“useful” wares, as far as form was concerned, on the models offered by
Oriental china, and by the work of contemporary London silversmiths.
In decoration also, Oriental, particularly Japanese, patterns were
closely followed. This lack of originality is atoned for in some
measure by the added charm derived from the mellow surface of the soft
Chelsea glazes, while the very defects in the painting due to the
touch of a Western hand give a certain homeliness which endears the
imitations to an English amateur. A beautiful example of this style is
the hexagonal covered vase in the Schreiber Collection depicted in
Plate 23. Both shape and decoration are copied with fidelity from an
original of the school of the great Japanese, Kakiyemon. The perfect
balance of the design and the harmony of the colouring are his, but the
interpretation and the material in which it is embodied belong wholly
to the Western potter; “Western” must be said advisedly, for it must
be doubted whether English workmen had any but a minor part at Chelsea
in its early days. Whether the “Japan patterns” were copied directly
from Oriental wares (the designs in a few instances are Chinese, of the
_famille verte_), or whether they were obtained through the medium of
Meissen imitations of the Oriental, it would be difficult to decide;
the latter would certainly be more easily obtainable in England. It
is, however, interesting to observe that the vase here illustrated is
an almost exact replica of a pair of Japanese vases at Hampton Court
Palace, belonging to the collection formed probably by Queen Mary II.
through the agency of the Dutch East India merchants; it is tempting
to conjecture that the Chelsea artists may have been allowed access to
the royal apartments for the purpose of making drawings for use at the
works.
PLATE 22
Figure of a Shepherdess, Chelsea, about 1765. Height, 12½ in.
Schreiber Collection.
No. 237. See p. 79.
Mark: an anchor in gold.
[Illustration]
[Illustration]
Oriental patterns were gradually superseded by motives inspired by
rivalry with Saxon porcelain--sprays of naturalistic flowers with
insects, landscapes, or animal subjects, such as the series in
illustration of Æsop’s Fables. A further advance is seen in the use of
ground colours betokening emulation of Sèvres, which lasted in vogue
till the independent existence of Chelsea came to an end. The earliest
of these colours, an attempt at reproducing the French _bleu de roi_,
is probably that occurring on the vases with a ground of uneven
streaky blue of rather dull tone which have often been ascribed,
without evidence to justify the attribution, to the Longton Hall
factory in Staffordshire. Later a more satisfactory colour was arrived
at in a dense and splendid “mazarine blue,” while in the effort to
equal the _rose Pompadour_ of Sèvres, the claret-colour was evolved of
which the glory belongs to the Chelsea works alone. On such splendid
grounds as these were reserved panels for miniature paintings taken,
as the contemporary sale catalogues inform us, from “Busha,” “Burgam,”
“Tenier,” and other foreign masters.
This style is exemplified by the sumptuous vases in the Jones Bequest
at South Kensington. One pair with mazarine ground bears subjects
from the set of the “Four Seasons” painted by Boucher for Madame de
Pompadour in 1755. Other vases are painted with a domestic scene in
peasant life, and _La Cueillette de Cerises_ after the same artist. A
pair of vases with a claret-coloured ground have mountain landscapes
with cattle in the manner of Berghem. Wonderful as such pieces are in
the richness of their glaze and gilding and in the careful finish of
the paintings, the same defects are generally observable as in the
later Chelsea figures. In the desire to cater for luxurious tastes,
richness of ornament has been carried to excess, nor do the ungainly
forms with their twisted rococo handles compare in attractiveness with
the modest shapes of earlier times. The vase figuring in Plate 24, the
middle one of a set of three in the Schreiber Collection, suffers less
than most from the defects of the period, and well shows the richness
of colour and gilding that were then attained. The slightly uneven tone
of the deep blue ground was doubtless regarded by the makers as a
defect, which they would gladly have overcome if they could; but it is
just this quality of variety which gives life to the surface, and makes
these Chelsea glazes compare favourably with the almost too perfect
ground colours of Sèvres.
The late Chelsea style is most pleasing in the wares made for less
pretentious purposes. No better illustration could be found than the
tea- and coffee-service with claret-coloured ground bequeathed to the
Victoria and Albert Museum by Miss Emily Thomson of Dover. The teapot
is figured in Plate 25. Every piece in the service is differently
painted with a figure in the quaint dress which passed at the time
for Oriental. These charming miniatures are evidently inspired by the
_chinoiseries_ of Watteau, which reflected the growing trade with
the East under the auspices of the _Compagnie des Indes_; a previous
writer[2] has plausibly suggested that this may be the actual “equipage
most inimitably enamelled in figures from the designs of Watteau” which
was offered for sale at the last auction of Sprimont’s china held in
Christie’s Sale-room in February 1770. The sumptuous decoration of
such a service need not be condemned when the surroundings in which it
was intended to take its place are borne in mind; its display would
greatly enhance the elegance of a tea-party in an eighteenth-century
drawing-room.
[2] Mr. William Burton, in _English Porcelain_.
* * * * *
It seems, however, that Sprimont’s costly porcelain was appreciated by
too small a circle of patrons to ensure its success as a commercial
venture. After his works had passed in 1770 into the hands of William
Duesbury of DERBY, the style to which most of all Chelsea owes its
renown was soon abandoned. In the china made during the ensuing
period, in which the Chelsea and Derby works were carried on conjointly
under the same proprietor, the Chelsea element in the decoration is
small, and it may be inferred that the new manner which appears had
already been in vogue at Derby. At what date the Derby factory was
founded, and the nature of its earliest productions, is obscure, but
to it belongs the credit for a style of decoration unsurpassed among
“useful” wares for its suitability to the purpose for which the china
was made. Many and varied are the dainty borders, executed sometimes in
gold alone, sometimes in bright enamel colours laid on with a sparing
and discriminating hand. The scrollwork and contorted forms of the
rococo period entirely disappear, to be revived only in imitative work
of a later time, when they had lost all vitality and meaning, and were
no longer in keeping with the spirit of the age. Restraint verging at
times on over-formality is the keynote of the new era, in which for
people of culture in all parts of Europe the newly-found vases and
sculptures of ancient Greece and Rome were the admired models.
PLATE 23
Jar, with Cover, Chelsea, about 1755, copied from Japanese
Kakiyemon ware. Height, 12½ in. Schreiber Collection.
No. 237. See p. 80.
Mark inside the neck and on the cover: an anchor in red.
[Illustration]
[Illustration]
The effect of the change was decidedly in favour of porcelain as a
material; the chastened decoration which it brought with it allowed
the charming qualities of paste and glaze to be seen once more to full
advantage, and nowhere in European porcelain is the result more happily
shown than in the best work of Derby. The ornamental vases of this
period fell into the danger as time went on of losing originality and
liveliness, as conformity with classical models became more rigorous,
but those dating from its earliest days offer a welcome contrast to
their Chelsea predecessors.
One of the finest forms made by Duesbury is exemplified by the vase
in the Jones Bequest shown in Plate 26. On either side of the body
is an oval medallion with a miniature painting. One of these panels
represents the incident of Celadon and Amelia overtaken by the storm,
from Thomson’s poem _The Seasons_, the source of many a subject in the
somewhat theatrical figure-paintings of the time. On the reverse side
is a river-scene with a rider watering his horse in the foreground, and
a castle-keep on a hill in the distance. The terminal female figures
forming the handles are in unglazed biscuit porcelain, offering a
pleasant contrast to the glancing surface of the body. The gadroons
on the neck, the frieze with a grotesque mask between two lions,
and the flowers in natural colours on a gold groundwork, seem when
analysed rather incongruous elements, but the effect of the whole
though brilliant is yet harmonious. The _bleu de roi_, which is the
ground colour on the neck and foot, is of a lighter tone than the
Sèvres colour which it was intended to imitate. It is possible that
this vase may be the actual one advertised in the sale-catalogue for
9th May 1773, as “_A most capital large therm vase_, richly painted in
compartments with figures of Celadon and Armelia [_sic_], ornamented
with fine blue and richly finished with chased and burnished gold.”
The style of Derby porcelain was not greatly modified while the works
were in the hands of the Duesbury family, but after they were leased
in 1811 to Robert Bloor a change came about. Little can be said from
an artistic point of view in praise of the output of later years.
Effective “Japan patterns” based on Imari originals were adopted for
tea- and dinner-services, but generally over-decoration and vulgarity
of form and colour were faults for which technical improvements do not
avail to compensate.
* * * * *
The porcelain made during the eighteenth century at the “WORCESTER
Tonquin Manufacture,” founded by Dr. John Wall and others in 1751,
has a more English character than that of the other leading china
works in this country. Unambitious in its aims and businesslike in its
methods, it contented itself for a long time with producing little
but wares for useful purposes. These are characterised by a certain
homeliness in the decoration and pleasing simplicity of form. The
thoroughly practical nature of the undertaking is borne out by the
somewhat doubtful distinction it enjoys of being the pioneer in the
use of printing for the decoration of porcelain, or at all events the
first factory to make extensive use of this process. While in its early
days Worcester drew its inspiration from Oriental china, the Eastern
designs were taken rather as suggestions for patterns than as models
to be closely copied, as was frequently the case at Chelsea. The same
practice held good even in later years, when after the engagement of
workmen from Chelsea in 1768, more pretentious wares were attempted.
The celebrated “scale-blue” and “powder-blue” vases, with birds or
flowers of brilliant hues in reserved panels, were doubtless suggested
by the _bleu de roi_ of Sèvres, but they bear little resemblance to
their prototype, and, even in their most splendid form they seldom err
beyond the limits of sobriety and good taste.
This character of the Worcester wares is well illustrated by the
little vase from the Schreiber Collection chosen as the subject of the
drawing reproduced in Plate 27. The pattern is a very free adaptation
of a Japanese design, in which the chrysanthemum and the wattled
fence motive, appearing here as a wheat-sheaf, can be recognised;
combined with this is a turquoise border, edged with gilt rococo
scrolls, betraying some trace of French suggestion, but the whole is
so informally treated that no incongruity is felt, and the general
impression received is one of delightful freshness and simplicity. The
vase is typical of Worcester at its best.
PLATE 24
Vase from a set of three, Chelsea, about 1760, with gilt relief
decoration on a mazarine-blue ground. Height, 11½ in. Schreiber
Collection.
No. 241. See p. 81.
Unmarked.
[Illustration]
The change in management in 1783, when Thomas Flight and his sons took
over the control of the works, did not at first bring with it a serious
deterioration in the quality of the china. A new decorative style was
adopted in compliance with the fashion of the day, but the same quiet
tastefulness was the keynote of the decoration. The sober designs in
dark blue and gold almost equal those of Derby in their suitability
for the embellishment of table wares. It is not till the beginning of
the nineteenth century that a noticeable decline sets in, but from
that time forward the Worcester wares, whether made in the original
factory or by the rival firm of Chamberlains, become increasingly
lacking in interest. All artistic qualities are smothered in overloaded
decoration, ungainly shapes, and unrestrained lavishment of gilding.
* * * * *
It was a Quaker apothecary of PLYMOUTH, William Cookworthy by
name, whose discovery of deposits of kaolin and china clay in the
neighbouring Duchy enabled him in 1768 to obtain a patent for the first
English factory of true porcelain of the Chinese type. The serious
difficulties with which he had to contend led to the removal of the
establishment two years later to BRISTOL, where it was placed under the
management of Richard Champion. In 1773 the patent rights were
transferred entirely to the latter, and for eight years he continued in
the face of many discouragements to carry on the manufacture; special
interest attaches to it on account of Champion’s personal relations
with Edmund Burke, at that time Member of Parliament for Bristol. Forms
and decoration were borrowed more from Meissen and Sèvres than from
Oriental types, nor were they as a rule literal copies, but rather
adaptations from the originals. While the harmonious blending of the
enamels with the glaze, which is so pleasing a feature of soft-paste
china, was necessarily absent from the Bristol productions, great
brilliancy of colouring was obtained without involving garishness
of effect, as may be seen from Plate 28, drawn from a vase in the
Schreiber Collection. The fanciful birds are not original creations of
the Bristol painter, but reflect the type commonly seen on early pieces
of Vincennes and Sèvres; the quiet dignity of the shape, on the other
hand, is thoroughly characteristic of the best English work.
* * * * *
The minor English factories of the eighteenth century, such as those of
LONGTON HALL, in Staffordshire, LOWESTOFT, and CAUGHLEY, were either
of too short a duration to arrive at any high level of technical
attainment, or were devoted almost entirely to the manufacture of
commonplace wares for ordinary domestic uses. The great extension of
the porcelain industry in this country, which signalised the opening of
the nineteenth century, was not productive of any noteworthy results
from an artistic point of view. At the short-lived Welsh factories
of NANTGARW and SWANSEA, it is true, a glassy paste was invented
which was shown to be capable of beautiful effects, but the numerous
STAFFORDSHIRE firms and the famous ROCKINGHAM works at Swinton in
Yorkshire fell under the ban of the same artistic decadence that has
been noticed in speaking of Derby and Worcester; they saved themselves
from financial disasters by following the demands instead of guiding
the taste of a severely commercial age. Those who are in search of what
is beautiful or vital in English porcelain will be content to confine
their attentions to the eighteenth century.
PLATE 2
Jar, Chinese, early Ming dynasty, with decoration in slightly
raised outline filled in with coloured glazes, the rim fitted in
Persia with a chased brass mount. Height, 12½ in.
No. 1748-1892. See p. 7.
Unmarked.
[Illustration]
INDEX
Abbas II., Shah of Persia, 13
Acier, 68, 78
Æsop’s Fables, 80
_Agréable Leçon, L’_, 79
Albrechtsburg, fortress, 66
Amelia, Celadon and, 84
American Colonies, 58
Angoulême, duc d’, 62
Anne of Austria, 49
Anreiter, Carl Wendelin, 44
Ansbach, 71
“Antiques, The Hundred,” 21, 22
_Ao Kutani_ ware, 34
Apollo Belvedere, 45
Apple-green, 24
Arab traders, 16
Arabic inscriptions, 12
Archaistic Chinese porcelain, 25
Arita, 31
Artemisia leaf, 15
Augsburg, 13
Augustus, Emperor, 58
Augustus the Strong, Elector of Saxony, 17, 65, 69, 76
Austria, Anne of, 49
Bachelier, 55, 60
Baligny, Étienne, 18
Baroque style, 66, 67
Bastelli, Franz, 70
Bavaria, Elector of, 70
Beethoven, 68
Bérain, 50
Berghem, 81
Berlin, 65, 71
Beyer, Wilhelm, 70
Biscuit porcelain, Sèvres, 60
_Blanc de Chine_, 17
Blémont, Barthélémy de, 78
_Bleu de roi_, 56, 59, 80, 84, 85
Bloor, Robert, 84
Blue, mazarine, 81
powdered, 20, 85
scale, 85
“Blue and white,” 10, 12
Bohemian glass, 66
Boileau, 57
Bondy, rue, 62
Böttger, Johann Friedrich, 65
Boucher, François, 53, 55, 57, 79, 81
Bouillat fils, 57
Bourbon, Louis-Henri de, 52
Bourg-la-Reine, 54
Bow, 19, 43, 75, 78
Bowes Collection, 32
Brighton Museum, 32
Bristol, 77, 86
Bronze, imitation of, 3
Brown, Mr. Montague Yeats, 43
Buddhist designs, 8, 9, 12, 15
Buen Retiro, 45, 51
Burghley House, 13
Burke, Edmund, 87
Burma, 16
Bushell, Dr., 5
Callot, 66
Capodimonte, 45
Carl Eugen, Duke of Württemberg, 71
Carp motive, 22
Catherine II., Empress of Russia, 58
Catrice, 56
Caughley, 87
Cecil family, 13
Celadon and Amelia, 84
Celadon ware, 5, 15, 16, 23
Chabry, 57
Chamberlains, Worcester, 86
Champion, Richard, 87
_Champlevé_ enamel, 7
Chantilly, 52, 55
Charles III., King of the Sicilies, 45
Chekiang, province, 5
Chelsea, 19, 33, 54, 75, 77, 83, 85
Chêng Tê, emperor, 12
Chia Ching, emperor, 12, 14
Chicaneau, Pierre, 50
Ch’ien Lung, emperor, 25, 26, 27
Chihli, province, 5
_Ch’ing_, symbol, 15
Ch’ing dynasty, 19
Ching-tê-chên, 6, 17, 19, 24
_Chinoiseries_, 82
Christian, Margrave, 71
Christie’s sale-room, 82
Chün-chou, 4
Cirou, Ciquaire, 52
_Clair-de-lune_ glaze, 24
Claret-colour, 81, 82
Classical style, 46, 57, 62, 68, 69, 70, 83
Claude, 71
Clignancourt, 62
Clive, Kitty, 76
Cobalt-blue, introduction of, 10
Comedy, Italian, 70
Companies, trading, 16, 27, 82
Condé, prince de, 52
Conway, General, 79
Cookworthy, William, 86
Cope Bequest, 25
Copenhagen, 71
Coral-red, 23
Corean lion, 34
Cornflower-sprig pattern, 62
Cosmo II., Grand Duke of Tuscany, 42
Cozzi, Geminiano, 44
_Cueillette de Cerises, La_, 81
_Cuenca_ tiles, 7
Cumberland, Duke of, 75
Czarskoë Selo, 60
Damascus, mosque at, 11
ware, 14
Dauphin, 61
De Fulvy, Orry, 55, 56
_Demigrand feu_, 21
Denmark, 58, 71
Derby, 33, 82, 88
Deshima, 32
De Staël, baron, 59
Doccia, 44
Dragon Gate, 22
Dresden, collection, 17
_Steinbäckerei_, 66
Dubois, brothers, 55
Jean René, 56
Duesbury, William, 82, 84
Duplessis, 55
Dutch merchants, 18, 32, 66, 80
“Eggshell” china, 25
Egypt, 4, 9
Elizabeth, Queen, 13
Elizabethan silver, 13
“Emblems of Happy Augury,” 8
Empire, French, 61
Enamel, _champlevé_, 6
Engravings, designs copied from, 77, 78
Eu, comte d’, 54
Faïence, 49, 50
Falconet, 60
_Famille noire_, 23
_rose_, 25, 76
_verte_, 14, 21, 24, 52, 80
Fanciullacci, Pietro, 45
_Fêng huang_, 12, 26
Ferdinand I., of Tuscany, 42, 45
IV., of the Two Sicilies, 46
Fernex, 56
_Fêtes Vénétiennes_, 79
Figures, Bow, 76
Chelsea, 77, 79
Chinese, 24
Frankenthal, 71
Höchst, 69
Ludwigsburg, 70
Meissen, 67, 76, 78
Mennecy, 54
Nymphenburg, 76
Sèvres, 59
Fitzhenry, Mr. J. H., 51, 53, 54, 62, 71
“Five colour” decoration, 14, 21, 26
_Fleur-de-lys_ mark, 51
Flight, Thomas, 86
Florence, 40, 44, 49, 60
Flowers, artificial, 56
Fontaine, 60
Forget-me-not decoration, 69
Francesco de’ Medici, 41, 42, 43
Frankenthal, 71
Frederick VI., King of Denmark, 71
the Great, 71
_Fu_, character, 11, 13
Fuchien, province, 17, 51
Fulda, 76
Fulvy, Orry de, 55, 56
Fungus, sacred, 12, 13, 16
George II., king, 75
Gilding, Sèvres privilege, 62
Ginori, Marchese Carlo, 44
Glass, 40, 66
Goethe, 68
Gold, experiments for making, 65
pink derived from, 24
leaf, decoration in, 66
Gombroon, 16
Gorodayiu Go Shonsui, 31
Gotha, 70
Gouyn, Charles, 78
Grain-jars, 16
Granby, Marquis of, 77
Greece, sports of ancient, 61
Greek pottery, 4, 83
Griffith, Mr. Henry, 42
_Gros bleu_, 56
Gustavus III., King of Sweden, 58
Hampton Court, 80
Han dynasty, 3, 6
“Happy Augury, Emblems of,” 8
Hard paste, 61, 62, 65, 86
Haydn, 68
Hellot, 55
Herculaneum, 46, 69
Herold, 66
Hewelcke, 44
Hirato, 34
Hizen, province, 13, 31, 34
Höchst, 69
Honan, province, 4, 9
Houston, Richard, 77
Hsüan Tê, emperor, 10, 12, 26, 34
“Hundred Antiques,” 20, 22
Hung Wu, emperor, 6
Imari, 33, 84
India, 16
china, 27
Companies, 16, 17, 18, 27, 80, 82
Iron-red, 23
Italian comedy, 70
Jade, imitation of, 5, 15
“Japan patterns,” 33, 80, 84
_Jaune jonquille_, 56
Jones Collection, 16, 18, 57, 60, 61, 68, 81, 84
Kaga, province, 34
_Kaki_, signature, 32
Kakiyemon, 31, 51, 52, 67, 76, 80
Kändler, Johann Joachim, 67, 76, 78
K’ang Hsi, emperor, 14, 16, 19, 27
Kauffmann, Angelica, 68
Kiangsi, province, 6, 24
“Kingfisher blue,” 24
Kishiu, province, 34
Kutani, 34
Lang T’ing-tso, 24
Lear, King, 76
Leda, 56
Leghorn, 45
Le Guay, 60
Levasseur, 17
_Ling chih_, 12, 13, 16
London silver marks, 13
Longton Hall, 81, 87
Louis XIV., king, 18, 50
XV., king, 55, 57, 61
XVI., king, 16, 58, 61, 68
Henri de Bourbon, 52
Philippe, duc d’Orléans, 53
Lowestoft, 87
Ludwigsburg, 70
Lung-ch’üan, 5
Lung Mên, 22
Madrid, 45
Mainz, Elector of, 69
Maiolica, Italian, 39, 41, 43
Manchu Tartars, 19
Marcolini, Count Camillo, 68
Margrave of Ansbach, 71
Maria Amelia, Princess of Saxony, 45
Marmontel, 59
Martabani ware, 16
Mary II., Queen, 80
Max Josef III., Elector of Bavaria, 70
Mazarine blue, 81
Medici porcelain, 41
_Médicis_, _vase_, 54
Meissen, 19, 33, 44, 45, 53, 56, 60, 66, 69, 71, 78, 80
Melchior, Johann Peter, 69
Mennecy, 53
Mikawaji, 34
Minden, battle of, 77
Ming dynasty, 6, 16, 19, 26, 35
Mohammedan porcelain, 12
“Monkey Musicians, The,” 78
Moors in Spain, 40
_Mori_, _I quattro_, 45
Morin, 60
Munich, 70
“Music Lesson, The,” 78
Nabeshima, 33
Nagasaki, 32
Nantgarw, 87
Naples, 45, 46, 70
Napoleon, 61
_Naranji_, 14
Neudeck, 70
Neue Palais service, 71
_Neutralite armée_, 59
New College, Oxford, 5
Nishihama park, 35
_Noire_, _famille_, 23
Normandy, 49
_Nourrice_, figure, 78
Nymphenburg, 70, 76
Okawaji, 33
Orléans, duc d’, 53
Ormuz, Straits of, 16
Orrock Collection, 20
Oxford, New College, 5
Painting on porcelain, origin of, 9
Palatine, Elector, 71
_Pa Pao_, 15
Paris, 18, 50, 53
factories, 62
P.B., silversmith, 18
“Peach-bloom” glaze, 24
Persia, 4, 7, 9, 11, 13, 15, 16
Philip II., King of Spain, 41
Phœnix, 12, 26
Pine, peach, and bamboo, 11
Pisa, 42, 49
Plum-blossom motive, 15, 17, 19, 25
Plymouth, 86
Poirel de Grandval, 49
_Po Ku_, 21
Poland, King of, 65
Pomegranate motive, 11, 25
_Pompadour_, _rose_, 56, 81
“_Porcellana, alla_,” 40
Poterat, Edme, 49
Potsdam, 71
Powdered blue, 20, 85
“Precious Things, Eight,” 15
Printing on porcelain, 85
Prometheus, group, 59
Prussia, King of, 65
Pygmalion, group, 59, 60
Quebec, capture of, 77
Red, overglaze, 23
Regnier, 59
Republic, Third, 62
Revolution, French, 60
Reynolds, Sir Joshua, 77
Rhineland, 39
Rhinoceros-horn cup, 15
Rice-dishes, 16
Ringler, 70
Risanpei, 31
Robinson, Sir Charles, 13
Rockingham Works, 88
Rococo style, 53, 57, 67, 68, 71, 81, 86
Roman art, 69
Rome, 70, 83
_Rose_, _famille_, 25, 76
_Pompadour_, 56, 81
Roubiliac, 78, 79
Rouen, 49, 50
Russia, Empress of, 58
St. Cloud, 17, 19, 50
St. Sever, Rouen, 49
Salt-glazed stoneware, 51
Salting Collection, 10
San Donato Palace, sale at, 60
_Sang-de-bœuf_ glaze, 24
Saxony, Elector of, 18, 65, 69, 76
“Scale blue,” 85
Sceaux, 53, 54
Schreiber Collection, 76, 79, 80, 81, 85, 87
_Seasons, The_, 84
Sèvres, museum, 41, 61
porcelain, 19, 52, 53, 54, 80, 82, 84, 85, 87
Shonsui, 31
_Shou_, character, 11
Sicilies, King of the Two, 45
Silesian glass, 66
Sisti, Niccolò, 42
Smith, Captain, 77
Sorgenthal, Baron von, 69
Spa, 59
Spain, 7, 40, 41, 45
Sprimont, Nicholas, 78, 82
Spring, flowers symbolising, 8
Staël, baron de, 59
Staffordshire, 33, 51, 87, 88
Stanniferous glaze, 52
_Steinbäckerei_ at Dresden, 66
Stockholm, National Museum, 56
Sturgeon, legend of, 22
Stuttgart, 70
Sung dynasty, 4, 9, 15, 24, 26
Susa, excavations at, 9
Swansea, 87
Sweden, 58, 65
Swinton, 88
Syrian art, 7
Tacca, Pietro, 45
_Tafelaufsätze_, 67
Tagliolini, Filippo, 46
Taou Kuang, emperor, 27
Tartar invasions, 19
Tebo, 77
Têhua, 17
Teniers, 81
Thibaut, 77
Thomson, Miss Emily, 82
Thomson’s _Seasons_, 84
Tiles, 7, 11
Ting-chou, 5
Ting ware, 5, 10
“Tonquin Manufacture,” 85
Trou, Henri, 50
Ts’ang Ying-hsüan, 24
Tschirnhausen, Von, 66
Tuscany, Grand Dukes of, 41, 45
Tzŭ-chou, 9
Urbino, 41, 43
Venetian ambassador in Tuscany, 41
Venice, 40, 44
Venus, The Crouching, 45
Vernet, Joseph, 60
Versailles, 55
_Verte_, _famille_, 14, 21, 24, 52, 80
Vezzi, Francesco, 44
Vienna, 44, 69, 70
Villeroy, duc de, 54
Villers-Cotterets, 53
Vincennes, 19, 53, 55, 56, 60, 87
Wakayama, 35
Wall, Dr. John, 85
Wan Li, emperor, 11, 12, 13, 14, 26, 42
Warham, Archbishop, 5
Watteau, 67, 79, 82
Welsh porcelain, 87