CONTEMPORARY EUROPEAN PORCELAIN
We have seen that in England the new aims and the new schemes of
decoration that have so profoundly affected most of our industrial arts
have so far had little influence upon the porcelain manufactured by the
large Staffordshire firms. Here and there, as by Mr. Bernard Moore of
Longton, an attempt has been made to take up the problem of the _flambé_
glazes, which has so fascinated the French potters. Mr. Moore has
succeeded in making some _sang de bœuf_ vases which in outline and
colour closely follow the Chinese models. Otherwise the many skilful
artists--more than one of them, I think, are Frenchmen--employed by our
porcelain manufacturers have been content to follow in the main the old
traditions, nor has any occasional attempt that has been made to
imitate, not the latest but rather the work of the last generation at
Sèvres, produced any very satisfactory results. It cannot be denied that
both in the design and in the decoration our English porcelain has, for
some time, remained outside the art movement of the day.
Indeed at the present time, and for the last twenty years, whatever of
interest we can find in the contemporary production of porcelain,
centres in two factories--Sèvres and Copenhagen. To the latter works we
must now return for a moment.
The royal factory, of which we have already spoken, was closed after the
disastrous war of 1864. But during the eighties a number of able men,
both artists and men of science, occupied themselves with the new
porcelain problems, and in 1888 a fresh company was formed, the
‘Alumina.’ These men--I will only mention Philip Schou--were much
impressed by the technical and artistic merits of the porcelain lately
sent from Japan, highly finished ware decorated under the glaze with
great delicacy and generally in subdued colours. They were influenced
above all by the work of the Japanese potter Miyagawa Kozan, called
Makudzo. The Danish porcelain produced during the nineties is
distinguished as a whole by its cool, subdued colours, with a prevalence
of various pearly tints approaching more or less to celadon. In the
carefully executed but boldly designed decoration, we see the influence
both of the Japanese naturalists and of the impressionist painters of
the day. The snow scenes, the rocks, the dancing waves and the sea birds
have been suggested by the stormy coasts of the Baltic and the North
Sea. It is from the primitive rocks of this coast that the pure felspar,
which plays so large a part both in the paste and in the glaze, has been
obtained.
It was at Copenhagen probably that the crystalline glazes, derived from
salts of bismuth, were first made--this was by Engelhart, about 1884.
At a rival Danish factory--that of Bing and Gröndhal--many clever
artists, some of them ladies, have modelled in porcelain figures of
animals either in the round or in relief on the sides of vases: we find
dogs, cats, and even seals (but not the human figure). Indeed in this
kind of work something in the nature of a school has grown up.
Fresh life has lately been given to the old works at Rörstrand, near
Stockholm. Here in the underglaze decoration the same cool, pearly
colours that we find in favour at Copenhagen are predominant. Great
care has lately been devoted to the modelling of flowers.
At the Rozenburg works, near the Hague, a new paste has been invented by
Juriann Kok. The extraordinary tenacity and plasticity of this material
allows of its being worked into the strangest forms--some of the vases,
with long, thin, angular handles, suggest work in hammered metal. By
means of a fantastic decoration--quaint, elongated figures, and forms of
marine life, such as the long-clawed Japanese lobster--a certain
original _cachet_ has been given to this ware.
The Charlottenburg works, near Berlin, have lately felt the influence
both of Copenhagen and of the new school of Sèvres. Everything has been
lately tried--sculpturesque developments in various directions, and
again the decoration of large wall surfaces with porcelain plaques
enamelled so as to resemble oil pictures; but as in former days, so now,
the technical and scientific side of this industry tends to prevail over
the artistic.
M. Édouard Garnier, the late director of the Museum at Sèvres, in a
report upon the porcelain exhibited at Paris in 1900, has ably summed up
his impressions of the wares now being manufactured in various parts of
Europe, and I cannot do better than follow so excellent an authority in
his ‘appreciations’ of this modern porcelain.
M. Garnier dates the latest renaissance of European porcelain from the
new ground struck out in the seventies, not only at Sèvres, by Deck and
others, but also in many private kilns, as by Bracquemont in Paris and
by Haviland in the Limoges district. What specially distinguishes the
latest work is the advantage taken of the new colours that can now be
employed with the _grand feu_ so as to participate in the brilliancy and
purity of the glaze. A delicacy of tone, a transparency and a harmony
are now obtainable which contrasts favourably with the dry and dull
colours of the old methods of painting. On the other hand, says M.
Garnier, the progress in chemical knowledge has been so rapid that the
new processes and colours have tended to become the masters of the
artists who employ them, instead of remaining subtle tools in their
hands.
This tendency is especially noticeable at Copenhagen, and the
crystalline glazes, derived from bismuth, that have spread thence all
over Europe, are a case in point. So again, starting from the _flambé_
glaze of the Chinese, the modern potter is inclined to run riot with the
numerous new materials at his command.
At Sèvres--I follow M. Garnier’s report--advantage has been taken of the
new porcelain paste (that of the ‘milder’ Chinese type) to revive in the
biscuit ware the reproductions of works of sculpture for which the
factory was so renowned in the days of the _pâte tendre_. The pureness
and softness of the material and the skill of the manipulation are
noteworthy apart from the artistic merit of the work. (Let me here call
attention to the fifteen figures by Léonard, ‘_Le Jeu de l’Écharpe_,’ in
the new biscuit ware.) This revolution in the style of decoration has
now spread to other parts of France, and has affected the great
commercial factories of the south-west, especially the ware made by the
firm of Haviland.
English porcelain was but poorly represented at Paris in 1900; besides,
as we have said, it is in other branches of the potter’s art that we
have to look for a reflection of our new native school of decoration. It
is indeed a curious fact that many of the designs that we associate with
Morris and his followers may be found rather upon the wares of
Copenhagen and Sèvres than on our English porcelain. I cannot, however,
pass over some criticisms of M. Garnier, in which he falls foul of
certain tendencies in the fashioning and decoration of the wares turned
out by our big Staffordshire firms. As to how far these criticisms are
merited, any one may form an opinion for himself by a glance at the
shop-windows of London. ‘The English paste,’ says M. Garnier, ‘is of a
special nature which lends itself admirably both to the shaping and to
the decoration; the execution is _hors ligne_, but this is accompanied
by an overloading of detail, a heaviness in the decoration, and a want
of harmony and proportion between the different parts of the piece that
cause one to regret that so much talent and care have been employed only
to arrive at so very unsatisfactory a result. Besides this, we notice in
the English _céramiste_ a want of sincerity, with the result that at
first sight you cannot tell what manner of substance you are looking at,
whether it is porcelain or dirty ivory, or again a gilt ceramic ware
rather than a bronze with a poor patina.’ A curious point in connection
with this criticism is that, if I am not mistaken, a good deal of the
work thus severely dealt with has been designed, if not executed, by
French artists. It is made, however, to satisfy the demand of our great
unleavened middle-class.
Turning to the porcelain from the royal works at Charlottenburg, M.
Garnier finds fault with the exuberance and overloading of the
sculptures and reliefs. But certain large architectural pieces and some
frames in rococo style, in pure white ware, excite his admiration, for
the beauty of the paste, the purity and the limpidity of the glaze, and
the marvellous way in which the technical difficulties of the execution
have been surmounted; so, too, for the brilliancy of the colouring and
the way in which the enamel colours combine with and form one material
with the glaze, as if one were looking at a soft-paste ware. Above all,
in some pieces of the ‘new porcelain’--for the milder paste is now in
use at Berlin to some extent--the colours of the _grand feu_ and the
purity of the enamel are remarkable.
At Meissen, says M. Garnier, they are still working on the old lines:
reproductions of the models made a century and a half ago by Kändler are
as much as ever in demand. Certain ambitious attempts in a newer style
have resulted in errors that will add nothing to the fame of the works.
(Dr. Heintze, the present director, has especially devoted himself to
the development of the new colours under the glaze. But the porcelain
now produced, apart from the copies of the old wares, follows in the
lines either of the Copenhagen porcelain, or again, at times, of the
coloured pastes of Sèvres.)
Certain districts of Northern Bohemia have become of late centres of
ceramic industry. The predominant bad taste and over-decoration of the
porcelain made there (I still follow M. Garnier) is above all
exemplified in certain coloured statuettes, ‘_articles de bazar_ which
corrupt the taste of the public and whose sale ought to be prohibited.’
An exception must be made for the produce of the Pirkenhausen works,
near Carlsbad. The marvellous plasticity of the paste, made from the
rich deposits of kaolin near Zottlitz, has been taken full advantage of,
not only on the wheel and in the mould; it has allowed also of the free
modelling of the superadded reliefs by the artist’s hand.
The factory at Herend, in Hungary, founded in 1839, no longer turns out
the ware of Oriental style, so much admired by Brongniart, by Humboldt,
and by Thiers. Herr Fischer, the director and principal artist, has
lately made good imitations of the coloured pastes of Sèvres, with
leaves and branches in relief.
At St. Petersburg the imitation of the over-decorated hard paste of
Sèvres has been abandoned in favour of the soft and harmonious colours
and the pure and limpid glazes of Copenhagen. The vases with designs of
white paste, in relief upon coloured grounds, in a manner now little in
favour at Sèvres, are less happy. At the Kousnetzoff factory, at Moscow,
a polychrome decoration, in imitation of Byzantine embroideries and
enamels, has been applied to tea-services of somewhat geometrical forms,
while the French porcelain of the time of Louis Philippe continues to be
imitated.
At Copenhagen, says M. Garnier, the new porcelain, which since its
introduction in 1889 has been praised and exalted in all the art
journals of Europe, is still produced on the same lines. Not to speak of
the new and strange results already obtained from coloured and enamelled
glazes, greater experience in the use of the extended palette at the
command of the decorator has produced results in which we find an
admirable delicacy and restraint. It was, however, from Sèvres that the
impulse first came. We can trace it in the work turned out of late years
by Messrs. Bing and Gröndhal. But in place of the amiable and gracious
art of France we find here a severe, sometimes we might almost say a
rude, style, but one not without character and elevation.
At Rörstrand, near Stockholm (see above, p. 388), the work still
continues on the lines of the older porcelain of Copenhagen (_i.e._ in
the style in favour ten or twelve years ago), with the same simplicity
and charm in the decoration and delicacy in the modelled relief. Perhaps
we may attribute to a special quality in the felspar of the north the
pure and refined quality so noticeable in the pastes and glazes.
At Rozenburg, continues M. Garnier, a factory already well known for its
fayence, a very original kind of porcelain has lately been made. The
composition of the paste, though based on kaolin, presents some
peculiarities. The ware is of an incredible thinness and lightness, and
the strange decoration, based in part upon Japanese motives, is not
without charm and originality. The shapes of the vases, however, go too
far in the direction of eccentricity. (Cf. p. 389.)
As at Meissen, so in the porcelain now made in Italy there is a total
absence of all personality and novelty, and the old, well-beaten road is
still followed. At Florence this is carried so far that the old moulds
acquired so many years ago from the Capo di Monte works are still in
use. ‘Ce sont des choses,’ says M. Garnier, ‘qui prêtent trop au
“truquage” et qu’il faut laisser aux fabricants de vieuxneuf.’
EXPLANATION OF THE MARKS ON THE FOLLOWING PLATES (A. TO E.)
CHINESE MARKS
1. _Ta Ming Yung-lo_, 1402-1424. Mark of Yung-lo, engraved under
the glaze in early seal or ‘tadpole’ characters.
2. _Ta Ming Hsuan-te nien chi_, 1425-1435.
3. _Cheng-hua nien chi_, 1464-1487.
4. _Ta Ming Cheng-te nien chi_, 1505-1521.
5. _Ta Ming Kia-Tsing nien chi_, 1521-1566.
6. _Ta Ming Lung-king nien chi_, 1566-1572.
7. _Ta Ming Wan-li nien chi_, 1572-1619.
8. _Ta Tsing Kang-he nien chi_, 1661-1722.
9. _Ta Tsing Yung-cheng nien chi_, 1722-1735.
10. _Do._ _do_., in seal characters.
11. _Ta Tsing Kien-lung nien chi_, 1735-1795. Seal characters.
12. _Ta Tsing Kia-king nien chi_, 1795-1820. Seal characters.
13. _Ta Tsing Tao-kwang nien chi_, 1820-1850. Seal characters.
14. _Ta Tsing Tung-chi nien chi_, 1861-1874. Seal characters.
15. _Wan chang shan tu._ ‘Scholarship lofty as the Hills and the
Great Bear.’
16. _Ki yuh pao ting chi chin._ ‘A gem among precious vessels of
rare jade.’
17. _Shun-ti tang chi._ ‘Made at the Shun-ti (cultivation of
virtue) Hall.’
18. _Tsae chuan chi lo._ ‘Enjoying themselves in the waters.’
19. Conventionalised seal character for _Sho_--longevity.
19A. _Fu_, a bat, a synonym of _fu_--happiness.
JAPANESE MARKS
20. _Kai-raku yen sei._ ‘Made at the Kai-raku house.’
21. _Ken-zan._ The maker’s name.
22. _Yei-raku._ The seal granted to Zengoro. Seal character.
23. _Fuku._ Happiness. (Chinese, _Fu_.) Seal character.
24. _Hopin chi liu._ (Japanese, _Ka hin shi riu_). _See_ p. 199
note.
GERMAN MARKS
25. Meissen. The rod of Æsculapius.
26. Meissen. Monogram of Augustus II., King of Poland.
27. Meissen. Crossed swords and letter (for painter or director).
28. Vienna. The shield of Austria.
29. Höchst. The wheel of the Mainz archbishops, surmounted by a
cross.
30. Fürstenberg. The initial letter of the town.
31. Berlin. The sceptre carried by the Brandenburg elector as grand
chamberlain of the empire.
32. Frankenthal. Crowned lion of the palatinate; the monogram J. A.
H., probably for Joseph Adam Hannong.
33. Frankenthal. The monogram of Karl Theodor, surmounted by a
crown.
34. Nymphenburg. Quarter of shield with arms of Bavaria.
35. Ludwigsburg. Arms of Würtemberg. Three stag horns.
36. Ludwigsburg. Monogram of Duke Charles, surmounted by ducal
crown.
37. Fulda. Double F, for ‘Fürstliche Fuldaische.’
38. Fulda. Cross from the arms of the prince bishop.
39. Herend. Below--the arms of Hungary.
DUTCH, DANISH, SWEDISH, AND RUSSIAN MARKS
40. Weesp. Crossed swords and three dots. Similar mark used
elsewhere.
41. Oude Loosdrecht. The ‘M:’ stands for manufactuur.’
42. The Hague. The arms of the town.
43. Copenhagen. The wavy lines represent the ‘three Belts.’
44. Sweden; Marieberg. The three crowns from the arms of Sweden.
45. Moscow. St. George surrounded by band, with inscription. Above,
the Russian eagle.
46. St. Petersburg. Monogram of Catherine II. (Ekaterina).
BELGIAN AND SWISS MARKS
47. Tournay. A tower, the arms of the town.
48. Tournay. Crossed swords and four crosses.
49. Zurich. German Z and two dots.
50. Nyon. A fish.
FRENCH MARKS
51. Saint-Cloud. The sun, emblem of Louis XIV.
52. Saint-Cloud. Initials of town and of director of factory--Trou.
53. Chantilly. A hunter’s horn.
54. Mennecy. D. V., for the Duc de Villeroy.
55. Vincennes. The initials of Louis XV. crossed, without
year-mark.
56. Vincennes. Initials of Louis XV.; year-mark for 1753, and
decorator’s mark (H.).
57. Sèvres. Time of First Empire. The 7 stands for 1807.
58. Sèvres. Double C, enclosing X, for Charles X. 24 for 1824.
59. Paris; Courtille. Two crossed arrows.
60. Orleans (?). Label with three points from ducal arms.
61. Paris; Clignancourt. The windmill of Montmartre.
62. Paris; Rue Thiroux. A, for Marie Antoinette, under a crown.
ITALIAN AND SPANISH MARKS
63. Venice. Incised. Probably of Vezzi family.
64. Venice. Anchor of Cozzi factory.
65. Le Nove. Star of eight points.
66. Vinovo. Cross of Savoy above letter V, for the town.
67. Madrid, Buen Retiro. The _fleur-de-lis_ from the royal arms.
ENGLISH MARKS
68. Chelsea. Triangle, incised.
69. Chelsea. Anchor, in relief.
70. Chelsea. Anchor.
71. Bow. Anchor and dagger.
72. Bow. Monogram of Thomas Frye. (?) Perhaps sometimes a Worcester
mark.
73. Chelsea-Derby. Anchor and letter D.
74. Derby. Jewelled crown, crossed batons, with dots and letter D.
75. Derby. Jewelled crown and letter D.
76. Worcester. Imitation of Chinese characters.
77. Worcester. Crescent.
78. Worcester. Imitation Chinese seal character.
79. Worcester. Crossed swords and number.
80. Swansea. Trident.
81. Longton Hall. Crossed L’s and dots.
82. Plymouth. The symbol for tin.
83. Bristol. Symbol for tin, with a cross.
84. Bristol. Crossed swords, erased.
[Illustration: PLATE A.--CHINESE MARKS]
[Illustration: PLATE B.--CHINESE MARKS--_continued_.]
[Illustration: JAPANESE MARKS]
[Illustration: PLATE C.--GERMAN MARKS]
[Illustration: DUTCH, DANISH, SWEDISH, AND RUSSIAN MARKS]
[Illustration: PLATE D.--BELGIAN AND SWISS MARKS]
[Illustration: FRENCH MARKS]
[Illustration: ITALIAN AND SPANISH MARKS]
[Illustration: PLATE E.--ENGLISH MARKS]
INDEX
‘Aging’ of clay, 19-20
Alcora, attempts to make porcelain at, 324
‘Alumina’ Company at Copenhagen, 388
Alumina, proportion of, in hard pastes, 7, 385
Amiot, Père, sends china from Pekin, 52 _note_, 298 _note_
Amoy, export of porcelain from, 127, 142
---- stoneware made near, 166
Annam, porcelain made in, 175
Arab trade with China, 209
---- traders, Chinese porcelain distributed by, 210 _seq._
---- writers on Chinese porcelain, 60, 209-217
_Arabian Nights_, Martabani ware mentioned, 216
Arabic inscriptions on Chinese porcelain, 94
Aranjuez, porcelain _gabineto_ at, 323
Arita, porcelain district of Japan, 181-182, 193
Armorial china, 164, 253, 369
---- ---- decorated at Canton, 114, 164
Arras, porcelain made at, 289
Arrow-holders in Chinese porcelain, 139
Assyrian and Babylonian glazes, 33
Augustus the Strong, collects Chinese porcelain, 159
---- ---- his collection of porcelain, 227
---- ---- porcelain in exchange for dragoons, 228
---- ---- his taste as a collector, 244-245
Augustus the Strong, his ambition to imitate Oriental porcelain, 245
Bachelier, art inspector at Sèvres, 291
---- his memoir on the Sèvres works, 290
---- quoted, 294, 295, 296, 301
Bacon, John, modeller at Bow, 348
Barbin at Mennecy, 287
_Barbotine_, or slip, 19, 312
Batavian porcelain, 102
---- ---- term how used, 223
Baxter, family of enamellers, 362-363, 369
Belleek porcelain, 374
Bemrose, Mr., on Derby porcelain, 350
Berlin, Meissen staff removed to, 262
---- Wegeli’s earlier porcelain, 262
---- contemporary porcelain, 389, 391
---- porcelain and Frederick the Great, 262
---- ---- methods of sale, 263
---- ---- marks on, 264
Bertin, the French minister, his Chinese porcelain, 52 _note_, 298 _note_
Billingsley, W., 366, 367-368, 371
Bing and Gröndhal factory at Copenhagen, 388, 393
Binns, Mr., documents relating to English porcelain, 357, 358
Biscuit oven, 27
Bismuth used in glaze, 374, 388, 390
Black glazes on Chinese porcelain, 149
Bloor, Robert, at Derby, 356
‘Blue and white,’ origin of Chinese, 75, 156
---- ---- of Ming period, 81-85, 157
---- ---- how distinguished, 83
---- ---- of Wan-li period, 95, 157
---- ---- Chinese name for, 155
---- ---- Chinese porcelain, 155-160
---- ---- earliest Chinese, 156
---- ---- origin of Chinese, 156
---- ---- Chinese porcelain, with hatched lines, 160
Blue decoration _sous couverte_, 43
---- enamel, difficulty of successful application, 99 _note_
---- ---- used with _famille verte_, 101
Boccaro ware, made in China, 166
---- ---- imitated by Böttger, 247
Bohemia, Northern, contemporary porcelain, 392
Bondy, Rue de, Paris, factory at, 313
Bone, Henry, employed at Bristol, 381
---- ---- paints on slabs of porcelain, 381
Bone-ash in English porcelain, 329, 330, 338, 343, 372-373
Borneo, Chinese porcelain found in, 156, 209-210
---- Chinese trade with, 209
Böttger, his life, 246-248
---- as an alchemist, 246, 248
---- his porcelain at the Leipsic Fair, 247, 249
---- compared with other great potters, 250
---- assistance from Dutch potters, 250 _note_
---- the number of his experiments with enamels and glazes, 252
Böttger-ware, polished, 248
---- with enamel colours, 249
---- with brown glaze, 249
Boucher, his models used at Sèvres, 296
Bourbon, Duc de, and Chantilly, 286
Bow, fragments of porcelain found at, 343
---- nature of porcelain there made, 344-345
---- Craft’s punch-bowl, 345-346
---- marks on porcelain, 348
---- factory, origin of, 342
---- ---- bought by Duesbury, 352
---- porcelain, 342-348
Brameld, Thomas, and Rockingham porcelain, 372
Brancas Lauraguais, experiments with kaolin, 305, 313, 378, 379
Brinkley, Captain, on Japanese ceramics, 194
---- ---- quoted, 196
Bristol porcelain, 379-386
---- ---- marks on, 380
---- ---- colours on statuettes, 381-382
---- ---- medallions with floral wreaths, 382
---- ---- ‘cottage china,’ 382
---- ---- glaze on, 382
---- ---- hardness of paste, 384
---- ---- great infusibility, 384
---- ---- composition, 384
---- ---- plasticity of clay, 384
British Museum, Oriental porcelain in, 53
Brongniart, director at Sèvres, 303
---- sells stock of undecorated Sèvres soft paste, 304
---- introduces severe type of paste, 307
---- his influence at Sèvres, 308-309
Bronzes, early Chinese, influence of shapes on porcelain, 57
Brown glazes of Chinese, 74 _note_
Brühl, Count, armorial china for, 253
Brunswick, Duke of, and Fürstenberg porcelain, 265
Buen Retiro, Madrid, porcelain factory at, 322-324
Buonicelli, director at Buen Retiro, 323
Burke at Bristol, 383
Burleigh House, early Chinese porcelain formerly at, 85, 222
Bushell, Dr., work on Chinese porcelain, 15, 54, 91, 153
---- translations from Chinese works on Korea, 171
---- manuscript, 61
---- ---- quoted, 86, 138
_Cailloux_ in French porcelain, 16
Canton, early Arab trade, 209
---- enamellers on porcelain, 108, 114, 164, 165
Capo di Monte, Naples, porcelain factory at, 318-320
Capo di Monte factory removed to Portici, 320
Carlos, Don, at Naples, makes porcelain, 319
---- ---- now Charles III. of Spain, carries his workmen to Buen Retiro, 319
_Cassettes._ _See_ Seggars.
Casting, process described, 25, 354
---- used for Derby statuettes, 354
Catherine II., her Sèvres dinner-service, 298
Caughley porcelain, 365
Celadon glazes, 42
---- word used in restricted sense, 64
---- of Sung dynasty, 63-65, 132, 144
---- origin of term, 64 _note_
---- early examples in European collections, 71
---- later Chinese ware, 145
---- made in Siam, 173, 212 _note_
---- Japanese, 192, 195, 197
---- old pieces in Japan, 178, 201
---- (martabani) in Persia, 215
---- earliest specimen at Oxford, 218
Censors, influence of, on Chinese arts, 74
Ch’ai yao, early Chinese ware, 62
_Chambrelans_ or chamberers, term explained, 303
Champion, R., 375, 377, 379, 382-383
Chang, the elder and younger brothers, 65
_Cha-no-yu_, Japanese tea ceremony, 178
Chantilly, porcelain made at, 285-287
---- sprig pattern, 286
---- marks on porcelain, 287
Chao Ju-kua, his report on early Chinese trade, 210
Chardin on porcelain in Persia, 215
Charlottenburg factory, 389, 391
Chelsea-Derby porcelain, 341, 352-355
---- ---- marks on, 352
---- ---- new forms introduced, 352-353
---- ---- statuettes made by ‘casting,’ 354
Chelsea factory, site of, 335
---- ---- end of, 341
---- porcelain, 331-342
Chelsea porcelain, an early ware, 332
---- ---- marks on earliest pieces, 332
---- ---- Japanese wares imitated, 336
---- ---- sales of, 337, 341
---- ---- claret colour on, 338, 340
---- ---- use of gold on, 338
---- ---- rococo forms, 339
---- ---- turquoise on, 339
---- ---- statuettes, 340
---- ---- models of birds and fruit, 340
---- ---- marks on, 342
Cheng-hua (1464-87), use of date-mark, 82
---- enamelled ware, 86
---- porcelain of, 93
Cheng-tai enamels on copper, 88, 93
Cheng-te (1505-21), porcelain of, 94
Cheng-tung (1435-49), double date-mark, 93
Cheyne Row called China Row, 333
‘Chicken cups’ of Cheng-hua, 93
Chicoineau family, 240, 282, 284, 288
_Chimie_, in French soft pastes, 280
China collecting, ridicule attached to, 61, 243
---- origin of English term, 222
---- clay. _See_ Kaolin.
---- stone (_see also_ Petuntse), 9, 10
---- ---- preparation of, 16
Chinese characters, varieties of, 117-118
---- porcelain exported to different countries, 50
---- ---- influence of old traditions, 51
---- ---- mistakes in early classification, 52
---- ---- late origin compared to other arts, 56
---- ---- survival of old types, 58
---- ---- classification of, 58, 141
---- ---- old native accounts of, 60
---- ---- composition of early wares, 69
---- ---- plain white ware, 141-144
---- ---- unglazed ware, 144
---- stonewares, 165-167
---- trade with the West, 209 _seq._
Ching (blue), Julien’s wrong use of word, 64 _note_
Ching-tsu, Chinese term for celadon, 64
_Chini_, Persian word for china or porcelain, 49 _note_, 222
Christian subjects on Chinese and Japanese porcelain, 133, 182
Chromium, as a source of green, 304, 309
Chün yao, early Chinese ware, 65, 152
---- ---- numbers engraved on, 66
Church Gresley porcelain, 371
Church, Prof., on composition of porcelain, 5, 69, 241, 338, 343, 370, 384
Ciron, Ciquaire, at Chantilly, 285
‘_Clair-de-lune_’ glaze (yueh-pai), 105, 148
Clignancourt, Paris, factory at, 313
Cloisonné enamels on Japanese porcelain, 203
Coalport or Coalbrookdale porcelain, 366
Cobalt blue, sources of that used by Chinese, 40, 75 _note_, 92
---- ---- how prepared by Chinese, 130
---- ---- grounds of Chinese, 148
Coloured pastes, 40, 311
Colours used in decoration of porcelain (_see also_ Enamels), 39
---- resistance to fire, 41
Condé, house of, and Chantilly, 285-287
Constantin, painter on porcelain, 271
Contemporary porcelain, 387-394
---- ---- use of new colours and glazes, 389-390
Cookworthy, William, 375-380
---- ---- search for china-clay, 376-377
Copenhagen, porcelain made at, 274
---- contemporary work, 388, 393
---- Japanese influence, 388
Copper-red under glaze, 80, 130
---- ---- examples in British Museum, 81
---- ---- of Hsuan-te, 92
Copper-red glazes on Chinese porcelain, 150-154
Coral-red grounds on Chinese porcelain, 115
Cornflower or _barbeau_ on porcelain, 313, 355
Cornwall, search for materials for porcelain, 359, 376-378
Cottage china made at Bristol, 382
Courtille, La, Paris, factory at, 313
_Couverte_, French term for glaze, 31
Cozzi, makes porcelain at Venice, 317
Crackle ware, old Chinese (Ko yao), 65
---- ---- Chinese, varieties of, 45
---- ---- glazes of, 145
---- ---- equivalent to Ko yao, 145
---- ---- Korean, 171
Craft, Thomas, his punch-bowl, 345-346
‘Crazing’ of glazes, 32
‘Crow-claws,’ term explained, 29
---- marks of, on Japanese porcelain, 191
‘Crusader’s Cup’ at Dresden, 77, 152, 217
Danish porcelain, 273, 388, 393
Darwin, Dr., letter to Wedgwood, 378
Date-marks on Chinese porcelain, 82
---- ---- method of reckoning, 91 _note_
---- ---- cyclical, 110 _note_
---- ---- two systems, 118
---- ---- how written, 118
---- ---- earliest example, 119
---- ---- those of Kang-he rare, 119
---- ---- on Sèvres porcelain, 302
Dauphin, collector of Oriental porcelain, 230
Decoration of porcelain, Tang-ying’s principles, 112
_Dégourdi, Feu_, term explained, 26
Delft ware, early imitations of Chinese porcelain in, 224
---- ---- competition with Chinese porcelain, 234
---- ---- in England, 240
_Demi grand feu_, term explained, 59
---- ---- glazes of, 98
---- ---- ware of, 79, 106
Derby biscuit, or bisque, 353-354
---- porcelain, 350-357
---- ---- little known of early period, 351
---- ---- sold in London, 351
---- ---- degenerate patterns, 355
---- ---- ‘old Japan’ copied, 355
---- ---- marks on, 356
Dietrich, ‘professor of painting’ at Meissen, 256
Dillwyn, L. W., at Swansea, 367-368
Doccia, near Florence, porcelain factory at, 320-322
---- Chinese white ware and Capo di Monte porcelain imitated, 321
---- contemporary work, 394
Dresden, Chinese porcelain at, 161
---- Ethnographical Museum, Chinese porcelain from various lands, 211
---- Oriental porcelain presented by Grand Duke of Tuscany, 228
---- collection of porcelain, 227, 245
---- approximate date of bulk of specimens, 228
---- porcelain. _See_ Meissen porcelain.
Duesbury, William, 341, 342, 349, 350-352, 356
---- and Longton Hall, 349
Duesbury’s work-book, quotations from, 350-351
Duplessis, the king’s goldsmith, at Sèvres, 291, 296
Dutch dealers supply Augustus of Saxony with porcelain, 228
---- painters, Chinese porcelain in their pictures, 159
---- trade with China, 220
---- ---- with Japan, 183-184
Dwight, Dr., attempts to make porcelain at Fulham, 240-241
---- ---- nature of the paste made by him, 241
---- Lydia, stoneware figure of, 242
Earthenware, term used to include porcelain, 334 _note_
Egg-shell porcelain, 107
Egypt, Chinese porcelain found in, 158, 211, 212, 215, 216
Egyptian fayence and glazes, 33
_Eisen-porzellan_ of Böttger, 248
Empress-Dowager of China a connoisseur of porcelain, 115-116
Enamel colours on Meissen porcelain, 251-252
Enamelled fayence compared with porcelain, 73
---- porcelain, Saracenic origin of, 87, 88
Enamelled porcelain of Ming dynasty, 86-91, 161
---- ---- three classes, 90
Enamels, always superimposed on glaze, 31
---- relation to subjacent glaze, 45
---- on European porcelain, 45
---- on Chinese porcelain, 45-48
---- on Japanese porcelain, 192
---- firing of, 46
---- new sources of colour, 48
---- ---- at Sèvres, 309
---- on copper, influence on porcelain enamels, 88
_Encastage_, term explained, 28
England, how Chinese porcelain first reached, 219, 221, 223
---- early attempts to make porcelain in, 240-242
English porcelain, rival influence of Sèvres and Dresden, 328
---- ---- copies Oriental and Continental models, 328
---- ---- three types of soft-paste, 330
---- ---- royal patronage, 329, 335, 356
---- ---- divided into five periods, 331
---- ---- contemporary work, 390-391
---- trade with East, 221
_Engobe._ _See_ Slip.
D’Entrecolles, Père, his letters, how written, 126
---- ---- reception of letters in Europe, 126
---- ---- summary of letters, 127-136
European enamelling on white Chinese porcelain, 165
---- influence on Chinese porcelain, 109, 135, 159, 162
---- market, Chinese porcelain for, 163-164
---- porcelain, early attempts at manufacture, 235-243
_Façonnage_, or shaping, 20
Falconet, his models used at Sèvres, 296
_Famille rose_, 106-110
---- ---- European influence on painting, 109
_Famille verte_, 98-102
---- ---- with black ground, 100
---- ---- relation to Ming enamels, 100
Favorite, La, near Baden, porcelain cabinet, 227
Fawkner, Sir Everard, and Chelsea porcelain, 335-337
Fayence, enamelled, competition with porcelain in seventeenth century, 233
---- ---- practical disadvantages of, 234
Felspar, 9, 10
---- decomposition of, 10
---- how far equivalent to china-stone, 16 _note_, 251
---- pure, used in Danish and Swedish porcelain, 388, 393
Feng Ting ware, white Chinese porcelain, 68, 142
Firing of porcelain, chemical reaction, 11
---- ---- systems described, 26, 191
---- ---- at King-te-chen, 133
Fischer, Herr, at Herend, 271, 392
_Flambé_ glazes, 42
---- ---- on Chinese porcelain, 152
---- ---- firing of, 152, 153
---- ---- how painted on, 153
---- ware, early type, 66
Florence, porcelain made in sixteenth century. _See_ Medici.
Flour-spar used in glaze at Fürstenberg, 265
Flowers in porcelain at Meissen, 254, 293 _note_
---- ---- at Vincennes, 293
_Fond laque_ on Chinese porcelain, 102
---- ---- much found in Persia, 147
Forms of Chinese porcelain, 137-141
---- of Japanese porcelain, 192
Fostât rubbish-heaps, fragment of Chinese porcelain found in, 216
_Fouliang, Annals of_, 127
France, early collectors of Oriental porcelain in, 229-231
Francesco, Grand Duke of Tuscany, makes porcelain, 237
Frankenthal, porcelain made at, 267
Franks, Sir A. W., on Oriental china, 53, 121, 185
---- ---- on Strassburg porcelain, 270
---- ---- on Parisian kilns, 314
---- ---- on Lowestoft porcelain, 370
Frederick the Great and porcelain, 255, 262, 274, 275, 335
Frits, used in French soft pastes, 279
Frye, Thomas, at Bow, 342-343
Fuel used in firing porcelain, 28
Fukien, Chinese province, two wares made, 66, 142
---- white porcelain, 142-143
---- ---- imitated in Europe, 142
---- ---- decorated in England, 144
---- enamelled porcelain, 143
Fulda, porcelain made at, 268
Fulham, Dr. Dwight attempts to make porcelain at, 240
Furnaces for firing porcelain, three types described, 27
---- for Chinese porcelain, 134
---- for Japanese porcelain, 191
---- for French soft pastes, 280
Fürstenberg, porcelain made at, 265
Fusibility of porcelain, experiments at Sèvres, 8, 18
Gardner, at Tver, makes porcelain, 275
Garnier, Édouard, late director at Sèvres, 310
---- ---- report on contemporary porcelain, 389-394
_Garniture_, term explained, 23
---- _de cheminée_ in Chinese porcelain, 139
Geneva, porcelain painters at, 271, 311
Gersaint, his catalogue of Oriental porcelain, 230
Ginori family at Doccia, 320-321
Glass, possible influence on early Chinese glazes, 57
---- made by Hu imitated in porcelain, 113
Glazes, 12, 30-38
---- preparation of, 30
---- applied to unbaked ware by Chinese, 30
Glazes, called oil by Chinese, 31
---- distinguished from enamels, 31
---- fusibility of, 32
---- on Egyptian fayence, 32
---- composition of ancient, 33, 144-154
---- three main classes of, 34
---- on Chinese porcelain, 35
---- relation to subjacent paste, 35
---- containing lime, 35-36
---- at Sèvres of two types, 36
---- on European porcelain, composition of, 36
---- on Chinese porcelain, composition of, 37
---- when first used by Chinese, 69
---- sole source of decoration on early Chinese porcelain, 70
---- for French soft pastes, 281
---- for hard pastes at Sèvres and Limoges, 306
‘Glozing’ or glazing oven, 27
Gold as source of red colour (see also _Rouge d’or_), 89
Gotzkowski, Berlin banker, 262
Gotha, Museum at, early Chinese porcelain, 72, 174, 212
---- porcelain made at, 269
Gouyn, Charles, manager at Chelsea, 333
Granite, primary source of both kaolin and petuntse, 9
Granitic rocks, varieties of, 9
Granja, La, porcelain _gabineto_ at, 323
Gravant, potter at Sèvres, 290, 294
Graviata bowls, 115
Green and blue enamels not successfully united by Chinese, 98 _note_
---- ---- on two vases of Ming porcelain in British Museum, 99 _note_
---- glazes on Chinese porcelain, 149
---- of _famille verte_, how applied, 99-100
Grieninger, manager at Berlin, 263
Growan-stone and clay, 377
Hague, porcelain made at, 273, 389, 393
Hampton Court, Oriental porcelain at, 185, 225-226
Hampton Court, no specimens of _famille rose_ or of ‘Old Japan,’ 225
---- ---- age of porcelain represented at, 226
---- ---- Queen Mary’s china cabinet, 226
Hancock, Robert, working at Battersea, 347
---- ---- and transfer-printing, 360
Handles, fixing of, 23
Hannong family, Strassburg potters, 268, 269, 305, 313, 318
Hardness of porcelain, 5, 18
Haslem, J., on casting process at Derby, 26, 354
Hat-stands in Chinese porcelain, 139
Haviland factory at Limoges, 389, 390
Hellot, chemical adviser at Sèvres, 291, 300
---- his memoir quoted, 278-280, 294, 299
Herculaneum works at Liverpool, 371
Herend, in Hungary, porcelain factory at, 271, 392
Herold or Höroldt at Meissen, 253
Hippisley, translations from Chinese, 91 _note_
Hirado or Mikôchi ware, 193-195
Hirth, Dr., on early Chinese trade, etc., 54, 210-213
---- ---- collection of early Chinese porcelain, 72
Höchst, porcelain made at, 264
Holdship, Richard, 358
Holland, Chinese ‘blue and white’ early imported, 158
---- Chinese porcelain in, 229
---- porcelain made in, 272-274, 389, 393
Hookah-bases of Chinese porcelain, 140
Hsuan-te (1425-35), porcelain of, 92
---- blue and white of, 83
_Hua-shi_, a stone used in Chinese porcelain, 131, 376
Hungary, porcelain made in, 271, 392
Hung-chi (1487-1505), porcelain of, 93, 147
Hunger, at Vienna, 260
Hunger, at Venice, 317
Hybrid pastes of Italy, 316
Imari porcelain, 186-193
---- ---- elements of decoration, 187
---- ---- relation to early Chinese enamelled wares, 187-188
---- ---- relation to other Japanese wares, 188
---- ---- copied at King-te-chen, 188 _note_
---- ---- composition of paste, 190
---- ---- source and nature of materials, 190
---- ---- in Dresden collection, 229
Incense, vessels used in burning, of Chinese porcelain, 138
India, Chinese porcelain found in, 85, 158
---- porcelain enamelled at Canton for, 165
_Insufflation_ of glaze by Chinese, 30
Iron-red in fine lines to imitate the _rouge-d’or_, examples at Dresden, 162
Jade, highly esteemed in China, 57
---- influence on early Chinese glazes, 57
Japan, early pottery of, 177, 179
---- Korean potters in, 179
---- porcelain of, 177-207
Japanese experts on Chinese porcelain, 55
---- porcelain, how introduced from China, 180-181
---- ---- early export of ‘blue and white,’ 182
---- ---- exported by Dutch, 183-184
---- ---- sources of information, 183 _note_, 193 _note_
---- ---- export stimulated by troubles in China, 184
---- ---- princely patronage of, 189, 194
---- ---- founded on Ming types, 189, 197, 199
---- ---- composition of paste, 190
Japanese porcelain, preliminary firing, 191
---- ---- glazes how prepared, 191
---- ---- furnaces, 191
---- ---- marks of crows-feet, 191
---- ---- shapes and uses, 192
---- ---- colours employed, 192
---- ---- celadon, 192, 195, 197, 201
---- ---- stories of processes discovered by spies, 196, 202, 203
---- ---- influence of conservative criticism on, 206
---- trade with China, 178
Julien, Stanislas, translations from Chinese, 53
Ju yao, early Chinese ware, 62
Kaga or Kutani ware, 203-206
Kai-feng Fu, old Sung capital, 62, 63, 65
Kakiyemon, a potter of Hizen, 183
---- ware, 185
---- ---- blue enamel over glaze, 186
---- ---- imitated at Meissen, 253
---- ---- imitated at Chantilly, 286
Kändler at Meissen, 253
---- chief modeller of ‘Dresden figures,’ 253
Kang-he (1661-1722), porcelain of, 96
---- his date-mark, why rare, 119
Kaolin, 8, 10
---- preparation of, 16
---- proportion of, in hard pastes, 17, 385
---- search for in France, 305-306
---- found at Alençon and St. Yrieix, 305-306, 378
---- found in Cornwall, 376-378
Kaolinic stoneware, use of term, 69
Karl Theodor, Elector Palatine, 260, 267
Kenzan, potter at Kioto, 197
Khanfu, Arab name for Hangchow, 209
Kia-king (1795-1820), porcelain of, 114, 155
Kia-tsing (1521-66), porcelain of, 94
Kien-lung (1735-1795), porcelain of, 105-114
---- his poems inscribed on porcelain, 113
Kien-lung, Sèvres porcelain for, 298
Kien yao, old Chinese ware, 66, 180
---- ---- example in British Museum, 71
---- ---- white porcelain, 142, 143
Kilns for firing porcelain. _See_ Furnaces.
King-te-chen in early days, 62
---- oppression of court officials, 94
---- in Kang-he’s reign, 96
---- lists of porcelain made, 95, 104, 115
---- burned, 115, 125, 220
---- position, 123-125
---- Pekin, how reached from, 123
---- Canton, how reached from, 124
---- relation to Jao-chau and Fouliang, 124-125
---- description of town, 125, 127
---- materials brought down in junks, 128
---- foreign designs copied at, 165
---- works abandoned for long period in seventeenth century, 220
Kinsay or Hangchow, 62, 63, 209
Kioto, porcelain made at, 196-199
---- potters copied Ming enamelled wares, 198
---- wares, _récherché_ rudeness of, 197
Kishiu ware or _Ô-niwa yaki_, 199
---- ---- imitated for export at Tokiyo and Kobe, 200
Kiyomidzu, suburb of Kioto, porcelain made at, 197, 198
Kizayemon family, court purveyors of porcelain, 188
Kochi, meaning of Japanese term, 175
---- ware of Japanese, 201
Kok, Juriann, his new porcelain at the Hague, 389, 393
_Koransha_, combination of Japanese potters, 193
Korea, relations with China and Japan, 168
---- fanciful attribution of various wares to, 169, 186
Korean porcelain, classification of, 170
---- ---- celadon, 170
---- ---- plain white, 170
---- ---- crackle ware, 171
Korean porcelain described in early Chinese books, 171
---- inlaid with white slip, 171
---- potters in Japan, 169
Koreans, early use of enamel colours by, 169
Kousnetzoff factory, Moscow, 392
Ko yao, early Chinese ware, 63, 65, 145
‘Kronenburg porcelain,’ origin of name, 267
Kuang-tung porcelain of Raynal, 166
Kuang yao, stoneware, 166
---- ---- early Chinese ware, 63
Kublai Khan, 72, 213
Kutani or Kaga ware, 203-206
---- ware, relation to Imari porcelain, 204
---- ---- marks on, 205
Kwan-yin, statues of, 135, 143, 226
Lace imitated in porcelain at Berlin, 264
Lang Ting-tso, superintendent at King-te-chen, 96 _note_, 103, 151
Lang yao, origin of name, 103
Langen, von, at Fürstenberg, 265
---- ---- at Copenhagen, 274
_Laque Burgauté_, 114
Lathe, use of, in shaping porcelain, 22
Lead in glaze, 33-34
Leithner, chemist at Vienna, 261
Lemon-yellow, opaque glaze on Chinese porcelain, 111-115
Lille, porcelain made at, 284
---- coal early used in porcelain kilns, 285
Lime in paste or glaze of porcelain, 35-36, 251
Limoges district, porcelain works in, 15, 314-315, 389-390
---- enamel copied in Chinese porcelain, 135 _note_
Lister, Dr. Martin, at Saint-Cloud, 282, 326
Lists of porcelain made for Chinese court, 95, 115
Lithophanic porcelain, at Berlin, 264
Littler at Longton Hall, 348
Liverpool porcelain, 370-371
London, West of England porcelain painted in, 363, 366, 369
Longton Hall porcelain, 348-349
Lowestoft and Oriental armorial porcelain, 369-370
---- china, so-called, 165, 369
---- porcelain, 369-370
Ludwigsburg, porcelain made at, 266
Lung-chuan celadon, reproduced at King-te-chen, 132
---- yao, early Chinese ware, 63
Lung-king (1566-72), porcelain of, 95
Lustre ware, attempted imitation by Chinese, 74 _note_
Lyle, Mr., on old Siamese porcelain, 173
Macaulay on china collectors, 61 _note_
Madeley, Sèvres porcelain copied by Randall at, 366
Magnesia, an element of porcelain paste, 12, 131
---- in paste of Vinovo porcelain, 318
---- in paste of Spanish porcelain, 324
Magnets, removal of iron from slip by, 19
_Magots_, decorated in _famille verte_ style, 100
Mainwaring, Mr. Massey, his collection of Dresden figures, 254 _note_
Mainz, elector of, and Höchst porcelain, 264
Manchu or Tsing dynasty, 96
Mandarin china, 114
Manganese-purple glazes on Chinese porcelain, 98, 147
---- ---- in the San-tsai enamels, 99
Marcolini, Count, director at Meissen, 256
Marieberg, porcelain made at, 273
Marks on Chinese porcelain, 117-122
---- ---- how and where applied, 117, 119
---- ---- give little information, 119, 122
---- ---- _Tang_ or hall, _Chai_ or studio, 120
---- ---- allusive, descriptive, emblems and devices, 120-121
---- ---- ‘canting’ devices, 121
Marks on European porcelain. _See_ under the principal factories.
---- on Japanese porcelain, 197, 199, 200, 205
_Marnes_, used in French soft pastes, 279
Martabani celadon, examples in European collections, 71
---- ware, 64-65, 210 _seq._, 144, 173, 215
Materials of porcelain, M. Vogt’s experiments, 17
Maubrée, flower-painter on porcelain, 271
Mazarin or powder-blue grounds of Chinese, 148
Medici, Lorenzo de’, receives present of Chinese porcelain, 217
---- porcelain, 236-238
---- ---- only identified lately, 236
---- ---- Vasari’s account, 236
---- ---- decoration of, 237
---- ---- composition of, 237
---- ---- marks, 238
Medicine-flasks (_yao-ping_) or snuff-bottles of Chinese
porcelain, 113-114, 140
---- ---- of Chinese porcelain, used by Arabs, found in Egyptian tombs, 140
Meissen porcelain, 244-258
---- ---- composition, 7, 250-251
---- ---- first successfully made (1713-1716), 249
---- ---- composition of glaze, 251
---- ---- hardness of paste, and difficulties in application of enamels, 251
---- ---- early pieces mostly defective, 252
---- ---- ‘Dresden figure groups,’ 253
---- ---- imitation of Chinese _magots_, 253
---- ---- armorial designs, 253
---- ---- flowers imitated, 254
---- ---- attempts to make large figures, 254
---- ---- effects of Seven Years’ War, 255
---- ---- important position of enamel painters, 255
Meissen porcelain, early exported to Turkey, 255 _note_
---- ---- marks on, 257
---- ---- recent work, 257, 392
---- ---- marks on, copied, 258
---- ---- smuggled into England, 334
Melchior at Höchst, 265
---- at Frankenthal, 268
Mennecy, porcelain made at, 287-288
Mica, an element in Chinese porcelain, 11, 131, 376 _note_
Mikôchi or Hirado ware, 193-195
Ming dynasty, porcelain of, 78-95
---- porcelain, colour decoration, 79, 86-91, 161
---- ---- ‘blue and white,’ 81-85, 95, 157
Minton, Thomas, 366, 373
Mirror black glaze on Chinese porcelain, 130, 149
Mohammedan forms of Chinese porcelain, 140
_Mo-hung_, iron-red painted over glaze, 150
Mokubei, potter at Kioto, 201
Moore, Bernard, imitates Chinese glazes, 387
Morikaga, painted on Kaga ware, 204
Moulding, antiquity of process, 23-25
---- process described, 23-25, 128
---- largely used for Chinese porcelain, 112
Muffle-stoves for firing enamels, 47, 281
Nabeshima or Okôchi ware, 195
Nantgarw porcelain, 367-368
Napoleon’s ideas for decoration of porcelain, 308
Niderwiller, porcelain made at, 270
Nien-hao. _See_ Date-marks.
Nien Hsi-yao, superintendent at King-te-chen, 104-105
Nien yao, 105
Nightingale, Mr., on sales of Chelsea porcelain, 335 _note_, 336 _note_
Ninsei, potter at Kioto, 196
Nove, Le, porcelain factory at, 318
Nymphenburg, porcelain made at, 267
Nyon, porcelain made at, 271
Okeover plate in British Museum, 164
Okôchi or Nabeshima ware, 195
‘Old Japan.’ _See_ Imari.
_Ô-niwa yaki_ or Kishiu ware, 199-200
Oriental porcelain, earliest specimens in Europe, 217-218
Orleans, Duke of, collector of Oriental porcelain, 230
---- ---- and Saint-Cloud, 283
---- family, interest in porcelain, 314
---- porcelain made at, 288
Ormolu mountings at Sèvres, 297
---- ---- on English porcelain, 339
Orry de Fulvi at Vincennes, 290
Oude Amstel, Dutch porcelain, 273
---- Loosdrecht, porcelain made at, 272
Ovens for firing porcelain. _See_ Furnaces.
Owari porcelain, 201-203
---- ---- materials and composition, 190
---- ---- cheap ware for export, 203
Owen, Mr., on Bristol porcelain, 376, 381 _note_
Painted glazes, term explained, 44, 59
---- ---- on Ming porcelain, 79
---- ---- of Hsuan-te, 92
Painters on Chinese porcelain, 108
---- ---- signatures of, 108
---- ---- division of work, 129
---- on Sèvres porcelain, signatures of, 303
Painting, schools of, in China, 82
---- on porcelain. _See also_ Enamelling.
Palissy probably endeavoured to make porcelain, 239 _note_
Parian ware, 373
Paris, soft-paste factories at, 288
---- hard-paste factories at, 312-314
_Pâte-sur-pâte_, 41, 311
‘Peach-bloom’ glaze, 105, 154
Pen-rests in Chinese porcelain, 139
Persia, Chinese porcelain in, 147, 157, 215, 216
Persian fayence compared with Chinese porcelain, 73
Persian fayence, early use of blue under glaze, 74, 75
---- ---- Chinese influence on, 76
---- Gulf, early Chinese trade with, 213
---- ---- English trade with, 221
---- inscription on fifteenth century Chinese porcelain, 94