See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

FRENCH POTTERY FROM THE 15TH TO THE 19TH  See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

CENTURY The pottery of See also:

• MEDIEVAL

medieval See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France needs little See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention here, for it was, in the See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

main, similar to that which was made generally in See also:

• EUROPE

Europe—rudely shaped vessels of See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary See also:

• CLAY (from O. Eng. claeg, a word common in various forms to Teutonic languages, cf. Ger. Klei)
• CLAY, CASSIUS MARCELLUS (1810-1903)
• CLAY, CHARLES (1801–1893)
• CLAY, FREDERIC (1838–1889)
• CLAY, HENRY (1777–1852)

clay often decorated with modelled See also:

• ORNAMENT (Lat. ornare, to adorn)

ornament and glazed with yellow or See also:

• BROWN
• BROWN, CHARLES BROCKDEN (1771-181o)
• BROWN, FORD MADOX (1821-1893)
• BROWN, FRANCIS (1849- )
• BROWN, GEORGE (1818-188o)
• BROWN, HENRY KIRKE (1814-1886)
• BROWN, JACOB (1775–1828)
• BROWN, JOHN (1715–1766)
• BROWN, JOHN (1722-1787)
• BROWN, JOHN (1735–1788)
• BROWN, JOHN (1784–1858)
• BROWN, JOHN (1800-1859)
• BROWN, JOHN (1810—1882)
• BROWN, JOHN GEORGE (1831— )
• BROWN, ROBERT (1773-1858)
• BROWN, SAMUEL MORISON (1817—1856)
• BROWN, SIR GEORGE (1790-1865)
• BROWN, SIR JOHN (1816-1896)
• BROWN, SIR WILLIAM, BART
• BROWN, THOMAS (1663-1704)
• BROWN, THOMAS (1778-1820)
• BROWN, THOMAS EDWARD (1830-1897)
• BROWN, WILLIAM LAURENCE (1755–1830)

brown See also:

• LEAD
• LEAD (pronounced iced)

lead glaze, or, if coated with See also:

• WHITE
• WHITE, ANDREW DICKSON (1832– )
• WHITE, GILBERT (1720–1793)
• WHITE, HENRY KIRKE (1785-1806)
• WHITE, HUGH LAWSON (1773-1840)
• WHITE, JOSEPH BLANCO (1775-1841)
• WHITE, RICHARD GRANT (1822-1885)
• WHITE, ROBERT (1645-1704)
• WHITE, SIR GEORGE STUART (1835– )
• WHITE, SIR THOMAS (1492-1567)
• WHITE, SIR WILLIAM ARTHUR (1824--1891)
• WHITE, SIR WILLIAM HENRY (1845– )
• WHITE, THOMAS (1628-1698)
• WHITE, THOMAS (c. 1550-1624)

white slip, decorated with See also:

• BRIGHT, JOHN (1811-188g)
• BRIGHT, SIR CHARLES TILSTON

bright See also:

• GREEN, A
• GREEN, ALEXANDER HENRY (1832—1896)
• GREEN, DUFF (1791—1875)
• GREEN, JOHN RICHARD (1837—1883)
• GREEN, MATTHEW (1696-1737)
• GREEN, THOMAS HILL (1836-1882)
• GREEN, VALENTINE (1739–1813)
• GREEN, WILLIAM HENRY (.1825–1900)

green glazes, and towards the end of the 15th century with greyish See also:

• BLUE (common in different forms to most European languages)

blue . The later specimens of this See also:

• SIMPLE

simple See also:

• WARE

ware—pronouncedly See also:

• GOTHIC

Gothic in feeling—were often extremely decorative . See also:

• AVIGNON

Avignon, See also:

• BEAUVAIS

Beauvais and See also:

• SAVIGNY, FRIEDRICH KARL VON (1779–1861)

Savigny are the best-known centres of this truly See also:

• NATIONAL

national manufacture, and, as we might expect in See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French See also:

• WORK

work, the reliefs are often See also:

• SHARP, GRANVILLE (1735-1813)
• SHARP, JAMES (1618-1679)
• SHARP, JOHN (1645-1714)
• SHARP, RICHARD (1759-1835)
• SHARP, WILLIAM (1749-1824)
• SHARP, WILLIAM (1856-1905)

sharp and well designed . See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

Evidence accumulates that from See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time to time the princes and See also:

• GREAT

great nobles imported See also:

• SPANISH

Spanish or See also:

• ITALIAN

Italian workmen to make See also:

• SPECIAL

special tiles for the decoration of their palaces or chapels . The See also:

• DUKE (corresponding to Fr. duc, Ital. duca, Ger. Herzog)

duke of See also:

• BURGUNDY

Burgundy brought Jehan de Sloustiers and Jehan-le-Voleur, " ouvriers en quarrieaux peints et jolis," in 1391, to paint tiles for his palaces at Hesdin and See also:

• ARRAS

Arras in the See also:

• NORTH
• NORTH, BARONS
• NORTH, MARIANNE (1830—1890)
• NORTH, ROGER (1653-1734)
• NORTH, SIR THOMAS (1535?-16o1?)

north, and we have already referred to the See also:

• TILE (0. Eng. tigel, Fr. tuile, connected with Lat. tegula)

tile-work in the Spanish See also:

• FASHION (adapted from Fr. facon, agon, Lat. factio, making, facere, to do or make)

fashion made at See also:

• POITIERS

Poitiers by See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John of See also:

• VALENCIA
• VALENCIA, or VALENTIA

Valencia, the " Saracen," in 1384 for Duke See also:

• JEAN

Jean de See also:

• BERRY, CHARLES ALBERT (1852-1899)
• BERRY, CHARLES FERDINAND
• BERRY, JOHN, DUKE OF (1340-1416)
• BERRY, or BERRI

Berry.2 Other instances might be multiplied but that this See also:

• FOREIGN

foreign work See also:

• LEFT

left little or no traces on contemporary French pottery . Even at a later date, when See also:

• FRANCIS
• FRANCIS (FRarrcols) OF SALES, ST (1567-1622)
• FRANCIS (Lat. Franciscus, Ital. Francesco, Span. Francisco, Fr. Francois, Ger. Franz)
• FRANCIS, SIR PHILIP (174o-1818)

Francis I. brought See also:

• GIROLAMO (1450-1486)

Girolamo della Robbia from See also:

• ITALY
• ITALY (Italia)

Italy to decorate his " See also:

• PETIT, SIR DINSHAW MANECKJI, BART

Petit See also:

• CHATEAU (from Lat. castellum, fortress, through O. Fr. chastel, chasteau)

Chateau de See also:

• MADRID

Madrid " in 1529, or when Masseot Abaquesne, about 1542, manufactured at See also:

• ROUEN

Rouen the painted tile pavements for the chateau of Ecouen, the See also:

• CATHEDRAL

cathedral of See also:

• LANGRES

Langres, and other places, nothing came of the imported methods; the See also:

• WORKS

works were executed and left no traces on the See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general pottery of the See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country . During the 16th century, however, two remarkable kinds of pottery were made in France of distinctive quality, and both eminently French—the See also:

• HENRI

Henri-Deux ware and the pottery of See also:

• BERNARD, CHARLES DE
• BERNARD, CLAUDE (1813-1878)
• BERNARD, JACQUES (1658--1718)
• BERNARD, MOUNTAGUE (1S2o—1882)
• BERNARD, SAINT
• BERNARD, SAINT (Iogo-1153)
• BERNARD, SIMON (1779—1839)
• BERNARD, SIR THOMAS, BART

Bernard See also:

• PALISSY, BERNARD (1510-1589)

Palissy and his imitators . Henri-Deux, See also:

• OIRON

Oiron or St Porchaire ware, for all these names have in turn been applied to the enigmatic and wonderful pottery, specimens of which are now valued at more than their See also:

• WEIGHT

weight in 2 See Magne, Le Palais de See also:

• JUSTICE (Lat. justitia)

Justice de Poitiers (See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, 1904) ; also See also:

• SOLON (7th and 6th century n.c.)

Solon in See also:

• BURLINGTON

Burlington See also:

• MAGAZINE

Magazine (See also:

• NOVEMBER (Lat. novem, nine)

November 1907) . I.I See also:

• GOLD
• GOLD [symbol Au, atomic weight 195.7(H = 1),197.2(0 =16)]

gold, was once believed to have been made by the librarian Bernard, and his assistant See also:

• CHARPENTIER, FRANCOIS (1620-1702)

Charpentier, for their patroness Helene de Hangest about 1529 at her chateau at Oiron, near See also:

• THOUARS

Thouars.1 A few years ago this theory was discarded in favour of one which assigned them to some unknown See also:

• POTTER, ALONZO (1800-1865)
• POTTER, HENRY CODMAN (1835–1908)
• POTTER, J
• POTTER, JOHN (c. 1674-1747)
• POTTER, PAUL (1625—1654)
• POTTER, PHILIP CIPRIANI HAMBLEY (1792—1871)

potter of St Porchaire in the same region; 2 but even of this theory there is insufficient See also:

• PROOF (in M. Eng. preove, proeve, preve, &°c., from O. Fr . prueve, proeve, &c., mod. preuve, Late. Lat. proba, probate, to prove, to test the goodness of anything, probus, good)

proof, and we are left in doubt both as to the maker and the See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place of origin . All we know is that the ware See also:

• DATES

dates from the reign of See also:

• HENRY
• HENRY (1129-1195)
• HENRY (c. 1108-1139)
• HENRY (c. 1174–1216)
• HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
• HENRY, EDWARD LAMSON (1841– )
• HENRY, JAMES (1798-1876)
• HENRY, JOSEPH (1797-1878)
• HENRY, MATTHEW (1662-1714)
• HENRY, PATRICK (1736–1799)
• HENRY, PRINCE OF BATTENBERG (1858-1896)
• HENRY, ROBERT (1718-1790)
• HENRY, VICTOR (1850– )
• HENRY, WILLIAM (1795-1836)

Henry II., and that it was probably made somewherenearOiron, as most of the specimens have been found in that See also:

• DISTRICT

district . The work is sui generis, for it had no See also:

• DIRECT

direct ancestry, neither did it leave any See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

mark on contemporary French pottery . Sixty-five pieces of the ware (see fig .

48) are known to be in museums and private collections; the Louvre and the See also:

• VICTORIA
• VICTORIA (or VITTORIA), TOMMASSO LUDOVICO DA (C. I540-C. 1613)
• VICTORIA [ALEXANDRINA VICTORIA]

Victoria and See also:

• ALBERT
• ALBERT (1490'1545)
• ALBERT (149o-1568)
• ALBERT (1522–1557)
• ALBERT (FRANCIS CHARLES AUGUSTUS ALBERT EMMANUEL) (1819—1861)
• ALBERT (FRIEDRICH RUDOLF ALBRECHT)
• ALBERT, FREDERICK AUGUSTUS
• ALBERT, MADAME (c. 2805—2846)

Albert Museum have the best collections of their kinds, but the Rothschilds still hold the greater number of examples . The ware is fashioned in a simple whitish pipeclay, and ornamented with interlacing strap-work patterns, typical of the See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period, inlaid in yellow, See also:

• BUFF (from Fr. bu.ffie, a buffalo)

buff or dark-brown clay . The forms are generally graceful, but some examples are over-elaborate and overloaded with modelled ornament . The pieces were designed to serve as candlesticks, See also:

• SALT (a common Teutonic word, cf. Dutch zout, Ger. Salz, Scand. salt; cognate with Gr. &Xs, Lat. sal)
• SALT, SIR TITUS, BART

salt-cellars, tazzas, ewers, See also:

• HOLY

holy-See also:

• WATER

water pots and dishes . After the vessels had been " thrown " and " turned " to a perfect shape, See also:

• METAL
• METAL (through Fr. from Lat. metallum, mine, quarry, adapted from Gr. µATaXAov, in the same sense, probably connected with ,ueraAAdv, to search after, explore, µeTa, after, aAAos, other)

metal tools, such as were used by the bookbinders and casemakers of that See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day, were pressed into the clay, so as to See also:

• FORM (Lat. forma)

form sunk cells of ornamental tooling . These cells were carefully filled with finely-prepared slips of other See also:

• CLAYS, PAUL JEAN (1819-1900)

clays, that would See also:

• BURN, RICHARD (1709-1785)

burn yellow, buff or dark-brown; and when the whole was dry the piece was carefully smoothed again, and moulded reliefs were attached, or touches of See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour were applied . After being fired the ware was glazed, apparently with the ordinary lead glaze of the time care-fully prepared and fired again . At a later period the ornament was not inlaid in this elaborate manner, but was simply painted, as indeed it might all have been so far as decorative effect is concerned . Palissy Ware.—Bernard Palissy was a See also:

• GENIUS (from Lat. genere, gignere)

genius of See also:

• ORIGINAL

original See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent, but, at the hands of his See also:

• LITERARY

literary admirers, he has gained a legendary See also:

• RANK (O.Fr. rant or rent, mod. rang, generally connected with the O.E. and O.H.G. bring, a ring)

rank as one of the great potters of the See also:

• WORLD

world which his pottery does not See also:

• WARRANT (Med. Lat. warantum; O. Fr. garant, warant, derived from O.H.G. root represented in modern German bygewdhren)

warrant . He is supposed to have spent sixteen years in the See also:

• SEARCH, or VISIT AND SEARCH

search for the white See also:

• ENAMEL (formerly " amel," derived through the Fr. amail, emmll, esmail, from a Latin word smaltum, first found in a 9th-century life of Leo IV.)

enamel which was being used all the time in Italy and See also:

• SPAIN
• SPAIN (Espana)

Spain—probably he was searching for the See also:

• MYSTERY (Gr. µw(Trilpcov, from tcuvrm, an initiate, µfew, to shut the mouth)

mystery of See also:

• CHINESE, JAPANESE AND

Chinese See also:

• PORCELAIN

porcelain—and when he settled down to make the " Palissy ware," he did nothing more than carry to perfection the methods of the See also:

• VILLAGE

village pot-makers of his own district . On a hard-fired red clay he disposed See also:

• GROUPS
• GROUPS, THEORY

groups of moulded See also:

• PLANTS

plants, shells, See also:

• FISH (O. Eng. fist, a word common to Teutonic languages, cf. Dutch visch, Ger. Fisch, Goth. fisks, cognate with the Lat. piscis)
• FISH, HAMILTON (1808-1893)

fish and See also:

• REPTILES (Lat. Reptilia, creeping things, from reptilis; ref ere, to creep; Gr. Ep7rety, whence the term " herpetology," for the science dealing with them)

reptiles, painted them with crude green, brown and yellow See also:

• COLOURS, MILITARY

colours, and glazed the whole with a well- prepared lead glaze . His See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style soon had numerous imitators, like A .

Clericy and B. de Blemont, who executed works quite as See also:

• GOOD, JOHN MASON (1764-1827)

good as those of their See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master; but their works also vanished and 1 See B . Fillon, See also:

• LES

Les Faiences d'Oiron (1862) . See E . Bonaffe, Les Faiences de See also:

• SAINT (lat. sanctus, " holy ")

Saint-Porchaire (1898).left no permanent impression on the general trend of French pottery . Meantime Italian, and, it may be, Spanish potters strayed over the French border and attempted to introduce the manufacture of their See also:

• TIN (Lat.- stannum, whence the chemical symbol " Sn "; atomic weight =117.6, 0=16)

tin-enamelled wares; for we know of the works of Gambin and Tardessir of See also:

• FAENZA (anc. Faventia)

Faenza, established at See also:

• LYONS
• LYONS (Fr. Lyon)
• LYONS, COUNCILS OF
• LYONS, EDMUND LYONS, BARON (1790-1858)
• LYONS, RICHARD BICKERTON PEMELL LYONS, 1ST EARL (1817–1887)

Lyons about 1556; of See also:

• SIGALON, XAVIER (1788–1837)

Sigalon at See also:

• NIMES
• NIMES, COUNCILS OF (Concilia Nemausensia)

Nimes in 1548; of Jehan Ferro at See also:

• NANTES
• NANTES, EDICT OF

Nantes about 158o, and other sporadic efforts . The needed impetus came, however, when the Mantuan duke, See also:

• LOUIS
• LOUIS (804–876)
• LOUIS (893–911)
• LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
• LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian

Louis de Gonzague, became duke of See also:

• NEVERS

Nevers in 1565; and we find Italian majolists, working under princely patronage, planting their decadent See also:

• ART

art in the centre of France . The first efforts met with little success until, with the See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance of the Conrades from See also:

• SAVONA

Savona, who were domiciled in Nevers in 1602, we get the genuine ware of Nevers . Naturally the first productions, whether of the Conrades or their predecessors, were in the style of the debased See also:

• MAJOLICA

majolica of Savona, but the See also:

• BODY

body and glaze of the ware is harder, the colours are not so See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich, and the See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution is less spirited . The first departure from Italian traditions is seen in the ware of the so-called "See also:

• PERSIAN
• PERSIAN, SYRIAN, EGYPTIAN AND TURKISH

Persian style" of Nevers—probably adopted from contemporary work in See also:

• LIMOGES

Limoges enamels on metal—where conventional and fanciful designs of See also:

• FLOWERS, ARTIFICIAL

flowers and foliage, birds, animals or figures were thickly raised in white enamel on a ground of bright, intense See also:

• COBALT (symbol Co, atomic weight 59)

cobalt-blue glaze . After the See also:

• MIDDLE

middle of the 17th century the Italian style of See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design appears to have been entirely replaced by pseudo-See also:

• ORIENTAL

oriental patterns painted in blue or in polychrome, but really imitated from the " See also:

• DELFT

Delft" copies of Chinese and See also:

• JAPANESE

Japanese porcelain . When Rouen and Moustiers became famous for their distinctive wares Nevers copied their designs also, and on a gradually descending See also:

• SCALE
• SCALE (1) A

scale the manufacture continued to the end of the 18th century, when France was flooded with the See also:

• RUDE, FRANCOIS (1784–1855)

rude Faiences palriotiques from this centre . The genuine French tin-enamelled ware, freed from the traces of Italian See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence, first See also:

• DEVELOPED

developed itself at Rouen under the famous Poterats in the later See also:

• PART

part of the 17th century .

A new See also:

• SCHEME (Lat. schema, Gr. oxfjya, figure, form, from the root axe, seen in exeiv, to have, hold, to be of such shape, form, &c.)

scheme of ornamentation was gradually evolved in the daintily-designed scalloped and radiating patterns adapted from oriental fabrics, See also:

• LACE (corresponding to Ital. merletto, trina; Genoese Pizzo; Ger. spitzen; Fr. dentelle; Dutch kanten; Span. encaje; the English word owes something to the Fr. lassis or laces, but both are connected with the earlier Lat. laqueus; early French laces were

lace and See also:

• NEEDLEWORK

needlework, and from the ornamental devices of contemporary printers . These designs, having been skilfully See also:

• DRAWN

drawn on the pieces, were filled in with bright blue, strong yellow, See also:

• LIGHT

light green, or a bright bricky-red in palpable See also:

• RELIEF

relief, applied as See also:

• FLAT (a modification of O. Eng. flet, an obsolete word of Teutonic origin, meaning the ground beneath the feet)

flat washes or in See also:

• FINE

fine lines; and the result was a See also:

• GAY, JOHN (1685-1732)
• GAY, MARIE FRANCOISE SOPHIE (1776-1852)
• GAY, WALTER (1856– )

gay and sparkling ware much See also:

• SUPERIOR

superior in decorative value to the later Italian majolicas (see fig . 49) . So successful was this Rouen ware that See also:

• RIVAL

rival factories were quickly started at Saint See also:

• CLOUD (from the same root, if not the same word, as " clod," a word common in various forms to Teutonic languages for a mass or lump; it is first applied in the usual sense in the late 13th century; the Anglo-Saxon chid is only used in the sense of " a ma

Cloud, Sinceny, F1c . 48.--Tazza of Oiron pottery . (Louvre.) Oiron Potter's mark . See also:

• QUIMPER

Quimper, See also:

• LILLE

Lille, and other places in the north . Saint Cloud and Lille made fine pottery of this class at the end of the 17th and in the See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early 18th century . It was imitated at Nevers, the potters' marks shown being those of J . Bourdu and H . See also:

• BORNE, KARL LUDWIG (1786–1837)

Borne . In the See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

south of France, See also:

• PIERRE

Pierre Clerissy established the See also:

• INDUSTRY (Lat. industria, from indu-, a form of the pre, position in, and either stare, to stand, or struere, to pile up)

industry at Moustiers in 1686, and, though the early Moustiers ware bears a 168~/ ~0 0 strong resemblance to the debased Italian majolica of the time, the Nevers Potters' marks .

Moustiers painters soon left that behind, and on a glaze of inimitable whiteness and softness they deftly pencilled blue patterns based on the engravings of designs after See also:

• BERAIN, JEAN (1638-1711)

Berain, See also:

• MAROT
• MAROT, DANIEL (seventeenth century)

Marot and See also:

• TORO

Toro . At a later date Olerys, who had been to Alcora to introduce the French See also:

• FAIENCE

faience into Spain, returned to Moustiers and introduced a See also:

• PALE (through Fr. pal, from Lat. palms, a stake, for paglus, from the stem pag- of pangere, to fix; " pole " is from the same original source)

pale polychrome style very inferior to that of Rouen . These pieces are covered with patterns outlined in blue and filled in with yellow, pale green and light See also:

• PURPLE

purple . Olerys is also said to have introduced the See also:

• GROTESQUE

grotesque style of Moustiers, founded on the caricatures of See also:

• CALLOT, JACQUES (1592-1635)

Callot . Other factories were started from Moustiers, such as those at See also:

• APT

Apt, Ardus and See also:

• MONTAUBAN
• MONTAUBAN, ARTHUR DE (d. 1479)

Montauban, and even at See also:

• NARBONNE

Narbonne, See also:

• BORDEAUX

Bordeaux and Clermont-See also:

• FERRAND, ANTOINE FRANCOIS CLAUDE, COMTE

Ferrand; just as the See also:

• NORTHERN

northern factories had sprung from Rouen . We have already seen at Nevers the introduction of patterns in the Chinese style, and the same course was increasingly followed at all the French factories during the 18th century . At See also:

• STRASSBURG, or STRASBURG (French Strasbourg)

Strassburg a fresh impetus was given in this direction when, about 1721, CharlesHanrong introduced the practice of See also:

• PAINTING

painting his white tin-enamelled ware with the on-glaze colours used by the porcelain painters . This See also:

• PROCESS

process enabled the French potter to produce many colours unobtainable by his older process, and moreover helped him to make his wares look more like the coveted porcelain, then becoming the rage all over Europe . This new departure marks the end of the best period of French faience, but so successfully did it meet the demands of the time that it gradually displaced the old method of decoration where the colours were painted on the raw glaze and fired along with it . Factories sprang up for the manufacture of this new ware in the first See also:

• HALF

half of the 18th century at Niederviller, See also:

• LUNEVILLE

Luneville and Sceaux, and it was quickly adopted by the older factories at Rouen, Sinceny, See also:

• MARSEILLES

Marseilles, &c . With its general See also:

• ADOPTION (Lat. adoptio, for adoptalio, from adoptare, to choose for oneself)

adoption the old French faience, developed from the Italian stock, departed, to make way for a tin-enamelled See also:

• IMITATION (Lat. imitatio, from intitari, to imitate)

imitation of famille-See also:

• ROSE
• ROSE (Rosa)
• ROSE, GEORGE (1744-1818)
• ROSE, HUGH JAMES (1795—1838)
• ROSE, WILLIAM STEWART (1775-1843)

rose porcelain . But this last style was not of See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long See also:

• LIFE

life .

The wealthy classes were no longer patrons of pottery but of porcelain, and when, after 1786, the newly perfected See also:

• ENGLISH

English earthenware was thrown upon the French See also:

• MARKET (Lat. mercatus, trade or place of trade)

market, the French faience-makers had to give up their works, or adopt the manufacture of this neater and, for domestic purposes, more suitable form of. pottery . This See also:

• CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change, together with the disturbances of revolutionary times, brought See also:

• ARTISTIC

artistic pottery in France to a standstill, and we shall treat of its revival during the last See also:

• FORTY

forty or fifty years in a subsequent See also:

• SECTION
• SECTION (Lat. sectio, cutting, secare, to cut)

section . Collections.—The Victoria and Albert Museum and the See also:

• BRITISH

British Museum contain typical examples; but not such collections as are to be seen in the See also:

• CLUNY, or CLUGNY

Cluny Museum, the Louvre, the museum at Sevres, or the French provincial museums at Rouen, Limoges, Marseilles, Lille, St Omer, &c .