of 17th Century._ Height 15-3/8 in.]
[Illustration: FIG. 61.--PILGRIM'S BOTTLE. APOLLO AND DAPHNE; _rev._ A
BACCHANALIAN SCENE. _In blue and yellow._ Height 12-1/4 in.]
ROUEN. There was a manufactory of pottery at Rouen early in the 16th
century, and towards the end of the next century there were many
establishments. At the commencement of the 18th century, the Chinese
style pervaded all the Rouen fayence, but it was transformed or
travestied and possessed a special physiognomy; the subjects were
landscapes and buildings with figures, fantastic birds, dragons, &c., in
blue, green, yellow, and red, bordered with the square Chinese
ornaments. At a later date the decoration consists principally of
flowers issuing from cornucopiæ and rococo ornaments; this sort of style
is called in France "_à la corne_." The paste of the Rouen fayence is
heavier and thicker than that of Delft, but the designs and ornaments
are full of taste, decorated in blue _camaïeu_ and in polychrome, some
in the style of Nevers, with white on _bleu de Perse_, but of paler
colour. The pieces were frequently of large size, and included
fountains, consoles, vases, &c.
[Illustration: FIG. 62.--EWER.]
[Illustration: FIG. 63.--EWER.]
[Illustration: FIG. 64.--PLATE.]
Fig. 62 is painted with polychrome decoration of landscapes, &c.; period
of Louis XIV.; height 26-3/8 in.
Fig. 63 is painted in blue with arabesques and flowers; period of Louis
XIV.; height 9-3/4 in.
Fig. 64 is painted in the centre with a rose ornament, with medallions
and scrolls round the rim, in blue and orange; period of Louis XIV.;
diam. 10 in.
[Illustration: FIG. 65.--COMPOTIER.]
[Illustration: FIG. 66.--COMPOTIER.]
Fig. 65 is painted in polychrome; period of Louis XV.; diam. 9-5/8 in.
Fig. 66 is painted with Chinese figures, &c., in polychrome; period of
Louis XV.; diam. 10 in.
STRASSBURG[1] and HAGENAU were noted for the manufacture of fayence,
established by Charles François Hannong about 1709. It was called in
France "poterie du Rhin," and is of a peculiar character, and easily
known, being generally decorated with flowers and scrolls in red, rose
colour, and green. Charles F. Hannong was succeeded by his sons Paul
and Balthasar. The former took charge of the Strassburg works, and the
latter the factory which had been started at Hagenau. The Strassburg
fayence works were closed in 1780.
[Illustration: FIG. 67.--FOUNTAIN.]
[Illustration: FIG. 68.--CLOCK AND BRACKET.]
Fig. 67, polychrome decoration, bears the initials of Paul Hannong;
about 1750; height 22-1/4 in.
Fig. 68, in three pieces, coloured in maroon, yellow, blue and green,
bears the mark of Paul Hannong; about 1750; height 3 ft. 9 in.
MOUSTIERS. The products of the Moustiers _fabriques_ may be divided into
three periods:--
1st Epoch. Towards the end of the 17th century. The subjects are hunting
scenes, &c., painted in blue; champêtre scenes and figures in costumes
of the period of Louis XIV.; and mythological and biblical subjects with
arabesque borders. The outlines are sometimes lightly indicated in
violet of manganese.
[Illustration: FIG. 69.--PLATEAU.]
2nd Epoch. From the commencement of the 18th century to about 1745. The
specimens of this period are in blue _camaïeu_ with highly finished and
graceful interlaced patterns, among which are cupids, satyrs, nymphs,
terminal figures, flowers, masks, &c.; canopies with draperies resting
upon consoles, vases, fountains, &c.
3rd Epoch. From 1745 to 1789. The fayence is mostly painted in
polychrome; the colours are blue, brown, yellow, green, and violet. The
decorations are flowers, fruit, and foliage, and sometimes mythological
subjects. Other patterns of this period consist of grotesque figures,
and caricatures. The outlines of the designs were transferred to the
surface of the ware by means of paper patterns, pricked with a fine
needle and powdered over with charcoal.
[Illustration: FIG. 70.--COMPOTIER.]
Fig. 69, painted in green _camaïeu_ with a rustic subject in the style
of Boucher, with polychrome floral border; 1720 to 1760; diam. 11-1/8
in.
Fig. 70. Compotier, painted with a central hunting subject, after
Tempesta, surrounded by a floral border, and outer border of garlands,
in polychrome; 1680 to 1720; diam. 10-3/8 in.
[Illustration: FIG. 71.--PLATE.]
[Illustration: FIG. 72.--BARBER'S BASIN.]
Fig. 71. Plate, octagonal, with curved outline, painted with central
medallion of Juno standing in a landscape, surrounded by a garland, and
round the border the busts of divinities within medallions, and
garlands, in polychrome; 1680 to 1720; diam. 10 in.
Fig. 72. Barber's basin, painted in polychrome with the subject of Diana
and Actæon; 1680 to 1720; length 15 in.
VARAGES also possessed manufactories in the 18th century for fayence in
the style of Moustiers, from which it is only a few miles in distance.
Some of this ware bears the mark of a cross, and was called "Faïence à
la Croix." Fig. 73 is painted with rustic figures in landscape, after
Wouverman; crimson and green flower border, and marked with a cross.
18th century. Diam. 11-1/2 in.
[Illustration: FIG. 73.--PLATE.]
MARSEILLES. The manufacture of fayence at Marseilles, and elsewhere in
the South of France, was in activity early in the 17th century. A little
after 1750, twelve _fabriques_ of pottery were in existence. In 1790
there were eleven manufactories existing, but most of them ceased about
1793, on account of the Treaty of Commerce with England. The Revolution
of 1793 gave an additional blow to the keramic industry of Marseilles.
In 1805 there were only three factories at work, employing twenty hands.
In 1809 only one remained.
[Illustration: FIG. 74.--TUREEN.]
The fayence is much the same in character as that of Moustiers, and
sometimes resembles that of Strassburg. The decorations are frequently
in red or green, sometimes with Chinese designs. There is one
peculiarity about the Marseillaise fayence which at once fixes its
identity, and this is, three green leaves or marks painted on the backs
of plates and dishes to hide the imperfections in the enamel caused by
the _pernettes_ or points of support on which they rested in the kiln.
There is also a great resemblance between the early ware made here and
at Genoa, in consequence of the emigration of many workmen. We learn
from a complaint made on the subject by the potters of Marseilles to the
Intendant of Provence in 1762, from which it seems they took a great
number of apprentices at very low wages, and the wages were paid in
fayence, which mode of payment they said deteriorated the quality, and
caused the workmen to emigrate to Genoa. Also they complained that great
quantities of Genoese fayence were imported into Languedoc and Provence,
and spread over France, which was absolutely ruinous to the trade of the
two provinces, and especially to Marseilles.
Fig. 74. Soup tureen, cover, and stand, with polychrome flower
decoration and gilding, was made by Savy, about 1750; length of tureen,
15-1/2 in.
SINCENY in Picardy. A manufactory was established here in 1733, by Jean
Baptiste de Fayard, Gouverneur de Chaunay et Seigneur de Sinceny. Dr.
Warmont (_Recherches Historiques sur les faïences de Sinceny, &c._,
Paris, 1864) divides the products of this manufactory into three
periods:--
1. Rouennaise, 1734 to 1775.
2. Faïence au feu de réverbère, 1775 to 1789.
3. Décadence de l'Art, 1789 to 1864.
The earliest pieces were painted in blue; the next in blue touched with
red or green and yellow, decorated with _lambrequins_ (mantlings), _à la
corne_ (cornucopiæ), birds, and butterflies. Chinese figures were
doubtless stencilled by pricked papers and charcoal powder.
[Illustration: FIG. 75.--BOWL AND COVER.]
About 1775 a great improvement was perceptible in the fayence of
Sinceny; the paste became finer in quality, the colours brighter and
more varied, in more exact imitation of the porcelain of Japan. This was
accomplished by what is called _le feu de réverbère_, in
contradistinction to the old process _au grand feu_; the latter included
only one baking, while in the other the ware was placed a second time in
the kiln, and the pigments were not exposed to so great a heat, which
allowed the employment of brighter colours. Table services decorated in
polychrome, with branches of roses, sometimes in green _camaïeu_;
delicate wicker baskets, watch stands, &c., were produced; they were
painted with Chinese figures, rococo scrolls, and other ornaments. From
1790 the fayence _au feu de réverbère_ was largely discontinued on
account of its expensive character and the introduction of English ware
at a lower price; but still, both descriptions were occasionally made.
Fig. 75 is a bowl and cover, painted in colours inside with a coronet,
supported by two cupids on clouds with a flaming heart beneath, 18th
century.
LUNÉVILLE. Founded in 1731 by Jacques Chambrette, it was called _La
Manufacture Stanislas_; Jacques was succeeded by his son Gabriel and his
son-in-law Charles Loyal. They made fayence of blue decoration like
Nevers, and sometimes with rose and green colours like the old
Strassburg ware. Large figures of lions, dogs, and other animals, of
natural size, are sometimes met with.
[Illustration: FIG. 76.--A PAIR OF RUSTIC FIGURES. _With polychrome
decoration. About 1775._ Height 8-3/4 in.]
[Illustration: FIG. 77.--DISH. _In polychrome. About 1760._ Length
13-1/4 in.]
APREY, near Langres. Established, about 1750, by Lallemand, Baron
d'Aprey. About 1780 it was conducted by M. Vilhault, who made a superior
kind of fayence. The early style is that of Strassburg with rose colour,
green and yellow predominating.
[Illustration: FIG. 78.--PLATE. _In polychrome._ Diam. 9-3/8 in.]
At MANERBE, near Lisieux in Normandy, and at MALICORNE, INFREVILLE,
CHÂTEAU-LA-LUNE and ARMENTIÈRES, those elegant glazed earthenware
pinnacles or finials which adorn the gables of old mansions in various
parts of Normandy were constructed. They are 5 or 6 feet in height,
being a series of small ornaments placed one above another on an iron
rod; they partake of the character of the _figulines rustiques_ of
Palissy, and have frequently been sold as such.
[Illustration: FIG. 79.--FINIAL. _About 1600._]
ST. CLÉMENT. Established about 1750. Little is known of this _fabrique_.
There are some specimens of the 18th century in the Sèvres Museum; also
some others of later date, 1819 and 1823.
[Illustration: FIG. 80.--ÉCUELLE. _With gilt scrolls on white ground._]
TOULOUSE. Established in the 18th century. The ware is very similar in
style to early Rouen pottery. A large hunting bottle, with loops for
suspension, painted with blue flowers, and bearing round the neck the
inscription "Laurens Basso a Toulousa Le 14 Maÿ 1756," was formerly in
the possession of the late Mr. C. W. Reynolds.
NIDERVILLER.[2] Established in 1760, by Jean Louis, Baron Beyerlé. The
ware is in the German style, potters from Germany having been employed
in its production, and is remarkable for the richness and delicacy of
its decoration, which most frequently consists of flowers in bouquets
and garlands. His fayence figures and groups are well modelled. About
1780, four years before Beyerlé's death, the factory was purchased by
General Count Custine, and carried on by him under M. Lanfray,
principally for the manufacture of porcelain, which will be subsequently
referred to.
[Illustration: FIG. 81.--VASE.]
Fig. 81. Vase with cover, one of a pair; urn shape, painted to resemble
deal, with medallions containing landscapes in rose _camaïeu_, and
borders of bay leaves. It bears the mark of Count Custine; date about
1774; height 17-3/8 inches.
DOUAI. Two brothers of the name of Leech, from England, were engaged, in
1782, by M. George Bris, of Douai, to superintend the manufacture of
English pottery on a large scale, in a factory (now a Normal School) in
the Rue des Carmes. It was one of the first of the kind established in
France. The chief workmen, who came originally from England, instructed
pupils, who carried the new process to Chantilly, Forges, and other
places in France.
VINCENNES. In 1768 M. Maurin des Abiez undertook a manufacture of
fayence in the manner of Strassburg, it being well known that there did
not exist in France any fayence comparable to it in beauty and solidity;
he had purchased the secret, and brought to Paris a staff of workmen who
had been engaged at Strassburg. He acquired possession of the Château de
Vincennes for twenty years. Pierre Antoine Hannong was engaged as
director, and the works were carried on for four years, until 1771, when
the factory got into difficulties and was closed.
SARREGUEMINES.[3] Established about 1770 by Paul Utzschneider. The
beautiful fayence produced here is in imitation of porphyry, jasper,
granite, and other variegated hard marbles, and was sometimes cut and
polished by the lathe; it was also made with white raised figures on
blue in the style of Wedgwood, and a third kind was red ware like the
Japanese. The name is impressed on the ware.
ST. AMAND-LES-EAUX, near Valenciennes. Founded about 1750 by M. Fauquet,
and continued by his son. The latter occupied himself especially with
the gilding of his ware, which gave his neighbours the opportunity of
saying he melted all his louis-d'ors in making his experiments and
ruined himself. In the revolution of 1789 he emigrated, and all his
goods were confiscated. In 1807 he attempted to revive the _fabrique_,
and advertised that the St. Amand works were in full activity, making
white fayence in the style of Rouen.
[Illustration: FIG. 82.--INKSTAND.]
Fig. 82, an inkstand, with ink and pounce pots and drawer, painted on a
grey ground with blue and white flowers under the glaze; about 1760-80.
SCEAUX PENTHIÈVRE. In 1753, Jacques de Chapelle established a
manufactory of a particular sort of fayence, of which he alone possessed
the secret. The ware is in the style of Strassburg, its prevailing
colours being pink and green; it is painted with flowers, but more
carefully finished, and with landscapes and other forms of decoration.
[Illustration: FIG. 83.--PLATE.]
BOURG-LA-REINE. Established in 1773 by Messrs. Jacques and Jullien, who
removed hither from Mennecy. The early ware is very similar to that of
Sceaux. Besides the white fayence for domestic use, more artistic pieces
were produced, painted on the enamel after it had received a slight
baking; this ware is principally in imitation of the Italian.
CREIL. A manufactory of fine fayence, worked in the 18th century by M.
S{t} Criq, made opaque porcelain and stoneware in the English style, and
transferred prints on to the ware.
[Illustration: FIG. 84.--PLATE. _With a yellow border and
transfer-printed landscape._]
MONTEREAU. In 1775, Messrs. Clark, Shaw, & Co., obtained letters patent
to carry on a manufactory of English fayence, called Queen's ware, from
clay found in the vicinity. This ware had a very extensive sale, and
dealt a severe blow to the manufacture of French fayence. It soon spread
over France, and was extensively made at Toulouse, Creil, Sarreguemines,
and other places.
LILLE. A manufactory of fayence, was founded in 1696, by Jacques
Feburier, of Tournai, and Jean Bossu, of Ghent, who made a ware _à la
façon de Hollande_.
[Illustration: FIG. 85.--DISH.]
Another important manufactory of fayence was established in 1711, by
Barthélemy Dorez and Pierre Palissier; it continued in active work for
nearly a century. A third fayence manufactory was founded in 1740 by J.
Masquelier, and was continued in the same family until 1827. A fourth
was established in 1744, by M. Chanou, who made a brown earthenware
called _terre du St. Esprit_, in the English fashion. There were also
two other factories here in the 18th century.
GERMANY
The pottery of Germany consists of two distinct classes: the fayence
with opaque white stanniferous glaze, and that which to a great extent
is called in England stoneware, in Germany _Steingut_, and in France
_grès_ or sandstone. These epithets exactly describe the quality of the
latter ware. It is very serviceable for domestic utensils, such as
drinking bottles and vessels of everyday use, and is covered with a thin
transparent glaze, effected by throwing common salt into the kiln when
the ware is nearly baked--the salt vaporised by the heat surrounds the
vessels, and acting upon the silica of their surfaces produces a thin
gloss of silicate of soda over the ware, rendering it perfectly
impervious.
NUREMBERG (_Nürnberg_). The celebrated Veit Hirschvogel, of
Schlettstadt, was born in 1441, and died in 1525; he was a great potter,
contemporary with Luca della Robbia, of Florence. The early pieces of
pottery are somewhat like maiolica, but the colours are brighter, green
predominating in many specimens; figures in relief in niches are
frequently seen on vases. Several chimney-pieces of this ware of the
15th century are still in existence, one is in the castle of Salzburg,
and many pieces treasured up in museums are supposed to have been made
by Hirschvogel himself. The Nuremberg pottery of the 16th and 17th
centuries is not uncommon. Hirschvogel was succeeded by his sons and a
host of continuators. Fayence of the 18th century is also met with,
painted with scriptural subjects, sometimes in blue _camaïeu_, sometimes
in other colours.
[Illustration: FIG. 86.--JUG. _15th Century._]
Fig. 86. Jug, of enamelled earthenware, in various colours, with
figures in low relief; attributed to Veit Hirschvogel; height 13 in.
[Illustration: FIG. 87.--DISH.]
Fig. 87. Dish, painted in the centre with Christ rising from the tomb;
signed with the painter's name Glüer, 1723.
LEIPZIG. In the convent of St. Paul, which was built in 1207, there was
a frieze of bricks, covered with tin enamel glaze, representing in
relief the heads of Saints and Apostles, 20 in. by 15 in., 2-1/2 in.
thick. On the demolition of the convent a selection of these was
deposited in the Dresden Museum; they are of Byzantine character, in
green enamel shaded with black; the hair, beard, and eyes of the
figures are coloured.
STREHLA. A manufactory for earthenware was in existence here for many
centuries. A pulpit of enamelled earthenware still exists, supported by
a life-size figure of Moses, ornamented with eight plaques of religious
subjects and figures of the four Evangelists, bearing the name of the
potter and the date 1565.
OBERDORF. A factory was carried on by a potter named Hans Seltzman; a
very fine stove made by him, with an inscription and dated 1514, is in
the Palace at Füssen, in Bavaria. Many other places throughout Germany
were equally famous in the 16th and 17th centuries, for the manufacture
of stoves, as AUGSBURG, MEMMINGEN, &c.
BAYREUTH. The manufacture of a brown stoneware with Renaissance
medallions, arabesques, &c., in relief flourished here in the 16th
century. At a later period, fine fayence was produced, painted in blue
_camaïeu_. The designs are delicately traced with a brush on a fine
paste; the forms are canettes, jardinières, &c. At the end of the 18th
century a _fabrique_ of fayence was carried on by a Herr Schmidt, who
assiduously copied the English ware; there are specimens in the Sèvres
Museum bearing the counterfeit mark of "Wedgwood."
[Illustration: FIG. 88.--COFFEE-POT.]
Fig. 88. Coffee-pot and cover, chocolate coloured ground, decorated with
gilt scrolls; F, the cypher of Frederick the Great, under a crown in
front; about the middle of the 18th century; height 9 in.
COLOGNE (_Köln_). The stoneware made here in the 16th century is better
known throughout Europe than any other description of pottery; its
durability for domestic uses and the elegant character of its
ornamentation in relief, caused it to be sought for everywhere. The
_grès de Cologne_ has been confounded with the _grès de Flandres_, which
latter name is given erroneously and indiscriminately to all stoneware
of German manufacture, notwithstanding the German inscriptions the
pieces bear and the arms of German cities and families. The best and
most highly finished decorative _grès_ or stoneware cruches were
undoubtedly made in Germany, if not at Cologne. The clay for making the
Cologne ware came from Langerwehe between Düren and Aix-la-Chapelle. The
manufactory was not actually in Cologne, but in the vicinity, possibly
at FRECHEN, and at LAUENSTEIN, where a factory was established in the
18th century.
There were also factories at SIEGBURG and LIMBURG.
All the ware was made in moulds, and it must be borne in mind that the
vessels were not always made at the date indicated upon them, for the
moulds were used successively through a series of years, and it is no
uncommon occurrence to find two different dates upon the same piece.
Some of the finest specimens known bear the name of Baldem Mennicken, a
potter dwelling at RAEREN in the ancient Duchy of Limburg, which town
until the treaty of 1814 was part of Holland, and it is probable that
the stoneware produced here indicates the origin of _grès de Flandres_.
[Illustration: FIG. 89.--LIMBURG CRUCHE. _Grey and blue._ Height 8-3/4
in.]
[Illustration: FIG. 90.--RAEREN CRUCHE. _Grey and blue._ Height 7-1/4
in.]
[Illustration: FIG. 91.--SIEGBURG CANETTE. _Cream colour. Dated 1574._
Height 17-1/4 in.]
GRENZHAUSEN, in Nassau. There was a factory here about 1780, where
_grès_ or stoneware was made; it is of a fine quality and easily
mistaken for the more ancient _grès_. The forms are usually plates,
dishes, and jugs, in which the decoration consists of a fine blue enamel
on grey ground, with incuse ornaments executed by hand.
[Illustration: FIG. 92.--JUG.]
Fig. 92, a jug of reticulated pattern, is engine-turned, and enriched
with brilliant enamel colours, 18th century.
[Illustration: FIG. 93.--FOUNTAIN.]
Fig. 93, a large fountain, is purple blue and white, 16th century;
height 30 in.
KREUSSEN, a town of Bavaria, has long been noted for its pottery. The
_grès_ of the 17th century, called _Kreussener Steingut_, is of a dark
brown colour, in the forms of cylindrical mugs, tankards, &c., with
figures in relief round them, painted in bright coloured enamel.
[Illustration: FIG. 94.--TANKARD.]
Fig. 94, a tankard, has a chocolate-coloured ground, with coloured
enamel ornaments and figures of the Emperor and the Electors of Germany
on horseback, dated 1696.
BUNZLAU, in Silesia. _Grès_ was made here in the 16th and 17th
centuries. The products of the 18th century are distinguished by
ornaments in relief, flowers, coats of arms, &c., sometimes gilt. At the
present time an extensive trade is still carried on in the manufacture
of chocolate and coffee pots, usually covered with a brown glaze, and
lined with white. There is preserved a monster coffee-pot, 15 feet high,
made at this place in the 18th century.
HARBURG, on the Elbe, opposite Hamburg, is noted as the residence of
Johann Schaper, who was born towards the end of the 16th century. His
exquisite paintings of landscapes and figures are usually in Indian ink
or sepia _en grisaille_, the colours being fixed by heat.
[Illustration: FIG. 95.--CRUCHE.]
Fig. 95, a cruche of fine fayence, painted with a landscape in grey
_camaïeu_, is signed "_Joh. Schaper_"; it has a white ground with
flowers and fruit in natural colours; date about 1640; height 8-1/2 in.
SCHERZHEIM, in Würtemberg. The Wintergursts, father and son, were
celebrated potters here, and made fayence from the beginning of the 17th
century; it is from their manufactory that the table services, of which
each piece represents an animal or a vegetable, were made.
LAUENSTEIN, near Coblenz. A manufactory was established in 1760; the
_grès_ or stoneware made here was of grey and blue, ornamented with
incuse patterns; it was made in large quantities, and carried by the
Rhine boats to the markets in Holland, where it met with a ready sale.