hesitation in saying that the i 
 portion of the book which is supposed to | 
 rest upon facts collected on the spot does as 
 much credit to the imaginative powers of 
 the author as the most ingeniously contrived ! 
 intricacies of the plot. 
 
 BARKER (T. 0.)- Durability of brick 
 pavements, Indianapolis, 1891. 
 
 8. 
 
 BARKER (W. B.). Lares and penates: 
 or, Cilicia and its governors . . . 
 together with a description of 
 some household Gods of the 
 ancient Cilicians, broken up by 
 them on their conversion to 
 Christianity. . . . London, In- 
 gram Cooke, 1853. 8, pp. xiv- 
 394; with map and text illustr. 
 5s. 
 
 During his long residence at Tarsus Mr. 
 W. B. Barker, H. M. British Consul, prosecuted 
 a searching examination of the vast accumu- 
 lation of broken terra-cottas that successive 
 landslips had exposed to view on the side of 
 the hills, where they had lain buried since the 
 classical ages. From the finest and best pre- 
 served examples that could be reclaimed out 
 of this huge mass of debris he formed an 
 important collection, the description and inter- 
 pretation of which became the groundwork of 
 this archaeological study. 
 
 He arrived at the conclusion that, after their 
 conversion to Christianity, and on some solemn 
 occasion, the inhabitants of Tarsus brought to 
 that spot for total destruction the images of 
 the gods they had repudiated, and also the 
 Lares and Penates which had so long presided 
 over the safety and happiness of their house- 
 holds. 
 
 A more plausible explanation of the presence 
 of so many broken lamps, vases, and figures 
 heaped up on the same spot, in the vicinity 
 of a far -renowned temple, would b-: that it 
 marked the place where the innumerable votive 
 offerings brought over by a constant throng of 
 worshippers to the sanctuary, were thrown 
 away when their number had increased to such 
 proportions that it became necessary to effect 
 their removal and make room for new ones. 
 
 BARLOW (T. 0.). Catalogue of the 
 very choice collection of Wedg- 
 wood ware. . . . Sale at Christie's. 
 London, 1869. 8, pp. 17 ; wood- 
 cuts. 
 
 The collection, entirely composed of old 
 Wedgwood ware, comprised 175 Nos. 
 
 18 
 
 BARNABEI (F.). Delle maioliche di 
 Castelli nell'Abruzzo. Firenze, 
 1876. 8. (Reprint from Nuova 
 antologia.} 
 
 " Upon the majolica of Castelli in 
 Abruzzo." 
 
 A review of the monographs previously 
 published, with the addition of some entirely 
 new matter. 
 
 Dell'arte ceramica in Roma. 
 
 Discorso del Prof. F. B. inaugu- 
 randosi la mostra dei lavori cer- 
 amici romani nel museo artistico 
 industriale. Roma, Botta, 1881, 
 8, pp. 18. 
 
 " Ceramic art in Rome. A speech de- 
 livered by Prof. F. B. on the occasion of 
 the opening of the Exhibition of Roman 
 ceramic works in the museum of in- 
 dustrial art." 
 
 La ceramica all 1'Esposizione 
 
 universale di Parigi del 1878. 
 Roma, 1882. 8, pp. 173. 
 
 " Report on ceramics at the Interna- 
 tional Exhibition, Paris, 1878." 
 
 - Antichita del territorio falisco 
 esposte nel Museo Nazionale 
 Romano a Villa Papa Giulio. 
 Milano, 1894. 4, pp. 590 ; with 
 210 text illustr., and 18 fol. pi. 
 Vol. iv. of the Monuments antichi. 
 Publ., 90 fcs. 
 
 " Antiquities of the Faliscan territory, 
 exhibited in the Roman National Museum 
 at the Villa Papa Giulio." 
 
 A museum of Etruscan antiquities recently 
 opened. 
 
 BARNARD, BISHOP, and BARN ARDS. Illus- 
 trated catalogue of plain, enam- 
 elled, and art - painted tiles. 
 S.l.n.d. (recent). 4, 40 col. pi. 
 Privately printed. 
 
 BARRAL. Memoire sur les faiences 
 pour poeles, panneaux de chemi- 
 ne'es, carreaux, etc. Paris, 1845. 
 4, pp. 34. 
 
 " Memoir upon faience stoves, fireplace 
 slabs, tiles, etc." 
 
 Technical opinion drawn up by a civil 
 
BAR] 
 
 CERAMIC LITERATURE. 
 
 [BAR 
 
 engineer on behalf of Pichenot, a Paris stove 
 manufacturer, in support of the action brought 
 by him against some of his competitors in the 
 trade. 
 
 BARRE (1). -- Collection de Mr. 
 Albert B. Antiquites 
 
 grecques, vases peints de la 
 Grande-Grece et de 1'Attique, 
 terres cuites de Tanagra, pot- 
 eries et verres chypriotes. Vente 
 a Paris, Mai, 1878. 4, pp. 72 ; 
 with 7 chromolith., 5 phototype 
 pi., and 26 text illustr. 12 fcs. 
 
 "Sale catalogue of A. Barre's collec- 
 tion of antiquities." 
 
 One recognises in the plan followed in the 
 formation of this most instructive collection, 
 together with the evidence of antiquarian 
 knowledge, the taste and discrimination of a 
 trueborn artist. Mr. Barre was a sculptor 
 whose talent had been nurtured in the passion- 
 ate study of antiquity ; his ambition, as a 
 collector, was to bring together telling examples 
 which would illustrate the origin and develop- 
 ment of plastic art in the classical land where 
 it reached its zenith. The selection of speci- 
 mens had been coherent and comprehensive ; 
 the collection, which had been the result of 
 many years' researches, found in W. Frohner 
 a most competent interpreter. The introduc- 
 tory notices he wrote for each section of this 
 catalogue offer a clear and succinct epitome of 
 the first chapters of the history of ancient art. 
 
 Archaic pottery, vessels of rude workman- 
 ship of a kind hitherto disregarded, are here 
 largely represented. The works of the primitive 
 races, in their rudimentary style of ornamenta- 
 tion, open to the mind of the observer a subject 
 deserving of deep cogitation. We notice that, 
 in its earliest manifestations, the development 
 of decorative art presents, at all times, and 
 wherever it may happen to make its appear- 
 ance, a strangely similar character. Placed 
 under different conditions, the embryonic germ 
 may either remain dormant and unproductive, 
 or else develop into a luxuriant and gigantic 
 growth. What its progress has been among 
 the Cypriots, the Etruscans, and the Greeks, 
 has been obviously evinced in the various 
 groups of terra-cottas studiously assembled by 
 Mr. Barre. They cover a period of about 
 one thousand years. Hardly any distinctive 
 feature can be distinguished in the aggregated 
 productions of the earliest ages. The plain 
 earthen vessel, sometimes embellished with 
 rude traceries of straight lines and zigzag in- 
 cisions, the uncanny fetish fashioned to a 
 distant likeness of a living creature either 
 man or animal are found there, bearing a 
 striking analogy to all work that is, usually, 
 called prehistoric. An immeasurable span 
 seems to separate the uncouth pottery of 
 Hissarlik from the exquisite figures of Tarsa 
 and Tanagra ; yet when the study of the 
 intervening periods allows us to follow step 
 by step the evolution of Greek civilisation, the 
 line of filiation may be clearly reconstituted. 
 Nothing could better illustrate the transforma- 
 
 tion of a rude craft into an art of infinite 
 refinement than a well co-ordinated series of 
 ancient terra-cottas. The ornamentation of 
 the vase becomes more varied, elegant, and 
 ingenious. The misshapen idol assumes by 
 degrees a closer resemblance to the human 
 figure. Without departing altogether from 
 its conventional treatment, the presentment 
 becomes, unmistakably, that of some Olympian 
 Deity. At Tanagra the aesthetics of the coro- 
 plast undergo a radical change ; the art takes 
 a decided step towards a realistic representa- 
 tion of nature. Instead of the, conventional 
 images of tutelary divinities, elsewhere de- 
 posited by the side of the dead, fictile repre- 
 sentations of the people who lived and moved 
 at the time are chiefly found in the Boeotian 
 tombs. They are children at play, workmen at 
 their trade, grotesque personages, and comical 
 groups. Finally appear the graceful figures of 
 nude ephebes and veiled maidens enwrapped 
 in flowing draperies ; the loveliness of their 
 nonchalant attitude expresses no definite action, 
 and precludes the idea of discovering any hidden 
 symbol or allegory in this simple embodiment 
 of grace and youth. All was then subservient, 
 in the ideal of the artist, to the expression of 
 plastic beauty, the comeliness of forms which 
 attract the eye and charm the thoughts of the 
 admiring beholder. The* supreme tendencies 
 of Greek art at its finest period become clearly 
 manifest in these modest creations of the maker 
 of terra-cotta figures. 
 
 The section of painted vases, in this cata- 
 logue, deserves special attention. I must 
 mention, among the choice examples of which 
 it is composed, a pyxis bearing the name of 
 Megakles. No vase painting of the highest 
 order could be said to surpass in elegance and 
 purity of style the frieze of seated girls, repre- 
 sented as playing on instruments or busy with 
 womanly work, depicted round this small 
 requisite of the toilet table of a Grecian lady. 
 The name of Megakles has not been found 
 inscribed upon any other piece. 
 
 BARRY (C.)- On terra-cotta, especi- 
 ally as used in new buildings in 
 Dulwich College. London, 1864. 
 
 4. 
 
 - Works executed in terra-cotta 
 at New Alleyn's College, Dul- 
 wich. London, 1868. 4. 
 
 Sessional paper of the R. Inst. of British 
 Architects. 
 
 BARTH (Carl). Chart of marks and 
 monograms on porcelain. Stutt- 
 gart, 1865. (Also with German 
 text.) 
 
 A large sheet of lithographed marks, mounted 
 on cloth and folded in a 32 case. 
 
 BARTHELEMY (Anatole de). Carreaux 
 emailles du XIV e . siecle prove- 
 nant du Musee de Saint Germain - 
 
 19 
 
CERAMIC LITERATURE. 
 
 BAR] 
 
 en-Laye. Paris, Leroux, 1876. 
 8, pp. 5; with 1 pi. (Reprint 
 from the Musee archeologique.) 
 
 " Glazed tiles of the fourteenth century 
 in the Museum of Saint Germain." 
 
 BARTHELEMY (Anatole de). Lettre ad- 
 ressee a Mr. de Caumont sur le 
 camp vitrifie de Peran (Cotes du 
 Nord). S.d. 8 c ,pp.6; with 1 plan. 
 
 " A letter to Mr. de Caurnont on the 
 subject of the vitrified fort of P^ran." 
 
 - Carreaux histories et vernis- 
 ses, avec noms de tuiliers. Caen, 
 Delesque, 1887. 8, pp. 23; 
 illustr. (Reprint from the Bul- 
 letin monumental.) 2 fcs. 
 
 " Ornamented and glazed tiles bearing 
 names of the makers." 
 
 Several names of potters arid tile makers 
 which occur in the original accounts and 
 documents of the fourteenth and fifteenth 
 centuries are recorded in this paper. Sketches 
 are given of eighteen tiles upon which the 
 maker of the pavement has inscribed his name, 
 followed by the words : Me fit. It is to be 
 regretted that in no -case is the inscription 
 accompanied with a date, nor does it record 
 any of the names of tile makers found in the 
 old documents. 
 
 - Carreaux histories et vernis- 
 ses du XIII. siecle. 8, pp. 8 ; 
 3 illustr. (Reprint from the 
 Bulletin monumental, 1890.) 
 
 Heraldic tiles ; researches on the families 
 whose coat-of-arms they bear. 
 
 BARTHELEMY (Ct). Notice dune col- 
 lection de vases et de coupes 
 antiques en terre-cuite provenant 
 du feu Prince de Canino. Paris, 
 1848, pp. 25. 
 
 "One portion of the collection of Prince 
 Lucien Bonaparte." 
 
 BARTHELEMY (Ed. de). Notices sur 
 quelques carrelages histories, 
 adressees a Mr. de Caumont. 
 Paris, Derache, 1852. 8, pp. 16; 
 illustr. (Reprint from the Bul- 
 letin monumental.) 
 
 " Notices of some ornamented tile 
 pavements." 
 
 When this paper was written, the subject of 
 20 
 
 [BAR 
 
 mediaeval tiles had scarcely been touched upon 
 by French archaeologists. It does not profess 
 to do any more than to call public attention 
 to the ornamented tile pavements discovered 
 a short time before in a district particularly 
 rich in examples of that sort, and to give 
 a brief description of the most remarkable 
 among them. Incomplete as these first notices 
 are bound to be, they have proved of great 
 assistance to the writers who have, later on, 
 exhausted the subject of the ancient tiles of 
 Champagne. 
 
 Carrelages emailles de la 
 Champagne. Paris, 1878. 8, 
 pp. 7 ; with 2 lith. pi. (Reprint 
 from the Revue de Tart Chretien?) 
 
 " Glazed tiles of the Champagne Pro- 
 vince." 
 
 After a lapse of more than twenty years the 
 learned antiquary supplemented his previous 
 notice with a paper in which he gave the 
 names of several localities of the same province 
 wherein richly ornamented pavements had been 
 discovered during that interval. I may in- 
 cidentally remark that the presence of such 
 pavements in provinces which were at the 
 time under English domination, and where 
 churches were built in the English style, some- 
 times by English architects, might warrant us 
 in raising the question whether the custom of 
 replacing mosaic by tiles of glazed earthenware 
 for the floor decoration of ecclesiastical build- 
 ings was not contrary to the notion generally 
 accepted imported from England into the 
 northern and central provinces of France. As 
 the dates found upon English pavements are 
 older than those ever found in France, the 
 question deserves further investigation. 
 
 BARTHELET (A.)- The works of art 
 and Bric-a-Brac Doctor. By A. 
 Barthelet, artist repairer of fine 
 decorative wares. A theoretical 
 and practical exposition of all 
 the processes employed in the 
 restoration of fine ornamental 
 wares. The most complete work 
 of the kind yet published the 
 only one in the English language 
 accompanied with A Help to 
 the Memory, etc. Philadelphia, 
 published for the author, 1884. 
 12, pp. 96; illustr. 5s. 
 
 BARTLETT (W.). Catalogue of a col- 
 lection of old Wedgwood ware. 
 Liverpool, privately printed by 
 Lee & Nightingale, 1882. 4, 
 pp. 126. 10s. 
 
 The catalogue of one of the most methodical 
 
BAR] 
 
 CERA MIC LITER A TURE. 
 
 [BAS 
 
 and complete collections of old Wedgwood ware 
 in private hands. It follows the order adopted 
 for the price list of the Etruria works, 
 published by J. Wedgwood, in 1787, nearly 
 every No. of which is represented by an 
 example of the piece described. The collection 
 comprises about two thousand specimens. 
 
 BARTOLI (Pietro Santi). Le Antiche 
 
 Lucerne sepolcrali figurate, rac- 
 colte dalle cave sotteranee, e 
 Grotte di Roma, nelle quali si 
 contengono molte erudite mem- 
 orie. Designate, ed intagliate 
 nelle loro forme da P. S. Bartoli. 
 Divise in tre parte con Fosserva- 
 tioni di Gio. Pietro Bellori. 
 Roma, 1691 2nd Ed., 1704. 4 ; 
 with 116 engr. pi. 2. 
 
 An edition with text in Latin 
 was published at Berlin in 1702. 
 15 m. The first edition contains 
 twelve unnumbered plates, which 
 are not found in the subsequent 
 issues. 
 
 "The ancient sepulchral lamps dis- 
 covered in the tombs and caves of Rome, 
 the representation of which are suggestive 
 of many erudite observations. Designed 
 and engraved by P. S. Bartoli. Three 
 parts, accompanied by explanatory notes 
 by G. P. Bellori." 
 
 BASILEWSKY et DARCEL (A.)- Collec- 
 tion Basilewsky. Catalogue rais- 
 onne precede d'un essai sur les 
 arts industriels du P r . au XVI e . 
 siecle. Paris, Morel, 1875. 4, 
 pp. 458 ; with 50 pi. 6. 
 
 " The Basilewsky collection. Descrip- 
 tive catalogue, to which is prefixed an 
 essay upon industrial arts from the first 
 to the sixteenth century." 
 
 A general collection which contained many 
 choice pieces of enamelled terra - cotta and 
 Italian majolica, examples of which are de- 
 scribed and reproduced in colour (pp. 102-116 
 and pi. 43-48). 
 
 BASSEGIO (G. B.). Commentario della 
 fabricazione di stoviglie presso 
 Bassano. Bassano, Tipogr. Bas- 
 segio, 1861. Per le nozze An- 
 tonibon-Bonaguro. 8, pp. 17. 
 
 " Notice of the manufacture of pottery 
 at Bassano. ' ; 
 
 Ever since the beginning of the eighteenth 
 century, the old family Antonibon had been 
 connected with the manufacture of pottery at 
 Bassano. In 1732 Gianbatista Antonibon was 
 making majolica at Nove. His son Pasquale 
 conceived the idea of introducing the manufac- 
 ture of real porcelain in 1750. To that effect, 
 he engaged the services of one Johan Fisher, 
 who came over from Dresden accompanied by 
 a few workmen from the same place. All they 
 could do was to build an oven on approved 
 principles. Being unable, however, to establish 
 a regular fabrication of the ware, they were 
 dismissed, and they returned to Germany. 
 A course of more successful experiments was 
 conducted by P. Lorenzo, of Cadore. This 
 latter soon produced a hard porcelain of good 
 quality, of which the felspar of the Brenta 
 and the kaolin of Fretta were the chief 
 constituents. The making of it was, however, 
 completely abandoned in 1820. 
 
 Pottery continued to be manufactured ; a 
 member of the Antonibon family was still 
 managing the factory, when his friend Bassegio 
 printed this historical notice of the local 
 industry on the occasion of his marriage. 
 
 Catalogue of the extremely 
 beautiful and highly interesting 
 collection of Greek and Etruscan 
 vases formed by S. G. Bassegio. 
 London, s.d. 8. 
 
 A collection on sale by private treaty, 
 exhibited in London. 
 
 BASSLER(A.). AltperuanischeKunst. 
 Beitrage zur Archaologie des 
 Incareichs, nach seinen Samni- 
 lungen, von Arthur Bassler. 4 
 vols., fol. ; with 165 pi. (some 
 col.). Publ., 450 m. 
 
 " Ancient Peruvian art. Contribution 
 to the archeology of the Inca Kingdom, 
 illustrated with specimens in the collec- 
 tion of the author." 
 
 All the decorations of the vases described 
 in this volume, whether painted or in relief, 
 have been carefully traced, developed, and 
 reproduced on the flat in their natural sizes. 
 The shape of the vessel is only given when its 
 remarkable character illustrates such portion 
 of the text in which the history, the beliefs, 
 and the philosophy of the ancient Peruvian 
 race are dealt with by the author. An English 
 translation, by A. H. Keane, has been issued, 
 London, 1904, 5. 
 
 BASTENAIRE-DAUDENART (F.).-L'art de 
 fabriquer la porcelain, suivi d'un 
 vocabulaire des mots techniques 
 et d'un traite sur la peinture et 
 dorure sur porcelaine. Paris, 
 Malher, 1827, 2 vols., 12, pp. 
 846 ; with 4 pi. 6 fcs. 
 
 21 
 
BAS] 
 
 CERA MIC LITER A TURE. 
 
 [BAT 
 
 " Treatise on the manufacture of por- 
 celain : with a glossary of technical terms, 
 and instructions for painting and gilding 
 on porcelain." 
 
 The author claims the credit of having been 
 the first to write a practical treatise on the 
 subject. Having been for many years the 
 proprietor and manager of the factory of Saint 
 Amand-les-Eaux, he had acquired some know- 
 ledge of the processes of manufacture, and was 
 anxious to obtain celebrity as a ceramic writer. 
 His work is not, however, so complete and 
 trustworthy as one might expect to find it. 
 Daudenart has preferred to remain silent 
 about the making of soft china, yet we know 
 that he was in the position of giving us all 
 possible information on that matter. The 
 methods and recipes, once employed in the 
 extinct factories, were still practised at Saint 
 Amand, the last place in France where the 
 fritted body was made, under his management. 
 It is, therefore, somewhat disappointing to find 
 that the book deals entirely with the manu- 
 facture of hard porcelain, imperfectly known 
 to the writer, and does not disclose any of the 
 secrets of the obsolete "Porcelaine tendre," 
 with which he was thoroughly conversant. 
 
 A German translation of this work has been 
 published by Ch. Schmidt. 
 
 BASTENAIRE-DAUDENART (F.). L'art de 
 fabriquer la faience blanche re- 
 couverte d'un email transparent 
 k 1'instar francais et anglais, suivi 
 d'un traite de la peinture a fe- 
 verbere, et d'un vocabulaire de 
 mots* techniques. Paris, Fortie, 
 1828. 8. pp. 539 ; with 3 pi. 
 6fcs. 
 
 " The art of making the white earthen- 
 ware with a transparent glaze after the 
 methods adopted in France and England, 
 to which is added a treatise of the re- 
 verberatory kiln painting, and a glossary 
 of technical terms." 
 
 The publication of such a treatise was well 
 timed at a moment when the white earthen- 
 ware, glazed with lead, was everywhere 
 replacing, for domestic purposes, the old 
 stanniferous faience, which had altogether 
 fallen into discredit. Before inditing this 
 volume, B. Daudenart visited the Stafford- 
 shire "Potteries," and the short account of 
 his journey is not without interest. He was 
 particularly impressed by the importance of 
 the English factories, and wondered how an 
 establishment which gave employment to close 
 upon two thousand workmen could be con- 
 ducted in such perfect order. Of all the 
 technical improvements he saw there, for the 
 first time, what surprised him the most was the 
 regular application of steam power to pottery 
 manufacture. A second edition appeared in 
 1830, and a German translation by G. Frick, in 
 1832. 
 
 L'art de fabriquer la faience 
 
 .22 
 
 recouverte d'un email opaque 
 blanc et colore ; suivi de quelques 
 notions sur la peinture au grand 
 feu de reverbere, et d'un vocabu- 
 laire de mots techniques. Paris, 
 Malher, 1828. 12, pp. xiv-480 ; 
 with 2 pi. 3 fcs. 
 
 " The art of making the faience covered 
 with white and coloured opaque enamels ; 
 with instruction on the method of paint- 
 ing for the reverberatory kiln, and a 
 glossary of technical terms." 
 
 - L'art de fabriquer les poteries 
 communes usuelles, les poeles, 
 les gres fins et grossiers, les 
 creusets, les carreaux, les tuiles, 
 les briques ordinaires et refrac- 
 taires ; suivi d'un memoire ad- 
 resse au Grand Conseil superieur 
 des manufactures a Paris, sur la 
 question relative a I'enqu&te com- 
 merciale ordonnee par le Gouv- 
 ernement pour la levee de la pro- 
 hibition existante en France sur 
 les poteries anglaises. Paris, 
 Anselin, 1835. 8, pp. 560 ; with 
 3 pi. 5 fcs. 
 
 "The art of making common pottery 
 for domestic use, stoves, fine and rough 
 stoneware, crucibles, roof and wall tiles, 
 ordinary and refractory bricks ; to which 
 is added a Memoir addressed to the 
 Superior Council of Manufactories in 
 Paris on the occasion of the inquest 
 opened by order of the Government upon 
 the advisability of abrogating the act by 
 which the importation of English pottery 
 into France was prohibited." 
 
 A German translation by H. Schmidt ap- 
 peared at Weimar in 1859. 
 
 Although apparently minutely precise and 
 reliable, the descriptions of the technical pro- 
 cesses given in the foregoing volumes are not 
 always to be depended upon. Moreover, they 
 are most of them too much out of date to be of 
 any use to the modern manufacturer. 
 
 BATEMAN (Thomas). -- A descriptive 
 catalogue of the antiquities and 
 miscellaneous objects preserved 
 in the Museum of Thomas Bate- 
 man at Lomberdale House, Der- 
 byshire. Bakewell, printed for 
 the author by J. Gratton, 1855 
 
BAT] 
 
 CERAMIC LITERATURE. 
 
 [BAU 
 
 8, pp. 305 ; with 8 pi. and illustr. 
 in the text. 10s. 
 
 Thomas Bateman, one of the learned mem- 
 bers of the R. Archaeological Society, had formed 
 his collection chiefly out of the proceeds of the 
 excavations he conducted for many years in 
 several counties. It contained numerous speci- 
 mens of ancient pottery, ranged in the catalogue 
 under the following headings: Celtic pottery, 
 sepulchral urns and other prehistoric vases, 
 205 Nos. ; Roman cinerary urns, 57 Nos. ; 
 Roman fictile ware, 167 Nos. ; Etruscan an- 
 tiquities and pottery of various descriptions, 
 81 Nos. ; and, lastly, a few curious specimens 
 of slip decorated and early English earthen- 
 ware. The collection is now exhibited in the 
 Sheffield Museum. 
 
 - Ten years diggings in Celtic 
 and Saxon Grave-hills, in the 
 Counties of Derby, Stafford, and 
 York, from 1848 to 1858 . . . 
 with remarks on the crania and 
 pottery from the Mounds. Lon- 
 don, J. R, Smith, 1861. 8, pp. 
 309 ; woodcuts. 8s. 
 
 BATTY-LANGLEY. The London prices 
 of bricklayers' materials and 
 work, etc. London, R. Adams, 
 1749. 8, pp. 390; with 32 pi. 
 5s. 
 
 In addition to the cost of materials and 
 workmanship in the brick-building trade, this 
 volume contains the statutes regulating the 
 craft of brick and tile makers since the time 
 of Edward III. It also gives interesting infor- 
 mation on the English Delft potters of Lambeth 
 the "white potters," as they were called 
 who manufactured vessels and tiles of painted 
 faience after the method used in Holland. 
 Langley says that their ware could fairly 
 stand comparison with that imported from 
 abroad ; but in the case of tiles, the Lambeth 
 productions were disliked by the bricklayers, 
 being made of a very hard clay which ren- 
 dered cutting and fitting slow and difficult. 
 This peculiarity is of great importance for the 
 identification of genuine English Delft speci- 
 mens. 
 
 The list of terms connected with brick- 
 building at the time (the signification of many 
 of which have long become obsolete) may be 
 found of some utility. 
 
 BAUDOT (A. de). De 1'emploi des 
 materiaux polychromes dans la 
 construction, et la ceramique en 
 general. Paris, V. Morel, 1884. 
 8, pp. 22. 
 
 " On the use of polychrome materials 
 in architectural buildings, and the cer- 
 amic art in general." 
 
 BAUDRY (Pan!). Collection ceramique 
 du musee des antiquites de 
 Rouen. Faiences. Rouen, Impr. 
 Ch. Lapierre, 1864. 12, pp. 19. 
 
 " Ceramic collection in the museum of 
 antiquities at Rouen. Faiences." 
 
 Description of the collection of A. Pettier, 
 acquired by the town of Rouen and exhibited in 
 the old museum. 
 
 BAUDRY (L'abbe F.) et BALLEREAU (L.).- 
 Puits funeraires gallo-romains 
 du Bernard (Vendee). La Roche- 
 sur-Yon, Gaste, 1873. 8, pp. 
 359 ; with map and numerous 
 figs, of pottery. 12 fcs. 
 
 " Mortuary pits of the Gallo-Roman 
 period found at Bernard (Vendee)." 
 
 A few isolated examples of mortuary pits, 
 shaped like those so far considered as peculiar 
 to ancient Etruria, had already been found 
 in France and in England, when Abbe' Baudry 
 chanced to discover a large number of such 
 pits in the Bernard district. He gives a 
 detailed account of all the excavations. In 
 each case the interment had taken place after 
 incineration. The ashes of the dead, enclosed 
 in a large cinerary urn, were placed at the 
 bottom of the pit ; the cavity was afterwards 
 filled up with soil mixed with charcoal, bones 
 of domestic animals, and innumerable frag- 
 ments of pottery. Over a hundred shapes of 
 pots, found whole or in fragments, have been 
 drawn by Mr. Ballereau to illustrate the work. 
 
 BAUMEISTER (A.). Denkmaler klas- 
 sischen Alterthums zur Erlau- 
 terung des Lebens der Griechen 
 und Romer in Religion, Kunst 
 und Sitte. Munchen, 1885-88. 
 3 vols. 4. Publ., 75 m. 
 
 "Monuments of classical antiquities, 
 illustrating the life of the Greeks and 
 Romans, their religion, art, and customs." 
 
 Contains a chapter on Painted Vases. See 
 Rohden. 
 
 BAUMEISTER (G.). Faiencefliesen aus 
 alten turkischen Baudenkmalern. 
 Nurnberg, 1880. Fol., 13 chromo- 
 lith. pi. (all published). 15 m. 
 
 " Faience tiles from ancient Turkish 
 monuments." 
 
 Reproductions in colour of the original size 
 are given of specimens which seem to have been 
 selected on account of their simplicity and 
 insignificance. Such tiles can hardly be said to 
 represent the old Turkish manufacture, the 
 productions of which equal in elegance of 
 design and brightness of colours those of the 
 best factories of Asia Minor and Persia. 
 
 23 
 
BAIT] 
 
 C ERA MIC LITER A TURE. 
 
 [BAY 
 
 BAUMGART (E,), La manufacture de 
 Sevres k 1'Exposition de 1900. 
 Paris, Librairie centr. des Beaux 
 Arts, 1901. Sm. fol., pp. 34; 
 with 50 photogr. pi. (some col.) 
 and 11 text illustr. Publ., 3. 
 
 " The manufactory of Sevres at the 
 1900 Exhibition." 
 
 A review of the part that the national 
 establishment has played in the local and 
 international exhibitions to which it has con- 
 tributed is given in the introduction. The 
 plates represent the latest productions. To 
 those who have not viewed the exhibits of 
 1900, it will be a surprise to see how com- 
 pletely Sevres has, on that occasion, broken 
 the old traditions, and replaced the practice of 
 the time-honoured arts of surface decoration 
 by technical subtleties, such as the display of 
 unprecedented and never to be repeated effects 
 of colours and glazes. Painting and gilding 
 are strangely conspicuous by their absence. 
 
 BAUSSAN de BIGNON. Memoire sur la 
 meilleure construction des fours 
 pour bien cuire les briques, la 
 chaux, etc. Paris, 1766. 
 
 " Memoir on the manner of building 
 the kilns for firing bricks, lime, etc." 
 
 BAUYALET de SAINT VICTOR. -- Vases 
 Grecs et Etrusques avec une 
 notice sur ces vases. Paris, 1837. 
 Fol. Dessins executes en coul- 
 eurs metalliques de 1'invention 
 de 1'auteur et de ses propres 
 mains. Publ., 1,668 fcs. 
 
 "Greek and Etruscan vases, with de- 
 scriptive notices. Designs executed by 
 the author's own hand in metallic colours 
 of his invention." 
 
 The work of a visionary who prided himself 
 of having invented some colours particularly 
 well adapted to the painting of the plates. We 
 extract from the preface the following para- 
 graph. "This collection will be therefore 
 quite unique, and its value is bound to be 
 increased by the fact that, as I alone can 
 execute it with my pencil, the number of 
 painted copies will be, necessarily, very 
 limited." Copies in outline occur sometimes 
 in the trade, but those with coloured plates 
 are very rare. 
 
 BADX (A.). La poterie des Nuraghes 
 et des tombes des geants en Sar- 
 daigne. Paris, 1885. 8; with 
 11 illustr. 
 
 " The pottery of the Nuraghes and the 
 tombs of the giants in Sardinia." 
 24 
 
 BAXTER (S.). The Morse collection 
 of Japanese pottery. Boston, 
 1887. 4, pp. 16 ; with 4 pi. and 
 16 illustr. in the text. (Reprinted 
 from the American Architect.} 
 
 BAWO and DOTTER. -- Limoges ; its 
 people ; its china. New York, 
 1901. Sq. 12, pp. 26; with text 
 illustr. 
 
 Notes on the "Elite works" at Limoges, 
 issued by B. & D. of New York. A charming 
 booklet. 
 
 BAYARD (Cl,). Tarif du prix des 
 differentes pieces et figures en 
 biscuit de terre de pipe, ou 
 emaillees sur biscuit et enlumi- 
 nees et toute autre bijouterie de 
 ce genre, tant utiles qu'agreables. 
 Le tout au plus juste prix pour 
 le marchand. Lesquels articles 
 se fabriquent a la manufacture, 
 ci-devant previlegiee du Roi, des 
 Sieurs Bayard, pere et fils, a 
 Belle vue, ban de Toul. S.d. 
 4, pp. 4. 
 
 " List of prices of the various objects 
 and figures of earthenware, unglazed or 
 enamelled in colours, and other fancy 
 articles pleasant and useful. All at very 
 moderate prices for the trade. Manu- 
 factured at the works (lately with Royal 
 privilege) of Belle vue, near Toul." 
 
 Established in 1758, the Bellevue manufac- 
 tory applied for permission to assume the title 
 of "Royal manufactory," a distinction which 
 was granted in 1773, to be withdrawn a few 
 years later. The catalogue, which describes 
 chiefly articles of current manufacture, shows 
 that the production were principally imitations 
 of English earthenware. 
 
 BAYE (J. de). Notes sur des carreaux 
 emailles de la Champagne. Paris, 
 1885. 8, pp. 20 ; with text 
 illustr. (Extr. from Memoires de 
 la Societe des Antiquaires de 
 France.) 
 
 " Notes on some glazed tiles from 
 Champagne." 
 
 Industrial arts of the Anglo- 
 Saxons. London, 1893-94. 4 ; 
 with 17 pi. and text illustr. 
 
BAZ] 
 
 CERAMIC LITERATURE. 
 
 [BEG 
 
 English translation by J. B. 
 Harbotte. 9s. 
 
 The French work appeared in 1889. It is 
 a compilation from the English archaeological 
 publication, illustrated with badly engraved 
 plates. Pottery : pp. 112-118. 
 
 BAZIN (Ch.). Pavages de FAbbaye 
 de Breteuil et du Prieure de 
 Merle(Oise). PavagedePAbbaye 
 de Foigny (Aisne). Paris, 1850. 
 8, pp. 8 ; with 4 pi. (Reprint 
 from the Revue Archeologique.) 
 
 "Pavements of Breteuil Abbey and 
 Merle Priory. Pavement of Foigny 
 Abbey." 
 
 BEARD (J. C.). Painting on china. 
 What to paint and how to paint 
 it. New York, s.d. 8. 
 
 - Painting on china. Practical 
 instruction in over-glaze painting 
 in the decoration of hard por- 
 celain. New York, 1882. 4. 
 
 BEAUCHAMP (W. I,). Earthenware of 
 the New York aborigines. 
 Albany, 1898. 8, pp. 78 ; with 
 33 pi., cont. 245 figs. (In Bul- 
 letin of the New York State 
 Museum.) 
 
 On no other ancient pottery of America is a 
 likeness to the prehistoric earthen vessels of 
 Europe so strikingly exhibited, particularly in 
 the method followed in the impressed and 
 incised ornamentation. 
 
 BEAUREPAIRE (E. de). Etude sur les 
 carreaux vernisses a usage fun- 
 eraire. Paris, 1885. 8. 
 
 " Notes on the glazed tiles used for 
 funereal purposes." 
 
 BECKER (C.) und HEFNER (J. von). 
 Kunstwerke und Gerathschaften 
 des Mittelalters und der Renais- 
 sance. Frankfurt a j Main, 1852. 
 2 vols., 4; with 212 hand-col, 
 pi. 2d ed,, 1863. 12. 
 
 " Art work, vessels, and utensils of the 
 Middle Ages and of the Renaissance." 
 
 Ceramic art is represented by five plates 
 The notices are short and merely descriptive 
 In the cases of undated specimens the dates 
 affixed to them by the writers are quite 
 
 speculative and should not be considered as 
 accurate. 
 
 BECKER (J. A.). Notes sur les Gres- 
 cerames du Rhin. Paris, 1884. 
 12, pp. 12. 
 
 " Notice of the Rhenish stoneware." 
 Published by Merkelback & Wick, stoneware 
 manufacturers, of Grenzhausen, to be distri- 
 buted at their dep6t in Paris. 
 
 BECKER (Leon). Catalogue of sale. 
 Paris, 1852. 8, pp. 23 ; with 
 10 illustr. 
 
 The collection of a Belgian amateur, chiefly 
 composed of ancient stoneware (260 Nos. ). 
 
 BECKET-DENISON (Collection C.).-Cata- 
 logue of sale. London, Christie, 
 1885. 8, pp. 283; with numerous 
 pi. 10s. 
 
 This collection, which comprised 3,354 Nos., 
 had been formed very rapidly. Within a few 
 years B. Denison had acquired some of the 
 choicest works of art which had appeared in 
 the auction sales. His extravagant bids were 
 always entered under the pseudonym of "Mr. 
 Duncan." The ceramic objects in his possession 
 were of the highest order ; a selection of them 
 is represented on six plates. 
 
 BECKING (E.). Fliesen-Boden nach 
 Gemalden des XV. und XVI. 
 Jahrhunderts, von J. von Eyck, 
 Hans Holbein, Hans Memling, 
 etc. Stuttgart, J. Hoffmann, 
 1903. Sm. 4, pp. 12; with 28 
 col. pi. 16 m. 
 
 " Tile pavements from oil paintings of 
 the fifteenth and sixteenth centuries, by 
 J. Eyck, H. Holbein, H. Memling, etc." 
 
 The specialist, attracted by this promising 
 title, may not find the plates of the album 
 coming up exactly to his expectation. There 
 is little in the patterns reproduced that recalls 
 the mediaeval character of ornamentation ; these 
 geometrical combinations of slabs of stone, 
 marble, and coloured clays, might belong to 
 any epoch ; indeed, the series does not seem to 
 differ from the designs in the pattern books of 
 the modern tile manufacturer. 
 
 BECKWITH (Arthur). - Majolica and 
 Faience; Italian, Sicilian, Major- 
 can, Hispano - Moresque, and 
 Persian. New York, Appleton, 
 1877. 12, pp. 185; with 51 
 illustr. in the text, drawn by 
 the author. 2d ed. 5s. 
 
 To a few historical notices of the chief 
 
 25 
 
BEG] 
 
 CERAMIC LITERATURE. 
 
 [BEL 
 
 centres of manufacture compiled from the 
 standard works, is added a list of the mottoes 
 and sentences found inscribed upon pieces of 
 Italian majolica ; a personal contribution of the 
 writer to the study of the ware. After this, 
 the account passes from general considerations 
 on the aims of decorative art to some rather 
 unprofessional hints on faience painting. It 
 ends in cursory notes on the pottery exhibited 
 at Philadelphia in 1876, with remarks on the 
 conditions of the ceramic art in modern times. 
 The illustrations are mostly taken from ex- 
 amples in the Castellani collection, and in 
 fig. 51, designed by the author himself, we are 
 asked to see the application of the principles of 
 decoration previously propounded. 
 
 BECKWITH (L. P.). Pottery. Obser- 
 vations on the materials for the 
 manufacture of terra-cotta, stone- 
 ware, etc. New York, 1872. 8. 
 
 BEDFORD (George). Paris Universal 
 Exhibition of 1878. Report on 
 terra-cotta. London, Sampson 
 Low, 1879. 8, pp. 28. (In the 
 Society of Arts; artisans' reports.) 
 
 BEHLA (Robert). Die Urnenfriedhofe 
 mit Thongefassen des Lausitzer 
 Typus. Luckau, 1882. 8, pp. 
 120 ; with 2 lith. pi. containing 
 75 figs. 3 m. 
 
 "The burial grounds containing earthen 
 urns of the type generally found in the 
 Lausitz province." 
 
 Like Silesia, Lausitz abounds in prehistoric 
 graves containing an immense quantity of 
 cinerary urns and other earthen vessels. The 
 description of the various types said to be 
 peculiar to that province and the account of 
 some of the excavations in which they were 
 discovered is prefaced with an interesting 
 review of the works of the old German writers 
 who have mentioned that curious pottery and 
 dealt with it in the full belief that it was a 
 natural product of the soil. 
 
 BELLEYOYE (Ad.). Note sur quelques 
 marques de potiers de la periode 
 gallo-romaine. Metz, Delimit, 
 1885. 8, pi. 
 
 " On some potters' marks of the Gallo- 
 Roman period." 
 
 BELLIER de la CHAYIGNERIE Notice sur 
 L. P. Schilt, peintre sur por- 
 celaine, attache & la Manufacture 
 Imp. de Sevres ; avec un cata- 
 logue de son ceuvre. Versailles, 
 Impr. Cerf., 1860. 8, pp. 15. 
 Portrait. 
 26 
 
 " Biographical notice of L. P. Schilt, 
 porcelain painter attached to the Imp. 
 factory of Sevres ; with a catalogue of 
 his works." 
 
 Schilt was one of the leading flower painters 
 on porcelain of his time. He entered the 
 Sevres manufactory under the direction of 
 Brongniart. His son distinguished himself as 
 figure painter in the same establishment. 
 
 BELLINI (Dr. Lorenzo). La Buccher- 
 eide. Firenze, 1729. Sq. 8, pp. 
 xxxiv-264. 2ded. Bologna, 1823. 
 2 vols., 16. 3d ed. Milano, s.d. 
 16. (In DaeFs Biblioteca rara.} 
 
 It is not without astonishment that we learn 
 of the extraordinary infatuation for the Buccaros 
 which prevailed among Italian and Spanish col- 
 lectorsduring the seventeenth century. Wemust 
 not forget, however, that, even at the zenith 
 of their glory, good examples of the highly 
 perfumed vases of Peru and Mexico were only 
 on rare occasions imported into Europe, where 
 they always remained scarce and costly. This 
 may partially account for the favour with 
 which they were regarded. The ruling laws of 
 taste were singularly modified in Italy at the 
 beginning of the eighteenth century. Extrava- 
 gance was considered as a happy substitute for 
 refinement. To collect the uncouth jugs of the 
 Indians was, in itself, a daring assertion of 
 individual contempt for all accepted notions 
 of beauty. This eccentricity could only be 
 surpassed by the whimsical achievement of 
 composing a poem in four cantos on the subject 
 of the outlandish pottery. It was reserved to 
 Dr. Lorenzo Bellini to accomplish such an 
 extraordinary task. At the instance of his 
 friend, Count Magalotti, also an enthusiastic 
 admirer of Buccaros, the learned doctor resolved 
 to celebrate their paramount merits in a poem 
 published in their honour, but in which, we are 
 bound to say, the precious jugs seem to have 
 little to do with the manifold topics lightly 
 touched upon in this long strain of pompous 
 and highly sounding rhyme. The title of 
 ' ' The Bucchereide " has been fixed upon to 
 allow an eccentric spirit to display his poetical 
 verve ; a broad frame in which many a picture 
 has found a place. We cannot attempt to 
 analyse this kaleidoscopic lucubration, it is 
 made up of paradoxes and sophisms alternating 
 with high precepts of philosophy and morals ; 
 some parts of it have been qualified as sublime, 
 others appear to touch the ridiculous, and we 
 jump abruptly from lines full of true pathos 
 into vulgar banter. 
 
 The MS. written for the benefit of his 
 friends, in the last years of the seventeenth 
 century, was only printed after the death of 
 the author. An anonymous annotator prefaced 
 the poem with an essay on the Buccaros in 
 which the information on the subject, given 
 previously by Magalotti in his Letters on the 
 Odoriferous Pottery of Europe and America, 
 was clearly and comprehensively condensed. 
 The 2nd edition of the Bucchereide contains 
 a short biography of Dr. L. Bellini, known to 
 the scientific world by his works on human 
 anatomy. 
 
BEM] 
 
 CERAMIC LITERATURE. 
 
 [BEN 
 
 BEMROSE (W.) and WALLIS (A.). The 
 pottery and porcelain of Derby- 
 shire : A sketch of the history 
 of fictile art in the county. Com- 
 piled from data hitherto unpub- 
 lished, and illustrated by a set 
 of the marks in use at the Derby 
 china factory, arranged in chrono- 
 logical order ; with biographical 
 notices of the proprietors, artists, 
 modellers, and others connected 
 with the works. London, Bern- 
 rose & Sons, 1870. 2d ed., 8, 
 pp. 51 ; with a view of the Derby 
 works and 1 photo. 
 
 Published originally as a handbook to the 
 exhibition held at Derby in 1870, to which 
 the collectors of the Midlands had contributed 
 a large quantity of choice specimens of china 
 of local manufacture, this short monograph 
 deserved, on all accounts, to be reprinted in 
 the present form. Much of the information 
 we possess on the Derby china was printed 
 in it for the first time. The unremitting 
 interest that Mr. Bemrose took in the revival 
 of the Derby china factory, closed since 1849, 
 the facility he had to consult the ancient 
 documents and registers of the firm, and his 
 acquaintance with many a garrulous old work- 
 man, placed him in the position of obtaining 
 a fulness of particulars that would have been 
 denied to any other writer. 
 
 Notes upon the Nantgarw and Burton china 
 are given in the appendix. 
 
 BEMROSE (W.). Bow, Chelsea, and 
 Derby porcelain ; being further 
 information relating to these 
 factories, obtained from original 
 documents not hitherto pub- 
 lished. London and Derby, Bem- 
 rose & Sons, 1898. 4, pp. xi-174; 
 with 20 collotype pi. and 30 half- 
 tone illustr. 1, 5s. 
 
 Additional light is thrown upon some points 
 of the history of English porcelain by the un- 
 edited particulars contained in a quantity of 
 old deeds and documents which, after having 
 been preserved in the Duesbury family, came, 
 lately, into the possession of the author. They 
 relate, chiefly, to the founder of the Derby 
 porcelain works, and to his early connection 
 with the Bow and Chelsea factories. The 
 reprint of several catalogues of sale of the 
 current productions of these works previously 
 given by Read, Haslem & Nightingale, com- 
 plete a volume of some importance to the 
 collector of English china. 
 
 A descriptive catalogue oJ 
 
 porcelain and other art objects 
 in the collection of William Bem- 
 rose, Elmhurst, Derby. Derby, 
 printed by Bemrose & Sons, 1898. 
 8, pp. 61 ; with 25 phototype 
 pi. and 12 text illustr. Privately 
 printed. 
 
 Derby china is particularly well represented 
 in the ceramic section of this catalogue. 
 
 Longton - Hall porcelain. 
 Being further information relat- 
 ing to this interesting fabrique. 
 London, 1906. 8, pp. xxi-72 ; 
 with 48 pi. (some col.) and 18 
 text illustr. 2, 2s. 
 
 The very wealth of illustrations with which 
 the volume has been provided, while it en- 
 riches it, may also open the door to criticism. 
 Several of the specimens can scarcely be accepted 
 as the work of Littler. 
 
 BENNDORF (Otto). Riscatto di Ettore 
 su'Vaso ceretano. Roma, 1866. 
 8, pp. 30 ; with 1 fold. pi. 
 
 " The ransom of Hector, upon a Ceret- 
 ian vase." 
 
 Griechische und Sicilische 
 Vasenbilder. Berlin, Guttentag, 
 1869-83. Fol.; with 62 lith. pi. 
 and text illustr. 1 50 m. 
 
 " Greek and Sicilian vase paintings." 
 While praising without reserve the learned 
 discrimination which has presided over the 
 selection of the examples of vase paintings 
 reproduced in this work, and the erudition 
 displayed in their elucidation, one cannot 
 help expressing the regret that the volume 
 should not have been brought out in a better 
 style. In its typographic execution it strikes 
 us as very inferior to the fine engravings and 
 the beautifully printed letterpress usual in the 
 earlier publications on the subject of Greek 
 vase painting. The meagre outlines in which 
 the plates are clumsily drawn betray the hand 
 of some unskilled lithographer, who has mechani- 
 cally transferred to stone the spiritless tracings 
 he had taken from the original pieces, and not 
 that of an artist capable of rendering the purity 
 and elegance of the designs of which it was 
 intended to give a satisfactory reproduction. 
 Plates and text are printed on a flimsy and 
 cheap paper which could only be excused in 
 the publications of the lowest order. 
 
 BENNDORF und GONZE (A.). Vorlege- 
 blatter fur archaologische 
 Uebungen. Part 1-8. Wien, 
 1869-75. Series A. E. (by Benn- 
 
 '27 
 
(] ERA MIC LITER A TUR K. 
 
 dorf alone). Wien, 1878. New 
 series (by Benndorf and others). 
 Wien, 1888-91. Fol. 
 
 "Materials for the practical study of 
 archaeology." 
 
 A very fine serial publication in which 
 classical ceramics occupy a large space. 
 
 BENOIST (C.)- Ville de Limoges. 
 Analyse des actes et delibera- 
 tions de Fadministration munici 
 pale, de mai, 1790, & decembre, 
 1878. Limoges, 1889-1902. 8. 
 
 "Town of Limoges. Analysis of the 
 Acts and resolutions of the municipal 
 administration." 
 
 Contains much information on the regula- 
 tions of the trade and the development of 
 technical instruction. 
 
 BERGERAT (E,). Les chefs d'oeuvres 
 d'art a 1'Exposition universelle, 
 1878. Paris, Baschet, 1878. 2 
 vols., fol. ; with 40 photogr. pi. 
 and numerous illustrations. 
 Publ., 50 fcs. 
 
 " Masterpieces of art at the Inter- 
 national Exhibition of 1878." 
 
 A splendid publication, in which a few of 
 the chief ceramic establishments of France 
 and England have a separate notice, written 
 by various specialists and illustrated with re- 
 productions of the most remarkable exhibits. 
 
 BERGERET (.) Briques et Pavages 
 emailles. L'atelier d'Argilly sous 
 les Dues de Bourgogne. Beaune, 
 Batault, 1900. 8, pp. 54 ; with 
 63 col. pi. 8 fcs. 
 
 " Tiles and glazed pavements. The 
 tile works of Argilly under the Dukes of 
 Burgundy." 
 
 It is attempted to establish that the numer- 
 ous and interesting tile pavements found in 
 that part of Burgundy have all been made at 
 Argilly. 
 
 BERGSTEEN (K, G.). Prakt. Anleitung 
 zum Anfertigen der Drainrohren 
 ohne kostbare Apparate. Berlin, 
 
 1858. 8. 
 
 " Practical instruction upon the manu- 
 facture of drain pipes without employing 
 costly apparatus." 
 
 BERIO (F. M.). Lettera del Marchese 
 F. M. Berio in delucidazione di 
 
 28 
 
 un vaso etrusco, diretta a S. Ex. 
 G. Capece Latro, Archivescovo 
 di Tarante, etc. Napoli, 1808. 
 Sm. 4, pp. 87 ; with an appendix. 
 2 fcs. 
 
 " A letter . 
 Etruscan vase." 
 
 in elucidation of an 
 
 BERLING (K.). Die Fayence und 
 Steingutfabrik Ubertusburg. Ein 
 Beitrag zur Geschichtedersachsi- 
 schen Keramik. Dresden, 1891. 
 8, pp. 30 ; with 4 phototyp. pi. 
 5 m. 
 
 " The faience and stoneware manufac- 
 tory of Ubertusburg. A contribution 
 towards the history of ceramics in 
 Saxony." 
 
 A factory was established at Ubertusburg, 
 in 1770, as a branch of the Meissen royal 
 porcelain works, for the manufacture of fai- 
 ence and stoneware. Until 1776 it remained 
 in the experimental state. In that year Mar- 
 colini, the celebrated director of Meissen, took 
 the management into his own hands. Imita- 
 tions of Wedgwood ware English "steingut," 
 as it was then called were manufactured with 
 some success. The ware was stamped with 
 the name of Wedgwood, a practice also fol- 
 lowed in many other German factories, hence 
 the identification of Ubertusburg specimens 
 made at that period offers some difficulty. 
 Later, the mark was altered into the full 
 name of Ubertusburg or its initial. 
 
 From 1814 up to 1835 the establishment 
 was conducted under the title of Royal Manu- 
 factory. After that it fell into private hands 
 and was closed in 1850. 
 
 Dresden. Konigl. Kunstge- 
 
 werbe Museum. Fiihrer. Abth. 
 III. Keramik. Dresden, 1895. 
 8, pp. ]08 ; with 11 text illustr. 
 
 "Dresden. Handbook to the Royal 
 Museum of Industrial Art. Guide to 
 Section III. Ceramics." 
 
 Short historical notices of the various groups 
 of ceramic ware exhibited in the museum. This 
 museum has been lately formed as an addition 
 to the Royal collection, of Oriental and Dresden 
 porcelain. 
 
 - Das meissener Porzellan und 
 seine Geschichte. Berlin, 1900. 
 4 ; with 30 pi. (15 coloured) and 
 219 text illustr. Publ., 8. 
 
 " The Meissen porcelain and the history 
 of its manufacture." 
 
 It was necessary that the mass of informa- 
 tion already obtained on the origin and develop- 
 
BER] 
 
 CERAMIC LITERATURE. 
 
 [BEU 
 
 ment of the Meissen manufactory should be 
 gathered and classified, and that a reliable 
 history of its glorious days should be written j 
 in a definite form Herr K. Berling, keeper 
 of the Royal collection at Dresden, has accom- 
 plished the task in such a complete and suc- 
 cessful manner that his handsome volume will 
 long stand as the text-book on the subject. _ Its 
 value for the study of the Meissen productions 
 is greatly increased by the numerous plates and 
 illustrations, in which the particular styles cor- 
 responding to the successive periods of manu- 
 facture are clearly represented. 
 
 BERLUC - PERUSSIS. - - Les anciennes 
 faienceries de la Haute-Provence. 
 Digne, 188:5. 12, pp. 15. 3 fcs. 
 
 " The ancient faience works of Upper 
 Provence." 
 
 A valuable supplement to the works already 
 published upon Moustiers factories and their 
 ramifications. Mane and Cere'st, two pot- 
 works of the same district, are mentioned here 
 for the first time. The marbled earthenware, 
 the staple article of manufacture of the Moulins 
 of Apt, is given special attention, and the finest 
 specimens of the ware, still in the possession of 
 the family, are fully described. 
 
 BERNAL (R.). -- Catalogue of the 
 celebrated collection of works 
 of art, from the Byzantine 
 period to that of Louis XVI., 
 of Half Bernal, Esq., to be sold 
 in London by Christie & Man- 
 son, March, 1855. 4 ; with 34 
 pi. 10s. 
 
 The catalogue comprises 4294 Nos., including 
 many rare and beautiful specimens of pottery 
 and porcelain from all the chief manufactories. 
 The sale lasted 32 days and produced 45,400. 
 
 BERNDT (F.). Die Gefasse unseres 
 Hauses. Drei Vortrage liber 
 Keramic. Aachen, Jacobi, 1880. 
 8, pp. 85 ; with 1 pi. of vases. 
 2 m. 
 
 "The pottery of our houses. Three 
 papers on ceramic art." 
 
 Three lectures read before the members o 
 the Museum Society of Aix-la-Chapelle 1st 
 The making of vases of clay. 2nd. The con 
 stituent parts of a vase and their decoration 
 3rd. Classical vases and modern ceramics 
 Printed at the expense of the Society. 
 
 BERTHET (Elie). Maitre Bernard 
 roman historique. Paris, Dentu 
 1875. 12. 
 
 A sensational novel, of which an imagiuarj 
 Palissy is made the hero. 
 
 BERTOLOTTI (A.). Figuli, Fonditori e 
 Sculptori in relazione con la 
 corte di Mantova nei secoli XV., 
 XVI., XVII. Notizie e docu- 
 ment! raccolti negli archivi Man- 
 to vani. Milano, 1890. 8, pp. 
 115. 5 fcs. 
 
 " Potters, bronze founders, and sculp- 
 tors, in their connection with the Court 
 of the Dukes of Mantua, during the 
 fifteenth, sixteenth, and seventeenth 
 centuries. Notices and documents col- 
 lected in the archives of Mantua." 
 
 A large collection of interesting documents, 
 hitherto unpublished, of great importance for 
 the history of ceramic art, not only in Mantua, 
 but also in the other centres of Italian manu- 
 facture. In the correspondence between the 
 officers of the court and the majolists of Pesaro, 
 Venice, Urbino, Faenza, etc., which has been 
 discovered by the author, we find definite evid- 
 ence of the high estimation in which the potters 
 and their work were held by the princes and the 
 noblemen of Italy. These letters include com- 
 munications addressed to some masters of the 
 art, in which all the advantages that would 
 accrue to one who might be willing to come 
 and establish the industry in the town, are fully 
 enumerated ; others relate to sets of vases and 
 dishes, ordered by the Duke and by members 
 of his family for the adornment of their palaces. 
 Among the names of majolica painters, cele- 
 brated at that period, we find a few which 
 appear in print for the first time and whose 
 work is totally unknown to us. 
 
 BERTRAND (R. de). Les carrelages 
 mureaux en faience et les tapis- 
 series des Gobelins k Dunkerque. 
 Dunkerque, Hubert, 1861. 8, 
 pp. 13. 
 
 " The faience wall tiles and the Gob-, 
 elins tapestries at Dunkerque." 
 
 Description of the important tile panels, 
 painted in blue with scenes of the siege of 
 Dunkerque, now in the town museum. 
 
 BERYILLE (L.). Notice sur le vernis 
 Martin ; suivie d'indications pour 
 la peinture sur terre fine cer- 
 amique. Paris, s.d. 8. 
 
 " Notice of the Martin lacquer ; with 
 instructions for painting on fine pottery." 
 
 BEULE. Causeries sur 1'art. Paris, 
 Didier, 1867. 12, pp. 390. 
 
 " Small talk on art." 
 
 Contains a chapter on ' ' Chinese and Greek 
 Vases. " Mr. Beule", then permanent secretary 
 to the French Academy, was too highly pene- 
 
 29 
 
BIA] 
 
 CERAMIC LITERATURE. 
 
 [BIA 
 
 trated with the love of classical art to reconcile 
 the dignity of the Greek ceramics with the 
 fancies of Oriental porcelain. "The Chinese 
 designers," he says, " never had any conception 
 of plastic beauty. Their vases evince, in their 
 wanton forms, a thorough disregard for harmony 
 of proportion and elegance of outline. Devoid 
 of the fundamental qualities which make a 
 Greek vessel a pure work of art, their porcelain 
 and their bronzes, however precious they may 
 be in material and workmanship, do not rise 
 above the level of ordinary industrial produc- 
 tions." The article had originally appeared 
 in the Revue des deux Mondea. 
 
 BIANCOLI (Conte Alessandro). - - L'arte 
 
 della majolica ; poemetto del 
 C te - A. Biancoli, Bagnacavallese ; 
 con la vita dell'autore ed illus- 
 trazioni del canonico teologo 
 Luigi Balduzzi. Ravenna, Cal- 
 derini, 1875. 8, pp. xxviii-187. 
 3 fcs. 
 
 " The art of Majolica ; a short poem 
 by C te - A. B. of Bagnacavallo ; with 
 a life of the author and annotations by 
 Canon L. Balduzzi." 
 
 Whether or not Biancoli was a poet born, it 
 is not for us to decide ; but writing poetry seems 
 to have been his constant occupation, and the 
 list of his poetical productions which consist 
 chiefly of translations from the Latin is a very 
 heavy one. During his residence in the small 
 town of Faenza he kept friendly intercourse 
 with Count Ferniani. under whose direction the 
 last of the majolica factories, once the glory of 
 the place, was dragging its precarious existence. 
 It is to their joint exertions that is due the 
 lucubration of this poem. Ferniani, experi- 
 enced in the practice of the art, supplied the 
 argument ; Biancoli undertook to put his notes 
 into rhymes, and expanded the subject into 
 four cantos. The first treats of the clays and 
 materials employed in the manufacture of 
 pottery, and of the various ways of fashioning 
 the ware. In the second, the firing and en- 
 amelling processes are described. Instructions 
 for painting on majolica occupy the third. The 
 last canto opens with a laudatory epistle to 
 King Ferdinand IV. , then reference is made to 
 the trade that the Faenza manufacturers were 
 still conducting with foreign countries ; finally 
 an account is given of the State visit of Queen 
 Amelia of Saxony, and of the splendid display 
 of majolica vessels made in the civic banquet 
 which took place on that occasion. 
 
 The poem was completed in 1768. Biancoli 
 was fond of letting his MSS. circulate among 
 his literary friends, but being opposed to their 
 publication during his life time, he would never 
 consent to have them put into print. It was 
 more than one hundred years after his death 
 that a member of the family, a great admirer of 
 his verses, and particularly of the work L'arte 
 della Majolica, resolved to give it to the public. 
 The devoted admiration for the poetical merit 
 of the treatise entertained by the publisher 
 may not be shared by all readers, but the 
 amount of historical and technical information 
 
 it contains amply warranted the tardy publica- 
 tion which has saved it from oblivion. 
 
 BIARDOT (Prosper E.). Explication du 
 symbolismedes terres cuites grec- 
 ques de destination funeraire. 
 Paris, Humbert, 1864. 8, pp. 
 69. 3 fcs. 
 
 " Interpretation of the symbolical 
 meaning of the Greek terra-cottas asso- 
 ciated with funereal rites." 
 
 The pseudonym of P. Biardot covers the 
 personality of Miss Hamilton Gray, to whom 
 we owe the work published in London in 1840, 
 under the title of : Tour to the Sepu/chres of 
 Ktruria. This essay was the forerunner of the 
 big work described hereafter. 
 
 Les terres cuites grecques 
 funebres dans leur rapport avec 
 les mvsteres de Bacchus. Paris, 
 F. Didot, 1872. 8, pp. 551 ; with 
 atlas fol. of 50 pi. (some col.). 
 Publ., 120 fcs. 
 
 "Greek funereal terra-cottas, and 
 their connection with the Bacchanalian 
 mysteries." 
 
 It took the author of this egregious work 
 more than thirty years to weave the intricate 
 web of a system of antiquarian study, in which 
 the hyperbolical methods, once in honour in 
 the exegetic school, are again brought into use. 
 One might have thought that the day has now 
 gone by when such metaphysical delusions 
 could be seriously entertained and discussed. 
 The whole theory developed in the book rests 
 upon the fundamental principle of hieratic 
 astronomy that "all cosmical forces are repre- 
 sented in antique philosophy by the planets 
 and the sidereal powers, materialised into 
 divinities with human form." Accepting these 
 premises, we must believe that the Greek 
 terra-cottas deposited in the tombs of the dead 
 were tutelary images representing the celestial 
 rulers of the universe. We need scarcely say 
 that such a dogma is too great a departure 
 from what the rationalist student of modern 
 time is willing to concede. 
 
 Let us give, as an example of the method 
 of elucidation adopted by P. Biardot, a few 
 quotations culled from the pages referring to 
 one of the large terra-cotta vases found in the 
 burial chambers of Canosa, important pieces of 
 which the writer had secured possession. 
 
 These vases, accurately reproduced on the 
 plates, belong to the group of polychromatic 
 vessels remarkable for the extraordinary pro- 
 fusion of figures, animals, and ornamentation 
 in full relief, affixed to the form. This style is 
 peculiar to the Apulean potter. Any unbiased 
 archaeologist would consider the over-crowded 
 decoration and the bright colours with which 
 it is painted, simply as a telling representation 
 of an epoch of decadence in which a showy 
 display of superfluous detail had replaced the 
 unity of conception and purity of design so 
 
BIL] 
 
 CERAMIC LITERATURE. 
 
 [BIL 
 
 conspicuous in earlier works. The owner of 
 the vases, having cogitated at full leisure upon 
 their latent signification, has much to say on 
 their subject. What follows is but a short 
 abridgment of the recondite allegories which 
 the ecstatic contemplation of ornamental de- 
 vices, meaningless to the uninitiated, can 
 reveal to a true Exegete. 
 
 The quadriga of horses in full relief issuing 
 from the shoulder of one of the vases represents 
 the sun, while the moon is personified by the 
 woman's head placed underneath. The in- 
 clination of the head towards the left indicates 
 the moon's course. The five rosettes painted 
 on the sides, and distinguished by red and blue 
 colours, are the five planets. The dolphin, 
 introduced in the inferior part of the com- 
 position, is waiting to carry the souls of the 
 departed into the celestial regions. The 
 hippocamp, seen on the other side, is Psyche 
 represented under that form. Upon the base 
 of the vessel, painted in pink colour emblematic 
 of death, the infernal seas are represented by 
 horizontal bands of waved lines. 
 
 Leaving aside the interminable series of 
 disquisitions suggested by the ornamentation 
 of the vase, we come to the still more 
 extraordinary revelations embodied in the 
 various parts of its structure and the disclosure 
 of their occult signification. 
 
 The top of the vessel is provided with five 
 irregular necks, or apertures, the central one 
 symbolises the sun, those on the left the 
 milkyway and the zodiac, those on the right 
 the solstices of summer and winter. The 
 bottom is left open, which uncommon want of 
 completeness in t he form is to be regarded as 
 a forcible allusion to the migration of the soul 
 which, according to the religious belief of the 
 Greeks, leaves the body after death to repair 
 to the moon and appear before its judge, etc. 
 
 Each of the terra -cottas examined and 
 described by Prosper Biardot has been sub- 
 mitted to the same analytic treatment, but it 
 is to be questioned what benefit the archaeologi- 
 cal student can possibly gain from the perusal 
 of such delusive speculations. 
 
 BILBAUT(Th.). Ceramiqueset faiences 
 anciennes. Vente a Douai, 1876. 
 Douai, Impr. Duthilleuil, 1876. 
 8 ; with 5 lith. pi. 5 fcs. 
 
 " Catalogue of sale of the Bilbaut col- 
 lection." 
 
 The collection, which comprised 530 Nos., 
 included several large earthenware stoves of 
 German and Dutch manufacture, some French 
 faience, and numerous specimens of porcelain 
 from the northern factories of Douai, Lille, 
 Tournay, and Valenciennes. Demmin's pecu- 
 liar vocabulary has been adopted for the 
 description of the specimens, and a local artist 
 has reproduced the best ones on lithographic 
 plates of very amateurish treatment. 
 
 - L'art ceramique au coin du 
 feu. Premiere serie. I. Le 
 bibelot de Marie Desbryans. 
 Poteries d'Oiron et Rustiques 
 
 Figulines de Bernard Palissy. 
 II. Le Christ en croix de Mon- 
 sieur le conseiller Fortuyet. 
 Rouen bleu et Rouen poly- 
 chromes. Paris, 1892. 18, pp. 
 376. 3 fcs. 
 
 " Ceramic art by the fireside, etc." 
 
 This novel is intended to impart to the man 
 of the world, in a disguised and entertaining 
 manner, a smattering of ceramic knowledge 
 that he might be reluctant to acquire in the 
 ordinary way. It is framed on the plan of the 
 ingenious toys in which children are expected 
 to find instruction combined with amusement. 
 With such a childish purpose, nothing better 
 than a childish production could be expected 
 
 La ceramique des Colonies 
 fran^aises. Age de terre. Age 
 de pierre. Poteries de la Guyane 
 et des Antilles francaises. Paris, 
 Societe d'editions scientifiques., 
 1893. 8, pp. 160. 3 fcs. 
 
 " Ceramics of the French Colonies. 
 Age of clay. Age of stone. Pottery of 
 Guyana." 
 
 In the historical exhibition of America, held 
 at Madrid in 1892, could be seen a dozen or so 
 of ancient earthen vessels of various origin. It 
 was with reference to these specimens that this 
 essay was elaborately concocted from notes and 
 documents previously accumulated apparently 
 without any definite purpose. It contains 
 much about the Deluge, the prehistoric races, 
 the ceramic art in general and the Greek vases 
 in- particular, but little or nothing about its 
 avowed subject viz., the potteries of the 
 French colonies. We are asked to share the 
 perplexity of the writer who, in the face of 
 these simple globular or ovoid pots, originating 
 from various parts of the world, is at a loss to 
 account for the extraordinary likeness they 
 bear to one another. Forgetting the axiom 
 he has formulated at the opening of his 
 disquisition that: ''In all primitive races the 
 march of civilisation proceeds always on the 
 same lines," and that the earliest attempts 
 at vase making were bound to exhibit the 
 rudimentary notions of the sphere and the egg, 
 he devotes a vast amount of geographical and 
 historical research to the object of showing 
 how it came to pass that these notions 
 penetrated from one country into another. 
 He concludes by advocating the expediency 
 of recognising an age of clay. We thought 
 that the names of stone, bronze, and iron ages 
 had been fixed upon to designate the successive 
 periods in which man "a tool using animal" 
 had substituted a superior material to the 
 one he had so far employed for making his 
 weapons and tools, and transformed, thereby, 
 his social conditions. Were we to accept the 
 term, "age of clay," as applied to an ill-defined 
 period of the past, we might next be asked 
 to call the present epoch by the no less 
 appropriate term, the age of porcelain. 
 
 31 
 
BIN] 
 
 CERA MIC L IT ERA TURE. 
 
 [BIN 
 
 BINDI (YincenZO). Le majoliche di 
 Castelli ed i pittori che le illus- 
 trarono. Brevi notizie storiche 
 ed artistiche. Napoli, Cioffi, 
 1883. 4, pp. 62. 6 fcs. 
 
 " The Castelli majolica and the artists 
 who have decorated it. Short historical 
 and artistic notices." 
 
 A complement to the works of Bonghi, 
 Cherubini, Rosa, etc., who have treated the 
 same subject. It contains a few documents 
 not given in the previous monographs. 
 
 RING et GRONDAHL Catalogue de- 
 scriptif des figures et bas-reliefs 
 d'apres Thorvaldsen, executes 
 en biscuit dans la fabrique de 
 MM. Bing et Grondahl, a Copen- 
 hague. Copenhagen, s.d. 8 ; 
 with 8 lith. pi. (In Danish and 
 French.) 
 
 " Descriptive catalogue of the figures 
 and bas-reliefs, after Thorwaldsen, exe- 
 cuted in biscuit in the manufactory of 
 Messrs. B. & G., of Copenhagen." 
 
 BINNS (Ch. F.). The manual of prac- 
 tical potting. Second edition, 
 revised and enlarged, specially 
 compiled by experts, and edited 
 by Charles F. Binns. London, 
 Offices of the Pottery Gazette, 
 1897. 8, pp. 204. 15s. 3rded., 
 17s. 6d. 
 
 Recipes obtained from various sources 
 occupy the largest part of this handbook. 
 To these are added the trade calculations and 
 some of the practical methods followed by 
 English potters in the manufacture of china 
 and earthenware. Mr. Ch. Binns has been, 
 for a time, associated with his father in the 
 management of the Worcester porcelain works 
 
 Ceramic technology, being 
 some aspects of technical science 
 as applied to pottery manufac- 
 ture. London, Offices of the 
 Pottery Gazette, 1897. 8, pp 
 102. 12s. 
 
 A small treatise intended to bring theorj 
 within the grasp of the manufacturer imj 
 fectly acquainted with chemistry. 
 
 The story of the Potter, being 
 
 a popular account of the rise anc 
 progress of the principal manu 
 
 32 
 
 factures of pottery and porcelain 
 in all parts of the world, with 
 some description of modern prac- 
 tical working. London, G. New- 
 nes, 1898. 16, pp. 248 ; with 57 
 zinco-block illustr. Is. 
 
 Full of well selected and condensed informa- 
 tion. This small volume may do more than 
 many expensive publications to spread the 
 knowledge of ceramic history. Its modest 
 price places it within everybody's reach, and 
 its intrinsic value renders it equal, if not 
 superior, to the best popular handbooks on 
 the subject. 
 
 BINNS (Richard William). A guide 
 
 through the Worcester Royal 
 Porcelain Works, with a descrip- 
 tion of the various processes and 
 manipulations used in the manu- 
 facture of porcelain. Worcester, 
 printed by F. Gosling, 1853. 8, 
 pp. 35 ; with 10 lith. pi. of views 
 of the works, and a folding pi., 
 printed from the old coppers 
 engraved by Robert Hancock 
 and others. 
 
 With this handbook, now become scarce, Mr. 
 R. W. Binns opened the series of publications 
 he has devoted to the history of the Worcester 
 Porcelain Works. . In the previous year, 1852, 
 he had entered into partnership with Mr. Kerr, 
 and taken the lead in the artistic manage- 
 ment of a firm which nourished for nearly fifty 
 years under his able direction. 
 
 Shakespere's Midsummer 
 Night's Dream. With illustra- 
 tions, as designed and modelled 
 by W. Boy ton Kirk, Esq., 
 A.R.H.A., for a dessert service 
 manufactured by Messrs. Kerr, 
 Binns & Co. (late Chamberlain 
 & Co.), Royal Porcelain Works, 
 Worcester, Dublin, Philadelphia, 
 and New York, for the Dublin 
 Great Exhibition of 1853. Litho- 
 graphed by Day & Son. Dublin, 
 J. M'Glashan, 1853. Roy. 8, 
 pp. 35 ; with 13 lith. pi., drawn 
 by J. A. Winter. 
 
 Although issued under the joint names of 
 the members of the firm, this volume was 
 actually prepared at the suggestion and under 
 the direction of Mr. Binns. He himself made 
 the general arrangement, and designed the 
 
BIN] 
 
 CERA MIC LIT ERA TURE. 
 
 [BIN 
 
 forms and decorations of this dessert service, 
 remarkable on many accounts. Made for the 
 Dublin exhibition, it claimed to have been 
 manufactured from materials chiefly found in 
 Ireland ; an Irish sculptor of great talent had 
 been entrusted with the execution of the 
 models. The lithographic plates, reproducing 
 the groups and figures which entered into the 
 composition, do not give enough credit to the 
 work of Boy ton Kirk, as one may judge from 
 the few examples preserved in the Worcester 
 Museum. 
 
 Porcelains, like books, obey their destiny. 
 The service, having been sold after the exhibi- 
 tion, was soon lost sight of. All traces of it 
 were gone when, many years afterwards, Mr. 
 Binns chanced to come across a few of the 
 pieces, badly damaged, but probably the only 
 remnant of what had been one of the most 
 creditable and costly productions of the Royal 
 Porcelain Works. They were immediately 
 acquired and deposited in the museum, where 
 they stand as an excellent illustration of the 
 revival of ceramic art in England. 
 
 - The origin and early history 
 of the manufacture of porcelain 
 at Worcester. A memoir read 
 at the annual meeting of the 
 Archaeological Institute, held at 
 Worcester, July, 1862. Wor- 
 cester, Deyton, 1862. 8, pp. 12; 
 with woodcuts and marks. 
 
 The Battersea works are justly credited with 
 the introduction of transfer printing applied 
 to the decoration of enamel on copper. Mr. 
 Binns demonstrated in this paper that the pro- 
 cess was soon after imported into Worcester 
 by the engraver Robert Hancock. There is 
 little doubt that printing on china was in full 
 practice at Worcester before Sadler & Green, 
 of Liverpool, claimed to be the inventors of its 
 application to pottery and applied for a patent, 
 which was not granted to them. 
 
 - A century of potting in the 
 City of Worcester, being the 
 history of the Royal Porcelain 
 Works from 1751 to 1851; to 
 which is added a short account 
 of the Celtic, Roman, and 
 Mediaeval pottery of Worcester- 
 shire. London, Quaritch, 1865. 
 8, pp. 228 ; woodcuts. 1 Os. 
 
 This volume became the basis of the defini- 
 tive history of the Worcester manufactory, 
 published thirteen years later. 
 
 - A century of potting in the 
 City of Worcester, etc. (title as 
 above). London, Quaritch, 1878. 
 Roy. 8, pp. 376 ; with 22 pi. and 
 87 text illustr. 2, 2s. A few 
 
 3 
 
 copies were printed on large 
 paper, with photographs added. 
 
 7. 
 
 When R. W. Binns decided to write a mono- 
 graph of the Royal Porcelain Works the loss 
 of all account books and business papers left 
 by the old firm, and destroyed in 1848, greatly 
 increased the difficulties of his task. The first 
 edition was, on that account, insufficiently sup- 
 ported by documentary evidence. For years 
 afterwards the author went on gathering an 
 abundant harvest of supplementary materials. 
 References to the Worcester porcelain of the 
 early period were ferreted out of contemporary 
 books and periodicals. Some of the original 
 acts and deeds signed by members of the first 
 company, and other important evidence, were 
 accidentally discovered. Finally, a fruitful 
 examination of authenticated specimens, of 
 which Binns had seen an untold number pass 
 through his hand, rendered it imperative that 
 the small volume should be revised and en- 
 larged to the proportions of a compact history. 
 A Century of Potting in the City of Worcester 
 will remain the standard book on the subject. 
 Numerous illustrations reproduce the best types 
 of Worcester porcelain at the various periods 
 of manufacture. Proofs from the original 
 copper plates, still preserved at the factory, 
 form an interesting and useful complement. 
 
 - The poetry of pottery. Hom- 
 er's Hymn from Cowper. Long- 
 fellow's poem from Harper's 
 Magazine ; with pottery illustra- 
 tions by R. W. Binns, F.S.A. 
 Published as descriptive of a 
 pair of vases manufactured at 
 the Royal Porcelain Works for 
 the Paris Exhibition, 1878. Sm. 
 4, pp. 37 ; with 4 photos. Pri- 
 vately printed. 
 
 The vases, illustrating painting and sculp- 
 ture, and the various operations of the potter's 
 art, were modelled by J. Hadley. 
 
 - Catalogue of a collection of 
 Worcester porcelain in the Mus- 
 eum of the Royal Porcelain 
 Works. Worcester, Baylis, 1882. 
 8, pp. 183 ; with illustr. 10s. 
 
 The museum, entirely composed of specimens 
 of Worcester porcelain, contains also some of 
 the old moulds and models, and other relics of 
 the early manufacture. Its formation was 
 chiefly due to the untiring care of R. W. 
 Binns. It comprises 1900 Nos., and the 
 catalogue, of great importance for the study 
 of the ware, is illustrated with reproductions 
 grouped together chronologically. 
 
 - A guide through the Worces- 
 ter Royal Porcelain Works. 
 
 33 
 
BIN] 
 
 CERAMIC LITERATURE. 
 
 [BIR 
 
 Worcester, 1882. 8, pp. 48 ; with 
 illustr. 
 
 A guide-book presented to the visitors to the 
 factory. 
 
 BINNS (Richard William). The partner- 
 ship deeds of the Original Por- 
 celain Company, founded by Dr. 
 Wall, Worcester, 1751. Wor- 
 cester, 1883. 8, pp. 16; with 
 facsimile of signatures. Privately 
 printed. 
 
 These deeds, now preserved at the factory, 
 came to hand a few years after Mr. Binns had 
 published his great work. 
 
 - A guide through the Royal 
 Porcelain Works. Worcester, 
 1893. Obi. 12, pp. 48; illustrated 
 with views of the modern work- 
 shops. Published on the occa- 
 sion of the Chicago Exhibition. 
 
 The Worcester Koyal Por- 
 celain Co. Worcester, 1893. 
 Obi. 12, pp. 48 ; with phototype 
 illustr. Privately printed. 
 
 In addition to numerous examples of Wor- 
 cester porcelain, this handsome booklet contains 
 views of the royal castles for which dinner ser- 
 vices have been executed at the works. 
 
 - Worcester china. A record 
 of the work of forty-five years, 
 1852-1897. London, Quaritch, 
 1897. 8, pp. 140 ; with 35 half- 
 tone pi. 1. A few copies have 
 been printed on large paper with 
 extra plates. 
 
 Not long after the publication of this volume 
 R. W. Binns peacefully ended his nobly and 
 usefully employed existence, admired and re 
 spected by all. The enormous quantity of 
 porcelain of all kinds that was produced under 
 his direction bears the impress of his personal 
 taste. Indeed, were it not that ' ' Worcester " 
 is a commanding name, by the side of which 
 all others are bound to fall into the shade, 
 "Binns' ware" would have taken a place 
 alongside Wedgwood ware or Minton's ware. 
 So exclusively had his whole career been linked 
 with the existence and welfare of his beloved 
 manufactory that, having recorded the Succes- 
 sion of improvements and described the finest 
 works made during the time of his manage- 
 ment, the writer has thought it unnecessary 
 to give us any particulars about his own life, 
 or to insert any remarks about the condi- 
 tions and prospects of the modern ceramic 
 art. The biographical notice, which we regret 
 
 34 
 
 not to find in this volume, should be written 
 while the memory of the man and his work 
 is still fresh in the minds of those who have 
 known him. 
 
 BINNS (W. I.). The first century of 
 English porcelain. London, Hurst 
 & Blackett, 1906. 4, pp. xvi- 
 251; with 77 pi. (45 col.). Publ., 
 
 2, 2s. 
 
 Unassuming in its scope, but full of reliable 
 information clearly presented, this volume will 
 be appreciated by the lover of old English china 
 as a preliminary study of the subject. 
 
 BIONDI (R.). Collection des dessins 
 des difFerentes formes des vases 
 italo-grecs, communement ap- 
 peles etrusquesjusqu'iciconnus, 
 tires d'apres les originaux par 
 Mr. R. Gargiulo. Naples, 1822. 
 4. Text in French and Italian, 
 
 " A collection of drawings of all the 
 shapes of the Italo-Greek vase, com- 
 monly called Etruscan, known up to 
 this time ; drawn from the originals by 
 R. Gargiulo." 
 
 BIRCH (S.) and NEWTON (C. F.),-A cata- 
 logue of the Greek and Etruscan 
 vases in the British Museum. 
 London, 1851-70. 2 vols., 8, 
 pp. 372 and 334 ; with 9 pi. of 
 forms in outline. 12s. 
 
 The gallery of Greek vases in the British 
 Museum rivals, if it does not surpass, the finest 
 collections ever formed in Europe ; the Louvre 
 Museum is only superior to it in number of 
 specimens. For more than a century it has 
 been enriched by numerous and important 
 bequests, and no private collection has been 
 thrown on the market from which the trustees 
 of the British Museum did not acquire the 
 most select portion. At the present day, one 
 may say that the successive epochs and chief 
 styles of vase painting could nowhere else be 
 studied with so much fruit, and seen illus- 
 trated by so many examples of incomparable 
 beauty. 
 
 Birch and Newton's catalogue comprises less 
 than 2,000 Nos. The additional volume by 
 which it was to be completed has never been 
 published. 
 
 BIRCH (S.). History of ancient pot- 
 tery. Egyptian, Asiatic, Greek, 
 Roman, and Etruscan. London, 
 Murray, 1858. 2 vols., 8 ; with 
 col. pi. and text illustr. Publ., 
 2, 2s. 
 
BIR] 
 
 CERAMIC LITERATURE. 
 
 [BIS 
 
 - 2d ed. London, Murray, 1873. 
 8, pp. xv-644 ; with 13 col. pi. 
 and 209 illustr. 18s. 
 
 The want of a text-book which should bring 
 together the history of the ancient pottery of 
 all nations, from the earliest ages, had often 
 been expressed. Dr. S. Birch was the first to 
 attempt the realisation of such a scheme, and 
 he brought it to completion with absolute suc- 
 cess. It would be nothing short of presumption 
 on our part to praise a work the immense value 
 of which is acknowledged by all students of 
 archaeology. All we can say is that, according 
 to the opinion of the masters of the science, 
 Birch's general history of ancient pottery has 
 remained, up to this day, an unassailable 
 authority on most of the subjects that are 
 treated in it. It condenses the substance of 
 many volumes of difficult access and often of 
 still more difficult interpretation ; all materials 
 have been selected with judicious discrimina- 
 tion and classified with clearness and accuracy. 
 In short, notwithstanding the advance accom- 
 plished in antiquarian knowledge since its 
 publication, it is still the best cyclopaedia of 
 ancient ceramic art to which we may refer, in 
 full confidence, for general information. 
 
 The following papers by S. Birch 
 appeared in Archceologia : 
 
 - Explanation of the myth upon 
 a fictile vase found at Canino, 
 now in the British Museum. 
 1841. 4. 
 
 - Observations on a fictile vase 
 representing the contest of Her- 
 cules and Juno. 1844. 4. 
 
 - Observations on a vase found 
 at Sandy, Bedfordshire. 1844. 
 4. 
 
 - Note on a vase with Pelops 
 Plexippus in the B. M. 1846. 4. 
 
 - Description of a fictile vase 
 from Vulci, supposed to com- 
 memorate the fate of the family 
 of Agamemnon. 1847. 4. 
 
 On a vase representing an 
 adventure of Perseus. 1855. 4. 
 
 BIRDWOOD (G. C. M.). The industrial 
 arts of India. London, 1880. 8, 
 2d ed. One of the handbooks 
 of the South Kensington 
 Museum. 
 
 Pottery : pp. 300-324 ; with 12 illustr. 
 
 BIRINGDCCIO (Yanoccio). De la piro- 
 
 technia. Libri. X. dove ampia- 
 mente si tratta non solo di ogni 
 sorte e diversita di Miniere, ma 
 anchora quanto si ricerca intorno 
 a la prattica di quelle cose, di 
 quel che si appartiene a Farte de 
 la fusione over gitto de metalli, 
 come d'ogni altra cosa simile k 
 questa. Composti per il S. 
 Vanoccio Biringuccio, Sennese. 
 Con privilegio Apostolico & de 
 la Cesarea Maesta & del Illus- 
 triss. Senate Veneto. Stampata 
 in Venetia per Venturino Rossi- 
 nello. Ad instantia di Curtio 
 Navo & Fratelli, MCCCCCXL. 
 4, pp. xiv-168; woodcuts. 
 
 2nd ed. In Vinegia, per 
 Giovan Padoano, ad instantia di 
 Curtio Navo, MCCCCCL. 4, 
 pp. xv-334 ; woodcuts. 
 
 " Pyrotechny. In ten books, dealing 
 very fully with minerals of every kind 
 and variety, as well as with all that per- 
 tains to the art of smelting and casting 
 metals, and of many kindred subjects." 
 
 "Capit. XIIII. Discorso sopra a 1'arte 
 figulina, con alcuni suoi secreti, pp. 145." 
 
 Three pages have been thought sufficient to 
 unfold the secrets of the potter's art. Short as 
 they are, the descriptions of the various pro- 
 cesses applied to the making of common pottery 
 and majolica are quite practical. The most 
 important formulae in connection with the 
 manufacture of the times, that is the composi- 
 tions of the flux called "mazacotto," and of the 
 stanniferous enamel are perfectly correct. Less 
 mystery was certainly made at that moment 
 about the secrets of the trade, which we also 
 find disclosed in the MS. of Piccolpassi written 
 in 1548, than at a later period, when the so- 
 called recipes given by technical writers are 
 generally extravagant and untrustworthy. 
 
 BIRKET- SMITH (S.)- Die malede 
 Vaser i Antikkabinettet i Kjo- 
 benhavn. Copenhagen, 1862. 
 
 "The painted vases in the Museum of 
 Antiquities in Copenhagen." 
 
 BISCARI (T. P. C.). De vasi murrini. 
 Kagionamente d'Ignazio Paterno 
 Castello, Principe di Biscari & 
 AcademicodellaCrusca. Catania, 
 
 35 
 
BIS] 
 
 CERAMIC LITERATURE. 
 
 [BLA 
 
 1781. Sm. 4, pp. 39 ; with 2 pi. 
 3s. 
 
 " A disquisition on the murrhine 
 
 vases." 
 
 Written in support of the theory that the 
 murrhine vases were cut out of agate, onyx, 
 opal, rock-crystal, or other precious stones. 
 The two examples engraved to illustrate this 
 view are not calculated to strengthen the 
 argument. One reproduces a marble vase, 18 
 inches in height, discovered at Catania ; the 
 other an opal cup, with a gold mount, which 
 bears all the characteristics of Renaissance 
 work. Both were in the possession of the 
 author. 
 
 BISCARI (T. P. C.)---Ragionamento 
 sopra gli antichi ornament! e 
 trastulli de'bambini. Firenze, 
 1781. 4, pi. 
 
 "Essay upon the children's trinkets 
 and toys in antiquity." 
 
 The plates reproduce the terra-cotta orna- 
 ments and toys discovered in the children 
 graves of Etruria, Rome, and Sicily. 
 
 BISCARRA (C. F.). Dell'arte ceramica 
 e di Giuseppe Devers. Torino, 
 1871. 8, pp. 12; with portr. 
 and illustr. 
 
 " Ceramic art and G. Devers." 
 
 Many a curious page might have been written 
 forty or fifty years ago, upon those singular 
 characters, the " arcanists " of faience-making, 
 whom the fad of the moment and a good 
 humoured curiosity had called into existence. 
 The tale has not been told, unfortunately ; the 
 genus is now extinct, and the writings of 
 Monestrol, the "Potter of Rungis," are about 
 the only remaining records of their grotesque 
 eccentricity. 
 
 G. Devers, who had just arrived from Italy 
 with the reputation of being in possession of 
 the secrets of the old majolica painters, had no 
 difficulty in taking advantage of a momentary 
 infatuation for all that related to the revival of 
 ceramic art. By no means a talented artist, 
 and with a very limited knowledge of practical 
 manufacture, he succeeded, nevertheless, in 
 keeping in suspense for a long while the interest 
 raised by his first experiments. He received 
 great encouragement from private amateurs, 
 and obtained from the French Government 
 commissions for ornamental majolica intended 
 for the decoration of public buildings. A few 
 years passed away, and the long-deferred ex- 
 pectations ended at last in smoke. Of his 
 experimental productions, hardly an example 
 could now be seen ; and one cannot repress a 
 smile at the unprofessional appearance of their 
 very imperfect execution. 
 
 The Italian notice written on the achieve- 
 ments of Devers differs, naturally, from what 
 we have just said. On returning to his native 
 conntry, he found that the report of his 
 Parisian successes had preceded him, and on 
 
 36 
 
 the strength of the fame he had acquired 
 abroad, Devers was covered with honours. He 
 gave up the practice of the potter's art, and 
 ended his days in the comfortable position of a 
 professor at the Academy of Turin. 
 
 BISCHOF (Carl). - - Die feuerfesten 
 Thone, deren Vorkommen, Zu- 
 sammensetzung, Untersuchung, 
 Behandlung mid Anwendung. 
 Mit Berlicksichtigung der feuer- 
 festen Materialen uberhaupt. 2d 
 ed. Leipzig, 1896. 8 ; with 90 
 illustr. and 2 pi. 10 m. 
 
 "The refractory clays; their occurrence, 
 classification, trial, treatment, and appli- 
 cation. With general considerations upon 
 the fire-resisting materials." 
 
 - Gesammelte Analysen der in 
 der Thonindustrie benutzen 
 Materialien, und der daraus 
 hergestellten Fabrikate. Leipzig, 
 Quant und Handel, 1901. Sq. 
 8, pp. vi-165. 10 m. 
 
 " General analysis of the materials 
 employed in the ceramic industry, and 
 of the products manufactured from them." 
 
 BISSING (W. V.). Catalogue general 
 des antiquites egyptiennes du 
 Musee du Caire. Vol. vi.- 
 Fayence Gefasse. Vienne, 1902. 
 4, pp. xxi-114; with 1 pi. and 
 half-tone illustr. 1, 2s. 
 
 "Catalogue of the Egyptian antiquities 
 in the Cairo Museum. Faience vessels." 
 
 Under the common heading of Faience are 
 ranged glazed vessels of all kinds, steatite, 
 porcelain, or glazed earthenware. The col- 
 lection contains few pieces of a high order. 
 
 BIZEMONT (A. de). Faience d'Orleans. 
 Paris, 1869. 4, pp. 4. Extr. 
 
 "The faiences of Orleans; information 
 extracted from the works of Messrs. 
 Jacquemart, Demmin, and Grellou." 
 
 BLACAS (de). Memoire sur une de- 
 couverte de vases funeraires pres 
 d'Albano. Paris, s.d. 8, pp. 21 ; 
 with 5 pi. 2 fcs. 
 
 " Memoir upon the discovery of funer- 
 eal vases near Albano." 
 
 BLACKER (J. F.). The AB C of col- 
 
BLA] 
 
 CERA MIC LITER A TURE. 
 
 [BLA 
 
 lecting old English china. Giving 
 a short history of the English 
 factories, and showing how to 
 apply tests for unmarked china 
 before 1800. London, published 
 by the London Opinion Curio 
 Club, 1908. 8, pp. 142 ; with 
 pen and ink illustr. Is. 
 
 A well digested and reliable summary of 
 the history of porcelain manufacture in England, 
 derived from the best sources. 
 
 BLAKE (William P.). Ceramic art : a 
 report on pottery, porcelain, tiles, 
 terra -cotta, and brick, with a 
 table of marks and monograms ; 
 a notice of the distribution of 
 materials for pottery, chronicle 
 of events, etc. New York, Van 
 Nostrand, 1875. 8, pp. 146 ; 
 vign. 3s. 
 
 A report of the United States Commissioner 
 at the Vienna International Exhibition, 1873. 
 The work was entrusted to a competent writer 
 and is commendable throughout ; the section of 
 ceramic products applied to building is especi- 
 ally well done. 
 
 BLANC (Ch. ). Institut de France. Du 
 decor des vases, fragment d'un 
 ouvrage sur les arts decoratifs. 
 Paris, F. Didot, 1873, 4, pp. 23. 
 4 fcs. 
 
 " On the decoration of vases ; an ex- 
 tract from a work on the decorative arts." 
 
 This paper was distributed to the Committee 
 of Improvements of the National Manufactory 
 of Sevres, of which Ch. Blanc, a celebrated art 
 critic, was a member. It is directed against 
 the reproduction of oil paintings and, in general, 
 of all realistic objects upon porcelain vases. The 
 writer advocates the use of brilliant and intense 
 colours and the effects to be obtained by their 
 happy combinations, while he deplores the 
 modern tendencies of obtaining a subdued 
 harmony by employing none but pale and 
 faded tints. 
 
 - Grammaire des arts decora- 
 tifs. Paris, 1882. 8; with 2 col. 
 pi. and text illustr. Publ., 1. 
 
 " Grammar of the decorative arts." 
 
 Besides the article on ' ' The decoration of 
 vases," the volume contains an essay on " The 
 form of vases," pp. 338-416, which had appeared 
 in the Gazette des Beaux- Arts. 
 
 See TWers (collection). 
 
 BLANCHE! (Adrien). Etudes sur les 
 figures en terre-cuite de la Gaule- 
 romaine. Paris, 1890. 8, pp. 
 159; with 2 fold. pi. (Extr. from 
 the Memoires de la Soc. des Anti- 
 quaires de France.} 
 
 " Essay on the terra-cotta figures of 
 Roman- Gallia." 
 
 A commendable and interesting digest of all 
 that has come to our knowledge respecting the 
 Gallo-Roman terra-cottas. Tudot's great work 
 on the subject has been taken by Mr. Blanchet 
 as the basis of his essay ; but far from accepting 
 the theories advanced by that antiquary, he 
 points out their weak side and endeavours to 
 replace shadowy conjectures by more rational 
 views, the outcome of serious and unbiased 
 studies. A list of all the localities where terra- 
 cotta figures of Gallo-Roman origin have been 
 discovered and of the museums in which they 
 are now preserved, gives to the volume a 
 particular value. 
 
 Supplement, 
 with 6 pi. 
 
 Paris, 1901. 
 
 Les ateliers de ceramique 
 dans la Gaule-romaine. Paris, 
 Impr. Nat., 1899. 8, pp. 19. 
 
 "The ceramic work-places in Roman- 
 Gallia." 
 
 As a complement to his former work, Mr. 
 Blanchet enumerates in this paper the names 
 of seventy localities where Roman potter's kilns 
 have been excavated. 
 
 - Essai d'une bibliographic de 
 la Gaule-romaine. Paris, 1902. 
 8, pp. 32. (In Blanchet, Melanges 
 d' Archeologie.} 
 
 In addition to the titles of the standard 
 books on the subject, the list mentions the 
 articles that have appeared in the archasological 
 publications. 
 
 BLANCHETIERE. Visite a la manufac- 
 ture de porcelaine de Bayeux. 
 Caen, Le Blanc - Hardel, 1877. 
 8, pp. 16. 
 
 " A visit to the Bayeux porcelain 
 manufactory." 
 
 The kaolin employed in this manufactory is 
 extracted at Pieux, a neighbouring locality ; it 
 is of very inferior quality. With it are made 
 chemical utensils and fire-proof porcelain vessels, 
 particularly well adapted for the purpose they 
 are intended to serve 
 
 BLARAMBERG (de).- -Notice sur quel- 
 ques objets d'antiquite, de- 
 
 37 
 
BLA] 
 
 CERA MIC LITER A TURE. 
 
 [BLO 
 
 couverts en Tauride dans un 
 tumulus, pres du site de 1'anci- 
 enne Panticapee. Paris, 1822. 
 8, pi. 2 fcs. 
 
 " Notice of a few objects of antiquity 
 discovered in Taurida, within a tumulus, 
 near the site of ancient Panticapea." 
 
 BLASHFIELD (John Mariot). On the 
 structure of Greek fictile vases. 
 London, 1852. Pp. 10. (Extr. 
 from the Transactions of the 
 Society of Arts.) 
 
 - An account of the history and 
 manufacture of ancient and 
 modern terra-cotta, and of its 
 use in architecture as a durable 
 and elegant material for decora- 
 tion. London, 1855. 8, pp. 32 ; 
 with 2 illustr. 
 
 Patent terra - cotta vases, 
 tazze, figures, etc., manufactured 
 by J. M. Blashfield. London, 
 1857. 4, 15 pi. 
 
 - A catalogue of 500 articles 
 made of patent terra-cotta. Lon- 
 don, 1857, 8. 
 
 - A selection of vases, statues, 
 busts, etc.. from terra-cottas by 
 J. M. Blashfield. London, J. 
 Weale, 1857. 4, pp. 4; with 
 105 wood engr. and lithogr. pi. 
 15s. 
 
 - Catalogue of terra-cotta works 
 of art sold by auction, May, 1858. 
 London, 1858. 8. 
 
 - Examples of terra-cotta, etc. 
 Stamford, 1868. Obi. 4 ; with 
 72 lith. pi. 
 
 These catalogues were issued by a terra-cotta 
 manufacturer whose works, first established at 
 Mill wall, Poplar, were subsequently removed 
 to Stamford. The enterprise was formed into 
 a limited liability company in 1874. It failed 
 one year after. The plant and stock were sold 
 by auction in 1875. 
 
 BLASI (S. M. di). Sopra un vaso 
 greco-siculo figurato del Museo 
 
 38 
 
 Martiniano. Palermo, 1755. Sm. 
 4, pp. 20 ; with 2 pi. (In Saggi 
 di . dissertazioni delV Accademia 
 palermitana delBuon Gusto, vol. i.) 
 
 " Upon a Greco -Sicilian vase, with 
 figures, in the San Martino Museum." 
 
 The Palermitan antiquary exposes his theory 
 that all the painted vases found in Etruria have 
 a Sicilian origin. 
 
 - Breve ragguaglio del Museo 
 del Monastero di San Martino 
 delle Scale. . . . Palermo, 1774. 
 
 4. 
 
 " A short notice of the Museum of San 
 Martino delle Scale." 
 
 The museum contained a large collection of 
 Greek vases. 
 
 BLATCHLEY (W, S.). A preliminary 
 report on the clays and clay- 
 industries of the coal-bearing 
 counties of Indiana. Indiana- 
 polis, 1895. 8, pp. 184; with 7 
 pi. (Twentieth annual report of 
 the Depart, of Geology, Indiana.) 
 
 Gives the list of all the manufacturers of 
 bricks and tiles in Indiana, with descriptions of 
 some of the works and of the processes of manu- 
 facture. 
 
 BLOCH (Leo). - - Die zuschauenden 
 Gotter in der rothfigurigen 
 Vasengemalden des malerischen 
 Stiles. Munchen, 1888. 8, pp. 
 72. 2m. 
 
 " The 'on-looking' Deities in the paint- 
 ings of the red-figured vases of the pictur- 
 esque style." 
 
 In the elaborate and complex subjects painted 
 on the Greek vases of a late period, the scene is 
 often presided over by the figure of a Deity, of 
 a character more or less definite, a mysterious 
 force which inspires and animates the person- 
 ages engaged in the action. Koerte had thought 
 to recognise in these figures the impersonation 
 of the fateful agency which strikes the victim 
 of celestial resentment and condemns a hero to 
 distraction and madness. Bloch refutes this 
 theory, and describes, from among the paint- 
 ings in which a supernatural being is repre- 
 sented intervening in the affairs of mortals, 
 the many instances of an easily recognisable 
 tutelary and benevolent Deity. In the sub- 
 jects he has selected may be seen Pallas- Athene 
 shielding a combatant warrior, Hermes inspiring 
 a poet, Kros protecting the lovers, and other 
 scenes of unmistakable meaning. 
 
 BLOMME (A.). Un carreau vernisse 
 
BLO] 
 
 CERAMIC LITERATURE. 
 
 [BOD 
 
 trouve a Termonde. Anvers, 
 1877. 8. 
 
 " A glazed tile found at Termonde." 
 
 BLONDEL (Spire). Grammaire de la 
 Curiosite. L'art intime et le 
 gout en France. Paris, Marpon, 
 1884. 4, pp. 396 ; with 25 pi. 
 and 190 illustr. 20 fcs. 
 
 " A grammar of curiosity ; art in the 
 house and good taste in France." 
 Ceramics, pp. 161-184. 
 
 BLUMNER (Hugo). --Die gewerbliche 
 Thatigkeit der Volker des klasis- 
 chen Alterthums. Leipzig, Hir- 
 zel, 1869. 8, pp. 153. 4 m 
 
 " The conditions of industrial arts 
 among the nations of classical antiquity." 
 
 The work deals separately with the chief 
 industrial centres of antique civilisation. A 
 very complete index supplies the means of 
 referring to the places in which information 
 on "Pottery," "Vase Painting," and "Tile 
 Making" may be found in each section. 
 
 - Technologic und Terminologie 
 der Gewerbe und Kiinste bei 
 Griechen und Romern. Leipzig, 
 1899. 2vols., 4. 20m. 
 
 " The technology and terminology of 
 the industries and arts of the ancient 
 Greeks and Romans." 
 
 In the part relating to ceramics are described 
 all the antique works of art, paintings, bas- 
 reliefs, medals, cameos, and intaglios on which 
 the making and painting of vases are repre- 
 sented. An article on the same subject pub- 
 lished in the Mittheilungen des Deutschen arche- 
 ologischen Institutes, Athens, 1879, has been 
 reprinted in this work. 
 
 BLUMSEIN (Carl). Delft und seine 
 Fayencen. Hamburg, Richter, 
 1899. 8, pp. 45. 
 
 " The town of Delft and its faience." 
 
 Havard's Histoire de la faience de Delft in 
 an abridged form. 
 
 BOCH (Roger VOn). Geschichte der 
 Topferarbeiter von Staffordshire 
 im 19 Jahrhundert. Stuttgart, 
 1899. 8, pp. 332. 7s. 
 
 " History of the operative potter of 
 Staffordshire in the nineteenth century." 
 
 A survey of the social conditions of the 
 workpeople and the state of the industry at 
 different periods, the organisation of the trade 
 
 associations, and the Government regulations in 
 the Staffordshire potteries, based on statistics 
 and official documents. A work of great im- 
 portance to the economist, and which, in this 
 concrete form, was wanting in the English 
 language before Owen had published his 
 volume on the same subject. 
 
 BOCK (0.). Die Ziegelfabrikation, 
 Handbuch bei Anlage und 
 Betrieb von Ziegeleien. Weimar, 
 1894. 8, pp. 336 ; with an atlas 
 4 of 22 double pi. 10 m. 
 
 " The manufacture of tiles ; handbook 
 to the establishment and conduct of a 
 tile manufactory." 
 
 A revised edition of Newmann's Ziegelfabri- 
 kation in F. Vogt's Neuer Schauplatz der Kunste 
 und Handwerke. 
 
 BOCK (W. de). Poteries vernissees 
 du Caucase et de la Crimee. 
 Paris, 1898. 8, pp. 64 ; with 31 
 illustr. (Reprint from Memoires 
 de la Soc. des Antiquaires de 
 France.) 
 
 " Glazed pottery from Caucasus and 
 Crimea." 
 
 The excavations conducted on the north and 
 east shores of the Black Sea have yielded frag- 
 ments of dishes and tazzas of a pottery roughly 
 decorated with incised patterns, supposed to 
 have been made in those countries in about 
 the twelfth and fourteenth centuries. Oriental 
 influence is easily recognisible in the designs. 
 They represent figures, animals, and ornamental 
 patterns similar in character to those seen in 
 early Persian work, and on the Armenian and 
 Coptic MSS. of the same period. The originals 
 are preserved in the St. Petersburg Museum. 
 
 BOCKH (A.). De vasorum panathen- 
 aicorum generibus. Berlin, 1833. 
 
 " The Panathenaic vases." 
 
 BODE (W.)> Die Kiinstlerfamilie 
 Delia Robbia. Leipzig, Seemann, 
 1878. 4, pp 26; with 7 illustr. 
 (In Dohme Kunst und Kilnstler 
 Italiem.) 
 
 " The Delia Robbias, a family of 
 artists." 
 
 Die italienische Plastik. 
 Handbiicher der Kgl. Museum. 
 Berlin, 1893. 8. 
 
 " Italian sculpture. Handbook of the 
 Royal Museum of Berlin." 
 
 Ueber Luca Delia Robbia. 
 
 39 
 
BOD] 
 
 CERAMIC LITERATURE. 
 
 [BOE 
 
 Sitzungsbericht von der Berliner 
 Kunstgeschichtlichen Gesell- 
 schaft. Berlin, 1896. 4. 
 
 "Notice of Luca Delia Robbia. A 
 report read at the meeting of the Society 
 of the History of Art at Berlin." 
 
 BODE (W.).-Altflorentiner Majoliken. 
 Ausstellung von Kunstwerken 
 des Mittelalters und der Renais- 
 sance. Berlin, 1899. 8. 
 
 " Catalogue of an exhibition of works 
 of art of the Middle Ages and the Renais- 
 Ancient Florentine majolica " 
 
 sance. 
 
 - Luca Delia Robbia. Berlin, 
 1900. 4, pp. 33; with 2 pi. and 
 4 illustr. (Reprint from Jahrbuch 
 der Konigl. Preussis. Kunst- 
 sammlungen. ) 
 
 BOEHLAU (J.). Bootischen Vasen. 
 Berlin, 1888. 4, pp. 31; with 1 
 col. pi. and 36 text illustr. (Re- 
 print from the Jahrbuch.) 
 
 " Boeotian vases." 
 
 Vasenscherben aus Kyme in 
 
 Aeolis. Roma, 1888. 8, pp. 21 ; 
 with 2 pi. and 8 illustr. (Extr. 
 from the Bull, der Imp. Inst.) 
 
 " Fragments of vases from Kyme in 
 Aeolia." 
 
 Zur Ornamentik der Villanova 
 Period. Cosset, 1895. 4, pp. 19 ; 
 with 16 illustr. (In Festschrift 
 der anthropologischen Gesell- 
 schaft.) 
 
 " On the style of ornamentation of the 
 Villanova period." 
 
 The prehistoric vases found at Villanova 
 differ so much in the style of their ornamenta- 
 tion from early Greek or Etruscan pottery that 
 a Celtic origin has, sometimes, been attributed 
 to them. 
 
 Aus ionischen und italischen 
 Necropolen ; Ausgrabungen und 
 Untersuchungen zur Geschichte 
 der nachmykenischen griechi- 
 schen Kunst. Leipzig, Teubner, 
 1898. 4, pp. 127 ; with map, 15 
 pi., and 74 text illustr. 20 m. 
 
 40 
 
 "The Ionic and Italic necropolis; ex- 
 cavations and researches on the history 
 of Greek art in the post - Mycenean 
 period.'' 
 
 All the knowledge we possess as to the 
 origin and development of Greek art is chiefly 
 derived from the result of the early explora- 
 tions of the ancient burying grounds of Attica. 
 But the enlightenment yielded by the most 
 prolific excavations has not always been as 
 complete as might have been expected. In 
 most cases, the fact of finding representatives 
 of such a variety of styles accumulated on the 
 same spot, did not permit us to ascribe a 
 common origin to specimens so widely differing 
 in character ; it rather led us to infer that 
 many neighbouring and distant centres of 
 manufacture had been contributors, and that 
 the Greek colonies used to send their produc- 
 tions to the mother-country. To the combined 
 influence that the distinctive pottery imported 
 from all sides into Attica exerted upon the 
 Athenian ceramist should, therefore, be attri- 
 buted the formation of the national art. It 
 is the task of the historian to go back to the 
 sources, and localise the birth-place of each 
 particular style. Mr. Boehlau has made 
 a step in that direction in his searching 
 examination of the examples undoubtedly of 
 local manufacture he obtained from his exca- 
 vations in the Necropolis of lona and Samos. 
 They comprised many vases and fragments 
 anterior in date to the seventh century, deco- 
 rated with geometrical patterns and groups of 
 fantastic animals, in a style said to have come 
 from the East, and for that reason, usually 
 called the Oriental style. Far from accepting 
 this theory, he declines to see in the works of 
 what he has called the post-Mycenean period 
 any traces of imitation. He considers the 
 decorative elements employed by the Ionic and 
 Attic potters to be special to them. They 
 were ornamental notions of their own creation ; 
 it was from these models that the early Corin- 
 thian vase-painters borrowed their geometrical 
 traceries and winged animals, and not, as is 
 often asserted, from works imported from the 
 East. 
 
 - Eine niederhessische Topferei 
 des 17 Jahrhunderts. Marburg. 
 1903. Fol., pp. 9 ; with 15 pi 
 (2 col.). 10 m. 
 
 " A pottery of Lower Hesse in the 
 seventeenth century." 
 
 Slip decorated pottery excavated from the 
 site of the old factory. Figures and orna- 
 mental designs offer great analogy with those 
 of the English ware of the same period ; the 
 dates, ranging from 1621, are a little earlier 
 than those observed on any specimen found in 
 England. 
 
 BOEHLAU und YON GISLA. Neolitische 
 Denkmaler aus Hessen. Cosset, 
 1898. 4, pp. 21 ; with 7 pi. and 
 31 illustr. (15 of urns). 6s. 
 
 " The neolithic remains in Hesse." 
 
BOH] 
 
 CERAMIC LITERATURE. 
 
 [BON 
 
 BOHMERT (Victor). Urkundliche Ges- 
 chichte und Statistik der Meiss- 
 ner Porzellan Manufactur von 
 1710 bis 1880, mit besonderer 
 Rlicksicht auf die Betriebs-Lolm- 
 und Kassenverhaltnisse. Dres- 
 den, 1880. 4, pp. 50. (Reprint 
 from Zeitschrift des Kg I. Sachs. 
 Statistischen Bureaus.) 
 
 " Documents concerning the history 
 and the statistics of the Meissen Roy. 
 manufactory of porcelain from 1710 to 
 1880; with special reference to the man- 
 agement, wages, and financial conditions 
 of the establishment." 
 
 BOHN (Henry G.)- A guide to the 
 
 knowledge of pottery, porcelain, 
 and other objects of vertu, com- 
 prising an illustrated catalogue 
 of the Bernal collection of works 
 of art, with the prices at which 
 they were sold by auction, and 
 the names of their present pos- 
 sessors. To which are added an 
 introductory essay on pottery 
 and porcelain, and an engraved 
 list of marks and monograms. 
 London, G. Bell, 1857. 8, pp. 
 504; with 40 illustr. A 3d ed. 
 was publ. in 1876. 5s. 
 
 These were indeed the halcyon days of the 
 china collector. Collecting choice specimens of 
 the ceramic art, at first the hobby of a select 
 group of dilettanti, was becoming a far spread- 
 ing passion in refined society. A few public 
 auctions, in which important collections were 
 dispersed, had thrown purchasers and sellers 
 into direct communication. The chances of 
 securing a work of art of unparalleled value 
 were, then, as frequent as were the opportuni- 
 ties of obtaining an extravagant price for any 
 ancient piece of recognised beauty ; to these 
 circumstances was due the brisk movement 
 that took place at that moment in the curio 
 market. From the prices obtained at the 
 Bernal sale, we may judge of the degree of 
 eagerness with which really fine works were 
 competed for ; never had the productions of 
 ancient industrial arts attained such high 
 figures, and all seemed to promise that they 
 would still increase in the future. For long 
 thiscatalogue has been the vade-mecum of dealers 
 and collectors, who always referred to it before 
 completing any transaction. The historical 
 introduction cannot be said to be of much 
 value ; it is a mere summary of Marryat's 
 work. The illustrations, which had been pre- 
 pared for the sale catalogue, are too imperfect 
 to give a correct idea of the originals. 
 
 BOHN (Collection, H. G.).- Catalogue of 
 sale. London, Christie, 1875. 8. 
 
 The collection comprised 646 Nos. 
 
 BOLLAERT (I.)- Observations on the 
 Peruvian tomb pottery ... in 
 the Museum of Mr. Mayer. 
 Liverpool, 1860. 8. (Transac- 
 tions of the Lancashire and Che- 
 shire Hist. Soc., vol. i.) 
 
 BOMANS (E. A.). Forteckning ofver 
 framl. byggmastaren och konst- 
 vannen E. A. Bomans efterlem- 
 nade dyrbara och valdasamlingar. 
 Tredje afdelningen : Den Swen- 
 ska keramiken. (Rorstrands och 
 Mariebergs till verknin gar.) Stock- 
 holm, H. Bukowski, 1888. 8, 
 pp. 159 ; with 200 marks, 12 pi. 
 in col., and illustr. in the text. 
 8fcs. 
 
 " Catalogue of sale of the Bomans col- 
 lection at Stockholm. Swedish ceramics. 
 Rostrands' manufactory, 560 Nos. 
 Mariebergs', 620 Nos." 
 
 BONAPARTE (Lucien). -- Catalogo di 
 scelte antiquita etrusche trovate 
 negli scavi del principe di Can- 
 mo, etc. Viterbo, 1829. 4. 2fcs. 
 
 " Catalogue of the choice antiquities 
 discovered in the excavations conducted 
 by Prince di Canino." 
 
 An English translation of this catalogue was 
 published by Lord Dudley Stuart in the 
 Journal of the Society of Antiquaries, vol. xxiii., 
 under the title: "Catalogue of one hundred 
 vases forming part of the collection lately dis- 
 covered on the estate of Canino. 4, pp. 130-'27t5, 
 with facsimile of inscriptions." 
 
 Museum etrusque de Lucien 
 Bonaparte, Prince de Canino, 
 Fouilles de 1828-29. Vases 
 peints avec inscriptions. Viterbe, 
 1829. 4, pp. 211 ; with 42 pi. 
 of inscriptions and 5 col. pi. 
 drawn by L. Valadia. 25 fcs. 
 
 "The Etruscan Museum of L. Bona- 
 parte, Prince of Canino ; excavations of 
 1828-29 ; painted vases with inscriptions." 
 
 The memorable discovery of Etruscan re- 
 mains, made at Vulci, had kindled in the heart 
 of the explorer the ambition of reviving the 
 
 41 
 
BON] 
 
 CERA MIC LIT ERA TV RE. 
 
 [BON 
 
 forgotten glory of ancient Etruria. Unfor- 
 tunately, the exclusive standpoint from which 
 he considered the subject made him lose sight 
 of the established facts of general history, the 
 mere recollection of which would have checked 
 the impulse of his impressive imagination. 
 When he came to the conclusion that the 
 tombs discovered in Etruria were anterior in 
 date to the foundation of Rome, and that all 
 the painted vases they contained were of 
 Etruscan origin, he was perfectly convinced 
 of having supported his opinion with unassail- 
 able arguments. His theories have all been, 
 subsequently, confuted. In his partial de- 
 ciphering of the fictile inscriptions, he has 
 rendered important services to philology. 
 
 BONAPARTE (Luden). L. P. di Canino. 
 Lettera contenente la descrizione 
 del suo Museo di antichita 
 etrusche, aggiimtovi un articolo 
 inedito sopra una coppa che rap- 
 presenta 1. Ercole Assirio. Mil- 
 ano, Vallardi, 1833. 8, pp. 22. 
 
 "A letter giving a description of P. 
 di Canino's Museum of Etruscan anti- 
 quities ; with a hitherto unpublished 
 article on a tazza representing the 
 Assyrian Hercules." 
 
 The description of the vase is an extract 
 from the MS. of the second volume of the 
 Museum, which was never printed. 
 
 BONGHI (DiegO). --Intorno alle ma- 
 joliche di Castelli. Napoli, G. 
 Nobile, 1856. 4, pp. 35. 5 fcs. 
 
 " Notice of the majolica made at 
 Castelli." 
 
 This incomplete sketch was soon succeeded 
 by several monographs by Rosa, Cherubini, 
 Bindi, and other writers, in which the history 
 of the Castelli majolica and of its artists was 
 most thoroughly treated. 
 
 BONI (A-). Album di decorazioni 
 esseguite in terra-cotta nello 
 stabilimento A. Boni & Co. di 
 Milano. Milano, 1864-65. 4; 
 60 lithogr. pi. 
 
 " Album of ornamental terra- cottas 
 executed in the establishment of A, 
 Boni & Co. at Milan." 
 
 A manufacturer's pattern book. An immense 
 choice of models ranging from the diminutive 
 spill vase to architectural designs for the 
 complete decoration of the walls of a palace. 
 Apart from the reproduction of a few Renais- 
 sance friezes and medallions, all modern subjects 
 show the same deplorable taste. 
 
 BOMAFFE (Edmond).-Les faiences de 
 Saint Porchaire. Paris, 1888. 
 42 
 
 8, pp. 18 ; with 1 pi. and illustr. 
 (Reprint from the Gazette des 
 Beaux- Arts.) 3 fcs. 
 
 "The faiences of Saint Porchaire." 
 
 A name had been found by Mr. B. Fillon for 
 the enigmatic earthenware previously known 
 as Henri-deux faience. He proposed that it 
 sliould, henceforth, be called "Oiron ware," and 
 so specious were the arguments on which he 
 rested his theory that it was accepted almost 
 without comment. Not long afterwards, Mr. 
 Bonnaffe chanced to meet with a document 
 which 'threw an unexpected light upon the 
 question, and the name of Oiron ware had to 
 give way to that of Saint Porchaire. 
 
 In the inventory taken at the castle of 
 Thouars, in 1542, after the death of Francois 
 de la Tre'mouille, mention is made of "two 
 tazzas of Saint Porchaire clay," and of " a large 
 flat box in which are enclosed two salt cellars 
 of Saint Porchaire. " That they were considered 
 as objects of great value can be inferred from 
 the fact that they were kept in the same 
 cabinet in which jewels of gold and precious 
 stones were deposited. The village of Saint 
 Porchaire is situated near Bressuire, in Poitou, 
 where the larger number of specimens of Henri- 
 deux ware have been discovered. Pottery is 
 known to have been made in that locality as 
 early as the fifteenth century, and the clay 
 found in the vicinity corresponds exactly to 
 that with which the ware is made. One of the 
 evidences on which B. Fillon depended as the 
 mainstay of his theory was the tile pavement 
 still extant in the Oiron Castle. This Mr. 
 Bonnaffe considered, on the contrary, as rather 
 damaging to the case, for if majolica tiles may 
 substantiate to some extent the assumption 
 that pottery was made on the spot, it also 
 shows that the previous pieces of yellowish 
 clay, inlaid with red and black arabesques, 
 cannot have the same origin, so different are 
 they in their style of manufacture. Starting 
 from these premises, Mr. Bonnaffe instituted 
 a fresh examination of the whole question, 
 and it was not long before historical evidences 
 came to corroborate his personal opinion. The 
 Lords of Poitou were the Laval-Moritmorency ; 
 Francois de la Tre'mouille, who possessed the 
 Saint Porchaire pieces, was Seigneur of Bres- 
 suire. The coats of arms of the two families 
 occur upon some of the finest specimens of the 
 ware. A capital A, many times repeated upon 
 the candlestick of the Fountaine collection, 
 stands there for the Christian name of Anne de 
 Montmorency; the presence of the arms of this 
 personage on the same piece leaves no doubt on 
 this point. In- the same manner the letter G, 
 which forms a kind of diaper upon the ewer 
 of the Magniac collection,' is the initial letter 
 of the name of (Jlilles de Laval and not that of 
 Gouffier, as B. Fillon supposed. Gilles de 
 Laval was the son of Laval -Montmorency, 
 whose coat of arms figures upon another piece 
 in the possession of Baron Alphonse de 
 Rothschild. 
 
 If we recollect that tazzas and salt cellars 
 appear frequently on the list of all the known 
 specimens of the ware, we must acknowledge 
 that the Saint Porchaire theory rests upon 
 very solid grounds, and that Mr. Bonnaffe" 
 comes out a victor in the controversy. 
 
BON] 
 
 CERA MIC LITER A TURE. 
 
 [BOR 
 
 BONNET (A.). - - Die steinzeitliche 
 Ansiedelung auf dem Michels- 
 berge bei Untergrombach. (In 
 Veroffentlwhungen der Grossher- 
 zoglich Badischen Sammlungen 
 . . . in Karlsruhe.) Pp. 39-54 ; 
 with 6 pi. of urns, and text 
 illustr. Karlsruhe, 1899. 4. 
 
 " The stone age settlement on the 
 Michelsberg, near Untergrombach." 
 
 BONNEYILLE (P.) et JAUNEZ. Les arts 
 et les produits ceramiques. La 
 fabrication des briques et des 
 tuiles, suivie d'un chapitre sur 
 la fabrication des pierres arti- 
 ficielles et d'une etude tres com- 
 plete des produits ceramiques, 
 poteries communes, porcelaines, 
 faiences, etc. Ouvrage accom- 
 pagne de notes, de tableaux, avec 
 nombreuses figures dan's le texte 
 et plusieurs planches. Paris, E. 
 Lacroix, 1879. 8, pp. viii-184 ; 
 vign. and 3 pi. 10 fcs. 
 
 " Ceramic arts and their products. The 
 manufacture of bricks and tiles ; with a 
 chapter on the manufacture of artificial 
 stone, and a very complete essay upon 
 ceramic products, common pottery, faience, 
 porcelain, etc. With additions of notes, 
 tabular statements, numerous illustra- 
 tions in the text, and several plates." 
 
 The title tells us all that is to be found in 
 the book, and perhaps a little more. Written 
 by two civil engineers, in reference to pottery 
 applied to the building trade and to the 
 machinery employed in modern industry. 
 
 BONSERGENT (L. F,)- Epigraphie 
 romaine et gallo-romaine. Sigles 
 figulins trouves a Poitiers. 
 Poitiers, 1872. 8, pp. 45. 
 (Reprint from Arch. Hist, du 
 Poitou.) 
 
 "Potters' marks found at Poitiers." 
 
 BOOTE (T. and R.). Manufacturers of 
 patent encaustic, mosaic, and 
 ornamental tile pavements, etc. 
 Pattern books of ornamental 
 tiles, lith. in .-col. by J. Fleming 
 & Co. Leicester. Imp. 4. The 
 
 last album was published in 1908. 
 Fol. 
 
 Messrs. Boote bought the Waterloo Works 
 at Burslem in 1850, and introduced there the 
 manufacture of earthenware tiles by patent 
 processes. 
 
 BOOTH (G. R.). Tables of the weights 
 and measures required in using 
 potter's materials in the slop and 
 dry state. With an easy mode 
 of calculating any quantities by 
 them. To which are added 
 several useful hints connected 
 with the art of potting, adapted 
 to expedite the labour and pro- 
 mote the accuracy of the busi- 
 ness. London, Tilt & Bogue, 
 1843. 12, pp. 67. 
 
 G. R. Booth was a colour maker at Hanley 
 
 (Staffs. ). 
 
 BORDEAUX (Raymond). - - Exposition 
 
 d'objects d'art et de curiosite a 
 Evreux en mai 1864. Compte 
 rendu au point de vue normand. 
 Caen, Le Blanc-Hardel, 1865. 
 
 8, pp. 27. 
 
 " The Evreux exhibition of works of 
 art and curiosities, considered from the 
 point of view of the history of art in 
 Normandy." 
 
 - Les brocs a cidre en faience 
 de Rouen. Etude ceramique nor- 
 mande. Caen, Le Blanc-Hardel, 
 1868. Imp. 4, pp. 32 ; with 4 
 chromolith. pi. and 4 etchings 
 printed in the text. 15s. 
 
 " The cider pitchers in Rouen faience. 
 Essay on Norman ceramics." 
 
 A monograph of the cider pitcher, a drinking 
 vessel peculiar to the province of Normandy, 
 the shape of which differs much, according 
 to the writer, from that of the wine or beer 
 jugs used in other provinces. The chief interest 
 of these pitchers lies in the fact that, being 
 often presentation pieces from a workman to 
 a friend or a patron, they have been accordingly 
 inscribed and dated by their maker. 
 
 BOREAU et LEDAIN. Notice sur une 
 sepulture gallo-romaine decou- 
 verte a Gourge, ornee de dessins 
 representant les principaux vases 
 
 43 
 
BOR] 
 
 CERA MIC LIT ERA TUBE. 
 
 [EOT 
 
 funeraires. Niort, 1863. Pp.12; 
 with 4 pi. 
 
 " Notice of a Gallo-Roman sepulture 
 illustrated with reproductions of the 
 funereal vases." 
 
 BORRIS (H. von) Berichte iiber Aus- 
 grabungen, etc. Halle, a. d. S.. 
 1886. 4. Parts III. -IV. of Vor- 
 geschichtliche Alterthiimer des 
 Sachsen. Pp. 35 ; with 7 pi. and 
 illustr. in the text. 
 
 " Reports on the excavations, etc." 
 Part III. contains the reproduction of a 
 remarkable cinerary urn, decorated by the im- 
 pression of cords or twisted twigs. Other 
 pieces of early Saxon pottery are given in 
 Part IV. 
 
 BORRMANN (R.) Die Keramik in der 
 Baukunst. Stuttgart, 1897. 8, 
 pp. 152 ; with 85 illustr. (From 
 Handbuch der Architektur, vol. 
 iv.) 10 m. 
 
 " Architectural ceramics." 
 
 Examples of the introduction of terra-cotta, 
 enamelled ware, majolica, tiles, etc., in archi- 
 tectural buildings at all times and in all 
 countries. 
 
 - Moderne Keramik. Leipzig, 
 Seemann, 1902. 8, pp. 122; with 
 110 illustr. 6 m. 
 
 "Modern ceramics." 
 
 A review of the new processes of manufac- 
 ture and styles of decoration shown by ceramic 
 manufacturers in the recent exhibitions. 
 
 BOSANQUET (R. C.) Some early funeral 
 lekythoi. London, 1900. 4, pp. 
 15. (Reprint from the Journ. 
 Hell. Studies.} 
 
 BOSC d'ANTIC. Oeuvres de Mr. Bosc 
 d' Antic, Dr. en medecine, mede- 
 cin du roi par quartier, etc., 
 contenant plusieurs memoires 
 sur 1'art de la verrerie, sur la 
 faiencerie, la poelerie, la poterie, 
 1'art des forges, la mineralogie, 
 Felectricite, et sur la medecine. 
 Paris, 1780. 2 vols., 12, pp. 
 together xlviii-789 ; with 3 pi. 
 10 fcs. 
 
 " Works of Mr. B. d' Antic, M.D., one 
 44 
 
 of the physicians in ordinary to the 
 King, containing several essays on the 
 arts of glass-, fa'ience-, stove-, and pot- 
 making, etc." 
 
 The essay on faience manufacture was read 
 by Bosc d' Antic before the academy of Dijon, 
 and reprinted in the first volume of his works, 
 pp. 258 283. 
 
 BOSCHINI (G.) Sopra due piatti di- 
 pinti in majolica. Lettera al Sig. 
 Giuseppe Mayer. Ferrara, 1836. 
 Sq. 8, pp. 8. 
 
 "On two dishes of painted majolica. 
 A letter to Joseph Mayer." 
 
 One of the dishes bears the motto of 
 Alfonso II., Duke of Ferrara ; Ardet in 
 Sternum ; both are attributed to Ferrara 
 manufacture. 
 
 BOSSEBOEUF (L'abbe F.). Documents 
 sur 1'art ceramique en Touraine. 
 Tours, 1893. 8, pp. 57. 5 fcs. 
 
 " Documents relating to ceramic art in 
 the Touraine Province." 
 
 Notices of two small fa'ience manufactories 
 established respectively in 1730 and 1746. Also 
 documents referring to an unsuccessful attempt 
 to establish the manufacture of porcelain at 
 Tours in 1782. 
 
 BOSSL Nouvelles observations sur 
 les Vases Murrhins. Milan, 1808. 
 8. 
 
 " New remarks upon the Murrhine 
 vases." 
 
 BOTH (Dr. GiO.). I bocali di Monte- 
 lupo, memorie relative a tale 
 monument!. Firenze, N. Conti, 
 1818. 18, pp. 215. 2 fcs. 
 
 " The jars of Montelupo ; a memoir 
 relating to these lost monuments of the 
 art." 
 
 Champfleury describes this little volume as 
 being a skit directed against the collectors of 
 Italian majolica. In this case, as in many 
 others, the biographer, not having seen the 
 book, has depended too much upon his own 
 imagination. In reality it is nothing else but 
 a work of fiction, intended to convey a high 
 moral teaching under the guise of a children's 
 tale. A wonderful museum of antique pottery is 
 supposed to have once been formed at Montelupo 
 a town still celebrated for the making of 
 majolica by the prior of the convent. The 
 vases it contained, discovered during excava- 
 tions made in the monks' garden, were said 
 to be of Etruscan origin, and dated from the 
 fourth century B. C. They were covered with 
 elaborate subjects painted in the most brilliant 
 colours, and each bore an appropriate inscrip- 
 
EOT] 
 
 CERAMIC LITERATURE. 
 
 [BOU 
 
 tion. So curious and interesting was that 
 unique collection that it attracted crowds of 
 visitors from all parts of Italy. After the 
 death of the prior, his successor, who happened 
 to be a man of stern and bigoted disposition, 
 with no leaning towards antiquarian studies, 
 disapproved of a frivolous curiosity which 
 caused so many strangers to come to the 
 place and disturb the solitude of the friars. 
 To remove the cause of such undesirable in- 
 trusions, he ordered the whole contents of the 
 museum to be broken and thrown away into 
 the river. The tale goes on with the adven- 
 tures of a descendant of the learned prior, 
 who, anxious to establish the accuracy of such 
 tradition, started on an eventful expedition 
 for the recovery of some of the lost vases. 
 After many troubles he succeeded in laying 
 hands, if not upon any of the actual specimens, 
 at least upon a MS., written by the founder of 
 the ill-fated collection, in which all the objects 
 it contained were minutely described. It was 
 seen that every picture was an illustration of 
 some philosophical maxim, inscribed underneath 
 in Latin poetry. The wise and virtuous senti- 
 ments they expressed struck the discoverer with 
 so much admiration that he decided to publish 
 the MS., for the edification of youth and old 
 age and the glory of his ancestor. 
 
 BOTTICHER (.) -- Hissarlik wie es 
 1st. Fiinftes Sendschreiben liber 
 Schliemann's Troja. /fern,1890. 
 Sq. 8, pp. 115 ; and illustr. 4 m. 
 
 " Hissarlik as it is. Fifth correspond- 
 ence on the Troja of Schliemann." 
 
 BOTTIGER (C- A.)- Griechische Vasen- 
 gemalde. Mit arch. u. artist. 
 Erlauterungen der Originals. 
 Weimar, 1797-1800. 8. Part 
 i.-iii., pp. 160-232-288; with an 
 atlas fol. of 15 pi. engr. by Tisch- 
 bein from vases in the Hamilton 
 collection. All published. 15 m. 
 
 " Greek vase paintings. With archaeo- 
 logical and artistic elucidations of the 
 subjects." 
 
 During what is called the artistic phase of 
 the study, classical antiquaries had considered 
 Greek vases as pure works of art. They were 
 succeeded by the writers of the exegetic period, 
 a group of sophistical and pretentious debaters, 
 bent on investing any simple painting with a 
 mystical signification. Their dreamy cogita- 
 tions never left the field of nebulous mythologies 
 and obscure metaphysics. Bottiger, one of the 
 first and most fanatical expounders of the new 
 creed, went farther than any of his contem- 
 poraries in the way of visionary divagations. 
 No archaeological value is now attached to this 
 work. To make matters worse, the German 
 language seems to have had for him no form 
 of sentence intricate and tortuous enough to 
 impart solemn obscurity to the expression of 
 thoughts of often impenetrable depth. This 
 
 alone would render the perusal of the whole 
 volume a painful ordeal. 
 
 BOTTIGER. --Ueber den Raub der 
 Cassandra See Meyer. 
 
 BOUFFIER (H.). Anleitung zur Ma- 
 jolikamalerei. S.I., 1892. 8, 
 pp. 37 ; illustr. 
 
 BOUILHET (Henri). La manufacture 
 de Sevres et ses produits a 
 1'expositioii des Champs-Elysees, 
 1874. Rapport de Mr. H. Bouil- 
 het, k la Societe d'Encourage- 
 ment. Paris, impr. Bouchard- 
 Huzard, 1875. 4, pp. 18. 
 
 "The manufactory of Sevres and its 
 products at the Exhibition of the 
 Champs-Elysees, in 1874." 
 
 This exhibition had been organised by the 
 "Socie"t6 de 1'Union Centrale." It was a sign 
 of the times that the late imperial manufactory 
 had condescended to send its products to an 
 exhibition organised by private enterprise. 
 
 - A reprint with the same title, 
 but with additions and correc- 
 tions, appeared shortly after- 
 wards. Paris, impr. Clay, 1875. 
 8, pp. 31. 
 
 BOUILLET (J. B.) --Notice sur les 
 estampilles avec noms de potiers 
 observees sur les vases gallo- 
 romains decouverts en Auvergne. 
 Clermont - Ferrand, Thibaud, 
 1864. 8. 
 
 " Notice of the stamps with names of 
 potters seen upon the Gallo-Roman vases 
 discovered in Auvergne." 
 
 BOULLEMIER (F.) -- Suites d'orne- 
 ments, frises, bordures et rnos- 
 aiques applicables k la porcelaine, 
 les cristaux, Forfevrerie, les 
 bronzes, la t61e vernissee, la 
 gauffrure, la reliure, les etoffes 
 de tout genres, et a tout ce qui 
 concerne le decor. Paris, Engel- 
 mann, 1831. 36 lith. pi., 4. 
 12 fcs. 
 
 " Ornaments, friezes, borders, and 
 mosaics, suitable for the ornamentation 
 
 45 
 
BOU] 
 
 CERAMIC LITERATURE. 
 
 [BOU 
 
 of porcelain 
 decoration." 
 
 and all styles of 
 
 To adorn with a more or less intricate pat- 
 tern the border of a vase, the edge of a shawl, 
 or the margin of a book, was all that was 
 expected from the French industrial artist in 
 the days of King Louis Philipe. Any floral 
 design, either in the Italian renaissance or 
 Arabic character then' the favourite styles 
 was deemed to look equally well upon what- 
 ever material it could be applied to. Por- 
 celain and cast iron, textiles and wood carving, 
 received indiscriminately the same ornamental 
 treatment. Hence the publication of albums 
 composed, like the present one, of sketches of 
 indefinite application and questionable taste. 
 Although our decorative artists would smile at 
 the idea of finding in them anything worth 
 borrowing, they were greatly admired, and 
 made great use of, by the china painters of 
 the time. 
 
 The name of Boullemier is well known in 
 connection with the manufactory of Sevres, 
 to which several members of the family have 
 been attached as painters and gilders. Antonin 
 Boullemier, a nephew of the engraver of this 
 album, came over to England in 1871. He 
 worked chiefly for Messrs. Minton, and up to 
 the time of his death, which occurred in 1900, 
 he always gratified the taste of the true con- 
 noiseur by the refined treatment of the figure 
 subjects he knew so well how to paint upon our 
 fine English china. 
 
 BOURDODKOFF (I.)- Ceramique de 
 FAsie Centrale. St. Petersbourg, 
 1905. 4, pp. xviii ; with 5 pi. of 
 forms and 22 col. pi. 12s. 
 
 " The pottery of Central Asia." 
 
 Excellent reproductions of the domestic 
 pottery, mostly of cheap manufacture, made 
 in Bokhara, Samarkand, and other towns of 
 Turkestan. 
 
 BOURGEOIS (A.). La peinture sur por- 
 celaine & la Comedie Frai^aise. 
 Marie Besson, artiste peintre, 
 eleve de Sarah Bernardt. Paris, 
 1899. 12, pp. 39. 
 
 " China painting at the Comedie Fran- 
 9aise. M. Besson, painter, pupil of Sarah 
 Bernard t." 
 
 A long preamble on the talent of the artist 
 followed by the list of the portraits painted by 
 her on porcelain. 
 
 BOURGEOIS (E.). La ceramique mod- 
 erne. Grand depot deporcelaines, 
 faiences et verreries. Paris, s.d. 
 (1885 ?). 4 ; with 40 pi. in col. 
 and list of prices. Introductory 
 notices by Louis Enault. 15 fcs. 
 
 Catalogue of the porcelain and earthenware, 
 46 
 
 from the leading manufactories, sold by the 
 " Grand de"p6t," Paris, rue Drouot. The notices 
 written by L. Enault form a short history of 
 the ceramic art. 
 
 BOURGEOIS FRERES (Catalogue de la Collec- 
 tion). Catalogue of sale. Cologne, 
 1904. 2vols. 4; with half-tone 
 illustr. 12 fcs. 
 
 Ceramics, 302 Nos. 
 
 BOURGOIN (Jules). Les arts arabes. 
 Architecture,menuiserie,bronzes, 
 plafonds, revetements, pave- 
 ments, vitraux, etc. Paris, 
 Morel, 1873. 1 vol. Text and 
 atlas fol. of 92 col. pi. 100 fcs. 
 
 " Arabian arts. Architecture, wood- 
 carving, wall decorations, pavements, 
 stained glass, etc." 
 
 Contains a series of patterns of Arabian 
 faience tiles. 
 
 - Les elements de Fart arabe. 
 Le trait des entrelacs. Paris, 
 Didot, 1879. 4 ; with 190 pi. in 
 outline and 10 col. pi. 20 fcs. 
 
 "The elements of Arabian art. The 
 tracing of strap-work." 
 
 BOURNE (W. R.). A collection of cer- 
 amic receipts for many years 
 used by the late John Bourne, 
 of Burslem, for fifty years a suc- 
 cessful practical potter. Hanley, 
 W. R Bourne, 1884. 8, pp. 108. 
 Publ., 1, Is. 
 
 Many valuable hints may be gathered from 
 the long list of mixtures compendiously set 
 down without further instructions, but, as a 
 rule, one is liable to expect too much from the 
 contents of a professional handbook of this 
 order. Colour making, for instance, requires 
 more than the mere weighing of the component 
 substances. Like conjuring books, they may 
 disclose to us the secret way in which the trick 
 is done, but only he who is gifted with the 
 acumen and the deft finders of a born conjurer 
 may succeed in performing them with credit. 
 
 BOURRY (Emile). De la plasticite des 
 argiles au point de vue du fabri- 
 cant de terres cuites. Paris, 
 1886. 8, pp. 82 and 11. 3 fcs. 
 
 " A treatise on the plasticity of potters' 
 clays considered from the terra - cotta 
 manufacturer's point of view." 
 
 The most complete work on the matter. 
 
BOU] 
 
 CERAMIC LITERATURE. 
 
 [BOW 
 
 BOURRY (E.). Traite des industries 
 ceramiques. Terres cuites Pro- 
 duits refractaires Faiences 
 Gres Porcelaines. Paris, 
 Gauthier-Villars, 1897. 8, pp. 
 755 ; with 349 illustr. 20 fcs. 
 
 " A treatise of the ceramic industries. 
 Terra-cotta Chemical utensils and sani- 
 tary ware Earthenware Stoneware 
 Porcelain." 
 
 All the latest improvements in pottery 
 manufacture are described in this volume, the 
 indispensable text-book of the progressive 
 potter of our day. 
 
 An English translation by W. P. liix has 
 been published by Scott & Greenwood. Lon- 
 don, 1901. 8. 
 
 BOUTELL (Ch.). The arts and the 
 artistic manufactures of Den- 
 mark. London, Mitchell, 1874. 
 4, Ceramics, pp. 91-138 ; illustr. 
 
 Published on the occasion of the opening of 
 the " Royal Danish Gallery," established in 
 New Bond Street for the sale of Copenhagen 
 porcelain and other articles of Danish industry. 
 The chapters on Terra-cotta, Porcelain, and 
 Faience, describe the objects offered for sale. 
 Most of them are, singularly enough, recom- 
 mended as having been painted in London by 
 French artists. 
 
 BOUTILLER (L). Bernard Palissy, 
 L'artiste et le savant. Rouen, 
 
 1882. 8, pp. 28. 
 
 " Bernard Palissy, as an artist and a 
 scientist." 
 
 A flat and formal address delivered before 
 the Academy of Sciences and Art of Rouen by 
 its president. The feelings of sympathy and 
 admiration which have seldom failed to inspire 
 all the panegyrists of the great potter, have 
 not been powerful enough, in this case, to 
 communicate any warmth to the well pondered 
 sentences of the orator. 
 
 BOUYEAULT (A.) et FIEFFE (C. P.). Les 
 faiences patriotiques nivernaises. 
 Nevers, 1885. 4, pp. xv-50; with 
 46 col. pi. Publ., 40 fcs. A 
 supplement of pp. xxx. was 
 printed later on. 
 
 " Patriotic faience of the Nivernais." 
 
 This volume may be joined to the group of 
 those which followed upon the publication of 
 Champfleury's Histoire des faiences patriotiques. 
 The original book had been a revelation to 
 ceramic collectors. Surely, the author who 
 had spent his life in gathering the popular 
 crockery on which the history of the French 
 Revolution is roughly pencilled, almost from 
 
 day to day, did well to point out to us the 
 interest offered by the emblems and inscrip- 
 tions it bears. Yet we must not forget that 
 his unique collection was known, among his 
 friends, as containing the ugliest faience ever 
 made in France. He acted wisely, therefore, 
 in not attempting to exaggerate its artistic or 
 technical importance. The book he brought 
 out on the subject was a very modest one, 
 illustrated with simple pen and ink sketches of 
 the less insignificant types. No one ever com- 
 plained that they did not give an adequate idea 
 of the originals. 
 
 A number of more ambitious authors soon 
 imagined that they could improve upon Champ- 
 fleury's treatment of the patriotic faience, by 
 adding to the written description, coloured 
 reproductions of the subjects, in natural size. 
 The plates with which the volume of Messrs. 
 Bouveault and Fie"ffe is richly illustrated, show 
 clearly how these crude paintings, the cheap 
 adornments of the vessels of the poor, are un- 
 worthy of an elaborate and costly reproduction. 
 As historical documents, they add little to the 
 subjects of which Champfleury had given the 
 list. 
 
 For our part, we regret that the authors 
 should have chosen to deal with the late and 
 commonest productions of the Nevers factories. 
 We would have preferred to have been left 
 with the recollection of the beautiful faience of 
 the early period, the refined majolica on which 
 the arms of the noble families of the province 
 were not ashamed to shine. This work reminds 
 us, painfully, of the low state to which the 
 manufacture had sunk, when the struggling 
 potters of Nevers found no other outlet for 
 their debased ware than the market place of 
 the neighbouring villages. 
 
 BOYALLIUS (C.). --Nicaraguan anti- 
 quities. Stockholm, 1886. 4, 
 pp. 50 ; with 41 pi. and map. 
 1, 10s. 
 
 - Chapter iv. Ceramic objects 
 from Ometepec, Zapatera, and 
 Ceiba. Brief description of 37 
 fragments of antique terra-cotta 
 figures and vessels, some of which 
 are painted in coloured clays ; 
 they are reproduced upon three 
 plates. 
 
 The results of the excavations conducted by 
 the author were deposited in the R. Swedish 
 Museum of Ethnography. 
 
 BOWES (James Lord). Japanese marks 
 and seals. London, Sotheran, 
 1882. Imp. 4 . 12s. Pottery : 
 pp. 1-218 ; with 553 marks. 
 
 All the marks found inscribed on the speci- 
 mens of Japanese pottery examined by J. L. 
 Bowes, when engaged in the preparation of the 
 work, Keramic Art of Japan, brought out by 
 him in collaboration with Audsley, are repro- 
 
 47 
 
BOW] 
 
 CERAMIC LITERATURE. 
 
 duced in this volume. The custom of marking 
 earthen vessels with the name of the maker, or 
 the seal of the factory in which they had been 
 made, has been general in Japan for the last 
 three hundred years ; it is rarely that a piece 
 of pottery or porcelain of Oriental origin does 
 not bear some distinctive sign of the kind 
 Examples from the Dresden Museum, the 
 Franks Collection, the South Kensington 
 Museum, and the extensive collection formed 
 by Mr. Bowes, have supplied most of the marks 
 engraved for this book in exact facsimile. 
 Japanese scholars are responsible for the trans- 
 lation. 
 
 BOWES (James Lord). Japanese pot- 
 tery ; with notes describing the 
 thoughts and subjects employed 
 in its decoration, and illustrations 
 from examples in the Bowes Col- 
 lection. Liverpool, 1890. Imp. 
 4, pp. 576 ; with 16 col. pi. and 
 577 text illustr. 1, 5s. A few 
 copies were printed on Japan 
 paper with extra plates. 
 
 The feeling of veneration entertained in 
 Japan for the archaic pottery that has escaped 
 destruction has no equivalent in any other 
 country of the world. When the Tea feast 
 is celebrated in the house of a magnate, the 
 vessels chosen for making and drinking the 
 fragrant beverage are not precious cups of gold 
 or silver, but coarse and uncouth bowls of 
 ancient earthenware. While handing them 
 round the circle of the distinguished guests, 
 the host expatiates complacently upon the age, 
 the beauty, and the value of the precious relics. 
 Under such conditions, it can scarcely be ex- 
 pected that many genuine antiquities of that 
 order have ever reached European countries. 
 But when we recollect what skill a Japanese 
 craftsman can display in imitating rarities of 
 all kinds, we understand how it is that no 
 foreign collection of any importance lacks the 
 indispensable complement of a series of strange 
 and very old-looking specimens said to repre- 
 sent the earliest period of manufacture. 
 
 Prehistoric pottery was not known in Japan 
 before the last few years, when the first ex- 
 amples of it were unearthed from the soil. 
 Tradition ascribes to them a date which corre- 
 sponds to the year 660 B.C. The historical 
 records of the country do not go further back 
 than the eighth century of our era ; they con- 
 tain some references to rude terra cotta of a 
 nondescript character. It is not considered 
 probable that any painted or otherwise decor- 
 ated ware was made before the middle of the 
 sixteenth century. A special notice is devoted 
 to the more or less ancient centres of manufac- 
 ture, in which the art is, in most cases, still 
 practised. The last and largest portion of the 
 book is occupied by a descriptive catalogue of 
 the Bowes collection, in which, by the by, 
 many specimens of porcelain are intermixed 
 with those of real pottery, which it was in- 
 tended to treat exclusively. 
 
 Strange to say, Mr. Bowes, whose fondest 
 thoughts were unceasingly turned towards 
 
 48 
 
 Japan and Japanese art, was never enabled 
 to relinquish for a time his pressing business 
 occupations and pay even a flying visit to the 
 land of his dreams. He consoled himself by 
 throwing his princely mansion open to all the 
 distinguished travellers who came from the 
 Mikado's Empire. All his leisure moments 
 were spent in friendly intercourse with those 
 who could supply further additions to his 
 immense store of information. Mr. Bowes 
 filled, as a pleasant duty to a nation he had 
 learned to appreciate and love, the post of 
 Japanese Consul at Liverpool. 
 
 - A vindication of the decor- 
 ated pottery of Japan. Liverpool, 
 1891. 4, pp. 63; with 4 pi. 
 Printed for private circulation. 
 
 Mr. Bowes' work on Japanese Pottery had 
 been the object of virulent criticisms published 
 in the American press. To a rather fierce 
 attack, he penned an explanatory answer, in 
 which most of his opponent's thrusts were skil- 
 fully warded off in a sedate manner. 
 
 Handbook to the Bowes 
 Museum of Japanese art work. 
 Liverpool, 1890. 12, pp. 47; 
 with plan and illustr. 
 
 Distributed to the visitors whom Mr. Bowes 
 admitted freely to his museum one day in the 
 week during the season. 
 
 - Catalogue of the Bowes col- 
 lection of Japanese art. Liver- 
 pool, 1901. 8, pp. 227; with 
 7 col. pi. 
 
 Catalogue of sale of 2,246 Nos. 
 
 BOWES (J. L). See Audsley, Keramic 
 Art of Japan. 
 
 BOYER. Manuel du porcelainier, du 
 faiencier et du potier de terre ; 
 suivi de 1'art de fabriquer les 
 terres anglaises et de pipe, ainsi 
 que les poeles, les pipes, les car- 
 reaux, les briques et les tuiles. 
 Paris, Roret, 1827. 2 vols., 12, 
 pp. xii-748 ; pi. 
 
 " Manual of the porcelain, faience, and 
 pottery manufacturer ; to which is added 
 the art of making English earthenware, 
 stoves, tobacco pipes, bricks, and tiles." 
 
 This practical treatise made part of the first 
 edition of Mannels Roret. It has since been 
 replaced by another volume written by Magnier, 
 better suited for the requirements of modern 
 industry. 
 
 - Traite sur 1'origin, les progres, 
 
CERAMIC LITERATURE. 
 
 [BRA 
 
 et Fetat actuel des manufactures 
 de porcelain et de faience en 
 Angleterre. 
 
 "Treatise of the origin, development, 
 and actual state of the porcelain and 
 earthenware factories of England." 
 
 So rare has the foregoing pamphlet become 
 that we have, so far, been unable to meet witli 
 a copy of it. The subject treated by the 
 writer is, however, of sufficient interest to 
 induce us to record the title. 
 
 BRACQUEMOND. A propos des Manu- 
 factures Nationales de Ceramique 
 et de Tapisseries. Paris, Char- 
 merot. 12, pp. 67. 1 fc. 
 
 "A few words on the subject of the 
 national factories of ceramics and tapes- 
 tries." 
 
 Bracquemond a master in the art of etching 
 has long been connected with ceramics. He 
 occupied, for a few years, the position of head 
 of the painting department at the manufactory 
 of Sevres, and had subsequently acted as art di- 
 rector in the porcelain works of Messrs. Haviland 
 at Paris. Having also relinquished this last 
 situation, he resumed his former avocation of 
 an engraver. It was then that, unhindered by 
 any official or professional restraint, he ven- 
 tured to put into print his personal opinion on 
 the efficiency of the State-supported manufac 
 tories. His dissertation, which advocates the 
 necessity of absolute reform, never leaves the 
 range of abstract and high-flown theories. The 
 errors of all the previous managements are 
 judiciously criticised, but any practical sugges- 
 tion for improving the conduct of the work in 
 the national establishments is carefully avoided. 
 Dreamy visions of the lofty aim that one should 
 strive to attain in the practice of decorative 
 art, replace all that we could expect to hear 
 from one who was not without experience of 
 the difficulties of pottery manufacture. 
 
 BRADBUR (B. M.). Catalogue of a 
 
 collection of porcelain. . . . 
 
 Yarmouth, 1873. 4; with 5 
 photos. 
 
 Catalogue of sale of a Lowestoft collector. 
 
 BRADBURY (Edward). -- Derby china: 
 old and new. With a description 
 of the Gladstone dessert service. 
 London and Derby, Bemrose & 
 Sons, 1883. Sq. 12, pp. 60. 
 
 An historical account of the Derby porcelain 
 works from their foundation up to the present 
 day. The sketch, written in an informal and 
 sprLhtly style, is enlivened with interesting 
 anecdotes of the old painters. It ends with a 
 description of the dessert service presented to 
 Mr. W. E Gladstone on the occasion of his 
 political Jubilee by the Liberal Working-men's 
 
 4 
 
 Association of Derby. The china was decorated 
 with floral medallions, due to the hand of a 
 local painter, James Botue, who had served 
 his apprenticeship at the old works, and was 
 then in his eightieth year ; and with landscapes 
 of Derbyshire scenery painted by Count Holtz- 
 endorff. 
 
 Great as may be the interest attached, in 
 our days, to such a unique dessert service, it 
 is but little when we think of the inestimable 
 value that its historical association will invest 
 it with in the appreciation of the china collector 
 of the future. 
 
 BRAGGE (William). Bibliotheca Nico- 
 tiana : a catalogue of books about 
 tobacco ; together with a cata- 
 logue of objects connected with 
 the use of tobacco in all its forms, 
 collected by W. Bragge, F.S.A. 
 Birmingham, printed for the 
 author, 1880. Imp. 8, pp. 248. 
 8s. 
 
 The collection comprised the largest number 
 of tobacco pipes, probably, ever brought to- 
 gether. Prehistoric terra-cotta pipes from 
 America ; early clay pipes from Holland, 
 England, and France ; porcelain pipes from 
 Sevres, Berlin, Capo di Monte, Copenhagen, 
 Worcester, Chelsea, and from many other 
 sources of European and Oriental manufacture, 
 constituted a complete history of ceramic art 
 applied to the smoker's requisites. Another 
 section of the catalogue contains the snuff 
 boxes of Chinese porcelain, 244 in number. 
 Mr. Bragge had prepared a descriptive cata- 
 logue of his collection illustrated with 1200 
 sketches ; it is to be regretted that the MS. 
 was never published. 
 
 BRAMBILLA (Camillo). Antonio Maria 
 Cuzio e la ceramica in Pavia. 
 Pavia, 1889. 4, pp. 72; with 
 4 pi. in chromo. 150 copies 
 printed. 10 fcs. 
 
 "Antonio Maria Cuzio and the cer- 
 amics of Pavia." 
 
 The brick edifices of ancient Pavia were 
 remarkable for their external decorations of 
 terra-cotta. Pottery-making must have been 
 at one time, one of the most prosperous 
 industries of the town ; still, no artist or 
 craftsman, who worked in connection with 
 it, has left any record of his name. All recol- 
 lection is lost of the very place where once 
 stood the numerous ovens from which issued 
 the elegant cornices, the graceful capitals, the 
 elaborate friezes, and the noble panels so 
 lavishly distributed upon the walls of La 
 Cettosa, San Lanfranco, Santa Maria del Car- 
 mine, la Pusterla, etc. In the facades of the 
 most ancient churches are embedded some of 
 the curious " bacini " which seem to throw 
 back the origin of painted majolica, much 
 farther into the mediaeval era than any his- 
 torical evidence would lead us to surmise. 
 
 49 
 
BRA] 
 
 CERAMIC LITERATURE. 
 
 [BRA 
 
 With the name of Pavia, that of Maestro 
 Giorgio Andreoli, the celebrated majolist. 
 comes back to our mind ; not, however, exactly 
 in association with his works, for, according to 
 the author's statement, no painted majolica 
 was ever made in the Maestro's native town. 
 
 It is not, therefore, either with the history 
 of architectural terra-cotta or of artistic 
 majolica that the work pretends to deal. Its 
 chief object is to preserve the memory of a 
 notable citizen, a church dignitary of Pavia 
 who, up to the year of his death in 1694, 
 found pleasure, and took great pride, in making 
 large dishes of brick clay. He signed them all 
 in full, with a few variations in the tenor of 
 his long inscriptions: 
 
 Presbyter Antonius Maria Cutius Papiensis 
 Prothonotarius Apostolicus. 
 
 The dishes were all worked in a decidedly 
 amateurish way ; the surface, roughly turned, 
 was coated over with a fine clay of lighter 
 colour, into this coating the subject was incised 
 and scraped after the method known as sgraffito 
 work. Glazed in an imperfect way by the 
 artist's own hands, they were sent for firing to 
 the next brick kiln. No fewer than ten in- 
 scribed dishes of the same make are now 
 dispersed in the chief Ceramic Museums of 
 Europe ; all of them are duly described. The 
 frontispiece reproduces one of the best ex- 
 amples, which is in the possession of the 
 author. The three other reproductions are 
 taken from dishes, also decorated in sgraffito, 
 and attributed to Pavia manufacture ; they 
 refer to different periods, from the fourteenth 
 to the eighteenth centuries. 
 
 BRANNER (J. Casper). Bibliography of 
 clays and the ceramic arts. 
 Washington, 1896. 8, pp. 114. 
 (United States Geological Survey 
 Bulletin, 143.) 
 
 Second edition. Columbus, 
 
 1906. 8, pp. 451. 
 
 Contains the titles of many papers which 
 have appeared in the serial publications of 
 America, but which cannot find a place here. 
 
 BRANTEGHEM (Collection Yan). Cata- 
 logue des monuments antiques, 
 vases peints, terres cuites, dont 
 la vente aura lieu k Paris, Juin, 
 1892. Bruxelles, Claessen, 1892. 
 Fol., not numbered, 440 Nos. ; 
 with 75 pi. in outline, photogr., 
 and in colour. 75 fcs. 
 
 " Catalogue of sale." 
 
 During many years Mr. Van Branteghem 
 had, unremittingly and regardless of cost, 
 gathered the examples of painted vases and 
 terra-cotta by which the last direction given to 
 the study of the Greek ceramic art could be 
 fittingly illustrated. In his collection the 
 early periods, so unjustly neglected previously, 
 50 
 
 were admirably represented by numerous 
 specimens. Such an interesting assemblage of 
 vases ranging in date from archaic ages to the 
 fifth and fourth centuries B.C., kylixes bearing 
 the signatures of Euphronios, Hieron, Brygos, 
 and other great masters, lekythies of fine white 
 clay with funereal scenes delicately pencilled 
 in brown, polychromatic ware, and pieces 
 adorned with gilt ornamentation, had never 
 been seen before in the possession of a private 
 collector. To this was added a large and well 
 selected series of terra-cotta groups and figures 
 coming from the latest excavations made in 
 Greece and Asia Minor. The sale, which 
 created great excitement in the antiquarian 
 world, produced 12,800. The catalogue, 
 which gives only a short description of the 
 objects, was prepared by W. Frohner ; it is 
 very handsomely illustrated. 
 
 BRARD (C. P.). Mineralogie appli- 
 quee aux arts. Paris, 1821. 
 3 vols. 8. 
 
 " Mineralogy in its application to the 
 arts." 
 
 The materials employed in the manufacture 
 of pottery and porcelain occupy a large place 
 in this treatise. 
 
 BRAUN (E.). La morte d'Achemoro, 
 dipintura d'un vaso fittile. Roma, 
 
 1835. 8, pi. 
 
 " The death of Achemoros ; a painting 
 on a fictile vase." 
 
 Vaso apulo nel real museo 
 borbonico in Napoli ; con dipin- 
 tura di subbietti nuziali. Roma, 
 
 1836. 8; with 3 pi. 
 
 "An Apulian vase in the R. Museum 
 of Naples; painted with nuptial subjects." 
 
 - Vaso di premio col ratto del 
 Palladio e la gara da Marcia ad 
 Olimpio ; illustrazione. Roma, 
 
 1837. 8, pp. 14 ; with 2 fold. pi. 
 
 "A prize vase with the rape of the 
 Palladium and the athletic games at 
 Olympia." 
 
 - II giudizio di Paride. Parigi, 
 
 1838. 4, pp. 13 ; 2 pi. 
 " The Judgment of Paris." 
 
 - II ratio di Cefalo . . . dipinte 
 da Hierone sopra una Kylix. 
 Roma, 1838. 8. 
 
 " The rape of Cephale, painted by 
 Hieron upon a kylix." 
 
BRA] 
 
 CERAMIC LITERATURE. 
 
 [BRE 
 
 BRAUN (E.). Vaso ruvese dall'Orfeo 
 e Bellerofonte, gia del Sign. 
 Cav. Lamberti, ora del R. Museo 
 Badense. Roma, 1838. 8, pp. 
 40 ; with 4 pi. 
 
 " A vase of Ruvo, with paintings re- 
 presenting Orpheus and Bellerophon 
 (now in the R. Museum of Baden)." 
 
 - II Sole e la Luna, dipinto di 
 stoviglia Sabina. . . . Roma, 
 1839. 8, pp. 12 ; with 2 pi. 
 
 " The sun and the moon ; a painting 
 on a Sabinian pottery." 
 
 Die Schaale des Kodros. 
 Gotha, 1843. 4 ; with 2 pi. 
 
 "The Kodros tazza." 
 
 - Le dipinture di Clizia sopra 
 un vaso Chiusano d'Ergotimo, 
 scoperte e publ. di A. Francois, 
 dichiarate di E. Braun. Roma, 
 1849. 4; with 4 pi. 12 fcs. 
 
 " The paintings of Clizia upon a 
 Chiusian vase, discovered and published 
 by A. Francois, and described by E. 
 Braun." 
 
 E. Braun has also contributed many articles 
 on Greek vases to the learned periodicals of 
 Germany. 
 
 BRAUN (Collection). Catalogue of the 
 valuable collection of Etruscan 
 vases of Dr. E. Braun, of Rome. 
 London, 1852. 4. 
 
 BRAUN (E.). Die deutsche Keramic 
 und das Strassen pflaster unserer 
 grossen Stadte. Leipzig, Knapp, 
 1877. 8, pp. 31 ; with 1 pi. 
 
 ' ' The German ceramics, and the street 
 pavement of our large towns." 
 
 Suggests a street pavement formed of cubes 
 and slabs of stoneware. 
 
 BRAUN (E. W.). Kaiser Franz- Josef 
 Museum fur Kunst und G ewer be 
 in Troppau (Schlesisches Landes- 
 museum). Katalogue des Aus- 
 stellung von alt Wiener Porzellan 
 (1718-1864). Troppau,l$03. 12, 
 pp. xxxix-87. 
 
 " The museum of industrial art in 
 
 Troppau. Exhibition of old Vienna 
 porcelain." 
 
 An historical introduction, written by the 
 diiector of the museum, is prefixed to the 
 catalogue. It contains all the information 
 lately obtained on the ancient Vienna factory. 
 
 - Joh. Christ. Kundmann als 
 Quelle fur die Kunstgeschichte 
 des XVIII. Jahrhunderts. Bres- 
 lau, 1904. 4, pp. 16. (Reprint 
 from Schlesien Vorzeit, N.F., III. 
 Band.) (Priv. printed.) 
 
 " J. C. Kundmann as a source of in- 
 formation for the history of art during 
 the eighteenth century." 
 
 Contains some interesting particiilars on the 
 English pottery and porcelain of the period. 
 
 BRAUN (E. W.) and FOLNESICS (J.). Die 
 Kaiserl Konigl. Wiener Porzel- 
 lanmanufaktur ; eine Auswahl 
 der glanzendsten Leistungen der 
 Fabrik in Abbildungen mit his- 
 torischem Text. Wien, Hof. und 
 Staatsdruckerei, 1906. Fol., pp. 
 128 ; with 42 pi. (12 col.) and 40 
 text illustr. 150 m. 
 
 " The Imp. and Royal Vienna porcelain 
 manufactory ; a selection of the most 
 remarkable examples of its work, repre- 
 sented in accurate reproductions, and 
 elucidated by an historical notice." 
 
 BRAUN (Irene). Majolika, Fayence, 
 Porzellan-Malerei Vorlagen und 
 Motive von T. B. O. Fikentscher, 
 F. Hein, und G. Kampmann. 
 Miincken, 1893. 24 col. pi., fol. 
 
 " Models for earthenware and porcelain 
 painting after modern artists." 
 
 BRAXTON HICKS (Coll. J.). Catalogue 
 of sale. London, Christie, May, 
 1887. 8, pp. 28 (301 Nos.) ; 
 with 3 photogr. pi. 
 
 The collection, entirely composed of old 
 Wedgwood ware, realised 3, '21 7- 
 
 BREBISSON (R. de). Le Kaolin des 
 environs d'Alen9on. Alencon, 
 s.d. 8, pp. 25. (Reprint from 
 Annuaire de V association nor- 
 mande.} 
 
 51 
 
BRE] 
 
 CERA MIC LITER A TURE. 
 
 [BRE 
 
 " The kaolin found in the vicinity of 
 Alen^on." 
 
 BREBISSON (R. de). -La porcelaine de 
 Caen. Alengon, s.d. 8, pp. 8; 
 with 1 vignette and 1 photo. 
 
 " Hard porcelain of Caen." 
 
 The factory, established in 1798, was closed 
 in 1805. 
 
 - La porcelaine tendre de Rouen 
 en 1675. Evreux,18$Q. 8,pp.22; 
 with 1 pi. (Privately printed.) 
 
 " The soft china of Rouen in 1675." 
 
 Contains, besides an historical account of 
 that manufacture, a descriptive catalogue of 
 all the pieces that may safely be attributed 
 to Rouen. 
 
 - Histoire de la ceramique a 
 Bayeux et dans sa region depuis 
 the XIIP siecle jusqu'a nos 
 jours. Bayeux, 1897. 8, pp. 68. 
 (In Journal de la Societe des 
 sciences et arts de Bayeux.) 
 
 " History of the ceramic art of Bayeux 
 and its district." 
 
 Gives information upon no fewer than eleven 
 manufactories of pottery and porcelain at work, 
 at various times, in the neighbourhood of 
 Bayeux. 
 
 - Histoire de la porcelaine de 
 Valognes. Valognes, 1899. 8, 
 pp. 48. 
 
 " History of the Valognes porcelain." 
 
 The factory was in operation between 1792 
 and 1807. China clay found in the locality 
 was used in the manufacture. An interesting 
 reprint of a memoir, by Jumelin, on the dis- 
 covery of the Kaolin of Valognes is added to 
 this paper. 
 
 Etude ceramique. Deux 
 faiences du Muse'e archeologique 
 du Mans. Mamers, 1905. 8, 
 pp. 15 ; 1 pi. 
 
 Notice of two plates, bearing the coat-of- 
 arms of two local families, in the Archeological 
 Museum of Mans. 
 
 BREMMER (H. F.). Delftsche Aarde- 
 werk. Amsterdam, Versluys, 
 1906. Vol. i. 4, 1906; with 96 
 mounted collotype proofs. In- 
 troduction and index. 1, 5s. 
 
 - Delftsche Aardewerk in het 
 52 
 
 Rijksmuseum. Amsterdam, 1907. 
 Vol. ii.; with 97 pi. 1, 5s. 
 
 Delft faience. The first volume contains 
 reproductions of specimens selected from various 
 collections. Those given in the second volume 
 are all in the State Museum of Amsterdam. 
 
 BRENCI (G.) and ROTELLINI (S.). Kac- 
 colta di ornamenti tratti da terre 
 cotte dipinte in Siena nel secolo 
 XV. e XVI. Siena, 1873. Fol.; 
 51 pi. 30 fcs. 
 
 " A collection of designs from paintings 
 on terra-cotta of the fifteenth and six- 
 teenth centuries existing in Siena." 
 
 Autographic sketches transferred to stone. 
 The clumsy printing of the plates does not do 
 justice to the copies, nor much honour to the 
 models. 
 
 - Gli ornati delle Ambrogette 
 Senesi in terra cotta. Siena, 
 1883. 25 fcs. 
 
 A reprint of the plates was published under 
 the above title. 
 
 BRENCI (G.)- Majorca Fliesen aus 
 Siena, 1500-1550. Nach original 
 Zeichnungen von G. Brenci ; 
 Text von J. Lessing. Berlin, 
 E. Wasmuth, 1884. Fol., pp. 2 ; 
 with 30 lith. pi., containing 151 
 designs. 30 m. 
 
 "The majolica tiles of Siena, 1500- 
 1550. From the original sketches of 
 G. Brenci." 
 
 This work forms a complement to the one 
 described above. In both series the versatility 
 of the majolica painter is strikingly illustrated. 
 It exemplifies a rarity in works of the kind in 
 that each tile has a different design, although 
 all contribute to the unity of the general 
 arrangement. It seems as though the master, 
 having fixed the plan of the work, had left his 
 assistants free to trace the details according to 
 the bent of their own imagination. The printing 
 of this second series is a decided improvement 
 upon that of the first, the sketches having 
 been drawn directly upon the stone. One may 
 say, however, that so many fine publications 
 having made us accustomed to see tile pave- 
 ments reproduced in their proper colours, such 
 pen-and-ink outlines appear somewhat insuf- 
 ficient to be of real use to the artist or to 
 the tile manufacturer. 
 
 BRENDT (G.)- Die Pommerellischen 
 Gesichturnen. Konigsberg, 1872- 
 78. 4. Part I. Pp. 36 ; with 
 5 pi. and 1 map. Part II. Pp. 
 
BRE] 
 
 CERAMIC LITERATURE, 
 
 [BRI 
 
 46 ; with 5 pi. (Reprint from the 
 Schriften d. Physik. Ock. Gesells. 
 zu Konigsberg.) 8s. 
 
 " The urns, bearing a human face, 
 found in Pomerania." 
 
 A striking instance of the persistence of a 
 most distinct type is found in the small vessels 
 of globular shape, showing upon the front part 
 the rudimentary delineation of a human face, 
 particularly abundant in Germany. Countless 
 examples of this particular shape have been 
 excavated in very distant places, and their 
 association with objects belonging to fixed 
 periods establish, beyond a doubt, that they 
 never ceased to be made from the time of 
 the Roman occupation till the close of the 
 eighteenth century. The archaic method in 
 which the conventional features of the face 
 are embossed and incised is so character- 
 istic that it can only be accounted for by 
 the maintenance of a traditional handiwork 
 handed down, in a rude craft, from genera- 
 tion to generation. To the German brick- 
 maker and not to the regular potter, should 
 be attributed the making of this typical 
 earthen pot. For centuries the trade of the 
 brick-maker had been carried on in Germany 
 by nomadic tribes which held little communi- 
 cation with the inhabitants of the towns. 
 They pitched their tents in any locality where 
 their work happened to be required, and when 
 no longer wanted they repaired to another 
 place. Assuming that the small pot with a 
 human face was the only fancy piece they 
 had ever learned to make and none of these 
 rough labourers would ever have been able 
 to add or change anything to the oirginal 
 pattern the ubiquitous presence in the Ger- 
 man countries of a type that a succession of 
 centuries could not alter, in any appreciable 
 manner, is no longer inexplicable. 
 
 BRETEUIL (Baron de). The preambles 
 of three decrees of 'the Council 
 of State, concerning the Royal 
 Manufactory of Sevres, are given, 
 under that name, by Champfleury. 
 
 BRETILLARD. Collection de Faiences 
 patriotiques. Cat. of sale. Paris, 
 1896. 8 (219 Nos.); 1 double 
 pi., with 24 figs. 
 
 BREYIERE (L. N. ). Notes sur des por- 
 celaines imprimees de differentes 
 grandeurs an moyen d'une seule 
 planche par le precede de feu 
 Gonord, peintre et graveur, et 
 offertes a Facademie. Rouen, N. 
 Periaux, 1833. 8, pp. 15. 
 
 " Notes upon porcelain printed in 
 different sizes from the same copper 
 
 plate, by the process invented by the 
 late Gonord, painter and engraver." 
 
 A few specimens of printing by this process 
 are preserved in the Ceramic Museum of Sevres. 
 The proofs were taken from the plates on a sheet 
 of gelatine, which could be enlarged or con- 
 tracted by being submitted to different tem- 
 peratures ; they were afterwards transferred 
 upon the porcelain in the usual way. 
 
 BRIANCHON. Note sur les briques 
 moulees d'une maison de Saint- 
 Eustache-la-Foret. Le Havre, 
 imp. Lepelletier, 1872. 8, pp. 
 11 ; with marks and illustr. 
 
 " Notes upon the impressed bricks of 
 a house built in the sixteenth century at 
 St. Eustache-la-Foret, in Normandy." 
 
 BRIEUX et SALANDRI. -Bernard Palissy. 
 Drame en un acte et en vers. 
 Paris, Tresse, 1880. 18, pp. 50. 
 
 " Bernard Palissy. A drama in one 
 act ; in verses." 
 
 BRIGHTWELL (C. L). Palissy, the 
 Huguenot Potter. A true tale. 
 London, The Religious Tract 
 Society, 1858. 12, pp. x-201 ; 
 vign. 2s. 
 
 From the name of the Society which pub- 
 lished this little book we may form an idea of 
 the lines followed by the narration. It is not 
 so much Palissy the potter, but Palissy the 
 Huguenot, the champion of Protestantism, the 
 martyr to his faith, whose exemplary life is 
 unfolded in this "true tale" for our edifica- 
 tion. The familiar style in which it is told 
 would be envied by any Sunday school teacher 
 and much appreciated by his class. In its 
 historical part the account follows closely 
 Morley's Life of Palissy. It has been thought 
 unnecessary to refer to the original. We are 
 told that the great French Huguenot potter 
 has himself written his complete biography in 
 the form of dialogue". 
 
 BRINCKMANN (Justus). Das Hamburg- 
 ische Museum fur Kunst und 
 Gewerbe. Ein Fiihrer durch die 
 Sammlungen, zugleich ein Hand- 
 buch der Geschichte des Kunst- 
 ge werbes. Leipzig, E. A. Seeman, 
 1894. Imp. 8, pp. xviii-828;with 
 431 illustr. in the text, drawn by 
 Wilhelm Weimar. 15 m. 250 
 copies printed on Japan vellum. 
 35 m. 
 
 "The Hamburg Museum of -industrial 
 
 53 
 
BRI] 
 
 CERA MIC LITER A TV RE. 
 
 art. A guide to the collections, forming 
 a handbook of the history of industrial 
 art." 
 
 The portion devoted to ceramics in this 
 catalogue extends over 325 pages. This section 
 of the Hamburg museum is remarkable for the 
 completeness with which it illustrates ceramic 
 art at all times and in all countries, but 
 particularly with what regards the faience, 
 stoneware, and porcelain made in Europe since 
 the Renai-sance period. Important centres 
 and minor factories are represented almost 
 without exception. The learned curator, Mr. 
 J. Brinckmann, has had to put under contribu- 
 tion the whole range of ceramic literature in 
 order that every section of his catalogue should 
 be prefaced with an historical notice of the 
 ware and of its makers. Such a plan entailed 
 a formidable labour of compilation, and it has 
 been achieved with great success. As an 
 epitome of the history of ceramic art it is 
 equal to the best work of the same order, and, 
 we believe, more complete than any other with 
 respect to the information it contains upon the 
 German factories still under study. A special 
 mention must be made of the illustrations 
 mostly due to the pencil of Mr. W. Weimar, 
 a very talented artist on the staff of the 
 museum. They were drawn from the object 
 itself, with extreme accuracy ; due regard 
 being given to the proper rendering, in black 
 and white, of the varieties of substances and 
 colours. We have no hesitation in saying that 
 these truly artistic sketches, which do not seem 
 to have lost their neatness in the reproduction, 
 far excel the photographic cliches so extensively 
 used for this kind of illustration. 
 
 BRINCKMANN (Justus). Beitrage zur 
 Geschichte der Topferkunst in 
 Deutschland. 1. Konigsberg in 
 Preussen. 2. Durlach in Baden. 
 Hamburg, 1896. Imp. 8, pp. 
 35 ; with 9 illustr. 2 m. 
 
 " Contribution to the history of the 
 potter's art in Germany. 1. Konigsberg 
 in Prussia. 2. Durlach in Baden." 
 
 In 1776, Councillor Ehrenreich, who had 
 previously been connected with a similar 
 undertaking at Marieberg in Sweden, estab- 
 lished a faience manufactory at Konigsberg 
 under royal patronage and with subsidies 
 from the King of Prussia. The factory pro- 
 duced faience painted in the Strasbourg style 
 and imitations of English earthenware, but 
 with little success. The works closed in 1811. 
 Another factory, started also in 1776 by the 
 brothers Collins, was still less successful, for 
 in 1785 it was reported to have ceased. Its 
 speciality was a black basalt body with which 
 portrait medallions of the celebrated men of 
 the period were made. In the list of these 
 medallions we notice one of Admiral Rodney. 
 
 J. A. Benkieser & Co. obtained a privilege 
 from the Margrave of Baden in 1749 for the 
 manufacture of faience. The works were in 
 existence for about one hundred years. Several 
 examples of presentation jugs, dated, inscribed, 
 and painted with subjects referring to the 
 
 54 
 
 trade, or occupations, of the party for whom 
 the piece had been made, are illustrated in this 
 paper. 
 
 - Kensan. Beitrage zur Ges- 
 chichte der Japanischen Topfer- 
 kunst. Hamburg, 1887. 8, pp. 
 61 ; with 1 col. pi. and 15 illustr. 
 and marks. (Reprint from Jahr- 
 bmh der hamburgischen Wissen- 
 schaft Anstalten.} A few copies 
 printed on Japan paper have 2 
 col. pi. 
 
 " Kensan ; a contribution to the his- 
 tory of Japanese ceramic art." 
 
 BRINKLEY COLLECTION. Description of 
 a collection of Japanese, Chinese, 
 and Corean porcelain, pottery, 
 and faience made by Cap. E. 
 Brinkley, of Yokohama ; by E. 
 Grecy. New York. 1885. 
 
 BRINKLEY. The art of Japan, in two 
 sections. Pictorial art ; applied 
 arts. Boston, U.S.A., 1901. 2 
 vols. Fol. ; with 16 col. pi. inlaid 
 in mounts, and numerous text 
 illustr., chiefly by Japanese 
 artists. 6, 10s. 
 
 - Japan and China ; their 
 history, arts, sciences, manners, 
 customs, laws, religion, and lit- 
 erature. London, E. C. Jack, 
 1904. 12 vols. 8. 8. Vol. 
 viii. Ceramic art of Japan ; with 
 23 pi. Vol. ix. Ceramic art of 
 China ; with 16 pi. 
 
 BRIZIO (E.). Kelazione sugli scavi 
 eseguite a Marzabotto dal Nov. 
 1888 a tutto Maggio 1889. Roma, 
 1890. 4, pp. 91 ; with 10 pi. (1 
 of pottery. ) ( K eprint from Monu- 
 menti antichi.} 10 fcs. 
 
 " Report on the excavations made at 
 Marzabotto from November, 1888, to 
 to May, 1889." 
 
 A complement to the works of Gozzadini. 
 
 Sculture fittile scoperte in 
 Civita Alba, nel commune di 
 
BRO] 
 
 CERAMIC LITERATURE. 
 
 [BRO 
 
 Sassoferrato. Roma, 1897. 4, 
 pp. 22 ; with 17 illustr. (Extr. 
 from Notizie degli Scavi.) 
 
 " Fictile sculptures discovered in Civita 
 Alba, near Sassoferrato." 
 
 BROCKLEHURST (T. U.). Mexico to-day 
 . . . and a glance at the pre- 
 historic remains and antiquities 
 of the Montezumas. London, 
 1883. With 9 chromolith. pi. 
 and 6 illustr. 
 
 BROMET ( W. ). Position of the earthen 
 vases inserted in the vaulting of 
 the Church of St. Martin at 
 Angers. London, 1847. 8. 
 
 A sessional paper of the R.I.B.A. on the 
 
 subject of acoustic pottery. 
 
 BROMSE (Fr.). Die Ofen- und Glasur- 
 fabrikation, nach dem jetzigen 
 Stande dieser Industrie. Mit 
 besonderer Berticksichtigung der 
 altdeutschen Majolika-Oefen, etc. 
 Weimar, J. Voigt, 1896. 12, 
 pp. 123 ; with 7 illustr. 2 m. 
 
 " Earthenware stoves and their glazing 
 according to the conditions of modern 
 manufacture ; with particular considera- 
 tions regarding the old German majolica 
 stoves." 
 
 BRONDSTED (P. 0.)- Memoire sur les 
 vases panathenaiques. Traduit 
 de 1'Anglais par J. W. Burgon. 
 Paris, F. Didot, 1833. 4, pp. 39; 
 with 6 pi. 6 fcs. 
 
 This paper, read before the Royal Society in 
 1831, was printed in vol xi. of the Transactions. 
 An edition, in English, appeared in a separate 
 form, and with the plates engraved for the 
 French edition, London, 1834, 4. 
 
 The victors of the Athenian athletic games 
 received prizes consisting of painted amphoras 
 full of olive oil from the woods sacred to 
 Minerva. At the death of the athlete the 
 trophies he had won during his life were buried 
 in the grave by the side of his body. A number 
 of such amphoras were discovered in the ex- 
 cavations. They are all suitably inscribed 
 with the name of the winner and that of the, 
 then, ruling Archon, a practice facilitating 
 the accurate determination of the date of their 
 manufacture. 
 
 BRONGNIART (A.). Argile. Strasbourg, 
 Levrault, 1816. 8, pp. 96. (Re- 
 
 print from Dictionnaire des 
 sciences naturelles.) 
 
 Alexandre Brongniart had been director of 
 the manufactory of Sevres for sixteen years, 
 when he contributed this paper to Levrault's 
 Cyclopedia. 
 
 Memoire sur les couleurs 
 vitrifiables. (In Journal des 
 Mines, vol. xii., p. 58.) 
 
 "An essay on vitrifiable colours." 
 
 - Essai sur les arts ceramiques 
 (Formant Farticle "Poterie" du 
 Dictionnaire technologique, par 
 Thomine). Paris, 1830. 8, pp. 
 309 ; with 7 pi. 
 
 This work may be considered as the first 
 edition of Brongniart's Traitd des arts cera- 
 miques, published fourteen years later in its 
 ultimate form. 
 
 Porcelain. (Reprint from the 
 Encyclopedie Modern,\)j Courtin.) 
 Paris, 1830. 8, pp. 24. 
 
 A much abridged sketch extracted from the 
 work which appeared in the same year. 
 
 - Notice sur la manufacture de 
 Sevres. Du caractere et de 1'etat 
 actuel de la manufacture royale 
 de Sevres, et de son influence sur 
 1'art et le commerce de la por- 
 celaine. Paris, Didot, 1830. 4, 
 pp. 31. 
 
 " A notice of the character and actual 
 conditions of the Royal manufactory of 
 Sevres, and its influence on the artistic 
 and commercial development of porcelain 
 manufacture." 
 
 This pamphlet appeared under the initials 
 A.B. It was written as an answer to the 
 attacks directed against the Royal manufac- 
 tory. After having exposed the benefits accru- 
 ing to private manufacturers from the scientific 
 experiments continually carried on in that 
 establishment, and the important improve- 
 ments already effected through its agency, the 
 writer points out the necessity of maintaining 
 the Royal subsidy which was then in danger of 
 being withdrawn. 
 
 Rapport fait a la commission 
 des arts ceramiques du jury 
 central des produits de 1'industrie 
 francaise. Paris, 1839. 8, pp. 74. 
 
 Arts ceramiques. Rapport 
 fait par Mr. A. Brongniart. 
 Paris, 1845. 8, pp. 107. 
 
 55 
 
BRO] 
 
 CERAMIC LITERATURE. 
 
 [BRO 
 
 Two reports on the section of ceramics at 
 the Paris exhibitions of 1839 and lS4o. Of 
 great importance as a record of the conditions 
 of the French industry at that period. 
 
 BRONGNIART (A.)- Premier memoire 
 sur les Kaolins, ou argiles k por- 
 celaine, sur la nature, le gisement, 
 1'origine, et Femploi de cette 
 sorte d'argile. Paris, Gide, 1839. 
 4, pp. 57 ; pi. 3 fcs. 
 
 " First memoir upon the kaolins or 
 porcelain clays ; their nature, mode of 
 occurrence, origin, and use." 
 
 BRONGNIART et MALAGUTI. - - Second 
 memoire sur les Kaolins ou 
 argiles a porcelaine, sur 1'origine 
 et la nature de cette sorte 
 d'argile. Paris, Gide, 1841. 4, 
 pp. 83 ; with tables of the chemi- 
 cal composition of felspar, and 
 6 pi. 
 
 These two memoirs have lost nothing of 
 their scientific value ; their contents have been 
 put under contribution by all writers of 
 technical books on ceramics. Malaguti held 
 the position of chemist at the factory of Sevres 
 during the last years of Brongniart's direction. 
 Looking at the pottery manufacture from a 
 scientific point of view, Brongniart was con- 
 vinced that a porcelain made of natural clays 
 was vastly superior to any substitute obtained 
 by a combination of artificial substances. 
 Consequently, the making of the old Porcelain 
 tendre was completely abandoned from the first 
 years of his directorate ; nothing but the 
 kaolins found in French soil being henceforth 
 employed in the Royal factory. 
 
 Both memoirs appeared in the Archives of 
 the Museum, but a few copies were printed 
 with a separate title. 
 
 - Traite des Arts ceramiques, 
 ou des Poteries, consideres dans 
 leur histoire, leur pratiques et 
 leur theories. Paris, Bechet, 
 1844. 2 vols. 8, pp. 592-706 ; 
 with atlas of pp. 80, and 60 pi. 
 30 fcs. A second ed. was pub- 
 lished in 1854. 
 
 "Treatise of the ceramic arts, or pottery, 
 considered historically, practically, and 
 theoretically." 
 
 If one single book had to be selected to 
 represent ceramic literature in a miscellaneous 
 library, if a student of pottery manufacture 
 had to part with all his technical works save 
 one, we have no hesitation in saying that the 
 choice should fall upon Bronginart's Traite des 
 Arts Cdramiqiies. Before Brongniart gave to 
 
 56 
 
 the learned world a treatise which was to 
 raise the potter's art to the level of a science, 
 nothing but uncertain and desultory attempts 
 had been made to gain that end. 
 
 He was still a young man when he found 
 himself at the head of the Royal Manufactory 
 of Porcelain of Sevres. From that day his 
 life was spent in improving the manufacture, 
 enlarging the range of production, and en- 
 hancing the prestige of this paragon establish- 
 ment. A consummate scientist, to whom all 
 branches of knowledge were equally familiar, 
 he merged his multiple faculties into the 
 practice of the avocation of his choice and 
 became the greatest ceramist of his day. 
 Brongniart was one of the robust sons of the 
 French Revolution, whose sound and mighty 
 spirit was animated by a love of truth and 
 a devotion to duty ; a man of thought and 
 deeds, such as were wanted at that moment 
 to reorganise and strengthen the national in- 
 stitutions that the storm of social convulsions 
 had left tottering on their basis. No other man 
 could have written such a noble book. Many 
 of his contemporaries displayed, in the pursuit 
 of the arts and sciences with which their 
 names will be for ever associated, the same 
 striking clearness of views and stability of 
 principles. It may be said that their work 
 is of an ultraformal character, nay, often 
 turgid and pedantic. One must bear in mind 
 that the attractiveness of the ever-changing 
 rules of caprice and fashion, the elegance and 
 simplicity of a refined taste to which we are 
 apt to sacrifice, in our own time, exerted no 
 influence on these intellectual toilers bent on 
 laying the foundations of a transformed France. 
 Decorative art was certainly at a low ebb under 
 Brongniart's direction of the factory at Sevres. 
 Yet, in all art matters, he always sought the 
 advice of the most celebrated painters and 
 sculptors, and never took upon himself the 
 responsibility of guiding the tendencies of the 
 ^artistic work. 
 
 One cannot attempt to review and praise a 
 book of such paramount importance. Let it 
 suffice to say that, historical, scientific, and 
 practical in turn, it contains a wonderful 
 summary of all that a potter should know 
 before he may consider himself as thoroughly 
 proficient in his art. All the information was 
 gathered from the most reliable sources ; all 
 technical experiments had been carried out 
 by the writer himself, or under his direct 
 supervision ; no statement was set down in 
 the book before its accuracy had been sub- 
 mitted to exact scrutiny and conclusively 
 corroborated. 
 
 The methods of manufacture have since 
 undergone sweeping modifications in some 
 branches of the ceramic industry. Special 
 publications have done much to enlarge the 
 field of theoretical and practical knowledge. 
 A. Brongniart gave us the first complete 
 treatise on the subject. Some portions of it 
 may now appear out of date ; nevertheless, 
 in a perplexing case, when other authors are 
 found to disagree, we may say: "Turn again 
 to the old work and see what the master says 
 about it." 
 
 With the exception of the chapters on por- 
 celain decoration, done into German, the book 
 has not been translated into any foreign 
 language. 
 
BRO] 
 
 CERAMIC LITERATURE. 
 
 [BRO 
 
 BRONGNIART et RIOCREUX. Description 
 methodique du Musee ceramique 
 de la manufacture royale de por- 
 celaine de Sevres. Paris, Leleux, 
 1845. 4, 1 vol. text, pp. xv-456, 
 and 1 vol. pi., pp. 8, with 80 pi. 
 col. by hand. 150 fcs. A re- 
 print with pi. in black and white 
 sells at 40 fcs. 
 
 " A methodical and descriptive cata- 
 logue of the Ceramic Museum at the 
 Royal Porcelain Manufactory of Sevres." 
 
 Brongirart had good cause to be proud of 
 the ceramic museum he had established as an 
 annex to the manufactory of Sevres. In the 
 year 1845 the museum, commenced in 1812, had 
 already attained a development that exceeded 
 the expectations of the founder himself. This 
 gratifying result had been obtained, notwith- 
 standing the scantiness of funds granted by 
 the Government, by the untiring exertion of 
 the director and his devoted assistant, D. 
 Riocreux. No other collection existed in 
 which examples of all kinds of pottery could 
 be seen gathered together and systematically 
 classified. The catalogue was the necessary 
 complement to such a comprehensive assem- 
 blage ; its publication largely assisted the 
 development of ceramic studies, and made 
 the museum known to the collectors of all 
 countries. The plates, carefully coloured by 
 hand, had been lithographed by Jules Peyre, 
 who later on became chief designer of the 
 Royal Manufactory. It is a matter of regret 
 that plates and letterpress should have been 
 printed upon clay -loaded paper, just intro- 
 duced at the time as a cheap substitute for 
 the fine, but costly, hand-made paper formerly 
 used for publications of this order. As a con- 
 sequence, all copies of this work are more or 
 less spotted with damp, and will certainly 
 decay before long. 
 
 Traite des arts ceramiques, 
 etc., par A. Brongniart; 3 e edition 
 avec notes et additions par A. 
 Salvetat. Paris, Asselin, 1877. 
 2 vols. 8, pp. xxxii-1588. Por- 
 trait and atlas of 71 pi., with 
 their description. 30 fcs. 
 
 No one was better calculated than Salvetat, 
 for many years chemist at the factory of Sevres, 
 to bring to the level of modern knowledge the 
 magnum opus left by his revered master. The 
 expediency of such a scheme may be questioned, 
 as a rule, and particularly when it applies to 
 a standard book which depicts so faithfully 
 the conditions in which the potter's art stood 
 at the time of its publication ; one would often 
 prefer to have it in its original form. Such 
 modifications, whether addition or deletion, 
 as the reviser deems necessary to introduce 
 savour somewhat of discourteous criticism. 
 There is no lack of modern books that can 
 
 be conjointly consulted for all that pertains 
 to the changes that have taken place in the 
 conduct of pottery manufacture. As regards 
 the fundamental principles of the science of 
 ceramics, Brongniart's treatise is never at 
 fault. 
 
 The china collector's 
 London, 1860. 8, 
 
 BROOKS (G.)- 
 assistant. 
 pp. 15. 
 
 In this little handbook the marks printed 
 in blue, separately, are stuck on the margin 
 of the leaves. 
 
 BROSSARD (P.). Les faiences lyun- 
 naises au dix-huitieme siecle. 
 Paris, 1881. 4, pp. 16 ; with 1 
 pi. and 1 illustr. (Reprint from 
 the Revue des arts decoratifs.] 
 
 " The faience of Lyons during the 
 eighteenth century.-" 
 
 Historical information, published for the first 
 time by Mr. Brossard, curator of the Museum of 
 Industrial Art at Lyons, concerning the royal 
 manufactory of faience, established in 1733 by 
 Joseph Combe, and subsequently carried on 
 by Dame Lamalle, with an annual subsidy of 
 money granted by the town council, from 1738 
 to 1758. Also, a few particulars referring to 
 a few other manufacturers of the same period. 
 
 BROUSSON (H. F.). Practical help to 
 amateurs and artists for painting 
 and decorating all latest produc- 
 tions in pottery ; with photos, of 
 over 200 different objects, and 
 guide to purchase. London, 1886. 
 8, pp. 64 ; with 8 photos, of 
 forms. 
 
 A trade catalogue of the Artists' Colours 
 Manufacturing Co. 
 
 BROWN (Henry). The Renaissance of 
 art pottery in Lambeth. London, 
 1898. 4, pp. 16 ; with 19 text 
 illustr. (Reprint from Architec- 
 ture.) 
 
 History of the Doulton factory and descrip- 
 tion of the latest productions. 
 
 BROWN (J.). Brick ornament and its 
 application. Catalogue and pat- 
 tern book of architectural terra- 
 cotta manufactured by Jabez 
 Brown and Braintree, Chelms- 
 ford (Essex). London, 1877. S. 
 fol. of 64 pi. 
 
 57 
 
BRO] 
 
 CERAMIC LITERATURE. 
 
 [BRU 
 
 BROWNE (J. W.). Calcutta Exhibition, ! 
 
 1882. Descriptive catalogue of 
 articles exhibited at the Cal- j 
 cutta Exhibition of articles of 
 Indian manufacture. Calcutta, 
 
 1883. Fol. Pottery: pp. 367-401. 
 
 BROWNE (Sir Th.). -- Hydriotaphia. 
 Urn burial ; with an account of 
 some urns found at Brampton in 
 Norfolk ; with introduction and 
 notes by Sir John Evans. Lon- 
 don, printed at the Chiswick 
 Press, 1893. 8, pp. xxvi-109 ; 
 with portrait and 2 pi. of urns. 
 5s. 
 
 The first edition of Hydriotaphia was pub- 
 lished in 1658. The account of some urns 
 found in Bampton field, in February 1667-68, 
 was printed for the first time in 1712, after the 
 death of the author. " The conclusion of the 
 essay on Urn-burial," says Th. Carlyle, "is 
 absolutely beautiful. . . . Browne must have 
 been a good man." 
 
 BROWNFIELD (A.). The Lock-out. A 
 potters' guild. Proposal by 
 Arthur Brownfield (master pot- 
 ter). Hanky, 1892. 8, pp. 32. 
 
 When, owing to the bad circumstances of 
 the trade, the manufacturers of Staffordshire 
 deem it expedient to lower the rate of wages, 
 if the operative refuse to accept the reduction, 
 work is temporarily stopped in the factories 
 until the contending parties have come to some 
 arrangement; this is called a "lock-out." In 
 1892 such an extreme measure was on the 
 point of being applied all over the district of 
 "The Potteries." One of the leading manu- 
 facturers, Mr. Brownfield, proposed as a 
 safe-guard against further depression of the 
 trade, that all masters should combine together 
 and constitute themselves into a Guild having 
 for its object the establishment of a fixed 
 standard of remunerative prices, which all 
 members should be bound to maintain. The 
 utter impossibility of persuading the free 
 producer of our day to return to the autocratic 
 rules by which the handicrafts of old have so 
 long been fettered did not seem to have 
 entered the mind of the projector of this dreamy 
 scheme, or to have shaken in the least the 
 confidence he had in the ultimate success of 
 his exhaustive, but somewhat inconsistent 
 calculations. 
 
 BROWNING (Dr.). The story of the 
 common willow - pattern plate. 
 Translated from the Chinese. 
 Liverpool, Hollingshead & Wal- 
 ker, 1882. Sq. 16, pp. 32. 
 
 " Who is there who has not inquisitively 
 contemplated the mysterious figures on the 
 willow-pattern plate ? Who, in childish curi- 
 osity, has not wondered what those three 
 persons, painted in dim blue outline, were 
 doing upon that bridge ? What was the boat- 
 man waiting for in his barge without oars 
 upon that white stream ? and why are those 
 disproportionate doves represented kissing each 
 other as though intensely joyful over some 
 good deed done ? " So writes the author of this 
 booklet, and he gives us a Chinese tale of his 
 own imagination in which the mystery is 
 ingeniously explained. 
 
 BROWN-WESTEAD, MOORE & Co. The 
 Cauldon china. Hanley, 1893. 
 Obi. 8 ? pp. 15 ; with 4 illustr. 
 
 A small album printed for presentation. It 
 contains a description of the objects sent by the 
 firm to the Chicago Exhibition. 
 
 BRUN1NG (A.) Europaisches Porzel- 
 lan des XVIII. Jahrhunderts. 
 Katalog der von 15 Februar bis 
 30 April, 1904, im Lichthofe 
 des Kgl. Kunstgewerbe-Museuin 
 zu Berlin ausgestellten Porzel- 
 lan. Berlin, Reimer, 1904. Sm. 
 4, pp. li-216 ; with 40 collotype 
 pi. (some coloured) and 2 pi. of 
 marks. 1, 10s. 
 
 " European porcelain of the eighteenth 
 century exhibited in the Light Court of 
 the Berlin Museum of industrial art." 
 
 One of the most comprehensive collections 
 of choice examples from the porcelain of the 
 chief German factories ever brought together. 
 The exhibition also comprised a selection of 
 the products of the other European porcelain 
 works. 
 
 - Porzellan. Handbiicher der 
 Koniglichen Museen zu Berlin. 
 Berlin, 1907. 8, pp. 230 ; with 
 166 illustr. 2s. 6d. 
 
 " A handbook to the section of por- 
 celain in the Kunst Gewerbe Museum." 
 
 Historical notices, illustrated with examples 
 in the collection. 
 
 BRUNN (E.). I relievi delle urne 
 etrusche. Vol. i. Circlo Troico. 
 Roma, 1870. 4, pp. viii-132 ; 
 with 99 pi. engr. in outline. 
 50 fcs. 
 
 " The reliefs of* the Etruscan urns. 
 Trojan Cycle.'' 
 
BRU] 
 
 CERAMIC LITERATURE. 
 
 [BUG 
 
 BRUNN and KORTE. Vol. ii. With 109 
 pi. Roma, 1896. 
 
 The square sarcophagi reproduced in these 
 volumes have all been found in Etruscan 
 territory, but the style of the reliefs with 
 which they are decorated seems in most cases 
 to indicate Roman work of the late period, 
 rather than Etruscan art. A great number of 
 them are of terra-cotta ; the material of which 
 each example is made is not, however, men- 
 tioned in the descriptive notices, which deal 
 merely with the subjects represented. 
 
 BRUNN (H.). Geschichte der griechi- 
 schen Kiinstler. Braunschweig, 
 1853-59. 2 vols. 8. 2nd ed. 
 Stuttgart, 1889. 8. 20 m. 
 
 " History of the Greek artists." 
 
 A portion of the work deals with the vase 
 painters. 
 
 Problem in der Geschichte 
 der Vasenmalerei. Milnchen, 
 1871. 4, pp. 72. 
 
 " A problem in the history of vase 
 painting." 
 
 A great controversy has been carried on as 
 to the origin of the early pottery, decorated 
 with geometrical traceries, found in Greece. 
 By some writers it is held as having been 
 imported from Asia ; or, at least, inspired from 
 works of the Asiatic art. Mr. Brunn, taking 
 up the theory previously presented by Gonze, 
 maintains that their style of decoration is 
 absolutely Aryan in character, that it origi- 
 nated in Central Europe, and he proposes that 
 this particular group of rudely painted vessels 
 should be brought together under the name of 
 Pelasgic pottery. 
 
 - Griechische Gotterideale in 
 ihren Formen erlaiitert. Mim- 
 chen, 1893. 8, pp. 110; with 3 
 illustr. of terra-cottas. 8 m. 
 
 " The plastic forms in which the Greeks 
 have expressed their ideal of the gods." 
 
 - Griechische Kunstgeschichte. 
 I. Die Anfange und die alteste 
 decorative Kunst. Mimchen, 
 1893. 8. 
 
 "The history of Greek art. 1. The 
 beginnings and earliest types of decora- 
 tive art." 
 
 It has many illustrations of archaic pottery. 
 
 Die peters burger Poseidon 
 Vase. Leipzig, 1876. 8, pp. 16. 
 
 " The Poseidon vase in the Saint 
 Petersburg Museum." 
 
 The subject painted on this vase reproduces 
 the central group in the west pediment of the 
 Parthenon. 
 
 Ueber die Aristohophos 
 Vase. S.I,, 1881. 4, pp. 20; 
 with 2 pi. 
 
 A vase of the Mycenean style, made at Rome, 
 and signed by the potter Aristonophos. 
 
 - Ueber die Ausgrabungen der 
 Certosa von Bologna. Zugleich 
 als Fortsetzung der Problem in 
 der Geschichte der Vasenmalerei. 
 Munchen, 1887. 4, pp. 59. 2 m. 
 
 " On the excavations made at the 
 Certosa of Bologna ; together with the 
 continuation of the disquisition, entitled 
 A Problem in the History of Vase 
 Painting." 
 
 An answer to the criticism which arose out 
 of the publication of Brunn's first paper on the 
 subject. 
 
 BUCH (Adam). One hundred engrav- 
 ings from paintings on Greek 
 vases which have never been 
 published, drawn and etched by 
 A. Buch from private collections 
 now in England. London, 1812. 
 Fol. 
 
 The work is mentioned by Brunet. The 
 first part, comprising ten plates, is preserved in 
 the library of the Archaeological Society. It 
 has become so extremely scarce that we may 
 question whether the publication has ever been 
 completed ; I never heard of a complete copy 
 being in existence. Adam Buch was a pupil of 
 Minasi. 
 
 BUCHER (B.)- Die Kunst im Hand- 
 werk. Vademecum fur Besucher 
 Kunstgewerblicher JV1 useen, Aus- 
 stellungen, etc. Wien, 1872. 12. 
 Ceramics, pp. 126-144. 
 
 " Art workmanship. A manual for 
 the visitoi 1 to industrial museums, exhi- 
 bitions, etc." 
 
 -"Mit Gunst." Aus Vergan- 
 genheit und Gegenwart des 
 Handwerks. Leipzig, W. Gru- 
 now, 1885. 8, pp. 461. 5 m. 
 
 " ' With your leave.' Handicrafts of 
 past and present times." 
 
 59 
 
BUC] 
 
 CERA MIC LITER A TURK. 
 
 [BUL 
 
 Under this title, the greeting formula in use 
 among members of the ancient Trade Guilds, 
 the author has collected the various papers 011 
 industrial arts he had contributed to the 
 German periodicals. Several chapters are de- 
 voted to ceramics, namely : drinking jugs, 
 Jacobas' Kannetjes, the Oiron faience, Bernard 
 Palissy, earthen vessels and history, the oldest 
 porcelain of Europe, Capo di Monte, Buen 
 Ketiro and Alcora. 
 
 BUCHER (B.). Die alten Zunft- und 
 V erkers - Ordnungen der Stadt 
 Krakaw. Wien, Gerold's son, 
 1889. 4, pp. 112; with 27 pi. 
 16s. 
 
 " The ancient guild and trade regula- 
 tions of the city of Cracow." 
 
 Contains : " Obligatio figulorum ad edif. 
 Justitas, 1406," and " Statua figulorum, 1504, >: 
 pp. 64-68, with a plate of a potter at work. 
 After the original MS., "Codex Picturatius, " 
 by Balthazar Behems in the K.K. Jagellonische 
 Bibliothek. 
 
 BUDDINGH (D.)- Over oude en latere 
 drinkplegtigheden der Scandi- 
 naviers, Germanen en Neder- 
 landers. The Hague, 1842. 8 ; 
 with illustr. of old vessels, Jacobas 
 Kannetjes, etc. 4s. 
 
 " Upon the ancient and later drinking 
 customs of the Scandinavians, Germans, 
 and Nederlanders." 
 
 BUDE (L.) and LACHER (C.). Kunst- 
 gewerbliche Arbeiten aus der 
 kulturhistor. Ausstellung zu 
 Graz. Graz, 1884. Fol. ; with 
 100 photogr. pi. 80 m. 
 
 " Works of industrial art in the Graz 
 Historical Exhibition of 1883." 
 
 BUHLER (Chr.). Die Kachelofen in 
 Graubtinden aus dem XVI.- 
 XVIII. Jahrhundert. Eine 
 Kunst und Kulturgeschichtliche 
 Studie. Zurich, C. Schmidt, 1880. 
 Fol., pp. 44; with 9 col. pi. by 
 J. J. Hofer. 
 
 " The earthenware stoves of the 
 ' Grisons ' canton, from the sixteenth to 
 the eighteenth century. An a tistic 
 and historical essay." 
 
 The canton Graubiinden, or Grisons, is ricli 
 in old buildings, many of which can still boast 
 of having preserved their ancient architectural 
 stoves, ornamental pillars formed of tiles and 
 slabs of enamelled pottery, often provided at 
 
 60 
 
 the sides with a seat constructed of the same 
 material. They were all of national origin, 
 having mostly been manufactured by the 
 celebrated Winterthur potters. It has evi- 
 dently been a most pleasant task to the author 
 of this descriptive sketch, a learned clergyman 
 of the locality, to hunt out his examples in 
 distant villages and to give us the benefit of 
 his discoveries. The traveller in the Engadine 
 has had occasion to admire in the Rathhaus of 
 Choire, and in some other ancient buildings of 
 the same town, several remarkable examples 
 of the art of the Swiss stovemaker, ranging in 
 date from 1564 to 1734. Many more curious 
 stoves are scattered all over the district, 
 namely : at Davos, Malans, Bremgarten, etc. 
 The earliest types, built up of tiles embossed 
 with high reliefs, and glazed with black or 
 dark green glaze, do not bear any date or 
 monogram. The more ambitious structures by 
 which they were succeeded, formed of large slabs 
 of stanniferous faience, elaborately painted in 
 various colours, are generally dated and signed 
 by their makers. On these we find the name 
 of a family of Swiss potters, the Piaus, to 
 whom the excellence of their productions 
 assigns a place amongst the masters of the art. 
 From the fine chromos accompanying the 
 letterpress, we may judge of the style and of 
 the importance of the works made by Heinrich 
 and David Pfau, who worked at Winterthur 
 between 1620 and 1697. Later on the stove 
 manufacture was carried on in several places, 
 and other fine examples bear the names of 
 Meier of Steckborn 1763, and Caspar lioustaller 
 1771. Of all these and of many others the 
 writer gives a most complete description. 
 The transcription of the German sentences, 
 or lines of poetry, which are inscribed under 
 the painted subjects, add much to the interest 
 of this exhaustive monograph. 
 
 BULL (P.). Die Emaille - Fabrika- 
 tion. Anleitung zur praktischen 
 Herstellung der Emaille, der 
 Geschirre und das Emaillieren 
 nach dem nuesten Verfahren von 
 P. Bull's Technische Bureau fur 
 Emaille - Industrie. Hamburg, 
 Bergedorf, 1895. 8, pp. 168. 
 14 m. A supplement (4 m.) was 
 published in 1897. Privately 
 printed. 
 
 "The enamel manufacture. Instruc- 
 tions for the practical preparation of 
 enamels ; the making of vessels and the 
 way to enamel them, from the latest 
 experiments." 
 
 Although this receipt book is particularly 
 intended for enamelling upon metals, it con- 
 tains many useful suggestions for the making of 
 ceramic colours and enamels. 
 
 BULLE (H.)- Die Silene in der arch- 
 aischen Kunst der Griechen. 
 
BUR] 
 
 CERA MIC LI TEE A TURE. 
 
 [BUR 
 
 Miinchen, Ackermann, 1893. 8, 
 pp. 77. 2 m. 
 
 " The Silenes in Greek archaic art." 
 
 The distinctive character of the Greek and 
 Italian styles of vase painting is commented 
 upon by means of the difference existing in the 
 representation of Silene on the vases found in 
 the two countries. 
 
 BURAT (J.). Exposition de 1'indus- 
 trie fraii9aise, annee 1844. De- 
 scription methodique accom- 
 pagnee d'un grand nombre de 
 planches et de vignettes et d'un 
 essai historique sur les exposi- 
 tions de 1'industrie. Paris, 1844. 
 2 vols. 4. 
 
 " Exhibition of the French industry 
 in the year 1844. Classified description, 
 illustrated with numerous plates and 
 woodcuts, and prefixed with an historical 
 essay on the industrial Exhibitions." 
 
 SURGES (W.)- Art applied to in- 
 dustry. A series of lectures. 
 Oxford, 1865. 8. Pottery, pp. 
 27-39 ; Bricks, pp. 100-102.' 
 
 BURGESS (W.)- Staffordshire versus 
 American pottery. Washington, 
 1891. 8 (in U.S. Consular 
 Reports, No. 132), pp. 23. 
 
 English pottery and pottery 
 trade. Washington, 1892. (In 
 U.S. Consular Reports, No. 136.) 
 Pp.8. 
 
 BURGON (Th.). Attempt to point out 
 the vases of Greece proper which 
 belong to the heroic and Homeric 
 ages. London, 1845. 8, pp. 40 ; 
 Ipl. 
 
 BURKE (M. D.) - - Brick for street 
 pavements ; an account of tests 
 made of bricks and paving 
 blocks, With a brief discussion 
 of. street pavements and the 
 method of constructing them. 
 Cincinnati, 1892. 
 
 BURLAMACCHI 
 Robbia. 
 
 (Marchesa). Luca della 
 
 Londm, G. Bell, 1900. 
 
 8, pp. vi-121 ; with 40 illustr. 
 
 5s. 
 
 Several documents relating to Luca della 
 Robbia are given in the Appendix. They do 
 not add much to our previous knowledge of the 
 master and his work. A catalogue of all the 
 faience works made by him and by his suc- 
 cessors is appended to the biography ; it is very 
 incomplete as regards the collections in other 
 countries than Italy. As to what regards Italy, 
 we notice that the important frieze of the 
 Pistoja hospital, which is noticed in the text, 
 has not been entered on the list. 
 
 BURLINGTON FINE ARTS CLUB. A short 
 description of the English and 
 Continental porcelain exhibited 
 June, 1873. London, 1873. 4, 
 pp. 24 ; with 18 photogr. p . 
 3, 10s. 
 
 - Illustrated catalogue of speci- 
 mens of Persian and Arab art 
 exhibited in 1885. London, 1885. 
 4, pp. xxii-70; with 22 phototyp. 
 plates. (A few copies have some 
 additional plates.) Introduction 
 by Henry Wallis. 2, 10s. 
 
 Catalogue of specimens of 
 Hispano-Moresque and majolica 
 pottery. London, 1887. 4, pp. 
 viii-60. ' 3s. 
 
 Catalogue of objects of Greek 
 
 ceramic art. London, 1888. 4, 
 pp. 105; with 2 woodcuts and 54 
 autotype pi. Catalogue prepared 
 by W. Frohner. 6. 
 
 Exhibition of the art of 
 
 ancient Egypt. London, 1895. 
 4, pp. xlvii-129 ; with 7 pi. in 
 outline (4 of pottery), and 27 
 autotype pi. Introduction by H. 
 Wallis. 1, 16s. 
 
 Catalogue of blue and white 
 Oriental porcelain. London,l8S5. 
 4, pp. xxii-55 ; with 4 pi. of 
 marks. Introduction by Cosmo 
 Monkhouse; catalogue by Rich- 
 ard Mills. 6s. 
 
 Catalogue of coloured Chinese 
 
 porcelain exhibited in 1 896. Lcm- 
 
 61 
 
BUR] 
 
 CERAMIC LITERATURE. 
 
 [BUR 
 
 don, 1896. 4, pp. xiii-67 ; with 
 5 pi. of marks. Introduction by 
 C. Monkhouse ; catalogue by R. 
 Mills. 6s. 
 
 BURLINGTON FINE ARTS CLUB. - - Exhi- 
 bition of ancient Greek art. 
 London, 1904. 4, pp. xxxii- 
 265 ; with 40 pi. 6. 
 
 - Exhibition of the faiences of 
 Persia and the nearer East. 
 London, 1907. 4, pp. 82. Cat. 
 by Ch. H. Read. 
 
 The illustrated catalogues of the Burlington 
 Fine Arts Club, having been printed by sub- 
 scription for members only, it is but seldom 
 that copies of them are met with in the 
 trade. The larger part of the objects described 
 and illustrated in these catalogues, being 
 borrowed from private collections, they are 
 published there for the first time. 
 
 BURNS (F. S. G.) and MILES (H. J. A.).- 
 Tiles from Dame Marjorie's 
 chimney corner and china from 
 her cupboard. London, s.d. 
 (1880?) Album. Sm. 8; 32 pi. 
 printed in blue. 3s. 
 
 A book for children by two ladies. Original 
 drawings for painted tiles, with sketches from 
 specimens of old china introduced in all avail- 
 able spaces. 
 
 BURNETT. Burnt-in photography on 
 porcelain, glass, and allied vit- 
 reous and ceramic fabrics. Edin- 
 burgh, 1857. A single sheet 4. 
 
 BURTON (W.). Cantor lectures. On 
 material and designs in pottery. 
 London, 1897. 8, pp. 19 ; with 
 text illustr. (Reprint from the 
 Journal of the Society of Arts.} 
 
 Examples of ancient ceramic art are de- 
 scribed and examined in this paper to support 
 the views of the lecturer on the direction that 
 should be followed in modern manufacture. 
 Mr. Burton is director of the Pilkington Tile 
 Works. 
 
 - The use of lead compounds in 
 pottery from the potter's point 
 of view. London, 1899. 8, pp. 
 83. Is. 
 
 A concise, practical, and unbiased examina- 
 tion of the question lately raised on the dangers 
 consequent upon the methods employed in 
 
 62 
 
 England for the glazing of earthenware. It 
 was written in answer to the official report 
 prepared by Professors Thorpe and Oliver, in 
 which so many restrictions are advocated in 
 the vise of lead, that it amounts almost to its 
 absolute prohibition. Mr. Burton demonstrates 
 the impossibility of applying such a drastic 
 measure, and recommends the use of fritted 
 lead ; a system which, in the Continental 
 factories, has resulted in the disappearance of 
 all cases of illness among the people working 
 Avith lead glazes. 
 
 A history and description 
 of English porcelain. London, 
 Cassell, 1902. 8, pp. vii-192 ; 
 with 24 col. pi., 88 halftone 
 illustr., and 11 pi. of marks. 
 1, 10s. 
 
 The technical part of this book, written by 
 an experienced potter, will particularly instruct 
 and interest the china collector, who could not 
 obtain an equal amount of clear and reliable 
 information on the nature and specific qualities 
 of the various porcelain wares of English 
 manufacture in any other ceramic history. 
 
 - A history and description of 
 English earthenware and stone- 
 ware (to the beginning of the 
 nineteenth century). London, 
 Cassell, 1904. 8, pp. xv-192 ; 
 with 24 col. pi., 89 illustr., and 
 4 pi. of marks. 1, 10s. 
 
 A well considered and revised survey of all 
 information previously obtained on the matter. 
 
 Porcelain ; a sketch of its 
 nature, art, and manufacture. 
 London, Cassell, 1906. 8, pp. 
 viii-261 ; with 50 half-tone pi. 
 
 7s. 6d. 
 
 The earlier chapters aim at initiating the 
 china collector into the technics of porcelain 
 manufacture. A reprint of the translation of 
 the Letters of Pere d'Entrecolle occupies the 
 larger part of the section of the book devoted 
 to Chinese porcelain. The history of the 
 European manufactories is succintly and clearly 
 compiled from standard monographs. 
 
 BURTY (PMlipe). Chefs-d'oeuvres des 
 arts industriels. Ceramique 
 Verrerie et Vitraux Emaux 
 Metaux Orfevrerie et bijouterie 
 Tapisserie. Paris, Ducrocq, 
 Is66. 8, pp. 598; with 200 
 illustr. 10 fcs. 
 
 "Masterpieces of the industrial arts. 
 Ceramics Glass - making and stained 
 
BUR] 
 
 CERAMIC LITERATURE. 
 
 [BUS 
 
 glass Enamels Metals Goldsmith 
 and jeweller's work Tapestry." 
 
 The talented craftsmen of yore who have 
 left the stamp of their masterly personality 
 impressed on the material they have shaped 
 into things of beauty had been, long before, 
 acknowledged as incontestable artists. But | 
 the many admirers of the arts of the past were 
 still far from being ready to realise that talent 
 of the true sort was dormant in the modern 
 workshop, and that more than one exceptionally 
 gifted designer or modeller, was only waiting 
 for the opportunity of displaying his creative 
 powers, and assert his artistic personality. At 
 that moment, to suggest that any superior 
 example of painted pottery, chased metal, 
 carved wood, etc., the work of a living artisan, 
 could be deemed to be sufficiently remarkable 
 in conception and treatment to rank on the 
 same line with a painted canvass or a marble 
 statue, was considered nothing short of ex- 
 travagant. Nevertheless, a few clear-sighted 
 connoisseurs, setting aside the trammels of 
 deep-rooted prejudices were joining their efforts 
 in bringing about a general recognition of what 
 they called the "industrial arts." Burty 
 became the accredited champion of the cause, 
 and bravely conducted a front attack against 
 the mighty powers of the hour, academic 
 disdain and senile obstinacy. He constituted 
 himself "critic of industrial art," a speciality 
 assumed subsequently by many other writers, 
 but for which Burty was uncommonly well 
 qualified as one may judge from the merits of 
 the essays and articles he published from day 
 to day in the French periodicals. The fruit of 
 many years' observation and experience has 
 been embodied in this book, a large part of 
 which is devoted to ceramics. The author did 
 not hesitate to bring his history of the potter's 
 art well up to date. He was the first who 
 dared to speak of the leading craftsmen of his 
 clay as equalling the ancient masters of the 
 best periods. It remains to be seen whether 
 posterity will ratify his judgment. 
 
 The work has been translated into English 
 by W. Chaffers. 
 
 We cannot undertake to give a complete list 
 of Burty's contributions to the serial publica- 
 tions to which he was a constant collaborator. 
 The following have been reprinted in a separate 
 form. 
 
 Exposition des Beaux- Arts 
 appliques a Findustrie, 1874. 
 Rapport sur la ceramique. 
 Paris, Pougin, 1874. 8. (From 
 the Revue des arts decor atifs.) 
 
 La poterie et la porcelaine au 
 Japon. Paris, 1885. 8. (From 
 the Revue des arts decor atifs.} 
 
 Bernard Palissy. Paris, 
 Rouam, 1886. 4, pp. 60 ; with 
 20 illustr. 3 fcs. 
 
 BURTY (Collection, Ph.). Catalogue of 
 sale. Paris, 1891. 8, pp. 319 ; 
 with 1 pi. and text illustr. drawn 
 by Ph. B. Introduction by S. 
 Bing. 
 
 Oriental ceramic : Nos. 1321-1522. 
 
 BURY-PALLISER (Mrs.)- --The china 
 collector's pocket - companion. 
 London, Sampson Low, 1874. 
 12, pp. 136; with marks. 3s. 
 
 BUS. A dish of gossip off the Wil- 
 low Pattern, by Bus, and plates 
 to match by Fus. London, Laid- 
 law, s.d. Sq. 8, pp. 32; with 
 illustr. printed in blue. 2s. 
 
 BUSCHING (J. G. G.) ; Grabmal des 
 Herzogs Heinrich des Vierten 
 von Breslau. Breslau, 1826. 
 Fol., pp. 20 ; with 5 engr. pi. 
 15s. 
 
 " Tombstone of the Duke Henry IV. 
 of Breslau." 
 
 Most of the writers on ceramic history, 
 relying on A. Demmin's authority, have men- 
 tioned the tomb of Duke Henry IV., erected 
 in the Church of Breslau in 1295, as incontest- 
 able evidence that the art of enamelling on 
 clay was practised in Germany long before 
 majolica was made in Italy. Demmin had 
 especially mentioned the bright and glossy red, 
 conspicuous among the brilliant colours with 
 which the monument was said to be enamelled, 
 and the beauty of which the Italian majolica 
 has never equalled. As the statement is alto- 
 gether erroneous, it is not unimportant to give 
 the following extracts from the work'of a local 
 historian in which the tomb is accurately 
 described. 
 
 "All the monumental tombs of Silesia," 
 says Biisching, "are made of marble, stone, 
 or porphyry; the upper part of the tomb of 
 Henry IV. is exceptionally made of terra-cotta ; 
 the rest of the monument being, however, 
 carved out of sandstone in the usual style. 
 The whole of the structure- the terra-cotta as 
 well as the sandstone part was, at one time, 
 coated over with distemper colours, but very 
 few traces of the painting can now be 
 recognised. " 
 
 BUSHELL (S. W.). Chinese porcelain 
 before the present dynasty. 
 Peking, Pie-T'ang Press, 1886. 
 8, pp. 55. (Reprint from Journal 
 of the Pekin Oriental Society.} 
 
 No more precious document could have 
 come to hand to assist the historian of Oriental 
 ceramics in fixing the various styles of por- 
 
 63 
 
BUS] 
 
 CERAMIC LITERATURE. 
 
 [BUT 
 
 celain made in China from the earliest times on 
 record than the old Chinese MS., of which this 
 paper gives a correct, if not a complete, transla- 
 tion. It is the authentic catalogue of a choice 
 collection of porcelain formed, towards the end 
 of the sixteenth century, by an experienced 
 amateur. To the minute description of the 
 specimens in his possession the collector had 
 added accurate sketches of the originals care- 
 fully executed in water-colour. When Bushell 
 published his translation he could not accom- 
 pany it with reproductions of these sketches, 
 since the original MS. was thought to be 
 irretrievably lost. Many points clearly estab- 
 lished by this catalogue may now, however, 
 be considered as definitely settled, and the 
 importance of such a text-book could not 
 be overrated. An interesting account of the 
 preparation of ceramic colours in use during 
 the reign of Van-li, 1573-1619, and of the 
 various styles of manufacture prevailing at 
 the same period, was affixed by the Chinese 
 collector to the third part of his MS.; this 
 has been included in the translation of the 
 catalogue. 
 
 BUSHELL (S. W.). Oriental ceramic 
 art. Illustrated with 116 plates 
 in colour and 437 black and white 
 cuts, reproducing specimens in 
 the collection of W. T. Walters. 
 With a complete history of Ori- 
 ental porcelain, including pro- 
 cesses, marks, etc., by Dr. S. W. 
 Bushell, physician to H.B.M. 
 Legation, Pekin ; and an intro- 
 duction and notes by W. M. 
 Laffan. New York, D. Appleton, 
 1897. Ten parts, imp. fol. The 
 text has been reprinted in 8 
 form with the title, "Text edition 
 to accompany the complete 
 work." 100/ 
 
 The owner of the collection had himself super- 
 intended the preparation of these sumptuous 
 volumes; he died before the printing was quite 
 completed and left to his executors the care of 
 bringing them out. It took W. T. Walters 
 forty years to form this collection, and the 
 finest specimens procurable were bought by 
 him regardless of cost. If smaller in size than 
 the Dresden collection of Oriental porcelain, 
 experts regard this one as superior in quality. 
 The letterpress, contributed by S. W. Bushell, 
 is based on the work described above, and 
 contains a translation of the Fao-Shno, the 
 best Chinese work on porcelain. 
 
 The plates were produced by Louis Prang 
 of Boston, after the sketches painted in water- 
 colours by J. Calowhill, formerly attached to 
 the Royal Porcelain Works, Worcester. 
 
 Chinese art. London, printed 
 
 by Wyman & Sons. 1904-06. 8, 
 
 64 
 
 2 vols., pp. 156-151; with 239 
 illustr. 3s. 
 
 One of the Handbooks of the Victoria and 
 Albert Museum. Ceramics : vol. ii. pp. 1-58, 
 with 74 illustrations ; marks and seals. 
 
 Chinese porcelain. Oxford, 
 H. Frowde, 1908. 4 ; with 83 
 plates in colour by W. Griggs, 
 with corresponding Chinese text 
 reproduced in facsimile, and 
 accompanied by translation, 
 notes, and introduction. 5, 5s. 
 
 When, in 1888, Dr. Bushell published an 
 abridged account of the precious Chinese cata- 
 logue, once in his possession, the original MS. 
 had been burnt in the fire which had occurred, 
 the year before, at Whiteley's Repository. On 
 his return to Pekin, the Dr. was pleasantly 
 surprised to hear that, while the MS. was 
 being offered for sale, a native artist had taken 
 several accurate copies of it. It is one of these 
 copies that he caused to be reproduced in colour 
 by photographic process. The volume was 
 handsomely printed at the Clarendon Press. 
 Death carried away the author a few days after 
 the publication of his work. 
 
 BUSHELL (S. W.) and LAFFAN (W. M.). 
 Catalogue of the Morgan collec- 
 tion of Chinese porcelain. New 
 For#,The Metropolitan Museum 
 of Art, 1907. 8, pp. lxxxii-195; 
 with 76 half-tone plates. 13s. 
 
 This catalogue first issued, with coloured 
 plates, for private circulation, has subsequently 
 been reprinted for the use of the visitors to the 
 museum. 
 
 BUSSY (Ch. de). Exposition de Phila- 
 delphie en 1876. Rapport sur la 
 ceramique. Paris, Impr. Nat., 
 
 1877. 8. 
 
 The official report of the French Commission. 
 
 BUTLER (Samuel). Ex Voto ; an 
 account of the Sacro Monte, or 
 New Jerusalem at Varallo-Sesia. 
 With some notice of Tabachetti's 
 remaining work at the Sanctuary 
 of Crea. London, Longmans, 
 1890. 8, pp. 277 ; with 20 collo- 
 type illustr. 10s. 6d. 
 
 In the wide plains of Lombardy, fields of 
 brick -clay are more readily found than stone 
 quarries ; consequently, the architect had to 
 depend, in most cases, on brick-works for the 
 
BUZ] 
 
 CERAMIC LITERATURE. 
 
 [CAD 
 
 erection of a building, and on the use of 
 moulded terra-cotta for its external decoration. 
 Judging from the profusion and the beautiful 
 style of the terra-cotta reliefs with which the 
 Lombardy edifices, churches, palaces, private 
 dwellings, etc., are often clad from basement 
 to roof, one might expect that the potters of 
 the country formed, in olden times, important 
 corporations headed by talented and celebrated 
 masters. But of these no traces are left in 
 contemporary documents. While history has 
 recorded the names of nearly all the architects 
 and sculptors of the Renaissance period, it 
 is silent with respect to the terra-cotta maker, 
 to the practical skill of whom the former were 
 indebted for the ornamentation of some of the 
 finest monuments of Upper-Italy. One of the 
 most stupendous examples of the ability of these 
 anonymous potters is to be seen at the 
 Sanctuary of Varallo. The place, still in a 
 comparatively good state of preservation, took 
 nearly a century to bring to completion. It 
 comprises forty-eight chapels or oratories, each 
 containing numerous figures of terra-cotta, 
 arranged in groups. Some of these groups 
 number no fewer than forty-six human figures 
 and several horses, all being slightly over life- 
 size. The figures are coloured over with 
 distemper and have a background of landscape, 
 architecture, and additional figures painted 
 in fresco. The earliest chapels are the work of 
 Gaudenzio Ferrari, a well-known Milanese 
 painter, assisted by an efficient staff of model- 
 lers, working under his direction. One of 
 the chapels, that of the crucifixion, bears 
 the date 1529. Among the many artists who 
 had been engaged on this work, Tabachetti is 
 the most conspicuous and prolific. Tabaquet 
 or Tabachetti was a sculptor of Flemish origin, 
 who had come to settle in Lombardy. His 
 name is only known in association with the 
 terra-cotta figures of Varallo, where he worked 
 up to 1610, and with another work of the same 
 sort which he executed a few years later for the 
 neighbouring Sanctuary of Crea. His figures, 
 realistic in the extreme, have little in them 
 that recalls the early style of the Milanese 
 school, and pervaded the masterly work of his 
 predecessor, ^Gaudenzio Ferrari. The Flemish 
 sculptor revels in the grinning faces and in the 
 extravagant attitudes of the grotesque person- 
 ages so dear to Adrien Brawer, Van Ostade, and 
 other Flemish painters. To an ill-disposed critic 
 certain of these uncouth groups would appear 
 to be composed of Flemish workmen who had 
 just left the jollities of the Kermess to do 
 occasional duty as supers in the performance 
 of a village passion-play. We must refrain 
 from expressing our personal impression with 
 respect to Tabachetti's work, lest we should, 
 in so doing, wound the feelings of the author 
 of Ex voto. In his sincere and boundless 
 admiration for the modeller of the Journey to 
 Calvary, he declares that, had it been in his 
 power to be gifted either with the talent of a 
 Michael-Angelo, or that of a Tabachetti, he 
 would have no hesitation in preferring to 
 resemble the latter, rather than to be considered 
 equal to the former. 
 
 The book gives no information about the 
 potters who performed the practical part of this 
 extraordinary work, the places where the ovens 
 were situated, the conditions of the trade at that 
 period, and other matters of kindred interest. 
 
 5 
 
 BUZONNIERE (de). Notice sur 1'emploi 
 des machines pour la fabrication 
 des briques dans les localites ou 
 les debouches ne sout pas tres 
 considerables, et description 
 d'une nouvelle machine destinee 
 k remplacer le Rebattage, nom- 
 mee Calibreuse. Orleans, 1845. 
 8, pp. 18 ; fold. pi. 
 
 " Notes on the use of brick-making 
 machines in the localities where only a 
 moderate production is required, and 
 description of a new machine, destined to 
 replace the 'beating in,' called 'Cali- 
 breuse.'" 
 
 BYNG-HALL (Major H.). The bric-a- 
 brac hunter ; or, chapters on 
 chinamania. London, Chatto & 
 Windus, 1875. (2nd ed.) 8, pp. 
 290 ; portrait. 4s. 
 
 Major H. Byng-Hall travelled all through 
 Europe in the fulfilment of duties entailed by 
 the position he occupied in the diplomatic 
 service. Being also a passionate collector of 
 old china, he took advantage of his prolonged 
 sojourn in foreign countries to gratify this 
 attractive pursuit. It is th result of his 
 hunting expeditions through the curiosity 
 shops of the Continent that he gives to his 
 brother collectors of England, in a series of 
 chatty chapters. One can detect in every page 
 of his narrative his undivided predilection for 
 the dainty pieces of porcelain, prettily painted 
 and richly gilt, the cup and saucer, the little 
 figure, the scent bottle and the bonbonniere ; in 
 short, the tasteful selection of nick-nacks which 
 adorn a fashionable lady's china closet in her 
 town mansion. He confesses his partiality 
 for the figures of Buen-Retiro and Capo di 
 Monte, underrated treasures which he prefers 
 to all others, and which, for a time, he has 
 been able to collect at his ease, without having 
 to fear the rivalry of other amateurs ; he is 
 never tired of expatiating on their unequalled 
 beauty. So much attention is bestowed upon 
 his pet porcelain, that no time is left to speak 
 about the majolica or the pottery of all kinds 
 he may have met with in his rambles. Shops 
 and bargains get by far the better of museums 
 and description;:) of rare specimens, to which 
 hardly a passing reference is given. The 
 man of the world as well as the china collector 
 will, however, find in this book all that the 
 title promises. 
 
 CADORIN (LlldOViCO). Studii teorici e 
 pratici di architettura e di ornato 
 per la erezione delle fabbriche 
 in terra cotta adattati ai besogni 
 
 65 
 
CAH] 
 
 CERAMIC LITERATURE. 
 
 [CAM 
 
 del secolo. Venezia and Paris, 
 Bance, s.d. (1840 ?). Fol. ; with 
 28 engr. pi. and notices in French 
 and Italian. 20 fcs. 
 
 " Studies of theoretical and practical 
 architecture and ornamentation for the 
 erection of buildings in terra-cotta, 
 adapted to the requirements of our 
 times." 
 
 Views of ancient monuments and modern 
 buildings of purely architectural interest. 
 
 CAHIER (A.)- Coup d'oeil sur quel- 
 ques parties du Muse'e de Douai. 
 Douai, 1854. 8. (Ceramique : 
 pp. 21-37.) 
 
 " A glance at some sections of the 
 Douai Museum." 
 
 CAHIER (Co.) et MARTIN (A.) Suite aux 
 melanges d'archeologie, rediges 
 ou recueillis par les auteurs des 
 vitraux de Bourges. I. Serie. 
 Carrelages et tissus. Paris, 
 Morel, 1868. 2 vols. Fol., pp. 
 xii, and 250 pi. printed in brown. 
 50 fcs. 
 
 "A sequel to Archaeological Miscellanies, 
 described or gathered by the authors of 
 The Stained Glass Windows of Bourges. 
 First series Tiles and Textiles." 
 
 Death alone could part the brotherly ties 
 which united the two learned antiquaries to 
 whom we owe the sumptuous and scarce work 
 The Stained Glass Windows of Bourges. But 
 even after the death of one of them, the col- 
 laboration may be said to have continued, for 
 . Carrelages et Tissus was published by the sur- 
 vivor from the documents bequeathed by his 
 deceased friend. Father Arthur Martin was 
 an artist of no mean talent, quick and correct 
 with his pencil ; his taste and judgment were 
 refined and sure. Indefatigable traveller, he 
 visited every European town where mediaeval 
 antiquities could be studied, and he never left 
 the place before everything of interest that 
 could be found there had been examined and 
 sketched by him. After the publication of four 
 bulky volumes of Archaeological Miscellanies, 
 such sketches as remained in his portfolios 
 were arranged by Father Cahier in fifty folio 
 volumes. It was out of this wondrous store 
 that his devoted collaborator extracted the 
 materials for the making of the present work. 
 Unfortunately, in his passionate haste for 
 drawing and painting, Father Martin often 
 neglected to inscribe the source from which 
 the document had been obtained. In the 
 absence of all indication of origin, the sketches 
 could only be roughly classified by styles and 
 periods. Naming with accuracy the numerous 
 examples contained in these 250 plates was not 
 a task easy for the survivor to accomplish. 
 
 66 
 
 They were left, therefore, without any ex- 
 planatory text or index, a shortcoming which 
 is greatly to be deplored. We have also to 
 regret that such a remarkable selection of 
 ornamental patterns has been reproduced in 
 monochrome ; coloured plates alone could have 
 conveyed an exact idea of the decorative effect 
 of the designs, and made this work one of the 
 most useful stores of materials for the decorator. 
 
 CAJANI (A.)- Catalogo delle pitture 
 in majolica ed altri oggetti d'arte 
 esistenti nel gabinetto di M. A. 
 Cajani. Roma, 1860. 8. 
 
 " Catalogue of the majolica paintings 
 and other works of art in the collection 
 of M. A. Cajani." 
 
 CALZINI (E.). Urbino e i suoi monu- 
 menti. Rocca S. Case, 1897. 
 Fol. ; with 61 pi. 20 fcs. 
 
 " Urbino and its monuments." 
 
 The arts in Urbino at the Renaissance time, 
 pp. 127-198. 
 
 CALLENDER (Collection, I. Romaine). Sale 
 
 at Christie's, 1876. 8, pp. 26 ; 
 with 5 pi. of Bristol china. 
 
 CAMPANA (GiOY.-PietTO). Museo Cam- 
 pana. Antiche opere in plastica 
 discoperte, raccolte e dichiarate 
 dal marchese Campana. Roma, 
 1842-51. 2 vols. Imp. fol; with 
 120 lith. pi., printed on tinted 
 ground. 80 fcs. 
 
 " Antique works 
 covered, collected, 
 Marquis Campana." 
 
 Terra-cotta bas-reliefs of Greco-Roman style 
 reproduced in the highly-finished and finely- 
 stippled treatment then adopted by the 
 students of the academy for drawings after 
 the antique. Much labour has evidently been 
 spent upon each plate, yet the result is spirit- 
 less and heavy in the extreme. The letterpress, 
 which offers an allegorical interpretation for 
 each subject, is bristling with classical quota- 
 tions, not always conducive to a better under- 
 standing of the drift of the author's learned 
 discantations. The work was left uncompleted. 
 
 - Cataloghi del Museo Cam- 
 pana. Roma, 1859. 4. 15 fcs. 
 
 The Campana collection was described by its 
 owner in twelve catalogues. I. Vasi dipinti 
 etruschi ed Italo-Greci. III. Opere in plastica 
 o terre cotte etrusche e Greche-romane. X. 
 Gabinetto di pitture in majolica dei piu celebri 
 artifici d' Italia, dal secolo XV. al XVI. XI. 
 Sculture in majolica di Luca della Robbia e 
 suoi contemporanei. 
 
 in terra-cotta dis- 
 and described by 
 
CAM] 
 
 CERAMIC LITERATURE. 
 
 [CAM 
 
 CAMPAMRI (SecODuiano). A brief de- 
 scription of thirty-two Greek 
 vases, lately found in excavations 
 made at Vulci, in the Roman 
 territory, by S. Campanari, and 
 now exhibited by him in London, 
 No. 15 Leicester Place. London, 
 printed by J. Valpy, 1832. 8, 
 pp. 104. 4s. 
 
 - Delia grande anfora Tirrena 
 Volcente rappresentante Achille 
 e Ajace che giuocano agli astra- 
 gali. Roma, 1834. 4, pp. 14. 
 
 2s. 
 
 " Of the large Vulcian amphora repre- 
 senting Achilles and Ajax, playing the 
 game of astragali." 
 
 Intorno i vasi fittili dipinti 
 rinvenuti ne'sepolcri dell'Etruria. 
 Roma, 1836. 4, pp. 93; with 
 3 pi. 
 
 " On the painted vases discovered in 
 the sepulchres of Etruria." 
 
 - Antichi vasi dipinti della col- 
 lezione Feoli. Roma, 1837. 8, 
 pp. 265 ; with 11 pi. of forms. 5s. 
 
 " Ancient painted vases in the Feoli 
 collection." 
 
 The collection is now in the Wilrzburg 
 Museum. 
 
 - Catalogue of the scarce col- 
 lection of Greco-Italian vases 
 recently imported from Italy by 
 S. Campanari. London, 1839. 8. 
 
 - Descrizione dei vasi rinvenuti 
 nelle escavazione fatte nel'lsola 
 Farnese (antica Veio) negli anni 
 1838 e 1839. Roma, 1839. 4, 
 pp. 26 ; with 7 pi. 4 fcs. 
 
 " Description of the vases discovered 
 in the excavations made in the Farnese 
 Island in the years 1838-39." 
 
 - Intorno un vaso fittile trovato 
 a Norcia. Roma, 1840. 8. pp. 
 13 ; 1 pi. 
 
 " On a painted vase discovered at 
 Norcia." 
 
 CAMPANER y FUERTES (Alvaro). Dudas 
 y conjecturas acerca de la antigua 
 fabrication mallorquina de laloza 
 con reflejos metalicos. Palma, 
 Impr. Gelabert, 1875. 8, pp. 
 11 ; with 1 pi. (Extr. from the 
 Museo Balear de historia, y lit- 
 er atur a, ciencias y artes.) 
 
 " Doubts and conjectures on the sub- 
 ject of the manufacture of faience with 
 metallic lustre at Majorca." 
 
 - Mas sobre lozas con reflejos 
 metalicos. Palma, 1876. 8, 
 pp.6. 
 
 " A few more words on the subject of 
 faiences with metallic lustres." 
 
 CAMPBELL TILE CO Designs of ma- 
 jolica and enamelled tiles, etc., 
 manufactured by the Campbell 
 Tile Co.,Stoke-on-Trent. Leices- 
 ter, lith. by Fleming & Co. 4 ; 
 70 pi. in col. (1885 ?). 
 
 CAMPORI (Marchese Giuseppe). Notizie 
 della manifattura Estense della 
 majolica e della porcellana nel 
 XVI. secolo. Modena, Typ. 
 Soliani, 1864. 4, pp. 40. 5 fcs. 
 
 " Notice of the manufacture of majolica 
 and porcelain in Este during the six- 
 teenth century." 
 
 This paper is a first instalment only of the 
 valuable information obtained by Campori in 
 the course of his indefatigable researches on 
 the origin of the Ferrara manufactory. He 
 has been able to ascertain, through documents 
 preserved in the archives of Modena, that, from 
 the first, the works were conducted under the 
 direct supervision of the Duke of Ferrara. 
 Ever since 1515 experiments on the art of 
 majolica-making had been carried on by work- 
 men in the pay of Sigismondo d'Este. At the 
 death of Sigismondo, his chief assistant, a potter 
 of the name of Biago, passed to the service of 
 Duke Alfonso I. This latter took such an 
 interest in the manufacture of pottery that he 
 became proficient in the practices of the craft ; 
 it is said that his banqueting table was adorned 
 with majolica vases made by his own hands, 
 which he valued, on that account, much above 
 silver vessels. 
 
 The direct intercourse that Princes and 
 Noblemen were pleased to keep with potters 
 and majolists in the sixteenth century is 
 illustrated by extracts from their private 
 correspondence. Additional enlightenment is 
 thrown on the earliest porcelain made in 
 Europe. If the author's conclusions are to 
 
 67 
 
CAM] 
 
 CERAMIC LITERATURE. 
 
 [CAR 
 
 be accepted, the credit of the discovery should 
 be due to the Ferrara potters. Contemporary 
 documents disclose that porcelain was made 
 for the first time at Venice, at the instiga- 
 tion and under the patronage of Alfonso I. 
 Later on it was successfully manufactured at 
 Florence by Camillo d'Urbino, a majolica 
 painter, who had been for some years attached 
 to the household of Duke Alfonso II. 
 
 We must mention, simply for curiosity's sake, 
 the transcript of a recipe for making majolica 
 and porcelain taken out of an Italian MS. of 
 1503. The prescriptions rank with the most 
 extravagant lucubrations of the old alchemists ; 
 they show that one should never use too much 
 reserve in accepting as genuine information the 
 so-called recipe books of ancient times, often 
 meant to discourage, rather than to assist, any 
 private attempt to penetrate into professional 
 secrets. 
 
 CAMPORI (Marchese Giueseppe). La ma- 
 
 j clique et la porcelainedeFerrare. 
 Paris, 1864. 8, pp. 26. (Re- 
 print from the Gazette des Beaux 
 Arts, August, 1864. 3 fcs. 
 
 Translation of the above paper. 
 
 - Delia manifatture della ma- 
 jolica e degli stucchi instituite in 
 Torino da Orazio Fontana e da 
 Frederico Brandani. Modena, 
 1867. 4, pp. 9. 2 fcs. 
 
 "The manufacture of majolica and 
 stucco established at Turin by Orazio 
 Fontana and Frederico Brandani." 
 
 In the official registers of accounts preserved 
 in the Turin Archives occurs the mention of 
 three orders of payment of various sums, drawn 
 in favour of Orazio Fontana, for certain majolica 
 vases by him delivered to the Duke of Savoie, 
 Emanuele Filiberto, in 1564. This has been 
 thought sufficient to establish the probability 
 of the celebrated majolist of Urbino having 
 worked at his art in the town of Turin. The 
 proof is by no means conclusive ; at any rate, 
 never has any piece of majolica been discovered 
 which may with any certainty be attributed to 
 a Turin manufactory of that period. 
 
 - Notizie storiche e artistiche 
 della majolica e della porcellana 
 di Ferrara nei secoli XV. e XVI. 
 Con un appendice di memorie e 
 di document! relativi ad altre 
 manifatture di majolica dell' 
 Italia Superiore e Media. Mod- 
 ena, C. Vincenti, 1872. 12, pp. 
 150. 3rd ed. Pesaro, Nobili, 
 1879. 8, pp. 145. 3 fcs. 
 
 " Notices historical and artistic, of the 
 majolica and porcelain of Ferrara, in the 
 
 68 
 
 fifteenth and sixteenth centuries. With 
 an appendix containing sundry memoirs 
 and documents relating to other majolica 
 manufactories of Upper and Central 
 Italy." 
 
 A complement to the contributions of Cam- 
 pori towards the history of Italian majolica. 
 Particular attention must be given to some 
 extracts of the "Memoriale," or household 
 accounts of Leonello, Marquis of Ferrara, in 
 which are recorded the various sums paid to 
 Bastiano, a potter, for some glazed tiles he had 
 supplied, and to M. O. Jacopo de Sagramoro, 
 who had painted the same tiles. This is said 
 to be the earliest date in which tile painting is 
 found mentioned in an ancient document. In- 
 formation on the manufacture of majolica and 
 porcelain at Ferrara is added to that already 
 published by the writer. Lastly, short mono- 
 graphs of the manufactories of Mantua, Sassuolo, 
 Modena, Reggio, Scandiano, San Possidonio, 
 and a series of inedited records concerning the 
 majolica of Urbino, Faenza, and Pesaro, with a 
 short historical survey of the ceramic art in 
 Parma, testify to the fruitful result of Campori's 
 labour in the archives and libraries of his 
 country. 
 
 CAMO (Prince de). See Bonaparte (L). 
 
 CANOMILLE-DESLYS (Th.). Les mer- 
 veilles de la ceramique rouen- 
 naise. Rouen, E. Cagniard, 1891. 
 8, pp. 27. 
 
 " Masterpieces of Rouen ceramics." 
 A short summary of the history of the 
 manufacture of faience and porcelain at Rouen. 
 
 CAflTAGALLI (the sons of Giuseppe).- 
 
 Art pottery works, Florence. 
 Descriptive catalogue with price 
 list. Florence, 1883. 8, pp. 84 ; 
 with 1 col. pi. 
 
 CAP (P. A.)- CEuvres completes de 
 Palissy. Paris, 1844. 8. 
 
 Biographic chimique. Bernard 
 
 Palissy. Paris, Bethune & Plon, 
 1844. 8, pp. 35. 
 
 A reprint from the introductory article of 
 the above work. 
 
 CARBONNIER (A.). Description of the 
 Sevres porcelain services in the 
 collection of Count N. P. Scher- 
 emeteff. St. Petersburg, 1894. 
 8, pp. iv-45 ; with 6 pi., and 
 marks (in Russian). 
 
 The paintings of two old 
 Sevres plates in the possession 
 
CERAMIC LITERATURE. 
 
 [CAR 
 
 of Count N. P. Scheremeteff. 
 St. Petersburg, 1894. 8, pp. 8 ; 
 with 2 pi. (in Russian). Pri- 
 vately printed. 
 
 Catalogue of the Museum 
 of Baron Stieglitz in the Central 
 School of Design in St. Peters- 
 burg. Ceramics - - Faience 
 Majolica (in Russian). St. 
 Petersburg, 1899. 8. 7s. Cer- 
 amic History (illustrs.), pp. 114. 
 Catalogue, pp. 195 ; with 20 pi. 
 
 The blocks are mostly borrowed from the 
 French and English handbooks. 
 
 CARLONI (Marco). Bassirilievi Volsci 
 in terra cotta dipinti a vari colori, 
 trovati nella citta di Velletri . . . 
 da Marco Carloni, pittore ed 
 incisore. Roma, 1785. Fol., 
 pp. 20 ; with 7 engr. pi. 18 fcs. 
 
 " Etruscan bas-reliefs of terra -cotta, 
 painted in various colours ; discovered 
 in the city of Velletri . . . by M. C., 
 painter and engraver." 
 
 The Etruscan people have made a greater 
 use of terra-cotta, for architectural decoration, 
 than any other nation of antiquity. From floor 
 to roof their temples and palaces were covered 
 with slabs, pillars, cornices, etc., of painted 
 clay ; the colours were bright and varied, but 
 in no case, however, do they appear to have 
 been burnt in. With the exception of what has 
 been found in the tombs, little remains of the 
 Etruscan architectural terra-cotta; examples 
 in the style of the bas-reliefs reproduced by 
 Carloni are of great rarity. They represent 
 convivial scenes, chariot races, equestrian war- 
 riors, etc. The plates are accompanied with 
 descriptive notices attributed to Father 
 Becchetti. 
 
 CARRARA (F.). De'scavi di Salona 
 nel 1850 ; memoria con cinque 
 tavole. Praga, 1855. 4. 
 
 " The excavations at Salona ; a memoir 
 with five plates." 
 
 - German translation. Leipzig, 
 1854. 8. Illustrs. of Roman 
 pottery. 
 
 CARRERE (G. de). Notice sur cinq 
 
 plaques en terre vernissees de 
 
 Savignies, faisant partie de sa 
 
 collection. Beauvais, Pere, 1889. 
 
 . 8, pp. 16 ; with 3 lith. pi. 3 fcs. 
 
 " Notice of five plaques in glazed 
 pottery in the author's collection." 
 
 The funereal slabs that make the subject of 
 this paper are of a late period. A monograph 
 of the ancient stoneware or the blue pottery of 
 Savignies, is added to the description of the 
 specimens. 
 
 CARRIER - BELLEUSE (A.). - - La terre 
 cuite francaise. II. Serie par 
 Carrier-Belleuse. Reproduction 
 phototypique de 1'ceuvre plas- 
 tique du maitre. Paris, Claesen, 
 1890-91. 25 pi. in phototype. 
 Fol. 40 fcs. 
 
 " French terra-cottas. Part II., by 
 Carrier-Belleuse. Reproductions from 
 the original terra-cottas of the master." 
 The 1st Part comprises the works of J. 
 Cheret. Another edition was published 
 the same year in Berlin with German 
 title. 
 
 The models executed by Carrier for repro- 
 duction in pottery and porcelain are innumer- 
 able. In his young days he was attached as a 
 modeller to Minton's china works, and he ended 
 his life as art director of the National factory 
 of Sevres. When he was not at work on some 
 important work of marble or bronze, in his 
 Paris studio, he produced a great many busts, 
 groups and figures of terra-cotta, replicas of 
 which are known all over the artistic world. 
 The few excellent examples selected for this 
 album, cannot, however, give an idea of the 
 fertile imagination of one of the most clever and 
 prolific decorative artists of our time. 
 
 - Catalogue des ceuvres origi- 
 nales . . . de Mr. Carrier- 
 Belleuse. Paris, 1887. 8, pp. 
 61 ; portr. and 1 pi. ; catalogue 
 of sale. 
 
 Mr. Paul Mantz has prefaced this catalogue 
 with a biographical notice of the artist. The 
 sale included nearly one hundred and fifty 
 groups, figures, and busts of terra-cotta, to- 
 gether with a large number of Carrier's sketches 
 and drawings, and a small collection of old 
 faience. 
 
 CARTAILHAC. Ages prehistoriques de 
 FEspagne et du Portugal. Paris, 
 Reinwald, 1886. 8, pp. 347; 
 with 4 pi. and 450 illustr. 20 fcs. 
 
 " The prehistoric ages in Spain and 
 Portugal." 
 
 Gives some particulars on the mortuary 
 pottery, with 24 reproductions of urns. 
 
 CARTAULT (A,). Sur 1'authenticite 
 des groupes en terre cuite d'Asie- 
 
 69 
 
CAR] 
 
 (J ERA MIC LITER A TURE. 
 
 [CAS 
 
 Mineure. Macon, Impr. Protat, 
 1887. 4, pp. 30 ; with 7 photo- 
 typ. pi. 10 fcs. 
 
 " On the authenticity of the terra- 
 cotta groups of Asia Minor." 
 
 So different in style and character from all 
 that was known of antique terra-cotta were 
 the important groups lately discovered in Asia 
 Minor and acquired by Mr. A. Cartault, that 
 Mr. S. Reiuach had expressed, in the Revue 
 Archeologique, the opnion that they were 
 either spurious or made up of odd fragments. 
 Mr. Cartault took the pen in their defence and 
 published this paper in vindication of their 
 absolute genuineness. 
 
 CARTAULT (A.) Nouvelles recherches 
 sur les terres-cuites grecques. 
 S.d. 4, pp. 24 ; with 2 pi. en- 
 graved by A. Jacquet. 
 
 " New researches upon Greek terra- 
 cottas." 
 
 Vases grecs en forme de per- 
 sonnages groupes. Paris, Hach- 
 ette, 1889. 4, pp. 16; with 
 2 pi. 
 
 " Greek vases in the shape of grouped 
 personages." 
 
 Terres cuites grecques photo- 
 graphites d'apres les originaux 
 des collections privees de France 
 et des Musees d'Athenes. Paris, 
 A. Colin, 1890. Pp. 58; with 
 29 phototyp. pi. and separate 
 notices. 25 fcs. 
 
 " Greek terra-cottas photographed from 
 the originals in the private collections of 
 France and the museums of Athens." 
 
 - See Lecuyer Collection. 
 
 CARTER, JOHNSON & Co. Encaustic tile 
 manufactory, St. George Works, 
 Worcester. Pattern book of 
 ornamental tiles lith. in col. by 
 J. Fleming & Co. Leicester. 
 
 The first plates of the album bear : Carter & 
 Co., Poole Potteries, Dorset. 
 
 CARUANA (A. A.). Ancient pagan 
 tombs and Christian cemeteries 
 in the Island of Malta, explored 
 and surveyed from the year 1881 
 to the year 1897. Malta, Gov- 
 70 
 
 ernment Printing Offices, 1898. 
 8, pp. 129 ; with 26 col. pi. 
 
 Ancient pottery from the 
 ancient pagan tombs and Christ- 
 ian cemeteries in the Island of 
 Malta. Malta, 1899. 8, pp. 58 ; 
 with 22 col. pi. 15s. 
 
 CARYILLE. Machine a fabriquer les 
 briques, les tuiles, les carreaux 
 et tous les produits de terre 
 cuite. Paris, Impr. Proux, 1841. 
 8, pp. 23. 
 
 " Description of a machine for making 
 bricks, tiles, and other articles of terra- 
 cotta." 
 
 CASATI (Ch. C.). Note sur les faiences 
 de Talavera la Reyna. Paris, 
 Didron, 1873. 8, pp. 4 ; with 2 
 col. pi. 3 fcs. 
 
 "Notice of the Talavera la Reyna 
 faience." 
 
 The small town of Talavera is situated a 
 short distance from Toledo. Having visited 
 the locality and examined many genuine speci- 
 mens from the ancient manufactory, Mr. C. has 
 been able to ascertain that the enamel of 
 Talavera faience is always of a greenish tint. 
 With this, the result of his personal observa- 
 tion, begins and ends all that he has to 
 communicate to us on the subject of the ware 
 and its characteristics. 
 
 - Notice sur les faiences de 
 Diruta d'apres des documents 
 nouveaux. Paris, Levy, 1874. 
 8, pp. 12 ; with 1 col. pi. 4 fcs. 
 
 "Notice of the Diruta faience from 
 newly discovered documents." 
 
 In this paper are given transcripts and 
 translations of eight ancient documents pub- 
 lished, the year before, by Mr. A. Rossi who 
 had discovered them in the civic archives of 
 the town. The earliest one, dated 1387, is a 
 receipt delivered to the guild of "vase 
 makers" of Diruta, for the sum of six liras 
 they had contributed towards the expenses 
 incurred on the occasion of the procession of 
 St. Ercolano. The second is an act of partner- 
 ship formed between two inhabitants of Perugia 
 and three vase makers of Diruta for the 
 manufacture of "certain vases." It is dated 
 1475, and contains some interesting particulars 
 concerning the conduct of the pottery trade in 
 the fifteenth century. Among the others we 
 find : an invoice of pottery ware sent to a 
 Perugian merchant in 1488 an act conferring 
 the freedom of the city upon a majolica painter 
 who had come from Faenza to practise his art 
 
CAS] 
 
 CERA MIC LIT ERA TURE. 
 
 [CAV 
 
 at Perugia ; and lastly, the record of some 
 privileges granted, at intervals, to the potters 
 of Diruta. 
 
 Notice sur le musee du 
 chateau de Rosenborg . 
 avec n6tes sur des faiences dan- 
 oises inedites. Paris, Didier, 
 1879. 8, pp. 62; with 13 pi. 
 
 " Notice of the museum in Rosenborg 
 Castle . . . with notes upon some 
 Danish faiences hitherto unpublished." 
 
 The article on Danish faience does not 
 extend beyond two pages ; it is illustrated 
 with the reproduction of two coarsely painted 
 plates. 
 
 CASSIERS (H.) Faiences de Delft. 
 Bruxelles, Dietrich, 1895. 4, 
 12 pi. 10 fcs. 
 
 Decorative landscapes in the style of the old 
 Delft faience for the use of ceramic painters. 
 
 CASTELLAN! (Alessandro). - - Catalogue 
 des faiences italiennes, etc.,com- 
 posant 1'importante collection de 
 M. A. Castellani. Vente a Paris, 
 Mai, 1878. Paris, 1878. 8, pp. 
 91 ; with marks and illustr. in 
 the text 5 fcs. 
 
 Sale comprising 340 Nos. Majolica, della 
 Robbia ware, and two pieces of the Medicean 
 porcelain. The surplus part of an important 
 collection ; some of the best specimens were 
 bought in by the owner. 
 
 - Catalogue des objets d'art 
 antiques du Moyen-age et de la 
 Renaissance dependant de la 
 succession A. Castellani et dont 
 la vente aura lieu a Rome, palais 
 Castellani, Avril, 1884. Paris, 
 impr. de 1'Art, 1884. 4, pp. 
 324 ; with num. pi. and illustrs. 
 2. (First sale.) 
 
 Catalogue of the sale whicli took place at 
 Rome after the death of the collector. Ceramic 
 art was represented as follows : 
 
 Pottery. Egypt, 4 Nos., 1 fig.; Cyprus, 
 15 Nos. ; Etruria, 7 Nos. ; Greece, archaic 
 pottery, 36 Nos. ; painted vases, 86 Nos., with 
 4 pi. and 7 vign. ; vases with reliefs, 8 Nos. ; 
 enamelled pottery, 8 Nos. ; terra-cottas, 290 
 Nos., with 16 pi. and 2 vign. ; Italian majolica, 
 228 Nos., with 15 illustr. ; Hispano-Moresco 
 faience, 27 Nos., with 3 illustr. ; Persian ware, 
 136 Nos. 
 
 Porcelain. 31 Nos., including 3 pieces of 
 Medicean porcelain. 
 
 The catalogue of the second sale (Paris, Mai, 
 
 1884) contains only a few numbers of Persian 
 ware, Italian majolica and Chinese porcelain. 
 
 CASTELNAU (F. de). Expedition dans 
 les parties centrales de 1'Amer- 
 ique du Sud, etc. Paris, 1850-61. 
 15 vols. 8, 4, and fol.; with 
 atlas of 500 pi. Brought out at 
 the expense of the French Gov- 
 ernment. 
 
 " An expedition through the central 
 parts of South America." 
 
 Part III. contains the vases and terra-cottas 
 reproduced on nine plates. 
 
 CASUCCM. - - Catalogo del museo 
 Casuccini. Siena, 1862. 8. 
 
 A collection of Greek vases, now in the 
 Palermo Museum. 
 
 CAUMONT (M, de). Notes provisoires 
 sur quelques produits ce"ramiques 
 du Moyen-Age. Caen, 1850. 8, 
 pp. 20 ; with 18 illustr. (Extr. 
 from the Bulletin monumental.} 
 2 fcs. 
 
 " Preliminary notes on some ceramic 
 products of the Mediaeval era." 
 
 A parallel between the Roman mosaic and 
 the terra-cotta tiles employed in the decoration 
 of the brick buildings of the Romanesque style, is 
 followed by the description of a remarkable tile 
 pavement still extant in the Church of Saint 
 Pierre-sur-Dives, near Caen, and a conjecture 
 as to the date of its making. A few words on 
 the small pinnacles of coloured earthenware, 
 of which examples are not uncommon in Nor- 
 mandy, ends a paper which shows how 
 imperfectly the questions it treats upon were 
 known sixty years ago by the best archaeolo- 
 gists of the day. 
 
 CAYALLARI (F. S.) Su alcuni vasi 
 orientali con figure umane rin- 
 venuti in Siracusa e Megara- 
 Iblea. Palermo, 1887. 4, pp. 
 42 ; with 5 col. pi. (Reprint 
 from Atti della R. Accad. Paler- 
 mitana.) 10 fcs. 
 
 " On some Oriental vases with human 
 figures discovered at Syracuse and 
 Megara-Iblea." 
 
 An Oriental origin is attributed by some 
 Italian archaeologists to the archaic vases with 
 geometrical ornamentation discovered in Sicily. 
 A few of them, reproduced on the plates, bear 
 figure subjects. Far from showing an Oriental 
 influence, and supporting the theory propounded 
 in this paper, these vases will appear to all 
 
 71 
 
CAV] 
 
 CERA MIC LITER A TURE. 
 
 [GEL 
 
 unbiassed students of antiquity as unmistake- 
 able examples of the early style of Corinthian 
 vase painting, imitated no doubt by the potters 
 of Sicily. 
 
 CAYALLUCCI (J.) et MOLINIER (E.). Les 
 Delia Robbia, leur vie et leur 
 oeuvre d'apres des documents 
 inedits. Suivi d'un catalogue de 
 1'oeuvre des Delia Robbia en 
 Italie et dans les principaux 
 musees de 1'Europe. Paris, 
 Rouam, 1884. 4, pp. 289 ; with 
 3 pi., and 98 text illustr. 25 fcs. 
 
 "The life and work of the Delia 
 Robbia, from unpublished documents ; 
 with a catalogue of the Delia Robbia 
 works in Italy and in the chief museums 
 of Europe." 
 
 This handsome volume adds a highly inter- 
 esting chapter to the history of the ceramic 
 art. Whether we consider them as artists or 
 as potters, the Delia Robbia are equally great ; 
 in their fictile productions, the creative genius 
 of the sculptor and the technical ability of the 
 craftsman are inseparably linked together. The 
 statuary of Luca and Andrea ranks on a par 
 with the famous masterpieces of their time. 
 The countless numbers of enamelled figures and 
 bassi-relievi which issued from their ateliers 
 and that of their descendants proclaim the 
 prolific activity of a race of faience-makers 
 preserving for generations the tradition be- 
 queathed by their forefathers. 
 
 All previous monographs and biographies 
 were but incomplete sketches ; they are re- 
 sponsible for erroneous statements too often 
 repeated. Through the late discoveries made 
 in the Italian archives the authors have been 
 enabled to fix dates and facts with unimpeach- 
 able accuracy. Unpublished documents of 
 great importance are given in externo, and the 
 descriptive catalogue of the 481 works attri- 
 buted to the Delia Robbia enumerates all those 
 that were known at the time of the publication 
 of the book. A sufficient number of excellent 
 illustrations enable the reader to form a correct 
 idea of the noble style of the enamelled reliefs, 
 and of their admirable adaptability to archi- 
 tectural decoration. Ample contributions have 
 lately been added to the study of the Delia 
 Robbia works, but the book of Cavallucci et 
 Molinier does not suffer by comparison with 
 any of those which were published at a later 
 date. 
 
 CAYROIS (Louis). Le Refuge d'Etrun 
 et la manufacture de porcelaine 
 d'Arras. Arras, 1877. 8, pp. 
 72 ; with 2 pi. 6 fcs. (Reprint 
 from La revue de I' art chretien.} 
 
 " The refuge house of Etrun, and the 
 porcelain factory of Arras." 
 
 The ancient monastery of Etrun, situated at 
 
 72 
 
 a short distance from Arras, possessed a refuge 
 house in the town, in which the nuns took 
 shelter when war desolated the country. In 
 this fine Gothic mansion the manufacture of 
 porcelain was carried on during a period of 
 twenty years. Established about 1770 by 
 Boussemart, of Lille, the factory passed shortly 
 afterwards into the hands of his creditors, the 
 four Sisters Delemer. They obtained the pat- 
 ronage and support of the State of Artois, and 
 were, moreover, pecuniarily assisted by some 
 of the wealthy inhabitants of the town. The 
 porcelain made by the Sisters Delemer was of 
 excellent quality, and the amount of the pro- 
 duction, especially in tableware, must have 
 been considerable, judging from the number 
 of examples which have found their way into 
 ceramic collections. Notwithstanding the 
 apparently favourable conditions under which 
 the work was prosecuted, the factory came to 
 grief in 1790. The refuge house is now occupied 
 by the printing works which published this 
 monograph. 
 
 CAYYADIAS (P.). - - Musee national 
 d'Athenes. Antiquites myce- 
 niennes et egyptiennes. Sculp- 
 tures, vases, terres cuites, 
 bronzes. Musee de 1'Acropole. 
 Athenes, Vlastos, 1895. 8. 4 fcs. 
 
 A guide book to the museum. Painted 
 vases, pp. 74-91 ; terra-cottas, pp. 91-95. 
 
 CAYLUS (Anne Claude, Comte de). Recueil 
 
 d'antiquites egyptiennes, etrus- 
 ques, grecques et romaines. 
 Paris, 1752-67. 7 vols. 4, with 
 826 pi. 3. 
 
 " A collection of Egyptian, Etruscan, 
 Greek, and Roman antiquities." 
 
 Each volume contains pictures of a few Greek 
 vases and terra-cottas, described as Etruscan, 
 badly reproduced. A supplementary volume 
 gives the description of the " Briquetage de 
 Marsal " in Lorraine. It is an accumulation of 
 bricks and terra-cotta fragments, a gigantic 
 Roman work from three to seven feet in thick- 
 ness, which served as the foundations of the 
 town of Marsal in the centre of a marshy 
 country. 
 
 CELLIERE (Louis). Traite elementaire 
 de peinture en ceramique. Beau- 
 vais, 1878. 12, pp. iii-76. 2nd 
 ed., 1879. 3rd ed. Paris, 1883. 
 8, pp. 123. 
 
 " Elementary treatise of painting on 
 ceramics." 
 
 Sold by the author, a colour merchant and 
 porcelain painter. 
 
 CELSIUS (0.). Dissertatio de Urnis 
 veterum sepulchralibus ; resp. 
 
CES] 
 
 CERAMIC LITERATURE. 
 
 [OHA 
 
 Job. Kempe. Upsiliae, 1706. 
 
 8. 
 
 " A thesis on the sepulchral urns of 
 the ancients, read before the members of 
 the Upsala University by O. Celsius, 
 and responded to by J. Kempe." 
 
 CE8ELLI (L). Sopra 1'arte ceramica 
 primitiva nel Lazio. Roma, Typ. 
 Salvinuci, 1866. 4, pp. 22 ; with 
 2 etched pi. ; one containing 33 
 figs, of early pottery. 3 fcs. 
 
 "On the primitive ceramic art of 
 Latium." 
 
 Description of prehistoric vessels found under 
 the deepest stratum of alluvial loam in the 
 vicinity of Rome. 
 
 CESNOLA (A. P. di). Lawrence-Ces- 
 nola collection. Cyprus anti- 
 quities excavated by Major Alex. 
 Palma di Cesnola, 1876 to 1879. 
 London, 1880. Obi. fol., 60 pi. 
 photographed at Claudet's studio ; 
 with explanatory notices. Publ. , 
 5, 5s. 
 
 - Salamina (Cyprus). The his- 
 tory, treasures, and antiquities 
 of Salamis in the Island of 
 Cyprus. With an introduction 
 by S. Birch, and upwards of 700 
 illustrations ; and a map of 
 ancient Cyprus. London, Triib- 
 ner, 1882. 8, pp. xxix-329. 10s. 
 
 The antiquities discovered at Cyprus are 
 said to form the connecting link between the 
 plastics of Asia and Greece ; they are on that 
 account of special interest. Vases, groups, and 
 figures from the last excavations are illustrated 
 in the three chapters devoted to terra-cotta. 
 
 A descriptive atlas of the 
 Cesnola collection of Cypriote 
 antiquities in the Metropolitan 
 Museum of Art. Boston and 
 New York, 1885-1894. 2 vols. 
 Fol., each with 150 phototype 
 and chromolith. pi. ; with ex- 
 planatory notices. 20. 
 
 Vol. II. Terra-cottas and pottery ; with an 
 introduction by S. Birch. 
 
 - The terra-cottas and pottery 
 of the Cesnola collection of 
 
 Cypriote antiquities. Handbook. 
 New York, s.d. 8, pp. 142. 
 
 CESNOLA (Gen. Louis Palma di). Cyprus: 
 
 its ancient cities, tombs, and 
 temples. A narrative of re- 
 searches and excavations during 
 ten years' residence in that island. 
 London, J. Murray, 1877. 8, pp. 
 448 ; with maps, 48 pi., and 12 
 pi. of inscriptions ; numerous 
 illustr. in the text. Contains an 
 Appendix on the pottery of 
 Cyprus by A. S. Murray (with 
 32 illustr. and 4 pi.). 18s. 
 
 CESSAC (de). --Note sur les forts 
 vitrifies du departement de la 
 Creuse. 8, pp. 6. (Extr.) 
 
 "Notice of the vitrified forts in the 
 Creuse department." 
 
 An accurate description of some remains of 
 those rare earth-works still imperfectly studied. 
 The area of the fort is circumscribed by a wall 
 6 feet high and 12 feet broad ; the granite 
 stones, with which the walls are formed, have 
 been submitted to such an intense heat that the 
 granite has melted like lava, and the whole of 
 the construction has been agglomerated into 
 a solid mass. Fragments of pottery and of 
 wrought iron, abundantly found on the spot, 
 tend to indicate that the forts were constructed 
 in the Gallo Roman period. 
 
 - L'oppidum du Puy-de-Gaudy, 
 pres Gueret (Creuse) et sa mu- 
 raille vitrifiee. Autun, 1878. 8, 
 pp. 25 ; with 1 pi. 
 
 "The oppidum of Puy-de-Gaudy and 
 its vitrified wall." 
 
 A further examination of one of the vitrified 
 forts of the Creuse has shown that the melted 
 mass was obtained through layers of wood- 
 ashes, and blocks of granite being disposed 
 between two walls built eight yards apart from 
 each other. Under the action of the fire the 
 granite and the ashes combined into a silicate 
 of potash ; the vitrification, complete in the 
 centre, is scarcely apparent on the outside 
 walls. Experiments conducted by Mr. de 
 Cessac have demonstrated that the blue granite 
 of the district, mixed with wood-ashes, melts 
 into a glass at a comparatively moderate tem- 
 perature. 
 
 CHASTEIGHER (A. de). Note sur un 
 fragment de poterie ^ lustre 
 metallique trouve en Avril 1877 
 dans les anciens fosses de la ville 
 
 73 
 
OH A] 
 
 C ERA MIC LITER A TURE. 
 
 [OH A 
 
 de Dax. Dax, 1877. 8, pp. 11 
 with 11 illustr. (Reprint from 
 the Memoir es de la Societe de 
 Borda.) 
 
 " Notice of a fragment of pottery with 
 metallic lustres discovered in the old 
 moats of the town of Dax." 
 
 CHAYAGNAC (Comte X. de) and GROLLIER 
 
 (Marquis de). Histoire des manu- 
 factures frangaises de porcelaine, 
 Paris, Picard, 1906. 8, pp, 
 xxviii-976 ; with 5 pi. and num- 
 erous marks. 30 fcs. 
 
 " History of the porcelain manufac- 
 tories of France." 
 
 This colossal compilation of pertinent infor- 
 mation will become the indispensable vade- 
 mecum of the collector of French porcelain. 
 Prepared by two collectors of exceptional 
 knowledge and experience, the volume contains 
 more documents, dates, and names than could 
 be obtained from any other source. 
 
 CHABAT (Pierre) and MONMORY (Felix). La 
 brique et la terre cuite. Ecude 
 historique de l'emploi de ces 
 materiaux, fabrication et usages, 
 motifs de construction et de 
 decoration choisis dans 1'archi- 
 tecture des differents peuples. 
 Paris, Morel, 1878-1880. Fol., 
 pp. 150 ; with 80 chromolith. pi. 
 ] 25 fcs. 
 
 " Brick and terra-cotta. An historical 
 study of the uses and application of these 
 materials, processes of manufacture, 
 examples of construction and decoration 
 selected from the architectural monu- 
 ments of various countries." 
 
 CHABAT (Pierre). La brique et la terre 
 cuite. Premiere partie : Etude 
 historique. Deuxieme partie : 
 Fabrication et usages. Paris, 
 chez Tauteur, 1886. 8, pp. 338; 
 with 81 illustr. in the text. 
 10 fcs. 
 
 " Brick and terra-cotta. 1st Part. 
 The history. 2nd Part. The manufac- 
 ture and the application of these materials 
 to building and other purposes." 
 
 The history of brick building in all countries 
 and from the earliest times, which forms the 
 first portion of this work, is grounded upon the 
 
 74 
 
 best archaeological publications. It sums up 
 the knowledge obtained by travellers and 
 antiquaries on this branch of the potter's art. 
 The book being intended for architects rather 
 than for manufacturers, the technical processes 
 of brick-making are only briefly described. It 
 is a reproduction, in a popular form, of the 
 preceding work. 
 
 CHAFFERS (William). -- Marks and 
 monograms on pottery and 
 porcelain of the Kenaissance and 
 modern periods ; with historical 
 notices of each manufactory ; 
 preceded by an introductory 
 essay on the Vasa fictilia of the 
 Greek, Romano - British, and 
 medieval eras. London, Bickers 
 and Son, 1863. 8. Ten con- 
 secutive editions were published. 
 The last edition, revised by F. 
 Litchfield, was issued in 1908. 
 
 From his position as adviser and agent to many 
 of the chief china collectors of England, Chaffers 
 had constant opportunities of following auction 
 sales, and exceptional facilities for knowing the 
 contents of the best private collections. He 
 had accumulated a vast amount of notes and 
 sketches of the ceramic objects which had come 
 under his notice in the course of his business, 
 and when he decided to publish in the form of 
 a compact handbook of marks the result of his 
 long experience, a work of such magnitude had 
 never been attempted before. A few authors 
 had, it is true, appended a list of marks to the 
 general history of ceramic art, but the selection 
 was so short and incomplete as to be of little 
 value. The object Chaffers had in view was to 
 identify and reproduce the largest possible 
 number of potter's marks and bring them into 
 methodical arrangement. So successfully was 
 the plan carried out that the book was highly 
 appreciated from its first edition, and its suc- 
 cess, far from being interfered with by the 
 publications of bare-faced plagiarists, increased 
 with each one of the editions which were 
 brought out at short intervals. Up to the 
 day of his death, which occurred in 1892, all 
 the thoughts of the author were directed 
 towards the perfection and completion of a 
 work which, through the constant additions 
 made to it, had become a monument of ceramic 
 information. Under the unassuming title of 
 Marks and Monograms, it contained historical 
 notices of all the best and less known manufac- 
 tories of pottery and porcelain, written in a 
 clear style and in an abridged form. In its 
 completeness and practicability, Chaffers' vol- 
 ume remains unsurpassed as a reference register 
 to which both the student and the learned man 
 will have to refer for a long time to come. If the 
 author happened to be mistaken in some cases 
 when, lacking documentary evidence, he built up 
 an ingenious theory from mere induction, his 
 arguments were, as a rule, resting on plausible 
 grounds. In attributing, for instance, to the 
 Lowestoft factory a certain class of porcelain 
 
CHA] 
 
 CERAMIC LITERATURE. 
 
 [CHA 
 
 specimens, which were shown afterwards to be 
 of Oriental origin, he had backed his opinion 
 by so many circumstantial inferences that he 
 was himself thoroughly convinced of the truth 
 of his assertion, and we may add that his belief 
 was long shared by many connoisseurs. 
 
 Keramic Gallery, containing 
 several hundred illustrations of 
 rare, curious, and choice ex- 
 amples of Pottery and Por- 
 celain from the earliest times 
 to the beginning of the present 
 century; with historical notices 
 and descriptions. 2 vcls. 8, pp. 
 xxviii-228 ; with 227 photo- 
 graphic plates, representing 468 
 objects. London, Chapman & 
 Hall, 1872. Publ., 4, 4s. 
 
 Reproductions in Woodbury type of ceramic 
 specimens, selected chiefly from English mus- 
 eums and collections ; intended as a complement 
 to "Marks and Monograms," to which they 
 supply suitable illustrations. A second edition, 
 with illustrations in half-tone, was brought out 
 by M. Cundall in 1908. 8. 35s. 
 
 - Collector's handbook of Marks. 
 London. 1889. 8. 
 
 A pocket edition of the larger work. It 
 contains all the marks, but not the historical 
 notices. 
 
 Besides the above works, Chaffers has also 
 published several catalogues of ceramic exhibi- 
 tions. See Fopman Collection. 
 
 CHALLETON DE BROUGHAT (F.). L'art du 
 briquetier. Paris, E. Lacroix, 
 1861. 8, pp. 365 ; with atlas of 
 32 lith. pi. 
 
 " The art of brickmaking." 
 
 CHAMONARD (J.) and LECOUYE (L.). 
 Catalogue des vases peints Grecs 
 et Italo-Greek de la collection de 
 Mr. Bellon, Paris, 1890. 8, 
 pp. 34. (Reprint from the Revue 
 A rcheologique. ) 
 
 " Catalogue of the Greek and Italo- 
 Greek painted vases in the collection of 
 Mr. Bellon." 
 
 In the ethnological section of the exhibition 
 of 1889, Mr. G. Perrot had attempted to recon- 
 stitute the workshop of an Athenian potter, 
 such as it might have been at the finest period 
 of vase making. Out of the collection of a well- 
 known amateur of Rouen, Mr. Bellon, he had 
 selected a number of specimens representing 
 the various styles of manufacture, which were 
 exhibited to illustrate and complete the scheme. 
 
 The catalogue describes only the part of the 
 collection which was shown on that occasion. 
 
 CHAMPFLEURY. Histoire des faiences 
 patriotiques sous la Republique. 
 Paris, Dentu, 1867, 8; 2nd ed., 
 1867, 18; 3rd ed., 1875, 18, pp. 
 320 ; with 83 illustrs. in the text. 
 5 fcs. 
 
 This book, of which the history of the French 
 revolution constitutes the largest portion, 
 contains, nevertheless, much information con- 
 cerning the provincial pot-works where the 
 ware was manufactured for local use. It was 
 the best recommendation for his appointment 
 of curator of the ceramic museum of the 
 national manufactory of Sevres, a post Champ- 
 fleury occupied from 1872 up to the day of his 
 death. 
 
 - Cabinet de Mr. Champfleury. 
 Faiences historiques ; Royaute ; 
 Revolution ; Empire ; Restaura- 
 tion ; Gouvernement constitu- 
 tional. Paris, 1868, impr. Pillet. 
 8, pp. 60 ; with illustr. 
 
 " The Champfleury collection. His- 
 torical faiences : Royalty, Revolution, 
 Empire, Restoration, Constitutional 
 Government." 
 
 We notice that in the catalogue Champfleury 
 had prepared for a sale by auction of his own 
 collection, the name of " Faiences patriotiques " 
 has been altered into that of "Faiences his- 
 toriques." Considering that inscribed speci- 
 mens of private character, such as presents to 
 friends, etc., entered for a large part in this 
 collection, we cannot see that there was much 
 cause for this alteration. The catalogue com- 
 prises more than 500 Nos., most of which are 
 not described in the previous work. As the 
 sale did not take place, the catalogue, of which 
 only a small number had been printed, was never 
 published, and is, consequently, difficult to 
 obtain. 
 
 Bibliographic Ceramiqua 
 Nomenclature analytique de 
 toutes les publications faites en 
 Europe et en Orient sur les arts 
 et 1'industrie ceramique depuis le 
 xvi e siecle jusqu'a nos jours. 
 Paris, Quantin, 1881. 8, pp. 
 352. 16 fcs. 
 
 " Ceramic bibliography. A descrip- 
 tive list of all works published in Europe 
 and in the Orient, upon the ceramic art 
 and manufacture, from the sixteenth 
 century up to the present day." 
 
 If we except a few short lists of reference 
 
 75 
 
CHA] 
 
 CERA MIC LIT ERA TUBE. 
 
 [CHA 
 
 books, compiled by ceramic authors as a supple- 
 ment to their work, this is really the first 
 attempt at a general classification of all the 
 volumes and pamphlets connected with the 
 history and manufacture of pottery in all 
 countries. Although this branch of literature 
 is quite of recent formation, the great number 
 of privately printed publications rendered the 
 task one of great difficulty. By his position as 
 curator of the museum and library of the Sevres 
 manufactory, Champfleury was particularly 
 well situated to accomplish it with success. 
 His Bibliographie Ceramiqiie has proved to be 
 invaluable as a ground-work for the preparation 
 of the present one, in which the original scheme 
 is enlarged and completed. Champflexiry was 
 himself aware that much remained to be done 
 to bring the work to completion, and he was 
 preparing a second edition, when death carried 
 him away before he could realise his intention. 
 
 CHAMPFLEURY. Le violon de faience. 
 Eaux fortes de J. Adeline. 
 Dessins en couleur par Emile Re- 
 nard, de la Manufacture de Sevres. 
 Paris, Dentu, 1877. 8. 25 fcs. 
 
 " The faience fiddle. Etchings by J. 
 Adeline. Illustrations in colour by E. 
 Renard, artist at the Sevres manu- 
 factory." 
 
 The chinamania and the adventures of a 
 provincial collector have supplied the subject 
 of this humouristic novel. Apart from its 
 literary merit, the volume commends itself to the 
 lover of ceramic art by its charming illustra- 
 tions. Numerous initial letters, borders, head 
 and tail-pieces, reproducing the fragmentary 
 decoration of well selected examples of French 
 and Dutch faience, are printed in colour all 
 through its pages. The celebrated faience 
 fiddle, now in the Rouen ceramic museum, is 
 reproduced on the etched plates. In another 
 edition of the same novel (Paris, Conquest, 
 1885, 8) the coloured head and tail-pieces are 
 replaced by 34 etchings by J. Adeline. 
 
 - Manufacture de Sevres. Paris, 
 Plon, 1891. Imp. 8, pp. 64. 
 (In the Inventaire general des 
 richesses d'art de la France. 
 T.V. Part I.) 5 fcs. 
 
 " The manufactory of Sevres." 
 
 An inventory of all the pictures and draw- 
 ings, porcelain plaques, sculptures and models, 
 terra-cottas and biscuits, and other works of 
 art, the property of the manufactory of Sevres, 
 which do not make part of the ceramic 
 museum. 
 
 CHAMPFLEURY (Collection). Catalogue 
 de la collection de faiences 
 patriotiques, tableaux, . . . etc., 
 dependant de la succession de 
 Mr. Champfleury. . . . Vente 
 76 
 
 a Paris, 28 Avril, 1890. Paris, 
 1890. 8, pp. 93 ; with illustra- 
 tions from meflistoire des faiences 
 patriotiques. 
 
 Catalogue of sale with a preface by Paul 
 Eudel. The collection, which comprised 492 
 Nos., was sold after the death of Champfleury. 
 
 Champfieury has contributed many papers 
 on French pottery to the leading periodicals, 
 namely : 
 
 La ceramique du Nord de la France. Exposi- 
 tion de Valenciennes, 1872. (Gazette des Beaux 
 Art.) 
 
 La ce"ramique aux expositions retrospectives 
 de province. Orleans, Quimper, Reims, etc., 
 1876. (Gazette des Beaux Art.) 
 
 Les cinq violons de faience, 1876. (Gazette 
 des Beaux Art.) 
 
 Les faiences parlantes du Centre et du Midi 
 de la France. (Gazette des Beaux Art.) 
 
 Les fabriques diverses de faience patriotique 
 en France. (La Revue des Provinces. ) 
 
 Le Baron Charles Davillier et ses collections 
 ce"ramiques, 1883. (L'Art), etc. 
 
 CHAMPIER (Y.). 1884. Catalogue 
 illustre de 1'Union Centrale des 
 Arts decoratifs, avec une etude 
 sur Fart retrospectif. Paris, 
 Baschet, 1884. 8, pp. 196; with 
 num. illustr. 2 fcs. 
 
 " Exhibition of 1884. A catalogue of 
 the Central Union of the Decorative Arts, 
 with an essay on art in ancient times." 
 
 This is the description of some typical speci- 
 mens of ceramic art, selected from the exhibits 
 contributed by private collectors, and not a 
 complete catalogue of the exhibition. They 
 illustrate with choice examples the historical 
 sketch written for the occasion by the editor of 
 the Revue des Arts Decoratifs. The national 
 factory of Sevres was amply represented. 
 Many of the finest examples of the work made 
 at the beginning of the nineteenth century, and 
 borrowed from the palaces and public establish- 
 ments where they are deposited, accompanied 
 a large selection of pieces of modern manufac- 
 ture. Short notices of the leading factories of 
 the present time, Sarreguemines, Haviland, 
 etc., and of the ceramists, L. Madrassi, E. 
 Ladreyt, etc., are placed at the end of this 
 volume. 
 
 CHAMPOLLION-FIGEAC (J, J.). Lettre 
 adressee a M. E. Piot au sujet 
 de sa notice sur Bernard Palissy. 
 Paris, 1842. 8, pp. 6. 
 
 " A letter addressed to Mr. E. Piot on 
 the subject of his notice of Bernard 
 Palissy." 
 
 CHANTRELL (R. D,). -Ornamental Brick- 
 work of the 16th century in West 
 
CHA] 
 
 CERAMIC LITERATURE. 
 
 [CHE 
 
 Flanders. Sessional Papers, R. 
 Institute of British Architects. 
 London, 1855-56. 4. 
 
 CHAPPEE (J.) Le carrelage de 1'Ab- 
 baye de Champagne (Sarthe), 
 d'apres les paves retrouves sur 
 1' emplacement du choeur de 
 1'eglise de cette abbaye. Mamers, 
 1898. 8, pp. 32 ; with 32 illustr. 
 
 " The pavement of Champagne Abbey 
 (Sarthe), from the tiles discovered on the 
 site of the choir of the Abbey Church." 
 
 Slabs of plain terra-cotta of various shapes 
 were found on the spot. By arranging them in 
 all kind of combinations the author has tried to 
 reconstitute the pattern they formed on the 
 floor of the old church ; a pure work of specula- 
 tion on his part, as he has by no means 
 exhausted the number of combinations that 
 could be obtained from these tiles. 
 
 CHARYET (A.). Esposizione generale 
 Italiana. Torino, 1884. Folio, 
 111 photogr. 200 fcs. 
 
 " Italian general exhibition." 
 
 Part II. Painted majolica from the factories 
 of Ginori, Mollica, Farina, Schioppa, Caccia- 
 puoti, Brilla, Ricci, Mingetti, etc. 
 
 CHARYET (J.).--L'ane qui prend la 
 peau du lion ; fourberie floren- 
 tine a quatre personnages. His- 
 toire veridique dont la moralite 
 est que les personnages susdits 
 en sont completement depourvus. 
 Paris, 1868. 8, pp. 32- with a 
 photo, 
 
 " The ass clad in the lion's skin ; a 
 Florentine imposture acted by four per- 
 sonages. A true tale, the moral of which 
 is that the four characters in the play 
 are equally devoid of any moral sense." 
 
 A sharp criticism of Foresi's paper on the 
 authorship of the Benivieni bust, and its attri- 
 bution to Bastianini. 
 
 CHASE (G. H.). The Loeb collection 
 of Arretine pottery, catalogued, 
 with introduction and descrip- 
 tion. New York, 1908. 4, pp. 
 viii-167 ; with 27 heliogr. pi. 
 2, 2s. 
 
 Unstinted praises are to be bestowed on the 
 typographic execution of this handsome volume. 
 As a complete epitome of the subject dealt with 
 in the introduction, it may, however, be said to 
 leave something to be desired. For instance, 
 
 one cannot doubt, in the present state of know- 
 ledge, that a red pottery, similar to that made 
 at Arezzo, has been extensively manufactured 
 in Great Britain. Nor are we any longer in 
 ignorance of the true nature of its particular 
 glaze. One should not infer from the tone of 
 one of Martial's epigrams, that earthen pottery 
 was banished from the table of the wealthy 
 Romans, when we know of so many instances 
 of the priceless value attached to some vessels 
 of the kind. One cannot forget that the Em- 
 peror Nero drunk his falerniah out of two 
 favourite cups of black clay embossed with 
 Homeric subjects, which he much preferred to 
 vases of precious metal. Being limited to the 
 reproduction of the best types comprised in a 
 small collection, the plates do not offer an 
 exhaustive representation of all the varieties of 
 the ware. The collection is now in the Museum 
 of the Harvard University. 
 
 CHADDRUC DE CRAZANNES(J. C.)--Notices 
 sur les antiquites de la ville de 
 Saintes. Paris, 1817. 8, pi. 
 
 " Notice of the antiquities of the town 
 of Saintes." 
 
 Contains some appreciations of the character 
 and works of B. Palissy. 
 
 CHADYET (G.) -Poteries prehisto- 
 riques k ornements geome*triques 
 en creux (Vallee de la Charente). 
 Paris, Masson, 1900. 8, pp. 20 ; 
 with illustr. (Reprint from the 
 Comptes rendus du con ff res inter- 
 national d'Anthropoloffie prehis- 
 torique. 
 
 " Prehistoric pottery with incised 
 geometrical ornamentation (Charente 
 Valley)." 
 
 CHAUYIGNE (A.)- Traite de decoration 
 sur porcelaine et faience ; pre- 
 cede d'une notice historique sur 
 1'art ceramique. Paris, R. Simon 
 
 (1875 ?). 12, pp. 72. 2 fcs. 
 
 " Treatise of decoration on porcelain 
 and faience ; with an introduction on 
 the history of ceramic art." 
 
 CHEREMETEFF (Collection). Notes on 
 the historic Cheremeteff collec- 
 tion of old turquoise Sevres 
 porcelain on view at the Gallery 
 of Mr. A. Wertheimer, 158 New 
 Bond St., London. London,I90Q. 
 Sq. 8 ; Introduction, pp. 40 ; 
 Catalogue, pp. 23. See Scherem- 
 eteff, for the completion of the 
 
 77 
 
CHE] 
 
 CERAMIC LITERATURE. 
 
 [CHE 
 
 Catalogue of the same collection, 
 in Russian. 
 
 CHEREST (lime). Cataloguedu musee 
 d'Auxerre. Auxerre, 1870. 8, 
 pp. 112. 2nd ed. 
 
 Description of the faiences of the region, 
 preserved in the Auxerre Museum. 
 
 - Les faiences de 1'Auxerrois. 
 Auxerre, 1875. 8, pp. 53 ; with 
 1 pi. in col. 6 fcs. 
 
 "The faiences of the region of 
 Auxerre." 
 
 This paper has been written by the curator 
 of the local museum chiefly for the purpose of 
 pointing out the error made by all previous 
 writers in attributing certain specimens of 
 popular faience, mostly painted with patriotic 
 emblems, to the Auxerre manufactories. These 
 specimens should all be, according to M. 
 Cherest's belief, attributed to the pot-works 
 of Ancy-le-Franc, Vauss, and other neighbour- 
 ing villages. In these localities several 
 fai'enciers are known to have been at work 
 since 1766. At a corresponding period no 
 faience manufactory was in existence in the 
 town. After much trouble has been spent in 
 confuting the attributions given by Champ- 
 fleury, Jacquemart, and Demmin, we are told 
 that a factory of painted faience was actually 
 established at Auxerre in 1797, within the 
 building of an ancient convent. It is added, 
 that the style of decoration, in use in the last 
 named place, was absolutely similar to that by 
 which the ware made at Ancy-le-Franc, etc., 
 may be recognised. After this statement we 
 think that the writer might have shown a little 
 more indulgence for those who had previously 
 ascribed the aggregate of the productions of 
 similar types to the Auxerre manufactory. 
 
 CHERET (J.). Terres cuites franyaises. 
 Paris, Claessen, 1885. FoL, 25 
 photolith. pi. 2. 
 
 " French terra-cottas." 
 
 Excellent reproductions in large size, printed 
 in red, of groups and figures modelled and 
 edited by J. Cheret. A companion volume to 
 the Terra-cottas of A. Carrier Belleuse. 
 
 CHERTIER (F.). --Notice sur une 
 aiguiere dite Henri II., decou- 
 verte en Berry ; et sur les ateliers 
 d'Oiron et de Saint-Porchaire. 
 Chateauroux, 1891. 8, pp. 61 ; 
 with 1 map and 3 pi. 10 fcs. 
 
 " Notice upon a vase of the so-called 
 Henri II. ware, discovered in Berry ; 
 and upon the pot-works of Oiron and 
 Saint-Porchaire. " 
 
 Strange incentives have often prompted^the 
 
 perpetration of one more ceramic pamphlet. 
 The writer of the present one would, in all 
 probability, never have troubled himself about 
 French faience, had it not been that a fortunate 
 uncle of his chanced to come into the possession 
 of one of its most rare and valued specimens. 
 As a dutiful nephew and before the treasure 
 was turned into hard cash he found himself 
 bound to master all the information so far 
 obtained upon the most probable origin of the 
 Henri II. ware. He plunged at once into the 
 comparative examination of the two last and 
 most serious hypotheses presented on the sub- 
 ject by B. Fillon and E. Konnaffe". The opinion 
 of each of these writers is so widely at 
 variance, and yet both theories are supported 
 by s\ich plausible arguments, that the perplexed 
 inquirer could not make up his mind to chose 
 either one or the other, but came to the con- 
 clusion that evidences for and against are 
 equally strong on each side. 
 
 This particular piece, now in the possession 
 of Mr. Pierpoint-Morgan, had been previously 
 reproduced and commented upon by Bonnaffe in 
 his paper on the faience of Saint-Porchaire. It 
 is one of those by which his assertions are most 
 effectually supported. 
 
 CHERUBINI (Gabriello). Dei Grue e 
 della pittura ceramica in Castelli 
 (Abruzzo ultra 1). Notizie bio- 
 grafico-artistiche. Teramo, 1858. 
 2nd ed., Napoli, 1865. 3rd ed., 
 Roma, 1878. 8, pp. 26. 
 
 " The Grue and the ceramic painting 
 in Castelli. Biographical and artistic 
 notices." 
 
 One must commend the pertinacity of the 
 worthy biographer of the Grue who, anxious to 
 keep before the public his own fame as an 
 author, and the memory of his highly esteemed 
 countrymen, brought out three editions of the 
 same pamphlet within the lapse of twenty 
 years. The ancient factories of central Italy 
 had ceased to produce the high style of majolica 
 with which their name had been so gloriously 
 associated during the sixteenth century, when 
 richly decorated ware, of a minor order, still 
 continued to be produced in Castelli. Several 
 members of the Grue family distinguished 
 themselves as ceramic painters in the last named 
 place. Their work, mostlyreproducing elaborate 
 engravings of the period, is painted in a scheme 
 of subdued colour, in which soft grey and purple 
 tints predominate ; the general dulness of the 
 effect is, occasionally, relieved by thin touches 
 of gilding. Two of the Grues, Francescantonio 
 and Phillipo Saverio, had been, in turn, 
 directors of the porcelain manufactory founded 
 at Naples by Charles III. 
 
 CHEVALIER (L'Abbe A.)- Carrelage du 
 xiii e siecle trouve en 1888 Rue 
 du Cardinal de Lorraine a Reims. 
 Caen, 1888. 8, pp. 11; with 
 text illustr. (Reprint from the 
 Built. Mon.) 
 
CHI] 
 
 C ERA MIC LITER A TURE. 
 
 [CHR 
 
 CHILLA (Leo). Original Entwtirfe fur 
 das Glass- und Keramische- 
 Kunstgewerbe. Vorlagen fur 
 das Fachzeichnen an Kunst- 
 gewerblichen Fach- und Fort- 
 bildungsschulen, sowie fiir 
 Kunsthandwerker. Wien, C. 
 Graeser, 1897. Fol., p. 1; with 
 22 col. pi. 25s. 
 
 " Original sketches for the glass and 
 ceramic industries. Models for the use 
 of the schools of industrial art and of 
 industrial artists." 
 
 CHINEAU (G.). Terres cuites d'art. 
 Paris, 1888. Sq. 16, of 31 pi. 
 
 Illustrated catalogue of the terra-cotta 
 figures manufactured by G. Chineau. 
 
 CHLINGENSPERG-BERG (Max von). --Das 
 Graberfeld von Reichenhall in 
 Oberbayern. Reichenhall, 1890. 
 
 ' 4, pp. 164 ; with 40 phototyp. 
 pi. 30 m. 
 
 " The burial ground of Reichenhall in 
 Upper Bavaria." 
 
 The three plates representing the few and 
 insignificant fragments of pottery discovered in 
 the excavations go far to show that it was no 
 longer customary amongst the people of South 
 Germany to place earthen pots in the graves of 
 the dead. Broken pottery had only been used 
 there as filling in material ; the coarse shards 
 of terra-cotta found imbedded in the soil are 
 absolutely devoid of interest. The whole of 
 the find is now preserved in the Berlin Ethno- 
 logical Museum. 
 
 CHOINOWSKIJ (J. A.) Excavations on 
 the site of the palace of Kieff' old 
 town in 1892. Archaeological 
 research, with 156 illustrations 
 (21 specimens of pottery repro- 
 duced in colour). Kieff, 1893. 
 4, pp. 78-iv (in Russian). 
 
 CHRIST (Job. Friedr.). De murrinis 
 veterum disquisitionem sub prae- 
 sidio J. F. Christii, in Academia 
 Lipsiensi, defendet Fr. Ehregott 
 Saxius. Lipzice, 1743. 4, pp. 
 58. 
 
 " A disquisition on the Murrhine 
 vases of the ancients, sustained by Fr. 
 Ehregott Saxius, before the Leipzig 
 
 Academy, under the presidency of J. F. 
 Christ." 
 
 The authorship of this essay has often been 
 wrongly attributed to Ehregott Saxius, whose 
 name appears on the title page as that of the 
 supporter of the thesis. As a matter of fact, it 
 was customary, in the German academies, that 
 the writer of a paper should entrust to a friend 
 the task of reading the paper at the meeting of 
 the learned society, and of upholding the de- 
 batable points of the argumentation. The 
 author was only expected to preside over the 
 discussion. In this essay J. F. Christ has 
 attempted to reconcile the statements of 
 Propertius and Pliny upon the nature of the 
 Murrhine vases, statements on which previous 
 writers had grounded irreconcilable conclusions. 
 All is well as long as the author confines him- 
 self to demonstrate, in a general wa} 7 , that they 
 were a fossil and not a fictile material. But 
 when he comes to introduce to us the few vases 
 in his possession as real examples of antique 
 Murrhines, we cannot follow any longer his 
 rambling speculations. 
 
 CHRIST (W.) and LAUTH (J.). Fiihrer 
 durch das K. Antiquarium in 
 Miinchen. Munchen, 1870. 12. 
 
 " Guide book to the museum of anti- 
 quities in Munich." 
 
 CHRISTIE (James), (Anon.). A disquisi- 
 tion upon Etruscan vases : dis- 
 playing their probable connection 
 with the shows at Eleusis and 
 the Chinese feast of lanterns ; 
 with explanation of a few of the 
 principal allegories depicted upon 
 them. London, 1806. Sm. foL, 
 pp. 99 ; with 16 pi. One hund- 
 red copies were printed for 
 presentation. In auction sales 
 the book has realized as much 
 as 14 guineas ; it is now offered 
 in the trade for 20s. 
 
 The most extravagant expounder of the 
 eccentric and shadowy doctrines of the exe- 
 getes was, without contest, the writer of the 
 present disquisition. Describing the rites of 
 the Eleusinian mysteries, he says that, at 
 intervals, appalling shadows of God-like figures 
 and infernal animals were thrown upon the 
 walls of the temple. Some of the weird 
 subjects painted on the antique vases, are, for 
 him, the representation of this sacred phan- 
 tasmagoria. 
 
 To give an idea of the mystical signification 
 he could impart to a commonplace subject, we 
 cannot do better than borrow from his book 
 the explanation that the painting of a female 
 acrobat walking upon her hands had suggested 
 to his imagination. 
 
 " The allegory conveyed in this painting 
 comprises the general meaning of the scenes 
 
 79 
 
CHE] 
 
 CERA MIC LITER A TURE. 
 
 [CHU 
 
 which follow. The vicissitude of decay and 
 reproduction to which, according to the notions 
 of the ancients, nature was subject in perpetual 
 revolution is expressed by a female figure 
 tumbling. The order of nature is, for a 
 moment, inverted, but, by an effort of the 
 limbs, the body appears on the point of being 
 returned to its proper attitude." 
 
 The author entertained, no doubt, a great 
 idea of the value of his rambling lucubration, 
 for he has spared no cost in the production of 
 the volume. It is admirably printed, in large 
 type, upon the finest paper, and illustrated with 
 plates and vignettes cleverly engraved. 
 
 CHR1STOPH (Jul. R.). Der praktische 
 Topfer ; und seine Erfahrungen 
 von der Thongrube bis zum fertig 
 montirten ofen, etc. Weimar, 
 Voigt, 1895. 8, 2 m. 
 
 " The practical potter ; his professional 
 experience, from the digging of the clay 
 up to the erection of a complete earthen- 
 ware stove." 
 
 CHURCH (Arthur Herbert). Catalogue of 
 
 the specimens of old English and 
 other pottery in the collection of 
 A. H. Church. Cirencester, 1870. 
 12, pp. 40. Privately printed. 
 
 A few copies of a catalogue, printed for 
 presentation, are now all that remain of one 
 of the earliest collections formed almost exclu- 
 sively of old English earthenware. The whole 
 of it was destroyed in the fire at the Alexandra 
 Palace, where it was exhibited in 1873. Church 
 stood foremost in the sma!l group of independent 
 spirits who, setting at defiance the dictates of 
 the then prevailing taste for dainty porcelain, 
 did not shrink from asserting their sincere 
 appreciation of the robust and genuine character 
 of the old English pottery. If the interest 
 presented by a choice piece of salt-glaze, agate, 
 tortoiseshell, and embossed and cloudy cream- 
 coloured ware, is no longer questioned, it is 
 chiefly due to the efforts that Church and his 
 friends have made in vindication of their 
 artistic and technical merits. 
 
 Cantor Lectures on some 
 points of contact between the 
 scientific and artistic aspects of 
 pottery and porcelain ; delivered 
 before the Society of Arts, Nov., 
 1880. London^. Trounce, 1881. 
 8, pp. 21. (Reprinted from the 
 Journal of the Soc. of Arts.} 
 
 The duties of his official position as professor 
 of Chemistry at the Agricultural College of 
 Cirencester, led A. H. Church into making a 
 thorough study of the theory of pottery manu- 
 facture ; his artistic education for he was a 
 landscape painter of no small talent had 
 
 80 
 
 rendered him a competent judge of the most 
 efficient ways through which the productions 
 of our ceramic art could be made to assume a 
 more perfect form. The aim of this paper 
 was to reconcile the fixed rules of technical 
 excellence with the necessities of the constant 
 modifications of external aspect imposed in 
 their application by the variations of public 
 taste. Weighty subjects are touched in turn 
 by the writer, if not in an exhaustive manner, 
 at anyrate with a clearness of conception 
 and a lucidity of expression by which the 
 meaning is easily grasped by the reader, 
 whether he be a potter, an artist, or simply 
 a man of the world in search of practical 
 instruction. 
 
 English earthenware. A 
 handbook to the wares made in 
 England during the seventeenth 
 and eighteenth centuries, as 
 illustrated by specimens in the 
 national collections. London, 
 Chapman & Hall, 1884. 8, pp. 
 xiv-123; with 65 illustr. 2s. 6d. 
 
 English porcelain. A hand- 
 book to the china made in 
 England during the eighteenth 
 century, as illustrated by speci- 
 mens, chiefly in the national 
 collections. London, Chapman 
 & Hall, 1885. 8, pp. xiii-99 ; 
 with 49 illustrs. 2s. 6d. 
 
 Both parts were published as handbooks to 
 the collections intheSouth KensingtonMuseum. 
 Fifty copies on large paper were issued to sub- 
 scribers, with a special title page and a 
 portrait of Thomas Frye of the Bow China 
 Works. 
 
 If sincere love and consummate knowledge 
 of the subject are deemed to be the best 
 qualifications for writing a history of the old 
 English pottery, Professor Church was particu- 
 larly fitted for the task ; long years of study 
 and experience gave him an incontestable right 
 to speak and to be listened to on all matters 
 connected with our national ceramics. If 
 materials are not wanting at the present day 
 for the compilation of an almost complete 
 survey of the development of the potter's art 
 in England, on the other hand, it has become 
 more and more difficult to discriminate between 
 what is to be accepted and what is to be 
 rejected in the mass of information placed at 
 our disposal. Truly reliable statements are to 
 be brought to the front, and still debatable 
 points relegated to the background ; and, above 
 all, justice must be done to many a fanciful 
 notion, not to say to the confirmed errors 
 which have been perpetuated from one book 
 to another. All difficulties on this score have 
 been successfully overcome in these handbooks ; 
 we never find the author at fault with his 
 dates and facts, or venturing lightly upon a 
 rash speculation. By a careful elimination of 
 
OHU] 
 
 CERAMTC LITERATURE. 
 
 [OLA 
 
 minor particulars, unimportant or irrelevant, 
 lie has made his narrative reliable and intelli- 
 gible all through. It is the best compendium 
 that can be consulted, and the best introduc- 
 tion to the study of English monographs, of 
 which it can only give a well digested summary. 
 
 Old English pottery and stone- 
 
 ware (in Some Minor Arts as 
 practised in England). London, 
 Seeley & Co., *1893. Imp. 4. 
 Old English slip ware ; pp. 27- 
 32 ; with 2 col. pis. and 3 illustrs. 
 Dwight stoneware ; pp. 33-39 ; 
 with 2 phototype pis. and 5 
 illustrs. White salt glaze ; pp. 
 40-45 ; with 2 pis. and 5 illustrs. 
 Publ., 21s. 
 
 The interest of these notices, which had 
 appeared in the Portfolio, is greatly enhanced 
 by coloured photogravure plates rendering 
 admirably the rich tints of the slip decorated 
 ware, and the quaint look of some other kinds 
 of old English pottery. 
 
 - Josiah Wedgwood, master 
 potter. London, Seeley & Co., 
 1894. 8, pp. 104; with 4 pis. 
 and 28 text illustrs. 2s. 6d. 
 A 2nd edition, with additional 
 plates, appeared in 1903. 
 
 It is not to be expected that new elements 
 can be introduced in a life of Josiah Wedg- 
 wood, after the exhaustive works that have 
 been devoted to the memory of the ' ' prince of 
 the English potters." A condensed and clearly 
 presented account of his achievements has, 
 however, long been wanted by his most fervent 
 admirers. This volume answers admirably such 
 a requirement, it is neither too long nor too 
 short, yet it contains all that a collector of 
 Wedgwood ware is bound to know. In addi- 
 tion to what is found in previous works, it gives 
 the solution of a few points till then left in 
 abeyance, and rectifies a few accredited mis- 
 statements. In his appreciation of the charac- 
 ter of one of the greatest men of the last 
 century, the biographer has, perhaps, erred on 
 the side of impartiality. We think that he 
 does not render full justice to the scientific 
 knowledge and practical genius which made of 
 Josiah Wedgwood the renovator of the potter's 
 art, and the creator of one of the great indus- 
 tries of his country. 
 
 CHURCH (W. A.)- Patterns of inlaid 
 tiles from churches in the diocese 
 of Oxford, drawn and engraved 
 by W. A. Church. Wattingford, 
 1845. Sm. 4 ; 24 col. pis. 10s. 
 
 The plates engraved by Church were pub- 
 lished after his death just as he had left them 
 
 6 
 
 that is to say, without an accompanying text. 
 They consist of a few patterns of isolated tiles, 
 drawn to the size of the original, and printed in 
 red on yellow paper by means of roughly cut 
 blocks. 
 
 CHO-YEN T'ao shno. 1774. 
 
 "A description of pottery in six books." 
 
 Bushell, from whom we borrow the title of 
 this Chinese book and its translation, refers to 
 the author in the following terms: "Chu-yen 
 quotes many writers, ancient and modern, in 
 bewildering confusion." 
 
 CHYTIL and JIRII Katalog der Aus- 
 stellung von Keramischen und 
 Glasarbeiten Bohmischen Ur- 
 spr ungs, 1780-1840. Prag, 1908. 
 8, pp. 189 ; with 5 pis. of marks 
 photogr. from the original. 3 m. 
 
 " Catalogue of the Exhibition of 
 Ceramic and glass works of Bohemian 
 origin." 
 
 CHYZER (Dr. B.). Ueber die im unga- 
 rischen Tonwaarengewerbe vor- 
 kommenden Bleivergiftungen. 
 lena, G. Fischer, 1908. 8, pp. 
 32 ; with 3 illustrs. 2 m. 
 
 "The lead-poisoning prevailing in the 
 earthenware industry .of Hungary." 
 
 The author gives a distressing account of the 
 conditions under which the Hungarian potters 
 have to work. In the factories, never cleaned 
 or ventilated, men, women, and children 
 breathe an atmosphere laden with lead dust. 
 Few, if any, escape the scourge of lead-poison- 
 ing and its terrible consequences. One of the 
 illustrations represents a group of fourteen men 
 from a small pot-works, all exhibiting the para- 
 lysed or dropped wrist and the distorted ankle 
 from which they suffer in addition to the 
 intestinal disorders to which each may have 
 fallen a victim. 
 
 CITTADELLA (Luigi Napoleone). Descrizi- 
 one di un dipinto di Porcellana. 
 Ferrara, 1853. 8, pp. 15. 2 fcs. 
 
 " Description of a porcelain painting." 
 
 The painting in question adorned a vase of 
 modern Sevres ware. 
 
 CLAPP (C. H.) and BABCOLK (E. J.). Clay 
 and its properties ; with special 
 reference to North Dakota clays. 
 Bismark, 1906. 8, pp. 324 ; with 
 35 pis. 
 
 CLAYTON (H.). On brickmaking and 
 brickmaking machines. London 
 
 81 
 
CLEJ 
 
 CERAMIC LITERATURE. 
 
 [COG 
 
 Int. Exhibition, 1862. London, 
 1862. 8. 
 
 CLERE (J. F.). Essai pratique sur 
 1'art du briquetier an charbon de 
 terre, d'apres les precedes en 
 usage dans le departement dn 
 Nord et dans la Belgique. Paris, 
 Carilian-Goeury, . 1828. 8, pp. 
 188 ; with 4 pis. 5 fcs. 
 
 " Practical handbook of the making of 
 bricks fired with coal, after the method 
 used in the Nord department and in 
 Belgium." 
 
 The advance made in the brickmaking in- 
 dustry has rendered this book somewhat out 
 of date. It may be said, however, that it 
 contains useful hints of a general character, 
 evidently written by a competent engineer, 
 which may be still of some service to the 
 manufacturer. 
 
 CLERFEYT (J.). La ceramique a FEx- 
 position Internationale de Lon- 
 dres en 1871. Bruocelles, impr. 
 Mertens, 1872. 8, pp. 451. 
 
 " Ceramics at the International Ex- 
 hibition of London in 1871." 
 
 This exhibition was to be the first of a series 
 in which all branches of industry should be 
 represented in turn. Ceramics had been 
 selected for the opening subject ; iron, tissues, 
 &c. , were to follow from year to year. The 
 scheme did not prove successful and was 
 eventually given up. 
 
 CLERGET (C. E.). Nouveaux orne- 
 ments composes, dessines, et 
 graves, k Fusage des manufac- 
 tures et pour Fornementation en 
 general. Paris, Aubert, 1840. 
 Fol. ; 36 pis. 
 
 " New designs invented, drawn, and 
 engraved for use in manufactories and 
 for general ornamentation." 
 
 The arabesques of Clerget have been greatly 
 employed as models by the porcelain gilders. 
 The artist was for some time designer at the 
 manufactory of Sevres. 
 
 CLOSMADEUC (G. de). Decouverte de 
 Stone-Cists a Bec-er-Vill (Qui- 
 beron). Vannes, 1886. 8, pp. 
 15 ; with 2 pis. (1 of pottery). 
 
 " Discovery of stone-cists near Qui- 
 beron." 
 
 Pottery of varied forms without any orna- 
 mentation. 
 
 82 
 
 La ceramique des Dolmens 
 dans le Morbihan. Paris, 1865. 
 8, pp. 6 ; with 2 pis. (Reprint 
 from Revue Archeoloffique.) 
 
 "The pottery of the Dolmens in 
 Morbihan." 
 
 During the course of his excavations of the 
 burial grounds of that part of Britany, the 
 writer has noticed that wherever earthen vases 
 are abundant in the tombs, flint implements 
 are rare; while, on the contrary, where flint 
 implements are met with in quantity, there are 
 generally very few, if any, urns or fragments of 
 pottery. 
 
 GOAD. Etchings of Goad's artificial- 
 stone manufacture, Narrow Wall, 
 Lambeth. London, for private 
 circulation, 1777-79. Fol. 
 
 - Goad's Gallery, or exhibition 
 in artificial stone . . . statues, 
 vases, etc. Lambeth, 1799. 4, 
 pp. 36. 
 
 Bacon and the best English sculptors of the 
 time supplied models to Goad's manufactory. 
 Among the important works in terra-cotta and 
 stoneware executed by Goad, one may mention 
 the colossal statues, made originally for Arundel 
 Castle, and now placed in the gardens of the 
 Thames embankment. 
 
 COCHET (L'Abbe). Memoire sur la 
 coutume de placer des vases 
 dans la sepulture de Fhomme et 
 specialement dans les sepultures 
 chretiennes depuis le xi e , jusqu'au 
 xvii e siecle. 8, pp. 80; wood- 
 cuts. 
 
 " Essay upon the custom of depositing 
 vases in the sepulchres of the dead, and 
 particularly in Christian tombs from the 
 XI. to the XVII. century." 
 
 A paper written in support of the theory 
 that it was a custom, common to all races and 
 dating from the remotest antiquity, to deposit 
 earthen vessels in the graves of the dead, 
 whatever might have been the funereal rites 
 which accompanied the burial of the remains. 
 
 Abbe J. B. D. Cochet was one of the last 
 representatives of the pick and spade school of 
 antiquaries, a fervent group of learned men, 
 whose life was spent in making patient in- 
 ventories of ancient burial grounds, and in 
 raising ingenious speculations upon the use and 
 signification of the miscellaneous vestiges left 
 in the soil by departed civilisations. The 
 sacred fire of archseologic fever which raged at 
 that moment is now well nigh extinct ; the 
 bones of the Gallic and Saxon chieftains which 
 have been spared by those indefatigable diggers 
 have a chance to rest in peace for a time. 
 
COC] 
 
 CERA MIC LITER A TURE. 
 
 [COL 
 
 In the many articles and volumes in which 
 he has embodied the result of his researches, 
 under and above ground, the description of 
 ancient pottery, mortuary or other, occupies a 
 large place. 
 
 Abbe Cochet died in 1875. An account of 
 his life and labours will be found in the two 
 obituaries published at Rouen, in the same 
 year, by Brianchon and M. Hardy. 
 
 De la coutume d'inhumer 
 les hommes dans des tonneaux 
 de terre cuite. Paris, 1859. 
 8, pp. 21 ; with illustrs. 
 
 "Upon the custom of inhuming the 
 dead in terra-cotta jars." 
 
 Archeologie ceramique et 
 sepulcrale; ou 1'art de classer 
 le sepultures anciennes a 1'aide 
 de la ceramique. Paris, 1860. 
 4, pp. 19; with 10 pis. 5 fcs. 
 
 " Ceramic and sepulchral archaeology, 
 being the art of classifying the antique 
 sepultures by means of the pottery they 
 contain." 
 
 It is somewhat doubtful whether the con- 
 clusions presented by the writer of the essay 
 could be corroborated by an unbiassed examina- 
 tion of the earthen vessels discovered in burial 
 grounds of undetermined antiquity. We recog- 
 nise, on the contrary, that the cinerary urns and 
 other pottery belonging to the dark ages that 
 we are satisfied to call "prehistoric," keep 
 during the course of uncounted centuries such 
 an indefinite character, that we may give up 
 any hopes of ever ranging them into distinct 
 classes. As generation succeeds to generation, 
 as the industries of man follow their progressive 
 course, metal is wrought with greater perfec- 
 tion, glass is blown into elegant shapes, ivory 
 and wood are delicately carved, and textiles 
 are intricately woven and richly embroidered. 
 Meanwhile, the terra-cotta pot, the constant 
 associate of these striking testimonies of the 
 advance of all other handicrafts, remains sta- 
 tionary, affecting the same rudimentary form 
 and the same roughness of workmanship. The 
 coarseness of the material makes it unworthy of 
 receiving an elaborate treatment, such trouble 
 is reserved for embellishing the more durable 
 and valuable substances. Ornamented pottery 
 of a truly superior order marks the highest 
 phases of the evolutions of art, such works 
 nourish only at fitful intervals. If it be true 
 that the style of decoration of the ware can 
 alone afford a clue to its probable date and 
 origin, the historian can find little assistance 
 in the plain terra-cotta which constitutes the 
 majority of what is found in the prehistoric 
 graves. Having, peremptorily, enunciated the 
 fundamental principles of his theory, the 
 worthy antiquary has left to others the task of 
 testing their adaptability to any particular 
 point under examination. In the present case, 
 we see that while describing the chief types of 
 the earthen vessels he had disinterred by 
 thousands, the author has not been able to pro- 
 
 pose any classification into groups, and with 
 regard to each separate specimen he could do 
 no more, in most instances, than to hazard a 
 guarded conjectiire as to the period to which it 
 belongs. 
 
 COCK (David). A treatise, technical 
 and practical, on the nature, pro- 
 duction, and uses of China-clay, 
 with several useful tables and 
 statistics, and other information 
 bearing on the subject, by David 
 Cock, mining engineer, St. Aus- 
 tell. London, Simpkin, Marshall 
 & Co., 1880. 8, pp. 151 ; with 
 plans. 5s. 
 
 An exhaustive treatise written by a practical 
 man. Chapter I. Geology and Mineralogy. 
 Chapter II. Operative processes necessary in 
 raising the clay and preparing it for the market. 
 Chapter III. The use of China-clay in the arts 
 and manufactures. Chapter IV. Extensive 
 tables, list of ports to which China-clay is ex- 
 ported, with a list of freights, &c. The volume 
 ends with 44 pp. of advertisement connected 
 with the China-clay trade. 
 
 COENEN (F.). The Willett-Holthuy- 
 sen Museum. Essays on Glass, 
 China, Silver, etc. London, 
 Werner, 1907. Sm. 4, pp. 62 ; 
 with 32 half-tone pis. 5s. 
 
 Delft ware, pp. 24-32 ; Saxon porcelain, pp. 
 33-47. 
 
 COHAUSEN and POSCHINGER (G.). Indus- 
 trie der Stein-Thon-Glasswaaren. 
 Amtl. Bericht liber die Wiener 
 Weltausstellung von 1873. Bruns- 
 wick, 1874. 8, pp. 85. 
 
 "The industry of stoneware, earthen- 
 ware, and glass. Official report upon the 
 International Exhibition of Vienna in 
 
 1874." 
 
 COHENDY(M.). Ceramique Arvern et 
 Faience de Clermont-Ferrand. 
 Clermont-Ferrand, impr.Thibaud , 
 1872. 4, pp. 48. 3 fcs. 
 
 " Ceramics of the ancient Arverns and 
 Clermont-Ferrand Faiences." 
 
 Chapter I. Pottery of the Roman period. 
 II. Faiences of the XVIII. century. III. 
 Modern manufacture. The text was to be 
 accompanied by an Atlas of 28 pis., by Mr. 
 Tamisier, which has not been published. 
 
 COLE (A. S.)- A catalogue of the 
 works of art at Marlborough 
 
 83 
 
COL] 
 
 CERA MIC LITER A TURE. 
 
 [COL 
 
 House, London, and at Sand- 
 ringham, Norfolk, belonging to 
 their Royal Highnesses the 
 Prince and Princess of Wales. 
 London, 1877. 8, Pottery pp. 
 1-43. 
 
 COLIBERT. Terra - cotta painting. 
 London, 1883. 8, pi. 
 
 COLLADON. Couleurs des esmaulx, 
 ou vernix de la poterie de faience. 
 Copie de 1'original d'un maitre 
 potier Anglais. (1680 ?) 
 
 " The colours of the enamels or glazes 
 of the faience pottery. From original 
 recipes written by an English master 
 potter." 
 
 Extracts from this rare book are given by 
 Mr. Hendrie in a footnote of his translation of 
 Theophilus, Book II. The passages occur in a 
 MS. preserved in the British Museum, the 
 writer of which, Sir T. de Mayern, had been 
 physician to Kings Henri IV. and Louis XIII. 
 of France, before he came over to England to 
 be attached, in the same capacity, to King 
 Charles I. Sir T. de Mayern had transcribed 
 these recipes from the printed book of Colladon, 
 of which we do not know whether any copy is 
 still in existence. The fact, recorded in that 
 book, of the French potters of the times deriving 
 their instruction from the potters of England is 
 curious enough to have induced us to enter its 
 title in our list. 
 
 COLLAMORE (G.). China and pottery 
 marks. New York, s.d. (recent). 
 Sq. 8, 37 pp. of marks. 
 
 Published by the firm of Oilman Collamore 
 
 6 Co., china dealers in New York. 
 
 COLLIGNON (M.). Catalogue des vases 
 peints du Musee de la Socie"te 
 Archeologique d'Athenes. Paris, 
 Thorin, 1877. 8, pp. 214 ; with 
 
 7 pis. in outline. 3 fcs. 
 
 "Catalogue of the painted vases in the 
 Museum of the Archaeological Society of 
 Athens." 
 
 The Varvakeion Museum at Athens contains 
 the richest collection of painted vases discovered 
 in Greece proper. They are classified in this 
 catalogue in chronological order, and by groups 
 representing the distinctive styles. Each speci- 
 men is carefully described, and reference is 
 given to the publications in which it has been 
 engraved and commented upon. 
 
 Manuel d'archeologie grecque. 
 
 Paris, 1881. 8. 
 
 " Handbook of Greek archaeology." 
 
 84 
 
 Terra-cotta figures and painted vases, pp. 
 231-315. 
 
 - Apollon et les, muses. Vase 
 peint d'une collection d'Athenes. 
 Bordeaux, 1879. 8, 1 pi. 
 
 " Apollo and the Muses. A painted 
 vase from a collection at Athens." 
 
 - Sur trois vases peints de la 
 Grece propre k ornements dores. 
 Paris, 1875. 8^; 1 pi. 
 
 " Upon three painted vases from Greece 
 proper with gilt ornaments." 
 
 Les ceramiques grecques de 
 
 style primitif. 1881. 8. 
 
 " Primitive Greek ceramics." 
 
 - Plaques de terre cuite peintes 
 de style corinthien. Bordeaux, 
 1882. 8, pi. 
 
 "Terra-cotta slabs painted in the Corin- 
 thian style." 
 
 Cavalier Athenien et scenes 
 
 de la vie guerriere, coupe Attique 
 du Musee du Louvre. Paris, 
 Charmerot, 1889. 4, pp. 22; 
 with 2 pis. 
 
 "An Athenian horseman and scenes of 
 warlike life, on a tazza of the Louvre 
 Museum." 
 
 Loutrophore attique a sujets 
 
 funeraire. Musee du Louvre. 
 Paris, 1894. 4; with 2 pis. and 
 2 illustrs. 
 
 " An attic loutrophore with funereal 
 subjects, in the Louvre Museum." 
 
 Vase de terre cuite en forme 
 
 de double tete signe deCleomenes 
 d'Athenes. Musee du Louvre. 
 Paris, 1897. 4, pp. 19 ; with 2 
 heliogr. pis. and 2 illustrs. 
 
 "Terra-cotta vase in the shape of a 
 double head, signed by Cleomenes of 
 Athens, in the Louvre Museum." 
 
 An answer to the opinion expressed by 
 Flirt wangler that the vase was a forgery. 
 
 COLLIGNON (M.) et COUYE (L). Cata- 
 logue des vases peints du musee 
 national d'Athenes. P^m's,Fonte- 
 
COL] 
 
 CERAMIC LITERATURE. 
 
 [CON 
 
 moing, 1902. 8, pp. ix-670. 20 
 fcs. (with an Appendix contain- 
 ing the indices and plates of 
 forms). The plates were pub- 
 lished in 1904 ; 4, pp. 22 ; with 
 52 phototype pis. and text illustrs. 
 20 fcs. 
 
 See Rayet. Histoire de la 
 ceramique grecque. 
 
 COLL1NOT (E.) and BEAUMONT (A. de).- 
 Recueil de dessins pour 1'art et 
 Findustrie. Paris, Morel, 1868. 
 Eleph. fol. ; with 150 pis., mostly 
 in colour, and short historical 
 notices. 200 fcs. 
 
 The work is composed as fol- 
 lows : Ornaments : Arabes, 40 
 pis. ; Turks, 30 pis. ; Venitiens, 
 Hindous et Russes, 40 pis. ; de la 
 Chine, 40 pis. 
 
 Messrs. Collinot and Beaumont being known 
 as manufacturers of ornamental faience in Paris, 
 one might have expected to find many designs 
 applicable to ceramic decoration in the series of 
 plates they have etched as materials for in- 
 dustrial designers. But it is nothing of the 
 sort. Afewodd patternsof Arabianand Turkish 
 tiles, and of Chinese porcelain, are all that 
 represents Ceramic art in a series of subjects 
 selected without discrimination, and as badly 
 drawn as they are crudely coloured. 
 
 COLLINS (J. F. E.). Hensbarrow gran- 
 ite district ; a geological descrip- 
 tion and trade history. Truro, 
 
 1878. 
 
 COLOMB (E.). Modeles pour assiettes. 
 Genre antique. Reproductions 
 d'anciennes faiences. 1891. Fol., 
 22 chromolith. pis. 
 
 "Patterns for plate decoration An- 
 tique style. Reproductions of old 
 faiences." 
 
 COLOMBA (G. M.). II "quos ego" di 
 Raffaello in una majolica del 
 Cinquecento. Palermo, 1895. 
 Fol., pp. 10; with 1 photolith. 
 and 1 chromo pi. 10 fcs. 
 
 " Raffael's ' quos ego ' upon a majolica 
 dish of the sixteenth century." 
 
 This subject, often repeated by the Italian 
 niajolists, is usually an exact reproduction of 
 
 the engraving of Marc Antonio Eaimondi. 
 Upon the dish, in the possession of Mr. Robbo, 
 of Palermo, the painting shows a different 
 arrangement in the disposition of the figures. 
 From this fact Prof. Colomba draws the con- 
 clusion that the dish was not painted from the 
 engraving but from the actual cartoon of 
 Raffael. The work of the master has not been 
 preserved to us this should be considered as 
 the only correct copy of the lost original. 
 
 COMBE (Taylor). A description of the 
 collection of ancient terra-cottas 
 in the British Museum ; with 
 engravings. London, W. Bulmer, 
 1810. 4, pp. vii-39; with 40 
 engr. pis. 15s. 
 
 The specimens, mostly coming from the ex- 
 cavations made in Italy at the end of the last 
 century, consist of bas-reliefs and a few figures. 
 These latter, very different from those found in 
 Greece proper, may possibly be the work of 
 Greek artists working under the influence of 
 Roman art. They made part, formerly, of the 
 Towneley, Nollekens, and Sir Hans Sloane's 
 collections. 
 
 COMBES (L). Les amis du peuple. 
 Bernard Palissy, potier de terre. 
 Paris, A. Bry, 1858. 8. 
 
 " The friends of the people. Bernard 
 Palissy, the potter." 
 
 Palissy a son of the people is here given 
 as the example all workmen should strive to 
 imitate, by a writer with strong democratic 
 convictions. 
 
 COMPARETTI (D.). Saffo nelle antiche 
 rappresentanze vascolari. Fi- 
 renze, 1886. 8, pp. 39; with 
 4 pis. 
 
 " Sappho, in the antique vase paint- 
 jngs." 
 
 COMPTON(Th.).-WilliamCookworthy. 
 London, Hicks, 1895. 8, pp. 
 138 ; portrait and 3 pis. 5s. 
 
 CONESTABILE (G.). Pitture murali a 
 fresco, e suppelletili etruschi in 
 bronzo e in terra cotta scoperte 
 in una necropoli presso Orvieto 
 nel 1863, da Domenico Golini. 
 Firenze, typ. Cellini, 1865. 4, 
 pp. 182; with fol. atlas of 18 
 engr. pis. 25 fcs. 
 
 " Fresco paintings and Etruscan utensils 
 of bronze and terra-cotta, discovered near 
 Orvieto by D. Golini in 1863." 
 
 85 
 
CON] 
 
 CERA MH 1 LITER A TURK. 
 
 [CON 
 
 The painted vases discovered in that necro- 
 polis are described at length in the second part 
 of this work. 
 
 CONNAH (E.). Recipes for white and 
 coloured glazes. Wrexham, 
 Woodall, 1903. 32. pp. 24. 
 
 2s. 6d. 
 
 CONSTANTS (A.). Wees italiennes 
 sur quelques tableaux celebres. 
 Florence, Vieusseux, 1840. 8, 
 pp. 358 ; with 1 pi. 10 fcs. 
 
 " Italian thoughts upon some famous 
 pictures." 
 
 In 1820 the Royal manufactory of Sevres 
 decided to send Constantin, one of their most 
 clever artists, to Italy, with commission to paint 
 copies of some of the masterpieces of the Italian 
 school upon plaques of porcelain of unusual 
 size. Constantin remained for thirteen years 
 engaged on that work. Of all the plaques he 
 painted, some were sent to the manufactory, 
 where they may still be seen, others were 
 acquired by foreign governments. As far as 
 technics are concerned these paintings may be 
 considered as a triumph of practical skill. The 
 writer does not, however, lay so much stress 
 upon the merit of the wonderful execution, as 
 upon the artistic feeling with which he has 
 rendered the beauty of the originals. This is 
 what he says in his critical examination of the 
 " Transfiguration," by Raffael : " No one else 
 can boast of having remained for 1500 hours in 
 contemplation of that picture ; yet this is ex- 
 actly the time it stood before my eye as I was 
 making a copy of it ; I may, therefore, claim 
 the privilege of being heard on the subject." 
 We have not to appreciate, here, the value of 
 the observations suggested to the mind of the 
 copyist by the model he reproduced in the 
 highest degree of accuracy. The chapter of 
 his book entitled: "On porcelain painting," 
 might be expected to contain something of 
 more practical interest, but it is nothing more 
 than a maundering discantation on the suprem- 
 acy of the art of the porcelain painter, and 
 the extraordinary difficulties he has to con- 
 tend with in the execution of his work. 
 
 CONTAYOLA (D. C.)- La manifattura 
 delle porcellane di Doccia. 
 Firenze, 1861. 8. 
 
 " The porcelain manufactory of 
 Doccia." 
 
 CONTRUCCI (Pietro).- Le virtu di Luca 
 della Robbia. Firenze, 1834. 
 8, pp. 31. 3 fcs. 
 
 "The virtues, by Luca della Robbia." 
 No work of the Italian potters equals in 
 magnitude the majolica frieze which adorns 
 the loggia of the hospital of the Ceppo, at 
 Pistoia. A canon of the cathedral has cele- 
 brated it in a grandiloquent sermon on the 
 
 86 
 
 seven works of mercy represented by the artist, 
 subsequently printed with a dedicatory epistle 
 to the Bishop. A good theologian, no doubt, 
 but a poor ceramic historian, the preacher 
 attributes to Luca a work made by Giovanni, 
 son of Andrea della Robbia. 
 
 - Monumento Robbiano nella 
 Loggia dello Spedale di Pistoja. 
 Prato, Giachetti, 1838, pp. 375. 
 8 fcs. 
 
 " The Della Robbia monument in the 
 Loggia of the PistoiaHospital." 
 
 The pamphlet has expanded into a sub- 
 stantial volume, each virtue has become the 
 subject of a special sermon. With the ex- 
 ception of a transcript from the article on 
 Luca della Robbia, in Vasari's Life of Painters, 
 historical information is quite as deficient as 
 in the first pamphlet. This does not prevent a 
 certain Pellegrini, who has contributed a lauda- 
 tory appreciation of the book, to say that by 
 his eloquent dissertation on the subjects 
 represented on the loggia, Contrucci has made 
 his name as famous as that of Luca della 
 Robbia. 
 
 - Plastica di Luca e Andrea 
 della Robbia rappresentendo le 
 opera della carita evangelica, 
 illustrate dal Prof. P. Contrucci. 
 Pistoja, 1841. 8. 
 
 "Reliefs of Luca and Andrea della 
 Robbia, representing the works of evan- 
 gelic charity." 
 
 A further amplification of the same subjects, 
 on which it is needless to say more. 
 
 CONTUCCL Musei Kirkeriani in Ro- 
 mano Soc. Jesu Collegio, aerea 
 notis illustrata. Roma, 1763. 
 Fol. 15 fcs. 
 
 " The Kircher Museum in the College 
 of the Society of Jesus." 
 
 The collection is rich in early Roman and 
 Etruscan pottery. 
 
 CONZE (A.)- Philoktet in Troja. 
 Ueber das Gemalde einer grie- 
 chischen Vase der Sammlung 
 Jatta, in Ruvo. Gb'ttwgen, 1856. 
 8, pp. 19 ; 1 pi. 
 
 " On the painting of a Greek vase of 
 the Jatta collection at Ruvo." 
 
 - Melische Thongetasse. Leipzig, 
 Breitkopf, 1862. Obi. fol., pp. 8; 
 with 5 lith. pis. in col. 5 m. 
 
 " Vases from Melos." 
 
COO] 
 
 CERA MIC LIT ERA 77 ' /,' K. 
 
 [COR 
 
 An essay on the supposed Asiatic influence 
 to be traced in Greek ceramic art. Illustrated 
 with excellent representations of archaic vases. 
 
 Vasi con rappresentanze di 
 riti funebri. Roma, 1864. 8; 
 with 3 pis. and 1 cut. 
 
 " Vases with representation of the 
 funereal rites." 
 
 - Ueber die neuesten Entdeck- 
 ungen bemalter griechischer 
 Thongefasse. Leipzig, 1865. 4. 
 
 " On the last discoveries of Greek 
 painted vases." 
 
 Guerrieri coi loro Valletti. 
 Perseo ed Achille su vasi cere- 
 tani. Roma, 1866. 8; with 2 pis. 
 
 " Warriors and their attendants. Per- 
 seus and Achilles upon the Ceretan vases." 
 
 - Zur Geschichte der Anfange 
 griechischer Kunst. Wien, 1870. 
 8; with 11 pis. 
 
 " The history of Greek art in the 
 earliest periods." 
 
 COOK (G. H.). Report on the clay 
 deposits of Woodbridge, South 
 Amboy, and other places in New 
 Jersey. Trenton, 1878. 8. 
 
 COPELAND'S CHINA. W. T. Copeland 
 and Sons (late Spode), manufac- 
 turers of non-crazing ceramic 
 wares, for all purposes, useful 
 and ornamental, etc. Hanley, 
 1892. Obi. 16, pp. 19 ; with 4 
 lith. pis. Printed for distribution. 
 
 An account of the best vases and useful ware 
 sent by the firm to the Paris exhibition in 
 1889 ; it is accompanied by a reprint of the 
 description of Copeland 's works, written by 
 Charles Dickens in 1852, and published in 
 Household Words under the title : "A plated 
 article. " 
 
 - Copeland's (late Spode) China. 
 Established 1770. Hanley, 1902. 
 8, pp. 56 ; with 50 text illustrs. 
 
 CORBASSIERE (A.)- Dalles et paves 
 ceramiques & base de fer des 
 manufactures de Sarreguemines. 
 Paris, impr. Moquet, 1877. 8, 
 pp. 13; with 3 pis. 
 
 " Slabs and tiles in ironstone pottery 
 manufactured at the Sarreguemines 
 Works." 
 
 COREY (A.). De Amazonum anti- 
 quissimis figuris. Berlin, 1891. 
 
 " The most ancient representation of 
 the Amazons." 
 
 CORFIELD (J. E.). Recipes for making- 
 potters' colours, lustres, etc., 
 compiled from the original MS. 
 of J. E. Corfield, for some years 
 assistant to Mr. A. Wenger, of 
 Hanley, Staffordshire. Hanley, 
 Allbut & Daniel, 1884. Sq. 32, 
 pp. 47. 5s. 
 
 We have seen the mysteries of the potter's 
 trade disclosed in printed handbooks, for a 
 copy of which as much as 50 was asked by 
 the compiler ; these happy times were not to 
 last long, and the price of professional secrets 
 has, now, strangely fallen in the market. 
 For the modest investment of five shillings the 
 purchaser of this handbook can obtain possession 
 of all the knowledge required for the successful 
 manufacture of ceramic colours. 
 
 CORMARMOND (A.). Description des 
 antiquites et objets d'art con- 
 tenus dans les salles du Palais 
 des Beaux-Arts a Lyon. Lyon, 
 1855-57. 4, pp. xvi-851 ; with 
 28 pis. 25 fcs. 
 
 " Description of the antiquities and 
 works of art in the Museum of Fine 
 Arts at Lyons." 
 
 CORONA (G-)- La ceramica; bio- 
 grafie e noti storiche. Milano, 
 Hoepli, 1879. Sq. 8, pp. 269 ; 
 frontispiece, and 244 marks and 
 monograms. 10 fcs. 
 
 " The ceramic art ; biographic and 
 historic notes." 
 
 Italian majolica, would be a better title for 
 this book, which deals fully with that subject, 
 while the productions of other countries are 
 dismissed in a few paragraphs. 
 
 - La ceramica in Parigi nel 
 1878. L'ltalia ceramica. Roma, 
 Botta, 1880. 4, pp. 161. 3 fcs. 
 
 "Ceramic art in the Paris Exhibition 
 of 1878. Italian ceramics." 
 
 Interesting particulars on the conditions of 
 modern ceramic industry in Italy are con- 
 
 87 
 
COR1 
 
 CERA MIC LIT ERA TURE. 
 
 [COU 
 
 tained in this report. We hear of the brisk 
 revival of the potter's art in the country, and 
 of the flourishing establishments in which the 
 traditions of olden times have been, not only 
 preserved, but greatly improved upon ; also of 
 the technical schools of pottery, the hopes of 
 the future, which have been started in several 
 towns of the kingdom. To judge of the strict 
 accuracy of these flattering statements, we 
 must bear in mind that an Italian reviewer is 
 apt to describe, in a high flown style, what he 
 presents as a glorious achievement, although it 
 is actually no more than a promising experi- 
 ment. 
 
 CORONA (G-)- Esposizione industrial 
 italiana del 1881, in Milano. Re- 
 lazioni dei giurati. Milano, 
 Hoepli, 1885. 8, pp. 560 ; with 
 8 pages of marks. 
 
 The scope of this volume extends far beyond 
 the limits of an ordinary exhibition report. It 
 comprises a general survey of the pottery 
 manufacture in Italy ; a complete list of all 
 the factories, including the smallest pot-works 
 giving employment to two or three workmen, 
 and a series of tabular statements of their 
 productions. 
 
 CORRARD DE BREBAN. -Note sur des 
 vases de terre cuite trouves dans 
 les fondations des nouvelles 
 prisons & Troves. Troyes, 1832. 
 
 8. 
 
 " Notices of the terra-cotta vases found 
 in the foundations of the new prisons at 
 Troyes (Gallo-Roman)." 
 
 CORSI (FailStino). De Vasi Murrini 
 e di un masso di pietra esistente 
 in Roma presso el Sr. Sebastiano 
 Rolli. Roma, Salviucci, 1830. 
 18, pp. 46 ; 1 col. pi. 2 fcs. 
 
 " Notes on the Murrhine vases and a 
 piece of stone in the possession of Sr. S. 
 Rolli, of Rome." 
 
 Speculations regarding the true nature of the 
 Murrhine vases are based upon two conflicting 
 passages found, respectively, in Pliny and 
 Propertius, from which many writers have 
 drawn very different conclusions. The former 
 says that their substance was a natural stone of 
 great rarity ; the latter that they were made of 
 an artificial composition burnt in the furnaces 
 of the Parthians. Corsi, while maintaining that 
 the stone described by Pliny is no other than 
 fluor-spar, a material of which he has seen a 
 specimen in a private collection in Rome, tries 
 to reconcile the two contrary statements. He 
 observes that the two classical authors have 
 made use of two different words. The vases 
 to which Pliny refers under the name of 
 Murrhina, should be considered as the original 
 once, made of precious stone ; while when Pro 
 
 88 
 
 pertius speaks of the Mwrhea cups, he applies 
 the term to the vitreous imitations that were 
 extensively produced in the East. 
 
 COUNIS (S. G.). Quelques souvenirs; 
 suivis d'une dissertation sur 
 Femail, sur la porcelaine, et d'un 
 petit traite a 1'usage du peintre 
 en email. Ecrit a Florence en 
 1831. Florence, 1842. 8, pp. 
 104. 6 fcs. 
 
 " My recollections, to which are added 
 a dissertation upon enamel and porcelain, 
 and a small practical treatise for the use 
 of the enamel painter." 
 
 Counis, born at Geneva, studied painting in 
 Paris under Girodet. Attached as a portrait 
 painter to the Italian courts, he attained some 
 celebrity for his miniatures on enamel. His 
 best work was a copy of the Galatea of 
 Girodet, painted upon a large plaque of por- 
 celain. Some biographers give the name of 
 Counis as being the pseudonym of T. M. 
 Dumersan. 
 
 COURAJOD (L.). Le pavage de 1'eglise 
 d'Orbais. Paris, Didier, 1876. 
 8, pp. 27 ; with 2 pis. and 25 
 illustrs. 2 fcs. 
 
 "The pavement of the church of 
 Orbais." 
 
 A large number of inlaid and glazed tiles, 
 some of which are ascribed to the thirteenth 
 century, have been discovered within or near 
 the Orbais church, in Champagne. But no 
 portion of the pavement had been left in its 
 original state, so no idea can be formed of the 
 general scheme from the isolated tiles found in 
 the excavations. 
 
 Livre journal de Lazare Du- 
 
 vaux, marchand bijoutier ordin- 
 aire du roy, 1748-1758. Paris, 
 Societe des bibliophiles frangais, 
 1873. 2 vols. 8. 20 fcs. J 
 
 " Day-book of Lazare Duvaux, mer- 
 chant jeweller in ordinary to the king." 
 
 In his workshop, situated in the Rue de la 
 Monnaie, Lazare Duveaux had often the occasion 
 to ornament with gold and silver mounts valu- 
 able pieces of porcelain entrusted to him by 
 Madame de Pompadour and the elite, of the 
 nobility. The entries in his day-book have 
 reference to Oriental wares, and to the 
 productions of Vincennes and Sevres. This 
 reprint of the interesting MS. is accompanied 
 with historical notes by L. Courajod. 
 
 COUSIN (Charles), (Anon.). -Voyage dans 
 
 un grenier. Bouquins, Faiences, 
 Autographes et Bibelots. Paris, 
 
COUJ 
 
 CERA MIC LITER A TURE. 
 
 [CRE 
 
 D. Morgan, 1878. 620 cop. 
 printed in 8 and 4 sizes, 
 pp. 270; with 21 pis., chromos, 
 etchings, and phototype. 1 10s., 
 and 3. 
 
 "A journey of discovery through a 
 garret. Old books, faiences, and curios." 
 
 Familiar and humouristic gossip exchanged 
 between the collector, who styles himself " Le 
 tocque" or "The crazy one," and his secretary 
 Babylas, on the subject of the curious odds and 
 ends which are being examined during an ex- 
 ploration of the garret. Fifteen plates of 
 ceramic objects of somewhat indifferent quality 
 give this volume a place in our list. 
 
 Racontars illustres d'un vieux 
 
 collectionneur. Paris, 1887. 4, 
 pp. 350 ; with 23 chromos, 8 
 etchings, and 32 vigns. 100 cop. 
 printed on large paper and double 
 sets of pis. 150-300 fcs. 
 
 "The illustrated small-talk of an old 
 collector." 
 
 A companion to the above work, conceived 
 and carried out on a similar plan. In point of 
 typographic execution both volumes are re- 
 markable examples of modern French printing. 
 
 COUYE (L). Vases antiques a figures 
 rouges. S.l.n.d. 8, pp. 14; 
 with 7 text illustrs. 2 fcs. 
 " Ancient vases with red figures." 
 
 COUYE' (see Collignon). Vases peints 
 du Musee d'Athenes. 
 
 COX (J. C.). --On four Spanish- 
 Moresco tiles found at Meaux 
 Abbey. Hull, 1894. 8, pp. 6 ; 
 with 2 chromolith. pis. (In Hull 
 East Riding Antiquarian Soc. 
 Trans.} 
 
 CRARY (J. W.). Sixty years a brick- 
 maker. A practical treatise on 
 brickmaking and burning. In- 
 dianapolis, 1890. 
 
 CREUZER (Fried.). Ein alt-athenisches 
 Gefass,mitMalerei und Inschrift, 
 bekannt gemacht und erklart, mit 
 Anmerkungen iiber diese Vasen- 
 gattung. Leipzig, 1832. 8, pp. 
 78 ; with 1 fold. pi. in col. 2 m. 
 
 " An ancient Athenian vase, with 
 paintings and inscriptions, published for 
 the first time and elucidated with accom- 
 panying remarks on the vases of the 
 same class." 
 
 Description of a small alabastron or perfume 
 vase, bearing the names of the potter and 
 the painter. The painting represents an 
 ephebe and a bacchante preparing for a feast 
 of Dionysios. 
 
 Zur Gallerie der alten Drama- 
 
 tiker. Auswahl unedirter grie- 
 chischen Thongefasse, . . . etc. 
 Heidelberg, 1839. ' 8, pp. 130 ; 
 with 9 lith. pis. in outline. 4 m. 
 
 " The Gallery of the Dramatists of 
 Antiquity. A selection from the Greek 
 vases in the Grand Ducal Museum of 
 Carlsruhe, now published for the first 
 time." 
 
 Vase paintings, the subjects of which are 
 borrowed from the tragedies of the Greek 
 poets. 
 
 CREYKE (W. R.). Book of Modern 
 Recipes, containing full instruc- 
 tions for producing the follow- 
 ing : Enamel, underglaze, and 
 majolica colours ; white and 
 coloured bodies and glazes for 
 china and earthenware; glazes 
 and bodies for jet, Rockingham 
 and stoneware ; glazes, bodies, 
 stains, and slips for bricks, tiles, 
 pipes, etc., at one burning. Full 
 recipes and particulars for enam- 
 elling iron, the preparation of 
 liquid gold, etc. Originally sold 
 to some of the manufacturers in 
 England at 30 per volume. 2nd 
 ed.* Hanky, 1887. 12, pp. 144. 
 
 The note-book of a colour maker, who, after 
 having gathered here and there the recipes in 
 use in the factories where he was employed, set 
 up on his own account as a manufacturer. 
 Meanwhile, it occurred to him that he might 
 derive more profit from the sale of his secrets 
 than from that of his products. He printed a 
 first edition of a very limited number of copies, 
 and disposed of these at a fancy price. This 
 induced him to print a second one, now easier 
 to obtain than the first, but still very difficult 
 to meet with. The so-called secrets it contains 
 are, we need hardly say, to be found in many 
 other handbooks, and are by no means worth 
 the extravagant value set upon them by the 
 publisher. 
 
 89 
 
CRT] 
 
 CERA MIC LIT ERA TURK. 
 
 [CUN 
 
 CRISP (F. A.). Armorial China; a 
 catalogue of Chinese porcelain 
 with coats-of-arms, in the pos- 
 session of F. A. Crisp. Privately 
 printed at the Grove Park Press, 
 London, 1907. 4, pp. 90 ; with 
 12 col. pis. 2, 2s. 
 
 This collection, begun at the time when all 
 the porcelain of the kind was considered to be 
 of Lowestoft origin, contains 1087 specimens 
 bearing the coats of arms of British families, 
 painted at the end of the eighteenth century in 
 the Chinese factories of the East India Com- 
 pany. The arms are mostly named. A volume 
 of excellent typographic execution. 
 
 Catalogue of Lowestoft china 
 in the possession of F. A. Crisp. 
 London, privately printed, 1907. 
 4, pp. 24 ; with a portrait and 
 14 collotype pis. (some col.). 
 1, Is. 
 
 A companion to the above volume. The re- 
 productions of the insignificant articles turned 
 out by an obscure factory give us no desire to 
 see any of them in the original. The intro- 
 duction, avoiding historical controversies, refers 
 only to the formation of the collection. 
 
 - Lowestoft china factory ; the 
 moulds found there in Decem- 
 ber, 1902. London, Grove Park 
 Press, 1907. 4, intr. 1 p.; with 
 2 plans and 19 heliogrs. 1, Is. 
 150 copies printed. 
 
 Views of the factory in its present state, and 
 reproductions of a few moulds are given on the 
 plates. The Lowestoft Company is known to 
 have had a large show-room in London and a 
 depot in Rotterdam. They owned a vessel 
 sailing regularly between England and Holland. 
 A glance at the plans and at the views of the 
 small proportions of this one-oven factory suf- 
 fices to convince us that one has to look some- 
 where else to find the source of supply of the 
 enormous quantity of china sold by the Lowes- 
 toft Company. The works occupied, not sixty 
 men as the writer has it, but sixty hands, 
 mostly women and children. 
 
 CROSSLEY (A,).- Tables and analyses 
 of clays, Indianapolis, 1888. 
 2nd ed., 1900. 8, pp. 48. 4s. 
 
 Bricks and Brickmaking. 
 Ottawa, 1889. 
 
 CROSTAROSA (P,). Inventario dei 
 Sigilli impressi sulle tegole del 
 
 90 
 
 tetto di S. Maria Maggiore. 
 Roma, 1896. 4, pp. 42. 4 fcs. 
 
 " Inventory of the marks stamped 
 upon the tiles of the roof of S. Maria 
 Maggiore." 
 
 CROZAT (Collection). Description som- 
 maire des statues, etc., modeles 
 en terre cuite, porcelaines, et 
 faience d'Urbin, provenant du 
 cabinet de feu Mr. Crozat. 
 Paris, 1750. 12, pp. 46; 232 
 Nos. 20 fcs. (By Gersain.) 
 
 Catalogue of sale. In the introductory 
 notice, the majolica is said to be the work of 
 Guido Durantino, of Urbino. Italian majolica 
 was often called Raphael ware ; the writer 
 observes, however, that he cannot accept such 
 an erroneous attribution, as "it would not be 
 fair to the memory of the great painter Raphael 
 Sanzio, to attribute to his hand works so 
 grossly faulty in the drawing." 
 
 CRUTTWELL (Maud).-Luca and Andrea 
 dellaKobbia and their successors. 
 London, Dent, 1902. 4, pp. 363 ; 
 with 6 photogr. pis. and 144 
 illustrs. 1, 5s. 
 
 An exhaustive work which condenses all 
 that had previously been written upon a subject 
 thoroughly investigated by competent writers 
 is always a welcome addition to the library. 
 Scarcely anything that has not been printed 
 before will be found in the present volume. 
 But all documents are marshalled in good order 
 and accompanied with personal appreciations 
 which give to them an additional value. The 
 work of Marcel Raymon seems to have been 
 the text-book followed by the author. Miss 
 Cruttwell has, nevertheless, made a searching 
 examination of all the volumes, pamphlets, and 
 articles written on the Delia Robbia, of which 
 she gives the titles in the biography. 
 
 CUDWORTH (W.). Antique lamps. 
 A dissertation on antique terra- 
 cotta lamps generally, with spe- 
 cial reference to the author's own 
 collection. London, J. Clark, 
 1893. Sq, 8 C , pp. 33 ; with 1 pi. 
 and 18 illustrs. 2s. 
 
 These lamps, mostly coming from the 
 Cesnola and Sandwith collections, were ex- 
 hibited in the Bradford Art Museum. 
 
 CUNHA (F. R. da). Catalogue d'une 
 importante collection d'objets 
 ceramiques, ayant figure en 
 partie a 1'exposition de Lisbonne 
 
a ERA MIC LITER A TURE. 
 
 [DAL 
 
 en 1882, dont la vente aura lieu 
 a Paris, Avril, 1884. 4, pp. 142 ; 
 with 20 pis. 20 fcs. 
 
 " Sale catalogue of a collection formed 
 by an amateur of Lisbon." 
 
 The porcelain of Sevres, Meissen, and 
 various German factories was very well re- 
 presented ; the collection comprised also a 
 few specimens of English china and Oriental 
 ceramics. The introduction to the catalogue 
 was written by Ed. Gamier. 
 
 CURTIUS (Ernst). Herakles, der Satyr 
 und Dreifussrauber, ein grie- 
 chisches Vasenbild erliiutert. 
 Zwolftes Programm der archse- 
 ologischenGesellschaft zu Berlin, 
 zum Gedaclmisstag Winkel- 
 mann's. Berlin, 1852. 4, pp. 
 16 ; col. pi. 
 
 ' Herakles, the satyr and three-footed 
 robber ; explanation of a Greek vase 
 painting. Winkelmann's Feast Pro- 
 gramme, No. 12." 
 
 - Die Geburt des Ericthonios. 
 Terra cotta des Berliner Anti- 
 quarium. Berlin, 1872. 4; with 
 2 pis. 
 
 "The birth of Ericthonius. A terra- 
 cotta in the Berlin Museum." 
 
 - Die Giebelgruppen des Zeus- 
 tempels in Olympia und rot- 
 figuren Vasen. Berlin, 1883. 
 4 (in Arch. Zeit.) ; with 2 pis. 
 
 " The pediment groups in the temple 
 of Jupiter at Olympia, and the red-figure 
 
 vases." 
 
 GUSHING (F. H.) . A study of Pueblo 
 pottery, as illustrative of Zuni 
 culture growth. Washington, 
 1 886. 8, pp. 37 ; with 74 illustrs. 
 (Reprint from the Fourth Annual 
 Report of the Bureau of Ethno- 
 graphy.) 
 
 According to the theory, propounded by the 
 writer, that the style of primitive pottery is 
 affected by environments, the receptacles made 
 of clay by the old Mexican races imitated the 
 basket work of the period before them. The 
 oldest examples are baskets of entwined twigs 
 or wicker, lined inside with a thick coating of 
 dry earth. When the making of pottery 
 burnt in the fire was at last introduced, the 
 
 corrugated surface of the vessels resembled 
 the basket-work of earlier times. 
 
 CUSSAC (E,). ~- Ceramique. Notice 
 raisonnee sur les faiences formant 
 la collection de Mr. Emile Cussac 
 de Lille. Lille, 1878. 8, pp. 15. 
 Priv. printed. 
 
 " Descriptive notice of the faience in 
 the collection of Mr. E. C. of Lille." 
 
 CKULA (DubOYSZky). Minta majolika 
 festesre Muster fur majolica- 
 malerei. Budapest, s.d. (1885 ?). 
 Eleph. folio; plates in gold and 
 colour, and diagrams. 
 
 " Models for majolica painting." 
 
 Patterns of cheap and showy decorations, 
 in the worst possible taste, introduced by the 
 Bohemian porcelain factories and presented 
 under the name of "Designs in the Magyar 
 Style." 
 
 CZOERNIG. Industrie - Statistic der 
 oesterreichischen Monarchic fur 
 das Jahr 1856. 1. Heft. Stein- 
 waaren,Thonwaaren,Glaswaaren. 
 Wien, 1857. 8, pp. 136; with 
 2 maps of the pottery and glass 
 producing countries. 
 
 " Statistics of the industries of the 
 Austrian Kingdom for the year 1856. 
 Part I. : stoneware, earthenware, and 
 crlass-making." 
 
 D 
 
 DA GUERRA (L. de F.). Archive Vian- 
 nense. Vianna, 1895-98. 8 
 (contains : A fabrica de Louga de 
 Vianna em Darque), pp. 78-80. 
 Marks. 
 
 "The faience factory of Vianna." 
 
 DALEAU (F.)- Chandeliers et mor- 
 tiers en terre cuite, Industrie 
 privee des tuiliers de la Gironde. 
 Bordeaux, 1892. 8, pp. 9; with 
 2 pis. (Extr. from Journal de la 
 Societe arch, de Bordeaux.) 
 
 "Terra-cotta candle-holders and mor- 
 tars, the fancy work of the brick and 
 tile makers of the Gironde Department." 
 
 91 
 
DAL] 
 
 CERAMIC LITERATURE. 
 
 [DAN 
 
 Among the brickmakers of the region some 
 very peculiar we might say unique shapes of 
 small mortars, and candle or flower holders 
 have persisted from times out of record, 
 handed down from father to son. To find 
 a kind of pottery equally primitive and un- 
 couth in character, and as rude of workman- 
 ship one must, indeed, go back to the coarsest 
 urns of the prehistoric ages. 
 
 When the crops are gathered in, and the 
 work in the fields is temporarily suspended, 
 the toilsome peasant of Gironde becomes a 
 brickmaker for a while. Small gangs of 
 labourers leave the villages and the farms, 
 and tramp away to distant spots, where brick 
 clay is abundant, and where the old ovens 
 require but little repair to make them ready 
 to be filled and fired once more. For a couple 
 of months the men remain there, secluded 
 from the rest of the world, busy making bricks 
 and tiles which are transported at the end of 
 the campaign to places in which they are required 
 for building purposes. The leisure moments are 
 occupied in fashioning fancy articles the 
 curious shape of which has never been de- 
 parted from modest presents intended for the 
 gratification of the women and children of the 
 village. 
 
 This custom, a last remnant of the indus- 
 trious turn of mind of peasants of the middle 
 ages, throws some light upon the origin of the 
 particular types of popular pottery, which 
 have remained unaltered in the provinces for 
 thousands of years, regardless of the trans- 
 formation introchiced into all other productions 
 of the potter. 
 
 DALY (Cesar). Motifs historiques 
 tires des anciens batiments de 
 la Manufacture Nationale de 
 Sevres. Paris, Ducher, 1873. 
 Srn. fol. ; 8 pis. (Extr. from the 
 Encyclopedic d'A rchitecture.) 
 
 " Historical examples of architecture ; 
 details from the ancient building of the 
 Manufactory of Sevres." 
 
 The imposing edifice in which the manu- 
 factory of porcelain had been established 
 during the reign of Louis XV. was, at that 
 moment, under sentence of demolition. To 
 preserve to posterity some recollection of the 
 doomed monument, Cesar Daly caused its most 
 interesting features to be drawn and engraved 
 for one of his publications. The great fountain 
 at the entrance ; the lodge in the park known 
 as "Pavillion de Lully " ; the wrought-iron 
 gates ; the elegant wood carvings of the show 
 rooms are among the subjects he selected for 
 reproduction. 
 
 DAMILAYILLE (Collection). Catalogue 
 des aiiciennes faiences de Rouen 
 et de Sinceny, etc. Paris, 1894. 
 8, pp. 16 : with 3 pis. 
 
 Catalogue of sale. Five specimens of old 
 Rouen faience. Preface by G. Gouellain. 
 92 
 
 DAMOUR (E.). Etudes de ceramique 
 execute'es a la demands des fab- 
 ricants de porcelain de Limoges. 
 Paris, 1897. 4, pp. 47. (Re- 
 print from the Bull, de la Soc. 
 d'Enc.) 
 
 " Studies on ceramics, prosecuted at 
 the request of the porcelain manufac- 
 turers of Limoges." 
 
 DAMOUR (L). Les fouilles de Brou 
 en 1870. Bourg, 1870. 8. 
 
 "Excavations at Brou in 1870." 
 
 Part I., Gallo-Roman potters and their 
 marks. 
 
 DANGIBEAUD (Ch.). Notes sur les 
 potiers, faienciers et verriers de 
 la Saintonge. Saintes, impr. Hus, 
 1884. 8, pp. 75; with 4 etch- 
 ings. 6 fcs. 
 
 "Notes upon the potters, faience manu- 
 facturers, and glass makers of the old 
 province of Saintonge." 
 
 Mr. Dangibeaud denies that any pot works 
 existed at Saintes at the time when Palissy 
 was prosecuting his experiments in the town. 
 This fact has little importance with respect to 
 the connection of the celebrated potter with 
 other members of the trade. La Chapelle- 
 des-Pots and Brisambourg, villages situated 
 at a short distance from Saintes, were both 
 important settlements of pot makers ; their 
 richly ornamented and brightly coloured earth- 
 enware was well known in central France long 
 before Palissy's time. The few particulars 
 gleaned by the writer upon the early days of 
 these two places are quite insufficient. When 
 the question has been thoroughly investigated, 
 it will be seen that they deserved more than 
 a few passing words. A greater importance is 
 attached to the minor faience works established 
 at Saintes and at Angouleme during the last 
 and the present century ; these had already 
 found their historian in Mr. Ris-Paquot. 
 
 DANGIBEAUD (E. L.). Saintes au xvi c 
 siecle. La commune. L'atelier 
 de Palissy, etc. ; avec annotations 
 de M. de la Morinerie. Evreux, 
 Herissey, 1863. 8, pp. 76. 5 fcs. 
 
 "Saintes in the sixteenth century. The 
 Commune. The workshop of Palissy, 
 etc." 
 
 This paper was read before the Archaeologi- 
 cal Society of Saintes in 1843, and later on 
 published by the care of Mr. de la Morinerie. 
 According to some documents preserved in the 
 municipal archives, Palissy's house was situated 
 on the city walls, and the actual old tower, 
 which the potter used as his workshop, could 
 be accurately determined. 
 
DAN] 
 
 CERAMIC LITERATURE. 
 
 [DAR 
 
 - Contribution au Corpus des 
 inscriptions ceramiques sigillees. 
 La Rochelle, 1892-99. (In Comm. 
 des A rts et mon. hist, de la Charente 
 Iirferieure.) T. xi., pp. 28-47 ; 
 with 5 pis. T. xv., pp. 43-56 ; 
 with 4 pis. 
 
 "A contribution to the Corpus of the 
 inscriptions stamped on antique pottery." 
 
 DANIELE (F.)- Alcuni monumenti del 
 Museo Carrafa. Napoli, 1778. 
 4; 18 pis. 
 
 "The antiquities of the Carrafa collec- 
 tion. " 
 
 Painted vases, terra-cottas, etc. 
 
 DANIELLI (J.). Exposition du travail, 
 
 1891. La Ceramique. Rapport 
 du jury de la ix. section. Tours, 
 
 1892. 8. 
 
 "Report on the ceramic art at the 
 Tours Exhibition in 1891." 
 
 - Les figurines de Tanagra et 
 de Myrina. Etude et commen- 
 taires nouveaux sur leur carac- 
 tere, leur objet, leur destination, 
 les causes de leur presence dans 
 les tombeaux, leur fabrication et 
 leur decoration. Paris, Bernard, 
 1904. 8, pp. 50 ; with 60 text 
 illustrs. 2 fcs. 
 
 " The statuettes of Tanagra and My- 
 rina. New considerations upon their 
 character, the object they had to serve, 
 the purpose for which they were destined, 
 the causes of their presence in the tombs, 
 their manufacture and decoration." 
 
 In the author's opinion the statuettes were 
 chiefly portraits of the parents of the deceased. 
 
 DARBLAY (Ayme) La porcelaine de 
 Villeroy. Corbeil, 1897. 8, pp. 
 5 ; with 2 pis. 
 
 " The Villeroy porcelain." 
 
 - Villeroy, son passe, sa fab- 
 rique de porcelaine, son etat 
 actuel. Paris, A. Picard, 1901. 
 4, pp. 98 ; with 48 heliogr. pis. 
 (19 pis. reproduce 39 specimens 
 of Mennecy- Villeroy porcelain) 
 and text illustrs. 50 fcs. 
 
 " Villeroy : its past, its porcelain fac- 
 tory, its present state." 
 
 The ancient demesne of Villeroy is situated 
 in the parish of Mennecy. It is under this 
 latter name that the soft porcelain manufac- 
 tured at the instigation and under the patron- 
 age of the Duke L. Frai^ois de Villeroy is 
 known to the collectors. Little light is thrown 
 by the author of the notice upon the establish- 
 ment of the manufactory, or the exact period 
 to which the various styles of decoration may 
 be attributed. Information on these points is 
 still wanting. We hear that, according to 
 contemporary documents, the factory stood in 
 the very park of Villeroy, not far from the 
 castle, but that another oven may also have 
 existed in the Village of Mennecy. Francois 
 Barbin was acting as director of the works in 
 1737 ; nothing is known about the place where 
 he came from and where he had learned the 
 secrets of the trade. He had two successors, 
 Jacques and Jnllien, who, in 1773, removed 
 the factory to Bourg la Reine. Most of the 
 specimens of the Mennecy porcelain bear the 
 mark D. V. The photogravures which illustrate 
 this part of the handsome and portly volume 
 reproduce water-colours made by Ed. Gamier. 
 
 DARCEL (Alfred). L'exposition d'art 
 et d'archeologie & Rouen. Rouen, 
 Briere, 1861. 8, pp. 46. 3 fcs. 
 
 " Exhibition of art and archaeology at 
 Rouen in 1861." 
 
 On the occasion of a provincial exhibition 
 the industrial arts of the region are exception- 
 ally well represented, the rare and unpublished 
 examples contributed by local collectors are 
 often exhibited there for the first and last 
 time. The Norman amateur yields to no one 
 in the keen appreciation of the Rouen faience. 
 It is still in Rouen that one has to go to see 
 the old productions of the town brought 
 together in matchless collections. The report 
 prepared by Mr. Darcel has preserved to us 
 a part of the advantages that the history of 
 French faience derived from the exhibition 
 of 1861. 
 
 - Musee Imperial du Louvre. 
 Notices des faiences peintes, itali- 
 ennes, hispano - moresques et 
 francaises, et des terres cuites 
 emaillees italiennes. Paris, Ch. 
 de Mourgues, 1864. 8, pp. 408 ; 
 with potters' marks. 5 fcs. 
 
 " Notices of the Italian, Hispano- 
 Moresque, and French painted faiences, 
 and of the enamelled terra-cottas of 
 Italy." 
 
 By the gift of Charles Sauvageot and the 
 purchase of the Campana collection, such a 
 number of remarkable pieces of majolica and 
 other painted faience had been added to the 
 Louvre collection, that a special catalogue had 
 become an absolute necessity. The writing of 
 it was entrusted to A. Darcel, then assistant 
 
 93 
 
BAR] 
 
 CERAMIC LITERATURE. 
 
 [DAR 
 
 curator. No better man could have been 
 selected. Darcel had made a special study of 
 the ceramics of the Renaissance period. To 
 his natural gift for order and classification, he 
 joined a keen perception of all features which 
 may determine the origin, the period, and even 
 the name of the maker of a puzzling specimen. 
 On the other hand, he was always on guard 
 against expressing too hastily an opinion which 
 rested only on speculative grounds. The plan 
 he followed in the preparation of his catalogue 
 presented great difficulty, but it was the best 
 that could be adopted for a methodical descrip- 
 tion of Italian majolica. The productions of the 
 various centres of manufacture were grouped 
 together and arranged in chronological order, 
 each section being headed by a historical notice, 
 which gave also the specification of the main 
 characteristics by which the ware could be re- 
 cognised. When we bear in mind that, with the 
 exception of a few marked pieces, every 
 example of Italian majolica gave rise at that 
 moment to endless discussions as to the factory 
 to which it might belong, we realise what an 
 arduous task the completion of such a catalogue 
 must have been to the writer. 
 
 No fresh catalogue has been issued by the 
 succeeding curators of the Renaissance Depart- 
 ment. The work will have to be done, but, 
 notwithstanding the advance of knowledge, 
 very few of Darcel's attributions will be found 
 to require alteration. 
 
 DARCEL (Alfred). Un Guide de 1'ama- 
 teur de faiences et de porcelaines. 
 Paris, 1864. 8, pp. 15. (Reprint 
 from La Gazette des Beaux Arts.) 
 
 In this slashing review of the second edition 
 of Demmin's Guide de I'amateur, Darcel has 
 made himself the mouthpiece of all the ceramic 
 writers grossly ridiculed and vilified by the 
 author. Without exceeding, for one moment, 
 the limits of well-bred criticism, he presented 
 a selection of the colossal blunders that Demmin 
 has profusely scattered through his so-called 
 Guide Bool: No course of argumentation could 
 have better demonstrated the true worth of 
 the opinions entertained by the propounder of 
 so many extravagant statements. 
 
 Union centrale des Beaux 
 Arts appliques k 1'industrie. 
 Exposition de 1865. Musee 
 retrospeetif. * Paris, J. Lemer, 
 1867. 8, pp. 560. 
 
 " Catalogue of the Retrospective Exhi- 
 bition of 1865." 
 
 The finest exhibition held by the Society of 
 the Union Centrale. Greek terra-cottas and 
 painted vases, pp. 16 to 20; Italian majolica, 
 pp. 234 to 261 ; European pottery and porcelain, 
 pp. 412 to 477 ; Oriental, pp. 530 to 557. The 
 Sevres porcelain included the whole collection 
 of Sir Richard Wallace. 
 
 L'exposition retrospective de 
 
 Rouen. Rouen, 1884. 8, pp. 
 116 ; with text illustrs. 
 94 
 
 Ceramics form the subject of a short chapter 
 in this report. Darcel's erudition embraced 
 all the branches of industrial art. His great 
 works on French architecture and general 
 archaeology testify to the wide extent of his 
 antiquarian knowledge. At the time of his 
 death he was preparing a new catalogue of the 
 Cluny Museum, of which he had been the 
 director for several years. 
 
 - See Delange (C.). Recueil de 
 Faiences italiennes. 
 
 See Basilewsky (La collection). 
 
 See Foretell!. Catalogue de 
 
 faiences italiennes. 
 
 DARCET. Memoire sur Faction d'un 
 feu egal, violent et continue pen- 
 dant plusieurs jours, sur un grand 
 nombre de Terres, de Pierres, et 
 de Chaux metalliques, e"ssayees 
 pour la plus part telles qu'elles 
 sortent du sein de la terre. 
 Paris, Cavelier, 1766. 8, pp. 
 162. A second memoir on the 
 same subject was published in 
 1771. 8, pp. 170. 10 fcs. 
 
 " A memoir upon the effect of a strong 
 and equal fire, kept up during several 
 days, upon a great number of clays, stones, 
 and metallic calxes, mostly experimented 
 upon in their natural state." 
 
 The researches which the chemists, Macquer 
 and Guettard. were then prosecuting in view of 
 discovering the materials constituting the com- 
 position of true porcelain gave great importance 
 to the contents of these memoirs. Darcet, a 
 distinguished physicist, was methodically sub- 
 mitting, to the highest temperature he was 
 able to produce, all available kinds of raw 
 materials which promised to be of some use in 
 the manufacture of pottery, and the other arts 
 of fire. In the same laboratory, placed at their 
 disposal by the Duke of Orleans, Count Brancas- 
 Lauragnais was, at the same moment, con- 
 ducting experiments on the kaolin he had 
 found near Alencon. It may be questioned 
 whether the curious results obtained by Darcet 
 during his protracted trials, and detailed by 
 him in the two memoirs, have been sufficiently 
 examined, and completed by practical ceramists. 
 In all likelihood, much of what has been left 
 in the state of a mere laboratory experiment 
 might lead to some important improvement in 
 manufacture, and put an ingenious potter on 
 the way to the discovery of agents of great 
 value in the production of new bodies, glazes, 
 and colours. 
 
 DARDEM (E, J.). Marques et mono- 
 grammes des faienciers andennais, 
 precede d'un tableau chronolo- 
 
CERA MIC LITER A TURE. 
 
 [DAV 
 
 gique des fabriques de faience 
 d'Andennes, suivi d'une notice 
 sur Jacques liichardot, sculpteur 
 faiencier. Bruocelles, 1902. 8, 
 pp. 35 ; with 4 pis. 
 
 "Marks and monograms of the An- 
 dennes potters ; with a chronologic list 
 of the pottery manufactories of Andennes, 
 and a notice of J. Richardot, modeller in 
 faience." 5 fcs. 
 
 Earthenware in imitation of English pottery 
 has been extensively manufactured at Andennes, 
 in Belgium. 
 
 DARWIN (E.). The Portland Vase. 
 London, 1791. 4; with 4 pis. 
 (Extr. from The Botanic Garden, 
 vol. ii., pp. 53-59.) 
 
 The subjects represented on the vase are 
 described in this essay as being scenes from 
 the Eleusinian Mysteries. 
 
 DAS NEYES (J. A.). Variedades sobre 
 objectes relatives as artes. Lis- 
 boa, 1827. 2 vols. 12. 15 fcs. 
 
 " Notes upon various subjects relating 
 to the Arts." 
 
 Contains a list of the pottery factories in 
 existence at the time, with description of their 
 products. 
 
 - Nog6nes historicas, econo- 
 micas e administrativas a pro- 
 ducao e manufactura das Sedas 
 em Portugal. Lisboa, 1827, 12, 
 8 fcs. 
 
 "Notices, historic, economic, and ad- 
 ministrative, on the silk factories of 
 Portugal." 
 
 Chapt. xvii. Fabrica da louga (manufac- 
 ture of faience). Rato Coimbra Vista 
 Alegre, pp. 239-252. 
 
 DAOBREE (A.)- I- Examen mineralo- 
 gique et chimique des materiaux 
 provenant de quelques forts 
 vitrifies de la France. II. Ex- 
 amen des materiaux provenant 
 des forts vitrifies de Craig- 
 phadrick, pres d'Inverness (Ecos- 
 se) et de Hartmanwillerkopf 
 (Haute- Alsace). (Reprint from 
 the Revue A rcheoloqique, ) Paris 
 1881. 8. 4 fcs. ' 
 
 " Mineralogical and chemical examina- 
 tion of the materials forming the vitrified 
 forts of France, Scotland, and Alsace." 
 
 From the similarity presented by the con- 
 struction of the vitrified forts, the materials 
 employed and the method of burning them in, 
 in the various countries in which they are 
 found, Mr. Daubre'e, General Inspector of 
 Mines, feels inclined to believe that these 
 forts are the work of men belonging to the 
 same race. A thorough examination of these 
 remnants of primitive industry might be used 
 to determine the successive settlements of one 
 particular people, and thereby the history of 
 the migrations of the northern tribes might be 
 greatly benefited. 
 
 DAUDIN. Essai sur les poteries ro- 
 maines decouvertes au Mans en 
 1809. Paris, Lance, 1829. 4. 
 
 " Essay on the Roman pottery dis- 
 covered at Mans in 1809." 
 
 This work was to have been completed in 
 four parts, but the publication was stopped 
 after the first one. It is illustrated with six 
 plates in outline, representing fragments of red 
 pottery embossed with figure subjects. The 
 author claims to have been the first to give 
 adequate reproductions of the reliefs impressed 
 on the so-called Samian ware. He forgets that 
 the work of Grivaud de la Vincelles contained 
 admirable engravings after specimens of the 
 red pottery, very superior in accuracy and 
 finish to his miserable outlines. 
 
 DAVID (F. A.). Antiquites etrusques, 
 grecques et romaines. See 
 Hamilton (Sir W.). 
 
 DAYID (d'Angers). Les medaillons de 
 David d'Angers, reunis et pub- 
 lie's par son fils. Paris, Lahure, 
 1867. 4; with 53 photogr. pis., 
 containing 477 medallions. 100 
 fcs. 
 
 "The portrait medallions of David 
 d'Angers." 
 
 It was the ambition of the great French 
 sculptor, David, to leave to posterity a gallery 
 of terra-cotta medallions which would present, 
 modelled by his masterly hand, the likeness of 
 all the celebrated men and women of his time 
 He travelled much abroad for the purpose of 
 obtaining a sitting or two from the foreign 
 artists, writers, or politicians, the portrait of 
 whom he was anxious to add to his collection. 
 David's medallions are all treated in a broad 
 and sketchy style ; many of them are master- 
 pieces of the art. 
 
 DAYILLIER (Baron J. Ch.). Histoire des 
 faiences hispano - moresques k 
 reflets metalliques. Paris, V. 
 Didron, 1861. 8, pp. 52. 5 fcs. 
 
 95 
 
DAV] 
 
 CERA MIC LITER A TURE. 
 
 [DAY 
 
 "History of Hispano-Moresque faiences 
 with metallic lustre." 
 
 The development of the collecting pursuit, 
 a fascinating occupation which, in the estima- 
 tion of the true lover of the beautiful, should 
 be a definite science as well as a limitless art, 
 owes much to the labours of Charles Davillier. 
 His example and his advice contributed not a 
 little to maintaining the high standard of a 
 newly-born fad which uneducated and incon- 
 sistent amateurs would, in all likelihood, have 
 dragged into vulgarity and ridicule. By nature 
 and education, Davillier was intended to act as 
 a leader to all his brother collectors. In the 
 rage for accumulating the works of extinct 
 handicrafts which had seized, at the time, the 
 blind as well as the clear-sighted, he never 
 yielded to the dictates of transient infatuation. 
 He went forward with his eye always fixed 
 upon the noblest aim ; his steps were certainly 
 guided by the experience gained by his pre- 
 decessors, but the road he shaped for himself 
 had never been tried before, and he proved 
 a safe conductor towards untrodden and en- 
 chanting regions. 
 
 When he began to write on pottery he 
 possessed already a vast erudition, based on 
 general studies and personal experience. Dis- 
 carding the too common practice of remodelling 
 the works of his colleagues, and pointing out 
 the errors into which they had fallen, he waited 
 until the sum of materials he had collected from 
 original sources would allow him to give us a 
 book which would owe nothing to the re- 
 searches of other writers, and which he could 
 call absolutely his own. 
 
 A man of fortune, he had repeatedly visited 
 the museums and collections of Europe, and 
 spent much time in scrutinising the dusty 
 documents in the libraries of ancient cities and 
 forgotten monasteries. He gave most attention 
 to Spain, a country in which he had been one 
 of the first to institute the searches of the 
 "curiosity" collector, and to enjoy the en- 
 trancing revelation of a still half-ignored art. 
 The earliest outcome of his discoveries was a 
 small volume treating of Spanish ceramics. 
 When the book made its appearance, little or 
 nothing was known about the lustred ware, 
 and the few specimens of Hispano-Moresque 
 faience which had found their way into the 
 museums were generally attributed to Italian 
 manufacture. With the exception of the wall- 
 tiles, of undeniable origin, Spain was said never 
 to have produced any faience worthy of interest. 
 It required all the convincing proofs that 
 Davillier was able to produce to convert the 
 incredulous. From that moment, however, the 
 Hispano-Moresque faience was officially recog- 
 nised and promoted to a place of its own in the 
 ceramic galleries. 
 
 DAY1LLIER (Baron J. Ch.). Histoire des 
 faiences et porcelaines de Mous- 
 tiers, Marseilles et autres fab- 
 riques meridionales. Paris, 
 Castel, 1863. 8, pp. 140. 6 fcs. 
 
 "History of the faiences and porcelains 
 of Moustiers, Marseilles, and other fac- 
 tories of the South of France." 
 
 96 
 
 Before the publication of this volume the 
 Moustiers faience was worthily represented in 
 the ceramic collections, but as pieces of un- 
 certain origin. The various marks they bore 
 were so many standing queries. By some con- 
 noisseurs they were attributed to Rouen, by 
 others to Saint Cloud or Marseilles. Brongniart, 
 who so diligently endeavoured to trace the 
 existence of all the ancient factories of France, 
 never heard of this, the biggest centre of manu- 
 facture in the South ; the name of Moustiers 
 does not appear in his book. 
 
 To supply the collector with a label for this 
 highly valued but still undetermined ware was 
 a tempting scheme for Davillier to carry out. 
 An important dish, inscribed G. Viry f. a 
 Moustiers chez Clerissy, put him on the path 
 of discovery. Such an inscription was suffi- 
 ciently clear to induce further inquiry. He 
 repaired to Moustiers, trusting that informa- 
 tion on the ancient industry of the town could 
 be easily obtained on the spot. The glory of 
 the large faience works was still fresh in the 
 memory of the old inhabitants. An investiga- 
 tion of the garrets and cellars, a scrutiny of 
 the family archives, brought to light many 
 marked specimens and instructive documents. 
 It was not long before Davillier had become 
 satisfied that the quest had had a most 
 successful result. The monograph which he 
 wrote at the end of his hurried campaign was 
 as complete as years of researches could have 
 made it. Indeed, the local historians who, 
 later on, treated the same subject, could do 
 little more than follow the main lines of the 
 original work, and endorse the larger part of 
 Davillier's statements. 
 
 The additional particulars he published con- 
 cerning the wares at Marseilles and other 
 Provengal factories, were also obtained from 
 original sources. They have all been turned to 
 good profit by subsequent writers. 
 
 Niculoso Francisco, peintre 
 
 ceramique italien etabli &, Seville. 
 (1503-1508.) Pp. 9; with 3 
 illustrs. (In Gazette des Beaux 
 Arts, 1865.) 
 
 " F. Niculoso, an Italian majolist 
 settled at Seville." 
 
 Several faience factories were established at 
 Seville in the Triana suburb. In one of them 
 F. Niculoso, a native of Pisa, executed some 
 important majolica works for the decoration of 
 the churches and monasteries of the town, some 
 of which are still in existence. The uncommon 
 size of the tile panels, as well as their artistic 
 treatment, which recalls the style of Cafaggiolo, 
 make them interesting monuments of the cer- 
 amic art. 
 
 La Fayence. Poeme de P. 
 
 de Frasnay ; suivi de : " Vasa- 
 faventina carmen (1735)"; avec 
 une introduction sur 1'usage et 
 le prix des faiences aux siecles 
 derniers. Paris, Aubry, 1870. 
 8, pp. 55. 5 fcs. 
 
DAY] 
 
 CERAMIC LITERATURE. 
 
 [DAY 
 
 "Faience: a poem by P. de Frasnay ; 
 to which is added 'Verses on the Faience 
 Vases,' and an introductory essay on the 
 use and price of faiences during the last 
 centuries." 
 
 A devotee of the Muses as this prolific 
 rhymer of the times liked to call himself has 
 celebrated the handicraft of Nevers, his native 
 town, in high sounding verses, no better nor 
 worse than those his contemporaries used to 
 dedicate to the "Game of chess," the "Art of 
 rearing silk worms," or other equally inspiring 
 subjects. The poem appeared in the Mercure 
 de France, and soon afterwards received the 
 honour of a Latin translation. It has, at least, 
 the merit of being short, for it occupies only 
 four pages. 
 
 The prefactory notice supplied by Davillier 
 enlightens us as to the exact degree of estima- 
 tion in which painted faience was held by the 
 higher classes of society, at the very moment 
 when manufacture was at its best. It has been 
 said that our modern fancy for ornamental 
 pottery was but a return to the similar taste 
 which prevailed in the first half of the eighteenth 
 century, when French faience had secured a 
 permanent right of abode in the castles and 
 mansions of the great. In the year 1702 the 
 country, ruined by famine, inundations, and 
 the cost of protracted war, was on the verge of 
 bankruptcy. King Louis XIV. decided that 
 the gold and silver plate of the Crown should 
 be sent to the mint to be converted into coins, 
 and his meals be served on faience. All 
 courtiers hastened to follow his example, and 
 on their table brightly coloured ware replaced 
 the vessels of precious material. It should be 
 added that this adoption of simplicity and re- 
 trenchment was but the fad of the moment. 
 As a matter of fact, the mighty noblemen had 
 a very moderate appreciation of the decorative 
 effect of the Rouen and Nevers services, which 
 never lost, in their eye, the vulgarity attached 
 to anything made of common clay. Painted 
 services were discarded as soon as the fashion 
 was over. Davillier gives quotations from the 
 contemporary catalogues of auction sales, in 
 which we see the finest pieces of armorial 
 faience being sold at very low prices, while all 
 specimens of Oriental porcelain continued to 
 reach a very high figure. 
 
 - Une vente d'actrice sous Louis 
 XVI. Mile. Laguerre, de 1'Opera ; 
 son inventaire. Meubles pre- 
 cieux, porcelaines de Sevres, etc. 
 Paris, Aubry, 1870. 8, pp. 51 ; 
 portrait. 5 fcs. 
 
 "An actress's auction sale under Louis 
 XIV. Mile. Laguerre, of the Opera. 
 Precious cabinets, Sevres porcelain, etc." 
 
 Fond as they were of living surrounded with 
 costly furniture and works of art of all kinds, 
 the stars of the ballet and of the opera some- 
 times had an auction sale of their miscellaneous 
 collections in order to realise, in hard cash, the 
 value of the princely presents they had received 
 from their wealthy admirers. This catalogue 
 contains interesting particulars of the prices 
 
 7 
 
 that the Sevres porcelain fetched at these 
 fashionable auctions. 
 
 - Les porcelaines de Sevres de 
 Madame du Barry, d'apres les 
 memoires de la manufacture 
 royale. Notes et documents in- 
 edits sur le prix des pprcelaines 
 de Sevres au xviii 6 siecle. Paris, 
 Aubry, 1870. 8, pp. 75. 5 fcs. 
 
 " The Sevres porcelains of Madame du 
 Barry, from the account-books of the 
 royal manufactory. Notes and docu- 
 ments on the price of the Sevres porcelain 
 in the eighteenth century, published for 
 the first time." 
 
 In Madame Du Barry the factory of Sevres 
 had found a devoted friend and supporter. By 
 herself buying extensively the royal porcelain, 
 and praising its beauty to all comers, the 
 Countess was most effectually fostering the 
 wishes of the king, who wanted his factory 
 to rank first among all similar establishments 
 in Europe. Her private account with the 
 works, between the years 1771 and 1774, fills 
 27 pages. Copious extracts from the ancient 
 registers supply us with the prices charged 
 for objects of all descriptions, from the egg- 
 cup to the richest vase. The value of the 
 "porcelain tendre," in the best days of its 
 manufacture, is not generally known. We 
 wonder at the high figure choice specimens 
 command at Christie's or at the " Hotel 
 Drouot"; many may be equally surprised to 
 learn what its original cost was, and that a 
 painted dinner service, for instance, was 
 charged in the books from 30,000 to 40,000 
 livres. The bill of the service ordered by the 
 Empress Catherine II. amounted to 328,188 
 livres. This lessens the apparent folly of the 
 modern collector, if we consider that the in- 
 trinsic value of this incomparable porcelain 
 rises owing to its increasing rarity. 
 
 - Le cabinet du Due d'Aumont 
 et les Amateurs de son temps. 
 Catalogue de sa vente, avec les 
 prix, les noms des acque"reurs, etc. 
 Paris, 1870. 8; with 32 pis. after 
 Gouthiere (bronzes). Porcelain: 
 pp. 32-128. 20 fcs. 
 
 "The Due d'Aumont collection, and 
 the amateurs of his time. Catalogue of 
 sale, with prices and purchasers' names." 
 
 The enlightened taste of the aristocratic art 
 amateurs of the last century, their passionate 
 love for a thing of beauty, and their unbounded 
 liberality, are faithfully mirrored in the cata- 
 logues of their collections and of the sales 
 which took place at that period. Davillier 
 felt more than an ordinary interest in all 
 that pertains to the memory of a noble race 
 of ideal collectors, of whom he strove to show 
 himself a worthy descendant. The reprints 
 
 97 
 
DAV] 
 
 CERAMIC LITERATURE. 
 
 [DAV 
 
 he gave of a selection of ancient catalogues, 
 accompanied as they were with introductory 
 notices from his pen, form a series of valuable 
 documents towards the history of collecting in 
 bygone days. 
 
 DAYILLIER (Baron I Ch.)- Atelier de 
 Fortuny. Objets d'art et de 
 curiosite ; faiences hispano- 
 moresques, etc. Vente a Paris, 
 Avril, 1875. 8, pp. 146; with 3 
 pis. and pen and ink sketches by 
 Fortuny. 10 fcs. 
 
 While residing in Spain the celebrated 
 painter had gathered together a remarkable 
 collection of Hispano-Moresque faiences, which 
 included a large vase of the same size and 
 shape as the famous Alhambra vase, and 
 lustred dishes of the greatest rarity. Davil- 
 lier, his intimate friend, has written for this 
 catalogue an introductory chapter on Spanish 
 ceramics, and the description of the specimens, 
 thirty-two in number. 
 
 La vente du mobilier du 
 
 Chateau de Versailles pendant 
 la Terreur (Documents inedits). 
 Paris, Aubry, 3878. 8, pp. 30. 
 3 fcs. 
 
 "The sale of the furniture of the 
 Versailles Palace during the Reign of 
 Terror." 
 
 A translation from an article published at the 
 time in a Dutch periodical. Several pieces of 
 Sevres porcelain figured in the list of articles 
 to be sold. The auction sale at the palace was 
 continued, off and on, for more than one year. 
 The prices of the most important articles are 
 given in this pamphlet. 
 
 Les arts decoratifs en Espagne 
 
 au moyen-age et a la Renais- 
 sance. Paris, Quantin, 1879. 
 8, pp. 86 ; with text illustrs. 
 10 fcs. 
 
 " Decorative arts in Spain during the 
 middle ages and the Renaissance." 
 
 An account of the works of art contributed 
 by the Spanish Government to the exhibition 
 at the Trocadero Palace in 1878. Ceramics 
 were represented by a few specimens. 
 
 Les origines de la porcelain 
 en Europe ; les fabriques itali- 
 ennes du xv e au xvi e siecle, 
 avec une etude speciale sur les 
 porcelaines des Medicis d'apres 
 des documents inedits. Paris, 
 Rouam, 1882. 4, pp. 140 ; with 
 41 illustrs. 15 fcs. 
 98 
 
 " The origin of European porcelain ; 
 the Italian factories from the fifteenth to 
 the sixteenth century; with a special 
 essay on the Medicean porcelain, based 
 on unpublished documents." 
 
 In the year 1857 the first known examples 
 of a translucid ware, of a truly Renaissance 
 character as regards shape and decoration, 
 and which bore marks not recorded before 
 that year, fell into the hands of a Florentine 
 curiosity dealer of great experience. He circu- 
 lated far and wide the news of his discovery of 
 a genuine Italian porcelain of an undetermined 
 date, but which could, in all probability, be 
 ascribed to the sixteenth century. Such a 
 statement was well calculated to excite the 
 interest of the connoiseurs. It was known, how- 
 ever, that some kind of porcelain had been 
 made at Florence, about 1580, by the Grand 
 Duke Francesco. The presence of marks in- 
 dicating the arms of the Medicis, the letter F, 
 and the outline of the dome of Florence, ren- 
 dered the attribution of the newly discovered 
 specimens unquestionable. The investigation 
 of the ancient chronicles that was instituted 
 on that occasion disclosed the unsuspected fact 
 that translucid ware had been made, in other 
 Italian towns, long before it was produced 
 at Florence. Davillier was one of those who 
 devoted much attention to the study of the 
 question. For more than twenty years he 
 gathered materials and information towards 
 the completion of a book in which the genesis 
 of European porcelain was to be disclosed for 
 the first time. 
 
 An account of the priceless specimens of 
 Oriental origin preserved, in mediaeval times, 
 in the treasuries of kings and princes, with 
 extracts of the ancient inventories in which 
 they are mentioned, form a befitting intro- 
 duction to the subject. To imitate the marvels 
 of the East, and discover the mysterious sub- 
 stance with which they were made had, doubt- 
 less, been the ambition of many a man addicted 
 to the practice of the chemistry of the times, 
 and was the cause of long and strenuous experi- 
 ments. We have now good reason to believe 
 that these efforts were not altogether unsuc- 
 cessful. Maestro A ntonio, a Venetian alchemist, 
 claimed to have discovered the secret of porce- 
 lain making as early as 1470. A private letter, 
 bearing that date, and preserved in the archives 
 of Venice, testifies to the fact. The writer in- 
 troduces the Master to a friend as the maker 
 of dishes and bowls of translucid earth, which 
 would bear comparison with the finest Oriental 
 porcelain. In order that his friend may judge 
 of the beauty of these wonderful productions, 
 he adds that he is sending him a few speci- 
 mens of the ware. Unfortunately, no traces 
 are left of the work of Master Antonio; the 
 secret died with him. The same may be said 
 of the porcelain mentioned in old documents 
 as having been produced by the potter Camillo 
 da Urbino, at first for the Duke of Ferrara, 
 and fifty years later in the town of Pisa. 
 
 The Medicean porcelain dates, as we have 
 seen, from 1580. Vasari, Aldovrandi, and 
 other Italian historians have related the diffi- 
 culties that the Grand Duke Francesco had en- 
 countered in his experiments, and the enormous 
 sum of money that had to be sacrificed before 
 a satisfactory result could be obtained. All 
 
DAY] 
 
 CERAMIC LITERATURE. 
 
 these writers are most precise as to the actual 
 part taken in the management of the works by 
 the Duke himself. They report that he was 
 wont to fashion with his own hands the vases 
 he presented to the reigning princes of Italy. 
 The very MSS. which contained the recipe for 
 the composition of the bodies and glazes were 
 discovered at Florence, not long after the identi- 
 fication of the specimens. Any practical potter 
 may see, at a glance, that by employing the 
 mixtures specified in the MS. a porcelain 
 exactly similar to that of the Grand Duke 
 Francis may be manufactured. 
 
 A descriptive catalogue of all the specimens 
 in the public museums and private collections 
 brings to an end a historical sketch that left 
 nothing to be desired on the score of novelty 
 and reliability. 
 
 DAYILLIER (Le Baron Charles). See 
 Champfleury. 
 
 DAYILLIER (Collection Ch.). See Coura- 
 jod. 
 
 DAVIS (Ch. T.). A practical treatise 
 on the manufacture of bricks, 
 tiles, terra-cottas, etc. Phila- 
 delphia, Baird, 1884. 8, pp. 
 472 ; with 6 pis. and 228 illustrs. 
 1, 5s. 
 
 " The manufacture of bricks, tiles, and terra- 
 cottas," the preface tells us, "has never hereto- 
 fore been practically treated in any work. " One 
 might infer from this opening statement that 
 the writer produced this volume in complete 
 ignorance that many other treatises had pre- 
 viously been contributed on the subject. But 
 as we glance through the pages we are con- 
 fronted by many passages borrowed word for 
 word from well-known sources, and which 
 unacknowledged though they be testify none 
 the less to the author's perfect acquaintance 
 with the standard books on brick and tile 
 published on the Continent. This ponderous 
 compilation will, in no ways, supersede the 
 works on which it is based. 
 
 DAYOUST (E.). La collection Des- 
 noyer au Musee d'Orleans, avec 
 une eauforte de 1'auteur. Orleans, 
 Herluison, 1879. 8, pp. 50; 
 with 1 etching. 
 
 "The Desnoyer collection in the his- 
 torical Museum of Orleans." 
 
 This collection contains interesting speci- 
 mens of the faience, soft and hard porcelain, 
 and biscuit figures, from the various factories 
 once at work at Orleans. 
 
 DAWSON (J.).-The Wedgwood Memo- 
 rial Institute, Burslem. Burslem, 
 1894. Printed by the author. 
 Sq. 16, pp. 38 ; with portraits 
 
 and 3 pis. of Wedgwood ware. 
 
 2s. 6d. 
 
 A small edition of this handbook was pub- 
 lished on the occasion of the inauguration of the 
 new building erected by public subscription 
 and private donations, as an addition to the 
 Wedgwood Institute. It contains a description 
 of the collection of old English pottery and 
 Wedgwood ware presented to the museum by 
 Mr. Thomas Hulme. 
 
 DAY (L. F.). The application of orna- 
 ment. London, Batsford, 1894 
 (3rd ed.). 8, pp. 76 ; with 55 
 illustrs. 3s. 6d. 
 
 In Chapter III. the principles of decoration 
 applied to pottery are presented with the 
 soundness of views and the authority of a true 
 decorative artist, whose esteemed works, both 
 literary and artistic, qualify him to rank as a 
 master in theory as well as in practice. 
 
 DEANE (Ethel). Byways of Collecting. 
 London, Cassell & Co., 1908. 8, 
 pp.192; with 73 half-tone illustrs. 
 Old china, pp. 12-69. 
 
 DEARN (J. D. .) The bricklayer's 
 guide, . . . etc. London, 1809, 
 
 DEBRUN. Discours sur les proprietes 
 et sur Futilite de Targile. Pro- 
 nonce dans la seance publique du 
 l er Brumaire, an ix., pour la 
 rentree de 1'Ecole centrale du 
 Departement de 1'Oise. Beau- 
 mis, 1800. 4, pp. 18. 
 
 "Lecture on the nature and the uses 
 of potter's clay, etc." 
 
 The professor enumerates the various kinds 
 of plastic clays, and describes the use which 
 is made of them in industry and art. 
 
 DECHELETTE (J.). Les vases peints 
 gallo - remains du musee de 
 Roanne. Paris, Leroux, 1895. 
 8, pp. 19; with 1 col. pi. (Ke- 
 print from Revue Archeologique.} 
 
 "The Gallo-Roman painted vases in 
 the Roanne Museum." 
 
 Specimens of Roman pottery decorated in 
 the geometric style, with paintings upon white 
 engobbe, are of rare occurrence in France. 
 Sixteen vases and numerous fragments have 
 been discovered at Roanne. The style is said 
 to show an oriental influence, a point con- 
 tested by the writer. 
 
 99 
 
Dlfo] 
 
 CERAMIC LITERATURE. 
 
 [DEC 
 
 DECHELETTE (J.). Le belier consacre 
 aux divinites domestiques sur 
 les chenets gaulois. Paris, 1898. 
 8, pp. 38 ; with 31 illustrs. 
 
 " The ram consecrated to the domestic 
 deities upon the Gaulish fire-dogs." (G.- 
 R. terra-cotta.) 
 
 - L'Officine de Saint Remy 
 (Allier) et les origines de la 
 poterie sigillee gallo - romaine. 
 Paris, 1901. 8, pp. 35 ; with 37 
 illustrs. (Reprint from the Revue 
 Arch.} 
 
 " The workshop of Saint Remy, and 
 the origins of the Gallo-Roman sigillated 
 pottery." 
 
 Les vases ceramiques ornes 
 
 de la G-aule Komaine (Narbon- 
 naise, Aquitaine, et Lyonnaise). 
 Paris, Picard, 1904. 4 s . Vol. I., 
 pp. 305; with 15 pis. and 152 
 illustrs. Vol. II., pp. 380 ; with 
 15 pis. and num. illustrs. 
 
 "The ceramic vases, with ornaments, 
 of Roman Gaul." 
 
 A colossal repertory of names and marks of 
 Gallo-Roman potters, with illustrations of their 
 work. 
 
 DECK (Th.). La faience. Paris, 
 Quantin, 1887. 8, pp. 300; with 
 112 illustrs., and potters' marks. 
 4 fcs. 
 
 A concise history of the manufacture of 
 " Faience," or, as the author explicitly de- 
 scribes it, ' ' Earthenware covered with a 
 coating of transparent glaze or opaque enamel," 
 is prefixed to this volume. In ordinary cases 
 the recapitulation of well-known historical 
 facts seldom claims particular notice. Here 
 the personal remarks passed on certain points 
 of the ceramic history by such a commanding 
 authority are entitled to our consideration. 
 His candid opinion although expressed in very 
 guarded terms, as though in fear of giving 
 offence to any one who may happen to entertain 
 different views often betrays, none the less, 
 the sound and impartial judgment of a superior 
 man, by no means inclined to be influenced by 
 the passing fads of any group of light-headed 
 amateurs. 
 
 The second part, unfortunately very com- 
 pressed, constitutes the truly important portion 
 of the work. However unpretentious in its 
 form, a technical treatise of such a serious 
 import is not to be dismissed after a few words 
 of common - place encomium have been be- 
 stowed upon it. We must recollect that there 
 
 100 
 
 are few books to which what may be said of 
 the present one could be fittingly applied. 
 Written by the most accomplished ceramist of 
 his day, it embodies the very essence of a 
 knowledge paid for by the trying labours of 
 a whole life, while the teaching we may expect 
 to receive from it is imparted with absolute 
 completeness and unrestrained veracity. 
 
 Its avowed purpose is to address itself to the 
 men of the world ; it does not claim to be a 
 scientific treatise. Nevertheless, all experienced 
 potters will at once recognise, under its appa- 
 rent simplicity, the pre-eminent value of the 
 work as a trusty guide for all those who have 
 to struggle against the technical intricacies of 
 the potter's art. If general principles and 
 practical instructions are laid down with strict 
 terseness, and if they may appear at first to be 
 wanting in completeness, let not the perplexed 
 beginner be discouraged in his efforts to grasp 
 the meaning of the master. Sedulous atten- 
 tion, and perseverance in its experimental 
 application, will soon render an abstract 
 principle clear and intelligible to the student. 
 The pursuit of ceramic art will always be 
 fraught with trying difficulties. A good book 
 may supply the means of fighting against the 
 obstacles constantly rising to impede our course, 
 but it rests with us to win the battle by the 
 display of an unremitting energy, and the help 
 of our personal experience. 
 
 Always immersed in the practice of his art, 
 Deck left to others the care of descanting upon 
 the constant improvement of his own ceramic 
 productions. Unwilling to speak about himself, 
 his name had never appeared affixed to any 
 printed article, pamphlet, or book, when, at 
 the pressing solicitation of his friends, he con- 
 sented to break his modest silence and to 
 publish this small volume. Although he had 
 attained to a very high position in the artistic 
 world, to be considered as a master potter had, 
 in his estimation, a higher value than the 
 mention of all his titles and distinctions ; and 
 this is no doubt the reason why, neglecting to 
 record on the title page of his book that he 
 was an officer of the Legion of Honour, director 
 of the National Manufactory of Sevres, etc., 
 he describes himself merely as Theodore Deck, 
 ceramiste. 
 
 DECOMBE(L). Les anciennes faiences 
 rennaises. Rennes, Cailliere, 
 1900. 8, pp. 234; with 15 fac- 
 simile of marks and 12 half-tone 
 pis. 10 fcs. 
 
 "The old faiences of Rennes." 
 
 An important collection of faiences of local 
 origin is preserved in the Rennes Museum, of 
 which Mr. Decombe is the learned curator ; 
 the History is adequately illustrated by these 
 specimens. The manufacture seems to have, 
 at first, remained in the hands of Italian 
 potters. Mortuary tablets, composed of white 
 tiles inscribed and painted in blue and mangan- 
 ese, the earliest of which bears the date 1653, 
 and a figure of the Holy Virgin, dated 1659, 
 represents that period. In 1749 two factories 
 were established in the town, both subsidised 
 by state grants and private contributions. 
 During a few years the making of faience, 
 
DEC] 
 
 CERA MIC LIT ERA TUBE. 
 
 [DEL 
 
 chiefly in imitation of the Nevers and Rouen 
 style, was carried on in the above-named and in 
 a few minor pot-works under ttnremunerative 
 conditions and distressing circumstances. 
 Finally, in 1786, the year of the treaty of 
 commerce with England, the industry was 
 altogether ruined through, it is said, the 
 introduction in France of the foreign products. 
 In support of this statement, extracts from the 
 contemporary newspapers, in which the trades- 
 men of Rennes advertised their extensive 
 importation of English pottery and porcelain, 
 are given by the author. He has been able to 
 gather many particulars respecting the local 
 potters and painters ; they are all duly recorded 
 and accompanied with facsimiles of marks and 
 signatures. 
 
 DE COOL (Mme. Delphine). Traite de 
 
 peinture sur porcelaine dure et 
 tendre, email, faience cuite et 
 crue, et sur lave. Paris (1875 ?). 
 8, pp. 29. 
 
 " Treatise of painting upon porcelain, 
 hard and soft pastes, enamel, over and 
 underglaze, faience, and upon lava." 
 
 Madame de Cool, a clever porcelain painter, 
 directed a studio of young ladies, for the 
 benefit of whom this handiwork was intended. 
 See also Arnould (Mme. A.). 
 
 DECORDE (L'Abbe J. E.). Pavage des 
 eglises dans le pays de Bray. 
 Paris, Pringuet, 1857. 8, pp. 
 14; with 2 pis. (Eeprint from 
 La Revue de I' Art Chretien.) 
 
 " Church pavements in the district of 
 Bray." 
 
 Description of the inlaid and engraved tiles 
 of mediaeval times, preserved in the Neuchatel 
 Museum ; contains some interesting documents 
 referring to the industry of tile making in 
 Normandy. 
 
 DEGEN (Louis). Les constructions en 
 briques, avec un volume de 
 supplement. Combinaisons et 
 etudes variees sur 1'emploi de la 
 brique, au point de vue decoratif. 
 Paris, Morel, 1859. 2 vols. 4; 
 with 84 col. pis. 80 fcs. 
 
 " Brick building. Sketches and infor- 
 mation upon the use of bricks, considered 
 from the decorative point of view." 
 
 DEININGER (C. F.). Sammlung von 
 Porzellan Malerein. Leipzig, 
 1892. 4; 32 pis. in col. 12 m. 
 
 " Selection of porcelain paintings." 
 
 Materials for the porcelain painter taken 
 from old German porcelain. 
 
 DEICHMULLER (J. Y.). Das Graberfeld 
 aus dem Knochenberge bei 
 Niederrodern, Saxen. Cassel, 
 Fischer, 1897. 4, pp. 16 ; with 
 7 lith. pis. of Franckish cinerary 
 urns. 
 
 " The grave - field in the Knochen 
 Mountains, near Niederrodern, Saxony." 
 
 DE JOHANNIS (A. J.). Intraprenditori, 
 capitalisti, e lavoratori. Con- 
 siderazioni sulla manifattura di 
 Doccia. Firenze, 1893. (In 
 Rassegna di Scienze Sociali e 
 Politiche. Anno x., fasc. 289.) 
 
 " Manufacturers, capitalists, and work- 
 men ; considerations on the Doccia manu- 
 factory." 
 
 DE LA BECHE (Sir Henry) and TRENHAM 
 REEKS. Catalogue of specimens 
 in the Museum of Practical 
 Geology, illustrative of the com- 
 position and manufacture of 
 British pottery and porcelain, 
 from the occupation of Britain 
 by the Romans to the present 
 time. London, G. Eyre, 1855. 8, 
 pp. xxiii-179 ; vigns. 5s. 
 
 - 2nd Ed. London, 1871. 8, 
 pp. xvi-269. Prepared with the 
 assistance of M. F. W. Eudler, 
 and augmented with a catalogue 
 of specimens illustrating the 
 Clays and Plastic Strata of Great 
 Britain, collected and described 
 by George Maw, F.G.S. 
 
 - 3rd Ed. London, 1876. 8, 
 pp. xvi-336; with 157 vigns.; also 
 prepared by Trenham Reeks, 
 curator, and F. W. Rudler, 
 assistant curator. 
 
 In preparing the catalogue of the ceramic 
 collections, then in course of formation at the 
 Museum of Practical Geology, the curators had 
 to adopt an altogether new plan. So far 
 English ceramics had not yet been systematic- 
 ally classified. The whole subject was not, 
 however, of such a wide range that it could 
 not be fully developed within the scope of a 
 popular handbook. The pottery and porcelain 
 of other nations having been summarily dealt 
 
 101 
 
DEL] 
 
 CERA MIC LIT ERA TURE. 
 
 [DEL 
 
 with in the preliminary chapters, the exclusive 
 attention of the writers was bestowed upon the 
 factories of Great Britain and their produc- 
 tions. Accordingly, every group of English 
 pottery received a separate treatment, each 
 section being prefaced with a well digested 
 historical notice. The important manufactory 
 and the modest pot- works, the vase of costly 
 china and the rough porringer of Staffordshire, 
 had their history told with the same exactness 
 and reliability. All that was said was meant 
 to captivate the interest of the student without 
 overtaxing his memory with superfluous details. 
 Anyone who has read the catalogue of the 
 Jermyn Street Museum with a purpose, will 
 acknowledge that he has thereby learned much, 
 and yet with little trouble. This small hand- 
 book has done more to spread the taste for 
 English ceramics than many volumes of more 
 ambitious pretensions. 
 
 DELAFON (M.). Notice sur la cera- 
 inique et Fhygiene. Paris, 1898. 
 8, pp. 15. 
 
 "Notice of ceramic art and hygiene." 
 A pamphlet in distribution at the manu- 
 factory of sanitary ware of Jacob & Co., at 
 Pouilly sur Saone. It contains the usual 
 epitome of ceramic history, with a few remarks 
 upon the necessity of substituting porcelain in 
 place of earthenware for all vessels of house- 
 hold use. 
 
 DELAGRAYE. (Euvres choisies de 
 Bernard Palissy, etc. Paris, 
 Delagrave, 1890. 12. 
 
 "Selections from Palissy 's works." 
 The preface is signed E. M. 
 
 DELAMAIN (Ph.). Le cimetiere d'Her- 
 pes (Fouilles et collection Ph. 
 D.). Angouleme, Cocquemard, 
 1892. 4, pp. 44; with 26 col. 
 pis. 15 fcs. 
 
 " The Herpes Cemetery. Excavations 
 and collection of Ph. Delamain." 
 
 Pottery and glass vessels are reproduced on 
 9 plates. The funereal vases are of the or- 
 dinary Merovingian types, made of grey clay, 
 blackened on the surface, and decorated with 
 bands of geometrical ornaments obtained by 
 the impression of a revolving tool. 
 
 DELAMARDELLE (Mme. la Baronne) et GOUPIL 
 (F-). Leons pratiques de pein- 
 ture vitrifiable, sur porcelaine 
 dure, pate tendre, faience, email 
 Paris, Kenauld, 1877. 8, pp 
 47. 2 fcs. 
 
 An English translation has 
 
 been published by Lechertier 
 
 102 
 
 Barbe, with additions by Aural. 
 London, 1877. 
 
 " Practical instructions for painting 
 on hard porcelain, soft china, faience, 
 enamel, etc." 
 
 The tuition of a professor of china painting 
 to her pupils, with advertisements and cata- 
 logues -of Lacroix vitrifiable colours and paint- 
 ing requisites. 
 
 DELAMOTTE (Ph. H.) and WHEATLEY (H. B.)- 
 - Art work in Earthenware. 
 Art work in Porcelain. London, 
 Sampson Low, 1882. 8, two 
 handbooks (together), pp. 146; 
 with 2 col. pis. and 129 woodcuts. 
 5s. 
 
 The illustrations are all borrowed from the 
 standard publications ; the letterpress makes 
 no claim to novelty. A second edition, under 
 the title of A Handbook of Art Indiistries in 
 Pottery and the Precious Metals, appeared in 
 1886. The name of H. Wheatley has alone 
 been retained as that of the author. 
 
 DELANGE (Carle). Recueil des faiences 
 italiennes des xv e , xvi e , et xvii c 
 siecles. Text explicatif by A. 
 Darcel et H. Delange. Paris, 
 1869. Fol.; with 100 col. pis. 
 300 copies printed. 12. 
 
 " A selection of Italian majolica pieces 
 from the fifteenth, sixteenth, and seven- 
 teenth centuries." 
 
 A. Darcel, then the best authority on the 
 matter, has supplied the larger portion of the 
 explanatory text. 
 
 DELANGE (Carle et Henri). Recueil de 
 
 toutes les pieces connues jusqu'a 
 ce jour, de la faience fra^aise, 
 dite de Henri II. et de Diane 
 de Poitiers. Precede du releve 
 des diverses opinions emises a 
 cette epoque par les principaux 
 ecrivains. Paris, Delange, 1861. 
 Fol., pp. 34 ; with 50 lith. pis. in 
 colour (a few copies have 51 pis.). 
 150 copies printed. 15. 
 
 " Collection of all the examples of the 
 so - called ' Henry II. and Diana of 
 Poitiers ' faience known at the present 
 day. With a review of the various 
 opinions entertained on the subject by 
 the most eminent writers." 
 
DEL] 
 
 CERA MIC LITER A TURE. 
 
 [DEL 
 
 The noble folios published by Delange will 
 always have their place on the shelf of honour 
 of the library. They were brought out at a 
 moment which can be well termed the golden 
 age of ceramic writings. Admirable collections 
 were being formed all over Europe, and in them 
 the historian found a ready-made selection of 
 master-pieces, a wonderful store of material 
 conveniently placed at his disposal. Mono- 
 graphs of the most important centres of ceramic 
 production could be prepared, in which most 
 interesting matter would appear in print for 
 the first time, and which could be illustrated 
 with reproductions of examples of the highest 
 order, mostly unknown to those who took the 
 greatest interest in the subject. Owing to the 
 personal researches of the special collectors, 
 the compiler could elucidate the specimens he 
 had chosen to reproduce with historical evi- 
 dences concerning their place and date of 
 manufacture, often with the very name of 
 their maker. Such works were anxiously 
 expected, and enthusiastically received on their 
 publication. Delange, an esteemed expert in 
 works of art, had the run of all the best collec- 
 tions, and he had made a deep study of the 
 chief museums of fhirope. He took advantage 
 of the exceptional conditions in which he 
 was placed, and undertook to prepare works, 
 descriptive of the finest productions of the 
 potter's art of the Renaissance period. He 
 showed himself equal to the task set before 
 him. The copies he made from the originals 
 are always accurate, and of sufficient size to 
 show plainly all details. In the face of the 
 stiff and cold chromolithographs, and of the 
 more uninspiring phototypes, now so extensively 
 used for book illustration, it is a real pleasure 
 to turn over the leaves of a volume in which 
 the plates, broadly but neatly, drawn on stone, 
 have the charms of an artistic sketch, and are, 
 moreover, coloured in a way which gives to 
 them something of the freedom of hand-work. 
 Although the descriptive text has become 
 antiquated in some cases, we notice that 
 Delange had entrusted the preparation of the 
 text which accompany the plates to the pen 
 of the most expert connoisseurs of his time, 
 and that they were, generally, the best notices 
 that had yet been written on the subject. 
 
 - Recueil des principales pieces 
 connues de la faience frai^aise 
 dite de Henri II. et Diane de 
 Poitiers. 52 planches dessinees 
 par Carle Delange. Nouvelle 
 edition. Paris, Rouviere, s.d. 
 4. PubL, 2. 
 
 A reproduction by photographic process, and 
 in reduced size, of the plates of the original 
 edition. 
 
 DELANGE (Carle) et BORNEMAN (C.). 
 Monographic de 1'ceuvre de Ber- 
 nard Palissy ; suivie d'un choix 
 de pieces de ses continuateurs et 
 imitateurs. Texte par MM. de 
 
 Sauzay et H. Delange. Paris, 
 Delange, 1862. Fol.; with 100 
 lithogr. pis. in colours. 300 copies 
 printed. 12. 
 
 ' 'A monograph of the works of Bernard 
 Palissy ; to which is added a selection of 
 pieces by his successors and imitators. 
 With descriptive notices by Messrs. De 
 Sauzay and H. Delange." 
 
 M. De Sauzay, who wrote for this book a 
 short notice on B. Palissy and his works, was 
 curator of the Louvre Museum. 
 
 DELANGE (Henri). Notice sur Girol- 
 amo della Robbia, auteur pre- 
 sume des poteries dites de Henri 
 II., et sur sa famille. Paris, 
 Mauld, 1847. 8, pp. 15. 
 
 "Biographical notice of G. della Robbia, 
 presumed maker of the so-called Henri 
 II. faience, and of his family." 
 
 - Catalogue d'une belle collec- 
 tion d'objets d'art et d'antiquites 
 tels que Terres-cuites et verres 
 antiques, Vases grecs en terre 
 peint dits Etrusques. Paris t 
 1857. 8. Catalogue of sale. 
 
 DE LA RUE (Collection). Catalogue of 
 the collection of old Wedgwood 
 ware. . . . Sold at Christie's, 
 Nov. 12th, 1866. 8, pp. 72; 
 with illustrs. borrowed from the 
 Art Journal and the Life of J. 
 Wedgwood. 
 
 One of the earliest and best collections of 
 Wedgwood wares ; it contained 270 numbers. 
 
 DELATTRE (Le R. F.). Lampes chreti- 
 ennes de Carthage. Lyon, 1880. 
 8, pp. 64; with 53 illustrs. 5 fcs. 
 
 "The Christian lamps of Carthage." 
 
 Lamps and plain vessels of common red clay, 
 seem to have been the only production of the 
 potter, in mighty Carthage, the capital of 
 civilised Africa, and once the rival of Rome. 
 From an early date the town had become one 
 of the strongholds of Christianity. In the time 
 of St. Augustine the pagan temples had been 
 transformed into churches, and no fewer than 
 twenty-two basilicas could be counted within 
 its walls. Objects of all kind, bearing Christian 
 symbols, are discovered in the excavations. 
 Among them terra-cotta lamps of rude work- 
 manship are conspicuous by their number. P. 
 Delattre, French missionary at Algiers, and a 
 
 103 
 
DEL] 
 
 CERAMIC LITERATURE. 
 
 [DEM 
 
 learned archaeologist, has collected and de- 
 scribed all the subjects of a religious character 
 which appear on these lamps. 
 
 DELATTRE (Le R. F.). Les lampes du 
 musee de St, Louis de Carthage, 
 1889. 4, pp. 15; with 17 illustrs. 
 
 "Other Christian lamps in the St. 
 Louis Museum at Carthage." 
 
 - Marques ceramiques grecques 
 et romaines trouvees a Carthage 
 durant Faimee 1901. Paris, 1902. 
 8, pp. 28. (Reprint from the 
 Revue Archeologique.) 
 
 " Greek and Roman potters' marks 
 found at Carthage." 
 
 DELECLUSE (E. J.). Bernard Palissy. 
 Paris, 1838. 8, pp. 32. (Re- 
 print from La Revue Francaise.) 
 
 Audiat commends this notice as being one of 
 the best ever written on Palissy and his works. 
 
 DE LENNICK (Deman). Collection de 
 porcelaines anciennes de Chine, 
 du Japon, de Sevres, de Saxe, 
 etc., et de quelques faiences 
 rares et vases Etrusques. Brux- 
 elles, 1864. 8. 
 
 Catalogue of sale. 
 
 DEL FRATE (0,). Guida storica 
 descrittiva della Faleria etrusc 
 (Civita Castellana). Roma, 1898. 
 12; with 3 pis. 
 
 " Guide-book, historical and descrip 
 tive, of Etruscan Faleria (Civita Castel 
 lana)." 
 
 Notes on the ceramic art. 
 
 DELISLE (Leopold). Documents sur les 
 fabriques de Faience de Rouen 
 recueillis parHailletdeCouronne 
 Valongnes, 1865. 8, pp. 77 
 12 fcs. 
 
 "Documents upon the faience manu 
 factories of Eouen, collected by Haille 
 de Couronne." 
 
 This pamphlet gives all the matter referrin 
 to the subject contained in the MS. notes pre 
 pared by H. de Couronne for his History o 
 Normandy, now in the National Library i 
 Paris. It contains 1. An extract of th 
 registers of the Rouen Parliament for July 
 1650, showing that N. Poirel and E. Poterai 
 
 104 
 
 who had obtained a royal privilege for the 
 manufacture of faience, objected to the estab- 
 lishment of any other manufactory in the 
 town. 2. A memoir, written in 1746 by 
 Bollioud, a canon of St. Antony at Rouen, 
 for the benefit of the potters of Lyons, his 
 native town, describing the processes of 
 manufacture as he had seen them practised. 
 3. A quotation from the Spectacle de la Nature, 
 treating on marls and clays. 4. A communi- 
 cation sent by Madame de Villeray, who had 
 herself owned and managed some important 
 works at Rouen. 5. An anonymous note 
 on the state of the Rouen industry in the 
 eighteenth century. 6. Information upon the 
 progress of the various industries of the town 
 gathered by G. de La Foy, in which the names 
 of a few faience mamifacturers are mentioned. 
 
 DELORME (R,), Les faiences de Delft. 
 Collection du Dr. Handle. Paris, 
 impr. Kugelmann, 1874. 32, 
 pp. 33. 
 
 " Delft faiences. The collection of Dr. 
 Handle." 
 
 This collection was, we think, unique in 
 Paris at that time. It contained specimens of 
 delft faience of the highest order. 
 
 DELORT (J. B,). --Dix annees de 
 fouilles en Auvergne et dans la 
 France centrale. Lyons, Rey, 
 1901. 4, pp. 84 ; with 40 pis. 
 (Ceramics, pp. 9-22 ; with 20 pis. 
 of prehistoric, Roman, and 
 Merovingian vessels.) 
 
 " Ten years of excavation in Auvergne 
 and Central France." 
 
 DELSETTE (G.). Cinque lettere sulla 
 raccolta di maioliche dipinte, 
 delle fabbriche di Pesaro e della 
 provinciaMetaurense,di Geremia 
 Delsette, esisente in Bologna. 
 Bologna, 1845. 8, pp. 8. 3 fcs. 
 
 " Five letters on the collection of 
 
 painted majolica, from the factories of 
 
 Pesaro and the Metaurian province, in 
 the possession of G. D., of Bologna." 
 
 Luigi Frati had just published the catalogue of 
 this remarkable collection. It was in acknow- 
 ledgment of a gift of copies of that catalogue 
 that five well-known artists and antiquaries, 
 to whom it had been presented, wrote the 
 flattering letters brought out in pamphlet 
 form, with evident satisfaction, by the owner 
 of the collection. 
 
 DE MAURI. L'amatore di maioliche 
 e porcellane. Milano,"U. Hoepli, 
 
DEM] 
 
 CERAMIC LIT ERA TURE. 
 
 [DEM 
 
 1899. 12, pp. 650 ; with 16 col. 
 pis. and marks. 
 
 "The collector of faience and porcelain." 
 
 Although one of the last that have been issued, 
 this handbook is by no means an improvement 
 on its predecessors. English ceramics have par- 
 ticularly suffered from the insufficient attention 
 bestowed by the compiler upon this, as well 
 as upon other sections of ceramic history. In 
 the article on Wedgwood we read that he 
 established an important factory of soft china 
 at Burslem, where he made white and blue 
 cameos, called "Queen's" ware. The mark is 
 given as "Wedgwoog. " At Worcester Dr. 
 Walls, the founder of the manufactory, was 
 succeeded by Cookworthy, who introduced 
 the making of hard porcelain, and invented 
 the process of transfer printing under glaze, 
 etc. 
 
 DEMMIN (A.). Guide de Famateur de 
 faiences et de porcelaines. Paris, 
 Kenouard, 1861. 12, pp. 176; 
 with marks. 3 fcs. 
 
 "A guide-book for the amateur of 
 faiences and porcelains." 
 
 This is the first publication of a very prolific 
 writer. Demmin's pen is responsible for many 
 volumes which threatened, at one time, to bring 
 about trouble and confusion in the dawning 
 knowledge of ceramic art. Nowadays public 
 opinion is tolerably well fixed on the value 
 that may be attached to their contents. No 
 true connoisseur would ever think of referring 
 to his books for enlightenment on some puzzling 
 point, or would take the trouble of discussing 
 his long-exploded arguments. The confident 
 beginner is warned that every fact, every date, 
 every name, has to be revised and corroborated 
 from other sources before they are made use of, 
 if he means to avoid sharing the fate of so many 
 writers who have accepted them too implicitly. 
 Demmin shows as little regard for history and 
 technology as he a German bred and born 
 respects the rules of the French language. 
 The bare truth is often treated by him as a 
 negligible quantity in argumentation; the use 
 of accepted terms is replaced by the introduc- 
 tion of words of his own making. His aim 
 seems to have been to overwhelm the reader 
 with a bewildering accumulation of informa- 
 tion on all subjects. For years he travelled 
 all over Europe, visiting museums and private 
 collections, and jotting down, hurriedly and 
 indiscriminately, accounts of what he saw 
 and notes of the speculations suggested to his 
 impressionable mind. He who knows little 
 finds much. All that Demmin found, or 
 thought he had found, became grist to his 
 mill, and was stored up with the view of 
 producing this handbook. The aggregate 
 sum of his notes, thus hurriedly taken, must 
 indeed have been prodigious. But when re- 
 turned to his study he appears to have got 
 somewhat confused as to the true significa- 
 tion of these hasty memoranda, and to have 
 supplemented their shortcomings by an appeal 
 to his faulty recollections. Then from these 
 there sprung an extravagant theory, supported 
 
 only by fanciful evidences, startling and curi- 
 ous sometimes, but no better than fireworks 
 and dissolving views. When he had to deal 
 with a long -established fact, the truth was 
 presented in such a distorted and truncated 
 form, and commented upon in such an unpre- 
 cedented manner, that it became as deceptive 
 as might have been a total misrepresentation. 
 
 The first perusal of a book framed on such 
 lines may prove rather irritating to anyone in 
 search of sound education. He may resent 
 the arrogance of a writer who, reckoning no 
 doubt upon an unbounded extent of gullibility 
 on the part of the reader, has ventured to 
 prepare for us this medley of data and hypo- 
 thesis, in which ludicrous fantasy disports 
 itself under the garb of learning. He may 
 get tired of having this ostentatious person- 
 ality constantly thrown in his face, and of 
 listening to the volleys of objurgations and 
 sarcasms directed against those who enter- 
 tain an opinion differing from that of the 
 author. But if that first feeling of legiti- 
 mate irritation can be got over it will be 
 succeeded by one of irrepressible hilarity. 
 It is difficult to remain serious in the face 
 of this unbroken concatenation of grotesque 
 misstatements. Many writers may be found 
 guilty of gross inaccuracj 7 , but Demmin alone 
 has the natural faculty of investing, in such 
 a high degree, pedantic assertions with in- 
 tense comicality. If anyone, ever so little ac- 
 quainted with the subject of English ceramics, 
 is desirous to put what we say to the test, let 
 him open the Guide de I' Amateur at the chapter 
 devoted to England and it will be difficult for 
 him to refrain from laughing outright before he 
 comes to the end. 
 
 - Guide de 1'amateur de faiences 
 et porcelaines, poteries, terres- 
 cuites, peinture sur lave, et 
 emaux, nouvelle edition revue, 
 corrigee et considerablement 
 augmentee. Paris, Kenouard, 
 1863. 12, pp 576 ; with 850 figs., 
 marks and monogrs. 5 fcs. 
 
 "A guide-book ... a new edition, 
 revised, corrected, and considerably en- 
 larged." 
 
 The first edition of the Guide passed unnoticed, 
 but the publication of the second raised a loud 
 protest among learned collectors. A. Darcel, 
 in France, and W. Chaffers, in England, made 
 themselves the mouthpiece of public feeling 
 provoked by the aggressive and self-asserting 
 tone maintained throughout such portions as 
 had been added to the original work. The 
 former in a pamphlet entitled Un Guide de 
 VAmateur, Paris, 1864, the latter in the 
 Appendix of the third edition of his Marks 
 and Monograms, London, 1874, sounded the 
 much-needed word of warning to the unwary. 
 The severe but by no means undeserved criti- 
 cism, passed by such competent judges, does 
 not seem to have put ceramic writers on their 
 guard, and many a one has, later on, spoiled 
 a conscientious and valuable work by inserting 
 
 105 
 
DEM] 
 
 CERA MIC LITER A TURE. 
 
 [DEM 
 
 in it information borrowed from Demmin, and 
 which we recognise at once through the errone- 
 ous dates and the faulty spelling scrupulously 
 reproduced. 
 
 DEMMIN (A.)- Encyclopedic ceram- 
 ique monogrammique. Guide 
 de Famateur, etc. Troisieme 
 edition. Paris, Kenouard, 1867. 
 2 vols. 12, pp. 1227. 18 fcs. 
 
 "Ceramic monogrammic cyclopedia." 
 
 In this third edition of the Guide rambling 
 disquisitions on glass vessels, stained - glass 
 windows, and artificial stones, have helped 
 to swell the matter into two volumes. The 
 wording of the title, Ceramic Monogrammic 
 Cyclopedia, is one of the instances of Dem- 
 min's affectation for neologism. 
 
 Encyclopedic ceramique - 
 monogramatique, etc. 4th ed. 
 Paris, Renouard, 1873. 3 vols. 
 12, pp. 1596 ; with 300 repro- 
 ductions of pottery, 3000 potters' 
 marks, 3 tables, two of which 
 relate to monograms, and a 
 portrait of the author. 
 
 The Guide again; this time expanded into 
 three volumes. The title is lengthened in 
 proportion, several new subjects being intro- 
 duced namely, the making of artificial teeth 
 and painting upon rock crystal. Another new- 
 feature distinguishes this fourth edition ; it 
 is the addition of rough and clumsy sketches 
 which would disgrace the margins of a school- 
 boy's copy-book. On the point of accuracy 
 these illustrations are quite on a par with the 
 text. Any observation we might dare to 
 make regarding their correctness is met by 
 the declaration that these are " croquis artis- 
 tiques," and not vulgar woodcuts. 
 
 Histoire de la ceramique en 
 planches phototypiques inalter- 
 ables, avec text explicatif 
 L'Asie, 1'Amerique, PAfrique, et 
 1'Europe par ordre chronolo- 
 gique. Poteries opaques (faiences, 
 etc.) et Kaoliniques (porcelains) ; 
 peintures sur lave ; emaux sur 
 metaux, vitraux, verreries, mo- 
 saiques. Paris, Renouard, ] 875. 
 2 vols. Fol., pp. 145, and tables ; 
 with 250 pis. 500 fcs. 
 
 " History of ceramic art in unalterable 
 phototype plates, with a descriptive text 
 Asia, America, Africa, and Europe, in 
 chronologic order, etc." 
 106 
 
 This so-called " history of ceramic art" is in 
 reality an ambitious photographic record of 
 the author's collection, with the addition of a 
 few insignificant specimens, borrowed from 
 other sources to justify the title. Far from 
 including representatives of the potter's art, 
 at all times and in all countries, many of the 
 most important styles have been omitted, and 
 others most inadequately illustrated. But 
 every example in the possession of the collector, 
 however poor in quality, doubtful in its attribu- 
 tion, or sadly broken and incomplete, has been 
 made the subject of a plate The Aroza process 
 of phototypy was still in the trial stage ; the 
 reproductions are not always satisfactory, and 
 what is worse, except in the case of the first 
 plate, the negatives have not been reversed 
 before being transferred on the stone ; conse- 
 quently the printing has given an inverted 
 image, the right side has become the left ; 
 monograms and marks are often unrecognisable, 
 and the inscriptions, which run backwards, are 
 not easily read. A short notice accompanies 
 each plate ; we find in them a repetition of the 
 most inacceptable errors and misleading state- 
 ments contained in the previous volumes. 
 
 - Recherches sur la priorite de 
 la Renaissance de Fart allemand. 
 Faiences du xiii e siecle, terres 
 cuites emaillees du v e siecle. 
 Paris, Renouard, 1862. 12, pp. 
 96. 3 fcs. 
 
 " Researches on the priority of the 
 revival of German art. Faiences of the 
 thirteenth century; enamelled pottery of 
 the fifth century." 
 
 Compressed in this preliminary essay, we 
 have the tenets of the creed that Demmin had 
 revealed, and which he was, for ever after, 
 ready to uphold against all comers, and defend 
 at the point of his ready pen. The thesis 
 which he found himself called upon to develop 
 to art-lovers and students of history was that, 
 towards the end of the Mediaeval Ages, all 
 European nations had been indebted to Ger- 
 many for the revival of fine arts in general, 
 and particularly of ceramics. He might have 
 chosen to speak, like other "inspired" men, 
 from infallible revelation ; but he preferred to 
 produce what he called "convincing proofs." 
 Unfortunately, some critics declined to accept 
 these "proofs" without further inquiries, and 
 went to the trouble of investigating the true 
 value of the proffered evidence. The result 
 of the inquiry was most damaging to the 
 stability of his theory. 
 
 We shall select, for the reader's edification, 
 one or two flowers from a very bulky posy. One 
 is the description of the tomb of Henry IV., 
 Duke of Silesia, in the Church of the Cross at 
 Breslau. We are told that this tomb was 
 erected in 1290, and that it is made of enamelled 
 majolica. Particular stress is laid on the 
 brilliant red enamel, " a colour that the 
 Italians could never obtain," and special 
 mention is made of the bright green with 
 which the monument is partially covered. 
 On the faith of this statement, nearly all 
 
DEM] 
 
 CERA MIC LITER A TURK. 
 
 [DEM 
 
 ceramic histories-, subsequently published, give 
 the Breslau tomb as the earliest example of 
 polychromic faience. The tomb, as a matter 
 of fact, is carved in stone. Some unrecorded 
 accident having happened to the lid, that 
 portion was, at a comparatively modern date, 
 replaced by a reproduction in terra-cotta. To 
 conceal the difference in the colours of the two 
 materials, the whole was painted over in oil 
 colour ! It is this coat of paint that Demmin 
 mistook for enamelling. 
 
 Many "equally valuable" evidences of the 
 priority of German majolica over that of Italy 
 were gathered by the author after the publica- 
 ^tion of his pamphlet. He gave us the benefit 
 of his discoveries in the various editions of the 
 Guide. Perhaps the most ludicrous example 
 of his innumerable blunders was the interpreta- 
 tion of the mark I.H.F., 1480, inscribed under 
 a small horse of white and blue faience in his 
 own collection. How proud he was to place 
 before the incredulous a piece of that kind, 
 " actually dated 1480 " ; that the figures stood 
 there for anything but the date of manufacture, 
 never caused him a moment's doubt. Collectors 
 of delft ware well knew, and were not long in 
 letting him know, that the letters I.H.F. are 
 the mark of a well-known delft manufactory of 
 the eighteenth century : In Het Fortuyn, 
 "At the signe of The Fortune;" this mark 
 being usually accompanied with the number of 
 the pattern. 
 
 The above extracts from these unparalleled 
 books suffice to show that we were not quite 
 wrong in considering them as truly comical 
 items in a ceramic library. 
 
 Catalogue par ordre cliro- 
 nologique, ethnographique et 
 generique du musee des arts 
 plastiques et des industries qui 
 s'y rattachent. Nouvelle edition, 
 grandement augmentee. Paris, 
 Renouard, 1870. 8, pp. 132; 
 illustr. with rough sketches by 
 G. Devers. 5 fcs. 
 
 "Catalogue in chronological, ethnolo- 
 gical, and generic order of the museum 
 of plastic arts and the industries related 
 to them." 
 
 Order and merit were conspicuously wanting 
 in the formation of this collection, and the pre- 
 tentious classification professed to have been 
 followed in its arrangement is but another 
 make-believe offered to our credulity. The so- 
 called "Museum of plastic arts" was a very 
 modest one, and the small flat on the distant 
 Paris boulevards, in which the possessor 
 resided, was amply sufficient to contain it. 
 While other collectors were confining their 
 searches to France and Italy, Demmin made 
 Germany his usual hunting-ground, and he 
 succeeded in obtaining from out-of-the-way 
 districts still unexplored a few rare specimens 
 of various origin. The catalogue shows that 
 he might, as a connoisseur, have exerted a 
 little more discrimination in the choice of his 
 acquisitions. He seems to have gathered 
 
 everything, good, bad, or indifferent, ancient 
 or modern, that fell in his way. The system of 
 numeration he has followed, and which he 
 advises all collectors to adopt, is another 
 childish deception. By leaving out seven or 
 eight numbers out of every ten on the list, he 
 reaches in the ceramic section of his catalogue 
 the figure 1803, which represents, in reality, 
 scarcely four hundred specimens. 
 
 Encyclopedic des sciences, 
 lettres et arts et revue panoptique 
 de la Suisse, suivie d'uu guide 
 artistique. Paris, Renouard, 
 1872. 12. 3 fcs. 
 
 This is intended to be an artistic guide-book 
 to Switzerland. It contains a chapter on the 
 Swiss pottery and the old terra-cotta stoves 
 which are still numerous in the country. 
 
 - Catalogue de cent-cinquante 
 numeros de la collection Auguste 
 Demmin. Faiences anciennes, 
 parmi les quelles le Violon de 
 Faience, etc., et dont la vente 
 aura lieu le 12 Mars, 1875. 8, 
 pp. 34 ; with illustrs. 
 
 Catalogue of sale. The hundred and fifty 
 numbers, the cream of the collection, did not 
 realise the expectations of the seller. Witli 
 the exception of the Faience fiddle, which 
 fetched 120, the rest sold for the little it was 
 worth, notwithstanding the brilliant descrip- 
 tions of the Catalogue. 
 
 - Keramic - Studien. Leipzig, 
 E. Schloemp, 1881-83. 8. 
 
 " Ceramic studies." 
 
 The work is divided as follows : Part I. 
 Faiences ; Arethian Pottery and Terra Sigil- 
 lata ; Pottery of Keneh and Sciout, pp. 94. 
 Part II. Porcelain, pp. 88. Part III. Stone- 
 ware, pp. 69. Part IV. Glass, pp. 115. 
 Part V. Terra-cotta, pp. 102. Part VI. 
 Enamels on metal, pp. 58. 
 
 DEMPSTER (Thomas). De Etruria Re- 
 gali Libri vii., mine primum editi, 
 curante Thoma Coke, Magnte 
 Britannia} Armigers Regire Cel- 
 situdini Cosmi III Magni Ducis 
 Etrurise. Florentiae,l723. 2vols. 
 Sin. fol. ; with 93 pis. 
 
 Thomas Coke, who published this work after 
 the death of the author, Dempster, dates his 
 dedication to the Grand Duke Cosmo III. from 
 London ; although published at Florence it may 
 be, from the nationality of both writer and 
 publisher, considered as an English work. 
 The larger number of the plates reproduce 
 painted vases and terra-cotta urns ; but they 
 are of such bad execution as to be of little use 
 
 107 
 
DEN] 
 
 CERAMIC LITERATURE. 
 
 [DES 
 
 to the artist. A third volume is generally 
 added. It is a commentary on Dempster's 
 work published by J. B. Passeri, Lucca, 1768. 
 
 DENNIS (George). --The ^ cities and 
 cemeteries of Etruria. London, 
 J. Murray, 1848. 2nd ed., 1878. 
 3rd ed., 1883. 2 vols. 8, to- 
 gether, pp. 1076; num. pis., 
 illustrs., and plans. 14s. 
 
 A learned guide-book to the remains of 
 ancient Etruria, written for the use of travellers. 
 A general survey of Etruscan and Greek pottery 
 is made the subject of an introductory chapter, 
 with a copious appendix. Each locality is 
 treated separately, examples of painted vases 
 and terra-cottas are described and illustrated 
 all through the pages of these two bulky 
 volumes. The work is considered to be one of 
 the best authorities on the history of ancient 
 Etruria. 
 
 N. W. Meissner has given a German transla- 
 tion under the title : Die Stadte und Begrdb- 
 nissplatze Etruriens. Leipzig, 1852. 
 
 DENNISTOUN (J.). Memoirs of the 
 Dukes of Urbino, illustrating 
 the arms, arts, etc., of Italy, 
 1440-1630. London, Longman, 
 1851. 3 vols. 8 ; woodcuts, 
 3, 3s. 
 
 Chapter Iv. deals with Italian majolica, 
 and particularly with the productions of the 
 Urbino potters. Owing to the scanty amount 
 of information available at that time the 
 account has lost much of the interest it excited 
 on the publication of the work. 
 
 DENTI (B.). Illustratione sopra un 
 vaso Greco - Siculo. Palermo, 
 1828. Fol., pp. 15; fold. pi. 
 
 " Description of a Siculo-Greek vase." 
 
 DENUELLE (Ch.). La porcelaine et la 
 manufacture de Sevres. Limoges, 
 Chatras, 1891. 16, pp. 32. ' 
 
 A violent attack against the State-supported 
 establishment. 
 
 DEONNA (W.). Le statues de terre 
 cuite en Grece. Atlienes, 1906. 
 8, pp. 72. 2 fcs. 2nd ed., 1908. 
 8, with 23 illustrs. 
 
 "Terra-cotta statues in Greece." 
 
 Only a few fragments remain of ancient 
 terra-cotta statues, the number of which is 
 supposed by the author to have been 
 considerable. 
 
 DERBY (Ch. H.). A brief guide to the 
 various collections in the Bethnal 
 108 
 
 Green branch of the South Ken- 
 sington Museum. London, 1890. 
 
 8. 
 
 DEREWITSKY (A.) and Others. Das Mu- 
 seum der Kais. odessaer Gesell- 
 schaft flir Geschichte und Alter- 
 tumskunde. Part I., Terracotten. 
 Frankfurt-a.-Main, J.Baer, 1897. 
 4, pp. 46; with 17 phototyp. pis. 
 Part II., Terracotten. Pp. 48 ; 
 with 18 pis. 32 m. 
 
 "The Museum of the Historical and 
 Archaeological Society of Odessa. The 
 collection of Greek terra-cottas." 
 
 The specimens are mostly from the Northern 
 shore of the Black Sea ; there are 567 numbers. 
 
 DESAIYRE (L). Notes sur trois vases 
 de forme singuliere trouves dans 
 le departement de la Vendee. 
 Poitiers, 1892. 8, pp. 8 ; illustrs. 
 
 "Notice of three vases of uncommon 
 shape found in the Vendee department." 
 
 D'ESCAMPS (H.), (Anon.). Notice his- 
 torique sur les manufactures de 
 faience de Creil et Montereau, 
 Barluet et Cie. Paris, impr. V. 
 Goupy, 1878. 4, pp. 12. 
 
 Notice sur les faienceries de 
 
 Longwy et de Senelle (Meurthe 
 et Moselle). Paris, typ. Robert 
 & Buhl, 1878. 4, pp. 7. 
 
 "Historical notices of the manufac- 
 tories of Creil and Montereau, Longwy 
 and Senelle." 
 
 These two notices printed on the occasion of 
 the Paris Exhibition in 1878, describe the 
 current condition of these two important 
 ceramic establishments. The factory of Monte- 
 reau, founded in 1775 by a group of English- 
 men, was the first to compete effectually against 
 the importation of English ware, of which it 
 produced successful imitations. 
 
 DESCEMET (C.). Marques de briques 
 relatives a une partie de la Gens 
 Domitia. (Inscriptions doliaires 
 latines.) Paris, 1880. 8, pp. 
 226. 8 fcs. 
 
 " Marks of bricks relating to a part of 
 the 'Gens Domitia.' (Latin inscriptions 
 on jars for wine, etc.)"' 
 
DBS] 
 
 CERAMIC LITERATURE. 
 
 [DEV 
 
 DESCHAMPS DE PAS (L.). Essai sur le 
 pavage des eglises anterieure- 
 ment an quinzieme siecle. Paris, 
 V. Didron, 1851. 4, pp. 49; 
 with 5 col. pis. (Reprint from 
 the Annales Arch4ologiques.) 10 
 fcs. 
 
 "Essay on the pavements of the churches 
 prior to the fifteenth century.' 
 
 Although the title of this essay would make 
 us expect a history of the various styles of 
 ornamental pavements in the churches of 
 mediaeval times, it deals almost exclusively 
 with the incised flagstones and the inlaid tiles 
 of Saint Omer Cathedral. It follows the 
 account already given by Wallet, and differs 
 from it only in the method of reconstruction 
 of the general design supposed to have been 
 formed by the earthenware tiles found broken 
 and scattered under the last pavement of the 
 church and the ruins of the Abbey of Saint 
 Bertin. 
 
 DESGRANGES (F. ), Train de plaisir & 
 travers 1'exposition de Limoges. 
 Paris, 1864. 8. 
 
 " A pleasure trip through the Limoges 
 Exhibition." 
 
 DESLIGNERES (Marcel). Conference sur 
 1'emploi de la terre dans les con- 
 structions, et les industries qui 
 s'y rattachent depuis 1'origine du 
 monde jusqu'& Fepoque modern. 
 Paris, impr. Chaix, 1885. 4, 
 pp. 19. 
 
 " Lecture on the use of clay in the 
 building art, and the industries connected 
 with it from the beginning of the world 
 up to the present day." 
 
 By the words " the use of clay "the lecturer 
 means the introduction of bricks, tiles, and 
 terra-cotta in the erection and decoration of 
 buildings. The lecture is a mere summary of 
 the history of brick and tiles extracted from 
 one of the standard books on the matter. 
 
 DESLOGES. Traite general de pein- 
 tures vitrifiables sur porcelaine 
 dure, sur porcelaine tendre, sur 
 email miniature, email genre 
 Limoges, faience et sur verre, 
 etc. 2nded. Revue et augmented 
 par Goupil. Paris, A. de Vresse, 
 1866. 8, pp. 88. 2 fcs. 
 
 " General treatise of vitrifiable paint- 
 ing upon hard and soft porcelain, enamel 
 
 painting, and Limoges enamel, faience, 
 glass, etc." 
 
 DES MELOIZES (A.). Les moules en 
 terre cuite des medaillons de J. 
 B. Nini. Bourges, Pigelet, 1869. 
 8, pp. 19 ; with 6 pis. 
 
 Sixty copies printed. 
 
 DESNOYERS. Catalogue du mus^e 
 historique de la ville d'Orleans. 
 Orleans, Herluison, 1884. 12, 
 pp. 247. 
 
 " Catalogue of the historical museum 
 of the town of Orleans." 
 
 Greek vases, Nos. 1-305 ; Greek terra-cottas, 
 165 Nos. ; Roman terra-cottas, 294 Nos. ; 
 faience, 441 Nos. ; porcelain, 144 Nos. 
 
 DESPIERRES (G.). Histoire de la 
 faience de Saint Denis - sur - 
 Sarthon. Paris, 1889. 4, pp. 
 58 ; with 20 col. pis. 30 fcs. 
 
 " History of the faience of St. Denis- 
 sur-Sarthon." 
 
 Of all the minor factories which have, during 
 the last hundred years, turned out a large 
 amount of atrociously painted crockery, we 
 have no hesitation in saying that the factory 
 of St. Denis-sur-Sarthon seems to be one of 
 the most uninteresting. But no pot-work in 
 France is without its historian. All the 
 business papers of that establishment having 
 been preserved, it has been thought expedient 
 to print copious extracts from these documents 
 in a handsome quarto volume, illustrated with 
 reproductions of a few specimens. The docu- 
 ments include : The decree granting a royal 
 privilege for the manufacture of painted faience 
 at St. Denis to Ruel de Belleisle in 1750; 
 a complete list of directors and workmen since 
 the foundation ; the recipes for mixing the 
 clays and preparing the colours ; the price list 
 of all the articles sold at the works ; and, 
 lastly, a description of the styles of decoration 
 (if such words should be used in reference to 
 the wretched patterns we see reproduced on 
 the plates) in use at different periods. All 
 this, it is true, might indirectly throw some 
 light upon the conditions of the trade at the 
 times to which they refer, but it is no more 
 than a repetition of what we have found over 
 and over again in other monographs of faience 
 factories more worthy of record. 
 
 DEYEAD (Paul). Les faiences d'Aprey. 
 Paris, Foulard, 1908. 4, pp. 
 vii-85; with 11 pis. (1 col.) 
 and 2 pis. of marks. (150 copies 
 printed.) 25 fcs. 
 
 " Faiences of Aprey." 
 Aprey is a small village situated at about 
 25 miles from Dijon. There Joseph Lallemant, 
 
 109 
 
DEV] 
 
 CERAMIC LITERATURE. 
 
 [DIE 
 
 an officer in the King's army and a landowner 
 in the place, retired at the close of the war 
 with Prussia, and established a factory of 
 painted faience in 1760. The management 
 passed into the hands of Frangois Ollivier in 
 1769. He came from Nevers. The produc- 
 tions were in the new style of over -glaze 
 enamelling, just started at Strasbourg. The 
 works were closed in 1792. 
 
 DEYIGNE (F.). - - Poterie ancienne. 
 Une gourde en faience du xvi e 
 siecle. Gand, 1855. 8; vign. 
 
 "Ancient pottery. A travelling bottle, 
 in earthenware, of the sixteenth century." 
 
 Description of a curious bottle in the shape 
 of a pouch, probably of Bruges manufacture, 
 bearing in gothic letters the word " Amat." 
 
 DEYILLE (A.). Recherches sur la 
 peinture des vases antiques. 
 Rouen, Periaux, 1842. 8, pp. 
 29. 5 fcs. 
 
 " Researches on the painting of antique 
 vases." 
 
 Mr. Deville regrets that the antiquaries who 
 have displayed so much erudition in elucidat- 
 ing the subjects painted on Greek vases, have 
 remained unconcerned as to the methods em- 
 ployed in their material execution. He en- 
 deavours to repair this neglect by briefly 
 recording the observations he has himself made 
 with the view of ascertaining what were the 
 technics of the Greek vase painters. The 
 notion has since made immense progress, but 
 this pamphlet is of some interest as represent- 
 ing one of the first steps made in the right 
 direction. Incomplete as they are, the sugges- 
 tions are stamped with a keen sense of the 
 importance of many questions still left un- 
 answered. A list is given of the names 
 inscribed on the vases by their makers. For 
 the first time, the writer tries to account for 
 the presence of two names occurring conjointly 
 on the same piece, the first followed by the 
 words "has made," the second by "has 
 painted." He feels inclined to think that the 
 former stands for that of the artist who had 
 painted the original work, the latter for that 
 of the painter who has merely copied it. This 
 point, as well as many others for which he 
 offers a solution, is not yet settled at the 
 present day, but as the arguments are of some 
 weight even now, the paper is well worth 
 perusing. 
 
 DICKINS (Ch.). Catalogue of the valu- 
 able collection of porcelain, the 
 property of Charles Dickins, of 
 Sunnyside, Wimbledon. Sold by 
 Christie, Manson & Woods. 
 London, 1878. 8, pp. 21 ; with 
 1.0 lith. pis. 
 110 
 
 301 Nos. of English and European porcelain. 
 A second Dickins sale took place at Christie's 
 in 1907. 
 
 DICKSON (W. P.). Report on Pottery 
 at the Punjab Exhibition of 
 Arts, etc. Lahore, 1883. 4; 
 with photogr. pis. 
 
 DIDIER (F.). Les fouillis de decora- 
 tion, par Didier de la manufac- 
 ture de Sevres. 12 pis. S.l.,n.d. 
 
 "A medley of decoration." 
 
 Sketches for the use of porcelain painters, 
 drawn by an artist of the manufactory of 
 Sevres. 
 
 DIDRON (Y.). Carrelages histories. 
 Paris, Didron, 1850. (Extr. from 
 the Annales Archeologiques, T. x.) 
 
 " Decorative tiles." 
 
 The first article published in France, in 
 which the attention of antiquaries was directed 
 to the study of medieval earthenware tiles. 
 
 DIDRON (Ed.). Rapport d'ensemble 
 sur les arts decoratifs k 1'exposi- 
 tion universelle de 1878. Paris, 
 1882. 4. 
 
 " Report on the decorative arts at the 
 International Exhibition, Paris, 1878." 
 
 DIETZ. Leitfaden zur Anfertigung 
 von 100 verschiedenen Topfer 
 Glasuren. Milnchen, 1853. 8, 
 2 parts ; with 5 pis. 
 
 "Instruction for preparing 100 differ- 
 ent pottery glazes." 
 
 DIETZ (R.)- Das Porzellan. Halle- 
 a-S., W. Knapp, 1907. 8, pp. 94. 
 
 " Porcelain." 3 m. 
 
 A technical treatise. It contains a list of 
 all the articles on the subject which have 
 appeared in the German periodicals. 
 
 - Steinzeug, Steingut, Topfer- 
 waaren. Halle-a-S., 1907. 8, 
 pp. 206 ; with 5 illustrs. 4 m. 
 
 DIEULAFOY (M.)- Fouilles de Suse. 
 Campagne de 1885-86. Rapport 
 de Tingenieur en chef des ponts 
 et chaussees, directeur de la mis- 
 sion. Paris, Leroux, 1887. 8, 
 pp. 22-46 ; with 4 chromolith. pis. 
 and 1 map. 
 
DIG] 
 
 CERAMIC LITERATURE. 
 
 [DOA 
 
 " Excavations at Susa. The campaign 
 of 1885-86. Report of the chief civil 
 engineer, director of the mission." 
 
 A few Babylonian polychrome slabs and 
 bricks, deposited in our museums, had made us 
 aware of the knowledge of enamelling cement 
 and terra-cotta possessed by the ancient Per- 
 sians. But we were by no means prepared for 
 the discovery of gigantic monuments, the walls 
 of which glittered with a covering of enamelled 
 bricks shining with the brightest colours the 
 potter's kiln has ever produced. Such were 
 the palaces of Artaxerxes and Darius, the 
 ruins of which Mr. Dieulafoy and his valiant 
 assistants excavated in the desert of Susa, 
 near Teheran. A frieze of noble lions in the 
 Assyrian style, part of an ornamental balus- 
 trade, and a wonderful procession of archers in 
 the gorgeous costume of the imperial guard of 
 King Darius, all brightened with variegated 
 enamels, were laboriously extracted from a 
 chaos of debris. They are now one of the 
 glories of the Louvre Museum. Doubtless, 
 additional discoveries of equal importance 
 might have been made on the spot, if the 
 excavations could have been prosecuted for a 
 longer time. The chromolithographs with 
 which this report is illustrated convey a fair 
 idea of the decorative effect of these matchless 
 monuments of antique ceramic art. 
 
 L'acropole de Suse d'apres 
 les fouilles executees en 1884-86, 
 sous les auspices du Musee du 
 Louvre. Paris, 1890-92. 4. 
 
 Part III. Faiences and Terra-cottas ; with 
 10 chromophototype pis. and illustrs. in the 
 text. Part IV. The Apadama and the Aya- 
 dama ; with 2 pis. and illustr. 
 
 DIGOT (A.). Note sur des carreaux 
 de terre cuite employes au pavage 
 de deux eglises du xi e siecle. 
 (Extr. from Bulletin Monumental, 
 vol. xiv.) 
 
 " Notice of some earthenware tiles em- 
 ployed in the pavement of two churches 
 of the eleventh century." 
 
 DILLON (E.). Porcelain. The Con- 
 noisseur Library. London, Meth- 
 uen, 1904. Imp. 8, pp. xxxv- 
 420; with 3 photogr., 27 collotype, 
 and 19 col. pis. 1, 5s. 
 
 An excellent epitome of the history of the 
 porcelain manufacture in all countries. The 
 author has spent many years in Japan ; his 
 special knowledge of Oriental porcelain war- 
 rants his giving to that subject the most 
 prominent place in the account. 
 
 DILLWYN (L. W.). A Bill and Answer, 
 filed in the Chancerv Court of 
 
 the Great Sessions at Cardiff in 
 April, 1821 ; with explanatory 
 remarks by the Defendant. Lon- 
 don, J. M'Oeeky, 1821. 8, pp. 
 104. 
 
 Referring to a litigation between the partners 
 of the Swansea Porcelain Manufactory. 
 
 Some Remarks on Two Affi- 
 davits and One Affirmation, 
 published by John Roby, Swan- 
 sea. Swansea, J. M. Voss, 1822. 
 8, pp.15. 
 
 DISCH (Collection, Ch. D.). Catalogue 
 of sale. Cologne, Heberle, 1881. 
 4, pp. 176 ; with 20 photogr. pis. 
 15 m. 
 
 Ceramics (chiefly German stoneware), 341 
 Nos. ; Roman pottery, 515 Nos. 
 
 DISNEY (John). Museum Disneianum, 
 being a description of a collection 
 of ancient marbles, specimens of 
 ancient bronzes, and various an- 
 cient fictile vases in the posses- 
 sion of J. Disney, Esq., at the 
 Hyde, near Ingatestone. London, 
 1849. 4, pp. 281 ; with 128 pis. 
 1, 10s. 
 
 The collection was formed in Italy between 
 ' the years 1748 and 1753, but at a later date it 
 came into the possession of J. Disney, who 
 added to it a small number of antique marbles. 
 Greek vases are described in Part III., and 
 represented on 32 coloured plates. These vases 
 are now in the Cambridge Museum. A few 
 examples of Greek terra- cot tas and Anglo - 
 Roman pottery are also illustrated in the 
 volume. 
 
 DOAT (Taxile). " Grand feu" Cera- 
 mics. A practical treatise on the 
 making of fine porcelain and 
 stoneware for the artist potter. 
 Syracuse, 1905. 8, pp. 207; with 
 illustrs. (Translated from the 
 French by S. Eobineau.) 25s. 
 
 A reprint of fourteen letters addressed to 
 the Keramic Studio Pub. Co., briefly treating 
 of the composition of porcelain bodies, the 
 fashioning of the ware, and the conduct of 
 the firing. The newly introduced glazes and 
 colours and the superficial effects obtained 
 with their use, the "Flamme's reds," "C61a- 
 dons of iron," matt and crystalline glazes, etc., 
 are successively dealt with. 
 
 Ill 
 
DOB I 
 
 CERAMIC LITERATURE. 
 
 [DOR 
 
 DOBBS (H. R. CO- The pottery and 
 glass industries of the North- 
 West Provinces and Oudh. From 
 a monograph by Mr. H. R C. 
 Dobbs, C. S. Thirteen plates 
 illustrating Biswan, Gouda, Bu- 
 landshahr, Chimar, Azamgarh, 
 Amroha, Rampur, Aligarh, and 
 Lucknow pottery, Lucknow glass 
 ware. London, 1897. 4, pp. 6; 
 with 13 pis. (6 of them in colour). 
 No. 57 of the Journal of Indian 
 Art and Industry. 
 
 Description of the earthen vessels of the 
 North-West Provinces, their names and their 
 use, and the processes of manufacture. 
 
 DOBSON (Edward). A rudimentary 
 treatise on the manufacture of 
 bricks and tiles, containing an 
 outline of the principles of brick- 
 making, by E. Dobson. Revised 
 and corrected by Charles Tom- 
 linson, F.R.S. London, Weale, 
 1863. 7th ed., Crosby, Lockwood 
 & Co. 1882. Sm. V, pp. 276 ; 
 with illustrs. 3s. 
 
 In the preface to the fourth edition M. R. 
 Mallet, who has also contributed some notes 
 to this treatise, says: "Though small and 
 elementary, this work may probably claim to 
 be the most complete upon its subject in the 
 English language." 
 
 DODD (George). British Manufactures, 
 Chemical. London, 1844. 12. 
 
 Pottery and porcelain : pp. 167-223 ; with 
 12 illustrations. 
 
 DOELL (J.). Die Sammlung Cesnola. 
 St. Petersburg, 1873. 4, pp. 79 ; 
 with 17 pis. 6 m. 
 
 Part of the Cesnola collection was acquired 
 by the Saint Petersburg Museum. Terra- cot tas 
 comprise the Nos. 837-5368 of this catalogue. 
 
 DOENGES (W.). Meissner Porzellan. 
 Seine Geschichte und kunst- 
 lerische Entwicklung. Berlin, 
 Marquart, 1907. Sq. 8, pp. xii- 
 305 ; with 23 col. pis., 249 text 
 illustrs., 1 facsimile, and repro- 
 duction of marks. 15m. 
 
 The only complete monograph of the Meissen 
 factory published in a popular form. 
 
 112 
 
 DOGNEE (Eugene M. ().) Les arts in- 
 dustriels al'exposition universelle 
 de 1867. Paris, 1869. 8, pp. 
 890. 3 fcs. 
 
 A report on the Paris exhibition drawn up 
 by a self-appointed reporter. "Ceramics," 
 pp. 528-608. 
 
 DONATI (F.). Delia maniera d'inter- 
 pretare le pitture ne'vasi fittili 
 antichi. Firenze, 1861. 8, pp. 
 43 ; with 3 pis. 2 fcs. 
 
 " On the interpretation of the subjects 
 of antique vase paintings." 
 
 In the opinion of the writer one should not 
 attempt to elucidate the subjects painted upon 
 Greek vases by means of the inscriptions by 
 which they are accompanied. Translations are 
 bound to be unreliable, because these inscrip- 
 tions were traced by illiterate hands. The 
 letters are badly formed ; the sentence in- 
 complete, and the words always misspelt. 
 Having selected three vases in support of his 
 argument, the author, a learned Hellenist, 
 demonstrates that, by altering slightly the 
 reading of the inscriptions, half a dozen or 
 more translations can be given, each of an 
 absolutely different signification. His theory 
 is that the paintings form a kind of rebus, or 
 hieroglyphs, in which figures and ornaments 
 represent abstract ideas. They are arranged 
 in succession so as to convey the expression of 
 some philosophical maxim, the understanding 
 of which is left to the sagacity of the thinker. 
 It is needless to say that the whole system 
 rests altogether on visionary speculations. 
 
 DORMOIS (Camille). Notice historique 
 sur la commune de Villers- 
 Vineux. Quelques mots sur les 
 produits de Fart Ceramique dans 
 le Tonnerrois. Tonnerre, 1857. 
 8. 
 
 " Historical notice of the village of 
 Villers-Vineux. A few words on the 
 products of the ceramic art in the district 
 of Tonnerre." 
 
 Description of the ruins of a tile-maker's 
 kiln, discovered in that locality. 
 
 Notice sur des carreaux 
 e"mailles provenant d'un hotel 
 construit k Tonnerre au xvi e 
 siecle. Auxerres, Periquet, 1860. 
 8, pp. 6 ; with 1 pi. 
 
 " Notice of the glazed tiles found in a 
 mansion built at Tonnerre in the six- 
 teenth century." 
 
 DOMBUSCH (J. B.). Die Kunstgilde 
 der Topfer in der abteilichen 
 
DOR] 
 
 CERAMIC LITERATURE. 
 
 [DOR 
 
 Stadt Siegburg und ihre Fabri- 
 kate. Mit Bertichsichtigung von 
 anderen bedeutenden rheinischen 
 Topferunterlassungen, besonders 
 von Raeren, Titfeld, Neudorf, 
 Merols, Frechen, Hohr, und 
 Grenzhausen. Ein Beitrag zur 
 Geschichte des Kunsthand- 
 werkes am Niederrhein. Koln, 
 1873. 8, pp. 130 ; with 3 fold, 
 lith. pis. cont. 36 objects. 5 m. 
 
 " The art-guild of potters in the abbey 
 town of Siegburg and its productions. 
 With considerations upon some other 
 important Rhinish pottery works viz., 
 Raeren, Titfeld, etc. A contribution 
 toward the history of industrial art of 
 the Lower Rhine." 
 
 In point of priority, the name of Canon 
 Dornbusch must stand before those of all the 
 now numerous writers who have treated the 
 subject of ancient stoneware ; in point of 
 interest and reliability his work is second to 
 none. The richly embossed vessels of white 
 or brown stoneware had long been counted 
 among the most valued specimens in the 
 possession of the collector, before anything 
 could be determined about their exact origin. 
 Hearing of the fragments of ancient pottery 
 constantly found in the soil of the town of 
 Siegburg, Dornbusch undertook to institute a 
 course of excavations and research on the spot. 
 All had to be done ; no record had been kept 
 of the numerous factories which had once 
 existed in the place ; the local histories either 
 briefly refer to the old industry, or neglect to 
 mention it. But as soon as investigations 
 were commenced in earnest, the abundance of 
 evidence which came forth from all sides, made it 
 manifest that they were being prosecuted in the 
 right track. Specimens of the various periods 
 of manufacture lay within the soil, in thick 
 strata of broken vessels ; in the heavy piles of 
 deeds and registers preserved in the archives, 
 historical enlightenment was to be found. The 
 labour of reducing to order an incoherent mass 
 of materials had fallen to a man whose capa- 
 bilities were quite equal to the task. He 
 spared no trouble to render his researches as 
 complete and fruitful as possible, and, owing to 
 his sagacious and indefatigable exertions, the 
 history of an important centre of pottery manu- 
 facture was reconstituted in a clear and definite 
 form. To him alone nuist be given the credit 
 of having thrown the light in full upon a point 
 left previously in total darkness, for, whatever 
 may be said of the assistance he received from 
 his antiquarian friends, we must remember 
 that when Dornbusch published his work, 
 nothing had been printed on the subject of 
 ancient stoneware but a few groundless 
 speculations. 
 
 The first part describes the happy conditions 
 in which the inhabitants of the town of Sieg- 
 burg lived, in olden times, under the paternal 
 rule of the Abbot. Many references to the 
 
 8 
 
 pottery manufactured within its walls are 
 given. The acts and deeds which refer to this 
 prosperous industry go back to the fourteenth 
 century. An analysis of the first statutes of 
 the craft, dating from 1516, and their modifica- 
 tion in subsequent periods, affords a valuable 
 insight into the customs of the trade and the 
 private life of the potters. They allow us to 
 follow the development of the manufacture, 
 which did not cease to increase until 1632, 
 when the town was taken and sacked by the 
 Swedes. From that year all prosperity was at 
 an end, and we hear only of the efforts made, 
 but in vain, to restore to the town an industry 
 extinct for ever. 
 
 The second part describes the various types 
 and best specimens of Siegburg stoneware, and 
 gives a short account of the processes of manu- 
 facture. It mentions also, for the first time, 
 the name of other centres of productions which 
 were still awaiting further investigation. 
 
 A French translation has been published by 
 Mr. W. H. James Weale in Le Be/roi, Bruges, 
 1878, under the title, "La Gilde des Potiers 
 de la ville Abbatiale de Siegburg et ses 
 produits." 
 
 Abhandlung liber das soge- 
 nannte " Flanderische Steingut" 
 des xvi und xvii Jahrhunderts. 
 Utrecht, 1878. 8, pp. 40; pi. 
 3 m. 
 
 "Essay upon the so-called 'Flemish 
 Stoneware' of the sixteenth and seven- 
 teenth century." 
 
 In this somewhat unsatisfactory essay, 
 printed after the death of the author, Dorn- 
 busch has departed from the method he had 
 followed for his first work. Wanting to com- 
 plete the little information he had given upon 
 the ware of Raeren, Frechen, Grenzhausen, 
 and other centres, he remained satisfied with 
 the second-hand particulars, mostly incorrect 
 and prejudiced, supplied to him by his collector 
 friends, instead of collecting his materials on 
 the very spot. His chief purpose in writing 
 about the brown stoneware of Limburg and 
 Nassau was to establish that the term " Flemish 
 stoneware " was erroneous in all cases, as the 
 ware was never made out of Germany. 
 
 DORPFELD (W.). Troja. 1893. 8. 
 Part IV. Keramische Funde, 
 by A. Briichner; with 54 illustrs. 
 
 DORPFELD (W.), GRABBER (F.), and others. 
 Ueber die Verwendung von 
 Terrakotten am Geison und 
 Dache griechischen Bauwerke. 
 Berlin, Reimer, 1881. 4, pp. 
 31 ; with 4 col. pis. (41st 
 Winckelmann's Programe.) 
 
 " On the use of terra-cotta on the gables 
 and roofs of ancient Greek buildings." 
 
 113 
 
CERAMIC LITERATURE. 
 
 [DOU 
 
 DOROW (I.). Opferstate und Grab- 
 htigel der Germanen und Komer 
 am Rhein. Wiesbaden, 1826. 
 2 vols. 4, pp. 160; with 41 
 lith pis. 15 m. 
 
 " Places of sacrifice and tumuli of the 
 ancient Germans and Romans in the 
 Rhine valley." 
 
 Among the many specimens of the Roman 
 mortuary pottery reproduced on the plates, we 
 find a piece of Siegburg stoneware, of the 
 Balustre type ; this affords a curious instance 
 of the state of knowledge in which German 
 archaeology stood, at the beginning of the nine- 
 teenth century, with respect to the national 
 ceramics of the Renaissance period. 
 
 Poteries etrusques propre- 
 ment dites. Paris, 1829. 4 ; 
 with 5 pis. 
 
 " The true Etruscan pottery." 
 
 Description of the black vases adorned with 
 figures in relief found at Chiusi, and preserved 
 in the Florence Museum. The original edition, 
 in Italian, was published at Pesaro, 1828. 
 (Notizie intorno alcuni vasi etruschi, Traduzione 
 riveduta del Cav. L. Cardinali. ) 
 
 Einfiihrung in eine Abtheilung 
 
 der Vasensammlung des R Mu- 
 seum zu Berlin. . . . Berlin, 
 1833. 8 ; with 4 lith. pis. 
 
 " A guide to a portion of the collection 
 of vases in the Berlin Museum." 
 
 When he was still curator of the provincial 
 museum at Bonn, Dorow was entrusted by the 
 Prussian Government with an archaeological 
 mission to Italy. He brought over from that 
 country the important collection of Etruscan 
 antiquities now in the Berlin museum, and 
 which is described in this catalogue. 
 
 DOROW (Collection). Notice sur la 
 collection de vases peints et 
 autres monuments de 1'art 
 Etrusque appartenant k Mr. le 
 Conseiller Dorow. Paris, 1829. 
 8, pp. 20. 
 
 Descriptive catalogue written by Raoul 
 Rochette. 
 
 DORR (Dalton). -- The Pennsylvania 
 Museum. The W. Hammer 
 Collection of Greek and Roman 
 antiquities. Philadelphia, 1894. 
 8, pp. 94 ; with 3 pis. 
 
 Painted vases, terra-cottas, and a large 
 collection of Roman lamps. 
 
 114 
 
 DOSSIE (R.) (Anon.). The Handmaid 
 to the Arts. London, 1764. 
 
 2 vols. 8. 2nd edition. " Of 
 the nature, composition, glazing, 
 painting, and gilding of porcelain 
 or china ware, and the conver- 
 sion of glass into porcelain." 
 Vol. ii., pp. 343-396. 12s. 
 
 The treatise is composed of incongruous 
 elements, referring partly to the hard porcelain 
 of the Chinese, and partly to the soft china of 
 England, intermixed in hopeless confusion. 
 While the theory of the composition of the 
 paste is based upon the letters of Pere D'Entre- 
 colles, the practical directions for producing 
 good porcelain appear to have been supplied 
 by some English potter. One may easily notice 
 that the writer had only a poor smattering 
 of the processes of manufacture of his time, for 
 his recipes are all incomplete or untrustworthy. 
 A passage which brings back to memory one of 
 the curious methods by which Oriental porce- 
 lain was originally believed to be imitated in 
 England, deserves to be quoted : 
 
 "I have seen at one of the manufactories 
 carried on near London, eleven mills at work, 
 grinding pieces of eastern china, in order, by 
 the addition of some fluxing or vitreous sub- 
 stance which might restore the tenacity, to 
 work it over again in the place of new matter. 
 The ware commonly produced at this manu- 
 factory was grey, full of flaws or bubbles, 
 wrought in a heavy, very clumsy manner," etc. 
 
 The last chapter is an account of Reaumur's 
 discovery. 
 
 DOSTE (J. E.). Notice historique sur 
 Moustiers et ses faiences. Mar- 
 seilles, 1874. 8, pp. 36 ; with a 
 photogr. view of the town and 
 
 3 pages of marks. 110 copies 
 printed. 4 fcs. 
 
 " Historical notice of Moustiers and its 
 faiences." 
 
 This pamphlet adds little to the work of 
 Davillier, with the exception of a complete list 
 of the marks used in the various manufactories 
 of Moustiers, and a short history of the town 
 which, however, has no reference to the develop- 
 ment of the Faience industry. 
 
 DOUAT (Pere Dominique). - - Methode 
 pour faire une infinite de des- 
 seins differens, avec des carreaux 
 mi-partis de deux couleurs par 
 une ligne diagonale ; ou observa- 
 tions du Pere Dominique Douat, 
 Religieux Carme de la Province 
 de Toulouse, sur un Memoire 
 insere dans FHistoire de 1'Acad- 
 
DOU] 
 
 CERAMIC LITERATURE. 
 
 emie Koyale des Sciences de 
 Paris 1'annee, 1704, presente par 
 le Reverend Pere Sebastien 
 Truchet, religieux du meme 
 Ordre, Academicien honoraire. 
 Paris, Florentin de Laulne, 1722. 
 Sm. 4, pp. 189 ; with 28 pis., 
 containing 72 figs. 7 fcs. 
 
 "A method for forming an unlimited 
 variety of designs by means of the com- 
 bination of square tiles, diagonally divided 
 in two triangles of different colours, 
 etc." 
 
 The number of permutations obtained by two 
 square tiles, each diagonally divided in two 
 triangles of different colours, amount to 16 ; 
 three of these tiles give 64 permutations ; and 
 four tiles, 256. By employing a greater 
 number, it is easily understood that the 
 variety of their geometrical combinations is 
 practically endless. The seventy-two diapers 
 presented by the ingenious friar, only give an 
 idea of the limitless number of designs which 
 may be formed on the same principle. The tile- 
 makers made great use of this work for the 
 composition of tile-pavements. 
 
 DOUBLE (Lucien). - - Promenade a 
 travers deux siecles et quatorze 
 salons. Paris, Impr. Noblet, 
 1878. 8, pp. 53 ; etchings and 
 chromolith.pls. (some copies have 
 34 pis.). 30 fcs. 
 
 "A walk through fourteen reception 
 rooms, and a backward glimpse at the 
 last two centuries." 
 
 While in the possession of Mr. Double the 
 painted services of the Royal Sevres porcelain 
 have, perhaps for the last time, served the 
 actual purpose for which they were manu- 
 factured. At a dinner party, in the mansion 
 of the Rue Louis-le-grand, either the " Buffon " 
 or the "Harlequin" services, both covered 
 with paintings of priceless value were placed 
 before the guests. Vases of Vincennes and of 
 early Sevres vied with chased silver plate of 
 the same period to make the decoration of the 
 dining table a show of unsurpassable beauty. 
 It had been the pride of M. Double to make 
 the aristocratic refinement of the ancient French 
 monarchy revive in the costly and tasteful 
 appointments of a long suite of reception 
 rooms. Nothing was wanting to impress the 
 visitor with the idea that he was transported 
 into the abode of a "grand Seigneur" of the 
 last century. In the volume which the collector 
 was pleased to present to friends as a memento 
 of their visit, the marvels in his possession are 
 briefly described. Copies were illustrated from 
 plates borrowed from the publication, in which 
 objects selected out of his collection had been 
 reproduced ; the number of these added plates 
 varies in almost each copy ; they are engraved 
 
 by Flameng, J. Jacquemart, and other cele- 
 brated etchers. 
 
 DOUBLE (Leopold). Collection d'objets 
 d'art et de tableaux anciens ; 
 precede de deux notices dont 
 1'une sur le celebrecollectionneur. 
 Vente a Paris, 1881. 4, pp. 169 ; 
 with 16 pis. 20 fcs. 
 
 " Collection of works of art and pictures 
 by the old masters ; with a descriptive 
 notice and a biographical sketch of the 
 celebrated collector." 
 
 Dispersed by the chances of the auction sale, 
 the Sevres services so painfully brought to- 
 gether by Mr. Double, will no longer grace the 
 dining table of a refined Amphitryon ; they 
 have gone piece-meal to find a resting place in 
 the glass-cases of other collectors. 
 
 An enterprising expert in curiosity succeeded, 
 after long and untiring researches, in reconsti- 
 tuting the larger part of the service painted at 
 Sevres for the Empress Catherine II., which he 
 sold for an enormous price to the Emperor of 
 Russia. An equivalent amount of trouble will 
 have to be spent by anyone who, at a future 
 date, may attempt to bring together again the 
 scattered pieces of the " Buffon service." The 
 great naturalist himself caused it to be painted 
 at the royal manufactory with copies of the 
 illustrations of his works, and called it the 
 " Sevres edition." 
 
 Complete sets were mercilessly divided, the 
 sugar basin had to part company from the 
 coffee-pot, and the cup from the cream jug. 
 The vases were still left to form a pair. But 
 there are signs of a coming fashion among 
 collectors to be satisfied with a single example 
 out of a pair, and to dispose of the companion 
 at a gratifying profit. 
 
 This catalogue, edited by the brother of the 
 collector, illustrates a particular system of 
 coherent collecting which tends fast to 
 disappear. 
 
 The sale produced 2,610,000 fcs. 
 
 DOUBLET (X.). Nouvias achets tout 
 fres ponnuts a prepous de tchieu 
 1'houme de piarre Brenard Pari- 
 tchi qui 1'aviant piace chez Lav- 
 engue peur encourager les gens 
 a veni mange d'au cafe et a se 
 faire coper les piaux. Saintes, 
 O. Girard, 1866. 8, pp. 10 ; 1 
 lith. pi. 
 
 "New laid verses on the occasion of 
 their placing a man of stone, Bernard 
 Palissy, opposite Lavigne's shop to attract 
 customers and induce them to stop there 
 to eat their dinner and have their hair 
 cut." 
 
 Burlesque poetry written in the Saintongian 
 vernacular. 
 
 115 
 
DOU] 
 
 CERAMIC LITERATURE. 
 
 [DOW 
 
 DOUBLET de BOISTHIBAULT (C.)- Ber- 
 nard Palissy. Paris, Leleux, 
 1857. 8, pp. 21. (Eeprint from 
 Revue archeologique, Jan. 1856.) 
 
 DOULTON & CO. Architectural designs 
 manufactured in imperishable 
 terra-cotta by Messrs. D. & Co., 
 Lambeth. Price list. London, 
 1872. 4 ; with 105 illustrs. 
 
 Increased editions of this price list have 
 been brought out at intervals. 
 
 - International Inventions Ex- 
 hibition, 1 885. A description of 
 the tile panels exhibited by 
 Doulton & Co. London, 1885. 
 12, pp. 12. 
 
 Report of the proceedings on 
 
 the occasion of the unveiling of 
 memorial statue of Henry Fawcett 
 by His Grace the Archbishop of 
 Canterbury. London, Chiswick 
 Press, 1893. 4, pp. 14 ; 1 pi. 
 
 Notes on the Doulton Pot- 
 teries, Burslem, Staffs. The 
 acquisition of the works and its 
 progress. Description of a few 
 of their works exhibited at 
 Chicago. S.I., 1893. 12, pp. 
 24 ; with illustrs. by Noke, Marc 
 Solon and Leon V. Solon, and 
 3 photot. pis. 
 
 An account of the proceed- 
 ings at the presentation to Sir 
 Henry Doulton, by the managers, 
 travellers, clerks, artists, fore- 
 men, and workpeople in his 
 employ. Lambeth pottery. Lon- 
 don, 1895. 8, pp. 32 ; portr. and 
 3 pis. 
 
 Doulton & Co., Ltd. A de- 
 scription of their exhibits at the 
 Paris Exhibition. London, 1900. 
 8, pp. 31 ; with 5 pis. 
 
 Pictures in pottery. A note 
 
 on some hospital wall decora- 
 
 116 
 
 tions recently executed by Doul- 
 ton & Co., Lambeth. London, 
 1904. 12, col. front., pp. 13; 
 and 30 pis. 
 
 - The Royal Doulton. St. Louis 
 Exhibition. By E. F. Begg. Lon- 
 don, 1904. 12, pp. 12; illustrs. 
 
 Catalogue of new effects on 
 pottery at the new Dudley Gal- 
 lery. London, 1906. 16, pp. 
 27 ; with col. pi. 
 
 Some notes on Doulton ware 
 and the productions of the Lam- 
 beth Studio. London, 1906. 4, 
 pp. 12 ; with 1 col. pi. and 6 
 illustrs. 
 
 Royal Doulton sculpture in 
 
 terra-cotta by George Tinworth. 
 London, 1906. 4, pp. 6 ; and 
 6 half-tone pis. 
 
 The discovery of a long-lost 
 
 art. Doulton Sang - de - boeuf, 
 Rouge flambe, Haricot and Peach 
 blow ; by A. V. Rose. London, 
 1907. 8, pp. 14 ; with 4 col. pis. 
 
 DOULTON (Sir Henry). Random recol- 
 lections of a life. London, 1896. 
 8, pp. 22 ; portrait. 
 
 An address delivered by Sir H. Doulton on 
 the occasion of the third annual meeting of the 
 Institute he had founded for the benefit of his 
 workpeople. The lecturer had evidently no 
 intention of making this paper an autobio- 
 graphy, for, although he says a few words 
 about the difficulties he encountered in the 
 beginning of his career, he speaks a good deal 
 more of the people he has known than of 
 himself. 
 
 DOULTON (James). Terra-cotta and 
 stoneware applied to architec- 
 ture. A paper read before the 
 Architectural Society, Liverpool, 
 April, 1875. London, 1877. 12, 
 pp. 31. 
 
 DOWNMAN (E. A.). English pottery 
 and porcelain ; being a concise 
 account of the development of 
 
DRA] 
 
 CERAMIC LITERATURE. 
 
 [DRA 
 
 the potter's art in England. Pro- 
 fusely illustrated. New edition, 
 revised and greatly enlarged. 
 London, Upcott Gill, 1896. 8, 
 pp. 190. 
 
 "The study of ceramics has been, and is, 
 greatly neglected. " . . . " If china and pottery 
 are worth collecting, surely they are worth 
 studying." Having thus disburdened himself, 
 in the preface of the handbook, of the regret 
 he feels at the deplorable state of public 
 ignorance, and intent on laying down the 
 foundations of future instruction in the matter 
 of English ceramics, the writer enters at once 
 into his subject. His account reads very much 
 like an undisguised abridgment of L. Jewitt's 
 Ceramic Art of Great Britain. The familiar 
 set of worn-out woodcuts old enough, by this 
 time, to be left to repose in peace are made to 
 reappear once more on this occasion. Text 
 and illustrations may seem somewhat stale ; 
 one chapter, however, truly original in its 
 purport, deserves special mention. It treats 
 of the old English delft dishes, of which the 
 writer has, it appears, made a small collection, 
 and which he introduces to us under the novel 
 appellation of "Blue dash chargers." With 
 respect to those dishes he deplores again the 
 unpardonable indifference of the ceramic student 
 towards a ware which is, says he, "perhaps 
 the most valuable English pottery." He has 
 never been able to hear where they were made, 
 nor does he know what they are made of, for 
 he has never seen any other articles correspond- 
 ing to his dishes in paste, glaze, and colours. 
 The subjects painted on them are all connected 
 with the Jacobite and Orange questions ; and 
 on that account we are told that their historical 
 value is immense. In the picture of Adam and 
 Eve, so often repeated, we must see an alle- 
 gory of William and Mary: "Marie stealing 
 the throne of England and giving it to her 
 husband. The fruit being always an orange." 
 One might wish other chapters had been treated 
 with an equal freshness of view, the book 
 would then have no equal for its novelty of 
 appreciation imported into old subjects. 
 
 DRAGENDORFF (J.) De vasculis Kom- 
 anorum rubris, capita selecta. 
 Bonn, 1894. 8, pp. 36; with 
 Ipl. 
 
 " The red vases of the Romans ; 
 extracts and comments." 
 
 DRAGENDORFF (Hans). Terra sigillata. 
 Ein Beitrag zur Geschichte der 
 griechischen und romischen Ker- 
 amik. Bonn, 1895. 8, pp. 139 ; 
 with 6 pis. (Extr. from the Jahr- 
 biicher des Vereins von Alter- 
 thumsfreunden in Rheinlande. ) 
 12s. 
 
 "Terra sigillata. A contribution to- 
 
 wards the history of Greek and Roman 
 ceramics." 
 
 A general survey of all the antique pottery 
 bearing an ornamentation obtained by the 
 impression of stamps or seals is given under 
 that above title. The term "Terra sigillata" 
 has been adopted by the German antiquaries ; 
 but whether it is meant to imply a pottery 
 made of the tablets of fine clay, which were 
 sold as a panacea against many evils, and 
 known as " Terra sigillata," or whether it 
 is intended to describe the process employed 
 for the ornamentation of the pottery, the 
 selection of such a name appears equally wrong 
 in either case. The vases were made of a 
 common red clay, used by the potters of many 
 countries, and certainly not of the diaphoritic 
 tablets, not always obtainable, and surely too 
 expensive a substance for making pots. As to 
 what regards the stamping operation, one must 
 remember that in the case of the Arethian 
 ware and its imitations, the reliefs are not 
 stamped on the piece itself; seals were used 
 only to impress ornaments within the mould ; 
 the vessels pressed into a mould ornamented 
 in that manner came out of it completely 
 decorated. 
 
 DRAKE (I. R.). Notes on Venetian 
 Ceramics. London, J. Murray, 
 1868. 8, pp. 40-xxxiv. 5s. 
 (A few copies were printed on 
 large paper with 5 photos.) 
 
 Venetian ceramics were still being studied 
 when Drake contributed to their history the 
 transcript of many documents preserved in the 
 archives of the town. They consist in Peti- 
 tions from the potters, Reports and Decrees of 
 the Senate, to the number of sixty-two. On 
 their authority, and on the evidence supplied 
 by marked specimens existing in the museums, 
 a chronological memorandum has been drawn 
 up of all the manufactories of faience and 
 porcelain which were at work in Venice since 
 the year 1540. The original documents do not 
 go farther back than the middle of the seven- 
 teenth century. Later discoveries have com- 
 S'eted this historical sketch. The work of 
 rake, however, loses nothing of its import- 
 ance, and the complete text of the official 
 records of the period to which they refer will 
 always be consulted with interest. 
 
 DRANE (Collection R.). Cardiff' Corpor- 
 ation Museum. An illustrative 
 selection of old Worcester por- 
 celain on loan by Mr. R Drane. 
 
 Cardiff, 1898. Sq. 8, pp. 28. 
 
 Antique drinking vessels. 
 
 Cardiff, 1905. 8, pp. 21 ; with 
 1 pi. of pottery. 
 
 DRASCHE. Erzeugnisse der Thon- 
 waaren - und - Bau - Ornamente - 
 Fabrik von H. Drasche in In- 
 
 117 
 
DRE] 
 
 GERAMIC LITERATURE. 
 
 [DUB 
 
 zersdorf am Wienerberg. Wien, 
 s.d. (1875?). Fol.; 44 pis., and 
 price list. 
 
 " Pattern book of the earthenware and 
 . architectural terra-cotta of H. Drasche 
 at Inzersdorf." 
 
 DRESSEL (E.). Di un grande deposito 
 di anfore rinvenuto nel nuovo 
 quartiere del castro pretorio. 
 Roma, 1879. 8, pp. 133 ; with 
 12 pis. 6fcs. 
 
 " Of a large accumulation of amphoras 
 discovered in the new quarter of the 
 Pretorian camp." 
 
 Learned and interesting interpretations of 
 the potters' marks impressed on these 
 amphoras. 
 
 Vasi di pasta Egizia smaltata 
 
 con ornato a relievo. Rome, 1882. 
 8, pp. 58 ; with 6 pis. 3 fcs. 
 
 "Vases of Egyptian paste enamelled 
 with ornaments in relief." 
 
 DRESSER (C-)- Japan : its architec- 
 ture, art, and art manufactures. 
 London, 1882. 8; illustrs. in the 
 text. Pottery, pp. 368-414. 
 
 DREWS (M.) and LAUDIEN (M.). Vor- 
 lagen zur Majolica Malerei; auch 
 fur Porzellan-und-Holzmalerei. 
 Berlin, 1881. Fol. pis. in colour. 
 
 " Models for majolica painting ; suit- 
 able for painting both on porcelain and 
 on wood." 
 
 Majolica malerei. Berlin, 
 
 1883. 8, pp. 56. 
 
 "Instructions for paintingon majolica." 
 
 DUBEDAT. Francois Alluaud. Lim- 
 oges, impr. Chapouland, 1873. 
 8, pp. 56. 
 
 Biography of F. Alluaud, one of the leading 
 porcelain manufacturers of Limoges. 
 
 DUBOIS (Etienne). Peinture vitrifi- 
 able. Porcelaine, Email, Faience, 
 Verre et Barbotine. Origine, 
 histoire et fabrication de la por- 
 celaine pate dure, pate tendre, 
 biscuits, couverte, preparation et 
 
 118 
 
 application des couleurs, suivis 
 de 1'art de cuire d'apres les pro- 
 cedes les plus simples. Paris, 
 . Delarue, s.d. (1880 ?). 8, pp. 70. 
 3 fcs. 
 
 " Verifiable painting. Porcelain, 
 Enamel, Faience, Glass, and Barbotine. 
 Origin, history, and manufacture of por- 
 celain, hard and soft bodies, biscuits, 
 glaze, preparation and applications of the 
 colours ; to which is added a method of 
 firing the paintings in the simplest way." 
 
 A long title, and very little more. The 
 chief inducement tendered to the buyer of 
 handbooks, is that this one discloses the 
 secret (?) of a newly discovered process of 
 painting in coloured clays ; a process to which 
 the name of "Barbotine" had been applied. 
 The facility with which an amateur porcelain 
 painter may fire his work in his own stove, is 
 again described in this pamphlet. 
 
 DUBOIS (J. J.). Catalogue d'antiqui- 
 tes egyptiennes, grecques, rom- 
 aines et celtiques formant la 
 collection du Comte de Choiseul- 
 Gouffier. Paris, 1818. 8. 3 fcs. 
 
 - Description des objets d'art 
 qui composent le Cabinet du 
 Baron V. Denon. Paris, 1826. 
 8, pp. 314. 5 fcs. 
 
 Catalogue des vases grecs 
 formant la collection de Mr. C. 
 L. F. Panckoucke. Paris, 1841. 
 8, pp. 26 ; with 2 suppl., pp. 4- 
 3, and a folding pi. containing 
 60 figs. 2 fcs. 
 
 The collection is now in the Museum of 
 Boulogne-sur-Mer. 
 
 - Description des antiques fais- 
 ant partie des collections de Mr. 
 le Comte de Pourtales-Gorgier. 
 Paris, 1841. 12, pp. 196 ; with 
 head and tail pieces and 5 pis. of 
 vases in outline. 5 fcs. 
 
 " Descriptions of the antiquities in the 
 collection of Count Pourtales-Gorgier." 
 
 A handbook to the collection Greek vases, 
 Nos. 123-516 ; terra-cottas, Nos. 795-880. It 
 forms a complement to the publication of 
 Th. Panofka. 
 
 DUBOIS - MAISONNEUYE. See 
 Peintures des vases antiques. 
 
DUB] 
 
 CERAMIC LITERATURE. 
 
 [DUB 
 
 Introduction a 1'etude des 
 vases antiques d'argile peints, 
 vulgairement appeles etrusques, 
 accompagniee d'une collection 
 des plus belles formes ornees de 
 leurs peintures, suiviede planches 
 la plus part inedites, pour servir 
 de supplement aux differents 
 recueils de ces monuments. 
 Paris, impr. P. Didot, 1817-1834. 
 Fol., pp. 48; with 101 pis. in out- 
 line. 306 fcs., and 765 fcs. with 
 col. pi. 
 
 " Introduction to the study of the 
 antique vases of painted clay, commonly 
 called Etruscan ; to which is added a 
 collection of the most beautiful shapes 
 adorned with their paintings ; and illus- 
 trated with plates, mostly inedited, to 
 form a supplement to the various publi- 
 cations on antique vases." 
 
 Trusting to the knowledge of ancient fictile 
 art he had mastered on the occasion of his act- 
 ing as publisher of Millin's great work, Dubois- 
 Maisonneuve ventured to assume, a short time 
 afterwards, the character of a full-fledged 
 antiquarian axithor. From the clumsy wording 
 of the title the letterpress cannot be expected 
 to have much literary merit ; the classical 
 erudition displayed by the writer is of no 
 better quality. As to the engraved plates, 
 they cannot be recommended, either for choice 
 of subjects, or for accuracy of reproduction. 
 
 As a very small edition was published, the 
 work has become extremely scarce. 
 
 DUBOUCHET (A.). Le musee cerami- 
 que de Limoges. Rapport sur la 
 situation de ce musee. Limoges, 
 1873. 8, pp. 31-xxvi. 
 
 " The ceramic museum at Limoges. 
 A report on the present conditions of 
 the museum." 
 
 - La ceramique contemporaine 
 a 1'exposition universelle de 1878. 
 Paris, 1878. 4, pp. 34; with 
 text illustrs. (Reprint from 
 L'Art.) 
 
 " Modern ceramics at the Paris Uni- 
 versal Exhibition of 1878." 
 
 - La ceramique contemporaine 
 a 1'exposition de 1'Union Centrale 
 des Beaux- Arts. Paris, 1885. 
 4, pp. 14; illustrs. (Reprint from 
 L'Art.) 
 
 " Modern ceramics at the Exhibition of 
 the Society TUnion Centrale,' etc." 
 
 Every industrial exhibition in Paris gives a 
 fresh impetus to the progress of ceramic art. 
 We are accustomed to find, on these occasions, 
 more than one artist or nianufacturerendeavour- 
 ing to strike an individual note in the general 
 concert. It may be the feeble and isolated 
 performance of a whimsical fantasist, which 
 simply gives us a moment of amusement as we 
 pass by ; but it may also be a bold stroke, the 
 sound of which shall increase in intensity as it 
 is re-echoed, far and wide, wherever art pottery 
 is produced. The human mind is always hanker- 
 ing after change ; it is necessary, therefore, 
 that artistic taste should be diverted into 
 fresh channels, and new fields opened to 
 technical researches. All efforts made in those 
 directions are faithfully and feelingly recorded 
 in Dubouchet's reports. He was a man of 
 liberal and refined mind, untouched by pre- 
 judice, as ready to welcome any new-fangled 
 notion which appeared to contain a promise for 
 the future, as to admire the master-pieces of 
 departed arts. His name will always be re- 
 membered in connection with the ceramic 
 museum of Limoges, for the foundation of 
 which his native town is chiefly indebted to 
 Dubouchet's generosity and unremitting energy. 
 
 DUBOYSZKY (J.). Anleitung zur Ma- 
 jolika Malerei. S.I., 1891. 8, 
 pp. 64. 
 
 " Introduction to majolica painting." 
 
 Porcelaine. Paris 
 pp. 531 with 221 
 
 DUBREUIL La 
 (1885?). 8' 
 text illustrs. 20 fcs. 
 
 One of the volumes of Fremy's Encyclopedic 
 chimique. 
 
 DU BROC DE SEGANGE (L.). La faience, 
 les faienciers et les emailleurs de 
 Nevers. Nevers, Publication de 
 la Societe Nivernaise, 1863. 4, 
 pp. 303 ; with 22 litho. pis. (some 
 coloured). 60 fcs. 
 
 Nearly all the works forming what we may 
 call the classics of pottery literature belong to the 
 early period of ceramic studies. In these days, 
 when that branch of learning was only appre- 
 ciated by a few, no one would have ventured to 
 write a book on pottery, except in the case of a 
 competent specialist who, having accumulated 
 through a long course of personal research and 
 experience an enormous store of information, 
 felt himself in duty bound to impart something 
 of his knowledge to his brother collectors. 
 The time had not yet come when scores of 
 standard books would offer to the literary 
 pilferer tempting facilities for producing, with- 
 out leaving his arm-chair, a few common- 
 place handbooks, in which the name of the 
 compiler is the only thing unfamiliar to all 
 educated readers. 
 
 Du Broc de Se'gange was one of the early 
 
 119 
 
DUB] 
 
 CIS ft A MIC LITER A TUKE. 
 
 [DUG 
 
 writers, and his work, Lafa'ience de Nevers, is 
 one of the most important in the series of the 
 French monographs which were published 
 almost simultaneously. Like the now classical 
 volumes of Fillon, Pettier, Davillier, Jacque- 
 mart, and their followers, it was eagerly read 
 on its appearance, and will long continue to be 
 highly valued by all students who care for solid 
 instruction. 
 
 A born collector, in constant communication 
 with the best connoisseurs of his day, Du Broc 
 de Segange was, moreover, fully conversant 
 with the history of his native town, and of its 
 once glorious industry. Having a full know- 
 ledge of the innumerable specimens which had 
 passed through his hands, surely no one was 
 better qualified to become the historian of one 
 of the most important centres of faience manu- 
 facture in France. 
 
 Although the author had to depend chiefly 
 on the result of local investigations, he did not 
 neglect to make himself acquainted with what 
 had been written previously on ceramic history. 
 Curiously enough, it was an English book 
 -which supplied him with materials he had 
 vainly tried to discover in the French libraries. 
 In Marryat's History of Pottery and Porcelain, 
 he found the complete text of the earliest 
 records of faience -making at Nevers. Equipped 
 with an abundance of historical documents 
 collected from many sources, he was enabled 
 to take up the thread of the narrative from the 
 very commencement. He traced the arrival 
 in the town of the Conrads, a family of Italian 
 potters from Savona, who came at the instance 
 of the Duke Louis de Gonzague, and established 
 under his direct patronage a manufactory of 
 painted majolica, after the methods used in 
 their country. He was able to relate the 
 numerous favours the noble Duke was pleased 
 to lavish upon the foreign artizans ; treating 
 them, in many respects, with a degree of con- 
 sideration which made them the equal of the 
 noblemen of his court. Rapidly the manu- 
 facture developed into one of the most 
 important industries of the town. The gradual 
 transformations of the style of decoration are 
 illustrated in the book by the description and 
 reproduction of characteristic specimens repre- 
 senting the successive stages. There is scarcely 
 any blank left in those exhaustive annals of 
 the craft ; the account follows it in its ascend- 
 ing and declining march from step to step, we 
 may say, from year to year. 
 
 From the civic registers the author has com- 
 piled the pedigree of the chief families of the 
 town, supplemented with a complete list of all 
 the masters, painters, workmen, and merchants 
 connected with the trade. Long and irksome 
 as such a list may appear, the collector may 
 find it, in some cases, well worth consulting. 
 Not only does it contain all the names found 
 inscribed on the ware and on the registers, but 
 also many a name quoted in the history of other 
 centres in which Nivernean craftsmen settled, 
 and occupied a leading position. The import- 
 ance of such documents as to the migration of 
 master potters and operatives from one centre 
 to another could not be overrated. 
 
 After having rapidly passed over the epoch 
 of the French revolution and the production 
 of Faiences patriotiques, the book reviews the 
 present conditions of faience manufacture at 
 Nevers. Some efforts have been made, it is 
 
 120 
 
 true, to restore the prestige of the old industry ; 
 but it is a heavy task to re-establish the de- 
 parted prosperity of an art well nigh forgotten, 
 and it is not on the imitation of the ancient 
 style that modern manufacturers should depend 
 for a renewed course of success. 
 
 DUG. Rapport adresse a Mr. le 
 Ministre de Flnstruction pub- 
 lique par Mr. Due, membre de 
 1'Institut, au nom de la Com- 
 mission de perfectionnement de 
 la Manufacture Nationale de 
 Sevres. Paris, impr. Nat., 1875. 
 4, pp. 67. 
 
 Second Rapport, etc. Paris, 
 
 1877. 4, pp. 7. 
 
 A committee had been appointed by the 
 French government to examine the productions 
 of the manufactory of Sevres, and suggest what 
 improvements could be introduced in the artistic 
 direction. At the end of the year, the ques- 
 tions discussed by the committee, and the 
 resolutions they had arrived at, were embodied 
 in a report drawn up by one of the members. 
 Speaking in the name of his colleagues, Mr. 
 Due, an architect of the classical school, after 
 having passed the works of the year under 
 review, indulges in the exposition of his 
 personal views on art. He starts from the 
 principle that the laws of the aesthetics are 
 the same whether applied to ceramics or to 
 architecture, and expatiates upon the noble 
 and lofty aim that an artist should always 
 strive to attain. But how porcelain decora- 
 tion could be brought level with such high- 
 soaring theories is a problem that the writer 
 himself would not dare to solve. All he has to 
 propose, in order to lessen the painful ignorance 
 of the ceramic artist, is the establishment of a 
 superior school of decorative art. Like all 
 other theorists, he is strong in denouncing the 
 evils that have to be fought against, but the 
 remedies he advocates had been tried, long 
 before, and had not been attended with the 
 expected result. 
 
 DU CHATELLIER (Paul). Lapoterieaux 
 epoques prehistoriqueetGauloise 
 en Armorique. Rennes, J. Plihon 
 & Herve, 1897. 4, pp. 60 ; with 
 17 pis. 15 fcs. 
 
 "The pottery of the prehistoric and 
 Gallic periods in Armorica." 
 
 A valuable contribution to the study of the 
 pottery made by the prehistoric races." Many 
 useful observations suggested by the rude 
 earthen vases found in the dolmens of Brittany 
 are presented here for the first time, in addi- 
 tion to a well-digested summary of the present 
 state of knowledge on the question of primitive 
 ceramics. 
 
 DU CLEUZIOU (H.). De la poterie 
 gauloise. Etude sur la collection 
 
CERA MIC LITER A TURE. 
 
 [DUF 
 
 Charvet. Paris, Baudry, 1872. 
 8, pp. 309; with 207 illustrs. 
 8 fcs. 
 
 " The Gallic pottery ; a study on the 
 Charvet collection." 
 
 The author belongs to an enthusiastic sect 
 of French patriots, to whom the productions of 
 ancient art in the country appeal, chiefly, as 
 being a spontaneous manifestation of truly 
 national art. Talented architects, headed by 
 Lassus and Viollet-le-Duc, had heralded the 
 movement. They advocated the recognition of 
 a genuine and independent French art, which 
 found its most glorious expression in the pure 
 Gothic style. They demonstrated that, by 
 innovating a system of construction based 
 entirely on rationalism, and adopting a form 
 of ornamentation which borrowed its elements 
 from nature alone, Gothic architecture had 
 liberated itself from the sway of Romanesque 
 tradition, which was nothing else but a debased 
 remnant of classical art. 
 
 A crowd of disciples congregated round the 
 masters, all animated with equal zeal for pro- 
 pagating the new doctrines. A few of them, 
 going farther back into the past, went so far as 
 to detect the impress of an inborn originality 
 in the earliest works of the Gallic race, regard- 
 less of the surrounding influences to which the 
 very existence of these works may be attri- 
 buted. Actuated by a similar motive, Mr. Du 
 Cleuziou lias undertaken to point out the 
 idiosyncrasic features which distinguish the 
 earthen vessels formed and decorated by 
 the native Gaul from the pottery made by 
 the Roman conqueror at a corresponding 
 period. 
 
 We must pass over a lengthy preamble treat- 
 ing of the use of vases of clay in connection with 
 the rites and ceremonies practised by ancient 
 nations, to come at once to the avowed purpose 
 of the book, which is to initiate us into the 
 aesthetics of true Gallic art, as exemplified in 
 ornamented pottery. Many examples are pro- 
 duced to illustrate a most ingeniously 
 propounded theory. Signs of undeniable ori- 
 ginality are said to be authenticated in a 
 particularly elegant shape, a graceful flower, a 
 delicate wreath of foliage, or a telling inscrip- 
 tion. Unfortunately, these illustrations act as 
 a double-edged argument which cuts both ways. 
 While the writer regards them as supporting 
 his theory that the Gallic potter was the first 
 to make the reproduction of natural objects 
 enter in the decoration of pottery, a critical 
 spirit may rightly insinuate that the very same 
 designs appear frequently on the terra-cotta of 
 Roman origin, and that they might, conse- 
 quently, be taken as indicating the work of 
 an Italian hand. Much is said about the 
 humouristic turn of the inscriptions in which 
 the Gaulish spirit can be easily recognised ; 
 but we cannot lose sight of the fact that they 
 are all in the Latin language, and that Latin 
 was not altogether devoid of the vis comica. 
 Lastly, it is to be remembered that, when the 
 country was rid of foreign oppression, the 
 native potter, far from emancipating his art 
 from the influence of the Roman style, ceased 
 from that moment to produce ornamental work 
 of any kind. 
 
 DUCUING (FT.). Imposition univer- 
 selle de 1867. Paris, 1867. 2 
 vols. Fol., pp. 960 ; with num. 
 illustrs. 60 fcs. 
 
 " The International Exhibition of 
 
 1867." 
 
 DUDLEY (Collection of the Earl of). Cata- 
 logue of sale. London, Christie, 
 ] 886. 8, pp. 20 ; with 22 photos. 
 10s. 
 
 One of the richest collections of Sevres 
 porcelain ever offered for sale ; the catalogue 
 contains 166 numbers, amongst which are many 
 sets and pairs of richly decorated vases, and 
 several dessert services. The highest price 
 realised was 2,782 for a set of three vases. 
 Two pairs of Chelsea vases fetched over 2,000 
 a pair. 
 
 DUESBURY (W.). List of the principal 
 additions made this year to the 
 new invented groups, jars, vases, 
 urns, beakers, cups, chalices, etc., 
 of Mr. Duesbury's Derby and 
 Chelsea manufactory of porce- 
 laines, biscuits, and china ware, 
 both ornamental and useful. 
 S.I., n.d. London (1774?). 8, 
 pp. 15. 
 
 This rare catalogue_comprises 123 Nos. It 
 reprinted in W. 
 and Derby Porcelain. 
 
 is reprinted in W. Bemrose's Bow, Chelsea, 
 De 
 
 Catalogue of an elegant and 
 
 extensive assortment of Derby 
 and Chelsea porcelain, etc., at 
 Messrs. Christie & Manson's 
 great rooms, etc., to be sold by 
 auction, 7th May, 1782, and four 
 following days. 8, pp. 32. 
 
 China on sale by the Candle 
 
 at Mr. William Duesbury's 
 warehouse, Wednesday, the 9th, 
 and Thursday, the 10th March, 
 1785, etc. Derby figures, etc. 
 Sold by auction by W. Hunt. 
 Fol., pp. 12. 
 
 Reprinted in L. Jewitt's Ceramic Art. 
 
 DUFOUR. Observations sur des noms 
 de potiers et de verriers remains. 
 Amiens, 1848. 8, pp. 23. (Re- 
 
 121 
 
DUF] 
 
 CERA MIC LITER A TURE. 
 
 [DUH 
 
 print from Memoires de la Soc. 
 des Antiquaires de Picardie.) 
 
 " Remarks upon some names of Roman 
 potters and glass-makers." 
 
 DU FRAISSE DE YERN1NES- Parallele 
 des ouvrages de poterie d'Auver- 
 gne anciens et modernes. Paris, 
 A. Aubry, 1874. 8, pp. 15. 
 (100 copies reprinted from the 
 Bulletin du Bouquiniste.} 
 
 "Analogy of the ancient and modern 
 pottery of Auvergne." 
 
 A MS. memoir written by an eminent juris- 
 consult of the middle of the eighteenth century, 
 published, with introductory notes, by M. Paul 
 Le Blanc. The writer having noticed the simi- 
 larity of material presented by some remarkable 
 specimens of ancient pottery and the common 
 ware made in his day, came to the conclusion 
 that manufactories of a superior kind of pottery 
 must at one time have existed in Auvergne, and 
 he regretted that no record had been kept of 
 the departed industry. He succeeded in col- 
 lecting information concerning two abortive 
 attempts to manufacture painted faience, started 
 at Clermont-Ferrand about fifty years before 
 his time. He took note of all particulars, in 
 view of supplying future historians with reliable 
 materials. This MS. makes a curious exception 
 to the apparent neglect into which the pottery 
 industry seems to have fallen at that time. We 
 must say that no modern provincial collector, 
 proud of having found the traces of an old pot 
 works, the glory of the locality, could have dis- 
 played more zeal in his researches or more 
 accuracy in describing the smallest particulars 
 of his discovery. 
 
 DU HALDE (Pere J.). Description geo- 
 graphique, historique, chrono- 
 logique, politique et physique de 
 1'Empire de la Chine. 1736. 
 4 vols. Fol. ; maps, plates, and 
 illustrations. Translated into 
 English under the title : 
 
 - The general history of China 
 . . . done from the French. 
 London, 173Q. 4 vols. 8; pis. 8s. 
 
 Vol. 2 contains the translation of the letters 
 
 of P. d'Entrecolle, describing the manufacture 
 
 of Chinese porcelain ; pp. 309-355. This 
 
 ' translation, though incomplete, is tolerably 
 
 accurate. 
 
 DUHAMEL DU MONCEAU, FOURCROY ET 
 GALLON. L'art du tuilier et du 
 briquetier. Paris, 1763. Fol., 
 pp. 67 ; with 9 pis. (In the En- 
 cyclopedic, ou dictionnaire raisonne 
 122 
 
 des Sciences et des Arts et Metiers, 
 par Diderot etd'Alembert. Paris, 
 1751-80.) 
 
 " The art of brick and tile making." 
 The idea of the Grande Encydoped.it 
 originated from the publication of Chambers' 
 Cyclopaedia. A French publisher had com- 
 municated to Uiderot the intention he had of 
 bringing out a translation of the English work, 
 Diderot conceived the plan of enlarging upon 
 the original scheme, and of editing a series of 
 practical treatises which, written by noted 
 specialists, would form an emporium of 
 technical knowledge never attempted before. 
 Seldom has a project of such magnitude been 
 carried to such a successful end. The Royal 
 Academy of Sciences gave its sanction and 
 practical assistance to its accomplishment. 
 The technicology of all trades have, since that 
 time, undergone great modifications, yet much 
 is still to be gained by an acquaintance with 
 the methods and processes used by our fore- 
 fathers in the making of such works as we 
 admire as models of their art. In this treatise, 
 the first contributed under his name to the 
 Encyclopedic, Duhamel du Monceau, a member 
 of the French Academy, has only accompanied 
 with notes of his own the papers supplied by 
 two experienced manufacturers. A vocabulary 
 of the terms then used in the brick and tile 
 trade is placed at the end. 
 
 L'art de faire les pipes & 
 fumer le tabac. Paris, 1771. 
 Fol., pp. 33; with 11 pis. (In 
 the Encyclopedia.) 
 
 "The art of tobacco-pipe making." 
 All the materials used in this treatise were 
 supplied by the tobacco-pipe manufacturers of 
 Rouen and Saint Omer, in France, and Leyden 
 and Gouda, in Holland, then the chief centres 
 of production. The plates represent the tools 
 used by the pipe-makers, the special ovens in 
 which the pipes are baked, and the various 
 forms of French, English, and Dutch tobacco 
 pipes. 
 
 L'art du potier de terre. 
 Paris, 1773. Fol., pp. 84; with 
 17 pis. engr. by Ransonette. (In 
 the Encyclopedie.} 
 
 " The art of the earthenware potter." 
 
 Although not a professional potter, Duhamel 
 du Monceau took a special interest in pottery 
 manufacture, and, a constant visitor to the 
 faience factories of Paris and the environs, he 
 had conducted many practical experiments for 
 the improvement of the trade. So he wrote not 
 only from information supplied by the best 
 manufacturers of the time, but also from the 
 result of his personal experience. He had 
 established a correspondence with the chief 
 master-potters of several provinces, and from 
 the particulars he obtained in that way he was 
 able to describe the points through which the 
 productions of various localities differed from 
 
CERA MIC LITER A TURK. 
 
 [DUM 
 
 each other. A chapter has been set apart for 
 the description of English pottery. It was 
 based on notes supplied to him by one of his 
 colleagues at the Academy, Mr. Jars, who had 
 visited the Staffordshire potteries in 1765. The 
 account consists in generalities of no special 
 interest ; the process of salt-glazing is reported 
 upon at full length and with accuracy. 
 
 Attention must be given to the plate in 
 which is figured the ancient whe^l of the pot- 
 maker. It is actually a cart wheel turning on 
 a central pivot, and set in motion by the thrower 
 by means of a long stick. 
 
 DUMAS. Eloge tie MM. Alexandre 
 Brongniart et Adolphe Brongni- 
 art, membres de F Academic des 
 Sciences. Lu dans la seance pub- 
 lique annuelle de 1' Academic des 
 Sciences. Paris, F. Didot, 1877. 
 4, pp. 40. 
 
 An appreciation of the works of A. Brong- 
 niart, author of the Trait6 des Arts Ceramiques, 
 and for nearly fifty years Director of the 
 manufactory of Sevres, with a sketch of his 
 life. 
 
 DUMESNIL (A.). Legendes franaises. 
 Bernard Palissy, le potier de 
 terre. Paris, Librairie nouvelle, 
 1851. 18, pp. 142. 5 fcs. (An 
 English translation has appeared 
 in Memoirs of Celebrated Charac- 
 ters. London, Bentley, 1854.) 
 
 " French legends. B. Palissy, the 
 potter." 
 
 Appreciations of Palissy's character differ so 
 much, according to each of his biographers, that 
 we must not be surprised to see him considered 
 here under quite a new light. This time it is 
 as a true-born peasant, a son of the soil, that he 
 is presented to us. If he became a potter it is 
 because " 1'art de terre," as he called it himself, 
 is the best art that a peasant could choose. 
 Having spent a contemplative youth in the 
 fields and the woods, discoursing upon the earth, 
 the water, the flowers, and the trees was quite 
 natural to him in after life. Always happy in 
 the contemplation of nature he was bound to 
 seek in natural objects the elements of decora- 
 tion of his rustic pottery. His genius is com- 
 pared to that of La Fontaine, also, says the 
 writer, a born peasant who had many points of 
 resemblance with Palissy. The development 
 of the above theme is ingeniously supported by 
 copious quotations from the original works. 
 
 DUMMLER (P.)- Einige eleusinische 
 Denkmaler. Basel, 1894. 4. 
 (In Fesibuch zur Eroffnung des 
 historischen Museums. ) 
 
 " Some monuments relating to the 
 Eleusinian mysteries." 
 
 DUMMLER (K.) Die Ziegel-und Thon- 
 waaren-Industrie in den Vere- 
 inigten Staaten und auf der 
 Columbus - Weltausstellung in 
 Chicago, 1893. Halle a, S., W. 
 Knapp, 1894. 4, pp. 180; with 
 13 autotyp. pis. and 172 illustra- 
 tions of views, exhibits, and 
 machinery. 15 m. 
 
 " The tile and earthenware industry in 
 the United States, and at the Inter- 
 national Exhibition of Chicago in 1893." 
 
 A complete survey of the numerous and 
 important American manufactories of brick 
 and tiles, and terra-cottas for building or 
 decorative purposes, occupy the larger part 
 of this exhaustive report. The porcelain and 
 earthenware sent to the Chicago exhibition 
 by the European firms are also passed under 
 review. The last part describes the latest 
 machines applied to the manufacture of bricks 
 and tiles. 
 
 - Handbuch der Ziegel-Fabrik- 
 ation. Die Herstellung der 
 Ziegel, Terrakotten, Kohren, 
 Flatten, Kacheln, feuerfesten, 
 Waaren, und aller anderen Bau- 
 materialen aus gebrannten Thon 
 umfassend. Unter Mitwirkung 
 vonBaurath Friedrich Hoffmann, 
 bearbeitet von K. Diimmler. 
 Halle a. S., W. Knapp, 1897. 8; 
 illustrs. in the text. 32 m. 2nd 
 ed. Berlin, 1900. 3rd ed. Ber- 
 lin, 1908. 8, pp. 570 ; with 521 
 illustrs. 36 m. 
 
 " Handbook of the brick and tile manu- 
 factures. Comprising the making of 
 bricks, terra-cotta, drain pipes, slabs, 
 tiles, refractory ware, and all other 
 articles of pottery in use in the building 
 trade." 
 
 The various sections of this book have also 
 been published in a separate form. 
 
 DUMONT (Albert). Inscriptions Cer- 
 amiques de Grece. Paris, 1869. 
 Archives des Missions Scienti- 
 fiques. 8 , pp. 445 ; with numerous 
 facsimiles of marks and 14 engr. 
 pis. 15 fcs. 
 
 The collection of inscriptions and potters' 
 marks gathered in Greece, and published by 
 Mr. Dumont, is limited to those found impressed 
 
 123 
 
CERA MIC LIT ERA TURE. 
 
 [DUP 
 
 or incised on terra-cotta, and does not include 
 any of those seen on painted vases. 
 
 DUMONT (Albert). Peintures cerami- 
 ques de la Grece propre. Re- 
 cherches sur les noms d'artistes 
 lus sur les vases de la Grece. 
 Paris, 1874. 4, pp. 62. 7 fcs. 
 
 "The ceramic paintings of Greece. Re- 
 searches upon the artists' names read upon 
 the vases of Greece proper." 
 
 Terres cuites orientales et 
 greco-orientales. Chaldee, As- 
 syrie, Phenicie, Cbypre, Rhodes. 
 Paris, 1884. 4. 
 
 " Oriental and Greco-Oriental terra- 
 cottas." 
 
 A review of Heuzey's work : Catalogue des 
 figurine* antiques du Musee du Louvre,. This 
 paper is reprinted in the following work. 
 
 DUMONT (A.) et CHAPLAIN (J.).-Lescer- 
 amiques de la Grece propre. 
 Vases peints et Terres cuites. 
 Paris, F. Didot, 1881-1890. 4. 
 Premiere partie : Vases peints, 
 pp. 420 ; avec 40 pis. Seconde 
 partie : Melanges archeologiques, 
 pp. 260 ; avec 40 pis. et 53-16 
 illustrs. 60 fcs. 
 
 " The ceramics of Greece proper. 
 Painted vases and terra-cottas." 
 
 During the course of their archaeological 
 mission in Greece, Messrs. Albert Dumont and 
 Jules Chaplain, both members of the French 
 Academy, conceived the idea of publishing a 
 history of the painted vases and terra-cottas 
 found in Greece proper, a work for which the 
 last excavations undertaken by Schliemann, 
 and the schools of archaeology maintained in 
 Athens by foreign governments, had supplied 
 an abundance of inedited materials. Death 
 surprised Mr. Dumont before he had time to 
 write more than the first chapter ; this part of 
 the letterpress stops at the period of the black - 
 figured vases. The second volume is made up 
 of articles on various subjects, viz. : terra- 
 cottas, bronzes, and marbles, reprinted from 
 the learned serials in which they had appeared. 
 The drawings were prepared by Mr. Chaplain, 
 for the illustration of the work, quite inde- 
 pendently. They reproduce objects preserved 
 in the public and private collections of Athens, 
 and which had not, at that time, been engraved 
 in other publications. Scarcely any reference 
 having been made to these by Mr. Dumont, 
 the description of the plates was entrusted to 
 Mr. E. Pettier, who provided their elucidation 
 in two appendices : Painted vases and Terra- 
 cottas. The engraving of the plates is due to 
 Mr. Jacquet, well known for his illustrations 
 
 124 
 
 of Heuzey's work, Leu figurines antiques de 
 terre cuite. 
 
 DUPRE (L). Les carreaux emailles 
 du Palais de Justice de Poitiers. 
 Poitiers, 1903. 8, pp. 11 ; with 
 Ipl 
 
 " Enamelled tiles from the ' Law 
 Courts ' of Poitiers." 
 
 The building now assigned to the Law 
 Courts was built towards the end of the 
 fourteenth century by Duke Jean de Berry. 
 He caused the "Sarrazin Jehan de Valence" 
 to come over from Spain to Poitiers and make 
 tiles, in obra dorada, after the manner used in 
 the Spanish country, for the decoration of the 
 palace then in course of erection. A list, 
 dated 1384, which enumerates all the raw 
 materials that were supplied to the Moorish 
 potter for the making of these tiles, has come 
 down to us. From it we can safely infer that 
 the tiles were to be painted with metallic 
 lustres. The point is of historical importance 
 when we recollect that, at this early date, 
 lustres had not yet been introduced into Italy, 
 where the process was to receive such an 
 important development. Two fragments of 
 circular form, all that has been recovered from 
 the ancient pavement, show a fine white 
 stanniferous enamel and three Jteurs-de-lys 
 the arms of the Duke Jean reserved upon a 
 ground of turquoise blue glaze. An article on 
 the subject appeared in the Burlington Maga- 
 zine, November, 1907. 
 
 DUNCKER. Das Romercastell und 
 das Todtenfeld in der Kinzignie- 
 derung bei Ruckingen. Hanau, 
 1873. 4, pp. 50 ; with 5 lith. 
 pis. 3 m. 
 
 " The Roman castle and burial ground 
 near Ruckingen." 
 
 A large number of fragments of Samian 
 pottery are reproduced on the plates. 
 
 DUPLESSIS (Camille). Etude sur la vie 
 et les travaux de Bernard Palissy. 
 Agen, 1855. 8, pp. 170. (Re- 
 printed from the Recueil des 
 travaux de la Societe d Agricul- 
 ture, sciences et arts de Saintes, 
 1855.) 3 fcs. 
 
 " A study of the life and works of B. 
 Palissy." 
 
 This paper obtained the first prize in a com- 
 petition opened in 1855 by the town of Agen 
 for a life of Palissy. On such occasions it is 
 the ambition of each competitor to outstrip the 
 others in belauding the memory of the hero 
 they have to glorify. It is a panegyric they 
 have to write ; it must give a glowing picture 
 of an incomparable genius to whom any tribute 
 of praise shall always fall short of his deserts. 
 This essay has been conceived on these lines ; 
 
DUP] 
 
 CERAMIC LITERATURE. 
 
 [DUR 
 
 it bestows the full measure of homage and 
 admiration upon the works of Palissy, con- 
 sidered as a philosopher, a scientist, and a 
 potter ; of his private character nothing is said 
 but what will redound to his spotless glory. 
 It is good to recollect, when we read it, that a 
 panegyric like an epitaph must be taken 
 with grains of allowance. 
 
 DUPONT-AUBERYILLE (Collection). Cata- 
 logue des porcelaines anciennes, 
 pate-tendre, etc. Paris, 1885. 
 12, pp. 96 ; with 3 pis. 
 
 This catalogue, comprising 408 numbers, is 
 of great interest for the history of French 
 porcelain. The collector's aim is to illustrate 
 with authentic specimens the earliest periods of 
 manufacture at Kouen, Saint Cloud, Chantilly, 
 Mennecy, etc. 
 
 DUPUIS (Ernest). --Bernard Palissy. 
 L'homme, Fartiste, le savant, 
 1'ecrivain. Paris, Lecene, Oudin, 
 1894. 18, pp. 334. 3 fcs. 
 
 " Bernard Palissy. The man, the 
 artist, the scientist, the writer." 
 
 So hackneyed has the subject become that 
 the mere title of a work upon Palissy and his 
 life acts upon us as a deterrent from opening the 
 volume ; this one is, however, no common- 
 place book, and it cannot be dismissed without 
 granting it the recognition it deserves. A dip 
 into its pages is sure to excite a desire to con- 
 tinue the perusal. 
 
 The Palissian literature contains much that 
 is sagacious and instructive, and much which is 
 simply shallow, unreliable, and wearisome. 
 Mr. Dupuis, having gone through all previous 
 commentaries, has condensed the result of his 
 investigation into a judicious summary, from 
 which all uncertain or irrelevant matter has 
 been carefully eliminated. 
 
 His trusty text-book, however, remains the 
 original memoirs of the master. But he seems to 
 have seen clearer than any of his forerunners into 
 the obscurity of certain passages, and he never 
 ventures on a suggestion which is not sub- 
 stantially supported by an appropriate quota- 
 tation from Palissy's work. It is with the 
 assistance of the dissecting knife and the 
 microscope that he proceeds to his literary 
 analysis. A disciple of the modern school, the 
 cautious biographer declines to accept any- 
 thing which has not been established as an 
 absolute fact. Whenever a still open query 
 admits of more than one elucidation, he lays 
 before the reader the various sides of the 
 controversy, but does not express his personal 
 opinion on their respective merits. 
 
 For instance, he makes no attempt at 
 settling the tangled question of Palissy's birth- 
 place. He is equally reticent on the following 
 points on which so much has been written, but 
 so little has so far been ascertained. What was 
 the social condition of the man in the early 
 period of his life ; how was he induced to 
 adopt the unprofitable and unpromising trade 
 of a pot- maker ; and what were the actual 
 bearings of his protracted experiments? As 
 
 to the real circumstances of Palissy's death 
 the bone of contention of the biographer he 
 confesses that he has nothing to say. Placed 
 between the precise statement of Daubigne', a 
 contemporary historian, and the confuting 
 argumentation of Audiat, a modern critic, he 
 does not feel himself qualified to decide upon 
 the validity of either. 
 
 In many parts of the book, we find an 
 evident inclination to review the discussion on 
 certain questions which exhaustive debates 
 seemed to have finally settled. Judicious as 
 this course may be for the advance of know- 
 ledge, it has the disadvantage of rendering the 
 legendary side of the life of the great potter 
 more obscure than ever. If it could be proved 
 that all we believe to be true is, after all, based 
 on mere conjectures, the time may come when 
 the very existence of Palissy will be doubtful. 
 Then some clever philosopher will clearly 
 demonstrate that he was but an imaginary 
 personage, an allegorical figure embodying the 
 intellectual struggles of the epoch. 
 
 The fourth part of the volume, which treats 
 of Palissy as a literary man, is Mr. Dupuis' 
 special contribution to the subject. In it 
 he becomes most precise and accurate in his 
 philological remarks. No one had ever sub- 
 mitted the language of the memoirs to such a 
 critical examination. He shows us that, far 
 from being the rustic and uneducated man that 
 he repeatedly boasts of being, the author of 
 the Recette veritable, and the Discours admir- 
 ables, was a thoroughly well read man, who had 
 turned his studies to good profit. Palissy 
 wrote in the best French of the period ; the 
 phraseology is correct and clear, the choice of 
 words is ample and excellent ; the expression 
 being often forcible and vigorous. Highly 
 sensitive to the beauties of fields and woods, 
 nature has inspired him with many an eloquent 
 page ; picturesque and even poetical images 
 abound in his writings. The style becomes 
 particularly bold and incisive when the writer 
 gives vent to his sarcastic power. Well 
 selected quotations help us to side with Mr. 
 Dupuis, when he says that Palissy's works can 
 stand comparison with those of the best writers 
 of the period, and that, on this score at least, 
 full justice has not been rendered to him. 
 
 DURAND. Eapport sur la fabrique de 
 poterie de Mr. David Johnston. 
 Paris, 1839. 8, pp. 15. 
 
 A report, addressed to the Academy of 
 Sciences and Arts of Bordeaux, on the earthen- 
 ware factory established by D. Johnston. It 
 is the same factory which, under the direction 
 of Mr. Viellard, stood at the head of the trade 
 in the South of France up to the last few years. 
 
 DURAND (Collection E.). Descriptions 
 des antiquites et objets d'art qui 
 composent le cabinet de feu Mr. 
 le Chevalier E. Durand, par J. 
 de Witte, membre de 1'institut 
 archeologique de Rome. Paris, 
 1836. 8, pp. 544 ; with 5 pis. 
 5 fcs. 
 
 125 
 
DUR] 
 
 CERAMIC LITERATURE. 
 
 [DUS 
 
 " Description of the antiquities and 
 works of art in the collection of the late 
 E. Durand." 
 
 One of the finest private collections of 
 painted vases and terra-cottas. The chief 
 museums of Europe have profited by its 
 dispersal. In the learned catalogue, prepared 
 by Jean de Witte, the Greek vases are arranged 
 under seven headings, according to the subjects 
 painted on them. 
 
 DURAND-GREYILLE. De la couleur du 
 decor des vases grecs. Paris, 
 Leroux, 1891-92. 8, pp. 22-23. 
 (Reprint from the Revue arclieo- 
 logique.) 
 
 " The colours employed for the decora- 
 tion of the Greek vases." 
 
 Upon the white ground of certain Greek 
 vases the subjects appear to have been 
 pencilled with a brown, red, or yellow outline. 
 After having read the minute observations 
 presented in this paper, it is no longer possible 
 for us to doubt that the colour originally used 
 by the painter was a black oxide of iron which, 
 under atmospherical influences, has become 
 partially discoloured. All attempts at classifi- 
 cation by means of the colours employed, should 
 therefore be abandoned. 
 
 DURELLI (Gaetano e Francesco). La cer- 
 tosa di Pavia descritta ed illus- 
 trata con tavole incise dai fratelli. 
 G. e F. D. Milano, 1853. Fol.; 
 60 pis. 
 
 " The certosa of Pavia described and 
 illustrated with plates engraved by the 
 brothers G. and F. D." 
 
 Remarkable examples of architectural terra- 
 cotta. 
 
 DU SARTEL (0.). La porcelaine de 
 Chine. Origines, Fabrication, 
 Decors et marques. La porcelaine 
 de Chine en Europe. Classement 
 chronologique. Imitations, con- 
 trefa9ons. Paris, V e A. Morel, 
 1881. 4, pp. iii-230; with 14 
 heliogr., 18 chromolith. pis., and 
 120 illustrs. in the text. 200 fcs., 
 and 400 fcs. on Japanese paper. 
 
 "Chinese porcelain. Historical notes, 
 manufacture, decorations, and marks. 
 Chinese porcelain in Europe. Classifica- 
 tion in chronological order. Imitations 
 and counterfeits." 
 
 A handsome volume, printed in good style 
 and adorned with splendid chromolithographs 
 plates ; altogether a feast for the eye. But 
 before expressing an opinion upon the value 
 
 126 
 
 that may be attached to the letterpress, we 
 must wait until some learned mandarin, con- 
 versant with the mysteries of the Siouen-te, 
 and Kien-long porcelain, has passed his judg- 
 ment as to its reliability. In our utter ignorance 
 of those questions we have to listen and bow 
 whenever any self-appointed professor of 
 orientalism volunteers to lecture upon some 
 misty points of eastern knowledge. Almost 
 the only source whence our learning is derived 
 on the subject of Chinese ceramics is the work 
 of Stanislas Julien ; without it, this book, like 
 many others, would lack the prestige of the 
 formidable words, printed in italics, with a 
 hyphen drawn between their many syllables. 
 To apply the shadowy descriptions of the MS., 
 of which S. Julien has given a translation, to 
 the porcelain of all styles, which the traders 
 with China have thrown with inextricable con- 
 fusion upon our continent, has been the chief 
 trouble of the commentators. Who shall say 
 whether they have been right or wrong in 
 their venturous speculations? The Chinese 
 literature may or may not boast of an esteemed 
 handbook, written by a learned collector of the 
 Celestial Empire who, having formed a museum 
 of the ceramic productions of the nations of 
 the west, has confidently given to his country- 
 men a history of European porcelain. His 
 documents were a few odd volumes written in 
 English or French, which -he could not under- 
 stand, supplemented with the informations 
 supplied to him by some travellers coming 
 from distant countries. A look at such a 
 book if such a book is in existence might 
 open our eyes upon the probable worth of the 
 books upon Oriental porcelain, which we have 
 written under nearly similar conditions. 
 
 Mr. Du Sartel has never resided in China ; 
 the Chinese tongue is unknown to him, so that 
 the technical works written in that language 
 if they could easily be obtained would be 
 a closed letter to him. But he was in no worse 
 situations than all his predecessors, whose 
 publications he has largely put under contribu- 
 tion. He has not always been happy in the 
 parts he has selected to borrow. The fanciful 
 designation of famille verte, and famille rose, 
 for instance, which disregards all order of 
 origin and epochs, had better be left to the 
 author who introduced it. 
 
 - Rapport de la Commission de 
 perfectionnement de la Manu- 
 facture Nationale de Sevres. 
 Macon, 1884. 4, pp. 49. 
 
 " Report of the committee of improve- 
 ment on the last productions of the 
 National Manufactory of Sevres." 
 
 DU SARTEL (Collection). Catalogue des 
 porcelaines de la Chine et du 
 Japon composant la collection de 
 Mr. O. Du Sartel. Vente a Paris, 
 Avril, 1882. 4, pp. 133; text 
 illustrs. and a folding pi. in cols, 
 6 fcs. 
 
 Cat. of sale. Preface by Ph. Burty. 
 
DUS] 
 
 CERAMIC LITERATURE. 
 
 [DUS 
 
 DU SARTEL and GONZE. Katalog der 
 Orientalish - Keramischen Aus- 
 stellung im Orientalischen Mu- 
 seum. Wien, 1884. 8, pp. xlii- 
 150 ; 1 pi. and num. illustrs. in 
 the text. 5s. 
 
 " Catalogue of the exhibition of oriental 
 ceramics in the Oriental Museum." 
 
 - Collections dedessinsd'objects 
 ceramiques de 1'Orient et de 
 1'Extreme Orient, avec remarques 
 de Messrs. Du Sartel, Gonze et 
 Karabacek. Vienna, 1885. Fol., 
 pp. 41 ; with 58 photos, and 81 
 illustrs. 70s. 
 
 The specimens contributed to the exhibition 
 by Austrian collectors were photographed in 
 groups ; each plate showing a large number of 
 pieces. They form the complement to the 
 foregoing catalogue. 
 
 DU SAUSSOIS (Aug.)- Bernard Palissy. 
 Paris, Chez I'Auteur, 1874. 18, 
 pp. 32. 
 
 " Bernard Palissy." 
 Privately printed. 
 
 DUSSIEUX (L). Recherches sur 1'his- 
 toire de la peinture sur email 
 dans les temps anciens et mod- 
 ernes, et specialement en France. 
 Paris, Leleux, 1841. 8, pp. 171. 
 5 fcs. 
 
 " Historical notes upon the art of 
 painting on enamel in ancient and modern 
 times, and especially in France." 
 
 A few chapters on Italian majolica, and on 
 ancient French faience, testify to the paucity 
 of the information available in the early years 
 of the nineteenth century. Lucca della Robbia 
 and Palissy have each their biographical notice. 
 The French manufactories are represented by 
 Nevers and Rouen, the other centres being 
 completely ignored. A notice on the factory 
 of Sevres and its painters is placed at the end 
 of the volume. The writer tells us, in the 
 preface, that the proofs of his work had been 
 revised by Al. Brongniart. 
 
 An Italian translation of the parts treating 
 of majolica and faience was published under 
 the title, Ricerche sidla storia delle pitture in 
 Majolica. 
 
 DU SOMMERARD (Alexandra). Les arts au 
 moy en-age en ce qui concern e 
 principalment le Palais romain 
 de Paris, I'hdtel de Cluny issu de 
 
 ses mines et les objets d'art de 
 la collection classee dans cet 
 hotel par A. Du Sommerard. 
 Paris, Techener, 1838-184(5. 5 
 vols. text, 8, and 1 vol. atlas ; 
 5 vols. lithogr. plates, fol. The 
 pis. number 510, and are mostly 
 coloured by hand. 60. 
 
 "The arts in mediaeval times, principally 
 in reference to the Roman Palace in Paris, 
 the 'Hotel de Cluny' restored from its 
 ruins, and the collection of works of art 
 classified in the building by Mr. Du 
 Sommerard." 
 
 A splendid publication, the crowning work 
 of a life spent in the noble mission of vindi- 
 cating mediaeval and renaissance industrial arts 
 from the contemptuous neglect into which they 
 had fallen. Surrounding himself with over- 
 whelming testimonies of the glory they had 
 attained in days gone by, Du Sommerard dared 
 to uphold, in conjunction with a little group of 
 clear-sighted contemporaries, the claims that 
 artistic handicrafts had to our recognition. 
 The preparation of this colossal work was 
 undertaken to assist in the propagation of his 
 ideas. But he was not to see the completion 
 of its publication. After having successfully 
 brought out the first volume in 1838, death 
 overtook him four years afterwards while he 
 was still engaged in his labours. To his son 
 devolved the duty of bringing the work into 
 light, a task which was accomplished in 1846. 
 
 The " H6tel de Cluny," and the collections 
 it contained, were purchased by the French 
 Government the year after the demise of their 
 owner. Although the book is intended to form 
 a general history of " Mediaeval and Renaissance 
 Arts," the part which refers to the authors 
 collection is a large one ; it represents this 
 collection in its original state. Now that the 
 Cluny Museum, having become national pro- 
 perty, has reached its present expansion, it is 
 of great interest to look back upon its forma- 
 tion, and to be enabled to judge of the work 
 accomplished by an unassisted collector within 
 the lapse of a few years and at a comparatively 
 trifling cost. 
 
 Not much is to be learned from the letter- 
 press. Materials were scant at that time, and 
 the subjects touched upon are varied and 
 numerous. But the admirable plates, which 
 include many choice and rare specimens of 
 ceramic art, have lost nothing of their value. 
 
 DU SOMMERARD (E.)- Musee des 
 Thermes et de l'H6tel de Cluny. 
 Catalogue et description des 
 objets d'art de Fantiquite, du 
 Moyen-Age et de la Kenaissance 
 exposes au Musee. Paris, 1852. 
 8. Various editions of this cata- 
 logue were issued from time to 
 
 127 
 
DUT] 
 
 CERAMIC LITERATURE. 
 
 [EAR 
 
 time. It was completely re- 
 modelled in 1881. The 1875 
 edition contained only 3,770 
 Nos.; in that of 1881 the num- 
 ber was increased to 10,345. 
 
 Alexandre Du Sommerard left, in his son, a 
 worthy successor. He had, for years, accom- 
 panied his father in his travels, and had 
 sedulously assisted him in his archaeological 
 labours. It is to Eugene Du Sommerard that 
 we owe the last edition of the catalogue, by 
 the aid of which the researches in the Cluny 
 Museum are so efficiently facilitated. The 
 part devoted to ceramics contains no fewer 
 than 169 pages. 
 
 DUTUIT (Collection A.). Union centrale 
 des Beaux- Arts appliques a 1'in- 
 dustrie. Souvenir de 1'exposition 
 de Mr. Dutuit. Paris, 1869. 4, 
 pp. 107 ; with 33 pis. 15 fcs. 
 
 " Catalogue of Mr. Dutuit's contribu- 
 tion to the Exhibition of the U.C. in the 
 Palais de 1'Industrie, 1869." 
 
 Greek vases and terra-cottas, 62 Nos., with 
 4 pis. (3 col. ) ; Oriental porcelain, 49 Nos. , 
 with 4 col. pis. 
 
 Antiquites . . . objets divers 
 
 exposes au Palais du Trocadero 
 en 1878. Paris, Levy, 1879. 4, 
 pp. 191 ; with 35 pis. 1, 10s. 
 
 Illustrated catalogue of the portion of 
 Mr. Dutuit's collection exhibited at the Inter- 
 national Exhibition of 1878. Greek vases, 
 Nos. 61-134, with 7 pis. ; Italian majolica, 
 Nos. 537-548, with 3 pis. ; Persian ware, Nos. 
 576-584. 
 
 Maj cliques italiennes, vases 
 
 siculo-arabes, faiences Henri II., 
 Verreries. Paris, 1899. 8, pp. 
 xv-46 ; with 79 phototyp. pis. 
 Privately printed. 1. 
 
 The introduction and descriptive catalogue 
 are written by Frohner. The collection com- 
 prises Italian majolica, 69 Nos. ; Siculo- 
 Arab vases and Persian faience, 4 Nos. ; 
 Henri II. ware, 3 Nos. Most of the specimens 
 are of a very high order. It is to be regretted 
 that the plates are of inferior execution, and 
 that they lack the neatness indispensable to an 
 adequate reproduction of finely decorated 
 pieces. 
 
 DUYAL Memoire pour le Sieur 
 Mignon, Entrepreneur de la 
 Manufacture Koyale des terres 
 blanches, faon d'Angleterre. 
 etablie & Paris. Contre le Sieur 
 128 
 
 Chapelle, proprietaire de la Man- 
 ufacture de Faience japonnee 
 etablie a Sceaux. Paris, 1769. 
 Sm. 4, pp. 74. 
 
 "Memoir presented on behalf of Mr. 
 Mignon, proprietor of the royal manu- 
 factory of white earthenware, after the 
 English fashion, established at Paris ; 
 and against Mr. Chapelle, proprietor of 
 the manufactory of japanned faience 
 established at Sceaux." 
 
 This memoir, indited to support the action 
 brought by Mignon against Chapelle the founder 
 of the Sceaux factory, contains most interest- 
 ing particulars of the factory carried on by 
 the plaintiff at the place called "Le Pont-aux- 
 Choux," in Paris, and on the life and work of 
 the defendant, whose character is depicted by 
 the writer in very scurrilous terms. 
 
 DUYEEN (Bros.). --Catalogue of a 
 special exhibition of Chinese 
 porcelain ; with an introductory 
 article by F. Bennet-Goldney. 
 London, 1905. 8, pp. 44 ; with 
 phototype pis. 
 
 EARLE (Alice Morse). China collecting 
 in America. New York, Scribner, 
 1 892. 4, pp. 429 ; with 65 illustrs. 
 12s. 
 
 Miss Earle may be considered as one of the 
 leading spirits of a numerous group of American 
 amateurs now busily engaged in gathering the 
 popular pottery still to be found in the cottages 
 of New England, and which has remained long 
 enough in the possession of one family to 
 deserve the qualification of " old ware." 
 
 The account of her experience as a " china 
 hunter" is full of amusing incidents. It is, 
 truly, a captivating sport for an idler with a 
 purpose to penetrate into the homesteads of 
 old country people and obtain permission to 
 have a look at " grandmother's china." While 
 exploring with the narrator the nooks and 
 corners of a dilapidated farmhouse, we share 
 with her for a moment the keen expectation, 
 always present to her mind, of discovering at 
 last such an unobtainable rarity as an odd 
 saucer of the Washington tea service, or a jug 
 with a so far unknown portrait of General 
 Lafayette. 
 
 We are aware that it is quite legitimate to 
 form a collection upon the most eccentric plan ; 
 any assemblage of objects which can be classified 
 and catalogued under a common heading is, to 
 all intents and purposes, a collection ; but it 
 must be acknowledged that the notion enter- 
 tained in that respect by a ceramic collector of 
 the old school, is not very brilliantly exempli- 
 
EAR] 
 
 CERAMIC LITERATURE. 
 
 [EBE 
 
 fied by a store of pottery picked up in the New 
 England cottages. 
 
 It consists chiefly of specimens of the printed 
 earthenware sent over to America, between 
 1830 and 1850, by the potters of Staffordshire. 
 There has not been a worse period in the whole 
 course of English manufacture, and the ware 
 made for exportation was not distinguished by 
 a marked superiority over that manufactured 
 for home consumption. We all know the 
 heavy shapes and clumsy patterns that were 
 then in fashion ; we remember the prevailing 
 style of decoration, the imaginary landscape 
 framed with lumpy garlands of flowers. The 
 whole is usually printed in blue, either blackish 
 and patchy, or of such a pale tint as to be 
 almost colourless ; very different in that respect 
 from the earliest specimens of printing which 
 almost rival in brightness and purity of blue 
 the oriental porcelain they tried to imitate. 
 
 Of the better and more ancient examples of 
 English earthenware, such as good representa- 
 tives of the work of Josiah Wedgwood, Spode, 
 and their contemporaries, Miss Earle confesses 
 that very few, if any, are to be found in 
 American cottages. As to English china, the 
 few articles that have come in her way are of 
 of the kind which can easily be obtained in 
 third-rate curiosity shops, and should not have 
 been considered worth reproducing in the book. 
 
 A particular interest should, of course, be 
 entertained for the ware decorated with sub- 
 jects illustrating the history of the United 
 States, and with portraits of the great men of 
 whom the country is justly proud. The 
 quantity of earthenware of that description, 
 manufactured in England for the American 
 market, was considerable. It is now raised to 
 the rank of " Faience patriotique." Although 
 it is not, like the popular French faience which 
 is distinguished by that name, painted by the 
 same hands that took an active part in the 
 making of the national history, it is, after all, 
 of the same character. An extensive catalogue 
 of all pieces of historical importance is one of 
 the interesting features of the book. In the 
 chapter on " Liverpool ware," an almost com- 
 plete list is given of the subjects printed in 
 black on the " cream-coloured ware " accurately 
 described ; this part of the work> which had 
 never been attempted before, will be particu- 
 larly appreciated by the English collector. All 
 the chapters which required historical re- 
 searches and the production of documental 
 evidence, have been written with a care and 
 completeness which cannot be too highly com- 
 mended. The style of the illustrations is also 
 deserving of praise ; a few of them are so 
 charming that they make us almost forget the 
 unworthy originals that they reproduce so 
 cleverly. 
 
 EARLE (Mary Tracy). The wonderful 
 wheel. New York, 1896. 12, 
 pp. 152. 5s. 
 
 A story based on the eccentricities of 
 George E. Ohr, the unique potter of Biloxi, 
 Mississippi. 
 
 EBELMEN (Jacques-Joseph). Rapport fait 
 
 par M. Ebelmen au nom du 
 comite des arts chimiques sur le 
 
 9 
 
 proced6 de cuisson de la porce- 
 laine dure avec la houille employe 
 par M. Vital Roux. Paris, 
 Bouchard-Huzard, 1847. 4, pp. 
 7. (Extr. from the Bulletin de la 
 Socidte d" Encouragement.} 
 
 " Report addressed, on behalf of the 
 Committee of Chemical Arts, to the 
 Society for the Encouragement of Art and 
 Industry upon the process of firing hard 
 porcelain with coal employed by M. 
 Vital Roux." 
 
 Interesting as showing the stubborn objection 
 raised in France against the use of coal in the 
 firing of hard porcelain. 
 
 This report was indited in the same year 
 that Ebelmen succeeded Mr. Brongniart as 
 administrator of the national manufactory of 
 Sevres. A better man could not have been 
 selected. Death carried him away five years 
 afterwards, but not before his consummate 
 knowledge of chemistry, and his administra- 
 tive genius had had time to impart a new 
 direction to the progress of manufacture in the 
 old establishment. Without neglecting the 
 best traditions, many novelties were introduced 
 in the technical processes and styles of decora- 
 tion. He recognised the necessity of infusing the 
 spirit of modern art into a transformed mode 
 of manufacture. Artists of great talent left 
 their studios to take permanent engagements at 
 the national manufactory. They were asked to 
 execute on porcelain subjects of their own crea- 
 tion, and no longer copies from the old masters 
 as had previously been the practice. Under the 
 direction of Ebelmen, Sevres became, in reality, 
 a superior school of ceramics, showing the way to 
 improvement in all branches of practical pottery, 
 and bringing forth admirable works in which 
 painters and sculptors brilliantly carried on 
 the movement, started not long before, in 
 vindication of applied arts. The influence 
 that his efforts, assisted by the practical and 
 artistic achievements of the talented men with 
 whom he was surrounded, had exerted upon 
 the whole industry, is still felt in our days. 
 Ebelmen died at the age of thirty-eight years, 
 leaving unfinished a history of modern ceramics 
 he was preparing for publication. 
 
 Chimie, ceramique, geologic, 
 
 metallurgie. Revu et corrige 
 par Salvetat ; suivi d'une notice 
 sur rla vie et les travaux de 
 1'auteur. Paris, Mallet-Bachelier, 
 1861. 3 vols. 8, pp. 1,508. 
 
 " Chemistry, ceramics, geology, metal- 
 lurgy; revised and corrected by Salvetat, 
 with a notice of the life and works of 
 the author." 
 
 EBELMEN et SALYETAT. Recherches 
 sur la composition des matieres 
 
 129 
 
EBE] 
 
 CERAMIC LITERATURE. 
 
 [EDK 
 
 employees dans la fabrication et 
 la decoration de la porcelaine en 
 Chine, executees a la Manufac- ; 
 ture Rationale de Sevres et pre- 
 sentees a FAcademie des Sciences. 
 Paris, M. Bachelier, 1852. 8, 
 pp. 85. 6 fcs. 
 
 " Researches on the composition of the 
 materials employed in China for the 
 manufacture and decoration of porcelain, 
 carried out in the National Manufactory 
 of Sevres, and submitted to the Academy 
 of Sciences." 
 
 Two memoirs describing the experiments 
 made upon samples of clays and colours received 
 from China; they deal respectively with the 
 raw materials entering into the composition of 
 the bodies and the glazes, and with the colours 
 used in porcelain painting. 
 
 EBELMEN et SALYETAT. Rapport sur 
 les arts ceramiques fait a la 
 commission franaise du Jury 
 international de 1'Exposition uni- 
 verselle de Londres en 1851. 
 Paris, 1854. 8, pp. 135. 
 
 " Report on the ceramic art addressed 
 to the French section of the Jury at the 
 London International Exhibition, 1851." 
 
 Three years after the death of Ebelmen 
 Salv^tat published this report, the result of 
 their joint labour as members of the inter- 
 national Commission. Baron Ch. Dupin had 
 prefixed to the work a biographical notice 
 recording the principal discoveries for which 
 science is indebted to Ebelmen. 
 
 ECK (Ch.). Application des Globes 
 ou pots creux k 1'art de batir les 
 planchers, cloisons, etc. Paris, 
 impr. Guyot. 8, pp. 16 ; with 
 3 pis. 
 
 "A system of introducing cylindrical 
 pots of terra-cotta in the building of 
 floors, partitions, etc." 
 
 ECKHART (A.). Die Construction von 
 Brennofen fur Ziegeleien und 
 Thonwaarenfabriken in Hinsicht 
 auf die Bauausfiihrung. Leipzig, 
 1881. 8, pp. 44; with 17 illustrs. 
 1 m. 
 
 " The construction of ovens in the tile 
 and earthenware factories, considered 
 from the builder's point of view." 
 
 130 
 
 Beachtenswerthe Gesicht- 
 punkte bei der Anlage period- 
 ischer Ziegelofen. Halle a. S., 
 1883. 8, pp. 60 ; with 5 illustrs. 
 1 m. 
 
 " Important considerations regarding 
 the planning of periodical earthen ware tile 
 ovens." 
 
 EDGAR (C- C.). Catalogue des Anti- 
 quites egyptiennes du Musee du 
 Caire. Le Caire, 1903. 4; with 
 23 pis. 1. 
 
 Greek moulds for bronze and terra-cotta. 
 
 EDGEWORTH (Maria). The Prussian 
 Vase. London, 1832. 8, pp. 42. 
 
 The pathos of ceramics, the romanticism of 
 history, have been feelingly compressed in this 
 short tale. The dramatis persons are: Frederick 
 the Great, a conventional figure cut after the 
 approved pattern of a despotic and grotesque 
 Sultan of pantomime ; a lovely porcelain 
 paintress transported from Meissen as a war 
 prisoner, to work in the Berlin factory for the 
 glory and benefit of the king, and like many 
 other fellow captives, ordered to marry a 
 Prussian grenadier ; a villainous Jew, who adds 
 with his own hand certain scurrilous inscriptions 
 to the work of the innocent artist to secure 
 the success of his vindictive plans. A porce- 
 lain vase, which, by the king's command, has 
 to be modelled, baked, and painted within one 
 month, is made the pivot around which the 
 action moves. The fame of the Portland vase, 
 just produced by Wedgwood, has come to the 
 ear of the king ; he wants his Berlin manu- 
 factory to accomplish a masterpiece which 
 shall surpass in beauty the work of the English 
 potter. Out of these elements a pathetic 
 romance is constructed. History has, of course, 
 to be slightly stretched to meet the require- 
 ments of the drama. As a matter of fact, 
 it was only the year after peace had been 
 signed with Saxony that Frederick the Great 
 began to take an interest in the Berlin factory, 
 and to interfere with the liberty of any Saxon 
 subject was, at that moment, quite out of his 
 power. We need hardly say that a porcelain 
 vase cannot possibly be completed within a 
 month. Finally, we must state that the Port- 
 land vase was manufactured by Wedgwood a 
 year after the death of the great Frederick. 
 Ludicrous as the tale may now appear, it con- 
 tributed not a little in accrediting a belief in 
 the cruelties which the poor artists kidnapped 
 from Meissen had to suffer on the part of the 
 King of Prussia, a misstatement which we find 
 repeated in almost every ceramic history. 
 
 EDKINS (Collection W.). Catalogue of 
 sale. London, Sotheby, 1874. 8, 
 pp. 36 ; woodcuts. 
 
 The collection comprised the finest known 
 examples of Plymouth and Bristol porcelain. 
 
EDW] 
 
 CERAMIC LITERATURE. 
 
 [EMD 
 
 They realised very high prices. A. set of four 
 figures of the Seasons fetched 610. Single 
 tea cups brought as much as 93, etc. 
 
 EDWARDS (E. James). Two ancient 
 Greek vases, known as the 
 " Capo di Monte " and " Acteqn," 
 now on view (by permission) in 
 the British Museum. London 
 (1865 ?), printed for priv. circ. 
 for the Rev. E. J. Edwards. 4 ; 
 with 4 photos, and 1 engr. pi. 
 
 EDWARDS (J. C.)- Bricks, tiles, and 
 terra-cotta pattern-book. J. C. 
 E., manufacturer at Ruabon. 
 London, 1884. Sm. fol., pp. 21 ; 
 with 48 pis. 
 
 One of the best catalogues of architectural 
 terra-cotta published in England. 
 
 EGGER. Observations sur quelques 
 fragments de poterie antique 
 provenant d'Egypte, et qui por- 
 tent des inscriptions grecques. 
 Paris, 1857. 4, pp. 32. 
 
 " Remarks upon a few fragments of 
 antique pottery found in Egypt, bearing 
 Greek inscriptions." 
 
 EHRHARDT (A. H.). Anweisung zur 
 Verfertigung und Anwendung 
 bleifreier Glasuren fur alle Arten 
 irdener und eiserner Geschirre. 
 Quedlinburg, G. Basse, 1833. 8, 
 pp. 32. 
 
 " Instructions for preparing and em- 
 ploying leadless glazes for all kinds of 
 earthen and iron vessels." 
 
 In 1828 the King of Bavaria had offered a 
 prize of 1,000 florins for the discovery of a lead- 
 less glaze which could be employed without 
 danger to the health of the workmen. The 
 potters and chemists of the time made many 
 experiments in that direction ; the result of 
 their researches was embodied in this paper. 
 
 EILERS (G.).--Fayence Ofenfabrik 
 der Briiderhauses in Neuwied, 
 1872. 8 ; 70 pis. 
 
 " Pattern-book of the ' Briiderhause ' 
 earthenware stoves at Neuwied." 
 
 EISELEN (J. Ch.). Ausfuhrliche theor- 
 etisch-praktische Anleitung zum 
 Ziegelbrennen mit Torf. Berlin, 
 1802. 8, 
 
 " The complete instructions for the 
 theory and practice of firing bricks and 
 tiles with peat." 
 
 ELINCKHUYZE (Collection). Catalogue 
 of sale. Bruxelles, 1875. 8, pp. 
 84; with 12 pis. of faience and 
 porcelain. 
 
 The rich collection of a Rotterdam amateur. 
 Oriental porcelain comprised 580 Nos. ; ancient 
 stoneware, 54 Nos. ; miscellaneous faience and 
 porcelain, 60 Nos. 
 
 ELLIOT (Ch. Wyllys). Pottery and 
 porcelain, from the early times 
 down to the Philadelphia Ex- 
 hibition of 1876. New York, 
 Appleton, 1878. 8, pp. 358; 
 with num. illustrs. and marks. 
 12s. 
 
 Three works treating of the history of 
 the ceramic art were issued simultaneously 
 in New York in 1878, to satisfy the craving 
 for knowledge, excited in America amongst 
 intending collectors by the much admired 
 display of pottery and porcelain at the Phila- 
 delphia Exhibition. Exceptional conditions 
 naturally give rise to the production of 
 special books ; this was the case when a new 
 artistic craze, transplanted from the old world, 
 took root in the upper circles of American 
 society. On the day when the germs of china 
 collecting sprouted up amongst the amateurs of 
 the United States, each of them became anxious 
 to appear to be thoroughly conversant with 
 a subject on which all had everything to learn. 
 Compendiums of general information had to be 
 got ready on the spur of the moment ; several 
 publishers, anticipating a profitable specula- 
 tion, endeavoured to forestall their competitors 
 in bringing out the much-wanted handbook. 
 A few volumes of continental works on old 
 pottery, scissors and paste, and a certain 
 degree of confidence, was all that was required ; 
 and with their assistance many an improvised 
 connoisseur was soon enabled to throw on his 
 own shoulders a befitting author's mantle cut 
 out of the spoils he had appropriated from the 
 writings of some accredited historian. The 
 outcome of such hasty compilation cannot, of 
 course, be of much interest to anyone who can 
 easily refer to the original sources. American 
 handbooks of that period should not be recom- 
 mended out of America, where they never 
 enjoyed much credit on the part of the true 
 collector. This volume does not make an 
 exception to the rule ; the woodcuts are mostly 
 borrowed from L. Figuier's Les merveilles de 
 I' Industrie, and the letterpress from other and 
 still more familiar authorities. 
 
 EMDEN (Coll. H.). Catalogue of sale. 
 Berlin, K. Lepke, 1908. 4, pp. 
 202 ; with 94 phototype pis. 
 13m. 
 
 131 
 
CERAMIC LITERATURE. 
 
 [ENG 
 
 The collection of a Hamburg amateur, com- 
 prising 1,058 Nos. of European pottery and 
 porcelain ; it contained many specimens of high 
 order. 
 
 EM (Johann). Beitrage zur io 
 nischen Vasenmalerei. Pray, 
 1899. 8, pp. 80; with 8 pis. and 
 44 illustrs. 4 m. 
 
 " Contribution towards the identifica- 
 tion of Ionic vase painting." 
 
 From the paintings of the " Klazomenes 
 Sarcophagus," and of the vases discovered at 
 Naucratis, the author has attempted to define 
 the characteristic style of the Ionic ceramics. 
 There can be no doubt as to the sarcophagus 
 being the work of a local potter, and the vases, 
 which bear a similar ornamentation, are bound 
 to have the same origin. Naucratis, an Ionic 
 colony, was founded towards the end of the 
 sixth century B.C. ; the pottery made there by 
 the settlers cannot, consequently, be anterior to 
 that date. A list of all the known painted 
 vases which can be classified in the same group 
 is given by the author. 
 
 ENGELHARD! (C. A.). J. F. Bottger, 
 Erfinder der Sachsischen Por- 
 zellans. Biographie aus authen- 
 tischen Quellen. Nach dem Tode 
 der Verfassers vollendet und 
 herausgegeben von Dr. August 
 Moritz Engelhardt. Nebst einer 
 kurzen Darstellung der Staats- 
 Gefangnisse und merkwurdigen 
 Staatgefangenen in Sachsen seit 
 dem sechszehnten Jahrhundert. 
 Leipzig, A. Barth, 1837. 8, pp. 
 659 ; portrait. 6 m. 
 
 " J. F. Bottger, inventor of the por- 
 celain of Saxony. A biography written 
 from authentic sources. Completed and 
 published after the death of the author 
 .by Dr. A. M. Engelhardt. With a short 
 account of the State prisons in Saxony, 
 and a memoir of the most notable State- 
 prisoners since the sixteenth century." 
 
 A perusal of this standard biography of the 
 inventor of the European hard porcelain makes 
 us well acquainted with the character of the 
 man and the abnormal surroundings through 
 which he moved during his short and romantic 
 existence. With all that concerns his labours, 
 or what may have been the lucky casualties, 
 which led to his wonderful discovery, our 
 curiosity remains, however, only partially 
 satisfied. A prisoner of State, closely watched 
 in all his movements during eight years, he had 
 been the subject of a voluminous correspondence 
 between his warders and Augustus I. , King of 
 Poland and elector of Saxony, so great was the 
 importance attached to the experiments he was 
 
 132 
 
 prosecuting on the transmutation of metals. 
 The examination of that correspondence, keenly 
 scrutinised by Engelhardt, allows us to follow, 
 almost from day to day, all the incidents of 
 Bottger's life during his captivity. To our 
 disappointment it becomes silent when the 
 prisoner, giving up his chimerical researches on 
 gold making, turns his marvellous abilities 
 towards the production of a translucent porce- 
 lain, which was to be as beautiful in its sub- 
 stance as any of the priceless Oriental vases that 
 his kingly master had collected, at all cost, in 
 his Dresden palaces. For eight years Augustus 
 had not betrayed any loss of confidence in the 
 ultimate realisation of the wonders that his 
 alchemist had promised to accomplish. Such 
 an infatuation on the part of an enlightened 
 Prince is nothing short of incredible. The 
 times he lived in may alone account for it. 
 The blind faith of mediaeval ages in the 
 mysterious power of supernatural agencies 
 was still rife in the eighteenth century. 
 Human credulity had merely shifted its 
 grounds ; religious superstition had made room 
 for unbounded confidence in the possibilities of 
 science. If miracles were no longer prayed for 
 at some holy shrine, they were confidently 
 expected from the philosopher's laboratory. 
 Augustus was still confident that the success 
 of Bottger's experiments would, one day, 
 restore to prosperity the shattered finances 
 of his kingdom. At last, some suspicion of 
 deceit, or incapacity, on the part of his 
 prisoner arose in his mind. He called Bottger 
 to his presence and upbraided him violently on 
 his repeated failures, and the heavy cost of his 
 fruitless trials, ending the interview with these 
 words : ' ' Now, remember, if thou playest me 
 false I will have thee hanged." Not long after 
 this occurrence, we hear that a curious red 
 porcelain was being regularly manufactured in 
 furnaces intended for carrying out achieve- 
 ments of a far more scientific order, and that 
 all was ready for the making of a white ware 
 of translucent body. Not one word appears 
 in the official documents to intimate that any 
 trials had been previously prosecuted in that 
 direction, and while the composition of white 
 porcelain was being definitely settled, not a 
 line was exchanged between the prison and the 
 palace which had reference to the discovery. 
 Different though it was from the one that was 
 expected, the invention of porcelain saved the 
 life of its inventor. 
 
 The biographer is at a loss to account for 
 this gap in the chain of official records. So, 
 for sheer lack of material evidence, he has to 
 resort to inductions and conjectures when he 
 endeavours to defend Bottger against the grave 
 imputation that was cast upon him by some of 
 his contemporaries. It had been said, at the 
 time, and the rumour had afterwards been 
 circulated as an established fact, that Bottger 
 was not in reality the discoverer of the true 
 porcelain, but that all credit for the invention 
 was to be rendered to Tschirnhaus, his friend 
 and companion in captivity. This latter, a 
 scientist of great renown, had indeed once 
 composed a kind of opaque glass which he 
 thought could be perfected into a good imita- 
 tion of real porcelain, but he had soon seen the 
 error of his ways, and had abandoned the idea. 
 The accusation brought against Bottger falls to 
 the ground when we remember that the king 
 
CERAMIC LITERATURE. 
 
 [ERG 
 
 always treated him as the sole inventor, gave 
 him the management of the Meissen works, 
 and that Tschirnhaus never complained of 
 having been defrauded of his rights. 
 
 One may depend on the strict impartiality of 
 the biographer, for while rendering full justice 
 to the inventive genius and chemical know- 
 ledge of the discoverer of hard porcelain, he 
 does not attempt to brighten the darkest sides 
 of his private character. A less flattering 
 portrait could scarcely have been drawn of a 
 man who is described as a reckless spendthrift, 
 a drunkard, a profligate, and who is even 
 suspected to have acted as a traitor to his king 
 and to his friends. Let us hasten to add that, 
 in every other respect he was the best fellow < 
 in the world ; so much, at least, can we gather 
 from the picture given of him by Engelhardt. 
 
 The conditions of the manufactory under his 
 administration are presented as having been 
 deplorable. The directors, neglecting duty for 
 pleasure, were often absent ; no rules could be 
 enforced, no discipline had ever been established, 
 and the workpeople had it all their own way. 
 Immense sums were squandered every year, 
 and yet the men were often left many months 
 without wages. As a consequence, desertions 
 were frequent. Notwithstanding all the pre- 
 cautions taken against such eventualities, many 
 of the best operatives managed to escape from 
 a lenient imprisonment, and carried into other 
 places such portion of the secrets of manu- 
 facture as they had been able to master. 
 Strange as it may appear, the productions of 
 the Meissen works lost nothing, under such un- 
 favourable conditions, of their incomparable 
 merit. Some of the earliest examples surpass, 
 in quality and perfection of workmanship, 
 all that was done later on under happier 
 circumstances. 
 
 Little could be added to a biography con- 
 scientiously written by one who had acquired 
 such a thorough knowledge of his hero and of 
 the times he lived in, so that this will remain 
 the standard book on the subject. We should 
 like to see it reprinted in a form more in keep- 
 ing with its value. Printing and paper are of a 
 worthless description, and it would be desirable 
 to have a more artistic presentment of Bottger's 
 Olympian profile, than the poor lithographic 
 portrait placed at the head of the volume. 
 
 ENJUBAULT (Emile). L'art ceramique 
 et Bernard Palissy. Moulins, 
 1858. 8, pp. 178. 5 fcs. 
 
 " Ceramic art and Bernard Palissy." 
 
 As the title implies, the book consists of two 
 independent parts general considerations on 
 the ceramic art, and a biography of Bernard 
 Palissy. In both sections, in spite of evident 
 efforts to restrict himself to his subject, the 
 author is constantly carried away by a flow of 
 irrepressible eloquence far above earthen pots, 
 their history, and their makers. He dwells, at 
 full length, on the pottery of antique times, 
 not because he knows much about it, but for 
 the reason that Egypt, Greece, and Rome 
 being the source of all classical knowledge, 
 anything that is connected with them affords 
 good opportunities for a display of historical 
 and philosophical erudition. When he comes 
 to the pottery of a more modern period, he 
 
 seems in a hurry to escape from the common- 
 place considerations that faience and porcelain 
 are apt to suggest, and a few short pages are 
 sufficient for him to dispose of the whole 
 history. Among the names of potters that he 
 mentions, he does not forget that of Josiah 
 Wedgwood, whom he describes as r "a clever, 
 indefatigable workman, to whom we owe a 
 pyrometer." 
 
 In the part devoted to the life of Palissy, 
 the central figure becomes obscured by the 
 importance given to his surroundings. Actual 
 facts and relevant remarks are scantily intro- 
 duced ; but each passing statement offers to the 
 biographer an occasion for indulging in some 
 high-flown digression. If he tells us that a 
 portion of Palissy's work is written in the 
 form of controversial dialogues, in which 
 Theory and Practice have been made the 
 interlocutors, this serves him as a pretext for 
 dilating upon the relation that Practice should 
 bear to Theory. In the same manner passages 
 from the Memoirs are selected and quoted for 
 the obvious purpose of allowing the annotator 
 to Taring forth his personal views upon weighty 
 points of art, science, and philosophy. As to 
 what regards Palissy and his genius, the 
 matter is settled in a few sentences, in which 
 he is said to have been the undoubted creator 
 of the potter's art in France, and a born 
 philosopher who succeeded in understanding 
 many of the theretofore unread pages of the 
 book of Nature. Due homage having "been 
 thus rendered to his merits, his name reappears 
 but seldom in the rest of the book, being then 
 introduced between two long-winded disquisi- 
 tions upon abstract questions, With which it has 
 little, or often nothing, to do. 
 
 ENTRECOLLES (F.-I d'). Lettres du 
 Pere d'Entrecolles sur la fabri- 
 cation de la porcelaine en Chine, 
 1712-1722. 
 
 " Letters from Father d'Entrecolles on 
 the manufacture of porcelain in China." 
 
 No authority has been more often quoted in 
 ceramic books than the French missionary on 
 the subject of Chinese porcelain. His letters 
 were at the time extensively circulated in MS. 
 Extracts of them were printed in Du Halde's 
 Histoire de la Chine, and in all contemporary 
 works treating of the making of porcelain. 
 They were not, to our knowledge, ever printed 
 in a separate form. It was in the JLettres 
 ediftantes et curieiises &crites des Missions 
 etrangeres, Paris, 1780-1783, vol. xviii.-xix., 
 that they were given in full for the first time. 
 
 ERBSTEIN (A.). Die Kgl. Porzellan 
 und Gefass Sammlung zu Dres- 
 den. Dresden, 1889. 12, pp. 42. 
 
 " A guide book to the porcelain collec- 
 tion of Dresden." 
 
 ERCULEI (R.). Roma. Museo ar- 
 tistico-industriale. IV. Esposizi- 
 one, 1889. Arte ceramica e 
 
 133 
 
E&R] 
 
 CERA MIC LIT ERA TURE. 
 
 [ESS 
 
 vetraria. Catalogo delle opere 
 esposte, preceduto da notizie e 
 document! sulla ceramica italiana 
 raccolti per cura di R. Erculei, 
 direttore del museo. Roma, 
 Civelli, 1889. 8, pp. 340. 3 fcs. 
 
 "Rome. Museum of industrial art. 
 Fourth exhibition. Ceramics and glass. 
 Catalogue of the objects exhibited ; with 
 notices and original documents on Italian 
 ceramics, published under the direction 
 of R. Erculei, curator of the museum." 
 
 The historical notices placed at the beginning 
 of this volume render it of paramount interest 
 for the study of Italian ceramic art. They 
 supply information published here for the 
 first time, or to be found only in pamphlets 
 difficult to obtain, together with the text of 
 many curious documents. We append the 
 titles of these notices : 
 
 Funghini (V.). Degli antichi vasi fittile 
 aretini, pp. 3-17. 
 
 Urban! de Gheltof (M.). Note storiche 
 
 ed artistiche sulla ceramica italiana, pp. 
 18-162. 
 
 Anselmi (A.). Sull'arte dei vasai in 
 Arcevia, pp. 163-167. 
 
 LllZl (E.). Industria ceramica in Ascoli- 
 Piceno, pp. 168-169. 
 
 Erculei (R.) Statuum artis vasariorum 
 civitatis Perusii, pp. 170-211. 
 
 Raffaelli(F.). Reminiscenze storiche sopra 
 1'arte della ceramica nelle provincie marche- 
 giane, pp. 212-219. 
 
 Erculei (R.). Una fabbrica di majoliche 
 in Ronciglione, pp. 220-222. 
 
 Parazzi (A.). Due fabbriche di ceramica 
 . in Viadana, pp. 223-234. 
 
 Catalogo degli oggetti esposti. 
 
 ERRARD (Ch.)- Recueil de divers 
 vases antiques, by Ch. E. Peintre 
 du roi. Paris and Roma, 1680. 
 Sm. fol. 
 
 " A collection of various antique vases." 
 
 ESPERANDIEU (Le Lieutenant). Fouilles 
 de Teglise abbatiale des Chat- 
 eliers. Carrelages emailles. S.I., 
 1890. 8 ; 29 autogr. pis. (Priv. 
 print.) 
 
 " Excavations on the site of the ancient 
 abbey church of Chatelliers. Glazed 
 tiles." 
 
 Carreaux vernisses decouverts 
 
 aux Chatelliers, pres de Saint 
 Maixent (Deux-Sevres). Paris, 
 Leroux, 1892. 8, pp. 16 ; with 
 3 col. pis. and 1 plan. 3 fcs. 
 
 134 
 
 "Glazed earthenware tiles discovered 
 at Chatelliers." 
 
 The excavations, conducted by Mgr. Barbier 
 de Montault, yielded a large quantity of 
 paving tiles of the thirteenth and sixteenth 
 centuries. The coloured plates which illustrate 
 this monograph are a great improvement on 
 the rough sketches previously published. 
 
 ESQUIE. Note sur des carrelages 
 emailles trouves a Toulouse. 
 Toulouse, impr. Douladoux, 1879. 
 8, pp. 20 ; and 2 pis. 
 
 " Notes upon the glazed tiles discovered 
 at Toulouse." 
 
 We have already had occasion to remark that 
 inlaid mediaeval tiles are found in France in 
 all provinces once occupied by the English. 
 Whether or not they brought over from 
 England this style of floor decoration is a 
 question which has not yet been ventilated, 
 although the point is one which deserves the 
 attention of the archaeologist. 
 
 ESSEN WEIN (A.)- Norddeutschland 
 Backstein-Bau im Mittelalter. 
 Carlsruhe, 1855. Fol.; with 37 
 lith. pis. (some col.) and wood- 
 cuts in the text. 30 m. 
 
 " Brick buildings of the Middle Ages 
 in North Germany." 
 
 - Kunst - und - Kulturgeschicht - 
 liche Denkrnale des German- 
 ischen National Museum. Eine 
 Sammlung von Abbildungen 
 hervorragender Werke aus 
 sammtlichen Gebieten der Kul- 
 tur. Leipzig, 1877. Sm. fol., 
 Preface, Index, and 120 pp. of 
 woodcuts. 30 m. 
 
 "Historical monuments of art and 
 archaeology in the Germanic Museum. 
 A collection of remarkable examples 
 illustrating the general progress of arts 
 and industries." 
 
 The splendid museum of national art at 
 Nuremberg, at first a private collection, owes 
 its rapid extension chiefly to the exertions of 
 its first director, the architect Essenwein. As 
 a means of increasing the financial resources of 
 the museum, he gathered together, in one 
 volume, all the woodcuts which had appeared 
 in the archseologial reviews of Germany, 
 representing the most interesting objects in 
 the galleries. He offered it for subscription ; 
 the profits accruing from the sale to be applied 
 to the building fund. A great variety of 
 examples of German ceramic art are included 
 among the reproductions of works of art of all 
 
ESS] 
 
 CERA MIC LITER A TURE. 
 
 [FA3 
 
 kinds which illustrate a volume somewhat of 
 the nature of a scrap-book. 
 
 ESSINGH (Collection A. Joseph). Cata- 
 logue of sale. Cologne, Heberle. 
 1865. 8, pp. 166 ; with 12 lith! 
 pis. and woodcuts. 
 
 One of the great collections of Germany. 
 Ancient stoneware, Nos. 1 to 117; majolica 
 and porcelain, Nos. 118 to 251. The list of the 
 prices realised at the sale is added to the 
 catalogue. 
 
 ESTE. The pipes of all peoples. 
 (Notes on the Bragge collection.) 
 (Reprint from the Birmingham 
 Daily Post, Dec. 16th, 1870.) 
 Birmingham, 1870. 4. 
 
 ESTORFF (Carl von). Heidnische Al- 
 
 terthtimerder Gegend vonUelzen 
 Bardengaue. 
 Han- 
 
 im ehemaligen 
 (Konigreich Hannover.) 
 nover, 1846. Obi. fol., pp. 134; 
 with 17 engr. pis. 6 m. 
 
 "Pagan antiquities from the neigh- 
 bourhood of Uelzen, in the ancient Bai*- 
 dengaue (Kingdom of Hanover)." 
 
 The work is merely descriptive of the finds 
 made in the district, which lies in the vicinity 
 of Lunebourg, all historical questions and 
 archaeological speculations having been pur- 
 posely left untouched by the writer. It con- 
 tains a very complete account of the various 
 modes of sepulture adopted by the early 
 inhabitants of Germany from the Druidic times 
 down to the first centuries of our era. Over 
 fifty cinerary urns are represented on the 
 plates, unfortunately badly drawn and 
 engraved. 
 
 EUDEL (Paul). Le Truquage. Les 
 contrefaons devoilees. Paris, 
 1887. 12. 6fcs. 
 
 " Trickery, or shams and forgeries 
 exposed." 
 
 On pages 49-58 and 165-259, the writer 
 describes the skilful imitations and the sharp 
 practices of certain dealers by which ceramic 
 collectors have been imposed upon. 
 
 EVANS (A. J.). On a late Celtic urn- 
 field at Aylesford, Kent, etc. 
 London, 1890. 4, pp. 74 ; with 
 pis. and illustrs. (mArchceologia). 
 
 EVANS (William). Art and history of 
 the potting business, compiled 
 from the most practical sources 
 
 for the especial use of working 
 potters by their devoted friend, 
 W. Evans. Shelton, printed at 
 the Examiner Office, 1846. 12, 
 pp. 72. 10s. 
 
 Whether the practical potter who published 
 this handbook was really actuated by the 
 opinion he expresses in the preface that 
 " every operative has a right to know the 
 component parts of all that passes through his 
 hands," or merely by the hope of making a 
 profitable speculation, his expectation must, in 
 either case, have been frustrated. The sale 
 cannot have extended beyond an insignificant 
 number of copies, for the book is now almost 
 unknown in the Potteries. Such a publication 
 must have created some excitement among the 
 master-potters of Staffordshire, and it was, 
 surely, denounced as a wanton breach of pro- 
 fessional discretion. If Lakin's book of recipes 
 had been previously printed by the manu- 
 facturer's widow, its prohibitory price had 
 kept it out of the reach of the public ; this 
 cheap pamphlet brought the trade secrets 
 within the means of every workman. The 
 secrets of the trade were still considered of 
 great value, being in the possession of a very 
 few. Most of the master-potters had to 
 depend, for the preparation of bodies and 
 glazes, upon the assistance of practical 
 managers, who kept jealously to themselves 
 the mystery of their composition. 
 
 If we trust the statement of the compiler, 
 MS. copies of the recipes that are printed in 
 the Appendix, had previously been sold in the 
 Potteries for as much as one hundred pounds 
 each. 
 
 EYERS (Edward). The ancient pottery 
 of South-eastern Missouri. Salem 
 (Mass.), 1880. 4, pp. 30 ; with 
 maps and 24 lith. pis., accomp. 
 with descrip. notices. (In : Con- 
 tributions to the archwology of 
 Missouri, by the Archseological 
 section of the St. Louis Academy 
 of Science. Part I., Pottery.) 
 
 FABRICIUS (W. A.). Lucernae veterum. 
 Number g, 1653. 4, pp. 18 ; with 
 8 pis. 
 
 This essay, destined to be read as an 
 inaugural address, was published by the father 
 of the author, J. C. Fabricius. 
 
 FABRONI (A.). Storia degli antichi 
 vasi fittile aretini. Arezzo, 1841. 
 8, pp. 80; with 9 engr. pis. 8 fcs. 
 
 Arezzo has, unquestionably, been one of the 
 great centres of manufacture of the bright red 
 
 135 
 
CERAMIC LITERATURE. 
 
 [FAL 
 
 pottery, adorned with elaborate designs in low- 
 reliefs, and covered with a filmy glaze, to which 
 the name of "Samian" was most improperly 
 applied. Fragments of it are discovered in 
 abundance on the site of the old pot-works, or 
 in the refuse heaps of ancient towns, but 
 are seldom found in antique graves, associated 
 with the mortuary vessels of other description. 
 This is perhaps why early Italian antiquaries, 
 who confined their researches within the limits 
 of the Etruscan necropolis, long neglected the 
 study of the shining red pottery. Fabroni, 
 the curator of the Arezzo Museum, resolved to 
 indite a historical essay on the subject. So 
 considerable were the heaps of fragments un- 
 earthed from the very soil of the town, that 
 the writer felt himself warranted in asserting 
 that all examples of a similar type found in 
 other countries, had been imported from 
 Arezzo. His main object was to discredit 
 for ever the " Samian " theory. To that 
 effect he brought forth many specimens 
 bearing inscriptions traced in Etruscan 
 characters or names corresponding to those 
 found on the stone monuments of ancient 
 Etruria, documentary evidence from which a 
 local origin could fairly be inferred. Having, 
 subsequently, established that, according to 
 the testimony of classical authors, the making 
 of the red ware had persisted in the town for 
 uncounted centuries, he came to the conclusion 
 that the production had been sufficiently 
 abundant to meet the demand of a colossal 
 export trade. 
 
 Fabroni's sweeping assertion could not, how- 
 ever, be accepted. Too many ruins of Roman 
 potters' kilns, where fragments and wasters 
 plainly indicate that this particular pottery 
 had been the staple article of manufacture, 
 have been discovered all over Europe, to admit 
 of a doubt that it had been actually fabricated 
 on the spot where it was found. 
 
 FAGER. Rococo Malerein auf Lud- 
 wigsburger Porcellan. Stutt- 
 gart, 1891. 4, of 11 col. pis. 
 10m. 
 
 " Rococo paintings on the Ludwigsburg 
 porcelain." 
 
 Several motives for the use of the porcelain 
 painter. 
 
 FAIRBANKS (A.). Athenian Lekythoi 
 with outline drawings in glaze 
 varnish on a white ground. New 
 York, Macmillan Co., 1907. 
 Imp. 8, pp viii-371; with 15 
 half-tone pis. and 57 text illustrs. 
 16s. 
 
 A complementary volume is announced which 
 will contain the vases of the same type, the 
 subject of which is outlined in matt colours. 
 
 FAIRHOLT (F. W.). Tobacco : its his- 
 tory and associations, etc. Lon- 
 don (3rd ed.), 1876. 8. 5s. 
 136 
 
 Chap. iv. gives illustrations of the clay 
 pipes of all countries, with an account of their 
 manufacture. 
 
 FAIRIE (J.)- Notes on pottery clays. 
 The distribution, properties, uses, 
 and analysis of ball-clays, china- 
 clays, and china-stone. London, 
 Scott and Greenwood, 1901. 8, 
 pp. 136. 3s. 6d. 
 
 - Notes on lead ores, their dis- 
 tribution and properties. Lon- 
 don, Scott and Greenwood, 1901. 
 8, pp. 64. 2s. 6d. 
 
 FALBE (C. T.)- Vases antiques du 
 Perou. Copenhague, 1843. 8, 
 pp. 6 ; with 2 pis. (Reprint from 
 the Memoir e$ de la Soc. Roy. des 
 Ant. du Nord.) 
 
 FALCH1 (T.) - - Vetulonia e la sua 
 necropoli antichissima. Firenze, 
 Stab, tipografico fiorentino, 1892. 
 4, pp. 323 ; with 19 pis. 10 fcs. 
 
 " Vetulonia and its antique necropolis." 
 
 The pottery discovered on the site of an- 
 tique Vetulonia, near Grosseto, is of an archaic 
 character ; several examples of hut-urns and 
 other Etruscan vessels of curious shapes are 
 given on the plates. 
 
 FALCONNET (Major de P,). Brick and 
 tile making at Allahabad . Roor- 
 kee, 1874. 8, pp. 33 ; with 21 
 col. pis. 
 
 During the years 1872-74, the military works 
 at Allahabad carried on the manufacture of 
 bricks and tiles for the erection of buildings 
 in India. The processes described in this 
 pamphlet are those followed by English manu- 
 facturers. 
 
 FALKE (Collection David). Catalogue of 
 sale. London, Christie, 1858. 8, 
 pp. 208 ; with 25 lith. pis. 5s. 
 
 The sale lasted nineteen days. Ceramic 
 objects, many of them of high order, were 
 included in every day's sale. D. Falke was a 
 dealer in Bond Street. 
 
 FALKE (J. von). Die kunstlerisch- 
 asthetische Seite der auf der 
 Ausstellung vertreten Industrie- 
 Producte. Wien, 1869. 8. (In 
 Bericht iiber die We It- Ausstellung 
 zu Paris, 1867.) Pp. 109-113. 
 
FAL| 
 
 CERA MIC LIT ERA TURE. 
 
 [FAL 
 
 "The artistic and aesthetic aspect of 
 the industrial products represented at 
 the exhibition." 
 
 Die Kunstsammlimgen Sr. 
 Majestat des Konigs Karl's XV. 
 von Schweden und Norwegen zu 
 Stokholm und Ulriksdal. Wien, 
 1871. 8, pp. 254. Ceramics, 
 pp. 1-90. 15 m. 
 
 " The art collection of H.M. Karl XV., 
 King of Sweden and Norway, at Stock- 
 holm and Ulriksdal." 
 
 Die ehemalige Kaiserliche 
 Porzellan-Fabrik in Wien. Stutt- 
 gart, 1875. 4, pp. 19 ; with 20 
 illustrs. (In Gewerbehalle.) 
 
 "The ancient imperial manufactory of 
 porcelain of Vienna." 
 
 - Die K. K. Wiener Porzellan- 
 fabrik. Die Geschichte und die 
 Sammlung ihrer Arbeiten im K. 
 K. Oesterreich. Museum. Wien, 
 Gerold's Sohn, 1887. 4, pp. 89 ; 
 with 17 phototyp. pis. (1 col.) 
 
 " The Imperial and Royal porcelain 
 manufactory of Vienna. Its history and 
 the description of the collection of its 
 productions in the I. and R. Austrian 
 Museum of Industrial Art." 
 
 This monograph of a celebrated manufactory, 
 now extinct, repeats and completes the work 
 mentioned higher up. It contains a catalogue 
 raisonne of the specimens of Vienna porcelain, 
 which had been selected from the stock of the 
 Imperial manufactory at the close of that 
 establishment, and had just been deposited in 
 the Museum of Industrial Art. The five 
 periods of manufacture into which J. von 
 Falke has divided his book, are adequately 
 represented in that collection. 
 
 It was in 1718 that a Dutchman, named 
 Du Pasquier, attempted to establish a manu- 
 factory of hard porcelain at Vienna, with the 
 assistance of a certain Stenzel, a workman he 
 had enticed from Meissen, and who had 
 succeeded in mastering a portion of the secrets 
 of manufacture. For many years the under- 
 taking remained in the experimental state ; 
 the capital needed for its development could 
 not be obtained, and it dragged a precarious 
 existence, occupying only ten hands. Limited 
 as were the productions, they were, neverthe- 
 less, creditable enough to induce the Empress 
 Maria Theresa to free the management from 
 their crushing liabilities, and, placing the works 
 under her patronage, to have them carried on as 
 an Imperial manufactory. This occurred at the 
 date of 1744, and from that time porcelain of a 
 fine quality, chiefly an imitation of that pro- 
 
 duced at Dresden and Sevres, was regularly 
 manufactured, but without any marked success. 
 At last, under the management of Sorgenthal 
 (1784-1805), the Imperial factory enjoyed a 
 period of extraordinary prosperity. Decora- 
 tions in the classical style, reproductions of 
 pictures by the old masters and the best 
 painters of the times, and above all, an 
 elaborate gilding, the perfection of which had 
 never been approached before, secured for 
 the Vienna porcelain of that period a favour 
 that it has never lost in the eye of the 
 connoisseur. From 1805 till 1816, at a time 
 when the art industries had been so seriously 
 affected all over Europe as to be almost ruined 
 by the consequences of the Napoleonic wars, 
 the fortunes of the Imperial factory had, by a 
 singular dispensation, reached their highest 
 point. Over five hundred workmen found 
 employment at the works, and the sales and 
 profit made in the year 1816 rose to an unpre- 
 cedented figure. From that moment the busi- 
 ness began to decline ; all went gradually from 
 bad to worse, and no efforts could stop an 
 evil course which was to end in the definite 
 closing of the manufactory. 
 
 This volume forms one of the handbooks of 
 the Museum of Industrial Art. A reprint of a 
 technical treatise on the porcelain and the 
 porcelain clays of Austria, published by 
 B. Scholtz in 1824, is given as a supplement. 
 
 FALKE (OttO VOn). - - Kunstgewerbe 
 Museum. Majolika. Berlin, 
 Spemann, 1896. 8, pp. 200; 
 with 79 illustrs. 2s. 6d. 
 
 "Industrial Art Museum at Berlin. 
 Handbook to the history of the majolica 
 and faience of all countries." 
 
 Interesting information respecting the Ger- 
 man manufactories of stanniferous faience. 
 
 Sammlung Richard Zschille. 
 Katalog der italienischen Ma- 
 joliken. Leipzig, Hiersemann, 
 1899. Sm. fol., pp. xvi-24 ; with 
 35 phototyp. pis. 45 m. 
 
 " Collection R. Zschille. Catalogue of 
 the Italian majolica." 
 
 A remarkable collection which contained 
 well selected representatives of all the chief 
 styles of Italian majolica, from the beginning 
 to the decline of the art. It comprised 229 
 Nos., 190 of which are represented in the plates. 
 
 The collection was sold at Christie's, London, 
 June 1st, 1899. 
 
 Kolnisches Steinzeug. Berlin, 
 
 1899. 4, pp. 24; with 1 photo- 
 typ. pi. and 9 text illustrs. (Re- 
 print from the Jahrbuch der 
 Konigl. preussischen Kunstsamm- 
 lungen, vol. xx.) 
 
 " Cologne stoneware." 
 
 137 
 
FAL] 
 
 CERA MIC LITER A TURE. 
 
 In 1889, as workmen were making some 
 excavations at Cologne, in the Komodien 
 Strasse, they brought to light the remains of a 
 potter's oven the soil around which was 
 strewn with fragments and wasters of brown 
 stoneware. A further discovery of the huge 
 refuse-heap of another pot-works of the same 
 period, in which pieces and fragments were 
 equally abundant, was made in Maximinens 
 Strasse in 1897. In this manner the question, 
 long left in suspense as to whether stoneware 
 had been actually manufactured in the town, 
 was definitely settled. We are now expected 
 to accept, as an equally absolute fact, that the 
 making of the brown stoneware had its cradle in 
 Cologne, and not at Raeren, the mighty centre 
 of production, so far credited with the inven- 
 tion. One could not easily realise how such a 
 claim could be satisfactorily established by 
 means of the two finds just mentioned. Yet, 
 it rests on nothing else. As a matter of fact, 
 they did not supply any dated or inscribed 
 piece by which the existence of these factories 
 could be connected with any authentic docu- 
 ment. Repeated mentions of the potters and 
 their trade are recorded in the town registers. 
 None of them is, however, sufficiently explicit. 
 Far from being conclusive, these concise records 
 may be altogether misleading. They may have 
 reference to some common terra-cotta potter, 
 and not to a maker of artistic stoneware. 
 
 The discussion on the priority of Raeren in 
 the production of this particular style of 
 pottery, has been fully enlarged upon else- 
 where ; we do not intend to revert to it. We 
 notice that this priority is flatly denied by 
 Mr. Falke. Such a peremptory verdict ought, 
 we think, to be substantiated by a better class 
 of evidence. Against the claim put forth by 
 the partisans of the theory that brown stone- 
 ware had originated at Cologne, one may 
 oppose the fact that the excavations have not 
 yielded a single trial piece or example of a 
 very primitive character, such as Raeren has 
 supplied in countless numbers. This seems 
 to indicate that the industry did not ori- 
 ginate here, but was introduced after it had 
 reached a high degree of improvement else- 
 where. 
 
 The only document in which reference is 
 made to the potting trade in the Maximinen 
 Strasse, is dated 1589. It gives us the name of 
 two men, established in the street, probably as 
 retailers of stoneware goods. Both are de- 
 scribed as belonging to Frechen, a neighbour- 
 ing village, whither we have good cause to 
 believe the Cologne potters repaired and 
 carried on their trade when expelled from 
 the town by a municipal edict. To this 
 transfer of the industry, the striking similai-ity 
 that the Cologne ware bears to that of Frechen, 
 affords a convincing testimony. 
 
 FALKE (OttO von). Katalog der . . . 
 Sammlung Alt-Meissner Por- 
 zellan . . . nebst einem 
 Anhang, Porzellananderer Manu- 
 facturer!, des Herrn C. H. Fisher 
 in Dresden. Kbln, 1906. 4, pp. 
 164 ; with 50 photot. pis. and 
 138 
 
 numerous half-tone text illustrs. 
 40 m. 
 
 Collection C. H. Fisher Cat. of sale. Old 
 Meissen porcelain, 998 Nos., with a small 
 addition of examples from other sources. The 
 Catalogue is of great importance. The pre- 
 face is by Dr. 0. v. Falke. 
 
 FALKNER (F.) and SIDEBOTHAM (Collection). 
 Catalogue of a collection of 
 English pottery figures, deposited 
 on loan, in the Royal Museum, 
 Peel Park. Manchester, 1906. 
 8, pp. 41 ; with 13 pis. 
 
 FANELLI (P.). Idea del perfetto pit- 
 tore. Accresciato della maniera 
 di dipingere sopra la porcellana, 
 vitro, etc. Torino, 1779. 8, 
 pp. 118. 2 fcs. 
 
 "An idea of a perfect painter; to 
 which is added the art of painting 
 upon porcelain, glass, etc." 
 
 FANTI (G.). Ricordi intorno le mai- 
 oliche faentine. S.I., 1869. 8, 
 pp.6. 
 
 " Some recollections about the majolica 
 of Faenza." 
 
 FARAO (F. M.). Sull'interpretazione 
 di due vasi fittili pestani fatta 
 dal Lanzi. Napoli, 1810. 
 
 "On the elucidation of two fictile 
 vases found at Pestum, given by Lanzi." 
 
 FARABULINI (D.). Sopra un monu- 
 mento della scuola di Luca della 
 Robbia aggiunto al museo sacro 
 della Biblioteca Vaticana. Roma, 
 1886. 8, pp. 51 ; 1 pi. 3 fcs. 
 
 "Notice of a majolica relief of the 
 Della Robbia school added to the ecclesi- 
 astical museum of the Vatican library." 
 
 A work of a late period, hardly to be classed 
 among the productions of the Delia Robbia 
 school. 
 
 FAREY (P. de). La ceramique dans le 
 Calvados. Atelier du Molay. 
 Tours, 1883. 8, pp. 20 ; illustrs. 
 3 fcs. 
 
 "Ceramic art in Calvados. Manu- 
 factory of Molay." 
 
FAR] 
 
 CERA MIC LI TEH A TURE. 
 
 [FEL 
 
 Notes upon the pottery manufacture of a 
 district not mentioned by previous writers. 
 The illustrations reproduce some tumular 
 effigies made of earthenware tiles incised with 
 figures in the style of the memorial brass plates 
 and carved flagstones of the same period. 
 
 FARGUES (J.)- On the manufacture 
 of modern Kashi earthenware 
 tiles and vases in imitation of 
 the ancient. Written at the 
 request of Sir R. Murdoch Smith, 
 K.C.M.G., by the inventor, Ustad 
 AH Mohamed of Teheran, and 
 translated from the Persian MS. 
 by J. Fargues. Edinburgh, 
 Museum of Science and Art, 
 1888. 8, pp. 11. 
 
 An European potter could make no use of 
 these obscurely worded recipes. It is clear, 
 however, that they could not be applied to the 
 manufacture of ancient Persian ware. The 
 preparation of the precipitate of gold and of 
 the yellow obtained from iron is repeated 
 three times. Neither of these colours appears 
 on the old ware of Persia ; but they are 
 employed by the modern potter for the decora- 
 tion of a common faience crudely painted, and 
 fired at a very low temperature. 
 
 FARKASHAZI-FISCHER. Palissy Elete es 
 miivei. Budapest, Pallas, 1887. 
 8, pp. 127 ; with illustrs. 5s. 
 
 A life of Palissy in Hungarian. The wood- 
 cuts are borrowed from the Gazette des Beaux 
 Arts. 
 
 Une manufacture nationale. 
 Budapest, 1887. 8, pp. 12. 
 
 "A plea in favour of the establish- 
 ment of a state-supported porcelain manu- 
 factory in Hungary." 
 
 FAUCONNIER. Memoire et consulta- 
 tion pour les directeurs de la 
 manufacture de porcelaine de 
 France k Sevres, exploitee au 
 compte du Roy ; contre les 
 syndics de la communaute des 
 officiers-jures mouleurs de bois, 
 demandeurs. Paris, Imprimerie 
 Chardon, 1769. Sm. 4, pp. 54. 
 
 "Memoir and legal opinion for the 
 directors of the manufactory of porce- 
 lain of France, carried on on behalf of 
 the king, defendants ; against the war- 
 dens of the corporation of wood-measurers, 
 plaintiffs " 
 
 FAUJAS DE SAINT-FOND. See Palissy. 
 
 FAUSSETT (Bryan). In ventorium sep- 
 ulchrale : an account of some 
 antiquities dug up at Gilton, 
 Kingston, etc., in the County of 
 Kent, from A.D. 1757 to A.D. 
 1773. Edited from the original 
 manuscript in the possession of 
 Joseph Mayer, Esq., with Notes 
 and Introduction by Ch. Roach 
 Smith. Printed for subscribers. 
 London, 1854. 4, pp. 230; with 
 20 engr. pis., some in colour 
 (1 pi. pottery), and illustrs. in 
 text. 1, Is. 
 
 FEA (Carlo). Storia dei vasi fittili 
 dipinti che da quattro anni si 
 trovano nello Stato ecclesiastico, 
 etc. Roina, 1832. 8, pp. 65. 
 
 " History of the painted vases dis- 
 covered during the last four years in 
 the Papal States ; showing that antique 
 Etruria kept a regular commercial inter- 
 course with the Lydian colony, established 
 in the country several centuries before 
 the Roman domination. 
 
 In adopting the theory expounded by 
 Lucien Bonaparte in the catalogue of his 
 collection, C. Fea believed that all the painted 
 vases had been manufactured in Etruria, and 
 accordingly he built up a fantastic tale of 
 their wholesale importation into Greece and 
 other countries through the intermedium of 
 the Lydian merchants. 
 
 FELDEGG (F. YOn). - - Grundriss der 
 KunstgewerblichenFormenlehre, 
 Wien, 1887. 8; with 122 il- 
 lustrs. 3 m. 
 
 " Elementary rules for the designing 
 of shapes in industrial art." 
 
 Published under the patronage of the K.K. 
 ministry of public instruction. About one 
 half of the work is devoted to the drawing of 
 ceramic shapes. 
 
 FELDSCHAREK (R.). Umrisse Antiker 
 Thongefasse, etc. Wien, 1876. 
 Fol.; 15 pis. 10s. 
 
 " Outlines of antique vases." 
 
 - Ornamente Antiker Thonge- 
 fasse ; zum Studium und zur 
 Nachbildung fur die Kunstin- 
 
 139 
 
FEL] 
 
 CERA MIC LIT ERA TURE. 
 
 [FIA 
 
 diistrie sowie fur Schulen. Wien, 
 1878. Fol.; 15 pis. in col. 10s. 
 
 " Ornaments of antique vases ; models 
 for industrial arts and for the schools of 
 design." 
 
 The first two parts of an educational work 
 published by the Royal Museum of Art and 
 industry of Austria. 
 
 FELIX (E.). Die Kunstsammlung 
 von Eugen Felix in Leipzig. 
 Katalog verfast von Dr. A. von 
 Eye und P. E. Borner. Leipzig, 
 Weigel, 1880. 8, pp. 174; with 
 atlas fol. of 36 phototyp. pis. 
 30m. 
 
 "The collection of works of art in the 
 possession of S. F. of Leipzig. Cata- 
 logue prepared by Dr. A. von Eye and 
 P. E. Borner." 
 
 Ceramics pis. 26-30. 
 
 - Catalogue of sale. Cologne, 
 Heberle, 1886. 4, pp. 228 ; with 
 numerous illustrs. in the text. 
 10m. 
 
 This catalogue contains 135 Nos. of pottery 
 of various origin. Old German stoneware was 
 particularly well represented. A large Sieg 
 burg bottle f 
 
 fetched 800. 
 
 FERRAND (J. P.). L'art du feu ou de 
 peindre en 6mail, dans lequel on 
 decouvre les plus beaux secrets 
 de cette science. Avec des in- 
 structions pour peindre et ap- 
 preter les couleurs de migniature 
 dans la perfection. Paris, 1721. 
 12, pp. 220. 10 fcs. 
 
 "The art of fire and of enamel paint- 
 ing, being a disclosure of the most valu- 
 able secrets of that science, together 
 with instructions for painting and pre- 
 paring miniature colours to perfection." 
 
 Ferrand, a pupil of Petitot, the famous 
 enamel painter, was a member of the Royal 
 Academy of Fine Arts. His knowledge of 
 practical chemistry seems to have been limited 
 to empirical and extravagant recipes of enamel 
 colours, gathered from equivocal sources, and 
 which he transcribes, probably without having 
 himself ever tested their true worth. Being 
 doubtful as to what would be the result of 
 following his prescriptions, he concludes his 
 work with the candid confession that colours 
 had better be bought ready-made from the 
 druggist or the faience manufacturer. 
 
 140 
 
 FESQUET (F. A. A.). Lessons in paint- 
 ing on China. London, 1880. 8, 
 pp. 63. 
 
 FETIS (Collection Frederic). Catalogue 
 des faiences anciennes des di- 
 verses fabriques, etc. Paris, 
 impr. de 1'Art, 1887. 8, pp. 75 ; 
 with pen and ink sketches in the 
 text. 5 fcs. 
 
 Catalogue of Sale of a collection formed witli 
 great discrimination by a distinguished amateur 
 of Brussels. Mr. Gustave Gouellain has pre- 
 faced the catalogue with an interesting notice. 
 Some historical notes on the faiences of Brussels, 
 Tervueren, and the porcelain of Tournay have 
 been reprinted, at the head of the respective 
 sections, from articles written by F. Fetis. 
 The catalogue is composed as follows : Faiences 
 of various origins, Nos. 1 to 345 ; Tournay 
 porcelain, Nos. 346 to 380 ; soft porcelain and 
 English earthenware, Nos. 381 to 405 ; terra- 
 cotta medallions by Nini, Nos. 406 to 423. 
 
 FEUILLET DE CONCHES. Les peintres 
 Europeens en Chine et lespeintres 
 Chinois. Paris, impr. Dubuisson, 
 1856. 8, pp. 47. (Reprinted 
 from the Revue contemporaine.) 
 
 "European painters in China and 
 Chinese painters." 
 
 Treats of the style of Chinese paintings 
 and of the methods employed by native 
 artists for painting on porcelain, as well as in 
 water and body colours, on paper and other 
 materials. 
 
 FEDYRIER (J.).--Une Industrie de 
 Fepoque Gallo-romaine au village 
 de Pointre (Jura). Dole, 1898. 
 8, pp. 9; Ipl. 
 
 "An industry of the Gallo-Roman 
 period in the village of Pointre." 
 
 FIALA (Franz). Die prahistorische 
 Ansiedelung auf dem Debelo 
 Brdo bei Sarajevo. Wien, 1896. 
 8, pp. 36 ; with 255 illustrs. in 
 the text. (Publ. in the Wissen- 
 schaftliche Mittheilungen aus 
 Bosnien und der Hercegovina, 
 vol. iv.) 
 
 " The prehistoric settlements on the 
 Debelo Brdo, near Sarajevo." 
 
 Pottery, pp. 1-16, with 106 illustrs. The 
 other publications of the Scientific Society of 
 Bosnia and Herzegovina contain occasional 
 references to the ancient pottery of these 
 provinces. 
 
PIE] 
 
 CERAMIC LITERATURE. 
 
 [FIL 
 
 FIEFFE (C. P.). Les faiences patrony- 
 miques. Caracteristiques des 
 Saints dans la ceramique niver- 
 naise. Clamecy, Desvignes, 1901. 
 8, pp. 153 ; with 52 phototyp. 
 pis. giving 78 subjects. 20 fcs. 
 
 " Patronymic faiences. The character- 
 istics of Saints represented upon Niver- 
 nian ceramic." 
 
 To group by order of subjects the old 
 popular faience of Nevers has been the con- 
 stant care of Mr. Fieffe, curator of the 
 Clamecy Museum. As a sequence to the 
 patriotic faiences, he has published the series 
 of those painted with the effigy and the name 
 of a saint. Of these he has counted over one 
 hundred different examples. They are at a 
 future date to be supplemented by a selection 
 of pieces bearing representations of workmen 
 at their trades, and amorous and bacchanalian 
 subjects. 
 
 Differing in this from the pieces with 
 patriotic devices of the revolutionary period, 
 the meaning of which appealed to the feelings 
 of the nation at large, the specimens painted 
 with the figure of a saint always had a 
 personal destination. They were usually in- 
 scribed with names and dates. No decoration 
 was considered more appropriate to give 
 actuality to a present than the figuration of 
 the patron saint of the party for whom it was 
 intended ; hence the large number of those 
 patronymic faiences. In describing the charac- 
 teristics of each of the holy personages depicted 
 upon the Nevers fai'enoe, the author indulges, 
 occasionally, in jocular commentaries upon the 
 curious legends accredited in the locality. He 
 has, in that way, managed to enliven descrip- 
 tions which might otherwise have proved rather 
 monotonous, without lapsing into an irreligious 
 tone. 
 
 FIERLI (G.). Sulla nuova fabbrica di 
 maj cliche cortonese appartenente 
 al marches! Venuti. Firenze, 
 1805. 8. 
 
 Notice of the new factory of majolica 
 of Cortona, belonging to the Marquis 
 Venuti." 
 
 FIGG (William). Sussex tiles. Lon- 
 don, 1850. 8; 12illustrs. (Extr. 
 from Sussex Archceological Col- 
 lection, vol. iii.) 
 
 FIGUIER (L). --Les merveilles de 
 Findustrie. Paris, 1876. 3 vols. 
 
 8. 
 
 " The marvels of industry." 
 
 Vol. I. Industrie des poteries, des faiences, 
 et des porcelaines, pp. 159-398 ; with 172 illus- 
 trations. The account is borrowed from 
 Marryat and Demmin for the historical part, 
 
 and from Brongniart for what refers to manu- 
 facture. A chapter on the manufactory of 
 Sevres contains a description of the processes 
 in use at the time, illustrated with views of the 
 workshops. 
 
 FIL (E.). Catalogue raisonne des 
 objets d'art et de ceramique du 
 Musee de Narbonne. Narbonne, 
 Caillard, 1877. 8, pp. xxvi-265. 
 
 " Descriptive catalogue of the works 
 of art and ceramic objects in the Nar- 
 bonne Museum." 
 
 Pottery and porcelain pp. 137-265. With 
 historical notices. 
 
 FILLON (Benjamin). Lettres ecrites de 
 la Vendee a Mr. A. de Montaig- 
 lon. Paris, Tross, 1861. 8, pp. 
 128. 10 fcs. 
 
 " Letters written from Vendee to Mr. 
 A. de Montaiglon." 
 
 Contains interesting information on the 
 early French pottery. Letter III. Bernard 
 Palissy and the Parthenay-l'Archeveque. 
 Letter IV. A manufactory of fine earthen- 
 ware established at Fontenay under the 
 patronage of B. Palissy. Letter X. Le- 
 lewel's opinion of the study of earthen vases. 
 
 - Les faiences d'Oiron, Lettre 
 a Mr. Riocreux, conservateur du 
 Musee de Sevres. Fontenay, 
 1862. 8, pp. 8. 
 
 " The Oiron faience. A letter to Mr. 
 Riocreux, curator of the Sevres Museum." 
 
 The bedarkened tracks of ceramic history 
 are sometimes haunted by frisky " Will-o'-the 
 Wisps," who rejoice in leading away an eager 
 explorer. While engaged in a journey of dis- 
 covery through the untrodden fields of early 
 French pottery, Mr. B. Fillon, a most con- 
 scientious historian, became the victim of one 
 of those treacherous fiends. Scarcely had he 
 started on his expedition, than a trumpery 
 light disclosed to his bewildered gaze a 
 succession of alluring phantasms. He soon 
 lost his bearings in the pursuit of the illusory 
 images, confident that he was following the 
 high road to success. In this way he gathered 
 a sufficient amount of apparently reliable evi- 
 dence for building up an entirely new theory 
 of the origin of the so-called Henri II. faience. 
 For long it was thought that the sagacity dis- 
 played by B. Fillon in settling this moot point 
 could never be adequately extolled. Con- 
 noisseurs were unanimous in endorsing the 
 now exploded arguments he had embodied 
 into a letter to his friend, the curator of the 
 Sevres museum. 
 
 - L'art de terre chez les Poi- 
 tevins ; suivi d'une etude sur 
 l'anciennet de la fabrication du 
 
 141 
 
FIL] 
 
 CERAMIC LITERATURE. 
 
 [FIO 
 
 verre en Poitou. Niwt, L. 
 Clouzot, 1864. 4 n , pp. xiii-216 ; 
 with 6 etched pis. 30 fcs. 
 
 "The art of clay in Poitou, with an 
 essay on the antiquity of glass-making 
 in the province." 
 
 To the publication of ceramic books of 
 general interest, had succeeded that of the 
 detached histories of the chief centres of manu- 
 facture. As a consequence of the temporary 
 ferment which urged many a learned collector 
 to put into print the result of a long experi- 
 ence before his intention had been forestalled 
 by a dreaded rival, several monographs, the 
 instructive value of which has, perhaps, not 
 been equalled by the sum of all that has since 
 teen written on the same subjects, were given 
 to the public within the lapse of very few 
 years. Many a contemporaneous work still 
 remains an unshaken authority on the matter 
 it had treated for the first time. Fillon's 
 notable volume belongs to this prolific period 
 of the ceramic literature. " The art of clay in 
 Poitou " would have deserved a high place 
 among the standard ceramic books, but for the 
 unfortunate error the author had fallen into 
 with regard to the origin of the Henri II. 
 faience. 
 
 While acknowledging that the preliminary 
 and concluding chapters have been written 
 with uncommon care and sound judgment, one 
 has to deplore that such a large share of the 
 author's attention should have been bestowed 
 on that part of the work in which he has so 
 ingeniously woven the threads of the Oiron 
 theory. Granting that the conclusions he had 
 arrived at can no longer be maintained, there 
 is, nevertheless, much for us to learn from the 
 authentic documents Fillon has supplied to 
 the controversy. For if we apply the interest- 
 ing particulars contained in this voluminous 
 batch of documentary evidence to the making 
 of a majolica pavement in the Italian style, 
 executed by order of Helen of Hangest, by her 
 potter Charpentier, and not to an inlaid 
 Henri II. vessel, a ware of a very different 
 character all becomes right and worthy of a 
 deep interest. The wonder is that, having had 
 to comment upon a letter addressed to the 
 Countess by Chevreau, her steward and man of 
 business, in which it is said "Charpentier a 
 besogne a vos ordres dedans la chapelle de 
 senestre. ..." Fillon was not at all en- 
 lightened as to the exact kind of ware that 
 was made in the castle. No doubt he had 
 seen the speaking remains of the majolica 
 pavement. Unwilling to be undeceived by 
 such unimpeachable testimony, he persisted in 
 heaping argument upon argument in support of 
 his fascinating romance. A few words referring 
 to " la faience de Saint-Porchaire," discovered 
 in an old inventory, sufficed to bring to the 
 ground the fabric so laboriously erected. 
 
 FILLON (Benjamin). Coup d'oeil sur 
 I'ensemble des produits de la 
 ceramique poitevine, suivi de 
 recherches sur les verriers et 
 faienciers italiens etablis en 
 142 
 
 France du xvi. au xviii. siecle. 
 Fontenay-ie-Cornte y 1865. 4, 
 pp. 36. " 
 
 " A general glance at the ceramic pro- 
 ductions of Poitou, with notes upon the 
 Italian glass and faience-makers estab- 
 lished in France from the sixteenth to 
 the eighteenth century." 
 
 An abridgment of the Art of Clay, published, 
 with the same vignettes and plates, in Poitou 
 et Vendee. 
 
 FILLON (Collection B.). Catalogue of 
 sale. Paris, 1882. 8, pp. 200 ; 
 with text illustrs. 5 fcs. 
 
 Fillon was an eclectic antiquary. No branch 
 of archaeological knowledge had been neglected 
 by him. His collection was, consequently, of 
 a miscellaneous character. Very rich in numis- 
 matics and ancient works of art, it contained 
 few specimens of the old French pottery of 
 which he had been the consummate historian. 
 
 FILLON (B.). (Euvres de Bernard 
 Palissy. (See Audiat) 
 
 FINKS. Formen und Stempel romi- 
 scher Thonlampen. Munchen, 
 1901. 8, pp. 28; with 6 pis. 
 
 F10LET (L.). Fabrique de pipes de 
 Saint Omer. S.I., n.d. Imp. 8, 
 pp. 2 ; and 70 pis. 
 
 " Manufactory of clay tobacco pipes at 
 St. Omer." 
 
 Pattern book, for the use of the trade, con- 
 taining all the models made at the factory 
 since 1830. The illustrations form a grotesque 
 gallery of past glories ; the heroes of the hour, 
 the engrossing topics of the day, have all been 
 caricatured or symbolised in clay, as time 
 went on, by the pipe modeller. The lovers of 
 emblematic pottery might, not unbecomingly, 
 call it a series of " patriotic pipes." 
 
 FIORELLI (Giuseppe). Notizia dei vasi 
 dipinti rinvenuti a Cuma nel 
 MDCCCLVL, posseduti da 
 S.A.R., il conte di Siracuza. 
 Napoli, 1856. Fol, pp. xxix. ; 
 with 18 chromolith. pis. 1, 10s. 
 
 "Notice of the painted vases dis- 
 covered at Cuma in 1856, in the pos- 
 session of H.B.H. Count de Siracuza." 
 
 The vases made at Cuma were celebrated in 
 ancient times. Yet, those which were found 
 on the site of the old city are varied enough in 
 their style to warrant the opinion that they 
 are of different origin. The earliest types, bear- 
 ing subjects of black figures, greatly predomi- 
 
FIO] 
 
 CERAMIC LITERATURE. 
 
 [FLA 
 
 nate in the collection. Some of the specimens 
 are of great beauty and their archaic style of 
 drawing is accurately rendered on the litho- 
 graphic plates designed by A. Rufso. G. Fio- 
 relli, director of the Naples Museum, has given 
 a description of the subjects, bristling with 
 quotations from ancient writers, but wanting in 
 all the additional information which might 
 help the modern science of Greek vases. 
 
 FIORILLO (R.)- - - Dissertatio de in- 
 scriptione Grseca vasculi picti 
 ex Museo Equitis de Hamilton. 
 Gottingce, 1804. 4. 
 
 " Dissertation on the inscriptions of 
 the Greek vases in the collection of 
 Sir W. Hamilton." 
 
 FISCHBACH (0.)- Komische Lampen 
 aus Poetovio im Besitze des 
 Steiermark. Landesmuseum 
 "Johanneum." Gratz, 1896. 
 8, pp. 64 ; with 7 pis. 
 
 " The Roman lamps found at Poetovio 
 preserved in the Steier regional Museum." 
 
 FISCHER (Hermann). Die Bearbeitung 
 der Steine,Glas- und Thonwaren. 
 Leipzig, 1891. 8. (In Handbmh 
 der mechanischen Technologic von 
 K. Kar marsh, vol. ii.,. part iii., 
 pp. 791-932 ; with 81 illustrs.) 
 
 "The treatment of stone, glass, and 
 earthenware." 
 
 FITZHENRY (J. H.). A series of twelve 
 delft plates illustrating the to- 
 bacco industry, presented by J. 
 H. F. to the Victoria and Albert 
 Museum. London, Board of 
 Education, S.K., 1907. 4, pp. 
 4 ; with 2 views and 12 pis. 
 (1 col). 5s. 
 
 FLACHAT (Stephane). I/Industrie, Ex- 
 position de 1834. Paris, Tenre, 
 1834. 8, pp. 160 ; with 46 pis. 
 20 fcs. 
 
 " Industry. The exhibition of 1834." 
 
 The most important pottery manufactories 
 of France were represented in the Paris Exhibi- 
 tion of 1834. Their actual situation, the tariff 
 of their production, are set down in this 
 report. The deplorable taste of the period is 
 exemplified in the reproductions of the stiff and 
 unhandy Greek shapes then made at Sarre- 
 
 gtiemines, and of the extravagant and ponderous 
 models of Jacob Petit, of Fontainebleau. 
 
 FLASH (A.). Die Polychromic der 
 griechischenVasenbilder. Wurz- 
 burg, 1875. 8, pp. 65. 3 m. 
 
 "The polychromy of the Greek vase 
 paintings." 
 
 We have often seen that a fundamental 
 principle having been duly set down, the 
 most unexpected deductions may be derived 
 from it by an impulsive expounder ; but we do 
 not think that, in the whole range of disquisi- 
 tions upon the Greek vase painting, could be 
 found a more startling theory than the one 
 developed by the writer of this essay. The 
 principle upon which rests the argumentation 
 is that the earliest productions of an art at its 
 dawn are bound to be monochromic. Man 
 tries to represent with mere lines the form of 
 an object, long before he possesses the means 
 of reproducing also its colour. As the art 
 advances, the technics improve conjointly ; 
 man discovers, at first, one pigment, then two, 
 three, and so forth, until at last he obtains a 
 sufficient scale of colours to endow his work 
 with an exact likeness to nature. The adop- 
 tion of polychromy coincides, therefore, with 
 the moment at which the art reaches its 
 highest point of perfection. This is, at least, 
 the author's assumption, and he applies this 
 rule to the development of Greek vase 
 paintings. 
 
 He finds that the vases of the most archaic 
 style are those with red figures, on which the 
 subjects are left of the natural colour of the 
 clay, the painter having at the time no other 
 accessory medium at his disposal but the black 
 varnish which he uses as a background to set 
 off his roughly delineated figures. Next to 
 those, in point of antiquity, he places the 
 vases painted with black figures on red ground ; 
 on these latter technical improvements are 
 clearly evinced, in his own opinion, by the 
 introduction of partial touches of white, 
 purple, or yellow pastes. The third and last 
 group in his consideration, comprises another 
 series of vases, decorated with red figures on 
 black ground, belonging to a later epoch, and 
 acknowledged by all to represent the finest 
 period of the art. This return of the accom- 
 plished artists to the primitive method employed 
 by their unskilled predecessors, would not be 
 easily accounted for in its relation to the 
 fundamental principle of the march of poly- 
 chromy, were it not that the author has found 
 a ready solution to this apparent difficulty. 
 After mature consideration and a close study 
 of the best examples of this class, he has come 
 to the conclusion that what we see now on the 
 vases with red figures could only have been 
 a preparatory work, destined to be completed 
 with a surface painting executed with a great 
 variety of colours. They were, unfortunately, 
 distemper colours of an evanescent nature ; age, 
 damp, and other destructive elements have 
 obliterated them centuries ago. This is why 
 no actual traces ot such colours can now be 
 seen upon the vases ; but the place they 
 occupied on the paintings can clearly be 
 discerned, we are told, by a keen observer. 
 
 143 
 
FLE] 
 
 CERAMIC LITERATURE. 
 
 [FLE 
 
 In this way, the theory of progressive poly- 
 chromy is brought out triumphant ; the fact is 
 no longer questioned that the Greeks painted 
 their monuments, their statues, and their terra- 
 cottas with bright colours ; henceforth, it will 
 also be accepted that the painted vases did not 
 make an exception to the general progress of 
 Greek art, which had marched towards poly- 
 chromy as the final degree of absolute perfection. 
 
 FLEISCHIN. L' Architecture en 
 briques. Paris, 1871. Album 
 4 of 44 pis. 
 
 " The brick architecture." 
 
 FLEISCHMAM (A.). Gotthelf Greiner. 
 Historisches Volkstiick in 5 
 Akten. Saalfeld, 1887. 12, 
 pp. 147. 2 m. 
 
 " G. Greiner. Historical drama in 
 five acts." 
 
 Scenes of the establishment of the porcelain 
 manufacture in Thuringia. 
 
 FLEISCHMAM (C- W.). Pattern book 
 of an art furniture manufacturer 
 of Nuremberg, containing prin- 
 cipally models of earthenware 
 stoves. The album has no title, 
 and the copies, made up of odd 
 engravings, differ in the number 
 of plates. Our own copy con- 
 tains 60 plates, but it is not a 
 complete one ; illustrations have 
 continually been added to the 
 original pattern book issued 
 about 1850. 
 
 Fifty years ago the romantic craze was at its 
 highest in Germany. Sham mediajval castles 
 were built by those who were not fortunate 
 enough to possess antique towers, the ruins of 
 which could be turned into a highly picturesque, 
 if not quite comfortable, habitation. These 
 pseudo-gothic homesteads would not have been 
 complete without appropriate furniture and 
 appointments ; Fleischmann, of Nuremberg, 
 undertook to supply them with antiquities 
 made to order. The ancient styles of German 
 pottery were successfully revived by him. 
 His reproductions of the remarkable earthen- 
 ware stoves still extant in Nuremberg were 
 excellent. He did not forget to produce many 
 quaint vessels, curiously embossed and richly 
 toned with coloured glazes, for the adornment 
 of the old dressers. Were it not that they 
 were generally inscribed with dates too early 
 not to awaken suspicion, they were well calcu- 
 lated to deceive the collector of rare and 
 unique specimens. The last consignment of 
 Fleischmann's spurious productions was im- 
 ported into England a few years ago, and many 
 a confident purchaser has now to regret having 
 
 144 
 
 yielded too easily to the temptation of acquiring 
 a mediaeval-looking earthenware dish or drink- 
 ing pot, seemingly far surpassing in importance, 
 antiquity, and state of preservation, all speci- 
 mens of the same order preserved in the 
 museums. 
 
 FLENTJEN (Marie). Vorlagen fiir Por- 
 zellanmalerie nach altenMustern. 
 Zusammengestellt und entworfen 
 von M. Flentjen. Leipzig, C. 
 Garte, s.d. (1885 ?) 8 ; 18 col. 
 pis. 10s. 
 
 "Patterns for porcelain painting, 
 collected and sketched from ancient 
 models." 
 
 FLETCHER (Samuel). A treatise on the 
 art of enamel painting on porce- 
 lains, metals, glass, and potter's 
 ware ; describing the materials, 
 process, and qualities of the 
 several kinds of porcelain and 
 pottery ; together with the ex- 
 terior marks of distinction and 
 value of each. Also a plan 
 suggested for the improvement 
 and extension of ceramic paint- 
 ing, founded on original dis- 
 coveries, practical experiments, 
 and critical observation. London, 
 Spragg, 1813. 8, pp. iv-47. A 
 first edition had appeared in 1803. 
 
 After having informed us that he has dis- 
 covered a more complete series of finer enamels 
 than any of those used in his time, the author 
 concludes his preliminary remarks by saying 
 "Important as these discoveries are to the 
 arts and manufactures of this country, I resolved 
 to relinquish them for other pursuits." Then 
 he launches into visionary disquisitions con- 
 cerning an ideal process which will revolu- 
 tionise the art of painting, "a process better 
 calculated to show the elegance and correctness 
 of outline, just and animated expression, greater 
 beauty and chastity of colour than any other 
 method of painting can possibly display." The 
 only part of his invention he condescends to 
 impart to us is that he has seen his way to 
 obtaining this result by employing "some 
 fossil material" as ground work for the 
 enamelling. Unfortunately, through want of 
 encouragement for the further prosecution of 
 his research, he is compelled to leave to some- 
 one else the glory of bringing to actual com- 
 pletion a practical scheme of which he can 
 only, for the present, supply the rough basis. 
 
 FLEURY (Edouard). Etude sur le pav- 
 age emaille dans le departement 
 
FLU] 
 
 CERAMIC LITERATURE. 
 
 [FOH 
 
 de 1'Aisne. Paris, Didron, 1855. 
 8, pp. 103 ; with 200 illustrations, 
 drawn by Ed. Fleury and engr. 
 on wood by Mme. Ed. Fleury. 
 15 fcs. 
 
 " Essay on the ancient pavements of 
 glazed tiles in the Aisne Department." 
 
 An author has, indeed, good grounds to feel 
 proud of his work when, the book being com- 
 pleted, he may say, like Ed. Fleury has said 
 in the present case: "All the materials and 
 documents I have made use of have been 
 gathered by myself from original sources ; my 
 wife and I are responsible for the artistic 
 illustrations ; and, moreover, instead of being 
 entrusted to mercenary hands, the printing of 
 the volume comes out of my own presses." 
 What a host of interesting monographs, deal- 
 ing with still imperfectly known ceramic 
 centres, should we not possess at present, if 
 many more provincial archaeologists had had at 
 their command the same facility of bringing 
 into light the fruit of their life-long researches. 
 Refraining from extending the scope of his 
 essay beyond the radius of his personal experi- 
 ence, the writer has limited himself to the 
 study of the examples belonging to one parti- 
 cular region, one of the richest, it is true, in 
 the artistic productions of the ancient French 
 tile-maker. Although the black and white 
 illustrations are given on a very reduced scale, 
 they convey, nevertheless, a very accurate 
 idea of the originals. 
 
 In its modest proportions this essay cannot 
 claim to be anything more than a single stone 
 contributed towards the completion of an 
 important monument. But the general history 
 of tile-making will become a strong and lasting 
 structure if it is built up with such reliable 
 materials only. 
 
 Ed. Fleury was brother to Champfleury, 
 author of the Faiences patriotiques. 
 
 Trompettes Jongleurs et 
 singes de Chauny. Saint Quen- 
 tin, 1874. 8, pp. 40; with a 
 lith. pi. 3 fcs. 
 
 "Juggling trumpeters and Chauny 's 
 Monkeys." 
 
 A curious plaque in faience of Sinceny, 
 inscribed " Armes de Chauny," illustrates the 
 traditional quips directed in Picardy against 
 the inhabitants of that small town. On it two 
 monkeys, with human faces, are seen holding a 
 gigantic cat stretched upon a table. A third 
 monkey, in the robes of a doctor, threatens the 
 patient with the application of a certain 
 medical instrument, the obliged paraphernalia 
 of Moliere's dancing Matassini. Societies of 
 Musicians and Archers, having a green monkey 
 painted on their banner, had existed at Chauny 
 since mediaeval times ; hence the facetious 
 name of monkeys having been applied to the 
 men of Chauny. 
 
 - Antiquites et monuments du 
 Departement de 1'Aisne, Paris, 
 
 10 
 
 1877-78. 4 ; with 400 illustrs. 
 60 fcs. 
 
 "Antiquities and monuments of the 
 Aisne Department." 
 
 The work comprises the following sections : 
 Antiquities of the Stone and Bronze Ages ; 
 the Gallic, Gallo-Roman, Franco-Merovingian, 
 Carolingian, and Romanesque periods. 
 
 FLURL (MatWas). Beschreibung der 
 Gebirge von Baiern und der 
 oberen Pfalz. Munchen, J. Lent- 
 ner, 1792. 8, pp. 642 ; with 5 
 pis. 8 m. 
 
 "Description of the mountains of 
 Bavaria and the Higher Palatinate." 
 
 The last chapter, pp. 593-624, contains 
 the history of the Nymphenburg Porcelain 
 Manufactory, with a complete list of the 
 articles manufactured, accompanied with a 
 plan of the ovens. The first attempts at making 
 hard porcelain were made at Munich, by order 
 of the Prince Elector Maximillian III. in 1747, 
 by a certain Niedermaier, who did not succeed 
 in manufacturing anything but white faience. 
 Transported to Nymphenburg, the works were 
 placed under the direction of Ringler, who pro- 
 duced a fine porcelain. But the enterprise 
 was conducted under such difficulties that in 
 1772 the number of persons attached to the 
 factory had been reduced to about thirty, and 
 the production was quite insignificant. 
 
 FIJHR (Julius Y. ). Hiigelgraber auf der 
 Schwabischen Alb. Stuttgart, 
 1892. 4, pp. 56; with 5 pis. and 
 illustrs. 5 m. 
 
 " Grave mounds in the hills of Swabia." 
 
 The excavations were carried on, under the 
 direction of the writer, during the years 1883- 
 84. The graves which were examined con- 
 tained, with very few exceptions, many urns 
 and dishes of well-made pottery. An immense 
 quantity of fragments was, besides, found on 
 the same spot, but as no complete vessel could 
 be reconstituted out of these fragments, not- 
 withstanding the extreme care which had been 
 taken to recover them all, the explorer is 
 of the opinion that loads of broken pots had 
 been thrown upon the ground to help in 
 increasing the size of the mound which was 
 being raised over the grave. This assumption 
 is substantiated by the fact that among these 
 fragments some are found which, evidently, 
 made part of colossal jars of which no complete 
 example is known ever to have turned up. 
 The specimens, admirably reproduced on the 
 plates, give us the idea of a pottery of very 
 refined manufacture. They are elaborately 
 incised with lines forming geometrical divi- 
 sions, and neatly impressed with minute circles 
 and triangles by means of a sharp iron tool. 
 Finally, they are partly painted with red and 
 white slip, and partly covered with green 
 glaze. No object denoting the influence of 
 the Roman figulus having been found in the 
 
 145 
 
FOH] 
 
 CERAMIC LITERATURE. 
 
 [FOR 
 
 tombs, and incineration having been practised 
 in all cases, it is assumed that the funereal 
 pottery discovered in the locality must be 
 considered as anterior in date to the Roman 
 epoch, and that it belongs to the prehistoric 
 ages. One cannot attach much importance to 
 an argument which would apply equally well 
 to many ancient burying places of other 
 German provinces, where it is known for 
 certain that the custom of cremating the dead 
 had prevailed long after the Romans had left 
 the country. Moreover, such a superior style 
 and workmanship does not leave room for a 
 doubt that the remarkable urns and dishes of 
 the Swabian mountains have been made at a 
 period when civilisation and handicrafts had 
 reached a very advanced state. 
 
 FOBBING (H.). Die keramische Ab- 
 theilung des Hamburgischen 
 Museum fur Kunst und Gewerbe. 
 Hamburg, Hoffmann, 1878. 18, 
 pp. 24. *6d. 
 
 "The section of Ceramics in the 
 Industrial Art Museum of Hamburg." 
 
 This handbook, issued by the Museum, is 
 peculiar in that it contains no reference to the 
 specimens exhibited in the galleries. It is a 
 short summary of ceramic history based 
 chiefly upon the works of A. Demmin. 
 
 FOLZER (Elvira). Die Hydria. Ein 
 Beitrag zur Griechischen Vasen- 
 kunde. Leipzig, 1906. 8, pp. 
 vi-12 ; with 10 pis. 4 m. 
 
 "The Hydria. A contribution to the 
 knowledge of Greek vases." 
 
 FORSTER (R.). Analekten zu der 
 Darstellungen des Raubes und 
 Riickkehr der Persephone. Got- 
 tingen, 1884. 8 ; with 2 pis. 
 
 "Analysis of the representations of 
 the Rape and Return of Persephone." 
 
 FORTSCH (Dr.). Thongefasse der 
 Broncezeit aus der Provinz 
 Sachsen. Leipzig, 1896. 8, pp. 
 3 ; with 1 pi. * (Reprint from 
 Zeitsckrift fiir Naturwissen- 
 schaften.) 
 
 "Clay vessels of the Bronze- Age, from 
 Saxony." 
 
 FOL (I.). Catalogue du musee Fol. 
 Geneve, H. Georg, 1874-79. 4 
 vols. 8; with 36 chromolith. 
 pis. and text illustrs. 25 fcs. 
 
 The first volume, Ceramic and plastic, 
 146 
 
 contains the antique terra-cotta and painted 
 vases of Greek and Roman origin. The section 
 of majolica, faience, and porcelain (78 Nos. }, 
 forms part of the third volume. The collection 
 is now the property of the town of Geneva. 
 
 - Etudes d'art et d'archeologie 
 sur I'antiquite et la renaissance. 
 Geneve, H. Georg, 1874-78. 4 
 vols. 4. 40 fcs. 
 
 Vol. I. Choix de terres cuites antiques, 
 pp. 87, with 32 pis. and 24 text illustrs. )<c- 
 produced from specimens exhibited in the 
 Museum. 
 
 FONTENAY (H. de). Inscriptions cer- 
 amiques gallo-romaines trouvees 
 a Autun. Autun, 1874. 8, pp. 
 121 ; with 48 pis. of marks. (Re- 
 print from Memoires de la Societe 
 Eduenne. ) 
 
 "Inscriptions of the Gallo-Roman 
 pottery found at Autun." 
 
 With a short bibliography of the subject. 
 
 FONT-Y-GUMA (J.). Rajolas Valenci- 
 anas y Catalanas. Barcelona, 
 Vilanova, 1905. 4, pp. 350 ; to 
 which is appended a French 
 translation of the text, Illus- 
 trated with 443 pen and ink 
 sketches mostly printed in blue. 
 40 fcs. 
 
 " Tiles from Valencia and Catalonia." 
 Entirely composed of specimens in the 
 possession of the author, this profuse selection 
 of ancient Spanish tiles, includes a large variety 
 of the types produced in the two provinces, 
 during the period which extends between the 
 thirteenth and the sixteenth centuries ; so far, 
 at least, as these types are represented in the 
 collection. Scanty is the budget of informa- 
 tion that can be obtained on the history of 
 these tiles and their makers. The volume 
 contains a list and description of the archi- 
 tectural monuments in Spain, the chief feature 
 of which is the surface decoration formed of 
 richly-coloured tiles. Also, a transcript of 
 sundry original documents relating to the 
 Hispano-Moresque potters. These will prove 
 of great assistance to the labour of further 
 investigators. One cannot praise the meagre 
 and spiritless treatment of the pen and ink 
 sketches ; which can give no idea of the freedom 
 and boldness of the originals. 
 
 FORBES - ROBERTSON (J.). The new 
 English art -pottery. Doulton 
 ware and Lambeth faience, de- 
 scribed by John Forbes-Robert- 
 son ; with an introduction by 
 
FOR] 
 
 CERAMIC LITERATURE. 
 
 [FOR 
 
 John Sparkes. London, Chatto 
 & Windus, 1876. 8, pp. 22; 
 woodcuts. 
 
 Published on the occasion of the Philadelphia 
 Exhibition. 
 
 FORESI (Docteur Alexandra). Tour de 
 
 Babel, ou objets d'art faux pris 
 pour vrais et vice-versd. Paris, 
 P. Lauriel, 1868. 8, pp. 119. 
 4 fcs. 
 
 "The tower of Babel; spurious works 
 of art mistaken for genuine ones, and 
 
 vicc-versd." 
 
 Dr. Foresi was a private collector in Florence, 
 who was always ready to part with the most 
 valued treasures in his possession in favour of 
 some friend in exchange for an adequate con- 
 sideration. Now, if the sincerity of a regular 
 dealer in curiosities may, sometimes, be open to 
 suspicion, it should never be so, it appears, when 
 a private collector pledges his word as to the 
 truthfulness of his statement. Still smart- 
 ing under the feeling of indignation he had 
 experienced at seeing the genuineness of many 
 costly specimens contested by .the distrustful 
 connoisseurs to whom they had been offered 
 for sale, he indited these pages, in which he 
 vindicates the high value and the authenticity 
 of the masterpieces of his collection, disclosing 
 at the same time the villanies of the tricksters 
 of the trade, to whom the blind and unwary 
 purchasers have fallen a prey. The ignorance 
 of the French amateurs who are taunted with 
 the mistake they have made in accepting, as a 
 genuine work of the Renaissance period, a 
 terra-cotta bust modelled by a still living 
 sculptor in the employment of an Italian 
 antiquary, is the mainstay of a very witty, 
 if not quite disinterested, controversy. See 
 ChaPVet, L'ane qui prend la peau du lion, and 
 Foresi, Sidle porcellane Medicee. 
 
 Sulle porcellane Medicee, 
 lettera al Barone di Monville, e 
 poche parole riguardanti gli 
 sculptori, conte di Nieuwerkerke 
 e Giovanni Bastianini. Firenze, 
 1869. 8, pp. 30 ; with vigns. and 
 marks. 3 fcs. 
 
 "Upon the Medicean porcelain. A 
 letter to Baron de Monville, with a few 
 words concerning the two sculptors, Count 
 de Nieuwerkerke and G. Bastianini." 
 
 The first portion of this pamphlet had 
 already been printed at Florence in 1859. In 
 that letter addressed to a French curio-expert, 
 Foresi stated that he had had the good fortune 
 to discover, and the merit of naming the 
 first examples of Medicean porcelain ever 
 known to collectors. It was from his hands 
 that they passed into the possession of French 
 and English amateurs. His name not having 
 been mentioned in the articles which described 
 
 for the first time these rare and most interest- 
 ing specimens, he established in that letter the 
 right he had to claim for himself the credit of 
 the discovery. He made his case quite clear, 
 and the point cannot be contested. It is 
 quite different with the statements he pre- 
 sented in the second letter, and we cannot in 
 any way endorse his opinion. The drift of an 
 argumentation, supported by a superabund- 
 ance of evidence of a somewhat unsatisfactory 
 character, is that the terra-cotta bust of Beni- 
 vieni, bought by Count Nieuwerkerke for the 
 Louvre Museum, was a forgery executed by an 
 obscure sculptor named Bastianini for a 
 Florentine dealer in antiquities. After the 
 death of Bastianini a party of friends took up, 
 in great earnestness, the duty of vindicating 
 the right he had to be recognised as the maker 
 of the bust. They went so far as to gather and 
 exhibit in the San Marco Museum at Florence 
 all the proofs that could be adduced in support 
 of their assertion. Among them was the 
 portrait of an old workman of the tobacco 
 manufactory, said to have been modelled by 
 Bastianini as a study for the spurious bust, 
 this being supplemented by several works by 
 the same artist. 
 
 After the conscientious examination we 
 made of the whole collection, we could not 
 come to any other conclusion but that the 
 portrait sketch, as well as the other works, 
 denoted only the practical skill of one of those 
 sculptors, numerous enough in the Italian 
 trade ; as to comparing their commonplace 
 execution with the noble style and spirited 
 touch of the Benivieni, in the Louvre, which 
 equals in beauty the finest Italian terra-cottas 
 of the fifteenth and sixteenth centuries, the 
 idea is too preposterous to be entertained 
 for one moment. This having been settled to 
 our own satisfaction, and we think to that of 
 all artists who have gone into the question, no 
 production of documentary evidence could alter 
 our final decision. 
 
 FORESTIE (.) Une faiencerie mon- 
 talbanaise au xviii 6 siecle. Mon- 
 tauban, impr. Forestie, 1875. 8, 
 pp. 23 ; with 2 pis. (25 copies 
 printed.) 
 
 " A faience manufactory at Montauban 
 in the eighteenth century." 
 
 This paper has been reprinted in the follow- 
 ing work. 
 
 - Les anciennes faienceries de 
 Montauban, Ardus, Negrepelisse, 
 Bressols, Beaumont, etc. (Tarn 
 et Garonne). Montauban, impr. 
 Forestie, 1876. 8, pp. 248 ; with 
 21 lith. pis. 10 fcs. 
 
 " The ancient faience manufactories of 
 Montauban, Ardus, &c." 
 
 Ancient Quercy, like most of the ancient 
 provinces of France, has possessed at one time 
 a few factories of painted faience ; the annals 
 of their precarious existence have been sedu- 
 
 147 
 
FOR] 
 
 CERA MIC LITER A TURE. 
 
 [FOR 
 
 lously consigned to this volume. Imitating 
 successively the styles and patterns in vogue 
 at Moustiers and Marseilles, the potters of 
 Montauban cannot lay any claim either to 
 originality, or superiority of workmanship. 
 The Ardus works enjoyed, for a short time, 
 the title of Royal Manufactory ; the ware made 
 there does not appear to be better or worse 
 than the average productions of other minor 
 establishments of the same centre. It is often 
 mistaken for Moustiers faience, which it closely 
 resembles. This monograph is of great import- 
 ance to local collectors, and is not without 
 value to the knowledge of general history. 
 Many original documents relating to the con- 
 duct of the trade at that period will be found 
 in it. A copy of the recipe book of a colour- 
 maker is given at the end. 
 
 FORESTIE (E.). -- Exposition des 
 Beaux-Arts a Montauban (Mai, 
 1877). Rapport presente & la 
 Societ6 Archeologique. Montau- 
 ban, 1878. 8, pp. 36. 
 
 " Fine Arts Exhibition at Montauban. 
 A report addressed to the Archaeological 
 Society." 
 
 Coup d'oeil sur I'art cera- 
 
 mique dans le Tarn et Garonne, 
 depuis les temps primitifs jus- 
 qu'a nos jours. Paris, E. Plon, 
 1881. 8, pp. 15. 
 
 "A glance at the ceramic art in the 
 Tarn et Garonne Department, from the 
 earliest times up to the present day." 
 
 Primitive pottery is abundantly found in 
 the prehistoric graves of the region, and terra- 
 cotta in the Gallo-Roman sepultures. Hispano- 
 Moresque (?) dishes are seen imbedded in the 
 walls of the Town Hall of Saint- Antonin, built 
 in the twelfth century ; and traces of Moorish 
 influence are discernible on the fragments of 
 ware discovered in the excavations. The fine 
 tile pavement of the chutch of Belleperche 
 shows that the art of tile-making was practised 
 in the country at about the same period. 
 Examples of embossed and coloured pottery, 
 dating from the sixteenth and seventeenth 
 centuries, evidence the fact that the ceramic 
 art flourished in Quercy long before the 
 establishment of the faience manufactories, 
 of which Mr. Forestie has been the conscien- 
 tious historian. 
 
 FORMAN (Collection W. H.). An inven- 
 tory of the household furniture. 
 . . . China, earthenware, etc. 
 . . . Pippbrook House, Dorking. 
 Bequeathed by the will of 
 William Henry Forman. Cata- 
 logued by W. Chaffers. London, 
 1869. 8. 
 148 
 
 - The Forman collection. Cata- 
 logue of the Egyptian, Greek, 
 and Roman antiquities. Sold at 
 Sotheby's, June, 1899. London, 
 1899. 4, pp. 109 ; with 26 pis. 
 
 Greek vases, pp. 42-81, with 10 pis., are 
 described by Cecil H. Smith. 
 
 FORRER (R.). Geschichte der euro- 
 paischen Fliesen-Keramik von 
 Mittelalter bis zum Jahre, 1900. 
 Strassburg, 1900. 4, pp. 93; 
 with 107 pis. (some col.) and 
 200 text illustrs. 5. 
 
 " History of the European ceramic tiles, 
 from the Middle Ages up to the year 
 1 900." 
 
 Surely it is not often that we find that the 
 general character of a volume suffers from an 
 unnecessary abundance of illustrations. In 
 the present case, however, it is obvious that if 
 such a large number of plates borrowed from 
 the catalogues of modern tile manufacturers, 
 had not been introduced, the book would have 
 gained much in appearance. Beginning as a 
 historical work it ends as a medium for 
 advertisement. 
 
 FORSTER (H, R.)- The Stowe cata- 
 logue, priced and annotated by H. 
 R. Forster. London, Bogue, 1848. 
 4, pp. 304 ; with illustrs. 10s. 
 
 The princely mansion of Stowe was the seat 
 of the Duke of Buckingham and Chandos. 
 The prices attained at the sale would make 
 a modern valuer in curios smile when compared 
 with the figures the same pieces would command 
 in our days. A pair of Chelsea vases, painted 
 with subjects of Roman history, sold for 23 ; 
 a large majolica cistern, 67 ; an oviform vase 
 painted with a battle scene, said to be the chef 
 d'ceuvre of " Raffaele ware," sic 52. Paint- 
 ings and furniture fared much better than 
 ceramics. The total amount realised by the 
 sale was over 75,000. 
 
 FORTNUM (G. Drury E.). -Contribution 
 
 to the history of pottery. I. Notes 
 on the " Bacini " introduced as 
 ornaments to the architecture of 
 some churches in Italy. II. He- 
 marks on a lamp of Persian ware 
 made for the mosque of Omar at 
 Jerusalem ; with remarks on the 
 pottery of Egypt, Persia, Dam- 
 ascus, etc. London, Nichols, 
 1870. Pp. 19; with 3 pis. (1 
 col.). (In Arc.hceologia) 
 
FOR] 
 
 CERA MIC LITE MA TURE. 
 
 [FOU 
 
 - Report on earthenware at the 
 London International Exhibi- 
 tion, 1871. (In Official Reports, 
 Part v.) 
 
 A descriptive catalogue of 
 the Majolica, Hispano-Moresco, 
 Persian, Damascus, and Rhodian 
 wares in the South Kensington 
 Museum. With historical notices, 
 marks, and monograms. Pub- 
 lished for the Science and Art 
 Department of the Committee of 
 Council on Education. London. 
 Chapman & Hall, 1873. 8, pp. 
 cix-700 ; with 12 chromolith. 
 plates, 61 woodcuts, and num- 
 erous marks. 2, 10s. 
 
 The specimens of Italian majolica and Persian 
 ware in the South Kensington Museum form, 
 perhaps, the richest and most comprehensive 
 collection ever brought together. A catalogue 
 of such a collection, written by one of our most 
 accredited connoisseurs, will always be one of 
 the best text-books on the subject that may be 
 placed in the student's hand. We regret to 
 say, however, that, in some instances, Fort- 
 num's historical notices are now found to be at 
 fault. It is when they accept implicitly, and 
 confidently reproduce as unimpeachable facts, 
 the statements contained in the works of 
 J. B. Passed and other ancient writers, which 
 the latest researches have since completely 
 discredited. 
 
 - South Kensington Museum 
 Art Handbooks. Majolica. Lon- 
 don, Chapman & Hall, 1875. 8, 
 pp. vii-192 ; with text illustrs. 
 
 On a terra - cotta head of 
 Greek workmanship found on 
 the Esquiline at Rome.. London, 
 1886. 8; with 1 heliogr. pi. 
 (In Archceologia.) 
 
 - On an Italo-Greek terra-cotta 
 lamp. The antique original from 
 the bas-relief of which one of the 
 half figures of the " Martelli 
 Mirror," ascribed to Donatello, 
 has been derived. London, 1894. 
 8 ; with 1 pi. 
 
 - Majolica ; a historical treatise 
 on the glazed and enamelled 
 
 earthenware of Italy, with marks 
 and monograms ; also some notice 
 of the Persian, Damascus, Rhod- 
 ian and Hispano - Moresque 
 wares. Oxford, Clarendon Press, 
 1896. 4, pp. xvi-550 ; with col. 
 front., 20 collotype pis., and fac- 
 simile of marks. 2, 2s. 
 
 The catalogue of majolica and kindred wares 
 in the South Kensington Museum by the same 
 author has been taken as the ground work for 
 this treatise ; many additions derived from the 
 best sources have brought it to the present 
 state of our knowledge of Italian ceramics. It 
 is, in every respect, a comprehensive and re- 
 liable book. We notice, however, that it is not 
 without regret and some restrictions, that the 
 author discards his old belief in Passeri's anti- 
 quated statements. The illustrations have been 
 selected from among the specimens in Mr. 
 Drury Fortnum's collection, presented by him 
 to the Ashmolean Museum at Oxford. 
 
 FOULD (Collection LOUIS). Description 
 des antiquites et objets d'art 
 composant la collection de Mr. 
 L. Fould, par A. Chabouillet, 
 conservateur du department des 
 medailles et antiques de la bibli- 
 otheque Imperiale. Paris, Claye, 
 1861. Fol., pp. 200; with 39 
 pis. 25 fcs. 
 
 A fine volume illustrated with clever plates 
 engraved by Am. and Eug. Varin. Mr. L. 
 Fould was, at the time when this catalogue was 
 being prepared, minister of Fine Arts. His 
 collection, of a miscellaneous character, con- 
 tained, however, some remarkable specimens of 
 the ceramic art of the best periods. A fine and 
 rare Greek patera, painted with black figures 
 on white ground, and a basso-relievo of Luca 
 della Robbia are reproduced on the plates. 
 
 - Catalogue de la precieuse col- 
 lection d'antiquites de feu Mr. 
 Louis Fould. Paris, 1860. 8. 
 
 "Catalogue of sale of the above 
 collection." 
 
 FOUNTAINS (Collection Andrew). -Cata- 
 logue of sale. London, Christie, 
 1884. 8, pp. 66 ; with 21 photos. 
 10s. 
 
 The collection assembled at Narford Hall, 
 Norfolk, by M r. Andre wFountaine was, perhaps, 
 the richest in England in unique specimens of 
 Italian and French faience, many of them being 
 incomparable masterpieces of the art. Never 
 has the contention for the possession of ceramic 
 rarities raged so fiercely among the bidders in 
 
 149 
 
FOU] 
 
 CERA MIC LITER A TUKE. 
 
 the auction room, as when this collection was 
 put up for sale. We can only quote a few 
 prices. Urbino oval dish, 1,333; pair of 
 candlesticks in Palissy ware, 1,510; Henri 
 II. candlestick, 3,675, this piece bought by 
 Mr. Dutuit, of Rouen. The amount realised 
 by four days sale, and 453 Nos. , was 91,113. 
 
 FOUQUE (.) Moustiers et ses fai- 
 ences. Aix, 1889. Printed for 
 the author. 8, pp. 125 ; with 6 
 phototyp. pis. 10 fcs. 
 
 " Moustiers aud its faiences." 
 
 Mr. Fouque, whose ancestors occupied a 
 prominent position among the master-faienciers 
 of Moustiers, has given us a monograph of the 
 departed industry of the town, which deserves 
 to be placed on a line with the best works of 
 the kind. Common-place generalities on the 
 ceramic art have been considerately dispensed 
 with, and the account never deviates from its 
 purpose, which is solely to record the history 
 of the local manufacture. The first chapter 
 has much to tell us about the Cle'rissy family, 
 who established the first faience manufactory 
 at Moustiers towards the end of the seven- 
 teenth century. In their hands the trade was 
 soon to develop and prosper, and the ware they 
 made commanded so much success, that it was 
 imitated all over the south of France. Pierre 
 C14rissy, the second of the name, was made a 
 Baron in 1743 ; the author has, in that respect, 
 to upset the current tradition that he owed 
 that distinction to his merits as a potter. Such 
 a reward, granted for technical or artistic pro- 
 ficiency, would have been quite unprecedented. 
 He became a Baron merely through the purchase 
 of an estate which carried the title with it. 
 The CleYissys were succeeded, in the conduct of 
 the chief faience works of Moustiers, by the 
 Fouque family. Ever since that time the 
 Fouques have been connected with the ceramic 
 industry ; one of their descendents, Mr. Le'on 
 Arnoux, settled in England, where he acted for 
 fifty years as director of Mintons' manufactory. 
 Interesting recollections of the most notable 
 potters and painters of Moustiers still remain 
 ing in the memory of the old inhabitants are 
 recorded, and supplemented with transcriptions 
 of the original documents preserved in the 
 local archives. To this is added a description 
 of the best specimens in existence of the 
 Moustiers faience, and the list of the collections 
 in which they may be seen. The ware being 
 particularly remarkable for a bright and limpid 
 enamel, which has scarcely its equal, a specia" 
 interest is attached to the recipe for the com 
 position and preparation of the Moustiers 
 enamel, copied from the papers in the writer's 
 possession, and given in the appendix. 
 
 FOUQUE-ARNOUX et C e . Manufacture 
 d'ornements en terre - cuite et 
 bisquit de porcelaine a Toulouse 
 Toulouse, Lith. Mercadier (1845 ?) 
 4; 11 pis. of models. 
 
 "Manufactory of ornamental terra-cott* 
 and porcelain biscuit. Pattern book." 
 
 150 
 
 A branch of the porcelain factory established 
 at Valentine, near Saint-Gaudens. 
 
 'OUQUET (Dr. D,). Contribution a 
 1'etude de la ceramique orientale. 
 Le Caire, 1900. 4, pp. 164; with 
 8 pis. of marks and 6 col. pis. 
 (Reprint from Memoires de 
 rinstitut vgyptien.} 
 
 "A contribution towards the study of 
 Oriental ceramics." 
 
 In the suburbs of the town of Cairo huge 
 heaps of refuse have stood untouched for 
 centuries ; they mark the site once occupied 
 by the original city of Fostat, founded in the 
 year 640 of our era, and destroyed by Chaour 
 in 1168. On being explored, these mounds 
 were found to contain a prodigious amount of 
 fragmented pottery and glass. During the 
 eleven years of his sojourn in Cairo, Dr. Fouquet 
 has not ceased to watch and put to good 
 profit the excavations conducted on the spot. 
 Of the most interesting fragments exhumed 
 from the mounds lie had the happy idea of 
 forming a special collection ; although the 
 notion was, subsequently, taken up by other 
 archaeologists, his collection remains by far 
 the best and most complete of all. If ever the 
 history of Egyptian ceramic art during the 
 Arab domination is clearly reconstituted, it 
 will be through the study of these fragments of 
 which Dr. Fouquet has attempted a provisional 
 classification. Lying within the soil in super- 
 imposed strata, in the order in which they were 
 deposited, the depth at which they are found 
 affords an approximate clue to their respective 
 antiquity. Not a few specimens bear the 
 badge or the name of a well known kalif or 
 governor of the country, a date, an inscription 
 traced by the maker, and through these vouchers 
 the period of a certain style of manufacture is 
 accurately determined. In addition to the 
 researches made in old Cairo, the investigations 
 prosecuted in lower and upper Egypt have led 
 to the discovery of the very places where 
 pottery of a particular kind had been exten- 
 sively manufactured. The wasters, strewn all 
 over the grounds, leave no doubt about the 
 former existence of important pot works in 
 those localities. It was all the more essential 
 to fix the exact characteristics of Egyptian 
 productions in mediaeval times, that amongst 
 the fragments accumulated within the Fostat 
 mounds a large percentage may be recognised 
 as being of foreign origin. In the lower strata 
 examples of the Syrian and Persian ware are 
 found associated with the early Celadon of the 
 Chinese ; in the upper ones, the miscellaneous 
 assemblage includes a few representatives of 
 the Spanish and Italian majolica. 
 
 The author has wisely refrained from giving 
 a place in his work to anything which did not 
 appear to be of actual Egyptian manufacture, 
 and, in this way, he has opened a new chapter 
 in the history of the ceramic art. His dis- 
 coveries have enabled him to produce actual 
 examples of the white and translucid ware, 
 embellished with metallic lustre, that the often 
 quoted MS. of the early Arab travellers describe 
 as being sold in the Bazaars of Cairo. He has 
 
FOU] 
 
 CERAMIC LITER A TURK. 
 
 [FOU 
 
 proved that they were made in the country, 
 and not imported from Persia, as had been 
 previously believed. But whether their makers 
 were the direct descendants of the great potters 
 of ancient Egypt, and had steadily continued 
 to practise with unavoidable modifications 
 the traditions of their forefathers, or whether, 
 after the art had been allowed to disappear for 
 a time, it was revived through Persian influence, 
 remains the problem that future investigations 
 will have to solve. 
 
 FOURCROY (A. F. de). Rapport surles 
 couleurs pour la porcelaine du 
 Citoyen Dilil, fait a la Classe des 
 Sciences physiques de 1'Institut. 
 . . . Paris, 1797. 4, pp. 16. 
 
 " A report read before the Institute of 
 France on the colours for porcelain paint- 
 ing made by C. Dihl." 
 
 - Rapport sur un memoire du 
 Citoyen Brongniart. Paris, an 
 X. (1802), impr. Baudoin. 4. 
 
 " Report upon a memoir written by 
 citizen Brongniart." 
 
 The report had reference to some of the 
 measures proposed by Brongniart for the 
 complete reorganisation of the national manu- 
 factory of Sevres, of which he had just been 
 appointed director. 
 
 L'Art du tuilier et du bri- 
 
 quetier. (See Duhamel dii Monceau.) 
 
 FOURES (AllgUSte). Le cant des pou- 
 tie's. Montpellier,impr. Ricateau, 
 1876. 8,. pp. 6. (Reprint from 
 the Revue des langues Romanes.) 
 
 Provincial dialects are fast disappearing. 
 In the south of France, however, the associa- 
 tions of local poets take pride in preserving, 
 in their writings, the old language in its purest 
 form. This poem dedicated to the "Valiant 
 Potters of Lauraguais," is written in the 
 vernacular of the province. 
 
 - Potiers et poterie du Laura- 
 guais. AM, Almarie, 1890. 12, 
 pp. 35. 
 
 " Potters and pottery in the Laura- 
 guais province." 
 
 Historical notes and original documents 
 referring to the potting industry of the district, 
 from the year 1377. The practical recipes of 
 an old Castelnaudary potter, and a notice 
 upon the new art pottery of H. Bringnier, 
 complete the essay. 
 
 FOURMY (J.). Memoire qui a rem- 
 porte le prix propose par 1'Insti- 
 
 tut national sur cette question 
 inise au concours pour la trois- 
 ieme fois : " Indiquer les sub- 
 stances terreuses et les precedes 
 propres k fabriquer une poterie 
 resistante aux passages subits du 
 chaud au froid et qui soit & la 
 porte'e de tous les citoyens." 
 Paris, chez Fauteur, 1800. 8, 
 pp. 37. A second edition was 
 printed in 1802. 5 fcs. 
 
 " Memoir to which the prize has been 
 awai'ded on the subject offered for com- 
 petition by the National Institute : 
 'To determine which are the kind of 
 clays and processes of manufacture best 
 calculated to produce a pottery fit to 
 resist the sudden changes of temperature 
 from hot to cold, and at a cost which 
 shall bring it within the means of all 
 people.' " 
 
 Me'moire sur les objets de 
 terre-cuite et particulierement 
 sur les poteries. Paris, chez 
 Fauteur, an X. (1801). 8, pp, 
 95. 5 fcs. 
 
 "Memoir on terra-cotta, and especially 
 on earthen vessels." 
 
 Memoire sur les Ydroce'rames, 
 vases de terre propres a rafraichir 
 les liquides, considered sous le 
 rapport de la fabrication et sous 
 celui de 1'emploi domestique.. 
 re'dige' pour la Socie'te d'Encour- 
 agement. Paris, an XII. (1803). 
 8, pp. 40. 5 fcs. 
 
 " Memoir on the Ydrocerams, or cool- 
 ing vessels, considered in their manu- 
 facture and their domestic use ; written 
 at the request of the Society for the 
 encouragement of art and industry." 
 
 Essai sur les corps vitreux 
 colored par les metaux. Par Mr. 
 Fourmy, fabricant d'HygioceY- 
 ames. Paris, an XIII. (1804). 
 8, pp. 40 ; 1 pi. 
 
 " Essay on the vitreous substances 
 coloured with metallic oxides." 
 
 The term " Hygiocerame " had been applied 
 by Fourmy to an hygienic pottery of his 
 invention. 
 
 151 
 
FOU] 
 
 CERA MIC LIT ERA TURK. 
 
 | KRA 
 
 A good chemist, as well as a practical potter, 
 Fourmy was one of the first writers who tried 
 to formulate the fundamental principles of 
 ceramic manufacture, and to reduce to fixed 
 rules the empiric recipes and rule-of-thumb 
 practices which had so far regulated the trade. 
 His essays, written in a clear and concise style, 
 do not pretend to recommend the use of special 
 materials, to indicate improved ways of manip- 
 ulation, and supply superior mixtures ; their 
 purpose is to point out to the manufacturer the 
 causes through which accidents may arise, and 
 to teach him the means of guarding against 
 losses and failures. These pamphlets, shabbily 
 printed like most of the pamphlets of the time, 
 are now difficult to obtain ; they are well worth 
 reprinting ; old fashioned as they may be, they 
 would still be of great service to the student. 
 
 Fourmy's productions, as a potter, have not 
 taken their place in our ceramic collections. 
 He does not seem to have bestowed any atten- 
 tion on the artistic side of pottery manufacture, 
 and whenever art, or fancy, are not associated 
 with technical qualities, the best pots and their 
 maker are bound to be soon forgotten. Were 
 it not for the few, but excellent pages he has 
 bequeathed to us, Fourmy's name would be 
 unknown, just as his ware is now unrecognised. 
 
 Like many other inventors, he always 
 neglected the commercial and practical side of 
 the enterprises in which he was engaged to run 
 after some dreamy innovation, and prosecute 
 ruinous experiments. His career was a suc- 
 cession of failures. Established at first at 
 Nantes, in 1778, as a faience and porcelain 
 manufacturer, he could not succeed, and had 
 to leave the town after a few years. He 
 repaired to Paris and embarked in a series of 
 speculations, which were all fruitless. We find 
 him next occupying the position of director in 
 a short-lived manufactory of Clermont-Ferrand, 
 and subsequently working in connection with 
 the Creil and Montereau faience works. He 
 was reduced to very poor circumstances when 
 he died in Paris, 1332. 
 
 FOURNAT (E.). A propos de Ber- 
 nard Palissy. Vers lus en soiree 
 litte'raire a Saintes le 25 Feirier, 
 1866. Saintes, 1866. 8, pp. 8. 
 
 " On Bernard Palissy. Verses read at 
 a literary meeting at Saintes." 
 
 FOURNIER (Pere). Catalogue of sale. 
 Paris, 1885. 4, pp. 167 ; with 
 14 photograv. plates. 10 fcs. 
 
 Mr. Fournier was a well known curiosity 
 dealer of Paris. The contents of his show- 
 rooms were select enough to warrant being 
 called a "collection." They comprised many 
 rare specimens of old Sevres porcelain, as we 
 may judge from the plates of this fine catalogue. 
 The preface is written by Paul Eudel. 
 
 FOWLER (Ch.). Terra-cotta and arti- 
 ficial stone as connected with 
 architecture. London, 1850. 
 
 4. 
 
 152 
 
 FOWLER (James). On the so-called 
 acoustic pottery at Fountains 
 Abbey. London, 1875. 8, pp. 
 7 ; with 2 pis. (Reprint from 
 the Yorkshire Archaeological 
 Journal.) 
 
 No doubt can any longer exist as to the 
 function of the earthen pots imbedded in the 
 walls of mediaeval buildings, after we read the 
 evidence produced in this paper. It is a quota- 
 tion from an ancient MS. of the Metz town 
 library, in which it is said that during the 
 construction of the Abbey of the Celestins 
 Order, " the prior had ordered that pots should 
 be built up into the walls of the Church to 
 render them more sonorous. " 
 
 FOWLER (William). Decorative tile 
 pavements at York, Harrington, 
 etc. 3 col. pis. in " Roman pave- 
 ments, stained glass windows, 
 Norman tiles, etc." Winterton, 
 1796-1819. Atlas folio. 
 
 The plates were published singly, and at 
 long intervals, each being accompanied with a 
 descriptive prospectus. Fowler, who had begun 
 life as a journeyman carpenter, produced the 
 work entirely with his own hand. A correct 
 designer, and a skilful engraver, he attached 
 so much importance to the perfection of his 
 work that, being dissatisfied with the materials 
 he could obtain in the trade, he employed only 
 the colours he prepared and the paper that lie 
 had himself manufactured. The plates were 
 issued to subscribers at 31s. 6d. each, and it is 
 said that scarcely forty sets have ever been 
 completed. 
 
 FOY (Jlllien). La ceVamique des con- 
 structions. Briques, tiles, car- 
 reaux, poteries, carrelages cer- 
 amiques ; faiences decoratives. 
 Paris, 1883. 8, pp. viii-264 ; 
 with 12 pis. of machines, and 
 plans of ovens. 15 fcs. 
 
 " Ceramic productions applied to build- 
 ing. Bricks and tiles, earthenware, and 
 decorative faience." 
 
 The object this work is intended to serve is 
 well defined in these few lines of the preface : 
 "Our task," says the author, "was limited to 
 the technical part of the ceramic industry ; 
 it was not our intention to write a complete 
 treatise on the matter, but merely to give a 
 statement of the improved processes of manu- 
 facture, together with a description of the 
 machinery and ovens now in use in the best 
 manufactories for the purpose of transforming 
 clay into terra-cotta and faience." 
 
 FRACASSO (L). Relazione del Du- 
 cato di Urbino, letta nel Veneto 
 
FRA] 
 
 CERAMIC LITER A Tl'RE. 
 
 [FRA 
 
 Senate da M. Frederigo Badoer, 
 ambasciatore straordinario a I 
 Guidobaldo II. della Rovere, | 
 Duca di Urbino e Govern atore j 
 generale delle armi della serenis- 
 vsima Republica di Venezia, 
 MDXLVII. Venezia,TipMer\o, 
 1856. 8, pp. 40. 
 
 " A description of the Duchy of 
 Urbino, read before the Senate of 
 Venice by M. F. Badoer, ambassador 
 extraordinary to Guidobaldo II. della 
 Rovere, Duke of Urbino, etc., 1547." 
 
 The original MS. is preserved in the Correr 
 Museum at \ 7 enice. It was printed with an ' 
 introduction by Fracasso, to celebrate the 
 wedding of the daughter of G. Reali with 
 Count F. Berretta, of Udine. All the in- 
 dustries of the Duchy are described in turn 
 by the ambassador, but that of the majolists 
 obtains only a brief mention. 
 
 FRACKELTON (S. S.) Tried by fire. 
 A work on china painting. New 
 York, 1886. 4; with 12 chromo 
 plates and woodcuts. 20s. 2nd 
 ed., 1895. 
 
 Mrs. Susan S. Frackelton, an American 
 ceramic artist, is "President of the National 
 League of Mineral Painters." One of her most 
 celebrated works is a stoneware jar, decorated 
 with a branch of olive tree, to which the juries 
 of the exhibitions have granted the highest 
 rewards as being ' ' the most original work in 
 pottery ever produced in America." 
 
 FRANCHET (L). De Evaluation des 
 hautes temperatures. Paris, 
 Mersch, 1897. 8, pp. 18. 
 
 " A method for the valuation of high 
 temperatures." 
 
 Practical directions for the firing of ceramic 
 wares. Examination of Seger's system, and 
 tables of the degree of temperature to be reached 
 in the firing of the various classes of pottery 
 and porcelain. 
 
 Le Rutile et ses proprietes 
 colorantes. Autun, 1902. 8, pp. 
 17. 
 
 " Rutile and its colouring properties." 
 
 De 1'analogie de 1'Emeraude 
 et du Zircon au point de vue des 
 proprietes colorantes en atmo- 
 sphere reductrice. Autun, 1902, 
 8, pp. 12. 
 
 "Of the analogy existing between 
 
 Emerald and Zircon with regard to 
 their colouring properties in a reducing 
 atmosphere." 
 
 Etude sur les depots metal- 
 
 liques obtenus sur les emaux 
 et sur les verres. Lustres et 
 reflets metalliques. Paris, 1906. 
 8, pp. 38. (Reprint from the 
 Annales de Physique.) 
 
 " Essay on the metallic deposits ob- 
 tained upon enamel and glass. Lustres 
 and metallic reflects." 
 
 The above papers, the fruit of the long and 
 conscientious researches of a learned man with 
 a special experience of the chemistry of pottery, 
 are of great importance to the student and to 
 the manufacturer. 
 
 FRAMENSTEIN (H. Freiherr von). Kata- 
 log der Porzellansammlung. 
 Gruppen, Figuren und Gefasse 
 deutscher Manufacture!!. Miin- 
 chen, 1901. Hugo Helbing. 4, 
 333 Nos. ; with 18 phototyp. pis. 
 
 Catalogue of sale of a collection exclusively 
 composed of specimens of German porcelain. 
 Ludwigsburg manufacture is particularly well 
 represented (Nos. 141-300). 
 
 FRANKS (A. W.). Catalogue of works 
 of ancient and mediaeval art ex- 
 hibited at the House of the 
 Society of Arts. London, print, 
 by Wittingham, 1850. 8, pp. 
 82. 3s. 
 
 Fictile wares Greek and Etruscan, Nos. 455- 
 523 ; Della Robbia ware and Italian majolica, 
 534-570; German stoneware, 581-597; Henry 
 II. ware, 600-602; Palissy ware, 603-608; 
 Bottcher ware, 609-611 ; miscellaneous, 612- 
 619 ; with historical notices and names of 
 exhibitors. 
 
 - Notes on the manufacture of 
 porcelain at Chelsea. London, 
 1863. 8, pp. 10 ; with 1 wood- 
 cut. (Reprint from the Journal 
 of the Archaeological Institute.) 
 
 When this paper was read at the meeting of 
 the Archaeological Institute, at Worcester, it 
 received great attention, for at that time many 
 were craving for knowledge, and very few were 
 qualified to impart it. Augustus Wollaston 
 Franks started his antiquarian studies in the 
 midst of that movement which was then called 
 "the collecting fever." He contributed, per- 
 haps in a larger measure than any of his 
 contemporaries, to raise the unruly passion for 
 acquisitiveness of the early collectors to the 
 
 153 
 
FRA] 
 
 CERA MIC LITER A TURK. 
 
 [FKA 
 
 level of a well regulated science. His natural 
 feeling for the beautiful, his sound judgment, 
 had been ripened by a perfect knowledge of 
 the museums and collections of Europe. For 
 more than fifty years he took part in the most 
 memorable battles that were fought in the 
 auction-rooms, and always succeeded in secur- 
 ing one of the most desirable shares of the 
 spoils. Listening to the tales related to him 
 by countless fellow-collectors, he made good 
 profit of all that was worth remembering, and 
 laughed in petto at all the errors and fallacies 
 he had often to hear. He was never tired of 
 following with impartial spirit the course of 
 every promising investigation, and he gradually 
 stored up in his ever-ready memory, the sum of 
 all the achievements of his time. This con- 
 summate erudition was devoted to the greater 
 glory of his beloved British Museum, the mediiv- 
 val department of which has been transformed, 
 if not actually created, by his unremitting care, 
 and his princely gifts. The information lie 
 possessed, not only on ceramics, but also on 
 most of the other branches of applied art, and 
 which he dispensed so freely to all who came to 
 consult him, is, however, partly lost to future 
 generations. He showed himself somewhat 
 reluctant to commit to print the fruit of his 
 unparalleled experience. The few catalogues 
 he has compiled, remarkable and valuable to us 
 as they may be, represent but an infinitesimal 
 part of his accumulated knowledge. 
 
 FRANKS (A, W.). Catalogue of a col- 
 lection of Oriental porcelain and 
 pottery lent for exhibition by A. 
 W. Franks, Esq., F.K.S., Bethnal 
 Green Branch Museum. London, 
 Eyre & Spottiswoode, 1876. 8, 
 pp. 124 ; with 14 pis. of marks 
 and symbols. 2nd ed. London, 
 1878. Pp. 246 ; with 25 pis. 5s. 
 
 Porcelains of Chinese and Japanese origin 
 are classified together, in a reliable manner, in 
 this catalogue ; all previous attempts at dis- 
 crimination between the specimens of oriental 
 ceramics had produced more confusion than 
 enlightenment. The work was prepared under 
 the guidance of Chinese and Japanese con- 
 noisseurs of great experience. No fewer' than 
 1700 examples, selected as typical representa- 
 tives of eastern pottery in all its branches, and 
 illustrating the various kinds of clays, bodies, 
 glazes, and colours, as well as the particular 
 processes of manufacture, styles of shapes and 
 decorations in use at successive periods, have 
 been methodically arranged and described. An 
 accurate explanation accompanies the facsimile 
 of marks, which have all been taken from 
 specimens in the collection. After having 
 remained on loan for a short time, this collection 
 was presented by Mr. A. W. Franks to the 
 Bethnal Green Museum. 
 
 Japanese pottery; being a 
 native report, with an introduc- 
 tion and a catalogue by A. W. 
 
 154 
 
 Franks, M.A., F.K.S., etc. Lon- 
 don, Chapman & Hall, 1880. 8, 
 pp. 112 ; with 73 illustrs. and 
 marks. One of the South Ken- 
 sington Museum Art Handbooks. 
 A second edition, with an in- 
 creased number of plates, ap- 
 peared in 1907. 
 
 This comprehensive collection of the leading 
 varieties of Japanese pottery was formed in 
 Japan by native experts, at the request of the 
 directorate of the South Kensington Museum. 
 A report fixing the place of manufacture, date, 
 and name of the maker of each specimen had 
 been whenever it was found practicable 
 indited to elucidate the collection. It is the 
 translation of this report which forms the ground 
 work of the present catalogue. Any additions 
 and explanatory notes which it has been found 
 necessary to introduce have been derived from 
 information supplied by Japanese collectors. 
 
 - Guide to the English ceramic 
 ante-room and the glass and 
 ceramic gallery. London, 1888. 
 8, pp. 18. (For private distri- 
 bution. ) 
 
 The catalogue of that interesting section of 
 the British Museum was still in preparation 
 when this brief notice was issued on the occasion 
 of the opening of an ante-room to the Ceramic- 
 Gallery in the White Building. The collec- 
 tions of old English slip decorated and salt-glaze 
 wares, just acquired from Mr. Henry Willet, 
 and the choice specimens of English pottery 
 and porcelain, presented by Mr. A. W. Franks, 
 were then shown for the first time. The 
 pamphlet merely calls the visitors' attention 
 to the most remarkable objects exhibited in 
 that part of the Museum. 
 
 Bethnal Green Museum. 
 Catalogue of a collection of Con- 
 tinental porcelain lent and de- 
 scribed by Sir A. Wollaston 
 Franks. London, Eyre & Spot- 
 tiswoode, 1896. 8, pp. viii-109 ; 
 with 15 pis. of marks. 
 
 "It will be readily seen," says the author in 
 the preface of this catalogue, "that the collec- 
 tion is not composed to any great extent of the 
 finest specimens of the ceramic art, but is chiefly 
 documentary. . . . M ost of the Continental 
 fabrics are represented." We may add that 
 few, if any, private collections can boast of 
 containing such a large number of typical 
 pieces. The list has been arranged in geo- 
 graphical and chronological order, and each 
 section is accompanied with historical notices 
 of great interest. It forms a truly excellent 
 epitome of the history of Continental porcelain, 
 brought up to the latest acquisitions of know- 
 ledge, and free from the errors or wanton 
 
FEA] 
 
 (' ERA MIC LIT ERA TUR K. 
 
 [FEE 
 
 conjectures which often spoil many a more 
 pretentious volume. 
 
 FRAHTZ (H.). French pottery and 
 porcelain. London, G. Newnes, 
 1005. 8, pp. ix-177 ; with 7 col. 
 pis. and 60 half -tone illustrs. 
 
 7s. 6d. 
 
 We notice that in the list of books given by 
 the author many of the standard works on the 
 subject have been omitted. When consulting 
 this handbook it is advisable that the reader 
 should refer to recognised authorities before 
 accepting certain statements evidently drawn 
 from unreliable sources. 
 
 FRASCHETTI (S,). Vasi delle Far- 
 macie Romanefabbricati a Roma, 
 non a Cafaggiolo. (Collezione 
 dell'ospedale di San Giovanni in 
 Laterano.) Roma, 1898. 4, pp. 
 9 ; with 15 illustrs. (In L'Arte.) 
 
 " The vases of the Roman pharmacies 
 manufactured at Rome and not at Cafag- 
 giolo. (Collection of the Hospital of 
 8aint John in Lateran.)" 
 
 FRATI (L). Di un'insigna raccolta 
 di majoliche dipinte delle fabriche 
 di Pesaro e della provincia Met- 
 aurense, descrita ed illustrata da 
 Luigi Frati ; premessavi una 
 succinta storico dell'arte cer- 
 amica. Bologna, 1844. 8, pp. 
 104; with 1 pi. 3 fcs. 
 
 " Notice of a remarkable collection of 
 painted majolica from the factories of 
 Pesaro and the Metaurian provinces ; de- 
 scribed and explained by L. F. ; prefaced 
 with a short history of the ceramic art." 
 
 A descriptive catalogue of the Delsette 
 collection. 
 
 - Raccolta de majoliche antiche 
 dipinte nel Museo Pasolini in 
 Faenza. Bologna, 1852. 8, pp. 
 65. 3 fcs. 
 
 " Catalogue of the collection of old 
 painted majolica, in the Pasolini Mus- 
 eum at Faenza." 
 
 The collection contained 486 pieces, repre 
 senting the various styles of Italian majolica. 
 It is now dispersed ; this and the above 
 catalogue are of great value to collectors. 
 
 - Di un pavimento in majolica 
 nella basilica Petroniana, alia 
 
 capella di San Sebastiano. Bol- 
 ogna, 1853. Per le nozze Sassoli- 
 Beccadelli. 8, pp. 19. A second 
 edition : Bologna, 1879. 4, pp. 
 28, was published : Per le nozze 
 Boschi-Sassoli. 3 fcs. 
 
 " The majolica pavement of the chapel 
 of 8. Sebastian in the Petronian Basilica." 
 
 This remarkable pavement, still extant in 
 Bologna, is inscribed : " In Faenza, 1487." It 
 is one of the earliest dated examples of majolica 
 painting. The custom of publishing, on the 
 occasion of a marriage, a learned pamphlet to 
 be presented to parents and friends as a 
 memento of the event, is still in honour among 
 the members of the archaeological and scientific 
 circles of Italy and Germany. This paper, 
 published by the keeper of the Bologna Library 
 to celebrate the wedding of a friend, was 
 reprinted twenty-eight years afterwards for 
 the nuptial festivities of the daughter. 
 
 Le memorie storiche sulle 
 majoliche di Faenza. Stadi e 
 richerche del dottor Carlo Mala- 
 gola. Roma, Barbera, 1880. 8, 
 pp. 13. 
 
 " The historical memoirs on the ma- 
 jolica of Faenza." 
 
 A severe critique of Malagola's work on that 
 subject. 
 
 Osservazioni critiche sul libro 
 
 del Sr. E. Molinier, "Les majoli- 
 ques italiennes," e signalmente 
 sulFarticolo concernente Bologna. 
 Modena, 1883. 8, pp. 13. 
 
 "Critical remarks upon the work of 
 Mr. E. Molinier, 'Les majoliques itali- 
 ennes,' and particularly on the article : 
 Bologna." t 
 
 FRAUBERGER (H.). Die Kunstsamm- 
 lung W. P. Metzler in Frank- 
 furt a. M. Frankfurt, 1897. 4; 
 with 1 col. and 61 phototyp. pis., 
 and 95 text illustrs. 3. 
 
 "The Metzler collection at Frankfort." 
 Antique terra-cottas, Italian majolica.Gernian 
 stoneware, etc. 
 
 FREETH (Frank). Old English pottery 
 collected and catalogued by Mr. 
 and Mrs. F. Freeth ; with de- 
 scription and illustration of each 
 subject. Short explanatory in- 
 troduction. London, Morgan & 
 
 155 
 
FRIJ 
 
 C ERA MIC LIT ERA TURE. 
 
 [Fill 
 
 Co., 1896. 4, pp. 80 ; with 57 
 pis. in collotype. 2, 12s. 6d. 
 
 This catalogue is handsomely printed, in blue 
 ink, upon thick water-colour paper ; each plate 
 contains several subjects photographed from 
 the originals. The sections of Salt Glaze and 
 Tortoiseshell, as well as a few of the other 
 sections, are represented by numerous examples 
 chosen from the best known types of the ware. 
 From the many blanks which impair the com- 
 pleteness of the collection, we may judge that 
 the collectors have not had the ambition of 
 illustrating, in their selection, the history of 
 the potter's art in England, and of recording 
 its gradual development through its successive 
 transformations. Early English pottery, in- 
 cluding the many- handled tygs and the quaint 
 posset-pots, as well as the other slip-decorated 
 vessels, have been completely ignored, and not 
 a single example of the fine red ware of the 
 Elers has been admitted. The brown stone- 
 ware has no representative, and the few 
 specimens of English delft, grouped at the 
 end, are of insignificant character. The edition 
 was limited to 100 copies. 
 
 FRICK (G.)- Ueber Porzellanerden- 
 gewinnung und Porzellanfabri- 
 cation. Berlin, 1812. Fol. 
 
 " On the extraction of porcelain clays 
 and on porcelain manufacture." 
 
 FRIEDENTHAL (C.). Modelle von Ber- 
 liner Oefen. Musterblatter der 
 Schlesischen Oefen und Thon- 
 waaren-fabrik von C. Frieden- 
 thal zu Tschauschwitz,by Neisse. 
 15 pis. printed in col. (S..L, n.d.) 
 (Recent.) 
 
 " Models of Berlin earthenware stoves. 
 Pattern book of the stoves and earthen- 
 ware manufactory of C. Friedenthal at 
 Tschauschwitz, near Neisse." 
 
 FRIEDERICH (A.). Buntglasirte Ofen- 
 kacheln von Kloster auf dem 
 Georgenberge, bei Goslar. 1881. 
 4, pp. 8 ; with 7 lith. pis. partly 
 coloured, 
 
 " The stove of polychromic faience at 
 Kloster in the Georgenberg, near Goslar." 
 
 FRIEDRICH (Carl). Augustin Hirs- 
 vogel als Toepfer ; seine Gefass- 
 entwurfe, Oefen und Glasge- 
 maelde. Nurriberg, printed for 
 the author by Bieling - Dietz, 
 1885. 4, pp. 74 ; with portrait 
 and 28 pis. 15s. 
 156 
 
 "Augustin Hirschvogel considered as 
 a potter ; his designs for vases and other 
 vessels, his earthenware stoves, and 
 stained-glass paintings." 
 
 It is a bold venture to set at defiance long 
 accredited traditions, and to try to upset all 
 previously accepted notions by means of in- 
 geniously-framed arguments ; this, however, 
 is what Mr. Friedrich, librarian at the Industrial 
 Art Museum of Nuremberg, has endeavoured to 
 do with respect to Augustin Hirschvogel. The 
 work of the acknowledged father of artistic 
 pottery in Germany is represented in all collec- 
 tions by vases and jugs of a well-known type. 
 They are adorned with subjects of figures and 
 ornaments in relief, and the surface is covered 
 with stanniferous enamels of bright and often 
 discordant colours. Yet, to our surprise, we 
 notice that no example of this ware is figured 
 on the numerous plates which illustrate this 
 book. It is because the author considers such 
 rude imitations of Lucca della Robbia majolica 
 as altogether unworthy of the genius of such a 
 great artist as Hirschvogel ; and, in fact, in the 
 first lines of the preface he absolutely refuses 
 to recognise them as the work of his hands. 
 His assertion is chiefly based upon the only 
 passage so far discovered in contemporary 
 books, which mentions the name of the potter, 
 and gives some particulars about the kind of 
 pottery he produced at Nuremberg. One must 
 acknowledge that the description given by 
 Neudorffer, his friend and admirer, does not at 
 all tally with the nature of the heavy faience 
 pieces generally attributed to him. Mr. Frie- 
 drich has no hesitation in ascribing the earliest 
 examples of this style to the potters of Saxony, 
 and he believes them all to be posterior by a 
 few years to the death of Hirschvogel. No 
 vase has ever been found which bore the name 
 or the monogram of the master ; while, on the 
 other hand, a jug of the recognised type, now 
 in the Dresden Museum, is signed by Martin 
 Moller of Annaberg, and dated 1569. Hirsch- 
 vogel's career was a most chequered one, and 
 his pursuit of the potter's art can have had 
 only a small place in it. In turns a glass 
 painter, a carver of heraldic shields, an 
 engraver, a geometer, a cosmographer, and an 
 astronomer, he was, besides, one of the best? 
 musicians of his time, and a constant traveller. 
 In 1535 he repaired to Venice for the purpose, 
 it is said, of learning glass-making, but, as a 
 matter of fact, he worked as a potter in the 
 ' ' Botega " of Maestro Lodovico, whose daughter 
 he married. At the end of three years he 
 returned to Nuremberg, where, turning to good 
 account the experience he had acquired, he set 
 up an oven and began to manufacture with 
 success a new kind of high-class pottery. It 
 is, however, clearly proved that this enterprise 
 was of short duration. In 1543 we find him 
 settled in Vienna, having given up pot-making, 
 and busy painting, engraving, and publishing 
 scientific works till the year of his death, which 
 occurred in 1553. 
 
 From the description given by Neudorffer, 
 and from the comparative study of the decora- 
 tive designs engraved by Hirschvogel, Mr. 
 Friedrich comes to the conclusion that the only 
 ceramic work which can safely be attributed to 
 the master, consists of ornamental earthenware 
 stoves, modelled in the taste of the Italian 
 
FRT] 
 
 CERAMIC LITERATURE. 
 
 [FRO 
 
 Renaissance, and of dishes or drinking vessels 
 of the same style. All these productions are 
 coated over with lead-glazes of sober colours, 
 and in no case do they show any traces of 
 stanniferous enamels. Whether the verdict 
 rendered by the author will be ratified by the 
 generality of German collectors, remains to be 
 ascertained. 
 
 FRIEDRICH (K.). Praxiteles und die 
 Niobegruppe, nebst Erklarung 
 einiger Vasenbilder. Leipzig, 
 1855. 8, pp. 144; pis. 2s. 
 
 " Praxiteles and the Niobe group ; 
 with explanation of some vase paintings." 
 
 - Die philostratischen Bilder. 
 Ein Beitrag zur Charakteristik 
 der alten Kunst. Excurs. II. 
 Ueber die Raumfiillung auf den 
 Vasen. Erlangen, 1860. 8. 
 
 "The paintings of Philostrates. An 
 essay on the characteristics of ancient 
 art. Part II. On the disposition of 
 painted decoration upon the vases." 
 
 FRIEDRICH (P.). Bltitezeit und Nie- 
 dergang unserer Ziegel-industrie, 
 dargelegt an den liibeckischen 
 Ziegelrohbauten. Ltibeck, 1897, 
 8, pp. 58. 
 
 " The prosperity and decline of our 
 tile industry in the town of Liibeck, as 
 evidenced by our own brick buildings." 
 
 FRINGS and COMP. Musterbuch der 
 rheinischen Mosaik-Platten und 
 Thonwaaren-Fabrik zu Sinzig 
 bei Bonn. Fol. (recent). 10 
 chromolith pis. and price list. 
 
 FRISCH (A.)- Album of ceramic de- 
 coration in the Japanese style. 
 10 fol. pis. in outline of Chinese 
 porcelain vases, and 15 pis. in 
 chromolith, Berlin, P. Bette, 
 s.d. (1885 ?). 
 
 A series of folio plates without printed 
 title. 
 
 FROEHNER (W.). Inscriptiones terrae- 
 cottse vasorum intra Alpes, 
 Tissam, Tamesin repertas. Got- 
 tingce, 1858. 8, pp. xxx-86. 
 2m. 
 
 Contains 2,222 marks of Roman pottery. 
 
 - Die griechischen Vasen und 
 Terracotten der grossherzog- 
 lichen Kunsthalle zu Karlsruhe. 
 Heidelberg, 1860. 12, pp. 119 ; 
 
 1 pi. of inscript. 1 m. 
 
 " The Greek vases and terra-cottas in 
 the Grand Ducal Museum of Carlsruhe." 
 
 A collection begun in 1837 with a series of 
 painted vases bought at Naples, by order of the 
 Grand Duke Leopold. To these were subse- 
 quently added the terra-cottas of the Pisani 
 collection, and the various antiquities once in 
 the possession of Greuzer, Fromel, Schiiler, and 
 other German antiquaries. 
 
 - Les trois bouche'es de pain. 
 Pour le dejeune' de Mr. de Witte. 
 Paris, 1866. 8, pp. 8. (Reprint 
 from Revue archeologique.} 
 
 " Three mouthfuls of bread ; for Mr. de 
 Witte's breakfast." 
 
 Ingenious interpretation of a puzzling inscrip- 
 tion incised on a Roman vase of black clay. 
 Through a clever manipulation of archaic Greek 
 and Koman words, the decipherer construes the 
 following sentence out of some apparently 
 meaningless sequence of Roman capitals : 
 ' ' Eat in silence three mouthfuls of bread and 
 the spell shall become harmless." This would 
 make the vase a kind of talisman against evil 
 charms or poison. 
 
 Terres cuites d'Al-Kantara. 
 Paris, 1867. Fol., pp. 5 ; with 
 
 2 pis. 
 
 " The terra-cottas of Al-Kantara." 
 
 - Choix de vases grecs ine'dits 
 de la collection de S. A. I. le 
 Prince Napoleon. Paris, impr. 
 Clave, 1867. Fol., pp. 48; with 
 7 col. pis. 25 fcs. 
 
 " A selection of unpublished Greek 
 vases from the collection of H.I.H. Prince 
 Napoleon." 
 
 Catalogue d'une collection 
 d'antiquite's grecques et rom- 
 aines, pheniciennes, e'trusques, 
 e"gyptiennes et ame'ricaines. 
 (Prince Napoleon collection. ) 
 Paris, 1868. 8, pp. 208. 
 
 Catalogue of sale. Painted vases, pp. 3-93 ; 
 terra-cottas, pp. 94-112, etc. 
 
 Antiques chypriotes pro- 
 venant des fotiilles faites en 
 
 157 
 
FRO] 
 
 CERAMIC LITERATURE. 
 
 [FRO 
 
 1868 par Mr. de Cesnola. Paris, 
 1870. 8, pp. iv-27. 
 
 " Cyprian antiquities from the excava- 
 tions made by Mr. de Cesnola in 1868." 
 Catalogue of sale. 
 
 FROEHNER (W.)- Deux peintures de 
 vases gre'cs de la ndcropole de 
 Kameiros. Paris, 1871. Fol., 
 with 3 pis. 10 fcs. 
 
 "Two paintings on Greek vases from 
 .the Kameiros necropolis." 
 
 - Les musses de France ; re- 
 cueil de monuments antiques. 
 Paris, Rothschild, 1873. Fol., 
 pp. 74 ; with 40 col. pis. 40 fcs. 
 
 "The museums of France; a selection 
 of antique monuments." 
 
 Of the nine plates of vase paintings contained 
 in this volume, seven are reprinted from the 
 Collection of Prince Napoleon. Antique terra- 
 cottas are represented by nine plates, among 
 which are some curious reliefs of Roman pottery 
 of unusual character. The publication, of which 
 this was intended to be the first series, has not 
 been continued. 
 
 - Anatomic des vases antiques. 
 Paris, Detaille, 1876. 8, pp. 36. 
 3 fcs. 
 
 "The anatomy of antique vases." 
 
 We are all familiar with such expressions 
 as the neck, the shoulder, the belly, and the 
 foot of a vase. For this humouristic essay Mr. 
 Frohner has collected numerous quotations from 
 the works of classical authors, in which the 
 various parts of antique vessels are designated 
 by the same terms that apply to the correspond- 
 ing parts of the human body. The bodily 
 structure of an imaginary being having been 
 thus constituted, it had still to be animated 
 with an air of spiritual existence. In the 
 words of the poets, who often address a vase as 
 an entity susceptible of having feelings of its 
 own, in the popular sayings of all nations 
 which endow with endearing or satirical attri- 
 butes the vessels which play a humble part in 
 the activity of man's life, the idea has found 
 a corresponding expression. Vases may even 
 be said to have a voice, and speak to us with 
 joy or sadness, and suggest a word of warning 
 when they are inscribed with sentences of 
 striking signification. 
 
 - Terres cuites d'Asie Mineure. 
 Paris, H. Hoffmann, 1881. 4, 
 pp. 58 ; with 40 photolith. pis. 
 40 fcs. 
 
 " Terra-cottas from Asia-Minor." 
 The museums of antiquities, vast caravan- 
 158 
 
 serais, in which the waifs and strays of classical 
 art find a hospitable resting place, had always 
 welcomed examples of Greek terra-cottas, 
 seldom obtained in a good state of preservation. 
 Treated as obscure strangers who had chanced 
 to be admitted among their betters, although 
 unprovided with credentials, scarcely anyone 
 cared to know whence they came, and whether 
 they would ever take a place in the history of 
 art. For long they remained insignificant 
 oddities in our collections, when one day the 
 interlopers began to arrive in thick crowds 
 from various quarters, each legion bringing 
 with it its pedigree and certificate of its 
 source. The gigantic necropolis of Greece and 
 Asia Minor had been, simultaneously, opened 
 in many places, and from their depths had 
 emerged an ever increasing horde of terra-cottas, 
 well calculated to surprise the antiquaries. 
 No one could refuse them the right they claimed 
 to be admitted among the masterpieces of 
 Greek art. They were at first broadly divided 
 into nations, then sorted into tribes. Soon 
 after groups were formed in which, through the 
 nature of the clay of which they were made 
 and the style of the workmanship, one could 
 identify the natives of the great cities, or even of 
 the small villages of Hellas and of the neigh- 
 bouring countries. Frohner is one of those who 
 assisted, most effectually, in this preliminary 
 work of classification. Hostile to any con- 
 jectural system, he limited his assertions to 
 plain facts, or, at any rate, to rational 
 deductions. His descriptions are correct, his 
 observations simple and clear. The subject of 
 a terra-cotta figure is, for him, no more than 
 what it seems to represent ; we are spared the 
 infliction of the mystical riddle and its length}' 
 metaphorical elucidation, so seldom dispensed 
 with by the writers of the old school. Start- 
 ing from the principle that the study of Greek 
 terra-cotta should not be directed towards the 
 disconnected examination of isolated figures, 
 but should be applied to a general investigation 
 of the characteristics which distinguish the 
 various groups that have been formed of speci- 
 mens originating from the same localities, he 
 endeavours to find in them the means of know- 
 ing something of the manners, customs, and 
 beliefs of the people, and the progress of art 
 and civilization in the different countries, 
 towns, or villages in which they were dis- 
 covered. 
 
 The searches made at Tanagra for the locally 
 abundant terra-cotta figures forestalled those 
 which were undertaken, shortly afterwards, in 
 Greece proper and Asia Minor. Out of the new 
 materials supplied by the excavations conducted 
 in the last-named country, Frohner selected 
 the specimens described in this volume, exclu- 
 sively devoted to productions of that origin. 
 Tarsa occupies the first rank. Its terra-cottas, 
 equal if not superior to the best works of the 
 Greek coroplast, were previously represented 
 by a few fragments, bewitching female heads, 
 exquisite cupids, charming as they were, but 
 always bereft of one or more of their limbs. 
 The excavations made at Tarsa in 1875 brought 
 to light perfect figures of equal beauty. Differ- 
 ing in that from those of Tanagra, which 
 represent mostly personages taken from daily 
 life, the statuettes^of Asia Minor are usually of 
 a religious character ; deities such as Venus. 
 Eros, Bacchus, Pan, Nike, are easily recognis- 
 
FRO] 
 
 CERA MIC LITER A TURE. 
 
 [FTJR 
 
 able by their attributes. One may infer that 
 it was a transplanted art in those Asiatic 
 regions from the fact that no specimens of the 
 archaic times were ever found associated with 
 those mythologic representations, all of which 
 belong, unquestionably, to the best period of 
 the art. The manufacture of terra cotta 
 figures seems, however, to have, for a long 
 time, been carried on in the land. The noblest 
 form of the Clreek plastic is manifest in the 
 style of many figures of Aphrodite, adolescent 
 Eros, and winged cupids. But by the side of 
 these incomparable types of Grecian beauty, 
 Ave find also heav}' groups of a much later 
 period representing funeral repasts and nuptial 
 scenes, in which the influence of Roman art in 
 full decline is painfully noticeable. Much 
 value has been set on the groups of that kind. 
 The archaeologist is marvelling at the import- 
 ance of the piece, he praises the rarity of the 
 subject, and revels in the merit of the realistic 
 treatment. We do not think that an artist 
 will ever endorse his opinion. As for us, we 
 should willingly give them all for one of the 
 truncated statuettes of Tarsa preserved in 
 the Louvre, not to speak of the perfect figures 
 reproduced in the book. 
 
 Une collection de terres- 
 cuites grecques. Paris, Gazette 
 des Beaux arts, 1887. 8, pp. 
 20 ; with 2 pis. and 8 illustrs. 
 3fcs. 
 
 "A collection of Greek terra-cottas." 
 
 The groups and figures described in this 
 paper made part of the collection of Madame 
 Darthes. 
 
 FROHNER (W.). See- 
 
 Barre (Collection A.). 
 
 Bammeville (Coll. J. de). 
 
 Brant6ghem (Coll. van). 
 
 Burlington F. A. C. (Exhibition of 
 
 Greek ceramic art.) 
 Dutuit (Coll. A.). 
 
 GrSau (Coll. J.), and catalogue of sale. 
 Hoffmann. Catalogues of sale. 
 Napoleon (Coll. du Prince Jerome), and 
 
 cat. of sale. 
 Plot (Coll. E.). 
 Tyzkiewiez (Collection), and cat. of sale. 
 
 FROLICH (H, D.). Geheimnisse der 
 Porcellanmalerei. Graudenz, 
 1847. 8. 
 
 "The secrets of porcelain-painting." 
 
 FROMBERG (E. 0.). Die Darstellung 
 des Goldpurpurs in alien seinen 
 Ntiancen, fur die Zwecke der 
 Glas- Email- und Porcellanmal- 
 erei. Quedlinburg, s.d. 
 
 "The preparation of the gold-purple 
 
 in all its shades ; in its application to 
 glass, enamel, and porcelain-painting." 
 
 FUGGER-BABENHAUSEN (Prince C. L. M.) 
 Museum Fuggerianum. Tableaux 
 der Kostbarkeiten und Kunst- 
 gewerbliche Gegenstande in 
 Fayence, etc., in clem Fugger- 
 hause in Augsburg aufbewart. 
 Augsburf/, 1892. Fol. ; photogr. 
 pis. 
 
 " Catalogue of the precious objects and 
 works of industrial art, in faience, etc., 
 preserved in the Fugger Mansion at 
 Augsburg." 
 
 FUMIERE (F.)- Les arts decora tifs k 
 Fexposition du cinquantenaire 
 Beige. Bruocelles, 1880. Fol., 
 pp. 106 ; with 25 phototyp. pis. 
 
 " Decorative art at the Bruxelles Ex- 
 hibition, 1880." 
 
 FUNGHINI (Y.). Sulle porcellane 
 medicee e particolarmente di due 
 esemplari che 1'autore conserva 
 nella sua collezione di antichita 
 in Arezzo. Arezzo, 1886. 
 
 " On the Medicean porcelain, and par- 
 ticularly on two pieces in the author's 
 collection at Arezzo." 
 
 Cenni storici sulle antiche 
 
 maioliche italiane. Roma, For- 
 zani, 1889. 8, pp. 38. 
 
 " Historical notes on the ancient 
 Italian majolica." 
 
 Osservazioni e rilievi sulle 
 
 antiche fabbriche di maioliche di 
 Cafaggiolo, del Mugello, e su 
 quelle di Faenza. Kiposta all 
 Prof. Argnani. Arezzo, Stab. 
 Belloti, 1890. 
 
 " Remarks and considerations on the 
 ancient manufactories of majolica of 
 Cafaggiolo, of Mugello, and on those of 
 Faenza. A reply to Prof. Argnani." 
 
 FURNIYAL (W. J.). Explanation of 
 the Staffordshire Potteries' Slop 
 Flint and Stone trade calculator, 
 or tables of equivalents, for re- 
 ducing pecks of slop flint and 
 
 159 
 
FUR] 
 
 CERAMIC LITERATURE. 
 
 [FUR 
 
 stone of varying weights to stan- 
 
 / O 
 
 dard or customary pecks of 32 Ibs. 
 each ; also a few notes respecting 
 ready practical methods of ap- 
 proximately determining the fine- 
 ness of, and of detecting impuri- 
 ties and percentage of moisture 
 in potters' materials and clays. 
 Hanley, Allbut & Daniel, 1884. 
 12, pp. 24 ; with 2 tables or cal- 
 culators mounted on cardboard. 
 2s. 6d. 
 
 FURNIYAL (W. J.). Researches on 
 leadless glazes. Published by 
 the author. Stone, Staffs., 1898. 
 8, pp. 135. Publ., 5, 5s. 
 
 To the result of the personal researches of 
 Mr. Furnival, who professes to have settled 
 the difficulty of composing a leadless glaze 
 which shall replace with advantage the lead 
 glazes in use in the trade, are added transcrip- 
 tions of the recipes previously experimented 
 upon, and recommended by technical writers 
 and professional potters. 
 
 Leadless decorative tiles, 
 
 faience and mosaic, comprising 
 notes and excerpts on the his- 
 tory, materials, manufacture, and 
 use of ornamental flooring tiles 
 and faience, with complete series 
 of recipes for tile-bodies and for 
 leadless glazes and art - tile 
 enamels. The work includes the 
 following specially written con- 
 tributions : Notes on the decor- 
 ative and architectural use of 
 glazed tiles and faience in China, 
 by S, W. Bushell. A list of the 
 principal existing monuments in 
 India upon which tile -work de- 
 coration appears, by Stanley Clarke. 
 Notes on the tile decoration 
 found on buildings in Punjab and 
 Bengal, by J. H. Marshall. Design- 
 ing for ornamental tile-work and 
 faience, by A. Wood. Stone, Staffs., 
 publ. by the author, 1904. 4", 
 pp. xxiii-852 ; with 37 pis. and 
 329 text illustrs. 6, 6s. 
 160 
 
 One cannot consider this heterogeneous 
 assemblage as being a technical or historical 
 treatise on the manufacture and use of decora- 
 tive tiles. From the successive sections, which 
 make a bulky volume, incomplete as each of 
 them is bound to be, a certain amount of 
 information is obtainable ; but, evidently, no 
 definite plan has been followed in its prepara- 
 tion. The examples of ancient tile decoration 
 the writer has chosen to describe, sucli as the 
 Italian majolica, and the Dutch and French 
 faience, in which lead forms so large a part of 
 the glazes and colours, scarcely justify the 
 heading of " Leadless decorative tiles." 
 
 FDRTWANGLER (A.). --Eros in der 
 Vasenmalerei . Milnchen, Acker- 
 mann, 1874. 8, pp. 90. 2 m. 
 
 " Eros in the Greek vase paintings." 
 
 Although Eros lias been frequently repre- 
 sented by the vase painter, he was always 
 painted in a manner free from the bonds of 
 tradition. As he had no myth of his own, 
 says the author, he must be studied, chiefly in 
 the part he has been made to play in the paint- 
 ings of antique pottery and the works of plastic 
 art. 
 
 - Arianna dormente e Bacco 
 sopra cratere etrusco. Ro'ina, 
 Salvinci, 1878. 8, pp. 24 ; 2 
 fold. pis. (1 col.). 
 
 " Ariana asleep, and Bacchus, upon an 
 Etruscan crater." 
 
 Koeniglische Museum zu Ber- 
 lin. Beschreibung der Vasen- 
 sammlung in Antiquarium. Ber- 
 lin, 1885. 2 vols. 8; with 7 
 pis. of forms. 15m. 
 
 " Royal Museum of Berlin. Descrip- 
 tion of the collection of vases in the 
 Antiquarium." 
 
 A revised edition of the catalogue prepared 
 by Levezow in 1834. The collection had been 
 considerably increased, and Furtwiingler 
 adopted for its classification an excellent plan 
 differing entirely from the one followed by his 
 predecessor. 
 
 Mykenische Vasen. Vorhel- 
 
 lenische Thongefasse aus dem 
 Mittelmeeres. Berlin, 1886. 4; 
 with 5 pis., and an atlas obi. fol. 
 of 44 pis. 115 m. 
 
 "Mycenean vases. Prehellenic pottery 
 from the coasts of the Mediterranean 
 Sea." 
 
 The pottery, said to belong to the pre- 
 Homeric ages, which makes the subject of the 
 above work, was first described by Schliemann, 
 
FUR] 
 
 CERA MIC LITER A TV RE. 
 
 [GAG 
 
 who discovered it on the site of ancient Mycena ; 
 later on, however, pottery of the same character 
 was found on the coasts of the Aegean Sea, in 
 some Greek Islands, and even as far away as 
 Egypt. 
 
 - Neuere Falschungen von An- 
 tiken. Berlin, Giesecke & Dev- 
 rient, 1899. 4, pp. 39 ; with 25 
 illustrs. 5 m. 
 
 "New forgeries of antiquities." 
 
 Chapter II. treats of ancient terra-cottas. 
 The author explains with what facility modern 
 counterfeits can be produced, so closely imitating 
 an antique specimen as to deceive even the eye 
 of an antiquai'y. In his visits to the chief 
 museums of Europe he has had occasion to 
 notice sometimes among the examples con- 
 sidered as masterpieces of the art vases and 
 figures of terra-cotta which he considers as 
 flagrant forgeries ; he describes some of these, 
 and points out the peculiarities on which he 
 grounds his opinion. It is especially in the 
 inconstancy of style and treatment in the orna- 
 mental details made use of by the forger, arid 
 which, although appearing on the same piece, 
 undoubtedly belong to periods very far apart, 
 that he finds convincing proofs of the fraud. 
 
 Painted vases are dealt with in Chapter IV. 
 In this we find the reassuring remark that the 
 black varnish of the originals could never be 
 exactly imitated, and, consequently, falsifica- 
 tions of black and red vases can easily be 
 recognised. But we are warned that much 
 caution must be exerted with regard to the 
 white pieces painted in various colours. Many 
 an otherwise genuine lekythos, or calix, may 
 have been tampered with by the dealer in 
 antiquities, and the subject it bears may be 
 the recent work of a painter in his employ. 
 
 FURTWA'NGLER (A.) and LOSCHKE (G.).- 
 Mykenische Thongefasse. Ber- 
 lin, Ascher, 1879. Obi. fol., pp. 
 9 ; with 12 col. pis. 15 rn. 
 " Earthen vessels from Mycena." 
 
 Published on the occasion of the fiftieth 
 anniversary of the German Archaeological Insti- 
 tute in Rome. 
 
 FURTWAHGLER (A.) and REICHHOLD (C.).- 
 Die griechische Vasenmalerei. 
 Auswahl hervorragender Vasen- 
 bilder. Mimchen, Bruckmann, 
 1900. Fol. ; with 60 pis. and 
 text illustrs. 240 m. (In pro- 
 gress.) 
 
 " Greek vase painting ; a selection of 
 the most remarkable examples of painted 
 vases." 
 
 The circular issued by the publisher might 
 have dwelt upon the excellent selection of sub- 
 jects made by the authors for the production of 
 
 11 
 
 this book ; the advertiser has, however, pre- 
 ferred to claim for the plates which illustrate 
 the volume a conspicuous superiority over all 
 engravings of the same order attempted pre- 
 viously. Such a sweeping assertion can scarcely 
 be left to pass unchallenged. 
 
 Surely one has no fault to find with the 
 illustrations of the greater number of modern 
 publications. The subjects are usually either 
 taken directly from the pieces by the best 
 photographic processes, or else engraved by 
 hand from tracings made with sufficient care 
 to give us an exact facsimile of the original. 
 It is not the case here. All reproductions are 
 made from excellent drawings, it is true, but 
 in which we detect an undue touching up at 
 the expense of accuracy. Every apparent 
 incorrectness in the model has been modified or 
 even removed, with the result that a stiff, 
 formal, wiry outline replaces the boldness and 
 the grace of the free pencilling of the Greek 
 vase painter. The zinco-block, the cheapest, 
 but also the most inartistic process, has been 
 selected for the reproduction of the drawings. 
 All book lovers will also object to the paper, 
 which shines like patent leather, and is bound 
 to crack in the folds, and ultimately to fall 
 into dust. 
 
 FURTWA'NGLER (A.). See Sabouroff Col- 
 lection. 
 
 - See Genick. 
 
 amik. 
 
 Griechische Ker- 
 
 GABELLE (Martial). Precede' simple 
 pour cuire chez soi, sans moufle, 
 les peintures vitrifiables sur por- 
 celaine. Paris, 1876. 8, pp. 6. 
 2nd ed., 1881. 
 
 " A simple method of firing, at home 
 and without a kiln, vitrifiable paintings 
 on porcelain." 
 
 GAEDECHEUS (R.). Perseus by den 
 Nymphen. Bild einer griech- 
 ischen Pyxis. Jena, 1879. Fol., 
 pp. 11; pis. 5 m. 
 
 " Perseus and the nymphs ; a painting 
 upon a Greek Pyxis." 
 
 - Drei Terra-cotta-statuen aus 
 Tanagra in Besitze d. Univ. 
 Jena, 1880. 4; with 2 photos. 
 
 " Three Tanagra figures of terra-cotta 
 at the Jena University." 
 
 GAGER & Co. Franc-price List. New 
 York, 1888. 4, pp. 59 ; with 
 28 full-page illustrs. 
 
 A pattern book of Limoges porcelain. 
 
 16J 
 
GAI] 
 
 CERAMIC LITERATURE. 
 
 [GAN 
 
 GAIDAN (F,)- Notes sur la maison de 
 faience artistique de F. Gaidan, 
 104 rue de T Abbe Groult, Paris. 
 Vaugirard. Nancy, impr. Vag- 
 ner. Sm. 8, pp. 7. 
 
 " Notes on the artistic faience manu- 
 factory of F. Gaidan." 
 
 The manufacturer makes an appeal to 
 capitalists for funds to give greater extension 
 to his manufacture. "Everyone," says he, 
 "is bound to acknowledge that I have raised 
 myself to the highest rank among the makers 
 of artistic pottery. My discoveries are so 
 numerous and extraordinary that one might 
 refuse to believe that they are the fruit of the 
 efforts of a single man ; but my fame is now 
 so well established that my talent and my 
 success are recognised by all, " etc. 
 
 GAILHABAUD. --Pavement en terre 
 vernissee dans la salle du Chapi- 
 tre de 1'ancienne Cathedrale de 
 St. Omer. Paris, 1869. 4, pp. 
 13 ; with 3 col. pis. (Reprint 
 from L' Architecture du V e au 
 XV1P siecle.) 
 
 " Pavement in glazed tiles in the 
 chapter room of the ancient Cathedral 
 of St. Omer." 
 
 GALLE (Efflile). Exposition univer- 
 selle de 1889. Ceramiques. 
 Section franaise. Notice remise 
 au jury sur sa fabrication de 
 faiences d'art. (Fayencerie de 
 Nancy.) Nancy, 1889. 4, pp. 16. 
 
 " International Exhibition, 1889. Cer- 
 amics. French section. Notice of the 
 art faience manufactured by E. Gall at 
 the Nancy faience works, distributed 
 to the members of the jury." 
 
 The interesting pottery of E. Galle was 
 bound to suffer from the counter-attraction 
 created by the marvellous glass he exhibited 
 in the same year. All the fascinating effects 
 that fusion and vitrification can produce, 
 either normally or with extraordinary difficulty, 
 had been mastered by the keenness and per- 
 severance of a rash and undaunted experimenter. 
 The most refractory materials had been made 
 to obey the will and fancy of a consummate 
 artist. For purity and richness of substance, 
 originality of conception, and perfection of 
 workmanship, the creations of Galld were, in 
 most cases, priceless jewels which defied com- 
 parison with anything ever produced by the 
 glass-makers of ancient and modern times. 
 His faience displayed, but in a minor degree, 
 the same qualities of novelty in the technics, 
 and of refined taste in artistic treatment. 
 Each specimen represented a type of its kind, 
 
 162 
 
 an idea susceptible of further development, a 
 difficulty easily overcome, all testifying to the 
 disdain their maker entertained for all that is 
 trite and commonplace. A perusal of this 
 catalogue will be sufficient to put a potter on 
 his mettle, and furnish him with many hints 
 towards an infinity of new ways and new 
 processes, all of which Galle has merely experi- 
 mented with, without taking full advantage of 
 any. 
 
 GALLY (M.). Les carreaux emailles 
 decouverts a Precy-le-Sec. Aval- 
 Ion, 1862. 8, pp. 3 ; with 4 pis. 
 (Extr. from the Bulletin de la 
 Societe d* etudes d'Avallon.) 
 
 " Glazed earthenware tiles discovered 
 at Precy-le-Sec." 
 
 In excavating the ruins of an old tower, at a 
 small castle in Burgundy, the workmen came 
 across a quantity of earthenware tiles, number- 
 ing about two thousand. The castle had been 
 demolished in the fourteenth century, yet these 
 tiles were in such a good state of preservation 
 that they were employed in the restoration of 
 the local church, to which they supplied a 
 handsome pavement. Samples of the various 
 patterns were also deposited in the Museums of 
 Auxerres and Avallon. 
 
 GAMURRINI (G. F.).- Le iscrizioni degli 
 antichi vasi fittili aretini. Roma, 
 Tip. Tiberina, 1859. 8, pp. 67. 
 3fcs. 
 
 " The inscriptions of the antique fictile 
 vases of Arezzo." 
 
 No fewer than 446 different marks of potters 
 have been found, by the author, impressed on 
 the bright red ware, fragments of which have 
 been dug out in abundance in the locality. 
 Each inscription is sagaciouslycommented upon. 
 Groups are formed of the leading families con- 
 nected in ancient times with the ceramicindustry 
 of the town of Arezzo and its surroundings. 
 In the case of two names appearing on the 
 same piece, a distinction is drawn between 
 that of the master, and that of the operative, 
 either slave or freeman, who worked in his 
 employ. Following Fabroni's example, Gamur- 
 rini affects to ignore the existence of any other 
 red embossed ware, but that which was made 
 at Arezzo. 
 
 GANDY (W.)- A short account of old 
 English pottery. A paper read 
 at the meeting of the Institute 
 of Estate and House Agents. 
 London, 1904. 8, pp. 12. 
 
 - Ceramics in architecture and 
 decoration. Read at the meeting 
 of the Auctioneers' Institute. 
 London, 1908. 8, pp. 20, 
 
GAR] 
 
 CERAMIC LITERATURE. 
 
 [GAR 
 
 GARBAN (E,). La Porcelaine. Illus- 
 trations d'E. Sadoux,dessins dans 
 le texte de Drouot. Paris, 
 Lecene, Oudin & Cie. 1891 8, 
 pp. 300 ; with 7- illustrs. 4 fcs. 
 
 This work is intended to initiate young 
 scholars in the elementary knowledge of por- 
 celain manufacture, beginning with the extrac- 
 tion of the china clay, continuing with the 
 composition of the pastes, the fashioning and 
 the firing of the ware, and ending with the 
 various processes employed for its decoration. 
 No better technical handbook could be recom- 
 mended to anyone who is desirous of acquiring 
 a superficial inkling of the methods employed 
 for the production of French porcelain, without 
 encountering the difficulties presented by the 
 study of scientific treatises. 
 
 GARCIA LOPEZ (ML). Manual completa 
 de Artes ceramicas. Madrid, 
 Cuesta, 1902. 2 vols. 8, pp. 
 xi-328 ; with illustrs. 5 fcs. 
 
 " A complete manual of the ceramic 
 art." 
 
 GARDNER (E. A.). A catalogue of the 
 Greek vases in the Fitzwilliam 
 Museum, Cambridge. Cam- 
 bridge, 1897. 8, pp. xxi-95; 
 with 41 zinco-block pis. 12s. 
 
 GARDNER (Percy). Catalogue of the 
 Greek vases in the Ashmolean 
 Museum. London,l893. Sm. fol., 
 pp. 44; with 26 photochromolith. 
 pis. and 37 text illustrs. 3, 3s. 
 
 GARGALLO-GRIMALDI (Filippo).-H mito 
 di lo ; dipinto d'un vaso ruvese 
 del Sig. G. Jatta. Roma, 1839. 
 8, pp. 16 ; fold. pis. 
 
 " The myth of lo ; a picture of a vase 
 of Ruvo in the Jatta collection." 
 
 La pittura di un antico vaso 
 fittile. Roma, 1839. 8, pp. 16; 
 fold. pis. 
 
 "The painting of an ancient fictile 
 vase." 
 
 Di un vaso greco inedito. 
 Roma, 1842. 8, pp. 8 ; pis. 
 " An inedited Greek vase." 
 
 La pittura di un vaso Greco 
 nella qualle e rapresentato il 
 
 mito di Scirone. Roma, 1843. 
 pp. 8 ; pis. 
 
 " The myth of Sciro represented on 
 the painting of a Greek vase." 
 
 - Su la pittura di un vaso greco 
 inedito, lettera al ch. Sig. Duca 
 di Luynes. Napoli, 1848 4, 
 pp. 12 ; 1 pi. 
 
 " On the painting of an inedited Greek 
 vase. A letter to the Duke of Luynes." 
 
 - Perseo, Vaso ruvese. Roma, 
 1850. 8, pp. 10; 1 pi. 
 
 " Perseus, upon a vase of Ruvo." 
 
 - Penelope ed Enomao. Vaso 
 Ruvese. Roma, 1852. pp. 8; pis. 
 
 "Penelope and Enomaus. Ruvian 
 vase." 
 
 - Dichiarazione della pitture di 
 un inedito vaso fittile greco del 
 Museo Jatta. Napoli, 1857. 4, 
 pp. 4 ; pi. 
 
 " Description of the paintings upon an 
 inedited vase of the Jatta collection." 
 
 - La pittura di un inedito cra- 
 tere greco di Argilla. Napoli, 
 1862. 4, pp. 3 ; pi. 
 
 " The painting upon an inedited earthen 
 crater." 
 
 - Dichiarazione del dipinto di 
 un greco vaso fittile Capuano. 
 Napoli, 1863. pp. 8. 
 
 "Explanation of the painting upon a 
 Capuan Greek vase." 
 
 - I dipinti di un greco vaso di 
 Argilla Dissotterrato nella ne- 
 cropoli di Chiusi. Napoli, 1865. 
 Pp. 6 ; pis. 
 
 "The paintings of a Greek vase dis- 
 covered in the necropolis of Chiusi." 
 
 Breve dichiarazione di un 
 antico vaso fittile di Ruvo col 
 soggetto della caccia del cinghiale 
 di Calidone. 4, pp, 2 ; pis. 
 
 "The Calidon boar upon a Ruvian 
 fictile vase." 
 
 163 
 
GAR] 
 
 CERAMIC LITERATURE. 
 
 GARGALLO-GRIMALDI (Filippo). Explica- 
 tion des ornements plastiques 
 d'un rhyton grec inedit. S.d. 
 4, pp. 2 ; pis. 
 
 "Explanation of the ornaments in 
 relief upon an inedited Greek Rhyton." 
 
 GARG1ULO (R.). Collezione delle di- 
 verse forme de'vasi italico-greci 
 dette communemente etruschi. 
 Napoli, 1822. 4; with 28 pis. 
 engr. by Biondi. 5 fcs. 
 
 "Collection of the various shapes of 
 the Italo-Greek vases commonly called 
 Etruscan." 
 
 Cenni sulla raaniera di rin- 
 
 venire i vasi fittile italo-greci ; 
 sulla loro costruzione, sulle loro 
 fabriche piu distinte, e sulla pro- 
 gressione e decadimento dell'arte 
 vasaria. Napoli, 1831. Sm. 4, 
 pp. 39 ; with 10 pis. 5 fcs. 
 
 "Notes on the best method to follow 
 for the discovery of the Italo-Greek vases ; 
 on the processes of manufacture ; the 
 most distinct styles ; and the progress 
 and decline of the art of vase making." 
 
 From the uncertain and inadequate manner 
 in which the above questions are approached 
 in this essay, we see that they were still in the 
 state of unsolved problems. 
 
 - Raccolta de'monumenti piu 
 interessantidel Museo Borbonico 
 e di varie collezione private. 
 Napoli, 1825. 2 vols. 4; with 
 200 engr. pis. 50 fcs. 
 
 "Collection of the most remarkable 
 monuments in the Borbonico Museum." 
 
 A second edition in four vols. was published 
 in 1868-70. Vol. iv. contains the terra-cottas 
 and the vases. 
 
 GARIN ET AYMAR. La photographic 
 vitrifiee. Operations pratiques. 
 Paris, G. Willars, 1890. 18 
 1 fc. 
 
 " Vitrified photography. Practical 
 operations." 
 
 GARNAUD (Fils). Terre cuite blanche 
 imitant la pierre. Fabrique a 
 Choisy - le - Koy. Paris, impr. 
 164 
 
 Lemercier (1850 ?). Fol. ; 25 
 lith. pis. and list of prices. 
 
 " White terra-cotta imitating stone." 
 
 GARNIER (EdOliard). -Histoire de lacer- 
 ainique, poteries, faiences et por- 
 celaines chez tous les peuples, 
 depuis les temps les plus anciens 
 jusqu'a nos jours. Preface de 
 Mr. P. Gasnault. Tours, A. 
 Mame, 1880. 8, pp. 568 ; with 
 9 col. pis. and 160 text illustrs. 
 drawn by the author. 20 fcs. 
 2nd ed., 1882. 8. 
 
 "History of the ceramic art, pottery, 
 faience, and porcelain of all nations, from 
 the earliest times up to the present day." 
 
 Like all other works of an encyclopaedia!! 
 order, general histories of the ceramic art 
 require frequent remodelling. The account 
 has to keep up with the march of advancing 
 knowledge. Garnier's volume embodied at the 
 time of its publication an abridgement of what 
 had been lately ascertained as the result 
 of modern researches. While neglecting alto- 
 gether the consideration of exploded theories, 
 the author endeavoured to register all the 
 plausible statements offered in elucidation of 
 some important points, the final solution of 
 which still remains in abeyance. Although 
 incomplete in some regards the work was, in 
 our estimation, a conscientious and commend- 
 able effort. 
 
 Catalogue de la collection 
 
 Gasnault, avec une introduction ; 
 des notes historiques, et plus de 
 270 marques reproduites en fac- 
 simile. Paris, Champion, 1881. 
 4, pp. 321. 10 fcs. 
 
 "Catalogue of the Gasnault Collec- 
 tion, with an introduction, historical 
 notes, and over 270 marks in facsimile." 
 
 The ceramic collection formed by Mr. Paul 
 Gasnault, of Paris, was purchased by Mr. 
 Dubouche, and presented by him to the 
 Limoges Museum, in which establishment it 
 has found a permanent abode. It contains 
 1855 Nos. of pottery, faience, porcelain, and 
 glass of all countries, selected with great care 
 and judgment by the former owner. 
 
 Une page d'histoire. La 
 manufacture de Sevres en Fan 
 viii. Paris, Champion, 1888. 4, 
 pp. 19. (Keprint from the Gaz- 
 ette des Beaux Arts.) 
 
 "A page of history. The Sevres 
 
GAR] 
 
 CERAMIC LITERATURE. 
 
 [GAR 
 
 manufactory in the year viii of the 
 Republique(1798)." 
 
 A dark page in the annals of the Sevres 
 works is transcribed in this interesting paper. 
 France, crushed by national calamities, revolu- 
 tions, foreign invasions, and financial ruin, 
 could take little heed of the miserable condi- 
 tion in which the late royal manufactory of 
 porcelain was placed by the force of events. 
 Selling the expensive ware, which continued to 
 be produced, was quite out of the question, 
 and the annual state grant was no longer 
 paid. In the year 1798 artists and workmen, 
 who for many months had received no wages, 
 were reduced to absolute destitution. Bread 
 was baked in the works, and a few pounds of 
 meat were occasionally distributed ; bxit the 
 supplies, bought on credit, were of such bad 
 quality that the scheme of helping the work- 
 people in that way had to be abandoned. 
 These heartrending circumstances prevailed 
 until Napoleon became First Consul. He 
 appointed Brongniart director of the manu- 
 factory in the year 1800. The wise and firm 
 management of the new director was not long 
 in effecting a complete transformation. This, 
 however, was not done without some sacrifices. 
 To obtain the indispensable funds he decided 
 to sell by public auction the larger part of the 
 warehouse's contents. Through these and other 
 well-planned measures, he succeeded in restoring 
 the unsettled administration to order. 
 
 - The soft porcelain of Sevres, 
 translated into English by H. F. 
 Andersen. 50 plates, represent- 
 ing 250 water-colour subjects 
 after the originals. London, 
 Nimmo, 1889.' Fol., pp. 32. 
 8, 8s. The French edition ap- 
 peared in the same year. 
 
 The lack of a good and comprehensive history 
 of the manufactory of Sevres and of its incom- 
 parable porcelain has always been regretted. 
 \\hen the announcement came that a volume 
 worthy of the subject was at last on the eve of 
 being issued, the news was heartily welcomed 
 by all amateurs. No one could have been 
 deemed to be better qualified to accomplish the 
 task than Edouard Gamier. The position he 
 was known to have occupied for many years 
 as assistant curator of the Sevres Museum, 
 warranted the assumption that he had been 
 able to gather, in that capacity, an amount of 
 unpublished materials, written evidence, and 
 local traditions, sufficient to supplement the 
 knowledge already obtained, and assist in com- 
 pleting a perfect monograph. The subscription 
 price, without being extravagant, was, how- 
 ever, considered high enough to allow the 
 publisher to bring out the volume in a style 
 consistent with the importance of the scheme. 
 Such anticipations were not to be realised , 
 the book came out, a disappointment to all. 
 Instead of finding in it, as had been reasonably 
 expected, a fully documented history of the 
 manufactory of Sevres, its progress and trans- 
 formations, with a biographical account of its 
 directors and artists, and a critical examination 
 
 of its best productions, one had to be satisfied 
 with a few pages of letterpress, a large portion 
 of which is occupied by a summary of the 
 well-known facts relating to the introduction 
 of porcelain manufacture in Europe ; a chapter 
 on imitations and forgeries, without any new 
 original matter ; a brief commonplace history of 
 the manufactory, and the list of painters' marks 
 already given in scores of other books. The 
 plates were similarly disappointing by being 
 far below the standard expected in such a 
 work. 
 
 - Exposition de 1889. La manu- 
 facture de Sevres. Paris, Cham- 
 pion, 1889. 8. (Reprint from 
 the Journal officiel} 
 
 "Exhibition of 1889. The manu- 
 factory of Sevres." 
 
 La manufacture de Sevres. 
 Paris, Charmerot, 1890. 8, 
 pp. 15. 
 
 A vindication of the national establishment, 
 written on the occasion of a bill having been 
 introduced before the Chamber of Deputies, 
 for the suppression of the annual state grant of 
 624,000 fcs. 
 
 L'industrie de la porcelaine 
 en France au xviii 6 siecle. 
 Sevres, Limoges. Paris, 1890. 
 8, pp. 16. 
 
 " The porcelain industry in France, 
 in the eighteenth century. Sevres, 
 Limoges." 
 
 A lecture delivered by Mr. Gamier at the 
 Limoges congress. 
 
 Sur un vase de Sevres du 
 musee du Louvre. Paris, Le 
 Cerf. S.d. 8, pp. 10. (Reprint 
 from the Bulletin des Musees.) 
 
 "A Sevres vase in the Louvre Museum." 
 This vase, two metres high, one of the most 
 elaborate and costly productions of the Sevres 
 manufactory, was executed in 1783. A frieze 
 of figures in white biscuit forms the middle 
 portion ; it was modelled by Boisot. The top 
 and bottom parts of the vase are decorated in 
 gold on a blue ground. Bronze mounts, chased 
 by Thomire in the highest perfection of the art, 
 complete the decoration. For the execution of 
 these bronzes Thomire presented a bill which 
 amounted to 107,703 liv. 11s. 
 
 - La faience japonee et la fab- 
 rique de Pourpres (Var). Char- 
 tres, impr. Garnier, 1893. 8, pp. 
 12 ; illustrs. 
 
 "Japanned faience and the Pourpres 
 factory in the Var department." 
 
 165 
 
CERA MIC LI TERA TURE. 
 
 [GAT 
 
 A faience jug in the Sevres Museum, marked 
 "Pourpre Japonne," had caused A. Demmin 
 to believe that it was made in a factory of that 
 name, and, accordingly, he entered the mention 
 of the Pourpres factory in his Guide de Vamateur. 
 The name has since found a place in all the lists 
 of ancient faience works given by subsequent 
 writers. jGarnier proves that the inscription 
 simply refers to the colour and style of a certain 
 decorative pattern produced by a Paris manu- 
 facturer. 
 
 GARNIER (EdOUard). Dictionnaire de 
 la ceramique. Faiences, Gres, 
 Poteries. Paris, Libr. de 1'Art, 
 1894. 8, pp. lxiii-258 ; with 20 
 col. pis. and facsimile of marks. 
 3 fcs. 
 
 " Dictionary of the ceramic art. 
 Faience, stoneware, pottery." 
 
 Manufacture nationale de 
 Sevres. Catalogue du Musee 
 Ceramique. Faiences. Paris, 
 Leroux, 1897. 8, pp. xlvi-686 ; 
 marks and monograms. 10 fcs. 
 
 " National manufactory of Sevres. 
 Catalogue of the ceramic museum. 
 Potteries." 
 
 GARNIER (E.)and GASNAULT (P.). French 
 pottery. London, Chapman & 
 Hall, 1884. 8, pp. 183 ; with 49 
 illustrs. One of the handbooks 
 of the South Kensington Museum. 
 
 This handbook, based on the previous work 
 of the author, and illustrated with examples in 
 the museum, has been translated into English 
 by Mr. P. Villars. 
 
 GARNIER (E.) ET GUIGNET (E.) La cer- 
 amique ancienne et moderne. 
 Paris, Alcan, 1899. 8, pp. 311; 
 with 69 half-tone illustrs. 6 fcs. 
 
 " Ancient and modern ceramics." 
 
 The historical part is treated by Mr. Gamier, 
 and Mr. Guignet is responsible for the technical 
 portion. 
 
 GARTHE (Collection Hugo). Catalogue of 
 sale. Cologne, Heberle, 1877. 
 8, pp. 190-28 ; with 4 pis. 
 
 Collection of a well-known amateur of Cologne. 
 Ceramics, Nos. 1-492. rich in ancient stoneware. 
 Supplement : terra sigillata and Roman pottery 
 Nos. 891-1078. 
 
 GASNAULT (Paul). La collection Jac- 
 quemart et le muse'e ce'ramique 
 166 
 
 de Limoges. Paris, 1876. 4, pp. 
 21 ; vigns. (Reprint from EArt.) 
 5 fcs. 
 
 "The Jacquemart collection and the 
 ceramic museum of Limoges." 
 
 Ville de Limoges. Musee 
 ceramique A. Dubouche. Cata- 
 logue de la collection Jacque- 
 mart public d'apres le manuscrit 
 original laisse par A. Jacque- 
 mart, avec une introduction par 
 M. P. Gasnault et un portrait 
 grave a Feau-forte par M. J. 
 Jacquemart. Paris, typ. Un- 
 singer, 1879. 4, pp. xiv-110; 
 with a portrait etched by J. 
 Jacquemart. 10 fcs. 
 
 The collection formed by A. Jacquemart was 
 acquired after his death by A. Dubouche, who 
 presented it to the Municipal Ceramic Museum 
 of Limoges. It comprises 587 Nos. The 
 specimens, selected as representatives of the 
 various styles of manufacture, do not include 
 any piece of a high order. Mr. Gasnault, a 
 distinguished collector, was a staunch friend 
 and constant collaborator of A. Jacquemart. 
 He published the MS. catalogue prepared by 
 the latter, preserving all the attributions given, 
 even in the cases where their inaccuracy had 
 been demonstrated. After the death of A. 
 Dubouche, Mr. Gasnault was appointed honor- 
 ary curator of the Limoges Museum. 
 
 GASNAULT (Collection). See GarDier. 
 
 GASTALDI (B.). Lake habitations and 
 prehistoric remains in Northern 
 and Central Italy. Translated 
 by C. H. Chambers. London, 
 1865. 8 ; woodcuts (pp. 25-35 : 
 pottery). 
 
 GATTY (Ch. T.). Liverpool Art Club. 
 Catalogue of a loan collection of 
 the works of Josiah Wedgwood. 
 Liverpool, 1879. 8. Reprinted 
 in 4 size. Pp. 190; with 15 
 autotype pis. 15s. 
 
 To illustrate, as far as possible, the various 
 sections of the catalogue issued by Josiah 
 Wedgwood, has been the motive of the organisers 
 of this exhibition. The Liverpool Museum lent 
 the best examples of the Mayer collection, and 
 the private collectors of England made it a 
 duty to send the finest specimens in their 
 possession. One is not likely to see again such 
 a select and comprehensive collection of old 
 
GAU] 
 
 CERAMIC LITERATURE. 
 
 [GEE 
 
 Wedgwood ware as the one which was exhibited 
 in 1879 at the Liverpool Art Club. 
 
 - On some mediaeval pottery 
 recently found in Derbyshire. 
 Liverpool, 1879. 8, pp. 10; with 
 2 pis. (Reprint from Transac- 
 tions of the Hist. Soc. of Lanca- 
 shire and Cheshire.} 
 
 On the occasion of the discovery of some 
 fragments of uncertain date Mr. Gatty wrote 
 this paper, in which he expresses the opinion 
 that many of the so-called Norman jugs, 
 occasionally dug up in Derbyshire, are of a 
 much later period than the one usually ascribed 
 to them. 
 
 The Liverpool potteries. 
 Liverpool, Baker, 1882. 8, pp. 
 48. 
 
 In his capacity of curator of the Liverpool 
 Museum, Mr. Gatty has had special facilities 
 for investigating the subject of the local 
 potteries. He found the civil records full of 
 entries which testify to the importance that 
 the industry had once attained in the town. 
 He has had his notes printed for our benefit, 
 and as a supplement to the information already 
 published by J. Mayer. 
 
 GAUTHIER (J.). Note sur un carrel- 
 age emaille du xiv e siecle, de- 
 couvert au chateau de Roulans 
 (Doubs). Besanqon, 1885. 8, 
 pp. 8 ; with 3 pis. (Reprint from 
 Bulletin de rAcademie de Besan- 
 con.) 
 
 "Notice of a tile pavement of the 
 fourteenth century, discovered at the 
 Roulans Castle (Doubs)." 
 
 From the coats of arms introduced in the 
 general design one is led to infer that it was 
 made by order of Jean de Vienne, admiral of 
 France, 1341-46, who often resided at the 
 Roulans Castle, his native place. 
 
 GAUTIER (J. E.) et LAMPRE (G.). Fouil- 
 les de Moussian. Chartres, 
 Durand, 1905. 4, pp. 90 ; with 
 1 col. pi. and 308 text illustrs. 
 10 fcs. 
 
 An account of the Moussian excavations. It 
 is illustrated with the reproduction of fragments 
 of antique Chaldean pottery . 
 
 GAY (L'Abbe A.)- Histoire du village 
 de Castellet-les-Leberon, sous le 
 rapport civil et religieux, geo- 
 graphique et descriptif. Formal- 
 
 quier, Masson, 1878. 8, pp. 126. 
 2 fcs. 
 
 " History of the village of Castellet-l^s- 
 Leberon (Vaucluse)." 
 
 Cesar Moulin, the son of a master potter of 
 Apt, established in 1728 a pottery manufactory 
 at Castellet, where he made, chiefly, articles of 
 marbled clay similar to those his father had 
 made at Apt before him. Although his works 
 were placed under the patronage of Baron de 
 Brancas, he had for years to fight against the 
 malevolence of the neighbours who attempted, 
 repeatedly, to drive him away from the village, 
 on the plea that the firing of his ovens would, 
 in a short time, consume all the trees of the 
 surrounding forests. To the account of the 
 difficulties the manufacturer had to contend 
 with a characteristic narrative of provincial 
 life in the good old times is added the 
 description of the best works of Cesar Moulin 
 and his successors, still in the possession of 
 the descendants of the ancient families of the 
 district. 
 
 GAY (Maria). Bernard Palissy. 
 Poeme. Saintes, 1875. 8, pp. 15. 
 
 The lute has been tuned to sing the doings 
 of Palissy, the potter, a lute always ready to 
 answer the call of emergency. Chord after 
 chord, rhyme after rhyme, the stately ode 
 streams on, stiff and frigid. The style is most 
 classical in its turgid correctness. One would 
 look in vain for a hole to pick in the faultless 
 versification, for an unguarded expression in 
 this long-winded rhapsody. This is indeed 
 poetry, according to a certain academical 
 standard, but we doubt whether poetry could 
 ever assume a more refrigerant form, and 
 whether the history of the great potter has 
 ever been rendered more wearisome to read. 
 
 GAYET (Al,). L'Art Persan. Paris, 
 Quantin, 1895. 8, pp. 318; with 
 numerous illustrs. 4 fcs. (Cer- 
 amics, pp. 195-209.) 
 " Persian Art." 
 
 Le r61e de la faience dans 
 
 1'antiquite egyptienne. Paris, 
 1894. 8. (Extr. from the Ga- 
 zette des Beaux Arts.) 
 
 GEBHARDT (S. Ch, R.).-Das Ganze der 
 Ziegelfabrikation sowie der Kalk 
 und Gypsbrennerei. Nebst Be- 
 schreibung und Abbildung der 
 in neuester Zeit in England und 
 Frankreich erfundenen un ver r 
 besserten Maschinen zum Ziegel- 
 schalen, sowie Pressen, um Thon 
 oder Erde in Formen zu drticken, 
 
 167 
 
GEB] 
 
 CERAMIC LITERATURE. 
 
 neuer verbesserter Dachziegeln. 
 Ein ntitzlicbes Handbuch fur 
 jeden Ziegelei-Besitzer, inbeson- 
 dere fur diejenigen, welche die 
 Fabrikation der Ziegeln im 
 Grossen betreiben wollen. Qued- 
 linburg, 1835. 12, pp. 93 ; with 
 4 pis. A revised edition was 
 published in 1837 ; with 5 pis. 
 
 "A complete treatise of tile manu- 
 facture, together with the burning of 
 lime and plaster. With the description 
 and the design of the machinery, newly 
 invented or improved in England and 
 France for the making of tiles, either by 
 stamping or pressing, for moulding marl 
 or clay into shape, an improved roof tile, 
 etc. A useful handbook for every tile 
 manufacturer, especially for wholesale 
 makers." 
 
 GEBHARDT (S. Ct R.). Die neuesten 
 Erfindungen und Verbesserun- 
 gen im Betreff der Ziegelfabrik- 
 ation, sowie der Kalk und 
 Gyps - Brennerei. Eine prakt. 
 Anweisung alle Arten Dach- 
 ziegel, etc., zu bereiten. Quedlin- 
 burg, s.d. 2 parts ; with 15 pis. 
 
 " The latest inventions and improve- 
 ments in the tile manufacture, as well as 
 the burning of lime and plaster. Practical 
 directions for making all kinds of roof 
 tiles, etc." 
 
 GEDON (Collection Lorenz). Die Kunst- 
 Sammlung Lorenz Gedon. Miln- 
 chen, Hirth, 1884. 4, pp. 126 ; 
 with 32 pis. and illustrs. in text. 
 10m. 
 
 This collection, formed by an architect of 
 Munich, was sold by Heberle ; the catalogue is 
 among the best published by that firm. It 
 contains a few fine ceramic objects, chiefly 
 Flemish and German stoneware, with five 
 illustrations. 
 
 GEFFROY (A.)- Oenomatis, Pelops et 
 . Hippodamie. Vase peint inedit. 
 Rome, 1881. 4; 1 pi. 
 
 " An inedited painted vase." 
 
 L'epigraphie doliaire chez les 
 Remains. Paris, 1886. 4, pp.47. 
 
 "The epigraphy of Roman pottery." 
 168 
 
 GEFFROY (Gustave).--Bernard Palissy. 
 Illustre de nombreuse gravures 
 par A. Denis. Paris, Librairie 
 d'Education laique, 1881. 18, 
 pp. 88. 1 fc. 
 
 Most of the notices on Palissy's life show 
 that one particular aspect of his many-sided 
 character has captivated the writer, who 
 expatiates upon the passages of his works best 
 calculated to serve a doctrinal purpose. Here 
 the aim in view seems to have been simply to 
 add another volume to the catalogue of a cheap 
 educational library. 
 
 GEHLEN (A. F.). Ueber das Vorkom- 
 men und die Gewinnung der 
 Porcellanerde im ehemaligen 
 Fiirstenthum Passau. Passau, 
 1881. 18, pp. 26. 
 
 "Upon the finding and the extraction 
 of the porcelain clay in the ancient 
 principality of Passau." 
 
 The kaolin of Passau was employed by 
 all the manufactories of hard porcelain in 
 Germany. 
 
 GEHRING (R.). Griechische Gefasse. 
 Umrisse in Naturgrosse nach 
 Originalengezeichnet. Lands/mt, 
 1892. Part 1. Fol.; 8 pis. 
 
 "Greek vases. Drawn full size in 
 outline after the originals." 
 
 GEINITZ (H, B,). Die Urnenfeldervon 
 Strehlen und Grossenhain, Cas- 
 sel, Tischer, 1876. 4, pp. 32; 
 with 10 col. pis. of urns. 12 in. 
 
 " The urn fields of Strehlen and 
 Grossenhain." 
 
 GENICK (A.). - - Kunstgewerbliche 
 Vorbilder. Keramik : I. Gefasse 
 Formen des klassischen Alter- 
 thums. Berlin, 1876. Fol. 
 
 "Models for the Industrial Arts. 
 Ceramics : I. Forms of the vessels of 
 classical antiquity." 
 
 - Griechische Keramik. Berlin, 
 1883. 2nd ed. Fol.; 43 pis. 
 With a vol. of text by A. Furt- 
 wangler. 4. 80 m. 
 
 " Greek ceramics." 
 
 Reproduction of vases and their decoration 
 in the actual size of the originals. 
 
GEN] 
 
 CERAMIC LITERATURE. 
 
 (GER 
 
 GENNARI. Sopra 1'antica arte cera- 
 mica in Pad ova. Memoria 
 stampata in occasione delle nozze 
 Bianchini Da Zara. Padova, 
 
 1877. 
 
 " The ancient ceramic art in Padua. 
 Printed on the occasion of the Bianchiiii- 
 Da Zara wedding feast." 
 
 GENOLINI (Angelo). Maioliche italiane. 
 Marche e monogrammi. Milano, 
 Dumolard, 1881. 4, pp. 172; 
 with 35 pis., containing 618 
 marks. 25 fcs. 
 
 "Italian majolica; marks and mono- 
 grams." 
 
 A concise review of the history of Italian 
 ceramic art. All that has been written on the 
 subject will be found briefly summarised in 
 this volume. Most of the monographs and 
 articles published upon the various centres of 
 manufacture having now become difficult to 
 obtain, a good digest of their contents is of 
 great value to the collector. Mr. Genolini is a 
 well-known expert in the "curiosity" trade. 
 He gives us the benefit of his personal experi- 
 ence, and does not willingly embark in debatable 
 speculations. 
 
 - Le maioliche di Caffagiolo, o 
 Casa Fasoli. Milano, 1882. 4, 
 pp. 14. 5 fcs. 
 
 "The majolica of Caffagiolo, or Casa 
 Fasoli." 
 
 C. Malagola had tried to establish that no 
 majolica factory had ever existed in the Tuscan 
 village of Caffagiolo, and that all the pieces 
 inscribed with that mark were of Faenza manu- 
 facture. In support of his opinion he mentioned 
 the fact that the family of Faxoli was known to 
 have given some potters to the town of Faenza ; 
 he pretended that the mark should be read as 
 " Casa Fasoli," and be. consequently, attributed 
 to these potters. Mr. Genolini has done much 
 to confute such an assertion, and a perusal of 
 his paper will win the approval of all unpre- 
 judiced connoisseurs. 
 
 GENTELE (J. G.)- Lehrbuch im Pot- 
 teriefache, enthaltend, im ersten 
 Theile : Die Beschreibung der 
 Fabrikation des englischen Stein- 
 gutes, der Chinawaare, des 
 Steinzeuges, des Steingutes und 
 Feldspath-Porzellans auf dem 
 Continente ; der Siderolith- und 
 Terralith-Geschirre ; der gefarb- 
 ten Fayence und der Kachel- 
 Oefen. Im zweiten Theile : Die 
 
 chemischen Verhaltniss der im 
 Potteriefache gebrauchten Ma- 
 terialien und Rohstoffe, die 
 Bereitung der Farben, Analysen 
 der Rohmateralien. Heraus- 
 gegeben von J. G. Gentele, 
 Chemiker zu Stockholm und 
 Gustafsberg. Gehren, 1856. 8, 
 pp. 526. 5 m. 
 
 "Text book of the potter's art, con- 
 taining in Part I. : Description of the 
 methods of manufacturing English 
 earthenware and china, stoneware, the 
 earthenware and hard porcelain of the 
 Continent, lacquered ware, painted fai- 
 ence, and earthenware stoves. In 
 Part II. : The chemical nature of the 
 substances and raw materials employed 
 in the manufacture of pottery, the pre- 
 paration of colours, and the chemical 
 analysis of the raw materials. Published 
 by J. G. Gentele, chemist of the Stock- 
 holm and Gustafsberg manufactories." 
 
 The processes in use in the English manu- 
 factories are described by a practical potter 
 who has learned them in Sweden. In the 
 appendix are given a few particulars on the 
 Gustafsberg works, the regulations imposed 
 upon the workmen, and also some general 
 notions of the way in which the work should 
 be conducted in an earthenware manufactory. 
 
 GERARD IN. Chimie industrielle. 
 Essai sur 1'art ceramique. Reims, 
 1869. 8, pp. 72. 
 
 "Industrial chemistry. Essay on the 
 ceramic art." 
 
 A thesis presented before the examiners for 
 the degree of B.Sc. 
 
 GERHARD (E.). liapporto intorno i 
 vasi volcenti diretto all'Instituto 
 di corrispondenza archeologica 
 da Odoardo Gerhard, secretario 
 dell'Instituto medesimo. Roma, 
 estratto dagli Annali dell'Insti- 
 tuto, 1831. 8, pp. 217 ; with 3 
 fold. pis. 3 fcs. 
 
 " Report on the Vulcian . vases ; 
 addressed to the Institute of archaeo- 
 logical correspondence." 
 
 Gerhard had already contributed many 
 learned papers to the Annali, when he pub- 
 lished this important report. In all his works 
 on Greek vases, as indeed in all that came 
 from his pen, the young secretary of tho Insti- 
 tute had shown himself much in advance of the 
 
 169 
 
GER] 
 
 CERAMIC LITERATURE. 
 
 [GER 
 
 accepted notions of his times. A consummate 
 knowledge of antiquity, coupled with a sound 
 judgment, tempered in his writings the impulse 
 of an imagination occasionally prone to yield to 
 the same allurements which had urged his pre- 
 decessors into displaying such a partiality for 
 explaining what was inexplicable. He fore- 
 stalled the reform which was soon to take 
 place in the study of painted vases, and 
 endeavoured to replace metaphysical con- 
 jectures by rational deductions. The com- 
 plete list of Gerhard's work will be found in 
 Notice necrologique sur Ed. Gerhard, by J. L)e 
 Witte. Bruxelles, 1871. 
 
 GERHARD (E.). Neuerworbene antike 
 Denkmaler des Konigl. Museums 
 zu Berlin ... as Nachtrag zum 
 Verzeichniss der Vasensamm- 
 lung. Berlin, 1836-46. 8. 3 
 parts. 8; with 6 pis. 
 
 " New acquisitions of the Royal 
 Museum of Berlin ... a supplement 
 to the catalogue of vases (by Lewezow)." 
 
 - Auserlesene griechische Vas- 
 enbilder hauptsachlich etruski- 
 schen Fundorts. . . . Berlin, 
 1840-58. 4 vols. 4; with 330 
 col. pis. 15. 
 
 "A selection of paintings on Greek 
 vases chiefly found in Etruria." 
 
 Although Gerhard was very careful to reserve 
 his commentaries for the paintings which had 
 a manifest reference to mythology or to his- 
 torical personages, the signification of a subject 
 was, in his estimation, the first point to be 
 considered. In forming this selection of Greek 
 vase paintings, he was actuated by the ambi- 
 tion of demonstrating, through iconographic 
 illustrations of the myths of the ancients, his 
 theory that a deep-seated consciousness of a 
 supreme being, unique in his essence, was con- 
 cealed under the external polytheistic worship 
 of the Greeks. The reproductions are, in these 
 volumes, of smaller size than the originals, but 
 they lose nothing by it in correctness. They 
 are coloured in all copies, instead of being 
 printed in mere outline, as was customary at 
 the time. 
 
 - Archemoros und die Hesperi- 
 den. Vasen Erklarung. Berlin, 
 1838. 4, pp. 78 ; with 4 pis. 4s. 
 
 "Archeuioros and the Hesperides. 
 Explanation of a Greek vase painting." 
 
 The same article had been previously pub- 
 lished in Italian under the title : "II vaso del 
 Archemoro." Roma, 1837. 
 
 Griechische Mysterienbilder, 
 
 etc. Stuttgart, 1839. Fol., pp. 
 2 ; with 12 pis. 6 m. 
 170 
 
 " Painted vases with subjects referring 
 to the Mysteries. Published for the 
 first time." 
 
 Letterpress in French and German. 
 
 - Notice sur le vase de Midias 
 au Musee Britannique. Berlin, 
 1840. 4, pp. 4 ; with 2 pis. 2s. 
 
 "Notice of the Midias Vase in the 
 British Museum." 
 
 - Tazze dipinte del real Museo 
 di Berlino, proveriiente delle 
 scavazione d'Etruria, con indice 
 dichiarativo. Roma, typ. Sal- 
 vincei, 1842. Fol., p. 1 ; with 18 
 col. pis. 15 fcs. 
 
 " Painted tazzas of the Berlin Museum, 
 discovered in the excavations made in 
 Etruria ; accompanied with a descriptive 
 Index." 
 
 The work appeared without an author's 
 name. 
 
 Etruskische und kampanische 
 Vasenbilder des K. Museums zu 
 Berlin. Berlin, 1843. Fol., pp. 
 46 ; with 38 pis. (mostly col). 
 36 m. 
 
 "Paintings of the Etruscan and Cam- 
 panian vases in the Berlin Museum." 
 
 Apulische Vasenbilder des 
 K. Museums zu Berlin. Berlin, 
 1845. El. fol., pp. 34 ; with 21 
 pis. (mostly col.). 35 m. 
 
 " Paintings of the Apulian vases in the 
 Berlin Museum." 
 
 Trinkschalen und Gefasse der 
 K. Museums zu Berlin und 
 anderer Sammlungen. Berlin, 
 1848-50. Fol., pp. iv-v-60 ; with 
 37 col. pis. 3, 3s. 
 
 "Drinking cups and vessels in the 
 Berlin Museum and other collections." 
 
 (A first edition, with 19 pis., appeared in 
 1843.) 
 
 Danae, ein griechische Vasen- 
 bild. Berlin, 1854. 4, pp. 15 ; 
 with 1 pi. 2 m. 
 
 " Danae, a painting of a Greek vase." 
 
 The fourteenth programme of the Winokel- 
 rnann fte. 
 
GER] 
 
 CERAMIC LITERATURE. 
 
 [GER 
 
 Ueber Hermenbilder auf 
 griechischen Vasen. Berlin, 
 1856. 4, pp. 25 ; with 5 pis. 
 
 "The representation of Hermes on 
 Greek vases." 
 
 GERICKE (G.). Der Industrieort Vel- 
 ten und seine Umgegend. Velten, 
 1894. 8; with maps. 2 m. 
 
 " The industrial centre of Velten and 
 its surroundings." 
 
 Velten is situated at a short distance from 
 Berlin. The manufacture of earthenware stoves 
 was established in the town in 1828. All 
 particulars concerning the development of the 
 industry are given in Part III., " The Velten 
 Stove Industry," pp. 93-154. 
 
 GERSAIN (E. F,). Catalogue raisonne 
 des bijoux, porcelaines, etc., pro- 
 venant de la succession de Mr. 
 Angran, Vicomte de Fonspertuis. 
 Paris, 1747. 12, pp. 306-xlviii- 
 vi ; with 1 pi. by Cochin. 20 fcs. 
 
 The notices added by Gersain to the cata- 
 logue of the collection of M. de Fonspertuis, 
 summarise the knowledge obtained at that time 
 upon the Oriental porcelain. An analysis of 
 the Memoirs of Reaumur is placed at the 
 end. The catalogues prepared by Gersain are 
 numerous, but we do not propose to give the 
 entire list, which may be found in special 
 works. 
 
 GERSPACH. Notes sur la ceramique 
 chinoise. Paris, Quantin, 1877. 
 8, pp. 14 ; marks. (Reprint from 
 Gazette des Beaux Arts.) 
 
 " Notes on Chinese ceramics." 
 
 Description of a few characteristic examples 
 of Chinese pottery and porcelain collected in 
 China by Mr. Billeguin, a Frenchman, professor 
 of chemistry at the Pekin College, at the request 
 of the directors of the manufactory of Sevres. 
 They were deposited in the ceramic museum. 
 The origin, price, and common use of each 
 specimen was stated in the descriptive list 
 forwarded at the same time ; that list is given 
 and commented upon in this paper. 
 
 - La faience et la porcelaine 
 de Strasbourg. Les Hannongs ; 
 les maitres potiers d'Alsace. 
 Strasbourg, 1883. 8, pp. 24. 
 (Reprint from the Revue Alsati- 
 enne.) 
 
 "The faience and porcelain of Stras- 
 bourg. The Hannongs; the Alsatian 
 master potters." 
 
 This article will be found reprinted in 
 Documents sur lea anciennes fa'fenceries. 
 
 - Theodore Deck. Paris, Quan- 
 tin, s.d. 4, pp. 12; with 11 
 illustrs. (Reprint from the Revue 
 des arts decor atifs.) 
 
 A friendship of long standing witli Th. Deck 
 has placed Mr. Gerspach in the position of 
 inditing a most appreciative as well as truth- 
 ful necrologic notice on the life and works of 
 the great French potter. 
 
 Deck, a self-made man in the true sense of 
 the word, began life as an apprentice in a stove 
 manufactory of Strasbourg. At the close of 
 his apprenticeship, he started on a pedestrian 
 tour through northern Europe, taking temporary 
 employment in the most noted factories, in order 
 to improve his knowledge in all the branches of 
 the art. After a few years of wandering, he 
 settled in Paris, as foreman in an important 
 stove manufactory. But his ambition could 
 not be satisfied with a subordinate situation. 
 Modeller and designer of no common taste, if 
 not of much acquired talent, his ambition was 
 to introduce a new style of pottery, free from 
 the old traditions, and to gratify a newly-born 
 longing for novelty. Ceramic manufacture was 
 showing, at that moment, a steady improve- 
 ment. Decorative faience was coming to the 
 front. But while the most audacious efforts 
 had nothing higher in view than a servile 
 imitation of Palissy ware and Italian majolica, 
 Deck conducted his experiments in the direction 
 of progress and modernism. He was impressed 
 with the idea that the so-called fine arts should 
 associate themselves with the revival of cera- 
 mics, and he felt that the artist would only be 
 allured into joining the movement if he could 
 be provided with technical means better cal- 
 culated to serve his talent. For long he toiled 
 in secrecy, and at last succeeded in obtaining 
 special compositions of bodies and glazes, 
 departing altogether from those usually em- 
 ployed in the trade, and which permitted the 
 introduction of a gamut of colours of incom- 
 parable variety and brilliancy. It was in the 
 Persian and Rhodian faience, the first specimens 
 of which had just come under notice, that he 
 found the fundamental notions of the technical 
 qualities he meant to apply to a new system of 
 manufacture. Not only did he succeed in 
 producing the turquoise and azure blues, the 
 warm green, the dark purple, and the scarlet 
 red only seen on the Rhodian ware, but he also 
 found the way of placing these colours, together 
 with many additional tints, at the service of 
 the figure painter. 
 
 His genial manners had won him the friend- 
 ship of many young and rising artists ; the 
 admiration excited by the result of his experi- 
 ments, and the simplicity of their practice, 
 secured him willing assistance. The earliest 
 outcome of the collaboration of such a con- 
 summate potter with a group of talented 
 decorative artists such as Hamon, Ranvier, 
 Hancker, Hermann, and many others, struck 
 all amateurs of ceramic art as a revelation ; 
 an immense success was at once achieved. 
 Deck's working capital, as a manufacturer, 
 was meagre in the extreme ; but his friendly 
 associates were satisfied to wait for the re- 
 
GER] 
 
 CERAMIC LITERATURE. 
 
 [GET 
 
 muneration of their work, till the coming of an 
 eventual purchaser. The conditions were, and 
 always remained so, that when a piece had 
 been sold, the price paid for it was equally 
 divided between the painter and the potter. 
 It was owing to these conditions that Deck, 
 without calling to his assistance the support of 
 extraneous capital, was enabled to build his 
 first oven, and gradually to increase his premises 
 until they had attained the proportions of an 
 important manufactory. Notwithstanding his 
 limited financial resources his showroom was, 
 from the first, filled with artistic pieces which, 
 under ordinary circumstances, could not have 
 been brought together without an enormous 
 outlay. Plaques and dishes worth as much as 
 three or four hundred pounds each were common. 
 His business dealings were conducted with the 
 strictest fairness ; the artists who volunteered 
 to work with him at the outset, continued to 
 do so till the end. 
 
 The climax of his success was marked by 
 his accession to the highest position a French 
 potter could attain, one, indeed, that no potter 
 had filled before him, that of Director of the 
 National Manufactory of Sevres. It is, how- 
 ever, to be questioned whether Deck would 
 not have better served the advance of ceramic 
 art by remaining a free and independent faience 
 manufacturer, instead of becoming the head of 
 an official establishment, where he had to reckon 
 with deep-rooted customs, and struggle against 
 adverse considerations of all kinds, impediments 
 that no man with revolutionary tendencies 
 could have possibly surmounted. At any rate 
 death carried him away before he had had 
 time to accomplish the changes and ameliora- 
 tion he had meditated. His short period of 
 management of the National Manufactory 
 remained, comparatively, fruitless. 
 
 GERSPACH. Documents sur les anci- 
 ennes faienceries frar^aises et la 
 manufacture de Sevres. Paris, 
 Renouard, 1891. 8, pp. 246. 
 10 fcs. 
 
 " Documents for the history of the 
 ancient faience factories of France, and 
 the manufactory of Sevres." 
 
 As the title of this book implies, it is a 
 collection of ancient documents which could be 
 extended to any number of volumes. During 
 many years of research, official deeds, private 
 contracts, extracts from account books and 
 business correspondence, quotations from out- 
 of-the-way volumes, have been jotted down 
 as they came to hand. They were subsequently 
 docketed by the writer in alphabetical order, 
 and annotated for publication. Under the 
 headings Douai, Rouen, Montereau, etc., will 
 be found many interesting particulars respecting 
 the English potters who introduced into France 
 the manufacture of earthenware after the 
 English fashion. 
 
 GESTOS Y PEREZ (J.). Ensayo de un 
 diccionario de los artifices que 
 
 ,. floreciero en Sevilla desde el 
 siglo xiii al xviii inclusive. 
 
 172 
 
 Sevilla, 1899. 4. " Ceramists." 
 Vol. i., pp. 72-106. 10s. 
 
 " Essay of a dictionary of the artists 
 who flourished in Seville from the 
 thirteenth to the eighteenth century." 
 
 The list of the ceramists has been reprinted 
 in the following work. 
 
 - Historia de los Barros vidri- 
 ados Sevillianos desde sus ori- 
 gines hasta nuestro dias. Sevilla, 
 tip. La Andalucia moderna, 1894. 
 4, pp. 365 ; with 20 pis. (5 col), 
 and 81 text illustrs. 25s. 
 
 "History of the enamelled pottery of 
 Seville from its origin up to the present 
 day." 
 
 For the first time the history of the ceramic 
 art of Spain is here unfolded in a comprehensive 
 and acceptable form. Although purporting to 
 be restricted to the especial examination of 
 the productions of the Seville potters, the work 
 of Mr. Gestos y Perez throws a vivid light on 
 the condition of the art in the peninsula through 
 the whole course of its career. Seville may 
 claim to be considered as the home of Spanish 
 ceramics. There all the varieties of pottery, 
 corresponding with the wants and tastes of the 
 people, have been extensively and successfully 
 manufactured. The Moorish mosaics of the 
 thirteenth century, formed by the geometric ar- 
 rangement of strips of enamelled clay variously 
 shaped and coloured, cover the internal and 
 outside walls of the most ancient edifices. In 
 those of the next period we see patterns of a 
 similar character obtained by means of square 
 tiles, on which the design has been sunk and 
 filled in with coloured glazes. At the same 
 time appears the ware with metallic lustres, 
 long believed to have been made only at 
 Valencia. Numerous examples are still extant 
 of the elaborate majolica panels, painted with 
 figure subjects, the style of which had been 
 introduced, in the sixteenth century, by Italian 
 artists. Lastly, the period of decline is amply 
 represented by the somewhat indifferent imita- 
 tions of the French and Dutch faience made 
 during the eighteenth century. To trace, with 
 the support of well selected examples and 
 historical documents, the development of all 
 these branches of the art in a single centre of 
 manufacture, is certainly a great move towards 
 laying the foundations of a complete history of 
 Iberian ceramics. 
 
 GETTY (Edmund). Notices of Chinese 
 seals found in Ireland. Dublin, 
 Hodges & Smith, 1850. Sm. 4, 
 pp. 40 ; with title page and 19 
 pis. of seals. 6s. 
 
 Porcelain seals, of Chinese origin, have been 
 discovered from time to time in Ireland, im- 
 bedded in the soil of localities far distant from 
 each other. How they found their way into 
 the country is a problem which still awaits a 
 
GET] 
 
 CERAMIC LITERATURE. 
 
 [GHE 
 
 solution. The inscriptions they bear have an 
 archaic character, but the same signs are, it is 
 said, still used in China on modern seals. 
 
 GETZ (J.). Handbook of a collection 
 of Chinese porcelain loaned by 
 A. Garland. Metropolitan Mus- 
 eum of Art. New York, 1895, 
 8, pp. 56 ; with 32 half-tone pis. 
 
 GEYERS (Collection E,). Catalogue of 
 sale. Antwerp, 1883. 8 c ,pp. 72; 
 with 5 pis. 
 
 Oriental porcelain, 609 Nos. ; majolica, etc., 
 Nos. 622 to 663. Notice by H. van Duyse. 
 
 GEYER (D. Job. Daniel). -- Mtissiger 
 Reise-stunden. Gate Bedanken 
 von der Bucarophagia Africana 
 und denen Mohren esterer Welt. 
 Dresden, Christian Zilschern, 
 1735. Sm. 4, pp. 56. 
 
 "Pleasant hours of an idler. Good 
 thoughts upon the Bucarophagy in Africa 
 and the negroes of the eastern world." 
 
 " The high-born, highly respectable Bucaro." 
 So were qualified these precious potteries ; and 
 so runs the title of the first chapter of the 
 extra-pedantic and circumlocutory essay on 
 their supposed virtues, written by a doctissimus 
 medicus of the Dr. Sangrado school. If the 
 works of Bellori and Magalotti have not made 
 clear, to the satisfaction of the ceramic student, 
 what was the precise nature of the Bucaros, he 
 must be prepared to leave this book in a state 
 of increased perplexity. 
 
 Dr. Geyer confesses that he had previously 
 no occasion to inquire into the subject, when 
 a curious case obliged him to make of it a 
 serious study. He was one day called to attend, 
 in his medical capacity, a noble lady who was 
 suffering from the consequences of having eaten 
 a whole cup and a saucer of Bucaro. A morbid 
 passion for. scented clay-eating had spread 
 amongst the ladies of the higher rank. He 
 quotes the verses of a Venetian poet, who says : 
 
 ' ' Bucaro e uno appetito di Donna gravida," etc. 
 
 A similar cup to the one which had been eaten 
 was shown to the doctor. It was of small size, 
 made of yellowish clay, unbaked, so that it 
 could easily be ground into powder ; this 
 powder was usually mixed with sugar and 
 flour, and made into lozenges. We recognise, 
 from the description, the cups of "terra 
 sigillata," of which several examples are still 
 extant. The doctor believes them to come 
 from Africa, where, according to the traveller, 
 P. Gages, the natives fashion their drinking 
 vessels with a certain white or grey clay mixed 
 with spices and perfumes. From the further 
 statement that such vessels possess the strange 
 quality of keeping the water cool in hot 
 weather, we see that he refers to the bardakes 
 or gargoulets of the Arabs, rather than to the 
 Mexican vases described by other authors. 
 
 This virtue of cooling the water has caused, 
 says he, the Holy Inquisition in its tender 
 solicitude for all sufferers, to provide, at great 
 cost, a large number of such African gargoulets 
 for the use of the heretics and schismatics 
 sentenced to be burned to death ; so that, at 
 least, during the remainder of their last prison 
 life, they could enjoy all the comforts of the 
 wealthy. We shall refrain from entering into 
 the particulars of the treatment to which he 
 subjected his unfortunate patient, but we are 
 certain it will amuse the reader who may have 
 the good fortune of dropping upon a copy of 
 this curious pamphlet. From this the writer 
 passes on to giving his opinion upon the many 
 other virtues ascribed to the Bucaro. He has 
 no great faith in the accredited opinion that 
 they cannot stand the contact of poison without 
 breaking to pieces, nor that they can cure all 
 possible illnesses. The assertion that a negro 
 can be turned into a white man by eating the 
 clay during a certain time, is by him victori- 
 ously confuted. 
 
 GEYMET. Traite pratique des emaux 
 photographiques. Secrets (tours 
 de main, formules, palette com- 
 plete, etc.), 4 1'usage du photo- 
 graph e emailleur sur plaques et 
 sur porcelaine. 3rd edition. 
 Paris, Gauthier - Villars, 1885. 
 18, pp. 160. 5 fcs. 
 
 " A practical treatise of photographic 
 enamels. Secrets for the use of the 
 photographer upon enamelled plates and 
 upon porcelain. (Manipulations, for- 
 mulas, the complete series of colours, etc.") 
 
 - Traite pratique de ceramique 
 photographique. Epreuves iri- 
 sees or et argent. Paris, G. 
 Villars, 1885. 18. 
 
 " A practical treatise of ceramic photo- 
 graphy. Proofs with iridescent gold and 
 silver (a complement to the previous 
 work)." 
 
 GHELTOF (G. M. Urban! de). Catalogo 
 del museo civico di Venezia. 
 Venezia, 1872. 8. Majoliche, 
 pp. 22 ; with marks. Porcellane, 
 Vetri, e Smalti, pp. 12. (Reprint 
 from the Archivio Veneto.) 3 fcs. 
 
 - Studi intorno alia ceramica 
 Veneziana. Venezia, 1876. (Pri- 
 vately printed.) 8, pp. 90-150. 
 10 fcs. 
 
 " Researches on the history of Venetian 
 ceramics." 
 
 173 
 
GHEJ 
 
 CERAMIC LITERATURE. 
 
 [GIL 
 
 The archives of Venice have kept the records 
 of a translucid porcelain having been made in 
 the town, by one Maestro Antonio, at such an 
 early date that any authenticated specimen of 
 the ware, could it ever be found, would be one 
 of the greatest curiosities of ceramic art. An 
 application to the provincial Council, dis- 
 covered by Mr. de Gheltof, seems to leave no 
 doubt that, in 1518, the applicant, a German 
 named Leonardo Peringer, was then making a 
 kind of porcelain similar in all points to that 
 imported from the East. From other documents 
 we gather that the manufacture of majolica was 
 also thriving at Venice at the same period. 
 The tile pavement still extant in the church 
 of S. Sebastian shows that the production 
 could stand comparison with the best works of 
 other centres. Marks occurring very seldom 
 upon the early Venetian majolica, it is scantily 
 represented by identified examples in the 
 ceramic collections. Mr. de Gheltof lias com- 
 piled a list of all the names of potters appearing 
 in contemporary registers, in which we find 
 that no fewer than forty-two masters were at 
 work in Venice during the sixteenth century, 
 a sufficient proof of the importance reached at 
 that time by the local industry. The appendix 
 contains transcripts of several official docu- 
 ments of the thirteenth century, having refer- 
 ence to the regulations of the trade of pot- 
 makers. Vessels and fragments of pottery, 
 which may be ascribed to that period, were 
 discovered under the foundations of S. Marc ; 
 they are described in the introductory chapter. 
 
 GHELTOF (G. M. Urbani de). La mani- 
 fattura di maiolica e di porcel- 
 lana in Este. Venezia, 1876. 8, 
 pp. 23. 3 fcs. 
 
 "The manufacture of majolica and 
 porcelain in Este." 
 
 G. B. Brunello established the manufacture 
 of majolica in Este towards 1765. He also 
 produced good porcelain, principally figures 
 and groups, and introduced imitations of 
 English earthenware, for the making of which 
 himself and his successors obtained several 
 privileges. 
 
 Fabbriche di maiolica e di 
 porcellana in Bassano e in An- 
 garana. Venezia, 1876. Sq. 8, 
 pp. 31. 6 fcs. 
 
 "The factories of majolica and porce- 
 lain at Bassano and Angarana." 
 
 Additional information on the manufactories 
 of Antonibon, of which Bassegio had previously 
 given a short account. 
 
 Ceramica Vicentina. Venezia, 
 
 1876. 8, pp. 3. (Reprint from 
 Arvhwio Veneto.] 
 
 - Una fabbrica di porcellana in 
 Venezia, 1470. Venezia, 1878. 
 12. 
 
 "A porcelain manufactory at Venice 
 in 1470." 
 
 The last discovery regarding the making of 
 porcelain at Venice, was conveyed through the 
 contents of a letter, written by Father Uielmo 
 da Bologne, dated April, 1470, and addressed 
 to a friend in Padua. The writer describes 
 in it the marvellous translucid ware, painted 
 with many colours, which was made by 
 Maestro Antonio, the alchemist, at his oven 
 of San Simeone. He also informs his corres- 
 pondent that, to make him judge of the beauty 
 of the new porcelain, he has sent him a vase 
 and a basin of the learned man's own make, so 
 fine and so perfect that they might be mistaken 
 for vessels of Oriental origin. 
 
 La ceramica in Padova. Pa- 
 
 clova, Prospering 1888. 8, pp. 
 31 ; with 2 illustrs. 
 
 " Ceramic art in Padua." 
 
 Documents relating to the pottery made at 
 Padua in the fourteentli and fifteenth centuries, 
 and to the manufacture of majolica introduced 
 in 1544. 
 
 Note storiche ed artistiche 
 sulla ceramica italiana. See 
 Erculei-Roma. 
 
 GIBBS and CANNING. Terra-cotta man- 
 ufacturers. Tamworth, s.d. 4; 
 24 lith. pis. of architectural terra- 
 cotta. Pattern book. 
 
 GIESBERG (Collection B.). Cologne, 
 Heberle, 1894. 8, pp. 95 ; 3 pis. 
 
 Catalogue of sale. Ceramics, Nos. 1-424. 
 
 GILLES. Antiquite"s du Bosphore 
 Cimmerien, conservees au Musee 
 Imperial de 1'Ermitage, etc. St. 
 Petersburg, 1854. 2 vols. 8; 
 with text illustrs. and folio atlas 
 of 91 pis. 20. 
 
 " Antiquities of the Cimmerian Bos- 
 phorus preserved in the Imperial 
 Museum, the " Ermitage." Text in 
 Russian and French. 
 
 A splendid work published by command of 
 H.M. the Emperor of Russia. The plates, 
 drawn by R. Piccard and Solutzeff, reproduce 
 with fidelity the Greek antiquities, some of a 
 very high order, discovered in the excavations 
 conducted on the two banks of the Bosphorus 
 since the year 1821. Ceramics are represented 
 by : Painted vases, 20 col. pis. ; Terra-cotta, 
 14 col. pis. 
 
 Mr. Gilles, who has signed the preface and 
 superintended the publication, was curator of 
 the Krmitage Museum. 
 
 The work has been reprinted, with repro- 
 
GIL] 
 
 CERAMIC LITERATURE. 
 
 [GLA 
 
 ductions of the plates in 8vo. size, by S. Keinach. 
 Paris, 1892. 
 
 GILLOT (Collection Ch.). Catalogue of 
 sale. Japanese art. Paris, 1904. 
 4, pp. 298 ; with num. pis. and 
 text illustrs. Ceramics, pp. 93- 
 149. 20fcs. 
 
 GINORI (I.)- Alcuni parole agli 
 operai della manifattura di 
 Doccia. Firenze, Barbera, 1869. 
 
 8'. 
 
 "A few words to the workpeople of 
 the Doccia manufactory." 
 
 A treaty of commerce was on the point of 
 being concluded between Italy and France, 
 which would open the Italian market to 
 foreign ware. In delivering this address to 
 his workmen, the Marquis of Ginori described 
 the conditions that the threatening competi- 
 tion would create for the home trade, impress- 
 ing upon their minds the absolute necessity of 
 meeting the danger by improved manufacture 
 and cheapness of production. 
 
 GIOANETTI (Y. A.). Discorso sulla fab- 
 brica di porcellana stabilita in 
 Vinovo. Torino, typ. Favale, 
 1859. 18, pp. 11. 
 
 "An account of the porcelain manu- 
 factory established at Vinovo." 
 
 This article, which had appeared in the 
 Life of V. A. Gioanetti, Professor of Medicine, 
 was reprinted in pamphlet form at the expense 
 of Sir James Hudson, H.B. M. Minister at 
 Turin. 
 
 GIRARD (A.). Exposition universelle 
 de 1867 a Paris. Rapports du 
 jury international publics sous 
 la direction de M. Michel Che- 
 valier. Faiences fines, faiences 
 decoratives et porcelaines ten- 
 dres. Paris, impr. P. Dupont, 
 1867. 8, pp. 56. 
 
 " International Exhibition at Paris in 
 1867. Reports of the international jury. 
 Earthenware, decorative faience, and soft 
 porcelain." 
 
 In the same volume are also printed the 
 following reports: Section I. " Terra-cotta 
 and Stoneware," by Mr. Chandelon. Sec- 
 tion III. " Hard Porcelain," by Mr. Dommartin. 
 
 GIRARD (P.). Le cratere d'Orvieto 
 et les jeux de physionomie dans 
 la ceramique grecque. Paris, 
 Charmerot, 1897. 4, pp. 49; 
 
 with 12 illustrs. (Reprint from 
 the Monuments grecs.] 
 
 "The crater of Orvieto, and the 
 expression of the human face in Greek 
 ceramics." 
 
 GIRAUD (J. B.).~ Recueil descriptif et 
 raisonne des principaux objets 
 d'art ayant figure a Fexposition 
 retrospective de Lyon en 1877. 
 Lyon, impr. Perrin, 1878. Fol., 
 pp. 32 ; with 83 photographic 
 plates. 4. 
 
 " A selection of the chief works of art 
 which have figured at the retrospective 
 Exhibition of Lyons in 1877, with his- 
 torical notes and descriptive text." 
 
 GIROT (Maurice). Notice sur les Por- 
 celaines de Zurich, Nyon et 
 Geneve. Geneve, impr. Kiindig, 
 1896. 8; pp. 9. (Reprint from 
 the Catalogue de fart ancien a 
 r Exposition nationale, 1896.) 
 
 " Notice of the porcelain of Zurich, 
 Nyon, and Geneva." 
 
 GIRY (A.). Notice sur un traite du 
 Moyen-Age, intitule : " De col- 
 oribus et artibus romanorum." 
 Paris, 1878. 8, pp. 20. 
 
 ." Notice of a mediaeval treatise on the 
 colours and the arts of the Romans." 
 
 This is the " Heraclius treatise," previously 
 
 Sinted and commented upon by Hendrie, 
 rs. Merryfield, and Igles. 
 
 GLADSTONE (W. E.). Wedgwood. An 
 address. London, J. Murray, 
 1863. Sq. 8, pp. 64. Portrait 
 and 1 woodcut. 3s. 
 
 It is no more than what is due to the 
 memory of an illustrious man, when one of 
 the greatest authorities among the living rises 
 to deliver a brilliant panegyric in glorification 
 of a name momentarily bedimmed by the clouds 
 of public indifference. No one better than a 
 Gladstone could have made us understand the 
 true genius of a Wedgwood. The mighty mind 
 of the statesman, his consummate knowledge 
 of men and experience of social questions, could 
 readily realise the importance of the potter's 
 industrial and philanthropic schemes. He could 
 understand the confidence that their originator 
 had set on their limitless possibilities and value, 
 to its full extent, and the energy and persever- 
 ance with which an apparently rash venture 
 had been brought into happy realisation. 
 
 175 
 
GLO] 
 
 CERAMIC LITERATURE. 
 
 [GOM 
 
 Brief, as it is, this eloquent address ii 
 which the praise of all the particular achieve 
 merits of the great craftsman have been madt 
 subservient to a correct estimation of the 
 supremacy of his character as a leader of men 
 and an organiser of the industrial forces of his 
 country does more than a bulky, but matter- 
 of-fact, biography could do, to make us esti- 
 mate the sterling worth of the man. We 
 become conscious of the fact that Wedgwood 
 was great, not necessarily because a potter, 
 but if we may so say although a potter. 
 Placed by fate in any other centre of action, 
 influenced by different circumstances, such a 
 man was bound to exert, for the benefit of his 
 fellow- workers, the powerful faculty of organisa- 
 tion, the constant hankering after betterment, 
 and, lastlj', the love for the beaiitiful in art, 
 combined with a keen sense of its practical 
 application to industry. These were the 
 intellectual capacities which have placed the 
 name of Wedgwood on a par with those we 
 honour most highly. 
 
 The address was delivered at Burslem, on 
 the occasion of the opening of the Wedgwood 
 Institute, October 26th, 1863. A few historical 
 errors have crept into the narrative ; such as 
 the date of the amputation of the leg, which 
 was not performed, as Gladstone has been 
 made to say, during Wedgwood's infancy, but 
 in his mature age. To several other trifling 
 inaccuracies attention should be called when 
 the pamphlet, now difficult to obtain, is re- 
 printed. 
 
 GLOT. Observations des fabricants 
 de porcelaine et de fayence du 
 Royaume sur une adresse lue k 
 FAssemblee Nationale, Seance 
 du 16 Janvier (1789). 8, pp. 8. 
 
 "Observations by the porcelain and 
 faience manufacturers of the kingdom 
 on the subject of an address read before 
 the National Assembly." 
 
 An Englishman of the name of Potter, having 
 petitioned the French National Assembly for 
 the grant of a privilege which would secure to 
 him the sole rights of manufacturing earthen- 
 ware after the English manner, the society of 
 manufacturers opposed his plea on the grounds 
 that the same kind of pottery had already been 
 tried without much success by several French 
 potters. 
 
 We owe to Glot, a notable manufacturer 
 of Sceaux, a complete list of all the pottery 
 manufactories existing in France at the time. 
 
 GMELIN (Leopold). Die Elemente der 
 Gefassbildnerei mit besonderer 
 Berucksichtigung der Keramic. 
 Darlegung der Stilgesetze der 
 Gefassbildnerei und Begriindung 
 derselben und der Hand der 
 geschichtlichen Entwicklung 
 sowie der zwecklichen und tech- 
 nischen Bedingungen, mit liber 
 176 
 
 100 Abbildungen. Ein Weg- 
 weiser fur den praktischen 
 Keramiker. Miinchen, 1885. 8, 
 pp. 66 ; with illustrs. in the text 
 and an atlas of 12 plates elephant 
 folio, profiles and details of vases 
 engraved in outline. 15 m. 
 
 " The elements of the art of vase- 
 designing, with special remarks respect- 
 ing its application to ceramics. An 
 exposition of the fundamental laws 
 which preside over the formation of 
 styles and the selection of shapes of 
 vases and vessels ; considered from the 
 historical, as well as from the rational 
 and technical points of view. A guide 
 for the practical ceramist." 
 
 A pedagogic attempt to submit the art of 
 designing the shapes and ornamentation of 
 vases to the systematic rules of a definite 
 science. The professor has summarised the 
 question under all its various aspects. It is 
 taken for granted that the book finds the 
 student in a state of complete ignorance of 
 the subject, and it is confidently anticipated 
 that its perusal will bring him to the apex of 
 knowledge. No small intellectual exertion is 
 expected from anyone who will volunteer to go 
 through the multiplicity of examples of necks, 
 handles, bodies, and feet of vessels of all kinds 
 outlined on the gigantic plates of the atlas. 
 He will have to master the distinctive charac- 
 teristics of the productions of the ceramic art, 
 from prehistoric times to the present day, and 
 to study, besides, the practical application of 
 each shape, the capabilities of the materials 
 employed, together with many other pregnant 
 points only hinted at in the book. 
 
 iGDARD, Precedes photographiques 
 pour 1'application directe sur la 
 porcelaine avec couleurs vitrifi- 
 ables, de dessins, photographies, 
 etc. Paris, 1888. 12. 2 fcs. 
 
 " Photographic .processes for the appli- 
 cation on porcelain, in vitrifiable colours, 
 of drawings, photographs, etc." 
 
 GODMAN (Collection Du Cane). Oriental 
 and Spanish pottery and glass. 
 London, 1901. Fol., pp. 86; with 
 76 photogr. pis. 
 
 The catalogue of a fine collection, privately 
 printed. See Wallis (H.) 
 
 GOMES (J. A. I.). A Vista Alegre. 
 Apontamentos para a sua his- 
 toria. Porto, 1883. 8, pp. 45. 
 2 fcs, 
 
GON] 
 
 CERAMIC LITERATURE. 
 
 [GOS 
 
 " Vista Alegre, materials towards its 
 history." 
 
 A manufactory of hard porcelain was founded 
 in that locality by A. F. Pinto Basto, in 1824. 
 It supplied the home market with table ware 
 and common articles of ornamentation. The 
 factory is still at the head of the trade in 
 Portugal. 
 
 GONSE (Louis). -- L' Art Japonais. 
 Paris, A. Quantin, 1883. 2 vols. 
 4; numerous plates and illus- 
 trations in the text. 10. 
 
 "Japanese art." 
 
 A splendid publication, sumptuously illus- 
 trated. Chapter ix. "Ceramics," is written 
 by M. S. Bing. It extends over 96 pages, 
 with 5 pis. in chromolithograph representing a 
 number of specimens, two etchings, and 62 
 illustrations. M. Bing has lived many years in 
 Japan, andhasderivedhisknowledgeof Japanese 
 art and Japanese artists from the best sources. 
 He can, therefore, speak with authority on the 
 subject, and we have every reason to trust the 
 accuracy of his assertions. In his own estima- 
 tion the merits of the earthenware pottery of 
 Japan exceed that of its porcelain ; in this 
 last manufacture the Chinese have remained 
 inimitable masters. The historical: and techni- 
 cal accounts he gives of its development, and 
 of the distinctive characteristics of the produc- 
 tions of the various provinces, are brief, clear, 
 and, as far as they go, sufficient to still enhance 
 the interest that modern collectors feel for 
 Japanese ceramics. 
 
 - L'Art ancien a 1'Exposition 
 de 1878. Paris, A. Quantin, 
 1879. 4; with numerous plates 
 and illustrs. 30 fcs. 
 
 " Ancient art at the Paris International 
 Exhibition of 1878." 
 
 Contains the following articles : ' ' Les 
 faiences italiennes et les faiences franchises de 
 la Renaissance," by Alfred Darcel, pp. 19 ; " Les 
 faiences fran9aises et les porcelaines," by Alfred 
 Darcel, pp. 15; "La cgramique de 1'extreme 
 Orient," by Paul Gasnault, pp. 21 ; "L'ancien 
 art Mexicain," by Germaine de Poligny, pp. 7. 
 All the above articles are copiously illustrated. 
 
 GOODE (W. J.)- Brother Goode's 
 paper on old and modern Sevres 
 China. London, 1900. Sq. 8, 
 pp. 17 ; vigns. 
 
 One of the booklets printed for distribution 
 among the members of the Society of " Ye Sette 
 of Odd Volumes." This society, primitively 
 composed exclusively of bibliophilists, used to 
 meet on frequent occasions round the convivial 
 table, under the presidency of Mr. Bernard 
 Quaritch. They discoursed chiefly upon books 
 and book-lore, and discussed the rare MSS. and 
 valuable printed works that some of the mem- 
 bers never failed to bring and submit to the 
 
 12 
 
 brethren's inspection. Every new associate 
 was expected to commemorate his admission by 
 the printing of a paper treating of a subject 
 with which he was particularly conversant. 
 The extraneous element which had gradually 
 insinuated itself into the learned society, secured 
 a great variety of subjects. Mr. W. Goode, 
 of South Audley Street, and who stood then 
 at the head of the artistic china trade, was 
 admitted in the capacity of "Potter to their 
 Oddities. " The paper gives an account of the 
 Goode collection of Sevres china, an important 
 and valuable collection. If anything was 
 wanted to remind us of the avocation of its 
 possessor, we should find it in the stress laid 
 upon the prices one has to pay for good 
 specimens ; a matter on which Mr. Goode was, 
 undoubtedly, an unimpeachable authority. 
 
 - (Collection W. J.). Catalogue of 
 sale. London, Christie's, 1895. 
 8, pp. 34 ; with 8 pis. 5s. 
 
 The collection comprised 295 Nos. of Sevres 
 porcelain, among which we shall mention a set 
 composed of one " Vaisseau a mat," and two 
 " Eventail," jardinieres for which Mr. Goode 
 had paid 10,000. Many other pieces were of 
 the highest order. 
 
 GOPPINGER (A.)- Bouquets de fleurs 
 et vieilles decorations du style 
 Louis XV., reproduites d'apres 
 les originaux. Paris, Calavas 
 (1885?). Sq. 8; 33 col. pis. 
 15 fcs. 
 
 " Bouquets of flowers and old decora- 
 tions in the Louis XV. style, reproduced 
 from original examples." 
 
 GORCEIX (A.). Essai d'un manuel 
 theorique d'enfourneur pour la 
 cuisson de la porcelaine. Limo- 
 ges, 1867. 12, pp. 16. 
 
 " Essay of a theoretical handbook for 
 the guidance of the placer in the firing 
 of china." 
 
 GOSSE (Edmund W.). A critical essay 
 on the life and works of George 
 Tinworth. With a descriptive 
 catalogue annexed. Published 
 by the Fine Art Society, Limited, 
 148 Bond Street. London, 1883. 
 Obi. fol., pp. 81 ; with 20 photo- 
 grs. printed by Goupil. 1, 10s. 
 
 The sculptor in terra-cotta, Tinworth, is the 
 absolute personification of an ideal art craftsman. 
 Studio and workshop may be adjacent fields on a 
 common land, but a clear line of demarcation 
 separates the one from the other. No conflict 
 should be raised between the masters who reign 
 
 177 
 
GOS] 
 
 CERAMIC LITERATURE. 
 
 [GOT 
 
 supreme, each in his own region. The craftsman 
 has no cause to depart from employing the 
 material and tools of his craft and discard the 
 technics he has painfully mastered the artist 
 may find himself at a disadvantage if he 
 attempts to follow the craftsman upon his own 
 ground. 
 
 All branches of decorative art have been 
 illustrated by specialists of real genius ; but 
 they flourished at spasmodic intervals. The in- 
 dustrial artist, as he is called for want of a 
 better name, after having glorified his calling 
 during the past ages, had almost disappeared 
 at the beginning of the last century. As a 
 consequence of the low standard into which 
 public taste had been allowed to sink, any art 
 student endowed with lofty aspirations shunned 
 with horror the idea of debasing his dawning 
 talent by applying it to industry. On the other 
 hand, it was considered good commercial policy 
 on the part of the employer who chanced to 
 meet with a designer gifted with imagination, 
 or possessed of uncommon skill, to conceal care- 
 fully the share that this co-operator might have 
 taken in the completion of a joint production. 
 
 International exhibitions were to effect a 
 radical change in the relations of art to industry. 
 Through their agency the industrial artist came 
 to the front again, and reassumed his true 
 character. It was no longer a hopeless prospect 
 for an ambitious youth to join an art firm in 
 which talent was to be recognised and efforts 
 well requited. Under new circumstances the 
 manufacturer began to realize that to associate 
 with his own the name of a designer, or a 
 modeller, on whom the eye of the public was 
 already fixed, was to secure an additional chance 
 of success. The recognition of many remark- 
 able individualities in the field of decorative 
 art and Tinworth must be counted amongst 
 them was the result of the world fairs held 
 in London and Paris. In the Lambeth pottery 
 works Tinworth found in terra-cotta and 
 stoneware the most congenial medium through 
 which he could give expression to his in- 
 born feelings. Although placed in more than 
 modest circumstances, he passed as a student 
 through the best art schools of London, and he 
 received there as much classical instruction as 
 his inipulsive nature could assimilate. He was 
 longing for the workshop, and when definitely 
 settled amongst his friends, the potters of 
 Lambeth, little did he trouble himself with 
 lofty dreams of carving the marble or preparing 
 a statue for the bronze founder. He delighted 
 in unflagging handiwork ; his leisure moments 
 were occupied in cogitating over the next 
 scriptural parable he proposed to illustrate, 
 according to his own interpretation. Between 
 two important figure subjects he was fond of 
 decorating, as a rest for his mind, ordinary 
 stoneware vessels which his dexterous hand 
 covered with ingenious and graceful scrolls and 
 rosettes. It is when we bear in mind the 
 colossal aggregate of his productions that we 
 can appreciate the true value of his talent. 
 The excellence of the monument cannot be 
 judged from a single stone. It is to be acknow- 
 ledged, however, that each particular work 
 commanded attention as bearing the impress of 
 a striking personality. A complete list of the 
 terra-cottas that came from his hands if such 
 a list could ever be drawn would testify to 
 the dignity of a life spent in unremitting 
 178 
 
 labours, a life which should stand as an example 
 for all earnest craftsmen to follow. 
 
 This handsome album, for the production of 
 which no expense has been spared, might, 
 however, have offered a better representative 
 selection of examples of Tinworth's many-sided 
 talent. We regret to see that his purely 
 decorative works have been altogether omitted. 
 Such important pieces as his original conception 
 of the Tower of Babel ; the elaborate salt-cellar 
 he modelled as a present to Sir Henry Doulton ; 
 his admirable stoneware fountains ; the beauti- 
 ful pulpit made for the Philadelphia Exhibition, 
 etc., were surely well worth reproduction. 
 
 GOSS (W. H.). A sketch of the life 
 and death of Llewellyn Jewitt. 
 London, Bemrose & Sons, 1887. 
 8, pp. 24. (Reprint from The 
 Reliquary.} 
 
 This biographical notice of a well-known 
 ceramic writer was supplemented by the publi- 
 cation of a bulky volume, The Life and Death 
 of L. Jewitt. Haiiley, Allbut and Daniels, 
 
 1887. 
 
 GOTZE (A.)- Die Gefassformen und 
 Ornamente der neolithischen 
 schnurverzierten Keramik in 
 Flussgebiete der Saale. Jena, 
 1891. 8, pp. 72; with 2 pis. 
 3 m. 
 
 " The shapes and ornamentation of the 
 neolithic ceramic vessels, decorated by 
 the impression of strings or plaited thongs, 
 found in the Saale valley." 
 
 An attempt to classify prehistoric earthen 
 vessels into two broad groups those decorated 
 with incised lines and hand-traced geometrical 
 figures, and those which bear the impression 
 of ropes, or twisted strings or thongs. Much 
 trouble has been taken to describe accurately 
 a large number of cinerary and other urns 
 discovered in Thuringia, and to establish a 
 comparison between these latter and the urns 
 discovered in other localities which offer these 
 two particular methods of primitive ornamenta- 
 tion. We doubt, however, whether it will 
 ever be possible to make these two varieties 
 of workmanship indicative of place and method 
 of manufacture, as the author seems to imply. 
 
 GOTZKOWSKY. Geschichte eines pa- 
 triotischen Kaufmans. S.l.,1769. 
 12, pp. 192. 12m. 
 
 "History of a patriotic merchant." 
 
 An autobiography of the founder of the 
 Royal Porcelain Works of Berlin, in which 
 the erroneous and accredited statement that 
 Frederick the Great had kidnapped the artists 
 and workmen, and carried away the models and 
 moulds of the Meissen manufactory, in order to 
 establish the manufacture of porcelain at Berlin, 
 after the victory of his army in Saxony, is most 
 distinctly disposed of. 
 
GOU] 
 
 CERAMIC LITERATURE. 
 
 [GOU 
 
 In the first pages of the book are related the 
 efforts Gotzkowsky, then one of the leading 
 citizens of the town, made towards introducing 
 the regular manufacture of porcelain in Berlin. 
 The enterprise, undertaken as it appears merely 
 to gratify the whim of King Frederick, dis- 
 satisfied with the abortive attempt previously 
 made by Weggely, was, of course, a small affair 
 amidst the heavy charges and responsibilities 
 which devolved npon the promoter of the new 
 scheme. Having been told that a certain 
 "arcanist," or operative well conversant with 
 the secrets of porcelain making, was then in 
 Berlin waiting to conclude an engagement with 
 the Duke of Gotha, Gotzkowsky hastened to 
 offer him such profitable conditions that they 
 were at once accepted. The trials lasted for 
 two years at the merchant's own cost. He 
 then intimated to the king that his wishes had 
 been carried out ; that the new Berlin porcelain 
 factory already occupied 150 people. On the 
 same day he submitted to His Majesty excellent 
 specimens of their work. 
 
 Glaus, one of the best Meissen painters, and 
 who had previously worked with Weggely, had 
 been engaged, at a very high salary, to act as 
 an art director. At last, when in 1763 the 
 factory had been set in good working order, 
 Gotzkowsky asked the king to relieve him from 
 a burden he was no longer able to bear, and to 
 supply the funds necessary for its maintenance. 
 . In that year, and therefore long after the peace 
 had been signed with Saxony, the private 
 establishment of the Berlin porcelain works 
 became a royal manufactory. 
 
 GOUELLAIN (G.). Exposition d'art et 
 d'archeologie k Rouen en 1861. 
 Paris, Kochette, 1861. 18, pp. 
 15. (Reprint from Les Beaux 
 Arts.) 
 
 Le musee ceramique de 
 Nevers. Rouen, Le Brument, 
 1862. 8, pp. 15. (Reprint from 
 Revue de Normandie.) 
 
 - Revue de 1'Exposition artis- 
 tique d'Elbeuf en 1862. Rouen, 
 Cagniart, 1862. 8, pp. 15. 
 
 Mr. Gustave Gouellain was a member of the 
 enlightened group of local collectors who 
 deemed that no efforts and no expense should 
 be spared in forming a public museum, in 
 which the ancient industry of the town should 
 be represented by the finest examples obtain- 
 able. The ceramic museum of Rouen, whose 
 formation and arrangement \\ere partly due 
 to his untiring exertions, soon showed how 
 brilliantly their plans could be realised. This 
 was only part of a scheme by which what they 
 called the topography of French art might 
 have been established. It consisted in the 
 creation, all over the country, of independent 
 collections of local productions, where the 
 particular style of each centre could be com- 
 paratively studied. 
 
 - Etude ceramique sur une vue 
 du port de Rouen d'apres une 
 plaque en faience de la collection 
 de Mr. le baron de Gerycke. 
 Rouen, Le Brument, 1872. 4, 
 pp. 33 ; with 1 etching by E. Le 
 Fevre, and marks. 5 fcs. 
 
 "Ceramic remarks upon a faience 
 plaque, painted with a view of Rouen 
 harbour." 
 
 This plaque, which may be of Dutch manu- 
 facture, was painted by a Dutchman named 
 Dale, in 1784, after an engraving by N. Ozanne. 
 
 Ceramique revolutionnaire. 
 L'assiette dite " a la Guillotine." 
 Paris, impr. Jouanot, 1872. Sm. 
 4, pp. 44 ; with 1 pi. in col. 
 
 "Ceramics during the Revolution. The 
 " Guillotine plate." 
 
 The collectors of ' ' Faiences patriotiques " 
 have in vain searched amongst the scenes and 
 emblems with which the ware is illustrated, 
 for a representation of the hideous instrument 
 so notoriously associated with the worst days 
 of the French Revolution. Champfleury, their 
 leader, had come to the conclusion that such a 
 picture has never been produced, and he 
 cautions us against accepting as genuine any 
 piece which may turn up bearing the unseemly 
 subject, and which must, in all likelihood, be 
 the work of some speculative forger. In the 
 face of that warning, Mr. Gouellain bought, in 
 a Paris curiosity shop, a plate on which an 
 execution on the guillotine is most atrociously 
 depicted, and he had no hesitation in consider- 
 ing it as the original work of some republican 
 potter. It is needless to say that, whether 
 genuine or not, such an isolated example has 
 but little historical importance. 
 
 La ceramique musicale au 
 Trocadero et ailleurs en 1878. 
 Paris, R. Simon, 1878. 16, pp. 
 32. 3 fcs. 
 
 " Musical ceramics, at the Trocadero 
 and elsewhere." 
 
 Description of old faience plates painted 
 with some verses of amorous and bacchanalian 
 songs, and the noted music to which they were 
 to be sung. 
 
 Ceramique k emblemes his- 
 toriques. Note sur une faience 
 avec portrait du general Bona- 
 parte de la collection de Mr. A. 
 Assegond. Bernay, impr. Le- 
 fevre, 1878. 8, pp. 3. 
 
 " Pottery with historical emblems. 
 
 179 
 
GOU] 
 
 CERAMIC LITERATURE. 
 
 [GRA 
 
 Note upon a faience plate painted with a 
 portrait of General Bonaparte." 
 
 Speculations as to the probable origin of the 
 plate, which Mr. Gouellain attributes to Lyons 
 manufacture. 
 
 GOUELLAIN (G.). Memoire historique 
 sur la manufacture Rationale de 
 porcelaine de France, redige en 
 1781 par Baclielier, reedite avec 
 preface et notes. Paris, R. Simon, 
 1878. 12, pp. 57. 3 fcs. 
 
 Reprint, with a preface and annotations 
 by G. Gouellain, of the Memoir indited by 
 Bachelier (see that name). 
 
 - Collection d'anciennes faiences 
 de Sinceny de feu Mr. le Dr. 
 Warmont. Paris, 1891. 8. 
 
 "The Warmont collection of ancient 
 Sinceny faience." 
 
 Sale catalogue with historical notice and 
 description of the specimens. 
 
 GOUTZYILLER (Oh.)- Curiosites alsaci- 
 ennes. Les vases de Ribeauville. 
 Mulhouse, 1872. 8; with 7 
 illustrs. 
 
 " Alsatian curiosities. The Ribeau- 
 ville vases." 
 
 GOZZADINI (Conte Giovanni). Di un'an- 
 tica necropoli a Marzabotto nel 
 Bolognese. Bologna, Fava, 1865. 
 4, pp. 102; with 20 lith. pis. 
 (some col.) 15 fcs. 
 
 " An ancient necropolis at Marzabotto, 
 near Bologna." 
 
 - Di ulteriore scoperte nell'an- 
 tica necropoli a Marzabotto nel 
 Bolognese. Bologna, 1870. 4, 
 pp. 93 ; with 17 pis. (some col.). 
 15 fcs. 
 
 "The latest discoveries in the ancient 
 necropolis of Marzabotto." 
 
 The two parts, generally found bound to- 
 gether, contain nine plates of painted vases. 
 
 - Intorno agli scavi archeologici 
 fatti dal Sig. A. Arnoaldi Veli 
 presso Bologna. Bologna, Fava, 
 1877. 4, pp. 96; with 16 lith. 
 pis. and illustrs. 10 fcs. 
 
 " On the archseologic excavations made 
 by Sigr. A. A. Veli, near Bologna." 
 Ceramic, pp. 13-33. A number of early 
 180 
 
 Etruscan terra-cotta vases are reproduced on 
 four plates ; the two following plates give 
 40 reproductions of the seals with which the 
 ornamentation was stamped in the clay. 
 
 GRABNER (Dr. K.). Wahres eroffnetes 
 Geheimniss der Zubereitung 
 verschiedener Porzellan, Stein- 
 gut, Fayence und Topfer Glas- 
 uren, nebst der Verfertigung 
 mehrerer Porzellanfarben und 
 verschiedener farbiger Edel- 
 steine. Mit Umgabe aller Pflan- 
 zen, aus welchen Farbenstoffe 
 fur Maler und Farber gezogen 
 werden konnen, mit Beachtung 
 des Mineral und Thierreiches. 
 Ein ntitzliches Buch fur Fabrik- 
 anten, Maler und Farber. Leip- 
 zic, Basse, 1837. 12, pp. 50. 
 
 " The secret truly disclosed of making 
 all kinds of glazes for porcelain, stone- 
 ware, faience, and pottery ; preparing the 
 colours for porcelain painting, and imi- 
 tating precious stones of various colours. 
 With a description of all the plants from 
 which colours for painters and dyers can 
 be extracted, and general considerations 
 upon the mineral and animal kingdom. 
 A useful book for manufacturers, 
 painters, and dyers." 
 
 GRACKLANER (0.). Verzeichniss samt- 
 licher Schriften liber Gewerbe 
 Literatur und Industrie, etc. 
 Leipzig, 1881. 8. 
 
 " General list of the writings upon 
 industrial literature and industry." 
 
 Accounts of the Industrial Exhibitions of 
 1865-81, list of patents, &c. 
 
 GRAESSE (J. G. Th.). Beitrage zur 
 Geschichte der Gefassbildnerei, 
 Porzellan fabrik, Topfer und 
 Glasmacher Kunst bei den ver- 
 schiedenen Nationen. Dresden, 
 1853. 8, pp. 116. 
 
 " Contributions to the history of pot- 
 tery; the art of porcelain, pottery, and 
 glass-making in all countries." 
 
 - Geschichte der chinesischen 
 Porzellans. Dresden, 1859. 8. 
 pp. 14. 
 
 " History of the Chinese porcelain." 
 (Extr.) 
 
GRA] 
 
 CERA MIC LIT ERA TURE. 
 
 [GRA 
 
 - Beschreibender Katalog der 
 K. Porzellan und Gefiiss Samm- 
 lung zu Dresden. Dresden, 1873. 
 
 8. 
 
 " Descriptive catalogue of the royal 
 collection of porcelain and pottery at 
 Dresden." 
 
 H. Th. Graesse was curator of the royal 
 collection of porcelain, the Griine Gewolbe 
 museum, and the numismatic cabinet at 
 Dresden. 
 
 Abriss der Geschichte des 
 Porzellans und der Thongefiisse, 
 mit besonderer Beziehung auf 
 die K. Porzellan- und Gefass 
 Sammlung zu Dresden. Dresden, 
 1873. 12, pp. 146. 3 m. 
 
 "Abridged history of porcelain and 
 pottery, with special references to the 
 Dresden porcelain collection." 
 
 The ceramic handbooks of Th. Graesse have 
 become somewhat out of date. 
 
 - Guide de Famateur de por- 
 celaines et de poteries, ou collec- 
 tion complete des marques de 
 fabriques de porcelaine et de 
 poterie de 1'Europe et de 1'Asie. 
 Dresde, 1880. 6th ed. 12, pp. 
 194. 5fcs. 
 
 "Guide-book for the porcelain and 
 pottery collector; a complete collection 
 of marks of all the porcelain and pottery 
 manufactories of Europe and Asia." 
 
 The first edition, published in 1864, con- 
 tained only 387 marks ; the number was in- 
 creased to 2,231 in the 1880 edition. It has 
 been reprinted, in 1900, by Jaennicke, with 
 considerable additions. 
 
 GRAHAM (Rev. Malcolm). -- Cup and 
 saucer land. London, 1908. 8m. 
 4, pp. 48; with 48 half-tone 
 pis. 5s. 
 
 A familiar, but very accurate, description of 
 the successive processes of manufacture prac- 
 tised at the present day in the pot works of the 
 Staffordshire Potteries. The writer, who was 
 for eighteen years vicar of the parish of 
 Burslem, has himself taken all the photographs 
 reproduced in the volume. 
 
 GRAND-CARTETET (John). Les arts in- 
 dustriels en Suisse. Paris, 1879. 
 12, pp. 106. 3 fcs. 
 
 "Industrial arts in Switzerland." 
 
 Contains a chapter on ceramics, compiled 
 from previous publications. 
 
 GRAND (Y.). La ceramique de Saint 
 Henri. Les usines Arnauld 
 Etienne. Aix, A. Makaire, 1878. 
 12, pp. 92 ; with 7 illustrs. 2 fcs. 
 
 " Ceramic industry at St. Henri. The 
 A. Etienne factories." 
 
 A monograph of the important brick and tile 
 works situated in the vicinity of Marseilles. 
 Information on the other factories of the region 
 is given in the introduction. 
 
 GRANDHOMME et FLOftUET. Dessins ap- 
 plicables aux einaux et aux arts 
 ceramiques. Paris, s.d. (recent). 
 Fol.; 14 photogr. pis. 25 fcs. 
 
 " Designs suitable for enamel painting 
 and the ceramic art." 
 
 GRANDIDIER (Ernest). La ceramique 
 Chinoise. Porcelaine orientale ; 
 date de sa decouverte. Explica- 
 tion des sujets de decor. Les 
 usages divers. Classification. 
 Heliogravures par Dujardin re- 
 produisant 124 pieces de la col- 
 lection de 1'auteur. Paris, F. 
 Didot, 1874. 4, pp. 232 ; with 
 42 pis. 40 fcs. 
 
 "Chinese ceramics. Oriental porce- 
 lain ; the date of its discovery. Explana- 
 tion of the painted subjects. Divers 
 uses. Classification. Plates in Dujardin 
 heliogravure, reproducing 124 specimens 
 in the author's collection." 
 
 Whether the knowledge of the history of 
 Oriental porcelain has made any progress since 
 the publication of Dusartel's La porcelaine de 
 Chine is surely not evidenced in this new 
 volume. It is, again, the book of Stanislas 
 Julien, presented in a fresh disguise. Upon 
 this often-used frame-work are hung the fes- 
 toons of flowery and hollow sentences, the 
 import of which is by no means calculated to 
 render more intelligible a subject still involved 
 in disheartening uncertainty. The sources 
 whence this compilation has been drawn are 
 by no means original ; we know them all. As 
 a compiler, the writer has been often infelicitous 
 in the choice of his materials, and he might 
 have used the available store of information to 
 better advantage. For instance, it is no longer 
 admissible to write an incorrect notice on 
 porcelain manufacture, now that so many clear 
 and sound technical treatises are available for 
 those imperfectly acquainted with the practices 
 of the potter's art. Nor is the question of the 
 origin of porcelain left any longer in the dark. 
 Davillier's learned work on the subject would 
 
 181 
 
CERA MIC LITER A TURK. 
 
 [GRA 
 
 alone supply the elements of a perfect sketch. 
 The chapter on " the origin of porcelain " 
 reads as though Davillier's book had never 
 been written, or had been purposely ignored. 
 As an original contribution to modern science, 
 Mr. Grandidier presents a classification which 
 he claims as his own. He deprecates, justly, 
 the use of the arbitrary divisions introduced by 
 Jacquemart, and will not recognise the ' ' Pink 
 Family " and the "Green Family." According 
 to the plan he proposes, Chinese porcelain 
 should be ranged under as many headings as it 
 offers styles of decoration and varieties of 
 coloured grounds. That is to say, a special 
 class for each style, a special family for each 
 colour. This is indeed opening a wide field to 
 the lover of complicated nomenclature ; we shall 
 not discuss the practicability of such a scheme. 
 
 The writer is evidently more at ease when he 
 enters into the description of the specimens in 
 his possession. It was not necessary for him to 
 tell us that he is not a traveller ; nor is he an 
 Oriental scholar. What need had he to prose- 
 cute risky and costly journeys through the 
 Celestial Empire ; has he not found in his 
 museum the best sources of deep learning? 
 All he cares to know about China is, for him, 
 concentrated in the precious store of porcelain 
 he has accumulated. A few volumes of 
 Chinese literature are the guide books that 
 lighten the way in the repeated incursions he 
 makes through the contents of his well-filled 
 glass cases. What he reads about the arts, 
 sciences, religion, customs of the Chinese 
 people, will gradually become manifest to his 
 understanding when embedded in some porce- 
 lain object of which he had not before suspected 
 the occult signification. More and more he 
 will absorb himself in a fancy world of his own 
 creation. It is China "at home" with all its 
 splendour and all its surprises ; he is quite 
 unwilling to leave the dreamland of his imagina- 
 tion for stern reality. Here, at least, he can 
 construe at his ease and without having to 
 reckon with the intrusion of disturbing ele- 
 ments the perfect train of evidence on which 
 he will rest the basis of a complete history of 
 " Chinese ceramics," bearing on the title page 
 the gratifying words " as illustrated by ex- 
 amples in our own collection." One may be 
 pleased to follow the writer in his rambles, but 
 it is good to constantly bear in mind that one is 
 travelling on the confines of the realm of fancy. 
 
 The volume is handsomely printed, and the 
 heliogravures are excellent. The collection, one 
 of the finest in existence, is now exhibited in 
 the Louvre Museum, to which it has been 
 presented by Mr. Grandidier. 
 
 GRANGE (G.). Histoire et vicissitudes 
 de la manufacture de faience de 
 Clermont - Ferrand (Auvergne). 
 Suivie de notes utiles pour les 
 amateurs et les collectionneurs 
 de ceramique. Clermont-Ferrand, 
 1882. En vente chez G. Grange, 
 marchand de curiosites. 4, pp. 
 39 ; with 3 chromolith. pis. and 
 2 photos. 
 182 
 
 " History of the faience manufactory 
 of Clermont - Ferrand ; to which are 
 added some useful notes for amateurs 
 and ceramic collectors." 
 
 Historical information, like old faience, is to 
 be obtained second-hand at the shop of worthy 
 Mr. Grange. He does not conceal that the 
 first portion of his pamphlet is the transcription 
 of a MS. written by one of his fellow-towns- 
 men who lived at the time when the faience 
 factory of Clermont-Ferrand was still in exist- 
 ence ; this is supplemented by extracts from 
 Cohendry's work. Brongniart has supplied 
 the recipes for the making of faience ; these 
 quotations end with the words : Fiat Lux. 
 Finis coronat Opus, has been thought a befitting 
 sentence with which to close the last section, 
 in which the secrets for mending broken faience 
 are divulged to the uninitiated. 
 
 GRANGER (Albert). La ceramique en 
 Allemagne et Fenseignement 
 technique relatif k cette Indus- 
 trie. Mission d'etude (1899). 
 Paris, impr. nationale, 1900. 8, 
 pp. 64. 
 
 "The ceramic industry in Germany, 
 and the technical teaching in connection 
 with it. A study made during a special 
 mission by A. Granger." 
 
 Contains information on the raw materials 
 found in Germany, the various branches of 
 manufacture, the commerce of importation 
 and exportation, the organisation of the 
 factories, the conditions of the workpeople, 
 and the technical education. 
 
 La ceramique industrielle. 
 
 Chimie, Technologie. Paris, 
 Gauthier Villars, 1905. 8, pp. 
 x-644 ; with 175 illustrs. 12 fcs. 
 
 "Ceramic industry. Chemistry, Tech- 
 nology." 
 
 GRASSALKOWITS YON GYAYAK (Princess 
 Marie Leopoldine).- Catalogue of sale 
 of the collection. Cologne, Heb- 
 erle, 1887. 4, pp. 48 ; with 13 
 pis. 
 
 Oriental and Sevres porcelain (mostly with 
 ormolu mounts), Nos. 24-189, with 6 pis. 
 
 GRASSET (aine). Notice etablissant 
 que la marque B.B. ne peut etre 
 attribuee a Bernard Palissy, 
 celebre potier Agenois, etc. 
 Paris, Ve. Eenouard, 1872. 8, 
 pp. 22 ; with 2 pis. 2 fcs. 
 
 "Notes establishing that the mark 
 
GRA] 
 
 CERA MIC LITER A TURE. 
 
 [GRE 
 
 B.B. should not be attributed to Bernard 
 Palissy, the celebrated potter of Agen." 
 
 A verbose disquisition upon an attribution, 
 the incorrectness of which had been demon- 
 strated long before this paper was indited. 
 The mark B.B. found incised upon the figure 
 of the " Nurse " and other specimens of earthen- 
 ware of the Palissy school, cannot be the mark 
 of the great potter for two reasons. The first 
 being that the figure wears the costume of the 
 time of Henri IV. ; the second, that the letter 
 B, of this peculiar shape, was not used in French 
 handwriting before 1650, when Palissy had 
 been dead for fifty years. A fact that Mr. 
 Grasset has omitted to mention is that at 
 about the same period, a potter named Barthe- 
 lemy de Blenod, is known to have worked at 
 Fontainebleau ; in all probability the two B.B. 
 represent the mark of this latter. 
 
 - Musee de la ville de Varzy 
 (Nievres). Faiences Nivernaises 
 du 18 e siecle. Paris, Loones, 
 1875, 8, pp. 16 ; with 1 pi. 
 
 " Museum of the town of Varzy. 
 Nevers faiences of the eighteenth 
 century." 
 
 The notice describes two important examples 
 of the Nevers factories of the period of decline. 
 One of them is an equestrian figure of Saint 
 Hubert, dated 1734. The local production was 
 still very important at that time. 
 
 - Ceramiques. Historique de 
 la faiencerie de terre de pipe et 
 de poteries noires dites egypti- 
 ennes, imitations anglaises qui, 
 etablie en 1802, en la ville de La 
 Charite - sur - Loire (Nievre), a 
 c6sse de fonctionner en 1812. 
 Paris, H. Loones, 1876. 8, pp. 
 11. 1 fc. 
 
 " Ceramic art. History of the manu- 
 factory of earthenware and black pottery, 
 so-called Egyptian, imitations of English 
 ware, which, established at La Charite- 
 sur-Loire in 1802, was closed in 1812." 
 
 Francis Warburton, of Burslem, Staffs., who 
 intended to carry on at La Charit6-sur-Loire, 
 the manufacture of earthenware after the 
 English methods, gave up the attempt after 
 one year of costly and unsatisfactory trials. 
 He was succeeded by Michael Willis and his 
 partner, Mr. Le Bault. Vainly did they 
 impress their productions with the name of 
 " Wedgwood," they could not find a market 
 for their clumsy imitations. Mr. Grasset, in 
 his patriotism, exults in the idea that a large 
 number of the pieces which the English collector 
 now admires as the work of Josiah Wedgwood, 
 have in reality been made at La Charit^-sur- 
 Loire. 
 
 GRAY (John). James and William 
 
 Tassie, a biographical and criti- 
 cal sketch, with a catalogue of 
 their portrait-medallions of mod- 
 ern personages. Edinburgh, 1894. 
 8; portrait. 8s. 6d. 
 
 GREAU (J.). Terres cuites d'Asie de 
 la collection Julien Greau pub- 
 liees by W. Froehner. Paris, 
 Hoffman, 1886. 4, pp. xvi-105 ; 
 with 120 photolith. pis. and text 
 illustrs. 5. 
 
 " Terra-cottas of Asiatic origin in the 
 J. Greau collection." 
 
 In the numerous volumes published almost 
 simultaneously on the subject of the newly- 
 discovered terra cottas of Greek workmanship, 
 we find the glaring record of the labour under- 
 taken by the archaeologists of the younger 
 school, with the view of discrediting many 
 long established notions, and of leading modern 
 study into the path of accuracy and rationalism. 
 The urgency of introducing a complete change 
 in the old routine of elucidating antique monu- 
 ments was speedily demonstrated ; a new 
 method was established, chiefly upon the 
 results obtained through systematic diggings 
 executed under the direction of explorers as 
 eager for discovery as they were cautious in 
 their way of proceeding, and guarded against 
 the danger of drawing too hasty conclusions. 
 New fields of research had yielded an amazing 
 harvest of painted vases and terra-cotta figures. 
 From that moment groups began to be con- 
 stituted of the distinctive types belonging to 
 the region in which they had been found, and 
 attempts were made to fix the respective epochs 
 of the leading styles by the depth at which the 
 finds occxirred in the soil, and the various 
 objects discovered in connection with them. 
 The present volumes are an illustration of the 
 new direction given to studies. It was from 
 the necropolis of Asia Minor, just being explored 
 for the first time, that J. Gr^au formed his 
 collection of terra-cottas ; on that account it is 
 almost exclusively composed of specimens of 
 Lydian and Phrygian origin. Most of the 
 groups and figures that came into his possession 
 from these sources showed such an unwonted 
 and surprising character that their authenticity 
 was warmly contested. Froehner advocated 
 their genuineness in the introductory notice to 
 this work, and later on in many other writings. 
 
 Through the work accomplished at that time 
 many important points referring to the progress 
 of the art of the coroplast, and the exact 
 source of certain types of ancient terra-cottas, 
 were satisfactorily settled. But the reason why 
 earthen figures were deposited by the Greeks 
 in the tombs of the dead still remains the 
 subject of unending discussions among anti- 
 quaries. If it cannot be denied that a few of 
 these figures might be connected with the 
 funereal rites, considering the subject they 
 represent, examples of that kind are so rarely 
 found, that the notion of terra-cottas having 
 served, as a rule, a religious purpose, can 
 
 183 
 
GRE] 
 
 CERAMIC LITERATURE. 
 
 [GRE 
 
 scarcely be maintained. It has also been 
 suggested that they were Ex-votos, or pro- 
 pitiatory offerings to the semi-deified soul of 
 the departed ; but no trace of such a purpose 
 has ever been found in ancient texts, and if the 
 custom of depositing Ex-votos in the graves had 
 ever existed, contemporary writers would not 
 have failed to mention it. Froehner does not 
 venture to decide between these and other 
 hypotheses. He observes, however, that by 
 far the greater number of terra-cotta figures are 
 devoid of allegorical signification or religious 
 character. Consequently, he prefers to see in 
 these representations of the people and the 
 things that the dead had loved and valued 
 during his life, always found in Greek tombs, 
 the expression of the compassionate feelings 
 of his afflicted friends, trying to associate in 
 the adornment of his last abode something of 
 the brightness of his evanescent existence with 
 the eternal shade of death. We know that a 
 very ancient law required that earthen figures 
 of small value should be chosen instead of more 
 costly offerings, because if hoards of precious 
 metal were known to be buried in the graves, 
 this might, in after times, tempt the cupidity 
 of the living, and in the event of war, cause 
 the resting place of the dead to be violated by 
 a rapacious victor. 
 
 GREAU (J.). Collection Julien Greau. 
 Catalogue des terres cuites 
 Grecques, vases peints et mar- 
 bres antiques. Vente k Paris, 
 mai, 1891. 4, pp. 292; with 
 75 pis. and 116 text illustrs. 
 40 fcs. 
 
 " Catalogue of sale." 
 
 Like many collections of that time, this was 
 rapidly formed and dispersed, but the volumes 
 in which their contents were illustrated, and 
 the catalogues of the sales remain to us as a 
 testimony of their importance, and as a valu- 
 able assistance to the study of ancient Greek 
 art. 
 
 GREEN (Aaron). Report upon pottery 
 and earthenware. London, Samp- 
 son Low, 1879. 8, pp. 24. (In 
 Society of Arts' artisan reports on 
 the Paris Universal Exhibition of 
 1878.) 
 
 Mr. A. Green was one of the best china 
 painters in Messrs. Minton's manufactory, an 
 establishment to which he remained attached 
 for more than fifty years. 
 
 GREENS, CLARKE, & Co. Pattern book 
 of the Don pottery, manufactured 
 by Greens, Clarke & Co. at Don- 
 caster. S.l.,n.d. (1808). 4. Two 
 series of, together 70, plates, con- 
 taining 292 designs. 6. 
 184 
 
 The Don pottery was established about 1790. 
 A pattern book was issued a few years after- 
 wards, in the same style as the one published 
 by Hartley & Greens, of the Leeds pottery, 
 many of the designs being almost identical. 
 Each plate bears the name of "Don pottery" 
 engraved in a scroll. A very limited number 
 was printed, and copies are now very difficult 
 to obtain. 
 
 GREENWELL (Rev. W.)- British bar- 
 rows : a record of the examina- 
 tion of sepulchral mounds in 
 various parts of England. Ox- 
 ford, the Clarendon Press, 1878. 
 8, pp. 763; with 164 text il- 
 lustrs. 15s. 
 
 The pottery found in the English barrows is 
 described at length in the introduction, and 
 illustrated by representation of 38 specimens. 
 Several other woodcuts of early vessels will 
 also be found interspersed through the volume. 
 
 - Recent researches : Barrows 
 in Yorkshire, Wiltshire, Berk- 
 shire, etc. Westminster, Nichols 
 & Son, 1890. 4, pp. 72 ; with 
 34 illustrs., chiefly cinerary urns. 
 (In Archceologia.) 
 
 GREG (Th. Tylston). A contribution 
 to the history of English pottery. 
 With special reference to the 
 Greg Collection. Manchester, 
 1908. 12, pp. iii-81. 
 
 This important collection was presented by 
 the writer to the Manchester Art Gallery in 
 1906. 
 
 GREINER (G.)- Lebensehreibung des 
 Gotthelf Greiner zu Limbach 
 Erfinder des Thuringer Por- 
 zellans, 1732-1795. Hildburg- 
 hausen, 1877. 8, pp. 65. 
 
 An autobiography of G. Greiner, the dis- 
 coverer of porcelain in Thuringia. 
 
 GREINER (K.). Aus dem Betriebe 
 der Steingutfabrikation. . . . 
 Halle-a-S., 1903. 8; with 55 
 illustrs. 3 m. 
 
 "On the conduct of the manufacture 
 of stoneware." 
 
 GRELLIER (C.). L'industrie de la 
 porcelaine en Limousin. Ses 
 origines, son evolution, son 
 
GRE] 
 
 CERA MIC LITER A TURE. 
 
 [GRI 
 
 avenir. Paris, Larose, 1909. 
 8, pp. 511. 10 fcs. 
 
 "The porcelain industry of Limousin. 
 Its origin, evolution, and future." 
 
 Whether we consider it as a historical mono- 
 graph, a technical treatise, or a statistical 
 survey of the present conditions of the porce- 
 lain industry at Limoges, this volume may be 
 equally commended. All the points touched 
 by the author have been treated in a reliable 
 and exhaustive manner. The bibliography in- 
 cludes the most important articles which have 
 appeared in periodicals. 
 
 GREMPLER. Der Fund von Sackrau. 
 Berlin, 1887-88. Fol. 14 m. 
 
 "The discoveries made at Sackrau." 
 
 Contains an account of the prehistoric pottery 
 discovered during the course of three successive 
 campaigns of excavations. 
 
 GRESLOU (J.). Kecherches sur la 
 ceramique ; suivies de marques 
 et monogrammes des differentes 
 fabriques. Chartres, 1863. 12, 
 pp. 279. 10 fcs. 
 
 " Researches on ceramics ; with the 
 marks and monograms of the various 
 factories." 
 
 A volume worthy of the bibliophile's approval 
 on account of the good style of its typographic 
 execution. This is all that can be said in its 
 favour. On the day of its publication it was 
 already behind the knowledge of the time. 
 The text is but a shallow compilation of the 
 standard books, and the list of marks is incom- 
 plete and incorrect. 
 
 GRIFFEN (H. R.). Clay, glazes, and 
 enamels. With a supplement on 
 crazing; its causes and preven- 
 tion. The whole forming a 
 treatise on glazing and enamell- 
 ing brick, terra-cotta, and pottery. 
 Including exact recipes and for- 
 mulas for all the principal colours 
 now in use, and full instructions 
 for their preparation, Indiana- 
 polis, 1896. 12. 1. 
 
 GRIFFINHOOFE (H. G.). The medieval 
 tiles in St. Mary's Church, Mon- 
 mouth. Monmouth, Waugh, 1894. 
 12, pp. 23. 
 
 Description of the remains of an ancient 
 pavement discovered in 1882. Some of the 
 tiles show the same patterns as those found 
 at Malvern. 
 
 GRIFFIS (Rev. W. E.). The Mikado's 
 Empire. New York, Harper 
 Bros., 1878. 8; with 108 illustrs. 
 
 A chapter on the pottery and porcelain of 
 Japan gives the information obtained by the 
 author during his travels. 
 
 GRIGGS (W.). Illustrations of Ar- 
 morial China. London, privately 
 printed, 1885. 4; 24 chromo- 
 lith. pis., with descriptive notices. 
 100 copies printed. 2, 10s. 
 
 The specimens of porcelain, either of English 
 or foreign origin bearing the coats of arms of 
 English families are so numerous as to preclude 
 any idea of drawing a complete catalogue of 
 armorial china. No such pretension is claimed 
 for this set of plates, in which a few examples, 
 selected somewhat at random from private 
 collections, are admirably reproduced by the 
 Griggs process. 
 
 GRIGNON. Bulletin des fouilles faites 
 par ordre du Koi, d'une ville ro- 
 maine, sur la petite montagne 
 du Chatelet, entre St. Dizier et 
 Joinville, decouverte en 1772. 
 Bar-le-Duc, 1774. 8. 10 fcs. 
 
 " An account of the excavations, made 
 by order of the King, on the site of a 
 Roman town discovered at Chatelet in 
 1772." 
 
 In this book Roman pottery was mentioned 
 and descanted upon for the first time in a French 
 archaeological work. The copper plates en- 
 graved for this volume were published, later 
 on, in the work of Grivaud de la Vincelle. 
 
 GRIMM (H.). Die Fabrikation des 
 Feldspath - Porzellans fur die 
 Praxis bearbeitet. Wien, Har- 
 tleben, 1901. 8, pp. 192 ; with 
 69 illustrs. 3 m. 
 
 " The practical manufacture of felspar 
 porcelain." 
 
 GRISELINI (F.) Dizionario delle arti 
 e de'mestieri. Venezia, 1768-78. 
 18 vols. 8. 
 
 " Dictionary of the arts and crafts." 
 
 GR1YAUD DE LA YINCELLE (Cl. M.). An- 
 tiquites gauloises et romaines 
 recueillies dans les jardins du 
 palais du Senat, pendant les tra- 
 vaux d'embellissement qui y ont 
 ete executes depuis 1'an ix. 
 
 185 
 
GRI] 
 
 CERAMIC LITERATURE. 
 
 [GRU 
 
 jusqu'k ce jour, etc. Paris, 1807. 
 Fol.; with 27 pis. 15 fcs. Some 
 copies have the text printed 4 
 size. 
 
 "Gallic and Roman antiquities dis- 
 covered in the gardens of the Senate 
 (Palace of the Luxembourg) during the 
 works of improvement conducted on the 
 spot from the year ix. to the present 
 day." 
 
 Roman pottery, pp. 120-179; with 19 pis. 
 Excellent reproductions. 
 
 GRIYAUD DE LA YINCELLE (Cl. !.)- 
 Recueil de monuments antiques 
 la plupart inedits et decouverts 
 dans Fancienne Gaule, etc. Paris, 
 1817. 2 vols. 4; with 3 maps 
 and 40 pis. 15 fcs. 
 
 " Selection of antique monuments, 
 chiefly inedited and discovered in ancient 
 Gaul." 
 
 - Arts et metiers des anciens 
 representes par les monuments 
 en 130 planches ombrees au trait; 
 ou recherches archeologiques 
 servant principalement & Fex- 
 plication d'un grand nombre 
 d'antiquites recueillies dans les 
 ruines d'une ville Gauloise et 
 romaine, decouverte entre Saint 
 Dizier et Joinville. Ouvrage 
 public d'apres les materiaux de 
 1'abbe de Tersan par Grivault de 
 la Vincelle et continue apres la 
 mort de ce dernier par G. Jacob 
 (pere). Paris, 1819 and f. ys. 
 Fol. 60 fcs. 
 
 "Arts and trades of the ancients, re- 
 presented by the original monuments on 
 130 outline pis.; being chiefly explana- 
 tory of a great number of antiquities 
 found in the ruins of a Gallo-Roman city 
 discovered between St. Dizier and Join- 
 ville, etc." 
 
 Ceramics : Pis. 15, 16, 20, 118. This work, 
 which was to have comprised 18 parts, was not 
 completed ; 16 parts only were published. 
 
 GRffiYIUS ET GRONOYIUS. Thesaurus 
 
 Antiquitatum Romanorum con- 
 
 gestus a Groevio. Traj. ad. 
 
 Rhenum, 1694. 12 vols. Fol. 
 
 186 
 
 Thesaurus Graecorum Antiqui- 
 tatum, congestus a Gronovio. 
 Venetiis, 1732. 13 vols. Fol.; 
 numerous plates. 
 
 Vols. 9 and 12 contain one of the earliest 
 treatises written on Greek and Roman vases. 
 
 GROSCH (H.). Herreboe - Fayencer 
 udgivne af Museets bestyrelse. 
 Kristiania, 1901. Obi. 4, pp. 
 29 ; with 10 col. pis. and 1 pi. of 
 marks. 10s. 
 
 " The faience of Herreboe in the Mus- 
 eum of Industrial Art at Christiania." 
 
 History of a factory of painted faience 
 established in 1758. 
 
 Beretning om Kristiania 
 Kunst Industrie. Museums virk- 
 somhed. I. Aaret, 1901. Kristi- 
 ania, 1902. S, pp. 85. (Ceramic: 
 4 pis.) 
 
 " The Museum of Industrial Art at 
 Christiania." 
 
 GROUET (Ch.)- Be Fart ceramique 
 dans le Nivernais depuis le xvi e 
 siecle. Never s, 1844. 18, pp. 7. 
 (Extr.) 
 
 "Ceramic art in Nivernais from the 
 sixteenth century." 
 
 After a brief historical survey, the writer 
 comes to the object of his paper, which is the 
 description of certain specimens of the French 
 revolution period. Seldom are the coarse 
 vessels painted with political emblems and 
 inscribed with patriotic sentences, marked 
 with the name of their maker. Some of those 
 which came under his notice were signed with 
 the name of Besan9on. He has taken the trouble 
 of tracing the existence of this modest potter, and 
 of supplying some particulars about his work. 
 
 GROUT (F.). The plasticity of clays. 
 S.L, 1905. 8, pp. 13. (Eeprint 
 from the Journal of the American 
 Chemical Society.} 
 
 GRUNDMAM. Ueber 98 in Attika 
 gefundenen Henkelinschriften 
 auf griechischen Thongefassen. 
 Leipzig, 1889. Pp. 70. 2 m. 
 
 " Upon 98 handle-inscriptions on Greek 
 vases discovered in Attica." 
 
 GRUNER (Lewis). The terra - cotta 
 architecture of North Italy 
 
GSE] 
 
 CERA MIC LITER A TURE. 
 
 (twelfth to fifteenth centuries) 
 portrayed as examples for imi- 
 tation in other countries, from 
 drawings and restorations by 
 Fred. Lose. 48 finely engraved 
 illustrations, printed in colours, 
 with woodcuts, sections, mould- 
 ing, etc., and descriptive text by 
 V. Ottolini & F. Lose. London, 
 1867. Fol. 3, 15s. 
 
 GSELL (P.). La suppression de la 
 manufacture de Sevres. Paris, 
 1895. 8, pp. 16. (Extr. from 
 La me contemporaine.) 
 
 " The suppression of the Sevres manu- 
 factory." 
 
 Ever since the foundation of the national 
 establishment whose productions were known, 
 at first, under the proud name of ' ' Porcelaine 
 de France," and have always kept their place 
 among the artistic glories of the country, the 
 same question is raised periodically by the 
 current opposition to the government, " Is the 
 manufactory of Sevres of any service to the 
 nation, and had it not better be closed, since it 
 cannot exist without a national grant ? " The 
 manufactory is still in existence, and we do 
 not believe that pamphlets like the present 
 one will have any material influence upon its 
 doom. 
 
 GSELL (S.)- Fouilles dans la ne- 
 cropole de Vulci, executees et 
 publiees aux frais de 8. E. le 
 Prince Torlonia. Paris, Thorin, 
 1891. 4 pp. 568 ; with 1 plan, 
 19 (some col.) pis., 4 suppl. pis. 
 of forms, and 101 text illustrs. 
 30 fcs. 
 
 " Excavations in the Vulci necropolis, 
 executed and published at the expense of 
 S. E. Prince Torlonia." 
 
 Mr. Gsell, member of the French School at 
 Rome, conducted the excavations in the year 
 1889 on grounds extensively explored previously 
 by several archaeologists. The finds were 
 deposited in the palace Torlonia de la Lungara. 
 They were particularly rich in Greek and 
 Etruscan ceramics ; the plates contain repre- 
 sentations of the terra-cotta vases and vase 
 paintings. 
 
 GUALAM (M. A.)- Belle Arti. Mad- 
 ama Vittoria Maria Jaquotot. 
 Bologna, 1855. 8, pp. 8. 
 
 " Fine arts. Madame Victoire Marie 
 Jaquotot." 
 
 Biographical notes upon a lady who ranked 
 amongst the best painters in the manufactory 
 of Sevres. During her stay in Bologna, where 
 she executed a fine copy of the Saint Cecilia of 
 Raphael upon a very large plaque of porcelain, 
 as well as many other minor works, she made 
 many friends. One of them, Gualandi, has 
 consecrated these few pages to her memory, 
 and has given a complete list of all her works 
 on porcelain. 
 
 GUASTI (G.). Di Cafaggiolo e d'altre 
 fabbriche di ceramiche in Tos- 
 cana, secondo studi e documenti 
 in parte raccolti dal Comm. 
 Gaetano Milanesi. Commentario 
 storico di Gaetano Guasti. Fir- 
 enze, Barbera, 1902. 8, pp. xxvi- 
 494 ; illustrs. and marks. 10 fcs. 
 
 " Cafaggiolo and other ceramic factories 
 of Tuscany ; from researches and docu- 
 ments partly collected by G. Milanesi. 
 A historical essay by G. Guasti." 
 
 There is no need of further ai'guments to 
 prove that a majolica factory once existed at 
 Cafaggiolo. The contrary opinion ventilated 
 by Malagola and supported by Argnani was 
 invalidated from the first. It is, however, of 
 great interest to obtain precise information on 
 the history of a painted ware that we know to 
 be second to none in style of decoration and 
 brilliancy of colours. Evidence has been found 
 that, in 1504, Piero and Stefano Fattorini, 
 two potters from Montelupo, established a 
 furnace for majolica at Cafaggiolo, under the 
 patronage of Lorenzo de Medici. Their 
 descendants occupied the works until the year 
 1600. The marks of the Fattorini have been 
 identified upon the ware ; this alone would 
 bring all controversy to an end. But as the 
 influence of the Faenza style of painting is 
 obviously marked upon the productions of 
 Cafaggiolo, and as the joint mark of Pietro 
 and Stefano has been found on fragments dug 
 out at Faenza, the correct assignment of an 
 unmarked specimen will always be a difficult 
 task. Special notices are devoted in this book 
 to the following manufactories : Gagliano o 
 in Monte ; Montelupo and Sanminiatello ; 
 Siena and San Quiricco d'Orca ; Pisa, Castel- 
 florentino and Sanminiato ; The Medicean 
 Porcelain ; The Ginori and Cantagalli factories. 
 
 GUATTINI (G. E.). Choix des monu- 
 ments les plus remarquables des 
 anciens Egyptiens, des Persans, 
 des Grecs, des Volsques, des 
 Etrusques et des Remains, con- 
 sistant en statues, bas-reliefs et 
 vases. Rome, 1788-89. 2 vols. 
 Fol.; 234 pis., with expl. 
 
 " A selection from the most remarkable 
 monuments of Egyptian, Persian, Greek, 
 
 187 
 
GUA] 
 
 CERAMIC LITERATURE. 
 
 [GUI 
 
 Etruscan, and Roman art, consisting of 
 statues, bas-reliefs, and vases." 
 
 These volumes, published as a mercenary 
 speculation by two Roman booksellers, profess 
 to be a continuation of Montfaucon's great anti- 
 quarian work. They are made up of examples 
 borrowed from other books, "collected," says 
 Cicognara, "without taste, choice, or method." 
 The plates are as badly drawn and engraved as 
 the worst that may be found in the pxiblica- 
 tions of a time when the engraver did not lay 
 much stress on the accuracy of his reproductions. 
 
 GUATTINI (G. E.). Sopra un antica 
 figulina. Lettera all esimio archi- 
 tetto L. Dufourny. S.I., n.d. 4, 
 pp. 21; fold. pis. 
 
 " A letter on the subject of an antique 
 vase to the architect Dufourny." 
 
 GUBLER (Collection). Catalogue of sale 
 of a Zurich collector. Cologne, 
 Heberle, 1893. 4, pp. 150 ; with 
 20 pis. 
 
 Stoneware, Nos. 1-70; Faience, mostly of 
 Swiss manufacture, Nos. 71-139 ; various, Nos. 
 360-420. Twenty-five specimens of Zurich por- 
 celain are represented upon one plate. 
 / 
 
 GUENEZ (E.). Decoration ceramique 
 au feu de mouffle. Paris, G. 
 Villars (1895?). 12; pp. 192. 
 
 " Ceramic decoration for the kiln fire." 
 
 A scientific treatise, worthy of being recom- 
 mended ; it stands out from the numerous 
 handbooks published by colour merchants or 
 professors of china painting for the use of 
 beginners. 
 
 GUNTHER (H.). Untersuchungentiber 
 Auswitterungen der Ziegel- 
 mauer Werk, deren Ursache und 
 Verhtittung. Giltstrow, 1896. 
 8, pp 53 ; 1 pi. 
 
 " Research on the decay of brick- work 
 due to atmospheric conditions, its cause 
 and prevention." 
 
 GUETTARD. Histoire de la decouv- 
 erte faite en France de matieres 
 semblables a celles dont la por- 
 celaine de la Chine est composee. 
 Lue a 1'assemblee publique de 
 1'Academie royale des Sciences, 
 le 13 Novembre, 1765. Paris, 
 impr. Royale, 1765. 4; pp. 23. 
 
 "History of the discovery, made in 
 France, of materials similar to those 
 
 188 
 
 employed in the composition of Chinese 
 porcelain. Read at the public meeting 
 of the Royal Academy of Sciences, Nov. 
 13, 1765." 
 
 The secret of making hard porcelain was 
 still unknown in France, when the chemist 
 Guettard presented to the Academy some still 
 imperfect specimens of his own making. They 
 had been obtained in the laboratory of the 
 Duke of Orleans, at Bagnolet, near Paris, with 
 the kaolin of Alencon. Although Guettard 
 claimed the credit of having been the first to 
 use that material, the kaolin of Alencon had 
 been as a matter of fact discovered and ex- 
 perimented upon with some success by Count 
 Brancas Lauraguais a few years previously. 
 This latter, considering himself defrauded of 
 an invention which belonged to him, penned a 
 virulent attack against Guettard, in his M6moire 
 surlaporcelaine, also addressed to the Academy, 
 in which he accused him of having shown as 
 his own manufacture specimens of oriental 
 porcelain. Guettard had no difficulty in con- 
 futing the accusation. He also called attention, 
 for the first time, to the kaolinic rocks existing 
 in the neighbourhood of Limoges. His official 
 communication, as well as the result of his 
 experiments, had a great influence on the speedy 
 establishment of the manufacture of hard 
 porcelain. 
 
 GUIBERT (L.) and TIXIER (J.). L'art 
 retrospectif & FExposition de 
 Limoges. Monuments his- 
 toriques, Manuscrits, Orfevr- 
 erie, Emaux, Vitraux, Tapisseries, 
 Meubles. Limoges, Ducourtieux, 
 1889. 8, pp. 108; with 104 
 autogr. pis. 10 fcs. 
 
 " Ancient art at the Limoges Exhibi- 
 tion. Historical monuments, MSS., 
 gold and silver works, enamels, stained 
 glass windows, furniture." 
 
 Ceramic art, so largely represented in the 
 modern section of the exhibition, seems to have 
 been purposely excluded from the retrospective 
 collection. It is a disappointment not to find 
 in this volume any reproduction of the old 
 Limoges porcelain ; the whole ceramic exhibit 
 amounts to no more than five pieces. 
 
 GUIBERTUS (N.). Assertio de Murr- 
 hinis, sive de iisquse murrhino 
 nomine exprimentur, adversus 
 quosdam de iis minus recte 
 differentes. Francfurti, 1597. 
 12, pp. 91. 
 
 " Dissertation on the Murrhines, or of 
 the vessels called Murrhines, compared 
 with those that are less correctly called 
 by the same name." 
 
 GUIFFREY. Documents inedits sur 
 
GUI] 
 
 CERAMIC LITERATURE. 
 
 [GUT 
 
 les anciennes manufactures de 
 faience et de porcelaine. Paris, 
 1889. 8, pp. 23. (Keprint from 
 the Revue de I'artfrancais.) 
 
 " Inedited documents on the ancient 
 factories of faience and porcelain." 
 
 Contains the list of many official documents 
 relating to the manufacture of pottery. 
 
 - Antoine Clericy, ouvrier en 
 terre sigillee du roi Louis XIII. 
 1612-1658. Paris, 1891. 8. 
 (In Revue de Fart franqais.) 
 
 " Antoine Clericy, artificer in Terra 
 Sigillata to King Louis XIII." 
 
 GUILLAUME. Ecolede la manufacture 
 Nationale de Sevres ; programme 
 de 1'enseignement du dessin, 
 1875. 8, autogr., pp. 3. 
 
 " School of the Nat. Manuf . of Sevres. 
 Synopsis of the instruction in drawing." 
 
 A school of drawing has been established at 
 the manufactory of Sevres for the benefit of the 
 apprentices. The sculptor, Guillaume, director 
 of the school of the ' Beaux-Arts,' had drafted 
 the programme of the course which was to be 
 followed in the studies. 
 
 GUILLEMOT. Le Musee Ceramique 
 de Limoges. Limoges, impr. 
 Chatras, 1873. 8, pp. 56. 
 
 " The ceramic museum at Limoges." 
 
 GUILLERY (E.). Encyclopedic popu- 
 laire. Arts Ceramiques. Brux- 
 elles, 1854. 12, pp. 104; with a 
 fancy portrait of Palissy. 2 fcs. 
 
 " Popular cyclopaedia. Ceramic art." 
 
 A short treatise on ceramic manufacture 
 based on Brongniart's work. 
 
 GULLAND (W. G.). Chinese porcelain; 
 with notes by T. J. Larkin. 
 London, Chapman & Hall, 1898- 
 1902. Vol. i., pp. 270; with 
 485 half-tone illustrs. Vol. ii., 
 pp. 506, and 411 illustrs. 1, Is. 
 
 To exhaust what is practically inexhaustible 
 namely, to present some typical example of 
 ,all the varieties of technical processes and 
 decorative styles employed by the Oriental 
 potter for the manufacture and embellishment 
 of his ceramic wares appears to be the object 
 of these profusely illustrated volumes. There is 
 much in the letterpress that has reference to 
 the religion and the philosophy of the Chinese 
 very little concerning the history of porcelain 
 
 and the date or origin of the specimens de- 
 scribed. The classification, once more, follows 
 that of " Famille verte " and " Famille rose," 
 imagined by Jacquemart, with families of many 
 more colours introduced in addition. A long 
 chapter on Indian china based on the same 
 authority might have been dispensed with. 
 All connoisseurs in India now agree that por- 
 celain was never made in the country, and that 
 all the pieces affecting Indian shapes and decor- 
 ation were manufactured in China for the 
 export trade. 
 
 GULLICK (T. J.) and TIMES (J.). Painting 
 popularly explained. Painting 
 on pottery, porcelain, enamel, 
 etc., pp. 120-131. London, 1859. 
 8. 2nd ed., 1864. 
 
 A few pages on the history of porcelain 
 painting chiefly borrowed from Marryat's work. 
 
 GUMBEL (G. W. von). Ueber die 
 Griinerde von Monte Baldo. 
 (Grtinerde von Verona. Terra- 
 verda die Brentonico, etc.) 
 Miinchen, 1897. 8, pp. 50. 
 
 " Upon the green earth of Monte 
 Baldo." 
 
 GURL1TT. Ueber Thong efasse und 
 die Entwicklung ihrer Orna- 
 mentick. Mittheilungen der 
 anthropologischen Gesellschaft 
 in Wien. Wien, 1881. 8. 
 
 "Upon earthen vessels and the de- 
 velopment of their decoration. A com- 
 munication addressed to the Anthropo- 
 logical Society of Vienna." 
 
 GUTJAHR und KUPEKER. Modellsamm- 
 lungvon sehr reich ornamentirten 
 Kachelofen in deutscher Eenais- 
 sance. Leipzig, s.d. (recent). 
 Folio. 
 
 "Models of earthenware stoves richly 
 decorated in the German Renaissance 
 style." 
 
 GUNDLACH (J. F. von). Zur Geschichte 
 der chinesischen Porzellans. 
 Shanghai, 1888. 8. 
 
 " On the history of Chinese porcelain." 
 
 GUTMAM (K. F.). Die Kunstopferei 
 des 18 Jahrhunderts in Gross- 
 herzogtum Baden. Karlsruhe, 
 1906. 4, pp. 180 ; with 5 pis., 
 
 189 
 
HAA] 
 
 CERAMIC LITERATURE. 
 
 4 illustrs. in the text, marks. 
 15 m. 
 
 " The artistic pottery of the eighteenth 
 century in the Grand Duchy of Baden." 
 
 Historical notes and documents regarding 
 the following factories : I. Durlach, porcelain 
 and faience, 1723-1840 ; founded by J. H. 
 Wachenfeld. II. Baden-Baden porcelain works, 
 1771-1778, by L. Pfalzers. III. Tile and stone- 
 ware works, 1793 ; by Schrickel, Bar, and 
 Maklott. IV. Mosbach, faience, 1770, by 
 Pierre Berthevin. V. Minor faience works of 
 Dautenstein and Nonnenweier, 1784-1789. 
 
 H 
 
 HAAG (Ellg. et Em.)- La France pro- 
 testante ; ou vie des protestants 
 franais qui se sont fait un nom 
 dans 1'histoire. Paris, Cher- 
 buliez, 1857. 10 vols. 8. 
 
 " Protestant France ; or the life of the 
 French protestants whose names occur in 
 history." 
 
 Vol. viii. contains an article on Bernard 
 Palissy (pp. 69-97). He is considered as a 
 scientist and a philosopher, and also as a 
 potter ; but, above all; in the character of a 
 staunch Huguenot, and a martyr to his faith. 
 The influence of Rome is rendered accountable 
 for his life-long suffering, and ultimately for 
 his death in the Bastille dungeon. 
 
 HABBICHT (H.). Das ehrbare Topfer- 
 handwerk zu Eisenach. Eisenach, 
 H. Kahle, 1902. 8, pp. 64. 1m. 
 
 " The honourable potters' handicraft 
 in Eisenach." 
 
 HABERMAM (G.). Porzellan, Thon 
 undGlas Industrie. Beitrage zur 
 Geschichte der Gewerbe und 
 Erfindungen Oesterreichs. Wien, 
 1873/ 8. 
 
 " Porcelain, earthenware, and glass 
 industry. Materials towards the history 
 of these industries in Austria, and the 
 inventions made in the country in con- 
 nection with them." 
 
 A report on ceramics in the Vienna Exhibi- 
 tion of 1873. 
 
 HABERT-DYS. Fantaisies decoratives. 
 Paris, 1888. Fol.; 48 col. pis. 
 50 fcs. 
 
 Decorative sketches for the use of the por- 
 celain painter. Mr. Habert-Dys has published 
 several series of plates of the same order. 
 
 190 
 
 HABERT (TheopMle). La poterie an- 
 tique parlante. Monographic. 
 Interessant 1'Aube, la C6te d'or, 
 la Marne, la Haute-Marne, et 
 1'Yonne. Paris, Reinwald, 1893. 
 4, pp. li-226 ; with 37 lith. pis. 
 (5 in col.) 45 fcs. 
 
 " The antique speaking pottery. A 
 monograph relating to the Departments 
 of Aube, etc." 
 
 ' ' Antique speaking pottery " is rather an 
 unhappy choice of expression for giving an 
 accurate idea of the contents of this volume. 
 The term "antique" stands for Roman and 
 Gallo-Roman, a very restricted meaning ; the 
 word "speaking," which might make us expect 
 that it has been the author's aim to collect the 
 mottoes, devices, and sentences which the 
 ancient potter occasionally inscribed on his 
 work, simply refers to the vessels which bear 
 the name of the maker on them. Over fifteen 
 hundred stamps of Roman pot-makers, more or 
 less familiar to the student, are reproduced in 
 facsimile on the plates. To these are added 
 the sketch of a few vases and the reproduction 
 of some legionary seals stamped on Roman 
 tiles. An elaborate introduction sums up all 
 that has been said on the subject without 
 adding much to our previous knowledge. 
 
 - Rapport sur la de*couverte de 
 poteries a email plombifere de la 
 periode gallo-romaine, faite en 
 1884, k la Villa Vertilium (Ver- 
 tault, Cote d'Or). Chatillon s. 
 Seine, Leclere, 1887. 8. 
 
 "Discovery of glazed pottery of the 
 Gallo-Roman period at Vertault." 
 
 HABETS (JOS-). Notice sur quelques 
 marques de potiers trouvees a 
 Meerssen pres de Maestricht. 
 Mons, s.d. Pp. 7. 
 
 " A few potter's marks found at 
 Meerssen, near Maestricht." 
 
 HACK (A. F.). Porzellan, Fayence, 
 und andere Luxus Thonwaaren. 
 Wien, 1869. 8. 
 
 Exhibition report in Bericht iiber die Welt- 
 Ausstellung zu Paris, 1867, pp. 191, 227, 
 vol. iii. 
 
 HAFNER (A.). Das Hafnerhandwerk, 
 und die alten Oefen in Winter- 
 thur. Winterthur, 1876-77. 2 
 parts. 4, pp. 66 ; with 1 pi. in 
 heliotype. 6 m. 
 
HAG] 
 
 CERAMIC LITERATURE. 
 
 [HAL 
 
 " The potters' handicraft, and the 
 ancient faience stoves of Winterthur." 
 
 An additional contribution to a subject 
 already treated by C. Biilher and W. Lubke. 
 
 HAGEMANS. Ce'ramique grecque et 
 etrusque. Liege, 1856. 8; with 
 3 pis. 2 fcs. 
 
 "Greek and Etruscan ceramics." 
 
 A notice reprinted in the following work : 
 
 Un cabinet d'amateur. No- 
 tices archeologiques et descrip- 
 tion raisonnee de quelques monu- 
 ments de haute antiquite. Liege, 
 Gnuse, 1863. 8, pp. 509 ; with 
 16 pis., repres. 248 figs, partly 
 etched by the author. 5 fcs. 
 
 " An amateur's collection. Archaeo- 
 logical notices, and description of some 
 objects of great antiquity." 
 
 Greek and Etruscan ceramics, pp. 125-259. 
 Roman and Gallo-Roman ceramics, pp. 395-454. 
 Gallic ceramics, pp. 498-500. The Hagemans 
 collection is now in the town museum at Lie"ge. 
 
 HAINBACH (R.). Technik der Decori- 
 rung keramischer Waaren. Wien, 
 Hartleben, 1907. 8, pp. viii- 
 312 ; with 22 text illustrs. 7s. 
 
 Pottery decorating ; a de- 
 scription of all the processes for 
 decorating pottery and porcelain ; 
 translated from the German by 
 Ch. Salter. London, Scott & 
 Greenwood, 1907. 8, pp. vi- 
 252 ; with 22 illustrs. 7s. 6d. 
 
 A technical handbook dealing almost exclu- 
 sively with the preparation of glazes and cera- 
 mic colours ; it has nothing to do, as the title 
 might induce us to believe, with the artistic 
 side of pottery decoration. 
 
 HAINES (Flora E.). A keramic study. 
 A chapter on the history of half- 
 a-dozen dinner plates. Bangor, 
 Maine, U.S.A. 1895. 12, pp. 
 127. 5s. 
 
 All that a lady of inquisitive mind, fresh 
 from America, saw during the twenty-eight 
 days she spent in watching the processes of 
 pottery manufacture at the Brownfield Works 
 of Cobridge (Staffs.) is faithfully recorded in 
 this booklet ; together with an account of the 
 establishment of a " Potters' Guild " at the 
 same factory in 1892. Her admiration for the 
 trade mysteries that were disclosed to her is 
 
 unbounded. She evidently bestowed a small 
 share of attention upon the personal appearance 
 of the masculine portion of the operative staff ; 
 but not exactly to her satisfaction. Making a 
 comparison between the English workman and 
 that of her own country, she exclaims, "0! 
 the sun never shone on such adorable men as 
 
 HAKKY BEY (Collection).-Objets d'art 
 Arabes et Europeens. Cat. of 
 sale. Paris, 1906. 8. Faiences 
 Hispano-Moresques Nos. 1-109 ; 
 with 5 pis. Faiences Orientales 
 Nos. 110-423 ; with 11 pis. 
 (Curious plaque of the Holy 
 Virgin in Coptic faience.) 
 
 HAKLER. Schwabische Fliese. Ulm, 
 1862. Sm. 4, pp. 8 ; with 21 
 pis. 10 m. 
 
 " Suabian tiles." 
 
 From the examples contained in this album 
 we may infer that the ancient pavements of 
 Suabia rank with brick -work rather than with 
 the productions of the ornamental tile-maker. 
 They are unglazed slabs of coarse red clay, 
 incised or embossed with traceries of a rudi- 
 mentary character. A similar style of pavement 
 had been adopted in other countries from the 
 eleventh century. The specimens given in this 
 case were selected from those still extant in 
 the town of Ulm. Extracts from Ame's work, 
 and a few remarks on the backward conditions 
 of the tile-makers' industry in Germany, con- 
 stitute the letterpress. 
 
 HALL (Collection S. C.)- Catalogue of 
 sale. London, Phillips, 1870. 8, 
 pp. 18. 
 
 As editor of the Art Journal, S. C. Hall was 
 in constant communication with the English 
 manufacturers, whose contributions to the 
 International Exhibitions were reviewed in his 
 paper. In fact, his collection consisted chiefly 
 of the specimens that had been presented to 
 him. He appreciated them very highly, if 
 we may judge from the glowing description of 
 each item given in the catalogue. The lot 
 of Wedgwood pieces is prefixed with the words 
 " The following are believed by the owner to 
 be Old Wedgwood." 
 
 HALL (Hal.)- Notes on the tiles of 
 Tewkesbury Abbey. London, 
 1904. 8, p. 1 ; with 18 pis. 
 (Extract from The Ancestor.) 
 
 Mediaeval tiles mostly with coats-of-arms. 
 
 HALLE (J. S.). Praktische Kenntnisse 
 zur Verfertigung des englischen 
 Steinguts, der Fayence, und des 
 
 191 
 
HAL] 
 
 CERAMIC LITERATURE. 
 
 [HAM 
 
 achten Porzellans,so wie der For- 
 men, Gipsabgiisse und des Glass- 
 Porzellans. &ertin,W. Oehmigke, 
 1793. 4, pp. 46 ; with 1 pi. 6 m. 
 
 " Practical knowledge for manufac- 
 turing English stoneware, faience, and 
 true porcelain ; together with the method 
 of making moulds, plaster casts, and 
 glass-porcelain. " 
 
 The English earthenware of Wedgwood and 
 other Staffordshire potters was so much ap- 
 preciated in Germany that its importation was 
 causing much anxiety to German manufacturers. 
 Many of them soon endeavoured to produce a 
 good imitation of the foreign article. Treatises 
 purporting to disclose the secret of making the 
 new kind of pottery, which, on account of its 
 hardness, was misnamed " English stoneware," 
 presented consequently some chances of success. 
 The present one shows that the secrets if 
 secrets they were - were in no danger of being 
 vulgarised by theoretical books written by 
 pedantic lecturers who knew absolutely nothing 
 about the subject. An obvious lack of practical 
 knowledge, on the part of the writer, is 
 evinced all through the book, which is a mere 
 compilation from De Milly's and other French 
 technical works of the period. 
 
 HALLIFAX (C. J.). Monograph on the 
 pottery and glass industry of the 
 Punjab, 1890-91. Lahore, 1892. 
 Sm. fol., pp. 28; with 5 pis. 
 Another edition : London, 1893 ; 
 with 28 pis. (11 coloured). (In 
 the Journal of Indian Art.) 
 
 This report contains a list of the clays, sands, 
 salts, and coloured earths used in the Punjab 
 for the manufacture of pottery ; a description 
 of the native wheels and kilns ; a list of the 
 chief articles of earthenware made by the 
 potters ; and, lastly, a sketch of the social con- 
 dition of the workmen in the towns and country 
 villages. It is supplemented with a chapter on 
 the making of special earthen toys, the sale of 
 which is restricted to the occasion of the great 
 Hindu festivals. 
 
 HALSEY (R. T. H.). Pictures of early 
 New York on dark blue Stafford- 
 shire pottery. New York, Dodd, 
 Mead & Co., 1900. 8, pp. 340 ; 
 with 154 heliograv. representa- 
 tions of the pottery printed in 
 blue, and 3 col. pis. 10, and 
 20 on Japan paper. 
 
 Only a fanatic collector of Staffordshire pot- 
 tery printed with American views could enter 
 into the spirit which has instigated the admir- 
 able production of this handsome volume. To 
 all lovers of the ceramic art, in its highest 
 manifestations, it may appear that the few 
 
 192 
 
 special works previously published in the 
 United States were more than sufficient to 
 illustrate the subject. As to the expensive 
 substitution of heliogravure for the usual half- 
 tone process for the reproduction of such com- 
 mon-place specimens a luxury which is the 
 particular feature of the book one may question 
 whether, considering the small artistic merit of 
 the originals, such a trouble was worth the 
 cost. 
 
 Josiah Wedgwood, American 
 sympathiser and portrait maker. 
 New York, 1906. 8, pp. 16; 
 with 19 medallions printed in 
 colour. (In Scribner's Magazine.) 
 
 HAMILTON (Sir William). Etruscan, 
 Greek, and Roman vases from 
 the cabinet of Sir W. Hamilton. 
 . With description in English and 
 French by D'Hancarville. Naples, 
 1766-67. 4vols. Fol.; with 520 
 pis., vigns., initial letters, etc. 
 10. 
 
 2nd ed. Florence, Societe 
 Calchographique, 1800-3. Fol. 
 Text in Italian and French. 
 
 - Another edition, with plates 
 on a reduced scale, engr. by F. 
 A. David. Paris, 1785. 5 vols. 
 8. 40fcs. 
 
 The race is well-nigh extinct of the princely 
 antiquaries of the last century who so lavishly 
 spent their wealth in the classical districts of 
 Italy and Greece in the hope of gathering, in 
 return for their sacrifice, a harvest of antique 
 statuary and painted vases. This book is a 
 perennial monument to the memory of the 
 learned nobleman who published it with no 
 other object in view than to render a signal 
 service to art and archaeology. Great has been 
 the number of works published, later on, on the 
 subject of Greek vases, but this remains the 
 most magnificent of all. The plates, engraved 
 with the intention of supplying models to the 
 designer, and consequently slightly modernised 
 in the drawing, are not, unfortunately, always 
 as accurate as we should now require them to 
 be. They are drawn, nevertheless, in excellent 
 style, and do not by any means give a debased 
 idea of the beauty of the originals. 
 
 This was the first collection of vases formed 
 by Sir W. Hamilton ; it is now preserved in 
 the British Museum. His second collection 
 was published by W. Tischbein (see that 
 name). 
 
 HAMILTON (The Duke of). Catalogue of 
 the Collection. . . . Sold at 
 
CERAMIC LITERATURE. 
 
 [HAN 
 
 Christie's. London, 1882. 8, 
 pp. 234 ; with 75 photos. 1, 5s. 
 
 The sale lasted seventeen days, and realised 
 close on 400,000. The ceramic objects were 
 not catalogued in consecutive order. They 
 comprised very fine examples of all styles. 
 
 Hamilton Palace Collection. 
 Illustrated priced catalogue. 
 London, Remington, 1882. 4, 
 pp. 224 ; with text illustrs. 15s. 
 
 Published in French by the Librarie de I' Art. 
 The text follows that of the sale catalogue, 
 with the price realised by each No. and name 
 of purchaser added. The illustrations are bor- 
 rowed from L'Art and other French serials. 
 
 HAMMAN (Hermann). Briques Suisses 
 ornees de bas-reliefs du xiii e 
 siecle. Geneve, H. Georg, 1866. 
 4, pp. 34; 12 double lith. pis. 
 12 fcs. 
 
 - Du xiii au xvi siecle. Second 
 me'moire. Geneve, 1871. 4, pp. 
 32 ; 10 pis. 10 fcs. 
 
 "Swiss bricks with embossed orna- 
 mentation of the thirteenth century." 
 
 The word "bricks" here means large pieces 
 of terra-cotta, lintels, columns, capitals, and 
 other details of architectural decoration. These 
 curious remains of a style of architecture, of 
 which no standing example is now extant in 
 Switzerland, have been found scattered about 
 the neighbourhood of Lucerne. A certain 
 number were discovered buried in the soil, 
 but the larger quantity may still be seen im- 
 bedded in the masonry-work of comparatively 
 recent construction. The author, after having 
 diligently hunted up all that remains of these 
 bricks, and carefully sketched the best types, 
 has succeeded in tracing their origin. He has 
 clearly established that they come from the 
 Abbey of St. Urbain, near Lucerne, erected in 
 1259, and destroyed by fire in 1513. Contem- 
 poraneous chronicles report that, as stone was 
 not obtainable in the locality, the building 
 work was carried on by means of bricks, many 
 of which were embellished with elaborate and 
 artistic devices. The ruins of many brick 
 ovens discovered in the vicinity bear out the 
 truth of this statement. A few years after the 
 great fire the Abbey was rebuilt upon a new 
 plan and the materials of the ruins, carried 
 away by the neighbours, were utilised for 
 private purposes. This explains the presence 
 of these strangely ornamented bricks in the 
 walls and houses of the district. The embossed 
 subjects were obtained by impression in terra- 
 cotta forms ; hence the same subject is found 
 often repeated. Some of them illustrate the 
 popular romances of the time "The Wolf at 
 School," and " Reynard the Fox." Others bear 
 the heraldic devices of noble families of the 
 country. Many are decorated with monsters, 
 flowers, and strap work, in the style of the 
 
 13 
 
 thirteenth century, accompanied occasionally 
 with a lapidary inscription belonging to the 
 same epoch. 
 
 HAMMER (C.). Kort Ofversigt af 
 Christian Hammer Konst-och 
 Kultur - Historiska Samling. 
 Stockholm,, 1870. 8; with 228 
 photographs and 4 plates. 
 
 " A glimpse at the artistic and histori- 
 cal collection of Christian Hammer at 
 Stockholm." 
 
 Part of the collection of Christian Hammer, 
 a jeweller of Stockholm, adorned the sumptuous 
 apartments of the Villa Bystrom, in the Royal 
 Park of that town. It was one of the most 
 important private museums of Europe, and was 
 liberally thrown open to visitors by its possessor. 
 The general catalogue which included, besides 
 the pictures and other works of art, rare books, 
 engravings, coins, medals, etc., contained nearly 
 one hundred thousand Nos. 
 
 - Museum Christian Hammer 
 in Stockholm. Kunst-Sammlung. 
 Serie Irst. Sale at Cologne, Mai, 
 1892. Heberle. 4, pp. 134; 
 with 14 pis. in phototype, 1 pi. 
 of marks, and illustrs. in the 
 text. 
 
 Ceramic art is represented in this first part 
 of the sale catalogue by 447 Nos., and 5 fine 
 plates containing a large number of specimens 
 of pottery and porcelain of various origin. The 
 productions of the Swedish manufactory are 
 well reproduced on the plates, and the marks 
 are given in facsimile ; these marks give to 
 the catalogue a particular interest. 
 
 Part II., 4 1893 Ceramics, 412 Nos. and 
 one plate. Many examples of Marieberg, 
 Roerstrand, etc., manufacture. Part III 
 Swedish portraits. Part IV., 4 1894 Cera- 
 mics, 243 Nos. of various descriptions. 
 
 HAMMOND (Adam). Part I. The prac- 
 tical brick and tile book. Part 
 II. The rudiments of practical 
 brick-laying. Part III. The art 
 of practical brick cutting and 
 setting. London, 1890. 7th ed. 
 
 HANCOCK (E. C.). The amateur pot- 
 tery and glass painter, with di- 
 rections for gilding, chasing, 
 bronzing, and ground - laying. 
 Illustrated with chromo-litho- 
 graphs, facsimiles from the sketch 
 book of N. H. Y. Westlake, 
 F.S.A., and numerous woodcuts. 
 
 193 
 
HAN] 
 
 CERAMIC LITERATURE. 
 
 [HAN 
 
 With an appendix reprinted by 
 special permission of the Depart- 
 ment of Science and Art, South 
 Kensington. London, W. Allen, 
 1881. 4th ed. 5s. 
 
 Hancock's ' ' Amateur pottery painter " has 
 enjoyed a more permanent success than the 
 host of other handbooks published at the same 
 period, most of which are now forgotten. It 
 has run through four consecutive editions, and 
 is still recommended as a reliable guide. The 
 personal contributions of the editor are largely 
 supplemented by wholesale borrowing from pre- 
 vious publications. For instance, the instruc- 
 tions given to the student are almost a textual 
 reproduction of the " Lessonson china painting," 
 written by Frank Harris for the Pottery and 
 Glass Trades' Journal. Westlake has supplied 
 the notes on glass painting. The South Ken- 
 sington Museum Handbook on pottery and 
 porcelain is reprinted as an appendix, and the 
 volume ends with an account of Howell and 
 James' amateur painters' exhibition. 
 
 HANCOCK (E. C.)- China colours and 
 how to use them ; with illustra- 
 tions. London, 1880. 8. 
 
 Hancock is a coloiir maker at Worcester ; 
 this handbook, like the preceding one, contains 
 the price list of his products. 
 
 HANNONG (Joseph Adam, 1'aine). Reponse 
 de Sieur T. A. Hannong, Con- 
 seiller de Commerce de S. A. S. 
 Electorale palatine, manuf'acturier 
 en faience et porcelaine de Stras- 
 bourg et Haguenau. En refuta- 
 tion d'une lettre ecrite le 18 
 Aoust 1781 par Monsieur Chau- 
 mont de la Galiziaire, Conseiller 
 du Roi en tous ses conseils, in- 
 tendant d'Alsace, a Monsieur 
 Campan, chevalier de Saint- 
 Lazare, secretaire du cabinet de 
 la Heine, pour rendre compte & 
 Sa Majeste des affaires et con- 
 duite de ce manufacturier, des 
 quelles Sa Majeste avoit daigne 
 s'informer. Avec un abrege des 
 vexations et maux sans nombre 
 que 1'exposant, sa famille et ses 
 ouvriers essuient, depuis trois 
 ans, de la part de S. A. S. et E. 
 Mgr. le Cardinal de Rohan, Grand 
 Aum6nier de France. Suivie de 
 quelques pieces justificatives. 
 194 
 
 Impr. ^ Dourlach, 31 Decembre, 
 1781. Sq. 8, pp. 30; and pp. 
 xxvi of documents. 
 
 "The answer of Mr. T. A. Hannong, 
 trade councillor of S. A. S. the Elector 
 Palatine, faience and porcelain manufac- 
 turer at Strasburg and Haguenau. A 
 refutation of a letter written, August 
 18th, 1781, by Mr. Chaumont de la 
 Galiziaire, royal Councillor and Governor 
 of Alsace, to Mr. Campan, Knight of 
 Saint Lazarus, secretary to the Queen, to 
 report to the Queen upon the business 
 and the conduct of this manufacturer, 
 concerning which Her Majesty had kindly 
 asked to be informed. With an abridged 
 account of the molestations and number- 
 less evils that the exponent, his family, 
 and his workmen have had to suffer, 
 during the last three years, on the part 
 of S. A. S. and E. Mgr. Cardinal de 
 Rohan, Grand Almoner of France. Ac- 
 companied with vindicatory documents." 
 
 After having been, for a few years, director 
 of the Franckenthal factory, Hannong estab- 
 lished, on his own account, several faience and 
 porcelain works in the province of Al^fce. His 
 financial situation became extremely embar- 
 rassed. In 1779 his liabilities to the receiver 
 of the Strasbourg Bishopric amounted to 
 445,000 fcs. Unable to meet his engagements, 
 he was thrown into prison, upon the order of 
 the Cardinal Bishop de Rohan. The year after 
 he was liberated, having promised to pay in a 
 given time one half of the sum previously 
 claimed from him. But he could not comply 
 with the conditions of the agreement ; his 
 works were placed under sequestration and he 
 had to fly to Germany, where he ended his 
 days. His memoir has been reprinted in 
 Gerspach's Documents sur les anciennes faiences 
 franchises. 
 
 HANNOVER (E.). De Spansk-Mauriske, 
 og de forste Italienske Fayence. 
 . . . Kopenhagen, 1906. 4, 
 pp. 25 ; with 1 col. pi. and 21 
 illustrs. (Privately printed.) 
 
 "The Hispano-Moresque and. the early 
 Italian faience." 
 
 HANS. Terra sigillata. Ein Beitrag 
 zur Geschichte der griechischen 
 und romischen Keramik. Bonn, 
 1895. 4, pp. vi-139 ; with 6 pis. 
 and illustrs. (Reprint from 
 the Bonner Jahrb.) 
 
 " Terra sigillata. A contribution to 
 the history of Greek and Roman 
 ceramics," 
 
HAR] 
 
 CERAMIC LITERATURE. 
 
 [HAR 
 
 - Die arretinischen Vasen und 
 ihr Verhaltniss zur Augusteischen 
 Kunst. Bonn, 1898. 4, pp. 22 ; 
 with 4 pis. and 12 illustrs. 
 
 "The Aretian vases and their relation 
 to the Augustinian art." 
 
 HARDING (G. R.). A collection of 
 Italian majolica of the sixteenth 
 century on sale by G. R. Harding, 
 art dealer. London, 1902. Sq. 
 8, pp. 28 ; with pen and ink 
 sketches. 
 
 HARGREAYES and CRAVEN. Tile pave- 
 ments, geometrical and encaustic, 
 manufactured by Hargreaves & 
 Craven, Jackfield Works, near 
 Broseley, Salop. Imp. 4. 1869. 
 11 pis. in col. Lith. by Fleming 
 & Co., Leicester. 
 
 The first encaustic tiles made in the district 
 were produced at the Jackfield Works by 
 P. Stephan. Messrs. Hargreaves & Craven 
 continued the manufacture in the old works 
 for a few years, after which a limited company 
 was formed ; the factory was rebuilt and con- 
 siderably enlarged, and great development 
 given to the production of tiles of every 
 description. 
 
 HARPER (W. J.). Pottinge in ye 
 Oldene Tymes ; a reliable and 
 graphic description of the Staff- 
 ordshire Potteries in the seven- 
 teenth and eighteenth centuries. 
 Tunstall, Harper, 1899. 8, 
 pp. 31. 
 
 Under this title, the article written by Aikin 
 in his Forty miles round Manchester, and an 
 extract from a local almanac of 1795, have 
 been reprinted. 
 
 HARRIS (Frank). Report on Pottery. 
 
 London, Sampson Low, 1879. 
 8, pp. 32. (In the Society of 
 Arts' Artisans Reports on the 
 Paris Universal Exhibition of 
 
 1878.) 
 
 HARRIS (G. F.). The science of brick- 
 making; with some account of 
 the structure and physical pro- 
 perties of bricks. London, Mont- 
 gomery, 1897. 8. 
 
 HARRIS (W. S.). The Potter's Wheel, 
 and how it goes round in the 
 nineteenth century. Trenton, 
 N.J., Burroughs & Mountford, 
 s.d. (recent). 8, pp. 61 ; illustrs. 
 
 An account of a pottery manufactory at 
 Trenton, New Jersey, one of the most im- 
 portant centres of ceramic production in 
 America. 
 
 HARRISON (G.). Memoir of William 
 Cookworthy, formerly of Ply- 
 mouth, Devonshire, by his grand- 
 son (G. H.). London, 1864. 8, 
 pp. 207. 2s. 6d. 
 
 - A second appendix to the 
 memoir, mostly extracts from 
 the diary of Sarah Fox, nee 
 Champion. Birmingham, 1872. 
 8. 
 
 HARRISON (Miss J. E.) and MACCOLL (D. S.). 
 Greek vase paintings. A 
 selection of examples, with pre- 
 face, introduction, and descrip- 
 tion. London, Fisher Unwin, 
 1894. Fol., pp. 32 ; with 43 pis. 
 1, 10s. 
 
 An excellent selection of Greek vase paint- 
 ings, reproduced by the photo-block process, 
 from the rare and expensive works published 
 on the subject. While each of these works 
 gives, as a rule, the whole contents of one 
 particular collection, the present volume boasts 
 of offering only the cream of all public and 
 private museums. It is, on that account, 
 specially well adapted for the use of the artist 
 and the amateur. The rude ornamentation of 
 the archaic period ; the pictures signed with 
 the names of the vase painters whose works mark 
 the acme of artistic perfection ; the familiar 
 subjects through which one may gain an insight 
 into the private life of the Greeks, have been 
 chosen in preference, as representatives of the 
 various styles of the art. 
 
 Shortand unpretentious as it is, the letterpress 
 contains the latest results of the investigation 
 prosecuted by the young school of classical 
 archaeologists. From a purely historical and 
 technical point of view it may be recommended 
 as a fair epitome of modern knowledge. 
 
 HARSTER (W.). Die Terra sigillata 
 des Speierer Museum. Speier, 
 1896. 8, pp. 182; with text 
 illustrs. (Festschrift zur Begriis- 
 sung der deutschen anthrop. 
 Gesellschaft.) 6 m. 
 
 195 
 
HAR] 
 
 CERAMIC LITERATURE. 
 
 [HAR 
 
 "The sigillated pottery in the Spires 
 Museum." 
 
 -Designs 
 
 of 
 
 HARTLEY, GREENS & CO. 
 
 sundry articles of Queen's or 
 cream - coloured earthenware, 
 manufactured by Hartley, Greens 
 & Co. at Leeds Pottery; with a 
 great variety of other articles. 
 The same enamelled, printed, or 
 ornamented with gold to any 
 pattern; also with coats-of-arms, 
 cyphers, landscapes, etc., etc. 
 Leeds, 1783. 4, pp. 8 ; with 
 45 pis. 1st ed. 5. The sub- 
 sequent issues, 2. 
 
 One of the earliest pattern books published 
 in England by pottery manufacturers for the 
 use of their travellers, with illustrations of all 
 the articles produced by the firm. The cata- 
 logues brought out by Josiah Wedgwood in 
 1773 and following years, are a mere descriptive 
 list of his artistic productions, without any 
 plates, and cannot consequently be placed in 
 the category of pattern books. From 1783 to 
 1793 several editions of the Leeds catalogue 
 were printed, without any modification. In 
 tha issue dated 1794, the number of the plates 
 was increased to seventy-one, on which two 
 hundred and sixty-nine articles were repro- 
 duced ; the name of "Leeds Pottery" was 
 engraved on each plate, and the corresponding 
 price list was extended to twelve pages. The 
 pattern book was reprinted for the last time in 
 1815. Of this last issue many copies were still 
 remaining at the old works a few years ago ; 
 they were lately disposed of in the book trade, 
 and were at that moment easily obtainable. 
 But as the price lists and the general title had 
 been printed independently from the plates, 
 and not in sufficient quantity to accompany the 
 sets of engravings, these late copies are gener- 
 ally found without the title and the printed 
 description of the objects. These price lists, 
 now very rare, were printed in English, French, 
 German, and Spanish ; as the prices were sub- 
 ject to constant revision, prices are added with 
 pen and ink. They are computed by " dozens," 
 a way of reckoning used by the potters of that 
 time, but now difficult to understand. 
 
 HARTMAM (A.)- Catalogue des anti- 
 quite's. Poterie e'trusque, gre'cque 
 et romaine. Paris, 1899. 4, 
 pp. 19 ; with 5 pis. of Tanagra 
 figures. Cat. of sale. 
 
 HARTMAM (Carl). Handbuch der 
 Thon- und Glass Waaren Fabrik- 
 ation, oder vollstandige Beschrei- 
 bung der Kunst, Ziegel und 
 Ziegelsteine, thonerne Pfeifen, 
 196 
 
 weisses oder englisches Steingut, 
 Faience, echtes und Fritte Por- 
 zellan, ferner Tafel-Spiegel-Hohl- 
 Kristall und Flintglas zu verfer- 
 tigen, aus diesen verschiedenen 
 Materien Gegenstande der ver- 
 schiedensten Art darzustellen 
 und dieselben durch Malerei zu 
 verzieren. Berlin, Emelang, 1 842. 
 8, pp. xii-868 ; with 5 pis. 5 m. 
 
 " Handbook of pottery and glass manu- 
 facture, or complete description of the 
 art of making bricks, tiles, clay pipes, 
 white or English stoneware, faience, 
 real and fritted porcelain, glass, looking 
 glasses, crystal, etc., out of these materials 
 and how to execute objects of most varied 
 shapes, and decorate them with paint- 
 ings." 
 
 Die Thonwaarenfabrikation 
 in ihrem ganzen Umfange. Qued 
 linburg, 1850. 8; with 10 pis. 
 3 m. 
 
 "The pottery manufacture in all its 
 branches." 
 
 HARTT (Ch. F.). Notes on the manu- 
 facture of pottery among savage 
 races. Rio- de- Janeiro, 1875. 8, 
 pp. 70. 
 
 The Indians of Canada, and other aboriginal 
 tribes of North America, are all more or less 
 skilled in the making of coarse vessels of un- 
 glazed pottery. A detailed account of their 
 simple process of manufacture is given in this 
 paper. It shows a striking similarity to that 
 employed by the primitive inhabitants of 
 Europe. Indeed, reading about the way in 
 which the Indian proceeds to shape and fire 
 his hand-made pots, brings to our mind the 
 recollection of the method once in use among 
 the ancient Greeks and Romans, and still 
 essentially preserved in Spain and in other 
 countries where earthen jars of large dimension 
 are required by the agricultural population. 
 In North America the trade is often carried on 
 by the nomadic tribes. If it happens that the 
 locality in which they mean to settle for a time 
 and to find a market for their productions, does 
 not contain the kind of clay suitable for pottery- 
 making, they bring along with them a sufficient 
 supply of the material, and in this way they 
 are enabled to work on any spot where they 
 expect a big demand for their ware. To the 
 squaw is left the care of fashioning the pots ; 
 handling the vile clay being considered by the 
 men as a degrading labour. We find evidence 
 of the same custom having prevailed among 
 the early Britons and the warlike races of 
 northern Europe in prehistoric times. Their 
 
HAR] 
 
 CERAMIC LITERATURE. 
 
 [HAS 
 
 cinerary urns and other vessels bear the im- 
 pression upon the clay of the very small fingers 
 of the women by whom they were undoubtedly 
 made. All the improvements that the men 
 introduced gradually into the manufacture of 
 glass and the working of metals were never 
 adapted by the women to the making of pottery. 
 This explains the fact that whatever had been 
 the advance of the other branches of man's 
 industry, the rude earthen vessels remained 
 unchanged in their coarseness. In the tombs 
 of an early period which contained articles of 
 refined workmanship of glass and metals, the 
 same unseemly clay pot was always found 
 associated with them. 
 
 HARTWIG (P.)- - - Die griechischen 
 Meisterschalen der Bllithezeit 
 cles strengen rothfigurigen Stiles. 
 Berlin, Spelmann, 1893. 4, pp. 
 701 ; with 73 illustrs. in the text 
 and atlas fol. of 75 pis. 220 m. 
 
 " The masterpieces of the Greek tazzas 
 at the best period of the high style of 
 red-figured vases." 
 
 - Herakles and Eurytos and a 
 battle-scene upon some frag- 
 ments of a Cylix in the National 
 Museum at Palermo. London, 
 1891. 4, pp. 14; with 2 text 
 illustrs. (Reprint from the 
 Journal of Hellenic Studies, vol. 
 xii.) 
 
 - Phrixos mid eine Kentauro- 
 machie auf einer Schale der 
 Mitte des v Jahrhunderts. Leip- 
 zig, 1893. 4, with 1 pi. and 2 
 illustrs. (Festschrift fur Over- 
 beck.) 
 
 " Phrixos and a battle of Centaurs on a 
 tazza of the middle of the fifth century." 
 
 Die Anwendung der Feder- 
 
 fahnebei den griechischen Vasen- 
 malern. Berlin, 1899. 4; with 
 1 pi. and 6 illustrs. (Reprint 
 from the Jahrb.) 
 
 " The representation of the featherfan 
 by the Greek vase painters." 
 
 HARYEY (Walter). China painting; its 
 principles and practice. London 
 (1880?). 8. Is. 
 
 One of the handbooks published by the 
 Bazaar. 
 
 HASLEM (John). The old Derby china 
 factory : the workmen and their 
 productions. Containing bio- 
 graphical sketches of the chief 
 artist - workmen ; the various 
 marks used ; facsimiles copied 
 from the old Derby pattern 
 books ; the original price list of 
 more than 400 figures and groups, 
 etc., etc. London, G. Bell & 
 Sons, 1876. 4, pp. xvi-255 ; 
 with 11 pis. in colour. l,11s.6d. 
 
 Apprenticed as a painter to the Derby china 
 works in 1822, J. Haslem remained connected 
 all his life long with the factory where he had 
 learned the rudiments of his art. He removed, 
 still young, to London, for the purpose of 
 improving his talent, and soon acquired fame as 
 enamel portrait painter to the Royal family. 
 In his new path of life he never ceased to 
 collect specimens of Derby china, and to 
 gather information concerning their makers. 
 He had been sedulous in obtaining such rem- 
 nants of oral tradition as were still current 
 among old workmen and employees. In his 
 day he had become the best authority on all 
 questions relating to the old factory. In 1857 
 he had published in the Derby Reporter some 
 desultory notes on the subject which were, 
 frequently, turned to good profit by subse- 
 quent writers. The definitive work was so 
 patiently and so carefully prepared that, 
 when ready for the press, nothing more was 
 wanted to make it a complete and perfect 
 monograph. The anecdotic portion, which he 
 alone could have written, is particularly inter- 
 esting, while his description of the best types, 
 his warnings against imitations, and the reprint 
 of the price lists of groups and figures are of 
 great value to collectors. It is to be regretted 
 that Mr. Haslem did not illustrate the volume 
 with plates representing a few good groups or 
 painted vases in place of the commonplace 
 patterns of current decoration, which never 
 added anything to the glory of the Derby 
 works. 
 
 - A catalogue of china, chiefly 
 Derby, of enamels and other 
 paintings, etc., etc., the property 
 of Mr. John Haslem, of Derby. 
 Printed for private circulation 
 . by R. Keene. Derby, 1879. Sm. 
 4, pp. 68 ; with 5 photogr. pis. 
 containing numerous objects. 
 
 A bitter disappointment awaited Mr. J. 
 Haslem at the close of the Universal Exhibi- 
 tion of 1851. His work, so far unreservedly 
 admired at Court, did not receive any recogni- 
 tion from the jury of awards. He felt the 
 blow so keenly that he returned to Derby to 
 devote himself exclusively to collecting and to 
 literary work. Amongst other occupations he 
 
 197 
 
HAS] 
 
 CERAMIC LITERATURE. 
 
 [HAU 
 
 elaborated two handsomely illuminated MS. 
 volumes entitled A Record of Enamel Paint- 
 ing for H.M. Queen Victoria, from 1846 to 
 1857, in which his intercourse with royalty is 
 recorded from day to day ; his artistic successes, 
 and the injustice of which he thought himself 
 the victim, are reported at length. The cata- 
 logue of his collection was prepared with the 
 care he bestowed upon every work he under- 
 took. Each number is accompanied with 
 annotations illustrating the progress of manu- 
 facture, or with gossiping particulars about 
 the painters, most of whom he had known 
 personally. 
 
 HASLEM (Collection of J.). Catalogue 
 
 of sale. Derby, 1884. Sm. 4. 
 
 The catalogue comprised 304 Nos. The two 
 MS. volumes described above were included in 
 the sale. A biographical notice of the collector 
 is prefixed to the catalogue. 
 
 HATTON (J.). Twyfords : a chapter 
 in the history of pottery. Lon- 
 don, Virtue & Co., 1898. Obi. 
 4, pp. 48 ; with 22 half-tone pis. 
 and 3 text illustrs. 6s. 
 
 To Mr. Thos. W. Twyford is chiefly due the 
 introduction and development, in Staffordshire, 
 of the manufacture of earthenware applied to 
 sanitary purposes. Several important firms 
 are now fully occupied with the making of 
 sanitary ware, but the manufactory established 
 at Hanley by Mr. Twyford has remained at 
 the head of the industry. A brief account of 
 the successive improvements which have placed 
 this speciality in the position it occupies among 
 the productions of the Potteries ; a description 
 of the technical processes employed at the works, 
 and a few remarks on the present conditions of 
 the workpeople, render this monograph of great 
 value to those interested in the study of the 
 advance of modern manufacture. 
 
 HAUDKPER DE BLANCOURT.-L'Art de 
 la Verrerie, ou Ton apprend a 
 faire le verre, le cristal et 1'email ; 
 la maniere de faire les perles, les 
 pierres precieuses, la porcelaine 
 et les miroirs ; la methode de 
 peindre sur le verre et en email ; 
 de tirer la couleur des metaux, 
 mineraux, herbes et fleurs. Paris, 
 1697. 2nd ed. Augmentee d'un 
 traite des pierres precieuses 
 Paris, 1728. 2 vols. 16, pp 
 328-254 ; with pis. of kilns and 
 furnaces. English translation 
 London, D. Brown, 1699. 12. 
 10s. 
 
 "The art of glass-making, in which 
 198 
 
 are shown the methods of making glass, 
 crystal, arid enamel ; imitating pearls 
 and precious stones ; making porcelain 
 and mirrors ; painting on glass and in 
 enamel ; and obtaining colours from 
 metals, minerals, herbs, and flowers." 
 
 Enamels and vitrifiable colours have been 
 used from time immemorial by the glass- 
 maker and the goldsmith ; but the secret of 
 their composition was jealously kept by the 
 members of the crafts. Such colours were 
 much valued by the potters, and the faience 
 and porcelain painter who found in them all 
 the pigments they required for the decoration 
 of the ware. In connection with the immense 
 development of the production of pottery 
 painted in bright colours, treatises on colour- 
 making began to be brought out at the end of 
 the seventeenth century, which pretended to 
 render the potter and the ceramic artist inde- 
 pendent of the enameller, to whom they had so 
 far been indebted for their materials. J udging 
 from the present work, too great a reliance 
 could not be placed on the promises contained 
 in the titles of such treatises. Recipes are 
 given in plenty ; but the operations to be per- 
 formed are described in such an obscure manner 
 that the success of an experiment conducted 
 according to the instruction set down by the 
 author always appears more than doubtful. 
 
 The chapter on Porcelain evinces the com- 
 plete ignorance which prevailed, at the time, 
 respecting its composition and manufacture. 
 No distinction is made as to the constituent 
 elements of the real porcelain imported from 
 China and Japan and the faience of France, 
 Holland, and Italy, which are all ranged under 
 the same heading. The secret of making " the 
 finest porcelain that can be obtained " is given 
 as follows : 
 
 "Take for this paste all sorts of sea- shells, 
 the whitest and most transparent you can find, 
 pound them in a marble mortar, and pass the 
 powder through a sieve. To give it the required 
 plasticity dissolve an ounce of gum in a bucket 
 of water, and add to it a small quantity of 
 quicklime ; mix the shell powder with this 
 water, and you shall have a paste with which 
 you can form vases," etc. 
 
 The English translation of 1699 has been 
 reprinted by the Pottery Gazette, London, 
 1892. 
 
 HAUENSCHILD (H. ). Litteraturbericht 
 fur d. Thonwaaren-, Kalk-, und 
 Gyps-Industrie, 1884-85. Berlin, 
 1886. 
 
 " Report on the publications relating 
 to the earthenware, lime, and gypsum 
 industries." 
 
 HAUPT (A.)- Die Baukunst der Re- 
 naissance in Portugal von den 
 Zeiten Emmanuel's des Gliick- 
 lichen bis zu dem Schlusse der 
 spanischen Herrschaft. Frank- 
 furt a. M., 1890. 8. 18 m. 
 
HAU] 
 
 CERA MIC LITER A TUBE. 
 
 [HAV 
 
 "The Renaissance architecture in 
 Portugal from the time of Emmanuel 
 the Fortunate up to the end of the 
 Spanish domination." 
 
 Vol. I. contains an article on Portuguese 
 tiles with 12 illustrs. 
 
 - Backsteinbauten der Renais- 
 sance in Norddeutschland. Ber- 
 lin, s.d. Pp. 12; with 25 pis. from 
 pen and ink sketches. 25 m. 
 
 " Brickbuilding of the Renaissance 
 period in North-Germany." 
 
 HAUPTMANN (.) Constructionen von 
 Gegenstanden aus gebranntem 
 Thon. JF/ew, Graeser, 1898. Fol., 
 p. 1 ; with 14 lith. pis. 12 m. 
 
 " Construction of various works in 
 terra-cotta." 
 
 Working drawings for the building of stoves 
 with bricks, tiles, and terra-cotta. Published, 
 under the patronage of the Austrian govern- 
 ment for the use of the national schools and 
 the practical builders. Mr. E. Hauptmann is 
 director of the School of Ceramics at Bechner. 
 
 HAUS (G. G-). Dei vasi greci comune- 
 mente chiamati etruschi, delle lor 
 forme e dipinture, dei nomi ed 
 usi loro in generale, etc. Palermo, 
 dalla reale stamperia, 1823. Sm. 
 4, pp. 90 ; with 1 pi. of forms. 
 4 fcs. 
 
 "The Greek vases commonly called 
 Etruscan ; their shapes and paintings ; 
 their names, and the uses to which they 
 were applied in general." 
 
 On his being appointed curator of the Royal 
 Museum of Naples, Haus published this essay 
 which was to serve as an introduction to the 
 catalogue of the Greek vases he intended to 
 write. 
 
 HAUSER (A.)- Das Studium antiker 
 Formen fur der Porcellanmanu- 
 factur. Wien, 1872. 4, pp. 7. 
 
 "The study of antique forms applied 
 to Porcelain manufacture." 
 
 HAUSER (F.) Eine Sammlung von 
 Stilproben Griechische Keramik. 
 Berlin, 1896. 8; with 33 illustrs. 
 (Reprint from the Jahrbucher.) 
 
 "A collection of representative ex- 
 amples of the various styles of Greek 
 ceramics." 
 
 Description of 53 fragments of painted vases. 
 
 HAUSLEITER UND EISENBEIN. Muster 
 Sammlung von Kachel Oefen. 
 Frankfurt a. M., s.d. (recent). 
 Fol.; 37 pis. 
 
 "Collection of models of earthenware 
 stoves manufactured by Hausleiter and 
 Eisenbein." Pattern book. 
 
 HAUSOULLIER (B.). Quomodo sepul- 
 craTanagraei decora verint. Paris, 
 Thorin,1884. 8, pp. iv-110; with 
 7 pis. 
 
 " How the Tanagrians used to adorn 
 the sepulchres." 
 
 From the examination of the figures dis- 
 covered within the last few years in the 
 Bseotian necropolis, Mr. Hausoullier comes to 
 the conclusion that very few belong to the 
 archaic period, amongst those which represent 
 mythological personifications. The greater 
 number of figures which give representations of 
 common life, date from the time of Alexander 
 the Great to the end of the fourth century B.C. 
 There is little doubt that they were made by 
 Tanagra artists, with Tanagra clay, and not 
 imported from Athens, as had often been 
 asserted. 
 
 HAUSSMANN (J. F. L).-Commentatio 
 de confectione vasorum anti- 
 quorum nctilium, quse vulgo 
 etruscae appellantur. Gottingw, 
 1823. 4, pp. 34. 3s. 
 
 " Essay on the manufacture of the 
 ancient fictile vases commonly called 
 Etruscan." 
 
 HAUTEFEUILLE (E.). Note sur 1'Aven- 
 turine artificielle. Paris, 1861. 
 4, pp. 8. (Reprint from the 
 Bulletin de la Societe d y Encour- 
 agement. 2 fcs. 
 
 BAYARD (Henry). Objets d'art et de 
 curiosite tires des grandes col- 
 lections hollandaises. Faiences, 
 etc., exposees a Amsterdam en 
 1873. Haarlem, 1873. 4, pp. 
 184; with 3 pis. 10s. 
 
 " Catalogue of the works of art and 
 curiosities, drawn from the great collec- 
 tions of Holland. Faiences, etc., exhibited 
 at Amsterdam in 1873." 
 
 To each section of the catalogue is prefixed 
 a historical introduction. Faience, porcelain, 
 stoneware, pp. 56-78. 
 
 199 
 
HAV] 
 
 CERAMIC LITERATURE. 
 
 [HAV 
 
 HAYARD (Henry). Catalogue raisomie 
 des objets d'art et de curiosite 
 composant la collection de W. 
 Gr. E. van Komondt, d'Utrecht. 
 La If aye, A. Thieme, 1875. 4, 
 pp. 169 ; with 4 etched pis. by L. 
 Flameng and van Kesteren. 12s. 
 Catalogue of sale. 
 
 This catalogue, in which ceramic art is well 
 represented, contains, however, only eleven 
 specimens of Dutch faience. It is true that 
 they are of the highest order ; the Delft violin, 
 the large coffee pot, or fountain, both cleverly 
 etched by Flameng, are real masterpieces of 
 the kind. 
 
 Catalogue chronologique des 
 
 faiences de Delft composant la 
 collection de J. London. La 
 Haye, 1877. 4, pp. 82; with 
 1 photogr. pi., 2 etchings by 
 Flameng, 9 text illustrs. by 
 Groutzwiller, and marks. Cata- 
 logue of sale. 20s. 
 
 "The Loudon collection of Delft faiences 
 catalogued in chronological order." 
 
 One of the curiosities of this collection was 
 a large dish, known to be one of the earliest 
 works made in the town of Delft. The 
 painting, representing the "Last Judgment," 
 contains no fewer than four hundred figures. 
 It is signed at the back, TOME. S.W.A., 
 which Mr. Havard construes as the mark of 
 an English potter named Tomes Jansz (Tom 
 Jones ?). The man came to Holland as one of 
 a troop of soldiers raised by Captain Hamwout. 
 He settled at Delft, where he entered his name 
 in the register of the St. Luc Guild, with the 
 note, "Born beyond London, in England." 
 The introduction of this catalogue outlined the 
 great work of Havard, on the faience of 
 Holland, still in preparation. 
 
 De niewve Fabrick van het 
 
 Porselein van Sevres. 1877. 18, 
 pp. 8. (Extr.) 
 
 "The new buildings of the porcelain 
 factory of Sevres." 
 
 Histoire de la faience de Delft; 
 
 ouvrage enrichi de vingt-cinq 
 planches hors-texte et de plus de 
 quatre cents dessins, facsimile, 
 chiffres, etc., dans le texte par 
 Leopold Flameng et Charles 
 Goutzwillier. Chromolitho- 
 
 graphies par Lemercier. Paris, 
 E. Plon, 1878,. 4. 50 fcs. 
 
 200 
 
 " History of the faience of Delft, etc." 
 
 The manufacture of painted faience is in- 
 contestably one of the glories of industrial art 
 in Holland. Yet for long no one in the country 
 seemed to have felt much concern about its origin 
 and development. MSS. records of the old craft 
 were not wanting, but no Dutch historian had 
 ever thought it expedient to gather, in a printed 
 form, a mass of documents quite sufficient to 
 illustrate a complete history of the Delft 
 potters. Havard has, at last, filled the gap. 
 Although lie writes in the French language, 
 M. H. Havard was born in Holland ; no other 
 than a Dutchman could expect to cope with 
 the difficulties presented by the task. M aterials 
 had to be collected from original sources ; 
 many registers and deeds, bearing on the 
 subject, were to be discovered in local archives 
 and libraries, and the reading of their obsolete 
 wording made the labour all the more arduous ; 
 finally, the information obtained had to be 
 checked with the numerous examples preserved 
 in the public and private collections of Europe. 
 No assistance could be expected from the short 
 and desultory articles introduced in the general 
 ceramic histories ; in dealing with these latter 
 the author had nothing else to do than to 
 point out and rectify the gross misstatements 
 which had been circulated by accredited writers. 
 In short, if this may be considered as the first 
 reliable book published upon the faience of 
 Delft, it may also be added that, judging from 
 the thorough and efficient manner in which it 
 seems to settle all doubts and answer all 
 queries, it bids fair to remain the classical 
 authority on the subject. 
 
 The establishment of the first faience manu- 
 factory in the town of Delft, a fact upon which 
 idle conjectures had been recklessly ventured, 
 is now indubitably fixed at the year 1600. 
 From that moment the industry entered on a 
 course of constant and rapid improvement. 
 The author makes us follow step by step the 
 march of progress. Successive styles and new 
 modes of decoration are described and illus- 
 trated by excellent reproductions of the best 
 types. The registers and other papers preserved 
 by the old Guild of St. Luc to which the 
 manufacturers and the painters were affiliated 
 have yielded a true account of the uses and 
 customs of the craftsmen, and of the conditions 
 under which work was prosecuted. It forms a 
 valuable addition to the history of the trade 
 corporations in the seventeenth century. No 
 better plan could have been devised to make 
 us acquainted with the processes of manufacture 
 than to translate for our benefit the treatise 
 upon the making of faience and earthenware, 
 written in Dutch by Gerrit Paape in 1794. 
 
 The second half of the volume constitutes in 
 itself a mine of documentary information, which 
 the collector will always consult with benefit. 
 It contains no less than 763 biographical notices, 
 accompanied, in all cases when it has been found 
 practicable, by the trade mark, the signature, 
 or the reproduction of one of the best works of 
 the potter to whom it refers. 
 
 For its technical merits, purity of glaze and 
 brilliancy of colours, for spirited execution and 
 decorative effect, the painted faience of Delft 
 is equal and, in some cases, superior to any 
 other. Yet it is only within the past few 
 years that the ceramic collector has shown 
 
CERAMIC LITERATURE. 
 
 [HAV 
 
 himself fully awake to a sense of its beauty 
 and value. 
 
 A second and enlarged edition has been 
 published, Amsterdam, 1909. 
 
 - La ceramique. Fabrication, 
 Histoire. Paris, Delagrave, 1 894. 
 8. 2 parts of, together, pp. 304 ; 
 with 180 text illustrs. by M. 
 Gouin. 
 
 "The ceramic art Manufacture. 
 History." 
 
 In the first part, which purports to treat of 
 technology, the processes of manufacture are 
 hurriedly dismissed to make room for purely 
 sesthetical considerations upon the potters' art, 
 the kind of shapes and the style of decoration 
 best adapted for ceramic productions. The 
 second part is a well digested compilation of 
 all the latest works upon the history of pottery 
 in all countries. 
 
 HAYARD (H.) and YACHON (I.). Les 
 manufactures nationales. Les 
 Gobelins, la Savonnerie, Sevres, 
 Beauvais. Paris, Decaux, 1889. 
 Imp. 8 ; with 78 woodcuts. 
 (Sevres, pp. 331-560.) 25 fcs. 
 
 " The national manufactories. The 
 Gobelins, the Savonnerie, Sevres, Beau- 
 vais." 
 
 Facts, dates and names, a correct synopsis 
 of events, are all that should be asked from the 
 historian of a national manufactory, the pro- 
 ductions of which are so well known as those 
 of Sevres. This is precisely what we find in 
 the historical portion of this excellent mono- 
 graph. We cannot blame an author, who meant 
 to deal rightly with an establishment so essen- 
 tially official in its constitution, for having 
 written out his account in a rather official and 
 eulogistic form. Besides, it is right that a 
 well authenticated work should oppose its 
 sedate and precise statements to the repeated 
 onslaught of the non-disinterested detractors 
 of a state-supported manufactory, periodically 
 inserted in the French press, clamouring for 
 its immediate suppression. But the traces 
 of official optimism are less acceptable when 
 the writer, assuming the part of a critic, enters 
 into private considerations respecting the 
 present conditions of the national establish- 
 ment. This influence is noticeable in the last 
 chapters of the history, which bring it up to 
 the present day. The importance of the results 
 obtained by the preceding directions is un- 
 accountably passed over ; great stress is laid, 
 on the other hand, upon the excellent tendencies 
 and the experimental labours of the present 
 one, as though we were expected to form an 
 opinion upon their respective merits from 
 insidious comparisons. Every connoisseur 
 acquainted with the productions of the manu- 
 factory of Sevres during the last sixty years 
 will agree with us when we say that the epoch 
 
 in which, under Ebelmen and Regnault, the 
 deplorable taste of the previous period was 
 replaced by the artistic creations of a staff of 
 painters, sculptors, and designers, such as no 
 other industrial establishment has ever been 
 able to associate together, deserved better than 
 a short paragraph in which its mention is 
 briefly recorded. 
 
 HAYILAND & CO. Fabrique de porce- 
 laines a Limoges. Fabrique de 
 faiences d'art. Paris - Auteuil 
 Exposition Universelle de 1878. 
 Paris, impr. Quantin, 1878. 4, 
 pp. 80 ; with num. illustrs. in 
 the text. 
 
 " Haviland & Co.'s porcelain factory at 
 Limoges, and art-faience works at Paris- 
 Auteuil. International Exhibition, Paris, 
 
 1878." 
 
 A catalogue of the products of the above 
 factories, with price-lists in French, English, 
 German, and Spanish. Copiously illustrated 
 with clever pen and ink sketches by H. Tous- 
 saint. Published on the occasion of the Paris 
 exhibition in 1878. This is only one of the 
 many catalogues brought out by Haviland's 
 firm. 
 
 The White House porcelain 
 
 service. Designs by an Ameri- 
 can artist, illustrating exclusively 
 American fauna and flora. New 
 York, 1879. 8, pp. 88; with 
 illustrs. in the text. 
 
 Full description of a service manufactured 
 for the White House, upon the order given by 
 Mrs. R. B. Hayes in 1879, by Messrs. Havi- 
 land & Co., of Limoges, France. Every piece 
 bears a different subject painted after the 
 design of J. B. R. Davis, of New York. 
 
 HAYILAND (Ch. Ed.)- Les manufactures 
 nationales et les arts du mobilier. 
 Pans, Quantin, 1884. 8, pp. 38. 
 For private distribution. 
 
 "The national factories and decorative 
 arts." 
 
 In the shape of letters addressed to Mr. 
 Lauth, director of the National factory of 
 Sevres, Mr. Haviland, one of the leading 
 French manufacturers, ventilates once more 
 the grievances under which private industry 
 was supposed to suffer from the unfair com- 
 petition created by state-supported manu- 
 factories. The writer dwells upon the intro- 
 duction in the national establishment of a 
 " porcelaine nouvelle," a new body, which was 
 said to be superior to anything done before ; 
 and he complains, in the name of the trade, 
 that no one has been so far allowed to see the 
 results obtained in that direction. 
 
 201 
 
CERAMIC LITERATURE. 
 
 [HEI 
 
 HAYDEN (I.). Royal Copenhagen 
 porcelain at the Wolverhampton 
 Exhibition, 1902. Sq. 32, pp. 
 14 ; with 2 col. pis. and text 
 illustrs. 5s. 
 
 - Chats on English china. Lon- 
 don, Fisher Unwin, 1904. 8, pp. 
 xxiii-287 ; with 1 col. pi. and text 
 illustrs. 5s. 2nd. ed., 1906; 
 3rd ed., 1909. 
 
 (Reprint of articles on English china and 
 earthenware originally published in Our Home.) 
 
 HAYSCHMANN (A. B.). Bernard Palissy 
 und Francis Bacon. Leipzig, 
 Weicher, 1903. 8, pp. 231; 
 portrait. 5s. 
 
 Bernard Palissy as a social reformer. 
 
 HAZELIUS (A.)- Guide to the collec- 
 tions of the Northern Museum 
 in Stockholm. Published by A. 
 Hazelius. Translated by Isabel 
 C. Derby. Stockholm, 1889. 8, 
 pp. 52 ; with 5 plans and 89 
 illustrs. 
 
 French translation by J. H. Kramer. 
 
 HEATH (A.) and MELLOR (Dr. J. W.)- The 
 action of heat on binary mixtures 
 of Felspar, Flint, and china clay. 
 8, pp. 20; with 29 figs. (Re- 
 print from the Transactions of 
 the English Ceramic Society, 
 1907-08.) 
 
 HEATHER. The Heather Brick and 
 Terra-cotta Works, Ashby de la 
 Zouch. London, 1889. Sm. fol. 
 price list ; with 22 lith. pis. 
 
 HECHT (Hermann). Untersuchungen 
 liber einige zwischen Porzellan- 
 und Feldspath-Steingut beste- 
 hende Beziehungen. Berlin, 
 Thonindustrie-Zeitung, 1897. 8, 
 pp. 23. 
 
 " Researches upon the relations exist- 
 ing between porcelain and felspar stone- 
 ware." 
 202 
 
 HEDINGER (A.)- Neue keltische Aus- 
 grabungen auf der schwabischen 
 Alb. 1900-1901. Braunschweig, 
 Vieweg, 1903. 4, pp. 15 ; with 
 23 illustrs. of cinerary urns. 5 m. 
 
 "The latest Celtic excavations in the 
 Suabian Hills." 
 
 HEFNER (J. v.) and WOLF (J. W.).-Die 
 Burg Tannenberg und ihre Aus- 
 grabungen. Frankfurt a. M., 
 1850. 4, pp. 95; with 10 pis. 
 
 5 m. 
 
 "Tannenberg Castle and its excava- 
 tions." 
 
 This castle, situated between Darmstadt and 
 Heidelberg, was razed to the ground in the 
 year 1400 ; all the objects found in the excava- 
 tion are therefore anterior to the fifteenth 
 century. Plate I. gives three patterns of 
 unglazed tiles with incised ornamentation. 
 Plate V. contains a selection of earthen jugs of 
 plain shape, glazed with brown, yellow, and 
 green. 
 
 HEFNER (J. YOU). Die romische Topf- 
 erei in Westerndorf. Miinchen, 
 1862. 8, pp. 96 ; with 4 fold, 
 pis. 4 m. (Extr. from Ober- 
 bayerischen Archives?) 
 
 " The Roman pottery in Westerndorf." 
 Although the author has based his observa- 
 tions almost exclusively on the result of the 
 excavations made at Westerndorf, district of 
 Rosenheim, since 1807, his work may be con- 
 sidered as one of the best and most complete 
 treatises on the manufacture of Roman pottery. 
 For the use of the student who may desire to 
 supplement the information contained in this 
 excellent monograph, he has supplied an 
 exhaustive bibliography of the works and 
 articles published in the archaeological journals 
 of all countries, which refer to the subject. 
 
 HEGEMANN (H.). Die Herstellung des 
 Porzellans. Erfahrungen aus 
 dem Betriebe. Berlin, 1904. 8, 
 pp. viii-428 ; with 119 illustrs. 
 
 6 m. 
 
 "The making of porcelain, from the 
 experience obtained in the practice of 
 the art." 
 
 HEIDELOFF (C.)- Musterwerke aus 
 des Niirnberger Bauhiitte fur 
 Hafner und Topfer. Nurnberg, 
 1851. 4; with 6 engr. pis. 
 
CERAMIC LITERATURE. 
 
 [HEN 
 
 "Models of decoration from private 
 houses in Nuremberg intended for the 
 use of stove and pot-makers." 
 
 HE1M (Collection Max). Cat. of sale. 
 
 Brunettes, 1899. 8. 
 
 Ancient stoneware, Nos. 140-378. 
 
 HEIN (F.). La peinture sur porce- 
 laine. Nouveaux motifs de de- 
 coration. Paris, Calavas, s.d. 
 Fol. ; 24 pis. in col. 
 
 " China painting. New models of 
 decoration." 
 
 HEINECKE (Dr. A.).-Neuere Oefen der 
 Konigl. Porcellan-Manufactur zu 
 Charlottenburg. Berlin, 1897. 
 8, pp. 23 ; with 28 illustrs. 1 m. 
 
 "The new ovens of the Royal porce- 
 lain manufactory of Charlottenburg." 
 
 Dr. A. Heinecke is director of the Charlotten- 
 burg manufactory. 
 
 Ueber das Brennen von 
 Porzellan. Berlin, Tonindustrie 
 Zeitung, 1908. 8, pp. 20. 
 
 " On the firing of porcelain." 
 
 HEINTZ (A.). Die Thonwaaren-In- 
 dustrie auf der Pariser Weltaus- 
 stellung, 1878. Berlin, 1880. 8. 
 
 " The earthenware industry in the 
 International Exhibition, Paris, 1878." 
 
 HEISS (A.)- Pl^t celtiberien en terre 
 cuite decouvert a Segovie. Paris, 
 Levy, 1888. Fol., pp. 11 ; with 
 1 photogr. pi. (Reprint from the 
 Gaz. Arch.) 
 
 " A Celtiberian plate in terra-cotta 
 discovered at Segovia." 
 
 This plate, of unique description, bears an 
 inscription in Celtic characters. The inscrip- 
 tion cannot be translated, and the piece is, 
 by many archaeologists, considered as a Spanish 
 forgery. 
 
 HELBIG (M. W.). Les vases du Dipy- 
 lon et les Naucraries. Paris, 
 Klincksieck, 1898. 4, pp. 37; 
 with 5 figs. 2 fcs. 
 
 "Vases of the Dipylon and Naucraries." 
 
 Antique vases, discovered near the Dipylon 
 of Athens, decorated with archaic representa- 
 tions of games and combats. Their style of 
 decoration constitutes a special class in the 
 history of Greek vases. 
 
 Les cavaliers Atheniens. 
 Paris, 1902. 4, pp. 112; with 
 38 illustrs. from Greek vase 
 paintings. 5 fcs. 
 
 " Athenian horse riders." 
 
 HELBING (Anon.)- Collection of Greek 
 vases, terra-cottas, etc. Miinchen, 
 1899. 4, pp. 21 ; with 4 pis. 
 Catalogue of sale. 
 
 HENDERSON (John). Works of art in 
 pottery, glass, and metal in the 
 collection of John Henderson, 
 M.A., photographed and printed 
 by Messrs. Cundall & Fleming, 
 for private use. London, 1868. 
 Fol.; with 20 photogr. pis. 2. 
 
 Ceramic objects are arranged in groups. 
 Greek vases, 2 pis. ; Hispano-Moresque, 1 pi. ; 
 Majolica, 4 pis. ; Persian and Rhodian, 4 pis. ; 
 Palissy, etc., 1 pi. ; Chinese and Japanese, 
 3 pis. Each plate is accompanied with a short 
 descriptive notice. 
 
 - Descriptive notes on the clas- 
 sical vases in the Henderson 
 collection, Marischal College, 
 Aberdeen. With a short notice 
 by the donor. Aberdeen, 1881. 
 4, pp. 25. 
 
 HENNICKER (John). -Two letters on 
 the origin, antiquity, and history 
 of Norman tiles, stained with 
 armorial bearings. London, 1 796. 
 8, pp. 114 ; with 3 pis. repre- 
 senting 20 tiles. 
 
 The armorial-bearing tiles described in these 
 letters belonged to a pavement, now . partly 
 destroyed, which adorned the state rooms of 
 St. Stephen Abbey, or " Abbaye aux hommes" 
 at Caen, built in 1077 by William the Con- 
 queror. Although local traditions and ancient 
 chronicles agree in considering these tiles as 
 containing the scutcheons of the noble families 
 which accompanied William, Duke of Nor- 
 mandy, in his expedition, the date of their 
 making cannot correspond with that of the 
 building of the Abbey. One of these tiles bears 
 the Royal Arms of France, adopted by St. 
 Louis, and it is well known that armorial bear- 
 ings were not in use before the crusades ; the 
 pavement cannot be, therefore, anterior to the 
 thirteenth century. The scutcheons are intro- 
 duced in the borders of a vast composition, the 
 centre of which is occupied by the tracery of 
 an intricate labyrinth. People, in single file, 
 could engage, under the guidance of a leader, 
 
 203 
 
HEN] 
 
 CERAMIC LITERATURE. 
 
 [HER 
 
 at the starting point of the meander, and follow 
 the puzzling course of the maze for almost the 
 length of a mile without having once to retrace 
 their steps before they reached the point of 
 issue. The march was accompanied with the 
 singing of a well-rhythmed tune, and, in this 
 way, a large crowd could be kept on the move 
 without confusion for a considerable time. 
 
 HENRIQUES (Agnes). Vorlagen fur 
 Porzellan - Malerei nach alten 
 Mustern. Hamburg, 1895. 4 ; 
 col. pis. ; all published. 
 
 " Designs for porcelain painting copied 
 from ancient models." 
 
 HENRY (W. Ethelbert) and WARD (Snowden 
 
 H.). Photo-ceramics. London, 
 1896. 8, pp. 86 ; with 21 figs. 
 Is. 
 
 A handbook of instruction in photography 
 applied to the decoration of plaques, pottery, 
 and other ceramic and metallic surfaces. 
 
 HENSEL Essai sur la Majorique 
 (majolica) ou terre emaillee, 
 adresse a la Societe libre des 
 Beaux-Arts, par Mr. Hensel, 
 Membre correspondant, peintre 
 de S. M. le Roi de Prusse, Ber- 
 lin, Avril, 1836. 8, pp. 13. 
 Extr. from the Compte rendu des 
 travaux de la Societe Libre des 
 Beaux Arts. Paris, 1836.) 
 
 " Essay upon the Majorica (majolica) 
 or enamelled earthenware, read before 
 the Free Society of Fine Arts, etc." 
 
 Leaving aside the little eccentricity of sub- 
 stituting for_the usual word majolica, the term 
 "Majorica" derived from Majorca, the sup- 
 posed birthplace of the ware all we find in 
 this summary of the history of Italian faience 
 denotes a much better knowledge of the subject 
 thdn is supposed to have been possessed by the 
 early collectors. The essay was written at 
 Rome in 1826 as a preface to the catalogue of 
 the Bartholdy collection of majolica, bought by 
 the Berlin Museum on the recommendation of 
 Hensel. 
 
 HERAULT. Notice sur le kaolin des 
 Pieux, department de la Manche. 
 Caen, Bonneserre, 1832. 8, pp. 
 192. 
 
 " Notice of the China clay of Pieux, 
 Manche Department." 
 
 The clay was exclusively used by the porce- 
 lain factories of Valognes and Bayeux for the 
 making of domestic ware and chemical utensils. 
 
 204 
 
 HERBET (F.). Les emailleurs sur 
 terre de Fontainebleau. Fon- 
 taineblean, 1897. 8, pp. 46. (Re- 
 print from Annales de la Societe 
 historique dn Gatinais.) 
 
 " The clay enamellers of Fontaine- 
 bleau." 
 
 Claude Bar tele my, in 1580, and Claude 
 Beaulat, in 1613, are the first potters mentioned 
 in the local registers as having worked at their 
 trade in the village of Avon, near Fontaine- 
 bleau; the last named man being qualified as 
 "clay enameller to the king." They made 
 figures and ornamental pottery in the style of 
 Palissy's "figulines," so perfect in execution as 
 to be often mistaken for the work of the old 
 master. The title of enameller to the king was, 
 afterwards, granted to several potters of the 
 place, up to the middle of the seventeenth 
 century. About all those whose name appears 
 in contemporary documents, Mr. Herbet has 
 gathered many interesting particulars. 
 
 HERDTLE (E. ). Flachen Verzierungen 
 des Mittelalters und der Renais- 
 sance nach den Originalen gezei- 
 chnet. I. Abt. Fliese. Stuttgart, 
 Cohen & Risch, 1866. Fol.; 28 
 pis. 25 m. 
 
 " Flat ornamentation of the Mediaeval 
 and Renaissance periods, designed from 
 the originals. Part I., Tiles." 
 
 Unless these formal outlines of geometrical 
 patterns were intended chiefly as models of 
 freehand drawing for the use of the elementary 
 classes of the Stuttgart School of Art, where 
 Herdtle was a professor, one can scarcely 
 understand why such an uninteresting selection 
 sho\uld have been made out of the rich mine of 
 materials formed by the ornamental tiles of the 
 finest periods. No indication of origin, date, 
 colours, etc., accompanies the sketches. 
 
 HERDTLE (H.). Erne Sammlung itali- 
 anischen Majolica-Fliesen. Wien, 
 Graesser, 1885. Fol.; 26 col. pis. 
 50m. 
 
 " A collection of Italian majolica tiles." 
 
 Genoese tiles would have been a more appro- 
 priate title for this interesting series. The 
 walls of the monumental staircases of two 
 palaces in the town of Genoa evidently built 
 at the same period and probably by the same 
 architect have preserved their original cover- 
 ing of majolica tiles. The different patterns 
 employed to form the designs, given in full 
 size, and the general composition of the large 
 panels, rendered on a reduced scale, are care- 
 fully reproduced on the chromolithographic 
 plates. 
 
 Whether, or not, these tiles are of local 
 manufacture does not appear from the few 
 lines of introduction prefixed to the plates ; 
 
CERAMIC LITERATURE. 
 
 [HET 
 
 but as the making of majolica was flourishing 
 in the Ligurian province at the time to which 
 they belong, we cannot consider them as 
 having been imported from another centre of 
 manufacture. 
 
 Although Italian in its details, the general 
 scheme of the panels is borrowed from Oriental 
 carpets. No more effective dado could be con- 
 trived to brighten the lower part of a marble 
 wall than these harmonious combinations of 
 brilliant enamels. The palaces are situated, 
 one in the Via San Matteo, and the other in 
 the Via Luccoli. 
 
 HER1SSON (Cte. d'). Relation d'une 
 mission archeologique en Tunisie. 
 Paris, 1881. 4, pp. 288 ; map, 
 and 9 pis. (7 of Greek terra- 
 cottas). 10 fcs. 
 
 " An account of an archaeological 
 mission in Tunis." 
 
 HERMANN(DaYid). MaslograpMa,oder 
 Beschreibung des Schlesischen 
 Massel . . . mit semen Schaun- 
 iirdikeiten . . . auf dem so ge- 
 nannten Toppelberge gefundene 
 sonderbaren Reliquien von Urnis 
 oder Todten-Gefassen, . . . etc. 
 Brieg, 1711. Sm. 4. Urnes, pp. 
 88-153 ; with 4 pis. 12 m. 
 
 " Maslographia, being the description 
 of Massel in Silesia . . . with its curi- 
 osities, . . . particularly the urns, or 
 mortuary vessels found in the so-called 
 Tb'ppel-mountain." 
 
 The author, a pastor of Massel, had conducted 
 many excavations round the town and had 
 formed an important collection of cinerary 
 urns, which he describes in his book. This 
 collection is now preserved in the Breslau 
 Museum. Chap. VI.: "Must we consider 
 these urns as being a natural product of the 
 soil ? " records the opinion of all the writers 
 who have upheld that theory, of which Her- 
 mann demonstrates the absurdity. 
 
 HERMANN (Felix). Die Glas-, Porzel- 
 lan-, und Email-Malerei in ihrem 
 ganzen Umfange. Ausfuhrliche 
 Anleitung zur Anfertigungsamm- 
 tlicher bis jetzt zur Glas-, Por- 
 zellan-, etc., Malerei gebrauch- 
 lichen Farben und Fliisse ; nebst 
 vollstandiger Darstellung des 
 Brennens dieser verschiedener 
 Stone. Wien,l8S2. 8; with 10 
 illustrs. 
 
 " Painting on glass, porcelain, and 
 enamel, in all its branches. Practical 
 instructions for making all colours and 
 fluxes in use at the present day, with 
 complete directions for firing the various 
 materials." 
 
 Painting on glass, porcelain, 
 and enamel. London, Offices of 
 the Pottery Gazette, 1897. 
 10s. 6d. 
 the above work. 
 
 English translation of 
 
 HERRMANN (Collection Compare). Cata- 
 logue of sale. Cologne, Heberle, 
 1888. 4, pp. 58 ; with 20 pis. 
 
 Hermann, of Vienna, was better known in 
 all the capitals of Europe as a conjuror and 
 prestidigitateur than as a collector. The collec- 
 tion he had formed comprised, however, many 
 interesting objects, among which we may men- 
 tion 78 pieces of ancient majolica reproduced 
 on five plates. 
 
 HERRMANN (P.). Das Graberfeld von 
 Marion auf Cypern. 28 Pro- 
 gramm zum Winckelmannsfeste 
 der Arch. Gesel. zu Berlin. Ber- 
 lin, Keimer, 1888. 4, pp. 62; 
 with 3 phototyp. pis. and 45 text 
 illustrs. 5 m. 
 
 ' ' The burial field of Marion in Cyprus." 
 
 From the excavations conducted in 1886 
 by M. Ohuefalsh-Richter, at the expense of 
 Mr. Watkins, director of the Ottoman Bank 
 at Lanarka, a great number of terra-cottas and 
 a few painted vases were obtained. The 
 British Museum secured the choicest objects, 
 the rest was sold by auction in Paris, with a 
 catalogue prepared by Frohner. Plates and 
 illustrations chiefly represent specimens of 
 terra-cotta. 
 
 HERZ BEY (Max). Catalogue of the 
 National Museum of Arab Art 
 . . . edited by Stanley Lane- 
 Poole,M.A. 0n<20n,B.Quaritch, 
 1896. 12. Pottery, pp. 64-74 ; 
 with 2 cuts. 
 
 The Museum of Arab industrial art at 
 Cairo ; the pottery is represented by ancient 
 tiles from the Mosques and fragments of 
 mediaeval ware found in the rubbish heaps of 
 the old town ; 327 Nos. in all. 
 
 HETTNER (F.)- Zur romischen Ker- 
 amik in Gallien und Germanien. 
 Leipzig, 1893. 4, pp. 13. (Fest- 
 schrift fur Johannes Overbeck.) 
 
 205 
 
HET] 
 
 CERAMIC LITERATURE. 
 
 [HEU 
 
 "The Roman pottery in Gaul and 
 Germany." 
 
 HETTNER (F.) Drei Tempelbezirke 
 im Trevererlande. Trier, 1901. 
 4, pp. 45 ; with 14 pis. (7 of 
 pottery). 15 m. 
 
 " Three temple districts in the land of 
 Treves." 
 
 Die Pfalz-Zweibriicker Por- 
 zellanmanufakture. Ein Beitrag 
 zur Geschichte des Porzellans 
 und zur Kulturgeschichte eines 
 deutscben Kleinstates im acht- 
 zehnten Jahrhundert. Neustadt 
 an der Hardt, L. Witters, 1907. 
 Sm. 4, pp. vi-240 ; with 1 por- 
 trait, 1 pi. of marks, 3 phototype 
 pis., 2 maps, and 16 text illustrs. 
 10m. 
 
 " The porcelain manufacture of Zwei- 
 briicken in the Palatinate. A document 
 for the history of porcelain, and the 
 social conditions of a small German 
 State in the eighteenth century." 
 
 Christian IV. , Count Palatine and Duke of 
 Zweibriicken, was a prince keenly addicted to 
 the practice of alchemy. He had in his service, 
 as physician and laboratory director, one Dr. 
 Stahl, a man of many schemes and projects. 
 This latter persuaded him to give his support 
 to the foundation, in his dominions, of a manu- 
 factory of hard porcelain. Willingly the 
 Duke granted to the promoters of the enter- 
 prise the free use of five front rooms on the 
 first floor and of two cellars in the small castle 
 of Guttenbrunn, near his residence. Moreover, 
 he promised that an oven should be built, at 
 his own cost, in some part of the garden. 
 Kussinger, an arcanist who had, during his 
 employment at the Hb'chst factory, mastered 
 all the processes of manufacture, was engaged 
 as manager. Operations were started in 1767. 
 Dr. Stahl had a small capital to invest in the 
 undertaking ; he obtained also the pecuniary 
 assistance of some relatives and friends who 
 felt confident in his success. But the funds 
 promised by the Duke, although they were 
 sadly wanted, were not forthcoming. In that 
 predicament, part of the subsidies that Chris- 
 tian IV. was supplying towards the cost of 
 the experiments then prosecuted for extracting 
 gold from the water and sands of the Rhine, 
 had to be surreptitiously diverted and applied 
 to the maintenanee of the manufactory. Yet, 
 at the end of the year 1769, the porcelain works 
 had already drawn a sum of 73,468 Gulden 
 from the Ducal Exchequer, and could show a 
 very poor return for an expenditure which 
 amounted to about double that figure. In 
 1769 the factory was transferred from Gutten- 
 brunn to the town of Zweibriicken, where it 
 
 206 
 
 came to an end in 1775, after the death of its 
 patron, Christian IV. Nothing seems to be 
 wanting to make this exhaustive monograph a 
 vivid picture of the conditions under which 
 a small porcelain factory was conducted in 
 Germany at that period, and of the expedients 
 that had to be resorted to, to retard the final 
 collapse. 
 
 HEUSER (E.). Frankenthaler Grup- 
 pen und Figuren. Ein Verzeich- 
 niss von mehr als 800 Figiirlichen 
 und etwa 500 anderen kunst- 
 gewerblichen Erzeugnissen der 
 kurfurstlich pfalsischen Porzel- 
 lanfabrik Frankenthal. Speier, 
 1899. 8, pp. 33. 2 m. 
 
 " Groups and figures of Frankenthal 
 porcelain. A list of above 800 small 
 figures, and about 500 other artistic pro- 
 ductions of the Electoral Palatine porce- 
 lain manufacture of Frankenthal." 
 
 The number of models of groups and figures 
 executed at the Frankenthal manufactory had, 
 so far, been estimated at 250 ; the researches of 
 the writer have raised that number to 800. 
 
 - Katalog der vom Mannheimer 
 Altertumsverein im Friihjahr 
 1899 veranstalteten Ausstellung 
 von Frankenthaler Porzellan. 
 Mit einer Einleitung tiber die 
 Geschichte der Frankenthaler 
 Porzellanfabrik, von Dr. Fried- 
 rich Walter. Mannheim, 1899. 
 8, pp. 164 ; with 3 pis. of marks. 
 Is. 6d. 
 
 Exhibition of Frankenthal porcelain. A 
 catalogue published by the Archaeological 
 Society of Mannheim. 
 
 Pfalzisches Porzellan des 
 achtzehnten Jahrhunderts in 
 Zusammenhang mit der Entwick- 
 lung des Europaischen Porzellan- 
 Fabrikation. Speier, 1907. 8, 
 pp. 58 ; with 3 pis. 2 m. 
 
 " The porcelain of the Palatinate in 
 the eighteenth century, and its relation 
 to the development of the manufacture 
 of European porcelain." 
 
 HEUZEY (L). Recherches sur un 
 groupe de Praxitele, d'apres les 
 figures de terre cuite. Paris, 
 1875. 8; with text illustrs, 
 
HEU] 
 
 CERAMIC LITERATURE. 
 
 [HEY 
 
 " Speculations upon a group of Praxi- 
 teles suggested by the terra-cotta figures." 
 
 - Les fragments de Tarse au 
 musee du Louvre. Paris, 1876. 
 8; with illustrs. (Reprint from 
 the Gazette des Beaux Arts.} 
 
 " The fragments discovered at Tarsa, 
 in the Louvre Museum." 
 
 - Nouvelles recherches sur les 
 terres cuites grecques. Groupe 
 de Demeter et de Core, les 
 cueilleuses de fleurs et les joue- 
 uses d'osselets. Paris, 1877. 
 4, pp. 24 ; with 2 engr. pis. 
 4 fcs. 
 
 "New researches upon Greek terra- 
 cottas. The group of Demeter and Corea, 
 the flower gatherers, and the knuckle- 
 bone players." 
 
 - Sur les origines de 1'industrie 
 des terres cuites. (Read at the 
 annual meeting of the French 
 Academy, Nov. 17,1882.) Paris, 
 1882. 4, pp. 21. (Extr.) 2 fcs. 
 
 " On the origins of the terra-cotta 
 industry." 
 
 - Recherches sur les figures de 
 femmes voilees dans 1'art Grec. 
 Paris, 1882. 4, pp. 44 ; with 3 
 engr. pis. and 1 photo. 3 fcs. 
 
 " Researches upon the figures of veiled 
 women in Greek Art." 
 
 - Quelques observations sur la 
 sculpture grecque en Gaule. 
 (Extr. from Memoires de la Soc. 
 des Antiquaires de France, T. 
 xxxvii. 8.) 
 
 " A few remarks on the Greek sculpture 
 in Gaul." 
 
 - Musee national du Louvre. 
 Figurines en terre cuite, Cata- 
 logue. Tome I. Paris, May & 
 Motteroz, 1882. 12, pp. 244. 
 1 fc. 
 
 " National Museum of the Louvre. 
 Terra-cotta figures. Catalogue." 
 
 This volume contains the description of the 
 Antique terra-cottas of Assyrian, Babylonian, 
 
 Phoenician, Cypriot, and Rhodian origin. The 
 Greek terra-cottas were to form the subject of 
 the second volume. 
 
 Les figurines antiques du 
 muse'e du Louvre. Paris, Vve. 
 Morel, 1883. 4, pp. iv-30 ; with 
 56 pis. engr. by A. Jacquet. 
 60 fcs. 
 
 " Antique terra-cotta figures in the 
 Louvre Museum." 
 
 A befitting complement to the above cata- 
 logue is provided in this series of handsome 
 plates. In both works geographical classifica- 
 tion has been adopted. Specimens are grouped 
 together according to their locality of origin ; 
 the respective time of manufacture of the 
 various types still remains unascertained in 
 most cases. The division into three parts 
 viz., Orient and Asiatic Islands, Greece, and 
 Cyrenai'que offers some advantage for the 
 comparative study of the terra-cotta figures in 
 various countries. Introductory notice and 
 explanations of plates are equally short, the 
 latter being confined to a correct description of 
 the object illustrated, and a plain statement 
 of the few facts connected with its discovery ; 
 conjectural interpretations of the subject they 
 may represent are carefully avoided. 
 
 We agree with the author in preferring the 
 correct and clever engravings of Mr. Jacquet, 
 in which the refined style and the poetry of the 
 originals are so happily rendered, to the photo- 
 graphic processes resorted to for the illustra- 
 tion of other works. The subdued tone and 
 mellow treatment of the plates perfectly repre- 
 sent the spirit of sweet vagueness which per- 
 vades these fascinating figures, often no more 
 than a suggestive sketch. 
 
 HEYDEMANN (HeimM G. D.). Heroisirte 
 Genrebilder auf bemalten Vasen. 
 S.I., n.d. 4, pp. 19. 
 
 " Familiar scenes represented in heroic 
 style on Greek vase paintings." 
 
 - IliupersisaufeineTrinkschale 
 des Brygos. Berlin, 1866. 4, 
 pp. 37 ; with 3 pis. 3 m. 
 
 " Iliupersis upon a drinking cup 
 painted by Brygos." 
 
 Due vasi Capuani illustrati 
 da H. Heydemann. Roma, 1870. 
 Fol. ; with 1 pi. 1 m. 
 
 " Two Capuan vases described by 
 H. H." 
 
 - Griechische Vasenbilder. Ber- 
 lin, 1870. Fol., pp. 14; with 13 
 pis. and 3 illustrs. 15 m. 
 
 " Greek vase paintings." 
 
 307 
 
HEY] 
 
 CERAMIC LITERATURE. 
 
 [HIL 
 
 HEYDEMANN (Heinrich G. D.). Humorist- 
 ische Vasenbilder aus Unteri- 
 talien. Berlin, 1870. 4; 1 pi. 
 
 " Humouristic paintings upon Southern 
 Italian vases." 
 
 - Vasensammlung des Museum 
 zu Palermo. S.I., 1871. 4, pp. 
 48 ; with 6 pis. 4 m. 
 
 " The collection of antique vases in 
 the Palermo Museum." 
 
 - Idria Capuana. Roma, 1871. 
 8, pp. 10 ; with fol. pi. 
 
 " An Idria from Capua." 
 
 Die Vasensammlungen des 
 Museo nazionale zu Neapel. 
 Berlin, G. Reimer, 1872. 8, pp. 
 923 ; with 22 lith. pis. of forms 
 and inscript. 17 m. 
 
 "The collection of vases in the National 
 Museum of Naples." 
 
 Ellas ed Asia sul vaso dei 
 
 Persiani nel museo nazionale di 
 Napoli. Roma, 1873. 8, pp. 35; 
 with 5 fold. pis. 5 m. 
 
 " Hellas and Asia upon the vase of 
 the Persians in the Naples Museum." 
 
 Niobe und die Niobiden auf 
 
 griechischen Vasenbildern. S.I., 
 1875. 4, pp. 26; with 4 pis. 
 3 m. 
 
 " Niobe and the Niobides on Greek 
 vase paintings." 
 
 - Nereiden mit den Waffen des 
 Achill. Halle, 1879. Fol., pp. 
 23 ; with 5 pis. 5 m. 
 
 " The Nereids bringing the arms of 
 Achilles." 
 
 Satyr - und - Backchennamen, 
 besonder ueber die auf bemalten 
 Vasen ueberlieferten. Halle, 
 1880. 4; with fold. pis. 3 m. 
 
 " The names of the Satyrs and Baccha- 
 nalians, particularly on those supplied 
 by the vase paintings." 
 
 - Gigantomachie auf einer Vase 
 
 208 
 
 aus Altamura. Halle, 1881. 4, 
 pp. 20 ; with 1 pi. 2 rn. 
 
 " The battle of the giants upon a vase 
 of Altamura." 
 
 No. 6 of Halle Winekelmann's Programmes. 
 
 Terracotten aus der Museo 
 nazionale zu Neapel. Halle, 1 882. 
 4, pp. 28 ; with 3 pis. 3 m. 
 
 " Terra-cottas from the National 
 Museum of Naples." 
 
 No. 7 of Halle Winekelmann's Programmes. 
 
 Alexander der Grosse und 
 Darcios Kodomanos auf unter- 
 italischen Vasenbildern. Halle, 
 1883. 4, pp. 26; with 2 pis. 
 (8th Programme.) 
 
 "Alexander the Great and Darcios 
 Kodomanos upon the vases of South 
 Italy." 
 
 Vasi caputi mit Theater- 
 Darstellungen. Halle, 1884. 4, 
 pp. 22 ; with 2 pis. and 2 illustrs. 
 3 m. (9th Programme.) 
 
 " Vases from the Caputi collection with 
 representations of theatrical scenes." 
 
 Jason in Kolchos. Halle, 
 
 1886. 4; with 1 pi. 
 
 "Jason in Colchos." 
 
 Pariser Antiken. 12 Halli- 
 sches Winekelmann's Programm. 
 Halle t Niemeyer, 1887. 4, pp. 
 90 ; with 2 pis. and 8 illustrs. 
 4 m. 
 
 "Antiquities in Paris." 
 
 Notes on the public and private collections 
 of antiquities in Paris. 
 
 HICLING (G,). China clay : its nature 
 and origin. (Reprint from the 
 Trans, of the Institute of Mining 
 Engineers. ) Newcastle - on - Tyne, 
 1908. 8, pp. 26 ; with 1 pi. 
 
 Contains a bibliography of articles on the 
 subject which have appeared in periodicals. 
 
 HILBRAT (G.)- Dimostraziqni sopra 
 alcuni antiche terrette dipinte 
 dalla propria mano di Apelle, e 
 del Sanzio, scritte da Giuseppe 
 
HIL] 
 
 CERAMIC LITERATURE. 
 
 [HIR 
 
 Hilbrat intorno la risoluzione 
 pronunciata dalFinsigne Acad- 
 emia Romana di 8. Luca nel 
 giorno 26 Luglio 1844. Roma, 
 Tip. Baldassari, 1847. 8, pp. 70. 
 3 fcs. 
 
 "Memoir upon certain ancient vessels 
 of earthenware painted by the very hand 
 of Apelles and Raffael Sanzio, written 
 by G. Hilbrat in answer to the decision 
 passed by the worshipful Academy of 
 St. Luc, at Rome, on July 26th, 1844." 
 
 A tradition, then current in Itaty, attributed 
 to Raffael the painting of many a majolica dish, 
 and Hilbrat, the Roman collector, laboured 
 under the staunch conviction that at least 
 fifteen pieces of majolica in his possession had 
 been painted by the great master himself. In 
 vain his friends tried to expostulate with him 
 on the improbability of such an attribution ; 
 in vain his assertion was publicly confuted by 
 the Academy of Arts, to which he had sub- 
 mitted the specimens on which he rested his 
 conviction ; nothing could shake his belief. 
 For three years after the decision of the 
 Academy, his fermenting brain went on elab- 
 orating argument upon argument in support of 
 his theory, until he found himself ready to 
 publish the pamphlet which was to convert the 
 unbelievers and confound the opponents. 
 
 We must add that dishes painted by Raffael 
 were not the only treasures in his collection ; 
 he boasted also of possessing, priceless jewel, 
 an antique tazza, on the painting of which 
 the hand of Apelles was, for him, easily re- 
 cognisable. Of the extravagant considerations 
 he unfolded on the subject of that tazza, a 
 single one will suffice to give an idea of 
 all the rest. "We notice," says he, "that 
 some portions of the subject look as though 
 they had purposely been left unfinished. Now, 
 if we recollect that the works of the greatest 
 of Greek painters always bore the inscription, 
 Apelles has made it, and that this one bears 
 no signature, we are thus supplied with a proof 
 that, fearing the unfair criticism from which 
 he had often had to suffer, the artist left the 
 painting unsigned, reserving to himself the 
 possibility of amending all imperfections, and 
 placing his work beyond all blame. " It is not 
 every one that could have found in the absence 
 of a signature an actual proof of authenticity ; 
 all that follows evinces an equal measure of 
 ingenuity. 
 
 Absurd as it may appear in our days, the 
 name of Raffael ware has long been given in 
 England to Italian majolica. The cause of 
 that erroneous attribution may be found in the 
 confusion created by the name of one majolist 
 of Urbino, Raffaello del Colle, who often copied 
 the compositions of his glorious namesake, the 
 Sanzio. 
 
 HILL (A.). Essays for the month of 
 December, 1716. Instructions 
 how to make as fine china as 
 ever was sold by the East India 
 
 14 
 
 Company, by a tried and infallible 
 method. London, J. Roberts, 
 1716. 8. 
 
 The method described in this paper consisted 
 in grinding fragments of Oriental china and 
 adding to the powder a fourth part of the lime 
 obtained by calcining oyster shells. The mix- 
 ture was diluted in gum water, which gave to 
 it sufficient cohesion to allow of its being 
 worked into dishes, vases, etc. A practical 
 potter would not anticipate any success from 
 the results that could be obtained in following 
 such a prescription. We have, however, inde- 
 pendent evidence that the process was actually 
 put into practice, and not quite unsuccessfully. 
 
 (See Dossie). 
 
 HILL (A.). Hancock's copies for 
 china painters ; with directions 
 by J. Hancock. Worcester, s.d. 
 (1880 ?). 14 chromolith. and 10 
 monochrome pis. with explana- 
 tory notices. 8. 
 
 The coloured plates reproduce the water 
 colours of Mrs. H. C. Angel. 
 
 HILLS (G- M.). Earthenware pots 
 built into churches, which have 
 been called acoustic vases. (In 
 Transactions of the Royal Inst. of 
 Brit. Architects.) London, 1882. 
 4, pp. 65-96 ; with 6 pis. 
 
 The most complete essay written on the 
 subject. It summarises all that is known 
 respecting the introduction of hollow pottery 
 in the building of theatres and churches from 
 ancient times to the mediaeval ages. 
 
 HIPPISLEY (A. E.). Catalogue of the 
 Hippisley collection of Chinese 
 porcelain ; with a sketch of the 
 history of ceramic art in China. 
 Washington, 1890. 8, pp. 105. 
 (Reprint from Report of the 
 Bureau of Ethnology.) 2nd ed. 
 Washington, 1902; with 21 pis. 
 added. 
 
 The collection remained on exhibition for 
 two years in the National Museum of the 
 U.S.A. An excellent historical sketch prefixed 
 to the catalogue summarises the information 
 obtained, up to date of publication, on the 
 subject of Chinese porcelain. 
 
 HIRSCH (R.). De animarum apud 
 antiques imaginibus. Lipsiae, 
 1889. 8, pp. 54. 
 
 "The representations of souls upon 
 antique monuments." 
 
 A thesis read before the Leipzig University. 
 
 209 
 
CERAMIC LITERATURE. 
 
 [HOB 
 
 HIRT (A.)- Die Brautschau. Zeich- 
 nung auf einem griechischen 
 Gefass. Berlin, 1825. Fol., pp. 
 26 ; with 1 fold. pi. 5 m. 
 
 " The Bride's Feast. A design upon a 
 Greek vase." 
 
 Description of a vase in Count Ingenheim's 
 collection, in which the writer sees a represent- 
 ation of Ariadne's betrothal to Theseus. 
 
 HIRTH (F.). Ancient porcelain : a 
 study in Chinese mediaeval in- 
 dustry and trade. London, 1888. 
 8, pp. 80. 3s. 
 
 A most valuable essay based on information 
 obtained from original sources by a learned 
 sinologist. Historical records of the extensive 
 commerce carried on between China and distant 
 parts of the world during the mediaeval era 
 have been discovered by the author in ancient 
 and trustworthy Chinese documents. He has 
 been enabled to determine the earliest date at 
 which porcelain was exported into foreign 
 countries, and has thus obtained a knowledge 
 of the subject which gives a high authority to 
 the opinion he expresses with regard to some 
 theories lately propounded by French and 
 German orientalists. He declines to admit 
 that the celadon porcelain dishes and vases, 
 still found in abundance in Egypt, Africa, and 
 the Indian archipelago, are of Arabian manu- 
 facture, and are therefore to be regarded 
 as Mussulman pottery. He has succeeded in 
 making good his own assertion, that they were 
 of Chinese origin, and imported by the early 
 Arab traders to all the ports visited by their 
 vessels. 
 
 Mr. Hirth has given a synopsis of this essay 
 in his work, Chinesische Studien, Munchen, 1890. 
 
 HIRTH (Georg). Deutsch - Tanagra. 
 Porzellan-Figuren des 18 Jahr- 
 hunderts. Munchen, H. Helbing, 
 1898. 2 vols. 4. Text, pp. xii, 
 Ixxxviii, 160; with 80 text il- 
 lustrs., 184 phototyp. pis., and 1 
 pi. of marks by L. Frenzel. 2. 
 
 "German Tanagra. Porcelain figures 
 of the eighteenth century." 
 
 Catalogue of sale of the first portion of 
 Dr. G. Hirth's important collection. The 
 collector has himself written the introductory 
 notice. A well digested history of all the 
 German factories, largely represented by 
 authenticated specimens, was contributed by 
 Mr Herbert Hirth ; while the descriptive 
 catalogue of the collection has been prepared 
 by the auctioneer, Mr. H. Helbing. It is the 
 first time that we see the name of " Tanagra" 
 irreverently associated with some of the most 
 commonplace figures produced by the German 
 trade. In the larger part of the speci- 
 
 210 
 
 mens reproduced in this catalogue, one looks 
 in vain for any signs of taste or refinement ; 
 they strike us as being mere industrial articles, 
 only saved by a certain technical superiority 
 of execution from being absolutely grotesque. 
 It is needless to say that the skill and spirit of 
 the talented sculptors employed in the chief 
 German factories has often found its highest 
 expression in the porcelain figures. This in- 
 creases our regret at seeing the best examples 
 of their art so inadequately represented in this 
 extensive collection. 
 
 HOBSON (R. L).- Medieval pottery 
 found in England. London, 1902. 
 8, pp. 16 ; with 33 illustrs. (Re- 
 print from The Arch. Journal.} 
 
 Catalogue of the collection of 
 
 English pottery in the Depart- 
 ment of British and Mediaeval 
 Antiquities and Ethnography of 
 the British Museum. London, 
 printed by order of the Trustees, 
 1903. 4, pp. xxiii-310 ; with 42 
 pis. (some col.) and 131 illustrs. 
 1. 
 
 All the varieties of early English pottery 
 are represented in the British Museum. This 
 catalogue, which describes and illustrates the 
 most striking examples of the art from the 
 mediaeval tiles to the earthenware productions 
 of Wedgwood's successors, will be of great 
 assistance in the study of the subject. 
 
 British Museum. A guide to 
 
 the English pottery and porce- 
 lain in the Department of British 
 and Mediaeval Antiquities. Lon- 
 don, 1904. 8, pp. xii-127 ; with 
 15 pis. and 158 illustrs. Is. 
 
 - Catalogue of the collection of 
 English porcelain ... in the 
 British Museum. London, printed 
 by order of the Trustees, 1905. 
 4, pp. xxvi-161 ; with 39 pis. 
 (2 col.) and 104 half-tone illustrs. 
 in the text. 1. 
 
 Porcelain, Oriental, Conti- 
 nental, and British. A book of 
 handy reference for collectors. 
 London, Constable & Co., 1906. 
 8, pp. xvi-245 ; with 49 pis. 
 (1 col.) 12s. 6d. 2nd ed., 1909. 
 
HOC] 
 
 CERAMIC LITERATURE. 
 
 [HOL 
 
 HOCHHEIMER (C. F. A.). Chemische 
 Farbenlehre. Leipzig, 1794. 8. 
 
 "The science of chemical colours." 
 
 Part II. treats of the composition of enamel 
 colours, pp. 69-102. 
 
 HODGETTS (J. F.)- Older England, 
 illustrated by the Anglo-Saxon 
 antiquities in the British Mu- 
 seum in a course of six lectures. 
 London, Whiting, 1884. 2 vols. 
 8. 6s. 
 
 "The earthen jar" is the title of the first 
 lecture, but the history of the earthen jar is 
 neglected for such collateral subjects as the 
 customs of the old Anglo-Saxons ; their dwell- 
 ings ; their favourite beverages ; their hatred 
 of Roman civilisation, etc., and a sprinkling of 
 Anglo-Saxon terms accompanied with the usual 
 speculations about their probable meaning. 
 The important collection of prehistoric vessels 
 in the British rmiseum has not suggested any 
 definite remark concerning the origin, the 
 period, the variety of shapes and ornamentation 
 of certain specimens through which the history 
 of the ceramics of early times might have been 
 facilitated. 
 
 HODGKIN (J. E. and E.). Examples of 
 early English pottery, named, 
 dated, and inscribed. London, 
 1891. 4, pp. 187 ; with 1 col. 
 pi. and num. text illustrs. 2, 2s. 
 
 The various classes of old English pottery 
 dealt with in this volume are limited to 
 the following : Slip decorated ware ; Salt- 
 glaze ; English delft ; Stoneware. A pro- 
 gramme which did not admit of any other 
 pieces but those which bear an inscription and 
 a date, has led to the exclusion of all examples 
 of embossed salt-glaze, which is seldom dated 
 and inscribed, but which is unquestionably one 
 of the most original and interesting productions, 
 of the old English potter ; the few specimens 
 of scratched blue of a late period, ranged under 
 that heading, are unworthy representatives of 
 the ware. Having in this way accounted for 
 the neglect of an important class of early 
 pottery, we are at a loss to understand why 
 the old cream colour and the tortoise-shell 
 ware often found inscribed with the name of 
 the owner have been omitted. 
 
 HODGSON (Mrs. Willoughby). How to 
 identify old china. London, G. 
 Bell, 1904. 8, pp. xii-165 ; with 
 40 half-tone pis. 5s. 
 
 We have heard that the author was herself 
 just beginning to take an interest in the study 
 of old china when she decided to indite a 
 popular compilation of the best works on the 
 matter. The small volume was quickly pre- 
 pared and promptly issued. It is the candid 
 
 performance of an amateur who had been so 
 surprised at the facility with which knowledge 
 could be acquired, that she thought it her 
 duty to communicate to others how easily the 
 subject could be mastered. Evidently she 
 never realised the difficulty of discriminating 
 between puzzling specimens of old china, 
 else she would not have felt so confident in 
 supplying reliable rules of identification. 
 
 - How to identify old Chinese 
 porcelain. London, Methuen, 
 1905. 8, pp. x-178 ; with 40 
 half-tone illustrs. 5s. 
 
 The exorbitant prices lately realised in the 
 auction rooms for fine specimens of Oriental 
 porcelain, having been enlarged upon in a 
 tantalising introduction, a knowledge of the 
 chief points which make a piece of Chinese 
 origin highly valuable in the market, are next 
 offered as a reward to the intending speculator 
 who will master the contents of this small 
 handbook. If, having done so, a confident 
 beginner becomes satisfied that he has little 
 more to learn on the subject, he may hopefully 
 start the pursuit of buying Oriental ware with 
 a view to making it very profitable. But if, 
 as is more likely, he entertains some mis- 
 givings as to the correct application of the 
 superficial learning that has been imparted to 
 him, and hesitates to embark on the speculative 
 business, he may comfort himself with the 
 recollection that the risk he had incurred in 
 purchasing this volume has been a very mode- 
 rate one. In any case he has had his money's 
 worth. 
 
 HOFER (J.). Die Fabrikation kiinst- 
 licher plasticher Massen, sowie 
 der kiinstlichen Steine, Stein- 
 und-Cementgtisse. Wien, 1878. 
 2nd ed. 8, pp. 317 ; with num. 
 illustrs. 
 
 " The manufacture of artificial and 
 plastic bodies ; also artificial stone and 
 the casting of stone and cement." 
 
 HOLDER (0.). Die romischenThonge- 
 fasse der Altertums-sammlung 
 inKottweil. Stuttgart, 1889. 4, 
 pp. 26 ; with 2 col. pis. and 20 
 pis. in outline. 3 m. 
 
 " The Roman pottery in the Rott- 
 weil Museum of antiquities." 
 
 Catalogue of an important collection of 
 Roman pottery of all styles, discovered in the 
 soil of a small table-land situated between the 
 Prim and the Necker, close to the confluence 
 of the two rivers. Over one hundred different 
 forms are outlined on the plates ; they are said 
 to include all the types of Roman pottery. A 
 list of about two hundred potter's marks, found 
 in the locality, is given at the end of the 
 catalogue. 
 
 211 
 
HOL] 
 
 CERAMIC LITERATURE. 
 
 [HOF 
 
 HOLDER (0.). Die Formen derromi- 
 schen Thongefasse diesseits und 
 jensseit der Alpen. Stuttgart, 
 Kohlhammer, 1897. 4, pp. 38 ; 
 with 24 pis. 5 m. 
 
 " The forms of the Roman pottery on 
 this side and on the other side of the 
 Alps." 
 
 HOLZEN (F.). Die Herstellung hol- 
 landischer Dachziegel. Berlin, 
 s.d. 8, pp. 35 ; with 24 illustrs. 
 Is. (Eeprint from the Thon- 
 industrie Zeitung.) 
 
 "The manufacture of Dutch roofing 
 tiles." 
 
 HORNES (Dr. M.). Eine prahistorische 
 Thonfigur aus Serbien, und die 
 Anfange der Thonplastik in 
 Mitteleuropa. Wien, 1891. 4, 
 pp. 13 ; with 2 illustrs. (Reprint 
 from Mittheilungen der Anthro- 
 pologischen Gesellschaft in Wien.) 
 
 "A prehistoric figure of clay found in 
 Servia, and the beginning of the plastic 
 art in Central Europe." 
 
 An adequate notion of the original may be 
 derived from the photographic reproductions of 
 this curious and perhaps unique specimen, pre- 
 served in the Belgrade Museum. It is a 
 drinking cup, shaped in the distant present- 
 ment of a human figure. When described for 
 the first time in the Journal of the Antiquarian 
 Society of Servia, ten years had elapsed since 
 its discovery, and no record had been kept of 
 the place and conditions in which it had been 
 found. Its elucidation rests, therefore, upon 
 mere conjecture. One is bound to question 
 its proposed attribution to prehistoric times. 
 Primitive as it may appear to be in regard 
 to its uncouth shape, the vessel is decorated 
 with geometrical patterns so cleverly inlaid 
 with white clay as to denote an advanced 
 state of manufacture. Prehistoric antiquity 
 has left nothing that can be compared to such 
 a superior workmanship, while many examples 
 of the Germanic pottery of the Carlovingian 
 era offer the same character of ornamentation, 
 executed in the same way. It is not improbable 
 that the work of some German potter of that 
 period might have found its way to the banks 
 of the Danube, and we feel strongly inclined to 
 adopt this view of the question. 
 
 HOFMANN (F. H.). Das europaische 
 Porzellan der Bayerischen 
 Nationalmuseums. Munchen, 
 1908. 4, pp. x-252; with 72 
 half-tone plates. 1, 5s. 
 212 
 
 "The European porcelain in the 
 Bavarian National Museum." 
 
 This catalogue comprises 1222 Nos. , consist- 
 ing chiefly of (Jerman porcelain. The Bavarian 
 factory of Nymphenburg is particularly well 
 represented (468 Nos.). A list of all artists 
 employed in the porcelain works of Germany, 
 and 8 pis. of marks are given in the appendix. 
 
 HOFFMANN (Collection H.). Catalogue 
 des objets d'art antique, terres- 
 cuites, bijoux, verrerie decrits 
 par W. Frolmer. Paris, 1886. 
 4, pp. 72 ; with 20 pis. and text 
 illustrs. II e Partie. Catalogue 
 des objets d'art antiques, vases 
 peints, marbres, bronzes, etc.. 
 decrits par W. Frohner. Paris, 
 1888. 4; with 24 pis. and text 
 illustrs. 30 fcs. 
 
 Catalogue of sale of the important collection 
 formed by Mr. H. Hoffmann, a well-known 
 expert in antiquities. 
 
 HOFFMANN (Catalogues of toe sales conducted 
 W- 
 
 Antiquites chypriotes. Cata- 
 logue des objets antiques trouves 
 a Arsinoe de Chypre ; sculptures, 
 inscriptions, poteries phenici- 
 ennes, terres cuites et bijoux, 
 decrits par W. Frohner. Paris, 
 1887. 8, pp. 38. Terra-cottas, 
 Nos. 181-267. 
 
 The excavations at Arsinoe were conducted 
 by Mr. Max 0. Richter. 
 
 - Antiquites grecques. Terres- 
 cuites de Myrina. Paris, 1888. 
 Sm. 8, pp. 29 ; with 6 pis. 
 
 Antiquites Terres - cuites 
 grecques, poteries, etc. Paris, 
 
 1889. 8, pp. 51 ; with 8 pis. 
 
 Antiquites pheniciennes. . . . 
 Terres-cuites de Myrina et de 
 Tanagra. Sm. 8, pp. 39 ; with 
 12 pis. 
 
 - Antiquites egyptiennes. Ter- 
 res-cuites de Tanagra. Paris, 
 
 1890. 8, pp. 38 ; 6 pis. 
 
CERAMIC LITERATURE. 
 
 - Antiquities. Objets egyptiens. 
 Vases peints. Terres - cuites. 
 Paris, 1899. 4; with 44 pis. 
 and 27 illustrs. 30 fcs. 
 
 Greek and Roman pottery, Nos. 68-119 ; 
 Terra cottas, Nos. 120-320. All the above 
 catalogues have been prepared by W. Frohner. 
 
 HOFFMANN (E. E.). Desseins zu de- 
 korirten und zierenden Stiiben- 
 ofen,theils entworfen, theils nach 
 der Ausfiihrung bearbeitet und 
 fur den Doppeldruck litho- 
 graphirt von E. S. H., Architekt 
 in Berlin. Berlin, s.d., 6 pis. 4. 
 (All published.) 
 
 " Designs for the decoration and 
 embellishment of household stoves re- 
 produced from sketches or executed 
 models, and lithographed by double 
 printing by E. S. H., architect." 
 
 HOLCOMBE (C.). --Ancient Chinese 
 porcelain and other curios be- 
 longing to G. A. Hearn. De- 
 scription by Chester Holcombe. 
 New York, 1894. 8; with fac- 
 simile of period marks. 5s. 
 
 HOLDER (E.). Madras pottery. Lon- 
 don, 1897. 4, pp. 4; with 16 
 pis. (some col.). (A special No. 
 of the Journal of Indian Art.) 
 
 HOLLINGSWORTH (A.). Blue and white 
 china ; by Brother Alexander 
 Rollings worth, artificer to the 
 Sette of Odd Volumes. Delivered 
 at a meeting of the Sette held 
 at Limmer's Hotel on Friday, 
 February 6th, 1891. London, 
 1891. 16, pp. 70 ; with 11 pis. 
 of vases and 7 pis. of marks 
 printed in blue. (245 copies 
 printed.) 
 
 It is said that no perfect set of the booklets 
 published by the bibliophilic Brotherhood of 
 Odd Volumes is in existence. Very few of the 
 separate numbers appear in the trade. 
 
 HOLMES (W. H.). --The following 
 papers on ancient American 
 pottery were reprinted from the 
 
 Annual Reports of the Bureau of 
 Ethnology : 
 
 - Illustrated catalogue of a por- 
 tion of the collections made by 
 the Bureau of Ethnology. (In 
 third report. Washington, 1884.) 
 
 - Prehistoric textile fabrics of 
 the United States, derived from 
 impressions on pottery. Wash- 
 ington, 1884. With 1 pi. and 
 56 illustrs. 
 
 The pottery of some aboriginal tribes of 
 America was formed in baskets, the inner 
 surface of which was lined with cloth. In this 
 paper are described and reproduced the im- 
 pressions that the weaving of the tissues has 
 left, neatly marked, upon the clay. 
 
 - Pottery of the ancient Pueblos. 
 Washington, 1886. Pp. 95; with 
 150 illustrs. 8s. 
 
 No appreciable change is discernible in 
 the Pueblos pottery ; whether the vessels are 
 found in the cave dwellings of very remote 
 antiquity, or in the burial grounds of more 
 recent periods, they all present an identical 
 character. The method in which they are 
 fashioned remains the same. It consists in 
 building up the shape by a superposition of 
 thin and long coils of clay ; the joints of those 
 coils are carefully smoothed on the inside of the 
 pot, but always left apparent on the outside. 
 By far the finest example of the ware is the 
 white pottery of the cliff dwellers, the ground 
 of which is decorated with geometrical traceries 
 painted in red and black clays. 
 
 Ancient pottery of the Mis- 
 sissippi Valley. Washington, 
 1886. Pp. 66 ; with 102 illustrs. 
 6s. 
 
 In Arkansas are found examples of ancient 
 pottery of a more advanced description. The 
 shapes are extremely varied, and show great 
 ingenuity of design ; many of them being 
 modelled in the form of human heads, animals, 
 fruits, etc. 
 
 - Origin and development of 
 form and ornament in ceramic 
 art. Washington, 1886. 8, pp. 
 17 ; with 25 illustrs. 4s. 
 
 Synopsis of contents : Forms suggested by 
 adventition ; forms derived by imitation ; forms 
 of shells, fruits, wooden and horn utensils, 
 and basket work. Modifications of ornaments 
 through change of materials. Methods of 
 realisation. Theoretical development of fret- 
 work, scrolls, etc. 
 
 213 
 
HOL] 
 
 CERAMIC LITERATURE. 
 
 [HOE 
 
 HOLMES (W. H.). Ancient art of the 
 province of Chiriqui, Colombia. 
 Washington, 1888. 8, pp. 187 ; 
 with 288 woodcuts. 8s. 
 
 Chiriqui is situated on the isthmus, which 
 unites the North with the South American 
 continent. What tho decorative art may have 
 been in the territory at the time when it was 
 inhabited by the prehistoric ancestors of the 
 present Indians, is chiefly represented by the 
 mortuary vessels discovered in enormous quan- 
 tity within the lately-exposed placesof sepulture. 
 From the excellent reproductions of the many 
 examples studied by Mr. H. Holmes, we may 
 judge that the pottery of Chiriqui equals, if it 
 does not surpass, in beauty of shape and per- 
 fection of workmanship, all that is found in 
 the Mexican and Peruvian necropolis. It 
 affords numerous instances of the typical forms 
 of vases peculiar to European classical anti- 
 
 Suity, which have been almost identically pro- 
 uced, doubtless through mere coincidence, 
 by a race which cannot be supposed to have 
 had any communication with European coun- 
 tries. The profile of certain vessels, the 
 geometrical combinations of keys and meanders 
 with which they are decorated, are so sugges- 
 tive of Greek art at the archaic period, that 
 certain writers have tried to establish, on 
 the testimony of that pottery, that some con- 
 nection must have existed between the chief 
 centres of antique civilisation. 
 
 HOLT (F. W.)- Ziegelstein-Architek- 
 tur. Auswahl praktischer Bei- 
 spiele. Leipzig, 1876. 8; with 
 40 lith. pis. 
 
 "Brick architecture; a selection of 
 practical examples." 
 
 HOLWERDA (A. E. J.). Attische Vasen 
 der Ubergangstil. Berlin, 1889. 
 4, pp. 22 ; with text illustrs. 
 (Reprint from the Jahrbuch.) 
 4 m. 
 
 "Attic vases of the transition style." 
 
 Korinthisch-attische Vasen. 
 
 Berlin, 1890. 4, pp. 31 ; with 
 text illustrs. 
 
 " Vases of the Attico-Corinthian style." 
 From the Oriental character of the early 
 Corinthian and Attic vases, sometimes called 
 Tyrrhenian, has been derived the theory that 
 Greek art had been affected by Assyrian 
 influence through the medium of the artistic 
 productions imported from Asia-Minor. Un- 
 willing to accept these conclusions, the writer 
 endeavoured to demonstrate that the Corinthian 
 pottery is certainly anterior in date to the 
 earliest painted vases of Asia-Minor. Conse- 
 quently, the former could not have borrowed 
 anything from the latter, and the similarity 
 
 214 
 
 apparent in the style of decoration of vases of 
 different origin, should not be taken as a proof 
 that the Greek ceramics owed something to 
 Oriental influence. 
 
 HOLWERDA (J. H.)- Die attischen 
 Graber der Bltithezeit. Leiden, 
 1899. 8, pp. 21 ; with 13 illustrs. 
 3 m. 
 
 "The tombs of the best Attic period." 
 The funereal scenes represented on Greek 
 
 vase paintings are dealt with in the second part 
 
 of this work. 
 
 HOOPER (W. H.) and PHILLIPS (W. G.)- 
 A manual of marks on pottery 
 and porcelain, a dictionary of 
 easy reference. London, Mac- 
 millan, 1876. 16, pp. 238. 5s. 
 
 An original plan has been adopted in the 
 arrangement of potter's marks and monograms. 
 Anchors, animals, arrows, and other figured 
 marks are grouped together and given in 
 alphabetical order. The authors claim for 
 themselves the credit of having translated the 
 Oriental marks placed in the last section. 
 
 HOPPIN (J. C.)- Euthymides. A 
 study in Attic vase painting. 
 Leipzig, Harrassowitz, 1896. 
 Sm. 4, pp. 42 ; with 7 pis. and 
 11 illustrs. 5s. 
 
 The name of Euthymides, a painter of the 
 cycle of Euphronios, appears only upon five 
 red figure vases, but several other pieces have 
 been attributed to him. By a keen scrutiny of 
 the style of the signed specimens, and a com- 
 parison with other paintings offering some 
 analogy with the former, Mr. Hoppin has 
 drawn a list of all the vases which he has 
 recognised as the work of Euthymides, point- 
 ing out at the same time the inaccuracy 
 of many attributions presented by previous 
 writers. 
 
 HOPPNER. Kleine Vorlagen fur 
 Aquarelle und Porzellanmalerei. 
 Leipzig, Arnold, 1881-82. 8; 
 17 col. pis. 
 
 "Small models for water-colour and 
 porcelain painting." 
 
 HORNER (Susan). Greekvases, histori- 
 cal and descriptive ; with some 
 brief notices of vases in the 
 Museum of the Louvre, and a 
 selection of vases in the British 
 Museum. London, Swan Sonn- 
 enschein, 1897. Sm. 8, pp. 
 
HOS] 
 
 CERAMIC LITERATURE. 
 
 167 ; with 1 pi. and outlines of 
 shapes. 
 
 Intended as a vade-mecum to the visitor of 
 the Greek vase collections in the Louvre and 
 the British Museum. 
 
 HOSTMAM (Christian). Der Umen- 
 
 friedhof bei Darzau in der Pro- 
 vinz Hannover. Braunschweig, 
 F. Vieweg & Sohn, 1874. 4, pp. 
 129; with 11 lith. pis. in col. 
 21 m. 
 
 "The urns of the burial ground dis- 
 covered near Darzau in the province of 
 Hanover." 
 
 It is estimated that the number of urns 
 buried in the "field of rest," discovered near 
 Darzau, at the junction of the Elbe with the 
 Camin, must have amounted to about 4000. 
 Unfortunately they were found in such a 
 fragmental state that the artist who designed 
 the plates had, in most cases, to trust to his 
 own imagination to reconstitute the complete 
 shape. The vessels are, for the greater part, 
 covered with a coat of shining black varnish, 
 and ornamented with lines and meanders 
 impressed in the clay by means of a " roulette," 
 or small punctuated wheel. This style of 
 workmanship was common to many other 
 centres at a corresponding period ; the key- 
 pattern, perhaps a remnant of the Greek and 
 Roman influence, predominates on the Darzau 
 pottery. The author has been at great trouble 
 to contrast with the examples he describes 
 the many instances of the same key- pattern 
 occurring upon the pottery of other countries. 
 
 The whole find, partially restored, is now to 
 be seen in the Provincial Museum of Hanover. 
 
 This work is rendered particularly valuable 
 to the archaeologist by the reference made to 
 the many articles and papers published in the 
 journals of the learned societies of Germany 
 on the subject of early pottery, the titles of 
 which are given in the footnotes. 
 
 HOTOP (E.) Der Brennofen in der 
 Ziegelei und Thonwaaren-fabrik 
 und in der Kalk- und Cement- 
 Industrie. 8; with 30 illustrs. 
 3 m. 
 
 " The oven in the tile and earthenware 
 factories and in the lime and cement 
 industry." 
 
 HODDOY (J.). Eecherches sur les 
 manufactures lilloises de porce- 
 laine et de faience. Lille, Danel, 
 1863. 8, pp. 89. (Privately 
 printed.) 
 
 "Researches on the porcelain and 
 faience factories of Lille." 
 
 - Histoire de la ceramique lil- 
 loise, pr^cedee de documents 
 inedits constatant la fabrication 
 des carreaux peints et emailles 
 en Flandres et en Artois au xiv e 
 siecle. Paris, Aubry, 1869. 8, 
 pp. 167 ; with 3 col. pis. 10 fcs. 
 
 "History of the ceramic art at Lille, 
 to which are prefixed some inedited 
 documents testifying to the manufacture 
 of painted and glazed tiles in Flanders 
 and Artois, in the fourteenth century." 
 
 Lille and the surrounding district has been 
 for centuries a very important centre of pro- 
 duction ; records of ornamented tile pavements 
 and pottery in full relief, intended for archi- 
 tectural decoration, go back to a very, early 
 date in the civic archives. Mr. Houdoy has 
 been particularly fortunate in discovering the 
 original Letters-patent granted, in 1391, by 
 Philippe le Hardi, Duke of Burgundy, to Julian 
 de Moustier and Jehan-le-Voleur "ouvriers en 
 quarriaux peints et jolis " workers in painted 
 and nice quarries, and some other deeds and 
 papers referring to the making of two important 
 tile pavements for Hesdin Castle and the Ducal 
 Palace at Arras. They were to be executed by 
 the said Jehan-le-Voleur after the design and 
 under the direction of Melcior Broederlain, a 
 celebrated painter of the time. It was parti- 
 cularly specified in the contract that the tiles 
 were to be of white clay, and painted over with 
 pretty images of figures, birds and flowers in 
 various colours. Such a precise description 
 makes it easy for us to infer that the work was 
 to be very different in character from the average 
 pavements of the period, usually composed of 
 tiles of red and yellow clays. The statement is 
 all the more interesting that no mention is made, 
 in the general histories of decorative tiles, of 
 any painted specimens having ever been found 
 that could be referred to such an early date. 
 It is true that a few tiles of white clay, painted 
 with figures in the costume of the fourteenth 
 century, were discovered buried under the floor 
 of St. Omer Cathedral. The fact was recorded 
 by Mr. Wallet, but without further comments, 
 and it escaped the notice of the specialists. It 
 may be that these last vestiges of what may 
 have been one of the finest pavements of the 
 times, represent the particular style of work 
 practised by Jehan-le-Voleur, and other ancient 
 Flemish tilemakers, of which no example was 
 supposed to be in existence. 
 
 In the seventeenth century Lille already 
 possessed several factories of painted faience ; 
 their productions emulated so successfully those 
 of Nevers and Rouen, that at the present day 
 the faiences of Lille, being seldom marked, are 
 attributed by the ceramic collector to one of 
 the above named places. A factory of soft 
 porcelain the second in France was estab- 
 lished in the town by B. Dorez in 1711. It 
 was also at Lille that Leperre Durot conducted 
 the royal porcelain works, founded in 1784, 
 under the patronage of the Dauphin. These 
 factories, and a few others of smaller import- 
 ance, have found in Mr. Houdoy a most 
 enlightened and devoted historian. 
 
 215 
 
HOU] 
 
 CERAMIC LITERATURE. 
 
 [HOU 
 
 HOUGH (I.). - - The lamp of the 
 Eskimo. Washington, 1898. 8, 
 pp. 26; with 24 pis. (Reprint 
 from the Report of the U.S. Nat. 
 Museum for 1896.) 2s. 
 
 Only a fewof the lamps used by the Esquimaux 
 tribes are made of terra-cotta. They exhibit 
 the lowest form of pottery that can be found 
 among the productions of prehistoric ages. 
 Some authors have spoken of the Esquimaux 
 as the only people in the world who never used 
 earthen vessels. 
 
 - An early West Virginia pot- 
 tery. Washington, 1901. 8, pp. 
 10; with 18 pis. (Reprint from 
 the Report of the U.S. National 
 Museum.) 2s. 
 
 Pottery was made at Morgantown towards 
 the end of the eighteenth century, but the 
 earliest record connected with the manufacture 
 refers to John Thompson, who was apprenticed 
 to a potter of the town and began business on 
 his own account in the first years of the follow- 
 ing century. His ware, and that made by his 
 successors between 1800 and 1873, are described 
 and illustrated in this article, which also con- 
 tains the catalogue of the specimens exhibited 
 in the U.S. National Museum. The tools, 
 moulds, etc., used by the potters are reproduced 
 on ten plates. 
 
 HOUSMAN (H.). Notes on the Willett 
 collection of pottery in the 
 Brighton Museum. Together 
 with the original catalogue of 
 the collection. Brighton, W. J. 
 Smith, 1893. 8, pp. 100; 16. Is. 
 
 In a numismatic collection, the political 
 history of the civilised world is amply repre- 
 sented by the successive series of coins and 
 medals, on which all nations have inscribed 
 the names of their leaders and graved the 
 record of their vicissitudes. The clay that the 
 potter has fashioned into shape has, to a certain 
 extent, received and preserved a faint reflex of 
 the social conditions of the past generations, 
 with whose existence the making and the use 
 of pottery has been associated. So, it may be 
 said, that in a collection of their pottery the 
 progress and decadence of various races may be 
 traced and followed. 
 
 It was with the idea of forming a gallery of 
 fictile evidence in which each example would 
 tell its own tale and all would, through the 
 form they present or the inscription they bear, 
 relate to us, in a familiar way, something of 
 the homely side of our national history that, 
 during more than forty years, Mr. Henry 
 Willett gathered together an enormous store of 
 specimens of English pottery. His original 
 notion was carried out by him as completely 
 as a scheme of such a wide scope could possibly 
 
 216 
 
 be realised. We must bear in mind that if the 
 coin collector can succeed in displaying in his 
 cabinet an almost uninterrupted chronographic 
 series of dates and facts, a similar achievement 
 cannot be accomplished by the ceramic col- 
 lector. The latter must, perforce, rest satisfied 
 with illustrating the periods which have pro- 
 duced something of more particular interest 
 than the insignificant terra-cotta pots, which 
 have often been made without any appreciable 
 variations during several centuries to answer 
 the simple requirements of the people. A 
 collection which would include representatives 
 of such dark periods would prove, once more, 
 that pottery shines, as an art, only at fitful 
 intervals. Vessels of burnt clay have been, it 
 is true, made at all times, but improvements in 
 the making are often very long in coming. 
 Let us take, for instance, the glorious revival 
 of arts in western Europe during the Middle 
 Ages, and we shall realise how inadequately 
 the efforts of the potter can sometimes respond 
 to those of his brother craftsmen. The stone 
 carver and the vellum limner ; the goldsmith 
 and the brassfounder ; the cloth weaver and 
 the embroiderer ; the mosaic maker and the 
 stained-glass painter of that period have vied 
 with each other in adorning the Gothic cathedral 
 and the castle of the mighty with works of ex- 
 quisite taste and unsurpassable technical ability. 
 Rough earthenware tiles just one degree re- 
 moved from common bricks, uncouth jugs still 
 evincing the barbarian workmanship of the 
 darkest ages, was all the potter could produce 
 as his own contribution to the onward move- 
 ment ; they form a singular contrast to so many 
 contemporary marvels. It is not, certainly, to 
 the pottery of corresponding times that one 
 should look to form an idea of the high level 
 that artistic handicrafts had reached during 
 the mediaeval era ; and this applies to other 
 periods of the history of art. Later on, 
 when, for causes that we cannot at present 
 investigate, the earthen vessel began to as- 
 sume a more important place among the 
 requisites of the altered conditions of society, 
 we see the potter join at last in the 
 general advance of decorative art. We notice 
 from that moment, besides a combination of 
 efforts directed towards the improvement of 
 the trade in general, the isolated rising of a 
 few gifted craftsmen who glory to impart to 
 the obedient clay which receives its shape 
 from their hand the impress of their powerful 
 personality. It is the Renaissance ; a glorious 
 epoch, when all tended to the gratification of 
 an unbounded hankering after refinement and 
 luxury. The prince made then a direct appeal 
 to the potter, and the potter felt himself equal 
 to answer any princely demand. Plebeian 
 earthenware is thrown into the shade by the 
 introduction of the precious Oriental wares ; 
 but ere long the coming of a porcelain of 
 national manufacture establishes a successful 
 competition against foreign imports. 
 
 The march of years prepares the advent of a 
 great social change. With the improved 
 education of the masses, democracy awakes to 
 the sense of its political importance, and the 
 transformation obviously affects the work of 
 the potter. The shadow of passing events 
 no longer indifferent to the majority begins to 
 register itself upon the crockery roughly painted 
 to please the fancy of the lower classes. While 
 
HOUj 
 
 CERAMIC LITERATURE. 
 
 [HOW 
 
 sensational chap-books and elementary treatises 
 on educational subjects are eagerly sought after 
 by the villager and the operative, the pot and 
 the pitcher exhibit images and inscriptions in 
 which the feelings and the aspirations of the 
 people are distinctly evidenced. At first they 
 simply show the royal arms or the crest of a 
 noble patron, some graphic symbol of national 
 glory, or a , suggestive monogram recalling a 
 name dear to popular memory. Gradually the 
 subjects depicted upon the ware assume a more 
 ambitious form. The self-taught decorator at 
 the village pot- work has to keep pace with the 
 news of the day. He is constantly called upon 
 to improvise with the tip of his rude brush a 
 clumsy portrait, a transparent allegory, a tell- 
 ing picture which shall illustrate the engrossing 
 topic of the moment, and thus impart a special 
 attractiveness to the best articles of his cheap 
 and gaudy show. 
 
 In England, a special facility for decorating 
 the ware at a small cost, with pictorial sub- 
 jects of a more elaborate order, was afforded 
 by the introduction, towards the middle of the 
 eighteenth century, of the process of transfer 
 printing. This mode of decoration has been, 
 ever since, taken great advantage of by the 
 English potter. 
 
 Historical as the Willett collection may be said 
 to be, at least in a certain sense, chronological 
 order could not for the reasons already 
 given have been adopted for its arrange- 
 ment. The specimens are divided, for prac- 
 tical purposes, into arbitrary sections headed 
 respectively : Royalty and loyalty ; Hero 
 worship ; Seafaring ; American wars ; Politics, 
 etc. Under such conditions it is obvious 
 that the intrinsic merit of the piece has to 
 give way before its historical or social in- 
 terest. The ceramic collector may, however, 
 feel a little surprised at the unwonted assem- 
 blage presented by each section. Ancient 
 pottery of artistic value, selected at the sale of 
 some celebrated collection, stands side by side 
 with vulgar crocks obtained from a country 
 cottage ; the subjects represented upon them 
 being the only cause of their present con- 
 nection. Thus the series ranged under the 
 heading : Costumes, brings together the costly 
 porcelain group, and the cheap and grotesque 
 earthenware figure. Under the title of : Politics, 
 we find not only busts and statuettes of states- 
 men in ancient stoneware and china biscuit, 
 but also the common pint mug, the record of 
 parliamentary elections in times not far re- 
 moved from us, when such mugs, duly inscribed, 
 were presented to his constituents by the candi- 
 date, and in which his health was freely drunk 
 at the local beer house. Sporting is not the 
 least interesting section ; prize-fighting, bear 
 baiting, horse racing, field sports, etc., are 
 fully illustrated on many specimens most quaint 
 and amusing. If we add that most of the 
 pieces composing the various series are in- 
 scribed with appropriate sentences and doggerel 
 verses, which contribute not a little to their 
 individual interest, we have said enough to 
 explain the particular value that is attached 
 to this unique collection. It has been be- 
 queathed by its owner to the Brighton Museum. 
 
 HOUZEDE L'AULNOIT (A.)- Essai sur les 
 Faiences de Douai, dites Ores 
 
 Anglais. Lille, Danel, 1882. 8, 
 pp. 141 ; with 2 pis. 10 fcs. 
 
 " Essay on the Douai faiences called 
 ' English Stoneware.' " 
 
 A.11 the white and cream-coloured earthen- 
 ware made in England at the latter part of the 
 eighteenth century went in France under the 
 name of English "Gres," or stoneware. Al- 
 though its importation was heavily taxed, and 
 at one time had even been prohibited, it had 
 gained public favour ; the demand for wares of 
 English manufacture was becoming consider- 
 able. Highly profitable results were expected 
 from the establishment, on French territory, of 
 well equipped manufactories, the productions 
 of which would so closely imitate the foreign 
 articles that they would soon drive these latter 
 out of the market. Two potters from New- 
 castle, Charles and Jack Leigh, went to Douai 
 to start the manufacture of English earthen- 
 ware, with the financial support of some wealthy 
 inhabitants of the town. A few years after, in 
 1784, the factory they had established received 
 a Royal privilege which secured to them the 
 exclusive right of manufacturing that kind of 
 ware in the Artois province. An ancestor of 
 the writer, Houze de 1'Aulnoit, was one of the 
 directors. The progress of the business was 
 suddenly checked by the commercial treaty of 
 1786, which threw open the French market to 
 English goods. The state of affairs fluctuated 
 for some time between prosperity and troubles, 
 arid ultimately the works had to be closed 
 in 1821. 
 
 Mr. H. de 1'Aulnoit is a distinguished 
 advocate ; perhaps, in his legal career, he has 
 never accumulated, classified and annotated 
 with more devotion to his case such a large 
 amount of documental evidence as he has done 
 in the preparation of this book. Official 
 decrees, deeds of partnership, statements of 
 affairs, requests and petitions to the govern- 
 ment, succeed each other, marshalled with 
 forensic impeccability. From a survey of this 
 formidable array of official documents, we may 
 gather with what difficulties the conduct of an 
 industrial business was surrounded in the good 
 old time. The notion of a private enterprise 
 being carried on without the interference and 
 the support of the state was evidently not to 
 be entertained. To beg for special favours, to 
 complain of unfair conditions, to boast about 
 the work already done and promise marvels 
 for the future, and, finally, to engross supplica- 
 tions couched in decorous terms and obtain the 
 influential patronage of some high personage, 
 seem to have been the chief care of a strong- 
 minded manufacturer. 
 
 The volume, printed on fine paper, is of 
 excellent typographic execution. 
 
 HOWARD (J. J.). Catalogue of the 
 collection of armorial porcelain 
 formed by the late Dr. Howard. 
 London, 1902. 4, pp. 14 ; with 
 Ipl. 
 
 Catalogue of sale. Examples of the Oriental 
 china, sometimes called Lowestoft. 
 
 217 
 
HOW] 
 
 CERAMIC LITERATURE. 
 
 [HUI 
 
 HOIORTH (J.). The art of repairing 
 and rivetting glass, china, and 
 earthenware. London, 1898. 8, 
 pp. 22 ; with text illustrs. Is. 
 
 HUCHER (E,). Catalogue du Musee 
 archeologique du Mans. Le 
 Mans, Monnoyer, 1869. 8, pp. 
 104; illustrs. 
 
 The ceramic section of the museum contains 
 a series of ancient pottery made at Ligron 
 (Sarthe). 
 
 HUDDILSTON (J. H.). Greek tragedy 
 in the light of vase painting. 
 New York, Macmillan, 1898. 
 8, pp. 183; with 28 illustrs. 
 5s. A German translation has 
 been made by Heuse. Freiburg, 
 1900. 
 
 Creuser has described the vase paintings he 
 called ' ' Illustrations to the works of the Greek 
 tragic poets." Welcher commented upon such 
 subjects as appear to furnish a reference to 
 the lost plays. Luckenbach, looking at the 
 question from an opposite point of view, denied 
 that the tragics ever had any influence on 
 the work of the artist. In his own estimation, 
 poet and painter borrowed their subjects from 
 the same source viz., the popular traditions 
 which had preserved the memory of heroic 
 ages. Accordingly, the vase painter delineated 
 the legend he had chosen to represent from 
 his own interpretation of the scene, and quite 
 independently from the tragedy that the poet 
 had elaborated on the same foundation. 
 
 The author of the present essay has made 
 good profit out of these various theories, and he 
 has materially added to the list of vase paint- 
 ings upon which an intimate relation between 
 ceramic art and the Greek tragedies is illus- 
 trated. It is surprising, however, to see that 
 he affects to ignore altogether the work of his 
 predecessors on the same subject. 
 
 - Lessons from Greek pottery ; 
 to which is added a bibliography 
 of Greek ceramics. New York, 
 Macmillan, 1902. 8, pp. 144; 
 with 17 illustrs. 5s. 
 
 Vase paintings and the life of the Greeks. 
 Vases and Literature. These are the headings 
 of the two leading chapters in the book. 
 The appendix gives a "Bibliography of Greek 
 ceramics." It is a somewhat misleading title, 
 considering that it contains only the works 
 which treat of painted vases, and excludes 
 mention of those on terra-cottas, by themselves 
 a very important branch of the classical ceramic 
 literature. A list of a number of articles on 
 vase paintings which have appeared in the 
 serial publications will be found of some use to 
 the student. 
 
 218 
 
 HUDSON MOORE (H.). The old china 
 book, including Staffordshire, 
 Wedgwood, Lustre, and other 
 English pottery and porcelain. 
 New York, Stokes, 1903. 8, 
 pp, 300 ; with numerous illus- 
 trations. 10s. 
 
 Particularly devoted to the description of 
 such ware of English origin as may be found in 
 the old households of the United States. The 
 descriptions are not always illustrated by a 
 correct example. Thus, "Tortoise Shell" is 
 represented by a mug of marbled ware, and 
 " Queen's Ware," by a clumsy milk jug of late 
 yellow ware of Longton make. Specimens of 
 rather modern Staffordshire ware, with views 
 in blue printing, are abundantly reproduced. 
 
 HUBNER (E.). Die antiken Bild- 
 werke in Madrid. Nebst einem 
 Anhang, enthaltend die ubrigen 
 antiken Bildwerke in Spanien 
 und Portugal. Berlin,1862. 12, 
 pp. 356. 5 m. 
 
 "The collections of antiquities in 
 Madrid ; with an appendix containing a 
 description of the antiquities in the other 
 collections of Spain and Portugal." 
 
 Painted vases : The Royal Museum and 
 National Library, pp. 169-195 ; The Academy 
 of Fine Arts, 229-231 ; Medinacelli Collection, 
 p. 75 ; Anglona Collection, Vases and Terra- 
 cottas, pp. 253-260 ; and a few minor 
 collections. 
 
 HUISH (M. B.). Catalogue of the 
 collection of Japanese works of 
 art formed by Sir Trevor Law- 
 rence, 1869-94. Edited by M. 
 B. Huish. London, 1895. 4, 
 pp. ix-158 ; with 39 autotype 
 pis. and text illustrs. Ceramics, 
 pp. 144-154. Privately printed. 
 2, 2s. 
 
 Greek terra-cotta statuettes ; 
 their origin, evolution, and uses. 
 London, J. Murray, 1900. Sm. 
 4, pp. xvi-251 ; with 75 photo- 
 typ. pis. and 43 half-tone illustrs. 
 in the text. 21s. 
 
 More than fifty years have elapsed since the 
 sudden revelation of the graceful creations of the 
 Hellenistic terra-cotta potter has fascinated 
 both the art collector and the antiquary. 
 England did not remain behind other nations 
 in her admiration of the little figures unearthed 
 
HUN] 
 
 CERAMIC LITERATURE. 
 
 [HTJY 
 
 from the necropolis of Greece and Asia-Minor. 
 The choicest specimens were secured for the 
 museums and private collections, and the 
 splendid works on ancient terra-cottas published 
 in foreign countries were readily purchased and 
 eagerly read. But with the exception of a fe\v 
 detached papers, which have appeared in the 
 antiquarian serials, such as the Journal of 
 Hellenic Studies, etc., England did not add any 
 contribution to this engrossing subject. The 
 present volume was intended to fill a regrettable 
 gap. It does not pretend to throw a fresh 
 light on the questions still left undecided, but 
 it may claim to be a comprehensive summary 
 of all that has been written on the matter. 
 Mr. Huish, known for his studies on the arts 
 of Japan, is not a specialist, but he has mastered 
 the works of the young school of French archae- 
 ologists, and his clear and compact digest will 
 do much to spread the knowledge of this branch 
 of ancient ceramic art. It is the first time that 
 the history of Greek terra-cottas, at various 
 periods and at various places, the use of 
 statuettes, and the subjects they generally 
 represent, have been told in the English 
 language. 
 
 HUNT (R.). Handbook to the in- 
 dustrial department of the In- 
 ternational Exhibition, 1862. 
 London, 1862. 8. Ceramics, 
 vol. ii., parts 6-7. 
 
 HUNTER (I, C.). Bits of old china. 
 London, Kegan Paul, 1885. 8. 
 
 Nothing about china broken or whole 
 will be found in this book. It is made up of 
 stray bits of personal reminiscences of the old 
 Chinese country. A translation of a Chinese 
 stage farce entitled "Poo Kang, or, the mender 
 of broken china " (p. 108), is, however, to be 
 recommended to the repairer of ceramic wares 
 as one of the classics of his craft. 
 
 HUTSCHENREUTER (L). Motive fur 
 die keramische klein Plastik. 
 Plauen, 1894. Fol. 
 
 " Models for small ceramic objects." 
 
 BUTTON (C, A.). Greek terra-cotta 
 statuettes ; with a preface by A. 
 S. Murray. London, Seely, 1899. 
 8, pp. xvi-80; with 8 col. pis. 
 and 16 monochr. pis. represent- 
 ing 36 subjects. 7s. 
 
 This volume, and that of Mr. Huish's, 
 appeared almost on the same day. Two books 
 on a subject for so long undeservedly neglected 
 are surely not more than was wanted. All 
 admirers of Greek terra-cotta figures are not 
 necessarily endowed with the erudition of a 
 classical scholar, and a sense of inability to 
 penetrate into the depth of the learned dis- 
 quisitions indulged in by French and German 
 
 archaeologists may have deterred many a one, 
 most anxious, otherwise, to know something of 
 the history of those bewitching statuettes, 
 from attempting such an inauspicious study. 
 Any apprehension on that score is now set at 
 rest. All that is strictly required to facilitate 
 the learning of this fascinating branch of anti- 
 quarian lore will be found in Miss Button's 
 most welcome handbook. It displays a perfect 
 acquaintance, on the part of the author, with 
 the history of antiquity, yet the narrative is 
 never allowed to wander too far away from the 
 modest terra-cotta figure which remains, as it 
 should, the centre of attention. Frequent and 
 appropriate applications of passages of the 
 Greek anthology to the subjects described 
 render a perusal of the book still more attractive. 
 A special care has been bestowed on the photo- 
 graphic reproductions, all taken from examples 
 preserved in the British Museum. One chapter, 
 however, is open to the criticism of the practical 
 potter. By borrowing her information on the 
 technical processes from antiquarian authorities, 
 the author has been led to repeat the ludicrous 
 errors in which some of them have fallen when 
 describing how terra-cotta figures were made. 
 
 HUYYETTER (Johan d'). - - Zeldzaam- 
 heden verzameld en uitgegeven 
 door Johan d'Huyvetter in het 
 koper gesneden door Ch. Ong- 
 hena. Ghent, 1829. 4, pp. 4 ; 
 with 22 pis. in outline. 1. 
 
 "Objects of curiosity collected and 
 published by J. d'Huyvetter, engraved 
 on copper by Ch. Onghena." 
 
 Such a singular collection, the first formed 
 almost entirely of vessels of ancient Flemish 
 and German stoneware, must have been con- 
 sidered at the time as evincing, on the part of 
 the collector, a most eccentric and unaccount- 
 able taste. The strange drinking vessels it 
 contained were evidently shown by their 
 possessor in the same spirit as they had been 
 gathered, that is to say, as mere objects of 
 curiosity. At any rate, in the few words of 
 apologetic introduction written in the Flemish 
 language by J. d'Huyvetter to explain his un- 
 precedented collection to his brother art- 
 amateurs, not a hint is thrown out as to the 
 probable origin of its contents ; not a word 
 is said about their artistic merit, yet, the 
 specimens had been so judiciously selected that 
 many of them are now valued as the most 
 precious jewels of the rich collections in which 
 they have later on found their place. The 
 series of plates begins with an outline of the 
 large fountain once called " The King of Vases," 
 now in the South Kensington Museum, and 
 which d'Huyvetter had discovered in the tap- 
 room of a small tavern at Antwerp. Un- 
 fortunately the reproductions are so incorrectly 
 drawn that they can only serve as graphic 
 notes whereby to recognise the objects as we 
 find them in the museums, or see them more 
 accurately reproduced in modern engravings or 
 photographs. Choice examples of Palissy ware 
 and many remarkable glass vessels were also 
 included in this interesting collection. 
 
 219 
 
IHM] 
 
 CERAMIC LITERATURE. 
 
 [ING 
 
 I 
 
 IBM (M.). Die arretinischen Topf- 
 ereien. Bonn, 1898. 4, pp. 20. 
 (In Banner Jahrb.} 
 
 "The Arretinian potteries." 
 
 ILG (A.). Heraclius. Von den Fiir- 
 ben und Kiinsten der Romer. 
 Originaltext und Uebersetzung. 
 Mit Einleitung, Noten, und Ex- 
 cursen versehen. Wien, 1873. 
 8, pp. xxiv-190. 2 m. 
 
 "Heraclius. On the colours and the 
 arts of the Romans. Original text arid 
 translation. With explanatory notes." 
 
 INGHIRAMI (F.)- Monument! etruschi, 
 o di etrusco nome, designati, in- 
 cise, illustrati e publicati dal. 
 Cav. F. Inghirami. Badia Fie- 
 solana, 1821-26. 10 vols. 4; 
 with engr. pis., mostly colour. 
 350 copies printed, and publ. at 
 650 fcs. 5. 
 
 Real genius and unswerving faith were 
 indeed wanted to sustain the persevering 
 earnestness of the writer through the stupen- 
 dous course of labour accomplished by Inghir- 
 ami. The man was incontestably a born 
 historian, and could, in many instances, dis- 
 play the sagacity of a true archaeologist. But 
 his infatuated admiration for Etruscan art left 
 no room in his mind for sedate consideration of 
 the subject. Nothing short of absolute fana- 
 ticism could, in the face of so many contra- 
 dictory opinions, have kept up his implicit 
 belief in his personal theory. The militant 
 zeal he displayed in his endeavour to foster 
 the acceptance of his own conviction that 
 Etruria had occupied the foremost rank in 
 ancient civilisation, can only be compared to 
 the fervour with which an inspired apostle 
 tries to win proselytes to a new creed. Fortune 
 and social position, leisure and pleasure, Inghir- 
 ami sacrificed them all to devote himself 
 entirely to his passionate worship of ancient 
 Etruria. 
 
 Accompanied by a small group of devoted 
 pupils and efficient assistants, the master 
 repaired to the Badia, an establishment 
 founded by Cosimo the Ancient for the cul- 
 ture of science, situated outside the walls oi 
 Florence. There he established his printing 
 works, and installed drawing and engraving 
 studios. Taking upon himself the whole 
 responsibility of the enterprise, he acted as 
 chief designer, engraver, and printer, devoting 
 all the moments he could spare from his active 
 direction to his archaeological researches anc 
 the writing of learned essays, all consecratec 
 to the greater glory of his dear Etruria. On" 
 
 220 
 
 can scarcely decide whether we should admire 
 or pity the outcome of such ambitious and 
 colossal efforts. At the present day his fondest 
 arguments are irretrievably discarded as un- 
 tenable. The actual examples he adduces 
 in support of his assertions are no longer con- 
 sidered to be true Etruscan works. Heedless 
 of their characteristic style, he grouped to- 
 gether, indiscriminately, all examples of pottery 
 that had been unearthed from the antique 
 necropolis of Italy. However distant from 
 what he took to have been the unique centre 
 of production might have occurred a discovery 
 of classical vases and terra-cottas, the whole of 
 it had for him a common origin ; he entertained 
 no doubt that it had all been imported there 
 from Etruria. In consequence of his stubborn 
 misconception, the majority of the fictile vases 
 he reproduced in his ponderous works, which 
 are unquestionable examples of Greek work- 
 manship, are absolutely foreign to the purpose 
 they were intended to serve. 
 
 Curiously enough, while absorbed in the 
 elucidation of painted vases, he bestowed little 
 or no attention on the black pottery called 
 Buccaro nero, the sarcophagi surmounted with 
 life-size figures, and other masterpieces of terra- 
 cotta, now recognised as the best representatives 
 of Etruscan ceramic art. 
 
 - Lettere di etrusca erudizione 
 publicate da Francesco Inghir- 
 ami. Poligrafta Fiesolana, 1828. 
 4; with 14 pis. 15 fcs. 
 
 " Letters on Etruscan archaeology." 
 
 Pitture di vasi fittile, esibite 
 dal Cav. F. Inghirami per ser- 
 vire di studio alia mitologia ed 
 alia storia degli antichi popoli. 
 Poligrajia Fiesolana, 1831-37. 
 4 vols. 4; with 400 pis. A 
 second edition was published in 
 Florence in 1852-56. 50 fcs. 
 
 " Paintings on fictile vases published 
 as helps for the study of mythology and 
 the history of ancient nations." 
 
 - Museo etrusco chiusino, dai 
 sui possessor! publicato, con ag- 
 giunto di alcuni ragionamenti 
 del prof. Dom Valeriani, e con 
 brevi esposizioni del Cav. F. I. 
 Poligrajia Fiesolana, 1833. 2 
 vols. 4; with 216 pis. in out- 
 line. 60 fcs. 
 
 " The Etruscan museum at Chiusi ; 
 published by the owners, with a disserta- 
 tion by Professor D. V., and a few- 
 remarks by Cav. F. I." 
 
IQU] 
 
 CERAMIC LITERATURE. 
 
 [JAC 
 
 A descriptive catalogue of the private collec- 
 tion of Mr. Casuccini at Chiusi, which contained 
 many specimens of Etruscan pottery and Greek 
 vases. 
 
 IQUELON (Collection de Mr. le Marquis d'). 
 Vente a Paris, Avril, 1887. 4, 
 pp. 33 ; with 7 pis. Eouen fai- 
 ence, 126 Nos. Introductory 
 notice by G. Gouellain. 
 
 IRELAN (Linna). -Pottery. Sacra- 
 mento, 1890. (In the Ninth Ann. 
 Rapt. State Mineralogist of Cali- 
 fornia, pp. 240-261.)' 
 
 JACKOB (H.) (Publ. by). Die neuzeit- 
 liche Technik der Thon-, Ziegel-, 
 Cement-, Kalk-, Porzellan-, und 
 Glass-Industrie und ihre Bezugs- 
 quellen. Praq, Apolda (1897). 
 12, pp. 84. 
 
 "The latest technical improvements 
 in the clay, tile, . . . porcelain and glass 
 industries, and their sources of supply." 
 
 List of the last patents connected with 
 ceramic manufacture ; directory of machine- 
 makers, dealers in raw materials and chemicals, 
 and trade advertisement, chiefly connected with 
 Austrian industry. 
 
 JACKSON (W.). A text-book on cer- 
 amic calculations, with examples. 
 London, Longman & Green, 1904. 
 12, pp. xviii-67. 
 
 Prepared for the use of the classes in pottery 
 and porcelain manufacture, held under the 
 direction of the Staffordshire Education 
 Committee. 
 
 JACOB (G.).--Die Gleichberge bei 
 Romhild als Culturstatten der 
 La Tenezeit Mitteldeutschlands. 
 Halle a. d. S., 1887. 4, pp. 50 ; 
 with 8 pis. and 155 illustrs. 
 Parts v.-viii. of the Vorgeschicht- 
 liche Alterthiimer der Provinz 
 Sachsen.) 
 
 "The fortified hills near Romhild, 
 centres of civilisation of the La Tne 
 period in Central Germany." 
 
 A large accumulation of broken pottery has 
 been found in the locality. The vessels are of 
 coarse terra-cotta, almost without ornamenta- 
 tion. The name of the La Tene period has 
 
 been given to the time extending between the 
 eighth and fourth century B.C. 
 
 JACOBSTHAL (J, E.). Sud-italienische 
 Fliesen-Ornamente, nach origi- 
 
 f O 
 
 nalaufnahmen. Berlin, E. Was- 
 muth, 1886. Fol., pp. 20 ; with 
 30 chromolith. pis. and 32 text 
 illustrs. 80 m. 
 
 " Ornamental tiles of South Italy 
 drawn from the originals." 
 
 More extensively than any other Italian 
 town, Naples has adopted no doubt under 
 Spanish influence the introduction of brightly- 
 coloured majolica tiles in the adornment of 
 private habitations. In other provinces we 
 see them employed chiefly for decorative 
 purpose, but under the burning sky of Naples, 
 floor and wall tiles are recognised as an absolute 
 necessity by all who care to keep the house 
 cool and clean. Along the quays of the town, 
 the sea-beach gives one an idea of the amazing 
 quantity of worn-out majolica tiles unceasingly 
 thrown away to be replaced by fresh ones. 
 Sand and pebbles disappear under a thick 
 layer of fragments, thinned and rounded by 
 the waves. 
 
 A Neapolitan tile-maker is usually estab- 
 lished in a very modest way of business. 
 Wherever he has found a place suitable for 
 setting up his working shed and his primitive 
 kiln, either on the quays or in the suburbs, he 
 may be seen working in the open air, alone or 
 assisted by a couple of apprentices. For a few 
 days he moulds the tiles, then he will glaze 
 and paint them, for he handles the painting 
 brush as well as the boss and the scraper. His 
 patterns, intensely gaudy, do not make any 
 pretence at refinement. Most of them have 
 been made by his father, and before him by 
 several generations of potters, all unconscious 
 of the advantages of art-training. When he 
 feels in want of a new design, the motive is 
 borrowed from the works of the house decorator, 
 and it is invariably in the debased rococo style, 
 which is still the glory of the lower class of 
 fresco-painting of South Italy. 
 
 We know more than one instance of these 
 conditionsof manufacture amongst the numerous 
 examples placed under our eyes by the collector. 
 With few exceptions they consist in geometrical 
 combinations of the circle and the straight line, 
 filled in with various colours, and forming such 
 designs as any hand can rapidly execute after a 
 little practice, or which can be produced by 
 stencilling. We need not say that the artist or 
 the amateur would look in vain for any rem- 
 nants of the tradition left by the majolica 
 decorators of the sixteenth century in these 
 showy and vulgar diapers. No indication of 
 dates or origin is given in any case ; many of 
 the designs may be, for ought we know, still 
 produced in our days ; some of them may go 
 back to the middle of the seventeenth century. 
 Be it as it may, the pattern produced by a 
 single tile, repeated indefinitely in the manner 
 of a modern woven fabric or a common wall 
 paper, cannot pretend to vie with the stylish 
 disposition of a Renaissance majolica pave- 
 ment. On the other hand, the Neapolitan 
 
 221 
 
JAC1 
 
 CERAMIC LITERATURE. 
 
 [JAC 
 
 potter still possesses the secret of a shining 
 white enamel on which his many-coloured 
 arabesques stand out most effectively. 
 
 JACQUEMART (Albert). -La Porcelaine 
 des Medicis. Paris, 1857. 8, 
 pp. 14. (Reprint from the Gaz- 
 ette des Beaux Arts.) 
 
 "The Medicean porcelain." 
 
 Notice sur les majoliques 
 
 de 1'ancienue collection Cam- 
 pana. Paris, Techener, 1862. 
 4, pp. 28. (Reprint from the 
 Gazette des Beaux Arts, with 
 1 etching by J. Jacquemart.) 
 
 " Notice of the majolica in the collec- 
 tion Campana." 
 
 - Collection de Mme. Malinet. 
 Oriental ceramics. Paris, 1862. 
 8, pp. 96. Privately printed. 
 
 Collection Ch. de Ferrol. 
 Oriental porcelain. Paris, 1863. 
 8, pp. 98. 
 
 Catalogue of sale. 
 
 Les merveilles de la cera- 
 mique, ou 1'art de fayonner et 
 decorer les vases en terre-cuite, 
 faience, gres et porcelaine depuis 
 les temps antiques jusqu'a nos 
 jours. Paris, Hachette, 1866- 
 69. 3 vols. 12; numerous il- 
 lustrs. 9 fcs. 
 
 "The marvels of ceramics; being the 
 art of fashioning and decorating vases of 
 terra-cotta, faience, stoneware and porce- 
 lain from ancient times to the present 
 day." 
 
 This work is one of a series of handbooks 
 published under the title of The Library of 
 Marvels, hence the heading which, in this case, 
 might appear deceptive. It is needless to say 
 that it does not pretend to deal exclusively 
 with the most celebrated masterpieces of the 
 potter's art, but that it is intended to resume, 
 in a concise form, the history of the ceramic 
 productions of all times and countries. It is 
 divided into three parts : I. The East Egypt, 
 China, Japan, Persia, etc. II. The Occident 
 Greek and Roman antiquity ; Italian and 
 French Renaissance. III. Faience and porce- 
 lain of Europe in more recent times. The 
 woodcuts drawn by Jules Jacquemart for the 
 
 222 
 
 illustration of the last two volumes may be 
 considered as models of the kind. One cannot 
 deny that on its publication this work answered . 
 a general desideratum, and it was succeeded 
 by a number of palpable imitations which were 
 brought into existence through the success it 
 had obtained. Most of them have followed 
 the plan adopted by Jacquemart, and made 
 good profit of the information he had accumu- 
 lated ; and yet, in most cases, if his name is 
 at all mentioned it is in connection with some 
 error he may have committed. 
 
 Histoire de la ceramique. 
 Etude descrip ti ve et raisonnee des 
 poteries de tous les temps et de 
 tous les peuples. Paris, Hach- 
 ette, 1873. 8, pp. 750; with 
 146 text illustrs. and 12 copper- 
 plate etchings by Jules Jacque- 
 mart. 25 fcs. 
 
 " History of the ceramic art. A 
 descriptive and methodical study of the 
 pottery of all ages and countries." 
 
 The letterpress and illustrations are practi- 
 cally the same as in the small volumes entitled 
 The' Marvels of Ceramics, but the addition of 
 twelve etchings by J. Jacquemart is sufficient 
 to impart to this edition a special interest. It 
 is seldom one sees freedom of execution united 
 to the same degree with absolute accuracy of 
 rendering. These plates offer the charm one 
 can only expect to find in a spirited sketch, 
 and yet the effect is as true and complete as 
 that of a highly finished work. As the copper 
 plates have suffered much from excessive use, 
 one should be careful to select good proofs. 
 
 A. Jacquemart died two years after the 
 publication of this volume. Accounts of his 
 life and labours were published in 1875 by 
 A. Darcel, in the Gazette des Beaux Arts, and 
 by P. Salin, in the Bulletin du Bouquiniste. 
 
 An excellent translation in English of the 
 above work was supplied in 1873 by Mrs. Bury 
 Pallisser. 
 
 JACQUEMART (Albert) and LE BLANC (E,). 
 Anciennes faiences franaises. 
 Paris, 1859. 8, pp. 23. (Re- 
 print from the Gazette.) 
 
 " Ancient French faience." 
 
 - Histoire artistique industrielle 
 et commerciale de la porcelaine, 
 accompagne'e de recherches sur 
 les sujets et emblemes qui la 
 decorent, les marques et les in- 
 scriptions qui font connaitre les 
 fabriques d'ou elle sort, les vari- 
 ations de prix qu'ont obtenus 
 
JAC] 
 
 CERAMIC LITERATURE. 
 
 [JAH 
 
 les principaux objets comrns et 
 les collections oti ils sont con- 
 serves aujourd'hui. Paris, Tech- 
 ener, 1862. Imp. 4, pp. 690; 
 with 27 etchings by J. Jacque- 
 mart. 75 fcs. 
 
 " History of porcelain, artistic, in- 
 dustrial, and commercial ; with expla- 
 nations of the subjects and emblems 
 entering into its decoration ; the mai'ks 
 and inscriptions indicating the places of 
 manufacture ; the variations in the prices 
 obtained by the most notable pieces ; and 
 the collections in which they are pre- 
 served at the present day." 
 
 The rapid advancement in ceramic history 
 made during the last few years has rendered 
 the works of Jacquemart somewhat out of date, 
 but we must not forget that he was one of the 
 first writers who gave to that branch of learn- 
 ing its now recognised importance, and that his 
 books resumed faithfully the knowledge that 
 was then available. 
 
 Endowed with the enquiring and methodical 
 turn of mind which makes an archaeologist, 
 supplemented by an intense love for all that is 
 beautiful, Jacquemart could not rest satisfied 
 with the matter-of-fact occupation he had to 
 follow in the custom-house offices, which he 
 entered as a youth, and where he afterwards 
 occupied a distinguished position. All his 
 leisure hours were devoted to literature ; his first 
 efforts resulted in the publication of a charm- 
 ing volume on elementary botany dedicated to 
 young ladies. Soon afterwards his good fortune 
 threw him in constant intercourse with the 
 most celebrated collectors of curiosities in 
 Paris and the provinces. His genial spirit 
 and courteous manners cemented a life-long 
 friendship with his associates. Naturally his 
 attention was soon turned towards ancient 
 ceramics, the engrossing topic of the times. 
 To hear such men as Riocreux, Pettier, Fillon, 
 Gasnault, and all their colleagues, discourse on 
 the fascinating subjects, to be initiated in 
 their discoveries, to share their patient in- 
 vestigations, was bound to end in more than a 
 fruitless admiration for the objects of their 
 common pursuit. The history of porcelain, 
 which he wrote in collaboration with E. Le 
 Blanc , was the consequence of that intimacy with 
 so many keen connoisseurs, and it embodied 
 the sum of information he had sedulously 
 gathered. All previous authors who had in 
 any way approached the subject were put under 
 contribution by him, and there was not a 
 specimen of interest in the museums and private 
 collections of the town that he did not examine 
 and discuss. Unfortunately he never travelled 
 abroad, and he was thus deprived of studying 
 the treasures preserved in foreign countries. 
 Considering that many branches of the ceramic 
 art were then either unspoken of or just being 
 investigated, we must not be surprised if, in a 
 book of such wide scope, some parts fail to 
 satisfy us. To achieve a complete success was 
 beyond human possibility. The chapter on 
 Chinese porcelain has been particularly criti- 
 
 cised. He proposed a classification based upon 
 the prominent colour of certain specimens ; the 
 names of "famille rose" and "famille verte," 
 which were accepted by many connoisseurs, 
 ought to have been completely abandoned. 
 The volume, handsomely printed by Perrin, of 
 Lyons, was most favourably received on its 
 publication, and the plates it contains will 
 always offer a particular interest. They are 
 the first trials with the etching needle of his 
 son Jules Jacquemart, who was to become one 
 of the greatest masters of the art. He was 
 at the time a decorative painter, but at his 
 father's instance he undertook to illustrate the 
 forthcoming book with copper plates. Al- 
 though the series is not a long one, we can see 
 the artist struggling in the first plates with the 
 technical difficulties, but mastering the process 
 so rapidly, that when the work was at an end, 
 we are bound to say he had nothing more to 
 learn. 
 
 The first issue of the History of Porcelain 
 was limited to a small number of copies and 
 was soon out of print. It came out in three 
 parts, each covered with a printed wrapper. 
 Since then more copies have been put in the 
 trade, bearing the original date, but sewn in 
 one volume with a plain wrapper ; in all these 
 the plates seem to be the worse for wear. 
 
 JAGOR (F.)- Die Herstellung 
 schwarzer Thongefasse in Indien 
 und bei der Turkei. erlin,1879. 
 8; with 1 illustr. (Notes by Dr. 
 Sarnow. ) 
 
 " The method used in India and Turkey 
 for making black earthenware vessels." 
 
 JAHN (Albert). Abhandlung iiber un- 
 teritalisch-keltische Gefasse in 
 der Vasen Sammlung des ber- 
 nischen Museums, ein Beitrag 
 zur Kunde der keltischen orna- 
 mentik und symbolik. Bern, A. 
 Jenni, 1846. 4, pp. vi-38 ; with 
 3 lith. pis. 4 fcs. 
 
 " A disquisition upon the Celtic vessels 
 of lower Italy in the collection of antique 
 vases in the museum of Berne ; being a 
 contribution towards the study of sym- 
 bols in Celtic ornamentation." 
 
 Included in the small collection of Greek 
 vases sent to the Berne Museum by the corps 
 of officers in the service of the King of Naples, 
 were twelve earthen vessels in which the writer 
 of this disquisition thought he could recognise 
 all the characteristics of true Celtic work. He 
 compares the punctures, circles, and diagonal 
 strokes incised in the clay of these vessels, with 
 the similar signs found on the bronze orna- 
 ments, the coins, and the other objects dis- 
 covered in the graves of the Celts, particularly 
 in Switzerland. 
 
 223 
 
CERAMIC LITERATURE. 
 
 JAHN (OttO). Beschreibung der 
 Vasensammlung Konig Ludwigs 
 in der Pinakothek zu Mtinchen. 
 Munchen, Lindauer, 1854. 8, 
 pp. ccxlvi (introduction) 389 
 (catalogue and tables); with 11 
 pis. of forms in outline, and in- 
 scriptions. 12 m. 
 
 " Description of King Lud wig's collec- 
 tion of vases in the Munich Pinakothek." 
 
 In Otto Jahn modern archaeology recognises 
 one of its revered masters. He took the lead 
 in the movement instituted in Germany for the 
 reformation of the study of Greek vase paint- 
 ings. While his learned colleagues, with Ger- 
 hard at their head, were too timid to disengage 
 their method of analysis from the hampering 
 web woven by their predecessors, Otto Jahn 
 had the good sense and the courage to break 
 off frankly from the errors and fallacies of 
 tradition. He fought the battle armed with 
 logic and sound learning. Going over the old 
 ground he repudiated for once and all every 
 theory which could not stand the test of critical 
 examination. His first care was to impress 
 upon the mind of the students the necessity of 
 discarding the recollection of most of what 
 they had learned before. His principles are 
 clearly set down in the introduction to his 
 catalogue of the Munich Museum ; perhaps the 
 best pages that have ever been written on 
 Greek vase paintings. It required at that 
 moment, on the part of an historian, a certain 
 amount of rashness, and a full confidence in 
 the weight of his argumentation, to advance 
 and maintain the original opinions he enter- 
 tained on many points. For instance, he refuses 
 to see a direct application to the memory of the 
 deceased in the subjects represented on the 
 vases deposited within the tomb ; he makes 
 light of the "Genii of Mysteries," a convenient 
 allegory which had so far helped to give a 
 mystical signification to all paintings contain- 
 ing a winged figure ; and, when confronted 
 with one of the incoherent inscriptions which 
 had so far fruitlessly exerted the ingenuity of 
 the stubborn explainer of undecipherable texts, 
 he has no hesitation in saying that they must 
 be looked upon as meaningless letters, traced 
 by the hand of an illiterate potter. These and 
 many other hyperbolical statements he reduced 
 to sober truth ; most of his conclusions have 
 now been accepted by the latest writers. He 
 foresaw the importance of determining the 
 origin, epoch, and special technique of the 
 vases, essential points which had previously 
 been overlooked, but which form the basis 
 of modern science. A selection only of the 
 titles of his numerous works is given here, but 
 a complete list will be found in the index of 
 Hiibner's book, Bibliographie der klassischen 
 Alterthumswissenschaft. Berlin, 1889. 
 
 Vasenbilder. Orestes in 
 
 Delphi. Theseus und der Mino- 
 
 tauros. Dionysos, und seine 
 
 Thiasos. Diomedes u. Helena. 
 
 224 
 
 Poseidon u. Amymone erklart. 
 Hamburg, 1839. 4, pp. 40 ; with 
 4 pis. 
 
 " Vase paintings. Explanation of the 
 subjects, Orestes at Delphi, etc." 
 
 - Ueber eine Vase des archa- 
 ologischen Museums der Uni- 
 versitat Leipzig. ./., 1847. 8; 
 8 pis. 
 
 " Upon a vase in the Leipzig Archaeo- 
 logical Museum." 
 
 Lettre a Mr. J. De Witte sur 
 les representations d' Adonis. 
 Paris, 1846. 8; with 5 pis. 
 
 " Letter to Mr. J. De Witte on the 
 representations of Adonis." 
 
 - Ueber ein griechisches Terra- 
 cotta. ,1848. 8, PP- 8; 1 pi. 
 
 Upon a terra-cotta bas-relief. 
 
 - Ein Vasenbild der Miinchner 
 Sammlung. S.l.,n.d. 8, pp. 28 ; 
 3 chromolith. pis. 
 
 " A vase painting in the Munich 
 Museum." 
 
 Ueber ein griechische Terra- 
 cottagefass des archaologischen 
 Museums in Jena. S.I., 1853. 
 8, pp. 8 ; with 2 pis. 
 
 " Upon a vase of Greek terra-cotta in 
 the Jena Archaeological Museum." 
 
 - Ueber einige Abenteuer des 
 Heracles auf Vasenbildern. S.I, 
 1853. 8, pp. 16; with 6 pis. 
 
 "The adventures of Hercules, from 
 vase paintings." 
 
 Ueber einige Vasenbilder, 
 welche sich auf die Sage vom 
 Zug der Sieben gegen Theben 
 beziehen. S.I., 1853. 8, pp. 12 ; 
 Ipl. 
 
 " On some pictures upon Greek vases, 
 having reference to the legend of the 
 march of the seven chiefs against 
 Thebes." 
 
JAN] 
 
 CERAMIC LITERATURE, 
 
 [JAN 
 
 - Ueber em Vasenbild, welches 
 eine Topferei vorstellt. S.I., 
 1854. 8; pi. 
 
 "On a vase painting representing a 
 pot works." 
 
 - Riti Bacchic! e combattimenti 
 di Cantauri, pitture d'un vaso 
 della Magna Grecia. Roma, 1860. 
 8; with 3 pis. 
 
 "The Bacchanalian rites, and the fight 
 of the Centaurs ; pictures of a vase of 
 Great Greece." 
 
 - Ueber Darstellungen griech- 
 ischer Dichter auf Vasenbildern. 
 Leipzig, 1861. 4, pp. 63 ; with 
 8 pis. 6 m. 
 
 " Representations of the Greek poets 
 in the vase paintings." 
 
 Ueber bemalte Vasen mit 
 Goldschmuck. Leipzig, 1865. 
 
 4, pp. 28 ; 2 pis. 
 
 " Painted vases with gilt orna- 
 mentation." 
 
 Darstellungen des Handwerks 
 
 imd Handelswerkers auf Vasen- 
 bildern. S.I., 1867. Pp. 45; 
 5 pis. 
 
 " Representations of trades and crafts- 
 men upon painted vases-." 
 
 Kottabos auf Vasenbildern. 
 Gottingen, 18Q8. 8, pp. 40; with 
 4 pis. 
 
 " The game of Cottabos on the painted 
 
 vases. 
 
 Eduard Gerhard. Ein Le- 
 bensabriss. Berlin, 1868. 8. 
 " A sketch of the life of E. Gerhard." 
 
 JANNICKE (Friedricll). Grundriss der 
 Keramik in Bezug auf das Kunst- 
 gewerbe. Eine historische Dar- 
 stellung ihres Entwicklungs- 
 ganges in Europa, dem Orient 
 und Ost-Asien, von den altes- 
 ten Zeiten, bis auf die Gegen- 
 wart. Ein zuverlassiger Fiihrer 
 ftir Kunstfreunde, Sammler, Fab- 
 15 
 
 rikanten, Modelleure und Gew- 
 erbeschulen ; wie auch als Er- 
 ganzung zur Kunstgeschichte. 
 Stuttgart, P. Neff, 1879. 4, pp. 
 1,021; with 460 illustrs. and an 
 appendix, of pp. 95, containing 
 2,645 marks and monograms. 
 50 m. (The list of marks has 
 also been issued separately.) 
 
 " An outline of ceramic history in its 
 relation to industrial art. Historical 
 account of its development in Europe, 
 the Orient, and Eastern Asia, from the 
 earliest period up to the present day. A 
 safe guide for the collector, the manu- 
 facturer, the modeller, and the technical 
 schools, and a complement to the general 
 history of art." 
 
 A formidable mass of ceramic books and 
 pamphlets has been consulted and dissected in 
 the preparation of this portentous tome. 
 Labouring under a feeling of aspiration to 
 achieve the arduous completeness to which 
 the works of the German compilers have 
 accustomed us, the author has endeavoured to 
 condense the contents of a whole library in a 
 single volume. A book of that order may be 
 enlarged to any extent. This is quite large 
 enough. It might even have been improved if 
 it had been shortened by the excision of some 
 of the erroneous matter that has crept into the 
 text. Original contributions cannot be ex- 
 pected in this overdrawn epitome of current 
 knowledge ; nor should one be surprised at 
 seeing that all the illustrations have been 
 borrowed from previous publications. 
 
 Die gesammte keramische 
 Literatur. Ein zuverlassiger 
 Ftihrer fur Liebhaber, Gewer- 
 betreibende und sonstige Inter- 
 essanten ; zugleich ein Supple- 
 ment zu des Verfassers " Grun- 
 driss der Keramik." Stuttgart, 
 P. Neff, 1882. 16, pp. xvi-146. 
 7m. 
 
 " A complete bibliography of the 
 ceramic literature. A trustworthy guide 
 for amateurs, manufacturers, etc., a com- 
 plement to the author's Grundriss der 
 Keramik." 
 
 A list grounded on Champfleury's biblio- 
 graphy, to which titles of some works on 
 classical ceramics and general archaeology have 
 been added. In no case is any explanatory 
 note appended to the title. 
 
 - Altes und Neues liber Maestro 
 Giorgio, und die Fayencen von 
 
 225 
 
JAN] 
 
 CERAMIC LITERATURE. 
 
 [JAN 
 
 Gubbio. 1882. 4, pp. 14. (Extr. 
 from Kunst und Gewerbe.) 
 
 " Information, old and new, about 
 Maestro Giorgio and the Gubbio 
 Faience." 
 
 JANNICKE (Friedrich). Mettlacher 
 
 Museum. 1 Abtheilung. Deut- 
 sches Steinzeug bis zum Ende 
 des xviii Jahrhunderts. Maenze, 
 C. Wallau, 1884. Sm, 4, pp. vi- 
 96; with 11 phototyp. pis. 
 Privately printed. 
 
 " Mettlach Museum. Part I. German 
 stoneware up to the end of the eighteenth 
 century." 
 
 To assist their artists and workmen in the 
 production of the superior class of stoneware, 
 for which the Mettlach factory is so justly 
 celebrated, Messrs. Villeroy et Bock have 
 thought it expedient to form, on the premises, 
 a museum, in which the best types of the 
 ancient manufacture should be worthily repre- 
 sented. In order that the utility of such a 
 museum should not be confined to their own 
 people, they have published, for presentation, 
 a catalogue raisonne" of the specimens it con- 
 tains, illustrated with excellent reproductions. 
 Mr. Jannicke, who was entrusted with the 
 preparation of that catalogue, has prefixed 
 each section with a historical notice. The 
 knowledge of the history of the ancient 
 factories of German stoneware has advanced so 
 rapidly, that these notices now appear some- 
 what incomplete. 
 
 Handbuch des Porzellan-, 
 
 Steingut-,und Fayencen Malerei, 
 iiber und unter Glazur in ihren 
 verschiedenen alteren und neu- 
 eren Arbeiten, etc. Stuttgart, 
 1891. 8, pp. 316 ; with 23 il- 
 lustrs. 5 m. 
 
 " Handbook of the painting upon 
 porcelain, stoneware, faience, etc., over 
 and under the glaze, by the ancient and 
 modern methods." 
 
 JANNICKE (Friedrich) und GRAESSE (Th.).- 
 Guide de 1'amateur de porce- 
 laines et de faiences, edition 
 revue et augmentee par Jaen- 
 nicke. Dresde, 1894. 12. 
 
 An enlarged edition of the above work was 
 issued in 1906. 8s. 
 
 Mr. Jaennicke has contributed to the artistic 
 periodicals of Germany many papers on cera- 
 mics, mostly translations or extracts from 
 foreign publications. 
 
 226 
 
 JANSSEN (L. J. F.). Die etrurische 
 Grabreliefs uit het Museum van 
 Oudheden te Leiden. Leiden, 
 1854. Fol, pp. 26 ; with 20 lith. 
 pis. 10 fcs. 
 
 " Etruscan urns with reliefs in the 
 Leydeii Museum of Antiquities." 
 
 - Terra-cottas uit het Museum 
 van Oudheden te Leiden. Ley- 
 den, 1862. Fol., pp. 28 ; with 
 58 lith. pis. 15 fcs. 
 
 " Terra-cottas in the Museum of Anti- 
 quities of Leyden." 
 
 To report upon the value of the antiquarian 
 knowledge displayed in this work is beyond 
 our province. As to the merits of its illustra- 
 tions, we have no hesitation in saying that they 
 are about the most wretched lithographic plates 
 we have ever seen. The crude touches of colour, 
 with which they are illuminated by hand, render 
 them still more unseemly. 
 
 JANVIER (Catherine A.). Practical ker- 
 
 amics for students. London and 
 New York, 1880. 8, pp. 258. 
 2s. 
 
 The student who peruses this handbook will, 
 it is said, have gained a sound knowledge 
 of all the elements of the potter's art. It 
 begins with the remark "A pot is a vessel 
 intended to contain something," and it ends 
 with a chapter on "a few aesthetic hints." In 
 the intervening pages, history, technics, in- 
 structions on decorative processes, etc., are 
 run through at a brief canter. Illustrations 
 have been dispensed with as unnecessary in a 
 book whose only aim is to be eminently 
 practical. 
 
 JANZE (Collection de Mr. le Yicomte Hte. de). 
 
 Choix de terres-cuites antiques 
 du cabinet de Mr. le Vicomte 
 Hte. de Janz6, photographies 
 par Mr. Laverdet et reporters 
 sur pierre lithographique par 
 Mr. Poitevin. Texte explicatif 
 par Mr. J. de Witte. Paris, 
 impr. F. Didot, 1857. Fol., pp. 
 9 ; with 44 pis. 30 fcs. 
 
 " Selection of antique terra-cottas from 
 the Janze collection, reproduced in litho- 
 photography by Mr. Poitevin." 
 
 No terra-cotta could stand the test of such 
 an outrageous process of reproduction, without 
 losing all its charms. The shadowy figures 
 appear as an unintelligible confusion of white 
 and black patches on the inky background of 
 
CERA MIC LIT ERA TUBE. 
 
 [JEW 
 
 the plates. Where are the sweet features, the 
 graceful cast of draperies, the undulating out- 
 line of the Greek statuette? All these we 
 know exist in the originals. In the repro- 
 duction nothing meets our eye but ugly stains 
 and cankered surfaces ; the rest is left to our 
 imagination. 
 
 The explanatory notice does not go beyond a 
 summary description of each object ; a line or 
 two for each plate, in which the figures are 
 simply named, without any mention of origin, 
 style, or the period to which they belong. 
 
 JARYES (James J.). A glimpse on the 
 art of Japan. New York, Hurd 
 & Houghton, 1876. 16, pp. 216 ; 
 Avoodcuts. 
 
 Chapter V. treats of the pottery and porce- 
 lain of Japan. 
 
 JATTA (G.). I vasi italo-greci del 
 Signer Caputi, di Ruvo, descritti, 
 dichiarati e nella miglior parte 
 ancora inediti, pubblicati da G. 
 Jatta. Napoli, Tip. Testa, 1877. 
 8, pp. 160; with 10 fold. pis. in 
 outline. 5 fcs. 
 
 " The Italo-Greek vases in the pos- 
 session of Sr. Caputi, of Ruvo, described, 
 explained, and mostly edited for the first 
 time ; published by G. J." 
 
 This collection was entirely composed of 
 antique vases discovered in the vicinity of 
 Ruvo. It was, almost exclusively, the result 
 of the extensive excavations conducted during 
 the previous year by F. Caputi on his own 
 estate. Consequently, the vases described and 
 reproduced in this catalogue were mostly un- 
 known to antiquaries. The vases are grouped 
 together by order of subjects ; an analytic 
 index is placed at the end of the volume. 
 
 JEGOU (F.). - - Industrie morbihan- 
 naise. La manufacture de por- 
 celaine de Lorient, 1790-1808. 
 Lorient, Texier, 1865. 8, pp. 
 32. 3 fcs. 
 
 " The industry of the Morbihan pro- 
 vince. The Lorient porcelain manu- 
 factory." 
 
 The attempt to establish the manufacture of 
 porcelain at Lorient was not attended with 
 success. This paper records the difficulties 
 which had to be contended with before the 
 factory was definitely closed in 1S08. 
 
 - CeVamique bretonne. Porce- 
 laines et faiences lorientaises. 
 Lorient, 1876. 12, pp. 12. 
 
 "Porcelains and faiences made at 
 Lorient." 
 
 JENTSCH (H.). Das Graberfeld bei 
 Sadersdorf im Kreise Guben, 
 und die jungste Germanenzeit 
 der Niederlausitz. Guben, Koe- 
 nig, 1896. 8, pp. 142; with 4 
 pis. and 142 illustrs. 2 m. 
 
 "The gravefield near Sadersdorf, 
 Guben, and the early German period 
 in lower Lausitz." 
 
 An account 'of the latest excavations con- 
 ducted in the province ; some pottery of the 
 "La Tene " and subsequent periods. 
 
 JERYIS (1. P.)- Rough notes on 
 pottery. A complete history of 
 pottery, ancient and modern. 
 Appendix : Pate sur Pate by M. 
 L. Solon. Newark, N.J., s.d. 
 (1896). 8, pp. 112; with 60 il- 
 lustrs. and 300 marks. 4s. 
 
 Contains interesting information respecting 
 the importation trade in the United States. 
 An enlarged edition was issued in the following 
 year. 
 
 A book of pottery marks. 
 Philadelphia, 1898. 8, pp. 101. 
 
 Reproduction of several thousand pottery 
 marks, among which will be found those of the 
 modern manufacturers of America. 
 
 Encyclopedia of Ceramics. 
 New York, 1902. 8, pp. 680; 
 with numerous illustrs. 1, 8s. 
 
 JEWITT (Llewellyn). A history of the 
 Coalport porcelain works. Re- 
 printed from the Art Journal. 
 London, 1862. 32, pp. 30 ; with 
 text illustrs. 3s. 
 
 L. Jewitt published many papers on 
 Ceramics in the Art Journal, to which he 
 was a constant contributor. They were all 
 subsequently incorporated in his books ; we 
 shall only mention those which appeared in a 
 separate form. The present one was reprinted 
 for Messrs. Daniell, china dealers, of Wigmore 
 Street, and was intended for distribution to 
 the visitors to their show at the International 
 Exhibition of 1862. 
 
 A few words on " Fairy Pipes"; 
 with a plate of old English to- 
 bacco pipes made at Broseley, 
 Shropshire. London, 1862. 8. 
 (Reprint from The Reliquary.} 
 
 227 
 
JEW] 
 
 CERAMIC LITERATURE. 
 
 [JEW 
 
 JEWITT (Llewellyn). The Wedgwoods : 
 being a life of Josiah Wedgwood ; 
 with notices of his works and 
 their productions, memoirs of the 
 Wedgwood and other families, 
 and a history of the early pot- 
 teries of Staffordshire, London, 
 Virtue, 1865. 8, pp. 435 ; with 
 a portrait and num. illustrs. 10s. 
 
 This biography appeared shortly before the 
 first volume of Miss Meteyard's Life of Josiah 
 Wedgwood could be made ready for publication. 
 If we believe the rumours current at the time, 
 it was only begun when Miss Meteyard had 
 terminated the larger part of her researches 
 and labour. It was well known that L. Jewitt 
 and his brother Orlando, the wood engraver, 
 had been intrusted with the care of designing 
 and engraving the illustrations prepared for 
 the forthcoming work, and that they had been 
 confidently kept acquainted with the progress 
 of the investigations prosecuted by the author 
 and her friends. It was, therefore, a surprise 
 for all to hear that the realisation of the 
 original scheme was to be forestalled by the 
 publication of another Life of Wedgwood, com- 
 piled by one who had so far been trusted as a 
 collaborator. Under such circumstances Joseph 
 Meyer refused to let L. Jewitt have access to 
 the Wedgwood paper he had lately discovered 
 at Newcastle, a treatment of which the latter 
 complains bitterly. We do not side with one 
 party or the other. No one will ever deny to 
 a writer the right of bringing out a work upon 
 a subject already chosen by another ; he does 
 it at his peril. Comparing the two competitive 
 biographies it is easy to decide which got the 
 worst of the contest. Our opinion upon Miss 
 Meteyard's book will be found in its place. 
 The ardent devotion to the memory of the 
 greatest English potter which pervades the 
 one is manifestly absent from the other. This 
 strikes us, in the cold and formal manner in 
 which statements and quotations, often irrele- 
 vant, are hurriedly strung together by L. Jewitt 
 without any personal appreciation being ex- 
 pressed of the importance they may assume 
 with respect to the delineation of the character 
 of the man whose life it is intended to glorify. 
 It is apparent, above all, in the perfunctory 
 manner in which the volume has been ' ' got up. " 
 Not one of the woodcuts with which it is 
 illustrated has been specially prepared ; any 
 worn-out cliches borrowed from various sources 
 were considered good enough for the occasion. 
 
 On the discovery of a tile 
 kiln at Repton, Derbyshire, by 
 the Rev. S. A. Pears, D.D., 
 Headmaster of Repton School. 
 London, 1868. 8, pp. 14 ; with 
 7 pis. (Reprint from The Reli- 
 quary.) 
 
 From the comparison of the tiles found 
 imbedded in the soil round the ruins of the 
 
 kiln discovered at Repton, with those still 
 extant in the churches, not only of Derbyshire, 
 but of the neighbouring counties, it would 
 appear that the builders of distant localities 
 derived their suppl}- of tiles from the same 
 source, and that the centre of production may 
 be fairly localised at Repton. 
 
 - Grave-mounds and their con- 
 tents. London, 1870. 8; wood- 
 cuts. 
 
 - Catalogue of the well-known 
 and important typical and his- 
 torical collection of English 
 pottery and porcelain and foreign 
 examples formed by L. Jewitt 
 and J. F. Lucas, etc., many of 
 the specimens being unique and 
 others of the highest rarity. To 
 be sold by auction by Mr. Phil- 
 lips, July 3rd, 1871. London, 
 8. Contains 687 Nos. ; with 10 
 pis. of woodcuts from the Art- 
 Journal t etc. 3s. 
 
 Notwithstanding the commendatory annota- 
 tions so abundant in all the pages of this 
 catalogue, such as "Very fine and scarce," 
 " perfectly unique," "the choicest of existing 
 examples," etc., when we look at a priced 
 copy we are not a little astonished to see that 
 most of the items so enthusiastically described 
 could not reach more than a few shillings at 
 the auction sale. 
 
 The ceramic art of Great 
 Britain from the prehistoric 
 times down to the present day ; 
 being a history of the ancient 
 and modern pottery and porce- 
 lain works of the kingdom, and 
 of their productions of every 
 class. London, Virtue & Co., 
 1878. 2 vols. 8, pp. 1,100; 
 with nearly 2,000 woodcuts and 
 a lithogr. portrait of the author. 
 1, 10s. 
 
 A second edition appeared subsequently 
 compressed in one volume. 
 
 This is the magnum opus of the writer. 
 Year after year, scraps upon scraps of informa- 
 tion relating to English pottery and porcelain 
 were steadfastly filed, docketed, and indexed 
 by him under their respective headings. Copious 
 records were extracted from county histories and 
 local periodicals old and new ; transcripts were 
 obtained of ancient documents of some import- 
 ance to the trade ; rare pamphlets were ferreted 
 
JEW] 
 
 CERAMIC LITERATURE. 
 
 [JOL 
 
 out and put under contribution ; and a long 
 list of names of obscure potters was exhumed 
 out of the trade directories of past and present 
 times. In short, all the preparatory work had 
 been made ready, through which a complete 
 history of the development of ceramic art in 
 Great Britain might have been elaborated. 
 But we are bound to say that, given to us with 
 as little discrimination as it was gathered, this 
 large stock of raw material has been disposed 
 of without sufficient attention being bestowed 
 upon its proper co-ordination. It has resulted 
 in a ponderous and ill-digested account bristling 
 with details devoid of interest, or quite irrele- 
 vant to the subject. 
 
 Taken as a kind of enlarged dictionary of the 
 British pottery trade, these two volumes will 
 be of great service to the experienced collector 
 who, wanting to refresh his memory, refers to 
 them for verifying a name, a fact, or a precise 
 date. But an unprepared student, bent on 
 following the historical march and progress of 
 ceramic art in England, had better give up all 
 hopes of finding his way to knowledge through 
 this babel of desultory information. 
 
 A few monographs of the chief centres of 
 manufacture, reprinted from the Art Journal 
 and other periodicals, form the best portion of 
 the book. The rest is composed of random 
 notices of the minor works, most of them still 
 in existence, often printed verbatim, if we are 
 not mistaken, from the particulars supplied by 
 the manufacturer himself. Each article is 
 accompanied by numerous, but very stale, 
 woodcuts. The advertising catalogues of the 
 International Exhibitions have supplied the 
 larger part of the illustrations ; everything 
 they contained which referred to English 
 pottery, down to the lowest pattern of the 
 export trade, has been indiscriminately bor- 
 rowed to swell the number ; we have seen them 
 all do duty in other circumstances, and, in 
 most instances, had no need to see them again. 
 L. Jewitt was too prolific a writer not to have 
 left work showing signs of insufficient pre- 
 paration. Obviously deficient in artistic taste, 
 as well as in technical knowledge, he was not 
 able to assign to each manufactory its proper 
 place in order of merit ; praises and censure 
 are distributed throughout without measure or 
 distinction. His constant aim is to force upon 
 us the conviction that he has said the last word 
 upon each question he has treated, and to put 
 us on our guard against the opinion expressed 
 by other writers for whom he affects to enter- 
 tain very little consideration. As to the assist- 
 ance he has derived from the works of these 
 latter, and the very sources from which he 
 obtained his materials, they usually remain 
 unacknowledged. 
 
 - Half-hours among some En- 
 glish antiquities. London, Bogue, 
 1880. 8, pp. 247 ; with 320 il- 
 lustrs. 5s. 
 
 The chapter on prehistoric pottery contained 
 in this volume repeats what is to be found in 
 his earlier books. 
 
 Early in life, chance had thrown L. Jewitt in 
 communication with Thomas Bateman, who 
 employed the young man in taking sketches of 
 the objects that were discovered in the exten- 
 
 sive excavations that the well-known antiquary 
 was prosecuting in Derbyshire and Stafford- 
 shire. Two folio volumes in the Bateman 
 library contained no fewer than five hundred 
 drawings executed by Jewitt at his request. 
 This, no doubt, drew the occasional designer 
 towards the archaeological science. Although 
 he was not what is usually termed a classical 
 scholar, he acquired from his association with 
 the learned men for whom he drew cinerary 
 urns and Saxon fibulse, if not a substantial part 
 of their knowledge, at any rate the practice of 
 the high-stilted language in which he was, in 
 after years, so fond of indulging. 
 
 JOCHEM (P.). Die Bestimmung der 
 technisch-wichtigsten physikal- 
 ischen Eigenschaften der Thone, 
 wie Plasticitat, Bindevermogen, 
 Sehwinden und Feuerbestandig- 
 keit. Berlin, 1885. 8; with 3 
 pis. 1 m. 50 pf. 
 
 "The determination of the technical 
 and physical properties of the clays, such 
 as plasticity, tenacity, contraction and 
 refractoriness." 
 
 Reprint from the Chemisches Cenlralblatt, 
 vol. xvi. 
 
 JOHNSTON (David). Rapports sur la 
 manufacture de porcelaines et 
 de poteries fines & Bordeaux. 
 Bordeaux, impr. J. Del mas, 1855. 
 
 8. 
 
 " Report upon the manufactory of 
 porcelain and earthenware at Bordeaux." 
 
 The porcelain works which D. Johnston 
 acquired from Mr. de Saint Amant in 1839 
 is not mentioned in the ceramic histories ; all 
 information concerning its productions must 
 be looked for in this paper. 
 
 JOLLIYET (J.). Peinture en email sur 
 lave, sa raison d'etre et sa de- 
 fense centre les obstacles opposes 
 k son adoption. Paris, 1862. 8. 
 
 " Enamel painting upon lava ; its 
 applicability, and its defence against 
 the opposition raised to hinder its 
 adoption." 
 
 JOLY (Alexandre). Paul-Louis Cyffle. 
 
 Notice biographique sur P. L. 
 CyiHe*, de Bruges en Flandres, 
 sculpteur du Roi de Pologne, 
 Due de Lorraine, a Luneville. 
 Nancy, impr. Lepage, 1864. 8, 
 pp. 22. (Reprint from the Mem- 
 
 229 
 
CERAMIC LITERATURE. 
 
 [JOS 
 
 oires de la Societe d'archeologie 
 lorraine.) 
 
 "Biographical notice of P. L. Cyffle, 
 of Bruges, in Flandres, sculptor to the 
 King of Poland, Duke of Lorraine, at 
 Luneville." 
 
 The name of this sculptor is associated with 
 the productions of several factories of porcelain 
 and faience of the North of France. He is 
 particularly known for his figures in Terre de 
 Lorraine. 
 
 JONES (Collection). Handbook of the 
 Jones collection in the South 
 Kensington Museum. London, 
 Chapman & Hall, 1883. 8, pp. 
 160; with 53 illustrs. Is. 6d. 
 
 Sevres porcelain, 89 Nos. ; Oriental porce- 
 lain, 34 Nos. ; Chelsea porcelain, 14 Nos. ; 
 Dresden porcelain, 10 Nos. Moreover, the 
 collection contains a few pieces of furniture 
 of the Louis XVI. style of the highest order, 
 inlaid with Sevres plaques. 
 
 JONES (J. C.). Efflorescences of 
 bricks. Urbana, 1906. 8, pp. 
 21. (From University of Illinois 
 Bulletin.} 
 
 JONES (Owen). Designs for mosaic 
 and tessellated pavements : by 
 Owen Jones, Archt. ; with an 
 essay on their materials and 
 structure by F. O. Ward. Lon- 
 don, publ. by J. Weale for J. M. 
 Blashfield, 1842. Sm. fol., pp. 
 6; with 10 col. pis. 1. Some 
 copies contain an Appendix : An 
 account of the new process in- 
 vented by R. M. Prosser. . . . 
 
 The pavements were executed by J. M. 
 Blashfield, with tesserae, manufactured by Mr. 
 H. Minton. 
 
 Examples of Chinese orna- 
 ment selected from objects in 
 the So.uth Kensington Museum 
 and other collections. London 
 S. & T. Gilbert, 1868. 4, pp 
 15 ; and 100 pis. in colours. 
 
 Conceived on the same plan as the Grammar 
 of Ornament by the same author, this excellent 
 selection of Chinese patterns, reproduced in 
 the size of the originals, is of the greatest 
 utility to the decorative artist. The examples 
 are taken from porcelain vases and cloisonne 
 enamels. 
 
 230 
 
 JORGIEYITCH (B.). A brief descrip- 
 tion of the Odessa Museum. 
 3rd ed. Odessa, 1892. (In 
 Russian.) 
 
 JORIO (A. de). Sul metodo degli 
 antichi nel dipingere i vasi, e 
 sulle rappresentanze de piu in- 
 teressanti del Museo, etc. Na- 
 poli, 1813. 8. 3 fcs. 
 
 " The ancient methods of vase paint- 
 ing, and the description of the subjects 
 represented on the most interesting vases 
 of the museum." 
 
 Two letters to Cavaliere Matteo Galdi. 
 
 - Metodo per rinvenire e fru- 
 gari i sepolchri degli antichi. 
 Napoli, 1824. 12; with 8 pis. 
 
 " The method of discovering and ex- 
 ploring the sepulchres of the ancients." 
 
 El real museo Borbonico. 
 Galleria dei Vasi. Napoli, 1825. 
 8, pp. 136 ; with 2 pis. of forms. 
 2 fcs. 
 
 JOSEPH (Collection E.).- Catalogue of 
 sale. London, Christie, 1890. 
 4, pp. 156 ; with 33 pis. 
 
 A miscellaneous collection in which ceramics 
 were indifferently represented. 
 
 JOSEPH (Felix). Tables of mono- 
 grams and marks placed on 
 various potteries of known ori- 
 gins ; arranged firstly by order 
 of the pottery and then geo- 
 graphically. London, privately 
 printed, 1857. 4, p. 1 ; with 27 
 lith. pis. of marks. 
 
 Felix Joseph, for many years established in 
 New Bond Street, was one of the leading mem- 
 bers of the curiosity trade. The ambition of a 
 dealer in works of art is, and will always be, 
 to be regarded not so much a clever man of 
 business as a keen and learned connoisseur. 
 One of the most usual steps he will take to be 
 recognised as such is to publish a small volume 
 which, on being presented to a customer, shall 
 impress him with the notion that he is not 
 dealing with an ordinary man. A list of marks, 
 or ceramic handbook, may accomplish that pur- 
 pose, without giving to the compiler much 
 trouble to prepare the work. The dealer's 
 book forms a special class in ceramic literature ; 
 we shall not range them under a special head- 
 
JOU] 
 
 CERAMIC LITERATURE. 
 
 [JOU 
 
 ing, although they are numerous enough to 
 form a group which the student should be 
 recommended to put aside. They are generally 
 commonplace compendiums of hackneyed in- 
 formation. It is only on the rare occasions 
 when the writer ventures to gratify us with 
 the fruit of his personal experience and the 
 result of his own remarks, that they exhibit a 
 freshness of view not to be found in the works 
 of qualified ceramographers. 
 
 As a private collector F. Joseph possessed a 
 large number of choice pieces of Wedgwood 
 ware, which have been seen on loan in the 
 Nottingham and other provincial museums. 
 
 JOUAIN (P. A.)- Notice sur Bernard 
 Palissy ; suivie d'un aperu de 
 ses ecrits et de ses santonismes, 
 ou locutions saintongeaises, et 
 d'une complainte sur sa vie. 
 Paris, Chamerot, 1864. 12, pp. 
 48. 
 
 " Notice of Bernard Palissy ; to which 
 are added some remarks upon his writ- 
 ings ; the words of the Saintonge dialect 
 he has made use of ; and a popular ballad 
 upon his life." 
 
 A literary lucubration of the deepest pro- 
 vincial tinge. The life of the great potter is 
 narrated in a familiar conversation which takes 
 place between an old woman of Saintes and 
 her young son. To gratify the pride of Palissy's 
 countrymen has been the chief object the writer 
 had in view. He recognises the vernacular of 
 his province in the original memoirs, and 
 mentions no fewer than 95 words of Saintongian 
 origin he has discovered in the text. We owe 
 to him the enumeration of Palissy's inventions 
 and discoveries, which he reckons to amount 
 exactly to 66. Of the fancy portrait in which 
 the hero is represented handcuffed and chained 
 up to the wall of the dungeon, as well as of the 
 popular ballads, or "complaintes," which begin 
 and end this grotesque production, it is perhaps 
 better to say nothing. 
 
 JOUANNET (F.)- Notice sur les an- 
 tiques sepultures populaires du 
 Departement de la Gironde. 
 Bordeaux, 1831. 8, pp. 23 ; with 
 7 pis. (Extr. from Academic de 
 Bordeaux. ) 
 
 " Notice of the ancient popular graves 
 in the Gironde Department." 
 
 Rapport & la societe* philo- 
 matique sur les poteries fab- 
 riquees par Mr. de Saint-Amans, 
 a la maniere anglaise, avec les 
 argiles du Departement de la 
 Gironde. Agen, Noubel, 1832. 
 8, pp. 6. 
 
 " Report addressed to the Philomatic 
 Society on the pottery manufactured after 
 the English method by Mr. de Saint- 
 Amans, with the clay found in the 
 Department of Gironde." 
 
 JOUHANNEAUD (C.). Le repos du Di- 
 manche dans les fabriques de 
 porcelaine. Limoges, impr. Chap- 
 oulaud, 1878. 8. 
 
 "Sunday rest in the porcelain manu- 
 factories at Limoges." 
 
 A plea in favour of one day weekly rest being 
 made obligatory for the benefit of the workmen. 
 
 Anciennes porcelaines de 
 Limoges. An article in the Cat. 
 off. de VExp. de Limoges en 1903. 
 pp. 236-264. 
 
 About forty factories, in existence from 1774 
 to 1902, were represented at the Exhibition by 
 327 pieces, all fully described and identified 
 by the writer of the article, himself a local 
 manufacturer. 
 
 JOURDY (General). - - Histoire geol- 
 
 ogique de la faience de Rouen. 
 Rouen, 1907. 8, pp. 96; with 
 7 illustrs. 1 fc. 
 
 " Geological history of the Rouen 
 faience." . 
 
 An examination of the clays employed in 
 the manufacture of pottery. 
 
 JOUSSELIN (C. R.). Essais sur le per- 
 fectionnement general des pot- 
 eries, ou 1'art de faire k moindre 
 frais des vaiselles pour toutes 
 sortes d'usages, plus belles, plus 
 solides et plus salubres, sans 
 employer ni plomb ni e'tain dans 
 la composition des couvertes, 
 emaux et vernis. Paris, Mor- 
 onval, 1807. 8, pp. 21. 
 
 " Essays on the general improvement 
 of pottery ; being the art of manu- 
 facturing, at the least cost, earthen 
 vessels for every requirement, of the finest, 
 strongest, and most healthy kind, without 
 introducing either lead or tin into the 
 compositions of the glazes and enamels." 
 
 A promising title and a very disappointing 
 pamphlet. After having discanted at great 
 length on what he considers the imperfection 
 and the insalubrity of the pottery of the 
 times, the writer a Nevers master potter 
 alludes, in a few guarded words, to the secret 
 
 231 
 
JOU] 
 
 CERAMIC LITERATURE. 
 
 [JUM 
 
 processes he has discovered, by means of which 
 he hopes to revolutionise the conditions of 
 French manufacture. This is but the preamble 
 to an earnest appeal to the public to obtain the 
 capital required to carry out his vast scheme. 
 He addresses himself, particularly, to the 
 patriotic feelings of his countrymen who, says 
 he, ought to support him in his efforts to release 
 France from the tribute she had, so far, paid to 
 England for a supply of potter's raw materials 
 and of earthenware of superior quality. 
 
 JOUYEAUX (.) Histoire de trois 
 potiers celebres. Bernard Pa- 
 lissy, Josiah Wedgwood, Fred- 
 eric Bottger. Paris, Hachette, 
 1874. 12. 2fcs. 
 
 " The history of three celebrated 
 potters." 
 
 A familiar narrative, intended to please 
 youthful readers, in which the anecdotical 
 portion of the standard biographies is made 
 the subjects of short and interesting tales. 
 
 JOUY (P. L). The collection of 
 Korean mortuary pottery in the 
 U.S. National Museum. Wash- 
 ington, 1890. 8, pp. 26 ; with 
 
 5 pis. (Reprint from Reports of 
 the National Museum, 1888.) 
 
 A descriptive catalogue of the specimens 
 preserved in the museum. Korea, says the 
 writer, is one vast graveyard. The tombs, the 
 Ihost ancient of which belong to prehistoric 
 times, abound in unglazed pottery, often decor- 
 ated with incised lines. 
 
 JUDICA (G.). Le antichita di Acre, 
 scoperte, descritte ed illustrate 
 dal Barone Gabrielle Judica. 
 Messina, 1819. Sm. fol., pp. 167- 
 v ; with 34 pis. Terra-cottas, 
 
 6 pis. Painted vases, 16 pis. 
 On the title page a vignette en- 
 graved by G. Politi. 15 fcs. 
 
 " Antiquities discovered at Acre." 
 
 JULIEN (Stanislas). Histoire et fabri- 
 cation de la porcelaine chinoise, 
 ouvrage traduit du Chinois. Ac- 
 compagne' de notes et d'addi- 
 tions par Mr. A. Salvetat, et 
 augmente d'un memoire sur la 
 porcelaine du Japon, traduit du 
 japonais par le Dr. Hoffmann. 
 Paris, Mallet-Bachelier, 1856. 
 8, pp. cxxiii-320; with a map 
 of China showing the situation 
 232 
 
 of the ancient and modern por- 
 celain manufactories, and 14 pis., 
 on which the process of manu- 
 facture followed in China are il- 
 lustrated. 10 fcs. 
 
 " History of the Chinese porcelain and 
 description of its manufacture, a work 
 translated from the Chinese ; enlarged 
 and annotated by Mr. A. Salvetat, and 
 accompanied with a treatise on the 
 Japanese porcelain, translated from the 
 Japanese by Dr. Hoffmann." 
 
 This book is the fountain-head of our know- 
 ledge on Chinese porcelain and its manufacture. 
 It is a translation of a work much valued in 
 China, where it is considered as the best treatise 
 which has ever been written, and as an undeni- 
 able authority on the subject. The exact 
 signification of the technical terms employed 
 by the writer, and which only a Chinese potter 
 could be expected to understand, is often 
 difficult to grasp. The translator himself 
 entertained some misgivings in this respect, 
 and he recognizes that certain passages may 
 receive, at a future day, an interpretation 
 differing from the one he has given. Such a 
 revision has not yet been attempted, no Oriental 
 scholar in Europe has, so far, felt himself equal 
 to the task, or has cared to attempt it. All 
 critics directed against Stanislas Julien's trans- 
 lation rest upon the speculations of collectors 
 who are themselves unacquainted with the 
 Chinese language. 
 
 JULLIAN (C.)- Notes gallo-romaines. 
 Kemarques sur un essai d'inven- 
 taire des Figlinae gallo-romaines. 
 Paris, 1899. 8, pp. 19. (In 
 
 Revue des etudes anciennes.) 
 
 " Gallo-Roman notes. Observations 
 upon an attempt at an inventory of the 
 Gallo-Roman pottery." 
 
 JUMELIN (Silvestre). Rapport fait au 
 bureau de consultation des Arts, 
 concernant Mr. Le Masson, Ar- 
 tiste, et concluant i ce qu'il lui 
 soit accorde une Recompense 
 Nationale de Six cents livres, 
 pour le perfectionnement qu'il a 
 apporte dans la fabrication des 
 Poteries et des Porcelaines, avec 
 les argiles de la Manche et no- 
 tamment avec le kaolin de Va- 
 lognes. Valognes, impr. Buhot, 
 1792. 8. 
 
 "Report addressed to the Committee 
 of Arts concerning Mr. Le Masson, 
 
JUS] 
 
 CERAMIC LITERATURE. 
 
 [KAS 
 
 artist, and recommending that a National 
 reward of six hundred francs should be 
 granted to him for the improvements he 
 has introduced in the manufacture of 
 pottery and porcelain, by making use of 
 the clays found in the Manche, especially 
 the Kaolin of Valognes." 
 
 This rare pamphlet, of which a copy is in 
 the library of the Sevres manufactory, has been 
 reprinted by Mr. De Brebisson in his Histoire 
 de la Porcelaine de Valoynes, 
 
 JUSTICE (J,). - - Dictionnaire des 
 marques et monogrammes des 
 faiences de Delft. Gand, Vuyl- 
 steke, 1901. Tall 8, pp. 126; 
 with about 700 facsimiles of 
 marks. 3 fcs. 50 c. 
 
 " A dictionary of the marks and mono- 
 grams of the Delft faience." 
 
 In addition to the marks adopted by the 
 twenty-eight faience manufactories of Delft, 
 there are also given those of the painters who 
 worked in connection with them. 
 
 JUTHNER (J.). 
 
 gerathe. 
 
 -Ueber antike Turn- 
 Wien, Holder, 1896. 
 , pp. 101 ; with 75 text illustrs. 
 5 m. 
 
 "The appliances in the gymnastic 
 games of the ancients." 
 
 The shapes and uses of the halter, the disc, 
 the staff, and other accessories of the athletic 
 sports, as represented on Greek vase paintings. 
 
 K 
 
 KARflER (Ch. J,). Die Porzellan- 
 malerie, Technic, und Anwen- 
 dung fiir Dilettanten dargestellt. 
 Berlin, 1870. 8, with 7 illustrs. 
 
 " Porcelain painting ; theory and 
 application for the use of amateurs." 
 
 KALECSINSZKY (A.)- Ueber die unter- 
 suchten ungarischen Thone, 
 sowie liber die bei der Thonin- 
 dustrie vervendbaren sonstigen 
 materialen. Budapest, 1894. 8, 
 pp. 31; with map. 1 m. (Re- 
 printed from Jahresberickt der 
 Kgl ungar. Anstaltfiir 1892.) 
 
 " On the Hungarian clays and the 
 other raw materials used in the pottery 
 manufacture." 
 
 One hundred and thirty-rive kinds of clays 
 found in Hungary are practically examined in 
 this paper. 
 
 KAPFF (F.), Beitrage zur Geschichte 
 des Kobolts, Koboltbergbaues, 
 und des Blaufarben Werke. 
 Breslau, 1799. 8, pp. 160. 
 
 " Contribution to the history of the 
 Cobalt; the Cobalt extraction, and the 
 manufacture of the blue colour." 
 
 We learn from this curious pamphlet that, 
 during the eighteenth century, while the largest 
 supply of Cobalt ore was obtained from Saxony, 
 it was refined in Holland, the Dutch alone 
 being in possession of the secret, and that the 
 distribution of the blue colour to the trade was 
 centred in Ireland. 
 
 KARABACEK. Zur muslimischen Ker- 
 amik. Wien,1885. 4, pp. 12. (Re- 
 print from the Oesterreicldschen 
 Monatsschrift fiir der Orient) 
 
 " On the Mussulman Ceramic." 
 
 A disquisition on the green Martaban 
 pottery. Many Orientalists do not agree with 
 the writer's conclusions. 
 
 KARO (G.). De arte vascularia anti- 
 quissima qusestiones. Bonnae, 
 1896. 8, pp. 46 ; with 2 pis. 
 
 " Some observations about the most 
 ancient styles of vase-making." 
 
 A thesis held before the members of the 
 Bonn University and treating of the origin of 
 old Corinthian ceramics. 
 
 - Notes on Amasis and Ionic 
 black-figured pottery. London, 
 1899. 4, pp. 19 ; with 2 pis. 
 and 4 illustrs. (Reprint from 
 the Journal of Hellenic Studies) 
 
 KASTELEIJN (P. J.). De Porcelein- 
 fabrick of volledige beschrijving 
 der kunst om porcelein te 
 maaken, etc. Dordrecht, 1779. 
 8, pp. 236 ; with 7 folding- 
 plates. A volume of the Cyclo- 
 paedia published by A. Blussi & 
 Son, of Dordrecht. 
 
 "The Porcelain manufacture, or the 
 complete description of the art of porce- 
 lain making." 
 
 A translation of the work of De Milly L'art 
 de la porcelaine. In the appendix are given 
 1. The letters of Pere d'Entrecolles upon the 
 manufacture of porcelain in China. 2. A short 
 
 233 
 
KEE] 
 
 CERAMIC LITERATURE. 
 
 [KEL 
 
 account of the development of the industry in 
 Europe, with historical information concerning 
 the manufactories of Meissen, FurstenbeVg, 
 Berlin, Frankenthal, Baden, Ludwigsburg, 
 Hochst, Ansbach, and Cassel, in Germany ; 
 Chelsea in England ; Florence (Doccia), and 
 Naples, in Italy ; Sevres in France ; and 
 Amsterdam and The Hague in Holland. 
 
 KEELING (Annie E.)- Bernard Palissy, 
 the Huguenot Potter. London, 
 Kelly, s.d. (1880?). 16, pp. 64. 
 Portrait. 
 
 A child's book. 
 
 KEKULE (R.). --Vaso dipinto della 
 raccolta gisl Santangelo ora nel 
 Museo nazionale di Napoli. 
 Roma, 1867. 4to, pp. 15 ; with 
 I pi. 3 m. 
 
 "Painted vase of the Santangelo 
 collection, now in the National Museum 
 of Naples." 
 
 The subject represents the marriage of 
 Dejanira. 
 
 - Griechische Thonfiguren avis 
 Tanagra, in Auftrag des k. d. 
 archaolog. Institute zu Berlin, 
 Rom, und Athen, nach Aufnah- 
 men von Ludwig Otto. Stutt- 
 gart, 1878. Large fol., pp. 31 ; 
 with 17 engr. pis., 12 of which 
 are in col. 150 m. 
 
 " Greek terra-cotta figures from Tan- 
 agra ; published by the R. Arch. Inst. 
 of Berlin, Rome, and Athens, after the 
 drawings of L. Otto." 
 
 Much has been borrowed from the intro- 
 duction to this work, in which important 
 information was disclosed for the first time. 
 The account of the clandestine and wonder- 
 fully prolific excavations conducted, in the 
 early days, on the site of the ancient Tanagra, 
 is particularly interesting and significant, having 
 been supplied by a competent and trustworthy 
 eye-witness. Kekule has his own system of 
 classification with respect to the period of 
 manufacture ; he admits a mythological inter- 
 pretation only in the case when there may be no 
 possible doubt as to the subject represented ; 
 in any other case, he sees in the figures of 
 Tanagra works of art inspired by nature, and 
 intended to reproduce scenes and personages of 
 actual life. He maintains that these figures 
 were deposited in the tombs, merely to render 
 the abode of the dead somewhat similar to that 
 of the living. He deprecates the notion that 
 the models and moulds of these figures were 
 prepared at Athens for the use of the Tanagra 
 potters, and believes, with good cause, that 
 they were the works of local artists. 
 
 234 
 
 Das akademische Kunst- 
 museum zu Bonn, 1872. 8, 
 with 3 pis. 
 
 - Ueber ein griechisches Vasen- 
 gemalde im akademischenKunst- 
 museum zu Bonn. Bonn, 1879. 
 4, pp. 26 ; with 1 phot. pi. and 
 10 illustrs. 
 
 " On a painting upon a Greek vase in 
 the Bonn Museum." 
 
 Helena conducted to Nemesis by Leda is 
 said to be the subject represented upon this 
 vase. 
 
 - Die Terracotten von Sicilien. 
 Stuttyart, Spemann, 1884. Fol., 
 pp. xi-87 ; with 61 pis. and text 
 illustrs. 75 m. 
 
 " The terra-cottas of Sicily." 
 
 A noteworthy introduction, equally free 
 from pedantic dissertations as from groundless 
 speculations, accompanies a set of fine plates 
 engraved by L. Otto. The author has rigorously 
 limited his investigations to the subject he had 
 to treat of, and has endeavoured to ascertain 
 the chief characteristics by which terra-cotta 
 figures of Sicilian origin can be recognised. 
 He describes the types belonging to each 
 locality ; the clay they are made of ; the colours 
 with which they are occasionally painted, and 
 the subject they most often represent, con- 
 trasting such features with those which dis- 
 tinguish the ancient terra-cottas of other origin. 
 The works published on the subject, the ex- 
 amples preserved in the local museums, are 
 passed under review, and references are made 
 to the other collections in Europe which possess 
 interesting specimens of Sicilian terra-cottas. 
 
 Ueber einige Vasen des 
 Hieron. Berlin, 1882. 4. 
 
 " On a few vases painted by Hieron." 
 
 KELLEN (J. D. van der). Antiquites 
 des Pays-Bas. Choix d'anti- 
 quit^s remarquables du 13 e au 18 e 
 siecle faisant partie de plusieurs 
 collections tant publiques que 
 particulieres. La Hai/e, 1861. 
 Hoy. 4 ; 100 etched plates. 
 6.' 
 
 " Antiquities of the Low Countries. 
 A selection of remarkable antiquities 
 from the thirteenth, to the eighteenth 
 century, belonging to various private and 
 public collections." 
 
 A few plates of ancient German stoneware. 
 
KEL] 
 
 CERAMIC LITERATURE. 
 
 [KID 
 
 KELLER. -- Analyse von antikem 
 Kheinzaberer Topfergeschirr. 
 Programm des Jabresberichtes 
 cler K. Landwirthschafts- und 
 Gewerbe-Schule zu Speyer fur 
 das Jahr, 1 859-60. 4. 
 
 " An examination of an antique earthen 
 vessel from Rheinzhabern." 
 
 KELLER (F.). Die rothe romische 
 Topfer-waare, mit besonderer 
 Rticksicht auf Hire Glasur. Heid- 
 elberg, C. Groos, 1876. 12, 
 
 pp. 28. 7 m. 
 
 " The red earthenware of the Romans, 
 with special consideration upon the com- 
 position of the glaze." 
 
 One of the long-left unsettled problems of 
 ancient ceramics seems to have received its 
 solution through the researches of Dr. F. Keller. 
 So far, the nature of the peculiar glaze of the 
 so-called Samian or Arethian ware had not been 
 exactly determined. The glazing substance is 
 so thinly and so equally spread on the surface 
 of the clay, that no good result could be 
 obtained by any of the technical means at our 
 disposal. Practical potters, as well as chemists, 
 have only made conjectures as to its composi- 
 tion, and the way in which it was applied. 
 The discovery of a Roman kiln in Northamp- 
 tonshire, in the proximity of which were found 
 a cauldron full of borax, and a few vases 
 covered with glaze, but still untired, led the 
 writer to conduct a few experiments which 
 were attended with success. This is how he 
 obtained a glaze absolutely similar to the 
 Arethian glaze. He dipped the piece in a 
 weak solution of borate of soda ; the liquid 
 runs off the surface, but enough remains on it 
 to form a coating of extreme thinness. At the 
 end of the day the borax has crystallised into a 
 fine dust. The ware is then placed in the 
 kiln. Under the influence of the aqueous 
 vapour, the soda combines with the silica of 
 the clay ; the boracic acid is set free, and a 
 silicate of soda is formed on the pottery. It 
 will be noticed that it is the same chemical 
 action which takes place in the glazing of ordi- 
 nary stoneware, but obtained, in this case, in 
 quite a different way. 
 
 KENNER (F.). Dieantiken Thonlamp- 
 en des K.K. Munz-und-Antiken- 
 Cabinetsund derK. K. Ambraser- 
 Sammlung. Wien, 1858. 8, 
 pp. 126 ; with 3 lith. pis. and 18 
 text illustrs. 3 m. 
 
 " The antique terra-cotta lamps in the 
 R. and I. collection of medals and 
 antiquities, and in the Ambras collec- 
 tion." 
 
 KENZELMANN (E. B.), Historische 
 Nachricbten liber die Konigliche 
 Porzellan-Manufaktur zu Meis- 
 sen, und deren Stifter Johann 
 Friedrich Freiherrn von Bottger. 
 Meissen, 1810, 8, pp. 32. 
 
 " Historical information concerning 
 the royal porcelain manufactory of 
 Meissen and its founder J. F. 'von 
 Bottger." 
 
 The establishment at Meissen of the first 
 manufactory of porcelain was reckoned one of 
 the country's greatest achievements, yet its 
 founder J. F. Bottger had been dead for close 
 on one hundred years before any printed record 
 of his life and labours was published in Saxony. 
 A mere mention of his name appeared in the 
 topographical works dealing with Meissen, in 
 association with the description of the royal 
 porcelain manufactory. Kenzelmann was the 
 first who attempted to make amends for 
 the neglect in which Bottger's memory had 
 fallen among his countrymen. His literary 
 powers were obviously inadequate to the task ; 
 he could do no more than write a very imperfect 
 sketch, deficient in biographical details about 
 the great potter, and altogether incomplete as 
 regards the history of the works he had 
 founded. 
 
 KERL (B.). Abriss der Thonwaaren- 
 Industrie, etc. Braunschweig, 
 1871. 8, pp. 524; with 127 
 illustrs. 3 m. 
 
 "Sketch of the pottery manufacture." 
 
 Handbuch der gesammten 
 Thonwaaren - Industrie, etc. 
 Braunschweig, 1879. 8, pp. 
 744 ; with illustrs. 
 
 " Handbook of the potting industry 
 in all its branches." 
 
 A third edition, with title as 
 
 above, revised and enlarged by 
 J. Cramer and Hecht, has 
 appeared in 1907. 2 vols. 8, 
 together pp. xliv-1588 ; with 
 518 illustrs. 2, 8s. 
 
 KIDD (Collection E. M.). Catalogue of 
 sale. Nottingham, 1903. 4. 
 English porcelain and pottery. 
 402 Nos., with 7 pis. 
 
 KIDSON (J. R. and F.). Historical 
 notices of the Leeds old Pottery, 
 with a description of its ware : 
 
 235 
 
CERAMIC LITERATURE. 
 
 [KIN 
 
 together with a brief account, of 
 contemporary potteries in the 
 immediate vicinity hitherto un- 
 noticed. Leeds, 1892. 4, pp. 
 162 ; portrait of J. Green and 20 
 phototyp. pis. 1. 
 
 All the facts and particulars dispersed in 
 anterior publications, as well as the tradition 
 preserved in the memory of the old townsmen, 
 have been diligently brought together in this 
 excellent monograph of the Leed's old pottery 
 works. The records extend from their estab- 
 lishment in 1760 to their definite closing. The 
 account comprises an exhaustive examination 
 of the different styles of earthenware manu- 
 factured from the beginning, illustrated by the 
 reproduction on the plates of well selected 
 representative specimens. 
 
 KIDSON (J. E.). About Old China. 
 Liverpool, Ho well, 1908. 8, 
 pp. 90 ; with 3 pis. 2s. 6d. 
 
 Mr. J. E. Kidson is a dealer in old china 
 in Liverpool. 
 
 KIESERITZKY (G. ). -Nike in der Vasen- 
 malerei. Dorpat, 1876. 8, pp. 
 42 (a thesis). 
 
 " Nike in the vase paintings." 
 
 KING (A. C.) . Notice of the Henri 
 deux ware. Photographs of 
 twenty examples of the ware, 
 chiefly in English collections. 
 London. Arundel Society, 1868. 
 Fol., pp. 8 ; with 20 photo, pis. 
 15s. 
 
 KIRK. Outlines from the figures 
 and compositions upon the 
 Greek, Roman, and Etruscan 
 vases of the late Sir William 
 Hamilton ; with engraved bor- 
 ders, drawn and engraved by the 
 late Mr. Kirk. London, JVTLean, 
 1814. 2nd ed. 8, pp. xix-52 ; 
 with 62 pis. 10s. 
 
 In this handy volume we have the huge 
 plates of Tischbein re-engraved on a much 
 smaller scale. The classical border with which 
 each subject is surrounded, were intended to 
 render the work of practical use to designers. 
 
 KISSLING (J.). Das Gesammtgebiet 
 der Photokeramik, oder sammt- 
 liche photographische Verfahren 
 236 
 
 zur praktischen Darstellung 
 keramischer Decorationen auf 
 Porzellan, Fayence, Steingut und 
 Glas. 1894. 8, with 12 illustrs. 
 
 2 m. 
 
 " General treatise of Photoceramic, 
 containing all the methods for the prac- 
 tical preparation of ceramic decoration 
 upon porcelain, earthenware, stoneware 
 and glass." 
 
 KLASEN (Lndwig). Fabriken fur die 
 Thon-, Porcellan-,Kalk-, Cement- 
 und Glass-Industrie. Leipzig^ 
 1896. 4, pp. 108; with 192 
 illustrs. Sect, xv., Part 5, of 
 Baumgartner's Grundriss- Vor- 
 bilder von Gebailden oiler Art. 
 
 Sketches and plans of buildings for the 
 manufacture of earthenware, porcelain, cement 
 and glass. 
 
 KLEIN (Joseph). Verzierte Thonge- 
 fasse aus dem Rheinland. Bonn, 
 1887. Imp. 8, pp. 11 ; with 
 
 3 plates in colour. (In the 
 Jahrbucher des Vereins von 
 A Itei 'thumsfreunden .) 
 
 " Ornamented earthen vessels of Rhine 
 Land." 
 
 The Roman pottery discovered near the 
 banks of the Rhine. Amongst the curious 
 specimens described and reproduced in this 
 paper, a vase decorated with embossed subjects 
 and covered with a green glaze, is worthy of 
 particular attention. 
 
 KINGSBOROUGH (Edward, Viscount). An- 
 tiquities of Mexico ; comprising 
 facsimiles of ancient Mexican 
 paintings, etc. 9 vols. Atlas 
 folio, containing upwards of 1000 
 large plates . . . accurately 
 copied from the originals by A. A. 
 London, 1830-40. 80. 
 
 A monument of learning and a masterpiece of 
 typography. It is said that Lord Kingsborough 
 spent 30.000 upon the execution of this work. 
 Just as it had been completed he was prosecuted 
 for refusing to pay a disputed claim made in 
 connection with the cost of the publication. 
 Thrown into the debtors' prison, he died there 
 after a few days of confinement. Although 
 Mexican pottery comes in only incidentally, 
 some interesting reproductions of ancient 
 pottery, drawn by Augustine Aglio, figure on 
 the plates. 
 
KIP] 
 
 CERAMIC LITERATURE. 
 
 [RLE 
 
 KIPLING (J, L.). The Mooltan Pot- 
 tery. London, Grigg, 1886. 
 S. fol., pp. 8 ; with 9 col. pis. 
 (A No. of The Journal of Indian 
 Art.) 
 
 Reproduction of old Indian and Persian 
 potter}', executed by the students of the Mayo 
 School of Art, under the direction of the 
 Principal, J. L. Kipling. 
 
 KIPS (E,). --Porzellan-Malerein in 
 Rauchsalon S.M.Y. Hohenzol- 
 lern. Ausgeftihrt in der Konigl. 
 Porzellan - Manufactur, Berlin. 
 Berlin, A Fritscli, s.d. Fol. ; 10 
 pis. printed in blue. 25 m. 
 
 "Porcelain paintings in the smoking 
 room of H.M. Yacht ' Hohenzollern ' ; 
 executed in the Royal Porcelain Manu- 
 factory of Berlin." 
 
 Naval battles and seascapes painted upon 
 large slabs. 
 
 KLEIN (W.). - - Euphronios. Eine 
 Studie zur Geschichte der griech- 
 ischen Malerei. Wien, 1879. 
 4, pp. 119. 5 m. 2nd edition, 
 8, pp. 323 ; with 60 text illustrs. 
 8 m. 
 
 " Euphronios. Materials towards the 
 history of Greek painting." 
 
 Heydemann had brought together and critic- 
 ally examined the works of Brygos, and 
 Michaelis had done the same for those of 
 Duris. Euphronios, perhaps the most cele- 
 brated among the vase painters of his time, 
 has been taken by W. Klein as the subject of 
 an exhaustive study. 
 
 It is not to be expected that the life of the 
 artist could be reconstituted from the scanty 
 particulars that have come down to us, but the 
 personality of his talent can be evolved and 
 determined from a thorough examination of 
 his works. All we know is that he nourished 
 towards the middle of the fifth century 
 B.C., and that a marble pedestal inscribed 
 " Euphronios Kerameus" has been found in the 
 ruins of the old Parthenon. That this talent 
 was acknowledged and envied by his fellow- 
 craftsmen is evinced by a vase upon which the 
 painter has written, under his own name, the 
 words " Euphronios could not have done it 
 better." The searching investigations of the 
 author have done more than elucidate a special 
 subject, they have helped to settle several im- 
 portant points, of interest for the general history 
 of art. For instance, we know now from the 
 position that Euphronios occupied among the 
 citizens of Athens, that a vase painter could 
 take rank among the artists of repute, instead 
 of being lost as we felt inclined to believe, 
 among the vulgar artisans of the lower class. 
 
 Among the Greek pottery preserved in our 
 museums, two vases and eight tazzas are known 
 to be the work of Euphronios' own hand. 
 They are described by W. Klein, who has also 
 given a comparative examination of all the 
 pieces of various periods painted by other 
 masters with the same subjects. 
 
 - Die griechischen Vasen mit 
 Meister-signaturen. Wien, 1883. 
 4, pp. 88. 5s. 
 
 " Greek vases bearing the name of 
 their maker." 
 
 This work, a complement to the preceding 
 one, deals with no fewer than ninety-two 
 names of Greek potters and vase painters. 
 They are grouped according to the style of 
 painting that prevailed at different periods, 
 and in this way an attempt at a chronological 
 classification is made for the first time. To 
 discriminate between the names which occur so 
 frequently upon Greek vases, and determine 
 whether they represent that of the potter, the 
 painter, or merely the person to whom the 
 object had been presented, had required in 
 certain cases a vast amount of research. In 
 some instances the name appears upon one 
 vase as indicating the artist who painted it ; 
 upon another it seems to apply to the maker 
 of the vase. Often two names occur inscribed 
 together, and it becomes difficult to affix the 
 part belonging to each of the collaborators in 
 the completion of the work. 
 
 To each name is devoted a special paragraph 
 giving a short description of the pieces the 
 master has signed with his hand, the names of 
 the museums in which they are preserved, or 
 the titles of the publications in which they 
 have been reproduced. Occasionally the article 
 is accompanied with some remarks on the 
 characteristic features of the style of each 
 painter. 
 
 The portion relating to the favourite youths, 
 boys or girls, whose names are inscribed on 
 vases, is largely extended in the work here- 
 after noticed. 
 
 - Die griechischen Vasen mit 
 Lieblingsinschriften. Wien, 1890. 
 4, pp. 96 ; with a front, and 37 
 text illustrs. 2nded. Wim,\&$S. 
 8, pp. 178; with 46 illustrs. 
 10 m. 
 
 " The Greek vases bearing inscrip- 
 tions to favourite youths." 
 
 Upon certain tazzas, calixes, and other 
 pieces of small dimensions, often of unique 
 shape and signed by the best Athenian masters, 
 are seen inscribed the name of some youth, 
 accompanied with the word Kalos, "The 
 beautiful." In the association of two names, 
 one of which seems to stand for that of the 
 artist who painted the vase, and the other for 
 that of a favourite and handsome boy to whom 
 it had been dedicated and presented, W. Klein 
 sees nothing else than the expression of the 
 admiration that the painter entertained for 
 
 237 
 
RLE] 
 
 CERA MIC LITER A TURE. 
 
 [KLU 
 
 plastic beauty, of which the youth he had 
 represented offered a perfect embodiment. 
 Refusing to accept the erotic interpretation 
 which is usually given of the association of 
 these two names, he believes that the elegant 
 figure of the ephebe has been delineated on the 
 clay by the vase painter just in the same spirit 
 as a sculptor would have carved it into marble. 
 He observes, moreover, that in most cases the 
 piece appears to have been executed without a 
 special destination, and that the name of the 
 beautiful youth, who was to be the recipient of 
 the gift, had been obviously added, probably 
 by order of the purchaser. 
 
 Centuries afterwards many a choice work of 
 the Italian majolist was inscribed with a similar 
 dedication which would transmit to posterity 
 the sweet name of one " Diva Julia," or " Laura 
 Bella," a beloved beauty to whom the dish or 
 the vase had been presented by some faithful 
 admirer, but whom the painter had certainly 
 never seen in his life. 
 
 KLEMM (G.). Die koniglich sach- 
 sische Porzellan Sammlung. 
 Erne Uebersicht ihrer vorzug- 
 liclisten Schatze, nebst Nach- 
 weisungen iiber die Geschichte 
 der Gefassbildnerei in Thon und 
 Porzellan. Dresden, 1834. 12, 
 pp. iv-154. PL 
 
 "The Royal Saxon collection of porce- 
 lain. A glimpse at its most remarkable 
 treasures ; with an essay on the history 
 of pot-making in clay and in porcelain." 
 
 - Die koniglich sachsische Por- 
 zellan und Gefasse-Sammlung, 
 nebst dem Specksteincabinet 
 und dem Buddha-Tempel im 
 Japanischen Palais zu Dresden. 
 Dresden, s.d. 12, pp. iv-171. 
 PI. 
 
 " The Royal Saxon collection of porce- 
 lain and pottery ; with an account of 
 the Speckstein (Steatite) room, and the 
 Buddha Temple in the Japanese Palace 
 of Dresden." 
 
 Handbook to the collection as it stood in 
 the Japanese Palace. It has since been trans- 
 ferred to the central museum of the town. 
 
 Zur Geschichte der Samm- 
 
 lungen fiir Wissenschaft und 
 Kunst in Deutschland. Zerlst, 
 
 1837. 8. 
 
 " The history of the Science and Art 
 museums in Germany." 
 
 KLIER (H.)- - - Modern Keramic. 
 Entwiirfe fiir die Praxis. Piemen, 
 
 238 
 
 1902. Obi. 4. 15 col. pis. 
 12 m. 
 
 " Modern ceramics. Sketches for 
 practical work." 
 
 KLIMKE (Aug.). -- Aiileitung zum 
 Malen anf Porzellan und Glas 
 fiir Dilettanten. Dresden, 1888. 
 3rd ed. 8, pp. 118 ; with 62 
 illustrs. 2 in. 
 
 " Instructions for painting on porce- 
 lain and glass, for the use of amateurs " 
 
 Published by a dealer in artists' materials. 
 
 KLITSCHE DE LA GRANGE.-Sulla tech- 
 nologia del vasellame nero degli 
 antichi. Roma, 1884. 
 
 " The technology of the black earthen 
 vessels of the ancients." 
 
 Experiments made by the writer have shown 
 that vases of ordinary clay could be tinted 
 throughout the mass with deep black, by filling 
 the kiln with thick smoke at the end of the 
 firing. The black tint obtained in that way is 
 absolutely similar to that of the Etruscan 
 buccero nero. 
 
 KLOPFLEISCH (F. ). Vorgeschichtliche 
 Alterthiimerder Provinz Sachsen 
 und angrenzender Gebiete. Die 
 Grabhtigel von Leubingen, Som- 
 merda und Nieustedt. Allge- 
 meine Einleitung. Charakteristik 
 und Zeitfolge der Keramik Mit- 
 teldeutschlands. Halle a. d. S., 
 1883-84. 4, pp. 106 ; with 106 
 illustrs. and 3 pis. 7 m. 
 
 " Prehistoric antiquities of the pro- 
 vinces of Saxony and the adjoining 
 region. The grave mounds of Leubingen, 
 Sommerda and Nieustedt. General in- 
 troduction. Characteristics and chro- 
 nology of the pottery of Central 
 Germany." 
 
 An application of the system of symbolic 
 interpretation to primitive pottery. Archaj- 
 ologists of the rational school are apt to look at 
 such abstruse considerations somewhat in the 
 same light as an astronomer values the elucida- 
 tions of planets and constellations enlarged upon 
 by the astrologer. 
 
 KLUGMANN (A.)- Vasi fittili inargen- 
 tati. Roma, Salvincci, 1872. 
 8, pp. 27 ; with 4 engr. pis. 
 
 " Silver fictile vases." 
 
KNA] 
 
 CERAMIC LITERATURE. 
 
 [KNO 
 
 - Coppa inargentata e smaltata 
 di Villanuova. Roma, 1871. 8, 
 pp. 9 ; with 1 pi. 
 
 " A tazza silvered and enamelled." 
 
 In two sepulchres excavated between Orvieto 
 and Bolsena were found a few vases which 
 showed traces of having been silvered over 
 with films of the metal affixed with size. In 
 the case of the Villanuova tazza the silvering 
 had been applied over a green lead glaze. 
 Specimens of the kind are too scarce to warrant 
 a belief that silvering ware was one of the 
 regular processes adopted by the potter ; it 
 may have been nothing more than an excep- 
 tional practice indulged in by a subsequent 
 possessor of the piece. 
 
 - Tazze a figure rosse con fatti 
 di Ercole. Roma, 1878. 8, 
 pp. 10 ; with 3 pis. 
 
 " Red figured tazza with the labours of 
 Hercules." 
 
 These three papers have been reprinted from 
 the Annali. 
 
 KNABEL (A.). Die Anlage und Ein- 
 richtung von Ziegeleien, zur Fa- 
 brikation von Ziegel und Thon- 
 waaren. Leipzig, C. Scholtze. 
 1881. 8, pp.' 40; with 17 
 illustrs. 
 
 - Die Anlage und I^inrichtung 
 von Porzellan-Fabriken. Leip- 
 zig, 1882. 8, pp 56 ; with 21 
 illustrs. Part v.-vi. in Scholtze's 
 Deutsche Bautechnische Faschen- 
 bibliothek. 
 
 "The plans, construction, and equip- 
 ment of the tile, earthenware, and porce- 
 lain manufactories." 
 
 KNAPP (P.)- Nike in der Vasen- 
 malerei. TuUnge, 1876. 8, 
 pp. 101. 
 
 " Nike in vase paintings." 
 
 KNIGHT (Rev. H. H.). Specimens of 
 inlaid tiles, heraldic and geomet- 
 rical, from Neath Abbey, Gla- 
 morganshire. Edinburgh, 1850. 
 Ob. fol., pp. 27; with chromo-lith. 
 pis. reprod. 24 tiles. (Sketches 
 by Mrs. Vivian, and plates drawn 
 by Egbert Moxham.) Publ. by 
 
 the Committee of the Neath 
 Philosophic Institution. 15s. 
 
 The ancient pavement, discovered in 1848 in 
 the ruins of Neath Abbey, was formed of red 
 and yellow tiles ; on some of them were 
 delineated the coat-of-arms of noble families of 
 Glamorganshire. To name the escutcheons 
 emblazoned, more or less accurately, upon these 
 tiles has been the task the author had imposed 
 upon himself, and which he has successfully 
 accomplished. 
 
 KNOCHENHAUER (P. F.). Niederland- 
 ische Fliesen-Ornamente. Berlin, 
 Pasch, 1886. Fol., pp. 30 ; with 
 36 chromo-lith. and 12 outline 
 pis., and 20 text illustrs. 8 m. 
 
 "The decorative tiles of the Low 
 Countries." 
 
 Dutch tiles are seldom remarkable for 
 elegance of design or fertility of invention ; 
 still when in place, the manifold repetition of 
 their unpretentious scrolls and rosettes always 
 results in a pleasant effect. A complete pattern 
 is usually formed by the combination of four 
 tiles of small size. Scarcely any variety of 
 style is to be noticed in the numerous examples 
 reproduced in this book. They are evidently 
 patterns for the current trade, painted in 
 monochrome, or in two colours. Occasionally 
 they represent a conventional landscape, a 
 grotesque figure, or a scriptural subject. 
 
 The enterprising spirit of the Dutch merchant 
 had opened a large outlet for the productions 
 of the potter. Tiles were extensively exported 
 from Holland into countries where the Italian, 
 the French, and the Spanish pottery had never 
 penetrated. They were eagerly adopted in 
 distant lands for decorative purposes. In 
 America many of the old homesteads of New 
 England have still preserved the sets of white and 
 blue Dutch tiles which have brightened the chim- 
 ney-piece of the living room and the walls of 
 the kitchen, ever since the seventeenth century. 
 At the same period the efforts of the English 
 potter had been insufficient to check the 
 enormous importation of the Delft tiles, much 
 preferred to those of local manufacture for the 
 decoration of the houses of town and country. 
 
 KNORR (R.). Die verzierten Terra 
 sigillata Gefasse von Kannstatt 
 und Kongen-Grinario. Stuttgart, 
 1905. 8, pp. 49 ; with 47 pis. 
 in outline. 5 m. 
 
 " The ornamental terra sigillata vessels 
 from Kannstatt and Kongen-Grinario." 
 
 KNOWLES (P.). Dutch pottery and 
 porcelain. London, G. Newnes, 
 1905. 8, pp. xiii-122 ; with 54 
 half-tone illustrs. 7s. 6d. 
 
 Some excellent books have been published on 
 the history of the Dutch faience. From this 
 
 239 
 
KNY] 
 
 CERAMIC LITERATURE. 
 
 [KOE 
 
 ample store of information, the writer of the 
 present volume seems to have derived little 
 profit. He has failed to produce a good digest 
 of a well-known subject. Neither has he con- 
 tributed to it any original matter. The few 
 particulars he gives regarding the manufacture 
 of the Delft ware, disclose a decidedly un- 
 certain knowledge of the technics of the potter's 
 art. 
 
 KNYFF (Collection A. de). -Catalogue of 
 
 sale. Bruxelles, 1865. 8, pp. 
 95 ; with 9 pen and ink litli. pis. 
 and marks. 3 fcs. 
 
 Oriental porcelain, Nos. 1-352 ; Sevres and 
 Dresden, Nos. 353 375 ; Delft faience, Nos. 
 561-645; ancient stoneware, Nos. 646-715. 
 
 KOCH (A.)- Keramik. Schweizer- 
 ische Landesausstellung, Zurich, 
 1883. Bericht liber Gruppe 17. 
 Zurich, 1884. 8, pp. 98. 2s. 
 
 "Ceramics. National Exhibition of 
 Switzerland at Zurich," 
 
 This report contains some particulars about 
 the ceramic industry in Switzerland, with 
 tabular statements of the exports and imports 
 of the pottery trade. 
 
 KOHL (C.)- Die Bandkeramik der 
 steinzeitlichen Graberfelder und 
 Wohnplaze in der Umgebung 
 von Worms. Worms, 1903. 4, 
 
 pp. 54 ; with 10 pis. of urns in 
 outline and 2 pis. of fragments 
 in half-tone. 6 m. 
 
 " The band ceramic of the burial and 
 dwelling places of the Stone Age in the 
 neighbourhood of Worms." 
 
 The urns and other vessels found in the 
 vicinity of Worms may be divided into three 
 distinct groups, each of them very different in 
 style from the other. From the fact that no 
 metal object has ever been found in association 
 with them, it is assumed that they belong to 
 the Stone Age. 
 
 KONEN (K.)- Gefasskunde der vor- 
 romischen, romischen, und fran- 
 kischen Zeit in den Rheinlanden. 
 Bonn, P. Hanstein, 1895. 8, 
 pp. 151 ; with 21 lith. pis., con- 
 taining 590 figs. 6 m. 
 
 " The knowledge of the vases and 
 vessels of pre- Roman, Roman, and 
 Frankish periods in the Rhine provinces." 
 
 One may fairly anticipate that the day will 
 soon come when advanced geology will assist 
 us in the study of the earliest forms of human 
 
 240 
 
 industry, and particularly of pottery making. 
 In the present state of knowledge, however, 
 any attempt at establishing a system of classi- 
 fication, by which the various types of primitive 
 earthen vessels could be assigned to their correct 
 periods seems somewhat premature. The un- 
 satisfactory result of any such attempt is made 
 manifest by the present essay. Chronological 
 divisions have been prepared. They comprise 
 the various phases of the stone age, palaeolithic 
 and neolithic, and of the bronze and the iron 
 ages. The pottery exhumed from the soil of 
 the Rhine Valley has been arbitrarily distributed 
 in these sections. With the exception of the - 
 period of the Mastodon and Dinotherium, of 
 which it is acknowledged no remains were 
 found in the area studied by the author, all 
 the subsequent epochs have been assigned their 
 fictile representatives. The only criteria relied 
 on are the respective depth at which each 
 earthen vessel was found buried, and the 
 character of the examples of wrought flint and 
 metal associated with it. 
 
 KONIG (F. G.). Die Ofenfabrikation 
 nach ihrem heutigen Stande 
 unter spezieller Beriicksicht. 
 Der Herstellung der haariss- 
 freien Elfenbein- und Majolika- 
 Oefen aus feuerfesten Thon 
 nebst den entsprechenden Glas- 
 uren. Berlin, Sendel, 1900. 8, 
 pp. 64 ; with 2 pis. 3 m. 
 
 " The stove manufacture in its present 
 condition ;. with special considerations 
 upon the making of the non-crazing 
 ivory and majolica stoves made out of 
 refractory clay, and on their respective 
 glazes." 
 
 KONITZER (C.) Heracles und die 
 Hydra. Vase im Museum zu 
 Breslau. Breslau, 1861. 8, 
 pp. 36. 
 
 " Hercules and the Hydra, upon a vase 
 in the Breslau Museum." 
 
 KORTE (Gustav). Ueber Personifica- 
 tionen psychologischer affekte in 
 der spateren Vasenmalerei. Ber- 
 lin, F. Wahlen, 1874. 8, pp. 90. 
 
 2 m. 
 
 " The personification of the psycho- 
 logical sensations in the vase-paintings of 
 a late period." 
 
 The late, or, as it is sometimes called, the 
 pictorial style of Greek vase painting offers 
 a far more realistic representation, and at the 
 same time ideological conception of the subjects 
 than the more sober and conventional manner 
 which characterises the works of the earlier 
 
KOL] 
 
 CERAMIC LITERATURE. 
 
 epochs. In the ancient vases a picture of an 
 heroic tradition, or a mythical scene, comprises 
 only the personages taking a direct part in the 
 action. Later on, the painter began to intro- 
 duce in the scheme of his composition some 
 accessory figures of gods or demi-gods, or 
 simply figures of an allegorical character. 
 The presence of these figures is often difficult 
 to explain. According to Koerte's theory, 
 these figures personify either the feelings with 
 which the chief actors in the scene are animated, 
 or most often the baneful influence which mad- 
 dened and excited them to frenzy. The general 
 distribution of the works of the Greek poets is 
 made accountable by the writer for this modi- 
 fication of the rendering of all classical subjects 
 by the vase painter. 
 
 Eichelformige Lekythos mit 
 Goldschmuch aus Attica. Ber- 
 lin, Reimer, 1879. 4, pp. 4 ; 
 with 1 pi. (Repr. from the Arch. 
 
 Zeit.} 
 
 " A Lekythos in acorn shape and with 
 gilt ornamentation from Attica." 
 
 KOLBE (G.). Geschichte der Konig- 
 lichen Porcellan-Manufactur zu 
 Berlin ; nebst einer einleitenden 
 
 Ubersicht der geschichtlichen 
 Entwickelung der ceramischen 
 Kunst. Berlin, Decker, 1863. 
 8, pp. 300. 5 m. 
 
 " History of the Berlin royal porcelain 
 works ; with an introductory sketch of 
 the historical development of the ceramic 
 art." 
 
 Most efficiently assisted in his task by the 
 mass of official documents, registers, diaries, 
 etc., left by his predecessors, Kolbe, director 
 of the Berlin porcelain works, has written a 
 complete and reliable history of the establish- 
 ment over which he presided for many years. 
 
 The first porcelain manufactory was started 
 at Berlin in 1750 by a merchant named 
 Wegeli ; it was a private undertaking which, 
 for want of success, had to be given up a few 
 years afterwards. Gottowski, also a merchant, 
 renewed the experiment, but as we have 
 narrated in the article under that name, after 
 having placed the factory in good working 
 order, and being unable to bear any longer the 
 burden of an unremunerative enterprise, he 
 petitioned King Frederick to be relieved from 
 further responsibility, and asked him to carry 
 it on under his Royal patronage. The proposal 
 was readily accepted by the King after he had 
 made a personal inspection of the works. A 
 detailed account of that visit is recorded in the 
 MS. diary, kept by the director Geringer. We 
 see that from the first Frederick intimated | 
 that he meant to exercise a direct supervision ; 
 over all the details of the management. He 
 insisted on being enlightened about all the 
 difficulties of practical manufacture, suggesting 
 
 16 
 
 improvements on many points. He ordered 
 some new buildings to be erected, and went 
 so far as to sketch with his own hand the plan 
 of certain ovens he had noticed in other places. 
 He took steps towards providing for the 
 pressing financial requirements by means of 
 a loan ; for the future, expedients had to be 
 devised to secure a constant supply of funds. 
 Among the measures taken to that effect, a 
 decree was rendered, obliging all the Jews of 
 the kingdom, the Jews always came in for an 
 extra share of contribution whenever an in- 
 crease of taxation had been decided upon, to 
 make a purchase of porcelain from the royal 
 manufactory on the occasion of their marriage, 
 and several other specified circumstances. The 
 direction of the royal lottery was also ordered 
 to include in their list of prizes objects manu- 
 factured at the same factory. Frederick often 
 introduced visitors of exalted rank to the 
 works, and it was understood that to please 
 the royal manufacturer, his guests should place 
 with the managers important commissions for 
 porcelain. 
 
 The history follows, step by step, the 
 chequered career of the Berlin Royal Manu- 
 factory, and ends with a complete statement 
 of the condition in which it stood on the day of 
 the hundredth anniversary of its foundation. 
 
 KOLDEWEY (R.). Neandria. Berlin, 
 1891. 4, pp. 52 ; with 1 pi. and 
 68 text illustrs. Winckelmann 
 Programme, No. 51. 4 m. 
 
 A few terra-cottas. 
 
 KONDAKOF (N.). Greek terra-cottas 
 (in Russian). Odessa, 187$. Sq. 
 8, pp. 105 ; with 10 pis. in out- 
 line. 10 fcs. 
 
 KONDAKOF (N.) and TOLSTOI (J.). Anti- 
 quites de la Russie Meridionale. 
 Paris, 1891. 4. 
 
 KOULA (J.). Prisperky k. historii 
 hrneirstvi v. Cechach. Prag, 
 1888. 8, pp. 41 ; with 20 text 
 illustrs. 3s. 
 
 " History of the pottery of Bohemia." 
 
 Being unable to obtain a translation of this 
 work we had to rest satisfied with an examina- 
 tion of its illustrations. They are of sufficient 
 interest to make us regret that their explanation 
 is a sealed letter to us. Examples of embossed 
 bricks of the thirteenth century, as well as 
 ornamental tiles of the fourteenth and fifteenth, 
 glazed in various colours, and showing subjects 
 of figures of a Gothic character, seem to show 
 that ceramic art in Bohemia was in no way 
 behind the best productions of Germany at a 
 corresponding period. The sixteenth century 
 is represented by drinking vessels, similar in 
 style to the richly decorated faience jugs 
 attributed to Hirschvogel. In the following 
 epoch, vases and dishes also of polychromatic 
 
 241 
 
KRA] 
 
 CERAMIC LITERATURE. 
 
 [KRE 
 
 faience, have a painted ornamentation evidently 
 influenced by the Oriental art ; while with the 
 middle of the eighteenth century the prevailing 
 Rococo taste asserts itself with exaggeration in 
 the works of the Bohemian potter. 
 
 KRAMER (G.). Ueber den Styl und 
 die Ilerkunft der bemahlten 
 griechischen Thongefasse. Ber- 
 lin, 1837. Pp. xiv-213. 3 m. 
 
 " Upon the style and origin of the 
 painted Greek vases." 
 
 The opinion Kramer expressed in this 
 pamphlet has engaged the consideration of 
 many a learned writer. He pretends that all 
 the black and red figure vases were made at 
 Athens, and that it was from that centre of 
 production that they were exported to all 
 the countries with which the Athenians held a 
 commercial intercourse. This theory, strongly 
 opposed by J. de Witte, has been taken up 
 again by Otto Jahn, perhaps the greatest 
 authority on the subject of classical ceramics. 
 
 KRAUS (Job.)- Die Marken (Fabrik- 
 zeichen) der Porzellan-manufak- 
 tur in Frankenthal (1756-1800). 
 Frankenthal, printed by F. Al- 
 beck, 1899. Sm. 4, pp. 45-xiii ; 
 with 4 pis. 4 m. 
 
 " The marks of the Frankenthal porce- 
 lain manufactory." 
 
 With the facsimile of all the marks, signs, 
 and monograms which occur on the Frankenthal 
 porcelain, are given historical notes on the 
 factory at the periods to which they refer, and 
 biographical particulars of the artists and 
 workmen who worked in connection with it. 
 Fragmented groups and figures discovered 
 during excavations lately made on the site of 
 the factory are reproduced on the plates. The 
 appendix contains facsimiles and transcripts of 
 ancient official documents. 
 
 KRAUSE (J. H.). Angeiologie. Die 
 Gefasse der alten Volker, ins- 
 besondere der Griechen und 
 Homer, aus den Schrift- und 
 Bild-werken des Alterthums in 
 philologischer, archaologischer 
 und technischer Beziehung dar- 
 gestellt. Halle, 1854. 8, pp. 
 xvi-488 ; with 6 lith. pis., con- 
 taining 164 figs, of forms. 5 m. 
 
 "Angeiology. The vessels of the 
 ancient nationalities, particularly Greek 
 and Roman, described in the writings 
 and represented in the works of art of 
 antiquity ; considered from the philo- 
 
 242 
 
 logical, archaeological, and technical 
 points of view." 
 
 KRAUTH (C. G.). Erne neolithe Hugel- 
 grab mit Schnurkeramik, bei 
 Erfurt. Erfurt, 1905. 8 ; with 
 
 2 pis. 
 
 "A neolithic grave mound, with pre- 
 historic pottery decorated by the im- 
 pression of twisted thongs, discovered 
 near Erfurt." 
 
 KREKEL (J.). Anleitung zur Porzel- 
 lanmalerei. Weisbaden, J. Bos- 
 song, 1892. 8, pp. 69 ; with 8 
 illustrs. 2 m. 
 
 " Directions for porcelain painting." 
 
 KRELL (P. F.). Die Gefasse der 
 Keramic ; Schilderung des Ent- 
 wicklungsganges des Gefasstop- 
 ferei. Stuttgart, G. Weiss, 1885. 
 4, pp. 74 ; with 4 pis. and 33 
 text illustrs. 12m. 
 
 " Ceramic vessels ; a sketch of the 
 progress and development of the art of 
 pottery." 
 
 To range into arbitrary classes the pottery 
 of all nations, irrespectively of their constitutive 
 material, and simply according to the typical 
 shapes prevailing at various times and in 
 different countries, seems to have been the 
 purpose of this essay. Such a plan if it were 
 the one intended proved so difficult to carry 
 out that it has only been partially followed. 
 While some illustrations show, grouped to- 
 gether, pottery of identical shapes, which have 
 been produced by the potters of many ages and 
 many lands, other groups are formed of vessels 
 presenting all the varieties of forms resorted to 
 by the potters of one special nation. We are 
 told that they have been so arranged and 
 contrasted with one another to impress upon 
 our mind the necessity of introducing in the 
 style of modern pottery the distinctive stamp 
 of the times we live in. From his rambling 
 examination of universal ceramic art, the author 
 deducts the fact that the level of artistic 
 eminence reached |at the best periods in all 
 centres of civilisation is manifestly expressed 
 in the contemporary earthen vessels. He then 
 comes to the conclusion that we should en- 
 deavour to endow our pottery with enough 
 originality of forms and decorations to make it 
 reflect, worthily, the artistic tendencies and 
 achievements of our days. 
 
 - Keramische Vorbilder. Ber- 
 lin, Spielmeyer, 1896-97. Fol., 
 with 32 phototyp. pis. 36 m. 
 
 "Models for the ceramic art." 
 
KRE] 
 
 CERAMIC LITERATURE. 
 
 [LAB 
 
 Reproductions of ceramic objects selected 
 from the museums and private collections of 
 Germany, by Dr. F. Krell, professor in the 
 Munich school of industrial art. Each subject 
 is accompanied by working diagrams and 
 details. 
 
 KRETSCHMER(Paul).-DieGriechischen 
 Vaseninschriften ihrer Sprache 
 nach untersucht. Giitesloh, 1894. 
 8, pp. 251. 6 m. 
 
 " The inscriptions upon the Greek 
 painted vases considered from a philo- 
 logic point of view." 
 
 While the lapidary inscriptions of ancient 
 Greece and the text of Greek MSS. are written 
 in a rigorous form which represents the official 
 language adopted in all the Hellenic country, the 
 inscriptions of painted vases, traced by a provin- 
 cial artist, show the variations that the mother 
 tongue had undergone in the different localities. 
 These latter are for that reason, says the 
 author, of particular importance for the study 
 of dialects. His examination is restricted to 
 the names and inscriptions painted at the same 
 time as the subject, and lie ignores those 
 scratched later on upon the varnish, most 
 probably by the possessor of the vase. When 
 dealing with the signatures of the masters 
 known to have been at work in one of the 
 chief centres of manufacture, he points out the 
 local names and those which have a foreign 
 origin. 
 
 KROKER (E.). --Die Dipylonvasen. 
 Berlin, 1886. (Reprint from 
 Jahrb. des Inst.) 
 
 "The vases of the Dipylon." 
 
 KRUGER (Julius). Die Photokeramic, 
 das ist dieKunst photograpliische 
 Bilder auf Porzellan, Email, 
 Glass, Metall, u.s.w. einzubren- 
 nen. Wien, Hartleben, 1879. 
 Sm. 4, pp. 180 ; with 19 illustrs. 
 2 m. 50 p. 
 
 " Photoceramics, being the art of trans- 
 ferring and firing photographic pictures 
 upon porcelain, enamel, glass, metal, etc." 
 
 KUTAS (E. R. VOD). Ungarisches 
 Landes-Kunstgewerbe Museum. 
 Illustrirter Fiihrer durch die 
 Sammlungen. Budapest, 1885. 
 8, pp. 79 ; with text illustrs. 
 
 " The Hungarian National Museum of 
 Industrial Art. An illustrated guide- 
 book to the collections." 
 
 Ceramics, pp. 39-69. Curious embossed tiles 
 and Hungarian pottery. 
 
 KYPE (M.). Handbuch der Porzellan 
 Malerei. Enthaltend: chemische 
 und mechanische Bereitung, 
 theoretische und praktische 
 Anwendung sammtlicher bis 
 jetzt gebrauchlicher Farben und 
 Metalle. 2nd ed., 1861. 8, pp. 
 253 ; with 1 pi. 
 
 " Handbook of porcelain painting, etc." 
 
 Translated from A. Brongniart, Traiti des 
 
 arts cdramiques. 
 
 LABARTE (Jules). - - Description des 
 objets d'art qui composent la 
 collection Debruge - Dumenil, 
 precedee d'une introduction his- 
 torique. Paris, Didron, 1847. 
 8, pp. 858 ; with 5 pis. in outline 
 and text illustrs. 15 fcs. 
 
 "Description of the works of art 
 composing the Debruge-Dum^nil collec- 
 tion, to which is prefixed a historical 
 introduction." 
 
 This was one of the few remarkable collections 
 gathered at the very outset of the collecting 
 fever. A lover of the so-called "curiosity" 
 had then the field all to himself ; with modest 
 means, but with a fair amount of taste and 
 knowledge, he was allowed to pick and choose 
 without having to fear an alarming competi- 
 tion. The wealthy votary of classical art 
 looked down with contempt upon the objects 
 of his search, and public museums had not yet 
 given them admittance. Revoil, Du Som- 
 merard, Sauvageot, Debruge-Dum^nil, and a 
 few other kindred spirits, shared peacefully 
 between themselves the research and discovery 
 of treasures despised by all others. The collec- 
 tion formed by Debruge-Dumenil was, like 
 those of most of his colleagues, of a compre- 
 hensive character, and contained specimens of 
 the greatest rarity and value in all the branches 
 of applied art. The catalogue was prepared 
 and published by Labarte, Dumenil's son-in- 
 law, into whose possession the collection fell 
 after the death of the collector. Imperfect as 
 it seems to-day, the historical introduction pre- 
 fixed to the description of the objects was highly 
 appreciated at the time. The sale of the collec- 
 tion , which followed shortly after the publication 
 of the catalogue, marks the turning point in the 
 market value of the works of industrial art. 
 From that moment such specimens as had been 
 previously obtainable at a small cost com- 
 manded an ever-increasing price, which placed 
 them beyond the reach of any admirer un- 
 provided with ample means. 
 
 Histoire de 1'art par les 
 meubles et les objets precieux 
 
 243 
 
LAB] 
 
 CERAMIC LITERATURE. 
 
 [LAB 
 
 . . . Paris, 1847-48. 8, with 
 text illustrs. 
 
 " History of art in furniture and 
 precious objects." 
 
 A reprint of the introduction of the above 
 work, now much out of date. It has been 
 translated into English by Mrs. Bury Pallisser 
 under the title : Handbook of the Arts of the 
 Middle Ages. . . . London, 1855, 8. 
 Ceramic art, pp. 273-328. 
 
 LABARTE (Jules). Histoire des arts 
 industriels au moyen-age et a 
 1'epoque de la Renaissance. 
 Paris, Morel, 1864-66. 4 vols., 
 8, with 70 woodcuts, and 2 
 vols., 4, containing 150 pis., of 
 which 119 are chromolith., 26 
 in photolith., 3 lith. and engr. on 
 copper ; each plate is accom- 
 panied with an explanatory 
 notice. 360 fcs. One hundred 
 copies were printed on large 
 paper. (Ceramics, 14 pig.) 
 
 - Histoire des arts industriels, 
 etc. 2nd ed., corrected and 
 augmented. Paris, Morel, 1872- 
 75. 3 vols. 4, with 81 pis. 
 and 85 illustrs. in the text. 
 300 fcs. One hundred copies 
 on Dutch paper, 600 fcs. 
 
 A reprint much inferior to the original issue. 
 The text is reduced to three volumes, and the 
 number of plates from 150 to 81. Moreover, 
 the plates have lost the freshness which dis- 
 tinguished those in the first edition. The third 
 volume is devoted to enamel painting, pottery, 
 and fa'ience. 
 
 LA BLANCHERE (de). - Carreaux de 
 terre cuite k figures, decouverts 
 en Afrique. Paris, Leroux, 
 1888. 8, pp. 32 ; with 2 col. 
 pis. and 38 illustrs. (Reprint 
 from the Revue Archeologique.) 
 
 " Terra-cotta tiles, decorated with 
 figures, discovered in Africa." 
 
 Roman traditions persisted long among the 
 Christian potters of Africa. Many embossed 
 tiles of red clay, with subjects similar to those 
 seen on the lamps of a corresponding period, 
 are found in the tombs. They are all of very 
 rough execution ; the figure subjects are very 
 distant imitations of Roman bas-reliefs ; those 
 bearing representations of animals, such as 
 
 244 
 
 lions, stags, birds, etc., seem to be identical with 
 the tiles found in the early Christian graves of 
 France and Germany. 
 
 LABORDE (Comte Alex, de). Collection 
 des vases grecs de M. le Comte 
 de Lamberg, explique'e et publie'e 
 par M. le Comte de Laborde, 
 membre de 1'institut. Paris, 
 imp. Didot, 1813-1824, and 1824- 
 1828. 2 vols. Imp. fol., pp. 
 192 ; with 154 pis. in col., and 
 31 vigns. Publ. 540 fcs. (900 
 fcs. with proofs before letter). 
 Sells 6. 
 
 " Greek vases in the possession of 
 Comte de Lamberg, etc." 
 
 An important collection formed by Comte 
 de Lamberg, Austrian Ambassador at Naples, 
 now in the possession of the Emperor of Austria. 
 The plates of this publication wei'e engraved by 
 Tischbein in a style still more formal, and 
 purposely more incorrect than the one he 
 applied to the representation of the vases of 
 the second "Hamilton collection," and those 
 of Millin and Dubois-Maisonneuve. In the 
 notices written for their elucidation, M. A. de 
 Laborde, sacrificing to the taste of the times, 
 has made an exuberant display of classical 
 erudition, not always strictly applicable to 
 the case in point. These handsome volumes 
 belong to the class of highly-respected works 
 that the bibliophil thinks it a duty to place on 
 his shelves, although he knows he may seldom 
 find an occasion to consult them. 
 
 Le chateau du bois de 
 Boulogne, dit Chateau de 
 Madrid. Etude sur les arts au 
 XVP siecle. Paris, Dumoulin, 
 1835. 8, pp. 80. 100 copies 
 printed. 10 fcs. 
 
 " The Bois de Boulogne Castle, known 
 as ' Chateau de Madrid.' An essay upon 
 the fine arts of the sixteenth century." 
 
 The Madrid Castle, built by Francis I., was 
 remarkable for the scheme of majolica decora- 
 tion introduced in its architecture. With the 
 exception of a few enamelled bricks, nothing 
 remains of a work which must have been one of 
 the marvels of ceramic art. When the castle 
 was pulled down at the end of the eighteenth 
 century, all that was majolica and terra-cotta 
 was carted away to the mill and ground for 
 making cement. 
 
 Mr. De Laborde has collected together in 
 this book some important information con- 
 cerning Girolamo della Robbia and the chief 
 majolica works he executed in Paris. Called 
 to France by King Francis I., together with 
 Primaticio, Rosso, and other Italian artists, 
 G. della Robbia worked, not only for the 
 decoration of the Madrid Castle, but also for 
 
LAB] 
 
 CERAMIC LITERATURE. 
 
 the embellishment of other royal palaces ; j 
 fact to which the account of the king's house 
 hold expenses bear repeated evidence. 
 
 The author deplores that the introduction o: 
 enamelled faience in architectural decoration 
 has fallen into disuse, and urges modern archi- 
 tects to return to the polychromy of olden time 
 for the adornment of public edifices. 
 
 LA BRETOMIERE (Emile). - - Bernard 
 Palissy. Melodrame en trois 
 acts, en vers. Paris, M. Levy, 
 1860. 8, pp. 102. 4 fcs. 
 
 "Bernard Palissy. A melodrama in 
 three acts, in verse." 
 
 Bernard Palissy : ode en 
 I'honneur de la statue a lui 
 elevee par la ville de Saintes. 
 La Rochelle, 1864. 8, pp. 15. 
 
 " An ode, on the occasion of a statue 
 of Palissy erected by the town of Saintes." 
 
 LA BROISE (H. de). Societe des arts 
 reunis de Laval, Exposition de 
 1875. Laval, Moreau, 1875. 12. 
 
 " Catalogue of the Laval Exhibition in 
 
 1875." 
 
 LA FERRIERE-PERCY (Comte de). Une 
 fabrique de faience 4 Lyon sous 
 le reigne de Henri II. Paris, 
 Aubry, 1872. 8, pp. 16. 3 fcs. 
 
 " A faience factory at Lyons in the 
 reign of Henri II." 
 
 Jehan Francisque, of Pesaro, was established 
 at Lyons as faience-maker in the early part of 
 the sixteenth century. A little later, a privilege 
 for making majolica after the Italian method 
 was granted to Julien Gambyn and Dominego 
 Tardessir. Another majolist, Sebastian Griffo, 
 of Genoa, is mentioned in 1555 as having settled 
 in the town. All the documents referring 
 to the above potters were discovered in the 
 civic archives by the writer of this paper, and 
 by him published for the first time. 
 
 LAMARTINE (Alphonse de). Bernard de 
 Palissy. Paris, M. Levy, 1863. 
 8, pp. 124. (Reprint from the 
 Civilizateur, 1852.) 
 
 Always a poet, even when he condescended 
 to write in prose, Lamartine could never let 
 ,the prosaic ties of strict historical accuracy 
 hamper the free flight of his lofty imagination, 
 or weaken the purpose of his moralising and 
 humanitarian discourses. Fxill as they are of 
 eloquent pages, in which the noblest examples 
 of virtue and honour are glorified in soul- 
 stirring language, his popular biographies of 
 the great men of all ages are often deficient in 
 
 absolute accuracy. The task he set himself, 
 viz. , to publish every month the life of one of 
 the benefactors of mankind, was too heavy to 
 be accomplished with success ; the notice of 
 Bernard Palissy, among others, shows a 
 regrettable want of preparation. It is not 
 in the character of a philosopher, a scientist, 
 or an artist that Lamartine has chosen to 
 represent Palissy. The achievements of the 
 potter, the new principles and theories formu- 
 lated by the writer of the Discours admirables, 
 seem to have been taken for granted, and 
 speedily passed over. The great teaching that 
 the biographer derives from the chequered 
 existence of his hero is the fortitude of mind 
 with which he stood the ordeal of unrelenting 
 adversity. After long years of painful toil, 
 repeated failures, and discouraging rebuffs, his 
 indomitable energy resulted ultimately in the 
 triumph of his ideas and the reward of his 
 efforts. For Lamartine the life of Palissy is, 
 above all, the glorification of labour. A work- 
 man, in the true acceptation of the term, he is 
 the noblest model that all workmen should 
 strive to imitate. 
 
 Having praised, as they deserve, the utili- 
 tarian and philanthropic principles propounded 
 in this biography, we must confess that it is 
 strangely incorrect in all other respects. No- 
 where else shall we see the name of the great 
 potter written as Bernard de Palissy ; and no 
 previous writer had made him the "son of a 
 miserable pot-maker who taught him his trade." 
 We cannot help being surprised at seeing one 
 of his works referred to as bearing the title of 
 Mon Jardin. And lastly, it is difficult to 
 understand how Palissy could have begun " to 
 write the treatises which shall make his name 
 live for ever in 1590, when enfeebled by age, 
 and almost on the point of death, he was 
 imprisoned in the Bastille," while a little atten- 
 tion on the part of the biographer would have 
 reminded him that his two works were pub- 
 lished in 1563 and 1580 respectively. 
 
 LA QUERIERE (E. de). Essai sur les 
 girouettes, epis, cretes et autres 
 decoration des anciens combles 
 et pignons, pour faire suite d 
 Fhistoire des habitations au 
 Moyen-age. Paris, Derache, 
 1846. 8, pp. 86 ; with 8 pis. 
 8 fcs. 
 
 " Essay on the weather-cocks, pin- 
 nacles, crests, and other decorations of 
 ancient roofs and gables ; a complement 
 to the history of mediaeval buildings." 
 
 In addition to the ornamental lead-work, 
 pinnacles of coloured earthenware were often 
 used for the decoration of the roof of the 
 picturesque houses of the Middle Ages. By 
 means of a superposition of separate pieces 
 these pinnacles or epis, were made to attain the 
 height of three to six feet. The ornament was 
 currently manufactured in the pot-works of 
 Northern France. Some of them are sufficiently 
 artistic in treatment to warrant their having 
 been, at one time, attributed to Palissy, whose 
 
 245 
 
LAC] 
 
 CERAMIC LITERATURE. 
 
 [LAK 
 
 work they resemble in many respects. A few 
 examples, evidently much anterior in date to 
 the earliest production of the great potter, are 
 reproduced in this volume. They are of special 
 interest as showing the application of poly- 
 chromic pottery to architectural ornamenta- 
 tion long before the Renaissance time. 
 
 LACROIX (A.). Des couleurs vitri- 
 fiables et de leur emploi pour la 
 peinture sur porcelaine, faience, 
 vitraux, par A. Lacroix, chimiste, 
 ex-eleve de M. Pelouse et de la 
 manufacture des Sevres. Notices 
 et renseignements par MM. 
 Fragonard, Fontaine, et Goupil 
 de la manufacture de Sevres ; 
 Riottot, Ch. Houry, Claudius 
 Lavergne, Em. Bourieres, et 
 Dagron. Paris, A. Lacroix, 
 1872. 8, pp. viii-32. 
 
 " The vitrifiable colours and their use 
 in painting upon porcelain, faience, and 
 glass with notices and information com- 
 municated by practical porcelain painters, 
 etc." 
 
 Mr. Lacroix may be said to have created the 
 industry of colour making for painting on 
 pottery and porcelain, and the works he 
 established in Paris soon attained a great 
 importance. The catalogues of his products, 
 which he published from time to time, are too 
 numerous for us to mention all of them. 
 
 LACROIX (Paul). - - The arts in the 
 Middle Ages and the Renais- 
 sance. English edition, revised 
 and re-arranged by W. Arm- 
 strong. London,s.d. Roy. 8. 15s. 
 
 A reduction of the great work of Paul 
 Lacroix, History of the Arts in the Middle Ages 
 and the Renaissance. Ceramic art, pp. 45 to 62, 
 with one col. pi. and 13 illustrs. 
 
 LACROUX (J.) et DETAIN (C.). Con- 
 structions en briques. La brique 
 ordinaire au pointe de vue de- 
 coratif. Etude theorique suivie 
 de nombreux exemples d'appli- 
 cation pratique de 1'emploi de 
 la brique, au double point de 
 vue de la construction raisonnee 
 et de la decoration qui en resulte. 
 Paris, Ducher, 1878. 2 vols. 
 Imp. 4 ; with 155 pis. in col. 
 130 fcs. 
 246 
 
 " Upon the use of common bricks, con- 
 sidered from the decorative point of view. 
 A theoretical study, accompanied with 
 numerous examples of practical applica- 
 tion, showing how bricks should be 
 employed in rational construction, and 
 the decorative effects that result from 
 their employment." 
 
 LAFON DE CAMARSAC. Portraits photo- 
 graphiques sur email, vitrifies et 
 inalterables comme les peintures 
 de Sevres. Paris, s.d. (1865 ?). 
 8, pp. 28. 
 
 " Photographic portraits upon enamel, 
 vitrified and unalterable like Sevres 
 paintings." 
 
 LAFON (G.)- Decouvertes des terres 
 kaoliniques de Tayac-les-Eyzies. 
 Perigueux, 1896. 8, pp. 12. 
 
 " Discoveries of the kaolinic clays of 
 Tayac-les-Eyzies . " 
 
 LAFOSSE. Notice sur les antiquites 
 romaines trouvees dans les 
 fouilles du nouvel arsenal. Bes- 
 ancon, s.d. 8, pp. 12 ; with 7 
 pis. 5 fcs. 
 
 "Notice of the Roman antiquities 
 discovered at BesaiMjon." 
 
 Numerous marks of Roman potters, and a 
 few examples of Samian and other pottery. 
 
 LAIGNES (L. de). Une faiencerie a 
 Rotterdam au xvii. et xviii. 
 siecles. Paris, 1898. 4, pp. 13 ; 
 with 11 illustrs. printed in blue. 
 (Extr. from La Revue de I' Art.) 
 
 " A faience works at Rotterdam." 
 
 Reproductions of the sketches in the pattern 
 book of a tile manufacturer of Rotterdam. 
 They illustrate the common style of work of 
 the period. Tiles of the same design have been 
 found by the author fixed in the walls of a 
 house in Cadiz. 
 
 LAKING (F. G.). --Sevres porcelain. 
 Buckingham Palace 'and Wind- 
 sor Castle. London, Bradbury, 
 Agnew & Co., 1907. 4, pp. 
 xxxvii-203 ; with 63 col. pis. 
 10, 10s. 
 
 Of unsurpassed beauty within the whole 
 range of ceramic treasures, the soft porcelain of 
 Sevres deserves to be made the subject of a 
 
LAK] 
 
 CERAMIC LITERATURE. 
 
 sumptuous monograph. It should be ex- 
 haustiVe enough on the point of information, 
 and sufficiently accurate in the artistic repro- 
 ductions to embody a fair knowledge and a 
 due appreciation of the whole subject. It h 
 obviously in England where the finest speci- 
 mens of the ware have drifted in counties 
 numbers that the long wished for work 
 should be prepared and published. The 
 announcement of a bulky volume on the point 
 of being brought out under exalted patronage, 
 in which the contents of the peerless collection 
 preserved in the royal castles of England 
 should be reproduced regardless of cost, had 
 raised great expectations in the collector' 
 world. The book was received with something 
 akin to disappointment. The historical notice 
 appears somewhat incomplete, and the typo- 
 graphic execution is not quite as good as it 
 might have been. Plates and letterpress should 
 have been printed on paper of a superior quality, 
 and the three-colour block process, which 
 has been selected for the reproduction of the 
 specimens good as it may be in the case of a 
 cheaper publication is insufficient to render 
 the harmonious blending of rich gilding and 
 bright colours so bewitching in the originals. 
 
 LAKIN (I,)- The valuable receipts of 
 the late Mr. Thomas Lakin, with 
 proper and necessary directions 
 for their preparation and use in 
 the manufacture of porcelain, 
 earthenware, and ironstone 
 china ; together with the most 
 recent improvements in the 
 admired art of glass staining 
 and painting. Leeds, printed 
 for Mrs. Lakin by E. Baines, 
 1824. Sm. 4, pp. vii-86. 
 
 No professional convention ever bound the 
 master potters to withhold from the public the 
 secrets of the trade, yet these secrets were 
 very well kept as a rule, and this is the first 
 time that the private recipes of a manufacturer 
 have been printed for the common benefit. 
 Mrs. Lakin, who had been left a destitute 
 widow, had no scruple in turning to the best 
 advantage the practical recipes she had in- 
 herited from her husband. Her example has 
 since been followed by many a betrayer of 
 trade secrets who had not such a good excuse 
 to give for turning into money the result of 
 a manufacturing experience which, most often, 
 was not his own. As much as 50 was 
 originally charged for one copy of this volume ; 
 it is said that the whole of a very limited issue 
 was disposed of at that price, and the copies 
 having been kept as a valuable rarity by the 
 descendants of the subscribers, they seldom 
 come into the book trade. 
 
 Lakin was established at Hanley in partner- 
 ship with Poole. Their ware is of remarkably 
 good quality and generally decorated in the 
 style of porcelain painting ; it is always marked 
 with their joint names. Lakin had to give up 
 the business, and died at Leeds, where he had 
 
 taken an engagement as manager of the cele- 
 brated earthenware works of the town. 
 
 LAMBERT (Anon.). Coup d'ceil sur 
 Findustrie du potier de terre a 
 Kouen. S.I., n.d. (1838). 8. 
 
 " A glance at the industry of the 
 earthenware potter at Rouen." 
 
 Of all the faience manufactories which once 
 nourished in Rouen, a single one remained in 
 1838. It belonged to M. A. Lambert, to whom 
 this notice may be attributed. 
 
 LAMBERT (Glrillaume). Art CeVamique. 
 Trait6 pratique de la fabrication 
 des faiences fines et autres 
 poteries ; etat actuel de la 
 fabrication en Angleterre, avec 
 indication des ressources que 
 presentent la France et la Bel- 
 gique pour ce genre d'industrie. 
 Paris, E. Lacroix, 1865. 8, pp. 
 380 ; with a map of the Stafford- 
 shire Potteries,and 27 pis. 15fcs. 
 
 " Ceramic Art. Practical treatise of 
 the manufacture of earthenware pottery 
 in all its branches ; actual conditions of 
 the industry in England, with observa- 
 tions upon the resources offered by 
 France and Belgium for the extension 
 of that industry." 
 
 No practical English potter could have given 
 a better and clearer account of the conditions 
 of earthenware manufacture, as they stood 
 forty years ago in the Staffordshire Potteries. 
 Mr. Lambert is a Belgian Civil Engineer, and 
 he has occupied the position of managing 
 director in an important ceramic establishment, 
 the name of which, however, he does not 
 mention. Neither does he tell us how he 
 obtained the accurate and complete knowledge 
 of the pottery trade in England which he has 
 displayed in his book. But it is evident that 
 he must have studied, personally, for many 
 years the conduct of work in the factories of 
 Staffordshire to have gained such a perfect 
 mastery over all the processes of manufacture. 
 He regrets that Belgium has not followed more 
 closely on the steps of the English potters, and 
 he points out all the facilities that could be 
 found in the country for the development of 
 the ceramic industry. 
 
 Exposition universelle de 
 
 Vienne, 1873. Documents et 
 rapports des jures et delegues 
 beiges. IX e groupe. Ceramique, 
 par G. Lambert, membre du 
 jury. Bruxelles, impr. E. Guyot, 
 1874. 8, pp. 79 ; 3 pis. 
 
 247 
 
LAM] 
 
 CERAMIC LITERATURE. 
 
 [LAN 
 
 LAMBERT (Giiillaume). - - Exposition 
 universelle de Paris en 1878. 
 Rapports publics par la com- 
 mission beige. Classe xx. 
 Ceramique. Rapport de M. 
 G. Lambert, membre du jury. 
 Bruxelles, typ. Vanderauwera, 
 1879. 8, pp. 80. 
 
 " Official reports of the Belgian Com- 
 mission at the International Exhibitions 
 of Vienna and Paris in 1873 and 1878." 
 
 LAMBERT (H.)- La Flore naturelle. 
 Paris, 1888. 60 folio pis. in 
 colour. 120 fcs. 
 
 Flowers in water-colour for the use' of the 
 decorator, by a flower painter of the manu- 
 factory of Sevres. 
 
 LAMBOURSIN (J.). Traite de la fabri- 
 cation et de la reparation des 
 faiences et objets d'art, avec un 
 appendice contenant toutes les 
 marques des faiences et por- 
 celaines frangaises. Paris, 1897. 
 8, pp. 115. 5 fcs. 
 
 " Treatise of the manufacture and 
 restoration of faiences and works of art ; 
 with an appendix containing all the 
 marks of French faience and porcelain." 
 
 LAMEIRE (Ch.). Rapport sur les por- 
 celaines modernes qui ont figure 
 a 1'exposition universelle de 1878. 
 
 Paris, 1879. 4, pp. 58. 
 
 " Report addressed to the Minister of 
 Fine Arts, upon the porcelain exhibited 
 at the International Exhibition of 1878, 
 by the committee of the manufactory of 
 
 Sevres." 
 
 Examination of the principal objects ex- 
 hibited by the National Manufactory, with 
 critical remarks upon each shape and the style 
 of its decoration. At the end is a complete 
 catalogue of the Sevres exhibits with the names 
 of the painters and modellers. 
 
 LANDON (D.)- Die Fabrikation des 
 Porcellans, Steinguts, und 
 Fayence - Glases, sowie der 
 hierzu erforderlichen Glasuren, 
 etc. Mit Abbildungen. Qued- 
 linburg, s.d. 8. 
 
 "The manufacture of porcelain, stone- 
 ware, and enamelled faience, with the 
 
 248 
 
 composition of appropriate glazes, etc., 
 with illustrs." 
 
 LANA(A.). Alcune Tavole dei mold 
 disegni che si possono esequire 
 coi Mattoni della Fabrica di A. 
 L. in Borgognato, Provincia 
 Bresciana. Brescia, 1841. 4. 
 31 pis. and price list. 3 fcs. 
 
 " A few plates of the numerous designs 
 which may be executed with tiles of the 
 manufacture of A. Lana." 
 
 LANG (Collection). Catalogue of a col- 
 lection of hard paste porcelain, 
 Delft ware, etc., manufactured by 
 citizens of Bristol. Bristol, s.d. 
 
 (1878 ?). 8. 
 
 LANGE (C.)- Anleitung zur Ofen- 
 fabrikation. Fabrikation der 
 Fayenceofen und der Schmelz- 
 glasurofen. 1892. 8. (3rd ed.) 
 1 m. 
 
 " Instructions for oven-building. The 
 building of biscuit and glost ovens." 
 
 LAHGEfl (Magdalene von). Delfter blau 
 
 Malerei, Vorlagen fur Majolika. 
 Leipzig, Haberland, 1893. Sm. 
 folio ; 16 pis. 
 
 "Delft blue painting. Sketches for 
 majolica decoration." 
 
 LAMLOIS (Frederic). Societe en com- 
 rnandite pour la fabrication de 
 la porcelaine a Isigny. Isigny, 
 impr. Maurin (1843). 8. 
 
 " A circular announcing the formation 
 of a Society for the manufacture of hard 
 porcelain at Isigny (Calvados)." 
 
 LANGTON DOUGLAS. The majolica of 
 Siena. (In The Nineteenth Cen- 
 tury, Sept. 1900.) Pp. 15. 
 
 Italian writers have asserted that no majolica 
 factory has ever existed in the town of Siena, 
 notwithstanding the beautiful dish of the 
 South Kensington Museum which bears the 
 inscription, "Fata in Siena da M- Benedetto." 
 That they were altogether mistaken is now 
 demonstrated through the researches made by 
 Mr. L. Douglas in the municipal archives. In 
 1363 thirty-three potters were at work in the 
 city, and their number increased so rapidly 
 that in 1483 a whole street was occupied by 
 
LAN] 
 
 CERA MIC LITER A TURE. 
 
 pot works. Several documents refer to Master 
 Benedetto, the painter of the celebrated dish, 
 who in 1510 had a bottega in the Piazza di 
 San Marco. It is true that he was a native 
 from Faenza, but majolica had been made in 
 Siena before his coming, for the tiles of the 
 oratorio of S. Caterina in Fontebranda were 
 painted in 1480. 
 
 Italian translation : - - Le 
 maioliclie di Siena. Siena, 1903. 
 8, pp. 23 ; with '2 pis. (one col), j 
 
 .. 
 
 LA NOE (G. de). - - Documents pour ! 
 servir a 1'etude des enceintes j 
 vitrifiees. Paris, 1882. 8, pp. ' 
 11. (Reprint from the Revue 
 Archeologique). 2 fcs. 
 
 " Document for use in the study of 
 vitrified forts." 
 
 The ancient vitrified fortresses of France 
 and Scotland offer the most primitive and most 
 colossal application of the effect of a strong fire, 
 brought to bear upon a combination of clay 
 and fusible materials. An experiment to 
 execute a large work of similar nature was 
 attempted in modern times. In 1777 a 
 retired French officer, named Barret, had 
 been entrusted by the government with the 
 management of a manufactory of bricks " after 
 the method used in England," established near 
 Dunkerque. While producing there heavy 
 blocks of hard brick clay, employed in the 
 building of the coast defence works, Barret 
 conceived the idea of obtaining, through vitri- 
 fication, monoliths of huge dimensions. He 
 piled up a mass of unbaked bricks to form a 
 block 12 feet broad by 8 feet high, the top of 
 which was approached by an inclined plane, 
 built of the same material, and 18 feet in 
 length. Then he submitted the whole fabric 
 to a particular system of firing. The experi- 
 ment ended in complete failure ; the mass of 
 bricks, instead of uniting together under the 
 action of the intense fire, split in all directions 
 and broke into pieces. The experiment was 
 not renewed, Barret being unable to obtain the 
 funds necessary for another trial. All the 
 particulars concerning this unfortunate venture 
 are preserved in the archives of the War Office, 
 and are transcribed in this paper. 
 
 LANZI (Luigi). De'vasi antichi 
 dipinti volgarmente chiamati 
 etruschi. Dissertazioni tre. 
 Firenze, 1807. 8, pp. 234; 
 with 3 pis. 10 fcs. 
 
 "The ancient painted vases commonly 
 called Etruscan. In three disquisitions." 
 
 In the days when the bigoted Etrusco- 
 maniac maintained that Etruria was the only 
 source of production from which painted vases 
 had been exported into all parts of Italy and 
 Greece, where such vases are found in the 
 excavations, it wanted some courage to attempt 
 
 the confutation of that generally accredited 
 opinion. Winckelmann had already thrown 
 some doubts as to the probability of all the 
 vases discovered in countries so distant from 
 each other having a common origin. Lanxi 
 determined to settle the question once for all, 
 and beyond the possibility of further dispute. 
 That was the aim he had in view in publishing 
 these dissertations. While admitting that 
 among the various classes of vases found in the 
 Etruscan tombs certain types could be set apart 
 as representing the actual work of the local 
 potters, he clearly demonstrated that, judging 
 from the character of the subjects painted upon 
 them, the style of the decoration and the 
 inscriptions they bore, the majority of the 
 finds were unquestionably the work of Greek 
 artists. His sound train of argumentation was 
 sufficient to bring conviction into the mind of 
 all unbiased spirits. Many years elapsed, 
 however, before the sagacious considerations 
 propounded in this little volume got the better 
 of a deep-rooted error, and received the general 
 recognition they deserved. 
 
 LAPIERRE (Ch,). Estudos chimico e 
 technologica sobre a ceramica 
 Portugueza moderria. With an 
 Appendix, " Breve nocao a his- 
 toria da ceramica em Coimbra," 
 by A. A. Gonealves. 
 
 "A chemical and technological study 
 of the modern ceramics of Portugal." 
 
 Some brief historical notes on the potter's 
 art in Coimbra are given in the Appendix. 
 
 LARCHEYEQUE (Marc). Fabrication in- 
 dustrielle de la porcelaine dure. 
 Paris, impr. Malverge, 1898. 8, 
 pp. 202 ; with 142 text illustr. 
 3 fcs. 
 
 "Industrial manufacture of hard 
 porcelain." 
 
 Written by a manufacturer of Vierzon 
 (Cher), this treatise boasts of containing the 
 description of the latest and most improved 
 processes of manufacture now in use in the trade, 
 instructions which one would look for in vain 
 in any other work of the same order. The 
 contents of each chapter are briefly, but always 
 clearly, presented ; the author always aiming 
 at being practical. A study of the accidents 
 which are to be met with in the making of 
 hard porcelain forms an interesting and valuable 
 portion of this book. 
 
 LARROUMET. L'emploi de la cera- 
 mique dans Farchitecture. Paris, 
 1897. 8, with illustrs. (Reprint 
 from the Revue de r Union Cen- 
 trale des Arts Decor atifs). 4 fcs. 
 
 " Of the use of ceramics in architecture." 
 
 249 
 
LAR] 
 
 CERAMIC LITERATURE. 
 
 [LATT 
 
 LARTET (L.). Poteries primitives, 
 instruments en os et silex taill^ 
 des cavernes de la vielle Castille 
 (Espagne). Paris, Didier, 1860. 
 8, pp. 24 ; with 2 pis. 2 fcs. 
 
 " Primitive pottery, and bone and flint 
 implements found in the caverns of 
 ancient Castille (Spain)." 
 
 LASTEYRIE (F. de). Bernard Palissy. 
 Etude sur sa vie et ses ceuvres. 
 Paris, Pillet, 1865. Pp.20. 5 fcs. 
 
 An address delivered by the author of the 
 Histoire de la peinture sur verre before the 
 Committee for the erection of a statue to 
 Palissy. Like the generality of special pane 
 gyrics this one does not go farther than a 
 superficial consideration of the subject. It 
 repeats the established facts and the erroneous 
 statements contained in previous biographies 
 with equal confidence. As to what regards 
 the productions of Palissy, the lecturer describes 
 as his masterpieces the enamelled plaques and 
 the stained-glass of the chateau of Ecouen, 
 the figure of a nurse, the nymph of Fontaine- 
 bleau, and certain dishes with historical sub- 
 jects, all ofj them now known to be the works 
 of his successors. 
 
 LASZLO (E. D.). -- Chemische und 
 mechanische Analyse ungarn- 
 landischer Thone. Budapest, 
 
 1886. 
 
 " Chemical and practical analysis of the 
 Hungarian clays." 
 
 LA TOUR D'AIGUES (de). Description 
 d'un four dans lequel on peut 
 cuire des briques, des tuiles, et 
 toutes sortes de poteries tres 
 economiquement. Paris, 1787. 
 18, pp. 8 ; 1 pi. (Reprint from 
 the Memoires de la Societe Roy ale 
 Agriculture?) 
 
 " Description of an oven in which 
 bricks, tiles, and all kinds of pottery can 
 be fired at a very small cost." 
 
 LAU (Theodor). - - Die Griechischen 
 Vasen. Ihr Formen und De- 
 corationssystem. xliv Tafeln 
 aufgenommen nach Originalen 
 der K. Vasensammlung in Miin- 
 chen und herausgegeben von 
 Th. Lau Gustos der K. Vasen- 
 sammlung in Miinchen. Mit 
 250 
 
 einer historischen Einleitung und 
 erlauterndem Text von Dr. H. 
 Brunii und Dr. P. F. Krell. 
 Leipzig, A. Seemann, 1877. Sm. 
 fol., pp. 38; with 64 pis. in col. 
 56 m. 
 
 "The Greek vases, 
 system of decoration. 
 
 Their forms and 
 Drawn after the 
 
 originals in the Royal Museum at Munich, 
 and published by Th. Lau, curator of the 
 Royal collection of Greek vases. With an 
 historical introduction and a descriptive 
 text by H. Brunn and P. F. Krell." 
 
 As the title implies, Greek vases are con- 
 sidered and classified under their typical forms, 
 each form being accompanied by examples of 
 the painted decoration with which they are most 
 often completed. This volume is particularly 
 intended for the use of the industrial designer. 
 
 LAUCHERT. Die romische Thonge- 
 fasse und Legion Ziegel der 
 archaologischen Sammlung zu 
 Rottweil. Rottweil, 1845. 8, 
 pp. 35. (Reprint from the Mit- 
 theilungen des A. V. zu Rottweil.) 
 
 " The Roman pottery and legion tiles, 
 in the archaeological collection at Rott- 
 weil." 
 
 LAUDIEN (Therese und M.). Vorlagen 
 
 fur Porcellan-malerei. Frank- 
 furt a. 0., Trowitzsch, 1895. 
 Fol., 30 pis. (some col.). 36 m. 
 " Designs for porcelain painting." 
 
 LAUGARDIERE (CL de). Ceramique 
 Nivernaise. Lettre a M. Alfred 
 Darcel sur le lieu de fabrication 
 des carreaux du Chateau de 
 Thouars. Paris, Aubry, 1865. 
 12, pp. 9. 3 fcs. 
 
 " Nevers faiences. A letter to Mr. A. 
 Darcel on the place of the manufacture of 
 the tiles of Thouars Castle." 
 
 The castle belonged to the Duchesse de La 
 Tremouille. Fillon, who mentioned the* tile 
 pavement of the castle, thought that it had been 
 made in one of the Poitou factories. A con- 
 tract passed between the representative of the 
 Duchesse de La Tremouille and Anthoine Con- 
 rade, the Nevers faiencier, dated 1636, was sub- 
 sequently discovered by the writer of this paper. 
 It referred to the payment and delivery of 480 
 painted tiles. Some of the tiles, still to be seen 
 in the state bedroom of the Castle, bear the date 
 
LAU] 
 
 CERAMIC LITERATURE. 
 
 [LAU 
 
 1636. There can be no doubt that they are the 
 same as those which are referred to in the 
 agreement. 
 
 Documents inedits pour 
 servir a 1'histoire de la cer- 
 amique dans le Cher. Bourges, 
 1870. 8, pp. 8. 
 
 " Unedited documents contributed to 
 the history of the ceramic art in the Cher 
 Department." 
 
 Some obscure pot- works of the province are 
 here mentioned for the first time. 
 
 LAURAGUAIS (Comte de Brancas). Obser- 
 vations sur le memoire de M. 
 Guettard, conyernant la Porce- 
 
 laine. 
 viii-64. 
 
 Paris., 
 5 fcs. 
 
 1766. 8, pp. 
 
 "Remarks on Mr. Guettard's memoir 
 on the manufacture of porcelain." 
 
 Guettard having presented to the Academy 
 of Sciences some specimens of hard porcelain 
 made with the kaolin of Aleneon, Lauraguais saw 
 himself deprived of the honour of having been 
 the first to make use of the porcelain clay found 
 in France. He wrote this memoir, which was 
 printed at the expense of the Academy, not only 
 to assert his rights to the discovery, but also to 
 maintain that Guettard had never made any por- 
 celain, and to defy him to make any with the 
 substances he had described in the paper which 
 accompanied his so-called productions. The 
 accusation fell to the ground ; the hard porce- 
 lain that Guettard was regularly manufacturing 
 at Bagnolet was sufficient to demonstrate its 
 unfairness. 
 
 LAUTH (Ch.). Conferences de laSor- 
 bonne. La Porcelaine. His- 
 toire, Fabrication, Decoration. 
 Paris, 1882. 8, pp. 12; with 
 6 wood-cuts by A. Tissaiidier. 
 (Extr. from La Nature.} 
 
 "Sorbonne Lectures. Porcelain: its 
 history, manufacture, and decoration." 
 
 A brief description of the technical processes 
 employed at the manufactory of Sevres, of 
 which Mr. Lauth had been appointed Admini- 
 strator in 1879. The illustrations give the views 
 of some workshops and ovens, and sketches of 
 the latest productions. 
 
 - Notes techniques sur la fabri- 
 cation de la nouvelle porcelaine. 
 Paris, 1885. 8. 
 
 " Technical notes upon the manufacture 
 of the ' new porcelain.' " 
 
 The only objection raised against the merits 
 of hard porcelain, has been its inability to be 
 
 finished off with brilliantly coloured glazes and 
 enamels, such as we admire on the porcelain of 
 China and]Japan. Salvctat, chemist at the manu- 
 factory of Sevres, had obtained, after a brief 
 series of trials, a new body which was to obviate 
 that defect, and would permit the application 
 of the most brilliant of Oriental colours. Since 
 1880 experimental specimens of the " new por- 
 celain "as it was called had been manufac- 
 tured ; for long they were carefully concealed 
 from the intruders' curiosity, but hints were 
 broadly cast out that the result had surpassed 
 the most sanguine expectations. Nothing short 
 of a complete revolution in ceramic art was 
 asserted to be at hand. At last the long waited 
 for " new porcelain " made its first appearance 
 in an exhibition of industrial art, to receive its 
 due tribute of public admiration. But, with the 
 exception of laudatory notices in the press and 
 in the official reports, it failed to excite any 
 enthusiastic remark from the connoisseurs. It 
 was thought that the body was somewhat coarse* 
 and opaque, and that, without looking any 
 further, one would find in our English china 
 a material much better calculated to show a 
 brilliant display of colours. Vases continued 
 to be occasionally made of the " new porce- 
 lain," but a wise silence has now succeeded to 
 the loud concert of praises with which its forth- 
 coming had been heralded. 
 
 LAUTH (Ch.) et YOGI Manufacture 
 Nationale de Sevres. Notes 
 techniques sur la fabrication de 
 la porcelaine nouvelle. Paris, 
 
 1885. 8, pp. 48. 2 fcs. 
 
 "Technical notes on the manufacture 
 of the new porcelain." 
 
 LAUTH (Ch.) et DUTAILLY. Recherches 
 sur la porcelaine. Paris, 1888. 
 8, pp. 92. 3 fcs. 
 
 " Researches on the technical improve- 
 ments of porcelain." 
 
 A record of some laboratory experiments and 
 chemical analyses undertaken for the following 
 objects : (1) The regular production of a por- 
 celain of soft paste equal to that of " Old 
 Sevres " ; (2) the discovery and application of 
 the " Rouge Flamme," and the celadon glazes of 
 the Chinese; (3) the improving of the tints of 
 coloured glazes for the " new porcelain," etc. 
 Years have passed since the publication of these 
 scientific notes, yet the regular manufacture of 
 the " Old Sevres " paste is as difficult to control 
 as ever it was. The secret for making it is now 
 lost at the very place where it had been so suc- 
 cessfully practised. 
 
 LAUTH (Ch.) La manufacture 
 nationale de Sevres, 1879-1887. 
 Mon administration. Notices 
 scientifiques et documents ad- 
 
 251 
 
LAU] 
 
 CERAMIC LITERATURE. 
 
 ILEB 
 
 ministratifs. Paris, Bailliere, 
 1889. 8, pp. 453. 10 fcs. 
 
 "The National manufactory of Sevres. 
 My adminstration. Scientific notes and 
 official documents." 
 
 On his resignation of the post of admini- 
 strator of the National Manufactory, Mr. Lauth 
 thought, that he owed to himself to vindicate, 
 in an explanatory memoir, all the trials, 
 changes, and reforms which had marked his 
 tenure of office. Analytical chemist of the town 
 of Paris, political events had made him the suc- 
 cessor of Brongniart, Ebelmen, and Regnault, all 
 sommites of the scientific world ; to receive the 
 inheritance left by such men was to accept the 
 burden of an almost overwhelming duty. Each 
 of his predecessors had done more than to uphold 
 unimpaired the glorious traditions of the past ; 
 ^ under their learned and judicious administra- 
 tion the manufactory of Sevres had not ceased 
 to see its standing conditions brought to a con- 
 stantly enhanced level. What they have done 
 for the glory of the national institution en- 
 trusted to their guidance is reflected in the works 
 produced by them and their staff of collabor- 
 ators. All the titles through which Mr. Lauth 
 may claim to be remembered as having been a 
 worthy successor to Brongniart, Ebelmen, and 
 Regnault will be found recapitulated in this 
 memoir. 
 
 LAUZUN (.) Manufacture generate 
 de carrelages lithoi'des, mosai'que, 
 etc. Avignon, 1874. 
 
 " Manufactory of stoneware tiles. Price 
 list." 
 
 LAYEZARD (E.). -- Contribution a 
 1' etude des argiles de France. 
 Paris, 1906. 4, pp. 79. (Re- 
 print from the Memoires de la 
 Soc. d' Encouragement.) 
 
 " Contribution towards the study of 
 the clays of France." 
 
 LAZARI (Y.). Notizia delle opere 
 d'arte e d'antiquita della rac- 
 colta Correr di Venezia. Venezia, 
 1859. 8, pp. 287. 5 fcs. 
 
 " Notice of the works of art and anti- 
 quities in the Correr Museum at Venice." 
 
 Within the exiguous portion still inhabitable 
 in the ruins of his ancestral palace, and notwith- 
 standing the scantiness of his means, Abbato 
 Theodoro Correr had, during the course of his 
 long life, accumulated a sufficient number of 
 masterpieces of art workmanship to form 
 an unique museum of the minor arts of 
 Italy. His contemporaries laughed at the 
 egregious collector, mistaking for a senseless 
 mania, a mere passion for acquisitiveness, the 
 eclectic feeling which ruled his unprecedented 
 
 252 
 
 pursuit. The scales were soon, however, to be 
 turned against the scoffers. A reversion had 
 taken place, in public opinion, with regard to 
 the long-forgotten productions of the great 
 craftsmen of old ; the miscellaneous hoard of 
 curiosities he had been taunted with garnering 
 thoughtlessly proved to be full of unsuspected 
 treasures. And it could not have been other- 
 wise. Knowledge and discrimination could do, 
 at that time, what only an unlimited command 
 of money could scarcely have accomplished at 
 a later period. Prizes and bargains were then 
 of common occurrence. The majolica that fell 
 into Corrcr's hands, for instance, was obtained 
 at a trifling cost ; but some of the specimens 
 have now become priceless. Among the 120 
 pieces which compose the collection, most of 
 them of a superior order, we may especially 
 mention the Faenza series, so complete and so 
 full of examples of incomparable beauty and 
 rarity. To Lazari, then curator of the collec- 
 tions, is due the credit of having accurately de- 
 scribed and classified for the first time the ma- 
 jolica exhibited, and which had hitherto been quite 
 devoid of arrangement. In the unpretentious 
 catalogue he published for the use of the visitor 
 to the museum, he condensed more sound know- 
 ledge than could be found in many a more ambi- 
 tious book. In the part devoted to ceramics 
 the information given is so large and reliable, 
 that this catalogue is still considered to be one 
 of the best authorities on the subject. 
 
 LAZZARINI (G. A.)- Notizie intorno 
 a fabricare la majolica fina 
 raccolte dal Canonico G. A. 
 Lazzarini, parte in Roma, parte 
 dal Sig. Filippo Antonio Calegari, 
 e molte piu dal Sig. Giuseppe 
 Roletti, Professore di detta mani- 
 f attura nelle Fabbriche di Torino 
 e Milano. (In. Vanzolini. Ap- 
 pendix to the reprint of Picol- 
 passo's Dell arte del Vasajo. Pp. 
 49-76. 4, with 2 pis.) 
 
 "Notes on the manufacture of fine 
 majolica compiled partly by Canon G. 
 A. Lazzarini in Rome, and partly by 
 P. A. Calegari, but chiefly by G. Roletti, 
 professor of the aforesaid manufacture in 
 the factories of Turin and Milan." 
 
 LEADER SCOTT. Luca della Robbia 
 and other sculptors. London, 
 1883. 8. (Luca della Robbia, 
 pp. 32-43.) Vign. 
 
 LE BLANT (Edm.). - - D'une lampe 
 pai'enne portant la marque 
 ANNISER. Paris, 1875. 8, 
 pp. 7 ; with 1 pi. and 1 illustr. 
 
LEB] 
 
 CERAMIC LITERATURE. 
 
 [LEB 
 
 "A pagan lamp bearing the mark 
 ' Anniser.' ''' 
 
 This mark is of some interest as it is found 
 upon lamps adorned indifferently with pagan 
 or Christian subjects. 
 
 - De quelquessujets represented 
 sur des lampes en terre cuite de 
 1'epoque Chretienne. Rome, 
 1886. 8, pp. 14; with 3 pis. 
 
 "Notice of some subjects represented 
 upon terra-cotta lamps of the Christian 
 period." 
 
 Biblical subjects, and particularly that of 
 Jonah, are often found upon Christian lamps ; 
 this paper gives a description of those most 
 frequently met with. 
 
 - Sur quelques carreaux de terre 
 cuite nouvellement decouverts 
 en Tunisie. Paris, 1893. 8, pp. 
 8 ; with 6 illustrs. 
 
 " A few tiles of terra-cotta recently 
 discovered in Tunis." 
 
 The walls of a ruined basilica of the sixth 
 century were covered with embossed terra-cotta 
 tiles bearing Christian subjects. Adam and 
 Eve, Christ and the Apostles, Saint Peter, etc., 
 are represented in a highly conventional manner 
 by some descendants of the Roman potters 
 settled in the African colonies. 
 
 LE BRETON (GastOfl). Exposition de 
 Quimper. Les faiences de 
 Quimper et les faiences de 
 Rouen. Rouen, impr. Lapierre, 
 1876. 12, pp. 23. 
 
 " The Quimper exhibition. Faiences of 
 Quimper and faiences of Rouen." 
 
 The style of decoration introduced by the 
 faience painters of Rouen had been closely imi- 
 tated at Quimper. Mr. Le Breton, a great 
 authority on the subject, attempts to establish 
 the distinctive points by which the ware made 
 in the two localities could be recognised, but he 
 acknowledges that the test is often inapplicable. 
 
 - Ceramique Espagnole. Le 
 Salon en porcelaine du Palais- 
 Royal de Madrid et les porce- 
 laines de Buen Retiro. Paris, 
 R. Simon, 1879. 4, pp. 27; 
 with 4 illustrations drawn by C. 
 Gout z wilier. 5 fcs. 
 
 " Spanish ceramics. The porcelain-room 
 in the Royal Palace of Madrid, and the 
 Buen Retiro porcelains." 
 
 Shall we regret, with the writer, that the 
 Custom of replacing carved wainscoting and 
 
 tapestries by porcelain slabs and subjects in 
 high relief for wall decoration has not been more 
 extensively followed ? A visit to the rooms 
 decorated in that style in the palaces of Madrid, 
 Aranjuez and Capo di Monte will settle the 
 question. The icy look of the glazed walls, 
 the discordant contrast of the crude colours, 
 and, above all, the uncomfortable feeling worked 
 upon us by the unadaptibility of this fragile 
 material to architectural purposes are not calcu- 
 lated to make us desirous of seeing many more 
 repetitions of these Brobdingnagian china snuff 
 boxes. No writer on the history of Spanish art 
 had ever mentioned them. The name of the 
 artist who modelled the -panels of the Madrid 
 palace has remained unknown. From the name 
 seen inscribed on a rococo porcelain lustre at 
 Aranjuez, Mr. Le Breton infers that the whole 
 work could be attributed to Giuseppe Gricci. 
 This sculptor is known to have worked at Capo 
 di Monte. When Charles III. left Naples to 
 ascend the throne of Spain, Gricci and other 
 Italian artists and potters were engaged by 
 order of the King to assist in the establishment 
 of the porcelain works of Buen Retiro. The 
 execution of the porcelain rooms was probably 
 due to their collaboration, but the general 
 design may have been planned by the architect 
 of the palaces. 
 
 - La ceramique polychrome a 
 glagures metalliques dans Fanti- 
 quite. Rouen, Cagniard, 1881. 
 8, pp. 44. 3 fcs. 
 
 "Poly chromic pottery with metallic 
 glazes in antiquity." 
 
 To hear about the glazed pottery of ancient 
 Egypt, the enamelled bricks of Babylon, and 
 the Greek and Roman vessels which show traces 
 of lead glaze has now lost the zest of novelty; 
 this paper adds nothing to our information. 
 
 Un memoire inedit sur la 
 manufacture de porcelaine de 
 Sevres. Paris, 1882. 8, pp. 10. 
 (Extr. from Gazette des Beaux- 
 Arts.} 
 
 " An unedited memoir on the porcelain 
 manufactory of Sevres." 
 
 In the year 1798 the Sevres manufactory was 
 threatened with utter ruin, all having gone from 
 bad to worse during those troubled times. A 
 porcelain manufacturer of Bourg la Reine, 
 named Jullien, addressed a report to the " Com- 
 mittee of Arts," in which he pointed out the 
 causes of the decline of the national establish- 
 ment. The MS. report, discovered in the 
 archives, is analysed in this paper. 
 
 Le musee ceramique de 
 Rouen. Rouen, Auge, 1883. 8, 
 pp. 61 ; with 20 illustrs. by 
 Goutzwiller and 1 fold. pi. in 
 heliogr. 5 fcs. A smaller edition, 
 
 O ' 
 
 353 
 
LEB] 
 
 CERAMIC LITERATURE. 
 
 [LEG 
 
 12, pp. 56, with the fold, pi., 
 appeared in the same year. 
 
 "The ceramic museum of Rouen." 
 
 When Mr. Le Breton published this descrip- 
 tion of the ceramic section in the town museum it 
 was still exhibited in the old building. As a cur- 
 ator he proved a worthy successor to Andre 
 Pettier and Abbe Colas, consummate connois- 
 seurs, who had occupied the post before him, 
 and whose collections of Rouen faience, gathered 
 during a lifetime with infinite pains and sure 
 judgment, had formed the nucleus of the 
 museum. He is himself a noted collector, and 
 his constant solicitude and liberality have greatly 
 contributed to the present extension of the 
 establishment entrusted to his care. 
 
 LE BRETON (Gaston). Un carrelage en 
 faience de Rouen du temps de 
 Henri II. dans la cathedrale de 
 Langres. Paris, Plon, 1884. 
 8, pp. 15. 3 fcs. 
 
 "A Eouen faience pavement, of the 
 time of Henri II., in the cathedral at 
 Langres." 
 
 The origin of this pavement still remains un- 
 determined. It adorns the floor of one of the 
 side chapels in the cathedral. As one of the 
 tiles bears the date 1551, which corresponds to 
 that inscribed on the Ecouen pavement known 
 to have been made by Arbaquesne of Rouen, one 
 may conjecture that they were the work of the 
 same master. The addition of a few sketches 
 would have much enhanced the interest of the 
 description. It is to be regretted that illustra- 
 tions have not been provided to complete this 
 interesting paper. 
 
 LEBRUN DALBANNE (E.). Carrelages de 
 Troyes et de Polisy. Bar-sur- 
 Aube, 1861. 4, pp. 15; with 7 
 chromolith. pis. (Extr. from 
 Gaussen, Portefeuille archco- 
 logique de la Champagne.) 
 
 " The tile pavements of Troyes and 
 Polisy." 
 
 The showy majolica pavements of Italy re- 
 sponded so well to the taste for gorgeous orna- 
 mentation which prevailed at the time of the 
 Renaissance that they were soon introduced into 
 France, not only for the adornment of public 
 edifices, but also for that of the private abodes 
 of the wealthy. A splendid example of this last 
 application may still be seen, in a good state of 
 preservation, on the floor of the State bedrooms 
 of the Chateau de Polisy situated in the Aube 
 Department. 
 
 It was the country seat of Francis de Dinte- 
 ville, bishop of Auxerre. Dinteville had been 
 ambassador of the King of France in Italy, 
 where he resided for many yeara. On the return 
 to Polisy he caused faience pavements, imitating 
 those he had admired in his travels, to be laid 
 
 down in the castle apartments. The tiles are 
 painted in the Italian style, with allegorical 
 figures and emblems. In the panel which con- 
 tains the coat-of-arms of the bishop is inscribed 
 the date 1545. Although nothing is known of 
 the artist who executed the pavement, it may 
 be assumed that it was the work of a French 
 potter ; we have abundant evidence that ex- 
 cellent majolica tiles of the same character were 
 made in France at the time. 
 
 LECHAT (H.)- --Terres cuites de 
 Cocyre. Collection de Mr. Con- 
 stantin Carapanos. Athens, 1891. 
 8 ; with 8 pis. and 13 illustrs. 
 
 "Antique terra-cottas from Cocyra in 
 the Carapanos collection." 
 
 LECHEYALLIER - CHEYIGNARD (G.). - - La 
 manufacture de porcelaine de 
 Sevres. Paris, Laurent, 1908. 
 Sq. 8, pp. 168, 162 ; with 128 
 half-tone illustrs. 9 fcs. 
 
 " The porcelain manufactory of Sevres." 
 Part I. The history of the factory from 1738 
 to 1876. Part II. Modern times,' from 1876 
 to 1890. Mr. L. Chevignard is archivist secre- 
 tary at Sevres. 
 
 LECHNER (R.). Terra-cotta Erzeug- 
 nisse der Kunstanstalt von R.L. 
 in Wien. 38 photogr. pis. Fol. 
 
 " Works in terra-cotta from the artistic 
 establishment of R. L. in Vienna." 
 Mostly reproductions of Tanagra figures. 
 
 LECLERT (L.). Carrelages vernisses, 
 incrustes, histories et faiences. 
 Catalogue contenant la descrip- 
 tion, 1'histoire et le dessin des 
 diverses pieces qui font partie 
 de la collection du musee de 
 Troyes. Troyes, 1892. 8, pp. 
 102 ; with 16 col. pis. 2 fcs. 50 c. 
 
 " Glazed, inlaid, ornamented, and 
 enamelled tiles. A catalogue containing 
 the description, the history, and the 
 design of the various specimens exhibited 
 in the Troyes Museum." 
 
 The Aube Department is particularly rich 
 in ancient tile pavements. Specimens of tiles 
 discovered in the vicinity of Troyes have been 
 secured for the museum through the unremitting 
 exertion of its learned curator. Mr. Le Clert 
 has prefixed to this excellent catalogue a his- 
 torical essay on the industry of the tile maker 
 in the province. He has been able to trace the 
 localities where tile works have for centuries 
 supplied the region with their ware ; he gives 
 us the prices of tiles in the fourteenth century 
 
LEG] 
 
 CERAMIC LITERATURE. 
 
 [LEG 
 
 and at other periods, and quotes the names of 
 the makers of several pavements represented 
 by a few odd examples in the museum. All these 
 particulars have been extracted from ancient 
 documents unpublished before. The plates, 
 drawn by the author, reproduce in their proper 
 colours no fewer than 285 examples, and al- 
 though given on a very reduced scale, their 
 neatness and accuracy convey a sufficiently 
 correct idea of the originals. 
 
 LECOCQ (G.). Etude sur les faiences 
 patriotiques " au ballon ; " illus- 
 tree par A. Tissandier. Paris, 
 R. Simon, 1876. 8, pp. 21; 
 with 8 illustrs. 2 fcs. 
 
 " Notes on the ' patriotic faience ' 
 painted with balloon ascents." 
 
 Examples of the popular faience, upon which 
 the balloon invented by Montgolfier is roughly 
 depicted, are reproduced in great number in the 
 works dealing with the ware of that period. 
 This pamphlet purports to describe and analyse 
 the chief types of the faience painted with bal- 
 loon ascents, and gives a historical, political, and 
 allegorical survey of the subject. 
 
 - Note sur un benitier patrio- 
 tique de 1'epoque revolutioimaire. 
 Paris, R. Simon, 1880. 8, pp. 3 ; 
 with 1 col. pi. 
 
 " Note upon a holy- water stoup of the 
 Revolution period." 
 
 A rather strange association of symbols to 
 be found upon a religious object. This curious 
 stoup bears, embossed in the centre, the em- 
 blems of the three social orders, symbolising 
 Revolution, and the " Fleur de Lys " repre- 
 senting Royalty. 
 
 LECOCQ (J.). Etude sur laceramique 
 picarde. Premiere partie : Une 
 plaque de faience de Sinceny. 
 Paris, Rouveyre, 1874. 8, pp. 
 13 ; with 1 pi. 2 fcs. 
 
 " Notes on the ceramic art in Picardy. 
 Part I. A plaque of Sinceny faience." 
 
 This plaque, described previously by Ed. 
 Fleury, is painted with a grotesque subject and 
 inscribed " Armes de Chauny." 
 
 LECOCQ (Jules et Georges). --Histoire 
 
 des fabriques de faience et de 
 poterie de la Haute-Picardie. 
 Paris, R. Simon, 1877. 4, pp. 
 Ill ; with 20 pi. in chromolith. 
 and illustrs. in the text. 25 fcs. 
 
 "History of the faience and pottery 
 manufactories of Upper Picardy." 
 
 This handsome volume resumes the mono- 
 graphs previously published by F. Pouy, Dr. 
 A. Warmont, and others, in which the history 
 of Sinceny and of the minor factories of the 
 province appeared to have been exhaustively 
 treated. To the particulars given by their 
 predecessors, Messrs. Lecocq, whose collection 
 at Saint Quentin is rich in specimens of local 
 origin, have added the transcript of several 
 documents of historical interest, and a complete 
 list of the painters, workmen, etc., attached to 
 the Sinceny works since 1777. 
 
 LECOMTE (P.). Les arts et metiers 
 de la Turquie et de 1' Orient. 
 Paris, Soc. d'Ed. Sclent., 1902. 
 Sq. 8. Ceramics, pp. 15-39 ; 
 tobacco pipes, 311-314. 6 fcs. 
 " The arts and trades of Turkey." 
 
 LECUYER (C.). Collection Camille 
 Lecuyer. Terres cuites antiques 
 trouvees en Grece et en Asie- 
 Mineure. Notices par MM. F. 
 Lenormand, J. de Witte, A. 
 Cartault, G. Schomberger, E. 
 Babelon, C. Lecuyer. Paris, 
 Rollin et Feuardent, 1882. 2 
 vols. Fol. ; 110 expl. notices 
 with 15 text illustrs. and 117 
 pis. 120 fcs. 
 
 "Lecuyer collection. Antique terra- 
 cottas discovered in Greece and Asia- 
 Minor." 
 
 Most important materials for the history of 
 ancient terra-cotta figures will be found in the 
 description of this collection, one of the most 
 extensive formed after the Tanagra discoveries. 
 The plates are produced in phototype. 
 
 - Terres cuites de Tanagra et 
 d'Asie-Mineure. Vente a Paris, 
 Avril 1883. 4, pp. 71 ; with 30 
 phototyp. pis. and 29 illustrs. 
 25 fcs. 
 
 Catalogue of sale of the Lecuyer collection. 
 
 The catalogue comprises 437 Nos. Collec- 
 tions of terra-cotta figures were rapidly formed, 
 and then almost immediately offered for sale. 
 This caused Frohner to make the following 
 humorous remark in the short notice he wrote 
 on that occasion : " The little Tanagra damsels 
 cannot, apparently, live in peace together, for 
 they are no sooner assembled than they seem in 
 a hurry to part qpmpany and disperse in all 
 directions." 
 
 Deuxieme collection C. 
 Lecuyer. Terres cuites antiques 
 
 205 
 
CERAMIC LITERATURE. 
 
 [LEG 
 
 trouvees en Grece et en Asie- 
 Mineure. Texte par A. Cartault. 
 Paris, 1892. Fol., pp. 64; with 
 85 photolith. pis. 80 fcs. 
 " C. Lecuyer's second collection." 
 
 The plates of this work show a decided im- 
 provement on those reproducing the figures of 
 the first collection. For the first time the ob- 
 jects have been photographed on white ground ; 
 and the objectionable practice of obliterating 
 the ground on the negative has been dispensed 
 with, to the advantage of the correctness of 
 outline. 
 
 LECDYER (C.). Terres cuites Grec- 
 ques provenant de la succession 
 de Mr. C. Lecuyer. Paris., 1905. 
 4, pp. 39 ; 8 pis. 5 fcs. 
 
 Catalogue of sale. 
 
 LEDUC (.) Les efflorescences des 
 briques. Tours, 1906. 8, pp. 8. 
 (Reprint from the Revue des 
 materiaux de construction). 
 
 " The efflorescences on bricks." 
 
 LEE (J. .) Isca silurum; or, an 
 illustrated catalogue of the 
 Museum of Antiquities at Car- 
 leon. London, Longman, 1862. 
 4, pp. 148 ; with 52 lith. pis. 6s. 
 
 Earthen materials, pp. 27-47 ; with 15 pis. 
 of Roman pottery, and 1 col. pi. of an old 
 English drinking jug of scratched clay. 
 
 LEFEBRE (.) Histoire d'une 
 assiette. Paris, Hachette, 1887. 
 8, pp. 99. (Illustrs. from Les 
 merveilles de la ceramique, by A. 
 Jacquemart). 
 
 " The history of a dinner plate." 
 
 An educational book for the use of young 
 scholars. 
 
 LEFEBYRE (A.)- La ceramique 
 boulonnaise. Boulogne s/Mer, 
 1899. (In Boulogne s/Mer et la 
 region boulonnaise. Vol. II., 
 pp. 297-446). 4. 
 
 " History of the ceramic art in Boulogne 
 
 s/Mer." 
 
 LEFEYRE (C.). Peinture sur porce- 
 laine, decoration et impression 
 de toutes les couleurs d'un seul 
 
 coup, . . . etc. Paris, Desloges, 
 1858. 8, pp. 64. 
 
 " Porcelain painting, decoration and 
 printing of all colours in a single opera- 
 tion." 
 
 The process of transfer printing on porcelain 
 disclosed to amateurs. A special plate having 
 been engraved of eacli of the colours entering in 
 the design, proofs are taken in succession and 
 upon the same sheet of paper of all the plates ; 
 the complete proof is then transferred to the 
 porcelain in what the author calls " a single 
 operation." 
 
 LEFEBRE (I.). La ceramique du 
 batiment. Briques, Tuiles, Tuy- 
 aux, Terres cuites emaillees, 
 carreaux ordinaires et incrustes, 
 mosaiques en Gres, Faiences et 
 Gres architecturaux, Paris, 
 Masson, 1897. 8, pp. 496 ; with 
 5 pis. and 950 text illustrs. 
 15 fcs. 
 
 " Ceramics in their connection with the 
 building trade. Bricks and roofing tiles, 
 drain pipes, enamelled terra-cottas, plain 
 and inlaid tiles, stoneware mosaics, archi- 
 tectural faience and stoneware." 
 
 An English translation under the title of 
 Architectural Pottery has been published by 
 Scott & Greenwood. London, 1900. 
 
 LEFRANC (P.). Bernard Palissy. 
 
 An article in Le livre, (Vor des Peuples. 4, 
 s.d. 
 
 LEFRAN(!OIS (Collection A.)- --Faiences 
 anciennes. Vente a Paris, 
 Decembre, 1888. 8, with 7 
 photogr. pis. 
 
 Catalogue of sale. 157 Nos., among which 
 were some remarkable busts, and other fine 
 examples of Rouen faience. 
 
 LE GRAND d'AUSSY. Histoire de la 
 vie privee des Frangais depuis 
 1'origine de la nation jusqu'a nos 
 jours. Paris, 1782. 8, 3 vols. 
 10 fcs. 
 
 " The history of private life in France, 
 from the origin of the nation up to the 
 present day." 
 
 The subjects of the dining-room and of the 
 eating and drinking vessels which appeared upon 
 the table are treated in vol. hi., chap. 7. In the 
 portion devoted to " Pottery " the author tells 
 us that some of the pot-works established in 
 
LEH] 
 
 CERAMIC LITERATURE. 
 
 [LEI 
 
 France by the Romans at the time of the occupa- 
 tion have never stopped making rough pottery, 
 and he gives the names of small existing factories 
 which claimed to have carried on the same style 
 of manufacture, without interruption, during the 
 intervening centuries. 
 
 Numerous pot-makers were at work in the 
 very centre of Paris until 1486, when they were 
 driven out of the town by Act of Parliament. 
 After having acknowledged the superiority of 
 Palissy's enamelled ware, he ends a short bio- 
 graphical notice by remarking that the great 
 potter worked merely for the advancement of 
 his own fortune and personal glory, rather than 
 to assist the general improvement of the trade, 
 which never got the benefit of his secret experi- 
 ments. Nevers is mentioned as the first town 
 in France where faience was made in the imita- 
 tion of Italian majolica. Royal patronage is 
 said to have been granted to the industry of the 
 potter, in an efficient way, under the reign of 
 Henri IV. A curious footnote refers to the 
 menders of broken pots, and the lawsuit they 
 had to defend against the faience manufacturers 
 who attempted to prevent them from carrying 
 on a trade detrimental to their interests. 
 
 LEHMANN (H.). Guide officiel du 
 Musee National de Zurich. 
 Zurich, 1903. 12, pp. 58 ; with 
 zinco-block illustrations. 1 fc. 
 
 The Zurich Museum contains a large collec- 
 tion of prehistoric pottery ; rare specimens of 
 mediseval bricks, tiles, and earthenware vessels ; 
 numerous earthenware stoves, and an important 
 selection of Zurich and Nyon porcelain. 
 
 LEHNER (F. A.). Fiirstlich. Hohen- 
 zollern'sches Museum zu Sig- 
 maringen. Verzeichniss der 
 Thonarbeiten. Sigmaringen, 
 C. Tappen, 1871. 8, pp. 107. 
 2 m. 
 
 " Hohenzollern Museum at Sigmaringen. 
 Catalogue of ceramic objects." 
 
 The catalogue comprises, not only the speci- 
 mens exhibited in the museum gallery, but also 
 those which are scattered all over the castle for 
 the decoration of the private apartments. Ger- 
 man stoneware, particularly the Creussen manu- 
 facture, is the principal feature of a collection 
 of comparatively recent formation. The de- 
 scription of the objects follows the order of the 
 rooms in which they are placed ; the attribu- 
 tions are not always to be relied upon. A few 
 of the pieces of the Sigmaringen Museum have 
 been reproduced and described in Hefner- 
 Alteneck's Die Kunstkammer 8. K. H. des 
 Fiirsten von Hohenzollern. Miinchen, Bruck- 
 mann, 1866-1880. 
 
 LEHNER (S.)- Die Kitte und Klebe- 
 mittel. Ausfuhrliche Darstel- 
 lungen aller arten von Kitt- und 
 
 17 
 
 Klebemittel fur Glas, Porzellan, 
 etc. Wien, 1883. 4. 
 
 "The cements and joining mediums. 
 Practical description of all kinds of 
 cementing, mending, and joining com- 
 pounds for glass, porcelain, etc." 
 
 LEHNERT (G.). Das Porzellan. Leip- 
 zig, Velhagen und Klasing, 1902. 
 8, pp. 152; with 260 illustrs. 
 (some col.). 4 m. 
 " Porcelain." 
 
 Mr. Lehnert has contributed some articles on 
 ceramics to the Velhagen and Klasings, Monats- 
 hefte, among which we may quote : Majolica, 
 1895; M. L. Solon, 1896, both with coloured 
 illustrs. 
 
 LEIBL (Sebastian). Neue, wichtige 
 
 und sehr niitzliche Mittheilungen 
 fur Topfereien, Porzellan, Fay- 
 ence und Steingutf abriken. Ent- 
 haltend : 1, Anweisung zur 
 Bereitung vieler neu erfundener, 
 vollkommen unschadlicher blei- 
 frein Glasuren ; 2, Anleitung zur 
 Verfertigung der englischen Met- 
 all-Email, oder Metallglasur ; 3, 
 Anweisung zur Bereitung ganz 
 neuer Prachtglasuren ; 4, An- 
 weisung zur Verfertigung einer 
 Glasur-composition fur Metall- 
 gefasse. Zweite vermehrte Aus- 
 gabe. Nuremberg, s. d. 4, 
 pp. 14. 
 
 " New instructions of great importance 
 to the potters, and porcelain, faience, and 
 stoneware manufacturers. Containing : 
 1, Directions for making various glazes, 
 not injurious to the health and perfectly 
 free from lead ; 2, a receipt for preparing 
 the English metallic glaze; 3, instruc- 
 tions for making a splendid glaze newly 
 discovered; 4, the composition of an 
 enamel with which to glaze vessels of 
 metal. Second and much enlarged 
 edition." 
 
 LEISCHING (J.). Das Porzellanzim- 
 mer in Graf Guid Dubsky'sehen 
 Palaste zu Bruenn. Bruenn, 
 1902. 4, pp. 15. 
 
 " The porcelain room in the Palace of 
 Count Guid Dubsky at Bruenn." 
 
 257 
 
LEI] 
 
 CERA MIC LI TEE A TURE. 
 
 [LEM 
 
 LEISCHING (J.). Sammlung Lanna, 
 Prag. Leipzig, 1909. Fol., pp. 
 xlix-142; with 50 pis. (10 col.) 
 and 58 text illustrs. 4. 
 
 The collection of Fr. Adalbert von Lanna 
 was particularly rich in old German ceramics 
 and Italian majolica. The complete collection, 
 of which this is the first volume, comprised 
 2,240 Nos. 
 
 LEJEAL (A.) et J. D. Note sur une 
 marque de faience contestee. 
 Valenciennes? Lemaitre, 1865. 
 8, pp. 16. 
 
 "Notes upon a faience mark under 
 discussion." 
 
 Collectors could not agree upon the attribu- 
 tion of a faience mark resembling that of Sevres, 
 when Dr. Lejeal established that it belonged to 
 Fauquez, of Saint Amand. 
 
 - Recherches historiques sur les 
 manufactures de faiences et de 
 porcelaine de Parrondissement 
 de Valenciennes. Valenciennes., 
 Lemaitre, 1868. 8, pp. V.-142; 
 with 1 photo, and 1 col. pi. ; 2 
 etchings by J. Jacquemart, and 
 3 plans. 15 fcs. 
 
 " Historical researches upon the faience 
 and porcelain manufactories of the 
 Valenciennes district." 
 
 The numerous manufactories of the North of 
 France, Lille, Tournay, Douai, Valenciennes and 
 other small works are so closely connected that 
 the history of any of them can scarcely be told 
 independently ; it was a good plan, therefore, 
 to bring them all together in the same book. 
 Valenciennes has, however, received particular 
 attention on the part of the author. The migra- 
 tion of skilled workmen from one place to another 
 caused many special branches of manufacture to 
 be carried on simultaneously in the same factory, 
 and this is why we see stanniferous faience in the 
 style of Rouen and Strasbourg, earthenware 
 after the English method, porcelain of soft and 
 hard paste, manufactured conjointly at Valenci- 
 ennes during the second half of the eighteenth 
 century. If it cannot be said that any of these 
 specialities were produced in the highest degree 
 of perfection, it cannot be denied that they were 
 all of very fair quality. The history follows the 
 development and decline of these various 
 branches of manufacture in the chief factories 
 of the district. The text gives transcriptions of 
 official papers relating to the business, the list of 
 articles made at each place with their prices and 
 marks, copies of the ancient recipe books, and 
 biographical notices of the directors and promi- 
 nent potters and artists. 
 
 258 
 
 LEJEUNE (E.). Guide du briquetier 
 et du chaufournier. 1 Partie. 
 Briques, tuiles, carreaux, tuyaux 
 et autres produits en terre-cuite. 
 Paris, Lacroix, 1870. 8, pp. 
 429; with 219 text illustrs. 
 4 fcs. 
 
 " Practical handbook for the brick and 
 cement manufacturer. Part I. Bricks, 
 roof- and wall-tiles, drain pipes, and 
 other terra-cotta articles." 
 
 LELAND (C. J.)- Porcelain painting. 
 London, 1880. 8. (An article 
 in the "Art at Home" series.) 
 
 LE MAISTRE. De la poterie chez les 
 Gallo- Remains. Paris, 1835. 
 8, pp. 46 ; reprint from Memoir es 
 de la Soc. des Antiquaires. 
 
 " On the pottery of the Gallo-Romans." 
 
 LEMEN (R. F.). La manufacture de 
 faience de Quimper, 1690-1794. 
 Quimper, 1875. 8, pp. 62. 
 (Reprint from the Bulletin de la 
 Societe archeologique du Finis- 
 terre.) 3 fcs. 
 
 " The faience manufactory of Quimper." 
 
 It is the historian and not the collector who can 
 decide whether a faience factory has ever been 
 in existence at Quimper. The fact is attested 
 by numerous documents preserved in the 
 archives of the town, and yet specimens of 
 undoubted local origin are wanting in the 
 collections. 
 
 In 1690 J. B. Bousquet of Marseilles estab- 
 lished at Quimper a manufactory in which the 
 making of painted faience was carried on with 
 some success. Under the management of P. 0. 
 Caussy, of Rouen, it took a much greater ex- 
 tension. There is no doubt that the production 
 was very important, richly decorated pieces 
 being made for the nobility of the province. 
 But as the ornamental decoration never departed 
 from an exact reproduction of the Moustiers and 
 the Rouen patterns, and no mark was ever 
 affixed to the ware, to distinguish the copies from 
 the originals remains a matter of great difficulty. 
 In the hands of the present proprietor of the 
 works are a large number of tracings of coats- 
 of-arms, drawn and used by the painters of 
 the time for the emblazonment of the faience 
 of the highest class. A descriptive list of these 
 coats-of-arms is given in this paper. 
 
 LE MENE (J, M.). Catalogue du 
 musee archeologique de Vannes. 
 
LEN] 
 
 CERA MIC LITER A TURE. 
 
 [LEO 
 
 Vannes, 1881. 8, pp. 72; with 
 3 pis. (one of pottery). 
 
 Prehistoric pottery and mediaeval tiles. 
 
 LENOIR. Four official documents, 
 dated 1779, referring to the 
 privileges of the Royal Manu- 
 factory of Sevres. 
 
 Full titles given by Champfleury. 
 
 LENORMANT (Ch.). Introduction a 
 1'etude des vases peints. Paris, 
 Leleux, 1846. 4, pp. 88. 4 fcs. 
 
 " Introduction to the study of painted 
 vases." 
 
 A reprint of the introductory chapter of the 
 great work, Elite des monuments ceramogra- 
 phiques, written in collaboration with J. de 
 Witte. 
 
 - Lettre a Mr. J. de Witte, sur 
 trois nouveaux vases historiques. 
 Paris, F. Didot, 1848. 8, pp. 
 63 ; with 6 pis. 2 fcs. 
 
 " A letter to Mr. J. de Witte on the 
 subject of three historical vases." 
 
 The three vases were in the collection of Mr. 
 de Bourville, and the subjects represented upon 
 them were : The Minerva of Phidias ; a king 
 of Persia running away from a Lion, a satiric 
 painting ; and, Aristippe between Lai's and 
 Are tee. 
 
 LENORMANT (Ch.) et DE WITTE (J.). 
 Elite des monuments ceramo- 
 graphiques. Materiaux pour 
 1'histoire des religions et des 
 mceurs de 1'antiquite, r assembles 
 et commentes. Paris, 1837-44- 
 61. 4 vols. 4 ; with 408 pis. 
 300 fcs. 
 
 " A selection from the ceramographic 
 monuments. Materials towards the 
 history of the religions and customs of 
 antiquity ; collected and explained." 
 
 A colossal publication which, according to the 
 original plan, was to comprise twelve volumes, 
 illustrated with fourteen hundred plates. It 
 was interrupted by the death of one of the joint 
 authors, Mr. Ch. Lenormant. Continued by 
 Mr. John de Witte, the first section, devoted to 
 the " Gods," was successfully completed, but 
 only twenty years after the issue of the first 
 volume. The figures of the twelve superior 
 deities of Greek mythology which appear on 
 vase paintings are reproduced in these volumes, 
 classified into groups, and elucidated with ex- 
 planatory notes. The other sections of the 
 work were to have been given in the following 
 
 order : IT. The Heroes ; III. The History ; 
 IV. The private life of the ancients. Such* a 
 compendium of Greek vase paintings had never 
 been attempted before, and it is much to be 
 regretted that the mighty scheme could not be 
 brought to complete realisation. 
 
 LENORMANT (Fr.). --Description des 
 antiquites . . . composant la 
 collection de feu Mr. Raife. 
 Paris, Laine, 1867. 8, pp. xv- 
 220; with 12 pis. 10 fcs. 
 
 Catalogue of sale. 
 
 Collection Fr. Lenormant ; 
 antiquites grecques recueillies 
 dans 1'Attique et dans 1'Asie 
 Mineure. Paris, 1876. 8, pp. 26. 
 
 Catalogue of sale. 
 
 LENZ (A.). Die landgrafliche Por- 
 zellan - manufaktur zu Cassel. 
 Berlin, 1881. 4, pp. 4. 
 
 " The Cassel porcelain manufactory." 
 
 Jaennicke had expressed a doubt whether a 
 porcelain factory had ever existed at Cassel. 
 Demmin had given the year 1763 as that of its 
 foundation, and the mark of its productions 
 as a running horse with a flowing tail. In this 
 short article Lenz proved that both statements 
 are equally inaccurate. Contemporary documents 
 are most precise on the subject. The town 
 directories from 1767 to 1787 contain a descrip- 
 tion of the porcelain works which are said to have 
 been established in 1766, and they give the names 
 of the directors, all of whom occupied eminent 
 positions in the State. An undoubted specimen 
 preserved in the Wilhelmshohe Castle is marked 
 with the Lion of Hesse. It is a life size bust of 
 Landgraf Frederick II. of Hesse standing upon 
 a high pedestal, also of porcelain. The whole is 
 decorated in colours, and signed " H. Eisen- 
 triiger, 1781. A Cassel." 
 
 In 1787 the manufacture of porcelain was 
 discontinued and replaced by that of faience and 
 earthenware. 
 
 LEO (Wilt-elm). Handbuch der 
 chemischen Farben Bereitung in 
 ihrem ganzen Umfange, fur 
 Maler, Fabrikanten, und alle 
 sich mit Farben beschaftigende 
 Gewerbe. Quedlinburg, G. Basse, 
 s.d. 12. 
 
 " Handbook for the preparation of 
 chemical colours in all its branches." 
 
 - Die Schmelzmalerei. Oder 
 die Kunst auf Email, Glas, und 
 Porzellan zu malen, und die 
 
 259 
 
LEO] 
 
 CERA MIC LIT ERA TURE. 
 
 [LES 
 
 hierzu nothigen Farben und 
 Fliisse zu bereiten. Nebst dem, 
 Unterrichte zur Construction des 
 Brennofens und zum Einbrennen 
 der Farben. Fur Kiinstler und 
 Dilettanten. Quedlinburg, G. 
 Basse, 1845. 12, pp. 32; with 
 Ipl. 2m. 2nd edition, 1858. 8. 
 
 " Vitrifiable painting : being the art of 
 painting on enamel, glass, and porcelain, 
 with directions for preparing the colours 
 and fluxes ; together with instructions for 
 building the kiln and firing the colours. 
 For professionals and amateurs." 
 
 LEON (Collection Alexandre). Catalogue 
 
 des faiences anciennes, etc. Vente 
 a Bordeaux, Fevrier, 1896. 4, 
 pp. 28 ; with 16 phototyp. pis. 
 6fcs. 
 
 A miscellaneous collection of old faiences of 
 various origin, but particularly from the South 
 of France. 
 
 LEONCE (G.)- Oiseaux et plantes 
 d'apres G. Leonce reproduits 
 en chromolithographie par J. 
 Mesnard. Paris, Delarne, 1885. 
 24 fol. pis. 36 fcs. 
 
 " Birds and plants reproduced in colour 
 by J. Mesnard, after the designs of 
 Leonce." 
 
 Leonce was a porcelain painter well known in 
 Paris, and also in London, where he worked for 
 a few years. 
 
 LEROUX (A.)-- Histoire de la porce- 
 laine de Limoges. I. Biblio- 
 graphic, chronologic, statistique, 
 pp. 177. II. Notices historiques 
 par J. Savodin, C. Leymarie, et 
 A. Leroux, pp. 97. Limoges, 
 Ducourtieux, 1904. 8. 5 fcs. 
 " History of the Limoges porcelain." 
 
 In addition to documents and particulars 
 hitherto unpublished, this volume contains a 
 bibliography, of pp. 112, giving the list of all 
 the articles bearing on the subject published 
 in the French periodicals. 
 
 LERODX (Collection).- 
 
 Paris, 1896. 
 
 -Catalogue of sale. 
 
 Ceramics, 192 Nos., with 6 pis. comprising 
 numerous objects. 
 
 260 
 
 LEROY (G.). La faience de Rubelles. 
 
 Melun, 
 2 fcs. 
 
 1898. 
 
 16, pp. 22. 
 
 " The Rubelles faience." 
 
 Established in 1842 by A. du Tremblay, the 
 factory was closed in 1852. Its speciality was 
 the production of earthenware with relief decor- 
 ations so contrived that the coloured glazes, 
 with which it was covered, made the subjects 
 appear like shaded engravings ; it was for that 
 reason called " a emaux ombrants." The pro- 
 cess was an application to pottery of a patent 
 taken a few years previously under the name of 
 " lithophanie." 
 
 LERUE (J. A. de). Les anciennes 
 faiences populaires de Rouen. 
 Rouen, impr. Cagniard, 1868. 
 8, pp. 16. 
 
 " The ancient popular faiences of 
 Rouen." 
 
 - Histoire locale. Les indus- 
 tries d'art. Anciennes poteries 
 de Rouen. Rouen, 1873. 8. 
 
 "Local history. Art industries. 
 Ancient faiences of Rouen." 
 
 Both the above papers advocate the forma- 
 tion of a collection of the peasant ware of late 
 manufacture, decorated with patriotic emblems, 
 and the admission of some specimens of that 
 period in the ceramic museum of Rouen. 
 
 - Ceramique rouennaise. La 
 collection de Mr. Gustave Gouel- 
 lain. Rouen, impr. Lapierre, 
 1877. 18, pp. 18. 
 
 " Ceramics of Rouen. The G. Gouellain 
 collection." 
 
 Rouen artiste. 
 
 La collection 
 Rouen, 1878. 
 
 de Mr. d'lquelon. 
 18, pp. 16. 
 
 "Artistic Rouen. The D'lquelon col- 
 lection." 
 
 - Ceramique Rouennaise. La 
 collection de Mr. P. Baudry. 
 Rouen, 1877. 16, pp. 21. 
 
 The above pamphlets reprinted from articles 
 written for the Nouvelliste de Rouen describe 
 three of the best collections of the town. 
 
 LESSING (J.). Persisch-tuerkische 
 faience Teller. Berlin, 1890. 
 Fol., pp. 2; with 15 chromolith. 
 pis. 36 m. 
 
 "Dishes of Persian-Turkish faience." 
 
LES] 
 
 CERA MIC LITER A TURE. 
 
 [LEY 
 
 Berliner Porzellan des xviii 
 Jahrhunderts. Berlin, S. Was- 
 muth, 1895. Fol., 20 pis. (some 
 col.) ; with descriptive notices. 
 
 " Berlin porcelain of the eighteenth 
 century." 
 
 The specimens reproduced in this work are 
 all preserved in the Berlin Museum of Industrial 
 Art. 
 
 LESSORS (E.). A catalogue of works 
 on Queen's ware painted for 
 Messrs. Wedgwood by the late 
 Emile Lessore. On exhibition 
 at Messrs. Mortlock's galleries. 
 London, 1876. 8, pp. 27. 
 
 Lessore, a French painter, was one of the 
 most promising among the young artists who 
 devoted their talents to the revival of the cer- 
 amic art. He mastered the technics of majolica 
 painting at the faience factory of Lorain, at 
 Bourg-la-Reine, and soon after entered the Im- 
 perial factory of Sevres. His sketchy style of 
 work did not accommodate itself, however, to the 
 delicacy and finish required for the decoration 
 of porcelain. Feeling somewhat out of his path 
 in art, and longing to paint again upon faience, 
 he left Sevres and came over to England, where 
 he made his Krst trials at Minton's works, and 
 decorated with success a large number of earth- 
 enware pieces. Messrs. Wedgwood having 
 offered him a brilliant engagement, he joined 
 the firm for which he worked up to the time of 
 his death. 
 
 LESTOURGIE (A.) et BOMBAL (E.).- 
 Bernard Palissy. Drame en 
 trois actes. Tulle, V. Drappeau, 
 1858. 12, pp. 86. 
 
 A well written drama, which was performed 
 at Saintes in 1864, but without success, owing to 
 the author's inexperience of the stage and its 
 requirements. 
 
 L'ETOILE. Catalogue du musee de- 
 partemental de Moulins. M ou- 
 lins, Auclaire, 1885. 8, pp. 
 144 ; with 39 pis. 3 fcs. 
 
 The museum is one of the richest of France 
 in Gallo-Roman terra-cottas. It comprises 
 Figures, 139 Nos. ; Vases, 1,070 Nos., etc. 
 The objects are briefly entered in the catalogue 
 without description or annotations. 
 
 LETROKNE, (M. J.). Observations 
 philologiques et archeologiques 
 sur les noms des vases grecs. 
 Paris, 1833-38. 4, pis. 10 fcs. 
 " Philological and archaeological re- 
 marks upon the names of Greek vases." 
 
 A severe criticism of the work published by 
 Panofka on the same subject. 
 
 LEYEN (Collection Pierre). Catalogue of 
 
 sale. Cologne, 1853. 8, pp. 
 51 ; with 8 lith. pis. and list of 
 prices realised. 
 
 Mr. P. Leven was the head of the firm J. M. 
 Farina, of " Eau de Cologne " fame. A passion- 
 ate collector, he had formed a magnificent collec- 
 tion at a very moderate cost. The sale realised 
 a comparatively very small sum. A few thalers 
 secured pieces of German stoneware which would 
 at the present time be considered almost as 
 priceless. 
 
 LEYEZOW (Konrad). Verzeichniss 
 der antiken Denkmaler im 
 Antiquarium des koniglichen 
 Museums zu Berlin. Erste Ab- 
 theilung : Gallerie der Vasen. 
 Berlin, 1834. 8, pp. 376 ; with 
 24 engr. pis. of shapes and in- 
 scriptions. 5 m. 
 
 " Catalogue of the antique monuments 
 in the Royal Museum of antiquities of 
 Berlin. Part I., Gallery of vases." 
 
 A collection of 333 Greek vases bought from 
 Mr. Henin, of Paris, by the King of Prussia in 
 1805 was the nucleus of this museum. The 
 history of its further development is related in 
 the preface to this catalogue by Mr. Levezow, 
 then curator of the " Antiquarium." The cata- 
 logue of the Greek vases was rewritten by Mr. 
 Furtwaengler in 1888. 
 
 LEWIS (Florence). China painting. 
 London, Cassel, 1883. Obi. 8, 
 pp. 52 ; with 16 col. pis. 5s. 
 
 Miss Florence Lewis is known for the ceramic 
 paintings she has executed at the Lambeth pot- 
 tery works. No one was more competent to 
 write a practical book for the guidance of ama- 
 teurs and students. The plates represent the 
 subject in the states of preparation and of com- 
 pletion. 
 
 LEWIS and SIMMONS. Special exhibi- 
 tion of old English porcelain at 
 the Galleries of Messrs L. & S. 
 London, 1906. 8, pp. 47 ; with 
 6 pis. (Privately printed.) 
 
 LEYSHON (E. J.). The operative 
 potter ; a work containing nearly 
 400 recipes, compounded by 
 experienced potters for the 
 manufacture of china and jas- 
 per, stone, pearl, and other 
 
 261 
 
LHO] 
 
 CERA MIC LITER A TURE. 
 
 [LIE 
 
 bodies, a variety of glazes, 
 numerous colours, dips, etc., etc. 
 Cheltenham, Leyshon, 1868. 8, 
 24 pages of tabular recipes folded 
 in two ; the back of each is 
 occupied by advertisements. 
 
 LHOSPIED. Notice sur les nouveaux 
 fours et moufles a recuperation 
 pour la cuisson des produits 
 ceramiques, par L. & Cie. Fab- 
 ricants d'emaux et de couleurs 
 pour la ceramique au Golf Juan 
 (Alpes-Maritimes). Nevers, 1906. 
 8, pp. 16 ; with 4 pis. 
 
 " Notice of the new ovens and kilns, 
 with regenerated heat, for the firing of 
 ceramic products." 
 
 LICETUS (F.). De lucernis anti- 
 quorum reconditis, etc. Vlini, 
 ex Typographia N. Schirutti, 
 1652. Fol., pp. 1278; with 
 numerous illustrations engraved 
 on copper and printed in the 
 text. 1. 
 
 " The mysterious lamps of the ancients." 
 
 A great number of curious terra-cotta lamps, 
 
 engraved by T. Georg, illustrate the learned 
 
 lucubrations of the Genoese antiquary, a firm 
 
 believer in the perpetual fire of the ancients. 
 
 LIDSTONE (James Torrington Spencer).- 
 
 The Thirteenth Londoniade, 
 giving a description of the prin- 
 cipal establishments, etc., in the 
 Potteries ; being the continua- 
 tion of a University poem on 
 the Arts. Published by the 
 author at The Potteries, 1866. 
 12, pp. 112. 
 
 Over seventy pottery firms in Staffordshire 
 are here celebrated in a style of poetry of which 
 the following quotations will give but an in- 
 adequate idea : 
 
 Cream colour Hail ! Blue Edge, ditto Green. 
 Sponge, too, Dinner plates, Soup Tureen ; 
 White Ironstone China, lovely in form, 
 Dinners, Toilets in ditto, that must ever charm. 
 
 In his happy vein the Potteries Pindar begins 
 one of his odes ; he is no less successful in the 
 manner in which he brings it to the conclusion. 
 Speaking of a well-known manufacturer, he 
 says : 
 
 His proper place in Art Ceramic found, 
 And died worth more than 30,000. 
 
 262 
 
 Born iii Torquay, but having spent the greater 
 part of his life in Canada, Lidstone came over 
 to England to study " The Arts," and with the 
 set purpose of writing a national poem on the 
 glories of England, of which this was to be but a 
 small instalment. 
 
 LIEBERMANN (Collection A. VOD). Cata- 
 logue of Sale. Cologne, Heberle, 
 1894. Fol. ; with 24 pis. and 
 text illustrs. 
 
 Sale in Berlin of a rich collection of ancient 
 and modern works of art. Faience and porce- 
 lain, 277 Nos. 
 
 LIEBOLD (B.). Die neuen contiiiuir- 
 lichen Brennofen zum Brenneii 
 von Ziegelsteinen, Thonwaaren, 
 Chamotte-, Cement-, und Kalk- 
 stein. Vollstaiidige Anleitung 
 zur Ausfuhrung und Veran- 
 schlagen der Ringofen. 1876. 
 8, pp. 120 ; with 5 pis. and 60 
 illustrs. in the text. 12 m. 
 
 " The new continuous oven for firing 
 tiles, earthenware, cement, and lime. With 
 complete instructions for constructing and 
 estimating the cost of a ring-oven." 
 
 - Die Trochenanlagen fiir Zie- 
 geleien. 1877. 8 ; with 2 pis. 
 and 26 illustrs. 6 m. 
 
 "The drying place in the tile manu- 
 factories." 
 f 
 
 LIENARD (F.)- Les fai'enceries de 
 1'Argonne. Verdun, impr. 
 Laurent, 1877. 8, pp. 114. 5fcs. 
 
 " The faience manufactories of Ar- 
 gonne." 
 
 Heavy and clumsy faience, decorated with 
 subjects and emblems painted in showy colours, 
 was made in the Vosges department towards the 
 end of the eighteenth century. The particulars 
 which Mr. Lienard has collected touching the 
 obscure pot-works of the province are of some 
 interest to the collector of " Faiences patrio- 
 tiques." To the historical notices are added 
 transcripts of the old recipe books. 
 
 LIESEGANG (Paul Ed.).-Photograph- 
 ische Schmeltz farbenbilder auf 
 Email, Porzellan und Glas. 
 Diisseldorf, 1898. 8, pp. 90. 
 (3rd ed.) 3 m. 
 
 " Photographic pictures in verifiable 
 colours upon enamel, porcelain, and 
 
LIE] 
 
 CERA MIC LITER A TURE. 
 
 [LIN 
 
 LIESYILLE (A. R. de). Six heures a 
 F Exposition de Caen. Caen, Le 
 Blanc-Hardel, 1873. 12, pp. 35. 
 
 " Six hours in the Caen Exhibition." 
 
 - La ceramique et la verrerie 
 au Champs-de-Mars. Paris, 
 Champion, 1879. 12, pp. 74. 
 
 " Ceramics and glass at the Champs-de- 
 Mars/' 
 
 Mr. de Liesville was curator of the Carna- 
 valet Museum, to which he had presented his 
 important collection of historical curiosities and 
 French faiences. In this paper he gave his per- 
 sonal impression on the merits of the ceramic 
 exhibits at the International Exhibition of 1878. 
 
 LIEYRE (EdOliard). Les arts decoratifs 
 a toutes les epoques. Paris, 
 1870. 2 vols. Fol. ; with 120 
 engr. and chromolith. pis. 100 fcs. 
 
 " The decorative arts at all periods." 
 
 - Musee graphique pour 1' etude 
 de 1'art dans toutes ses applica- 
 tions. Paris, s.d. 2 vols. Fol. ; 
 with 93 etched and chromolith. 
 pis. (The last seven plates are 
 entered in the Index, but they 
 were never published.) 200 fcs. 
 
 " The graphic museum : materials 
 towards the study of applied art in all its 
 branches." 
 
 Contains 22 large plates of ceramic and glass 
 objects. 
 
 All the handsome volumes published by E. 
 Lievre, being of a general character, give but a 
 small place to ceramic art ; the few specimens 
 he has selected for reproduction are, however, 
 of the highest order, and they are most cleverly 
 represented on the plates ; we cannot, on that 
 account, omit to record the titles of two of his 
 best works. 
 
 LIMOUZIN (Ch,). Monaco artistic et 
 industriel. La poterie. Nice, 
 impr. Verani, 1876. 18. 
 
 " Artistic and industrial Monaco. 
 Pottery." 
 
 UNAS (Ch. de).- Emaillerie, Metal- 
 lurgie, Toreutique, Ceramique. 
 Les expositions retrospectives, 
 Bruxelles, Diisseldorf, Paris, en 
 1880. Paris, 1881. 8, pp. 223; 
 with 8 pis. and text illustrs. 100 
 copies printed. 10 fcs. 
 
 " Enamels, Metals, Jewellery, Ceramics, 
 at the retrospective exhibitions of 
 Brussels, Diisseldorf, and Paris in 1880." 
 
 L'art et 1' Industrie d'autrefois 
 
 dans les regions de la Meuse 
 beige. Souvenir de 1' Exposition 
 retrospective de Liege en 1881. 
 Paris, 1882. 8, pp. 167 ; with 
 text illustrs. 100 copies printed. 
 10 fcs. 
 
 " Art and Industry of ancient times in 
 the region of the Belgian Meuse. Recol- 
 lections of the retrospective exhibition of 
 Liege in 1881." 
 
 The ancient stoneware lent to those exhibi- 
 tions by the museums and the private collectors 
 of Belgium and Germany has received special 
 attention on the part of the author. 
 
 LINDEN (A.)- L'argile. Causeries 
 enfantines et recreatives. Paris, 
 Delagrave, 1879. 12, pp. 16; 
 with col. illustrs. (In the Petite 
 bibliotheque des connaissances 
 uiiles. } 
 
 " The potter's clay. Familiar instruc- 
 tion for children." 
 
 LINDENBERG (J. F.)- Nieuwe verligter 
 lerende de making van water- 
 verwen met derz. vernissen . . . 
 Als mede het ondekte geheim, 
 om'teyte Porcellain, zo wel't 
 Chinesche als Saxische te maken. 
 Amsterdam, 1753. 8, pi. 12s. 
 
 A new help to learning how to make colours 
 mixed with water and with varnishes. Also, the 
 secret exposed for making true porcelain like 
 that of China and Saxony. 
 
 A translation of the portion of Neri's work 
 referring to porcelain-making. 
 
 LINDENSCMITT (L.). Handbuch der 
 deutschen Alterthumskunde. 
 Uebersicht der Denkmale und 
 Graberfunde fruhgeschichtlicher 
 und vorgeschichtlicher Zeit. 
 Braunschweig, 1880-89. 8. The 
 first three parts of a work which 
 has not been completed. 30 m. 
 " Handbook to the knowledge of German 
 antiquities. A survey of the monuments, 
 and of the contents of the graves of pre- 
 and early-historic times." 
 
 263 
 
LIN] 
 
 CERAMIC LITERATURE. 
 
 (LOE 
 
 LINDENSCMITT (L.). Das romisch-ger- 
 manische central Museum in 
 bildlichen Darstellungen aus 
 seinen Sammlungen. Mainz, 
 1889. 4; with 50 pis. 15 m. 
 
 " The Roman and Germanic Central 
 Museum, illustrated with examples taken 
 from the collections." 
 
 Die Alterthiimer unserer 
 heidnischen Vorzeit. Mainz. 
 1858-95. 4 vols. 4 ; num. pis. 
 150 m. 
 
 " The antiquities of pagan times in 
 Germany." 
 
 The above works treat particularly of the 
 Roman and German antiquities preserved in 
 the " Central Museum " at Mayence. 
 
 LIPPMANN (Friedrich). Eine studie 
 
 iiber Chinesische Email-Vasen. 
 Wien, 1870. 8, pp. 32; with 
 7 pis. 8 m. 
 
 " A study on Chinese enamelled vases." 
 
 One must not be misled by the headings of 
 the various sections of this paper. The words 
 " Arab porcelain," " inlaid porcelain," and " por- 
 celain decorated with enamels " do not apply to 
 ceramic objects, but to vases of enamelled metal. 
 
 LIPPMANN-LISSINGEN (Collection J. P. von). 
 Catalogue of sale. Munchen, 
 Helbing, 1901. 4, 392 Nos., 
 with 9 pis. 
 
 German stoneware, 104 Nos. ; pottery and 
 porcelain, 177 Nos. 
 
 LITCHFIELD (Frederic). Pottery and 
 
 Porcelain : a guide to collectors. 
 London, Bickers, 1879. 2nd 
 ed., 1880. 8, pp. xv-211. 
 Marks and illustrs. in the text. 
 5s. 
 
 " The current prices of old China," an ex- 
 tract from the London catalogues of sale is 
 prefixed to the contents. The letterpress is a 
 brief compilation of the standard books and the 
 illustrations are borrowed from the same sources. 
 
 - Pottery and porcelain : a 
 guide to collectors. London, 
 Truslove, 1899. 8, pp. 362; 
 with 7 col. pis. and 150 illustrs. 
 15s. 
 
 Mr. F. Litchn'eld is a well known curiosity 
 dealer. 
 
 264 
 
 LITCHFIELD (R. B.). Tom Wedgwood, 
 the first photographer, an ac- 
 count of his life, his discovery, 
 and his friendship with Samuel 
 Taylor Coleridge, etc. London, 
 Duckworth, 1903. 8, pp. 271. 
 Portraits and views. 
 
 A biography of the younger son of Josiah 
 Wedgwood. 
 
 LITCHFIELD (Samuel). The Dresden 
 gallery. Published by S. Litch- 
 field, Hanway St. London, s.d. 
 Ob. 16, pp. 56; with 22 pis. 
 
 View of the Meissen porcelain works; marks 
 and sketches of the Dresden models on sale at 
 the " Dresden gallery." 
 
 L1TZEL (G.)- Beschreibung der roe- 
 mischen Todten-Toepffe und 
 anderer heidnischen Leichenge- 
 fasse, etc. Speyer, 1749. 16, 
 pp. 71 ; with 2 copperplates. 
 3 m. 
 
 "Description of the mortuary pottery 
 of the Romans, and other cinerary urns 
 from pagan times." 
 
 LLOYD (W. W.)- The Portland vase. 
 London, 1848. 8, pp. 28. 
 
 LOCHE (le Comte de). Notice sur la 
 
 f abrique de faience de La Forest. 
 Chambery, impr. Chatelain, 1880. 
 8, pp. 52 ; with 1 photogr. 
 
 " Notice of the faience manufactory of 
 La Forest." 
 
 Established in 1730, in the neighbourhood of 
 Chambery, by Not 1 ! Bouchard, to whom the King 
 of Sardinia had granted a royal privilege. It 
 was closed in 1812. Faience for domestic use 
 was made there by workmen drawn from Mou- 
 stiers and other centres ; some specimens are 
 marked " La Forest." 
 
 LOCKWOOD (M. S,). A manual of 
 ceramic art. New York, Putnam, 
 1878. 16, pp. 137 ; 1 pi. 
 
 LOEBNITZ (J. ).-Exposition universelle 
 internationale de 1889 a Paris. 
 Rapports du jury. Classe 20. 
 Ceramique. Paris, impr. Nat., 
 1891. 8, pp. 135. 
 
 "Official report by Mr. J. Loebnitz, 
 faience manufacturer at Paris." 
 
LOE] 
 
 CERAMIC LITER A TURE. 
 
 [LOR 
 
 LOESCHEKE (&.) Due vasi dipinti 
 di stile archaico. Roma, 1878. 
 8, pp. 16. 2 pis. (1 col.). 
 
 " Two painted vases of archaic style." 
 
 Dreifussvase aus Tanagra. 
 Berlin. 4, pp. 21; with 4 pis. 
 " A Tripod from Tanagra." 
 
 LOEWY (E,). Zu griechischen Vasen- 
 bildern. Berlin, 1893. With 2 
 illustrs. 
 
 " On Greek vase paintings." 
 
 LOMBART-DUMAS (A-)- Memoires sur 
 la ceramique antique dans la 
 vallee du Rhone. Nimes, 1879. 
 8, pp. 98; with 28 pis. lOfcs. 
 
 " Notes on the ancient pottery found 
 in the Rhone Valley." 
 
 Prehistoric pottery is reproduced upon the 
 tirst two plates. The others contain 222 fac- 
 similes of Roman potters' marks, and inscrip- 
 tions of Samian and terra-cotta vases. 
 
 LONGFELLOW (H. W.). Keramos. 
 
 A poem, first published in Harper's Magazine. 
 New York, 1887. Reprinted in the English edition 
 of Longfellow's works. London, Routledge, 
 1878. 12, pp. 11-33. 
 
 LONGPERIER (Adrien de). Notice des 
 
 monuments exposes dans la 
 salle des antiquites mexicaines 
 (Mexique, Perou, Chili, Haiti, 
 Antilles) au Musee du Louvre. 
 Paris, Vinchon, 1850. 8, pp. 
 119. 
 
 " Notice of the objects exhibited in the 
 room of Mexican antiquities at the Louvre 
 Museum." 
 
 The room which contained the Mexican anti- 
 quities at the Louvre Museum has for many 
 years been closed to the public, and the cata- 
 logue of that collection has become very rare. 
 This catalogue is prefaced with a historical 
 notice of the Peruvian terra-cotta vases, of 
 which there was an important selection. 
 
 - Lettre a Mr. Ch. Lenormant 
 sur deux vases antiques du 
 Louvre. Le Retheur Tisias 
 Polycrate, roi de Samos. Paris, 
 1852. 8, pp. 12; with 2 col. 
 pis. (Reprint from the Revue 
 Arch. 
 
 - Musee Napoleon III. Choix 
 de monuments antiques pour 
 servir a 1'histoire de 1'Art en 
 Orient et en Occident. Texte 
 explicatif par A. de Longperier, 
 membre de 1'Institut, conserva- 
 teur des antiques aux Musees 
 Imperiaux. Paris, Gide, 1868- 
 74. 4. 
 
 "Napoleon III. Museum. A selection 
 of antique monuments to illustrate the 
 history of Art in the Orient and in the 
 Occident." 
 
 The Campana collection, which was added 
 to the Louvre under the name of the Napoleon 
 III. Museum, was rich in antique terra-cottas 
 and vases of great interest. The work, in which 
 they were to be reproduced and described by 
 the curator, Mr. de Longperier, was intended to 
 comprise 140 parts, of which only 29 were 
 published. It was to be completed by an album 
 of 100 litho-photographic plates ; this did not 
 go beyond the fourth number. A volume had 
 been issued later on by Guerin (Paris, s.d., 4) 
 formed of the 39 plates which were ready at the 
 time when the original publication was suspended. 
 They represent chiefly terra-cottas and Greek 
 vases of archaic character, admirably reproduced 
 in pho'to-chrome, and accompanied with descrip- 
 tive notices. The numeration of the plates is not 
 consecutive. 
 
 LONGPERIER (H. de). Vases peints 
 inedits de la collection Dzialyn- 
 ski. Paris, 1868. 8, pp. 12. 
 (Reprint from the Revue Arch.} 
 
 LORENZIM (C.). La manifatturadelle 
 Porcellane di Doccia. Cenni 
 illustrative raccolti da C. Lor- 
 enzini. Firenze, 1861. 8, pp. 
 24 ; with a view of the Doccia 
 Works. 
 
 "The porcelain factory of Doccia; 
 descriptive notes collected by C. Loren- 
 zini." 
 
 Translations of this paper were published in 
 French and in English in 1862. 
 
 La manifattura Ginori a 
 
 Doccia. Firenze, impr. Barbera. 
 1867. 8, pp. 40. 
 
 French translation of the 
 above. Paris, P. Dupont, 1867. 
 8, pp. 39. 
 
 - Doccia. Manifattura Ginori. 
 Esposizione di Vienna, 1873. 
 
 265 
 
LOR] 
 
 CERAMIC LITERATURE. 
 
 [LOW 
 
 Firenze, typ. Civelli. Imp. 8, 
 pp. 21. 
 
 LORENZINI (C.). Doccia. Manufac- 
 ture Ginori. Exposition de 
 Paris, 1878. Florence, typ. 
 Civelli. 12, pp 20. 
 
 These pamphlets, written by C. Lorenzini, 
 director for the Marquis of Oinori of the Doccia 
 manufactory, were published for distribution on 
 the occasion of the International Exhibitions. 
 After repeating the historical notes given by 
 Alberi in 1840, they bring the account of the 
 progress accomplished since that time. Many 
 new branches of manufacture have been suc- 
 cessively introduced whereby an establishment 
 celebrated at first for its artistic productions, 
 developed into one of the most important con- 
 cerns of the European ceramic industry. 
 
 - Commemorazione del Mar- 
 chese Senatore Lorenzo Ginori- 
 Lisci. Firenze, Civelli, 1883. 
 8, pp. 12; photos. 
 
 " Recollections of the Marquis Senator 
 L. Ginori-Lisci." 
 
 LOSER (C.)- Handbucher der kera- 
 mischen Industrie fiir Studie- 
 rende und Praktiker. I. Teil. 
 Die Rohmaterialien der kera- 
 mischen Industrie. Halle a. S., 
 1901. 8, pp. 102 ; woodcuts. 
 
 "Handbooks of the ceramic industry. 
 Part I. The raw materials of the ceramic 
 industry." 
 
 - II. Teil. Aufsuchen, Abboh- 
 ren und Bewertung von Lehm, 
 Thon und Kaolin Lagern. Halle 
 a. 8., 1904. 8, pp. Ill ; illustrs. 
 and 10 pis. 8 m. 
 
 " The location, excavation, and valua- 
 tion of the earth, clay, and kaolin 
 deposits." 
 
 LOUGHLING (G. F.)- The clays and 
 clay industries of Connecticut. 
 Hartford Press, 1905. 8, pp. 
 121 ; with 13 pis. 
 
 LOUYS (P.)- Les chansons de Bilitis. 
 Paris, Charpentier, 1900. 12, 
 pp. 355 ; with 24 col. pis. and 
 300 illustrs. in the text, drawn 
 by Notor from Greek vase paint- 
 266 
 
 ings. 3 fcs. (30 copies printed 
 on hand-made paper.) 
 
 " The Songs of Bilitis." 
 
 Poetry of an erotic character that the trans- 
 lator has attempted to illustrate with subjects 
 taken from the painted vases of the chief collec- 
 tions. But let it be said to the credit of the 
 vase painter, none could be found to correspond 
 to the freedom of the songs ; between these 
 latter and the illustrations there is but an im- 
 aginary connection. Bilitis, a friend of Sappho, 
 lived in the sixth century B.C. 
 
 LOW (J. G. and J. F.).- Illustrated 
 catalogue of art tiles made by 
 J. G. and J. F. Low. Chelsea 
 (Mass.), U.S.A., 1885. 4, pp. 6 ; 
 with 30 photolith. pis. (Private- 
 ly printed.) 
 
 John G. Low produced his first art tiles at 
 Chelsea in 1879. He had studied painting in 
 Paris under Couture and Troyon ; but a natural 
 inclination drew him towards the practice of 
 ceramic art ; his work as a modeller and a potter 
 shows that he was not mistaken in turning his 
 talent in that new direction. The decorative 
 side of the modern school of French sculpture 
 had left a deep impression upon his mind ; its 
 influence is clearly traced on his productions, 
 but he has always equalled, when he did not 
 surpass his models. No pattern book of a tile 
 manufacturer in any country can be compared 
 to this album for the truly artistic style, and 
 the distinctive elegance of the examples repro- 
 duced in it. In technical treatment, Low's tiles 
 always affected a grecit simplicity ; the delicacy 
 of the modelling, the pictorial effects of light 
 and shade obtained by a skilful gradation of 
 reliefs are admirably brought out by the sober 
 tints of the coloured glaze he preferred to 
 brighter colours. 
 
 - Plastique sketches. Boston, 
 s.d. Obi. 8, of 47 heliogr. pis. 
 
 Sketches of figures in bas-relief, modelled by 
 A. Osborn and produced by Low's art tile manu- 
 factory. 
 
 Views of the works and reproductions of 
 tiles in relief work will also be found in Lothorp 
 & Co.'s pattern book. Boston, s.d. Sq. 8. 
 
 LOWENSTEIN BROTHERS. Catalogue of 
 the celebrated collection of 
 works of art and vertu known 
 as the "Vienna Museum," the 
 property of Messrs. Lowenstein 
 Brothers, of Frankfort-on-the- 
 Main. Sold at Christie's, March, 
 1860. London, 1860. 8, pp. 
 90; with 41 pis. (5 col.). 15s. 
 
 The introductory notice to this catalogue says 
 that the collection was commenced by Emperor 
 
LUB] 
 
 CERAMIC LITERATURE. 
 
 Maximilian I. and continued by Emperor 
 Rudolph II. Until the year 1782 it remained 
 at Prague as an imperial collection ; it was then 
 sold to Chevalier von Schonfeld, who opened it 
 to the public under the name of the " Techno- 
 logical Museum of Vienna." The sale, at 
 Christie's, comprised 1,291 Nos. ; it lasted ten 
 days. From the examination of the catalogue 
 one cannot form a very high notion of this col- 
 lection, a very miscellaneous assemblage, out of 
 which it is very difficult to point to any parti- 
 cular specimen worthy of having been once 
 imperial property. 
 
 LUBBERT (E.)- Sopra un dipinto 
 vasculare rappresentante Oresto 
 come typo dell'espiazione. Roma, 
 Tip. Tiberina, 1865. 
 
 " On a vase painting representing 
 Orestes as an impersonation of atone- 
 ment." 
 
 LUBBOCK (Sir John). Notes on Hut- 
 urns and other objects from 
 Marino, near Albano, in the 
 province of Rome. Communi- 
 cated to the Soc. of Antiq. by 
 Dr. L. Pigorini, director of the 
 Royal Museum of Antiquities of 
 Parma, and Sir John Lubbock, 
 Bart. London, Nichols, 1869. 
 4, pp. 25 ; with two engr. pis. 
 and text illustrs. (In Archce- 
 ologia. ) 
 
 LUCAS (L ). La manufacture de 
 faience de Vron, par Mr. Ch. 
 Wignier. Quelques mots sur 
 cette monographie. Amiens, 
 
 1883. 8. 
 
 "The faience factory of Vron, by 
 Mr. Ch. W. A few remarks on that 
 monograph." 
 
 LUCKENBACH (H.)- Des Verhaltniss 
 der griechischeri Vasenbilder zu 
 den Gedichten des epischen 
 Kyklos. Leipzig, Teubner, 1880. 
 8, pp. 144. (Reprint from the 
 Jahrbiicher fur classische Philo- 
 logie.) 
 
 " The relations of the Greek vase 
 paintings to the poems of the epic cycle." 
 
 Contesting the correctness of an opinion 
 generally adopted, the writer maintains that the 
 vase painter did not derive inspiration from the 
 works of the Greek poets, but that his paintings 
 
 were free illustrations of the popular traditions 
 on which the poets themselves had grounded 
 their poems ; this is particularly noticeable 
 on the vases of the archaic period. The theatrical 
 performances of the tragedies may have had 
 some influence on the manner in which the 
 painter represented some heroic subject, but 
 this occurred only at the period of the red 
 figure vases. In no case, says he, were the 
 pictures servile illustrations of what the artist 
 had heard from the rhapsodists, or seen acted by 
 the comedians ; they always showed the free- 
 dom of interpretation with which the painter 
 rendered the scenes he had chosen to illustrate. 
 
 LUDOWICI (I.)- - - Stampel - Nameri 
 romischer Topfer von meinen 
 Ausgraburigen in Reinzabern. 
 Tabernae Ehenanae, 1901-1904. 
 Sm. 4, pp. x-140 ; with numer- 
 ous marks and text illustrations. 
 20m. 
 
 " Impressed names of Roman potters, 
 from examples discovered by me in my 
 excavations at Reinzabern." 
 
 A supplemental volume by the same author 
 appeared in 1906. 
 
 LUDWIG (C. G.). Terrse musei regii 
 Dresdensis, quas digessit, de- 
 scripsit, illustravit Dr. Chris- 
 tianas Gottlieb Ludwig; accedunt 
 Terrarum sigillatarum figurae. 
 Leipzig, 1748. Fol., pp. 298; 
 with 12 pis. 12 m. 
 
 " The earthen substances in the Royal 
 Museum at Dresden ; considered, described, 
 and explained by C. G. L., to which are 
 added the marks stamped upon the ' Terra 
 sigillata.' " 
 
 The collection of natural earths formed by 
 order of Augustus the Strong, King of Poland 
 and Elector of Saxony, and preserved in the 
 Dresden Palace, was described by Ludwig chiefly 
 with regard to the application of clays to thera- 
 peutics, and incidentally to the use that can be 
 made of them in the arts and industries. The 
 potter's clays, or " Argillsc figulinsn," are, natu- 
 rally, included in the list drawn up by the 
 learned doctor. We should have expected that 
 after the success achieved by Bottger in pro- 
 ducing true porcelain through his discovery of 
 the kaolin of Aarau, special attention would 
 have been bestowed on a chapter of particular 
 importance to the potters of the times. It is 
 not so, however ; the subject is treated in such 
 a superficial manner that the book would not 
 have been mentioned here were it not that the 
 marks of "Terra sigillata" engraved on the 
 plates may be of some interest to the ceramic 
 collector. Although they are given to indicate 
 the various origins of a remedy then extensively 
 employed in medicine, the same marks are 
 
 267 
 
LTJB] 
 
 CERA MIC LITER A TURE. 
 
 [LUM 
 
 occasionally found upon small vessels of un- 
 glazed clays preserved in the collections. A 
 curative power was supposed to be attached to 
 the water they had contained, and when broken 
 the fragments were pounded into powder to be 
 eaten, or used for external application, as the 
 case required. 
 
 Besides the conspicuous place it has occupied 
 in the ancient pharmacopoeia ever since the days 
 of the Greeks and the Romans, Terra sigillata 
 played a more important part than is generally 
 suspected in the manufacture of pottery. It 
 was repeatedly experimented upon by all the 
 potters who attempted to discover the secret of 
 the white and translucid ware of the East, as 
 the material which offered the greatest chances 
 of success. Palissy speaks of it in his book in a 
 guarded manner ; his successors admit making 
 use of it for their best class of pottery. It is 
 curious to find this kind of clay mentioned in the 
 decree promulgated by Augustus the Strong for 
 the establishment of the royal porcelain works 
 at Meissen. We read in it that " porcelain 
 shall be produced at the works, similar in all 
 points to that imported from China, and that 
 the material of which it is to be made is the 
 clay known as ' Terra sigillata.' " 
 
 A list of all the learned books in which the 
 subject of " Terra sigillata " has been treated 
 is appended to Ludwig's work. 
 
 LUBKE (I.)- Ueber alte Oefen in 
 der Schweiz, namentlich im 
 Kanton Zurich. Zurich, 1865. 
 4, pp. 44; with 2 pis. (Re- 
 print from Mittheilungen der 
 antiquarischen Gesellschaft. 5 m. 
 
 " The ancient stoves in Switzerland, 
 particularly in the Zurich Canton." 
 
 To the description of the interesting ex- 
 amples still preserved in the country is prefixed 
 a short history of the fireplaces and house- 
 warming stoves from mediaeval times. A fresco 
 of the thirteenth century, discovered at Con- 
 stance, shows the representation of a stove made 
 of earthenware tiles ; stoves are also introduced 
 in MS. paintings of the same period ; we may 
 infer from such evidence that they were in use 
 in Switzerland at a very early date. Actual 
 specimens anterior to the year 1600 are, however, 
 extremely rare. It was only towards the be- 
 ginning of the seventeenth century that the 
 Winterthur potters gave a great development 
 to the manufacture of the monumental faience 
 stoves. The elaborate paintings, the numerous 
 inscriptions with which they were frequently 
 covered, impart to them a special interest. 
 Several examples are fully described in this 
 paper. 
 
 - Geschichte der Plastik. Leip- 
 zig, 1871. 2nd ed. 8. 
 
 " History of the plastic arts." 
 
 Contains a chapter on terra-cotta and enam- 
 elled faience. 
 
 268 
 
 LU'DERS (Aug.). Anleitung zur Por- 
 zellanmalerei. S.I., 1892. 8, 
 pp. 37. 
 
 "Instructions for painting on porcelain." 
 
 LUTZOW (Car. Fr. Am. von). De vasis 
 
 fictilibus antiquis, more archaico 
 pictis, quse in pinacotheca R. 
 Monacensi servantur. Monachii, 
 Weiss, 1856. 8, pp. 28. 
 
 " The antique fictile vases, painted in 
 archaic style, preserved in the Pinacothec 
 at Munich." 
 
 Zur Geschichte des Ornaments 
 an den bemahlten griechischen 
 Thongefassen. Miinchen, 1858. 
 8, pp. 56 ; with 3 lith. pis. 2 m. 
 
 " On the history of the ornaments 
 painted on ancient Greek vases." 
 
 Miinchener Antiken. Miin- 
 
 chen, Merhoff, 1870. 4 ; pis. 
 20 m. 
 
 " Antiquities of the Munich Museum." 
 
 Contains 6 pis. of ancient vase paintings and 
 5 pis. of Greek terra-cottas engraved in outline 
 with questionable accuracy. 
 
 LUMHOLTZ (C.). Unknown Mexico. 
 A record of five years exploration, 
 etc. -London, Macmillan, 1903. 
 2 vols. 8. Vol. i. contains 5 
 col. pis. of pottery, with 15 text 
 illustrs. Vol. ii., 4 col. pis. and 
 22 text illustrs. 
 
 LUMINARES Y YALCARCEL (Count Antonio de). 
 Barros Saguntinos. Diserta- 
 cion sobre estos monumentos 
 antiques : con varias inscrip- 
 ciones ineditas de Sagunto, 
 recogidos, esplicados, y repre- 
 sentados en laminas. Valencia, 
 J. Toinas de Orga, 1779. 8, pi. 
 " The Saguntium pottery. Disquisition 
 on these antiquities, with many un- 
 published inscriptions found at Sagun- 
 tium, collected, explained, and reproduced 
 on copper-plates." 
 
 An antiquary of the old stock, Count Lumi- 
 nares had diligently formed a large collection of 
 the Roman pottery discovered at Murviedo, the 
 ancient Saguntium, a small town situated in the 
 
LUN] 
 
 CERAMIC LITERATURE. 
 
 [MAC 
 
 vicinity of Valence. He divided his catalogue 
 into four sections, each division comprising the 
 vessels of one colour that is to say, made of a 
 different clay grey, yellow, red, and black. 
 
 LUNN (R.). Pottery: a handbook of 
 practical pottery for art teachers 
 and students. London, Chapman 
 & Hall, 1903. 8, pp. 100 ; 10 
 pis. and text illustrs. 5s. 
 
 LUTHMER (F.). Beschreibung der 
 freiherrlich. Karl von Roth- 
 schild'schen Sammlung chine- 
 sischer Porzellan. Frankfurt 
 a. M., 1887. 8. 
 
 " Description of the collection of Chinese 
 porcelain in the possession of Fr. Karl von 
 Rothschild." 
 
 LUTSCH (H.)- Mittelalterliche Back- 
 steinbauten Mittelpommers, von 
 der Peene bis zur Rega. Berlin, 
 1890. Fol. ; with 15 pis. and 
 107 text illustrs. 25 m. 
 
 " Brick buildings of the Middle Ages in 
 Central Pomerania, from the Peene up to 
 Rega." 
 
 LUYNES (H. d'Albert, Due de). Descrip- 
 tion de quelques vases peints, 
 etrusques, italic tes, siciliens, et 
 grecs. Paris, Didot, 1840. Fol., 
 pp. 25 ; with 45 pis. 250 fcs. 
 
 " Description of a few painted vases of 
 Etruscan, Italian, Sicilian, and Greek 
 origin." 
 
 A princely collector whose name stood as high 
 among the learned men of his day as it ranked 
 in the peerage of France, Duke d'Albert de 
 Luynes has himself described and elucidated the 
 painted vases in his possession. The book, 
 written with infinite tact and consummate eru- 
 dition, is illustrated with fine plates. Only fifty 
 copies were printed for presentation, and it has 
 become almost unobtainable. 
 
 - Explication des figures peintes 
 et sculptees sur un vase his- 
 torique trouve pres de Kertsch, 
 1'ancienne Panticappee. Paris, 
 1856. 8, pp. 8. 
 
 " Explanations of the figures painted 
 and modelled upon a historical vase 
 found near Kertsch, the ancient Panti- 
 capea." 
 
 LUYNES (Victor de). Rapport sur la 
 ceramique. Exposition univer- 
 selle internationale de 1878 a 
 Paris. Paris, impr. Nat., 1882. 
 8, pp. 185. 3 fcs. 
 
 " Official report of the Ceramic Section 
 at the International Exhibition of Paris, 
 in 1878." 
 
 Under the above title have been printed four 
 separate reports : I. Hard porcelain, by V. de 
 Luynes. II. Faience and stoneware, by A. 
 Salvetat. III. Decorative pottery, by A. 
 Dubouchet. IV. Oriental pottery, by Ch. 
 Barriat. An additional paper by A. Salvetat, 
 entitled " Technical considerations upon the 
 exhibits of the porcelain manufactory of Sevres," 
 gives valuable formulas for the preparation of 
 coloured porcelain bodies, of which many ex- 
 amples, decorated in " P&te sur Pate " had been 
 exhibited by the national factory. 
 
 M 
 
 MAC ALDOWIE (Dr. A. M.). Lead- 
 poisoning in the Potteries. 
 Special rules arbitration. The 
 medical evidence for the defence. 
 Stoke-on-Trent, 1901. 4, pp. 16 ; 
 with 4 charts. 
 
 - London versus The Potteries. 
 Stoke-on-Trent. 8, pp. 24. 
 
 Published on the occasion of the Government 
 enquiry on the question of lead poisoning in the 
 pottery trade. 
 
 MACCARTHY (J. F.). Great industries 
 of Great Britain. London, 
 Cassell & Co., s.d. 3 vols. 4 ; 
 illustrs. in the text. 
 
 Contains articles on The history of pottery ; 
 the porcelain and earthenware manufactories of 
 Doulton, Brown-Westhead, Moore & Co., Mintons, 
 Minton-Hollins, Worcester, etc. 15s. 
 
 MACDONALD (L.). Catalogue of the 
 Greek and Etruscan vases and 
 of the Greek and Roman lamps 
 in the Nicholson Museum. 
 Sydney, 1898. 8, pp. 51. 
 
 MACEDO (J. J. da Costa de). -- Memoria 
 sobre os vasos murrhinos. Lis- 
 boa, 1842. 4, pp. 152; with 3 
 col. pis. 5s. 
 
 " Memoir on the vases Murrhins." 
 
 269 
 
MAC] 
 
 CERAMIC LITERATURE. 
 
 [MAG 
 
 The author, perpetual secretary to the Royal 
 Academy of Science of Lisbon, gives a reprint of 
 Bossi's paper on the subject, and passes under 
 review the theories propounded by previous 
 writers on the nature of the Murrhine vases, 
 without coming to a definite conclusion. Two 
 obelisks and a pair of urns, of an unnamed kind 
 of precious stone, are reproduced on the plates. 
 Special attention is called on the effects of light 
 reflected on the polished surface of the objects. 
 
 MACGUIR (J. D.). Pipes and smoking 
 customs of the American abori- 
 gines, based on materials in the 
 U.S. National Museum. Wash- 
 ington, 1899. 8, pp. 290; with 
 239 text illustrs., 1 pi., and 4 
 maps. (Extr. from the Reports 
 of the U.S. National Museum.) 
 
 Gives also the history of smoking in Europe, 
 and description of European pipes. 
 
 MACINTYRE & CO. A royal visit to the 
 Washington Works, Burslem. 
 (Reprinted from the Stafford- 
 shire Sentinel, Oct. 15th, 1894.) 
 16, pp. 8 ; with a portrait of 
 the head of the firm, Mr. W. 
 Woodall, M.P. 
 
 MACLAUGHLIN (Miss Louisa). China 
 painting. A practical manual 
 for the use of amateurs in the 
 decoration of hard porcelain. 
 Cincinnati, R. Clarke, 1877. Sq. 
 12, pp. 69. 
 
 Head and tail pieces from ceramic designs. 
 
 - Pottery decoration under the 
 glaze. Cincinnati, 1880. 12. 
 
 MAfON (G.)- Les arts dans la Maison 
 de Conde. Paris, Librairie de 
 1'Art, 1903. 4, pp 136; pis. 
 and illustrs. 10 fcs. 
 
 " The arts in the House of Conde." 
 Contains, pp. 80-86, an excellent notice on the 
 porcelain factory of Chantilly, with 4 illustrs. 
 
 MACPHERSON (Duncan). Antiquities of 
 Kertch and researches on the 
 Cimmerian Bosphorus. London, 
 1857. 4 ; with a col. title page, 
 12 pis., 2 maps, and illustrs. in 
 the text. 1. 
 
 Plates 7, 8, and 9, Greek vases and terra- 
 cotta figures. 
 
 270 
 
 MADERNA (G.)- Prodotti ceramici. 
 Maioliche, porcellane, e Gres. 
 Milano, Hoepli, 1909. 12, pp. 
 xii-345 ; with 92 illustrs. 4 fcs. 
 50 c. 
 
 " Ceramic wares. Earthenware, por- 
 rolain, and stoneware." 
 
 Elementary treatise of manufacture. 
 
 MAGALOTTI (Conte Lorenzo). Varie 
 operette de Conte Lorenzo Maga- 
 lotti, con giunta di otto lettere 
 su le terre odorose d'Europa e 
 d' America, dette volgarmente 
 Buccheri, ora publicate per la 
 prima volta. Milano, Silvestri, 
 1828. 8, pp. 459 ; portr. 3 fcs. 
 
 " Various essays by Count Magalotti, to 
 which are added eight letters on the 
 odoriferous earths of Europe and America, 
 commonly called Buccaros, now published 
 for the first time." 
 
 The result of Magalotti's researches on the 
 origin and the varieties of the vessels of odori- 
 ferous clay, which, whether they came from Por- 
 tugal or America, were at the moment so highly 
 valued by the collectors, was embodied in a 
 series of eight letters addressed to his noble and 
 fair friend, the Marchesa Strozzi. In this chatty 
 correspondence actual facts are, we must confess, 
 somewhat diluted in the exuberant verbosity 
 common to all Italian writers of the period. 
 Nevertheless much remains for us to learn from 
 these letters. They contain, upon this for- 
 gotten pottery, many interesting particulars not 
 to be found anywhere else. 
 
 We shall let the author explain, in his own 
 words, the characteristic features of the true 
 Buccaros. " Nature," says he, " has created 
 various kinds of odoriferous earths. Some of 
 them are found in Portugal, but it is in America 
 that one must look for those of a superior quality. 
 The former exhale but a faint and sweet frag- 
 rance, while the natural perfume of the latter is 
 strong and aromatic. Advantage has been taken 
 of that peculiar quality to fashion, with the 
 scented clays, vases, and bottles which impart 
 to the water with which they have been filled 
 the subtle flavour of their substance. From 
 the days in which the first specimens of that 
 precious pottery were introduced into Europe, 
 it found many an admirer in the upper ranks of 
 Italian nobility. At the present moment, well 
 selected examples of the ware are considered as 
 the indispensable adornment of an elegant 
 dwelling. On account of their decorative beauty 
 they take their place in the sumptuous galleries 
 of the royal palaces ; we find them exhibited in 
 the private collections as rare curiosities of great 
 value ; finally, from the clay of which they are 
 made we extract an incomparable perfume, 
 which forms an important addition to the list 
 of those we possessed already." 
 
MAG] 
 
 CERAMIC LITERATURE. 
 
 From the frequent and laudatory allusions to 
 the Buccaros which occur in contemporary writ- 
 ings, we may gather that the crazy infatuation 
 for the scented pottery of America recorded by 
 Magalotti had gone so far as to overstep the 
 limits of permissible exaggeration. The material 
 it was made of was considered so valuable that 
 when a vase was broken into fragments many 
 uses had been found for the pieces. Pounded 
 in a mortar, and reduced into powder, they 
 became a specific held in high estimation for 
 the cure of many a disease. Many other uses 
 were made of the powder. It was introduced 
 in the confection of cakes and sweetmeats ; it 
 served to perfume linen and gloves, and was 
 mixed with tobacco and snuff. Druggists sold, 
 under the name of " Acqua di Barro," a sweet- 
 scented water which was understood to be an 
 infusion of broken Buccaros. Fragments of the 
 black vases were mounted by the jewellers in 
 gold and silver settings, and made into all kinds 
 of trinkets, ear-drops, brooches, buttons, combs, 
 hair-pins, etc. These articles commanded such 
 a large sale that spurious imitations had to be 
 made, a sufficient supply of the genuine material 
 not being easily obtainable. 
 
 MAGEN (A.)- Notice sur deux fours 
 a poterie de 1'epoque gallo- 
 romaine. Agen, 1873. 8, pp. 
 17; with 2 pis. 
 
 " Notice of two potters' ovens of the 
 Gallo-Roman period." 
 
 MAGGI (D.). Sopra un vaso etrusco 
 trovato in Trinoro. Firenze, 
 1830. 8, pp. 16; with 4 pis. 
 
 " On an Etruscan vase found in 
 Trinoro." 
 
 A letter addressed to Inghirami, with the 
 answer of the Etruscan archaeologist. 
 
 MAGGIORE (N.). Spiegazione intorno 
 a un vaso greco-siculo del museo 
 Martiniano. Palermo, 1827. 4. 
 
 " Explanation of a Siculo-Greek vase in 
 the San Martino Museum." 
 
 - Festa nuziale nel dipinto di 
 un antico vaso plastico greco- 
 siciliano. Palermo, 1832. 4, pis. 
 
 "A nuptial feast represented on an 
 antique Greco-Sicilian vase." 
 
 MAGNIAC (Collection H.). Notice of the 
 principal works of art in the 
 collection of Hollingworth Mag- 
 mac, Esq. of Colworth, by J. C. 
 Robinson. London, privately 
 printed, 1862. 8. 
 
 - Catalogue of sale. London, 
 Christie, July, 1892. 8, pp. 
 250; with 63 photos. 1. 
 
 Small sections of ceramic objects are dis- 
 tributed all through the catalogue. The pieces 
 of which reproductions are given on the plates 
 are : The celebrated Henri II. ewer so often en- 
 graved in other publications ; an old English 
 stoneware jug with an Elizabethan silver gilt 
 mount ; a Palissy dish with the figure of Diana ; 
 and two Hispano-Moresque vases. The de- 
 scriptive notices are borrowed from the cata- 
 logue prepared by J. C. Robinson. 
 
 MAGNIAC (Ch.) and SODEN SMITH (R.).- 
 Report on porcelain in the In- 
 ternational Exhibition of 1871. 
 London, 1871. 8. (In Official 
 reports; British, vol. i., pp. 243- 
 278.) 
 
 MAGNIER (M. D.). Nouveau manuel 
 completduporcelainier,fai'encier, 
 potier de terre, comprenant la 
 fabrication des Gres-cerames, 
 des pipes, des boutons en porce- 
 laine, des diverses porcelaines 
 tendres ; et contenant : Les pro- 
 cedes pratiques de ces fabrica- 
 tions, ainsi que la description 
 des machines et appareils usites 
 dans les industries ceramiques. 
 Paris, Roret, 1864. 2 vols. 
 18, pp. 283,212; with 10 pis. 
 in outline. 6 fcs. 
 
 " New and complete handbook for the 
 porcelain, faience, and earthenware maker, 
 comprising the manufacture of stoneware, 
 tobacco pipes, porcelain buttons, the 
 various porcelains of soft paste; and 
 containing the practical processes em- 
 ployed in these manufactures, as well as 
 the description of machines and apparatus 
 in use in the ceramic industry." 
 
 One of the Manuals Roret. Compiled by Mr. 
 Magnier, civil engineer, from the best and latest 
 technical treatises, to replace the handbook con- 
 tributed to the same series in 1827 by Mr. 
 Boyer, which had become out of date. 
 
 MAGM (Celestin). Compte rendu a 
 la Chambre syndicale de la Cer- 
 amique et Verrerie de nouveaux 
 precedes de moulage, etc., ap- 
 pliques a la ceramique et verrerie. 
 
 271 
 
MAG] 
 
 CERAMIC LITERATURE. 
 
 [MAL 
 
 Cherbourg, impr. Bedelfontaine, 
 1876. Sm. 12, pp. 16. 
 
 " Description of a new method of mak- 
 ing moulds for pottery and glass manu- 
 facture; a communication addressed to 
 the Syndical Chamber of the ceramic and 
 glass industry." 
 
 MAGNIN (CelestiD). Ceramique et 
 science du moulage ; beaux-arts 
 en reliefs et art decoratif ; por- 
 celaine vieux Sevres et kaolin. 
 Cherbourg, s.d. 32, pp. 223. 
 2fcs. 
 
 " Ceramics, and the science of mould 
 making ; fine-arts in relief, and decorative 
 art; porcelain, old Sevres and kaolin." 
 3 fcs. 
 
 The wording of the above title is sufficient to 
 make us prepared to meet with a work quite out 
 of the beaten track, when we come to the 
 qualifications that the author has appended 
 to his name, "Moulder, Electro-Metallurgist, 
 Photographer, Sculptor initiated to the pro- 
 cesses of photography, and printing in chemical 
 engraving." The work states that it is upon 
 the mould- maker that devolves the proud duty 
 of regenerating ceramic art, now falling into 
 decline. " Who could fail to understand," says 
 the author, " that impressions taken from natural 
 objects must necessarily supersede handwork for 
 decorative purposes, when they are executed by 
 the improved system described by the inventor. 
 As to the superiority of photography upon the 
 imperfect work made by human hands it is so 
 evident that, as soon as a practical way of 
 fixing a photographic image upon pottery has 
 been discovered, every one must admit that 
 painting will be thrown into the shade for ever 
 after." The writer announces to the world that 
 he has achieved discoveries that render these 
 improvements easily practicable. His indepen- 
 dent views on many points of art are expressed 
 with a freshness of style quite in harmony with 
 the originality of the precepts. 
 
 MAHELIN (I.)- Petits bouquets genre 
 Saxe pour la decoration de la 
 porcelaine. Paris, 1890. 8, 
 8 col. pis. 
 
 " Small bouquets in the Dresden style 
 for china decoration." 
 
 MAIRONI DA PONTE (G.)- Rieherche 
 sopra alcune argille e sopra una 
 terra vulcanica della provincia 
 Bergamasca. Bergamo, 1781. 8. 
 "Researches on various clays, and 
 particularly a volcanic earth found in the 
 Bergamo province." 
 272 
 
 MALAGOLA (.) Memorie storiche 
 sulle maioliche di Faenza ; studi 
 e ricerche. Bologna, 1880. 8, 
 pp. 544 ; marks. 5 fcs. 
 
 " Historical memoir on the majolica of 
 Faenza." 
 
 An exhaustive monograph, accompanied with 
 documental evidence, and with a catalogue of 
 all known majolica pieces attributed to Faenza. 
 The hypothesis that the manufactory of Cafaggio 
 never existed, developed at great length in this 
 work, has never been accepted by unbiased con- 
 
 noisseurs. 
 
 - Cenni storici sull'antica fab- 
 brica delle maioliche dei conti 
 Ferniani di Faenza, per FEs- 
 posizione nationale di Milano 
 del 1881. Bologna, Romagnoli, 
 1881. 8, pp. 8. 
 
 "Historical notes on the ancient ma- 
 jolica factory of the Counts Ferniani, in 
 Faenza." 
 
 The Ferniani factory, said to have been 
 carried in continuation of the Casa Pirota for 
 close on three hundred years, had sent its 
 productions to the Milan National Exhibition 
 in 1881. 
 
 - Maioliche della famillia Cor- 
 ona. Bologna, 1882. 4, pp. 8. 
 
 " The majolica of the Corona family." 
 
 MALEPEYRE (F.). Manuel du bri- 
 quetier, tuilier, fabric ant de 
 carreaux et de tuyaux de drain- 
 age, contenant les precedes de 
 fabrication, la description d'un 
 grand nombre de machines, 
 fours et appareils usites dans ces 
 industries. Paris, Roret, 1864. 
 2 vols. 18, with 8 pis. 6 fcs. 
 
 "Handbook to the manufacture of 
 bricks, tiles, and drain pipes, containing 
 an account of the technical processes and 
 a description of a great number of 
 machine's, ovens, tools, and apparatus in 
 use in these industries." 
 
 One of the handbooks of the Encyclopedic 
 Roret. A second edition, revised and enlarged 
 by A. Remain, was published in 1883. 
 
 MALING (T. C.) Ceramic manufac- 
 tures of the Tyne district. 
 (Extr.). Pp. 12 ; 2 illustrs. 
 
MAM] 
 
 CERAMIC LITERATURE. 
 
 [MAR 
 
 -MAMPO ZENSHO. (Cyclopedia of 
 Arts). S.I, 1694-1718. 13 vols. 
 
 8. 
 
 The oldest Japanese cyclopaedia. Vols. vi. 
 to viii. treat of ceramics ; with 348 illustrations. 
 
 MANCINI (E.). Una recente visita alia 
 manifattura di Sevres. Rome, 
 1890. 8, pp. 20. (Reprint 
 from the Nuova Antologia). 
 
 "A recent visit to the factory of 
 Sevres." 
 
 MANES (W.). Notice sur 1'industrie 
 de la porcelaine de Bordeaux. 
 Paris, 1856. 8, pp. 18. 
 
 "Notice of the porcelain manufacture 
 at Bordeaux." 
 
 MANNHARDT. Pomerellischen Ge- 
 sichtsurnen. (Extr. from the 
 Zeitschrift fur Ethnologie). 1870. 
 4, pp. 10 ; with 1 pi. 
 
 "The urns with human faces from 
 Pomerania." 
 
 MANNING (Anne) (Anon.). The provo- 
 cations of Madame Palissy, by 
 the author of Mary Powell. 
 London, Virtue & Co., 1854. 8, 
 pp. 240. 5s. 
 
 A historical novel such as novels were written 
 in the fifties for family reading and circulating 
 libraries. Sentimental monologues and brisk con- 
 versations, in which each pei'sonage is permitted 
 only to express such feelings as will not disgrace 
 the pages of a fashionable tale, replace dry state- 
 ments of facts or slow disquisitions left to the 
 common historian. One might have thought 
 that Palissy's fame would have saved him from 
 becoming the subject of such a grotesque tra- 
 vesty. The poor potter is introduced to us in 
 his homely capacity of a married man, having 
 very little consideration for the comfort of his 
 wife and family. We are made to grieve upon 
 the troubles and hardships of a good and sensible 
 housewife, whose lot has been cast by hard fate 
 with that of an erratic man of genius. The tale 
 ends happily, and to everybody's satisfaction, 
 with poor Palissy being appointed "Inventor of 
 the rustic figulines of the King and the Con- 
 stable." Confess, gentle reader, that this simple 
 yet sentimental narrative is quite a relaxation 
 from the rhetorical panegyrics in which so many 
 biographers have indulged in ; it is only as such 
 that we venture to recommend it. 
 
 MANNORY (Louis). --Plaidoyers et 
 memoires. Paris, Herinault, 
 1753-63. 18 vols. 12. 
 
 " Addresses and memoirs." 
 18 
 
 Vol. xi. contains the reports of several law 
 cases, relating to the pottery trade, argued 
 before the French courts. 
 
 MARCH (E. ) . Abbildungen vonVasen, 
 Gefassen, Statuetten, Ampeln, 
 Consolen, etc., aus Ernst March's 
 Fabrik zu Charlottenburg. Ber- 
 lin (186 ?). Sm. 4 ; with 21 
 lith. pis. 10 m. 
 
 " Models of vases, vessels, statuettes, 
 lamps, brackets, etc., from the manufac- 
 tory of E. March at Charlottenburg." 
 
 MARCH SOHNE. Preis - Verzeichniss 
 ihrer Thonwaaren Fabrik. Char- 
 lottenburg (recent). 2 vols. 4; 
 with 148 photos. 112 m. 
 
 " Price list of the earthenware manu- 
 factory of March & Sons, Charlottenburg." 
 
 MARCHANT (Dr. Louis). Recherches sur 
 les fai'enceries de Dijon. Dijon, 
 1885. 4, pp. 72 ; with 3 etch- 
 ings, 2 col. pis., and text illustrs. 
 120 copies printed. 25 fcs. 
 
 " Essay on the faience manufactories of 
 Dijon." 
 
 In the year 1669 a potter from Nevers, named 
 Dupon, introduced the manufacture of white 
 faience, roughly decorated in colours, in the 
 town of Dijon, where it continued to be carried 
 on up to 1854. As may be expected in a locality 
 celebrated all over the kingdom for its table 
 mustard, mustard-pots were the staple article 
 made by the potters. A whole chapter of the 
 book is devoted to the history of the homely 
 vessel, illustrated with reproductions of various 
 specimens representing the modifications intro- 
 duced at different periods in the shapes and 
 decorations. The subject is evidently of great 
 interest for the inhabitants of the ancient 
 capital of Burgundy, if not for the general 
 reader. Nothing has been spared, as regards 
 printing and illustration, to make it a truly 
 handsome volume. We feel tempted to apply 
 to it the distich an Italian author once penned 
 upon the flyleaf of a presentation copy of his 
 work : 
 
 Se il contenuto poco vale o niente, 
 Deh ! mira come & bello il contenente. 
 
 " If its contents are worth little or nothing, 
 admire, at least, the fine vestment in which 
 they are clad." 
 
 MARCOALDI (0.). --Delle fabbriche 
 di terraglia e majoliche di Fab- 
 riano. (See Yanzolini.) 
 
 " Notice of the pottery and majolica 
 manufactories of Fabriano." 
 
 273 
 
MAR] 
 
 CERAMIC LITERATURE. 
 
 MARCUCCI (L). Saggio analitico- 
 chimico sopra i colon miner all e 
 mezzo di procurassi gli Smalti 
 e le Vernici ; ecc. con note di 
 P. Palmaroli. 2nd ed. c. tav. 
 Roma, 1816. 8, pp. 264. 8 fcs. 
 
 " An analytical and chemical essay on 
 the mineral colours, with the means of 
 compounding the enamels and glazes ; 
 with annotations by P. Palmaroli." 
 
 MARESCHAL (A. A.). Imagerie de la 
 Faience. Assiettes a emblemes 
 patriotiques, periode revolution- 
 naire ; 1789 a 1795. Beauvais, 
 1865. 4; 120 pis. in col. 40 fcs. 
 "Pictures on faience. Plates with 
 patriotic emblems ; period of the Re- 
 volution." 
 
 Mareschal was a dealer in curiosities estab- 
 lished at Beauvais. A man of taste and educa- 
 tion, he was also a man of great business capaci- 
 ties. Was it on account of the sure profits 
 that as a man of business he could foresee 
 in that direction that he became so suddenly a 
 fervent propagator of the new fad introduced 
 by Champfleury to the collectors of old faience ? 
 We hardly dare to say so. Be it as it may, as 
 a matter of fact, before the search for rudely 
 painted plates with political emblems had started 
 in earnest, he had ransacked farmsteads and 
 villages, and in a very short time his large show- 
 rooms were crammed full with specimens ob- 
 tained for a few sous from the peasants of the 
 district. The publication of an album contain- 
 ing reproductions of the best known types was 
 sure to give some value to the many duplicates 
 he had judiciously stored up ; it was, at any 
 rate, a good means of securing the success of 
 the speculation. He could draw fairly well on 
 stone, and becoming his own publisher, the 
 venture was for him a comparatively easy 
 matter. We had said somewhere else (see 
 Fi6ffe) what we thought of the unsightly pro- 
 ductions of these uncouth soup plates from the 
 point of view of the artist or the ceramist ; we 
 feel sure that the historian, curious of tracing 
 the popular feelings of the Revolutionary era, 
 would have been more than satisfied with the 
 tenth part of the wearisome repetition of the 
 clumsily scrolled emblems, mostly without dates, 
 given in the two thick volumes Mareschal has 
 published on the subject. 
 
 Les faiences anciennes et 
 modernes ; leurs marques et 
 decors. Beauvais, 1868. 8, 
 pp. 121 ; with 101 col. pis., and 
 16 pp. of marks. 25 fcs. 
 
 " Ancient and modern faiences : their 
 marks and decoration." 
 
 274 
 
 - Imagerie de la faience fran- . 
 yaise. Assiettes a emblemes 
 patriotiques comprenant la peri- 
 ode revolutionnaire. Orne de 
 241 types, lithographies d'apres 
 les pieces originales et classes 
 par ordre chronologique de 1750 
 a 1830. Beauvais, 1869. 8; 
 introductory notices, 120 col. 
 pis., and 18 pp. of tables. 40 fcs. 
 
 " Pictures of the French faience. Plates, 
 with patriotic emblems, comprising the 
 period of the Revolution. Illustrated 
 with 241 types, lithographed from the 
 original specimens and arranged in chron- 
 ological order." 
 
 An amplification of the volume previously 
 published on the same subject. This one con- 
 tains still more soup plates, but we do not know 
 for what reason it does not give any example of 
 the pieces of other forms, such as jugs, tureen 
 dishes, inkstands, flower pots, etc., which were 
 produced at the same period. 
 
 La faience populaire au 
 xviii 6 siecle ; sa forme, son em- 
 ploi, sa decoration, ses couleurs 
 et ses marques. 112 planches 
 en couleur d'apres les pieces 
 originales, dessinees et chromo- 
 lithographiees sur fond teinte. 
 Paris, 1872. 8, pp. 16; with 
 112 pis. 25 fcs. 
 
 " Popular faience of the eighteenth 
 century. Its form, use, decoration, 
 colours, and marks. Drawn and chromo- 
 lithographed after the original pieces, and 
 printed upon tinted ground." 
 
 Les faiences anciennes et 
 modernes, leurs marques et de- 
 cors. I. Faiences etrangeres. 2 e 
 edition revue, corrigee et aug- 
 mentee de marques et de decors 
 nouveaux dessines et chromo- 
 lithographies d'apres les pieces 
 originales. Paris, Delaroque, 
 1873. 8, pp. viii-65. Subjects 
 printed in colour in the text, and 
 22 pp. of marks. 25 fcs. 
 
 -II. Faiences francaises. Paris, 
 Delaroque, 1874. 8, pp. xiii ; 
 
MAR] 
 
 CERAMIC LITERATURE. 
 
 with 60 subjects printed in col- 
 our, and 23 pp. of marks. 25 fcs. 
 
 An enlarged edition of the work published in 
 1808. Upon each page a fragment of poly- 
 chromic decoration is lithographed as repre- 
 senting the leading style of one manufactory. 
 A short historical account of that manufactory is 
 printed upon the remaining space. The effect 
 of these bright patches of colour, intervening 
 cimidst the printed matter, is pleasant in the 
 extreme. At the time of the collecting rage 
 a copy of these volumes, bound in sky-blue 
 morocco, was a most charming present to offer 
 to a lady collector. The ceramic student of the 
 sterner sex might cavil at having to accept such 
 meagre and insignificant fractions of an often 
 indifferent design as typical examples of the 
 best styles of faience decoration. But we are 
 told that they have all been reproduced from 
 the specimens exhibited in the showroom of the 
 author ; in such a case we must look at the 
 plates as illustrating the contents of a private 
 collection, rather than presenting a selection of 
 the masterpieces of the ceramic art. 
 
 Iconographie de la faience. 
 Dictionnaire, illustre de planches 
 reproduisant en couleur la note 
 dominante des principales fab- 
 riques, le nom des artists cera- 
 mists, et les local ites ou ils ont 
 travaille ; enfin les marques qui 
 se rencontrent le plus ordinaire- 
 ment sous les faiences de tous 
 les pays et les font le mieux 
 reconnaitre. Dessins inedits. 
 Paris, 1875. Sq. 12, pp. 133 ; 
 with 13 chromolith. pis. 10 fcs. 
 " The iconography of faience. A 
 dictionary illustrated with coloured 
 plates, on which the characteristic style 
 of the chief manufactories is represented, 
 and containing the names of many 
 ceramic artists, with those of the localities 
 where they have worked ; also the marks 
 which occur most frequently on the 
 faience of all countries, and through which 
 they may most easily be recognised." 
 
 The particular feature of this charming little 
 volume is that to the alphabetical list of mono- 
 grams to be found in other books of marks are 
 added the names of potters and painters re- 
 corded in ceramic history, but which have not 
 hitherto been found inscribed upon any piece 
 of faience. The list is very incomplete, for the 
 monographs of the ancient fa'ience works are 
 full of such names ; we do not think that to 
 give the whole roll of them would ever serve any 
 practical purpose. 
 
 - La ceramique et les faussaires. 
 Paris, 1875. 32, pp. 32. 
 
 " Ceramics and the forger." 
 
 In describing the many tricks and dodges 
 employed by the forger of pseudo antiquities, 
 an experienced connoisseur could make a very 
 amusing and instructive book. Contrary to our 
 expectation, this paper contains nothing of the 
 kind. It is a mere warning to collectors to be 
 on their guard against imitations, and to deal 
 only with respectable members of the trade. 
 
 MARINI (G-). --Iscrizioni antiche 
 doliari, publicate per cura delP- 
 Accademia di conferenze storico- 
 giuridico dall Comm. G. B. de 
 Rossi ; con annotazioni del Dott. 
 E. Dressel. Roma, Salviucci, 
 1884. 4. 
 
 " Inscriptions of the antique Roman 
 pottery, published under the care of the 
 Academy of historico-legal conferences 
 by Comm. G. B. de Rossi, with annota- 
 tions by Dr. E. Dressel." 
 
 The original MS., preserved in the Vatican 
 library, was written by Monsignore Gaetano 
 Marini in 1799. Numerous inscriptions found 
 upon bricks, tiles, vases, lamps, as well as upon 
 the dolia, in short, upon all kinds of Roman terra- 
 cottas, had been collected and classified by the 
 writer. 
 
 MARQUAND (Allan). Andrea della 
 Robbia's Assumption of the Vir- 
 gin in the Metropolitan Museum. 
 New York, 1891. 8, pp. 10; 
 with 2 pis. 
 
 Description of an altar-piece which has 
 suffered from injudicious restorations. 
 
 Some unpublished monu- 
 ments by Luca della Robbia. 
 Princeton, 1894. 8, pp. 17 ; 
 with 5 pis. 
 
 Mr. Marquand has contributed several other 
 papers on the subject of the Della Robbia and 
 their work to the American periodicals. 
 
 MARQUIS (Collection). Catalogue of 
 
 sale. Paris, 1883. 12. 
 
 Oriental porcelain. 
 
 Catalogue of sale. Paris, 
 1889. 4, pp. 102; with 10 
 photogr. pis. 
 
 Faiences, Nos. 528-541. Porcelain, Nos. 542- 
 736. 
 
 MARRYAT (J.). Collection towards a 
 history of pottery and porcelain 
 in the fifteenth, sixteenth, seven- 
 
 275 
 
MAR] 
 
 CERAMIC LITERATURE. 
 
 [MAR 
 
 teenth and eighteenth, centu- 
 ries ; with a description of the 
 manufacture, and a list of mono- 
 grams. London, J. Murray, 
 1850. 8, pp. xv-381 ; with 
 12 col. pis., and 118 text illustrs. 
 1, 5s. Second and third edi- 
 tion, 1857-1868. A French trans- 
 lation by D'Armaille and Salve- 
 tat, with annotations and pre- 
 face by D. Riocreux, was pub- 
 lished under the title Histoire 
 des poteries, faiences et porce- 
 laines. Paris, Renouard. 1866. 
 2 vols. 8. 
 
 Joseph Marryat occupies a foremost place 
 in the group formed by the clear-sighted ama- 
 teurs who, towards the middle part of the last 
 century, foresaw the importance that ceramics 
 would shortly assume among the finest produc- 
 tions of the minor arts of the past, still waiting, 
 at that moment, for universal recognition. The 
 " Cabinets of the curiosities of nature and art," 
 heterogeneous assemblages of rarities of all kinds, 
 which were the pride of the antiquary of yore, 
 had had their time. Marryat was one of the 
 first to understand that, to unite with a fascin- 
 ating interest the largest measure of instructive 
 efficiency, a collection should be limited in its 
 scope to the illustration of an unique branch of 
 knowledge. By applying his unflinching efforts 
 to the gathering of representative specimens of 
 the best pottery and porcelain of afi times and 
 countries, he had opened new vistas to the 
 collecting pursuit. 
 
 The book he published for the instruction of 
 his fellow-collectors was to act as a powerful 
 agent for the diffusion of a new taste. It may 
 be said that a work of that order is usually the 
 outcome of the general tendencies of the period. 
 But, on the other hand, it has often happened 
 that the spread of a newly-born infatuation 
 could be largely attributed to the influence of 
 a book in which some impressive writer had 
 developed the subject. Be it as it may, in the 
 present case one cannot deny that the publica- 
 tion of Marryat's Contribution towards the history 
 of Pottery has stimulated not a little the forma- 
 tion of ceramic collections and the growth of 
 ceramic literature. 
 
 The plan he adopted for its preparation was 
 quite a new departure in the framing of a history 
 of ceramics. A few years before, Brongniart 
 had, it is true, sketched in broad lines the evolu- 
 tions of the potter's art from ancient to modern 
 times. Marryat may have been influenced and 
 assisted to a certain extent by that masterly 
 essay. But the mass of materials still required 
 to complete the scheme had to be obtained 
 mostly from unexplored sources. A constant 
 visitor to public libraries, partial to the examin- 
 ation of out-of-the-way books, the intended 
 historian ferretted out of ancient records and 
 documents, the perusal of which might have tired 
 a less persevering compiler, information of the 
 
 276 
 
 highest importance. In fact, some of the pas- 
 sages he extracted from undeniable authorities 
 have preserved their full value, and may still 
 be quoted in settlement of the question to which 
 they relate. 
 
 One has, however, to regret that, notwith- 
 standing the care he took to support his state- 
 ments with documentary evidence, he was, in 
 some instances, drawn into adopting an errone- 
 ous inference. A false interpretation of a phrase 
 in some old writer, a misleading specimen, or 
 the incorrect attribution of a mark, have occa- 
 sionally put him on the wrong track, and resulted 
 in an undeniable mistake. It would be futile 
 and injudicious to go to the trouble of refuting 
 the fallacious speculations which passed current 
 at the moment, some of which he accepted blind- 
 fold as established facts. In the present state 
 of knowledge no blunders of the kind, long ago 
 disposed of, could ever mislead anyone. To 
 form a fair appreciation of the value of the work, 
 we must take it as it stands, with its faults and 
 shortcomings. An impartial critic will give it 
 full credit for the amount of original matter that 
 was pressed into it. Such a conscientious desire 
 to arrive at the true solution of standing queries, 
 such a display of sagacity in the efforts made to 
 gain that end, are seldom seen evinced to an 
 equal degree in any of the general ceramic his- 
 tories that have been subsequently given to us. 
 For what it has done in the past in the interest 
 of the cause, if not for its actual utility as a 
 reference book, Marryat's work is entitled to our 
 highest consideration. 
 
 MARRYAT (Collection). Catalogue of 
 sale. London, Christie's, Feb., 
 1866. 8, pp. 67 ; with illustrs. 
 from Marryat's History of Pot- 
 tery and Porcelain. 
 
 The ceramic collection, comprising 1,001 Nos., 
 realised 5,600. 
 
 MARSH (C.). An essay on the cameos 
 of the Barberini vase with a view 
 to an expl anation of them . Lon- 
 don, 1787. 8. 
 
 MARTEAUX (Ch.) and LEROUX (M.).- 
 Catalogue descriptif du Musee 
 gallo-romain d'Annecy. Annecy, 
 Abry, 1895. 8, pp. 130. 2 fcs. 
 
 Potters' marks. 
 
 MARTENET (E.). Bernard Palissy. 
 Conference a 1' Asile de Vincennes. 
 Paris, Hachette, 1868. 18, pp. 
 50. 2 fcs. 
 
 A lecture delivered before the inmates of the 
 Vincennes Asylum. 
 
 MARTHA (Jules). Catalogue des fig- 
 urines en terre cuite du Musee 
 
MAR] 
 
 CERAMIC LITERATURE. 
 
 [MAR 
 
 de la Societe Archeologique 
 d'Athenes. Paris, 1880. 8, 
 pp. 233 ; with 8 photogr. pis. 
 10 fcs. 
 
 " Catalogue of the terra-cotta figures in 
 the museum of the Archaeological Society 
 of Athens." 
 
 A plan for the classification of terra-cotta 
 figures a comparatively new branch of the 
 antiquarian science had hitherto scarcely been 
 touched upon in the works of special writers. 
 Mr. Martha has exerted his own judgment in 
 the arrangement of the various specimens de- 
 scribed in the present catalogue. The method 
 he has followed might obviously be adopted with 
 advantage. It is grounded on the geographical 
 order. Groups are formed of all the figures found 
 in the same locality. An alphabetical index 
 refers to them again, ranged in order of sub- 
 jects. The following sections are comprised in 
 the instructive preface : The places in which 
 terra-cotta figures are most abundantly found 
 in Greece ; the nature of the clays employed in 
 the various centres of manufacture ; the par- 
 ticular processes used by the makers of each 
 district ; lastly, the general characteristics which 
 may help to determine the origin of the typical 
 specimens, and the period to which they belong. 
 
 - L'Art etrusque. Paris., F. 
 Didot, 1889. 4, pp. 635 ; with 
 4 col. pis., and 400 text illustrs. 
 25 fcs. Chap, xvi., Ceramics, 
 pp. 451-496 ; references to the 
 architectural terra-cotta of the 
 Etruscans occur in many other 
 chapters. 
 
 Mr. Martha, a member of the School of 
 Archaeology of France at Athens, has applied 
 his studies to the investigation of the perplexing 
 questions still left in suspense through our im- 
 perfect knowledge of Etruscan civilisation. 
 Architectural remains and plastic monuments 
 testify to its greatness, but scarcely any records 
 exist of the cities in which they stood ; the in- 
 scriptions they bear, which might have assisted 
 us in tracing the history and the customs of the 
 people, have baffled the sagacity of all philo- 
 logists, and remain undeciphered. In vain has 
 the soil of many necropolises been upturned and 
 searched over and over again ; the tombs have 
 given up their mysterious contents, but the 
 dead bodies have kept the secret of their worldly 
 existence. Work upon work has been written 
 on the subject, each offering a different solu- 
 tion of the problem, always depending on the 
 strength of a new hypothesis suggested by 
 specious conjecture. More confusion than en- 
 lightenment has resulted from this conflict of 
 opinion. Mr. Martha has bravely journeyed, 
 torch in hand, through the meanders of an 
 apparently inextricable labyrinth, and if his 
 course has not led him to the central light, he 
 has at least been enabled to describe to us all 
 the marvels which line the paths. 
 
 With respect to ceramics, he has done much 
 towards bringing into comparative order the 
 various kinds of pottery of true Etruscan origin. 
 In the making of terra-cotta the potters of 
 Etruria were unrivalled in the world, and no 
 other country has made such a general use of 
 fictile work. The wooden construction of the 
 temples was disguised under a covering of 
 ornamented bricks and tiles ; the statues with 
 which they were adorned were more often made of 
 burnt clay than of marble or bronze. Numerous 
 sarcophagi, of enormous dimension, surmounted 
 with groups of life-size figures, bear witness to 
 the ability with which technical difficulties were 
 surmounted. 
 
 How to discriminate between the local pro- 
 ductions and the objects imported from foreign 
 countries has long remained one of the most per- 
 plexing subjects of discussion. The present work 
 throws much additional light on the question. 
 Although nine-tenths of the painted vases pre- 
 served in our museums were discovered in the 
 soil of old Etruria, the style of decoration of 
 the larger number of these vases, the Greek 
 inscriptions they usually bear, together with 
 the name of well-known Greek artists, compel 
 us to recognise that they must have been partly 
 imported from Greece, and partly made on the 
 spot by the Hellenistic potters who immigrated 
 into Italy towards the seventh century B.C. 
 In the latter case the rudeness and vulgarity 
 of the paintings goes far to show that only 
 common artisans ever settled in the country. 
 
 There is, of course, a great abundance of 
 pottery of undoubted Etruscan origin. The 
 author has attempted to classify the diverse 
 types into chronological order, according to 
 the relation they bear to the respective anti- 
 quity of the sepulchres in which they were 
 discovered. The first period is that of the 
 Pozzi, or tombs sunk in the shape of a well ; 
 in these nothing but coarse and plain terra- 
 cotta vessels of a greyish colour have ever been 
 found. Next comes the period of the " FOSSE," 
 or graves excavated in the soil in the hori- 
 zontal direction ; these contain vases of red 
 and black clay of more elegant form, some of 
 them being decorated with incised traceries of 
 geometrical character. Lastly, at the epoch 
 when sepulchral chambers began to be hewn 
 in the sides of perpendicular rocks, the most 
 characteristic and undeniable productions of 
 the Etruscan potter make their first appear- 
 ance. They constitute the large group of black 
 pottery to which the Italians have given the 
 name of " BTJCCAEO NERO." Several illustra- 
 tions of this class are given in the book. Neither 
 in shape nor in style of decoration do they recall 
 the influence of Greek art ; their mode of manu- 
 facture also differs widely from that of the 
 Greek vases. The subjects embossed upon the 
 surface consist generally of fantastic animals 
 and long processions of stiff personages or mon- 
 strous deities belonging to Etruscan mythology. 
 These reliefs are pressed separately in partial 
 moulds and stuck upon the vase after it has 
 come out of the hand of the thrower. Genuine 
 examples of this kind, never found out of 
 Etruria, may safely be considered as the true 
 representatives of the national art. This char- 
 acteristic style seems to have completely dis- 
 appeared towards the end of the fourth century 
 B.C., and the Greek imitations, made at a later 
 
 277 
 
MAR] 
 
 CERA MIC LITER A TV RE. 
 
 period, have nothing in particular that can 
 assist the archaeologist in distinguishing them 
 from the imported pottery. 
 
 MARTIN (Alexis). Arts Ceramiques. 
 Faiences et Porcelaines. 37 des- 
 sins de Schmidt et 195 mono- 
 grammes. Paris, Hennuyer, 
 1886. 8, pp. 227. 6 fcs. 
 
 " Ceramic Arts. Faiences and Porce- 
 lain." 
 
 Handbook made up according to the ap- 
 proved pattern. Printed either for the enter- 
 tainment of the man of leisure, or to be given 
 as a prize to school boys, certainly not for the 
 benefit of the ceramic student, already well 
 provided for in this class of literature. It con- 
 tains no special feature, for one can hardly call 
 attention to the introductory chapter, in which 
 advice is given to the collector upon the best 
 way of decorating a dining-room with ancient 
 faiences. 
 
 MARTIN (AugUSte). Architecture et 
 Ceramique. Recherches et etudes 
 sur leurs formes depuis les 
 Egypt iens jusqu'a nos jours. 
 Bourges, Jollet, 1865. 4. 2 
 parts. Pp. 16 ; with 4 pis. (all 
 published). 
 
 "Architecture and Ceramics. Re- 
 searches and studies on their shapes from 
 the times of the Egyptians up to the 
 present day." 
 
 A radish and a turnip truncated at the in- 
 ferior part are the first examples presented by 
 the author to demonstrate that the form of 
 Egyptian vases were evidently borrowed from 
 that of those vegetables. The system he in- 
 tended to develop was that in architecture, as 
 well as in ceramics, all shapes are derived from 
 the imitation of a natural object. How he 
 would have succeeded in applying his theory 
 to all the creations of ancient plastic art still 
 remains uncertain, for the work did not go 
 farther than the first two parts. 
 
 MARTIN (F. R.). Moderne Keramik 
 von Centralasien. Stockholm, 
 Chelius, 1897. Sm. fol., pp. 9 ; 
 with 1 1 phototyp. and 6 col. pis. 
 Descriptive notices and illustrs. 
 in the text. Publ, 1, 5s. 
 
 " The modern ceramics of Central Asia." 
 
 A collection of faience dishes, made in Tur- 
 kestan at the present day, brought back and 
 described by the collector. They are coarse 
 pieces of debased manufacture. The decora- 
 tion is of such a commonplace character that 
 in the vulgar arrangements of scrolls, leaves, 
 and rosettes, almost similar in shape to those 
 
 278 
 
 we are accustomed to see painted upon the 
 gaudy pottery used by the peasants of some 
 European countries, we can scarcely find traces 
 of an Oriental origin. 
 
 - F. R. Martin's Sammlungen 
 aus dem Orient in der allge- 
 meinen Kunst- und Industrie- 
 Ausstellung zu Stockholm, 1897. 
 Stockholm, 1897. 4, pp. 8; 
 with 8 phototyp. pis. 
 
 " The Oriental collection of F. R. Martin 
 at the Stockholm Exhibition, 1897." 
 
 General views of the exhibition rooms ; the 
 pottery in the collection is shown on such a 
 reduced scale that little can be seen of it besides 
 the shapes. 
 
 The Persian lustre vase in 
 the Imperial Hermitage at St. 
 Petersburg, and some fragments 
 of lustre vases found near Cairo, 
 at Fostat. Stockholm, G. Chel- 
 ius, 1900. 4, pp. 8; with 6 
 heliogr. pis. 10s. 
 
 A complement to Henry Wallis' works on 
 Persian pottery. The vase described in this 
 paper was once in the Basilewsky collection ; 
 the fragments of Persian and Egyptian ware are 
 in the author's possession. 
 
 MARTIGNY (1'AbM). Lettre a Mr. Ed. 
 Le Blant sur une lampe chreti- 
 enne inedite. Belley, 1872. 8, 
 pp. 16 ; pis. 
 
 " A letter to Mr. Ed. Le Blant on an 
 inedited Christian lamp." 
 
 A dissertation upon the frequent occurrence 
 of the biblical subject of Jonah upon the ancient 
 terra-cotta lamps. 
 
 MARX (R.). Auguste Rodin, Ceramist. 
 Paris, 1907. 4 ; with 18 helio- 
 gr. pis., reproducing in black 
 and in colour the chief works in 
 porcelain executed by A. Rodin 
 at the National factory of Sevres 
 25 fcs. 
 
 MARZ (J.). Die Fayencefabrik zu 
 Mosbach in Baden. Jena, Ti- 
 scher, 1906. 8, pp. 110. 3 m. 
 
 "The faience factory of Mosbach in 
 Baden." 
 
MAS] 
 
 CERAMIC LITERATURE. 
 
 [MAT 
 
 MASKELL (W.). The industrial arts. 
 Historical sketches with numer- 
 ous illustrations. London, Chap- 
 man, 1876. Sq. 8, pp. xiv-276. 
 (One of the South Kensington 
 Museum handbooks.) 
 
 Contains a chapter on pottery and porcelain 
 (pp. 119-186). 
 
 MASNER (Karl). K. K. Oesterreich. 
 Museum fur Kunst und Indus- 
 trie. Die Sammlung antiker 
 Vasen und Terracotten in K. K. 
 Oesterreich. Museum. Katalog 
 und historische Einleitung. 
 Wien, C. Gerold's Sohn, 1892. 
 4, pp. xxv-104 ; with 10 photo- 
 typ. pis. and 36 illustrs. 20 m. 
 
 " Catalogue of the collection of antique 
 vases and terra-cottas in the R.I. Museum 
 of Industrial Art at Vienna." 
 
 The specimens bought in 1865 from A. 
 Castellani, at Rome ; the collections Scara- 
 manga, Blum-Blankenegg, etc., have formed 
 the foundation of this part of the Vienna Mus- 
 eum. It contains 951 Nos. The plates are 
 photographed from the originals. 
 
 MASON (G. C.). The application of 
 art to manufacture. New York, 
 1858. 8. Porcelain. The Chin- 
 ese manufacture of porcelain ; 
 terra-cotta, pp. 194-248 ; with 
 20 illustrs. 
 
 MASSILLON-ROUYET. Les Conrade. In- 
 troduction des faiences d'art a 
 Nevers. Nevers, Valliere, 1898. 
 8, pp. 23 ; with facsimile of 
 signatures. 
 
 Les Conrade, leurs faiences 
 d'art. Suivi d'une critique. 
 Paris, May, 1901. Sq. 8, pp. 
 55 ; with 2 pis. 2 fcs. 
 
 " The Conrads and their artistic 
 faience." 
 
 On the strength of three specimens exhibited 
 in the Nevers Museum, and so far considered as 
 being of Italian manufacture, the writer at- 
 tempts to establish that painted faience was 
 made at Nevers before the time fixed by pre- 
 vious historians. In the subject of Rinaldo and 
 Armide, painted upon one of the dishes, he has 
 no hesitation in recognising an allegorical re- 
 presentation of the Duke of Nevers, with his 
 
 faithful town personified by the female figure 
 seated upon his knee. A cupid balancing him- 
 self upon the branch of a tree is offering to the 
 couple a fruit that anyone might take to be a 
 common apple, but which, we are told, is a clear 
 emblem of the art of faience making. As to 
 the attribution of these pieces to very early 
 manufacture it rests only on speculation ; 
 neither of them being signed or dated. 
 
 MASSON (B.). La ceramique en 
 Tunisie. Paris, 1896. 8, pp. 
 15 ; with 3 illustrs. (Reprint 
 from the Bulletin de Geographie 
 Commerciale.) 
 
 It is only in the conservative Orient that the 
 technics and ornamental style of a most antique 
 industry can be seen perpetuated in the pro- 
 ductions of modern times. The Berber potter 
 of Tunis has preserved, almost in its integrity, 
 the tradition he has inherited from his Phoeni- 
 cian ancestors. He departs little from the 
 typical forms of the terra-cotta vessels largely 
 represented in the burial grounds of Rhodes 
 and Cyprus, and the black and red traceries, 
 with which he decorates his modest pots, repeat 
 unconsciously the archaic arrangements of palm- 
 ettes and the alternate bands of geometrical 
 designs and of fantastic animals we are accus- 
 tomed to see upon classical specimens. 
 
 To another influence is due the origin of the 
 polychromic faience of the Tunis tile-maker. 
 When the Moors, banished from Spain, came 
 to settle on the African coasts they brought 
 along with them new arts and new trades. They 
 made tiles glowing with bright colours, in the 
 sumptuous Hispano-Moresque taste, a remnant 
 of the Persian tradition that their ancestors 
 had imported into Europe. This Persian in- 
 fluence still pervades, unrestricted, the gorgeous 
 enamelled tiles of Tunisian Nebeul. 
 
 Mr. Masson, who has made, on the spot, a 
 long and thorough study of the ceramic in- 
 dustry, has come to the conclusion that the 
 conduct of the work in the potters' shops has 
 remained exactly what it was at the earliest 
 period, and that some teaching is to be found 
 there that would be of advantage to modern 
 manufacture. 
 
 This able paper is more than a monograph 
 of Arabian ware ; it is a valuable document 
 towards the general history of ceramic art. 
 
 MASSON (F.)- Sevres China in Mr. 
 Chappey's collection. Paris, 
 1905. Sm. fol., pp. 32; with 
 num. illustrs. (A special No. 
 of UArt.) 
 
 MATAGRIN (A.)- Bernard Palissy, sa 
 vie et ses ouvrages. Bordeaux, 
 1862. 8, pp. 47. (Reprint from 
 the Revue des races latines.) 
 
 One of the essays sent to the " Palissy 
 competition " at Agen in 1855. We cull from 
 this notice the following paragraphs : " Palissy 
 
 279 
 
MAT] 
 
 CERAMIC LITERATURE. 
 
 [MAW 
 
 embodies all the achievements, all the glories of 
 the times in which he lived ; his genius symbol- 
 ises that of his century. Palissy was much 
 more "than a skilled artisan, a great artist, an 
 original and glorious writer ; in short, much 
 more than an admirable genius he was an 
 heroic character ! " A short biography and 
 long quotations from the original text complete 
 this notice which, we might say, " typifies " the 
 larger part of the " Palissy literature." 
 
 MATHESIUS (Johan). Sarepta: darinn 
 von allerley Bergwerck und 
 Metallen, was ir Eygenshafft mid 
 Natur und wie sie zu Nutz und 
 gut Gemacht guter Bericht gege- 
 ben, etc. . . . Niirnberg, 1562. 
 Fol. Other edits., 1564, 1571, 
 1578, 1587. 
 
 " Sarepta : wherein an account is given 
 of mining of all the metals, of their nature 
 and properties, and of the methods of 
 bringing them into use." 
 
 The ninth discourse treats of Tin, Lead, 
 Litharge, Bismuth, Antimony, and of the use 
 that the potters of the time made of these 
 metals for their glazes and colours. Mr. Fried- 
 rich, in his life of Hirshvogel, has given all the 
 passages of Mathesius work which refer to the 
 potter's art. The technical knowledge of the 
 old writer appears often to be of questionable 
 accuracy. 
 
 MATHIEU-MEUSNIER (Collection). - - Cata- 
 logue des faiences Persanes, 
 Italiennes, Hispano-Mauresques, 
 Hollandaises et de presque 
 toutes les fabriques frangaises. 
 Paris, 1864. 8, pp. 27 ; with 
 4 photos. 
 
 The sculptor, Mathieu-Meusnier, had been 
 one of the early collectors, and his collection, 
 made at a very modest cost, contained, however, 
 many remarkable specimens. 
 
 MATHON. Notes descriptives sur 
 quelques vases du Musee de 
 Beauvais. , Beauvais, 1860. 8, 
 pp. 3 ; with 1 pi. 
 
 " Description of a few vases in the 
 Beauvais Museum." 
 
 Frankish and mediaeval pottery of the usual 
 types. 
 
 MATSUGATA. Le Japona 1'Exposition 
 universelle de 1878. Public 
 sous la direction de la commis- 
 sion Imperiale Japonaise. Paris, 
 
 280 
 
 impr. Chamerot, 1878. 2 vols. 
 8, pp. 159, and vii-192. 10 fcs. 
 
 " Japan at the International Exhibition 
 of 1878. Published by the Imperial 
 Commission of Japan." 
 
 The work is divided into the following sec- 
 tions : P. 1, Geography and history of Japan ; 
 P. 2, art, education, teaching, industry, products, 
 and horticulture. In vol. ii. will be found the 
 chapter on pottery and porcelain, pp. 23-64. 
 It has been reprinted in a separate form. 
 
 MATTER. Antiquites de Rheinza- 
 bern. Strasbourg, s.d. 4, pp. 4 ; 
 and 14 pis. in outline, lithogr. by 
 Engelmann (pi. 13 was never 
 printed). Illustrated wrapper. 
 5 fcs. 
 
 " Antiquities of Rheinzabern." 
 
 Rheinzabern, near Lauterbourg, was one of 
 the largest settlements of Roman potters in 
 Europe ; repeated excavations on the spot have 
 yielded large crops of curious specimens of 
 ancient pottery. The insignificant selection re- 
 produced on the plates is accompanied by a 
 short and bad descriptive text by Schweig- 
 hauser. 
 
 MATTHAEY (Carl). Abbildungen der 
 neuesten Facons fur Porzellan 
 Steingut- und Topfer-Waaren 
 von C. Matthaey in Dresden. 
 Weimar, Voigt, 1841. Fol., 
 pp. 6 ; with 8 lith. pis. (Part I.) 
 
 " Designs of the newest models for por- 
 celain, stoneware, and pottery." 
 
 MAW & CO, Patterns of encaustic 
 tiles, geometrical, mosaic, and 
 plain tile pavements, and ma- 
 jolica and enamelled wall tiles, 
 white glazed tiles, etc., Benthall 
 Works, Broseley, Salop. S.L, 
 n.d. (1866?). Imp. 4, pp. 4; 
 and 44 pis. in col. The price 
 list is printed separately. 8, 
 pp. 32. 
 
 The encaustic tile works carried on at Wor- 
 cester by Messrs. St. John, Flight & Barr were 
 purchased by Messrs. Maw, and in 1852 removed 
 to the Benthall Works, near Broseley. 
 
 MAWLEY (R.) (Anon.). Pottery and 
 porcelain in 1876. An art stu- 
 dent's ramble through some of 
 the china shops of London. 
 
CERAMIC LITERATURE. 
 
 [MAY 
 
 London, Field & Tuer, 1877. 8, 
 pp. 82. Privately printed. 
 
 It may be said of certain books as of certain 
 wines, " Let them lay by for a number of years ; 
 it is not yet time to appreciate their true worth." 
 A rather unpalatable liquid will, later on, become 
 a luscious beverage ; an insignificant little vol- 
 ume may, one day, prove to be a treasure of 
 information. In the present one are consigned 
 the impressions and remarks of a collector of 
 modern art china, as he went on through his 
 shopping expeditions. The account of each 
 journey of this " up-to-date " pilgrimage is 
 headed by the facsimile of the press advertise- 
 ment, through which one of the leading dealers en- 
 deavours to attract the pilgrim to his shrine, or, 
 to speak more plainly, to his well-stocked show- 
 rooms. To the Londoner of our days, somewhat 
 impervious to the poetical sensation that can 
 be derived from the contemplation of a china 
 shop, the tale unfolded in these pages may ap- 
 pear overdrawn in the extreme. But when one 
 or two hundred years have gone by, we can 
 imagine what will be the rapture of the china 
 collector if any are left in that distant futurity 
 when he happens to have the good fortune of 
 meeting with an odd copy of this most accurate 
 and detailed record of the conditions of the art 
 china trade in England at that unparalleled 
 period of its prosperity. 
 
 MAXE-WERLY (L). Etude sur les 
 carrelages du Moyen-Age. Paris, 
 1894. 8, pp. 16 ; illustrs. 1 fc. 
 50 c. 
 
 " A study on the tile pavements of the 
 Middle Ages." 
 
 The author's object is to establish that geo- 
 metrical designs formed by the arrangement of 
 small pieces of pottery of various forms and 
 colours has preceded the schemes of decoration 
 executed in square tiles for the pavement of the 
 mediaeval churches. 
 
 MAXIMIS (Fr. X. de). Musei quod 
 Gregorius XVI. Pont. Max. in 
 sedibus Vaticanis constituit mon- 
 imenta linearis picturse exemplis 
 expressa et ad utilitatem studio- 
 sorum antiquitatum et bonarum 
 artium publici juris facta. Romce, 
 ex sedibus Vaticanis, 1842. 2 
 vols. Fol. ; with 238 engr. pis. 
 6. 
 
 A noble work, published at the expense of 
 the Pontifical government, to illustrate the pro- 
 ducts of the excavations made in the Etruscan 
 necropolis, which were to be subsequently de- 
 posited in the Gregorian Museum at the Vatican. 
 One of the volumes is devoted entirely to the 
 reproduction of Etruscan and Greek vases, 
 among which are included many examples of 
 the highest order. A text, in Italian, accom- 
 
 panies the plates, faithfully drawn and cleverly 
 engraved. Terra-cottas, pis. 34-51 ; painted 
 vases, pis. 1-90. 
 
 MAYAND (S. P.). Recherches sur les 
 murs vitrifies. Sens, 1893. 8, 
 pp. 22 ; with 1 plan. 2 fcs. 
 " Kesearches on vitrified walls." 
 
 The origin, the structure, and the presumed 
 dates of the vitrified forts are studied in this 
 paper, in which will also be found the descrip- 
 tion of the method employed for melting small 
 pieces of granite mixed with a fusible medium, 
 and uniting together the blocks of stone of which 
 the wall was formed by pouring the melted mix- 
 ture between the interstices. 
 
 MAYENCE. Fouilles de Delos. Les 
 rechauds en terre cuite. Paris, 
 Thorin, 1903. Sm. 4, pp. 31 ; 
 with 59 text illustrs. (Reprint 
 from the Bulletin de Corresp. 
 Hellenique.) 
 
 " The Delos excavations, 
 warming stands." 
 
 Terra-cotta 
 
 MAYER (J.). A synopsis of the 
 history of the manufacture of 
 earthenware ; with reference to 
 the specimens in the Exhibition 
 of the Liverpool Mechanic's In- 
 stitution. Liverpool, 1842. 8, 
 pp. 12. 
 
 - On the art of pottery ; with 
 a history of its progress in Liver- 
 pool. Liverpool, D. Marples, 
 1855. 2nd ed., 1873. 8, pp. 
 97 ; woodcuts. 3s. 
 
 The name of Joseph Mayer will long be re- 
 membered by the antiquaries and collectors of 
 England. The magnificent collection he presented 
 during hislif e to the town of Liverpool, where he had 
 been established for many years as a silversmith 
 and jeweller, partly testifies to the activity and 
 sure taste he had displayed in his search for rare 
 and precious works of art ; important as was 
 the gift, it formed but a portion of the treasures 
 in his possession. These latter, and the house 
 in which they stood, were bequeathed to his 
 native village. 
 
 Many remarkable specimens of Liverpool 
 pottery and porcelain were included in the col- 
 lection now in the Liverpool Museum. The 
 authenticity of each of these specimens had been 
 carefully established by means of the traditional 
 and documental evidence supplied by the local 
 families from which they had been obtained. 
 When J. Mayer decided to publish the infor- 
 mation he had received, little or nothing was 
 known about the Liverpool potteries. He suc- 
 
 281 
 
MAY] 
 
 CERAMIC LITERATURE. 
 
 [MAZ 
 
 ceeded in fixing the places where stood the most 
 ancient factories, he found the names of the manu- 
 facturers, and followed the march and progress of 
 local manufacture. He told us how to the making 
 of the Delft ware, in which the potters had 
 particularly excelled, was soon added a most suc- 
 cessful imitation of the "salt glaze" and "cloudy" 
 ware of Staffordshire. Later on, following upon 
 the steps of Josiah Wedgwood, they produced 
 a " cream colour ware " which would creditably 
 compare with that of the greatest potter of the 
 times, and which they were the first to decorate 
 with transfer printing. At about the same 
 period Chaffers and other makers showed that 
 the manufacture of porcelain had no secrets 
 for them. 
 
 After having established beyond any doubt 
 that pottery-making had once been one of the 
 chief industries of the town, he was obliged to 
 acknowledge that, owing to the absence of marks 
 and our imperfect acquaintance with the dis- 
 tinctive characteristics of the ware, only a very 
 few pieces had so far been identified as being 
 undoubtedly of local origin. 
 
 MAYER (M.)- Ceramica dell' Apulia 
 preellenica. Part I. La Mes- 
 sapia ; with 22 illustrs. Part 
 II. La Peucezia ; with 3 pis. 
 and 34 illustrs. (In Rom. Mitth., 
 1897-99.) 
 " Pre-Hellenic ceramics of Apulia." 
 
 - Vasi dipinti scoperti in tombe 
 della necropoli canosina. Roma, 
 1898; with 17 illustrs. (In 
 Notizie degli Scavi.) 
 
 " Painted vases discovered in the 
 Necropolis of Canosa." 
 
 MAYFART (J. W.). --Die Porcellan 
 Fabrication. Sonderhausen, 
 1844. 8. 
 
 " The porcelain manufacture." 
 
 MAYR (M.). Die keramische malerei 
 . . . fur Dilittanten, Kunst- 
 gewerbetreibende undTechniker. 
 Augsburg, 1901. 8, pp. 104; 
 cuts. 2 m. 
 
 " Ceramic painting . . . for amateurs, 
 the industrial artist, and the china 
 painter." 
 
 MAZARD (H. A.). Musee des antiquites 
 nationales de Saint-Germain-en- 
 Laye. La Ceramique. Saint- 
 Germain-en-Laye, 1873. 12 ; 
 with 6 pis. 6 fcs. (100 copies 
 printed.) 
 282 
 
 " Museum of national antiquities at 
 St. Germain-en-Laye. Ceramics." 
 
 Description of the pottery of the prehistoric, 
 Roman, and Gallo-Roman periods discovered in 
 France and preserved in the Museum of Saint 
 Germain. 
 
 Ceramique. De la connais- 
 
 sance par les anciens des glac- 
 ures plombiferes ; releve des 
 terres cuites antiques revetues 
 de glacures plombiferes, existant 
 dans les divers musees et collec- 
 tions. Paris, Morel, 1879. 4, 
 pp. 72 ; with 2 col. pis. and text 
 illustrs. 10 fcs. 
 
 " Ceramics. Of the knowledge of lead 
 glazes possessed by the ancients ; a cata- 
 logue of the antique terra-cottas covered 
 with a lead glaze, preserved in various 
 museums and collections." 
 
 Plain terra-cotta constituting, as a rule, the 
 bulk of ceramic objects discovered in the ex- 
 cavations, doubts have sometimes been enter- 
 tained as to whether the Greek and Roman 
 potters had ever completed their productions 
 with the application of a vitreous coating. The 
 long undetermined smear which varnishes the 
 surface of the Samian ware being the sole ex- 
 ception. A little more attention given to that 
 question would have settled it long before. 
 Howbeit, Mr. Mazard was the first to make a 
 special study of the subject, and to show that 
 the composition of lead glazes, and even of 
 opaque enamels, was well known in classical 
 time. He has collected information respecting 
 the examples of antique pottery glazed with 
 lead preserved in the museums of Europe, and 
 drawn a descriptive list of those which were 
 thus brought under his notice. He came to 
 the conclusion that Tarsa, in Cilicia, had been 
 the great centre of the glazed ware manufacture. 
 The art of enamelling had been imported there 
 from Egypt, and it was from the Tarsa potters 
 that the Romans borrowed the custom of 
 covering earthen vessels with metallic glazes 
 of various colours. Since that essay was 
 written examples of antique glazes have turned 
 up from all sides, and the list drawn by Mr. 
 Mazard would appear a very poor one by the 
 side of the one that could now be given. 
 
 MAZE (Alphonse). Notes d'un col- 
 lectionneur. Recherches sur la 
 Ceramique. AperQU chrono- 
 logique et historique avec mar- 
 ques, monogrammes et planches 
 photoglyptiques d'apres le pro- 
 cede de la maison Goupil. Paris, 
 impr. A. Le Clere, 1870. 4, pp. 
 278 ; with 29 pis. 60 fcs. 
 
MAZ] 
 
 CERAMIC LITERATURE. 
 
 [MEL 
 
 " A collector's notes. Researches on 
 ceramic art. Chronological and historical 
 compendium, with marks and monograms; 
 illustrated with photoglyptic plates by the 
 Goupil process." 
 
 The letterpress, compiled from well-known 
 authorities, offers no particular interest. The 
 plates, remarkable examples of the Goupil pro- 
 cess, contain 145 reproductions of choice speci- 
 mens, all drawn from the author's collection. 
 
 MAZE-SENCIER (Alph.). Le livre des 
 collectionneurs. Paris., We. H. 
 Renouard, 1885. 8, pp. 878 ; 
 illustrs. in text. 20 fcs. 
 " The collector's handbook." 
 
 A sort of vade-mecum for the general col- 
 lector, in which all branches of " curiosity " 
 are dealt with in turn. Each chapter contains 
 a historical summary of the subject ; a selec- 
 tion of marks ; extracts from sale catalogues, 
 giving the prices obtained by exceptional speci 
 mens ; and, finally, a full list of the amateurs 
 who, in various countries, possess the finest 
 collection in each speciality. Ceramics and 
 terra-cottas are treated on the same principle. 
 These chapters furnish special information, 
 which the collector would have some difficulty 
 in obtaining elsewhere. 
 
 MAZZA (D.). Indice delle antiche 
 stoviglie dipinte possedute d'all' 
 Ospizio de'Cronici ed invalide 
 di Pesaro. Pesaro, 1857. 4. 
 
 " Catalogue of the ancient painted 
 pottery in the possession of the Hospital 
 for Incurables at Pesaro." 
 
 In the year 1857 the collection of majolica 
 formed by Domenico Mazza, of Pesaro, and 
 presented by him to the hospital he had founded, 
 passed by purchase into the possession of the 
 town. This collection, comprising close on five 
 hundred pieces, is now exhibited in the civic 
 museum. 
 
 MEASHAM TERRA-COTTA CO. Pattern 
 book of architectural terra-cotta 
 (1892). Obi. fol. ; 20 pis. Meas- 
 ham, near Ather stone. 
 
 MEESTER (M. de). Les industries 
 Ceramiques en Belgique. Brux- 
 elles, Lebegue, 1907. 8, pp. 
 180 ; with numerous pen and 
 ink sketches, etc. 4 fcs. 
 " Ceramic industries in Belgium." 
 
 This handbook treats especially of the manu- 
 facture of bricks and tiles. It contains a com- 
 plete directory of all the pottery manufacturers 
 in Belgium. 
 
 MEGRET (Ad.)- Etude sur les canons 
 de Polyclete. Appendice de la 
 forme humaine come principe 
 generateur applique a la con- 
 fection des vases grecs et rom- 
 ains. Paris, 1892. 8; with 10 
 pis. 2 fcs. 50 c. 
 
 " A study on the canons of Polycletus. 
 Appendix of the human form considered 
 as a generative principle applied to the 
 fashioning of Greek and Roman vases." 
 
 MEIER (P. JO- Neue Durisschalen 
 des berliner Museums. Berlin, 
 1882. 4, pp. 27 ; with 4 pis. 
 
 " A tazza by Duris, lately added to the 
 Berlin Museum." 
 
 MEILLET (A.). De la fabrication des 
 poteries dans 1'antiquite au point 
 de vue technique. Montauban, 
 1867. 8, pp. 22. 
 
 "Pottery manufacture in antiquity con- 
 sidered from the technical point of view." 
 
 Curious conjectures on the nature of the 
 glaze of the Sarnian pottery. 
 
 MEINDEL (CO- Die Bereitung der 
 Farben zur Porcellanmalerei. 
 Nebst Anhange, die Auflosung 
 des Goldes zum Malen des Por- 
 zellans enthaltend. Quedlinburg 
 (1850). 8. 
 
 " The preparation of colours for china 
 painting. With a supplement on the 
 method of dissolving the gold adhering to 
 painted porcelain." 
 
 MELCHIORRI. Intorno al rapimento 
 di Egina figlia di Asopo, espresso 
 in un vaso etrusco del museo 
 Gregoriano. Roma., 1838. 4; pis. 
 
 " Notice of an Etruscan vase with the 
 rape of Egina, daughter of Asopus, in the 
 Gregorian Museum." 
 
 MELIDA (J. R.). Sobre los vasos 
 Griegos, Etruscos, e Italo-grie- 
 gos del Museo Arqueologico naci- 
 onal. Madrid, 1882. 12, pp. 
 48 ; with 6 illustrs. 
 
 "Remarks on the Greek, Etruscan, and 
 Italo-Greek vases in the National Museum 
 of Archaeology at Madrid." 
 
 283 
 
MEL] 
 
 CERAMIC LITERATURE. 
 
 [MET 
 
 MELLEN (J. YOU). - - Historia urnse 
 sepulchralis sarmaticae, etc. 
 Jence, 1679. Sq. 8, pp. 40; 
 with 4 pis. 4 m. 
 
 " History of the sepulchral urns of the 
 Sarmats." 
 
 MELLOR (Dr. J. W.) Communications 
 from the County Pottery Lab- 
 oratory, Staffordshire. London, 
 1907. " 8. 
 
 A series of technical papers describing the 
 experiments conducted in the laboratory of the 
 Victoria Institute, Tunstall. (Reprint from 
 The Pottery Gazette.) 
 
 i 
 
 MELY (F. de). Laceramiqueitalienne. 
 Sigles et monogrammes. Paris, 
 F. Didot, 1884. 8, pp. 248; 
 with a portr. of Giorgio Andreoli, 
 views of the ancient centres of 
 manufacture, and numerous 
 marks. 5 fcs. 
 
 " Italian ceramics : marks and mono- 
 grams." 
 
 A complete dictionary of all the names, 
 marks, or distinctive signs found upon the 
 pottery and porcelain of Italy reproduced in 
 facsimile. The correct interpretation of ini- 
 tials or often repeated ciphers, offers, in some 
 cases, an insuperable difficulty, experts differing 
 totally as to their attribution, and being unable 
 to agree as to the name of the master they 
 represent. As to the numerous commonplace 
 signs, such as dots, crosses, circles, scrolls, etc., 
 which appear upon the majolica, it is still more 
 perplexing to settle their signification, and no 
 more than a conjecture may be ventured about 
 each of them. Most often these signs were 
 placed on his work by the majolist as an addi- 
 tion to the decoration ; to attach to them an 
 undue importance is, perhaps, to introduce un- 
 necessary confusion in the study of Italian 
 majolica. Mr. Melly has entered in his volume 
 a much larger number of marks and signs than 
 had ever been brought together ; but so many 
 of them are undetermined, when not doubtful 
 and meaningless as a mark, that far from being 
 incomplete his conscientious labour seems some- 
 what overdone. 
 
 MENDEL (S.) Collection, Samuel 
 Mendel of Manley Hall, Man- 
 chester. London, 1867. 4. 
 Printed privately. 
 
 Porcelain and pottery, pp. 205-240 ; with a 
 historical introduction. Catalogue of sale. 1875. 
 8. 
 
 MERCATOR (C.). Die photokeramik 
 und ihre Imitationen. Anleitung 
 
 284 
 
 zur Herstellung von eingebrann- 
 ten Bildern auf Email, Porzel- 
 lan u. s. w. in einfarbiger mid 
 vielfarbiger Ausfiihrung (Drei- 
 farbeiidruckkeramik). Halle a. 
 8., W. Knapp, 1900. 8, pp. 99; 
 with 4 illustrs. 3 m. 
 
 " The photoceramic and its imitations. 
 Instructions for the production of burnt-in 
 pictures upon enamel, porcelain, etc., in 
 one or several colours (ceramic printing in 
 three colours)." 
 
 MERRIL (F.) and RIES (H.). - - Brick 
 and pottery clays of New York 
 State. Albany, 1895. 8, pp. 
 167 ; with 1 map and 2 pis. 
 30 c. (In Bulletin of the New 
 York State Museum.) 
 
 MESTORF (Johanna). Urnenf riedhofe 
 in Schleswig - Holstein. Nam- 
 burg, Meissner, 1886. 8, pp. 
 104 ; with 21 illustrs. in the 
 text, 12 pis., and 1 map. 10 m. 
 
 " The urns cemetery in Schleswig- 
 Holstein." 
 
 An account of the excavations made in 172 
 different localities of Holstein, Lauenburg, and 
 Schleswig, in which a large quantity of cinerary 
 urns of undetermined antiquity were discovered. 
 
 MESTORF (J.) and ESSENWEIN (A.). Ger- 
 manische Museum. Katalogue 
 der . . . vorgeschichtlichen 
 Denkmaler ( Rosenberg' sche 
 Sammlung). Niirnberg, 1886. 
 8, pp. 147 ; with 4 pis. of urns. 
 
 . " Catalogue of the Rosenberg Collection 
 of prehistoric objects in the Germanic 
 Museum at Nuremberg." 
 
 METEYARD (Eliza). The life of Josiah 
 Wedgwood, from his private 
 correspondence and family 
 papers, with an introductory 
 sketch of the art of pottery in 
 England. London, Hurst & 
 Blackett, 1865. 2 vols. 8; 
 with portraits of Wedgwood and 
 of Bentley, engr. on steel ; full 
 page illustr. and 95-154 wood- 
 cuts in the text. 30s. 
 
MET] 
 
 CERAMIC LITERATURE. 
 
 [MET 
 
 Miss Meteyard tells us in the preface that the 
 preparation of this book had absorbed her 
 thoughts and occupied much of her time for i 
 more than fifteen years before it was completed I 
 and ready for the press ; the plan of writing 
 such a book had, therefore, originated in her 
 mind in the very early days when the interest 
 in old Wedgwood ware was just being revived. 
 To prepare a costly publication on the subject, at 
 a time when only a very limited number of 
 amateurs could be expected to take an interest 
 in it, required more confidence and courage than 
 any other writer could perhaps have been able 
 to muster. Nothing less than the womanly 
 devotion with which Miss Meteyard felt herself 
 inspired for the hero of her thoughts, the 
 great man to whose memory she was to devote 
 all her life, can explain the implicit faith she 
 had placed on the ultimate success of her un- 
 auspicious venture. 
 
 While such enlightened connoisseurs as Bar- 
 low, De la Rue, Dr. Sipson, Joseph Mayer, and 
 a few others were busily engaged in piling up 
 in their collections marvels upon marvels of 
 Wedgwood art, their friend, Miss Meteyard, 
 went on gathering sedulously materials and 
 documents towards their history. 
 
 A work so carefully planned, so thoroughly 
 perfected in its details, required many years of 
 incessant efforts ; however long the period of 
 gestation is said to have been, we must recognise 
 that the time has been most effectually em- 
 ployed. The bulk of materials under examin- 
 ation was enormous, yet nothing worth noticing 
 has been allowed to escape unrecorded. No 
 statement she received in the way of oral com- 
 munication, private opinions, personal obser- 
 vations, as well as half-forgotten traditions, 
 was either accepted or rejected without having 
 been submitted to strict and impartial investi- 
 gation. Often in presence of conflicting testi- 
 monies an indefatigable tenacity of purpose 
 helped her in her search for truth. She always 
 preferred to a display of ingenious speculations 
 the production of plain facts substantiated by 
 documental evidence. If she has erred, in some 
 instances, she was quite unconscious of having 
 fallen into a mistake, and her absolute sincerity 
 is nowhere to be doubted. ' 
 
 So intense so blind might we say was Miss 
 Meteyard's adoration for her hero that it never 
 entered her mind to tone down, in what she 
 deemed to be an ideal portrait, the harsher 
 shades of the model, the peculiarities which 
 form the human side of Wedgwood's character. 
 No great man has ever lived to whom a few 
 moments of weakness cannot be imputed ; his 
 moves on certain occasions are liable to be mis- 
 interpreted. The historian feels often prompted 
 to pass in silence a few unimportant facts 
 which might be construed as detrimental to the 
 good name of the man, while another may de- 
 liberately lay stress upon them as throwing some 
 shady spots on the brilliancy of his career. 
 Miss Meteyard has never been actuated by any 
 one-sided consideration. Her unique desire was 
 to represent Wedgwood just as he was ; she 
 recorded the most trifling events of his existence, 
 she espoused all his views, even in the cases 
 when they may be open to criticism, in the full 
 confidence that anything which emanated from 
 such a noble mind was bound to redound to 
 
 his greater fame. For doing so, we know that 
 candid Miss Meteyard has been taken to task 
 by some fervent admirers of the great potter 
 who would have preferred an unalloyed pane- 
 gyric free from all dross, regarded by them as 
 unnecessary. Notwithstanding this mild re- 
 proach, by no means supported by the majority 
 of readers, the book was very favourably wel- 
 comed and highly appreciated on its appearance. 
 It has remained the most complete and trust- 
 worthy source of information. But, financially, 
 it was a great loss to her, for not only were all 
 her savings spent in providing the illustrations, 
 but no part of the proceeds of the sale was 
 ever received by her ; it went to repay the large 
 sums advanced at her suggestion. 
 
 - A group of Englishmen (1795 
 to 1815) ; being a record of the 
 younger Wedgwoods and their 
 friends, embracing the history 
 of the discovery of photography, 
 and a facsimile of the first photo- 
 graph. London, Longmans, 
 Green & Co., 1871. 8, pp. 416 ; 
 with 1 pi. 10s. 
 
 Much remained in the mass of documents in 
 the possession of Joseph Mayer which continued 
 the historical information about the Wedgwood 
 family and the Etruria Works up to the begin- 
 ning of the nineteenth century, and which could 
 not find a place in the biography of the great 
 Josiah. This supplementary matter was made 
 use of by Miss Meteyard for a volume which, 
 although quite independent from her great work, 
 must be considered as a continuation of it. But 
 when compared with the fascinating chapters 
 in which the wonderful development of a great 
 industry by a man of genius had been so happily 
 narrated, the rest of the tale leaves us somewhat 
 indifferent. Wedgwood's sons did not inherit 
 their father's spirit and his love for the potter's 
 art. They took but little share in the manage- 
 ment of the works, and were satisfied to live 
 away from business, in the quiet enjoyment of 
 the princely income they derived from their 
 celebrated factory. As to the part of the book 
 relating to the pretended discovery of photo- 
 graphy we fear that, in her infatuation for all 
 that was connected with the name of Wedg- 
 wood, Miss Meteyard has been carried a little 
 farther in her speculations than the evidence 
 at her disposal could have warranted. A 
 few " drawing-room " chemical experiments on 
 the action of sunlight upon the nitrate of 
 silver, conducted on principles long before laid 
 down in special treatises, and which had proved 
 fruitless in the hands of previous operators, do 
 not in any way establish a claim to the invention 
 of photography in favour of Thomas Wedgwood. 
 
 Wedgwood's catalogue of 
 cameos, intaglios, medals, bas- 
 reliefs, busts, and small statues ; 
 reprinted from the edition of 
 1787. With illustrations. Lon- 
 
 285 
 
MET] 
 
 CERAMIC LITERATURE. 
 
 [MEU 
 
 don, Bell & Daldy, 1873. 8, pp. 
 108. 5s. 
 
 METEYARD (Eliza). The Wedgwood 
 handbook. A manual for col- 
 lectors. Treating of the marks, 
 monograms, and other tests of 
 the old period of manufacture. 
 Also including the catalogues 
 with prices obtained at various 
 sales, together with a glossary 
 of terms. London, G. Bell & 
 Sons, 1875. 8, pp. 227. 6s. 
 
 The difficulties an inexperienced collector 
 often finds in discriminating between old and 
 modern specimens of Wedgwood ware, and the 
 dangers to which he is constantly exposed on 
 the part of unscrupulous dealers, always ready 
 to palm off an imitation for a genuine example, 
 have led to the compilation of this handbook. 
 Its contents are comprehensively stated in the 
 title, which does not belie its promise. In it 
 will be found accumulated all the information 
 Miss Meteyard had collected from the best con- 
 noisseurs with whom she was in constant inter- 
 
 - Wedgwood and his work. A 
 selection of his plaques, cameos, 
 medallions, vases, etc., from the 
 designs of Flaxman and others, 
 reproduced in permanent photo- 
 graphy by the autotype process. 
 With a sketch of his life and the 
 progress of fine art manufacture. 
 London, Bell Daldy, 1873. 
 Fol., pp. viii-68 ; and 28 pis. 
 with descriptive notices. 3, 3s. 
 
 - Memorials of Wedgwood. A 
 selection from his fine art works 
 in plaques, medallions, figures, 
 and other ornamental subjects. 
 With an introduction and de- 
 scription of the objects delin- 
 eated. London, G. Bell & Sons, 
 1874. Fol., pp. iv-20 ; and 28 
 phototyp. pis. 3, 3s. 
 
 Choice examples of Wedg- 
 wood's art. A selection of 
 plaques, cameos, medallions, 
 vases, etc., from the designs of 
 Flaxman and others, etc. Lon- 
 don, G. Bell & Sons, 1879. P. 1, 
 286 
 
 and 28 phototyp. pis. with de- 
 scriptive notices. 3, 3s. 
 
 No more befitting complement to the literary 
 works of Miss Meteyard could have been pro- 
 vided than these stately albums, in which the 
 chief examples of Wedgwood manufacture are 
 reproduced in large size. The ware lends itself, 
 better perhaps than any other, to photographic 
 reproduction. Colour is only wanted to make 
 these plates perfect presentiments of the ori- 
 ginals. As colour is of secondary importance in 
 these pieces, being only introduced as a ground 
 intended to set off the style of design and sharp- 
 ness of execution of the white reliefs, they lose 
 little of their merit by being shown in mono- 
 chrome. These albums arc of great value for 
 the study of Wedgwood's art in all public col- 
 lections where his productions are not sufficiently 
 represented. Shortly before her death Miss 
 Meteyard was planning an anecdotic life of 
 Wedgwood for the benefit of children. 
 
 METZGER (Max). Liibecker ofen- 
 kacheln der Renaissance Zeit. 
 Liibeck, 1900. 8, pp. 30 ; with 
 3 photo-lith. pis. and text illustrs. 
 2 m. (Reprint from Das Museum 
 zu Liibeck.) 
 
 " Stove tiles made at Liibeck at the 
 Renaissance time." 
 
 The embossed tiles covered with a coloured 
 glaze were extensively used in Germany as early 
 as the middle-ages for the ornamentation of the 
 house stoves, and occasionally for architectural 
 decoration. From old records, preserved in the 
 town archives, the author has established the 
 fact that Liibeck had been an important centre 
 of manufacture, the productions of which were 
 exported to distant countries. A few of the 
 models reproduced in this paper, and which 
 may safely be attributed to one Statius von 
 Diiren, who worked at Liibeck towards the 
 middle of the sixteenth century, are frequently 
 found in other German towns, and, it is said, 
 as far as Russia. 
 
 MEURER (Collection Hippolyt). Cata- 
 logue of sale. Cologne, Heberle, 
 1888. 4, pp. 40 ; with 7 pis. 
 
 Ancient stoneware, Nos. 1-90 ; faience and 
 porcelain, Nos. 91-135. 
 
 MEURER (M.). Italienische Majolica- 
 Fliesen aus dem Ende des funf- 
 zehnten und Anfang des sechs- 
 zehnten Jahrhunderts, nach 
 Originalaufnahmen. Berlin, 
 1881. Fol.; 24 chromolith. pis. 
 50 m. 
 
 " Italian majolica tiles, from the end of 
 the fifteenth and beginning of the six- 
 teenth century, drawn from the originals," 
 
MEY] 
 
 CERAMIC LITERATURE. 
 
 [MIC 
 
 This handsome volume places under our eye 
 a series of majolica tiles equal in artistic merits 
 to the much-admired vases and dishes made by 
 the best Italian potters of the Renaissance time, 
 and far superior to the reproductions of mediaeval 
 tiles published as archaeological documents or 
 patterns for the manufacturer. The examples 
 have been selected from what remains of the 
 pavements once adorning the churches of Bol- 
 ogna, 1487 ; Siena, 1504 ; and Venice, 1510. 
 They were drawn by the advanced pupils of 
 the Berlin School of Art, as a number of them 
 were making a tour through Italy, under the 
 leadership of their master, Herr Meurer, and 
 ultimately admirably chromolithographed at the 
 school in the size of the originals. 
 
 MEYER. Des Hauses Zier. Vorlagen 
 fiir Malerei auf Porzellan. S.d. 
 (recent). 8. 
 
 " The decoration of the house. Materials 
 for porcelain painting." 
 
 MEYER (A. B.). Lung-ch'iian-Yao; 
 oder altes Seladon-Porzellan ; 
 nebst einem Anhange iiber damit 
 in Verbindung stehende Fragen. 
 Berlin, Friedlander, 1889. 4, 
 pp. 41 ; with 3 chromolith. pis. 
 12m. 
 
 " Lung-ch'iian-Yao, or the old celadon 
 porcelain ; with a supplement treating of 
 other questions related to the subject." 
 
 Vases and dishes of antique celadon porce- 
 lain, offering all the characteristics of early 
 Chinese ware, are found in great numbers in 
 the Mahomedan countries of the West Coast of 
 Africa, Western India, and the Indian Archi- 
 pelago. In answer to the assertion of some 
 leading Orientalists who maintain that all such 
 celadon vases are of Arabic origin, having been 
 made by the Mussulman potters who worked in 
 Egypt and Persia between the seventh and 
 eighth century of our era, Mr. Meyer published 
 this clear and conclusive paper, in which he 
 demonstrated that the ware has nothing in 
 common with Arab pottery, either in style of 
 decoration or in the materials of which it is 
 made, but it is identical in all points with that 
 found in China. Supporting his contention by 
 the historical evidences previously brought forth 
 by F. Hirth in his Ancient Porcelain, on the sub- 
 ject of Chinese commercial intercourse with the 
 Far East in mediaeval tim'es, and particularly 
 the extensive exportation of green porcelain, he 
 brought the question up to a point where it 
 would be difficult not to believe with him that 
 the celadon ware was imported by the Arab 
 traders in the countries where it is now preserved 
 by the natives as objects of great value and 
 antiquity. 
 
 MEYER (J. H.) and BOTTIGER (K. A.). 
 Ueber den Raub der Cassandra 
 
 auf einem alten Gefasse von 
 gebrannter Erde. Weimar, 1799. 
 4, pp. 90 ; with 3 pis. 5 m. 
 
 "On the rape of Cassandra, represented 
 upon an antique vase of terra-cotta." 
 
 MICALI (GO- Storia degli antichi 
 popoli italiani. Firenze, 1832. 
 3 vols. 8; and atlas fol. of 120 
 pis. with the title Monumenti per 
 servire alia storia ... 50 fcs. 
 
 " History of the ancient people of 
 Italy." 
 
 Etruscan terra-cottas and painted vases are 
 largely represented on 52 of the plates of the 
 atlas. A few of them, engraved in colour, are 
 of remarkable execution, and superior in that 
 respect to those seen in all previous publications. 
 
 MICHAELIS (A.).- -II Hone nemea, 
 vaso del R. Museo di Monaco. 
 Roma, 1859. 8, pp. 21 ; with 
 3 pis. 
 
 " The lion of Nemsea ; a vase in the R. 
 Museum of Munich." 
 
 - Die Verurtheilung des Mar- 
 syas auf einer Vase aus Ruvo. 
 Greifswald, 1864. 4, pp. 18; 
 with 2 pis. 
 
 " The judgment of Marsyas upon a vase 
 from Ruvo." 
 
 Thamyris und Sappho auf 
 einer Vasenbilde. Leipzig, 1865. 
 4, pp. 18 ; 1 pi. 
 
 " Thamyris and Sappho upon a painted 
 vase." 
 
 Ueber Vasenbilder die sich 
 auf der musikal. Wettkampf 
 zwischen Apollon und Marsyas 
 beziehen. Berlin, 1869. 4; 
 2 pis. 
 
 " The vase paintings having reference 
 to the musical contest between Apollo 
 and Marsyas." 
 
 - Ercole col cornucopia sopra 
 un vaso ruveso. Roma, 1869. 
 8; 1 pi. 
 
 " Hercules with the Cornucopia upon a 
 vase from Ruvo." 
 
 287 
 
MIC] 
 
 CERAMIC LITERATURE. 
 
 [MIL 
 
 MICHAILOFF (W. J.). Porcelain paint- 
 ing for amateurs. St. Petersburg, 
 1893. 8. (In Russian.) 
 
 MICHEL (E.). Essai sur 1'histoire des 
 faiences de Lyon. Lyon, 1876. 
 8, pp. 19 ; with 4 pis. 5 fcs. 
 
 " Essay on the history of the faiences 
 of Lyons." 
 
 The anonymous majolists who painted the 
 beautiful tile pavement of the church of Brou, 
 at Bourg en Bresse, in 1536, are credited by 
 the author with having introduced the practice 
 of their art into the City of Lyons after the 
 completion of their work. But Mr. N. Rondot, 
 the learned historian of the Lyonnese arts and 
 crafts, clearly demonstrated a few years later 
 that several Italian potters were established in 
 the town long before the Brou pavement was 
 executed, and that the work may, therefore, be 
 attributed to these artists, rather than to others 
 who might have been called expressly from 
 Italy. The notice ends with the description of 
 a few specimens of later manufacture which were 
 made in close imitation of the ware of Nevers 
 and of Moustiers, and are often mistaken for 
 original productions of these two centres. 
 
 Catalogue de la collection 
 ceramique de M. M. Michel et 
 ' Robellaz. Lyon, H. Georg, 1876. 
 8, pp. 127. ' 
 
 Catalogue of sale of two important ceramic 
 collections. One belonged to the author of the 
 essay and contained the specimens he had de- 
 scribed, together with interesting representative 
 works of the minor factories of the South of 
 France. The other was the property of a Swiss 
 amateur, and was particularly remarkable for 
 the variety of illustrative examples of Swiss and 
 German faience, seldom seen assembled together 
 in such a large quantity. 
 
 MIEL (E. F.). --Bernard Palissy. 
 Notice biographique lue a la 
 Societe libre des Beaux-Arts. 
 Paris, impr. Gratiot, 1835. 8, 
 pp. 11. 
 
 " Bernard Palissy : a biographical 
 notice." 
 
 This is said to have been the first instance of 
 Palissy's name being made the subject of a 
 special notice read before a learned society with 
 the view of calling public attention to a man of 
 genius whose memory was almost forgotten by 
 his countrymen. 
 
 MIESBACH (L.). La fabrication des 
 briques et des tuiles depuis son 
 origine jusqu'anos jours. Vienne 
 1855. 8, pp. 17; with 2 pis. 
 
 288 
 
 " The manufacture of bricks and tiles 
 from its origin up to the present day." 
 
 MIGEON (G.)- Ceramique orientale 
 a reflets metalliques. A propos 
 d'une acquisition recente du 
 Musee du Louvre. Paris, Ga- 
 zette des Beaux- Arts, 1901. 8, 
 pp. 19 ; with 13 illustrs. 2 fcs, 
 
 " Oriental ceramics with metallic lustre. 
 On the occasion of a recent purchase by 
 the Louvre Museum." 
 
 Wallis had previously reproduced the vase 
 of the Danna collection which is the subject of 
 this article. Although the painting is unques- 
 tionably of Persian style, M. Migeon makes this 
 vase, and other kindred specimens, the basis of 
 a theory that the ware with metallic lustre 
 originated in Egypt and not in Persia, as is 
 generally believed. The refuse heaps of Cairo 
 have yielded, it is true, an immense quantity 
 of lustred fragments, but they include evident 
 importations from other countries, and, besides, 
 nothing found in them can be said to be earlier 
 in date than the broken pottery of the same 
 order found at Rages, near Ispahan. 
 
 - Musee National du Louvre, 
 Catalogue des faiences francaises 
 et des gres allemands. Paris, 
 Motteroz, 1902. 8, pp. 120; 
 with 30 half-tone pis. 4 fcs. 
 
 " Catalogue of the French faience and 
 German stoneware in the Louvre Museum. 
 With historical notices." 
 
 - Manuel d'art musulman. II. 
 Les arts plastiques et industriels. 
 Paris, Picard, 1907. 8. La 
 Ceramique, pp., 255-339 ; with 
 86 illustrs. 15 fcs. 
 
 Mr. Migeon gives to the metallic lustres a 
 Mesopotamian origin, the tiles of the Mosque at 
 Kairouan, built in the ninth century, represent 
 the oldest examples of the style, Persia. 
 Egypt, and Syria are successively considered in 
 connection with their ceramic productions. A 
 study of the lustred Hispano-Moresque ware 
 brings the account to an end. 
 
 MILANI (Collection Ch. Antoine). Cata- 
 logue of sale. Frankfurt a. M., 
 Prestel, 1883. 
 with 15 pis. 
 
 The collection of a learned antiquary of 
 Frankfort. Ceramics, Nos. 154-107, chiefly 
 stoneware ; Etruscan and Roman vases, and 
 terra-cotta, Nos. 259-307, 
 
 8, pp. 148; 
 
MIL] 
 
 CERAMIC LITERATURE. 
 
 [MIL 
 
 MILANI (L. A.)- Sepolcreto con vasi 
 antropoidi di Cancelli sulla mon- 
 tagna di Cetona. Roma, 1899. 
 Pp. 41 ; with 49 illustrs. (In 
 Monumenti . . . della Accad. dei 
 Lincei. ) 
 
 " A small sepulchre at Cancelli on the 
 Cetona Mountain, and the vases in human 
 form it contained." 
 
 MILES (W. A.). A description of the 
 Deverel Barrow, opened A.D. 
 1825. London, Nichols, 1826. 
 4, pp. 29 ; with 8 etched pis. 
 
 8s. 
 
 A large number of cinerary urns were found 
 in the excavations, seventeen of them are re- 
 produced on the plates. They were deposited 
 in the Bristol Museum. 
 
 MILET (Ambroise). Ceramique Nor- 
 mande. Priorite de 1' invention 
 de la porcelaine a Rouen en 1673. 
 Rouen, Cagniard, 1867. 12, pp. 
 24. (Reprint from La revue 
 Normande. ) 
 
 " Normandy ceramics. Priority of the 
 discovery of porcelain at Rouen in 1673." 
 
 As early as 1847 A. Pettier had made it 
 known that, according to contemporary docu- 
 ments, porcelain was made in France for the 
 first time by Louis Potterat, a faience maker of 
 Rouen, in 1673. The statement had been re- 
 ceived with incredulity, but soon marked speci- 
 mens of undeniable authenticity were found in 
 sufficient quantity to dispel any doubt. This 
 paper resumes the additional information ob- 
 tained on the subject during the preceding 
 twenty years. Mr. A. Milet, formerly director 
 of the technical department of the National 
 Manufactory of Sevres, is now curator of the 
 Museum of Dieppe ; an institution which owes 
 its present development to his untiring exertion. 
 
 - Antoine Clericy, ouvrier du 
 Roi en terre sigillee, 1612-1653. 
 Esquisse sur sa vie et ses ceuvres. 
 Paris, Baur, 1876. 8, pp. 20. 
 
 " Antoine Clericy, potter to the king, 
 artisan in terra sigillata. A sketch of his 
 life and works." 
 
 The collectors of Palissy ware soon became 
 satisfied that the mass of specimens which had 
 been, from the first, ranged under the same 
 heading could not possibly have been the actual 
 work of the old master. Diligent inquiries 
 disclosed the fact that active factories had been 
 established by several French potters who 
 strictly adhered to Palissy's style of manufac 
 
 19 
 
 ture and produced excellent imitations of his 
 work. Clericy must rank as one of the most 
 successful followers of the " Inventor of the rustic 
 figulines." He was established as a potter and 
 glass maker at Marseilles, his native town, 
 when he was summoned to Paris in 1612 to 
 exercise his art in Paris with the title of potter 
 to the king, working especially in " terra sigil- 
 lata." Palissy himself had experimented upon 
 the white clay which came from the East in 
 stamped tablets, and his imitators boasted of 
 employing the same material. On Clericy's 
 arrival in the Metropolis he was granted a suite 
 of rooms in the Tuileries Palace, and allowed to 
 put up his ovens in the adjoining grounds. A few 
 years afterwards he took the management of the 
 factory of Avon, near Fontainebleau, where some 
 of the finest dishes and figures of coloured 
 earthenware, long attributed to Palissy, such 
 as the charming statuette of "La nourrice," 
 are now known to have been made. Clericy 
 enjoyed to the last the favour of his royal 
 patrons ; he was in receipt of a yearly pension 
 of 600 livres, and one of half this amount was 
 granted to his widow. No family connection 
 has yet been traced between A. Clericy and the 
 potters of Moustiers, one of whom was made 
 Baron of Trevans in 1743. 
 
 Notice sur D. Riocreux, con- 
 servateur du Musee ceramique 
 de Sevres. Paris, Rouam, 1883. 
 Sq. 8, pp. 126 ; with a portrait 
 etched after a medallion by 
 Damousse. 
 
 As long as the name of Riocreux is remem- 
 bered among collectors it will be revered as the 
 embodiment of the sterling qualities that a dis- 
 interested man can bring to bear upon the 
 formation of a public museum. When 
 Brongniart decided to add to the Royal 
 Manufactory of Sevres an instructive collection 
 of examples of ceramic art of all times and of 
 all countries, he recognised in Riocreux, then 
 employed as a flower painter, the very colla- 
 borator he needed for realising the scheme. 
 Accordingly, he entrusted to his care, in the 
 year 1812, the provisional arrangement of the 
 few specimens which formed the nucleus of a 
 museum destined to develop into proportions 
 far exceeding in magnitude the most sanguine 
 expectations of its founders. From that day 
 forth the increase and completion of the col- 
 lections remained the absorbing preoccupation 
 of the curator's mind, the chief purpose of his 
 life. A grant of money for the purchase of 
 specimens was inscribed in the yearly budget 
 of the manufactory, but so paltry was the sum 
 allowed for that purpose that, in less devoted 
 hands, the project must have failed. Denis Rio- 
 creux succeeded in surrounding himself with a 
 host of fellow-workers, and in stimulating the zeal 
 of the numerous friends to whom he communi- 
 cated part of his enthusiasm for the cause. In 
 exchange for the advice and information he was 
 always ready to give to collectors, he received 
 numerous presents of rare specimens, for it was 
 well known that he never accepted anything for 
 himself, and that all that was offered to him 
 
 289 
 
MIL] 
 
 CERAMIC LITERATURE. 
 
 [MIL 
 
 would go towards the embellishment of the Sevres 
 Museum. He was eighty years of age when the 
 German War necessitated the removal of the 
 collections within the walls of Paris ; he could 
 not be prevailed, however, to leave the manu- 
 factory, and was one of the few inhabitants who 
 remained at Sevres during the enemy's occu- 
 pation. The peace having been concluded, he 
 had the last satisfaction of seeing his treasures 
 reinstated in their former home. Although 
 bent by age and sufferings, he would not allow 
 anyone, except two young assistants, to help 
 him in restoring to their proper places all the 
 specimens of the beloved collection he had almost 
 lost all hopes of seeing again. 
 
 MILET (Ambroise). Historique de la 
 faience et de la porcelaine de 
 Rouen au xviii siecle, a 1'aide 
 d'aper^us nouveaux et de docu- 
 ments inedits. Rouen, L'Estrin- 
 gant, 1898. 16, pp. 32 ; with 
 2 pis. 2 fcs. 
 
 "Historical notice of the faience and 
 porcelain of Rouen in the seventeenth 
 century, considered from a new standpoint 
 and accompanied by unpublished docu- 
 ments." 
 
 A deed of sale, dated 1674, by which Poirel 
 de Grandval transfers to his partner, Edme 
 Poterat, all his rights and claims upon the 
 faience manufactory they had conducted con- 
 jointly at Rouen since 1645 is one of the valuable 
 contributions presented by Mr. Milet towards 
 the history of French porcelain and its invention 
 by the Rouen potters. Official documents in 
 which each member of the Poterat family had 
 applied in turn for obtaining the privilege of 
 exclusive manufacture, on the ground of being 
 the only possessor of the secret, are already well 
 known ; their contradictory statements, how- 
 ever, throw more shade than light upon the 
 question. Specimens which correspond to the 
 trials and fragments discovered on the site of 
 the old works, do not allow of a doubt to be 
 entertained as to the Poterats having really pro- 
 duced soft porcelain of a fine body ; it is, how- 
 ever, very strange that no reference to such an 
 important invention has ever been found in any 
 contemporary author. Such a recognition would 
 be of much greater value than the ambiguous 
 terms of a request written with the view oi 
 obtaining the monopoly of the manufacture 
 of faience, and, incidentally, of porcelain, still 
 acknowledged to be on its trial. 
 
 Catalogue du Musee de 
 Dieppe. Dieppe, 1904. 8, pp 
 284 ; with text illustrs. 
 
 Early pottery ; tile pavements ; Sevres 
 porcelain. 
 
 MILLER (Fred.). Pottery Painting. 
 A course of instruction in the 
 various methods of working on 
 
 290 
 
 pottery and porcelain ; with 
 notes on design, and the various 
 makes of colours and glazes. 
 London, Wyman & Son, s.d. 
 (1885 ?). 8, pp. viii-147 ; with 
 55 illustrs. 5s. 
 
 A conscientious and exhaustive treatise, 
 written by a practical artist who has endeavoured 
 to give to the student the full benefit of his own 
 experience. Indeed, one may say that if only 
 good recipes and valuable instructions as to the 
 practice of the art were needed to make a com- 
 petent china painter, sufficient teaching would 
 be found within this small volume. 
 
 MILLER-CARR (J.). Architectural 
 ceramics. Lecture delivered at 
 Birmingham on March 1st, 1906. 
 Doulton terra-cotta. London, 
 1907. Sq. 8, pp. 19 ; 2 col. pis. 
 and text illustrs. 
 
 MILLET (F. D.). Some American tiles. 
 Boston, 1882. 8. (Reprint 
 from the Century Magazine.} 
 
 MILLIET (Et.) Notice sur les faiences 
 artistiques de Meillonas (Ain). 
 Bourg, F. Martin, 1876. 8, 
 pp. 16. 
 
 - 2nd ed. Paris, Detaille, 1877. 
 8, pp. 30 ; with 5 photos. 
 
 A very modest industrial establishment was 
 the faience manufactory of Meillonas, conducted 
 by the " Seigneur " of the locality Hugues de 
 Marron in the basement of his own chateau. 
 A man of business, as it would appear, but 
 richer in schemes than in cash, the Baron had 
 in vain tried to retrieve his fallen fortunes by 
 opening stone quarries and digging for coals in 
 and around his demesne ; when at last, towards 
 1760, he hit upon the plan of starting the manu- 
 facture of decorated faience. There was abund- 
 ance of good potters' clay in the place, where the 
 making of coarse pottery had been for centuries 
 the staple industry of the villagers. He engaged 
 the whole staff of a faience manufactory which 
 had just come to grief in the neighbouring pro- 
 vince, and having obtained a small subsidy and 
 other privileges from the Sindics of Bourg, he 
 began in good earnest. The Baroness, his wife, 
 did not think it derogatory to her rank to under- 
 take the artistic direction of the works ; the 
 best pieces of Meillonas faience, some of them 
 are still in the possession of the family, were 
 painted by her hand. And so the manufacture 
 went on for years, the work consisting chiefly 
 in imitations of Moustiers and Marseilles. In 
 1794 Hugues de Marron was arrested as a sus- 
 pected aristocrat by order of the revolutionary 
 tribunal, sentenced to death, and executed at 
 Lyons. With him the faience manufactory came 
 to an end. 
 
MIL] 
 
 CERAMIC LITERATURE. 
 
 [MIL 
 
 MILLIET (P.). Etudes sur les pre- 
 mieres periodes de la cera- 
 mique grecque. Paris, Giraudon, 
 1891. 8, pp. 169. 3 fcs. 
 
 " Studies on the earliest periods of 
 Greek ceramics." 
 
 A dissertation delivered at the Archaeological 
 School of the Louvre. It is a learned 
 development of the following proposition : 
 " The various technical processes employed 
 for the decoration of Greek vases have 
 not been introduced simultaneously, but 
 tradition has preserved the use of all of them 
 for a long time after their invention. Con- 
 sidered from the chronological standpoint, vari- 
 ous processes may be said to have been coex- 
 istent rather than successive." Although this 
 is intended as a direct attack against the now 
 prevalent system of classifying Greek vases by 
 their modes of manufacture and style of decora- 
 tion, the author has done no more than to 
 point out the existence of certain exceptions, 
 easily distinguishable, which do not invalidate 
 the value of a system difficult to replace by a 
 better one. It is good that we should know of 
 these exceptions ; nevertheless, the modification 
 brought about in the style of painting will always 
 remain our best guide towards the history of 
 the art. 
 
 - Vases peints du cabinet des 
 medailles et antiques, Biblio- 
 theque Nationale, photographies 
 par A. Giraudon. Paris, Gir- 
 audon, 1890. 3 vols. Fol., of 
 150 pis. 230 fcs. 
 
 " Painted vases in the cabinet of medals 
 and antiquities of the National Library." 
 
 - Vases antiques des collections 
 de la ville de Geneve, publics par 
 la section des Beaux Arts de 
 FInstitut national genevois. 
 Paris, Giraudon, 1892. Fol., of 
 55 pis. 85 fcs. 
 
 " Antique vases from the collection in 
 the town of Geneva." 
 
 A selection from the vases belonging to the 
 Archaeological Museum ; the Ariana ; and the 
 Fol Museum. 
 
 - Un lecythe en forme de gland 
 au Musee du Louvre. S.d. 4, 
 pp. 15 ; with 1 vign. 
 
 " A lekythos in acorn shape in the 
 Louvre Museum." 
 
 MILLIN (A. B.) et DUBOIS MAISONNEUYE. 
 Peintures de vases antiques, 
 
 vulgairement appeles etrus- 
 ques, tirees des differentes 
 collections et gravees par A. 
 Clener ; accompagniees d'ex- 
 plications par Aubin Louis Milin, 
 membre de FInstitut et de la 
 Legion d'honneur ; publiees par 
 Mr. Dubois Maisonneuve. Paris, 
 P. Didot, 1808-1810. Fol. T. 1, 
 pp. xx-124 ; with 72 pis. T. 2, 
 pp. 146 ; with 78 pis. and text 
 illustrs. 80 fcs. A few copies 
 coloured by hand were pub- 
 lished at 1,125 fcs. 
 
 " Antique vase paintings, commonly 
 called Etruscan, from various collections, 
 engraved by A. Clener, etc." 
 
 Like all other engravers of Greek vase paint- 
 ings of his time, Clener, a pupil of Tischbein, 
 worked under the misapprehension that all 
 apparent incorrectness in the original was to 
 be amended in the reproduction. Consequently 
 his oulines were voluntarily inaccurate, and 
 the literal style of the vase painter was trans- 
 lated into the formal and conventional manner 
 adopted by the Empire School. In the explana- 
 tory notices which form the introduction to 
 the work, Millin has displayed consummate 
 erudition. His knowledge of antiquity always 
 supplies him with a mythological allegory, 
 through which a puzzling subject may find an 
 elucidation. The larger part of his abstruse 
 speculations have had, later on, to be consigned 
 to dreamland, whence they came. Nevertheless, 
 if we make allowance for the prevailing taste and 
 the partiality for metaphysical considerations, 
 to which he so willingly sacrificed commonsense, 
 we find in his discantations enough solid in- 
 struction and enlightening matter to make these 
 magnificent volumes one of the greatest monu- 
 ments erected to the glory of Greek ceramic art. 
 
 The name of Dubois Maisonneuve, who pub- 
 lished the work, appears sometimes in the cata- 
 logues as that of a joint author. As a matter 
 of fact Dubois Maisonneuve did not participate 
 in its preparation, but he brought out, subse- 
 quently, under his own name, another folio 
 volume on Greek vase paintings, which should 
 not be confounded with the present one. 
 
 MILLIN (A. L). Description d'un 
 vase trouve a Tarente. Paris, 
 Wasermann, 1814. 8, pp. 16; 
 with 1 pi. 
 
 "Description of a vase discovered at 
 Tarente." 
 
 The Greek inscription inscribed on the vase 
 indicates that it was intended to contain the 
 drogue known as Lykion of Jason. Millin took 
 it as meaning that the pot belonged to a public 
 school called the Jason Lyceum. Tochon 
 
 291 
 
MIL] 
 
 CERAMIC LITERATURE. 
 
 [MIL 
 
 d'Anncey has restituted the true sense of the 
 inscription in his paper Dissertation sur I'in- 
 scription grdcque (Licium de Jason). Paris, 1816. 
 4, with 3 col. pis. 
 
 MILLIN (A. L). Description des torn- 
 beaux de Canosa, ainsi que des 
 bas-reliefs, des armures et des 
 vases peints qui y ont ete de- 
 couverts en 1813. Paris, Vavas- 
 seur, 1816. Fol., pp. 45 ; with 
 15 pis. 20 fcs. 
 
 " A description of the tombs of Canosa, 
 also of the bas-reliefs, armours, and 
 painted vases discovered therein." 
 
 Antique vases occupy a more important place 
 in this work than can be anticipated by the 
 wording of the title ; thirteen of the plates, 
 mostly double size, represent very important 
 subjects of vase paintings. 
 
 Description d'un vase peint 
 representant le combat des Grecs 
 et des Amazones en presence des 
 Dieux protecteurs. S.d. 8, pp 
 16 ; with 3 pis. 
 
 " Description of a painted vase repre- 
 senting the battle of the Greeks against 
 the Amazons in the presence of the 
 protecting Gods." 
 
 Dictionnaire des Beaux- Arts. 
 Pam,Desray, 1806. 3vols. 8. 
 
 Short articles on faience, porcelain, vases, 
 etc. 
 
 Raccolta di vasi grechi-et- 
 ruschi. Venezia, A. Sanquirico. 
 S.d. (1833 ?). 19 pis. 
 
 " Collection of Greco-Etruscan vases." 
 
 Odd plates of vases, mostly inedited, and 
 without Nos. This collection is not, to my 
 knowledge, mentioned by any writer. There is 
 no letterpress, and the title does not bear the 
 name of the author. It was attributed to 
 Millin by the former owner of my copy. 
 
 Description de trois peintures 
 inedites de vases grecs du Musee 
 de Portici. S.I., n.d. 4; with 
 3 pis. 35 fcs. 
 
 " Description of three inedited paint- 
 ings of Greek vases in the Portici 
 Museum." 
 
 Three vases with paintings of obscure inter- 
 pretation. 
 
 292 
 
 MILLINGEN (J. Y.). --Peintures an- 
 tiques et inedites de vases grecs, 
 tirees de di verses collections, 
 avec des explications by James 
 V. Millingen. Rome, De Rom- 
 anis, 1813. Fol., pp. xiii-84 ; 
 with 63 pis. 40 fcs. 
 
 " Paintings of antique and unpublished 
 Greek vases from various collections." 
 
 - Peintures antiques de vases 
 grecs de la collection de Sir 
 John Coghill, Bart., et de di- 
 verses collections, avec des ex- 
 plications. Rome, 1817. 2vols. 
 Fol.; with 120 pis. 120 fcs. 
 
 " Paintings of antique Greek vases from 
 the collection of Sir John Coghill, and 
 various other collections, with explana- 
 tions." 
 
 The plates engraved for the above volumes 
 are considered as heavy, but tolerably correct 
 reproductions of the originals ; they appear to 
 follow the lines of a tracing taken from the vase 
 itself. A new departure from the established 
 method of dealing with the subjects of the 
 paintings is to be noticed in the explanatory 
 text. Unlike his predecessors Millingen de- 
 scribes the picture as he sees it. Far from con- 
 sidering a subject as a recondite allegory re- 
 quiring a mystical elucidation, if the scene admits 
 of a very simple explanation he details it, and 
 passes no further comments upon its signifi- 
 cation. Born in London in 1774, Millingen 
 spent the greater part of his life in France and 
 in Italy. 
 
 - Ancient inedited monuments. 
 Series I. Painted Greek vases 
 from collections in various coun- 
 tries, principally in Great Brit- 
 ain. London, 1822. Sm. fol., 
 pp. 105 ; with 40 col. pis. Series 
 II. Statues, busts, bas-reliefs, 
 etc. London, 1826. Pp. 39 ; 
 with 20 pis. 1, 10s. 
 
 MILLONE (L. de). Petit guide illus- 
 tre du Musee Guimet. 3 e recen- 
 scion. Paris, Leroux, 1897. 12, 
 pp. 295 ; with text illustrs. 
 
 " Illustrated handbook of the Guimet 
 Museum." 
 
 An important collection of Oriental pottery 
 and porcelain occupies two of the galleries of 
 the Guimet Museum. The Japanese portion, 
 for the arrangement of which the information 
 
MIL] 
 
 CERA MIC LITER A TURE. 
 
 [MIN 
 
 given in Oueda's book La ceramique Japonais 
 has been put to goodjprofit, may serve as 
 guide for the formation and classification of & 
 collections of Japanese ware. 
 
 MILLY (N., Cte. de). L'art de la por 
 celaine. Paris, 1771. Sm. fol. 
 pp. xxxii-60 ; with a frontis 
 piece and 8 pis. engraved b;y 
 Ransonette. 15 fcs. A Ger- 
 man translation was publ. ai 
 Brandenburg, 1774. 
 
 " The art of porcelain making." 
 
 Nicholas Christiern de Thy, Comte de Milly 
 being a resident at the Court of a German prince 
 who glorified in the possession of a porcelain 
 manufactory, conceived the notion of mastering 
 through frequent visits to the factory, sufficiem 
 information to write a practical treatise on por- 
 celain-making. He had, no doubt, to proceed 
 with excessive caution in the course of his in- 
 vestigation ; had his intention been suspected, 
 the gates of the establishment would certainly 
 have been closed against him. We know what 
 precautions were taken at the time to prevent 
 outsiders prying into the secrets of manufacture, 
 yet no detail seems to have escaped his obser- 
 vation. In France the composition of the body 
 of hard porcelain was no longer a mystery ; De 
 Montigny, Macker, Guettard, and others had 
 already experimented with success on the French 
 kaolins, but the production was still left in its 
 experimental state. The whole process of manu- 
 facture, as carried on in Germany in all the 
 ramifications of the Dresden works, was suddenly 
 vulgarised by the publication of De Milly's L'art 
 de la porcelaine. It is easy to recognise that all 
 the drawings, subsequently engraved in France, 
 were executed abroad. The shapes of the ovens, 
 the peculiarity of the trade appliances, betray 
 their German origin. We cannot mistake the 
 style of the rococo ornamentation of the wains- 
 coted state-room in which we see the painters at 
 work ; it is one of the apartments of the royal 
 " Schloss " that the anonymous prince had de- 
 voted to the establishment of his porcelain 
 manufactory. Although De Milly had prudently 
 concealed the name of the place where he had 
 learned the secrets of the trade, it has since 
 transpired that it was the Ludwigsburg factory. 
 The treatise, which was at first read from the 
 MS. at a meeting of the Royal Academy of 
 France, was printed a few years after to make 
 part of the great Encyclopedia of Diderot et 
 D'Alembert. Its appearance was followed by 
 the publication of a number of ill-disguised imi- 
 tations, when they were not mere translations in 
 a foreign language, all claiming to be original 
 works on the subject. 
 
 MINARD (L.). Recueil descriptif des 
 antiquites et curiosites du xiii e 
 au xix e siecle formant la collec- 
 tion de Louis Minard van Hoore- 
 beke, architect a Gand. Gand, 
 1866. Sm. fol., pp. 377 ; with 
 
 42 pis. engr. by Ch. Onghena. 
 40 fcs. 
 
 "Description of the antiquities and 
 
 curiosities, from the thirteenth to the 
 
 nineteenth century, composing the col- 
 lection of L. Minard." 
 
 Formed, at the best moment of the collecting 
 rage, by a fervent archaeologist of the old school 
 this collection illustrates, with examples of the 
 highest order, the development of the artistic 
 handicrafts in Flanders and the Low countries 
 from the mediaeval ages. The section on ceramics 
 comprises about one thousand specimens, ancient 
 stoneware being particularly well represented. 
 This catalogue is unfortunately deficient in 
 historical information. Each piece is minutely 
 and accurately described, but no trouble seems 
 to have been taken to ascertain the particulars 
 as to the place of origin, the period of manu- 
 facture, the name of the maker, nor is any 
 suggestion ventured upon any of these points. 
 The plates, due to the same artist that illus- 
 trated the Huyvetter Catalogue, are engraved 
 on too diminutive a scale to be of any use, 
 except as memoranda. 
 
 A most whimsical idea on the part of the 
 collector has been to prefix to each section a 
 short explanatory notice, printed in Gothic 
 letters, so artfully disposed that the mass of the 
 printed matter stands out upon the white paper 
 as the dark silhouette or shadow of one of the 
 typical objects belonging to that section. 
 
 MINARD (Collection L.). Catalogue of 
 sale. Gand, 1883. 8, pp. 243 ; 
 with 30 photos, and 8 diagrams. 
 15 fcs. 
 
 The sale took place after the death of the 
 collector, under the direction of Mr. H. van 
 Duyse, who prepared an excellent catalogue for 
 the occasion. From the amount of valuable 
 information compressed in this catalogue, we 
 may judge of the advance of knowledge that 
 had taken place in a few years, particularly 
 with respect to ancient stoneware, one of the 
 interesting features of the collection. The speci- 
 mens are no longer grouped according to shapes 
 and colours, as hitherto ; but an arrangement 
 by the various localities of origin, periods of 
 manufacture, and styles of decoration has been 
 adopted. Good photographic reproductions 
 might have allowed us to appreciate the re- 
 markable pieces so badly engraved by Onghena 
 in the private catalogue, but so many objects 
 are crowded upon the same plate that the 
 details of each are practically undistinguishable. 
 
 MERYINI (G.). - - Descrizione di 
 alcuni vasi fittili antichi della 
 collezione Jatta. Parte prima : 
 Divinita. Napoli, 1846. 8, pp. 
 163. 
 
 " Description of a few fictile vases of 
 the Jatta Collection. Part i. : Divinity." 
 (No more published.) 
 
 293 
 
MIN] 
 
 CERA MIC LITER A TURE. 
 
 MINERYINI (G.). Illustrazione di un 
 vaso ruvese del real Museo 
 Borbonico. Napoli, stamp. 
 Reale, 1851. 4, pp. 27; with 
 Ipl. 
 
 " Description of a vase from Ruvo in 
 the Naples Museum." 
 
 Illustrazione di un vaso Vol- 
 
 gente rappresentante Ercole 
 presso la famiglia di Eurito. 
 Napoli, 1851. 4, pp. 17 ; with 
 Ipl. 
 
 - II mito di Ercole che succhia 
 il latte di Giunone. Napoli, 
 1854. 
 
 " The myth of Hercules sucking the 
 milk of Juno." 
 
 - Memorie accademiche. Nap- 
 oli, 1862. 4, pp. 117 ; with 9 
 pis. 
 
 " Academic memoirs." 
 
 Containing notes upon the vase of Perseus 
 and Pentea; Perseus and Andromeda upon a 
 vase from Canosa, etc. 
 
 - Terre cotte del Museo Cam- 
 pano publicate ed illustrate da 
 G. M. Napoli, 1880-86. Fol.; 
 with 33 lith. pis. 
 
 " Terra-cottasof theCampano Museum." 
 
 The museum was opened to the public in 1874. 
 It occupies the ancient palace of S. Cipriano, at 
 Capua, and contains several thousand specimens 
 of terra-cottas all found in the excavations 
 conducted in the neighbourhood of the town. 
 This work, which was intended to be the illus- 
 trated catalogue of the collection, has remained 
 uncompleted. It was to have been divided into 
 three parts : I. Terra-cottas of rough work- 
 manship and primitive style. II. Greek work 
 of the archaic period. III. Terra-cottas of the 
 highest style of art and of more recent periods. 
 
 MINNS (G. W. W.). Acoustic pottery. 
 Norwich, 1872. 8, pp. 9 ; with 
 1 pi. and text illustrs. (Reprint 
 from the Trans, of the Norfolk 
 Archaeological Society, vol. vii.) 
 
 Earthen jars had often been found embedded 
 in the masonry of mediaeval churches of various 
 countries. Many strange conjectures have been 
 ventured in explanation of their presence. That 
 they were placed there to increase the sonority 
 of the building was demonstrated by the papers 
 written on the subject by the French archseo- 
 
 294 
 
 logists. On the occasion of the discovery of 
 many acoustic pots, made at Norwich in the 
 course of the work of restoration carried on in 
 two of the churches of the town, Mr. Minns 
 compiled this excellent summary, not only of the 
 groundless theories that were at first circulated, 
 but of the conclusive evidences that were later 
 on produced by the members of the antiquarian 
 societies, in support of the assertion that it 
 was a constant practice in olden times to build 
 up terra-cotta jars into the walls of theatres 
 and churches simply for acoustic purposes. 
 
 MINTON (H.). Catalogue of encaustic 
 tiles manufactured by Minton, 
 Hollins, and Wright, of Stoke- 
 on-Trent. 4 (1844). Contains 
 117 patterns of inlaid tiles with 
 5 double plates showing the 
 schemes of complete pavements. 
 
 Mr. Herbert Minton, son of Thomas Minton, 
 the founder of the firm, is justly considered as 
 the creator of the modern industry of tile- 
 making. Foreseeing the importance that orna- 
 mental earthenware tiles were bound to assume 
 in the decoration of public and private buildings, 
 he carried out a protracted series of experiments, 
 with a view of settling the best process of manu- 
 facture. His first trials were directed towards 
 the reproduction of the examples left by the 
 mediaeval tile-maker. As early as 1828 he had 
 succeeded in producing two complete pavements 
 for the restoration of Gothic churches. But so 
 uncertain and costly had been his method of 
 production that the result was far from satis- 
 factory so far as remuneration was concerned. 
 His partners did not share his confidence in 
 the ultimate success of a venture which offered 
 such difficulties at the outset, but he continued 
 his experiments in spite of their strong opposi- 
 tion. With the application and development of 
 a process invented and patented by S. Wright, 
 of Shelton, in 1844, which he acquired from the 
 inventor, affairs took a new face. The manu- 
 facture was henceforth regularly established, and 
 tile- making, carried on upon an ever-increasing 
 scale, began to yield large profits to the firm. 
 A novel and prosperous branch of English cer- 
 amics had been created. He lived to see its 
 wonderful extension, and could proudly boast 
 that it was chiefly due to the indefatigable energy 
 he had displayed in its establishment. 
 
 This pattern- book has no title page ; it is 
 printed in red ink upon yellow paper. The 
 designs are partly copies of mediaeval tiles, and 
 partly original sketches by Welby Pugin and 
 other contemporary architects. 
 
 MINTONS. A brief descriptive ac- 
 count of a visit to the china, 
 earthenware, and tile works of 
 Mintons (Limited), Stoke-oii- 
 Trent. Stoke-on-Trent, 1884. 
 12, pp. 21. (For private dis- 
 tribution.) 
 
CERAMIC LITERATURE!. 
 
 [MIN 
 
 This sketch, written at the time when the 
 firm had attained the apex of its worldly fame and 
 prosperity, describes the various departments of 
 manufacture, and the varieties of ceramic pro- 
 ductions which had made of Mintons an estab- 
 lishment unique in Europe for the wide range of 
 its specialities, as well as for the technical per- 
 fection brought into the working of all the 
 branches of the potter's art, carried on conjointly 
 in the vast manufactory. The pamphlet will 
 be of good assistance to the future historian of 
 " Mintons' Works." 
 
 Messrs. Minton have brought out sundry 
 illustrated catalogues, among which the follow- 
 ing may be mentioned : 
 
 Selected patterns of enam- 
 elled tiles . . . etc., Mintons, 
 Limited, China Works. 4 (1870 
 and f.y.) 
 
 Flower pots, garden seats, 
 jugs, etc., in rich coloured glazes, 
 and new designs for fountains in 
 majolica, and decorated earthen- 
 ware for conservatories and pub- 
 lic buildings. Stoke-on-Trent, 
 
 1887. 4; 13 pis. etched on 
 copper by W. Wise. 
 
 - Breakfast, tea, dinner, and 
 toilet patterns. Stoke-on-Trent, 
 
 1888. 8 ; 27 chromolith. pis. 
 
 The Queen's Jubilee vase. 
 Presented to Her Majesty by 
 Mintons, Limited. London, print. 
 by Bemrose & Sons, 1887. 4, 
 pp. 12 ; with 4 collotyp. pis. 
 
 A vase of large dimension, with subjects 
 painted in Pate-sur-Pate, in which the chief 
 events of the reign of H.M. Queen Victoria were 
 represented in emblematic figures. 
 
 - Saint Louis Exhibition. 
 on-Trent, 1904. Sq. 8, pp. 18 ; 
 with 3 pis. 
 
 Mintons' Secessionist ware. 
 Illustrated catalogue, 1904. 12, 
 pp. 28. 
 
 - Catalogue of enamelled tiles 
 for wall decoration. 1906. 4, 
 9 col. pis. 
 
 - Pate-sur-Pate, by M. L. Solon. 
 Newcastle, G. F. Bagguley. Fol., 
 pp. 13 ; with 10 heliogr. pis. 
 
 MINTON, ROLLINS & CO. Patent tile 
 works. Stoke-upon-Trent, 1877 
 and f. y. 4. 
 
 Pattern book of the tiles manufactured by 
 M. D. Hollins, formerly a partner in the Minton 
 firm. On dissolving partnership with M. C. M. 
 Campbell, Mr. Hollins took, as his share, the 
 manufacture of the patented encaustic tiles, 
 which he removed into an extensive manufactory 
 built by him, also at Stoke-upon-Trent. The 
 original firm was henceforth debarred from pro- 
 ducing the inlaid tiles, called encaustic, but con- 
 tinued to manufacture those decorated with 
 painting and enamelling. 
 
 MINUTOLI (A. von). - - Vorbilder fur 
 Handwerker und Fabricanten 
 aus der Sammlung des Minuto- 
 lischen Instituts fur Veredlung 
 der Gewerbe und beforderung 
 der Kiinst in Liegnitz. Liegnitz, 
 1854-63. 6vols. Fol. A 2nd 
 ed. in 8 vols., fol., was issued 
 in 1868. It contains 800 photos, 
 representing about 5,000 sub- 
 jects. There is no letterpress ; 
 the title page is illuminated by 
 hand. Issued privately in a 
 very limited number of copies. 
 
 " Models for the use of artists and 
 manufacturers selected from the collection 
 of the Minutoli Institute, for the improve- 
 ment of industry and the advancement 
 of art in Liegnitz." 
 
 An attempt at classifying the plates according 
 to subject has been made in the last edition, 
 in which ceramics form Parts i.-ii. It offers a 
 particular interest for the study of German 
 pottery, stoneware, and porcelain, represented 
 by a large number of specimens. The South 
 Kensington Museum possesses an incomplete 
 copy ; the photos, seem to be rapidly fading 
 away. 
 
 MINUTOLI (Collection A. von). --Cata- 
 logue of sale. Berlin, 1872. 8, 
 pp. 318. 
 
 This catalogue, originally prepared for the 
 guidance of the visitors at the Minutoli Institute 
 at Liegnitz, was used for that of the sale con- 
 ducted by Heberle at Cologne, Oct., 1875. 
 Ceramic section, Nos. 187-804. It was on that 
 occasion accompanied with an album of 100 
 phototyp. pis. reproducing the most interesting 
 objects included in the various sections. 
 
 MINUTOLI (Collection H. von). --Cata- 
 logue of sale. Leipzig, 1858. 4. 
 Oriental porcelain, pp. 53-79 ; 
 with 4 lith. pis. 
 
 295 
 
MIR] 
 
 CERAMIC LITERATURE. 
 
 [MON 
 
 MIRONOFF (A.). Representations of 
 after-life in Greek vase paintings. 
 Moscou, 1895. (In Russian.) 
 
 MOELLER. DieVerlegungderKonigl. 
 Berliner Porzellan-Manufactur. 
 Mit Situationsplan, den Planen 
 der Siplammerei-Gebaude, der 
 Dreherei u. Formereigebliude, 
 der Ofengebaude, der Gas-Ofen, 
 der Gebaude fiir die Maschinen, 
 Kapseldreherei, Gas und Schlei- 
 ferei. Berlin, 1873. Fol., pp. 
 36 ; with 6 engr. pis. (Extr. 
 from the Zeilschrift fur Bau- 
 wesen, xxiii year.) 10 m. 
 
 " Architectural survey of the royal 
 porcelain manufacture of Berlin. Plan, 
 section, and elevation of the buildings for 
 workshops, kilns, ovens, sagger-making, 
 griding machinery, etc." 
 
 MOLIN (A. de). Histoire documen- 
 taire de la manufacture de por- 
 celaine de Nyon, 1781-1813. 
 Lausanne, Bridel, 1904. 4, pp. 
 113; with 10 col. pis. and 38 
 illustrs. 20 fcs. 
 
 " Documentary history of the Nyon 
 porcelain factory." 
 
 Having finally disposed of the current story 
 that there had been two porcelain factories at 
 work at Nyon, the first one having been started 
 by a group of Sevres workmen, the author enters 
 at once into the heart of his subject. 
 
 In 1781 one Jacob Dortu, of Berlin, obtained 
 from the municipal council the permission to 
 establish a porcelain manufactory in the town of 
 Nyon. He worked, at first, in association with 
 Ferdinand Miiller, but five years afterwards 
 separated from his partner. An attempt was 
 made at that moment to transfer the works to 
 Geneva. This attempt having been unsuccess- 
 ful, Dortu reassumed the management, in part- 
 nership with Zinkernagel. They added to the 
 business the manufacture of earthenware after 
 the English fashion, but the business continued 
 to be far from prosperous. A statement of 
 accounts, drawn up in 1790, shows a deficit of 
 16,920 francs. The factory had never been able 
 to sell more than one-half of the production. 
 Finally, the affairs were wound up in 1813. Mr. 
 Michaud is now the proprietor of the works, 
 where he makes domestic earthenware. 
 
 Numerous and excellent reproductions in 
 colour make this exhaustive monograph a most 
 elegant volume. 
 
 MOLINARI (F.). Laterizi, Gesso, Poz- 
 zolane, etc. Milano, Dumolard, 
 
 296 
 
 1887. 8, pp. 334; with 87 
 
 illustrs. 4 fcs. 
 
 " Brick and tile, plaster, cements, etc." 
 Part I. Brick and Tile Manufacture, pp. 108. 
 
 MOLINIER (E.). Les majoliques itali- 
 ennes en Italic. Paris, Picard, 
 1883. 8, pp. 117 ; marks and 
 illustrs. 5 fcs. 
 
 " The Italian majolicas in Italy." 
 
 Notes taken, during a tour through Italy, 
 upon the local collections of majolica, with re- 
 marks upon the earliest specimens that they 
 contain. 
 
 La ceramique italienne au 
 xv e siecle. Paris, Leroux, 1888. 
 12, pp. 88 ; with text illustrs. 
 2 fcs. 
 
 " Italian ceramics of the fifteenth 
 century." 
 
 Descriptive of the few examples of Italian 
 majolica, and particularly of the tile pavements 
 which can safely be attributed to the earliest 
 period of manufacture. 
 
 Catalogue de F Exposition 
 nationale de la Ceramique et de 
 tous les arts du feu. Paris, 
 1897. 8, pp. 38; with text 
 illustrs. 
 
 This exhibition, to which all the French manu- 
 facturers had been asked to contribute, was held 
 at the Champs-de-Mars in 1897. The catalogue 
 contains a historical introduction by E. Molinier. 
 
 - Les Delia Robbias. See Cav- 
 
 alluci. 
 
 MOLINS (E. de). Catalogo del museo 
 provincial de antiquitades de 
 Barcelona. Barcelona, 1888. 
 8 ; with text illustrs. 4 fcs. 
 
 Ceramics are represented in the Barcelona 
 Museum by Roman pottery, pp. 62-78 ; faience, 
 pp. 281-283. 
 
 MONACHESI (Mrs. N. di R.)- A manual 
 for china painters. Being a 
 practical and comprehensive 
 treatise on the art of painting 
 china and glass with mineral 
 colours. Boston, Lee & Shepard 
 1897. 12, pp. xii-286 ; with 5 
 pis. of painting colours and il- 
 lustrs. in the text. 4s. 
 
MON] 
 
 CERAMIC LITERATURE. 
 
 [MON 
 
 MONACO (D.) and ROLFE (E. N.). --A 
 complete handbook to the Na- 
 ples Museum. London, 1886. 8. 
 
 Painted vases, pp. 177, et seq. 
 
 MONCEAU (H.)- - - Les carreaux de 
 
 Bourgogne. (In the Revue des 
 
 Arts decoratifs, 1881.) 4, pp. 14 ; 
 
 with 2 col. pis. and text illustrs. 
 
 " The tiles of Burgundy." 
 
 Several tile pavements belonging to that pro- 
 vince, and dating from the thirteenth to the 
 sixteenth century, are described in this short, 
 but most interesting paper. Some of these 
 pavements are mentioned in it for the first 
 time ; those discovered at Beaune, the remains 
 of which are preserved in the Hospital, may rank 
 among the best examples of the kind. The tiles 
 were made by order of Chancellor Rolin, of Dijon, 
 in 1447. Contemporary documents have handed 
 down to us the conditions under which the work 
 was executed. They tell us that coloured 
 sketches were at first submitted to the Chancellor 
 for his approval, after which the approved de- 
 signs were placed in the hands of Jehannin 
 Fouqueret, a figure carver of the town, who 
 undertook to cut the wooden forms required for 
 moulding and stamping the ornamental tiles. 
 A potter of Aubigny, named Denisot Jeot, was 
 entrusted with the manufacture of the tiles. 
 He agreed to make fifty thousand of them, for 
 which he was to receive two francs per thousand, 
 and four hundred pound weight of lead to be 
 employed in the glazing. Two important points 
 may be elicited from the tenour of these docu- 
 ments. First, that division of labour is not 
 such a modern institution as we are prone to 
 believe ; next, that the potter, in this case at 
 least, was no more than a subordinate operative, 
 who had no hand in the production of the de- 
 signs and of the moulds, and whose share in 
 the completion of the work was restricted to the 
 purely technical part of the manufacture. 
 
 Les carrelages histories du 
 
 Moyen-A^e et de la Renaissance, 
 Paris, Rouam, 1887. 2 parts. 
 16, pp. 148 ; with 70 illustrs. 
 drawn by A. Guillon. 1 fc. 50 c. 
 
 A brief historical survey of the art of tile- 
 making in various countries. A handbook in- 
 tended for the use of students in the French 
 schools of art. 
 
 MONESTROL (F., Marquis de). Exposi- 
 tion des Arts industriels. Des 
 causes de la splendeur et de la 
 decadence des arts ceramiques. 
 Paris, 1863. 8, pp. 8. 
 
 " Exhibition of industrial arts. On the 
 causes of the prosperity and decline of the 
 ceramic arts." 
 
 Le potier de Rungis, poeme 
 en 26 chants. Paris, 1864. 8, 
 pp. 52. 
 
 The poetical lucubration of an eccentric spirit 
 whose cherished ambition was to be taken for 
 a modern Palissy. He was particularly proud 
 of having had to suffer, like his model, the 
 painful ordeal of a necessitous existence, aggra- 
 vated by the constant failure of his technical 
 experiments. Despising every advice, and re- 
 fusing all assistance, he made bold attempts to 
 discover anew the secrets of the potter's art. 
 Abortive trials, unshapely earthenware pots, 
 almost grotesque in their imperfection, were all 
 that he could ever produce. His pride found 
 self-consolation in the writing of a biographical 
 poem in which the lofty aspirations of his genius 
 and the struggles he had to sustain against in- 
 exorable fate always defeating his best-matured 
 plans are pompously related. We scarcely need 
 say that the poem is of much the same order as 
 the pottery. Rungis, where he had established 
 his kiln, is a small village in the neighbourhood 
 of Orleans. 
 
 - Compte rendu par le potier 
 de Rungis sur la ceramique. 
 Paris, 1865. 8, pp. 23. 
 
 " Report on ceramics by the Rungis 
 potter. Exhibition of Industrial Art, 
 1865." 
 
 MONGEZ (A.)- Memoire sur les vases 
 Murrhins. Paris, 1804. (In the 
 Memoir es de Vlnstitut national 
 des Sciences et des Arts.) 
 " Memoir on the Murrhine vases." 
 
 MONK and NEWELL. The Ruabon terra- 
 cotta, brick, and tile works. S.I., 
 1887. Fol. ; 26 pis. Pattern 
 book. 
 
 MONKHOUSE (W. C.)- Vallauris 
 its allies. London, 1882. 
 (In the Magazine of Art.} 
 
 and 
 
 4, 
 
 An article on the artistic faience of Massier 
 Bros., of Vallauris (Var.) 
 
 M. L. Solon. London, 1890. 
 4, pp. 8 ; with text illustrs. 
 (Reprint from The Magazine of 
 Art.} 
 
 A selection of the porcelain pieces, with decor- 
 ation in " Pate-sur-Pate," made at Minton's 
 factory by L. Solon, is described in this paper, 
 which contains also a few biographical notes 
 on the artist. 
 
 - Burlington Fine Arts Club. 
 Catalogue of an exhibition of 
 
 297 
 
MON] 
 
 CERAMIC LITERATURE. 
 
 blue and white Oriental porce- 
 lain. London, 1895. 4, pp. 
 xxii-55. 
 
 MONKHOUSE(W. C.) Burlington Fine 
 Arts Club. Catalogue of col- 
 oured Chinese porcelain. London, 
 1896. 4, pp. xiii-67. 
 
 Cosmo Monkhouse has prefixed a historical 
 introduction to the above catalogues. 
 
 - Chinese porcelain. With a 
 preface and notes by Dr. S. W. 
 Bushell. London, Cassell & Co., 
 1901. 8, pp. xii-176 ; with 24 
 col. pis. and 64 illustrs. 1, 10s. 
 
 No better compendium of our present know- 
 ledge of Oriental ceramics could be desired than 
 this handsome volume, for the writing of which 
 the best authorities on the matter have been 
 put under contribution by an experienced con- 
 noisseur. The illustrations have been taken 
 chiefly from specimens in the Victoria and Albert 
 Museum, and the collection of Mr. G. Salting ex- 
 hibited there. Mr. Cosmo Monkhouse died 
 shortly before the publication of the book. 
 
 MONOT (E.). L'Exposition Univer- 
 selle de 1889. Ouvrage histor- 
 ique, encvclopedique et descrip- 
 tif. Paris, 1890. Svols. 4; with 
 an album of 82 pis. and 1,200 
 illustrs. 25 fcs. 
 
 " The International 
 1889." 
 
 Exhibition of 
 
 MONTANARY (G. T.)- Intorno ad al- 
 cune maj cliche dipinte che esis- 
 tono nella collezione del Nobile 
 Signer Cavaliere Domenico Maz- 
 za, Pesarese. Lettera. Pesaro, 
 1836. 8, pp. 45. 
 
 " Notice of some painted majolica in 
 the collection of Cavaliere Domenico 
 Mazza, of Pesaro. A letter to L. Ber- 
 tuccioli." 
 
 This remarkable collection, which comprised 
 over 230 specimens, was still in the hands of 
 the collector when it was described by Montanary. 
 The catalogue of its contents is of more interest 
 than the verbose disquisition which is prefixed 
 to it. The collection, bequeathed later on to 
 the hospital of Pesaro, formed the nucleus of 
 the civic museum, where it is now exhibited. 
 
 MONTFERRAND (R. de). Apergu sur 
 1'art ceramique italien. Collec- 
 
 298 
 
 tion de Majolica de Mr. A. Ricard 
 de Montferrand. Saint Peters- 
 bourg, 1854. 8, pp. vii-561 ; 
 with 3 pis. 
 
 " A glance on the Italian ceramic art. 
 The majolica collection of Mr. A. R. de 
 Montferrand." 
 
 This collection, now dispersed, was originally 
 formed by the Russian painter Orlowski, who 
 published his catalogue in 1834. The 592 Nos. 
 which composed the Montferrand Collection are 
 insufficiently described. 
 
 - Catalogue of sale. London, 
 Christie's, 1859. 8, pp. 29; 
 with 14 pis. 
 
 R. de Montferrand was the architect of the 
 monument erected in St. Petersburg to the 
 memory of Emperor Alexander. He possessed 
 also an important collection of antique marbles. 
 
 MOORE (B.) and MELLOR <J. W.). The 
 absorption and dissolution of 
 Gases by Silicates. "Spit-out." 
 Longton, 1908. 8, pp. 20; with 
 illustrs. (Reprint from the 
 Trans, of the English Cer. Soc.) 
 
 An inquiry into the causes of an accident 
 which occurs in the manufacture of pottery, 
 technically called Spitting. 
 
 MOREAU-NELATON (E.). Camille 
 Moreau, painter and ceramiste, 
 1840-1897. Paris, Floury, 1899. 
 2 vols. Fol. Vol. i., Ceramique, 
 pp. 12, and 80 heliogr. pis. with 
 descriptive notices. 200 copies 
 printed. 4. 
 
 This sumptuous publication is the dutiful 
 tribute paid by the author to the revered memory 
 of his talented mother. Two distinct parts may 
 be made of the artistic work of Madame Moreau- 
 Nelaton's prolific career. Alternately, a pas- 
 sionate lover of nature, and a staid adept of 
 decorative art, she passed from the representa- 
 tion in oil painting of graceful subjects of genre 
 and realistic landscapes to the decoration of 
 ceramic objects, treated in a masterly style of pure 
 ornamentation. Never, to her great credit, did 
 she allow one style of work to encroach upon 
 the other ; she avoided placing in ceramic 
 colours upon a vase or a dish such subjects as 
 could be better rendered on the canvas. She 
 never took much part in the actual manufacture ; 
 the ware, the enamels, and the pigments were 
 supplied to her by the leading contemporary 
 fa'ienciers. The faience she has embellished with 
 her work is consequently often different in the 
 material, but the whole of it holds together by 
 dint of a peculiar understanding of decorative 
 
MOR] 
 
 CERAMIC LITERATURE. 
 
 [MOR 
 
 effect which can be recognised as her own. Her 
 painted faience is well represented in the "Musee 
 des Arts Decora tifs " at Paris. 
 
 MOREL-FATIO (A.). Comer Barrow. 
 Macon, 1896. 8, pp. 9. (Re- 
 print from the Melanges de phil- 
 ologie romane.) 
 
 An essay on the edible clays of Spain and 
 Portugal. 
 
 MOREY (P.) Les statuettes dites 
 de Terre de Lorraine, avec un 
 expose de la vie et des oeuvres 
 de leur principaux auteurs : 
 Cyffle, Sauvage dit Lemire, Gui- 
 bal et Clodion. Nancy, impr. 
 Crepin-Leblond, 1871. 8, pp. 
 46. 
 
 " The statuettes known as ' Terre de 
 Lorraine,' with a notice of the lives and 
 work of their makers, etc." 
 
 Cyffle, a talented sculptor, born at Bruges in 
 1724, obtained in 1769 a royal privilege for the 
 manufacture of groups and figures with a certain 
 mixture of clays closely resembling porcelain, 
 of which he had invented the composition. In 
 the factory he established at Luneville he ex- 
 ecuted in this material, which he called " Terre 
 de Lorraine," the numerous figures, groups, and 
 vases he had himself modelled for the purpose. 
 The writer of this notice warns us, however, 
 that all the examples of these figures do not 
 come from the small establishment he managed 
 for a few years only. They were, later on, 
 reproduced in the manufactories of Bellevue, 
 Saint Clement, and Nidervillers. The same 
 observation applies to the models of Lemire and 
 other contemporary sculptors, which were also 
 simultaneously executed in several places. One 
 of the most successful manufacturers in the 
 province was Nicholas Lelong, of Nancy, for 
 whom Clodion modelled a great number of his 
 celebrated terra-cottas. 
 
 An appendix to this paper gives a reprint oi 
 the price lists of the figures sold at Nidervillers, 
 Bellevue, and Saint Clement. 
 
 MORGAN (J. de). Recherches sur les 
 origines de 1'Egypte. L'age de 
 la pierre et les metaux. Paris, 
 E. Leroux, 1896. 8, Cera- 
 mics, pp. 151-165 ; with 11 
 chromolith. pis., reproducing a 
 great number of earthen vessels, 
 and text illustrs. 15 fcs. 
 
 All the examples given by Mr. De Morgan, 
 general director of Egyptian antiquities at Cairo, 
 have been discovered in tombs belonging either to 
 prehistoric times, or to the first three dynasties. 
 They may be divided into two classes, viz. : 
 
 The red pottery, plain or decorated with linear 
 patterns ; and the yellow pottery, painted in 
 red, sometimes with representations of human 
 figures and animals. The dish reproduced on 
 pi. 11 is of very different character. Tt is made 
 of black clay, and the design it bears is an 
 intaglio filled in with white. This design offers 
 a curious likeness to those painted on the 
 ancient Mexican pottery. Many of the speci- 
 mens of red pottery have received a fine polish, 
 and there is little in the making of these fine 
 vessels that denotes an early state of manu- 
 facture. 
 
 Fouilles a Dahchour en 1894- 
 
 95. Avec la collaboration de 
 Mr. G. Legrain et Mr. G. Jequier. 
 Vienne, 1903. 4, pp. viii-118; 
 with 27 pis. and 157 illustrs. 
 50 fcs. 
 
 " Excavations at Dahchour." 
 
 MORGAN (Mrs. Mary J.). The art col- 
 lection formed by the late Mrs. 
 M. J. Morgan to be sold by 
 auction at the American Art 
 Galleries. New York, 1886. 4, 
 pp. 303 ; with 53 etched and 
 phototype pis. 4, 4s. An 8 
 edit, with prices added was 
 printed in the same year. 
 
 The sale, one of the greatest ever held in 
 America, realised 1,206,299 dollars ; it was not 
 more than half the original cost of the collec- 
 tion. Ceramics were represented as follows : 
 Chinese porcelain, Nos. 242-350 ; and Nos. 420- 
 588 of the catalogue. Choice productions of 
 the chief European manufactories of modern 
 times, Nos. 796-948. Porcelain plaques in 
 frames, Nos. 1,020-1,069. A collection of costly 
 dessert plates painted expressly for Mrs. Morgan, 
 Nos. 1,142-1,271. 
 
 One could not expect that the modern por- 
 celain, on which money had been lavished, 
 would obtain the reckless prices paid for it by 
 the collector, but in some instances the fall was 
 even greater than was anticipated. A set of 
 eighteen dessert plates, which cost Mrs. Morgan 
 close upon two thousand pounds, fetched only 
 one quarter of that sum. The " Minton's Pate- 
 sur-Pate," of which there was a choice selection, 
 fared a little better, two pairs of vases reaching 
 1,040 and 1,600 respectively. The ancient 
 Chinese porcelain commanded the highest figures. 
 One single vase, eight inches in height, the 
 ground of which was of a peculiar reddish colour, 
 dubbed by some imaginative admirer " crushed 
 strawberry tint," was knocked down, after a 
 spirited bidding, for 3,600. 
 
 MORGAN (W. de). Report on the pos- 
 sibility of a manufacture of 
 glazed pottery in Egypt. Cairo, 
 
 299 
 
MOR] 
 
 CERAMIC LITERATURE. 
 
 [MOR 
 
 National Printing Office, 1894. 
 8, pp. 43. 
 
 A well-known English potter, Mr. W. de Morgan, 
 had been asked, during his stay in Cairo, to 
 enquire into the practicability of establishing 
 in Egypt the manufacture of pottery and por- 
 celain after the methods used in Europe. The 
 report on that subject which he addressed to the 
 minister of Public Instruction comes to the con- 
 clusion that, in the absence of suitable raw 
 materials, it would be impossible to make earth- 
 enware or porcelain in the country. Such clays 
 as might be available for potting purposes, 
 could only be employed for the making of ma- 
 jolica and delft ware. Even in this last case 
 he foresees difficulties, especially in the cost of 
 production, which render any expensive trials 
 unadvisable. 
 
 MORGENTHAU (J. C.). Ueber den 
 Zusammenhang der Bilder auf 
 griechischen Vasen. I. Theil : 
 Die schwartz - figuren Vasen. 
 Leipzig, 1886. 8, pp. 90. 2 m. 
 
 " On the relation that the separate 
 paintings of Greek vases bear to each 
 other. Part I. : The black-figured vases." 
 
 MORIERE. Essai sur la poterie de 
 Noron. Caen, Hardel, 1848. 4, 
 pp. 22. 
 
 - Industrie potiere dans le de- 
 par tement du Calvados. Caen, 
 Hardel, 1848. 4, pp. 13. (Re- 
 print from the Memoires de 
 rinstitut des provinces de France. ) 
 
 " The potting industry in the Calvados 
 Department." 
 
 - Industrie potiere dans le de- 
 partement du Calvados ; Essai 
 sur la poterie de Noron. Con- 
 siderations generates sur la fabri- 
 cation des poteries. Etat actuel 
 de la fabrication de la poterie 
 dite " en Gres " a Noron. Ameli- 
 orations que Ton pourrait ap- 
 porter aux precedes suivis a 
 Noron. Poterie de Gres allant 
 au feu d'apres le nouveau pro- 
 cede de Mr. F. Langlois. Im- 
 portance commerciale de la fab- 
 rication des poteries de Gres du 
 Calvados. Caen, Hardel, s.d. 
 8, pp. 38 ; with 9 lith. pis. (Re- 
 300 
 
 print from the Annuaire des cinq 
 departements de Fancienne Nor- 
 mandie.) 6 fcs. 
 
 " The potting industry in the Calvados 
 Department. General considerations on 
 the manufacture of pottery. Present 
 state of the manufacture of stoneware at 
 Noron. Improvements that could be 
 introduced in the processes actually in 
 use. Fireproof stoneware after the new 
 process of Mr. F. Langlpis. Commercial 
 importance of the stoneware industry in 
 the Calvados Department." 
 
 As the titles clearly imply, the above papers 
 are limited in their scope to a statistical survey 
 of the industry of common pottery in modern 
 Normandy. The ancient productions of this 
 particular district are, however, well known to 
 the ceramic student, and it is most interesting 
 to find that the earliest methods of manufacture 
 are still adhered to in some places. One of 
 them, Pres d'Auge, was celebrated for its figured 
 and coloured earthenware long before Palissy, 
 who borrowing the fundamental notions of the 
 old potters, transformed their rude but effective 
 style into a refined art. When we read the 
 description of one of the present pot- works of 
 Pres d'Auge, we realise that if the ghost of one 
 of the pot-makers of the fifteenth century were 
 to revisit the place he would find himself per- 
 fectly at ease with all the ways in which the 
 work is conducted. He would see that, as of 
 yore, after the pieces have been thrown on the 
 rudimentary wheel or fashioned by hand, they 
 are glazed, before any baking takes place, by 
 sieving on the surface the lead ore ground into 
 fine dust. Fillings of copper and manganese and 
 yellow ochre are still the only substances with, 
 which the glaze is coloured. The ovens them- 
 selves are built up on the ancient principles. 
 They form a long parallelogram with a fire 
 mouth at one end ; they have no chimney, but 
 small openings left in the opposite walls provide 
 for the issue of the smoke. The vault is con- 
 structed in the curious way noticed also in the 
 ruins of the old stoneware ovens of Germany. 
 Piles of conical pots are bent so as to form 
 a succession of arcades, the end of which rests 
 on the top of the side walls ; the whole con- 
 struction being finally cemented with fireclay. 
 The ware is not enclosed in saggers, yet it is said 
 that the firing in such ovens give excellent 
 results. 
 
 MORLEY (H.). Palissy the Potter. 
 The life of Bernard Palissy of 
 Saintes ; his labours and dis- 
 coveries in art and science, with 
 an outline of his philosophical 
 doctrines, and a translation of 
 illustrative selections from his 
 works. London, 1852. 2 vols. 
 8. 7s. 6d. 
 
MOR] 
 
 CERAMIC LITERATURE. 
 
 [MOR 
 
 Palissy the Potter. The life 
 of Bernard Palissy of Saintes. 
 London, Chapman & Hall, 1855. 
 1 vol. 8, pp. 494 ; with 5 
 woodcuts. 10s. 3rd ed., 1869. 
 
 A very conscientious and painstaking bio- 
 graphy, in which an attempt has been made to 
 embody and discuss all that had been printed upon 
 the old French potter and his time ; however, the | 
 subject was not yet ripe for final recapitulation. 
 Reliable materials were still wanting; perhaps for 
 that reason much has been interpolated in the 
 course of the history, which appears somewhat 
 inopportune and irrelevant. This was particu- 
 larly the fact with the first edition, in which 
 imaginary descriptions and dialogues had been 
 introduced to impart animation and local colour 
 to the tale, much to the detriment of its his- 
 torical worth. They were wisely expunged from 
 the second edition, yet it would have still further 
 benefited by more liberal excisions. With the 
 laudableintention of rendering the account perfect 
 and comprehensive, every possible opportunity 
 has been seized to divert it into lengthy digres- 
 sions. It is taken for granted that the reader 
 requires elementary instruction upon all sub- 
 sidiary points. Consequently we are offered a 
 long rehearsal of French history during the six- 
 teenth century, and the lives of many celebrated 
 men of the time, with whom Palissy was never 
 brought in contact, are, nevertheless, given 
 at full length. Our attention is constantly dis- 
 tracted from the main subject. The enamelled 
 cup shown to Palissy, and which decided his 
 vocation as a potter, brings in a history of 
 Italian majolica, and yet from what we know 
 this cup was probably a piece of Oriental por- 
 celain. Palissy had travelled much, and had 
 undoubtedly seen more than one example of 
 majolica ; an odd example of the same ware 
 could not have surprised him to that extent. 
 Besides, he never produced anything which may 
 be said to resemble majolica. His appointment 
 as land surveyor of Saintonges, on the occasion 
 of the re-adjustment of the Gabelles of the 
 province, gives an excuse for a few pages upon 
 the levying of the salt taxes in his time, a point 
 with which the potter had certainly nothing to 
 do. His joining the Reformed Church renders a 
 complete review of the progress of the Reforma- 
 tion in Europe apparently indispensable. Lastly, 
 many fatiguing repetitions are caused by the 
 plan which has been followed of considering 
 severally the various phases of the hero's char- 
 acter viz., as a man of the people, a potter, 
 a religious reformer, a naturalist, and a writer. 
 Large selections of extracts from his books illus- 
 trate each of the chapters, but the desultory 
 order in which quotations are given diminishes 
 the value of what might have been a serviceable 
 translation. 
 
 The choice of illustrations is not a happy one. 
 They consist of a fanciful portrait of the potter; 
 " The wife of Palissy," supposed to be repre- 
 sented by the figure of " The nurse," which was 
 not made by him ; the mark B.B., which is 
 not a Palissy mark, etc. 
 
 MORRELL (Mrs. Conyers). All about 
 
 painting on china ; with twelve 
 descriptive lessons. London, 
 
 1883. 8. 
 
 MORREN (P.). Catalogue of the val- 
 uable collection of Oriental por- 
 celain, Frankenthal and Dresden 
 groups, etc., of the late Mr. Paul 
 Morren, notaire of Bruxelles. 
 Catalogue of sale. London, 1879. 
 8, pp. 15 ; with 21 photos. 
 
 The collection comprised 230 Nos. 
 
 MORRIS (Rev. Canon). A Ducal Tea- 
 house ; by kind permission of 
 the Duke of Westminster, K.G. 
 Drawings by W. Palmer after 
 originals by H. Stacey Marks, 
 R.A. Manchester, The Decora- 
 tive Art Journal Co. , 1 890. Fol. , 
 pp. 12 ; with 29 lith. pis. of tiles 
 painted with birds and flowers, 
 and 7 double pis. of tiles with 
 " The seven ages of man." 5s. 
 
 English tile manufacturers seldom found a 
 better opportunity for 'exemplifying the applic- 
 ability of their art to modern decoration than 
 in the execution of the scheme conceived by 
 the Duke of Westminster for the embellishment 
 of the tea-house he caused to be erected in the 
 grounds of Eaton Hall about 1870. The whole 
 surface of the walls was to be covered with 
 painted tiles of original character. H. Stacey 
 Marks, an artist who had just come to the 
 front with works full of humour and true decor- 
 ative feeling, was entrusted with the care of 
 designing the cartoons ; these were executed 
 upon earthenware tiles by the firm of Minton. 
 A better choice could not have been made ; 
 artist and manufacturer achieved, through their 
 joint efforts, a work that will remain one of 
 the typical productions of English ceramic art 
 in the nineteenth century. The plates are given 
 in the actual size of the tiles. We regret that 
 the series has not been completed ; S. Marks 
 had added to the subjects of the seven ages of 
 man, a most humorous frieze representing the 
 Signs of the Zodiac, which was not reproduced 
 in the album. 
 
 MORRISON (R. B. ) Brickmakers' Man- 
 ual, compiled and arranged with 
 additions by J. A. Keep. India- 
 napolis, 1890. 8. 
 
 MORSE (Edward S.)- Shell mounds of 
 Omori. Tolcio, Japan, 1879. 
 (In Memoirs of the Science De- 
 
 301 
 
MOR] 
 
 CERAMIC LITERATURE. 
 
 [MOR 
 
 partment, University of Tokio, 
 Japan, vol. i., part i.) 8, pp. 
 36 ; with 18 double plates litho- 
 gr. by a Japanese artist, each 
 plate is accompanied with an 
 explanatory notice. 
 
 On the shores of the seas, where the pre- 
 historic tribes had settled permanently or were 
 wont to repair during the fishing and hunting 
 season, are found huge heaps of shells inter- 
 mixed with coarse pottery, and bone and stone 
 implements, the refuse left by man's long occu- 
 pation on the spot. The shells of the molluscs, 
 the staple article of food of the settlers, con- 
 stitute by far the larger component portion of 
 these mounds, hence the name they have re- 
 ceived. If they contain also some vestiges of 
 man's primitive industry, these cannot be com- 
 pared with the quantities found in ancient burial 
 grounds, in which some of the best examples of 
 the handicrafts of the times have been preserved 
 to us. The chief feature of the Omori mounds 
 is the extraordinary quantity of fragments of 
 pottery found scattered all over the place, and 
 the scarcity of flint and bone implements. In 
 this they differ from the shell mounds investi- 
 gated in America and in Denmark, where the 
 stone implements greatly predominate over the 
 remains of pottery. The earthen vessels of 
 Omori show signs of having been used as cooking 
 utensils. That some value was attached to them 
 is evinced by the fact of several examples having 
 been found carefully mended with rivets. It 
 might be assumed from this that the nomad 
 tribes had brought the pottery along with them 
 from the country where it was made, and had 
 no means of replacing it when it got broken 
 during their fishing expeditions. It would be 
 difficult to account in any other manner for such 
 care being taken of these apparently worthless 
 objects. They are all of the most rudimentary 
 style of manufacture, and the attempt at decor- 
 ation, consisting of incised traceries and punctu- 
 ated areas, strangely recalls the ornamental 
 notions of other primitive nations. 
 
 Mr. E. S. Morse, who conducted the excava- 
 tions, was then professor of Zoology at the 
 Tokio University. 
 
 MORSE (Edward S.). Old Satsuma. 
 
 (In Harper's New Monthly Mag- 
 azine.} New York, 1888. 8, 
 pp. 18 ; with 11 woodcuts of 
 groups of pottery. 
 
 " We do not refer," says the author in the 
 preamble of his article, " to the highly decor- 
 ated, crackled ware, which has been sold to our 
 innocent collectors as Satsuma, and which is 
 never met with in Japan, save in the shops of 
 the treaty ports to tempt the foreigner . . . 
 etc." From the woodcuts illustrating the vari- 
 ous types of the real Satsuma ware described 
 by Mr. Morse, the European collector may sur- 
 mise that he has been, so far, completely deluded 
 as to what constitutes the true characteristics 
 of that ware. The perusal of the letterpress is 
 
 302 
 
 well calculated to increase his confusion, so wide 
 apart seem to be the various kinds of the pottery 
 he is asked to consider as true old Satsuma. 
 Years of sojourn in the country, frequent visits 
 to the local collections, and long conversation 
 with native amateurs of repute have enabled 
 Mr. Morse to master the subject. But the 
 knowledge and experience acquired by him 
 under such exceptional circumstances can hardly 
 be imparted to us within the limits of a maga- 
 zine article, however cleverly it may have been 
 written. 
 
 - Reviews from the New York 
 Nation, Boston Transcript, and 
 New York Studio of the work of 
 James L. Bowes, Esq., entitled 
 Japanese Pottery. Salem (Mass.), 
 1891. 8, pp. 24. 
 
 The accuracy of many statements and attribu- 
 tions contained in Mr. Bowes' lately published 
 work was challenged by Mr. Morse in several 
 critical reviews contributed to American peri- 
 odicals. He caused, subsequently, the articles 
 to be reprinted together in pamphlet form. A 
 carefully prepared defence of the opinions he 
 had expressed was brought out by Mr. Bowes 
 under the title A Vindication. 
 
 - On the older forms of terra- 
 cotta roofing tiles. Salem, 1892. 
 8, pp. 72; with 85 illustrs. 
 (Reprint from The Essex Insti- 
 tute.} 
 
 An interesting monograph of an original 
 character, in which the various forms given to 
 the roofing tile in all civilised countries are 
 passed under review. Mr. Morse was then 
 Director of the Peabody Academy of Sciences. 
 
 - Museum of fine arts, Boston. 
 Catalogue of the Morse collec- 
 tion of Japanese pottery. Cam- 
 bridge, Mass., printed at the 
 Riverside Presse, 1901. 4, pp. 
 xiii-384 ; with 68 heliogr. pis., 
 40 of which are accompanied by 
 guide plates in outline drawn by 
 the author, and 1,514 potters' 
 marks in the text. 4. 
 
 The elements of knowledge indispensable to 
 all collectors of Japanese ware are compendiously 
 presented in the introduction of this catalogue. 
 It represents the well-digested substance of more 
 than twenty years' studies. A formidable array 
 of marks and potters' names almost precludes 
 anyone who is not already familiar with the 
 infinite varieties of the pottery of Japan to 
 entertain any hopes of ever mastering the be- 
 wildering mass of information crowded into the 
 descriptive list of over five thousand specimens. 
 When used as a handbook to the collection 
 
MOR] 
 
 CERAMIC LITERATURE 
 
 [MUL 
 
 that is to say, when a direct examination of 
 this section of the Boston Museum allows the 
 student to compare the actual piece with its 
 description, then alone can the catalogue be 
 appreciated at its full value. But when we are 
 left to imagine the particular nature of the paste, 
 the style of the workmanship, and the colours, 
 glazes, and decoration of the examples repro- 
 duced on the plates, whatever may be the 
 excellence of the reproduction, we realise that 
 it is next to impossible for us to derive from a 
 study of these illustrations all the instruction 
 that can be obtained from the contemplation 
 of the originals. 
 
 MOR-SUNNEGG(E.Y.). Porzellanschatz 
 des konigl. bayer. Schloss zu 
 Ansbach. Ansbach, s.d. (recent). 
 Fol.; 30 phototyp. pis., with a 
 historical introduction. 20 m. 
 
 " The collection of porcelain in the 
 Royal Bavarian Palace of Ansbach." 
 Exclusively composed of German porcelain. 
 
 MORTREUIL (A.)- Anciennes indus- 
 tries marseillaises. Faiences, 
 verres, emaux, porcelaines. 
 Marseilles, Arnaud, 1858. 8, 
 pp. 27. 
 
 " The ancient industries of Marseilles. 
 Faiences, glass, enamels, porcelains." 
 
 We find in this paper an instance of the state 
 of the ceramic knowledge towards the middle of 
 the last century. Several pieces in the collec- 
 tion of the writer are described as bearing the 
 mark and name of Olerys, and of other now well 
 known manufacturers of Moustiers, and yet they 
 are by him attributed to Rouen and Nevers. 
 Although a local collector for many years, Mr. 
 Mortreuil had never heard, evidently, of the best 
 manufactories of old Provence. 
 
 MOSCA (I.)- Napoli e 1'arte ce- 
 ramic a del xiii al xx secolo ; la 
 riforma dei Musei artistici-indus- 
 triali. Con marche e plante di 
 antichi fabbriche. Napoli, R. 
 Ricciardi, 1908. 4, pp. 217 ; 
 with 1 pi. of marks. 10 fcs. 
 
 " Naples and the ceramic art from the 
 thirteenth to the twentieth century : the 
 reform of the museums of industrial 
 arts, with marks and plans." 
 
 One might expect from the title that the book 
 would contain much information on the pottery 
 and porcelain of Naples. The larger part of it 
 is occupied by a general history of the ceramic 
 art, a monograph of the Sevres factory, and other 
 irrelevant matter. Many of the marks attri- 
 buted to Naples are well known to belong to 
 other places. Most of the foreign names, in- 
 cidentally quoted, are incorrectly spelt. 
 
 MOSES (H.). A collection of antique 
 vases, altars, paterae, tripods, 
 candelabra, sarcophagi, etc., 
 from various museums and col- 
 lections, engraved on 170 plates 
 by Henry Moses. London, J. 
 Taylor, 1814. Sm. 4, pp. vi-61. 
 (Painted vases, 27 pis.) 15s. 
 Italian edition. Milano, 1824. 
 
 H. Moses, a talented draughtsman and en- 
 graver, was deeply conversant with Greek and 
 Roman antiquities, and had made a well-studied 
 selection of the objects he meant to reproduce. 
 Although engraved on a very small scale, the 
 vase paintings are well rendered in his book ; 
 the design is, however, slightly amended accord- 
 ing to the notions of the times. H. H. Barber 
 supplied the historical introduction. 
 
 - Vases from the collection of 
 Sir Henry Englefield, Bart., 
 drawn and engraved by H. 
 Moses. London, Bodwell & Mar- 
 tin, 1819. Sm. 4, pp. 63 ; with 
 39 pis. 10s. 
 
 The plates, intended as materials for the de- 
 signer, are framed in ornamental borders. The 
 letterpress, printed in English and French, is 
 particularly free from the mystical speculations 
 so freely indulged in by the antiquarian writers 
 of the period. 
 
 MOUGIN DE ROQUEFORT (Dr. P.). Notice 
 sur quelques poteries sigillees de 
 Frejus et d'Antibes. Tours, 
 Bouseraz, 1876. 8, pp. 19. 
 
 " Notice on some sigillated pottery 
 found at Frejus and Antibes." 
 
 MOURIER (J.). L'art au Caucase. La 
 poterie et la verrerie. Paris, 
 1896. 8, pp. 12 ; text illustrs. 
 
 " Caucasian art. Pottery and glass." 
 Numerous illustrations represent the pre- 
 
 historic pottery exhumed from the Caucasian 
 
 necropolis. 
 
 MOYR-SMITH. Legendary studies and 
 other sketches for decorative 
 figure panels. London, Samp- 
 son Low, 1882. Fol.; 27 pis. 7s. 
 
 Subjects reproduced on Minton's tiles, in 
 underglaze print. 
 
 MULLER (A.)- De origine pictorum 
 vasorum quse per hos annos in 
 Etruriee agris effossa sunt. S.L, 
 n.d. 4. 
 
 303 
 
MUL] 
 
 CERAMIC LITERATURE. 
 
 [MUR 
 
 " Upon the origin of the painted vases 
 which, during the last years, have been 
 discovered in Etruria." 
 
 MULLER (E.)- Drei griechische vas- 
 enbilder. Zurich, 1887. 4, pp. 
 20 ; with 2 col. pis. 
 
 " Three paintings upon Greek vases." 
 
 - Palissy. Paris, Hachette, 
 1881. 18, pp. 36. 15 cents. 
 
 A reading book for elementary schools. 
 
 MULLER(Emile). Produitsceramiques 
 pour constructions et industries. 
 Paris, impr. Marchandier, v.d. 
 
 4. 
 
 Several catalogues of the articles manufac- 
 tured at the pottery works of Messrs. E. Miiller 
 & Cie., at Ivry-Port, near Paris. Bricks and 
 tiles, chemical utensils, sanitary ware, heating 
 apparatus, enamelled tiles, majolica for building 
 decoration, and architectural terra-cotta are 
 extensively illustrated in these catalogues. The 
 factory was established in 1854. 
 
 - Catalogue de 1' execution en 
 Ores d'un choix d'ceuvres des 
 maitres de la sculpture frangaise. 
 Paris, 1896. 4, pp. 17 ; with 
 23 phototyp. pis. 5 fcs. 
 
 " Catalogue of a selection of the works 
 of the masters of French sculpture 
 executed in stoneware." 
 
 Splendid reproductions of statues, bas-reliefs, 
 and architectural decorations, some of them very 
 large size, made at the factory of Ivry. 
 
 MULLER (S.). Utrechtsche Plateel- 
 bakkerijen. Rotterdam, 1877. 
 8. 
 
 " The faience factories of Utrecht." 
 
 - Catalogus van het Museum 
 van Oudheden. Utrecht, 1878. 
 8, pp. xiv-237 ; with 3 pis. 
 
 " Catalogue of the museum of anti- 
 quities at Utrecht." 
 
 Interesting collection of old Dutch ware. 
 Tiles for stoves and chimney pieces, Nos. 431- 
 613. Early pottery, Nos. 614-660. Jacoba- 
 Kannetjes, Nos. 661-727 (with two plates). 
 Stoneware, Nos. 728-786. Ancient figures in 
 pipe-clay, Nos. 787-962. This latter is a curious 
 series of religious figures, scarcely represented 
 elsewhere than in the museums of Holland. 
 
 MULLER (Walther). --Die Theseus- 
 metopen vom Theseion zu Athen 
 
 304 
 
 in ihrem Verhaltniss zur Vasen- 
 malerei. Gottingen, L. Hofer, 
 
 1888. 8, pp. 63. 
 
 " The metopes of Theseus in the 
 Theseion at Athens, in their relation to 
 Greek vase painting." 
 
 Eine Terrakotta der Got- 
 tinger Sammlung. Gottingen, 
 
 1889. 8, pp. 12 ; with 1 photo. 
 
 " A terra-cotta in the Gottingen 
 Museum." 
 
 Antefix with a horned head in the centre. 
 
 MUNSTERBERG (0. von). Ostasiatisches 
 Kunstgewerbe in seinen Bezie- 
 hungen zu Europa. Bayern und 
 Asien im xvi-xvii und xviii 
 Jahrhundert. Leipzig, 1895. 4, 
 pp. 30 ; with 2 heliogr. pis. and 
 28 illustrs. 3 m. 
 
 " The industrial art of East India in its 
 relations with Europe. Bavaria and Asia 
 in the sixteenth, seventeenth, and eight- 
 eenth centuries." 
 
 Particulars on the Oriental pottery and por- 
 celain imported into Bavaria through the agency 
 of the Jesuits of Spain and Portugal and the 
 trade of France and Holland. 
 
 - Japanische Kunst-Geschichte. 
 Braunschweig, 1907. 4. Cera- 
 mics, Part in., pp. Ill ; with 
 69 illustrs. (some col.). 28 m. 
 
 " History of the Japanese art." 
 
 MURDOCH SMITH (R.). List of books, 
 etc., relating to pottery and por- 
 celain in the Library of the Edin- 
 burgh Museum of Science and 
 Art. Edinburgh, 1893. 8, pp. 
 59. 
 
 - Persian Art. London, s.d. 8. 
 Pottery and porcelain, pp. 6-37 ; 
 with illustrs. 
 
 MURRAY (A.). Etude sur Bernard 
 Palissy. Amiens, Delattre-Le- 
 noel, 1879. 8, pp. 34. (Re- 
 print from L' investigates.) 
 
 " Essay on Bernard Palissy." 
 
MIJR] 
 
 CERAMIC LITERATURE. 
 
 [MYE 
 
 MURRAY (A. S.)- Designs from Greek 
 vases in the British Museum. 
 London., 1894. Printed by order 
 of the trustees. Fol., pp. 31 ; 
 with 15 col. pis., containing 62 
 subjects. 10s. 
 
 As the Greek Kylixes are decorated with 
 paintings on the inner as well as on the outer 
 surface, they cannot be exhibited in the museum 
 cabinets without one side being sacrificed to the 
 other. To obviate this disadvantage a plan was 
 lately adopted at the British Museum by which 
 a reproduction, by photographic processes, of 
 the subject painted inside is placed above the 
 piece of which the outward decoration is exposed 
 to view. The interesting series formed by these 
 reproductions is brought together in the present 
 volume. 
 
 The paintings belong to the period of red 
 figure vases. They show, most often, a single 
 figure drawn in an exaggerated attitude, emi- 
 nently decorative in its outline, and enclosed 
 within a circle. Many bear the signature of 
 the vase painters of the best times, together 
 with dedicatory inscriptions to the favourite 
 youth for whom they were intended. A descrip- 
 tive catalogue, prepared by Mr. Cecil Smith and 
 prefixed to the plates, gives the description of 
 each kylix, accompanied with a transcription of 
 the inscribed names, and supplemented with 
 remarks upon the characteristic style of each 
 painter. These notes are calculated to facilitate 
 the correct attribution of unsigned specimens. 
 
 - Terra-cotta sarcophagi, Greek 
 and Etruscan, in the British 
 Museum. London, 1898. Fol., 
 pp. 25 ; with 11 photograv. pis., 
 and 5 illustrs. 1, 8s. 
 
 Description of the painted sarcophagi of 
 Clazomena? and Cameiros, and of the one 
 adorned with a life size group of figures and 
 bas-reliefs of terra-cotta found at Caere. 
 
 MURRAY (A. S.) and SMITH (A. H.). White 
 Athenian vases in the British 
 Museum. London, 1886. Fol.; 
 with 27 photo, pis., accompanied 
 with descriptive notices. Intro- 
 duction by S. Murray. 
 
 An apparatus, specially contrived by Mr. A. 
 S. Smith, has been used to obtain, upon a flat 
 surface, the development of the subjects painted 
 round the vases. Each subject is completed^by 
 a sketch of the piece drawn on a reduced scale. 
 
 MUSSET (G.)- Les faiienceries rochel- 
 aises. La Rochelle, chez 1'auteur, 
 1888. 4, pp. 204; with 20 
 chromolith. pis. 25 fcs, 
 
 20 
 
 " The faience manufactories of Ro- 
 chelle." 
 
 Much care and talent have been spent by 
 Mr. George Musset, curator of the Rochelle 
 Museum, upon a subject scarcely worthy of the 
 trouble. A host of original documents has been 
 carefully sifted and clearly condensed ; facts 
 have been established and arrayed in consecu- 
 tive order ; finally, the history has been indited 
 with no mean literary merit. It is, therefore, 
 all the more unpleasant to have to say that 
 general knowledge has not much benefited by 
 the publication of these insignificant local re- 
 cords. However cleverly prepared has been the 
 sauce, it could not make palatable a decidedly 
 very poor fish. 
 
 Faience of the commonest description only 
 was produced in the short-lived factories of 
 Rochelle, Merans, and Saintes. None but in- 
 ferior workmen were ever employed there ; cast- 
 off hands from Nevers, Rouen, and Moustiers. 
 Each painter had a small stock of cheap patterns, 
 which he repeated there, just as he had pre- 
 viously repeated them in other places. No par- 
 ticular style of decoration could be developed 
 under such circumstances ; hence in the absence 
 of marks the identification of Rochelle ware is 
 practically impossible. For a time it found an 
 outlet in the export trade with the Colonies ; 
 in the home market it never attempted to com- 
 pete with the superior productions of the best 
 French centres. 
 
 A correct notion of the simplicity never de- 
 parted from by the Rochelle manufacturers may 
 be gathered from the specimens reproduced in 
 chromolithography by the author himself. 
 
 MUTI PAPAZZURRI (&.) - - Lettera su 
 d'una antica terra-cotta trovata 
 in Pallestrina, Roma, 1794. 4, 
 pp. 8.1? 1 pi. 
 
 " A letter on an antique terra-cotta 
 discovered at Pallestrina." 
 
 A Greco-Roman tile with embossed figures is 
 described in this paper. Several replicas of the 
 same subject have since been found in Italy. 
 
 MYERS (J. L.) andOHNEFASCH-RICHTER(M.). 
 A catalogue of the Cyprus Mu- 
 seum, with a chronicle of ex- 
 cavations undertaken since the 
 British occupation, and intro- 
 ductory notes on Cypriote arch- 
 seology. Oxford, The Clarendon 
 Press, 1899. Pp. xii-224 ; with 
 8 pis. 7s. 6d. 
 
 The collection, consisting chiefly of Cypriote 
 terra-cotta, was begun at Nicosia in 1874 under 
 the auspices of the Turkish Government. For 
 long the specimens were deposited, without much 
 care or order, in a museum entirely dependent 
 for its maintenance upon private subscriptions. 
 When the authors undertook to prepare this 
 catalogue no inventories of the excavations were 
 
 305 
 
NAD] 
 
 CERAMIC LITERATURE. 
 
 [NAU 
 
 in existence ; they had, therefore, to establish 
 the classification from the style and workman- 
 ship of the specimens of which they formed 
 groups arranged in an arbitrary chronological 
 order. During the past few years the result of 
 each campaign of excavation was kept together, 
 so that they could be described under a separate 
 heading. A most laborious and creditable por- 
 tion of this catalogue consists in the references 
 given of all the replicas of the pieces preserved 
 in the Cyprus Museum to be seen in European 
 museums, or which have been reproduced in 
 archaeological works. 
 
 N 
 
 NADAILLAC (J. F. de). L'Amerique 
 prehistorique. Paris, 1880. 8. 
 
 Prehistoric America. Trans- 
 lated by N. D'Anvers (Nancy 
 Bell), and edited by W. H. Dall. 
 London, 1885. 8, pp. vii-566 ; 
 with 219 text illustrs. 18s. 
 
 In revising the translation fresh matter has 
 been introduced by Mr. Dall into the original 
 text. Chap. iv. deals with the pottery of the 
 mound builders. Examples of ancient American 
 pottery of various origin are described and illus- 
 trated in other chapters. 
 
 - La poterie chez les anciens 
 habitants de 1'Amerique. Paris, 
 s.d. Pp. 40 ; with 34 illustrs. 
 (Extr. from the Revue d'Anthro- 
 pologie.) 
 
 " The pottery of the ancient inhabitants 
 of America." 
 
 Les pipes et le tabac. Paris, 
 
 1885. 8; illustrs. (Extr.) 
 " Smoking pipes and tobacco." 
 
 La poterie de la vallee du 
 
 Mississippi. Paris, 1887. 8. 
 
 " Pottery from the Mississippi Valley.' 
 
 NAGLER (G. K.). Die Monogrammis- 
 ten und Kunstler aller Schulen 
 welche sich zur Bezeichnung 
 ihrer Werke eines figurlichen 
 Zeichens, etc., bedient haben. 
 Mit Berucksichtigung der Ma- 
 jolicafabriken, Porzellanmanu- 
 fakturen, u.s.w. Miinchen, 1858 
 80. 5vols. 8. 120m. 
 306 
 
 "The monogramists and artists of all 
 schools who have made use of a figurative 
 sign to mark their works; with special 
 remarks on the majolica works and the 
 porcelain factories." 
 
 NAHUYS (I.). Sphragistisches auf 
 Stein-Kriigen im Alterthums 
 Museum zu Wiesbaden, 1877. 
 8, pp. 11. (Extr.) 
 
 " Sigillated stoneware jugs in the 
 museum of antiquities at Wiesbaden." 
 
 Thirteen inscriptions stamped upon stone- 
 ware jugs of the sixteenth and seventeenth 
 centuries are elucidated in this paper. We see 
 that the true reading of the letters composing 
 the following inscription: EGZSAZNOE 
 should be Ernst Oraf zu Sayn zu Neumagen. An 
 example sufficient to show that their interpreta- 
 tion may offer, in some cases, insuperable diffi- 
 culties to any one who is not deeply versed in 
 German sigillography and numismatics. 
 
 NAPIER (J.). Manufacturing arts in 
 ancient times ; with special re- 
 ference to Bible history. Paisley, 
 Gardner, 1879. 8. 3s. 
 
 Pottery, pp. 300-309. The passages in the 
 Bible in which the potter and his art are alluded 
 to are quoted in the article. 
 
 NAPIER (Collection Robert). Catalogue 
 
 of the majolica or ancient Italian 
 painted pottery. London, 1859. 
 8. Priv. printed. 
 
 - Catalogue of the works of art 
 forming the collection of R. 
 Napier, Esq., of West Shandon 
 (Dumbartonshire), by J. C. Rob- 
 inson. London, 1865. 8, pp. x- 
 326. Priv. printed. 3s. 
 
 Catalogue of sale. London, 
 
 Christie, 1877. 8. 
 
 The pottery and porcelain of Oriental and 
 European origin comprise nearly 1,000 Nos. 
 
 NASSE (1.). Ueber Porzellanfabri- 
 kation in theoretischenund prak- 
 tischen Hinsicht. Leipzig, 1826. 
 Fol. 
 
 " Upon the manufacture of porcelain 
 from the theoretical and practical points 
 of view." 
 
 NAUMANN (P.). Die Oefen der 
 Deutsch-nationalen Kunstgew- 
 
NBA] 
 
 CERAMIC LITERATURE. 
 
 [NEW 
 
 erbe- Ausstellung, Miinchen, 1 888. 
 Dresden, 1889. Fol.; 25 pis. in 
 phototype. 
 
 " The stoves at the National Exhibition 
 of Industrial Art in Munich in 1888, 
 selected and published by Prof. P. 
 Naumann." 
 
 The German potter is seen at his best in the 
 ornamental majolica and earthenware stoves, 
 which play such an important part in Germany 
 in the decoration of every household. A very 
 remarkable selection is given in the album of 
 the examples exhibited at Munich by the leading 
 manufacturers. Whether they be reproductions 
 of ancient models Gothic, Renaissance, or 
 Roccoco or of original design by modern artists, 
 they are, in most cases, commendable by their 
 artistic merit, as well as by the perfection of 
 their technical execution. 
 
 MATIN (Anon.)- A treatise on the 
 origin, progressive improvement, 
 and present state of the manu- 
 facture of porcelain and glass. 
 Philadelphia, 1846. 12, pp. 
 252 ; illustrs. 
 
 Follows the treatise written by Porter for 
 Lardner's Cyclopaedia. 
 
 NERBEL Musterofen der Ofenfa- 
 brick von F. Nerbel in Mosbach. 
 S.d. (recent). Fol.; 36photolith. 
 pis. 
 
 " Pattern book of the faience stove 
 manufactory of F. N. at Mosbach." 
 
 NERI, MERRET, et KONCKEL Art de la 
 verrerie, auquel on a ajoute le 
 Sol sine Veste d'Orschall, etc. 
 Le Secret des vraies porcelaines 
 de la Chine et de Saxe, etc. 
 Traduits de 1'allemand par 
 Mr. D. Paris, 1752. 4 ; with 
 16 pis. 20 fcs. 
 
 " The art of glass-making ; to which is 
 added Orschall's Sol sine Veste, the secret 
 of making the true porcelain of China and 
 Saxony, etc. Translated from the German 
 by Mr. D." 
 
 At the end of this volume the translator has 
 placed a small treatise on the manufacture of 
 true porcelain. Its contents are borrowed from 
 the letters of Pere D'Entrecolles, and follow the 
 description the French missionary has given of 
 the processes employed by the Chinese. As the 
 writer was evidently unacquainted with the 
 methods in use in the porcelain manufactories of 
 hjs own country, and yet was unwilling to ignore 
 
 them entirely, he has resorted to the following 
 expedient. After having stated how they pro- 
 ceeded in China in each stage of the manufacture, 
 he adds simply " The same method has been 
 adopted in Saxony." A plan by which embar- 
 rassing explanations are conveniently disposed 
 of. 
 
 NEUBURG (R. P.). Praktische Unter- 
 weisung in der Porcellan-Glas 
 und Wachsmalerie ; nebst einer 
 getreuen Angabe zur vortheil- 
 haften Fabrikation des Porcel- 
 lans, der Fayence, etc. Erfurt 
 (1845?). 16. 
 
 " Practical instructions for painting on 
 porcelain, glass, and wax ; also a reliable 
 description of the manner of manufac- 
 turing very profitably porcelain, faience, 
 etc." 
 
 NEUMANN (F.). Die Ziegel Fabri- 
 kation. Handbuch bei Anlage 
 und Betrieb der Ziegeleien, zur 
 Herstellung aller Arten von 
 Mauer- und Dachziegeln, Hohl- 
 stein und Drainrohren. Weimar, 
 1874. 7thed. 8; with atlas of 
 20 fol. pis. 6 m. 
 
 "The brick and tile manufacture. 
 Handbook for building and conducting a 
 tile manufactory, and making all sorts of 
 wall and roof tiles, sanitary ware, etc." 
 
 NEVILLE (R. C.). Sepulcra exposita, 
 or an account of the opening of 
 some barrows, with remarks 
 upon miscellaneous antiquities 
 discovered in the neighbourhood 
 of Audley, Essex. Saffron Wai- 
 den, 1848. 8; with 15 pis. 10s. 
 
 Saxon obsequies illustrated 
 
 by ornaments and weapons, dis- 
 covered in a cemetery near 
 Little Wilbraham, Cambridge- 
 shire, in 1851. London, Murray, 
 1852. 4; with 40 col. pis. 2, 2s. 
 
 For the numerous papers contributed by R. 
 C. Neville to the antiquarian periodicals on the 
 subject of Roman pottery, see Soden Smith's 
 List of Books, etc. 
 
 NEWTON (Sir Ch. T.)- Guide to the 
 first vase room in the depart- 
 
 307 
 
NEW] 
 
 CERAMIC LITERATURE. 
 
 [NIC 
 
 ment of Greek and Roman anti- 
 quities. British Museum. Lon- 
 don, 1866. 2nd ed., 1868. 3rd 
 ed., 1879. 8. 
 
 NEWTON (Sir Ch. T.)- A guide to the 
 Blacas collection of antiquities. 
 London, 1867. 8. 
 
 - Synopsis of the contents of 
 the British Museum. Depart- 
 ment of Greek and Roman anti- 
 quities. Second vase room. 
 Parts I. and II. London, 1878. 
 8. 
 
 The Castellani collection. A 
 
 series of twenty photographs by 
 S. Thompson, selected and de- 
 scribed by C. T. Newton, M.A., 
 keeper of the Greek and Roman 
 antiquities, British Museum. 
 London, G. Bell, 1874. Fol., 
 pp. 6 ; with 20 pis. 15s. 
 
 The reproductions of drinking cups or 
 Rhytons in the shape of animals ; jugs or Oino- 
 choe of the archaic period ; figures of comic 
 actors ; and painted sarcophagi of early Etruscan 
 terra-cotta form the ceramic portion of the work, 
 pis. 11-20. The selection is equally remarkable 
 for the artistic beauty of the specimens as for 
 their archaeological interest. They were pur- 
 chased from the Castellani collection by the 
 British Museum. 
 
 NEWTON (Ch. T.) and BIRCH (S.). Report 
 on the Campana collection. 
 London, 1856. 8. 
 
 Catalogue of the Greek and 
 
 Etruscan vases in the British 
 Museum. (See Birch, S.) 
 
 NIBBY (Antonio). Dichiarazione del 
 dipinto di un antico vaso fittile 
 vulciente offerto dai Signori 
 Candelori alia San tit a di nostro 
 Signore Papa Gregorio XVI. 
 Roma, 1834. Fol., pp. 10 ; with 
 Ipl. 
 
 " Description of an antique Vulcian 
 vase presented by Signori Candelori to 
 H.H. Pope Gregory XVI." 
 
 The subject painted on this vase represents 
 Achilles and Ajax gambling with dice. It is 
 signed " Execia." 
 
 308 
 
 NICAISE. Le cimetiere franco-mero- 
 vingien de Haucourt. Note sur 
 une coupe en terre cuite de 
 1'epoque du bronze. CJialon sur 
 Marne, 1879. 8; pis. 
 
 " The Franco-Merovingian Cemetery of 
 Haucourt. Notice of a terra-cotta drink- 
 ing cup of the bronze age." 
 
 - Le cimetiere gallo-romain de 
 la Fosse Jean Fat ; urnes a 
 visages, etc. Reims, 1883. 8, 
 pp. 20 ; with 4 col. pis. Fol. 
 
 " A Gallo-Roman Cemetery at Reims; 
 urns with human faces, etc." 
 
 The urns are reproduced the same size as the 
 originals. Three holes perforated on the front 
 of the vessel, after it had been fired, stand for 
 a rudimentary representation of a human face. 
 
 The list of all the archaeological works of the 
 same author is given in this paper. 
 
 NICARD (P.). Les vases nommes par 
 les Italiens Laziali ou Preistorici. 
 Paris, 8, pp. 8 ; with illustrs. 
 (Reprint from the Rev. Arch.} 
 
 " Vases called Laziali, or Prehistoric, 
 by the Italians." 
 
 NICHOLS (Geo. Ward). Pottery, how 
 
 it is made ; its shape and decor- 
 ation ; practical instructions for 
 painting on porcelain and all 
 kinds of pottery with vitrifiable 
 and common oil colours ; with a 
 full bibliography of standard 
 works upon the ceramic art. 
 London and New York, 1878. 8, 
 pp. 142 ; and 42 text illustrs. 3s. 
 
 " It is the object of this book to show," says 
 the author, " that the manufacture of pottery 
 may become one of the great industries of the 
 United States." To foster this end he thinks it 
 his duty to communicate to his countrymen the 
 knowledge and experience he has himself ac- 
 quired on the subject. His own views and his 
 personal interpretation of the most elementary 
 principles depart so much from our ordinary 
 notions that we cannot refrain from transcribing 
 a few passages from his book. It is in the first 
 page that we shall make a hasty selection of 
 examples. " Ceramic comes from the Greek 
 word 'Keramos,' which signifies potter's clay." 
 The old word faience is derived from the Latin, 
 " Fagus," a beech tree. There have been dis- 
 tricts of the same name in Barcelona and Andal- 
 usia. Stoneware is a name for earthenware, 
 but not for pure porcelain. Chinaware has 
 been employed to designate all kinds of 
 
KIC] 
 
 CERAMIC LITERATURE. 
 
 ware, but usually porcelain. Pottery is used as 
 a general term including porcelain. The potter's 
 clay derives its origin from several felspathic 
 rocks, etc. And the teaching goes on with the 
 same degree of accuracy all through the chapters. 
 We cannot quote any more from the amusing 
 work, but we must recommend, as a fit conclu- 
 sion to the ludicrous mistakes with which it 
 abounds, the list of works placed at the end, and 
 the fanciful spelling of all the names it mentions. 
 
 NICHOLS(JohnGOUgll). Examples of de- 
 corative tiles sometimes termed 
 encaustic, engraved in facsimile 
 chiefly of the same size as the 
 originals. London, printed by 
 J. B. Nichols & Son, 1845. Pp. 
 19 ; and an intr. notice to each 
 of the four parts ; with text il- 
 lustrs. 100 pis. printed in red. 
 30s. 
 
 As early as 1828 Mr. Herbert Minton had 
 succeeded in reproducing the inlaid tiles of medi- 
 aeval times ; in 1841 the ancient pavement of 
 Temple Church, London, was reconstituted with 
 tiles of his manufacture. This work commanded 
 such a general admiration that it was easy to 
 foresee the success in store for the newly created 
 industry of tile-making. Books of patterns, re- 
 productions of ancient examples, were sure to 
 be well received by architects and manufac- 
 turers, hence the number of publications of that 
 order brought out almost simultaneously. 
 Nichols' Examples of Decorative Tiles was 
 assuredly one of the best of the series. The 
 author had, however, no cause to believe that 
 the revival of ornamented pavements was chiefly 
 due to his influence ; it was a movement for 
 which many others were equally responsible. 
 Credit must certainly be given to him for a 
 selection of designs which had been most care- 
 fully made ; it included representations of the 
 remarkable tiles which had just been discovered 
 in the Chapter House of Westminster Abbey, 
 the Cathedral of Winchester, and several other 
 Gothic churches and monasteries. Such a book 
 containing working designs drawn to the actual 
 size was bound to be of great use, and it obtained 
 all the success that had been anticipated. Un- 
 fortunately, not long after its publication, the 
 larger part of the issue was destroyed by a fire 
 which occurred in the publishers' premises. It 
 has now become very rare. We cannot say that 
 the eminent firm to which we owe so many 
 beautiful antiquarian works has bestowed upon 
 this volume as much care as they were wont to 
 display on their productions. The letterpress, 
 as well as the plates, are printed in red ink upon 
 a lemon-coloured paper of such an inferior 
 quality that it would scarcely be considered 
 good enough nowadays to make bags for the 
 grocery trade. 
 
 NICOLAS (Felice). Ulustrazione di due 
 vas fittili ed altri monumenti 
 recentemente trovati in Pesto. 
 
 Roma, 1809. 
 10s. 
 
 Fol. ; with 3 pis. 
 
 " Description of two fictile vases and 
 other monuments recently discovered at 
 Pestum." 
 
 NICOLE. De Femploi des briques 
 ordinaires dans la construction 
 des edifices publics et prives. 
 Paris, s.d. Imp. 4, pp. vi-25 ; 
 and 30 col. pis. 12s. 
 
 " On the use of common bricks in 
 the construction of public and private 
 buildings." 
 
 Elementary work for contractors, surveyors, 
 etc. 
 
 NICOLE (G.). Catalogue des vases 
 Cypriotes du Musee d'Athenes. 
 Geneve, Kiindig, 1906. 8. 3 fcs. 
 
 - Catalogue des vases Cypriotes 
 du Musee de Constantinople. 
 
 Geneve, 1906. 8 C 
 
 3 fcs. 
 
 pp. 43. 
 
 - Meidias et le style fleuri dans 
 la ceramique attique. Geneve, 
 1908. 4, pp. 155 ; with 15 pis. 
 and 40 text illustrs. 20 fcs. 
 
 " Meidias and the floral style in the 
 ceramics of Attica." . 
 
 A vase of exceptional importance in the 
 British Museum bears the name of Meidias. This 
 name does not occur upon any other example. 
 The author does not attempt to decide whether 
 Meidias was the maker or the painter of the in- 
 scribed vase. His endeavour has been to trace 
 and to group together all the specimens which 
 a similarity of style and treatment would denote 
 as coming, if not from the same hand, at least 
 from the same atelier. 
 
 NIEDLING (A.). Original Entwiirfe 
 fur kunstgewerbliche Erzeug- 
 nisse der gesammten Thon- 
 waaren-Industrie. Wiemar, 1879. 
 4, of 25 lith. pis. 5m. 
 
 " Original sketches for the ceramic 
 industry in all its branches." 
 
 NIERITZ (G.). Der Goldkoch, oder 
 die Erfindung des Porzellans. 
 Eine Erzahlung fur die Jugend. 
 Giltersloh, s.d. (recent). 12, pp. 
 125. 
 
 " Goldmaking, or the discovery of 
 porcelain : a tale for children." 
 
 309 
 
NIE] 
 
 CERAMIC LITERATURE. 
 
 NIESSEN (C. A.)- Sammlung romi 
 scher Alterthiimer. Koln, 1889 
 2 parts. 4, pp. 42-22. Romai 
 potters' marks. 
 
 " A collection of Koman antiquities." 
 
 NIGHTINGALE (J. E.). Contributions 
 towards the history of earl}/ 
 English porcelain from contem 
 porary sources. To which are 
 added reprints from Messrs 
 Christie's sale catalogues from 
 1769 to 1785. Printed for 
 private circulation. Salisbury, 
 1881. 8, pp. xcii-112. 12s. 
 
 It is in the press advertisements and sale cata 
 logues that the author has looked for scraps o1 
 information concerning the factories of Chelsea, 
 Bow, Derby, and Bristol. In the course of his 
 researches he has chanced to meet with repeated 
 mention of the China produced at Longton-Hall 
 by Littler, a Staffordshire potter, the very name 
 of whom had so far escaped the collector's notice. 
 The enterprise was of short duration, and the 
 mark adopted by Littler, two crossed L L, 
 was not often affixed on the ware. Since the 
 publication of Nightingale's book, however, a 
 sufficient number of marked pieces have been 
 found in the collections for determining the 
 characteristics of this rare china, and for helping 
 in the identification of unmarked specimens. 
 This volume is full of original matter, and of 
 great importance to the student of English 
 ceramics. 
 
 NINAGAWA NORITANE. <Kwan-ko-dzu- 
 setzu. Notice historique et de- 
 scriptive sur les arts et les indus- 
 tries Japonais. l eie Partie. Arts 
 ceramiques. Tokio, H. Aherens 
 & Co., 1876, imprimerie C. Levy 
 a Yokohama. 7 parts, obi. fol., 
 126 pis. col. by hand ; with 
 Japanese text, and a French 
 translation to 5 parts. 8. 7. 
 
 " Historical and descriptive notices 
 of the arts and industries of Japan. 
 Part i.-ii. : Pottery and porcelain." 
 
 A great respect for national antiquities has 
 always prevailed in Japan ; the worship of 
 ancestors is one of the fundamental tenets of 
 the religious creed. In the treasury of the 
 Todaidji Pagoda are preserved a large quantity 
 of objects said to have belonged to the earliest 
 Emperors. Once or twice in the course of a 
 century the treasure chamber is opened and in- 
 vestigated by an imperial commission, which 
 issues a report on the conditions in which the 
 contents have been found. Mr. N. Noritane, 
 
 310 
 
 archaeologist and dealer in antiquities, was a 
 member of the last commission. Part of the 
 relics he had the opportunity of examining on 
 that occasion were by him described and illus- 
 trated in this work. The account opens with a 
 valuable sketch of the history of the potter's art 
 in Japan. Official records go back to the year 
 667 r-.f ., and to the first Emperor who reigned 
 at that date. The tomb in which he is stipposed 
 to have been buried was discovered and opened 
 in 1861 ; in it were found about fifty vases of 
 rough terra-cotta. Figs. 1-26 reproduce the 
 most interesting specimens of the finds, which, 
 after they had been drawn by a local artist, were 
 reburied in the same place. Another sepulchre 
 at Yamato, said to be the tomb of Nobe, and 
 dating from the year 297 of our era, had its 
 inside walls built up with terra-cotta vases of 
 exactly the same description. One of them is 
 reproduced on the last plate. 
 
 The next part treats of porcelain, and gives 
 the history of the manufacture from the earliest 
 period ; it is illustrated with examples drawn 
 from the author's own collection. 
 
 We regret that it has been thought expedient 
 to resort, for the illustration of this work, to the 
 European lithographic processes ; the usual 
 style of Japanese wood engraving would have 
 given a much more satisfactory result. 
 
 From the hands of N. Noritane the collection 
 he had so carefully formed passed into the suc- 
 cessive possession of S. Bing, E. S. Morse, and 
 is now the property of the Boston Museum. 
 
 NOEL DBS VERGERS (A.). Notice sur 
 le Musee Napoleon III. Pre- 
 miere partie. Bijoux et Terres 
 cuites. Paris, 1862. 8, pp. 31. 
 
 " Notice of the Napoleon III. Museum 
 (Campana Collection). Parti.: Jewellery 
 and terra-cottas." 
 
 L'Etrurie et les Etrusques ; 
 
 ou dix ans de fouilles dans les 
 Maremmes toscanes. Paris, F. 
 Didot, 1862-64. 2 vols. 8; 
 with an atlas folio of 39 pis. 
 (some col.). 150 fcs. 
 
 " Etruria and the Etruscans : being an 
 account of ten years' excavations in the 
 Maremmas of Tuscany." 
 
 Much had been written by Italian antiquaries 
 upon the dark history of ancient Etruria, and 
 the customs and arts of its people ; but the 
 prejudices and incorrect views of each writer 
 have brought more confusion than real assist- 
 ance in the solution of the still standing problems. 
 Noel des Vergers resolved to start a fresh course 
 of investigation resting upon entirely new 
 grounds, and to extract from the soil of the old 
 Etrurian cities and necropolis the evidence that 
 might settle the questions left in suspense. He 
 found an invaluable assistant in his enterprise in 
 Alexandre Francois, whose experience in Etrus- 
 can excavation had been rewarded by a memor- 
 
NOE] 
 
 CERAMIC LITERATURE. 
 
 [NOR 
 
 able success ; during ten years they explored 
 together the marshy region which extends from 
 the sea to the foot of the Apennine Mountains, 
 between the Arno and the Tiber. What they 
 discovered in the course of their researches, 
 what they deduced from their discoveries, was 
 duly entered in the diary of the excavations. 
 The epitome of their achievements constituted 
 the first book that was ever published in France 
 on the subject of Etrurian civilisation. As may 
 be expected, painted vases were largely repre- 
 sented in the pottery found in the tombs. The 
 atlas gives the reproductions of the best speci- 
 mens. They have been classified as follows : 
 Greek style vases, pis. 4-16 ; Etruscan black 
 pottery, pis. 17-19; painted vases discovered 
 at Vulci, pis. 31-39. 
 
 NOEL (G.)- --Catalogue of sale. 
 Peintures sur faience grand feu 
 par Gustave Noel. Paris, 1875. 
 8, pp. 21 ; with 1 etched pi. 
 
 " Underglaze paintings on faience." 
 
 Several catalogues of the faience plaques 
 painted with landscape, sold by auction for the 
 artist, were painted in 1877-78-81. They have 
 introductory notices by various writers, and are 
 illustrated with etchings. 
 
 NOELAS (Dr.)- Histoire des faien- 
 ceries Roanno-Lyonnaises. 
 Roanne, 1883. 8, pp. 276 ; with 
 60 lith. pis. by the author. 
 12 fcs. 
 
 " History of the faience manufactories 
 of Roanne and Lyons." 
 
 If sincere conviction on the part of the writer 
 were sufficient to make us espouse his personal 
 opinion, this book would have fulfilled its aim, 
 and make us deplore the unpardonable neglect 
 of previous historians who have omitted to 
 mention Roanne as a most important centre of 
 ceramic manufacture. Documentary records 
 testify to the existence, at an early time, of some 
 faience works in the locality. Dr. Noe'las under- 
 took the task of pointing out the lost represen- 
 tatives of their productions. The private col- 
 lections of the district supplied him with ex- 
 amples which he considered as instructive. All 
 he saw in these collections had been for centuries 
 in the possession of ancient families of the pro- 
 vince, and was for him, on that account, bound 
 to be of local origin. Hitherto the best speci- 
 mens preserved in these collections had been 
 said to be of Italian, Delft, Rouen, or Nevers 
 manufacture, but he had no hesitation in attri- 
 buting all of them to the old Roanne potters 
 working, as he says, under foreign influence. 
 Labouring under this singular, but, we think, 
 sincere misapprehension, he went so far as to 
 ascribe a Roanne origin to the Henri II. ware. 
 The theory of B. Fillon was still generally 
 accepted ; Bernard and Cherpentier had made 
 this ware for Helene of Hangest. He discovered 
 that the fair countess had once possessed a manor 
 
 in the vicinity of the town, and that the names of 
 Bernard and Cherpentier occurred repeatedly in 
 the civic registers. Well, a fragment of yel- 
 lowish earthenware inlaid with black traceries 
 had been found deeply embedded in the soil, not 
 far from the site of the manor ; who could refuse 
 to believe, in the face of such strong presump- 
 tions, that the ware made at Oiron was also 
 made at Roanne by the same hands and for the 
 same patroness ? From such an example of 
 strict argumentation one may judge of the value 
 of the rest. 
 
 The amateurish etching pen of the writer 
 gives ample credit to the faience of more modern 
 date, and of most insignificant character, with 
 which he has profusely illustrated this volume. 
 
 NOLHAC (P. de). Trianon de porce- 
 lain. Versailles, Bernard, 1901. 
 8, pp. 20 ; 3 illustrs. 2 fcs. 
 
 The Trianon of porcelain, a small hunting 
 lodge, was built at the far end of the park of 
 Versailles for Louis XIV. It owed its name to 
 the painted faience slabs, cornices, pilasters, etc., 
 with which the walls were covered inside and 
 out. One part of the faience work had been im- 
 ported from Holland by Claude Reverend, a 
 dealer from Paris ; the ornamental vases had 
 been made at Lisieux and at the Saint Cloud 
 factory. No vestige remains of that colossal 
 work. 
 
 NORDENSKIOLD (G.). The cliff dwellers 
 of the Mesa- Verde, South-west- 
 ern Colorado ; their pottery and 
 implements. Translated from 
 the Swedish by D. Lloyd Morgan. 
 
 174, 
 pis. 
 in the 
 
 Stockholm, 1893. 4, pp 
 iv, xi ; with portrait, 50 
 (1 col.) and 97 illustrs. 
 text. 80s. 
 
 The prehistoric dwellings cut in the cliffs of 
 Mesa Verde, in Arizona, were discovered in 1849. 
 Many remains of the industry of their inhabi- 
 tants, such as weapons, implements, pottery 
 vessels, and other objects testify to the existence 
 of a race whose primitive civilisation seems to 
 have been absolutely independent of that of the 
 Mexicans and Peruvians. The best specimens 
 of a pottery of a peculiar character, which was 
 found in abundance in the place, are described 
 and illustrated in Chapt. ix. of this work. 
 
 NORMAN (E.). Catalogue of sale. 
 Collection of English pottery 
 and porcelain formed by Emer- 
 son Norman ; showing the dis- 
 tinctive character of each manu- 
 factory from the earliest times. 
 London, Philips, 1871. 8; with 
 3 photogr. pis. 390 Nos. 
 
 311 
 
NOR] 
 
 CERAMIC LITERATURE. 
 
 [NOV 
 
 NORTON (C. B.). Treasures of art, 
 industry, and manufacture repre- 
 sented in the American Centen- 
 nial Exhibition at Philadelphia, 
 1876. Buffalo, 1877. Fol. ; 
 with 50 chromolith. pis. 5. 
 
 A selection of art objects with text in English 
 and French. 8 pis. of pottery. 
 
 NORTON (T. M.). - - Etudes sur les 
 oeuvres d'art de Raphael Sanzio, 
 d'Urbino, au monastere de Re- 
 fojos do Lima ; traduit du por- 
 tuguais par L. C. Capedeville. 
 Lisbonne, impr. Nat., 1888. 4, 
 pp. 158 ; with 18 pis. 
 
 " Essay on the works of art by Raffael 
 Sanzio, of Urbino, in the monastery of 
 Refojos do Lima." 
 
 A series of wall tiles, described and repro- 
 duced on eleven plates, gives us the occasion of 
 introducing to the reader this extraordinary 
 book, a curious instance of mental aberration. 
 That an intense study of all that has been 
 written on Raffael and his work, coupled with a 
 meditative contemplation of an old painting, a 
 wooden statue, and some majolica tiles preserved 
 in a Portuguese monastery, should have culmi- 
 nated, in the mind of a man perfectly rational in 
 every other respect, into, the staunch belief that 
 the painting, statue, tiles, and the building itself 
 were all the work of Raffael is certainly more 
 than one may imagine. Yet this is precisely 
 what happened in the case of Mr. Thomas 
 Mendes Norton, and caused the preparation of 
 this volume. 
 
 Moved by the spirit of revelation, the writer 
 has put aside such negligible considerations as 
 facts, dates, and above all commonplace proba- 
 bilities. His arguments are all of the aesthetic 
 order, and rest upon his deep knowledge of the 
 unparalleled genius of the great Italian master. 
 
 We have only to deal with the part that refers 
 to the tiles, an elaborate scheme of majolica 
 decoration displayed upon the walls of the chapel 
 and refectory of the monastery. No record has 
 been kept of their maker or of their place of 
 origin. Raffael is the only artist, in the opinion 
 of the writer, who could have painted such an 
 admirable work. The general character of the 
 composition is obviously Raffaelesque, while 
 many of the details are found repeated in his 
 authenticated paintings. Moreover, on each of 
 the landscapes which form the centre of the 
 decorative panels, his monogram is seen dis- 
 guised amidst the clouds, rocks, and branches of 
 the trees, affecting in many places the shape of 
 the letters R.V. With a legitimate pride he 
 refutes the statement of the biographers who 
 say that although Raffael is known to have 
 painted upon majolica ware, no example has ever 
 been found that could be safely attributed to 
 him, and he tells us : " The doubt is no longer 
 possible ; I have discovered unquestionable 
 
 312 
 
 proofs of his majolica painting in the Refojos do 
 Lima." 
 
 Page after page is filled with the rambling 
 discussion of all the arguments that he expects 
 to be raised in opposition to his contentions. 
 He seems to ignore absolutely two important 
 factors in the controversy. The first is that the 
 tiles are painted in the style of the Spanish 
 faience painters of the seventeenth century, as 
 we can easily recognise from the photographic 
 reproductions. The next is that the monastery 
 was completely rebuilt between the years 1581 
 and 1613 ; as is attested by inscribed marble 
 tablets affixed in the walls. 
 
 NOTOR (G.). La femme dans 1'anti- 
 quite grecque. Paris, Renouard, 
 1901. 4, pp. iv-288 ; with 33 
 col. pis. and 320 text illustrs. 
 30 fcs. 
 
 " Woman in Grecian antiquity." 
 
 The illustrations are all taken from Greek 
 vase paintings. 
 
 NOTT (J.). Malvern Priory Church. 
 Malvern, s.d. (recent). 8. 
 Contains a chapter on " The 
 tesselated pavements," pp. 71- 
 103, with a view of the old kiln 
 and 3 col. pis. of tiles. 6s. 
 
 NOYELLI (Camillo). L'arte ceramica 
 all'esposizione di Venezia del 
 1887, in rapporto alia produ- 
 zione delPultimo decennio. Roma, 
 Botta, 1888. 8, pp. 173. 3 fcs. 
 
 " The ceramic art at the Venice Exhibi- 
 tion of 1887 ; with considerations upon the 
 productions of the last ten years." 
 
 The report upon the ceramic exhibition of 
 Venice is prefixed with a review of the various 
 exhibitions in all countries to which the Italian 
 manufacturers had contributed during the pre- 
 ceding ten years. 
 
 NOYI (G.)- La fabricazione della 
 porcellana in Napoli e dei pro- 
 dotti ceramici affini. Memoria 
 letta alFAccademia Pontaniana. 
 Nov., 1878. Napoli, 1879. 4, 
 pp. 78. 10 fcs. 
 
 " The manufacture of porcelain at 
 Naples, and of the ceramic products of 
 the same order." 
 
 A valuable complement to Riccio's work. 
 The technical part, which had been purposely 
 left untouched by the former writer, is here 
 thoroughly dealt with. All the clays and raw 
 materials found in the Italian soil which can be 
 
NUN] 
 
 CERAMIC LITERATURE. 
 
 utilised in the composition of the porcelain paste 
 are enumerated and described. All the experi- 
 ments to which they were subjected in the 
 Naples manufactory with the view of bringing 
 them into practical use are recorded from the 
 original reports. We notice, however, that the 
 actual recipes for the composition of the body 
 and the glaze, as well as for the making of 
 vitfifiable colours, are prudently withheld. 
 
 Memoria seconda. I con- 
 tinuatori delle tradizioni di Cap- 
 odimonte. Napoli, 1879. 4, 
 pp. 42. 
 
 " The continuation of the Capodimonte 
 traditions." 
 
 This second article contains information on 
 the minor factories of Naples in which the making 
 of porcelain has been attempted with more or 
 less success. 
 
 - I fabricanti di majolica e di 
 terraglia in Napoli. Napoli, 
 1881. 4, pp. 27. 
 
 " The Naples manufacturers of majolica 
 and earthenware." 
 
 With the " exception of Castelli, no faience 
 work of the Neapolitan kingdom has made its 
 mark in history. This third memoir mentions 
 some of the pot-works established in the town 
 and its neighbourhood, and in which common 
 ware was made for domestic purposes. 
 
 NUMNG (J. H.). Sepulcratum West- 
 phalico - Mimigardico Gentile. 
 Duabus sectionibus partitum in 
 quarum prima. De Urnis, etc. 
 Frankfurt, 1714. Sm. 4, pp. 28; 
 with 3 pis. of urns. 10 m. 
 
 " The sepulchre of the Pagans of West- 
 phalia. Divided into two parts, the first 
 of which treats of the Urns." 
 
 One of the plates shows the peasants of West- 
 phalia gathering their annual crop of urns. 
 
 NYROP(C-). Den danske Porcellains- 
 fabrikations Tilbliven. En in- 
 dustrihistorisk Studie. Kjdben- 
 havn, 1881. 8, pp. 32. (Re- 
 print from the Industriforening- 
 ens Maanedsskrijt, 1878.) 5s. 
 
 " History of the porcelain manufacture 
 in Denmark." 
 
 Mention is made of a porcelain manufactory 
 conducted by Johann Wolff at Frederiksberg 
 in 1721 ; Dutch faience, which went at the time 
 by the name of porcelain, was probably manu- 
 factured at that place. The Royal porcelain 
 works of Copenhagen were only established in 
 1772. 
 
 - Danske Fajence-og Porcel- 
 lainsmoarker. Kjobenhavn, 1881. 
 8, pp. 19 ; with 29 facsimiles of 
 marks. (Extr. from the above 
 publication.) 3s. 
 
 " Marks of the faience and porcelain of 
 Denmark." 
 
 - Dansk Pottemageri. En kapi- 
 tal af den danske keramiks 
 historic. Kjobenhavn, 1882. 8, 
 pp. 48 ; with 26 illustrs. 
 
 " Danish pottery ; a chapter of ceramic- 
 history in Denmark." 
 
 Historical sketch of pottery- making from the 
 earliest times up to the present day. 
 
 0*** (Oppenheim) et BOUILLON-LAGRANGE. 
 
 L'art de fabriquer de la 
 poterie fa9on Anglaise ; con- 
 tenant ; Les precedes et nou- 
 velles decouvertes, la fabrication 
 du Minium, celle d'une nouvelle 
 substance pour la Couverte, celle 
 des Couleurs vitrifiables, 1'art 
 d'imprimer sur Faience et Por- 
 celaine et un vocabulaire de 
 termes techniques et chimiques. 
 Avec gravures. A 1'usage des 
 Fabricants et de ceux qui veu- 
 lent etablir des Poteries ; par 
 Mr. 0***, ancien manufacturier, 
 revu pour la partie chimique par 
 Mr. Bouillon-Lagrange. Paris, 
 1807. 12, pp. 298 ; with 2 pis. 
 3fcs. 
 
 " The art of making pottery after the 
 English method : containing the processes 
 and the latest discoveries, preparing the red 
 lead and a new substance for the glaze, 
 making verifiable colours, the art of 
 printing upon faience and porcelain, etc., 
 with a glossary of technical and chemical 
 terms." 
 
 To imitate English pottery was the general 
 tendency of the times. Under the name of " terre 
 de pipe " or "faience fine," good earthenware was 
 extensively manufactured in France. The writer 
 published nothing but what was already well 
 known. The composition of the Jasper and 
 black basalt ware of Wedgwood, however, was 
 
 313 
 
OHL] 
 
 CERAMIC LITERATURE. 
 
 [OLI 
 
 never completely mastered, and we see that Mr. 
 0*** knew absolutely nothing about their com- 
 ponents. His information about the process of 
 transferring prints on the ware was also very 
 incomplete. He ignores the use of transfer 
 paper, and describes the method called " bat 
 printing," no longer employed in England. We 
 notice that the practical handbooks of that 
 period are generally due to retired manufacturers 
 who, if they do not care any more about keeping 
 professional secrets, are very careful, at the same 
 time, not to divulge the personal discoveries they 
 may have made in the course of their experience. 
 
 OHLMER (E.). Fiihrer durch die 
 Ohlmer'sche Sammlung chinesi- 
 scher Porzellan, aufgestellt in 
 Homer - Museum, Hildesheim, 
 nebst bemerkungen iiber chine- 
 sisches Porzellan in allgemeinen, 
 seine Herstelhmg, Verwendung, 
 und seine Geschichte. Hildes- 
 heim, 1898. 8, pp. 60 ; with 8 
 pis. 5s. 
 
 " Guide through the Ohlmer Collection 
 of Chinese porcelain exhibited in the 
 Hildesheim Museum, with remarks on 
 Chinese porcelain in general : its manu- 
 facture, use, and history." 
 
 The plates represent the ruins of marble 
 palaces in which porcelain enters largely in the 
 architectural decoration. Also marks and 
 symbols. 
 
 OLD (Watkins 1.). Indo-European 
 porcelain : an essay with de- 
 scriptive catalogue. Hereford, 
 J. Hull, 1882. 8, pp. 32. 3s. 
 
 Mr. W. Old had made a special collection of 
 the Chinese porcelain decorated with European 
 subjects, sometimes called " Jesuit china," a 
 name for which he proposed to substitute that 
 of " Indo-European porcelain." He has pre- 
 faced his catalogue with an excellent historical 
 notice of that particular ware, ignored or mis- 
 understood by previous writers on ceramics, 
 The earliest examples, which date from the end 
 of the sixteenth century, bear religious subjects 
 copied from engravings supplied to the local 
 artists by the missionaries. They were executed 
 in the factories of Kin-Te-Tchin, and all the lines 
 of the engraving are faithfully reproduced in 
 Indian ink. Chiefly exported into Japan, where 
 the Jesuits were then establishing important 
 missions, they were intended to be distributed 
 to the Japanese converts. At a later date, the 
 Dutch India Company, having introduced tea- 
 drinking into Europe, began, towards 1660, to 
 cause sets of tea ware to be decorated in the 
 European taste, and imported them extensively. 
 
 The last period of manufacture is represented 
 by porcelain, of much inferior quality, painted 
 with distant imitations of the Dresden patterns, 
 
 314 
 
 and often bearing crests and monograms, which 
 was for a time attributed to the Lowestoft 
 factory. 
 
 OLDHAM (T.).- Antient Irish pave- 
 ment tiles, exhibiting thirty-two 
 patterns, illustrated by forty en- 
 gravings after the originals ex- 
 isting in St. Patrick's Cathedral, 
 and Howth, Mellifont, and New- 
 town Abbeys. Dublin, J. Rob- 
 ertson, 1845. Sm. 4, pp. 8; 
 with front, and 25 pis. 10s. 
 
 We must not be surprised to see in these Irish 
 tiles the repetition of many a design we are 
 accustomed to meet with among the productions 
 of other countries. The constant intercourse 
 kept up by the religious communities of the 
 Middle Ages accounts sufficiently for the presence 
 of the same pattern in several monasteries. A 
 brick and tile kiln was annexed to all abbeys of 
 any importance. The monks were their own 
 potters ; at any rate, they superintended the 
 work made at the brick yard, and supplied the 
 men with sketches and models, these being fre- 
 quently borrowed from examples executed in 
 some other establishment of their order. When- 
 ever it happened that a newly erected church or 
 chapel required for its completion and adorn- 
 ment a tile pavement of exceptional richness of 
 workmanship, they called in the assistance of a 
 brother well conversant with the art of designing 
 and the secrets of the potter's trade ; the making 
 of the pavement was planned and carried out 
 under his direction. Few were the monks pos- 
 sessed of that peculiar talent, and they had often 
 to travel from England to Ireland, and even to 
 the Continent, to visit the monasteries which 
 claimed their services. The same designer may, 
 therefore, have presided over the execution of 
 the tile pavements of the conventual buildings 
 of places very distant from each other. 
 
 OLENINE (A. N.). (Archaeological 
 works by). St. Petersburg, 1881. 
 2 vols. 8. Vol. i., Part ii., 
 Painted vases ; with 7 pis. 
 
 OLIVER (Dr. Th.)- Report upon the 
 pottery industry in France. 
 London, printed by Darling & 
 Son, 1899. Fol., pp. 18 ; with 
 notes and criticism by W. Bur- 
 ton. 
 
 Published on the occasion of the Government 
 inquiry on the subject of lead poisoning in cer- 
 amic manufacture. The Commissioner reports 
 that cases of plumbism are less numerous in the 
 French than in the English factories. 
 
 OLIYIERI (B.). La ceramica in Cas- 
 telli ; suo state attuale e mezzi 
 
CERAMIC LITERATURE. 
 
 per migliorlarla ; pensieri. Lan- 
 ciano, 1881. 18, pp. 39. 
 
 " Ceramic industry in Castelli ; its 
 present condition and the means of 
 improving it ; suggestions." 
 
 OLLIYIER (L F.). Caloriferes salu- 
 bres de 1' invention de Louis 
 Fran9ois Ollivier, ancien manu- 
 facturier de faience, porcelaine, 
 minium et terre blanche a cou- 
 verte de porcelaine, rue de la 
 Roquette No. 73. Avec brevet 
 d'invention. Paris, Orizet, 1785. 
 4, pp. 8. 
 
 "Sanitary stoves invented by L. F. 
 Ollivier, late manufacturer of faience, 
 porcelain, red lead, and white earthen- 
 ware with porcelain glaze." 
 
 A report addressed to the French Academy 
 of Science by Guyton and Berthollet upon the 
 inventions of L. F. Ollivier. 
 
 - Collection de dessins de poeles 
 de formes antiques et modernes 
 de 1'invention et de la manufac- 
 ture du Sieur Ollivier, rue de la 
 Roquette. Paris, s.d. 4, pp. 
 4 ; with 50 pis. (some col.). 
 
 " Selection of designs for faience stoves, 
 in antique and modern shapes, invented 
 and manufactured by Mr. Ollivier." 
 
 Ollivier had styled himself " General manu- 
 facturer of the faiences of the Republic." He 
 executed, after the fall of the Bastille, a stove 
 representing the old state prison, a copy of which 
 he presented to the Government of the Conven- 
 tion. This stove, now in the ceramic museum 
 at Sevres, gives a poor idea of Ollivier as an 
 artist and a potter. He was, however, full of 
 enterprise as a manufacturer ; he attempted to 
 imitate the black-basalt and the Jasper ware of 
 J. Wedgwood, but as he lacked sufficient tech- 
 nical abilities, he never succeeded in producing 
 anything better than miserable counterfeits. A 
 copy of this catalogue is in the library of the 
 Sloane Museum in London. The plates are 
 drawn by Bosse, and engraved by Taraval. An 
 imperfect copy, with only 18 plates, is priced 
 1,500 fcs., in the D. Morgan cat., 1904. 
 
 OLSCHEWSKY (W.). Katechismus der 
 Ziegelfabrikation unter Beriick- 
 sichtigung der Priifungs meth- 
 oden fiir die gebrannter Fabric- 
 ate. Wien, 1880. 8, pp. 333. 
 
 " Treatise of the brick and tile manu- 
 facture. A method of practical experi- 
 ments applied to ceramic products." 
 
 - Priifung und Begutachtung 
 von Thon. Unter Berucksich- 
 tigung practisher Erfahrungen 
 bearbeitet, und an Beispielen 
 
 erlaiitet. Berlin, 1890. 8. 
 
 " The trial and valuation of clays. 
 Prepared from the result of practical 
 experience, and illustrated with examples." 
 
 O'NIELL (Dr. W.). Old pottery and 
 porcelain. London, 1898. 8, 
 pp. 15 ; with pis. (Reprint 
 from the Architectural and Arch- 
 aeological Society's Reports.) 
 
 - Torksey old pottery and por- 
 celain manufactory. 8, pp. 8 ; 
 with 4 pis. 
 
 The manufactory was established at Torksey, 
 in Lincolnshire, by W. Billingsley, at the be- 
 ginning of the nineteenth century. 
 
 Bow and Chelsea china. Lon- 
 don, 1899. 8, pp. 10; with 
 5 pis. 
 
 The illustrations of these papers are taken 
 from specimens in the writer's possession. 
 
 O'REILLY. Maniere de fabriquer des 
 briques legeres, a 1'imitation des 
 briques flottantes des anciens. 
 Paris, 1779-80. 8, pp. 7. (Ex- 
 tr. from the Annales des Arts et 
 Manufactures.) 
 
 " Method for making light bricks, in 
 imitation of the floating bricks of the 
 ancients." 
 
 Procede pour remplacer la 
 ceruse et le minium dans les 
 compositions de 1' email ou de la 
 poterie fine, et considerations 
 sur 1'etat actuel de cet art. 
 Paris, 1800. 8, pp. 14. (Extr.) 
 
 " A method for replacing white lead and 
 minium in the composition of enamel and 
 glazes in the manufacture of earthenware, 
 with a few remarks on the present state 
 of that manufacture." 
 
 - Sur les hydrocerames, vases 
 de terre propres a rafraichir les 
 
 liquides. Paris, 1804. 
 29 ; with 1 pi. 
 
 8, pp. 
 
 315 
 
O'Rfi] 
 
 CERAMIC LITERATURE. 
 
 [OSM 
 
 " Upon the hydrocerams, or earthen 
 vessels, having the property of cooling 
 liquids." 
 
 O'REILLY. Sur la poterie vernissee 
 et sur les poteries d'Espagne. 
 Paris, 1805. 8, pp. 3. (Extr.) 
 " Upon the glazed potteries, and par- 
 ticularly those made in Spain." 
 
 These articles, which have all appeared at 
 different dates in the same periodical, seem 
 to follow those which Fourmy had published on 
 these subjects. 
 
 ORSI (P.). --Urne funebri cretesi 
 dipinte nel stilo di Micene. 
 Roma, 1890. 4; with 2 pis. 
 5 fcs. 
 
 " Cretan funereal urns painted in the 
 Mycensean style." 
 
 ORTLEB (A. and G.). -- Gefasskunde 
 oder Keramik. Berlin, C. Mode, 
 s.d. 16, pp. 75; with 3 pis. 1m. 
 
 " The knowledge of earthen vessels or 
 ceramics." 
 
 Popular history of the ceramic art, beginning 
 with a chapter on Heraldry, and ending with 
 directions for cleaning and mending ceramic 
 specimens. 
 
 ORTON (Ed.). Geology of Ohio. Vol. 
 vii., Part 1. Geological scale. 
 Clay deposits. Clay manufac- 
 ture. Coalfields. Norwalk, Ohio. 
 1893. 8, pp. 290. 6s. 
 
 - The progress of the ceramic 
 industry. Madison (Wis.), 1908. 
 8, pp. 20. 3s. 
 
 ORTWEINS. Arbeiten in gebranntem 
 Thon. Wien, Grasser, 1895. (In 
 Vorlagen fur GewerblicJie Lehran- 
 stalten, Part vi.) 32 pis. in out- 
 line. Fol. 12 m. 
 
 " Work in terra-cotta." 
 
 Sketches of earthenware stoves, with working 
 diagrams of the details. 
 
 OSAM. Revision der Ansichten 
 liber Ursprung und Herkunft 
 der gemalten griechischen Vasen 
 Giessen, 1847. 
 
 " Critical examination of the theories 
 propounded on the question of the anti- 
 316 
 
 quity and the origin of the painted Greek 
 
 vases. 
 
 OSGOOD (MiSS A. H.). How to apply 
 Worcester . . . and Dresden 
 colours to china. New York, 
 1891. 6th ed. 
 
 - How to apply matt, bronze, 
 Lacroix, Dresden colours, and 
 gold to china. A practical ele- 
 mentary handbook for amateurs. 
 New York, 1896. 12th ed. 
 
 OSMA (G. J. de). Azulejos Sevillanos 
 del siglo xiii. Papeletas de un 
 catalogo de Azulejos espanoles 
 de los siglos xiii al xvii. Madrid, 
 impr. de Fortanet, 1902. 4, pp. 
 65 ; illustrs. (Privately printed. ) 
 " Sevillian tiles of the thirteenth cen- 
 tury. Preliminary notes for a catalogue of 
 Spanish tiles, from the thirteenth to the 
 seventeenth century." 
 
 - La Loza dorada de Manises 
 en el ano 1454. Carta de la 
 Reina de Aragon a Don Pedro 
 Boil. Madrid, 1906. 4, pp. 66 ; 
 with 1 facsimile and 3 illustrs. 
 (Privately printed.) 
 
 " The golden faience of Manises in the 
 year 1454. A letter from the Queen of 
 Aragon to Pedro Boil." 
 
 - Los letreros ornamentales en 
 la ceramica morisco del siglo xv. 
 Madrid, 1907. 8, pp. 18 ; with 
 2 pis. and text illustrs. (Re- 
 print from the Gultura Espanola.} 
 
 " The ornamental letters on the Moorish 
 ceramics of the fifteenth century." 
 
 - Apuntes sobre ceramica mor- 
 isca. Textos y documentos 
 Valencianos. No. II. : Los 
 maestros alfareros de Manises, 
 Paterna, y Valencia. Contratos 
 y ordenanzas de los siglos xiv, 
 xv, y xvi. Madrid, printed for 
 the author, 1908. 4, pp. 179 ; 
 with frontispiece and 10 illustrs. 
 in the text. 
 
OSM] 
 
 CERAMIC LITERATURE. 
 
 [OWE 
 
 " Materials towards the history of 
 Moorish ceramics. Texts and documents 
 relating to Valencia. No. II. : The 
 master-potters of Manises, Paterna, and 
 Valencia. Contracts and ordinances of 
 the fourteenth, fifteenth, and sixteenth 
 centuries." 
 
 The contributions of Don G. T. cle Osma to 
 the study of Spanish ceramics, based on the 
 discoveries made by the writer in the archives 
 of the country, have opened new paths in a 
 hitherto untrodden field. 
 
 OSMOND (Collection du Marqnis d'). Cata- 
 logue of sale. Paris, 1884. 8; 
 with 7 illustrs. 
 
 Sevres porcelain, 46 Nos. Important vases. 
 Celadon and Oriental ceramics. 
 
 OSSOWSKI (G.)- Monographic prehis- 
 torique de Fancienne Pologne. 
 Cracowie, 1879-88. 4; with 
 45 pis. 60 fcs. 
 
 " Monograph of Poland in prehistoric 
 times." 
 
 Contains a few examples of the Polish pre- 
 historic pottery. 
 
 OSTERLING (J.) Dissertatio historica 
 de Urnis sepulchralibus et armis 
 lapideis veterum Cattorum. . . . 
 Lipsiae, 1741. Sm. 4, pp. 32 ; 
 with 1 pi. 2 m. 
 
 " Historical dissertation upon the sepul- 
 cral urns and the stone weapons of the 
 ancients." 
 
 OTTO (F. J.). Der Thon. Braun- 
 schweig, 1868. 
 
 " The potter's clays." 
 
 OUEDA TOKOUNOSOUKE. La ceramique 
 japonaise. Les principaux cen- 
 tres de fabrication ceramique au 
 Japon par 0. T. Avec une pre- 
 face relative aux " Ceremonies 
 de The " au Japon, et a leur 
 influence, par E. Deshayes. 
 Paris, E. Leroux, 1895. 12, 
 pp. 123. 5 fcs. 
 
 " Japanese ceramics. The chief centres 
 of ceramic manufacture in Japan by 0. T. 
 With a preface relative to the ' Tea cere- 
 monies ' in Japan and their influence, by 
 E. D." 
 
 The tables which accompany this work record 
 the names of the chief centres of manufacture ; 
 the earliest date at which they are known to 
 have been at work ; and the' designation of 
 their respective productions. 
 
 OUYAROFF (Comte Alexis). Recherches 
 sur les antiquites de la Russie 
 meridionale et des cotes de la 
 mer Noire. Paris, 1855-60. Fol.; 
 with an atlas fol. of 34 pis. and 
 7 maps. 100 fcs. The first 
 edition, with text in Russian, 
 was published at Saint Peters- 
 bourg, 1851-56. 
 
 " Researches on the antiquities of 
 Southern Russia and the shores of the 
 Black Sea." 
 
 Examples of Greek vases and terra-cottas. 
 This work must be considered as the imperfect 
 sketch of the magnificent volume published by 
 Giles under the direction of Count Ouvaroff, 
 with the title of Antiquites du Bosphore dm- 
 merien. It is illustrated with photographs taken 
 from the drawings of Webel, of the Imp. Acad. 
 of St. Petersburg. 
 
 OYERBECK (J.). Die Bildwerke zum 
 thebischen und troischen Hel- 
 denkreis, etc. Halle and Braun- 
 schweig, 1852-53. 8; with an 
 atlas 4 of 35 lith. pis. 
 
 " Monuments of the Theban and Trojan 
 heroic cycle . . . etc." 
 
 A learned work illustrated with bad lith. 
 plates. 
 
 - GriechischeKunstmythologie. 
 Leipzig, 1871-1889. 3 vols. 8; 
 and atlas fol. 
 
 " Grecian artistic mythology." 
 Reproductions of Greek vase paintings, etc. 
 
 OWEN (Harold). The Staffordshire 
 Potter ; with a chapter on the 
 dangerous processes in the pot- 
 ting industry by the Duchess of 
 Sutherland. London, G. Rich- 
 ards, 1901. 8, pp. 357. 
 
 This thorough and conscientious book has 
 been written by the son of a man Mr. William 
 Owen who, as the trusted leader and agent of 
 the " Union men," has spent a long and busy 
 life in upholding the rights of labour. It is to 
 him that the account is indebted for this abun- 
 dance of dates, facts, and documents that no 
 one else could have supplied ; it is the experience 
 and sound judgment of the old champion of 
 social reforms that permeate all the pages of 
 his son's work. 
 
 317 
 
OWE] 
 
 CERAMIC LITERATURE. 
 
 [OWE 
 
 The narrative records the almost uninter- 
 rupted battles that were fought in the past, not 
 only on questions of wages, but also on points 
 of rules and customs between masters and men. 
 It leaves us impressed with the sense of fairness 
 and moderation displayed by the masses at the 
 most critical moments, when the miseries and 
 privations, following upon the protracted course 
 of a general strike, might have driven the suf- 
 ferers to desperation and violence. 
 
 The author concludes by expressing his con- 
 fidence in the forthcoming union of labour and 
 capital, whose interests, says he, are identical. 
 Without being so sanguine as to the prompt 
 realisation of these hopes, we have good cause to 
 expect that the common sense of the Stafford- 
 shire potter, which has so often helped him 
 through the worst crises of the industry, will do 
 more to promote the betterment of his condi- 
 tion than revolutionary speeches and disgraceful 
 riots have ever done in the case of the infuriated 
 workmen of other times and other places. 
 
 In the chapter contributed by the Duchess of 
 Sutherland the dangers connected with the 
 practice of certain branches of the trade are 
 exposed without unnecessary exaggeration. The 
 heart of the noble lady has been touched by the 
 account of what her modest neighbours, the 
 pot- workers, have to suffer as a consequence of 
 their occupation, and she has thought it a duty 
 to raise her voice and remind us all that the evil 
 would find its remedy in the application of wise 
 regulations, too much neglected in the past. 
 
 The appendix gives the scale of wages in the 
 various branches of the trade from the eigh- 
 teenth century up to the present day, and con- 
 tains interesting particulars concerning the mode 
 of life and the social conditions of the Potteries 
 operatives. 
 
 OWEN (Hugh). Two centuries of cer- 
 amic art in Bristol, being a 
 history of the manufacture of 
 " The true porcelain," by Rich- 
 ard Champion ; with a bio- 
 graphy, compiled from private 
 correspondence, journals, and 
 family papers ; containing un- 
 published letters of Edmund 
 Burke, Richard and William 
 Burke, the Duke of Portland, 
 the Marquis of Rockingham, and 
 others. With an account of the 
 Delft, earthenware, and enamel 
 glass-works from original sources. 
 London, Bell & Daldy, 1873. 8, 
 pp. 32 - xxiv - 402 and index ; 
 with 142 illustrs. in text and 
 16 pis. of portraits, views, and 
 specimens. 3, 10s. 
 318 
 
 It has not escaped the notice of the ceramic 
 student that some of the best books he ever read 
 were the unique productions of their respective 
 authors. One should beware, as a rule, of the 
 prolific writer of heavy volumes who, diluting 
 a modicum of borrowed knowledge into a quart 
 of ink, and dipping his pen in the mixture, covers 
 with his fluent scribble untold reams of foolscap 
 paper. A good monograph is perhaps the most 
 commendable form of a good pottery book. 
 Without the assistance of these detached chap- 
 ters, upon which a conscientious specialist has 
 spent his undeviating efforts, embodying into it 
 the sum of an arduously acquired learning, the 
 framing of the general history would not have 
 been possible. He who has devoted all his 
 thoughts, all his energy, to the completion of a 
 single but exhaustive book, dealing with a still 
 untouched topic, has a better claim to our thanks 
 than the clever writer of numerous compendiums. 
 
 Scanty enough is the number of monographs 
 of English factories. Yet, one is pleased to 
 remark that scarcely any of the volumes of which 
 this small group is formed may be dismissed as 
 the outcome of injudicious labours wasted upon 
 an unworthy subject, or described as the incom- 
 plete essay of a writer not fully prepared for the 
 task he had undertaken to accomplish. In the 
 present case, Owen's compact " History of the 
 Bristol porcelain " may be praised as being a 
 model of what a perfect monograph might be 
 expected to be. Its value as an addition to 
 ceramic history need not be pointed out. 
 
 The account of the discovery of the china clay 
 and stone of Cornwall by Cookworthy about 1758, 
 and of the use that he and Richard Champion 
 made of them for the manufacture of hard porce- 
 lain, first at Plymouth, and subsequently at 
 Bristol, form a most interesting narrative. Al- 
 though favoured by the presence of an inexhaust- 
 ible supply of the best porcelain clay in Europe, 
 and the complete success of the first experiments, 
 Champion's enterprise never gave a sufficiently 
 remunerative result. This new kind of manufac- 
 ture could not be implanted in English soil ; after 
 a few years of sturdy efforts it had to be com- 
 pletely abandoned. The china clay was, however, 
 found to be of great use in the composition of 
 various ceramic bodies. But the potters of 
 England, instead of adopting the recipes of 
 foreign porcelain, preferred to develop the pro- 
 duction of the semi-hard kind of china which 
 originated in the country, and for the making 
 of which they have no rivals in the world. We 
 must acknowledge, therefore, that this book 
 deals with quite an exceptional branch of 
 English manufacture, specimens of which are 
 rarely met with. What renders Owen's 
 work extremely valuable, even to the foreign 
 collector, is the amount of correlative informa- 
 tion pertinently introduced in the course of the 
 narration. The undertaking of Champion and 
 Cookworthy had necessarily brought them in 
 contact with the chief potters, as well as with 
 the art patrons, merchants, and manufacturers 
 of the times ; out of the intercourse the Bristol 
 potters had to keep with official and private 
 personages, springs a long roll of documents and 
 business correspondence, most interesting to 
 peruse for the light they throw upon the general 
 conditions of the British trade and industries 
 during the second half of the eighteenth century. 
 
OWL] 
 
 CERAMIC LITERATURE. 
 
 [PAG 
 
 OWLES (Collection 1). A catalogue 
 of a collection of pottery and 
 porcelain, etc., to be sold by 
 Messrs. Spelman, Great Yar- 
 mouth, October, 1872. Yar- 
 mouth, Denew, printer, 1872. 
 Sm. 4, pp. 90; with 12 
 photogrs. 10s. 
 
 An important collection comprising 1,791 Nos. 
 Numerous specimens of the so-called Lowestoft 
 porcelain. 
 
 PAAPE (Gerrit). - - De Plateelbakker 
 of Delftsch Aardewerkmaaker. 
 Dordrecht, 1794. 8, pp. 72; 
 with 5 pis. 12s. 
 
 " The faience and earthenware maker 
 of Delft." 
 
 This treatise forms the twelfth volume of an 
 Encyclopedia published at Dordrecht by A. 
 Blusse & Son. It was written by a practical 
 potter of Delft. In the year 1794 professional 
 secrets had long been divulged, and there was 
 no longer any cause for making a mystery of 
 recipes and methods which could easily be 
 obtained by anyone who stood in want of tech- 
 nical information. Gerrit Paape has given in 
 his book a sincere and trustworthy account of 
 the whole process of contemporary manufacture. 
 All is simple and clear, as well as absolutely 
 correct, in his description of the various stages 
 through which the ware had to pass, from its 
 fashioning to its final decoration in colours, and 
 it makes us perfectly acquainted with the way 
 in which they proceeded. But the thorough 
 experience, the skill of hand, which made of the 
 Delft potter perhaps the most accomplished 
 faience manufacturer of Europe, cannot be im- 
 parted through the best advice printed in a little 
 handbook. The art of rendering enamelled 
 earthenware equal in brilliancy of surface and 
 purity of colours to the porcelain of China and 
 Japan, of making, in short, amazing counterfeits 
 which deceive the eye of an expert, seems to be 
 quite an extinct art. Mr. Havard in his Histoire 
 de la Faience de Delft has given a French trans- 
 lation of the work of Gerrit Paape. 
 
 PABST (A.)- Die Sammlung Frohne 
 in Kopenhagen. Berlin, P. Bette, 
 1883. Fol., pp. 6; with 28 
 photos, comprising 154 speci- 
 mens. 2. 
 
 " The Frohne Collection in Copen- 
 hagen." 
 
 Nearly one hundred examples of ancient 
 stoneware render this collection of some interest 
 
 to the specialist. It contains, however, few 
 works of superior order. Specimens of Dutch 
 and German faience complete the album. 
 
 - Die Sammlungen des Konigl. 
 Kunstgewerbe Museums zu Ber- 
 lin. Berlin, 1884. 8, pp. 38 ; 
 with 20 illustrs. and 2 photogr. 
 pis. 
 
 " Handbook to the Royal Museum of 
 Industrial Art at Berlin." 
 
 Keramische Sammlung des 
 Freiherrn Albert von Oppen- 
 heim in Koln. Leipzig, Sinsel, 
 1889. Fol., pp. 10; with 56 
 phototyp. pis. 2, 10s. 
 
 " The ceramic collection of Baron 
 Albert von Oppenheim." 
 
 As the art treasures accumulated by German 
 collectors came gradually into the market, the 
 choicest specimens of ancient stoneware were 
 eagerly secured to form a collection without a 
 rival among those in private hands. Nearly 
 every item is either unique or very rare ; each 
 appears to be the best representative of its kind 
 that sure taste and discrimination, assisted by 
 an unbounded liberality, had made it possible to 
 procure. All styles and all periods of German 
 and Flemish stoneware are equally well repre- 
 sented. In the photographic reproductions of 
 these masterpieces of the potter's art, we can 
 follow the beginning and development of a 
 manufacture, the history of which was still under 
 study ; but one should like to see them accom- 
 panied with a letterpress of more instructive 
 import than the brief and inadequate descrip- 
 tions which have been thought sufficient. 
 
 Kunstvolle Thongefasse aus 
 dem 16 bis 18 Jahrhundert. 
 Berlin, 1891. Fol. ; with 52 
 phototyp. pis. Publ., 45 m. 
 
 " Examples of artistic pottery from the 
 sixteenth to the seventeenth century." 
 
 Reprint of the above work under a different 
 title. 
 
 PABST (I.)- Untersuchung von 
 chinesischen und japanischen, 
 zur Porzellanfabrikation ver- 
 wandten Gesteinsvorkommnis- 
 sen. Leipzig, 1880. 8, pp. 39. 
 
 " Examination of some specimens of 
 the raw materials used in the porcelain 
 manufacture of China and Japan." 
 
 PAGANIS (M. Pagan de). Cornioi di 
 terra-cotta in Bologna rilevate e 
 
 319 
 
PAJ] 
 
 CERAMIC LITERATURE. 
 
 [PAL 
 
 disegnate dall'architetto M. P. 
 de Paganis. Torino, Bertolero, 
 1880. Fol. ; 16 col. pis. 10 fcs. 
 
 " Terra-cotta cornices in Bologna, 
 measured and drawn by P. de P., 
 architect." 
 
 PAJOT-DES-CHARMES. Nouvelle 
 methode pour la cuisson des 
 poteries fines sans cazettes. 
 Paris, Bachelier, 1824. 8, pp. 
 15. (Reprint from the Annales 
 deV Industrie.} 
 
 " A new method of firing earthenware 
 without saggars." 
 
 PALAYSI (L.). Bernard Palissy et 
 les debuts de la Reforme en 
 Saintonge. Paris (1895 ?). 8, 
 pp. 55. 
 
 " B. Palissy and the dawn of Reforma- 
 tion in Saintonge." 
 
 PALEOLOGUE. L'Art Chinois. Paris, 
 Quantin, 1887. 8. Chapt. vi., 
 Ceramique, pp. 178-219 ; with 
 22 illustrs. 4 fcs. 
 
 " The Chinese Art." 
 
 PALHA (F.)- Ceramica. A chapter 
 in "Esposicao retrospectiva de 
 arte ornamentale portugueza e 
 hespaniholo. Lisboa, 1882." 
 8 ; with 220 pis. 8s. 
 
 Catalogue of the retrospective exhibition of 
 Portuguese and Spanish decorative art. The 
 .section of ceramics comprised 586 Nos. 
 
 PALISSY (Bernard). Recepte veritable 
 par laquelle tous les hommes 
 de la France pourront apprendre 
 a multiplier et augmenter leurs 
 thresors : Item, ceux qui n'ont 
 jamais eu cognoissance des let- 
 tres, pourront apprendre une 
 Philosophic necessaire a tous les 
 habitants de la terre : Item, en ce 
 livre est contenu le dessein d'un 
 j ardin autant delectable et d'utile 
 invention, qu'ilen f ut onques veu. 
 Item, le dessein et ordonnance 
 d'une Ville de forteresse, la plus 
 320 
 
 imprenable qu'homme ouyt jam- 
 ais parler ; compose par Mais- 
 tre Bernard Palissy, ouvrier de 
 terre et inventeur des Rustiques 
 Figulines du Roy, et de Mon- 
 seigneur le Due de Montmorancy, 
 Pair et Connestable de France, 
 demeurant en la ville de Xaintes. 
 A. La Rochelle, de 1'imprimerie 
 de Barthelemy Berton, 1563. 
 Sm. 8, pp. 130 (folios not 
 numbered). 250 fcs. 
 
 " The true recipe by which all men in 
 France shall learn how to multiply 
 and increase their treasures. Item : 
 all those not conversant in letters shall 
 learn a philosophy necessary to all 
 inhabitants of the earth. Item : in this 
 book will be found the design of a garden, 
 as pleasurable and useful an invention as 
 has ever been seen before. Item : the 
 design and contrivance of a fortified town, 
 the most impregnable that one has ever 
 heard of. Invented by Master Bernard 
 Palissy, workman in clay to the King arid 
 to my Lord Duke of Montmorancy, peer 
 and constable of France, residing in the 
 town of Saintes." 
 
 Editio princeps of extreme rarity. A few 
 copies, otherwise similar in all points to the 
 issue of 1563, bear the date 1564. The work is 
 dedicated to the Marshal of Montmorency, and 
 to the Queen mother, Catherine de Medicis. 
 Upon the title page is printed a woodcut repre- 
 senting a man, whose left arm, provided with 
 wings, is stretched towards heaven, while his 
 right arm is held down to the earth by the 
 weight of a heavy stone. Round the subject 
 runs the inscription, " Povrete empeche les bons 
 esprits de parvenir." Emblem and motto have 
 always been considered as designed by Palissy 
 himself, in order to allegorise the difficulties and 
 sufferings he had to encounter in his life. But 
 Mr. Audiat has established the facts that the 
 emblem was borrowed from Alciat, and that this 
 very woodcut was the mark of the printer, B. 
 Berton, who employed it in many other volumes 
 issued from his press. It is to be noticed that 
 Palissy did not reproduce it in his second work, 
 Discours admirables. Beyond the qualification 
 of " workman in clay to the King," assumed by 
 Palissy on the title page of the Recette veritable, 
 the first work does not contain any reference to 
 the art he practised. 
 
 Discours admirable de la 
 nature des eaux et fonteines, 
 tant naturelles qu'artificielles, 
 des metaux, des sels et salines, 
 
PAL] 
 
 CERA MIC LITER A TURE. 
 
 des pierres, des terres, du feu et 
 des emaux. Avec plusieurs 
 autres excellents secrets des 
 choses naturelles. Plus un 
 traite de la marne, fort utile et 
 necessaire pour ceux qui se 
 melent de 1' agriculture. Le tout 
 dresse par dialogues, es quels 
 sont introduits la Theorique et 
 la Pratique. Par Mr. Bernard 
 Palissy, inventeur des rustiques 
 figulines du Roy et de la Royne 
 sa mere. A. Paris, chez Martin 
 le jeune, a 1'enseigne du Serpent, 
 devant le college de Cambray, 
 1580. Sm. 8, pp. 361. 80 fcs. 
 
 " Admirable discourses upon the nature 
 of waters and fountains, natural as well as 
 artificial, the metals, the salts, the stones, 
 the clays, the fire, and the enamels. Also 
 a treatise upon marl, of great advantage 
 and importance to all who occupy them- 
 selves with agriculture. The whole pre- 
 sented under the form of dialogues in which 
 Theory and Practice are introduced." 
 
 Collation Title page, privilege, and dedi- 
 catory epistle to Sire Anthoine de Fonts ; an 
 address to the reader ; and a notice in which 
 Palissy informs the public that he is ready to 
 give a verbal interpretation of all the subjects 
 treated upon in the book to anyone who, being 
 desirous to obtain it, shall apply to him ; he 
 also offers to execute any of the fountains of 
 which he has given the description (together 
 15 pp., not numbered). The treatise begins 
 on p. 1 and ends on p. 361 ; after which 
 come 23 pages (without numbers) of index and 
 glossary of terms. 
 
 The chapter on " The art of clay, its impor- 
 tance ; and of the enamels and fire " extends 
 from pp. 266 to 295. It is preceded by a chapter 
 on " The argillaceous earths." 
 
 A repetition of some passages of the " Treatise 
 on metals," pp. 120 and 136, at the end of the 
 volume, are evidently erroneous insertions of an 
 uncorrected proof sheet. 
 
 - Le moyen de devenir riche et 
 la maniere veritable par laquelle 
 tous les hommes de France 
 pourront apprendre a multiplier 
 leurs thresors et possessions. 
 Avec plusieurs autres excellent 
 secrets des choses naturelles, 
 des quelles jusques a present 
 Ton n'a ouy parler, par Maistre 
 Bernard Palissy de Xaintes, 
 21 
 
 Ouvrier de terre et Tnventeur 
 des rustiques figulines du Roy. 
 A. Paris, chez Robert Fouet, 
 rue St. Jacques, a 1' Occasion, 
 devant les Mathurins, 1636. Sm. 
 8. Vol i., An epistle from the 
 author to the people of France. 
 16 pp. (without numbers), and 
 pp. 255. Vol. ii., Dedication, 
 etc. 16 pp. (without numbers), 
 and pp. 526. 30 fcs. 
 
 " How to become rich, and the true 
 manner in which all the men of France 
 may learn how to multiply their treasures 
 and possessions. Together with sundry 
 other secrets of great value concerning 
 natural things, unknown to all hereto- 
 fore." 
 
 Forty years had elapsed since the death of 
 Palissy. R. Fouet, the bookseller who conceived 
 the idea of giving to the public a reprint of his 
 two works, decided also to introduce into the 
 original text such alterations as might make the 
 speculation more profitable. He affixed to them 
 quite a different title, that it might excite greater 
 curiosity and attract purchasers. An epistle 
 from the author to the people of France was pre- 
 fixed to the reprint. This epistle was soon re- 
 cognised as a rank forgery of the publisher's 
 imagination, and has never been accepted as 
 Palissy's own writing. Not only had the work 
 to suffer from unwarrantable additions but also 
 from many regrettable excisions. For instance, 
 no doubt from bigoted motives, the part which 
 refers to the history of the reformed church in 
 the town of Saintes has been bodily suppressed. 
 
 Les ceuvres de Bernard Palissy 
 revues sur les exemplaires de la 
 Bibliotheque du Roi ; avec des 
 n6tes par Mr. Faujas de Saint- 
 Fond et des additions par Mr. 
 Gobet. Paris, Ruault, 1777. 
 4, pp. lxxvi-734. 15 fcs. 
 
 " The works of B. Palissy, reprinted 
 from the copies in the Royal Library ; 
 with annotations by Mr. F. de Saint- 
 Fond and additions by Mr. Gobet." 
 
 Palissy and his works were almost forgotten, 
 when Faujas de Saint-Fond, a geologist and pro- 
 fessor of natural history, caused this edition to 
 be reprinted. Through a singular misconception 
 he thought it advisable to change the order of 
 the chapters, and to begin the volume with the' 
 treatise " On the art of clay," which belongs to 
 the second work. The others follow in an arbi- 
 trary succession. He wrote an introductory 
 notice to each section of the original work, accom- 
 panied the text by explanatory footnotes, and 
 
 321 
 
PAL] 
 
 CERAMIC LITERATURE. 
 
 [PAL 
 
 added to it an original essay on the " Terra 
 Sigillata." His friend, Gobet, who acted as his 
 collaborator, was to see the work through the 
 press. Unsatisfied with such a small part, the 
 latter contributed some annotations of his own, 
 not always commendable for sound judgment and 
 accuracy. A greater mistake imputable to him 
 is to have given as a genuine work of Palissy an 
 anonymous article by one of his contemporaries, 
 entitled " Les declarations des abus et ignorance 
 des Medecins," which cannot in any way have 
 been written by the great potter. 
 
 Notwithstanding some unnecessary interpola- 
 tions, this edition is of great value to the student. 
 It contains extracts from the previous works in 
 which many celebrated writers have expressed 
 their opinion upon Palissy and his books. All 
 of them, from La Croix du Maine, 1584, and 
 Verdier de Vauprivas, 1585, to Jussieu, Fonten- 
 i-lle, Buffon, Reaumur, and other learned men of 
 the eighteenth century, are unanimous in their 
 appreciation of the great naturalist and philoso- 
 pher, and render full justice to his genius. Ample 
 notices of the contemporaries and friends of 
 Palissy add a special interest to this edition. It 
 was dedicated by its publisher, Ruaux, to B. 
 Franklin, who, by reason of the interest excited 
 in France by the American revolution, had 
 become the hero of the moment. A few copies 
 have Franklin's portrait engraved by Saint Aubin 
 after a design by Cochin. 
 
 PALISSY (Bernard). Bernard Palissy; 
 ceuvres completes ; editions 
 eonforme aux textes originaux 
 imprimes du vivant de 1'auteur; 
 avec des notes et une notice 
 historique par P. A. Cap. Paris, 
 Dubouchet, 1844. 8, pp. xxix- 
 437. 4fcs. 
 
 " B. Palissy's complete works. An 
 edition reprinted from the original texts 
 published during the author's lifetime; 
 with annotations and a historical notice." 
 
 In this edition, dedicated to Brongniart, the 
 annotator passes a critical examination of 
 Palissy's doctrines and theories, and summarises 
 his scientific discoveries. 
 
 Discours admirables de 1'Art 
 de Terre, de son utilite, des 
 Emaux et du Feu. Geneve, 
 1863. 12, pp. iv-44. 5 fcs. 
 
 The most interesting chapter of Palissy's 
 works, since it contains his biography, reprinted, 
 with a notice by Mr. G. Revillot. 
 
 - (Euvres de Bernard Palissy, 
 publiees d'apres les textes ori- 
 ginaux, avec une notice his- 
 torique et bibliographique et 
 une table analytique par Anatole 
 322 
 
 France. Paris, Charavay, 1880. 
 8, pp. xxvii-500. 4 fcs. 
 
 A new feature introduced by Mr. A. France 
 in this edition is the transcription of a contract, 
 or tender, said to be entirely written by the 
 hand of Palissy, in which the potter describes 
 the grotto, ornamented with figures, animals, 
 and architectural devices in enamelled clay that 
 the Queen, mother of Charles IX., had ordered 
 him to erect in the Tuileries Gardens. The MS., 
 now preserved in the Carnavalet Museum, was 
 then published for the first time. The facsimile 
 of Palissy's signature, taken from another source, 
 and the only one in existence, is also given in 
 this volume. 
 
 Resources : a treatise on 
 " Water and Springs." Trans- 
 lated by E. E. Willett. Brighton, 
 1876. 8, pp. 40. 
 
 In this treatise the questions of irrigation and 
 water supply, as they were understood by the 
 most advanced men of the sixteenth century, 
 were treated by Palissy with extraordinary clear- 
 ness and practicability. The modern problems 
 of sanitary reforms impart to this chapter of 
 his works a special interest, and our thanks are 
 due to Miss E. E. Willet for having given us an 
 excellent rendering of a portion of a book never 
 before translated into English in its entirety. 
 
 - Les ceuvres de Maistre Ber- 
 nard Palissy. Nouvelle edition 
 revue sur les textes originaux 
 par B. FillOD. Avec une notice 
 historique, bibliographique et 
 iconologique par L. Audiftt 
 Niort, L. Clouzot, 1888. 8. 
 Vol. i., pp. ccvi-144. Vol. ii., 
 pp. 280. 12 fcs. 
 
 This edition, prepared by B. Fillon and A. de 
 Montaiglon, had been left unpublished for nearly 
 twenty years, when Louis Audiat, well known 
 for the deep study he has made of the life and 
 works of the French potter, undertook to bring 
 it out. It is a faultless reprint of the two original 
 works, and the Editors have enriched it with most 
 valuable notes and additions. In the intro- 
 ductory notice, Audiat has condensed the con- 
 tents of his former books. It is completed by 
 an extensive bibliography, in which all articles, 
 pamphlets, and volumes which have appeared 
 on Palissy are described and commented upon 
 with the authority of a most competent critic. 
 Of contemporary portraits, two only are in ex- 
 istence, one is a faience plaque in the collection 
 of Sir Antony de Rothschild, the other a painting 
 on vellum in the Cluny Museum ; both of them 
 being probably imaginary presentments. Never- 
 theless Audiat has devoted a special chapter to 
 Palissy's Iconology, in which all modern pictures, 
 statues, and engravings executed to perpetuate 
 his memory are duly enumerated. A glossary 
 of terms of difficult interpretation is placed at 
 the end of the second volume. 
 
PAL] 
 
 C ERA MIC LITER A TURE. 
 
 [PAN 
 
 - (Euvres choisies de Bernard 
 Palissy. Paris, Delagrave, 1890. 
 12, pp. 222. 
 
 There is a notice signed by E. M. 
 
 PALLIER (M.). Limoges: quelques 
 mots sur son Industrie. Limoges, 
 1885. 16, pp. 16. 
 
 " A few words on the porcelain industry 
 at Limoges, by a manufacturer." 
 
 PALIU DE LESSERT. Les briques 
 legionnaires, contribution a la 
 geographic militaire de PAfrique 
 romaine. Paris, Lauriel, 1888. 
 8, pp. 12. 
 
 " The bricks of the Roman legions : a 
 contribution towards the military geo- 
 graphy of Roman Africa." 
 
 PALUSTRE (L.). Catalogue du Musee 
 de Tours, 1871. 8, pp. 77. 
 
 A series of interesting mediaeval tiles. 
 
 - Album de 1' Exposition retro- 
 spective de Tours. Tours, 1878. 
 FoL; 60 pis. 100 fcs. 
 
 The exhibition of 1878 included a loan collec- 
 tion of fine old faience. 
 
 - Monographic d'une cheminee 
 en vieux Rouen polychrome, 
 epoque Louis XV. Bordeaux, 
 1892. 8; with 1 col. pi. 
 
 " A chimney-piece in old Rouen poly- 
 chrom from the time of Louis XV." 
 
 PANCKOUCKE (Collection). - - Collection 
 
 d'antiquites egyptiennes, grec- 
 ques et romaines, etc. Paris, 
 1841. 8, pp. 40. 
 
 " Catalogue of the private collection of 
 L. J. Panckoucke." 
 
 PANDOLA (Collection). Catalogue of 
 
 sale. Roma, 1887. 8; vigns. 
 
 A collection almost exclusively composed of 
 ceramics. 
 
 PANOFKA (T.). Lettera del Dr. 
 Teodoro Panofka all 'abate 
 Niccolo Maggioro. Palermo, 
 Solli, 1825. 8, pp. 15 ; 1 pi. 
 
 " A letter from Dr. T. P. to the Abbot 
 
 N. Maggioro." 
 
 Description of a vase in the San Martino 
 Museum at Naples, representing the education 
 of Bacchus. 
 
 - Vasi di premio illustrati. Fi- 
 renze, 1826. Fol., pp. 22 ; with 
 6 pis. 10 m. 
 
 " Illustrations of vases intended as 
 athletic prizes." 
 
 The first number of a publication which was 
 not continued. 
 
 - II museo Bartoldiano. Ber- 
 lino, 1827. 18, pp. x-180. 
 
 Description of the Bartoldi collection acquired 
 by the Berlin Museum. 
 
 - Recherches sur les veritables 
 noms des vases grecs et sur leur 
 differents usages, d'apres les 
 auteurs et les monuments an- 
 ciens. Paris, F. Didot, 1829. 
 Fol., pp. 64 ; with 9 pis. 20 fcs. 
 
 " Essay on the true names of the Greek 
 vases and their various uses, based on the 
 works of the classical writers and on the 
 ancient monuments." 
 
 Published as an introductory notice to Pan- 
 ofka's work, Mus^e, Blacas, the essay had to 
 stand the bitter criticism of Letronne, who con- 
 tested the correctness of the greater part of the 
 writer's interpretations. 
 
 Musee Blacas. Monuments 
 grecs, etrusques et remains. T. 1, 
 Vases peints. Paris, 1830-33. 
 Fol.; with 32 pis., some col. 
 40 fcs. 
 
 " The Blacas Museum. Greek, Etruscan, 
 and Roman antiquities." 
 
 Panofka had been entrusted with the conduct 
 of the excavations made in the vicinity of Naples 
 at the expense of the Duke of Blacas, and with 
 writing a correct account of the discoveries. The 
 publication was stopped after the issue of the 
 fourth part, the Duke having lost interest in it 
 as soon as the collection had passed, by purchase, 
 into the possession of the British Museum. 
 Symbolism in ancient art was still the order of 
 the day when this work was written. What 
 stood before the eye of the archaeologist was not 
 to him the common-place image it was to all 
 others. Under a veil that the learned man alone 
 could expect to remove lay a hidden secret or a 
 wise teaching ; the veil was to be lifted up. 
 Panofka's subtle and ingenious mind adapted 
 itself remarkably well to the ideologic system in 
 favour among his colleagues. An expression of 
 the face, or a gesture of the hand in a painted 
 figure ; a flower, a knot of ribbon, as an accessory 
 to the scene ; an inexplicable emblem introduced 
 
 323 
 
PAN] 
 
 CERA MIC LIT ERA TURE. 
 
 in the decoration of a vase, plunged his imagina- 
 tion into the depths of metaphysics. His com- 
 mentaries were verbose, recondite, and generally 
 vaguely conjectural. Although Panofka subse- 
 quently recognised his faults, he could never free 
 himself entirely from the method he had adopted 
 in his first work. 
 
 PANOFKA (T.), Antiques du cabinet 
 du Comte de Pourtales-Gorgier. 
 Paris, F. Didot, 1834. Fol., 
 pp. iv-122; with 41 pis. 50 fcs. 
 
 " Antiquities of the collection of Count 
 Pourtales-Gorgier." 
 
 Painted vases, 24 col. pis.; terra-cottas, 3 pis. 
 These latter were engraved by Mercuri. 
 
 Der Tod des Skiron und des 
 
 Patroclus, ein Vasenbild des 
 Konigl. Museums. Berlin, 1836. 
 4, pp. 23 ; with 4 pis. (2 col.). 
 5s. 
 
 " The death of Skiron and Patrocles 
 on a vase painting of the Eoyal Museum." 
 
 Terracotten des Koniglichen 
 
 Museums zu Berlin. Berlin., 
 1842. 4, pp. viii-136 ; with 
 64 lith. pis. 2. 
 
 " Terra-cottas in the Royal Museum of 
 Berlin." 
 
 The gallery of terra-cotta figures, composed 
 principally of the older collections formed by Bel- 
 lori, Bartholdi, Von Roller, etc., is here described 
 and commented upon after the method followed 
 by the exegetic school. At that moment scarcely 
 any attention was paid to the exquisite grace 
 with which these statuettes reproduce the charm- 
 ing attitudes, the flowing draperies of the maiden 
 of Greece, copied by the coroplast as they walked 
 before his workshop, unconscious of being taken 
 as models. All interest was concentrated upon 
 their mysterious signification ; figures found in 
 the tombs were assumed to conceal a religious or 
 philosophical meaning. The more inexplicable 
 appeared the allegory, the more welcome it was 
 to the valiant decipherer. For instance, we have 
 on Fig. 1 a woman standing by the side of a re- 
 clining Satyr ; this has been called " Good luck 
 and good spirit " ; but it has required no fewer 
 than eleven quarto pages of argument to support 
 the author's contentions. 
 
 The heavy lithographic plates fail altogether 
 to render the spirited character of the originals. 
 
 Griechinnen und Griechen 
 nach Antiken skizzirt. Berlin, 
 1844. 4 ; with illustrations 
 taken from painted vases. 4s. 
 
 It has been translated into English under the 
 title Manners and Customs of the Greeks, with 
 illustrations by G. Scharf. 
 
 324 
 
 Zeus Basileus und Herakles 
 
 Kallinikos. Berlin, 1847. 4; 
 with 7 text illustrs. 
 
 The seventeenth Programme of the Winckel- 
 manns' fest. 
 
 - Von den Namen der Vasen- 
 bildner in Beziehung zu ihren 
 bildlichen Darstellungen. Ber- 
 lin, 1849. 4, pp. 88; with 
 9 pis., some col., representing 
 58 subjects. 
 
 " The names of the painters of Greek 
 vases, with reference to their paintings." 
 
 Translation of the work published at Paris in 
 1829. 
 
 - Die griechischen Eigennamen 
 mit Kalos im Zusammenhang 
 mit dem Bilderschmuck auf 
 gemalten Gefassen. Berlin,l85Q. 
 4, pp. 90 ; with 4 pis. repres. 
 50 subjects. 8 m. 
 
 " The Greek names, accompanied with 
 the word ' Kalos/ in connnection with the 
 subjects adorning the painted vases." 
 
 - Die griechischen Trinkhorner 
 und ihre Verzierungen aus Licht 
 gestellt. Berlin, 1851. Fol., pp. 
 38 ; with 3 pis. 3 m. 
 
 A representation of the Greek drinking vessels 
 and their decorations. 
 
 - Dionysos und den Thyaden. 
 Berlin, 1853. 4, pp. 50; with 
 3 pis. 
 
 " Dionysos and the Thyaden." 
 
 The titles of all the articles contributed by 
 Panofka to the Archaeological Journals will be 
 found in Soden Smith's List of Books. 
 
 PAPILLOfl (G.)- Manufacture Nation- 
 ale de Sevres. Guide du Musee 
 ceramique. Paris, Leroux, 1904. 
 12, pp. 180. 
 
 Mr. G. Papillon succeeded to Champfleury as 
 curator of the Ceramic Museum. 
 
 PARENTEAU (F. ). Essai sur les poteries 
 antiques de 1' Quest de la France. 
 Nantes, 1865. 8, pp. 22 ; with 
 5 etched pis. 5 fcs. 
 
 " Essay on the ancient pottery of 
 Western France," 
 
PAR] 
 
 CERAMIC LITERATURE. 
 
 [PAtl 
 
 Description of a few curious specimens of 
 Roman and mediaeval pottery preserved in the 
 Archaeological Museum of Nantes. 
 
 - Catalogue du rnusee departe- 
 niental d'archeologie de Nantes 
 et de la Loire inferieure. Nantes, 
 1869. 8; with 12 pis. 2nd ed. 
 
 Greek ceramics, pp. 12-23 ; Roman pottery, 
 pp. 66-83 ; Faiences, pp. 84-86 ; Peruvian vases, 
 pp. 87-90. 
 
 PARGETER (Ph.). Red House Glass 
 Works, Stourbridge. . . . Re- 
 production of the Portland vase 
 in glass by J. Northwood ; with 
 notes on Wedgwood's repro- 
 duction. 1877. 8, n.p.; 1 photo. 
 
 PAR1BENI (R.). - - Vasi inediti del 
 Museo Kircheriano. (Estr. dei 
 Mon. Ant., vol. xiv.) Roma, typ. 
 della R. Ac. dei Lincei, 1904. 
 4, pp. 32 ; with 14 text illustrs. 
 12 fcs. 
 
 *' Inedited vases from the Kircher 
 Museum." 
 
 PARIS (Pierre). Elatee, la ville, le 
 
 templed' Athena Cranaia. Paris, 
 Thorin, 1894. 8, pp. 318 ; with 
 12 pis. of Greek terra-cottas and 
 text illustrs. 14 fcs. 
 
 " Elateia, the town and the temple of 
 Athena Cranaia." 
 
 From the number of terra-cotta figures found 
 buried under the walls of the ruined temples, the 
 writer demonstrates that such figures were not 
 exclusively used for funeral purposes, but that 
 they were also deposited in the temples as votive 
 offerings to the Goddess. 
 
 PARPART (Collection Albert yon). Cata- 
 logue of sale. Cologne, Heberle, 
 1884. 4, pp. 90 ; with 32 pis. 
 A list of the prices realised at the 
 sale is added to the catalogue. 
 
 This collection was formed by A. von Parpart 
 at his castle of Hiinegg, on the Lake of Thun. 
 German porcelain, Nos. 1 to 254 ; Sevres and 
 other French porcelain, Nos. 255 to 304 ; various, 
 Noe. 305 to 333 ; Oriental, Nos. 334 to 432, with 
 5 pis.; ancient stoneware, Nos. 754 to 782, with 
 1 pi.; faiences of various origins, Nos. 783 to 847 ; 
 Luca della Robbia and Italian majolica, Nos. 848 
 to 1,012, with 10 pis.; Greek and Roman terra- 
 cotta, Nos. 1,013 to 1,036. 
 
 PARS (Adrianus). Katwyksche, 
 Rynsburgsche, en andere Neder- 
 landsche Oudheden. Leiden, 
 1745. (2nd ed.). 8, pp. 604 ; 
 pis. 8s. 
 
 " The antiquities of Katwick and Rhyn- 
 bourg, and other antiquities of Holland." 
 
 A notice of the " Jacobaes Kannetjes," with 
 one plate, will be found oil p. 120. Additional 
 information on the subject is interspersed 
 through the book, which has been largely put 
 under contribution by subsequent writers. 
 
 PARTRIDGE. Catalogue of the historic 
 and unique collection of old 
 Dresden porcelain exhibited at 
 South Kensington and Bethnal 
 Green Museums since the year 
 1874. Purchased by R. W. 
 Partridge, and now on exhibi- 
 tion in his Galleries, May, 1899. 
 London, 1899. 4, pp. 52 ; with 
 30 half-tone plates. 8s. 
 
 PARYILLEE (Achille). : - Etude sui- 
 1'enseignement raisonne de 1'art 
 ceramique. Paris, E. Mary, 
 1884. Sq. 8, pp. 58 ; with an 
 etched frontispiece. 3 fcs. 
 
 " Essay on the practical teaching of 
 ceramic art." 
 
 Instruction in " Ceramic art " is here limited 
 to a few practical advices to the faience painter, 
 with the address of the colour merchant where 
 all the requisite material may be obtained. A 
 reprint of an article on " Pottery," contributed 
 by the writer and his brother, Leon Parvillee, to 
 the Dictionnaire de Pedagogic, adds a few pages 
 to this short handbook. 
 
 PARYILLEE (L6on). Architecture et 
 decoration turques au xv e siecle, 
 avec une preface de E. Viollet- 
 Le-Duc. Paris, Morel, 1874. 
 Fol., pp. iv-9 ; with 50 pis., 
 some coloured. Publ., 120 fcs. 
 
 " Turkish architecture and decoration 
 in the fifteenth century." 
 
 During his stay at Brousse, where he had been 
 called to superintend the restoration of some 
 ancient monuments, Mr. Parvillee collected the 
 elements of an album of decorative designs, re- 
 producing accurately the ornamentation of the 
 old mosques and palaces of Asia-Minor. The 
 adjective of " Turkish " is hardly appropriate to 
 a style in which Arabic and Persian art play such 
 
 325 
 
PAST 
 
 CERAMIC LITERATURE. 
 
 [PAS 
 
 a conspicuous part. Turkish art seems to have 
 little to do with the magnificent " series de tiles " 
 the work of the potters of Persia, Rhodes, and 
 Egypt the reproductions of which give a cera- 
 mic interest to the book. As a manufacturer, 
 Mr. Parvillee has obtained great success in the 
 international exhibitions for his enamelled fai- 
 ence of Oriental character ; his large panels of 
 tiles for architectural decoration, as well as his 
 ornamental vases and dishes, were generally 
 admired. 
 
 PASSALAQUA (Collection of Count J. B. Lucini). 
 Catalogue of sale. Milano, 1 885. 
 4 ; with 24 photo typ. pis. 10 fcs. 
 
 Italian majolica, Nos. 289-489 ; enamelled 
 terra-cotta and pottery, Nos. 490-547 ; Oriental 
 and European porcelain, Nos. 548-612. 
 
 PASSERI (J. B.). Lucernse fictiles 
 Musei Passerii. Pisauri, 1739- 
 51. 3 vols. FoL, pp. 319 ; with 
 313 engr. pis. 1, 10s. 
 
 " Terra-cotta lamps in the Passeri 
 Museum." 
 
 The infinite variety of Greek and Roman 
 terra-cotta lamps is admirably illustrated on the 
 plates of this ponderous work. 
 
 - Pictures Etruscorum in vas- 
 culis nunc primum in unum 
 collectse, explicationibus et dis- 
 sertationibus illustrate. Romce, 
 1768-75. 3 vols. FoL, pp. 274 ; 
 with 300 engr. pis. 2. 
 
 " My desire," says the author in the preface, 
 " is to bring into light again the image of a 
 nation, once glorious and powerful." As he had 
 no other object in view than to make the past of 
 Etruria revive in its monuments, Passeri studied 
 the painted vases found in the necropolis, not for 
 their artistic beauty, but for their historical in- 
 terest. It is most probable that the coarse and 
 clumsy plates that he caused to be engraved, 
 simply as references and illustrations of the text, 
 satisfied him completely. Not long afterwards, 
 Sir W. Hamilton published reproductions of the 
 same vases with the idea of making their designs 
 known and admired by the artist. Neither of 
 the copies are absolutely accurate, but between 
 the loose drawings of the former and the stylish 
 outline of the latter there cannot be any hesita- 
 tion as to which to choose. 
 
 - Istoria delle pitture in maio- 
 lica fatte in Pesaro e ne'luoghi 
 circonvicini, dell Abbate Giam- 
 batisto Passeri da Pesaro, etc. 
 Venezia, 1752. 18, pp. 144; 
 with appendices. (In Raccolta 
 (Topusculi scientifici e filosofici 
 del Padre Calogera, vol. iv.) 
 
 326 
 
 - 2nd ed. Bologna, 1775. 4, 
 (In Passeri' s Storia dei fossili del 
 agro Pesarese. ) 
 
 - 3rd ed. Pesaro, 1838. 8, 
 pp. 115; with appendices. (Pub- 
 lished by the Pesaro Chamber of 
 Commerce.) 
 
 4th ed. Pesaro, Nobili, 1857. 
 8, pp. 215 ; with 3 pis. 
 
 " History of the pictures upon majolica 
 made at Pesaro and other places in the 
 district." 
 
 Before Passeri, no one in Italy nor, if we are 
 not mistaken, in any other country had ever 
 conceived the idea of choosing a centre of pottery 
 manufacture as a fit subject for a monograph. 
 Vasari, it is true, had written the life of Luca 
 della Robbia, but it was as a sculptor rather than 
 as a ceramist that he had been given a place in 
 the Life of Painters. In Passeri's time ancient 
 majolica was much neglected by archaeologists 
 and collectors, general attention being then ab- 
 sorbed by the ancient vases, of which the excava- 
 tions, conducted simultaneously on many points, 
 increased the number from day to day. Ani- 
 mated by the love he bore to the town of Pesaro 
 and all that had illustrated it in the past, the 
 antiquarian and geologist, Passeri, relinquished 
 for one moment the greater works in which he 
 was engaged to prepare a history of the art in 
 which it had for so long excelled. 
 
 Collector to the backbone, he had freely ad- 
 mitted in his museum, by the side of his admir- 
 able specimens of classical ceramics, not only fine 
 and rare pieces of mediaeval and Renaissance pot- 
 tery, but also numerous fragments of the kind 
 excavated from the soil of the town. To these 
 local finds, and the trust he put in them, are 
 traceable misstatements and errors which take 
 away much from the value of the book. On the 
 authority of some very early dates found inscribed 
 upon examples^which he candidly believed to 
 be of Pesaro manufacture, but which we recog- 
 nise as having been imported there from Faenza 
 or any other of the most ancient centres of pro- 
 duction he was induced to infer that not only 
 the invention of metallic lustres, but also the 
 very art of painting upon stanniferous enamel 
 had originated in the town. He did not forget 
 to record the names of the other places in Italy 
 where majolica was also produced, but he re- 
 frained from giving them more than a passing 
 mention, and considered their ware as being 
 derived from that made at Pesaro, of which they 
 were a more or less successful imitation. 
 
 The last chapter of Passeri's book treats of 
 Chinese porcelain. He does not hesitate to say 
 that, in his own estimation, Italian majolica is 
 far superior to Oriental ware, " on account of 
 the historical and artistic value of the paintings 
 with which it is adorned." 
 
 He did all he could to foster the revival of the 
 faience industry in the old city. It was by his 
 advice and under his patronage that a manufac- 
 tory was established there in 1763. But to his 
 
PAS] 
 
 CERA MIC! LITER A TURE. 
 
 intense disgust, the two brothers who started the 
 enterprise, far from reviving the old tradition, 
 preferred to go with the times, and turned their 
 efforts towards the imitation of Oriental porce- 
 lain and Delft faience, in which, it is said, they 
 became very successful. 
 
 Histoire des peintures sur 
 maj clique faites a Pesaro et dans 
 les lieux circonvoisins. Traduit 
 de Pitalien et suivi d'un appen- 
 dice par Henri Delange. Paris, 
 chez Fauteur, 1853. 8, pp. 120. 
 5 fcs. 
 
 A correct translation, in which the Italian 
 text is rendered in French almost word fcr word. 
 Delange has accompanied it by a critical examin- 
 ation of the work ; he was able to point out many 
 of the contradictions that identified and marked 
 specimens of old majolica of other origin 
 offer with the statements of the historian of 
 Pesaro. This translation was prepared to serve 
 as introductory notice to the catalogue of an 
 important sale of Italian majolica, which was 
 to have been conducted by Delange ; he does 
 not disclose, however, the name of the collector. 
 
 De tribus vasculis Etruscis 
 encaustice pictes, a Clemente 
 XIV., P.O.M., in Museum Vati- 
 canum inlatis dissertatio. Flor- 
 entice, 1772. Sm. 4, pp. 54 ; 
 with 6 etched pis. 5 fcs. 
 
 " Dissertation upon three Etruscan 
 vases, with encaustic paintings, deposited 
 in the Vatican Museum by Clement XIV., 
 P.O.M." 
 
 That Passed, who lived in a town where pot- 
 tery had been and was still being manufactured, | 
 should have considered the decoration of the j 
 vases as encaustic paintings, gives an idea of the j 
 superficial manner in which classical ceramics 
 were studied at the time. 
 
 PASSERINI (L.). Genealogia e storia 
 della famiglia Ginori. Firenze, 
 1876. 8, pp. 143 ; with 2 pis. 
 of armorial bearings. 3 fcs. 
 
 " Genealogy and history of the Ginori 
 family." 
 
 PATRONI (Giovanni). - - La ceramica 
 antica nell'Italia meridionale. | 
 Napoli, Stab, tipogr. della Regia 
 Universitse, 1897. 4, pp. 181 ; 
 with 122 half-tone illustrs. 15 fcs. 
 " Ancient ceramics in Southern Italy." 
 
 To establish the characteristics by which the 
 painted vases made in the South of Italy can be 
 
 distinguished from those imported into the 
 country from Greece proper is the theme that 
 Prof. Patroni has developed in this work. The 
 theory, presented for the first time, is supported 
 by means of examples chiefly drawn from the 
 Naples Museum, all belonging to the period when 
 the art of vase painting was in full decline. 
 
 - Guida nel R. Museo archeo 
 logico dkSiracusa. Napoli, 1897. 
 
 8. 
 
 " A guide through the Koyal Museum 
 of Syracuse." 
 
 Vasi dipinti del Museo Vi- 
 venzio designati da Costanzo 
 Angelini nel 1798, publicati, con 
 testo di G. Patroni, da G. Rega. 
 Napoli, Detken & Rocholl, 1901. 
 4, pp. iv-8 ; with 42 pis., some 
 col. 60 fcs. 
 
 " Painted vases from the Vivenzio 
 Collection, designed by C. Angelini in 
 1798, and published by G. Rega, with 
 text by G. Patroni." 
 
 A few vases included in this collection have 
 never been reproduced elsewhere, and all traces 
 of them are lost. The rest are now in the Naples 
 Museum. 
 
 PAUL (Collection Johannes). Catalogue 
 
 of sale. Cologne, Heberle, 1882. 
 4, pp. 220 ; with 32 phototyp. 
 pis. 15 m. 
 
 Ceramics, Nos. 1-457 ; among which are some 
 remarkable specimens of ancient stoneware ; 
 Italian majolica ; one " Frutiere " of Henri 
 Deux ware ; European and Oriental porcelain ; 
 and* 88 pieces of Wedgwood ware. 
 
 PAULSSEN (W.). Die natiirlichen und 
 kiinstlichen feuerfesten Thone, 
 ihr Vorkommen, mechanische 
 und chemische Untersuchung, 
 Gewinnung, Vorbereitung, und 
 Verwendung zu Ziegeln, Retort- 
 en, Muffeln, Rohren, zum Ofen- 
 bau, u.s.w. Weimar, Voight, s.d. 
 8, pp. 8 ; with 3 fold. pis. and 
 41 illustrs. 
 
 " The natural and artificial refractory 
 clays : their mechanical and chemical 
 trial, extraction, preparation, and use for 
 the making of tiles, crucibles, muffles, 
 drain pipes, the building of ovens, etc." 
 
 327 
 
PAU] 
 
 CERAMIC LITERATURE. 
 
 [PER 
 
 PAUR (J.). Zwei romische Ziegel- 
 denkmaler aus Steinamanger in 
 Ungern. Wien, s.d. 8, pp. 8 ; 
 with 3 fol. pis. 
 
 " Two monumental Eoman tiles dis- 
 covered in Hungary." 
 
 PAYAN-DUMOULIN (E. de). Antiquites 
 gallo-romaines decouvertes a 
 Toulon-sur-Allier, et reflexions 
 sur la ceramique. Le Puy, Mar- 
 chesson, 1860. 4, pp. 180 ; 
 with 4 pis. 6 fcs. 
 
 " Gallo-Eoman antiquities discovered 
 at Toulon-sur-Allier, and remarks on the 
 ceramic art." 
 
 An accumulation of broken vases and terra- 
 cotta figures of the style fully described by Tudot 
 was excavated from the ruins of a Roman pot- 
 ter's kiln. This paper, in which the find is 
 descanted upon, is made tip of common-place 
 quotations most often misapplied, and is as 
 uninteresting as are the well-known Gallo-Roman 
 terra-cottas, of which the clumsy woodcuts 
 grouped upon the plates give a sufficient idea. 
 
 PAZAUREK (G. E.). Reichenberg. 
 Nordbohmisches Gewerbe- 
 Museum. Fiihrer durch die 
 kunstgewerblichenSammlungen, 
 1893. -8, pp. 124; with 31 
 illustrs. 
 
 ' ' Handbook to the Reichenberg Museum. 
 Industrial art of North Bohemia." 
 Ceramics, pp. 65-104. 
 
 Ignaz Bottengruber, einer 
 
 der altesten deutschen Porzel- 
 lanmaler. Breslau, 1902. (Re- 
 print from Schlesien Vorzeit in 
 Bild und Schrift.) 
 
 " I. Bottengruber, one of the earliest 
 porcelain painters." 
 
 NordbohmischenGewerbemu- 
 
 seum in Reichenberg. Keramik. 
 Reichenberg, 1905. 4; with 30 
 pis. (some col.), 100 text illustrs., 
 and list of marks. 30 m. 
 
 PEAKE(T.)- Terro-metallic,Roofing, 
 Ridge, and Paving Tiles, Orna- 
 mental Terra-cotta, etc. Manu- 
 factured by T. Peake, "The 
 Tileries," Tunstall. Stoke-on- 
 328 
 
 32 
 
 Trent. Pattern book. 4; 
 col. pis. 
 
 The factory was established one hundred and 
 fifty years ago. 
 
 PEIXOTO (R.). As olarias de Prado. 
 Industrias populares. Porto, 
 1898. 8, pp. 43 ; with 94 text 
 illustrs. (In Portugalia, vol. i.) 
 
 " The potters of Prado. The popular 
 industries of Portugal." 
 
 PELLEGRINI (G.)- Museo Civico di 
 Bologna. Catalogo dei vasi an- 
 tichi dipinti delle collezioni Pal- 
 agi ed universitaria. Bologna, 
 Museo Civico, 1900. 4, pp. 133; 
 1 photo typ. pi. and 4 lith. pis.; 
 with 85 text illustrs. 1, 5s. 
 
 " Catalogue of the ancient painted vases 
 from the Palagi and the University col- 
 lections in the Civic Museum of Bologna." 
 
 The Palagi collection was acquired after the 
 death of the owner in 1860 ; the other portion of 
 the collection was formerly in the University 
 Museum, founded in 1712. The catalogue com- 
 prises 899 Nos. Four pictures of white Lekithies 
 are reproduced on the plates. 
 
 PENAFIEL (A.)- Monumentos del arte 
 Mexicano antiguo. Monuments 
 of ancient Mexican art ; orna- 
 mentation, mythology, emblems 
 and architecture. Berlin, 1890. 
 One vol. text, pp. 358, and two 
 vols. of 318 pis. (176 col.). 45. 
 
 Published, by decision of Carlos Paoheco, at 
 the expense of the Mexican Government. The 
 work forms a complete history of Aztec civiliza- 
 tion, illustrated with reproductions of original 
 examples of art, among which ancient pottery 
 is largely represented. The text is printed, side 
 by side, in Spanish, French, and English. 
 
 PENNA (D. S. Femira). Apontamentos 
 sobra es ceramics do Para. Rio- 
 de-Janeiro, 1877. 4, pp. 30 ; 
 with 2 pis. (In Archivios dal 
 Museo national des Chili.} 
 
 " Contributions towards the history of 
 ceramics in Para." 
 
 PERCEVAL (S. G.). On the Brisling- 
 ton lustre ware in the Bristol 
 Art Gallery. Bristol, 1906. 8, 
 pp.8. 
 
 The writer concludes that these specimens are 
 of Spanish origin. 
 
PER] 
 
 CERA MIC LIT ERA TURE. 
 
 PERCY (Le Baron). Memoire sur des 
 especes d'amphores, dites Tena- 
 jas, usitees de tous temps in 
 Espagne. Paris, Sajou, 1811. 
 8, pp. 26. (Reprinted from the 
 Magazin Encyclopedique. ) 
 
 " Memoir on a kind of anaphoras, called 
 Tenajas, used in Spain from the earliest 
 times." 
 
 All over the Spanish country, the memory of 
 the Roman occupation may still be traced in the 
 persistence of some antique tradition. Just as 
 in the cellars of Lucullus and Mecaenas the Lesbos 
 and the Falernian wines were kept maturing in 
 huge jars (dolia) of terra-cotta the Xeres and 
 the Porto are now preserved in capacious tenajas 
 in the vaults of the Spanish castles and monas- 
 teries. Both antique dolia and modern ten- 
 ajas offer a perfect likeness of material, shape, 
 and workmanship. To read the accurate de- 
 scription of the making of a tenaja by a Spanish 
 potter, as it was witnessed by the writer, is to 
 find oneself transported, in imagination, into the 
 workshop of a Roman potter, and follow the 
 various manipulations through which clay was 
 fashioned under his fingers into jars, urns, and 
 amphoras. Although the wheel was not made 
 use of, the shape of the vessels of the largest 
 proportions some of them are over ten feet in 
 height are remarkably correct and true. 
 
 - Memoire sur les vases refrig- 
 erants, appeles en Espagne Alca- 
 razas. Paris, Sajou, s.d. 8. 
 (Extr. from the Magazin En- 
 cyclopedique.} 
 
 " Memoir on the cooling vases, called 
 in Spain Alcarazas." 
 
 A paper to be consulted in connection with 
 the history of "Buccaros." 
 
 PEREZ-YILLAMIL (D. I.). Artes e in- 
 dustrias del Buen Betiro. La 
 fabrica de la china ; el labora- 
 torio de piedras duras y mosaico 
 obradores de bronces y marfiles. 
 Madrid, Rivadeneyra, 1904. 
 Roy. 8, pp. xv-151 ; with 30 
 phototyp. pis. reproducing 136 
 objects. 
 
 " The arts and industries in the Buen 
 Retiro. The manufactory of china ; the 
 ateliers of the lapidaries, works in precious 
 stones and mosaic ; the bronze makers and 
 the ivory carvers." 
 
 During the first period of manufacture, the 
 artists and workmen who had been transferred 
 in a body from the factory of Capo di Monte to 
 
 that of Buen Retiro, by order of King Charles III. 
 in 1761, produced at Madrid a porcelain very 
 similar in character to that which they had been 
 accustomed to make at Naples. To discriminate 
 between the productions of these two places is 
 often, therefore, a matter of great difficulty. 
 The china collector may derive some assistance 
 from the work of Sefior P. Villamil. He will find 
 in it the description and reproduction of the 
 models known to have originated at Buen Retiro, 
 and a complete list of the marks found affixed on 
 a few specimens. Such indications are, how- 
 ever, insufficient for the identification of the 
 larger number of examples ; the same models 
 having been repeated at Alcora, and, later on, in 
 a wholesale manner by the Ginoris, of Doccia, 
 and the paste offering, in all cases, a want of such 
 distinctive quality as might make it serve as a 
 guide. The illustrations of this volume are of 
 special interest, as they reproduce exceptional 
 vases and classical biscuit figures which are only 
 to be seen in the royal palaces of Spain. A large 
 selection of the exquisitely modelled and decor- 
 ated groups and figures, the true glory of the 
 Buen Retiro manufacture, allow us to form a 
 good notion of the characteristic style of a porce- 
 lain now become extremely rare. 
 
 PERNICE (E.). KothonundRaucher- 
 gerat. Berlin, 1899. 8, pp. 
 with 20 illustrs. (Reprint from 
 the Jahrbucher.) 
 
 " Kothon and fumigatory vases." 
 
 A large class of vases destined to burn in- 
 cense and other perfumes is described here for 
 the first time. 
 
 Ausgewalte Griechische Terra- 
 
 cotten im Antiquarium der 
 Konigl. Museen zu Berlin. Her- 
 ausgegeben von der General- 
 verwaltung. Berlin, Reimer, 
 1903. Fol., pp. 28; with 37 
 heliotyp. pis. 30 m. 
 
 " A selection of Greek terra-cottas in 
 the Royal Museum of Berlin. Published 
 by the General Direction." 
 
 Figures of terra-cotta, from the archaic period 
 to the time of the highest development of the 
 art, are represented in examples discovered in 
 Greece in several localities, with the exception 
 of Tanagra. 
 
 PERROT (G.)- L'enlevement d'Ori- 
 thye par Boree. (Enochoe du 
 Musee du Louvre. Paris, 1874. 
 4, pp. 28 ; with 1 pi. 
 
 " The rape of Orithia by Boreus. An 
 (Enochoe in the Louvre Museum." 
 
 - Le triumph d'Hercule. Cari- 
 cature grecque d'apres un vase 
 
 329 
 
PER 
 
 CERAMIC LITERATURE. 
 
 [PET 
 
 de la Cyrenaique. Paris, 1876. 
 4; with 1 pi. 
 
 " The triumph of Hercules. An antique 
 caricature after a vase of Cyrenaica." 
 
 PERROT (G.) and CHIPIEZ (Ch.)- A his- 
 tory of art in ancient Egypt. 
 Translated by W. Armstrong. 
 London, Chapman & Hall, 1883. 
 2 vols. 8; with 14 pis. and 
 598 text illustrs. Pottery, vol. 
 ii., pp. 367-377. 2, 2s. 
 
 - History of art in Chaldsea and 
 Assyria. London, 1884. 2 vols. 
 8; with 15 pis. and 452 text 
 illustrs. Ceramics, vol. ii., pp. 
 
 289-308. 
 
 - History of art in Phoenicia 
 and its dependencies. London, 
 1885. 2 vols. 8, with 10 pis. 
 and text illustrs. Ceramics, vol. 
 ii., pp. 279-326 ; illustrs. of 
 Cyprus pottery. 
 
 - History of art in Sardinia, 
 Judsea, Syria, and Asia-Minor. 
 Trans, by Gonino. London, 1 890. 
 2 vols. 8; with 8 pis. and 406 
 text illustrs. Pottery, vol. i., 
 pp. 91-94, 348-358. (Zaffira 
 forgeries, etc.) 
 
 History of art in Phrygia, 
 Lydia, Caria, and Lycia. Lon- 
 don, 1892. 8; with 280 illustrs. 
 Pottery, pp. 319-326. 
 
 History of art in Persia. 
 London, 1892. 8; with 12 pis. 
 and 254 illustrs. Pottery, pp. 
 420 (Friezes of Susa), 472-488. 
 
 - History of art in primitive 
 Greece. Mycenian art. London, 
 1894. 2 vols. 8; with 20 pis. 
 and 544 illustrs. Pottery, vol. 
 ii., pp. 352-412. 
 
 PESSAMHA (J.) A fabrica de 
 
 do Rato. Documento para a 
 sua historia. Lisboa, 1898. 8. 
 330 
 
 " The faience factory of Rato. A 
 document towards its history." 
 
 A porcelana em Portugal ; 
 primeiras tentativas. Lisboa, 
 1903. 8, pp. 25; with 5 pis. 
 (In Archivo historico Portuguez.) 
 
 " Porcelain in Portugal ; the first 
 attempts." 
 
 The plates represent small plaques with sub- 
 jects in relief and medallions in imitation of the 
 Wedgwood Jasper. One of the plaques bears 
 the inscription, " The first porcelain made in 
 Portugal, in 1773 ; discovered by Bartholomeo 
 da Costa, etc." (Translation.) 
 
 PETERSEN (E.). Ercole riportante i 
 pomi delle Esperidi. Roma, 1859. 
 8; pis. 
 
 " Hercules bringing back the Hesperi- 
 dian apples." 
 
 - Paride ed Elena. Roma, 1860. 
 
 8. 
 
 " Paris and Helen." 
 
 - Vasenstudien. Berlin, 1879. 
 4, pp. 19. (Reprint from the 
 Archaol. Zeitung.) 
 
 Die Gruppe der Tyrannen- 
 morder auf eine Lekythos der 
 Sammlung Scaramanga in Wien. 
 Wien, 1881. 8; pis. 
 
 " The group of the tyrant murder upon 
 a Lekythos of the Scaramanga Collection." 
 
 Ercole e Tritone. Roma, 
 1882. 8; with 3 pis. 
 
 PETIT-DIDIER (Collection). - Catalogue 
 of sale. Paris, 1843. 8. 
 
 The collection had been formed at Lyons. 
 
 PETIT-LAFITTE. Vilaris et la decou- 
 verte du Kaolin. Bordeaux, s.d. 
 8, pp. 8. 
 
 " Vilaris and the discovery of Kaolin." 
 
 This paper claims for Vilaris, a druggist of 
 Bordeaux, a share in the discovery of the Limo- 
 ges kaolin. It was he who recognised in the 
 sample of white clay submitted to his examina- 
 tion by Mme. Darnet, a material out of which 
 porcelain could be made, and forwarded it to 
 Macquer, chemist of the Royal factory of Sevres, 
 in 1768. 
 
PET] 
 
 c $RA MIC LITER A TUR tf. 
 
 [PET 
 
 PETITON (C.)- Le musee ceramique 
 de Rouen. Rouen, 1900. 4; 
 60 photogr. pis. 80 fcs. 
 
 PETITOT (E. A.)- Suite des vases 
 tiree du cabinet de Son Excel- 
 lence Monsieur Du Tilot, Mar- 
 quis de Felino, et gravee a 1'eau 
 forte d'apres des dessins origi- 
 naux de Mr. le Chev. E. A. P. 
 par Benigno Bossi. Parma, 1764. 
 (1st ed.) 
 
 " A series of vases etched by B. Bossi, 
 after the drawings of E. A. Petitot, in the 
 possession of Mr. Du Tilot, Marquis of 
 Felino." 
 
 PETRIE (I. I. Flinders). Pottery of 
 
 Ancient Egypt. (In Archceo- 
 logical Journal, vol. xl.) London, 
 1883. 8 ; with 3 pis. 
 
 Naukratis. Part I. With 
 
 chapters by C. Smith, E. Gard- 
 ner, and B. V. Head. 4, pp. 
 100 ; with 63 pis. (9 of pottery). 
 Part II. By E. Gardner, with an 
 appendix by F. LI. Griffith. 4, 
 pp. 92; with 24 pis. (16 of 
 pottery). London, Triibner,1886- 
 88. Third and sixth memoir of 
 the Egyptian Exploration Fund. 
 1, 5s. 
 
 To Mr. Cecil Smith has been entrusted the 
 care of describing the pottery discovered at 
 Naukratis. The Greek colony which had settled 
 on the spot had imported there the arts and 
 trades of their country. Upon the pottery they 
 made brown traceries of geometrical ornaments, 
 human figures and animals, were painted over a 
 white engobe (called glaze by the writer), in a 
 style recalling that of the Arkesilas Cylix and 
 the archaic vases of Corinth. In the striking 
 analogy presented by the Corinthian and the 
 Naukratis painted vases, Mr. Flinders Petrie 
 found an additional support to the theory which 
 would ascribe to Greek art in general an Oriental 
 origin. He seems to have been ill-advised, how- 
 ever, in producing this evidence, for it is an 
 established fact that the art of vase- making had 
 reached in Corinth its highest development more 
 than a century before the earliest date that can 
 be assigned to the production of the Naukratis 
 pottery. 
 
 Tanis. Part II. Nebesheh 
 
 and Defenneh, with chapters by 
 A. E. Murray and F. LI. Griffith. 
 
 Fourth memoir. London, 1888. 
 4; 63 pis. and plans. (Egyptian 
 pottery, and 9 pis. of Greek 
 
 vases.) 
 
 Tell el Hesy (Lachish). Lon- 
 don, A. Watt, 1891. 4, pp. 63 ; 
 with 10 pis. and text, illustrs. 
 10s. 
 
 One of the publications of the Palestine Ex- 
 ploration. Fund. Chapter vii. treats of the 
 pottery found in Tell el Hesy. It opens with 
 the following sentence : " The excavations at 
 Tell el Hesy proved to be an ideal place for de- 
 termining the history of pottery in Palestine." 
 The most ancient examples are, according to the 
 writer, represented by the Amorite pottery, 
 dating from 1,600 to 1,000 years B.C. In the 
 successive strata, adopting the order in which 
 they were deposited in the course of centuries, 
 he found specimens of Phoenician, Jewish, Greek, 
 Seleucidan, and Roman pottery. These various 
 styles are illustrated on five plates reproducing 
 numerous forms and fragments of rough and, 
 with very few exceptions, undecorated terra- 
 cotta. 
 
 PETRIE (W. M. Flinders) and QOIBELL (J. E.), 
 
 with a chapter by Spurell (F. C. 
 J.) Nagada and Ballas, 1895. 
 London, Quaritch, 1896. 4, pp. 
 x-79; with 85 lith. pis. (32 of 
 pottery). 1, 5s. 
 
 In the extensive burial grounds of Nagada 
 and Ballas, in Upper Egypt, human remains 
 were found to have been deposited in the soil, 
 either unprotected, or occasionally enclosed in a 
 stone cist or a large earthen jar. The Egyptian 
 mode of sepulture was not practised by the tribes 
 which once inhabited that region. During a 
 long course of exhaustive excavations, the ex- 
 plorers did not meet with a single mummified 
 body. Shall we, therefore, infer that in these 
 tombs and their contents we must see obvious 
 evidences of the presence of some unknown race 
 of invaders, which had taken possession of the 
 land at a period anterior in date to the intro- 
 duction in the country of the practice of em- 
 balming the dead ? 
 
 This is the opinion entertained and developed 
 by Mr. Flinders Petrie. As nothing in the nature 
 . of the discoveries calls to mind the distinctive 
 character of any of the various nationalities 
 which are known to have been important factors 
 in the mixed population of ancient Egypt, he 
 proposed that these unprecedented finds should 
 be considered as representing the degree of civi- 
 lisation of what he called a " New race." It is 
 with that object in view that the present memoir 
 has been written. 
 
 His conclusions have not been generally 
 accepted. The pottery, discovered in profusion 
 during the campaign, should not, in our estima- 
 tion, have been relied upon as a witness in sup- 
 port of the theory. One could not mention an 
 
 331 
 
CERA MIC LITER A TURti. 
 
 [PFE 
 
 example found in the Egyptian catacombs 
 which recalls the technics of the Nagada vases. 
 The fine red clay, of which they are formed, is 
 highly polished on the outer surface, and the 
 upper part of the piece is covered with a coating 
 of black glaze. Such characteristics were never 
 observed* in any work of remote antiquity, but 
 they would very accurately describe the red 
 polished vessels made by the Siout potters of 
 the present day. Another rather incompatible 
 evidence, also supplied by the pottery, is that at 
 Ballas the very soil, from the top to a depth of 
 six inches, is made up of a mixture of dust, ashes, 
 and fragments of the same red and black pottery. 
 One can hardly believe that if the fragments had 
 lain there for many thousand years, they should 
 not have disappeared long ago under a thick 
 layer of sand. 
 
 In the tombs of Nagada the finds presented a 
 slightly different character. Together with mor- 
 tuary vessels of the kind just described occurred 
 a few objects of early Egyptian style, but broken 
 terra-cotta of the late Roman period predomi- 
 nated largely over all the rest. Evidently the 
 place had been used as a burial ground by suc- 
 cessive generations up to a comparatively recent 
 epoch. An ethnological examination of the 
 crania has revealed that the tribe did not belong 
 to the Egyptian, but to the Kabyle race. 
 
 From these rambling observations one might 
 as well conclude that this alien population, which 
 occupied the Nagada region during an undeter- 
 mined period, might originally have come from 
 North-western Africa, and never relinquished, in 
 the land of adoption, their national manner of 
 burying the dead. In the style of the pottery they 
 made we have a kind of intimation that their 
 settlement cannot have taken place at a time so 
 distant from our own as we are given to under- 
 stand. 
 
 It is not that we are at all concerned with the 
 polemic raised by the discovery of a " New race," 
 excepting so far as regards its ceramic produc- 
 tions. Considering that their earthen vessels 
 are akin to modern Arab ware, and quite unlike 
 all primitive pottery ; remembering that frag- 
 ments of them cover the surface of the soil, it 
 would be difficult for us to agree with an opinion 
 which gives to the red and black pots of Nagada 
 a prehistoric origin. 
 
 Antique pottery is frequently described and 
 illustrated in the memoirs subsequently issued by 
 the Egyptian Exploration Fund. 
 
 PETRINI. Lettera su una antica 
 terra-cotta trovata in Palestrina. 
 Roma, 1794. 4. 
 
 " A letter on the subject of an antique 
 terra-cotta discovered at Palestrina." 
 
 PETROY (Y. J.). Marques des por- 
 celaines, faiences et majoliques 
 russes et etrangeres. Moscow, 
 1904. 8, pp. xxxviii-208. (In 
 French and Russian.) 13s. 
 
 " Marks of the Kussian and foreign 
 porcelains, earthenware, and majolica." 
 332 
 
 Contains 675 Russian and 2,850 foreign marks. 
 The attribution of these latter consists in a mere 
 indication of the country of origin. 
 
 PEYRUSSON (EdOliard). L'industrie de 
 la porcelaine en Limousin, son 
 avenir et ses perfectionnements. 
 Limoges, impr. Ducourtieux, 
 1892. 8, pp. 48. 
 
 " The porcelain industry in the district 
 of Limoges; its prospects and its im- 
 provements." 
 
 Mr. Peyrusson, professor of chemistry at 
 Limoges, has made a thorough study of the 
 present conditions of the local industry, and has 
 given us, in this paper, the benefit of his prac- 
 tical experience. 
 
 - Preparation de Tor pour la 
 decoration de la Porcelaine. 
 Limoges, 1891. 8, pp. 8. 
 
 " Method for the treatment of the gold 
 employed for the decoration of porcelain." 
 
 PEZZA ROSSA (G.). Scavo di vasi 
 etruschi sul Mincio, nel Man- 
 tovano. S.I., 1847. 
 
 " Etruscan vases discovered in the 
 excavations made on the Mincio, in the 
 province of Mantua." 
 
 PFAU (L). Kunstgewerbl. Muster- 
 bilder aus der Wiener Weltaus- 
 stellung. Stuttgart, 1874. Alb. 
 4, pp. 22 ; with 40 pis. 3 m. 
 
 " Models of industrial art from the 
 Vienna International Exhibition." 
 Ceramics, pis. xii-xxiv. 
 
 PFEIFFER (B.)- Die Ludwigsburger 
 Porzellanfabrik. Stuttgart, 1892. 
 8, pp. 52. (Reprint from the 
 W iirttembergische Vierteljahrs- 
 hefte.) 
 
 " The porcelain factory of Ludwigs- 
 burg." 
 
 In 1756, B. C. Hacther formed a company for 
 the establishment of a porcelain factory in Wiirt- 
 temberg. Two years after, Duke Carl signed a 
 decree which provided for the foundation of such 
 a factory at Ludwigsburg under the direction of 
 Counsellor J. G. Trothe. J. J. Ringler, from 
 Vienna, was entrusted with the practical manage- 
 ment, a position which he kept for forty years. 
 Faience manufacture was added to porcelain- 
 making in 1763. The financial conditions of the 
 joint undertakings were always precarious. We 
 notice that the staff had to accept porcelain in 
 
PFU] 
 
 CERAMIC LITERATURE. 
 
 [PIC 
 
 part payment of their wages up to 1802. The 
 complete list of artists and workmen extends up 
 to the end of the eighteenth century. The factory 
 declined rapidly from that time, and was ulti- 
 mately closed in 1824. 
 
 - Album der Erzeugnisse der 
 ehemaligen Wurttembergischen 
 Manufaktur Alt-Ludwigsburg. 
 Stuttgart, 1906. Obi. 4, pp. 
 77 ; with 151 pis. in half-tone. 
 45 m. 
 
 " Album of the productions of the 
 ancient manufactory of Ludwigsburg in 
 Wurtemberg." 
 
 The plates give the reproduction of 570 figures 
 and 361 vases and other pieces, as also of the 
 marks and monograms found on the ware. 
 
 PFUNGST (H. J.). A descriptive cata- 
 logue of a small collection of 
 Italian majolica in the posses- 
 sion of H. J. P., 22 Endsleigh 
 Gardens. London, 1890. Sm. 
 4, pp. 13 ; 6 photot. pis. (25 
 copies priv. printed.) 
 
 PHELYPEAUX. - - Under this name, 
 Champfleury's Bibliographic cer- 
 amique gives the titles of twelve 
 official decrees relating to the 
 Royal manufactory of Sevres. 
 4, 1748-1764. Copies of these 
 decrees are preserved in the 
 library of the manufactory. 
 
 PHILLIPS (J.). The potter's art in 
 Devonshire. 1881. 8, pp. 4. 
 (Reprint from the Transactions 
 of the Devonshire Association.) 
 
 Notes upon the manufacture of pottery, 
 ancient and modern, in North Devon ; Mr. 
 Fishley's pottery ; Mr. Webber's grafitto ware ; 
 the Barum ware ; the Torquay ware, etc. 
 
 PHILLIPS (W. P. & G.) and CHAFFERS (W.). 
 Catalogue of an exhibition of 
 old Wedgwood ware at Messrs. 
 Phillips' Ceramic Galleries ; cat- 
 alogued and arranged by W. 
 Chaffers. London, Davy, 1877. 
 8, pp. 49. 
 
 Catalogue of W. and G. 
 Phillips' exhibition of high class 
 
 modern paintings on pottery by 
 British and foreign artists. Lon- 
 don, 1880. 16, pp. 32. 
 
 Exhibition of works by L. 
 M. Solon. London, Bemrose & 
 Sons, 1897. 8, pp. 11 (68 Nos.) ; 
 with a title page by Leon V. 
 Solon, and 2 phototyp. pis. 
 
 PHILLIPS (P. W.). A short account 
 of old English pottery, and an 
 introduction to the study of 
 Chinese porcelain by Rev. G. A. 
 Schneider, M.A.; also a cata- 
 logue of old china offered for 
 sale at the Manor House, Hitchin, 
 Herts. Hitchin, 1901. 8, pp. 
 124 ; with 50 half-tone pis. 
 
 PHOLIEN (Fl. ). Les anciennes faiences 
 liegeoises. Contribution a Fhis- 
 toire de la ceramique au Pays 
 de Liege. Liege, 1902. 8, pp. 
 30 ; with 5 pis. (4 col.). (Re- 
 print from the Bulletin de VInst. 
 Arch. Liegeois.) 
 
 " The ancient faience of Liege." 
 
 Liege was renowned for its glass works. The 
 manufacture of faience was later attempted in 
 the town, but never reached a great develop- 
 ment. A factory was established by Gouron, in 
 1765. He was succeeded by Joseph Boussemart, 
 of Lille, who does not seem to have been much 
 more fortunate than his predecessor. Finally, 
 the works were closed in 1811. The ware, which 
 was decorated in the style of Strasburg, Lune- 
 ville, and Marseilles, bears no marks ; it is of 
 very difficult identification. 
 
 La ceramique au Pays de 
 Liege. Liege, A. Bernard, 1906. 
 8, pp. ii-192 ; with 8 pis. (4 col.) 
 5 fcs. 
 
 Additional information on the faience fac- 
 tories of Liege, and short notices on Andenne, 
 Huy, Namur, Maestricht, Dinant, Septfontaine, 
 La Louviere, and other minor manufactories of 
 the region. 
 
 PIC ( J.L. ). DieUrnengraberBohems, 
 Aus der Bohmischen iibersetzt 
 von J. Miiller Horsley und J. V. 
 Zelisko. Leipzig, Hiersemann, 
 1907. 4, pp. xii-210; with 
 
 333 
 
PIC] 
 
 CERAMIC LITERATURE. 
 
 [PIC 
 
 100 pis. and 91 text illustrs. 
 4. 
 
 " The graves with cinerary urns in Bo- 
 hemia. Translated from the Bohemian." 
 
 PICARD (M. ). Nouveau traite de pein- 
 ture sur porcelaine et sur faience 
 a 1' usage des professeurs des 
 ecoles speciales de ceramique et 
 des amateurs. Paris, 1893. 8, 
 pp. 95 ; vigns. 
 
 " A new treatise of porcelain and 
 faience painting for the use of professors 
 in the technical_schools of ceramics, and 
 of amateurs." 
 
 PICCOLPASSI (C.) . I trelibri dell'arte 
 del Vasajo, nei quali si tratta non 
 sola la pratica, ma brevemente 
 tutti i secret! di essa cosa che 
 persino al di' d'oggi e stata 
 sempre tenuta ascosta, del Cav. 
 Cipriano Piccolpassi, Durantino. 
 Roma, 1857. 4, pp. 58 ; with 
 atlas of 37 lith. pis. 15 fcs. (A 
 supplementary page, which 
 should be inserted after p. 42, 
 is often missing. It contains 
 recipes for making the gold 
 lustres.) 
 
 2nd ed. Pesaro, 1870. 8. 
 
 (In Vanzolini.) 
 
 " The three books of the potter's art, in 
 which, not only the practice of the art is 
 treated upon, but also all the secrets con- 
 nected with it and kept concealed up to 
 this day, are briefly disclosed." 
 
 In all probability this treatise had been 
 written for immediate publication ; three hun- 
 dred years elapsed, however, before the MS. 
 was put into print. The original now in the 
 art library of the Victoria and Albert Museum 
 belonged then to Sr. Giuseppe Raffaelle, of 
 Urbania (the ancient Castel Durante), the native 
 place of Piccolpassi, or Picciol Passo, as he has 
 signed his name at the end of the preface. 
 
 This MS. was well known to the old majolists 
 as containing a treasure of technical information. 
 Passeri, who had examined it, speaks of it in his 
 book, however, in a most disparaging manner. 
 " All the secrets it pretends to unveil were," says 
 he, " familiar to all the lads employed in the 
 majolica manufactories ; whereas the historical 
 particulars concerning the potters and painters 
 of the time, which it would have been most im- 
 portant for us to know, are absolutely wanting." 
 
 Insignificant as it appeared to the not always 
 
 334 
 
 impartial historian of Pesaro, this treatise is of 
 great interest for the history of ceramic manu- 
 facture. Cavaliere Piccolpassi had been a ma- 
 jolica manufacturer and painter ; his sketches 
 are bound to be accurate, and the description of 
 the processes he practised himself, at about the 
 best period of the art, can be taken as correct and 
 reliable. He has given us drawings of the rudi- 
 mentary machinery and quaint tools used at that 
 time, as well as of the shape of the kilns ; and 
 he has represented the various stages of the 
 manufacture from the preparation of the clay 
 up to the placing of the ware and the mode of 
 firing. 
 
 He gives a view of the town of Castel Durante, 
 and praises the superiority of its painted ware 
 over all other, for he is proud of calling himself a 
 Durantin. But he refrains from mentioning any 
 of the factories in particular, and is silent as to 
 the names of its best potters and artists. It is 
 not the secrets he has learned in his native town 
 that he intends to disclose in his book his 
 fellow-craftsmen might consider such a trans- 
 gression of trade honesty as nothing short of 
 treachery but the ways and means he has seen 
 used in other centres of production. On the 
 first page Urbino is spoken of as the place in 
 which work is conducted in the manner he is 
 about to describe. Venice and Genoa have 
 supplied the prices he affixes to all the patterns 
 of painted dishes of which a sketch is given. 
 After all, it may have been through the appre- 
 hension of giving offence to his mates and friends 
 that he decided to leave his MS. unpublished 
 during his lifetime. 
 
 This edition was printed from a MS. copy 
 made by G. Raffaelle and preserved by him after 
 he had sold the original. It is somewhat in- 
 complete, and often inaccurate. 
 
 - Les trois livres de Fart du 
 Potier ; esquels se traicte non 
 seulement de la Pratique, mais 
 briefvement de tous les secrets 
 de ceste chouse qui iouxte mes- 
 huy a estee tousiours tenue 
 celee. Translate de 1'Italien en 
 langue Francoyse par Maistre 
 Claudius Popelin, parisien. 
 Paris, Libr. Intern., 1860. 4, 
 pp. 87 ; with 37 lith. pis. 15 fcs. 
 
 Translation of the above work. It may be 
 that the old French language lent itself particu- 
 larly well for rendering the quaintness of ex- 
 pression of Piccolpassi's MS. with absolute 
 accuracy ; but we fear that more than one 
 French reader, puzzled with such a flow of 
 obsolete words, and ill at ease with the anti- 
 quated turn of the sentences, may think that 
 the learned translation had better be translated 
 again for the benefit of the many who have the 
 misfortune of not being mediaeval scholars. 
 
 The supplement, a fly sheet added to the first 
 reprint long after the publication of the volume, 
 appears to have been unknown to Popelin ; 
 these interesting passages are missing in his 
 translation 
 
PIC] 
 
 CERAMIC LITERATURE. 
 
 [PIN 
 
 PICHON (Baron J.). Notes prises sur 
 Tin vent aire du Mobilier de 
 Madame la Comtesse Du Barry 
 sous la terreur. Lettre de Mr. le 
 Baron J. Pichon. Paris, Aubry, 
 1872. 8, pp. 10. (Reprint 
 from the Bulletin du Bouquiniste. ) 
 
 " Notes taken from the inventory of the 
 furniture belonging to Countess du Barry, 
 under the Reign of Terror." 
 
 An autograph note of the commissary who 
 conducted the sale of Countess Du Barry's 
 effects, confiscated by the Government, contains 
 a detailed description of the table and chest of 
 drawers adorned with porcelain plaques, with 
 incidental considerations upon the productions 
 of the Sevres manufactory. This note was 
 reprinted as a complement to Davillier's work, 
 Les Porcelaines de Madame Du Barry. 
 
 PICHON (L). La faience a emblemes 
 patriotiques du second Empire. 
 Paris, Mangineot, 1874. 32, 
 pp. 32 ; with illustrs. 3 fcs. 
 
 " The faience painted with patriotic 
 emblems during the second Empire." 
 
 In the possession of Mr. Ludovic Pichon was 
 a dinner plate bearing the figures 7,500,000, re- 
 presenting the number of votes recorded in the 
 plebiscite which called Napoleon III. to the 
 throne. A strong believer in the importance of 
 inscribed pottery as historical documents, the 
 collector seized the occasion of commenting upon 
 the odd specimen he had discovered, very pleased 
 to add one more pamphlet to the copious list of 
 books written on the patriotic faiences. A few 
 copies have a dedication to the Prince Imperial. 
 
 PICKERT (Collection A.). Catalogue of 
 sale. Cologne, Heberle, 1881. 
 8, pp. 265 ; with 24 pis. 
 
 The Pickert collection was one of the most 
 ancient in Germany. The old house on the 
 Albrecht Diirer place at Nuremberg, which Pick- 
 ert had filled from cellar to garret with curiosities 
 of all kinds, was one of the sights of the town. 
 Ceramics, Part L Nos. 1 to 219. Part II. 
 Nos. 1 to 541. 
 
 PIERPONT-MORGAN (Collection J.). Cata- 
 logue of the Chinese porcelain. 
 By Bushell (S. W.) and Laffan 
 (W. M.). New York, 1904. Pp. 
 lxxxii-195 ; with 77 col. pis. 
 250 copies printed for private 
 distribution. 
 
 A popular edition was issued in 1907 by the 
 Metropolitan Museum of Arts, New York, with 
 plates in half-tone. 13s. The collection was 
 purchased from Mr. A, Garland, 
 
 PIETTE (E.) and SAfAZE. Les tertres 
 funeraires d'Avezac-Prat. (Hau- 
 tes Pyrenees). St. Quentin, 
 1899. 4, pp. 26; with 29 
 chromolith. pis. by Pilloy. 30 fcs. 
 " The burial mounds of Avezac-Prat." 
 
 A cemetery of undetermined antiquity. The 
 pottery found in the tombs is of coarse make, 
 and bears no vestige of ornamentation. Num- 
 erous specimens are reproduced on 15 plates. 
 
 PIETRASANTA. Illustrazione di un 
 antico vaso fittile. Palermo, 
 1830. 8; pis. 
 
 "Description of an antique fictile vase." 
 
 PIGNATELLI D'ARAGONA CORTES (Collection 
 Prince F. ). - - Catalogue of sale. 
 Naples, 1895. 4; with 13 pis. 
 Majolica and porcelain, pp. 1-31. 
 
 PINCOT (Daniel). An essay on the 
 origin, nature, uses, and pro- 
 perties of artificial stone ; to- 
 gether with some observations 
 upon common natural stone, 
 clays, and burnt earth in general, 
 in which the durability of the 
 latter is shown to be equal, if 
 not superior, to the hardest 
 marbles. London, 1770. 8. 
 
 PINELLI (B.). Gruppi pittoreschi 
 modellati in terra-cotta da Bar- 
 tolomeo Pinelli ed incisi all'ac- 
 quaforte da lui medesimo. Roma 
 Gentilucci, 1834. Sm. fol.; 28 
 pis. 12 fcs. 
 
 " Picturesque groups modelled in terra- 
 cotta by B. Pinelli, and etched by him- 
 self." 
 
 Rough sketches of terra-cotta groups of 
 figures in Roman costumes. Peasants, Mas- 
 queraders, Brigands, etc. The portrait of the 
 etcher forms the frontispiece. 
 
 PINCHART (A,). Preuves authentiques 
 de 1' existence de la fabrique de 
 porcelaine etablie au chateau de 
 Tervueren. Bruxelles, 1846. 8, 
 pp. 8. (Reprint from the Bul- 
 letin des Commissions royales 
 d'art et d 1 archeologie.} 
 
 335 
 
PIN] 
 
 CERAMIC LITERATURE. 
 
 [PIT 
 
 " Documents proving the existence of 
 a porcelain manufactory established in 
 the Tervueren Castle." 
 
 When Charles, Duke of Lorraine and of Bar, 
 was governor of the Low Countries, towards 
 1760, he often resided at the Castle of Tervueren, 
 situated a short distance from Brussels. He 
 followed with great interest the scientific inven- 
 tions of his time, and had established in the 
 castle laboratories and workshops in which ex- 
 periments were conducted under his personal 
 direction. Printing on cotton, making wall- 
 papers, and other new processes, captivated his 
 attention in turns. The writer thought he had 
 good cause to believe that the Duke also estab- 
 lished a porcelain manufactory in the castle. A 
 few notes entered in the private household 
 accounts of the Duke are all the proofs he can 
 bring forth in support of his statement. It re- 
 quires very little technical knowledge to perceive 
 that all the items set down in the account book 
 refer respectively to building a kiln, trying 
 colours, paying a china painter, buying services 
 at Tournay to be decorated that is to say, that 
 they all apply to porcelain painting, and not at 
 all to the manufacture of porcelain. In short, 
 what was simply a princely amusement has been 
 mistaken for the foundation of a national 
 industry. 
 
 PINSART(C.) Carrelagesdel'Abbaye 
 du Paraclet-des-Champs. (In 
 Courtaux ; Notice historique sur 
 La Bove et ses Seigneurs. Paris, 
 1890.) 10 col. pis.; with 54 
 designs of tiles. 4. 
 
 PIOT (Collection E.). Catalogue of sale. 
 Paris, 1860. 8, pp. 19. 
 
 A few pieces of the Medicis porcelain, and a 
 fine collection of Italian majolica. The cata- 
 logue is illustrated with numerous marks and 
 monograms. 
 
 Antiquites grecques. Cata- 
 logue of sale. Paris, 1870. 8, 
 pp. 68. 
 
 Descriptions by F. Lenormant. 
 
 - Collection Spitzer. La cer- 
 amique italienne. Paris, 1886. 
 8, pp. 26 ; vigns. (Reprint 
 from La Gazette des Beaux-Arts.) 
 
 " The Spitzer Collection. Italian cer- 
 amics." 
 
 The description of the majolica contained in 
 this celebrated collection ia replaced by a few 
 historical notes on the old factories borrowed 
 from the standard works. 
 
 Collection Eugene Piot. Cata- 
 logue of sale. Paris, 1890. 4, 
 
 336 
 
 pp. 114 ; with 19 phototyp. pis. 
 and 43 text illustrs. 20 fcs. 
 
 This catalogue was prepared by W. Froehner. 
 Greek vases and terra-cottas, Nos. 81-413. The 
 most remarkable terra-cotta figures are repro- 
 duced on 14 plates. 
 
 Mr. E. Piot edited the serial publication Le 
 Cabinet de I' Amateur, to which he has contributed 
 the following articles on ceramics : 
 
 N. S. No. i. " Etude sur la ceramique des 
 
 xv e et xvi e siecles," pp. 10. 
 ,, No. i. " La vie et les travaux de Ber- 
 nard Palissy," 1842, pp. 30. 
 Nos. v-vii. " Histoire de la porcelaine 
 
 en Allemagne," pp. 27. 
 Nos. xii-xiii. " Histoire de la porce- 
 laine fran9aise," pp. 16. 
 Nos. xxix-xxxii. " La manufacture 
 Royale de faience fine et de por- 
 celaine etablie a Orleans en 1753." 
 
 PISELLI (Y.). Dipintura archaica 
 di una picol'anfora dionisiaca, 
 strenna nuziale. Disegno pub- 
 licato la prima volta in occasione 
 delle sponsalizie celebrate tra lo 
 illustro Conte Servanzi, e la 
 Signora M. Valentini. Roma, 
 1841. Fol. 
 
 " An archaic painting on a small 
 Dionysiac anphora; a wedding present. 
 A subject published for the first time on 
 the occasion of the marriage of Count 
 Servanzi with the Lady M. Valentini." 
 
 PITON (C.). A practical treatise on 
 china painting in America. New 
 York, 1878. 2nd ed., 1880. 
 Sq. 16; with an album of fol. 
 pis. 
 
 PITRE-CHEYALIER. Avisseau, lepotier 
 de Tours. Paris, 1851. 8, pp. 
 6 ; portr. and vign. (Extr. 
 from the Musee des Families.} 
 
 " Avisseau, the potter of Tours." 
 
 Biographical notice of a potter who, towards 
 1850, was celebrated for his successful imitations 
 of Palissy ware. 
 
 PITT (William). A topographical his- 
 tory of Staffordshire, including 
 its ... manufacturers, 
 memoirs of eminent natives, etc. 
 With a succinct account of the 
 rise and progress of the Stafford- 
 shire Potteries. N ewcastle-under- 
 
PIT] 
 
 CERA MIC L1TERA TV RE. 
 
 [POL 
 
 Lyme, 1817. 
 12s. 
 
 8, pp. 410-436. 
 
 PITT-RIVERS (General). Excavations 
 in Cranborne Chase, etc. London, 
 1898. 4 vols. 4. 5, 5s. 
 
 Contains figures of a large number of early 
 cinerary urns. 
 
 PLEYTE (W.). Nederlandsche Oud- 
 heden van de vroegste Tijden 
 tot op Karel den Groote. Ley- 
 den, 1877-85. 4; with 167 pis., 
 mostly col., and 14 maps. 6. 
 
 " Antiquities of the Netherlands from 
 the remotest times up to the Carlo- 
 vingian period." 
 
 Contains numerous reproductions of ancient 
 pottery. Dr. W. Pleyte is curator of the Leyden 
 Museum of Antiquities. 
 
 PLICQDE (Dr. A. E.). Liusiannum; la 
 metropole des ceramistes gallo- 
 romains. Arras, 1880. Pp. 19. 
 (Reprint from Congres Archeo- 
 loqique de France.} 
 
 " Liusiannum ; the metropolis of the 
 Gallo-Roman potters." 
 
 A sketch of the following work. 
 
 - Etude de ceramique arverno- 
 romaine. Caen, Delesques,1887. 
 8, pp. 32 ; with 2 pis. 2 fcs. 
 
 " Essay on the Arverno-Roman pot- 
 tery." 
 
 An account of the excavations made at Lezoux 
 in 1879 by the writer. The foundations of one 
 hundred and sixty potters' kilns, the evidences 
 of seventy distinct workshops, and the marks of 
 over three thousand potters were discovered in 
 the place. A classification of the varieties of 
 Roman pottery found in Auvergne is attempted. 
 
 PLOQUIN (Collection). Catalogue of 
 sale. Paris, 1891. 8, pp. 55 ; 
 with 15 heliogr. pis. 
 
 The catalogue is illustrated with excellent 
 heliogravure plates printed in blue. They re- 
 produce numerous specimens of a remarkable 
 collection exclusively composed of faience of 
 various origin, in which the French factories 
 were particularly well represented. 
 
 - Catalogue. of the second sale. 
 Paris, 1896. 8, pp. 66 ; with 
 20 pis. 
 
 The second portion of the collection contained, 
 besides a large variety of faience and porcelain 
 
 22 
 
 objects, a series of terra-cotta medallion por- 
 traits by J. B. Nini. 
 
 PLOT (Dr.). Natural history of Staf- 
 fordshire. London, 1686. 4. 
 10. 
 
 The minute account given by Dr. Plot of the 
 methods employed by the potters of Stafford- 
 shire for the making, glazing, and firing of their 
 coarse earthen vessels has been reprinted in every 
 history of English pottery. In The Natural 
 History of Oxfordshire, (Oxford, 1677), the same 
 author gives a few particulars on the various 
 clays employed by the English potters, and he 
 reports an interesting conversation with John 
 Dwight on the subject of the stoneware he was 
 then producing, and on his experiments to find 
 the secret of Oriental porcelain. 
 
 POLIGNY (Germaine de). Communaute 
 
 d'origine de 1'ancien art mexi- 
 cain avec ceux des bords de la 
 Mediterranee. Paris, Quantin, 
 1879. 8, pp. 7 ; vigns. (Re- 
 print from the Gazette des Beaux- 
 Arts.) 
 
 " Mexican art, and its common origin 
 with the arts of the shores of the Medi- 
 terranean Sea." 
 
 A fortuitous similitude of rudimentary shapes 
 and ornamentation noticed on the pottery of the 
 ancient Mexicans and those of the Phoanicians, 
 the Egyptians, and the Etruscans has been 
 thought sufficient to warrant a presumption that 
 the decorative art of these antique nations must 
 have had a common origin. 
 
 POLITI (Raffaello). Slancio artistico di 
 R. Politi, pittore ed architetto 
 siracusano all'ombra di Flax- 
 man, famoso scultore inglese e 
 sublime imitatore delle dipinture 
 greco-sicole che si osservano ne'- 
 vasi fittile. Girgenti, 1826. 8, 
 pp. 13 ; 1 pi. 
 
 " An artistic essay of R. Politi, painter 
 and architect of Syracusa, dedicated to 
 the shade of Flaxman, the celebrated 
 English sculptor and sublime imitator of 
 the Greco-Siculo paintings of fictile vases." 
 
 A description of a vase discovered at Girgenti, 
 and dedicated by the writer to the memory of 
 Flaxman. R. Politi was an artist of talent. 
 The plates he has etched himself for the il- 
 lustration of his papers on Greek vases are of 
 superior execution, and show a feeling for Greek 
 art seldom met with in the reproductions of 
 -vase paintings. Most of his pamphlets are now 
 almost unobtainable. 
 
 337 
 
POL] 
 
 CERA MIC LITER A TURE. 
 
 [POL 
 
 POLITI (RaffaellO.). Illustrazione di 
 
 un vaso fittilo rappresentante 
 
 Appolo il Citaredo e le Parce 
 
 in Girgenti. Palermo, 1826. 8, 
 
 pp. 23 ; 2 pis. 
 
 Illustrazione della pittura 
 rappresentante Nemesi, trovato 
 nell'antica Agrigente. Palermo, 
 1826. 8, pp. 23 ; 3 pis. 
 
 - Illustrazione ad un vaso fit- 
 tile rappresentante Cassandra e 
 Ajace d'Oileo. Palermo, 1828. 
 12. 
 
 - Osservazioni critiche sul vaso 
 fittile, esistente in Girgenti nel 
 Archivio Duomo. Venezia,l82S. 
 8. 
 
 - Achilles. Cenni su di un vaso 
 fittile rappresentante Achille 
 vincitore di Ettore. Messina, 
 1828. 8. 
 
 - Esposizione di un vaso fittile 
 nella collezione di S. M. Ludo- 
 vico, Re di Baviera. Palermo, 
 
 1828. 4. 
 
 Illustrazione sul dipinto in 
 terra-cotta di un Ercole ed 
 Apollo, e di altre tre figuline 
 Greco - Sicolo - Agrigentine. 
 Girgenti, 1829. 8. 
 
 Esposizione di sette vasi 
 Greco-Sicoli-Agrigentini. Pal- 
 ermo, 1831. 8, pp. 15 ; 3 pis. 
 and 2 illustrs. 
 
 - Due parole su tre vasi fittili. 
 Palermo, 1833. 8; 3 pis. 
 
 Spiegazione di cinque vasi di 
 Primio. Palermo, 1834. 8. 
 (Reprinted in La Concordia, 
 1841, with addition of 8 pis. 
 
 Sulla tazza dell'amicizia ; un 
 brindisi al chiarissimo Th. Pan- 
 ofka. Palermo, 1834. 8; 2 pis. 
 
 338 
 
 - Lettera al chiarissimo Signore 
 J. V. M. su di una figulina rap- 
 presentante Ercole e Nereo. 
 Palermo, 1834. 8. 
 
 - Descrizione d'una Deinos, o 
 vaso in terra-cotta Greco-Sicolo- 
 Agrigentino. Girgenti, 1837. 4. 
 
 Anfora panatenaica, al sommo 
 scrittore C. Malpica. Girgenti, 
 1840. 8. 
 
 - II mostro di Lerna, lekitos 
 Agrigentino. Palermo, 1840. 8. 
 
 POLLAK (Llldwig). Zwei Vasen aus der 
 Werkstatt Hierons. Leipzig, 
 1900. 4, pp. 33 ; with 8 pis. 
 and 5 text illustrs. 12m. 
 
 " Two vases from Hieron's atelier." 
 
 The question has already been raised as to 
 whether the name of Hieron, found inscribed 
 upon several painted vases of the best period, 
 should be considered as the signature of the 
 artist, or simply as the " trade mark " of his 
 atelier. Mr. Pollak describes two unpublished 
 pieces, in private possession, which afford fresh 
 proofs that most of the paintings signed with 
 that name are so widely different in style that 
 they could not have been painted by the same 
 hand. 
 
 POLLEN (J. Hungerford). Photographs 
 of terra-cotta columns modelled 
 for the lecture theatre at the 
 South Kensington Museum bv 
 G. S. (G. Sykes). With descrip- 
 tion and a brief memoir of the 
 artist's life. London, 1866. 4; 
 15 photos. 
 
 - Universal catalogue of books 
 on art, comprehending : Paint- 
 ing, Sculpture, Architecture, De- 
 coration, Coins, Antiquities, etc. 
 London, Chapman & Hall, 1869- 
 
 vols. 
 
 pp. 
 
 2212. 
 
 77. 3 
 1, 10s. 
 
 So much room is occupied in this chaotic list 
 by illustrated novels, books on travel, natural 
 history, etc., that very little is left for works on 
 ceramic art. Any research on special subjects 
 has been rendered extremely difficult by the 
 adoption of an arrangement of the authors' 
 names by alphabetical order. Moreover, the 
 trouble one might take to discover the titles of 
 
PON] 
 
 CERAMIC LITERATURE. 
 
 [POT 
 
 a few books on pottery and porcelain is not 
 repaid by the bibliographic information obtained; 
 particulars are wanting in all cases. 
 
 PONTICELLI (P.). Ulustrazione di un 
 vaso italo-greco del Museo Reale 
 Borbonico. Napoli, 1822. Sm. 
 4, pp. 55. 
 
 " Disquisition on an Italo-Greco vase 
 in the Royal Museum of Naples." 
 
 The vase is described as having been con- 
 secrated to Bacchus ; the pamphlet treats of 
 Bacchus' worship rather than of antique vase 
 paintings. 
 
 POPELIN (C.). Les vieux arts du feu. 
 Paris, Lemerre, 1878. , 8. 2nd 
 ed. Pp. 161 ; woodcuts ; rubri- 
 cated pages. 10 fcs. 
 " The ancient arts of fire." 
 
 The book is divided into three parts. I. Glass. 
 II. Enamel painting. III. Majolica. It is il- 
 lustrated with head and tail-pieces drawn by the 
 author, and engraved on wood by Prunnaire. 
 Full-page views are given of Venice, Limoges, 
 Urbino, and Pesaro in ancient time. 
 
 - L' email des peintres. Paris, 
 Levy, 1866. 8, pp. 208 ; wood- 
 cuts. 6 fcs. 
 
 " The art of enamelling for the use of 
 painters." 
 
 Dedicated to the artist who intends to practise 
 enamel painting on copper ; this book is also of 
 great use to the faience and porcelain painter. 
 It contains a treatise on metals and the colours 
 that can be obtained from them. 
 
 POREE (Chanoine). Note sur le mono- 
 gramme de Masseot Abaquesne. 
 Paris, 1898. 8, pp. 7 ; with 
 Ipl. 
 
 " Note on the monogram of Masseot 
 Abaquesne." 
 
 A Rouen potter of the sixteenth century to 
 whom several majolica pavements are attributed. 
 
 PORTER (G. R.).- A treatise on the 
 progressive improvement and 
 present state of the manufac- 
 ture of porcelain and glass. 
 London, Longman, 1832. 8, 
 pp. 334 ; with 50 illustrs. 2s. 
 
 No collected history of the ceramic art had 
 ever been written in the English language when 
 this treatise was published anonymously as one 
 volume of Lardner's Cabinet Cyclopedia. De 
 
 Milly, Brongniart, and other French writers have 
 supplied the ground-work of the book. Perhaps 
 in the use of such sources may we find the reason 
 why the author dwells at full length upon the 
 productions of other countries, and finds little 
 to say about those of England ; at anyrate he 
 seems to exert extraordinary caution lest he 
 might give to English pottery and porcelain an 
 undue preponderance in the account. Josiah 
 Wedgwood is the subject of a few eulogistic re- 
 marks, but such important manufactories as 
 Bow, Chelsea, Worcester, Derby, etc., are dis- 
 posed of with a mere mention. An exception is 
 made with respect to the Rockingham works,then 
 apparently commanding the larger share of 
 public favour. Several vases made at Rocking- 
 ham are fully and minutely described and lauded 
 as masterpieces of the ceramic art. In one of 
 those thus extolled by Porter we recognise a vase 
 already glorified by J. Ward in his poem on The 
 Potter's Art. 
 
 POST (J.) et NEUMANN (B.) (Transl. 
 by L. Gautier). -Traite complet 
 d' analyse chimique, applique 
 aux essais industriels. Tome II. 
 l er Fasc. Produits ceramiques. 
 Verres et gla9ures. Paris, Her- 
 mann, 1908. 8, pp. 202 ; with 
 99 illustrs. 5 fcs. 
 
 " A complete treatise of chemical 
 analysis applied to industrial experiments 
 Part I. Ceramic products, glass, and 
 glazes." 
 
 POSSESSE (M. de). La faience de 
 Rouen. 4, pp. 26. (Reprint 
 from the Memoires de la Soc. 
 Fran^. de, numis. et d'Arch.) 
 
 " A review of A. Pottier's Histoire de la 
 faience de Rouen." 
 
 POTT. Endecktes Geheimniss des 
 achten Porzelans, sowie des chin- 
 esischen als sachsischen ; von 
 einem Besitzer dieses Geheim- 
 nisses. Berlin, 1750. 4, pp. 
 16 ; with 8 pis. 
 
 " The secret for making the true por- 
 celain, as made in China or in Saxony, by 
 one in possession of the secret." 
 
 We have not seen this rare pamphlet, pub- 
 lished anonymously. It is said, by German 
 writers, to be of no practical use. 
 
 ! POTTIER (A.)- Origine de la porce- 
 laine d' Europe. La premiere 
 porcelaine fabriquee en Europe 
 a ete inventee a Rouen. Rouen, 
 
 339 
 
POT] 
 
 CERAMIC LITERATURE. 
 
 [POT 
 
 1847. 8, pp. 24. (Reprint 
 from the Revue de Rouen et de 
 Normandie.) 
 
 11 Origin of the European porcelain. 
 The first porcelain manufactured in 
 Europe was invented at Rouen." 
 
 A royal privilege, granted in 1673 to Louis 
 Poterat of Rouen, specifies that the applicant had 
 discovered the secret of making a porcelain 
 similar to that of China, and that he intended to 
 carry on the manufacture of such a porcelain, 
 together with that of Dutch faience imitations. 
 When Andre Pettier published the official docu- 
 ment, no specimens were known by which this 
 startling information could be supported. Not 
 long afterwards, however, small pieces of soft 
 china, closely resembling those known to have 
 been made at Saint Cloud, but marked with the 
 initials A. P. were excavated from the site of the 
 old works at Rouen ; they testified that Poterat's 
 scheme had effectually been put into execution. 
 
 POTTIER (A.). Sur le vase His- 
 pano-Moresque de 1'Alhambra, a 
 propos d'un vase en porcelaine 
 de Sevres donne a la ville de 
 Kouen. Rouen, Peron, 1851. 
 8, pp. 24. 
 
 " Notice of the Hispano-Moresque vase 
 of the Alhambra ; on the occasion of a 
 vase of Sevres porcelain having been 
 presented to the City of Rouen." 
 
 Having given a description of the original, the 
 writer finds fault with the manner in which the 
 so-called copy has been executed. Nothing 
 more precise than a rough sketch of the form 
 and decoration of the vase had been brought 
 from Spain by a French painter, who communi- 
 cated it to the Sevres manufactory. From that 
 sketch the Sevres artist produced, with the 
 means at his disposal, a piece which never had 
 any pretension to imitate the technics of Spanish 
 ceramics. 
 
 Essai de classification des 
 poteries normandes des xiii e , 
 xiv e , et xv e siecles. Rouen, 
 impr. Briere, 1867. 8, pp. 13. 
 
 " An attempt to classify the Norman 
 pottery of the thirteenth, fourteenth, and 
 fifteenth centuries." 
 
 To form two distinct groups of the coarse 
 pottery of undetermined date found in the pro- 
 vince is the plan suggested by the writer. Plain 
 vessels partly covered with coloured glazes 
 would form the earlier group. The other group, 
 representing the style of manufacture of the sub- 
 sequent period, would include all such pieces as 
 are embellished with ornamental traceries 
 scratched in the white coating of finer clay 
 applied on the dark ground. As it is most pro- 
 bable that both processes were carried on con- 
 temporaneously during all the mediaeval era, we 
 
 340 
 
 do not think that the proposed classification 
 would offer any assistance in establishing the 
 date and origin of any specimen. 
 
 Histoire de la faience de 
 Rouen : ouvrage posthume pub- 
 lie par les soins de M. M. L'Abbe 
 Colas, G. Gouellain et R. Bor- 
 deaux. Rouen, Le Brument, 
 1870. 4, pp. xii-424; with a 
 portrait, 60 col. pis., and text 
 illustrs. drawn by Mile. Emilie 
 Pettier. 70 fcs. 
 
 " History of the Rouen faience ; pos- 
 thumous work published by the care of 
 Pottier's friends." 
 
 Few are the ceramic monographs which may 
 rank on a par with Pottier's History of the Rouen 
 Faience ; it has never been excelled, perhaps 
 never been equalled, by any other work of the 
 same order. A masterly treatment, on the part 
 of the historian, has rendered full justice to an 
 important chapter of the ceramic history. 
 
 Andre Pettier, the grandson of a notable 
 faience manufacturer, occupied for a quarter of 
 a century the post of head-librarian of the town 
 of Rouen. In that capacity he had every facility 
 for obtaining a full knowledge of the historical 
 vicissitudes and glories of his beloved city. Orna- 
 mental faience, the making of which had once 
 been one of the staple industries of the place, had 
 for him a special attraction. While the finest pro- 
 ductions of the departed art were disregarded by 
 all, he was able to form of them a considerable 
 and selected collection, such as it would have 
 been impossible to form in after times. As to 
 the knowledge that Pettier had managed to 
 acquire, through his unremitting researches, of 
 the conditions under which the manufacture of 
 painted faience was carried on two hundred 
 years before, one might question whether any 
 of the masters of the best period had ever been 
 so thoroughly acquainted with the subject. 
 
 His thoughts were constantly busy with the 
 preparation of the book that was to be the 
 magnum opus of his life. Never satisfied with 
 the documents he had already accumulated, he 
 went on gathering and sifting fresh crops of 
 materials towards the completion of his work. 
 When death surprised him, he was still uncertain 
 whether the task he had undertaken could be 
 said to be at an end. In fact, were it not for the 
 devotion that his friends bore to his memory, his 
 disordered MSS. would have remained unpub- 
 lished, and we should have been deprived of a 
 monograph that no one else could have written 
 with such a commanding authority. 
 
 His connection with the collecting brother- 
 hood was always on the increase ; his colleagues 
 thought it a duty to submit their newly acquired 
 specimens for his appreciation, and he himself 
 was never tired of hearing the account of their 
 discoveries. Under these conditions there was 
 no limit to the enlargement of his budget of 
 information. Every MS. or printed document, 
 every reliable communication relating to the 
 subject was duly entered in the MS, of the forth- 
 
POT] 
 
 CERAMIC LITERATURE. 
 
 [POT 
 
 coming book. It comprised the following head- 
 ings : Official documents regarding the regula- 
 tion of the trade ; full accounts of the litigations 
 which arose from time to time between the 
 masters and the men ; technical recipes and 
 methods of manufacture, together with the rate 
 of wages paid at different periods ; the list of 
 the manufacturers, potters, and painters, with 
 a short biographical notice affixed to many of 
 the names, and remarks on the social conditions 
 of the workmen ; lastly, a description of all 
 dated examples, with facsimiles of all the marks 
 found upon the Rouen faience. Naturally the 
 course of the history was bound to be broken by 
 the interpolation of so many accessory details, but 
 all possible confusion is obviated by the clearness 
 with which the principal dates and facts are found 
 recapitulated in copious tabular statements. 
 
 A. Pottier's own collection which became 
 the nucleus of the Rouen Ceramic Museum- 
 illustrated nearly all the periods of manufacture. 
 Nevertheless, far from confining his selection of 
 representative examples to the objects in his 
 possession, he preferred to give us the cream of 
 the numerous collections that were placed at his 
 disposal. His talented daughter, Miss E. Pottier 
 waa to him an invaluable collaborator ; she re- 
 produced in water colour all the more remark- 
 able examples, as they passed through their 
 hands, and it was her portfolio which supplied 
 the excellent illustrations of the book. 
 
 POTTIER (E.). Carrelages de 1'eglise 
 de Belleperche xiii e siecle. Paris, 
 Plon, 1881. 8. 
 
 " The pavements in the church of 
 Belleperche." 
 
 - Quam ob causam Graeci in 
 sepulcris figlina sigilla depo 
 suerint. Paris, Thorin, 1883. 
 8, pp. 124 ; 1 pi. 3 fcs. 
 
 " On the motives and purposes for 
 which the Greeks deposited terra-cotta 
 figures in the tombs of the dead." 
 
 This learned paper develops the opinion en- 
 tertained by the author that the figures placed 
 in the tombs of the Greeks were in the nature of 
 Ex Votos, dedicated by the piety of the survivors 
 to the manes of the departed ; in fact, a propitia- 
 tory offering, and not a charm intended to guard 
 the body of the dead against evil spirits, as has 
 sometimes been suggested. 
 
 - Etude sur les Lecythes blancs 
 attiques a representation fune- 
 raires. Paris, Thorin, 1883. 
 8, pp. 160 ; with 4 col. pis. 
 6 fcs. 
 
 " A study on the antique white Lecy- 
 thies painted with funereal scenes." 
 
 In compliance with the new direction given 
 by Stakelberg to the study of Greek vases, the 
 attention of classical archaeologists is now turned 
 
 towards fixing the locality of origin of the leading 
 types, and determining the characteristics of the 
 peculiar style of painting prevailing in each of 
 the chief centres of production. The publica- 
 tion of the present essay is a step taken in that 
 direction. One may fairly attribute an Attic 
 origin to the white Lecythies with polychrome 
 decoration. Seldom, if ever, are the vases of 
 that description found in any other Hellenic 
 tombs but those of Attica. 
 
 In the course of his disquisition, E. Pottier 
 establishes that the vessels which played a part 
 in the funereal rites of the region were all made 
 at Athens ; they were intended to be used in 
 burial ceremonies different from those observed 
 in other provinces. The work is based on the 
 interpretation of the scenes represented on the 
 white Lecythies. It is divided into two distinct 
 parts. The first deals with the religious beliefs 
 of the Greeks, their modes of worship, and the 
 obsequies of the dead. The second is devoted to 
 the examination of the painted vases considered 
 from an artistic point of view. From the special 
 features noticeable on the mortuary pottery 
 found at Athens the author has been able to form 
 a set of rules by means of which it is possible to 
 discriminate amidst the aggregate of classical 
 ceramics such pottery as may be considered as 
 being of Athenian manufacture. No fewer than 
 six hundred white Lecythies may now be seen in 
 the collections ; one hundred and six of them 
 are described in the appendix. 
 
 Vases peints inedits du Musee 
 de Ravesteine a Bruxelles. 
 Paris, 1887. 4; with 2 pis. and 
 5 illustrs. 
 
 " Inedited painted vases in the Raves- 
 tein Museum at Brussels." 
 
 Un quartier de Nimes a 
 1'epoque gallo-romaine. Nimes, 
 1888. 8, pp. 43 ; with 16 pis. 
 of potters' marks and 3 pis. of 
 vases. (Reprint from the Me- 
 moires de FAcademie de Nimes.) 
 
 " A quarter of the town of Nimes in the 
 Gallo-Roman period." 
 
 Etudes sur la ceramique 
 grecque. Paris, 1888. 4, pp. 
 17 ; with 2 pis. 
 
 " Studies on Greek ceramics." 
 
 The vases bearing the name of the painter are 
 made the subject of interesting remarks. 
 
 - Les statuettes de terre-cuite 
 dans Fantiquite. Paris, Hach- 
 ette, 1890. 12, pp. 314 ; with 
 92 illustrs. 3.50 fcs. (In the 
 Bibliotheque des Merveilles.) 
 
 341 
 
POT] 
 
 CERA MIC LITER A TURE. 
 
 [POT 
 
 " The terra-cotta statuettes in anti- 
 quity." 
 
 The discoveries made at Tanagra had revealed 
 to us the graceful terra-cottas of the Boeotian 
 coroplast. Some examples of his art had indeed 
 been known before, but they had failed to attract 
 any notice, and little or nothing had so far 
 been said about them. When they came to 
 light in a comparatively considerable number, 
 influential critics awoke suddenly to the notion 
 that they embodied the purest expression of a 
 new standard of plastic beauty. Collecting these 
 entrancing figurines became the rage of the day. 
 
 A general Craving for information on their 
 subject had n> sooner been born than it was 
 gratified by the publication of this excellent 
 handbook. It supplied interesting particulars, 
 not only on the Tanagra figures which had just 
 come to the front, but also on all the terra-cottas 
 of the same order but of a different origin, hither- 
 to undeservedly neglected. By its modest price, 
 the booklet placed before all a precise digest of 
 the contents of many rare and costly volumes. 
 It was soon out of print, and a copy of it is now 
 difficult to obtain. 
 
 POTTIER (.) Collection de vases 
 grecs du Musee de Boulogne- 
 sur-mer. Paris, 1892. 8. (Re- 
 print from the Bulletin des 
 
 Musses. ) 
 
 The Greek vases of the Museum of Boulogne- 
 sur-mer were formerly in the Panckouke collec- 
 tion. 
 
 A quoi sert un musee de vases 
 antiques. Paris, impr. Chaix, 
 1894. 8, pp. 31 ; with 3 illustrs. 
 (Reprint from La Revue de Paris. ) 
 
 On the necessity of forming museums of 
 antique vases, and on their importance in the 
 advance of antiquarian studies. 
 
 - Musee National du Louvre. 
 Catalogue des vases antiques de 
 terre - cuite. l ere partie, Les 
 origines. Paris, May & Mot- 
 teroz, 1895. 12, pp. 256 ; with 
 3 pis. of forms. 1 fc. 
 
 2 eme partie, L'Ecole loni- 
 eiine. Paris, 1899. 12, pp. 
 336. 
 
 Speaking of this catalogue, Mr. Heuzey says 
 that it is a work prepared with energy and know- 
 ledge, equally popular and scientific. 
 
 Vases antiques du Louvre. 
 Vol. I. (Salles A. E.). Les ori- 
 gines ; Les styles primitifs ; 
 Ecoles rohdiennes et corinthi- 
 
 342 
 
 enne. Paris, Hachette, 1897. 
 4, pp. 50 ; with 51 half-tone 
 pis. and text illustrs. by Devil- 
 lard. 30fcs. 
 
 - Vol. II. Paris, 1904 (Salles 
 E. G.). Le style archaique a 
 figures noires et a figures rouges. 
 Ecoles ioniennes et attiques, pp. 
 viii and 62-156 ; plates, 62-102. 
 
 These albums are intended as a complement 
 to the 12 catalogue which they illustrate. The 
 photographic reproductions are somewhat lack- 
 ing in neatness. Moreover, as they give only 
 one side of the vase, it has been thought expedi- 
 ent in some cases to supplement them with pen 
 and ink sketches, which represent the painted 
 subject in full development. This plan, followed 
 in the first volume, has been adopted in the 
 second. 
 
 - Le dessin par ombre portee 
 chez les Grecs. Paris, Leroux, 
 1898. 8, pp. 34; with 16 
 illustrs. 
 
 " The drawing from cast shadows by 
 the Greeks." 
 
 From the observation that many of the 
 paintings of black figure vases show a correct 
 and elegant silhouette completed with a singu- 
 larly faulty delineation of the inner details, two 
 right feet or two left hands being often seen on 
 the same figure, Mr. Pottier suggests, as an ex- 
 planation of the fact, that the models used by 
 the common vase painter were tracings taken 
 from the shadows of human personages, pro- 
 jected by sunlight upon a white wall. Such 
 tracings were, of course, deficient in all the details 
 in the shadow, which an unskilled workman had 
 to supply according to his own fancy. Against 
 the probability of such a suggestion one might 
 argue that life-size shadows would be of little 
 use to the vase painter, and, also, that it is not 
 possible to trace the shadow of figures in motion, 
 as they are generally represented upon the vases. 
 One would more readily accept the idea that 
 stencilling plates were supplied by the master to 
 the operatives, who filled them with black colour. 
 We understand that they were bound to commit 
 some mistakes when they had to scratch, with- 
 out a guide, the lines intended to delineate the 
 inside details of the subject. 
 
 - La peinture industrielle chez 
 les Grecs. Paris, H. May, 1900. 
 12, pp. 64; with 55 illustrs. 
 (Reprint from La Revue des 
 Arts Decoratifs.) 
 
 " Industrial painting amongst the 
 Greeks." 
 
 A popular account of the various styles of 
 vase painting from the earliest period to the time 
 of its highest development. 
 
POT] 
 
 CERAMIC LITERATURE. 
 
 - Douris et les peintres de vases 
 grecs. Paris, Laurent, 1905. 
 Sq. 8, pp. 127 ; with 25 illustrs. 
 4 fcs. 
 
 POTTIER (E.) et REINACH (S.). La ne- 
 cropole de Myrina. Fouilles 
 executees au nom de PEcole 
 frangaise d'Athenes. Paris, 
 Thorin, 1886-87. Vol. I., Text, 
 pp. 631 ; with 58 illustrs. Vol. 
 II., Atlas of 52 heliogr. pis. 4. 
 120 fcs. 
 
 " The Myrina Necropolis. Excavations 
 executed in the name of the French 
 School of Archaeology at Athens." 
 
 Terra-cotta figures, showing a great analogy 
 of style with those of Tanagra and Tarsus, con- 
 stituted the larger portion of the finds. They 
 are admirably reproduced in Dujardin's helio- 
 gravures. The list of names and inscriptions 
 found on the terra-cottas comprises 242 Nos. 
 
 Musee du Louvre. Terres 
 cuites et autres antiquites trou- 
 vees dans la necropole de My- 
 rina. Catalogue raisonne. Paris, 
 impr. reunies, 1887. 4. 5 fcs. 
 
 " Terra-cottas and other antiquities 
 found in the Myrina Necropolis. Descrip- 
 tive catalogue." 
 
 The excavations lasted fifteen months. During 
 that time the two young members of the French 
 School at Athens, assisted by a small staff of 
 workmen, opened no fewer than 2,800 tombs. 
 Notes were taken of all the objects discovered, 
 and of the circumstances that attended the dis- 
 covery. The best part of the finds were de- 
 posited in the Louvre Museum. 
 
 POULSEN(F.). DieDipylongrabeund 
 die Dipylon Vasen. Leipzig, 
 Teubner, 1905. 8, pp. 138; 
 with 3 pis. 6 m. 
 
 " The excavations and the vases of the 
 Dipylon." 
 
 POUY (F.)- Les faiences d'origine 
 picarde et les collections diverses 
 avec facsimiles colories et mar- 
 ques. Amiens, impr. L. Herou- 
 ard, 1872. 8, pp. 32. 
 
 Les faiences, specialement 
 celles d'origine picarde. 2 e edi- 
 tion, avec note sur la cera- 
 
 mique armoriee et chiffree, et 
 documents divers. Paris, De- 
 taille, 1873. 8, pp. 40; with 
 2 col. pis. and marks. 5 fcs. 
 
 " The faiences, specially those of Picardy 
 manufacture ; with notes upon the speci- 
 mens with coat of arms and monograms, 
 and divers other documents." 
 
 Under the general name of Picardy faience, a 
 local collector has indited a short history of the 
 Sinceny Works, the only one in the Province worth 
 a special notice. One of the plates reproduces the 
 subject of the execution of Louis XVI. on the 
 guillotine. The piece from which it was copied 
 is known to have been an impudent forgery ; 
 such a subject has never been found painted 
 upon the genuine " Patriotic faience." The 
 works of Dr. Warmont and Messrs. Lecocq which 
 deal with the ceramic productions of the same 
 region have deprived this incomplete sketch of 
 all interest. 
 
 POUYARD. Lettre de Mr. Pouyard, 
 pretre, a M. A. L. Millin, sur un 
 vase chretien de terre-cuite, qui 
 a ete trouve, a Paris, dans le 
 Palais de I'Archeveche. Paris, 
 1810. 8, pp. 64 ; 1 pi. 
 
 " Letter . . . upon a Christian vase 
 of terra-cotta, found in Paris, in the 
 Archbishop's Palace." 
 
 A dissertation on the custom of placing vases 
 in the sepultures of the ancient Christians. 
 
 PRENDERGAST (Dr. W. D.)- The potter 
 and lead poisoning. Longton, 
 1898. 12, pp. 54. 
 
 At distant intervals, a hue and cry is raised by 
 some sensational philanthropists on the baneful 
 dangers attending the use of lead glazes in pot- 
 tery manufacture, and distressing statistics of 
 the rate of mortality among operatives, directly 
 attributable to lead poisoning, are widely cir- 
 culated. The social stir created by these well- 
 meant but invariably exaggerated disclosures 
 had resulted, in 1898, in a Government Com- 
 mission being appointed to inquire into the 
 sanitary conditions of the trade, and report upon 
 the reforms that could be introduced into the 
 most dangerous processes. This paper was the 
 contribution of a medical man of the potteries 
 towards an official inquiry which terminated in 
 1901 to the satisfaction of the manufacturers. 
 Several reports and various pamphlets were pub- 
 lished on the question. 
 
 PRELLER. Ueber eine terra-cotta 
 aus Athens. 8.1, 1852. 8, 
 pp. 1 1 ; with 2 pis. 
 
 " Upon an Athenian terra-cotta." 
 
 343 
 
PRE] 
 
 CIS RAM 1C LITERATURE. 
 
 PRELLER. Ueber zwei Vasenbilder 
 
 ausAthens. S.L, 1855. 8; 2 pis. 
 
 " Upon the paintings of two Athenian 
 
 vases. 
 
 PRESTON (Collection H. L). Catalogue 
 of sale. Yarmouth, 1872. Sm. 
 4, pp. 27 ; with 4 photogr. pis. 
 of groups of china chiefly of 
 English manufacture. 
 
 PREYOST (F.). --Memoires sur les 
 anciennes constructions mili- 
 taires connues sous le nom de 
 forts vitrifies. Saumur, 1863. 
 8, pp. 47. 
 
 Dissertation sur les forts 
 vitrifies dont on trouve les ruines 
 en Ecosse, en France, et en 
 Allemagne. Angers, 1687. 8. 
 
 Two papers on the vitrified forts of Scotland, 
 France, and Germany ; reprinted from the trans- 
 actions of the Archaeological Society of the De- 
 partment of Maine et Loire. 
 
 PRICE (F. G. Hilton). A catalogue of 
 the Egyptian antiquities in the 
 possession of F. G. H. P. Lon- 
 don, Quaritch, 1897. 4, pp. 
 480 ; with 8 pis. and num. il- 
 lustrs. Vases, pp. 142 - 153. 
 Pottery vases, 401-417. Lamps, 
 417-422. Terra - cotta figures, 
 423-426. A large quantity of 
 pottery is comprised in the other 
 sections of the catalogue. 2. 
 
 - Notes upon some early clay 
 tobacco pipes from the sixteenth 
 to the eighteenth centuries found 
 in the City of London, in the 
 possession of the author. Lon- 
 don, 1900. 8, pp. 16. (Reprint 
 from the Arch. Journ., vol. Ivii.) 
 
 PRICE (J. .) Roman antiquities, 
 illustrated by remains recently 
 discovered on the site of the 
 National Safe Deposit Company's 
 premises, Mansion House, Lon- 
 don. London, 1873. 4, pp. 79 ; 
 344 
 
 with 12 pis. (5 pis. of Roman 
 pottery) and cuts. 6s. 
 
 PRIDEAUX (J.). Relics of William 
 Cookworthy, discoverer of the 
 Cornish china-clay and stone, 
 about A.D. 1755, founder of the 
 British porcelain manufacture, 
 about 1760, and an eminent 
 minister of the Society of 
 Friends. London, 1853. 8, pp. 
 31 ; with a lithogr. portrait and 
 a silhouette on the cover. 5s. 
 
 We find nothing in the correspondence of W. 
 Cookworthy, appended in this paper to a short 
 notice of his life, that has reference to his dis- 
 covery and experiments, and the establishment 
 of his porcelain manufactory. In one of his 
 letters, however, the subject of china making is 
 introduced on the occasion of his having made 
 the acquaintance of a traveller who had just 
 arrived from America, and of whom he speaks in 
 these terms : " I had lately with me the person 
 who has discovered china earth." He then 
 repeats what Pere d'Entrecolles had said of 
 Chinese manufacture, and expresses his belief 
 that the substances the traveller had brought 
 back from Virginia were real Kaolin and Petunse. 
 It is probable that this chance meeting and the 
 American clays he had thus the occasion to ex- 
 amine assisted him most effectually in recognising 
 in the mines of Cornwall, which he was exploring 
 for a very different purpose, a stone and a clay 
 of exactly the same nature as the materials 
 employed by the Chinese. 
 
 PRIEUR (C. A.). Considerations sur 
 les couleurs irisees des corps 
 reduits en pellicules minces. . . . 
 Paris, Perrouneau, 1807. 8, 
 pp. 28. 
 
 " Considerations upon the iridescent 
 colours shown by the substances reduced 
 to films." 
 
 Of importance for the production of metallic 
 lustres on pottery. 
 
 PRIME(W. C.). Pottery and porcelain 
 of all times and nations ; with 
 tables of factories' and artists' 
 marks for the use of the collector. 
 New York, Harper, 1878. 4, 
 pp. 531 ; with 300 illustrs. 3. 
 
 Prime, one of the earliest collectors in America, 
 had visited the chief museums of Europe, and 
 was fully conversant with our ceramic literature. 
 He compiled this book evidently in love with the 
 subject he treated for the benefit of his American 
 brother collectors. It was not in his power, 
 
CERAMIC LITERATURE. 
 
 [PUK 
 
 however, to contribute any marked addition to 
 the store of knowledge accumulated by his pre- 
 decessors ; all he could do was to follow the 
 track opened by English and French writers. So 
 his conscientiously prepared volume returns to 
 us, almost in the original form, what had been 
 sent over to him. This remark does not apply 
 to the following chapter, a special feature in the 
 book : I. Ancient American pottery. II. Pot- 
 tery and porcelain in the United States. III. 
 Collectors and collecting in America. With a 
 few exceptions, the illustrations are all " cliches " 
 borrowed from the standard publications of 
 Europe. 
 
 PRISSE D'AYESNES. La decoration 
 arabe ; decors muraux, plafonds, 
 mosaiques, faiences, etc. Paris, 
 1888. 4; with 110 col. pis. 
 50 fcs. 
 
 " Arabian decorations : wall-coverings, 
 ceilings, mosaic, faiences, etc." 
 
 An abridged edition of the great work L 'Art 
 arube, by the same author. It contains twenty 
 plates of Persian and Arabian tiles. 
 
 PRITCHETT (R. T.)- Smokiana. His- 
 torical and ethnographical. Lon- 
 don, Quaritch, 1890. 8, pp. 50 ; 
 with 50 col. pis. 7s. 
 
 All tobacco-smoking nations have adopted 
 some kind of earthen pipes. Often interesting 
 examples of pottery manufacture, these pipes 
 show very different forms and style of ornamen- 
 tation, according to their country of origin. Good 
 specimens coming from all parts of the world are 
 reproduced in this volume, the catalogue of the 
 private collection of a fervent smoker. The text, 
 as well as the illustrations, has been autolitho- 
 graphed by the collector's own hand, a process 
 imparting to the book a " home-made " look 
 which suggests to our mind that it was originally 
 executed for the author's own pleasure and the 
 benefit of a few friends. The plates are sketched 
 with spirit and form a most congruous accom- 
 paniment to the bold and free handwriting of 
 the calligrapher. We have to congratulate our- 
 selves that this quaint MS. has not been allowed 
 to remain unpublished. 
 
 PROPERT (J. L.). Catalogue of a col- 
 lection of the works of Josiah 
 Wedgwood. London, printed for 
 the author, 1881. 8, pp. 47. 
 8s. 
 
 The collection comprises 162 Nos., chiefly 
 medallions. It includes also one of the original 
 copies of Wedgwood's Portland vase. A bio- 
 graphical notice of J. Wedgwood is prefixed to 
 the catalogue. 
 
 PROSSEL (B.). Die Steingut- und 
 Porzellanfabrikation als hochste 
 
 Stufen der keramischen In- 
 dustrie. Nach den neuesten 
 Erfahrungen in diesen beiden 
 Zweigen unter besonderer Be- 
 rucksichtigung der praktischen 
 Gesichtspunkte bearbeitet. 
 Leipzig, 1879. 8 ; with 41 
 illustrs. 
 
 " The manufacture of stoneware and 
 porcelain, being the highest degree of the 
 ceramic art. Containing the latest im- 
 provements in both branches, considered 
 from a practical point of view." 
 
 PROSSER (Richard). An account of 
 
 the new process invented by 
 Mr. R. Prosser, of Birmingham, 
 for forming various articles of 
 ornament and utility in earthen- 
 ware or porcelain of very su- 
 perior quality. London, 1842. 
 Fol. ; with 1 pi. See Jones 
 
 (Owen). 
 
 Description of the process, patented by R. 
 Prosser in 1840, for making buttons, tessera-, 
 tiles, etc., from powdered clay. In the same 
 year Mr. H. Minton, of Stoke-on-Trent, com- 
 menced to manufacture earthenware tiles by 
 this process. 
 
 PROTAT. Notes sur les carrelages 
 emailles de la fabrique d'Aub- 
 igny, provenant du Chateau 
 ducal de Brazey-en-Plaine (Cote 
 d'Or). (Extr. from the Mem. de 
 la Soc. Edueene, 1881, T. x.) 
 
 PROTH (M.). A travers FUnion Cen- 
 trale. Paris, Vatou, 187'7. 18, 
 pp. iv-56. 
 
 " Through the Exhibition of 1'Union 
 Centrale des beaux-arts appliques a 
 1'Industrie." 
 
 A journalist of the " Intransigeant " group, 
 Mario Proth expresses his unmitigated contempt 
 for all that is generally admired, and sounds the 
 praises of some eccentric exhibits which, dis- 
 regarded as they are, should be, according to his 
 opinion, the only things worth our attention. 
 
 PUKALL (W.). Keramisches Rechnen, 
 auf chemischer Grundlage au 
 Beispielen erlautert. Berlin, 
 
 1907. 8, pp. 127. 
 
 3 m. 
 
 345 
 
PUN] 
 
 CERAMIC LITERATURE. 
 
 [QTTE 
 
 " Ceramic calculations established on 
 chemical grounds, and illustrated with 
 examples." 
 
 PUNGILEONI (P. Luigi). Notizie delle 
 pitture in majolica fatte in Ur- 
 bino. Roma, 1857. 8, pp. 12. 
 
 " Notice of the majolica painting made 
 in Urbino." 
 
 Reprinted in Vanzolini's Istorie delle fabriche 
 di majoliche metaurensi. 
 
 PURDY (R. C.). The influence of 
 carbon in the burning of clay 
 wares. Indianapolis, 1905. 8, 
 pp. 68 ; with text illustrs. 
 
 - The states of carbon, iron, 
 and sulphur in clays during 
 various stages of burning. In- 
 dianapolis, 1905. 8. 
 
 PURDY ,(R. C.), FOX (H. B.), and KREBEL 
 (J. J.). Studies on glazes. Part 
 I. Fritted glazes. Part II. 
 Cristalline glazes. Urbana, 1907. 
 8, pp. 94-98. (From the Univer- 
 sity of Illinois Bulletin.) 
 
 PURDY (R. C.) and MOORE (J. K.). Pyro- 
 chemical and physical behaviour 
 of clays. Urbana, 1907. 8, 
 pp. 116. 
 
 PUYMAURIN (M. de). Memoires sur 
 different sujets relatifs aux 
 sciences et aux arts. Toulouse, 
 1811. 8. 
 
 "Memoirs upon various subjects relating 
 to science and art." 
 
 In the chapter treating of the " Manufacture 
 of earthenware in England," we have a short 
 account of the making of pottery in Stafford- 
 shire, as seen by the traveller in the first years 
 of the nineteenth century. The white salt glaze 
 was still extensively manufactured, and we see 
 that the credit of importing the method of glazing 
 with salt was at that time given to the brothers 
 Elers ; a fact that modern writers have often 
 contested. A curious anecdote was also then 
 current among English potters, relating how a 
 Dutch sailor was wrecked upon the Sussex Coast, 
 where he discovered a fine white clay similar to 
 the one used in Holland for pottery purposes ; 
 and how he began to export it to his own country, 
 and soon established a very lucrative business. 
 
 346 
 
 Q 
 
 QUARANTA (Bernardo). - - Animadver- 
 siones in vasculum italo-grsecum. 
 Napoli, 1817. 4; illustrs. 
 
 " Considerations upon the Italo-Greek 
 vases." 
 
 - Di un gran vaso fittile dipinto 
 che rappresenta i funerali di 
 Archemoro, e si conserva nel 
 real Museo Borbonico. Napoli, 
 1837. 4; with 4 pis. 
 
 " On a large painted vase representing 
 the funeral of Archemoros." 
 
 - Di un vaso greco dipinto che 
 si conserva nel real Museo Bor- 
 bonico. Roma, 1840. 4, pp. 
 24 ; with 3 pis. 
 
 " On a painted Greek vase preserved in 
 the R. Museum of Naples." 
 
 - Intorno ad un antico vaso 
 greco di creta pitturata scoverto 
 a Ruvo, e rappresentante Teseo 
 e altri greci combattitori contro 
 le Amazoni. S.L, 1843. 
 
 " On a Greek vase of painted clay repre- 
 senting Theseus and other Greek warriors 
 combating the Amazons." 
 
 La contopectria di Cuma 
 dipinta sopra un vaso di creta 
 nel Museo di S. A. R. il Conte di 
 Siracusa. Napoli, 1856. 4, pp. 
 9; Ipl. 
 
 "The Cumean 'contopectria' painted 
 upon a vase of clay in the collection of 
 the Count of Siracusa." 
 
 Description of a game played with a rod and 
 a lyra. 
 
 QUEEN CHARLOTTE'S COLLECTIONS. Cata- 
 logue of sale. London, Christie's, 
 1819. Sm. 4. 
 
 The priced catalogues of the sale, which com- 
 prised an immense quantity of Oriental, Euro- 
 pean, and English porcelain, and also a few 
 pieces of Italian majolica, are of particular 
 interest as showing the little value which was 
 attached at that moment to all ceramic objects. 
 
 (JUERIOZ (JOS$). - - Ceramica Portu- 
 gueza. Lisboa, Typ. di Annu- 
 
CERAMIC LITERATURE. 
 
 [RAL 
 
 ario commercial, 1907. 4, pp. 
 viii-449 ; with 195 half-tone 
 text illustrs., and 649 facsimiles 
 of marks. 40 fcs. 
 
 " The ceramics of Portugal." 
 
 It is hardly possible to distinguish the idio- 
 syncrasic character of a pottery which never dis- 
 played high artistic tendencies. Inspired, in the 
 beginning, by the Moorish ware, it never went 
 higher, in its subsequent efforts, than to imitate 
 the humdrum style of Italian majolica. The 
 last few years have seen a remarkable de- 
 velopment of the potter's art in Portugal. For 
 that reason, no doubt, modern factories and their 
 productions occupy by far the larger part in the 
 account. The book is divided as follows : 
 Pait I. An historical sketch of Portuguese cera- 
 mics. II. Short notices of the various factories. 
 III. Tiles. IV. Terra-cotta modellers. V. Brick 
 and architectural terra-cotta. VI. Marks. VII. 
 Artists and manufacturers. 
 
 QUEYILLY (E.). Notes sur la poterie 
 de Chatel-la-Lune, publiees par 
 1'Abbe Poree. Caen, 1898. 8, 
 pp. 21. 
 
 " Notice of the Chatel-la-Lune pottery." 
 
 A small village of Normandy where earthen- 
 ware was made, as early as 1657, by potters 
 working independently of each other, for there is 
 no trace of a factory of any importance having 
 ever existed in the place. 
 
 QUILLARD (A.). La ceramique et la 
 verrerie a travers les ages. Paris, 
 Gautier (1894 ?). 18, pp. 36. 
 15 c. (No. 20 of the Bibliotheque 
 scientifique des Ecoles et des 
 Families. ) 
 
 " History of ceramics and glass-making 
 in all ages." 
 
 QUILLARD (Ch.). Les elements de la 
 Ceramique et de la Verrerie. 
 Paris, Gautier (1895 ?). 18, 
 pp. 36. (No. 45 of the same 
 series.) 
 
 " Elementary pottery and glass manu- 
 facture." 
 
 In its concise form, this small treatise gives a 
 simplified but accurate account of all the natural 
 and compound substances which enter into the 
 composition of ceramic bodies. The chief 
 materials employed in the manufacture of pot- 
 tery, and the results obtained by their various 
 combinations, are enumerated and described by 
 a practical scientist, who has succeeded in sup- 
 plying an excellent primer for the use of elemen- 
 tary schools. 
 
 QUIRIELLE (R. de). Les faiences par- 
 lantes. Paris, 1867. 8, pp. 12. 
 
 " Speaking faiences." 
 
 Another name for the crockery with inscrip- 
 tions, generally called " faience patriotique." 
 
 QUIRIELLE (R. de) et BERTRAND (A.).- 
 Decouverte d'une officine de 
 potiers gallo-romains a Lubier 
 (Allier). Moulins, 1884. 8, pp. 
 108 ; 1 pi. 
 
 " Discovery of a Gallo-Koman pottery 
 works at Lubier." 
 
 RABUT (L). Habitations lacustres 
 de la Savoie. Chambery, 1864- 
 67. Two parts ; with 16 and 17 
 lith. pis. 4. (In the M em. de 
 la Soc. Savoisienne d'Hist. et 
 d'Arch.) 
 
 " Lake dwellings of Savoy." 
 A large number of prehistoric earthen vessels 
 are reproduced on the plates. 
 
 RACHAM (B.). --Catalogue of the 
 Italian majolica and other pot- 
 tery, 8 Cadogan Square. Lon- 
 don, 1903. Sm. 4, pp. iv-27. 
 (Privately printed.) 
 
 The collection of Wyndham F. Cook, Esq. 
 
 RACZINSKI (A. de). Les arts en Por- 
 tugal. Paris, Renouard, 1846. 
 
 8. 
 
 An article on Portuguese tiles, pp. 427-435. 
 
 RAFFAELLI (G.). Memorie istoriche 
 delle maioliche lavorate in Castel 
 Durante, o sia Urbania. Fermo, 
 1846. 8, pp. 126. 5 fcs. 
 
 " An historical notice of the majolica 
 manufactured at Castel Durante, now 
 Urbania." 
 
 Piccolpassi's ISArte del Vasaio had not yet 
 been printed when Raffaelli, a native of Urbania, 
 extracted from the original MS. the materials of 
 this monograph. The writer has added to the 
 information he borrowed from the treatise of the 
 old " Durantino " a list of all the potters and 
 majolists found in the civil registers or inscribed 
 on the ware. 
 
 RALLIER. Essai sur les forts de verre 
 de 1'Ecosse. Paris, 1807. 8. 
 
 347 
 
HAM] 
 
 CERAMIC LITERATURE. 
 
 [RAN 
 
 (In the Memoires de VAcademie 
 Celtique, vol. iii.) 
 
 " Essay on the vitrified forts of Scot- 
 land." 
 
 RAM-BAUD (Y.)- Exposition de la 
 ceramique et des arts du feu. 
 Section retrospective. Paris, 
 1897. 8, Pp. 123. 
 
 " National Exhibition of ceramics in 
 1897. Retrospective section. Catalogue 
 of the old faience and porcelain borrowed 
 from private collections." 
 
 RAME (A.). Etudes sur les carrelages 
 histories du xii e au xvii e siecle en 
 France et en Angleterre. Stras- 
 bourg, Silbermann, 1855. 4, pp. 
 48 ; with 20 col. pis. and text 
 illustrs. 
 
 " A study on the ornamented tile pave- 
 ments, from the twelfth to the seventeenth 
 century, in France and England." 
 
 What has been published of this work, stopped 
 after the issue of the fourth part, is sufficient for 
 us to see that, had it been completed, it would 
 have been equal, if not superior, to all the other 
 publications treating of the history of decorative 
 tiles. The patterns selected as representatives 
 of the various styles are all of the best, and they 
 have been admirably reproduced in chromo- 
 lithography. The volume was to comprise one 
 hundred plates ; twenty of them were executed, 
 but these are not in consecutive order. A very 
 limited number was printed of these first four 
 parts, and they are now difficult to obtain. 
 
 - Sur quelques epis en terre- 
 cuite du xiii e et xiv e siecle. Caen, 
 Hardel, s.d. 8, pp. 8 ; 1 pi. 
 
 " Notes upon some earthenware gable 
 ends of the thirteenth and fourteenth 
 centuries." 
 
 The gables of mediaeval houses were often 
 adorned with pinnacles of earthenware coloured 
 with variegated glazes. Those described in this 
 paper, and preserved in the Troyes Museum, come 
 from some old buildings of the town. 
 
 RANDALL (John). The clay industries, 
 including the fictile and ceramic 
 arts on the banks of the Severn ; 
 with notices of the early use of 
 Shropshire clays, the history of 
 pottery, porcelain, etc., in the 
 district. Madeley (Salop), 
 printed at the Salopian and 
 
 348 
 
 West Midland Office, 1877. 
 12, pp. 56. 
 
 Reminiscences of the early days of Caughley 
 and Coalport China Works were still rife amongst 
 old inhabitants of the district. The writer had 
 collected the local traditions, and he recorded 
 them in the familiar style in which they were 
 communicated to him. A loyal Salopian, he is 
 full of the paramount importance of Salopian 
 china, and he does not allow his narrative to 
 wander from its subject. The Worcester manu- 
 factory is once mentioned, but it is to let us know 
 that, until 1790, Messrs. Chamberlain had their 
 porcelain " in the white " from Thomas Turner, 
 of Caughley ; the china made at any other place 
 is simply ignored. Foremost among the records 
 of the Coalport Works is mentioned the memor- 
 able fact that the printer's roller was invented 
 there by one of the workmen. " An invention 
 second only to the art of printing itself, and 
 infinitely superior to thousands of others out of 
 which vast fortunes have been made." This at 
 least is Mr. Randall's candid opinion. The 
 feeling of admiration for all that pertains to his 
 subject has inspired the writer in his description 
 of the workshops of the china manufactory. 
 " During working hours," says he, " one of the 
 men read the newspaper to the others." " A 
 woman had been engaged to sweep up, bring 
 coals, peel potatoes, wash up dishes, etc." From 
 which he draws the following conclusion. "It 
 is not surprising, therefore, that men having 
 such advantages should rise to higher situations. ' ' 
 
 A chapter on the Madeley decorative works 
 conducted by Martin Randall may raise some 
 unpleasant misgivings in the mind of the collector 
 of old Sevres. We hear that the exclusive busi- 
 ness of the place has been for years to imitate 
 the productions of the Royal manufactory. Ori- 
 ginal models were copied by the painters, either 
 upon genuine Sevres porcelain which had been 
 obtained in the undecorated state, or upon pieces 
 manufactured at Nantgarw, for that very pur- 
 pose, in imitation of the French shapes. Large 
 consignments of the spurious ware were regularly 
 sent to the fashionable curiosity shops of London, 
 where they found a ready sale as real " Pate 
 tendre " of Sevres. 
 
 - Report on pottery and porce- 
 lain at the Paris Exhibition, 
 1867. London, 1867. (In Arti- 
 wns' Reports, pp. 178-188.) 
 
 - Report on china painting at 
 the Paris Exhibition, 1878. Lon- 
 don, 1878. (In Society of Arts' 
 Artizans* Reports, pp. 71-80.) 
 
 RANDALL-MAC1YER (D.) and WILKIN (A.).- 
 Lybian notes. London, Mac- 
 millan, 1901. 4, pp. 113 ; with 
 6 pis. of pottery (1 col.). 20s. 
 
 Three chapters treat of the Berber pottery. 
 Chap. vi. Chawia pottery. Chap. ix. Details of 
 the manufacture of Kabyle pottery. Chap. x. 
 
RAN] 
 
 CERAMIC LITERATURE. 
 
 [RAT 
 
 Comparison of Kabyle and Egyptian pottery. 
 By instituting a comparison between the earthen j 
 vessels found in the prehistoric cemeteries of j 
 Egypt, and those made at the present time by 
 the Berbers of Algeria, the authors have at- 
 tempted to establish that these latter were the 
 direct descendants of the Lybian race inhabiting 
 Egypt at the earliest period. The likeness sup- 
 . posed to exist between these two classes of 
 pottery has not been satisfactorily brought out ; 
 it is difficult for us to trace any similitude either 
 in the technics or in the style of shapes and de- 
 coration, even after reading the chapter written 
 in support of the assertion. 
 
 RANDAU (P.). Die Fabrikation der 
 Emaille. Anleitung zur Darstel- 
 lung aller Arten Emaille fur 
 technische und kiinstlerische 
 Zwecke und zur Vornahme der 
 Emaillirens auf praktischen 
 Wege. .S.I., n.d. 3 m. 
 
 " The manufacture of enamels. Direc- 
 tions for the preparation of all sorts of 
 enamels for technical and artistic pur- 
 poses, and for enamelling in a practical 
 manner." 
 
 RANGHIASCI BRANCALEONI (Marchese). Di 
 Mastro Giorgio da Gubbio e di 
 alcuni suoi lavori in majolica. 
 Pesaro, A. Nobili, 1857. 8, pp. 
 40 ; with 2 pis. and 1 pi. of 
 marks. 5 fcs. 
 
 " Master Giorgio, of Gubbio, and his 
 works in majolica." 
 
 The biographical part of this disappointing 
 sketch consists in a few notes upon the family of 
 Andreoli, and particularly upon the two members 
 of that family who are reported to have come 
 from Pavia and settled in the town of Gubbio 
 about 1498. Of their relative, Maestro Giorgio, 
 the majolist, no particulars of any historical 
 value have ever reached the knowledge of the 
 writer. The notice is made up with the descrip- 
 tion of certain pieces of majolica, painted or 
 supposed to have been painted by the master. 
 Upon these examples are based some rambling 
 conjectures concerning his invention of metallic 
 lustres, and the characteristics of his usual style 
 of painting. 
 
 RAOUL-ROCHETTE. Notice sur unvase 
 grec recemment decouvert a 
 Nola. Paris, 1826. 8. 
 
 " Notice of a Greek vase lately dis- 
 covered at Nola." 
 
 - Notice sur la collection de 
 vases peints et autres monu- 
 ments de 1'art etrusque appart- 
 
 enant a Mr. Dorow. Paris, 
 
 1828. 8. 
 
 "Notice of the painted vases and other 
 Etruscan monuments in the possession of 
 Mr. Dorow." 
 
 Monuments inedits d'anti- 
 quite figuree, grecque, etrusque 
 et romaine. l eie partie : Cycle 
 heroique. Paris, 1833. Fol., 
 pp. 430 ; with 93 pis., some of 
 them col., and 15 illustrs. 50 fcs. 
 
 " Inedited monuments of figured anti- 
 quity; Greek, Etruscan, and Roman 
 period. I. Part. Heroic cycle." 
 
 Contains 39 lith. pis. of vase paintings. 
 
 - Lettre a Mr. le Prof. E. Ger- 
 hard sur deux vases peints de 
 style et de travail etrusques. 
 Paris, 1835. 8; 2 pis. 
 
 " A letter to Prof. E. Gerhard respect- 
 ing two painted vases of Etruscan style 
 and workmanship." 
 
 - Memoire sur un vase peint 
 inedit de fabrique corinthienne. 
 Paris, 1848. 8, pp. 31 ; with 
 2 col. pis. 
 
 "Memoir upon an unpublished vase of 
 Corinthian manufacture." 
 
 Catalogue of sale. Paris, 
 1855. 8, pp. 50. 
 
 RASTEIRO (J.). Quinta e Palacio da 
 Bacalhoa em Azeitao. Lisboa, 
 1895. Text, 8, pp. 97 ; album, 
 4, of 54 col. pis. 20 fcs. 
 
 " The park and the palace of Bacalhoa 
 in Azeitano." 
 
 The palace was built by the Duke Alphonso 
 de Albuquerque in 1554. It was profusely 
 decorated with majolica medallions and decora- 
 tive tiles, of which the album gives reproductions. 
 
 RATHBONE (F.). Josiah Wedgwood 
 on the clay of Sydney Cove. 
 Birmingham, printed by Lakins, 
 for Sir Richard Tangye, 1885. 
 4, pp. 22 ; vigns. 
 
 A reprint of an article contributed by Josiah 
 Wedgwood to the Transactions of the Royal 
 Society, 1790, under the title, " Analytical experi- 
 ments of a mineral from Sydney Cove, in New 
 
 349 
 
RAT] 
 
 CERAMIC LITERATURE. 
 
 [RAV 
 
 South Wales." Medallions were executed at 
 Etruria in 1789, bearing an inscription testifying 
 that they were made with the clay of Sydney 
 Cove. 
 
 RATHBONE (F.) . Old Wedgwood and 
 old Wedgwood ware. Handbook 
 to the collection formed by 
 Richard and George Tangye. 
 With a sketch of Wedgwood's 
 life and labours, and a chapter 
 on the marks used at Etruria. 
 London, 1885. 8, pp. xxxiv- 
 104 ; with 25 illustrs. and marks. 
 Is. 
 
 This collection, on exhibition at the Birming- 
 ham Museum, has been partially presented to 
 the town by the collectors. It'comprises 699 Nos. 
 
 Centenary year, 1895. A 
 catalogue of the Loan Exhibi- 
 tion of old Wedgwood at the 
 Wedgwood Institute, Burslem, 
 June- August, 1895. Burslem, 
 Dawson, 1895. Sq. 8, pp. 54 ; 
 vigns.; 100 large paper copies 
 printed. 
 
 The exhibition comprised 493 Nos. 
 
 - Old Wedgwood. The decora- 
 tive or artistic ceramic work in 
 colour and relief invented and 
 produced by Josiah Wedgwood, 
 at Etruria in Staffordshire, 1760- 
 1794. Biographical and descrip- 
 tive chapters, a list of marks 
 used at Etruria, and explana- 
 tory text to each object illus- 
 trated. London, Quaritch, 1898. 
 Fol., pp. 102 ; with 67 col. pis. 
 and text illustrs. 10, 10s. 
 200 copies printed. 
 
 W. Griggs has executed, by photographic 
 processes, the last portion of the plates of this 
 work, very superior in style and accuracy to 
 those lithographed in Paris for the first parts 
 issued in 1893. 
 
 A catalogue of a collection of 
 
 plaques, medallions, vases, fig- 
 ures, etc., in coloured jasper and 
 basalte ; produced by Josiah 
 Wedgwood, F.R.S., at Etruria, 
 in the county of Stafford, 1760- 
 350 
 
 1795, the property of Arthur 
 Sanderson, Esq. Exhibited at 
 the Museum of Science and Art, 
 Edinburgh. London, 1901. 8, 
 pp. 69 ; illustrs. 6d. 
 
 A large paper edition of this catalogue ap- 
 peared in 1903. It is illustrated with a coloured 
 portrait of Wedgwood on horse-back, after 
 Stubbs, a medallion of J. Flaxman, and 20 plates 
 in heliogravure. 50 copies printed. 
 
 The collection of old Wedg- 
 wood formed by Lord Tweed- 
 mouth. Ch. Davis Galleries. 
 
 London, 1905. 
 lustrs. Is. 
 
 8, pp. 58 ; il- 
 
 - Catalogue of the Wedgwood 
 Museum at Etruria. Stoke-on- 
 Trent, 1909. 8, pp. 120; with 
 num. illustrs. 2s. 
 
 This museum has been formed out of the 
 blocks, moulds, trials, odd pieces, business 
 papers, and other items, mostly dating from the 
 time of Josiah Wedgwood, and which were 
 lately discovered in some long disused rooms at 
 the old works. 
 
 RATHGEBER(G.). Nikeinhellenischen 
 Vasenbildern. . . . Gotha, 1851. 
 Fol., pp. ii-58. (In Rathgeber's 
 Schriften. ) 
 
 "Nike in Greek vase paintings. An 
 archaeological dissertation." 
 
 RATTIER (Collection). Catalogue of 
 sale. Paris, 1859. 8, pp. 84. 
 
 Italian faience Luca della Robbia and 
 Palissy ware. Terra-cotta, etc. 
 
 RAU (Ch.). The archaeological col- 
 lection of the United States. 
 National Museum in charge of 
 the Smithsonian Institution. 
 Washington, 1876. 4, pp. xiv- 
 104 ; with 340 illustrations. 
 Pottery, pp. 77-87. 
 
 RAYAISSON (F.). Notice sur une 
 amphore peinte du Musee du 
 Louvre, representant le Combat 
 des Dieux et des Geants. Paris, 
 1876. 4, pp. 16 ; with 2 pis. 
 
 RAYESTEIN (E. de Meester). Musee de 
 Ravestein. Liege, 1871-72, and 
 
RAY] 
 
 CERAMIC LITERATURE. 
 
 Bruxelles, 1882. 3 vols. 4. 
 20 fcs. 
 
 " The Ravestein Museum." 
 
 The catalogue of an important collection of 
 antiquities in the possession of Mr. E. de Rave- 
 stein, Belgian Ambassador to Italy. No plates 
 accompany the descriptions of the objects, and 
 owing to this want of illustrations the catalogue 
 loses much of its value. Vol. i. contains Greek 
 vases, pp. 83 to 266 ; terra-cottas, pp. 267 to 280. 
 The supplementary Vol. iii., Greek and Etruscan 
 vases, pp. 11 to 180 ; terra-cottas, pp. 180 to 253. 
 
 - Musee Royal d'antiquites et 
 d'armures. Musee de Ravestein. 
 Bruxelles., 1884. 8. Classical 
 ceramics, 690 Nos. 1 fc. 
 
 An abridged edition of the above catalogue 
 prepared for the visitors to the museum of anti- 
 quities of the " Porte de Hale " at Bruxelles, 
 where the collection was then exhibited. Pre- 
 sented to the nation by Mr. de Ravestein. This 
 collection has since then been transported to the 
 Museum of Decorative Art. 
 
 RAYET (Collection 0.)- Catalogue de 
 la collection d'antiquites grec- 
 ques formed by O. Rayet. Paris, 
 1879. 8, pp. 45. 
 
 An important collection of Greek terra-cottas ; 
 each number is elucidated by a learned disquisi- 
 tion written by the collector. 
 
 RAYET (0.). Monuments de Fart 
 antique. Paris, Quantin, 1884. 
 2 vols. Fol. ; with 90 heliogr. 
 pis., accompanied with explana- 
 tory notices. 150 fcs. 
 " Monuments of ancient art." 
 
 Greek terra-cottas, 17 plates, splendid repro- 
 duction of well-selected examples. 
 
 - Les figurines de Tanagra au 
 Musee du Louvre. Paris. (Re- 
 print of three articles in the 
 Gazette des Beaux-Arts.) Pp. 42 ; 
 with 14 illustrs. by P. Sellier. 
 
 "The Tanagra figures in the Louvre 
 Museum." 
 
 RAYET (0.) et COLLIGNON (M.). Histoire 
 de la ceramique grecque. Paris, 
 Decaux, 1888. 4, pp. xvii-420 ; 
 with 15 col. pis. and 145 text 
 illustrs. 25 fcs. 
 
 " History of the Greek ceramic art." 
 
 Mr. Maxime Collignon has rendered a signal 
 service to the spreading of archaeological know- 
 
 ledge by completing and bringing out, after the 
 death of his friend, Olivier Rayet, the work they 
 had prepared together. It forms a most ex- 
 cellent survey of the progress lately accomplished 
 in the study of classical ceramics. A mere glance 
 at the illustrations is sufficient to satisfy us that 
 no trouble has been spared in selecting the most 
 telling examples of terra-cotta and painted vases 
 which represent the various epochs of the art. 
 Particular attention has been devoted to the 
 productions of the earliest period, brought to 
 light by the excavations prosecuted during the 
 last few years on the territory of Greece proper, 
 rude vessels of a kind so far left out of the his- 
 tories of painted vases. 
 
 The aggregate of Greek ceramics has been 
 divided into distinctive groups, formed according 
 to the special characters of forms and decoration 
 which may be said to constitute a marked style. 
 Each of these groups is dealt with separately in 
 chapters presented, so far as it has been found 
 practicable, in chronological order. The fol- 
 lowing is an abridged synopsis of the contents 
 of the book : 
 
 The terra-cottas of Hissarlik, the coarse un- 
 decorated production of a semi-barbarian age, 
 believed to date as far back as the twelfth cen- 
 tury B.C. The archaic pottery of various origin, 
 evincing in their red and black geometrical 
 traceries the earliest attempts at a painted de- 
 coration. The earthen vessels adorned with a 
 more elaborate style of paintings, showing repre- 
 sentations of fantastic animals, said to denote an 
 Oriental influence which would refer the manu- 
 facture of these vessels to the times when the 
 Greeks established a regular commercial inter- 
 course with Phoenicia and the East. The earliest 
 vases made in Italy, and particularly in Etruria, 
 by potters who had come from Corinth, and upon 
 which the human figure is, for the first time, seen 
 introduced in the scheme of decoration. Lastly, 
 the painted vases and terra-cotta figures made 
 at Athens between the sixth and fourth centuries 
 B.C. In these latter productions, the practice of 
 the various styles of make and ornamentation, 
 successively introduced within the course of the 
 preceding ages, is found to have been preserved, 
 being in some instances brought to the highest 
 perfection. 
 
 To the early vases decorated with black figures 
 succeeded those with red figures on black ground, 
 a class which comprises the most exquisite works 
 of the vase painter. A special notice is devoted 
 to each of the artists who have signed their 
 painting with their name. The culminating 
 height reached by the Greek ceramic art coincides 
 with the times of Alexander, Phidias, and Apelles; 
 it is said not to cover more than half a century. 
 
 When the style of vase painting began to 
 deteriorate in simplicity and purity of design, the 
 technical processes underwent great alterations. 
 Towards the end of the fourth century white 
 vases were made painted with subjects in several 
 colours ; gilding was applied to some parts of 
 the black and red vases. Moulded work tended 
 to replace surface decoration ; the curious vessels 
 affecting the shape of an animal or of a human 
 figure date from that period. Metal work was 
 imitated in pottery, and the ornaments of the 
 clay pot reproduced those hammered and chased 
 upon bronze and silver. To the adoption of this 
 method of workmanship may be attributed the 
 
 351 
 
RAY] 
 
 CERAMIC LITERATURE. 
 
 [REG 
 
 making of the first examples of black and red 
 embossed pottery this latter often called 
 Samian ware which after having been practised 
 in Greece was imported into Arezzo, where it 
 became the staple trade of the Roman figulus. 
 With the introduction of brightly coloured trans- 
 parent glazes and opaque enamels ends the 
 account of the successive phases of Greek 
 ceramics. At the end of the third century 
 B.C. Greece ceased altogether to produce the 
 painted vases for which its potters had so justly 
 been celebrated ; the vulgar imitations which 
 for a time continued to be manufactured in Italy 
 were but the dying reflections of an art doomed 
 shortly to disappear and be forgotten. 
 
 A short chapter on the application of pottery 
 to architectural decoration terminates a truly 
 captivating book replete with historical infor- 
 mation and technical as well as artistic consider- 
 ations. The ceramic student would have to look 
 through a whole library of archaeological works 
 before he could obtain a portion of the know- 
 ledge that has been compressed for his benefit in 
 this valuable compendium. 
 
 RAYMOND (Collection Dr.). Catalogue of 
 
 sale. Paris, 1888. 8, pp. 40 ; 
 with 4 pis. Rare French faience. 
 
 READ (Ch.). Causerie sur Bernard 
 Palissy. (Reprint from the Bul- 
 letin de Vhistoire du protestant- 
 isme.) Paris, 1893. 8, pp. 16. 
 
 "A chat on B. Palissy." 
 
 READ (Ch. H.). Burlington Fine Arts 
 Club. Exhibition of the faience 
 of Persia and the nearer East. 
 London, 1907. 4, pp. 82 ; with 
 27 collotype pis. 4, 4s. 
 
 READ (R. W.). Salisbury and South 
 Wilts Museum. Loan collection 
 of Sevres. Salisbury, 1871. 12. 
 
 - Loan collection of porcelain 
 statuettes. Salisbury, 1872. 16 
 
 - A reprint of the original cata- 
 logue of one year's curious pro- 
 duction of the Chelsea Porce- 
 lain Manufactory, sold by auc- 
 tion by Mr. Ford on the 29th 
 March, 1756, and fifteen fol- 
 lowing days, etc., with introduc- 
 tory remarks. Salisbury, 1880. 
 8, pp. x-54-4. 100 copies, 
 printed for private circulation. 
 16s. 
 352 
 
 Collectors know the importance of these cata- 
 logues, in which the greater part of the figures, 
 groups, and fancy articles produced at the 
 Chelsea Works are sufficiently described as to 
 assist in the identification of unmarked speci- 
 mens. The original issues are unobtainable ; 
 this reprint has become so rare as to be almost 
 as difficult to find. 
 
 REAUMUR (de). Art de faire une 
 nouvelle espece de porcelaine, 
 par des moyens extremement 
 simples et faciles, ou de trans- 
 former le verre en porcelaine. 
 Premier memoire. Ou Ton ex- 
 amine la nature et les qualites 
 de la nouvelle porcelaine et ou 
 Ton donne une idee generale de 
 la maniere de la faire. Paris, 
 1739. 4, pp. 78. (Extr. from the 
 Memoir es de VAcademie royale 
 des Sciences.) 
 
 " The art of making a new kind of por- 
 celain, by very easy and practical means, 
 being the manner of transforming glass 
 into porcelain. Part I. In which the 
 nature and qualities of the new porcelain 
 are examined, and a general idea is given 
 of the method of manufacturing it." 
 
 - Part II. Paris, 1739. 4. 
 
 REBOULLEAU DE THOIRRES (E. F.).- 
 Nouveau manuel complet de la 
 peinture sur verre, sur porce- 
 laine et sur email. Paris, 1843. 
 18; pis. 
 
 "Anew complete manual of painting 
 upon glass, porcelain, and enamel." 
 
 One of the series of the " Manuels Roret." 
 
 REDGRAVE (G. R.). Report on terra- 
 cotta, bricks, encaustic, and 
 other tiles at the International 
 Exhibition of 1871. (Official 
 Reports, vol. i., pp. 315-332.) 
 
 REGAMEY (Will). Japan in art and 
 industry. London, 1893. 8 ; 
 with 100 illustrs. by the author. 
 Translated from the French by 
 F. and E. L. Sheldon. 7s. 6d. " 
 
 Ceramics, pp. 104-129. 
 
 REGNAULT et SALYETAT. Rapport sur 
 les arts ceramiques, etc. Ex- 
 
REG] 
 
 CERAMIC LITERATURE. 
 
 [REI 
 
 position universelle de 1862. 
 Paris, 1862. 8. (In vol. vi. of 
 the Rapports du Jury frangais.) 
 
 "Mr. V. Regnault was then director of 
 the Imperial Manufactory of Sevres." 
 
 REGOULT (Petrus). Kristal en Glas- 
 blazery en Slijpery fabricken van 
 Petrus Regout te Maastricht. 
 Pryscourant van Aardewerk. 
 1854. 4, pp. 19 ; with illustrs. 
 
 " Factories of crystal, glass, and glass- 
 cutting of P. Regout at Maestricht. With 
 a price list of earthenware." 
 
 Proprietes de Mr. Pierre 
 Regout a Maestricht, Holland. 
 S.d. Eleph. fol., of 17 pis. in 
 colour. 
 
 Lithographed views of the mansions, parks, 
 houses, model-dwellings, etc., belonging to Mr. 
 P. Regout ; also of his factories of glass and 
 earthenware. 
 
 REICHEL(W.). Ueber eine Aufnahme 
 des Francois Vase. Wien, 1888. 
 8, pp. 24. 
 
 "Upon a new elucidation of the Fran- 
 Qois Vase." 
 
 REIN (J. J.). The industries of 
 Japan . . . From travels and 
 researches undertaken at the 
 cost of the Prussian Government 
 London, 1889. 4. Ceramics, 
 pp. 452-488 ; with 5 pis. and 
 1 cut. 
 
 REINACH (Salomon). Catalogue du 
 Musee de Constantinople. Paris, 
 
 1882. 8. 
 
 "Catalogue of the Constantinople 
 Museum." 
 
 The Ottoman Government reserves to itself 
 the right to keep one-third of the objects dis- 
 covered in the excavations made on Turkish soil 
 at the expense of the foreign states. Out of this 
 percentage a fair collection of vases and terra- 
 cottas found in Asia-Minor has been formed in 
 the Museum of Ichinli-Kiosk. 
 
 - Peintures de vases antiques 
 
 recueillies par Millin (1808) et 
 
 Millingen (1813) ; publiees et 
 
 commentees par S. Reinach. 
 
 23 
 
 Paris, F. Didot, 1891. 4, pp. 
 142 ; with 122 pis. in outline 
 and 1 in colour. 25 fcs. 
 
 "Antique vase paintings, collected by 
 Millin and Millingen ; published and an- 
 notated by S. R." 
 
 Reproduction in reduced size of the plates 
 illustrating the folio volumes of two classical 
 writers on Greek vases. The elucidations they 
 give of the subjects represented on the vases, now 
 mostly out of date, are carefully revised. Re- 
 ference is made to all other works in which the 
 same vase has been engraved, and whenever such 
 information has been obtainable, the name of the 
 museum in which it is now preserved is also 
 given. 
 
 Inedited terra-cotta from 
 Myrina in the Museum at Con- 
 stantinople. Boston, 1888. 8, 
 pp. 8 ; with 2 pis. and 2 cuts. 
 
 The so-called Asiatic terra- 
 cotta groups. Boston, 1888. 4, 
 pp. 7. (Reprint from The Clas- 
 sical Review.} 
 
 A contribution to the controversy raised on 
 the genuineness of the groups in the Cartault 
 Collection. 
 
 Antiquites du Bosphore Cim- 
 merien, reeditees avec un com- 
 mentaire nouveau. Paris, 1892. 
 8, pp. xvi-213; with 83 pis. 
 25 fcs. 
 
 "Antiquities of the Cimmerian Bos- 
 phorus." 
 
 Reproductions in phototype of the plates and 
 illustrations of the work published by F. Gille 
 in 1854. Painted vases, 12 pla ; terra-cottas, 
 13 pis.; woodcuts. 
 
 Repertoire des vases peints 
 grecs et etrusques. Tome I. 
 Peintures de vases gravees dans 
 1' Atlas et le Compte-rendu de St. 
 Peter sbourg, les Monumenti, An- 
 nali et Memoir e de Vlnstitut de 
 Rome, 1' Archaeologische Zeitung, 
 le Bullettino Napolitano, le 
 Bullettino Italiano, VEpTiemeris 
 (1883, 1894), le Museo Italiano, 
 avec des notices explicatives et 
 bibliographiques. Paris, E. Ler- 
 oux, 1899. Sq. 8, pp. 533; 
 with over 1,000 illustrs. 
 
 353 
 
CERAMIC LITERATURE. 
 
 [REN 
 
 REINACH (Salomon). Tome II. Pein- 
 tures de vases gravees dans les 
 recueils de Millingen (Coghill), 
 Gerhard (Auserl. Vasenbilder), 
 Laborde, Luynes, Roulez, Schulz 
 (Amazonenvase), Tischbein 
 (Tomes I. -V.). Avec une biblio- 
 graphic de la ceramique grecque 
 et etrusque. Paris, 1900. Sq. 
 8, pp. 423 ; over 1,000 illustrs. 
 Each vol., 5 fcs. A third vol. 
 is in preparation. 
 
 " Repertory of the Greek and Etruscan 
 painted vases . . . with explanatory 
 notices, and a bibliography." 
 
 To present to the student of Greek vases a 
 series of very minute reductions of all the sub- 
 jects that have been engraved, in order that the 
 place in which the full size engraving is to be 
 found may be ascertained without further re- 
 search is the aim of a work, the importance and 
 utility of which could not be over-estimated. 
 Through a feeling of delicacy, perhaps exagger- 
 ated, the author has refrained from borrowing 
 anything out of the comparatively now works 
 that is to say, those published since 1870 and 
 out of the classical journals still in existence. 
 
 La naissance de Ploutos sur 
 
 un vase decouvert a Rhodes. 
 Paris, 1900. 8, pp. 12; 1 
 illustr. 
 
 " The birth of Plutus on a vase dis- 
 covered at Rhodes." 
 
 REISCH (E.). Das Museo Gregoriano 
 Etrusco im Vatikan, und das 
 Kircher'sche und prahistorische 
 Museum im Collegio Romano zu 
 Rome. Leipzig, Badeker, 1891. 
 12, pp. 205. (Reprint from 
 Die offentlichen Sammlungen in 
 Rom., vol. ii.) 
 
 " The Gregorian Etruscan Museum, and 
 the Kircher and Prehistoric Museum in 
 Rome." 
 
 An abridged catalogue with historical notices. 
 Reference is given to archaeological works in 
 which the leading objects in the museum are fully 
 described and reproduced. 
 
 REISCHEL (G.). Die Begrabniss state 
 bei Hornsommern in Thiiringen 
 und Vergleichung ihrer merk- 
 wiirdigen Thongefasse, etc. 
 Halle a. d. S., 1888. 4, pp. 18 ; 
 354 
 
 with 2 pis. and 6 illustrs. (Part 
 ix. of the Vorgeschichtliche Alter- 
 thiimer der Provinz Sachsen.) 
 
 " The excavations near Hornsommer, 
 in Thuringia, with an examination of I ln-ir 
 remarkable earthen vessels, etc." 
 
 The graves have yielded several examples of 
 a curious and rare type of cinerary urns of red 
 tcrra-cotta marked with linear decorations of 
 white clay. Their form is that of a tundish, and 
 they are open at both extremities; they were 
 found placed the broadest part downwards, over 
 the bones and ashes which had been gathered 
 after the cremation had taken place. 
 
 REISS (W.) and STUBELL The necro- 
 polis of Ancon, in Peru ; a con- 
 tribution to our knowledge of 
 the culture and industries of the 
 Empire of the Incas, being the 
 result of excavations made on 
 the spot. Translated by Prof. 
 A. H. Keane. Berlin, Asher & 
 Co., 1880-87. 3 vols. Fol. ; 
 with 141 col. pis. 21. (Vol. 
 iii. contains 11 pis. of earthen- 
 ware vessels.) 
 
 RENAUD (Dr. F.). The uses and teach- 
 ings of ancient encaustic tiles. 
 Manchester, Gill, 1892. Sm. 4, 
 pp. 31 ; with 24 col. pis. 12s. 
 
 From among the five hundred tracings of 
 ancient decorative tiles he had accumulated 
 during twenty years, Dr. Frank Renaud has 
 selected a small number of patterns which he 
 has grouped and described under five headings 
 viz., Armorial, Pictorial, Symbolical, Moral, 
 Educational. The first chapters, chiefly descrip- 
 tive, bristle with quotations from archaeological 
 works ; in the last ones, the ethics of the ancient 
 tile designer are expounded with the ingenious 
 subtlety of a writer who insists on finding a 
 symbolical moaning expressed in the rudiment- 
 ary form of the plainest ornament. 
 
 With respect to the use of the absolutely in- 
 correct terms, " Encaustic tiles " adopted, if 
 we remember right, by a modern manufacturer 
 to distinguish his production from the kind of 
 tiles made previously we shall remark that the 
 technical words " Inlaid and glazed tiles " 
 should always be employed in preference in an 
 archaeological work. 
 
 RENAULD (J.). La ceramique Peru- 
 vienne de la Societe d' etudes 
 Americaines fondee a Nancy. 
 Nancy, 1880. 8, pp. 21 ; with 
 4 lith. pis. 
 
REN] 
 
 CERAMIC LITERATURE. 
 
 [KEY 
 
 " Peruvian ceramics in the possession of 
 the Society of American Studies founded 
 at Nancy." 
 
 A descriptive notice of 58 vases found in the 
 Peruvian tombs of the Incasic period (1006-1525). 
 These vases ware deposited in the museum on 
 the occasion of the first meeting of the Congress 
 of Americanists held at Nancy in 1875. 
 
 RENNER (A.). Die Porzellanmalerei 
 in ihrem ganzen Umfange, etc. 
 Leipzig, 1833. 12, pp. 66. 
 
 " Porcelain painting in all its branches." 
 
 RENOUYIER (J.). Sur une figurine en 
 terre-cuite du cabinet archeo- 
 logique de Montpellier. 4, pp. 
 12; with 1 lith. pi. (Reprint 
 from the Rapports de, la Soc. 
 Arch, de Montpellier, No. 20.) 
 
 " Upon a terra-cotta figure in the col- 
 lection of the Arch. Society." 
 
 A Gallo-Roman figure of a Goddess-Mother. 
 
 RENOUX. Simple expose sur 1'indus- 
 trie ceramique du Canton de 
 Salernes, dans le Var. Aix, 
 Makaire, 1864. 8, pp. 26. 
 
 "Notice of the conditions of the cer- 
 amic industry in the district of Salernes, 
 in the Var Department." 
 
 REQUIN (Abbe H.). Histoire de la 
 faience artistique de Moustiers. 
 Paris, Rapilly, 1903. 4, pp. 
 xvi-299; with 15 pis. (7 col.) 
 and 15 illustrs. Vol. i. 25 fcs. 
 
 " History of the artistic faience of 
 Moustiers." 
 
 A very exhaustive survey of a subject well 
 studied before. The plates, drawn by E. 
 Gamier, scarcely give an idea of the variety 
 and excellence of the productions. The full 
 series of marks is to appear in the second volume. 
 
 REULEAUX (F.). Briefe aus Philadel- 
 phia. Braunschweig, 1877. 8, 
 pp. 98. (Ceramics, Letters 5 
 and 6.) 
 
 " Letters from Philadelphia." 
 
 REUSCH (C. F.). Dissertatio de Tum- 
 ulis et Urnis sepulchralibus in 
 Prussia ; cum figuris. Respon- 
 dente C. G. Lau. Begiomontano, 
 1724. 4, 
 
 "A dissertation on the tumuli and 
 sepulchral urns of Prussia, with plates ; 
 responded to by C. G. Lau." 
 
 REYER (F.). Sur des figurines de- 
 couvertes dans la foret d'Evreux. 
 Evreux, 1827. Pp. 26; with 
 4 lith. pis. 
 
 " On some terra-cotta figures discovered 
 in the Evreux forest." 
 
 REYILLOT DE MURALT (A.).-Cataloguede 
 la collection de porcelaines an- 
 ciennes de la Chine etdu Japonap- 
 partenant a Mr. R. de M. Geneve, 
 Eggimann, 1901. 4, pp. 192 ; 
 with 40 phototyp. pis. (Porcelain, 
 3 1 pis. ) . 20 fcs. Ten copies have 
 been printed, illustrated with the 
 original photographs. 
 
 A collection of over 2,000 specimens of Ori- 
 ental porcelain, of which this volume is the dry 
 inventory ; there has been evidently no attempt 
 at making a catalogue raisonnL No order of 
 classification has been adopted, no marks are 
 reproduced ; the obsolete distinction between 
 " Famille verte " and " Famille rose " is the only 
 indication that is supplied of the styles and 
 periods of manufacture. In the graceful arrange- 
 ment, chiefly contrived to please the eye, which 
 they occupy on the walls and in the glass cases 
 of the artistic abode of their possessor, the whole 
 contents of the collection have been photo- 
 graphed on the plates. All is given, however, on 
 such a reduced size that it becomes difficult for 
 us to make, out of these overcrowded groups, the 
 selection of the examples worth special attention, 
 which surely deserved to be reproduced separ- 
 ately, and on a larger scale. 
 
 REYMOND (Marcel). Les Delia Robbia. 
 Florence, Alinari, 1897. 8, pp. 
 278 ; with 190 illustrs. 15 fcs. 
 
 " The Delia Robbia." 
 
 So much absorbed is Mr. M. Reymond in the 
 admiration he entertains for the Delia Robbia as 
 sculptors that he declines to consider them in 
 their inferior capacity of enamellers and potters. 
 In the examination he makes of all the recognised 
 productions, it is the work of the modeller that 
 fixes bis attention, and on which he expatiates 
 at full length ; the ceramical merit of the ex- 
 ecution leaves him altogether indifferent, and he 
 has nothing to tell us on that subject. As a 
 catalogue raisonnf. of all the works left by Luca, 
 Andrea, and Giovanni Delia Robbia, the book 
 will be found of some value. As a biography of 
 the masters and as a technical examination of 
 their enamelled pottery it leaves much to be 
 desired ; these last points seem to have been 
 purposely neglected. A list of articles on the 
 Delia Robbias, which have appeared in the serial 
 publications of all countries, will be found at the 
 end of the volume. 
 
 355 
 
KEY] 
 
 CERAMIC LITERATURE. 
 
 [RIA 
 
 REYNOLDS (Collection C. W.). Catalogue 
 of sale. London, Christie, 1871. 
 8; with 8 pis. 
 
 The aim of the collector was to obtain a 
 specimen from all the better-known manufac- 
 tories of Europe, and the variety of the items 
 composing his collection shows that he had partly 
 succeeded in carrying out his ambitious scheme. 
 The catalogue comprises 734 Nos., among which 
 are included the series of D wight's stoneware 
 pieces known as " The Fulham trouvaille." 
 
 REYNOLDS (J. C.). The tobacco pipe, 
 pipe clays and tobacco. London, 
 1862. Pp. 16 ; illustrations of 
 pipes on the cover. 
 
 Reynolds' tobacco pipe manufactory was 
 situated in the City Road, London. This paper, 
 which describes its exhibits in 1862, contains 
 also some historical and technical notes on the 
 manufacture of clay pipes. 
 
 RHEAD (G. I.) and (F. A.). Stafford- 
 shire pots and potters. London, 
 Hutchinson, 1906. 8, pp. xvi- 
 384 ; with 4 col. pis., 116 illustrs. 
 in half-tone, and 90 drawings in 
 pen and ink by the authors. 
 1, Is. 
 
 Both natives of the Potteries, the authors, 
 already known as ceramic artists, were fully 
 qualified to treat the subject. Very little is left 
 unsaid of what concerns the past of the local 
 industry, and the masters and men who have 
 assisted in its development. The present con- 
 ditions of manufacture, and the gossiping par- 
 ticulars about the life and work of the modern 
 artists with whom the writers have been brought 
 in contact is not the least interesting portion of 
 the volume. 
 
 RIANO (J. F.). Classified and descrip- 
 tive catalogue of the art objects 
 of Spanish production in the 
 South Kensington Museum ; 
 with an introduction and notes. 
 
 London, 1872. 
 marks. 
 
 8, pp. xiv-75 
 
 Sobre la manera de fabricar 
 la antigua loza dorada de Man- 
 ises. Madrid, Fortanet, 1877. 
 18, pp. 18. 
 
 "Upon the method of making the 
 lustered faience of Manises." 
 
 A MS. report sent by the Mayor of Manises, 
 one of the largest centres of manufacture, to the 
 Count of Florida Blanca in 1785, contained the 
 practical directions for making the metallic 
 
 356 
 
 lustre after the methods used for centuries by 
 the potters of the town. It is a transcript of 
 that MS., now in the British Museum, that will 
 be found printed in this pamphlet. Far from 
 containing precise information about the subject, 
 the account, after having mentioned all the sub- 
 stances which enter into the* composition of the 
 glaze and the lustred colours, ends in telling us 
 that the knowledge of such particulars is not of 
 much avail, the important point consisting in the 
 manipulation of the mixtures and the skilful 
 practices known only to the experienced men of 
 the trade, which cannot be described in writing. 
 Of this a practical potter will readily be made 
 aware by the perusal of the so-called recipe, in 
 which nothing is said about the conduct of the 
 firing of the kiln. Yet it is well known that 
 it is only owing to the special conditions under 
 which the ware is fired that the lustre is produced 
 upon it. An English translation of the Spanish 
 MS. has been given by the author in the fol- 
 lowing work. 
 
 - The industrial arts in Spain. 
 London, 1879. 8, pp. 276; 
 with text illustrs. One of the 
 handbooks of the South Ken- 
 sington Museum. 
 
 In the chapter devoted to Spanish ceramic art 
 (pp. 143-228), Senor Juan F. Riano has given us 
 a summary of what is known of the subject in 
 the country. Even in Spain, very little infor- 
 mation has been obtained respecting the origins 
 of a ware imported and admired at one time all 
 over Europe. It is limited to a few obscure 
 references made by ancient writers to its manu- 
 facture. The earliest mention of the " Golden 
 pottery " of Calatayud, and of the extensive ex- 
 portation which was made of it into distant lands, 
 has been found in a MS. of the twelfth century. 
 Ben Batuta, writing in 1349, describes the lustred 
 faience of Malaga, and also says that it was the 
 object of an important commerce. From many 
 authentic sources we learn that in the fifteenth 
 century the foreign demand for the Spanish 
 earthen vessels was still in the ascendant, and 
 that the makers could scarcely cope with it. 
 Princes, Cardinals, the Pope himself, according to 
 Eximenus' report, were anxious to acquire the 
 gilded vases and dishes of Manises, but could 
 only obtain a scanty supply of them by special 
 favour. 
 
 While such ancient records make us ac- 
 quainted with the name of the places where the 
 production had attained its highest importance, 
 they do not assist us in assigning to any special 
 factory the various styles of the specimens that 
 have been preserved up to this time. The richly 
 ornamented panels and tiles, so profusely used by 
 the Moors of Spain in architectural decoration, 
 or the platters or drinking vessels known as 
 Hispano-Moresque faience seldom bear any mark 
 or inscription by which the date and locality of 
 manufacture might easily be determined. The 
 study of the genesis of this important class of 
 Spanish ceramics, a study which has made rapid 
 progress during the past few years, was still in 
 its infancy when this handbook was published. 
 
 In the second'half of the fifteenth century the 
 style of manufacture underwent a partial change, 
 
CERAMIC LITERATURE. 
 
 {RIG 
 
 the introduction of Italian majolica leading to 
 this ware being imitated at Seville, Talavera, 
 and subsequently at many other places. Gradu- 
 ally the faience decorated in the Italian, French, 
 and Dutch taste superseded the lustred ware of 
 the Moors. At the end of the eighteenth century 
 this latter was made at Valencia only in common 
 articles used exclusively for domestic purposes. 
 The two chapters treating in this handbook 
 of the porcelain manufactory of Buen Retire, and 
 of the works of Alcora, form each of them a com- 
 plete monograph. They contain, together with 
 historical particulars published for the first time, 
 a list of the groups and figures sold at each of 
 these factories, with the names of the directors 
 and chief artists, and facsimiles of the marks by 
 which their respective productions can be 
 recognised. 
 
 RICARD (A. de). Guide du voyageur 
 dans Sevres. Notice historique 
 de ses curiosites. Promenade 
 dans la Manufacture. Poesies 
 par A. de R. Paris, typ. Gaillet, 
 1866. 32, pp. 64. 
 
 " Handbook for the traveller to Sevres. 
 Historical notices of its curiosities. A 
 walk through the Porcelain Manufactory. 
 Poetry by A. de K." 
 
 RICCIO (C. M.). Lafabricadellapor- 
 cellana di Napoli e sue vicende. 
 Memoria letta aH'Accademia 
 Pontaniaiia. Napoli, 1878. 4. 
 Four parts of, together, pp. 179. 
 15 fcs. 
 
 " The porcelain manufactories of Naples 
 and the vicinity. Papers read before the 
 Pontanian Academy." 
 
 Documents dealing with the establishment 
 and progress of the Royal Manufactory of Naples 
 are not wanting. All papers connected with 
 its management have been arranged in twenty- 
 five thick volumes, deposited in the state archives, 
 The clear and compendious account which C. M. 
 Riccio has extracted from these volumes is pre- 
 sented in the dry and precise form of a parlia- 
 mentary report. Concerning himself merely 
 with dates, facts and figures, the compiler briefly 
 summarises the contents of the original docu- 
 ments, without indulging in speculative induc- 
 tions or detailed comments. He has divided his 
 work into four parts I. The history of the porce- 
 lain works carried on, first at Capo di Monte, then 
 at Portici, and later at Naples, between the years 
 1743 and 1835. II. A synopsis of the researches 
 and experiments prosecuted at the works for the 
 purpose of obtaining raw materials of the best 
 quality and improving the processes of manufac- 
 ture. III. Biographical notices of the directors, 
 painters, and modellers. IV. A complete list of 
 the groups, figures, and models produced during 
 the various periods ; a description of the richly 
 painted vases, dinner services, etc., executed for 
 
 presentation to royal personages ; lastly, the 
 price list of all the articles sold at the manufac- 
 tory. 
 
 RICCIO (G.). Notizie degli scava- 
 menti nel suolo dell' antic a Capua. 
 Napoli, 1855. 4, pp. 19 ; with 
 12 pis. 2 fcs. 
 
 " Notice of the excavations executed 
 on the site of ancient Capua." 
 
 From the fine and numerous examples of red 
 glazed ware found in the soil, the writer infers 
 that it was made at Capua, in Roman times, as 
 well as at Arezzo. 
 
 RICHARD (A.). Epigraphie poitevine. 
 Marques de potiers et petites 
 inscriptions gallo-romaines. 
 Poitiers, 1890. 8, pp. 77 ; with 
 12 lith. pis. 5 fcs. 
 
 "Potters' marks and short Gallo-Roman 
 inscriptions." 
 
 RICHARD (G.). Considerazioni sulle 
 condizioni dell'industria cera- 
 mica e proposte per suo maggior 
 s viluppo in Italia. Milano, 1 868. 
 8, pp. 40. (Reprint from 11 
 Politechnico.} 
 
 " Considerations uppn the conditions of 
 the ceramic industry in Italy, and sug- 
 gestions for its greater development." 
 
 Mr. Giulo Richard, the son of a Turin manu- 
 facturer, had early realised the vital necessity of 
 keeping up with the times, and of placing Italian 
 manufacture in the position of making a stand 
 against the ever-increasing imports from England 
 and France. The pamphlet he published on the 
 question created a great sensation. His works 
 at San Cristoforo, near Milan, had been equipped 
 according to the best English notions ; the iron- 
 stone china he had produced there, ever since 
 1842, was equal in quality to the best ware that 
 came from England. Under his management 
 the business, incorporated under the name of 
 " Ceramica Societa," took a further development. 
 This society was, at a future date, to absorb and 
 unite all the chief establishments of Italy. 
 
 - Relazione di G. Richard sulla 
 industria ceramic a quale era 
 rapprentata all'Esposizione uni- 
 versale di Vienna nel 1873. 8, 
 pp. 134. 
 
 " A report on the ceramic industry re- 
 presented at the Vienna Exhibition of 
 1873." 
 
 Partial statistics of the Italian ceramic in- 
 dustry at that date. 
 
 357 
 
RIC] 
 
 CERAMIC LITERATURE. 
 
 [RID 
 
 RICHARD -GINORI (Societa Ceramica.). 
 
 Origine e vicende della Societa. 
 Milano, 1905. 4, pp. 10 ; with 
 num. pis. and illustrs. Privately 
 printed. 
 
 " The Ceramic Co. Richard - Ginori. 
 Origin and development of the Company." 
 
 Notices on the factories at San Cristoforo, 
 Milan, Pisa, Doccia, Mondovi, and Vado, now 
 brought under one management. 
 
 RICHARDSON and LOYEJOY. The follow- 
 ing papers have been published 
 by the R. & L. Engineering Co., 
 Columbus, Ohio, 1906-07. 8. 
 
 Prospecting and clay testing 
 
 apparatus. 
 
 Apparatus for testing and 
 
 controlling the operations of 
 power-plants. 
 
 Apparatus for controlling 
 
 the operations of the factory. 
 
 Apparatus for testing and 
 
 controlling the drying. 
 
 Apparatus for controlling 
 
 the burning. 
 
 Apparatus for testing clay 
 
 products. 
 
 Apparatus for controlling 
 
 the preparation of glazes and 
 colours. 
 
 RICHARDSON (W. D.) Kiln Records, 
 Columbus, 1906. 4. 
 
 RICHTERS (E.). --Untersuchungen 
 iiber der Feuerbestandigkeit der 
 Thone. Berlin, Thonindustrie- 
 Zeitung, 1897. 8, pp. 74. 
 
 " Researches on the nature and condi- 
 tions of the refractory clays." 
 
 Analysis and examination of potter's clays 
 
 found in Germany, and conclusions as to the 
 
 cause of their refractory nature. The reprint of 
 
 ; an address delivered by the writer thirty years 
 
 before. 
 
 RICHTER (Paul) and ZAIS (Ernst). Die 
 Thonindustrie des Kannenback- 
 erlandes auf dem Westerwalde. 
 
 358 
 
 (In Untersuchungen ilber die Lage 
 des Handwerks in Deutschland, 
 vol. i., part 1, pp. 371-459.) 
 Leipzig, Duncker & Humblot, 
 1895. 8. 
 
 " The ceramic industry of the ' Potter's 
 District ' in the Westerwald." 
 
 Hohr-Grenzhausen and the adjoining villages 
 form an important manufacturing centre. Stone- 
 ware was made there from the beginning of the 
 seventeenth century, and took an extensive de- 
 velopment at the time when the wars had caused 
 the ruin of the Siegburg and Raeren factories. 
 At first the ware made at Grenzhausen was so 
 close an imitation of that made at Raeren that 
 the products of both places are hardly distin- 
 guishable from one another. We do not think 
 that this fact has been sufficiently acknowledged 
 in the historical notice. 
 
 RICORD (D. T.). Noticia de las varias 
 y diferentes producciones del 
 Reyno de Valencia, como tam- 
 bien de sus fabricas y arte, f actos 
 segun el estado que tenian en el 
 ano 1791. Sacada de los correos 
 mercantiles de Espana y sus 
 India, con varias tablas sinop- 
 ticas que por acuerdo de la real 
 Sociedad de amigos del pais de 
 Valencia ha formada D. Thomas 
 Ricord presbitero secret ario. 
 Valencia, B. Monfort, 1793. Sq. 
 8, pp. xiii. 
 
 " Notice of the various productions of 
 the Province of Valence, as well as of its 
 manufactories, with the number of oper- 
 atives employed therein, as it stood in 
 the year 1791. Compiled from the Mer- 
 cantile Reports of Spain and her colonies, 
 and arranged in tabular statements on 
 behalf of the Royal Society of the 
 country of Valence, by D. T. R., Priest ; 
 Secretary." 
 
 In the statistics supplied by this rare pam- 
 phlet are recorded the names of the local faience 
 manufactories, the number of workmen to whom 
 they gave employment, and the annual value of 
 their productions. 
 
 RIDDEL (R.). Observations on vitri- 
 fied fortifications in Galloway. 
 London, 1780. 4. (In Archceo- 
 logia.) 
 
RIB] 
 
 CERAMIC LITERATURE. 
 
 [HIE 
 
 RIDDER (A. de ). Amphores beotiennes 
 a reliefs. Paris, 1898. 4; with 
 10 illustrs. (Reprint from the 
 Bulletin de Corresp. Helleniques.) 
 
 " Boeotian amphoras with decoration in 
 relief." 
 
 - Catalogue des vases peints de 
 la Bibliotheque Nationale. Pre- 
 miere partie Vases primitifs et 
 vases a figures noires. 4, pp. 
 249 ; with 11 pis. and 50 
 illustrs. Deuxime partie Vases 
 a figures rouges et de la decad- 
 ence. 4, pp. xiv-556 ; with 23 
 pis. and 100 text illustrs. Paris, 
 Leroux, 1901-1902. 40 fcs. 
 
 " Catalogue of the painted vases in the 
 National Library." 
 
 - Collection de Clercq. Cata- 
 logue public par les soins de 
 1'Academie des Inscriptions et 
 Belles Lettres. Paris, Leroux, 
 1905-1906. 5 vols. 4. Tome 
 iv., Les marbres, les vases 
 peints et les ivoires, with 41 pis. 
 Tome v., Les antiquites chy- 
 priotes, with 36 pis. 40 fcs. 
 each vol. 
 
 " The Clercq Collection. Catalogue 
 published by the French Academy." 
 
 RIDGEWAY (W.). A catalogue of the 
 Loan Exhibition of Pottery and 
 Porcelain held in the Fitzwilliam 
 Museum ; with preface by Prof. 
 W. Ridgeway, and introduction 
 to each section. Cambridge, 
 1902. 8, pp. 130. 
 
 RIEBECK (E.). Sammlung des Herrn 
 Dr. E. Riebeck, ausgestellt in 
 Kunstgewerbe Museum zu Ber- 
 lin. Berlin, 1884. Fol. ; 21 
 photogr. pis. 36 m. 
 
 This ethnological collection, exhibited by its 
 owner in the Museum of Industrial Art at Berlin, 
 included some specimens of Oriental ceramics. 
 The plates represent general views of the exhi- 
 bition, and of the chief groups of objects. 
 
 RIEMANN (J. F.). --Praktische An- 
 leitung zur Kenntnis der Zeige- 
 lein und Ziegler Arbeiten. Leip- 
 zig, 1800. 
 
 "Practical introduction'to~the know- 
 ledge of brick and tile making." 
 
 RIES (H.). The clay-working in- 
 dustry of the United States in 
 1897. 4, pp. 17. (Reprint 
 from the Reports of the U.S. 
 Geological Survey, 1898.) 
 
 Clay deposits and clay in- 
 dustry in North Carolina. Ra- 
 leigh, 1897. 8, pp. 159 ; with 
 12 pis. 
 
 - The Kaolins and fire-clays of 
 Europe. Washington, 1898. 4, 
 pp. 100. (In the 19th Report of 
 the U.S. Geological Survey.) 
 
 - Clays and shales of Michigan; 
 their properties and uses. Lan- 
 sing, 1900. 8, pp. 67; with 4 pis. 
 
 - Clays of New York ; their 
 properties and uses. Albany, 
 1900. 8 ; with illustrs. 10s. 
 
 Clays ; their occurrence and 
 
 uses; with special reference to 
 . those of the U.S. New York, 
 Wiley, 1906. 8, pp. xv.-490. 
 1, 10s. 
 
 RIEUX (E.). Les po tiers de Girous- 
 sens. Albi, 1901. 8, pp. viii- 
 43 ; with 2 col. pis. and 12 il- 
 lustrs. 3 fcs. (Reprint from 
 La Revue du Tarn.) 
 " Giroussens pottery." 
 
 Nothing but earthen pots of the commonest 
 description were ordinarily made at Giroussens. 
 On special occasions the poor pot-maker liked to 
 show that he possessed sufficient skill and im- 
 agination to produce an ornamental article which, 
 when compared with the rude pots and pans of 
 his daily make, might claim to be called, if 
 not exactly a work of art, at any rate a master- 
 piece of the craft. A certain number of these 
 exceptional and carefully treasured works have 
 now found their way into the local collections ; 
 they are described in this curious monograph. 
 The origin of the Giroussens' industry goes back 
 to the times of the Roman figulus. In 1620, 
 
 359 
 
RIG] 
 
 CtiRAMlC LITERATURE. 
 
 seventy-two families of potters were at work in 
 the place. Some interesting recollections re- 
 specting their customs and social conditions 
 have been recorded by the writer. Among them 
 are to be noticed the account of their annual 
 festivities, and of the strange dispute of the men 
 of the trade with the Cure of the village. 
 
 RIGOLLOT (J.). Notice sur la cer- 
 amique gallo-romaine et surjsa 
 provenance. Autun, 1874. 8, 
 pp. 15. (Reprint from the Mem. 
 de la Soc. Eduenne.) 
 
 " Notice of the Gallo-Roman pottery 
 and its origin." 
 
 RING (M. de). Tombes celtiques de 
 1'Alsace. Suivi d'un memoire 
 sur les tombes . . . celtiques du 
 Sud Quest de I'Allemagne. 
 Strasbourg, 1866-70. Fol. pi. 
 
 " The Celtic tumuli of Alsace ; to which 
 is added an essay on the Celtic tumuli of 
 South-Western Germany." 
 
 RIOLS (J. de) (E. Santini). L'art de 
 cuire sans mouffle. Le peintre 
 sur porcelaine cuisant lui meme 
 dans son poele ; ouvrage indis- 
 pensable aux amateurs de pein- 
 ture vitrifiable sur porcelaine. 
 Paris, Le Bailly (1885 ?). 8, 
 pp. 32. 2 fcs. 
 
 " The art of firing without a muffle. 
 How a china painter can fire his paintings 
 at home in his stove. A work indispens- 
 able to amateur painters." 
 
 RIPLEY (Mrs. M. Churchill). The colour 
 
 blue in pottery and porcelain. 
 Syracuse, N.Y., 1902. 8, pp. 
 25 ; with text illustrs. (Reprint 
 from Old China.) 
 
 RIS (L. Cement de). La curiosite. 
 Collections frangaises et etran- 
 geres ; cabinets d' amateurs ; 
 biographies. Paris, Renouard, 
 1864. Pp. 287. 3 fcs. 
 
 ' ' Curios. French and foreign museums ; 
 private collections ; biographies." 
 
 In addition to some notices of the majolica 
 preserved in the Museums of Florence, Venice, 
 and Paris, now somewhat antiquated, this vol- 
 ume contains an interesting article on Avisseau, 
 the potter of Tours. 
 
 360 
 
 - Musee du Louvre. Notice 
 des faiences frangaises. Fai- 
 ences dites de Henri II. Fai- 
 ences de Bernard Palissy. Fai- 
 ences di verses. Paris, 1871, 
 18. Pp. 100. 
 
 " Museum of the Louvre. Notice of 
 the French faiences. The so - called 
 Henry II. ware. The Palissy ware. The 
 glazed earthenware." 
 
 A historical notice is prefixed to each section 
 of this descriptive catalogue, prepared by the 
 curator of the collection. The Henri II. and 
 Palissy ware comprise 11 and 212 Nos. respec- 
 tively. An inconceivable blunder, to which the 
 best connoisseurs of the times had fallen a victim, 
 is rectified by the writer. For a few years the 
 place of honour in the centre of the Palissy room 
 at the Louvre had been given to an uncommon 
 dish of very large proportions. The centre of it 
 was occupied by a splendid lobster of bright 
 scarlet colour, framed in the usual medley of 
 reptiles, shells, and foliage. This masterpiece, 
 for no other example of Palissy faience could be 
 compared to it for size and brilliancy of enamels, 
 had been bought by Dr. J. Cloquet for twenty- 
 five thousand francs, a record price at the time, 
 and by him bequeathed to the museum. Exhi- 
 bited in a special glass case, it formed the cynos- 
 ure of all eyes. One day it disappeared, having 
 been consigned to a dusty attic. It is still entered 
 in the catalogue, however, under this description, 
 " A dish with lobster, serpents, shells, etc, a 
 modern counterfeit, made of carved, painted, and 
 varnished cement, supposed to have been made 
 in England." 
 
 RISCHER (A.) Das Glasieren der 
 Ziegel. Berlin, Tonindustrie 
 Zeitung, 1904. 12, pp. 48. 
 
 " The glazing of tiles." 
 
 RIS-PAQUOT (0. E.). Histoire des 
 faiences de Rouen pour servir de 
 guide aux recherches des collec- 
 tionneurs ; ouvrage avec texte 
 orne de 60 planches mises en 
 couleur a la main. Amiens, 
 chez 1'auteur, 1870. 4, pp. 38 ; 
 with 6 plates of marks and 60 
 chromolith. pis. 30 fcs. 
 
 " History of the Kouen faience ; to 
 serve as a guide to the collector ; a work 
 with text, embellished with 60 plates 
 coloured by hand." 
 
 Neglecting his original avocation of a mender 
 and restorer of broken faience, Ris-Paquot blos- 
 somed one day into a prolific writer of ceramic 
 history. The practical plan he adopted which 
 was to extract from a standard work materials 
 
CERA MIC LITER A TURE. 
 
 [RIS 
 
 for a book which he called his own was invari- 
 ably adhered to in his literary productions. His 
 Histoire des faiences de Rouen was but a pitiable 
 imitation of the masterly monograph that Andre 
 Pettier had just brought out under the same title. 
 Ris-Paquot's imperfect grasp of the subject he 
 had ventured to handle is manifest all through 
 the book. Casting a glance at the first page, we 
 find it studded with ludicrous mistakes, such as 
 Keramous, said to mean " a potter," in Greek, 
 and Sigulinus, " a Roman potter." The mis- 
 spellings of the word Margolique, for majolique, 
 Billon, for B. Fillon, and so on, are no less sur- 
 prising. 
 
 French grammar is treated throughout the 
 text with an equal degree of disregard for cor- 
 rectness. In the drawing of the plates also the 
 work of the author accuracy having been con- 
 sidered of small importance, the proportions and 
 the outline of each object are misrepresented, 
 and the elementary rules of perspective openly 
 set at defiance. Moreover, apparently in view 
 of simplifying the labour of the designer, none 
 but examples of the poorest and plainest de- 
 scription have been selected for illustration. Let 
 us add that the curiously worded statement 
 which appears on the title page, Planches mises 
 en couleur a la main, is misleading, as they are, 
 in the main, coloured in the press ; but when a 
 spot or two of extra colour is required, it is 
 roughly daubed on the printed plate with a paint 
 brush. 
 
 Maniere de restaurer soi- 
 meme les faiences, porcelaines, 
 cristaux, marbres, terres-cuites, 
 gres, biscuits, emaux, etc. Paris., 
 Lahure, 1872. 12, pp. 122 ; 
 with 9 col. pis. 2nd ed., 1876. 
 5 fcs. 
 
 " Directions for mending and restoring 
 faiences, porcelains, etc." 
 
 - Dictionnaire des marques et 
 monogrammes des faiences, gres, 
 terre de pipe, terre-cuite, porce- 
 laines, etc.,anciennes et modernes 
 reproduites avec leurs couleurs 
 naturelles. 3,000 marques. 
 Paris, Delaroque, 1873. 12. 
 Pp. 256. 2nd and 3rd editions, 
 1874-1878. 4th ed., 1879. 8. 
 Pp. xvi-549. 
 
 " A dictionary of marks and monograms 
 on faience, stoneware, earthenware, terra- 
 cotta, porcelain, ancient and modern. 
 Keprod:iced in their natural colours." 
 
 Chaffer's Marks and Monograms has been 
 freely put under contribution to produce a very 
 inferior book of marks, to which it was supposed 
 that the addition of 300 names of Roman potters 
 
 would give an appearance of original research. 
 Some of the marks are printed in black, others in 
 red ; Wedgwood marks are all printed in red. 
 This is what is called giving the marks in their 
 " natural " colour. 
 
 Ceramique. Histoire gene- 
 rale de la faience ancienne, fran- 
 9aise et etrangere, considered 
 dans son histoire, sa nature, ses 
 formes et sa decoration. 200 
 planches en couleur retouchees 
 a la main. 1,400 marques et 
 monogrammes. Amiens, chez 
 Fauteur, 1874-76. 4, pp. 240. 
 300 fcs. 
 
 " Ceramics. General history of ancient 
 faience of French and foreign origin, con- 
 sidered in its history, its nature, its shapes, 
 and decorations." 
 
 Examples of French faience predominate, 
 foreign manufactories being very inadequately 
 represented. We are told that all the drawings 
 were made from pieces which had actually passed 
 in the way of trade through Mr. Ris-Paquot's own 
 hands. Under such circumstances, we under- 
 stand that no great discrimination could possibly 
 be exerted in the selection of typical examples ; 
 the would-be historian was limited in his stock 
 of materials to what had casually come to him. 
 This is certainly not the method usually adopted 
 for the preparation of a general history of ancient 
 faience ; yet we might have had the chance of 
 obtaining by these means the reproduction of 
 some out-of the- way and unpublished specimens. 
 But as the flat treatment and the spiritless ex- 
 ecution of the lithographic plates would have 
 taken away much of the artistic value of the 
 originals, the sense of what we may have lost 
 is greatly diminished. 
 
 Manuel du collectionneur de 
 faiences anciennes, ouvrage ini- 
 tiant les amateurs et les gens du 
 monde a la connaissance rapide 
 des faiences anciennes, fran- 
 gaises et etrangeres. Amiens, 
 chez 1'auteur, 1877-78. 8, pp. 
 343 ; with 27 col. pis. 30 fcs. 
 
 " Manual for the collector of old faience ; 
 a work giving amateurs and men of the 
 world a ready knowledge of the ancient 
 faience of France and other countries." 
 
 The letterpress is a reprint of the text accom- 
 panying the plates of the preceding work. It 
 reproduces all the omissions, errors, and mis- 
 spellings of the original. English pottery is 
 disposed of in less than three pages which would 
 undoubtedly amuse the reader. From them 
 we extract what follows : Article Bradwall, 
 
 361 
 
RIS] 
 
 CERAMIC LITER A TURK. 
 
 [RIS 
 
 "J. P. Clers, from Saxony, was the director 
 of an establishment of pipe-clay and stone- 
 ware pottery. His products are always marked 
 with his name. Another factory was founded by 
 the brothers Clers of Nuremberg." Article Burs- 
 lem, " Wedgwood must be mentioned, although 
 his ware is a sort of soft china. Some of his 
 diminutive masterpieces have received the name of 
 Queen's vases." Article Liverpool, " One manu- 
 factory under the direction of Shaw ; it passed 
 in 1756 into the hands of some Dutchmen, who 
 signed their productions Dale Street." 
 
 For a judicious appreciation of the whole vol- 
 ume we shall let Champfleury speak : " Collec- 
 tors and men of the world for whom the book is 
 intended," says he, " will do well to distrust 
 the spelling of the names, the accuracy of the 
 marks, and the veracity of many of the state- 
 ments." 
 
 RIS-PAQUOT (0. E.). Origine et privi- 
 leges de la manufacture royale de 
 porcelaine de Vincennes et de 
 Sevres, reedites d'apres les arrets 
 du Conseil d'Etat du 19 Aout, 
 1753, et du 16 Mai, 1784. Suivis 
 de 345 marques et monogrammes 
 avec leurs couleurs. Preface, 
 introduction et notes. Amiens, 
 chez Fauteur, 1878. 12, pp. 75. 
 6 fcs. 
 
 " Origin and privileges of the royal 
 porcelain factory of Vincennes and Sevres ; 
 reprinted from the decrees of the State 
 Council, 1753-84. With marks, preface, 
 introduction, and annotations." 
 
 Documents inedits sur les 
 
 faiences charentaise d' Angou- 
 leme, L'Houmeau, Garde-Epee, 
 Saint Eutrope, De Montmoreau, 
 et Cognac. Suivis de quelques 
 notes sur les faienceries de la 
 Charente - Inferieure. Amiens, 
 chez Fauteur, 1878. 12, pp. 92 ; 
 with 8 col. pis. 9 fcs. 
 
 " Inedited documents concerning the 
 faience of Charente, Angouleme, etc., with 
 a few remarks on the faience works of 
 Charente Inferieure." 
 
 Dr. Werner, an Angouleme collector, supplied 
 the materials for this monograph of the small 
 pot- works of the region. A notice of Palissy, 
 due entirely to R. Paquot, has been added. 
 The original memoirs of the great potter were 
 not at hand to be consulted when the notice 
 was written for we see the " Recepte verit- 
 able " repeatedly referred to as the " Recep- 
 tacle veritable." 
 
 362 
 
 - Le peintre ceramiste amateur, 
 ou Part d'imiter les faiences 
 anciennes de Rouen, Sincenis, 
 Nevers, etc. ; a 1'usage des gens 
 du monde. Abbeville, 1883. Pp. 
 195 ; with 36 col. pis. 12 fcs. 
 
 "The ceramist painter; being the art 
 of imitating the old faience for the use of 
 amateurs. . . ." 
 
 " Drawing is, to use a poetical expression, the 
 soul of painting ; painting without drawing is 
 nothing." Such are the lofty principles the 
 faience painter should always bear in mind, 
 according to the aesthetic theory of the writer. 
 As Mr. Ris-Paquot is not an experienced china 
 painter, the work contains little that is of prac- 
 tical value. The plates lithographed for the 
 Manuel du collectionner have been reprinted for 
 the present work. 
 
 Traite pratique de peinture 
 sur faience et porcelaine a Pusage 
 des debutants. Paris, Laurent, 
 1886. 8, pp. 48 ; with 4 pis. 
 and text illustrs. 2 fcs. 
 
 " Practical treatise of faience and por- 
 celain painting for the use of beginners." 
 An abridgment of the preceding volume ; the 
 . plates have nothing to do with the text. 
 
 La ceramique musicale et 
 instrumentale. Paris, Levy, 
 1889. 4, pp. 208 ; with 47 col. 
 pis. and illustrs. 30 fcs. 
 
 " Musical and instrumental ceramics." 
 A few rare examples of old faience, on which 
 are painted some doggerel rhymes and a few bars 
 of familiar music, suggested to Mr. G. Gouellain 
 the idea of describing such pieces in a pamphlet 
 to which he affixed the title, La ceramique 
 musicale. Mr. Ris-Paquot has appropriated its 
 title and contents, and by borrowing irrelevant 
 materials from well-known sources has expanded 
 a paper into a thick 4 volume. A series of 
 rudely painted dessert plates, inscribed with a 
 few verses of a ribald and inept song, and their 
 verbose description, is all that has anything to 
 do with pottery. Over two hundred pages of the 
 letterpress are filled with a history of popular 
 songs extracted, without acknowledgment, from 
 the standard works on the subject. 
 
 Shocking lithographic reproductions of a 
 faience fiddle and of a few whistles and trumpets 
 of terra-cotta warrant the addition of the word 
 " instrumental " in the title, introduced as the 
 author's original contribution. 
 
 - Faiences, Porcelaines et Bis- 
 cuits. Fabrication, Caracteres 
 Decors. Paris, Laurent ( 1 892 ? ) . 
 8, pp. 243 ; with 147 illustrs. 
 3 fcs. 50 cents. 
 
KIT] 
 
 CERAMIC LITERATURE. 
 
 [ROB 
 
 A selection of the writer's previous inaccur- 
 acies are reprinted in this volume with the same 
 disregard for French grammar. 
 
 It is one of the singularities of the book market 
 that the issue of such inferior replicas of much 
 better works can be turned into paying specula- 
 tions, and induce the publishers to persevere in 
 this deplorable direction. They are expensive, 
 yet they sell ; they are unreliable, not to say 
 useless ; yet they find their way into the public 
 libraries. Meantime, many a truly valuable 
 book, full of conscientious research, and adorned 
 with illustrations of artistic merit, long remain 
 on the shelves of the publisher until the whole 
 edition has to be disposed of for a mere trifle. 
 
 Vaso del Pelope. 
 8. (Reprint from 
 
 RITSCHEL (F.). - 
 Roma, 1841. 
 the Annali.) 
 
 RIYERO (H. E.) und TSCHUDI (J. von).- 
 Antiquidades peruanas. Lima, 
 1851. 4; with an atlas of 58 
 pis., mostly coloured. An Eng- 
 lish translation, with wood- 
 cuts, but without the atlas of 
 plates, was published by F. L. 
 Hawks. London, 1857. 8. 
 
 Contains a few particulars on the Peruvian 
 pottery ; numerous examples are reproduced on 
 the plates. 
 
 RIX (W. P.). On the adaptation of 
 stoneware to chemical appar- 
 atus. London, 1891. 12, pp. 
 27. (Reprint fronTthe Journal 
 of the Society of Chemical In- 
 dustry.} 
 
 Mr. Rix has been for many years technical 
 director of Doulton's Works at Lambeth. 
 
 - Chicago Exhibition. Official 
 catalogue of the British section. 
 Pottery. London, 1893. 8, 
 pp. 209. 
 
 ROBERT (C.). Homerische Becher. 
 50 Programm zur Winckelmanns- 
 feste. Berlin, 1890. 4, pp. 96; 
 with 22 text illustrs. 10 m. 
 " Homeric drinking cups." 
 
 Suetonius relates that it was when sitting at 
 the banquet table that Nero received the news 
 of the defection of the German army. In his 
 wrath he dashed on the floor and broke to pieces 
 the two favourite earthen vessels he used to call 
 his " Homeric cups." A few examples of small 
 bowls, made of red clay coated over with black 
 varnish and embossed with figures representing 
 
 scenes from the Illiad and the Odyssey, have 
 been discovered in Greece. It is these bowls, 
 and some other vessels showing a similar style of 
 ornamentation, that are dealt with in this essay. 
 The subjects they bear may give them a claim to 
 be recognised as " Homeric cups." In all 
 probability the earthen vessels that Nero pre- 
 ferred to those made of gold and silver were of 
 this description. 
 
 - Scenen der Ilias und Aithi- 
 opis auf einer Vase der Samm- 
 lung des Grafen Michael Tys- 
 kiewicz. (Winckelmami's Pro- 
 gramme for the opening of the 
 Wittenberg University.) Halle, 
 Niemeyer, 1891. Fol., pp. 12 ; 
 with 2 col. pis. and 17 illustrs. 
 10m. 
 
 " Scenes from the tale of Ilias and 
 Aethiopis upon a vase in the collection 
 of Count M. Tyskiewicz." 
 
 Sopra i vasi di Polignoto. 
 Milano, Hoepli, 1899. 4, pp. 
 30 ; with 4 illustrs. and 3 fold, 
 pis. (Reprint from Monumenti 
 Antichi.) 
 
 " On the vases painted by Polignotes." 
 
 ROBERT (E.). Sur les figures des 
 poteries rougeatres antiques. 
 Paris, 1865. 8. 
 
 " On the figures represented upon the 
 reddish antique pottery." 
 
 ROBERT (K.). Le fusain sur faience; 
 petit guide de peintures vitri- 
 fiables en grisaille, pour servir 
 d' etude preparatoire aux pein- 
 tures vitrifiables en general. 
 Paris, Meusnier, 1879. 8, pp. 
 40. 2fcs. 
 
 " Charcoal painting on faience ; a small 
 handbook to black and white painting in 
 vitrifiable colours, as a preliminary prac- 
 tice to the use of vitrifiable colours in 
 general." 
 
 A rather deceptive title which seems to pro- 
 mise practical directions for obtaining on faience 
 a ceramic application of the method of drawing 
 in charcoal, much in fashion at that moment. 
 Some advice about painting a landscape or other 
 subject with Iridium black, in the usual manner, 
 is all that is to be found in this paper. 
 
 363 
 
ROB] 
 
 CERAMIC LITERATURE. 
 
 [ROB 
 
 ROBERT (K.). La ceramique. Traite 
 prati que des peintures vitrifiables. 
 Porcelaine, Faience, Barbotine, 
 L'email, Les vitraux. Paris, 
 Laurent, 1892. 8, pp. 176 ; 
 with text illustrs. 6 fcs. 
 
 " Ceramic art. A practical treatise on 
 painting in vitrifiable colours. Porcelain, 
 Faience, Impasto, Enamel, Stained glass 
 windows." 
 
 Karl Robert is the " nom de plume " under 
 which Mr. G. Meusnier, expert and valuer, has 
 published a series of art handbooks. The work 
 of an amateur, they are intended for the guidance 
 of amateurs. A professional china painter can 
 not expect to find there anything more than the 
 elements of the art ; but this small treatise may 
 be recommended as a safe guide for the beginner. 
 It is illustrated with examples of modern manu- 
 facture. 
 
 Les imitations ceramiques. 
 Paris, Laurent, 1896. 12, pp. 
 90. 2 fcs. 
 
 " The imitation of ceramic objects." 
 
 Instructions for decorating plaster, mastic, 
 and biscuit with varnish colours to imitate 
 painted faience. 
 
 ROBERT (L). --Des manufactures 
 nationales. Paris, impr. Nat., 
 1871. 4, pp. 5. 
 
 " The national manufactories." 
 
 After the Franco-German War, the question 
 of suppressing the state-supported manufac- 
 tories had been raised in the French Chambers. 
 Mr. Louis Robert, who was then acting as di- 
 rector of the Sevres porcelain works, addressed 
 this memoir to the deputies, to vindicate the 
 necessity of maintaining the grant indispensable 
 to the existence of the national establishment. 
 
 ROBERTSON (H. R.). The art of paint- 
 ing on china ; with a chapter on 
 terra-cotta painting in oil and 
 water colours. London, Win- 
 sor & Newton, s.d. 12, pp. 55 ; 
 vigns. Is. 
 
 With a price list of W. & N.'s colours and 
 artists' materials. 
 
 ROBILLARD DE BEAUREPAIRE (E.). La 
 faience de Rouen et de Nevers a 
 FExposition universelle. Caen, 
 L. Hardel, 1867. 8, pp. 38. 
 
 " The faiences of Kouen and Nevers at 
 the International Exhibition." 
 364 
 
 ROBIN (C.)- --Histoire illustree de 
 1' Exposition universelle par cate- 
 gories d' industries, avec notices 
 sur les exposants. Paris, 1855. 
 8. Ceramique, pp. 201-266 ; 
 with 3 illustrs. 
 
 ROBINET (Anon. ). Recueil de planches 
 sur les sciences, les arts liberaux 
 et les arts mecaniques, avec leur 
 explications. Paris, Briasson, 
 1765. Sm. fol. 10 fcs. 
 
 " A collection of plates] illustrating the 
 various branches of science, fine arts, and 
 technical trades, with their explanation." 
 
 Published as a supplement to Diderot's 
 Cyclopedia. The ceramic portion contains, 
 Faience, pp. 5 ; with 12 pis. Potier de terre, pp. 
 3 ; with 18 pis. The explanatory notices give 
 the terms employed at the time in the pottery 
 trade, nearly all of which have become obsolete. 
 Ovens of the old system, tools of old-fashioned 
 shape, are reproduced on the plates. 
 
 ROBINSON (.) -Museum of Fine Arts, 
 Boston. Catalogue of Greek, 
 Etruscan, and Roman vases, by 
 Edward Robinson, curator of 
 classical antiquities. Boston, 
 1893. 8, pp. 249 ; with 1 fold, 
 pi. (col.), and 17 text illustrs. 
 Each No. is accompanied in the 
 catalogue with a small sketch 
 of the shape. 
 
 Of great value, not only to the visitor to the 
 museum, but also to all students of classical 
 ceramics, this catalogue could not be too highly 
 commended. It is prefaced with an abridged 
 history of Greek vases, clear and interesting, 
 containing all that could possibly be compressed 
 in its concise form. The collection is particu- 
 larly rich in the products of the excavations that 
 have taken place during the last few years in the 
 Greek necropolis, and illustrate such periods of 
 ancient history as are now under study. All the 
 latest archaeological publications have been con- 
 sulted to secure a correct and instructive descrip- 
 tion of the specimens ; their classification seems 
 excellent. 
 
 ROBINSON (J. C.). Catalogue of a 
 collection of works of decorative 
 art ; being a selection from the 
 Museum at Marlborough House, 
 circulated for exhibition in pro- 
 vincial schools of art. London, 
 1855. Pp. 87. 
 
ROB] 
 
 CERAMIC LITERATURE. 
 
 [ROD 
 
 Lives of Benvenuto Cellini 
 and Bernard Palissy. London, 
 1855. (In Hughes' Reading 
 Lessons.} 
 
 A descriptive catalogue of a 
 collection of Oriental and old 
 Sevres porcelain, the property 
 of H.M. the Queen, deposited 
 for exhibition in the Museum of 
 the Department of Science and 
 Art. London, 1858. 8. 
 
 South Kensington Museum. 
 Italian sculptures of the Middle- 
 Ages and period of the revival 
 of art.1 A descriptive catalogue 
 of the works forming the above 
 section of the museum, with ad- 
 ditional illustrative notices. 
 London, Chapman & Hall, 1862. 
 8, pp. 192; with 20 illustrs. 
 5s. 
 
 Contains a description of the Italian terra- 
 cottas, and enamelled figures and bas-reliefs, ex- 
 hibited in the galleries, with biographical notices 
 of the Delia Robbia and other artists. 
 
 The name of Sir Charles Robinson will be for 
 ever associated with the formation and develop- 
 ment of the South Kensington Museum, an in- 
 stitution of which artistic England has a legiti- 
 mate right to be proud. Of all the distinguished 
 connoisseurs who united their efforts in carrying 
 out their patriotic design of endowing the country 
 with a museum which was to prove of unbounded 
 value as a means of spreading the knowledge and 
 love of applied art into the masses, no one has 
 striven more steadfastly than J. C. Robinson in 
 bringing the mighty scheme into complete realis- 
 ation. His enthusiastic energy acted as a power- 
 ful incentive upon the activity of all those 
 engaged in the work. If their combined efforts 
 never deviated from the right direction, it was, 
 to a great extent, owing to his enlightened guid- 
 ance ; if so much discrimination was evinced in 
 the formation of the collections, it was partly 
 due to the active part he took in the selection 
 and purchase of the specimens. His contribu- 
 tion to ceramic literature consists chiefly in the 
 descriptive catalogues of the best collections of 
 his time. They form works of reference which 
 will always be profitably consulted. 
 
 Catalogue of the special ex- 
 hibition of works of art of the 
 Mediaeval, Renaissance, and 
 more recent periods, on loan at 
 the South Kensington Museum. 
 London, 1862-63. 8, pp. 766. 
 
 8s. An album of 50 photographs 
 was published at the same time 
 under the title Art Wealth of 
 England. 
 
 The ceramic sections were catalogued by 
 Chaffers and revised by J. C. Robinson. The 
 exhibits contributed by close on five hundred 
 collectors were classified as follows : I. Sculp- 
 tures and terra-cottas. YJI. Henri II. period. 
 VIII. Palissy ware. IX. Sevres porcelain. XIV. 
 Persian ware. XV. Porcelain and pottery of 
 various manufacture. XVI. English pottery 
 and porcelain. XXI. Majolica. 
 
 - Catalogue of the special ex- 
 hibition of Spanish and Portu- 
 guese ornamental art, South 
 Kensington Museum ; with an 
 introduction by J. Riano. Lon- 
 don, 1881. 8, pp. 221. 
 
 Ceramics, Nos. 1,135-1,283. 
 
 See also Waring (J. B.). Pottery and 
 porcelain ; with an essay by J. 
 C. Robinson. 
 
 - Soulage. Catalogue of the col- 
 lection. 
 
 Uzielli. Catalogue of the col- 
 
 lection. 
 
 lection. 
 
 lac. Catalogue of the col- 
 
 ier. Catalogue of the col- 
 
 lection. 
 
 ROBY (J.). A reply to Mr. Dillwyn's 
 pamphlet. Swansea, 1821. 8, 
 pp. 39 ; with appendix. 
 
 A paper published on the occasion of the 
 winding up of the Swansea Manufactory Co. 
 
 ROCHEBRUNE (0. de). L'artceramique 
 au xix e siecle. Charles Avisseau 
 de Tours. Paris, 1857. 8, pp. 
 16 ; with 1 lith. pi. 
 
 " Biographical notes upon Avisseau, 
 potter of Tours." 
 
 RODDAZ (C. de). L'art ancien a 1'Ex- 
 position nationale beige. Brux- 
 elles, 1882. 4, pp. 396 ; with 
 7 chromolith. and 6 etched pis. ; 
 numerous illustrs. in the text. 
 20 fcs. 
 
 365 
 
ROP] 
 
 CERAMIC LITERATURE. 
 
 [RON 
 
 " Ancient art at the Belgian National 
 Exhibition." 
 
 Ceramic art : Ores cerames, by G. Vermersh. 
 Delft et Tournay, by L. Dommartin. Faiences 
 de Bruxelles et d'autres villes, by A. Wauters. 
 Each chapter contains much unpublished infor- 
 mation, and is illustrated with excellent sketches 
 reproducing specimens in the possession of 
 Belgian collectors. 
 
 ROPER (A.) and BOSCH (H.). Sammlung 
 von Oefen in alien Stilarten, von 
 xvi bis Anfang des xix Jahr- 
 hunderts, ausgewalt und heraus- 
 gegeben von A. Roper, unter 
 Mitwirkung, und mit einem Vor- 
 wort von H. Bosch, II Direktor 
 des Germanischen Museums zu 
 Nurnberg. Munchen, Albert, 
 1895. FoL, pp. 8 ; with 60 
 phototyp. pis. 40 m. 
 
 " A collection of faience stoves of all 
 styles, from the sixteenth up to the nine- 
 teenth century ; selected and published by 
 A. R., with a preface by H. B., Assistant 
 Director of the Germanic Museum at 
 Nuremberg." 
 
 ROSIER (M.). 
 fragen. 
 
 - Keramische Tages- 
 Coburg, Miiller & 
 
 Schmidt, 1888. 8, pp. 38. 
 " Current ceramic questions." 
 
 Statistics of the ceramic manufacture in Ger- 
 many, with suggestions towards its improvement 
 and development. 
 
 ROHDEN (H. VOD). Die Terracotten 
 von Pompeji. Bearbeitet von 
 H. v. R. nach Zeichnungen von 
 Ludwig Otto. . Stuttgart, Spe- 
 mann, 1880. FoL, pp. xiv-79 ; 
 with 50 lithogr. pis. and 34 text 
 illustrs. 40 m. 
 
 " The terra-cottas from Pompeii. De- 
 scribed by H. v. R., after the sketches 
 drawn by L. Otto." 
 
 The Pompeian terra-cottas consist chiefly of 
 fragments of architectural decoration and a few 
 figures of the late period. In all cases the exact 
 place where the object has been discovered is 
 carefully recorded. A transcript of the official 
 reports of the excavations, beginning with the 
 year 1755, in which all the discoveries have been 
 entered and described, is given at the end of the 
 volume. 
 
 366 
 
 Vasenkunde. Berlin, 1888. 
 4, pp. 78; with 114 illustrs. 
 (Reprint from Baumeister's 
 Denkmiiler des klassischen Alter - 
 thums.) 
 
 " The knowledge of vases." 
 
 ROHLAND (P.). Die Tone. Wien, 
 Hartlebea,1909. 8, pp. 127. 3m. 
 
 -Clay." 
 
 ROLOFF (C. H.). Ueber die Murrini- 
 schen Gefasse der Alten. Berlin, 
 1810. 8, pp. 65. 
 
 " Upon the Murrhine vases of the 
 ancients." 
 
 The theory developed by the earliest writers, 
 Cardanus, Julius Caesar Scaliger, Salmasius, and 
 others that these vessels were made of porcelain, 
 and had been imported from China into Italy, 
 was taken up again by Roloff, who supported it 
 by a close examination of the Latin texts, in 
 which mention is made of the Murrhine vases. 
 
 ROLLE (F.). Documents relatifs aux 
 anciennes faiienceriesLyonnaises. 
 Lyon, Vingtrinier, 1865. 8, pp. 
 32. 5 fcs. 
 
 " Documents relating to the ancient 
 faience manufactories of Lyons." 
 
 The author, archivist of the town of Lyons, 
 has given in this paper the text of several his- 
 torical documents hitherto unpublished. They 
 are of particular interest and of great assistance 
 for the study of the Lyons faience. 
 
 ROMAN (J.) La poterie et la faien- 
 cerie dans les Alpes. Gap, 1897. 
 8, pp. 10 ; with illustrs. (In 
 the Bulletin de la Societe d 1 etudes 
 des H antes Alpes.) 
 
 " Pottery and faience in the Alps." 
 
 ROMANOFF (S.)- Die Behandlung der 
 Schmelzfarben. Eine Anleitung 
 zum Malen auf Porzellan und 
 Faience. Berlin, 1887. 8. 
 
 " The treatment of fusible colours. An 
 introduction to porcelain and faience 
 painting." 
 
 RONDOT (Natalis). La ceramique 
 lyonnaise, du quatorzieme au 
 dix-huitieme siecle. Paris, Plon, 
 1889. 8, pp. 92 ; with 2 photo- 
 typ. pis. 10 fcs. 
 
RON] 
 
 CERAMIC LITERATURE. 
 
 [ROS 
 
 " The ceramic art at Lyons from the 
 fourteenth to the eighteenth century." 
 
 With unflagging earnestness Mr. N. Rondot 
 has, almost for a lifetime, dived into the depths 
 of an ocean of civic records and made the archives 
 of his native town give back the long-buried 
 annals of the arts and crafts which have contri- 
 buted to make Lyons the second city in the 
 kingdom of France. After the painters, sculp- 
 tors, printers, weavers, and goldsmiths which 
 first occupied his attention the potters have 
 had their turn. He has recorded in this pre- 
 liminary sketch, which was soon to be followed 
 by a complete monograph, the whole roll of the 
 members of the art at various periods. 
 
 The potters' craft was represented at Lyons as 
 follows : In the fourteenth century, by eight 
 brick and tile makers ; in the fifteenth century, 
 by forty-nine " Tupiniers" or makers of earthen 
 pots ; in the sixteenth, by twenty-seven master 
 potters, seven out of that number being masters 
 of Italian origin who had settled in the town for 
 the purpose of making white and decorated 
 faience after the fashion of Italy ; in the seven- 
 teenth, by eighteen earthenware and faience 
 potters ; and, lastly, in the eighteenth, by sixty- 
 eight " fai'enciers," several of whom, however, 
 were only merchants and dealers having shops in 
 the town. 
 
 Of the precise kind of ware manufactured at 
 the earliest periods, not a very accurate idea can 
 be formed, as identified examples have not yet 
 been discovered . Such discoveries could scarcely 
 have been expected to take place at the same 
 moment when historical proofs of the exist- 
 ence of an unsuspected industry had just 
 been revealed. Consequently, the author does 
 not attempt to recognise any special speci- 
 men as the work of the early masters whose 
 names appear in the town registers. Such of 
 the productions of the Lyons potters as may have 
 escaped destruction are now dispersed in distant 
 collections, where they are probably described as 
 belonging to other centres. The excavator must 
 now supplement the labour initiated by the 
 archivist. Up to the present day very few finds 
 of local pottery have supplied undoubted evi- 
 dence as to the ware which was made at a definite 
 place and date. 
 
 Les potiers de terre italiens 
 a Lyon au seizieme siecle. Paris, 
 Librairie de 1'Art, 1892. 8, pp. 
 160 ; with 12 photogr. pis. and 
 text illustrs. 15 fcs. 
 
 " The Italian potters established at 
 Lyons during the sixteenth century." 
 
 Commercial intercourse had created between 
 the town of Lyons and the Italian country a 
 very close relation. The presence of the Italian 
 potters, a list of whom was given in the previous 
 volume, is easily accounted for in a free city 
 where the Medicis and the Sforzas had estab- 
 lished a Bank, and where all those who intro- 
 duced the practice of an improved art or a new 
 industry were sure to find a liberal hospitality. 
 As early as 1512 no fewer than five Florentine 
 master potters were at work at Lyons, and from 
 
 that moment the civil registers testify to a 
 gradual reduction in the number of the French 
 masters. 
 
 In 1554 the Genoese Griffo, and subsequently 
 in 1574, Julien Gambin and Dominic Tardessir, 
 both of Faenza, solicited a privilege for the sole 
 right of manufacturing faience after the manner 
 used in their own country. We do not know 
 upon what grounds they could rest their appli- 
 cation, considering that documental evidences 
 are not wanting to show that several other 
 Italian potters had been plying their trade in the 
 town long before that time. On the evidence of 
 the tenor of sundry documents we may assume 
 that pottery had been made in the town by for- 
 eigners about a century before Tardessir at- 
 tempted to secure a monopoly of manufacture. 
 The beautiful majolica pavement of the church 
 of Brou has been attributed by many historians to 
 the Lyons potters of the previous period. But no 
 authenticated example has ever been discovered 
 that would tell us what kind of pottery was made 
 at the beginning of the sixteenth century. It is 
 known, however, that the Lyons ware was then in 
 great demand in the centre and south of France, 
 but it may have been plain white faience, and any 
 undecorated and unmarked specimen of it, if it is 
 still in existence, could not possibly be recognised. 
 Some painted dishes, the earliest of which bears 
 the date 1646, are considered by Mr. Rondot as 
 the work of the Italian majolists established at 
 Lyons. Fourteen of them are in the Louvre 
 Museum, and a few others made part of the 
 Dusartel collection. In the absence of any mark, 
 the attribution rests on the fact that they are 
 painted with subjects copied from the illustrated 
 books issued by the Lyons printers, and that 
 they carry inscriptions in the French language. 
 In point of technics, as well as of design, these 
 dishes are very inferior to the Italian majolica 
 they strive to imitate. 
 
 The chief interest attached to the production 
 of painted faience in the town of Lyons at a 
 much earlier period than in any other centre of 
 French manufacture lies in the support that 
 such a fact would give to the author's assertion 
 that the factories started elsewhere at a later date 
 found in Lyons a supply of able craftsmen ready 
 to place their experience at the service of a new 
 master. The name of Gambin, one of the Lyons 
 potters, appears on the list of the first operatives 
 engaged in the establishment of the Nevers 
 faience works ; further research might multiply 
 the number of similar instances. 
 
 One chapter of Mr. Rondot's work is devoted 
 to the faience of Nimes, and especially to one A. 
 Sigalon, who manufactured majolica there, 
 painted in the Italian style, about 1554. 
 
 - Les fa'ienciers italiens a Lyon 
 au xvi e siecle. Lyon, 1895. 8. 
 
 " Italian faience makers at Lyons in 
 the sixteenth century." 
 
 (C.)- Notizie storiche delle 
 majoliche di Castelli, e dei pittori 
 che le illustrarono ; raccolte e 
 publicate dal Dott. Concezio 
 
 367 
 
ROS] 
 
 CERAMIC LITERATURE. 
 
 [ROS 
 
 Rosa. Napoli, 1857. 8, pp. 
 113. 5fcs. 
 
 " Historical notices of the majolica of 
 Castelli, and of the artists who decorated 
 it." 
 
 Pot-making was carried on at Castelli ever 
 since the time of the Roman Republic, as proved 
 by the large quantity of ancient pottery found 
 in the soil of the city. In the year 1551 majolica 
 was manufactured in the town. This date ap- 
 pears upon an earthen tablet, painted in colours, 
 embedded in the wall of an old house known to 
 have belonged to a potter named Orazio Pompeo. 
 The industry is said to have been flourishing at 
 that time, and its prosperity continued to in- 
 crease. But the production was confined to 
 plain articles of daily use, intended for the local 
 markets. It was only in the first part of the 
 eighteenth century that the making of elabor- 
 ately painted pieces was added to the ordinary 
 manufacture. It was not long, if we may trust 
 some contemporary records, before the Castelli 
 majolica secured a large share of the connoisseur's 
 patronage, not only all over Italy, but also in 
 foreign countries. A local family of artists, the 
 Grues, originated a particular style, soon adopted 
 by other clever painters. Their paintings, well 
 suited to gratify the taste of the day, would have 
 been better applied to the decoration of porcelain 
 than to that of faience ; but the novelty of a 
 scale of very pale tints, the gilding sparingly in- 
 troduced, and above all the high finish of the 
 execution were highly appreciated. One may 
 estimate the success they must have obtained by 
 the large number of specimens of the kind still 
 preserved in collections. 
 
 A terrible landslip destroyed a large portion 
 of the town in 1838 ; the remaining factories 
 were included in the disaster. Some efforts have 
 recently been made to revive an industry which 
 had so much contributed to the prosperity of 
 Castelli. Tabular statements of the condition of 
 pottery manufacture in the district in 1856 are 
 given in the Appendix. 
 
 ROSCHACH (E.). Musee de Toulouse. 
 Catalogue des antiquites et 
 objects d'art. Toulouse, 1865. 
 8. 
 
 Greek terra-cottas, pp. 108-118; painted 
 vases, pp. 119 - 166 ; Roman pottery, pp. 
 166-170. 
 
 ROSE (A. Y.). Antonin Boullemier. 
 New York, 1900. 12, pp. 25 ; 
 with 5 pis. (privately printed). 
 
 Notes on the work of A. Boullemier, china 
 painter. He worked at Minton's for many years. 
 His style of painting has scarcely been equalled 
 by any ceramic artist. 
 
 - Notes on pottery of the nine- 
 teenth century. New York, 1st 
 ed., 1901. 2nd ed., 1904. 8, 
 
 368 
 
 pp. 47 ; numerous marks. 
 (Privately printed.) 
 
 " What to buy and what to avoid " is the 
 sentence inscribed on the title-page. 
 
 The Barberini vase. New 
 York, 1904, 12, pp. 53 ; with 
 5 pis. (Privately printed.) 
 
 These handsome booklets were issued by 
 Tiffany & Co. for private distribution. 
 
 ROSENBERG (M.). Alte kunstgewerb- 
 liche Arbeiten auf der badischen 
 Kunst- und Kunstgewerb-Aus- 
 stellung zu Karlsruhe, 1881. 
 Frankfurt a. M., 1882. Fol. ; 
 with 50 phototyp. pis. 36 m. 
 
 ROSINA (G.)- Memoria sulle stoviglie 
 fabricate con terre del'Regno 
 Lombardo - Veneto. Milano, 
 Regia stamperia, 1822. 8, pp. 
 63. 
 
 " Essay upon the pottery manufactured 
 with the clays found in the Lombardo- 
 Venetian States." 
 
 A technical treatise for the use of the manu- 
 facturers of common pottery in North Italy, with 
 a list and the chemical analysis of the best clays 
 to be obtained in the region, particularly for the 
 making of earthen and stoneware. 
 
 ROSNY (L. de). Introduction a une 
 histoire de la ceramique chez les 
 Indiens du Nouveau Monde. 
 Paris, 1875. 8, pp. 38. (In the 
 Archives de la Soc. Americaine 
 de France.) 
 
 " Introduction to the history of Indian 
 ceramic art in America." 
 
 A collection of Peruvian pottery formed by 
 Mr. Pingret has been taken as a basis, by a 
 learned philologist, for a short disquisition on 
 the theory that the art monuments of the eastern 
 and western hemispheres demonstrate the 
 regular intercourse that must have existed be- 
 tween the populations of the ancient and the 
 new world at the dawn of civilisation. The 
 presence of the Greek meander and the key 
 border upon the primitive pottery of America 
 suggested to him the probability of a close con- 
 nection between the two races. Not only is the 
 assumption unsupported by the evidence, but 
 the Pingret collection was subsequently con- 
 demned by Americanists as being chiefly com- 
 posed of spurious specimens, 
 
ROS] 
 
 CERAMIC LITERATURE. 
 
 [ROU 
 
 ROSS (L). Ueber die Zeit der 
 griechischen Vasenmalerei, 1852. 
 8, pp. 17. 
 
 " On the periods of Greek vase paint- 
 ings." 
 
 ROSSBACH (A.)- Das archeologische 
 Museum an der Universitat zu 
 Breslau. Breslau, 1877. 2nd 
 ed. 
 
 " The archaeological museum in the 
 Breslau University." 
 
 - Griechische Antiken des 
 archeologischen Museums zu 
 Breslau. Breslau, 1899. 
 
 " Greek antiquities in the archseologic 
 museum of Breslau." 
 
 ROSSI (G. G. de). Vasi greci denomi- 
 nati etruschi scelti nella copiosa 
 raccolta di S. E. il Signer duca 
 di Blacas d'Aulpo, descritti e 
 brevemente illustrati. Roma., 
 1823. 8, pp. 160. 
 
 " Greek vases, commonly called Etrus- 
 can, selected from the important collection 
 of H.G. the Duke of Blacas d'Aulpo, 
 described and briefly explained." 
 
 Thirty-seven copper plates, engraved to illus- 
 trate the work, are preserved in the British 
 Museum ; they do not appear, however, to have 
 been published, as no copy of the atlas is known 
 to be in existence. 
 
 ROSSI (S.)- IHustrazione di un'an- 
 fora pugliese nel Museo di Fir- 
 enze. Potenza, 1898. 
 
 " Description of an amphora found 
 in Puglia, preserved in the Florence 
 Museum." 
 
 ROSSIGNOL (Elie A.). Des antiquites 
 et principalement de la poterie 
 romaine trouvees a Montans, 
 pres Gaillac (Tarn). Caen, 
 A. Hardel, 1861. 8, pp. 39; 
 vigns. 
 
 " On the antiquities and, chiefly, the 
 Roman pottery discovered at Montans." 
 
 Montana has been an important centre of 
 pottery manufacture. Ovens full of ware, 
 moulds, and fragments have been frequently 
 discovered in the locality. 
 
 24 
 
 ROSSIGNOL (Ferd.). Les protestants 
 illustres. Bernard Palissy. 
 Paris, Librairie nouvelle, 1861. 
 Sq. 8, pp. 16. 
 
 Like Jean Goujon, the sculptor, and Androuet 
 Ducerceau, the architect, Palissy was, it is said, 
 a staunch Huguenot. From the fact of so many 
 great artists having espoused in France the 
 doctrines of the Reformation, the writer comes to 
 the conclusion that those doctrines are not as 
 has been asserted by some narrow-minded spirits 
 inimical to the development of the fine arts. 
 
 ROTELLI (L.). Belle invetriate 
 dipinte da G. Botti nel Duomo 
 di Perugia. Pisa, 1862. 12, 
 (Reprint from the Eevista uni- 
 versale.) 
 
 " The vitrified paintings in the Duomo 
 of Perugia, by G. Botti." 
 
 ROTHSCHILD (Collection Alfred de). A de- 
 scription of the works of art 
 forming the collection of A. de 
 R. London, 1884. 2 vols. Sm. 
 fol. Privately printed. 
 
 Vol. II. Sevres china. Furniture, etc. With 
 notices by Charles Davis, and 375 photos, by J. 
 Thompson. Sevres porcelain, 40 pis.; Henri II. 
 ware, 5 pis.; Chelsea, 1 pi.; Palissy, Dresden, 
 Majolica, Oriental, etc. 
 
 ROTTLINGER (K.)- Handbuch der 
 Porzellan-Malerei. Oder grund- 
 licher Unterricht in Portraitiren 
 und Landschaftmalen auf Por- 
 zellan. Quedlinburg, Basse, 1835, 
 8, pp. 88. 
 
 " Handbook of porcelain painting ; 
 elementary instructions for painting por- 
 traits and landscapes on porcelain." 
 
 ROUAIX (P.). Dictionnaire des arts 
 decoratifs a 1' usage des artisans, 
 des amateurs, et des Ecoles. 
 Paris (1880 ?). 4, pp. 1,042 ; 
 with 541 illustrs. 20 fcs. 
 
 " Dictionary of the decorative arts ; 
 for the craftsmen, amateurs, and schools." 
 
 Articles on ceramics are scattered through the 
 volume under various headings. 
 
 ROUBET (L). --Memoire sur une 
 question ceramique. Nevers, 
 Begat, 1868. 8, pp. 24. 
 
 369 
 
ROU] 
 
 .CERA MIC LITER A TURE. 
 
 " Memoir upon a point of ceramic 
 history." 
 
 This paper, read at the Archaeological Con- 
 gress of Bourges, treats of the small faience 
 manufactory of Neuvy (Nievres), and gives a 
 biographical notice of its founder, Pierre de 
 Frasnay, author of the poem La faience, 
 
 ROUBET (L.) et DE LA GUERRE (R.).- 
 Collection de moules antiques de 
 ceramique. Bourges, 1889. 8, 
 pp. 65 ; with 20 phototyp. 
 double pis. (Reprint from the 
 Memoir es de la Soc. des An- 
 tiquaires du Centre.) 
 
 " A collection of antique ceramic- 
 moulds." 
 
 These moulds, discovered on the same spot, 
 were all intended for the production of detached 
 figures and ornaments. The casts obtained from 
 them were applied to the surface of the vases, 
 according to the fancy of the workman. This 
 method of pottery decoration was universally 
 adopted in the Mediaeval and Renaissance 
 periods, but it is seldom found employed on the 
 Roman ware. 
 
 ROUCY (A. de). Notice sur la cer- 
 amique sigillee de Compiegne et 
 de ses environs sous la domina- 
 tion romaine, 8, pp. 9 ; with 
 3 pis. (Soc. Hist, de Compiegne.) 
 " Notice of the stamped pottery made 
 at Compiegne and its vicinity during the 
 Roman occupation." 
 
 One hundred and ten marks of Roman potters. 
 
 ROUILLON (P.). --Apropos d'une 
 faience republicaine a la date de 
 1868. Paris, Manginot, 1875. 
 12, pp. 24 ; with 1 vign. 4 fcs. 
 " Upon a republican faience made in 
 1868." 
 
 When, at the end of the second Empire, the 
 liberal youth of France were venting their hatred 
 of the existing regime in all imaginable manners, 
 the etcher Braquemond designed and engraved 
 an allegorical subject in which their confidence 
 in the forthcoming of a French Republic was 
 distinctly expressed. He caused the etching to 
 be transferred to a few dozen plates, which he 
 presented to his friends. It represents the 
 Imperial eagle looking towards the sky and 
 blinking the eye under the dazzling rays of the 
 emblems of liberty. " Ce soleil la me fait peur 
 1868 " is the legend. It was no more than an 
 artistic whim. To invest a few examples of this 
 plate with the character of " Faiences patri- 
 otiques," and give them as a manifest token of 
 the tendency of popular feelings at that moment, 
 as the writer has attempted to do, is to magnify 
 their importance far beyond reasonable limits. 
 
 370 
 
 ROULEZ (J.). Choix de vases peints 
 du musee d'antiquites de Leide. 
 Gand, 1854. Fol., pp. 92 ; with 
 20 col. pis. 1. 
 
 " A selection of painted vases in the 
 museum of antiquities at Leyden." 
 
 The collection acquired from Lucien Bona- 
 parte, Prince of Canino, by King William I. in 
 1839, added to the one brought over from Greece 
 by Colonel Rottiers in 1823, was the foundation of 
 the gallery of Greek vases in the Leyden Museum. 
 At subsequent intervals it was enriched by 
 several donations and purchases. Mr. J. Roulez 
 has selected and described in this work a few of 
 the most remarkable specimens. Credit is due 
 to Mr. Hooiberg for having reproduced the 
 originals with much accuracy. 
 
 Memoire pour servir a ex- 
 pliquer les peintures d'une coupe 
 de Vulci, representant des ex- 
 ercices gymnastiques. Brux- 
 elles, 1842. 4, pp. 29 ; with 
 3 pis. 4 fcs. 
 
 " A memoir to elucidate the paintings 
 of a tazza from Vulci, representing athletic 
 games." 
 
 Trois medaillons de poterie 
 
 romaine. Paris, 1877. 4, pp. 
 11 ; with 1 pi. 
 
 " Three medallions of Roman pottery." 
 
 No more than forty examples of Roman ware 
 ornamented with relief medallions, pressed in a 
 separate mould and applied to the surface, are 
 known to be in existence. These medallions 
 present a strange likeness to those seen applied 
 to the early stoneware of Germany. One can 
 hardly see the result of a chance coincidence in 
 the application of the same technical process at 
 two periods so far distant from one another. 
 Moreover, as some of the Roman specimens of 
 that style have been discovered near the Rhine, 
 they must be considered as of great interest for 
 the study of the origin of German ceramics. 
 
 The number of papers on Greek vases con- 
 tributed By Mr. J. Roulez to the archaeological 
 periodicals is considerable. An account of his 
 publications will be found in the biographical 
 notice written by J. de Witte. Brnxelles, 1879. 
 
 ROOQDET. The present state of the 
 arts in England. By M. Rou- 
 quet, member of the Royal 
 Academy of Painting and Sculp- 
 ture, who resided thirty years in 
 the kingdom. London, Nourse, 
 1755. 12, pp. 136. A French 
 edition was published in the 
 same year. Paris, 1755. 12. 
 
ROZJ 
 
 CERAMIC LITERATURE. 
 
 [SAB 
 
 A description of the process of china decora- 
 tion by transfer printing will be found in chapter 
 xxii., " Porcelain and china ware." The writer 
 says he has himself practised it by way of experi- 
 ment, after having seen it in operation at the 
 Battersea (?) Enamel Works. From a passage 
 in chapter xx., we may form an idea of the low 
 degree of estimation in which faience and earthen 
 ware were held at the time. " It must be ac- 
 knowledged that if, on one hand, the tables of the 
 English are decorated only with a few necessary 
 pieces of plate, on the other, they are not mixed 
 with that ignoble kind of earthenware known by 
 the name of Delft. Chinese porcelain may re- 
 place a service of richer material." 
 
 ROZIERE (De). Memoire sur les vases 
 Murrains qu'on apportaient (sic) 
 jadis en Egypte et sur ceux qui 
 s'y fabriquaient. Paris, Bos- 
 sange, 1814. 8, pp. 30. (Re- 
 print from the Journal des 
 Mines.) 
 
 "Memoir on the Murrhine vases brought 
 into Egypt in ancient times and those 
 fabricated in that country." 
 
 From the fact, evidenced by many passages in 
 the works of classical writers, that Murrhine 
 vases were at one time very abundant in the 
 Roman Empire, the author concludes that they 
 were made of a natural substance easily obtain- 
 able. His opinion is that a vase made of fluor- 
 spar the Blue John of Derbyshire would 
 answer exactly to the description given by Pliny. 
 He cannot, however, mention the existence of a 
 single example of an antique vase made of that 
 material, and his previous statement that a 
 great many specimens of Murrhine vases must 
 have come down to us does not agree with that 
 lack of a tangible proof of his theory as to the 
 nature of these vases. 
 
 RUBBIAM. Catalogo delle majoliche 
 antiche e moderne del Sign. 
 Fratelli Rubbiani. Roma, 1893. 
 8, pp. 64 ; with text illustrs. 
 
 Catalogue of sale. An introduction by Prof. 
 F. Argnani contains some particulars on the 
 history of the Sassuolo majolica. 
 
 RUHNE (J. F.). Lehrbuch der . . . 
 Ziegel-Fabrikation von land- 
 wirthschaftlichen Standpunkte 
 bearbeitet. Braunschweig, 1877. 
 8; with 176 illustrs. 
 
 " Treatise on the brick and tile manu- 
 facture . . . and its practical man- 
 agement." 
 
 RUNGE (L.). Essai sur les construc- 
 tions en brique en Italic, publie 
 
 d'apr^s ses esquisses en voyage 
 de 1840 a 1842. Berlin, 1846. 
 Fol. Text in French and Ger- 
 man ; with 48 pis. 20 m. 
 
 " Essay on brick buildings in Italy ; 
 published from sketches taken during the 
 author's travels from 1840 to 1842." 
 
 RUSTAFJAELL (R. de). - - Palaeolithic 
 Vessels of Egypt, or the earliest 
 handiwork of man. London, 
 Macmillan, 1907. 8, pp. 22; 
 
 pis. and 8 illustrs. 
 
 with 13 
 2s. 6d. 
 
 In the Egyptian excavations flints have been 
 found with deep depressions left by stony nodules 
 in silicified sponges. Occasionally the outside of 
 such flints has been chipped by hand, and thus a 
 rudimentary vessel has been formed. The 
 author sees in these primitive receptacles the 
 origin of pottery. 
 
 SABATIER (Collection R.). Antiquites 
 egyptiennes, grecques et rom- 
 aines. Paris, 1890. 8, pp. 70 ; 
 with 6 pis. 
 
 Catalogue of sale, prepared by G. Legrain. 
 Terra-cottas, Nos. 646-657 ; painted vases, 658- 
 693 ; lamps, 694-714. 
 
 SABOUROFF (Collection). Kunstdenk- 
 
 maler aus Griechenland, herausg. 
 bei Ad. Furtwangler. Berlin, 
 Ascher, 1883-87. 2 vols. Sm. 
 fol. ; with 149 pis. and 36 text 
 illustrs. 12. Also an edition 
 with French letterpress. 
 
 " Examples of Greek art from the 
 Sabouroff collection, published by A. 
 Furtwangler." 
 
 Vol. I. Introduction, pp. 1-55. Sculpture, 
 pis. 1-46, in heliogr. Greek vases, pp. 1-19 ; pis, 
 47-75, in chromolith. Vol. II. Terra-cottas. 
 pp. 1-22 ; pis. 76-145, in heliogr. and lithogr. 
 (some col.). Bronzes, with 4 pis. Each plate 
 is accompanied with a descriptive notice. 
 
 The terra-cottas of this collection, having been 
 selected from the earliest discoveries made at 
 Tanagra, are of very high order ; the lithographic 
 reproductions are, unfortunately, rather un- 
 satisfactory. After the publication of this sump- 
 tuous catalogue the collection was divided into 
 two portions, which were respectively acquired 
 by the museums of Berlin and of Saint Peters- 
 burg. 
 
 311 
 
SAB] 
 
 CERA MIC LITER A TURE. 
 
 [SAL 
 
 SABUGOSA (De). Pago de Cintra. 
 Desenhos de sua Magestade a 
 Rainha a Senhora Dona Amelia. 
 Lisboa, impr. National, 1903. 
 4, pp. xii-274 ; with plates and 
 num. text illustrations. 20 fcs. 
 
 " The Palace of Cintra, with sketches 
 by H.M. Queen Amelia." 
 
 Tiles take a large share in the decoration of 
 the old palace ; the most ancient are of Moorish 
 manufacture. An article on the Azulejos of the 
 sixteenth century (pp. 205-209) is illustrated with 
 7 plates of tiles (3 col.), which show a debased 
 mixture of Arabian and Italian art. 
 
 SACKEN (E. YOn). Das Grabfeld von 
 Hallstatt in Oberesterreich, und 
 dessen Alterthiimer. Wien, 
 1868. 4, pp. 156; with 26 
 engr. pis. 15 m. 
 
 " The grave-field of Hallstatt, in Upper 
 Austria and its antiquities." 
 
 Hallstatt has proved a rich field of archaeo- 
 logical discoveries. During the excavations 
 conducted by E. von Sacken, 1847, nearly one 
 thousand graves were investigated. In nearly 
 every tomb earthen vessels were found to have 
 been deposited with the remains, their number 
 amounting sometimes to fifteen. They were 
 mostly rough urns and jars of plain shape, but in 
 some cases the surface was decorated with in- 
 cised traceries, and showed traces of having been 
 painted in several colours. Their style of orna- 
 mentation presented a strong likeness to that 
 of the bronze and iron vessels found in the same 
 graves. On some exceptional objects the influ- 
 ence of Roman art is obviously marked ; never- 
 theless von Sacken believes that they are the 
 work of the Celtic tribes which inhabited that 
 region two centuries before our era. , 
 
 SAINT JOHN (F.), G'. BARR & CO. En- 
 caustic tiles manufactured by 
 St. J. & B., Palace Row, Wor- 
 cester. London, Pickering, 1844. 
 4; 24 pis. printed in red upon 
 yellow paper, containing 77 
 patterns. 
 
 H. Minton was just getting over the diffi- 
 culties he had encountered in the production of 
 encaustic tiles, and in introducing their applica- 
 tion to modern architecture, when Chamberlain, 
 of Worcester, entered in competition with him 
 in manufacturing tiles similar to those made at 
 Stoke-on-Trent. Fleming St. John and George 
 Barr transported this new branch of manufacture 
 to the old works at Wamstry House, and pub- 
 lished this catalogue. A few years later Messrs. 
 Maw took the business from their hands, and 
 finally removed it to Broseley, where it rapidly 
 developed into an extensive industry, still 
 carried on as Maw's Tile Company. 
 
 372 
 
 SAINT-MARC (C. de). - - Les faiences 
 d'Oiron en terre de Saint-Por- 
 chaire. Saint-Maixent, 1889. 
 8, pp. 11. 
 
 "The Oiron faiences in Saint-Porchaire 
 clay." 
 
 An attempt to reconcile two contradictory 
 theories, by suggesting that the so-called Henri 
 II. ware may have been made at Oiron, but with 
 a clay coming from Saint Porchaire. Ceramic 
 productions are not always made with materials 
 found in the place of manufacture, but we do not 
 remember any instance of a ware having been 
 named after the locality from which the maker 
 obtained his supply of clay. 
 
 SAINT-YENANT (J. de). Ancien vases 
 a bee. Etude de geographic 
 ceramique. Caen, Delesques, 
 1899. 8, pp. 63 ; with 3 pis. 
 (Reprint from the Bulletin 
 Monumental.) 3 fcs. 
 
 " Ancient jugs with a spout. A study 
 in ceramic geography." 
 
 In the tombs of early Christian cemeteries, 
 jugs of a particular shape have frequently been 
 discovered. The writer believes that the shape 
 originated in the South of France, where such 
 jugs are still in common use. They are called 
 " Pegan," in the venacular, a term evidently 
 derived from the Latin "Pegar." The upper 
 rim is provided with a broadly open spout, par- 
 tially covered by a kind of bridge formed by the 
 top part of the neck running in an uninterrupted 
 flat band. When one drinks from this spout, the 
 face of the drinker is protected by that particular 
 structure from an overflow of the liquid. Modern 
 manufacturers have applied a similar contrivance 
 to what they call a " moustache cup." The 
 writer has been at considerable trouble to collect 
 and reproduce examples of the type in many 
 lands ; he has traced its presence particularly in 
 many of the French provinces, but the practical 
 utility of the partly-covered spout has escaped 
 his sagacity. 
 
 SALAHEDDIN BEY. La Turquie a 1'Ex- 
 position universelle de 1867. 
 Paris, Hachette, 1867. 8, pp. 
 256. 
 
 " Turkey at the International Exhibi- 
 tion of 1867." 
 
 Published by the care of the Turkish Imperial 
 Commissioners. Chapt. xi. Potters and pot- 
 works at Constantinople. Chapt. xii. Common 
 pottery manufactured in various provinces of the 
 Empire. 
 
 SALLES (].) Etude sur la vie et les 
 travaux de Bernard Palissy, 
 precedee de quelques recherches 
 
SAL] 
 
 CERA Mtc LITER A TV RE. 
 
 [SAL 
 
 sur 1'art ceramique. Nimes, 
 1855. 2nd ed., 1856. 18, pp. 
 114. 
 
 " Notice of the life and work of Ber- 
 nard Palissy ; to which are prefixed a few 
 remarks on the ceramic art." 
 
 Written with precision and clearness, this 
 notice, which contains a sound appreciation of 
 Palissy's genius, is, however, marred by the in- 
 troduction of some romantic incidents, in which 
 historical truth has been sacrificed to dramatic 
 effect. The biographer has surely drawn upon 
 his imagination when he wrote that after Palissy 
 had been appointed " Governor of the Tuileries 
 Palace," he used to conduct, in great secrecy, 
 the religious services of the Reformed Church in 
 the private apartment of the Queen. Imaginary 
 also is the sensational episode of a family of 
 Protestant prisoners, marching through the yard 
 of the Bastille on their way to execution, and 
 stopping to receive a blessing from the withered 
 hands that Palissy was holding out through the 
 iron grating of his cell window. 
 
 SALMON (E.). George Tinworth and 
 his work. London, 1892. 8, 
 pp. 10 ; with 13 illustrs. (In 
 the Strand Magazine.) 
 
 The name of G. Tinworth and that of the 
 Lambeth Pottery are inseparately linked to- 
 gether. Perhaps no other industrial artist has 
 been the subject of so many laudatory notices in 
 the English periodicals. His quaint scriptural 
 panels in enamelled stoneware or plain terra- 
 cotta have not only commanded general atten- 
 tion, but they have also won the unstinted 
 praises of the art critics. In the present article 
 the life of the artist has been briefly narrated, 
 and his last productions adequately illustrated. 
 
 SALYETAT (A.)- Rapport fait par Mr. 
 Salvetat au nom du comite des 
 arts chimiques sur 1'introduc- 
 tion, a Creil, de la fabrication 
 d'une pate nouvelle, dite de 
 Paros, presentee par Mr. A. 
 Leboeuf. Paris, impr. B. Uzard, 
 1852. 4, pp. 3. 
 
 " Report presented by Mr. Salvetat, on 
 behalf of the section of chemical arts, 
 upon the introduction by Mr. A. Lebceuf, 
 in the Creil pottery manufactory, of a 
 new body called Paros." 
 
 Mr. Salvetat has occupied the position of 
 chemist at the Nat. factory of Sevres from 1841 
 to 1880. During his long professional career he 
 has published many volumes and pamphlets, of 
 which the following is only an abridged list. 
 
 Rapport fait par Mr. Salvetat 
 
 au nom du comite des arts 
 
 chimiques et de la commission 
 des Beaux- Arts appliques a 1'in- 
 dustrie, sur les porcelaines de- 
 corees et vernissees de Mr. J. 
 Lesme, de Limoges. Paris, impr. 
 B. Huzard, 1853. 4, pp. 5. 
 
 " Report ... on the decorated 
 and glazed porcelain of Mr. J. Lesme, of 
 Limoges." 
 
 - Rapport . . . sur les travaux 
 de Mr. Pierrat, restaurateur d'- 
 objets d'art. Paris, B. Huzard, 
 1854. 4, pp. 3. 
 
 "Report upon the work of Mr. Pierrat, 
 restorer of objects of art." 
 
 - Rapport . . . sur la porce- 
 laine tendre fabriquee par Mr. 
 de Bettignies, a St. Amand-les- 
 Eaux (Nord). Paris, B. Huzard, 
 1854. 4, pp. 6. 
 
 " Report upon the soft porcelain made 
 by Mr. de Bettignies a St. Amand-les- 
 Eaux." 
 
 The last " porcelaine tendre " manufactured 
 in France. 
 
 - De la dorure brilliante sans 
 brunissage par Mr. Dutertre. 
 S.d. 
 
 " On the liquid gold which shines with- 
 out burnishing by Mr. Dutertre." 
 
 - Divers objets ceramiques pre- 
 sentes par Mr. Jounet. S.d. 
 Pp. 2. 
 
 " Various ceramic objects presented by 
 Mr. Jounet." 
 
 - Programme de divers prix a 
 decerner relatifs a 1'emploi de 
 1'acide borique et du borax dans 
 les arts ceramiques. Paris, B. 
 Huzard, 1854. 4, pp. 5. 
 
 " Programmes of various prizes to be 
 awarded on the use of boric acid and 
 borax in ceramic manufacture." 
 
 Rapport sur la manufacture 
 de produits chimiques de Bor- 
 deaux dirigee par Mr. Vieillard. 
 Paris, B. Huzard, 1854. Pp. 5. 
 
 373 
 
CERAMIC LITERATURE. 
 
 [SAL 
 
 SALYETAT (A.)- Rapport sur le con- 
 cours pour le perfectionnement 
 des faiences fines dures, des gres- 
 cerames fins et ordinaires, et 
 des porcelaines tendres anglaises. 
 Paris, B. Huzard. 
 
 " Report on the competitive memoirs 
 written on the question of the improve- 
 ments to be introduced in the manufac- 
 ture of earthenware, stoneware, and por- 
 celain after the English method." 
 
 Decoration des porcelaines 
 par Mr. Brianchon. Paris, s.d. 
 Pp.4. 
 
 " A new method of porcelain decoration 
 by Mr. Brianchon." 
 
 All the above papers are reprinted from the 
 Bulletin de la Societe d' Encouragement. 
 
 de ceramique pro- 
 fessees a 1'Ecole Centrale des 
 Arts et Manufactures, ou tech- 
 nologic ceramique, comprenant 
 les notions de Chimie, de Tech- 
 nologic et de Pyrotechnic applic- 
 ables a la fabrication, a la syn- 
 these, a P analyse, et a la decora- 
 tion des poteries. Paris, Mallet- 
 Bachelier, 1857. 2 vols. 12, 
 pp. ix-987 ; with text illustrs. 
 12 fcs. 
 
 " Lectures on ceramics delivered at the 
 Central School of Arts and Manufactures. 
 Ceramic technology, including the prin- 
 ciples of chemistry, technology, and 
 pyrotechny applicable to the manufac- 
 ture, synthesis, analysis, and decoration 
 of pottery." 
 
 Proces en contrefagon . . . 
 precede de dorure sans bruni- 
 ssage. Paris, typ. Renou, 1858. 
 
 4. 
 
 " Method of gilding upon porcelain 
 without burnishing." 
 
 Evidence given in a lawsuit in the case of an 
 infringement of the patent. 
 
 - Opinion sur la fabrication des 
 briques creuses. Paris, Renou, 
 
 1858. 4. 
 
 " An opinion upon the manufacture of 
 hollow bricks." 
 374 
 
 - Les arts ceramiques exposes 
 a Londres en 1862. Paris, Bour- 
 dier, 1862. 8, pp. 18. 
 
 " Ceramic art at the London Exhibition 
 in 1862." 
 
 - Memoires de Chimie. Paris, 
 G. Villars, 1868. 8. 
 
 The volume contains the following articles : 
 " Sur la preparation d'un jaune fusible a meler 
 pour la peinture sur porcelaine," " Recherches 
 analytiques sur les rouges employes dans la 
 peinture sur porcelaine," " Analyses de quel- 
 ques gres ceramiques." " Notice sur un nouvel 
 emploi du platine dans la peinture sur porce- 
 laine," and other papers also published in a 
 separate form. 
 
 Rapport sur le progres de 
 1'industrie privee dans la fabric- 
 ation de la porcelaine. Paris, 
 1875. 4, pp. 16. 
 
 " On the progress accomplished in the 
 private industry for the manufacture of 
 porcelain." 
 
 - Apropos de 1' inauguration de 
 la nouvelle manufacture de 
 Sevres. Paris, 1876. 4. 
 
 " A few words on the occasion of the 
 opening of the new manufactory of 
 Sevres." 
 
 - Les arts ceramiques a 1'Ex- 
 position internationale. La man- 
 ufacture nationale de Sevres. 
 Paris, Quantin, 1878-79. 8, 
 pp. 24. (Extr.) 
 
 " Ceramic art at the International 
 Exhibition of 1878. The national manu- 
 factory of Sevres." 
 
 SALYISBERG (Paul wn). Chronik der 
 deutsch - nationalen Kunstge- 
 werbe-Ausstellung in Mtmchen, 
 1888. Munchen, 1888. Fol., 
 pp. 344 ; num. illustrs. in the 
 text. 15 m. 
 
 Ceramic art is scantily illustrated in this 
 volume by a few specimens of modern stoneware 
 and Meissen porcelain. 
 
 SALZMANN (A,). Necropole de Cam- 
 iros. Journal des fouilles ex- 
 ecutees dans cette necropole 
 pendant les annees 1858-65. 
 
SAM] 
 
 CtiRA MIC LIVE R A I'URti. 
 
 Paris, Detaille, 1870-75. Atlas 
 of 60 photolith. pis., some col., 
 and a printed index. Fol. 300 
 fcs. 
 
 " The Kameiros necropolis. A diary 
 of the work of excavation executed on 
 the site of the necropolis during the years 
 1858-65." 
 
 Death surprised Auguste Salzmann before he 
 could publish the text that was to accompany 
 the plates of his work. These plates are of some- 
 what imperfect execution ; they reproduce, 
 chiefly, rough objects of the archaic period, in 
 the style of which some antiquaries recognise an 
 Oriental influence. They comprise Enamelled 
 pottery, 4 pis.; terra-cottas, 28 pis.; painted 
 vases, 20 pis.; marbles, bronzes, etc., 8 pis. In 
 the section of painted vases are included a few 
 specimens of the highest order namely, the ad- 
 mirable amphora with Thetis and Peleus, and 
 the tazza with Venus on a Swan, both purchased 
 by the British Museum. A second edition was 
 issued in 1897, to which a descriptive text had 
 been added by W. Frohner. 
 
 SAMBON. - - Collection d'antiquites. 
 Vases peints, terres cuites, etc. 
 Paris, 1903. Pp. 93 ; with 12 
 pis. and 57 illustrs. Catalogue 
 of sale prepared by Sambon. 
 
 SAND (George). Les maj cliques flor- 
 entines. Paris, M. Levy, 1875. 
 8. 
 
 " Florentine majolicas." 
 
 This account of a visit to the Ginori factory 
 near Florence, where reproductions of ancient 
 majolica were then made with great success, will 
 be found printed at the end of Flavie, in the com- 
 plete works of the celebrated French novelist. 
 
 SANDEMAN (A. A.). Notes on the 
 manufacture of Earthenware. 
 London, Virtue, 1901. 8, pp. 
 371 ; with text illustrs. 7s. 
 
 Quite a typical book of a kind of which there 
 are but very few ; it is absolutely what it pur- 
 ports to be viz., a practical and not a scientific 
 treatise. Its purpose is to give useful instruc- 
 tions as to the conduct of an earthenware manu- 
 factory after the manner used in England ; and 
 the plan is carried through in a plain and accurate 
 manner. The choice of materials and their mix- 
 ture, the best processes to be followed at the 
 successive stages of ordinary earthenware manu- 
 facture are disclosed, together with the precau- 
 tions that have to be taken to guard against 
 accidents, all being told in an unpretentious and 
 intelligible way. If the account errs in one 
 sense, it is on the side of excessive attention 
 being given to details which might have been 
 taken for granted on a shorter statement. In its 
 sincerity and completeness one might look at 
 
 this simple manual as containing the best advice 
 that an experienced manufacturer had set down 
 in writing for the benefit of his favourite pupil. 
 
 SANDIER (A.). Formes des vases. 
 Par A. S. directeur des travaux 
 d'art a la manufacture de Sevres. 
 Paris, 1900. 4, pp. 8; with 
 116 pis., containing 2,800 dif- 
 ferent shapes. 50 fcs. 
 " Forms of vases." 
 
 Three geometrical curves are taken by the 
 author as the basis of all forms, the combination 
 of which supplies an inexhaustible variety of 
 shapes for vases. In the superabundance of ex- 
 amples he sets before our eyes we notice, however, 
 a fatiguing repetition predominates over attrac- 
 tive diversity. His evident disregard for what 
 we are accustomed to call harmony between the 
 different parts of a vase might have assisted the 
 designer in showing a little more invention and 
 taste in his sketches. 
 
 SAN DONATO (Collection de) . Pom, 1870. 
 
 8; with 16 photos. 
 
 Catalogue of sale. 
 
 The first portion of the collection formed at 
 the Palace of San Donate by Prince Anatole 
 Demidoff. Sevres porcelain, including the Rohan 
 service, which sold for 10,400, Nos. 118-221. 
 Oriental porcelain, 120 Nos. Delia Robbia ware 
 and Italian majolica, Nos. 442-455. Also a 
 numerous and remarkable series of modern por- 
 celain of various manufacture. The sale was of 
 a very miscellaneous character ; it took place at 
 Paris, and lasted from 22nd March to 28th April. 
 
 SAN DONATO (Palais de), Pans, 1880. 
 
 4, pp. 422 ; with numerous 
 etched pis. and text illustrs. 
 50 fcs. 
 
 Catalogue of sale. The sale of the second 
 portion of the collection took place at Florence. 
 
 Ceramic art was represented as follows : 
 Delia Robbia ware, four important works (with 
 1 etching and 3 illustrs.). A series of Castel 
 Durante vases. Sevres porcelain, Nos. 461-476 
 (with 9 illustrs.). Vienna porcelain, Nos. 477- 
 631 (with 13 illustrs.). Dresden porcelain, Nos. 
 632-635. Oriental porcelain, Nos. 1,160-1,180 
 (with 6 illustrs.). 
 
 An album of 89 photogr. pis. reproducing 
 ceramic objects in the San Donato collection has 
 been published as a complement to the catalogue. 
 
 SANDWITH (Th.). On the different 
 styles of pottery found in an- 
 cient tombs in the Island of 
 Cyprus. London, Nichols, 1877. 
 4, pp. 16 ; with 5 col. pis. and 
 text illustrs. (In Archceologia.) 
 
 Examination of the various types of terra- 
 cotta vases, then in the collection of Thomas 
 Sandwith, H.B.M., vice-consul at Cyprus. 
 
 375 
 
SAN] 
 
 c EH 'A MIC LITERATURE. 
 
 [SAU 
 
 SANFILIPPO (I.). Breve illustrazione 
 di un vaso cineriario imerese. 
 Termini-Imerese, 1877. 8, pp. 
 18. 
 
 " Short description of an Imerian 
 cinerary vase." 
 
 SANTACANA (F.). Cataleg illustrat 
 del Museu Santacana de Marto- 
 rell (Espana). Barcelona, 1909. 
 4; with 42 col. and 20 pis. in 
 black. 40 fcs. 
 
 "Illustrated catalogue of the Santa- 
 cana collection." 
 
 The coloured plates reproduce nearly three 
 hundred specimens of Spanish tiles, illustrating 
 the Renaissance and late periods of manufacture. 
 The Hispano-Moresque style of earlier times is 
 scarcely represented in the collection. Text in 
 Catalan and French. 
 
 SAPIA DE LENCIA (Collection) Catalogue 
 of sale. Paris, 1885. 8, pp. 55 ; 
 with 7 pis-, lith. in pen and ink. 
 
 Fine specimens (154 Nos.) of Dresden 
 porcelain. 
 
 SARNOW (G.). Ueber den Einfluss 
 der chemischen Forschung auf 
 die Entwickelung der Porzellan- 
 Industrie. Amtlicher Bericht 
 iiber die Wiener Weltausstellung 
 im Jahre 1873. Braunschweig, 
 1875. 8. 
 
 " The influence of chemistry upon the 
 development of porcelain manufacture. 
 One of the official reports of the Vienna 
 International Exhibition in 1873." 
 
 SARRE (F.). Der Fiirstenhof zu 
 Wismar und die norddeutsche 
 Terrakotta-Architektur im Zeit- 
 alter der Renaissance. Berlin, 
 Trowitzch, 1890. Sm. fol., pp. 
 52 ; with 17 photo typ. pis. 
 10m. 
 
 " Wismar Castle and the terra-cotta 
 architecture in Germany at the Renais- 
 sance period." 
 
 The Castle, built in 1554, was decorated with 
 terra-cotta supplied by Statius von Diiren, a 
 sculptor and tile maker from Lubeck. Repro- 
 ductions of the chief subjects represented in 
 terra-cotta are given, together with the general 
 views of the building. A short description of 
 other monuments, in Mecklenbourg, decorated in 
 the same style, is added to the monograph. 
 
 376 
 
 Islamische Tongefasse aus 
 Mesopotamien. Mit einem An- 
 hang von E. Mittwoch. Berlin, 
 1905. 4, pp. 20; with 19 
 illustrs. (Reprint from the 
 Jahrbuch. der K. Preusz. Kunst- 
 sammlungen.) 
 
 " Mussulman pottery from Mesopo- 
 tamia." 
 
 An examination of four fragments of terra- 
 cotta vases embossed with Oriental figures, 
 arabesques, and inscriptions, lately discovered 
 and attributed to the thirteenth century. 
 
 SARRIAU (H.). - - Musee central de 
 ceramique a F Exposition uni- 
 verselle de 1900. Paris. 8. 
 
 SARTINE (De). Ordonnance de Mr. 
 le Lieutenant general de Police, 
 commissaire du Conseil en cette 
 partie, concernant les privileges 
 accordes par divers arrets du 
 Conseil a la Manufacture Royale 
 des Porcelaines de France etablie 
 a Sevres ; et qui renouvelle les 
 defenses portees par les dits 
 arrets, et les peines prononcees 
 au sujet des fausses fabrications 
 de fleurs et autres pieces de por- 
 celaines, et de leur vente et 
 debit. Du 26 mai 1763. A 
 Paris, de Flmprimerie Royale, 
 1763. 4, pp. 3. 
 
 " Ordinance of the General Superinten- 
 dent of Police reiterating the substance 
 of the privileges granted to the Royal 
 Manufactory of Sevres, and recalling the 
 penalties for illegally making flowers and 
 other articles in porcelain." 
 
 SARYY (C.). Azulejos en Toledo 
 (Espana). Paris, 1861. Fol. ; 
 4 col. pis. ; no text. 
 
 " The tiles of Toledo, in Spain." 
 
 This work, which was intended to give repro- 
 ductions of the finest examples of Moorish and 
 Spanish tiles still adorning the walls of the 
 ancient buildings of Toledo, did not go further 
 than the publication of the first part. It would 
 have filled a regrettable gap in the history of 
 tile making ; those of Spanish manufacture not 
 having as yet been made the subject of a special 
 work. 
 
CERAMIC LITERATURE. 
 
 [SAW 
 
 SAUYAGE (E.). Les marques de 
 potiers gallo-romains recueillies 
 dans le Boulonnais. (In the Mem- 
 oires de la Societe Academique.) 
 Boulogne s. Mer, 1899. 8, pp. 
 56 ; with 2 pis. Supplement, 
 pp. 16 ; 1 pi. 
 
 " The marks of Gallo-Roman potters 
 found in Boulonnais." 
 
 SAUYAGET (A.). La ceramique an- 
 cienne depuis le xv e siecle 
 jusqu'a la fin du xviii e . Faiences 
 et porcelaines d' Europe et d' Ori- 
 ent. Gres. Leurvaleur. Bourges 
 (Cher), chez Fauteur, 1908. 8, 
 pp. 276 ; num. marks. 6 fcs. 
 
 " Ancient ceramics, from the fifteenth 
 till the end of the eighteenth century." 
 
 A dictionary of marks. Each section is pre- 
 faced with a historical notice, and completed 
 with extracts from catalogues of sales, with 
 prices of the specimens. Entirely autographed 
 by the hand of the author. 
 
 SAUZAY (A. de.). Catalogue du musee 
 Sauvageot. Paris, Mourgues, 
 1861. 8. 2nded. 
 
 Comprising 1,424 Nos., which include many 
 remarkable specimens of the ceramic art of the 
 Renaissance period, etc. Explanatory notices 
 give a special value to this catalogue, which 
 contains also a list of marks and monograms. A 
 short biography of Ch. Sauvageot is prefixed to it. 
 
 Collection Sauvageot, des- 
 sinee et gravee a 1'eau forte par 
 Edouard Lievre, accompagnee 
 d'un text historique et descriptif. 
 Paris, Noblet et Baudry, 1863. 
 Fol. ; 120 pis. with explanatory 
 notices. 
 
 " The Sauvageot Collection, drawn and 
 etched by E. Lievre." 
 
 SAYY (C.) et SARSAY (L.). Les anciens 
 carrelages de 1'eglise de Brou, a 
 Bourg-en-Bresse, derniers ves- 
 tiges recueillis et reproduits 
 d'apres les caiques pris sur les 
 originaux. Lyon, Vingtrinier, 
 1868. 4, pp. 23 ; with 15 col. 
 pis. 150 fcs. 
 
 " The ancient tile pavement of the 
 church of Brou, at Bourg-en-Bresse ; last 
 vestiges rescued and reproduced from 
 tracings taken from the original speci- 
 mens." 
 
 The authors were under the impression that 
 the last remnants of the majolica pavement they 
 describe had all been destroyed as worthless, 
 after the much obliterated traces of painting 
 they still showed in places had been copied by 
 the engraver entrusted with the illustrations of 
 their work. They tell us that only two tiles, in 
 a slightly better state of preservation than the 
 rest, had been preserved and deposited in the 
 Lyons Museum. We are pleased to say that 
 they had been misinformed. An adequate idea 
 of the exceptional merit of the painted ornamen- 
 tation may still be obtained from the four beauti- 
 ful tiles, once forming part of the Brou pavement, 
 acquired in 1897 by the Louvre Museum, where 
 they are now exhibited. 
 
 A bold decorative scheme intermixed in a 
 complicated design the medallion portraits of 
 some classical characters of antiquity with those 
 of the princely personages of contemporary 
 times. One could see Philibert-le-Beau, Duke of 
 Burgundy, represented by the side of Cleopatra ; 
 Margaret of Bourbon, his wife, was associated 
 with Julius Caesar ; and Margaret of Austria, his 
 mother, by whose liberality the church had been 
 completed in 1530, was accompanied by Mark 
 Antony. 
 
 Some local historians have stated that Louis 
 van Boghem, the Flemish architect of Brou 
 Church, had called over from Flanders the tile 
 makers who executed the pavement under his 
 direction. This statement is not supported by 
 documental evidence, and if we consider that 
 majolica tiles were not used in northern countries 
 at such an early date for the decoration of 
 religious edifices, it can scarcely be accepted as 
 a definite settlement of the question. Mr. 
 Natalis Rondo t, the best authority on the matter, 
 thinks that the practical execution of the Brou 
 pavement may be assigned to the Italian potters 
 known to have worked at their trade in Lyons as 
 early as 1512, but he feels inclined to believe that 
 the tiles were painted by the hand of a French 
 artist. He has discovered in an ancient MS. a 
 passage in which the work is attributed to a 
 certain Canarin ; unfortunately no mention is 
 made in that document of the nationality of the 
 painter. A decided French character, notice- 
 able in the design of the painted tiles of the 
 Louvre Museum, would go far to strengthen the 
 plausibility of Mr. Rondot's opinion. 
 
 In Dupaquier's Monoqraphie de Notre Dame 
 de Brou the complete scheme of the ancient pave- 
 ment is given on one of the plates. 
 
 SAWARD (B. C.). Decorative paint- 
 ing ; a practical handbook on 
 painting and etching upon vari- 
 ous objects and materials for 
 the decoration of our homes. 
 London, 1883. 8. Pottery and 
 porcelain, pp. 49-120. 
 
 377 
 
HCA"| 
 
 C tilt A MIC LITER A TURK. 
 
 SCARRAT (W.). Old times in the 
 
 Potteries. Hanley, 1907. 8, 
 
 pp. 202; with pen and ink 
 illustrs,, 5s. 6d. 
 
 A series of detached articles, written by an 
 old inhabitant in the "Potteries," and full of 
 gossiping information. Illustrated with naive 
 sketches of old buildings, most of which have 
 now disappeared. 
 
 SCHADOW(P.). Eine Attische Grable- 
 kythos. Jena, Neuenhahn,1897. 
 8, pp. 34 ; with 1 photo and 2 
 fold. pis. 2 m. 
 
 "A funeral lekythos from Attica." 
 
 Small winged figures are represented, on this 
 vase, issuing from a large pythos. They are the 
 souls of the defunct, and Hermes, holding a wand 
 in his hand, seems to direct their flight. This 
 lekythos is in the Jena Museum. 
 
 SCHALLER (P,). Der wohlunterrich- 
 tete Ziegler, oder ausfurliche 
 Anleitung zur Verfertigung aller 
 Arten von Mauer-und Dach- 
 ziegel, nebst Vorschlagen zu 
 einer ganz neuen innern Ein- 
 richtung einer Dachziegelei, wo- 
 durch die Verfertigung der 
 schwierigsten Ziegelarten, na- 
 mentlich der Kramp-Breitziegel, 
 erleichtert wird. Ilmenau, 1828. 
 8, pp. 280 ; with 9 litho. pis. 
 A 2nd ed. Weimar, 1855. 8. 
 2 m. This treatise forms the 
 34th vol. of Voigt's Neuer 
 Schauplatz der Kunste und Hand- 
 werke. 
 
 " The perfect tile-maker, being a prac- 
 tical treatise of the manufacture of all 
 kinds of wall and roofing tiles ; together 
 with a new plan for setting up a manu- 
 factory by means of which the making of 
 the most difficult kind of tiles, namely the 
 large roofing tiles, is greatly facilitated." 
 
 SCHAMBERGER (J. W,). Die keramische 
 Praxis. Populare Anleitung 
 zur Erzeugung keramische Pro- 
 ducte aller Art unter Beriick- 
 sichtigung der einschlagigen 
 Maschinen und sonstiger Hilfs- 
 apparate zur Bereitung von 
 Massen und Glasuren nebst der 
 378 
 
 erforderlichen Brennofen. Leip- 
 zig, Hartleben, 1901. 8, pp. 
 225 ; with 20 illustrs. 4 m. 
 
 " The practice of the ceramic art. A 
 popular introduction to the making of 
 ceramic ware of all kinds, with observa- 
 tions upon the machines and instruments 
 used in the preparation of bodies and 
 glazes and the construction of ovens." 
 
 SCHARF (George). Manners and cus- 
 toms of the Greeks. Translated 
 from the German of Th. Panofka. 
 London, C. Newby, 1849. 4, 
 pp. 40 ; with 21 pis. 10s. 
 
 The plates differ a little from those engraved 
 for Panofka's work ; those in the English trans- 
 lation having been re-drawn on a larger scale 
 from the original Greek vases. 
 
 SCHATTEBURG (J. H,). Der Ziegelroh- 
 bau in seinen verschiedenen 
 Charakteristischen Erschein- 
 ungsweisen als Spiegelbild der 
 Architektur der Neuzeit. Halle, 
 1897. 58 autotyp. pis. with text. 
 Part I. Plain bricks. Part II. 
 Ornamented bricks. 20 m. 
 
 " Brick-building in its divers charac- 
 teristics, as reflecting the style of modern 
 architecture." 
 
 SCHERER (C.). Die Porzellansamm- 
 lung des Schlosses Wilhelmsthal, 
 bei Kassel. Kassel, 1892. 8, 
 pp. 25. 
 
 " The porcelain collection in Wilhelms- 
 thal Castle." 
 
 This collection is rich in Oriental porcelain 
 and in the early productions of the chief manu- 
 factories of Germany. 
 
 Das fiirstenberger Porzellan. 
 
 Berlin, Reimer, 1909. 4, 
 pp. ix-276 ; with frontispiece 
 and 179 zinco-block illustrs. 
 in the text. 1. 
 
 " The porcelain of Fiirstenberg." 
 
 A volume previously published by H. Steg- 
 mann dealt with the history and the vicissitudes 
 of the Fiirstenberg porcelain factory. In this 
 complementary work the author has undertaken 
 to consider its productions from the artistic 
 point of view. 
 
SCtt] 
 
 CERAMIC LITERATURE. 
 
 [8CH 
 
 SCHIASSI (F.), Sopra alcuni antichi 
 fittili dipinti. Lettere due. Bo- 
 logna, 1814. 8, pp. 35; with 6 
 engr. pis. 
 
 " Two letters on some ancient painted 
 vases." 
 
 An attempt to discriminate between the vases 
 of Greek and Etruscan origin, and on the methods 
 employed by the vase painters. The plates re- 
 produce fragments of pottery engraved within 
 elaborate frames. 
 
 SCHIFFER (H.). Die alte und die 
 neue Kunsttopferei Raerens. 
 Aachen, 1887. 8, pp. 16 ; with 
 2 pis. and text illustrs. (Re- 
 print from the Jahresberichte des 
 Aachener Gewerbe-Vereins.) 
 
 " The old and new art pottery of 
 Raeren." 
 
 An account of a small factory where the 
 writer has attempted to revive the old industry 
 of his native village, and has made very success- 
 ful reproductions of the ancient models. 
 
 - Die Kunsttopfer von Raeren. 
 Ein Sang aus Raerens Vergang- 
 enheit. Eupen, 1895. 16, pp. 
 128. 3 m. 
 
 " The Raeren art potter. A poem on 
 the past days of Raeren." 
 
 A tale in which the stoneware potters of that 
 once prosperous centre of pottery manufacture, 
 Jan Emens, Balden Mennicken, and other con- 
 temporaries are made to play a part in a romantic 
 plot. 
 
 SCHILT (L. P.). A Mr. Emile de 
 Girardin ; pour repondre a 1'idee 
 qu'il a emise de supprimer les 
 Manufactures modeles de Sevres, 
 des Gobelins et de Beauvais. 
 Sur la manufacture de Sevres. 
 Quelques idees d'un travailleur 
 sur le but d'utilite nationale de 
 la manufacture de Sevres, lues a 
 la Commission de F Industrie 
 Porcelainiere, 9 Avril, 1848, par 
 Schilt pere, artiste-peintre de la 
 Manuf. Nationale. 8, pp. 16 
 ( authogr aphed) . 
 
 " To Mr. E. de Girardin, in answer to 
 the idea he has expressed of closing the 
 model manufactories of Sevres, Gobelins, 
 and Beauvais. A few remarks presented 
 
 by an art-worker upon the necessity of 
 maintaining the manufactory of Sevres as 
 a national establishment. Read before 
 the Commission of the Porcelain Industry, 
 April, 1848." 
 
 - Le dessinateur de porcelain. 
 Ouvrage d'ornements meles de 
 fleurs et destine, non seulement 
 aux porcelainiers, mais aussi a 
 tous les fabric ants d' articles de 
 gout. S.I., n.d. 18 litho. pis. 
 
 " The porcelain designer. Ornamenta- 
 tion combined with flowers. Intended 
 not only for china painters but also for 
 all makers of fancy articles." 
 
 Louis Pierre Schilt, artist at the Royal Manu- 
 factory of Sevres, was one of the best flower 
 painters of his time ; he left a son, Abel Schilt, 
 also attached to the same establishment, who 
 painted figure-subjects with great talent. 
 
 SCHIO(G.da). Sopra un vaso etrusco. 
 Vicenzia, 1845. 
 
 " Upon an Etruscan vase." 
 
 SCHIRCK (Carl). Ueber einige Bezie- 
 hungen der k. k. majolika-Ges- 
 chirrfabrik in Holitsch (Ungarn) 
 zu den verwandten Fabriken 
 Mahrens. Briinn, 1896. 4, pp. 
 12. (Reprint from the Mitihei- 
 lungen des Mahrischen Gewerbe- 
 Museum.} 
 
 " Upon the connection that existed 
 between the faience factory of Holitsch, 
 in Hungary, and the factory carried on 
 at Meran." 
 
 Established in 1743, the faience works of 
 Holitsch never attained any importance. The 
 manufacture of English earthenware was intro- 
 duced in 1786 without yielding a much better 
 result. From the documents preserved in Vienna 
 can be traced the connection that existed be- 
 tween this and the minor factories of the pro- 
 vince up to 1827. 
 
 Zur Geschichte der Znaimer 
 Thon Industrie. Brunn, 1899. 
 4, pp. 24. (From the Mitthei- 
 lungen, etc.) 
 
 " On the history of the ceramic industry 
 at Znaim." 
 
 Znaim has been one of the largest centres of 
 production of common pottery in Austria. A 
 special school for the ceramic industry has been 
 established in the town by the Austrian Govern- 
 ment. 
 
 379 
 
SCH] 
 
 CtiHA At 1C LIT tili A TURti. 
 
 [SCH 
 
 SCHIRCK (Carl). Die K. K. Majolica 
 Geschirrfabrik in Holitsch. 
 Materialien zu ihrer Geschichte. 
 Brunn, 1905. 4; with 2 col. pis. 
 and 33 text illustrs. Privately 
 printed. 40 m. 
 
 " The I. and R. manufactory of 
 majolica vessels in Holitsch. Materials 
 towards its history/' 
 
 An amplification of the notice described above. 
 
 SCHLESINGER (T.). Der Bau der Zie- 
 gelbrennofen. Vollstandige An- 
 leitung zur Erbauung der gang- 
 fa arsten Oefen zum Abbrennen 
 aller Arten Mauer-und-Dach- 
 ziegel Drainsrohren u. s. w. 
 . . . Nebst einer ausfiihrlichen 
 Beschreibung und Darstellung 
 der neuen und patentiren Ring- 
 ofen mit immerwahrendem Be- 
 triebe, von Hoffmann & Licht. 
 Berlin, 1866. 4, pp. 51 ; with 
 10 engr. pis. and illustrs. 5 m. 
 
 " The construction of brick and tile 
 ovens. Complete instructions for build- 
 ing the most practical ovens for firing 
 wall- and roofing-tiles, drain-pipes, etc. 
 Together with the accurate description 
 and representation of the new patent 
 oven for continuous firing invented by 
 Hoffmann & Licht." 
 
 SCHLESTED (F.). - - Jydepotteindus- 
 trien. Kjobenhavn, 1881. 8, 
 pp. 25 ; with illustrs. 
 
 " The manufacture of black pottery in 
 Jutland." 
 
 SCHLIEDER (Sophie-Louise). Die ma- 
 
 j olika-Malerei. Anleitung fur den 
 Selbst-Unterricht. Berlin, 1886. 
 8, pp. 31 ; with 6 pis. in photo- 
 type and 4 pis. of outlines. 3 m. 
 
 " Majolica painting. Instructions for 
 self-teaching." 
 
 SCHLIEMANN (Heinrich). Trojanische 
 Alterthiimer. Bericht iiber die 
 Ausgrabungen in Troja. Leip- 
 zig, Brockhaus, 1874. 8; with 
 a 4 atlas of 217 photogr. pis. 
 380 
 
 Troy and its remains ; a 
 narrative of researches and dis- 
 coveries made on the site of 
 Ilium and in the Trojan plain ; 
 edited by Ph. Smith. London, 
 Murray, 1875. 8; with 52 pis. 
 and 300 illustrs. 1, 10s. 
 
 - Ilias ; the city and country 
 of the Trojans. The result of 
 researches and discoveries on 
 the site of Troy, 1871-79. Lon- 
 don, 1880. 8; with maps, plans, 
 and 1,800 illustrs. 
 
 Mycenae ; a narrative of 
 researches and discoveries at 
 Mycenae and Tiryns. With a 
 preface by W. E. Gladstone. 
 London, 1878. 8; with maps, 
 plans, and 700 illustrs. 
 
 'Tiryns. The prehistoric pal- 
 ace of the Kings of Tiryns. The 
 result of the latest excavations. 
 London, 1880. 8; with maps, 
 plans, 24 chromolith. pis., and 
 188 illustrs. 
 
 Troja ; results of the latest 
 researches and discoveries on the 
 site of Homer's Troy. With pre- 
 face by A. H. Sayce. London, 
 1884. 8; maps and 150 illustrs. 
 
 We cannot attempt to analyse the learned 
 works of Dr. H. Schliemann. All we can say is 
 that they form an indispensable complement to 
 the ceramic library. The vases, figures, and 
 other objects of terra-cotta described and illus- 
 trated in each volume were discovered on the 
 presumable site of the Greek cities, of which the 
 Homeric tradition had preserved the name. They 
 belong consequently to a remote period of anti- 
 quity, unrepresented in our museums by any 
 examples of pottery of a corresponding age, until 
 Dr. Schliemann's wonderful discoveries supplied 
 to the archaeologist a host of materials toward 
 the study of the primitive periods of Greek 
 civilisation. 
 
 SCHMATOLLA (E.). Die Brennofen fur 
 Thonwaaren, Kalk, u. s. w. mit 
 besondere Beriicksichtigen der 
 Gasbrennofen. Hannover, 1903. 
 8, pp. 151 ; with illustrs. 5 m. 
 
 Describes the system of gas-firing invented by 
 the author. 
 
SCH] 
 
 CERAMIC LITERATURE. 
 
 [SCH 
 
 SCHMID (W. M.), Moderne Gesichts- 
 urnen. Munchen, 1896. 8, pp. 
 
 8 ; with 8 illustrs. 
 
 " Modern pots with a human face." 
 
 The small pots with human features roughly 
 carved on the front, common to all times and to 
 all countries, are particularly numerous in Ger- 
 many. From the Roman to the mediaeval ex- 
 amples there is hardly any noticeable modifica- 
 tion ; the original type has lingered almost up to 
 the present day. Filled with grains of three 
 kinds, they formed a votive offering presented 
 to the church by persons hoping to obtain a 
 favour from the patron saint. The writer refers 
 us to a previous and more important essay on 
 the subject published by Undset in the twenty- 
 second vol. of the Zeitschrift fur Ethnologic. 
 
 SCHMIDT (Alex.). Bin Verzeichniss 
 von Vorlage-Werken fur decora- 
 tive Malerei und Bildhauerei 
 von keramischen Gesichtspunkte 
 aus betrachtet und besprocken. 
 1885. Part I. 8, pp. 47. 
 
 " A list of the works containing models 
 for the decorative arts and architecture, 
 considered and described from a ceramic 
 point of view." 
 
 - Die Keramik auf der pariser 
 Welt-Ausstellung, 1878. Berlin, 
 1880. 8, pp. 254. 
 
 " Ceramics at the Paris International 
 Exhibition in 1878." 
 
 SCHMIDT (G. H.). Die Fabrication 
 der fur die Glasmalerei, Email- 
 malerei, und Porcellanmalerei 
 geeigneten Farben. Weimar, 
 Voigt, 1880. 8, pp. 140 ; with 
 
 9 illustrs. 4th ed., revised by M. 
 Miiller. 3 m. 
 
 " The manufacture of colours for paint- 
 ing on glass, enamel, and porcelain." 
 
 SCHMIDT (Giovanni). --Tre mattoni 
 dipinti di Urbisaglia. Roma, 
 1880. 8, pp. 15 ; with 1 fold, 
 pi. (Reprint from the Annali 
 deir Institute archeologico.) 
 
 " Three painted bricks found at Urbi- 
 saglia." 
 
 A description of Roman bricks painted with 
 figures of Jupiter, Minerva, and Victory. 
 
 SCHMIDT (L). - - Visita di Priamo 
 presso Achille, discorso di L. 
 
 Schmidt. Roma, 1849. 8, pp. 
 17 ; with 2 fold. pis. 
 
 "The meeting of Priam with Achilles." 
 
 Description of an amphora of Ruvo in the 
 Campana Museum, already described by Miner- 
 vini. 
 
 SCHMIEDER Ueber die Murrinen. 
 Brieg, 1830. Sm. 4, pp. 19. 
 
 " On the Murrhine vases." 
 
 The writer comes to the conclusion that they 
 were Egyptian porcelain. 
 
 SCHMITZ (R. F. L). Grundzuge zur 
 Geschichte der Koniglich-bayer- 
 ischen-Porzellan-Manufactur zu 
 Nymphenburg. S.I., 1819. 8, 
 pp. 40. 
 
 " Sketch of the history of the Royal 
 porcelain manufacture of Bavaria, at 
 Nymphenburg." 
 
 SCHMITZ (Yicaire). Gres limbourgeois 
 de Raeren. Bruxelles, 1879-80. 
 Ten separate pamphlets of, to- 
 gether, 217 pp. 8, issued with- 
 out a general title. (Reprint 
 from the Bulletin de la Com- 
 mission Roy ale d'Art d'Archeo- 
 logie.) 
 
 " The Limbourg stoneware of Raeren." 
 
 While the question of the origin of the em- 
 bossed white stoneware had been satisfactorily 
 settled by the researches made by Canon Dorn- 
 busch in the town of Siegburg, the place of 
 manufacture of the brown variety of the same 
 ware still remained uncertain. A large vase, 
 bearing the inscription, MADE IN ROREN, was 
 considered as offering a sure clue towards the 
 solution of the problem. But the inscription had 
 perplexed rather than assisted, for a length of 
 time, the antiquaries who had attempted to give 
 a correct interpretation of the word Roren. Many 
 an extravagant speculation had been hazarded 
 on its probable signification ; many a village, 
 the name of which presented some similitude with 
 that of Roren, had been searched, but in vain, 
 for traces of its possible connection with the 
 manufacture of brown stoneware. Dornbusch 
 was the first to turn his attention towards Raeren 
 in Limbourg, and he asked his friend, Abbe 
 Schmitz, the vicar of the parish, to set on foot 
 some preliminary inquiries. His correspondent 
 was at once confronted with such a mass of over- 
 whelming evidence that the village had once been 
 the site of an important centre of manufacture, 
 the productions of which had nothing in common 
 with those of Siegburg, that from that moment 
 all uncertainty came to an end. The fascinating 
 labour of directing the excavations, which were 
 at once undertaken by the peasants themselves, 
 
 381 
 
SCH] 
 
 CERAMIC LITERATURE. 
 
 [SCH 
 
 fell, of course, to the care of Vicar Schmitz, who 
 happened to have a taste for archaeological pur- 
 suits. President Schuermans gave him his 
 learned assistance in preparing the papers in 
 which the result of these excavations were duly 
 registered. The extemporised historian of the 
 Raeren departed industry stood much in want 
 of the friendly collaboration of the erudite 
 President ; the guiding spirit of the latter is 
 unmistakably present all through the work. It 
 is obvious that the worthy vicar was not very 
 conversant with the general history of the pro- 
 vince. Attached to his village by his pastoral 
 duties, he could not avail himself of the docu- 
 ments to be consulted in the public libraries and 
 museums ; he had, therefore, to depend chiefly 
 upon the results of the informal and homely 
 inquest he held in his own parish. His visita- 
 tions from house-to-house were, however, by no 
 means unfruitful. Old deeds and parchments 
 turned up from family archives, full of valuable 
 memorials of the ancient potters and of their 
 descendants. His most singular discoveries were 
 not the least important ones. He tells us, for 
 instance, how he came by a copy of the first 
 regulations of the craft, which he found lining 
 the bottom of an old hat. Gradually, he suc- 
 ceeded in eliciting from certain old inhabitants 
 fragmentary recollections of the customs of the 
 trade, fast vanishing remnants of a tradition 
 once alive in the place. .All this was embodied, 
 just as it came to hand, in a series of ten letters 
 addressed to the President of the Royal Society 
 of Archaeology of Belgium. Under these condi- 
 tions his papers could not be more than a succes- 
 sion of notes and materials somewhat desultory 
 in their arrangement, but they have the merit 
 of having been drawn from original sources. 
 Much has still to be done before the annals of 
 the artistic industry of Raeren are completely 
 reconstituted, but in the letters of Vicar Schmitz 
 will be found the elements of an excellent mono- 
 graph of the small town which has been in- 
 dubitably the birth-place of the brown stoneware. 
 A translation, in German, of the " Gres lim- 
 bourgeois de Raeren " was given by Th. Holtz- 
 schneider in the periodical Niederrhein, 1884. 
 
 SCHNEIDER (F. J.). Die zwolf Kampfe 
 der Herakles in der alteren 
 griechischen Kunst. Leipzig., 
 1888. 
 
 " The twelve works of Hercules in the 
 ancient Greek art." 
 
 SCHNEIDER (R.) Allgemeine Anweis- 
 ungen fur den Bau und den 
 Betrieb der Regenerati v-Gasof en. 
 S.I., 1886. 8. 1 m. 
 
 " General directions for the construction 
 and management of regenerative gas- 
 ovens." 
 
 SCHNURPFEIL (H.) Die Tonindustrie 
 im Glashuttenbetriebe. Berlin., 
 
 382 
 
 Tonindustrie Zeitung, 1908. Sq. 
 8, pp. v-208 ; with 106 illustrs. 
 5 m. 
 
 " The potting industry in connection 
 with the manufacture of glass." 
 
 Treats of the bricks, kilns, crucibles, and 
 other clay vessels and accessories employed by 
 the glass manufacturer. 
 
 SCHNUTGEN (Cannon). Diisseldorf, 
 
 1902. Kunsthistorische Ausstel- 
 lung Illustrirter Katalog. Diissel- 
 dorf, 1902. 8, pp. 195 ; with 
 100 illustrs. 3m. 
 
 The finest collections of Germany were 
 worthily represented in the Exhibition. Cer- 
 amics : 5 pis. 
 
 SCHOLSCHER (Y.). Bernard Palissy. 
 Paris, 1854. 32, pp. 32. (Re- 
 print from La Revue de Paris.} 
 
 In the estimation of Mr. Victor Schoelscher, 
 an ardent radical and republican writer of some 
 note, Palissy stands as the ideal image of the high- 
 minded proletaire in open revolt against tyranny 
 and injustice. To unravel the trials and suffer- 
 ings of the victim of odious monarchy is, for the 
 writer, a legitimate way of furthering the ad- 
 vance of democratic principles. The opening 
 sentences will prepare the reader for the rest of 
 the article. They begin with a diatribe upon the 
 character of Francis I., denounced as an unduti- 
 ful king, who summoned to his Court artists from 
 Italy and other foreign countries, but refused 
 his patronage to the men of genius born in his 
 own land. Then, the crimes of the Valois, the 
 infamy of Catherine de Medicis, are expediently 
 brought in and duly stigmatised. From this we 
 pass to the iniquities of the Second Empire, ex- 
 posed with as much acrimony as the official cen- 
 sure of the time could have permitted to appear 
 in print. The Government of Napoleon III. is 
 accused of having, " with its wonted brutality," 
 broken and dispersed the tiles of the Ecouen 
 pavement " the finest work of Palissy " " for 
 the sake of introducing in the centre of the 
 graceful arabesques of the old potter, an insolent 
 N, surmounted with the Imperial crown." In 
 this instance, as in many others, Mr. Schoelscher 
 was absolutely misinformed. Far from destroy- 
 ing the few odd tiles still showing traces of a 
 much worn-out painted ornamentation, the 
 architect of Ecouen Castle had them carefully 
 gathered and deposited in the Louvre and other 
 Museums. Moreover, the pavement was not 
 made by Palissy, but by Abaquesne, of Rouen, 
 whose name it bears. The rest of the tale lays 
 special stress upon all the parts of the Palissy 
 legend that a scrupulous examination has proved 
 unworthy of belief. As a socialistic tract the 
 notice may have had its merits ; as a biography 
 of the French potter, it is worse than useless. 
 
 SCHONADER (N.). Praktische Dar- 
 
SCH] 
 
 CERAMIC LITERATURE. 
 
 [SCH 
 
 stellung der Ziegelhiittenkunde. 
 Salzburg,, 1815. 
 
 " Practical tile making." 
 
 SCHONE (R.). - - Griechische Reliefs 
 aus athenischen Sammlungen. 
 Leipzig, Breitkopf, 1872. Sm. 
 fol., pp. 70 ; with 37 lith. pis. 
 12m. 
 
 " Greek bas-reliefs from the collections 
 of Athens." 
 
 Greek terra-cottas are represented by 8 pis. 
 in outline. 
 
 - Ueber einige eingeritzte In- 
 schriften griechischen Thonge- 
 fasse. S.d. 4, pp. 13. 
 
 " On some inscriptions incised upon 
 Greek earthen vessels." 
 
 Tituli Vasis fictilibus in- 
 scripti. S.I., n.d. Sm. fol., pp. 
 64 ; with 1 pi. of forms and 6 
 pis. of graffiti inscriptions. (Ex- 
 tr. from the Corpus inscript.) 
 " Inscriptions incised on the fictile 
 
 vases. 
 
 - Le antichita del Museo Bocchi 
 diAdria. .Roma, 1878. Sm. fol., 
 pp. 176 ; with 21 pis. 16 fcs. 
 
 " The antiquities of the Bocchi Museum 
 at Adria." 
 
 This collection was begun near the end of the 
 eighteenth century by F. G. Bocchi, and con- 
 tinued by his son and grandson. It consisted of 
 antiquities discovered at Adria, mostly Greek 
 vases of the best period, but more or less broken, 
 and a few terra-cottas. 
 
 SCHONENWALD. Muster Sammlung 
 von Kaehelofen. Fabrik in 
 Linden. Imp. 4. S.I., n.d. 
 (recent) ; with 11 pis. 
 
 " Collection of models of earthenware 
 stoves manufactured at Linden by 
 Schonenwald." 
 
 SCHOMBERG (Collection Comte de). Paris, 
 
 1886. Sm. 4, pp. 28 ; with text 
 illustrs. 
 
 Catalogue of sale. German faience and 
 Italian majolica. Early stoneware. Sevres 
 porcelaines, etc. 
 
 SCHOOLCRAFT (H. R.). Notices of some 
 antique earthen vessels found in 
 the low tumuli of Florida. New 
 York, 1847. 8; 2 pis. 
 
 SCHOPER (Hartman). - - Eygentliche 
 
 Beschreibung . . . aller 
 Kiinsten, Handwerken und 
 Handlen, . . . etc. Frankfurt 
 am Mayn, 1568. Printed by 
 Feyerabend. Sm. 8; with 114 
 woodcuts by Jost Amman. The 
 Latin edition published in the 
 same year under the title, 
 Omnium mechanicarum aut se- 
 dentariarum artium, . . . etc., 
 has 132 woodcuts. Other edi- 
 tions, in German and in Latin, 
 appeared in 1574. Copies sell at 
 from 5 to 12. 
 
 " An accurate description of all the 
 arts, crafts, and trades . . ." 
 
 SCHOPIN (Ellgtoe). Exposition uni- 
 verselle de 1878. Notice sur les 
 faiences dites Barbotines. E. 
 Schopin a Montigny-sur-Loing 
 (Seine et Marne). Paris, imp. 
 Quantin, 1878. Pp. 16; with 
 2 views of the works. 
 
 " Notice of the faiences known as Bar- 
 botines, exhibited by E. Schopin." 
 
 Great as had been the success of the new pro- 
 cess of faience painting in impasto colours, its 
 vogue was of very short duration. Its likeness 
 to oil painting having been at first considered as 
 a great merit, caused it to be soon neglected as 
 inappropriate for ceramic decoration. 
 
 SCHORN (0, YOn). Persisch-Rodische 
 Fayence-Teller. Niirnberg, 1883. 
 Sm. 4, pp. 6 ; with 15 col. pis. 
 10m. 
 
 " Dishes of Persian and Ehodian 
 faience." 
 
 Reprinted from Kunst und Gerwerbe, an art 
 journal published by the Bavarian Museum of 
 Industrial Art at Nuremberg. 
 
 Die Kunsterzeugnisse aus 
 Thon und Glas. Eine Ueber- 
 sicht ihrer technischen und 
 kunstlerischen Entwickelung 
 
 383 
 
SCH] 
 
 CERAMIC LITERATURE. 
 
 [SCH 
 
 von friihen Mittelalter bis zur 
 Gegenwart. Leipzig, Freytag, 
 1888. 12, pp. 216 ; with 128 
 illustrs. 3 m. 
 
 " Art works in clay and glass. A 
 glance at their technical and artistic 
 development from early middle-ages to 
 the present day." 
 
 A well compiled handbook. The illustrations 
 are taken from the standard books on ceramics, 
 and reproduced by the phototype process. 
 
 SCHREIBER (Lady Charlotte). Catalogue 
 
 of English porcelain, earthen- 
 ware, enamels, etc., collected by 
 Charles Schreiber, Esq., and the 
 Lady Charlotte Schreiber, and 
 presented to the South Kensing- 
 ton Museum in 1884. London, 
 1885. 8, pp. 224 ; with 2 por- 
 traits and 8 pp. of marks. 2s. 
 One of the South Kensington 
 Museum handbooks. 
 
 If we are enabled to study the origin and pro- 
 gress of the chief pottery and porcelain manu- 
 factories of England, without leaving the galleries 
 of the South Kensington Museum, if we can 
 illustrate the successive phases of their history 
 by an almost unbroken series of well-selected 
 and most telling examples of their work, we owe 
 it in the first instance to the untiring exertions 
 of a passionate and enlightened collector who 
 never spared either trouble or expense in the 
 prosecution of her pursuit, and, lastly, to the 
 liberality with which the noble Lady presented 
 to the nation, during her lifetime, her matchless 
 collection. 
 
 National museums cannot, as a rule, afford to 
 bring the illustration of any particular branch of 
 art to approximative completeness ; their duty 
 is to work in very different directions, and to 
 satisfy a variety of equally pressing require- 
 ments. This being considered, we do not think 
 that any public institution could possibly have 
 accomplished in the regular course of its 
 gradual extension what has been so remark- 
 ably achieved by a private collector. No one 
 could ever have succeeded in assembling such a 
 large and representative collection of English 
 pottery and porcelain at their best periods as 
 Lady Charlotte Schreiber had found the means 
 of bringing together. 
 
 This catalogue, indispensable for the study of 
 the history of ceramic art in England, was most 
 carefxilly prepared by Lady Schreiber herself, 
 who has added to an accurate description of the 
 objects many valuable annotations of historical 
 interest. Curiously enough, the MS. " Day- 
 Book," in which the place and date of purchase, 
 the price paid for each specimen, together with 
 other interesting particulars, were carefully 
 entered, did not go with the gift of the collection, 
 but was especially bequeathed to Sir A. Wol- 
 laston Franks. 
 
 384 
 
 SCHREIBER (T,).H mito di Dolone. 
 Roma, 1875. 8, pp. 29 ; with 
 fold. pis. 
 
 Sul mito di Troilo. Roma, 
 
 1875. 8, pp. 25 ; with fold. pi. 
 
 - Due vasi attici. Roma, 1876. 
 8, pp. 16 ; with fold. pis. (Re- 
 prints from the Annali di cor. 
 arch.) 
 
 SCHRICKER (A.), Strassburger 
 Fayence und Porzellan, und die 
 Familie Hannong, 1710-1780. 
 4, pp. 10 ; with 7 illustrs. (In 
 W estdeutsches Gewerbeblatt.) 
 Diisseldorf, 1891. 
 
 " The Strasburg Faience and Porcelain, 
 and the Hannong family." 
 
 SCHRiJTER (H. R.) und LOT (Fr, G. C.) - 
 Friderico - Francisceum, Gross- 
 herzogl. Alterthumer-Samm- 
 lung aus der altgermanischen 
 und slavischen Zeit Mecklen- 
 burgs, zu Ludwigslust. Leipzig, 
 1837. 8; with an atlas fol. of 
 37 lith. pis. 50 m. 
 
 " The Grand Ducal collection of objects 
 from the early German and Slav periods 
 in Mecklenburg, at Ludwigslust." 
 
 SCHROTER. The trade of the Pro- 
 vince of Kwang-si and of the 
 City of Woo-Chow, etc. (A 
 translation from the Chinese.) 
 Hong-Kong, 1886. 8. 
 
 This article forms the appendix to the work 
 Bericht iiber eine Reise nach Kwang-si. It has 
 also been published in a separate form. 
 
 SCHTSCHUKIN (P, J.) und FEDOROFF (E. W.). 
 Verzeichniss von Alterthum- 
 ern der Sammlung P. J. Schts- 
 chukin. Mos Icaw, 1895-96. Two 
 parts. 4 ; with 27 photogr. pis. 
 4, 10s. 
 
 " Catalogue of the collection of anti- 
 quities in the possession of P.J.S." 
 
 Part I. Drinking vessels, cups, glass, stone- 
 ware jugs, etc. Part II. Porcelain figures, 
 plates, and dishes, tea and coffee services, etc. 
 
SCH] 
 
 CERAMIC LITERATURE. 
 
 [SCH 
 
 SCHUBLERN (J. J.). Niitzliche Vor- 
 stellung und deutlicher Unter- 
 richt von Zierlichen bequemen 
 und Holz esparenden Stiiben- 
 Oefen, etc. Niirnberg, 1728. 
 Sm. fol., pp. 42 ; with front, and 
 24 engr. pis. 20 m. 
 
 " Useful representation and clear ex- 
 planation of some ornamental, serviceable, 
 and wood-saving stoves, etc." 
 
 Rich and elegant stoves in the style of the 
 period. Although the material is not indicated, 
 it is plain that most of the sketches were intended 
 to be executed in white faience. The text relates 
 only to the construction and disposition of the 
 fireplace and of the flues. 
 
 SCHUBRING (P.).-Luca della Robbia 
 und seine Familie. Leipzig, 
 Verhagen & Klasing, 1905. 8, 
 pp. 155 ; with 172 illustrs. (some 
 col.). 4 m. 
 
 " Luca della Robbia and his family." 
 
 SCHUCKHARDT (C.). Schliemann's 
 Ausgrabungen in Troja, Tiryns, 
 Mykena, etc., im Lichte der 
 heutigen Wissenschaft. Leipzig, 
 1891. 8, pp. 405; with 321 
 illustrs. 6 m. 
 
 " The excavations of Schliemann in 
 Troy, Tiryns, Mycenae, etc., in the light 
 of our present knowledge." 
 
 SCHUERMANS (H.). Exploration de 
 quelques tumulus de la Hesbaye. 
 Bruxelles, 1863-66. 8, pp. 563 ; 
 with 35 pis. (some Celtic and 
 Roman pottery). 10 fcs. 
 
 " Exploration of some of the tumili of 
 Hesbaye." 
 
 - Sigles figulins. (Epoque rom- 
 aine.) Bruxelles, 1867. 8, pp. 
 296. 6 fcs. 
 
 " Potters' marks. Roman period." 
 
 When a Greek potter had completed the vase 
 which he knew would be admired by the con- 
 noisseur, proud of his work, he inscribed it with 
 his name. It was in a very different spirit that 
 the Roman figulus affixed his mark to his pro- 
 ductions. He worked for the million. His ware, 
 mostly household vessels of simple and practical 
 shapes, was manufactured on a thoroughly in- 
 dustrial method. It was exported in enormous 
 quantity into distant lands, and large stocks of 
 it were accumulated in the emporiums of the 
 or. 
 
 foreign cities ; it was necessary, for the con- 
 venience of the trade, that the ware of one maker 
 could be easily distinguished from that of another. 
 So each of them adopted a distinctive mark. 
 This is no longer a signature, as in the case of the 
 Greek potter, but a mere commercial stamp ; the 
 work does not commend itself as coming from 
 the hand of a noted craftsman, but from his 
 manufactory, EX OFFICINA. A constant atten- 
 tion to methodical and reliable means of fabri- 
 cation, and to cheapness combined with good 
 quality, is noticeable in all the productions of 
 the Romans. Even in the case of the red 
 Arethian ware, the embossed subjects of which 
 denote often the refined design of some Greek 
 artist, we find the same commercial considera- 
 tions evinced by a numberless repetition of the 
 same model. An original work, bearing the 
 impress of the personality of its maker, is seldom, 
 if ever, found in the Roman pottery. 
 
 In all parts of Europe where Roman civilisa- 
 tion had penetrated, the potter had set up his 
 workshop and his kiln, and the custom of stamp- 
 ing the ware with the name of the maker was 
 adhered to as a matter of importance. All 
 attempts to collect a complete list of the 
 names and marks impressed on the Roman 
 pottery had, so far, been no more than insuffi- 
 cient compilations ; by putting under contribu- 
 tion a larger number of museum catalogues and 
 works on Roman antiquities, Mr. Schuermans 
 has succeeded in bringing together over six 
 thousand marks ; more than double the number 
 that had been recorded before in any book of 
 the same order. 
 
 Satisfactory as had been the result of his 
 researches, the author tells us, in the preface, 
 that while his MS. was in the press fresh mat- 
 erials have accumulated in such profusion that 
 he forsees the necessity of publishing, at a later 
 date, a supplementary list which may be as im- 
 portant as the first one. 
 
 Gres, dits flamands, fabriques 
 pour Liege. Liege, 1880. 8, pp. 
 16. (Reprint from the Bulletin 
 de VInstitut arch. Liegois.} 
 
 " The so-called ' Flemish stoneware ; ' 
 the ware manufactured for the Liege 
 market." 
 
 Les Grks-cerames aux Ex- 
 positions de 1880. Bruxelles et 
 Diisseldorf. Lttge, 1880. 8, 
 pp. 26. (Reprint from the same 
 Bulletin. ) 
 
 " The ancient stoneware at the Exhibi- 
 tions of Brussels and Diisseldorf, in 1880." 
 
 Gres-flamands limbourgeois 
 etliegeois. Bruxelles, 1881. 8, 
 pp. 41 ; with 3 pis. (Reprint 
 from the same Bulletin.) 
 
 " Flemish stoneware from Limbourg 
 and Liege." 
 
 385 
 
SCH] 
 
 CERAMIC LITERATURE. 
 
 SCHUERMANS (H.). Les poteries de 
 Raeren aux armes des Gouver- 
 neurs et des nobles du Limbourg. 
 Ruremonde, 1881. 8, pp. 15. 
 
 " The Raeren pottery, stamped with 
 the arms of the Governors and noblemen 
 of Limburg." 
 
 Gres limbourgeois de Raeren. 
 
 Paysans de Raeren. Ruremonde, 
 1882. 8, pp. 16. 
 
 " The Limburg stoneware. The peas- 
 ants of Raeren." 
 
 - Medallions ceramiques de la 
 famille d' Orange-Nassau. 1881. 
 8, pp. 21. (Reprint from the 
 Revue de numismatique beige.) 
 
 " Ceramic medallions of the family 
 Orange-Nassau." 
 
 Gres cerames a armoiries 
 
 liegeoises. l e serie. Liege, 1883. 
 8, pp. 90. 
 
 - 2 e serie. Likge, 1886. 8, pp. 
 67 ; with 2 pis. (Reprint from 
 the Bulletin de Vlnst. Arch, 
 liegeois.) 
 
 11 The stoneware stamped with the arms 
 of Liege families." 
 
 Catalogue des collections de 
 
 gres cerames du Musee de Brux- 
 elles. Bruxelles, 1880. 12, pp. 
 54. 
 
 Catalogue of the stoneware exhibited in the 
 Brussels Museum (Musee de la Porte de Hall). 
 
 - Mille inscriptions des vases de 
 Gres dit flamands. Anvers,l885. 
 8, pp. 132. 5 fcs. 
 
 " One thousand inscriptions from the 
 vases of the (so-called) Flemish stoneware." 
 
 The high position that President Henri 
 Schuermans occupied, in Belgium as one of the 
 chief magistrates of the kingdom had never 
 made him forget that archaeology depended upon 
 him as one of the most erudite expounders of 
 antiquarian knowledge. All amateurs of ceramic 
 art in the Low-countries will always remember 
 with gratitude what his labours have done to 
 dispel the uncertainty which had so long pre- 
 vailed with regard to the origin of the brown 
 stoneware of Flanders and Germany. 
 
 Relinquishing, for a while, his cherished 
 
 386 
 
 studies on Roman antiquities, President Schuer- 
 mans turned his attention towards the prolific 
 excavations being carried on at Raeren, in the 
 once Flemish province of Limbourg, by which 
 the existence of a very important centre of pot- 
 tery manufacture had just been revealed. The 
 eventful course of investigations found in him 
 more than an interested and accurate recorder ; 
 he showed himself, in all the notes he published 
 on the matter, a dispassionate and impartial 
 historian. So much could scarcely be said of 
 many contemporary writers whose judgment 
 chanced to be warped by some personal discovery 
 of inconsiderately magnified importance, and 
 who sallied forth discanting upon German stone- 
 ware, insufficiently prepared for the task, and 
 often with little regard for the truth. As in- 
 defatigable as any historian bent on solving an 
 archaeological problem, Schuermans, more for- 
 tunate than many of them, obtained all the 
 enlightenment that he was in search of. He 
 had to examine a huge mass of documentary 
 evidence, and confront the information they 
 afforded with specimens brought to light from 
 day to day by the excavations, or those preserved 
 in the private and public collections. With the 
 assistance of Vicar Schmidt he found the civic 
 registers of Raeren full of references to the 
 families of the old craftsmen, and very curious 
 particulars concerning the trade and social con- 
 ditions of the potters were supplied to them by 
 private papers, account books, official deeds, 
 and correspondence in the possession of the 
 notable inhabitants of the village who had never 
 suspected they could possess any historical 
 interest. He was enabled to investigate the 
 records of the regular intercourse that had ex- 
 isted between the stoneware makers and the 
 wealthy merchants of many countries, the noble 
 families, and the religious orders of the province, 
 who had taken the Raeren industry under their 
 patronage. A deep knowledge of heraldry 
 assisted him in the identification of the coat-of- 
 arms embossed on the ware, and through his 
 intimate acquaintance with local history, he 
 succeeded in making out the true reading of 
 many a puzzling inscription. Not only did he 
 increase by many original additions the scanty 
 store of information previously obtained, but he 
 rectified the errors and inconsistencies that had 
 been too readily accepted by early collectors. 
 
 The outcome of his diligent investigations 
 was, from time to time, embodied in a paper 
 which appeared in the transactions of the anti- 
 quarian societies of Belgium. These papers 
 the titles of which have been given above con- 
 stitute a rich mine of materials towards the 
 history of the brown stoneware of Raeren. 
 
 In his last contribution to the subject, " Mille 
 inscriptions des vases de gres," President Schuer- 
 mans has condensed, as it were, the very essence 
 of his learning. It supplies an exhaustive list 
 of all the names, inscriptions, and marks found 
 upon the stoneware pieces exhibited in the chief 
 collections of Europe, or which have appeared 
 in the auction sales of the century. The in- 
 structive value of this large inventory lies chiefly 
 in the care with which an always pregnant and 
 relevant footnote has been introduced to com- 
 plete the description of a specimen of historical 
 importance. A more substantial store of refer- 
 ences is placed before us in the plain and lucid 
 
SCHJ 
 
 CERAMIC LITERATURE. 
 
 [SCH 
 
 form of these short annotations than could be 
 extracted from many volumes of speculative 
 dissertations. 
 
 SCHUERMANS (H.) et FET1S (F.). Ex- 
 position Rationale. IV e section: 
 Industries d'art en Belgique an- 
 terieures au xix e siecle. Classe 
 E. Ceramique. Catalogue officiel. 
 Bruxelles, 1880. 8; with fac- 
 simile of marks. 
 
 " Catalogue of the Belgian pottery and 
 porcelain in the retrospective section of 
 the Brussels Exhibition of 1880." 
 
 SCHULZ (H. W.). - - Die Amazonen 
 Vase von Ruvo, erklart und in 
 kunsthistorischen Beziehung be- 
 trachtet. Leipzig, 1851. Fol., 
 pp. iv-16 ; with 3 engr. pis. 
 10m. 
 
 " The Amazon vase from Ruvo, ex- 
 plained and considered in its bearings to 
 the history of art." 
 
 SCHULZE (E.). - - Beschreibung der 
 Vasensammlung des Fr. F. von 
 Leesen. Leipzig, 1871. 4, pp. 
 16 ; with 3 pis. 3 m. 
 
 " Description of the antique vases in 
 the possession of Fr. F. von Leesen." 
 
 A collection formed in Italy by the possessor 
 between the years 1852-1858. 
 
 De vasculo picto Amazonis 
 pugnam et inferiarum ritus re- 
 presentante. Oothce, 1870. 4, 
 pp. 12 ; 1 pi. 
 
 " A small painted vase representing the 
 combat of the Amazons." 
 
 SCHUMACHER (W.). Die Thonfabri- 
 cate. I. Allgemeine Keramik. 
 II. Die Thonfabrikate mit ein- 
 fachem Scherben, oder Fabrika- 
 tion der Terrakotten, des Sidero- 
 liths, des Irdengeschirrs, der 
 Bauermajolica, des Bunzlauer 
 Geschirrs, des Kochgesehirrs, 
 der modernen Majolica und der 
 Majolicaofen, der Fayence oder 
 italianischen Majolica, und der 
 Fayenceofen, sowie des Stein- 
 
 zeugs. Weimar, Voigt, 1884. 
 8, pp. xiv-468 ; with atlas 4 of 
 9 pis. 10 m. 
 
 " The earthenware goods : I. The cer- 
 amic art in general. II. The various 
 productions in pottery, or the manufac- 
 ture of terra-cotta, stoneware, ironstone 
 china, common pottery, Bunzlau ware, 
 cooking vessels, modern majolica and 
 majolica stoves, faience stoves, as well as 
 stoneware." 
 
 Wilken's work, Die Topferei, has been taken 
 as the ground work of this treatise, revised and 
 greatly increased by Schumacher. 
 
 - Die Poppelsdorfer Porzellan- 
 und-Steingut Fabrik von Lud- 
 wig Vessel in Bonn. . Ein Beitrag 
 zur Geschichte der rheinischen 
 Industrie. Bonn, 1888. 8, pp. 
 54 ; with 7 col. pis. 2nd ed. 
 3m. 
 
 ' ' The Poppelsdorf porcelain and earthen- 
 ware manufactory of L. Vessel at Bonn. 
 A contribution to the history of Rhenish 
 industry." 
 
 History tells us that Clemens Augustus, 
 Elector of Cologne, was a proud and ambitious 
 prince, always ready to foster the development 
 of any enterprise which should redound to the 
 greater glory of his name. A true Meccenas, he 
 welcomed the proposal he received from one 
 Raising, a pretended owner of a secret, to estab- 
 lish in the Electorate a porcelain manufactory 
 which would rival the most renowned establish- 
 ments of the kind. In the year 1755, practical 
 experiments were commenced in the Castle of 
 Poppelsdorf, situated close to the summer resi- 
 dence of the prince, and ample subsidies were 
 provided towards the necessary alterations of 
 the building and the cost of the preliminary 
 trials. Unfortunately, as had been the case in 
 other similar instances, the favour of a munificent 
 patron had been obtained under false pretences. 
 Raising was nothing better than a cunning ad- 
 venturer, who happened to have gained a little 
 experience as a potter. The man relied on the 
 discovery he had made in the locality of a fine 
 white clay which he believed could be employed 
 as a substitute for the one used at Meissen ; other- 
 wise, the secrets of porcelain-making which he 
 claimed to possess were absolutely unknown to 
 him. After a long course of abortive experi- 
 ments, all he had been able to produce with that 
 clay was ordinary earthenware glazed with lead. 
 The Elector was growing impatient, and Raising 
 was quite at his wit's end. At this juncture, a 
 relative of his who occupied a high situation at 
 Court, and whom he had personally interested 
 in the success of the venture, came to his assist- 
 ance. They consulted together, and concocted 
 a skilful plan which they felt sure would secure 
 for the Poppelsdorf Works the services of an 
 
 387 
 
SCH] 
 
 CERAMIC LITERATURE. 
 
 [SEG 
 
 efficient practical manager. Several candidates 
 offered themselves for the post, and the choice 
 fell upon a certain Zeschinger, who held the same 
 situation at the Fiirstenberg porcelain manufac- 
 tory. The man felt dissatisfied with the way in 
 which he had been treated by his employers, and 
 the confederates had no difficulty in persuading 
 him that a just reward for his abilities was 
 waiting for him at Poppelsdorf. A kidnapping 
 expedition was carefully planned. One night 
 the much-coveted manager left Fiirstenberg in a 
 close carriage, escorted by a party of armed men. 
 and sped away towards Bonn. But they had to 
 count with the police, who having learned of the 
 escape of Zeschinger, started in pursuit, overtook 
 the fugitives, and compelled them to return into 
 Brunswick territory. The disloyal manager was 
 thrown into prison, where he might have long 
 remained but for the intervention of the Elector 
 of Mayence, to whom he applied as one of his 
 born subjects. All hopes of making porcelain 
 were abandoned from that moment, and the con- 
 dition of the factory went from bad to worse. 
 Clemens Augustus withdrew all pecuniary assis- 
 tance, but he allowed Raising to continue, at his 
 own risks, the manufacture of faience and pot r 
 tery. The enterprise was henceforth conducted 
 as a private company. Fresh partners succeeded 
 the retiring partners, but all combinations proved 
 equally unsuccessful. At last, in 1825, Ludwig 
 Vessel, a merchant from Bonn, placed the works 
 upon a satisfactory footing. Under his manage- 
 ment, and that of his successors, the business 
 continued to improve, until the establishment 
 reached the highly prosperous conditions in 
 which it stands at the present day. It is only 
 since 1875, however, that the making of porce- 
 lain has been carried on at Poppelsdorf. 
 
 SCHUMACHER. Archaische Vasen aus 
 La Tolfa. Berlin, 1889. 8 ; 
 with 2 pis. (Reprint from the 
 Jahrbuch. ) 
 
 " Vases of archaic style found at La 
 Tolfa." 
 
 SCOTTI (A. A.). Illustrazione di un 
 vaso italo-greco dell museo di 
 Monsignor Archivescovo di Tar- 
 anto. Napoli, 1811. 4, pp. 
 116; with 2 fold. pis. 5 fcs. 
 
 " Description of an Italo-Greco vase in 
 the museum of Mgr. Archbishop of 
 Taranto." 
 
 A diffuse disquisition on the subjects repre- 
 sented upon an archaic vase with black figures. 
 
 SEBALD (H.). - - Ueber griechische 
 Vasen und deren Darstellungen. 
 Clausthal, 1867. 4. 1 m. 
 
 " Greek vases and the subjects repre- 
 sented upon them." 
 
 388 
 
 SEDILLE (P.). La terre cuite et la 
 terre emaillee dans la construc- 
 tion et la decoration ; confer- 
 ence de Mr. Paul Sedille au Con- 
 gres des Architectes frangais. 
 Paris, Morel, 1877. 8, pp. 19. 
 
 " Of the use of terra-cotta and enam- 
 elled earthenware in architectural building 
 and decoration ; read by Mr. P. S. at the 
 meeting of the Congress of French archi- 
 tects." 
 
 - Conference sur la ceramique 
 monumentale. Congres et con- 
 ferences du Palais du Trocadero. 
 Paris, imp. Nat., 1879. 8, pp. 
 22 ; with 2 illustrs. 
 
 " Lecture on ceramics applied to archi- 
 tectural decoration." 
 
 In both the above papers the lecturer ex- 
 presses his regret that bright colours should be 
 banished from modern architecture. " Our 
 eye," says he, " has been for so long accustomed 
 to rest only upon faint shades of grey, which are 
 nothing else but slight modifications of white, 
 that we feel shy of indulging in the display of an 
 harmonious gamut of brilliant tints. On that 
 account we deprive ourselves of enjoying the 
 rich and pleasant effects that could be obtained 
 by the introduction of polychrome faience ; if 
 only used with proper discrimination it should 
 play an important part in the external decora- 
 tion of all our buildings." 
 
 SEEMAN (Theodor). Die Kunst der 
 Etrusker, nach den Forschungen 
 unserere heutigen Wissenschaft. 
 Dresden, 1890. 8 ; photo-lith. 
 pi. 
 
 "The art of the Etruscans; from the 
 latest investigations of modern science." 
 
 SEGER (H. A.). Seger's gesammelte 
 Schriften, herausgegeben von Dr 
 H. Hecht und E. Cramer. Ber- 
 lin, 1896. Verlag der Thonin- 
 dustrie-Zeitung. 8, pp. xv-908. 
 Portr. 22 m. 
 
 " Complete works of Seger, published 
 by Dr. H. Hecht and E. Cramer." 
 
 Among the modern publications devoted to 
 the technics and the practice of the ceramic art, 
 the writings of Seger command the highest degree 
 of estimation. Most of them had appeared in the 
 Thonindustrie-Zeitimg, of which he was the chief 
 editor, and they were not easily obtainable in a 
 separate form. The number of essays and 
 treatises reprinted in this volume amounts to 
 
SEGJ 
 
 CERAMIC LITERATURE. 
 
 [SEM 
 
 99, not including the short articles and unfinished 
 papers given at the end. From 1878, to the 
 year of his death, Seger was attached to the 
 Royal Porcelain Factory of Berlin as director of 
 the laboratory of chemical research. 
 
 - Collected writings from Re- 
 cords of the Royal Porcelain 
 Factory at Berlin. Easton, Pa., 
 1902-03. 2 vols. 8. 3, 3s. 
 
 A translation from the German. As the 
 above volumes contain Seger's complete works, 
 we do not give separately the titles of the num- 
 erous papers which exist in pamphlet form. 
 
 SELER (Dr.)- Konigliche Museen zu 
 Berlin. Peruanische Alterthii- 
 mer, inbesondere altperuan- 
 ische Gefasse, und Gefasse der 
 Chibcha und der Tolima- und 
 Cauca-Stamme, goldschmuck, 
 etc, 64 folio-Tafeln, mit erlau- 
 terndem text von Dr. Seler. 
 Berlin, Dr. E. Mertens, 1893. 
 Fol. 120 m. 
 
 " Royal Museums of Berlin. Peruvian 
 antiquities; particularly the vessels of 
 ancient Peru, the vessels of Chibcha, and 
 those of the Tolima and Cauca tribes, 
 gold ornaments, etc." 
 
 The collection of Peruvian antiquities in the 
 Berlin Ethnographical Museum is the richest in 
 Europe. The museum published phototype re- 
 productions of the ancient pottery exhibited in 
 the gallery on the occasion of the Colombus Ex- 
 hibition in Madrid. Nearly one thousand speci- 
 mens are reproduced upon 60 plates in the 
 following order : Pis. 1 to 8, vases of Upper 
 Peru ; pis. 9 to 47, vases of the Peruvian Coasts ; 
 pi. 48, vases of the Kingdom of Quito ; pis. 49 
 to 53, vases of the Chibcha ; pis. 53 to 58, vases 
 from the Valleys of Cauca and Tolima ; pis. 59 
 and 60, fragments, etc.; and pis. 61 to 64, gold 
 ornaments. 
 
 A work of great ceramic interest ; the first 
 one entirely devoted to the study of a pottery to 
 which the amateurs of the last century gave a 
 passing attention, and collected for a time, 
 ranging its various styles under the name of 
 Buccaros. This pottery has since been allowed 
 to fall into oblivion, hardly any notice being 
 taken of the originality and beauty of its form, 
 and in many cases of the perfection of its work- 
 manship. The plates are accompanied with 
 explanatory notices written by Dr. Seler, assist- 
 ant director of the museum. 
 
 Alterthiimer aus Guatemala. 
 Berlin, 1895. Fol., pp. 30 ; with 
 104 illustrs., chiefly of pottery. 
 (Extr.) 5s. 
 
 ;: Antiquities from Guatemala." 
 
 - Die alten Ansiedelungen von 
 Chacula im Distrikte Neuton des 
 Departments Hurchetenago der 
 Republic Guatemala. Berlin, 
 Reimer, 1901. 4, pp. 213 ; 
 with 50 pis. and 282 text illustrs. 
 (some pottery). 40 m. 
 
 " The ancient settlement of Chacula, in 
 the Guatemala Republic." 
 
 SELIWAHOFF (A. I.). Porcelain and 
 Faience of the Russian Empire. 
 Descriptions of the factories, 
 with facsimile of marks. Wladi- 
 mir, 1903. 8. pp. vii-174 ; with 
 25 lith. pis. 7s. (In Russian.) 
 
 A supplement of 43 pp., with 6 additional 
 pis. of marks, appeared in 1904. 
 
 SELLIER (Ch.). Les curiosites du 
 vieux Montmartre. Les moulins 
 a vent. La porcelaine de Clig- 
 nancourt. Paris, 1898. 12, pp, 
 48. 2 fcs. 
 
 " The curiosities of old Montmartre. 
 The windmills. The Clignancourt por- 
 celain." 
 
 SELLIERE (Collection Baron A.). Cata- 
 logue of sale. Paris, 1890. 4, 
 pp. 108 ; with 40 pis. (9 of cer- 
 amics). 20 fcs. 
 
 Luca della Robbia and his school, Nos. 1-20 ; 
 Italian majolica, Nos. 21-85 ; fa'ience and stone- 
 ware, Nos. 86-186 ; Sevres porcelain, Nos. 374- 
 388 ; Dresden, Nos. 389-391 ; Oriental porce- 
 lain, Nos. 392-427. 
 
 SEMPER (G.). Wissenschaft, Indus- 
 trie und Kunst. Vorschlage zur 
 Anregung nationalen Kunst- 
 gefuhles bei dem Schlusse der 
 Londoner Industrie-Ausstellung. 
 Braunschweig, 1852. 8, pp. 76. 
 2m. 
 
 " Science, Industry, and Art. A sketch 
 on the best means- of stimulating the 
 national artistic feeling on the occasion 
 of the closing of the Industrial Exhibition 
 in London." 
 
 Obliged to leave Germany, where his ad- 
 vanced political opinions did not allow him to 
 stay in safety, Semper, the architect of the 
 Dresden theatre and other fine buildings in 
 Saxony, took refuge in London, just at the time 
 
 389 
 
LITERATURE. 
 
 [SHA 
 
 when the first International Exhibition was in 
 course of preparation. Prince Albert, with 
 whom he was thrown into communication, is 
 said to have entertained the highest considera- 
 tion for his scheme of improvement in the con- 
 ditions of industrial art, and to have often 
 listened to his advice regarding the best means 
 of fostering the advance of artistic education in 
 England. He advocated, above all, the forma- 
 tion of public collections, where artists and 
 craftsmen could look for inspiration at the finest 
 examples of ancient workmanship. His German 
 biographers assert that Sydenham Palace and 
 the South Kensington Museum were only the 
 realisation of schemes originally drawn by Sem- 
 per, and they claim for him the credit of having 
 been the father of our museums of industrial art. 
 
 SEMPER (G.).--Der Stil in den 
 technischen und tektonischen 
 Kiinsten, oder praktische ^Es- 
 thetik. Frankfurt a. M., 1860-63. 
 2 vols. 8; with 20 col. pis. and 
 364 illustrs. 36 m. 
 
 " On style in the technical and applied 
 arts, or practical aesthetics." 
 Ceramics, vol. ii., pp. 1-208. 
 
 SENFT (F.). Die Thonsubstanzen 
 (Kaolin, Thon, Lotz, Lehm, Let- 
 ten, und Mergel) nach Entste- 
 hungweise, Bestand, Eigen- 
 schaften, und Ablagerungsorten. 
 Berlin, 1879. 8, pp. 94. 3 m. 
 
 " The earthen materials (kaolin, potters' 
 clays and marl) ; their occurrence, con- 
 stitution, properties, and places of 
 extraction." 
 
 SEN-RIOU-SHY. 
 S.I., 1733. 
 illustrs. 
 
 - Rakouyaki-hinoo. 
 Pp. 64 ; with text 
 
 " The secrets of the Rakou pottery." 
 
 A copy of this work, which treats of the pro- 
 cesses of Japanese pottery manufacture from the 
 preparation of the clay to the construction of 
 the ovens, and the composition of glazes and 
 colours, is in the library of the " Ecole Orien- 
 tale," at Paris. 
 
 SERYANZI COLLIO (S.). Prospetto di 
 altare nella chiesa collegiata di 
 Monte Cassiano, provincia di 
 Macerata, stupendo lavoro dell 
 arte figulina, descritto. Camer- 
 ino, 1870. 8, pp. 32. 
 
 " View of an altar in the Collegiate 
 Church of Monte Cassiano, a splendid 
 work of the ceramic art." 
 390 
 
 It is an architectural structure in majolica, 
 partly white and partly coloured, standing 6 m. 
 54 cent, high and 3 m. 90 cent, broad. Figures 
 and subjects in relief complete this elaborate 
 monument, which bears the dates 1527-1532. 
 
 SEYFFER (Collection 
 1887. 4, pp. 
 6 m. 
 
 OttO). Stuttgart, 
 144 ; with 8 pis. 
 
 Catalogue of sale. 
 
 Ancient stoneware, Nos. 1-243 ; miscellan- 
 eous pottery, Nos. 244-280 ; majolica, Nos. 281- 
 329 ; porcelain, Nos. 330-405. 
 
 SHAW (Henry). Specimens of tile 
 pavements drawn from existing 
 authorities. London, Pickering, 
 1858. 4, pp. 18, not numbered, 
 and 47 pis. in colour. 1, 10s. 
 
 In publications of an earlier date the rude 
 tiles of mediaeval times had been reproduced by 
 a rough typographic process, and printed in red, 
 by means of a wooden form, upon yellow paper. 
 Chromolithography, no longer on its trial, was 
 resorted to in the preparation of this work, in 
 order that the proper colour of the examples and 
 the minute intricacies of a complicated tracery 
 could be adequately rendered. Formerly, the 
 tiles were reproduced as isolated specimens ; 
 Shaw gave representation of the whole scheme 
 of several important pavements, drawn with a 
 neatness and accuracy which denote the joint 
 work of a learned archaeologist and a skilful 
 designer. The book is made up, first, of two 
 special monographs ; the Jervaulx and the Chert- 
 sey Abbeys, with plates and historical notices ; 
 each of these monographs has also been issued 
 in a separate form. The rest is composed of 
 examples drawn from various sources in England 
 and on the Continent ; in all cases an arrange- 
 ment is given so as to show the pattern formed 
 by the combinations of several tiles. A short 
 historical introduction is prefixed to the plates. 
 It contains a reprint of a paper by W. Surges 
 which appeared in The BidMer, 1855. This fine 
 volume is worthy, in all points, of comparing 
 with the valued archaeological works with which 
 Shaw has associated his name. 
 
 SHAW (S.)- History of the Stafford- 
 shire Potteries, and the rise and 
 progress of the manufacture of 
 pottery and porcelain ; with re- 
 ference to genuine specimens and 
 notices of eminent potters. Han- 
 ley, 1829. 12, pp. 244. Printed 
 for the author. 1. Reprinted 
 by Scott & Greenwood. London, 
 1900. 12. 
 
 At the time when Simeon Shaw gave to the 
 inhabitants of the " Potteries " his unpreten- 
 tious account of the rise and development of the 
 staple industry of the district, the trade had just 
 
SHA] 
 
 CERA MIC LIT ERA TUBE. 
 
 [SHU 
 
 entered upon a period of comparative lull. For 
 more than a century the activity displayed in 
 an unswerving course of technical improvements, 
 and the ever-increasing prosperity which had 
 rewarded the efforts of the manufacturers, had 
 left no room for any other considerations but the 
 enjoyment of a well-deserved success, and a blind 
 confidence in the coming of a still more brilliant 
 future. Things were, however, beginning to 
 take a more quiet turn. People had, then, 
 enough leisure to cast a backward glance at the 
 accomplished journey, and to call to mind the 
 remembrance of its most glorious stages. The 
 " Potteries " men, when chatting together over 
 a glass at the ale house, were already alluding to 
 the past as " the good old times." Examples of 
 many a half-forgotten style of manufacture were 
 produced and examined with knowing curiosity. 
 Enoch Wood was forming the first collection of 
 Staffordshire ware. Shaw realised that the re- 
 collection of the departed masters and their 
 neglected methods, still alive in the place, had to 
 be gathered, while they were still fresh in old 
 people's memory. Ponderous tomes of country 
 histories had, it is true, been published, or were 
 being prepared by erudite compilers. But their 
 contents referred chiefly to ancient families, old 
 buildings, and obsolete customs ; and the doings 
 of the masters of the craft, as well aa the annals 
 of their trade had been overlooked everywhere. A 
 native of the Potteries, Shaw had, from his young 
 days, listened to many tales told by men whose 
 fathers and grandfathers had taken their share 
 in the development of the local industry. He 
 decided to write, for our benefit, the unpublished 
 chronicles of the potters' art in Staffordshire. It 
 was not, however, without some apprehension of 
 exciting criticism that he ventured to put into 
 print, as he says in the preface, " the gossiping 
 recollections of his friends and neighbours." As 
 might have been expected, the common place 
 talk of his days would, later on, constitute by far 
 the most interesting portion of the little volume. 
 If we set aside a few passages worded in a con- 
 fused and sometimes misleading form, the book 
 will always be a reference one for the student of 
 early Staffordshire pottery. All subsequent 
 writers on the subject have derived their infor- 
 mation chiefly from this modest volume, and 
 much is still to be learned from it. 
 
 Encouraged by the success he had as a local 
 historian, Shaw prepared and began the publi- 
 cation of a more important work : The History 
 of the Borough of Stoke - upon - Trent. But 
 pecuniary resources failed him after the eighth 
 monthly part had been issued. Subscribers were 
 not forthcoming in sufficient number, so, unable 
 to proceed with the printing, he had to accept 
 the offer of his collaborator, J. Ward, who took 
 upon himself all the risks of the enterprise, and 
 brought it successfully to an end under his own 
 name. 
 
 - The chemistry of the several 
 natural and artificial hetero- 
 genous compounds used in man- 
 ufacturing porcelain, glass, and 
 pottery, by Simeon Shaw, LL.D., 
 author of Nature Displayed, etc., 
 
 etc. London, printed by Lewis, 
 1837. 8, pp. 685 ; portrait. 
 1, 10s. Reprinted by Scott & 
 Greenwood. London, 1900. 8. 
 
 A practical potter will not find much to praise 
 in this voluminous tome, for the preparation of 
 which all the treatises of chemistry available at 
 the time seem to have been put under contribu- 
 tion. Desultory quotations, accompanied by 
 the writer's personal remarks, succeed one an- 
 other in an undigested and indigestible chaos of 
 scientific formulas and empirical recipes, as un- 
 intelligible to the student of the theory of the 
 art as they are useless to the practical potter. 
 The work ends with a lengthy nomenclature of 
 natural elements, so strangely arranged in tabu- 
 lar form that this part alone should suffice to 
 give credence to the popular report that, towards 
 the end of his life, Shaw was not in the complete 
 possession of his mental faculties. 
 
 SHEPPARD (Th.). Early Hull tobacco 
 pipes and their makers. Hull, 
 Museum publications, 1902. 8, 
 pp. 28 ; with num. illustrations. 
 Is. 
 
 This collection of tobacco pipes of the seven- 
 teenth century is said to be the most complete 
 in existence. 
 
 SHOKO ROJIN. Kohon Meibutsu 
 Ruischu. S.I., 1787. 18 parts. 
 8; with illustrs. (some col.). 
 
 " Collection and records of famous 
 utensils, for the most part used in the 
 tea ceremony. Compiled by Shoko 
 Rojin." 
 
 A copy of the work is in the Nat. Art Library, 
 South Kensington Museum. 
 
 SHORTT (I. T. P.). Sylva antiqua 
 Iscana, numismatica, quinetiam 
 figulina, or Roman and other 
 antiquities of Exeter, etc. Ex- 
 eter, Featherstone (1841). 8. 
 5s. 
 
 Figuline antiquities. The Roman pottery 
 and Samian ware found at Exeter. Pp. 110-145, 
 with 5 lith. pis. 
 
 SHRIGLEY and HUNT. Sketches of a 
 few of the works in ... mural 
 decoration and art tiles. Lon- 
 don, 1879. Lith. pi. 4. 
 
 SHURLOCK (MO- Tiles from Chertsey 
 Abbey, Surrey ; representing 
 early romances' subjects. Lon- 
 
 391 
 
STB] 
 
 CERAMIC LITERATURE. 
 
 [SIM 
 
 don, W. Griggs, 1885. Fol., pp. 
 33 ; with 41 col. pis. 2, 2s. 
 
 No vestige remains above ground to indicate 
 the spot where once stood the monastic building 
 of which the tiles reproduced in this fine and 
 rare volume formed the pavement six hundred 
 years ago. A large number of them were dis- 
 covered in the work of excavation conducted on 
 the site of Chertsey Abbey. The finds were 
 temporarily exhibited in the Royal Museum of 
 Architecture in London ; a portion of the tiles 
 were subsequently deposited in the British 
 Museum. 
 
 The series selected for reproduction in actual 
 size by Mr. Manwaring Shurlock may be said 
 to represent the most elaborate and interesting 
 mediaeval tiles ever found in England. Sub- 
 jects from the romances of " Richard Cceur-de- 
 Lion " and " Sir Tristem " are illustrated upon 
 them. Although it has not been possible to 
 reconstitute the complete scheme of the design, 
 we can judge from the care displayed in each of 
 these separate subjects that in the early days of 
 Gothic architecture a pavement was not treated, 
 as in after times, as an indifferent portion of the 
 general decoration, and required nothing more 
 than an endless repetition of the geometrical 
 combinations obtained with tiles of various 
 shapes and colours. We see that, with no other 
 means at his disposal than red and yellow clays, 
 the tile-maker had bravely attempted to pro- 
 duce an immense picture which, by the import- 
 ance of the conception and the artistic work- 
 manship of all the integral parts, could rival in 
 interest and beauty the sculptures of the porch 
 and the frescoes of the chancel. 
 
 SIBENALER (J. B.). Conference don- 
 nee a la Societe geologique de la 
 Province de Luxembourg sur les 
 anciennes faiences de la region 
 luxembourgeoise, etc. Arlon, 
 Poncin, 1897. 8; pi. 
 
 " Lecture on the ancient faience of 
 Luxemburg." 
 
 SIBTHORP (Rev. Waldo). A catalogue 
 
 of porcelain and pottery, Ori- 
 ental, European, and English, 
 the property of the Rev. R. W. 
 S. Nottingham, 1874. 8, pp. 
 55 ; with 60 photographs. Pri- 
 vately printed. At the auction 
 sale of the collection one copy 
 of this catalogue sold for 7. 
 
 SIEBOLD (Ph. Fr. von). Nippon. Ar- 
 chiv zur Beschreibung von 
 Japan. Leiden, 1832-52. Fol. 
 A chapter on ceramics, illus- 
 trated with 11 col. pis. 
 
 392 
 
 SIEBOLD (Henry YOU). Notes on Jap- 
 anese archaeology ; with special 
 reference to the stone age. Yok- 
 ohama, 1879. With 3 photos. 
 
 SILYA (J. F. de). Arte da Porcelana 
 ou tractado sobre o modo de 
 fazer a porcelana. Por M. 0. 
 Conde de Milly. Traducido do 
 Francez . . . por J. Ferreira da 
 Silva. Lisboa, na impressao 
 regia, 1806. 12, pp. 266 ; with 
 4 pis. 3 fcs. 
 
 "The art of porcelain; a treatise on 
 the manufacture of porcelain by Comte 
 de Milly. Translated from the French, 
 by order of the Prince Regent, by J. F. 
 de Silva." 
 
 Part iii. of the appendix treats of the porce- 
 lain of Rio de Janeiro. 
 
 - L'arte de Luceiro, ou Trac- 
 tado sobre o modo de fazer as 
 Iou9as de Barro mais grossas, 
 traducido do Francez, etc. Lis- 
 boa, 1804. 12, pp. 204 ; with 
 3 pis. 3 fcs. 
 
 " The art of pottery; a treatise of the 
 manner of making clay vessels of the 
 largest dimensions. Translated from the 
 French." 
 
 Contains curious particulars concerning the 
 old French faience factories, particularly those 
 of the region of Lyons. 
 
 SILYESTRE (A.). Les anciennes 
 faiences de Carouge. Geneve, 
 1901. 4; illustrs. (In: Nos 
 anciens et leurs osuvres.) 
 
 " The ancient faiences of Carouge." 
 
 SIMAKOFF (N.). Recueil de Fart 
 decoratif de 1'Asie centrale. St. 
 Petersbourg, 1883. 50 chromo- 
 lith. pis. 3. 
 
 " Selection of examples of the decora- 
 tive arts of Central Asia." 
 
 SIMONE (G. de). Processo per stam- 
 pare le stoviglie sopra e sotto 
 vernice, per soveana determina- 
 zione palesato. Napoli, 1828. 
 4, pp. 15. 
 
SIM] 
 
 CERAMIC LITERATURE. 
 
 [SLO 
 
 " The process of printing upon the 
 pottery, over and under the glaze, pre- 
 sented in absolute rules." 
 
 SIMONIN. Les grands ouvriers. 
 Bernard Palissy. Paris, Hach- 
 ette, 1867. 18, pp. 16. 1 fc. 
 
 SITTE (C.). Vortrage aus dem kera- 
 mische Fackenlehrer Curse. Salz- 
 burg, 1883. 8, pp. 52; auto- 
 graphed and illustr. with pen- 
 and-ink sketches. 8 m. 
 
 " Essays extracted from the lectures of 
 a professor of practical ceramics." 
 
 - Zur Geschichte der Gmunder 
 Majolika-Fabrikation. 1887. 4, 
 pp. 8 ; with 4 illustrs. (Reprint 
 from the Kunst und Gewerbe.) 
 
 " History of the faience manufacture in 
 Gmunden." 
 
 It is only of late years that the faience manu- 
 factories of Austria have found their historian. 
 From documents preserved in the town, as well 
 as from dated pieces, M. Camillo Sitte has been 
 able to establish that painted faience with stan- 
 niferous glaze was made at Gmunden as early as 
 1617. 
 
 - Zur Geschichte der salzburger 
 Weissgeschirr-Fabrikation. 4, 
 pp. 14 ; with 7 illustrs. (Re- 
 print from the Kunst und Ge- 
 werbe.) 
 
 " History of the white ware manufac- 
 ture at Salzburg." 
 
 An Austrian custom of the last centuries was 
 that among the articles that the bride was ex- 
 pected to bring into the house on the occasion of 
 her marriage, a dish and a jug of painted faience 
 should always be included. Hence the number 
 of gaily and often richly decorated pieces of 
 ancient faience still in the possession of the 
 Salzburg old families. The records of local 
 manufacture investigated and summarised by 
 the writer refer chiefly to the white faience works 
 established by J. M. Moser, at Riedenburg, in 
 1736, and conducted by his successors until 1860. 
 
 SITTL (K). Die Phineusschale und 
 ahnliche Vasen mit bemalten 
 Flachreliefs. Wurzburg, 1892. 
 4, pp. 23. 
 
 " The Phinean tazza and other vases 
 with painted surface reliefs." 
 
 SIX (Jan). Vases polychromes sur 
 fond noir de la period archaique. 
 Paris, Levy, 1888. Fol., pp. 34 ; 
 with 2 pis. and 8 illustrs. 3 fcs. 
 (Reprint from the Gaz. Arch.) 
 
 - Drei Lekythen. Aihen, 1893. 
 8, pp. 5 ; and 3 col. pis. 
 
 " Three Lekythies." 
 
 SKELTON. Patterns of encaustic 
 Tiles found in the ruins of the 
 Priory dedicated to Saint 
 Dionysius near Southampton, 
 drawn and engraved from the 
 original tiles and fragments in 
 the collection of A. H. & T. A. 
 Skeltoii, at St. Denys. South- 
 ampton, Skelton, Vincent's Walk, 
 1857. Sm. 4; lith. title-page 
 and 20 pis. printed in red and 
 yellow. 
 
 Of this work only four copies were printed. 
 
 SLOSSON (Mrs. Annie). The China- 
 Hunters' Club ; by the youngest 
 member. New York, Harper 
 Bros., 1878. Sq. 8, pp. 274; 
 with 32 illustrs. 10s. 
 
 Fashionable society in Littleville a name 
 under which the anonymous author has thinly 
 veiled that of one of the chief cities of the United 
 States had exhausted the usual range of refined 
 entertainments. To get out of Shakespearean 
 readings, Goethe sandwich parties and other in- 
 tellectual pastimes, a select circle of ladies and 
 gentlemen conceived the idea of starting a cer- 
 amic club. The promoters of this novel and 
 bold scheme had, more or less frequently, peeped 
 through the pages of the standard ceramic books, 
 and were not consequently without a smattering 
 of knowledge. But the rank and file of the 
 rapidly enrolled members of the club were still 
 as regards the history of old pots and their 
 makers in the pure enjoyment of that blissful 
 state of innocence which makes a tyro collector 
 exultant at every scrap of instructive information 
 he manages to worm out of his colleagues. They 
 organised, in groups of two or three, ransacking 
 expeditions through the rural villages, and 
 pounced eagerly upon every bit of old pottery 
 that could be f erretted out of ancient homesteads. 
 We may imagine the pleasure they derived from 
 the exciting hunt. Happy Arcadians, saunter- 
 ing through verdant valleys where the loaded 
 branch bent itself towards the hand of the fruit 
 gatherer, and an abundant crop rewarded each 
 of their venturous rambles. New Robinson 
 CrUsoes, in an unexplored crockery land, each 
 turn of the way offered to their covetous eye a 
 
 393 
 
SMI] 
 
 CERA Mic LIT ERA TV RE. 
 
 [SMI 
 
 fresh discovery. Periodical meetings were held, 
 at which the booty brought back by each mem- 
 ber was submitted to the admiration of all, and 
 commented upon by the recognised authorities. 
 What gratifying acquirements had, after a few 
 months, resulted from such an instructive inter- 
 course. One of the lady members confessed 
 that up to that time the name of Wedgwood had 
 suggested to her mind nothing more than mortars 
 of a particular material. Another owned that 
 she had always thought Spode was the name of 
 a place. With what rapidity the cupboards and 
 china-cabinets had been filled with cracked 
 pitchers and blue printed plates. How confident 
 in the inestimable value of such specimens were 
 their elated possessors. No invidious compari- 
 son with the ceramic collections of the old world 
 was ever indulged in. Each precious store, the 
 fruit of local collecting, had only to vie with 
 others gathered from similar sources. All went 
 well, and smooth was the course of enjoyment, 
 until improved knowledge threw a brand of dis- 
 cord into the camp. One section of the club 
 had been singularly successful in garnering an 
 imposing number of examples of the hard por- 
 celain that an English writer had introduced as 
 being the production of the Lowestoft factory. 
 It was considered important that the china thus 
 collected should be of English origin. Alas ! a 
 few sceptic spirits had the audacity to question 
 the origin of the so-called " Lowestoft china," 
 and to assert that it was nothing else but common 
 Chinese porcelain made for the foreign markets. 
 After a stormy sitting, in which the discussion 
 waxed fierce and passionate on both sides, the 
 Lowestoft party decided that they would secede 
 from the society rather than be exposed to hear 
 any further doubt expressed as to the English 
 character of their treasured specimens. And 
 thus came to an abrupt end the " China Hunter 
 Club," which had begun under such promising 
 auspices. Its short-lived existence had certainly 
 little influence on the advance of ceramic history, 
 but it will not have been altogether fruitless, 
 since it has been the cause of the publication of 
 a very amusing and witty book. 
 
 SMILES (S.). Josiah Wedgwood, 
 F.R.S. His personal history. 
 London, J. Murray, 1894. 8, 
 pp. 304 ; portr. 6s. 
 
 The author of Self -Help was over eighty years 
 of age when he added to his gallery of great 
 Englishmen this somewhat attenuated picture 
 of the greatest of all English potters. He 
 claimed to have based his work on the contents 
 of documents handed to him by the Wedgwood 
 family, which had never been investigated before. 
 Nothing of importance came out from the in- 
 vestigation of these papers ; the book contains 
 nothing that had not been related by previous 
 biographers. The expectation raised by the 
 sub-title, " A Personal History," is by no means 
 satisfied. It seems to promise an account 
 of the private life of the man, independent of 
 his public career as a manufacturer ; but it does 
 not contain any such chatty recollection of his 
 social manners and habits, any familiar anec- 
 dotes, or scraps of unwritten tradition, as would 
 warrant the adoption of such a title. Like all 
 
 394 
 
 the other lives of Wedgwood, this one is full of 
 his experiments and discoveries in the potter's 
 art. Even the actual circumstances of Wedg- 
 wood's death, the tradition of which is preserved 
 in the family, were never noticed by his bio- 
 grapher. 
 
 SMITH (Cecile). Edinburgh Museum 
 of Science and Art. Catalogue 
 of a collection of Greek, Etrus- 
 can, Roman bronzes, fictile 
 ware, etc., presented to the 
 museum by Sir Hugh Hume 
 Campbell, Bart. Edinburgh, 
 1887. 8, pp. 23 ; with 8 photos. 
 (3 of vases). Introduction. 
 Greek vases, pp. 5-12. 
 
 Catalogue of the Greek and 
 
 Etruscan vases in the British 
 Museum. Vol. iii. Vases of the 
 finest period. London, 1896. 4, 
 pp. 425 ; with 28 pis. and text 
 illustrs. 1, 6s. 
 
 - See Foreman Collection. 
 
 SMITH (Ch. Roach). Collectanea an- 
 tiqua ; etchings and notices of 
 ancient remains, illustrative of 
 the habits, customs, and history 
 of past ages. London. 6 vols. 
 8. 1843-1868. 
 
 Contains several articles on Roman pottery. 
 Vol. I. Potters' marks discovered in London ; 
 Roman pottery found at Etaples. Vol. II. 
 Roman urns, vases, etc., found at Colchester. 
 Vol. III. Inscribed Romano-Gaulish vase in 
 the Louvre. Vol. IV. Romano-British pottery. 
 Vol. VI. Remains of Roman pottery on the 
 banks of the Medway, etc. 
 
 Antiquities of Richborough, 
 
 Reculvers, and Lyme, in Kent. 
 Illustrated by F. W. Fairholt. 
 London, 1850. 4. Pottery and 
 potters' kilns, pp. 58-74. 
 
 Descriptive catalogue of his 
 
 museum of London antiquities. 
 London, 1854. 8; with 16 pis. 
 and text illustrs. 7s. Roman 
 pottery, pp. 13-57. Mediaeval 
 pottery, pp. 113-122. 
 
 Illustrations of Roman Lon- 
 don. London, 1859. 4. 1, 5s. 
 
SMI] 
 
 CERAMIC LITERATURE. 
 
 [SOI 
 
 Pottery, pp. 78-110; and pis. 
 24-29. 
 
 M. R. Smith has contributed many articles 
 on Roman pottery to the antiquarian serials of 
 his time. 
 
 SMITH (Ed.). Moghul colour decora- 
 tion of Agra described and illus- 
 trated. Allahabad, 1901. 4, 
 pp. 28 ; with 103 pis. (53 col.). 
 1, 13s. 
 
 Wall tiles in Indian architecture. 
 
 SMITH (G.). The Laboratory or 
 School of Arts. London, 1739. 
 5th ed., 1770. 8; pis. Enam- 
 elling and enamel painting, pp. 
 40-54. The art of painting upon 
 glass, together with the methods 
 of preparing the colours for 
 potter's work, or Delft ware, pp. 
 80-104. 10s. 
 
 Compiled from German and other foreign 
 authors. 
 
 SMITH (H. E.). Reliquiae Isurianse ; 
 the Remains of the Roman 
 Isurium (now Aldborough, York- 
 shire). London, 1852. 4. Fic- 
 tilia, pp. 51-54 ; and plates 28- 
 33. 
 
 Archaeology of the Mersey 
 District. Pottery, plates. (In 
 the Lancashire and Cheshire 
 Hist. Society, N.S., vols. vi.-xii., 
 and 3rd series, vol. i.) 
 
 SMITH (R. H. Soden). Catalogue of 
 the collection of English pottery 
 and porcelain exhibited on loan 
 at the Alexandra Palace in 1873. 
 London, 1873. 8, pp. 104. 
 
 The collectors of English pottery and porce- 
 lain gathered in full force for the 'first time at 
 the Loan Exhibition of the Alexandra Palace. 
 They wanted to place boldly before the eye of 
 the public the still unfamiliar productions of the 
 early potters, anxious to see whether the moment 
 had not come to convert many lovers of foreign 
 ware to a due appreciation of the merits of 
 national ceramics. Fate had decreed that they 
 should not see their expectation realised on that 
 occasion. A fierce fire destroyed the Palace, and 
 very few of the admirable specimens lent for 
 
 exhibition were rescued from the ruins. The 
 catalogue was still in the printer's hand when 
 the collection it describes was burnt ; it was 
 never issued, and only a few unconnected copies 
 were struck for the benefit of some exhibitors, 
 friends of the author. 
 
 - A list of books and pamphlets 
 in the National Art Library on 
 pottery and porcelain. 2nd ed. 
 London, 1885. 8, pp. 147. Is. 
 
 In the first edition Soden Smith, head librar- 
 ian at the South Kensington Museum, had only 
 entered the titles of the books entirely devoted 
 to ceramics. In the much-increased list, he pub- 
 lished a few years after, all the publications on 
 art and archaeology, such as general histories of 
 art, reviews, magazines, transactions of anti- 
 quarian societies which contain some reference 
 to pottery, were included. 
 
 Loan collection of English 
 pottery in the Edinburgh Mus- 
 eum. Edinburgh, 1889. 8, pp. 
 64. Is. 
 
 Notwithstanding the loss of his specimens in 
 the fire at the Alexandra Palace, Soden Smith's 
 collection of salt-glazed ware grew, in after years, 
 to be one of the most complete ever brought 
 together. He was always willing to exhibit it 
 in public museums. His catalogue, an inter- 
 esting document for the history of old English 
 pottery, was printed on the occasion of its ex- 
 hibition in the Edinburgh Museum of Science 
 and Art, a short time before the death of the 
 collector. 
 
 SMITH (Sir R. Murdoch). Edinburgh : 
 
 Museum of Science and Art. 
 Guide to the Persian collection. 
 Edinburgh, 1896. 8, pp. 16 ; 
 Ipl. 
 
 SHELL (H. ].) Practical instructions 
 for enamel painting on glass, 
 china, tiles, etc., to which are 
 added full^ instructions for the 
 manufacture of the vitreous pig- 
 ments required. London, s.d. 
 8; with 12 illustrs. 2s. 6d. 
 
 SOIL (E.). Recherches sur les an- 
 ciennes porcelaines de Tournay. 
 Histoire ; Fabrication ; Pro- 
 duits. Paris, R. Simon, 1883. 
 8, pp. 376 ; with 20 pis. 12fcs. 
 
 " Essay upon the ancient porcelain of 
 Tournay. History, Manufacture, Pro- 
 ducts." 
 
 395 
 
SOI] 
 
 CERA MIC LITER A TURE. 
 
 [SOL 
 
 The manufactory of soft porcelain estab- 
 lished at Tournay by Peterinck of Lille in 1750 
 has had its glorious days ; the productions of 
 the best period were of the highest order, either 
 for beauty of paste or elegance of shapes and 
 decoration. The porcelain made at Tournay 
 was overlooked for a time by the china collectors, 
 and little or nothing was known about its history. 
 Mr. Soil, a distinguished avocat of the town, 
 took the cause in hand, and recovering one by 
 one the scattered evidence which referred to the 
 ancient manufactory, has fixed for ever, in a 
 learned memoir, the half-obliterated recollec- 
 tions of its past existence. The annals of the 
 works are traced from year to year almost with- 
 out a break. The list of artists and workmen is 
 given at full length, and to the name of the most 
 prominent among them is affixed a short bio- 
 graphical notice. The second half of the volume 
 is occupied by a descriptive list of all the figures, 
 vases, and other objects made at the works, 
 followed by an account of the various styles of 
 decoration which characterise the different 
 periods. It is needless to say that this part of 
 the work, taken in connection with the plates, 
 on which many of the objects described are re- 
 presented, is of great service for the identification 
 of unmarked specimens. 
 
 SOIL (E.). - - Une fa'iencerie tour- 
 naisienne au xvii 6 siecle (1688- 
 1704). Tournay, 1884. 8. 
 
 " A faience manufactory at Tournay in 
 the seventeenth century." 
 
 - Potiers et faienciers tournais- 
 iens. Lille, 1886. 8, pp. 220 ; 
 with 20 col. pis. 10 fcs. 
 
 In the volume he devoted to the history of 
 the Tournay porcelain, the writer refrained pur- 
 posely from touching on the subject of pottery 
 and faience of local manufacture ; consequently, 
 this second work is completely independent of 
 the first, and contains no repetition of what has 
 already been recorded. It comprises five chap- 
 ters. I. Roman and Frankish periods. II. 
 Mediaeval tinfes. III. History of the craft from 
 the Middle-ages to the eighteenth century. IV. 
 The fai'ence makers. V. Tobacco pipes ; stone- 
 ware ; additional documents on the porcelain 
 manufacture. 
 
 The third chapter is of peculiar importance 
 for the general history of the potters' craft. It 
 gives the names of the pot-makers established 
 at Tournay from the year 1230, and also trans- 
 scripts of the trade regulations, the earliest of 
 which bears the date 1407 ; together with 
 ancient documents unpublished before, and of 
 particular interest. These refer mostly to the 
 making of the common pottery used by the 
 people for daily purposes, of which several illus- 
 trations are given on the plates. We confess 
 that the quaint earthen vessels, fashioned in a 
 rude way by some village potter of ancient times, 
 have for us a special attraction. In many in- 
 stances they exhibit an impressive stamp of 
 native taste, a striking power of invention. The 
 wretched toiler of the clay, to whom a drudgery 
 
 396 
 
 work barely afforded the means of supporting a 
 miserable existence, occasionally found pleasure 
 and pride in executing an exceptional piece in 
 which imagination and technical skill were cer- 
 tainly not wanting. Very few of these modest 
 masterpieces of the nameless craftsmen of yore 
 have escaped destruction. We like to look at 
 such specimens as are preserved in our collections, 
 or to read about those that are described in the 
 ceramic monographs. 
 
 The stanniferous faience made at Tournay 
 during the eighteenth century never rose above 
 a common-place imitation of the Dutch and 
 French ware. Nevertheless the history of its 
 manufacturers and of the difficulty they had to 
 contend with is not without affording some useful 
 information with respect to the state of the cer- 
 amic industry at one of its most prolific periods. 
 
 SOLDI (Emile). Les arts meconnus. 
 Les nouveaux musees du Troca- 
 dero. Paris, E. Leroux, 1881. 
 4, pp. 531 ; with 400 illustrs. 
 10 fcs. 
 
 " The disregarded arts. The new 
 museums of the Trocadero." 
 
 Chapter iii. is devoted to Persian art, and 
 treats of the enamelled bricks, wall tiles, faience, 
 etc. (pp. 170-264). In Chapter v., "American 
 art," the antique vases and terra-cotta statues 
 of Peruvian and Mexican manufacture are briefly 
 dealt with. 
 
 Les medallions de David 
 
 d' Angers ; precedes d'une pre- 
 face par E. Soldi. Paris, A. 
 Levy, 1883. 4, pp. 16, and 125 
 plates of the medallions en- 
 graved, in large size, by the 
 Collas process. 40 fcs. 
 
 A selection from the terra-cotta medallions 
 executed by the master. The volume contains 
 a portrait of David d' Angers engraved after the 
 painting of Hebert, and a biographical notice. 
 
 SOLON (M. Louis). Inventions decor- 
 atives. Choix de compositions 
 et de motifs d'ornementation. 
 Paris, Morel, 1864. Fol. ; 50 
 etched pis. 35 fcs.. 
 
 " Decorative fantasies. A selection 
 of ornamental motives." 
 
 Several of the sketches etched in this volume 
 have been executed at the Imperial Manufactory 
 of Sevres, to which the author was attached 
 since 1859. 
 
 The art of the old English 
 potter. Derby, W. Bemrose, 
 1883. 4, pp. xiii-214 ; with 50 
 
SOL] 
 
 CERAMIC LITERATURE. 
 
 [SOL 
 
 etchings by the author. 5, 5s. 
 10 copies on Japanese paper. 
 
 - A second edition, in 8 size, 
 and illustrated with pen and ink 
 sketches, appeared in 1885. Of 
 this 200 copies were printed on 
 large paper, with the illustrations 
 on India paper. 
 
 Another edition was pub- 
 lished in America, by Appleton. 
 New York, 1887. 8. 
 
 Slip ware, salt-glaze, and other quaint pro- 
 ductions of the old English potter, possess a 
 character of strong originality sufficient in itself 
 to induce a French artist, who had made England 
 his country of adoption, to collect and study a 
 class of pottery so unreservedly disregarded by 
 Continental amateurs. This book, the outcome 
 of ten years passionate collecting, is illustrated 
 by specimens in the possession of the author, 
 and chiefly found in " The Potteries." 
 
 The Queen's Jubilee Vase, 
 presented to Her Majesty by 
 Mintons, Limited. Printed by 
 Bemrose & Sons. London and 
 Derby, 1887. 8, pp. 12 ; with 
 4 collotype pis. Privately 
 printed. 
 
 - On some fragments of English 
 earthenware lately discovered at 
 Derby. Derby, 1887. 8, pp. 9 ; 
 vign. (Reprint from the Journal 
 of the Derbyshire Arch. Society.} 
 
 An article of no special interest, written upon 
 a find of miscellaneous fragments of pottery of 
 no particular importance. 
 
 - Salt-Glaze. The catalogue of 
 a small collection now exhibited 
 in the Technical Museum at 
 Hanley ; to which is prefixed a 
 short disquisition on Salt-Glaze 
 ware, by the collector. Hanley, 
 Albut & Daniel, 1890. 4, pp. 
 27 ; with 11 phot. pis. 5s. 
 
 The collection lent by the author contained 
 122 specimens of old English stoneware and salt- 
 glaze. 
 
 - The ancient art stoneware of 
 the Low Countries and Germany 
 or "GresdeFlandres" and"Stein- 
 
 zeug " ; its principal varieties, 
 and the places where it was 
 manufactured during the six- 
 teenth and seventeenth cen- 
 turies. London, printed for the 
 author at the Chiswick Press, 
 1892. 2 vols. 4, pp. x-386 ; 
 with 20 etched pis. and 210 
 illustrs., head and tail pieces 
 drawn by the author. 5, 5s., 
 and 10, 10s. on Japan paper. 
 
 Flemish and German stoneware had been ad- 
 mitted in the ceramic collections long before any 
 particulars concerning their origin and history 
 had come to hand. The searching inquiry in- 
 stituted in Germany and Belgium dispelled the 
 mystery with which they were enveloped, only a 
 few years ago. As the English collector had had 
 so far no occasion of reading an account of the 
 labours and discoveries of foreign archaeologists 
 presented in his own language, this work, which 
 contains a synopsis of all the dates and facts 
 lately ascertained, was compiled for his benefit. 
 The plan followed by the writer was to master 
 and condense the contents of the various mono- 
 graphs prepared by painstaking specialists, each 
 of whom had circumscribed the field of his re- 
 search to one particular centre of manufacture. 
 To reconcile together the conflicting conjectures 
 propounded in these disjointed chapters of an 
 incomplete history, from wide apart standing 
 points, was the next, and least easy part of the 
 task. This could only be accomplished by a 
 conscientious study of the ancient stoneware pre- 
 served in European collections, and testing the 
 plausibility of many startling assertions by a 
 comparative examination of the best typical 
 examples. By confronting the text with the 
 original objects which were supposed to support, 
 some untenable theory, a very different con- 
 clusion from the one entertained by an acknow- 
 ledged authority has been arrived at in the 
 present work. It sets no claims at being a 
 definite story of ancient stoneware ; its aim has 
 been to sort and classify a mass of materials full 
 of precious information, but to each of which 
 the same degree of confidence cannot be accorded ; 
 it is a step on the right way, but much has to be 
 done before the questions still in suspense are 
 finally settled. 
 
 - Exhibition of works by L. M. 
 Solon at Phillips', Her Majesty's 
 potters (sic], Mount Street, 
 Grosvenor Sq., July, 1897. 16, 
 pp. 11 ; with 2 pis. 
 
 Some numbers are accompanied with a de- 
 scription of the subjects represented on the vases. 
 
 - Pottery Worship. The fallen 
 Idols. A series of detached 
 papers dealing with subjects 
 
 397 
 
SOL] 
 
 CERAMIC LITERATURE. 
 
 [SON 
 
 usually neglected in the general 
 histories of the ceramic art, read 
 before the members of the North 
 Staffordshire Literary and Phil- 
 osophical Society by M. Louis 
 Solon. Stoke on Trent, 1898. 
 16. Priv. printed. 
 
 Contents : The Noble Bucearos, pp. 32. 
 Jacobas Kannetjes, pp. 15. The Perpetual 
 Lamp, pp. 8. The Enigmatic Murrhine Vases, 
 pp. 48. Old Celadon, pp. 36 ; Fossil Pottery, 
 pp. 30. Terra Sigillata, pp. 33. 
 
 SOLON (M. Louis). The manufacture 
 of pottery in Staffordshire during 
 the last century. Stafford, 1901. 
 1 2, pp. 1 1 . (Reprinted from the 
 jubilee number of the Stafford- 
 shire Advertiser.} 
 
 Leon Arnoux, 1816-1902. 
 
 Stafford, 1902. Sq. 16, pp. 12. 
 (Reprinted from the Staffs. Ad- 
 vert.} 
 
 Before he came to England, in 1849, Mr. 
 Arnoux had already acted for a few years as a 
 director of the porcelain manufactory estab- 
 lished by his father at Valentine (Haute Garonne). 
 Although he entered Minton's China Works 
 merely as a student of the English processes of 
 manufacture, it was not long before Mr. H. 
 Minton, then the head of the firm, had recog- 
 nised what a valuable assistance could be ex- 
 pected from him as a collaborator, and he asked 
 the new-comer to take a share in the technical 
 and artistic direction of his factory. The rapid 
 development of the English ceramic industry at 
 that period has now become a matter of history. 
 Mr. Arnoux had a hand in most of the improve- 
 ments which were introduced in all branches of 
 the art, and in the innovations which soon raised 
 Minton's to the first rank among the chief manu- 
 factories of Europe. 
 
 - A history and description of 
 the old French faience, with an 
 account of the revival of faience 
 painting in France. London, 
 Cassell & Co., 1903. 8, pp. xvi- 
 189 ; with 24 col. pis. and 54 pis. 
 in half-tone. 1, 10s. 
 
 All the chief factories of France are succes- 
 sively passed under review. The movement, 
 initiated towards 1840 by some curious person- 
 ages, half-potters, half-artists, whose ambition 
 was to revive the lost art of the faience painter, 
 is related in the appendix. It is only a brief 
 sketch of the history of a most interesting period, 
 which deserves to have its special historian, as 
 it led to the complete transformation of ceramic 
 manufacture all over Europe. 
 
 398 
 
 - A brief history of old English 
 porcelain and its manufactories ; 
 with an artistic, industrial, and 
 critical appreciation of their pro- 
 ductions. London, Bemrose & 
 Sons, 1903. 8, pp. xvi-256 ; 
 with 20 col. pis. and 48 pis. in 
 collotype. 2, 12s. 
 
 A special feature of this volume is that the 
 larger number of illustrations reproduce pieces 
 in private collections never published before ; 
 information obtained by the author from private 
 sources are also printed in it for the first time. 
 
 - A history and description of 
 Italian majolica ; with a preface 
 by W. Burton. London, Cassell, 
 1907. 8, pp. xvi-208 ; with 24 
 col. and 49 half-tone plates. 
 2, 2s. 
 
 Pate-sur-Pate, by M. L. Solon, 
 reproduced by kind permission 
 of The Studio, published by 
 Mintons, Ltd., China Works, 
 Stoke-upon-Trent, 1906. Fol, 
 pp. 13 ; with 10 pis. in helio- 
 gravure. Priv. printed. 
 
 Description of the process of china decoration 
 in Pate-sur-Pate, as it was practised by the 
 writer, first at the Imp. Manuf. of Sevres from 
 1858 to 1870, and since then at Minton's China 
 Works. The article had appeared in The Studio 
 in 1894. 
 
 SONNE (Dr. W.). Hygiene der kera- 
 mischen Industrie. Jena, G. 
 Fischer, 1896. 8. Part 30 of 
 the Handbuchs der Hygiene of 
 Dr. Th. Weyl, pp. 907-942. 
 
 " Hygiene of the ceramic industry." 
 
 The diseases incident to the practice of the 
 trades of tile, earthenware, and porcelain making 
 are dealt with in separate chapters, and advice 
 is given as to the precautions that should be 
 taken to guard against those diseases. A list of 
 the books and articles written on the subject is 
 placed at the end of the paper. 
 
 SONNTAG (Z.). Catalogue developpe 
 de la collection des matieres 
 ceramiques de FEcole Imp. et 
 Roy. professionnelle de Fin- 
 dustrie de la terre et des in- 
 dustries qui s'y rattachent, etab- 
 
SOR] 
 
 CERAMIC LITERATURE. 
 
 [SPA 
 
 lie a Znaim. Zna'im, impr. Lenk, 
 1883. 8, pp. 85. 
 
 " Descriptive catalogue of the collection 
 of ceramic materials in the Imp. and 
 Koy. technical school of the clay industry, 
 and the industries related to it, established 
 at Znaim." 
 
 The Znaim ceramic professional school, situ- 
 ated near Vienna, is maintained at the cost of 
 the Austrian Government. French translation 
 of the German catalogue published same year. 
 
 SORBETS (Dr. Leon). Faiencerie de 
 Samadet (Landes). Dax, 1895. 
 8, pp. 19. (Reprint from the 
 Revue de Borda.) 
 
 " The faience factory of Samadet." 
 
 Samadet produced imitations of the Moustiers 
 faience, always without marks, and consequently 
 difficult to identify. The works were in exis- 
 tence from 1732 to 1832. 
 
 SOULAGES (Collection). Catalogue of 
 the Soulages collection ; being 
 a descriptive inventory of a col- 
 lection of works of decorative 
 art, formerly in the possession of 
 Jules Soulages of Toulouse, now, 
 by permission of the Committee 
 of Privy Council for Trade, ex- 
 hibited to the public at the 
 Museum of Ornamental Art, 
 Marlborough House. By J. C. 
 Robinson, curator of the Mus- 
 eum of Ornamental Art. Dec- 
 ember, 1856. London, Chap- 
 man & Hall. 8, pp. 200. 5s. 
 
 This collection was acquired by a syndicate of 
 high-spirited amateurs, and subsequently pur- 
 chased from them, at cost price, by the Govern- 
 ment. It became the nucleus of the South 
 Kensington Museum. Majolica ware, 133 Nos.; 
 Palissy ware and French faience, 22 Nos.; 
 Flemish stoneware, 7 Nos.; Delia Robbia ware, 
 2 Nos. Each section is prefaced with a his- 
 torical notice ; majolica marks are given in the 
 appendix. 
 
 SOULTRAIT (Cte. de) et THIOLLIER (F.). 
 La Bastie d'Urfe. Saint Etienne, 
 1894. Fol., pp. 57; with 74 
 heliogr. pis. 50 fcs. 
 
 A monograph of the Castle of La Bastie d'Urf6 
 It contains a chapter describing the majolica tile 
 pavement attributed to Masco Abaquesne of 
 Rouen, illustrated with 3 pis. 
 
 SOURDEYAL (C. de). Une nouvelle 
 poterie d'Avisseau. Notice sur 
 cette famille. Tours, 1859. 8. 
 
 " A new pottery of Avisseau. Notice 
 of his family." 
 
 SPANO (G.). Iscrizioni figulinarie 
 sarde raccolte ed illustrate da G. 
 S. Cagliari, 1875. 8, pp. 61. 
 Ipl. 
 
 " Ceramic inscriptions from Sardinia." 
 
 SPARKES (J. C. L.). A handbook to 
 the practice of pottery painting, 
 by John C. L. Sparkes, head- 
 master of the / National Art 
 Training School, South Kensing- 
 ton, director of the Lambeth 
 School of Art. London, Lecher- 
 tier, 1878. 16, pp. 78. 
 
 Notes on some recent in- 
 ventions and applications of 
 Lambeth stoneware, terra-cotta, 
 and other pottery, for internal 
 and external decoration. Lon- 
 don, 1880. 8, pp. 52 ; with 18 
 illustrs. and marks. 
 
 A ferment of transformation was permeating 
 the Lambeth Pottery Works when this paper 
 was read before the members of the Society of 
 Arts, London. The stoneware body, of which 
 such an admirable application had been made to 
 drain pipes, sanitary ware, and chemical utensils, 
 was being employed by a host of clever artists 
 as one of the finest materials that could be found 
 for decorative purposes. Architectural orna- 
 ments which would take the place of carved 
 stone on the outside of the building, friezes and 
 panels of painted tiles which would enrich the 
 interior with harmonious combinations of colours, 
 classical and modern statuary, elegant and fanci- 
 ful vases and vessels, all remarkable for their 
 originality and perfection of workmanship, were 
 made in stoneware for the first time at Lambeth. 
 
 This revolution in the conduct of the work 
 was due to the manufacturer, Mr. Henry Doulton. 
 who had forseen the artistic possibilities of stone- 
 ware, and to the assistance he received from his 
 art director, Mr. John Sparkes, also headmaster 
 of the Lambeth School of Art. A special feature 
 in the management of the decorative depart- 
 ment was the employment of talented lady 
 painters. All works that came from the hand 
 of one artist had to bear his or her name or 
 monogram ; a list of the names and marks to 
 be found on the Lambeth art pottery is given 
 in the book. The illustrations reproduce choice 
 specimens of recent manufacture. 
 
 399 
 
SPA] 
 
 CERAMIC LITERATURE. 
 
 [SPI 
 
 SPARKES (J. C. L) and GANDY (W.). 
 
 Potters ; their arts and crafts. 
 London, Partridge, 1897. 8, 
 pp. viii-260 ; with numerous 
 illustrs. 2s. 6d. 
 
 SPELMAN (W. R.). Lowestoft China. 
 Norwich, Jarrold, 1905. 4, pp. 
 78; with 87 pis. (25 col.). 
 3, 3s. 
 
 A description of some worn-out or broken 
 moulds, unearthed from the site of the old 
 Lowestoft factory, has been used as the mainstay 
 in the preparation of the present monograph. 
 These pottery and plaster shards, down to the 
 most insignificant fragment, have all been repro- 
 duced on the plates. We recognise in some of 
 them the shapes of the domestic vessels most in 
 vogue at the time at Worcester and Derby. They 
 are presented as irrefutable proofs that china has 
 been made at Ijowestoft. But this fact, clearly 
 attested by documentary evidence and inscribed 
 specimens, has no longer to be established. If 
 the small Norfolk factory has received a rather 
 disproportionate share of attention, it was owing 
 to the immense amount of porcelain now re- 
 cognised as being of Oriental origin which was 
 at one time attributed to it. How such a 
 glaring error could have for so long been per- 
 sisted in is the true point at issue in the examina- 
 tion of the question. Yet in this work, as in 
 previous articles, this point has been set aside as 
 unimportant. 
 
 All writers agree in accepting the historical 
 record that, small as were the premises and 
 limited the number of hands employed, the Lowe- 
 stoft China Works had established, together 
 with a large sale-room in London, an important 
 depot at Rotterdam. Moreover, the proprietors 
 owned a ship which plyed constantly between 
 England and Holland, taking potter's clay to the 
 Dutch fa'ienciers, and returning loaded with 
 china ware. Such circumstances, if properly 
 weighed, might put us on the way to find a 
 plausible solution to the problem. Rotterdam 
 was one of the seaports where the East India 
 Company had established an office. An impor- 
 tant branch of their commerce was the importa- 
 tion of hard porcelain made in China to suit the 
 European markets. The shapes and sketches 
 they sent over to their Eastern factories were 
 faithfully reproduced by native hands. Would 
 it be inadmissible to suggest that the Lowestoft 
 people, in their constant intercourse with the 
 Dutch, may have found it profitable to become 
 large buyers of the India Company porcelain ? 
 The orders they took from private customers 
 were transmitted to headquarters, and through 
 that agency any designs or monograms could be 
 painted on the ware. In this way large profits 
 were to be added to the scanty returns yielded 
 by the small factory. That they sold the foreign 
 goods as being of their own make has nothing to 
 surprise us ; it was, in many other cases, a 
 custom of the trade. This being accepted as a 
 fair presumption, the source of the large stock 
 accumulated in the London sale-room and the 
 depot at Rotterdam is no longer a mystery. We 
 
 400 
 
 must not forget that Chaffers was misled in the 
 conclusions he had arrived at by the large num- 
 ber of pieces of hard china bearing the crest and 
 monogram of the leading families of the town. 
 These were all believed by their possessors to be 
 of local manufacture. Many specimens illus- 
 trated in this volume are attributed to Lowestoft 
 on such flimsy grounds that the accuracy of the 
 attribution is bound to be contested. 
 
 SPENSER ST. JOHN. A catalogue of a 
 collection of 400 specimens of 
 Peruvian relics formed by Sir 
 Spencer St. John. Sold in Lon- 
 don by J. C. Stevens, Oct., 1901. 
 Sq. 8, pp. 22 ; with 4 pis. 
 
 SPEX(J.)- Gedichten. Gravenhaege, 
 Van Balen, 1755. 8. 5s. 
 
 On p. 303 there is an ode on the Jacobaes 
 Kannetje, with historical notes and 1 pi. 
 
 Kunst Scherben. 
 12 lith. pis. in col. 
 
 SPIELHAGEN (G.). 
 Berlin, s.d. 
 12s. 
 
 " Artistic potsherds." 
 
 Models for beginners ; with the colours to be 
 used for each subject sampled and numbered. 
 Published by a colour merchant in Berlin. 
 
 SPIELMANN (Sir T.)- Saint Louis In- 
 ternational Exhibition, 1904. 
 Royal Commission. British Sec- 
 tion. London, 1906. Imp. 4. 
 Ceramics, pp. 329-340 ; with 
 num. illustrs. 10s. 
 
 SPIERMANN & WESSELEY. Musterbuch 
 der Kunstopferei, Ofen-u. Thon- 
 waarenfabrik von S. & W. Ham- 
 burg, s.d. 84 pis. Fol. 
 
 " Pattern book of the stove and earth- 
 enware factory of S. & W." 
 
 SPITZER (La Collection F.). Paris, 
 
 1890-92. 6 vols. Fol. ; with 
 338 chromolith. etchings and 
 phototvp. pis., and over 800 text 
 illustrs^ 60, and 120 on vel- 
 lum Japan. 
 
 Friedrich Spitzer, born in Vienna in 1815, 
 entered still young into the business of buying 
 and selling rare objects of ancient art, a delicate 
 branch of commerce for which he showed himself 
 gifted with uncommon capacitj'. The " curi- 
 osity trade " was then in its infancy. A shrewd 
 and enterprising man could, with a little know- 
 ledge, make many bold and profitable specula- 
 
SPEJ 
 
 CERAMIC LITERATURE. 
 
 [SPI 
 
 tions in the by-paths of antiquarian art, as 
 dealers who had choice objects for sale were very 
 few in comparison with the increasing number of 
 the never-satiated purchasers. When he settled 
 in Paris, in 1852, Spitzer already occupied a pro- 
 minent position among the noted experts of 
 Europe. His extensive and well-managed deal- 
 ings at the public sales which had won for him 
 the name of " the Napoleon of the auction 
 room? " exercised a great influence on the 
 fluctuation of prices. His agents were scouring 
 all countries in search of hidden treasures, and 
 when he had news of some valuable collection he 
 knew how to secure it upon the best terms, and 
 bring it into the best market. The special re- 
 quirements and individual tastes of each and all 
 the wealthiest collectors of Paris, London, and 
 Vienna were well known to him, and he had 
 placed himself in the position of assisting or 
 thwarting the fulfilment of the most intense 
 desires. A natural good taste, combined with 
 the smatteiing of artistic education he had ob- 
 tained from his constant intercourse with ex- 
 perienced amateurs, had developed in him a safe 
 judgment which seldom proved at fault. But 
 the admiration he may have felt for a thing of 
 beauty never made him lose sight of the profit 
 to be made out of it ; in this respect differing 
 from the true collector, which he subsequently 
 aimed to be. As a matter of fact, no one has 
 ever turned his knowledge of art matters to such 
 a wonderful pecuniary advantage. Spitzer's 
 memory deserves to be revered by all the curi- 
 osity dealers of after-times. His name will head 
 the golden list of the legendary heroes of the 
 bartering persuasion as that of a born genius who, 
 by humouring the fad of the moment and mini- 
 stering to the capricious desires of eager dilet- 
 tanti, had raised himself to the supereminent 
 position which his successors should take as a 
 model. Many a man of high-minded character 
 has spent his whole life in hunting out, acquiring, 
 and garnering works of art, without having been 
 actuated for one moment by mercenary motives ; 
 such disinterested feelings, Spitzer seems to have 
 been unable or unwilling to understand. He 
 may have wondered at the noble generosity of 
 the noted collectors who, seeing no better use to 
 be made of the treasures they had assembled, 
 presented or bequeathed them partially or wholly 
 to some national institution for the benefit of all 
 and the glory of their own name ; but he never 
 showed any inclination to follow their example. 
 Museums are full of such princely gifts ; but we 
 do not remember having ever seen in any public 
 gallery anything recorded as being the gift of F. 
 Spitzer. 
 
 One cannot question, of course, the right of a 
 merchant to dispose of his goods 'as he thinks 
 best. But we protest against honouring a suc- 
 cessful speculator in works of art by ranking him 
 with such generous men as A. W. Franks, E. 
 Dury Fortnum, Davillier, Dutuit, and many 
 others who form a group by themselves in the 
 history of art. 
 
 After many years of highly remunerative 
 commercial transactions, a magnificent collec- 
 tion had resulted from the residual accumulation 
 of untold matchless pieces, on which such an 
 extravagant price had been set that even the 
 most open-handed from among the habitual or 
 casual clients of Spitzer, after protracted ne- 
 
 gotiations, had not dared to close the bargain. 
 An uninterrupted stream of greedy purchasers 
 had passed through the rooms of the colossal 
 stores ; each of them had freely made his selec- 
 tion ; many had carried away their acquisition, 
 in the full belief that they .possessed the gems of 
 the whole show. All barters had been conducted 
 with a deftness which puts one in mind of that 
 of a conjurer ; after that continuous ransack- 
 ing of the stock, it was found after all the 
 cream of the cream had been left. 
 
 In the mansion of the Rue de Villejuif, Spit- 
 zer's magnificent abode, what had once been 
 termed the show-room had become a private 
 gallery, where one could only be admitted by 
 special favour ; and the expert valuer posed as 
 a wealthy and aristocratic collector. 
 
 Practically retired from business, the owner 
 of the collection devoted his leisure to the publi- 
 cation of an illustrated catalogue. It was 
 brought out in such a splendid and costly style 
 that, notwithstanding the high price of the sub- 
 scription, it is evident that no desire of realising 
 a sure profit had guided Spitzer in the last under- 
 taking of his life. 
 
 The sections of ceramics are classified as 
 follows : 
 
 Vol. II. Les faiences de Saint 
 Porchaire. Notice par E. Bon- 
 naff e. Pp. 15 ; with 3 pis. 
 
 Les faiences de Bernard Pal- 
 
 issy. Notice par E. Molinier. 
 Pp. 23 ; with 7 pis. 
 
 Vol. III. Les gres de Flandres et 
 d'Allemagne. Notice par A. 
 Papst. Pp. 26 ; with 4 pis. 
 
 Vol. IV. Les faiences italiennes et 
 hispano-moresques. Pp. 88 ; 
 with 23 pis. Terres cuites de 
 Luca delta Robbia, et autres. 
 Notices par E. Molinier. Pp. 3 ; 
 with 6 pis. 
 
 SPITZER. Catalogue des objets d'art 
 et de haute curiosite, antique 
 moyen-age, et de la Renaissance, 
 composant 1'importante et pre- 
 cieuse collection Spitzer, dont la 
 vente aura lieu 33 Rue de Ville- 
 juif, du Lundi, 17 Avril, au ven- 
 dredi, 16 Juin, 1893. Paris, 
 1893. 2 vols. Imp. 4; with an 
 atlas fol. of 68 pis. in autotype, 
 reproducing thousands of ob- 
 jects in a much reduced scale. 
 2, 2s. 
 
 401 
 
SPO] 
 
 CERAMIC LITERATURE. 
 
 [STE 
 
 The most important sale* of the century. It 
 comprised 3,369 Nos., all specimens of high 
 order. Ceramic art was represented as follows ; 
 Palissy ware, 72 Nos.; Saint Porchaire, or 
 Henri II., ware, 7 Nos.; Persian ware, 27 Nos.; 
 Hispano-Moresco faience, 17 Nos.; Italian ma- 
 jolica, 242 Nos.; Luca della Robbia and enamel- 
 led terra-cottas, 13 Nos.; German faience and 
 stoneware, 85 Nos. Terra-cottas of various 
 periods were also introduced in the other sections. 
 During the last years of Spitzer's life the collec- 
 tion was offered for sale by private treaty ; 
 twelve million francs was the price asked for it. 
 The sale by auction lasted one month, and 
 realised 9,123,780 francs, a sum which does not 
 include the result of the sale of the Arms and 
 Armour which took place later on. 
 
 SPONSEL (J. L). Kabinettstiike der 
 Meissner Porzellan-Manufaktur 
 von Johann Joachim Kandler. 
 Leipzig, H. Seemann, 1900. 4, 
 pp. 231 ; with 70 half-tone il- 
 lustrs. 32 m. 
 
 " Cabinet pieces from the Meissen por- 
 celain manufactory, the work of J. J. 
 Kandler." 
 
 J. J. Kandler was attached as modeller to the 
 Meissen Factory from 1731 till 1775. Besides a 
 complete list and description of the models he 
 supplied, to be executed in porcelain, this work 
 contains interesting particulars upon the archi- 
 tectural and monumental schemes in which 
 Kandler collaborated as a sculptor namely, the 
 Japanese Palace at Dresden, the statue of 
 Augustus III., the Temple of Honour, etc. 
 
 SPUTH (E.). Die Koenigliche Por- 
 zellan-Manufaktur in Berlin. In- 
 nere Ausschmiickung der Ver- 
 kaufsraiime. Berlin., Kanter & 
 Mohr, 1893. Fol. ; with 34 
 phototyp. pis. 40 m. 
 
 " The Royal porcelain manufactory of 
 Berlin. Internal decorations of the show- 
 rooms." 
 
 The new show-rooms of the Royal manufac- 
 tory, and the architectural details of their 
 splendid decoration photographed from the 
 originals and published by the architect. 
 
 STAGEY (J.). A Prince in Israel: or 
 sketches of the life of John 
 Ridgeway, Esq. London, 1862. 
 8, pp. xii-315 ; portrait. 3s. 
 
 The life of one of the leading manufacturers 
 of the Potteries, chiefly considered in his con- 
 nection with the development of the non-con- 
 formist congregations. 
 
 STACKELBERG (0. M. von). Die Graber 
 der Hellenen. Berlin, Reimer, 
 
 402 
 
 1835-37. Fol. 2 parts. Pp. 43- 
 49 ; with 79 engr. pis. and 9 
 vigns. 70 m. 
 
 " The graves of the Hellenes." 
 
 A rather singular title, considering that it is 
 applied, not to the description of the tombs, but 
 to that of the objects they contained. Baron 
 Otto-Magnus yon Stackelberg was one of the 
 learned party of German and English explorers 
 who, during the course of their archaeological 
 campaign on Greek territory in 1810, discovered 
 the ruins of the Phigaleian temple of Apollo and 
 the ^Eginean marbles. His whole life has been 
 devoted to the study of Hellenic antiquity. 
 This work, which he completed at the very end 
 of his career, embodies the results of his anti- 
 quarian labour. It occupies a high place in the 
 literature of classical art, not only for the taste 
 displayed in the selection of the engraved ex- 
 amples, but also for the erudition with which 
 the accompanying notices have been written. 
 The plates, drawn by Stackelberg and chiefly 
 engraved by Cipriani, contain Painted vases. 
 39 pis.; vases in the form of a human figure, 
 5 pis.; terra-cottas, figures and fragments, 
 19 pis. 
 
 STARR (F.). The little pottery ob- 
 jects of Lake Chapala, Mexico. 
 Chicago, 1897. 8, pp. 27 ; with 
 59 illustrs. 3s. 
 
 Terra-cotta vases of coarse make and un- 
 gainly form. 
 
 STEGMAM (H.). Gasfeuerung und 
 Gasofen. Eine Darstellung ihres 
 Wesens und ihrer Beziehungen 
 zu den pyrotechnischen Pro- 
 cessen der Thonwaaren Indus- 
 trie der Kalk- und Glas- Fabrika- 
 tion sowie verwandter Indus- 
 trien. Berlin, 1877. 2nd ed., 
 1881. 8, pp. 265 ; with 92 text 
 illustrs. 6 m. 
 
 " Gas-firing and gas-ovens. A treatise 
 of the principle and its application to the 
 firing of earthenware, the cement and 
 glass manufacture, and kindred indus- 
 tries." 
 
 Die fiirstlich braunschweig- 
 ische Porzellanfabrik zu Fiirs- 
 tenberg. Ein Beitrag zur Ge- 
 schichte des Kunstgewerbes und 
 der wirthschaftlichen Zustande 
 im achtzehnten Jahrhundert. 
 Braunschweig, 1893. 8, pp. 
 176, 5 m. 
 
STE] 
 
 CERAMIC LITERATURE. 
 
 [STE 
 
 " The Brunswick porcelain manufactory 
 of Furstenberg. A contribution towards 
 the history of industrial art, and the con- 
 dition of official administration in the 
 eighteenth century." 
 
 The manufactory of Furstenberg never rose 
 to a high degree of eminence, yet the history of 
 its vicissitudes, which reads like a work of fiction, 
 was well worth being written, inasmuch as it 
 illustrates vividly the difficulties that the minor 
 porcelain works of Germany had to encounter at 
 the outset. 
 
 To keep a standing army and subsidise a 
 private establishment in which a fine porcelain 
 was manufactured were royal prerogatives 
 dear to all the petty sovereigns of the German 
 States. But the extravagant expenditure en- 
 tailed by the maintenance of the former seldom 
 allowed an impoverished exchequer to supply 
 the funds required by the latter. 
 
 It was under such unauspicious conditions 
 that Karl, Grand Duke of Brunswick, accepted 
 the proposal of a so-called " arcanist," and 
 resolved to establish, with his assistance, a 
 porcelain factory in the Castle of Furstenberg. 
 A gentleman of the Court, Baron von Langen, 
 the master of the hunt, was appointed official 
 director. Director and arcanist were to work 
 conjointly to ensure the success of the enter- 
 prise. Experiments were supposed to have 
 begun, but as the subsidy promised by the Grand 
 Duke had not been supplied, no results could 
 be shown to His Highness. The courtier was 
 wealthy, and anxious to gratify the wish of the 
 Prince ; he saw that if trials were to be conducted 
 in earnest the cost of them was to come out of 
 his own pocket. Unfortunately the practical 
 man was a rank imposter, absolutely un- 
 acquainted with the secrets of the Dresden 
 porcelain, which he boasted of having mastered, 
 and the director, liberal and generous as he was, 
 showed a total want of business capacity. During 
 seven years a kind of empirical manufacture was 
 fitfully carried on, until, at last, the worthy 
 courtier became aware of the fact that all that 
 had been produced was a thick and opaque 
 white stoneware, and that all hopes of obtaining 
 a translucid porcelain was to be given up, unless 
 a capable man really in possession of the secret, 
 could be engaged as a manager. Such a man 
 was found, willing to relinquish the position he 
 occupied in that capacity in the factory of. a 
 neighbouring state, and join the Furstenberg 
 factory, where better conditions were offered to 
 him. But all his movements were closely 
 watched ; to depart openly was for him well 
 nigh impossible. The only way of securing the 
 man's services was to kidnap him. This was 
 done in the dead of night ; and a close carriage 
 carried him away towards the Brunswick bound- 
 aries. The kidnapping party was overtaken by 
 soldiers sent in pursuit ; the deserter was thrown 
 into prison, and the incident nearly caused a 
 caaus belli between the two states. All this, and 
 much more, is narrated by Mr. Stegmann with 
 an abundance of smaller facts and accessory 
 details, all supported by documentary evidence 
 of extraordinary character. 
 
 When, at last, after more trials and disap- 
 pointment, the manufacture of true porcelain 
 seems to have been definitively established, the 
 
 Seven Years' War broke out, ruining the German 
 industry, and threatening the very existence of 
 the Furstenberg works. During this unfor- 
 tunate period the factory was not actually closed, 
 but the unpaid staff of artists and workmen was 
 reduced to a state of misery and actual want, of 
 which the author gives us a heartrending account. 
 With the year 1795 came the opening of a new 
 era. Prosperity and confidence had replaced 
 troubles and hopelessness. This took place 
 under the management of a Frenchman named 
 Gerverot. Since then the conditions of the manu- 
 factory have not ceased to improve ; it is now 
 conducted, as a paying concern, by a company. 
 
 STEIN (R. VOD). Research on the 
 manufacture of Greek ceramics 
 (in Russian). Odessa, 1894. 8, 
 pp. 26 ; 1 col. pi. 
 
 STEINBRECHT (G.). Die Steingut-Fa- 
 brikation, fur die Praxis bear- 
 beitet. Wien, Hartleben, 1891. 
 8, pp. 224; with 86 illustrs. 
 4 m. 
 
 "The manufacture of stoneware; a 
 practical treatise." 
 
 STEINBUCHEL (A. YOfl). Sappho und 
 Alkaios, ein altgriechisches Vas- 
 engemalde. Wien, Strauss, 1822. 
 Fol, pp. 28 ; with 5 engr. pis. 
 Also in Italian. Padova, 1824. 
 8. 5 fcs. 
 
 " Sappho and Alceeus : an ancient Greek 
 vase painting." 
 
 A fine red figure vase found at Girgenti. This 
 vase, cylindrical in shape, offers the peculiarity 
 of being provided with an outlet hole at the 
 inferior part. On the front two figures holding 
 lyres are inscribed, Sappho and Alkaios, with 
 the word KALOS. 
 
 STEINITZ (K.). Die Topferei des 
 Kreises Bunzlau. Leipzig, Hum- 
 blot, 1895. (In Untersuchungen 
 iiber die Lage der Handwerks in 
 Deutschland, vol. i., pp. 167- 
 229.) 
 
 " The pottery manufacture in the 
 Bunzlau district." 
 
 An account of the present conditions of the 
 potters' industry at Bunzlau and the vicinity, 
 with short notes on its history since 1547. 
 
 STEPHANI (L.). Die Vasensammlung 
 der Kaiserlichen Ermitage. St. 
 Petersburg, 1869. 2 vols. 8, 
 
 403 
 
STE] 
 
 CERAMIC LITERATURE. 
 
 [STI 
 
 pp. 412-502; with 16 pis. of 
 forms and inscriptions. 15 m. 
 
 " The collection of antique vases in the 
 Imperial Hermitage." 
 
 STEPHANI (L.). Der Kampf zwischen 
 Theseus und Minotauros. Leip- 
 zig, 1842. Fol. ; with 10 pis. 
 and 2 vigns. 9 m. 
 
 Vaso a sogetto comico di 
 
 Lentini. Roma, 1845. 1 pi. 
 
 Boreas und die Boreaden. 
 St. Petersburg, 1871. 4; 1 pi. 
 
 STEPHANUS (CarolllS). -- De vasculis 
 libellus, adulescentulorum causa 
 ex Bayfio decerptus, addita vul- 
 gari latinarum vocum interpre- 
 tatione. Lugduni, Ap. Hseredes 
 Simonis Vincenti, 1536. 16, pp. 
 50. See Baif (L. de). 3 fcs. 
 
 "The book of vases ; extracted from 
 the work of Baif for the use of young 
 scholars; with the translation of the 
 Latin names in common language." 
 
 Italian painted ware is referred to by the 
 translator under the name of " Majorica." The 
 only contemporary pottery mentioned in the 
 nomenclature of vessels is " pots et cruches de 
 Beauvais." 
 
 STERN (E. von). Das Museum der 
 K. Odessaer Gesellschaft fur 
 Geschichte und Altertumskunde. 
 Lief. III. Teodosia und seine 
 keramik. Odessa, 1906. 4, pp. 
 91 ; 1 map and 9 pis. (8 col.). 
 16m. 
 
 " Museum of the Imperial Historical 
 and Arch. Soc. of Odessa. Part III. 
 The ceramics of Teodosia." 
 
 On the site of old Teodosia, a Greek colony on 
 the northern shore of the Black Sea, excavations 
 have lately brought to light fragments of pot- 
 tery of various periods. The plates reproduce 
 a selection of the finds. Greek vases, 4 pis.; 
 Byzantine graffito ware, 3 pis.; Persian faience, 
 1 pi.; terra-cotta, 1 pi. 
 
 STETTINER (R.). Vincennes und 
 Sevres. Berlin, 1893. 4, pp. 
 17 ; illustr. (In Jahrbuch der 
 Konig. preussischen Kunstsamm- 
 lungen.) 
 404 
 
 A summary of the French books published on 
 the subject. 
 
 STEVEN (E. J.). Salisbury and South 
 Wilts Museum. Catalogue. 
 Salisbury, 1870. 12. 
 
 Tobacco pipes, pp. 36-41 ; pottery and por- 
 celain, pp. 63-75 ; tiles, pp. 76, with 1 woodcut. 
 
 STIEDA (W.). Die Anfange der Por- 
 zellanfabrikation aus dem Thiir- 
 ingerwalde. Jena, Fischer, 1902. 
 8, pp. viii-425; with 24 text 
 illustrs. 8 m. 
 
 " The beginnings of the porcelain manu- 
 facture in Thuringia." 
 
 Historical and descriptive notices of the 
 following manufactories : Saalfeld, Rudolstadt, 
 Ilmenau, Coburg, Gera, Volksted, Limbach, 
 Wallendorf, Kloster Veilsdorf, Gotha, Gross- 
 breitenbrach, Rauenstein, Blankenhain, Eisen- 
 berg, Possneck, etc. 
 
 Die Geschichte der Porzellan- 
 
 fabrikation in der Mark Bran- 
 derburg. Leipzig, 1905. 12, 
 pp. 24. (Reprint from the For- 
 
 schungen zur Branderburgischen 
 Geschichte.) 
 
 " The history of the manufacture of 
 porcelain in the Marches of Branden- 
 burg." 
 
 - Die keramische Industrie in 
 Bayern wahrend des xviii. Jahr- 
 hunderts. Leipzig, Teubner, 
 1906. 8, pp. vi-256. 6 m. 
 
 " The ceramic industry in Bavaria 
 during the eighteenth century." 
 
 This volume contains detached monographs 
 of the seventeen porcelain and faience fac- 
 tories established in Bavaria between 1710 and 
 1794. They are supplemented by general con- 
 siderations on the industry in the kingdom. 
 
 STIEFF (Christian). De urnis in Silesia, 
 lignicensibus atque pilgrams- 
 dorfiensibus epistola. Wratis- 
 laviae et Lipsiae, 1704. Sm. 4, 
 pp. xvi-64 ; with 4 pis. con- 
 taining many earthen vessels. 
 4 m. 
 
 "Of the urns of Silesia; letters ad- 
 dressed to the people of Liegnitz and 
 Pilgrimsdorf." 
 
 A learned disquisition demonstrating that the 
 earthen vessels discovered in the soil of Silesia 
 
STI] 
 
 CERAMIC LITERATURE. 
 
 were the work of the ancient Romans, and of the 
 invading tribes which had succeeded them in the 
 occupation of the German territory, and not a 
 natural growth, as was generally believed. 
 
 STIEHL (0.)- - - Die Backsteinbau 
 romanischer Zeit, besonders in 
 Oberitalien und Norddeutsch- 
 land. Leipzig, Baumgartner, 
 1904. Fol. ; with 27 pis. and 
 113 text illustrs. 36m. 
 
 " The brick-building of the Roman 
 period, particularly in North Italy and 
 North Germany." 
 
 STOCKBAUER (J.) und OTTO (H.). Die 
 aiitiken Thongefasse in ihren 
 Bedeutung fiir die moderne Ge- 
 fassindustry. Nurnberg, 1876. 
 Fol., pp. 4 ; with 33 col. pis. and 
 explanatory notices. 40 m. 
 
 " The antique earthenware vases in 
 their relation to the modern ceramic 
 industry." 
 
 A good selection of designs, taken from Greek 
 vases, and published by the Museum of Indus- 
 trial Art at Nuremberg for the use of industrial 
 artists. The constituent portions of a vase are 
 treated separately. Thus we have the various 
 types of form and decoration of the foot, the 
 neck, the body, the handle, the cover, etc., 
 illustrated in a series of plates. A practical 
 arrangement much appreciated by the designer, 
 but an injudicious use of which might result in 
 the association of parts never intended to go 
 together. 
 
 STORELLI (A.)-- Jean Baptiste Nini. 
 Sa vie, son ceuvre, 1717-86. 
 Tours, A. Mame, 1896. 8, pp. 
 
 , 177 ; with 72 photogravure re- 
 productions of Nini's medallions. 
 40 fcs. 
 
 The biographical notice prefixed to this hand- 
 some volume dispels any doubt that might have 
 persisted respecting the identity of the artist 
 who signed his terra-cotta medallion portraits 
 with the name of J. B. Nini. Mr. Storelli has 
 established, by means of authentic documents, 
 that he was in reality J. B. Nini, of Urbino, an 
 Italian refugee, who worked at Chaumont for 
 nearly thirty years. Mr. Villers, in his article, 
 gave the number of the medallions as being 
 seventy ; the list has been brought up here to 
 one hundred and seven, and the writer surmises 
 that it will be further increased when other 
 models are discovered. 
 
 STORMER (M.). Fehler bei der Thon- 
 waaren-Fabrikation und deren 
 Abhilfe, mit besonderer Be- 
 
 riicksichtigung der Untersuch- 
 ungsmethoden. Freiberg (I. $.), 
 Craz & Gerlach, 1901. 8, pp. 
 190 ; with 15 illustrs. 6 m. 
 
 " Defects and accidents in eatthenware 
 manufacture and their prevention; with 
 special considerations on the experimental 
 method." 
 
 Dr. Stormer has been for many years director 
 of the special laboratory of Prof. H. Seger and 
 E. Cramer, and is now conducting an establish- 
 ment where ceramic analysis and experiments 
 are made for'private manufacturers. 
 
 STRACK (H.)- Ziegelbauwerke des 
 Mittelalters und der Renaissance 
 in Italien, nach original- Aufnah- 
 men herausgegeben. Berlin, 
 1889. Fol., pp. 10; with 50 
 heliogr. pis. and 103 illustrs. 
 120 m. 
 
 "Brick architecture of the Mediaeval 
 and Renaissance periods. A reproduction 
 of sketches taken from the originals." 
 
 STRALE (G. H.). Rorstrand et Marie- 
 berg. Notices et recherches sur 
 les ceramiques Suedoises du 18 e 
 siecle. Traduit du suedois. 
 Stockholm, Haeggstrom, 1872. 
 8, pp. vi-144 ; with 14 chromo- 
 lith. pis. and 8 pp. of marks. 
 15 fcs. 
 
 "Rorstrand and Marieberg. Notices 
 and research upon the Swedish ceramics 
 of the eighteenth century. Translated 
 from the Swedish." 
 
 A first attempt at manufacturing porcelain 
 and stanniferous faience was made at Rorstrand 
 in 1725. A company was formed to subsidise 
 the experiments of a certain Wolf, of Copenhagen, 
 who had represented himself as fully conversant 
 with all the secrets of those manufactures. 
 During twenty years, time and money were 
 wasted in unproductive trials; the man was 
 unable to produce any satisfactory results. It 
 was only in 1753 that Rorstrand works entered 
 into an era of full activity under a new manage- 
 ment. The Marieberg manufactory was estab- 
 lished, about 1760, by L. Ehrenreich, dentist to 
 the King. It seems to have prospered from the 
 first, and its productions are said to have com- 
 pared favourably with the French and German 
 faience they strove to imitate. According to 
 local tradition, hard porcelain was made at both 
 places. This belief, however, is not substanti- 
 ated by any authenticated examples. A porce- 
 lain of soft paste was indubitably produced at 
 Marieberg; a few marked specimens are in 
 
 405 
 
CERAMIC LITERATURE. 
 
 [STfc 
 
 existence, but all denote a still experimental 
 state of manufacture. The book ends with an 
 account of the introduction of English earthen- 
 ware and its imitations made in the Swedish 
 factories. 
 
 STRALE (G. P.)- Rorstrand Samling 
 af Fajans och Porslin. P. I. 
 Rorstrand Historia och Till- 
 werkningar, 1726-1850. Stock- 
 holm, 1879, 4, pp. xxv-lxxii-154; 
 with 12 chromolith. pis., 35 text 
 illustrs., and 8 pp. of marks. 
 
 " Rorstrand collection of faience and 
 porcelain. The history and the produc- 
 tions of the Rorstrand factory from 1726 
 to 1850." 
 
 P. II. Marieberg's Historia och 
 Tillwerkningar, 1758-1788. Stock- 
 holm, 1880. 4, pp. xii-172; 
 with 12 chromolith. pis. and 20 
 text illustrs. Marks. 3. 
 
 " Marieberg : the history and produc- 
 tions of the Marieberg factory from 1758 
 to 1788." 
 
 A complement to the above work. It con- 
 tains additional information ; a descriptive 
 catalogue of the specimens preserved in the 
 Rorstrand collection ; and a different set of 
 plates and illustrations. 
 
 STRANGE (E. F.). Palissy in prison, 
 and other verses. London, 1892. 
 8, pp. 62. 
 
 STREBEL (H. ). Ueber Tierornamente 
 auf Thongefassen aus Alt-Mexi- 
 co. Berlin, Spemann, 1899. 4, 
 pp. 33 ; with 19 pis. 15 m. 
 (Vol. vi., part 1, of Veroffent- 
 lichungen aus dem Koniglichen 
 Museum fur Volkerkunde.) 
 
 " The representation of animals upon 
 the old Mexican pottery." 
 
 Examples of decorations derived from animal 
 form seen on the old Mexican pottery preserved 
 in the Ethnological Museum of Berlin. 
 
 STRELE (Karl). Die Fabrikation des 
 weissen Feldspath - Porcellans 
 und dessen Dekorirung mit 
 Starkfeuer-Farben. Enthaltend 
 die Angabe eines rationellen Ver- 
 406 
 
 fahrens zu Zusammensetzung 
 der Massen und Glasuren, der 
 neuesten englischen Maschinen, 
 Drehscheiben ; der gegenwartig 
 beim Brennen mit Steinkohlen 
 zu Limoges angewendeten rauch- 
 verzehren den Beschickungs- 
 methode nach dem System Mou- 
 rot, der praktischen Ausfiihrung 
 des Brennens mit Gasfeuerung, 
 der gegenwartig in England ein- 
 gef iihrten Methode des Brennens 
 mit absteigender Flamme und 
 der Angabe der in Europa vor- 
 kommenden Stein- und Braun- 
 kohlenlager. Weimar, F. Voigt 
 (1867 ?). 8; with an atlas of 
 18 fol. pis. 7.50 m. 
 
 " The manufacture of white felspathic- 
 porcelain, and its decoration with fire- 
 resisting colours. Contains Indications 
 of a rational method for making body 
 and glaze compositions ; description of the 
 latest English machines and throwing- 
 wheels ; the Mourot system employed at 
 Limoges for consuming the smoke in the 
 ovens fired with coal ; gas firing ; the 
 new down-draft ovens used in England ; 
 and list of the coal- and lignite-producing 
 countries in Europe." 
 
 Die Technik des Kolorirens 
 und Dekorirens von echtem und 
 fritten-Porcellan, Steingut, Fay- 
 ence, Glas, Email, Gold, Silber, 
 Platin, Kupfer und Maillechort, 
 durch Bemalen, Bedrucken, 
 Uebertragen von Photographien 
 mit verglasbaren Email-oder 
 Musselfarben und Metallen, so- 
 wie das Einbrennen derselben 
 und Poliren der Metalle. Wie- 
 mar, F. Voigt (1875 ?). 8; 
 with 3 pis. 3.75 m. 
 
 "The practical method of colouring 
 and decorating hard and soft porcelain, 
 stoneware, faience, glass, enamel, etc., by 
 painting, printing, photographing in 
 vitrifiable enamels or kiln colours and 
 metals ; together with the methods of 
 firing in the colours and burnishing the 
 metals." 
 
STU] 
 
 CERAMIC LITERATURE. 
 
 [TAI 
 
 STUBEL (A.), REISS (W.), und KOPPEL (B.)- 
 Kultur und Industrie siida- 
 merikanischer Volker. Nach 
 dem im Besitze des Museums 
 fur Volkerkunde zu Leipzig be- 
 findlichen Sammlungen. Text 
 und Beschreibung der Tafeln 
 von Max Uhle. Berlin, 1889. 
 2 vols. Fol. ; with 55 pis., 
 mostly col. 120 m. 
 
 " Culture and industry of the South 
 American people. From the objects pre- 
 served in the Ethnological Museum at 
 Leipzig. The text and description of the 
 plates by M. Uhle." 
 
 Part I. Ceramics. The first volume treats 
 of the antiquities, the second of the productions 
 of the present time. 
 
 STUDN1CZKA (Franz). Kyrene, eine 
 altgriechische Gottin. Leipzig, 
 A. Brockhaus, 1890. 8, pp. 
 224; with 38 text illustrs. 10m. 
 
 " Gyrene : an ancient Greek goddess." 
 
 Archaeological and mythological research 
 upon the nymph Cyrene who gave her name to 
 the land of Cyrenaica. Chapter i. contains an 
 examination of the painted vases of that country. 
 
 STURM (G.). --Figurale Vignetten 
 fur Zwecke der kunstgewerb- 
 lichen Industrie, entworfen von 
 G. Sturm ; herausgegeben von 
 K. K. Handels ministerium as 
 Vorlegeblatter fur dessen kera- 
 mische Fachschulen. Wien, 
 1877. 4 ; 30 chromolith. pis. 
 
 " Sketches of figures for the artistic 
 industries, designed by G. Sturm and 
 published by the R.I. Ministry of Com- 
 merce for the use of the practical schools 
 of ceramics." 
 
 SULTANOFF. Old Russian terra cotta 
 tiles. Moskow, 1895. 8, pp. 
 22 ; with 44 illustrs. (In Rus- 
 sian.) 2s. 
 
 SWOBODA (C. B.). Die Farben zur 
 Decoration von Steingut, Fay- 
 ence und Majolika, etc. Wien, 
 
 Hartleben, 1891. 
 3m. 
 
 12, pp. 114. 
 
 " The colours for the decoration of 
 stoneware, faience, and majolica." 
 
 - Grundriss der Thonwaaren- 
 Industrie, oder Keramik. Wien, 
 Hartleben, 1894. 12, pp. 196 ; 
 with 36 illustrs. 3 m. 
 
 " Elements of the earthenware manu- 
 facture, or ceramics." 
 
 SYBEL (J. K.)- Nachrichten von dem 
 Stadtchen Plauen an der Havel, 
 besonders von der dort an- 
 gelegten Porzellan-Manufactur. 
 Berlin, Nicolai, 1812. 8. 
 
 " An account of the small town of 
 Plauen upon Havel, and particularly of 
 the porcelain manufactory once estab- 
 lished in the place." 
 
 It is asserted that one Samuel Kampe. a run- 
 away operative from the Meissen manufactory, 
 had made hard porcelain at Plauen (Prussia) as 
 early as 1713, and that he continued to make 
 excellent ware in the works he had established in 
 the town until the year 1719. No example of the 
 so-called Plauen porcelain has ever been identi- 
 fied. It is highly improbable that, during Bott- 
 ger's life, the secret of his discovery, so jealously 
 guarded should have fallen into the hands of one 
 of his workmen. We suspect that the ware made 
 by Kampe may have been a kind of stoneware, 
 white and hard, but that it was lacking as did 
 . the other imitations of the times the trans- 
 lucidity indispensable to constitute true por- 
 celain. 
 
 TAILLEBOIS (E.). - - Quelques sigles 
 figulins trouves chez les Ausci. 
 Dax, 1882. 8, pp. 18. (In 
 Bulletin de la Societe de Borda.) 
 
 " A few potters' marks found upon the 
 pottery of the Ausci." 
 
 TAINTURIER (A.)- Notice BUT les 
 faiences du xvi e siecle, dites de 
 Henri II., suivie d'un catalogue 
 contenant la description de 
 toutes les pieces connues. Paris, 
 Didron, 1860. 8, pp. 26 ; with 
 1 col. pi. 5 fcs. 
 
 " Notice of the faience of the sixteenth 
 century, so-called Henri II. ware ; with a 
 descriptive catalogue of all the pieces 
 known up to this time." 
 
 No plausible conjecture had previously been 
 
 407 
 
CERAMIC LITtiRATURti. 
 
 [TAt 
 
 presented concerning the birth-place of a ware 
 which had deserved to be called the " Sphinx of 
 Curiosity." Doubting that it could have been 
 the work of a French potter, Tainturier thought 
 that it might be atributed to the Italian artist, 
 Ascanio, the favourite pupil of Benvenuto Cel- 
 lini, who worked for Francis I. and Henry II., 
 an attribution which, it is needless to say, was 
 as far-fetched and improbable as any of those 
 advanced previously. He describes only 36 
 specimens, but mentions seven others said to 
 be in private collections which he had not 
 visited. 
 
 TAINTURIER (A.). Les terres email- 
 lees de Bernard Palissy, inven- 
 teur des rustiques Figulines. 
 Etude sur les travaux du maitre 
 et de ses coiitinuateurs, suivie 
 du catalogue de leur oeuvre. 
 Paris, V. Didron, 1863. 8, pp. 
 136 ; with 4 pis. lith. by the 
 author, and illustrs. in the text. 
 10 fcs. 
 
 " The glazed earthenware of Bernard 
 Palissy, inventor of the rustic figulines. 
 An essay upon the works of the master 
 and of his successors, with a descriptive 
 catalogue of these works." 
 
 A short and unpretentious sketch of the life 
 of Palissy is prefixed to a comprehensive ex- 
 amination of his fictile productions, considered 
 from the technical and artistic standpoints. 
 Much as had already been written on the sub- 
 ject, this was, nevertheless, the first attempt to 
 study the master exclusively in his character of 
 a potter. Former biographers had all fallen into 
 serious mistakes with regard to the works they 
 had attributed to him. Tainturier pointed out 
 that the faience pavement of Ecouen, the panels 
 of Limoges enamel bearing a spurious signature, 
 the figure of a nurse and other statuettes, 
 usually mentioned as the best representatives of 
 his art, could not have been made by Palissy's 
 hand. He called the collector's attention to the 
 numerous examples of coloured earthenware 
 made by his successors and imitators, and de- 
 monstrated that they could not be considered as 
 his original productions, and also warned the 
 unwary that very clever imitations had also been 
 made in modern times. 
 
 The catalogue of the ware of Palissy and hi 
 school was as complete as it could be made at 
 the time, and it records the name of the private 
 collections in which the specimens were pre- 
 served. It contains only 221 Nos., a figure thai 
 could now be multiplied. A somewhat doubtfu 
 portrait of Palissy, from an earthenware plaque 
 in the collection of Sir Antony de Rothschild 
 forms the frontispiece of this valuable essay. 
 
 Recherches sur les anciennes 
 
 manufactures de porcelaine e1 
 de faience (Alsace et Lorraine). 
 Strasbourg, Berger - Levrault, 
 
 408 
 
 1868. 8, pp. 
 and 55 marks. 
 
 95 ; with 
 8 fcs. 
 
 2 pis. 
 
 " Research upon the ancient porcelain 
 and faience manufactories of Alsace- 
 Lorraine." 
 
 The Roman pottery discovered at Rhein- 
 zabern ; the Schelestadt potter mentioned in 
 the Colmar Chronicle as having been the inventor 
 of glazed earthenware in 1283 ; the white and 
 blue vases represented in the pictures of Martin 
 Schoengauer and other painters of the early 
 Alsatian school ; the existing examples of the 
 richly embossed stoves, extensively manufac- 
 tured during the sixteenth century, which are 
 successively passed under review by the author 
 of this conscientious monograph, warrant him in 
 ascribing to the potter's art in the two provinces 
 a very ancient origin. 
 
 He is not so happy in his account of the intro- 
 duction of the hard porcelain manufacture. 
 Finding the word " Porcelain " applied, in the 
 old documents to the early products of the Han- 
 nong's factory, established at Strasbourg in 1719, 
 he infers from it that porcelain was made there 
 at that date. Hannong was making plain and 
 decorated faience, and this, like the Delft ware 
 and its imitations, went at that time by the 
 name of porcelain. In reality, the first experi- 
 ments towards the making of porcelain, similar 
 to that made at Meissen, were only started by 
 Paul Adam, son of Charles Hannong, in 1750. 
 He was assisted in his attempt by Ringler, a 
 well-known " Arcanist," who, after having 
 escaped from Dresden, had taken an important 
 part in the establishment of the Vienna and the 
 Hochst hard porcelain factories. Both potters 
 had to contend against the royal establishment 
 of Vincennes, which claimed the exclusive pri- 
 vilege of the manufacture of porcelain in the 
 kingdom of France. Legal proceedings were 
 instituted, and the Strasbourg manufacturers 
 were compelled to abandon their projects. 
 Shortly afterwards P. A. Hannong repaired to 
 Vincennes, where he offered to sell, for a large 
 sum, the secrets of the Dresden porcelain. But 
 after a few fruitless experiments, he was obliged 
 to confess that he was unable to obtain the re- 
 quisite kind of clay ; and so the bargain could 
 not be concluded. In 1755, we find him at work 
 at Frankenthal, where, under the patronage of 
 the Elector Charles-Theodore, he succeeded in 
 establishing the manufacture of an excellent hard 
 porcelain, made of the same material as those 
 employed at Meissen. 
 
 So numerous was the family of Hannong that 
 some confusion may easily be created between 
 the potters who bore that name. Paul Adams, 
 alone, had no fewer than fifteen children more 
 or less associated with the ceramic industry in 
 various countries of Europe. Joseph Hannong, 
 the eldest son of Paul, renewed in 1766 the 
 attempt made by his father to reform the faience 
 factory of Strasbourg, and to resume the making 
 of hard porcelain. A protracted litigation be- 
 tween Joseph and the Prince of Rohan ended in 
 the utter ruin of the manufacturer, and the final 
 closing of the works in 1779. A reprint of the 
 priced catalogue of the articles sold at the Nider- 
 villers manufactory, about 1754, is placed in the 
 appendix. 
 
TAL] 
 
 CUR A MIC LITERATURE. 
 
 [TAY 
 
 TALAMER (A.)- Rapport sur 1'in- 
 dustrie ceramique en France et 
 en Angleterre, et plus particu- 
 lierement sur la situation de 
 cette Industrie a Limoges. Paris, 
 1873. 8, pp. 50. (In Archives 
 des Missions scientifiques.) 
 
 " Report on the state of the ceramic 
 industry in France and in England, and 
 particularly at Limoges." 
 
 An account of a visit made to the Staffordshire 
 Potteries in 1871. The writer describes the 
 ceramic exhibition held in London in that year ; 
 contrasts the conditions in which the English 
 manufactories stand with respect to those of 
 France; and compares the importance of the 
 pottery trade in France and in England during 
 the preceding years. 
 
 TAMBRONI (G.)- Lettera . . . in- 
 terne alle urne cinerarie disot- 
 terrate nel pascolare di Castel 
 Gandolfo. Roma, 1818. 8, pp. 
 21; Ipl. 
 
 " A letter on the cinerary urns disin- 
 terred in the meadows of Castel Gan- 
 dolfo." 
 
 From the hill-sides in the Roman Campagna 
 are often dug out coarse mortuary vessels which 
 present none of the characters of Etruscan or 
 Greek pottery. Their likeness to the prehistoric 
 urns found in Germany led the writer to conclude 
 that they were the work of the barbarian in- 
 vaders who came from the North. 
 
 TARBOURIECH (A.). Documents sur 
 quelques fai'enceries du Sud- 
 Ouest de la France. Paris, 
 Aubry, 1864. 12, pp. 24. 5 
 fcs. (The article had previously 
 appeared in the Gazette des 
 Beaux-Arts.} 
 
 " Documents relating to some faience 
 manufactories of South- Western France." 
 
 The factories of Auch and the surrounding 
 district have not produced any faience that may 
 easily be recognised or recommended to the col- 
 lector, but the existence of these factories is 
 sufficiently vouched for by a few sheets of official 
 scribbling discovered by Mr. Tarbouriech. The 
 transcript of these documents, consisting chiefly 
 in the application made by the potters of that 
 province for obtaining a privilege which was not 
 granted in any case, constitutes the larger por- 
 tion of this paper. 
 
 TARQUINI (P.). De'vasi divinatorii 
 etruschi. Roma, 1858. 8, pp. 
 
 14. (Reprint from the Civitta 
 catolica.) 
 
 " The prophetic vases of the Etruscans." 
 
 Pliny reports that, in former days, the Ori- 
 ental Magis could predict the future by means of 
 vases they filled with the blood of a hysena, 
 but that, in his time, they could no longer raise 
 the spirit of the god and make him answer their 
 questions. In some earthen vases inscribed 
 SVTHTNA, the writer thinks he has discovered the 
 very vessels that they used in their magical 
 incantations. 
 
 TASSIE (J.) and RASPE (R. E.). A de- 
 scriptive catalogue of a general 
 collection of ancient and modern 
 engraved gems, cameos as well 
 as intaglios, taken from the 
 most celebrated cabinets in Eu- 
 rope, and cast in coloured pastes, 
 white enamel, and sulphur by 
 James Tassie, modeller, ar- 
 ranged and described by R. E. 
 Raspe, and illustrated with cop- 
 per plates ; to which is prefixed 
 an introduction on the various 
 uses of this collection, the origin 
 of the art of engraving on hard 
 stones, and the progress of 
 pastes. London, 1791. 2 vols. 
 4, pp. 800 ; with 57 pis. 1, 
 10s. Abridged editions of this 
 catalogue have been published 
 1816 (8) and 1830 (12). 
 
 Tassie's medallion-portraits are the condign 
 complement of a well-planned collection of 
 English ceramic art. Like the jaspers of Josiah 
 Wedgwood, which they resemble somewhat in 
 their external appearance, they stand quite 
 apart by their technical composition in the whole 
 range of ceramic productions ; the peculiar 
 paste of which they are formed is a sort of con- 
 necting link between porcelain and glass. 
 
 TATHAM (Ch. H.). Representation of 
 a Greek vase in the possession 
 of Ch. H. Tatham, architect. 
 London, privately printed, 1821. 
 4, pp. 10 ; with 3 etched pis. 
 
 The extravagant speculations ventured upon 
 the paintings of this vase and their signification 
 were communicated to the writer by Messrs. 
 Christie and Chevalier. 
 
 TAYLOR (M. .) Notes on some 
 recent diggings in prehistoric 
 
 409 
 
CERAMIC LITERATURE. 
 
 graves in Wynaad, Southern 
 India. London, 1888 ; with 
 2 pis. (In the Archaeological 
 Journal. ) 
 
 TAW-SEIMO. Monograph on the 
 Pottery ... of Burma. Ran- 
 goon, 1895. 8, pp. 13 ; with 
 lith. pis. (some col.). 
 
 TEICHERT. Meissner Oefen and 
 Chamottenwaaren. S.d. (re- 
 cent). Obi. 12 ; with 108 pis. 
 
 Pattern book of earthenware stoves manu- 
 factured by Teichert, at Meissen. 
 
 TEIRICH. Thonwaaren - Industrie 
 aus der Wiener Ausstellung. 
 Wien, 1873. 8, pp. 102. 1 m. 
 
 " The earthenware industry at the 
 Vienna Exhibition." 
 
 TENAX (B. Prdssel). Die Steingut und 
 Porzellan-f abrikation als hochste 
 Stufen der keramischen Indus- 
 trie. Nach der neuesten Er- 
 fahrungen, etc. Leipzig, Geb- 
 hardt, 1879. 8, pp. 237 ; with 
 41 illustrs. 5s. 
 
 " The stoneware and porcelain manu- 
 facture, being the highest degree of the 
 ceramic industry." 
 
 B. Prossel occupied for many years the posi- 
 tion of practical director in the manufactory of 
 Villeroy et Boch. His book, published under an 
 assumed name, discloses some of the recipes and 
 technical processes in use at Mettlach. 
 
 TERNINCK (A.)- Essai sur I'industrie 
 et les arts dans 1'Artois pendant 
 la periode Gallo-Romaine. Paris 
 1879. 8. Pottery, pp. 21-61, 
 and pis. 4-10. 20 fcs. 
 
 " Essay upon the conditions of industry 
 and art in Artois during the Gallo-Roman 
 period." 
 
 TESORONO (&.) L'antico pavimento 
 delle Logge di Raffaello. Studio. 
 Napoli, Museo artistico indus- 
 triale, 1891. Pp. 48; with 2 
 double pis. in chromolith. 4 fcs. 
 
 " The ancient pavement of the Logge 
 of Raphael. A study." 
 410 
 
 A verbose narrative of the difficulties experi- 
 enced by the writer in reconstituting the pro- 
 bable design of a majolica pavement known to 
 have been made by Luca della Robbia for the 
 Vatican. Some years ago the worn-out tiles of 
 that pavement were replaced by marble flags. 
 The sketches proposed for its restoration were 
 worked out from one of the original tiles dis- 
 covered in a disused passage, and the recollec- 
 tions of an old custodian of the palace. Sugges- 
 tions have also been supplied by the examination 
 of two contemporary pavements still extant, one 
 in the Vatican, and the other at Florence. As 
 may be imagined, the result is a mere work of 
 fancy. 
 
 TEXIER (0.)- Statistique du Depart- 
 ment de la Haute- Vienne. Paris, 
 
 1808. 4. (In Statistiques de la 
 France, pp. 224-248.) 
 
 " Statistics of Haute- Vienne Depart- 
 ment." 
 
 Interesting particulars on the manufactories 
 of porcelain and faience at work at Limoges at 
 the beginning of the nineteenth century. 
 
 THEDENAT (H.). Inscription peinte 
 sur une gourde en terre cuite du 
 Musee Carnavalet. Paris, imp. 
 Nat., 1899. 8, pp. 8 ; 1 pi. 
 
 " An inscription painted upon a bottle 
 
 of terra-cotta in the Carnavalet Museum." 
 
 A drinking vessel of the Gallo-Roman period. 
 
 THEOPHILUS. Theophili, qui et 
 Rugerus, presbiteri et monachi, 
 libri iii. De diversis artibus ; 
 seu diversarum artium schedula. 
 An essay upon various arts, in 
 three books, by Theophilus, 
 called also Rugerus, priest and 
 monk, forming an encyclopaedia 
 of Christian art of the eleventh 
 century. Translated, with notes, 
 by Robert Hendrie. London, J. 
 Murray, 1847. 8, pp. 447. 10s. 
 
 " The Latin text, with the translation 
 printed on the opposite page." 
 
 One should go back to Pliny, and no doubt to 
 still more ancient writers, to find the origin of 
 the technical treatises in which trade secrets 
 were disclosed to the uninitiated. The monk, 
 Theophilus, who is supposed to have lived in 
 the eleventh century, exposed in his MS. 
 copies of which are preserved in several libraries 
 of England and other countries the practical 
 processes used by the various artificers of his 
 time. The chapters on the preparation of 
 colours for painting upon glass becomes duly 
 
THE] 
 
 CERAMIC LITERATURE. 
 
 [THI 
 
 within our range ; moreover, he explains how 
 the same colours may be applied to the decora- 
 tion of pottery in the chapter, " Of earthenware 
 vessels painted in divers colours of glass." His 
 instructions on that particular subject are, we 
 regret to say, of a very perfunctory character ; 
 the method consists simply in adding to the 
 mineral colours a fifth part of ground glass, and 
 in firing in the " window " kiln the vases painted 
 with the mixture. 
 
 THEWALT (K.)- Katalog der Kunst- 
 Sammlung des Herrn Karl The- 
 walt in Koln. Cologne, 1903. 
 FoL, pp. 156 ; with 13 pis. and 
 text illustrs. 20 m. 
 
 Catalogue of sale. Stoneware and German 
 faience in examples of the first order. 
 
 THIAUCOURT (P.). L'art de restaurer 
 les faiences, porcelaines, bis- 
 cuits, terres-cuites, gres, emaux, 
 laques, verreries, marbres al- 
 batres, etc. Suivi d'une notice 
 chronologique de toutes les fa- 
 briques comrnes ; par P. Thiau- 
 court, peintre-sculpteur, repara- 
 teur d'objets d'art ; avec un 
 avant propos par le Baron Ch. 
 Davillier. Paris, A. Aubry, 
 1868. 2nded. 8, pp. 60. 5fcs. 
 
 " The art of repairing faience, porcelain, 
 biscuit, terra-cotta stoneware, enamel, 
 lacquers, glass, marble, alabaster, etc. 
 With a chronological list of all the chief 
 manufactories, and a preface by Baron 
 Ch. Davillier." 
 
 THIERRY (G.)- Exposition univer- 
 selle, Anvers, 1885. La cera- 
 mique. Paris, 1886. 8, pp. 
 191 ; with pi. and illustr. 5 fcs. 
 
 " Ceramic art at the International 
 Exhibition of Antwerp." 
 
 THIERS (A.). Collection d'objets 
 d'art de Mr. Thiers leguee au 
 Musee du Louvre. Paris, impr. 
 Jouaust et Sigaux, 1884. 4, 
 pp. xiii-286 ; with portrait, 28 
 etchings, 5 chromos., and il- 
 lustrs. in the text. 40 fcs. 
 
 " Collection of works of art formed by 
 Mr. Thiers and bequeathed to the Louvre 
 Museum." 
 
 This catalogue was prepared by Ch. Blanc, 
 prior to the removal of the collection into the 
 special room it occupies in the Louvre. He has 
 prefaced it with a sketch of Mr. Thiers' life as 
 an art collector ; each object is carefully de- 
 scribed, and the description is accompanied with 
 a critical and historical notice often of great 
 interest. Terra-cottas, antique and modern, 
 Nos. 1-48 ; Oriental porcelain, Nos. 447-482 ; 
 European porcelain, Nos. 483-1,418. 
 
 THIERSCH (Friedricli). Ueber die Vasa 
 murrina der Alten. Munchen, 
 1835. 4, pp. 65; with 1 col. pi. 
 (Extr. from the transactions of 
 the " Konigl. Akademie der 
 Wissenschaften von Bayern." 
 
 " Essay on the Murrhine vases of the 
 ancients." 
 
 A thorough examination of all the opinions 
 expressed by the antiquaries upon a problem, 
 the solution of which still remains in suspense, 
 will be found in this memoir, the most exhaus- 
 tive budget of information we possess on the 
 matter. Whether the writer has successfully 
 established the correctness of his assumption 
 that the murrhine vases were made of a glassy 
 paste, imitating precious stones, and that the 
 Portland vase may be considered as an example 
 of the kind, it is not for us to decide. 
 
 - Ueber Henkel irdener Gesch- 
 irre mit Anagrammen, Inschrift- 
 en und Fabrikzeichen aus dem 
 aiisser Kerameikos von Athen. 
 Munchen, 1838. 4, pp. 58 ; 
 with 4 lith. pis. (Reprint from 
 Abhandlungen der K. bayerischen 
 Akademie der Wissenschaften, 
 vol. ii., part 3.) 
 
 " The handles of earthen vessels bearing 
 monograms, inscriptions, and potters' 
 marks found in the outer Ceramicus of 
 Athens." 
 
 Ueber die hellenischen be- 
 malten Vasen mit besonderer 
 Rucksicht auf die Sammlung 
 Sr. Majestat's des Konigs Lud- 
 wig von Bayern. Munchen, 
 1844. 4, pp. 96 ; with 6 lith. 
 pis., partly col. 5 m. 
 
 " Upon the painted vases of the Greeks, 
 with special considerations upon the col- 
 lection of H.M. the King Ludwig of 
 Bavaria." 
 
 The work comprises the following chapters : 
 Introduction The uses of Greek vases as in- 
 
 411 
 
THI] 
 
 CERAMIC LITERATURE. 
 
 [THI 
 
 dicated by their forms and names The desti- 
 nation of the various classes of vases Origin, 
 age, and manufacture of the vases. One of the 
 features of the illustrations is the reproduction 
 of the Greek coins on which vases are figured. 
 
 THIERSCH (Friedrich). Thiersch's col- 
 lection of antiquities. Catalogue 
 of sale. Munich, 1860. 8. 
 
 THIERSCH(Hermann). "Tyrrhenische" 
 Amphoren. Eine Studie zur 
 Geschichte der Altattischen 
 Vasenmalerei. Leipzig, 1899. 
 8, pp. 161 ; with 6 pis. and 
 text illustrs. 6 m. 
 
 " Tyrrhenian Amphoras. An essay on 
 the history of vase painting in ancient 
 Attica." 
 
 Gerhard had applied the name of Tyrrhenian 
 vases to a group of black-figured amphoras, in 
 the paintings of which he thought he recognised 
 an Oriental influence. The modern theory, de- 
 veloped at full length by the writer of this essay, 
 is that the style has originated in Attica, where 
 they were made in the sixth century B.C. 
 
 THIOLLIER (F. and N.). -Fouilles du 
 Mont Beuvray, ancienne Bib- 
 racte. Album execute sous la 
 direction de F. and N. Thiollier. 
 Saint'-Etienne, 1899. 8, pp. vii ; 
 with 61 half-tone pis. (46 of 
 pottery). 12 fcs. 
 
 " Excavations at Mount Beuvray." 
 
 The oppidum of Bibracte, near Autun, has 
 been made the object of extensive excavations 
 ever since 1867. A large quantity of Roman 
 pottery has been discovered on the place ; the 
 finds have been deposited in the Autun Museum, 
 and in that of Saint Germain-en-Laye. Rare 
 specimens of painted vases. 
 
 THIRION (H.) Les Adams et Clodion. 
 Paris, Quantin, 1885. 4. The 
 part devoted to Clodion in this 
 volume extends from pp. 187 to 
 415 ; with 2 portraits of the 
 artist, 10 etched pis., and 33 
 text illustrs. 50 fcs. 
 
 Clodion's terra-cottas may be said to occupy, 
 in modern sculpture, a place equivalent to that 
 occupied by Tanagra figures in the plastic of the 
 Greeks. Both possess the fascinating attraction 
 . of the spirited and graceful sketch which, while 
 containing the essence of a higher work of art, 
 has no other pretention than to captivate our 
 fancy. The refined sensuality of French society 
 in the Louis XV. period finds a more exquisite 
 
 412 
 
 expression in these diminutive statuettes, im- 
 provised under the witty and deft fingers of the 
 artist, than in the more pretentious canvasses 
 and marbles painted and carved by the re- 
 nowned masters of the day. In the smallest 
 work of Clodion, we recognise the stamp of that 
 incomparable man's striking originality. In all 
 of them the tool of the modeller seems to have 
 rivalled in freedom of touch and brilliancy of 
 effect the agile brush of the painter. 
 
 Claude Michel, or Clodion, as he chose to call 
 himself, was of a race of Lorraine artists. His 
 father, Thomas Michel, and his uncles, the 
 Adams, were all sculptors of merit. Although 
 Mr. Thirion does not do more than mention 
 Clodion's passing connection with the faience 
 factories of Luneville, Bellevue, Niderviller, 
 and Nancy, it is a well-known fact that the 
 models he executed for these establishments 
 contributed not a little to their success. 
 
 Born at Nancy in 1738, he learned there, in 
 all probability, the rudiments of his art. At the 
 age of seventeen he was sent to Paris to work 
 under the direction of his uncle, Lambert Sigis- 
 bert Adams. He made such rapid progress that 
 six years after, in 1762, he was awarded a 
 scholarship at the Royal Academy of Rome. 
 There he varied the course of his regular studies 
 by making terra-cotta groups of nymphs and 
 cupids, so much appreciated by amateurs that 
 he could never keep up with the demand. On 
 his return to Paris it was also with his terra- 
 cottas that he won bis first success at the Salon. 
 For close on twenty years the popularity of his 
 charming creations was fairly sustained ; the 
 number of works he produced during that period 
 can scarcely be computed. Rank and fashion 
 had placed his bewitching groups under their 
 patronage ; sure prospects of fame and fortune 
 seemed to stand before him. A sudden return 
 to the stiff and formal style of Greek and Roman 
 antiquities struck a death-blow to the free and 
 sprightly manner of the Louis XV. school. In- 
 credible as it may appear, from the year 1780, 
 the elegant conceptions of his mundane and 
 frivolous genius had suffered depreciation ; a 
 fickle public had thrown down the idol of a 
 moment, to smile upon new favourites. In the 
 auction-rooms, where they appeared in numbers, 
 his choicest terra-cottas could hardly find a pur- 
 chaser, 'or were disposed of at a ridiculous price. 
 It was then that he bethought himself of his 
 native place, and of his fellow-townsmen with 
 whom he had always remained in friendly com- 
 munication. He returned to Nancy, where he 
 weathered in comparative calm the storm of the 
 great Revolution. There he executed for the 
 account of the potter, Nicholas Lelong, some of 
 the happiest models he has ever produced. From 
 that moment he led a wandering and precarious 
 existence. He again fixed his abode in Paris, 
 living on the scanty proceeds of badly-paid 
 Government commissions, models sold to the 
 bronze manufacturers, or subjects ordered by 
 the manufactory of Sevres. He died, in very 
 poor circumstances, in 1814. 
 
 Everyone knows what a high price a work of 
 his hand commands nowadays. A single figure 
 reached nearly eight hundred pounds at the San 
 Donate sale ; and it is in hundreds of pounds 
 that one has to pay for the smallest example of 
 a genuine Clodion. 
 
TBO] 
 
 CERAMIC LITERATURE. 
 
 [THO 
 
 THOMSON (Sir Henry). A catalogue of 
 
 blue and white Nankin porce- 
 lain, forming the collection of 
 Sir H. Thomson, illustrated by 
 the autotype process from draw- 
 ings by James Whistler, Esq., 
 and Sir H. Thomson. London, 
 Ellis & White, 1878. Sq. 8, 
 pp. 67 ; with 26 pis. 200 copies 
 printed. 2. 
 
 J. M. Whistler, who has partly illustrated 
 this catalogue, was one of the earliest and most 
 fervent promoters of " Impressionism " in paint- 
 ing, and of ' ' Japanism " in fashionable taste. His 
 lofty scorn for all accepted canons of aesthetics 
 often led him to become the champion of some- 
 what eccentric and whimsical doctrines. 
 
 For long the group of young artists who re- 
 cognised him as the oracle of the new creed the 
 head of the painting school of the future was 
 confined to his personal friends. As to the 
 circle of converts to Japanese art and its newly 
 revealed beauty, it expanded with an unex- 
 pected rapidity ; everything that came from 
 Japan was seized, treasured, and extolled by an 
 ever-swelling crowd of admirers. Scarcely had 
 the rage arisen among a select few, than it 
 spread amongst all ranks of educated people. 
 At this juncture, a company of purists, whose 
 aspirations soared so much above common level, 
 and who could not condescend to burn their 
 thrice-refined incense at the altar of the crowd's 
 idol, could no longer patronise a taste which 
 threatened to be tinged with the bane of vulgar- 
 isation. Consequently, it was decreed that if 
 Eastern art was still to be lauded and respected, 
 it could only be so on condition that it should 
 be divested of anything that rendered its con- 
 stituent principles too easily grasped by common- 
 place understanding. In the case of Oriental 
 porcelain, for instance, the ever- varied conceit of 
 Japanese imagination, the realistic and graceful 
 rendering of a spray of flowers, the harmonious 
 combination of brilliant enamels, were deemed 
 to have absorbed too large a share of our ad- 
 miration. Henceforth, a simple Chinese vase of 
 pure white paste, soberly painted, in a somewhat 
 archaic style, with a blue of intense but delicate 
 tint, was to become the pole star which should 
 guide the truly-refined lover of ancient porcelain 
 in his searches for absolute beauty. 
 
 The nearest approach to the ideal type was 
 pointed out in certain globular jars, painted with 
 a blue ground streaked with broken lines of 
 darker blue, over which white blossoms were 
 broadly scattered. Whether these stood for 
 apple, plum, peach, or hawthorn blossoms could 
 never be settled to everybody's satisfaction. 
 But why should such a trifling consideration 
 stand for one moment in the way of our supreme 
 enjoyment of the exquisite purity of the azure 
 ground ; do we not forget everything earthly 
 when, gazing at the ethereal vibration of a 
 glorious Italian sky, our eye remains lost in 
 contemplation of its unfathomable deepness. In 
 every other point, but the particular shade of 
 the blue, these jars were insignificant enough to 
 
 offer some guarantee that the odious Philistine 
 could never share the entrancing rapture created 
 in the soul of the initiated by the spell of their 
 indefinable radiance. 
 
 And yet the craze for collecting white and 
 blue china spread h'ke wildfire. A modest 
 shilling blue plate of the right sort was wor- 
 shipped by the minor poet as containing a 
 source of unexhaustible inspiration. A haw- 
 thorn jar became the bone of contention between 
 the wealthy bidders of the fashionable auction- 
 rooms ; and each specimen, when it happened 
 to change hands, increased in value by some 
 hundreds of pounds. 
 
 Rapid as had been the spreading of the blind 
 infatuation for the white and blue ware, steady 
 as had been the rising of its price, neither crazes 
 were of long duration. The transcendental dif- 
 ference between the truly celestial tint and the 
 showy blue of its despicable imitations still re- 
 mained an article of faith for a few believers, but 
 for the majority of unbiassed connoisseurs that 
 difference stood, as a matter of fact, beyond all 
 possible demonstration. To make matters worse 
 one of the trusted signs of authenticity, the " six 
 marks," through which antique Chinese porce- 
 lain could be distinguished from the modern 
 Japanese imports, proved to be as unreliable as 
 all the other tests. After a deep scrutiny of the 
 signs by which the " six marks " are perplex - 
 ingly diversified, the best authorities could not 
 agree as to the exact composition of the mark 
 which denoted a work of the best period. Thus 
 ended the fad of a day ; it afforded ample food 
 to the caricaturist and the humouristic writer of 
 the moment. It is manifestly recorded in the 
 interesting catalogue of a collection which con- 
 tained good, bad, and indifferent specimens, 
 many of which have lost much of the value 
 which was then set upon them all. In the 
 sketches drawn to illustrate this catalogue, 
 Whistler, as a true impressionist, has contented 
 himself with indicating broadly, with a brush 
 dipped in Indian ink, the general aspect of a few 
 of the simplest pieces. No paltry detail comes 
 to mar the fascinating impression we are ex- 
 pected to receive from a symphony in white 
 and blue, transposed in the key of black and 
 white. 
 
 THOMSON (J.). Illustrations of orna- 
 mental brick and terra-cotta 
 work. Jabez Thomson, terra- 
 cotta manufacturer, Northwich, 
 Cheshire. Manchester, Guardian 
 printing works, 1888. Obi. fol., 
 of 22 lith. pis. designed by H. 
 Pascal. 
 
 THORE (Dr.). Les anciennes fa- 
 briques de faience et de porce- 
 laine de 1'arrondissement de 
 Sceaux. Paris, impr. P. Dupont, 
 
 1868. 
 3fcs. 
 
 8, pp. 24; with 1 pi. 
 
 413 
 
THO] 
 
 CERAMIC LITERATURE. 
 
 [TIS 
 
 " The old faience and porcelain manu- 
 factories of Sceaux and its district." 
 
 Faience and earthenware have been brought, 
 at Sceaux, to the highest degree of perfection. 
 They often rival the procelain of the times in 
 the neatness of the reliefs and the finish of the 
 paintings. Placed under the patronage of the 
 Duchess of Maine, and subsequently of the Duke 
 of Penthievre, the works had been, at first, under 
 the direction of Chapelle, who styled himself a 
 member of the Academy of Sciences ; he was 
 succeeded in the management by R. Glot, one 
 of the most clever modellers of Paris ; such con- 
 ditions seemed to be a guarantee of success. The 
 history of the vicissitudes of the Sceaux factory 
 illustrate, once more, the difficulties private in- 
 dustries had to contend with under the old 
 regime. To the interesting documents gathered 
 by Dr. Thore in connection with the manufac- 
 tory are added a few particulars concerning the 
 faience made at Bourg-la-Reine and at Choisy- 
 le-Roi at a contemporary period. 
 
 THORPE (Prof. T. E.) and OLIVER (Prof. H.). 
 Report on the employment of 
 compounds of lead in the manu- 
 facture of pottery, their in- 
 fluence upon the health of the 
 workpeople, with suggestions as 
 to the means which might be 
 adopted to counteract their evil 
 effects. London, printed by Dar- 
 ling & Sons, 1899. Fol., pp. 50. 
 
 THURNAM (J.). Ancient British bar- 
 rows, especially those of Wilt- 
 shire and the adjoining counties. 
 London, 1869. 8; with 32 pis. 
 and text illustrs., cinerary urns, 
 etc. 1, 5s. 
 
 TIECK (F.). Verzeichniss von Werk- 
 en der Delia Robbia, Majolika, 
 etc., welche in den Nebensaalen 
 der Sculptur-Gallerie aufgestellt 
 
 sind. Berlin, 1835. 
 139. 3 m. 
 
 12 C 
 
 pp. 
 
 " Description of the Delia Robbia ware, 
 majolica, etc., which are exhibited in the 
 rooms adjoining the Sculpture Gallery." 
 
 This collection, once in the possession of 
 Bartholdi, had just been bought in Florence 
 for the Berlin Museum. Each section is prefixed 
 with a historical notice, but the specimens are 
 described without attribution or indication of 
 origin. 
 
 TIFFIN (1. F.). A chronograph of 
 the Bow, Chelsea, and Derby 
 
 414 
 
 porcelain manufactories, show- 
 ing their simultaneous progress 
 and their various marks. Salis- 
 bury, 1847. 8, pp. 14; with 
 1 pi. of marks. 
 
 Chronological tables in three columns, in 
 which are shown the respective development 
 and productions of the three factories during 
 the corresponding years. Upon the cover there 
 is the emblematic figure of a triangle, on each 
 side of which are inscribed the words, Bow, 
 Chelsea, Derby. 
 
 - La Perdita. A Chelsea pas- 
 torale, or drawing-room bur- 
 letta. With a frontispiece of 
 Chelsea figure. (Privately 
 printed.) 
 
 TIGRI (G.). De plastici dell'Ospe- 
 dale di Pistoia. Prato, 1833. 
 8, pp. 30. 2 fcs. 
 
 " The bas-reliefs of the Hospital of 
 Pistoia." 
 
 TILMANS (Collection). Catalogue of 
 sale. Bruxelles, 1892. 8. Por- 
 celain and faience, 817 Nos. ; 
 with 6 pis. 
 
 Of some value for the study of Belgian cera- 
 mics. The factories of Bruxelles, Tervueren, 
 Bruges, Anvers, Tournay, Andennes, etc., are 
 adequately represented. 
 
 TILTON (S. W.). Designs and in- 
 structions for decorating pottery 
 in imitation of Greek, Roman, 
 Egyptian, and other styles of 
 vases. Boston, 1877. 8, pp. 
 44 ; with black and red illus- 
 trations. 
 
 The stock of classical (?) shapes to be ob- 
 tained from a pottery dealer, and the patterns 
 of corresponding styles with which they may be 
 decorated with varnish colours of his own manu- 
 facture. 
 
 TISCHBEIN (W.). Recueildegravures 
 d'apres des vases antiques, la 
 pluspart d'un travail grec, 
 trouves dans des tombeaux au 
 royaume des Deux-Siciles, prin- 
 cipalement dans les environs de 
 Naples en 1789 et 1790, tires du 
 cabinet de Mr. le Chevalier Ham- 
 ilton, avec des observations sur 
 
TIS] 
 
 CERAMIC LITERATURE. 
 
 [TOL 
 
 chacun des vases par 1'auteur de 
 cette collection. Publie d'apres 
 Mr. G. Tischbein, directeur de 
 F academic royale de peinture de 
 Naples. Paris., Benard, 1806. 
 4 vols. Fol., cont. 245 pis. A 
 short introduction is prefixed to 
 each volume. Also, with title 
 and letterpress in English. 4. 
 A few copies have the plates 
 coloured by hand. 
 
 "A collection of engravings after 
 antique vases, chiefly of Greek workman- 
 ship, found in the tombs of the kingdom 
 of Sicily, particularly in the vicinity of 
 Naples, during the years 1789 and 1790; 
 now in the possession of Sir William 
 Hamilton; with a few remarks on each 
 vase by the owner of the collection. 
 Published under the direction of Mr. 
 William Tischbein, director of the Royal 
 Academy of Painting at Naples." 
 
 Having disposed of his first collection of 
 painted vases in favour of the British Museum, 
 Sir W. Hamilton formed a second one, the result 
 of two years' excavations in the neighbourhood 
 of Naples. This was engraved between the 
 years 1790-99, under the superintendence of the 
 German painter, W. Tischbein. The designs 
 were traced directly from the vase paintings ; 
 but they have been materially altered in char- 
 acter by the hand of the engraver. A short and 
 insignificant text by Italinsky and Fontain ac- 
 companies the plates. Thomas Hope purchased 
 this second collection. On its way to England 
 it was partly destroyed in the wreck of the vessel 
 which carried it. 
 
 Tischbein had also caused another set of 100 
 plates to be engraved from Greek vases in other 
 collections. They were never published. A list 
 of them has been given by Heydemann in the 
 Jahrbuch des Institutes, 1886, pp. 308-313. 
 
 TISCHLER (0. ). Ostpreussische Alter- 
 thumer aus der Zeit des grossen 
 Graberf elder nachChristi Geburt. 
 Konigsberg, 1902. 4, pp. 46; 
 with 13 pis. of cinerary urns and 
 explanatory notices. 
 
 " West Prussian antiquities of the 
 period of the great burying grounds from 
 the beginning of the Christian era." 
 
 TOCHE (Collection Ch.)- Catalogue of 
 
 sale. Paris, 1887. 12 ; with 
 6 phototyp. pis. 
 
 Terra-cottas from Tanagra and Asia-Minor. 
 81 Nos, 
 
 TOCHON D'ANNECY (Collection). A series 
 of 89 folio plates engraved after 
 the Greek and Etruscan vases of 
 the Tochon collection. The col- 
 lection, which comprised 574 
 vases, was purchased by the 
 Louvre Museum in April, 1818, 
 together with the copper plates 
 that the collector had caused to 
 be engraved with a view to a 
 publication which was never 
 issued. A few of the engraved 
 vases are no longer in the 
 Louvre ; they may, possibly, 
 have been sent to the provincial 
 museums. The prints, sold at 
 the Chalcography of the Louvre, 
 are not accompanied with any 
 printed matter ; there is neither 
 title nor index. 45 fcs. 
 
 TOFT (Ch.)- Report on pottery and 
 porcelain. London, S. Low, 1879. 
 8, pp. 14. (In the Society of 
 Arts' Artisan Reports on the 
 Paris Exhibition of 1878.) 
 
 Ch. Toft was a practical potter at Messrs. 
 Minton's China Works. The clever reproduc- 
 tions of Henri II. ware produced by that firm 
 are signed with his name. 
 
 TOIFEL (W.)- Keramik. EineSamm- 
 lung Originalentwiirfe zur Aus- 
 fiihrung in Glas, Fayence, Por- 
 zellan, Majolica, etc. 1886. Fol. 
 40 pis. 
 
 " Ceramics. A collection of original 
 sketches to be executed in glass, faience, 
 etc." 
 
 It is with little regard for the requirements of 
 pottery manufacture that the artist has designed 
 these shapes, which look as if they were intended 
 to be produced in metal. 
 
 TOLDT (F.) Ueber das Trocknen 
 von Thon in grosseren Massen 
 und einen neuen Thontrock- 
 nenofen. Leoben, 1897. 8, pp. 
 15 ; with 1 pi. 2 m. 
 
 " On the drying of clay in large masses 
 and on a new clay drying oven." 
 
 415 
 
TOL] 
 
 CERAMIC LITERATURE. 
 
 [TOY 
 
 TOLDT (F.)- Regenerativ - Gasofen. 
 Wissenschaft. Grundsatze fiir 
 die Berechnung der Querschnitte 
 solcher Oefen. Leipzig, 1898. 
 8. 18 m. 
 
 "Regenerative gas ovens. A scientific 
 basis for the calculation of the transverse 
 section of such ovens." 
 
 TOMKINSON. A Japanese collection 
 made by Michael Tomkinson, 
 illustrated with 147 photograv- 
 ure plates, etc. London, 1898. 
 2 vols. 4. 12. Pottery, by 
 Ch. Holmes. 
 
 TONINI. Le figuline riminesi. Bo- 
 lognia, Regia tipogr., 1870. 4, 
 pp. 84 ; with potters' marks. 
 3fcs. 
 
 " The pottery of Rimini." 
 
 The collection of Roman pottery discovered 
 in and near the town was deposited in the Gam- 
 balungana Library. 
 
 TORETELLI (Collection). -- Tres belles 
 faiences italiennes, provenant en 
 partie de la collection Toretelli. 
 Paris, 1870. 8, pp. 30 ; with 
 8 pis. 
 
 Catalogue of sale of a collection of fine Italian 
 majolica, with an introductory notice by A. 
 Darcel. 
 
 TORR (C.)- Harrow School Museum. 
 Catalogue of the classical anti- 
 quities. Harrow, 1887. 
 
 TORTEROLI (I.)- Intorno alia ma- 
 jolica Savonese. Ragionamento 
 storico. Torino, Barera, 1856. 
 8, pp. 23. 5 fcs. 
 
 " Notice of the majolica of Savona. A 
 historical disquisition." 
 
 Torteroli asserts that the manufacture of 
 majolica must at one time have had a great 
 importance in his native town, and that, judging 
 from the number of churches and palaces whose 
 outside and inside walls were covered with 
 painted tiles, tile-making was doubtless the 
 chief branch of the potters' trade. He confesses, 
 however, that his searches through the civic 
 archives have not yielded any information re- 
 specting the period of manufacture, the site of 
 the factories, or the names of the potters. All 
 the tile decorations said to have once embel- 
 lished the buildings of the city of Savona have 
 
 416 
 
 now disappeared. A single monument of the art 
 may still be seen preserved in the neighbouring 
 church of Allbissola. It is a large panel com- 
 posed of a great number of tiles, upon which the 
 subject of the " Nativity " is painted in bright 
 colours. The work is inscribed Fatto in Ar- 
 bissola del 1576, per mano di Agostino. Gero- 
 lamo Urbinato lo dipinse. 
 
 Towards the middle of the eighteenth century 
 the majolica made at Savona acquired some 
 celebrity through all Italy, but Antonio Guido- 
 boni and his two sons were the only masters of 
 whom the author could find any record. Docu- 
 ments are more extensive regarding the works of 
 G. Boselli, who produced, a few years later, 
 imitations of French porcelain and English 
 earthenware. 
 
 TOTI (A.). Bernardino Pepi, ossia 
 1'arte ceramica ristaurata in 
 Sienna. 1881. 8. (In Gli 
 studi in Italia, pp. 188-216.) 
 
 " B. Pepi, and the revival of the cer- 
 amic art in Sienna." 
 
 A druggist of the town, Pepi, entered into 
 partnership with two practical potters, and 
 established, in 1847, a small majolica factory. 
 They were particularly successful in the repro- 
 duction of the tiles composing the beautiful 
 pavements still extant in the old churches of 
 Sienna. They also made copies of Luca della 
 Robbia ware. Much of their despicable fabri- 
 cation has found its way into public and private 
 collections, in which many a vile imitation, 
 bought by some unwary traveller, stands now 
 as a genuine article. 
 
 TOURNAL. Notes sur la ceramique. 
 Faiences et porcelaines. Caen, 
 Hardel, 1863. 8, pp. 28. (Repr. 
 from the Bulletin monumental.} 
 
 " Notes on the ceramic art. Pottery 
 and porcelain." 
 
 A commonplace summary of ceramic history. 
 
 - Catalogue du Musee de Nar- 
 bonne. Narbonne, Caillard, 
 1864. 8, pp. xxii-202. 
 
 " Catalogue of the Narbonne Museum." 
 
 Greek vases, Nos. 38-97 ; Roman pottery, 
 Nos. 246-329 ; modern ceramics, Nos. 835-946. 
 
 TOYTOT (E. de). Les arts et les 
 peintures ceramiques. Paris, 
 Donniol, 1864. 8, pp. 40. (Re- 
 print from Le Correspondant). 
 3 fcs. 
 
 " Ceramic art and ceramic paintings." 
 
 As we opened this pamphlet our eye fell upon 
 the following passage : " In 1709 Bottger dis- 
 covers the kaolin, the clay of which true porce- 
 
TRA] 
 
 CERAMIC LITERATURE. 
 
 [TRE 
 
 lain is made. The discovery of this new material 
 was at once turned to good profit by the fac- 
 tories of Sceaux-Penthievre, Chantilly, and 
 Vincennes." We did not proceed any further 
 in our examination, lest a few more statements 
 of that order might disturb our long-established 
 notions. 
 
 Fai'enciers de Nevers (Nievre) 
 
 Tacherons, proprietaires, dans 
 le systeme des engagements vol- 
 ontaires permanents, d'apres les 
 renseignements recueillis sur les 
 lieux en 1864, avec une etude 
 comparative sur la mme f amille 
 en 1885. Paris, Didot, 1886. 
 8, pp. 53. (Reprint from Les 
 ouvriers des deux Mondes.) 
 
 " The workman of the Nevers faience 
 factories. Social conditions of the piece- 
 work operative, living in his own house, 
 freely, but permanently engaged in a 
 manufactory. Information obtained in 
 1864, and supplemented by subsequent 
 inquiries made in 1885, among members 
 of the same family." 
 
 TRABAUD (P.). Les Delia Robbia de 
 Marseilles. Marseilles, 1883. 4 
 pp. 19 ; with 4 illustrs. 
 
 " The works of the Delia Robbias at 
 Marseilles." 
 
 A bas-relief of enamelled terra-cotta in the 
 Delia Robbia style, adorning one of the chapels 
 of the " Major " Church at Marseilles, has in- 
 duced the writer to look out for evidences of 
 any member of the Delia Robbia family having 
 been at work in the town. Although he does 
 not repudiate the probability of such an assump- 
 tion, he confesses, at the time, that no historical 
 proof can be found to support it. 
 
 TRAPNELL (A.). Catalogues of the 
 Trapnell collection. Bristol, pri- 
 vately printed, 1898. 4; pi. of 
 marks. (Second issue.) 
 
 Bristol and Plymouth hard porcelain, pp. 41 ; 
 Worcester porcelain, pp. 51 ; Oriental porcelain, 
 pp. 40. 
 
 The collection was sold at Christie's, July, 
 1899. 
 
 An illustrated catalogue of 
 
 Chinese porcelain and pottery, 
 forming the collection of Mr. 
 Alfred Trapnell. Bristol, pri- 
 vately printed, 1901. 4, pp. 
 27 
 
 42 ; with 6 pis. of marks and 
 72 photogr. pis. 
 
 - A catalogue of Bristol and 
 Plymouth porcelain, with ex- 
 amples of Bristol glass and pot- 
 tery, forming the collection 
 made by Mr. A. Trapnell ; with 
 preface by the Rev. A. W. Ox- 
 ford, M.A. Bristol, 1905. 4, 
 pp. xxxii-60, 8 pp. of reprints of 
 old sale catalogues, and 10 
 heliogr. pis. (Privately printed.) 
 
 The Trapnell collection presents a most com- 
 plete illustration of the manufacture of hard 
 porcelain in England. 
 
 TREADWELL (J. H.). A manual of 
 pottery and porcelain for Ameri- 
 can collectors. New York, Put- 
 nam & Sons, 1872. 8, pp. v- 
 161 ; with marks and 26 illustrs. 
 10s. 
 
 From the various shortcomings, inevitable in 
 a manual written under similar conditions, one 
 may be induced to surmise that the compiler has 
 attempted to put to the test the truth of the 
 popular saying, " If you want to study a subject 
 so far unfamiliar to you. write a book about it." 
 In the selection and attribution of the examples 
 reproduced in diminutive woodcuts, such as the 
 modern trinket-holder of Barbiset, given as a 
 representative of Palissy ware ; the pig's head 
 of purple faience shown as a specimen of Delft ; 
 the satyr vase of Wedgwood presented as of un- 
 known origin, but probably Berlin, we may con- 
 clude that after the labour had been done the 
 student had not succeeded in mastering the 
 subject. Although we are told that the book 
 is intended for " American collectors," a little 
 more circumspection might have been desirable, 
 and the possibility of its falling into the hands 
 of more critical readers taken into consideration. 
 
 TREBUTIEN. Bernard Palissy. Paris, 
 1840. 8, pp. 9. Portrait. (Ex- 
 tr.) 
 
 TREU (G.)- Griechische Thongefasse 
 in Statuetten-und Bustenform. 
 Fimfunddreissigtes Programm 
 zum Winckelmannsf est der Arch. 
 Gesellschaft zu Berlin. Berlin, 
 1875. 4, pp. 23; with 2 
 photogr. pis., containing 11 sub- 
 jects. 4s. 
 
 " Greek terra-cotta vessels in the shape 
 of figures and busts." 
 
 417 
 
TRE] 
 
 CERAMIC LITERATURE. 
 
 [TUD 
 
 TREU (G.). Erwerbungen der Anti- 
 quen Sammlungen in Deutsch- 
 land. Dresden. Terra - cotten. 
 Berlin, 1889. Sm. 4, pp. 20; 
 with text illustrs. 
 
 "Additions to the museums of anti- 
 quities in Germany. The terra-cottas at 
 Dresden." 
 
 TREUERN (Gotthelf). Kurze Beschrei- 
 bung der heidnischen Todten- 
 topfe, in welchen die Heiden 
 ihrer Verbrannten Todten iiber- 
 bliebene Gebeine und Aschen 
 aufgehoben, unter der Erden 
 beigesetzt und bei den jetsigen 
 Zeiten in der Kur- und Mark- 
 Brandenburg haufenweise aus- 
 gegraben werden. Nilrnberg, 
 1688. 8, pp. 30 ; with 3 pis. 
 
 "A short description of the pagan 
 cinerary urns in which the ancients used 
 to enclose the bones and ashes of the dead 
 after the cremation of the body, and 
 which they buried in the earth ; particu- 
 larly those which are frequently discovered 
 at the present day in the Electorate of 
 Brandenburg." 
 
 Local historians of North Germany had long 
 supported the popular belief that the strange- 
 looking earthen pots, plentifully discovered in 
 certain regions, were either a natural product of 
 the soil, or the work of the elfs and imps said to 
 dwell in the bosom of the earth. This curious 
 essay demonstrates the absurdity of entertaining 
 such a belief, and attempts to give a more 
 rational explanation of the presence of such 
 a large accumulation of pottery in the places 
 which the writer rightly considers as having been 
 the burial-grounds of the primitive races. It 
 contains the following chapters : 
 
 I. The names of the vessels. II. The places 
 where they are to be found. III. Exterior and 
 interior signs by which they may be recognised. 
 IV. How to proceed in the excavations. V. Of 
 the time of the year in which these are to be 
 undertaken. VI. Of the materials of which the 
 pots are made. VII. The figures found in the 
 soil. VII. For what purpose earthen vessels 
 were used. VIII. When and where originated 
 the custom of^using such vessels for such pur- 
 poses. 
 
 TRIQUETI (Baron H. de). Bernard 
 Palissy. Paris, Schmith, 1856. 
 12, pp. 12. 2nd ed. Paris, 
 1863. 8. 
 
 A lecture delivered at the general meeting of 
 trade apprentices by Mr. de Triqueti, Secretary 
 
 418 
 
 to the Committee of the Reformed Church at 
 Paris. 
 
 TROLLOPE (A.). Decorative pave- 
 ment of the thirteenth century 
 in the Church of St. Remi at 
 Rheims. 8; with 5 illustrs. 
 (In Arckeological Journal, vol. 
 xi.) 
 
 TROUDE (A.). Choix de modeles de 
 la manufacture nationale de 
 Sevres, appartenant au Musee 
 Ceramique. Paris, Calavas, 
 1897. 4, pp. 8 ; with 136 pis. 
 50 fcs. 
 
 " A selection of models of the national 
 manufactory of Sevres, belonging to the 
 Ceramic Museum." 
 
 Statuettes, groups, vases, with a historical 
 introduction and notices. Mr. A. Troude is 
 secretary to the museum. 
 
 TUDOT (Edmond). Collection de fig- 
 urines en argile, ceuvres pre- 
 mieres de 1'art gaulois, avec les 
 noms des ceramistes qui les ont 
 executees, recueillies, dessinees 
 et decrites par E. Tudot. Paris, 
 C. Rollin, 1860. Imp. 4, pp. 
 104; with 75 lith. pis. and 112 
 woodcuts in the text. 4. 
 
 " A collection of earthen figures, the 
 early work of Gallic art, with the names 
 of the potters by whom they were made; 
 collected, drawn, and described by E. 
 Tudot." 
 
 It matters little to the Gallophiles a most 
 patriotic class of French antiquaries to admit, 
 with us, that certain handicrafts were imported 
 into Gaul by the Romans, but we must be willing 
 to recognise, with them, that the Gallic produc- 
 tions bear the impress of a truly national feeling, 
 and free from the influence of the Conqueror. 
 This point E. Tudot has endeavoured to establish 
 by means of the terra-cotta figures discovered in 
 the valley of the Allier. His theory rests more 
 upon personal conviction than upon actual evi- 
 dence ; but it is candidly presented and ingeni- 
 ously developed ; on this account it is entitled 
 to be considered with impartial interest. 
 
 That Roman paganism was introduced 
 amongst the Gallic tribes and secured a firm 
 hold in the land is a fact not to be denied. The 
 efforts of the writer are, therefore, directed to- 
 wards making good his own belief that all 
 mythological divinities were bound to assume 
 in their new abode quite a different character 
 when tinged with the ambient ferment of Druidic 
 
CERAMIC LITERATURE. 
 
 [TUR 
 
 traditions. We are, consequently, introduced 
 to a pantheon of local deities, issued, as it would 
 appear, from the idiosyncratic spirit of the Gaul, 
 and embodying, not only the philosophical ten- 
 dencies of the race, but also the chief character- 
 istics of the national temperament. Accordingly 
 many a rude figurine we might take for the de- 
 based imitation of some Roman type is presented 
 to us as personifying one of the fundamental 
 principles of the Druidic creed. A seated woman, 
 holding two children on her lap, one of the sub- 
 jects most frequently met with, becomes the 
 " Goddess-Mother," a nameless divinity who pre- 
 sided over maternity. A youth lying on a dol- 
 phin must be taken to be an allegory of the soul 
 journeying towards the fortunate Islands of the 
 Celtic Elysium. Some common-place female 
 figures, lacking any distinctive attribute which 
 might assist in their identification, are supposed 
 to be the " Topical divinities," protectresses of 
 the Allier. Once engaged in that way, the 
 writer goes so far as to recognise in certain busts 
 of a smiling boy the image of a pretended " God 
 Risus," the incarnation of laughing ; laughing, 
 as is well-known, being a marked propensity of 
 the nation. Whether God Risus was ever wor- 
 shipped by the Gauls is not made absolutely 
 clear, but the mere suggestion of its probable 
 existence is bound to exact from us a prompt 
 tribute to his ruling power, in the form of an 
 irrepressible smile. 
 
 Any favourable impression that could be 
 created by the ingenious manner in which singu- 
 lar assertions are sustained in the text, vanish at 
 the examination of the numerous examples 
 lithographed on the plates. Degenerated as 
 they are, we can still recognise the classical 
 character of the Olympian deities, Juno, Ceres, 
 and Venus in these ungainly figures made on 
 Gallic soil by the last Roman potters. If we 
 remember that the making sf such figures ceased 
 altogether after the country had shaken off the 
 yoke of the Conqueror ; if we take into consider- 
 ation the Latin names of the potters and the 
 inscriptions, always in the Latin language, im- 
 pressed upon their work, we cannot easily 
 espouse the opinion so dear to many French 
 antiquaries, and accept these vulgar productions 
 of the plastic of the times as striking evidences 
 of a national and independent art having ever 
 flourished in Gaul, perfectly distinct, in its 
 essence, from the art imported in the land by 
 the foreign oppressor. 
 
 Marques et signatures de 
 ceramists trouvees dans le Bour- 
 bonnais. (Reprint from Bul- 
 letin Monumental.} 8, pp. 36. 
 
 " Marks and names of potters found in 
 Bourbonnais." 
 
 TDNNICLIFF (I.). A survey of the 
 County of Stafford. Nantwich, 
 1786. 8, pp. 40; with map, 
 and 8 pis. of arms. 
 
 The directory placed at the end contains the 
 names of all the pottery manufacturers in the 
 vicinity of Newcastle-under-Lyne. 
 
 TURGAN. Les grandes usines de 
 France. Paris, 1860 and f.y. 
 8; with text illustrs. 
 
 " The great manufactories of France." 
 
 A periodical publication in which the most 
 important ceramic establishments are described 
 in special articles. The following have also been 
 published in separate form. They'are^all illus- 
 trated with woodcuts. 
 
 - Sevres, 1860. Pp. 70 (1st 
 article). A supplement of pp. 
 xvi appeared in 1876. 
 
 The supplement describes the new building 
 erected in the Park of Saint Cloud, to which the 
 national manufactory was transferred in 1871. 
 
 - Fai'enceries de H. Signoret a 
 Nevers. Pp. 15. (Part 76.) 
 
 The method of manufacture of the old Nevers 
 faience with a stanniferous glaze is still followed 
 in the Signoret pottery works. Cheap articles of 
 common use constitute the bulk of the produc- 
 tion ; artistic reproductions of the ancient 
 models, richly painted with polychrom decora- 
 tions, are also extensively made. Another im- 
 portant branch, introduced later on, is the 
 making of drain pipes and sanitary ware. 
 
 - Fabrique de boutons cera- 
 miques de Mr. Bapterosse a 
 Briare. Pp. 25. (Part 78.) 
 
 A new ceramic industry created by Bapte- 
 rosse. The invention consisted in making use 
 of a felspathic paste of porcelain to which a 
 single firing imparted a sufficiently glossy sur- 
 face to dispense with any glazing. Ceramic 
 buttons, produced in this way, secured an im- 
 mense sale, and the works gave employment to 
 thousands of hands. As these articles enjoyed 
 only for a time the success they had obtained at 
 the start, Bapterosse's processes have been sub- 
 sequently turned to many other practical pur- 
 poses, and the Briare manufactory is still one 
 of the most important ceramic establishments in 
 France. 
 
 Fai'enceries de Gien. Pp. 15. 
 (Part 136.) 
 
 A factory established at Gien, in 1822, for the 
 making of pottery and earthenware after the 
 English methods, in competition with the works 
 of Creil et Monterean, where it was manufac- 
 tured with great success. At the present time 
 Gien has made a speciality of the reproduction 
 of the old patterns of Rouen, Nevers, and other 
 French faience by a cheap process of transfer 
 printing, not applied upon the stanniferous glaze, 
 but upon ordinary white earthenware. The 
 works employ about five hundred hands. 
 
 - Fabrique de porcelaine et de 
 faience de M. M. Haviland et Cie 
 a Limoges (Haute- Vienne). Pp. 
 
 419 
 
TUR] 
 
 CERAMIC LITERATURE. 
 
 [TUK 
 
 24. (Part 352.) Also, in English, 
 1885. 
 
 The founder of the firm, the late Mr. Havi- 
 land, was an American citizen. He settled in 
 Limoges as a porcelain manufacturer, and in- 
 troduced hard porcelain on the market of the 
 United States, the supply of which had so far 
 been limited to the importation of English china 
 and earthenware. Haviland's productions were 
 soon noted for the perfection of their manufac- 
 ture and the artistic character of their decora- 
 tion, and it was with rapid strides that the firm 
 took a foremost place in the home and foreign 
 industry. A profusely illustrated account of the 
 Limoges works, and of the branch established at 
 Auteuil, near Paris, where the ware is decorated, 
 is given in this article. 
 
 TURGAN. Tuileries de Montchanin 
 (S&one et Loire). Societe Ch. 
 Avril et Co. Pp. 15. 
 
 " The Montchanin tile works." 
 
 TURNER (G. W.). Synopsis of paint- 
 ings on wedding present to 
 H.R.H. The Duke of York and 
 H.S.H. The Princess May. Man- 
 ufactured by G. W. Turner & 
 Sons, Alexandra Works, Tun- 
 stall, and presented by workers 
 in the Staffordshire Potteries. 
 
 1893. 8, pp. 7. Printed in 
 red. 
 
 The present consisted of a washing stand and 
 a dressing table, with toilet sets, etc., all made 
 of earthenware. It was painted with subjects 
 of flowers and foliage intended to allegorise " The 
 marriage of the roses." 
 
 Lancelot and Elain. London, 
 
 1894. Sq. 8, pp. 24. 
 
 Handbook to an exhibition, in New Bond Street, 
 of four sets of dressing-room furniture, in earth- 
 enware, made by W. Halles Turner. The flower 
 paintings, with which the surface is decorated, 
 are described as being allegorical illustrations of 
 the following poems : Lancelot and Elain, 
 Faust, Marmion, and the Marriage of the Eoses. 
 Setting aside the unprecedented flow of the 
 poetical interpretations of the subjects, in which 
 each personage of the original poem is repre- 
 sented by a flower, and also the indifferent 
 quality of the paintings, we must say that these 
 huge pieces of earthenware were real " tours-de- 
 force " of pottery manufacture. 
 
 TURNER (William). The ceramics of 
 Swansea and Nantgarw ; a his- 
 tory of the factories. With 
 biographical notices of s the ar- 
 tists and others, notes on the 
 420 
 
 merits of the porcelains, the 
 marks thereon, etc. Also, an 
 appendix on the mannerisms of 
 the artists, by Robert Drane. 
 London, Bemrose & Sons, 1897. 
 4, pp. xii-349 ; with 33 pis., 
 mostly coloured, and 9 illustrs. 
 1, 11s. 6d. 
 
 Incontestable as may be the fine quality of 
 a porcelain body, said by some amateurs to be 
 superior to all other English porcelain, the pro- 
 ductions of the Welsh factories cannot be com- 
 mended for their artistic merit. The deplorable 
 taste prevailing at the beginning of the' nine- 
 teenth century is strongly marked in the patterns 
 of local origin ; the forms are of the so-called 
 antique style, which never admitted of much 
 grace and elegance, and the paintings are a de- 
 based remnant of the manner of the early china 
 painters, handed down from master to apprentice 
 in the workshops of the chief manufactories. 
 Such flower paintings as are reproduced in the 
 book may be excused when seen executed in 
 bright enamels on the beautiful surface of a 
 porcelain vase, but to admire these clumsy 
 bouquets in their reproduction in chromo is 
 more than a man endowed with ever so little 
 artistic education should be asked to do. 
 
 - William Adams, an old Eng- 
 lish potter ; with an account of 
 his family and their productions. 
 London, Chapman & Hall, 1904. 
 8, pp. xxii-252 ; with 33 collo- 
 type pis., 30 half-tone illustrs., 
 and 1 col. pi. 1, 10s. 
 
 Second only to Josiah Wedgwood in the pro- 
 duction of highly refined pottery, but following 
 him at a respectable distance, William Adams 
 testifies fo the influence that the great master 
 has exerted upon the art of the period. Up to 
 the present day, the Adams family has occupied 
 a high position in the trade. Its history is 
 linked with that of the contemporary manufac- 
 turers, of whom interesting biographical parti- 
 culars will be found in the book. The materials 
 for the preparation of the work were gathered 
 by W. P. Adams, the direct descendant from 
 William, first of the name. 
 
 Transfer printing on enamel, 
 porcelain, and pottery. Its ori- 
 gin and development in the 
 United Kingdom. London, Chap- 
 man & Hall, 1907. 8, pp. xiv- 
 175 ; with 1 etching by the 
 author, and 68 pis. in half-tone. 
 1, 5s. 
 
 A heavy accumulation of information and 
 references not always directly relevant to the 
 
TUR] 
 
 CERAMIC LITERATURE. 
 
 [URL 
 
 subject. The important point of the birth- 
 place of the process of transfer printing is left 
 unsettled, and the respective merit of ceramic 
 printing in its various stages is scarcely con- 
 sidered. 
 
 TURRSCHMIED. --Ueber die Ziegel- 
 fabrikation. Berlin, Plahn,1859. 
 8, pp. 31. 
 
 " On the manufacture of bricks and 
 tiles." 
 
 TWINING (R.). The book of the tea- 
 pot, and of some tea-cup times, 
 with pictures of tea-pots of many 
 periods and places. London, 
 1899. Sm. 4, pp. 64; with 
 numerous illustrations. 
 
 Printed for presentation by E. Twining & 
 Co., tea merchants, of London, this charming 
 little book contains anecdotes on tea drinking 
 and tea drinkers, profusely illustrated with pen 
 and ink sketches of curious tea-pots, chiefly of 
 English and Oriental origin. 
 
 TYSZKIEWICZ (La Collection). Choix de 
 monuments antiques, avec texte 
 explicatif by W. Frohner. 
 Munich, 1892-97. Part i.-iv. ; 
 with 40 col. pis. 4. 
 
 " A selection of antiquities, with ex- 
 planatory notices by W. Frohner." 
 
 The work, which was not completed, con- 
 tains some reproductions of rare Greek vases 
 and terra-cottas. Under the title of Memories 
 of an Old Collector, Count Michel Tyszkiewicz 
 has published the reminiscences of his long 
 career as a collector. 
 
 u 
 
 UJFALYY-BOURDON (C. E. de). Les bis- 
 cuits de porcelaine. Paris, 
 Rouam, 1893. 4, pp. 96 ; with 
 36 illustrs. 5 fcs. 
 
 " Porcelain biscuits." 
 
 Were it not that a collector should never be 
 taken into account for having let his hobby run 
 in a particular direction, one might ask whether 
 a collection of porcelain figures would not have 
 offered greater interest, if it had included glazed 
 and painted specimens, instead of being re- 
 stricted to those left in the biscuit state. The 
 formation of exclusive collections are a sign of 
 the times. To be a general connoisseur in cer- 
 amics requires, nowadays, the acquirement of 
 such a wide knowledge, that one is obliged to 
 limit the field of one's study to a special subject. 
 
 At the latter end of the last century biscuit 
 figures were very much in vogue. They re- 
 placed, for house decoration, marble statuettes, 
 a more costly luxury, and terra-cotta figures, less 
 refined in their material. Every European por- 
 celain factory was producing a great variety of 
 attractive models ; the subject may, therefore, 
 offer ample scope for the writing of a monograph. 
 In the present essay the chief places of produc- 
 tion are severally passed under review, special 
 attention being bestowed on the royal manu- 
 factory of Sevres. A complete list of the groups 
 and figures, the plaster models of which are still 
 preserved in the National establishment, has been 
 compiled for the first time. Opposite to the 
 description of each object will be found the 
 name of the modeller, the price the article was 
 charged for at the works, and also a few historical 
 notes or anecdotes referring to the best models 
 and to their makers. 
 
 - Petit dictionnaire des mar- 
 ques et monogrammes des bis- 
 cuits de porcelaine ; suivi d'une 
 etude sur les marques de Sevres. 
 Paris, 1895. Pp. 114 ; marks. 
 12 fcs. 
 
 u A small dictionary of the marks and 
 monograms found upon the porcelain 
 biscuits ; with an essay on the marks of 
 the manufactory of Sevres." 
 
 ULKE (R.). Katechismus der Por- 
 zellan- und Glasmalerei. Leip- 
 zig, J. Weber, 1894. 8, pp. 232 ; 
 with 77 illustrs. 3 m. 
 
 " Handbook of porcelain and glass 
 painting." 
 
 ULRICH (R.). Catalogue der Samm- 
 lungen der antiquarischen Gesell- 
 schaft in Zurich. Zurich, 1890. 
 3 vols. 4; pis. 
 
 " Catalogue of the collections of the 
 Zurich Society of Antiquaries." 
 
 Prehistoric and early German urns, Roman 
 pottery, etc. 
 
 URLICHS (L.). Verzeichniss der An- 
 tikensammlung der Universitat 
 Wiirzburg. 3 Heft. Vasen- 
 sammlung. Wiirzburg, 1872. 
 8, pp. 114. 
 
 " Description of the collection of anti- 
 quities in the Wiirzburg University. 
 Part III. Antique vases." (Ancient col- 
 lection Feoli.) 
 
 421 
 
URL] 
 
 CERAMIC LITERATURE. 
 
 [VAI 
 
 URLICHS (L.). Zwei Vasen altesten 
 Stils. Programm zur Stiftungs- 
 feier des v. Vagner'schen Kunst- 
 institute. Wurzburg, 1874. 4, 
 pp. 11 ; with 2 pis. 
 
 " Two vases of the most ancient style." 
 
 - Der Vasenmaler Brygos . . . 
 Siebentes Programm des von 
 Wagner 'schen Kunstinstituts. 
 Wurzburg, 1875. Fol., pp. 10 ; 
 with 1 fold. pi. 3 m. 
 
 "The vase painter Brygos. Seventh 
 programme of the Wagner Institute." 
 
 Seven vases signed by Brygos are described 
 in this paper. In spite of some archaic features 
 noticeable in his paintings, by the style of the 
 inscriptions Urlich's estimates that the artist 
 worked between the 90th and 100th Olympiad. 
 
 USSING (J. L.). To graeske Vaser i 
 i Antik-Kabinettet i Kjobenhavn. 
 
 Kjobenhavn, 1866. 4, pp. 17 ; 
 
 with 2 col. pis. 
 
 " Two Greek vases in the Copenhagen 
 
 Museum of antiquities." 
 
 De nominibus vasorum grse- 
 
 corum disputatio. 
 
 8, pp. 175 ; pi. 2 m. 
 
 " Controversies on the names of Greek 
 vases." 
 
 UZIELLI (Collection I.). Catalogue of 
 the various works of art forming 
 the collection of Matthew Uzielli, 
 Esq., by J. C. Robinson. Lon- 
 don, J. Clayton. 8, pp. vi-304 ; 
 woodcuts and engr. pis. (Printed 
 for private distribution.) 5s. 
 
 Catalogue of sale. London, 
 
 Christie, 1861. 8, pp. 293. 
 
 A general collection which contained only a 
 few examples of Greek vases, majolica, and 
 porcelain. The sale produced over 15,000. 
 
 YACHON (M.). Les industries d'art. 
 Les ecoles et les Musees d'art 
 industriel en France (Departe- 
 
 422 
 
 ments). Nancy, Berger Lev- 
 rault, 1897. 4, pp. 441. 
 
 " Artistic industries. The schools and 
 museums of industrial art in France 
 (Departments)." 
 
 Short notices of the past and present condi- 
 tions of the ceramic industry in the French pro- 
 vinces give some interesting information re- 
 specting the following centres : Marseilles and 
 the Aubagne potters, Nice and Vallauris, Tou- 
 louse, Bordeaux, Limoges, Vierzon, Tours, 
 Rennes, Quimper, Lille, etc. Local museums 
 are briefly described. 
 
 - Rapports de Missions sur les 
 Institutions d'enseignement art- 
 istiques et techniques pour les 
 industries d'art en Europe. (In 
 collaboration with H. Havard.) 
 Paris, Public par le Ministere de 
 1' Instruction publique et des 
 Beaux-Arts. 5 vols. 4. v.y. 
 
 " Reports of the missions sent to inves- 
 tigate the conditions of artistic and 
 technical instruction for the advance of 
 the art industries of Europe." 
 
 The chief museums, schools, and factories of 
 Germany, Italy, Austria, Russia, Switzerland, 
 Belgium, Holland, Denmark, Sweden, England, 
 etc., are succintly passed under review in these 
 reports. 
 
 See Havard (H.)- Les manufactures 
 nationales. 
 
 YAILLANT (Y. J.). Les ceramists 
 boulonnais. Etude sur les pot- 
 eries de terre, gres, terres cuites, 
 faiences et porcelaines de Bou- 
 logne-sur-mer. Boulogne, 1882. 
 8, pp. 127. 5 fcs. 
 
 " The ceramists of Boulogne. An essay 
 upon the manufacture of pottery, stone- 
 ware, terra-cotta, faience, and porcelain 
 at Boulogne-sur-mer." 
 
 Although the trade of the potter could never 
 have been of much importance among the in- 
 dustries of Boulogne and the surrounding region, 
 evidence exists that it was uninterruptedly 
 carried on in the province from a remote anti- 
 quity. Roman ware and mediaeval vessels of 
 rude make, have often turned up in the excava- 
 tions. Ancient documents in which potters are 
 referred to are not wanting ; some of them go 
 back to the eleventh century. Mr. Valliant's 
 book bears, as an epigraph, a quotation from a 
 romance of Eustache Le Moine, written in 1073, 
 " Li POTIER CRIB ; As POS ! As POS." All 
 through the fourteenth century names of local 
 
VAI] 
 
 CERAMIC LITERATURE. 
 
 [VAL 
 
 potters appear frequently in the civic registers. 
 As early as 1505, mention is made of the Yvart 
 and Wimet families who, without interruption, 
 have supplied the town of Boulogne with pot- 
 makers during three centuries. Their produc- 
 tion was limited to common earthenware vessels 
 sold in the local fairs and markets. Yet an 
 examination of the ancient documents referring 
 to the regulations of the trade and the customs 
 of the workmen furnishes some interesting 
 materials towards the general history of French 
 pottery. 
 
 The minor factories of the latest period, which, 
 as a conscientious historian, the writer could not 
 ignore in his account, have little claim to our 
 attention. If we except certain dishes of red 
 clay coarsely decorated with slips or incised 
 traceries, and perhaps a few painted tiles, ex- 
 hibiting crude attempts at embellishing a very 
 rude ware, we do not see that the pottery of 
 Boulogne ever showed any distinctive character. 
 
 - A propos des vases pastilles 
 et epigraphies de Fepoque gallo- 
 romaine trouves dans le Boulon- 
 nais. Arras, 1887. 4, pp. 28. 
 (Reprint from the Bulletin de la 
 Commission des antiquites du 
 Pas-de-Calais.} 3 fcs. 
 
 " On the subject of the slip decorated 
 and inscribed vases of the Gallo-Roman 
 period found in the region of Boulogne 
 s/mer." 
 
 The author, curator of the Boulogne Museum, 
 has made a special study of the Roman pottery, 
 decorated by the process of trailing a jet of 
 " slip," or diluted clay poured out, upon the 
 surface of the vessel, through a narrow tube or 
 quill. Examples of this method of decoration, 
 frequently found in the North of France, are 
 largely represented in the Boulogne Museum. 
 Elegant scrolls of foliage and flowers, running 
 dogs and stags, are traced in that manner with 
 yellow slip upon black or red ground. The 
 paper deals particularly with the inscriptions 
 with which they are accompanied, most of which 
 are of a more or less Bacchanalian character. 
 Among them we may quote Sitio, Bibe, Imple 
 me, Replete, Reple me copo meri, Misce, etc., 
 which the writer takes as representing the cheer- 
 ful characteristics of the Gallic spirit. 
 
 YAISIER (A.). Les poteries estam- 
 pillees dans 1'ancienne Sequanie. 
 Besancon, 1882. 8, pp. 40; 
 with 15 lith. pis. of marks and 
 inscriptions. (Reprint from the 
 Memoir es de la Soc. d* Emulation 
 du Doubs.) 
 
 " The stamped pottery of ancient 
 Sequany." 
 
 There can be no doubt that pottery was ex- 
 tensively manufactured in the region at the time 
 of the Roman occupation ; the ruins of the 
 
 potters' kilns and the accumulation of fragments 
 with which they are surrounded are there to 
 attest it. One might expect that the marks 
 impressed on the ware discovered on the spot 
 might assist us in fixing the names of the local 
 potters. A list has been drawn up of all those 
 found in the province of Franche-Comte. But 
 as most of these names are common to many 
 other centres of production, and as not one 
 among them occurs in a sufficient number of 
 instances to make it predominate over the 
 others, we are deprived of one of the means of 
 discriminating between the actual production of 
 the Sequanian kilns and the articles imported 
 from other places. We can only take this 
 ubiquity of marks as an additional proof that 
 the trade in pottery ware extended over all the 
 Roman possessions. 
 
 YALENTINI (D.). Musei Museorum ; 
 oder der allgemeiner Kunst und 
 naturalien Kammer. Frankfurt 
 a. M., 1714. 2 vols. Fol. ; pis. 
 20m. 
 
 " The museum; or the general cabinet 
 of nature and art." 
 
 Under this name the collectors of yore T de- 
 scribed their heterogeneous assemblage of curi- 
 osities of every possible description. In their 
 ponderous discantation they seldom failed to make 
 appeal to the supernatural and miraculous side 
 of every subject. Fossils were for them extra- 
 ordinary freaks of nature, and the curious vein- 
 ings of onyxes and other marbles, in which they 
 saw sacred images of crucifixes, holy virgins, and 
 sainted personages, were presented as marvels of 
 the same order. In describing the treasures in 
 his possession, Dr. Valentini has indulged in the 
 usual display of pedantic absurdities which con- 
 stituted the foundation of the hermetic science 
 of the old natural philosopher. The various 
 earths are treated in the first chapters of vol. ii., 
 and reference is made to the potter's art. An 
 essay on terra sigillata of various origin occupies 
 a prominent place ; it is illustrated by two 
 plates of marks and the reproduction of a re- 
 markable vase made of that material. Then 
 comes an article upon the cinerary urns and the 
 sepulchral terra-cotta lamps of the ancients. 
 Chinese porcelain is also touched upon, and from 
 the obscure and extravagant notions entertained 
 on these subjects by the worthy doctor we come 
 to the conclusion that such a book might have 
 been written hundreds of years before, and not 
 at a time when general knowledge is supposed to 
 have stood at a much higher level. 
 
 YALIERE. Rapport du delegue des 
 ouvriers porcelainiers au Con- 
 gres de Paris. Limoges, Ducour- 
 tieux, 1876. 8. 
 
 " Report of the delegate of the opera- 
 tives of the porcelain factories sent to the 
 Paris Congress in 1876." 
 
 423 
 
VAL] 
 
 CERAMIC LITERATURE. 
 
 [VAN 
 
 YALL1ER (G.)- Briques emaillees du 
 Sud. Quest de la France. Car- 
 relages du chateau de Bressieux 
 (Isere) et du presbytere de Saint- 
 Trophime a Aries (Bouches du 
 Rhone), xvii e siecle. Pp. 15 ; 
 with 1 col. pi. 
 
 " Glazed tiles from the South- West of 
 France. Pavements of the Bressieux 
 Castle, and the presbytery of Saint 
 Trophime at Aries." 
 
 YANAULT. Les mille et une nuits du 
 potier. Bernard Palissy. Paris, 
 Bedelet (1850 ?). Pp. 113-145 ; 
 with 2 lith. pis. (In Le genie de 
 V Industrie.} 
 
 The Story of Bernard Palissy told to children. 
 
 VAN BASTELAER (D. A.). Les gres-cer- 
 ames ornes de 1'ancienne Bel- 
 gique et des Pays-Bas impropre- 
 ment appeles gr&s flamands. 
 Chatelet et Bouffioux, centres 
 importants de production et 
 d' exportation en Belgique et 
 dans les pays etrangers. Brux- 
 elles, 1880. 8. 
 
 " The ornamented stoneware of old 
 Belgium and the Low Countries, incor- 
 rectly called Flemish stoneware. Chatelet 
 and Bouffioux, two important centres of 
 manufacture and exportation in Belgium 
 and foreign countries." 
 
 A first report. 
 
 - Les gres-cerames ornes de la 
 Belgique et des Pays-Bas. Deux- 
 ieme rapport fait a la Societe 
 archseologique de Charleroi, par 
 son president D. A. Van Bas- 
 telaer pour la partie technique, 
 et J. Kaisin, membre du conseil, 
 pour les documents. Charleroi, 
 1880. 8, pp. 284; with 12 
 lith. pis. 12 fcs. 
 
 " . . . A second report addressed 
 to the Charleroi Archaeological Society ; 
 the technical portion written by its 
 president, D. A. V. B., and the documen- 
 tal evidence presented by Councillor J. 
 Kaisin." 
 
 424 
 
 - Les gres wallons ; gres cera- 
 mes ornes de 1'ancienne Belgique 
 et des Pays-Bas, improprement 
 nommes gres-flamands. Trois- 
 ieme rapport. Les gres ornes a 
 Bouffioux au xvi e siecle. Brux- 
 elles, 1881. 8, pp. 61 ; with 
 3 lith. pis. 
 
 "... The artistic stoneware made 
 at Bouffioux in the sixteenth century." 
 
 A third report written in answer to the 
 criticism to which the publication of the second 
 report had given rise. 
 
 - Les Gres wallons . . . Quatri- 
 &me rapport resumant les trois 
 precedents et formant une mono- 
 graphic au point de vue his- 
 torique et descriptif. Mons, 
 1884. 8, pp. 500; with 19 
 lith. pis. 25 fcs. 
 
 "... A fourth report, summing 
 up the three previous ones, and forming 
 a historic and descriptive monograph." 
 
 - Les anciens gres artistiques 
 flamands dans le nord de la 
 France a la fin du xvii e siecle. 
 Produits dits en allemand " Bol- 
 lekenskan " fabriques a Mar- 
 pent. Mons, 1884. 8, pp. 25. 
 
 " The Flemish stoneware in the North 
 of France at the end of the seventeenth 
 century. Vessels called in German 
 ' Bollekenskan/ manufactured at Mar- 
 pent." 
 
 From the fragments discovered at Marpent, a 
 French village situated near the Belgian frontier, 
 the writer concludes that a stoneware manufac- 
 tory must have existed on the spot. 
 
 - Les gres armories de Chatelet 
 et de Bouffioux a Liege au xvi e 
 siecle. Mons, 1885. 8, pp. 61. 
 
 "Armorial stoneware made for Liege 
 at Chatelet and Bouffioux." 
 
 Much importance is attached in this paper to 
 the fact that the nobility of Liege sent commis- 
 sions to the potters of Bouffioux for the making 
 of their armorial vessels, as well as to the 
 potters of Raeren. 
 
 Huit gres ornes anciens de 
 Bouffioux. Bruxelles, 1891. 8, 
 pp. 14 ; with 5 pis. 
 
VAN] 
 
 CERAMIC LITERATURE. 
 
 [VAN 
 
 " Eight ornamented stoneware vessels 
 of Bouffioux manufacture." 
 
 However eager he may be for knowledge, a 
 ceramic student might well wince at the task 
 placed before him when, anxious to sift the 
 question of the Bouffioux stoneware and the 
 place it should occupy in general history, he 
 finds himself confronted by the appalling array 
 of printed pamphlets and volumes containing the 
 discussion of the subject. This outpour of 
 archaeological debate was due to the startling 
 discovery of a hitherto unsuspected centre of 
 manufacture. At the very moment when a 
 course of exhaustive inquiries seemed to have 
 located in Germany the probable site of all the 
 chief factories of artistic stoneware, it was found 
 that Bouffioux, a village of the Walloon country, 
 had been as prolific in the production of that 
 kind of pottery as any place at work in the 
 Rhine and the Meuse valleys. The Archaeo- 
 logical Society of Charleroi may claim the entire 
 credit of the discovery ; the wide circulation of 
 their printed transactions spread the news 
 through the antiquarian world. A great stir 
 was anticipated ; but the communication was 
 received abroad with something akin to sneering 
 indifference. To the claims preferred in favour 
 of the antiquity and originality of the Bouffioux 
 pottery which followed the discoveries, it was 
 merely answered that the find of huge heaps of 
 stoneware sherds the best part of which con- 
 sisted in distant imitations of the plainest types 
 of Siegburg and Raeren could not, in any way, 
 affect the main lines on which the history of the 
 craft had lately been reconstituted, and that the 
 fact was far from having the importance that 
 had been attached to it. It was a bitter dis- 
 appointment. So far from accepting such a 
 declaration, the president of the society took 
 pen in hand to fight and defeat the adverse 
 party with a vigour worthy of a better cause. 
 
 An unwonted strain was put upon the local 
 printing presses ; page after page of specious 
 argumentation, blended with good-humoured 
 sarcasm, were hurled at the head of the obdurate 
 dissidents. The first report having proved in- 
 sufficient to bring conviction into their minds, a 
 second one was published, so complete in all 
 respects that no one, having perused it, could 
 have suspected that the subject was susceptible 
 of further development. It contained a history 
 of pot-making at Bouffioux before the introduc- 
 tion of stoneware manufacture ; a statement of 
 the technical peculiarities by means of which the 
 Bouffioux productions can be recognised ; tran- 
 scriptions of all the ancient documents referring 
 to the craft, with a complete list of all the 
 masters who had been Governors of the Guild 
 from 1550 to 1824 ; and, finally, a descriptive 
 catalogue of all the fragments dug out from the 
 soil, and now deposited in the Charleroi Museum, 
 as well as of all the stoneware vessels preserved 
 in the other museums of Belgium, and which 
 may, with good reason, be attributed to the 
 Bouffioux works. 
 
 A third and fourth report were subsequently 
 issued in support of the first two, each enlarging 
 upon the points already discussed, and bringing 
 forth a fresh supply of arguments and evidence. 
 Methodical order and thorough scrutiny oi 
 details have presided over the preparation oi 
 these consecutive volumes, the last of which 
 
 counts no fewer than 500 pages. The cata- 
 logue, with its ingenious system of classification 
 and its accurate description of the fragments, 
 is a model of its kind. It is illustrated with 
 coloured plates reproducing a large number of 
 examples. But if we compare the opinions de- 
 veloped in the text with the illustrations, we 
 feel bound to come to conclusions very different 
 from those entertained by the writer. He in- 
 sists particularly on the obvious originality and 
 the artistic character of the Bouffioux ware. We 
 must confess that among the numerous sub- 
 jects reproduced for our edification we find no- 
 thing but clumsy repetitions of well-known types. 
 The brown jugs and their embossed medallions 
 are copied from those of Raeren ; as for the 
 coloured diapers, rosettes, and foliage impressed 
 on the grey ware of a later period, they are but 
 commonplace recollections of the style of decora- 
 tion initiated at Grenzhausen. We agree with 
 him when he says that on the point of technical 
 manufacture the Bouffioux productions are 
 generally excellent ; the clay employed was 
 often of very fine quality, and the ware is re- 
 markable for deepness of colour and brilliancy 
 of glazing ; more than this, we cannot grant. 
 It is clear, from the contemporary documents, 
 that cheapness of production had been from the 
 first the guiding rule of the Bouffioux potters. 
 No artistic work could have been made under 
 the conditions in which they were placed. The 
 wholesale merchants who established warehouses 
 in the village, and secured gradually the man- 
 agement of the whole trade, had a main share 
 in bringing about the decline of the art. The 
 good models that they imported from the best 
 factories of Flanders and Germany were repro- 
 duced for a trifling price ; and they kept the 
 upper hand over the makers by advancing them 
 money at ruinous interest. So it happened that 
 a few years after the Guild had been constituted 
 the united masters had to lodge a complaint by 
 the counsel, stating that under the existing cir- 
 cumstances the scale of prices had fallen to such 
 a low level that it had become impossible to 
 work at a profit. 
 
 The manufacturer who had been fortunate 
 enough to escape falling into the clutches of the 
 mighty merchant, abandoning the hopeless 
 struggle, hastened to start in business as a mer- 
 chant, and to make money by oppressing his 
 former mates and enforcing the " sweating 
 system," which prevailed in all pot-works. 
 
 This sad picture, which has escaped the atten- 
 tion of the historian of the Bouffioux stoneware, 
 but which is forcibly indicated in the authentic 
 documents he has added to his fourth report, 
 reminds us of the downfall of many another 
 centre of pottery manufacture, to which a 
 similar cause may be attributed ; we mean the 
 rage for cheapness of production which results 
 from the interference of the middleman and the 
 blindness of his victims. 
 
 An important point that Mr. Van Bastelaer 
 will not concede to his opponents is that the 
 invention of the brown stoneware glazed with 
 salt was imported from Raeren, and did not 
 originate in the place. Although he cannot 
 prove the case, he believes implicitly in a local 
 discovery. As he acknowledges that the ware 
 of both places was similar, and as one of them 
 must consequently have been imitated from the 
 other, his final conclusion must be that Bouffioux 
 
 425 
 
VAN] 
 
 CERAMIC LITERATURE. 
 
 [VAN 
 
 has made Raeren, since Raeren has not made 
 Bouffioux. No one would have followed him as 
 far as that ; so he has wisely refrained from ex- 
 pressing any definite opinion on the subject. 
 
 It may be questioned if the subject of the 
 Walloon stoneware was of sufficient importance 
 to require such a thorough treatment. Had the 
 learned and conscientious historian dealt with a 
 branch of the potter's art more interesting to 
 the general student, and spent on this work the 
 care and the ability he has displayed in the com- 
 pletion of these monographs, we feel convinced 
 that the outcome would have added another 
 standard book to ceramic literature. 
 
 VAN BASTELAER (D. A.). --Les cou- 
 vertes, lustres, vernis, enduits, 
 engobes, etc., de nature organ- 
 iques employes en ceramique 
 chez les Remains ; recherches 
 chimiques et archeologiques. 
 Anvers, J. Plasky, 1877. 8, 
 pp. 44. 2 fcs. 
 
 " The glazes, varnishes, lustres, slips, 
 and other coatings of organic substances 
 applied to pottery by the Romans; 
 chemical and archaeological researches." 
 
 Roman pottery was rendered impenetrable to 
 liquids by a superficial coating of organic sub- 
 stances, such as pitch, rosin, wax, oil, etc. 
 
 Over sixty quotations from Latin writers are 
 given to testify to the general practice of such 
 a method. Although time has partly destroyed 
 these varnishes, enough has been found still ad- 
 hering to the clay to allow the writer to carry 
 out conclusive experiments in regard to their 
 exact nature. 
 
 - Les vases de forme purement 
 Franque et leurs ornements a la 
 roulette. Bruxelles, 1890-91-98. 
 8; plates. 
 
 "Vases of true Frankish form and 
 their impressed ornamentation." 
 
 These vases show the constant use of a small 
 wheel, bearing engraved upon the outer rim a 
 succession of dots, lines, zig-zags, etc. By run- 
 ning the tool over the moist clay, bands of con- 
 tinuous ornaments could be speedily formed. 
 Very long afterwards, Wedgwood constantly 
 used the same mechanical process of ceramic 
 ornamentation. 
 
 La ceramique antique plus 
 
 legere que 1'eau ; fabrication et 
 composition. Mons, 1900. 8, 
 pp. 14. (Reprint from the Ann. 
 du Cercle Arch, de Mons.) 
 
 " Antique pottery, lighter than water ; 
 manufacture and composition." 
 426 
 
 Hydrated magnesia was the substance used 
 for making bricks so light that they floated on 
 water. 
 
 VAN DE CASTEELE (D.). Ores liegeois. 
 Bruxelles, 1879. 8, pp. 5. 
 
 " The stoneware vessels manufactured 
 for the town of Liege at Raeren and at 
 Bouffioux." 
 
 Greswallons. Bruxelles, 1880. 
 
 8, pp. 7. 
 
 " Wallon stoneware," 
 
 A complement to the publications of Mr. Van 
 Bastelaer upon the Bouffioux factories. 
 
 Le sculpteur P. L. Cyme et sa 
 
 manufacture de porcelaine a 
 Hastiere-Lavaux. Namur, s.d. 
 8. Pp. 24. 
 
 "The sculptor, P. L. Cyme, and his 
 porcelain manufactory at Hastiere- 
 Lavaux." 
 
 L'ancienne fa'iencerie liegoise. 
 
 Bruxelles , 1884. 8, pp. 43. 
 
 " The ancient faience manufactory of 
 Liege." 
 
 Ores cerames de Namur. 
 Bruxelles, 1885. 8, pp. 54. 
 " The Namur stoneware." 
 
 All the above articles have been reprinted, in 
 pamphlet form, from the archaeological journals, 
 in which they first appeared. Mr. Van de Cas- 
 teele, archivist of the town of Liege, has found 
 in the documents entrusted to his care many 
 ancient records of great importance for the his- 
 tory of the ceramic industry in Belgium and the 
 Low-Countries. 
 
 VAN DE PUT (A.). Hispano-Moresque 
 ware of the fifteenth century. 
 A contribution to its history and 
 chronology, based upon armorial 
 specimens. London, Chapman 
 & Hall, 1904. Sq. 8, pp. iv- 
 105; with 34 pis. (3 col.). 
 12s. 
 
 VAN DUYSE (H.). Gres Wallons. Le 
 capitaine Chabotteau ; Bouvig- 
 nes, Namur. Bruxelles, 1882. 
 8, pp. 22 ; 1 pi. 
 
 " Walloon stoneware. Captain Chabot- 
 teau; Bouvignes, Namur." 
 
VAN] 
 
 CERAMIC LITERATURE. 
 
 [VAS 
 
 A biographical sketch of the founder of the 
 Bouvignes and Namur stoneware factories. In 
 his chequered career, J. B. Chabotteau was only 
 incidentally connected with the manufacture of 
 pottery. Soldier of fortune, underwriter, and 
 commissioner of the army, inventor, merchant, 
 and manufacturer in turn, we recognise in him 
 the regular type of the business adventurer, the 
 impecunious promoter of shadowy companies. 
 All his schemes ended in a disastrous failure, 
 his stoneware manufactories, of which the un- 
 availing struggles for existence are narrated in 
 this paper, being as unfortunate as his other 
 enterprises. 
 
 Musee archeologique de la 
 Ville de Gand. Catalogue de- 
 scriptif. Gand, 1886. 12, pp. 
 128. 
 
 ' ; Catalogue of the Ghent Museum of 
 Archaeology." 
 
 To the zeal and knowledge of Mr. Van Duyse, 
 the first curator of the museum, is due its ex- 
 cellent arrangement. Ceramics, Nos. 1-754 ; 
 some remarkable pieces of mediaeval pottery, 
 ancient tiles, Flemish stoneware, etc. 
 
 YANGUYON (Hme. Brasier de la). Guide 
 
 to painting on porcelain and 
 earthenware ; publ. by Mile. 
 Tantiot. Boston, 1877. " 
 
 VAN HASSELT (G.).-Over de Jacoba's 
 Kannetjes. Amsterdam, Van 
 der Kroc, 1780. 8, pp. 76. 5s. 
 
 " The cannetes of Countess Jacqueline/' 
 
 This interesting paper disposes for ever of a 
 poetical tradition which represents Countess 
 Jacqueline de Hainault as having fashioned 
 with her own hand the jugs of coarse stoneware 
 found embedded in the moats of Teylingen 
 Castle, where she was kept in captivity. 
 
 After the banquet at which the loyal partisans 
 of the Countess solemnly drank the toast of 
 allegiance, it was customary to throw the jug 
 through the window, in order to prevent its 
 being used again. This alone accounts for the 
 presence of the many jugs unearthed under the 
 walls of the castle. Hasselt remarks, moreover, 
 that neither by their shape nor any of the pieces 
 are peculiar to Teylingen. Stoneware jugs of 
 exactly the same character have been dug up 
 in other places all over Holland, associated with 
 coins and dated inscriptions which demonstrate 
 that the ware had been of general iise in the 
 country for more than a century before the days 
 of Countess Jacqueline. 
 
 YANZOLINI (G.). Istorie delle fab- 
 briche di maj cliche metaurensi 
 e delle attinenti ad esse, raccolte 
 a cura di G. Vanzolini. Pesaro, 
 A. Nobili, 1879. 2 vols., 8; and 
 
 1 vol., 4, pp. 377-248; with 
 3 pis. and Atlas, 4. 20 fcs. 
 
 " History of the majolica manufactories 
 of the Metaurian provinces, and of those 
 connected with them, published under 
 the direction of G. V." 
 
 All the Italian works written upon the ancient 
 majolica factories having become difficult to 
 obtain, they were reprinted together in these 
 volumes, in the following order : 
 
 Passeri ; on Pesaro. 
 
 Pungileoni ; on Urbino. 
 
 Raffaelii ; on Urbania or Castel Durante. 
 
 Ranghiasei-Branealeoni ; on Gubbio. 
 
 Mareoaldi ; on Fabriano. 
 
 Campori ; on Ferrara, Turino, Mantova, etc. 
 
 Each reprint is accompanied with annota- 
 tions, and additional matter. The third volume 
 contains " Picolpasso. Arte del vasajo," with 
 the plates ; and also a short technical treatise 
 by Gianandrea Lazzarini of Pesaro ; with some 
 notes on the preparation of majolica colours 
 extracted from divers authors. 
 
 YASARI (G.). Luca della Robbia. 
 (In Le vite de'piu eccellenti archi- 
 tetti, pittori e scultori italiani. 
 Firenze, 1550, 4.) 
 
 Many of the particulars given by Giorgio 
 Vasari about the life and works of Luca della 
 Robbia, and other artists of the same family, 
 have been found incorrect. Modern researches 
 have, among other points, established with ab- 
 solute accuracy the dates of the birth and death 
 of Luca, and have corrected many other state- 
 ments wrongly given by Vasari. 
 
 YASCONCELLOS (Carolina M. de). Al- 
 gumas palavras a respeito de 
 pucaros de Portugal. (Reprint 
 from the Bulletin Hispanique, 
 T. vii.) 
 
 "A few words on the subject of the 
 Portuguese Buccaros." 
 
 YASCONCELLOS (J. de). Exposicao de 
 ceramica ; documentos coord- 
 enados. Com uma serie de 
 marcas ineditas. Porto, 1883. 
 8, pp. 98. (50 copies printed.) 
 
 " Ceramic Exhibition. A compilation 
 of documents; with a series of unpublished 
 marks." 
 
 Ceramica Portuguesa. Serie 
 
 II. Estudos e documentos in- 
 editos. Porto, Typ. Elzeviriana, 
 
 427 
 
VAS] 
 
 CERAMIC LITERATURE. 
 
 [VEN 
 
 1884. 8, pp. 112. Privately 
 printed. 
 
 " Ceramic art in Portugal. Inedited 
 researches and documents." 
 
 The above pamphlets were written on the 
 occasion of a ceramic exhibition held at Porto 
 in 1882, by the curator of the town museum. 
 The first is a descriptive catalogue of the objects 
 exhibited for the use of the visitors. In the 
 second it has been attempted to give a historical 
 sketch of the march and progress of the potter's 
 art in Portugal. 
 
 No references to the national pottery, which 
 must have been produced in early times, have 
 ever been found in ancient writers, and we are 
 not told that earthen vessels of the middle-ages 
 have ever been dug out of the soil. The account 
 begins with the description of the majolica tiles' 
 still adorning the walls of old palaces, churches, 
 and monasteries, which being mostly signed by 
 Italian artists, can scarcely claim a local origin. 
 From this we step into the eighteenth century, 
 when a few faience and porcelain factories were 
 established in the kingdom by foreign potters ; 
 but none of them seem to have met with per- 
 manent success. Imitations of French and 
 Italian ware only were made ; the marks and 
 monograms they bear are seldom found repre- 
 sented in European collections. This record of 
 the precarious conditions of the Portuguese cer- 
 amics during the past centuries, when other 
 branches of applied art had reached such a high 
 level in the country, gives an additional interest 
 to the artistic productions of the modern manu- 
 facturers. 
 
 YASCONCELLOS (J. de). A fabrica de 
 fai'angas das Rainha. Porto., 
 1891. 16, pp. 16. 
 
 The factory of Caldas da Rainha was estab- 
 lished in 1885 by Bordallo Pinheiro. Its artistic 
 productions were favourably noticed at the Paris 
 Exhibition in 1889.' 
 
 YAUX (S. W.). British Museum. 
 Handbook to the antiquities, 
 being a description of the re- 
 mains of Greek, Assyrian, Egyp- 
 tian, and Etruscan art preserved 
 there. London, Murray, 1851. 
 8; with num. illustrs. 7s. 6d. 
 
 YEITCH (G. T.). City of Birmingham. 
 Museum and Art Gallery. Cata- 
 logue with descriptive notes of a 
 collection of Chinese porcelain 
 lent by George T. Veitch. Bir- 
 
 mingham, 1902. 
 2d. ' 
 
 Sq. 8, pp. 30. 
 
 YELTHEIM lind HAGER. Ueber die Vasa 
 Murrina. Helmstedt, 1791. 8. 
 
 428 
 
 " On the Murrhine vases." 
 
 Veltheim held the view that the Murrhine 
 vases were objects imported to Rome from 
 China, and he believed that they were made of 
 soap-stone. This pamphlet was reprinted, in a 
 much enlarged form, in his Vermischten Aufsdtze. 
 Helmstedt, 1800. 8. 
 
 YELTHEIM (Comte A. F.). Conjectures 
 sur 1'urne de Barberini, appar- 
 tenant au Due de Portland. 
 Traduit de 1'allemand avec des 
 notes par E. C. J. van de Vivere. 
 Helmstedt, 1801. 12, pp. xiv- 
 42. 1 pi. 
 
 " Conjectures upon the Barberini vase 
 in the possession of the Duke of Portland." 
 
 A long disquisition, with copious notes, to 
 prove that the reliefs on the Portland vase re- 
 present the Story of Alcestes, brought back from 
 Hades by Hercules and returned to her husband, 
 Admetes. 
 
 YENDEMINI (F.). Laceramica all'Es- 
 posizione di Faenza nell'anno, 
 1875. Bologna, Zanichelli,1876. 
 4, pp. 22. 
 
 " La Ceramica at the Faenza Exhibi- 
 tion in 1875." 
 
 YENUTI (D.). Spiegazione d'un ser- 
 vizio da tavola dipinto e model- 
 lato in porcellana nella R. Fab. 
 di Napoli. Napoli, 1782. 4. 
 
 Interpretation des peintures 
 dessinees sur un service de table, 
 travaille d'apres la bosse dans 
 la fabrique royale de porce- 
 laine, par ordre de S. M. le Roi 
 des Deux Siciles. Naples, 1787, 
 impr. Roy. Sm. 4. One page 
 of dedication to H.M. The King 
 of Great Britain ; with 198 pis., 
 and a large fold. pi. engr. in out- 
 line. 20 fcs. 
 
 " Explanation of the subjects painted 
 on a dinner service, and of the accom- 
 panying figures in the round, executed in 
 the Eoyal Porcelain Manufactory by 
 command of H.M. the King of Sicily." 
 
 In these stiff and forbidding outlines is 
 evinced the lamentable result that a misunder- 
 stood application of Greek art was to produce 
 in modern manufacture. Each piece has been 
 decorated with a subject borrowed from the 
 
YER] 
 
 CERAMIC LITERATURE. 
 
 [VIG 
 
 books just published on Greek vase paintings. 
 When we have said that the first one represents 
 an Etruscan tomb with its skeletons, some idea 
 may be formed of the lack of fitness of such a 
 scheme for the decoration of a dinner service. 
 The porcelain was presented by the King of 
 Sicily to George III., and surely no expense had 
 been spared to make it worthy of the purpose for 
 which it was intended. A combat of gladiators, 
 comprising about fifty figures, with horses, 
 chariots, trophies, etc., in the usual style of the 
 Capo-di-Monte porcelain, forms the central piece. 
 A brief description of the subject represented, in 
 very bad French, is printed on each plate. 
 
 Such a dinner service would well have graced 
 the Royal Palace of Capo-di-Monte at Naples, 
 in which the state apartments are all decorated 
 in the same style of burlesqued antiquity, and 
 the appointments of which offer, perhaps, the 
 most unmitigated examples of bad taste to be 
 seen in all Europe. 
 
 YERCOUTRE. Sur la ceramique 
 romaine de Sousse. Paris, 1884. 
 8, pp. 14 ; with 1 pi. (Reprint 
 from the Revue Arch.} 
 
 " Roman ceramics found at Soussa." 
 
 YERHELST (B. K.). Description des 
 antiquites et objets d'art qui 
 composent le cabinet de feu Mr. 
 Joand'HuyvetteraGand. Gand, 
 1851. 8, pp. 124 ; with 22 pis. 
 and portrait. 10 fcs. 
 
 " Description of the antiquities and 
 objects of art composing the collection of 
 the late Mr. J. d'Huyvetter." 
 
 When Ch. Ongena engraved, for d'Huyvet- 
 ter's private catalogue, the plates, reprinted in 
 the catalogue of sale of the collection, the col- 
 lector had neglected, probably for want of in- 
 formation on the origin of the ancient stoneware 
 he had gathered so successfully, to accompany 
 them with an explanatory notice. Verhelst has 
 endeavoured to supply the deficiency ; but the 
 historical notes he has added to the description 
 of the specimens are so scanty and so erroneous 
 that it is evident that the knowledge of the ware 
 and its makers had scarcely made any advance. 
 There was still no question of grouping the dis- 
 tinctive types according to the places or periods 
 of manufacture ; a simple classification by size, 
 form, and colours is still retained. Each piece 
 is, however, most accurately described ; the in- 
 scriptions are faithfully recorded, and the trans- 
 lation is given, whenever it has been found 
 practicable. This illustrated catalogue, printed 
 as a record of the sale, contains a list of the prices 
 realised, with the names of the purchasers. 
 
 YER1ES (A.). Les figures criophores 
 dans 1'art grec, 1'art greco-rom- 
 ain et 1'art chretien. Paris, 
 Thorin, 1883. 8. 2 fcs. 
 
 "The criophores in the Greek, Greco- 
 Roman, and Christian art." 
 
 Chiefly descriptive of terra-cotta figures. 
 
 YESTENRIEDER (L.). Skize aus dem 
 Leben des Herrn Grafen Sig- 
 mund von Haimhaufen. S.L, 
 1792. (Extr.) 8, pp. 26 ; por- 
 trait. 
 
 " A sketch of the life of Earl S. von 
 Haimhaufen, the founder of the Nymphen- 
 burg Porcelain Manufactory." 
 
 YIALLE. Rapport du delegne des 
 ceramistes de Limoges a P ex- 
 position de Philadelphie. Limo- 
 ges, impr. Chatras, 1877. 8. 
 
 " Report of the delegate of the porce- 
 lain makers of Limoges at the Philadelphia 
 Exhibition." 
 
 YIALETTES (L'Abbe L.). Sigles figulins 
 releves sur les poteries trouvees 
 dans 1'Aveyron et a Barnassac 
 (Lozere). Ehodez, 1898. 8, 
 pp. 36. (Reprint from the 
 Memoires de la Societe des Lettres 
 de V Aveyron.} 
 
 " Potters' marks found on the Roman 
 pottery discovered in the Aveyron Depart- 
 ment, and at Barnassac (Lozere)." 
 
 YICAT. Die neuesten Fortschritte 
 by der Ziegel und Cementf abrik- 
 ation. Berlin, 1868. 8. 
 
 " The latest improvements in the in- 
 dustry of bricks and tiles, and cement 
 manufacture." 
 
 YIEL CASTEL (Collection du Comte de). 
 
 Paris, 1883. 8, pp. 28 ; 1 pi. 
 
 Catalogue of sale. The collection comprised 
 378 Nos., chiefly old Sevres porcelain. 
 
 YIGNERON (A. S. et M. M.)- Claude 
 Gautherot, dit J. B. Nini. Ses 
 terres-cuites, ses biscuits divers. 
 Notes et souvenirs par ses ar- 
 rieres petits enfants. Paris, 
 1884. 8, pp. 10 ; portrait. 
 
 " Claude Gautherot, alias J. B. Nini. 
 His terra-cottas and his biscuits of 
 various kind. Notes and reminiscences 
 by his great-grand-children." 
 
 429 
 
VIG] 
 
 CERAMIC LITERATURE. 
 
 [VIL 
 
 We do not know whether J. B. Nini ranks 
 very high as a ceramic artist, in the purely 
 technical acceptation of the word, but as his 
 delicately modelled terra-cotta medallions are to 
 be found in ceramic collections, we cannot re- 
 frain from entering this work on our list and 
 from reviewing the biographical notices in which 
 his identity is so warmly contested. In the 
 present case, the great-grand-childern of Claude 
 Gautherot assert most emphatically that their 
 ancestor ought to be recognised as the real 
 author of the medallions signed J. B. Nini. 
 The following statements are borrowed from the 
 family traditions : C. Gautherot was born in 
 1729 and died in 1802. He occupied a situation 
 at the War Office, Paris, and his talent as a 
 modeller and engraver was well-known in artistic 
 circles. His social position made it easy for him 
 to obtain sittings from the notabilities of the 
 times ; this accounts for the large number of 
 portraits he has executed. Two of them viz., 
 Voltarie and Rousseau are signed with his real 
 name ; notwithstanding the difference in the 
 signature, all the others are evidently the work 
 of the same hand. Unfortunately family tradi- 
 tions are silent as to the cause of his assuming 
 in all other cases the sobriquet of J. B. Nini. 
 
 This notice differs so much, in all particulars 
 from that previously published by Mr. A. Villers, 
 that it seems to refer to quite another personage. 
 This is probably the solution of the controversy ; 
 Gautherot may have modelled and signed the 
 medallions of Voltaire and Rousseau ; the others 
 must be left to J. B. Nini, an Italian modeller, 
 who is known to have lived and worked for 
 many years in the town of Chaumont. 
 
 YIGNOLA (G.). Sulle maioliche e 
 porcellane del Piemonte, con 
 una appendice sulle antiche 
 maioliche di Savona. Cenni 
 storici ed artistici. Torino, 1878. 
 8, pp. 62 ; with 2 pis. of speci- 
 mens and 4 pis. of marks. 3 fcs. 
 
 " The majolica and porcelain of Pied- 
 mont ; with an appendix upon the ancient 
 majolica of Savona. Historical and 
 artistic notes." 
 
 Old Italy is so rich in admirable majolica that 
 the inferior productions of the minor factories 
 can offer but little interest outside the localities 
 where they were manufactured. Turin claims 
 to be recognised as an ancient centre of ceramic 
 industry, and any attempt to establish the fact 
 was sure to be welcomed by the Piedmontese 
 collectors. In this monograph the various abor- 
 tive instances in which it was tried to import the 
 manufacture of majolica into the chief city of 
 the Dukes of Savoy, are duly reported. We 
 hear that, in 1562, a majolica factory, started 
 under the patronage of Duke Emanuele Fili- 
 berto, was at work in Turin, first under the 
 direction of Antonio da Urbino, and later on, 
 of Orazio Fontana. This enterprise, however, 
 as well as those which succeeded it at intervals, 
 were doomed to collapse before they had given 
 any satisfactory result. It has not been pos- 
 
 430 
 
 sible, so far, to identify any examples of the 
 early manufacture. At anyrate, the rich collec- 
 tion of the Turin Museum does not show any 
 specimen of the faience of Piedmont which does 
 not belong to a late period, and imitate more or 
 less haply the style of the Savona ware. 
 
 No more successful was the porcelain factory 
 established at Vinove by one of the Hannongs 
 of Strasbourg ; it had to be closed after a few 
 years, having in vain struggled against insuper- 
 able difficulties. A few notes upon another 
 manufactory attempted at Mondovi in 1810 
 close the account. 
 
 The marks reproduced upon the plates are 
 numerous, but they are mostly workmen's marks 
 of which, we are told, only unique examples 
 have ever been found upon the ware. Further 
 researches have rendered this work rather out 
 of date. 
 
 YILLARS (F. de). Notes sur Clodion, 
 statuaire a propos du cabinet 
 d'un amateur. Paris., Renouard, 
 1862. 8, pp. 23. (Reprint from 
 the Revue universelle des Arts.} 
 6 fcs. 
 
 " Notes on the sculptor, Clodion, and 
 a private collection of his work." 
 
 After a short bibliographical sketch of the 
 artist, the writer describes the examples of his 
 work in terra-cotta, then in the possession of 
 Baron Thibon. Some extracts from catalogues 
 of the sales, ranging from 1767 to 1829, in which 
 Clodion's terra-cottas have appeared, show to 
 what an extent the price of truly valuable works 
 of art may be affected by the flitting laws which 
 rule the artistic taste of consecutive periods. 
 From the year 1783 figures and groups which 
 had previously commanded a high price were 
 disposed of for a few francs. By a reversion in 
 the conditions of the market, the very same 
 specimens now fetch the highest figure that can 
 be obtained for a statuette in terra-cotta. 
 
 YILLEFOSSE (H. de). Lampes chreti- 
 ennes inedites. Paris, 1875. 8, 
 pp. 18 ; with 3 illustrs. (Ex- 
 trait du Musee Archeologique.) 
 
 " Unpublished Christian lamps." 
 
 - Sur quelques briques rom- 
 aines du Louvre. Paris, 1880. 
 8, pp. 24. 
 
 " Notice of some Eoman bricks in the 
 Louvre Museum." 
 
 Contains sixty-seven inscriptions and potters' 
 marks found on Roman bricks, mostly from the 
 Campana collection. 
 
 YILLEROY ET BOCH. Notice historique 
 sur les fabriques de la Societe 
 Villeroy et Boch. S.I., 1900. 
 
VIL] 
 
 CERAMIC LITERATURE. 
 
 [VIN 
 
 Obi. 8, pp. 12 ; with 36 views 
 of the works. 
 
 " Historical notice of the factories of 
 the Villeroy & Boch Co." 
 
 - Die Fiirsorge der Firma Vil- 
 leroy & Bock fur ihre Beampten 
 und Arbeiter. S.I, 1900. Obi. 
 8, pp. 30 ; illustrs. 
 
 " The provisions made to ameliorate 
 the social conditions of their employees 
 and workmen by the firm Villeroy & 
 Boch." 
 
 Denkschrift, etc. See Wilkens 
 
 (K.) 
 
 Numerous price lists and illustrated cata- 
 logues have been issued by the following branches 
 of the V. & B. Co. : Mettlach, Vaudrevange, 
 Dresden, Septfontaines, Merzig, Wadgasse, 
 and Schramberg. 
 
 YILLAMIL. Catalogo de la collecion 
 de Porcelanas del Buen Retire 
 del exemo Senor D. Francesco 
 de Laiglesia. Madrid, 1908. 
 8 ; with 27 pis. 
 
 " Catalogue of the Buen Retiro porce- 
 lain in the collection of Signor D. F. de 
 Laiglesia." 
 
 YILLERS (A.). Jean-Baptiste Nini. 
 Ses terres-cuites. Blois, 1862. 
 8, pp. 63. 3 fcs. 
 
 " J. B. Nini ; his terra cottas." 
 
 This excellent notice on the maker of the 
 terra-cotta medallions signed J. B. Nini has lost 
 none of its value through the publication of the 
 Vignerons' pamphlet, in which it had been tried 
 to confute all the statements presented by Mr. 
 Villers, curator of the Blois Museum. It has now 
 been positively ascertained that the latter was 
 right in attributing the authorship of the medal- 
 lions to J. B. Nini, an engraver who worked for 
 twenty-six years in the glass manufactory of 
 Chaumont. The oldest inhabitants of the town 
 had often heard their fathers speak of him and 
 of his talent. He was, by no means, of a com- 
 municative disposition, and never spoke about 
 himself ; but he was believed to be an Italian 
 who had had serious reasons for leaving his 
 country and taking refuge in France. His 
 leisure moments were employed in modelling 
 portrait medallions of his friends and patrons, 
 and of the most celebrated men of his day. Of 
 these portraits he sold terra-cotta proofs to the 
 trade ; one franc was the usual charge for one 
 copy. Notwithstanding the smallness of the 
 price, they never commanded a large sale, with 
 the exception of the Franklin medallion, for 
 which there was a big demand in America. 
 
 When he died, in 1786, it was not found possible 
 to dispose in the market of the considerable 
 stock of terra-cottas which had accumulated in 
 his house. They were partly given away to 
 inhabitants of the locality, and partly destroyed. 
 The original proofs, pressed out of metal moulds, 
 and consequently very superior in sharpness and 
 delicacy of details to the subsequent reproduc- 
 tions, are now much appreciated by collectors. 
 
 YILLERS (G.)- Notice sur la manu- 
 facture de porcelaine dure de 
 Bayeux. Caen, typ. Hardel, 
 1856. 8, pp. 16. (Reprint 
 from the Annuaire Normand.) 
 
 " Notice of the hard porcelain manu- 
 factory of Bayeux." 
 
 Mr. Langlois was the first to utilise the kaolin 
 found at Pieux, near Cherbourg, in the factories 
 he established, first at Valognes, and afterwards 
 at Bayeux. The clay is of inferior quality, but 
 the paste made with it has the advantage of 
 resisting rapid changes of temperature. It is, 
 therefore, exceptionally well adapted for the 
 making of chemical utensils and domestic fire- 
 proof vessels, which the factory made its 
 speciality. 
 
 YILLETART (E.). La ceramique an- 
 cienne et moderne. S.l. (1868 ?). 
 Pp. 14. (Extract.) 
 
 YIMERCATI-SOZZI (Paolo). La figulina 
 iconografica ed epigrafica. Ber- 
 gamo, Gaffari e Gatti, 1877. 4, 
 pp. 35 ; with 2 lith. pis. of 
 Roman lamps and potters' 
 marks. 4 fcs. 
 
 "Ceramics, iconographic and epigra- 
 phic." 
 
 Description of the ancient B,oman pottery, 
 bearing the maker's mark, in the collection of 
 the author. 
 
 YINCENT (Collection C. and P. N.). Cata- 
 logue of sale. Constanz, 1890. 
 4, pp. 104 ; with 18 phototyp. 
 pis. 15 fcs. 
 
 Ceramics, Nos. 600 - 876. An interesting 
 series of Urbino majolica dishes, with inscrip- 
 tions at the back and dates ranging from 1553 
 to 1576 ; paintings and inscriptions are repro- 
 duced on 10 plates. 
 
 YINCENT (Jacques). La Pyrotechnic, 
 ou arts du feu . . . etc. Paris, 
 G. Jullian, 1572. 2nd ed. 
 Rouen, J. Cailloue, 1627. 4; 
 woodcuts. 
 
 431 
 
VIN] 
 
 CERAMIC LITERATURE. 
 
 [VOG 
 
 " French translation of Biringuccio's 
 Pyrotechnia." 
 
 Chap. xiv. Discours sur 1'art qu'on doit 
 suyvre pour faire Ics pots, avec aucun de ses 
 secrets. An obscure translation of a very clear 
 text. 
 
 YINET (.) Bibliographic method- 
 ique et raisonnee des Beaux- 
 
 Arts. Paris, 1874- 
 288-viii. 6 fcs. 
 
 77. 
 
 8, pp. 
 
 " Methodical and descriptive biblio- 
 graphy of the fine arts." 
 
 The publication of this work was interrupted 
 after the issue of the first two parts. A list of 
 works on Greek vases comprises eighty numbers. 
 Additional mentions of books relating to classical 
 ceramics are found in the following sections : 
 Museums and Galleries, Etruria, Scientific 
 Missions, Archaeology, etc. 
 
 - Lettre a Mr. Minervini sur 
 un vase de la collection de M. 
 M. de Santangelo. Paris, 1853. 
 8, pp. 12. 
 
 " A letter to Mr. Minervini on a vase 
 of the Santangelo collection." 
 
 YIOLARD (.)- De la ceramique ber- 
 bere, Rapport. Alger, 1897. 8, 
 pp. 36. 
 
 " A report on Berber ceramics." 
 
 YIRCHOW (R. ). Ueber Gesichtsurnen. 
 Berlin, 1870. 8, pp. 16 ; with 
 8 illustrs. 
 
 " On the ancient urns, with a human 
 face upon the front." 
 
 Ueber der Zeitbestimmung 
 
 der italienen und deutschen 
 Hausurnen. Berlin, 1883. 8. 
 
 " Conjectures on the period to which 
 belong the urns in the shape of a house 
 found in Italy and Germany." 
 
 YISCONTI (E. Q.)- Le pitture di un 
 antico vaso fittile trovato nella 
 Grecia, appartenente al principe 
 Poniatowski. Roma, 1794. Fol.; 
 with 4 pis. 
 
 " The paintings on an antique fictile 
 vase, found in Greece, in the possession 
 of Prince Poniatowski." 
 432 
 
 Lettera sopra alcuni vasi 
 
 rinvenuti nelle vicinanze della 
 antica Alba-Longa. Boma,I811. 
 4, pp. 40 ; with 4 pis. 5 fcs. 
 
 " A letter on some vases discovered 
 near the site of ancient Alba-Longa." 
 
 YIYENELMUSEUM.-Cataloguedumusee 
 Vivenel. Compiegne, 1870. 8. 
 
 This collection, presented to his native town 
 by the architect Vivenel, comprises Greek 
 vases and terra-cottas, Nos. 753-1,107 ; Roman 
 pottery, 1,108-1,960 ; Italian and French faience, 
 3,002-3,109 ; ancient stoneware, 3,110-3,129. 
 
 YIZETELLY (F.), (Anon.). Catalogue 
 of the Worcester collection of 
 porcelain, divided into six classes 
 or periods, and illustrating the 
 progress of ceramic manufacture 
 at Worcester from its earliest 
 period (1751) to 1862. London, 
 printed by G. Unwin, s.d. (1865). 
 4, pp. 30. 
 
 A collection exhibited in 1864 at the South 
 Kensington Museum, and offered for sale to the 
 Department of Science and Art " for the nucleus 
 of a ceramic museum, the want of which was so 
 often lamented by Minton." The proposal 
 was not entertained, and the collection was, we 
 believe, sold by auction. It contained 256 Nos. 
 It is not unnecessary to observe that the Royal 
 Porcelain Works of Worcester had no connection 
 with this, which was an altogether private affair. 
 
 YOGEL (E.) and PICHLER (R.). Woraus 
 sie tranken. Feuchtfrohliche 
 Verse von E. Vogel zu kera- 
 mischen Bildern von R. Pichler. 
 Frankfurt a. M., 1897. 8; 16 
 pen and ink illustrs., with de- 
 scriptions in verse. 10 m. 
 
 " The vessels out of which they drank. 
 Merry drinking rhymes, written by 
 E. Vogel, to accompany the subjects 
 painted by K. Pichler on ceramic ware." 
 
 YOGEL (K.). Die oesterreich. ker- 
 amische u. Glass-industrie auf 
 die Weltausstellung in Chicago. 
 Wien, 1894. 8. 
 
 " The ceramic and glass industries of 
 Austria at the International Exhibition 
 of Chicago." 
 
VOG] 
 
 CERAMIC LITERATURE. 
 
 [VOL 
 
 YOGEL (K. J. ). Scenen Euripideischer 
 Tragoedien in griechischen Vas- 
 engemalden. Leipzig, 1886. 8, 
 pp. 156. 3 m. 
 
 " Scenes from the tragedies of Euripides 
 in the Greek vase paintings." 
 
 YOGT (G.). Poterie. Paris, 1873. 
 8. (In Dictionnaire de Chimie, 
 by Wurtz.) 
 
 The writer was for many years technical 
 director of the National Manufactory of Sevres. 
 
 La porcelaine. Paris, May 
 
 et Motteroz, 1893. 8, pp. 304 ; 
 
 with 83 illustrs. and marks. 
 4 fcs. 
 
 The volume forms a companion to Deck's work, 
 La faience. Although it purports to be a mere 
 elementary manual of porcelain manufacture, 
 this small treatise stands much above the usual 
 range of popular handbooks. It is purely histo- 
 rical in the first part, but in the second part, which 
 treats of the composition of pastes, glazes, and 
 colours, and of the technical processes employed 
 in the art, a writer of Mr. Vogt's ability was 
 bound to introduce many scientific observations 
 and practical directions, the fruit of his long 
 experience as a potter. They constitute a clear 
 and reliable compendium of technical knowledge, 
 in which the ancient methods of manufacture 
 are contrasted with those in use at the present 
 day. It is not a complete treatise, but a valu- 
 able notebook, which will always be consulted 
 with advantage by the manufacturer and the 
 ceramic artist. 
 
 Recherches sur les porce- 
 laines chinoises. Etudes faites 
 sur les matieres recueillies a 
 King-Te-Tchen, et envoyees a la 
 Manufacture de Sevres par Mr. 
 F. Scherzer. Paris, 1900. 4, 
 pp. 28. (Reprint from the Bul- 
 letin de la Societe d 'Encourage- 
 ment.) 
 
 " Researches on Chinese porcelains. 
 Experiments made on the materials 
 obtained at King-Te-Tchen, and forwarded 
 to the manufactory of Sevres by Mr. F. 
 Scherzer." 
 
 - Notice sur la fabrication des 
 Gres. La fabrication du Gres- 
 cerame de la Manufacture Nat. 
 de Sevres. Communication faite 
 a 1' Union Ceramique et Chau- 
 28 
 
 fourniere de France. Paris, 
 1900. 8, pp. 16. 
 
 " The manufacture of stoneware at the 
 Nat. Fact, of Sevres." 
 
 - De la composition des Ar- 
 giles. Paris, 1906. 4, pp. 20. 
 (Reprint from the Memoir es de 
 la Soc. d* Encouragement.) 
 
 " On the composition of clays." 
 
 YOLKMANNS (Georg-Anton). Silesia 
 
 subterranea, oder Schlesien, mit 
 seinen unterirdischen Schatzen, 
 Seltenheiten, etc. Leipzig, Werd- 
 mann, 1720. Sm. 4, pp. 344 ; 
 with 55 engr. pis. 10 m. 
 
 " Subterranean Silesia, with its under- 
 ground treasures, rarities, etc." 
 
 This work describes the minerals, the metals, 
 the stones, the clays, the fossils, etc., found in 
 Silesia. Two chapters have for us a particular 
 interest, viz. : Cap. XIII. OF ALL KINDS OF 
 SIGILLATED CLAYS, pp. 275-289. Boluses of 
 terra sigillata were prepared from clays extracted 
 in Germany and sold as a substitute for those 
 previously imported from the East. Sixty 
 varieties of the seals with which they were 
 stamped are engraved on three plates. One of 
 them bears the portrait of the first discoverer of 
 the precious clay, Johannes Montanus, and the 
 date 1568. Upon others we see a view of the 
 mountains in which it was discovered, a coat- 
 of-arms, or an emblem, often accompanied with 
 the names of the rival places which boasted of 
 possessing an earth of a quality superior to all 
 others. All these marks are elucidated by the 
 author. Cap. XV. OF THE VARIOUS SEPULCHRAL 
 
 URNS, OR MORTUARY POTTERY, ETC., pp. 303-327 J 
 
 with 4 pis. of earthen vessels. One of the most 
 curious conjectures indulged in by the early 
 antiquaries as to the origin of the mysterious 
 urns so abundantly found buried in the soil of 
 old Silesia is here related. It appears that, as 
 they were most often discovered full of bones, it 
 was believed that they had been buried by the 
 monks, who often disregarded the rules of their 
 order by which they were forbidden to eat flesh, 
 and that in this way they concealed all traces of 
 their transgressions. It is also stated that in the 
 Marches of Brandenburg such pots were exten- 
 sively used by the farmers. The milk poured 
 into them was said to accumulate more cream 
 and make better butter. They were placed, full 
 of water, in the poultry yard, because the 
 chickens which drank out of them were supposed 
 to grow fatter and to be proof against disease. 
 But the writer makes light of afl these extra- 
 vagant superstitions, and, adopting the theory 
 propounded by Treuern, demonstrates that they 
 must be regarded in the same light as the ciner- 
 ary urns found in the Roman sepultures. He 
 justly recognises in them the work of the Gothic 
 tribes which inhabited Germany from the 
 third up to the ninth century of our era. The 
 
 433 
 
VOR] 
 
 CERAMIC LITERATURE. 
 
 [WAR 
 
 record he gives of the most important finds of 
 pottery in the old German burial-grounds is 
 accompanied with a brief notice of all the books 
 which had been written on the subject. 
 
 YORS (Frederic). Bibelots and Curios ; 
 a manual for collectors. With 
 a glossary of technical terms. 
 New York, Appleton, 1879. 16. 
 
 YOSMAER (A. ). lets over de Haagsche 
 plateelbakkerij " Rosenburg." 
 Amsterdam, 1892. 8; with 17 
 illustrs. (Extr.) 
 
 " A few words about the Rosenburg 
 faience factory at the Hague." 
 
 YOSS (A.). Katalog der Ausstellung 
 prahistorischer und anthropolo- 
 gischer Funde Deutschlands. 
 XI. Allgemeinen Versammlung 
 der deutscher anthropologischen 
 Gesellschaft. Berlin, 1880. 8, 
 pp. 619 ; with text illustrs. 3 m. 
 
 " Catalogue of the Exhibition of pre- 
 historic and anthropologic objects dis- 
 covered in Germany. Eleventh general 
 meeting of the German Society of An- 
 thropology." 
 
 w 
 
 WADDINGTON (Collection Evelyn). Paris, 
 
 1895. 4, pp. 32 ; with 6 pis. 
 Catalogue of sale. 
 
 The rarest types of the Rouen faience are 
 represented in this collection by specimens of 
 the highest order. We notice particularly a panel 
 composed of twent3 T -seven tiles, on which is 
 painted a nuptial procession with numerous 
 figures. 
 
 WAGGAMAN (Collection). Catalogue of 
 
 a collection of ... and Ori- 
 ental art objects belonging to 
 T. E. Waggaman, of Washing- 
 ton, compiled and edited by H. 
 Shugio, with preface by the 
 proprietor. New York, 1893. 
 8. 
 
 Introductory remarks on the pottery and 
 porcelain of Japan by a Japanese connoisseur, 
 pp. 17-28. The catalogue gives the description 
 of 750 pieces of Japanese ceramics, pp. 29-318. 
 
 434 
 
 WAGNER (E.). Antike Bronzen der 
 grossherzoglich badischen Alter- 
 thumersammlung in Karlsruhe. 
 Karlsruhe, 1885. Fol. ; 32 
 photogr. pis., no letterpress. 
 30m. 
 
 " Antique bronzes in the Grand Ducal 
 collection of antiquities at Carlsruhe." 
 
 Contains six plates of painted vases and three 
 of Greek terra-cottas, in addition to a number 
 of bronzes. 
 
 Hiigelgraber und Urnen- 
 Friedhofe in Baden ; mit be- 
 sonderer Beriicksichtigung ihrer 
 Thongefasse. Karlsruhe, G. 
 Braun, 1885. 4, pp. 55 ; with 
 7 pis. (1 col.). 5 m. 
 
 " Grave mounds and urn burial grounds 
 in Baden ; with special considerations on 
 their earthen vessels." 
 
 The cinerary urns found in the ancient burial- 
 grounds of Baden belong mostly to the class 
 to which the name of Hallstalt type has been 
 given by German antiquaries. They are orna- 
 mented with geometrical patterns impressed in 
 the clay, and beautified by the application of 
 various colours. Plate vi. gives an excellent 
 reproduction of one of these urns, perhaps the 
 finest in existence. Earthen urns of exactly the 
 same character are illustrated in Fohr's Hiigel- 
 graber auf der Schwabischen Afh. 
 
 WAGNER (F. ). Sammlung von Origin- 
 alzeichnungen zu decoriren und 
 verzierenden Stiibenofen und 
 Kaminofen in gebrannten und 
 glazirten Thon. Berlin, 1846- 
 47. 4. 
 
 " A collection of original designs for 
 the decoration and ornamentation of 
 glazed earthenware stoves and chimney 
 pieces." 
 
 WAGNER (J. A. yon). Thon statt Gold. 
 Ein Zeitbild aus dem 17 und 18 
 Jahrhundert. Bautzen, 1899. 
 Sq. 8, pp. 236. 4 m. 
 
 " Clay in lieu of Gold. A picture of 
 social life in the seventeenth and 
 eighteenth centuries." 
 
 Bottger's discovery of kaolin told in a tale 
 for children. 
 
 WAKEMAN (W. F.). Catalogue of 
 specimens in the collection of 
 
WAL] 
 
 CERAMIC LITERATURE. 
 
 [WAL 
 
 the Royal Irish Academy. Dub- 
 lin, 1894. 4. 
 
 Vol. I. Crannoge finds . . . Pottery, ete. 
 
 WALCHER-MOLTHEIM (A. R. YOn).- 
 Bunte Hafner-keramik der Re- 
 naissance in den osterreichen 
 Liindern ; Osterreich, ob der 
 Enns und Salzburg bei beson- 
 derer Beriicksichtigung ihrer Be- 
 ziehungen zu den gleichzeitigen 
 Arbeiten der Niirnberger Hafner 
 Wien, Gilhofer & Rauschburg, 
 1906. Fol., pp. viii-121 ; with 
 25 pis. (12 col), and 130 text 
 illustrs. 5. 
 
 " Polychrome pottery of the Renais- 
 sance period in the Austrian provinces ; 
 Austria, or the productions of Enns and 
 Salzburg considered in their relation to 
 the work of the contemporary potters of 
 Nuremburg." 
 
 A handsome volume full of new information. 
 It opens a large field for archaeological research. 
 The class of pottery examined by the author was 
 well-known to the German collector, but, so far, 
 it had remained of undetermined origin. A 
 chapter which restores to Paul Preuning, of 
 Nuremberg, the ware generally attributed to 
 Hirschvogel is of particular interest. 
 
 WALDECK (F. de). Voyage pit- 
 toresque et archeologique dans 
 la province d' Yucatan pendant 
 les annees 1834-36. Paris, 1838. 
 Fol. ; with 22 pis., mostly col. 
 (3 of pottery). 3. 
 
 " A picturesque and archaeological 
 journey through the Yucatan province 
 during the years 1834-36." 
 
 Mr. de Waldeck was one of the first to call 
 attention to the ancient pottery of Central 
 America. He was strongly impressed with the 
 variety and originality of the shapes of the 
 earthen vessels he had occasion to see in his 
 journey, and of which he made a small selection 
 for reproduction in his work. 
 
 He lived to a very advanced age, and was 
 known in Paris as " the Nestor of painters." 
 A constant exhibitor to the Salon, he still con- 
 tributed some pictures after he had become a 
 centenarian. 
 
 WALDEGG (E. H. YOB). Die Kalk- 
 Ziegel- und Rohrenbrennerei in 
 ihrem ganzen Umfang. Leipzig, 
 
 Thomas, 1861. 
 with 233 illustrs. 
 
 8, pp. 440; 
 
 - 3rd ed. Revised and aug- 
 mented by P. Kaiser. Leipzig, 
 1895; with 624 illustrs. 20m. 
 
 " A complete treatise of the manufac- 
 ture of lime, bricks and tiles, drain 
 pipes, etc." 
 
 The third edition, brought up to date by an 
 experienced manufacturer, describes the latest 
 processes introduced in modern manufacture. 
 A list of all the articles on the subject which 
 have appeared in the technical journals of Ger- 
 many is given in the appendix. 
 
 WALKER (Collection). Catalogue of 
 
 sale. London, 1871. 8; with 
 3 lith. pis. and 1 woodcut. 
 
 Old English pottery and porcelain. 
 
 WALKER (Collection T. Shadford). Cata- 
 logue of sale. London, 1885. 4, 
 pp. 28 ; with 9 photos. 15s. 
 
 A collection of old Wedgwood ware formed 
 by Mr. T S. Walker, of Liverpool. He had 
 added to it a large selection of Tassie's portrait 
 medallions and glass cameos. The plates give 
 235 reproductions out of the 345 Nos. entered 
 in the catalogue. Although the specimens were 
 all of very choice quality, the prices showed a 
 tendency to fall below the scale established by 
 previous sales. A large jasper vase with the 
 Apotheosis of Virgil reached only 350, about 
 one-half of what had been paid for it by the 
 collector. 
 
 WALL (B.). Lecture on pottery de- 
 livered before the Literary and 
 Science Society of Salisbury. 
 London, 1853. 12, pp. 41. 
 Privately printed. 
 
 The town of Salisbury had among its residents 
 a small group of old china collectors who pro- 
 moted the revival of taste for ceramic art, and 
 have contributed some valuable books to the 
 literature. Among them we may count J. E. 
 Nightingale, R. W. Read, Tiffin, etc. 
 
 WALLET (E.). Description du pave 
 de 1'ancienne cathedrale de 
 Saint Omer, consistant en dalles 
 gravees et incrustees de mastics 
 de couleurs variees ; suivie de 
 la description de deux autres 
 paves de carreaux de terre- 
 cuite vernisses decouverts, Tun 
 aux archives de Fancienne cathe- 
 drale, en 1838, 1'autre lors des 
 
 435 
 
WAL] 
 
 CERAMIC LITERATURE. 
 
 [WAL 
 
 fouilles faites en 1'eglise de St. 
 Bertin en 1843. Douai, 1847. 
 4, pp. 128 ; and atlas fol. of 
 10 pis. 12 fcs. 
 
 " Description of the pavement in the 
 ancient cathedral of St. Omer, composed 
 of engraved flagstones inlaid with mastic 
 varnishes of various colours ; also the 
 description of two other pavements made 
 of glazed earthenware tiles discovered, 
 respectively, one in the archive room of 
 the ancient cathedral in 1838, the other 
 during the excavations made in the St. 
 Bertin Church in 1843." 
 
 An interesting subject is offered to our con- 
 sideration by the various methods of floor decor- 
 ation employed conjointly in the Cathedral of 
 St. Omer. As it is probable that these pave- 
 ments were executed at different periods, their 
 presence in the same building may help us to 
 ascertain at what time earthenware tiles super- 
 seded the marble mosaics and incised stones, of 
 which such admirable application had been 
 made in the earlier portions of the church. 
 
 Unfortunately, the original pavement of the 
 cathedral, formed of various materials, marble 
 slabs, incised flagstones, and glazed tiles, so as 
 to constitute a magnificent design, had been 
 wantonly broken up and used as filling rubble 
 when the floor of the nave was raised a few feet 
 in 1735. An attempt to restore the debris was 
 undertaken in 1843, but the endeavour to fix 
 the place that each fragment occupied in the 
 general scheme had to be abandoned. 
 
 The case was quite different when they 
 brought to light the tile pavement in the archive 
 room, and that of St. Bertin's Church, as these 
 buildings had not suffered from the vandalism 
 of the restorer, so that the ancient covering of 
 the floor beneath the ruins remained undis- 
 turbed. It was found that, in combination with 
 red tiles of early mediaeval style, borders and 
 panels of much finer tiles, painted, on white 
 ground, with figure subjects, had been introduced 
 in quite an unwonted manner. Knights on 
 horseback, with sword and shield, similar in 
 character to the equestrian personages seen on 
 the heraldic seals of the thirteenth and four- 
 teenth centuries, are represented on these tiles. 
 Upon a ocating of fine white clay the subject is 
 outlined in manganese purple, and enlivened 
 with touches of green and yellow. Tiles of such 
 a description are well calculated to excite our 
 surprise. One must turn to the earliest faience 
 of Italy to find the equivalent of a white pottery 
 painted in that manner at a corresponding 
 period. We do not know whether any other 
 example of it has ever been found in the North of 
 Europe. Of all the numerous white tiles that 
 were discovered at Saint Bertin mixed with the 
 red ones, only three were secured in tolerably 
 good condition. They were deposited in the 
 archaeological museum of the town, where they 
 may now be seen. The rest were so much de- 
 teriorated by age and damp that they crumbled 
 into dust in the hands of the discoverers. 
 
 WALLIS (G.)- The art manufactures 
 
 436 
 
 of Birmingham and the Midland 
 Counties at the International 
 Exhibition of 1862. London, 
 1862. 8. 
 
 Staffordshire Potteries, Worcester, Coalport, 
 pp. 58-87. Mr. George Wallis was for many 
 years curator of the ceramic galleries at the 
 South Kensington Museum. 
 
 WALLIS (G. H.). Nottingham Castle 
 Museum. Catalogue of classical 
 antiquities from the site of the 
 Temple of Diana, Nemi, Italy. 
 Discovered during excavations 
 undertaken by the Right Hon. 
 Lord Savile, G.C.B., etc., and 
 given by him to the Art Museum 
 of Nottingham. Classified and 
 described, with notes, by G. H. 
 Wallis, curator. Nottingham, 
 1891. 8, pp. 82. 
 
 About 600 Nos. of terra-cotta figures, vases, 
 lamps, etc. 
 
 WALLIS (Henry). Notes on some early 
 Persian lustre vases. London, 
 Quaritch, 1885-89. 3 parts. 
 Imp. 4, of, together, pp. 36 ; 
 with 14 col. pis. and text illustrs. 
 15s. 
 
 For long the oldest specimens of lustred 
 Persian ware in our museums had been ascribed 
 to the period of Sha Abbas (1585-1627). The 
 discovery of an Oriental MS. of the eleventh 
 century, in which the writer describes the trans- 
 lucid ware decorated with golden lustre he had 
 seen offered for sale in the bazaars of Misr, in 
 the course of his journey through Persia, enables 
 us to place the manufacture of Persian porcelain 
 and faience at a very early date. 
 
 A large collection of fragments answering the 
 description given by the Oriental traveller may 
 be seen in the British and the Victoria and 
 Albert Museums. They were unearthed from the 
 site of ancient Rhages, near Teheran, a city 
 known to have been Brazed to the ground in the 
 year 1221. By determining the distinctive 
 features of these fragments, and comparing them 
 with the entire specimens in our possession which 
 offer a similar paste and a decoration in the same 
 style also painted in iridescent colours, Mr. 
 Wallis has been able to fix the approximative 
 age of many interesting examples of, so far, 
 unsuspected antiquity. His task has been 
 greatly facilitated by the inscriptions found on 
 some lustre vases, the most ancient of which 
 belong to the thirteenth century. This is, as 
 far as he could ascertain, the period at which 
 the process of painting pottery with lustrous 
 colours was introduced into Persia. It had been, 
 however, practised in other countries of the East, 
 
WAL] 
 
 CERAMIC LITERATURE. 
 
 [WAL 
 
 for centuries before that time, by the Arab and 
 Saracenic potters. If we accept the author's 
 theory that no lustred Persian ware is anterior 
 to the thirteenth century, we can no longer con- 
 sider the Rhages fragments as having a local 
 origin, a solution which rather confuses the 
 process of identification. The volume is ad- 
 mirably illustrated with photo-chromos executed 
 by Griggs after the original water-colours of Mr. 
 Wallis ; they are a model of the kind ; the 
 iridescence of metallic lustres has never been so | 
 effectively rendered. 
 
 - Persian ceramic art in the 
 collection of Mr. Du Cane God- 
 man, F.R.S. The thirteenth 
 century lustred vases. London, 
 1891. Privately printed. Imp. 
 4, pp. xii-50 ; with 29 pis. (24 
 col.), and 17 tinted pis. in the 
 appendix. 8. 
 
 The grand catalogue of a grand collection, 
 the first one formed to illustrate, with the choicest 
 examples, the earliest forms of Persian ceramics. 
 
 Typical examples of Persian 
 and Oriental ceramic art. Lon- 
 don, Lawrence & Bullen, 1893. 
 (Parts I.-II.) Imp. 4, pp. 23 ; 
 with 4 col. pis. and 1 1 illustrs. in 
 the text. 14s. 
 
 This work, which was to have comprised 
 25 parts with 50 col. plates, has never been 
 completed. 
 
 - Persian ceramic art belonging 
 to Mr. Du Cane Godman ; with 
 examples from other collections. 
 The thirteenth century lustred 
 wall tiles. London, 1894. 4 ; 
 with 43 pis. and 39 text illustrs. 
 6. 
 
 iThe magnificent embossed and lustred tiles 
 which cover the walls of the mosques and palaces 
 of ancient Iran had scarcely been touched upon 
 in Mr. Wallis' previous works. This volume 
 describes selected examples of this branch of the 
 art of the Persian potter. 
 
 - Pictures from Greek vases. 
 The white Athenian lekythi. 
 London, Dent & Co., 1896. Obi. 
 fol., pp. 18 ; with 12 col. pis., 
 and 22 text illustrs. 2, 2s. 
 
 With very few exceptions, the white lekythies 
 now preserved in our museums were discovered 
 in the ancient necropolis of Athens and its 
 neighbourhood. These vases are regarded, on 
 that account, as being of Athenian manufacture. 
 
 Upon the milky surface of the elegant phial is 
 usually painted, in several colours, a subject 
 having reference to the funereal rites. They 
 seemed to have been intended as a votive offering 
 to the dead. The style of the design is very 
 different from that of the paintings of the vases 
 with black or red figures. It has been suggested 
 that the subjects were reproductions of the 
 works of the best painters of the period, and 
 that they show an obvious intention of applying 
 to ceramic decoration the freedom of treatment 
 and the effects of colours so far reserved for the 
 polychrome frescoes which adorned the walls of 
 Greek edifices. Captivated by the spirited and 
 delicate pencilling peculiar to the white lekythies 
 paintings, most of the writers on Greek vases 
 agree in giving them the foremost place in their 
 estimation. No doubt, the graceful attitude of 
 the figures, the prettiness of the faces, and the 
 natural fall of the draperies satisfy completely 
 the tendencies of our modern taste ; but for the 
 true lover of Greek art, for the one who can 
 appreciate to its full value the ideal beauty of 
 the more rigid and conventional design of the 
 red figure vases of the best period, the very 
 points which recommend the lekythis to general 
 admiration are nothing else but an unmistakable 
 sign that the art was then taking its first step 
 towards realism and decadence. 
 
 Italian ceramic art. Ex- 
 amples of majolica and mezza- 
 majolica fabricated before 1500. 
 London, privately printed, 1897. 
 Sq. 8, pp. xxxv-123 ; with 60 
 typo-etching pis. 1, Is. 
 
 A book treating of a subject so thoroughly 
 investigated as the origin of Italian majolica, if 
 it does not contain anything new, should at least 
 offer a well-digested summary of the knowledge 
 arrived at. The introductory notice, in which 
 the early history of the ware is passed under 
 review, is not as complete as one could expect 
 from the pen of the writer. A random cata- 
 logue of specimens of majolica of the fifteenth 
 century, illustrated with rough pen and ink 
 sketches, constitutes the larger part of the vol- 
 ume. Each plate is accompanied by a short 
 explanation, which neglects, in most cases, to 
 indicate the presumable date and place of 
 manufacture of the piece, an omission which 
 deprives the sketch of the historical interest 
 that it might have presented. 
 
 - Egyptian ceramic art. The 
 Macgregor Collection. A con- 
 tribution to the history of 
 Egyptian pottery, with illus- 
 trations by the author. London, 
 1898. 4, pp. xxiv-85; with 
 30 col. pis. and 187 text illustrs. 
 3, 3s. 
 
 This volume pretends to be more than a mere 
 descriptive catalogue, for the larger part of the 
 pen and ink illustrations come from other sources 
 
 437 
 
CERAMIC LITERATURE. 
 
 [WAL 
 
 than the collection of the Rev. W. Macgregor, of 
 Bolehall Manor House, near Tamworth, which 
 has been taken as the connecting link of ram- 
 bling notes gathered by the author in all the 
 chief museums of Egyptian antiquities. Yet it 
 cannot claim to be a historical sketch of the 
 march and progress of the ceramic art in the 
 land of the Pharaohs. To frame a system of 
 classification of the Egyptian pottery, either in 
 chronological or technical order, was certainly a 
 difficult task. The objects reproduced and de- 
 scribed are successively presented ; but no 
 definite plan has been followed in their arrange- 
 ment. It is true that the specimens given on 
 the first page are said to be of a very early date. 
 But they are of the green and turquoise-blue 
 ware which, far from being archaic in character, 
 belongs to the most advanced state of manu- 
 facture, while the style of the truly primitive 
 periods remains unrepresented. Examples of 
 the semi-classical pottery glazed in various 
 colours, made at the time of the Roman occupa- 
 tion, are grouped at the end of the volume. All 
 the rest is but a picturesque display of ceramic 
 productions of undetermined period and place of 
 origin, which does little to dispel the mist with 
 which the history of the potter's art in Egypt is 
 still surrounded. 
 
 We cannot refrain from observing that by 
 substituting the word faience for the long- 
 accepted term porcelain, the author has been 
 guilty in many cases of a most regrettable techni- 
 cal error. Faience and porcelain are both re- 
 presented in Egyptian ceramics. The glaze 
 applied to these two very different kinds of 
 bodies was, however, the same in each case. It 
 consisted of a fusible compound to which had 
 been added a small percentage of oxide of copper. 
 When used as a glazing to the faience that is to 
 say, the regular pottery made of natural clay 
 it became of a deep myrtle green under the 
 action of the fire. But when fired in connection 
 with the siliceous paste an artful combination 
 of artificial substances that may fairly be called 
 porcelain, used for articles of a superior class 
 it developed a brilliant turquoise colour, un- 
 obtainable upon faience. The colour of the 
 glaze is, therefore, sufficient to prevent any 
 hesitation in discriminating between what is 
 faience and what is porcelain. To describe them 
 both under the same name is to take an unwar- 
 rantable liberty with ceramic technology We 
 may add that the same copper-green glaze is 
 further modified into a pale and yellowish tint 
 when it is applied to such natural substances as 
 schist, steatite, etc. Of these three varieties of 
 the Egyptian pottery many specimens are 
 included in the collection. 
 
 WALLIS (Henry). - - Persian lustre 
 vases. London, 1899. 4, pp. 
 16 ; with 4 col. pis. and 25 text 
 illustrs. 15s. 
 
 Egyptian ceramic art. Typi- 
 cal examples of the art of the 
 Egyptian potter, portrayed in 
 colour plates, with text and 
 illustrations. London, 1900. 
 438 
 
 Pp. vii-37 ; with 12 col. pis. 
 and 45 illustrs. 2, 2s. 
 
 Like the work dealing with the MacGregor 
 collection, this one reproduces a number of speci- 
 mens presented in no particular order. The 
 volume contains fewer of the late Greek vases and 
 figures which the author, resting his opinion on 
 wide hypothesis, likes to consider as the work of 
 the Egyptian potter, yet the curious bowl placed 
 at the end of the book seems to be there strangely 
 out of place. It is made of the same white clay 
 as the Athenian lekythi ; the figure of our Lord, 
 outlined in white enamel in the centre of the 
 piece, is of a purely Byzantine character ; a 
 character, by-the-bye, which the drawing fails 
 altogether to reproduce. The bowl may be seen 
 in the British Museum ; the subject is clearly 
 delineated on the ivory tint of the ground, and 
 need not be covered with water, as stated in the 
 description of it, to become apparent. Enamel- 
 ling was practised in Asia Minor by Greek artists, 
 and one might with more plausibility ascribe a 
 Greco-Byzantine origin to the work. The ad- 
 mirable treatment of. the Persian ware has not 
 been maintained in the reproduction of the 
 Egyptian pottery. For instance, we have to 
 take it for granted that the heavy green with 
 which all the pieces are uniformly coloured stands 
 in most cases for the brilliant turquoise blue of 
 the originals. 
 
 The Oriental influence on 
 the ceramic art of the Italian 
 Renaissance. London, B. Quar- 
 itch, 1900. Sq. 8, pp. xxx; 
 with 50 pp. of pen and ink 
 illustrs. 12s. 
 
 Whether the likeness of the rudimentary 
 ornamentation of the early Italian majolica to 
 certain types of the Oriental faience is attribut- 
 able to foreign influence, or simply to accidental 
 coincidence, is a point difficult to settle. This 
 paper does not bring the question much nearer 
 to final solution. 
 
 The art of the Precursors. 
 
 A study in the history of early 
 Italian majolica. London, B. 
 Quaritch, 1901. Sq. 8, pp. 
 xxii-99 ; with 94 illustrs. 18s. 
 
 The latest finds of Italian majolica are passed 
 under review and contrasted with the Etruscan 
 and Roman pottery. A chapter is devoted to 
 graffito ware ; another to painted faience. The 
 appendix deals with fragments discovered in the 
 Cairo mounds, the designs of which offer a close 
 likeness to early majolica. 
 
 Italian ceramic art. The 
 majolica pavement tiles of the 
 fifteenth century. London, B. 
 Quaritch, 1902. Sq. 8, pp. 
 xxvi ; with 93 pen and ink 
 illustrations. 16s. 
 
WAL] 
 
 CERAMIC LITERATURE. 
 
 [WAL 
 
 From the tile pavements of Italy we gather 
 more information on the origin of the art of the 
 majolist than from the earthen vessels ; the tiles 
 often supplying a date much earlier than any 
 found on dishes and vases. E. Molinier had 
 already treated the same subject. The rough 
 sketches contained in this volume will help to 
 advance the study. 
 
 Oak-leaf jars ; a fifteenth 
 century ware, showing Moresco 
 influence. London, Quaritch, 
 1903. Sq. 8, pp. xli ; with 92 
 pp. of illustrations and descrip- 
 tive notices. 1. 
 
 The Albarello, a study in 
 early Renaissance majolica. 
 London, Quaritch, 1904. Sq. 
 8, pp. xxix ; with 117 pp. of 
 illustrs. printed in brown. 1. 
 
 - Seventeen plates by Nicola 
 Fontana di Urbino at the Correr 
 Museum, a study in early six- 
 teenth century majolica. Lon- 
 don, Taylor & Francis, 1905. 
 Sm. 4, pp. vii-26; with 28 
 illustrs. 1, Is. 
 
 - Figure design and other forms 
 of ornamentation in the fifteenth 
 century Italian majolica. Lon- 
 don, Quaritch, 1905. Sq. 8, 
 pp. xxxii ; with 103 pp. of 
 illustrs. and 4 col. folding pis. 
 1, 4s. 
 
 - Byzantine ceramic art ; notes 
 on examples of Byzantine pot- 
 tery recently found at Con- 
 stantinople. London, 1908. Sm. 
 4, pp. iv-12; with 41 pis. 
 (6 col.). 18s. 
 
 WALSH (M.)- Chemical and geologi- 
 cal observations relating to 
 brick-making in Western India. 
 S.l.n.d. 
 
 WALPOLE (Horace). Description of 
 the Villa at Strawberry Hill, 
 with an inventory of the furni- 
 ture, pictures, curiosities, etc. 
 
 Strawberry Hill, printed by 
 Thomas Kirgate, 1774. 4. The 
 same, with additions, 1784. 4. 
 1, Is. 
 
 " The following account of pictures and 
 rarities is given with a view to their future 
 dispersion, the several purchasers will find a 
 history of their purchases, nor do virtuosos dis- 
 like to refer to such a catalogue for an authentic 
 certificate of their curiosities." Preface to the 
 Description of Strawberry Hill, by Horace 
 Walpole. 
 
 A catalogue of the classic 
 contents of Strawberry Hill, 
 collected by Horace Walpole. 
 Sold on Monday, the 25th day of 
 April, 1842, and twenty- three 
 following days. London, 1842. 
 4, pp. xxiv-250 ; with a lith. 
 portr., frontispiece, and wood- 
 cuts in the introduction. 7s. 6d. 
 
 - Aedes Strawberrianse. Names 
 of purchasers and the prices to 
 the sale catalogue of the collec- 
 tion at Strawberry Hill, etc. 
 London, printed for J. H. Burn, 
 s.d. (1842). 4, pp. 58. 5s. 
 
 The sale produced 33,450. A comparison 
 of the high price that some of the treasures 
 of Strawberry Hill reached in the auction 
 sales when they re-appeared a few years later, 
 with the paltry sum for which they had changed 
 hands in 1842 may assist us in forming an ap- 
 proximate idea of the amazing figures such a 
 collection would command at the present time. 
 
 WALTERS (Henry Beauchamp). Cata- 
 logue of the Greek and Etruscan 
 vases in the British Museum. 
 London, 1893-96. 4. 
 
 - Vol. II. Black-figured vases. 
 1893. 4, pp. 313 ; with 7 pis. 
 and 40 text illustrs. 24s. 
 
 - Vol. IV. Vases of the latest 
 period. 1896. 4, pp. 275 ; 
 with 16 pis. and 30 illustrs. 16s. 
 
 The vases illustrated on the plates were 
 selected from those not hitherto reproduced. 
 
 - Catalogue of the terra-cottas 
 in the Department of Greek and 
 Roman antiquities, British Mus- 
 eum. London, 1903. 8, pp. 
 
 439 
 
WAL] 
 
 CERA MIC LITERA TURE. 
 
 [WAR 
 
 470 ; with 44 pis. and 90 illustrs. 
 1, 15s. 
 
 WALTERS (H.B.). History of ancient 
 pottery, Greek, Etruscan, and 
 Roman. . . . Based on the 
 work of Samuel Birch. London, 
 s.d. (1905). 2 vols. 8; with 
 300 illustrs. (some col.). 3, 3s. 
 
 Vol. i., part 1. Greek pottery in general. 
 Part 2. History of Greek vase-painting. Vol. 
 ii., part 1. The subjects of Greek vases. Part 
 2. Italian pottery. 
 
 WALTERS (H. B.)- Catalogue of the 
 Roman pottery in the Depart- 
 ment of Antiquities, British 
 Museum. London, 1909. 8, 
 pp. liv-464 ; with 44 pi. 2. 
 
 WALTHER (H.). Das keramische 
 Druckverf ahren nach einigen Er- 
 fahrungen hiibersichtlich erlaiit- 
 ert. Dresden, Muller, 1893. 8. 
 pp. 28 ; woodcuts. 
 
 " Ceramic transfer printing explained 
 by a practical printer." 
 
 WARD (John) (Anon.). The potter's 
 
 art. A poem, in three cantos. 
 Burslem, 1828. 12, pp. 98. 
 
 " To court the muse " was, at that moment, 
 the elegant pastime of all men of leisure young 
 and old who felt themselves gifted with a 
 literary turn of mind. As many a volume of 
 contemporary poetry may testify, any subject 
 was then considered as good as any other to be 
 glorified in a poem of three or more cantos. 
 Still to confess a weakness for such a frivolous 
 occupation would have been deemed, by a grave 
 lawyer, somewhat derogatory to the dignity of 
 the gown. Consequently, when John Ward, of 
 Burslem, chose to celebrate in his verses the 
 staple trade of his native town, he published the 
 poem anonymously. He should not have enter- 
 tained any fear in this respect, for the work is 
 anything but frivolous. The first canto opens 
 with stanzas on the creation of the world : 
 
 " When the ARTIFICER of heav'n and earth 
 
 Resolv'd to call this system into birth," etc. 
 A copious introduction of Scriptural texts and 
 classical references to Greek and Roman history 
 helps to bring the canto, pompously, to the end. 
 The second one is devoted to the practical part 
 of the Potter's Art. It begins thus : 
 " How bodies new their varied forms acquire 
 
 Of clay and flint combin'd and fix'd by fire, 
 
 We, now, in moulded numbers would rehearse; 
 
 Our subject sues for dignity from verse," etc. 
 The same high-flowing style is maintained until 
 we come to the third canto. From that moment 
 
 440 
 
 " the Muse " shows a tendency to slight jocu- 
 larity. It is humbly asked, from the reader, to 
 make some allowance for such apparent levity, 
 on the ground that in certain passages the poet 
 has merely versified a few whimsical ideas sup- 
 plied to him by a more imaginative friend. We 
 soon relapse into more sedate rhymes, and after 
 having followed the progress of the art in modern 
 times, we are requested to listen to a few wise 
 sayings on moral duties 
 
 " In which grave strain the poem concludes." 
 
 In the preface the author excuses himself for 
 having treated the subject as a poetical allegory, 
 although his original intention had been to write 
 a prosaic history of the potter's trade in the 
 district ; he soon discovered that such a task 
 would necessitate an amount of information and 
 practical knowledge altogether beyond his 
 capability. 
 
 WARD (John). TheBorough of Stoke- 
 upon-Trent, in the commence- 
 ment of the reign of Her Most 
 Gracious Majesty Queen Vic- 
 toria, comprising its history, 
 statistics, civil polity, and 
 traffic, with bibliographical and 
 genealogical notices of eminent 
 individuals and families ; also, 
 the manorial history of New- 
 castle-under-Lyme, and inciden- 
 tal notices of other neighbouring 
 places and objects, by John 
 Ward. The appendix contains 
 many ancient and curious char- 
 ters and documents never be- 
 fore published, and the work is 
 embellished with a variety of 
 plates. London, W. Lewis & 
 Son, 1843. Imp. 8, pp. xv- 
 lxvii-600 ; with 21 pis. 2, 10s. 
 
 The publication of this work was undertaken 
 by Simeon Shaw in 1838. Six monthly parts 
 were issued under his name, and curious notices, 
 addressed by Shaw to his subscribers, are printed 
 upon the wrappers. How it happened that 
 John Ward came to substitute his own name for 
 that of the original author is explained in the 
 preface, perhaps not altogether to the credit of 
 the former. When Shaw's resources became 
 exhausted by the expense he had incurred in 
 printing the first numbers, he applied to J. Ward, 
 who had occasionally helped him with his literary 
 advice, for pecuniary assistance in bringing the 
 volume to completion. An agreement was 
 entered into, through which it was settled that 
 Ward would write the remaining portion of the 
 history and bear all expenses. On condition of 
 renouncing all claim to be named as joint author, 
 Shaw was to receive all the profits accruing from 
 the publication. 
 
CERAMIC LITERATURE. 
 
 [WAR 
 
 The work was completed in five years. An 
 exhaustive account of the conditions of the 
 pottery trade in Staffordshire at various periods ; 
 many interesting particulars upon the chief 
 manufactories, and a description of their re- 
 spective productions ; and, lastly, some reliable 
 notes on the life and works of the great Josiah 
 Wedgwood, published there for the first time, 
 will be found in this volume. 
 
 WARD (John). Notes on encaustic 
 tiles, Dale Abbey and Morley, 
 Derbyshire. London, 1890. 8; 
 with 2 photolith. pis. (Extr. 
 from The Reliquary, N.S., iv., v.) 
 
 - Billingsley and Pardoe, two 
 Derby " men of mark," and 
 their connection with South 
 Wales. A biographical sketch 
 with many references to the 
 bygone manufacture of porce- 
 lain at Nantgarw and Swansea, 
 and the specimens in the Cardiff 
 Science and Art Museum. Derby, 
 printed for the author by J. 
 Harwood, 1896. 16, pp. 32; 
 with 3 woodcuts. 
 
 William Billingsley worked, successively, as 
 a china painter, at Derby, Pinxton, Mansfield, 
 Torksey ; then at Worcester in an unknown 
 capacity. From there, he went to Nantgarw, 
 where he began to manufacture a fine china ; 
 but the venture was not attended with success. 
 Subsequently Billingsley joined M. Rose, at the 
 Coalport factory where he ended his days. 
 Pardoe, his son-in-law, was also a china painter ; 
 for long he followed his fortunes, but little is 
 known about his work. 
 
 WARING (J. B.). Masterpieces of in- 
 dustrial art and sculpture at 
 the International Exhibition, 
 1862, selected and described by 
 J. B. Waring, architect. Chro- 
 molithographed by and under 
 the direction of W. B. Tymms, 
 A. Waaren, and G. Macculloch. 
 London, Day & Sons, 1863. 3 
 vols. Fol., of, each, 100 pis. in 
 col., with descriptive text in 
 English and in French. Pub- 
 lished at 21. 
 
 A splendid memorial to the glories of one of 
 the most memorable International Exhibitions. 
 All the chief firms of Eui'ope had taken it as an 
 honour to be represented in this work. Ceramic 
 art occupies in it an important place. No classi- 
 
 fication having been followed, we have to look 
 for the plates representing the exhibits of the 
 pottery and porcelain manufacturers all through 
 the pa.ges of the three ponderous volumes in 
 which they are scattered. 
 
 WARING (J. B., edited by). Pottery 
 
 and porcelain. Chromolith. by 
 F. Bedford, with an essay by J. 
 C. Robinson. London, Day & 
 Son, 1857. 4, pp. iv-31 ; with 
 17 pis. in colours and 10 illustrs. 
 in the text. The plates had 
 already appeared in the Museum 
 of Oriental Art in the Art Treas- 
 ures' Exhibition, Manchester. 
 
 An album of well-selected examples of various 
 origin, to which the excellent article on " Cera- 
 mic Art," written by J. C. Robinson, has supplied 
 the connecting links. 
 
 WARING (J. B.). Ceramic art in 
 remote ages. With the symbol 
 of the circle, cross and circle, 
 fylfot, serpent, etc. London, J. 
 B. Day, 1874. Sm. fol., pp. 123 ; 
 with 55 lithogr. pis., represent- 
 ing several hundred subjects. 
 1, 5s. 
 
 The superabundant examples of prehistoric 
 pottery belonging to all periods and to all 
 countries grouped on the plates, and the remarks 
 made on them by the author, produce in our 
 mind a feeling of inextricable confusion. The 
 theory that this pottery is meant to illustrate is 
 abstruse and misty in the extreme. To establish 
 by the similarity of the rudimentary shapes of 
 the earliest earthen vessels of many lands that, at 
 the dawn of civilisation, the embryonic arts of a 
 leading race cast their commanding influence over 
 all artistic attempts made in many distant parts 
 of the world ; to allege that such geometrical 
 figures, as circles, crosses, triangles, meanders, 
 incised on the surface of the prehistoric pottery, 
 are so many evidences that, in primaeval epochs, 
 humanity at large was embodying, in the same 
 graphic symbols, the same religious and philo- 
 sophical doctrines by which all people were then 
 animated, has been the aim of the writer. We 
 scarcely need say that to support the hypothesis 
 it should require a stronger foundation than the 
 comparison of the primitive signs traced on the 
 surface of mortuary urns, the work of aboriginal 
 tribes which, by their geographical location, 
 cannot be supposed to have ever been brought 
 in communication with each other. The co- 
 incidences arising from all primitive hand- 
 workers using the simplest figures as the easiest 
 means of embellishing their work have not even 
 been hinted at in this book. 
 
 WARMONT (Dr. A.). Notice sur les 
 faiences anciennes de Sinceny, 
 
 441 
 
WAR] 
 
 CERAMIC LITERATURE. 
 
 [WAY 
 
 lue en seance du Comite archeo- 
 logique de Noyon. Noyon, 1863. 
 8, pp. 16 ; with 1 col. pi. 
 
 " Notice of the old faience of Sincenis." 
 
 WARMONT (Dr. A.)- Recherches his- 
 
 toriques sur les faiences de 
 
 Sinceny, Rouy et Ognes. Paris, 
 
 Aubry, 1864. 8, pp. 70 ; with 
 
 6 col. pis. 8 fcs. 
 
 " Historical researches on the faiences 
 of Sinceny, Rouy et Ognes." 
 
 A true son of old Picardy, the author is 
 anxious to establish the fact that much of the 
 old faience attributed to the Norman factories 
 has actually been made in the neighbouring 
 province. If the style of decoration is identical, 
 whatever be the origin of the specimen, a 
 Picardian production is easily recognised, either 
 by the mark it bears or by some special features 
 clearly pointed out in this paper. As the manu- 
 facture was started and carried on by Rouen 
 potters, the frequent repetition of the Rouen 
 patterns must be taken as a matter of course. 
 We mast remark that in this, as in many other 
 cases, the imitations were slightly inferior to the 
 originals. Were it not so well known that col- 
 lectors love truth above all things, it might be 
 suggested that the possessor of a piece, so far 
 believed to be Rouen faience, would be rather 
 disappointed on learning that it comes, in reality, 
 from a much less celebrated source. 
 
 WARMONT (Collection). Catalogue of 
 sale. Paris, 1891. 8, pp. 23. 
 
 Composed almost entirely of Sincenis faience. 
 With an introductory notice on the collector by 
 G. Gouellain. 
 
 WARNE (Ch.). The Celtic tumuli of 
 Dorset ; an account of personal 
 and other researches in the 
 sepulchral mounds of the Dur- 
 otriges. London, J. R. Smith, 
 1866. Fol., pp. 76; with 13 
 etched pis., representing 60 ciner- 
 ary urns, and 4 illustrs. 1, Is. 
 
 WARREN (G. B.). Catalogue of the 
 antique Chinese porcelain owned 
 by Geo. B. Warren, of Troy, 
 New York ; with introduction by 
 J. B. Clarke. Boston, U.S.A., 
 1902. 8, pp. 87 ; with 14 pis. 
 Privately printed. 
 
 A collection of cabinet pieces of no particular 
 interest. The names of the American collectors 
 of Oriental porcelain are given in the introduction. 
 
 442 
 
 WATSON (Collection H. 0.). An illus- 
 trated and descriptive cata- 
 logue of the rare old Persian 
 pottery, with historical and 
 other notes pertaining to a 
 private collection acquired by 
 Messrs. H. 0. Watson & Co., 
 and exhibited at their gallery. 
 Catalogue and notes by J. Getz, 
 New York, 1908. Sm. 4, pp. 
 81 ; with 8 collotype pis. 
 
 The collection comprises 90 Nos., some of 
 them of high order. 
 
 WATZINGER (C.). Studien zur unter- 
 italischen Vasenmalerei. Darm- 
 stadt, 1899, 8, pp. 50. 2 m. 
 
 " A study on the vase paintings of 
 Lower Italy." 
 
 Part I. The shapes and ornamentation of 
 the tombs of the ancients as represented on the 
 painted vases of Lower Italy. Part II. Scenes 
 from Greek tragedies painted on vases of the 
 aforesaid origin. A fragment of a work to be 
 completed at a future date. 
 
 WAY (A.). Tiles. (In Parker's Dic- 
 tionary of Architecture.) Oxford, 
 1850. 5th ed. ; with 12 col. pis. 
 
 This article, an amplification of the one which 
 appeared in the first edition of the Dictionary of 
 Architecture, has long remained the source from 
 which the subsequent writers on English tiles 
 have derived their information. 
 
 Hydriotaphia Cambrensis. 
 Ancient interments and sepul- 
 chral urns found in Anglesey 
 and North Wales. With some 
 account of examples from other 
 parts of the Principality, and 
 also of urns discovered with 
 early interments in various 
 parts of Great Britain and Ire- 
 land. Four notices collected 
 by the Hon. W. Stanley, M.P. 
 London, 1868. 8, pp. 77 ; with 
 8 pis. and 31 text illustrs. of 
 urns. (Reprint from Archceo- 
 logia Cambrensis.) 5s. 
 
 WAY (J. P.). A short history of 
 old Bristol pottery and porce- 
 lain, marks, etc. Bristol, 1908. 
 
WEA] 
 
 CERAMIC LITERATURE. 
 
 [WEC 
 
 16, pp. 32; with 12 pis. in 
 half-tone and 1 pi. of marks. 6d. 
 
 The author is a curiosity dealer at Bristol. 
 
 WEALE (J. W. H.). -Notes et docu- 
 ments pour servir a 1'histoire de 
 la fabrication de la poterie aux 
 Pays-Bas. Bruges, 1873. 4. 
 (In Le Beffroi, vol. iv.) 
 
 A French translation of Dornbusch's work, 
 The Art-Guild of Potters in the Abbey Town of 
 Siegburg. 
 
 - National Art Library, South 
 Kensington. Classed catalogue 
 of printed books. Ceramics. 
 London, Eyre & Spottiswoode, 
 1895. 8, pp. 353. 
 
 A well-classified bibliography of ceramics, an 
 excellent guide to the numerous works on the 
 subject contained in the art library at the South 
 Kensington Museum. It comprises 3,584 titles, 
 a figure reached by the insertion of all the articles 
 which have appeared in the serial publications 
 of the learned societies, or in the works of general 
 interest, books of travels, etc., most of which are 
 not recorded in this work. 
 
 WEBBER (Byron). James Orroch, R.I. 
 Painter, Connoisseur, Collector, 
 in two volumes. London, 1903. 
 Fol. ; num. pis. 10, 10s. 
 
 Blue and white Chinese porcelain, vol. ii., pp. 
 186-203; with 8 pis. in heliograph. 
 
 Many of the pieces came from the Thomson 
 collection. The historical notice follows the one 
 given by Chaffers in Marks and Monograms. 
 
 WEBER (F. J.). Die Kunst das achte 
 Porzellain zu verfertigen. Han- 
 nover, 1798. 8, pp. xiv-230 ; 
 with 7 fold. pis. 5 m. 
 
 " The art of manufacturing the true 
 porcelain." 
 
 Before he published this treatise, Weber had 
 been a porcelain painter at Ludwigsburg, and 
 an inspector at the Hochst manufactory. He 
 claims to have been the first who made a com- 
 plete disclosure of all the professional secrets 
 connected with the making of hard porcelain. 
 While working at Ludwigsburg, he supplied 
 Count de Milly with the technical part of the 
 book which created such a sensation, and he 
 complains that no credit was given to him for 
 his official contribution to that work. At the 
 . same time, he warns his readers not to place too 
 much reliance on such information as he had 
 been able to supply on those early days. His 
 practical experience, says he, was still limited 
 and imperfect ; consequently, the recipes that 
 De Milly obtained from him were always in- 
 
 complete and often erroneous. We regret to say 
 that his own work only shows that he had not 
 overcome his former shortcomings, and that his 
 knowledge of porcelain manufacture was still 
 deficient in many respects. 
 
 WEBER (0.). Die Entstehung der 
 Porcellan und Steingut Indus- 
 trie in Bohem. Prag, 1894. 8, 
 pp. 128. 3 m. 
 
 " The establishment of the porcelain 
 and earthenware industry in Bohemia." 
 
 It was not without great difficulty that the 
 manufacture of porcelain and earthenware, now 
 so flourishing in Bohemia, was introduced into 
 that country. The imperial manufactory of 
 Vienna, to which an exclusive privilege had been 
 granted, opposed the establishment of any hard 
 porcelain manufactory. When the potters of 
 Schlaggenwald succeeded in producing the real 
 article, they could only sell it under the name of 
 " Erdgut," or earthenware. This restraint on 
 the development of the industry was not to be 
 of long duration, and from the year 1791 the 
 number of porcelain works increased with 
 rapidity. A list of all the manufacturers known 
 to have been at work in Bohemia from that year 
 up to 1850 is given in this interesting monograph. 
 
 WEBER (S.). Kunstgewerbliche geg- 
 enstande der Cultur-histor. Aus- 
 stellung zu Steyr, 1884. Steyr, 
 1885. Fol. ; with 80 pis. 20m. 
 
 " Objects of industrial art from the 
 Steyr Exhibition, 1884." 
 
 WEBER (T.). Vorlaufige "Senti- 
 ments " iiber die bey Giessen 
 ernirten Urnis und Ollis Sepul- 
 chralibus. Giessen, 1719. 4. 
 
 " Random disquisitions on the subject 
 of the urns and other sepulchral pottery 
 discovered at Giessen." 
 
 WECKHERLIN (de). - - Reproductions 
 photographiques de vases de 
 gres des xvi e et xvii e siecles. 
 La Haye, 1860. 4; no letter- 
 press ; 41 photos (48 in a few 
 copies). For private distribu- 
 tion. 3. 
 
 Baron de Weckherlin, secretary to the Queen 
 of Holland, was a great admirer of ancient stone- 
 ware. At the sale of the Huyvetter collection 
 the best specimens it included passed into his 
 hands. He had them reproduced by photo- 
 graphy, and fifty portfolios, each containing a 
 set of proofs, were made up for presentation to 
 friends. The objects are given without indica- 
 tion of date or origin ; the lettering of plates 
 simply mentions the colour of the pieces. 
 
 443 
 
WED] 
 
 C ERA MIC LITER A TURE. 
 
 [WED 
 
 At the death of the Baron, the entire collection 
 was acquired by Mr. Gambart, the London pub - 
 lisher, who had it transported to his country 
 mansion. It had scarcely been placed in the 
 picture gallery, when a gas explosion nearly 
 destroyed the building and its contents. The 
 stoneware suffered particularly from the disaster. 
 An offer was, however, made by the South Ken- 
 sington Museum to purchase, as they stood, the 
 broken and damaged vases. The offer having 
 been accepted, and the pieces carefully and 
 successfully repaired, they were soon exhibited 
 in the museum, where they formed the nucleus 
 of a stoneware collection second to none in 
 Europe. Whether some of the specimens had 
 been so hopelessly smashed that restoration had 
 become impossible, or whether they had been 
 previously disposed of by the former owners, 
 has not transpired ; but we notice that a few 
 of the most interesting vases photographed in 
 the album are now wanting in the collection. To 
 make matters worse, no representations will soon 
 be left of these exceptional examples of the art 
 of the old stoneware potter ; the photos, im- 
 perfectly fixed, are rapidly fading away. 
 
 WEDGWOOD (G. R.). The history of 
 the tea cup ; with a descriptive 
 account of the potter's art. 
 London, Conference Office, 1878. 
 16, pp. 154 ; with text illustrs. 
 2s. 
 
 WEDGWOOD (Isaac). - - The potter's 
 miror. A poem. Tunstall 
 (Staff.). Printed by I. Wedg- 
 wood (1820 ?). 
 
 WEDGWOOD (Josiah). Catalogue of 
 cameos, intaglios, medals, bas- 
 reliefs, busts, small statues, 
 vases, etc. London, 1773. Sold 
 by Cadel, in the Strand ; Rob- 
 son, New Bond Street ; and 
 Parker, printseller, Cornhill. 12, 
 pp. 60. 
 
 The first edition of the cata- 
 logues, for which Bentley is said 
 to have written the introduction. 
 
 The subsequent editions were 
 issued, at intervals, with but 
 slight alterations in the title : 
 
 1774. 2nd ed. A French trans- 
 lation, 8, pp. 82, was issued 
 in London, same year. 
 
 1775. 3rd ed. A re-issue of the 
 2nd ed. ; with 6 pp. added 
 
 444 
 
 and a woodcut of the ink- 
 stand. 
 
 1777. 4th ed. In English. 
 
 1778. A Dutch translation, pub- 
 lished in Amsterdam. 
 
 1779. 5th ed. In English A 
 French edition, London ; and 
 a German translation, with a 
 view of the show-room in 
 Soho, engraved in colour, 
 Leipzig, were published same 
 year. 
 
 1787. 6th ed., under the follow- 
 ing title : 
 
 - Catalogue of cameos, intag- 
 lios, medals, bas-reliefs, busts, 
 and small statues ; with a gen- 
 eral account of tablets, vases, 
 ecritoires, and other ornamental 
 and useful articles. The whole 
 formed in different kinds of por- 
 celain and terra-cotta, chiefly 
 after the antique and the finest 
 models of modern artists. By 
 Josiah Wedgwood, F.R.S., pot- 
 ter to Her Majesty, and to His 
 Royal Highness the Duke of 
 York and Albany. Sold at his 
 rooms in Greek Street, Soho, 
 London, and at his manufactory 
 in Staffordshire. The sixth edi- 
 tion with additions. Etruria, 
 1787. 8, pp. 78; with two 
 plates engraved in blue steaple. 
 1788. A last French edition. 
 8, pp. 89 ; with 2 pis. 
 
 Of these last two editions a few copies were 
 printed on large paper. 
 
 All the above catalogues have become rare ; 
 those issued in 1773 and in 1787 command the 
 highest price, from 3 to 5 being asked for a 
 good copy. 
 
 - Museum Etrurise ; or a cata- 
 logue of cameos, etc. By the 
 late Josiah Wedgwood. Liver- 
 pool, printed for James Board- 
 man, by G. F. Harris, 1817. 8, 
 
WED] 
 
 CERAMIC LITERATURE. 
 
 [WED 
 
 pp. 149 ; with engravings after 
 
 the Portland vase. 10s. 
 
 I 
 
 Under the above title the catalogue of 1787 j 
 was reprinted by Boardman, the agent for the j 
 sale of Wedgwood ware in Liverpool. A brief j 
 history of the art of pottery in England, and a I 
 description of the Barberini, or Portland vase j 
 are added to it. 
 
 Catalogue of sale. Catalogue 
 of the eleven days' sale by 
 Christie of cameos, bas-reliefs, 
 medallions, etc., the property of 
 Mr. Wedgwood and Mrs. Bent- 
 ley. London, 1781. 8. 
 
 The sale took place after the death of Bentley. 
 Miss Meteyard says that only one copy of this 
 catalogue is known to be in existence. 
 
 To the above list must be added the mention 
 of a catalogue of the service executed for the 
 Empress of Russia, printed in French in 1774, 
 and now almost unobtainable. 
 
 Also various translations in foreign languages, 
 of which a complete record is wanting. 
 
 - Papers relative to Mr. Cham- 
 pion's application to Parliament 
 for the extension of the term of 
 a patent. London, 1775. 12, 
 pp. 36. 1. 
 
 Wedgwood strongly opposed the extension of 
 the term of a patent granted to Champion for 
 the exclusive right of using the Cornish clay in 
 pottery manufacture. This pamphlet, printed 
 for distribution to members of Parliament, is 
 very difficult to meet with. 
 
 - Description of the Portland 
 vase ; the manner of its forma- 
 tion, and the various opinions 
 hitherto advanced on the sub- 
 jects of the bas-reliefs, by J. 
 Wedgwood, etc. London, print- 
 ed for the author, 1790. 4. 
 
 - Description abregee du vase 
 Barberini, maintenant vase de 
 Portlande (sic], et de la methode 
 que Ton a suivie pour en former 
 les bas-reliefs qui y sont repre- 
 sentes. Par Josiah Wedgwood, 
 membre de la Societe Royale et 
 de la Societe des antiquaires, 
 manufacturier en porcelaine et 
 Queen's ware de S. M. la Reine 
 de la Grande Bretagne et de 
 Messeigneurs les Dues d'York et 
 
 de Clarence. Londres, 1790. 8. 
 pp. 12 ; pi. 
 
 A translation of the English pamphlet pub- 
 lished in the same year. 
 
 The mystic signification of the subjects re- 
 presented upon the Portland vase had already 
 exerted the sagacity of many an antiquary. As 
 no previous elucidation had proved altogether 
 satisfactory, Wedgwood added his own inter- 
 pretation of the bas-reliefs in the notice with 
 which he accompanied the issue of his reproduc- 
 tion in Jasper ware of the glass original. It is 
 curious to remark that, on the title-page of his 
 paper, he describes himself as a manufacturer of 
 porcelain, a ware that he never attempted to 
 produce. 
 
 - An address to the young in- 
 habitants of the pottery (sic) by 
 Josiah Wedgwood, potter to Her 
 Majesty, and F.R.S. Newcastle 
 u. L., Smith, 1783. 12, pp. 24. 
 1. Reprinted by Bellows, 
 Gloucester, 1877. 12. 3s. 
 
 After the violent disturbances which had just 
 taken place in the Potteries, where the work- 
 people were threatened with imminent famine by 
 a sudden and exorbitant rise in the price of 
 bread and all other necessities of life, Josiah 
 Wedgwood thought it his duty, as one of the 
 leading men of the district, to give a word of 
 warning to those still willing to listen to good 
 advice. He addressed himself to the young men, 
 because young people, says he, were more easily 
 amenable to friendly counsels and sound argu- 
 ments, and he felt confident, therefore, that what 
 he had to say would not be lost upon them. 
 Having first recalled the fact that their present 
 hardships could be chiefly traced to the total 
 failure of the crops, he tried next to impress on 
 their mind the notion that they should not seek 
 to find the remedy to their troubles by resorting 
 to riots and plunder, or depend upon public 
 charity, to alleviate their privations. His con- 
 clusions were that they should all unite in ob- 
 taining constitutional reform, such as would be 
 the free opening of the seaports, through which 
 a cheap and plentiful supply of corn might be 
 secured. In that way a recurrence of the evil 
 circumstances, from which they had to suffer in 
 the present year, would be rendered impossible 
 in the future. 
 
 - An address to the workmen 
 in the pottery, on the subject of 
 entering into the service of for- 
 eign manufacturers. By Josiah 
 Wedgwood, potter to Her Ma- 
 jesty. Newcastle u. L., printed 
 by J. Smith, 1783. 12, pp. 24. 
 1. 
 
 Of greater rarity than the previous one, this 
 pamphlet is not mentioned by Wedgwood's 
 
 445 
 
WED] 
 
 CERAMIC LITERATURE. 
 
 [WEL 
 
 biographers. It draws an appalling picture of 
 the dangers to be encountered by the workmen 
 who might feel inclined to accept the tempting 
 engagements offered to them by the manufac- 
 turers of South Carolina and Pennsylvania, 
 much in want of skilled hands. The horrors of 
 a long sea voyage, with the possibility of ship- 
 wreck, the difficulty of accommodating oneself 
 to the customs of foreign countries, and, above 
 all, the deception and disappointment that are 
 waiting for the immigrants on their arrival, are 
 forcibly depicted. Speaking of the French 
 factories, whose competition was beginning to 
 be felt in England, and particularly of Mont- 
 erau, where Shaw, of Burslem, had imported 
 the processes of English manufacture in 1775, 
 Wedgwood refers to the manufacturers of that 
 place as " these adventurers, the masters of this 
 George Shaw, who are attempting to ruin us 
 abroad." 
 
 WEDGWOOD (Josiah). - - Description 
 and use of a thermometer for 
 measuring the higher degrees of 
 heat, from a red heat up to the 
 strongest that vessels made of 
 clay can support. London, 
 printed by J. Cooper, 1784. 12, 
 pp. 26. 
 
 A reprint of the description of the pyrometer 
 invented by Josiah Wedgwood, published at 
 first in the Philosophical Transactions. London, 
 1782-84-86. 
 
 Beschreibung und Gebrauch 
 
 eines Thermometer. 
 
 London, J. Young, 1786. 12. 
 
 A German translation of the foregoing paper. 
 
 The marks employed by 
 Josiah Wedgwood and his suc- 
 cessors. (Etruria ?}, 1902. Sq. 
 8, pp. 8. 
 
 - Letters of Josiah Wedgwood, 
 1762 to 1780. London, 1903. 
 2 vols. 8, pp. vii-500-493 ; 
 with 2 portrs., 2 pis., and 1 
 facsimile of handwriting. Publ. 
 by his great-grand-daughter, 
 Katherine Eufemia Farrer, for 
 private circulation. A third 
 volume of letters extending 
 from 1781 to 1794, was pub- 
 lished in 1906. 
 
 With very few exceptions, these letters are 
 addressed to Th. Bentley, Wedgwood's partner 
 and friend. Bentley's answers, which Wedg- 
 wood had had bound in one volume, and which 
 
 446 
 
 he consulted so frequently that the volume was 
 jocularly called in the family " Josiah's Bible," 
 have long disappeared. The editor tells us that 
 much business and technical detail has been 
 omitted in the reprint. All that has reference 
 to the trade and experiments of the great potter 
 is of primary interest for the ceramic historian ; 
 any omission of that kind is to be regretted. 
 
 - Josiah Wedgwood & Sons, 
 Ltd., Etruria, makers of china, 
 earthenware, jasper, basalt, cane 
 ware, red ware, Rockingham, 
 mortars. Newcastle (Staffs.), 
 1908. 12, pp. 32 ; with 12 pis. 
 and num. half-tone illustrs. 
 
 An excellent guide-book to the old factory. 
 
 WEDGWOOD MUSEUM at Etruria. See 
 Rathbone. 
 
 WEIGEL (Dr. M.). - - Das Graberfeld 
 von Dahlhausen, Kreis Ost-Prig- 
 nitz, Province Brandenburg 
 (Zeit der Volkerwanderungen). 
 Braunschweig, F. Vieweg, 1893. 
 4, pp. 31 ; with 95 illustrs. 
 4 m. 
 
 " The burial field of Dahlhausen dis- 
 trict of West Prignitz, Province of Bran- 
 denbourg (period of the tribal migra- 
 tions)." 
 
 Pottery of the fourth and fifth century of our 
 era. All the pieces found in that region present 
 the same type of form viz., a low drinking cup, 
 without foot, but provided with one or more 
 handles of a peculiar design. They are decorated 
 with incised traceries. 
 
 WEIEING (C. G.). Chemische Be- 
 reitung der Farben, mit welchen 
 auf Emaille, in Oehl, und auf 
 Papier gemalt werden soil. Leip- 
 zig, 1793. 8. (Enamel colours, 
 pp. 1-18.) 
 
 " The chemical preparation of colours 
 for painting upon enamel, in oil, and on 
 paper." 
 
 WELKER (F. G.). Le jugement de 
 Paris et Ulysse evoquant 1' ombre 
 de Tiresias. Paris, F. Didot, 
 1846. 8, pp. 84 ; with 2 fold, 
 pis. 3 fcs. 
 
 " The judgment of Paris, and Ulysses 
 conjuring up the shade of Tiresias," 
 
WEL] 
 
 CERAMIC LITERATURE. 
 
 [WEN 
 
 Alte Denkmaler erklart. Got- 
 
 tingen, Dietrich, 1849-64. 5 
 vols. 8. Vol. iii. contains the 
 Greek vase paintings, pp. xv- 
 568 ; with 36 lith. pis. A few 
 additional vase paintings are 
 given in Vol. v. 
 
 " Ancient monuments explained." 
 A reprint of Welker's contributions to anti- 
 quarian publications. His system of archaeo- 
 logical elucidations followed the rules laid down 
 by the new school. " Why," says he, "do we 
 not proceed, in our examination of antique 
 monuments, with the same methodical accuracy 
 which is applied to the interpretation of the 
 works of the classical authors ? In this way 
 alone can we expect to obtain a sound know- 
 ledge of antiquity." 
 
 - Anfora panathenaica. Roma, 
 8, pp. 14; with 2 fold. pis. 
 (Reprint from Monum. dell Inst., 
 vol. vi.) 
 
 WELLBELOYED (C.)- Eburacum, or 
 York under the Romans. York, 
 1842. 8. Fictilia; Bricks, 
 Pottery, pp. 116-128 ; with pi. 
 
 - A handbook to the antiqui- 
 ties in the grounds and museum 
 of the Yorkshire Philosophical 
 Society. By the late Rev. Ch. 
 Wellbeloved, with large addi- 
 tions and corrections by his 
 successor in the office of curator 
 of antiquities. Seventh edition. 
 York, Sampson, 1881. 12, pp. 
 171. 
 
 Several hundred specimens of Romano- 
 British pottery and a large number of Anglo- 
 Saxon cinerary urns are exhibited in the museum. 
 The mediaeval era is represented by a good selec- 
 tion of inlaid tiles, and an important series of 
 rare jugs and pitchers with green glaze. From 
 the style of the embossed medallions stamped 
 upon these jugs, one may infer that they belong 
 to the fourteenth century. They were all dug 
 out from the soil of the city, and are evidently 
 of local manufacture. Some early Tygs and 
 slip-decorated dishes, and a few curious ex- 
 amples of ancient stoneware and English Delft 
 contribute to render the York Museum of par- 
 ticular importance for the study of the potter's 
 art in England. 
 
 WENCKE (H.)- Antiquitaten Samm- 
 lung. Cat. of sale. Cologne, 
 1898, 4. German stoneware, 
 
 2 pis. ; Majolica, 2 pis. ; Palissy, 
 1 pi. ; porcelain, 3 pis. 16 m. 
 
 WENCKSTERN (Fr. VOD). -A bibliography 
 of the Japanese Empire. Being 
 a classified list of all books, 
 essays, and maps in European 
 languages relating to Dai Nihon 
 (Great Japan), published in 
 Europe, America, and in the 
 East, from 1859-93. To which 
 is added a facsimile reprint of 
 Leon Pages's Bibliographic Jap- 
 ponaise depuis le xv e siecle jus- 
 qu'a 1859. Leiden, J. Brill, and 
 London, Kegan Paul & Co., 1895. 
 Imp. 8 Vol. ii., 1908. 
 
 Fine Arts and Fine Arts' Industries, pp. 148- 
 171. of which " Pottery " occupies four pages. 
 No mention is made of the works written in the 
 Japanese language ; in the case of ceramics, a 
 list of the chief books treating on the manufac- 
 ture of pottery and porcelain, with a translation 
 of the titles, would be particularly desirable. 
 Vol. ii. contains the literature in European lan- 
 guages from 1894 to 1906. 
 
 WENEWITINOFF(M.). Ancient Russian 
 ornamental brick-buildings. A 
 new branch of the national art. 
 
 Moskaw, 1890. 
 with 7 col. pis. 
 
 4, pp. 18; 
 
 WENGER (A.). --List of prices of 
 patents ; Spurs and Stilts. Co- 
 bridge (Staff.), 1876. 8; 1 pi. 
 
 Since the publication of this list of Spurs and 
 Stilts i.e., props used to support the ware 
 during the firing Mr. Wenger has issued, at 
 frequent intervals, enlarged catalogues of pot- 
 ters' materials, to be obtained from his estab- 
 lishment at Etruria. A trade, which had pre- 
 viously been in the hands of small producers 
 and local commission agents, was centralised by 
 him, and made an important branch of interna- 
 tional commerce. The small colour works, started 
 by Mr. Wenger at Hanley more than thirty years 
 ago, was transported to Etruria, and installed in 
 a spacious manufactory. To the chemical works 
 was added a universal agency, through the 
 medium of which the vendor of raw materials, 
 the patentee of special products, the machine- 
 maker, the inventor of a new system, were 
 placed in communication with the pottery manu- 
 facturers of all countries. It is easy to realise 
 the importance of exhaustive catalogues issued 
 under such conditions, as they represent the 
 state of the ceramic industry at the present day. 
 We may just mention the latest issues, as they 
 summarise all the previous ones. 
 
 447 
 
WEN] 
 
 CERAMIC LITERATURE. 
 
 [WES 
 
 WENGER (A.), Notice sur 1'emploi 
 et 1'expedition des matieres 
 servant a la fabrication des 
 faiences et porcelaines, par A. 
 Wenger, fabricant de produits 
 chimiques. Hartley (Staffs.), 
 1888. 4, pp. 55. 
 
 " Notice of the use and the forwarding 
 of the materials employed in the manu- 
 facture of pottery and porcelain." 
 
 A complement to the price lists, this notice 
 gives a short topographical account of the Staf- 
 fordshire Potteries ; a summary description of 
 the English processes of manufacture ; and, 
 finally, practical directions for the use of the 
 materials sold at the " Helvetia Works." It 
 contains information of great interest to the 
 foreign manufacturer. 
 
 Helvetia Works, Hanley, 
 Staffordshire. Chemical pro- 
 ducts, colours, raw materials, 
 implements, and machines for 
 the manufacture and decoration 
 of china, earthenware, glass, 
 enamelled iron, etc. Hanley, 
 1889. 4, pp. 48 ; with num. 
 illustrs. Also, a French edition. 
 4, pp. 75. 
 
 Helvetia Works (title as 
 above). Hanley, 1892. 4, pp. 
 75. This comprises Tariffs, 
 Nos. 21 and 22. This latter 
 contains only potters' engines 
 and machinery. Supplementary 
 catalogues and tariffs have been 
 published of late years. 
 
 Vade mecum for potters, 
 enamellers, and glass-makers. 
 
 Hanley, 1904. 
 lustrs. 
 
 4, pp. 48 ; il- 
 
 WERKEN (G. von). Der Ganze der 
 Ziegelfabrikation. Altona, 1868. 
 
 " A complete treatise of the manufac- 
 ture of bricks and tiles." 
 
 WERNICKE (K.). Beitrage zur Kenn- 
 tniss der Vasen mit Meister- 
 namen. Berlin, 1885. 4; with 
 4 pis. 
 
 448 
 
 " Contribution to the knowledge of 
 painted vases bearing the name of the 
 master." 
 
 Die griechischen Vasen mit 
 Lieblingsnamen. Eine archao- 
 logische Studie. Berlin, Reimer, 
 1890. 8, pp. 143. 5 m. 
 
 " The Greek vases inscribed with the 
 names of favourite youths." 
 
 The meaning of the word Kalos, which accom- 
 panies certain names inscribed on the Greek 
 vases, has been interpreted in various ways. 
 Panofka, who was the first to investigate the 
 subject, believed that it was a form of saluta- 
 tion addressed by the painter to the person for 
 whom the vase had been painted. Other writers 
 thought that it was intended to extol the ex- 
 cellence of the painting. The last interpreta- 
 tion, supported by the larger number of ex- 
 amples, was that the word had reference to 
 some favourite youths of Athens celebrated for 
 their personal beauty. After a general examin- 
 ation of the paintings so inscribed, Wernicke has 
 been driven to say that it is not possible to 
 arrive at a conclusion that would answer all 
 cases. He has, therefore, classified all the known 
 examples in five categories, in each of which the 
 word may bear a different interpretation. 
 
 WESTON (S.)- Fragments of Oriental 
 literature, with an outline of a 
 painting on a curious china vase. 
 London, 1807. 8, pp. 158 ; 
 with pi. 3s. 
 
 In this paper inscriptions taken from a 
 Chinese porcelain vase and a teapot are con- 
 sidered from the philosophical point of view. 
 
 WESTROPP (Hodder M.). Epochs of 
 
 painted vases ; an introduction 
 to their study. London, Walton 
 & Maberly, 1856. Sq. 8, pp. 
 24 ; with 9 pis. in outline. 12s. 
 
 A superficial and unsatisfactory account of 
 the speculative theories brought out by the 
 classical authors. The plates, borrowed from 
 the same sources, are incorrectly reproduced. 
 
 Handbook of pottery and 
 porcelain ; or history of those 
 arts from the earliest periods. 
 London, Chatto & Windus, 1880. 
 8, pp. xiv-171 ; with text il- 
 lustrs. 5s. 
 
 An ill-digested compilation of the standard 
 books on the subject. If this little compendium 
 is destined to disappear altogether in future 
 ages, it is comforting to remember that posterity 
 will inherit from us a goodly number of ceramic 
 
WES] 
 
 CERAMIC LITERATURE. 
 
 [WIE 
 
 books, cast in the same mould, and containing 
 the same mixture of true and false information, 
 illustrated with the same set of oft-recurring 
 woodcuts. 
 
 WESTWOOD (J. 0.). Notice of an 
 early posset-pot. London, 1881. 
 With illustrs. (Reprint from 
 the Archaeological Journal.} 
 
 WHEATLY & CO. Illustrated catalogue 
 of bricks, roofing, ridges, and 
 floor tiles, etc., manufactured 
 by W. & Co., Stoke-on-Trent. 
 Printed by J. Lennox. Leeds, 
 1885. 4, pp. 5, and 33 lith. pis. 
 
 WHETSTONE. Designs for tile pave- 
 ments, plain and encaustic, 
 manufactured by William Whet- 
 stone, Coalville, Leicestershire. 
 S.I., n.d. (1865?). Imp. 4; 25 
 pis. in col. 
 
 Lith. by J. Fleming & Co., Leicester. The 
 tile works were established about 1860. 
 
 WHITE (Mary). Howto make pottery. 
 New York, Page & Co., 1904. 8, 
 pp. 179 ; with 68 illustrs. and 
 15 pis. 
 
 Familiar instructions on the elements of 
 pottery-making given to amateurs by an 
 amateur. 
 
 WHITEFORD (S. T.). A guide to por- 
 celain painting, with illustra- 
 tions by the author. London, 
 Rpwney, 1873. 8, pp. 48; 
 with 8 lithogr. pis. in colour. 
 
 Published by a colour manufacturer. 
 
 WHITEHEAD (James and Chas.). Designs 
 
 of sundry articles of earthen- 
 ware manufactured by J. & 
 Ch. Whitehead, Hanley, Staf- 
 fordshire ; at the same manu- 
 factory may be had a great 
 variety of other articles, both 
 useful and ornamental, as well 
 printed, painted, and enamelled, 
 as likewise dry bodies, such as 
 Egyptian, black, jasper, etc., 
 etc. Birmingham, 1798. 4. 
 Price list in English, German, 
 29 
 
 and French of "pp. 25 ; with 
 frontispiece and 35 pis. engr. on 
 copper, representing 175 models. 
 3, 3s. 
 
 Imitations of Wedgwood's ware and Leed's 
 cream colour. The Whitehead Works were sub- 
 sequently carried on by Thomas Dimmock under 
 the name of " Albion Works." This catalogue 
 has become extremely rare. 
 
 WIDE (Sam.). Geometrische Vasen 
 aus Griechenland. Berlin, G. 
 Reimer, 1900. 4, pp. 16 ; with 
 121 text illustrs. (Reprint from 
 the Jahrbuch des Kaiserl. deut- 
 schen archciol. Institut.} 3 m. 
 " Greek vases of the geometric style." 
 
 Between the archaic vases first described and 
 grouped by Conze under the name of Mycenean, 
 and the black-figure vases, a gap had been left 
 in the study of Greek ceramics. Recent dis- 
 coveries have established that the vase of the 
 so-called geometric style must be referred to 
 that period. Far from all having a common 
 origin, as had been hitherto accepted, vases of 
 that description were made in several parts of 
 Greece, and particularly in Attica, where the 
 style must have originated in prehistoric times ; 
 this is, at anyrate, the theory that is developed 
 in the present essay. 
 
 WIDMER (K.). Keramik. (In Baden: 
 Seine Kunst und Kultur.} Frei- 
 burg, Bielefeld, 1907. Sq. 8, 
 pp. iii-79 ; with 25 illustrs. 
 (some col.). 3s. 
 
 " Ceramic in the Grand Duchy of 
 Baden." 
 
 It treats specially of the modern manufacture 
 of art pottery. 
 
 WIENER (Lucien). Manufacture de 
 Saint Clement. Son histoire, sa 
 fabrication, son Exposition. 
 Nancy, Berger-Levrault, 1878. 
 8, pp. 39. 
 
 " The Saint Clement manufactory. Its 
 history, manufacture, and exhibits in 
 1878." 
 
 The works were established in 1758 as a 
 branch of the Luneville manufactory. Richard 
 Mique, the architect, and Cyffle, the well-known 
 sculptor, were the founders and co-proprietors. 
 King Stanislaus, Duke of Lorraine, an enlight- 
 ened and liberal patron of art, took a great 
 interest in the development of the pottery and 
 porcelain manufacture in the country. Special 
 privileges were granted to the Saint Clement 
 factory, and to the directors and artists attached 
 
 449 
 
WIE] 
 
 CERAMIC LITERATURE. 
 
 [WIG 
 
 to the establishment ; one favour, of which they 
 were particularly proud, was that they were en- 
 titled to carry a sword, and to be addressed as 
 " Gentlemen." To the making of stanniferous 
 faience in the style of Strasbourg was subse- 
 quently added that of earthenware after the 
 English method. We notice that, for the pro- 
 duction of the charming figures of Cyffle and 
 Lemire, a special body was made of pipe-clay, 
 flint, and phosphate of lime, a composition not 
 unlike that of our modern English china. The 
 pamphlet, compiled from original documents 
 preserved at the factory, was published, anony- 
 mously, by the director, on the occasion of the 
 1878 International Exhibition. 
 
 WIENER (LllCien). Les vases de la 
 pharmacie de Saint Charles au 
 Musee Lorrain. Nancy, 1881. 
 8, pp. 8. 
 
 " Vases from the dispensary of Saint 
 Charles now in the Nancy Museum." 
 
 An important series of vases and drug pots 
 in faience de Niderviller, manufactured by order 
 of King Stanislaus, and by him presented to the 
 hospital of the town about 1750. It comprises 
 two large vases over one metre in height, richly 
 decorated and emblazoned with the royal arms 
 of Poland ; 176 drug-pots, also decorated in 
 colours and bearing the monogram of the Bang ; 
 lastly, 77 pots of similar shape painted in blue 
 with the coat-of-arms of the brethren of the order 
 of Saint John of God. 
 
 WIENNEFELD (H.)- Beschreibung der 
 Grossherzogl. Vasen Sammlung 
 zu Karlsruhe. Karlsruhe, 1887. 
 8, pp. 193 ; with 1 pi. 2 m. 
 
 " Description of the antique vases in 
 the Grand Ducal Collection of Karlsruhe." 
 
 WIERZBICKI (L. von) and REBCZYNSKI (W.). 
 Wzory przemyslu domo- 
 wego wyroby gliniane wloscian 
 na rusi naczynia z Kossowa. 
 Lemberg, 1882-92. 4. Text in 
 Polish, German, and French ; 
 with 22 col. pis. 
 
 " The earthen vessels of the Galician 
 peasants in the Municipal Museum of 
 Industrial Art at Lemberg." 
 
 Poland has preserved the record of the ancient 
 pot- works which supplied the country with com- 
 mon pottery, and, at one time, exported their 
 productions into Northern lands. These his- 
 torical particulars will be found in the intro- 
 ductory notice, but no representation of the old 
 types are given on the plates. These reproduce 
 merely the patterns of the ware currently manu- 
 factured in modern times by two potters of 
 Kossow ; jugs, dishes, and tiles, decorated, upon 
 " engobe," with incised tracery filled in with 
 coloured glazes. 
 
 450 
 
 - Polnish-Ruthenische archeo- 
 logische Ausstellung in Lemberg, 
 1885. Lemberg, 1886. FoL, pp. 
 36 ; with 50 phototyp. pis. 
 
 " Archaeological Exhibition of Galician 
 antiquities in Lemberg." 
 
 WIESELER. Ueber die Kestnersche 
 Sammlung von antiken Lampen. 
 Gottingen, 1870. 12, pp. 71. 3s. 
 
 " Notice on the Kestner Collection of 
 antique lamps." 
 
 WIGNIER (Ch.). Monographic de la 
 manufacture de Faiences de 
 Vron, arrondissement d' Abbe- 
 ville, Departement de la Somme. 
 Ornee de vingt-cinq sujets mis 
 en couleur et retouches a la main 
 par Ris - Paquot. Abbeville, 
 1876. 8, pp. 29 ; with 8 pis. 
 in colour. 6 fcs. 
 
 " Monograph of the faience factory of 
 Vron, near Abbeville (Somme)." 
 
 A village pot-works, where rustic operatives 
 made, during a period of about fifty years, coarse 
 and showy faience to supply the neighbouring 
 markets. We are asked to observe that while 
 the painters of Nevers, Rouen, and Lille pre- 
 ferred to imitate Italian, Dutch, or Chinese 
 decorations, the untutored artist of the locality 
 knew no other guide but his own imagination. 
 This point is willingly granted ; no one will ever 
 pretend that the French Grenadier and the 
 National Guard, the windmill and the church 
 steeple on the pitchers and decorative plates 
 belong to any recognised style. Barring the 
 historical interest attached to its predecessor, 
 the ware made at Vron may be said to be the 
 continuation of the patriotic faience of the 
 Revolution. 
 
 Poteries vernissees de 1'ancien 
 
 Ponthieu. Paris, Laurent, 1887. 
 8, pp. 61 ; with 25 pis. in colour 
 drawn by the author. 130 copies 
 only printed. 15 fcs. 
 
 " Glazed pottery of the ancient Ponthieu 
 province." 
 
 This volume, a companion to the preceding 
 one, deals with pottery of a still more modest 
 rank than the common faience made at Vron and 
 its vicinity. Ever since the fourteenth century 
 the villagers and farmers of North-East France 
 had learned from their neighbours, the Flemish 
 tile-makers, how to make useful and fancy 
 vessels of red and yellow clay, and how to glaze 
 them with lead ore. After the close of the 
 harvest season, the peasants of many districts 
 
WIL] 
 
 CERAMIC LITERATURE. 
 
 [WIL 
 
 were wont to repair in bands to certain places 
 where the proper kind of clay could be obtained 
 and where stood a rudimentary potter's oven 
 erected and kept in repair at common cost. II 
 was for them a sort of holiday, part of which was 
 spent in fashioning such rude pieces of pottery 
 as were required in the homestead. The simple 
 methods of forming, glazing, and firing the work 
 had been handed down from father to son, and 
 no change was ever introduced in the shapes of 
 the articles, which were also a matter of tradition. 
 Several of these shapes are peculiar to the locality 
 arid are not found anywhere else. We notice 
 among them a curious double basin, surmounted 
 with a tall handle in which the mid-day meal 
 was brought to the labourer in the fields, and a 
 particular drinking flask that could be slung over 
 the shoulder by means of a string passed through 
 the rings affixed to the sides. Also some un 
 common hand and foot warmers, and among the 
 objects which received an extra amount of 
 coloured slip decoration, a fancy flat-iron stand, 
 intended as a present for the housewife. A 
 variety of small toys of ingenious contrivance 
 were also made as surprises for the children, and 
 to all these articles were added a plentiful supply 
 of jugs, dishes, and bowls to replace those that 
 had been broken in the course of the year. 
 
 The cemeteries of the country are still full of 
 mortuary tablets made on these occasions, rude 
 slabs of terra-cotta upon which the name of the 
 deceased is rudely incised. Several of these 
 slabs, with their almost illegible inscriptions, are 
 reproduced upon the plates. 
 
 - Carreaux vernisses du xii e au 
 xvii e siecle. Abbeville, 1890. 8, 
 pp. 20 ; with 9 col. pis. (50 
 copies printed). 15 fcs. 
 
 The patterns roughly incised on these tiles 
 are almost as rude in character as those seen on 
 the pottery described in the above volume. 
 
 WILCOCK & CO., Burmantofts, Leeds.- 
 
 A catalogue of the Burmantofts' 
 faience and decorative terra- 
 cotta. S.I., 1882. 4; with 54 
 photo-lith. pis. Other illustr. 
 catalogues have been issued by 
 the firm. 
 
 WILDE (Dr. W. R.). Descriptive cata- 
 logue of the antiquities of stone, 
 earthen, and vegetable materials 
 in the Museum of the Royal 
 Irish Academy ; with numerous 
 wood engravings. Dublin, 1857. 
 2nd ed., 1863. 3s. 
 
 Mediaeval pottery, pp. 156-162; mortuary 
 urns, pp. 169-196 ; with illustrs. 
 
 WILDENBRUCH (E. YOB). The master of 
 Tanagra. An artist's story of 
 
 old Hellas. Translated from the 
 seventh German edition by the 
 Baroness von Lauer. London, 
 H. Grevel, 1887. 8, pp. 192 ; 
 with 25 illustrs. of Tanagra 
 figures. 5s. 
 
 A German poet, fascinated by the lovely 
 creations of the potters of Tanagra, has found 
 in them a subject for an sesthetical novel. Un- 
 willing to abandon altogether the heights of 
 dreamland in which his soul is accustomed to 
 soar, unfettered by prosaic considerations, he 
 has scorned to believe that, in antique Boeotia, 
 sculpture and sculptors were subjected to the 
 weaknesses of modern art. Terra-cotta figures 
 bud out between the fingers of untutored model- 
 lers in this romantic tale through miracles of 
 love. A disconsolate father recognises the 
 features of his lost daughter in the sketch that 
 the wandering hero, seated by a lonely brook, 
 is fashioning out of the mud of the banks. Many 
 other incidents, still more improbable than this 
 instantaneous creation of masterpieces, show 
 that historical knowledge and comprehension of 
 the technics of art have been replaced all through 
 the book by a curious display of imaginative 
 power. The tale, nevertheless, has obtained a 
 great success in the fashionable circles of Ger- 
 many. 
 
 WILDS (William). Elementary and 
 practical instructions on the art 
 of building cottages. ... To 
 which are added practical treat- 
 ises on the manufacture of 
 bricks, etc. London, 1835. 8. 
 
 WILKENS (Karl). Die Topferei. An- 
 fertigung des ordin. Topfer- 
 geschirrs, der ordin. Fayence (d. 
 sog. Porzellan-ofen), des ordin. 
 Steinguts, etc. Vierte vermehrte 
 und verb. Aufl. Nebst Atlas v. 
 UTaf. Abb. Weimar, 1870. 8. 
 
 " Pottery. The manufacture of com- 
 mon earthenware, common faience (in- 
 cluding the so-called porcelain stoves), 
 common stoneware, etc. Fourth edition, 
 corrected and improved ; with an atlas of 
 eleven plates." 
 
 Denkschrift zur Feier des 
 50-jahrigen Bestehens der Dresd- 
 ner Steingutfabrik von Villeroy 
 & Boch, 1836-1906. Dresden, 
 1906. Obi. 8, pp. 24: with 
 4 portraits and 27 pis. 
 
 " Memorial of the celebration of the 
 
 451 
 
WIL] 
 
 CERAMIC LITERATURE. 
 
 [WIN 
 
 fiftieth anniversary of the foundation of 
 the stoneware manufactory of Villeroy & 
 Boch at Dresden." 
 
 WILLET (De). Collection de Mr. de 
 Willet d' Amsterdam. Vente a 
 Paris, 1874. Notice par A. 
 Bloche. 8, pp. 67 ; with 10 
 photos. 
 
 Catalogue of sale. The plates reproduce fine 
 specimens of Italian majolica. 
 
 WILLIAMS (L.). The arts and crafts 
 of older Spain. London, Foulis, 
 1907. 3 vols. 8. Pottery, 
 vol. ii., pp. iii-220 ; with 17 
 illustrs. 15s. 
 
 WILLIAMS (W. M.). The chemistry of 
 London clays. London, 1887. 
 8, pp. 8. (Extr.) 
 
 WINDUS (H.). A new elucidation of 
 the subjects on the celebrated 
 Portland vase, formerly called 
 Barberini, and the sarcophagus 
 in which it was discovered. 
 London, Pickering, 1845. Obi. 
 fol., pp. 106 ; with 10 lith. pis. 
 and text illustrs. 10s. 
 
 Having so often been reproduced in Jasper 
 ware, the Portland vase has taken its place 
 among the best known examples of English 
 ceramic art. It is not, however, with the repro- 
 duction, but with the interpretation of the sub- 
 jects embossed on the vase, that this volume 
 professes to deal. All imaginable speculations 
 have been indulged in about their inscrutable 
 signification. Yet one may say that the solu- 
 tion of the riddle is still open to the sagacity of 
 a modern Oedipus. The elucidation excogitated 
 by Windus is by far the most extravagant of all 
 those which have been offered. The frieze is 
 said to represent an episode in the life of Galen. 
 And this is how it is narrated. Galen had been 
 called to attend on a noble Roman lady who was 
 dying from a mysterious illness. He was not 
 long in discovering that the cause of her torments 
 was that she was desperately in love. The ob- 
 ject of her passion proved to be a rope-dancer 
 named Pylades. In the three principal figures 
 of the bas-relief we are asked to see, first, the 
 celebrated physician in a contemplative atti- 
 tude ; then the Lady restored to health by the 
 approach of the Hygeian serpent ; and, lastly, 
 the rope-dancer coming out of the portico. The 
 two masks of Satyrs, placed under the handles of 
 the vase, are described as representing Aescu- 
 lapius and Galen. " They are," says the author, 
 " characteristic of the profession of surgery ; 
 the fillets, or bandages for wounds or bleedings 
 and the two leeches almost dropping from the 
 
 452 
 
 extremity of the beard, complete the allegory 
 without further comment." Further comments, 
 on our part, are surely unnecessary after this 
 quotation. 
 
 WILHELMI (Ch.). Les anciens torn- 
 beaux germaniques a Sinsheim, 
 leur ouverture, et description 
 des antiquites qu'on y a trouvees. 
 Heidelberg, 1831. 8. 
 
 " The ancient Germanic tombs of Sin- 
 sheim ; an account of their opening, with 
 a description of the antiquities they 
 contained." 
 
 WILISCH (E.). Die altkorintische 
 Thonindustrie. Leipzig, 1892. 
 8, pp. 176 ; with 8 fold. pis. 
 6m. 
 
 " The clay industry in old Corinth." 
 
 A valuable contribution to modern knowledge 
 of Greek vases. The author has limited his field 
 of research to the pottery of Corinthian origin. 
 After a thorough examination of the well-authen- 
 ticated examples, he has attempted to write a 
 historical survey of the development of the pot- 
 ter's industry in one of the most prolific centres 
 of production in ancient Greece. The account 
 has been framed on simple and rational lines. 
 It describes the styles of painting by which the 
 successive periods may be recognised, and well- 
 chosen illustrations are given of the best repre- 
 sentative types ; the classification is chiefly 
 based upon the character of the inscriptions, and 
 the modifications undergone by the shape of the 
 letters at different epochs ; inscriptions and com- 
 plete alphabets are given in facsimile. In one 
 respect, however, the title is somewhat mis- 
 leading. One might expect to learn something 
 of the technics of the Corinthian potter, and of 
 the conditions of his trade in a work entitled 
 The, Clay Industry in Old Corinth. But the 
 author has not been able to go farther than his 
 predecessors in clearing up the mist surrounding 
 the practice of the art in ancient Greece. 
 
 WINGENROTH (M.). Kachelofen und 
 Oefenkacheln des 16, 17, und 
 18 Jahrhunderts, in German- 
 ischen Museum, auf der Burg, 
 und in der Stadt Niirnberg. 
 Nurnberg, 1899. 8, pp. 18; 
 with 23 illustrs. and 1 pi. 2 m. 
 
 " Tiles and tile stoves of the sixteenth, 
 seventeenth, and eighteenth centuries in 
 the Germanic Museum, in the Castle, and 
 in the town of Nuremberg." 
 
 WINKER (Edward). Die Wegelysche 
 Porzellanfabrik in Berlin. Ber- 
 
WIN] 
 
 CERAMIC LITERATURE. 
 
 [WIP 
 
 lin, 1898. 8, pp. 65. (In 
 Schriften des Vereins fllr die 
 Geschichte Berlins.} 
 
 " The Wegely porcelain factory in 
 Berlin." 
 
 History of the first porcelain works estab- 
 lished at Berlin in 1753, and closed ten years 
 afterwards. 
 
 WINKLER (Augustus). De inferorum 
 in vasis Italise inferioris reprse- 
 sentationibus. Vratislavice, 1888. 
 8, pp. 32. 
 
 " The representation of Hades on the 
 vases of lower Italy." 
 
 A German edition was published under the 
 title Die Darstellungen der Unterwelt auf unter- 
 italischen Vasen. Breslau, 1888 ; with 1 pi. 
 2m. 
 
 WINTER (Franz). Die jungeren at- 
 tischen Vasen und ihr Verhaltniss 
 zur grossen Kunst. Berlin, W. 
 Spemann, 1885. 4, pp. vi-72 ; 
 with 14 illustrs. 4 m. 
 
 " The early vases of Attica in their 
 relation to high art." 
 
 An essay upon the rapid improvement effected 
 in the style of vase painting by the works of the 
 great artists, painters, and sculptors of the second 
 half of the fifth century B.C. The red-figured 
 vases of that period are considered as repre- 
 senting the highest form of Greek ceramic art. 
 Upon many of these vases one may recognise 
 some subjects evidently inspired from the 
 metops of the Parthenon, and others which can 
 be supposed to be a copy of some celebrated 
 wall painting of the time. These vases are be- 
 lieved to have all been made in Athens, whence 
 they were exported into the countries where they 
 were discovered in the late excavations. A list 
 of all the vases of this class which have been 
 reproduced in the antiquarian publications, and 
 the date of which can be surely fixed between 
 the years 440 and 400 B.C., is placed at the end 
 of the work. 
 
 Ueber ein Vorbild neuatti- 
 
 scher Reliefs. Berlin, 1890. 4; 
 with 7 illustrs. 
 
 " Upon the subject of a late Attican 
 relief." 
 
 Eine attische Lekythos der 
 
 berliner museum ; 55 Winckel- 
 mann Programe. Berlin, Rei- 
 mer, 1895. 4, pp. 17 ; with a 
 col. pi. and 5 illustrs. 
 
 "A Lekythos of Attica in the Berlin 
 Museum." 
 
 Die antiken Terrakotten. Im 
 Auftrag des archaolog. Instituts 
 des deutschen Reichs, heraus- 
 gegeben von R. Kekule von 
 Stradonitz. Berlin, Spemann, 
 1903. Fol., pp. cxxx-480 ; with 
 num. illustrs. 80 m. 
 
 " The antique terra-cotta. Published 
 by R. Kekule under the patronage of the 
 German Archseological Institute." 
 
 Part I. A review of the discoveries. The 
 primitive types and their derivations. The 
 Archaic types and their development. Part II. 
 The later types. 
 
 WINTER (I.). Im Purzlinerlandl. 
 Eine Studie iiber das Leben der 
 nordwestbohmischen Porzellan- 
 arbeiter. Wien, J. Brand, 1901. 
 8, pp. 81. 1 m. 
 
 " In Porcelain land. A study on the 
 life of the operatives in the porcelain 
 manufactories of North Bohemia." 
 
 Statistics of the wages, cost of living, and 
 social condition of the workmen in Bohemia. 
 
 WIPPLINGER (Llldwig). Die Keramik, 
 oder die Fabrication von Topf er- 
 Geschirr, Steingut, Fayence, 
 Steinzeug, Terralith, sowie von 
 franzosischen, englischen und 
 hart-Porzellan. Anleitung fur 
 Praktiker zur Darstellung aller 
 Arten Keramischer Waaren nach 
 deutschem, franzosischem und 
 englischem Verfahren. Wien, A. 
 Hartleben, 1882. Sq. 8, pp. 
 368 ; with 45 illustrs. 4 m. 
 (Vol. xcviii. of the Hartleben' s 
 Chemisch-technische Biblioihek. ) 
 
 " Ceramics, or the manufacture of 
 earthenware vessels : cream-colour ware, 
 faience, stoneware, ironstone china, and 
 the French and English porcelain. In- 
 structions for practical potters towards 
 the production of all sorts of ceramic 
 ware after the German, French, and 
 English methods." 
 
 A reliable manual brought up to the level of 
 all the latest improvements of the potting in- 
 dustry. The comprehensive title, " Ceramics," 
 is not altogether correct, for this treatise deals 
 only with the processes employed for earthen- 
 ware-making. All the other branches of the 
 
 453 
 
WIS] 
 
 CERA MIC LIT ERA TV RE. 
 
 [WIT 
 
 potter's art are treated separately in other 
 volumes of the same series. 
 
 It has been translated into_French under the 
 title, La ceramique, guide pour les praticiens, etc. 
 Vienne, 1882. 8. 
 
 WISE (J. R.). The New Forest; its 
 history and its scenery. London, 
 1863. 2nd ed., 1888. 8. 
 
 Prehistoric and Roman Pottery, pp. 196-225. 
 
 WITHERS (R. J.). St. Marie's Abbey, 
 Beaulieu. Encaustic tiles, 
 copied from examples remain- 
 ing in various parts of the 
 Abbey. London, 1845. 4 col. 
 pis. 
 
 WITTE (Jean de). Description des 
 antiquites et objets d'art qui 
 composent le cabinet de feu Mr. 
 le Chev. E. Durand. Paris, 
 1836. 8, pp. 544 ; with 5 pis. 
 of forms. 5 fcs. 
 
 Sale catalogue of the Durand collection. 
 
 - Description d'une collection 
 de vases peints et bronzes an- 
 tiques provenant des fouilles de 
 1'Etrurie. Paris, 1837. 8, pp. 
 158. 3 fcs. 
 
 " Description of a collection of painted 
 vases and antique bronzes coming from 
 the excavations in Etruria." 
 
 Description des vases peints 
 
 et des bronzes antiques qui 
 composent la collection de Mr. 
 de M***. Paris, 1838. 8, pp. 
 104; pi. 
 
 Catalogue of the De Magnoncourt collection. 
 
 Description des vases peints 
 
 de la collection de Mr. Av***. 
 Paris, 1839. 8, pp. 94 ; pi. 
 
 " Catalogue of painted vases in the 
 Avellino collection." 
 
 _ Collection d' antiquites de 
 
 Mr. le Vicomte Beugnot. Paris, 
 1840. 8, pp. 180 ; pi. 
 
 Sale catalogue of the Beugnot collection 
 (painted vases). 
 
 Lettre a Mr. Panofka sur une 
 
 454 
 
 amphore de Nola representant 
 Penelope. Paris, 1843. 8, pp. 
 15; 2 pis. 
 
 " A letter on an amphora from Nola 
 representing Penelope." 
 
 - Noms des fabricants et des- 
 sinateurs de vases peints. Paris, 
 1848. 8, pp. 90. 
 
 " Names of the makers and painters of 
 Greek vases." 
 
 - L' expiation d'Oreste, expli- 
 cation d'un vase peint. Paris, 
 1850. 8, pp. 24 ; 2 pis. 
 
 " The Atonement of Orestes ; elucida- 
 tion of a painted vase." 
 
 - Le jugement de Paris. Cylix 
 de Brylus. Berlin, 1856. 4; 
 pi. 
 
 " The judgment of Paris. A Kylix by 
 Brylus." 
 
 Enee sauve par Venus ; Am- 
 phore de la collection Feoli a 
 Rome. Paris, 1844. 8, pp. 14 ; 
 pi. 
 
 " JLneas rescued by Venus ; an am- 
 phora of the Feoli collection/ ' 
 
 - Paris et Eros, vase peint a 
 ornements dores. Paris, 1863. 
 
 4; pi. 
 
 " Paris and Eros ; a painted vase with 
 gilt ornaments." 
 
 Notice sur les vases peints a 
 
 j. 
 
 reliefs du Musee Napoleon III. 
 Paris, 1863. 12, pp. 38. 
 
 " Notice of the painted vases, adorned 
 with reliefs in the Napoleon III. Museum. 
 (Collection Campana.)" 
 
 Notice sur quelques vases 
 peints de la collection Castellani. 
 Paris, 1865. 8, pp. 40. 
 
 " Notice of a few painted vases in the 
 Castellani collection." 
 
 La double Minerve. Expli- 
 cation d'un vase peint apparte- 
 nant au Comte A. du Chastel. 
 
 Bruxelles, s.d. 8. 
 
WIT] 
 
 CERA MIC LITER A TURE. 
 
 [WOL 
 
 " The duplex Minerva. Explanation 
 of a painted vase." 
 
 Etude sur les vases peints. 
 Paris, 1865. 8, pp. iv-122 ; 
 illustrs. (Reprint from the 
 Gazette des Beaux- Arts.} 
 
 " Essay on ancient painted vases." 
 
 In this masterly essay, dealing chiefly with 
 the vases of the Campana collection, Mr. J. de 
 Witte has embodied the result of a life-long 
 study of Greek ceramic art. 
 
 - Note sur un vase de terre 
 decore de reliefs. Paris, 1869. 
 8, pp. 11 ; with 1 etched pi. 
 (Reprint from the Memoir es de 
 la SocUte Imp. des Antiquaires 
 de France.) 
 
 " Notice of an earthen vase decorated 
 in relief." 
 
 This Roman vase was discovered in Nor- 
 mandy. It is made of red clay, and offers the 
 peculiarity, very rare in the works of the ancients, 
 of being decorated with four skeletons in relief. 
 
 Catalogue de la collection 
 d'antiquites de feu Mr. Ch. Par- 
 avey. Paris, 1879. 8. 
 
 " Sale catalogue of the Paravey collec- 
 tion of antiquities." 
 
 L'enlevement d'Helene et 
 Menelas a la prise de Troie. 
 Vase peint portant les signatures 
 de Hieron et de Macron. Paris, 
 1880. 4, pp. 12 ; with 2 pis. 
 
 " The rape of Helen, and Menelaus at 
 the storming of Troy. Painted vase 
 bearing the signatures of Hieron and 
 Macron." 
 
 - Hercule et Geryon. Expli- 
 cation d'un vase peint. Brux- 
 elles, s.d. 8; pi. 
 
 Description des collections 
 d'antiquites conservees a 1' Hotel 
 Lambert. Paris, Charmerot, 
 1886. 4. Introd. pp. Ixxx ; 
 descrip. pp. 182 ; with 34 col. 
 pis. of painted vases, 2 pis. of 
 terra-cottas, and sketches of 
 forms in the text. 45 fcs. 
 
 " Description of the collections of anti- 
 quities preserved at the Hotel Lambert." 
 Collection of Prince Czartoryski. 
 
 - See Lenormand (Ch.) et Jean de 
 
 Witte. Elite des monuments cer- 
 amographiques. 
 
 - See Jaoze (H. de). Choix de 
 terres-cuites antiques. 
 
 WITTMANN (Ch.) und SEIDEL (R.). Stud- 
 ienmappe fur die keramische 
 Industrie. Herausgegeben von 
 hervorragenden Fachmannern. 
 Plauen, C. Stoll, 1897. Fol.; 
 48 pis. 
 
 " Designs for the ceramic industry by 
 the best special artists." 
 
 WLHA (JOS.)- Sammlung von 17 
 Blatt : Ofen in Kaiserl. Os- 
 treich. Schlossern. 17 photogr. 
 pis. Wien, s.d. Fol. 
 
 " Collection of 17 photogrs. from earth- 
 enware stoves in the imperial palaces of 
 Austria." 
 
 WOLFER (M.). Anweisungzur Fabri- 
 kation aller Arten von Wasser- 
 leitungs und Brunnenrohren aus 
 Thonmasse, etc. Quedliriburg, 
 1844. 8, pp. v-48 ; with 6 fold, 
 pis. 2 m. 
 
 " Instructions for making all sorts of 
 water-pipes out of clay." 
 
 WOSTERMANN Y. OYEN (A. A.). Over- 
 eenkomst aangegaan tuschen de 
 Delftsche Plateelbakker op 30 
 Jan., 1778. (Reprint, Rotter- 
 dam, 1889.) 
 
 " An agreement passed between the 
 potters of Delft." 
 
 WOLF (F.). Die Meissener Ofenin- 
 dustrie. Dresden, 1891. 8, 
 pp. 16. 
 
 " The earthenware stove industry at 
 Meissen." 
 
 Notice of a stove manufactory established by 
 G. H. Melzer, formerly modeller at the Royal 
 Porcelain Works. 
 
 455 
 
WOL] 
 
 CERAMIC LITERATURE. 
 
 [WRI 
 
 WOLFF - BECKH. Johan Friedrich 
 Bottger, der deutsche Erfinder 
 des Porzellans. Berlin, 1903. 
 8, pp. 56 ; portr. Is. 
 
 " J. F. Bottger, the German discoverer 
 of porcelain." 
 
 WOLFF (G.)- Topfer und Ziegels- 
 tempel der slavischen und vor- 
 slavischen Zeit aus dem unteren 
 Maingebiete. 1895 Pp. 13. (In 
 
 Annalen des Vereins fur Nas- 
 sauische A Itertumskunde. ) 
 
 " Pottery and tiles impressed marks of 
 the Slavian and pre-Slavian period from 
 the lower region of the Main." 
 
 - Romische Topfereien in der 
 Wetterau. (Heldenbergen und 
 Heddernheim.) 1899. 8, pp. 
 29 ; with 2 pis. (In Westd. 
 Zeitschr. f. G. u. K.) 
 
 " Roman pottery in the Wetterau." 
 
 WOOD (Enoch) (Anon.). A represen- 
 tation of the manufacturing of 
 earthenware ; with 21 finely 
 printed plates and a short ex- 
 planation to each, showing the 
 whole process of the pottery. 
 London, printed for the propri- 
 etors, by A. Cudden, 1827. 16. 
 2. 
 
 The frontispiece of this extremely rare hand- 
 book gives a view of Enoch Wood's factory at 
 Burslem. It now forms part of the Doulton 
 Works. 
 
 WOODCROFT (B.). Patents for inven- 
 tions. Abridgements of the 
 specifications relating to pot- 
 tery. Printed by order of the 
 Commissioners of Patents. Lon- 
 don, 1863. 12, pp. 179. 2s. 6d. 
 
 The list begins with the patent taken by 
 Rous, alias Rius Thomas, and Cullyn, Abraham, 
 " for the sole making of stone potte, etc., in the 
 year 1626." 
 
 WOODWARD (John). An account of 
 some Roman urns and other 
 antiquities lately digg'd up near 
 Bishops-Gate, etc. London, 
 1713. 16, pp. xii-32. 4s. 
 456 
 
 J. Woodward, the principal of Gresham 
 College and a learned antiquary, describes the 
 urns, to which he attributes a Roman origin, 
 as made of unbaked clay, which caused them 
 to crumble into fragments as soon as they were 
 got out of the soil. From this fact, we should 
 now consider such vessels as early British 
 cinerary urns. 
 
 WOOLS (Rev. Ch.) (Anon.). The Bar- 
 row Diggers ; a dialogue in 
 imitation of the grave diggers 
 in Hamlet ; with numerous ex- 
 planatory notices. London, 
 Whittaker, 1839. Sm. 4, pp. 
 112 ; with 11 lith. pis. (three of 
 urns). 6s. 
 
 WORMSTALL (A.). --De corinthiacis 
 tabellis fictilibus. Monasterii 
 Guestf, 1890. 4, pp. 48. 
 
 " The Corinthian terra-cotta tablets." 
 
 WORSAAE (J. J. A.). The primeval 
 antiquities of Denmark. Trans- 
 lated and applied to the illus- 
 tration of similar remains in 
 England by W. J. Thorns. Lon- 
 don, 1849. 8; with text illustrs. 
 5s. 
 
 Nordiske Oldsager i det 
 
 Kongelige Museum i Kjoben- 
 havn. Kjobenhavn, 1859. 8; 
 with 622 figs. 6s. 
 
 " Northern antiquities in the Royal 
 Museum of Copenhagen." 
 
 WOSINSKY (M.). Die inkrustierte 
 Keramik der Stein und Bronze- 
 zeit. Berlin, Asher, 1904. 8, 
 pp. 188 ; with 150 typ. pis. 
 20m. 
 
 " The inlaid ceramics of the stone and 
 bronze ages." 
 
 WRIGHT (T.). Ruins of the Roman 
 city of Uriconium. Shrewsbury, 
 1859. 12, pp. 96 (4 pis. of 
 Roman pottery.) 
 
 With a catalogue of the antiquities in the 
 Shrewsbury Museum. 
 
 WRIGHT HARRISSON. A memorandum 
 description of the finer specimens 
 
WUN] 
 
 CERAMIC LITERATURE. 
 
 [YOU 
 
 of Indian earthenware pots. 
 Wilkes-Barre, Wyoming Hist. 
 Soc. publications, No. 4, 1883. 
 8, pp. 16 ; with photogr. pis. 
 
 WUNDAHL (Martha). Anleitung zur 
 Majolika-Malerei. Berlin., s.d. 
 (with price lists and plates of 
 forms). 1 m. 
 
 " Introduction to majolica painting." 
 
 WUNDT (L.) (Anon.). English pot- 
 tery and porcelain ; being a 
 concise account of the develop- 
 ment of the potter's art in 
 England. London, The Bazaar 
 Office, 1880. 12, pp. 138 ; with 
 146 text illustrs. 3s. 
 
 WYATT (M. D.). On the influence 
 exercised on ceramic manufac- 
 ture by the late Mr. Herbert 
 Minton. London, 1858. 16, 
 pp. 32. (Reprint from the 
 Journal of the Society of Arts.} 
 
 Specimens of the geometrical 
 
 mosaics of the middle ages, with 
 a brief historical notice of the 
 art, founded on papers read 
 before the Royal Institute of 
 British Architects, etc. London, 
 Day & Son, 1848. Fol., pp. 26 ; 
 with 21 col. pis. 1, 10s. 
 
 Mosaic and marble pavements are reproduced 
 on the plates ; the designs are of some service 
 to the tile manufacturer. 
 
 WYLDE (C. H.). How to collect con- 
 tinental china. London, G. Bell 
 & Sons, 1907. 8, pp. xiv-253 ; 
 with 40 pis. in half-tone. 6s. 
 
 This handbook, which gives a condensed 
 history of the chief manufactories of porcelain 
 in Europe, has been compiled by the keeper o: 
 the section of ceramics in the Victoria anc 
 Albert Museum. 
 
 WYLIE (W. M.). Fairford graves. A 
 record of researches in an Anglo- 
 Saxon burial-place in Gloucester- 
 shire. Oxford, 1852. 4, pp. 40 ; 
 with 13 pis. (2 pis. of pottery, 
 col.). 10s. 
 
 WYROUBOFF (B.). Objets d'antiquite 
 du Musee de la Societe des 
 amateurs d'archeologie au Cau- 
 case. Tiftis, 1877. 4; with 
 5 lith. pis. 
 
 " Catalogue of the museum of archae- 
 ology at Tiflis." 
 Prehistoric pottery. 
 
 WYZEWA. Les arts du feu. Cer- 
 amique, Verrerie, Emaillerie. 
 Paris, J. Rouam, s.d. (1885?). 
 8, pp. 143. 3fcs. 
 
 " The arts of fire. Ceramics, glass, 
 enamels." 
 
 Album of 223 woodcuts from the Gazette des 
 Beaux Arts, printed on both sides of the paper, 
 and prefaced with a short historical notice. 
 
 X 
 
 XAYIER (A. Y,). Arte da Louca 
 vidrada. Traducido do Francez. 
 IMoa, 1805. 12, pp. 168; 
 with 10 pis. 
 
 "The art of enamelled pottery. A 
 translation from Fourmy." 
 
 YANYILLE (Collection de Mr. le Cte d'). 
 Catalogue of sale. Paris, 1907. 
 8. 6 fcs. 
 
 Faiences and porcelains, 330 Nos., with 
 6 pis. 
 
 YOUNG (Jennie J.). The Ceramic Art. 
 A compendium of the history 
 and manufacture of pottery and 
 porcelain. New York, Harper 
 Bros., 1878. 8, pp. 499 ; with 
 464 illustrs. 1, 2s. 
 
 The American is prone to rush through his 
 fields of action with a hurried step. Learning, 
 with him, must go apace with all the rest. A 
 book which seems to facilitate the prompt 
 acquirement of a smattering of knowledge in 
 all the branches of a complicated subject, is the 
 one he will, most naturally, appreciate. This 
 volume may be taken as the outcome of this 
 national idiosyncrasy ; its avowed object is to 
 condense in a terse form, and to treat in a 
 sweeping manner all the questions relating 
 
 457 
 
YSA] 
 
 CERA MIC LITER A TURE. 
 
 [ZAI 
 
 to the "Science of Ceramics." Through its 
 pages, history, technics, aesthetics, etc., are 
 handled simultaneously with astounding ease 
 and velocity. All periods of manufacture are 
 passed under review, the present one occupies 
 a large part in the account, which becomes 
 especially interesting when it deals with the 
 pottery of America, ancient and modern . One 
 must not depend, however, on much discrimi- 
 nation having been exerted in the gathering of 
 materials, picked up with too confiding a belief 
 in the veracity of all previous authors. The 
 selection of extracts has evidently been made 
 with the view of presenting information of a 
 startling character, intended, before all, to 
 amuse and astonish the reader. We are con- 
 fronted, in the first chapter, with the descrip- 
 tion of the Chinese bottles said to have been 
 discovered in the pyramids, not a doubt being 
 raised as to the accuracy of the long-exploded 
 tale. We hear about the marvellous monu- 
 ments of the pre-Italian majolica of Germany, 
 the existence of which is vouched for by 
 Demmin, on the authority of his own word. 
 Many other wondrous statements are exhumed 
 from the deserved oblivion in which they have 
 fallen, and discanted upon for the greater 
 enjoyment, if not for the sound instruction, of 
 the captivated reader. The illustrations of the 
 book have been, with a few exceptions, especi- 
 ally engraved from specimens preserved in the 
 collections of the United States. 
 
 . Lettres patentes sur ar- 
 rest, portant reglement pour les 
 compagnons et ouvriers qui 
 travaillent dans les manufac- 
 tures du royaume. A Paris, chez 
 P. G. Simon, 1749. 4, pp. 3. 
 
 " Regulations for the workmen em- 
 ployed in the factories of the kingdom." 
 Mentioned by Champfleury. 
 
 Yvon (Collection de Madame d'). Cata- 
 logue of sale. Paris, 1892. Sm. 
 fol., pp. 122; with 25 pis. 
 20 fcs. 
 
 Majolica, Nos. 1-96, with 6 pis. ; Delia 
 Robbia ware, Nos. 97-103 ; Faience of various 
 manufacture, Nos. 104-189; European porce- 
 lain, Nos. 389-434 ; Oriental porcelain, Nos. 
 435-474. A salt-cellar of Henri II. ware was 
 included among the faiences. 
 
 ZAS (Ernst) Die Kurmainzische 
 Porzellan-manufaktur zu Hochst 
 Ein Beitrag zur Geschichte 
 des deutschen Kunstgewerbes 
 Mainz, 1887. 4, pp. ix-186 
 458 
 
 with 3 pis, and 18 vigns. in text. 
 1, 5s. 
 
 "The Electoral porcelain manufacture 
 of Mayence, at Hochst. A document 
 towards the history of the industrial art 
 in Germany." 
 
 To give facts without comments, to supply 
 figures and leave the reader to draw from them 
 his own inference, is the rule which has pre- 
 sided over the writing of this most accurate 
 monograph. Nothing is wanted to make the 
 account complete in all its particulars. We 
 have a report of the financial situation of the 
 undertaking drawn, year after year, from 
 the account books ; a list of all the directors, 
 artists, workmen, and even shareholders, whose 
 names appear in the original documents ; and 
 lastly, a priced list of all the articles manu- 
 factured at the works. 
 
 These materials have been made use of in a 
 precise and formal manner which cannot impart 
 much interest to the narration of the common- 
 place financial difficulties under which the 
 manufactory of Hochst laboured unremittingly 
 during its fifty years existence. Every chapter 
 is treated with a superabundance of details ; 
 no special stress is laid, however, upon any 
 particular point, either historical, artistic, or 
 technical, perhaps, because none of them de- 
 parts in any way from the generalities which 
 would equally apply to the other minor 
 factories of Germany. History repeated itself 
 here with uninteresting tameness. Meissen 
 was the source from which secrets of manu- 
 facture were derived, and directors, artists, 
 and workmen were obtained. We see the 
 same " Arcanists " whom we have seen in 
 other places sell their so-called secrets as often 
 as they could come and go without leaving 
 any lasting traces of their passage. The 
 narrative, unduly protracted, is, we confess, 
 rather tedious to follow. We are told of all 
 the endless and always abortive combinations 
 in which foreign loans, lotteries, public auctions, 
 etc., were, in vain, resorted to. The wonder 
 is that, under the trying circumstances of this 
 continual change of management, and the 
 constant want of funds from which the con- 
 cern has always suffered, they continued none 
 the less to turn out very good porcelain. It 
 cannot be denied that, if the productions of the 
 Mayence factory do not evince any special 
 characteristics, they may, at any rate, bear 
 creditable comparison with the best porcelain 
 manufactured at the time in Germany. In 
 1788 things had come to such a pass that the 
 Elector, under whose patronage the enterprise 
 had always been conducted, saw no other 
 means of saving it from its impending ruin 
 than to take it in his own hands and conduct 
 it at his own risk. Under these new condi- 
 tions the manufacture persisted during ten 
 years, until in 1798 the works were definitely 
 closed. The author exonerates the French 
 general, Custine, from the accusation brought 
 against him by ceramic historians, of having 
 burnt the factory to the ground in 1792, by 
 recalling the mere fact that the building is at 
 the present moment standing exactly in the 
 same conditions as it was on the day when its 
 contents were dispersed by auction. All the 
 
ZAI] 
 
 CERAMIC LITERATURE. 
 
 [ZIE 
 
 papers connected with the business of the firm 
 were found by him preserved in their integrity ; 
 it was, indeed, by means of such an unbroken 
 chain of evidence that he has been enabled to 
 carry out his work with such an unimpeach- 
 able completeness. 
 
 In point of execution the volume is a remark- 
 able specimen of German typography ; paper, 
 printing, and illustrations are all excellent. 
 The frontispiece reproduces, in colour, the 
 portrait of the Mayence Elector from a porce- 
 lain medallion ; two other medallions, the 
 portraits of the Prince of Thurn and Taxis and 
 of Goethe, are spirited etchings ; andthezinco- 
 blocks, introduced in the text, give an adequate 
 representation of the best pieces, either table 
 ware or figures, which were manufactured at 
 Hochst. 
 
 - Frankenthaler Porzellan in 
 Aachen. Aachen, 1894. 8, 
 pp. 49. (Extr. from the Zeit- 
 schrift des Aachener Geschichts- 
 vereins.) 
 
 " The Frankenthal porcelain in Aix-la- 
 Chapelle." 
 
 Die bischoflich wormische 
 
 Faiencefabrik zu Dirmstein. 
 Milnchen, 1896. 12, pp. 36. 
 2 m. 
 
 "The faience manufactory of Dirmstein 
 in the Principality of Worms." 
 
 A few rare specimens of common faience 
 marked with a key the arms of the bishopric 
 of Worms and some account books and price 
 lists, discovered in the Imperial archives at 
 Vienna, have induced Mr. Zai's to write the 
 monograph of a small factory, almost the least 
 successful of the similar ventures started at 
 that period. Its drowsy efforts to imitate 
 the newest styles, including the production of 
 English earthenware, did not delay for long 
 the end of an ill-fated existence. The tran- 
 script of the original documents referring to 
 the manufacture offer some interest for com- 
 parison with the contemporaneous documents 
 of the same order left by other German 
 manufactories. 
 
 ZANETTI. La ceramica a Murano e 
 la famiglia Bertolini. Venezia, 
 Naratowich, 1868. 16, pp. 55. 
 
 " The ceramic art at Murano and the 
 Bertolini family." 
 
 The faience manufactory established at 
 Murano by R. Bertolini in 1753, produced 
 chiefly coarse ware decorated in the Japanese 
 style. The result was so unsatisfactory that 
 the privilege they had obtained from the Senate 
 of Venice was withdrawn in 1763 ; the works 
 were closed, and master and men resumed 
 their old trade of glass-making. No specimen 
 of that manufacture has yet oeen recognised. 
 
 ZANNONI (G. B.). Ulustrazione di due 
 urne etrusche e di alcuni Vasi 
 Hamiltoniani. Firenze, 1812. 
 8. 4 fcs. 
 
 " Description of two Etruscan urns 
 and of a few vases of the Hamilton 
 collection." 
 
 ZAYANA (J. B.).-Viage de la catho- 
 licse real Magestad del rey D. 
 Filippe II. N. S al reino de 
 Portugal. I relacion del solenne 
 recebierto que en el se le hiso. 
 Madrid, 1622. 4. 200 fcs. 
 
 " The journey of H.KM. D. Filippe II., 
 through the Kingdom of Portugal. A 
 relation of the solemnities with which he 
 was received." 
 
 Contains an article on the potter's art and 
 the Portuguese potteries of the period. One 
 of the plates represents the triumphal arch 
 erected by the potters of the town. 
 
 ZEIRICH (E.). Earthenware (Trans- 
 lated by J. W. Mollett). In 
 Reports on the Vienna Exhibition 
 of 1873, pp. 616-633. London, 
 1874. 8. 
 
 ZEISS (A.)- Meine Kunstsammlung. 
 Leipzig, Seemann, 1900. 4, 
 pp. 56 ; with 76 phototype pis. 
 and 39 text illustrs. 1, 10s. 
 
 " My artistic collection." 
 
 Ceramics, pp. 20-33, with 9 pis. No 
 specimen of particular interest. 
 
 ZEMP (JOS-). Die Backsteine von 
 St. Urban. Festgabe des 
 schweiz. Landes Museum. 
 Zurich, 1898. 8. 
 
 " The ornamental bricks of St. Urban. 
 Printed and distributed on the occasion 
 of the national fete at the National 
 Museum at Zurich." 
 
 ZIEGLER (C.). Thon-Keliefs (Fliese) 
 von der Stiftskirche St. Emme- 
 ran in Regensburg. Regensburg, 
 1868. 8, pp. 3 ; with 4 fol. pis. 
 
 " Terra-cotta basso-reliefs (Tiles) from 
 the church of St. Emmeran in Ratisbon." 
 
 Commonplace patterns in the style of the 
 Swabian tiles. 
 
 459 
 
ZIE] 
 
 CERAMIC LITERATURE. 
 
 [ZIM 
 
 ZIEGLER (J.). Etudes ceramiques ; 
 recherches des principes du beau 
 dans Fart ceramique et la forme 
 en general. Theorie de la colora- 
 tion des reliefs. Paris, Mathias, 
 1850. 8, pp. 348 ; with an atlas 
 fol. of 14 lith. pis. (2 cols.). 
 40 fcs. 
 
 " Ceramic studies ; researches on the 
 principles of the beautiful in archi- 
 tecture, ceramic art, and form in general. 
 Theory of colour applied to reliefs." 
 
 For many a thinker, ceramic art, in the 
 abstract, is an enchanted land of dreams. So 
 long as the dreamer lets his thoughts wander 
 over lofty summits, he revels in visions of 
 unbounded possibilities. But when the moment 
 comes of alighting upon the terrestrial level, a 
 cruel awakening drives away entrancing illu- 
 sions, nothing is left to him but the stern 
 commands of inexorable necessity. Overdrawn 
 as the metaphor might appear when applied to 
 a maker of earthen pots, it is not, however, 
 out of place in the present case. It stands 
 good when we compare the aesthetic principles 
 formulated by Ziegler during the period of the 
 dream, and the pottery that he produced, and 
 which we must take as representing his utmost 
 power of realisation. A true artist for he 
 gave great promise at one moment as a historical 
 painter and a sculptor he believed himself to 
 be a born potter. He started in a way new 
 to him, fully equipped with theories on the 
 ethics of plastic beauty, but somewhat deficient 
 in the practical knowledge of such common- 
 place subjects as clays, colours, glazes, and 
 firing. It was not long before he had to 
 realize that potters are made, and not born. 
 The worst of it was that in the course of his 
 wandering experiments, it looked as though 
 he had forgotten that he was an artist, before 
 he had had time to become a potter. At least 
 such a remark is conveyed to our mind by the 
 examination of the plates contained in the 
 album, purporting to illustrate the abstract 
 considerations developed in the accompanying 
 volume. Far from evincing originality of con- 
 ception, or a well-marked understanding of the 
 laws of harmonies and contrasts, the forms of 
 the vessels are wanting in character and devoid 
 of elegance. Their ornamentation, always 
 commonplace, is either borrowed from Arabic 
 traceries, or composed of realistic foliage, stifl 
 and badly arranged. Nothing in the whole 
 scheme is calculated to bring out the skill of 
 the artist, or the full capabilities of the potter. 
 Foremost among Ziegler's ambitious intentions 
 was the revival of the manufacture of the old 
 brown "Gres de Flandres," of which he 
 imagined the secret to have been lost. Having 
 read in Palissy's book that at Voisinlieu, near 
 Beauvais, could be found a kind of clay superior 
 to all others for the making of pottery fc it was 
 at Voisinlieu that he established a small factory 
 Forgetting that the merit of the ancient stone 
 ware he wanted to imitate consisted not so 
 much in the quality of the material as in th 
 richness and variety of its decoration, couplec 
 
 460 
 
 with extreme neatness and brilliancy of treat- 
 ment, he produced only a few original models, 
 of which thousands of copies were to be cheaply 
 manufactured by mechanical processes. He 
 met with no success. Tired at last, after a 
 few years, of his unremunerative efforts, 
 Ziegler sold the Voisinlieu factory, recipes, 
 models, and all to a practical potter who, 
 giving up all ideas of producing artistic ware, 
 developed a very successful business by apply- 
 ing the manufacture of stoneware to the 
 making of chemical utensils, drain pipes, and 
 domestic vessels, for which there was then a 
 great demand and an insufficient supply. 
 
 (M.). Die gemalten Thonge- 
 fasse schlesiens aus vorgeschicht- 
 licher Zeit. Breslau, M. Woy- 
 wood, 1889. Fol. pp. 32 ; with 
 one map and 7 col pis. 12 m. 
 
 " The painted earthen pots of Silesia, 
 of prehistoric times." 
 
 The plates of this work offer excellent repre- 
 sentations of over eighty rude pots of yellowish 
 clay decorated with geometric designs, traced 
 with white and brown slip. Many specimens 
 of the same order have been extracted by the 
 author from the heavy mass of Silesian pottery 
 of undetermined antiquity preserved in the 
 German museums, and ranged into a distinct 
 group. Silesia has been, from times beyond 
 record, a thickly populated region. The 
 burial grounds of the ancient tribes cover a 
 very large area. So great was the number of 
 earthen urns and other vessels that had been 
 extracted from the graves, that it gave rise to 
 a popular superstition, according to which they 
 were either the work of the Kobolds, said 
 to inhabit the bowels of the earth, or else a 
 peculiar natural growth. The painted pots 
 noticed by M. Zimmer are evidently of a late 
 period. Each example is minutely described, 
 and the place of discovery is accurately 
 recorded. 
 
 ZIMMERMAN (E.).-KoreanischeKunst. 
 Hamburg, C. Griese, 1895. 4, 
 pp. 23 ; with 20 phototype pis. 
 and text illustrs. 12 m. 
 
 " The Corean art." 
 
 Ceramics, pp. 15-19. The introduction of 
 porcelain manufacture in Japan is traced to 
 the Corean potters, who had learned it from 
 the Chinese. 
 
 Die Erfindung und Friihzeit 
 
 des Meissener Porzellans. Ber- 
 lin, Reimer, 1908. Sm. 4, pp. 
 xxv-328; with 1 col. pi. and 
 111 text illustrs. 22 m. 
 
 "The discovery and the early days of 
 the Meissen porcelain." 
 
 Much uncertainty has prevailed up to this 
 day as to the circumstances which led to the 
 
ZIR] 
 
 CERAMIC LITERATURE. 
 
 [ZWI 
 
 discovery of the European hard porcelain, and 
 the exact date of its regular production. Herr 
 Zimmerman endeavours, not without success, 
 to demonstrate that the discovery was not due 
 to a fortuitous occurrence as usually repre- 
 sented, but to the genius and strenuous 
 researches of J. F. Bbttger. The first success- 
 ful results of his protracted experiments were 
 described in a report addressed to his patron, 
 Augustus the Strong, King of Poland, and 
 dated March 28th, 1709, in which he asserts, 
 for the first time, his capability of making 
 " good and white porcelain." A few specimens 
 of the ware of his invention were shown to the 
 king a year after in 17JO. They appeared so 
 satisfactory that, in the same year, the establish- 
 ment of a porcelain factory at Meissen was 
 ordered by royal decree. It was not, however, 
 before 1713 that the Meissen works left the 
 field of experiments to enter into a course of 
 considerable and steady production. All this, 
 and many collateral points, skilfully investi- 
 gated by the writer, had to be demonstrated. 
 
 ZIRONI (E.). Archeologia prehisto- 
 rica. L'arte delle terre cotte in 
 ogni tempo. Studi bibliogra- 
 fiche. Bologna, 1901. 12, pp. 
 96. Portr. and 1 col. pi. 2 fcs. 
 
 "Prehistoric archaeology. The art of 
 terra-cotta at all periods. Bibliographical 
 sketches." 
 
 Review of a few archaeological works. 
 
 ZSCHOKKE (B.). Recherches sur la 
 plasticite des argiles. Paris, 
 1902. 4, pp. 59. (Reprint 
 from the Bulletin de la Soc. 
 d' Encouragement) . 
 
 " Researches on the plasticity of clays." 
 
 Resultate der technologi- 
 schen Untersuchung der Schwei- 
 serischen Tones. Zurich, Speidel, 
 1907. 4, pp. 50 ; with 10 text 
 illustrs. 10 fcs. 
 
 " Results of the technical researches 
 on the clays of Switzerland." 
 
 ZWICK (H.). Die Natur der Ziegel- 
 thone und die Ziegel Fabrika- 
 tion der Gegenwart. Wien, 
 1878. 16; with 2 pis. and 
 123 illustrs. 8 m. 
 
 " The nature of the clay used in tile 
 making, and the tile manufacture at the 
 present day." 
 
 461 
 
ANONYMOUS. 
 
 A.... La Potichomanide po&ne 
 en trois chants sur 1'art d'imiter 
 les porcelaines de Chine, du Ja- 
 pon, de Sevres, de Saxe, les vases 
 Etrusques, Egyptiens, etc., suivi 
 d'une lettre tres interessante 
 dcrite de Tours et renfermant 
 tout ce que Ton a pu decouvrir 
 jusqu'a ce jour sur Fhistoire de 
 la Potichomanie ; de notes sur 
 la Chine ; et de documents 
 puises dans les ouvrages de 
 M. M. Champollion - Fijeac, 
 Brongniart, Vauquelin, Boyer, 
 d'Entrecolles, etc., sur 1'art 
 ceramique chez les anciens et 
 
 chez les modernes ; par A 
 
 Paris, Garnier freres, 1854. 8, 
 pp. 112. 6 fcs. English trans- 
 lation : Potichomania. . . . 
 London, 1855, 12. 
 
 "Potichomania; a poem in three 
 cantos upon the art of imitating the 
 porcelain of China, Japan, Sevres, 
 Saxony ; the Etruscan and Egyptian 
 vases, etc. ; with a very interesting 
 letter written from Tours concerning 
 all that is known, up to this day, upon 
 the origin of Potichomania ; also notes 
 on the Chinese Empire ; and informa- 
 tion extracted from the works of Messrs. 
 relative to ceramic art in ancient 
 and modern times." 
 
 We do not know the name of the ingenious 
 man who introduced, as an artistic pastime, 
 the simple method of sticking upon the inner 
 surface of a glass vessel, neatly cut-out scraps 
 of chromo-lithographs, and of backing them 
 with a general ground of oil colour. The name 
 of Potichomania was given to the invention. 
 It created a sort of intoxication among all 
 people of leisure, young and old, and spread, 
 as a fashionable craze, with a rapidity which 
 can only be compared to the abruptness with 
 which it was abandoned. The process, now 
 well nigh forgotten, was celebrated by a poet, 
 who showed some capability for putting into 
 verse what could not have been found worth 
 telling in prose. The poem is dedicated to 
 the ladies under whose patronage it is placed, 
 and for whom it was particularly written. 
 
 462 
 
 A. G. Prehistoric Russian Pottery 
 (in Russian), 1903. 8, pp. 39 ; 
 with 11 pis. of fragments. 
 
 Afghan boundary Commission. 
 Ornamented Tiles. London, 
 1893. 4 ; 18 col. pis. (From 
 the Journal of Indian Art.} 
 
 Anciennes faiences de Bordeaux. 
 See Azam. 
 
 Antiquites du Bosphore Cim- 
 m6reen. See GillCS. 
 
 Antiquity's trouvees en Grece, 
 Vente a Paris, Juin, 1895. 8, 
 pp. 31 ; with 12 pis. 3 fcs. 
 
 Catalogue of sale. Greek vases and terra- 
 cottas, 47 Nos. 
 
 ANTONIN BOULLEMIER. See Rose (A. Y.). 
 
 ART JOURNAL. The industries of all 
 Nations. The Art Journal 
 illustrated catalogue of the 
 Intern. Exhib. London, 1851. 
 
 4. 
 
 The exhibition of Art In- 
 dustry in Paris, 1855. Illustr. 
 Catalogue. London, 1855. 4. 
 
 The Art Journal illustr. Cat. 
 
 of the Intern. Exhib., 1862. 
 London, 1862-63. 4. 
 
 The Intern. Exhib., 1871. 
 
 Illustr. Cat. London, 1871-72. 
 .4. 
 
 ART POUR TOUS. Ceramique. Collec- 
 tion de planches ceramiques 
 tirees de cette publication. 
 Paris, Morel, s d. 2 vols. 
 Fol. ; 180 pis. 40 fcs. 
 
 A collection of plates reprinted from the Art 
 pour tons. Each subject is accompanied with 
 a descriptive notice printed in French, English, 
 and German. 
 
BAR] 
 
 CERAMIC LITERATURE. 
 
 [CAS 
 
 Barrow diggers (The). See Wools. 
 
 B. B. Comparaison entre la fabrica- 
 tion des poteries en Angleterre 
 et sur le Continent, pour servir 
 de base aux modifications a 
 apporter au tarif des douanes 
 concernant cette industrie. 
 Luxembourg, impr. J. Lamort, 
 1835. 8, pp. 26. 
 
 " A statement of the different condi- 
 tions in which the manufacture of pottery 
 is carried on in England and on the 
 Continent, to be used as a basis for the 
 alterations that should be introduced in 
 the importation duties concerning that 
 industry." 
 
 This memoir was addressed by a French 
 manufacturer (?) to the Commission of inquiry 
 appointed in Paris in 1834 to propose the 
 modification of the existing tariffs. 
 
 B. (G. F.), and B. (C. D.) Calendar 
 tiles. Drawings by G. F. B. 
 Verses by C. D. B. London, 
 1883. Obi. 8 ; 12 pis. 
 
 BERGEN. Vestlandske Kiinstindus- 
 trimuseum. Beretning om Mu- 
 seets Virksomhed i Aaret. 
 Bergen, 1893. 8. 
 
 " Report of the museum of industrial 
 art in Bergen." 
 
 BERNISCHES ANTIQUARISCHE MUSEUM. 
 Verzeichniss der antiken Vasen 
 und rom. kelt. Alterthlimer. 
 Basel, 1846. 8; with 4 lith. 
 pis. 
 
 "Catalogue of the antique vases, and 
 Roman and Celtic antiquities in the 
 Berne Museum." 
 
 BONN. Katalog der Kgl. rheini- 
 schen Museums vaterlandischer 
 Alterthlimer bei der Universitat 
 Bonn. Bonn, 1876. 8, pp. 106. 
 
 " Catalogue of the national antiqui- 
 ties of the Rhine provinces in the 
 museum of the Bonn University." 
 
 BRESLAU MUSEUM. Fiihrer durch die 
 Sammlungen des Museums schle- 
 sischer Altertumer in Breslau. 
 
 Breslau, 1891. 3d. Ed. 8, 
 pp. 116 ; with 30 illustrs. 1 m. 
 
 " Handbook to the Museum of Silesian 
 antiquities at Breslau." 
 
 Prehistoric pottery and German ceramics. 
 
 Breve nota di quel che si vede in 
 casa del principe di Sansevero, 
 Don Raimondo di Gangro, nella 
 cittk di JSTapoli. Napoli, 1768. 
 12, pp. 60. 
 
 " Short notice of the curiosities to be 
 seen in the house of Prince di Sansevero 
 at Naples." 
 
 The porcelain made for the Prince of Sanse- 
 vero was in an experimental stage. It belongs 
 to a class of which very few examples are now 
 in existence. It was a white body which, like 
 the Bottger ware, received its polish upon the 
 lapidary wheel. This rare notice records the 
 invention and gives a few particulars of 
 the manner in which it was carried on. 
 
 British art during Her Majesty's 
 reign ; being the Koyal Jubilee 
 number of the Art Journal. 
 London, Virtue, 1887. 4, pp. 
 162 ; with 2 etch. pis. and text 
 illustrs. 5s. 
 
 References are given to the best works of the 
 English manufacturers and ceramic artists of 
 modern times. The account is illustrated with 
 reproductions of a few examples of British 
 ceramic art, and views of the Delia Robbia 
 stair-case, and the Ceramic gallery at the 
 South Kensington Museum decorated with 
 Minton's majolica. 
 
 BRITISH MUSEUM. Photographs from 
 the collections of antiquities. 
 Published by permission of the 
 trustees of B. M. 964 photogrs. 
 by S. Thompson. 120, 10s. 
 London, 1872. 15 vols. Fol. 
 
 Grecian, Etruscan, and Roman series, 5 vols., 
 with 304 pis. 
 
 CARLSRUHE.-Grossherzogl. Badische 
 Alterthiimer Sammlung in Carls- 
 
 ruhe. See Wagner. 
 
 Castle Hedingham pottery, 1886. 
 16, pp. 7. Reprint from the 
 Essex County Chronicle, Oct., 
 1886. 
 
 The manufacture of artistic pottery was 
 introduced by Mr. Bingham in a small pot- 
 
 463 
 
CAT] 
 
 CERAMIC LITERATURE. 
 
 [DBS 
 
 works which, for sixty years, had provided the 
 locality with articles of common earthenware. 
 Mr. Bingham was helped in his work by all the 
 members of his family. Their productions, 
 stamped with a character of originality, were 
 much appreciated by amateurs. 
 
 Catalogue of the collection of the 
 works of Josiah Wedgwood. 
 
 See Propert 
 
 CERAMIC ART CO. (The). Makers and 
 decorators of exclusive produc- 
 tions in artistic china and porce- 
 lain. President, W. S. Lenox, 
 Trenton (N.J.), U.S.A. Obi. 4, 
 pp. 80 ; with numerous illustrs. 
 (1896). 
 
 Description of the works, followed 
 by a pattern book, 1896. 4. 
 
 -- A Kino's Inventions. The 
 loving cup story. New York, 
 the Lotus Press, 1896. 16, 
 pp. 16 ; with 9 illustrs. 
 
 Reproductions of the models of 
 three handled cups manufactured 
 by W. S. Lenox, The Ceramic 
 Art Co., Trenton, N.J. 8. 
 
 Chemical recipes ; nearly 1000 
 modern formulae for producing 
 all kinds of colours and other 
 chemical compositions ; with full 
 explanatory notes and instruc- 
 tions for manufacture. . . . 
 Sunderland, 1896. 8, pp. 316. 
 Published by the Atlas Chemical 
 Company. 1, Is. 
 
 Pigments, pp. 2-67 ; china and earthenware 
 dies and glazes, pp. 68-98 ; brick and tile, 
 pp. 99-113 ; liquid gold, pp. 119-122 ; notes for 
 
 bodies and glazes, pp. 68-98 ; brick and tile, 
 pp. 99-113 ; liquid gold, pp. 119-122 ; no 
 potters, glass and brick makers, 123-126. 
 
 CHINA HUNTERS' CLUB (The). See 
 SlOSSOn (Mrs. Annie). 
 
 C. J. S. Hints on fine art pottery 
 painting. Edinburgh, Soutter, 
 1881. 8, pp. 56 ; with 3 pis. 2s. 
 
 Published by a dealer in works of art and 
 artist material. 
 
 CLAYWORKER'S HANDBOOK (The). - A 
 manual for all engaged in the 
 464 
 
 manufacture of articles from 
 clay. By the author of The 
 Chemistry of Clay working. Lon- 
 don, Griffin & Co., 1906. 8, 
 pp. viii.-365 ; with 32 text 
 
 illustrs. 6s. See Searle (A. B.) 
 
 Collection d'un amateur de Rouen. 
 Vente a Paris, Nov., 1872, 8, 
 pp. 21 ; with 1 photogr. pi. 
 
 Fine collection of French faience formed by 
 Mr. Delaunay of Rouen. 
 
 Collection d'antiquites, vases 
 peints, etc. Paris, 1903. (See 
 Sambon.) 
 
 C. R. L'arte della ceramica. Milano, 
 Sonzogno, 1881. 32, pp. 64; 
 with 67 illustrs. (In Biblioteca 
 del Popolo. 15 cents. 
 
 Descriptive account of the Pot- 
 teries, illustrated. Brighton, 
 Robinson & Pike, 1893. 4, pp. 
 90 ; with num. illustrs. 
 
 An advertisement book containing a descrip- 
 tive notice of each of " The Potteries" towns. 
 The manufactories of each locality are well 
 described ; views of the works and reproduc- 
 tions of the choicest specimens of manufacture 
 are also given. 
 
 Description des travaux de la 
 fabrique Imperiale de porce- 
 laines, avec une revue de toutes 
 ses parties. St. Petersbourg, 
 1844. 8, pp. 29. 
 
 " An account of the productions of the 
 Imperial porcelain works at St. Peters- 
 burg; with a description of the manu- 
 factory in all its departments." 
 
 Text in French and in Russian. 
 
 Descrizione del Banchetto nuziale 
 per Alfonso II., Duca di Ferrara 
 e Barbara, principessa d' Austria, 
 preparato con appendice di una 
 lettera sopra due piatti di majo- 
 lica dipinti. Ferrara, 1869. 8, 
 pp. 36. 
 
 " Description of the banquet given on 
 the occasion of the marriageof AlfonsoII., 
 Duke of Ferrara, with Barbara, Princess 
 
DIE] 
 
 CERAMIC LITERATURE. 
 
 [GEF 
 
 of Austria ; with a letter on two majolica 
 dishes." 
 
 Contains an account of the majolica vessels 
 used at the banquet. 
 
 Dieci Bambini in fasce di bassore- 
 lievi nella Loggia dell'Ospedale 
 degli Innocente in Firenze. 
 Firenze, 1 897. 10 pis. in chromo- 
 lith ; with a portrait of Andrea 
 della Robbia, taken from a con- 
 temporary majolica dish, printed 
 on the wrapper. 5s. 
 
 " The ten infants in swaddling clothes ; 
 bas-reliefs in the Loggia of the Hospital 
 of the Innocents in Florence." 
 
 Disquisition upon Etruscan vases. 
 
 See Christie (I) 
 
 DOCCIA. - - Manufacture Ginori, a 
 Doccia, pres Florence, fondee en 
 . 1735. Album de porcelaines et 
 de maj cliques artistiques. Flo- 
 rence, 1873. 4. 
 
 " Ginori manufactory at Doccia, near 
 Florence, established in 1735. An 
 illustrated catalogue of its productions 
 in porcelain and artistic majolica." 
 
 DOCCIA. See Lorenzini. 
 
 DRESDEN INDUSTRIALART SCHOOL Kata- 
 log der Bibliothek der Konigl. 
 Kunstgewerbe-Schule zu Dres- 
 den. Dresden, Hoffmann, 1897, 
 8. 5 m. 
 
 "Catalogue of the library of the 
 Industrial Art School at Dresden." 
 
 Part VI. Ceramics, glass, and precious 
 stones, pp. 4-56. Part XIII. Schools, collec- 
 tions, exhibitions, art associations and guilds. 
 Appendix, pp. iv.-108. 
 
 EDINBURGH MUSEUM. National Mu- 
 seum of Antiquities of Scotland. 
 Catalogue, 1892 ; with num. 
 illustrs. 
 
 Scottish pottery, pp. 161-194. Romano- 
 British, p. 220. 
 
 Eerste Brief over byzondere neder- 
 landsche oudheden, etc. Donder- 
 beitels en Vrow Jacobaes Kan- 
 30 
 
 netjesentz. Arnheim,l&.J$ro\iwer, 
 1757. 8, pp. 79. 5s. 
 
 " First letter on certain antiquities of 
 the Netherlands, and on the stoneware- 
 bottles commonly called " Cannetes 
 of the Countess Jacqueline." 
 
 Endecktes Geheimniss des achten 
 Porzelans. Berlin, 1750. See 
 
 Pott. 
 
 English china and china marks ; 
 being a guide to the principal 
 marks found on English pottery 
 and porcelain. With engravings 
 of upwards of 150 marks. Lon- 
 don, Wyman, s.d. (1900?). 8, 
 pp. 35. 2s. 
 
 Expose sur 1'organisation du tra- 
 vail. Les delegues de la Societe 
 populaire de Limoges. Limoges, 
 Barbon. Sq. 8, pp. 23. 
 
 Deals with the regulation of work in the 
 porcelain factories, and advocates co-operation. 
 
 Factory Glazes for ceramic 
 engineers. ... A. of the 
 series, Leadless sanitary glazes 
 . . . by a West-Riding Ex- 
 pert. London and New York, 
 1908. Fol., pp. iii-56. 2. 
 
 The peculiar terminology, the singular tabular 
 arrangement of the mixtures, as well as the 
 individual style of writing adopted by the 
 author, make us incapable of expressing an 
 opinion on the practical use of this unpre- 
 cedented list of recipes. Its chief claim to the 
 potter's attention is that it is not scientific. 
 Several volumes, prepared on the same plan, 
 are said to be in the press. 
 
 FRANKFURT EXHIBITION. Historische, 
 kunstgewerbl. Erzeugnisse, Aus- 
 stellung zu Frankfurt a M. 1875. 
 Fol. ; 100 pis. inphototyp. 75m. 
 
 " Exhibition of historical and of 
 industrial art objects." 
 
 Gefasse der deutschen Renaiss- 
 ance, im Auftrage d. K. K. 
 Handelminist. herausg. v. Oest. 
 Museum f. Kunst-Industrie. 
 
 465 
 
G.G.H.] 
 
 CERAMIC LITERATURE. 
 
 [IND 
 
 Fol. ; 16 heliogr. 
 
 Wien, 1876. 
 pis. 
 
 Vases of the German Renaissance ; published 
 under the patronage of the ministry of Com- 
 merce, by the I. R. Museum of Industrial Art. 
 
 G. G- H. Dei vasi greci. . . . 
 See Haus (G. G.). 
 
 Griechische Terracotten aus Tan- 
 agra und Ephesos im Berliner 
 Museum. Berlin, E. Wasmuth, 
 1878. Sm. 4, pp. 10; with 
 32 photogrs. 2. 
 
 " Greek terra-cottas, from Tanagra and 
 Ephesus, in the Berlin Museum." 
 
 Guide des corps des Marchants, et 
 des Communautes des Arts et 
 Metiers, tant de la Ville et des 
 Fauxbourgs de Paris, que du 
 Royaume, etc. Paris, Veuve 
 Duchesne, 1766. 12. 20 fcs. 
 
 "A guide-book for the merchants, and 
 for the Arts and Trade Companies, for 
 the town and suburbs of Paris, and for 
 the whole Kingdom." 
 
 A short notice of each of the incorporated 
 trades : Enamellers, p. 228 ; potters, p. 437 ; 
 glass makers, p. 481 ; stained-glass painters, 
 p. 485, will be found in this book. 
 
 Guide du visiteur a la manufacture 
 nationale de Sevres. Paris, 
 Ch. Mourgues, 1874. 12, 
 pp. 102. 
 
 " The visitor's handbook to the National 
 Manufactory of Sevres." 
 
 Written under the direction of L. Robert, 
 then administrator of the national manufactory, 
 It contains a brief notice of the processes of 
 manufacture, a list of marks, and the names of 
 all the donors to the ceramic museum. 
 
 Haagsche Porceleinfabrick (De). 
 The Hague, 1863. 8, pp. 8. 
 (In Mededeelingen van de veree- 
 niging beoffening der Geschie- 
 deniss van 's Gravenhage). 
 
 " The manufactory of porcelain at The 
 Hague." 
 
 Doubts have been entertained as to the 
 making of hard porcelain at The Hague. It is 
 now ascertained that a workman from Dresden, 
 named Lynkert, established a manufactory in 
 the town, under the patronage of the Munici- 
 
 466 
 
 pality, in 1774. The porcelain made in that 
 establishment was said to be equal to that of 
 Saxony, but as its production was very costly, 
 it had to be sold at a higher price. It was 
 disposed of, chiefly by means of lotteries. 
 
 HANLEY EXHIBITION, 1890. - - North 
 Staffordshire Technical, Art, and 
 Industrial Museum. Handbook 
 and catalogue of the collection 
 of works of art and other objects 
 of interest exhibited at the in- 
 auguration ; with an account of 
 the museum. Hanley, Allbut 
 and Daniel, 1890. 16, pp. 57. 
 
 A loan of the celebrated Forman collection, 
 in the possession of Major Brown, was the 
 great feature of that exhibition. H.M. the 
 Queen had contributed some Sevres porcelain 
 vases from Windsor Castle ; Messrs. Wedg- 
 wood had sent old Wedgwood ware ; Mr. 
 R. W. Binns, old Worcester porcelain ; and 
 other collectors, selections of pottery and china 
 of various origin. See Solon, Salt-Glaze. 
 
 HENRI DEUX WARE. See King (A. C-). 
 
 IMPERIAL INSTITUTE. Official cata- 
 logue of the exhibition of decora- 
 tive and artistic pottery, china 
 and glass manufacture, in con- 
 nection with the United King- 
 dom Section of the Imperial 
 Institute, including particulars 
 of a loan collection of china and 
 pottery dating from the year 
 1600 A.D. London, 1894. 8, 
 pp. 128. 
 
 Indian ceramics. 19 photogrs. of 
 ancient and modern examples 
 of Indian ceramic art. Report 
 on the Bombay pottery in the 
 South Kensington Exhibition, 
 1871. Sm. fol. 1, 10s. 
 
 Permanent photographs of 
 Madras and Burmese art ware. 
 Published under the superintend- 
 ence of the Madras Government 
 Art Committee. London, 1886. 
 4, pp. 12 ; with 50 autotyp. pis. 
 2, 10s. 
 
 Industries of Staffordshire. His- 
 torical, statistical, biographical. 
 
TND] 
 
 CERAMIC LITERATURE. 
 
 [MET 
 
 London, s.d. (1890). 4, pp. 128 ; 
 with num. illustrs. 
 
 An illustrated trade directory ; it contains 
 an article on the " Staffordshire Potteries" and 
 the pottery manufacture, with wood-cuts by 
 Harry Furniss ; also, an historical account of 
 the towns of the district, with views of the 
 most important manufactories. 
 
 Industriestatistik der Oesterreich. 
 Monarchie f.d.I. 1856. Heft I. 
 Steinwaaren, Thonwaaren, Glas- 
 waaren. Wien, 1857. 8 C ; with 
 a table of the earthenware 
 manufacture. 
 
 " Industrial statistics of the Austrian 
 Empire, for the year 1856. Part I. 
 Pottery and glass." 
 
 JOHN JAKOB HETLINGER von IINTERTHUR. 
 
 - Winterthur, 1890. 4, pp. 18 ; 
 
 with 2 pis. Bust of Louis XVI. 
 
 inSevresbiscuit(byBiddermann). 
 
 Hetlinger became assistant director of the 
 R. Manuf. of Sevres in 1779. Under his direc- 
 tion the first pieces of a large size were pro- 
 duced in porcelain biscuit. He retained his 
 post when Al. Brongniart undertook the recon- 
 stitution of the national establishment, and 
 worked in association with him until 1803, the 
 date of his death. 
 
 Keure tegens het Namaaken der 
 Teeckens of Merken der Plateel- 
 bakkerijen, mitsgaders het ver- 
 anderen der voorseijde Teeckens 
 of Merken. Delft, printed by 
 A. Sterks, 1764 (with facsimile 
 of marks). 
 
 "Regulations concerning the forgery 
 of the potters' trade marks, and the 
 alterations introduced in the design of 
 the aforesaid marks." 
 
 Regulations issued by the magistrates of 
 Delft at the time when the industry of the town 
 was beginning to decline. A reprint of the 
 rules, and a reproduction of the accompanying 
 marks is given in Archie/ v. Nederl. Kimstgesch. 
 I. Rotterdam, 1877. 
 
 Kontroll-apparate fur Ziegeleien 
 und verwandte Betriebe. Ber- 
 lin, Thonindustrie-Zeitung, 1903. 
 12, pp. 95. 
 
 " Controlling apparatus for tile-making 
 and kindred industries," 
 
 LEIPZIG. Alte Kunstgewerbliche 
 Arbeiten aus der Leipziger 
 Ausstellung, 1879. Fol., 70 
 phototyp. pis. 3. 
 
 " Ancient works of art in the Leipzig 
 Exhibition, 1879." 
 
 Kunstgewerbe Museum. 
 Fiihrer durch die Sammlung. 
 Leipzig, 1884. 8, pp. 32 ; with 
 Ipl. 
 
 "A guide to the collections of the 
 museum of industrial art in Leipzig." 
 
 LIMOGES. Statuts de la Societe 
 fraternelle des artists en porce- 
 laine, fondee a Limoges le 
 9 Novembre, 1844. Limoges, 
 1844. 12. 
 
 "Statutes of the Friendly Society of 
 Art-workers in Porcelain, established at 
 Limoges, 1844." 
 
 LINTHORPE WARE. Desultory notes 
 and comments on the productions 
 of the Linthorpe Pottery. Dar- 
 lington, 1885. 4, pp. 16 ; with 
 6 pis. Priv. printed. 
 
 LISBON EXHIBITION, 1882. Exposigfto 
 retrospectiva de arte ornamental 
 Portugueza e Hespanhola. Cata- 
 logo. Lisboa, 1882. 5 parts. 
 8 ; with 220 lith. pis. 
 
 The ceramic art was chiefly exhibited in 
 room E ; the catalogue of that portion of the 
 exhibition was prepared by F. Palha ; it com- 
 prised 536 Nos. 
 
 List of collectors and dealers in 
 old china. Syracuse, N.Y., 1905. 
 The Keramic Studio Publ. Co. 
 Fol., pp. 32. 
 
 MEISSEN PORCELAIN WORKS. Die konig- 
 liche Porzellan-manufactur zu 
 Meissen. Eine geschichtliche 
 Skizze als Festgabe zur 150 
 Jahrigen Jubelfeier dieser An- 
 stalt am 6 Juni, 1860. Mit einer 
 lithographirten Ansicht der 
 Schloss und Domkirche oder 
 
 467 
 
MEI] 
 
 CERAMIC LITERATURE. 
 
 [MIN 
 
 der Albrechtsburg. Meissen, 
 1860. 8 ; with 1 lith. pi. 3 m. 
 
 "The royal porcelain manufactory of 
 Meissen. An historical sketch, published 
 in commemoration of the 150th anniver- 
 sary of the foundation of that establish- 
 ment, June 6, 1860. With a view of 
 the Albrechtsburg." 
 
 MEISSEN PORCELAIN WORKS. Konigl. 
 Sachs. Porzellanmanufaktur. 
 Dresden, 1896. 8, pp. 60; with 
 4 autotyp. pis. 
 
 "The Meissen royal porcelain manu- 
 factory." 
 
 History of the works divided into nine 
 periods ; marks. 
 
 Preis-Verzeichniss der Kon- 
 
 ligl. Sachs. Porzellan-manufactur 
 und deren Niederlagen zu Dres- 
 den und Leipzig. . . . Dresden, 
 s.d. 4, pp. 42; with 32 lith. 
 pis. 
 
 "Price list of the royal porcelain 
 manufactory of Meissen and its depots in 
 Dresden and Leipzig." 
 
 Preisverzeichniss, etc. An- 
 other edition with an Atlas of 
 64 phototyp. pis. Meissen, 1896. 
 Sm, fol. 40 m. 
 
 MUNICH EXHIBITION,1852. Abbildungen 
 von Kunstgegenstanden aus der 
 Landes - Industrie - Ausstellung. 
 Mimchen, 1852. 125 lith. pis. 
 
 Illustrations of art objects from the Exhi- 
 bition of National Industries. Pen and ink 
 outlines of such miserable execution that the 
 well-known masterpieces of ceramic art sent 
 by Sevres, Dresden, and other manufactories 
 are scarcely recognisable. 
 
 Manufacture imperiale de porce- 
 laine de Saint Petersbourg (La), 
 1744-1904. St. Petersbourg, 1906. 
 Fol., pp. viii-422 and 63 of tables; 
 with 12 heliogr. pis., one pi. oi 
 marks, and 493 half-tone illustrs. 
 75m. 
 
 "The imperial manufactory of porce 
 lain of St. Petersburg." 
 
 Published by the Council of Administration 
 of the imperial factories. Text in Russian. 
 An abridged translation in French is given at 
 the end of the volume. 
 
 468 
 
 A state-supported establishment, the imperial 
 factory of St. Petersburg has not, as a rule, 
 disposed of its limited productions through the 
 usual channels of the trade. Hard porcelain 
 was made from the beginning ; examples of it 
 are rarely seen in the collections. Although 
 chiefly consisting in imitations of the leading 
 Oriental and European types, some of the 
 choicest specimens offer particular interest. 
 Many pieces decorated with portraits of the 
 imperial family, Russian landscapes, military 
 groups and popular scenes, testify to the care 
 that was taken to impart to the ware a national 
 character. 
 
 Manufacture of pottery, porcelain, 
 and encaustic tiles. S.l.,n.d. 
 12, pp. 72 ; with text, illustrs. 
 
 A volume in the series entitled : Useful Arts 
 and Manufactures of Great Britain. 
 
 Marken-Kratze. Meissner Por- 
 zellan Marken. "VieuxSaxe," 
 von 1704-1870; sowie die berum- 
 testen Marken anderer alten 
 Fabriken Europas. Dresden 
 (1905 ?). 16, pp. 18. 
 
 " The marks of the Dresden porcelain 
 from 1704 to 1870, likewise the most 
 celebrated marks of the other European 
 factories." 
 
 MELBOURNE. -- Catalogue of casts 
 . . . and illustrations of 
 ceramic art in the Museum at 
 the Melbourne Public Library. 
 Melbourne, 1865. 8. 
 
 Ceramics, pp. 29-90. 
 
 MILANO. Esposizione storica d'arte 
 industriale. Milano, 1874. Cata- 
 logo generale. 8 (Ceramics, 
 pp. 29-90. 
 
 Minutes of proceedings at an 
 arbitration under the Factory 
 Act, 1901, held before Lord 
 James of Hereford (Umpire), 
 . . . into the special rules 
 proposed by the Home Office 
 for the regulation of the manu- 
 facture of pottery. Hanley, 
 offices of the Staffordshire 
 Sentinel, 1901-03. 8, pp. 359. 
 
 The difference which had arisen between the 
 manufacturers of Staffordshire and the Home 
 Office, on the avisability of enforcing the use 
 of a leadless glaze, was settled by arbitration. 
 
N.F.L.] 
 
 CERAMIC LITERATURE. 
 
 [OLD 
 
 N. F. L. Note etymologique, philo- 
 logique, glossologique, archeo- 
 logique,ceramicologique, critique 
 et historique sur le coquemart. 
 Riberac, impr. Bonnet, 1868. 8, 
 pp.8. 
 
 " Facecy upon the earthenware vessel 
 called ' Coquemart ' in old French." 
 
 Notice historique sur les manu- 
 factures de faience de Creil et 
 Montereau. See D'EscampS (H-). 
 
 Notice sur les faienceries de 
 Longwy et de Senelle. See 
 D'Escamps. 
 
 Notice sur la fabrication mecanique 
 
 des briques, tuiles, carreaux, 
 
 . etc., de quelque dimension, et 
 
 de quelque forme que ce soit. 
 
 Reims, 1843. 
 
 " Notice of the manufacture of brick 
 and tile, of all sizes and shapes, by 
 mechanical processes." 
 
 Notizie biografiche intorno al 
 Marchese Leopoldo Carlo Gi- 
 nori-Lisci. Firenza, 1837. 8, 
 pp. 16. 
 
 "A biographical notice of the Marquis 
 L. C. Ginori-Lisci." 
 
 In the noble family of Ginori, the merchant 
 princes of mediaeval Tuscany have had a long 
 descent of illustrious successors. From father 
 to son the Ginoris, animated by patriotic spirit 
 and guided by a keen sense of the commercial 
 wants of their times, have endowed their 
 country with philanthropic and industrial 
 undertakings of great importance. The credit 
 of having founded the first manufactory of 
 hard porcelain in Italy reverts to Senator Carlo 
 Ginori. As early as 1735, he was occupied, in 
 association with J. de Baillon, director of the 
 artillery, in making experiments towards the 
 discovery of a hard porcelain body which 
 could compete on the market with the Dresden 
 productions. These experiments were con- 
 ducted, at his own cost, on his Doccia estate, 
 near Florence, the very place where the modern 
 factory was, subsequently, to be erected. A 
 visit paid to the Emperor of Austria, in 1737, 
 gave him the opportunity to enter into com- 
 munication with Vandelein, chemist of the 
 Vienna porcelain works. Having engaged his 
 services and secured the assistance of a few 
 German operative potters, he returned to 
 Doccia where the regular manufacture of hard 
 porcelain was established in 1740. 
 
 The opening of the porcelain works was, 
 
 however, but a part of the vast scheme he had 
 planned for the development of Italian industry, 
 and particularly for the betterment of the 
 peasants and workpeople of his district. 
 Among the beneficial institutions he created 
 for their benefit must be mentioned the agri- 
 cultural colony of Doccia, where the newest 
 and best methods of cultivation were carried 
 on under his personal direction, and the fishing 
 village he built upon the estuary of the Cecina. 
 His son, Lorenzo Ginori, following in the 
 footsteps of his father, greatly improved the 
 organisation of the utilitarian enterprises, 
 the welfare of which had been left under his 
 care. He gave particular attention to the 
 development of the porcelain manufacture, and 
 erected new buildings, designed on such an 
 extensive scale that scarcely any addition had 
 to be made to them when it became necessary 
 to meet a prodigious increase of business. 
 He was succeeded by Leopoldo Carlo, to whose 
 life this notice is particularly devoted. Leo- 
 poldo continued to watch over the interests 
 of the Doccia manufactory, and caused many 
 ameliorations to be introduced in its manage- 
 ment. In connection with the works he 
 established free schools for elementary in- 
 struction and drawing, and a benevolent 
 society was started to the great advantage of 
 his workpeople. With a view of educating the 
 taste of his artists and designers he built a 
 special gallery in which the models of antique 
 and modern sculpture, accumulated during 
 many years, were becomingly arranged and 
 exhibited. Always mindful of the social and 
 moral condition of the many who were de- 
 pendent upon him, Leopoldo Carlo well deserves 
 the name of the Owen of Italy which has been 
 given to him. 
 
 NYMPHENBURG FACTORY. Abbildungen 
 der vorzuglicheren Artikel der 
 Konigl. bayerischen Porzellan- 
 manufaktur zu Nymphenburg. 
 S.l. t 1831. 4; with 6 pis. of 
 forms. 
 
 " Designs of the most important articles 
 sold at the royal Bavarian porcelain 
 manufactory of Nymphenburg." 
 
 ().###. L'art de fabriquer la 
 poterie. See Oppenheiffl. 
 
 OHIO GEOLOGICAL SDRYEY. Vol. vii., 
 Part i. Economical geology, 
 with geological scale of clay 
 deposits, clay manufactures, 
 coal-fields, etc. Norwalk (O.), 
 1893. 8, pp. 290. 6s. 
 
 Old English China. Its features, 
 marks, and characteristics. By 
 a Collector. London, s.d. (recent). 
 18, pp. 19. Is. 
 
 469 
 
OP1] 
 
 CERA MIC LITER A TURE. 
 
 Opinion de la Presse sur les Ex- 
 positions de Gres flammes de 
 MM. Dalpayrat et Lesbros. 
 Lille, 1898. 8, pp. 38. 
 
 "What the Press says about the 
 'flammee' stoneware exhibited by 
 Messrs. Dalpayrat and Lesbros." 
 
 Ornati delle Ambrogette Senesi. 
 
 See Brenci e Rotellini. 
 
 PALESTINE EXPLORATION FUND. Quar- 
 terly statement for 1878. Dis- 
 cussion on the Moabite pottery 
 (recognised to be a forgery). 
 Reprint from the correspond- 
 ence on the subject published in 
 the Athenceum. 
 
 Portland Vase (The). Etruria, 
 1907. 16, pp. 8; with 8 half- 
 tone illustrs. (By Austin). 
 
 Pottery and porcelain in 1876. 
 See Mawley (R.). 
 
 Pottery painting for amateurs. 
 London, Matthews, 1877. Sq. 
 8, pp. 84 ; with 6 col. pis. 
 
 Chapters on: The revival of the art in 
 England ; Theory of the art ; Scope and limit ; 
 The place of ceramic art, etc. Tariff of the 
 materials for china painting on sale at Mr. 
 Matthews, the publisher. 
 
 Pottery Pyrometry. Cambridge, 
 The Scientific Instrument Co., 
 Ltd., 1909. 4, pp. 15; with 
 20 illustrs. 
 
 The Fe>y radiation pyrometer is described 
 in this pamphlet. 
 
 PRAGUE EXHIBITION. Retrospective 
 Ausstellung in Prag, 1891. 
 Catalogue of the Exhibition. 
 8; with atlas Fol. of 312 pis. 
 500m. 
 
 Auswahl von Kunstgewerb- 
 
 lichen Gegenstanden aus der 
 retrospective Ausstellung der 
 allg. Landesausstellung in 
 Prag, 1891. Prag, 1892. 
 470 
 
 Fol., with 100 phototyp. pis. 
 84m. 
 
 " A selection of objects of industrial 
 art from the retrospective exhibition of 
 Prague in 1891." 
 
 Projet d'association des travailleurs 
 en porcelaine. Centralisation 
 de Findustrie porcelainiere. 
 Paris, 1848. 8, pp. 27. 
 
 " Project of an association of the 
 workers in porcelain. The centraliza- 
 tion of the industry." 
 
 Provocations of Madame Palissy. 
 See Manning (A.). 
 
 R. Johann Friedrich (v.) Bottger. 
 Leipzig, 1828. 12, pp. 15, 
 portrait. (In Denkmdler ver- 
 dienstvoller Deutschen, vol. ii.). 
 
 Life of J. F. Bottger. 
 
 Recipes for Enamel, Underglaze 
 and Majolica Colours and 
 Lustres ; also for relief Colours, 
 Bodies, and Glazes for China 
 and Earthenware. Revised and 
 corrected by a practical potter. 
 London, Smith, Greenwood 
 & Co., s.d. (1885 ?). 8, pp. 146. 
 Published by The Pottery 
 Gazette. 
 
 Recueil de fragments de sculpture 
 antique en terre cuite. See 
 Agincourt (Seroux d'). 
 
 Recueil de planches sur les sciences, 
 les arts liberaux. See 
 
 Reglement op de Pypen- 
 Fabricken, en den Pypen- 
 Handel, binnen de Stad Gouda. 
 Te Gouda, bij Wouter Ver- 
 blaauw, Stradsdrukker, 1815. 
 4. 
 
 "Regulations of the tobacco-pipe 
 manufactories, and of the clay-pipe trade 
 in the town of Gouda." 
 
 Gouda is the centre of the clay - pipe 
 manufacture in Holland. 
 
CERAMIC LITERATURE. 
 
 [SEC 
 
 Reglement general pour les 
 
 manufactures de faience de la 
 ville de Rouen, en cinq articles, 
 etablissant libert entiere aux 
 entrepreneurs d'employer des 
 ouvriers a leur choix, de Tun et 
 de 1'autre sexe, de former autant 
 d'eleves qu'il leur conviendra, de 
 fixer les salaires de gre* a gre, 
 d'etablir de nouveaux fours et 
 de fonder de nouveaux etablisse- 
 ments, a condition de n'y con- 
 sommer que du charbon de terre 
 et de la tourbe. Rouen, 1757. 
 
 " Regulations for the faience factories 
 of the town of Rouen, granting full 
 liberty to manufacturers to employ male 
 and female operatives as they may 
 require, to make as many apprentices 
 as they may choose, to fix wages by 
 common accord, to build new ovens and 
 new factories, on condition that coal 
 and peat only are to be used for firing 
 the ware." 
 
 A printed copy of these regulations is pre- 
 served in the archives of the Rouen Chamber 
 of Commerce. 
 
 Report of the Tariff Commission, 
 Vol. v. The Pottery Industries; 
 with analysis and summary of 
 evidence, and statistical tables. 
 London, King & Son, 1907. 4, 
 pp. 100. 
 
 Rezeptbuch fur alle Zweige der 
 Keramik. 700 Rezepte gut 
 erprobter Massen, Glasuren, 
 Farben, fur den praktischen 
 Keramiker. Verlag der " Die 
 Glashutte." Dresden, 1907. 12, 
 pp. 314. 
 
 " Book of recipes for all the branches 
 of the ceramic art. Formulae for bodies, 
 glazes, and colours for practical potters. 
 (By R. Bellow.) 
 
 Reserve Etrusque, 120 pieces de 
 choix. London, printed by 
 Schulze, 1838. 8. 
 
 " Etruscan selection ; 1 20 pieces of 
 high order." 
 
 A descriptive catalogue of a selection of 
 painted vases coming from the collection of 
 Lucien Bonaparte, Prince of Canino, brought 
 over for sale in London. It surpasses in 
 absurdity the most ludicrous interpretations 
 of Greek vase paintings. A bearded Bacchus 
 seated in a chariot adorned with vine garlands, 
 becomes Noah in the Ark. A small vase 
 moulded in the shape of a head, is described as 
 the portrait of Cham. A painting signed by 
 the potter Exechesias, is said to represent the 
 Prophet Ezekiel, etc. The larger part of the 
 collection was bought by Ludwig, king of 
 Bavaria, for the Munich Pinacothek. 
 
 Rookwood Pottery, Cincinnati. 
 Cincinnati, 1895. Sq. 8, pp. 
 32 ; with illustrated covers and 
 illustrs. of the pottery. Second 
 ed., 1903. 8, pp. 47; with 
 marks. 
 
 The Rookwood works owe their existence to 
 the enterprising initiative of a group of Cin- 
 cinnati ladies, of which Mrs. Maria Longworth 
 Storer was the leading spirit. From the out- 
 set, the productions have been justly admired 
 in the international exhibitions, for intrinsic 
 ceramic qualities, united with a remarkable 
 display of artistic originality. American pottery 
 has scarcely shaken off the trammels of Euro- 
 pean influence ; the Rookwood ware, however, 
 makes a striking exception to the commonplace 
 manufacture of the day, and it augurs well for 
 the future of an independent American art, 
 just at its dawn. This private and experi- 
 mental undertaking of a few ladies has now 
 become an important industrial concern under 
 the direction of Mr. W. Taylor. 
 
 Saint-Clement (Manufacture de). 
 See Wiener. 
 
 Sappho und Alkaios. See Stein- 
 buchel. 
 
 SARREGUEMINES. Tarif des produits 
 de Sarreguemines. ,S.L,n.d. 8, 
 pp. 11 ; pi. 
 
 Tarif de la manufacture de poterie 
 fine de Sarreguemines. S.l.,n.d. 
 Obi. 4, pp. 28 ; illustrations of 
 shapes. 
 
 " Price lists of the earthenware factory 
 of Sarreguemines. 
 
 Secrets concernant les arts et 
 metiers. Nouvelle edition. 
 Rouen, C. Ferrand, 1724. 12, 
 pp. 435. 
 
 " Secrets concerning the arts and 
 trades." 
 
 471 
 
SER] 
 
 CERAMIC LITERATURE. 
 
 (STA 
 
 Cements to mend broken vessels, pp. 125-128 ; 
 colours for painting in enamel, pp. 169-183; 
 gilding on faience, p. 431. 
 
 Serie di trecento tavole in rame 
 rappresentanti pitture di vasi 
 degli antichi Etruschi tratti 
 dalla Biblioteca Vaticana e da 
 altri musei d'ltalia. Roma, 
 1787. 3 vols. Ob. fol. ; 306 pis. 
 and an engr. title, without text. 
 
 " A series of three hundred plates 
 engraved on copper representing the 
 paintings upon Etruscan vases in the 
 Vatican Library and other museums of 
 Italy." 
 
 This is a reprint of the plates of the work of 
 Passeri, Picturcu Etruscorum, published under 
 a new title. Another edition was issued in 
 1806. 
 
 SEVRES (Manufactory of)- Exposition 
 des tapisseries et porcelaines 
 de Sevres . . . au chateau 
 de Saint- Cloud. Paris, Pongin, 
 1797. 16, pp. 32. 
 
 A curious scheme of periodical exhibitions 
 of Industrial Art, the profits of which were to 
 be applied to the support of the national 
 establishments of Sevres and the Gobelins. 
 They were to be held in the Royal Castle and 
 Park of Saint-Cloud. Numerous side-shows 
 and entertainments of all kinds would attract 
 and retain visitors. Special fetes were to 
 be given. A programme which, as it may 
 be seen, differs little from that of our latest 
 exhibitions. 
 
 Notice sur quelques unes des 
 
 pieces qui entrent dans Fexposi- 
 tion des porcelaines de la manu- 
 facture royale de Sevres. Paris, 
 impr. Herissant Le Doux. 1818. 
 12. 
 
 For complete list of Sevres 
 
 catalogues see Part II., 
 
 SOUTH KENSINGTON MUSEUM. -Examples 
 of the works of art in the 
 museum and the description of 
 the building, with brief descrip- 
 tion. London, 1880-82. 2 vols. 
 Sm. 4, pis. and woodcuts. 
 1, 10s. 
 
 Staffordshire Potteries Directory 
 (The). To which is prefixed an 
 472 
 
 historical sketch of the county, 
 and an account of the manufac- 
 ture of earthenware. With a 
 map. Hanley, printed by 
 J. Allbut & Son, 1802. 12, 
 pp. 145. 1, 10s. 
 
 Contains a list of 144 pottery manufacturers ; 
 Mr. Wedgwood's evidence to the Privy Council 
 and at the Bars of the two Houses of Parlia- 
 ment ; biographical record of Josiah Wedg- 
 wood, etc. 
 
 Staffordshire Potteries. A special 
 supplement. The Illustrated 
 London News, 1884. Fol. ; with 
 illustrs. by Harry Furniss. 
 
 Statistique industrielle du 
 canton de Creil, a 1'usage des 
 manufacturiers de ce canton. 
 Senlis, 1825. 
 
 " Industrial statistics of Creil and its 
 district, compiled for the use of the 
 manufacturers of that district." 
 
 Statuts anciens et nouveaux, regis- 
 trds en Parlement, arrests, 
 sentences et regiemens con- 
 cernant la communaute' des 
 maistres potiers de terre, car- 
 leurs, de la ville et fauxbourgs 
 de Paris. Imprime a la dili- 
 gence de Nicolas Fontaine, 
 German Boutet, Jacques Du- 
 fresnoy et Nicolas Lonette, 
 jures, gardes en charge en mil 
 sept cent cinquante-deux. Paris, 
 impr. Prault, 1752. 12, pp. 
 vi-195. 
 
 " The old and new statutes registered 
 in Parliament; decrees, sentences, and 
 regulations concerning the corporation of 
 master-potters and tile-makers of the 
 city and suburbs of Paris, printed by 
 the care of ... masters of the 
 craft." 
 
 These regulations extend from the year 
 1465 to the year 1752. 
 
 Statuts . . . etc. Imprimes a 
 la diligence des sieurs Jean Louis 
 Aubert, 1'aine, Mathieu Prud- 
 homme, Antoine Combacal et 
 
STO"! 
 
 VtiRA Ml< ? L 1 TKRA TU1UL 
 
 Claude Charles Faucon, jures et 
 gardes en charge en 1'annee, 
 1772. Paris, de 1'Imprimerie 
 de Prault pere, 1772. 8. 
 20 fcs. 
 
 Story of Palissy the Potter (The). 
 London, Nelson, 1877. 16, pp. 
 119 ; with 1 pi. lu Lessons from 
 
 Noble Lives. 
 
 Tazze dipinte del real Museo di 
 Berlino. See Gerhard (.) 
 
 T. P. A few words about Coalport 
 china. London, A. Andrews, 
 1888. Sq. 16, pp. 15; with 
 marks and 6 pis. of patterns. 
 Printed for private distribution. 
 
 A short historical account of the four manu- 
 factories : Caughley, Swansea, Nantgarw, and 
 Coalport, the marks of which are found, on 
 some pieces, combined together in a complicated 
 monogram. 
 
 TIN WORTH (George). A record of his 
 work. London, Doulton & Co., 
 1887. 4, pp. 16 ; one photo. 
 
 Treatise on the origin . . . and 
 present state of the manufac- 
 ture of porcelain. . . . See 
 Porter (G. R.). 
 
 Treatise on the origin and present 
 state of the manufacture of 
 porcelain. . . . See Neatin. 
 
 UNMCENTRALE DES BEAUX ARTS APPLI- 
 QUES A I/INDUSTRIE. Exposition 
 de 1865. Palais de 1'industrie. 
 Catalogue du Musee retro- 
 spectif. Paris, J. Lemer, 1867. 
 Imp. 8, pp. 560. 5 fcs. 
 
 A very remarkable exhibition of works of 
 art organised by the ' ' Society of the Central 
 Union of the Fine Arts applied to Industry." 
 The Sevres porcelain, then belonging to the 
 Marquis of Hertford, and afterwards in the 
 possession of Sir Richard Wallace, is described 
 in full in this catalogue. W\th that exception, 
 the description of the choice and numerous 
 objects contributed by the richest collectors of 
 France, is too short and incomplete to be now 
 of any use. 
 
 UNION CENTRALE DES ARTS DECORATIFS. 
 
 Exposition de 1869. Catalogue 
 
 du Muse"e Oriental. II. Por- 
 
 celaines, Faiences, Verreries. 
 
 Paris, 1869. 8, pp. 65-174. 
 
 - Guide du visiteur au Musee 
 Oriental. Paris, 1889. 12, 
 pp. 64. 
 
 Oriental pottery and porcelain selected from 
 the best collections. 
 
 Universal catalogue of books on 
 art. See Pollen (J. H-). 
 
 Verzeichniss der Porzellan-Ge- 
 malde-Sammlung in der Kgl. 
 Neuen Pinakothek zu Mtin- 
 chen. Munchen, 1886. 32, 
 pp. 50. 
 
 " Catalogue of the collection of porce- 
 lain paintings in the New Royal Pina.- 
 cothek of Munich." 
 
 In the year 1809, the Prince Ludwig of 
 Bavaria conceived the idea of causing the 
 masterpieces in the Royal Museum of Munich 
 to be painted on porcelain, to bequeath to 
 posterity reliable and unalterable copies, when 
 time had defaced or destroyed the originals. 
 The paintings were executed in the Royal 
 Manufactory of Nymphenbourg, first on a series 
 of dessert plates, and subsequently on plaques 
 of various dimensions. For 57 years the work 
 gave employment to many artists of the royal 
 manufactory. The collection is now composed 
 of 72 plates, 2 vases, and 207 plaques, exhibited 
 in a special room. 
 
 VIENNA : K. K. OESTERREICH. MUSEUM FUR 
 KUNST UND INDUSTRIE. Katalog 
 der Special-Ausstellung von 
 Krtigen und krugartigen Ge- 
 fassen . . . eroffnet am 
 4 Mai, 1881. Wien, 1881. 8. 
 
 " Catalogue of the special exhibition of 
 jugs and other drinking vessels, opened 
 May 4, 1881, at the R. I. Museum of 
 Art and Industry." 
 
 VIENNA: K. K. OESTERR. MUSEUM F. 
 KUNST U. INDUSTRIE. Katalog. 
 1866. -8, pp. 150. 
 
 " Catalogue of the Industrial Art 
 Museum in Vienna." 
 
 473 
 
VOE] 
 
 CERA MIC LIT ERA TURE. 
 
 [ZNA 
 
 Voellig entdecktes Geheimniss der 
 Kunst Fayence, englisches Stein- 
 gut und aechtes Porcellain zu 
 verfertigen ; Nebst e. Anweisung 
 der dazu noethigen Formen. 
 Leipzig, 1793. 8. 
 
 "The secret of making Faience, 
 English Stoneware, and real Porcelain ; 
 with instructions as to the best forms to 
 be used in the manufacture." 
 
 WEDGWOOD MEMORIAL INSTITUTE, BURSLEM. 
 Handbook to the Exhibition 
 of Works of Art, 1869. Burslem, 
 1869. 8, pp. 35. 
 
 The historical introduction was contributed 
 by J. L. Cherry, editor of the Staffordshire 
 Advertiser. 
 
 WILLETT COLLECTION. Catalogue of a 
 collection of pottery and porce- 
 lain illustrating popular British 
 history, lent by Henry Willett, 
 Esq., of Brighton, to the Bethnal 
 Green branch of the South Ken- 
 sington Museum. London, Eyre 
 & Spottiswoode, 1899. 8, pp. 
 123 ; with num. illustrs. 
 
 The collection has been described by the 
 collector himself under the name of Housman. 
 This catalogue does not comprise the slip 
 ware, salt-glaze, and other ancient specimens 
 of various kinds which had just been purchased 
 by the British Museum. 
 
 Worcester china. The process of 
 making china ; illustrated with 
 twelve engravings descriptive of 
 the works of the Royal China 
 Manufactory, Worcester. For 
 the information of youth. By 
 permission of the proprietors, 
 Messrs. Barr, Flight & Barr. 
 
 16 C 
 
 London, J. Wallis, 1810. 
 with 12 col. pis. 5. 
 
 Worcester porcelain. 
 
 of the Worcester collection of 
 porcelain. See 
 
 Catalogue 
 
 X. Bernard Palissy. Etude de 
 ses ouvrages au point de vue 
 forestier. Paris, 1862. 8, 
 pp. 16. (Reprint from Annales 
 
 forestieres et metallurgiques, 
 vol. xxi.) 
 
 " Examination of B. Palissy's works 
 considered from the forester's point of 
 
 view. 
 
 X. --Collection de feu Mr. X. 
 amateur normand (Ridel). An- 
 ciennes faiences fran^aises et 
 etrangeres. Paris, 1896. 8. 
 
 Catalogue of sale. Ceramics, 206 Nos., with 
 7 pis. ; Rouen faience and early French 
 pottery. 
 
 ZILMSDORF. Beschreibung der heid- 
 nischen Begrabniss Platze zu 
 Zilmsdorf. Gorlitz, 1827. 8, 
 pp. 24 ; with title vign. and 
 6 lith. pis. of cinerary urns. 
 
 " Description of the pagan burial 
 ground at Zilmsdorf." 
 
 A curious plan of circular sepultures contain- 
 ing above one hundred cinerary urns is given 
 on pi. ii. 
 
 ZNAIM. K. K. Fachschule fur 
 Keramik und der gewerbl. 
 Fortbildungschule. Jahresbe- 
 richt, 1886 (and following 
 years). 8. 
 
 "Annual reports of the Imp. and 
 Roy. Technical School for ceramics at 
 Znaim." 
 
 474 
 
PART II. 
 
CERAMIC LITERATURE. 
 
 TECHNOLOGY. 
 
 IN the number and the particular class of ceramic books published in one country, much 
 of the idiosyncrasic propensities of the nation may be seen distinctly reflected. For 
 dominate over those written in other languages. The fact may be easily accounted for, 
 instance, we notice that, in the present section, German technical works largely pre- 
 when we recollect that the German student, gifted with an inquisitive and studious 
 turn of mind, prefers, as a rule, the. value of theoretical teaching to all that can be learned 
 from the mere practice of the long-established ways of the trade. It is not a rare 
 occurrence to see, in the leading pot-works of Germany, or of Austria, a common operative 
 applying his leisure moments to the study of some special book, in the full conviction 
 that the acquisition of knowledge will, one day, raise him to the position of a successful 
 master. 
 
 On the other hand, scientific books on ceramics do not appear to be in great demand 
 in England ; their list is, indeed, singularly short. It is chiefly composed of the general 
 treatises extracted from the large Cyclopedias ; the reprints of occasional papers read 
 at the meeting of some learned society ; and, finally, of the popular handbooks on china 
 painting. Obviously, the majority of these publications is meant rather to provide for 
 the instruction of the general reader than to foster the advance of the potter's art. But 
 if we take into account the natural tendencies of the race, this deficiency in technical 
 literature will seem to us quite a normal consequence. When he has made up his mind 
 to become a professional potter, the English probationer will, usually, feel rather dis- 
 inclined to linger over rules and principles, and he will plunge at once into active opera- 
 tions. Placing himself under the guidance of an experienced manufacturer, he will choose 
 to follow a course of professional training, and to gain his knowledge of manufacture 
 through actual handiwork and personal observation. This may explain, in some way, 
 how it has happened that the increase in the publication of scientific books has not, in 
 England, been commensurate with the considerable development of the ceramic industry. 
 
 France has contributed largely to this section of the ceramic literature ; and in this 
 fact, again, we can see one of the many sides of the national spirit curiously evinced. 
 It is well known that a true Gaul yields willingly to an inborn prompting which urges 
 upon him the duty of imparting to others, less enlightened than himself, the substance 
 of the knowledge he has laboriously acquired. To discourse upon a subject he has 
 thoroughly mastered causes him both pride and pleasure. When assuming the part 
 of a teacher, he finds in the respect and gratitude of his pupils an ample reward for all 
 his past labours. Whether this may, or may not, be attributed to that cause, it remains 
 none the less an absolute fact that, in almost every branch of ceramic manufacture, 
 the first treatise on the subject has been published in France. Moreover, we notice 
 that the early French book has long kept its place as the acknowledged source from 
 which were derived most of those subsequently published in other countries. The secrets 
 of porcelain-making were still jealously guarded by a few manufacturers, when De Milly's 
 work L'art de la porcelain, disclosed to all the processes of manufacture. For many 
 years afterwards nearly all that was written on the matter consisted of extracts or 
 imitations of the contents of this, the first technical treatise worthy of that name. Later 
 on, in the Traite des arts ceramiques, Brongniart laid the foundations of the new science ; 
 
 477 
 
CERAMIC LITERATURE. 
 
 his admirable work remains the text-book of the student ; it has been followed by many 
 writings of great merit, but it has never been surpassed up to this day. We may briefly 
 mention the works of Duhamel du Monceau, Fourmy, Bastenaire d'Audenard and many 
 others of minor importance, which had no equivalent in any other language at the time 
 when they were given to the public. 
 
 If, now, we pass to the examination of the few volumes and pamphlets which con- 
 stitute the whole tribute of Italy to this branch of knowledge, we shall obtain an insight 
 upon the present conditions of the ceramic industry in the country. In this, as in all 
 other forms of applied art, the Italian nation, immersed in the contemplation of a glorious 
 past, remains indifferent as to the progress accomplished in other lands by modern enter- 
 prise and industrial energy. Consequently, while the list of the monographs of extinct 
 centres of manufacture has grown to be a long and valuable one, the place where the 
 titles of practical books intended for the benefit of the manufacturer, the artist, or the 
 workman, might have been entered, still remains almost a blank ; no technical book of 
 any practical value having been, as yet, written in the Italian language. 
 
 a. RAW MATERIALS AND CHEMISTRY, 
 
 Bohemia and Hungary. 
 
 JACKOB (H.). Die neuzeitliche Technik der Thone. Prag-Apolda, 1897. 12. 
 LAZLO (E. D.). Ungarlandischer Thone. Budapest, 1886. 8. 
 PETRIK (L.). Ueber der Verwendung der Rhytolithe. Budapest, 1888. 8. 
 KALECSINSZKY. Die Untersuchten ungarischen Thone. Budapest, 1894. 8. 
 
 England. 
 
 WEDGWOOD (J.). Papers relating to Mr. Champion's application. London, 1775. 
 12 P . 
 
 SHAW (S.). The chemistry of pottery. London, 1837. 8. 
 
 BOOTH (G. R.). Tables of the weights and measures required in using potters' materials. 
 
 London, 1853. 12. 
 
 COLLINS (J. H.). Hensbarrow granite district. Truro, 1878. 8. 
 COCK (D.). A treatise on china clay. London, 1880. 8. 
 FURNIVAL (W. J.). Explanation of the Staffordshire Potteries' slop flint and stone 
 
 trade calculations. Hanley, 1884. 12. 
 
 RATHBONE (F.). Wedgwood on the clay of Sidney Cove. S.l, n.d. 4. 
 BURTON (W.). The use of lead compounds in pottery. London, 1899. 8. 
 FAIRIE (J.). Pottery clays. London, 1901. 8. 
 
 Notes on lead ores. London, 1901. 8. 
 
 JACKSON (W.). A text-book of ceramic calculations. London, 1904. 12. 
 
 MELLOR (Dr. J. W.). Crystallization in pottery. London, 1905. 8. 
 
 Communications from the County Pottery Laboratory, Staffordshire. London, 
 
 1907 and f. yrs. 
 
 PASSMORE (A. C.). Sand and clay. Manchester, 1907. 12. 
 
 HICKLING (G.). China clay ; its nature and origin. Newcastle-on-Tyne, 1908. 8. 
 HEATH (A.) and MELLOR (Dr. J. W.). The action of heat on binary mixtures or Felspar, 
 
 Flint, and China clay. Longton, 1908. 8. 
 MOORE (B.) and MELLOR (Dr. J. W.). The absorption and dissolution of Gases by 
 
 Silicates. " Spit-out." Longton, 1908. 8, 
 
 478 
 
CERAMIC LITERATURE. 
 
 France, 
 i 
 
 GUETTARD. Histoire de la decouverte faite en France de matieres semblables a celles 
 
 dont la porcelaine de Chine est composee. Paris, 1765. 4. 
 LAURAGUAIS (Comte de). Observations sur le memoire de Mr. Guettard. Paris, 
 
 1766. 8. 
 D'ARCET. Memoire sur 1'action d'un feu continu . . . sur un grand nombre de 
 
 terres. Paris, 1766. 8. 
 
 Deuxieme memoire. Paris, 1771. 8. 
 
 / 
 
 BAUME. Memoire sur les argiles. Paris, 1770. 8. 
 
 DEBRUN. Discours sur les proprietes de 1'argile. Beauvais, 1800. 4. 
 
 FOURMY (J.). Essai sur les corps vitreux colores par les emaux. Paris, 1804. 8. 
 
 BRONGNIART (A.). I/argile. Strasbourg, 1816. 8. 
 
 BRARD (C. P.). Mineralogie appliquee aux arts. Paris, 1821. 8. 
 
 ALLUAUD. Rapport sur les Ores molasses. Limoges, 1832. 8. 
 
 HERAULT. Notice sur le kaolin de Pieux. Caen, 1832. 8. 
 
 BRONGNIART (A.). Premier memoire sur les Kaolins. Paris, 1839. 4. 
 
 and MALAGUTI. Second memoire sur les Kaolins. Paris, 1841. 4. 
 EBELMEN. Recherches. sur la composition des matieres employees dans la fabrication 
 
 de la porcelaine en Chine. Paris, 1852. 8. 
 
 Chimie, ceramique, geologic. Paris, 1861. 8. 
 LINDEN. I/argile. Cauteerie enfantine. Paris, 1879. 12. 
 
 CREMER (H.). Memoire sur le gisement de Kaolin du Teindeix (Dordogne). Lyon, 
 1884. 8. 
 
 BOURRY. De la plasticite des argiles. Paris, 1886. 8. 
 
 BREBISSON (R. de). Le Kaolin d'Alen on. S.d. 8. 
 
 BARRET. Geologic du Limousin. Limoges, 1892. 8. 
 
 DAMOUR (E.). Etudes de ceramique, executees a la demande des fabricants de porce- 
 laine de Limoges. Paris, Butt, de la Soc. d'Enc., 1896. 4, pp. 64, with pis. 
 
 LAFON (C.). Les terres kaoliniques de Tayac-les-Eyziez. Perigueux, 1896. 8. 
 
 ZSCHOKKE (B.). Recherches sur la plasticite des Argiles. Paris, 1902. 4. 
 
 GRANGER. La ceramique industrielle, Chimie, Technologie.^Pam, 1905. 
 
 LAVEZARD (E.). Contribution a 1'etude des argiles de France. Paris, 1906. 4. 
 
 POST et NEUMANN. Analyses chimiques. Paris, 1907. 8. 
 
 Germany. 
 
 KAPFF (F.). Beitrage zur Geschichte des Kobolts. Breslau, 1792. 8. 
 
 GEHLEN. Ueber das Vorkommen des Porzellanerde in Passau. Passau, 1811. 8. 
 
 FRICK. Ueber Porzellanerdengewinnung. Berlin, 1812. Fol. 
 
 PAULSEN (W.). Die naturliche und kunstliche feuerfesten-Thone. Weimar, 1862. 
 Fol. 
 
 OTTO (F. J.). Die Thon. Braunschweig, 1863. 8. 
 
 HEROLD (H.). Die Kaoline der Formation des mittleren Buntsandstein in Thiiringen. 
 Jena, 1875. 8. 
 
 SARNOW (C.). Ueber den Einfluss der chemischen Forschung auf die Entwickelung des 
 Porzellan-Industrie. 1875. 8. (Official report of the German Committee of the 
 Vienna Exhibition, 1873.) 
 
 SENFT (F.). Die Thonsubstanzen. S.I., 1879. 8. 
 
 SONTAG (J.). Catalogue de la collection de matieres ceramiques de 1'Ecole Imp. de 
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 479 
 
CERAMIC LITERATURE. 
 
 JOCHUM (P.). Die Bestimmung der Thone. Berlin, 1885. 8. 
 Grenzen der Feuerbestandigkeit. Berlin, S.d. 8. 
 
 OLSCHEWSKY (W.). Die Ursachen der Verwitterung by Verblendenstcinen und Terra- 
 
 kotten. Halle, 1885. 8. 
 
 Priifung und Begutachtung von Thon. Berlin, 1890. 8. 
 
 QUAGLIO. Feuerfesten Materialen. Berlin, 1886. 8. 
 
 ISCHEUFCHNER (E.). Ueber die Bewerthung von Thongruber. Berlin, 1890. 8. 
 
 BISCHOF (C.). Die feuersfesten Thone. Leipzig, 1896. 8. 3rd ed., 1904. 
 
 Gesammelte Analysen der in der Thonindustrie benutzen Materialen. Leipzig 
 
 1901. 8. 
 
 RICHTERS (S.). Die Feuerbestandigkeit der Tlione. Berlin, 1897. 8. 
 GUMBEI/(G. von). Ueber die Grunerde Monte Baldo. Miinchen, 1897. 8. 
 MERRIL (G. P.). Non-metallic Minerals. Berlin, 1900. 8. 
 
 LOESER (C.). Die Rohmaterialen der Keramischen Industrie. Halle a. S. 1901. 8. 
 Aufsuchen von Lehm, Thon, und Kaolin Lagern. Halle, 1904. 8. 
 
 - Kritische Betrachtung einiger Untersuchung Methoden der Kaoline und Thone. 
 Halle, 1905. 8. 
 
 Zur chemischen und physikalischen Konstitution der Kaoline und Thone. Halle, 
 
 1906. 8. 
 
 Kalthaltige Thone ; ihre Eigenschaften, Verhalten und Farbungen im Feuer. 
 
 Halle, 1906. 8. 
 
 - Die Brennfarben der Thone. Halle, 1906. 8. 
 
 ZSCHOKKE (B.). Untersuchungen iiber die Plasticitat der Thone. Stuttgart, 1902. 4. 
 MICHEL (J. S.). Ueber die keramischen Verblendstoffe. Halle, 1904. 4. 
 BOTTCHER (M.). Ueber die Verfliissigung des Tones durch Alkali. Weidd, 1908. 8. 
 ROBLAND (P.). Die Tone. Leipzig, 1909. 8. 
 
 Italy. 
 
 MAIRONI da PONTE (G.). Kicherche sopra alcuni argille. Bergamo, 1792. 8. 
 
 ROSIN A (G.). Memoria sulle Stoviglie. Milano, 1822. 8. 
 
 NOVI. La fabricazione della porcellana in Napoli. Napoli,lS78. 4. 
 
 Russia. 
 
 GUROW (A. V.). Gisements de Kaolin dans les domaines de la Duchesse E. A. Vorouzov, 
 Daskov. St. Petersburg, 1901. 8. 
 
 Switzerland. 
 
 ZSCHOKKE. Technologischen Untersuchung der Schweizerischen Tone. Zurich, 1907. 
 
 4. 
 
 U.S. America. 
 
 WURTZ (H.). The chemistry and composition of the porcelain and porcelain rocks of 
 
 Japan. Philadelphia, 1876. 8. 
 
 COOK (J. H.). Keport on the clay deposit in New Jersey. Trenton, 1878. 8. 
 CROSSLEY. Tables and analysis of clays. Indianapolis, 1888. 8. 2nd ed., 1900. 
 
 JOHNSON (W. D.). Clays Firebrick Pottery. California State Mining Bureau, 
 1889. 8. 
 
 480 
 
CERAMIC LITERATURE, 
 
 ANON. Ohio geological survey. Norwalk, 0., 1893. 8. 
 
 MERILL (F.). Brick and pottery clays of New York State. Albany, 1895. 8. 
 
 HOFFMANN (H. A.). Further experiments for determining the fusibility of clays. New 
 
 York, 1895. 8. 
 
 LANGENBECK. The chemistry of pottery. Easton, Pa., 1895. 8. 
 BLATCHLEY (W. G.). Clays and clay industries of Indiana. Indianapolis, 1896. 8. 
 RIES (H.). Clay deposits and clay industries of Carolina. Raleigh, 1897. 8. 
 
 - The Kaolins and Fire-clays of Europe. Washington, 1898. 4. 
 
 Clays and shales of Michigan. Lansing, 1900. 8. 
 
 - Clays of New York. Albany, 1900. 8. 
 
 ASHBY (H. M.). How to analyse clay. New York, 1898. 8. 
 BINNS (C. F.). Manual of ceramic calculations. Columbus, 1900. 8. 
 LAUGHLING. The clays and clay industries of Connecticut. Hartford, 1905. 
 PURDY (R. C.). The influence of carbon in the burning of clay wares. Indianapolis, 
 1905. 8. 
 
 - The states of carbon, iron, and sulfur on clays during various stages of burning. 
 1905. 8. 
 
 GROUT (F.). The plasticity of clays. 1905. 8. 
 
 UHLIG (E. C.). Chemical Analysis. Pittsburg, 1906. 8. 
 
 RIES (H.). Clays ; their occurrence, properties, and uses. New York, 1906. 8. 
 
 CLAPP (C. H.) and BABCOLK (E. J.). Clay and its properties ; with special reference to 
 
 North-Dakota clays. Bismark, 1906. 8. 
 
 BAKER (M. B.). Clay and the clay industries of Ontario. Toronto, 1906. 8. 
 LOGAN (M.). Clays of Mississippi. Jackson, 1907. 8. 
 PURDY (R. C.) and MOORE (J. K.). Pyrochemical and physical behaviour of clays. 
 
 Urbana, III., 1907. 8. 
 BRANNER (J. C.). The clays of Arkansas. Washington, 1908. 8. 
 
 6. GENERAL TREATISES OF MANUFACTURE. 
 
 England. 
 
 REE'S CYCLOPEDIA. London, 1819. Articles : Pottery Porcelain. 
 
 PORTER (G. R.) (ANON.). Treatise on the . . . manufacture of porcelain and glass. 
 
 London, 1832. 8. 
 
 AIKIN (A.). Illustrations of arts and manufactures. London, 1841. 12. 
 ABINGTON. Article : Pottery and porcelain in the Penny Cyclopcedia. 8. 
 PROSSER (R.). Account of the new process for forming various articles in earthenware 
 
 and porcelain. London, 1843. Fol. 
 
 DODD (G.). British manufactures. Pottery and porcelain. London, 1844. 12. 
 EVANS (W.). Art and history of the potting business. Shelton, 1846. 12. 
 KNAPP (F.). Chemical technology. Pottery and porcelain. London, 1848. 8. 
 WALL (B.). Lecture on pottery. London, 1853. 12. 
 TOMLINSON Cyclopaedia of Useful Arts and Science. Article : Pottery and porcelain. 
 
 London, 1860. 8. 
 WOODCROFT (B.). Patents for inventions. Specifications relating to pottery. London, 
 
 1863. 12. 
 
 MUSPRATTS CHEMISTRY. Article : Pottery and porcelain. London, 1861. 8. 
 LEYSHON (E. J.). The operative potter. Cheltenham, 1868. 8. 
 ARNOUX (L.). Pottery. (In British Manufacturing Industries.) London, 1876. 18. 
 31 481 
 
CERA MIC LITERA TUBE. 
 
 CHURCH (A. H.). Cantor lectures. Pottery and porcelain. London, 1881. 8. 
 SPON'S CYCLOPAEDIA. Article : Pottery. London, 1882. 8. 
 
 ENCYCLOPEDIA BRITANNIC A. Article : Pottery and porcelain, by J. H. Middleton. 
 BINNS (Ch. F.). The manual of practical pottery. London, 1897. 8. 
 
 Ceramic technology. London, 1897. 8. 
 
 BURTON (W.). Cantor lectures. Materials in design and in pottery. London, 1897. 
 
 8. 
 
 FURNIVAL (W. J.). Researches on leadless glazes. Stone, 1898. 8. 
 ANON. The clay-worker's handbook. London, 1906. 8. 
 Factory Glazes. London, 1908. Fol. 
 
 France. 
 
 O'REILLY. Precede pour remplacer la ceruse et le minium dans la composition de 
 
 1'email des poteries. Paris, 1780. 8. 
 BRONGNIART (A.). Essai sur les arts ceramiques. Paris, 1830. 8. 
 
 Traite des arts ceramiques. Paris, 1844. 8. 
 
 SALVETAT (A.). LeQons de ceramique. Paris, 1857. 12. 
 
 Memoires de Chimie. Paris, 1868. 8. 
 
 GERARDIN. Essai sur 1'art ceramique. Reims, 1869. 8. 
 
 TALANDIER (A.). Rapport sur 1'industrie ceramique en France et en Angleterre. 
 
 Paris, 1873. 8. 
 MAGNIN (C.). Compte rendu de nouveaux precedes de moulage appliques a la ceramique. 
 
 Cherbourg, 1876. 12. 
 Ceramique et science du moulage . . . V'ieux Sevres et Kaolin. Cherbourg, 
 
 s.d. 32. 
 
 BOURRY. Traite des industries ceramiques. Paris, 1896. 8. 
 AUSCHER (E. S.). Les ceramiques cuisant a haute temperature. Paris, 1899. 8. 
 CHANTEPIE (M.). Sur la dilatation des pates ceramiques. Paris, 1900. 4. 
 AUSCHER et GUILLARD. Les industries ceramiques. Paris, 1901. 8. 
 
 Technologic de la ceramique. Paris, 1901. 8. 
 
 ARNAUD et FRANCHE. Manuel de ceramique industrielle. Paris, 1906. 8. 
 
 Germany. 
 
 ANON. Vollig entdecktes Geheimniss der Kunst Fayence, englisches Steingut und 
 
 aechtes Porzellan zu Verfertigen. Leipzig, 1793. 8. 
 GRABNER (K.). Wahres eroffnetes Geheimniss der Zubereitung verschiedener Porzellan, 
 
 Steingut, Fayence und Topfer-Glasuren. Leipzig, 1837. 12. 
 HARTMANN (C.). Handbuch der Thon und Glas Waaren Fabrikation. Berlin, 1842. 8. 
 
 Die Thonwaaren Fabrikation. Quedlinburg, 1850. 8. 
 
 LEIBL (S.). Neue . . . Mittheilungen fur Topferei, Porzellan und Fayence Fabriken. 
 
 Nurnberg, s.d. 8. 
 
 GENTELE (J. G.). Lehrbuch im Potteriefache. Gehren, 1856. 8. 
 MOLLER. Die Verlegung des K. Berliner Porzellan Manufactur. Berlin, 1873. Fol. 
 KERL (B.). Abriss der Thonwaaren Industrie. Braunschweig, 1871. 8. 
 
 Handbuch der gesammten Thonwaaren Industrie. 1878. 8. 
 
 Do., 3rd ed. Braunschweig, 1907. 8. 
 
 WDPPLINGER (L.). Die Keramik. Wien, 1882. 8. 
 
 STITTE (C.). Vortrage aus der keramischen Fachlehrer-Curse. Salzburg, 1883. 8. 
 482 
 
CERAMIC LITERATURE. 
 
 FISCHER (H.). Die Bearbeitung der Stein-, Glas-, und Thonwaaren. Leipzig, 1891. 8. 
 CHRISTOPH (J. R.). Die praktische Topfer. Weimar, 1895. 8. 
 SEGER. Gesammelte Schriften. Berlin, 1896. 8. 
 
 HECHT (H.). Untersuchungen iiber einige zwischen Porzellan und Feldspath-Steingut 
 
 bestehende Beziehungen. Berlin, 1897. 8. 
 SCHAMBERGER (J. W.). Die keramische Praxis. Leipzig, 1901. 8. 
 
 STORMER (M.) Untersuchungsmethoden der in der Tonindustrie gebrauchten 
 
 Materialen . . . Freiberg, I.S., 1902. 8. 
 PUKALL (W.). Keramisches Rechnen. Berlin, 1907. 8. 
 
 Italy. 
 
 GRISELINI. Dizionario delle arti e de'Mestieri. Venezia, 1768. 8. 
 
 MADERNO (G.). Prodotti ceramici, Maioliche, Porcellane e Gres. Milano, 1909. 12. 
 
 Portugal. 
 
 SILVA (J. F. de). L'arte de Luceiro. Lisboa, 1804. 8. 
 
 Arte da porcelana. Lisboa, 1806. 
 
 XAVIER (A. V.). Arte da Loua vidrada. Lisboa, 1805. 8. 
 
 Spain. 
 
 GARCIA LOPEZ (M.). Manual completa de Arte Ceramica. Madrid, 1902, 8. 
 
 U.S.A. 
 
 NEATIN. On the origin, progress, and present state of the manufacture of porcelain. 
 
 . . . Philadelphia, 1846. 12. 
 
 JANVIER (C. A.). Practical Keramics for students. New York, 1880. 8. 
 GRIFFEN (H. R.). Clay, glazes, and enamels. Indianapolis, 1896. 8. 
 RIES (H.). The clay working industries of the U.S. 1898. 4. 
 WHITE (Mary). How to make pottery. New York, 1904. 8. 
 RICHARDSON and LOVE JOY. Apparatus employed in pottery manufacture. Columbus, 
 
 1906-07. 8. 
 
 PURDY (C. R.) and others. Studies on glazes Fritted glazes Crystalline glazes. 
 Urbana, III., 1907. 8. 
 
 c. OVENS AND FIRING. 
 
 BAUSSAN du BIGNON. Memoire sur les fours pour cuire la brique. Paris, 1766. 8. 
 LA TOUR d'AIGUES (de). Description d'un four. . . . Paris, 1787. 12. 
 GILLY (W.). Torf-Ziegel-Ofen. . . . Berlin, 1791. 8. 
 
 EISELEN (J. Ch.). Ausfiihrliche theorisch-practische Anleitung zum Zeigelbrennen mit 
 Torf. Berlin, 1802. 
 
 PAJOT des CHARMES. Nouvelle methode pour la cuisson des poteries fines. Paris, 
 1824. 8. 
 
 EBELMEN. Rapport sur le precede de cuisson de la porcelaine dure avec la houille. 
 
 Paris, 1847. 4. 
 
 SCHLESINGER. Der Bau der Ziegelbrennofen. Berlin, 1856. 4. 
 GORCEIX. Essai d'un manuel theorique d'enfourner pour la cuisson de la porcelaine. 
 
 Limoges, 1867. 12. 
 
 4S3 
 
CERAMIC LITERATURE. 
 
 ARMAND (Ch.). Notice d'un four continu. Paris, 1870. 8. 
 
 LIEBOLD (B.). Die neuen continuirlichen Brennofen. 1876. 8. 
 
 STEGMANN (H.). Das Bedeutung der Gasfeuer u. Gasofen. Berlin, 1877. 8. 
 
 ECKHART (A.). Die Construction von Brennofen. S.I, 1881. 8. 
 
 BROMSE (F.). Die Ofen und Glasurfabrikation. Wiemar, 1884. 8. 
 
 SCHNEIDER (B.). Regenerative Gasofen. S.I., 1886. 8. 
 
 HOTOP (E.). Der Brennofen in der Ziegelei und Thonwaarenfabrick. Berlin, 1890. 
 
 8, pp. 58 ; illustrs. 
 
 LANGE (G.). Anleitung zur Ofenfabrikation. 1892. 8. 
 MENDHEIM. Brennofen mit Gasfeuerung. Berlin, 1893. 8. 
 KLASSEN. Grundrissvorbilder von Gebauden alter Art. Leipzig, 1895. 8. 
 HEINECKE. Neuere Oefen zu Charlottenburg. Berlin, 1897. 8. 
 BOLZ (C. H.). Die Pyrometer. Berlin, s.d. 8. 
 
 FRANCHET (L.). De revaluation des hautes temperatures. Paris, 1897. 8. 
 TOLDT (F.). Kegenerativ-Gasofen. Leipzig, 1898. 8. 
 LE CHATELIER. Mesures des temperatures elevees. S.I, 1900. 8. 
 LUCAS (R. J.). Untersuchungen iiber die Feuerschwindung. Gdttingen, 1903. 8. 
 SCHMATOLLA (E.). Was muss von Feuerung-technik wissen ? Hannover, 1901. 8. 
 
 Rauchplage und Brennstoffverschwindung. 1902. 8. 
 
 Die Brennofen. Leipzig, 1903. 
 
 DUMMLER (K.). Das Brennen der Ziegelsteine. Halle a. S., 1904. 8. 
 
 LOSHPIED. Notice sur les nouveaux fours et moufles a recuperation. Golfe Juan, 1906. 
 
 8. 
 
 RICHARDSON (W. D.). Kiln records. Columbus, 0., 1906. 4. 
 TIMM (C. W.). Warmetechnische Grundlagen von Drehb'fen und Kohlenstaubfeuerung. 
 
 Berlin, 1906. 8. 
 
 LOESER (C.). Feinkeramische Brennofen. Berlin, 1907. 8. 
 HOFFMANN (F.). Kingofen-Hoffmann. Berlin, 1907. 8. 
 HEINECKE (A.). Ueber das Brennen von Porzellan. Berlin, 1908. 8. 
 ANON. Pottery Pyrometry. Cambridge, 1909. 4. 
 
 d. BRICK AND TILE MANUFACTURE. 
 
 A ustria. 
 MIESBACK (L.). La fabrication des briques et tuiles. Vienne, 1855. 8. 
 
 England. 
 
 WILDS (W.). Practical treatise on the manufacture of bricks. London, 1835. 8. 
 CLAYTON (H.). On brick-making and brick machines. London, 1862. 8. 
 DOBSON (E.). A treatise on the manufacture of bricks and tiles. London, 1863. 8. 
 HAMMOND (A.). The practical brick and tile book. London, 1890. 8. 
 MONTGOMERY (H. G.). The manufacture of glazed bricks. London, 1894. 8. 
 HARRIS (G. F.). The science of brick-making. London, 1897. 8. 
 BROWN (A. E.). Brick-drying Hand brick-making. London, 1902. 8. 
 ANSELL (H.). Manufacture of glazed bricks. London, 1898. 8. 
 PRICE (W.). Manufacture of tiles and the like, and the apparatus therefor. London, 
 
 1898. 8. 
 
 HASLUCK (P. N.). Bricks and Brick-making. London, 1906. 16. 
 484 
 
CERAMIC LITERATURE. 
 
 France. 
 
 DUHAMEL DU MONCEAU. L'art du tuilier et du briquetier. Paris, 1773. 
 O'REILLY. Maniere de fabriquer les briques legeres a limitation des briques flottantes 
 des anciens. Paris, 1779. 8. 
 
 CLERE (J. F.). Essai sur Tart du briquetier. Paris, 1828. 8. 
 
 ECK (Ch.). Application des globes, ou pots creux. . . . Paris, 1831. 8. 
 
 CARVILLE. Machine a fabriquer les briques. Paris, 1841. 8. 
 
 ANON. Notice sur la fabrication mecanique des tuiles. Reims, 1843. 8. 
 
 BUZONNIERE (de). Machine pour la fabrication des briques. Orleans, 1845. 8. 
 
 CHALLETON de BROUGHAT (F.). L'art du briquetier. Paris, 1861. 8. 
 
 MALEPEYRE (F.). Manuel du briquetier. Paris, 1864. 18. 
 
 TURGAN. Tuilerie de Montchanin. Paris, 1866. 8. 
 
 BOURRY (Julien). La fabrication des briques, etc. Paris, 1867. 8. 
 
 LEJEUNE (C.). Guide du briquetier. Paris, 1870. 8. 
 
 BONNEVILLE et JAUNEZ. Les arts et les produits ceramiques. Paris, 1879. 8. 
 
 LEFEVRE (L.). La ceramique du batiment. Paris, 1897. 8. 
 
 LEDUC (E.). Les efflorescences des briques. Tours, 1906. 8. 
 
 Germany. 
 
 RIEMANN (J. F.). Praktische Anleitung zur Kenntniss der Ziegelein und Ziegler-Arbeiten. 
 Leipzig, 1800. 
 
 SCHONAUER (N.). Praktische Darstellung der Ziegelhiittenkunde. Salzburg, 1815. 
 SCHALLER (P.). Der wohlunterrichtete Ziegler. Ilmenau, 1828. 8. 
 GEBHARDT (S. R.). Das Ganze der Ziegelfabrikation. Quedlinburg, 1835. 12. 
 
 - Die neuesten Erfindungen im Betreff der Ziegelfabrikation. S.d. 12. 
 WOELFER. Anweisung zur Fabrikation aller arten von Wasserleitung. . . . 
 
 Quedlinburg, 1845. 8. 
 BERGSTEEN (K. G.). Prakt. Anleitung zum Anfertigen der Drainsrohren. Berlin, 
 
 1858. 8. 
 
 TURSCHMIED. Ueber die Ziegel-Fabrikation. Berlin, 1859. 8. 
 SCHLESINGER (F.). Der Bau der Ziegel-brennofen. Berlin, 1866. 4. 
 NEUMANN (F.). Die Ziegelfabrikation. Weimar, 1866. 8. 
 WERKEN (G. von). Das Ganze der Ziegelfabrikation. Altona, 1868. 8. 
 VIC AT. Die neuesten Fortschritte by der Ziegelfabrikation. Berlin, 1868. 8. 
 WALDEGG (H. von). Die Kalk-Ziegel- und Rohrenbrennerei. Leipzig, 1861. 8. 
 BRAUN (E.). Die deutsche Keramic und das Strassenpflaster. Leipzig, 1877. 8. 
 LIEBOLD (B.). Die Trockenanlagen fur Ziegeleien. 1877. 4. 
 RUHNE (J. F.). Lehrbuch der Ziegel-Fabrikation. Braunschweig, 1877. 8. 
 ZWICK (H.). Die Natur der Ziegelthone und die Ziegel Fabrikation. Wien, 1878. 
 
 Sq. 8. 
 
 OLSCHEWSKY (W.). Katechismus der Ziegelfabrikation. Wien, 1880. 8. 
 ECKHART (A.). Bei Anlage periodischer Ziegelofen. Berlin, 1883. 8. 
 
 - Tecknik der Verblendstein. Berlin, 1884. 8. 
 
 HOLZEN (F.). Die Herstellung hollandischer Dachziegel. Berlin, s.d. 8. 
 FRIEDRICH (R.). Bliitezeit und Niedergang unserer Ziegel-Industrie. LiibecJc, 1897. 
 DUMMLER (K.). Handbuch der Ziegelfabrikation. Halle, 1897. 8. 
 
 Das^Formen und Dekoriren der Ziegel. Halle, 1899. 8. 
 
 485 
 
CERAMIC LITERATURE. 
 
 GUNTHER (H.). Auswitterung und Ziegelmauer werk. Giitstow, 1896. 8. 
 
 BOCK (0.). Ziegelei als landwirtschaftliches und selbstandiges Gewerbe. Berlin, 1898. 
 8. 
 
 Ziegelfabrikation aller Arten. Berlin, 1901. 8. 
 
 Ziegelofen Konstruktion. Berlin, s.d. 8, pp. 58 ; illustrs. 
 
 BUCHHOLZ (P.). Die Fabrikation der Dachfalzziegel. Berlin, 1899. 8. 
 
 DUMMLER (K.). Handbuch der Ziegelfabrikation. Berlin, 1900. 2nd ed., 1908. 8. 
 
 BECK (A. S.). Ziegeleianlagen und Fabrikation. Berlin, 1901. 8, pp. 82. 
 
 ANON. Kontroll-apparate fur Ziegeleien. Berlin, 1903. 12. 
 
 RISCHER (A.). Das Glasieren der Ziegel. Berlin, 1904. 12. 
 
 BJALAWENETZ (M. J.). Die Herstellung der Kacheln. Berlin, 1906. 8. 
 
 BENLEY (G.). Die heutige Ziegelindustrie. Berlin, 1908. 4, pp. 32 ; illustrs. 
 
 BUK (J. von). Der Ziegelmeister in Theorie und Praxis. Leipzig, 1908. 8, pp. 272 ; 
 illustrs. 
 
 ANON. Hilfs-Gerate fiir Beaufsichtigung des Betriebes von Ziegeleien. Berlin, 1909. 
 16, pp. 184 ; with 135 illustrs. 
 
 HEINEMANN (B.) Die wirtschaftliche und soziale Entwicklung der deutschen Ziegel- 
 industrie unter dem Einfluss der Technik. 1909. 8. 
 
 India. 
 FALCONNET (P. de P.). Brick and Tile-making at Allahabad. Rookee, 1874. 8. 
 
 Italy. 
 
 AXERIO (G.). Delia fabbricazione dei laterizi. Milano, 1868. 8. 
 MOLINARL Laterizi. . . . Milano, 1887. 8. 
 
 U.S.A. 
 
 DAVIS (Ch. T.). A practical treatise on the manufacture of bricks, tiles, etc. Phila- 
 delphia, 1884. 8. 
 
 CROSSLEY (A.). Brick and tile-making. Ottawa, 1889. 
 
 CRARY (J. W.). Sixty years a brickmaker. Indianapolis, 1890. 
 
 MORRISON (R. B.). Brickmaker's Manual. With addition by J. A. Reep. Indiana- 
 polis, 1890. 8. 
 
 BARKER (T. 0.). Durability of brick pavements. Indianapolis, 1891. 
 
 BURKE (M. D.). Bricks for street pavements. Cincinnati, 1892. 
 
 DUMMLER (K.). Die Ziegel und Thonwaaren Industrie in Chicago. Halle, 1894. 4. 
 
 ANSELL (H.). Glazed bricks' manufacture. New 'York, 1898. 8. 
 
 e. POTTERY FAIENCE EARTHENWARE STONEWARE. 
 
 Austria. 
 
 HOFER (J.). Die Fabrikation kiinstlicher plastischer Massen. Wien, 1878. 8. 
 
 England. 
 
 PINCOT (D.). An essay on the origin and properties of the artificial stone. London, 
 
 1770. 8. 
 ANON (E. Wood). A representation of the manufacture of earthenware. London, 1827. 
 
 16. 
 
 486 
 
CERAMIC LITERATURE. 
 
 MAYER (J.). A synopsis of the manufacture of earthenware. Liverpool, 1842. 8. 
 RIX (W. P.). On the adaptation of stoneware. London, 1891. 12. 
 SANDEMAN (E. A.). Notes on the manufacture of earthenware. London, 1901. 8. 
 LUNN (R.). Pottery : a handbook of practical pottery. London, 1903. 8. 
 
 France. 
 
 VINCENT (J.). La Pyrotechnic ou art du feu. Paris, 1579. 4. 
 DUHAMEL DU MONCEAU. L'art du potier de terre. Paris, 1773. Fol. 
 ANON (Robinet). Recueil de planches . . . Fa'ienceries. Paris, 1765. Fol. 
 BOSC d' ANTIC (GEuvres de Mr.). Memoires sur la faiiencerie. Paris, 1780. 18. 
 JUMELIN (S.). Rapport sur le perfectionnement des poteries. Valogne, 1792. 8. 
 FOURMY (J.). -Memoire qui a remporte le prix. . . . Paris, 1800. 8. 
 
 - Memoire sur les ouvrages de terre cuite. . . . Paris, 1801. 8. 
 Memoire sur les Ydroceram.es. Paris, 1803. 8. 
 
 JOUSSELIN (C. R.). Essai sur le perfectionnement des poteries. Paris, 1807. 8. 
 0*** et BOUILLON LAGRANGE. L'art de fabriquer la poterie fa9on anglaise. Paris, 
 
 1807. 12. 
 BASTENAIRE-DAUDENART (F.). L'art de fabriquer la faience blanche recouverte 
 
 d'un email transparent. Paris, 1828. 8. 
 
 - L'art de fabriquer la faience recouverte d'un email opaque. Paris, 1828. 12. 
 
 - L'art de fabriquer les poteries communes. Paris, 1835. 8. 
 
 JOUANNET (F.). Rapport sur les poteries fabriquees par Mr. de Saint Amans a la 
 maniere anglaise. Agen, 1832. 8. 
 
 B. B. Comparaison entre la fabrication des poteries en Angleterre et sur le continent. 
 Luxembourg, 1835. 8. 
 
 LAMBERT (G.). Art ceramique. Traite pratique de la fabrication des faiences fines. 
 
 Paris, 1865. 8. 
 
 VOGT (G.). Poterie. (An article in Wiirtz, Dictionnaire de Chimie.) Paris, 1873. 8. 
 DECK (Th.). La faience. Paris, 1887. 8. 
 
 STOFFLER (E.). La pierre artificielle. 8.1, n.d. Pp. 120 ; 100 illustrs. 
 VOGT (G.). La fabrication du Gres-cerame a la Man. Nat. de Sevres. Paris, 1900. 8. 
 
 Germany. 
 
 SCHOPPER (H.). Eygentliche Beschreibung . . . aller Kiinsten, Handwerken und 
 
 Handlen. Frankfurt a. M., 1568. 12. 
 HALLE (J. S.). Praktische Kenntnisse zur Verfertigung des englischen Steinguts. Berlin, 
 
 1793. 4. 
 
 LEIBL (S.). Neue Mittheilungen fur Topferein. Nurnberg, s.d. 4. 
 EHRHARDT (A. H.). Anweisung zur Verfertigung und Anwendung bleifreier Glasuren. 
 
 Quedlinburg, 1830. 8. 
 
 DIETZ. Leitfaden zur Anfertigung von 100 verschiedenen Topfer Glasuren. Munchen, 
 
 1853. 8. 
 
 WILKENS (K.). Die Topferei. Weimar, 1870. 8. 
 SCHUMACHER (W.). Die Thonfabricate. Weimar (1890 ?). 8. 
 STEINBRECHT (G.). Die Steingut Fabrication. Wien, 1891. 8. 
 GERTCKE (G.). Die Kachelofenindustrie in Velten. Velten, 1894. 8. 
 BROMSE (F.). Die Ofenfabrikation. Weimar, 1895. 8. 
 STORMER (M.). Fehler bei der Thonwaareu-Fabrikation. Freiberg, 1901. 8. 
 
 487 
 
CERAMIC LITERATURE. 
 
 GREINER (K.). Aus dem Betriebe der Steingutfabrikation. Halle a. S., 1903. 8. 
 SCHNURPFEIL (H.). Die Tonindustrie in Glashuttenbetriebe. Berlin, 1908. 8. 
 DIETZ (R.). Steinzeug Steingut^Topferwaaren. Halle a. S., 1907. 8. 
 
 Holland. 
 PAAPE (G.). De Plateelbakker. Dordrecht, 1794. 8. 
 
 Italy. 
 
 BIRINGUCCIO (V.). De la Pirotechnica. Venetia, 1540. 4. 
 
 SIMONE (G. de). Processo per stampare le stoviglie. Napoli, 1828. 4. 
 
 LAZZARINI (G. A.). Majolica fina. (In Vanzolini.) 
 
 Portugal. 
 
 SILVA (J. F. de). L'arte de Luceiro. Lisboa, 1804. 12. 
 XAVIER (A. V.). Arte da Lou9a vitrada. Lisboa, 1805. 8. 
 
 LAPIERRE (Ch.). Estudos chimico e technologico sobre a ceramica portugueza moderna. 
 8. S.d. (recent). 
 
 /. P R C E L A I N. 
 
 . Bohemia. 
 
 HELLMESSEN (A.). Das Porzellan. Prog, 1898. 8. 
 
 England. 
 
 HILL (A.). Instructions how to make as fine china. . . . London, 1716. 8. 
 DOSSIE (R.). The Handmaid to the arts. London, 1764. 8. 
 
 France. 
 
 BLANCOURT (Haudiquer de). I/art de la verrerie. Paris, 1697. 12. 
 
 REAUMUR. Art de faire une nouvelle espece de porcelaine. Paris, 1739. 4. 
 
 NERI, MERRET, et KUNCKEL. Art de la verrerie. Le secret des vrais porcelaines 
 
 de la Chine et de Saxe. Paris, 1752. 4. 
 
 MILLY (Le Comte de). L'art de la porcelaine. Paris, 1771. Fol. 
 
 BASTENAIRE-DAUDENART (F.). L'art de fabriquer la porcelaine. Paris, 1827. 12. 
 BOYER. Manuel du porcelainier. . . . Paris, 1827. 12. 
 BRONGNIART (A.). Porcelaine. Paris, 1830. 8. 
 
 MAGNIER (M. D.). Nouveau manuel complet du porcelainier. Paris, 1864. 18. 
 DUBREUIL. La Porcelaine. Paris, 1885. (In Fremy, Encyclopedic Chimique.) 
 LAUTH (C.). Conferences de la Sorbonne. La porcelaine. Paris, 1882. 8. 
 
 Notes techniques sur la fabrication de la nouvelle porcelaine. Paris, 1885. 8. 
 PALLIER (M.). Limoges ; quelques mots sur son Industrie. Limoges, 1885. 12. 
 LAUTH et DUTAILLY. Recherches sur la porcelain. Paris, 1888. 8. 
 GARBAN. La porcelaine. Paris, 1891. 8. 
 VOGT (G.). La porcelain. Paris, 1893. 8. 
 
 LARCHEVEQUE. Fabrication de la porcelaine dure. Paris, 1898. 8. 
 488 
 
CERAMIC LITERATURE. 
 
 Germany. 
 
 POTT. Endecktes Geheimniss des achten Porzelans. Berlin, 1750. 4. 
 
 WEBER (F. J.). Die Kunst das achte Porzellains zu verfertigen. Hannover, 1798. 8. 
 
 FRICK (G.). Ueber Porzellanerde Gewinnung und Porzellanfabrikation. Berlin 
 
 1812. Fol. 
 
 SCHOLTZ (B.). Ueber Porzellan und Porzellanerden. Wien, 1844. 
 NASSE (W.). Ueber Porzellanfabrikation. Leipzig, 1826. 8. 
 
 SCHUMANN (L. F.). Die Kunst durchsichtiges Porzellan. . . . Weimar, 1835. 8. 
 LANDON (D.). Die Fabrikation des Porcellans. Quedlinburg, s.d. 8. 
 MAYFARHT (J. W.). Die Porzellan Fabrikation. Sonderhausen, 1844. 8. 
 STRELE (K.). Die Fabrikation des Feldspath-Porcellans. Weimar, s.d. 8. 
 TENAX (B. J.). Die Steingut u. Porzellanfabrikation. Leipzig, 1879. 8. 
 KNABEL. Die Anlage der Porcelanfabrick. S.l, 1882. 8. 
 DEMMIN (A.). Das Porzellan. (In Keramische Studien.) 1883. 8. 
 GRIMM (H.). Die Fabrikation des Feldspat-Porzellans. Leipzig, 1901. 8. 
 HEGEMANN (H.). Die Herstellung des Porzellans. Berlin, 1904. 8. 
 TRIESSE (R. M.). Das porzellan als isolier ... in der Electrotechnic. Kloster- 
 
 lausnitz. 1904. 8. 
 
 Holland. 
 
 LINDENBERG (J. F.). Nieuwe verligter lerende de making van. . . . Als mede 
 
 egte Porcellain te maken. Amsterdam, 1758. 8. 
 KASTELEIJN (P. J.). Die Porceleinfabrick. Dordrecht, 1779. 8. 
 
 Portugal. 
 
 SILVA (J. F. de). Arte da Porcelana. Lisboa, 1806. 8. 
 
 U.S.A. 
 BOAT (T.). Grand feu ceramics. Syracuse, N. Y., 1904. 8. 
 
 g. COLOUR-MAKING. 
 England. 
 
 SMITH (G.). The Laboratory. London, 1770. 8. 
 
 LAKIN (T.). The valuable receipts of the late Thomas Lakin. Leeds, 1824. Sm. 4. 
 
 WENGER (A.). Various catalogues of potters' materials. Hanley, 1876 and /. y. 4. 
 
 BOURNE (W. R.). A collection of ceramic receipts. Hanley, 1884. 8. 
 
 CORFIELD. Recipes for making potters' colours. Hanley, 1884. 32. 
 
 ANON. Recipes for enamel, colours, and lustres. London, s.d. (1885 ?). 8. 
 
 CREYKE (W. R.). Book of modern recipes. Hanley, 1887. 12. 
 
 ANON. Chemical recipes. Sunderland, 1897. 8. 
 
 CONNAH (E.). Recipes for white and coloured glazes. Wrexham, 1903. 32. 
 
 HAMBACH (Transl.). Pottery Decorating. 1907. 8. 
 
 France. 
 
 COLLADON. Couleurs des esmaulx ou vernis de la poterie de faience. (1650 ?). 
 FERRAND (J. P.). L'art du feu. Paris, 1721. 12. 
 
 489 
 
CERAMIC LITERATURE. 
 
 ANON. Secrets concernant les arts et metiers. Rouen, 1724. 12. 
 
 ARCLAIS de MONT AMY (D'). Traite des couleurs pour' la peinture en email. Paris, 
 1765. 12. 
 
 APLIGNY (Le Pileur d'). Traite des couleurs materielles. Paris, 1779. 12. 
 FOURCROY (A. F. de). Rapport sur les couleurs pour la porcelaine. Paris, 1797. 4. 
 PRIEUR (C. A.). Considerations sur les couleurs irisees. Paris, 1807. 8. 
 HAUTEFEUILLE (E.). Note sur 1'Aventurine artificielle. Paris, 1861. 4. 
 PEYRUSSON (E.). Preparation de Tor pour la decoration de la porcelaine. Limoges, 
 1891. 8. 
 
 Germany. 
 
 MATHESIUS (J.). Sarepta, oder Bergpostill. Niirnberg, 1562. Fol. 
 
 WEINLING. Chemische Bereitung der Farben. Leipzig, 1793. 8. 
 
 HOCHHEIMER (C. K. A.). Chemische Farbenlehre. Leipzig, 1794. 8. 
 
 MEINDEL (C.). Die Bereitung der Farben zur Porzellan-malerei. Quedlinburg, 1850. 8. 
 
 FROMBERG (E. D.). Die Darstellung des Goldpurpurs. Quedlinburg, s.d. 8. 
 
 LEO (W.). Handbuch der chemischen Farben Bereitung. Quedlinburg, s.d. 8. 
 
 STRELE (K.). Die Technik des Kolorirens und Dekorirens von echten und fritten- 
 
 Porcellan. Weimar (1870 ?). 8. 
 
 ILG (A.). Heraclius. Original text und Uebersetzung. Wien, 1873. 8. 
 SCHMIDT (C. H.). Die Fabrication der fiir die Glasmalerei und porzellanmalerei geeig- 
 
 neten Farben. Weimar, 1880. 8. 
 RANDAU (P.). Die Fabrikation der Emaille. S.d. 
 
 SWOBODA (C. B.). Die Farben zur Decoration von Steingut, Fayence und Majolica. 
 Wien, 1891. 12. 
 
 BERSCH (J.). Erdfarben-Fabrikation. Berlin, 1893. 8. 
 
 BULL (P.). Die Emaille-Fabrikation. Hamburg, 1895. 8. 
 
 HERRAMHOF (H.). Untersuchungen iiber Scharffeuerung Farben fiir Hart Porzellan. 
 
 Munchen, 1905. 8, pp. 85 ; 1 pi. 
 
 HAINBACH (R.). Die Technick der Decorirung. 1907. 8. 
 ANON. Kezeptbuch fiir alle Zweige der Keramik. Dresden, " Die Glasshutte." S.d. 
 
 (1908). 8. 
 
 Italy. 
 
 MARENCCI (L.). Saggio sopra i colori minerali e mezzo di procurassi gli smalti. Roma, 
 1816. 8. 
 
 U.S.A. 
 
 DICK (W. B.). Encyclopedia of practical- receipts . . . pottery, porcelain, etc. 
 New York, 1872. 
 
 See also General Treatises of Manufacture Monographs of Foreign and English 
 Manufactories. 
 
 h. CHINA PAINTING. 
 1. Handbooks to the Art of Painting on China. 
 
 China painting had long been considered as an art full of mysterious practices, which 
 
 could only be mastered through a long apprenticeship under an experienced craftsman. 
 
 One day, the rumour spread, far and wide, that anyone, ever so little proficient in drawing, 
 
 could easily decorate earthenware or porcelain merely with the assistance of a good 
 
 490 
 
CERAMIC LITERATURE. 
 
 technical handbook. This was for many a young lady a genteel occupation to which 
 she could apply herself in her own house, and which was bound to be handsomely 
 remunerative. The number of ladies, young and old, who took to the fascinating pursuit 
 of covering plates and vases with painted ornamentation of a nondescript style, was 
 really amazing. Small treatises, professing to disclose the secrets of the art, were forth- 
 coming from all sides to answer the ever-increasing demand, most of them offered at 
 a price which suited the most modest purses. Pleasant dreams of speedy and profitable 
 employment were raised in the mind of the misguided amateur-painter ; all were to end 
 in bitter disappointment. The imperfect productions, which were the result of these 
 abortive trials, never entered into real competition with the work of the professionals. 
 Many a promising artist, whose paintings had excited sincere admiration in the circle of 
 parents and friends, could not find a purchaser for his work when he, or she, tried to put 
 it on the market. The discouraged amateur soon recognised that experience and 
 skill of hand cannot be obtained by studying the delusive directions contained in a 
 so-called practical handbook. 
 
 In the meantime the publisher had gathered his crop. While the infatuation lasted, 
 as soon as a fresh treatise on china-painting was brought out, it was sure to command 
 a ready sale amongst the crowd of unwary probationers. A few good manuals were 
 written by practical painters ; but the majority was not above the common catch-penny 
 pamphlet, compiled for the occasion by some obscure scribbler. 
 
 England. 
 
 FLETCHER (S.). A treatise on the art of enamel painting on porcelain. London, 1813. 
 
 8. 
 
 GULLICK (T. J.) and TIMES (J.). Painting popularly explained. London, 1859. 8. 
 ARCHER (E. L.). Porcelain painting. London, 1860. 16. 
 WHITEFORD (S. T.). A guide to porcelain painting. London, 1873. 8. 
 BLACK (A. E.). Practical guide to porcelain painting. London, 1877. 8. 
 ANON. Pottery painting for amateurs. London, 1877. Sq. 8. 
 ROBERTSON (H. R.). The art of painting on china. London, s.d. 12. 
 SPARKES (J. C. L.). A handbook to the practice of pottery painting. London, 1878. 
 
 16. 
 
 FESQUET (F. A.). Lessons in painting on china. London, 1880. 8. 
 LELAND (C. G.). Porcelain painting. London, 1880. 8. 
 HARVEY (W.). China painting. London, 1880. 8. 
 HANCOCK (E. C.). China colours and how to use them. London, 1880. 8. 
 
 - The amateur pottery and glass painter. London, 1880. 8. 
 HILL (A.). Hancock's copies for china painters. Worcester, s.d. 8. 
 C. J. S. Hints on fine arts ; Pottery painting. Edinburgh, 1881. 8. 
 BACKSHELL (W.). Painting with ceramic colours. London, 1882. 12. 
 MORRELL (Mrs. C.). All about painting on china. London,. 1883. 8. 
 COLIBERT. Terra-cotta painting. London, 1883. 8. 
 LEWIS (Flor.). China painting. London, 1883. Obi. 8. 
 SAWARD (Ch. G.). Decorative painting. London, 1883. 8. 
 MILLER (F.). Pottery painting. London, 1885. 8. 
 BROUSSON (H. F.). Practical help to amateurs. London, 1886. 8. 
 BRONGNIART (A.). Colouring and decoration of ceramic ware. (Transl.) London, 
 
 1897. 8. 
 
 491 
 
CERAMIC LITERATURE. 
 
 HERMANN (F.). Painting on glass and porcelain. (Transl.) London, 1897. 8. 
 HAINBACH (R.). Pottery decoration. (Transl.) London, 1907. 8. 
 
 France. 
 
 CONSTANTIN (A.). Idees italiennes. Florence, 1840. 8. 
 
 DUSSIEUX (L.). Kecherches sur Thistoire de la peinture sur email. Paris, 1841. 8. 
 
 COUNIS (S. G.). Quelques souvenirs ; suivis d'une dissertation sur 1'email et sur la 
 
 porcelaine. Florence, 1842. 8. 
 
 MUIDBLED. Le Jaquotot des amateurs de peintures de Sevres. Paris (184 ?). 12. 
 REBOULLEAU de THOIRRES (E. F.). Nouveau manuel de la peinture sur verre, sur 
 
 porcelaine et sur email. Paris, 1843. 18. 
 
 BALECHE et CRAM. Peinture sur porcelaine. Paris, 1846. 12. 
 LEFEVRE (C.). Peinture sur porcelaine. Paris, 1858. 8. 
 JOLLIVET (J.). Peinture en email sur lave. Paris, 1862. 8. 
 DESLOGES. Traite general de peinture verifiable. Paris, 1866. 8. 
 POPELIN (C.). L'email des peintres. Paris, 1866. 8. 
 
 LACROIX (A.). Des couleurs vitrifiables et de leur emploi pour la peinture sui 
 porcelaine. Paris, 1872. 8. 
 
 CHAUVIGNE (A.). Traite de decoration sur porcelaine. Tours, 1860. 12. 
 GABELLE (M.). Precede pour cuire chez soi, sans moufle, les peintures sur porcelaine. 
 
 Paris, 1876. 8. 
 DELAMARDELLE (Mme. la Baronne) et GOUPIL (F.). Le9ons pratiques de peinture 
 
 vitrifiable sur porcelaine. Paris, 1877. 8. 
 POPELIN (C.). Les vieux arts du feu. Paris, 1878. 8. 
 
 GELLIERE (L.). Traite elementaire de peinture en ceramique. Beauvais, 1878. 12. 
 COOL (Mme. de). Traite de peinture sur porcelaine. Paris, s.d. 8. 
 DUBOIS (E.). Peinture vitrifiable. Paris (188 ?). 8. 
 BERVILLE (L.). Notice sur le vernis Martin. Paris, s.d. 8. 
 AUBERT (E.). Peinture ceramique a la gouache vitrifiable. Paris, 1881. 8. 
 RIS-PAQUOT. Le peintre ceramiste. Abbeville, 1883. 8. 
 
 Traite pratique de peinture sur faience et porcelaine. Paris, 1886. 8. 
 
 PARVILLEE (A.). Etude sur 1'enseignement de Tart ceramique. Paris, 1884. 8. 
 RIOLS (J. de). L'art de cuire sans moufle. Paris, 1885. 8. 
 ARNOUX (Mme. A.). La ceramique et les emaux. Paris, 1891. 8. 
 ROBERT (K.). Le fusain sur faience. Paris, s.d. 8. 
 
 La ceramique. Traite pratique des peintures vitrifiables. Paris, 1892. 8. 
 
 PICART (M.). Nouveau traite de peinture sur porcelaine. Paris, 1893. 8. 
 
 GUENEZ. Decoration ceramique au feu de moufle. Paris, 1893. 8. 
 
 LACROIX (A.). Le dessin sur porcelaine au crayon-pastel vitrifiable. Paris, 1898. 8, 
 
 pp. 32. 
 
 Germany. 
 
 RENNER (A.). Die Porzellan Malerei. Leipzig, 1833. 12. 
 ROTTLINGER (K.). Handbuch der Porzellanmalerei. Quedlinburg, 1835. 8. 
 NEUBURG (R. P.). Porcellan-Glass und Wachsmalerei. Erfurt, s.d. 16. 
 LEO (W.). Die Schmelzmalerei. Quedlinburg, 1845. 12. 
 FROLICH (H. D.). Gehemnisse der Porzellanmalerei. Graudenz, 1847. 8. 
 BRONGNIART und KYPE. Handbuch der Porzellan-malerei. 1861. 8. 
 492 
 
CERAMIC LITERATURE. 
 
 KARNER (C. J.). Die Porzellanmalerei. Berlin, 1870. 8. 
 
 KLIMKE (A.). Anleitung zu malen auf Porzellan. 1879. 8. 
 
 HERMANN (F.). Die Glass und Porzellan Malerei. Leipzig, 1882. 8. 
 
 DREWS. Majolikamalerei. Berlin, 1883. 8. 
 
 LUDERS (A.). Anleitung zur Porzellanmalerei. 1885. 8. 
 
 TSCHENSCHNER (E.). Handbuch der Porzellan und Glasmalerei. Leipzig, s.d. 8 
 
 SCHLIEDER (S. L.). Die Majolikamalerei. Berlin, 1886. 8. 
 
 ROMANOFF (S.). Die Behandlung der Schmelzfarben. Berlin, 1887. 8. 
 
 WUNDAHI (M.). Anleitung fiir Majolika Malerei. Berlin, s.d. 8. 
 
 DUBOVSZKY (J.). Majolika Malerei. 1891. 8. 
 
 JAENNICKE. Handbuch der Porzellan Malerei. Stuttgart, 1891. 8. 
 
 KREKEL (J.). Anleitung zur Porzellanmalerei. Wiesbaden, 1892. 8. 
 
 BOUFFIER (H.). Majolika Malerei. 1892. 8. 
 
 BRAUN (T.). Majolika und Porzellan Malerei. Munchen, 1893. 8. 
 
 ULKE (R.). Katechismus der Porzellan Malerei. Leipzig, 1894. 8. 
 
 HAINBACH (R.). Technick der Dekorirung Keramischer Waaren. Leipzig, 1894. 8. 
 
 MAYR (R.). Die keramische Malerei. Augsburg, 1901. 8. 
 
 Holland. 
 
 LEIGH (J. C.). Handleiding tot het houten porceleinschilderen. Nieuwedien, 1876. 
 LE GRAND (A. C.). Het schilderen op Porcelein. Amsterdam, 1882. 8. 
 
 Italy. 
 FANELLI (P.). Idea del perfetto pittore. Torino, 1769. 8. 
 
 Russia. 
 
 MICHAILOFF (W.). Porcelain painting for amateurs. St. Petersburg, 1893. 8. 
 
 Sweden. 
 
 TORNER. Handl. vid glas o porslinsmalning, etsning, o emaljering. m. m. 1895. 
 
 U.S. America. 
 
 TILTON (S. W.). Designs and instructions for decorating on pottery. Boston, 1877. 
 VANGUYON (B. de la). Guide to painting on porcelain. Boston, 1877. 
 MACLAUGHLIN (L.). China painting. Cincinnati, 1877. 12. 
 
 - Pottery decoration under the glaze. . . . Cincinnati, 1877. 12. 
 NICHOLS (G. W.). Pottery ; how it is made. New York, 1878. 8. 
 BEARD (J. C.). Painting on china. New York, s.d. 8. 
 
 - Practical instructions in overglaze painting. New York, 1882. 4. 
 
 TADD (J. K.). Modelling and underglaze faience -decoration. New York, 1882. 4. 
 HILL (F. S.). Porcelain painting after the Dresden method. New York, 1883. 8. 
 FRACKELTON (Mrs. S. S.). Tried by fire. New York, 1886. 4. 
 
 OSGOOD (A. H.). How to apply Worcester and Dresden colours to china. New York, 
 1891. 8. 
 
 VANCE-PHILLIPS (Mrs. L.). The book of the china painter. New York, 1896. 8. 
 MONACHESI (R.). A manual for china painters. Boston, 1897. 12. 
 
 493 
 
CERAMIC LITERATURE. 
 
 2. Models and Designs for the Use of Ceramic Artists. 
 Austria. 
 
 CHILLA (L.). Original-Entwiirfe fiir d. Keramische-Kunstgewerbe. Wien, 1897. Fol. 
 
 Belgium. 
 CASSIERS (H.). Faiences de Delft. Bruxelles, 1895. 4. 
 
 France. 
 
 BOULLEMIER (F.). Suite d'ornements. Paris, 1831. 4. 
 
 CLERGET (C. E.). Nouveaux ornements. Paris, 1840. Fol. 
 
 DIDIER (F.). Les fouillis de decoration. S.l.,n.d. 4. 
 
 8CHILT (L. P.). Le dessinateur de porcelaine. S.l.,n.d. 
 
 AVISSE et RENARD. L'art ceramique au xix e siecle. Paris, 1861. Fol. 
 
 SOLON (L. M.). Inventions decoratives. Paris, 1864. Fol. 
 
 COLLINOT et BEAUMONT. Recueil de dessins. . . . Paris, 1868. Fol. 
 
 LEONCE (G.). Oiseaux et plantes. Paris, 1885. Fol. 
 
 HABERT-DYS. Fantaisies decoratives. Paris, 1888. Fol. 
 
 HEIN (F.). La peinture sur porcelaine. Paris, s.d. Fol. 
 
 LAMBERT (H.). La flore naturelle. Paris, 1888. Fol. 
 
 GOPPINGER (A.). Bouquets de fleurs du style Louis XV. Paris, s.d. 8. 
 
 MAHELIN. Petits bouquets genre Saxe. Paris, 1890. 8. 
 
 GRANDHOMME et FLOQUET. Dessins applicables aux arts ceramiques. Paris, s.d. 
 
 Fol. 
 
 COLOMB (E.). Modeles pour assiettes. S.I, 1891. Fol. 
 SANDIER (A.). Formes de vases. Paris, 1900. 4. 
 
 Germany. 
 
 MATHAEY (E. L.). Abbildungen fiir Porcellan. Weimar, 1841. Fol. 
 
 HEIDELOFF (C.). Musterwerke fiir Hafner und Topfer. Nurnberg, 1851. 4. 
 
 NIEDLING (A.). Original Entwiirfe fiir Thonwaaren Industrie. Weimar, 1879. 4. 
 
 HOPPNER. Kleine Vorlagen fiir Porzellanmalerei. Leipzig, 1881. 8. 
 
 DREWS und LAUDIEN. Vorlagen zur Ma jolica-Malerei. Berlin, 1881. Fol. 
 
 FLENTJEN. Vorlagen fiir Porzellanmalerei. Leipzig, 1885. 8. 
 
 TOIFEL. Keramik. Originalentwiirfe. 1886. Fol. 
 
 MEYER. Des Hauses-Zier. Vorlagen fur Malerei auf Porzellan. S.l.,n.d. 8. 
 
 FRISCH (A.). Japanese decorations. Berlin, s.d. Fol. 
 
 SPIELHAGEN (G.). Kunst-Scherben. Berlin, s.d. Lol. 
 
 STURM (G.). Figurale Vignetten. . . . Wien, s.d. 4. 
 
 KIPS (E.). Porzellan-Malerein in Rauchsalon S.M.Y. Hohenzollern. Berlin, s.d., 1890. 
 
 Fol. 
 
 FAGER. Roccoco-Malerein auf Ludwigsburger Porcellan. Stuttgart, 1891. 4. 
 DEININGER (C. F.). Sammlung von Porzellan-Malerein. Leipzig, 1892. 4. 
 HOPPNER (J.). Kleine Vorlagen fiir Porcellanmalerei. Miinchen, 1893. 
 LANGEN (M. von). Delfter blau Malerei. Leipzig, 1893. Fol. 
 HENRIQUES (A.). Vorlagen fiir Porzellan-Malerei. Hamburg, 1894. 4. 
 LAUDIEN (T. und M.). Vorlagen fiir Porcellan-Malerei. Frankfurt a. 0., 1895. Fol. 
 494 
 
CERAMIC LITERATURE. 
 
 HUTSCHEUREUTER (L.). Motive fur der keramische klein Plastik. Plauen, 1895. Fol. 
 KRELL (P. F.). Keramische Vorbilder. Berlin, 1896. Fol. 
 
 WITTMANN u. SEIDEL. Studienmappe fur die Keramik Industrie. Plauen, 1897. Fol. 
 KLIER (H.). Modern Keramik. Plauen, 1902. 4. 
 
 Hungary. 
 CYULA (D.). Revai Minta majolika Festesre. Budapest, 1889. Fol. 
 
 Italy. 
 
 PETITOT. Suite de vases tiree du Cabinet de S. E. M. Du Tillot. Parma, 1764. 4. 
 
 i, TRANSFER PRINTING AND PHOTO-CERAMICS. 
 
 BREVIERE (L. N.). Notes sur des porcelaines imprimees. . . . Rouen, 1833. 8. 
 WALTHER (H.). Das Keramische Druckverfaren. Dresden, 1893. 8. 
 
 See also for the history of transfer printing ; Rouquet, The Arts in England ; 
 Ballantine, Robert Hancock; Binns, Worcester; Mayer, The Art of Pottery; 
 Turner (W.), Transfer Printing. 
 
 BURNETT. Burnt-in photography on porcelain. Edinburgh, 1857. 4. 
 MARTIN. Handbuch der Emailphotographie. Weimar, 1862. 8. 
 GEYMET et ALKER. Emaux photographiques. Traite pratique. Paris, 1868. 12. 
 LAFON de CAMARSAC. Portraits photographiques sur email. Paris, 1865. 8. 
 KRUGER (J.). Die Photokeramic. Wien, 1879. 16. 2nd ed., 1893. 8. (Revised by 
 
 Prof. J. Husnik.) Pp. 224 ; 19 illustrs. 
 GEYMET. Traite pratique des emaux photographiques. Paris, 1885. 18. 
 
 - Traite pratique de ceramique-photographique. Paris, 1885. 18. 
 
 - Heliographie verifiable. Temperature, Supports perfectionnes, Feux de coloris. 
 Paris, 1889. 18. 
 
 GODARD (E.). Precedes photographiques pour 1'application sur la porcelaine, avec 
 
 couleurs vitrifiables, de dessins, etc. Paris, 1888. 18. 
 GARIN et AYMAR. La photographie vitrifiee. Paris, 1890. 18. 
 KISSLING (J.). Das Gesammtgebiet der Photokeramik. Berlin, 1894. 8. 
 HENRY (W. E.) and WARD (S. H.). Photo-Ceramics. London, 1895. 8. 
 LIESEGANG (P. E.). Photographische Schmelzfarben bilder. Dusseldorf, 1898. 8. 
 MERCATOR (C.). Die Photokeramik und ihre Imitationen. Halle a. S., 1900. 8. 
 
 y. REPAIRS AND RESTORATION. 
 
 SALVETAT. Les travaux de Mr. Pierrat, restaurateur d'objets d'art. Paris, 1854. 8. 
 
 THIAUCOURT (P.). L'art de restaurer les faiences. Paris, 1868. 8. 
 
 RIS-PAQUOT. Maniere de restaurer soi-meme les faiences. . . . Paris, 1872. 12. 
 
 2nd ed., 1876. 
 
 LEHNER (S.). Die Kitte und Klebemittel. Wien, 1883. 4. 
 
 BARTHELET (A.). The works of art and Bric-a-Brac doctor. Philadelphia, 1884. 12. 
 ROBERT (K.). Les imitations ceramiques. Paris, 1896. 12. 
 LAMBOURSIN. Traite de la fabrication et de la restauration des faiences. Paris, 
 
 1897. 8. 
 HOWORTH (J.). The art of repairing and riveting glass, china, and earthenware. 
 
 London, 1898. 8. 
 
 495 
 
CERA MIC LITER A TURE. 
 
 AUDEN (G. and H.). The preservation of antiquities. Cambridge, 1907. 8. 
 
 See also Le Grand d'Aussi, Histoire des Fran^ais ; Grange, Clermont F errand ; 
 Hunter, Bits of Old China; Blondel, Grammaire de la Curiosite ; Eudel, Le 
 Trucage; Ortleb, Gefdsskunde. 
 
 A;. TRADE REGULATIONS HYGIENE. 
 
 PHELYPEAUX. Arrest du Conseil d'Etat . . . (concerning the trade and manu- 
 facture of pottery). Paris, 1709-64. 4. 
 
 YSABEAU. Reglement pour les ouvriers. . . . Paris, 1749. 4. 
 ANON. Statuts anciens et nouveaux concernant la communaute des maitres potiers 
 
 de Paris. Paris, 1752. 12. 2nd ed., 1772. 
 MANNORY (L.). Plaidoyers et memoires. Paris, 1753. 12. 
 ANON. Reglement general pour la manufacture de faience de la ville de Rouen. Rouen, 
 
 1757. 4. 
 Keure tegens het Namaaken der Teckens of Merken der Plateelbakkerijen. Delft, 
 
 1764. 
 
 Guide des corps des marchants de la ville de Paris. Paris, 1766. 12. 
 
 WOSTERMANN. Overeenkomst aangegaan de Delftsche Plateelbakker. Delft, 1778. 
 WEDGWOOD (J.). An address to the young inhabitants of the Potteries. Newcastle- 
 
 under-Lyme, 1783. 12. 
 
 An address to the workmen of the Potteries. Newcastle-u.-L., 1783. 12. 
 
 BRETEUIL (Baron de). Arrets confirmant les privileges de la manufacture royale des 
 
 porcelaines de France. Paris, 1784. 4. 
 GLOT. Observations des fabricants de porcelaine sur une adresse lue a I'Assemblee 
 
 Nationale le 6 Janv., 1789. 8. 
 
 ANON. Reglement op de Pypen Fabricken. Gouda, 1815. 4. 
 Lettre des fabricants de porcelaine de Limoges a Mr. le Secretaire d'Etat, ministre 
 
 des finances, et a Mr. le Secretaire d'Etat, ministre du Commerce et des Travaux 
 
 publics, contre les taxes municipales illegalement etablies sur les matieres qui servent 
 
 d'aliment a leur industrie. Limoges, 1836. 8. 
 Statuts de la Societe fraternelle des artists en porcelaine fondee a Limoges, 1844. 
 
 Limoges, 1844. 12. 
 
 Expose sur 1'organisation du travail. Limoges, 1848. 4. 
 
 Projet d'association des travailleurs en porcelaine. 1848. 8. 
 
 TOYTOT (E. de). Faienciers de Nevers. Paris, 1866. 8. 
 
 GINORI (L.). Alcuni parole agli operai della manufattura di Doccia. Firenze, 1869. 8. 
 
 JOUHANNEAUD. Le repos du dimanche dans les fabriques de porcelaine. Limoges, 
 
 1878. 8. 
 
 BENOIST. Ville de Limoges. Administration municipale. 1889-1902. 8. 
 ROSLER. Keramische Tagesfragen. Coburg, 1888. 8. 
 BUCHER (B.). Die alten Zunft und Werkers Ordnungen der Stadt Krakaw. Wien, 
 
 1889. 4. 
 
 BROWNFIELD. The lock-out ; A potters' guild. Hanley, 1892. 8. 
 ARLIDGE (Dr.). Pottery manufacture in its sanitary aspect. Hanley, 1893. 12. 
 ANON. Report ... on the conditions of labour in the Potteries. London, Home 
 
 Office, 1893. Fol. 
 
 SONNE. Hygiene der keramischen Industrie. Jena, 1896. 8. 
 PRENDERGAST (Dr. W. D.). The potter and lead poisoning. London, 1898. 8. 
 BOCH (R. von). Topferarbeiter von Staffordshire. Stuttgart, 1899. 8. 
 THORPE (T. E.) and OLIVER (Th.). Report on lead compounds. London, 1899. Fol. 
 496 
 
CERAMIC LITERATURE. 
 
 OLIVER (Th.). Report upon the pottery industry in France ; with notes and criticisms 
 
 by W. Burton. London, 1899. Fol. 
 BURTON (W.). The use of lead compounds in pottery. London, 1899. 8. 
 
 Pottery and Plumbism. London, 1900. Fol. 
 
 GRANGER. La ceramique en Allemagne et Tenseignement technique. Paris, 1900. 8. 
 
 OWEN (H.). The Staffordshire potter. London, 1901. 8. 
 
 ANON. Supplementary rules for the manufacture of earthenware and china. London 
 
 1901. Fol. 
 
 - Minutes of proceedings at an arbitration under the Factory Act, 1891, 
 for the regulation of the manufacture of pottery. Hanley, 1903. 8. 
 
 DUCRAY. Le travail porcelainier en Limousin. Angers, 1904. 8. 
 
 ANON. Report of the Tariff Commission Vol. 5, The Pottery Industries. London 
 
 King & Son, 1907. 4. 
 CHYSER (Dr. B.). Ueber die im Ungarischen Tonwaarengewerbe vorkommenden 
 
 Bleivergiftungen. Jena, 1908. 8. 
 
 Chambres du Commerce de Limoges. La question douaniere aux Etats-Unis. 
 Limoges, 1907. 
 
 - La porcelaine de Limoges et la douane des Etats-Unis. Limoges, 1908. 
 
 32 497 
 
CERAMIC LITERATURE. 
 
 HISTORY OF THE CERAMIC ART. 
 
 As ancient, as ubiquitous, as protean as any of the other arts of man, the potter's 
 art has always been closely associated with the march and progress of civilisation. Upon 
 every spot of the earth where departed nations have lived and toiled, we find abundant 
 testimonies of its existence. Age after age the art went on in its meandering course 
 through the cultured world, leaving impressed, all over the track, the indelible mark 
 of its footprint. In some of its more permanent abodes, we can follow the gradual trans- 
 formation of popular pottery, and see it passing slowly from the most rudimentary form 
 to its highest development. This latter stage, unfortunately, is, in no instance, of long 
 duration. As no art worthy of the name can remain in a stationary state, that of 
 the potter sinks down again in a much shorter time than it took to rise. But if all 
 improvements seem to be at an end in one country, they are seen to develop to a higher 
 degree in another. So does the tale repeats itself uninterruptedly ; and the records of 
 thousands of years of human industry tell of a continuous ebb and flow of progress and 
 decline. 
 
 The annals of ceramic history are graven upon an almost imperishable material. 
 There is no limit to the duration of an object made of clay hardened by fire, if it remains 
 unbroken. From the bosom of the earth a host of clay vessels has been rescued, and, 
 although some of them are of untold antiquity, many seem to have lost nothing of their 
 pristine condition. More can be learned, from the judicious examination of these vessels, 
 concerning the people who made or used them, than could be obtained through the 
 erudite interpretation of ancient writers or the study of ruined monuments. Unscathed, 
 the earthen pots have preserved the ever-varied shapes that a skilful hand could easily 
 impart to the plastic material ; and the inscriptions on them can still be deciphered. 
 
 To institute an aesthetic comparison between the fictile productions of the human 
 races, and group them into ethnologic and chronologic order, was surely a scheme worth 
 engaging the cogitations of the philosopher, and the researches of the archaeologist. It 
 seems strange that the first work which taking advantage of the immense amount of 
 materials already at hand summarised the knowledge arrived at and gave the general 
 history of the ceramic art, should have been so long in coming. The subject had failed 
 to attract any serious attention until modern tendencies had directed archaeological 
 investigations into untrodden fields. One may say that the written history of the ceramic 
 art dates but from yesterday. Scraps of information regarding some particular class of 
 pottery could be obtained from odd volumes, often of difficult access, and we had nothing 
 more. It is not, however, difficult to account for such an apparent neglect. Ceramic 
 collections as they are understood nowadays that is to say, eclectical selections of 
 miscellaneous specimens, brought together to illustrate the endless transformations of 
 the potter's art, and exemplify the variations of taste to which, in the successive periods, 
 they have given such a distinct expression were not known before the beginning of the 
 last century. If the cabinet of the amateur, the house of the wealthy, had previously 
 given admittance to some representatives of the highest classes of ceramic wares, it was, 
 so to speak, under protest, and to a very limited extent. In the estimation of the old 
 dilettanti, what we now call the " Minor arts," were not arts at all, and did not deserve 
 to have a history. Accordingly, to try and unravel the entanglement of the ties which 
 498 
 
CERAMIC LITERATURE. 
 
 bind together the many branches of the ceramic family was not considered worth the 
 trouble that such a task would entail. Occasionally, it happened that some particular 
 kind of pottery secured no small share of attention. But this was due to fortuitous 
 circumstances ; for instance, the association of the pottery with a newly opened course 
 of archaeological studies, or the gratification of a fashionable fad. The comparative rank 
 that the ware occupied in the aggregate of the ceramic productions was seldom taken 
 into consideration. 
 
 For a time, Greek and Etruscan vases had their votaries, by whom they were 
 treasured, not so much as master-pieces of the potter, but as enlightening vestiges of 
 classical antiquity. Choice pieces of Italian majolica were, casually, tolerated in the art 
 gallery, by no means in acknowledgment of their intrinsic merits, but on account of the 
 relationship that their paintings bear, to those of the contemporary great masters. 
 Porcelain made a class of its own, much admired for the rare and costly trinkets it included. 
 The mysterious substance of which it was made forbade the idea of a porcelain vase being 
 classed along with pots of common clay. As for these latter, vulgar vessels mostly name- 
 less, and of unknown origin, they were looked at, at the best, as mere articles of curiosity, 
 to be shown in company with ostrich eggs, savages' spears, and carved cocoa-nuts. 
 
 The stern antiquary could not have been expected to divert his pedantic thoughts 
 from his antique vases and their enigmatic signification ; the contents of a china cabinet 
 were, for him, nothing better than showy trifles, fit only to gratify, for a moment, the 
 fancy of a capricious lady of rank and wealth. On the other hand, the frivolous man of 
 fashion refrained from approaching the dusty spoils of the Etruscan tombs, and indulged 
 in the exclusive contemplation of dainty porcelain. Each of them regarded what 
 he called the infatuation of the other with a feeling in which pity was mixed with 
 contempt. 
 
 When the few amateurs who, in those early days, took pleasure and pride in forming 
 special collections, obeyed such irreconcilable promptings, and refused to allow their 
 collecting pursuit to wander outside the limited range of their stubborn partiality, it 
 is obvious that the knowledge of all that pertains to the history of the ceramic art, in 
 general, could make but little progress. Times were not yet ripe for compiling a work 
 on the subject. Not only would it have been an almost impossible task to accomplish, 
 but had such a work chanced to have been written and published, it would probably 
 have found no public to appeal to. 
 
 The days are not yet far from us which saw the rise, among a limited circle of 
 " curiosities' lovers," of a sudden eagerness for gathering ancient objects of various 
 kinds, utterly neglected before. Old pottery was necessarily included in the list. This 
 movement took the form of a harmless monomania, a mild fever which attacked the poor 
 as well as the rich. The symptoms were an irresistible impulse to ferret out of their 
 hiding place and acquire, when it eould possibly be done, any pieces that came under 
 the denomination of Pottery. In those opening days of a most retributive campaign the 
 brotherhood comprised, as we have just said, all sorts and conditions of men. As a 
 matter of course, in this wild rush after rare pottery, priceless gems often fell to the lot, 
 not of the educated and truly appreciative, but of the most fortunate hunter. Such 
 treasures were not, however, to remain in the hands of their unworthy discoverer. They 
 soon found their way into the possession of the man of taste and means. And so it 
 came to pass that, within an incredibly short time, ceramic collections were formed, 
 the like of which, a whole life of unremitting efforts and the command of unbounded 
 wealth, would be powerless to form at the present day. The still unwritten history of 
 
 499 
 
CERAMIC LITERATURE. 
 
 the ceramic art had become the indispensable corollary of the newly born collections. 
 The fascinating interest awakened by these bewildering shows, had created the want of 
 enlightening text-books. 
 
 To discover some hidden treasure, to negotiate its purchase, and, finally, to revel 
 in its possession, were, for a time, incentives sufficient in themselves to urge the ceramic 
 collector in the prosecution of his hobby. But to the intense excitement, to the proud 
 satisfaction associated with the growth of the collection, was soon to be added an ambition 
 of a higher order.. Constantly confronted with problems which he could not solve, and 
 questions which had to remain unanswered, the collector grew at last impatient at the 
 fruitless result of unguided study. He realised that ^he acquirement of knowledge 
 depended on a more solid instruction than that which could be gathered from the gossiping 
 information exchanged between the members of the gentle craft. It was in response to 
 this craving for a higher form of historical and technical education that the first general 
 histories of the ceramic art were produced. The task of reducing into order the medley 
 of actual facts and utter fallacies which constituted the ceramic lore of the period was 
 by no means an easy one. It was taken in hand by a group of eager specialists, who 
 succeeded in drawing a broad outline of the march and progress of the art in olden times, 
 and prepared a preliminary classification of the specimens which lay, mostly unnamed, 
 in the public and private collections. Brongniart, in France, and Marryat, in England 
 the former a consummate scientist, the latter a distinguished amateur must be con- 
 sidered as the originators of a branch of study which has, after them, engrossed the 
 thoughts of many a learned historian. To form an idea of the difficulties they had to 
 overcome before they could bring the undertaking to a satisfactory form, we must 
 bear in mind that the subject they had to deal with was one which had scarcely been 
 touched upon by previous writers, and that out of the scanty store of materials within 
 easy reach there was more to be rejected than accepted. If, with all their unavoidable 
 shortcomings, the books they gave us were mere provisional sketches, they can still be 
 taken as models, and they have remained authorities that can be confidently consulted 
 on many points. 
 
 At the present day, when the result of local research has so largely increased the list 
 of independent monographs, when the past existence of so many minor factories has 
 been carefully investigated and recorded in print, to write a general history of the ceramic 
 art seems to have become a mere labour of compilation. In consequence of this apparent 
 facility, the number of compendious handbooks has, within a few years, strangely 
 multiplied. Unfortunately, most of the compilers who have glutted the market with 
 productions of that kind were not adequately prepared for the work. So it happens 
 that neither the exhaustive treatise nor the compressed epitomes that came last in the 
 field can scarcely be said to be above the criticisms which can be passed on their fore- 
 runners. The very abundance of materials to work upon has created not a little con- 
 fusion in the matter. While light was being thrown on many important points, the 
 specious hypotheses of a few presumptuous and prejudiced writers have cast a momentary 
 shade upon questions of no less importance. Truth and fiction are often curiously inter- 
 mixed in the best general histories. In short, an impartial examination of all this group 
 of ceramic books leaves us under the impression that none of them is to be implicitly 
 trusted in all its parts. 
 
 500 
 
CERAMIC LITERATURE. 
 
 WORKS OF GENERAL INTEREST. 
 
 Belgium. 
 GUILLERY (E.). Arts ceramiques. Bruxelles (1860 ?). 12. 
 
 England. 
 
 PORTER (G. R.) (Anon). A treatise on the progressive improvement ... of the 
 
 manufacture of porcelain. London, 1832. 8. 
 MARRYAT (J.). Collection towards a history of pottery and porcelain. London, 1850. 
 
 8. 2nd and 3rd ed., 1857-1868. 
 
 WALL (B.). Lecture delivered at Salisbury. London, 1853. 16. 
 LABARTE (J.). Handbook of the arts of the Middle Ages. London, 1855. 8. 
 
 (Transl. by Mrs. F. B. Palisser.) 
 
 BOHN (H. G.). A guide to the knowledge of pottery. . . . London, 1857. 8. 
 WARING (J. B.). Pottery and porcelain. With an essay by J. C. Robinson. London, 
 
 1857. 4. 
 
 BIRCH (S.). History of ancient pottery. London, 1858. 8. 
 CHAFFERS (W.). Keramic Gallery. London, 1872. 8. 2nd ed., 1907. 8. 
 MASKELL (W.). The industrial arts. South Kensington Museum Art Handbook. 
 
 London, 1876. 8. 
 
 NAPIER (J.). Manufacturing arts in ancient times. Paisley, 1879. 8. 
 LACROIX (P.). The arts in the Middle Ages and the Renaissance. London, s.d. 8. 
 
 (Transl. by W. Armstrong.) 
 LITCHFIELD (F.). Pottery and porcelain. London, 1880. 12. 2nd ed., London. 
 
 1899. 8. 
 
 WESTROPP (H. M.). Handbook of pottery and porcelain. London, 1880. 8. 
 DELAMOTTE (P. H.) and WHEATLEY (H. B.). Art work in earthenware. II. Art 
 
 work in porcelain. London, 1882. 8. 
 
 SPARKES (J.) and GANDY (W.). Potters : their arts and crafts. London, 1897. 8. 
 BINNS (Ch. F.). The history of the potter. London, 1898. 16. 
 DILLON (E.). Porcelain. London, 1904. 8. 
 HOBSON (R. L.). Porcelain of all countries. London, 1906. 8. 
 BURTON (W.). Porcelain. London, 1906. 8. 
 
 WYLDE (C. H.). How to collect Continental china. London, 1907. 8. 
 KIDSON (H.). About old china. Liverpool, 1908. 8. 
 
 France. 
 
 BRONGNIART (A.). Traite des arts ceramiques. Paris, 1844. 8. 
 
 DU SOMMERARD (A.). Les arts au Moyen-Age. . . . Paris, 1838-46. Fol. 
 
 LABARTE (J.). Histoir^ de 1'art par les meubles et les objets precieux. Paris, 1847-48. 
 
 8. 
 LABARTE (J.). Histoire des arts-industriels au Moyen-Age. Paris, 1864-86. 4. 
 
 2nd ed. Paris, 1872-75. 4. 
 DEMMIN (A.). Guide de 1'amateur de faience et de porcelaine. Paris, 1861. 8. 
 
 2nd ed., 1863. 3rd ed., 1867. 4th ed., 1873. 
 DEMMIN. Recherches sur la priorite de la Renaissance de Fart allemand. Paris, 
 
 1862. 12. 
 
 501 
 
CERAMIC LITERATURE. 
 
 JACQUEMART (A.) et LE BLANC (E.). Histoire artistique. industrielle et commerciale 
 
 de la porcelaine. Paris, 1862. 4. 
 TOURNAL. Notes sur la ceramique. Caen, 1863. 8. 
 GRESLOU (J.). Kecherches sur la ceramique. Chartres, 1863. 12. 
 TOYTOT (E. de). Les arts et les peintures ceramiques. Paris, 1864. 8. 
 BURTY (Ph.). Chefs-d'ceuvres des arts industries. Paris, 1866. 8. 
 JACQUEMART (A.). Les merveilles de la ceramique. Paris, 1866-69. 12. 
 
 Histoire de la ceramique. Paris, 1873. 8. 
 
 MARRYAT (J.). Histoire des poteries, faiences et porcelaines. Traduction par 
 
 D'Armaille et Salvetat. Paris, 1866. 8. 
 MARESCHAL (A. A.). Les faiences anciennes et modernes. Beauvais, 1868. 8. 
 
 Les faiences anciennes et modernes. Faiences etrangeres. Paris, 1873. 2nd ed. 8. 
 
 Les faiences anciennes et modernes. Faiences francaises. Paris, 1874. 2nd ed. 
 
 8. 
 
 MAZE (A.). Notes d'un collectionneur. Paris, 1878. 4. 
 LIE V RE (E.). Les arts decoratifs a toutes les epoques. Paris, 1870. Fol. 
 
 Musee graphique. Paris, s.d. Fol. 
 
 RIS-PAQUOT. Histoire generale de la faience ancienne fra^aise et etrangere. Amiens, 
 1874. Fol. 
 
 Manuel du collectionneur de faiences anciennes. Amiens, 1877-78. 8. 
 
 ASSELINEAU. Ceramique. Paris, 1876. 4. 
 
 DEMMIN (A.). Histoire de la ceramique en planches phototypiques. Paris, 1875. Fol. 
 
 FIGUIER (L.). Les merveilles de 1'industrie. Paris, 1876. 8. 
 
 GARNIER (E.). Histoire de la ceramique. Tours, 1880. 8. 
 
 DUMONT (V.). Notice historique sur la decouverte du Kaolin en Saxe et en France. 
 
 Bethune, 1880. 8, pp. 45. 
 ART POUR TOUS. Ceramique. Paris, s.d. S. fol. (A selection of plates from that 
 
 publication.) 
 LE BRETON (G.). La ceramique a glaoures metalliques dans Tantiquite- Rouen, 1881. 
 
 8. 
 
 WYZEWA. Les arts du feu. Paris. 8. 
 BOURGEOIS (E.). La ceramique moderne. Paris, 1885. 4. 
 DESLIGNERES. L'emploi de la terre dans les constructions. Paris, 1885. 4. 
 MARTIN (A.). Arts ceramiques. Paris, 1886. 8. 
 MARCEL (P.). Les industries artistiques. Paris, s.d. 8. 
 DECK (T.). La faience. Paris, 1887. 8. 
 LEFEBRE (E.). Histoire d'une assiette. Paris, 1887. 8. 
 RIS-PAQUOT. Faiences, Porcelaines et Biscuits. Paris, 1892. 8. 
 VOGT (G.). La porcelaine. Paris, 1893. 8. 
 HA YARD (H.). La ceramique. Paris, 1894. 8. 
 GARNIER (E.). Dictionnaire de la ceramique. Paris, 1894. 8. 
 GUILLARD (A.). La ceramique a travers les ages. Paris, 1.896. 12. 
 
 Germany. 
 
 BECKER (C.) und HEFNER (J. von). Kunstgewerke und Gerathschaften. Frankfurt 
 
 a. M., 1852. 4. 
 
 GRAESSE (J. Th.). Beitrage zur Geschichte der Gefassbildenerei. Dresden, 1853. 8. 
 ORTLEB (A. und G.). Gefasskunde, oder Keramik. Berlin, s.d. 16. 
 502 
 
CERAMIC LITERATURE. 
 
 ANON. Gefasse der deutschen Renaissance . . . herausg. v. Oest. Museum f. 
 
 Kunst-Industrie. Wien, 1876. Fol. 
 
 JAENNICKE (F.). Grundriss der Keramik. Stuttgart, 1879. 4. 
 DEMMIN (A.). Keramic-Studien. Leipzig, 1881-83. 8. 
 
 SCHORN (0. von). Die Kunsterzeugnisse aus Thon und Glass. Leipzig, 1888. 12. 
 BRINCKMANN (J.). Das hamburgische Museum. Leipzig, 1894. 8. 
 LEHNERT. Das Porzellan. Leipzig, 1902. 8. 
 BORRMANN (R.). Moderne Keramik. 1902. 8. 
 BRUNING (A.). Europaisches Porzellan. Berlin, 1904. 4. 
 ROSENBAUM (F.). Das Europaische Porzellan. Halle a. S., 1905. 4. 
 HOFFMANN. Das Europaische Porzellan des Bayerischen Nat. Museum. Miinchen, 
 
 1909. 8. 
 
 Italy. 
 
 CORONA (L.). La ceraiuica. Milano, 1879. 8. 
 G. R. L'arte della ceramica. Milano, 1880. 32. 
 DE MAURI. L'amatore di majoliche. Milano, 1898. 12. 
 
 U.S.A. 
 
 PRIME. Pottery and porcelain. New York, 1870. 8. 
 
 TREADWELL. A manual of pottery. New York, 1872. 8. 
 
 LOCKWOOD. Handbook of the ceramic art. New York, 1878. 12. 
 
 ELLIOT. Pottery and porcelain. New York, 1878. 4. 
 
 YOUNG (J.). The ceramic art. London, 1879. 8. 
 
 BECKWITH. Majolica and faience. New York, 1879. 12. 
 
 STALLKNECHT. Artistic pottery and porcelain. Old and New. New York, 1880. 16. 
 
 JERVIS. Rough notes on pottery. Newark, N.J., 1896. 8. 
 
 Encyclopedia of ceramics. New York, 1902. 8. 
 
 ORTON. The progress of the ceramic art. Madison, W., 1903. 8. 
 
 MOORE (Hudson N.). The old china book. New York, 1903. 8. 
 
 WILDE (M. A.). Descriptive notes for china lovers. Franklin, D., 1904. 8. 
 
 BARBER (E. A.). Handbooks of the Pennsylvanian Museum. Philadelphia, 1906. 8. 
 
 PREHISTORIC POTTERY. 
 
 (EUROPEAN.) 
 
 Celtic, Teutonic, Anglo-Saxon, Gallic, etc., of undetermined Periods. 
 
 The study of a large group of rude earthen . vessels usually found in tombs of 
 undetermined periods, and arbitrarily ranged under the heading of " Prehistoric 
 pottery," long neglected or ill-directed, is, however, on the eve of forming a well- 
 defined branch of the archaeological science. With the increase of knowledge the 
 horizon becomes more and more distant, and presents to our gaze a gradually 
 increasing expanse of unexplored fields. The student was satisfied at first with an 
 easily remunerative examination of the authenticated records bequeathed to us by 
 the highly civilised people of classical antiquity. Later on, the solution of many 
 a problem raised by the half-obliterated testimonies that the mysterious races which 
 have no history have left of their passage upon earth, commanded his attention. The 
 
 503 
 
CERA MIC LITER A TURE. 
 
 study of geology also a new science has made it manifest that wherever man has 
 lived and worked, vessels of burnt clay are found associated with the earliest evidences 
 of his primitive industry. It is upon geology that the archseologist must depend, if ever 
 a kind of chronological order is to be established between the various classes of prehistoric 
 pottery. All has yet to be done in that direction. It was but yesterday that Boucher 
 de Perthes roused the incredulous astonishment of the antiquarian world by asserting 
 that the flints, clumsily chipped into shapes, which he had rescued from the soil, were 
 primitive tools fashioned by the hand of man. General recognition has sanctioned, 
 beyond all possible doubt, the truth of his assertion ; it now remains for us to see whether 
 the rudimentary earthen vessels, which most often accompany the discovery of flint 
 implements, cannot be classified, and their ages determined by the positions they occupy. 
 With respect to the mortuary pottery of the later periods, the task is rendered easier 
 by the evidences and documents accumulated by the German antiquaries. Ever since 
 the sixteenth century, the results of the excavations conducted on the site of the settle- 
 ments of the primitive inhabitants of Germany have been recorded and discussed by the 
 learned men of the country. On the authority of Van Ledebur a bibliophile who has 
 made a special study of pamphlet literature the number of articles, essays, and volumes 
 printed on the subject of earthen cinerary urns and other clay vessels discovered in the 
 Teutonic territory amounts to nearly two thousand. To reduce into order this appalling 
 mass of materials has not yet been attempted. Although the Northern tribes are but 
 latecomers in the history of civilisation, an account of the development of the potter's 
 art in the last portion of Europe that man has placed under his sway would be a most 
 welcome addition to our knowledge of prehistoric pottery. 
 
 A ustria. 
 
 SACKEN (E. F. von). Das Grabfeld von Hallstatt. Wien, 1868. 4. 
 HORNES (M.). Eine prahist. Thonfigur aus Serbien. Wien, 1891. 4. 
 FIALA (F.). Die prahist. Ansiedlung auf dem Debelo Brdo. Wien, 1896. 8. 
 PIC (J. L.). Die Urnengraber Bohmens. Prag and Leipzig, 1908. 4. 
 
 Belgium. 
 VAN BASTELAER (D.). Les vases de forme purement franque. Bruxelles, 1890. 8. 
 
 Denmark. 
 
 WORSAAE (J. J. A.). The primeval antiquities of Denmark. London, 1849. 8. 
 Nordiske Oldsager i det K. Museum i Kjobenhavn. Kjobenhavn, 1859. 8. 
 
 England. 
 
 BROWNE (T.). Hydriotaphia. Urne burial. London, 1658. 8. 
 MILES (W. A.). A description of the Deverel barrow. Frome, 1825. 4. 
 WOOLS (Ch.). The barrow diggers. London, 1839. 4. 
 NEVILLE (R. C.). Sepulcra exposita. Saffron Walden, 1848. 8. 
 
 Saxon obsequies. London, 1852. 4. 
 
 WYLIE (W. M.). Fairford graves. Oxford, 1852. 4. 
 
 WILDE (W. R.). Catalogue of the Museum of the R. Irish Academy. Dublin, 1857. 8. 
 THURNAM (J.). Ancient British barrows. London, 1859. 4. 
 BATEMAN (T.). Ten years' diggings. London, 1861. 8. 
 WARNE (C.). Celtic tumuli of Dorset. London, 1866. Fol 
 504 
 
CERAMIC LITERATURE. 
 
 WARNE (C.). Ancient Dorset. Bournemouth, 1872. Fol. 
 
 STANLEY (W.) and WAY (A.). Hydriotaphia Cambrensis. London, 1868. 8. 
 
 JEWITT (L.). Grave-mounds and their contents. London, 1870. 8. 
 
 Half-hours among some English antiquities. London, 1880. 8. 
 BORLASE (W. C.). Noenia Cornubia. London, 1872. 8. 
 WARING (J. B.). Ceramic art in remote ages. London, 1874. Fol. 
 GREENWELL (W.). British barrows. Oxford, 1878. 8. 
 HODJETTS (J. F.). Older England. London, 1884. 8. 
 PITT-RIVERS. Excavations in Cranborne Chase. London, s.d. 4. 
 EVANS (A. J.). On a late Celtic Urn-field at Aylesford. London, 1890. 4. 
 BAYE (J. de). Industrial arts of the Anglo-Saxons. London, 1893. 4. 
 WAKEMAN (W. F.). Catalogue of the specimens in the collections of the Eoyal Irish 
 
 Academy. Dublin, 1894. 4. 
 
 France. 
 
 COCHET (Abbe). De la coutume d'inhumer les homines dans des tonneaux de terre 
 cuite. Paris, 1859. 8. 
 
 Memoire sur la coutume de placer des vases dans la sepulture de I'homme. 8. 
 
 Archeologie sepulchrale et ceramique. Paris, 1860. 4. 
 
 RABUT (L.). Habitations lacustres de la Savoie. Chambery, 1864-67. 4. 
 CLOSMADEUC (G. de). La ceramique des Dolmens dans le Morbihan. Paris, 1865. 8. 
 
 Decouverte de Stone-Cists a Bec-er-Vill. Vannes, 1886. 8. 
 RING (M. de). Tombes celtiques de 1' Alsace. Strasbourg, 1866. Fol. 
 BENOIT (E.). Les poteries de la grotte de la Baume (Jura). Paris, 1867. 8. 
 AYMAR (A.). Antiquites du Cheylounet. Le Puy, 1874. 8. 
 
 MOREAU (F.). Collection Caranda. St. Quentin, 1873-96. 4. 
 
 BLEICHER. Contribution a 1' etude de la ceramique pre-romaine. Colmar, 1888. 8. 
 
 DELAMAIN. Le cimetiere d'Herpes. Angouleme, 1892. 4. 
 
 DU CHATELLIER. La poterie prehistorique en Armorique. Rennes, 1897. 4. 
 
 PIETTE (E.) et SACAZE. Les tertres funeraires d'Avezae-Prat. St. Quentin, 1899. 4. 
 
 CHAUVET (G.). Poterie prehistorique (Vallee de la Charente). Paris, 1900. 8. 
 
 DECHELETTE (J.). Poterie de La Tene. Paris, 1901. 8. 
 
 DELORT (J. B.). Dix annees de fouilles en Auvergue. Lyon, 1901. 4. 
 
 / 
 BEAUPRE (J.). Statistique des sepultures pre-romaines du Dept. de Meurthe et Moselle. 
 
 Paris, 1904. 8. 
 FOURDRIGNEER (E.). Poteries dolmeniques. Empreintes digitales. Paris, 1907. 8, 
 
 pp. 21 ; figs. 
 
 Germany. 
 
 ALBINUS (P.). Meissnische Chronica. Dresden, 1589. Fol. 
 MELLEN (J. von). Historia urnse sepulchralis sarmaticse. Jena, 1679. Sm. 4. 
 TREUERN (E.). Kurze Beschreibung der heidnischen Todtentopfe. Nilrnberg, 1688. 8. 
 STIFF (C.). De urnis in Silesia. Lipsice, 1704. Sm. 4. 
 CELSIUS (0.). De urnis veterum sepulchralibus. Upsala, 1706. 8. 
 HERMANN (D.). Maslographia. Brieg, 1711. Sm. 4. 
 WOLKMANNS (G. A.). Silesia subterranea. Dresden, 1720. Sm. 4. 
 REUSCH (C. F.). De Tumulis et Urnis sepulchralibus in Prussia. Regiomontano, 1724. 
 4. 
 
 505 
 
CERAMIC LITERATURE. 
 
 OESTERLING (J.). Dissertatio de urnis sepulchralibus. Lipsice, 1741. 4. 
 DOROW (W.). Opferstate und Grabhiigel der Germanen und Komer am Rhein. Wies- 
 baden, 1826. 4. 
 
 WILHELMI (C.). Les anciens tombeaux germaniques a Sinsheim. Heidelberg, 1831. 8. 
 SCHROTER und LISCH. Friderico-Franciscum Alterthumer Sammlung. Leipzig, 1837. 
 
 LEDEBUR (L. v.). Die heidnische Alterthumer im Schlosse Monbijou. Berlin, 1838. 8. 
 ESTORFF (C.). Heidnische Alterthumer der Gegend von Uelzen. Hanover, 1846. Fol. 
 VIRCHOW. Ueber Gesichtsurnen. Berlin, 1870. 8. 
 MANNHARDT. Pommerellischen Gesichtsurnen. Berlin, 1870. 8. 
 BERENDT. Pommerelischen Gesichtsurnen. Konignberg, 1872-78. 4. 
 VURDINGER. Die Gesichtsurne von St. Soloman. S.d. 8. 
 HOSTMANN (C.). Der Urnenfriedhof by Darzau. Braunschweig, 1874. 4. 
 GEINITZ. Die Urnenfelder von Strehlen und Grossenhain. Cassel, 1876. 4. 
 FINDER (E.). Die heidnische Altertiimer im Museum zu Kassel. Kassel, 1878. 8. 
 VOSS (A.). Ausstellung prahistorischer Funde Deutschlands. Berlin, 1880. 8. 
 LINDENSCHMITT (L.). Handbuch der deutschen Alterthums-Kunde. Braunschweig, 
 
 1880-89. 8. 
 
 Das romish-germanische Central Museum. Mainz, 1889. 4. 
 
 Die Alterthumer unserer heidnischen Vorzeit. Mainz, 1858-95. 4. 
 BEHLA (R.). Die Urnenfriedhofe mit Thongefasse der lausitzer Typus. Luckau, 
 
 1882. 8. 
 KLOPFLEISCH (and Others). Vorgeschichtliche Alterthumer der Provinz Sachsen. Halle, 
 
 1883-92. 4. 
 
 WAGNER (E.). -Hugelgraber und Urnen-Friedhofe in Baden. Karlsruhe, 1885. 4. 
 MESTORF (J.). Urnenfriedhofe in Schleswig-Holstein. Hamburg, 1886. 4. 
 
 Rosenberg'sche Sammlung. Germanische Museum. Nurnberg, 1886. 8. 
 
 LISSAUER (A.). Die prahistorischen Denkmaler des Provinz Westpreussen. Leipzig, 
 
 1887. 4. 
 
 GREMPLER. Der Fund von Sakrau. Berlin, 1887-88. Fol. 
 ZIMMER (M.). Die bemalten Thongefasse schlesiens aus vorgeschichtlicher Zeit. 
 
 Breslau, 1889. Fol. 
 
 SCHUMANN (H.). Urnenfriedhofe in Pommern. Stettin, 1889. 8. 
 CHLINGENSPERG BERG (M. von). Das Graberfeld von Keichenhall. Reichenhall, 
 
 1890. 4. 
 
 BRESLAU. Museum schlesischer Alterthumer. Breslau, 1891. 8. 
 
 GOTZE (A.). Die Gefassformen und Ornamente der neolithischen Keramik. Jena, 
 
 1891. 8. 
 
 FOHR (J. von). Hugelgraber auf der schwabischen Alb. Stuttgart, 1892. 8. 
 WEIGEL (M.). Das Graberfeld von Dalhausen. Braunschweig, 1893. 4. 
 
 KONEN (K.). Gefasskunde der vorromischen, romischen, und frankischen Zeit in der 
 
 Rheinlanden. Bonn, 1895. 8. 
 
 FORTSCH. Thongefasse der Broncezeit aus Sachsen. Leipzig, 1896. 8. 
 FEUTSCH (H.). Das Graberfeld bei Sadersdorf. Guben, 1896. 8. 
 DEICHMULLER. Das Graberfeld aus der Knockenbirge. Cassel, 1897. 4. 
 BRUNNER (K.). Die steinzeitliche-Keramik. Braunschweig, 1898. 4. 
 BONNET (A.). Die steinzeitliche Ansiedlung auf dem Michelsberg. Karlsruhe, 1899. 
 
 4. 
 
 TISCHLER (0.). Oestpreussische Alterthumer. Kdnigsberg, 1902. 4. 
 HEDINGER. Ausgrabungen auf der schwabischen Alb. Braunschweig, 1903. 4. 
 506 
 
CERAMIC LITERATURE. 
 
 KOEHL (C.). Die Bandkeramik der steinzeitliclien Grab f elder von Worms. .Worms, 
 
 1903. 4. 
 
 VOSINSKY (M.). Die inkrustierte Keramik der Stein-und-Broncezeit. Berlin, 1904. 8. 
 KRAUTH (C. G.). Bin neolith. Hiigelgrab mit Schnurkeramik. Erfurt, 1905. 8. 
 
 Holland. 
 PLEYTE. Nederlandsche oudheden tot op Karel den Groot. Leid, 1877. 4. 
 
 Italy. 
 
 VISCONTI (A.). Sopra alcuni vasi . . . della antica Alba Longa. Roma, 1817. 4. 
 
 TAMBRONL Urne cinerarie di Castel Gandolfo. Roma, 1817. 8. 
 
 LISCH. Ueber die Hausurnen. . . . Schwer, 1856. 8. 
 
 TARQUINI. De'vasi divinatori etruschi. Roma, 1858. 8. 
 
 GOZZADINI. Di un antica necropoli ... a Marzabotto. Bologna, 1865. 4. 
 
 GASTALDL Lake habitations of North Italy. London, 1865. 8. 
 
 BELDAM (J.). On Pelasgic and Latian vases. London, 1865. 4. 
 
 CESELLI. Sopra Tarte ceramica primitivo nel Lazio. Roma, 1868. 4. 
 
 NICARD (P.). Les vases nommes par les Italiens Laziali. Paris, s.d. 8. 
 
 LUBBOCK (Sir J.). Notes on Hut-Urns from Marino. London, 1869. 4. 
 
 VIRCHOW (R.). Ueber der Zeitbestimmung der italienen Hausurnen. Berlin, 1883. 8. 
 
 BAUX. La poterie des Muraghes en Sardaigne. Paris, 1885. 8. 
 
 BOEHLAU. Zur ornamentik der Villanova period. Cassel, 1895. 4. 
 
 MAYER (M.). Ceramica dell 5 Apulia preellenica. Bari, 1897-99. 4. 
 
 MILANI (L. A.). Sepolcreto con vasi antropoidi. Milano, 1899. 4. 
 
 ZIRONI (E.). Archeologia prehistorica. Bologna, 1901. 12. 
 
 Poland. 
 
 OSSOWSKI (G.). Monographic prehistorique de Tancienne Pologne. Cracowie, 1879-88. 
 
 4. 
 
 Russia. 
 
 WYROUBOFF (B.). Musee de la Societe archeologique du Caucase. Tiflis, 1867. 4. 
 ASPELIN (J. R.). Antiquites du Nord Finno-Ougrien. Helsingfors, 1877-84. 4. 
 A. G. Prehistoric Russian Pottery. S.L, 1903. 8. 
 
 Spain. 
 
 LARTET. Poteries primitives de la vielle Castille. Paris, 1860. 8. 
 CARTAILHAC. Ages prehistoriques de TEspague. Paris, 1886. 8. 
 
 Switzerland. 
 
 JAHN (A.). Unteritalish-Keltische Gefasse in der Vasensammlung des bernischen 
 Museums. Berne, 1846. 4. 
 
 ULRICH (R.). Sammlung der antiquarischen Gesellschaft in Zurich. Zurich, 1890. 4. 
 See also Classical Ceramics Egyptian American Japanese. 
 
 507 
 
CERAMIC LITERATURE. 
 
 VITRIFIED FORTS. 
 
 Remains of vitrified walls, primitive fortifications of the native races, have been 
 discovered and studied in many countries, and particularly in Scotland and Northern 
 France. The latest explorations of Central Africa have made known other examples 
 of the same mode of construction of very superior workmanship. Although they 
 can scarcely be said to belong to ceramics, these huge masses of stone, cemented 
 together by means of a fusible ore, which had been made to fill all interstices under the 
 action of an artificial heat sufficiently intense to liquefy the hardest materials, are not 
 without interest for the study of the art of fire in one of its earliest and rudest 
 applications. 
 
 HARRINGTON (D.). Observations on the vitrified walls in Scotland. London, 1776. 
 8. (In Archceologia.) 
 
 RIDDELL (R.). Observations on vitrified fortifications in Galloway. London, 1870. 
 8. (In Archceologia.) 
 
 RALLIER. Essai sur les forts vitrifies de FEcosse. Paris, 1807. 8. 
 
 OTWAY (C.). On a vitrified fort in the County of Cavan. Dublin, 1818. 8. (In 
 Royal Irish Ac. Trans., vol. xiii.). 
 
 LA PILAIE (De). Notice sur la ville de Sainte Suzanne, et sur les debrits des fortifica- 
 tions vitrifiees de son ancien chateau. Paris, 1829. 8. (In Mem. de la Soc. des 
 Ant. de France.) 
 
 GESLIN. Rapport sur le Camp de Peran. Paris, 1846. 8. 
 
 BARTHELEMY (A. de). Sur le camp vitrifie de Peran. S.d. 8. (In Bulletin Monu- 
 mental.) 
 
 PREVOST (P.). Memoire sur les forts vitrifies. Saumur, 1863. 8. 
 
 Dissertation sur les forts vitrifies. Angers, 1867. 8. 
 
 CESSAC (de). Note sur les forts vitrifies du Departement de la Creuse. S.d. 8. 
 L'oppidum du Puy-de Gaudy. Autun, 1878. 8. 
 
 DAUBREE (A.). Examen mineralogique et chimique des materiaux provenant de 
 
 quelques forts vitrifies de la France. 
 Examen des materiaux provenant des forts vitrifies de 1'Ecosse et de la Haute. 
 
 Alsace. Paris, 1881. 8. 
 DE LA NOE (G.). Documents pour servir a 1'histoire des enceintes vitrifiees. Paris, 
 
 1882. 8. 
 MAYAUD (S. P.). Recherches sur les murs vitrifies. Sens, 1883. 8. 
 
 EARLY POTTERY OF AMERICA. 
 
 It is in the pandemonium of an ethnological museum that one has still to find 
 materials for the study of antique American pottery. Overlooked by the amateur 
 perhaps simply on account of their rarity in Europe specimens of this kind have 
 not yet been included in the ceramic collections, which usually contain groups of 
 pottery of inferior interest. Whether it be the cause or the result of such neglect, 
 no authoritative book has been published illustrating the best types of the Mexican 
 and Peruvian earthen vessels. Such a work would demonstrate that the forgotten 
 pot-makers of antique America may well claim affinity with the most celebrated 
 potters of all the other nations. For long we had to be satisfied with the few 
 incorrect sketches to be found in books of travels ; to these have lately been added 
 508 
 
CERAMIC LITERATURE. 
 
 the illustrated catalogues of the special collections. In all instances, the examples 
 given were selected without any particular regard for their purely artistic merit 
 or even technical qualities. They still rank among exotic curiosities, and have not been 
 assigned a place of their own among works of art. 
 
 Yet it is on the ground of their artistic and technical superiority that the still 
 unwritten text-book on American pottery will have to be conceived and carried out. 
 
 The necropolis of the once glorious cities of Peru and Mexico have as yet yielded 
 but an inconsiderable and insignificant portion of the treasures they contain ; such 
 random discoveries as have been made up to this time are sufficient, however, to give 
 an idea of what may be revealed to us at some future date. They testify to the high 
 degree of perfection the extinct races of America had attained in the practice of the 
 ceramic art. We recognise, in the first instance, that their work stands almost unrivalled 
 for variety of shapes and ingenuity of conception. In their hand the clay vessel, departing 
 from the general rule, did not keep long within the rudimental notions of the urn, the cup, 
 or the bowl of established type, but it soon deviated into all sorts of eccentric forms, 
 assuming the most unexpected presentments into which the wild fancy of an imaginative 
 artisan may turn a simple receptacle for liquids. If, after having thus recorded the 
 observations suggested by a superficial examination of the ware in the aggregate, we 
 pass to the selection of particular specimens, we shall soon find a number of them which 
 stand out conspicuously from the rest, just as a choice group of Athenian Rhytons 
 and Lekyties would from a crowd of Greek terra-cottas of the common order. We are 
 referring to some small drinking vases, made of fine red clay of various shades, in the 
 form of a fruit, an animal, or, frequently enough, in that of a human head ; a few 
 striking examples of the kind may be singled out from amongst the miscellaneous pottery 
 exhibited in the museums. In certain instances the profile of the head is so pure, the 
 general design is so full of elegance, that we are bound to question whether the work of 
 the Peruvian potter could not creditably stand comparison with some admired production 
 of a Greek potter of the best period, and the exotic jug be permanently placed by the 
 side of the classical rhyton, without any discredit to either. 
 
 A pottery of such a superior order may well command our sustained attention, and 
 excite our desire of having, one day, a good work supplied to us, in which fine and trust- 
 worthy reproductions shall place under our eye as many examples of the higher style 
 as some devoted admirer of the ware could collect from various sources in Europe and 
 in America. Until such a book is brought out, we must continue to have recourse to 
 the antiquarian works in which ancient pottery intervenes, too often, as a somewhat 
 indifferent factor. Of these latter mostly books of American travels we can give no 
 more than a much curtailed selection ; the complete list must be looked for in the special 
 bibliographies. 
 
 KINGSBOROUGH (E. Vise.). Antiquities of Mexico. London, 1830-48. Fol. 
 
 DUPAIX (G.). Antiquites Mexicaines. Paris, 1834. Fol. 
 
 WALDEK (F. de). Voyage dans la province d'Yucatan. Paris, 1838. Fol. 
 
 FALBE (C. T.). Vases antiques du Perou. Copenhagen, 1843. 8. 
 
 SCHOOLCRAFT. Notices of some antique earthen vessels of Florida. New York, 1847. 
 
 8. 
 
 CASTELNEAU (F. de). Expedition dans 1'Amerique du Sud. Paris, 1850-61. 8. 
 RIVERO (M. E.) and TSCHUDI (J. J. von). Antiquidades peruanas. Lima, 1851. 
 LONGPERIER (A. de). Catalogue des antiquites mexicaines du Musee du Louvre. Paris, 
 
 1850. 8. 
 
 509 
 
CERAMIC LITERATURE. 
 
 BOLLAERT (W.). Observations on the Peruvian tomb pottery. Liverpool, 1860. 8. 
 
 HARTT (C. F.). Notes on the manufacture of pottery among savage races. Rio-de- 
 Janeiro, 1875. 8. 
 
 ROSNY (L. de). La ceramique chez les Indiens du Nouveau Monde. Paris, 1875. 8. 
 
 RAU (C.). The archaeological collection of the U.S. National Museum. Washington, 
 1876. 4. 
 
 PENNA (D. S. F.). Apontamentos sobra es ceramios de Para. Rio de Janeiro, 1877. 4. 
 
 POLIGNY (G. de). Communaute d'origine de 1'ancient art mexicain avec ceux des bords 
 de la Mediterranee. Paris, 1879. 8. 
 
 EVERS (E.). Contribution to the archaeology of Missouri. Salem, 1880. 8. 
 
 RENAULT (J.). La ceramique peruvienne. Nancy, 1880. 8. 
 
 REISS (W.) and STUBEL. The necropolis of Ancon in Peru. Berlin, 1880-87. Fol. 
 
 NADAILLAC (M. de). L'Amerique prehistorique. Paris, 1880. 8. 
 
 - Prehistoric America. (Transl. by N. Danvers.) London, 1885. 8. 
 
 - La poterie de la Vallee du Mississippi. Paris, 1887. 8. 
 
 La poterie chez les anciens habitants de TAmerique. 8. 
 
 AVON. Antiquites mexicaines. Tours, 1881. 8. 
 
 ABBOT (G. G.). Primitive industries of the native races. Salem, 1881. 8. 
 BROCKLEHURST (J. U.). Mexico to-day. London, 1883. 8. 
 WRIGHT-HARRISON. Specimens of Indian earthenware. Paris, 1883. 8. 
 BOVALLIUS (C.). Nicaraguan antiquities. Stockholm, 1886. 4. 
 
 HOLMES (W. H.). Illustrated catalogue of the collections made by the Bureau of Eth- 
 nology. Washington, 1884. 8. 
 
 Prehistoric textile derived from impressions on pottery. Wash., 1884. 8. 
 
 - Pottery of the ancient Pueblo. Wash., 1886. 8. 
 
 Ancient pottery of the Mississippi Valley. Wash., 1886. 8. 
 
 Origin and development of form and ornament in Ceramic Art. Wash., 1886. 8. 
 Ancient art in the province of Chiriqui. Wash., 1888. 8. 
 
 Aboriginal pottery of the Eastern United States. Wash., 1903. 8. 
 
 GUSHING (F. H.). A study of Pueblo pottery. Washington, 1886. 8. 
 
 STUBEL (A.). Kultur und Industrie siidamericanischer Volker. Berlin, 1889. Fol. 
 
 PENAFIEL (A.) Monuments of ancient Mexican art. 1890. Fol. 
 
 SELER. K. Museum zu Berlin. Peruanische Alterthumer. Berlin, 1893. Fol. 
 
 NORDENSKIOLD. The cliff-dwellers of Mesa-Verde. Stockholm, 1893. 4. 
 
 STARR (F.). The pottery of Lake Chapala. Chicago, 1897. 8. 
 
 BEAUCHAMP (W. M.). Earthenware of the New York aborigines. Albany, 1898. 8. 
 
 STREBEL (H.). Ueber Tierornament auf Thongefassen aus Alt-Mexico. Berlin, 1899. 
 
 4. 
 
 BAESSLER (A.). Ancient Peruvian art. S.d. (recent). Fol. 
 SPENCER St. JOHN. Peruvian relics. London, 1901. 8. 
 LUMHOLTZ. Unknown Mexico. London, 1903. 8. 
 
 510 
 
CERAMIC LITERATURE. 
 
 CLASSICAL CERAMICS. 
 
 GREEK VASES: 
 With the Pottery of Phoenicia, Asia Minor, Etruria, etc. 
 
 The painted vases of the ancients were the first ceramic objects admitted in the 
 archaeological works, the publication of which accompanied the revival of arts and 
 sciences in Italy. Scanty as was, at that moment, the number of fictile vessels casually 
 dug out from the Etruscan burial sites, the mortuary pottery which fell into the hands of 
 the antiquaries secured at once a strong hold upon their minds. We find the painted 
 vases engraved on the plates of many a folio volume of the seventeenth century. They 
 were not yet, however, presented as an independent subject of study. Stray examples 
 were interspersed with antique remains of all classes, brought together by the author 
 as throwing some light on the manners and customs of extinct civilisations. Together 
 with ancient coins and inscribed slabs, earthen kylixes and amphoras were held in high 
 consideration as historical curiosities, but not yet commended as things of beauty. The 
 purpose they had to serve was to assist the historian in his researches for reviving the 
 memory of times gone by. In the antiquarian works of the period, little or no importance 
 seems to have been attached to the exact reproduction of their shapes and decorations ; 
 so much, at least, can be inferred from the careless manner in which they are treated 
 by the engraver. When a rough sketch is appended to a lengthy disquisition, it is, 
 chiefly, to make the reader nealise how great was the difficulty presented by the 
 elucidation of the subject, and appreciate the sagacity with which the difficulty had 
 been overcome. 
 
 To such considerations may be ascribed the insufficiency of the plates illustrating 
 the earliest works. In Passeri's ponderous volumes the first instance of a methodical 
 system being applied to the study of painted vases the reproductions, altogether deficient 
 in accuracy, are far from conveying a flattering idea of the original. What can we infer 
 from the imperfect execution of those clumsy outlines, if not that, in the estimation of 
 the author, the value to be attached to a painted vase lay in the interest it possessed as 
 historical evidence, and not at all in its merits as a work of art. Passeri who may 
 well be called the pioneer of Etrusco-mania was haunted by the ambition of rescuing 
 from oblivion, and bringing into full light, the glorious past of his native land. He 
 smarted under the unfairness of the antiquaries, who had done so much, through their 
 researches, to recall to memory the heroic times of Greece and Rome, and attempted 
 nothing to dispel the darkness in which the history of old Etruria was still enveloped. 
 This undeserved neglect had left in the knowledge of antiquity a regrettable gap that 
 he had resolved to fill. In the fictile vases and the subjects represented upon them he 
 saw the best means of accomplishing his dream. 
 
 So large was the number of painted vases already unearthed in his time from the 
 soil of Etruria, that the fact of their being of local manufacture was never doubted by 
 him ; consequently, his works dealt with them as undeniable products of Etruscan art, 
 embodying in their paintings the very essence of Etruscan philosophy and civilisation. 
 For long afterwards, his opinion ruled supreme. The name of Etruscan continued to 
 be applied to all antique painted vases, even in the case of those which had been dis- 
 covered far away from Etruria. In vain Lanzi had attempted to deprecate the accepta- 
 tion of the term, grounding his impartial and sound argumentation upon two main points ; 
 
 511 
 
CERAMIC LITERATURE. 
 
 first, that the so-called Etruscan paintings bore the unmistakable stamp of Greek art, 
 and next, that they were usually accompanied with Greek inscriptions. The original 
 belief was, however, too deeply rooted to be easily shaken. 
 
 The brotherhood of antiquaries who sided with Passeri turned a deaf ear to any objec- 
 tion that could be raised as to the absolute accuracy of their leader's views, and they refused 
 to amend any part of the system he had propounded. A more practical and rationalist 
 school undertook, later on, to place the study of classical ceramics upon a very different 
 basis. Leaving the fanatic Etruscophiles to the enjoyment of their abstrusive and bigoted 
 cogitations, an enlightened group of artists and amateurs began to consider a painted 
 vase as a pure work of art to be admired, not as a graphic enigma pregnant with the 
 subtle elements of historical and metaphysical controversy, but for its artistic beauty. 
 Purity of form, elegance of proportions, and noble style of decoration were to be its highest 
 merit in the eye of the adepts of the new creed. These principles were already strikingly 
 illustrated in the collections already formed at the time. Well-selected examples of the 
 best periods of vase paintings were engraved for special publications, and openly discanted 
 upon by eloquent orators. In this way many converts were gained to the cause. The 
 propaganda had, however, a further 'aim in view than the recognition of an undeservedly 
 neglected branch of classical art. They firmly believed that by fostering the study of 
 such noble examples, and setting them as inspiring models before the eye of the artists 
 and craftsmen of the day, they were taking the safest means of redeeming decorative 
 art from the lawless extravagance of the Barocco and Rococo styles into which it had 
 been allowed to sink. Ancient vases were to be the guiding star which would light the 
 way for a speedy return to a refined and lofty taste. The sumptuous volumes brought 
 out by Sir William Hamilton and his followers were prepared in accordance with those 
 views. The plates are engraved with a care which denotes an evident intention to present 
 them as models, or suggestions to the painter and the designer. England took the lead 
 in the publications of that order, with the works of Millingen, Adam Buck, Moses, and 
 others. In their misconceived zeal for still enhancing the beauty of the originals, the 
 engravers went so far as to amend in their reproductions all that they considered as 
 incorrect in the outline, in order to bring up the archaic drawing of the figures to the 
 academic standard of the day. 
 
 At about the same period, a singular infatuation was beginning to prevail among 
 the most eminent members of the antiquarian societies. The novel impulse that the 
 movement we are going to describe gave to the study of painted vases resulted in a great 
 number of volumes being written in a very peculiar spirit. Classical scholars of no 
 mean attainment were throwing themselves, heart and soul, into the fascinating pursuit 
 of elucidating the signification of the subjects represented by the vase painter. Such 
 a task offered to a fervent antiquary a welcome occasion for a brilliant display of erudition 
 and ingenuity. It was implicitly admitted that each picture, however simple and in- 
 telligible it might appear at first sight, contained, hidden under the guise of a recondite 
 allegory, the expression of some moral teaching or philosophical idea. Accordingly, 
 every detail of ornamentation, a geometrical combination of lines, as well as the repre- 
 sentation of plants and flowers, animals and human figures, were capable of receiving a 
 mystical interpretation. When appearing upon a vase they were all sacred symbols 
 to be explained only through deep cogitation, assisted by a consummate knowledge of 
 antiquity. Impressed with that idea, the inspired expounder, painfully conning over 
 the intricacies of a problem of his own making, cudgelled his brains until he had found 
 out, in the metaphysics or the mythology of the ancients, some far-fetched hypothesis 
 512 
 
CERAMIC LITERATURE. 
 
 which could be twisted into a semblance of application to the case in point* This is 
 what has been called the exegetic period of archaeological studies. 
 
 .In Germany a delusive system, guided by the visionary conceptions of its votaries, 
 has found its most characteristic expression in the works of Bottiger. It was reserved, 
 however, to an English writer, Christie, to distance all his contemporaries in their blind 
 search for illusory significations and to reach, in his Disquisitions, the highest pitch of 
 extravagance and absurdity. 
 
 Unsound and fallacious as were the doctrines of the exegetes, they hampered, never- 
 theless, for a certain time, the enlightened efforts of the leaders of the rising school, who 
 were endeavouring to introduce a more rational and logical method in the conduct of the 
 study. To Gerhart belongs the honour of having inaugurated the era of modern research. 
 He foresaw the important place that Greek vases would assume in the knowledge of 
 antiquity when studied under certain aspects, theretofore absolutely neglected. He was 
 the first to point out the necessity of establishing their bearings on the general history 
 of Greek art, by obtaining a considerate classification of the various styles of manufacture, 
 and fixing the respective periods and localities to which they belong. But Gerhart could 
 never free himself entirely from the time honoured notion that all subjects admitted of 
 some allegorical or mystical interpretation. 
 
 Otto Yahn entered frankly into the way of radical reform. He dared to assert that 
 all the work previously done had been accomplished on wrong lines, and that much of 
 it would have to be ignored before renewing the investigations. A colossal task was 
 set before the master and his erudite disciples. ^Esthetical cogitations had to vanish 
 before plain facts. Questions which, so far, had received little or no attention came 
 to the front ; many a point, still left untouched by the antiquarian writers, was recognised 
 to be of paramount importance. To the following queries not to speak of the minor 
 ones a course of strict investigation supplied, gradually, a decisive or at least a plausible 
 answer : 
 
 Was it not possible to constitute, out of the types of Greek vases which present a 
 distinct association of kindred features, some well-defined groups, and make of these 
 groups a separate study ? 
 
 Which had been the chief centres of production, and which were the shapes and 
 style of decoration peculiar to each of these centres ; also, in what chronological order 
 were to be ranged the characteristic styles of the different periods ? 
 
 Could the nature of the material employed and the processes of manufacture be 
 ascertained, and some particulars be known about the potters and the vase painters ? 
 
 This programme entails a work very different from a mere elucidation of the 
 paintings. The names of J. de Witte and Ch. Lenormant, in France, of S. Birch 
 and Newton, in England, are conspicuously associated with a movement which 
 originated in Germany. 
 
 It is to be borne in mind that the labour of renovation had to be carried on with 
 no other material at hand than the store of specimens with which the early excavations, 
 executed in Italy, had filled the museums. The study of Greek vases had still to undergo 
 a complete change, when, attention being at last turned towards the birthplace of classical 
 ceramics, Greece proper and Asia Minor were made to give up the hoards of fictile relics 
 the soil had for so long jealously guarded in its depths. Numerous archaeological missions, 
 either subsidised by their respective governments, or started by private enterprise, 
 undertook the organisation of regular campaigns of underground exploration. A field 
 of research having been selected, it was never abandoned before the place had been 
 33 513 
 
CERAMIC LITERATURE. 
 
 thoroughly investigated. In most instances, the discoveries increased in interest as the 
 diggings reached the deepest strata of a soil rich in antique remains. The excavations 
 soon brought to light innumerable evidences of pottery having been made in the 
 locality from the remotest antiquity. The approximate date of the prehistoric ages, of 
 which popular tradition had handed down a misty estimation only, had to be thrown 
 back by thousands of years. In the face of such an unexpected revelation, it had to be 
 acknowledged that the part of ancient history which treated of the dawn of art in the 
 land of Hellas would have to be re-written. The task greatly facilitated by a constantly 
 growing accumulation of materials, happened to be singularly congenial to the inquisitive 
 tendencies of modern thinkers and historians. 
 
 As our world grows older man turns the course of his thoughtful speculations farther 
 and farther back into the dark ages, where all seems to be conjecture and uncertainty, 
 and in the hope of tracing the very sources of civilisation, his studies sink deeper and 
 deeper through the mist of an unfathomable past. He tries to sharpen and define once 
 more, with a firm chisel, the well-nigh obliterated imprints that untold successions of 
 races had left behind them wherever they had passed. He means to baffle the power 
 of inexorable time, and to defy the baneful effects of his destructive march. Already 
 the most fecund periods of human productiveness and industrious energy have been 
 victoriously reconstituted. Glorious monuments are not wanting to bear witness to the 
 exalted degree of perfection that man's creative power had attained in the days when 
 civilisation was flourishing in its fullest development. But the scope of antiquarian 
 researches had, so far, been restricted to the investigation and reconstitution of the 
 memorable epochs of glorious fructification and plentiful harvest. As to the life and 
 conditions of the nameless tribes which tilled the virgin soil, expecting the reward of their 
 trials and toil ; as to the primeval periods of gestation, when the seed was slowly ger- 
 minating in the rudely traced furrow, when all efforts were but experiments, and the 
 best achievement nothing better than a promise for the future, no attempt had yet been 
 made to raise the veil in which they were enshrouded. 
 
 A group of young and valiant spirits the dreadnought of archaeological researches 
 have lately taken upon themselves the duty of advancing, torch in hand, into the 
 sombre and trackless regions of the unknown. The journey commences for them at the 
 very point where their predecessors felt themselves compelled to stop. A few rays of 
 light are now penetrating the limbos of the so-called prehistoric ages a capacious recess 
 of darkness into which all that could not be properly determined has hitherto been con- 
 veniently relegated. Shapeless vestiges are made to re-assume something of their pristine 
 appearance. A crumb is as good as a block to serve as the basis of an ingenious hypothesis, 
 a scintilla takes the proportion of a blazing beacon. Word by word a whole tale is 
 snatched from scanty and ill-defined evidences, speechless to all but those who know 
 how to interrogate them. 
 
 The very early fictilia are now treated with the degree of reverential attention pre- 
 viously bestowed only upon the objects of precious metal or refined workmanship, with 
 which they are often found associated. Wide, indeed, is the span of years which separates 
 the date of the uncouth vessels of burnt clay discovered at Hissarlik from that of the noble 
 vase painted by Brygon or Euphronios ; yet modern knowledge is now in position to 
 trace the almost uninterrupted line by which these two distant points of the potter's 
 art are clearly connected. 
 
 514 
 
CERAMIC LITERATURE. 
 
 a. HISTORY TECHNOLOGY REPRODUCTIONS INTERPRETATIONS. 
 
 Austria. 
 
 STEINBUCKEL (A. de). Sappho and Alkaios. Wien, 1822. Fol. 
 BENNDORF (and others). Wiener Vorlegeblater. Wien, 1861-91. Fol. 
 CONZE (A.). Zur Geschichte der Anfange griechischer Kunst. Wien, 1870. 8. 
 FELDSCHAREK (A.). Umrisse antiker Thongefasse. Wien, 1876-78. Fol. 
 KLEIN (W.). Euphronios. Wien, 1879. 4. 2nd ed., 1886. 8. 
 
 Die griechischen Vasen mit Meistersignaturen. Wien, 1883. 4. 
 
 Die griechischen Vasen mit Lieblingsinschriften. Wien, 1890. 8. 
 KELLER (0.). Die Thiere der klassischen Alterthums. Innsbruck, 1887. 4. 
 REICHEL (W.). Neue Aufnahme der Franyoisvase. Wien, 1888. 8. 
 
 - Ueber Homerische Waffen. Wien, 1894. 
 
 ADAMEK (L.). Unsignierte Vasen des Amasis. Prag, 1895. 8. 
 JUTHNER (J.). Ueber antike Turngerathe. Wien, 1896. 8. 
 ENDT (J.). Beitrage zur ionischen Vasenmalerei. Prag, 1899. 8. 
 
 Belgium. 
 
 ROULEZ. Choix de vases peints du Musee de Leyde. Gand, 1854. Fol. 
 
 - Various papers on Greek vase paintings. 
 
 HAGEMANS. Ceramique grecque et etrusque. Liege, 1856. 8. 
 
 England. 
 
 CHRISTIE (J.). A disquisition upon Etruscan vases. London, 1806. Fol. 
 
 BUCK (A.). One hundred engravings from paintings on Greek vases. London, 1812. 
 
 r* Fol. 
 
 KIRK. Outlines from the figures upon the vases of Sir W. Hamilton. London, 1814. 
 
 8. 
 
 MOSES (H.). A collection of antique vases. London, 1814. 4. 
 TATHAM (C. H.). Representation of a Greek vase. London, 1821. 4. 
 MILLINGEN (J. V.). Ancient unedited monuments. London, 1822-26. 4. 
 BIRCH (S.). Explanation of the fictile vase found at Canino. 1841. 4, pp. 4. 
 
 Observations on a fictile vase representing the contest of Hercules and Juno. 1843. 
 4, pp. 7. 
 
 Observations on the figure of Anacreon upon some Greek fictile vases. 1844. 4, 
 
 pp.8. 
 
 Description of a fictile vase found at Vulci. 1847. 4. 
 
 - History of ancient pottery. London, 1858. 8. 2nd ed., 1873. 8. 
 
 BURGON (T.). Vases of Greece proper which belong to the heroic ages. London, 1845. 
 
 8. 
 NORTHAMPTON (Marquess of). Observation upon a Greek vase bearing the name of 
 
 Nicosthenes. London, 1848. 4. 
 
 SCHARF (G.). Manners and customs of the Greeks. London, 1849. 4. 
 WESTROPP (H.). Epochs of painted vases. London, 1856. 4. 
 MACPHERSON (D.). Antiquities of Kertch. London, 1857. 4. 
 EDWARDS (J.). Two ancient Greek vases. London, 1865. 4. 
 PETRIE (Flinders W.). Tanis. London, 1888. 4. 
 
 Naucratis. London, 1891, 4, 
 
 515 
 
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 PERROT et CHBPIEZ. History of art in Phrygia. London, 1892. 8. 
 
 - History of art in primitive Greece. London, 1894. 8. 
 HARTWIG. Heracles and Eurytos. London, 1891. 4. 
 
 HARRISON (J. E.) and MacCOLL (D. S.). Greek vase paintings. London, 1894. Fol. 
 
 MURRAY (A. S.). Designs from Greek vases. London, 1894. Fol. 
 
 MURRAY (A. S.) and SMITH (A. H.). White Athenian vases. London, 1896. FoU 
 
 WALLIS (H.). The white Athenian lekythi. London, 1896. Fol. 
 
 HORNER (S.). Greek vases. London, 1897. 8. 
 
 HUDDILSTON (J.). Greek tragedy in the light of vase paintings. London, 1898. 8. 
 
 - Lessons from Greek pottery. London, 1902. 8. 
 
 BOSANQUET (R. C.). Some early funereal lekythoi. London, 1900. 4. 
 GARDNER (P.). The scenery of the Greek stage. London, 1900. 4. 
 
 KARO (G.). Notes on Amasis and Ionic black-figured pottery. London, 1900. 4. 
 WALTERS (H. B.). History of ancient pottery. London, s.d. (1905). 8. 
 
 France. 
 
 BAIF (L.). Lazari Bayfii annotationes. Parisiis, 1536. 4. 
 
 STEPHANUS (C.). De vasculis libellus. Lugduni, 1536. 16. 
 
 CAYLUS (A. C. de). Recueil d'antiquites. Paris, 1752. 4. 
 
 DAVID (F. A.). Antiquites etrusques, grecques et romaines. Paris, 1785. 4. 
 
 TISCHBEIN (W.). Recueil de gravures d'apres des vases antiques. Paris, 1806. Fol. 
 
 MILLIN (A. L.) et DUBOIS-MAISONNEUVE. Peintures de vases antiques. Paris, 1808. 
 
 Fol. 
 MILLIN (A. L.). Description d'un vase trouve a Tarente. Paris, 1814. 8. 
 
 Description des tombeaux de Canosa. Paris, 1816. Fol. 
 
 Vase peint representant le combat des Grecs et des Amazones. S.d. 8. 
 
 Description de trois peintures de vases grecs du Musee de Portici. S.d. 4. 
 DUBOIS-MAISONNEUVE. Introduction a 1'etude des vases grecs. Paris, 1817-34. 
 
 Fol. 
 
 BLARAMBERG (de). Objets d'antiquite decouverts en Tauride. Paris, 1822. 8. 
 RAOUL ROCHETTE. Vase grec recement decouvert a Nola. Paris, 1826. 8. 
 
 - Lettre a Mr. Schorne. Paris, 1832. 8. 
 
 DOROW (W.). Poteries etrusques proprement dites. Paris, 1829. 4. 
 PANOFKA. Recherches sur les veritables noms des vases grecs. Paris, 1829. Fol. 
 
 Le lever du Soleil sur un vase du Musee Blacas. Paris, 1833. 4. 
 
 BRONSTED (P. 0.). Memoire sur les vases panathena'iques. Paris, 1833. 4. 
 LETRONNE. Observations sur les veritables noms des vases grecs. Paris, 1833. 4. 
 RAOUL-ROCHETTE. Monuments inedits d'antiquite figuree. Paris, 1833. Fol. 
 Lettre a Mr. le Prof. E. Gerhard sur deux vases points. Paris, 1835. 8. 
 
 Memoire sur un vase peint de fabrique corinthienne. Paris, 1835. 8. 
 BAUVALET de SAINT VICTOR. Vases grecs et etrusques. Paris, 1837. Fol. 
 LENORMANT (Ch.) et WITTE (J. de). Elite des monuments ceramo-graphiques. Paris, 
 
 1837-61. 4. 
 
 BRAUN (E.). H giudizio de'Paride. Parigi, 1838. 4. 
 
 LUYNES (Due de). Description de quelques vases peints. Paris, 1840. Fol. 
 DEVILLE (A.). Recherches sur la peinture des vases antiques. Rouen, 1842. 8. 
 WELCKER (F. G.). Le jugement de Paris. Paris, 1846. 8. 
 516 
 
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 LENORMANT (Ch.). Lettre a Mr. de Witte sur un vase de la Collection Durand. Paris, 
 1845. 8. 
 
 - Introduction a F etude des vases peints. Paris, 1848. 4. 
 
 Lettre a Mr. de Witte sur trois vases nouveaux. Paris, 1848. 8. 
 WITTE (J. de). Noms des fabricants de vases peints. Paris, 1848. 8. 
 
 - Various papers on Greek vases. 1843-1880. 
 
 LONGPERIER (A. de). Lettre a Mr. C. Lenormant sur deux vases du Musee du Louvre. 
 
 Paris, 1852. 8. 
 OUVAROFF (A.). Recherches sur les antiquites de la Russie Meridionale. Paris, 
 
 1855-60. Fol. 
 
 VINET (E.). Lettre a Mr. Minervini. Paris, s.d. 8. 
 
 LUYNES (Due de). Vase historique trouve pres de Kertsch. Paris, 1856. 8. 
 EGGER. Observations sur quelques fragments dc poterie antique. Paris, 1857. 4. 
 NOEL des VERGERS (A.). L'Etrurie et les Etrusques. Paris, 1862. 8, and Atlas folio. 
 WITTE (J. de). Etudes sur les vases peints. Paris, 1865. 8. 
 LONGPERIER (H. de). Vases peints de la collection Dzialynski. Paris, 1868. 8. 
 FROHNER (W.). Deux peintures de vases grecs de la necropole de Kamiros. Paris, 
 
 1871. Fol. 
 
 DUMONT (A.) et CHAPLAIN (J.). Les ceramiques de la Grece propre. Paris, 1874. 4. 
 COLLIGNON (M.). Sur trois vases peints a ornaments dores. Paris, 1875. 8. 
 
 Apollon et les Muses. Vase peint. Bordeaux, 1879. 8. 
 
 Les ceramique grecques de style primitif. 1881.^8. 
 
 - Plaques en terre cuite peintes de style corinthien. Bordeaux, 1882. 8. 
 
 Cavalier athenien, coupe antique du Louvre. Paris, 1889. 4. 
 FROHNER (W.). Anatomic des vases antiques. Paris, 1876. 8. 
 PERROT (G.). Le triumphe d'Hercule. Paris, 1876. 4. 
 
 GAMURRINI. Vases etrusco-campaniens. Paris, 1879. 8, pp. 38 ; with 6 pis. 
 POTTIER (E.). Etude sur les lecythes blancs antiques. Paris, 1883. 8. 
 
 - Vases peints du Musee Ravestein. Paris, 1887. 4. 
 
 Etudes sur la ceramique grecque. Paris, 1888. 4. 
 
 A quoi sert un musee de vases antiques. Paris, 1894. 8. 
 
 La peinture industrielle des Grecs. Paris, 1898. 12. 
 
 - Du dessin par ombre portee chez les Grecs. Paris, 1898. 8. 
 
 - Une aventure d'Hercule sur un vase du Louvre. Paris, s.d. 4. 
 SAGLIO (E.). Polyphe'me ; description d'un vase grec. Paris, 1887. 4. 
 RAYET et COLLIGNON. Histoire de la ceramique grecque. Paris, 1888. 8. 
 MARTHA (J.). L'art etrusque. Paris, 1889. 8. 
 
 GERAUDON. Vases peints du cabinet des antiques. Paris, 1890. Fol. 
 
 MILLIET (P.). Etudes sur les premieres periodes de la ceramique grecque. Paris, 1891. 
 
 8. 
 
 REINACH (S.). Peintures des vases antiques recueillies par Millin et Millingen. Paris, 
 1891. 4. 
 
 Antiquites du Bosphore Cimmerien. Paris, 1892. 8. 
 
 MEGRET (A.). Etude sur les canons de Polyclete. Paris, 1892. 8. 
 DURAND-GREVILLE. De la couleur du decor des vases grecs. Paris, 1892. 8. 
 GSELL (S.). Fouilles dans la necropole de Vulci. Paris, 1891. 4. 
 MILLIET (P.). Un Lecythe en forme de gland. Paris, 1893. 4. 
 
 EMMANUEL (M.). La danse grecque antique d'apres les monuments. Paris, 1897. 4. 
 
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 GIRARD (P.). Le cratere d'Orvieto. Paris, 1897. 4. 
 
 HELBIG (M. W.). Les vases du Dipylon. Paris, 1898. 4. 
 
 ZEVORT (Ch.). Aristophane. Lysistrata. Paris, 1898. 12. 
 
 KARO (G.). Notes on Amasis. Paris, 1899. 8. 
 
 LOUYS (P.). Les chansons de Bilitis. Paris, 1900. 12. 
 
 REINACH (S.). Repertoire des vases peints. Paris, 1899-1900. Sq. 8. 
 
 GASPAR (C.). Le peintre ceramiste Smikros. Paris, 1902. 4, pp. 29 ; with text 
 
 illustrs. 
 POTTIER (E.). Douris et les peintres de vases grecs. Paris, 1905. Sq. 8. 
 
 Germany. 
 
 BOTTIGER (K. A.). Griechische Vasengemalde. Weimar, 1797-1800. Fol. 
 WAGNER (F.). Annotationes in picturas vasorum greecorum. Luneburg, 1799. 8. 
 MEYER (J. H.) and BOTTIGER (K. A.). Ueber den Raub der Cassandra. Weimar, 
 
 1799. 4. 
 
 FIORILLO (R.). Inscriptio vasculi graeci pictor. Gottingce, 1804. 8. 
 CREUZER. De causis rerum bacchicarum. Heidelberg, 1808. Sm. 4. 
 UHDEN. Ueber ein altes Vasengemalde. Berlin, 1810. 4. 
 KUSCHK. Commentatio de inscriptione vasculi Locris. 1813. Fol. 
 HAUSSMANN. Commentatio de confectione vasorum antiquorum. Gdttingce, 1823. 4. 
 WEIGHER (A.). De Medea Oestro Percita ad illustrandam imaginem vasculi prope 
 
 Cannas in Italia reperti. 1824. 4. 
 HIRT (A.). Die Brautschau. Berlin, 1825. Fol. 
 MULLER (A.). De origine pictorum vasorum quae in Etruria agris efiossa sunt. Berol, 
 
 1831. 4. 
 
 BOECKH (A.). De vasorum panathenaicorum generibus. Berol, 1832. 8. 
 CREUZER (G. F.). Ein alt athenische Gefass. Darmstadt, 1832. 8. 
 PANOFKA (T.). Der Tod des Skiron un des Patrocles. Berlin, 1836. 4. 
 
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 KRAMER (G.). Ueber der Styl und die Herkunft der bemalten griechischen Thonge- 
 
 fasse. Berlin, 1837. 8. 
 GERHARD (E.). Archemoros und die Hesperiden. Berlin, 1838. 4. 
 
 Griechische Mysterienbilder. Stuttgart, 1839. Fol. 
 
 Notice sur le vase de Midias. Berlin, 1840. 4. 
 Auserlesene griechischen Vasenbilder. Berlin, 1840. 4. 
 
 - Tazze dipinte del Real Museo di Berlino. Roma, 1842. Fol. 
 
 Etruskische und campanische Vasenbilder. Berlin, 1843. Fol. 
 
 Apulische Vasenbilder. Berlin, 1845. Fol. 
 
 Trinkschalen und Gefasse des K. Museums zu Berlin. Berlin, 1850. Fol. 
 
 Danse, ein griechischen Vasenbild. Berlin, 1854. 4. 
 
 Ueber Hermenbilder auf griechischen Vasen. Berlin, 1856. 4. 
 
 THIERSCH. Ueber Henkel irdener Geshirre mit Anagrammen. Miinchen, 1838. 4. 
 CREUZER (G. F.). Zur Gallerie der alten Dramatiker. Heidelberg, 1839. 8. 
 
 Auswahl unedierter griech. Thongefasse d. Karlsruher Sammlung. 1839. 8. 
 
 JAHN (0.). Vasenbilder Orestes in Delphi. Hamburg, 1839. 4. 
 
 Various papers on Greek vase paintings. 1847-68. 
 
 STEPHANI (L.). Der Kampf zwischen Theseus und Minotauros. Leipzig, 1842. Fol. 
 USSING. De nominibus vasorum graecorum disputatio. Haunice, 1844. 8. 
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 PANOFKA. Griechinen und Griechen. Berlin, 1844. 4. 
 
 THIERSCH. Ueber die hellenischen bemalten Vasen. Milnchen, 1844. 4. 
 
 OSANN. Revision der Ansichten iiber Ursprung und Herkunft der gemalten griechischen 
 
 Vasen. : Giessen, 1847. 8. 
 
 WIESLER (F.). Das Satyrspiel nach Massgaber eines Vasenbilder. S.I, 1848. 8. 
 WELCKER (F. C.). Alte Denkmaler erklart. Gdttingen, 1849-64. 8. 
 PANOFKA. Von den Namen der Vasenbildern. Berlin, 1849. 4. 
 
 - Die griechischen Eigennamen mit Kalos. . . . Berlin, 1850. 4. 
 
 Atalante und Atlas. Berlin, 1851. 4. 
 
 - Die griechischen Trinkhorner. Berlin, 1851. Fol. 
 
 - Die Vasenmalern Euthymides und Euphronios. S.d. 4. 
 ROTHGEBER (G.). Nike in hellenischen Vasenbildern. Gotha, 1851. 8. 
 SCHULTZ (H. W.). Die Amazonen Vase von Ruvo. Leipzig, 1851. Fol. 
 ROSS (L.). Ueber die Zeit der griechischen Vasenmalereien. Halle, 1852. 8. 
 CURTIUS (E.). Herakles, der Satyr und Dreifussrauber. Berlin, 1852. 8. 
 GEPPERT. Die altgriechische Biihne. Leipzig, 1843. 8. 
 
 BRUNN (H.). Geschichte der griechischen Kiinstler. Braunschweig, 1853. 8. 
 OVERBECK (J.). Gallerie heroischer Bildwerke. Braunschweig, 1853. 4. 
 KRAUSE (J. H.). Angeiologie. Die Gefasse der alten Volker. Halle, 1854. 8. 
 PANOFKA. Dionysos und die Thyaden. Berlin, 1855. 4. 
 
 GOTTLING (W.). Commentatio de crure albo in clipeis vasorum grsecorum. Jena, 
 
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 PRELLER Ueber ein Vasenbilder aus Athen. Berlin, 1855. 4. 
 
 Appolline e Tizio. S.d. 4. 
 
 FRIEDERICHS (K.). Praxiteles und die Niobeegruppe. Leipzig, 1855. 8. 
 LUTZOW (A. v.). Zur Geschichte des Ornaments an der bemahlten griechischen Thonge- 
 fasse. Munchen, 1858. 8. 
 
 KONITZER (C.). Heracles und die Hydra. Breslau, 1861. 8. 
 FRIEDERICHS (C.). Die Hochzeit des Zeus und der Hera. Breslau, 1862. 4. 
 CONZE (A.). Melische Thongefasse. Leipzig, 1862. Obi. fol. 
 VALENTIN (V.). Orpheus und Herakles nach drei Vasengemalden. Berlin, 1865. 
 MICHAELIS (A.) Die Verurtheilung des Marsyas. Greifswald, 1864. 4. 
 
 - Thamiris und Sappho. Leipzig, 1865. 4. 
 
 CONZE (A.). Uber die neuesten Entdeckungen bemalter griechischer Thongefasse. 
 
 Leipzig, 1865. 4. 
 VALENTIN (V.). Orpheus und Herakles in der Unterwelt nach drei Vasengemalden. 
 
 Berlin, 1865. 
 
 HEYDEMANN. Iliupersis auf einer Trinkschale des Brygos. Berlin, 1866. Fol. 
 SEBALD (H.). Griechische Vasen und deren Darstellungen. Claustlial, 1867. 8. 
 BENNDORF (0.). Griechische Vasenbilder. Berlin, 1869. Fol. 
 SCHULTZE (E.). De vasculo picto Amazonis pugnam . . . representante. Gotha, 
 
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 HEYDEMANN. Humoritische Vasenbilder. Berlin, 1870. Fol. 
 
 Griechische Vasenbilder. Berlin, 1870. Fol. 
 
 BRUNN (H.). Probleme in der Geschichte der Vasenmalerei. Munchen, 1871. 4. 
 OVERBECK (J.). Griechische Kunstmythologie. Leipzig, 1871. Fol. 
 HIRSCHFELD (G.). Athena und Marsyas. Berlin, 1872. 8. 
 FORSTER (A.). Der Raub der Persephone. Stuttgart, 1873. 8. 
 KOERTE (G.). Ueber Personificationen psychologischer Affekte in der spateren Vasen- 
 malerei. Berlin, 1874. 8. 
 
 519 
 
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 URLICHS (L.). Zwei Vasen altesten Styls. Wurzburg, 1874. 4. 
 
 Der Vasemnaler Brygos. Wurzburg, 1875. Fol. 
 
 FLASH (A.). Die Polychromie der griechischen Vasenbildern. Wiirzburg, 1875. 8. 
 HEYDEMANN. Niobe und die Niobiden auf griechischen Vasenbildern. Leipzig, 1875. 
 
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 SCHONE (R.). Ueber einige eingeritzen Inschriften griechischer Thongefasse. S.d. 4. 
 FURTW ANGLER (A.). Eros in der Vasenmalerei. Miinchen, 1875. 8. 
 KIEZERITZKY (G.). Nike in der Vasenmalerei. Dorpat, 1876. 8, 
 GENICK (A.). Kunstgewerblicke Vorbilder. Keramic. Berlin, 1876. Fol. 
 STOCKBAUER (J.) und OTTO (0. H.). Die antiken Thongefasse. Niirnberg, 1876. 
 
 Fol. 
 
 BRUNN (H.). Die petersburger Poseidon Vase. Leipzig, 1876. 8. 
 WEIZAKER. Ueber die Vase des Klitias und Ergotinios. Heidenheim, 1877. 8. 
 LAW (J.). Die griechischen Vasen. Leipzig, 1877. Fol. 
 KORTE. Eichelformige Lekythos. Berlin, 1879. 8. 
 
 BLUMNER. Technologic . . . bei Griechen und Romern. Leipzig, 1879. 4. 
 GADECHENS (R.). Perseus by den Nymphen. Jena, 1879. 4. 
 PETERSEN. Vasenstudien. Berlin, 1879. 4. 
 
 ROBERT (C.). Thanatos. Berlin, 1879. 4. 
 
 / 
 KEKULE (R.). Ueber ein griechischen Vasengemalde im Kunst-Museum zu Bonn. 
 
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 FURTW ANGLER und LOSCHCKE. Mykenische Thongefasse. Berlin, 1879. Fol. 
 
 Vorhellenische Thongefasse, aus dem Gebiete Mittelmeercs. Berlin, 1885. 4. 
 
 LUCKENBACH. Die Verhaltniss der griechischen Vasenbildern zu der Geschichten. 
 
 Leipzig, 1880. 8. 
 
 BRUNN (H.). Ueber die Aristonophas Vase. 1881. 4. 
 MEIER (P. J.). Neue Durisschalen des berliner Museum. Berlin, 1882. 4. 
 CURTIUS (E.). Die Giebelgruppen des Zeustempels in Olympia. 1883. 4. 
 HEYDEMAN. Alexander der Grosse und Darcios Kodomannos. Halle, 1883. 4. 
 - Vase Caputi mit Theater Darstellungen. Halle, 1884. 4. 
 
 Dionysos Geburt und Kindheit. Halle, 1885. 4. 
 
 Niobe und die Niobiden. Leipzig. 8. 
 
 Epigraphisches auf griechischen Vasen. 1883. 8. 
 
 GENICK und FURTW ANGLER. Griechische Keramik. Berlin, 1883. Fol. 
 FORSTER (R.). Darstellungen des Kaubes der Persephone. Stuttgart, 1884. 8. 
 WINTER (F.). Die jungeren attischen Vasen. Berlin, 1885. 8. 
 WERNICKE (K.). Beitrage zur Kenntniss der Vasen mit Meistersignaturen. Berlin, 
 
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 KROKER (E.). Die Dipylonvasen. Berlin, 1886. 4. 
 
 MORGENTHAU (C.). Ueber die Zusammenhang der Bilder auf griechischen Vasen. 
 Leipzig, 1886. 8. 
 
 VOGEL (K. J.). Scenen Euripideischer Tragodien in Vasengemalden. Leipzig, 1886. 
 8. 
 
 ARNDT (F.). Studien zur Vasenkunde. Leipzig, 1887. 8. 
 
 BRUNN (H.). Die Ausgrabungen der Certosa von Bologna. Miinchen, 1887. 4. 
 SCHNEIDER (F. J.). Die zwolf Kampfe des Herakles. Leipzig, 1888. 4. 
 MULLER (W.). Die Theseusmetopen in ihren Verhaltniss zur Vasenmalerei. Gottingen, 
 1888. 8. 
 
 AMELUNG. Personificerung des Lebens in der Vasenmalerei. Miinchen, 1888. 8. 
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 DUMMLER (F.). Vasenscherben aus Kyme. Roma, 1888. 8. 
 
 BLOCK (L.). Die zuschauenden Gotter in der rothfiguren Vasengemalden. Leipzig, 
 
 1888. 8. 
 WINKLER (C.). Die Darstellungen der Unterwelt auf unteritalisclien Vasen. Breslau, 
 
 1888. 8. 
 
 BOEHLAU (J.). Bootischen Vasen. Berlin, 1888. 4. 
 ROHDEN. Vasenkunde. Berlin, 1888. 4. 
 HOLWERDA. Attische Vasen. Berlin, 1889-90. 4. 
 
 HIRSCH (R.). De animarum apud antiques imaginibus. Leipzig, 1889. 8. 
 GRUNDMANN. Ueber 98 Henkelinschriften auf griechischen Vasen. Leipzig, 1889. 
 
 8. 
 
 SCHUMACHER (K.). Archaische Vasen aus La Tolfa. Berlin, 1889. 4. 
 BENNDORF und NIEMANN. Das Heroon von Gjolbashi-Trysa, Wien, 1889. 
 KOCK (W.). Paris vor Helena. Marburg, 1889. 8. 
 STUDNICZKA. Kyrene, eine altgriechische Gottin. Leipzig, 1890. 8. 
 FURTW ANGLER. Orpheus, attische Vase aus Gela. Berlin, 1890. 4. 
 ROBERT (C.). Homerische Becker. Berlin, 1890. 4. 
 
 Scenen der Ilias und Aithiopis. Halle, 1891. Fol. 
 
 WERNICKE (K.). Die griechischen Vasen mit Lieblingsinschriften. Berlin, 1890. 8. 
 
 WORMSTALL (A.). De corinthiasis tabellis fictilibus. S.I, 1890. 4. 
 
 ESCHER (J.). Triton und seine Bekampfung durch Herakles. Leipzig, 1900. 8. 
 
 SEEMANN (T.). Die Kunst der Etrusker. Dresden, 1890. 8. 
 
 PROTT (J. v.). De amphora napolitana. Bonn, 1891. 8. 
 
 KOLDWEY (R.). Neandria. Berlin, 1891. 8. 
 
 SITTLE (K.). Die Phineusschale. Wiirzburg, 1892. 4. 
 
 DUHN (F. v.). Bemerkungen zur Phineusschale. Heidelberg, s.d. 8. 
 
 GEHRING (R.). Griechische Gefasse. Landshut, 1892. Fol. 
 
 WILISCH (E.). Die altkorintische Thonindustrie. Leipzig, 1892. 8. 
 
 LOEVY (E.). Zur griechischen Vasenbildern. Berlin, 1893. 8. 
 
 SIX (Jan). Drei Lekythen. Athen, 1893. 8. 
 
 BULLE (H.). Die Silene in der archaischen Kunst. Miinchen, 1893. 8. 
 
 BRUNN (H.). Griechische Gotterideale in ihren Formen erlaiitert. Miinchen, 1893. 8. 
 
 BOEHM (C.). De Cottabo. Bonn, 1893. 8. 
 
 HARTWIG (P.). Phrixos und eine Kentauromachie. Leipzig, 1893. 4. 
 
 Die Griechischen Meisterschalen. Berlin, 1893. 4. 
 
 Die Anwendung der Federfahne bei den griechischen Vasenmalern. Berlin, 1899. 
 
 4. 
 
 KRETSCHMER (P.). Die griechischen Vaseninschriften. Gutterloh, 1894. 8. 
 DUMMLER (F.). Griechischen Vasen from Daphnse. Berlin, 1895. 4. 
 BOEHLAU. Zur Ornamentic der Vallombrosa Periode. Cassel, 1895. 4. 
 
 Aus ionischen und italianischen Necropolis. Leipzig, 1896. 4. 
 WINTER (F.). Eine attische Lekythos des berliner Museums. Berlin, 1895. 4. 
 KARO (G.). De arte vascularia. Bonnce, 1896. 8. 
 
 HAUSER (F.). Eine Sammlung Stilproben griechische Keramik. Berlin, 1896. 8. 
 
 PERNICE (E.). Kothen und Eauchergerat. Berlin, 1899. 8. 
 
 THIERSCH (H.). Tyrrhenische Anphoren. Leipzig, 1899. 4. 
 
 POLLAK (L.). Zwei Vasen aus der Werkstatt Hierons. Leipzig, 1899. 4. 
 
 WIDE (S.). Geometrische Vasen aus Griechland. Berlin, 1900. 4. 
 
 FURTW ANGLER (A.). Neuere Falschungen von Antiken. Berlin, 1899. 4. 
 
 521 
 
CERAMIC LITERATURE. 
 
 FURTW ANGLER (A.) und REICHHOLD. Die Griechische Vasenmalerei. Munchen, 
 
 1900. Fol. 
 
 POULSEN (F.). Die Dipylongraber un die Dipylon Vasen. Leipzig, 1905. 8. 
 FOLZER (Elvira). Die Hydria. Ein Beitrag zur Griechischen Vasenkunde. Leipzig, 
 
 1906. 8. 
 BOTHO GRAEF, HARTWIG (and others). Die antiken Vasen von der Akropolis zu 
 
 Athen. Berlin, 1909. 4. 
 
 Holland. 
 
 LEEMANS (C.). De zangles. Eene Grieksche beschilderde drinkscliaal v. h. Nederl. 
 
 Museum v. Oudheden. Leyden, 1844. 4. 
 
 HOLWERDA (A. E. J.). Attische Vasen des Uebergangsstils. Leyden, 1889. 4. 
 HOLWERDA (J. H.). Die attischen Graber der Bliitezeit. Leyden, 1899. 8. 
 
 Italy. 
 
 DEMPSTER (T.). De Etruria regali. Florentiae, 1722. Fol. 
 GORI (A. F.). Museum etruscum. Florentiae, 1737. Fol. 
 BLASI (E. M. di). Sopra un Vaso greco siculo figurato. Palermo, 1755. 4. 
 BARBARACI. Sopra un Vaso figurato rappresentante le Cistefore di Cerero. Palermo, 
 
 1755. 4. 
 PASSERI (J. B.). Picturse etruscorum in vasculis. Roma, 1768-75. Fol. 
 
 De tribus vasculis etruscis. Florentiae, 1772. 4. 
 
 ARDITI (M.). Illustrazione di un antico vaso. Napoli, 1777. 4. 
 
 DANIELE (F.). Alcuni monumenti del museo Caraffa. Napoli, 1778. 4. 
 
 ANON. Serie di . . . tavole . . . pitture di vasi degli antichi Etrusci. Roma, 
 
 1787. Fol. (Reprint of Passeri's plates.) 
 GUATTANI (G. E.). Choix des monuments les plus remarquables. . . . 1788. Fol. 
 
 Sopra un antica figulina. S.I., n.d. 4. 
 
 VISCONTI (E. G.). Le pitture di un antico vaso fittile. Roma, 1794. Fol. 
 
 Lettera sopra alcuni vasi rinvenuti nelle vicinance della antica Alba Longa. Roma, 
 
 1817. 4. 
 
 BERIO (J. M.). Lettera in diludazione di un vaso etrusco. Napoli, 1808. 4. 
 NICOLAS (F.). Illustrazione di due vasi fittile. Roma, 1809. Fol. 
 LANZI (L.). De vasi antichi dipinti volgarmente chiamati etruschi. Firenze, 1809. 8. 
 FARAS (F. M.). Sull'interpretazione di due vasi fittile. Napoli, 1810. 8. 
 SCOTTI. Illustrazione di un vaso italo-greco. Napoli, 1811. 4. 
 ZANNONI (G. B.). Illustrazione di due urne etrusche. Firenze, 1812. 8. 
 MILLINGEN (J. V.). Peintures antiques de vases grecs. Rome, 1813. Fol. 
 JORIO (A. de). Sul metodo degli antichi nel dipingere i vasi. Napoli, 1813. 8. 
 SCHIASSI (F.). Sopra alcuni antichi fittile dipinti. Bologna, 1814. 8. 
 QUARANTA. Animadversiones in vasculum italo-grsecorum. Napoli, 1817, 4. 
 JUDICA (G.). Le antichita di Acre. Messina, 1819. Fol. 
 INGHIRAMI (F.). Monumenti etruschi. Firenze, 1821. 4. 
 
 Lettere di etrusca erudizione. Firenze, 1828. 4. 
 
 SCOTTI. Vaso italo-greco del museo di Mre. Archivescovo di Taranto. Napoli, 1821. 
 
 4. 
 
 BIONDI. Collection des differentes formes de vases italo-grecs. Naples, 1822. 4. 
 PONTICELLI (P.). Illustrazione di un vaso italo-greco. Napoli, 1822. 4. 
 MAGGIORE (N.). Illustrazione di un vaso nel monastero di San Martino. Palermo, 
 
 1823. 8. 
 522 
 
CERAMIC LITERATURE. 
 
 HAUSS (G. G.). Dei vasi greci conmmnemente chiamati etruschi. Palermo, 1823. 4. 
 
 GALLO. Lettera sopra un vaso greco-siculo. Palermo, 1823. 8. 
 
 JORIO (A. de). Metodo per rinvenire e frugari i sepolchri degli antichi. Napoli, 1824. 
 
 4. 
 STEINBUCHEL (A. de). Dissertazione intorno ad una pittura sopra un vaso. Padova, 
 
 1824. 8. 
 
 GARGIULO (R.). Raccolta de monument! del museo borbonico. Napoli, 1825. 4. 
 AVELLINO (F. M.). Oposcoli diversi. Napoli, 1826. 8. 
 PANOFKA. Vasi di premio. Firenze,' 1826. Fol. 
 POLITI (R.). Slancio artistico all'ombra di Flaxman. Girgente, 1825. 8. 
 
 Various papers on Greek vases. 1826-1840. 
 
 DOROW (W.). Notizie intorno alcuni vasi etruschi. Pesaro, 1828. 8. 
 BARBARACI (G.). Dissertazione sopra un vaso di creta. S.d. 4. 
 DENTI. Illustrazione sopra un vaso greco-siculo. Palermo, 1828. Fol. 
 AMATI. Intorno ad alcuni vasi etruschi. Roma, 1829. 8. 
 
 Sui vasi etruschi illustrati da S. E. il Sig. Pr. di Canino. Roma, 1830. 8. 
 PIETRASANTA. Illustrazione di un antico vaso fittile. Palermo, 1830. 4. 
 MAGGI. Vaso etrusco trovato in Trinoro. Firenze, 1830. 8. 
 GARGIULO (R.). Cenni sulla maniera di rinvenire i vasi fittile. Napoli, 1831. 8. 
 INGHIRAMI (F.). Pitture di vasi fittile. Firenze, 1831. 4. 
 MAGGIORE (N.). Rapporto intorno i vasi volcenti del Prof. E. Gerhard. Palermo, 
 
 1832. 8. 
 
 - Festa nuziale nel dipinto di un antico vaso. Palermo, 1832. 4. 
 
 MICALI. Monumenti per servire alia storia degli antichi popoli italiani. Firenze, 1832. 
 
 Fol. 
 
 FEA (C.). Storia dei vasi fittile dipinti. Roma, 1832. 8. 
 MILLIN (?). Raccolta di vasi grechi-etruschi inediti. Venezia, 1833. Fol. 
 NIBBY (A.). Dipinto di un vaso fittile vulciente. Roma, 1834. 4. 
 ABEKEN (G.). Illustrazione di un vaso con dipinture archaic. Roma, 1836. 4. 
 CAMPANARI. Intorno i vasi fittile rinvenuti in Etruria. Roma, 1836- 4. 
 
 - Descrizione dei vasi rinvenuti nell'Isola Farnese. Roma, 1839. 4. 
 BRAUN (E.). Various papers on Greek vases. 1836-49. 
 
 LEPSIUS (R.). Vase de fabrication etrusque avec deux alphabets grecs. Rome, 1837. 
 
 8. 
 
 MELCHIORRL Vaso etrusco del Museo gregoriano. Roma, 18'38. 8. 
 QUARANTA. Di un vaso greco nel R. Museo borbonico. Roma, 1840. 4. 
 PISELLI (V.). Dipintura archaica di un'anfora dionisiaca. Roma, 184L Fol. 
 RITSCHEL (F.). Vaso del Pelope. Roma, 1840. 4. 
 ANON (Gerhard). Scelta di vasi dipinti per la piu parte di provenienza etrusca. (A 
 
 reprint.) Roma, 1842. Fol. 
 
 GARGALLO-GRIMALDI (F.). Various papers. 1843-65. 
 STEPHANL Vaso a soggetto comico di Lentini. Roma, 1845. 8. 
 SCHIO (G. da). Sopra un vaso etrusco. Vicenzia, 1845. 8. 
 
 SERRADIFALCO (Conte). Illustrazione di un antico vaso fittile. Palermo, 1846. 8. 
 PANOFKA. Testa di Ganimede. Napoli, 1847. 4. 
 
 - Le nozze di Giasone e Medea. Roma, 1848. 8. 
 
 PEZZA-ROSSA (J.). Scavo di vasi etruschi sul Mincio. Roma, 1847. 8. 
 SCHMIDT (L.). Visits di Priamo presso Achille. Roma, 1849. 8. 
 MINERVINI (G.). Illustrazione di un vaso ruvese. Napoli, 1851. 4. 
 
 523 
 
CERA MIC LITER A TURE. 
 
 QUARANTA. Funcrali d'Archemoro sopra un vaso greco. Napoli, 1851. 4. 
 
 La contropectria di Cuma. Napoli, 1856. 4. 
 
 RICCIO. Notizie degli scavimenti nel suolo dell'antica Capua. Napoli, 1855. 8. 
 MICHAELIS (A.). II lione Nemeo. Roma, 1859. 8 (and other papers). 
 PETERSEN (E.). Ercole reportante i pomi delle Esperidi. Roma, 1859. 8. 
 DONATI (F.). Delia maniera d'interpretare le pitture ne'vasi fittile antichi. Firenze, 
 
 1861. 8. 
 
 MINERVINI (G.). Memorie accademiche. Napoli, 1862. 4. 
 CONESTABILE (G.). Pitture . . . e suppelletili etruschi. Firenze, 1863. 4. 
 CONZE (C. L.). Vasi con rappresentanze di riti funebri. Roma, 1864. 8. 
 
 Guerrieri coi loro valletti. Roma, 1866. 8. 
 
 LUBBERT (E.). Sopra un dipinto vasculare rappresentante Oresto. Roma, 1865. 8. 
 GOZZADINI (G.). Di un antica necropoli a Marzabotto. Bologna, 1865. 4. 
 
 Scavi archeologici fatti presso Bologna. Bologna, 1877. 4. 
 KEKULE (R.). Vaso dipinto della raccolta gia Santangelo. Roma, 1867. 4. 
 KLUGMANN. Vasi fittili inargentati. Roma, 1871. 8. 
 
 Coppa inargentata e smaltata di Villanuova. Roma, 1871. 8. 
 
 HIR8CHFELD (G.). Vasi arcaici ateniensi. Lettera ad A. Conze. Roma, 1872. 8, 
 
 pp. 52 ; with 2 pis. 
 
 SCHREIBER (T.). Due vasi attici. Roma, 1875. 8. 
 
 SANFILIPPO (T.). Illustrazione di un vaso cinerario imerese. Termini, 1877. 8. 
 LOESCHCKE (G.). Due vasi dipinti di stile arcaico. Roma, 1878. 8. 
 KLUGMANN. Tazze a figure rosse. Roma, 1878. 8. 
 
 FURTW ANGLER. Arianna dormente sopra cratere etrusco. Roma, 1878. 8. 
 ENGELMANN (R.). Un vaso di Erichtonios. Roma, 1879. 8. 
 KORTE. Vasi etruschi. Roma, 1879. Fol. 
 MICHAELIS (A.). Due vasi con scene troiane. Roma, 1880. 8. 
 GEFFROY (A.). (Enomaiis . . . vase peint inedit. Rome, 1881. 4. 
 KLITISCHE DE LA GRANGE. Sulla technologia del vasellame nero degli antichi. Roma, 
 
 1884. 8. 
 
 COMPARETTI (D.). Saffo nelle rappresentanze vascolari. Firenze, 1886. 4. 
 CAVALLARI. Su alcuni vasi oriental! rinvenuti in Siracusa. Palermo, 1887. 4. 
 BRIZIO. Scavi eseguite a Marzabotto. Roma, 1890. 4. 
 ORSI (P.). Urne funebri cretesi. Napoli, 1890. 4. 
 ALIATA (G.). Di un vaso greco-siculo. Palermo, 1891. 4. 
 PATRONI. La ceramica antica. Napoli, 1897. 4. 
 MAYER (F. S.). Ceramica dell' Apulia preellenica. Ban, 1897-99. 8. 3 parts with 
 
 12 pis. and illustrs. 
 
 ROSSI (E.). Illustrazione di un'anfora pugliese. Potenza, 1898. 8. 
 ROBERT (C.). Sopra i vasi di Polignoto. Milano, 1899. 4. 
 PARIBENI (R.). Vasi inediti del Museo Kircheriano. Roma, 1904. 4. 
 DUCATI (P.). I vasi dipinti nello stile del ceramista Midia. Roma, 1909. 4, pp. 85 ; 
 
 with 5 pis. and illustrs. 
 
 Russia. 
 
 ASCHIK (A.). Imperial Bosphorus ; its palaeography, monuments, painted vases, etc. 
 
 Odessa, 1848. 4. (In Russian.) 
 
 GILLES. Antiquites du Bosphore Cimmerien. St. Petersboury, 1854. Fol. 
 524 
 
CERAMIC LITERATURE. 
 
 OLENINE (A. N.). CEuvres archseologiques. Vol. I., part 2. Peintures de vases antiques. 
 
 St. Petersburg, 1881. 8. 
 STEIN (R. v.). Researches on the manufacture of Greek ceramics. Odessa, 1894. 8. 
 
 (In Russian.) 
 MIRONOFF (A.). Representation of life beyond the grave in Greek ceramic paintings. 
 
 Moscou, 1895. 8. (In Russian.) 
 STERN (E. von). Teodosia und seine Keramic. Odessa, 1906. 4. 
 
 Switzerland. 
 
 BACHOFEN (J. J.). Die Unsterblicheitlehre. Basel, 1867. Fol. 
 
 MULLER (E.). Die griechische Vasenbilder. Zurich, 1887. 4. 
 
 DUMMLER (F.). Einige eleusinische Denkmaler. Basel, 1894. 4. 
 
 NICOLE (J.). Meidias et le style fleuri dans la ceramique attique. Geneva, 1908. 4. 
 
 U.S.A. 
 
 FAIRBANKS (A.). Athenian lekythoi. New York, 1908. 8. 
 
 b. CATALOGUES OF GREEK VASES. 
 I. Museums ; II. Private Collections ; III. Auction Sales. 
 
 I. MUSEUMS. 
 
 Australia. 
 
 MACDONALD. Catalogue of the Greek and Etruscan vases in the Sidney Museum 
 Sidney, 1898. 8. 
 
 Austria. 
 
 MASNER (K.). Die Sammlung antiker Vasen im K. K. Oesterreich. Museum. Wien 
 1892. 4. 
 
 HOERNES. Beschreibung griech. Vasen in Triest. Samml. Fontana. Museo civico. Wien 
 1878. 8. 
 
 Belgium. 
 
 ANON. Catalogue du Musee Ravestein. Bruxelles, 1884. 8. 
 
 Denmark. 
 
 BIRKET-SMITH (S.). Die malede Vaser i Antikkabinettet. Kjobenhavn, 1862. 
 USSING (J. L.). To graeske Vaser i antik-kabinettct i Kjobenhavn. Kjobenhavn, 1869. 
 
 England. 
 
 BIRCH (S.) and NEWTON (C. T.). Greek and Etruscan vases in the British Museum. 
 London, 1851-70. 8. 
 
 NEWTON (C. T.). British museum. Guide to the first vase room. London, 1866. 8. 
 
 - Guide to the second vase room. London, 1879. 8. 
 ANON. Photographs from the collection of antiquities. London, 1872. Fol. 
 
 WALTERS (H. B.). Greek vases in the British Museum. Vol. II., 1893. Vol IV 
 1896. 4. 
 
 525 
 
CERAMIC LITERATURE. 
 
 SMITH (C. H.). Greek vases in the British Museum. Vol. III., 1896. 4. 
 
 HENDERSON (J.). Descriptive notes on the classical vases in Marischal College, Aberdeen. 
 Aberdeen, 1881. 4. 
 
 TORR (C.). Harrow School Museum. Catalogue of the classical antiquities. Harrow, 
 1887. 8. 
 
 SMITH (C.). Edinburgh Museum. Greek, Etruscan, Roman vases. Edinburgh, 1887. 
 8. 
 
 GARDNER (P.). Museum Oxoniensis. Catalogue of the Greek vases. London, 1893. 
 Fol. 
 
 GARDNER (E. A.). A catalogue of the Greek vases in the Fitzwilliam Museum, Cam- 
 bridge. London, 1898. 4. 
 
 France. 
 
 TOCHON d'ANNECY. Vases du Musee du Louvre. Paris, s.d. Fol. 
 
 DE WITTE (J.). Vases peints du musee Napoleon III. S.d. 16. 
 
 ROSCHACH. Catalogue du Musee de Toulouse. Toulouse, 1865. 8. 
 
 ANDRE (A.). Catalogue du Musee de Rennes. Rennes, 1876. 8. 
 
 HEYDEMANN (H.). Pariser Antiken. Halle, 1887. 4. 
 
 BABELON (E.). Le Cabinet des antiques a la bibliotheque Nationale. Paris, 1888. 
 
 Fol. 
 
 MILIET (P.). Vases peints du Cabinet des antiques. Paris, 1891. Fol. 
 POTTIER (E.). Vases grecs du Musee de Boulogne s. Mer. Paris, 1892. 8. 
 
 Musee du Louvre. Vases antiques. Catalogue. Paris, 1895. 12. 
 
 Vases antiques du Musee du Louvre. Paris, 1897-1900. 4. 
 
 FROHNER. Musee de Marseilles. Catalogue des antiquites. Paris, 1897. 8. 
 RIDDER (A. de). Catalogue des vases peints de la Bibliotheque Nationale. Paris, 
 
 1902. 
 AURIAC (General Angles d'). Catalogue des vases etrusques et grecs du musee de 
 
 Grenoble. Grenoble, 1905. 8. 
 
 Germany. 
 
 DORROW (W.). Einfiihrung in eine Abtheilung der Vasensammlung der K. Museum 
 
 zu Berlin. Berlin, 1833. 8. 
 LEVEZOW (K.). Verzeichniss der antiken Denkmaler in K. Museum zu Berlin. Gallerie 
 
 der Vasen. Berlin, 1834. 8. 
 
 GERHARD (E.). Neuerworbene antike Denkmaler. . . . Berlin, 1836-46. 8. 
 JAHN (0.). Beschreibung der Vasensammlung in der Pinakothek zu Munchen. 
 
 Munchen, 1854. 8. 
 
 Kurze Beschreibung der Vasensammlung. . . . Munchen, 1854. 12. 
 
 LUTZOW (C.). De Vasis fictilibus in Pinacotheca Monacencis. 1856. 8. 
 
 FROHNER (W.). Die griechischen Vasen . . . zu Kalrsruhe. Heidelberg, 1860. 
 
 12. 
 WAGNER (E.). Alterthumsammlung in Carlsruhe. Carlsruhe, 1871-81. Fol. 
 
 KEKULE (R.). Das akademische Kunstmuseum zu Bonn. Bonn, 1872. 8. 
 URLICHS. Die Vasensammlung der Universitat Wurzburg. 1872. 8. 
 HETTNER (H.). Konigl. Antikensammlung in Dresden. Dresden, 1881. 8. 
 FURTWANGLER (A.). Beschreibung der Vasensammlung im Antiquarium. Berlin, 
 
 1885. 8. 
 
 WIENNEFELD. Vasensammlung zu Karlsruhe, 1887. 8. 
 526 
 
CERAMIC LITERATURE. 
 
 ROSSBACH (0.). Griechische Antiken des Museum zu Breslau. Breslau, 1899. 8. 
 BALLHEIMER (R.). Griechische Vasen aus dem Hamburger Museum. Hamburg, 
 1905. 8. 
 
 Greece. 
 
 COLLIGNON (M.). Catalogue des vases peints du musee d'Athenes. Paris, 1877. 
 
 - et COUVE (L.). Do. Paris, 1902-04. 2 vols., 8, et atlas 4. 
 CAVADIAS (P.). Musee national. Atones, 1895. 8. 
 
 NICOLE (G.). Vases Cypriotes du Musee d'Athenes. Geneve, 1906. 8. 
 
 Holland. 
 ROULEZ (J.). Vases peints du Musee de Leyde. Gand, 1854. Fol. 
 
 Italy. 
 
 JORIO (A. de). El real museo Borbonico. Galleria de'vasi. Napoli, 1825. 8. 
 MAXIMIS (F. X. de). Musei quod Gregorius XVI. P.M. in sedibus Vaticanis constituit. 
 
 Roma), 1842. Fol. 
 HEYDEMANN (H.). Vasensammlung des Museum zu Palermo. Berlin, 1870-71. 4. 
 
 - Die Vasensammlung der Museo nationale zu Neapel. Berlin, 1872. 8. 
 MONACO and ROLFE. Handbook to the Naples Museum. London, 1886. 8. 
 BARNABEI (F.). Antichita del Museo Nazionale Romano. Milano, 1894. 4. 
 DENNIS. The new Etruscan Museum at the Villa Papa Giulio. 
 PATRONI. Guida del R. Museo di Siracusa. Napoli, 1896. 8. 
 AMELUNG. Fiihrer durch die Antiken in Florenz. Munchen, 1897. 8. 
 PELLIGRINL Vasi dipinti del museo civico. Bologna, 1900. 4. 
 
 Russia. 
 
 STEPHANI (L.). Die Vasensammlung der K. Ermitage. St. Petersburg, 1869. 2 vols. 
 8. 
 
 - Hermitage Imperial. Vases peints. St. Petersbourg, 1870. 12. 
 
 - Do. Antiquites decouvertes a Kertch. 1886. 12. 
 JORGIEVITCH (B.). Description du Musee d'Odessa, Odessa, 1892. 8. 
 
 Spain. 
 
 HUBNER (E.). Die antiken Bildwerke in Madrid. Berlin, 1862. 8. 
 MELIDA (J. R.). Vasos Griegos del Museo Arqueologico. Madrid, 1882. 8. 
 
 Switzerland. 
 
 ANON. Verzeichniss der Antiquitaten des Bern's Museum. Bern, 1846. 8. 
 MILLIET (P.). Vases antiques des collections de la ville de Geneve. Paris, 1892. Fol. 
 
 Turkey. 
 
 NICOLE (G.). Vases Cypriotes du Musee de Constantinople. Geneve, 1906. 8. 
 
 U.8. America. 
 
 ROBINSON (E.). Greek vases in the Boston Museum. Boston, 1893. 8. 
 DORR (D.). The W. Hammer collection of antiquities in the Pennsylvania Museum. 
 Philadelphia, 1894. 8. 
 
 527 
 
CERAMIC LITERATURE. 
 
 II. PRIVATE COLLECTIONS. 
 
 Belgium. 
 
 HAGEMANS. Ceramique grecque et etrusque. Liege, 1856. 8. 
 RAVESTEIN (E. de). Musee de Ravestein. Liege, 1871-82. 4. 
 
 England. 
 
 HAMILTON (Sir W.). Etruscan, Greek, and Roman vases . . . with descriptions, 
 
 by d'Hancarville. Naples, 1766-77. Fol. 
 COGHILL (Sir J.) MILLINGEN. Vases grecs dc la collection de Sir John Coghill. Rome, 
 
 1817. Fol. 
 ENGLEFIELD (Sir H.) MOSES (H.). Vases from the collection of Sir H. Englefield, 
 
 London, 1819. 4. 
 CAMPANARI (S.). A brief description of 32 ancient Greek painted vases. London. 
 
 1832. 8. 
 
 Catalogue of the scarce Etruscan and Grseco-Italian vases. London, 1830. 8. 
 
 DISNEY (J.). Museum Disneianum. London, 1849. 4. 
 
 BURLINGTON FINE ARTS CLUB FROHNER (W.). Catalogue of objects of Greek 
 
 ceramic art. London, 1888. 4. Ancient Greek art, 1904. 4. 
 
 France. 
 
 LAMBERG (Comte de). LABORDE (A. de). Collection des vases grecs de Mr. le Comte 
 
 de Lamberg. Paris, 1813-24. Fol. 
 
 DOROW. Raoul Rochette. Notice sur la collection Dorow. Paris, 1828. 8. 
 BLACAS PANOFKA (T.). Musee Blacas, Vases peints. Paris, 1830-33. Fol. 
 
 POURTALES PANOFKA. Cabinet du Comte de Pourtales-Gorgier. Paris, 1834. 
 
 Fol. 
 DUBOIS (J. F.). Description des collections de Mr. le Comte de Pourtales-Gorgier. 
 
 Paris, 1841. 12. 
 
 CANINO (Prince de). See Bonaparte (L.). 
 PANCKOUKE DUBOIS (J. F.). Catalogue des vases Grecs de la Collection L. J. 
 
 Panckouke. Paris, s.d. 8. 
 CASTELLANI WITTE (J. de). Vases peints de la collection de Mr. Castellani. Paris, 
 
 1865. 8. 
 
 NAPOLEON (Prince) FROHNER (W.). Choix de Vases Grecs de la Collection de S. A. I. 
 
 le Prince Napoleon. Paris, 1867. Fol. 
 DZIALYNSKI (Comte J.) WITTE (J. de). Antiquites Conserves a THotel Lambert. 
 
 Paris, 1886. 4. 
 
 BELLON CHAMONARD. Catalogue de la Collection Bellon. Paris, 1890. 8. 
 CLERCQ (De) RIDDER (A. de). Catalogue de la collection de Clercq. Tome IV. 
 
 Vases peints. Paris, 1906. 4. 
 
 Germany. 
 
 LEESEN SCHULTZ (H.). Beschreibung der Vasensammlung des Fr. von Leesen. 
 
 Leipzig, 1861. 4. 
 
 TYSZKIEWICZ FROHNER (W.). La collection Tyszkiewicz. Munich, 1893-97. Fol. 
 SOMZEE FURTW ANGLER. Collection Somzec. Munich, 1897. Fol. 
 
 528 
 
CERAMIC LITERATURE. 
 
 Italy. 
 
 BLASI. Ragguaglio del Museo di San Martino. Palermo, 1774. 4. 
 
 CARRAFA DANIELE (F.). Alcuni monument! del Museo Carrafa. Napoli, 1778. 4. 
 
 BLACAS ROSSI (G. G. de). Vasi greci nella raccolta di S. E. il Signor Duca di Blacas 
 
 d'Aulpo. Roma, 1823. 8. 
 
 BARTOLDI PANOFKA. II museo Bartoldiano. Berlino, 1827. 8. 
 BONAPARTE (Lucien). Museum etrusque de L. Bonaparte, Prince de Canino. Viterbe, 
 
 1829. 4. 
 Catalogo di scelte antiquita etrusche. Viterbo, 1829. 4. 
 
 - Lettera contenente la descrizione del suo Museo. Milano, 1833. 8. 
 
 - BARTHELEMY (Ch.). Notice d'une collection de vases antiques. Paris, 1848. 8. 
 INGHIRAMI (F.). Museo etrusco Chiusino. Firenze, 1833. 4. 
 
 FEOLI CAMPANARL Antichi vasi dipinte della collezione Feoli. Roma, 1837. 8. 
 JATTA MINERVINI (G.). Vasi fittile della collezione Jatta. Napoli, 1846. 8. 
 C AS UCCINL Catalogo del Museo Casuccini. Sienna, 1862. 8. 
 
 CAPUTI JATTA (G.). Ivasi italo-greci del Signor Caputi di Ruvo. Napoli, 1877. 8. 
 BOCHI SHONE. Le antichita del museo Bochi di Adria. Roma, 1878. Fol. 
 VIVENZIO PATRONI. Vasi dipinti del Museo Vivenzio. Napoli, 1901. Fol. 
 
 III. CATALOGUES OF SALES. 
 Belgium. 
 
 BRANTEGHEM (van). Vases peints et terres cuites. Bruxelks, 1892. Fol. By W. 
 Froehner. 
 
 England. 
 
 BASSEGIO (G.). Collection of Greek and Etruscan Vases. London, s.d. 8. 
 ANON (Bonaparte, L.). Reserve etrusque. 120 pieces de choix. London, 1838. 8. 
 HERTZ (B.). Collection of antiquities. London, 1851. 8. 
 FORMAN COLLECTION. London, 1899. 4. By Smith (C. H.). 
 
 France. 
 
 Vases peints provenant des fouilles de 1'Etrurie. Paris, 1829. 8. By J. de Witte. 
 DURAND (Collection E.). Paris, 1838. 8. By J. de Witte. 
 BEUGNOT (Collection de Mr. le Vic. de). Paris, 1840. 8. By J. de Witte. 
 MAGNONCOURT Vases etrusques de la collection de Mr. de M. Pan's, 1841. 8. 
 
 By J. de Witte. 
 CANINO (Collection de Mr. le Prince de). Paris, 1843. 8. By J. de Witte. 
 
 QUATREMERE DE QINCY (Collection). Parts, 1850. 8. 
 
 DELANGE (Collection). Paris, 1857. 8. 
 
 RAIFE (Collection). Parts, 1867. 8. By F. Lenormant. 
 
 NOEL DES VERGERS (Collection). Part's, 1867. 4. By H. L. 
 
 NAPOLEON (Collection de Mr. le Prince Jerome). Part's, 1868. 8. By Froehner. 
 
 PARAVEY (Collection). Part's, 1879. 8. By J. de Witte. 
 
 SABATIER (Collection R.). Part's, 1890. 8. 
 
 TYSZKIEWICZ (Collection). Part's, 1898. 4. By Frbhner. 
 
 ANON (SAMBON ?). Paris, 1903. 4. 
 
 34 529 
 
CERAMIC LITERATURE. 
 
 Germany. 
 
 THIERSCH (Catalog der Antiken-Sammlung). Munchen, 1860. 8. 
 MARGARITIS (Katalog . . . griechischen Vasen). Munchen, 1899. 
 
 Italy. 
 PEREZ (Collection). Roma, 1893. 8. 
 
 c. SERIAL PUBLICATIONS. 
 
 No complete knowledge of classical ceramics can be obtained without the assistance 
 of the serial publications edited by the Antiquarian Societies of all European countries ; 
 the store of information scattered through their bulky sets is of the utmost importance 
 to the study. In the rough list given hereafter the titles are, in all cases, much abbrevi- 
 ated ; no bibliographical notice of any of these publications is given in the first part 
 of this work ; but many of the papers they contain and which were reprinted in 
 pamphlet form are mentioned and described. 
 
 Abhandlungen der Berliner Akademie. Berlin, 1804 and /. y. 
 
 American Journal of Archaeology. Baltimore and Boston, 1885-97. 4. 
 
 Annali dell'Instituto di corrispondenza archeologica. Roma, 1829-85. 
 
 Annali civili del Regno delle due Sicilie. Napoli, 1833-60. 
 
 Antike Denkmaler ; herausgegeben von Kaiserl. Deutschen Institute. Berlin, 1887. 
 
 Archseologia, or miscellaneous tracts relating to antiquity. London, 1770 and f. yrs. 
 
 Archaeological Journal. London, 1845. 
 
 Archaologische Zeitung. Berlin, 1843-85. 
 
 Archaologische Anzeiger. (Beiblatt zum Jahrbuch der Archaolog. Institute.) Berlin, 
 
 1886. 
 
 Archaologische-epigraphische Mittheilungen aus Oesterreich-Ungarn. Wien, 1877-97. 
 Atti della Pontificate Accademia di archeologia. Roma, 1821. 
 Berichte der sachsischen Gesellschaft der Wissenschaften. Leipzig, 1846. 
 Berliner philologische Wochenschrift. Berlin, 1880. 
 Bonner Jahrbucher. - Jahrb. des Vereins von Alterthums - freunden im Rhinelande. 
 
 Bonn, 1842. 
 
 Bulletin archeologique de r Athenaeum Francais. Paris, 1855-56. 
 Bulletin de correspondance hellenique. Athenes et Paris, 1877. 
 Bulletin et Memoires de la Societe des Antiquaires de France. Paris, 1817. 
 Bulletin de la classe historico-philologique de TAcademie des Sciences. Saint Petersbourg, 
 
 1844. 
 
 Bulletino archeologico italiano. Napoli, 1862. 
 Bulletino archeologico napolitano. Napoli, 1843-63. 
 Bulletino dell'Instituto di Corrispondenza archeologica. Roma, 1829-85. 
 Compte-rendus de la commission imperiale archeologique. Saint Petersbourg, 1859-88. 
 Dissertazioni della Pontificia Accademia Romana di Archseologia. Roma, 1820-42. 8. 
 Ephemeris Archaeologiche. Athens, 1837. Annually since 1883. 
 Eranos vindo bournsis. Wien, 1893. 
 Gazette archeologique. Paris, 1875-1889. 
 Gazette des Beaux Arts. Paris, 1859 and /. y. 8. 
 Institute di corrispondenza archeologica. Roma and Berlin, 1829-91. 8. 
 530 
 
CERAMIC LITERATURE. 
 
 Jahrbuch des kaiserl. deutschen archaologischen Instituts. Berlin, 1886. 
 
 Jahrshefte des osterreich. archeologischen Instituts. Wien, 1898. 
 
 Journal des savants. Nouvelle serie. Paris, 1816. 
 
 Journal of Hellenic Studies. London, 1881. 
 
 Melanges d'archeologie et d'histoire publies par 1'Ecole franaise de Rome. Rome, 1881. 
 
 Memoires de la Societe d'archeologie et de numismatique de Saint Petersbourg. 1847- 
 
 52. Nouvelle Serie, 1880. 
 
 Memorie della reale accademia ercolanese di archeologia. Napoli, 1822-62. 
 Mittheilungen des deutschen Arch. Institute in Athen. Aihen, 1876. 
 Monument! antichi publicati per cura della R. Accad. dei Lincei. Milano, 1889. (N.S.) 
 Monumenti inediti di antichita. Napoli, 1820. 
 
 Monumenti inediti dell'Instituto di corrispondenza archeologica. Roma, 1829-85. 
 Monuments grecs publies par 1'Association pour 1'encouragement des etudes grecques. 
 
 Paris, 1872-98. 
 Monuments et Memoires publies par 1' Academic des Inscriptions et Belles lettres. Fonda- 
 
 tion E. Piot. Paris, 1894. 
 
 Notizie degli Scavi di antichita ; communicate alia Reale Accademia dei Lincei. Roma, 
 
 1876. 
 
 Revue archeologique. Paris, 1844. 
 Revue des etudes grecques. Paris, 1888. 
 Romische Mittheilungen. Roma, 1886. 
 
 Saggi di dissertazioni dell' Accademia palermitano. Palermo, 1755. 
 Saggi di dissertazioni lette nell' Accademia etrusca di Cortona. Roma, 1735-91. 
 Wiener Vorlegeblatter fiir archaologische Uebungen. Wien, 1888. 
 
 ANTIQUE TERRA-COTTA, 
 
 The sites of these stupendous burial places of Greece and Asia Minor, Kamiros, 
 Myrina, and Tanagra, not to speak of many another antique necropolis of various 
 importance, were still left a blank upon the maps of subterranean geography, 
 long after the prolific soil of Etruria and Magna-Grecia had been furrowed in every 
 direction by the pick and spade of the active antiquary. All campaigns of explora- 
 tion had been, at the outset, localised in Italy within the area which has Rome for 
 its centre, and the lands of Tuscany and Sicily for extreme limits. During a pro- 
 tracted course of years, so fruitful in their results had been the researches prosecuted 
 within these confines while, on the other hand, any attempt at instituting a regular 
 pursuit of archaelogical excavations in more easterly countries would have offered, at 
 that time, insuperable difficulties that no thoughts were entertained of looking out for 
 fresh fields of operation. Far from showing signs of being soon exhausted, the grounds 
 which stretch between Florence and Naples continued to be as productive as ever, and 
 the occasional discovery of many a field of rest, untouched theretofore by the investi- 
 gator, did not cease to bring forth, at intervals, unstinted crops of marvels. From day 
 to day, museums and collections were storing up an ever-increasing hoard of priceless 
 treasures. The enthusiastic student of antiquity could admire there many a master- 
 piece of ancient art as supremely beautiful as it had ever been given to the refined 
 Athenians and Corinthians to contemplate. He could gaze with rapture on the god-like 
 statue of an unnamed hero, the peerless work of a sculptor famous among the most famous 
 of his days. He could feast his eye on plastic perfection, and exalt his thoughts in musing 
 over the radiant majesty that the masterly chisel of the artist had imparted to marble 
 
 531 
 
CERAMIC LITERATURE. 
 
 and bronze, embodying in the image of an Apollo or a Venus the noblest glorification 
 of the human form divine. Painted vases were offered to his admiration in collections 
 of such importance that it may be questioned whether any of the amateurs of Athens 
 or of Rome ever saw such a number and variety of beautiful examples assembled together. 
 He could form an idea of the grandeur of classical architecture ; and the splendour of 
 the internal decoration of public edifices was revealed to him through what remained 
 of the ruined temples and palaces. Precious mosaic pavements were still lying upon 
 the ground, and many a vaulted chamber had still kept, undefiled, its harmonious covering 
 of frescoe-paintings. In short, a learned archselogist had seen so much, admired so much, 
 in all the branches of ancient art, that he was almost warranted in believing that nothing 
 more was left to him to discover and to admire. His enchantment equalled his surprise 
 when he chanced to meet; for the first time, with a representative collection of these 
 graceful and spirited sketches, the unpretentious work of the Boeotian coroplast, dainty 
 figures of faintly coloured terra-cotta in which revive the youthful elegance and unaffected 
 attitudes of the sons and daughters of Hellas, no longer idealised, but taken from the 
 quick, and portrayed just as the artist saw them live and move in the sunny cities of 
 Tarsa and Tanagra. In his visits to the galleries of Europe, of which he had so scrupu- 
 lously scanned the contents, he had never seen any work of such a style ; he had to 
 recognise that, so far, the knowledge and enjoyment of one of the most fascinating mani- 
 festations of Greek art had been denied to him. 
 
 From the depth of the soil flashes forth the rays of light which illuminate the flimsy 
 phantasmagory of reconstituted antiquity. A trench, fortuitously cut open through the 
 deserted hills of a long untrodden region, exposes to our view a host of characteristic 
 monuments of an unprecedented description, and we become aware that a new chapter 
 will have to be added to the never-to-be-completed history of art. We realise, to our 
 own humiliation, that in the very country and at the very period of which we were 
 particularly proud of having thoroughly studied the leading masters and their achieve- 
 ments, a remarkable group of artists and craftsmen, of whom we knew nothing, had 
 existed, whose style developed its intrinsic qualities, almost regardless of surrounding 
 influences, and whose productions open to our mind unbounded vistas on the possibilities 
 of protean ancient art. 
 
 A striking example of the fact was afforded to us by the discoveries made, about 
 sixty years ago, within the then newly explored territory of Greece, and the results 
 which attended these discoveries. We do not allude to the number of painted vases 
 of immense value, nor to the rare and precious objects of various substances and different 
 workmanship which were found there in plenty. Fictile vases, sculptured marbles, 
 chased metals, whatever may be the individual beauty of each specimen, are but the 
 legitimate reward of the explorer ; in short, the kind of treasure he is prepared to find. 
 A more unexpected stroke of good fortune marked the very beginning of his researches 
 on the site of antique Tanagra. It was an amazing quantity of terra-cotta figures 
 of a well-defined character, which he saw lying at his feet, enshrined in the tombs or 
 scattered all round, like pebbles in the ground. Specimens belonging to the best period 
 of the art had been secured in the initiatory excavations made at Tarsa and Tralles, 
 but they were too fragmented and dilapidated to command general recognition. Almost 
 all that came out of the Tanagra tombs, on the contrary, was in a perfect state of preserva- 
 tion. A campaign which had shown such an auspicious opening was bound to be eagerly 
 prosecuted. The terra-cottas, in which it had chiefly resulted, were, in the main, no more 
 than modest productions of a minor art, apparently made to be deposited in the grave 
 532 
 
CERAMIC LITERATURE. 
 
 as a pious offering to the manes of a dear departed. They consisted in children's toys, 
 household ornaments, emblematic objects, figures of men and women of the times, and 
 occasionally images of Gods and Goddesses. They were, obviously, of current manufacture, 
 and so moderate in price as to be within the reach of the purchaser of limited means. 
 Simple and unpretentious as they were in material and workmanship, the diminutive 
 statuettes were -none the less bewitching in appearance. An indefinite sweetness of 
 treatment imparted to the graceful conception of the artist an additional charm. One 
 had to confess that the extent of the Greek potter's genius had been, so far, much under- 
 estimated, since we had not yet been able to put to his credit these terra-cotta figurines, 
 perhaps the most fascinating of all his creations. Their size brings to our mind the 
 recollection of antique bronzes of similar proportions. But the antique bronze has seldom, 
 if ever, anything in its formal and dignified character that can approach the freedom 
 of execution, the life-like expression, and the look of sweet simplicity so particularly 
 attractive in our little earthen figures. Such a disparity of style could not escape the 
 observation of a true connoisseur. Bronzes and terra-cottas cannot be judged from the 
 same standpoint. On that account the memorable harvest gathered at Tanagra 
 had offered a two-fold interest ; not only were the finds objects of intrinsic beauty, but 
 also of absolute novelty. 
 
 Classical archseology a fast fading-away science, believed to be peacefully expiring 
 between the arms of an academic set of senile devotees woke up, suddenly rejuvenised 
 by the charm of this verdant shoot, bursting forth from the robust trunk of ever-green 
 antiquity. 
 
 In the secluded village of Tanagra a few crafty peasants had been wont, ever since 
 the existence of buried terra-cottas had been revealed to them, to search the grounds 
 for specimens, easily sold to travellers. The diggings were only prosecuted at night, 
 in great secrecy ; the proceeds were sold as coming from a great distance, and said to be 
 of unknown origin. In spite of all the caution observed by the sellers, as the number 
 of objects offered for sale went on increasing, the real place whence they came could 
 not for long remain a mystery. Practical explorers, on the scent of a profitable business, 
 settled on the spot and established a regular course of excavations. 
 
 No sooner had the report reached foreign countries that the ruins of the ancient 
 capital of Bceotia abounded with terra-cotta figures of incomparable beauty, than collectors 
 and speculators repaired in great number to Tanagra, contending with one another, on 
 the very brink of the trenches, for the possession of the finest specimens. 
 
 A new idol was being offered to the worship of the eclectic amateur. The first 
 cabinets in which they were deposited and offered to the admiration of a select few had 
 been easily filled with marvels, but the early collector could not long keep to 
 himself the benefit of his discovery. A spark had flashed, and it was to raise a far- 
 spreading conflagration. In the collecting confraternity, the paramount ambition of all 
 those who were rich in art treasures of all kind was to add to their possessions some choice 
 examples of Tanagra figures. To answer the newly created demand large cargoes of 
 Greek terra-cottas were dispatched to the chief art centres of Europe, and so the intending 
 buyer was able to gratify his fancy without having to undertake a journey to Greece. 
 No one seemed to have entertained any doubt as to the genuineness of all that arrived 
 from the eastern countries, yet it is now a well-known fact that, although the wholesale 
 ransacking of vast necropolis virtually unexplored theretofore had yielded a prodigious 
 supply of antiquities fraudulent imitations were then stealthily thrown on the market. 
 They were the work of skilful forgers, and up to this day the authenticity of many remark- 
 able specimens preserved in our museums remain open to suspicion. 
 
 533 
 
CERAMIC LITERATURE. 
 
 Greek terra-cottas of the approved kind could soon be studied and admired in public 
 and private collections. They gave to the fervid antiquary a welcome opportunity to 
 burnish anew his armoury of classical references, and make good use again of offensive 
 and defensive weapons which had become somewhat rusted between his hands since 
 the courteous combats he used to fight on the perplexing signification of the vase paintings 
 had ceased to be in favour. He knew that upon himself devolved the duty of affixing 
 some historical or mythological name to every figure or group of personages, and of 
 investing with an allegorical meaning every design, every emblem that came under 
 his notice. Moreover, he was expected to frame a judicious elucidation of the problem 
 not easily solved viz., to what reason can their presence in the tombs be attributed, 
 and in which way were they connected with the funereal rites of the ancients ? 
 
 The infatuation created by the appearance of those desirable representatives of a 
 novel art did not stop within the limits of the antiquarian societies ; it was shared to 
 an equal degree by all men of taste and education. In every literary and fashionable 
 circle where questions of aesthetics often came into discussion, and all points relating 
 to the history of art were accounted matters of importance, the critic theorised and 
 the orator rhapsodised without end on their subject. The artist, one of the first who 
 fell under the spell, raved about their plastic gracefulness, and found, in the contemplation 
 of select specimens, inspiration for his next picture. 
 
 Stern archaeology had supplied Vanity Fair with a new trinket. Always ready to 
 appreciate beauty under whatever shape it may manifest itself, the man of the world 
 took the charming statuettes under his patronage, delighted to recognise in the languid 
 features and the exquisite proportions of the Boeotian maiden the most refined expression 
 of his own ideal of feminine elegance. The lady of fashion, herself, did not escape the 
 fascination. In obedience with the ruling taste of the day, every dainty boudoir in 
 Paris, London, and Vienna was bound to include, among its most valued adornments, 
 a rare and choice Tanagra figure. It could be seen, standing upon a Buhl cabinet, in 
 the strange companionship of a piece of Raku ware and a pot-pourri vase of Vincennes 
 porcelain. Occasionally the capricious arbiter of good taste who had presided over that 
 arrangement would stop in front of her favourite terra-cotta, and forgetting for one 
 moment all the other artistic attractions of her sumptuous abode not excepting her 
 own portrait, the success of the last salon, hanging close by upon a brocaded panel 
 she would let her dreamy glance follow leisurely the trailing cast of draperies which 
 veiled and disclosed alternately the shapely contours of a belle of ancient days. 
 
 To find a subject which has not been treated before, and which is, besides, certain 
 to elicit a well-maintained interest, is a piece of good fortune not to be neglected by the 
 literary man. Accordingly books on Greek terra-cottas were planned, executed, and 
 published by competent writers, as soon as the first collections were being formed, and 
 the importance of the subject had asserted itself in learned and refined society. Within 
 the lapse of a few years many volumes were brought out in succession, in which the 
 Tanagra figures were for the first time, and independently of other ancient pottery, 
 studied and described from quite a new point of view. No antiquarian work had 
 previously done justice to them. 
 
 Although a few specimens of that class were introduced by T. Panofka in his book, 
 Terracotten des K. Museum zu Berlin, in 1842, no distinction had been made by the author 
 between the style and epoch of the objects composing the collection. Whether the terra- 
 cotta he chose to describe was of Tuscan, Sicilian, Roman, or Grecian origin, he dealt 
 with each in turn chiefly for the purpose of indulging, in a lengthy disquisition on the 
 534 
 
CERAMIC LITERATURE. 
 
 subject it was supposed to represent, and displaying an antiquarian erudition which we 
 would now pass over as unnecessarily pedantic, if not absolutely irrelevant. As to the 
 few figures of a better style interspersed through this miscellaneous assemblage of objects 
 of much inferior order, their artistic merit seems to have been either ignored or con- 
 sidered too insignificant to be worth mentioning. Judging from the deplorable execution 
 of the lithographic plates, we can infer that no importance was attached to accuracy 
 of reproduction. Such heavy and vulgar prints were, by no means calculated to excite 
 a desire of seeing the originals, in the minds of those who only knew them from the sketches 
 given in the book. This work, although showing a slight improvement over all the 
 previous ones, cannot be said to have foreshadowed the intense interest that Greek terra- 
 cottas were to awake a few years afterwards. With regard to methodical classification 
 and correct representation of the selected examples, none of the early publications can 
 compare with those which were the outcome of the first excavations made in Greece 
 proper. It was to the study of the amazing discoveries resulting from these excavations 
 that was due the full appreciation of a branch of art that the few isolated specimens, 
 occasionally found in Sicily, had been powerless to reveal. 
 
 A separate group in the library should be formed of the volumes devoted, almost exclu- 
 sively, to the graceful figures, popular types and familiar scenes seldom, if ever, met with 
 in Italy, but plentiful in the tombs of the Greek necropolis. In these volumes we obtain 
 all such information as can be safely given as to the source of a figure, the approximative 
 date of its manufacture, the subject it represents when that subject is plainly indicated 
 and we are spared the speculative disquisitions which were the pride of the writers 
 of the old school. Moreover, they supply a set of illustrations, of which artistic beauty 
 is the chief recommendation ; the plates are usually so well executed that a literary 
 description is rendered almost unnecessary when such a faithful copy of the model is 
 placed before our eye. 
 
 Illustrated catalogues form the larger part of that group. On the score of erudition 
 those prepared by the curators of public galleries stand first on the list ; while, on the 
 other hand, the descriptions of private collections offer a wider range of interest, through 
 the great variety of objects assembled together. Zealous collectors have vied with one 
 another in bringing out lasting records of the precious store of terra-cotta figures they 
 had so speedily gathered, and which was to be still more rapidly dispersed by the hazards 
 of the auction room. To this last circumstance we owe the complementary publication 
 of a catalogue of the sale, illustrated with many specimens that could not find place 
 in that of the collection. 
 
 Thanks to the newly introduced processes of photographic reproduction, the pre- 
 paration of such catalogues had been greatly simplified ; the production of any number 
 of plates requiring only a short time and a comparatively modest outlay. Ample advan- 
 tage was taken of that facility, and the profuse illustrations with which they are provided 
 give us faithful representations of nearly everything that was worth reproducing among 
 the examples that have passed through the hands of the collectors. One slight objection, 
 however, might be taken to the result obtained, in this particular case, by photographic 
 processes. Faultless as they would be in the rendering of neat and smooth surfaces, 
 they became sadly defective when applied to the reproduction of an object soiled and 
 cankered by age and accidents. The Tanagra figures have not escaped the damaging 
 influence of the soil in which they lay buried for centuries ; every stain which mars 
 the evenness and equality of tint of the light yellow clay comes out on the negative as 
 a conspicuously dark patch, an unseemly effect which destroys all the delicacy and charm 
 
 535 
 
CERAMIC LITERATURE. 
 
 of the modeller's work. This is particularly exemplified in the photographic plates 
 published by Mr. de Janze. Greek figures of superior quality are so badly disfigured 
 by an intensified spotting and partial staining of the surface as to have become almost 
 hideous in appearance. The touching-up of the negatives, indulged in by the photo- 
 engraver, is also a matter of regret. For instance, in order to show the object to its best 
 advantage, a white ground is obtained by hand pencilling ; so, whatever care may have 
 been displayed in performing the operation, we see an outline which is a fictitious and 
 not a genuine one. A few volumes illustrated with fine engraved plates have been brought 
 out with such a satisfactory result as to make us prefer good artistic work to inferior 
 photographic processes. We may point out in support of our opinion Jacquet's engrav- 
 ings for Heuzey's Figurines du Musee du Louvre, and the etchings in Kekule's sumptuous 
 Folio, Thonfiguren am Tanagra. 
 
 It is not to be expected that our stock of works on Greek terra-cottas will be largely 
 increased in the future. So much has been printed on the subject while the excitement 
 created by the advent of a novel art was still lasting, that all seems to have been said, 
 and our collections to contain nothing that has not been described and reproduced. The 
 rage for gathering Tanagra figures is bound to pass away when specimens, which are 
 becoming more and more scarce to find, shall have become unobtainable ; but the general 
 infatuation of one moment will not have been fruitless, since it caused so many valuable 
 publications, costly volumes, and modest handbooks to be placed at our disposal. They 
 form a fund of materials and documents in which the antiquary can find ample scope 
 for further study, and the artist a constant source of pleasure and inspiration. 
 
 a. GENERAL DESCRIPTIONS REPRODUCTIONS. 
 Phoenician Greek Etruscan Italian, etc. 
 
 Egypt, 
 
 EDGAR (C. C.). Greek moulds for bronzes and terra-cottas. Le Caire, 1903. 4. 
 
 England. 
 
 DENNIS (G.). The cities and cemeteries of Etruria. London, 1848. 8. 
 BARKER (W. B.). Lares and Penates. London, 1853. 8. 
 LUBBOCK (Sir John). Hut-urns from Marino. London, 1869. 4. 
 SCHLIEMANN (H.). Troy and its remains, and other works. London, 1875-84. 8. 
 SANDWITH. On the pottery found in the island of Cyprus. London, 1877. 4. 
 CESNOLA (L. P. di). Cyprus. London, 1877. 8. 
 CESNOLA (A. P. di). Salamina. London, 1882. 8. 
 PERROT and CHIPIEZ. History of art. London, 1885-94. 8. 
 
 FORTNUM (C. Drury). On a terra-cotta head of Greek workmanship. London, 1886. 
 4. 
 
 WILDENBRUCH (E. von). The master of Tanagra, London, 1887. 8. 
 REINACH (E.). Inedited terra-cotta from Myrina. London, 1891. 8. 
 MURRAY (A.). Terra-cotta sarcophagi Greek and Etruscan. London, 1898. Fol. 
 BUTTON (C. A.). Greek terra-cotta statuettes. London, 1899. 8. 
 HUISH (M. B.). Greek terra-cotta statuettes. London, 1900. 4. 
 536 
 
CERAMIC LITERATURE. 
 
 France. 
 
 AGINCOURT (Seroux d'). Kecueil de sculptures antiques en terre cuite. Paris, 1814. 
 
 4. 
 
 BIARDOT (P.). Explication du Symbolisme des terres cuites grecques. Paris, 1864. 
 8. 
 
 Les terres cuites grecques funebres. Paris, 1872. 8, and atlas fol. 
 FROHNER (W.). Terres cuites d'Al.-Kantara. Paris, 1867. Fol. 
 Terres cuite d'Asie Mineure. Paris, 1881. 4. 
 
 DUMONT (A.). Inscriptions ceramiques de la Grece. Paris, 1869. 8. 
 FROHNER (W.). Les musees de France. Paris, 1873. Fol. 
 
 DUMONT (A.) et CHAPLAIN (J.). Les ceramiques de la Grece propre. Paris, 1874. 4. 
 SALZMANN (A.). Necropole de Camiros. Paris, 1875. Fol. 
 
 HEUZEY (L.). Recherches sur un groupe de Praxitele d'apres les figures de terre-cuite. 
 Paris, 1875. 8. 
 
 - Les fragments de Tarse au musee du Louvre. Paris, 1876. 8. 
 
 - Les terres-cuites babyloniennes. Paris, 1880. 8. 
 
 - Les figures de femme voilees. Paris, 1873. 4. 
 
 - Nouvelles recherches sur les figures de femme voilees. Paris, 1882. 4. 
 
 - Quelques observations sur la sculpture grecque en Gaule. S.d. 8. 
 
 POTTIER (E.). Quam ob causam Grseci in sepulcris figlina sigilla deposuerint. Paris, 
 
 1883. 8. 
 
 HAUSOULLIER (B.). Quomodo sepulcra Tanagrsei decora verint. Paris, 1884. 8. 
 DUMONT (A.). Terres cuites orientales. Paris, 1884. 4. 
 RAYET (0.). Monuments de Tart antique. Paris, 1884. Fol. 
 POTTIER et REINACH. La necropole de Myrina. Paris, 1886-87. 4. 
 SCHWEISTHAL. L'image de Niobe. Paris, 1887. 4. 
 CARTAULT (A.). Sur 1'authencite des groupes en terre-cuite de 1'Asie-Mineure. Macon, 
 
 1887. 4. 
 
 Nouvelles recherches sur les terres-cuites grecques. S.d. 4. 
 
 - Vases grecs en forme de personnages groupes. Paris, 1889. 4. 
 
 - Terres cuites grecques photographiees d'apres les originaux. Paris, 1890. 4. 
 POTTIER (E.). Les statuettes de terre cuite dans 1'antiquite. Paris, 1890. 12. 
 PARIS (P.). Elatee. Paris, 1891. 8. 
 
 MILLIET (P.). Etudes sur les premieres periodes de la ceramique grecque. Paris, 
 
 1891. 8. 
 
 KONDAKOF et TOLSTOI. Antiquites de la Kussie meridionale. Paris, 1891. 8. 
 COLLIGNON. Vase en forme de double tete. Paris, 1897. 4. 
 DANIELLI (J.). Les figurines de Tanagra. Paris, 1904. 8. 
 POTTIER (E.). Diphilos et les modelleurs de terres cuites grecques. Paris, 1909. 8, 
 
 pp. 127 ; with 24 pis. 
 
 Germany. 
 
 PRELLER. Terra cotta aus Athens. 1852. 8. 
 
 SCHOLDERER. Tanagrsearum antiquitatum specimen. Berlin, 1855. 8. 
 THIERSCH (W.). Ueber Henkel irdener Geschirre. . . . Munchen, 1860. 4. 
 SCHONE (R.). Griechische Beliefs. Leipzig, 1872. Fol. 
 
 CURTIUS (E.). Die Geburt des Erichthonios. Terra cotta des Berliner Antiquarium. 
 Berlin, 1872. 4. 
 
 537 
 
CERAMIC LITERATURE. 
 
 SCHLIEMANN (H.). Trojanische Alterthumer. Leipzig, 1874. 8. 
 
 TREU (G.). Griechische Thongefasse. Berlin, 1875. 8. 
 
 KEKULE. Griechische Thonfiguren aus Tanagra. Stuttgart, 1878. Fol. 
 
 GAEDESCHENS (R.). Drei terra cotta Statuen aus Tanagra. Jena, 1880. 4. 
 
 DORPFELD (and others). Ueber die Verwendung von Terrakotten am Geisen und 
 
 Dache griechische Bauwerke. Berlin, 1881. 4. 
 LOESCHCKE (G.). Draifussvase aus Tanagra. Berlin, 1881. 4. 
 HERMANN (P.). Das Graberfeld von Marion. Berlin, 1888. 4. 
 MULLER (W.). Eine Terracotta der Gottinger Sammlung. Gdttingen, 1889. 4. 
 WINTER (F.). Ueber ein Vorbild neuattischen Beliefs. Berlin, 1890. 4. 
 BOETTICHER (E.). Hissarlik wie es ist. Berlin, 1890. 8. 
 DORPFELD (W.). Troja. . Berlin, 1893. 4. 
 
 PERNICE. Griechische Terrakotten im Antiquarium. Berlin, 1903. Fol. 
 WINTER (F.). Die antiken Terrakotten. Stuttgart, 1903. Fol. 
 
 Greece. 
 DEONA (W.). Les statues de terre cuite en Grece. Athenes, 1906. 8. 
 
 Italy. 
 
 SCHIAVO (D.). Sopra due Scisi sigillati. Palermo, 1755. 4. 
 
 BISCARI. Ragionamenti sopra gli antichi ornamenti e trastulli de' bambini. Firenze, 
 
 1781. 4. 
 
 CARLONI (M.). Bassirelievi Volsci in terra cotta. ' Roma, 1785. 4. 
 PAPAZZURI (M.). Lettera su una antica terra-cotta. Roma, 1794. 4. 
 AVOLIO (F. di P.). Delle antiche fatture di argilla. Palermo, 1829. 8. 
 RUTGERS (J.). Due bassirelievi di terra cotta. Roma, 1863. 8. 
 BRUNN (E.). Relievi delle urne etrusche. Roma, 1870. 4. 
 LUDERS (0.). Ritrovamenti di terre cotte in Tanagra. Roma, 1874. 8. 
 BRIZIO (E.). Scavi eseguite a Marzabotto. Roma, 1890. 4. 
 
 Scolture fittile scoperte in Civita Alba. Roma, 1897. 4. 
 
 FALCHI (T.). Velutonia. Firenze, 1892. 4. 
 
 Russia. 
 
 KONDAKOW. Les statuettes grecques en terre cuite. Odessa, 1879. 8. 
 
 U.8.A. 
 
 ANON. Tanagra figurines. Cambridge, 1879. 4. 
 
 REINACH (S.). The so-called Asiatic terra-cotta groups. N. Y., 1888. 4. 
 
 b. MUSEUMS AND PRIVATE COLLECTIONS. CATALOGUES, ARTICLES, Etc. 
 
 England. 
 
 COMBE (T.). Ancient terra-cottas in the British Museum. London, 1810. 4. 
 NEWTON (C. J.) and BIRCH (S.). Report on the Campana collection. London, 1856. 
 8. 
 538 
 
CERAMIC LITERATURE. 
 
 NEWTON (C. T.). The Castellan! collection. London, 1874. Fol. 
 CESNOLA (L.). Cyprus antiquities. London, 1880. Fol. 
 
 HILTON-PRICE. A catalogue of antiquities. London, 1897. 4. 
 
 MYRES. Catalogue of the Cyprus Museum. London, 1899. 8. 
 
 WALTERS (H. B.). Catalogue of the terra-cottas in the British Museum. London, 
 1903. 8. 
 
 France. 
 
 JANZE (Coll. de Mr. le Vic. H. de). By J. de Witte. Paris, 1857. Fol. 
 NOEL DBS VERGERS (A.). Notice sur le Muses Napoleon III. Paris, 1862. 8. 
 LONGPERIER (A. de). Musee Napoleon III. . . . Paris, 1868-74. 4. 
 HEUZEY (L.). Figurines en terre cuite. Catalogue. Musee National du Louvre. 
 Paris, 1882. 12. 
 
 - Les figurines antiques de terre cuite du musee du Louvre. Paris, 1883. 4. 
 POTTIER et REINACH. Terres cuites de Myrina. Catalogue raisonne. Musee du 
 
 Louvre. Paris, 1887. 8. 
 
 HERISSON (Cte. d'). Mission en Tunisie. 1881. 4. 
 
 LECUYER (Coll. Camille). Terres cuites antiques. Paris, 1882. Fol. 
 
 - Deuxieme collection. Terres cuites antiques. Paris, 1892. Fol. 
 GREAU (Coll. Mien). Terres cuites d'Asie. Paris, 1886. 4. 
 FROHNER. Terres cuites grecques. Coll. Mme. D. (arthes). Paris, 1887. 8. 
 
 Germany. 
 
 PANOFKA (T.). Terrakotten des K. Museum zu Berlin. Berlin, 1842. 4. 
 FROHNER. Die griechischen Vasen und Terrakotten zu Karlsruhe. Heidelberg, 1860. 
 
 12. 
 
 LUTZOW (A. von). Munchener Antiken. Munchen, 1870. 4. 
 ANON. Griechische Terrakotten aus Tanagra in Berlin Museum. Berlin, 1878. 4. 
 FURTW ANGLER. Kunstdenkmaler aus Griechenland (Sabouroff Coll.). Berlin, 1883. 
 
 4. 
 
 TREN (G.). Erwerbungen der Antiken Sammlungen in Deutschland. Dresden, 1889. 4. 
 PERNICE (E.). Griechische Terrakotten in Museen zu Berlin. Berlin, 1904. 4. 
 
 Greece. 
 
 MARTHA (J.). Catalogue des figurines du Musee d'Athenes. Paris, 1880. 8. 
 LECH AT (H.). Terres cuites de Coreyre. Coll. C. Carapanos. Athenes, 1891. 8. 
 
 Holland. 
 
 JANSEN (J. F.). Terra cottas uit het Museum van Oudheden. Leiden, 1862. Fol. 
 
 - Die Etrurische Grafreliefs. Leiden, 1854. Fol. 
 
 Italy. 
 
 CONTUCCL Musei Kirkeriani. . . . Roma, 1773. Fol. 
 CAMPANA (G. P.). Antiche opere in plastica. Roma, 1842-51. Fol. 
 
 Catalogues of the collections. Rome, s.d. 4. 
 
 MINERVINI (G.). Terre cotte del Museo Campano. Napoli, 1880. Fol. 
 
 539 
 
CERAMIC LITERATURE. 
 
 Russia. 
 
 DOELL (J.). Die Sammlung Cesnola. St. Petersburg, .1873. 4. 
 DEREWUZKY. Des Museum d. K. odessaer Gesellschaft. Frankfurt, 1897. 4. 
 
 Switzerland. 
 FOL (W.). Etudes d'art et d'archeologie. Gentve, 1874-78. 4. 
 
 Turkey. 
 
 REINACH (S.). Catalogue du Musee de Constantinople. Paris, 1882. 8. 
 MENDEL (G.). Catalogue des figurines grecques de terre cuite. Constantinople, 1909. 
 8; 15 pis. 
 
 U.S.A. 
 
 CESNOLA (L. P.). Cypriote antiquities in the Metropolitan Museum. New York, 1894. 
 Fol. 
 
 c. CATALOGUES OF SALES. 
 
 CESNOLA. Antiquites chypriotes. Paris, 1870. 8. By Frohner. 
 PIOT (Bug.). Antiquites grecques. Paris, 1870. 8. By Lenormant. 
 BARRE (A.). Catalogue of the collection. Paris, 1878. 4. By Frohner. 
 CASTELLANI (Collection). First sale. Paris, 1878. 8. 
 
 Second sale. Rome, 1884. 4. 
 
 - Third sale. Paris, 1884. 4. 
 
 RAYET (Coll. 0.). Antiquites grecques. Paris, 1879. 8. 
 HOFFMANN (H.). Various catalogues of sales. Paris, 1886 and /. y. 4. 
 LECUYER (C.). Catalogue of sale. Paris, 1888. 4. 
 TOCHE (Ch.). Terres cuites de Tanagra. Paris, 1887. 12. 
 PIOT (E.). Collection E. Piot. Paris, 1890. 4. 
 GREAU (J.). Terres cuites d'Asie. Paris, 1891. 4. By Frohner. 
 BRANTEGHEM (Collection van). Brunettes, 1892. Fol. By Frohner. 
 ANCONA (A.). Terra-cotta. Milano, 1892. 8. 
 BAMEVILLE (Collection J. de,). Pan's, 1893. 4. 
 ANON. Antiquites trouvees en Grece. Paris, 1895. 8. 
 HARTMANN (A.). Catalogue des antiquites. Paris, 1899. 4. 
 PHILIP (P.). Antiquites egyptiennes, grecques and romaines. Paris, 1906. 8. 
 
 540 
 
CERAMIC LITERATURE. 
 
 ROMAN POTTERY. 
 
 Towards the close of the eighteenth century practical archaeology if we may 
 so define the actual prosecution of underground investigation, as distinguished from 
 the application to book-learning was stirred into renewed activity by the account 
 of the gigantic works of excavation conducted, almost simultaneously, upon the classical 
 grounds of extinct civilisations. All the latest particulars of the amazing harvest of 
 treasures with which such labours had been rewarded in Italy, Greece, and distant Egypt, 
 were eagerly received. The sun had been made to shine again upon cities and temples, 
 for thousands of years buried in darkness, and the slumbering echoes of vast cemeteries, 
 which had so long remained silent, had been awakened by the triumphal cheers of a band 
 of intrepid explorers. At the end of a memorable campaign, its glorious results were 
 duly commemorated by the publication of some stately volume printed at the expense 
 of a learned society, or an enlightened Mecsenas. Warmly welcome in all antiquarian 
 circles, these exhaustive reports, and the discussions to which they gave rise, raised within 
 the brain of many a student a keen desire for more knowledge. The fascination exerted 
 by the perusal of these fairy-like tales, in which were truly narrated the adventurous 
 searches for mysterious hoards of marvels expected to be waiting within the depth of 
 the soil for the hand of the bold and lucky excavator who would exhume them, was 
 bound to give a fresh impulse to the pursuit of archaeological study. Armed with pick 
 and spade, and ready for active work, the antiquary of the new school was neglecting, 
 for a while, old texts and ancient monuments ; all the antique remains that could be seen 
 standing in his surroundings had become almost indifferent to him. His dreamy cogita- 
 tions were absorbed in imaginary vistas of subterranean regions where the explorer, after 
 having long wandered, not without toil and risks, through long and mysterious galleries, 
 was to reach at last the wonderful precincts of an undefiled sepulchral chamber. In 
 many localities of England, France, and Germany, the country squire and the village 
 parson were moved into action. Visions of academic glory crossed the brains of the 
 intending excavator at the mere thought that yonder conical mound a land-mark in 
 the wide expanse of their moors might contain the elements of a discovery sufficient 
 to render an obscure name celebrated for ever. No doubt, what could be expected to 
 come out from the fields-of-rest of the early inhabitants of Western Europe might look 
 insignificant when compared to the yieldings of the Etruscan tombs and the Egyptian 
 catacombs, but any find that would throw some light upon a dark period of the national 
 history should amply repay the finder for his trouble. Accordingly, each one set to work 
 with the fervent hope of contributing his own mite to the advance of general knowledge. 
 Learned societies were constituted for the purpose of investigating the sites of buried 
 cities available for study in a particular province. Few, if any, of the associates were 
 endowed with this world's goods. The modest subsidy obtained from a few honorary 
 members was scarcely sufficient to defray the cost of printing the yearly transactions 
 of the learned brotherhood. As a matter of course, the publication of that erudite 
 journal was a paramount necessity. In it lay the incentive which kept each worker 
 on his mettle. If any elaborate dissertation upon a subject of local interest was thought- 
 fully and exhaustively prepared, the writer had undertaken the task chiefly in the proud 
 expectation of seeing, one day, his name appear in print, at the end of the article, in the 
 pages of the journal. To carry on excavations upon a large scale was usually placed 
 
 541 
 
CERAMIC LITERATURE. 
 
 beyond the capability of the society. But a trench was not casually opened in an old 
 part of the town, or an old chapel pulled down to make room for a new building, without 
 attracting the presence of a self-appointed inspector, watching anxiously for some dis- 
 covery that he could report upon at the next meeting. The majority of the members 
 set no claims to be ranked as accomplished historians ; they cared little, as a rule, to 
 determine the respective importance of all the singular objects that fell into their hands ; 
 but all was described with the same amount of minute accuracy. And in this way they 
 collected for the historian of the future a store of materials which can never be over- 
 estimated. 
 
 When, on some auspicious occasion, the site of a prehistoric burial ground, or of 
 some Koman villa, had been definitively located, repeated application for funds were 
 made to high quarters, and eventually a State grant was obtained, sufficient to institute 
 a course of systematic explorations. It was, indeed, a glorious moment for the fortunate 
 man whom his colleagues had selected as director of the operations, when he pointed 
 out the spot where the first trench should be cut open. With febrile excitement 
 he urged the diggers on their work ; with vigilant attention he moderated all undue 
 haste, lest a wanton stroke of the pick might irretrievably damage an inscribed tablet 
 or a fragile vessel. Often much abortive labour had to be spent, a direction had to 
 be abandoned for a more promising one, and yet until the actual place was reached 
 where the first link of a chain of discoveries could be picked up, unerring sagacity and 
 unflagging circumspection had to be exercised. In other cases, for instance, when the 
 well-defined area of an ancient cemetery was being explored, a few preliminary soundings 
 were sufficient to indicate the spot where a truly remunerative work should be com- 
 menced. One may easily imagine the feelings of exultation which seized the members 
 of the searching party when long rows of stone coffins were disclosed to the eye, arranged 
 side by side or superimposed in deep layers. As a rule, the clerical element was largely 
 represented at the function ; and parson, cure, abbato, or pfarrer were not the least 
 eager to proceed with the work of spoliation. No doubt each of them had had more 
 than one occasion, in the course of his pastoral teachings, to denounce with eloquent 
 indignation the heinous offence of disturbing the sacred rest of the dead, but under the 
 present circumstances the claims of science stood so much above any other consideration 
 that one would have been ill-advised to venture a few words hinting at sinful desecration. 
 True, the remains of Christians were to be found there, as well as those of infidels ; but 
 whether Pagan or Christian the dead had to give up to the living in the interest of 
 knowledge all that remained of such of their earthly possession as had been once 
 deposited with them in the grave. As a set-off against a necessary displacement, it 
 was represented that the finds, treated henceforth with honour and respect, would be 
 treasured as national monuments. 
 
 The campaign having been brought to a successful end, and the harvest deposited 
 in the local museum, the director of the excavations had to prepare a detailed account 
 of all that had been done, and an exhaustive description of the objects reclaimed from 
 the earth. Then crowning reward of his labour he undertook to superintend the 
 printing of the volume, to distribute it, when ready, to his learned colleagues, and 
 prepare to answer the criticism it could not fail to excite. 
 
 It is owing to the outcome of these isolated exertions of the archaeological societies 
 
 so frequent at one time that many a small town is now endowed with a museum of its 
 
 own, and also in connection with the movement that the list of antiquarian publications 
 
 has been so largely increased. In the aggregate of underground discoveries, the Roman 
 
 542 
 
CERAMIC LITERATURE. 
 
 pottery stands foremost, if not by reason of the particular interest presented by each 
 of the specimens, at any rate, on account of the innumerable quantity in which they 
 have been found. In every locality where the Komans have once settled and ruled, 
 they have manufactured, used, and thrown away such an amazing mass of pottery that 
 on certain spots the under-strata of the soil are entirely made of broken earthen pots. 
 Usually the presence of a few fragments may be taken as a sure sign that further discoveries 
 may be expected. Indeed the field may prove so inexhaustible as to make the most 
 intrepid digger so weary of uninterrupted success that he may abandon the work long 
 before it is completed. 
 
 The exploration of the sites of Roman settlements has supplied the past generations 
 of archaeologists with a captivating labour, always attended with highly retributive 
 results. However large may have been the quantity of pottery they have taken out 
 of the soil, the hoard it contains does not appear to have materially diminished, and all 
 seem to promise that much remains to be unearthed for the gratification of the generations 
 to come. 
 
 The work of the pen will long continue to follow upon the work of the spade ; each 
 fresh find of Roman pottery will cause more reports and disquisitions to be written upon 
 a subject apparently well-nigh exhausted already. Although if we except certain 
 examples of the red Arethian ware there is little decorative work to praise, and few figure 
 subjects to elucidate and to comment upon in the plain terra-cotta left to us by the 
 Romans and their imitators. Other points of interest have, however, been found in it 
 that were sufficient to tempt the descriptive and exegetical power of the antiquarian 
 writers. Books on Roman pottery stand, with respect to the noble folios published on 
 painted vases, in the same ratio that the unassisted diggings of a provincial society bear 
 to the State-supported excavations accomplished on the prolific grounds of Etruria and 
 Greece. At the earliest and best time a paper on that subject affected usually the large 
 4 size. We can recognise it at a glance. Broad margins provided for the purpose 
 of MS. annotations enclose a letterpress printed in large type, varied by the introduction 
 of Latin quotations in italics and lapidary inscriptions in large capitals, and occasionally 
 a very bad wood-cut-; the bottom of the page is invariably occupied by closely printed 
 references to a whole library of kindred literature. Let us hasten to say that, at the 
 present day, the pamphlet on Roman pottery has lost much of that formal aspect ; 
 nothing in its external appearance distinguishes it from an article upon any other anti- 
 quarian topic. The serial publications which give it ready admittance are often of a 
 more modest size ; it is, as a rule, adequately illustrated by photographic blocks, the 
 Latin quotations are more discreetly introduced, and the substantial footnote one of 
 its chief features at the outset has, now, almost completely disappeared. 
 
 The terra-cotta figures of the Gallo-Roman period, having been found in great 
 number, have been occasionally made the subject of more ambitious volumes, richly 
 illustrated with examples drawn to the actual size. These coarse and clumsy figures 
 might be sketched on a very reduced scale, but the most that a skilful lithographer 
 could apply cannot impart excellence to the debased works of the plastic art in full decline. 
 The probability is that volumes of this sumptuous kind will always be few. 
 
 The last efforts of the antiquaries have been directed towards obtaining a complete 
 tabulation of all the potters' names found impressed upon the ware, as also of the localities 
 where the pottery was manufactured ; the pottery was often exported to great distances. 
 These names, collected from many sources, amount already to many thousands, and a 
 volume containing them all would be as bulky as the business directory of a small town. 
 
 543 
 
CERAMIC LITERATURE. 
 
 As we have already stated, most of the publications comprised in this section consist 
 chiefly of articles printed in the transactions of a learned society, which were usually 
 re-issued in pamphlet form. It is beyond our capability to prepare a complete list of 
 them ; the following articles represent a small selection only. 
 
 a. GENERAL. 
 
 Belgium. 
 
 SCHUERMANS (H.). Sigles figulins. Epoque romaine. Bruxelles, 1867. 8. 
 
 Exploration des tumulus de la Hesbaye. Bruxelles, 1866. 8. 
 
 VAN BASTELAER (D. V.). Les couvertes . . . employees en ceramique chez les 
 
 Remains. Anvers, 1877. 8. 
 La ceramique antique plus legere que 1'eau. Mons, 1900. 8. 
 
 England. 
 
 WOODWARD (J.). An account of some Roman urns digg'd up near Bishops-Gate. 
 
 London, 1713. 8. 
 
 ARTIS (E. T.). The Durobrivee. London, 1823. Fol. 
 SHORT! (T. P.). Sylva antiqua Iscana. Exeter, 1841. 8. 
 WELLBELOVED (C.). Eburacum, or York under the Romans. York, 1842. 8. 
 
 - A handbook to the York Museum. 1881. 12. 
 AKERMAN (J. Y.). Archaeological Index. London, 1847. 8. 
 An account of the excavations in the New Forest. London, 1853. 4. 
 
 An account of the excavations at Harnam Hill. London, 1854. 4. 
 
 Remains of Pagan Saxondom. London, 1855. 4. 
 BUCKMAN and NEWMARK. Illustration of the remains of Roman art in Cirencester. 
 
 London, 1850. 4. 
 SMITH (C. Roach). Collectanea antiqua. London, 1843-68. 8. 
 
 Antiquities of Richborough. London, 1850. 4. 
 
 Descriptive catalogue of his museum. London, 1854. 8. 
 
 Illustrations of Roman London. London, 1859. 4. 
 
 SMITH (H. E.). Reliquiae Insurianse. London, 1852. 4. 
 
 WRIGHT (T.). The Roman City of Uriconium. Shrewsbury, 1859. 12. 
 
 PRICE (J. E.). Roman antiquities discovered on the site of ... Mansion House. 
 
 London, 1873. 4. 
 
 CARUANA (A. A.). Ancient Pagan tombs in the Island of Malta. Malta, 1898. 8. 
 WALTERS (W. B.). Roman pottery in the British Museum. London, 1908. 8. 
 
 France. 
 
 MATTER. Antiquites de Rheinzabern. Strasbourg. 4. (1840 ?) 
 
 ROSSIGNOL (E. A.). De la poterie romaine. Caen, 1861. 8. 
 
 BOUILLET (J. B.). Estampilles de potiers decouvertes en Auvergne. Clermont-Ferrand, 
 
 1864. 8. 
 
 FROHNER (W.). Les trois bouchees de pain. Paris, 1866. 8. 
 
 MEILLET (A.). De la fabrication des poteries dans 1'antiquite. Montauban, 1867. 8. 
 WITTE (J. de). Note sur un vase de terre. Paris, 1869. 8. 
 ROBERT (E.). Sur les figures des poteries rougeatres antiques. Paris, 1865. 8. 
 544 
 
CERAMIC LITERATURE. 
 
 MAZARD (H. A.). La ceramique au musee de Saint Germain. Paris, 1872. 12. 
 - De la connaissance par les anciens des glagures plombiferes. Paris, 1879. 4. 
 ROULEZ. Trois medaillons de poterie romaine. Paris, 1877. 4. 
 
 HERON de VILLEFOSSE. Sur quelques briques romaines du Louvre. Paris 1880 
 8. 
 
 MAXE-WERLY. Vases a inscriptions bacchiques. Paris, 1882. 8, pp. 44 ; illustrs. 
 
 VERCOUTRE (Dr.). Sur la ceramique romaine de Sousse. Paris, 1884. 8. 
 
 BELLEVOYE (A.). Marques de potiers de la periode Gallo-Romaine. Metz, 1885. 8. 
 
 GEFFROY (A.). L'epigraphie doliaire. Paris, 1886. 4. 
 
 HABERT. Poteries a email plombifere Gallo Eomaines. Chatillon, 1887. 8. 
 
 PALLU de LESSERT. Les briques legionnaires. Paris, 1888. 8. 
 
 DESCEMET (C.). Marques de briques. Paris, 1888. 8. 
 
 FROHNER (W.). Medaillons romains en terre-cuite. 1891. 8. 
 
 LE BLANT (E.). Sur quelques carreaux de terre cuite. Paris, 1893. 8. 
 
 HABERT (T.). La poterie antique parlante. Paris, 1893. 4. 
 
 THEDENAT (H.). Inscription peinte sur une gourde en terre cuite du Musee Carnavalet. 
 Paris, 1899. 8. 
 
 Germany. 
 
 WEBERS (T.). Ueber die bey Giessen erwittern Urnis. Giessen, 1719. 4. 
 LITZEL. Beschreibung der romischen Todten Topfe. Speyer, 1749. 16. 
 LAUCHERT. Die rmoische Thongefasse zu Kottweil. Rottweil, 1845. 8. 
 FROHNER (W.). Inscriptions terrse coctse vasorum. Gottingce, 1858. 8. 
 KELLER. Antiken rheinzaberer Topfergeschirre. Speyer, 1860. 4. 
 HEFNER (J. v.). Die romische Topferei in Westerndorf. Milnchen, 1862. 8. 
 METZGER (M.). Die romische Inschrift- und Gefass-Stempel in Maximil. Museum. 
 
 Augsburg, 1862. 8. 
 
 SCHONE (A.). Tituli vasis fictiliis inscripti. Berlin, 1871. Fol. 
 DUNCKER. Das Romercastell by Ruckingen. Hanau, 1873. 4. 
 DRAGENDORFF (J.). De vasculis Romanorum rubris. Bonn, 1874. 8. 
 KELLER (F.). Die rothe romische Topfer-Waare. Heidelberg, 1876. 12. 
 KLEIN (J.). Verzierte Thongefasse aus dem Rheinland. Bonn, 1887. 8. 
 NIESSEN (C. A.). Sammlung romischer Alterthumer. Koln, 1889. 4. 
 HOLDER (0.). Die romischen Thongefasse in Rotweil. Stuttgart, 1889. 4. 
 HETTNER (F.). Zur romischen Keramik in Gallien und Germanien. Leipzig, 1893. 4. 
 DRAGENDORFF (H.). Terra sigillata. Bonn, 1895. 8. 
 HANS. Terra sigillata. Bonn, 1895. 4. 
 
 HARSTER (W.). Die Terrasigillata-Gefasse des speierer Museum. Speyer, 1896. 8. 
 WOLFF (G.). Romische Topfereien in der Wetterau. 1899. 8. 
 HARTWIG (P.). Aretenische Gefassform mit Scenen aus der Phaethonsage. S.I., 1900. 
 
 8. 
 
 HETTNER (P.). Drei Tempelbezirke in Trevererlande. Trier, 1901. 4. 
 LUDOWICI (W.). Stempel-Namen romischer Topfer von Reinzabern. 1904-06. 4. 
 KNORR (K.). Die verzierten Terra sigillata von Cannstatt. Stuttgart, 1906. 8. 
 PAGENSTECHER. Die Kalenische Reliefkeramik. Berlin, 1909. 4, pp. 194 ; with 
 
 27 pis. 
 
 Holland. 
 
 GROEVIUS et GRONOVIUS. Thesaurus antiquitatum. Traj. ad Rhenum, 1694. Fol. 
 35 545 
 
CERAMIC LITERATURE. 
 
 Italy. 
 
 VIMERCATI-SOZZI (P.). Fittile loveresi. Bergamo, 1842. 4. 
 
 La figulina iconografica. Bergamo, 1877. 4. 
 
 CARRARA (F.). De'scavi di Salona. Praga, 1852. 4. 
 TONINI (L.). Le figuline riminesi. Bologna, 1870. 4. 
 SPANO (G.). Iscrizioni figulinarie Sarde. Cagliari, 1875. 8. 
 DRESSEL (E.). Di un grande deposito di anfore. Roma, 1879. 8. 
 SCHMIDT (G.). Tre mattoni dipinti. Roma, 1880. 8. 
 
 Spain. 
 
 LUMINARES y VALCARCEL (A. de). Barros saguntinos. Valencia, 1779. 8. 
 SAVIRON y ESTEVAN (P.). Notice di varias excavaciones. Madrid, 1875. 8. 
 
 6. GALLO-ROMAN POTTERY. 
 
 France. 
 
 GRIGNON. Fouilles d'une ville romaine sur la montagne du Cbltelet. Pans, 1774. 12. 
 GRIVAUX de la VINCELLE (C. M.). Antiquites gauloises et romaines recueillies dans 
 
 les jardins du Palais du Senat. Paris, 1807. Fol. 
 Kecueil des monuments antiques decouverts dans 1'ancienne Gaule. Paris, 1817. 
 
 4. 
 
 Arts et metiers des anciens. Paris, 1819. Fol. 
 
 POUYARD. Lettre sur un vase chretien de terre-cuite. Paris, 1810. 8. 
 REVER (F.). Sur les figurines decouvertes dans la foret d'Evreux. Evreux, 1827. 8. 
 DAUDIN. Essai sur les poteries romaines decouvertes au Man. Paris, 1829. 8. 
 JOUANNET. Les antiques sepultures de la Gironde. Bordeaux, 1831. 8. 
 CORRARD de BREB AN. Vases de terre-cuite trouves a Troyes. Troyes, 1832. 8. 
 LE MAISTRE. De la poterie chez les Gallo-romains. Paris, 1835. 8. 
 DA VILLE (A.). Notice sur quelques doliums antiques. Rouen, 1842. -8. 
 DUFOUR. Noras de potiers remains recueillis a Amiens. Amiens, 1848. 8. 
 CAHIER (A.). Coup-d'oeil sur quelques parties du Musee de Douai. Douai, 1854. 8. 
 BOSQ (P. et C.). Fabriques de poteries dans le Departement des Bouches du Khone. 
 
 Marseilles, 1854. 8. 
 
 RENOUVIER. Sur une figure en terre-cuite. Montpellier, 1854. 4. 
 PAYAN-DUMOULIN (E. de). Antiquites gallo-romaines decouvertes a Toulon sur 
 
 Allier. Le Puy, 1860. 4. 
 TUDOT (E.). Marques et signatures de ceramistes trouvees dans le Bourbonnais. S.l, 
 
 1857. 4. 
 
 Collection de figures en argile, oeuvres premieres de Tart gaulois. Paris, 1860. 4. 
 
 LAFOSSE. Notice sur les antiquites romaines trouvees a Besanon. Besanqon, s.d. 8. 
 
 BOREAU et LEDAIN. Sepulture gallo-romaine. Niort, 1863. 8. 
 
 ARTAUD (P.). Ceramique et les vases sigilles des anciens. (A MS. preserved in the 
 
 Lyons Museum.) S.d. Fol. 
 BOUILLET (J. B.). Notice sur les estampilles des vases gallo-romains. Ckrmont 
 
 Ferrand, 1864. 8. 
 FONTENAY (J. de). Note sur un vase d'argile des premiers temps du christianisme. 
 
 Autun, s.d. 
 546 
 
CERAMIC LITERATURE. 
 
 BAUDRY (P.). Rapport sur quelques marques de poterie romaine. Rouen, 1864. 8. 
 DAMOUR (L.). Les fouilles de Brou en 1870. Bourg, 1870. 8. 
 DU CLEUZIOU (H.). De la poterie gauloise. Paris, 1872. 8. 
 BONSERGENT (L. F.). Sigles figulins trouves a Poitiers. Poitiers, 1872. 8. 
 FONTENAY (H. de). Inscriptions ceramiques gallo-romaines. Autun, 1874. 8. 
 RIGOLLOT (J.). Notice sur la ceramique gauloise. Autun, 1874. 8. 
 RONCY (A. de). Notice sur la ceramique sigillee de Compiegne. Compiegne, 1875. 8. 
 DESJARDINS (E.). Liste des potiers remains de 1'atelier de Bavai. Tours, 1875. 8. 
 MOUGIN de ROQUEFORT (P.). Poteries sigillees de Frejus. Tours, 1876. 8. 
 AURES (A.). Marques de fabrique du Musee de Nimes. Nimes, 1876. 8. 
 FLEURY (E.). Antiquites du Departement de 1'Aisne. Paris, 1877-78. 4. 
 MAGEN (A.). Notice sur deux fours a poterie. Agen, 1878. 8. 
 
 LOMBARD-DUMAS (A.). Ceramique antique dans la vallee du Rhone. Nimes, 1878. 
 8. 
 
 BARTHELEMY (A. de). Vases sigilles de fabrique gallo-romaine. Paris, 1878. 4. 
 TERNINCK (A.). L'industrie et les arts dans 1'Artois pendant la periode gallo-remaine. 
 
 Paris, 1879. 8. 
 
 MORTILLET (G. de). Les potiers allobroges. Annecy, 1879. 4. 
 NICAISE. Note sur une coupe en terre cuite de 1'epoque du bronze. Chalon-s.-Marne, 
 
 1879. 8. 
 
 - Le cimetiere gallo-romain. . . . Reims, 1883. 8. 
 
 PLICQUE (A. E.). Liusannum, la metropole des ceramistes gallo-romains. Arras, 1880. 
 8. 
 
 QUIRIELLE (R. de) et BERTRAND (A.). Decouverte d'une officine de potiers gallo- 
 romains a Lubier (Allier). Moulins, 1881. 8. 
 
 VASSIER (A.). Les poteries estampillees de 1'ancienne Sequanie. Besangon, 1882. 
 8. 
 
 TAILLEBOIS. Sigles figulins trouves chez les Ausci. Dax, 1882. 8. 
 
 Marques de potiers trouvees dans le Depart, des Landes. Dax, 1888. 8. 
 
 THEDENAT. Marques sur la poterie rouge trouvee a Reims. Paris, 1884. 8. 
 
 BELLEVOYE (A.). Marques de potiers gallo-romains. Metz, 1885. 8. 
 
 L'ESTOILE. Catalogue du Musee de Moulins. Moulins, 1885. 4. 
 
 BRUN (F.). Poterie sigillee trouvee dans le Depart, des Alpes-maritimes. Nice, 1885. 
 8. 
 
 SAVE. Catalogue du Musee de St. Die. 1886. 8. 
 
 VAILLANT (V. J.). Vases de 1'epoque gallo-romaine trouves dans le Boulonnais. Arras t 
 1887. 4. 
 
 PLICQUE (A. E.). Etude de ceramique arverno-romaine. Caen, 1887. 8. 
 
 POTTIER (E.). Un quartier de Nimes a 1'epoque gallo-romaine. Nimes, 1888. 8. 
 
 ROCHEBRUNE (L.) et De la GUERE (Cte. R.). Collection de moules antiques de cera- 
 mique. Bourges, 1889. 8. 
 
 RICHARD (A.). Marques de potiers gallo-romains. Poitiers, 1890. 8. 
 BLANCHET (A.). Figures en terre cuite de la Gaule romaine. Paris, 1890. 8. 
 
 - Do., Suppl. 1901. 8. 
 
 Les ateliers de ceramique dans la Gaule-romaine. Paris, 1899. 8. 
 
 DANGIBEAUD (Ch.). Contribution au Corpus des inscriptions de la ceramique sigillee. 
 1892. 8. 
 
 DECHELETTE (J.). Les vases gallo-romains du Musee de Roannes. Paris, 1895. 8. 
 
 Le belier sur les chenets gaulois. Paris, 1898. 8. 
 
 547 
 
CERAMIC LITERATURE. 
 
 DECHELETTE (J.). L'officine de Saint Remy. Paris, 1901. 8. 
 
 Decouverte d'un vase sigille de fabrication Arverne. 8. 
 
 HERMANVILLE. Four a poterie gallo-romaine decouvert pres de Beauvais. Beauvais, 
 
 1897. 8. 
 
 MARTEAUX et LEROUX. Catalogue du musee d'Annecy. 1896. 8. 
 VIALETTES (L.). Sigles figulins de 1'Aveyron. Rodez, 1898. 8. 
 FEUVRIER (J.). Une Industrie gallo-romaine au village de Pointre. Dole, 1890. 8. 
 COUTIL (L.). Les figurines en terre cuite des Eburovices. Evreux, 1899. 8. 
 THIOLLIER (F. et N.). Fouilles du Mont Beuvray. St. Etienne, 1899. 8. 
 SAUVAGE (E.). Marques de potiers gallo-romains recueillis dans le Boulonnais. 
 
 Boulogne-sur-Mer, 1899. 8. 
 
 JULIAN (C.). Essai d'inventaire des " Figlinae " gallo-romaines. Paris, 1899. 8. 
 BOULANGER (C.). Le mobilier funerarre Gallo-Romain, etc. Paris, 1902-05. 4. 
 DECHELETTE. La fabrique de Graufesenque. Bordeaux, 1903. 8. 
 Les vases ceramiques de la Gaule Romaine. Paris, 1904. 4. 
 
 C. ARETHIAN OR SAMIAN WARE. 
 
 FABRONI (A.). Storia degli antichi vasi fittile aretini. Arezzo, 1841. 8. 
 GAMURRINI (G. F.). Le iscrizioni degli antichi vasi fittile aretini. Roma, 1859. 8. 
 FUNGHINI (V.). Degli antichi vasi fittile aretini. (In Erculei, Roma,) 
 IBM (M.). Die arretinischen Topfereien. Bonn, 1898. 4. 
 HANS. Die arretinischen Vasen. Bonn, 1898. 4. 
 
 CHASE (G. H.). The Loeb collection of Aretine pottery. New York, 1908. 4. 
 See also Roman Pottery. 
 
 d. MURRHINE VASES. 
 
 GUIBERTUS (N.). De Murrhinis. Frankfurt, 1597. 12. 
 
 CHRIST (J. F.) and SAXIUS (F. E.). De Murrinis veterum. Lipsia, 1743. 4. 
 
 BISCARI (T. P. C.). Ragionamenti de'vasi murrini. Catania, 1781. 4. 
 
 VELTHEIM und HAGER. Ueber de vasie Murrina. Heburst, 1791. 8. 
 
 MOUGEZ (A.). Memoire sur les vases Murrhins. Paris, 1804. 8. 
 
 BOSSI. Nouvelles observations sur les vases murrhins. Milan, 1808. 8. 
 
 ROLOFF (C.). Ueber die murrinischen Gefasse der Alten. Berlin, 1810. 4. 
 
 ROZIERE (de). Memoires sur les vases Murrhins. Paris, 1814. 8. 
 
 CORSI (F.). De vasi murrini. Roma, 1830. 8. 
 
 SCHMIEDER. Ueber die Murrinen. Brieg, 1830. 4. 
 
 THIERSCH. Ueber die vasa murrina der Alten. Miinchen, 1835. 4. 
 
 COSTA de MACEDO (J. J. da). Memoria sobre os vasos murrhinos. Lisboa, 1842. 
 
 ALLUAUD. Etude sur les vases murrhins. Limoges, 1846. 8. 
 
 SOLON (L.). The enigmatic murrhine vases. Stoke on Trent. 1897. 16. 
 
 e. ANTIQUE VITREOUS PASTES AND THE PORTLAND VASE. 
 
 ASHPITEL (A.). On a blue and white vase found at Pompei. London, s.d. 
 MARSH (C.). An essay on the cameos of the Barberini vase. London, 1787. 8. 
 WEDGWOOD (J.). Description of the Portland vase. London, 1790. 4. 
 DARWIN (E.). The Barberini vase. London, 1791. 4. 
 
 VELTHEIM (A. F. von). Conjectures sur 1'urne de Barberini. Helmstedt, 1801. 8. 
 548 
 
CERAMIC LITERATURE. 
 
 DRESSEL (E.). Vasi di pasta egyzia smaltata con ornati a relievo. Roma, 1822. 8. 
 
 WINDUS (T.). A new elucidation of the subjects on the Portland vase. London, 1845. 
 Obi. fol. 
 
 LLOYD (W. W.). The Portland vase. London, 1848. 8. 
 
 PARTEGER (Ph.). Reproduction of the Portland vase in glass ; with notes on Wedg- 
 wood's reproduction. 1877. 8. 
 
 DAVENPORT (C.). Cameos. London, 1900. 8. 
 
 ROSE (A. V.). The Barberini vase. New York, 1904. 12. 
 
 ANON. The Portland vase. Etmria, 1907. 16. 
 
 See also England, Medallions in Vitreous Paste. 
 
 /. TERRA-COTTA LAMPS. 
 
 LICETUS (F.). De lucernis antiquorum. Utini, 1652. Fol. 
 
 FABRICIUS (W. A.). Lucernse veterum. Niirnberg, 1653. 4. 
 
 BARTOLI (P. S.). Le antiche lucerne sepolcrali. Roma, 1691. 4. 
 
 FERRARIUS (0.). Dissertatio de Veterum Lucernis sepulchralibus. Lugd., 1699. 4. 
 
 PASSERI (J. B.). Lucernse fictiles. Pesaro, 1739-51. Fol. 
 
 KENNER (F.). Die antiken Thonlampen des K. K. Antiken Cabinets. Wien, 1858. 8. 
 
 WIESELER (F.). Ueber die Kestnersche Sammlung von antiken Lampen. Gott., 1870. 
 8. 
 
 MARTIGNY. Lettre sur une lampe chretienne. Belley, 1872. 8. 
 
 VILLEFOSSE (H. de). Lampes chretiennes inedites. Paris, 1875. 8. 
 
 DELATTRE (P.). Lampes chretiennes de Carthage. Lyon, 1880. 8. 
 
 Les lampes du Musee de St. Louis de Carthage. S.L, 1889. 4. 
 
 Lampes chretiennes de Carthage. Lille, 1890-91. 8. 
 
 LE BLANT (E.). Lampes en terre cuite de Tepoque chretienne. Rome, 1886. 8. 
 
 Lampe pa'ienne portant la marque Anniser. Paris, s.d. 8. 
 
 HAMMER (W.). De antike Lerlamper. Copenhagen, 1887. 
 
 BACHOFEN (J. J.). Komische Grablampen. Basil, 1890. 8 ; with Atlas 4 of 55 pis. 
 
 CUDWORTH (W.). Antique lamps. London, 1893. 8. 
 
 FORTNUM (Ch. D. E.). On an Italo-Greek terra-cotta lamp. London, 1894. 8. 
 
 FISCHBACH (0.). Romische Lampen aus Poetovio. Graz, 1896. 8. 
 
 FINK (F.). Formen und Stempel romischer Thonlampen. Miinchen, 1901. 8. 
 
 The foregoing list is far from exhausting the number of volumes and pam- 
 phlets which have been written on the subject of Roman lamps. Below we 
 briefly record the titles of those found quoted in archseological works. 
 
 FELLER (J.). De lucernis antiquorum subterraneis. 
 
 MILO (A. de). Lettera intorno alle lucerne de sepolcri antichi. 
 
 MOLERI (Dom Guil.). Dissertatio de perennibus veterum lucernis. 
 
 ORSATI (F.). Intorno alle lucerne sepolcrali. 
 
 AMATO (E. di). Qual fede meritino quelle lucerne sepolcrali postate sotto 1'occhio 
 daH'antichita. 
 
 WILISH. De lucernis sepulcralibus. 
 
 POUPART (S.). Dissertation sur une lampe sepulchrale antique, etc. 
 
 549 
 
CERAMIC LITERATURE. 
 
 ORIENTAL CERAMICS. 
 
 CHINESE. 
 
 The ancient literature of the Chinese Empire is not wanting in historical and 
 technical works treating of the national porcelain. From, the study of antique MSS. 
 and standard books the erudite Chinese collectors are said to have obtained a sound 
 knowledge of the ware, as also of its periods and places of manufacture ; but it is doubtful 
 if more than a mere fraction of their learning has reached Europe. 
 
 Up to the present day, our chief store of information has practically been limited to 
 two old text-books, viz. : Lettres du Pere d'Entrecolles and Histoire de la porcelaine 
 chinoise, by Stanislas Julien. This latter work, a translation more or less accurate of a 
 treatise highly appreciated in China, has been taken as the mainstay of all subsequent 
 publications. In his incapacity of producing fresh materials, each writer seems to glory 
 in exposing the shortcomings and the unreliability of his indispensable authority. He 
 questions the accuracy of many statements. He puts a different interpretation on all 
 the technical terms used in the original treatise, he offers a hypothetical translation of 
 his own for many important passages, and discredits the correctness of the historical 
 part of the work. Meanwhile, as the controversy grows more and more entangled 
 among our self-taught sinologists, the whole question is on the point of being reduced 
 to a state of utter confusion. 
 
 It is from China from the country itself that should come the trustworthy book 
 which, written by a Chinese connoisseur for the benefit of the benighted European, 
 would settle our futile disputes. 
 
 The works of F. Hirth and S. W. Bushell have lately heralded a forthcoming change 
 in the direction of the study. 
 
 Austria. 
 
 LIPPMANN (F.). Eine Studie ueber chinesische Email Vasen. Wien, 1870. 8. 
 DUSARTEL (and others). Orientalische keramische Austellung. Wien, 1881. 8. 
 
 China. 
 
 ANON. Description of the Feou-liang district (in Chinese). Various editions from 1325 
 
 to 1823. 
 
 CHU-YEN. T'ao shuo. (A description of potteries in 6 books.) 1774. 
 TCHING-THING-KOUEL History of the King-te-tchin porcelain. 1815. 
 THIEU-KING-KHAI-WON. A manual of Chinese industry. S.d. 
 SCHROTER. The trade of the province of Kwang-si. Hong-Kong, 1886. 
 BUSHELL (S. W.). Chinese porcelain. Pekin, 1888. 8. 
 GRUNDLACH (J. F. von). Chinesische Porzellan. Shanghai, 1888. 8. 
 GILES (H. A.). An introduction to the history of the Chinese pictorial art. Shanghai, 
 
 1905. 8. 
 
 England. 
 
 WESTON (S.). Fragments of Oriental literature. London, 1807. 8. 
 GETTY. Chinese seals found in Ireland, 1850. 4. 
 JONES (Owen). Examples of Chinese ornaments. London, 1868. 4. 
 ALABASTER (C.). Catalogue of Chinese objects. London, 1872. 8. 
 550 
 
CERAMIC LITERATURE. 
 
 FRANKS (A. W.). Catalogue of a collection of Oriental porcelain and pottery. London, 
 
 1878. 8. 
 THOMSON (Sir Henry). A catalogue of blue and white Nankin porcelain. London, 
 
 1878. Sm. 4. 
 
 OLD (W. W.). Indo-European porcelain. Hereford, 1882. 8. 
 HIRTH (F.). Ancient porcelain ; a study in Chinese mediaeval industry and trade. 
 
 London, 1888. 8. 
 
 HOLLINGSWORTH (A.). Blue and white china. London, 1891. 12. 
 ARKWRIGHT (W.). Catalogue of the Oriental collection. London, 1893. 4. 
 BURLINGTON FINE ARTS CLUB. Catalogues of Oriental porcelain. 1895-96. 4. 
 HUISH (M. B.). Chinese snuff bottles. London, 1895. 16. 
 GULLAND (W. G.). Chinese porcelain. London, 1898. 8. 
 TRAPNELL (A.). A catalogue of Chinese porcelain. Bristol, 1901. 4. 
 MONKHOUSE (C.). Chinese porcelain. London, 1901. 8. 
 GODMAN (F. du Cane). The Godman collection of Oriental pottery. London, 1901. 
 
 Fol. 
 
 VEITCH (G. T.). Catalogue of a collection of Chinese porcelain. Birmingham, 1902. 8. 
 BRINKLEY. Ceramic art of China. London, 1904. 8. 
 BUSHELL (S. W.). Chinese art. London, 1904-05. 8. 
 
 HODGSON (Mrs. W.). How to identify old Chinese porcelain. London, 1905. 8. 
 DUVEEN (Bros.). Catalogue of Chinese porcelain. London, 1905. 8. 
 CRISP (F. A.). Armorial china. London, 1907. 4. 
 BUSHELL (S. W.). Chinese porcelain. Oxford, 1908. 4. 
 BLACKER (J. F.). Chats on Oriental china. London, 1908. 
 MEW (E.). Old Chinese porcelain. London, 1909. 8, pp. 100 ; with 16 pis. 
 
 France. 
 
 DU HALDE (Pere). Histoire de la Chine. 1730. 8. 
 
 D'ENTRECOLLES (Pere). Lettres sur la fabrication de la porcelaine en Chine. Toulouse, 
 
 1810. 8. 
 
 JULIEN (S.). Histoire de la fabrication de la porcelaine chinoise. Paris, 1856. 8. 
 FEUILLET de CONCHES. Les peintres Europeens en Chine et les peintres Chinois. 
 
 Paris, 1856. 8. 
 
 JACQUEMART (A.). Catalogue de la collection de Mme. Malinet. -Paris, 1862. 8. 
 GERSPACH. Notes sur la ceramique chinoise. Paris, 1877. 8. 
 DUSARTEL. La porcelaine de Chine. Paris, 1881. 4. 
 
 Collection Du Sartel. Catalogue of sale. Paris, 1882. 4. 
 PALEOLOGUE. L'art Chinois. Paris, 1887. 8. 
 GRANDIDIER (E.). La ceramique chinoise. Paris, 1894. 4. 
 VOGT (G.). Recherches sur la porcelaine Chinoise. Paris, 1900. 4. 
 
 Germany. 
 
 RIEBECK. Die Sammlung E. Riebeck. Berlin, 1883. Fol. 
 FRISCH (A.). Farbige Vorlagen. Berlin, 1889. Fol. 
 
 MEYER (A. P.). Lung-ch'iian-Yao ; oder altes Seladon Porzellan. Berlin, 1889. 4. 
 HIRTH. Chinesische Studien. Munchen, 1890. 8. 
 MUNSTERBERG (0. von). Bayern und Asien. Leipzig, 1895. 4. 
 OHLMER (E.). Ftthrer durch die Olmer'sche Sammlung. Hildesheim, 1898. 8. 
 
 551 
 
CERAMIC LITERATURE. 
 
 Switzerland. 
 
 REVILLOT de MURALT. Collection de porcelaines anciennes de la Chine et du Japon. 
 Geneve, 1901. 4. 
 
 U.S. America. 
 
 HIPPISLEY (A. E.). Catalogue of the collection of Chinese porcelain. Washington, 
 
 1890. 8. 
 HOLCOMBE (Chester). Ancient Chinese porcelain belonging to G. A. Hearn. New 
 
 York, 1894. 8. 
 GETZ (B.). Collection of Chinese porcelain loaned by A. Garland. New York, 1895. 
 
 8. 
 The Macomber collection of Chinese pottery in the Boston Museum of Fine Arts. 
 
 Boston, 1909. 8, pp. 83 ; with 7 pis. 
 Chinese porcelain collected by Mr. and Mrs. Ch. P. Taft. New York, 1904. 4, 
 
 pp. 127 ; with 33 pis. 
 WALTERS (Collection W. T.). Oriental ceramic art. New York, 1895. Fol. (Text 
 
 by S. W. Bushell.) 
 
 WARREN (Collection G. B.). Antique Chinese porcelains. Boston, 1902. 8. 
 LAUFER (B.). Chinese porcelain of the Han Dynasty. Leiden and New York, 1909. 
 
 8, pp. 339 ; with 75 pis. and text illustrs. 
 
 EGYPTIAN AND ARABIAN. 
 
 It is to the tombs of ancient Egypt that one must turn to find the earliest evidences 
 of advanced and refined technique in the productions of the fictile art. In many other 
 lands the practice of making vessels of burnt clay loses itself in the mist of inscrutable 
 antiquity. But everywhere common terra -cotta seems to have for long satisfied all require- 
 ments, and thousands of years had to elapse before any appreciable alteration was intro- 
 duced in the rudimentary processes adopted at the very outset. History demonstrates 
 that the Egyptian potter had mastered the secrets of compound bodies, shining glazes, 
 and brilliantly coloured enamels long before they were known by any other nation. Such 
 portions of his art as did not die with him, he bequeathed to a long succession of disciples. 
 The potters of Assyria and Persia profited by his teaching. The Rhodians and the 
 Moors of Spain received the secrets in their turn, and handed them over to the majolists 
 of Italy ; finally through these latter all the fa'iencers of Europe obtained their share 
 of the Egyptian tradition. A fascinating history is still to be written which would deal 
 with the pottery of Egypt made 3,000 years before our era and follow its development 
 till the period of Roman domination. There is a mighty array of disconnected examples 
 to be picked up and linked together into a continuous chain. At one end should be 
 placed the plain terra vessels common to all primitive civilisations. To these would 
 soon succeed the objects made of a siliceous material, coated over with transparent 
 glazes of various colours. The climax of that period of manufacture is the production 
 of a turquoise blue of which no other artificial compound has ever equalled the brilliancy. 
 Many might be the variations noticeable in the making of Egyptian pottery until we 
 should come to the end of the chain, occupied by the still imperfectly known polychrome 
 vases of Alexandria, on which we find the plastic form of Greek art united with effects 
 of colours obtained from the variegated glasses, for which the local glass-makers were 
 so justly celebrated. 
 552 
 
CERA MIC LIT ERA TURE. 
 
 The want of a special book on the pottery of ancient Egypt is scarcely supplied 
 by the numerous works published by the learned Egyptologists of all countries. It is 
 a laborious task to go through the contents of the ponderous tomes of Denon (V.), Voyage- 
 dans la Haute et la Basse Egypte ; Rosellini (J.), / monumenti dell'Egitto ; Lepsius (C. 
 R.), DenJcmiiler aus Aegypten, and many others, for a comparatively small crop of ceramic 
 objects. If it be true that each of these works contain a certain quantity of vessels 
 and figures of terra-cotta and porcelain, in none of them, on the other hand, are they 
 presented with an attempt at a classification which would make these examples illustrate 
 the march and progress of the potter's art in the land of the Pharaohs ; none of the 
 authors has considered their immense variety from the ceramic point of view. We shall 
 not, therefore, overload this section with the titles of the books of travel or of pure 
 antiquarian interest which can be found in the catalogues of archseological works. 
 
 In the present section, all the works on the pottery of Egyptian and Arabian origin, 
 ancient and modern, have been grouped together. 
 
 BOURGOIN (J.). Les arts Arabes. Paris, 1873. Fol. 
 
 Les elements de Fart Arabe. Paris, 1879. 4. 
 
 DEMMIN (A.). Thonwaaren von Kench und Sciout. (In Keramische Studien.) 1881. 
 PERROT et CHIPIEZ. A history of art in ancient Egypt. London, 1883. 8. 
 
 A history of art in Phoenicia. London, 1885. 8. 
 PETRIE (W. M. Flinders). Pottery of ancient Egypt. London, 1883. 8. 
 
 - with SMITH and others. Naucratis. London, 1886-88. 8. 
 
 - with GRIFFITH and others. Kahun, Gurob, and Awara. London, 1890. 8. 
 KARABACEK. Zur muslimischen Keramik. Wien, 1885. 4. 
 
 LA BLANCHERE (de). Carreaux de terre cuite decouverts en Afrique. 1888. 8. 
 PRISSE d'AVESNE. La decoration arabe. Paris, 1888. 4. 
 BUHRER (K.). Aegyptische Bauertopferein. Aarau, 1889. 8. 
 GAYET. L'art arabe. Paris, 1893. 8. 
 
 La faience dans 1'anti quite egyptienne. Paris, 1894. 8. 
 
 DE MORGAN (W.). Report on the feasibility of a manufacture of glazed pottery in 
 
 Egypt. Cairo, 1894. 8. 
 
 BURLINGTON F. A. C. Exhibition of the art of ancient Egypt. London, 1895. 4. 
 DE MORGAN (J.). Les origines de TEgypte. L'age de pierre. Paris, 1896. 8. 
 MASSON. La ceramique en Tunisie. Paris, 1896. 8. 
 
 PETRIE (W. M. Flinders) and QUIBELL. Nagada and Ballas. London, 1896. 4. 
 HERZ-BEY. Catalogue of the National Museum of Arab art. London, 1896. 12. 
 VIOLARD (E.). La ceramique berbere. Algers, 1897. 8. 
 PRICE (F. G. Hilton). A catalogue of Egyptian antiquities. London, 1897. 4. 
 WALLIS (H.). The MacGregor collection. London, 1898. 4. 
 
 - Egyptian ceramic art. London, 1900. 4. 
 
 FOUQUET (Dr.). Contribution a Tetude de la ceramique orientale. Le Caire, 1900. 4. 
 
 QUIBELL (E. J.). Hierakoupolis. London, 1900. 4. 
 
 RANDALL-MACIVER and WILKIN. Lybian notes. London, 1901. 4. 
 
 PETRIE (W. M. Flinders). Abydos. 1902. 4. 
 
 BISSING (W. von). Fayence Gefasse. Vienne, 1902. 4. 
 
 EDGAR (C. C.). Greek moulds for bronzes and terra-cottas. Le Caire, 1903. 4. 
 
 SARRE (F.). Islamische Thongefasse. Berlin, 1905-8. 4. 
 
 MIGEON (G.). Manuel d'art Musulman. Paris, 1907, 8. 
 
 553 
 
CERAMIC LITERATURE. 
 
 INDIAN. 
 
 Either the skill of the Indian potter has not yet been revealed to us to its full extent, 
 or else, what is more probable, his art never rose above the current production of decora- 
 tive tiles and of a potter} 7 of the domestic class. For a better kind of ware highly 
 decorated porcelain and faience were highly appreciated and extensively used by the 
 wealthy classes India remained for centuries tributary to the Chinese and Persian 
 makers. All ceramic historians who have been at the trouble to gather and describe 
 examples of a porcelain, the decoration of which seemed to indicate an Indian origin, 
 and on that score have constituted in their books a special section of Indian porcelain, 
 have, it appears, fallen into a manifest error. The question having been thoroughly 
 investigated by the local societies of antiquaries, it has been established that in con- 
 sequence of the complete absence of the necessary clays and raw materials all through 
 the breadth and length of the Indian territory the manufacture of porcelain could not 
 have been, and in fact never was, carried on in the country. Numerous as are the 
 porcelain vessels that one sees affecting the Indian shapes and painted with Indian 
 decorations, reliable authorities assert that all such pieces were imported goods coming 
 chiefly from China, where they were expressly made for the Indian market from models 
 supplied by the importers. 
 
 WALSH (M.). Observations relating to brick-making in Western India. S.I., n.d. 
 Indian ceramics. Report on the Bombay pottery in the South Kensington Exhi- 
 bition. 1871. Sm. fol. 
 London Intern. Exhibition. Indian department. Catalogue. 1871. 8 
 
 BADEN POWELL (B. H.). Handbook of the manufactures and arts of the Punjab. 
 
 Lahore, 1872. 8. 
 
 FALCONNET (P. de P.). Brick and tile-making at Allahabad. Roorkee, 1874. 8. 
 JAGOR (P.). Die Herstellung swarzer Thongefasse in India. Berlin, 1879. 8. 
 BIRDWOOD (G. C. M.). The industrial arts of India. London, 1880. 8. 
 BROWN (J. W.). Catalogue of the Calcutta Exhibition. 1882. Fol. 
 DICKSON (W. P.). Report on pottery at the Punjab Exhibition. Lahore, 1883. 4. 
 ANON. Permanent photographs of Madras and Burmese art ware. London, 1886. 4. 
 KIPLING (J. L.). The Mooltan pottery. London, 1886. 4. 
 FRANIJI PESHOLANJI BHAMGARA. Indian art pottery. London, 1888. 4. 
 ANON. Ornamental tiles collected by the Afghan Boundary Commission. London, 
 
 1893. Fol. 
 HALLIFAX (C. J.). Monograph of the pottery and glass industry of the Punjab. Lahore, 
 
 1892. Sm. fol. 
 
 TAW SEIN-KO. Monograph of the pottery ... of Burma. Rangoon, 1895. 8. 
 DOBBS (H. R.). The pottery of the North- West Provinces and Oudh. London, 1897. 
 
 4. 
 
 HOLDER (E.). Madras pottery. London, 1897. 4. 
 HOERNLE (R.). A report on the British collection of antiquities from Central Asia. 
 
 Calcutta, 1899-1902. 8. 
 
 JAPANESE. 
 
 A much wider range of trustworthy information can now be obtained from Japan 
 than from China on the subject of the national ceramics. Book instruction, for instance, 
 which fails us almost entirely in the latter case, has become easily available in the former. 
 554 
 
CERAMIC LITERATURE. 
 
 We possess accurate translations of comprehensive treatises, written expressly for our 
 benefit by Japanese authorities, and authentic specimens of the various styles of the 
 ware they describe have been pointed out to us so as to render any uncertainty impossible 
 on many important points. The international exhibitions have been the means of 
 throwing European collectors in communication with the learned specialists, sent over 
 as commissioners by the Japanese Government. They were eager to gather all possible 
 particulars regarding the origin and the manufacture of our industrial and artistic pro- 
 ductions, and, in exchange for the knowledge they obtained from us, they did their best 
 to a,nswer all the questions that were put to them respecting the history and present 
 conditions of the corresponding arts and industries in their own country. To these 
 circumstances we owe the Reports on the exhibition of 1878 by MM. Matsuga and Maeda, 
 as also the MS. written by Mr. Shioda, and published by Mr. A. W. Franks in 1880 ; 
 not to speak of a few other works and occasional articles contributed to periodicals, 
 containing historical sketches of their old fabrics, and detailed accounts of the manu- 
 facture as it is carried out in Japan at the present day. Coming from such an unimpeach- 
 able source, these publications have paved the way towards further studies, and will 
 always be profitably consulted. 
 
 England. 
 
 AUDSLEY (G. A.). Notes on Japanese art. Liverpool, 1872. 4. 
 
 Catalogue raisonne of the Oriental exhibition of the Liverpool Art Club. Liverpool, 
 1872. 4. 
 
 - Blue and white. Catalogue of sale. Liverpool, 1878. 8. 
 
 - and BOWES. Keramic art of Japan. London, 1875. 4. 2nd ed., 1881. 4. 
 ARCHER (T. C.). Oriental art in Liverpool Liverpool, 1874. 4. 
 
 ALT (W. J.). Catalogue of a collection of articles of Japanese art. London, 1876. 8. 
 
 ALCOCK (Sir K.). Art and art industries in Japan. London, 1878. 8. 
 
 FRANKS (A. W.). Japanese pottery. London, 1880. 8. 
 
 DRESSER (C.). Japan : its architecture, art, and art manufactures. London, 1882. 
 
 8. 
 BOWES (J. L.). Japanese marks and seals. London, 1882. 4. 
 
 Japanese pottery. Liverpool, 1890. 4. 
 
 Handbook to the Bowes Museum. Liverpool, 1890. 12. 
 
 A vindication of the decorated pottery of Japan. Liverpool, 1891. 4. 
 
 See Audsley, Keramic Art of Japan. 
 
 REIN (J. J.). The industries of Japan. London, 1889. 4. 
 REGAMEY (F.). Japan in art and industry. London, 1893. 8. 
 LAWRENCE (Sir Trevor). Catalogue of Japanese works of art. London, 1895. 4. 
 TOMKINSON. A Japanese collection. London, 1898. 4. 
 BRINKLEY. Ceramic art of Japan. London, 1904. 8 \ 
 MEW (E.). Japanese porcelain. London, 1909. 8, pp. 96 ; with 16 pis. 
 
 France. 
 
 MATSUGA et MAEDA. Porcelaines et faiences japonaises. Paris, 1878. 8. 
 
 MATSUGA. Le Japon a 1'exposition universelle. Paris, 1878. 8. 
 
 GONSE (L.). I/art Japonais. Paris, 1883. 4. 
 
 OUEDA. La ceramique japonaise. Paris, 1894. 12. 
 
 MILLOUE (L. de). Guide illustre du musee Guimet. Paris, 1897. 12. 
 
 555 
 
CERA MIC LITER A TURE. 
 
 Germany. 
 
 ZIMMERMANN (E.). Koreanische Kunst. Hamburg, 1895. 4. 
 BRINCKMANN. Kensan . . . Japanische Topferkunst. Hamburg, 1897. 8. 
 MUNSTERBERG (0.). Japanische Kunstgeschichte. Braunschweig, 1907. 4. 
 
 ' Holland. 
 
 SIEBOLD (Fr. von). Keramiks. (In Nippon Archiv, etc.) Leiden, 1832. Fol. 
 
 Japan. 
 
 SEN-RIOU-SHI. The secrets of the Rakou porcelain. (In Japanese.) 
 MAMPO ZENSHO. Cyclopedia of arts. S.I, 1694. 8. (In Japanese.) 
 SHOKO ROJIN. Collection of famous utensils, for the most part used in the tea 
 ceremony. (In Japanese.) 
 
 NINAGAWA-NORITANE. Notice historique sur les arts et les industries japonais. 
 
 Tokio, 1876-79. Obi. fol. 
 
 SIEBOLD (H. von). Notes on Japanese archseology. Yokohama, 1879. 4. 
 MORSE (E.). Shell mounds of Omori. Tokio, 1879. 8. 
 
 KOGEI SHIVYO. Handbook of the Tokyo Nat. Museum. Sever. Edit. 8. (In 
 Japanese.) 
 
 U.S.A. 
 
 JARVIS (J. J.). A glimpse on the art of Japan. New York, 1876. 16. 
 GRIFFIS (W. S.). The Mikado's Empire, New York, 1878. 8. 
 MORSE (E.). Old Satsuma. New York, 1888. 8. 
 
 Morse collection. See Baxter. 
 
 Review of the work of J. L. Bowes. Salem, 1891. 8. 
 
 JOUY (P. L.). Korean mortuary pottery in the U.S. National Museum. Washington, 
 
 1890. 8. 
 
 BRINKLEY. The art of Japan. Boston, 1901. Fol. 
 WAGGAMAN COLLECTION. New York, 1893. 8. 
 MORSE (E. S.). Catalogue of the Morse Collection of Japanese pottery in the Boston 
 
 Museum. Cambridge (Mass.), 1901. 4. 
 
 PALESTINE. 
 
 PALESTINE EXPLORATION FUND. The Moabite pottery. London, 1878. 8. 
 
 PETRIE (W. M. Flinders). Tell el Hesy. London, 1891. 4. 
 
 GAUTIER et LAMPRE. Fouilles de Moussian. Chartres, 1905. 4. (Caldea.) 
 
 PERSIAN. 
 
 A lateral branch of Egyptian ceramics, the potters' art of ancient Assyria and Persia, 
 has developed higher proportions than the parent trunk had ever attempted to attain. 
 We mean in its application to architectural decoration. The colossal friezes of enamelled 
 bricks which embellished the walls of the Ninivian palaces and of the monuments lately 
 discovered at Suza have no equivalent in any other city of the old world. One may say 
 that the work of the Persian potter is, indeed, an art of its own. Few as are still the 
 556 
 
CERAMIC LITERATURE. 
 
 examples of it which have come to our knowledge, they are sufficient to give us 
 an idea of its magnitude. It is to be expected that the campaigns of excavations will 
 soon be resumed in a land where they have already yielded such wonderful results. They 
 will bring to light a large crop of materials for the publication of many a splendid volume 
 which will place under our eye a style of polychromic decoration departing entirely 
 from the notions that our previous studies of classical architecture had allowed us to 
 form. 
 
 European art has much to learn from a thorough appreciation of the harmonious 
 combinations of graceful lines and bright colours, so strikingly displayed upon the tile- 
 clad surface of the rich mosques and proud mansions of the mediaeval period still standing 
 in the ancient towns of Persia. Odd tiles, fragmental friezes, and isolated panels, well 
 calculated to excite our admiration, have come into our hands. But if a few of them 
 have been reproduced in the books devoted to Oriental art, we have to regret that in very 
 few instances is the complete design of which these tiles form part to be found in any 
 of those books. It is a want that deserves to be gratified. Any work which should 
 give us satisfactory illustrations of the whole ornamental scheme imagined by the fanciful 
 tile-makers of Persia would be sure to be favourably received. 
 
 FORTNUM (C. D. S.). A descriptive catalogue of the Persian, Damascus, and Rodian 
 
 ware. London, 1873. 8. 
 
 SOLDI (E.). Les arts meconnus. Paris, 1881. 4. 
 BURLINGTON FINE ARTS CLUB. Catalogue of Persian and Arabian ware exhibited 
 
 in 1885. London, 1885. 4. 
 
 SCHORN (0. von). Persisch-rodische Fayence Teller. Nurnberg, 1888. 4. 
 SUNAKOFF (N.). Kecueil de Tart decoratif de 1'Asie Centrale. St. Petersbourg, 1888. 
 
 Fol. 
 DIEULAFOY. Fouilles de Suse. Paris, 1887. 8. 
 
 - L'acropole de Suse. Paris, 1890-92. 4. 
 
 DIEULAFOY (Mme. J.). A Suse. Journal des fouilles. Paris, 1888. 4. 
 FARGUES (J.). On the manufacture of Kashi tiles. Edinburgh, 1888. 8. 
 LESSING (J.). Persich-turkische Fayence Teller. Berlin, 1890. Fol. 
 PERROT and CHIPIEZ. History of art in Persia. London, 1892. 8. 
 WALLIS (H.). Notes on some early Persian lustre vases. London, 1885-89. 4. 
 Persian ceramic art in the collection of Mr. F. D. Godman. London, 1891. 4. 
 
 - Typical examples of Persian ceramic art. London, 1893. 4. 
 Persian lustre ware. London, 1899. 4. 
 
 GAYET (A.). L'art persan. Paris, 1895. 8. 
 
 SMITH (Sir R. M.). Edinburgh Museum. The Persian collection. Edinburgh, 1896. 
 
 8. 
 
 MARTIN (R. F.). Modern Keramik von Centralasien. Stockholm, 1897. Fol. 
 The Per-eian lustre vase in the Imperial Hermitage at St. Petersburg. Stockholm, 
 
 1900. 4. 
 
 BOURDOKOFF. Ceramique de 1'Asie centrale. St. Petersbourg, 1905. 4. 
 READ (Ch. H.). Burlington Fine Arts Club. Exhibition of the faience of Persia and 
 
 the nearer East. London, 1907. 4, pp. 82. 
 GETZ (J.). Illustrated catalogue of the old Persian pottery acquired by Messrs. Watson 
 
 & Co. New York, 1908. Sm. 4. 
 PIER (G. C.). Pottery of the near East. New York, 1909. 8, pp. 173 ; with 64 pis. 
 
 557 
 
CERAMIC LITERATURE. 
 
 TURKISH. 
 
 SALAHEDDIN BEY. La Turquie a 1'exposition universelle de 1867. Paris, 1867. 8. 
 
 PARVILLEE (L.). Architecture et decorations turques au xv e siecle. Paris, 1874. 
 Fol. 
 
 BAUMEISTER (G.). Fa'iencefliesen aus alten turkischen Baudeukmalern. Nurnberg, 
 1880. Fol. 
 
 JACOBSTHAL. Mittelalteriche Backsteinbauten zu Nachtschwan im Araxesthale. 
 
 Berlin, 1899. 4. 
 LECOMTE (P.). Les arts et metiers de la Turquie. Paris, 1902. Sq. 8. 
 
 AMERICA. 
 BARBER (E. A.). The maiolica of Mexico. Philadelphia, 1908. 8. 
 
 558 
 
CERAMIC LITERATURE. 
 
 EUROPEAN CERAMICS. 
 
 AUSTRIAN BOHEMIAN HUNGARIAN. 
 
 GZOERNIG. Industriestatistik der Oesterreich Monarchic ; P. I. Steinwaaren, Thon- 
 
 waaren. Wien, 1857. 8. 
 
 HABERMANN (G.). Porzellan, Thon u. Glas Industrie. Wien, 1873. 8. 
 FALKE (J.). Die ehemalige Kaiserliche Porzellan-Fabrik in Wien. Stuttgart, 1875. 4. 
 DRASCHE. Fabrik von H. Drasche in Tusersdorf. Wien, s.d. Fol. 
 WIERZBICKI (L.). Thongefasse ruthenischer Bauern. Lemberg, 1882. 4. 
 SITTE (C.). Salzburger Weissgeschirr. Nurnberg, 1883. 4. 
 SONTAG. K. K. Fachschule fiir Keramik. Katalog der Keram-materialen. . . . 
 
 Znaim, 1883. 8. 
 
 FARKASHAZI-FISCHER. Une manufacture nationale. Budapest, 1887. 8. 
 FALKE (J.). Die K. K. Wiener Porzellanfabrik. Wien, 1887. 4. 
 KOULA (J.). History of the Bohemian pottery (in Bohemian). Prague, 1888. 8. 
 CYULA (D.). Revai Minta majolika Festesre. Budapest, 1889. Fol. 
 DINER. Ungarische Fayence. Dusseldorf, 1890. 4. 
 
 WEBER (0.). Die Entstehung der Porzellan und Steingut Industrie in Bohem. Praq. 
 1894. 8. 
 
 VOGEL (C.). Keramische und Glas Industrie. Chicago Ausstelhmg. Wien, 1894. 4. 
 SCHIREK (C.). Majolika Geschirrfabrik in Holitsch. Brunn, 1896. 4. 
 
 - Geschichte der Zna'imer Thon Industrie. Brunn, 1899. 4. 
 
 BRAUN (E. W.). Ausstellung von Alt Weiner Porzellan. Troppau, 1903. 12. 
 SCALA (A. V.). Austellung von alt Wiener Porzellan. Wien, 1904. 8. 
 
 - Die kaiserl. konigl. Wiener Porzellanmanufaktur. Wien, 1906. 4. 
 BRAUN (E. W.). Die K. K. Wiener Porzellan Manufaktur. Wien, 1906. Fol. 
 WALCHER-MOLTHEIN (A. R. v.). Bunte Hafner keramik der Renaissance in der 
 
 Oesterreichen Landern. Wien, 1906. Fol. 
 
 CHYTIL und JIRIK. Katalog von Keramischen Bohmischen Ursprung. Prog, 1908. 
 8 . 
 
 BELGIAN. 
 
 DEVIGNE (F.). Une gourde en faience du xvi e siecle. Gand, 1855. 8. 
 WAUTERS. Les faiences et porcelaines de Bruxelles. Bruxelles, 1882. 4. 
 VAN DE CASTEELE (D.). Le sculpteur P. L. Cyffle et sa manufacture de porcelaine 
 a Hastiere-Lavaux. Namur, s.d. 8. 
 
 - L'ancienne faiencerie liegeoise. Bruxelles, 1884. 8. 
 
 SOIL (E.). Recherches sur les anciennes porcelaines de Tournay. Paris, 1883. 8. 
 
 - Une faiencerie tournaisienne. Tournay, 1884. 8. 
 
 - Potiers et fa'ienciers tournaisiens. Lille, 1886. 8. 
 
 SIBENALER. Conference sur les anciennes faiences de la region luxembourgeoise. 
 
 Arlon, 1897. 8. 
 
 TOMBUE (L.). Histoire de la ceramique a Huy et a Andennes. Huy, 1901. 8. 
 DARDENNE (E. J.). Marques des faienceries andennaises. Bruxelles, 1902. 8. 
 
 PHOLIEN (F.). Contributions a 1'histoire de la ceramique au Pays de Liege. Lieae 
 1902. 8. 
 
 - La ceramique au Pays de Liege. Liege, 1906. 8. 
 
 MEESTER (M. de). Les industries ceramiques en Belgique. Bruxelles, 1907. 8. 
 See also Ancient Stoneware. 
 
 559 
 
CERA MIC LITER A TURE. 
 
 DANISH. 
 
 BING ct GRONDAHL. Catalogue des figures en bas-reliefs d'apres Thorwaldsen- 
 
 Copenhague, s.d. 8. 
 BOUTELL (Ch.). The arts and the artistic manufactures of Denmark. London, 1874. 
 
 4. 
 NYROP (C.). Den danske Porcellains fabrikations Tilbliven. Kjobenham, 1878. 8. 
 
 Danske Fajence-og Porcellainsmaerker. Kjdbenhavn, 1881. 8. 
 
 Dansk Pottemageri. Kjobenhavn, 1882. 8. 
 
 CASATI (Ch. C.). Notice sur le musee du Chateau de Rosenborg. Paris, 1879. 8. 
 
 SEHESTED (F.). Jyde potteindustrien. Kjobenltavn, 1881. 8. 
 
 MEIER (F. J.). Noget om dansk keramik paa Udstillingen. Kjobenhavn, 1888. 4. 
 
 GARNIER (E.). La manufacture Royale de Copenhague. Paris, 1894. 8. 
 
 BING (H.). Porcellansfabrikken Bing og Grondahl, 1853-1903. Kjobenhavn, 1903. 4. 
 
 DUTCH. 
 
 REGOUT (P.). Pattern book of the manufactory of Petrus Regout at Maestricht. 1854. 
 
 4. 
 
 ANON. De Haagsche Porcelein fabrick. The Hague, 1863. 8. 
 
 HA YARD (H.). Grandes collections hollandaises. Haarlem, 1873. 8. 
 
 Catalogue de la Collection van Romondt. La Haye, 1875. 8. 
 
 Catalogue de la Collection J. Loudon. La Haye, 1877. 8. 
 
 - Histoire de la faience de Delft. Paris, 1878. 4. 
 
 DELORME (R.). Les faiences de Delft. Collection du Dr. Handle. Paris, 1874. 18. 
 OBREEN (F. D. 0.). Merken van Delftsche Plateelbakkers. Rotterdam, 1877. 8. 
 MULLER (S.). Utrechtsche Plateelbakkerij. Rotterdam, 1877. 8. 
 KNOCHENHAUER (P. F.). Niederlandische Fliesen. Berlin, 1886. Fol. 
 VOSMAER (A.). De Haagsche plateelbakkerij Rosemberg. Amsterdam, 1892. 8. 
 GLAISHER. Delft ware. London, 1897. 8. 
 
 LAIGNE (L. de). Une faiencerie a Rotterdam au xvii and xviii siecles. Paris, 1898. 4. 
 BLUMSEIN (E.). Delft und seine Fayencen. Hambourg, 1899. 8. 
 JUSTICE (J.). Dictionnaire des marques de la faience de Delft. Gand, 1901. 8. 
 KNOWLES (W. P.). Dutch pottery. London. 1905. 8. 
 FITZHENRY (J. H.). A series of twelve Delft plates. London, 1907. 4. 
 BREMMER (H. P.). Delftsch Aardewerk. Amsterdam, 1906. 4 ; with 97 pis. Vol. II., 
 1907. 
 
 - Delftsch Aardwerk ; een practisch sesthetische Studie. Amsterdam, 1908. 8, 
 pp. 232 ; with 26 pis. 
 
 HAVARD (H.). Histoire de la ceramique hollandaise. Amsterdam, 1909. 4. 2d. ed. 
 MOORE (N. H.). Delft ware. London, 1909. 8, pp. 73 ; with 58 illustrs. 
 
 ENGLISH. 
 
 To borrow from the scattered records of some ancient pottery manufactory sufficient 
 material for the making of a handsomely printed volume is quite a modern conception. 
 In England such a notion was entertained, not only at a later time, but also with greater 
 diffidence than in France and Germany. As a consequence the list of English mono- 
 graphs cuts but a modest figure, when compared with the prodigious fecundity of that 
 branch of foreign literature. 
 560 
 
CERAMIC LITERATURE. 
 
 The cause of this apparent indifference to local history must not be attributed to 
 any want of appreciation on the part of the English amateur for the ceramic production 
 of his own country. It is well known that the very name of porcelain has always carried 
 with it, in England, an idea of rarity and costliness at the times when objects of the kind 
 were only obtained from foreign parts, and that, later on, when it began to be manu- 
 factured in the country, porcelain continued to be as highly valued as ever. But for 
 a long time specimens failed to raise, in the mind of their possessor, any curiosity as 
 to their place of origin, the date of their manufacture, and the name of their maker. 
 We must remember that, at that moment, all combined to leave these points in a con- 
 venient obscurity. The purchaser received no information from the merchant; this 
 latter being most careful to conceal the sources of supply. Moreover, the china lover had 
 always been impressed with the notion that, however beautiful in treatment might be 
 a piece of porcelain, it was but a collective work in the completion of which any artistic 
 individuality could have no more than an auxiliary share. 
 
 This appeared especially true with respect to the Oriental importations on which 
 Europe had long to depend to satisfy the demand for a white and translucid ware which 
 had come to be considered as inimitable. It was well known that porcelain came from China 
 and Japan ; but a clear distinction between the products of the two countries had not 
 yet been established. To make an attempt at ascertaining, for the most typical groups, 
 the periods and localities of manufacture, or the names and peculiar style of the best 
 makers, would have been a thankless task ; and no one was rash enough to undertake 
 it. So far as the various substitutes for Oriental china, which made their appearance 
 in the eighteenth century, were concerned, we must bear in mind that the specimens 
 of soft and hard porcelain of European make, appreciated as they may have been, were, 
 after all, considered in the light of happy but inferior counterfeits of the originals. The 
 patron of home-made replicas of an unobtainable foreign model had no desire to know 
 the name of the maker. It cannot be denied that to produce satisfactory imitations 
 was the chief aim of the English manufacturer. His tea-sets and table-ware affected 
 an Oriental appearance ; his dainty groups and figures might have been thought to 
 come from Dresden. He depended for success on being able to supply with a cheaper 
 article the wishes of the purchaser who demurred to the high prices asked for foreign goods. 
 For that reason he seldom affixed his name on the china of his own make ; a pseudo 
 Chinese sign, the saltired sword of Meissen, the crossed L's of Sevres, or any other mark 
 of a famous Continental factory, served much better his purpose, which was at least 
 at the outset to baffle rather than assist identification. To write upon the conditions 
 of the china manufacture in England at that period was an idea scarcely to be entertained 
 by any contemporary. Our knowledge of all that is connected with the early days of 
 the English porcelain has much to suffer from the want of special books printed at the 
 time. We have to be satisfied with the scanty particulars which occur in old topographic 
 works ; not much more than the mention of some china factory, of which the author 
 happens to record the name, when passing under review the various industries of the 
 region. 
 
 England awoke at last to a sense of the necessity of tracing the origin and the im- 
 provement of her national arts. Historians came to the rescue, anxious to gather and co- 
 ordinate all dates and facts connected with the art of the potter. This was concomitant 
 with the spread of the collecting rage, the assemblage of ceramic specimens from all 
 sources, and the claims of the perplexed collector, looking out in vain for the elements 
 of a sound education. It was, for him, of the utmost importance that he should be 
 36 56J 
 
CERAMIC LITERATURE. 
 
 enabled to disengage, from the mass of miscellaneous porcelain with which they had so far 
 been confounded, the examples of English china, for which he was developing an undivided 
 interest. Following a movement which had originated in France, a few writers decided 
 to diverge from the field of general ceramic history and concentrate their study upon 
 the establishment and vicissitudes of one particular manufactory. They hastened to 
 give us the benefit of their researches, and English monographs succeeded to each other 
 until all the chief centres of production had been made the subject of an exhaustive 
 work. Their number, it is true, is far from equalling that of the monographs issued 
 in foreign countries ; in the aggregate, however, they constitute a cyclopaedia of the 
 ceramic art of England of immense value to the student. It may be said, moreover, 
 that they compare favourably with any other as regards completeness and accuracy. 
 
 Worcester, Bristol, Derby, and other minor china factories have had their historical 
 records strictly investigated, and the result of long and diligent researches has been set 
 down in handsome volumes, so zealously perfected, that little has been found, ever 
 since, that could be added to the store of information gathered by their writers. 
 
 Such works were, as we have already pointed out, a natural consequence of the 
 newly -born infatuation for rare and valuable porcelain ; they were anxiously expected 
 by a crowd of collectors, buyers, and sellers, to whom they presented an intense, and 
 not always unmeretricious interest. 
 
 The conditions were quite different with regard to English pottery, long neglected 
 for the sake of Italian majolica and French faience, the only ware made of coarse 
 material which had then a chance to be noticed by the side of refined porcelain. 
 If some stray example of the work of the old English potter had received admittance 
 into a famous collection, it was an isolated specimen which either a date or an 
 inscription, or a decorative treatment particularly elaborate, invested with exceptional 
 value. English pottery, in all its branches, being disregarded in its own country, we 
 cannot wonder if the foreign collector long remained unaware of its very existence ; 
 we have only to thank our own want of appreciation if it is scarcely represented in 
 the Continental museums. Yet, from the early days of the revival of taste for ceramic 
 art, this modest pottery could boast of having its text-books. They were written by 
 a group of independent spirits who not only indulged in the singular pursuit of 
 gathering the earthenware jugs, mugs, teapots, and other household crocks of our fore- 
 fathers, but had, moreover, the audacity of expressing upon their merits so laudatory 
 an opinion that it had little chance of being accepted outside their little circle. 
 They praised the perfection of manufacture which renders the average productions of 
 the English pot-works of the eighteenth century, superior in technical qualities to any- 
 thing that was made in Europe at the same period. They could recognise in these simple, 
 homely vessels an originality of conception and design which escaped, and still escapes, 
 general recognition ; and they rightly admired the variegated harmonies of the coloured 
 glazes blending upon their surface. We must add that the class of pottery we are referring 
 to was quite of a different order from the ornamental ware of Josiah Wedgwood, which 
 had its special group of admirers. 
 
 It was a rash venture to hint at the historical interest of a slip-decorated dish or to 
 extol the quaintness of a salt-glaze jug and the harmonious colours of a tortoise-shell 
 tea-pot before a porcelain collector of those days. He would have answered that such 
 specimens were only fit for a cabinet of general curiosities, where they could be placed 
 beside a black jack or an old pewter pint-mug, to show what sort of uncouth drinking 
 vessels satisfied the taste of our ancestors. To rescue from the gloomy darkness of 
 562 
 
CERAMIC LITERATURE. 
 
 an antiquary's emporium the disparaged earthen pots, and claim boldly for them a place 
 in the full light, on a line with specimens of foreign pottery of recognised excellence, 
 could only be attempted by men who had a full confidence in the ultimate success of 
 the cause they advocated. It was accomplished by a few non-conformist and far-seeing 
 collectors, among whom we may name A. H. Church, R. Soden-Smith, Lady Charlotte 
 Schreiber, Henry Willett, and other kindred spirits, who soon cams to the front, and 
 standing bravely in defence of the old English pottery, protested against the neglect 
 of which it had been the object. The boldest of the small party wrote and published 
 books, pamphlets, and catalogues, or caused articles to be inserted in influential periodicals 
 to further the advance of their ideas ; each of them possessed a well-selected collection 
 and could back his opinion by producing some remarkable example of the various styles 
 of work of the old English potter. They soon attracted a respectable array of followers, 
 easily drawn into a new pursuit which offered untrodden fields of research and an 
 unstinted source of profitable enjoyment. 
 
 We must not forget to record the assistance that the movement received from the 
 small but representative show exhibited in the Jermyn Street Museum, and particularly 
 from the admirable catalogue in which the theretofore nameless products of disregarded 
 handicrafts were correctly named and described with a care usually reserved for specimens 
 of repute and of good market value. The collection, originally brought together by an 
 old Burslem manufacturer who wanted to illustrate the progress of the art in the Potteries 
 district, was no doubt the fixed point from which radiated those formed, later on, on 
 a similar plan, and it has contributed not a little to the spreading of a new form of the 
 collecting rage. But, if our old pottery is now recognised as a stout branch of the great 
 ceramic tree among the English-speaking nations, if the day is, as we think, close at hand 
 when it will at last assume the place it deserves to occupy in foreign museums, the credit 
 of having introduced it to the collector's world must be given to the rare admirers of 
 the early days, who loved it for its own sake, and did not hesitate to put into print the 
 newly-born notions which now unite so many converts. 
 
 . GENERAL. 
 
 HILL (A.). Instructions how to make as fine china as ever was sold by the East-India 
 
 Company. London, 1716. 
 
 ROUQUET. The present state of the arts in England. London, 1755. 8. 
 PUYMAURIN (M. de). Memoires sur diflerents sujets relatifs aux sciences et aux arts. 
 
 Toulouse, 1811. 8. 
 DE LA BECHE (Sir H.). Museum of practical Geology. Catalogue. London, 1855. 
 
 8. 
 CHURCH (A. H.). Catalogue of the specimens of old English pottery in the collection 
 
 of A. H. Church. Cirencester, 1870. 12. 
 BURLINGTON FINE ARTS CLUB. English and Continental porcelain exhibited in 
 
 1873. London, 1873. 4. 
 SMITH (R. H. Soden). Catalogue of the English pottery and porcelain exhibited at 
 
 the Alexandra Palace. London, 1873. 8. 
 
 M'CARTHY (J. F.). Great industries of Great Britain. London, s.d. 8. 
 MAWLEY (R.) (Anon). Pottery and porcelain in 1876. London, 1877. 8. 
 JEWITT (L.). The ceramic art of Great Britain. London, 1878. 8. 
 GATTY (Ch. T.). On some medieeval pottery. Liverpool, 1879. 8. 
 WUNDT (Anon). English pottery and porcelain. London, 1881. 8., 
 
 563 
 
CERAMIC LITERATURE. 
 
 NIGHTINGALE (J. E.). Contributions towards the history of early English porcelain. 
 
 Salisbury, 1881. 8. 
 SOLON (M. L.). The art of the old English potter. Derby, 1883. 4. 2nd ed., 1885. 
 
 8. 
 
 On some fragments of English earthenware. Derby, 1887. 8. 
 
 Salt-Glaze. A catalogue of the Solon Collection. Hanley, 1890. 4. 
 
 Porcelain : an address. Longton, 1909. 8. 
 
 CHURCH (A. H.). English earthenware. London, 1884. 8. 
 
 English porcelain. London, 1885. 8. 2nd ed., 1905. 
 
 SCHREIBER COLLECTION (Catalogue of the). London, 1885. 8. 
 
 ANON. British art during Her Majesty's Reign. London, 1887. 4. 
 
 SMITH (R. H. Soden). Loan Collection of English pottery in the Edinburgh Museum. 
 
 Edinburgh, 1889. 8. 
 
 HODGKIN (J. E. and E.). Early English pottery. London, 1891. 4. 
 CHURCH (A. H.). Old English pottery and stoneware. (In Some Minor Arts as practised 
 
 in England.) London, 1893. 4. 
 
 HOUSMAN (H.). Notes on the Willett Collection. Brighton, 1893. 8. 
 DOWNMAN (E. A.). English pottery and porcelain. London, 1896. 8. 
 O'NEIL (W.). Old pottery and porcelain. London, 1898. 8. 
 FREETH (F.). Old English pottery. London, 1896, 4. 
 BARBER (E. A.). Anglo-American pottery. Indianapolis, 1899. Sq. 8. 
 PHILLIPS (P. W.). A short account of old English pottery. Hitchin, 1901. 8. 
 HOBSON (R. L.). Mediaeval pottery found in England. London, 1902. 8. 
 BURTON (W.). A history of British porcelain. London, 1902. 8. 
 HOBSON (R. L.). English pottery in the British Museum. London, 1903. 4. 
 SOLON (M. L.). A brief history of old English porcelain. Derby and London, 1903. 8. 
 HODGSON (Mrs. W.). How to identify old china. London, 1903. 8. 
 GANDY (W.). A short account of old English pottery. London, 1904. 8. 
 HAYDEN (A.). Chats on English china. London, 1904. 8. 
 HOBSON (R. L.). English porcelain in the British Museum. London, 1905. 4. 
 BINNS (W. M.). The first century of English porcelain. London, 1906. 8. 
 FALKNER and SIDEBOTHAM. A collection of English pottery figures. Manchester, 
 
 1906. 8. 
 
 ANON. Old English china, by a collector. London, s.d. (1907 ?). 8. 
 TURNER (W.). Transfer printing. London, 1907. 8. 
 BLACKER (J. F.). The A B C of English china collecting. London, 1908. 8. 
 
 - The A B C of collecting English pottery. London, 1910. 8. 
 GREG (Th. T.). A contribution to the history of English pottery. Manchester, 1908. 
 
 12. 
 
 STONER and EVANS. Old English porcelain. London, 1909. 4 ; 32 pis. and notices. 
 LOMAX (Ch. C.). Quaint old English pottery. London, 1909. 4, pp. xiv.-144 ; with 
 
 37 pis. and text illustrs. 
 
 &. MONOGRAPHS. 
 
 Bristol. 
 
 OWEN (H.). Two centuries of ceramic art in Bristol. London, 1873. 8. 
 LANG COLLECTION. Bristol pottery and porcelain. Bristol, 1878. 8. 
 TRAPNELL (A.). A catalogue of Bristol and Plymouth porcelain. Bristol, 1905. 4, 
 564 
 
C.ERAMIC LITERATURE. 
 
 PERCEVAL (S. G.). On the Brislington lustre ware. Bristol, 1906. 8. 
 WAY (J. P.). Bristol pottery and porcelain. Bristol, 1908. 16. 
 
 Burslem. 
 
 WOOD (Enoch) (Anon.). A representation of the manufacture of earthenware. London, 
 
 1827. 16. 
 DO ULTON. Notes on the Doulton potteries, Burslem. London, 1893. 12. See 
 
 Lambeth. 
 MACINTYRE. Royal visit to Washington Works. Burslem, 1894. 16. 
 
 Chelsea. 
 
 FRANKS (A. W.). Notes on the manufacture of porcelain at Chelsea. London, 1863. 
 
 8. 
 
 TIFFIN (W. F.). A chronograph. Salisbury, 1874. 8. 
 READ (R. W.). A reprint of the original catalogues of the Chelsea porcelain manufactory. 
 
 London, 1880. 8. 
 
 BEMROSE (W.). Bow, Chelsea,, and Derby porcelain. London, 1898. 4. 
 O'NEILL (W.). Bow and Chelsea china. 1899. 8. 
 MEW (E.). Chelsea and Chelsea-Derby china. London, 1909. Sq. 8. 
 
 Coalport. 
 
 JEWITT (L.). A history of the Coalport porcelain works. London, 1862. 16. 
 RANDALL (J.). The clay industry on the banks of the Severn. Madeley, 1877. 12. 
 T. P. A few words about Coalport china. London, 1888. 32. 
 
 Cobridge. 
 
 BROWNFIELD. The Lock-out. A potters' Guild. 1892. 8. 
 
 RAINES (F.). A keramic study (Brownfield works). Bangor, U.S.A., 1895. 12. 
 
 Derby. 
 
 DUESBURY. List of the principal additions of Derby and Chelsea manufacture. S.I., 
 1774. 8. 
 
 BEMROSE (W.) and WALLIS (A.). The pottery and porcelain of Derbyshire. Derby, 
 1870. 8. 
 
 HASLEM (J.). The old Derby china factory. London, 1876. 4. 
 
 A catalogue of china, chiefly Derby. Derby, 1879. 4. 
 BRADBURY (E.). Derby china. London, 1883. 12. 
 ANON. The Crown Derby porcelain. Derby, 1890. Obi. 16. 
 BEMROSE (W.). Catalogue of the collection of W. Bemrose. Derby, 1898. 8. 
 
 Devon. 
 
 PHILLIPS. The potter's art in Devonshire. 1881. 8. 
 
 Hanley. 
 
 WHITEHEAD (J. and C.). Designs of sundry articles of earthenware. Birmingham, 
 1798. 4. 
 
 HATTON (J.). Twyfords. London, 1898. 4. 
 
 565 
 
(! ERA MIC LIT ERA TURti. 
 
 Hedingham. 
 
 ANON. Castle Hedingham pottery. S.I., 1886. 16. 
 
 Lambeth. 
 
 DOULTON & Co. Architectural designs manufactured in terra-cotta. London, 1872. 
 4. 
 
 FORBES ROBERTSON (J.). The new English art pottery. London, 1876. 4. 
 SPARKES (J.). Notes on some recent applications of Lambeth stoneware. London, 
 
 1880. 8. 
 
 A description of the tile panels exhibited by Doulton & Co. London, 1885. 12. 
 Pattern book. London, 1893 and f. y. 4. 
 
 An account of the proceedings at the presentation to Sir Henry Doulton by the 
 workpeople in his employ. London, 1895. 8. 
 
 BROWN (H.). The renaissance of art portery in Lambeth. London, 1898. 4. 
 
 - Doulton's exhibits at the Paris Exhibition. 1900. 8. 
 
 New effects in pottery at the New Dudley Gallery. London, 1900. 16. 
 
 Notes on Doulton ware of the Lambeth studio. London, 1906. 4. 
 
 - MILLER (F.). The royal Doulton pottery, Lambeth. London, 1902. 12. 
 
 Koyal Doulton sculpture in terra-cotta by G. Tinworth. London, 1906. 4. 
 
 Leeds. 
 
 HARTLEY, GREENS & Co. Pattern book of the Leeds pottery. Leeds, 1783. 4. 
 GREENS, CLARKE & Co. Pattern book of the Don pottery. 1808. 4. 
 KIDSON (J. R. and F.). Historical notice of the Leeds old pottery. Leeds, 1892. 4. 
 
 Linthorp. 
 LINTHORP WARE. Desultory notes and comments. Darlington, 1885. 4. 
 
 Liverpool. 
 
 MAYER (J.). On the art of pottery. Liverpool, 1873. 8. 
 GATTY (Ch. T.). The Liverpool potteries. Liverpool, 1882. 8. 
 DELLA ROBBIA Co. Illustrated catalogue. Liverpool, 1896. 4. 
 ENTWISTLE (P.). Liverpool pottery and porcelain. Liverpool, 1907. 4. 
 
 Longton. 
 BEMROSE (W.). Longton Hall porcelain. London, 1906. 8. 
 
 Lowestoft. 
 
 SPELMAN (W. R.). Lowestoft china. London, 1905. 8. 
 
 CRISP (F. A.). Catalogue of Lowestoft china. London, 1907. 4. 
 
 The Lowestoft factory. The moulds. London, 1907. 4. 
 
 Mortlake. 
 
 ANDERSON (J. E ). A short account of the Mortlake pottery. Richmond, 1894. 8. 
 566 
 
CERAMIC LITERATURE. 
 
 Staffordshire ; General. 
 
 PLOT (Dr.). Natural history of Staffordshire. London, 1686. 4. 
 TUNNICLIFF. A survey of the County of Stafford. London, 1786. 8. 
 ALLBUT. The Staffordshire Potteries' Directory. Hanley, 1802. 12. 
 PITT (W.). A topographical history of Staffordshire. Newcastle u. L., 1817. 8. 
 SHAW (S.). History of the Staffordshire Potteries. Hanley, 1829. 12. 
 WARD (J.). The Borough of Stoke-upon-Trent. London, 1843. 8. 
 ANON. Staffordshire Potteries. A supplement to the Illustrated London News. London, 
 1884. Fol. 
 
 Industries of Staffordshire. Birmingham, 1890. 4. 
 
 A descriptive account of the Potteries. Brighton, 1893. 4. 
 HARPER (W. J.). Pottinge in ye Oldene Tymes. Tunstall, 1899. 8. 
 HALSEY (R. T. H.). Pictures on blue Staffordshire pottery. New York, 1900. 4. 
 SOLON (M. L.). The manufacture of pottery in Staffordshire. Stafford, 1901. 12. 
 RHEAD (G. and F.). Staffordshire pots and potters. London, 1906. 8. 
 SCARRATT (W.). Old times in the Potteries. Hanley, 1907. 8. 
 
 GRAHAM (Rev. Malcolm). Cup and saucer land. London, 1908. Sm. 4. 
 
 Stoke-on-Trent. 
 
 BROWN-WESTEAD, MOORE & Co. The Cauldon china. Hanley, 1893. Obi. 12. 
 COPELAND CHINA. Hanley, 1893. Obi. 12. 
 
 - Hanley, 1902. 8. 2nd ed., 1907. 
 
 MINTONS WYATT (M. D.). On the influence exercised on ceramic manufacture by 
 the late Mr. H. Minton. London, 1858. 12. 
 
 A brief account of a visit to Mintons (Ltd.). Stoke-on-Trent, 1884. 16. 
 
 - Various pattern books. 1887-88. 8. 
 
 The Queen's Jubilee Vase. London, 1887. 4. 
 
 - Saint Louis Exhibition. 1904. 8. 
 Secessionist ware. 1904. 12. 
 
 Swansea. 
 
 ROBY (J.). A reply to Mr. Dillwyn's pamphlet. Swansea, 1821. 8. 
 
 DILLWYN. Some remarks on two affidavits published by J. Koby. Swansea, 1822. 
 
 8. 
 TURNER (W.). The ceramics of Swansea and Nantgarw. London, 1897. 4. 
 
 Torksey. 
 
 O'NEILL (W.). Torksey old pottery and porcelain manufactory. London, 1899. 8. 
 
 Tunstall. 
 
 TURNER (G. W.). Synopsis of paintings. Tunstall, 1893. 8. 
 
 Worcester. 
 
 ANON. Worcester china. For the instruction of youth. 1810. 16. 
 
 BINNS (R. W.). A guide through the Worcester porcelain works. Worcester, 1853. 12. 
 
 Shakespere's Midsummer Night's Dream. Dublin, 1853. 8. 
 
 567 
 
CERA MIC LIT ERA TURE. 
 
 BINNS (R. W.). The origin and early history of the manufacture of porcelain at 
 
 Worcester. Worcester, 1862. 8. 
 A century of potting in the City of Worcester. London, 1865. 8. 2nd ed. 
 
 London, 1878. 8. 
 
 A guide through the Worcester porcelain works. 1882. 8. 
 
 Catalogue of a collection of Worcester porcelain. 1882. 8. 
 
 The partnership deeds of the original porcelain company. Worcester, 1883. 8. 
 
 The Worcester Koyal Porcelain Works. 1893. Obi. 12. 
 
 - A guide through the Royal Porcelain Works. 1893. Obi. 12. 
 
 Worcester china. A record of fifty years. London, 1897. 8. 
 
 VIZETELLI (F.). Catalogue of the Worcester collection of porcelain. London, 1865. 4. 
 DRANE (R.). An illustrative selection of old Worcester porcelain. Cardiff, 1898. 8. 
 
 C. WEDGWOOD WARE. 
 
 Shortly after the death of Josiah Wedgwood, the glory of a name, which once promised 
 to be perennial, had unexpectedly been allowed to fade. Not that it was quite forgotten, 
 but the tribute that the historian owes to the memory of all great men had not been 
 paid in due time ; the book which enshrines, for the benefit of succeeding generations. 
 the thoughts and deeds of a departed celebrity was wanting in the case of the most illus- 
 trious, of all English potters. The universal spread of his fame suffered from this 
 deficiency. All that could be found relating to the man and his work was limited to 
 some incomplete notices inserted in the local histories of Staffordshire and the few short 
 biographic articles which appeared in the British cyclopaedias. Writers had been found 
 to prepare and give us an account of the life of many of his contemporaries whose achieve- 
 ments, however creditable they may have been, cannot be compared, in their beneficial 
 result, with what Wedgwood had accomplished when " he transformed, through his 
 genius and energy, an insignificant trade into one of the mighty industries of his country." 
 No one had ever thought of collecting the materials for a life of Josiah Wedgwood, and 
 of writing it down while his memory was still fresh in the mind of his surviving friends. 
 
 One may say, as an excuse for that apparent neglect, that his death occurred at 
 a perturbed and disastrous period. So engrossing were the political events of the time 
 that all questions of national art and industry had to give way before preoccupations 
 of a .more vital order. Any attempt to direct public attention to such a subject as the 
 merits of English pottery would have appeared, to say the least, inopportune. Towards 
 the middle of the nineteenth century a change in the right direction had, however, taken 
 place. A gradual improvement in the artistic taste of the cultured classes of society 
 brought about a fairer appreciation of the long disregarded productions of the minor 
 arts. The refined pottery of the old Etruria works came naturally to the front. Before 
 the best specimens of it had obtained a high market value, a group of clear-sighted con- 
 noisseurs had began to gather them quietly, and important collections were soon formed. 
 These early collectors constituted a limited circle, working together and with the same 
 end in view. A highly-spirited young lady, already known in the literary world, Miss 
 E. Meteyard, associated herself, heart and soul, with the movement. She soon learned, 
 through her constant intercourse with the members of the circle, to fully appreciate 
 the works of Josiah Wedgwood, and regretted with them the neglect in which the name 
 of their maker seemed to have fallen. It was under these circumstances that Miss 
 Meteyard laid down the plan of the great work which was to be the outcome of the brilliant 
 
CERAMIC LITERATURE. 
 
 revival of the taste for old Wedgwood ware, and remain the highest consecration of the 
 genius of our greatest potter. 
 
 On the occasion of the inauguration of the Wedgwood Institute at Burslem, in 
 1863, W. E. Gladstone gave utterance, for the first time in public, to the feelings just 
 awakened among the select few. In a memorable address, he sketched with broad and 
 masterly strokes, an inspiring picture of the noble character of Josiah Wedgwood, and 
 the commanding voice of the great orator claimed for the man they were glorifying on 
 that day a seat of honour in the Walhalla of English worthies. 
 
 Soon afterwards came the publication of Miss Meteyard's Life of Wedgwood, a most 
 conscientious and exhaustive work. In the completion of that biography, as well as 
 in the production of the many volumes on Wedgwood ware she brought out in succession, 
 the author seems to have drained to the last drop all possible sources of information. 
 All subsequent biographers, although differing in some respect from her personal appreci- 
 ation of the character of her hero, have found little to add to the fundamental knowledge 
 of the subject, for which they were indebted to her book. 
 
 Wedgwood ware can be admirably reproduced in photography. There is no lack 
 of excellent- albums, which, taken in connection with the illustrated catalogues of the 
 special collections, may allow even a foreign amateur insufficiently acquainted with the 
 originals to form a correct idea of these typical examples of English pottery in its highest 
 form. To increase by further publications our store of richly illustrated volumes seems 
 well nigh superfluous. But we may still expect that many a book will be written as a 
 new attempt to depict the multiple sides of Josiah Wedgwood's striking personality. 
 More than one of his admirers might fairly assert that, although the genius of the great 
 potter may now be adequately appreciated on the industrial and technical aspects under 
 which it has hitherto been considered, much has still been left unsaid that would depict 
 the man as an artist, a scientist, and a philosopher. On the other hand, his name 
 may have to bear the attacks of some cynical detractor, the evil-minded spirit who revels 
 in soiling and tearing to pieces any mantle of glory, and manages to turn it inside out, 
 in order to show that there are holes in the lining. Any attempt in that direction should 
 be treated with contempt. What we mean to say is that the previous biographies have 
 by no means completed the work that has to be done. Many a portrait must still be 
 painted and hung up in the gallery. Each of these presentments being bound to reflect 
 something of the many-coloured rays under which the painter has examined the subject. 
 An ever-growing display of images of the kind will afford ample materials for the 
 maintenance of a captivating controversy. 
 
 WEDGWOOD (Josiah), Catalogues of Cameos . . . etc. Various editions, 1773- 
 1817. 
 
 - Papers relative to Mr. Champion's application to Parliament. London, 1775. 12. 
 An address to the young inhabitants of the Potteries. Newcastle u. L., 1783. 12. 
 
 An address to the workmen of the Potteries. . . . Newcastle u. L., 1783. 12. 
 
 - Description and use of a thermometer for measuring the higher degrees of heat. 
 London, 1784. 12. 
 
 METEYARD (Miss E.). Wedgwood catalogue of cameos, etc. London, 1873. 8. 
 
 Wedgwood and his work. London, 1873. Fol. 
 
 Memorials of Wedgwood. London, 1874. Fol. 
 
 The Wedgwood handbook. London, 1875. 8. 
 
 Choice examples of Wedgwood art. London, 1879. Fol. 
 
 LESSORE (E.). A catalogue of works on Queen's ware. London, 1876. 8. 
 
 569 
 
CERAMIC LITERATURE. 
 
 PHILLIPS (W. P.) and CHAFFERS (W.). Catalogue of an exhibition of old Wedgwood. 
 
 London, 1877. 8. 
 GATTY (Ch. T.). Liverpool Art Club. Catalogue of a loan collection of the works of 
 
 Josiah Wedgwood. Liverpool, 1879. 4. 
 PROPER! (Anon.). Collection of Wedgwood ware. London, 1881. 4. 
 
 BARTLETT (W.). Catalogue of a collection of old Wedgwood ware. Liverpool, 1882. 
 4. 
 
 RATHBONE (F.). Handbook to the collection formed by R. and G. Tangye. Birmingham 
 
 Museum. London, 1885. 8. 
 
 Josiah Wedgwood on the clay of Sydney Cove. Birmingham, 1886. 4. 
 
 Old Wedgwood ; the English relief art-work of the seventeenth century (sic.). 
 
 London, 1893-98. Fol. 
 
 A catalogue of the Loan Exhibition of old Wedgwood. Burslem, 1894. 8. 
 
 The Sanderson Collection. London, 1904. 8. 
 
 DAWSON (J.). The Wedgwood Memorial Institute. Burslem, 1894. 16. 
 KING (G.). The history of the great House of Wedgwood. London, 1897. 4. 
 MOORE (N. H.). Wedgwood and his imitators. London, 1909. 8, pp. 117; with 
 
 49 illustrs. 
 WILLIAMSON (G. C.). The imperial Russian dinner service. London, 1909. 4 ; with 
 
 phototype plates. 
 
 See also Biographies, Wedgwood; The Portland Vase; Cat. of Sales, Agnew, 
 Barlow, De la Rue, Falke (D.), Braxton Hicks, Valker (T. S.), etc. 
 
 d. MEDALLIONS IN VITREOUS PASTE. 
 
 TASSIE (J.) and RASPE (R. E.). A catalogue of ancient and modern engraved gems . . . 
 
 cast in coloured plates, white enamel, etc. London, 1791. 4. 
 GRAY (J.). James and William Tassie. Edinburgh, 1894. 8. 
 
 FRENCH. 
 
 Modern technology is indebted to the French vocabulary for the use of the terms 
 " Ceramic " and " Ceramic Art," as employed to express the collectiveness of all 
 branches of knowledge historical as well as technical that pertain to the art of the 
 potter. It is also in France that the archaeological researches, directed at first towards 
 laying the foundations of general history, were extended to the separate investigation 
 of the vicissitude of a particular place of manufacture. The first exhaustive monographs 
 of ancient factories are due to French writers. In the works of Andre Pettier, Du Broc 
 de Seganges, B. Fillon, and others, foreign historians found the guiding light which 
 showed the way to the production of many a volume of local history, framed on the 
 plan adopted for these inspiring models. 
 
 Scientific and literary France was at that moment entering a state of progressive 
 renovation which affected the march of every isolated branch of study. The common- 
 place words, " Pottery " and " Porcelain," were beginning to call to mind something 
 better than vulgar articles of daily use, or of household decoration ; the existence of 
 a ceramic art had just been revealed. New as the notion was of finding art in pottery, it 
 was readily accepted, for it opened vistas of fascinating discoveries. It took public fancy, 
 as it were, by storm. Never was the infatuation for the hoarding up of earthen vessels 
 and the hankering for the acquirement of special knowledge, to approach the degree of 
 intensity it reached in those dawning days of ceramic collecting and ceramic literature. 
 The publications of general and local histories succeeded to each other, and every new 
 570 
 
CfiRA MIC LITE & A TUBE. 
 
 work was eagerly read by the amateur craving for more learning. It was agreed that 
 henceforth the noted craftsmen who had distinguished themselves in the pursuit of their 
 calling were to be considered not simply as skilled operatives, but, in some cases, as 
 truly great artists. As to the technical achievements of the practical ceramist, hereto- 
 fore disregarded as mere empirical recipes, they were to be recognised as belonging to 
 science proper. The claims to the highest degree of recognition was, in the case of each 
 master, to be established by the research and examination of his best works. Old records 
 were ferreted out ; specimens of uncertain origin had to be critically examined ; styles 
 of manufacture, marks and monograms accurately determined. In short, materials 
 had to be gathered from all sides to assist the pioneers of ceramic history in their labour. 
 It will be seen that there was sufficient novelty of aim and scope in such a synopsis of 
 studies to put many a learned writer on his mettle. 
 
 The collected accumulation of ancient faience and porcelain ready for those who were 
 prepared to gather it was so enormous as to appear at first almost inexhaustible. France 
 has, probably, produced a larger quantity of ornamental pottery than any other country 
 in Europe. All possible kinds of manufacture have been, at one time or other, carried 
 on with success in the French provinces. To institute a preliminary consideration of the 
 state of the industry at the successive periods, as evidenced by the immense store of 
 actual works and documentary records handed down to us, was, indeed, for the intending 
 historian, travelling through a land of plenty. From a host of inviting subjects offering 
 themselves to his choice, he could select the most attractive, or the one he could treat 
 most successfully. As a matter of course, the earliest writers fixed their attention upon 
 the most important centres of production, and indited the most interesting chapters of 
 the story. In this way, Nevers, Kouen, Moustiers, etc., were dealt with independently. 
 The cake had been divided by knowing ones ; they secured the largest slices, and left only 
 broken crusts and minute crumbs to their successors. When everything seemed to 
 have been said concerning the chief centres of production, their history and the influence 
 they had exerted on the improvement of the national industry, the course of study had 
 to be diverted into minor channels. The individual part that many a factory of a more 
 modest order had played in the general advance of the art began to be investigated. 
 Once engaged on such a wide subject, the publication of notices and monographs increased 
 with astounding rapidity. 
 
 We feel indebted to the eccentric collector, who, having gathered in his distant 
 province interesting specimens of a ware which still wanted the sanction of the general 
 public to be classed and appreciated, wrote upon its merits a paper that made it known 
 as it deserved. Our thanks are due to the discoverer of the small pot-works which had 
 subsisted in pirating the patterns originated in the best factories, and who warned his 
 brother-collectors that all faiences decorated in a well-known style were not bound to 
 be genuine Rouen, Nevers, or Moustiers. 
 
 But by the side of these conscientious and instructive publications we find many that 
 can scarcely serve any purpose. Of that kind are the fully-detailed accounts of small 
 works which simply made mustard pots and preserve jars ; the pretentious pamphlets 
 written to demonstrate the non-existence of works supposed to have flourished ; and sundry 
 other contributions abounding in inaccuracies, false statements, and inane discussions. 
 
 The first duty of a bibliographer is to record the title of every book that comes 
 within the range of his subject ; the second is to supplement it with a descriptive notice. 
 But if such notices are to be of any use, they must faithfully indicate the value and 
 peculiar features of every volume and pamphlet. We have endeavoured to satisfy this 
 requirement as far as it lay in our power in the first part of this work. 
 
 571 
 
CERAMIC LITERATURE. 
 
 a. GENERAL. 
 
 LE GRAND d'AUSSY. Histoire de la vie privee des Franyais. Paris, 1782. 12. 
 
 LA QUERIERE (E. de). Essai sur les girouettes. Paris, 1846. 8. 
 
 CAUMONT (M. de). Quelques produits ceramiques du moyen-age. Caen, 1850. 8. 
 
 RAME (A.). Notes sur quelques epis en terre cuite. Caen, 1858. 8. 
 
 JACQUEMART et LE BLANT. Anciennes faienceries fran9aises. Paris, 1859. 8. 
 
 MATHON. Quelques vases du musee de Beauvais. Beauvais, 1860. 8. 
 
 POTTIER (A.). Essai sur la classification des poteries normandes. Rouen, 1867. 8. 
 
 MARESCHAL (A. A.). La faience populaire au 18 e siecle. Paris, 1872. 8. 
 
 GARNIER and GASNAULT. French pottery. London, 1884. 8. 
 
 GUIFFREY (T.). Documents inedits sur les anciennes manufactures de faience et de 
 
 porcelaine. Paris, 1889. 8. 
 
 GERSPACH. Documents sur les anciennes faiences frangaises. Paris, 1891. 8. 
 DESAIVRE (L.). Sur trois vases de forme singuliere. Poitiers, 1892. 8. 
 VACHON. Les industries d'art. (Departments.) Nancy, 1897. 4. 
 SAINT-VENANT (J. de) Ancient vases a bee. Caen, 1899. 8. 
 NOLHAC (P. de). Le Trianon de porcelaine. Paris, 1901. 8. 
 SOLON (M. L.). History of the old French faience. London, 1903. 8. 
 AUSCHER (E. S.). La ceramique au chateau de Versailles. Versailles, 1903. 8. 
 
 History and description of French porcelain. London, 1905. 8\ 
 BOUTINEAU (F. E.). Vases de pharmacie du 17 e siecle. Tours, 1905. 8. 
 FRANTZ (H.). French pottery and porcelain. London, 1905. 8. 
 CHAVAGNAC (X. de) et GROLLIER (de). Histoire des manufactures fra^aises de 
 
 porcelaine. Paris, 1906. 8. 
 DORVEAUX (P.). Les pots de pharmacie. Paris, 1908. 8, pp. 90 ; 14 pis. 
 
 &. MONOGRAPHS. 
 
 A gen. 
 SABATIER. Les anciennes faienceries de 1'Agenais. Agen, 1898. 8. 
 
 AlU. 
 
 FOURES (A.). Potiers et poteries du Lauraguais. Albi, 1890. 8. 
 
 Alpes. 
 
 ROMAN (J.). La poterie et la faiencerie dans les Alpes. Gap, 1897. 8. 
 
 Alsace and Lorraine. 
 
 HANNONG (J. A.). Reponse du Sieur J. A. Hannong. S.I, 1781. 8. 
 BAYARD (Ch.) Tarif de la manufacture de Bayard a Berevue. 1790 ? 8. 
 TAINTURIER (A.). Recherches sur les anciennes manufactures de porcelaine et de 
 
 faience (Alsace et Lorraine). Strasbourg, 1868. 8. 
 
 MOREY (P.). Les statuettes dites de Terre de Lorraine. Nancy, 1871. 8. 
 572 
 
CERAMIC LITERATURE. 
 
 (ANON.)- Notice sur les faienceries de Longwy et de Senelle. Paris, 1878. 4, 
 AUGUIN. Exposition retrospective de Nancy. Nancy, 1875. 8. 
 WIENER (L.). Manufacture de Saint Clement. Nancy, 1878. 8. 
 - Les vases de la pharmacie de St. Charles.- Nancy, 1881. 8. 
 GERSPACH. La faience et la porcelaine de Strasbourg. Strasbourg, 1883. 8. 
 GAIDAN (L.). Notes sur la maison de faience artistiques. Nancy, 1885. 8. 
 SAVE (G.). Les Faiences de Gerardmer. Nancy, 1888. 8, pp. 8. 
 GALLE Faienceries de Nancy. Nancy, 1889. 4. 
 
 Angouleme. 
 BIAIS (E.). Etude sur les faiences d' Angouleme et de Cognac. Paris, 1894. 8. 
 
 * 
 
 A prey. 
 DEVEAU (P.). Les faiences d'Aprey. Dijon, 1908. 4. 
 
 Argonne. 
 LIENARD (F.). Les faienceries de 1'Argonne. Verdun, 1877. 8. 
 
 Arras. 
 
 CAVROIS (L.). Le refuge d'Etrun et la manufacture de porcelaine d' Arras. Arras, 
 1877. 8. 
 
 Audi. 
 
 TARBOURIECH. Documents sur quelques faienceries du Sud-Ouest de la France. 
 
 Paris, 1864. 12. 
 CALCAT. Faienceries d'Auch. Paris, 1898. 8. 
 
 Auvergne. 
 
 COHENDY (M.). Ceramique Arverne. Clermont-Ferrand, 1872. 4. 
 DU FRAISSE de VERNINES. Parallele des poteries d'Auvergne. Paris, 1874. 12. 
 GRANGE (G.). Histoire de la manufacture de faience de Clermont-Ferrand. Clermont- 
 Ferrand, 1882. 4. 
 
 Auxerre. 
 
 CHEREST (A.). Les faiences de 1'Auxerrois. Auxerre, 1875. 8. 
 
 Bayeux. 
 
 VILLERS (G.). La manufacture de porcelaine dure de Bayeux. Caen, 1856. 8. 
 BLANCHETIERE. Visite a la manufacture de porcelaine de Bayeux. Caen, 1877. 8. 
 BREBISSON (R. de). Histoire de la ceramique a Bayeux. Bayeux, 1897. 8. 
 
 Bordeaux. 
 DURAND. Rapport sur la fabnque de poterie de Mr. D. Johnson. Paris, 1839. 8. 
 
 JOHNSON (D.). Rapport sur la manufacture de porcelaine a Bordeaux. Bordeaux, 
 1855. 8. 
 
 MANES (W.). La porcelaine a Bordeaux. S.I., 1856. 12. 
 
 AZAM. Les anciennes faienceries de Bordeaux. Bordeaux, 1880. 8. 
 
 LABADIE. Lettres sur la ceramique. Bordeaux, 1904. 8. 
 
 573 
 
CERAMIC LITERATURE. 
 
 Boulogne. 
 
 VAILLANT. Les ceramistes boulonnais. Boulogne s. Mer, 1882. 8. 
 LEFEBVRE (A.). La ceramique boulonnaise. Boulogne s. Mer, 1899.' 4. 
 
 Briare. 
 
 TURGAN. Fabrique de boutons ceramiques. Paris, s.d. 8. 
 
 Caen. 
 
 MORIERE. Essai sur la poterie de Noron. Caen, 1848. 4. 
 Industrie potiere dans le Calvados. Caen, 1848. 4. 
 
 BREBISSON (R. de). La porcelaine de Caen. S.d. 8. 
 
 
 
 Chambery. 
 
 BARBIER (V.). Poterie de la Savoie. Chambery, 1875. 8. 
 
 LOCHE (Cte. de). Notice sur la fabrique de faience de La Forest. Chambery, 1880. 8. 
 
 Chantilly. 
 
 FAUQUENPREZ. Histoire de Chantilly. 1840. 12. 
 MACON. Les arts dans la Maison de Conde. Paris, 1903. 4. 
 
 Chatel-la-Lune. 
 QUEVILLY. Notes sur la poterie de Chatel-la-Lune. Caen, 1898. 8. 
 
 Cher. 
 
 LAUGARDIERE (C. de). Documents pour servir a 1'histoire de la ceramique dans le 
 Cher. Bourges, 1870. 8. 
 
 Choisy-le-Roi. 
 ANON. Faienceries de Choisy-le-Koi. 1878. 4. 
 
 Creil. 
 
 ANON. Statistique industrielle du Canton de Creil. Senlis, 1825. 12. 
 
 D 'ESC AMPS. Notice sur les manufactures de faience de Creil et Montereau. Paris, 
 
 1874. 4. 
 WIENER. Manufactures de Creil et Montereau. 1878. 4. 
 
 Dijon. 
 
 MARCHANT (L.). Recherches sur les faienceries de Dijon. Dijon, 1885. 4. 
 
 Douai. 
 HOUZE de 1'AULNOIT. Essai sur les faiences de Douai. Lille, 1882. 8, 
 
 Fontainebleau. 
 HERBET (F.). Les emailleurs sur terre de Fontainebleau. 1897. 8. 
 
 Fontenay. 
 
 AUSSANT. Fabrique de poterie artistique a Fontenay. Rennes, 1870. 8. 
 574 
 
CERAMIC LITERATURE. 
 
 Gien. 
 TURGAN. Faienceries de Gien. Paris, 1880 (?) 8. 
 
 Giroussens. 
 RIEUX (E.). Les poteries de Giroussens. Albi, 1901. 8. 
 
 Isigny. 
 LANGLOIS. Societe pour la fabrication de la porcelaine a Isigny. S.d. 8. 
 
 Lille. 
 
 HOUDOY (J.). Recherches sur les manufactures lilloises. Lille, 1863. 8. 
 
 Histoire de la ceramique lilloise. Paris, 1869. 8. 
 
 CUSSAC (E.). Notice sur les faiences de la collection of Mr. E. Cussac. Lille, 1878. 8. 
 
 Limoges. 
 
 TEXIER. Statistique de la Haute Vienne. 1808. 4. 
 ALLUAUD. Lettre des fabricants de porcelaine de Limoges. Limoges, 1836. 8. 
 
 Historique et statistique de la porcelaine du Limousin. Limoges, 1837.- 8. 
 PETIT-LAFITTE. Vilaris et la decouverte du Kaolin. Bordeaux, s.d. 8. 
 SALVETAT. Etat actuel de la fabrication de Limoges. Paris, 1875. 4. 
 HAVILAND & Co. Pattern book. Exhibition of 1878. Obi. 4. 
 TURGAN. Fabrique de porcelaine et de faience de M. M. Haviland & Co. Paris, s.d. 
 
 8. 
 
 PALLIER (M.). Limoges, quelques mots sur son industrie. Limoges, 1884. 16. 
 GARNIER (E.). Sevres, Limoges. Paris, 1890. 8. 
 
 PERRUSSON (E.). L'industrie de la porcelaine en Limouzin. Limoges, 1892. 8. 
 BAWO and DOTTER. Limoges ; its people ; its china. New York, 1901. Sq. 12. 
 JOUHANNEAUD (Ch.). Anciennes porcelaines de Limoges exposees en 1903. 8. 
 LEROUX (A.). Histoire de la porcelaine de Limoges. Limoges, 1904. 8. 
 GRELLIER (C.). L'industrie de la porcelaine a Limoges. Paris, 1909. 8. 
 
 Lorient. 
 
 JEGOU (F.). La manufacture de porcelain de Lorient. Lorient, 1865. 8. 
 Ceramique bretonne. Porcelaine et faience faites a Lorient. 1876. 12. 
 
 Luxembourg. 
 SIBENALER. Conference sur les anciennes faiences luxembourgeoises. Arlon, 1897. 8. 
 
 Lyons. 
 
 ROLLE (F.). Documents relatifs aux anciennes faiences lyonnaises. Lyon, 1865. 8. 
 LA FERRIERE-PERCY. Une fabrique de faience a Lyon sous le reigne de Henri II. 
 
 Paris, 1872. 8. 
 
 MICHEL (E.). Essai sur 1'histoire des faiences de Lyon. Lyon, 1876. 8. 
 BROSSARD (P.). Les faiences lyonnaises. Paris, 1881. 4. 
 NOELAS. Histoire des faiences roanno-lyonnaises. Roanne, 1883. 8. 
 RONDOT (N.). La ceramique lyonnaise du xiv e au xviii 6 siecle. Paris, 1889. 8. 
 
 Les potiers de terre italiens a Lyon au xvi e siecle. Paris, 1892. 8. 
 
 Les fa'ienciers italiens a Lyon au xvi e siecle, Paris, 1895. 8. 
 
 575 
 
CERAMIC LITERATURE. 
 
 Marseilles. 
 
 MONTREUIL (A.). Anciennes industries marseillaises. Marseilles, 1858. 8. 
 GRAND (V.). La ceramique de Saint-Henri. Aix, 1878. 12. 
 ARNAVON. Une collection de faiences proven9ales. Paris, 1902. 4. 
 
 Meillonas. 
 
 MILLIET (E.). Kecherches sur les faiences de Meillonas. Bourg, 1876. 8. 
 
 Mennecy. 
 
 DARBLAY (A.). La porcelaine de Villeroy. Corleil, 1897. 8. 
 Villeroy ; son passe, sa fabrique de porcelaine. Paris, 1901. 4. 
 
 Monaco. 
 
 LIMOUZIN (C.). Monaco artistique et industriel. La poterie. Nice, 1876. 18. 
 
 Montauban. 
 
 FORESTIER (E.). Une faiencerie montalbanaise ou 18 e siecle. Montauban, 1875. 8. 
 
 Les anciennes fa'ienceries de Montauban. Montauban, 1876. 8. 
 
 Coup d'ceil sur 1'art ceramique dans le Tarn-et-Garonne. Paris, 1881. 8. 
 
 Montigny. 
 SCHOPIN (E.). Faiences dites Barbotines. Paris, 1878. 8. 
 
 Moustiers. 
 
 DAVILLIER (J. C.). Histoire des faiences et porcelaines de Moustiers. Paris, 1863. 8 
 DOSTE (J. E.). Notice historique sur Moustiers et ses faiences. Marseilles, 1874. 8, 
 GAY (A.). Histoire du village de Castellet. Forcalquier, 1878. 8. 
 BERLUC-PERUSSIS. Les anciennes fa'ienceries de la Haute-Provence. Digne, 1885. 
 
 8. 
 
 FOUQUE (E.). Moustiers et ses faiences. Aix, 1889. 8. 
 REQUIN (1'Abbe H.). Histoire de la faience artistique de Moustiers. Paris, 1903. 4, 
 
 Nevers. 
 
 GROUET (C.). De 1'art ceramique dans le Nivernais. Nevers, 1844. 18. 
 DU BROC de SEGANGES (L.). La faience et les faienciers de Nevers. Nevers, 1863. 
 
 4. 
 
 TOYTOT (E. de). Faienciers de Neveis. Paris, 1866. 8. 
 ROUBET (L.). Memoire sur une question ceramique. Nevers, 1868. 8. 
 TURGAN. Faiencerie de H. Signoret. Paris. 8. 
 
 GR ASSET. Historique de la faiencerie de La Charite-sur-Loire. Paris, 1876. 8. 
 BOUVEAULT et FIEFFE. Faiences nivernaises. Nevers, 1885. 4. 
 FIEFFE. La faience patronimique . . . dans la ceramique nivernaise. Clamecy, 
 
 1901. 8. 
 MASSILLON-ROUVET. Les Conrade ; introduction des faiences d'art a Nevers. Nevers, 
 
 1898. 8. 
 
 Les Conrade ; leurs faiences d'art. Paris, 1901. 8. 
 
 576 
 
CERAMIC LITERATURE. 
 
 Orleans. 
 
 BIZEMONT (A. de). Faiences d'Orleans. Paris, 1869. 4. 
 PIOT (E.). La manufacture etablie a Orleans en 1753. 8. 
 
 Paris. 
 
 DUVAL. Memoiro pour le Sieur Mignon (manufacture du Pont-aux-choux). Paris 
 1769. Sm. 4. 
 
 Picardy. 
 
 POUY (F.). Les faiences d'origine picarde. Amiens, 1872. 8. 2nd ed., 1873. 
 LECOCQ (J.). Etude sur la ceramique picarde. Paris, 1874. 8. 
 
 - and (G.). Histoire des fabriques de faience de la Haute Picardie. Paris, 1877. 4. 
 WIGNIER (C.). Poterie emaillee de Tancien Ponthieu. Paris, 1887. 8. 
 
 Poitou. 
 
 FILLON (B.). L'art de terre chez les Poitevins. Niort, 1864. 4. 
 
 - Coup d'oeil sur 1'ensemble de la ceramique poitevine. Fontenay-le-Comte, 1865. 4.- 
 
 Quimper. 
 
 LEMEN (R. F.). La manufacture de faience de Quimper. Quimper, 1875. 8. 
 LEBRETON (G.). Les faiences de Quimper a 1'Exposition. Rouen, 1876. 12. 
 
 Rennes. 
 
 JACQUEMART (A.). Les faiences de Rennes. Paris, s.d. 8. 
 DECOMBE. Les anciennes faiences rennaises. Rennes, 1900. 8. 
 
 Rochelle (La). 
 
 RIS-PAQUOT. Documents inedits sur les faiences charentaises. Amiens, 1878. 12. 
 MUSSET (G.). Les faiences rochelaises. La Rochelle, 1888. 4. 
 
 Rouen. 
 
 LAMBERT. Coup d'ceil sur 1'industrie du potier de terre a Rouen. Rouen, 1838. 8. 
 POTHER (A.). La premiere porcelaine fabriquee en Europe a ete inventee a Rouen. 
 
 Rouen, 1847. 8. 
 
 DELISLE (L.). Documents sur les fabriques de faience de Rouen. Valognes, 1865. 8. 
 ROBILLARD de BEAUREPAIRE (E.). Les faiences de Rouen et de Nevers a 1'Exposi- 
 
 tion universelle. Caen, 1867. 8. 
 MILET (A.). Priorite de 1'invention de la porcelaine a Rouen en 1673. Rouen, 1867. 
 
 12. 
 
 BORDEAUX (Raymond). Les brocs a cidre en faience de Rouen. Caen, 1868. 4. 
 
 POTTIER (Andre). Histoire de la faience de Rouen. Rouen, 1870. 4. 
 
 POSSESSE (M. de). La faience de Rouen. 8.1, n.d. 4. 
 
 RIS-PAQUOT. Histoire de la faience de Rouen. Amiens, 1870. 4. 
 
 GOUELLAIN (G.). Etude ceramique sur une vue du port de Rouen. Rouen, 1872. 4. 
 
 LERUE (J. A. de). Les anciennes faiences populaires de Rouen. Rouen, 1868. 8. 
 
 - Histoires locales. Anciennes poteries de Rouen. Rouen, 1873. 8. 
 
 Ceramique rouennaise. La collection de Mr. Grustave Gouellain. Rouen, 1877. 18. 
 37 577 
 
CERAMIC LITERATURE. 
 
 LERUE (J. A. de). La collection de Mr. Paul Baudry. Rouen, 1877. 18. 
 
 Rouen artiste. La collection de Mr. d'lquelon. Rouen, 1878. 18. 
 
 GOUELLAIN (G.). La ceramique musicale. Paris, 1878. 16. 
 
 ASSEGOND (A.). Notice sur une assiette en faience de Rouen. Bernay, 1887. 8. 
 
 CANONVILLE-DESLYS. Les merveilles de la ceramique rouennaise. Rouen, 1891. 8. 
 
 PALUSTRE (L.). Une cheminee en vieux Rouen. Bordeaux, 1892. 8. 
 
 BREBISSON (R. de). La porcelaine tendre de Rouen. Evreux, 1895. 8. 
 
 MILET (A.). Historique de la faience et de la porcelaine de Rouen. Rouen, 1898. 8. 
 
 POREE. Note sur le monogramme de Masseot Abaquesne. Paris, 1898. 8. 
 
 JOURDY (Gen.). Histoire geologique de la faience de Rouen. Rouen, 1907. 8. 
 
 Rubelles. 
 LEROY. La faience de Rubelles. Paris, 1898. 12. 
 
 Saint-Clement. 
 WIGNIER (Ch.). La manufacture de Saint-Clement. Nancy, 1878. 8. 
 
 Saint-Cloud. 
 
 AUBRY. Requeste au Roi sur les secrets de la vraye porcelaine de France. (1695 ?) 4. 
 Nouvelle requete de la veuve Chicanneaux. S.d. 4. 
 
 Saint Denis-sur-Sarihon. 
 DESPIERRES (G.). Histoire de la faience de St. Denis-sur-Sarthon. Paris, 1889. 4. 
 
 Samadet. 
 
 SORBETS (L.). Faienceries de Samadet. Dax, 1895. 8. 
 
 LAFOND (P.). La manufacture royale de faience de Samadet. Paris, 1900. 8. 
 
 SENTEX (L.). La faiencerie de Samadet (Landes). Dax, 1903. 8. 
 
 * 
 
 Sarreguemine. 
 / f 
 MERIMEE (P.). Rapport sur une nouvelle poterie de Fabry et Utzschneider. Paris, 
 
 1810. 8. 
 ANON. Memoire sur 1'art du faiencier. Paris, 1820. 8. 
 
 Sceaux. 
 
 I 
 
 THORE (Dr.). Les anciennes fabriques de faience et de porcelaine de Sceaux. Paris, 
 1868. 8. 
 
 Sinceny. 
 
 WARMONT. Notice sur les faiences de Sinceny. Noyon, 1863. 8. 
 
 Recherches historiques sur les faiences de Sinceny, Rouy, et Ognes. Paris, 1864. 
 
 8. 
 FLEURY (E.). Trompettes jongleurs. 1874. 8. (See also Picardy.) 
 
 Strasburq. 
 
 See Alsace-Lorraine. 
 
 578 
 
CERAMIC LITERATURE. 
 
 Tours. 
 BOSSEBCEUF (F.). Documents sur la ceramique en Tourainc. Tours, 1893. 8. 
 
 Valenciennes. 
 
 LEJEAL (A.). Recherches historiques sur Ics manufactures de faience et de porcelaine 
 
 de Valenciennes. Valenciennes, 1868. 8. 
 COLLET. Examen des recherches liistoriques du Dr. Lejeal. 1868. 8. 
 
 Vallauris. 
 
 PARFAIT (P.). Un village de potiers. Vallauris (Var.). Paris, 1873. 8. 
 MONCKHOUSE (W. C.). Vallauris and its allies. London, 1882. 4. 
 FRANCHET (L.). La poterie culinaire de Vallauris. Paris, 1908. 4. 
 
 Valognes. 
 BREBISSON (R. de). Histoire dc la porcelaine de Valognes. Valognes, 1899. 8. 
 
 Var. 
 
 RENOUX. Simple expose sur 1'industrie ceramique dans le Var. Aix, 1864. 8. 
 GARNIER (E.). La faience japonnee et la fabrique des Pourpres. (Var.) Chartres, 
 1893. 8. 
 
 Vron. 
 
 WIGNIER. Monographic de la manufacture de faience de Vron. Abbeville, 1876. 8. 
 LUCAS. La manufacture de faience de Vron. Amiens, 1883. 8. 
 
 C. HENRI-DEUX WARE. 
 
 In Willemin's Monuments franqais inedits, published in 1839, Andre Pettier called, 
 for the first time, the amateur's attention to a remarkable series of earthenware pieces, 
 unique of their kind, of which he described twenty-five specimens. But he hazarded 
 no speculations as to the place of manufacture of that ware and the name of its maker. 
 Since then, many endeavours have been made to clear up the mystery, and the whole 
 range of possibilities has been keenly scrutinised with the view of presenting a satisfactory 
 solution to the problem. H. Delange proposed that it should be attributed to Girolamo 
 Delia Robbia, who worked in Paris as potter to King Francis I. Tainturier thought 
 that it might have been the work of two other Italians, also settled in France at the 
 same period, Ascanio and Paolo, both pupils of Benvenuto Cellini. Judging from the 
 style of its decoration, which recalls the typographic and bookbinding ornaments of 
 contemporary times, A. Bernard presented the notion that Geofroy Tory, printer, engraver, 
 bookbinder, and, some say, also a potter, must have had a hand in the making of these 
 pieces. In England, a few connoisseurs, comparing the yellowish clay with which they 
 are made with that of the early cream colour, went so far as to pretend that they were 
 of English origin. At last B. Fillon brought forth the Oiron theory. It was so cleverly 
 built up that, for one moment, it rallied all dissidents, and seemed to close the controversy 
 for ever. But E. Bonnaffe, in his turn, supplied a very different solution of the enigma. 
 His discovery of the inventory made after the death of Franyois de la Tremouille 
 threw ^Jie Oiron theory into the shade. This inventory contained the mention of four 
 
 579 
 
CERAMIC LITERATURE. 
 
 pieces, the description of which appears to agree with the best examples we possess of 
 the ware, and which are designated as being made of " Saint Porchaire's Clay." As 
 the village of Saint Porchaire is situated in the very district in which the greater number 
 of these pieces have been discovered, and as, moreover, pottery is known to have been 
 made in the place, there was little reason to look anywhere else for the origin of these 
 puzzling productions of old French ceramic art. Lately, however, some report has been 
 circulated concerning some pot-works known to have existed not far from Paris, where 
 a very remarkable ware was produced at the Renaissance period ; it is said that, as 
 none of the productions of those works have ever been identified, they might well be 
 represented by the so-called Henri-deux ware. More surprises may still be in store for 
 us ; many other suggestions may still be presented ; the question is certainly well worth 
 settling, and the last word has not been said which shall set all uncertainty at rest. 
 
 DELANGE (H.). Girolamo della Robbia. Paris, 1847. 8. 
 
 TAINTURIER (A.). Notice sur les faiences dites de Henri II. Pan's, 1880. 8. 
 
 DELANGE (C. and H.). Recueil de la faience frangaise dite de Henri II. Paris, 1861. 
 
 Fol. 
 
 FILLON (B.). Les faiences d'Oiron. Fontenay, 1862. 8. 
 KING (A. C.). Notice of the Henri deux ware. London, 1868. Fol. 
 RIS (L. Clement de). Musee du Louvre. Notice des faiences franyaises. Henri II., 
 
 Palissy, etc. Paris, 1871. 18. 
 DELANGE (C.). Recueil des principales pieces connues de la faience franyaise dite de 
 
 Henri II. Nouvelle edition. Paris, 1888. 4. 
 
 BONNAFFE (E.). Les faiences de Saint Porchaire. Paris, 1888. 8. 
 
 Article in the Collection Spitzer. Paris, 1890. Fol. 
 
 SAINT MARC (C. de). Les faiences de Oiron en terre de Saint Porchaire. St. Maixent, 
 
 1889. 8. 
 CHERTIER (F.). Notice sur une aiguiere dite Henri II. Chateauroux, 1891. 8. 
 
 f 
 d. PALISSY WARE. 
 
 DELANGE (C.) et BORNEMAN (C.). Monographic de 1'oeuvre de Bernard Palissy. Paris, 
 
 1862. Fol. 
 
 TAINTURIER (A.). Les terres emaillees de B. Palissy. Paris, 1863. 8. 
 GRASSET. Notice etablissant que la marque B. B. ne peut etre attribute a Palissy. 
 
 Paris, 1872. 8. 
 
 DANGIBEAU (Ch.). Notes sur les potiers de Saintonge. Saintes, 1884. 8. 
 MOLINIER (E.). Les faiences de Bernard Palissy. Paris, 1890. Fol. (Article in La 
 
 Collection Spitzer.} 
 
 See also Biographies, Palissy. 
 
 e. SEVRES PORCELAIN. 
 
 If all the intrinsic qualities which find each their supreme expression in one distinct 
 class of the ceramic art could be crystallised into a single object, if we were asked to name 
 the fictile production which shows the nearest approach to the realisation of an unattain- 
 able ideal, a vase of Sevres porcelain would, unhesitatingly, present itself to our mind. 
 Is it not in a choice specimen of the ware that we see preciousness of substance and 
 elegance of form glowing harmonies of colour and artistic treatment united to a degree 
 that has never been reached in any other kind of pottery ? 
 
 580 
 
C 'ER 'A MIC LITERATURE. 
 
 In exchange for a vase of Sevres if such a thing could have existed in olden times 
 a Greek would have given the finest of his Corinthian Anaphoras ; a Roman would have 
 parted from his most costly murrhine ; at the sight of such a treasure, the Florentine 
 Prince might have turned away, sorely disappointed, from the gorgeous garnish of 
 majolica dishes presented to him by his liege-men, the potters of Cafaggiolo ; and the 
 Chinese Mandarin, so proud of his ancient King-te-Chin white and blue, could have 
 begun to doubt whether his porcelain, so far of matchless beauty, had not now a dangerous 
 rival in the Occident. 
 
 The transcendental superiority evinced by the soft china of Sevres is the product of 
 a skilful combination of concordant processes already in practice in the kindred arts then 
 flourishing in the kingdom of France. We cannot say that any of the technical processes 
 employed in the factory, and brought there to the highest pitch of perfection, did actually 
 originate in the place. Saint Cloud, and shortly afterwards, Chantilly, Mennecy, and 
 Vincennes had already produced a soft paste so perfect in its composition that it left 
 little room for improvement. The brightest tints of the grounds, the most delicate 
 shades of colours were not unknown to the enamellers who, for centuries before, had 
 passed as master in the art. As to the superlative merit of the artistic productions, 
 it had its source in the effective collaboration of the best sculptors and painters of the 
 times, who not only supplied models and designs, but also watched over their proper 
 execution ; a host of valiant auxiliaries, on which the direction depended to guide the 
 efforts of the permanent staff of skilful operatives and artists. [It was. under such 
 exceptional conditions that a ware was produced at Sevres, exhibiting a degree of refine- 
 ment and perfectness unequalled by any other. We may well be surprised that such 
 an incontestable and uncontested supremacy has not yet received its final consecration 
 in the bringing out of a standard book, entirely devoted to the glory of the national 
 factory of French porcelain ; a work which by its comprehensiveness and the high style 
 of its production would be worthy of the subject. Now, when we come to run our 
 eye upon that part of the bibliography that relates to Sevres porcelain, we find it 
 occupied by a tolerably long list of official acts and documents, catalogues of collections, 
 essays, and detached articles a satisfactory proof that the subject has not been 
 altogether neglected, but the paragon volume, the Magnum Opus, we should like to 
 find there, is conspicuous by its absence. \ 
 
 Surely a sufficiency of materials has been accumulated by^this time to facilitate 
 the completion of a monograph that should equal, if not outshine, in typographic beauty 
 as well as in narrative interest the finest ceramic book that has ever been printed. We 
 cannot rest satisfied with a stock, however large, of documents and pamphlets. Were 
 they all easily obtainable which is far from being the case it would be a long and 
 tiresome labour to extract from each of them the particular portion which is not repeated 
 in all the others. This work of compilation and co-ordination should be done for us 
 by a competent pen. The result would form a monograph exhaustive and definitive. 
 To all that is known about the history of the manufactory and the sum of it is con- 
 siderable should be added such minor information as can be gathered from many still 
 untried sources. It is, moreover, indispensable that it should be profusely illustrated 
 with coloured plates, representing the choicest examples of the various periods of manu- 
 facture, which the modern processes of photo-chromy would render with absolute 
 perfection. 
 
 Shall we ever see the realisation of the noble volume of which we have just sketched 
 an imaginary description ? All lovers of fine porcelain are waiting for it. Up to the 
 
 581 
 
'CERAMIC LITERATURE. 
 
 present day, however, no writer has been found willing to devote to the undertaking 
 the necessary amount of talent and energy ; no publisher has ever come forward ready 
 to run the risk of an uncertain speculation. A well-meant, but clearly inadequate effort 
 was attempted a few years ago in that direction by E. Gamier. The scheme was an 
 ambitious and praiseworthy one, but the execution remained far behind what might 
 have been expected. 
 
 England. 
 
 ROBINSON (J. C.). Catalogue of Oriental and Sevres porcelain, the property of H.M. 
 
 The Queen. London, 1858. 8. 
 READ (R. W.). Salisbury Museum. Loan collection of Sevres. Salisbury, 1871. 12. 
 
 Loan collection. Porcelain statuettes. Salisbury, 1872. 12. 
 
 SOUTH KENSINGTON MUSEUM. Handbook of the Jones collection. London, 1883. 
 
 8. 
 
 GARNIER (E.). The soft porcelain of Sevres. London, 1889. Fol. 
 GOODE (W. J.). On old and modern Sevres china. London, 1890. 8. 
 MASSON (F.). Sevres china in Mr. Chappey collection. London, 1905. Fol. 
 ANON. Notes on the collection of old turquoise Sevres porcelain. (Collection Chere- 
 
 meteff.) London, 1906. Sq. 8. 
 LAKIN (F. G.). Sevres porcelain. Buckingham Palace and Windsor Castle. London, 
 
 1907. 4. 
 
 France and other Countries. 
 
 PHELYPEAU. Decrees relating to the Royal manufactory of Sevres. 1748 to 1764. 
 
 4. 
 SARTINE (De). Ordonnance concernant les privileges de la Manufacture de Sevres. 
 
 Paris, 1763. 4. 
 BERTIN. Arrest du Conseil d'Etat du Roi qui . . . confirme les privileges de la 
 
 Manufacture royale de porcelaine de France. Paris, 1766-1776. 
 FAUCONNIER. Memoire pour les Directeurs de la Manufacture royale de Sevres. Paris, 
 
 1769. 4. 
 CHARON. Precis de 1'affaire pour la manufacture de porcelaine de France. Paris, 
 
 1772. 8. 
 
 LENOIR. Privileges de la Manufacture Royale de Sevres. Paris, 1779. 4. 
 BRETEUIL (Baron de). Arret confirmant les privileges- de la Manufacture Royale de 
 
 Sevres. Paris, 1784-1787. 4. 
 BACHELIER (J. T.). Memoire historique de 1'origine et des progres de la Manufacture 
 
 Nationale de France. Paris, 1795. 32. 
 FOURCROY. Rapport sur un memoire du Citoyen Brongniart. Paris, 1802. 4. 
 
 MANUFACTURE ROYALE DE SEVRES. Notices sur les Expositions des porcclaines 
 
 de la manufacture de Sevres au Musee royal du Louvre. Paris, 1818-1847. (28 
 
 catalogues.) 18. 
 
 BRONGNIART (A.). Etat actuel de la Manufacture de Sevres. Paris, 1830. 4. 
 BRONGNIART et RIOCREUX. Description methodique du Musec ceramique de Sevres. 
 
 Paris, 1845. 4. 
 
 SCHILT (L. P.). Sur la manufacture de Sevres. S.l, 1848. 8. 
 POTTIER (A.). Sur le vase hispano-moresque de TAlhambra a propos d'un vase en 
 
 porcelaine de Sevres. Rouen, 1851. 8. 
 
 CITTADELLA (L. N.). Descrizione di un dipinto in porcellana. Ferrara, 1853. 8. 
 TURGAN. Sevres. Paris, 1876. 8. (In Les grandes usines de France.) 
 582 
 
CERAMIC LITERATURE. 
 
 DARCEL (A.). Catalogue du musee retrospectif. (Porcelaines de Sevres de la collection 
 
 de Sir Richard Wallace.) Paris, 1865. 8. 
 
 RICARD (A. de). Guide du voyageur dans Sevres. Paris, 1866. 32. 
 DAVILLIER (Ch.). Les porcelaines tendres de Madame Du Barry. Paris, 1870. 8. 
 
 - Une vente d'actrice sous Louis XVI. Paris, 1870. 8. 
 
 - Le cabinet du Due d'Aumont. Paris, 1870. 8. 
 ROBERT (L.). Des manufactures nationales. Paris, 1870. 8. 
 PICHON (Le Baron). La Dubarry a Louvecienne. Paris, 1872. 8. 
 
 DALY (C.). Motifs historiques . . . batiments de la manufacture de Sevres. Paris, 
 
 1873. Fol. 
 
 ANON. Guide du visiteur a la manufacture nationale de Sevres. Paris, 1874. 12. 
 GUILLAUME. Ecole de la manufacture nationale de Sevres. S.I., 1875. 8. 
 BOUILHET (H.). La manufacture de Sevres. Paris, 1875. 4. 
 
 La manufacture de Sevres. Paris, 1875. 8. 
 
 DUG. Rapport sur la manufacture de Sevres. Paris, 1875. 4. 
 
 Deuxieme rapport. . . . Paris, 1877. 4. 
 
 GOUELLAIN (G.). Memoire historique sur la manufacture de porcelaine de France, 
 
 redige en 1781 par Bachelier. Pan's, 1878. 12. 
 RIS-PAQUOT. Origine et privileges de la manufacture royale de porcelaine de Vincennes 
 
 et de Sevres. Amiens, 1878. 12. 
 
 HAVILAND (Ch. E.). Les manufactures nationales. Paris, 1878. 8. 
 DAVILLIER. La vente du mobilier du chateau de Versailles pendant la Terreur. Paris, 
 
 1878. 8. 
 
 ANON. Sidney Exhibition. Catalogue. Manufactures Nationales. Paris, 1879. 12. 
 LAMEIRE (C.). Rapport sur les porcelaines. Exposition universelle de 1878. Paris, 
 
 1879. 4. 
 
 LE BRETON (G.). Un memoire inedit sur la manufacture de porcelaine de Sevres. 
 
 Paris, 1882. 8. 
 DU SARTEL (0.). Rapport sur la manufacture de Sevres. Macon, 1884. 4. 
 
 and WILLIAMSON. Exposition retrospective des porcelaines de Sevres. Cata- 
 logue. Paris, 1884. 8. 
 
 LAUTH (Ch.). Manufactures Nationales. Sevres. Catalogue. Paris, 1884. 12. 
 CHAMPIER (V.). Catalogue illustre de 1'Exposition de 1'Union centrale. Paris, 1884. 
 
 8. 
 LAUTH (C.). Notes techniques sur la fabrication de la nouvelle porcelaine. Paris, 
 
 1885. 8. 
 
 La manufacture Nationale de Sevres. Mon administration. Paris, 1889. 8. 
 GARNIER (E.). La Manufacture de Sevres en 1'an viii. Paris, 1888. 8. 
 
 - La Manufacture de Sevres a 1'Exposition de 1889. Paris, 1889. 8. 
 La Manufacture de Sevres. Paris, 1890. 8. 
 
 L'industrie de la porcelaine en France au 18 e siecle. Paris, 1890. 8. 
 ' Note sur un vase de Sevres du Musee du Louvre. Paris, s.d. 8. 
 
 HA YARD (H.) et VACHON (M.). Les manufactures nationales. Paris, 1889. 8. 
 MANCINI. Una visita alia manifattura di Sevres. Rotna, 1890. 8. 
 CHAMPFLEURY. Manufacture de Sevres. Inventaire. Paris, 1891. 8. 
 DENUELLE (Ch.). La porcelaine et la manufacture de Sevres. Limoges, 1891. 8. 
 BRACQUEMONT. A propos des manufactures nationales. Paris, 1891. 8. 
 UJFALVY-BOURDON (C. E. de). Les biscuits de porcelaine. Paris, 1893. 4. 
 AUSCHER (E. S.). Etude critique sur la Manufacture de Sevres. Paris, 1894. 8. 
 CARBONNIER. La collection ScheremetefE. St. Petersbourg, 1894. 8. 
 
 583 
 
CERA MIC LITERA TURE. 
 
 CARBONNIER. Deux plaques de vieux Sevres. St. Petersbourg, 1894. 8. 
 
 GSELL (P.). La suppression de la Manufacture^de Sevres. Paris, 1895. 8. 
 
 GARNIER (E.). Catalogue du Musee ceramiquc. Paris, 1897. 8. 
 
 TROUDE. Choix de modeles de la Manuf. Nat. de Sevres. Paris, 1897. 4 C . 
 
 HUARD. La Manufacture de Sevres. Paris, 1899. 16. 
 
 BAUMGART. La Manufacture Nationale de Sevres a 1'Exposition de 1900. Paris, 
 
 1901. Fol. 
 - La Manufacture de Sevres en 1903. Paris, 1903. Fol. (Figaro illustre.), pp. 24 ; 
 
 with 3 col. pis. and text illustrs. 
 AUSCHER (E. S.). Marie Antoinette et la Manufacture de Sevres. Versailles, 1901. 
 
 8. 
 
 La Manufacture de Sevres sous la Revolution. Versailles, 1902. 8. 
 
 MASSON (F.). La porcelaine de Sevres dans la Collection de Mr. Chappey. Paris, 
 
 1905. Fol. 
 
 MARX (R.). Auguste Rodin, ceramiste. Paris, 1907. 4. 
 LECHEVALIER-CHEVIGNARD. La manufacture de Sevres. Paris, 1908. 8. 
 BOURGEOIS (E.). Le biscuit de Sevres au xviii 6 siecle. Paris, 1908. 2 vols. 4. 
 
 See also General Histories of the Ceramic Art Biographies Catalogues of 
 Collections, Sales, and International Exhibitions. 
 
 /.PATRIOTIC FAIENCES. 
 
 It is highly probable that if Champfleury, the sturdy champion of the popular ware 
 of the period of the great Revolution, had not rescued in good time the remaining specimens 
 of it still in use in the farmsteads and cottages of the French provinces, they would all 
 have been destroyed before any of the squeamish collectors of the old artistic faience 
 would have thought it expedient to secure a single example of the kind. No books 
 would certainly have been published on the subject. 
 
 As one of the leaders of the newly-born " Realistic school " of literature and art, 
 Champfleury was penetrated with a sincere love of all work that bore the impress of 
 naturalism and sincerity. He displayed a marked partiality for every article of adorn- 
 ment intended for the use of the peasant. The quaint crockery of the cottages had 
 for him a special attraction. He rejoiced to see that the modest ware was no longer 
 decorated, like its predecessors, with Italian arabesques or German scrolls, but was made 
 interesting with subjects of a purely French character, social emblems, revolutionary 
 devices, or topical caricatures. For long he gathered, in out-of-the-way villages, all 
 pieces that came within that description, regardless of the place to which they belonged. 
 The bachelor's quarters, in which he stored his plentiful harvest, had soon become too 
 small to contain it all. Every available place, on the walls, even on the ceilings, 
 disappeared under a covering of " patriotic " plates and dishes. For long Champfleury 
 remained the unique admirer of what he called his rough gems of the national art. His 
 friends laughed heartily at the uncouth assemblage, and attributed the cause of such 
 an unprecedented choice to harmless monomania. 
 
 Out of that apparently worthless piling up of peasants' crockery the finest example 
 of which had been obtained for a few sous a distinct class of French pottery was, 
 however, to be formed, which would have its exclusive collectors and special historians. 
 A large percentage of the pieces in Champfleury's possession bore emblems and inscriptions 
 connecting them with the course of events which began, in 1789, with the Declaration 
 584 
 
CERA MIC LI TEE A TURE. 
 
 of the Rights of Men, and culminated in the proclamation of the Republic, in 1793. When 
 all the chief types had been duly classified and chronologically arranged, it was found 
 that all the social reforms that had been accomplished, all the aspirations that came 
 out of the very heart of the nation during these stirring times, had all been recorded, 
 almost without interruption, upon the earthen vessels of the people. One might imagine 
 that the village patriot could call to memory all the phases of the revolutionary drama, 
 in which he had been an actor or a spectator, simply at the sight of the painted plates 
 staged upon his modest dresser. Henceforth a keen historical interest was attached 
 to the faience to which Champfleury had applied the term of patriotic, and no one laughed 
 any more at the childish images through which the epopee of the Revolution could be 
 reconstituted. 
 
 The infatuation which raged at one moment for collecting Patriotic faience has now 
 considerably abated. There should be no question of ever placing a specimen of the 
 kind by the side of the masterpieces of the ceramic art ; but they will always be appreciated 
 as illustrating an eventful period of French history, and they may be considered in the 
 same light as the contemporary trade tokens and the chap-books, so much valued as 
 complements to an historical collection. 
 
 MARESCHAI(A. A.). Imagerie de la faience. Assiettes a emblemes patriotiques. 
 
 Part I. Beauvais, 1865. 4. Part II., 1869. 4. 
 CHAMPFLEURY. Histoire des faiences patriotiques. Paris, 1867. 8. 1st ed. 
 
 Cabinet de Mr. Champfleury. Faiences historiques. Paris, 1868. 8. 
 QUIRIELLE (R. de). Les faiences parlantes. Paris, 1867. 8. 
 
 PICHON (L.). La faience a emblemes patriotiques du second empire. Paris, 1874. 32. 
 ROUILLON (P.). Une faience republicaine a la date de 1868. Paris, 1875. 18. 
 MILLIET (E.). Les faiences artistiques de Meillonas. Bourg, 1876. 8. 
 GOUELLAIN (G.). Ceramique revolutionnaire. L'assiete dite " a la guillotine." Paris, 
 1872. Sq. 8. 
 
 Ceramique a emblemes historiques. Bernay, 1878. 8. 
 LECOCQ (G.). Etude sur les faiences au ballon. Paris, 1876. 8. 
 
 Note sur un benitier patriotique. Paris, 1880. 8. 
 LIENARD (F.). Les faienceries de 1'Argonne. Verdun, 1877. 8. 
 
 FIEFFE (C. P.) et BOUVEAULT (A.). Les faiences patriotiques nivernaises. Nevers, 
 1885. 4. 
 
 BRETILLARD. Collection de faiences patriotiques. Paris, 1896. 8. 
 
 GERMAN. 
 
 Pottery and Porcelain. 
 
 Germany had good cause to be proud of having been the birth-place of the European 
 manufacture of hard porcelain. One might expect to find some references to the glorious 
 event in the writings of the time. It is somewhat surprising to find that there is no 
 contemporary record of the exact circumstances which led to the discovery or the manner 
 in which work was conducted in the early days of the Meissen factory, and that of the 
 first examples of porcelain that were produced there we have no accurate description. 
 
 In all likelihood the mysterious doings of the operatives sequestered within the high 
 walls of the Albrechtsburg were the talk of the town. Curiosity, on the alert, was ready 
 to pounce upon any scrap of information that would leak out ; much must have transpired 
 
 586 
 
.CERAMIC LITERATURE. 
 
 that was supposed to be jealously guarded. Although every man who worked within 
 the precincts was sworn to secrecy, not a few of the leading workmen managed to escape 
 at intervals, carrying away such part of the processes as they had been able to master. 
 All particulars they were willing to communicate to anxious inquirers were circulated 
 in confidence from mouth to mouth, and no one dared to write or print any account 
 of what he had heard about the new porcelain and its manufacture. The factory had 
 been established under the direct patronage of the Elector of Saxony, and all secrets 
 connected with it were held to be State property. Whether it is to be attributed to the 
 fear of incurring the penalty attached to the disclosure of these secrets, or simply because 
 they were but imperfectly known, it is certain that all contemporary writers have been 
 silent on the subject. 
 
 To assert their claim to an invention which was the envy of all Euiopean nations, 
 the Germans thought it sufficient to continue steadily the making of their unrivalled 
 porcelain ; this was. after all, better than to publish a book on its merits. It was left 
 to a Frenchman, Comte de Milly, to popularise the so-called mysteries of porcelain 
 manufacture, first in a MS. memoir read by him before the Academy of Sciences in 
 1771, and later on in a volume entitled L'art de la Porcelain, published in 1777. The 
 author relates, in the preface, that his position as a diplomatic agent at the Court of 
 Stuttgart obtained for him exceptional facilities to visit the factories of Wiirtemberg 
 and to watch all the technical processes in operation therein. He made a judicious 
 use of the information he received in this way, collecting his notes into the form of a 
 practical treatise. Upon two points he is, however, reticent. He does not disclose the 
 name of the factory where he obtained his technical knowledge we have since heard 
 that it was Ludwigsburg nor does he specify the nature of the raw materials employed, 
 referring to them under the generic name of " clay " and " quartz." But such a 
 remnant of respect for the traditional mystery could not embarrass at that moment 
 any one conversant with the art of pottery. The success of Comte de Milly's work was 
 immense ; within a few years translations of it appeared in several countries. 
 
 To make up for the want of printed matter relating to the minor porcelain works 
 established all over Germany in competition with the Meissen factory, written documents, 
 official acts, and business papers, discovered in profusion in the provincial archives, 
 came to throw full light on their history. For long, German porcelain was collected 
 with the exception of the productions of the leading centres, easily recognised somewhat 
 indiscriminately. Little or nothing was known about certain distinct groups, the styles 
 and the marks of which denoted an independent manufacture. A time came, at last, 
 when the study of each separate section was taken in hand by a painstaking and judi- 
 cious specialist. Historical essays, exhaustive monographs, descriptive catalogues, were 
 brought out in rapid succession ; in this way, a lasting monument was being erected, 
 stone after stone, to the greater glory of the German ceramic art. Meanwhile order 
 and method replaced the confusion and wanton arrangements which had so far prevailed 
 in the collections. 
 
 Every factory, of however small consequence, has had its history and vicissitudes 
 chronicled, almost from year to year, since the day of its foundation. It may be said 
 that as regards exhaustive compilation of materials, and conscientious elaboration of 
 the subject under treatment, a German monographer should be taken as a model by his 
 ceramic colleagues. Penetrated with a sense of the duty incumbent to an impartial his- 
 torian, he will usually confine himself to faithfully recording facts, names, and dates, seldom 
 allowing the narrative to deviate into speculative considerations. No pertinent document 
 586 
 
CERA MIC LITER A TURK. 
 
 will be omitted, or quoted otherwise than in extenso. Any particular which rests only 
 on vague tradition, or may be derived from inference, if admitted at all, will be presented 
 as standing in want of corroboration. Obviously, when we find this system applied to 
 the history of some obscure or insignificant pot-works, the perusal of a dull and slow 
 tale is, thereby, rendered still more tedious and fruitless. We might mention certain 
 bulky volumes, the indigestible matter of which can vie with the contents of a 
 parliamentary blue-book. Fortunately, such cases are of rare occurrence. On the 
 other hand, an excess of documentary evidence becomes quite necessary, when it happens 
 that the narrative is so strange that its veracity has to be fully substantiated before it 
 can be accepted. The early porcelain works of Germany have had to contend, at the 
 outset, against innumerable difficulties. Their existence has been, as a rule, so full of 
 untoward events that the part of the monographs in which their struggles have been 
 fully recorded often reads like a work of fiction. 
 
 The account of the vicissitudes of the faience and pottery works is of a much less 
 romantic character. None of them has ever attained great importance. While elaborate 
 and costly faience was, in other countries, patronised by the noble and the wealthy, in 
 Germany the highest classes supported only the manufacture of white and translucent 
 ware, leaving the common earthen pots to be the ware of the masses. Exception to this 
 remark must, however, be made in regard to the fine stoneware, a speciality for which the 
 German potter always stood unrivalled, and the making of the faience stoves, the manu- 
 facture of which preserved to the end the traditions of the best period. These latter 
 will be dealt with under their respective headings. 
 
 General. 
 
 BiiSCHING (J. G.). Grabmal des Herzog Henrich IV. Breslau, 1826. Fol. 
 HEFNER und WOLF. Die Burg Tannenberg. Frankfurt a. M., 1850. 4. 
 KOENEN. Zur karolingischen Keramik. S.I, 1887. 8. 
 BRINKMANN (J.). Beitrage zur Geschichte der Topferkunst in Deutschland. Hamburg, 
 
 1896. 8. 
 
 SCHMID. Moderne Gesichtsurnen. 1896. 8. 
 HIRTH (G.). Deutsch Tanagra. Munchen, 1898. 4. 
 
 BRUNING (A.). Europaisches Porzellan des xviii. Jahrhunderts. Berlin, 190-1. 4. 
 WEBER (T.). Fiihrer durch die keramische Industrie Deutschlands. Leipzig, 190J. 
 
 8. New ed., pp. 49. 
 HOFMANN (F. H.). Das europaische Porzellan in der Bayerischen Nationalmuseum. 
 
 Munchen, 1908. 4. 
 Altes bayerisches Porzellan Austellung. Munchen, 1909. 8, pp. 278 ; with 
 
 28 pis. 
 
 Ansbach. 
 
 MOR-SUNNEG. Porzellanschatz der Konigl. bayerischen Schlosses zu Ansbach. S.cl 
 Fol. 
 
 Baden. 
 
 GUTMANN (K. F.). Die Kunsttopferei in Grossherzogtum Baden. Karlsruhe, 1906. 4. 
 MARZ (J.). Die Fayencefabrik zu Mosbach in Baden. Jena, 1906. 8. 
 WIDMER (K.). Baden. Keramik. Freiburg, 1907. Sq. 8. 
 
 587 
 
CERA MIC LIT ERA TURE. 
 
 Bavaria. 
 
 SMITZ (K. F.). Grundlinien zur Statistik und Technik der Thonwaaren in Konigreich 
 
 Bayern. Miinchen, 1836. 8. 
 STIEDA (W.). Die keramisclie Industrie in Bayern. Leipzig, 1906. 8. 
 
 Berlin. 
 
 KOLBE (G.). Geschichte der K. Porzellanmanufactur zu Berlin. Berlin, 1863. 8. 
 MOLLER. Die Verlegung des K. Berliner Porzellan-Manufactur. Berlin, 1873. Fol. 
 SPUTH (E.). Die K. Porzellan-manufactur in Berlin. Berlin, 1893. Fol. 
 LESSING (J.) Berliner Porzellan des xviii. Jahrhunderts. Berlin, 1895. Fol. 
 WINKER. Die Wegelische Porzellanfabrik. Berlin, 1898. 8. 
 
 Bonn. 
 
 SCHUMACHER (W.). Die Poppeldorfer-Fabrik. B&nn, 1888. 8. 
 
 Brandenburg. 
 
 STIEDA (W.). Die Geschichte der Porzellan's Fabrikation in der Mark Brandenburg. 
 1905. 12. 
 
 Bunzlau. 
 STEINITZ (K.). Die Topferei des Kreises Bunzlau. Leipzig, 1895. 8. 
 
 Cassel. 
 
 ANON. Hesse Cassel Factory. Price list. 1785. Sq. 8. 
 
 LENZ (A.). Die landgrafliche Porzellan-Manufaktur zu Cassel. Berlin, 1881. 4. 
 (Extr.) 
 
 Charlottenburg. 
 
 MARCH (E.). Fabrik zu Charlottenburg. (Pattern book.) Berlin, s,d. 4. 
 MARCH SOHNE. Thonwaaren-Fabrik (Pattern book). Charlottenburg, s.d. (recent). 
 4. 
 
 Dirmstein. 
 ZAIS (E.). Die Fa'iencefabrik zu Dirmstein. Miinchen, 1895. 12. 
 
 Dresden. 
 
 WILKENS (K.). Villeroy und Boch's Dresdner Steingutfabrik. Dresden, 1906. 8. 
 
 See Meissen. 
 MEW (E.). Dresden china. London, 1909. 8, pp. 90; with 16 pis. 
 
 Eisenach. 
 HABBICHT (H.). Die Topferhandwerk zu Eisenach. Eisenach, 1902. 8. 
 
 Frankenthal. 
 
 MEYER (J. A.). Fabrik zu Frankenthal. (Price list.) 1777. Sq. 8. 
 ZAIS (E.). Frankenthaler Porzellan in Aachen. Aachen, 1894. 8. 
 KRAUS (J.). Die Marken der Porzellanmanufactur in Frankenthal. Frankenthal, 
 1899. Sq. 8. 
 588 
 
CERA MIC LITER A TURE. 
 
 WALTER (F.). Geschichte der frankenthaler Porzellan. Mannheim, 1899. 8, pp. 15. 
 HEUSER (J.). Austcllung von Frankenthal-Porzellan. Mannheim, 1899. 8. 
 
 - Frankenthaler Gruppen und Figuren. 1899. 8. 
 
 - Kochenburger Collection. Frankenthaler Porzellan. Mannheim, 1899. 8. 
 
 - Pfalzisches Porzellan des achtzehnten Jahrhunderts. Speyer, 1907. 8. 
 HOFFMANN (F. H.). Frankenthaler Porzellan. Mnnchen, 1909. 2 vols. 4; with 
 
 black and col. pis. 
 
 Furstenberg. 
 
 ANON. Fabrik zu Furstenberg. (Price list.) 1785. Sm. 8. 
 
 STEGMANN (H.). Die braunschweigische Porzellan-Fabrik zu Furstenberg. Braunsch- 
 weig, 1893. 8. 
 SCHERER (Ch.). Fiirstenberger Porzellan in Museum zu Braunschweig. (Extr.) 
 
 - Das Fiirstenberger Porzellan. Berlin, 1909. 8. 
 
 Gmunde. 
 SITTE (C.). Der Gmunder Majolika Fabrikation. 1887. 4. 
 
 Hochst. 
 ZAIS (E.). Die kurmainzische Porzellan-Manufactur zu Hochst. Mainz, 1887. 4. 
 
 Ludwigsburg. 
 
 PFEIFFER (B.). Die Ludwigsburger Porzellan-Fabrik. Stuttgart, 1892. 8. 
 
 - Alt Ludwigsburg. Stuttgart, 1906. Obi. 4. 
 
 Marburg. 
 BOEHLAU (J.). Eine niederhessische Topferei. Marburg, 1903. Fol. 
 
 Meissen. 
 
 KENZELMANN. Porzellan Manufactur zu Meissen. Meissen, 1810. 8. 
 
 ANON. Meissner-Manufaktur. Ein geschichtliche Skizze. Meissen, 1860. 8. 
 
 BOHMERT. Geschichte der Meissner Porzellan Manufactur. 1880. 4. 
 
 ANON. Sachsiche Porzellan-Manufacture. Pattern book. S.d. Fol. Later edition, 
 
 Meissen, 1890. Fol. 
 
 SCHLIE (F.). Altmeissen in Schwerin. Schwerin, 1893. 8. 
 
 ANON. Konigl. Sachsich. Porzellan Manufactur. (Guide book.) Meissen, 1893. 8. 
 CHANTREL (J.). La porcelain de Saxe. Paris, 1895. 12. 
 BERLING. Das Meissener Porzellan. Leipzig, 1899. 4. 
 PARTRIDGE. Old Dresden porcelain. London, 1899. 4. 
 SPONSEL (J. L.). Kabinetstiicke der Meissner Porzellan. Leipzig, 1900. 4. 
 DEMAISON. La Porcelaine de Saxe (Collection Chappey). Paris, 1903. 4. 
 FALKE (V.). Fisher Sammlung. Alt Meissner. Kbln, 1906. 4. 
 DOENGE8 (W.). Meissener Porzellan. Berlin, 1907. Sq. 8. 
 ZIMMERMANN. Die Erfindung der Meissner Porzellan. Berlin, 1908. Sm. 4. 
 
 Mettlach. 
 
 ANON. Notice historique sur la Societe Villeroy et Boch. 1900. 8. 
 
 - Die Fursorge der Firma W. & B. fur ihre Beamten. 1900. 8. 
 
 589 
 
CERAMIC LITERATURE. 
 
 Mosbach. 
 See Baden. 
 
 Nassau. 
 
 RICHTER und ZAIS. The Thonindustrie des Kannenbackerlandes. Leipzig, 1895. 
 
 8. 
 
 Neu-Hanau. 
 DRACH (C. V.). Geschiehte des Porzellanfabrik in Neu-Hanau. 1893. 8. (Extr.) 
 
 Nympheriburg. 
 
 FLUR (M.). Nymphenburg Porzellan-Manufaktur. Munchcn, 1792. 8. 
 SCHMITZ (J. L.). Porzellan-Manufaktur zu Nymphenburg. 1819. 8. 
 ANON. Nymphenburg-Manufaktur. (Pattern book.) 1831. 8. 
 HEIGEL. Nymphenburg. 1901. 8. 
 
 Plauen. 
 SYBEL (J. K.). Nachrichten von dem Stadtschen Plauen. Berlin, 1812. 8. 
 
 Thiiringen. 
 
 STIEDA (W.). Die Anfange der Porzellan-fabrikation aus dem Thiiringerwalde. Jena, 
 1902. 8. 
 
 Ubertusburg. 
 BE RUNG (K.). Die Faiiencefabrik Ubertusburg. Dresden, 1891. 8. 
 
 Velten. 
 GERICKE (G.). Der Industrieort Velten. Berlin, 1894. 8. 
 
 Zweibriicken. 
 HEU8ER (E.). Die Pfalz-Zweibriicker Porzellan. Neustadt a. d. Hardt, 1907. 4. 
 
 See also Biography Hirsvogel, Bottger, Gotzkowsky. Museums Essenwein, 
 Nurnberg Museum ; Brinckmann, Hamburg Museum ; Anon ; Porcelain 
 Gemalde in der K. N. Pinakothek zu Miinchen. Special Classes Stoves, 
 Stoneware. 
 
 ITALIAN. 
 Pottery Majolica Porcelain. 
 
 The memory of the past glories of his country is dear to the Italian of to-day ; he 
 will always welcome a new book which expatiates upon the sublime thoughts, the mighty 
 deeds, the marvellous works of his noble ancestors. He has never forgotten that majolica 
 painting was one of the arts in the practice of which Italy has not been equalled ; he 
 has entertained, at all times, an earnest admiration for the old vases and dishes which 
 still add the brilliancy of their lustred colours to the magnificence of the palaces for 
 which they were once painted. As a matter of course, Italian authors could not omit 
 to render, in their writings, a tribute of laudatory homage to national ceramics. The 
 first work which treats exclusively of one special kind of pottery and of the locality in 
 590 
 
CERAMIC LITERATURE. 
 
 which it was manufactured in short, the first monograph was published in Italy. 
 It is the Historia delle pitture in majolica fatte in Pesaro, written by J. B. Passeri in 1752, 
 a work which, let it be said at once, falls short of being a model of the kind. Animated 
 by the love of his beloved town and by the desire of enhancing as much as possible the 
 share of credit that reverts to the Pesarese potters in the progressive march of the art 
 from its origin, the worthy antiquary has inconsiderately attributed to the factories 
 of Pesaro, not only what was actually made there, but also most of what was made in 
 other places. All the historical mistakes which have since been repeated from one work 
 in another originated from Passeri's fanciful account. For long it was considered 
 as an impugnable authority, and the groundless information it gives in all cases with 
 an equal degree of confidence was implicitly taken as coming from legitimate sources. 
 
 Modern researches have easily confuted the whole of Passeri's erroneous statements, 
 but it would have been better for all concerned if the long-trusted little book had never 
 been written. Nearly one hundred years had elapsed since the publication of the Pesaro 
 monograph, when a long and interesting series of works of the same order, dealing 
 either with the general history of majolica, or that of a special locality of manufacture, 
 was brought out in rapid succession. 
 
 At that moment, a thorough overhauling of all the majolica treasures still extant in 
 Italy was just taking place. A swarm of wealthy collectors and crafty dealers, coming 
 from all parts of Europe, had began to scour the country for fine specimens of a ware 
 of which they could appreciate, if not the historical value, at least the artistic merit. 
 The local cognoscenti did not see without regret the best examples of the majolist's 
 art removed from, aristocratic hiding places into the common market. As the foreign 
 amateurs contended fiercely with one another for their possession, and as the prices rose 
 higher and higher, it became evident that all the best examples would soon have left 
 the country. Under such circumstances, the best that remained for the antiquary to 
 do was to keep a good record of all the pieces that fell under his notice ; to ascertain 
 the distinctive characteristics of the chief factories ; and to make a complete list of all 
 the inscriptions and marks they bore. Such a work was, obviously, to be completed 
 by a searching investigation of provincial archives and libraries. To put into print, 
 for the benefit of all majolica lovers, the result of his efforts and discoveries was a task 
 the monographist could not fail to accomplish. And so it happened that, one after 
 the other, each centre of production, whether important or insignificant, had its own 
 history compiled by a competent and painstaking writer. 
 
 But if it be true that a tendency to exaggeration is often the pet failing of an historian 
 who has completely identified himself with a particular subject through a long course 
 of absorbing studies, we may surely expect to see such a weak point strongly accentuated 
 in the general tone of an Italian monograph. Whether it be that the Italian language, 
 with its redundance of expression, and its exuberance of high-sounding adjectives, lends 
 itself to an inflated style to which one has to become accustomed, or that the fiery and 
 uncontrollable imagination of a literary man of the South cannot be bound to treat, 
 even a most matter-of-fact subject, in common-place sentences, one must recognise 
 that the larger portion of the local histories strikes a reader of sober mind as being 
 occasionally in want of impartial corroboration. We notice, for instance, that there is 
 no factory, however modest its standing might have been, which is not described by 
 an enthusiastic historian as having turned out some amazing and unsurpassed master- 
 pieces ; and when we come to hear of the painters who covered the ware with free and 
 easy copies of well-known engravings, or simply with plain scrolls and flowers, they are 
 
 591 
 
CERAMIC LITERATURE. 
 
 introduced to us as nothing less than valiant, talented, and incomparable artists. After 
 a repeated experience of this idiosyncrasic method of making swans of all geese, noticeable 
 even in the most informal pamphlet, we become aware that we must not take all we 
 read otherwise than with a grain of salt. Allowances may be made for a pardonable 
 partiality on the part of an uneducated writer who, scarcely conscious of the existence 
 of any other branch of the ceramic art, has immersed his thinking faculties in the 
 examination of the pottery made in his native place. One may smile at the more 
 ridiculous instances in which all permissible latitude in the way of personal appreciation 
 has been overstepped by some demented collector. The apex of absurdity has, we think, 
 been attained in an Italian pamphlet in which the proud possessor of a collection of 
 majolica dishes pretends to demonstrate, by means of irrefutable argumentation, that 
 they were painted by the very hand of the Sanzio. Preposterous as it looks, the notion 
 was not altogether unsupported at the time. From Italy, the belief that Raft'aelle had 
 began his artistic career as a majolica painter had spread amongst the collectors of other 
 countries. The term of Raffaelle ware was so generally accepted that Marryat, speaking 
 of the Urbino faience, refers to it under that name. 
 
 Investigations are now conducted in a more precise way. In the present state of 
 knowledge errors of such a magnitude are no longer possible. The researches of pains- 
 taking specialists have made short work of all erratic speculations, and, through the 
 documentary evidence lately obtained, absolute facts and accurate dates have replaced 
 the old system of building up an imaginative theory upon a fallacious supposition. But, 
 with a few exceptions, the works of the Italian ceramographers still evince an irresistible 
 tendency to make the most of the subject being dealt with. Passeri has had, and will 
 yet have, many continuators. Lengthy vindications of a frivolous opinion, acrimonious 
 discussions upon some trifling question, are more willingly indulged in than the preparation 
 of a work of useful references and instructive import. While all matters connected 
 with the general history of the ceramic art were inconsiderately neglected ; when scarcely 
 any book on the subject had yet been written in the Italian language, much printing was 
 lavished in the bitter controversy which arose upon the contested authorship of the 
 terra-cotta bust of Benivieni, or upon the question of the majolica factory of Cafaggiolo, 
 the existence of which had been contested by some writers, who insisted on crediting 
 another centre, which was already rich enough by its own productions with the charac- 
 teristic ware which belongs undoubtedly to the Toscan works patronised by the Medicis. 
 
 A little circumspection has, therefore, to be exerted before quoting an Italian 
 authority. But taking all this into consideration, one may say that, owing to the counter- 
 acting influence of the works that have been published in France and in England, the 
 history of Italian majolica is now resting upon a firm and sound basis. 
 
 England. 
 
 DENNISTOUN (J.) Memoirs of the Dukes of Urbino. London, 1851. 8. 
 
 ROBINSON (J. C.). South Kensington Museum. Italian sculpture of the Middle Ages, 
 
 and period of the revival of art. London, 1862. 8. 
 DRAKE (W. R.). Notes on Venetian ceramics. London, 1868. 8. 
 FORTNUM (Drury E.) Contribution to the history of pottery. London, 1868. 4. 
 A descriptive catalogue of the majolica in the South Kensington Museum. London, 
 
 1873. 4. 
 Majolica. London, 1896. 4. 
 
 Fortnum Collection in the Oxford Museum. London, 1897. 4. 
 
 592 
 
CERAMIC LITERATURE. 
 
 PFUNGST. Descriptive catalogue of a small collection of majolica. London, 1890. 4. 
 WALLIS (H.). Italian ceramic art. London, 1897. Sq. 8. 
 
 - The Oriental influence on the ceramic art of the Italian Kenaissance. London, 
 1900. Sq. 8. 
 
 - The art of the precursors. London, 1901. Sq. 8. 
 
 - The majolica pavements of the fifteenth century. London, 1902. 8. 
 
 Oak leaf jars. A fifteenth century Italian ware. London, 1903. Sq. 8. 
 
 - The Albarello. London, 1904. 8. 
 
 Seventeen plates by Nicola Fontana. London, 1905. 8. 
 
 - Italian ceramic art. Figure designs. 1905. 8. 
 LANGTON DOUGLAS. The majolica of Siena. London, 1900. 8. 
 HARDING (G. R.). A collection of Italian majolica. London, 1902. 8. 
 
 France. 
 
 LABORDE (Cte. de). Le Chateau du Bois de Boulogne. Paris, 1835. 8. 
 HENSEL. Essai sur la marjorique. Paris, 1836. 8. 
 
 DELANGE (H.). Histoire des peintures sur majolique faites a Pesaro. Paris, 1853. 8. 
 JACQUEMART (A.). La porcelaine des Medicis. Paris, 1857, 8. 
 
 - Notice sur les maj cliques de 1'ancienne collection Campana. Paris, 1863. 8. 
 DARCEL (A.). Musee Imperial du Louvre. Notice des faiences peintes. Paris, 1864. 
 
 8. 
 DELANGE (C.). Recueil des faiences italiennes des xv e , xvi e , et xvii e siecles. Paris, 
 
 1869. Fol. 
 
 CASATI (Ch.). Notice sur les faiences de Diruta. Paris, 1874. 8. 
 SAND (Georges). Les majoliques florentines. Paris, 1875. 18. 
 DAVILLIER (Ch.). Les origines de la porcelaine en Europe. Paris, 1882. 4. 
 MOLINIER (B.). Les majoliques italiennes en Italic. Paris, 1883. 8. 
 
 - Fragments de poterie italienne. Paris, 1885. 8. 
 
 - La ceramique italienne au xv e siecle. Paris, 1888. 12. 
 TRABAUD (P.). Les Delia Robbia de Marseilles. Marseilles, 1883. 4. 
 MELY (F. de). La ceramique italienne. Paris, 1884. 8. 
 
 PIOT (E.). Collection Spitzer. La ceramique italienne. Paris, 1886. 8. 
 
 Germany. 
 
 TIECK (F.). Verzeichniss von Werken der Delia Robbia Majolica. Berlin, 1835. 12. 
 HERDTLE (E.). Flaechen Verzierungen. Stuttgart, 1866. Fol. 
 MEURER (M.). Italienische Majolica-Fliesen. Berlin, 1881. Fol. 
 BRENCI (G.). Majolica-Fliesen aus Sienna. Berlin, 1884. Fol. 
 JACOBSTHAL (J. E.). Siid-italienische Fliesen. Berlin, 1886. Fol. 
 FALKE (0. von). Majolika. Berlin, 1896. 8. 
 
 Sammlung R. Zchille. Katalog der italienischen Majoliken. Leipzig, 1899. Fol. 
 BODE (W.). Luca della Robbia. Berlin, 1900. 4. 
 
 Italy. 
 
 PASSERI (J. B.). Historia delle pitture in majolica fatte in Pesaro. Venezia, 1752. 
 
 4. (1st ed.) 2nd ed., 1838. 8. 
 ANON. Breve nota di quel che si vede in casa del principe di Sansevero. Napoli, 1768. 
 
 12. 
 
 38 593 
 
CERAMIC LITERATURE. 
 
 VENUTI (D.). Spiegazione di un servizio di tavnola dipito e modellato nella R. Fab. 
 
 di Napoli. Napoli, 1782. 4. 
 
 FIERLI (G.). Sulla nuova fabbrica di majoliche Cortonesi. Firenze, 1805. 8. 
 ROSINA (G.). Memoria sulle stoviglie fabricate con terre del Regno Lombardo-Veneto. 
 
 Milano, 1822. 8. 
 
 TIGRI (G.). De'plastici dell'Ospedale di Pistoja. Prato, 1833. 8. 
 CONTRUCCI (P.). Le virtu di Luca della Robbia. Firenze, 1834. 8. 
 
 Monumento Robbiano nella Loggia dello Spedale di Pistoja. Prato, 1838. 8. 
 
 Plastica di Luca e Andrea della Robbia. Pistoja, 1841. 8. 
 
 BOSCHINI (G.). Sopra due piatti. . . . Ferrara, 1836. 4. 
 
 MONTANARI (G. T.). Majoliche dipinte nella collezione del N. S. C. Domenico Mazza, 
 
 Pesaro, 1836. 8. 
 
 ALBERI (E.). Una visita alia manifattura di porcellane di Doccia. Firenze, 1840. 8. 
 FRATI (L.). Di un'insigna raccolta di majoliche. Bologna, 1844. 8. 
 DELSETTE (G.). Cinque lettere sulla raccolta di majoliche dipinte delle fabbriche di 
 
 Pesaro. Bologna, 1845. 8. 
 RAFFAELLI (G.). Memorie istoriche delle majoliche lavorate in Castel Durante. Fermo, 
 
 1846. 8. 
 HILBRAT (G.). Dimostrazioni sopra alcune antiche terrete dipinte dalla propria mano 
 
 di Apelle e del Sanzio. Roma, 1847. 8. 
 
 FRATI (L.). Raccolta de majoliche nel Museo Pasolini. Bologna, 1852. 8. 
 TORTEROLI (T.). Intorno alia majolica Savonese. Torino, 1856. 8. 
 FRACASSO (L.). Relazione del Ducato di Urbino. Venezia, 1856. 8. 
 BONGHI (D.). Intorno alle majoliche di Castelli. Napoli, 1856. 4. 
 PUNGILEONI (P. L.). Notizie delle' pitture in majolica fatte in Urbino. Roma, 1857. 
 
 8. 
 
 ROSA (C.). Notizie storiche della majolica di Castelli. 'Napoli, 1857. 8. 
 MAZZA (D.). Antiche stoviglie dipinte possedute d'all Ospizio di Pesaro. Pesaro, 
 
 . 1857. 4. 
 GIOANETTI (V. A.). Discorso sulla fabbrica di porcellana stabilita in Vinovo. Torino, 
 
 1859. 18. 
 
 LAZARI (V.). Notizia della raccolta Correr. Venezia, 1859. 8. 
 MARCOALDI (0.). Delle fabbriche di terraglia e majoliche di Fabriano. S.l.,n.d. 
 
 (Repr. in Vanzolini.) 
 
 PICCOLPASSI (C.). I tre libri dell'arte del Vasajo. Roma, 1857. 4. 
 CONTAVOLA (D. C.). La manifattura di porcellane di Doccia. Firenze, 1861. 8. 
 BASSEGIO (G. B.). Fabricazioni di stoviglie presso Bassano. Bassano, 1861. 8. 
 LORENZINI (C.). La manifattura delle porcellane di Doccia. Firenze, 1861. 8. 
 
 French and English ed., 1862. 
 
 La manifattura Ginori a Doccia. Firenze, 1867. Also in French. 
 
 Manifattura Ginori. Esposizione di Vienna. Firenze, 1873. 8. 
 
 Manufacture Ginori. Exposition de Paris. Florence, 1878. 12. 
 
 La porcellana e la manifattura Ginori. Firenze, 1889. 8. 
 
 Inaugurazione del busto dal. Cav. P. Lorenzino. Firenze, 1895. 8. 
 
 CAMPORI (G.). Notizie della manifattura Estense. Modena, 1864. 4. 
 
 La majolique et la porcelaine de Ferrare. Paris, 1864. 8. 
 
 Delle manifatture della majolica e degli stucchi instituite in Torino da Orazio 
 
 Fontana. Modena, 1887. 4. 
 Notizie storiche e artistiche della majolica e della porcellana di Ferrara. Modena, 
 
 1871. 12. 
 
 594 
 
CERAMIC LITERATURE. 
 
 CAMPORI (G.). Do., 3rd ed., 1879. 8. 
 
 RICHARD (G.). Considerazione sulle condizioni dell'industria ceramica in Italia. 
 
 Milano, 1868. 8. 
 ROTELLI (L.). Delle invetriate dipinte da G. Botti nel Duomo di Perugia. Pisa, 1868. 
 
 12. 
 
 ZANETTL La ceramica a Murano. Venezia, 1868. 16. 
 FANTI. Ricordi intorno le majoliche faentine. 1869. 8. 
 ANON. Descrizione del banchetto nuziale per Alfonso II. Duca di Ferrara. Ferrara, 
 
 1869. 8. 
 
 FORESI (A.). Sulle porcellane Medicee. Firenze, 1869. 8. 
 
 SERVANZI COLLIO. Prospetto di altare nella chiesa di Monte-Cassiano. Camerino, 
 
 1870. 8. 
 
 BISCARRA. Dell'arte ceramica e di G. Devers. Torino, 1871. 8. 
 GINORL Manifatture Ginori a Doccia. Firenze, 1873. 4. (Pat. book.) 
 
 - La porcellana e la manifattura Ginori. Firenze, 1889. 8. 
 
 GHELTOF (Urban! de). Studi intorno alia ceramica veneziana. Venezia, 1876. 8. 
 
 - La manifattura di majolica e di porcellana in Este. Venezia, 1876. 8. 
 
 - Fabbriche di majolica e di porcellana in Bassano. Venezia, 1876. 8. 
 
 - La ceramica Vicentina. Venezia, s.d. 8. 
 
 - Una fabbrica di porcellana in Venezia, 1470. Venezia, 1878. 12. 
 
 - La ceramica in Padova. Padova, 1888. 8. 
 
 - Note sulla ceramica italiana. (In Erculei, Roma.) 
 BARNABEI (P.). Delle majoliche di Castelli. Firenze, 1876. 8. 
 
 - Dell'arte ceramica in Roma. Roma, 1881. 8. 
 GENNARI. Sopra 1'antica arte ceramica in Padova. 1877. 8. 
 VIGNOLA (G.) Sulle majoliche e porcellane del Piemonte. Torino, 1878. 8. 
 RICCIO (E. M.). La fabbrica della porcellana in Napoli. Napoli, 1878. 4. 
 CORONA (G.). La ceramica ; biografie e note storiche. Milano, 1878. 8. 
 VANZOLINI (G.). Istorie delle fabbriche di majoliche metaurensi. Pesaro, 1879. 8. 
 NOVI (G.). La fabricazione della porcellana in Napoli. Napoli, 1879. 4. 
 
 - Porcellana in Napoli (Part II.). Napoli, 1879. 4. 
 
 - I fabricanti di majolica e di terraglia in Napoli (Part III.). Napoli, 1881. 4. 
 RAFFAELLI. Ceramica nelle provincie marchegiane. 1880. 
 
 ANSELMI. Sull'arte dei Vasai in Arcevia. 
 
 LUZI (E.). Industria ceramica in Ascoli-Piceno. 
 
 PARAZZI. Due fabbriche di ceramica in Viadana. (In Erculei, Roma.) 
 
 PASOLINI ZANELLI (G.). Gite in Romagna. Faenza e la Ceramica. Firenze, 1880. 8. 
 
 MALAGOLA (C.). Maioliche di Faenza. Bologna, 1880. 8. 
 
 Antica fabbrica dei conti Ferniani. 1880. 8. 
 
 - Maioliche della famiglia Corona. 1882. 4. 
 
 FRATI (L.). Le maioliche di Faenza del Dr. C. Malagola. Roma, 1880. 8. 
 
 Osservazioni critiche sul libro del Sr. E. Molinier. Modena, 1883. 8. 
 OLIVIERI (B.). La ceramica in Castelli. Lanciano, 1881. 18. 
 
 TOTI (A.). Bernardo Pepi, ossia 1'arte ceramica restaurata in Siena. Siena, 1881. 8. 
 ALIZERI (T.). D'una rara majolica nuovamente recata in Genova. Genova, 1881. 16. 
 CHARVET. Majoliques et faiences italiennes. Turin, 1884. Fol. 
 CANTAGALLL Art-pottery works. (Pattern book.) Florence, 1883. 8. 
 FARABULINI. Sopra un monumento della scuolo di Luca della Robbia. Roma, 1886. 
 8, 
 
 595 
 
CERAMIC LITERATURE. 
 
 ANSELMI. L'antico eremo di S. Girolamo. lesi, 1888. 8. 
 ARGNANI (F.). Le ceramiche e maioliche faentine. Faenza, 1889. 4. 
 
 - II rinascimento delle ceramiche maiolicate in Faenza. Faenza, 1899. 4. 
 
 - Ceramiche e maioliche archaiche. Faenza, 1903. 4. 
 BRAMBILLA. Antonio Maria Cuzio. Pavia, 1889. 8. 
 
 FUNGHINI. Cenni storici sulle antiche maioliche italiane. Roma, 1889. 8. 
 
 Osservazioni e relieve sulle majoliche di Cafaggiolo. Arezzo, 1891. 8. 
 
 BERTOLOTTL Figulini, fonditori e sculptori. Milano, 1890. 8. 
 
 TESORONE. L'antico pavimento delle Logge di RafEaello. Napoli, 1891. 4. 
 
 DE JOHANNIS (A. J.). Considerazioni sulla manifattura di Doccia. Firenze, 1893. 
 
 8. 
 
 COLOMBA. II " Quos Ego " di RafEaello. Palermo, 1895. Fol. 
 ANSELMI. Le Maioliche dei Delia Robbia. Roma, 1896. 4. 
 BACCINL Le ville medicee. Cafaggiolo e Trebbio. Firenze, 1897. 12. 
 ANON. Dieci bambini in fasce. (Andrea della Robbia.) Firenze, 1897. 16. 
 ANTALDI-SANTINELLL Museo di Pesaro. Raccolta di maioliche dipinte. Catalogo. 
 
 Pesaro, 1897. 8. 
 
 CALZINI (E.). Urbino e i suoi monumenti. Rocca, 1897. Fol. 
 MAZZATINI (G.). Maestro Giorgio Andreoli nel 4 centenario. Roma, 1898. 4. 
 DEL FRATE. Faleria etrusca. Civita Castellana. Roma, 1898. 12. 
 VANZOLINI. Maioliche artistiche ; la raccolta pesarese. Bergamo, 1898. 8, 
 FRASCHETTI. Vasi delle farmacie romane fabricati a Roma. Roma, 1898. 4. 
 SIGNA. Manufacture de Signa. (Pattern book.) Florence, 1900. 4. 
 GUASTI (G.). Die Cafaggiolo e d'altre fabbriche di Toscana. Firenze, 1902. 8. 
 DOUGLAS (L.). Le majoliche di Siena. Siena, 1903. 8. 
 RICHARD-GINORL Societa Ceramica. Milano, 1905. 4. 
 MOSCA (L.). Napoli e 1'arte ceramica. Napoli, 1908. 4. 
 IMBERT (A.). Ceramice Orvietane dei secoli xiii e xiv. Roma, 1909. 4 ; with 
 
 14 pis. 
 
 Russia. 
 
 MONTFERRAND (A. de). Apercu sur Tart ceramique italien. Collection de Majolica. 
 Saint Petersbourg, 1854. 8. 
 
 U.S.A. 
 
 BECKWITH. Majolica and faience. New York, 1877. 12. 
 
 MARQUAND (A.). Andrea Della Robbia's Assumption of the Virgin in the Metropolitan 
 Museum. New York, 1891. 8. 
 
 A search for Della Robbia monuments in Italy. New York, 1893. 8. 
 
 Other papers in American periodicals. 
 
 See also Biography Della Robbia, Devers, Grue, Ginori. Exhibitions Tech- 
 nology, Tiles. 
 
 PORTUGUESE. 
 
 ZAVANA (J. B.). Viage ... del rey D. Filippe II. Madrid, 1762. 4. 
 
 DAS NEVES (J. A.). Variedades sobre objectes relatives as artes. Lisboa, 1827. 12. 
 
 - Nocones historicas ... a producgao e manufactura das sedas em Portugal. 
 Lisboa, 1827. 12. 
 
 PALHA (F.). Ceramica. (In Exposicao retrospectiva.) Lisboa, 1882. 8, 
 596 
 
CERA MIC LITER A TURE. 
 
 VASCONCELLOS (J. de) Exposigao de ceramica. Porto, 1883. 8. 
 
 Ceramica Portugueza. Porto, 1884. 8. 
 
 A fabrica de faia^a das Caldas Rainha. Porto, 1891. 16. 
 GOMEZ (J. A. M.). A Vista Alegre. Porto, 1883. 8. 
 
 NORTON (J. M.). (Euvres de Raphael au monastere de Refojos do Lima. Lisbonne, 
 
 1888. 4. 
 
 HAUPT (A.). Die Baukunst der Renaissance in Portugal. Frankfurt a. M., 1890. 8. 
 RASTEIRO (J.). Quinta e Palacio da Bacalhoa. Lisboa, 1895. 4. 
 PESSANHA (D. J.). A fabrica de Lou a do Rato. Lisboa, 1898. 8. 
 
 A porcelana em Portugal. Lisboa, 1903. 8. 
 
 DA GUERRA (L. de F.). A fabrica de Lou9a de Vianna. Vianna, 1898. 8. 
 LAPIERRE (Ch.). Estudos sobre a ceramica Portugueza moderna. 1899. 8. 
 SABUGOSA (de). Paco de Cintra. Lisboa, 1903. 4. 
 QUERIOZ (J.). Ceramica Portugueza. Lisboa, 1907. 4. 
 
 RUSSIAN. 
 
 ANON. Description des travaux de la Fabrique Imp. de porcelain. St. Petersbourg, 
 1844. 8. 
 
 SUNAKOFF (N.). L'ornement russe. St. Petersbourg^ 1882. Fol. 
 CHOINOWSKY. Excavations in the Grand Ducal Palace. Kieff, 1893. 4. 
 MOURIER. I/art au Caucase. La poterie et la verrerie. Paris, 1896. 8. 
 DE BOCK (W.). Poteries vernissees du Caucase. Paris, 1897. 8. 
 SELIVANOFF. Porcellan und Fayence des Russischen Reiches. Wladimir, 1903. 8. 
 PETROV (V. T.). Marques des porcelaines russes. Moscov, 1904. 8. 
 ANON. Manufacture imperiale a St. Petersbourg. St. Petersburg, 1907. Fol. 
 
 SPANISH. 
 
 Denmark. 
 
 HANNOVER (E.). De Spanok-Mauriske og de forste Italienske Fayence. Kopenhagen, 
 1906. 4. 
 
 England. 
 
 RIANO (J. F.). Catalogue of the art objects of Spanish production in the S. K. M. 
 
 London, 1872. 8. 
 
 - The industrial arts in Spain. London, 1879. 8. 
 FORTNUM (Drury E.). Majolica . . . Moresco . . . ware in the S. K. M. 
 
 London, 1878. 4. 
 
 BURLINGTON FINE ARTS CLUB. Catalogue of Hispano Moresque . . . pottery. 
 
 London, 1887. 4. 
 
 VAN DE PUT. Hispano Moresque ware of the fifteenth century. London, 1904. 4. 
 WILLIAMS (Leonard). The arts and crafts of older Spain. London, 1906. Sq. 8. 
 
 France. 
 
 O'REILLY. Sur les ydrocerames. Paris, 1804. 8. 
 
 Sur les poteries vernissees et la poterie d'Espagne. Paris, 1805. 8. 
 
 PERCY (Baron). Memoire sur les especes d'amphores dites Tenajas. Paris, 1811. 8. 
 
 Memoire sur les vases refrigerents appeles en Espagne Alcarazas. Paris, s.d. 8. 
 
 597 
 
CERAMIC LITERATURE. 
 
 DAVILLIER (C.) Histoires des faiences hispano-moresques. Paris, 1861. 8. 
 
 - Atelier de Fortuny. Paris, 1875. 8. 
 
 Les arts decoratifs en Espagne. Paris, 1879. 8. 
 CASATI (C. C.). Notes sur les faiences de Talavera la Reyna. Paris, 1873. 4. 
 
 CHASTEIGNER (A. de). Note sur un fragment de poterie a lustre metallique. Dax, 
 
 1877. 8. 
 
 LE BRETON. Le salon de porcelaine du palais royal de Madrid. Paris, 1879. 4. 
 DUPRE. Les carreaux emailles du Palais de Justice de Poitiers. Poitiers, 1903. 8. 
 
 Spain. 
 
 RICORD (D. T.). Noticia de las varias producciones del reyno de Valencia. Valencia, 
 
 1793. 8. 
 
 SARVY (C.). Azulejos en Toledo. Paris, 1861. Fol. 
 CAMPANER y FUERTES. Dudas y conjecturas acerca de la loza con reflejos metalicos. 
 
 Palma, 1875. 8. 
 
 ASCENSIO (J. M.). Azulejos de Triana. Madrid, 1877. 8. 
 RIANO (J. F.). Sobre la manera de fabricar la antigua loza dorada de Manises. Madrid, 
 
 1877. 18. 
 
 SENTENACH and GESTOSO. La ceramica Sevilliana. Sevilla, 1882. 8. 
 ALZOLA y MINONDO (P. de). El arte industria en Espana. Bilbao, 1892. 
 GESTOSO y PEREZ. Diccionario de los artifices en Sevilla. Sevilla, 1899. 
 
 Historia de los Barros vidriados Sevillianos. Sevilla, 1904. 4. 
 
 OSMA (G. J. de). Azulejos Sevillianos del siglo xiii. Madrid, 1902. 4. 
 
 La loza dorada de Manises en el ano 1454. Madrid, 1906. 4. 
 
 Las letreros ornamentales en la ceramica morisca del siglo xv. 1907. 8. 
 
 Apuntes sobre ceramica morisca, No. II. 1908. 4. 
 
 PEREZ VILLAMIL (D. M.). Artes y industrials del Buen Retire. Madrid, 1904. 8. 
 FONT y GUMA. Rajolas Valencianas. Barcelona, 1906. 4. 
 
 SWEDISH AND NORWEGIAN. 
 
 There is no worse field, for a ceramic writer, in which to institute a course of historical 
 researches than the Northern climes. Pottery was very little used by all the branches 
 of the Scandinavian race, but it disappears altogether amongst the inhabitants of the 
 Arctic regions. The Esquimaux and other indigenous tribes of the North polar area 
 are perhaps the only ones in the world which have yielded no evidence of any attempt 
 at fashioning clay into shape, and there is no proof of national pottery having existed in 
 ancient times in any part of Sweden and Norway. All that can be written, at the 
 present day, must refer to the few manufactories of faience and porcelain established 
 at Stockholm towards the middle of the last century. Their productions simply 
 imitate the foreign ware, then beginning to be patronised by the higher classes, and 
 were made with a view to checking its importation. The pottery of those places 
 necessarily lacked the character of originality always displayed in early indigenous 
 art. But we notice that the more advanced modern manufacturers are endeavouring 
 to distinguish themselves by the peculiarity or eccentricities of their wares. 
 
 STRALE (G. H.). Rorstrand et Marieberg. Stockholm, 1872. 8. 
 ALMSTROEM (R.). Lervarorn och deras tillverkning. Stockholm, 1876. 8. 
 598 
 
CERAMIC LITERATURE. 
 
 STRALE (G. H.). Rorstrand Samling af Fajans och Porslin. Stockholm, 1879. 4. 
 
 - Marieberg's Historia och Tilwerkningar. 1758-1788. Stockholm, 1880. 4. 
 BOMANS (Cat. of the Coll. E. A.). Stockholm, 1888. 8. 
 ANON. Rorstrand-Exhibits at the Paris Exhibition. 1900. 8. 
 GROSCH (H.). Herreboc-Fayencer. Kristiania, 1901. Obi. 4. 
 
 See also Falke (J.), Karl's XV. Collections. Hammer (C.), Cat. of sale. Bergen, 
 Cat. of the Museum of Industrial Art. 
 
 SWISS. 
 
 No great demand for terra-cotta and other works of the potter can exist in a country 
 where, as in Switzerland, stone and wood are so easily obtainable. A stone wall is prefer- 
 able to a brick one, and a wooden pail is often found more handy than an earthen jug. 
 Whether it may, or not, be attributed to that cause, the fact remains that the making 
 of pottery has not kept pace with the development of the other branches of decorative 
 art in Switzerland. One exception must be made, however, in the case of the monumental 
 stoves which formed one of the most indispensable embellishments of the town-mansion 
 and the village-chalet. One must acknowledge that for the building and the decoration 
 of such stoves nothing could have been more suitable than pillars, cornices, and slabs 
 of painted faience, the first models of which had probably been imported from Germany. 
 In the work of that kind made for national use, the Swiss potter has shown himself equal 
 to the most talented craftsmen of other countries. The masterpieces of the stove maker 
 have been described by several writers, and they deserve all the praise they have received. 
 So far we know little or nothing about examples of dishes or vessels, of equivalent merit, 
 having ever been made by the same hands which signed the stoves. The ancient Swiss 
 pottery, represented in the museums by domestic vessels, decorated in sgraffito, is not 
 wanting in originality, but it is not remarkable for its artistic treatment. The old style 
 of incised and slip decoration has persisted, up to this day, in the village pot-works of 
 Switzerland. 
 
 LUBKE (W. von). Ueber alte Oefen in der Schweiz. Zurich, 1865. 4. 
 
 HAMMAN (H.). Briques Suisses. Geneve, 1868. 4. 
 
 DEMMIN (A.). Encyclopedic des sciences, lettres et arts de la Suisse. Paris, 1872. 
 
 12. 
 
 HAFNER (A.). Das Hafnerhandwerk und die alte Oefen. Winterthur, 1876. 4. 
 GRAND-CARTERET (J.). Les arts industries en Suisse. Paris, 1879. 12. 
 BUHLER (C.). Die kachelofen in Graubiinden. Zurich, 1880. Fol. 
 KOCH (A.). Zurich Ausstellung. 1883. 8. 
 
 GIROD (M.). Notice sur les porcelaines de Zurich, Nyon et Geneve. Geneve, 1896. 8. 
 SILVESTRE (A.). Ancienne faience de Carouge. Geneve, 1901. 4. 
 DE MOLIN. Histoire de la porcelaine de Nyon. Lausanne, 1904. 4. 
 ANGST (H.). Zurcher Porzellan. Zurich, 1905. 4. 
 
 See also Michel (Ed.). Gubler, Cat. of sales. x 
 
 U.S. OF AMERICA. 
 
 It would seem somewhat premature to write monographs of the pottery works of 
 the United States, the larger part of which was born but yesterday ; still more unduly 
 precipitate to file up a miscellany of press notices, trade circulars, and random notes 
 referring to them, and print the whole bundle under the high sounding title, History of 
 
 599 
 
CERA MIC LITERA TURE. 
 
 llie Ceramic Art in America. But one must not overlook the fact that history makes 
 itself with inconceivable rapidity in the New World. Scarcely has a youthful industry 
 entered, with still tottering steps, its course of tentative progress, than some one is found 
 who thinks that the moment has come to record what he describes as its brilliant achieve- 
 ments. American ceramics have a great future before them, but there is certainly very 
 little to say about the part they have played in the aggregate of the fictile productions 
 of the past. Nevertheless their history has been written, and if not of much interest 
 just at present, it may be of some value to our descendants. 
 
 A retrospective survey of the subject being indispensable in a book which is intended 
 to be historical, a few brief notices of the short-lived pot-works said to have been in 
 operation in various provinces towards the end of the last century, have been introduced 
 to give completeness to the volume. Earthenware of the useful, if not of the ornamental, 
 order was made there in imitation of the most ordinary articles imported from abroad. 
 So scarce have become the remaining examples of that early manufacture that they 
 have been raised by the American collector to the rank of national antiquities. He 
 expects that every ceramic handbook prepared for his instruction shall contain the 
 names of these long-vanished factories, together with illustrations of the less doubtful 
 representatives of their forgotten productions. 
 
 The scanty recollections of the past days of an industry more than modest in its 
 commencement being rapidly exhausted, the story launches at once into the present 
 time. Materials for this portion of the work become plentiful. Comparison and selection 
 having been evidently considered as a delicate, not to say an undesirable task, every 
 factory, large or small, where earthen pots are made in the whole territory of the United 
 States, has had its flattering notice. To the ware they make, an unstinted meed of 
 praise has been indiscriminately doled out in print. The notice is profusely illustrated 
 with wood-cuts or photos of the favourite patterns, and the various marks they bear 
 are not forgotten ; in most cases the portrait of the manufacturer appears at the head 
 of the article. 
 
 We scarcely need say that such advertising notices cannot take their place among 
 legitimate records of the march and progress of the ceramic art. They should be 
 returned to where most of them came from namely, the crockery journals and the trade 
 directories. Drawn up on the same plan as might be followed for a monograph of the 
 works of Luca della Kobbia, Palissy, Josiah Wedgwood, or other lights of the potter's 
 art, they prove to be a burlesque of history, unworthy of a serious writer. 
 
 Lost in that trashy nomenclature of obscure names and vulgar crockery works, 
 we find, however, a few articles which deserve our attention. In some specialities the 
 American potters have struck a note of their own, by avoiding imitation of foreign models, 
 and the extravagances of the early industry of the country. It is good to have a few 
 particulars concerning the beginnings of such memorable enterprises as the Rookwood 
 Pottery, the Lowe's Art-tile Works, and other places where ornamental pottery is being 
 brought to a degree of artistic and technical perfection which leave nothing for them 
 to fear from the most eminent of their European competitors. The honour of having 
 been the precursors of the national ceramic art of the future rests with these few ; their 
 successful efforts already belong to history. 
 
 HAVILAND & Co. The White House porcelain service. New York, 1880. 8. 
 IRELAND (L.). Pottery. Sacramento, 1890. 8. 
 
 BURGESS (W.). Staffordshire versus American pottery. Washington, 1891. 8. 
 600 
 
CERA MIC LIT ERA TURE. 
 
 BARBER (E. A.). The pottery and porcelain of the United States. New York, 1893. 
 
 8. 
 Historical sketch of the Green Point Porcelain Works. Indianapolis, 1895. 8. 
 
 - The pioneer of china -painting in America. Boston, 1895. 8. 
 
 DUMMLER (K.). Die Ziegel und Thonwaaren Industrie in den Vereinigten-Staaten. 
 
 Halle, 1894. 4. 
 
 ANON. Rookwood Pottery. Cincinnati, 1895. 16. 
 ANON. The Ceramic Art Co. Pattern Book. Trenton, 1896. Obi. 4. 
 
 - Kino's Inventions. Trenton, 1896. 16. 
 
 AUDSLEY. Porcelain painting competition. New York, 1897. 18. 
 HOUGH (W.). The lamp of the Eskimo. Washington, 1898. 8. 
 
 - An early West Virginia pottery. Washington, 1901. 8. 
 
 BARBER (E. A.). Tulip ware, or the Pennsylvania German potters. Philadelphia, 
 
 1903. 8. 
 RIES and LEIGHTON. History of the clay working industries in the U.S. New York, 
 
 1909. 8, pp. 270. 
 
 MEXICAN. 
 BARBER (E. A.). The majolica of Mexico. Philadelphia, 1908. 8. 
 
 See also Raw Materials; History of the Ceramic Art; Tiles; Collecting and 
 Collectors; Museums. 
 
 601 
 
CERAMIC LITERATURE. 
 
 DECORATIVE TILES. 
 
 There are dark periods in the history of civilisations in which the practice of many 
 arts, for long brilliant and prosperous, has been allowed to sink to the lowest level. This 
 is particularly manifest with regard to the art of the potter. 
 
 What were, for instance, the conditions under which the making of pottery subsisted 
 in Western Europe for nearly a thousand years after the fall of the Koman Empire ? 
 The answer to that question is given by the fictile productions of those times ; the whole 
 tells a sad tale of utter degeneracy and inertness. Evidences are not wanting to show 
 that some kind of vessels of fired-clay never ceased to be made, but all were of the poorest 
 and coarsest description. The maker was no longer a skilled craftsman, proud of his 
 work, but a wretched drudge who depended upon an irksome and contemptible labour 
 for the support of a precarious existence. If the potter was still prosecuting his debased 
 handicraft, it was chiefly through his connection with his equally miserable work-mate, 
 the brick- and tile-maker, whose universal and perennial trade supplies, at all times and 
 in all places, building materials always available when wood and stone are deficient. 
 Indeed, it may be said that the revival of decorative pottery has often been heralded 
 by improvements introduced in the manufacture of terra-cotta intended for the embel- 
 lishments of architectural buildings, and that part of the credit given to the potter for 
 the advance of the art belongs, in the first instance, to the brick- and tile-maker. During 
 the Middle Ages we find in the ornamental tile pavements the link that connects the 
 plain and shapeless vessels of early times with the quaintly embossed and richly glazed 
 ware of a later period. It is but a few years ago that the mutilated remains of these 
 pavements have been thought worth being rescued from total annihilation. Here and 
 there lay, in countless numbers, the despised vouchers of the past industry of the tile- 
 maker ; obliterated by wear and filth, they still covered the floor of some village church, 
 or else in a fragmentary state they could be seen half buried under the tumbled walls 
 of a ruined abbey. No one ever stooped to brush away the dust which concealed from 
 view the faded Mosaic, once the pride of the sanctuary ; and no one had ever been seen 
 to pick up, out of the chaos of loose bricks and broken stones in which they were lost, 
 the rough quarries of red and yellow clay for the sake of reconstructing the designs they 
 originally formed. 
 
 When, at last, antiquarian researches began to be directed towards the productions 
 of mediaeval art, the tile pavements received, at once, their due share of attention. The 
 archaeologist took good note of the dates, names, and coats-of-arms they bore inscribed 
 on their surface, and realised the value they were to have in historical studies ; to the 
 architect they revealed a new mode of decoration that could be easily applied to modern 
 buildings ; and, lastly, to the ceramic historian they supplied enlightening evidence 
 that could tell more about the capabilities of the early potter than any earthen vessel 
 of the same period. 
 
 The general interest awakened by a subject on which everything had to be said 
 led to the publication of many volumes and albums entirely devoted to the mediaeval 
 tiles. England, where the revival of mediaeval art initiated by the valiant group of 
 young architects who recognised W. Pugin as their leader, had so gloriously brought 
 Gothic architecture to the front, was first in the field with books of that order. 
 Foreign writers followed the impulse, and illustrated books dealing with the tile 
 602 
 
CERAMIC LITERATURE. 
 
 pavements of other countries were issued abroad a short time afterwards. For 
 historical particulars touching the origin of the art of tile-making, all writers should 
 acknowledge their indebtedness to the article contributed by A. Way to Parker's 
 Glossary of Architecture, Oxford, 1850. In this notice we find nearly all the substance 
 of what has been subsequently printed on the subject. 
 
 Within a very few years the ornamented pavements as first considered in the 
 light of archaeological documents were being reproduced by the English potter and 
 recognised as the necessary complement of our churches and private buildings. J. G. 
 Nichols claimed in the preface of his work, Examples of Decorative Tiles to have been 
 the first to suggest that earthen tiles should be manufactured after the methods used 
 in olden times, and employed for the decoration of modern buildings. Not long after 
 he had the satisfaction to state in the fourth and last part of his publication that 
 his wishes had been fulfilled sooner and better than he could have expected, and he was 
 able to give the names of several manufacturers from whom a regular supply of excellent 
 reproductions of the ancient inlaid tiles could already be obtained. In attributing to 
 his own influence such a large share in the revival of the art of tile-making, the learned 
 antiquary is not altogether correct. Long before Nichols thought of preparing his 
 selection of old patterns, Herbert Minton had made practical experiments, and succeeded 
 in producing perfect imitations of the originals. A very interesting catalogue illustrating 
 the designs he was then manufacturing currently was brought out by him one year before 
 the issue of Nichol's Decorative Tiles. The development of a branch of ceramic industry 
 destined to reach an unexpected importance was not, of course, dependent upon the 
 timely publication of one or more books ; one might rather suspect that such publica- 
 tions were the result of a brisk demand for models intended to answer the requirements 
 of a newly established manufacture. 
 
 We have now completely done away with the imitations of ancient pavements, except 
 perhaps in the case of ecclesiastical edifices. If any work on mediaeval tiles is printed 
 at the present day, it does not purport to supply models to the maker, but is only meant 
 for the benefit of the archaeological student. The trade of tile-making is, however, more 
 prosperous than ever. The illustrated catalogues of the modern manufactories so 
 numerous that we can give only a much abridged list of them are quite sufficient to 
 give an adequate idea of the place it occupies in the ceramic industry of England and 
 other countries. 
 
 a. Ornamental Pavements and Wall Tiles of the Mediaeval, Renaissance, and 
 
 Modern Periods. 
 
 General. 
 
 BORRMANN. Die Keramik in der Baukunst. Stuttgart, 1897. Sq. 8. 
 
 FORRER (R.). Geschichte der europaischen Fliesen Keramik. Strassburg, 1900. 4. 
 
 BECKING (S.). Fliesen Boden nach Gemalden des xv Jahrhunderts. Stuttgart, 1903. 
 
 8. 
 FURNIVAL (W.). Leadless decorative tiles. Stone (Staff.), 1904. 4. 
 
 England. 
 
 HENNICKER (J. M.). Two letters on the origin of Norman tiles. London, 1796. 8. 
 FOWLER (W.). Tile pavements at York. . . . Winterton, 1801. Fol. 
 JONES (0.). Designs for tessellated pavements. London, 1842. Fol. 
 
 603 
 
CERAMIC LITERATURE. 
 
 NICHOLS (J. G.). Examples of decorative tiles. London, 1845. 4. 
 
 CHURCH (W. A.). Patterns of inlaid tiles from churches in the diocese of Oxford. 
 
 Wattingford, 1845. Sm. 4. 
 
 OLDHAM (T.). Ancient Irish pavement tiles. Dublin, 1845. Sm. 4. 
 WITHERS (R. J.). Encaustic tiles from St. Marie's Abbey, Beaulieu. London, 1845. 4. 
 WYATT (M. Digby). Specimens of the geometric mosaics of the Middle Ages. London, 
 
 1848. Fol. 
 
 FIGG (W.). Sussex tiles. (In Sussex Arch. Coll.) 1850. 8. 
 WAY (A.). Article, " Tiles," in Parker's Glossary of Architecture, 2nd ed. Oxford, 1850. 
 
 8. 
 
 JEWITT (L.). On encaustic tiles. Exeter, 1850. 8. 
 KNIGHT (H. H.). Inlaid tiles from Neath Abbey. 1850. Obi. fol. 
 TROLLOPE (A.). Decorative pavement of the thirteenth century in the church of 
 
 St. Remi at Rheims. London, 1854. 8. (In Arch. Journal.) 
 SKELTON. Encaustic tiles from St. Dionysius. Southampton, 1857. 4. 
 SHAW (H.). Specimens of tile pavements. London, 1858. 8. 
 JEWITT (L.). On the discovery of a tile kiln at Repton. London, 1868. 8. 
 MORRIS. A ducal Tea House. Mintons' tiles. Manchester (1875 ?). 
 HOLLIDAY (J. R.). Maxstoke Priory. (In Trans, of the Birmingham Inst.) 1877. 4. 
 PORTER (A. S.). Armorial tiles in the County of Worcester. (Extr. S.d.) 
 HE ALES (Major). The Chertsey tiles. 1880. 8. 
 SHURLOCK (M.). Tiles from Chertsey Abbey. London, 1885. Fol. 
 SMYTH (Moyr.). Legendary studies. Mintons' tiles. London, 1882. Fol. 
 BURN and MILES. Tiles from Dame Marjorie's Cupboard. London, 1885. 12. 
 WARD (J.). Notes on encaustic tiles, Dale Abbey. London, 1890. 8. 
 NOTT (J.). Malvern Priory Church. Malvern, s.d. 8. 
 
 RENAULD (F.). The uses and teaching of ancient tiles. Manchester, 1893. 8. 
 GRIFFINHOOFE (H. G.). Tiles in St. Mary's Church. Momnouth, 1894. 12. 
 HALL (H.). Notes on the tiles of Tewkesbury Abbey. London, 1904. 8. (In The 
 
 Ancestor.) 
 DOULTON. Pictures in Pottery. London, 1904. 8. 
 
 France. 
 
 DOUAT (P. D.). Methode pour faire une infinite de dessins avec des carreaux mi-partis 
 
 de deux couleurs. Paris, 1722. 4. 
 WALLET (E.). Description du pave de 1'ancienne cathedrals de St. Omer. Douai, 
 
 1847. 4, and atlas folio. 
 
 DIDRON (V.). Carrelages histories. Paris, 1850. 4. 
 BAZIN (Ch.). Pavage de 1'eglise de Breteuil. Paris, 1850. 8. 
 DESCHAMPS de PAS (L.). Essai sur le pavage des eglises anterieurement au xv e siecle. 
 
 Paris, 1851. 4. 
 
 BARTHELEMY (Ed. de). Carrelages histories. Paris, 1852. 8, 
 FLEURY (E.). Etude sur le pavage emaille dans le departement de 1'Aisne. Paris, 
 1855. 4. 
 
 RAME (A.). Etude sur les carrelages histories du xii e au xvii e siecle. Strasbourg, 
 
 1855. 4. 
 
 GAIHABAUD. Carrelages de la cathedrale de Saint-Omer. Paris, 1856. 4. 
 DECORDE (L'Abbe J. E.). Pavage des eglises dans le Pays de Bray. Paris, 1857. 8. 
 
 604 
 
CERAMIC LITERATURE. 
 
 AME (E.). Les carrelages emailles du Moyen-Age et de la Renaissance. Paris, 1859. 
 
 4. ' 
 DORMOIS (C.) Quelques mots sur les produits de Tart ceramique dans le Tonnerrois. 
 
 Tonnerre, 1857. 8. 
 - Notice sur des carreaux emailles provenant d'un hotel construit a Tonnerre au 
 
 xvi e siecle. Auxerre, 1860. 8. 
 
 BERTRAND (R. de). Les carrelages muraux a Dunkerque. Dunkerque, 1861. 8. 
 LEBRUN d'ALBANNE (E.). Carrelages de Troyes et de Polisy. Bar-sur-Aube, 1861. 
 
 4. 
 GALLY (M.). Les carreaux emailles decouverts a Precy-le-Sec. Avallon, 1862. 8. 
 
 LAUGARDIERE (C. de). Ceramique nivernaise. Lieu de fabrication des carreaux du 
 
 Chateau de Thouars. Paris, 1865. 12. 
 
 CAHIER (Ch.) et MARTIN (A.). Carrelages et Tissus. Paris, 1868. Fol. 
 SAVY (C.) et SARSAY (L.). - Les anciens carrelages de 1'eglise de Brou. Lyon, 1868. 4. 
 COURAJOD (L.). Le pavage de 1'eglise d'Orbais. Paris, 1876. 8. 
 BARTHELEMY (A. de). Carreaux emailles du xiv e siecle. Paris, 1876. 8. 
 BARTHELEMY (E. de). Carrelages emailles de la Champagne. Paris, 1878. 8. 
 
 ESQUIE. Note sur des carrelages emailles trouves a Toulouse. Toulouse, 1879. 8. 
 
 v 
 ESPERANDIEU. Fouilles de 1'eglise abbatiale des Chatelliers, Carrelages emailles. S.I., 
 
 1880. 8. 
 
 MONCEAUX (H.). Les carreaux de Bourgogne. Paris, 1881, 4. 
 VALLIER (G.). Briques emaillees du Sud-Ouest de la France. S.l.,n.d. 8. 
 POTTIER (E.). Carrelages de 1'eglise de Belleperche. Paris, 1881. 8. 
 PROTAT. Carrelages emailles de la fabrique d'Aubigny. Dijon, 1881. 8. 
 FAREY (P. de). La ceramique dans le Calvados. Tours, 1883. 8. 
 LE BRETON (G.). Un carrelage en faience de Rouen dans la cathedrale de Langres. 
 
 Paris, 1884. 8. 
 
 BEAUREPAIRE (E. de). Carreaux vernisses a usage funeraire. Paris, 1885. 8. 
 BAYE (J. de). Notes sur des carreaux emailles de la Champagne. Paris, 1885. 8. 
 
 Carreaux vernisses de Sezanne (Marne). Arcis s. Aube, s.d. 8. 
 GAUTHIER (J.). Note sur un carrelage emaille du xiv e siecle. Besanqon, 1885. 8. 
 MONCEAUX (H.). Les carrelages emailles du Moyen-Age et de la Renaissance. Paris, 
 
 1887. 16. 
 
 BARTHELEMY (A. de). Carreaux histories avec des noms de tuiliers. Caen, 1887. 8. 
 BARBIER de MONTAULT. Fouilles de 1'eglise des Chatelliers. St. Maixent, 1888. 8. 
 
 Les carreaux emailles du chateau de Dissaix. Poitiers, 1887. 8. 
 ESPERANDIEU. Fouilles des Chatelliers. 1890. 32. 
 
 Carreaux vernisses decouverts aux Chatelliers. Paris, 1892. 8. 
 PINSART. Carrelages de 1'Abbaye du Paraclet des Champs. Paris, 1890. 4. 
 WIGNIER (Ch.). Carreaux vernisses du xiii e au xvii e siecle. Abbeville, 1890. 8. 
 LE CLERT. Notes sur les carreaux du Musee de Troyes. Troyes, 1890. 8. 
 
 Carrelages vernisses. Catalogue du Musee de Troyes. Troyes, 1892. 8. 
 SOULTRAIT (Cte. de). La Bastie d'Urfe. St. Etienne, 1894. Fol. 
 CHAPPEE. Le carrelage de 1'Abbaye de Champagne. Mamers, 1898. 8. 
 BERGERET. Briques, Pavages emailles. L'atelier d'Argilly. Beaune, 1900. 8. 
 MONTIER. Notice sur les paves du Pre d'Auge et de Lisieux. Paris, 1902. 8. 
 DUPRE. Les carreaux emailles du Palais de Justice de Poitiers. Poitiers, 1903. 8. 
 
 MAXE-WERLY. Etude sur les carrelages du Moyen Age. Paris, 1894. 8. 
 
 605 
 
CERAMIC LITERATURE. 
 
 Germany. 
 
 HAKLER. Schwabische Fliese. Vim, 1862. Sm. 4. 
 
 ZIEGLER (C.). Thon Reliefe (Fliese) von St. Emmerau. Regensburg, 1868. 8. 
 
 1 Holland. 
 
 KNOCHENHAUER (P. F.). Niederlandische Fliesen. Berlin, 1886. Fol. 
 
 India. 
 
 ANON. Ornamental tiles collected by the Afghan Boundary Commission. London 
 
 1893. Fol. 
 SMITH (E.). Moghul colour decoration of Agra. 1901. 4. 
 
 Italy. 
 
 FRATI (L.). Di un pavimento in majolica. Bologna, 1853. 8. 
 HERDTLE (E.). Flaechen Verzierungen. Stuttgart, 1866. Fol. 
 BRENCI e ROTELLINI. Raccolta di ornamenti tratti da terre cotte dipinte. Siena, 
 
 1873. Fol. 
 
 MEURER (M.). Italianische Majolika-Fliesen. Berlin, 1881. Fol. 
 BRENCI (G.). Majolica Fliesen aus Siena. Berlin, 1884. Fol. 
 HERDTLE (H.). Italianische Majolika-Fliesen. Wien, 1885. Fol. 
 JACOBSTHAL (J. E.). Sud-italianische Fliesen. Berlin, 1886. Fol. 
 MOLINIER (E.). La ceramique italienne au xv e siecle. Paris, 1888. 12. 
 TESORONE. L'antico pavimento delle Logge di Raffaello. Napoli, 1891. 4. 
 WALLIS (H.). The majolica pavement-tiles of the fifteenth century. London, 1902. 
 
 8. 
 
 Portugal. 
 
 NORTON (T. M.). (Euvres de Raphael au monastere de Refojos. Lisbonne, 1888. 4. 
 HAUPT (A.). Die Baukunst der Renaissance in Portugal. Frankfurt a. M., 1890. 8. 
 RASTEIRO (J..). Quinta e Palacio da Bacalhoa. Lisboa, 1895. 4. 
 SABUGOSA (de). Pao de Cintra. Lisboa, 1903. 4. 
 
 Russia. 
 
 CHOINOWSKIJ (J. A.). Excavations in the Grand Ducal Palace at Kieff. Kieff, 1893. 
 4. 
 
 Spain. 
 
 SARVY (C.). Azulejos en Toledo. Paris, 1861. Fol. 
 COX (J. C.). On four Spanish-Moresco tiles. Hull, 1894. 8. 
 OSMA (G. J. de). Azulejos Sevillianos. Madrid, 1902. 4. 
 FONT-y-GUMA. Rajolas Valencianas. Barcelona, 1905. 4. 
 CALVERT (A. F.) Moorish remains in Spain. London, 1906. 4. 
 SANTACANA (F.). Cataleg illustrat del Museu. Barcelona, 1909. 4. 
 
 Turkey. 
 
 BAUMEISTER (G.). Faiencefliesen aus der alten turkischen Baudenkmalern. Nurnbery, 
 1880. Fol. 
 
 See also Arabian, Persian, and Turkish ware, 
 606 
 
CERAMIC LITERATURE. 
 
 6. Pattern Books of Modern Manufacture. 
 England. 
 
 MINTON (Herbert). Pattern book of encaustic tiles. Stoke-on-Trent, 1844. 4. 
 WORCESTER. Encaustic tiles manufactured by F. St. John, G. Barr & Co. 1844. 4. 
 WHETSTONE. Tile pavements. Pattern book. Coalville (1865 ?). 
 MAW & Co. Patterns of encaustic tiles. Broseley (1865 ?). 4. 
 HARGREAVES and CRAVEN. Pattern book of tile pavements. Broseley, 1869. 4. 
 EDGE and MALKIN. Encaustic tiles. Pattern book. Burslem, s.d. 4. 
 MINTONS. Selected patterns of enamelled tiles. Stoke-on-Trent, 1870-1898. 4. 
 MINTON, HOLLINS & Co. Pattern book of tiles. Stoke-on-Trent, 1877. 4 and 8. 
 SHRIGLEY and HUNT. Sketches of the works in art tiles. London, 1879. 4. 
 CAMPBELL TILE Co. Pattern book. Stoke-on-Trent, 1885 and /. y. 4. 
 BARNARD & BISHOP. Pattern book. S.d. 4. 
 
 CARTER, JOHNSON & Co. Encaustic tile manufactory. Worcester, s.d. 4. 
 BOOTE (T. and R.). Manufacturers of ornamental tile pavements. Burslem, 1893. 4. 
 PILKINGTON'S. Cat. of Exhibits, Paris, 1900. Clifton Junction, near Manchester. 12. 
 
 France. 
 
 LAUZUN (F.). Manufacture de carrelages lithoides. Avignon, 1874. 
 
 CORBASSIERE (A.). Dalles et paves ceramiques. Paris, 1877. 8. 
 
 DREVET (L.). Carrelages ceramiques de Parai-le-Monial. Paris, s.d. Fol. 
 
 MULLER (E.). Catalogue des produits ceramiques. Paris, s.d. 4. 
 
 SIMONS & Co. Carrelages mosaiques en Gres Cerames. Le Gateau, Nord, s.d. 8. 
 
 UTZSCHNEIDER, JAUNEZ & Co. Carrelages et pavages ceramiques. Pont-Sainte- 
 
 Maxence, 1886. 8. 
 VIGIER. Carrelages mosaiques. Pont-Saint-Esprit, 1887. Sm. 8. 
 
 Germany. 
 
 FRINGS & Co. Musterbuch der Mosaik-Platten. Sinzig bei Bonn. Fol. 
 
 See Stoves. 
 WILLEROY U. BOCH. Mosaikboden-Muster-Blatter. Mettlach. 4. 
 
 Italy. 
 
 LANA (A.). Disegni che si possono eseguire coi Mattoni. Brescia, 1841. 4. 
 
 U.S. America. 
 
 MILLET (F. de). Some American tiles. Boston, 1882. 8. 
 
 LOW (J. G. and J. F.). Illustrated catalogue of art tiles. Chelsea (Mass.). 1885. 4" 
 
 Plastique sketches. Boston, 1890. Obi. 8. 
 
 G07 
 
CERAMIC LITERATURE. 
 
 ANCIENT STONEWARE. 
 
 To Canon Dornbusch reverts the undisputed credit of having been the pioneer of 
 the study of ancient stoneware. The little that was circulated before him on the subject 
 amounted to no more than a few worthless conjectures. What he had done for the town 
 of Siegburg, his followers did, with more or less authority, for the other Flemish and 
 German localities of which stoneware had once been the staple industry. Germany 
 and Belgium have contributed the chief part of the monographs on which rests our know- 
 ledge of the subject. France and the other countries have not yet entered the controversy 
 to which these publications have given rise. It is obvious that, as matters stand at the 
 present day, the most important historical points that require settling have been obscured 
 by undue partisanship. German writers protested from the first against the long-accepted 
 term of " Gres de Flandres," and decreed unanimously that no stoneware had ever been 
 made out of Germany. The decision was too readily accepted, for the fine brown stone- 
 ware made at Eaeren a province belonging to the Duchy of Brabant by potters living 
 under Flemish rule and speaking the Flemish language, cannot be called a German 
 ware any more than that made at Bouffioux, in the Walloon country, can be said to be 
 of German origin. Great caution must, therefore, be exerted before one endorses all the 
 conclusions presented by each monographist, apt to bring to the credit of the local 
 potteries, of which he has constituted himself the historian, much that has originated in 
 other places. In short, we do not think it necessary to say that the perusal of any single 
 monograph would leave the reader under a strong misapprehension with regard to the 
 relative importance of each centre of production. Until the many books and pamphlets 
 which take up a one-sided view of the question have been thoroughly sifted and recapitu- 
 lated by a competent historian, one had better read them all, compare their contradictory 
 statements, place the facts established by an author by the side of the argumentation 
 indulged in by another ; above all, reject all theory which is not supported by documentary 
 evidence. In this way alone can we obtain a sound conception of the general history 
 of the manufacture of ancient stoneware. 
 
 Belgium. 
 
 HUYVETTER (J. d'). Zelzaamheden, etc. (Collection Huyvetter.) Ghent, 1829. 4. 
 VERHELST (B. K.). Antiquites et objets d'art du Cabinet de Mr. J. d'Huyvetter. 
 
 Gand, 1851. 8. (Cat. of sale.) 
 WEALE (James W. H.). La gilde des potiers de Siegburg. (Transl. from Dornbusch, 
 
 in Le Beffroy.) Bruges, 1872. 4. 
 
 SCHMITZ (Vicaire). Gres limbourgeois de Raeren. Bruxelles, 1879-80. 8. 
 SCHUERMANS (H.). Catalogue des Gres cerames du Musee de Bruxelles. Bruxelles, 
 
 1880. 12. 
 A series of articles on ancient stoneware reprinted from Belgian periodicals. 1880- 
 
 1886. 8. 
 
 Mille inscriptions des vases de Gres. Anvers, 1885. 8. 
 
 VAN BASTELAER (D. A.). Les gres cerames ornes de 1'ancienne Belgique. Bruxelles, 
 
 1880. 8. 
 
 Les gres cerames ornes. . . . 2 e Rapport. Charleroi, 1880. 8. 
 
 Les gres cerames. . . . 3 e Rapport. Bruxelles, 1881. 8. 
 
 608 
 
CERAMIC LITERATURE. 
 
 VAN BASTELAER (D. A.). Les gres wallons. . . . 4 e Rapport. Mom, 1884. 8. 
 
 - Les anciens gres artistiques flamands. Mons, 1884. 8. 
 
 Les gres armories de Chatelet et de Bouffioux. Mons, 1885. 8. 
 
 - Huit gres ornes anciens de Bouffioux. Bruxelles, 1891. 8. 
 
 VAN DUYSE (H.). Gres Wallon. Le capitaine Chabotteau. Bruxelles, 1882. 8. 
 VAN DE CASTEELE (D.) Gres cerames de Namur. Bruxelles, 1885. 8. 
 AUGINOT (F.). Quelques documents sur la poterie de Raeren. Liege, 1885. 8. 
 
 England. 
 
 SPARKES (J.). Notes on Lambeth stoneware. London, 1880. 8. 
 SOLON (L. M.). The ancient art stoneware of the Low countries and Germany. 
 London, 1892. 4. 
 
 France. 
 
 ZIEGLER (J.). Etudes ceramiques. Paris, 1850. Fol. 
 
 BECKER (J. A.). Notes sur les gres cerames du Ehin. Paris, 1884. 12. 
 
 CARRERE (G. de). Notice sur cinq plaques de Savignies. Beauvais, 1889. 8. 
 
 Germany. 
 
 DORNBUSCH (Canon J. B.). Die Kunstgilde der Topfer in der abteilichen Stadt Siegburg. 
 Koln, 1873. 8. 
 
 Abhandlung tiber das sogenannte " Flanderische-Steingut." Utrecht, 1878. 8. 
 NAHUYS (M.). Sphragistisches auf Steinkriigen. Wiesbaden, 1877. 8. 
 
 PABST (A.). Die Sammlung Frohne. Berlin, 1883. Fol. 
 
 - Keramische Sammlung des F. A. von Oppenheim. Leipzig, 1889. Fol. 
 JAENNICKE (F.). Mettlacher Museum. Mainz, 1884. 4. 
 
 SCHIFFER (H.). Die Kunsttopferei Raerens. Aachen, 1887. 8. 
 SCHMID (W. M.). Moderne Gesichtsiirnen. Munchen, 1896. 8. 
 FALKE (0. V.). Kolnisches Steinzeug. Berlin, 1899. 4. 
 
 - Das rheinische Steinzeug. Berlin, 1909. 4. 
 
 Holland. 
 
 WECKERLIN (B. de). Reproductions photographiques de vases de gres des xvi e et 
 xvii e siecles. La Haye, 1860. 4. 
 
 See also Jacoba Kannetjes ; Minard (Cat. of the coll.) ; Goad's pattern books ; 
 Doulton ware ; Solon (L. M.), Salt glaze ; Schiffer, Die Kunsttopfer 
 von Raeren ; Technology ; German Cat. of Sales. 
 
 JACOBA KANNETJEES. 
 
 The legend of the fair Countess Jacqueline fashioning earthen pots with her own 
 hands, to occupy the enforced leisure of her captivity in the Castle of Teylingen, is still 
 current at the present day. Certain jugs of coarse stoneware discovered in great numbers, 
 embedded in the mud of the Castle's moat, have given rise to that fiction. Jacqueline, 
 or Jacobina, of Bavaria, Countess of Hainault, was born in the year 1400. Married at 
 the age of fifteen to the young Duke Johan of Brabant, she was left a widow two years 
 after, inheriting from her husband the rights to the Earldom of Holland. She had to 
 defend her pretensions by force of arms, first against her uncle, Johan of Bavaria, and 
 subsequently against Phillip of Burgundy. Adored by her own people, and supported 
 39 609 
 
CERAMIC LITERATURE. 
 
 by a strong party of adherents, she succeeded in repelling, for a time, the unceasing 
 attacks of her formidable enemies. In 1423, she became the wife of Humphrey, Duke 
 of Gloucester ; the union was not a happy one ; ten years after she was divorced from her 
 husband, and contracted a secret marriage with Frank von Borsselen. It was at that 
 time that she had to abandon the struggle against the Duke of Burgundy, and to retire 
 in the Castle of Teylingen, situated between Haarlem and Leyden, where she remained 
 in exile with her husband until her death, which occurred in 1436. Far from considering 
 themselves as prisoners, the noble couple spent their days in pleasure and festivities, 
 and it is said that Countess Jacqueline enjoyed at Teylingen the only happy years of 
 her life. The surrounding forests afforded princely sport, and after each hunting expedition 
 a sumptuous repast united, in the banquetting hall of the Castle, the small group of the 
 dispossessed Countess's faithful followers. The guests never failed to pledge themselves 
 in a bumper of Rhine wine to stand by their beloved mistress, and to fight for her restoration 
 to her rights ; then they duly flung the vessels which had been used for drinking such 
 a solemn toast out of the open windows, so that they should not be used on any other 
 occasion. This accounts clearly for the discovery of so many earthen pots, not only in 
 the Castle moats, but also in the bed of the small arm of the Rhine by which the moat 
 was fed, and also for the use of such common pottery, since it was destined to be thrown 
 away after having served but once. 
 
 ALKfiMADE (K. van). Nederlands Displegtigheden. . . . Rotterdam, 1731. 12. 
 PARS (A.). Katwyksche en andere Nederlandsche Oudheden. Leiden, 1745. 8. 
 SPEX (J.). Gedichten. Gravenhaege, 1755. 8. 
 ANON (Cannegiter). Eerste Brief. . . . Donder-beitels en Vrow Jacobaes Kannetjes. 
 
 Arnhem, 1757. 8. 
 
 HASSELT (G. van). Over de Jacoba's Kannetjes. Amsterdam, 1780. 8. 
 BUDDINGH (D.). Over oude drinkplegtigheden. Gravenhaege, 1842. 8. 
 KELLEN (J. D. van der). Antiquites des Pays-Bas. La Haye, 1861. 4. 
 
 See also Bucher (B.), Mit Gunst; Muller, Catalogue of the Utrecht Museum; 
 Solon, Pottery worship. 
 
 610 
 
CERAMIC LITERATURE. 
 
 ACOUSTIC POTTERY. 
 
 BROMET (W.). Earthen vases inserted in the vaulting of the Church of St. Martin at 
 Angers. London, 1847. 8. 
 
 COFFINET. Poteries acoustiques de Saint Jean de Troyes. 1865. 8. 
 
 MINNS (G. W. W.). Acoustic pottery. Norwich, 1872. 8. 
 
 FOWLER (J.). Acoustic pottery at Fountains Abbey. London, 1875. 8. 
 
 STRAUB. Poteries acoustiques de 1'ancienne eglise des Dominicains. Strasbourg, 1875, 
 8. 
 
 HILLS (G. M.). Earthenware pots . . . called acoustic vases. London, 1882. 4. 
 
 611 
 
CERAMIC LITERATURE. 
 
 TERRA SIGILLATA. 
 
 In the ceramic collections are often seen small pieces of unglazed clay, white, yellow, 
 or red in colour, bearing the impression of a seal inscribed with the words, " Terra 
 Sigillata." These specimens, of which little or nothing is said in the general works on 
 ceramic history, give some interest to the following list of books which treat of the " Terra 
 Sigillata." 
 
 Several antiquarian publications of Germany contain artcles in which the red 
 embossed pottery of the Komans, sometimes called Samian ware, is referred to under 
 the name of " Terra Sigillata." As we consider that, in such a case, the term is absolutely 
 misapplied, we do not range these papers under the above heading ; they will be found 
 in the section of " Eoman Pottery." 
 
 VALENTINI (Dr. M. B.). Musei Museorum. Frankfurt a. M., 1714. Fol. 
 
 VOLKMANN. Silesia Subterranea. 1720. 4. 
 
 LUDWIG (C. G.). Teme Musei Kegii Dresdensis. Leipzig, 1748. Fol. 
 
 SAINT-FOND (Faujas de). (Euvres de B. Palissy. Contains Essai sur la terre sigillee, 
 
 p. 193, and footnote p. 671. Paris, 1777. 4. 
 SOLON. Terra Sigillata. (In Pottery Worship,) 16. 
 
 Of the following works we can give no more than the title ; no further description 
 
 will be found in the first part of this bibliography. 
 
 GESNERUS (C.). De rerum Fossilium. Tiguri, 1565. 8. Pis. 
 
 Gesner had the " placentas " of terra sigillata in his possession engraved for 
 this book. In the appendix, written by Johan Kentmann, of Dresden, will be seen 
 a sketch of the pat of precious clay, upon which the writer had had his portrait and 
 his coat-of-arms stamped in relief, with an inscription stating that he was the dis- 
 coverer of the clay in Germany. 
 
 WAGNERUS (J. J.). Bericht und Erklarung wie und was Gestalt das neue von ihm 
 erfundene Terra-Sigillata und universal Artzeney zu gebrauchen sey, ete. St. < 
 Gotten, 1582. 4. 
 
 " Keport and description of the nature of the Terra Sigillata, newly discovered 
 by J. J. Wagner, and of its universal application in medicine." 
 
 BERTOLDUS (Andreas). Terrse Sigillatse imper in Germania repertse. . . . Franco- 
 
 furti ad Moen, 1583. 4. 
 
 SCHENCKIUS (J. T.). Dissertatio de Terra Sigillata. . . . Jence, 1664. 4. 
 GEILFUSIUS (J. G.). Kurtzer Bericht von der Laubachischen Bezoartischen Siegel- 
 
 Erde. Gissen, 1676. 4. 
 MAIUS (H.). Panacea Laubacensis. . . . Beschreibung der Laubachischen Siegel- 
 
 Erde. S.L,n.d. 
 BELLEVAL (Richer de). Avis utile et profitable d'une terre qui se trouve au terroir de 
 
 Blois, semblable en vertu a la terre de Lemnos. S.l.,n.d. 8. 
 JACOBI (L. F.). Dissertatio de Terris Medicatis Silesise. Erfordice, 1707. 4. 
 ANON. Bericht von der wahren Striganischen Terra Sigillata. 1721. 4. 
 RICHTER (D.). Saxonise Electoralis Terra Miraculosa. ScJineeberg, 1732. 4. 
 
 612 
 
CERAMIC LITERATURE 
 
 BUCCAROS. 
 
 One has cause to wonder at the total oblivion in which the " noble " Buccaros have 
 been allowed to sink, when one reads the odd volumes that Italian writers have published 
 in praise of these unparalleled vessels, and the passages that refer to their particular 
 virtues scattered in contemporary chronicles. The modern ceramic histories do not 
 mention the name, and we look in vain among the ancient pottery preserved in our 
 museums for a specimen answering the description that has been given of the true Buccaros. 
 Once glorified in verses and prose, valued as priceless treasures, they have gone the way 
 of many other glories of this world ; they have been, and they are no more. What 
 remains from their half-forgotten existence is not much more than an empty name and 
 a few pages of print. 
 
 Dr. Vogel, a German scientist of the seventeenth century, was the first admirer of 
 the perfumed pottery who extolled its transcendental merits in high-flown poetry. 
 Although his poem on the subject was broadly circulated in MS. among " conoscenti," 
 by whom it was much admired and often quoted, it was, however, never put into print, 
 and its contents are, unfortunately, lost to us. 
 
 In the year 1695 Count Magalotti, of Florence, a literary man of versatile abilities, 
 already known for his volume of verses on the perfumes of flowers, undertook to collect 
 the information so far obtained upon the strange vessels of odoriferous clay held in so 
 high esteem by the collectors of his time, to explain their origin, and describe their varieties. 
 But for the solicitude of his descendants who published his letters to the Marchesa Strozzi, 
 in which all the knowledge he had acquired had been carefully consigned, Magalotti's 
 notes on the Buccaros would never have come down to posterity. 
 
 At about the same period Dr. L. Bellini, a celebrated anatomist, found them worthy 
 of inspiring his poetical effusions, and wrote in their honour a poem in four cantos, which 
 was also printed only after the death of the author, in 1729, and since then has run through 
 three editions. 
 
 BELLINI (L.). La Bucchereide. Firenze, 1729. 12. 
 
 GEYERS (D. J. D.). Gute Bedanken von der Bucarophagia Africana. Dresden, 1735. 
 
 Sq. 8. 
 MAGALOTTI (L.). Varie operete . . . otto lettere su le terre odorose d'Europa e 
 
 d' America. Milano, 1828. 8. 
 
 MOREL-FATIO (A.). Comer Barro. Macon, 1896. 8. 
 VASCONCELLOS (C. M.). Pucaros de Portugal. Madrid. 8. 
 
 See also American (Antique); Riano, The Industrial Arts in Spain; Percy 
 (Baron), Memoire sur les vases refrigerants ; Solon, Pottery Worship. 
 
 613 
 
CERAMIC LITERATURE. 
 
 STOVES 
 
 (Faience and Earthenware). 
 
 Richly ornamented earthenware stoves assumed an important place in the internal 
 decoration of the palaces and private houses of Northern Europe as early as the mediaeval 
 period. In Germany, where they were chiefly manufactured, the embossed and coloured 
 tiles, employed in the construction of the stoves, remain the best evidences of the march 
 and progress of the national ceramic art. Contemporary pottery of the domestic kind, 
 judging from the examples which have been preserved to us, was far from evincing equal 
 merit on the part, either of the artist who supplied the model, or the potter who brought 
 it out covered with bright glazes and brilliant colours. In many of the German stoves 
 we have, indeed, real masterpieces of the potter's art. To their makers must also be 
 credited works of still greater importance. It was the stove maker who manufactured 
 the ornamental terra-cotta and decorative faience which adorns the frontage of many 
 a picturesque building still seen in the towns of old Germany. 
 
 Austria. 
 
 WHLA (J.). Oefen in Kaiserl. Oesterreich. Schlossern. Wien, s.d. (recent). 
 ORTWEINS. Arbeiten in gebrannten Thon. Wien, 1895. Fol. 
 HAUPTMANN. Gegenstanden aus gebrannten Thon. Wien, 1898. Fol. 
 
 France. 
 
 BOSSE. Collection de dessins de poeles. S.l.,n.d. (Paris, 1780 ?). Fol. 
 LE CARTU. Suite de poeles antiques. S.l.,n.d. 12. 
 OLIVIER (L. F.). Caloriferes salubres. Paris, 1785. 4. 
 
 Collection de dessins de poeles. Paris, s.d. 4. 
 BARRAL. Memoire sur les faiences pour poeles. . . . Paris, 1845. 4. 
 
 * 
 
 Germany. 
 
 SCHUBLERN (J. J.). Stiiben Oefen. Nurnberg, 1728. Fol. 
 
 Krunitz Cyclopedia. Oefen. 1806. 8. 
 
 WAGNER (F.). Originalzeichnungen zu dekorirten Stiibenofen. Berlin, 1846. 4. 
 
 HOFFMANN (S. E.). Desseins zu dekorirten Stubenofen. Berlin, s.d. 4. 
 
 FLEISHMANN. Pattern book of earthenware stoves. Nnrnberg, 1850. 4. 
 
 HAUSLEITER u. EJSENBEIS. Muster Sammlung von Kachel Oefen. Frankfurt. Fol. 
 
 P.B. 
 
 TEICHERT. Meissner Oefen. Meissen, s.d. (recent). 12. P.B. 
 FRIEDENTHAL (C.). Modelle von berliner Oefen. S.d. Fol. P.B 
 SCHONEWALD (C.). Mustersammlung von Kachelofen. Linden, s.d. P.B. 
 SEIDEL. Modelsammlung von Majolika Camin Oefen. Dresden, s.d. P.B. 
 NERBEL. Musterofen der Oefenfabrik von F. Nerbel, in Mosbach. S.I. P.B. 
 GUTJAHR und KUPCKER. Modellsammlung of Kachelofen in deutscher Renaissance. 
 
 Leipzig, s.d. Fol. P.B. 
 
 TITEL (0.). Musterbuch von Oefen. Neuenhagen, s.d. 8. 
 FRIEDERICH (A.). Oefenkachel von Kloster. 1881. 4. 
 
 SPIERMANN u. WESSELEY. Musterbuch der Kunstopferei. Hamburg, s.d. Fol. 
 614 
 
CERA MIC LITER A TUBE. 
 
 NAUMANN (P.). Die Oefen der deutsch. nationalen Kunstgewerbe Ausstellung, 1888. 
 
 Dresden, 1889. Fol. 
 
 WOLF. Die meissener Oefenindustrie. Dresden, 1891. 8. 
 
 ROEPER u. BOSCH. Sammlung von Oefen in alien Stilarten. Munchen, 1895. Fol. 
 WINGENROTH (M.). Kachelofen und Oefenkacheln. Niirnberg, 1899. 8. 
 KONIG (F. G.). Die Oefenfabrikation. Berlin, 1900. 8. 
 METZGER (M.). Lubecker Oefenkacheln. Liibeck, 1900. 8. 
 
 Switzerland. 
 
 LUBKE (W.). Ueber alte Oefen in der Schweiz. Zurich, 1865. 4. 
 HAFNER (A.). Das Hafnerhandwerk und die alte Oefen. Winterthur, 1876. 4. 
 BUHLER (C.). Die Kachelofen in Graubunden. Zurich, 1880. Fol. 
 
 TOBACCO PIPES. 
 
 Pipe-making and clay pipes are but an unimportant branch of the potter's art ; 
 nevertheless, by the very nature of the material employed in their manufacture, the 
 earthen smoking pipes of all nations have a marked place in a ceramic collection, and 
 the few books written on the subject should not be neglected in the formation of the 
 library. 
 
 DUHAMEL DU MONCEAU. L'art de faire les pipes a fumer le tabac. Paris, 1771. 
 
 Fol. 
 
 ANON. Reglement op de Pypen-Fabricken. Gouda, 1815. 4. 
 FIOLET*(L.). Fabriquede pipes de Saint-Omer. S.d. 8. 
 JEWITT (L.). A few words on " Fairy-Pipes." London, 1862. 8. 
 REYNOLDS (J. C.). The tobacco pipes, pipe-clay, and tobacco. London, 1862. 8. 
 ESTE. The pipes of all people. Birmingham, 1870. 4. 
 
 FAIRHOLT (F. W.). Tobacco ; its history and associations. London, 1876. 8. 
 BRAGGE (W.). Bibliotheca Nicotiana. Birmingham, 1880. 8. 
 BARBER (E. A.). Collection of tobacco pipes. Fairmount Park, 1882. 8. 
 NADAILLAC (M. de). Les pipes et le tabac. Paris, 1885. 8. 
 PRITCHETT (R. T.). Smokiana. London, 1890. 8. 
 M'GUIRE (J. D.). Pipes and smoking customs. Washington, 1899. 8. 
 PRICE (F. G. H.). Tobacco pipes found in London. London, 1900. 8. 
 SHEPPARD (T.). Early Hull tobacco pipes. Hull, 1902. 8. 
 
 See also American (Ancient) ; Steven (E. J.), Salisbury Museum. 
 
 ARMORIAL CHINA. 
 
 GRIGGS (W.). Armorial china. London, 1885. 4. 
 
 WASS (Went worth) .Collection of royal, historical china. London, 1898. 4. 
 HOWARD (J. J.). Catalogue of a collection of armorial porcelain. London, 1902. 4. 
 CRISP (F. A.). Armorial china. London, 1907. 4. 
 
 MUSICAL CERAMICS. 
 
 GOUELLAIN. La ceramique musicale au Trocadero. Paris, 1878. 8. 
 RIS-PAQUOT. La ceramique musicale et instrumentale. Paris, 1889. 4. 
 
 615 
 
CERAMIC LITERATURE. 
 
 ARCHITECTURAL TERRA-COTTA. 
 
 a. BRICK BUILDING. 
 
 England. 
 
 BATTY-LANGLEY. The London prices of bricklayers. . . . London, 1749. 
 DEARN (J. D. W.). The bricklayer's guide. ... London, 1809. 8. 
 JAMES (J.). Ecclesiastical brickwork of Lombardy. Northampton, 1847. 8. 
 TOWLER. Terra-cotta and artificial stone. London, 1850. 4. 
 CHANTRELL (R. D.). Ornamental brickwork of the sixteenth century. 
 
 1855. 4. 
 BARRY (C.) On terra-cotta, especially as used in ... Dulwich College. 
 
 1864. 4. 
 
 Works executed in terra-cotta. . . . London, 1868. 4. 
 
 SYKES (J.). Photographs of terra-cotta columns. London, 1866. 4. 
 GRUNER (L.). The terra-cotta architecture of North Italy. London, 1867. 
 DOULTON (James). Terra-cotta and stoneware applied to architecture. London, 
 
 1875. 8. 
 
 MILLER CARR (J.). Architectural ceramics. (Doulton terra-cotta.) 1907. 8. 
 GANDY (W.). Ceramics in architecture. London, 1908. 8. 
 
 France. 
 
 ECK (Ch.). Application des globes ou pots creux a Tart de batir. . . . Paris, 1831. 
 
 8. 
 
 DIGOT (A.). Notes sur des carreaux de terre cuite. Caen, s.d. 8. 
 RUNGE (L.). Essai sur les constructions en briques en Italie. Berlin, 1846. Fol. 
 FLEISHIN. L'architecture en briques. Paris, 1871. 
 BRIANCHON. Notes sur les briques . . . de St. Eustache-la-Foret. Le Havre, 
 
 1872. 8. 
 SEDILLE (P.). La terre cuite et la terre emaillee. Paris, 1877. 8. 
 
 Conference sur la ceramique monumentale. Paris, 1879. 8. 
 
 CHABAT (P.) et MONMORY (F.). La brique et la terre cuite. Paris, 1878-80. Fol. 
 
 LACROUX (J.) et DETAIN (C.). Constructions en briques. Paris, 1878. 4. 
 
 FOY (J.). La ceramique des constructions. Paris, 1883. 8. 
 
 BAUDOT (A. de). De 1'emploi des materiaux polychromes dans la construction. Paris, 
 
 1884. 8. 
 
 DESLIGNERES (M.). L'emploi de la terre dans les constructions. Paris, 1885. 4. 
 CHABAT (P.). La brique et la terre cuite. Paris, 1886. 8. 
 NICOLE. De Temploi des briques ordinaires. Paris, s.d. 4. 
 JANIN et GUERINEAUX. Ceramique architecturale. (Exposition de 1900.) 4. 
 
 Germany. 
 ESSENWEIN (A.). Norddeutschlands Backstein-Bau im Mittelalter. Carlsruhe, 1855. 
 
 Fol. 
 
 ADLER (F.). Backsteinbauwerke des preussischen Staates. Berlin, 1860-62. 4. 
 HERDTL (E.). Brick patterns from Germany, thirteenth and fifteenth century. Stutt- 
 gart, 1865. 
 616 
 
CERAMIC LITERATURE. 
 
 ADAMI (H.). Entwiirfe fiir Ziegelrohbau. Berlin, s.d. Fol. 
 HOLZ (F. W.). Ziegelstein-Arcliitecktur. Leipzig, 1876. 8. 
 BETHKE (H.). Decorativer Ziegelbau. 60 col. pis. Stuttgart, 1878. Fol. 
 STRACK (H.). Ziegelbauwerke des Mittelalters in Italien. Berlin, 1889. Fol. 
 LUTSCH (H.). Mittelalterliche Backsteinbauten. Berlin, 1890. Fol. 
 STIEHL (0.). Die Backsteinbau romanischer Zeit. Berlin, s.d. Fol. 
 SARRE (F.). Die Fiirstenhof zu Wismar. Berlin, 1890. Sm. fol. 
 SCHATTEBURG (J. H.). Der Ziegelrohbau. Halle, 1897. 4. 
 BORRMANN. Die Keramik in der Baukunst. Berlin, 1897. 8. 
 HAUPT (A.). Backsteinbauten der Renaissance in Norddeutschland. Fol. 
 
 Italy. 
 
 CADORIN (L.). Studii teorici per la erezione delle fabbriche in terra-cotta. Venezia 
 
 (1845 ?). Fol. 
 
 DURELLI (G. and F.). La Certosa di Pavia. Milano, 1853. Fol. 
 DE PAGANIS (M. P.). Cornici di terra cotta in Bologna. Torino, 1880. Fol. 
 CROSTAROSA (P.). Inventario dei sigilli impressi sulle tegole del tetto di S. Maria 
 
 Maggiore. Roma, 1896. 4. 
 
 Russia. 
 
 WENEWITINOFF (M.). Ancient Russian brick buildings. Moscow, 1890. 8. 
 SULTANOFF. Russian ancient embossed bricks. Moscow, 1895. 8. 
 
 Switzerland. 
 
 HAMMAN (H.). Briques suisses ornees de bas-reliefs du xiii e siecle. Geneve, 1866. 4. 
 ZEMP (J.). Die Backstein von St. Urban. Zurich, 1899. 8. 
 
 U.S. America. 
 
 MORSE (E. S.). On the older forms of roofing tiles. Salem, 1893. 8. 
 
 STURGIS (L.). Architectural terra-cotta, Rookwood Pottery Co. Cincinnati (0.). 
 
 b. PATTERN BOOKS OF TERRA-COTTA MANUFACTURERS. 
 
 England. 
 
 COAD. Etchings of Goad's artificial stone manufacture. Lambeth, 1777-79. 
 
 Goad's Gallery, or exhibition in artificial stone. Lambeth, 1799. 4. 
 BLASHFIELD (J. M.). Catalogues and price lists of the terra-cotta ware manufactured 
 
 by J. M. Blashfield. London, 1857, a*d /. y. 
 
 DOULTON & Co. Architectural designs in terra-cotta. London, 1872. 4. 
 EDWARDS (J. C.). Brick, tile, and terra-cotta works, Ruabon. Pattern book. 
 
 London, 1884. Sm. fol. 
 WHEATLY. Illustrated catalogue of bricks, roofing, ridge, etc., manufactured by 
 
 Wheatley & Co., Stoke-on-Trent. Leeds, 1885. 4. 
 PEAKE (T.). Terro-metallic roofing, ridge, and paving tiles ; ornamental terra-cotta. 
 
 Tunstall. Stoke-on-Trent, 1886. 4. 
 MONK and NEWELL. The Ruabon terra-cotta, brick, and tile works. Pattern book. 
 
 1887. Sm. fol. 
 
 BROWN (J.). Brick ornament and its application. S.l.,n.d. Sm. fol. 
 GIBBS and CANNING. Terra-cotta manufacturers. S.l.,n.d. 4. 
 
 617 
 
CERAMIC LITERATURE. 
 
 THOMPSON (J.). Pattern book of architectural terra-cotta. S.I, 1888. Fol. 
 HEATHER (The). Brick and terra-cotta works, Ashby de la Zouch. Pattern book. 
 
 1889. Sm. fol. 
 ME ASH AM. Pattern book of the Measham Terra-cotta Co. 1892. Sm. fol. 
 
 France. 
 
 FOUQUE-ARNOUX et Cie. Manufacture d'ornements en terre cuite. Toulouse, 1845. 
 
 4. 
 
 GARNAULD. Terre cuite blanche imitant la pierre. Paris, s.d. Fol. 
 MULLER (E.). Produits ceramiques. Paris, 1885. (Pattern book.) 4. 
 
 Catalogue de 1'execution en Gres d'un choix d'ceuvres des maitres de la sculpture 
 
 modern. Paris, 1896. 4. 
 
 Italy. 
 
 BONI (A.). Album di decorazioni in terra cotta. Milano, 1864. 4. 
 
 ANSELML Manifattura di Signa. Firenze, 1902. 4. 
 
 GIUNTI (V.). Firenze-Bellariva. Societa artistica fiorentina. 1902. 8. 
 
 c. TERRA-COTTA FIGURES. 
 (Exclusive of Antique Terra-Cottas.) 
 
 Austria. 
 LECHNER (R.). Terra-Cotta Erzeugnisse. Wien, s.d. 4. 
 
 England. 
 BUTLER (S.). Ex-voto ; an account of the Sacro-Monte at Varallo. London, 1890. 8, 
 
 France. 
 
 
 
 MELOIZES (A. des). Les moules en terre cuite des medaillons de J. B. Nini. Bourges. 
 
 1869. 8. 
 DAVID (P. J.). Collection de portraits . . . d'apres les medaillons en terre cuite 
 
 de P. J. David. Paris, 1883. 4. See Soldi. 
 
 CHERET (J.). Terres cuites franyaises. Paris, 1885. Fol. 
 CHINEAU (G.). Terres cuites d'art. Paris, 1888. 16. 
 CARRIER-BELLEUSE (A.). La terre cuite fra^aise. Paris, 1891. Fol. 
 
 Italy. 
 
 PINELLl (B.). Gruppi pittoreschi modellati in terra cotta. Roma, 1834. Fol. 
 See also Biographies. Clodion; Nini (J. B.). 
 
 618 
 
CERAMIC LITERATURE. 
 
 BIOGRAPHIES. 
 
 Adams (W.). TURNER (W.). William Adams, an old English potter. London, 1904. 
 
 Alluaud. 
 
 Avisseau. 
 
 Besson. 
 Billingsley. 
 Bottengruber. 
 Bottger 
 
 Boullemier. 
 Brongniart. 
 Carries. 
 
 Clericy. 
 
 Clodion. 
 Cookworthy. 
 
 Counis. 
 Cyffle. 
 
 Deck. 
 
 Delia Robbia. 
 
 DUBEDAT. Franois Alluaud. Limoges, 1873. 8. 
 PITRE-CHEVALIER. Avisseau le potier de Tours. Paris, 1851. 8. 
 SOURDEVAL (C. de). Une nouvelle poterie d' Avisseau. Tours, 1859. 
 
 8. 
 
 RIS (Cl. de). Avisseau. S.d. 8. 
 ROCHEBRUNE (0. de). Avisseau de Tours. S.I. 8. 
 BOURGEOIS. Marie Besson, artiste peintre. Paris, 1899. 16. 
 WARD (J.). Billingsley and Pardoe. Derby, 1896. 16. 
 PAZAWREK. Ignaz Bottengruber. Breslau, 1902. 8. 
 KENSELMANN (E. B.). Historische Nachrichten. Meissen, 1810. 8. 
 R. Johan Friedrich Bottger. Leipzig, 1828. 8. 
 ENGELHARD! (C. A.). J. F. Bottger. Leipzig, 1837. 8. 
 JONVEAU. J. F. Bottger. Paris, 1853. 12. 
 WOLF-BECKH. J. F. Bottger. Berlin, 1903. 8. 
 TIFFANY & Co. Antoniu Boullemier. New York, 1900. 12. 
 DUMAS. Eloge de Mr. Alexandre Brongniart. Paris, 1877. 4. 
 ALEXANDRE (A.). Jean Carries. Paris, 1895. 4. 
 MILET (A.). Antoine Clericy. Paris, 1876. 8. 
 GUIFFREY (J.). Antoine Clericy. Paris, 1892. 8. 
 VILLARS (J. de). Notice sur Clodion. Paris, 1862. 8. 
 THIRION (H.). Les Adams et Clodion. Paris, 1885. 4. 
 PRIDEAUX (J.). Relics of W. Cookworthy. London, 1853. 8. 
 HARRISON (G.). Memoir of W. Cookworthy. Plymouth, 1854. 8. 
 COMPTON (T.). William Cookworthy. London, 1895. 8. 
 COUNIS (S. G.). Quelques souvenirs. Florence, 1842. 8. 
 JOLY (A.). Paul Louis Cyffle. Nancy, 1864. 8. 
 VAN DE CASTEELE. Le sculpteur P. L. Cyffle. Namur, s.d. 8. 
 GERSPACH. Theodore Deck. Paris, s.d. 4. 
 VASARI (G.). Luca della Robbia. 
 
 DELANGE (H.). Notice sur Girolamo Delia Robbia. Paris, 1847. 8. 
 BARBET de JOUY. Les Della Robbia. Paris, 1855. 12. 
 CORONA (G.). Luca Della Robbia. Roma, 1873. 8. 
 MILANESI. Commentario della vita di Luca Della Robbia. S.I., 1878. 
 
 Devers. 
 
 LEADER-SCOTT. Delia Robbia and other sculptors. London, 1883. 
 CAVALUCCI et MOLINIER (E.). Les Della Robbia. Paris, 1884. i 
 BODE (W.). Ueber Luca Delia Robbia. Berlin, 1896. 8. 
 
 - Die Kunstler Familie Delia Robbia. Leipzig, 1898. 8. 
 
 - Luca Della Robbia. Berlin, 1900. 4. 
 REYMOND (M.). Les Della Robbia. Florence, 1897. 8. 
 BURLAMACCHI (Marchesa). Luca Delia Robbia. London, 1900. 8 C 
 CRUTWELL (M.). Luca and Andrea Della Robbia. London, 1902. 
 SCHUBRING (P.). Luca Delia Robbia. Leipzig, 1905. 8. 
 BISCARRA (C. F.). Dell'arte ceramica e di G. Devers. Torino, 1871. 
 
 619 
 
 8 C 
 
CERA MIC LITER A TURE. 
 
 Doulton. 
 
 GalU. 
 
 Ginori. 
 
 Giorgio 
 
 (Maestro] 
 
 Gotzkowsky. 
 Grue. 
 
 Hancock. 
 
 Hettlinger. 
 
 Hirsvogel. 
 
 Jaquotot. 
 
 Jewitt. 
 
 Marcolini. 
 Monestrol. 
 Moreau. 
 
 Niculoso. 
 
 Nini. 
 
 Palissy. 
 
 DOULTON (Sir H.). Random recollection of a life. London, 1897. 8. 
 
 FOURCAUD (L. de). Emile Galle. Paris, 1903. 4. 
 
 ANON. Notizie biographiche intorno al Marchese L. C. Ginori-Lisci. 
 
 Firenze, 1837. 8. 
 PA8SERINI. Genealogia e storia della famiglia Ginori. Firenze, 1876. 
 
 8. 
 LORENZINI. Commemorazione del Marchese L. Ginori-Lisci. Firenze, 
 
 1883. 8. 
 RANGHIASCI-BRANCALEONE (M.). Die Maestro Giorgio da Gubbio. 
 
 Pesaro, 1857. 8. 
 
 JAENNICKE. Ueber Maestro Giorgio. Niirnberg, 1882. 4. 
 Geschichte eines patriotischen Kaufmans. S.L, 1769. 12. 
 CHERUBINI (G.). Dei Grue e della pittura ceramica. Teramo, 1858. 
 
 8. 
 
 BALLANTINE (A. R.). Robert Hancock. London, 1885. 8. 
 BIDERMANN. J. J. Hettlinger. Winterthur, 1890. 4. 
 FRIEDRICH (C.). Augustin Hirsvogel. Narnberg, 1885. 4. 
 GUALANDI (M. A.). Madama V. M. Jaquotot. Bologna, 1855. 8. 
 GOSS (W. H.). The life and death of Llewellyn Jewitt. London, 1887. 
 
 8. 
 
 O'BYRN (F.). Camillo Graf Marcolini. Dresden, 1877. 8. 
 Le potier de Rungis. Paris, 1864. 8. 
 
 MOREAU-NELATON. Camille Moreau, peintre et ceramiste. Paris, 
 
 1899. 4. 
 
 DAVILLIER. Niculoso Fiancisco. Paris, 1865. 8. 
 VILLERS (A.). Jean Baptiste Nini. Blois, 1862. 8. 
 VIGNERON (A. E.). Claude Gautherot, dit J. B. Nini. Paris, 1884. 8. 
 STORELLI. J. B. Nini. Paris, 1896. 8. 
 PALISSY (Bernard). Recepte veritable. . . . La Rochelle, 1563. 
 
 Sq. 8. 
 
 Discours admirables. . . . Paris, 1580. 8. 
 
 Le moyen de devenir riche. Paris, 1636. 8. 
 
 FAUJAS de SAINT-FOND. Les oauvres de Bernard Palissy. Paris. 
 
 1777. 4. 
 
 CAP (P. A.). CEuvres completes de B. Palissy. Paris, 1844. 8. 
 FRANCE (A.). (Euvres de B. Palissy. Pans, 1880. 8. 
 REVILLIOT (G.). Discours admirables de 1'art de terre. Geneve, 1863. 
 
 12. 
 WILLETT (Miss E. E.). Resources ; a treatise on Waters and Springs, 
 
 Transl. from B. Palissy. Brighton, 1876. 8. 
 FILLON (B.) and AUDIAT (L.). Les ceuvres de Maistre Bernard Palissy. 
 
 Niort, 1888. 8. 
 DELAGRAVE. CEuvres choisies de B. Palissy. Paris, 1890. 12. 
 
 CHAUDRUG de CRAZANNES (J. C.). Notice sur les antiquites de la 
 
 ville de Saintes. Paris, 1817. 8. 
 MIEL (E. F.). Bernard Palissy. Paris, 1835. 8. 
 DELECLUSE (E. J.). Bernard Palissy. Paris, 1838. 8. 
 TREBUTIEN. Bernard Palissy. 1842. 8. 
 
CERAMIC LITERATURE. 
 
 PIOT (E.). La vie et les travaux de Bernard Palissy. Paris, 1842. 8. 
 CHAMPOLLION-FIGEAC (J. J.). Lettre sur Bernard Palissy. Paris, 
 
 1842. 8. 
 
 DANGIBEAU (L.). Etude historiques. L'atelier de Palissy. Evreux, 
 
 1843. 8. 
 
 CAP (P. A.). Biographic Chimique. B. Palissy. Paris, 1844. 8. 
 DUMESNIL (A.). Bernard Palissy, le potier de terre. Paris, 1851. 12. 
 LAMARTINE (A. de). Bernard de Palissy. Paris, 1852. 8. 
 SCHOELCHER (U.). Bernard Palissy. Paris, 1854. 18. 
 MORLEY (H.). Palissy, the potter. London, 1852-55-69. 8. 
 BENTLEY. Bernard Palissy. London, 1854. (Transl. from Dumesnil.) 
 MANNING (A.). The provocations of Madame Palissy. London, 1854. 
 
 8. 
 DUPLESSIS (C.). Etude sur la vie et les travaux de B. Palissy. Agen, 
 
 1855. 8. 
 
 VANAULD. Les mille et une nuits du potier. B. Palissy. S.d. 8. 
 ROBINSON (J. C.). Lives of Benvenuto Cellini and B. Palissy. London, 
 
 1855. 8. 
 
 TRIQUETI (H. de). Bernard Palissy. Paris, 1856. 2nd ed., 1863. 8. 
 SALLE8 (J.). Etude sur la vie et les travaux de Bernard Palissy. Nlmes, 
 
 1855-1856. 18. 
 HAAG (E. et Em.). Vie des protestants francais qui se sont fait un nom 
 
 dans 1'histoire. Paris, 1857. 8. 
 ENJUBAUT (E.). L'art ceramique et Bernard Palissy. Moulins, 1858. 
 
 8. 
 BRIGHTWELL (C. L.). Palissy, the Huguenot potter. London, 1858. 
 
 12. 
 
 COMBES (L.). Bernard Palissy. Paris, 1858. 8. 
 LABRETONNIERE. Bernard Palissy, Melodrame. Paris, 1860. 8. 
 FILLON (B.). Lettres ecrites de la Vendee. Paris, 1861. 8. 
 MATAGRIN (A.). Bernard Palissy. Bordeaux, 1862. 8. 
 X. Bernard Palissy. Etude de ses ouvrages au point de vue forestier. 
 
 Paris, 1862. 8. 
 
 ROSSIGNOL. Bernard Palissy. Paris, 1861. Sq. 8. 
 TAINTURIER. Les terres emaillees de B. Palissy. 1863. 8. 
 JOUAIN (P. A.). Notice sur B. Palissy. Paris, 1864. 12. 
 AUDIAT (L.). Les oublies. Bernard Palissy. Saintes, 1864. 12. 
 
 - Bernard Palissy. Paris, 1868. 12. 
 
 Palissy et son biographe. Paris, 1869. 8. 
 
 - and FILLON (B.). (Euvres de Maistre B. Palissy. Niort, 1888. 8. 
 LASTEYRIE (F. de). Bernard Palissy. Paris, 1865. 8. 
 
 ALLARD (L.). Bernard Palissy. Piece en 5 actes. Paris, 1865. 12. 
 SERRET (J.). Perez, J. de Komas et Palissy. Agen, 1865. 12. 
 DOUBLET (X.). Nouvais achets. . . . Brenart Paritchi. Saintes, 
 
 1866. 8. 
 GOURJAULT (0. de). B. Palissy dans les Ardennes. Mezi&res, 1866. 
 
 8. 
 LAMY (V.). Quelques heros des luttes religieuses. B. Palissy. Paris, 
 
 1866. 8. 
 BRUNNE (Claire). Dupuytren et Palissy. Paris, 1867. 18. 
 
 621 
 
CERAMIC LITERATURE. 
 
 Racle. 
 
 Riocreux. 
 
 SchiU. 
 
 Solon. 
 
 Tassie. 
 Tinwortli. 
 
 SIMONIN. Les grands ouvriers. B. Palissy. Paris, 1867. 18. 
 MONTLAUR (E. de). Un potier du xvi e siecle, 1510-90. Moulins, 
 
 1868. 18. 
 
 MARTELET (E.). Bernard Palissy. Paris, 1868. 18. 
 TAILLADE (A.). Biographic en vers de B. Palissy. Saintes, 1868. 8. 
 GEAY-BESSE (L.). Brenard de Palici. Saintes, 1870. 8. 
 JONVEAUX (E.). Histoire de trois potiers celebres. Paris, 1874. 12. 
 DU SAUSSOIS (A.). Bernard Palissy. Paris, 1874. 18. 
 BERTHET (E.). Maitre Bernard. Paris, 1875. 12. 
 GAY (Maria). Bernard Palissy. Poeme. Saintes, 1875. 8. 
 ANON. The story of Palissy, the potter. London, 1877. 16. 
 BRIEUX et SALANDRL Bernard Palissy. Drame. Paris, 1880. 18. 
 GEFFROY (G.). Bernard Palissy. Paris, 1881. 18. 
 MULLER (E.). Palissy. Paris 1881. 18. 
 BOUTILLER. Bernard Palissy. Rouen, 1882. 8. 
 DANGIBEAUD. Les potiers de Saintonge. 1884. 8. 
 KEELIN (A. E.). Bernard Palissy, the Huguenot potter. London, s.d. 
 
 32. 
 
 BURTY (Ph.). Bernard Palissy. Paris, 1886. 4. 
 FARKASHAZI-FISCHER. Palissy. Budapest 1887. 8. 
 READ Causeries sur Bernard Palissy. S.I., 1893. 8. 
 DUPUIS (E.) Bernard Palissy. Paris, 1894. 8 
 WEISS. Nouveaux documents sur Palissy. 1897. 8. 
 PALAYSI (L.). B. Palissy et les debuts de la Reforme en Saintonge. 
 
 Paris, 1900. 8. 
 
 HAYSCHMANN (A. B.). Palissy und Francis Bacon. Leipzig, 1903. 8. 
 AMATON (N. N.). Notice sur Leonard Racle. Dijon, 1810. 8. 
 MILET (A.). Notice sur D. Riocreux. Paris, 1883. 4. 
 BELLIER de la CHAVIGNERIE. Notice sur L. P. Schilt. Versailles, 
 
 1860. 8. 
 
 MONKHOUSE (W. C.). M. L. Solon. London, 1890. 4. 
 LEHNERT (G. V.). M. L. Solon. Berlin, 1896. 8. 
 MINTONS (Publ. by). Pate-sur-Pate. Newcastle-u.-L., 1909. Fol.; with 
 
 10 photogr. pis. 
 
 GRAY (J.). James and William Tassie. Edinburgh, 1894. 8. 
 GOSSE (E. W.). The life and works of George Tinworth. London, 1883. 
 
 Obi. fol. 
 
 ANON. George Tinworth. A record of his work. London, 1887. 4. 
 SALMON (E.). George Tinworth and his work. London, 1892. 8. 
 GLADSTONE (W. E.). Wedgwood. An address delivered at Burslem. 
 
 London, 1863. 8. 
 
 METEYARD (E.). The life of Josiah Wedgwood. London, 1865. 8. 
 A group of Englishmen ; being a record of the younger Wedgwoods. 
 
 London, 1871. 8. 
 
 JEWITT (L.). The Wedgwoods. London, 1865. 8. 
 CHURCH (A. H.). Josiah Wedgwood. London, 1894. 2nd ed., 1903. 
 
 8. 3rd ed., 1908. 12. 
 
 SMILES (S.). Josiah Wedgwood. London, 1895. 8. 
 KING (G.). The story of the House of Wedgwood. London, 1897. 4. 
 LITCHFIELD (R. B.). Tom Wedgwood. London, 1903. 8. 
 
 622 
 
CERAMIC LITERATURE. 
 
 BIBLIOGRAPHY. 
 
 Most of the general treatises and histories of the ceramic art contain a list of books 
 pertinent to the subject. As they are too short, and often too incorrect, to be of any 
 use, we shall not mention any of those perfunctory lists. When a record of articles 
 extracted from periodicals is added to a volume dealing with a special subject, it is 
 reported in the proper place. 
 
 England. 
 
 ANON. Universal catalogue of books on art. London, 1869. 4. 
 
 SMITH (R. H. Soden). South Kensington Museum. A list of books on pottery and 
 
 porcelain. London, 1875. 8. 
 A list of books in the National Art Library on pottery and porcelain. London, 
 
 1885. 8. 2nd ed. 
 
 SMITH (R. Murdoch). Edinburgh Museum. List of books . . . relating to pottery 
 
 and porcelain. Edinburgh, 1893. 8. 
 WEALE (James W. H.). National Art Library, South Kensington. Classed catalogue 
 
 of printed books. Ceramics. London, 1895. 8. 
 
 WENCKSTERN (F. von). A bibliography of the Japanese Empire. London, 1895. 8. 
 MILWARD. List of books on pottery in the Hanley Museum. Hanley, 1905. 8. 
 NICHOLSON (J. B.). Catalogue of books on ceramics in the Manchester Free Library. 
 
 1908. 8. 
 
 France. 
 
 VINET (E.). Bibliographie methodique et raisonnee des Beaux-Arts. Paris, 1874-77. 
 8. 
 
 CHAMPFLEURY. Bibliographie ceramique. Paris, 1881 8. 
 
 REINACH (S.). Repertoire des vases peints. Vol. ii. Bibliographe de la ceramique 
 
 grecque. Paris, 1900. 8. 
 BLANCHET (A.). Essai d'une bibliographic de la Gaule romaine. Paris, 1902. 8. 
 
 LEROUX (A.). Histoire de la porcelaine de Limoges. Part 1. Bibliographie. Limoges, 
 1904. 8. 
 
 Germany. 
 
 GRACKLAUER (0.). Verzeichniss sammtlicher Schriften iiber Gewerbe Literatur und 
 
 Industrie. Leipzig, 1881. v .. 8. 
 JAENNICKE (F.). Die gesammte Keramische Literatur. Stutgardt, 1882. 16. 
 
 HAUENSCHILD (H.). Literaturbericht fur der Thonwaaren Industrie. Berlin, 1886. 
 8. 
 
 TONINDUSTRIE-ZEITUNG (Publ. by the). Tonindustrie Kalendar, 1909. Dritter Teil. 
 Bucher-Verzeichnis, etc. Berlin, 1909. 16. 
 
 U. S. A. 
 
 BRANNER (J. C.). Bibliography of clays and the ceramic art. Washington, 1896 
 8. 2nd ed. Columbus, 0., 1906. 8. 
 
 623 
 
CERAMIC LITERATURE. 
 
 PERIODICALS. 
 
 We do not include in the following list any of the serial publications, artistic or 
 scientific, Journals, Reviews, or Magazines, in which articles on pottery appear 
 occasionally ; our selection is limited to periodicals exclusively devoted to the ceramic 
 interest. 
 
 England. 
 
 Pottery Gazette (The). London, 1875, and /. ys. Illustrs. and col. pis. 
 
 Pottery and Glass Trades' Review and Gazette (The). A trade and art journal. London, 
 
 1877. 
 
 British Clay Worker (The). London, 1892. 
 The Potter. London, 1893-1894. 
 Transactions of the North Staffordshire Ceramic Society. Tunstall, 1901, and /. ys. 8. 
 
 France. 
 
 Moniteur de la Ceramique et de la Verrerie. Paris, 1869. 4. 
 
 Now incorporated under the title : La ceramique, with : 
 Journal du Ceramiste et du Chaufournier. Paris. Fortnightly. 
 Annuaire de la Verrerie et de la Ceramique. C. Rousset, Edit. Paris, 1884, and /. ys. 
 
 8. Yearly. 
 
 Germany and Austria. 
 
 Allgemeiner Anzeiger der Thon-Industrie, fur das Konigreich Sachsen, die Thiiringischen 
 
 Staaten, etc. Dresden, 1896. Three times monthly. 
 Allgemeine Ziegler-Zeitung. Dusseldorf. 
 Amise (Die). Organ des Verbandes der Porzellan- und verwandten Arbeiter Deutsch- 
 
 lands. Berlin-Charlottenburg. Weekly. 
 Baukeramik. Neue Folge des " Central- Anzeiger." Organ des osterreichischen Thon- 
 
 industrie-vereins in Wien. Leimeritz, 1881-1900. Twice monthly. 
 Centralblatt fiir Glassindustrie und Keramik. Organ der osterreichischen Porzellan- 
 
 Fabrikation. Wien, 1885. Three times monthly. 
 Deutsche Topfer- und Ziegler-Zeitung. Turrschmied und Biedermann. Berlin, 1870. 
 
 Weekly. 
 
 Deutsche Topfer-Zeitung. Special organ fiir Ofenfabrikation. Leipzig, 1881. Weekly. 
 Fachgenosse (Der). Organ der Glas-Porzellan u. Thonwaaren-Industrie- Arbeiter. Lin- 
 
 denau, 1884. Weekly. 
 Illustrites Fachblatt fiir die gesammte Glass Porzellan- und Steingut-Industrie. Edit. 
 
 by W. Wilrich. Wien, 1893, and /. ys. 
 Jahresbericht iiber Neuerungen und Erfahrungen in der Thonwaaren u. Kalkindustrie. 
 
 Berlin, 1883. 
 
 Jahrbuch iiber Fortschritte der praktischen Baugewerbe. Berlin. 
 Keramik-technisch-commerzielle Zeitschrift und Submissions-Anzeiger fiir die Porzellan 
 
 . . . Fabrikation. Trier, 1867. 
 
 Keramik (The), etc. Publ. by H. Harend. Zittau, 1893, and /. ys. 
 Keramische Rundschau. Colurg, 1892. E. Speiser, Edit. Illustr. and col. pis. Weekly. 
 Notizblatt des deutsches Vereins fiir Fabrikation von Ziegel Thonwaaren, Kalt, u. Cement. 
 
 Berlin, 1865. 
 
 Oesterreich. ungarischer Thonwaaren- techniker. Fradeneck, Edit. Klayenfurt, 1878. 
 Oesterreich. Ziegel- und Thonwaaren-Zeitung. Wojachzek, 
 624 
 
CERAMIC LITERATURE. 
 
 Solidaritat. Organ fur die Interessen der gesammten Arbeiter der Gla,s-Porzellan- und 
 
 Thonwaaren-Industrie Oesterreich-Ungarns. W ien. Weekly. 
 Sprechsaal. Amtliche Zeitung fiir den Verband Keramischer Gewerke in Deutschland. 
 
 Coburg, 1867. Weekly. E. Muller, Ed. 
 
 Studien-Mappe fiir die Keramische Industrie. Plauen, 1896-1900. Monthly. 
 Stein und Mortel. Zeitschrift fiir die Interessen der Thonindustrie, etc. Berlin, 1897, 
 
 and /. ys. 
 
 Siiddeutsche Ziegel und Cement-Zeitung. Mannheim, 1891. Weekly. 
 Thonarbeiter und Kunsteinteressent (Der). Neubrandenburg, 1896-1900. Twice a month. 
 Thonindustrie Zeitung. Seger und Aron, Edits. Berlin, 1877, and /. ys. Weekly. 
 Thonwaarenfabrikant. Biihrer, Edit. Stuttgart, 1875. Quarterly. 
 Thonwaaren-Industrie. Organ fiir Oefenfabrikanten. Mit Beilage, " Die Oefenindustrie." 
 
 Edit., Ehlers. Bunzlau, 1885. Weekly. 
 Topfer (Der). (Fachblatt der Ziegelei- Arbeiter.) Berlin, 1891-1900. Three times a month. 
 
 Wegweiser fiir die Keramische . . . Industrie Edit, by Paul Loeff. Berlin, 1885. 
 
 Monthly. 
 
 Wochenschrift der Ziegel-Thonwaaren . . . Industrie. Berlin, 1881. 
 Zeitschrift fiir de Thonwaarenindustrie Stegmann, Edit. Brawnschweig, 1877, and /. ys. 
 Zeitschrift fiir Keramik. Wien, 1895. Twice a month. 
 Ziegelei- Anzeiger. Berlin, 1883-1900. Three times a month. 
 Ziegel und Cement. W. Olschewsky, Edit. Berlin, 1888. Twice monthly. 
 Oefen-Industrie. Niirnberg, 1901, and /. y. 
 Keramische Monatshefte Halle a. S., 1901, and /. y f 4. 
 Keramische Jahrbuch. Berlin, 1909. 8. 
 Loesers Berichte fiir Keramik, Glass, und verwandte Gebiete. Halle a. S., 1909. 4. 
 
 Italy. 
 
 L'arte ceramica e vetriaria Milano, 1907. 4 
 
 Japan. 
 
 The Kokka, a monthly journal of Oriental art. Tokio, 1889, and /. y. S. Takashima 
 and J. T. Smith, Editors. Chromos and collotype pis. 
 
 Russia. 
 Keram Review. Nicolaieff (recent). 
 
 Switzerland. 
 
 Der Thonwaarenfabrikant. Organ des Schweizerischen Hafnermeister-Verbandes. 
 Konstanz, 1876-1900. Twice monthly. 
 
 U.S. America. 
 
 American Potters' Journal Trenton, N.J. 
 
 American Pottery Gazette. New York, 1905-08. 4. Monthly. 
 
 Brickbuilder (The). Boston, Mass., 1892. 
 
 Brickmaker. Chicago. 
 
 Brick, Pottery, and Glass Journal. New York. 
 
 Brick, Tile, and Pottery Gazette. Ottawa, III. 
 
 Ceramic Monthly. Chicago. 
 
 40 625 
 
CERAMIC LITERATURE. 
 
 China Decorator (The). Miss 0. L. Braumiiller, Edit. New York, 1887. Monthly. 
 Clay ; a quarterly review of the clay -working industries. J. W. Penfield, Edit. 
 
 Willoughby, Ohio, 1894. 
 
 Clay Manufacturer's Engineer. Chicago. Weekly. 
 
 Clay Worker (The). T. A. Randall & Co. Indianapolis, 1884. Monthly. 
 Crockery and Glass Journal. (First as " Crockery Journal.") New York, 1874. 
 Glass and Pottery World (The). J. P. Luse, Edit. Chicago, 1894. Monthly. 
 Pottery and Glassware Reporter. New York and Pittsburg, 1879. 
 Transactions of the American Ceramic Society. Colombus, 1898, and /. ys 
 Keramic Studio. Syracuse, N.Y. 4. 
 Old China. Syracuse, N.Y., 1901. 8. 
 
 626 
 
CERAMIC LITERATURE. 
 
 MARKS AND MONOGRAMS. 
 
 The books on Koman potters' marks will be found under the heading " Roman 
 Pottery." A list of marks of faience and porcelain is usually annexed to the general 
 histories of the ceramic art. For marks of particular manufactories the respective 
 monographs should be consulted. We will not repeat here any of the titles of the works 
 of the above order, and will mention only the publications entirely devoted to marks. 
 
 Belgium. 
 DARDENNE. Marques des faienciers Andennais. Bruxelles, 1902. 8. 
 
 Denmark. 
 NYROP (C.). Danske Fajence og Porcellainsmaerker. Copenhagen, 1881. 8. 
 
 England. 
 
 JOSEPH (F.). Tables of monograms and marks. London, 1857. 4. 
 
 BROOKS (G.). The china collector's assistant. London, 1860. 8. 
 
 CHAFFERS (W.). Marks and monograms. London, 1863. 8. Last edition, 1908. 
 
 BURY PALISSER (Mrs.). The china collector's pocket companion. London, 1874. 
 
 12. 
 HOOPER (W. H.) and PHILLIPS (W. G.). A manual of marks on pottery and porcelain. 
 
 London, 1876. 12. 
 
 METEYARD (E.). The Wedgwood handbook. London, 1875. 8. 
 BOWES (J. L.). Japanese marks and seals. London, 1882. 4. 
 CHAFFERS (W.). Collector's handbook of marks. London, 1874. 8. 
 
 - and LITCHFIELD. Do. London, 1897. 8. 
 ANON. English china and china marks. London, s.d. (1900 ?) 8. 
 WEDGWOOD. The marks employed by Josiah Wedgwood. S.I., 1902. Sq. 8. 
 BURTON (W.) and HOBSON (R. L.). The marks of pottery and porcelain. London, 
 
 1908. 8. 
 
 France. 
 
 GRESLOU (J.). Eecherches sur la ceramique. Chartres, 1863. 8. 
 
 LEJEAL (A.). Note sur une marque de faience contestee. Valenciennes, 1865. 8. 
 
 GRASSET. Notice sur la marque B.B. 1872. 8. 
 
 MARESCHAL (A. A.). Iconographie de la faience. Paris, 1875. Sq. 12. 
 
 RIS-PAQUOT. Dictionnaire des marques et monogrammes. Paris, 1873. 12. 
 
 MELY (F. de). La ceramique italienne. Sigles et monogrammes. Paris, 1884. 8. 
 
 UJFALVY (Ch. de). Petit dictionnaire des marques des biscuits de porcelaine. Paris, 
 
 1895. 8. 
 
 GARNIER (E.). Dictionnaire de la ceramique. Paris, 1893. 8. 
 Catalogue du Musee ceramique de Sevres. Paris, 1897. 8. 
 POREE. Note sur le monogramme de Masseot Abaquesne. Paris, 1898. 8. 
 SAUVAGET (A.). La ceramique ancienne. Bourges, 1908. 8. 
 
 627 
 
CERAMIC LITERATURE. 
 
 Germany. 
 
 GRAESSE (Th.). Guide de 1'amateur de porcelaine. Dresde, 1864. 12. Last ed., 1900. 
 EARTH (C.). Chart of marks and monograms. Stuttgart, s.d. Fol. sheet. 
 JAENNICKE (F.). Marken und Monogramme. Stuttgart, 1878. 8. 
 NAGLER (G. K.). Die Monogrammisten und Kunstler aller Schulen. Miinchen, 1858- 
 
 80. 8. 
 KRAUS (J.). Die Marken der Porzellanmanufaktur in Frankenthal. Frankenthal, 
 
 1899. Sq. 8. 
 
 ANON. Marken Kratze. Meissner Porzellan Marken. Dresden, 1905. 16. 
 LOWENBERG (G.). Tabelle der wichtigsten Porzellanmarken. Berlin, 1909. 8. 
 
 Holland. 
 
 ANON. Keure tegens het Namaaken d. Teeckens of Merken. Delft, 1764. 4. 
 JUSTICE (J.). Dictionnaire des marques de la faience de Delft. Gand, 1901. 8. 
 
 Italy. 
 
 GENOLINI (A.). Maioliche italiane. Marche e monogrammi. Milano, 1881. 4. 
 DE MAURI. L'amatore di majolica e porcellana. Milano, 1898. 12. 
 
 Russia. 
 
 SELIWANOFF. The Russian faience and porcelain and their marks. Wladimir, 1903. 
 
 8. 
 PETROV (V. T.). Marques des porcelaines russes et etrangeres. Moscov, 1904. 8. 
 
 U.S. America. 
 
 JERVIS (P. W.). A book of pottery marks. Newark, N.J.. 1897. 8. 
 COLLAMORE (G.) China and pottery marks. New York, s.d. 8. 
 BARBER (E. A.). Marks of American potters. Philadelphia, 1904. Sq. 8. 
 
 628 
 
CERAMIC LITERATURE. 
 
 THEORY OF THE CERAMIC ART. 
 
 Austria. 
 
 BUCHER (B.). Die Kunst im Handwerk. W ien, 1872. 12. 
 
 HAUSER Das Studium antiker Formen f. d. Porcellanmanufactur. Wien, 1872 4. 
 
 FELDEGG (F. von). Grundriss der kunstgewerblichen Formenlehre. Wien, 1891. 
 
 England. 
 
 SURGES (W.). Art applied to industry. Oxford. 
 
 RIX (W. P.). Practical designing for pottery. London, 1892. 8. 
 
 DAY (L. F.). The application of ornament. London, 1894. 8. 
 
 France. 
 
 ZIEGLER (J.). Etudes ceramiques. Paris, 1850. 8, and atlas fol. 
 MARTIN. Architecture et ceramique. Paris, 1865. 4. 
 BEULE. Les vases chinois et les vases grecs. Paris, 1867. 8. 
 BLANC (Ch.). Grammaire des arts decoratifs. Paris, 1882. 
 
 Germany. 
 
 SEMPER (G.). Der Stil in den technischen Kiinsten. Frankfurt a. M.. 1860. 8. 
 
 LUBKE (W.). Geschichte der Plastik. Leipzig, 1871. 8. 
 
 BERNDT (F.). Die Gefasse unseres Hauses. Aachen, 1880. 8. 
 
 GURLITT. Ueber Thongefasse und die Entwicklung ihrer Ornamentick. Wien, 1881. 
 
 8. 
 
 KRELL (P. F.). Die Gefasse der Keramik. Stuttgart, 1885. 4. 
 GMELIN (L.). Die Elemente der Gefassbildnerei. Munchen, 1885. 8, and atlas fol. 
 
 U.S. America. 
 
 MASON (G. C.). The application of art to manufacture. New York, 1858. 8. 
 HOLMES. Origin and development of form and ornament in ceramic art. Washington, 
 
 1886. 8. 
 RIPLEY (Mrs. Mary Churchill). The colour blue in pottery and porcelain. Syracuse, 
 
 N.Y., 1902. 8. 
 
 629 
 
CERAMIC LITERATURE. 
 
 COLLECTING AND COLLECTORS. 
 
 England. 
 
 BYNG-HALL (H.). The bric-a-brac hunter. London, 1875. 8. 
 HAZZLIT (W. C.). The confession of a collector. London, 1897. 8. 
 TYSKIEWIEZ. Memories of an old collector. London, 1898. 8. 
 WYLDE (C. H.). How to collect Continental china. London, 1907. 8. 
 DEAN (E.). Byways of collecting. London, 1908. 8. 
 
 France. 
 
 DARCEL (A.). Un guide de Tamateur de faiences. Paris, 1864. 8. 
 RIS (Cl. de). La curiosite. Paris, 1864. 12. 
 BONNAFFE. Les collectionneurs de Tancienne Home. Paris, 1868. 12. 
 
 Les collectionneurs de Tancienne France. Paris, 1873. 12. 
 
 Inventaire des meubles de Catherine de Medicis. Paris, 1875. 8. 
 
 Causeries sur Tart et sur la curiosite. Paris, 1878. 8. 
 FORESI (A.). Tour de Babel. Paris, 1868. 8. 
 CHARVET. L'ane qui prend la peau du lion. Paris, 1869. 8. 
 MARESCHAL (A. A.). La ceramique et les faussaires. S.d. 32. 
 DAVILLIER (Ch.). Le cabinet du Due d'Aumont. Paris, 1870. 8. 
 
 - Une vente d'actrice sous Louis XVI. Paris, 1870. 8. 
 
 - L'antiquaire. Paris, 1870. 12. 
 
 - L'amateur. Paris, 1870. 12. 
 
 PICHON (Le Baron). La Dubarry a Louvecienne. Paris, 1872. 8. 
 EUDEL (P.). Le trucage. Paris, 1872. 8. 
 
 COURAJOD. Le livre-journal de Lazare Duvaux. Paris, 1873. 8. 
 DOUBLE (L.). Promenade a travers deux siecles. Paris, 1876. 8. 
 COUSIN (Ch.). Voyage dans un grenier. Paris, 1878. 8. 
 
 Kaceontars illustres d'un vieux collectionneur. Paris, 1887. 4. 
 
 ROUAIX (P.). Dictionnaire des arts decoratifs. Paris, 1880. 4. 
 MILET (A.). Notice sur D. Riocreux. Paris, 1883. Sq. 8. 
 BLONDEL (Spire). Grammaire de la curiosite. Paris, 1884. 4. 
 CHAMPFLEURY. Le Baron Charles Davillier. Paris, 1884. 4. 
 MAZE SENCIER (A.). Le livre des collectionneurs. Paris, 1885. 8. 
 BONNAFFE. Eugene Piot. 1890. 8. 
 ADELINE. La legende du violon de faience. Paris, 1895. 8. 
 
 Germany. 
 
 KLEMM (G.). Zur Geschichte der Sammlungen fiir Wissenschaft und Kunst in Deutsch- 
 land. Zerbst, 1837. 8. 
 
 U.S. America. 
 
 SLOSSON (Mrs. A.). The China Hunters' Club. New York, 1878. 8. 
 VORS (F.). Biblots and Curios. New York, 1878. 8. 
 EARL (A. M.). China collecting in America. New York, 1892. 8. 
 
 See also Catalogues of Private Collections; Museums; History of the Ceramic 
 
 Art. 
 630 
 
CERAMIC LITERATURE. 
 
 WORKS OF FICTION. 
 
 a. POETRY. 
 
 England. 
 
 WARD (J.). The potter's art. A poem. Burskm, 1828. 12. 
 
 WEDGWOOD (Isaac). The potter's mirror. A poem. Tunstall, s.d. 12. 
 
 LIDSTONE (J. T. S.). The Londoniade. The Potteries, 1866. 12. 
 
 BINNS (R. W.). The poetry of pottery. Homer's hymn, from Cowper. London, 1878. 
 
 4. 
 
 ARLIDGE (Dr.). The Willow pattern. Hanley, 1882. 16. 
 STRANGE (E. F.). Palissy in prison. London, 1892. 8. 
 
 France. 
 
 A. . . . La Potichomanide ; poe'me en trois chants. Paris, 1854. 8. 
 MONESTROL (F. de). Le potier de Rungis ; poe'me en 26 chants. Paris, 1864. 8. 
 LABRETONNIERE (E.). Bernard Palissy. La Rochelle, 1864. 8. 
 RICARD (A. de). Guide du voyageur dans Sevres. Paris, 1866. 32. 
 FOURNAT. A propos de Bernard Palissy. Saintes, 1866. 8. 
 DAVILLIER (Ch.). La faience ; poe'me de P. de Frasnay. Paris, 1870. 8. 
 GAY (Maria). Bernard Palissy. Poe'me. Saintes, 1875. 8. 
 FOURES (A.). Le cant des pouties. Montpellier, 1876. 8. 
 JONCIERES (L. de). Tanagra. Paris, 1900. 12. 
 
 Germany. 
 
 SCHIFFER (H.). Die Kunstopfer von Raeren. Eupen, 1895. 16. 
 VOGEL (E.'). Voraus sie tranken. Frankfurt a. M., 1897. 8. 
 
 Holland. 
 
 SPEX (J.). Gedichten. Gravenhaege, 1775. 8. 
 
 Italy. 
 
 BELLINI (L.). La Bucchereide. Firenze, 1729. 8. 
 BIANCOLI (A.). L'arte della Majolica. Ravenna, 1875. 8. 
 
 U.S. America. 
 LONGFELLOW (H. W.). Keramos. New York, 1878. 12. 
 
 6. NOVELS DRAMA. 
 
 England. 
 
 EDGEWORTH (Miss). The Prussian vase. London, 1832. 8 . 
 MANNING (Miss A.). The provocations of Madame Palissy. London, 1854. 8. 
 TIFFIN (W. F.). Perdita : a Chelsea pastorale. Salisbury, 1875. 4. 
 BROWNING (Dr.). The story of the Willow pattern plate. Liverpool, 1882. 16. 
 
 631 
 
CERAMIC LITERATURE. 
 
 FRIEND (H.). The Willow pattern. London, 1883. 12. 
 COGHILL (Mrs.). The trials of Mary Brown. London, 1891. 8. 
 BARING-GOULD. The Frobishers. London, 1901. 8. 
 
 France. 
 
 LESTOURGIE et BOMBAL. Bernard Palissy. Drame en trois actes. Tulle, 1858. 12. 
 LABRETONNIERE. B. Palissy. Melodrame en trois actes. Paris, 1860. 8. 
 BERTHET (E.). Maitre Bernard. Paris, 1875. 12. 
 CHAMPFLEURY. Le violon de faience. Paris, 1877. 8. 
 BRIEUX et SALANDRL B. Palissy. Drame. Paris, 1880. 8. 
 BILBAUT (Th.). L'art ceramique au coin du feu. Paris, 1892. 12. 
 
 Germany. 
 
 WILDENBRUCH (E. von). The master of Tanagra. (English translation.) London, 
 
 1887. 8. 
 WAGNER (J. A. von). Thon statt Gold. Bautzen, 1899. Sq. 8. 
 
 Italy. 
 BOTTI (G.). I bocali di Montelupo. Firenze, 1818. 18. 
 
 U.S. America. 
 HARRIS (W. S.). The potter's wheel. Trenton (NJ.), s.d. 8. (1890 ?) 
 
 632 
 
CERAMIC LITERATURE. 
 
 MUSEUMS AND COLLECTIONS. 
 
 a. CATALOGUES OF PUBLIC MUSEUMS. 
 b. PRIVATE COLLECTIONS. 
 
 c. AUCTION SALES. 
 
 This section, formed of a somewhat arbitrary selection of the catalogues of collections 
 and auction sales, in which the description of ceramic objects occupy a more or less 
 important place, makes no pretence at being an exhaustive list of the publications of that 
 order. In a large number of such catalogues ceramic art enters only as an insignificant 
 portion of the whole scheme ; we have, therefore, rejected those which do not offer a 
 direct application to the study. We have given preference to the illustrated catalogues, 
 and to those elucidated by historical notices or critical appreciations. For further 
 information regarding the catalogues of art sales, the reader may consult the special 
 works published on the subject, namely : Duplessis (G.). Essai de bibliographic des 
 ventes du xvi e au xviii 6 siecle. Bedford (G.). History of Sales of Pictures, etc. London, 
 1888. 2 vols., 4. List of Catalogues of Collections, also Sales' Catalogues in the National 
 Art Library, South Kensington Museum. London, 1888-89. 8. L. Soullie. Catalogue 
 des ventes de tableaux et objets d'art du xix e siecle. Paris, 1895. 8. (6,000 sales.) 
 Roberts (W.). Memorials of Christie's. London, 1897. 8. 
 
 o, CATALOGUES OF MUSEUMS. 
 
 Australia. 
 
 Melbourne. 
 
 Ceramic art in the Museum of Art. Melbourne, 1865. 8. 
 Sydney. 
 
 MACDONALD. Greek vases in the Sydney Museum. 1898. 8. 
 
 Austria. 
 
 Reichenberg. 
 
 PAZAUREK. Fuhrer durch die Kunstgewerblichen Sammlungen, 1893. 8. 
 Nordbohmischen Gewerbe Museum. Keramik. Reichenberg, 1905. 4. 
 Vienna. 
 
 KENNER (F.). Die antiken Thonlampen der K. K. Munz und Antiken-Cabinetes. 
 
 Wien, 1858. 4. 
 
 K. K. Oesterr. Museum fur Kunst und Industrie Katalog. Wien, 1866. 8. 
 MASNER (K.). Die Sammlung anticker Vasen und Terra-Gotten in K. K. Oester- 
 
 reich. Museum. Wien. 1892. 4. 
 Znaim. 
 
 SONTAG. Catalogue de la collection des matieres ceramiques de 1'Ecole Imp. de 
 1'industrie de la terre, 1883. 8. 
 
 Belgium. 
 
 Brussels. 
 
 SCHUERMANS (H.). Musee royal d'antiquites. Catalogue des Gres Cerames. 
 Bruxelks, 1880. 12. 
 
 633 
 
CERAMIC LITERATURE. 
 
 FETIS Poteries, faiences et porcelaines. Bruxelles, 1882. 12. 
 
 Musee de Ravestein. Bruxelles, 1884. 8. 
 
 Ghent. 
 
 VAN DUYSE (H.). Musee archeologique de la ville de Gand. Gand, 1886. 1.2". 
 
 Denmark. 
 Copenhagen. 
 
 WORSAAE. The primeval antiquities of Denmark. 1849-59. 8. 
 BIRKET-SMITH. Die malede Vaser i Antikkabinettet. 1862. 8. 
 
 Egypt. 
 Cairo. 
 
 HERZ BEY. National Museum of Arab Art. London, 1896. 8. 
 
 BISSING (W. von). Fayence-Gefasse. Vienne, 1902. 4. 
 
 EDGAR (C. C.). Greek moulds for terra-cotta. Le Caire, 1903. 4. 
 
 England. 
 
 London. British Museum. 
 
 COMBE (Taylor). Terra-cottas. 1810. 4. 
 
 VAUX (S. W.). Handbook to the antiquities. 1851. 8. 
 
 BIRCH and NEWTON. Catalogue of Greek and Etruscan vases. 1851-70. 8. 
 
 NEWTON (C. T.). Guide to the first vase room. 1865. 8. 
 
 Guide to the second vase room. 1878. 8. 
 
 A guide to the Blacas collection. 1867. 8. 
 
 FRANKS (A. W.). Guide to the English ceramic ante-room. 1888. 8. 
 
 WALTERS (H. B.) and SMITH (G. H.). Catalogue of Greek vases. Vol. II., Black- 
 figured vases, 1893. Vol. iii., Finest period, 1896. Vol. iv., Late period, 1896. 
 8. 
 
 MURRAY (A. S.). Designs from Greek vases. 1893. Fol. 
 
 Terra-cotta sarcophagi, Greek and Etruscan. 1893. Fol. 
 
 - and SMITH (C. H.). White Athenian vases. 1896. Fol. 
 HOBSON (R. L.). English pottery. 1903. 4. 
 
 English porcelain. 1905. 4. 
 
 Museum of Practical Geology. 
 
 DE LA BECHE (Sir H.) and TRENHAM REEKS. Catalogue of specimens of 
 British pottery and porcelain. 1855. 8. 
 
 South Kensington Museum. 
 
 ROBINSON (J. C.). The Soulage collection. 1857. 8. 
 
 - Italian sculpture of the Middle Age. 1862. 8. 
 ALABASTER. Catalogue of Chinese objects. 1872. 8. 
 RIANO (J. F.). Art objects of Spanish production. 1872. 8. 
 FORTNUM (Drury). Persian ware and majolica. 1873. 8. 
 COLE (H. H.). Objects of Indian art. 1874. 8. 
 FRANKS (A. W.). Japanese pottery. 1880. 8. 
 
 The Jones Collection. 1883. 8. 
 
 CHURCH (A. H.). English pottery and porcelain. 1884-85. 8. 2nd ed., 1905. 
 GASNAULT (P.) and GARNIER (E.). French pottery. 1884. 8. 
 634 
 
CERAMIC LITERATURE. 
 
 Schreiber collection. 1885. 8. 
 
 BUSHELL (S. W.). Chinese art, 1904-06. 8. 
 
 Bethnal Green Branch Museum. 
 FRANKS (A. W.). Oriental porcelain and pottery. 1878. 8. 
 
 Continental porcelain. 1896. 8. 
 
 DERBY (Ch. H.). A brief guide to the collections. . . . 1890. 8. 
 WILLETT (H.). Pottery and porcelain illustrating English history. 1899. 8. 
 
 Birmingham. 
 
 RATHBONE (F.). The Tangye collection. 1885. 8. 
 
 Bristol. 
 
 LANG (R.). Collection of hard porcelain. 1875. 8. 
 
 Burslem. 
 
 DAWSON (J.). The Wedgwood Memorial Institute, 1894. 16. 
 
 Cambridge. 
 
 GARDNER (E. A.). Greek vases in the Fitzwilliam Museum. 1898. 4. 
 
 Hanley. 
 
 North Staffordshire Museum. 1890. 16. 
 
 Nottingham. 
 
 WALLIS (G. H.). Catalogue of classical antiquities in the Castle Museum. 1891. 
 8. 
 
 Oxford. 
 
 GARDNER (P.). Catalogue of the Greek vases in the Ashmolean Museum. 1893. 
 
 Fol. 
 FORTNUM (D.). The Fortnum collection in the Oxford Museum. 1897. 4. 
 
 Salisbury. 
 
 STEVENS (E. H.). Salisbury and South Wilts Museum. 1870. 12. 
 
 YorL 
 
 WELLBELOVED (C.). Catalogue of the Museum. 1881. 8. 
 
 Ireland. 
 
 Dublin. 
 
 WILDE (Sir W. R.). Museum of the E. Irish Academy. 1857. 8. 
 WAKEMAN (W. F.). Catalogue of specimens in the collections of the R. Irish 
 Academy. 1894. 4. 
 
 Scotland. 
 
 Aberdeen. 
 
 HENDERSON (J.). Classical vases in Marischal College. 1881. 4. 
 
 Edinburgh. 
 
 SMITH (C.). Catalogue of Sir H. Hume Campbell's collection. 1887. 8. 
 Museum of National Antiquities of Scotland 1892. 8. 
 SMITH (Sir R. M.). Guide to the Persian collection. 1896. 8. 
 
 635 
 
CERAMIC LITERATURE. 
 
 France. 
 
 Paris. Louvre Museum. 
 
 LONGPERRIER (A. de). Antiquites Mexicaines. 1850. 8 = . 
 SAUZAY (A.). Musee Sauvageot. 1861. 8. 
 NOEL des VERGERS. Musee Napoleon III. 1862. 8. 
 DARCEL (A.). Notice des faiences peintes. 1864. 8. 
 LONGPERRIER (A. de). Musee Napoleon III. 1868-74. 4. 
 RIS (Cl. de). Notice des faiences fran9aises. 1871. 8. 
 HEUZEY (L.). Les figurines antiques. 1883. 4. 
 BLANC (Ch.). La collection A. Thiers. 1884. 4. 
 COURAGEOD et MOLINIER. La collection Davillier. 1885. 4. 
 POTIER (E.). Terres cuites de Myrina. 1886. 4. 
 HEUZEY (L.). Catalogue des figurines en terre cuite. 1888. 8. 
 POTIER (E.). Vases antiques du Louvre. 1897-1900. 4. 
 MIGEON (G.). Faiences frangaises et Gres allemands. 1901. 8. 
 
 Cluny Museum. 
 
 DU SOMMERARD (E.). Catalogue du Musee des Thermes et de THotel de Cluny. 
 
 1852-81. 8. 
 GUERINET (Publ. by). Monographic du Musee de Cluny. Paris, 1908. Fol. 
 
 Annecy. 
 
 MARTEAUX et LEROUX. Catalogue du Musee Gallo-Romain. 1895. 8. 
 
 Auxerre. 
 
 CHEREST (A.). Catalogue du Musee. 1870. 8. 
 
 Caen. 
 
 GERVAIS. Catalogue du Musee. 1864. 8. 
 
 Le Man. 
 
 HUCHER (E.). Catalogue du Musee. 1869. 8. 
 
 Limoges. 
 
 ARDANT (H.).-JLe Musee de Limoges. 1869. 8. 
 
 GUILLEMOT (E.). Le Musee Ceramique. 1873. 8. 
 
 DUBOUCHET (A.). Le Musee Ceramique. 1873. 8. 
 
 GASNAULT (P.). La collection A. Jacquemart, 1876-79. 4. 
 
 GARNIER (E.). La collection Gasnault, 1891. 4. 
 
 LAJOLAIS (A. L. de). Musee ceramique. Catalogue sommaire. 1901. 12. 
 
 Lyon. 
 
 CORMARMOND (A.). Antiquites du Palais des Beaux Arts. 1855-57. 4. 
 
 Moulin. 
 
 L'ETOILE. Catalogue du Musee. 1885. 8. 
 
 Nantes. 
 
 PARENTEAU. Musee d'archseologie. 1869. 8. 
 
 Narbonne. 
 
 TOURNAL. Catalogue du Musee. 1864. 8. 
 FIL (E.). Catalogue du Musee. 1877. 8. 
 636 
 
CERAMIC LITERATURE. 
 
 Orleans 
 
 DAVOUST (E.). La collection Desnoyers. 1879. 8. 
 DESNOYER. Catalogue du musee historique. 1884. 8. 
 
 Perigueux. 
 
 GALY. Musee archseologique de la Dordogne. 1862. 8. 
 
 Quimper. 
 
 Catalogue du Musee archseologique. 1885. 8. 
 
 Reims. 
 
 HABERT. Catalogue du musee archeologique. 1901. 8. 
 
 Rennes. 
 
 ANDRE Catalogue du Musee. 1868. 8. 
 
 Rouen. 
 
 BAUDRY (P.). Ceramique du Musee de Kouen. 1864. 12. 
 COCHET (Abbe). Catalogue des antiquites. 1868. 8. 
 ADELINE (J.). Le musee de Eouen. 1882. 4. 
 LE BRETON (G.). Le musee ceramique. 1883. 8 and 12. 
 PETITON (C.). Le musee ceramique. 1900. 4. 
 
 Saint Die. 
 
 SAVE. Catalogue du Musee. 1886. 8. 
 
 Saint-Germain-en-Laye. 
 
 MORTILLET. Promenades au musee de Saint Germain. 1869. 8. 
 MAZARD (H. A.). La ceramique au musee de Saint Germain. 1872. 12. 
 REINACH (S.). Catalogue sommaire. S.d. 12. 
 
 Sevres. 
 
 BRONGNIART et RIOC RE UX. Description du musee ceramique. 1845. 4 C 
 GARNIER (E.). Catalogue du Musee Ceramique. 1897. 8. 
 PAPILLON (G.). Guide du Musee Ceramique. 1904. 12. 
 
 Troyes. 
 
 LE CLERT. Carrelages du Musee de Troyes. 1892. 8. 
 
 Vannes. 
 
 LE MENE. Catalogue du Musee Archeologique. 1881. 8. 
 
 Varzy. 
 
 LEMEN. Musee de la ville. 1875. 8. 
 
 German 1 }/. 
 
 Berlin. Royal and Imperial Museum. 
 
 DOROW. Etruscan vases. 1833. 8. 
 LEVEZOW (K.). Greek vases. 1834. 8. 
 TIECK (T.). Delia Robbia ware. 1835. 8. 
 PANOFKA (T.). Terra-cottas. 1841. 4. 
 ANON. Terra-cottas. 1878. 4. 
 
 637 
 
CERAMIC LITERATURE. 
 
 FURTWANGLER (A.). Greek vases. 1885. 8. 
 SELER (Dr.). Peruvian antiquities. 1893. Fol. 
 Museum of Industrial Art. 
 PABST (A.). Kunstgewerbe Museum zu Berlin. 1884. 8. 
 
 Bonn. 
 
 Museum Vaterland. Alterthiimer bei der Universitat. 1876. 8. 
 
 Ereslau. 
 
 Schlesischer Alterthiimer. 1891. 8. 
 
 Dresden. 
 
 KLEMM (G.). Die K. Sachsische Porzellan Sammlung. 1834. 12. 
 GRAESSE. Beschreibende Katalog. 1873. 8. 
 
 ERBSTEIN (A.). Die Kgl. Porzellan Sammlung zu Dresden. 1889. 8. 
 BERLING (K.). Dresden Kunstgewerbe Museum. 1895. 8. 
 Fiihrer durch die K. Sammlungen zu Dresden. 1899. 8. 
 
 Hamburg. 
 
 FOHRING (H.). Die Keramische Abtheilung. 1878. 12. 
 BRINCKMANN (J.). Das Hamburgische Museum. 1894. 4. 
 
 Karlsruhe. 
 
 FROHNER (W.). Greek vases. 1860. 8. 
 
 WAGNER (E.). Alterthiimer Sammlung. 1877-85. Fol. 
 
 WIENNEFELD. Greek vases. 1887. 8. 
 
 Kassel. 
 
 FINDER. Die heidnische Alterthumer im Museum zu Kassel. 1878. 8. 
 
 Leipzig. 
 
 Kunstgewerbe Museum Fiihrer. 1884. 8. 
 
 Mayence. 
 
 UNDENSCHMITT (L.). Das central Museum. 1889. 4. 
 
 Mecldenbourg. 
 
 SCHROTER (H. R.). Sammlung zu Ludwigslust. 1837. 8. 
 
 Munich. 
 
 JAHN (0.). Greek vases. 1854. 8. 
 
 CHRIST (W.). Handbook to the Antiquarium. 1870. 12. 
 ANON. Porcelain paintings. 1886. 32. 
 
 HOFMANN (F. H.). Das europaische Porzellan der Bayerischen Nationalmuseum. 
 1908. 4. 
 
 Nuremberg. 
 
 ESSENWEIN (A.). Germanische Museum. 1877. Fol. 
 MESTORF (J.). Rosenberg Collection. 1886. 8. 
 
 Rothweil. 
 
 HOLDER. Romischen Thongefasse. 1889. 4. 
 
 Sigmaringen. 
 
 LEHNER (F. A.). Hohenzollern'sches Museum. 1871. 8. 
 
 Wiirzburg. 
 
 URLICHS. Die Vasensammlung der Universitat Wiirzburg. 1872, 8, 
 638 
 
CERAMIC LITERATURE. 
 
 Greece. 
 
 Athens. 
 
 COLLIGNON (M.). Vases peints du Musee d'Athenes. 1877. 8. 
 MARTHA (J.). Terres cuites du Musee d'Athenes. 1880. 8. 
 CAVVADIAS. Musee national. 1895. 8. 
 
 Cyprus. 
 
 MYRES (J. L.). The Cyprus Museum, Nicosia. 1899. 8. 
 
 Holland. 
 
 Leyden. 
 
 ROULEZ (J.). Vases peints du Musee de Leyde. 1854. Fol. 
 JANSEN (L. J.). Die Etrurische Grabreliefs. 1854. Fol. 
 - Terra-cottas. 1862. Fol. 
 
 Utrecht. 
 
 MULLER (S.). Catalogus van het Museum van Oudheden. 1878. 8. 
 
 Hungary. 
 
 Bwla Pesth. 
 
 KUTAS (von). Ungarisches Landes Museum. 1885. 8. 
 
 Italy. 
 
 Florence. 
 
 CARRAUD. Collection Carraud au Bargello. 1895. 12. 
 AMELUNG (W.). Fiihrer durch die Antiken in Florenz. 1897. 8. 
 SUPINO (J. B.). Museo Nationals di Firenze. 1898. 8. 
 
 Naples. 
 
 PISTOLESI. Keal Museo Borbonico. 1824-57. 4. 
 JORIO (A. de). Museo borbonico. 1825. 8. 
 GARGULIO. Kaccolta de monumenti. . . . 1825. 4. 
 HEYDEMANN. Die Vasensammlungen. 1872. 8. 
 
 Pesaro. 
 
 ANTALDI SANTINELLL Catalogo della raccolta di majoliche. 1897. 4. 
 
 Rome. 
 
 BONANNI. Museum Kirkerianum. 1709. Fol. 
 
 CONTUCCI. Musei Kirkeriani. . . . 1773. Fol. 
 
 MAXIMIS (F. X. de). Museo gregoriano. 1842. Fol. 
 
 RUGGIERO (E. de). Catalogo del Museo kirkeriano. 1878. 8. 
 
 PIGORINI (L.). II Museo prehistoric e ethnografico di Koma. 1881-84. 8. 
 
 REISCH (E.). Museo gregoriano etrusco im Vatican. 1891. 12. 
 
 Venice. 
 
 LAZARI (V.). Kaccolta Correr. 1859. 8. 
 
 GHELTOF (U. de). Catalogo del Museo civico. 1872. 8. 
 
 Portugal. 
 
 Porto. 
 
 VASCONCELLOS (J. de). Museu Municipal. Catalogo da ceramica portugueza. 
 1909. 4, 
 
 639 
 
CERAMIC LITERATURE. 
 
 Norway. 
 Bergen. 
 
 Vestlandske Kimstindustrimuseum. 1893. 8. 
 
 Russia. 
 Odessa. 
 
 DEREWITZKY. Das Museum d. K. Odessaer Gesellschaft. 1897. 4. 
 
 Saint Petersburg. 
 
 STEPHANI (L.). Die Vasensammlung. . . . 1869. 8. 
 DOELL (J.). Die Sammlung Cesnola. 1873. 4. 
 ANON. Hermitage, Imperial. Vases peints. S.d. 12.' 
 
 Do. Antiquites de Kertch. S.d, 12. 
 
 KONDAKOF. The Mediaeval and Renaissance department of the Hermitage 
 
 Museum. (In Russian.) 
 
 Tiflis. 
 
 Musee de la Societe d'Archeologie du Caucase. 1877. 4. 
 
 Sweden. 
 Stockholm. 
 
 MONTELIUS (0.). Museum of Antiquities. 1887. 8. 
 
 HAZELIUS. Guide to the collections of the Northern Museum. 1889. 8. 
 
 Kristiania. 
 
 GROSCH (H.). Beretning om Kristiania Museums. 1902. 8. 
 
 Switzerland. 
 Bern. 
 
 ANON. -AntiquitSten des Bern's Museum. 1846. 8. 
 
 Geneva. 
 
 FOL (W.). Catalogue du Musee Fol. 1874. 8. 
 
 MILLICH. Vases antiques des Collections de Geneve. 1892. 4. 
 
 Zurich. 
 
 ULRICH (R.). Sammlung der antiquarischeu Gesellschaft. 1890. 4. 
 LEHMANN (H.). Guide officiel du Musee National. 1903. 8. 
 
 Turkey. 
 Constantinople. 
 
 REINACH (S.). Musee de Constantinople. 
 
 U.S. America. 
 Boston. 
 
 ROBINSON (E.). Catalogue of Greek, Etruscan, and Roman vases. 1893. 8. 
 MORSE (E. S.). Collection of Japanese ceramics. 1901. 4. 
 GETZ (J.). The Macomber collection of Chinese pottery. 8. 
 
 Cambridge (Mass.). 
 
 PUTNAM (F. W.). Peabody Museum, American pottery. 8, 
 640 
 
CERAMIC LITERATURE. 
 
 New York. Metropolitan Museum. 
 
 HOLMES (W H.). A descriptive atlas of the Cesnola collection of Cypriote anti- 
 quities. 1894. Fol. 
 
 - Handbook to the terra-cottas and pottery of the Cesnola collection of Cypriote 
 antiquities. S.d. 8. 
 
 GETZ (J.). The Garland collection of Chinese porcelain, in the Metropolitan Museum 
 of Art. 1895. 8. 
 
 Philadelphia. 
 
 BARBER (E. A.). The Pennsylvania Museum. 1893. 8. 
 
 - Handbooks to the National Museum. 1906-07. 8. 
 
 Washington. 
 
 RAU (Ch.). The archseological collection in the U.S. National Museum. 1876. 4. 
 HOLMES (W. H.). Collection of the Bureau of ethnology. 1884. 8. 
 
 &. CATALOGUES OF PRIVATE COLLECTIONS. 
 
 (Exclusive of the Collections of Classical Antiquities.) 
 
 Austria. 
 
 LANNA (A. von). Leipzig, 1909. 4. See Leisching. (Ceramics. Chiefly German.) 
 FIGDOR (Dr.).Wien, 1909. 4. By Molheim (A. W. V.). (Early German pottery.) 
 
 Belgium. 
 
 HUYVETTER (J. A'). Ghent, 1829. 4. (Ancient Stoneware.) 
 MINARD (L.). Gand, 1866. 4. (Do.) 
 
 England. 
 
 WALPOLE (H.). Strawberry I fill, 1784. 4. (Gen.) 
 
 BATEMAN (T.).Bakeioett, 1855. 8. (Early British Pottery.) 
 
 MAGNIAC (H.). London, 1862. 8. (Gen.) See Robinson (J. C.). 
 
 NAPIER (R.). London, 1865. 8. (Gen.) See Robinson (J. C.). 
 
 MENDEL (S.). Manchester, 1867. 8. (Gen.) 
 
 HENDERSON (J.). London, 1868. Fol. (Persian ware.) 
 
 FORMAN (W. H.). London, 1869. 8. (Gen.) 
 
 CHURCH (A. H.).Cirencester, 1870. 12. (Old English Pottery.) 
 
 SIBTHORP (R. Waldo). Nottingham, 1874. 8. (Ceramics.) 
 
 Works of art at Marlborough House. London, 1877. 8. (Gen.) See Cole (A. S.). 
 
 THOMPSON (Sir H.). London, 1878. 4. (Oriental Porcelain.) 
 
 PROPERT (J. L.). London, 1881. 8. (Wedgwood Ware.) 
 
 BARTLETT (W.). Liverpool, 1882. 4. (Do.) 
 
 BINNS (R. W.). Worcester, 1882. 8. (Worcester Porcelain.) 
 
 ROTHSCHILD (A. de). London, 1884. 4. (Sevres porcelain.) 
 
 PFUNGST (H. J.). London, 1890. 4. (Italian majolica.) 
 
 ARKWRIGHT (W.). London, 1893. 4. (Oriental porcelain.) 
 
 WILLETT (R.). Brighton, 1893. (Old English pottery.) See Housman. 
 
 - London, 1899. 8. See Anon. 
 GODMAN (F. D.). London, 1894. Fol. (Persian ware.) See Wallis (H.). 
 
 41 641 
 
CERAMIC LITERATURE 
 
 LAWRENCE (Sir Trevor). London, 1895. 4. (Japanese.) See Huish (M.). 
 
 PRICE (F. G. Hilton). .London, 1897-1908. 4. (Egyptian antiquities.) 
 
 DRANE (R.). Cardiff, 1898. 8. (Worcester porcelain.) 
 
 BEMROSE (W.). Derby, 1898. 8. (English china.) 
 
 WASS (W.). London, 1898. 8. (Armorial china.) 
 
 TOMKINSON. London, 1898. 4. (Japanese.) 
 
 TRAPNELL (A.). Bristol, 1898. 4. (English china.) 
 
 Bristol, 1901. 4. (Chinese porcelain.) 
 
 PARTRIDGE. London, 1899. 4. (Old Dresden.) 
 GODMAN (F. D.). London, 1901. Fol. (Oriental and Spanish pottery.) 
 SANDERSON (A.). Edinburgh, 1901. 8. (Old Wedgwood.) See Rathbone (F.). 
 HARDING (G. R.). London, 1902. 8 y . (Italian majolica.) 
 VEITCH (G. T.). Birmingham, 1902. 8. (Chinese porcelain.) 
 COOK (F. W.). London, 1903. 4. (Italian majolica.) See Racham. 
 ORROCK (J.). London, 1903. (Chinese blue and white.) See Weber (B.). 
 TRAPNELL (A.). Bristol, 1905. 4. (Bristol and Plymouth porcelain.) 
 TWEEDMOUTH (Lord). London, 1905. 8, (Old Wedgwood.) See Rathbone (F.). 
 FALKNER and SIDEBOTHAM. Manchester, 1906. 8. (English pottery figures.) 
 CRISP (F. A.). Armorial china and Lowestoft china. London, 1907. 4. 
 Wedgwood Museum, Etruria, 1909. 8. (Old Wedgwood.) See Rathbone. 
 
 France. 
 
 DEBRUGE DUMENIL. Paris, 1847. (Gen.) See Labarte (J.). 
 FOULD (L.). Paris, 1861. Fol. (Gen.) See Chabouillet (A.). 
 MALINET (Mad.). Paris, 1862. 8. (Oriental porcelain.) See Jacquemart (A.). 
 DEMMIN (A.). Paris, 1870. 8. (Gen.) 
 MOREAU (A.). Pans, 1871. Fol. (Gen.) 
 BASILEWSKY. Paris, 1875. 4. (Gen.) See Darcel (A.). 
 DOUBLE (L.). Paris, 1878. 8. (Sevres porcelain.) 
 GASNAULT (P.). Paris, 1881. 4. (Gen.) See Garnier (E.). 
 JACQUEMART (J.). Paris, 1887. 4. (Gen.) See Gasnault (P.). 
 DUTUIT (Aug.). Pam, 1899. 8. (Majolica.) 
 SPITZER (F.). Pan's, 1890-92. Fol. (Gen.) 
 ARNAVON (L.). Paris, 1902. (Marseilles and Moustiers faiences.) 
 CHAPPEY. Paris, 1903. (Dresden porcelain.) See Demaison. 
 
 Germany. 
 
 MINUTOLI (A. von).Leignitz, 1854-63. Fol. (Gen.) 
 FELIX (E.). Leipzig, 1880. Fol. (Gen.) 
 RIEBECK (E.). Berlin, 1884. Fol. (Oriental.)" 
 Mettlacher Museum. 1884. 4. (Stoneware.) See Jannicke (F.). 
 OPPENHEIM (Baron A. von). Cologne, 1890. Fol. (Stonewrae.) See Pabst (A.). 
 ANSBACH. Porzellanschatz d. K. bayr. Schlosses zu Ansbach. S.d. Fol. (German 
 
 porcelain.) See Mor-Sunneg, 
 WILHELMSTHAL. Die Porzellan-Sammlung des Schlosses Wilhelmsthal. Kassel, 1892. 
 
 8. See Seherer (C.). 
 FUGGER-BABENHAUSEN (Prince C. L. M.). Museum Fuggerianum. Augsburg. 1892. 
 
 Fol. 
 642 
 
CERA MIC LITER A TURE. 
 
 ROTHSCHILD (Fr. Karl von). Frankfurt a. M. 8. (Chinese porcelain.) See Luthmer. 
 
 METZLER (W. P.). Frankfurt a. M. 1. (Gen.) See Frauberger. 
 
 OHLMER (E.).Hildesheim, 1898. 8. 
 
 ZSCHILLE (R.). Leipzig, 1900. Fol. (Italian majolica.) See Falke (0. V.). 
 
 ZEISS (A.). Berlin, 1900. (Gen., majolica.) 
 
 DUBSKY (Graf. G.).Bruenn, 1902. See Leisching. 
 
 Holland. 
 
 WECKERLIN (B. de). La Haye, 1860. 4. (Stoneware.) 
 
 WILLET HOLTHUYSEN. Amsterdam, 1907. 4. (Delft, Dresden.) See Coenon. 
 
 Italy. 
 
 MAZZA (D.). Pesaro, 1836. 8. (Majolica.) See Montanari. 
 DELSETTE. Bologna, 1844. 8. (Majolica.) See Frati (L.). 
 PASOLINL Bologna, 1852. 8. (Majolica.) 
 CAMPANA (J. P.). Roma, 1859. 4. (Majolica.) 
 
 Russia. 
 
 MONTFERRAND (R. de). St. Pef.srsbourg, 1854. 8. (Majolica.) 
 3CHEREMETEFF (Count N. P.). St. Petersburg, 1894. 8. (Old Sevres.) 
 SCHUTSCHUKIN (P. J.). -Moskow, 1895. 4. (Gen.) 
 
 Spain. 
 
 LAIGLESIA (F. de). Madrid, 1908. 8. (Buen Retiro porcelain.) See Villamil. 
 SANTACANA-MARTORELL. Barcelona, 1909. 4. (Spanish tiles.) 
 
 Sweden. 
 
 HAMMER (C.). Stockholm, 1870. 8. (Gen.) 
 
 KING KARL XV. of SWEDEN. Kunstsammlungen. Wien, 1871. See Falke (J.). 
 
 Switzerland. 
 REVILLOT de MURALT. Geneve, 1901. 4. (Oriental.) 
 
 U.S. America. 
 
 PFOUNDES (C.). New York, 1876. 8. (Japanese.) 
 MORSE (S.). Salem, 1887. 4. (Japanese.) See Baxter. 
 HIPPISLEY (A. E.). Washington, 1890. 2nd ed., 1892. 8. (Chinese.) 
 WAGGAMAN. New York, 1893. 8. (Japanese.) 
 WALTERS (W. T.).New York, 1895. Fol. (Oriental.) 
 GARLAND (A.). New York, 1895. 8. (Chinese.) See Getz. 
 WARREN (G. B.). Boston, 1902. 8. (Chinese.) 
 PIERPONT-MORGAN. New York, 1904. 8. (Chinese.) See Bushell. 
 TAFT (Ch.).New York, 1904. 4. (Chinese porcelain.) By J. Getz. 
 ANON. List of collectors and dealers in old china. Syracuse, N.Y., 1905. 8. 
 WATSON (H. 0.).New York, 1908, 4. (Persian pottery.) By J. Getz. 
 MACOMBER. New York, 1909. 8. (Chinese pottery.) By J. Getz. 
 
 643 
 
CERAMIC LITERATURE. 
 
 c. CATALOGUES OF SALES. 
 In which Ceramic Objects occupy an important place. 
 
 (Exclusive of the Collections of Classical Antiquities.) 
 
 Belgium. 
 
 HUYVETTER (J. d'). Gand, 1851. 8. (Stoneware.) See Verhelst. 
 
 LENNICK (De Man to). Bruxelles, 1864. 8. (Gen.) 
 
 KNYFF (A. de). Bruxelles, 1865. 8. (Gen.) 
 
 ELINCKHUYZE. Bruxelles, 1875. 8. (Oriental.) 
 
 GEVERS (E.).Gand, 1883. 8. (Gen.) 
 
 C. de H. (Mile, la Baronne to). Gand, 1883. 8. (Gen.) 
 
 MINARD (L.).Gand, 1883. 8. (Stoneware.) 
 
 KEYSER (N. to).Anvers, 1888. 4. (Gen.) 
 
 TILMANST. Bruxelles, 1892. 8. (Delft.) 
 
 HEIM (M.). Bruxelles, 1899. (Stoneware.) 
 
 England. 
 
 QUEEN CHARLOTTE. London, 1819. Sm. 4. (Oriental and European porcelain.) 
 STRAWBERRY HILL COLLECTION. London, 1842. 4. (Gen.) 
 THE STOWE COLLECTION. London, 1848. 4. See Forster. 
 BERNAL. London, 1855. 4. (Gen.) 
 FALKE (D.). London, 1858. 8. (Wedgwood ware.) 
 VIENNA MUSEUM. London, 1860. 8. (Gen.) See Lowenstein. 
 UZIELLL London, 1861. 8. (Gen.) 
 MARRYAT (J.). London, 1866. 8. (Gen.) 
 DE LA RUE (T.). London, 1866. 8. (Wedgwood ware.) 
 BARLOW (T. 0.). London, 1869. 8. (Do.) 
 AGNEW (T.). Manchester, s.d. 8. (Do.) 
 HALL (S. C.). London, 1870. 8. (English ware.) 
 WALKER. London, 187.1. (Gen.) 
 
 JEWITT (L.). London, 1871. 8. (English pottery and porcelain.) 
 EMERSON NORMAN. London, 1871. 8. (Do.) 
 REYNOLDS (C. W.). London, 1871. 8. (Do.) 
 BALLER (G. W.). London, 1872. 8. (Do.) 
 PRESTON (H. L.). Yarmouth, 1872. Sm. 4. (Gen.) 
 OWLES (J.). Yarmouth, 1872. Sm. 4. (Gen.) 
 BRADBEER (B. M..). Yarmouth, 1873. Sm. 4. (English porcelain.) 
 EDKINS (W.). London, 1874. 8. (English pottery and porcelain.) 
 MENDEL (B.). Manchester, 1875. 8. 
 BOHN (H. G.). London, 1875. 8. (Gen.) 
 CALLENDER (W. R.). London, 1876. 8. (English porcelain.) 
 SHANDON COLLECTION. London, 1877. 8. (Gen.) See Napier (R.). 
 DICKINS (Ch.). London, 1878. 8. (Porcelain.) 
 MORREN (P.). London, 1879. 8. (Gen.) 
 SIBTHORP (R. Waldo). Nottingham, 1879. 8. (Gen.) 
 HAMILTON (Duke of). London, 1882. 8. (Gen.) 
 BOND (E.). Leeds, 1884. 8. (Pottery and porcelain.) 
 644 
 
CERAMIC LITERATURE. 
 
 HASLEM (J.). Derby, 1884. Sm. 4. (Derby china.) 
 
 FOUNTAINS (A.). London, 1884. 8. (Gen.) 
 
 BECKET-DENISON (C.). London, 1885. 8. (Gen.) 
 
 WALKER (T. Shadford). London, 1885. 4. (Wedgwood ware.) 
 
 DUDLEY (Earl of). London, 1886. 8. (Sevres porcelain.) 
 
 BRAXTON-HICKS (J.). London, 1887. 8. (Wedgwood ware.) 
 
 JOSEPH (E.). London, 1890. 4. (Gen.) 
 
 MAGNIAC (H.). London, 1892. 8. (Gen.) 
 
 DEAN PAUL (Sir E. J.). London, 1895. 8. (Gen.) 
 
 GOOD (W. J.). London, 1895. 8. (Sevres porcelain.) 
 
 GOLDSMID (Sir J.). London, 1896. 8. (Gen.) 
 
 LEIGHTON (Lord). .London, 1896. 8. (Oriental pottery.) 
 
 BARDINL London, 1899. 4 and 8. (Ger.) 
 
 MOORE (Mrs. Bloomfield). London, 1900. (Porcelain.) 
 
 WENTWORTH-WASS. London, 1900. 8. (Porcelain.) 
 
 THYNNE (Lord H.). London, 1899-1901. (Porcelain.) 
 
 MAINWARING (Massey). London, 1902-07. (Gen.) 
 
 KIDD (E. M.). Nottingham, 1903. (English china.) 
 
 MORITZ (Sig.). London, 1904. 8. (Wedgwood ware.) 
 
 HAYNES. London, 1904. 8. (Porcelain.) 
 
 HUTH (L.). London, 1905. 8. (Gen.) 
 
 CUERDEN HALL. Manchester, 1906. 8. (Modern porcelain.) 
 
 SANDERSON (A.). London, 1907. 8. 
 
 DICKINS (Ch.). London, 1908. 2nd sale. (Porcelain.) 
 
 BEMROSE (W.). Derby, 1909. (English china.) 
 
 AMHERST (Lord). London, 1909. (Majolica.) 
 
 France. 
 
 ANGRAN de FONSPERTUIS. Paris, 1747. 12. See Gersaint. (Italian majolica. 
 
 CROZAT. Paris, 1750. 12. (Gen.) 
 
 SCHOMBERG (Comte de). Paris, 1836. Sm. 4. (Gen.) 
 
 PETIT-DIDIER. Paris, 1843. 8. (Gen.) 
 
 DEBRUGE-DUMENIL. Paris, 1847. 8. See Labarte (J.). (Gen.) 
 
 BECKER (L.). Paris, 1852. 8. (Gen.) 
 
 RATTIER. Paris, 1859. 8. (Gen.) 
 
 PIOT (E.). Paris, 1860. 8. (Gen.) 
 
 FOULD (L.). Paris, 1860. 8. (Gen.) 
 
 FERROL (Ch. de). Paris, 1863. 8. (Oriental porcelain.) See Jacquemart. 
 
 MATHIEU-MEUSNIER. Paris, 1864. 8. (French faience.) 
 
 CHAMPFLEURY. Paris, 1868. 8. (Faiences patriotiques.) 
 
 BEAVEN (Mme.). Paris, 1868. 8. (Oriental and European porcelain.) 
 
 TORETELLL Paris, 1870. (Majolica.) See Darcel. 
 
 SAN DONATO (Collection). Pans, 1870. 8. 
 
 - Florence, 1880. 4. (Gen.) 
 
 ANON. Collection d'un amateur de Rouen (Mr. Delaunay). Paris, 1872. 8. 
 WILLET (De). Paris, 1874. 8. (Majolica.) 
 DEMMIN (A.). Paris, 1875. 8. (Gen.) 
 NOEL (G.). Paris, 1875. 8. (Modern faience.) 
 
 645 
 
CERAMIC LITERATURE. 
 
 BILBAUT (Th.).- -Douai, 1876. 8. (French faience.) 
 ANDRE. Paris, 1878. 8. (Modern faience.) 
 CASTELLAN!. Paris, 1878. 8. 
 
 - Rome, 188-1. 4. 
 
 - Paris, 188-1. 4. (Gen.) 
 
 BARBET de JOUY. Paris, 1879. 8. (Oriental porcelain.) 
 
 LEJEAL. Valenciennes, 1880. 8. (French faience and porcelain.) 
 
 DOUBLE (L.). Paris, 1881. 4. (Sevres porcelain.) 
 
 DU SARTEL (0.). Paris, 1882. 8. (Oriental porcelain.) 
 
 FILLON (B.). Paris, 1882. 8. (Gen.) 
 
 VIEL CASTEL (de). Paris, 1883. (Sevres porcelain.) 
 
 BEURDELEY. Paris, 1883. 8. (Gen.) 
 
 - Paris, 1895. 8. (Oriental.) 
 
 - Paris, 1898. 8. (Sevres porcelain.) 
 MILET (A.). Paris, 1884 8. (Gen.) 
 
 CUNHA (F. R. da). Pans, 1884. 4. (Porcelain.) 
 OSMOND (A'). Paris, 1884. 8. (Sevres porcelain.) 
 SAPIA de LENCIA Paris, 1885. (Dresden porcelain.) 
 FOURNIER. Paris, 1885. 4. (Sevres porcelain.) 
 DUPONT-AUBERVILLE. Paris, 1885. 12. (Early French porcelain.) 
 CARRIER-BELLEUSE. Paris, 1887. 8. (Terra-cotta.) 
 FETIS (F.). Pam, 1887. 8. (Faiences.) 
 RAYMOND (Dr.). Paris, 1888. 8. (Faiences.) 
 LEFRANgOIS (A.). Pan's, 1888. 8. (Gen.) 
 ABADIE. Paris, 1888. 8 C . (Rouen faience.) 
 MARQUIS. Pam, 1889. 4. (Oriental porcelain.) 
 IQUELON (Marquis d'). Paris, 1889. 4. (Rouen faience.) 
 SEILLIERE (Baron A.). Paris, 1890. 4. (Gen.) 
 B . . . (Collection). Pam, 1890. 8. (French faience.) 
 WARMONT (Dr.). -Paris, 1891. 8. (Sinceny faience.) 
 L. de M. (Lebeuf de Montgermont). Paris, 1891. 4. (Gen.) 
 PLOQUIN. Paris, 1891. 8. (French faience.) 
 YVON (Madame d'). Pans, 1892. Fol. (Gen.) 
 WADINGTON (E.). Paris, 1893. 8. (French faience.) 
 SPITZER (F.). Paris, 1893. 4 and Fol. (Gen.) 
 DAMILAVILLE.- Paris, 1894. 8. (Rouen faience.) 
 DINO (Duchess of). Pam, 1894. 4. (Majolica, Nimes faience.) 
 ANTIC (Ch.).- Paris, 1895. (2 cat.) 4. (Faiences.) 
 AROSA. Pan's, 1895. 4. (Gen.) 
 
 LEROUX. Pam, 1896. 8. (Majolica and French faiences.) 
 X. (Collection de feu Mr.). Pam, 1896. 8. (Rouen faience.) See Ridel. 
 BRETILLARD. Pans, 1896. 8. (Faiences patriotiques.) 
 ROLLAND (Mme. de). Bordeaux, 1897. 8. (Faiences.) 
 GERARD (A.). Pan's, 1900. 8. (Ceramics.) 
 ARNAVON (L.). Pam, 1902. 4. (French faiences.) 
 KERVOKIAN. Paris, 1902. 8. (Persian faience.) 
 BRENOT. Pan's, 1903. 4. (Oriental porcelain.) 
 646 
 
CERAMIC LITERATURE. 
 
 ROBINSON (Sir J. C.) and HART (E.). Paris, 1904. 8. (Oriental ceramics.) 
 
 GILLOT (Ch.). Paris, 1904. ~V. "(Japanese art.) 
 
 SCHLESINGER. Paris, 1905. 8. (German porcelain.) 
 
 SCHIFF. Paris, 1905. 8. (Majolica.) 
 
 CHAPPEY. Paris, 1906. 4. (Sevres and Dresden porcelain.) 
 
 YANVILLE (Cte d'). Paris, 1907. 8. (Ceramics.) 
 
 GERBEAU (G.). Paris, 1908. 8. (Chinese porcelain.) 
 
 FITZHENRY. Paris, 1909. 4. (Soft porcelain.) 
 
 Germany. 
 
 LEVEL (P.). Cologne, 1853. 8. (Stoneware.) 
 
 MINUTOLI (H. von). Leipzig, 1858. (Oriental china.) 
 
 ESSINGH (J.). Cologne, 1865. 8. (Gen.) 
 
 ADAMBERG. Vienna, 1871. 4. (Gen.) 
 
 MINUTOLI (A.). Berlin, 1872. 8. (Gen.) 
 
 GARTHE (E.). Cologne, 1877. 8. (Gen.) 
 
 DISH (C. J).). Cologne, 1881. 1. (Gen.) 
 
 PICKERT (A.). Cologne, 1881. 8. 
 
 PAUL (J.). Cologne, 1882. 4. (Gen.) 
 
 MILANI (C. A.). Frankfurt a. M., 1883. 8. (Gen.) 
 
 PARPART (A. von). Cologne, 1884. 4. (Gen.) 
 
 GEDON (L.). Munich, 1884. 4. (Gen.) 
 
 FELIX (E.). Cologne, 1886. 4. (Gen.) 
 
 GRASSALKOWITS (Princess Marie L.). Cologne, 1887. 4. (Gen.) 
 
 SEYFFER (0.). Stuttgart, 1887. 4. (Gen.) 
 
 HERRMANN (C.). Cologne, 1888. 4. (Gen.; 
 
 MEURER (H.). Cologne, 1888. 4. (Gen.) 
 
 ADELMAN. Cologne, 1888. 4. (Gen.) 
 
 HAMMER (C.). Cologne, 1892-93-94. 4. (Gen.) 
 
 GUBLER (J. J.). Cologne, 1893. (Gen.) 
 
 LIEBERMANN (A. von). Cologne, 1894. Fol. (Gen.) 
 
 GIESBERG. Cologne, 1894. 8. (Gen.) 
 
 HIRTH (G.). Deutsche Tanagra. Munich, 1898. 4. (German porcelain figures.) 
 
 ROCHENBURGER. Frankenthaler Porzellan. Mannheim, 1899. 
 
 FRANKENSTEIN (H. von). Munich, 1901. 4. (German porcelain.) 
 
 LIPPMANN-LISSINGEN (J. V.) Munich, 1901. 4. (Stoneware.) 
 
 MOLLER. Cologne, 1903. 4. (German stoneware and porcelain.) 
 
 WOOS (W.). Cologne, 1903. 4. (Gen.) 
 
 THEWALT (K.). Cologne, 1903. 4. (Gen.) 
 
 FISCHER (C. H.). Cologne, 1906. 4. (Dresden porcelain.) See Falke (0. v.). 
 
 EMDEN (JO.). Berlin, 1908. 4. (Ceramics.) 
 
 LANNA (A. V.). Berlin, 1909. Fol. (Ceramics.) 
 
 Holland. 
 
 BRAAMCAMP (G.).S.L, 1771. 8. (Oriental porcelain.) 
 ROMONDT (F. van). La Haye, 1875. 4. (Delft ware.) See Havard. 
 LOUDON (J.).La Haye, 1877. 4. (Delft ware.) See Havard. 
 
 647 
 
CERA MIC LIT ERA TURE. 
 
 VAN MEERTEN. Delft, 1902. 8. (Delft ware.) 
 
 VAN'KNYK. Amsterdam, 1904. 4. (Delft ware.) 
 
 BOAS-BERG (J. J.). Amsterdam, 1908. 8. (Oriental porcelain.) 
 
 Italy. 
 
 CAJANI (A.). Rome, 1860. 8. (Gen.) 
 SAN-DONATO. Florence, 1880. 4. (Gen.) 
 PASSALAQUA (J. B. L.). Milan, 1885. 4. (Gen.) 
 ALBERICI (A.). Rome, 1886. 4. (Gen.) 
 ANCONA (A.). Milan, 1892. 4. (Gen.) 
 RUBBIANI (Frat.). Rome, 1893. 8. (Majolica.) 
 PIGNATELLI (Prince F. d'A.). Naples, 1895. 4. (Majolica.) 
 
 Sweden. 
 BOMANS. Stockholm, 1888. 8. (Swedish porcelain.) 
 
 Switzerland. 
 VINCENT (C. and P. N.). Constanz, 1890. 4. (Majolica.) 
 
 U.S. America. 
 
 BRINCKLEY. New York, 1885. 8. (Japanese ware.) 
 
 MORGAN (Mrs. M. i.).New York, 1886. (Modern ceramics.) 
 
 HEARN (G. A.). New York, 1894. 8. (Oriental porcelain.) See Holcombe. 
 
 648 
 
CERAMIC LITERATURE. 
 
 EXHIBITIONS. 
 
 CATALOGUES, OFFICIAL REPORTS, REVIEWS, etc. 
 
 Austria. 
 Graz. 
 
 BUDE und LACKER. Graz kulturhist. Ausstellung, 1883. Kunstgewerbliche 
 Arbeiten. 1884. Fol. 
 
 Lembery. 
 
 WIEZBICKI (L. von). Polnish-ruthenische Arclieologische Ausstellung in Lemberg. 
 1886. Fol. 
 
 Prague. 
 
 WIEZBICKI (L. von). Retrospective Ausstellung in Prag, 1891. Catalogue. 8 ; 
 with a fol. album of photos. Prag, 1891. 
 
 Chytil. Ausstellung von Keramischen Bomischen Ursprungs. Prag, 1908. 
 8. 
 
 Steyr. 
 
 WEBER (S.). Ausstellung zu Steyr. Steyr, 1888. Fol. 
 
 Troppau. 
 
 BRAUN (E.). Ausstellungen von alt Wiener Porzellan. Troppau, 1903. 12. 
 
 Vienna, 1873. 
 
 ARCHER (T. C.). Report on pottery. London, 1874. 8. 
 
 BLAKE (W. P.). Ceramic art. New York, 1875. 8. 
 
 COHAUSEN und POSHINGER. Industrie der Stein-, Thon-, Glaswaaren. . . . 
 
 Braunschweig, 1874. 8. 
 
 DE'GORI (A.). Ceramica. Milano, 1873. 8. 
 LAMBERT (G.). Exposition univ. de Vienne- Bruxelks, 1874. 8. 
 LOCKE (E.). Ceramic ware. London, 1873. 8- 
 
 RICHARD (G.). Relazione sulla industria ceramica. Milano, 1873. 8. 
 MEYER et BAYLAC. Delegation ouvriere. Ceramistes. Paris, 1874. 8. 
 PFAU (L.). Musterbilder aus der Wiener Weltausstellung. Stuttgart, 1874. Fol. 
 LUYNES (V. de). Ceramique. Paris, 1875. 8. 
 ZEIRICH (E.). Thonwaaren Industrie. Wien, 1873. 8. 
 
 Earthenware. Vienna Exhibition. London, 1874. 8, 
 
 Vienna, 1881, 1884, 1904. 
 
 ZEIRICH (E.). Exhibition of jugs and drinking vessels. Catalogue. Wien, 
 1881. 8. 
 
 Oriental Museum. Oriental Keramik Ausstellung. Wien, 1884. 4. 
 SCALA (A. V.). Austellung von Alt Wiener Porzellan. Wien, 1904. 8. 
 
 Belgium. 
 Bruxelks, 1880. 
 
 SCHUERMANS et FETIS. Exposition nationale Beige. Ceramique (Ancienne). 
 Bruxelles, 1880. Fol. 
 
 649 
 
CERAMIC LITERATURE. 
 
 FUMIERE (T.). Les arts decoratifs a 1'Exposition. Bruxelles, 1880. Fol. 
 UNAS (C. de). Emaillerie. Ceramique. Paris, 1881. 8. 
 
 Liege, 1881. 
 
 LINAS (C. de). L'art ancien au Pays de Liege. Catalogue. Liege, 1881. 8. 
 L'art et 1'industrie d'autrefois. Exposition retrospective de Liege. Paris, 
 
 1882. 8. 
 RODDAZ (C. de). L'art ancien a 1'Exposition nationale Beige. Bruxelles, 1882. 
 
 4. 
 
 Anvers, 1885. 
 
 THIERRY. La ceramique. Paris, '1886. 8 
 
 Denmark. 
 
 Kopenhagen. 
 
 MEIER (F. J,). Noget om danske Keramik paa Udstillingen, 1888. 4. 
 
 England. 
 
 London. International Exhibition, 1851. 
 
 Official descriptive and illustrated catalogue. London, 185 L 8. 
 
 Reports of the juries. London. 1852. 8. 
 
 Art Journal. Illustrated catalogue. London, 1851. 4. 
 
 ARNOUX (L.). On ceramic manufactures. London, 1853, 8. 
 
 EBELMEN and SALVETAT. Rapport sur les arts ceramiques. Paris, 1854 8. 
 
 International Exhibition, 1862. 
 
 Illustrated catalogue. London, 1862. 8. 
 
 Art Journal. Illustrated catalogue. London, 1862. 4. 
 
 Reports of the juries. London, 1863. 8. 
 
 Rapports des delegues des ouvriers parisiens. Paris, 1862. 8. 
 
 HUNT (R.). Handbook to the International Exhibition. London, 1862. 8. 
 
 REGNAULT and SALVETAT. Rapports sur les arts ceramiques. Paris, 1862. 8. 
 
 WALLIS (G.). The art manufactures of the Midland Counties. Lqndon, 1862. 8. 
 
 WARING (J. B.). Masterpieces of industrial art. . . . London, 1863. Fol. 
 
 International Exhibition, 1871. 
 Official reports. London, 1871. 
 FORTNUM (D. E.). Earthenware. 
 MAGNIAC and SODEN-SMITH (R. H.). Porcelain. 
 ARNOUX (L.). Miscellaneous pottery. 
 DAVIS (J. G. S.). Stoneware. 
 GROVER (G. E.). Terra-cotta. 
 BAWDEN (P.). Pottery machinery. 
 Art Journal. Illustrated catalogue. London, 1871. 4. 
 BECKWITH (L, P.). Pottery. . New York, 1872. 8. 
 CLERFEYT (J.). La ceramique. Bruxelks, 1872. 8. 
 Indian Department. Catalogue. London, 1871. 8. 
 LUYNES (V. de). Ceramique. Paris, 1872. 8. 
 GRUYERE (F. A.). Exposition intern, de Londres. Paris, 1872. 4. 
 650 
 
CERA MIC LIT ERA TURE. 
 
 Minor Exhibitions 
 FRANKS (A. W.). Catalogue of works of art exhibited at the Society of Arts. 
 
 London, 1850. 8. 
 ROBINSON (J. C.)- Oriental and old Sevres porcelain, the property of H.M. the 
 
 Queen ... in the Museum of the Depart, of Science and Art. London, 
 
 1853. 8. 
 
 Works of art on loan at the South Kensington Museum. London, 1863. 8. 
 
 Loan Exhibition of Spanish and Portuguese Art. London, 1881. 8 
 BURLINGTON FINE ART CLUB. Catalogues of the various exhibitions. London, 
 
 1873-1909. 4. 
 SODEN-SMITH. English pottery and porcelain ... at the Alexandra Palace. 
 
 London, 1873. 8. 
 
 Old Dresden exhibited at the Bethnal Green Museum, 1874. See Partridge. 
 ART (W. J.). Articles of Japanese art, lent for exhibition at Bethnal Green Museum. 
 
 London, 1876. 8. 
 
 PHILLIPS and CHAFFERS. Exhibition of old Wedgwood. London, 1877. 8. 
 PHILLIPS. Exhibition of modern paintings on pottery. London, 1880. 16. 
 IMPERIAL INSTITUTE. Exhibition of pottery and china. London, 1894. 8. 
 
 Cambridge. 
 
 RIDGEWAY (W.). A Loan Exhibition of pottery and porcelain held in Fitzwilliain 
 Museum. Cambridge, 1902. 8. 
 
 Liverpool. 
 
 AUDSLEY (G. A.). Oriental Exhibition of the Liverpool Art Club. Liverpool, 
 
 1872. 4. 
 GATTY (Ch. T.). Works of Josiah Wedgwood ; exhibited at the Liverpool Art 
 
 Club. Liverpool, 1879. 4. 
 
 Manchester. 
 
 WARING (J. B.).^Ceramic art. (In Art Treasures of the United Kingdom.) London, 
 1858. 4. 
 
 Salisbury. 
 
 READ (R. W.). Salisbury Museum. Loan collection. Porcelain statuettes. 
 Salisbury, 1872. 12. 
 
 Staffordshire Potteries. 
 
 North Staffordshire Museum. Hanley, 1890. 
 
 RATHBONE (F.). Wedgwood Institute. Burslem, 1895. 8 
 
 France. 
 
 Parts. 
 
 BLANQUI. Exposition de 1'Industrie. Paris, 1827. 8 C . 
 FLACHAT (S.). Exposition de 1834. Paris, 1834. 8. 
 BURAT (J.). Exposition de 1844. Paris, 1844, 4, 
 
 International Exhibition, 1855. 
 
 Art Journal. Illustrated catalogue of the Paris Exhibition. London, 1855. 4. 
 ROBIN (Ch.). Histoire illustree de TExposition universelle. Paris, 1855. 8. 
 ARNOUX (L.). Keport on ceramic. London, 1855. 8. 
 
 International Exhibition, 1867. 
 ARNOUX (L.). Keport on pottery. London, 1867. 8 
 
 651 
 
C ERA MIC LITER A TURE. 
 
 BEARDMORE and others. Artisans reports. Society of Arts. London, 1867. 8 
 CHAUDELON (J. P.). Rapport. Porcelain, etc. Bruxelles, 1868. 8. 
 DOGNEE (E. 0.). Les arts industrials a 1'exposition. Paris, 1869. 8. 
 DOMMARTIN (F.). Rapports du Jury Porcelaine dures. Paris, 1868. 8. 
 DUCUING. Exposition universelle de 1867. Paris, 1867. 4. 
 FALKE (J. V.). Bericht . . . Porzellanfabrikation. Wien, 1869. 8. 
 GIRARD (A.). Rapports du Jury. Faiences fines, etc. Paris, 1867. 8. 
 HACK (A. F.). Bericht . . . Porzellan, etc. Wien, 1869. 8. 
 RANDALL (J.). Report on pottery and porcelain. London, 1867. 8. 
 Delegations ouvrieres. Rapports sur la ceramique. Paris, 1869. 8. 
 SALAHEDDIN BEY. La Turquie a 1'Exposition. Paris, 1867. 8% 
 
 International Exhibition, 1878. 
 
 BARNABEI (F.). La ceramica a 1'Esposizione. Roma. S.l, 1882. 8. 
 BEDFORD (G.). Report on terra-cotta. London, 1879. 8. 
 BERGERAT (E). Les chefs d'ceuvres d'art a 1'Exposition. Paris, 1878. Fol. 
 CORONA (G.). La ceramica a Parigi. Roma, 1880. 4 
 DIDRON (E.). Rapport sur les arts decoratifs. Paris, 1882. 4. 
 DUBOUCHET (A.). La ceramique contemporaine a 1'Exposition. Paris, 1872. 4. 
 DUTUIT (A.). Antiquites exposees au Trocadero. Paris, 1879. 4. 
 GONSE (L.). L'art ancien a 1'Exposition. Paris, 1879. 4. 
 GREEN (A.). Report on pottery. London, 1879. 8. 
 HARRIS (F.). Report on pottery. London, 1879. 8. 
 HEINTZ (A.). Bericht. Die Thonwaaren Industrie. Berlin, 1880. 8. 
 LAMBERT (G.). Rapport sur la ceramique. Bruxelles, 1879. 8. 
 LAMEIRE (Ch-). Rapports sur la porcelaine. Paris, 1879. 4. 
 LIESVILLE (R. de). La ceramique au Champ de Mars. Paris, 1879. 12. 
 LUYNES (V. de). Rapport sur la ceramique. Paris, 1882. 8. 
 MATSUGATA. Le Japon a 1'Exposition. Paris, 1878. 8. 
 SALVETAT. Les arts ceramiques a 1'Exposition. Paris, 1878. 8. 
 SCHMIDT (A.). Die Keramik auf der Welt-Ausstellung. Berlin, 1880. 8. 
 TOFT (Ch.). Report on pottery. London, 1879. 8. 
 
 International Exhibition', 1889. 
 
 ANON. Cat. de 1'Exposition retrospective au Trocadero. 1889. 8. 
 DUMAS et DE FOURCAUD. Revue de 1'Exposition. Paris, 1889. 4. 
 CHAMPIER (V.). Les industries d'art a 1'Exposition. Paris, 1889. 8. 
 GARNIER (E.). La manufacture de Sevres. Paris, 1889. 8- 
 LOEBNITZ (J.). Rapport sur la ceramique. Paris, 1891. 8. 
 MONOT (E.). L'Exposition universelle. Paris, 1889. 
 
 International Exhibition, 1900. 
 
 GEFFROY. Les industries artistiques a 1'Exposition universelle de 1900. Paris, 
 
 1901. 4. 
 ANON. Catalogue illustre ofnciel de 1'Exposition Retrospective de 1'Art francais. 
 
 Paris, 1900. 8. 
 ANON. Catalogue des ceuvres exposees par les manufactures nationales. Paris. 
 
 1900. 8. 
 BAUMGART. La manufacture de Sevres a 1'Exposition de 1900. Paris, 1901. 
 
 Fol. 
 
 652 
 
CERAMIC LITERATURE. 
 
 SARRIAU (H.). Musee central de la Ceramique a 1'Exposition universelle de 1900. 
 
 Paris. 8. 
 HECHT (H.). Die Thonindustrie auf der Weltausstellung, 1900, in Paris. Berlin, 
 
 1900. 8. 
 VOGT (G.). Ceramique. Rapports du Jury international. Exposition universelle, 
 
 Paris. Paris, 1902. 8. 
 
 Union Centrale des Arts Deeoratifs. 
 
 Exhibition of 1863. 
 
 MONESTROL (F. de). Exposition des arts industriels. Paris, 1863. 8. 
 
 Exhibition of 1865. 
 
 DARCEL (A.). Catalogue du Musee retrospectif. Paris, 1867. 8. 
 MONESTROL (F. de). Compte rendu sur la ceramique. Paris, 1865. 8. 
 
 Exhibition of 1869. 
 
 ANON. Catalogue du Musee Oriental. II. Porcelaines. Faiences. 1869. 8. 
 
 Exhibition of 1875. 
 
 BURTY (P.). Les beaux-arts appliques a 1'industrie. Paris, 1875. 8. 
 
 PROTH (M.). A travers 1'Union Centrale. Paris, 1877. 12. 
 
 BOUILHET. La manufacture de Sevres aux Champs Elysees. Paris, 1875. 8. 
 
 Exhibition of 1884. 
 
 CHAMPIER (V.). Catalogue illustre. Paris, 1884. 
 
 DUBOUCHET (A.). La ceramique contemporaine. Paris, 1885. 4. 
 
 DUSARTEL et WILLIAMSON. Exposition retrospective des porcelaines de 
 
 Vincennes et de Sevres. Catalogue. Paris, 1884. 8. 
 LAUTH (Ch.). Manufactures Nationales. Sevres, Catalogue. 12. 
 
 Exposition Nationals de la Ceramique et des Arts du feu, 1897. 
 MOLINIER (E.). Catalogue de 1'Exposition. Paris, 1897. 8. 
 RAM-BAUD. Do. (Retrospective section.) Paris, 1897. 8. 
 MUSEE GALLIERA. Exposition de la porcelaine. Paris, 1907. Sq. 8, pp. 107. 
 
 Provincial Exhibitions. 
 
 Caen. 
 
 LIESVILLE (C.). Six heures a 1'exposition de Caen. Caen, 1873. 12. 
 
 Evreux. 
 
 BORDEAUX (R) Exposition d'objets d'art. Caen, 1865. 8. 
 
 Laval. 
 
 LA BROISE (H. de). Exposition de 1875. Laval, 1875. 12. 
 
 Lille. 
 
 Exposition international d'art industriel. Lille, 1888. 8. 
 
 Limoges. 
 
 DESGRANGES (F.). Train de plaisir a travers 1'exposition de Limoges. Paris, 
 
 1864. 8. 
 
 GUIBERT etTIXIER. L art retrospectif. Limoges, 1889. 8. 
 Cat. officiel de 1'Exposition de Limoges, 1903. 8. 
 
 653 
 
CERA MIC L ITERA TUBE. 
 
 Lyons. 
 
 GIRAUD (J. B.). Exposition retrospective de 1877. Lyons, 1878. Fol. 
 
 Montauban. 
 
 FORESTIER (E.). Exposition des Beaux Arts. Montauban. 1878. 8. 
 
 Nancy. 
 
 AUGIN (A.) Exposition retrospective. Nancy, 1875. 8. 
 
 Rouen, 
 
 GOUELLAIN (E.). Exposition de Kouen. Paris, 1 86 1 . 18. 
 DARCEL (A.). L'exposition a Kouen. Rouen, 1861. 8. 
 L'exposition retrospective. Rouen, 1884. 8. 
 
 Saintes. 
 
 ARMAIHAC (L. d'). Exposition ceramique. Saintes, 1868 8. 
 
 Tours. 
 
 PALUSTRE (L ). Exposition retrospective. Tours, 1873. Fol. 
 DANIELLI. Exposition du travail, 1891. Tours, 1892. 8. 
 
 Germany. 
 Berlin. 
 
 Ausstellung deutsches Gewerbe Erzeugniss. Amtlicher Bericht. Berlin, 1884. 8. 
 
 Frankfurt a. M. 
 
 Historische, Kunstgewerbliche Ausstellung. Frankfurt a. M., 1875. Fol. 
 
 Karlsruhe. 
 
 Ausstellung zu Karlsruhe, 1881. Frankfurt a. M., 1882. Fol. 
 
 Leipzig. 
 
 Alte Kunstgewerbliche Arbeiten. Leipzig, 1879. Fol. 
 Fachaustellung fur Kunstopferei. Leipzig, 1901. 8. 
 
 Mannheim. 
 
 HEUSER. Ausstellung von Frankenthaler Porzellan. Mannheim, 1899. 8. 
 
 Munich. 
 
 Abbildungen von Kunstgegenstanden [auf der Landes Industrie Ausstellung. 
 
 Miinchen, 1852. 4. 
 BUCHER (A. B.). Die Kunstindustrie auf der deutschen Ausstellung in Miinchen, 
 
 1876. Wien, 1876. 8. 
 
 SALVISBERG (P.). Chronick der deutsch.-nationalen Kunstgewerbe Ausstellung in 
 Miinchen, 1888. Miinchen, 1888. Fol. 
 
 Prag. 
 
 CHYTIL & JIRIX. Ausstellung von Keramischen und Glasarbeiten Bomischen 
 Ursprung, 1780-1840. Prag, 1908. 8. 
 
 Reichenberg. 
 
 PAZAUREK (G. E.). Die Eeichenberger Keramische Ausstellung, 1902-3. Reichen- 
 berg, 1903. 4. 
 
 Schiverin. 
 
 SCHLIE (F.). Altmeissen in Schwerin. Ausstellung altsachsischer Porzellnn. 
 
 1893. 8. 
 654 
 
CERAMIC LITERATURE. 
 
 Holland. 
 
 Amsterdam. 
 
 HAVARD (H.). Objets d'art et de curiosite. . . . Exposes a Amsterdam, 1873. 
 Haarlem, 1873. 8. 
 
 THIERRY (G.). La ceramique a 1'Exp. Univ. Intern. d'Amsterdam en 1883. Paris, 
 1884. 8. 
 
 India. 
 Calcutta. 
 
 BROWNE (J. W.). Catalogue of the Calcutta Exhibition, 1882. Calcutta, 1883. 
 Fol. 
 
 Lahore. 
 
 DICKSON (W. P.). Report on pottery at the Punjab Exhibition. Lahore, 1883. 
 4. 
 
 Italy, 
 
 Faenza. 
 
 VENDEMINI. La ceramica all'Esposizione di Faenza. Bologna, 1876. 8. 
 MAZZOTI. Le maioliche d'arte all'Esposizione de Faenza. Firenze, 1909. 8. 
 
 Florence. 
 
 FREPPA. Esposizione industriale toscana. Firenze, 1884. 12. 
 Milan. 
 
 ANON. Esposizione storica d'arte indubtriale. 1874. 8. 
 
 CORONA. Esposizione industriale italiana del 1881. Milano, 1885. 8. 
 
 Naples. 
 
 ANON. L'arte antica nella esposizione di Napoli. Porcellana. Napoli, 1877. 8. 
 
 Rome. 
 
 ERCULEI (R.). Esposizione 1889. Arte ceramica. Roma, 1889. 8. 
 
 Turin. 
 
 CHARVET (A.). Esposizione generale italiana. Ceramica. Torino, 1884. Fol. 
 KOCH (A.). L'exposition internationale des arts decoratifs a Turin en 1902. Darm- 
 stadt, 1903. 4. 
 
 Venice. 
 
 NOVELL!. L'arte ceramica all'esposizione di Venezia del 1887. Roma, 1888. 8. 
 
 Portugal. 
 
 Lisbon. 
 
 ANON. Catalogo da Esposi9ao retrospectiva. Lisboa, 1882. 8. 
 
 Porto. 
 
 VASCONCELLOS (J. de). Esposi9ao de ceramica. Porto, 1883. 8. 
 
 Russia. 
 
 Moscow. 
 
 Exhibition of art and industry at Moscow in 1882. 8. 
 
 655 
 
CERA MIC LITER A TURE. 
 
 Spain. 
 Barcelona. 
 
 Catalogo de la Esposicion universale. Barcelona, 1888. 8. 
 
 Switzerland. 
 
 Zurich. 
 
 KOCH (A.). Keramik. Schweizerische Landesausstellung. Zurich, 1883. 8. 
 
 Geneva. 
 
 ANON. Exposition nationale Suisse, Geneve, 1896. L'art ancien. Geneve, 1896. 
 8. 
 
 U.S. of America. 
 Philadelphia. 
 
 ARNAUD (E.). Exp. intern, de Philadelphie. Rapports. Paris, 1878. 8. 
 
 BUSSY (Ch. de). Exp. de Philadelphie. Paris, 1877. 8. 
 
 NORTON (C. B.). Centennial Exhibition, 1876. Buffalo, 1877. Fol. 
 
 REULEAUX. Briefe aus Philadelphia. Braunschweig, 1877. 8. 
 
 VIALLE. Rapport du delegue des ceramists de Limoges. Limoges, 1877. 8. 
 
 WALKER (F. A.). Reports and awards. Philadelphia, 1877. 8. 
 
 Chicago. 
 
 DUMMLER. Die Ziegel Industrie in Chicago. Halle, 1894. 4. 
 RIX (W. P.). Catalogue of the British section. London, 1893. 8. 
 World's Columbian Exhibition, etc. Chicago, 1893. Fol. 
 VOGEL (K.). Die Oestereich. Keramik in Chicago. Wien, 1894. 8. 
 
 Saint Louis. 
 
 SPIELMANN (Sir T.). Saint Louis International Exhibition, 1904. Royal 
 Commission. British section. London, 1906. 4. 
 
 656 
 
PART II. 
 
 INDEX 
 
 Of Works Classified under Subjects ; 
 
 With Introductory Notices of the Origin and Development of each Branch of the Ceramic Literature. 
 
 TECHNOLOGY. 
 
 PAGE 
 
 a. Raw materials 478 
 
 6. General treatises of manufacture 481 
 
 c. Ovens and. firing. . . . 483 
 
 d, Bricks and til^s 484 
 
 e. Pottery Faience Earthenware Stoneware 486 
 
 /.Porcelain 488 
 
 g. Colour-making 489 
 
 7i. China painting : 1. Handbooks to the art of painting on china. 490 
 
 2. Models and patterns for the use of Ceramic artists. . . . 494 
 
 i. Transfer printing and photo-ceramic. 495 
 
 /. Repairs and restorations 495 
 
 Jc. Trade regulations Hygiene. 496 
 
 HISTORY OF THE CERAMIC ART. 
 GENERAL HISTORIES. . . [ . . . . . . . . .498 
 
 PREHISTORIC POTTERY 
 
 European 503 
 
 Vitrified forts 508 
 
 American .- 508 
 
 CLASSICAL CERAMICS- 
 GREEK AND ETRUSCAN VASES 
 
 a. History Technology Reproductions Interpretations. . . .515 
 6. Catalogues : I. Public museums. II. Private collections. III. 
 
 Auction sales. 525 
 
 c. Serial publications. 530 
 
 ANTIQUE TERRA-COTTAS 
 
 a. General, Descriptions, Reproductions . 536 
 
 &. Catalogues of Museums and private collections. . . , - . 538 
 
 c. Catalogues of sales. . . . . . -. . *,. .: . . 540 
 
 42 657 
 
INDEX. 
 ROMAN POTTERY 
 
 PAGE 
 
 a. General history of the Roman pottery. . . . . . 544 
 
 b. Gallo-Roman. 546 
 
 c. Arethian or Samian ware 548 
 
 d. The Murrhine vases 548 
 
 e. Vitreous pastes and the Portland vase. 548 
 
 /. Terra-cotta lamps. 549 
 
 ORIENTAL CERAMICS 
 
 Chinese 550 
 
 Egyptian and Arabian. 552 
 
 Indian. . . 554 
 
 Japanese 554 
 
 Persian . . 556 
 
 Turkish 558 
 
 American 558 
 
 EUROPEAN 
 
 Austrian Bohemian Hungarian. . . . . . . . . 559 
 
 Belgian . . . .559 
 
 Danish . 560 
 
 Dutch ... 560 
 
 English. . . .560 
 
 a. General. 563 
 
 b. Monographs. . . . . . . . . . 564 
 
 c. Wedgwood ware. .......... 568 
 
 d. Medallions in vitreous paste. . . . ... . 570 
 
 French . . . .570 
 
 o. General. . . . 572 
 
 b. Monographs. . . . . .. . . .. 572 
 
 c. Henri II. ware 579 
 
 d. Palissy ware. 580 
 
 e. Sevres porcelain . . . . . 580 
 
 /. Patriotic faiences. 584 
 
 German 585 
 
 General 587 
 
 Monographs. 587 
 
 Italian 590 
 
 Pottery Majolica Porcelain 590 
 
 Portuguese. 596 
 
 Russian . . 597 
 
 Spanish. .597 
 
 Swedish and Norwegian 598 
 
 Swiss . . . . . .599 
 
 U.S. America (modern manufacture) . . . . 599 
 
 Mexican (modern) 601 
 
 658 
 
INDEX. 
 SPECIAL CLASSES 
 
 PAGE 
 
 Decorative tiles. 602 
 
 a. Decorative pavements and wall tiles (ancient) 603 
 
 b. Modern manufacture Pattern-books, etc 607 
 
 Ancient stoneware 608 
 
 Jacobas Kannetjees 609 
 
 Acoustic pottery. 611 
 
 Terra Sigillata . 612 
 
 Buccaros 613 
 
 Stoves. 614 
 
 Tobacco pipes 615 
 
 Armorial china and musical ceramics 615 
 
 Terra-cotta (modern) 
 
 a. Architectural terra-cotta and brick building. . . . .616 
 
 b. Pattern-books of modern manufacturers 617 
 
 c. Art terra-cotta Figures 618 
 
 BIOGRAPHIES 619 
 
 BIBLIOGRAPHY. 
 
 a. List of books. 623 
 
 b. Periodicals 624 
 
 MARKS AND MONOGRAMS 627 
 
 THEORY OF THE CERAMIC ART. . . . ". . 629 
 
 COLLECTING AND COLLECTORS 630 
 
 MISCELLANEOUS- 
 
 a. Poetry. 631 
 
 b. Novels and the Drama 631 
 
 MUSEUMS AND PRIVATE COLLECTIONS 
 
 o. Catalogues of public museums 633 
 
 b. private collections 641 
 
 c. auction sales 644 
 
 EXHIBITIONS. 
 CATALOGUES OFFICIAL REPORTS REVIEWS, ETC. 
 
 Austria "*9 
 
 Belgium. .... . . . . .' 649 
 
 Denmark . . 650 
 
 England. ... . .... 650 
 
 France. .651 
 
 Germany 654 
 
 659 
 
INDEX. 
 
 PAGE 
 
 Holland 655 
 
 India. 655 
 
 Italy. . .... ... . 655 
 
 Portugal 655 
 
 Russia. . 655 
 
 Spain. . . . . 656 
 
 Switzerland. 656 
 
 United States. 656 
 
 660 
 
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