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EUROPEAN PORCELAIN TO THE END OF THE ...

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Originally appearing in Volume V05, Page 756 of the 1911 Encyclopedia Britannica.
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EUROPEAN PORCELAIN TO THE END OF THE 18TH CENTURY Europe can claim no share in the discovery of porcelain, the white and translucent pottery par excellence, for when the first specimens of Chinese porcelain were brought to Europe, perhaps as early as the 11th or 12th century, they excited the greatest wonder and admiration. Cairo was at this time the great mart for the exchange of the products of East and West, and from this centre porcelains were sent into Europe. Nasir i Khosrau, the Persian traveller, who visited Old Cairo in A.D. 1035-1042, was evidently acquainted with Chinese porcelain, and he also speaks of a translucent ware made at Fostat (Old Cairo) which may well have been the progenitor of the glassy porcelains of Persia, as well as of those made in Italy during the 15th and 16th centuries. In A.D. 1171 the famous Saladin sent from Cairo apresent of forty pieces of Chinese porcelain to the sultan of Babylon; and from that time onwards we have frequent records of pieces of this exotic pottery finding their way into the treasuries of European princes. With the renewed attention paid to the potter's art in Europe after the 14th century, it was but natural that efforts should be made to imitate a material so mysterious and beautiful. But knowledge of Chinese materials and methods was nil, and for a further two centuries all that Europe manufactured in the shape of translucent pottery was the artificial porcelain made with glass, which can only be looked upon as a substitute for true porcelain. In Italy during the 16th century, and in France during the century from 167o to 1770 roughly, this artificial porcelain was made and developed. At Meissen in Saxony the famous Bottger made a true porcelain from materials analogous to the Chinese about 1710-1712, and this manufacture was pursued in Germany, Austria and elsewhere in Europe (even in France, the home of the artificial glassy porcelain, after 1770), so that by the end of the 18th century, when Chinese porcelain had reached and passed its zenith, the manufacture of a similar material was well established. in Europe, and the glassy porcelains had been generally abandoned. The only country which offered any departure from this general rule was England. The earliest English porcelains were derived from the French, and, like them, owed their translucence to the use of glass. Efforts were made at Plymouth and at Bristol (1758–1781) to introduce the manufacture of porcelain, like the Chinese and its German counterparts, but these failed and the English potters finally invented a third kind of porcelain, in which calcined ox-bones were added to the clay and ground rock to give a white trans-lucent porcelain capable of receiving any form of decoration. This distinctively English porcelain, perfected about 1800, is not only the principal kind made in England in our own times, but its manufacture has been adopted, to some extent in France, Germany and Sweden, as well as in the United States. It is impossible to describe these various efforts of European potters without a certain amount of overlapping, for during the 18th century all the three kinds of European porcelain were struggling for supremacy. It is advisable, therefore, to keep clearly in mind which kind of porcelain is in question, for many problems of manufacture and decoration are absolutely deter-mined by the nature of the materials. If we could trust to documentary evidence alone, the earliest European porcelains were made at Venice in 1470, and again in 1519; while we also read of its manufacture at Ferrara in 1561.1 Unfortunately, documentary evidence alone is not conclusive,. and the first European porcelain, known from actual specimens as well as by documentary evidence, was that made at Florence in the laboratory of Francesco de' Medici, between 1575 and 1585. Specimens of this rare porcelain are to be found only in great museums and private collections, where they rank among our chief ceramic treasures. They show clearly that the Florentine potters never fully mastered their difficult material, for the ware is always imperfect and compares indifferently in whiteness and translucence with fine porcelain, while the glaze is neither smoothly melted nor free from defects. Obviously the effect of Chinese blue and white porcelain was aimed at, the decorations, reminiscent of the style of the Persian pot-painters, being executed in cobalt blue alone. These rare and interesting pieces bear distinctive marks; for at their period the use of painters' marks or monograms had become fairly general on artistic pottery in Europe. One of the best known marks is the " palle " or balls of the arms of the Medici family, bearing the letters " F M M E D II." for " Franciscus Medici Magnus A FA Etruriae Dux II."; while other pieces have a Florentine rude representation of the Great Dome of Florence Potter'smark. and the letter " F." Fortunately, too, besides the few specimens of Florentine porcelain that have survived to our day a manuscript has been 1 See Drake, Sir W., Venetian Ceramics; and Davillier, Baron Ch., Les Origins de la porcelain en Europe. found in the Magliabechian Library at Florence which states that the paste was composed of 24 parts of sand, 16 of a glass (powdered rock crystal 10 and soda 8), and 12 parts white earth of Faenza. To 12 parts of this mixture 3 parts of the kaolinic clay of Vicenza were to be added, and the pieces glazed with a lead glaze, or sometimes with the tin-enamel of the Italian faience maker. We are in the presence, therefore, of a material unlike Chinese porcelain in every respect, the Florentine porcelain being the first of a long line of European porcelains the artistic qualities of which were obtained by mixing a large quantity of glass with a small quantity of clay, so that they may almost be regarded as a species of glazed and painted glass. The technical methods used in their manufacture and decoration, however, were those of the potter and not of the glass maker. With the death of Francesco de' Medici in 1587 it seems probable that this wonderful innovation came to an untimely end, and we hear no more of porcelain in Italy for more than a century. During this century (1587–1687) there can be no doubt that efforts were made all over Europe to discover the secret of porcelain manufacture; but the first reliable date we can point to is 1693, when Louis Poterat, a faience maker of Rouen, obtained a privilege from the French king for the manufacture of porcelain in that town. The Rouen porcelain in turn ceased with the death of Poterat in 1696. Authentic specimens are extant in the shape of salt-cellars, mustard pots and some few vases, the latter of considerable size. The pieces are usually decorated in blue with patterns in the Rouen style and were evidently painted by an expert faience painter. In composition, the porcelain of Rouen, like that of Florence, was of the artificial or glassy type, and shortly afterwards a similar ware made its appearance at the faience works of St Cloud near Paris, and at various works in the city of Paris. Well-known pieces, bearing the marks' here shown, formerly supposed to be Paris Potters' marks. the earliest specimens of French porcelain and the work of Poterat at Rouen, are probably experimental pieces made in Paris after the date of Poterat's discovery, as they differ in important particulars from his ware. Once firmly established in France, this manufacture, under the patronage of the French court or of some great French noble, rapidly assumed a position of importance. The works at St Cloud received letters-patent from Louis XIV. in 1696, and the manufacture was continued there down to 1773. The appearance of the St Cloud porcelain is very characteristic, for though the paste has a yellowish tinge it is of fine quality with a clear and brilliant glaze. The first efforts appear to have consisted in frank imitations .~•— of the much-prized Oriental wares, and white pieces decorated only with branches of flowering plum in relief, or pieces modelled with imbricated or scale pattern or with delicate flutings, were made. The earliest colour decoration was naturally in under-glaze blue, and while quasi-oriental designs were largely used, the commonest feature is the prevalence of painted borders like those used on the faience of Rouen and St Cloud. At a later date decoration in over-glaze colours and gilding was also employed, and though the ware never reached to such a pitch of excellence as that of the Royal Manufactory at Sevres, the St Cloud porcelain is one of the most distinctive French porcelains of the 18th century. German Porcelains.—While the glassy porcelains of France were being developed at St Cloud, success of a more permanent order was reached in Germany. Augustus the Strong, elector of Saxony (1670-1733), had formed an extensive collection of Chinese and Japanese porcelains, still to be seen in the Dresden Museum, and he had established experimental pottery works, bringing skilled potters from Holland and elsewhere. His chief investigators appear to have been Tschirnhaus and ..Bottger, both alchemists, and it was the glory of the latter to be the first European to produce a porcelain like the Chinese, both in thenature of its materials, and in the appearance of its paste and glaze. It may be surmised that Bottger was guided toward this momentous discovery by information brought from China, though such an idea is always stoutly denied by German authorities, who, with pardonable pride, claim that Bottger at the age of twenty-four succeeded where all other European experimenters had failed. He was certainly working at the problems offered by the exotic wares of China, for his first production was an extremely hard redstone-ware—often erroneously called " Bottger's red porcelain "—resembling the Chinese " boccaros " or red teapots of the Yi-hsing potteries. He had been anticipated in this direction by Dwight of Fulham, but the red pottery of Bottger was so intensely fired that it became dense enough to be cut and polished by the lapidary as if it were a piece of jasper or carnelian. It was first offered for sale at the Leipzig fair of 1710, and for many years it enjoyed great popularity, as well as the undesirable honour of wide imitation. At the same time (1710) Bottger exhibited a few crude specimens of greyish-white porcelain. Imperfect pieces were on sale in 1713, and by 1716 its manufacture was definitely established, though the pieces were still far from perfect. Bottger died in 1719, having had the rare fortune, in his short and eventful life, to establish in Europe the manufacture of true porcelain. The life of Bottger reads like a page of romance, and the story of the subsequent development of porcelain manufacture throughout the German empire is hardly less romantic. When the importance of Bottger's discovery was recognized, he and his workmen were removed from Dresden to the Albrechtsburg, a fortress situated at Meissen some 16 m. away, so that the manufacture could be conducted with the greatest secrecy. All concerned were practically state prisoners, and this extreme rigour doubtless defeated the end in view, for workmen escaped from time to time, and professing, more or less truthfully, a knowledge of the manufacture, found patrons among the German princes all eager to gain reputation as experimenters in the new art of porcelain. Some of these wandering " Arcanists," like Ringler and Hunger, and the men who learnt from them, travelled all over the empire, and the following list of dates will show how porcelain factories sprang up from the parent factory at Meissen: Meissen . . 1710 St Petersburg 1744 Vienna . 1718 Berlin . . . 1750 Ansbach . . . . 1718 Nymphenburg . 1758 Bayreuth . . . . 1720 Ludwigsburg . . 1758 Meissen.—Although the factory which was founded at Meissen as a result of Bottger's discovery remained on its old site until 1863, the porcelain made there has been commonly known as Dresden porcelain; probably because Dresden was the seat of the Saxon court, and the enterprise was conducted at the expense of the electors of Saxony. So jealously were the secrets of this factory guarded that when Napoleon, the master of Europe, sent Brongniart to investigate the methods in use at Meissen in 1812, the elector of Saxony had to release Steinauer, the director, from his oath of secrecy before he would explain the processes. Meissen porcelain, therefore, affords us the best example by which we may follow the changes of fashion and taste that governed the styles of porcelain decoration in Europe during the 18th century. The early Meissen porcelain was made from the kaolin found at Aue, near Schneeberg, and while there is no mention of any other material, we may be sure that clay and felspathic rock, analogous to the Chinese kao-lin and petun-tse, were obtained from the same quarries, and were used together. Until after the death of Bottger in 1719 it cannot be said that the venture was more than a succes d'estime. The specimens preserved in the Dresden Museum show that the pieces were generally thick in substance and clumsy in shape, being often mane from the moulds that had been designed fo1 Bottger's red-stoneware. Naturally enough these early examples were inspired by Chinese models, both in shape and decoration. As at St Cloud, white pieces with modelled decoration were common. Unlike the contemporary French glassy porcelains, the decorations in under-glaze blue were very imperfect, the St Cloud Potter's mark. blue colour being much run and blistered; and when attempts were made at decoration in enamel colours (i.e. colours fired on the finished glaze) the result was unsatisfactory, as, owing to the refractory nature of the hard felspathic material, these colours frequently scaled off. The later success of the Meissen factory must be attributed to Herold or Horoldt (who joined the staff in 1 720 as a colour maker and painter), and to Kandler, a sculptor, who came to the works in 1731. In the hands of these two men the forms and decorations, still largely based on Chinese and Japanese models, assumed a definitely European style, while the composition of the body and the glaze, and the application of colours and gold, were brought to perfection. Herold was appointed director of the works a few years after 1720, and retained that post until 1765, while Kandler was chief modeller from 1731 to 1775. The years from 1730 (when the work de-finitely emerged from its experimental stage) to 1775 (when Kandler died) mark the most distinctive period of the Meissen porcelain. In the estimation of collectors also the Meissen porcelain of this period is the most valuable, and genuine examples of Alt-Meissen command high prices in the sale rooms, especially in Germany. This appreciation was quite as apparent in the 18th century, for by 1740 Meissen porcelain had won the greatest renown in Europe, and was actually exported by way of Constantinople over the Mahommedan countries of the Nearer East. It is frequently described by contemporary writers as being far superior to the porcelain of China, and so great was its vogue between 1740 and 1750 that as many as 700 workmen—a large number for those days—were employed, and the industry brought large profits as well as great reputation to the Saxon court. Each year saw some fresh departure from the original inspiration of the work, some fresh innovation of European style in design. After 1730 the rude reproductions of Chinese forms and decorations in white or blue and white were replaced by imitations of the Imari porcelains, especially those decorated in the style of Kakiemon. Here Meissen was running a race with Chantilly in setting the fashion for the dainty decorations in red and green and gold which' spread in time to all the porcelain factories of Europe. Gradually European motifs became pre-dominant. The simple oriental forms were replaced by distinctively European shapes with architectural mouldings, handles and feet. Instead of the dainty Japanese patterns, we perceive the gradual introduction of " Rococo " scroll-work (as interpreted by the Germans) to form a framework or border for miniature-like paintings of landscapes, ruins, figure-subjects, hunting scenes, &c., executed in the limited palette of on-glaze colours then available. Further evidence of the departure from oriental influence is to be found in the numerous " armorial " services produced between 1730 and 1740; and at the same period we find the first appearance of a style of decoration that has persisted to our own times, as a means of passing off pieces with small flaws in body or glaze, by hiding them among sprays of naturalistic flowers, with an occasional fly or some other winged creature thrown with seeming artlessness over the surface of the piece. This idea, though it seems to have been first used at Meissen, was so useful to the potter that it became general, and a device originally adopted to cover faults of manufacture was elevated into a distinct style of decoration by later European factories (e.g. Strassburg, Niederviller, &c.). The talents of Kandler were applied in ambitious but unsatisfactory attempts to produce life-sized figures of the twelve apostles, an equestrian statue of Augustus the Strong of heroic proportions, and many models of animals intended for the decoration of the Japanese palace at Dresden. Many of these latter are to be seen in the Dresden Museum, and create an unfavourable impression of the taste of their period. The fame of Kandler is better perpetuated (see example, Plate IX.) by the little statuettes and groups of figures and anidtals that flowed in a steady stream from his facile hand; for though these figures have prettiness rather than grace, and flair rather than style, they are instinct with the spirit of the middle 18th century, and were eagerly imitated or boldly copied at every factory in Europe. Only in the biscuit porcelain figures of Sevres, and in some fewof the portrait figures of Derby, do we find anything artistically superior. These Meissen statuettes look their best when they are simply in white; many are grotesque and ugly, and the colour decorations are usually in very poor taste, the harsh, shining colours contrasting unpleasantly with the pronounced white of the porcelain. Mention must be made of the use of modelled flowers at Meissen. Originating in the simple application of modelled branches of prunus, &c. in imitation of the white porcelains of Fu-kien, the method developed until we get not only the characteristic " May-flower " decoration (see example, Plate IX.), but also independent sprays and bouquets modelled in porcelain and coloured with the utmost mechanical precision. It is not quite clear whether this production of porcelain flowers was first perfected at Meissen or at Vincennes,' but it was largely practised at both places. Toward the end of this period, vases, candelabra, mirror-frames and clock cases were modelled in the most outre rococo forms with applied scrolls, shells and flowers. These pieces had their modelled details picked out in gold and colours, while the success of the French styles of decoration is still further shown by the copies of Watteau figures and groups on the more important vases, dishes and plates. Frederick the Great made sad havoc with the prosperity of Meissen during the Seven Years' War. He looted the factory both in 1759 and 1761, and is said on the latter occasion to have carried away to Berlin bcth models, working moulds and many workmen. This misfortune marks the end of the most distinctive Meissen porcelain, for after this time Sevres became the most important porcelain factory in Europe, and the later productions of Meissen were, for the most part, German versions of the styles initiated at the French royal factory. From 1764 to 1774 Dietrich, a painter, was at the head of affairs, while a Frenchman named Acier succeeded Kandler. 'They introduced the neo-classical style, which was spreading like a blight all over Europe, and this departure was perfected under the directorship of Count Marcolini (1774-1814), when Meissen, fallen from its high estate, was content to follow the lead of Sevres. After the Marcolini period there is nothing to be said of Meissen. The old productions of the factory had become valuable, and the custom of reproducing them, marks included, was adopted. Such a practice was not likely to lead to further progress, and, though the factory was removed from its old site in the Albrechtsburg in 1863, it cannot be said to have added anything to the progress of European porcelain during _ the 19th century. During the initiatory period the " Dresden " pieces bore the monogram " A. R." interlaced (Augustus Rex), and between 1712 and 1716 pieces intended for sale and not for the use " Dresden " Potter's of the court were marked with the sign of mark. Aesculapius (a snake twining round a staff). From about 1720 two crossed swords, painted in blue under the glaze, with or without accompanying stars, crosses, &c., formed the general mark, but the mark has been so often used on other porcelains that, in itself, it is of slight value as a means of identification. Vienna.—The first mention of the manufacture of porcelain in Vienna occurs in 1718, when a Dutchman, Claude du Paquier, was granted a patent. He had secured two runaways from Meissen, Stolzel and Hunger, yet little progress was made until after 1744, when the factory was bought by the empress Maria Theresa. At first the traditional styles of Meissen were continued, but the characteristic Viennese porcelain was produced after 1785. In this ware figure-painting, rich ground colours and elaborate gilding are associated in an unmistakeable manner. Leithner, who was chemist and colour maker at this period, succeeded in producing a more extensive and brilliant palette of colours than was in use at any other European porcelain factory in the last quarter of the 18th century; and the gilding A perfect tour de force in this inartistic style of work, preserved in the Dresden Museum and formerly attributed to Meissen, has been shown to be the work of Vincennes. See Gaz. des beaux-arts, September 1904, was rich and elaborate. Apart from its technical merits the ware has nothing to recommend it, for the styles of decoration showed pronounced neo-classical influence, and lacked the saving merits of the French work in the same style. The works was closed in 1864, on account of the heavy expenses, and collectors should be reminded that many spurious imitations, the product of small Viennese factories, are to be found on the market. Berlin.—The first Berlin porcelain was made by W. Casper Wegeli, aided by workmen from other German factories, as W early as 175o. This business was unsuccessful and came to an end in 1757, but its productions are highly prized on account of their rarity. Success only came ,when Frederick the Great brought workmen, moulds and materials from Meissen in 1761, and, becoming proprietor of the works in 1763, founded the Royal Berlin Porcelain Manufactory. Though Meissen workmen and methods had been imported, and the Meissen style governed the earliest productions, Frederick's well-known penchant for French art was doubtless responsible for the fact that the rococo style of decoration was more determinedly followed here than elsewhere in Germany. The colour schemes of this ware are unusually simple, pieces being seldom decorated in more than three colours, while a rose-coloured enamel, a favourite colour with the great Frederick, is quite characteristic. The Royal Berlin Factory passed under a cloud in the troubled condition of the Prussian monarchy during the early years of the 19th century, and down to 1870 it was content to follow in the wake of Sevres like most of the other European factories. Since about the year 1880, however, it has developed into the most scientific of European porcelain works, and it was here that Seger manufactured his special porcelain, made to reproduce the qualities of .the finest Japanese wares. In spite of this scientific success it must be remarked that the late Berlin porcelain is artistically disappointing, being too exuberant for our taste and recalling anything rather than porcelain in its treatment. Minor German Factories.—It is unnecessary to describe the productions of all the German porcelain works of the 18th century, for not only is there a strong family likeness, but all the works aimed at producing pieces comparable with those of Meissen, Vienna or Berlin. In every case the industry was established under the patronage or at the direct charge of princes or great nobles, anxious to emulate the success of the elector of Saxony or the king of Prussia, and generally the enterprise came to an end with the death of a patron or from his unwillingness to sustain the continued drains upon his purse. The factory at Hochst was started about 1720 by wanderers from Meissen, but it was only carried to a successful issue through the patronage of the archbishop-elector of Mainz after 1746. The general style of Hochst is a palpable imitation of the contemporary wares of Meissen, but this factory was noted for its excellent figures and groups, especially those modelled by Melchior (1770-1780). He modelled, at Hochst, more than three hundred figures, as well as many portrait medallions. The works came to an untimely end during the French invasion of 1794. Frankenthal had a porcelain factory (founded by the Hannongs of Strassburg) in 1756, and patronized by Karl Theodor, elector palatine from 1762 to 1795, when the French invasion put an end to its activities. Melchior, the sculptor, came here from Hochst after 1780, and elaborate pieces in the current styles of Sevres and Dresden were made. Nymphenburg ]near Munich, had a factory which was made a royal factory in 1758 by Max Joseph III. of -Bavaria. The ware was of fine quality, but without special distinction. Melchior came on here about 1800, remaining till his death in 1825; his Nymphenburg figures are as highly esteemed as those he modelled at Hochst and Frankenthal. In the early years of the 19th century elaborate painting became the rule here, as at the other royal factories, and copies were made on porcelain of some of the famous paintings in the Munich galleries. The works is still in existence, in the hands of a private company, who unfortunately sell many reproductions of the 18th-century wares. Ludwigsburg, some 9 M. from Stuttgart, had a porcelain factory from 1758 to 1824, liberally subsidized by the dukes of Wurttemberg. Highly-finished painting was the rule at this factory, and because the ware bore a crown as one of its marks, it has rather foolishly been called " Kronenberg " porcelain. Furstenberg was the factory patronized by the dukes of Brunswick. Experiments were made as early as 1746, but little ware was produced before 1770. Furstenberg set itself to imitate all the best-known styles of the day, and its only distinctive productions are its " biscuit " statuettes and medallions. The factory remained in operation until 1888, but as the moulds were then sold by auction, imitations of the old pieces are now common. Other 18th-century German factories were those of Fulda, Bayreuth, Cassel, Ansbach, Kloster-Veilsdorf, Wallendorf and Limbach. Mention must also be made of the work of certain famous decorators, like Bottengruber and Preussler, who decorated both German and oriental pieces; while Busch, the canon of Hildesheim, produced effects like fine engraving by etching the glaze with a diamond and rubbing black colour into the lines. While France and Germany were each developing their own particular type of porcelain, it was only natural that the kings and princes of other countries should strive to emulate them in the manufacture of this still rare and highly esteemed form of pottery. Naturally, perhaps, the countries to the north and east seem to have been influenced most by German methods, whilst those to the south and west followed the French example. Holland.—The earliest Dutch factories were started as early as 1704, first at Weesp near Amsterdam, and afterwards at Oude Loosdrecht. The mark of this factory occurs as M : O.L., or M. o. L. After 1782 the works was removed to Nieuwe Amstel, but the Amstel " porcelain came to an end with the French invasion. The ware resembled the German both in material and decoration. The best porcelain made in Holland was produced at a factory at the Hague, founded some time after 1775. There is a choice collection of this ware in the Gemeente Museum at the Hague. No porcelain appears to have been made in Holland after about 1810 until 1890 or later. Denmark.—It has been stated that porcelain of the German type was made in Copenhagen as early as 1731, but there is no definite record of the production of true porcelain until about 1772, when potters, modellers and painters from some of the German works founded the enterprise which was taken over by King Christian VII. in 1779 and converted into a royal factory. Fostered by the king's patronage, fine porcelain of pronouncedly German style was largely made down to the end of the 18th century. The collection in the castle of Rosenburg contains many examples of the work of this period. In the early years of the 19th century the Empire style of decoration was adopted, and the artistic influence of Sevres became paramount. Large sums of money were continually required from the crown to maintain the establishment until, in 1867, it was sold into private hands to get rid of an encumbrance. The subsequent new-birth of the existing royal Copenhagen porcelain works must be noted in the next section. Sweden.—The history of Swedish porcelain in the 18th century is connected with the factories at Rorstrand and Marieberg, both in the environs of Stockholm. Tentative experiments were made at both these places before 1760, but these came to an end by the close of the 18th century, though the Rorstrand works was reopened some fifty years ago and will be subsequently referred to. The Swedish porcelains were of two kinds, one a true felspathic porcelain like the German, and the other a glassy porcelain resembling that made at Mennecy in France. It is interesting to note that the decorative styles in both cases are distinctly French in character. Russia.—Peter the Great is said to have projected a porcelain factory at the suggestion of his ally Augustus the Third of Saxony, but the scheme was not carried into execution until the days of the empress Elizabeth. Catherine II. subsidized the work in prodigal fashion, but although she brought over French artists, the Russian porcelain more closely resembles its German than its French prototype. In the early years of the 19th century the imperial Russian factory followed the example of Sevres in producing costly dinner services and extravagant vases of large dimensions. Small independent factories were started in the neighbourhood of Moscow: one by an Englishman named Gardner about 1780, and another by A. Popoff. Besides producing ordinary table ware these Moscow factories sent forth a considerable number of statuettes, the most interesting being those representing Russian peasant types. Hungary.—The one Hungarian porcelain factory of note is that at Herend, which was founded about 1830 by Moritz Fischer. At this factory copies of oriental porcelain were made that have deceived many collectors, though the pieces are usually impressed with the word " Herend " in the paste. Switzerland.—Little porcelain has been produced in Switzerland, and considering the geographical position of the country it seems natural that porcelain of the German type should have been made at Zurich and of the French type at Nyon on the lake of Geneva, but these productions are of no particular importance. French Porcelains.—The beginnings of French porcelain at Rouen and St Cloud have already been mentioned, as they preceded Bottger's discovery of true porcelain; but as nothing was known in France of the methods and materials used by the German porcelain makers, the artificial or glassy porcelain held sway in France through the greater part of the 18th century. W egeli's mark. 752 The next important factory after St Cloud was that founded at Chantilly about 1725 under the patronage of the Prince de Conde, an enthusiastic collector of Chinese and Japanese porcelains. One distinctive feature of the Chantilly porcelain is its imitation of the Japanese Imari wares of the 17th century, especially those bearing deli- cate patterns in the Kakiemon style. This imitation was not confined to the decoration alone, but great efforts were made to reproduce the de- licious tender whiteness of the original ware, by covering the body of the soft porcelain with a coating of the tin-enamel used by the French faience makers. Similar imitation of the Kakiemon style of decoration became the rage all over Europe, and was largely followed at Meissen and in England as well as in France; but no European imitations equalled those of the famous Chantilly ware. Other porcelain factories were started at Mennecy-Villeroy and at Lille, but the most important French factory was that founded at Vincennes about 1740, not only because of the many beautiful pieces produced there, but also because the works was taken under the direct patronage of the king in 1753 and was transferred to Sevres in 1756, becoming ultimately the most important porcelain factory in Europe. Fortunately we have documentary information of the exact composition of the artificial porcelain (pate tendre) of Sevres, and a brief account of its manufacture will serve to explain how all the glassy porcelains of Europe were made. The potter commenced by preparing a glass or frit, melting together pure sand, alum, sea-salt, gypsum, soda and nitre. The clear portions of this frit were powdered and washed with boiling water, and the working clay was compounded by adding to such powdered frit a small quantity of chalky clay or marl and sometimes pure chalk as well. This mixture was ground in water until the fluid was as fine as cream, and it was then boiled to a thick paste which was so little plastic in itself that black soap or parchment size was added to it to give it enough plasticity for the workman to be able to shape it. Vases and other pieces were made from this paste by pressing cakes of it in plaster moulds of considerable thickness. After pressing, the pieces were dried and were then either turned on a lathe or rubbed down with sand-paper to reduce them to sufficient thinness; while handles, spouts or other ornaments in relief were applied with a lute of slip, as is customary with every other species of pottery. The fragile objects were then fired into what is known as the ' biscuit " condition; the most difficult part of the whole process. During this firing the pieces frequently went out of shape because of the excessive shrinkage of the material and its tendency to soften as it approached the melting point of the frit. Consequently an elaborate system of propping " the pieces had to be resorted to, and even then a very large proportion became deformed. When the porcelain was drawn from the oven after the first firing, the supports were removed and the pieces were rubbed with sand to clean the surface, and were then coated with glaze by sprinkling with a brush; the glaze being a fusible glass very rich in lead. The glaze coat was melted by refiring the piece at a lower temperature; and it was frequently necessary to repeat this process several times in order to get a perfectly even and brilliant result. The difficulties of such a process were enormous, and it was only by the financial support of wealthy patrons, or of the state, that such a method of manufacture was ever carried on for any length of time. At its best the material is an exceedingly beautiful one, lending itself especially to decoration in on-glaze colours, and the pieces produced at Vincennes and at Sevres, between 1743 and 1770 or thereabouts, form a distinct class by themselves. Skilful chemists like Hellot and Macquer were employed to direct the operations, and many beautiful ground colours, such as the famous gros-bleu, bleu de rot, rose Pompadour, pea-green and apple-green were invented. Sevres Porcelains.—The forms of the Sevres porcelain are exceedingly varied. Many of the older shapes were designed by Duplessis, the king's silversmith, and, as is perhaps natural, are more proper to metal than to pottery; but the French glassy porcelain is such an artificial material in every respect that such a point should not be strained too far. Owing to the want of plasticity in the paste the pieces were always made in moulds of plaster of Paris, while in many cases they were moulded in separate parts and these united together with metal screws or mounted in bands of chased ormolu. Table services made for actual use were usually painted on a plain white ground with the full palette of on-glaze colours (or enamels) and much rich [FRENCH PORCELAIN gilding. The decorative pieces such as vases, candelabra, jardinieres, &c., were decorated in a much more sumptuous fashion by covering the greater part of the piece with a ground of one of the rich enamel colours previously mentioned, reserving only panels in white on which delicate miniature-like decorations of the most varied kind were subsequently painted and fired (see fig. 52; and examples of Sevres, Plate IX.). Such collections as the Wallace at Hertford House, or the Jones Bequest in the Victoria and Albert Museum, show at once the variety and perfection to which the work attained. This Sevres porcelain is entirely devoid of the broad decorative treatment and rich full colour of any of the great kinds of fine pottery or porcelain. Artistically considered, it has no place beside the triumphs of the Chinese or Persian potters, or of the Italian majolists. Its shapes are too formal, and are not sufficiently imbued with a sense of the qualities of the material. The ground colours defy every natural tendency of pottery colour for they are even, flawless and mechanical, with none of the palpitating richness that comes so naturally from the potter's processes. The paintings, whether of flowers, birds or figure-subjects, are extraordinarily skilful regarded as miniatures, but as examples of pottery decoration they cannot be compared to the swift, apparently careless, brushwork of the great masters of earlier times. So pronounced was the demand of the period for smooth even finish that such ground colours as gros-bleu and bleu de roi, where the colour naturally came varied and uneven, were subsequently decorated with small diapers or lines of gold in the form of osil de perdrix or vermicelle, so as to produce a more regular and even effect. The most elaborate and costly of all the varieties of old Sevres is what is known as " jewelled Sevres," which is richly sown with imitation jewels, such as turquoises, pearls and rubies, closely resembling the real stones. These imitation jewels were in every case set in beautifully chased mountings of gold, and in the museum at Sevres are to be found examples of the punches and other tools used in making these mounts. On account of the enormous expense involved in the production of such costly triumphs of skill, examples of jewelled Sevres are rare even in the best collections, but the English student is fortunate in the fact that the Wallace collection contains a considerable number of them. Many reasons—the prestige attaching to a Royal Manufactory, the knowledge that the porcelain was produced regardless of cost, the mechanical perfection of its colours, gilding and decoration, as well as the fact that the glassy porcelain was abandoned as too costly and risky after about s78o—have all conspired to raise the prices which modern collectors are prepared to pay for fine examples of vieux Sevres Potters' marks, Sevres. It is doubtful whether 1753 and 1772. even the prices paid for paint- ings by old masters have advanced so rapidly as those paid for Sevres porcelain of the best period. In the 'seventies of the 19th century it was deemed worthy of remark that a sum of ro,000 should have been paid at public auction for three old Sevres vases; thirty years later one such piece would probably fetch the same price. It should be added that the extravagant prices now paid for Sevres porcelain, which is much more a triumph of technical than of artistic skill, have led B Lille and Chantilly Potters' marks. 91Nl°'",1GGaB 711MM CiiuM CINI to an extensive system of " faking " and even forging specimens which are purchased at high prices by amateurs. Beautiful as the old Sevres porcelain was, those who were responsible for its manufacture could not fail to recognize that the porcelain made at Meissen and other German factories was both harder and whiter in substance, more truly resembling the oriental porcelain in every respect. It was also known that these German porcelains were not so difficult, and therefore so costly to manufacture as the French, and all these causes combined to make the directorate of Sevres unremitting in their efforts to discover in France natural materials analogous to those used by the German and Chinese potters. Pere d'Entrecolles, the famous Jesuit missionary, had forwarded to France long before an account of the methods used by the Chinese, as well as samples of the materials they employed; and after many years' research Millot and Macquer discovered the precious materials at St Yrieix near Limoges (see Auscher, History of French Porcelain, pp. 77-81). The first experimental pieces of this French porcelain, similar in material to the German and Chinese, appear to have been made about 1769; but it was some years after this before the manufacture of the new product was firmly established, and then to the end of the 18th century more and more of the hard porcelain and less of the glassy porcelain was made at Sevres. Speaking broadly, we might say that after 78q ,comparatively little of the original French porcelain was made in France; and from that time to this practically all French porcelain has been of the same type as the German porcelain, viz. made with china clay and felspathic rock. This technical change in the nature of the materials had a profound influence on the artistic qualities of French porcelain, and the change was doubtless accentuated by the neo-classical rage which followed on the discovery of Herculaneum and Pompeii. The influence of antique vase shapes and of modern renderings of Greek motives in design spread over Europe like a plague, and whether in France, Germany or England the last quarter of the 18th and the first quarter of the 19th century mark a definite period in pottery design and decoration. The introduction of hard-paste porcelain rendered the manufacture of large vases and other pieces possible; and after 1780 we find the manufactory at Sevres engaged in the production of enormous vases 5 or 6 ft. in height, a manufacture which has been continued there to this day. About the same time, too, we find the first production of large plaques or slabs of porcelain on which copies of well-known pictures were painted in enamel colours. The earliest of these slabs were in soft-paste porcelain, but in this material it was only possible to make them of quite modest dimensions; with the introduction of hard-paste porcelain very large slabs were manufactured, and a series of these are to be seen in the museum at Sevres. The most artistic of all the productions of Sevres are undoubtedly the " biscuit " figures and groups. These were modelled with great skill by many of the best French sculptors of the day, such as Pajou, Pigalle, Clodion, La Rue, Caffieri, Falconet, Boizot, Julien, Le Riche, &c. The best of these Sevres " biscuits " have a real artistic value which places them in a class quite apart from the German porcelain figures made at Meissen, Frankenthal and Hochst. Paris.—Although during the reign of Louis XV. many privileges and prerogatives had been given to the Sevres manufactory, such as the exclusive right to gild or paint in colours on porcelain, the breakdown of the monarchical regime, which was rapidly accelerated after the accession of Louis XVI., led to the establishment in Paris and its environs of a number, of factories for the production of hard-paste porcelains" more or less in open rivalry with the royal manufactory of Sevres. In order that the royal edicts might be more easily evaded, most of these factories were placed under the patronage of one of the French princes of the blood or even of Queen Marie Antoinette. There is little need to dwell on the doings of these Parisian factories, but the productions of the best of them, such as those of Clignancourt (patronized by Monsieur, the king's eldest brother) ; Rue Thiroux (patronized by Queen Marie Antoinette) ; Rue de Bondy (patronized by the duc d'Angouleme), compare not unfavourably with those of Sevres itself. It is impossible to do more than mention the other important French factories at ,Mennecy, Sceaux, Bourg-la-Reine, Strassburg, Niederviller, Marseilles, Limoges and Caen. In the disastrous years of the French revolution (between 1789 and 'Soo), such of these factories as had survived came to an untimely end, even the royal factory at Sevres passing through a kind of lingering death between 1792 and 18o1, and it was not until Napoleon decided to revive the glories of Sevres that modern French porcelain really came into being. Just as the manufacture of German porcelain spread into Holland, Denmark, Sweden, Russia, &c., we find the manufacture of a glassy porcelain analogous to the early French arising in Belgium, Italy, Spain and England. The materials and methods were so like those used in France that it would he ridiculous to claim for them an independent origin, even were we unable to prove by documentary evidence that workmen trained in the French factories had migrated into those countries. Italy.—In Italy we have the factories at Le Nove near Bassano (1762–1825) ; Doccia near Florence (founded in 1735 by the marchese Carlo Ginori, and still carried on by the same family) ; and Capo-di-Monte near Naples (1736–1820) ; with minor factories like those at Vinovo, Treviso, and the Volpato factory at Rome. The most important of these were the factories at Doccia and Capodi-Monte. The porcelain made at Doccia was famous for its soft trans- - lucent texture, so that it lent itself beautifully to the production of white glazed porcelain figures resembling in quality the white pieces of Fu-kien. The factory at Capo-di-Monte was under the direct patronage of Charles III., king of Naples. The earliest and best of its productions are in pure white, probably made in imitation of Chinese white pieces, though modelled in the form of natural shells supported by corals and seaweed. Figure-modelling was also largely practised, and besides groups of statuettes and figures in conjunction with vases, we have the typical Capo-di-Monte examples in which vases, cups, saucers, plates, &c., are covered with groups of figures modelled in high relief on a minute scale. This trivial style of work is greatly admired because of the minuteness of its execution. At a later period the works was removed to Portici and ultimately to Naples, but after about 1770 the classic style was adopted for the shapes and decorations. The factory came to an end as late as 1820. Spain.—Charles III. of Naples ascended the throne of Spain in 1759 and took with him to Madrid many of the workmen from the Capo-di-Monte factory, as well as the best moulds and models. He established a new china factory in the gardens of Buen Retiro, a palace outside Madrid. As long as Charles III. lived immense sums were lavished on this factory, and the ware was not allowed to be sold, but was either used for' the decoration of the royal palaces or for presentation to other European sovereigns. Enormous vases were made, following the example of Sevres, and these were often filled with bouquets of flowers modelled in porce- ~ lain. The most famous productions of this factory, however, were the Buen Retire Potters' marks. plaques and slabs of porcelain used for lining the walls of certain rooms in the royal palaces. Two of these rooms still remain, and are frightful examples of the Spanish rococo style. The factory was entirely destroyed in 1812 during the French war, and since that date no porcelain of any importance has been made in Spain. English Porcelains of the 28th century.—T here can be no doubt that whatever experimental work may have been conducted by our early English potters, such as the famous John Dwight of Fulham, nothing like an established manufacture of porcelain existed in this country prior to about 1740-1745. There are records of many tentative experiments before this date, but no real history. Between 1745 and 1755 important porcelain works were established at Chelsea, Bow, Worcester and Derby, and when we examine the productions of these factories it is impossible to avoid the conclusion that the processes had been imported from France. The early English porcelains, like all the French porcelains of that date, were composed of artificial or glassy mixtures. We may take the early productions of Bow and Chelsea as typical of the earliest English porcelain of which there is any definite record. The material was a mixture of pipe-clay, sand from Alum Bay in the Isle of Wight, and glass, while the glaze was a fusible English flint-glass rich in lead. It is obvious, therefore, that we are dealing with substances very similar to those used in the glassy French porcelain (see above), and such mixtures were very difficult of fabrication, being subject to great loss in the process of firing. In the other European countries Capo-di-Monte Potters' marks; 1736, 1759, 1780. the manufacture of porcelain was almost invariably carried on at the expense of some royal or princely patron; in England, however, the manufacture was not subsidized in this way, and it is probably for this reason that at a very early date we find the English porcelain-makers experimenting with other materials than glass and clay in order to make their processes more certain. In a patent taken out in 1749 by Thomas Frye of the Bow works we find mention of the use of bone-ash--the material that was to make English porcelain a distinct species by itself. From 1750 onwards there can be little doubt that, though a large proportion of glass was still used in the composition of the English porcelains, bone-ash was more and more introduced into the paste in order to obtain a more refractory material; yet it was not until about 1800 that Josiah Spode of Stoke-upon-Trent abandoned entirely the use of glass and composed his porcelain of china clay, bone-ash and felspathic rock for the body, glazing it with a rich lead glaze, and so laid the foundation of distinctively English porcelain. The material has many merits both from the useful and artistic points of view; it is much more easily fabricated than the old glassy porcelains, it endures better for ordinary table use than any other kind of porcelain, and it permits the fullest range of decoration. Before entering upon a detailed notice of the important English factories of the 18th century, something should be said of the various influences that were at work in determining what the porcelain-maker should do, both in the way of shape and decoration. The eyes of all men were, of course, turned first to the porcelain brought from the far East; and in the early efforts of the English factories, as of those of France and Germany, we notice a predominance of white pieces or of pieces decorated with paintings in under-glaze blue alone, obviously inspired by the current importations from China. Bow and Chelsea produced large quantities of ware of this class, and in the early days of the Worcester factory little else was made there than white, or blue and white pieces closely simulating the Chinese. Another oriental influence was to be found in the Imari patterns of Japan, particularly those in the style of Kakiemon. It has been noted that Meissen, Chantilly and other continental factories had already created a vogue for these reproductions of Japanese decorations, and in our own country Bow, Chelsea and Worcester followed suit. The later Imari patterns, heavily decorated with blue and red and gold for the use of " the foreigner," furnished another popular style for Worcester and Derby, and the vogue of these English " Japan " patterns, in the last quarter of the 18th century and the first half of the 19th century, was so great that they represent a large proportion of the output of our English porcelain works during that period. The productions of the German and French factories also exerted a profound influence on English potters; so that throughout the 18th century English porcelains largely consisted of imitations of the foreign wares brought into the country by the wealthy. We can only point to one method of porcelain decoration which undoubtedly arose in England. This is the method of transfer-printing, whereby patterns printed on paper from engraved copper plates are transferred to porcelain or pottery and subsequently fired, either under or on the glaze. At the best these printed patterns are in no way superior to the stencilled work of modern oriental porcelain, while, at the worst, European and American printed patterns have been perhaps the most in-appropriate decoration ever applied to porcelain in the world. It has been generally urged on behalf of transfer-printing that it enables elaborate effects to be produced at-a small cost and so brings decorated pottery within the reach of the humblest. The truer view is, that the simplest brushwork patterns, or even no pattern at all, would be preferable to the tawdry results that the cheapest forms of transfer-printing have rendered possible. Chelsea.—Between 1950 and 1770 the Chelsea factory was the most important of all the English porcelain works, and fine specimens of this period command high prices in the saleroom to-day. We know little of the origin of this important factory, though it is believed to have been in existence from some time after 1740 to 1784, when it was finally demolished and some ofthe workmen and part of the plant were removed to the then important works at Derby. The first manager was one Charles Gouyn, who was followed by a Mr Sprimont before 1750. Sprimont retained possession of the works until 1769, and died in 1771. It was during his management, from 1750 to 1770, that the finest and most characteristic pieces of Chelsea porcelain were made. Although the styles in vogue at Chelsea are extremely varied, little was produced there that was really English in character. The earliest pieces appear to have been either in pure white or in white decorated with paintings in under-glaze blue. The goat-and-bee cream jugs, crawfish salt cellars, the shell and rockwork salt cellars, jugs, sauce boats, small cups and saucers of this type are fairly plentiful. Then came the decorations, mainly in red and gold, of the Kakiemon style, followed by reproductions of the brocade patterns of Imari porcelain. Afterwards we find the appearance of table wares modelled in imitation of leaves, animals, fruits, birds and fishes, apparently adopted from current French and German practice. In another direction the influence of Meissen was also shown by the production of statuettes (see in Chelsea figure, Plate X.); and of the small' modelled trinkets, scent-bottles and toys of which there is such a fine collection in the British Museum. In the latter days of the factory (say after 1758) we find Chelsea following in the wake of Sevres in the production of large and elaborate rococo vases, with pierced necks and covers, scroll-work bases and interlacing handles such as are to be seen in the Jones Bequest in the Victoria and Albert Museum. Pieces of this elaborate kind are overlaid with rich grounds of Mazarine blue, turquoise, pea-green, or the famous Chelsea claret-colour, while white panels are reserved framed with gilt scrolls and painted in enamel colours with flowers, birds or figure-subjects in absolute rivalry with the pieces manufactured at Sevres. The Chelsea works appears to have come to an end through the ill-health of Sprimont, and it was sold in 1769–1770 to Duesbury, the proprietor of the Derby works. He carried on the establishment from 1770 to 1784, but in this period. a great change is noticeable in the product of the factory. The " rococo " forms and decorations of the true Chelsea porcelain were replaced by works in the neo-classical style already rendered popular by the success of Josiah Wedgwood, and the Derby-Chelsea porcelain is quite a distinct production from the early works of Chelsea. The most distinctive mark of the Chelsea porcelain is an anchor—either em-bossed in the paste or painted in gold or colour. Often the anchors occur in pairs, and it is frequently associated with other marks such as a dagger or a cross. Some of the Derby-Chelsea pieces are marked with a conjoined D and an anchor. Bow.—The date of the establishment of the factory at Stratfordle-Bow, in what is now the East End of London, is quite uncertain, but in 1744 Edward Heylyn and Thomas Frye, who were connected with this factory, took out a patent for the manufacture of porcelain. The materials mentioned in this patent are not such as would produce porcelain at all, and it appears likely that the specification was made purposely defective. In 1748 a further patent was applied for in which we get the first mention of bone-ash, so that from the technical point of view the wares made at the Bow factory are of the utmost importance as indicating the experimental beginnings of our English porcelain in which bone-ash plays such an important part. In 1750 the works at Bow belonged to Messrs Weatherby & Crowther, and was then known as " New Canton," and as 300 workpeople were employed, the operations must have been conducted on a large scale; but ultimately, from causes that can only be surmised, the partnership was dissolved and the business failed, so that in 1775 the works was bought for a very small sum by the William Duesbury already mentioned, who transferred part of the plant and moulds to his more prosperous wcrks at Derby. It would appear from what we know of the factory and its Chelsea Potters' marks. productions that the business was conducted on simpler lines than at the Chelsea works. We have, for instance, no elaborate vases in imitation of Sevres, and no important groups of figures which might challenge rivalry with Meissen. We find, as is common with all the early porcelain factories of Europe, first the pro- duction of white pieces with modelled reliefs, or of pieces painted with under-glaze blue in imitation of Chinese porcelain. Then followed the well-known " Quail," or "Partridge," and " Wheat- sheaf " patterns in red and green and gold in imitation of the Japanese patterns; and the manufacture of table ware decorated with these simple yet bright and pleasant devices seems to have formed the greater part of the work at the factory. Many figures and statuettes were also produced at Bow, but they are fewer in number and less cleverly made and decorated than the con- temporary productions of the Chelsea factory. We may surmise that there was considerable rivalry between these two works situated on the outskirts of the metropolis, for we find the " anchor " mark, which is the best recognized mark of Chelsea porcelain, often occurring on Bow Potters' marks. specimens that from internal evidence or from the piece itself we should rather attribute to Bow. The Bow marks are not very certain, but some of the likeliest are here given. Worcester.—The third of the early English factories, and ultimately the most important of all, was that founded at Worcester in 1751 by Dr Wall, a man of unusual attainments, and a number of his friends. How Dr Wall came to learn the secret of porcelain making is absolutely unknown, but even assuming that he acquired some information from wandering workmen it is certain that the Worcester porcelain was soon developed on original lines. The nature of the paste and the glaze of the early Worcester productions, as well as the sobriety of their decorations, stamp this factory as the first where English-men really developed a native porcelain. Between 1751 and 1770, the first period of Worcester porcelain, the prevalent influence was that of Chinese blue-and-white, and the pieces of that period are rightly esteemed by collectors for their artistic quality. Probably nowhere in Europe, certainly nowhere in England, was oriental blue-and-white more carefully studied, and a collection of this blue-and-white Worcester is most satisfactory from the aesthetic point of view. The productions at this time were tea and coffee services, bowls, dishes, mugs and plates. The cups were usually made without handles in imitation of the oriental practice, but large, two-handled covered cups for caudle, broth and chocolate were also made during the early period. Many of these larger cups bore an embossed pattern resembling a pine-cone, possibly imitated from a shape produced at St Cloud; while openwork dishes, plates and fruit baskets were also made in imitation of a popular Meissen fashion. The method of decorating porcelain with transfer prints was introduced at Worcester as early as 1756, when Robert Hancock, an engraver, came from York House, Battersea, where the process was first employed for the decoration of the Battersea enamels. The early Worcester prints comprised portraits of celebrities of the time (the Frederick the Great mug), or adaptations of the works of great artists such as Gainsborough and Watteau, or copies of current engravings or sporting prints. The first printing was done in black or purple, and transferred on to the fired glaze, and it was not until about 1770 that the process of printing in blue under the glaze was perfected. It is interesting to note that for many years this process of transfer printing was developed side by side with the older method of porcelain painting, and until the end of the 18th century the processes appear to have been used at Worcester quite independently. The closing of the Chelsea factory in 1770 led to the migration of some of the Chelsea painters to Worcester, and from about that date a considerable amount of Worcester porcelain was decorated on the glaze with enamel colours and gilding after the styles that had been rendered popular at Chelsea and Bow. It is only fair to remark, however, that the Worcester patterns are alwaysdistinguished by a certain English character both in the style and the workmanship (see example, Plate X.). The first and most artistic period of Worcester porcelain came to an end before 1783, when, after the death of Dr Wall, the works passed under the control of Thomas Flight and his two sons, who had been jewellers. The Flight influence was soon noticeable from the fact that the new shapes were more and more based on those of Sevres and Meissen, while the decoration became more mechanical and precise as befitted the work of jewellers rather than potters. King George III. and Queen Charlotte visited the works in 1788 and bestowed upon the firm the privilege of styling themselves " China Manufacturers to Their Majesties," since when the works has always been known as the Worcester Royal Porcelain Works. In 1793 Martin Barr was taken into partnership; the " Flight & Barr " period, so well known to collectors, lasted until 1807. Another Worcester porcelain works was in existence after 1784, viz. the Chamberlain factory, which was working in rivalry with the original establishment; but its productions are of no particular artistic merit, and in 1840 the two firms became amalgamated, and so gave rise to the present Worcester Royal Porcelain Co. The most noteworthy feature of the productions of both the Worcester works at the end of the 18th century were the " Armorial " services made for various royal and noble families, and those adaptations of Imari patterns known as " Old Japan." Derby.—Experiments in the manufacture of porcelain appear to have been made at Derby as early as 175o by a French refugee, Andrew Planche; but the business, which was afterwards to attain such a great development, was only founded in 1756 with William Duesbury as its manager. Duesbury was originally a decorator of china figures in London, and his career proves that he was a man of great industry and energy, for within twenty-five years he not only built up a large business at Derby, but he absorbed the decadent works at Bow and Chelsea, so that in the last quarter of the 18th century Derby was the most import-ant china manufactory in England. As is so often the case, a commercial success like this implied the absence of any distinct artistic impulse. The porcelain produced at Derby is for the most part only an echo of the successes of Meissen, Sevres, or the earlier English factories. It is only fair to remark that a very deep and rich under-glaze blue was attained at the Derby works, Derby Potters' marks. and that this was associated with very mechanical painting of birds and flowers and with gilding of exceptional quality. At this factory, too, the old Japan patterns were imitated with exceptional vigour, until " Crown-Derby Japan " became a standard trade name for this clobbered oriental style. Mention has already been made of the " biscuit " porcelain figures made at Derby, which are superior in style to anything else made in. Europe in the 18th century except the " biscuit " porcelains of Sevres. The Derby " biscuits " of the best type range from 1790 to 1810, and the finest specimens have a " waxy " surface, though there is little or no sheen and every detail remains as crisp as when the figure left the hand of its maker. The most famous of these figures are the portrait medallions and statuettes of British generals and admirals which were modelled by an artist named Stephan. Spengler, a Swiss, modelled numerous groups adapted from the drawings of Angelica Kaufmann, while a workman named Coffee seems to have modelled only rustic figures and animals. Plymouth and Bristol.—The porcelain factories at Plymouth x iHA Early Worcester Potters' marks. 4;' Spode, Davenport and Minton became the most important English factories of the early 19th century. For notices of the minor English factories of the late 18th century and early 19th century, such as Caughley, Coalport, Swansea and Nantgarw, the student is referred to the special works dealing with the history of English porcelain. Collections.—The British Museum and the Victoria and Albert Museum contain the best general collections of English porcelain. The museums at Bristol and Liverpool contain examples of the local wares; while the museum at the Worcester Royal Porcelain works has an admirable collection of the wares of that factory. Many noteworthy private collections are in existence, of which we may mention those of Mr Dyson Perrins, Mr Cockshutt and Mr Trapnell.
End of Article: EUROPEAN PORCELAIN TO THE END OF THE 18TH
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