SE V R E S 1 755 OR

G ROUND S OF HISTO RY A ND DE SCRIPTIO N

I N G E R IE U R D E S A R T S E T M A N FA C U R I E N I E U R E T CHE F D E FA BR IC A U T E S, N G TIO N A LA

M A N U FACT U R E N A TIO N A LE D E S po RC E LA I N E s D E SE V R E S ( 1 879- 1 889)

T RA N SLATE D A N D E D ITE D BY

A U T HO R O F HI T R Y O F E N LI SH PO R CE LA I N S O G , E TC .

NTA ININ N - A E S IN C L UR S TOGE HE I CO G T WE TYFO UR PL T O O , T R W TH RE PR OD UCTIONS OF M A R KS A N D N UM E R O U S ILL USTR A TIONS

P R E F A C E .

THE history of French porcelain must always be full of interest

r to the English reader because , beyond the int insic merits of the material and the marvell ous technical skill displayed in

r o the finest examples of F ench p rcelain , we can never forget

that the earliest English porcelains , particularly those of Bow

and Chelsea, owed so much , both directly and indirectly, to

r our neighbou s across the Channel . f We need of er no excuse , therefore , for this new work on

r o the histo y of French p rcelain , written by a hand so competent A “ S. usch r Mr . e as that of . E , who , besides having been Chef

o Se r r 1 8 79 1 8 8 9 de Fabricati n at the v es manufacto y from to , has a E uropean reputation for his knowledge of all matters

A uscher connected with the manufacture of porcelain . Mr .

has been collecting materials for this history of French porce

lain for many years , and it seems to me a fortunate circumstance that the results of his labours should make their appearance in

- England , where to day so many magnificent collections of the

- old soft paste porcelains exist .

- r The artificial soft paste po celain , composed of a large pro

r r m po tion of glass or f it , with a s all proportion of marl and

z chalk, and glazed with a luscious gla e rich in lead, is often

distinctively spoken of on the Continent as French porcelain, just as true felspathic porcelain is spoken of as German PR E FA CE . v i

d m r s w r a because thes e two entirely issi ila product e e porcel in ,

in ro o r . fi rst perfected , Eu pe, in th se count ies

r f and The artificial French porcelain was ex t emely di ficult ,

for therefore costly, to manufacture , reasons which are most clearly explained in this volume . In no other country but

t for France was its manufacture con inued any considerable

r r length of time ; for while the earliest English po celains we e

a undoubtedly very similar in composition to those of Ch ntilly,

n Se r r Mennecy , Vince nes, and vres , the ing edients we e soon

o fi r r m di ed , and the manufactu e rende ed more certain, by the

addition of bone -ash to the materials of the paste ; an innova tion which finally became common at all the English factories

r r - n and led to our cha acte istic English bone porcelai .

Long after this change had commenced in England the

French factories continued to manufacture their costly artificial

or it r of p celain , and was not until the latter pa t the eighteenth

century that this distinctively French product was abandoned for r r - a simple , and cheape , hard paste porcelain analogous to t rm Far a hat of Ge any and of the E st.

It was only by the patronage of great nobles like the

e o Due Princ de C ndé at Chantilly, the de Villeroy at Mennecy, and the King of France and his favourites at Vincennes and Se , t vres hat the manufacture was able to persist so long, and

’ no one r Mr A can ead . uscher s account of the enormous sums of money lavished on these undertakings without realising the

o r r r precari us nature of the ea ly F ench po celain industry.

r t om F om the modes c mencements of the French porcelains

d R St pro uced at ouen and . Cloud at the end of the seventeenth c n r e tury , with thei simple decorative patterns in under -glaze

l to t , he ri m d b ue t u phant pro uctions of Sevres between 1 756 and vii PR E FA CE .

1 770 the , when all that unlimited expenditure and highest technical skill could accomplish was lavished on the pieces

produced for the Royal palaces of France , we have practically an unbroken record of French taste and French craftsmanship

- for three quarters of a century . The most fastidious artist cannot but feel the charm of the

r the mate ial and colour of rare pieces of Rouen , the early

St i examples of . Cloud , made in mitation of the white porcelains

“ the r of Fuchien , and Chantilly wares deco ated with Kakiye

” and - mon designs on an opaque milk white glaze .

But the later and more elaborate productions of Vincennes

e re ff and S vres a on a di erent plane. Where we are able to see the t d whi e material it charms us by its ten er, translucent

’ Hell ot s r quality, recalling desc iption of a porcelain with a fine , solid white grain like squeezed snow the freshness and beauty

r a - of the colou ed grounds whether of turquoise , pple green or rose

r r Pompadour, are quite unrivalled among colou s applied ove the glaze ; the pieces are enriched with the most skilful paint

r : s ing , elieved by the richest gilding they are, in a word , marvel

h r of tec nical skill . Pe fectly embodying the taste of their

r k pe iod , the most s ilful works of their kind that have ever been

m r produced , they set the fashion so co pletely in F ance, as well as Se in England and other European countries , that the vres styles ,

Se r Se w v es patterns , and vres ideals were accepted and follo ed ,

for r r d almost as an article of faith , mo e than a centu y. To ay,

t however , probably no one would deny that ar istically these wonderful pieces of old Sevres cannot be compared to Chinese

‘ - r i single colou ed or Flambé porcelains , to the painted fa ences

of Persia or Asia Minor, or to Italian majolica of the best period .

Collectors and connoisseurs in every country have owned the E viii PR E FA C .

charm of French porcelain in unstinted measure , and they

r r of cannot but appreciate an account of the rise and p og ess all

r o the noted French porcelain factories so clea and l gical , yet so

h r ma usc e . r t Mr. A full and p ecise , as hat given by It y seem

f or invidious to single out any portions of the work special

“ to - m bu t r X . A ention, Chapte I The ttempts produce Hard paste

” or r r I on Se r P celain in F ance ; Chapte XII , The v es Biscuits

“ r I o m and Chapte XVI , on Modern Developments , c ntain uch

that will be new to the maj ority of English readers ; while the

final chapter on Forgeries should prove invaluable to every

o l or c l ect .

The publishers have spared no pains or expense in the illus tration of or m of ar the w k, and any the coloured illustrations e

the most faithful renderings of perfect examples that have been m r ade hithe to .

’ Mr A us h r s . c e I have to thank in name, as well as my own, the keepers of the various English and French museums for their kindness in according facilities for obtaining the necessary

o ph tographs ; and our fullest acknowledgments are due to

M. Georges Papillon for his permission to reproduce the marks

Se r r r r of the v es painte s and deco ato s, which will be found at

“ S on . the end of the ection Marks Lastly, I must thank Mlle .

o for W of lters invaluable assistance in the work translation, and

Mr . . . for E his r r - G Hawke kindness in eading the p oof sheets .

WILLIA M BURTO N .

CLI FT N J U N OTI ON O ,

N E AR AN CHE E R M ST .

Febr uar 1905 y, . C N T E T S O N .

CHAPTE R

I N C I . THE NV ENTION OF PORCELA IN I FRAN E

I I F E I 1 3 . I A IN A I A N D FI R S CCE E N R O EN RST SS YS P R S, ST U SS S U

V BOR III . DE ELO PMENT OF THE MANUFACTURE OF SOFT PO

AIN A ST O D I T N AC E A LI E 19 C . L T . L U S MA UF TUR T LL

I V T E SO CE AIN O F C AN I . H FT POR L H T LLY

V S F -V . THE O FT PORCELAIN O MENNECY I LLEROY

V I V . THE E STABLISHMENT O F A MANUFACTORY AT IN

C E N N E S .

V R VII . INCENNES : A OYAL MANUFACTORY

TH E R C E L VIII . OYAL MANUFA TORY OF SOFT P ORC AIN AT

SEV E 17 5 6—1 7 69 R S,

I X T E A EMP To OD CE HA D- A E O CE AI N . H TT TS PR U R P ST P R L

IN FRANCE

X TH E LA AN AC O IE SOF - A E O CE AIN . ST M UF T R S OF T P ST P R L

Sc E A U x B - A-R EINE O EAN T NA , OURG L , RL S, OUR Y,

A R E A S, ST . A MAND

SE VRES FRO M 17 69 To 17 74

SEVRES UNDER LO UIS X V I 177 4—178 9 “ SEVRE S BISCUITS U N DER LOUIS XV . I XV .

TH E HARD- AS E P RCE AIN FAC RIE F XIV . P T O L TO S O FR OM THE DISCOV ERY OF K AOLIN THE

R E VOLUTI ON

SEVRES DURING THE R EVOLUTION

I SEVRE NDER E DIREC I ON F A EXAND E XV . S U TH T O L R

BR O N GN IA RT

II A SK E C OF E ODERN DEVE OPMEN O F FREN XV . T H TH M L TS CH PORCELAIN

III F E C XV . R N H PORCELAIN FORCERIES LIST OF COLOURE D PLA TE S.

PLATE ' I —V ncennes or Sevres — V se oazsseau d mat Fr ontis iece . i a p

— h n —F ow er -ho ders in the form of C t . II . a illy l l Statuettes To face p age

— — L te Su r -b ox and St nd II Ch nt . o I . a illy ba ga a

— V ncennes o r Sevres — O v Pot - ourri V se IV . i al p a

— evr s — P erced V se J ard iniere w th D o h ns S e . V . i a i lp i

— v —V se rd in ere on ed est a I Se res . V . a Ja i a P l

— - diniere w th rose-Pom d our round VII ev res . r . S Ja i pa g

— s — I n stand resented to M r e A ntoin II Sevre . VI . k p a i

ette by Louis XV.

’ vres — C nd estic -v se w ith E e h nts He d s IX. Se a l k a l p a a

— evres -R ose-w ter E w er and D sh X S . . a i

— — rd nier w th rose-Pom dour round evres . e XI . S Ja i i pa g

I — evr s — ove red s n and St nd e . C XI . S Ba i a

— — XIII Sevres Cov ered Vase (va se calice)

V — ce u -F ow er- ot d ecor ted w th F ow ers XI . S a x . l p a i l

- - - n — -b ox and t nd XV our R e e . Su r S . B g la i ga a

’ — v — i h r c roun e res . V ase w t ce t on e d XVI . S f g

— ev res — se w th bl u -d c-r oi and wil -d e- er dr ix II . V e XV S . a i p ground

XVIII — Sevres Jewelled Sevres Vase

— vr -P te of the erv c c ted f r Se es . S e e e u o XIX. la i x her n of R ussi Cat i e I I . a

— vr — u a -b x and r Se es. r o e m u XX . S g C a J g

— — XXL Sevres E gg Boiler (Coquell e)

xiv FRENCH PORCELAIN.

FIG . “ — — B s uit Grou : Beaut Crowned vres . i c 38 . Sé p y

— — Tureen tr s ur . Sou 39. S a b g p

- — v r — Cu and Saucer ider i e . 40 4 1 . N ll p

— vi r — J u and Basin d r e . 4 2 . N i e ll g — — Li ! e . J u 43 . l g

— — i - u n. M 44 . Cae lk j g

— — te imo es. P a 45 . L g l — — i es . Dish 46 . Marse ll — — Paris Fau our St . D enis . us t of Mira eau 47 . ( b g ) B b — — Paris D e la Courtill e . Vase 48 . ( )

— — ris De l a Courtill e . Mar ed ase 49. Pa ( ) bl V — — — Paris R ue Thiroux . Cov ered B w n 50 5 1 . ( ) o l a d Stand

— - - 5 2 Paris R ue Thiroux . Wat er u an Ba i . ( ) j g d s n

— — - 5 3 Paris Rue Thiro x . v r . ( u ) Co e ed Cream jar — ’ — 54 . Paris Fa ri u é ( b q e D ue d O rl ans) . Vase

- — — 5 5 5 vr . 6 . Se es Cup and Sauce r — — v . 5 7 . Se res Plate

— - - 58 . Sevres. Milk jug — — 59. Sevres . Vase

— - 60 . Sévres . Vase R E N R CE LA IN F CH PO .

APTE R CH I .

THE INV ENTIO N O F PO RCE AIN IN FRANCE L .

HE story of the invention of porcelain has often been told , T but no account of the history of French porcelain would be complete without some reference to the general history of E m porcelain in urope . It is i possible for anyone but an expert or a connoisseur to realise the long and sustained efforts that were necessary before it was possible to reproduce in E urope O a material so fine, so delicate, and so precious as riental porcelain. n Previous to the reig of Louis XIV . nothing was known in France of any other porcelain than that which came from

E a — r the Far st f om China and Japan . A few pieces of

o the soft Fl rentine porcelain, made under the patronage of the Medicis , doubtless found their way to the court, but they

s . must have remained unknown el ewhere This soft porcelain , I whether made in taly or in France, was the natural step by

’ ‘ which the fai ence -makers of those countries strove to bring the ware with which they were perfectly familiar into closer

r s agreement with the new and marvellous potte y of the Ea t . It will be Shown farther on that the technique of true porcelain

‘' i approaches in many ways to that of Simple fa ence . At all

i - events , it was the fa ence makers in both countries who had the fir st success in making a material that could in any respect be O compared with riental porcelain . B E LA I N . 2 FRENCH POR O

f It has been well established that during a period o at least

r f or one hundred and fifty years seve al tentative e f ts at the

manufacture of translucent pottery were made in Italy ; not

r for m without interruption it is t ue, the invention see s to have r r m . been made and fo gotten , and ade again Ba on Davillier

in es ol e l a Por cel a in e en has recorded in his book Les Or ig

E u r ope — the experiments made in Venice at the end of the of r m r fifteenth and the beginning the sixteenth centu y, the o e

the rr r successful efforts of Duke of Este and Fe a a, and , finally,

the Florentine productions of the sixteenth century, which have

to been already referred . r r r These pieces of Medicean po celain, so highly t easu ed by

m r r for r r are not the useums and the g eat collecto s their a ity, remarkable for their quality as p orcelain ; the glaze is seldom

r r l o o r r ve y b il iant, the b dy is nly mode ately t anslucent, and the

o r o colour of the whole is somewhat dull and yell w. The p eci us little collection in the Victoria and Albert Museum will allow the English connoisseur to appreciate the artistic merits of its

r o the blue and white deco ation, even th ugh pieces themselves

are r r m m athe thick and clu sy in anufacture .

S r r cientifically speaking, the mystery of po celain was not t uly

‘' r m the i -m r solved by these expe i ents of fa ence ake s, the glass m r . r to r r ake s, and the alchemists What they t ied ep oduce was

r Or or m r so recIO us the t ue iental p celain ; that ate ial fine and so p , so so m r delicate to the touch, yste ious to the eye, that it was m i ported into Europe and sold at enormous prices in spite of heard-of difficulties what they did produce was a fine species of , o om glass p ssessing s ething of the same aspect . Even as early as the fourteenth century one finds some m o of O enti n riental porcelain in the inventories of the pos o of “ ” sessi ns kings and great nobles , but as the word porcelain at thi t r oo unscientifi call was s ime ve y l sely and y applied , it is not r of r until the eign Cha les VII . that we find anything really r r b . r elia le unde this head The e is a passage of Mathieu de Coussy, or a of r . r m r 1 447 the hist i n Cha les VII , dating f o the yea , where

! Sp s of r r he eak a lette add essed to the Sultan of Egypt,or of Babylon, that he would favour French commerce in the I T N F 3 N VE N I O O PORCELA IN I N FRA NCE .

seaports of the Levant . The letter finishes with these words Si te mande par l e dit Ambassadeur un present a savoir tr ois

escu el les d c ou r cel a ine ol e Sinan t ouv ertz p , deux grands plats

ourcel aine r ourcel aine de p , deux touques ve des de p , deux

‘ ” bou u etz ourcel aine SI C q 1 de p ouvré , One realises the value attached to obj ects of porcelain at this period when they wer e thus solicited as presents from one m r onarch to another . It may be safely said that f om this time (the middle of the fifteenth century) Oriental porcelain

r s r r was collected and t ea ured by the c owned heads of Eu ope.

r F ancis I . possessed , in his room of curiosities, vases and dishes ” r r of po celain, curiously wrought , as we find by an invento y of

r the yea 1 58 6 . ‘ At this period the entr epot for such Oriental porcelain as

r r r t came to Eu ope was Cai o , then one of the g ea est centres for the exchange of the products of the East and West. The

r r precious porcelain was brought ove land to the bazaa s of Cairo ,

r rr a and thence it was shipped to the po ts of the Medite ane n , as

w r r t we kno th ough an autho of the end of the six eenth century,

’ o a L ys Guyon, who , in chapter entitled Qu est la Vaisselle de

’ ‘ ’ ” ourcel aine d OII s a orte et l p ; elle pp ; comme elle se fait , te ls us

‘' r i S that in Cai o the fa ences of icily , of Naples , and other places

m r are are sold at very oderate prices , while Chinese po celains held in the highest favour. This favour evidently extended to

England as well as to France . Does not the Victoria and Albert Museum possess a magnificent octagonal ewer of blue and white l porcelain , the spout of which is joined to the body by a rich y

r ? On w r o namented neck this e er a grotesque Chinese figu e , painted in blue under the glaze, shows to the full the quality

r of the material , while, finally it is mounted with a silve

- 5 mount bearing the hall mark of the year 1 5 8 . We may judge of the importance attached to this piece of porcelain by its

English owner of the sixteenth century , from the care with which he had it moun ted with a most beautiful and characteristic

’ m o exa ple f the Silversmith s work of the period .

— T V essel ov al v ase . ouqu e . ! ‘ B ou u B ottl e w ith handl es. 1 q et . 4 FRENCH PORCELAIN.

r r m r Th oughout the seventeenth centu y, though the i po ts of Oriental porcelain into France and England were largely increased by the development of trade consequent on the

O e of the r Or r p ning up Cape oute to India, iental po celain still

r m r on e ained a arity, as is attested by the high value put such pieces as we find specifically mentioned in contemporary docu m ents . But the introduction of Chinese porcelain in larger quantities led to a distinct trade in it which has continued to own our times . As early as 1 660 there were in Paris a u r m n mbe of erchants dealing in fine porcelain ; collectors and m t r a a eu s were already numerous yet so great was the mystery o c nnected with this unique material that all the authors of the period seri ously declared that porcelain must remain a whole r m centu y e bedded in the ground to reach its beautiful textu re

o . r , and gl ss The e existed in the Palace of Versailles, a Chinese r m or or , r o r o oo p celain o m , whe e p rcelain given to the King or , r r acqui ed by his privy pu se, was kept . This collection was r r 1 68 g eatly en iched in 6 when the ambassador of the King of S m r , m ia delive ed with great and solemn po p , the presents which his to Majesty had sent Louis XIV . and some of the princes and of o r nobles his c u t. Among these presents were a great number of ni mag ficent m of Or r speci ens iental po celain , many of which are to be found t o-day in museums and collections elabo ately , r

o r - r r m unted in F ench metal wo k of the pe iod . On some of these

metal mounts stamped r “ ” “ deco ations of suns and fi eurs-de lys will be found which r cor espond with the descriptions given in the inventory of the Royal pieces drawn up in 1 686 by the r Tachard Jesuit Fathe , . It is no surprise to find that throughout this period cease less efforts should have been made to imitate a material so hl ghly r d p ize r men i We have al eady t oned the apparent success that attended ff r upon these e o ts in Italy ; and in Nevers as well In as Delft, in Rouen as well as in Italy one pot e afte anothe , t r r r strove to rival and imitate d the white plates and vases , with ecoratIons in blue and in polychrome, o r r that had f und thei way f om the East. It must be remembered that even by the second half of the seventeenth century pottery was not in common use F INVENTION O PORCELAIN I N FRANCE .

r in in Europe. Doubtless , the art of wo king clay had been con sid ered too clumsy and too rude to entitle it to extensive use in

r or the deco ation of churches , for the production of the rich

r O accesso ies used in ceremonial bservances . In fact , all the

r pyxes, the vessels , the crosses , the sh ines , and the ornamental plate, used in the services of the church, were of gold and

r o . f silve , ften covered with enamels When we recall the ef orts that were made at this period for the adornment of places of

r worship with the most noble and precious mate ials , we realise the importance that was attached to the making of enamels at

r hl of Limoges, and the elative wort essness of the pottery the

r period . If the Church that , by its demands , has c eated and

r developed so many branches of industrial art in F ance, did not

art esteem pottery as a fine , then the nobility, and even royalty

t r i self, were likely to have little use for it either. In eve y rank and class of French society dishes of gold , silver or pewter were

o . empl yed for daily use Ultimately , general misery and pro longed and wasteful wars made the silver plate disappear from

r the tables of the wealthy, and on two occasions , fi st, after the 1 6 91 m 1 709 war of , and , secondly, after the fa ine of , the King and the nobles sent their plate to the Mint in order to procure needful supplies for the service of the court . Thus it was that dire necessity finally led the French nobility to patronise the art of the potter, and the great development that took place in

' ' French fai ence at the commencement of the eighteenth century

art was caused , not so much by the love of as by the necessity h of providing a substitute for the plate t at had been melted . It Should be added that if the clergy and the nobility had displayed

’ ' li t m i t le interest in the develop ent of decorative fa ence , the lower

r r orders were content with the most vulga dishes of clay, mo e or

o less badly glazed, with galena glaze , like the common cr cks used

r o r all ove Eur pe . It is singula that the disasters of the French S to u n tate at the end of the seventeenth century, due the

S r lucky politics of Louis XIV . , hould have been necessa y to

i r m establ sh the French ce a ic industry, which was to reach such a remarkably high development before the close of the eighteenth century ; and with this development of the 6 FRENCH PORCELAIN.

painted farence of France came repeated efforts to manufacture

porcelain. m r By this time the various Indian Companies had i po ted r into Europe vast quantities of Japanese and Chinese p oducts . A Portuguese mission having stranded in 1 542 on the coasts of the Island of Kou -Siou were most hospitably entertained by the

- n who l m t r r . Japa ese, cal ed the hei fellow count ymen This

m o o m r r and r r issi n obtained c m e cial ights, the Po tuguese we e

l o to r r al wed establish wa ehouses in Nagasaki. Theywe e soon

o for m r foll wed by the Dutch, who, ore than a centu y, maintained

mo o o r r a n p ly of t ading with Japan . The Po tuguese had ,

o r ro o t o h weve , the idea of int ducing Catholic missi naries , whom

o o r o the p pulati n listened with inte est. Then foll wed the

r r excesses of the p opaganda, and political and eligious difficulties

r t n r r a ose, so tha the Japa ese we e d iven to expel the foreigners

and ro who t r p secute those believed in hei new doctrines . In 1 639 an Imperial edict was promulgated which expelled the — or r m r o r f eigners p iests and e chants, laymen and missi ne s, alike - rom f the Islands of Japan . This exclusion was rigorously m t r aintained agains the Portuguese and the missiona ies , but r r r m the Dutch we e g anted ce tain exe ptions . They were allowed to is establ h in an islet near the port of Firando a station called m or , m r Deci a Deshi a, and it was f om this place that the Dutch i n om rr on r r r Ind a C pany ca ied thei t ade as befo e . It was from entr epét ro 1 698 1 722 this that they b ught , between and , a series or l r m of p ce ains, f o which were chosen the magnificent pieces now to be found in the Japanese Museum at Dresden W . r r r r hile the Dutch had thei cent es of comme ce, fi st at

, t r r m Nagasaki and af e wa ds at Deci a, the other European nations o ro o r m so n st ve to btain a sha e of the co merce of the East . Of r o the va i us Indian r orm o Companies that we e f ed for the purp se , i the Engl sh East India Company or , ganised at the commence i nt the seventeenth r o centu y, so n began to make its power pelq q: s the Dutch and the Portuguese were at this time r m In Far sup e e the East, the English company helped Shah b e o r p we ful and r r of r to iz enlightened ule Pe sia, expel iirzfi ues g e r o o f O f om the p rt rmuz . By thIs means they

I V N OF 9 N ENTIO PORCELAIN I N FRA NCE .

o c ntemporary authorities who have written on this question , and who had full knowledge of the manufacture of soft paste , r m i i we unde stand that they commenced by ak ng a frit . Th s

m r frit al ost always contained natural ea ths and alkalies , and

n - alkali e earths such as lime . To give an example, it would be f necessary to melt together, at a suf icient heat , siliceous sand ,

- r alum , sea salt, gypsum , soda and nit e ; the fusion taking place

’ ' r r or i in the bottom of a fu nace whe e p celain or fa ence was fired ,

m r o m u t . or, so eti es , in a special f rnace buil for the pu p se This frit was pounded and washed with boiling water to remove any materials which remained soluble . The working clay was then prepared by adding to this frit a small portion of calcareous marl , which, as its name implies , was a mixture of chalk and plastic clay ; sometimes pure chalk was added in addition .

m r t This ixtu e was ul imately ground together in water , and gave a paste which had little plasticity, and was so very difficult “ either to throw or to mould that it was necessary to add to

r r it ce tain o ganic substances , such as black soap or parchment

S r ize, to rende its manipulation possible .

o The m ulds used for shaping the pieces were of plaster, of considerable thickness , and so contrived that they gave the outer shape to the vessel ; another mould or core of plaster gave

S the inside hape , and was pressed into position by means of a

r mechanical press wo ked by a lever .

r The pieces thus moulded were first d ied , and were then turned on a lathe to reduce them to the proper thickness . The dl han es , or other ornaments in relief, were applied in the same

m S r way as is com on with other pecies of potte y, by the use of hi slip to act as a lute . The pieces thus fas oned received their “ r i fi st or biscuit fire , and th s was the most difficult part of the whole process . First of all it was necessary to support all the round or projecting parts with littl e props or supports of the

for r same material , during the firing it was necessa y to reckon on two conditions which might l ead to the deformation of the piece : on the one hand the softening of such a h ighly vitreous sub

to diminu stance , and on the other hand, the shrinkage due the

' whol e i m tion in bulk of the p ece . As the props or supports ust 1 0 FRENCH PORCELAIN.

r be made of the same material as the piece itself, a little powde ed o e sand was used to prevent actual contact. The firing was d n

r o m r o m r o in saggers made fr om calca e us a l , in vens si ila to th se

‘ - r t wo used by the faience makers. These ovens we e divided into m chambers one above the other ; in the lower cha ber the r r r r m biscuit wa e was fi ed , and in the uppe cha ber the sagge s r of r r , only were fired . Unde the lowe chambe in the bottom the

or r o n s furnace , was f med a ci cular peni g into which the flame

r r came direct from the firing mouths , and he e it was that the f it

o r r r itself w as melted . These vens appea to have fi ed in a ve y

r so e irregular manner and we e difficult to manage, that a larg im proportion of the pieces came out from the first firing in an perfect condition ; some being too much softened and vitrified

r r - r r by excessive heat, while othe s would be ose colou ed, g ey, or m blackened from insuffi cient firing and penetration of s oke. Aspen wood was used as fuel because it gave a clear and steady

fi re m t m -fi ve t o r flame, the being ain ained fro seventy one hund ed

r r u r m - hou s . It was necessa y to b rn f o thirty two to forty cubic metres of wood to fi re an oven of this type having only

m r about ten cubic et es of useful space, so that the necessary fuel formed no inconsiderable portion of the expenses of the process. m When the biscuit was drawn fro the oven , the supports

r r m r we e e oved , the whole piece was ubbed with sand to clean the r r su face , and was then coated with glaze by sp inkling with

’ r i a b ush, in the same way that glaze was applied to fa ence .

r r The glaze used was nothing but a fusible glass ve y ich in lead ,

fi r - nely g ound , and suspended in water . The glaze coating was then melted by firing the piece a second time in a similar oven

r r r n m to that al eady desc ibed , but this fi i g was completed in fro

-f -fi v e m r r twenty ive to thirty hours, the te pe ature equired being o r its wa nly such as would b ing the glaze to point of fusion . It s

r r r r o r - f equently necessa y, in o de to btain a pe fect glaze coating,

r o r m to give the piece seve al c ats of glaze , firing it af esh each ti e, om In s e factories the glazed pieces were fi red in the ji pper “ ” r o the r r chambe of the ven, while biscuit pieces we e being fi ed in the lower chamber ; but in any case the glazed pieces were IN V T OF I N 1 1 EN ION PORCELAIN FRANCE .

r r m always fi ed in sagge s well washed inside with the sa e glaze , so that the sagger itself might not impoverish the glazed surface

r by absorbing some of the oxide of lead f om it. Such a procedure as that above described is extremely com plex although we have dealt merely with the shaping and gl az

ing of the ware, and have not considered at all the important

questions of decoration and painting . If we reflect that at this

r r r pe iod the chemical industry did not exist, so that eve y f esh

ff r m supply of the materials might have a di e ent co position , and that the knowledge of the clays and other natural substances

o used was als in its infancy, we can realise that the potters of the eighteenth century found in their materials alone a constant

source of trouble and of failure . When we reflect further on the numerous difficulties of shaping a material that was not

plastic , and of firing a substance so liable to go out of shape

r within a very few deg ees of heat , we begin to understand and appreciate why the French soft porcelains are so much sought l after and so highl y valued by co lectors .

r r It would, perhaps , be un easonable to value this mate ial

br merely because of the difficulty of its fa ication , but when we

r r find how those difficulties we e ove come, and that in spite of

r u them porcelains we e produced with such freshness of colo r, such beauty of texture , and such quality of surface, we can realise

r more fully the special charm of this fine and precious mate ial .

r Besides all this the French soft porcelains , in the ichness and

for variety of their decorations , af d most valuable testimony

r art with egard to French and French taste under Louis XV .

r r and Louis XVI . He e we find F ench decorative art under its most varied aspects sometimes frivolous , sometimes severe, but

r always b ight , gay and accomplished . From the soft porcelain

o alone, by a study of its forms, its decorati ns , and the caprices

a of f shion that dictated them , it is possible to obtain a clear impression of the France of the period . In conclusion it should be pointed out how far removed the French soft porcelain was from the true porcelain of th e East

i ha wh ch d been the starting point of its manufacture . The porcelains of China and Japan m ade only of natural Clays and 12 FRENCH PORCELAIN.

r m r i ocks, are uch mo e analogous to fa ence, which is also made of

r r m - t o pu ely natu al aterials , than this soft pas e p rcelain which

r nd app oaches technically to glazed glass , a may indeed be said o orm t f a connecting link between pottery and glass . While the porcelain of the East therefore deserves its name of natu ral hard

r rm m r po celain, no te can be o e exact than that of artificial soft porcelain which has been applied to the material we are now discussing .

14 FRENCH PORCELAIN .

of under pain of confiscation of their goods and a penalty

r to or r r m liv es, make sell this po celain within thi ty iles of Paris . It is impossible to be certain what Claude Reverend r eally

r and e r manufactured in Pa is , wh ther , indeed, he was mo e than a dealer who imported into Paris the famous Delft wares of Hol

o r r Or land, which at this peri d so wonde fully eproduced the iental ale r r r blue and white po celain , neithe do the slight refe ences by

r us r S r r contemp orary autho s help ve y much . ava y des B us

‘ l onS ’ l says that experiments in the manufacture of porcelain

r r at r we e fi st made Rouen, and imp oved upon at Passy, near

nd r r m r r St . a Pa is , and at Cloud he fu ther e arks that in o der to equal Chinese porcelain the French porcelains need only to have been brought miles and passed off as foreign to win the minds of a nation accustomed to esteem what it does not possess

its and to despise what it finds in own land. “ o r n An ther autho , the editor of the Dictionnaire Ma uel de

’ o m d u r er l h m e Monde, declares that in beauty of g ain, p fection c r li , and finish of the pieces, ac uracy of design and b il ancy

of of the colours, at least the blue tints , the French have been

r r but little su passed by the Chinese . Finally, acco ding to an “ or r English w k , the Cyclopedia or an Universal Dictiona y of r S A ts and ciences , it is stated that the great defect of the

r or r F ench p celains lies in the colou of the clay, which can be l easi y distingu ished from the vivid and pure white of the

r r r Chinese by its gene ally dull and da k appea ance. It woul d certainly be difficult to maintain that such evidence as is here cited proves the existence of a porcelain factory at

r or m r m Pa is at Passy, as so e autho ities have aintained, but it ma y be remarked that a few pieces are known in museums and private collections that can with difficulty be attributed to o or St R uen . Cloud, and which may conceivably be of Parisian

r r r o igin, and of this ea lie date . are m There , for instance, in the cera ic museums at Sevres and

l - of Limoges two sa t cellars, the paste which is dull and heavy,

’ See Sol on s Ol d French Fai ence 5 , p . 7 . ‘‘ ” l ictionnaire U niv ersel d a omm D C er ce . M

n ou ns (P A t e t e nd r e ).

1 — P FIG . M ARD OT PAIN ED E . UST T IN BLU . 3 H 3 in . . 5 Sévr es M u u m se .

A N D 15 I N PA RIS RO UE N. and the forms absolutely like those found in the faI ence of

r the pe iod , while the blue decoration is also analogous to

’ c ontemporary Parisian faience . The pieces give every evidence

' of having been made by faience-workers little accustomed to a material so deficient in plasticity as the paste of soft porcelain ,

are r for the pieces fractured , as they would be by impe fect

l m r fi r manipulation in the clay, as we l as by i pe fect ing . The

r - m r pa titions of the salt cellars have bent, the extre ely vit eous

n r r glaze has in places run i to streaks or d ops ; in a word , eve ything

r about the pieces manifests the inexpe ience of the makers, just as

t o r r r truly as heir dec ration p oves thei F ench, and, one may

r r almost say, their Parisian , origin . The ve y ca e with which these m r . r pieces, ma ked A with a sta above the letters, ust have been preserved that they should have descended to our time,

r r shows the interest attached to them by thei o iginal possessors .

of or r In the absence documents , of pieces ma ked and dated , it is impossible to form any decided conclusion as to the origin of the pieces here described , but it is just possible that they may have been the initial experimental pieces by which Reverend or some

' Similar person sought to support his claim for the grant of letters

r r m patent . But even if we grant that Reve end expe i ented to h this end , we have no proof that he ever establis ed a factory.

1 673 ro It is only in that we reach sure g und , when Louis

’ Poterat i - t S S . , a fa ence maker of ever, near Rouen, applied for and was granted an exclusive monopoly for the fabrication of plates and dishes , pots , and vases of porcelain like that of China ,

' ‘ faIence r for t and of afte the Dutch fashion , the period of thir y

Potera years . Louis t was granted this privilege on the ground

l r that, by travel ing in foreign count ies and by continual dili gence , he had found those secrets so important for the establish

r ment of a new indust y in France . It is singular that the letters -patent granted to Poterat for the manufacture of porce lain made no mention of the grant made nine years previously

e r to Claude R verend for the same pu pose. Neither is any mention made of the earlier grant to one Poirel de Grandval for

' ' the manufactu re of faI ence which had already been established at Rouen . Louis Poterat indeed had suggested that in order to 16 FREN CH PORCELAIN.

fi re produce his porcelain it was necessary to it along with

’ r t of it faIence and in the more shelte ed par s the oven, as would , i’ m not endure the fierce heat required for the fa ence ; and it see s

’ ’ - to faIence r probable that the earlier letters patent relating we e deliberately overlooked in order to encourage the producti on of

- r this wonderful new material po celain . The entire disregard of the patent granted to Claude

rm Reverend would indicate that , as has been su ised above, he

' ' contented himself with importing the blue -and-white fai ence of

m r Delft , and made no atte pts to establish a porcelain facto y in

r Pa is . There is some evidence that the soft porcelain of Rouen was made both at the factory of Louis Poterat and . of his father 1 73 1 96 Poterat 6 6 . Edme , between the years and We gather

’ d rmesson this from an official inquiry made by M . Lefevre O

r 1 6 94 at the request of M . de Pontcha train in June , , when the

’ o ra s r o r prolongation of P te t p ivilege was s ught . This eport

r St S r are states that the wo ks at . ever (a subu b of Rouen) well

r t kept , that they possess the sec e of making porcelain, but that

m r r they ake ve y little of it, but on the contrary manufactu e

‘’ r faIence r r r la ge quantities of . This epo t fu ther informs us that in consequence of famil y disagreement the widow of Edme Poterat and her youngest son make porcelain as well as Louis

oter or P at . It is again explained that this p celain is fired in the

‘' for e of faIence ovens used the manufactur , and hence the

‘' Poterat f i necessity of allowing Louis to make a ence, although a sole privilege had long previously been granted to Poirel de

r G andval for this manufacture. After the death of Louis

Poterat 1 696 b r r , which happened unexpectedly in , his othe was

r ar or w appa ently unable to c ry on the w ks , which were after ards

m r orc re oved to Rouen, and ve y shortly the manufacture of p e r r lain was enti ely elinquished . For a long time the beautiful Rouen porcelains made by the Poterats r r m we e ove looked, or confounded with those ade S or r r St . o h tly afte wa ds at Cloud , th ugh nowadays one wonders

t r that his should have been the case, as the e are essential ff r m di e ences between the . R O U E N (P 6 3 0 t e nd r e ). “ FI — P D E C A E D I AM RE I N G . 2 . CU OR T W TH L B QU S, AI ED E P N T IN BLU .

H in D ia 3 in. . 3A . .

H Fi zhen r E s . n J . . t By kin d P er mis s io 0 y , q

Victor ia a n d A l ber t u s eu m .

18 FRENCH PORCELAIN. to we also illustrate a cup of Rouen manufacture from the Victoria and Albert Museum (see while a third piece

3 . illustrated in Fig. It must be stated that this flower-pot in the Sevres Museum

r fi St. is the e classi ed as porcelain of Cloud, but by its style and its decoration it seems to us more probably to belong to Rouen . (P i t a t e nd r e ).

— - FIG 3 . ER POT DEC A ED IN B E . FLOW OR T LU I A A RI E W TH ROY L TT BUT S . H . 8 5 in. é vr es M u m S us e .

APTE R CH III .

DEV ELOPMENT O F THE MANUFACTURE O F SO FT PO RCELAIN A T

ST. C O UD ITS U TU . AN FAC RE A T I E L M L LL .

IT was long contended that the origin of French porcelain must S t . r be traced to the factory at Cloud , and to the labou s of a

’ i - r Chicanneau fa ence maker the e named . The priority of the claims of Rouen, however, cannot any longer be contested, and

’ ‘ as in the list of faIence painters employed at Rouen given by

. t r A Pot ie , the learned antiquary , one finds the same name,

Chicanneau , we are tempted to believe that there had been a

’ e Poterat s o S t. transfer nce of discovery fr m Rouen to Cloud .

‘‘ i St s The fa ence works at . Cloud appear to have been e tablished b o 1 670 o ef re . The factory , near Paris , p ssessed on its own grounds or in its immediate neighbourhood everything

‘' r faIence— that was needed for the manufactu e of plastic clay, s C a and , marl and chalk . Its proximity to the famous h teaux of

- - St . en Versailles , Meudon , Germain Laye, without mentioning

St. r that of Cloud itself, was doubtless well calculated to secu e for it noble or royal patronage . Modest in its origin , it must 1 670 have reached a certain assured position of manufacture by ,

Tr ianon d e or cela in e when Louis XIV . decided to build the p , a 1 little palace that was destroyed in 687 . The royal accounts

Guiffre w e for this building, published by y,sho that R verend was at that time the principal purveyor of pottery ware to the

' ‘ 1 670 faI ence s o court , as he supplied in va es to h ld oranges

m r and flowers , the cost of which a ounted to liv es . These vases are further stated to have been manufactured at St . Cloud . 20 FRENCH PORCELAIN.

r r 1 670 . r , At this date, , M Mo in was the directo of the wo ks and it was only some years afterwards that Chicanneau and his

' ' of S o i sons brought the manufacture t. Cl ud fa ence to its highest O r degree of perfection . nly those who have visited the pha

r r macy of the hospital at Versailles, whe e a complete set of d ug

r St . r pots made at Cloud is prese ved, can justly app eciate the

‘‘ i r r o beauty of its fa ence, and the ichness of its blue deco ati n

* r r outlined with black . If the mate ial itself is less pe fect than

of t are r o that Rouen, the decora ions in pure F ench taste , th ugh

the forms have been borrowed from those of China or Japan .

rm Chicanneau r r man We may su ise that , a cleve and indust ious

who r r Poterat t o had probably surp ised the sec ets of , turned

o m S r m this St. Cl ud anufactory as a suitable phe e where he ight

r o develop the fabrication of po celain on his wn account . The

r t St first autho itative date connected wi h the . Cloud porcelain

1 696 r r r - t r is the year , as we lea n f om lette s pa ent g anted by “ r rr Chicanneau Louis XIV. to Ba be Coudray , the widow of Pie e ,

and - rr e Chicanneau to Jean Baptiste, Pie e and Genevi ve , brothers

t r r and sis ers, child en of the mentioned Coud ay and the men

’ ' tioned r Chicanneau i Pie re , and undertakers of the fa ence and

r St porcelain wo ks established at . Cloud in consequence “ t o f t t rr Chicanneau of the statement the ef ec hat Pie e , the

r r r father, had labou ed for seve al years at the fab ication of

‘‘ faIence r r , and , having attained a high deg ee of pe fection in m kn this anufacture , had intended to extend his owledge and to find the secret of making true porcelain ; he had made many experiments of different kinds and tried different pro cesses that had produced pieces nearly as perfect as the

hi r C nese and Indian porcelains . The child en have continued

m m r o a 1 696 r the sa e anufactu e, and bef re the ye r have a rived ” m r f r at the point of aking po celain o pe fect quality . “ t r — add r i The let e s patent that, Previously a p iv lege had been

‘‘ granted to the Sieur de Saint -Etienne I to found a works at S S nl Rouen , but that the ieur de t. Etienne had at most o y

See E “ . S. A u scher . La Cé ramique e u ché teau d e V ersaill es sous l e regne d e Louis X I V .

The terr itorial d esi nation of L g ouis Poterat . C A T T. U 21 SOFT POR ELAIN S CLO D A N D LILLE.

approached this secret, and had never carried it to such a pitch

r St of perfection or execution as it eached at . Cloud that since his death neither his wife nor anybody belonging to his family wi has made anything in porcelain, and that thus , thout wrong St E ing the heirs of . tienne, it is possible to grant the monopoly St to . Cloud , as much for the good quality as for the beauty and ” Chicannea the perfection of the porcelain made by u . We may further remark that among the bills r elating to the ’ 1 6 82 King s buildings , under the date , there has been found the payment of livres to Gabriel Morin for having transported 1 73 m by water from Rouen to Paris boxes , some of them fro

’ 1 30 C Rome, and tons of lay for porcelain for His Majesty s service . t - What this clay was, coming from Civi a Vecchia to Rouen by S n sea , we do not know, nor what the uperintendent of buildi gs , ” r r a ts , and manufactu es used the clay for , though it is quite

‘‘ faIenc t likely that it was used by Morin in his e works at S . - 1 702 Cloud . In any case, as the letters patent of , above referred f to , were only to have ef ect for ten years , it seems certain that 1 696 the manufacture had been established before , and though

r r the e had been, as we have al eady seen, earlier attempts in

Italy and in France to produce soft porcelain, we must attribute S to the t . Cloud potters the first enduring establishment of

- E porcelain making in urope. t We have but scanty details of the S . Cloud works in the

contemporary memoirs O f French writers . The most famous St account of the early days of the porcelain works at . Cloud we

owe to an Englishman, Dr. Martin Lister (afterwards physi u A eian to Q een nne), who accompanied the Duke of Portland to Paris at the time of the negotiation of the treaty of

e Ryswick , and mad a stay of some duration in Paris and its

environs . “

St. I saw the potterie of Clou , with which I was marvel

l ousl i y well pleased, for I confess I could not distinguish betw xt

r the pots made there and the finest China wa e I ever saw. It

will, I know, be easily granted me that the painting may be better designed and fi nisht (as indeed it was) because our men are far better masters of that ar t than the Chineses but the 22 FRENCH PORCELAIN .

r w glazing came not in the least behind thei s , not for hiteness,

m o n b . nor the s o thness of ru ning without ubbles Again , the

r to r inward substance and matte of the pots was , me , the ve y

r fi rm m r and - on same, ha d and as a ble , the self same grain this

r t r side vitrification . Farther the transpa ency of the po s the ve y m foimd erfec sa e . I did not expect to have it in this p m m r Gomron r tion, but i agined this ight have ar ived at the wa e ; which is, indeed, little else but a total vitrification , but I found

far o r r of it therwise and ve y surprising, and which I account pa t i the felicity of the age to equal, if not surpass the Ch neses in

ar their finest t . “ St They sold these pots at . Clou at excessive rates , and for

r r k r a- e their o dina y chocolate cups as t c owns pi ce . They had

che u er or arrived at the burning on gold in neat q e w ks . He had m 1 sold so e tea equipages at 00 livres a sett. There was no m or o of r oulding m del China wa e which they had not imitated,

m r o and had added any fancies of thei own , which had their g od effects and appeared very Having quoted this impor tant do cument we may notice that

’ a St u o D ue d Orlé anS the ch teau of . Clo d bel nged to the , an

r St o enlightened patron of the a ts of his day ; and that . Cl ud

r r r i lies on the road f om Paris to Ve sailles , so that it would ead ly

r of r r att act the notice the g eat lo ds attending the court . Here is an account of the visit of Madame la Duchesse de Bourgogne

3rd S r 1 700 — on the eptembe , T I have forgotten to write to you that the Duchesse de r St Bou gogne, when she had passed through . Cloud and turned

o r to al ng the rive side visit Madame la Duchesse de Guiche ,

r r made her car iage stop at the door of the house whe e the MM . Chican neau have had established for some years no w a manu r of or facto y fine p celain , which without doubt has not its like in ro all Eu pe. The princess found pleasure in seeing several pieces

r o m She m r of ve y go d shape ade on the wheel . saw so e othe s i pa nted in patterns that were more regular and better done than

“ A ccount of a J ourne to Paris in the Y ear M r in y D r . a t Lister . London 1 6 99 , .

Le M er cure Calant O ctob er 1 00 , , 7 .

S C A T T 23 T S UD D . OF POR ELAIN . CLO A N LILLE t hose of the Indian porcelain . Then she went to see the faiences

r being made in the manufactory, and afte wards MM . Chic

oflice anneau conducted her into their , where she saw quantities

u r of fine and beautif l porcelains in their pe fection , with which

m She she was so pleased that she pro ised to come again . did not leave without shewing her satisfaction by the gratuities she ” r gave to the wo kmen . The privilege granted to the factory in 1 702 onl y endur ed for

r - 1 7 1 2 ten years , and in the f esh letters patent granted in for a

r further period of ten years we find the name of Hen i Trou .

Due This Henri Trou , who was Usher of the Antechamber to the

’ d Orlé ans r 1 698 w , had mar ied , in , Barbe Coudray, the wido of

Chicanneau the elder , and had been received into the Company

' ’ - FaIence 1 706 . of Master Enamellers , Glass and Makers in The works must have been carried on with considerable success , for in 1 7 22 the privilege was extended to the heirs of Chican

r r neau and T ou for a further period of twenty yea s . This third grant of a privilege appears to have been directly due to the

’ D ue d Orléans r , at this time Regent of F ance, as the King “ decides after the opinion of his dear and beloved uncle, the

’ Due d Orlé ans r in , and gives his decision about the expenditu e

’ curred to bring into use the secrets given by the D ue d O rléanS l - himself for the perfection of the porcelain . It is a we l known fact that this prince had a laboratory where he studied questions

of physics and alchemy, as was the fashionable custom of the t day, and where, la er on , experiments in the manufacture of

hard porcelain were tried . The decree of 1 7 22 seems to have caused disagreement

between the two families concerned . The Trous kept the works St wi at Cloud , and Marie Moreau , the dow of the younger

r Chicanneau Pie re , started a factory in Paris in the rue de la

’ l E r vé ue St . Ville q , faubou g Honoré . A third factory appears S in r t . to have been started also in Paris faubou g Antoine, for

e m r 1 739, we read in a memoir of the chemist R au ur, of the yea entitled Ma nier e d e tr a nsfor mer te ver r e en u n e espéce d e

’ por cel aine appel ee d u n om d e son au teu r p or cel aine cle “ R éaumu r , the following sentence : Is it not enough for a 24 FRENCH PORCELAIN . porcelain that is going to be so cheap if its whiteness is superior to that of our usual porcelains that are made in the faubourg

r St . Antoine ; if it is just as beautiful as that of the po celain of

r r , St. Cloud ; and finally, if its whiteness is not infe io or is even ? ” r r m r supe io , to that of ost Indian po celain

m r m It see s, the efore, certain that at the ti e that Henri and

r r r Gab iel T ou, sons of the elder Trou, and of Barbe Coud ay , St m O o rr . were ca ying on the works at Cloud , and so e of the hi

a s ks St . anne u were carrying on the wor in faubourg Honoré, at

r o o Paris , a thi d p rcelain works was als being carried on in * faubourg St. Antoine. Although further letters -patent in 1 742 prolonged the privi

for r r lege yet anothe twenty yea s , the activity of the heirs of Chicanneau and Trou seems to have been spent in a war of recrimination and legal processes , the details of which are without interest to us .

r At what period, or f om what causes , the fabrication of soft porcelain at St. Cloud came to an end we do not know

has r precisely , though it been stated that the wo ks was

1 7 73 r r destroyed by fire in , and that the p op ietors did not

ffi to possess su cient funds rebuild it . It may be remarked in passing that Dominique Chicanneau “ r is said to have made the first porcelain figu es, and all other

a 1 7 1 0 1 7 24 kinds of imagin ble things , between and , and that he sold grotesque figures and branched candlesticks in the form of 1 7 1 tree trunks as early as 3 .

r S r The appea ance of the t . Cloud po celain is very character istic . The paste is decidedly yellowish , and of a fine and

r n few regular g ai The glaze is clear and brilliant, with but S o . bubbles , and very seld m blistered ometimes pieces that have been insufficiently fired in the enamel -fi ring (feu ol e mou e fl ) have dull patches, especially on the flat parts of the Ieces p . White pieces with some simple modelled ornament are quite

‘ Fran ois Héb ert wh o w as r el ated to the Chicanneau amil had a faIence c , f y , ’ “ ” actor in the aub our n s d r n h S . A n in in 1 20 l o l F F t to e 7 . So O e c aIence f y f g , — . 77 . E D p . 2h

S T . CL O U D (P fi t e t e nd r e ). FIG 5 - J . . U G MOUNTED WITH SILV ER : TH E GROU N D H A S B E EN COATED WITH C P LA D O N O N -G A Z E L . H . in. D ia 4 in . 72 . i B kind Per m i i s s on . H o f J . Fitz hen r y y , V ictor ia a n d A l be r t M u s eu m .

A A T T. U 25 SOFT PORCEL IN S CLO D A N D LILLE.

flower- of plentiful , and include pots fairly large dimensions ,

- cups, saucers , j ugs , knife handles , statuettes and grotesque

figures, but the greater number of pieces are decorated with

- r m skilf patterns in under glaze blue , the o na ent being t arranged to enhance the modelling impressed on the body

s of the piece ( ee Fig. A small number of pieces are

r w known in which g een , red , yello , purple, and a blackish brown

al on ith One r are used n the blue . ve y exceptional piece is

r m at present shown in the Victoria and Albe t Museum , na ely,

see 5 has a small water jug ( Fig. ) which been covered with a

o r fairly thin unif rm coating of a pale celadon colou . * In an earlier volume of this series Mr . William Burton has pointed out with great clearness the origin of the ornamental

r devices used by the first po celain makers in Europe . They

r as i attempted to reproduce , as nea ly possible , Ch nese and

r m r Japanese patte ns , the better to co pete with the impo ted porcelains of the East . Thus the white Chinese pieces , decorated

r with prunus flowers and branches in elief, which are so highly appreciated by all collectors on account of the beauty of their paste and the richness and brightness of their glaze , were i St . o especially im tated at Cloud, and this decorati n of sprays

r flower and flowers in elief is often found on cups , saucers , and pots . At other times , when the ornamental details were painted

r in colours they were still se vile imitations of Oriental patterns .

h S flower - A good example of t is will be found in the t. Cloud pot

see . 6 r ( Fig ) with polych ome decoration , which is preserved

Se r in the museum at v es . The forms of the cups and other vessels were also borrowed from the Chinese ; nor can we wonder at it when we remember that all the beverages for which these cups were specially

r designed were themselves O f recent impo tation . We may t 1 65 1 recall for instance hat chocolate was first imported in , and its use only became general in the reign of Louis XV. , that tea

r r 1 652 ff made its fi st appea ance only in , and that co ee from

m 0 r Mocha became co mon in 1 67 . In the t ain of these new

r - - luxu ies of the East , cups and saucers , tea pots and coffee pots

cc ” Histor nd Cassell CO 1902 . a escri ti n f E n l ish P r l ain . . y D p o o g o ce , 26 FRENCH PORCELAIN.

r O r r r were needed to give the t ue iental flavou , and the potte s of St Cloud naturally turned to O riental models for these new * r articles of luxu y . N0 long period elapsed before European patterns made their

on O appearance these riental forms , and dainty scallop patterns (lambr equ ins) and fine ornamental designs eloquent of French t - aste were soon used to decorate the cups , sugar basins , and

ff - u r r llin co ee pots . As a f rthe efinement delicate mode g of the piece was often indulged in, and in this way we get the typical S t. Cloud pieces modelled to resemble artichoke or lotus leaves , which are so highl y prized by connoisseurs . At the present time we have no knowledge of the gilded pieces or branched candlesticks mentioned by contemporary writers. It is nearly impossible to fix the date of any particular

S . piece of t. Cloud porcelain The same patterns and the same

r and r decorations were p oduced over so long a period , the ma ks

r r we e so carelessly applied, that we have no su e guide for the

l r exact chronology of any particu ar piece or se ies of pieces . The r XI V was fi st mark used during the reign of Louis . a sun ,

m r r i p essed in the paste . Eve yone knows that the sun was m t the royal e blem of Louis XIV. , taken from the famous mot o

nee l u ribus im a r ma ( p p ), and it y be stated that all the pieces

r are ma ked with the sun in the style of the seventeenth century,

r l t and are noted for thei qua ity and the elegance of their ou lines . Subsequently the pieces were marked in blue with the letters

” “ ”

S. . r T C with a small cross above , and unde neath, the letter . Sometimes numbers or detached letters are used in conjunction

r with this ma k . It is easy to translate this mark into the words “ S — t. o r m or Cl ud T ou , and to say that the other nu bers letters

are s ff r the distinctive number of the pieces of di e ent services,

r of r r r or the special ma ks ce tain deco ato s . All the more

t o so as the essen ial mark is occasi nally defective, and many

o r rr different blue initials are f und , gene ally su ounded with little

crosses . We may mention that the following initials are often

It ma be ointed out that a reat nu mb er of the St Cl ou d sau cer s hav e y p g . an inner rim tr mbl e s ( e u e) d esigned to prevent the Sl ipping of the cup on th e smooth art of the saucer p .

A T T S . C U A 27 SOFT PORCELAIN LO D N D LILLE .

“ “ . . S found written in this way B C L . I . . ” ” ” “ P “ E “ M m ni , , F , either by themselves or acco pa ed

r by crosses or nume als . It is possible that among the pieces bearing these irregu lar initials may be some which have proceeded from the two

r r St wo ks we have mentioned in faubou g . Honoré and fau

r St. bou g Antoine , but on this question we have no certain knowledge.

I E L LL .

It is known that the manufacture of porcelain was attempted

’ at Lill e about 1 7 1 1 by a faience - maker named Barthelemy

e r Dorez and his nephew, Pierre P lissie . It is recorded in a petition addressed to the Mayor and Council of Lille that Dorez exhibited to them samples of porcelain after the Chinese fashion

V with a iew to display their beauty and their hardness , and that he sought the right of setting up an establishment in the town

‘‘ where he proposed to make porcelain as well as faI ence that he might increase the reputation of the town of Lille . The

r Municipal Council accepted his petition , subsidised his wo ks , and gave him the entire privilege of the manufactur e and sale of

r po celain in Lille . The terms of this grant were based on the declarations of Dorez , who stated that he was the only potter,

Chi nn a ca e u St . besides of Cloud , who possessed the true secret of making porcelain similar to the samples that had been produced Dorez adds in his petition that the master of the

r Rouen works , having believed he had penetrated the sec et of

m u be porcelain an facture , sent his ware to Paris to sold as if it St the were made at . Cloud , which gave a bad reputation to

t r the ~ R ouen S . ware of Cloud, owing to the inferio ity of pro d uctions r , but the plot being discovered he was fo ced to cease

r the manufactu e .

z e We have no means of knowing, now , if Dore and P lissier

r had acquired the secret of porcelain manufacture f om St . Cloud

r t or Rouen , or whethe they had attained it by the happy resul n to of bli d experiment , though we incline the belief that the

r r ma forme view is mo e probable . Be this as it y , it is certain 28 FRENCH PORCELAIN. that from the years 1 7 1 1 to 1 720 D orez and his partner received 1 7 20 a regular subsidy from the municipality of Lille . By they l m in appear to have been firmly estab ished, as a inute the Journal of the Council of State declares that the brothers

r e r r Francois and Ba th lemy Do ez , the unde takers of the porcelain

‘' faIence r 1 708 and manufacto y established in at Lille, by the use

r o f of an ea th that is f und between Lille and Tournay, had of ered

r m r to sell thei anufacto y to the King of France . The King contented himself with giving them several privileges relating

m r r to the custo s and fiscal cha ges , but so as neither to inf inge

m r the onopoly of the French Indian Company, nor to i ritate

’

D d Orl ans wor St. ue é . the , the patron of the ks at Cloud He refused, however, to authorise the opening of a warehouse in

r for It Pa is the sale of the Lille porcelain. was probably owing to this inability to reach the Paris market that the establish

r ment at Lille did not endu e . Its own market of Flanders , at

r war that time spoilt by so many yea s of , was insufficient to maintain a works of this class .

- e It will readily be seen, from the above quoted statem nts in made by Dorez applying for help to the Municipal Council,

r St that he aimed at ivalling the productions of . Cloud , and it is

r not always easy, in the absence of ma ks to distinguish clearly

o two factorI s between the pr ductions of the e .

St . The paste is analogous to that of Cloud, while the glaze

exhibits exactly the same tendency to run in streaks, but it seems to us that the glaze was more liable to blister and that it St oftener exhibited dry patches than the glaze of . Cloud ; the

so l r m n painting is not skilful y done, and the painted o na e t

d r frequently has a y aspect . It is obvious that the Lille potters

to St confined themselves imitations of the productions of .

Cloud .

r m m r With rega d to arks , it may be stated that the a k D is

o sometimes found on pieces decorated with blue, and in additi n

ID o r l the mark , b th of which are att ibuted to Li le . With

r r to m r ega d the ark L , followed by a c oss , it is uncertain whether this indicates Lille or is one of the befor e -mentioned o S h t . t e marks ass ciated with Cloud , as it is found on pieces, T A T S T. UD A N D 29 SOF PORCELAIN CLO LILLE. decoration of which inclines one to attribute them to the

r latter factory . In any case it would be of the g eatest assist ance in clearing up this debatable point if we could find some pieces of soft-paste porcelain belonging to Lille that were t marked and dated . It is not very satisfac ory to think that most of the pieces attributed to Lille are so designated because they are thicker and more rustic-looking than the pieces attributed to St . Cloud . PTE R CHA IV.

T P F CH T THE SO F O RCELAIN O AN ILLY .

O N E of the most interesting features of the history of early

r o — manufactu e of p rcelain in Europe as , indeed , of most of the successful efforts to manufacture artistic pottery of any kind was the patronage and support afforded to the experimenters

r ff by the g eat nobles , princes or kings of di erent realms .

’ Due d Orléans m r The , as we have seen , beca e the pat on of

t - r S . the wo ks of Cloud , and it seems natural to find Louis Henri

r u l e r r P ince de Condé, known as Monsie r Duc , the p incely owne of the magnificent domain of Chantilly, providing funds for the

r Ci uaire Cirou r expe iments of q , though it should be emarked that this patronage was only exercised after the death of the

’ D Orl ans ue d é . The works seems to have been founded about

1 725 for - to Cirou 1 735 , in the letters patent granted in he states

r r r that du ing ten yea s it had been his constant study to p oduce , in Chantilly, porcelain like that of the Japanese ; that he has surpassed Saxon porcelain ; and that it is his intention to sell his products in France , as well as abroad in England, Holland ,

rm o and Ge any. In consequence f this statement the King

him for w r m granted the privilege t enty yea s of aking, in

O f k r m Chantilly, fine porcelain all inds and colou s in i itation of

r r r -m Japanese po celain ; rese ving, however, the befo e entioned r t the Chicanneau S St igh s of heirs of and of the ieur de .

Etienne . At this period the Prince de Condé was collecting with a e r vidity specimens of a ly Japanese Imari ware , and particularly of t r - Kaki emon hose va ieties which to day are designated as y , after the name of the famous potter who flourished at Imari in LA TE P III .

CHA N TILLY PA E END E AB O ( T T R , UT

Lobate Su ar-box and S n g ta d,

IN TH E K A E IYE MON STYLE (D E COR — . in ox fi in W 5 . B H . 4 in. L. t . } — in an n W . . St d L. 9Ai . 7 3

Victor ia a nd A l ber t M us eu m .

S T C OF T 3 1 OF POR ELAIN CHAN ILLY. the province of Hizen in the second half of the seventeenth * century.

In these charming designs ornamental sprays, branches and flowers are thrown in an artistic way across the plates or other pieces of ware, interlacing, and sometimes enclosing quaint u w fig res of the ibis, partridge or quail , or dra ings of fabulous Kaki emon animals . These dainty y patterns painted in brilliant

l w a touches of red , ye lo and blue , enh nced with a little gold, on b a white porcelain of unequalled quality and finish , ecame the E rage of the period all over urope . Not only were they copied or w r adapted at Chantilly, and after a ds at Vincennes , in France , but they made their appearance almost simultaneously on the hard porcelain of Saxony as well as on the soft porcelains of

Bow, Chelsea and Worcester .

At Chantilly, the influence exerted by this collection of Imari porcelain was not confined merely to the patterns or style o f decoration . The attempt to rival the pure quality of the Imari glaze led to the production of an eminently character

o i is tic p rcelain . The body of the ware was a soft paste sim lar S m t. b ut le to that of Cloud, the Chantilly glaze rese b d the

' ’ glaze of the faIence - makers in being rendered milky - white in and opaque by the addition of oxide of t . It is this use of a s tanniferous glaze which gives such a distinct aspect to the early l c t Chanti ly por elain , which so closely approaches the quali y of in the Japanese hard porcelain that , many cases, but for the c onstant rubbing or wearing of the soft Chantilly glaz e it would be difficult to distinguish between the two wares . The factory at Chantilly continued to produce porcelain l 1 78 9 unti the revolution of , under the direction successively of

Cirou A ntheaume , and , and afterwards of Potter, de Baynal , Lall m n e e t. and Yet, under all these successive directors it never seems to have taken the first place as a creative centre , but was always content with beautiful reproductions of the suc c essive styles introduced by the other leading factories in the e course of the eighte nth century .

Kaki emon At first , as we have said , the Japanese style of y

’ See also B ur on s Hi f i r cel ain 2 t s r o E n l sh Po . 7 to y g , pp 32 FRENCH PORCELAIN.

m n tin- the r o was i itated , and o the white enamel b illiant t uches

o red r b m m r r of blue, yell w, and b own eca e all the o e b illiant and

m rs r vivid by contrast . For any yea the e must have been a very

of r s ff large output dinner se vice , and tea and co ee sets, decorated

r r in this style. The pieces we e gene ally lobate in form , as in the characteristic sugar-bowl and tray preserved in the Victoria and

r 111 h l r . s OII d Albe t Museum , which we eproduce in Plate It be pointed out that the body of the Chantilly porcelain must have

r m r been of a mo e solid and durable kind , and o e stable in the n St r . fi e than the body used at Roue , Cloud or Lille, for we have not met with a plate or other large flat piece produced at

any of these factories . When the Saxon porcelain began to make its reputation in

l y a t r r Europe we find at Chantil , as other F ench facto ies,

r timid imitations of the ea ly Dresden styles .

r Under Louis XV . the Chinese style had a g eat vogue in

r r r France, and Chantilly p oduced a series of g otesque figu es and O . V statuettes all in this riental manner By this time incennes,

Se r and then v es , had been established, while the factory at

r Mennecy was now eaching an important position . To meet this fresh competition a new transparent glaze was intro d uced r at Chantilly in place of the ea lier opaque glaze, and in other ways energetic attempts were made to move with the m changing spirit of the ti es . After the vogue of pieces decorated with little flowers in the Dresden manner came sketchy decorations in a transparent

r m green etched with black , like that of the jug with silve ounts

t he r see in Victoria and Albe t Museum ( Fig . Then decorations of flowers and birds after the style of Sevres made t r r n r hei appea ance, but among all these evolutio s of p atte n and decoration one feels that the forms of the pieces gradually

m r r r beco e mo e efined and mo e distinctly French . Can there be anything more dainty or mor e ingenious than the two statuettes with panniers on their backs illustrated in Plate IL ?

o r o m of Th ugh one ec gnises in the for s the statuettes , as well as

o r of r r r r in the p wde ing flowe s which ado ns the d ape ies , the

This st l e of d ecoration w as al so ad o ted at Chel sea and a r r — E U t W o ceste . y p . C H A N T I L L Y (P A t e t e nd r e ).

— INE E FIG RE AND V A E DE A ED FIG . C C 7 . H S U S OR T N E REEN AND ED I . BLU , G , R H in . 7& . u u Cl ny M u se m .

S T OF C T OF PORCELAIN HAN ILLY. 33

original Japanese influence, we cannot but feel how excellent

r t a is the bust of the soub ette, and how ypical of French t ste

r at the middle of the eighteenth centu y . At a subsequent period Chantilly imitated with great success

u - Se r the bl e , green , rose colour or yellow grounds of v es , as well as the skil fully modelled bouquets of flo wers which were used in the bronze branched -candlesticks to form such characteristic

r r for deco ation for the rooms of the pe iod . But the mark , it would often be impossible to distinguish Chantilly pieces of this class from those produced at Sevres . As all the princes and great lords of the period appear to have been customers at the factory its productions are nowa

o m days f und in any collections . The Condé museum at Chantilly is especially rich in early pieces with the opaque

’ ’ K aki emon ad ecor s Cor eens glaze and y designs ( ) . ll The general Chantilly mark was the hunting horn, carefu y

r r n- o . d awn , gene ally in glaze red Towards the end of the

r r eighteenth centu y we find the same ma k , but in blue , and with the addition of letters and figures to denote the different pieces . It is not uncommon to find that late pieces of Chantil ly m ware, of the transparent glaze , have had the ark removed by Se ingenious forgers and replaced by that of vres . t It is in eresting to mention finally that the brothers Dubois , who founded the factory at Vincennes , were employed at ll 1 73 Chanti y about 5 . CHAPTE R V .

- THE SO FT PO RCELAIN O F MENNECY V ILLERO Y .

THIS factory owed its inception to the patronage of another of

r r - r euf the g eat nobles of the F ench court, Louis F ancois de N m e V l r . il e de Ville oy He owned, in his do ain of Villeroy , a littl

’ ' faI ence r r m r In facto y, f o which a curious specimen is prese ved

ot r the museum at Sevres . This is a pint p deco ated in the

r r o Rouen style with the arms of this p ince , and the insc ipti n “ De Ville Roy, and also marked underneath D . V . It appears to have been here that Barbin created and d e v el o ed 1 735 t p , about the year , a manufacture of sof porcelain without having obtained the necessary authorisation by letters

how r h is patent , so that we may realise powe ful a personage protector must have been to shield him from the troubles that at this epoch attended those who sought to evade a monopoly or a privilege . In 1 748 Barbin applied for permission to establish a kiln in

r Pa is, but this privilege was refused because His Majesty the King had granted to Charles Adam the privilege of imitating Saxon porcelain (it was no longer merely a question of Japanese or r Chinese porcelain) , a p ivilege which Adam could only

‘ hi r r m develop to the full w le he was f ee f om co petition, and while his workmen might not even be employed outside the r oyal establishment at Vincennes . It was also stipulated that Barbin must not empl oy any workmen who might have worked

r m o r o at Vincennes , neithe ust he c py nor imitate the p oducti ns

r m m of that oyal anufactory . This sa e edict speaks of those who , e without possessing any legal privil ge , and under the authority

M E N N E CY V ILLEROY. 35

m r of some especial per ission , wo ked at the manufacture of porcelain, which is supposed to be a hint at the establishment

- of Mennecy Villeroy .

’ Barbin s first experiments appear to have been in imitation

S . r r of the ware of t. Cloud The e is p eserved in the museum at ot d Limoges a pomatum p of a yellowish paste , spotte and

fi re- r streaked , badly c acked, and with a very uneven glaze , f which mani ests all the defects of a new manufacture . The piece is decorated with little bouquets of flowers, painted in the

‘ of i S style enamelled fa ence, but revealing undoubted axon w the . . as influence . If mark D V not so very characteristic of S Mennecy one might have considered it a piece of early t. Cloud manufacture that had been decorated at some subsequent

period .

As we have already stated , the first attempts at Mennecy n St w . ere after the ma ner of the porcelain of Cloud , which is e proved by the fact that M . Aym Darblay, the author of an

r r has impo tant work on Ville oy , found, during excavations in a n part of his property where the ma ufactory was situated, knife handles decorated with under-glaze blue in patterns imitating

l - l ambr e u ins O h those of the wel known q of Rouen . t er pieces are known with designs in enamel colours , blue , green , red , and yell ow ; of such b rightness that they might have been attributed

to St r . Cloud had the pieces not been marked . If at a late time pieces were produced with opaque glaze which imitated the

productions of Chantilly , their perfection of manufacture is not such as would cause them to be confounded with the pieces

’

from the more famous works , but all this evidence shows us the first efforts of this manufactory before a decided Mennecy style had been evolved .

r - F ancois Barbin was succeeded by his son Jean Baptiste , who was soon taken from the direction of Mennecy by an

. a untimely death The . works p ssed into the hands of lli n . u e MM Jacques and J , one a painter and the other a

1 76 6 in r l 1 7 73 sculptor, in , and remained thei possession unti

1 774 w r or , hen the manufactu e at Mennecy ceased . The date

of this purchase is fixed by a placard , found among the 36 FRENC H POR CELAIN.

o 24 1 7 66 advertisements , placards and vari us notices of March , , which indicates that the manufactory of Mennecy-Villeroy was

3 l st r to be sold on the March with all its beautiful po celains , “ r th at is to say, Cups , sauce s , antique vases, groups, pedestals,

- s r - r - mustard pot , g avy boats, dishes , cove ed dishes , cruet stands

r- - - for the u powde boxes , sugar boxes , sugar bowls table, and fr it ” r baskets of va ious forms . Jacques and Jullien were at this m r S ul ti e tenants of the wo ks at ceaux , so that it wo d seem as if 1 76 6 they came to Mennecy in . The principal and most distinctive period of the Mennecy factory is that covering the attempts to imitate the productions of Vincennes and Sevres ; yet surely it is not po ssible for an instructed amateur to make a mistake between the productions

r a of these factories . The pieces f om the two royal works have fine white paste that cannot be compared with the dark ivory

o r c lou of that of Mennecy, even if the painters connected with

’ the Duke of Vill eroy s works knew how to imitate the Saxon

Se r decorations as well as those of v es, while their flowers and birds , although a little heavy, often rival in their finish and

r th r pe fection e paintings executed at the r oyal manufacto ies .

S m Se r ometimes, too , the most fa ous of the vres p ocesses were

of bl eu d e r oi li copied, such as the grounds en vened with ’ d azil er r ice d e d . the decoration p , with gilding and with flowers This imitation is sometimes carried so far that we find by the ” S “ ide of the mark D . V . engraved in the paste , the painted “ ' Se mark of two crossed L s the mark of vres .

The forms of the Mennecy pieces are extremely varied .

r n flower- During the pe iod of the Chi ese style, pots seem to have

m s for ed the most important branch of manufacture. Afterward

- r a we find pot pourri jars , de ived from Europe n models but S united with ibises or Japanese exotic birds . till later we find

r r : a great numbe of purely Eu opean shapes cups , saucers, milk

f - - t - are a or cof ee pots , tea po s , water jugs and basins, which dapta ns r the . tio , but not se vile copies , of models of other factories Among the modelled pieces especial attention may be drawn r - to the g oups of statuettes and decorative wall brackets .

n a The reproductions of two Mennecy statuettes , representi g M E N N E O Y — V I L L E R O Y

(P A t e t e nd r e ).

F - IG . 1 1 EAP I M D E E D AN D E . T OT W TH O LL H L A N D K NOB DECORATED WITH F ER PAIN ED I N C LOW S T OLOURS .

H . in W 6 in . . 8 . Vic n A ber t M u m tor ia a d l us e .

M — V 37 ENNECY ILLEROY.

i countryman and a countrywoman , wh ch are preserved in the

to Cluny Museum, will give as good an idea as it is possible obtain by ill ustration of the characteristic appearance of these F n see . 9 Me necy pieces ( igs and The collection that M . Darblay has brought together in the Chateau de Villeroy

is contains several hundred examples, among which there a statuette representing Louis XV. standing .

Polychromatic decoration was largely used at Mennecy, and a rose colour of a decidedly purple hue may almost be said to be

r characteristic of the ware . Flowers were la gely used as painted ornament , and of these yellow, blue , rose, and lilac ones pre

S dominate. It hould be mentioned that as it was impossible for this factory, in consequence of the j ealously held privileges of the royal manufactories , to gild its pieces openly, the top and bottom fillets and ornamental mouldings of the pieces are often outlined with a rose, blue, or yellow line . The lids of tea and ff - ll co ee pots frequently end in flowers , which are finely mode ed

u s e and caref lly picked out in colours ( e Fig . Besides these fl ff gaily coloured owers and birds one also finds, on certain snu boxes , miniature battle scenes , containing as many as twenty

a and horsemen (museum in the Ch teau de Villeroy) , some cups and saucers are known with painted figures after the style of

Watteau and Lancret . Another mark of the artistic importance of Mennecy is found in the fact that they ventured to produce pieces in “ bis ” a ffi cuit, material that is so di cult to produce successfully because each little fault is obvious even to the uninstructed

r di . observer, and the e are no means of sguising it It should be said that at Mennecy vertical pieces were ap parently produced in preference to flat pieces such as plates and i . As t d shes a consequence Mennecy pla es are extremely rare , and command a high price when they happen to come into the market .

The earlier pieces of this factory are marked D . V. painted

r in enamel colour. Afte wards the mark was scratched in

unfi red r . the paste, and this is ve y characteristic of Mennecy The distinctive amber colour of this particular porcelain has 38 FRENCH PORCELAIN .

r i a rende ed its im tation difficult, but the l st few years

o r r r r we have c me ac oss seve al fo ge ies of this ware, and “ ” - although the well known letters D . V. had been cut into hard

’ r s po celain pa te with the lapidary s wheel, there were still found m a ateurs ignorant enough to buy such gross counterfeits .

40 FRENCH PORCELAIN.

are Cloud , of Chantilly, or Mennecy, we at once struck with the

m t r S o r ff r . di e ence of the a e ial The ax n po celain is harder, it is

not so easily scratched , it is less fragile , while it is also whiter

r r r r r and of supe io lust e . It is no wonder, the efo e, that we should find the great financiers of the period willing to subsidise inventors who professed their ability to bring the French

porcelain to such perfection that it might rival that of Saxony;

r r l The e we e at this time two workmen at Chanti ly , the

r r r b others Dubois, one a sculpto and the other a painte , who had surreptitiously obtained a knowledge of the methods used there

or or its f . making the Chantilly p celain , with glazes and colours O ver head and ears in debt , and guilty of gross misconduct, they

were turned away from Chantilly and retired to Vincennes ,

r er u r whe e, along with G in , another f gitive f om Chantilly, they

rin m r . Gé attempted to anufactu e porcelain built the ovens , and

for a special kiln firing the painting and the gilding, while the brothers Dubois charged themselves with the modelling and

o S ff r decorati n of the pieces . ome success attended their e o ts , 1 740 and about they began, with much mystery and secrecy, to du sell their porcelain in Paris . It is said that the Marquis

a r Ch telet who had bought some of thei pieces , showed them to

O r nlv r r . r y de F y , b othe of the superintendent of royal buildings

r O He was much astonished at the esults btained, and asked to be

r or l a allowed to visit the wo ks , , better stil , the l boratory where

h r the Dubois carried on t eir sec et operations . Becoming inter

’ ested in m their experi ents, he obtained, through his brother s

’ r o m influence, the King s pe missi n to use so e of the buildings at connected with the ch eau at Vincennes , which had been for m unoccupied a long ti e, besides obtaining for them several

monetary subsidies . About this time one Gravant , who is

s r O f al o supposed to have acqui ed the secret porcelain making,

r r r r at some othe facto y , associated himself with the ente p ise and a sum of livres was advanced to’ enable them

r to extend thei business .

’ r Mill ot s r r r A manusc ipt of , prese ved in the lib a y of the

Se r m of v es Museu , and giving an account of the establishment

r at r the wo ks Vincennes, tells us that thei production was most A M AN UFA CTOR Y A T V C 41 IN ENNES.

unreliable ; at least fi ve-sixths of the pieces came out of the

e oven imp rfect, even when the whole lot was not spoiled , so that

s r in a very hort time the partners , driven to bank uptcy, quitted

r n l Vincennes sur eptitiously, leavi g behind them all the materia s

for and such pieces as there were , the satisfaction of their

Or as creditors . This was naturally a great blow to ry de Fulvy,

50 000 1 r the debts exceeded , ivres , and the assets were not ve y

realisable . This enormous loss was said to have been caused entirely by the bad management and misconduct of the brothers

r r Dubois , who, according to the autho s of that time, we e both

dr . unken and reckless They were, however, the principal

f r ad van suf erers from their own misconduct , for G avant, taking

tage of their negligence, had copied all their notes relating to

the the composition of the paste and method of firing , and he now persuaded Orry de Fulvy to carry on the experiments for

some time longer . Gravant also succeeded in obtaining other ‘ porcelain workers from Chantilly, and he bought from a man

e Caill at the 1 7 4 5 nam d secret of making certain colours . In , ff after several years of hard work, success crowned these e orts , m and a beautiful white porcelain was successfully anufactured .

r O F v By the aid of his b other, rry de ul y was able to form a

r company of promoters from among the financie s of the day , “ nearly all of whom were connected with the fermes or

r farming of taxes . M . Gravant ag eed with this company to

and s procure upply the paste for forming the porcelain pieces , as

well as the glazing materials , and to give a written copy of the

r sec et of these two compositions to M . de Fulvy , who charged hi r h mself with performing the experiments . It was a ranged t at when these experiments had proved the accuracy of the in

r formation, M . de Fulvy should deposit with a nota y in Paris a document containing the receipts as well as an undertaking that if the manufactory was maintained for ten years from the l st 1 7 46 January, , Gravant should then be paid the sum of

r 1 748 liv es, while from he should be paid an annual sum

v r of li res by way of sala y. ’ Ful v s The company, by the aid of M . de y brother , further

24th 1 745 r obtained, on the July , , a p ivilege from King 42 FRENCH PORCELAIN.

i o . Lou s XV . , signed in the camp at B ost It is curious that this privilege was granted in the name of Charles Adam ; and that

or m of r i it w as f the establish ent the manufacture of po cela n ,

he st le o Sa xon or cel ain a of n after t y f p , at the ch teau Vince nes ;

or r m the privilege being granted f thirty years . La ge pre ises at

- r o Vincennes and at Bel Air, a little place in the neighbou h od , were granted for the use of the company at the same time as

r r m r s this p ivilege , showing, for the fi st ti e , the di ect intere t taken by royalty itself in the development of porcelain manu facture in France. The organisation of the works became more perfect by the

of m introduction new ele ents . The fact that the company was supported by the financiers of the day encouraged men of

m m r ro position to accept e ploy ent at Vincennes . A cle k f m the

f t m r m of ice of axes , na ed Boileau , a cleve administrator, beca e

- r m m managing cle k . The celebrated che ist and acade ician

Hell ot r r r , autho of some rema kable wo ks on metallurgy , conducted the chemical operations ; the modelling was super intended by Duplessis , a goldsmith and sculptor ; while an

r m a n a tist na ed Bachelier , and enameller to the King, named

r r Mathieu , di ected the painting and deco ating. A warehouse

r was also established , of which Blancha d became the keeper , and the secret of applying gold to p orcelain was bought from

r r St the Benedictine f ia , Hippolyte, of the Abbey of . Martin

m for r r sum des Cha ps , a elatively la ge . It is not surprising to find that after all this expenditure on r m r r the c eation of new models, on experi ents and esea ches

r o r unsatis in eve y directi n , the financial results were at fi st factory, and it was found necessary in 1 746 to increase the S r 47 ur r 1 7 . ha e capital , while a f the sum was raised early in In spite of all these efforts and all this expenditure it 1 748 was not until that success crowned the work . The D ue de Luynes who has left such inter esting memoirs of the

r 1 3th 1 748 : period relates that on Ap il ,

. o of M de Fulvy, who c ntinues to be the director the

r m r had r po celain anufacto y at Vincennes , a po celain vase

t r her on brough to the Queen, which he p esented to behalf V I N CE N N B S (P A t o t e n d r o ).

FI l 2 - G . E A . O P E IN B UQU T IN ORC L . R o a l Col l ec n y tio , D r es d en .

A MA N UFA CTOR Y A T VINCENNES. 43

o of the company . Three small white figures , t gether with a

a - r porcelain v se , were mounted on a gilt b onze pedestal .

r r The vase contains a bouquet of flowe s also made in po celain . r 480 M. de Fulvy told me that the e were flowers in the

and o bouquet. The vase with its pedestal the fl wers stood

z l 1 . 00 about 3 ft. high The bron e mounting a one cost louis and the porcelain just as much it is a perfect work of its kind— as much for the whiteness as for the execution of the

a : small figures and the flowers . This manuf ctory is now superior to that of Saxony for the making of

The sale register of this date, which happens to be preserved

Sev at res , shows that the cost was livres , and not as the D ue de Luynes says ; but apart from this detail it is

was certain that, as he says , the success of the present great ; so

- J ose he great, that the young Dauphiness , Marie p , a finished

diplomatist, ordered a similar vase as a present for her father,

E S S the Frederick Augustus , lector of axony, to how him that

r Vincennes porcelain was quite equal to that of D esden . The first intention was to have the present conveyed on a hand i barrow by two men, who were to have been on the way th rty 1 00 days , and were to have been paid at the rate of sols each per day. Finally, however, it was decided to take the vase to it pieces , pack carefully and send a workman from Vincennes to

S r remount it at the axon Court . This piece is now p eserved

ha n 1 2 . o n eum . in the J at Dresden, and is reproduced in Fig

Notwithstanding this success , and the growing favour which the porcelain met with at court, the financial position of the

On r 1 1 th company still remained unsatisfactory. Decembe ,

1 749 r , the company bor owed livres, while in March , 1 750 , it appears that they were unable to pay a bill of 6 000 1 w , ivres and had to borro again . To avoid these constant borrowings , and to provide fresh capital, it was decided to

' — increase the numb er of shares from twenty-one to thirty the nine new shares thus created bringing in the sum of l ivres . When we add to this the fact that the King had given a 1 74 7 subsidy of livres in , and further sums of

” Mémoires d u D ue de Lu F II 1 2 nes édition irmin idot . . y , D , A I 44 FRENCH PORCEL N .

1 74 8 1 749 di livres in and , we realise what an expen ture of money the enterprise needed At this time in addition to the chiefs of depar tments

r r - al eady named , there we e three sculptor modellers employed to produce the models under the direction of Duplessis ; two

r to -m r r moulde s make the working oulds ; five turne s (throwe s) ,

r r - r m two moulde s (potte s) , and twenty seven repaire s (work en

o who made and applied fl wers , handles and reliefs) . Two

C mi l Hell ot he sts , Bai ly and Jouenne, assisted ; seventeen male and female painters were employed under Bachelier ;

f m tw o r r while the sta f was co pleted by women bu nishe s . One constant pre - occupation of the company seems to have been h ow to retain so many men and prevent them from carrying off to other works the processes employed at Vincennes ; 1 747 and an edict was obtained in forbidding, under severe penal

of m ties , any the workmen of Charles Adam from seeking e ploy

w r ment else here, or divulging the sec ets of the manufacture . A final effort was made to establish the finances of the

m r 1 750 l co pany on a satisfacto y basis in December, , and the capita

r 220 was inc eased to livres , divided into shares of

' ho livres each . It is evident that those w had financed the

r undertaking from the beginning still retained thei faith , or

r r their p ide , in the work , and this is pe haps not so surprising in

r b view of the interest taken in the ventu e y the King himself,

r and the conside able subsidies , as well as the privileges, he had

r r to w f om time to time g anted it . Further light is thro n on the c ondition of affairs in the memoirs of the D ue de Luynes

l r o t a ready quoted f om . He menti ns an interview tha he had l . u v 1 749 o him with M de F y, in , who t ld There are actually nearly one hundred workmen who work

are m d a at Vincennes , some of whom paid so uch a y, while

o r are On of the s paid by the piece . e the great difficulties is the earth for the moulds ; this earth must not be mixed with any

for it r S metal stains the po celain . ome of the right kind is s o d ry (short) that at every firing the moulds break and cannot ale m be used twice . M . de Fulvy hopes that his anufacture, being

I t is evident that h r h l r h r ee 4 -E U a n n . . t e e s bee a b u de e e S p . 7 .

A M U A A T AN F CTORY VINCENNES . 45

’ l r well supported, wil sell from to livres wo th of

’ produce per year about livres worth in France and the

r r rest in foreign count ies . They have al eady sent pieces there with great success , and many foreigners impatiently wish to be

o able to buy more . M . de Fulvy, h wever, does not wish to sell m u the publicly before the month of Aug st next , so that the ‘ ’ m r undertakers may have ti e to fill thei warehouses. The o English want only white p rcelain , but as they might use this to paint upon , they are sold just as dear as the painted ones . Further on in the same account he adds

r r r at The e are several othe manufactories in F ance, as S ‘ St. . Chantilly, Cloud , Mennecy and ceaux The undertakers

at of these come , or send their people , to see the manufactory

Vincennes , to learn the processes so that they may imitate

r them, or to try and tempt some of the good wo kmen away by

promising them higher pay . To put an end to these two in

r conveniences , M . de Fulvy has obtained an orde that none is

r allowed to see the workmen at work in the factory, by eason that these frequent visits had at least the inconvenience of ” r delaying the workmen in thei work. We may take it that these were the views and hopes of 1 74 - . 9 50 M de Fulvy about , and although he was altogether too

n r sangui e as to the p obable amount of the sales , we cannot be so much surprised when we remember the praise bestowed on his

o r pr ductions by the court, and the fact of the inte est shown by b the King himself in the undertaking. But all these am itious views were cut Short by the unexpected death of the two F 1 7 50 brothers De ulvy, the minister dying in , and the manager

in 1 75 1 few . of Vincennes , within a months of each other By the terms of their articles of association the company had to pay out to the heirs the sums invested by the De Fulvys— and this was clearly impossible at a moment when the financial situation

r of the company was barely established, and there was p actically i no ava lable cash reserve . It was this unexpected combination of circumstances which ended in making Vincennes a royal

manufactory, but as we propose to treat of that important event and its consequences in the next chapter we must pause in our 46 FRENCH PORCELAI N. narrative to consider what had been done at Vincennes in these

r r . early yea s , and the p ocesses by which it had been done

r r r Fortunately there is p ese ved , in the national a chives of

m r r r b France, a anusc ipt ecord which enables us to desc i e the

m For materials and processes e ployed at Vincennes . the paste

t r r a mix ure was p epa ed of Fontainebleau sand , native saltpetre ,

m m r of sea salt, soda of Alicante , Ro an alu , and pa ings alabaster .

r r This mixtu e, ca efully pounded and sifted , was spread on a bed “ rm r of sand fo ing the sole of a f it kiln , in a layer about a foot

t r r fi re o fi thick . It was hen heated by a p og essive for ab ut fty

red hot m - hours until it became , but not above a le on coloured

r O heat , and that was the critical pa t of this peration . The frit - i thus obtained should be snow white, and not too much vitr fied ;

r it r if there we e pieces of that were eddish in colour , that was a

insufi cient fi re m Sign of , and the reddish portions ust be picked

- r out and re heated with the next batch . The prope frit was 900 carefully selected and pounded , and of this frit parts were taken and put into a mill with 300 parts of marl from Argen

' teII il m r r , the ixtu e being g ound with water for about three weeks . The fluid paste was then allowed to dry in troughs , w f w being after ards crushed and si ted , and made into balls ith i “ r o t . wate , in which c ndition was known as new paste This

the r i new paste was mixed , in propo tion of one th rd , with the scraps and broken pieces of paste that were returned from the m r r d r r & c. th owe s , the han le s , the moulde s , , and in order to ake the mass plastic it was mixed with a solution of green soap in

r h m m boiling wate . T is eans was also employed for aking the new paste plastic when it was used for shaping large pieces in moulds . The glaze was prepared by melting together Fontainebleau

r o flin s t . sand , litha ge , s da, black of Bougival, and potash These

r S m materials we e mixed together and ifted, and then elted in

r r c ucibles heated in the floor of the po celain furnace . At the

of r r conclusion the fi ing the crucibles we e broken and the clear,

r o glassy po tions alone selected . This was p unded , apparently d r r l - y, and mixed with wate , a ittle white wine vinegar being added to Increase its covering power when sprinkled on the V I N CE N N E S (P A t e t e nd r e ). — FI 15 . G . 0 E O F PAIN ED F E B UQU T T LOW RS . PE I D 1 55 -56 R O 7 .

The vase is of ( mo d ern po rcel ain. ) Sevr es M u s eu m .

A M U T A T V 47 AN FA C ORY INCENNES.

r r m r biscuit wa e . It would seem f o such a clea account that the

o to - manufacture of this p rcelain ought be possible to day, but not only have we tried it ourselves , but it has been tried by

r - many othe s , yet without success . In those far off days

r chemical terms had no precise meaning , and the mine als used under the names of “ native saltpetre ” and “ Roman alum may have been quite different from what we kno w by those - m names to day ; at all events , no modern experi ents have

t- ever succeeded in reproducing the sof paste of Vincennes .

One ffi of the greatest di culties , after having prepared the

r paste and fashioned the piece , was to support it du ing the “ r firing. In an ea lier volume of this series , The History of i ll 24 E n . glish Porcela n, will be found an i ustration (Fig ) of the “ elaborate system of propping used for this purpose . When the D ue de Luynes speaks of the moulds that had to be

r destroyed after once using, he is probably refe ring to these props , which could of course only be used once , and which were , f . See . there ore, a great expense ( p We may now describe the characteristics of the ware

r m r 1 740 1 745 produced in this elabo ate anner. F om to , while

ff r the brothers Dubois remained at the head of a ai s , the ware was of thick , slightly greyish paste , with a very beautiful clear

- Se glaze . The little flower pot carefully preserved in the vres

m i 1 3 Is Museu , which we llustrate in Fig. , quite representa tive of this period Every fault in the body or glaze is hidden by a painted flower or a fly , disposed on the piece with seeming

‘‘ r m faIence - m artlessness . This device was copied f o the akers , and in our Opinion the Dresden porcelain makers invented the style of decoration by scattered flowers only to hide the Spots and blemishes in their pieces . It is interesting to notice that in this early piece the handles are covered with brown colour and there is no gilding.

c the o 1 7 s f - 55 ee . A pie e of peri d ( Fig also a lower pot ,

r shows the prog ess made in ten years . The prunus blossoms in

l t r w re ief, well designed, wi h a few touches of pu ple colour, sho to advantage a paste of good quality, and an excellent glaze ,

r m . quite equal , to that of the ival anufactories N 48 FRENCH PORCELAI .

We may best sum up the qual tities of early Vincennes in

the whiteness of its paste and the simplicity of its decoration .

fl er r or The owers are v y simply painted , without da k outlines

r r r p onounced shading ; the bi ds, vigorous but slende , remind one of the interest excited by t he rare birds brought from * foreign lands . We have already given the contemporary account of the

1 74 8 r one vase presented to the Queen in , and of a simila which

was sent to the Saxon court . These vases contained bouquets

r o r of natu alistic fl we s , and this leads us to the consideration of

m r r the anufactu e of porcelain flowe s at Vincennes , which was

for o r r r a long time the m st emunerative b anch of its p oductions . We have no precise documentary evidence to prove whether the making of porcelain flowers was first practised at Meissen or at

Vincennes , but we know that the Duc de Luynes considered it to

r be a F ench invention , and one in which the modellers at

Vincennes attained extraordinary skill . An examination of the Se m bouquets still preserved in the vres Museu , shows that they

m r r er imitated roses , pinks, ane ones and jonquils with a e p fection ; the rich and luscious glaze of the soft-paste porcelain

r b giving the colou s a loom approaching to the natural one . It

not r is surprising that these p oductions had an enormous vogue ,

to - considering that they could be applied branched candlesticks ,

r r r lights, b ackets , inkstands or vases , which we e so pe fectly in

f r keeping with the af ected and fanciful fu niture of the day. We need not quote the eulogistic verses written in praise of the

r m porcelain flowers , but we may quote f o the memoirs of

’ d A r enson r the Marquis g , whe e he tells us The King has

r r r f r o dered f om the Vincennes works po celain lowe s, naturally

’ h - m r r — painted, wit their vases o e than livres wo th for

r a all his count y houses , and especially for the ch teau of Bellevue

r of the Ma quise de Pompadour . Nothing else is spoken of in ” r r Paris , and t uly this unheard of luxu y causes great scandal . We may add to this account that of Soul avie in his memoirs D ue m of the de Richelieu Mada e de Pompadour, doing the

Com are the ex otic birds so l ar el u ed on the orcel ains of Chel sea Bow p g y s p , and W ’ ” orcester . See Bu r i . 1 1 2 rton s ist r f E n lish Po cel a n . H o y o g , pp

A IIIA N UFA CTOR Y A T V 49 INCENNES.

r r e honou s of her esidence to the King , displayed before his ey s a

She him rm whole flower garden . expected one day in this cha

chei teau o f l had him ing Be levue , which cost so much , and when

t r m he en e ed it , she received him in an apart ent at the far end of - which was a hot house with an immense flower bed , although

r w . r r it was a ha d inter As f esh oses , lilies and pinks pre

m r do inated , the en aptured King could not sufficiently admire

r the beauty and the sweet scent of these flowe s . But nature

m . r o l had been ade game of These vases , flowe s , r ses , ilies, pinks and their stems— everything was porcelain — and the sweet perfume of these heavenly flowers was the effect of their ”

o . essences, v latilised by art In order to please the King the politic Dauphiness not only

r a S sent po celain flowers to her f ther, the Elector of axony, but

J ou r na l she also decorated (as the of Lazare Duvaux , that reper

o her r t ry of the gossip of the period , tells us) room at Ve sailles

rm with a pair of sconces with three arms fo ed of branches, made

r to imitate natu e, in the flowers of Vincennes . “ of i t The tops of these branches are formed l lies , ulips, ff jonquils , da odils and blue hyacinths ; the centre branches are

of roses, the outer ones are of semi double anemones , the minor ones of red w allflowers and violets ; the junctions of the

r ff r b anches are decorated with di erent flowe s , and the bases

with buttercups and auriculas. The cups are of the same

or p celain, with the sockets gilded with powdered gold . This

o 1 2 1 t 00 . pair of sc nces cost the Dauphiness , ivres Ano her pair

cornflowers decorated with other flowers, such as tulips, , orange ” flowers & m c. , , ade in the same way, cost the same price . It has been shown from the sale book of Vincennes that in 1 749 such flowers and bouquets formed fi ve-sixths of the outpu t

of r r the wo ks . Naturalistic flowers were also used for o nament m ing vases and table services . As an exa ple of the pieces of 1 6 Se this class we reproduce in Fig. a vase from the vres m 1 50 7 . useum , which dates from The modelled flowers

r r on such pieces were , of course , colou ed by the a tists who

painted the sprays on the body of the piece . Not only do we find sprays of flowers cleverly applied to the handles of the N P OR CE LA IN 50 FRE CH .

r n o pieces, but the lids of covered vessels we e ofte c mpleted with

r m s I a pile of flowe s all skilfully odelled by hand ( ee Plate V).

o o Se r This meth d of decoration was not only c ntinued at v es ,

mo r m m after the re val f o Vincennes , but was quickly i itated at

- o r r Chantilly, Mennecy Viller y, and , indeed , at eve y po celain

r r t facto y of the latte half of the eighteenth cen ury, extending

r r even to Bow and Chelsea and the othe English wo ks . Of the more ordinary china-war e the works at Vincennes

r o produced plates, cups and sauce s , b wls, jugs, oval and round

r - r- m - r - suga basins , butte dishes, ustard pots , wate ing pots , candle

f - o flower- r - sticks , snu f b xes, holde s, and cheese dishes . A few

are mo r statuettes also known, stly of rustic figu es painted in

- clear or opaque enamels . It seems from the sale lists that these

r r o r mo r ordina y pieces we e s ld at a ve y dest p ice ; for instance , a

r r r suga bowl and t ay in one piece, decorated with flowe s , was

2 r priced at 4 liv es. The same list shows us among the

om r r r cust e s eve y one of eminence about the court , f om the

r King and Queen downwa ds . It seems probable that no definite mark was used du ring the

r r r ea ly yea s of the unde taking, but a few pieces have been met with which from their early style should be attributed to this “ ’ period although they bear the tw o interwoven L s of the later

r S i pe iod . ometimes the two letters stand by themselves , w th a

point in the middle .

5 2 FRENCH PORCELAIN.

fi r r fi ne of livres and the con scation of the impo ted po celain .

o r to r l These p we s do not appear have been used at fi st , but we shal see in a subsequent Chapter that they were r evived and extended

m r or Se r r o . at a late date , afte the re val of the oyal fact y to vres Brichard was also allowed to use all the places and offices at Vincennes until such time as the manufactory could be trans

new m m m bu t ported into and ore co modious pre ises , the estab l ishment r r or was decla ed a oyal manufact y, with all the rights

the t r and privileges pertaining to ti le , while on its f ont , and the “ r r M a nu a ctu r e R o a l e d e f ont of its warehouse , the wo ds f y

r r Por cel a ine were to be displayed . It was fu ther dec eed that “ ” r r the pieces we e to be ma ked with a double L , which was to

on of r on be put every piece with the exception flowe s, which it

m the would be i possible to place such a mark . The secret of m the m co position of aterials , and of the painting and the model

r Brichard ling, was expressly eserved to His Majesty, and and his company were not to have any claim or property in such

m r information , as the ixtures were to be made by some pe son

in o To r ersonn el , appointed by the King C uncil . secu e the p which seems to have been a constant pre -o ccupation of the managers of all the porcelain factories during the eighteenth

t r s who cen ury, the wo kpeople and a sistants had been employed

r r for six months were to be f eed from ce tain imposts , such as police dues , the billeting of soldiers, and liabilities to militia

r d r m r se vice , while they were equally release f o the ordina y and

extraordinary taxation ; any foreign workmen were ” to become

o - naturalised and to enj y the rights of native born subjects . In

r r t r eturn for this it was dec eed that the pain e s , sculptors, or

’ r m t othe workpeople must not leave without six onths no ice , m while those employed in the anagement, or special processes of

mi r l r & c. r to xing mate ia s , colou s , , we e not be allowed to leave

t rm o withou special pe issi n of the King . Even after having left the manufactory the workpeople were forbidden to employ them

in r o r selves again the manufactu e of porcelain , while ther po ee

' lain or faience-makers wer e also forbidden to take them into r m their se vice, save with the express per ission of the Council S of tate. All these restrictions were decreed under appropriate PLA TE V

SE V R E S

FATE END E AB ( T R , OUT D l o phins.

TURQUOISE BLUE G ROUND WITH GI LDING AND PAINTINGS O F

E X O I C BI D . EDE A B NZ E G I DE D T R S P ST L OF RO , L .

1 N 0 a l er X V . Wa l l a ce Col l ection , o . , G l y

V S : A MA N UFA T R Y 5 3 INCENNE ROYAL C O .

o r l penalties including b th fines and imp isonment , whi e all the r r m former privileges to other facto ies we e revoked . It is a azing

to f r us , nowadays , to reflect on such a state of af ai s , and to consider what must have been the condition of the country when the KIng could propose to reserve to himself such an

o o exclusive mon p ly. To place the business on a satisfactory financial footing thirteen of the original shareholders subscribed for Sixty new

r sum sha es, depositing the of livres , while the King for his part subscribed livres with the right to one -quarter

h o r n el r r w t e . e so n of pr fits The p of the wo ks was inc eased , hile

o c m t Hell ot the fam us chemist, Macquer, be a e associa ed with , and from these changes we m ay date a rapid advance in the

m N ew prosperity of the co pany. colours were continually being

r r discovered , and to this pe iod we must attribute the int o

r - r duction of many va ieties of blue , yellowish green, ose , lilac and

w i t r t red r yello , wh le a variety of shades of sof ose , brigh , b ight

carmine, green , brown , grey , and bluish tints were also pro du d ff ce . This had a great e ect on the finish of the painting, so that we find the highly conventionalised touch of the painting of

r the first period of Vincennes replaced by more elabo ate work , in which the tints were shaded so as to give more completely the

r r . effect of oundness , and even stippling was resorted to Towa d 1 749 the famous ground colour Bleu de Roi ” made its appear

- ance ; a magnificent under glaze cobalt blue, so splendid and rich

m r or that it was found necessary to soften it by a bling, relieving

h - r 1 2 H ll ot it wit gold net wo k . About 7 5 e introduced for the ” m or bl eu tu r u in first ti e turquoise , q , of such perfection on the beautiful glaze of Vincennes that it is found impossible to -day to reproduce it with such purity and charm of colour (see “ " Plate In contradistinction to the bleu de roi it may “ he remarked that this turquoise was an enamel colour

r -fi r placed on the al eady ed glaze. We have previously referred to a manuscript of Bellot ’ s “ preserved at the Sevres manufactory and entitled R ecu eil d e

’ ’ tou s l es pr oced es d e la por cela ine ole l a Manufa ctu r e r oya l e d e ’ ’ ’ ’ ' ’ Vincenn es d eer its ou r l e R o Sa M a es te s en el a nt r eser r e l e p y , j 54 FREN CH PORCELAIN. A

‘ ’ secr et ar a r r é te d a 1 9 A ou t 1 7 5 3 in p , , which gives us much

of formation the materials and processes in use at this time, though it is perfectly clear that the names of some of the “ r a r Hell ot — To colou s h ve changed since that pe iod . says

r make porcelain of a fine solid white g ain , like squeezed snow,

’ he similar to t old Chinese porcelain that one calls old Japan ,

t r one must have a natural or mixed clay which , af e exposure for

r n some hou s to a very fierce heat, comes out white without bei g

r r vit ified , and even without being ha dened to such a degree that it will strike fire with steel . The ordinary clays of the nature

- of pipe clay, white as they may appear, cannot be used for this purpose . I have tried all these clays , and though when mixed with white calcined sand and fired in a very hot oven they

- r r rt become semi t ansparent , they are gene ally of a di y or tawny

r white colour, and only a ve y small number of the pieces come out of the oven without being crooked or bent ; in a word they

r true etuntse do not p oduce porcelain . The true kaolin , and the p

m r to that the Chinese ake their porcelains with , acco ding the m accounts of the Jesuit issionary, Duhalde , have not been found

r e m G ue ard m . t . . t in F ance M de R au ur and M , of the Acade y of S ciences , thought they had each separately discovered the secret of m r aking po celain, but their discoveries, proclaimed with great

o m confidence, have been n thing more than ere experimental

r successes . Thei porcelains resisted fire just as well as the

r Chinese , which was t uly a great advantage , but they have never ” r been able to give it the whiteness of the old Japanese po celain .

’ Hell ot t o Gravant s goes on say that M . paste (the old paste of Vincennes) produced a biscuit of the same grain as that of the m Chantilly porcelain, but uch whiter, and that to glaze it it is o r nly necessary to use a perfectly t ansparent flint glass, while to

‘' glaze that of Chantilly a kind of opaque faI ence glaze had always been used . Both porcelains have the grain of the

J o r t are apanese, alth ugh appea ing a lit le less fine if they

r S r examined th ough a lens . The axon po celain is not a true porcelain except from the outside ; when it is broken it will be r o o m r r eadily disc vered that it is nly a white ena el, but ha de ” r r m than the o dina y white ena el in general use .

N S : A M U T VINCEN E ROYAL AN FA C ORY. 5 5

This latter quotation shows the prejudice of even such a learned man as Hell ot when he was deal ing with the pro m d uctions of a rival anufactory. The Saxon porcelain is t undoub edly a true porcelain like that of the Chinese , and is in

Hell ot no sense a mere vitrified enamel as suggests , but, these r t mistakes apart, his manusc ipt is of the utmos value, and when he compares the frit of the soft-paste porcelain to the petuntse

r used by the Chinese , which he calls a natural f it, and when he states that the calcareous marl used in France replaces the “ tal e r kaolin , a sort of that does not become vit ified in the ” l fire , he shows that he had perfectly grasped the fundamenta

Or t idea of ien al porcelain , which he was striving to imitate by

r the use of a tificial substances . We have quoted this manuscript at some length because of the interesting light it throws on the condition of affairs at Vincennes at the moment ; but the time was come when it was

to deemed necessary to move the works nearer the court, and to find b a more convenient situation , and, if possi le, one provided with water-power which could be used to grind the frits and the V glazes which were so excessively costly at incennes . How this removal was brought about, and the royal factory established at Se t vres , we shall relate in the nex chapter, but before doing so we must speak of the productions O f Vincennes from 1 7 5 2 to

1 756 r — re , while it was a oyal manufactory productions so markable and exceptional that it is astonishing that they

r have never secured the attention they dese ve . The sculptor Duplessis designed the models for a series of

’ - S r t table pieces , largely based on the ilve smi h s work of the period ; but we may well ask to -day if anything more delightful t r or o - r han his plates with embossed bo ders, his s up tu eens and

- 1 7 vegetable dishes , has ever been made . We illustrate in Figs .

1 8 - its m b u and a soup tureen and stand , odelled y D plessis in 1 754 r , though the painting on these pieces only dates f om

1 772 r b r , in which we may admi e oth the pu ity and elegance

or r O f r r of the f ms, and the cou age the da ing manufactu er who

r ventured to make pieces with such fine oval p ofiles . This sculptor was proud to put his mark on the handl es of cups 6 5 FRENCH PORCELAIN.

m m or the models of cream jugs or ilk pots , while at the sa e time distinguished painters were prepared to devote themselves to the charming art of painting on the soft -paste porcelain of

Vincennes .

rom too m r m F this time , , we ust date the wonde fully odelled groups and busts so extensively r eproduced in biscuit

to porcelain . We propose treat of this subject in greater detail

a subse uent Se r b u t in . q chapter in connection with v es , as the

o biscuit pieces are very seldom marked, it is ften difficult to

r o decide whether they we e first , pr duced at Vincennes or at

e . r r s vres These groups and figures , although designed p ima ily “ met r to be executed in biscuit, are sometimes with cove ed

l e with a clear, white and transparent glaze . M . Comte de

t of r - Chavagnac , the learned collec or F ench soft paste porcelains , p ossesses two gro ups of children made by the celebrated sculptor

ro r La Rue, which are thus glazed , and which f m eve y point of

r view, whether as an artistic interpretation and rende ing of the m o r m t odel, as an exa ple of perfec ion in firing and glazing , form h m t e finest exa ples produced by this famous factory . It is

r interesting to rema k that these groups were given by Louis XV. h 1 t . r t e 3 s to M de Machault, his naval and finance ministe , on m 1 754 m Dece ber, , and since that ti e they have remained in the

l e o family , of which M . C mte de Chavagnac is a descendant . The end of this most brilliant period of the Vincennes factory was signalised by the production of a service made for the Queen -Empress to show the superiority of French porcelain o r o r ve that of all other European c unt ies . It should be remarked that the directors several times made

r r r o o perquisitions at othe wo ks or sale o ms , and c nfiscated the w ork and imprisoned various workmen and ar tists who devoted themselves in their o wn time to the decoration of the porcelain

r r of othe manufacto ies. We have already stated that the mark was to be composed of ’ ” r m two inte laced L s , for ing the royal cypher, but the pieces of

“ ” 1 753 bore a letter A between the two those of 1 754 t he letter B and this method of dating the pieces was

n Se l revolu followed at Vince nes , and afterwards at vres , unti the

A P T E R C H V I II .

HE RO YA ANUFACTO RY O F O FT PO RCE A IN A T E VRE T L M S L S S, 1 — 75 6 1 769.

THE t rv Se r manuscrip of Millot, prese ed at v es , tells us that

r M . Ve dun , one of the shareholders of the royal manufactory h of Vincennes , who was acquainted wit Madame de Pompadour , f strove to interest her in the fate of the manu actory . It did not m take Mada e de Pompadour long to choose a piece of ground , next to a glass works which the King had formerly given her

r the ight of using, and this property was conveyed to the company for livres ; the glass works being used to lodge

m r hfiteau so e of the wo kmen . The King bought an old c of the ” Diarme musician , Lully, called La , situated near the road lead

r r b ut ing f om Ve sailles to Paris , by the side of a little hill, in

r m ve y wet land, full of springs . Madame de Po padour selected

r r as a chitect a surveyor , Lindel, whose fi st work as an architect this was . Instead of building on the level a commodious and

r r convenient wo ks, he e ected a sort of palace of three storeys , t m one part of which was buil on ade ground , so that it was necessary to carry the building on arches to resist the pressure

r a r i caused by infilt ation of w ter . The wo ks was so nconvenient and badly planned that the workpeople lost endless time in going fr om storey to storey ; while the buildings were so m da p that it was difficult to work in some of the rooms .

m r Mada e de Pompadou , with her accustomed diplomacy , had caused Lindel to build a summer-house containing a suite of

m for knowIn r r roo s the King ; for, g his f ivolous Cha acter , she r elied on this means of securing his interest in the on a

G ND O F F VE R T FON CE F ER ROU O . LOW

- SE VR E S, 1 756 1769. 5 9

e r op rations , and reckoned on thus leading him to conside the m S f r Due whole establish ent at evres as his af ai . The de Luynes

’ describes this little establishment of the King s as follows I

See S went a little while ago to this manufactory at evres . The master builders have made a suite for the King composed of a big anteroom that would be serviceable for his guards ; on the

r r left side is a la ge chapel , the altar of which can be seen f om

in r every apartment the suite . Next to the chapel is a la ge room and a very large cabinet . O ther rooms that were built for the eminent artists employed were not used for that purpose, but were placed at

d . the service of frien s of the directors Afterwards , as it was apparent that the glass works used for lodging some of the

r r m l wo kpeople was very nea the royal apart ents , it was al owed to fall into ruins , and the workpeople were paid lodging money

t l e D ue u ins ead . M . de Luynes gives us this f rther account of “ the works at Sevres at this period : Beneath the building are

r r large cella s , all strongly vaulted , and light , and in the fi st storey there is an enormously long corridor which gives air and

ff r light to the di erent rooms , which are of va ious sizes accord ing to the kind and number of the people employed in them .

r In the painting room there are sixty painters , who each wo k

f a telier s f in dif erent according to their dif erent abilities , and S different wages are paid to them also in proportion . ome of t m he earn as much as a louis a day , and the principal painter,

r the . who is at the head of work, earns two louis The wo k of the painters appears already to have been brought t o great

r perfection . The white is ve y beautiful , but up to the present it has had the inconvenience of being very dear . The painting

r it in blue inc eases this price considerably, and is this species of

t o porcelain which they sell advantage . Vases to hold flowers in

’ o 25 o w 5 0 one s r om are sold at louis each , s up bo ls for louis , and coffee cups with the saucer at 2 louis each . “ ’ The King s a par tment was not yet furnished when I was di there six weeks ago . They were also engaged in buil ng a

for for warehouse displaying the porcelain sale, but it was not m yet open to the public . To obtain ad ission it is necessary to 60 FRENCH PORCELAIN.

neral r r have a ticket from the ge supe intendent . The e are now

r r o r r to o In about five hund ed wo kpe ple , who will equi e be l dged

o this building when it is finished . This manufact ry is quite

f rom S r Of dif erent f that in axony, where befo e the invasion the ” r or o King of Prussia the e were about w kpe ple. All t he authors of this period complain of the high prices ’ r r d A r enson : Th of the Sev es po celain . The Marquis g says e

m r Marquise de Po padour is interested al eady, and interests

r the King ; but the pieces are sold at ext avagant prices . The

S o or t r r ax n p celain is be te and cheape , while that of China and

r l O r m 1 2 Japan is cheape stil . u s is sol d to the erchants at per

o m cent . disc unt, but nobody buys it, though uch is wasted on it ; and thus everything is carried on beyond the funds of the undertaking.

m b r m for This see s to have een a true c iticis , Lindel had

’ if spent l ivres in building this inconvenient manu

r r r facto y, and , conside ing the conditions unde which the place

r r was worked by oyal patronage , the p ices were naturally bound t o m t reach a high level . It is difficult to ake sof porcelain ;

o r u r even when the ven has been filled the es lts are ve y doubtful .

m r r rr The ti e wasted in t ave sing co idors and staircases , and the difiicul ty of superintending such an ill - planned establishment

r S r all helped to inc ease the cost . Besides , it hould be emarked that as the soft-paste porcelain of Sevres was made thinner than

r o r m r r had been the case befo e it was c r espondingly o e f agile, so that the agents and shopkeepers in Paris refused to push the

of r l r sale it unless they we e given an al owance for b eakage , and then it seems they got into a habit of hir ing out sevres services for & c t festivities, weddings, . It will be obvious hat under any such system of mismanagement the l eakage must have

rm o o - been eno ous . To av id the difficulties of bo k keeping it seems to have been the custom to charge the same price for the

m r r h sa e shape i respective of its deco ation, so t at a cup of a

r r t given size and shape , whethe deco a ed by an apprentice or by

rt o for m sum a distinguished a ist would be s ld the sa e .

“ See irst R i t f u r k F e s er O the E x enses of the Co rt o The R ed B oo . g p , Paris 1 93 , 7 .

SE VE S 1 75 - 1 69 E , 6 7 . 6 1

In spite of these defects in the o rganisation and administra

o r tion of the fact ry, defects which would have ruined any p ivate

t t Se r r r institution , it must be said ha the v es facto y p oduced ,

1 7 56 -1 7 69 - r between , when nothing but soft paste po celain was m r r m r r for ll ade, a ve y la ge nu ber of pieces ema kable both ski

r in execution and excellence in design . Du ing the greater part of this period we can feel the influence of Madame de Pom

ad our for r Se p , before the settlement of the wo ks at vres she seems not to have been interested in the manufacture of porce

~ Sevr lain . When she determined to make es into the royal S manufactory , entirely supported by the tate, the chemists and potters at Vincennes had already solved the difficult problems

o of practical producti n .

Let us quote again from the Chronicles of that time . The

’ Marquis d A rgenson tells us that Madame de Pompadour talks about nothing but the great advantage that the State will

of S derive from the manufacture porcelain in the axon fashion ,

e ro S r and ev n in having excelled the Saxons in it. A yal hop fo the o sale of this p rcelain is opened in the rue de la Monnaie , and there is exhibited a service which the King is going to send

of S to the King axony as if he wanted to bid him defiance , and provoke him by sho wing him that he had even excelled his

’ r m r r po celain anufactu e . At one of the King s suppe s the Marquise de Pompadour said that those who did not buy as much of this porcelain as they could afford were not good

r Si citizens , to which someone answe ed that nce the King had bestowed so many donations in the encouragement of this St manufactory, those at Charleville and at . Etienne for the

” u manufacture of weapons , usef l to us in another way, are

r - t neglected , and th ee quar ers of the workpeople go over to

’ r foreign count ies .

r r It was in this way that the manufacto y became , th ough the

r r m r inte est of the Marquise de Pompadour and her f iends , o e

m s i and ore a work entirely under the Crown . In sp te of these 1 7 5 5 a successes it was, in May, , found necessary to call up the l st

S O o 1 75 5 tenth of the hare capital , and in ct ber, , the company had to borrow livres ; while in December of the same year ° R A P O CE L IN . 6 a ! FRENCH

the S r - r Se r upe intendent General of Finance acco ded to v es , for

r - for -m its u gent needs , a sub lease of the fees the hall arking of

S - gold and ilver plate , and the taxes on candle grease in the town

r r t r r of Pa is, at the a e of liv es, the p ofits of which were

o ff r . not 1 7 59 to go int its co e s This was sufficient, for before the

r r r m loans had eached the total of liv es , and the p o is

r sory notes had to be enewed as they fell due. Finally, in 1 7 5 9 r r t November, , in o de to avoid the liquida ion of the estab l ishment the King decided to take over the s ole financial

responsibility. An edict ordained that the manufactory should be administered for the King under the authority of Sieur

Courteill e o S S de Barberie de , C uncillor of tate and uper

nt r intend e of the Finances . The sha eholders of the company had the value of their shares r eturned to them in the shape of

r r er t notes bea ing inte est at five p cen , and to enable the manufactory to meet the payment of these notes and the demands of the builders they were granted livres in

of r sum bonds on the Estates B ittany, and the of livres

r m r in eady oney. It was thus that the King became proprieto

r S of the wo ks at evres .

We have already mentioned M . Boileau and his modest beginnings at Vincennes as managing clerk under Orry de

o r Fulvy. This M . Boileau had gr wn with the g owth of the business and had become so skilful and diplomatic that he knew how to go behind Madame de Pompadour and the ministers him l and approach the King in person , so as to make se f indispensable . He had managed to retain his influence even among the clashing interests of so many Shar eholders and

m r m so any ambitious heads of depa t ents, and his experience m t a of the ethods , and knowledge of the de ails of the organis

him c a tion , gave ex eption l facilities which he was not slow

m r to i p ove . As soon as Sevres became a State establishment he took steps to assure its position above all the rival factories . What this position was supposed to be under a monarch like Louis

- XV. will be seen by the edicts issued by the Lieutenant General

r n of Police , which fo bade all perso s , whatever their qualification

64 FRE N H P N C OR CE LA I .

intended to develop in order to increase the prosperity of

o r the c unt y. It is certain that several of the rival French

r o wo ks had to discharge a great many of their workpe ple, and

r m that othe s , prevented from i itating the flower pieces and S nl statuary groups of axony, o y lingered on a few years before

di . they, too , ed out Even these unheard of restrictions did not immediately

succeed in bringing financial success to the royal establishment . 1 7 63 In there was again a deficit of livres . This deficit

r m was met by the King, and f o this time he undertook to

m his - provide for the anufactory out of privy purse .

r It is from this pe iod , however, that we must date the most

Sev glorious productions of soft porcelain at res , and it is only in

the collections of His Majesty the King of England , in the

o o Wallace Collecti n preserved in Hertf rd House , or in the collee

o o ti ns bel nging to the Rothschild family, that anyone can form an idea of the magnificence of the productions of Sevres during

the next ten years . Most of the pieces appear to have been

’ for for u intended the King s service , the f rnishing of the royal l St palaces of Versailles, the Trianon , Marly, Be levue, Meudon, .

s Germain , and Fontainebleau . He used them as present for his

r r relatives, his f iends, his courtiers , and his ambassado s . They

m r were also ade use of as diplomatic p esents, sometimes

r m . pe haps , as diplo atic bribes . Like Louis XIV , Louis XV. was also obliged to send all his silver to the mint twice during this

o period of national distress , and the courtiers had bec me quite

’ accustomed to the use of faience and of porcelain ; thus Sevres

’ profited by the deplorable state of the country s finances . Besides dinner-services of simple or elaborate form in the style

l f - es of Duplessis ; besides the smal tea and cof ee servic , the trays , the - - r sugar basins , and the milk pots which are so vastly admi ed nowadays ; besides a thousand more trifling things such as

f - - tobacco or snu f boxes , watch cases, thimbles , buttons , heads of

- o m - - canes , patch boxes , int ent and perfume pots, needle cases , bon bonnier es for , and boxes counters , we find an enormous production of vases, designed by architects and sculptors of n emine ce, the importance and beauty of which astound us . PLA TE I X .

FATE OU ( TENDRE , AB T

Heads .

PALE BLUE -GREEN GROUN D DECO RATED W ITH R ICH GILDING AND WITH PAIN ING or CU S THE S Y E or OU H BY D O T S PID , IN T L B C ER, DIN .

- SE VE E S, 1 75 6 1 76 9. 65

In the Wallace Collection there is a beautiful inkstand given

. r o by Louis XV to the Dauphiness Ma ie Ant inette , which bet ween the celestial and terrestri al globes bears the royal ‘ crown (see Plate This and many other similar pieces of the utmost elegance and r efinement convey to us a wonderful

of r Sev idea the inventive genius of the deco ators at res , and if we admire the taste and elegance of these pieces what are we to say of the technical skill displayed in their production It was bold to render the horizontal or vertical lines of some archi tectu ral model in a material so easily deformed in the firing as

- our t o this soft paste porcelain , but it passes knowledge under stand how they ever managed ' to maintain in the fi re the pierced vases bearing dolphins (see Plate the important ‘ table -centres like the Va issea u cv co mol t (see Plate or the

’ candlestick vases in the form of elephants heads (see Plate all superb pieces , manifesting the tender translucent quality

- r are m of soft paste po celain to perfection . These iracles of technique which a porcelain -maker of the present day does not

r r profess to unde stand, and when one considers the cou age

r requi ed to conceive such works, the beauty and delicacy of the m shapes , and at the sa e time the quality and lustre of the material , it is safe to say that at no epoch have any similar tou r r s d e fo ce been executed in pottery. f t In addition to these elaborate and di ficult shapes , we canno but notice that the decorations are also richer and more sumptuous than those invented at Vincennes , for many new 1 75 7 ground colours had been invented . In the painter

Xrow et r - - Pom invented that most famous g ound colour , rose * ad our p . This colour , of a soft and harmonious flesh tint , is

for one of the most difficult colours to obtain , let the tempera

r r w tu e be a little too high and it becomes of a di ty yello tone , while if fired at a l o w temperature it has an unpleasant w r bro nish , mottled appearance . This volume contains seve al r r ep oductions of pieces from the Wallace Collection, and one

- i n l an The This col our has b een erroneousl y cal l ed rose D ubar ry n E g d . correct name is as here i en for Mad ame ubarr w as not introd uced at court g v , D y

until 1 770 . F 66 FR E NCH POR CE LA IN .

r m - f o the Jones Bequest , on which this ground colour is of t exceptional quali y. Even the reproductions will give the

of o reader a good idea its beautiful t ne . “ Bl eu d c R oi r The was seldom used alone , but in orde to soften its strident tone it was generally covered with gold

tracery in patterns of network ver micell e (2) or (Bil -d e

' per dmw In other examples white parts were reserved which were

r o for su rounded with colour, so that we have r settes, instance , surrounded by blue and gold circles A lilac ground is very

r Se m m o f ra e ; the vres Museu possesses so e specimens it , but

r it m ro r m appa ently was seldo successfully p duced . The e aining ground - colours which date from this period are a fine yellow ” on u ill e fvefrt omm e c er t a w a e vent j q , and two greens , p or j and

’ r erf A a - r e p e or v t ngl is. These ground colou s are exceedingly w ll represented in the Wallace Collection and in the Victoria and Albert Museum (Jones Bequest) by pieces of the very first

t o quality, and reproduc i ns of some of the best pieces will be

o f und in the coloured plates . In addition to these grounds in one uniform colour we find a considerable number of pieces having grounds of the type

' w ceil -d e- er d mx m - r kno n as p , for ed by dotting sea green , or b ight

r on r r blue colou , gilded , a white g ound , so as to b eak up the crudity of the white ground and give additional relief to a land scape or figur e subject painted in a reserved medallion (see 20 Figs . and Along with this improvement in the manufacture and

n of a o m ro colouri g the pieces , the painting itself ls i p ved in

r m delicacy and efinement ; while the ost brilliant red, lilac and

H 68 FR E NC POR CE LA I N . perfectly we can trace from the Sevres p orcelain of the perio d m m the custo s , fashions and caprices of the oment . The King and Madame de Pompadour had also the idea of replacing the presents in silver which they made to am ~ b assad ors and foreign sovereigns by presents of the r oyal

r r ff r porcelain. F om the Register of Fo eign A ai s , and especially

r m J ou r na l r u 1 7 5 6 f o the of Laza e D vaux , we see that by or

1 7 5 7 new rm of r this fo p esent was in full vogue . The Count

o r M ltke, of Cop enhagen , received a se vice in white French

r r porcelain painted in flowers , with blue bo de s , which consisted

r t of a soup dish and two covered dishes , with thei oval s ands ,

m r r worth altogether so e liv es . Le Comte de Be nis, the

r ff r 1 7 58 Ministe for Foreign A ai s , sent , in , to Madame la Princesse de Zerbst a breakfast service of Gr os bl eu on a square tray in French porcelain o f the value of 1 92 livres ; a celeste m - w m 300 blue ilk jug in its bo l, with pierced orna ent, worth

- r rm m livres ; a large green pot pour i jar, of a new fo , with edallions

t and r r painted wi h cupids cove ed with a g oup of flowers , worth

the r livres ; while same ministe sent to the Bishop of Laon ,

r r then ambassador at Rome, a group of seve al figu es in the ” “ 31 2 Boucher style in biscuit , with a vase, worth livres ; two

groups, less important, in the same style , also with vase , worth

306 so livres eight figures , paired that they look at each other,

336 v new l to the value of li res fifteen smaller figures , a so

r 5 40 pai ed, to the value of livres , and eight other figures

- r rr r . rep esenting washerwomen , milkmen , flower ca ie s, etc The Sevres Museum preserves a certain number of the models of ” r in - these figu es, either in biscuit or terra cotta, and these

o m m s riginal odels have undoubtedly a great char of tyle . As m an example , we may mention the odel of a little washer

m see t wo an ( Fig. The naturalness and the grace of his

s composition are in exquisite taste, and in the ame series we

- - flower r r . find milkmen , ca riers , boatmen , a bird catche , etc ; but “ we must return to this subject of the biscuit figures in a

special account in a subsequent chapter . 1 756 1 76 9 The period from to , which we have studied in

this chapter, is essentially the period of Madame de Pompadour , L TE P A X .

A TE ND E AB T (P TE R , OU

- Rose w ater E w er and Dish.

YE W G ND O W H R US SCE NE PAIN ED LU LLO ROU DEC RATED IT TIC S T IN B E ,

Victor ia. a nd A l ber t M u s eu m.

- SE VE E S, 1 756 1 769. 69

1 764 r l for although she died in , her a tistic influence was sti l pre

It r o Se eminent . was the sumptuous pe i d of vres in Louis XV the style , and while all authors of that epoch have blamed the King for his extravagance in connection with Sevres at a time when the affairs and credit of the State were in such a d epl or

r r able condition we can ha dly now reg et this extravagance , from which proceeded a French industry which is still so prosperous

o r - or that f ha d paste p celain .

r r r 1 7 5 6 1 7 69 m r o Du ing this pe iod , f om to , the a k c nsisted of the two interlaced between which the letters from D to Q

r r 1 7 r indicated the yea . In the yea 69 the appea ance of a comet created such a sensation that the Sevres decorators substituted “ the drawing of a comet for the letter R as the index of that

m er so nel year . We shall give so e information as to the p n at Sevres at this time in ou r account of the factory during the

XVI as t reign of Louis , a great number of the artists con inued

r for n r to wo k years , duri g both eigns , without any modification

r in thei style of work . E IX C H A P T R .

THE A TTE MPTS TO PR O D U CE HA R -PA STE POR CE LA IN IN FR A NCE D .

Certainly the artificial soft -paste porcelain we have been

r desc ibing, which may rightly be called French porcelain, was a

r beautiful deco ative material , absolutely without a rival from the point of view of the china painter, for the colours painted upon it become so perfectly incorporated with the luscious glaze that its appearance is always sweet and charming ; but this f m l porcelain is di ficult and costly to anufacture, while it readi y r The S c acks in use . comparative cheapness of the axon and other German porcelains— for following the establishment of the

r r works at Meissen , other po celain facto ies had been started at

Htichs t S Vienna, at Berlin, at Frankenthal , at , and even at tras

— fi re- burg their hardness , and their resisting qualities rendered m S them serious co petitors of the porcelain of evres . The attention of the scientists connected with Sevres was t herefore

r - tu ned to the search for hard paste porcelain . The manuscript

Hell ot see of , which we have already mentioned several times (

. 4 6 47 5 3 ro pp , , shows that the accounts sent f m China, by i the Jesuit missionaries , as to the Chinese fabr cation of porcelain

r by means of a natu al white plastic clay, kaolin, and a fusible

r r r see . ock, petuntse, had been tho oughly app eciated ( p It was the discovery of these minerals in Germany that led to the

r - p oduction of hard paste porcelain at Meissen . m S r C r At this ti e there was in trasburg a potte , ha les

s Hannon r Francoi g, o iginally of Maestricht , who had lived at

who Hiichst r Mainz , and had probably derived from , a subu b

r O ll - of Mainz, his knowledge of potte y. rigina y a tobacco pipe

72 FR E NCH P R IN O CE LA .

' ' S faIence r the credit of having founded the trasburg indust y, but of being the first potter who had made true hard -paste

porcelain in France .

r m o us Ve y few pieces of this epoch have co e d wn to . We only know for certain of an oval - shaped salt -cellar standing on a m base decorated with ouldings and gadroons , the basin being supported above this stand by four little cartouches decorated

r r of with eliefs . The paste is g eyish , but the glaze is a fine

are r - o on white, while the decorations painted in pale ose c lour “ ” m see S r the glaze . This piece is arked H ( ection on Ma ks It is not known where Hannong obtained the necessary kaolin

r m r our r and felspa for this anufactu e, but in opinion they we e

r m r r e . d rived f o Passau , in Bavaria It is not necessa y he e to

‘’ follow up the account of the development of the fa1ence industry in the hands of the Hannongs at Strasburg and

Mr S o m r Haguenau , especially as . ol n has given such an ad i able * m r account of their doings in an earlier volu e of this se ies, but

r Hannon it is ce tain that Paul g, the son who had succeeded to

S r m m r the trasbu g works , did com ence the anufacture of ha d

o 4 old r paste p rcelain in real earnest about 1 7 5 . When the f ee town of Strasburg was added to the domains of the King of

i r r France, its ancient r ghts and p ivileges had been exp essly

r Hannon o r r eserved to it, and g c nside ed that these p ivileges would protect him from the claims of the porcelain makers of

S r t . . Rouen, Cloud , or Vincennes Realising , as a sh ewd business

mm a r - or man , the co ercial dvantages of ha d paste p celain,

Hannon r o 1 7 48 m om g began to rec uit , ab ut , work en fr the

r S r Ge man and axon po celain factories .

m r r The fa ous Ringle , who , after fleeing f om Meissen , had

r Loewenfinck helped to found the facto y at Vienna, and , who l t HOchst t had lef the factory at , bo h came to assist Paul

Hannon r r g with their expe ience and advice, and we ve y soon

or r i - r ff - r find the fact y tu n ng out dinner se vices , co ee se vices ,

- flower o t ro of fi r . p ts , and small painted s atuettes and g ups gu es

of r r r a s The paste this po celain was ve y white, and not ve y tr n

“ e b M L l Se Hist r nd Fr nch Faience . So on o a escri tion of the l d e . . y D p O , y Ca s l l Sc s Co . L d n n 0 e t . Lo do 1 9 3 . , , ,

- T PO R CE LA I I N HA R D PA S E . N FR A N 3 CE . 7

r or parent, while the glaze was f equently spotted pitted , defects

r r or which we e usually hidden by small painted flowe s insects ,

r t at m appa en ly displayed rando over the piece . The decoration

’ o o f S r r faIence f llowed the lines that on the t asbu g , being painted

r r - r ol r the mostly in ose, pu ple and bluish g een c ou s , used over “ r H glaze . The gene al mark was the letters P . . , either in

r o r cursive or capital letters , painted in blue unde the glaze ,

m r r so etimes in ose or brown colour ove the glaze . Unfo rtunately this prosperous commencement was not to

r m r m r endure . The p o ote s of the Vincennes anufacto y began to feel u neasy as to the effect which the Strasburg productions

o on r r r w uld have their position, and sought to enfo ce thei p ivi

H nnon 1 74 5 . a r r r lege of g, knowing of this dange ous ival y, first

r - n sought to obtain lette s pate t on his own part. To this end

- r he addressed himself to the general supe intendent, M . de

f r Machault, recalling the act that for thi ty years he and his father had been experimenting to perfect their processes ; that at great expense he had brought the best workpeople from Saxony

r m and othe parts of Ger any , and that he had accumulated great

m r stores of the necessary raw aterials . He d aws attention to

of o m r the quality his pr ductions , showing that the ate ials can

r l be worked like othe plastic clays , that the finished articles wil

fi re r r m resist the , and that the wa e can eceive the ost beautiful m m decorations ; while , finally , he clai s for hi self to have been

r - the first inventor of ha d paste porcelain in France , and he begs to be all owed to c ontinue the production and sale of it .

This petition produced no results , and , justly uneasy, Han nong made a visit to Paris in the hope of averting the threaten

r ing edicts . In his ext emity he even appealed to Boileau , the

r ro n di ector of the yal manufactory at Vincennes , endeavouri g

r r r r to t eat with him for a transfer of his sec ets. The eco ds of

l m r r Se the roya anufacto y, still p eserved at vres, mention the

o t r S purchase of a p and a porcelain bowl f om trasburg , which

r r to B m r we e delive ed ellot , that he ight analyse the mate ials ;

’ while we also find that two of Hannong s workmen— a sculptor

r m h - r t and a painte , the latter na ed Busc we e gran ed , at this

m m n S r ti e , a sum of oney for their jour ey from t asburg and the 4 FR E H P R E L 7 NC O C A IN .

a experiments they m de at Vincennes . The result of these over

m r h as tures was e bodied in a p ojected agreement , which been Se kept among the archives of vres , and which concludes as follows The particular clays and compositions which are contained in the present writ ten agreement have been produced

‘ m me r and com unicated by , the undersigned , acco ding to the

on agreement made between M . Boileau and myself at Paris ” r 1 s 1 S t 753 . S Ha non n . eptembe , igned P. A . g It appears that the management of the royal manufactory had confidence in

’ Hannon s this statement of g , but the agreement came to

r r ffi nothing, pa tly f om the di culty of obtaining the necessary

r Hannon r materials f om Passau , and partly because g requi ed in payment the sum of livres in cash and a life annuity of

livres.

’ Once in possession of Hannong s secrets Boileau appears to have acted with the greatest harshness , and even spite, in push

Hannon ing the persecution of g to the bitter end , and he d u 1 754 Hannon obtained a ju gment in Febr ary, , forbidding g to

m r prosecute his anufacture any furthe , and requiring him to dis mantle his oven within a fortnight The Maréchal de Noail les

r s b u t tried to inte est the King per onally in the matter, in vain , and the utmost concession he could obtain was that Hannong might be allo wed to finish the work he had in hand at the moment .

A more enlightened prince than the King of France ,

r r - e o received Hannon the A chduke Cha les Th od re , , g with open

r r m f r a ms, and f o the manu actory at F ankenthal , which Han

o n ng was able to establish by his support, have come all those

r r- charming g oups , and those excellent dinne services , which are

r r r i Se r the p ide of thei p esent possessors, and w th which v es has

r m t for or neve co pe ed , it has never put on its porcelain a glaze decorations analogous to these German productions .

r r o The discoveries of this Alsatian potte , the pe secuti ns of

o of which he had been the bject, and the success his efforts in

r or r r F ance and in f eign countries , we e bound to make the lea ned men employed at Vincennes and at Sevres more active in their

o - n ~ researches to s lve the problem of hard paste porcelai .

76 FR E NCH P OR CE L A I N .

o t r with him int the Pala inate, app oached M . de Verdun , one of

r r ro o the shareholde s of the Vincennes wo ks , with a p positi n that they should manufacture har d - paste por celain after the

rm o Ge an fashion . A h use was r ented for them at l a Petite Pol o n e r r t g , nea Pa is , where they construc ed two ovens , and m r o - r r anufactured seve al vens full of wa e , but without p oducing

r r f r . o m po celain These expe iments lasted eighteen onths, and

m o t wo cost the company so e twenty th usand livres . Then

r m o who are o othe work en, Dub is and Chanon , rep rted to have

m o r r r . r o u co e f m Flande s , app oached M de Ve dun and B ilea , and

’ al though an old chziteau at Sevres was fitted up for their experiments they produced nothing but a species of English

r r ea thenwa e . Although it is necessary to interrupt the chronological order

t m to Hannon m of even s we ust again revert the g fa ily. The Hannon 1 760 second g died in , leaving his two sons , one of

r - Hannon r whom , Pier e Antoine g, managed the works at F ank

ose h- r euthal, while J p Adam took possession of the wo ks at

S r o r trasbu g and Haguenau , and had the s le ight of disposing of

r or r o the sec et of p celain in F ance , th ugh in the case of its sale a third of the price paid for its sale was to be remitted to his

’ r r Hannon s r r m b other. Afte Paul g death , new ove tures we e ade

Hannon m r r r to Joseph g, but he was o e mist ustful than his fathe B S had been . oileau was sent on a mission to trasburg and w Frankenthal , and , finding that he could make no head ay with

Hannon o r r Joseph g, he surreptiti usly approached his b othe

r - to r Pier e Antoine , who was foolish enough execute a deed befo e

a r 29th 1 76 1 the notaries of the Ch telet , at Pa is , on July , , in “ rr S r r o which he transfe ed to the ieu Boileau , di ect r of the

m r o t r royal anufacto y, duly auth rised to sign his ag eement, the secret of the processes of making porcelain for the sum of

r r m r r liv es in eady oney and a yea ly g atuity, or life annuity, of ” livres . . r to m of Hannon He e again Boileau seems have ade a fool g,

for the m on r after obtaining docu ent , the g ound that it was

m t o ro r r raw t r i possible p cu e the necessa y ma erials in F ance,

Hannon r he refused to pay g the ag eed sum , although the - HA R D PA STE POR CE LA I N I N FR A NCE . 7 7

m r m ro latter had co e to Pa is , and had made experi ents p ving

o ae H n the correctness of his f rmul . Finally anno g accepted

’ Boileau s offer of livres in r eady money and a life - annuity

r r o . of liv es , which we e never paid as l ng as Louis XV

rr - Hannon t m lived . Pie e Antoine g incessan ly co plained of this

r r r disg aceful t eatment , and finally his complaints were inqui ed

’ r d A n ivillers 1 7 8 1 t into by the Ma quis g who , in set led the whole

’ r to Hannon s r affair by a payment of liv es g c editors . Still the management of Sevres did not succeed with their

’ r ff Hannon s r own expe iments , and after this a air of g the e was

l ard 1 7 67 r Folar ff r o . d the a ai of F In the Chevalie de , an

r enlightened amateur , was the diplomatic agent of F ance at

r r Pfeffel r Munich . He there lea ned f om , an Alsatian histo ian , m at that ti e connected with the court of the Duke of Nassau ,

Lim runn that p , who was the director of a little porcelain works

all a r . at Munich , knew the secrets relating to the m nufactu e The Chevalier de Fol ard tried to induce Limprunn to enter into

r Se the F ench service and take a post at vres . Negotiations

Fol ard were entered into between M . de Choiseul and M . de , who

h r m r or thought t at by the aid of this Bava ian anufactu er, p ee lain from being merely an object of luxury would soon become

r an article of commerce , as it was at Munich . To p ove the excellence of the Munich product ions a box was sent to m M . de Choiseul containing two cups of this anufacture, in the inside of one of which a piece of Sevres por celain had been

-a - melted, while in the interior of the other half dozen iron nails l . o d t . ar o had been pounded M de F , in writing M . de Choiseul states that Limprunn possessed the wholesecrets of this fabrica

r t tion, both theoretically and p actically ; that he unders ood the construction of the ovens and the composition of the colou rs

used by the painters , which he prepared himself ; that he was “ ” in fact what they called in Saxony A Universal Arcanist ; but

t hi for r m the negotia ions , w ch went on some fou months , ca e to

t o r no hing, as there was no l nge any doubt in the minds of the

' management at Sevres that what they wanted were the natural raw m — l aterials kao in and petuntse .

at Se — e — The chemists vres Hell t, Millot , and Macquer knew 7 8 FR E NCH P OR CE LA IN.

m both the Chinese kaolins and the Ger an ones, for the Elector of Saxony had even sent samples of his kaolin for their ex

m r eri ents. S n p Macque and Millot , using axon kaoli and kaolin

o o of r b ut t fr m Alenc n, had made a kind po celain, his was not

o r ur m sufficiently white , and j u neys to B gundy , Cha pagne, and other provinces w ere made in search of earths which might

o o m aid in the s lution of the pr ble . Ab out the end of 1 765 the Archbishop of Bordeaux came to

m f Se r visit the anu actory at v es , and after having inspected the

f r o r o fices , wo ksh ps and wa ehouses he was conducted to the

r r r him labo ato y, whe e Boileau showed the results obtained by S Macquer with axon kaolin , Alencon clay, and calcined alum .

r a r r Acceding to the equest of Boile u and Macque , the a chbishop agreed to take samples of the kaolin to see if any analogous sub

m t r On stance igh be found in the neighbourhood of Bo deaux . returning to his diocese the archbishop showed this clay to an

r Vill aris r apotheca y , , who had t avelled a good deal, and was

l r r Vill aris wel acquainted with all that pa t of the count y.

r e u visited the Py enees and the C vennes, but nsuccessfully, and

r w quite discou aged by his ant of success , he happened to show a

r S r sample of the kaolin he was in sea ch of to the ieu Darnet, of

To o o m m St. r Y ieix . his pr f und astonish ent this aterial was

m o for m i mediately recognised by Darnet, wh se wife had so e time been in the habit of using as a washing material a white clay of

mi r r o a si la kind , which was found on the su face of the s il at

St Vill aris o . Yrieix , and btained about three pounds of this

r clay, which he despatched to the directo s of the manufactory Se at vres . In the Museum of Sevres there is preserved a little statuette

z r - m r m of Bacchus , in white gla ed ha d paste porcelain , ade f o

r r the r t this clay, which is ightfully desc ibed as being fi s piece of

o m r r ffi true p rcelain anufactu ed at Sevres . But thei di culties

r Vill aris f the we e not yet at an end, as re used to divulge source

r f om which the clay had been obtained , expecting to obtain a

r m for r rr la ge sum of oney his chance discove y. I itated by this

r m unexpected difficulty, Boileau obtained f o the minister Bertin permission to despatch Mill e t and Macquer in search of the

8 0 FR E NCH P OR CE LA N I .

r r expe iments in po celain made at Dax . When the archbishop

ou r m Vill aris m had examined sa ples he sent for , who was uch perplexed to see that in spite of his refusal to assist us we had found a kaolin as well as himself. “ The next m orning the Sieur Vill aris came to visit us

no t so o again , and he was pr ud as when we first came to

r off r r Bo deaux , and now e ed his assistance and p omised to

r take us to the place whe e the kaolin was , saying that the minister could please himself how he r ewarded him for his

On o trouble . the app inted day he was t o wait for us at

r St r e r Ti iée ( . Y i ix) in Pe igord . The next day we went to join

Vill aris Tiriée at , and lodged at the house of one Dubourg, an

Villaris innkeeper and land surveyor. had chosen a house for

far t r us as as possible from hat of M . Da net , the surgeon of this

no t town , that he might be seen by him , although they were

' friend s and it was Darnet who had given Vill aris the first

o O ur samples of ka lin . shortest way would have been to go

r th ough the town , but as this would have led us past ’ B r Vill aris m M . arnet s doo , ade us go through all the gardens on the outskirts of the town to reach the kaolin , which we

r r r found beside the chu chya d of the pa ish , in a little path so

r o m da k that it was alm st i possible to see.

men While we were digging the kaolin two passed by, and on perceiving what we were about they ran to tell Madame

r of Sh d u . e Montait, the owne the land sent her son to us at once to ask by whose permission we took her soil , and to tell us that if we did not leave off he would raise the hue

- cr e . and y after us, and bring the p ople together to stop us

n off r r O . this we left di ectly, and M Macquer sought the mayo of the town and c ommunicated to him the orders we had r eceived from the minister to search for clays suitable for the

r h n manufacture of porcelain fo t e Ki g . We obtained a tun

of full , about four hundred pounds , taking that which was the t m whi est, and this we had passed through the Custo House at ” r Limoges in o der that it might be transported to Sevres . When the travellers got back to Sevres they were able to

r - manufactu e hard paste porcelain with success , and in a com

C HA P T E R X .

TE HE I A T I E LA HJ : WE A U X S MA N U FA G HH ME S O F IN HHFR MHHI POR C E ,

- - BO R G LA R E INE O R LEA NS TO R NA Y A R R A S ST. A M A N . U , , U , , D

IT seems astonishing that the strict monopoly granted to . r or Vincennes did not entirely end all the small ival fact ies , but

r some few survived , pa tly by evading the edicts , but chiefly by

r the production o f very cheap po celains . In addition to the factories already mentioned there were some of lesser importance

r Whose doings must be b iefly sketched .

SCE A X U .

“ r Jacques Chapelle, one of the unive sal geniuses of the

r t r period, who had p etensions as ar ist , sculpto , chemist and

' ‘ 1 7 48 faIence r S physicist, settled about at the wo ks of ceaux

r belonging to an architect , De Bey . Chapelle had been a g eat

r r traveller , and in the cou se of his wande ings had acquired a

- n knowledge of porcelain maki g. In some autobiographical writings he tells us that he had founded in Paris a manufacture

r S the of porcelain as pe fect as that of axony, quality of which

hl b r was hig y esteemed both y dealers and connoisseu s .

o S A company was f unded at ceaux, Chapelle having under

a d u taken to obt in, through the patronage of the Duchesse

r m . Maine , a royal p ivilege for the anufacture of porcelain By

1 749 r r a commodious facto y had been a ranged, a staff of

r r m O r . wo kpeople engaged , and all was eady to com ence pe ations

o r f Chapelle, h wever, had not eckoned su ficiently on the privileges

r r m a al eady granted to Cha les Ada t Vincennes (see p. and r d u his pat oness, the Duchesse Maine, was not powerful enough

S E A CX B O UR G—LA —R O , E INE , E TO. 83

o r to resist the authority of Madame de P mpadou , so that the company was compelled to abandon its intentions and to content

’ ‘ t w faIenee i self ith the manufacture of a variety of , which they ’ ’ ' Th cal led Fa zen ce J ap onnes. e business was acqui red in 1 7 63

r by Jullien, one of the best painters , and Jacques, a Pa isian

’ ullien or r sculptor ; J being fully inf med as to Chapelle s po celain .

1 772 ullien In Richard Glot succeeded to Jacques and J , who had

- r s e taken over the porcelain works at Mennecy Ville oy ( e p .

r - - and who founded the works at Bou g la Reine . In 1 7 75 the works secured the patronage of the D ue de

e u Penthi vre, High Admiral of France , and under his powerf l

of protection , they again produced porcelain without fear

r 1 78 4 p osecution , though it was not until that they obtained permission to use painting in varied colours and gilding , by

S o the modification of the monopoly of evres . In spite f this fact there is no doubt that porcelain had been made by

ullien are Jacques and J , and the paste and glaze in every r o m espect similar to th se of Mennecy , the borders and ri s being lined with rose -colour during the whole period when

r gilding was fo bidden . The flower paintings, and the designs of exotic birds are generally sweeter and better designed than

se u - r those of Mennecy . The a (ice pail) f om the Victoria and

r Albert Museum , rep oduced in Plate XIV ., is very typical of

Th r the s tyle of flower painting in use at this factory . e ma k “ S r consists generally of the letters . X . insc ibed in the paste ;

m r but any beautiful pieces , especially vases and g oups , which it * is r . impossible to attribute to any other facto y , bear no mark

- - BO UR G LA R E INE .

1 774 ullien o - In MM . Jacques and J f unded at Bourg la S - Reine, a little place near ceaux , a manufactory of soft paste ’ r d E u po celain under the protection of the Comte , it is said after

,

- the expiration of their lease at Mennecy Villeroy (see p . It

r r r r is , therefo e, only natu al that the p oducts we e so like those of

” r h r the latter facto y t at , in the absence of ma ks , it is difficult to

' ’ ound in M r Sol on s A n interestingaccou nt of the faience of Sceaux w ill b e f . 3 Hi r F Cassel l Co . Lond on 190 . sto y and D escription of Ol d rench , , H 84 FR E NC POR CE LA IN.

w r distinguish bet een them . The e must have been a con

‘ sid erabl e demand among the people living in the environs of

r Pa is for porcelain in the Mennecy style , seeing how persistently

r r r those shapes and deco ations were ep oduced . We represent in

r r rm Plate XV. a cha acte istic piece of this class , in the fo of a

- r r sugar dish , with cover and stand, p eserved in the Victo ia

r and Albe t Museum .

r for 1 7 8 8 The facto y was continued to the Revolution , in we

one r find the son of Jacques, of the founde s , who had become a

o r m director of the company , l dging st ong co plaints with the Minister of Commerce as to the harm done t o this business by

m o r the i portation of English p ttery , endered possible by the r mm r r ecent co e cial t eaty . He also revived these complaints

r r du ing the evolutionary period .

r - - The ma k of Bourg la Reine consists of the letters B . R .

r S insc ibed in the paste . It hould be added that the edges and rims of the pieces are almost invariably lined with rose - colour ;

are we know very few that gilded .

O R LEA NS .

1 7 5 3 S r G erréaul t O rleans In , ieu established at , under the

D ue e r r patronage of the de Penthi v e, a po celain manufactory, for which he was able to obtain the authorisation o f the Council

So - S . 1 7 70 of tate ft paste porcelain was made until , after which

- or o as r hard paste p celain nly w manufactu ed . This O rl eans soft -paste was extremely vitreous and trans

r . lucent, while the glaze was also exceedingly b illiant The

r m al l pieces we e well ade, the mouldings and reliefs being

m h r skilfully odelled and s arply cut . The pieces comp ised some

r few statuettes, but table services we e more common, and were generally decorated with detached flowers painted in under t s glaze blue , or more frequently wi h painted bouquet touched u p with gold .

“ The mark is a label with the letter C below (see Section on Marks Although a considerable quantity of the soft paste porcelain of Orléans must have been made during the

H P R E LA I 86 FR E NC O C N.

glaze is as perfect as one could desire . The pieces of this m superior quality were odelled on the shapes of Dresden , or of m China, while the decorations were finely executed , and a ong

r m of i the colours used , a fine red , obtained f o oxide ron, is note

r wo thy. S Se r ubsequently, the influence of vres became p edominant ,

r of ce ll -d e and we find the ibbon decorations , the grounds

er ol r fl x r t e p , the paintings of exotic bi ds and li tl landscapes

rm fo ing the chief decorative feature of Tournay porcelain . We

24 2 r - r u reproduce in Figs . and 5 a c eam jug and a cove ed s gar

a en b sin of this period , decorated with paintings of cupids ca ma l eu - r in a purplish rose colour , elieved with gilding

r o r artistically ar anged . At this period , too , the gr und colou s

e r the bl eu d e r oi r re of s v es , notably , we e also successfully

r m of p oduced. We may ention as showing the fine quality the

r Tournay pieces of the supe ior kind, that white pieces have often been subsequently decorated in the Sevres manner and palmed O ff with a false -Sevres mark as the genuine productions

r of that facto y. The m ore common kind of porcelain made at Tournay was

r a o It al ve y thick in subst nce , and nearly paque. was gener ly

or r painted in blue, with little sprays ga lands , and the dishes and plates of this manufacture were greatly appreciated by

f r t r O n . innkeepers and o he s , because their stre gth and du ability

r This kind of Tou nay porcelain is still manufactured , and all

su ch r r pieces gene ally bear only letters indicative of the patte n ,

’ m r or workmen s a ks .

r o ou The fine Tournay porcelains were ma ked in g ld , or in

r two r o . glaze colou s, with c ossed sw rds and with four crosses

See S o ( ecti n on Marks . )

A R R A S.

’ Warmont s o Although there is in Dr. c llection a plate bear

the 1 7 1 1 to e ing date , which is supposed have b en made at

r of ma r at A ras , we know nothing any nufactu e of porcelain that

r . 1 8 2 r o 7 . pe iod We only know that in , M de Calonne , Gove n r

r t o of Flanders and Artois , obse ving wi h a jealous eye the pr gress

C H A P T E R XI .

SEV R E S FR O M 1 769 To 1 7 74 .

A A ME D E O MPA O R 1 764 1 7 70 M D P D U died in , but it was not before t i m m hat the re gn of Mada e Dubarry co menced, and this was of

r r 1 7 74 sho t du ation owing to the death of Louis XV. in . The influence of Madame Dubarry on the artistic fate of Sevres was

r ce tainly much less than that of Madame de Pompadour , but it should be said that she always appreciated things that were of

r m m matchless ichness , and she re ained one of the ost faithful

r r pat ons of the facto y at Sevres . The hard -paste porcelain which had been just invented in

1 769 o m , received all the attenti n of the che ists of the establish

m o ment . The paste was co posed of ka lin and sand , to which a little chalk was also added , whilst the glaze consisted of quartz

ro or sand , chalk, and fragments of b ken porcelain , ground to an

r was impalpable powde . This glaze not nearly so glossy as that of - the soft paste porcelain ; indeed , it was relatively opaque , so that the early hard-paste porcelain of sevres has a very charac t ris i o r o - e t c whiteness . Naturally the c lou s used on the s ft paste

i r r m er porcelain , which nco po ated the selves so easily and so p fectl to y with the glaze , had be modified to suit the new

r S r mate ials . pecial colours and grounds we e gradually developed for r r r of XVI r this pu pose du ing the eign Louis , but we will efer

r to these in a subsequent chapte . By force of circumstances the two manufactures went on side

r r w - by side during the pe iod unde revie . The soft paste porcelain

r o the the r was pee less fr m point of view of painte , and , although it did not permit the making of large vases and monumental D OU TEN RE , AB T

E R E ’ FR 1 6 8 9 S V S OM 7 9 TO 17 74 .

e r S pi ces such as we e made in axony or in China, in capable hands it lent itself to the production of excellent shapes and

r r or — fo ms . The sculptors of this pe iod were as bef e Duplessis,

o r Bol vr ro Falc net , La Rue , Bachelie , y , and Le Riche , who p

duced m all the odels of the pure Louis XV. style , in which

r oc tll m r or a e . orna ent p evailed The plates are festooned , t moulded with ornamental details of grea fineness , while the

handles of cups and other vessels were most delicately chiselled .

r nt r r As to the vases , a most impo ta featu e of the p oductions

of the period , we have taken the names of the most famous and characteristic from the moulds or models O f the sevres

o manufactory. A vase often made in this peri d, though it had

o been modelled by Duplessis bef re this time , is that known as

’ nos e at anse tete then there is the va se Ogl flo of a

r oca ill e or very complicated design in the style, f med in the ‘ shape of foliage and scrolls intermixed ; the vase tu l ipe ct or eil l es r S , pe fect pecimens of which are in the Wallace

e ase milita ir e Collection ; , ornamented with flags and trophies ; vase ova te d tétes d e bou e n va se a u to tr iton s , of great elega ce ; , a vase supported by tritons modelled by the sculptor La Rue ; and a vase in the shape of a basket known as va se r u che

’ d a beill es.

A great number of vases ha ve twisted or straight sides of m great purity of line, and of these we may ention a vase known

vase téte d e bou c Du bar r r va se Pa r is as y , while anothe , the ,

r - was, pe haps , the largest ever made in soft paste porcelain, being

vase d about thirty inches high . We may also mention the oi nons r t g , pie ced with holes so that it migh be used for culti v atin g Dutch bulbs , one of the fads of the moment , and the

’ vase d l A mou r Fa l con et r , which is te minated by the shaft of a column bearing a statuette by the celebrated sculptor above the inscription

r Qui que tu sois , voici ton mait e . ’ Il l e l e é tre ! l est , fut , ou doit

’ On other vases ships cordage served to frame oval

' n rvase a nti ue er r e r medallio s , while a vase called q f bo e the 90 FR E N H P R E LA I C O C N .

r representation of an iron found y , this being the same vase on which we find the oval medallions bearing scenes from the ‘ s le b c d ee . vase tete o ou Battle of Fontenoy ( p another ,

’ r a isins bears handles formed of a goat s head entwined with

r rr . vine b anches with grapes , a anged with very great skill We have already mentioned in a previous chapter the famous va isseau a ma r r t, let us also point out f om the yea of the Comet,

1 7 9 s r 6 va e Comete . , the , in the form of a sphe e on a low pedestal The Wallace Collection contains many choice examples of m the vases of this period ; here, besides ost of those mentioned

vase onta in e a u x d a u hin s va se above, we find the f p , the

' bou teill e vase ot— ou rr i va se d camees vase d , the p p , the , the

u a tr e car tels S t . o q , etc ome of the m st interesting of hese

r shapes will be found eproduced in this volume .

r e The ja dini res of this period are also perfect in form , and we

l r X1 1 22 . 9 i lust ate in Plates VII . and and Figs . and examples w n which sho , not only the purity of line of the desig s, but how perfectly adapted they were to their purpose .

of r r A certain number o namental clocks were also p oduced .

r m r In some of these b onze plays the o e important part, the porcelain only being accessory, while others , in which the poree

are m r lain parts of the greater i po tance, will be mentioned in “ the section dealing with Sevres biscuits . After the death of Madame de Pompadour the King still

e Se r r mained interested in the success of vres . In o der to m sti ulate the zeal of the artists , and augment the sales of the

i t o porcela n, exhibi i ns were arranged in the Palace of Versailles

r r o at the end of eve y yea , and the King attended the exhibiti ns

r and took the greatest interest in the sales . Let us quote f om a contemporary account

’ Every N ew Year s Day they bring into the galleries at

o Se r Versailles the newest and ch icest pieces of vres po celain , which the King himself distributes among his great lords for

their money ; he fixes the prices himself and they are not cheap . We presume that the prices must be pretty high on account of

r the financial situation, but we shall speak about that late on . I t i s certain that some of the noble lords are not ashamed of

H R LA I 92 FR E NC PO CE N .

Apart from the exhibitions at Versailles on each New Year ’ s

d e et rue Day, the sale p at Paris , in de la Monnaie, was

r t maintained . All the deale s in antiques and curiosi ies also sold

r t r po celain , some of hem , such as Duluc , Poi ier , and Madame

’ r Lair, selling as much as livres wo th each . The early pieces of Sevres porcelain were eagerly collected by

r J ou r n al of the connoisseu s of the day, as we learn from the

r Lazare Duvaux . The chief collectors of the period we e the

’ ’ Du e d A u mont d A r enson r , the Marquis g , and the P incesse de

Talmont .

too r r This was the epoch , , when the fi st pieces of fu niture

r decorated with po celain made their appearance, but we shall study this branch of the subject in connection with the period

XVI r of Louis , when the ich and carefully executed furniture, d now so highly prized by collectors , was also produce . “ ” “ m 1 769 1 7 74 r r Fro to the date lette s from R . to V . we e placed between the interlaced E X I I C H A P T R .

SE VR E S N E R LO IS V I 1 - U X . 7 74 1 7 89. U D ,

IT would not be quite correct to say that the golden period of e s vres came to an end with the death of Louis XV. , but a

r change soon followed that event . Just as the F ench kingship f Se XVI passed into eebler hands, so we find vres , under Louis ,

few f r Se r becoming, after a years , a very dif e ent v es from that

r of Louis XV . This change was, pe haps, more pronounced l ll because of the death of Boi eau, which soon fo owed that of

’ his royal master. Whatever we may think of Boileau s conduct

Hannon with regard to g, and there seems little doubt that he

r t eated that unfortunate potter with harshness and injustice , it will always be to his honour that he was the director during the most glorious period of the works ; that he knew how to interest

r the King in its prog ess , as well as how to unite the rival

r ambitions of the chemists , sculptors , painte s , and workmen of the establishment . We have seen that the works at Sevres owed much to the and patronage of Madame de Pompadour , in a lesser degree, to

of r r e that Madame Dubarry . During the p esent pe iod the influenc which had been exercised by the mistresses of the late King was

of to be exercised by one the most famous of Queens , Marie m Antoinette . This Princess , al ost immediately after her

was s e marriage , conducted over the work at s vres, which was just then engaged on the manufacture of the most sumptuous

r garnitu es for the palace of Louveciennes, and on the production “ m m in biscuit of the famous bust of Mada e Dubarry, odelled

by Pajou . Although Marie Antoinette was immediately 94 FR E NCH P OR E LA IN C .

r r of r no inte ested in the p oductions the facto y, she had direct

her or 1 influence upon it until after c onation in 7 74 . Yet she

m o Se r for r m 1 7 7 1 to 1 7 74 r soon beca e a patr ness of v es , f o , pa t

the er s onnel m for her of p was e ployed in making , , furniture and

r r n o w t o ga nitu es of all ki ds analog us to, or identical i h , th se

m r dir r which had been ade for the Dubar y . The ecto of the

r o r 1 7 7 2 wo ks , who was a g od courtier , had already p oduced in a “ ” t r o o biscui g oup , m delled by Paj u , and called The Marriage of In on Louis XVI . this group the Dauphin is the left, the

r r Dauphiness on the ight, clasping their hands on a kind of alta “ r fleurs - - surmounted by a globe o namented with de lys . The

“ front of the altar had the inscription Au bonheur public

r r r while the pedestal bo e , in low relief, ga lands of flowe s , and a “ ” ro m o m yal on gra composed of the initials L . and A . inter twined .

1 7 73 o a r About , the sculptor Paj u m de a bust of Ma ie

we m r r Antoinette in which , while cannot but ad i e the egal attitude of the daughter of an empress and the wife of a mighty

r m r r h p ince , we are still o e cha med by the juvenile fres ness

m r and and grace of the wo an , the beauty of her featu es , the

r her hi r l ro a rangement of hair. In t s model Pajou ce tain y p d uced the of r one of finest works the eighteenth centu y, and it seems like the irony of fate that it can only be compared with

rr m the busts of the Duba y produced by the sa e sculptor. In

r the Petit T ianon an example of this bust, doubtless made at

o — r r o r this very peri d b oken du ing the Revoluti n , but resto ed in

m — r l r l r m our own ti e is ca efu ly p eserved ; whi e anothe exa ple, m r l now . ade seve a years later, is in the palace of Versailles Marie -Antoinette was not unacquainted with the manufactu re of

or her r m r s r - r p celain , for mothe , the E p e s Ma ia The esa had dis played the greatest interest in the productions of the porcelain

r wo ks at Vienna . The Viennese porcelain of that epoch , was ,

r o r u of howeve , heavily and elab rately deco ated with a prof sion

o r ro t m c lou ed g unds , painted subjects and ornamen s, and uch

hi r m r gilding, all of w ch se ved to conceal the i pe fection of the m r t r - t t r rr ate ial i self. Ma ie An oine te seems to have p efe ed the

of Sev u m white porcelain res , m ch ore simply decorated , and she

SE VE E S UNDE R LO I U S X VI . 95 loved to surround herself with furniture with inlaid plaques of porcelain , and with the charming biscuit pieces of that

r H r r . e p r r facto y greatest prefe ence a pea s to have been , howeve ,

o for simple pieces , such as small vases to h ld only a single — — flower a pink or a rose which she loved to scatter about in her l r ittle ooms . We have already spoken of the furniture of the period which

r r r was en iched with porcelain , and du ing this eign numberless

- w - - tables , writing desks , j e el boxes , dressing tables and cabinets

r the r r of r r we e made, panels and d awe s which we e o namented

of r with elaborately painted and gilded plaques po celain .

In the Jones Bequest, in the Victoria and Albert Museum, will be found a number of remarkable pieces of furniture of this

r m epoch , in which, on p iceless odels of rich woods or fine

r m r marquetry , o na ental reliefs or mouldings in gilded b onze set off - r plaques of soft paste po celain . These plaques are decorated

r r with flowers, either in colou s or in gold , or with figu e subjects , l 2 . l usual y painted on a white ground . In Fig 6 wi l be found

r r ro an esc itoi e of sewood from this collection , in which the porcelain plaques bear paintings of camp -scenes of the time of

r o r r Louis XV . , sur ounded by a gilt b rder with a tu quoise g ound .

r r t Later, it became the custom to deco ate the furnitu e wi h “ r biscuit plaques of blue and white , g ey and white, or sea

’ r green and white , in imitation of Wedgwood s famous jaspe s . ' m After Boileau s death , interested parties atte pted to

r Se r pe suade Louis XVI . that the maintenance of v es would be

r m too great a bu den on his resources , and that a co pany might be formed to maintain Sevres in all its glory if the King would make a grant of the buildings and the grounds . The King,

r ro Se r howeve , was very p ud of the reputation of v es, and

rm dete ined to keep it in his own hands , nominating Parent as

’ r Boileau s successor . Pa ent appears to have been an active and

industrious man , but quite incapable of managing an enterprise

t r of such magnitude, employing at that ime th ee hundred

m r r persons , any of them of the g eatest distinction in thei r in espective call gs . He devoted his attention solely to the

r for technical pa t of the business, and he did much the improve 96 R E F N CH P OR CE LA I N.

m t r - or en of the fi ing of the hard paste p celain , while he also

r h ow o unde stood to ch ose clever painters and sculptors . But

ff r m o r in the business a ai s beca e c mpletely diso ganised, and 1 7 78 Parent was imprisoned on a charge of malversation of the

. r o funds Ce tainly the financial c ndition , after his few years of

r mo 1 30 000 1 r r management, was disast ous, for re than , iv es we e o r r wing to the wo kpeople and the purveyors of mate ials . It

ff r m was necessary to change this state of a ai s co pletely, to

r economise in eve y way, and to check the abuses that had grown up in the establishment . This task was entrusted to

’ d A n ivill ers r the Comte g , the di ector of the Department of Fine

mm r r Arts , and the i ediate cont ol of the works was ent usted to

r Was 1 7 79 S Regnie , with whom joined , in , a wiss chemist and

’ o Hettl in er m d A n ivil l erS geol gist named g , who the Comte g had met r o t and app eciated during a visit t that coun ry . One of the first diffi culties experienced is a striking example

r XV of the diffe ence between the periods of Louis . and Louis

XVI o r , for it was disc ve ed that the sale of the productions of Sevres was being seriously interfered with by th e hard -paste

r r e porcelains p oduced at othe factories . We have s en how

r r X rotec ~ st ingent we e the edicts issued under L ouis V. for the p Se tion of the monopoly of Vincennes and vres , and how all

r r r r other po celain manufactories we e fo bidden to paint in colou s,

r r or to model figu es or flowe s , to use gold ; but , after the

‘ o r r r for disc ve y of kaolin , wo ks sp ang up on every side the

- r r manufacture of hard paste po celain , the sec et of which was

k o r or very soon n wn, and these pieces we e sold in the white, d decorate in blue, though with constant attempts to evade the edicts forbidding the use of other colours . We shall recount the history of these various works in a

r o one subsequent chapte , but we may menti n here that of the first steps in all such under takings appears to have been to

r ‘ S m r or r secure the pat onage of o e great lo d, of one of the oyal princes ; while we Shall find that one of the most important of them was actually patronised by the Queen Marie -Antoinette

r hi r r v he self. In t s way the oyal o dinances were e aded or defied, and these outside factories grew steadily in importance and

E VR E S UNDE R LO UI S X VI 97 S .

m Se r r r . eputation to the det i ent of v es Indeed , it almost appeared as if nothing would be left to Sevres but the making of the services and pieces intended for the use o f the monarch and

en tou r a e r o r . his g , and for the customa y dipl matic p esents It was necessary to do something to curb the growing competition

o r fi nd 1 6 of these utside manufacto ies , and we that on May , 1 78 4 , an edict was published by the royal council , and counter

r signed by the King, eviving the older edicts and confirming the

O f m r monopoly Sevres . It is a using to ead in this document

“ that the restrictions imposed by previous edicts had not been

r m r enti ely observed , and that a few of the licensed anufacto ies having obtained special permission to decorate their pieces with

or r r gold , with colou s , all the other facto ies have taken advantage of this privilege to such an extent as to undertake

‘ and sell in competition with the royal manufactory of France

r r t i eve y kind of po celain , wi hout except ng those the exclusive fabrication of which had constantly been reserved to it . Several have made efforts to win and bring over the workmen to

r their manufacto ies, while there are even some who have taken the liberty of copying the marks of the royal factory that at last these manufactories have increased in the town of Paris and in its neighbourhood to such an extent that they have caused a consumption of wood injurious to the supply of the capital , and that besides the quantity of porcelain made exceeds the sales that can be expected . This royal order was notified to the interested parties in

1 78 4 r July, , and the owne s of the rival factories presented r equest after request, and petition after petition, to the King

r that he would postpone the execution of such ruinous measu es . d r Then some elay was granted , doubtless by the inte est of

’ ’ D A rtois D ue d A n ouléme the Queen , the Comte , the g , and

r u other pe sons of infl ence , who were the protectors of these

’ d ivill erS 24 1 7 85 . A n , factories , and we find M g , writing on July , * r to M . de Calonne Being informed that you take an inte est

r 1 6 1 7 84 in having the ve dict of the Council of May , , concerning the manufacture of porcelain , delayed , I have given the director

— I E D . X . Cal onne was at this time chief minister of Louis V H 98 FR E N CH POR CE LA IN:

’ of the King s manufactory orders to pu t O ff for some time the

r m execution of the p ovisions of this edict, by which those anu facturers one t o r r had only year finish thei o ders , as well as the

r m r for pieces p eviously ade, the fab ication of which is forbidden ” r or futur e times . In the end all the Pa isian manufact ies con tinu ed r r thei indust y , and while we have in these facts a sigui fi cant example of the development of the liberal and social ideas

m o r m t t of the ti e , we may als e ember tha if the edic s had been enforced the industry of hard-paste porcelain in France might

’ r r d A n v ill erS ro . i also have been st angled at its bi th M . g w te

r to o ou t ore lette after letter M . de Calonne to p int that the p e

r r in r lain make s we e evading the edicts eve y possible way , especially in the use of gold and he fi nishes by proposing again

o S r d the Se r that the use of g ld hall be rest icte to v es pieces , and that apart from that the other porcelain makers shall be allowed

o l on 1 7 1 78 7 to c ntinue their industry . Fina ly January , , an

r r r edict was issued by which it was fo bidden , unde the seve est

r Se r penalties , to make any po celain in the v es style , unless by

r r o di ect permission , which can only be given when the pe fecti n of each particular manufactory shall have been proved by an in

s ection S for r p , which hall be held every year this pu pose in the ” r of r r r p esence commissione s elected by the King . It was fu the

r t the r Mon decla ed in this edic that manufacto ies of the Queen ,

’ ’ r l D A rtois . e sieur (the King s eldest brothe ), M Comte , and of

’ l e d A n ouléme r r r r M . Duc g we e ecognised as fulfilling these equi e

m h rm t e r . ents, and would enjoy necessa y pe it It was added that they were not authorised to make any pieces with gold

r of r r r g ounds, or any articles g eat luxu y, such as po celain panels

or or or r or sculptured w k in the f m of vases , figures , g oups

'

in . exceeding eighteen inches height, not including the pedestals ‘ of t 1 78 9 We shall find that the result the Revolu ion of , which

r r r dec eed in F ance the libe ty of industry , abolished all these authorisations and m onopolies which had pressed so injuriously r on the development of the p orcelain indust y . e r Let us ne w resume the direct history of the works at S v es .

r m 1 7 79 Hettlin er ' dir r t F o , when g was elected ecto , we find tha

r li the shapes and models were g adually modified , the nes

sE VR E S UNDE R LO UI S X V 99 I .

S m becoming i pler and purer ; the style of Louis XV. was transformed into what we now know as the style of Louis

. m or r XVI It is , however, difficult to date by the for deco ation Se r r l t alone any piece of v es po ce ain , because of the repe ition of

r m m the certain decorations , f om time to ti e , to eet demands of

o f r patrons , and it must always be b rne in mind that o some

r years before the accession of Louis XVI . the e had been a reaction against the exuberant ornamentation which character

o X V ised the style known as L uis .

The r o f X VI eign Louis . saw the first production of the wonderful painted pictures on large plaques of soft -paste

or r p celain . This idea is said to have o iginated because of a

fi re a , which destroyed in one of the royal ch teaux a valuable

r Se tapest y, and the managers of vres had the idea of preserving in a permanent form a souvenir of such works of art . The m agnificent series of plaques in soft-paste porcelain decorated

O r with royal hunting scenes , after the tapestries of ud y, d Se which exist to ay in the museums of Versailles and of vres ,

1 780 1 78 2 . belong to this epoch , to The Victoria and Albert Museum possesses an example of this kind of work in the shape of a painting on a plaque of soft -paste

r S o porcelain , rep esenting a young mother being h wn her newly 1 7 8 3 born baby. In it was intended to copy a picture designed “ ” e S r for tapestry , The F te of the ultana, after Pie re , but as the picture was not obtainable they copied , instead , one representing The honours rendered to the Constable du Guesclin after his death .

r d At this period , too , was made a famous ca riage ecorated “ Bachaumont S m with porcelain . relates , in his ecret Me oirs , 1 7 84 m that he saw in , at Longcha ps , a porcelain coach which

Val entinois r caused a great sensation . Madame de , the daughte

u r a of the D chesse de Mazarin , one of the p ettiest l dies of the

’ court, attracted everybody s eyes by her beauty , but the Beaupré ,

r a courtesan who made her first appea ance on the course , caused

al r r an equ sensation by her ca riage, which was deco ated with panels of painted porcelain . After about 1 7 80 we find another influence at work on the H P R 100 FR E NC O CE LA I N.

Se r m artistic ideas of v es . The excavations at Po peii had brought to light many styles of decoration absolutely unknown

' to r r w e the eighteenth centu y, and f om this time find the

r r Hettl in er deco ative a ts influenced by the Antique . g was

r La rené e Denon b ought into contact with g , and with Vivant ,

him r m of r who sent , f o Naples , examples the Et uscan and Se Roman vases . The vres museum still possesses a very good

D enon Hettl in er collection of Etruscan vases given by to g , and

m r m these pieces, with their severe , al ost solemn fo s , and their

r r the m antique deco ations , had a p ofound influence on for s and

Se r r r decorations of the vres po celain p oduced afte this date . It Should also be remembered that hard -paste porcelain

m r r permitted the anufacture of ve y la ge pieces . The first of t to m 1 7 8 r hese appears have been ade in 3 . The e exist in the

of One Louvre two very beautiful vases this epoch . , of the

o o and r shape kn wn as the Medici vase, has a f ot neck in da k bl eu ole r oi m , with a girdle for ed of biscuit porcelain and

r bronze, wonderfully sculptured . Befo e the manufacture of this

r S la ge piece , a smaller pair of vases of the same hape was made ,

r and these are also p eserved in the Louvre . Hettlinger himself describes these pieces as follows We

r r have made a porcelain vase of a ve y la ge size, about five feet On high , and of a shape which leaves nothing to be desired . ‘ ’ ’ A tal anta s the body of the vase is displayed Race , executed

m o with unexa pled perfection . This rare piece , in the comp li ’ sitiou of which vres worth of material has been used , r s was intended for a foreign cou t, but the King has reserved thi for r d himself, and has orde ed a second one to be ma e of the same Size Both are to be used for display in the galleries Of

r the Louv e . The foreign court for which this vase was intended was the

t - Cour of Tuscany, and a replica is to day preserved in the Pitti

Palace , in Florence . “ i r 1 7 8 5 A st ll la ger vase is the Vase Cordelier, made in ,

r decorated with a brown tortoiseshell colour, and bearing b onze

Hettlin er w 1 7 85 cords supported by Cupids. g rote in that

- r this bell shaped vase on a t uncated column, which he had

F E H P R E I 102 R NC O C LA N.

r If we have quoted the whole of this lette , it is that it may

S r who how, in the first place , the characte of the King, was more interested in silly butterflies and horn -beetles than in

b the o the beautiful porcelain pieces , decorated y m st eminent

s t r t t H lin r artists . It is al o in e es ing as showing tha ett ge was delighted that he could impress the King with his childish

o inventi ns . We have already referred to the practice Originated by Louis di XV. of making plomatic presents in porcelain , and we find

o d r r that this cust m was continued u ing the present eign . Thus we read in the records of the Ministry of Foreign Affairs t hat in 1 7 75 the Princess of Asturias was presented With a white dinner

r or o r r se vice , dec ated with fl we s and landscapes , and an epe gne “ " Se r m r 1 7 7 . 7 in v es biscuit , worth o e than livres In the German Emperor was presented with a dinner service with

r r r a g een bo der, decorated with paintings of flowers and f uit , as

r nd two r h s m well as an epe gne a vases bea ing i edallion , worth

1 78 r ff o r . 7 alt gethe livres In , fou tea and co ee services wer e made for the Emperor of Morocco and his Ambassador ;

1 7 7 9 m t r Se or while in , a agnificen p esent of vres p celain was

r sent to the Emperor of China , consisting of vases , j a s , figures “ Boizot t and statuettes in biscuit, after . These statue tes

St . o r St . r St St. epresented . Louis, Clotilde , Ant ine, Clai e and

- m t . o S . Theresa We have f und terra cotta models of these char e ing statuettes in the museum of S vres . 1 78 4 ri In , on the occasion of his visit to Paris , P nce Henry of Prussia was presented with a tea service in soft -paste porce

o a r r lain, dec rated with translucent enamels ; with desse t se vice having a green b order decorated with flowers ; and with a series

“ m r of biscuit statuettes representing fa ous F enchmen . The r r - m m ough , ter a cotta odels of these statuettes of fa ous French e Guesclin men , including Corneille , Racine , Moli re , Condé , Du ,

& c r Se . . , are also p eserved at vres This leads 11s to say that toward 1 78 0 the art of applying

O f - s r paque or transparent enamels in relie on soft pa te po celain , S m m r w as first introduced . ometi es these spots of ena el we e

rr on o r re a anged g ld foil, which gave them beautiful and va ied W ITH

E R E S D E R LO I S V UN U S X VI . 103

flections r o , so that afte the firing and gilding were c mpleted , the porcelain appeared as though it were actually jewelled with

r rubies , eme alds , sapphires and pearls hence the name applied — “ Se r to this variety Jewelled v es . We illustrate a magnificent

o r vase of this descripti n , f om the Wallace Collection (see

Plate XVII I ) . It may be remarked that these pieces are ex ceedin l r g y ra e , which is not to be wondered at considering the difficulty of successfuly manufacturing pieces which required so many repeated firings . It should also be said that forgeries of

ewell ed Sev J res are by no means uncommon, though such

or are r r r m t f geries generally ve y infe io i ita ions, as down to the present time we believe no such pieces have ever been made in

o the old Sevres meth d .

r In addition to the making of diplomatic p esents , we must also state that during this period orders were frequently given

Se m S r to the vres anufactory by foreign ove eigns ; as , for

1 780 Marmontel instance, when , in , was charged by the King of Sweden with the choice of a number of pieces to be offered to ’ Marmontel s the Empress of Russia. letters prove that he selected the following pieces

1 r bl eu d e r oi ( ) A la ge vase in and gold, with a cartouche

r rep esenting a shipping scene . In this little picture two men

are represented as reading in a book , placed on a hogshead , and it was agreed between Marmontel and the painter that he “ r l I — should inscribe on the book the words : Cathe ine . Gustave

r 8 1 7 0 . III . Neutralité A mée 2 ( ) Two groups representing Pygmalion and Prometheus .

3 bl eu d e r oi w ( ) Two vases of ground, ith foliage , arranged

r ae as co nucopi . It may be added that the first of these objects is now displayed in the Jones Collection in the Victoria and Albert u Muse m , and we find that the marine painting was executed by

Le ua Morin , the flowers by Fontaine, and the gilding by g y . The models of the two groups representing Pygmalion and

m are r e Se l Pro etheus still p es rved at vres , and we sha l refer to m ” the again in the chapter on Sevres Biscuits . The most famous of the commissions from a foreign 1 H R 04 FR E NC PO CE LA I N . sovereign during this period was the order for a dinner service

r 1 75 r 7 . given by Cathe ine II . of Russia, before This se vice was to be decorated and painted in the most sumptuous manner ; the r the of r r r borde s of pieces being ich tu quoise blue, o na mented m o r in m m with ca e s , copied f om those the useu s of

r Rome or Naples , and with rich gilding. Plate XIX . , rep oduced from a piece of this service now preserved in the Victoria and

m . Albert Museu , will convey a good idea of its lavish richness

r r Cha uis r This particula plate was deco ated by p and Boulange ,

Pr ost 1 7 7 l é v 7 . and gilded by , about It shou d be mentioned that pieces of this service are O ften found in museums and

t fi re Tsarkoe collec ions , because, during a at the Palace of

S r r of o r elo , a ce tain numbe the pieces were st len, and afterwa ds sold .

r 1 78 8 the m When this service was delive ed in , E press ale r r to sum 33 1 31 7 r Cathe ine efused pay the of , liv es which had

r for 4 m rr been cha ged the 74 pieces . A volu inous co espondence

w r two o r followed bet een the Foreign Ministe s of the c unt ies , but

are o we unable to say when , or how this questi n was decided, if

r o 1 7 8 9 ro it eve was decided , because the Rev lution of b ke out

r soon afterwa ds . We have already referred to the personal influence o f Marie

o Se r no w Ant inette on the productions of v es , and we must

her m r 1 78 1 She consider influence a little o e in detail . In invited Pajou to model a group r epresenting the Queen

o r O n see . presenting t F ance her son , the Dauphin ( p

her Se t r She one of visits to vres in connec ion with this wo k , had

the m o f o a cup made, for which was abs lutely new, and which

’ ” was always called The Queen s Cup . This cup , of a somewhat

m its f rm o truncated for , has handles o ed by gilded d lphins . The

r r S of r cove , mounted in bronze , was fo med in the hape a oyal

r rim c own, while the saucer was provided with an inner ,

l t o r i of ro tr emb eus e . ( ), p event the slipp ng the cup The g und

r r r o r of the cup and sauce we e in tu qu ise blue , deco ated with

r bouquets of roses , and lilies sur ounded by wreaths of the

This fi ur e w hich di er s fro m that iven b rev ious w riters has b een taken g , ff g y p , r om the recor ds of the French For ei n O ffi c — E D g e .

106 FR E NCH POR E LA I N C .

o the Palace of Versailles, which was used by the unf rtunate

r - or d Queen, the e is a small clock in soft paste porcelain , dec ate

r r t r in tu quoise blue with ich gilding , and his is , pe haps , the only

u o untouched ho sehold article to be f und there . In this connection it is of the greatest interest to record the survival of one or two pieces o f the porcelain ordered by Marie—Antoinette m m for the far s at the Petit Trianon and at Ra bouillet , where

She o r m t . r delighted spend her days of leisu e For these fa s, all

- - - the milk dishes, the cheese trays, the butter dishes , the cups

r - r and sauce s , the churn, the milk buckets and the jugs we e of

r m Se r t r po celain, ade either at v es or at the fac o y in the rue

Thiroux 30 31 , at Paris . We reproduce in Figs . and a cup and

l aiter ies r r Se saucer from one of these , now p ese ved in the vres

m r m - Museu . In addition we know only of a la ge ilk bucket ,

w Se r with a capacity of nearly thirty litres, hich was made at v es

’ 1 8 r about 7 5 . This bucket is deco ated with sculptured goats

o m the heads, and has been often copied in m dern ti es, and

’ copies sold as veritable pieces of the Queen s service . In conclusion we must mention that during this period

- r s m soft paste po celain till continued to be ade , and one of its

r - distinguishing featu es is a very pale canary yellow ground ,

m m r - which ade its appearance for the first ti e . The ha d paste

r porcelain was g adually improved and perfected also , and

i - certa n ground colours were introduced , which were made by

r re-fi rin supe posing colours on the already fired glaze , and g

m m r a u r and eu . at the sa e high te pe ature ( g f ) In this way, by

o o r bl eu ol e Sevr es the use of cobalt, a ground c l u known as was

t or flax en- ob ained , and by diluting it with glaze , pale blue , blue ,

r m . gene ally ottled or marbled , was also obtained With a mixture of iron and manganese the ground -colour known as

o - o tort iseshell brown was btained, which reached its full

' splendour when it received a third firing at a lo wer temperature

r r in the muffle kiln . With a mixtu e of blue and this b own “ ” r o tortoiseshell , the famous green to toiseshell col ur, so highly

We t l . prized by co lectors, was produced must also say hat a fairly complete palette of colours for painting on the glaze of

- r hard paste porcelain was perfected . To this pe iod , likewise, s izv n ns (p aw au r a ). “ F 3 3 — P A R FOR LA L . S U IGS 0 it 1 . CU AND CE MADE AITERIE ” D E O P R O 1785 . TRIAN N . E I D

H auc r D ia . 1 in. Cu . 4 in . S e 7 p, k , } u u m Sevr es M s e .

C HA P T E R X I I I .

E S VR E S BISC ITS N E R I X V A N D LO IS X VI . U U D LO U S . U

“ THE biscuit groups and figures produced at Sevres were of such artistic and technical importance that it has seemed to u s to n necessary give them special attentio , such as they have not ” o m hithert received . The first biscuit pieces were ade in soft

r paste porcelain , and were fi ed only once , so that the name “ ” biscuit can only be explained on the supposition that it " was

‘ rr ro i - r bo owed f m the fa ence make s, who had given that name to 1 76 9 ” their material when it was not glazed. After the biscuit

Se - pieces of vres were executed in hard paste porcelain, as this l materia , having greater p lasticity, was easier to use. After the

r moulding, and especially afte a careful sharpening, or touching

of m r fi ure- up , the moulded piece by a skilled odelle , or g maker to which so much of the merit of the sevres pieces

r is due, the pieces , being properly d ied , were carefully supported

r r e in the manner we have al eady desc ibed (s e p . and were

fi r mo r then ed in the st shelte ed and protected parts of , the

r ff r t porcelain oven . Eve y e o was made to obtain pieces possess

S m wi ing a beautiful grain, i ilar to that of fine marble, but thout any glaze or shine on the surface ; and after the pieces were

o the e m the taken out of the ven , s a s left by j oints of the mould “ t wer e carefully rubbed down by hand . The biscui pieces

f - made in the so t paste porcelain are not very close in the grain,

are i t m - r r - and sl gh ly a ber colou ed . Those in ha d paste porcelain ,

r produced du ing the eighteenth century, have a closer grain , and are of a dead white colour ; their artistic value is also lessened by the fact that the seams left by the joints of the

are V mould often isible . s i v n ns .

— — “ FI 32 S U F U THE W SH WO . G . . BI C IT IG RE A ER MAN 1 1 DATE ABO UT 78 .

H . 7 in.

Sevr es M u seu m .

10 FR E H P R 1 NC O CE LA IN.

XVI w r Se , hich have been freely rep oduced , both at vres and at

r t r . 1 7 7 2 othe fac o ies We have already mentioned a group of , “ ” rr of XVI ow e the Ma iage Louis , which we to Pajou , while in 1 7 8 1 we find the same artist producing a group symbolising

r r the bi th of the Dauphin , in which the Queen , with a gestu e

mo S m r of the ut st i plicity, p esents to France her royal child .

r r r La Rue sculptu ed the child en of the oyal family , and

r M m - on his figu e of ada e Royale, naked a cushion , is of very great beauty ; m ost of the other childr en of the r oyal house

o 1 2 W m . 78 ere also odelled by Paj u About , a number of figures

m r Caffi eri of fa ous men we e modelled by Pigalle, , Pajou , and Boizot ; among which we may mention the seated figu res of

o er M li e , Racine, Corneille , and the famous standing figures

Of . Catinat , Vauban , and Condé

’ m r D A uesseau A ong these statuettes of standing figu es are g ,

Berru er r Bridan 1 78 7 by Vauban and Baya d, by ( ) “ ’ ” r l HO ital Catinat, by Dijoux the Chancelie de p , by

1 7 7 7 r 1 7 8 1 e m Gois ( ) Tou ville, by Houdon ( ) F nelon , by Leco te

Mone t S Duquesne, by ully, by Mouchy Bossuet (1 7 7 9) Descartes Turenne by Pajou ;

Condé , by Roland and especially the wonderful seated

r of Boizot rr r 1 7 7 9 figu es Racine , by of Pie e Co neille ( ) and of M oliere by Jean -Jacques Caffi eri ; of Mathieu

Molé o 1 7 8 5 rr ulien of by G is ( ) of La Fontaine , by Pie e J

o R llin , by Lecomte of Pascal , by Pajou and

r o 1 7 7 9 Cl odion finally the figu e of M ntesquieu ( ) by , one of r u the finest wo ks of this master, disting ished by the

of r r r dignity its pose , and the ichness of its d ape ies . In connection with these fi gures it may be remarked that Boiz ot “ ” conceived the idea of making a biscuit figur e of Louis

S for r XVI . standing, and of life ize ; this was the pe iod when

tr e r m r For they s ov to c eate monu ental works in po celain .

r r such a purpose it was necessary to p epa e a special paste ,

r more plastic than the usual porcelain mate ial , and to this end a little plastic clay was added to the other in redients , producing , g for a Slightly yellowish body . This paste was not used the life

S XVI e ize figure of Louis , as that figure was n ver actually s fi v n ns . F — — IG . 33 . S U U TH E S U BI C IT FIG RE INGER, D BARRY,

ABO UT 1772 . H 9 in . .

1 12 FRE NCH P OR E LA I N C .

S r e re There is the statuette known as the inger Dubarry, p ’ m r to S see senting the King s ist ess about ing ( Fig . We have

o rm o to m r ur no exact inf ati n as who odelled this cha ming fig e , but by the style and handling we are inclined to attribute it to

1 7 7 2 r Pajou , and to date it about . The p incipals of the Corps ” l O f r O r S de Ba let this epoch , the dance s at the pé a, the panish

r m to 1 7 74 r r O f singe s who ca e Paris in , and the oyal dance s the

r St rm r . see . 3 4 Fai of Ge ain , are all rep esented ( Figs and Le Riche also seems to have delighted in commemorating the suc

of m of m r cesses so e the inor theat es . A piece by D orvigny (Les ’ Ba ttu s a ien t l a men cl e r r St p ) had a g eat success at the Fai of .

n S Germain ; and the characters of Jcannot and Jea nette, a illy

m r i e . d bu ta valet and a ni ble soub ette, delighted all Par s A n t, ” Vol an es r o r g , acted the pa t of Jcann t , and was rep esented , “ ” “ ” Se r with Jeannette , in v es biscuit .

r ro o r r Afterwa ds , the p ducti n of these theat ical cha acters

m r r r beca e the fashion , and we find all the acto s , act esses, dance s ,

r r r and singe s of the pe iod rep esented in porcelain . A group “ known as Annette and Lubin reproduced the features of

m Fav art r dl e o f Of as Mada e in the Annette , and Cailleau ” S r Lubin ; while the group of the hephe dess of the Alps, of

r s which we give a epresentation ( ee Fig. recalls the pieces in

f r m or r the af ected count y style conte p ary with the Petit T ianon . V ol anges in the character of Crispin ; Préville as Figaro ;

Guimard m Mlle . Contat as Thalia ; and La as Melpo ene recall the plays of La Harpe ; while the delightful little statuette “ “ entitled La Ta mbowrin a ir e is a souvenir of the piece La ” o 1 8 n Pr oven a l e r 77 . O r t S . p , p duced in the stage at the Fai of ” r Les E a u cc d e Mer lin S Ge main, , by Le age , was played . The

h r r r o principal c a acte s , a negro and a negress , we e m delled by Le , l r r Riche, and of these excellent mode s seve al hund ed copies in “ ”

m . or biscuit ust have been made Acc ding to MM . de Gon

r r 1 78 0 r cou t, the sculpto Merchi made, in , a figu e of La

Guimard eo o S Hsinel , with Th d re as a hepherdess , as a nymph and other actresses as bacchantes but up t o the present time Of we have not been able to trace any these pieces . On - 1 770 the occasion of the marriage of Marie Antoinette , in ,

SE VR E S BI SC I TS DE R LO I X V U UN U S . A N D X 3 VI . 11

“ O r r r u A , the pe a of Pe seus and nd omeda by Q inault and Lulli ,

m ro m was produced , and a sy bolical g up was ade at Sevres

o r orm r representing this sensati nal pe f ance, in which Leg os sang

Vestris Guimard Heinel the music of Perseus , while , La , and 1 ’ “ . 7 7 9 r danced the ballet In , Gluck s Iphigenia in Tau is was

r r n o first played in Pa is , c eati g a tremend us sensation , and a

m r r r magnificent co memo ative g oup of four figu es, of unusual

u Se r beauty , was prod ced at v es . In addition to these pieces commemorating well-known

r or om r r actors and act esses , s e successful theat ical p oduction , w m l the fame of hich has co e down to our own day, there are stil

r r Se r S r p ese ved at v es both groups and ingle figures , epresenting

r to dance s of both sexes , whose names we are absolutely unable

r m are m t ace , though many of these odels of the ut ost charm and grace . “ N or were these biscuit pieces called forth only by the

of r successes the theat e . They were equally evoked by the

r r fashions of the moment in ar t and in lite atu e . Thus we have m “ a fa ous series of groups , illustrative of The History of Don

r Quixote, though f om the date of the production of these pieces it is possible they were made in rivalry with the famous mm tapestries of Gobelins , illustrating the same i ortal work . A “ S ” reproduction of one of these groups , known as ancho Panza

s e r r t ( e Fig. illust ates pe fectly the spiri which informed

rm r the groups , the cha of the a rangement , and the skilful treatment of the costumes . We have already mentioned the famous royal hunting O scenes , after udry, which had been reproduced both in

- o Gobelins tapestry and in paintings on soft paste p rcelain .

r u An Italian sculptor , who came to Pa is , also modelled , nder

’ o Bachelier s directi n , the chief subjects of these hunting scenes ,

o in the form of magnificent groups for table decorati n . The famous Su r tou t d es Cha sses has for centre-pieces the hunting o f the wolf and the hunting of the wild boar ; while the side w r pieces represent hunters with guns , hunters ith ho ns , hunts

- in al r . men and whippers , who wear the roy live y of the period This magnificent piece of art has been reproduced several times 1 1 4 FR E NCH POR CE LA IN .

r of r r du ing the nineteenth century, in spite the ext aordina y

f of r di ficulties its fab ication . But the greatest number of the groups and figures of Sevres

o t r mo were dedicated to the God of L ve , and af e the fa us ” or Cupid of Falconet, which was iginally used as the lid of a

r o r ro m r r vase, we soon find va ious the g ups aking thei appea “ ” “ rr Trium ance ; such as Cupid Grinding his A ows , Cupid

“ ” “ ” of phant, The Theft the Rose , The Birth of Love , ” “ Love and Faithfulness , Love Led by Folly, etc . while in

r of r o : T of p aise beauty we find a se ies , c ntaining The riumph ” “ ” “ m r Beauty, Ho age to Beauty, and , finally , Beauty C owned ” r 38 by the G aces , which is reproduced in Fig. , and which

r S r m u n se ves to how the a tistic value of such pieces , odelled by known sculptors working e m the suggestions or ideas of Fal

conet or Cl odion , Pajou , .

“ We m r K ust also point out the g oups , The iss Given and ” m 1 7 60 o The Kiss Taken , odelled in , which are bviously

r or influenced by the style of Bouche . Neither must we f get that subj ects of inspiration were also found in the life of the

r r m m t st eets , f om the com on people, giving us a series of os

r h m r ff rm artistic figu es , among whic we nu be a bu oon , a fishe an ,

r r - -m r a hunte , a nu se , a school master , a school ist ess , a magic

r fi sh - om flower- om m lantern g oup , a w an and a w an (two fa ous

m - r r figures by La Rue) , a tailor, a dandy, a ole catche , and seve al

of - r r figures knife g inde s . In this connection we must again

w m so r refer to the figure of a little washer o an (Fig. natu al in

so r its pose and movement, and beautifully and g aciously

r . r the rende ed At a later period , we obse ve the influence of

r r ro r sentimentality of G euze , evoking ce tain g ups of pa alytic s father and guilty daughters . We may well imagine that mythological subjects were not

r r the r of neglected , pa ticula ly in latter pa t this period , when the results of the Pompeiian excavations were attracting so much “ ” r attention. We may mention , of this kind , the Achilles g oup , containing five figures ; the group of The Adieux of Paris and ” “ Helen ; and the Judgment of Paris while we have already m the “ entioned famous groups of Pygmalion and Prometheus ,

s fi v n ns .

F — — “ IG . 38 . S U O U P U BI C IT GR BEA TY CROWNED . O 1 5 PERI D 77 . H . 14 in 5 . Sevr es M u s u m e .

CH AP TE R X I V .

-PA STE POR CE LA I N FA CTO R IE S O F FR A NCE FR OM THE THE HA R D ,

ISCO V E R Y O F KA O LI N TO THE R E V OL TIO N D U .

WE have already stated that the result of the discovery of

1 w r St 7 60 . kaolin near Alencon in , and after a ds at Yrieix (near Limoges) was the introduction into France of the manufacture

- s r r of hard pa te po celain . The lack of precise documenta y evidence prevents us from describing these efforts in due

r r a r ch onological o der, so that it has seemed prefer ble to t eat this new development of the industry r ather by groups of

r f r e facto ies, according to the dif e ent artistic impulses dev loped

In i var ous districts of the country .

S OF THE EA T FRANCE .

STR A SB R G U . We have already recounted how this industry originated in

S - Hannon trasburg , and how Paul Adam g had negotiated for the sale of his Secrets to the royal manufactory at Vincennes see ( . 7 3 We s pp have al o narrated how his son, Pierre

, r he r Was Antoine was d iven to found t works at F ankenthal . It

for ose h- r left J p Adam , the other son, who di ected the works at

S r r t asburg and Haguenau , to take up the fab ication of hard r 1 7 paste po celain in 66 . He seems to have contented himself

r r with a la ge commercial production , instead of aiming at pe fect or r ar artistic work , for seve al of his letters e in existence in which he says how dangerous it is for a potter to look for o perfecti n, and points out how his grandfather and his brother

1 18 FR E N CH POR CE LA I N.

N VILLE I DE R R.

1 4 can- Be erlé Towards 75 Baron J Louis de y , one of the

’ r o S r King s counsellors, and the Di ect r of the trasbu g mint ,

was r t id erviller whose wife a talented a tis , founded a works in N ,

' ’ faIence r t producing of a high quality, decorated in b igh colours

S r . r in the trasbu g style The chemist of this wo ks , named

t t o Anste t, is said have been the first to employ the purple of Cassius (the basis of the gold -purple colours) in the decoration

' ' of faI nce e .

1 7 65 - In , it was decided to manufacture hard paste porcelain , and for this purpose workmen seem to have been enticed from S 1 7 68 axony, so that by a commercial production of hard

r n m paste po celain had bee established, for the first ti e, in

France, as at that date the industry had not passed beyond the

r m Se r r li expe i ental stages at v es . At fi st German kao n was u Be erl é m sed , but M . de y had the fortunate idea of buying so e

r St . r r of the fi st kaolin mines at Y ieix, and he thus imp oved the quality of his productions . In 1 78 0 the works passed into the hands of General the

m Custine an 1 7 93 Co te de , d it was managed for him until by

Lanfre O f t o who Francois y , a potter grea n te , not only developed

r m r the po celain industry , but also introduced a anufactu e of

’ a i nce o r anfre not e ne r . L f fi , English earthenwa e y was only a successful potter himself, but he succeeded in attracting from ’ m Luneville the famous sculptor Le ire, who produced a great number of little figures and statuettes which helped to make the

o f fortune, as well as the artistic repute , this works . Charles

' ' S m faIence auvage, called Le ire , had been employed at the works “ ” e r W O tflé at Lun ville, and had wo ked ith y on the little biscuit

or . M figures which this sculpt had brought into fashion mire ,

r howeve , possessed distinct individuality , and it is fairly easy to

r ffi r distinguish between the wo ks of Cy é and those of Lemi e . C ffié m y was , in fact, a boon co panion, who loved to treat jovial

’ o m subjects and p pular types , while Le ire was, by instinct, a

r m r S r decorato , who odelled child en , Cupids , hephe desses , vases , ro r t XV and g ups of pu e and elegant form , in the s yle of Louis I m ne a v xn ms n (P at e d u r e ).

F 4O — CU P O A E IG . W H SU . DEC R T D IT BJECT FROM ’ “ " LA O S F L S F NTAINE AB E . 3 i H . 5 n. Sevr es M u s u m e .

m nz n v m u m (p aw d u r e ).

F G — . S I TII I 4 1. AUCE R DECO RATED W SUBJECT ’ ” F O M LA O S R F NTAINE S FABLE .

D i 5 in . a . % e I u m S vr es IV s eu .

12 FR E NCH P R E LA I 0 O C N .

” “ Fonta in e Le l ion et l a mou cher on Le l ou ci l e chien , and p , the little flower painting on the saucer is in rather bright purple

r - ol o r r r and ose c u , but the e is no gilding, the f aming of the

r r carmme o r pictu es and the bands being in da k c lou . The period of the Comte de Gustine is characterised by a

r o r r m less vit e us paste , which was cove ed by an ext e ely beautiful

r i n r Se r a and b ill a t glaze , similar in appea ance to the v es gl ze of

m r o r r th the sa e pe i d . Du ing this pe iod e pieces were sometimes

r r gilded . A fine example of this gilded wo k is rep oduced in the

r Se r see small ewer and basin p eserved in the v es Museum ( Fig .

r 1 780 r r which dates f om , and which shows how eve y ca e has been taken to approach th e excellence of the Sevres manu

r r r ll r . r factu e The tablewa e was gene a y deco ated with oses ,

-me- s r forget not , and little flowers, either scatte ed over the pieces

S r or rr m o n . O e in detached p ays , a anged in the for of b uquets of the finest productions of the factory was a dinner service made for m Gu m r o -of- rm the Co te de stine hi self, bea ing his c at a s and

“ ” mo o Fa is ce u e d ois a d vienn e u e ou r r a i the tt q , q p , d sposed

or r r r within a little flag. The b de s of the pieces we e pie ced , and

r r o r the pie ced patte n was utlined with ose and lilac lines .

r are Pieces of this se vice , which extremely beautiful , are highly

r m r app eciated by a ateu s . The ar tistic direction of Lanfr ey was particularly distin “ ” uished r r or g by the groups and figu es , eithe in biscuit , glazed

or r and dec ated . These pieces had so g eat a vogue at the end of the eighteenth century that no fewer than three hundred

f r m u dif e ent odels were prod ced .

r r We are enabled , by eference to a recently discove ed cata

of r to logue these figu es, mention the following pieces , which were the work of Lemire : “The Cake Vendors (Mar cha nd s ’ “ ” “ ” “ d ou blies r Old - r ) , The Cobble , The Clothes mende , The ” r o t r S S r l Begga s, t ge he with the hepherds and hephe desses ; whi e the famous group of figures known as Paris Cries are ' also due

r r to the same hand . Besides these , he p oduced a certain numbe “ ” o f r allegorical figu es , such as Bacchus and a Bacchante , “ ” “ ” “ ” J une &c Jupiter and , Apollo , Venus , . The museum “ at Versailles possesses an excellent group in biscuit which

122 FR E NCH P OR CE LA I N.

O OF N RTH FRANCE .

LILL E .

About 1 7 83 Leperre -Dure t attempted to establish at Lille

u - a man factory of hard paste porcelain . He asked to be

-of- r authorised to put over his door the Royal coat a ms, with “ ” r Ma nu actu r e R o a l s the insc iption f y , and he begged to be

m o freed fro the town dues . He btained this privilege for a

t r r term of fif een yea s , and the town of Lille g anted him a

i s 1 7 8 4 r subsidy of l vre , so that by the manufacto y was in

r . O full wo k An attestation, drawn up by the municipal fficers of Lille, stated that he fired his porcelain with coal , and that the said officers were present when an oven containing pieces was drawn , and they were just as nice and white as if they had

n 1 78 5 Le erre was bee fired with wood . In p authorised to display over the main entrance of his works the words Manu

a ctu r e R o a l s ole Monsei neu r te D au hin r f y g p , this great favou being granted him only because he had been successful in firing

- m hard paste porcelain with coal . Experi ents in this direction at

’ se 1 ad the factory of the Comte d A rtois in Paris ( e p . 31 ) h

Le erre r 1 7 8 6 come to nothing, and p was called to Pa is in , to give an official demonstration of the firing of har d-paste porce

r lain with coal . The intrigues of some of the othe manu facturers w him , ho ever, prevented from giving this demonstra S i tion . There is pr eserved in the museum at evres a porcela n saucer decorated on the border with drawings of the chemical

r t appa atus and symbols used by alchemis s , while outside this is “ t Fa it d F r Cu it au Char bon d e ter r e Lill e en l and e. writ en , 1 78 5 .

fi - 1 78 6 A magni cent table service was made at Lille in , and was sent to Paris for the use of the Dauphin . The Lille hard -paste porcelains have an extremely hard

fu . are white paste , with a beauti l glaze They often elaborately

o l will e be r dec rated by a ski ful hand , as seen f om the jug, now 4 the Se o . 3 . kept in vres museum , which is repr duced in Fig

hi . . The pieces are often solidly gilt with t ck gold Plates, cups , E mu : (p et s au r a ).

F 43 —J IG . U G DECO RATED WITH PAINTINGS O F DEAD GAME, ETC

H . i 95 n.

124 FR E NCH P OR E LA I N C . in the locality were ordered to obey more strictly the conditions

r r m m r of thei licences, which inst ucted the to a k all their white

. r r r pieces The Valenciennes paste is pe fect , and ve y transpa ent ,

IS while the glaze also of excellent quality, and the decoration

r . o ca efully executed In additi n to pieces of this high quality ,

o r one also finds a c arser va iety of porcelain , which was evidently made and decorated wi th blue in imitation o f the cheaper

o o f producti ns of T urnay. A ew very good groups in biscuit

r o r or we e als made he e, but the w ks was finally closed about

1 r r r t m r 797 . The e is eve y eason o believe that the a k was ” rm rl fo ed by the letters L V inte aced, the initials signifying

“ Lamoniar om y, Valenciennes . The c mon productions appear

“ ” m r m to have been a ked with the na e Valenciennes , either

r or abb eviated in full .

CA N E .

1 7 98 r w as m f of In the e established, at Caen , a anu actory earthenware after the English fashion which shortly afterwards

m r r m m - produced , by the use of ate ials f o Li oges , hard paste

r r porcelain of ve y good quality, and this po celain had a decided

1 8 08 r vogue until about , when the unfo tunate economic

o f r r r situation F ance, following on the pe petual wa fare of the

r o r r D uchev al to r pe iod , bliged the di ecto , , b ing his enterprise to

r h a close . The porcelains of this factory are often deco ated wit

r In r a yellow g ound. The ornament and gilding, the Empi e

- 1 S style, were always well designed and executed , as s hown by

m - r r ori r u e the ilk jug p ese ved in the Vict a and Albe t M s um, of

ro see which we give a rep duction ( Fig . “ m r r r in The a k of this facto y was the word Caen, p inted on~ l aze r or g red in a ca touche label.

S OF WE T FRANCE .

LA U R A GU A IS.

e 75 r t r se . We have al eady sta ed in a p evious chapter ( p ) that ,

1 5 Guet r d 7 6 . ta d in , M announced the iscovery of kaolin near

Alencon , and exhibited before the Academy experimental pieces ll t/

CA E N P A t e d a r e ( , X I X t h C e nt ur y ). FIG — . 4 4 MI LK J U G DECO RAT E D WITH P G S en ca ma ieu AINTIN GREY, A N D H L RIC GI DING, H . W in . . 3 72 3 in. Victor ia a nd A l b r M u u m e t s e .

1 26 FR E NCH POR CE LA I N .

principal promoters of which were the Marquis de Beaupoil de St r Du areau . A , , Seinie ulai e the Chevalier g and the Comte de la , and in 1 7 79 they applied for the p rivilege of selling their pro

r r o ducts f eely th oughout the kingd m .

r Their p incipal business , however, appears to have been the

r n - r prepa atio of the materials for hard paste po celain , and they contributed largely to the success of the small factories at Paris by r educing the price of the porcelain material from sixty livres

w r S to about t elve livres a hund edweight . ome manufacturing

r r was, however , conducted he e , and the wo ks was continued

1 4 r m until 7 9 . In the ea lier years the pieces were extre ely

r r translucent, but late on they became less so . The deco ation was in the Sevres style with bouquets of flowers in many

“ ” r o f S colou s . The mark consisted the letters L . . either

r interlaced or w itten separately .

R TO U S.

’ S i - 1 78 2 Noel ailly, a fa ence maker of Tours , applied in for the

rm o or of necessary pe issi n to make p celain , and the Inspector

r Vaud our Manufacto ies , Huet de , was charged by the govern ment with the necessary supervision of the experiments before

r S m m ov nsf they ag eed to grant a subsidy . ailly ade so e e ul

m r r . 1 78 3 of ware which came out ve y i pe fect He died in ,

r m an and his son continued his expe i ents , but we are without y information as to whether this works ever passed beyond the experimental stage .

LE NS O R A .

We have already described the beautiful soft -paste porcelain

rl an ee 8 4 r 1 7 70 of O e s (s pp . but towa ds the same manu

- r r factory produced hard paste po celain . At fi st these pieces

r r were highly felspathic and, therefore , very vit eous , the deco a

- r . m tions consisting of simply painted flowe s In ti e the quality .

r r m r imp oved , and the deco ations were also executed much o e

r r m l a mbel see carefully . The gene al ma k is a si ple label ( ) ( “ r on- l Section on Marks painted in colou or in gold g aze . The

r e 1 8 1 1 a t o facto y was still in existence as lat as , and that peri d n the mark was a round V ignette Containing the word Orlea s. L I M O G E S (P A t e (l u r e ).

F 4 — E A W H L IG . L O O 5 . P ATE D C R TED IT F RAL 1 80 P . SPRAYS. ERI O D 7

D ia in . 92 . evr s Ill u s eu m S e .

1 FR E NCH P OR E LA I N 28 C .

r Shows a much bette technique . The body and glaze are alike

are r white , and the pieces deco ated with skilfully executed

Se or flower paintings in the styles of vres Mennecy. Rose - colour and blue were very largely used in these

r o - deco ati ns, and especially a greenish blue colour which is both

r r O I beautiful and cha acte istic . As an example of the pieces

’ the period o f Robert s manufacture we illustrate a very large

r m m Se s oval dish f om the useu at vres ( ee Fig . The

' m on r R . general ark this porcelain is the lette , with or “ without a dot to indicate the initials J . and sometimes

r - * the initials F . R . in unde glaze blue .

S ITS E O S PARI AND NVIR N .

PA R IS : FA BR I E D U GR O S CA ILLO QU U .

In 1 7 62 Jacques -Louis Br oilliet asked to register the letters

for - L . B . as a mark hard paste porcelain , and obtained the necessary authorisation ; but he appears to have been chiefly concerned in the production of chemical apparatus and crucibles and no porcelain services or pieces of that description are known to have been made during the existence of his works from 1 7 62

to 1 769. In 1 773 Advenir Lamarre applied for an authorisation of the “ D t a r mark A . . , but the granting of hat utho ity is the only knowledge we have of his productions . Nevertheless the decree

of 1 784 r - , which autho ised the continuance of certain hard paste

r o fi rm Veu ve J u l lien et Bu n a u porcelain wo ks , menti ns the of g , ” a u gr os Ca ill ou and it is surmised that they were carrying on

r the business of Lamar e .

V I N E NNE S C .

About 1 7 66 Hannong again demanded the right to establish

r - r r a ha d paste po celain wo ks , only to find that every species r im 1 767 h . of po celain production was forbidden to In ,

it ’ ' Further information r el ativ e to the faI ence factories at M arseil l es w ill b e u i M ’ 1903 o nd n r . Sol on s l F ond n O d r h l L L o . enc Casse l Co . td . f , , , HA RD —PA S TE P OR CE LA IN FA CTOR I F N E S O FR A CE . 129

r A ub iez r however, one Mau in des was autho ised to establish , in

' ' a m i the Ch teau of Vincennes , a anufacture of fa ence in the

of S r r r manner that of t asbu g , and he was afte wards granted the use - r o to of the old soft paste porcelain wo ks , with auth rity make faience and hard-paste porcelain in so far as he did not infringe

r r Se r the p ivileges of the royal manufacto y of v es . Maurin des

’ A ubiez r Hannon s m appears to have been eithe g pseudony , or

m or the na e of his sleeping partner associate , as we find Pierre Hannon 1 7 71 m Antoine g, in a document dated , describing hi self

r as the directo of the Vincennes manufactory. It seems

r r p obable, if not quite certain , that profiting by the expe ience

o Hannon gained in the w rks belonging to his family , g sought to

r - establish near Paris a manufactory of ha d paste porcelain, but

f for his first ef orts cannot have been very successful, when his creditors became too pressing he stated that many ovensful of war e had been spoilt owing to the defective construction of the ovens . He appears to have left Vincennes in 1 7 72 to take

’ the direction of the works of the Comte d A rtois in the

r St or St faubou g . Denis , . Lazare . The pieces attributed to Hannong at Vincennes are

r - extremely felspathic and vit eous . The body is amber coloured

r - in tone , and not unlike some of the ea lier soft paste porcelains.

r r The deco ations , for the most pa t, are little painted flowers , the V iolet or rose -coloured shades of which are often faded from

-fi red r being over . The glaze is f equently pitted , and otherwise “ ” - defective . The general mark is H . in under glaze blue , as ” r r- well as a ma k of the letters P . H . interlaced, in unde glaze

O t blue , which is f en attributed to this factory . We have no further information of the history of the hard 1 78 4 paste porcelain of Vincennes until , when we find that the

S r r n ieu Lemai e , manufacturi g porcelain at Vincennes , protested

against the edicts of 1 78 4 (see p .

- Se When King Louis Philippe visited the works at vres , some

1 8 30 r D ue time after , he ecalled the fact that while he was still

r Hannon de Chart es , g had helped to create this works at

ro r Vincennes under his p tection , but the whole histo y of the

- hard paste porcelain of Vincennes is very obscure , and we have 130 FR E NCH POR CE LA I N.

1 78 6 are of O no information of its continuance after . We pinion ,

w r r r V r o o r ho eve , that ce tain pieces of ve y it e us p rcelain , ma ked “ - rm r in under glaze blue , with L . su ounted by a ducal co onet

- D m r r ue r r . (Louis Philippe , de Cha t es), ca e f om this wo ks

E TI OLLE S.

In 1 78 6 a porcelain maker named Monnier applied for

r m - r r autho ity to ake soft paste po celain at Etiolles , with a egis ” t red r o r e . . ma k of the letters M P c njoined . Ve y few pieces are known proceeding from this works ; perhaps the best known

r being a pomatum pot in tinted paste, with a blue deco ation in m St . r the Cloud style, which is now prese ved in the Li oges m museu . At a subsequent period this factory also made a greyish

r - ha d paste porcelain which was not very transparent . The Sevres Museum possesses a white milk-jug of this type “ ” m r without decoration , which is a ked M . P.

’ PA R I A A IS S : F BR IQUE DU CO MTE D R TO .

m or This anufactory was situated in the faubourg St . Lazare

r St r the faubou g . Denis , and was the fi st which made hard

r m r paste porcelain in Pa is on a co mercial scale . It was unde

’ r r - d A rtois r the pat onage of Cha les Philippe , the brothe of Louis

XVI r r m r t o a r . , who fte wa ds beca e Cha les X and it appea s have

- e 1 769 PIerre . Hannon been stablished about , while Antoine g

m 1 m m r beca e its director in 7 7 2. Fro the com encement the e

r r r of appea s to have been a ve y la ge output pieces , but the business did not prosper owing to the bad habits of Hannong

’ r d Osson one himself. Th ough the influence of the Marquis , of

r B r i o 1 r a rach n u 7 75 . the p op ietors , was app inted director abo t It was at this moment that the factory obtained the patronage

’ ” Ma nu a ctu r e d a Comte d A r tois which gave it its title of f , and

r r ma r r its p ospe ity y be said to date f om the same pe iod . Louis -Joseph Bourdon -D espl anches was director of the

r 1 78 2 r o . wo ks in , and succeeded in fi ing his ovens with c al An

r o ovenful was fi ed in presence of the municipal auth rities ,

of Se . the chemists vres , and a number of noted people

HA R D -PA S TE POR CE LA I N FA CTOR IE N 131 S OF FRA CE .

m r There is still in existence a state ent, signed by Macque ,

r Da cet, and other savants , stating that the porcelain pieces ,

r even r r r nor drawn f om this , we e neithe cracked , bliste ed ,

r r 78 2 uneven , and that among the pieces d awn , there we e

fi rst- 1 27 - r 1 31 r -r rate pieces , second ate pieces, thi d ate pieces ;

76 refi red r r 24 while pieces needed to be , and the e we e pieces m broken . This experi ent caused a great sensation at the

r o S r r r pe i d . eve al la ge vases we e made and offered to the King

’ d A rtois and to the Comte . The vase presented to the King was exhibited for several months at the Chateau of Versailles ;

’ o Cu it a u cha r bon d e ter r e é wre cl a ns l a it bore the inscripti n p ,

’ ma nu a ctu r e d e Monsei neu r Comte d A r tois te 8 Fevr ier f g , , A S a result of these experiments Bourdon -D eSpl anches

r r was g anted a subsidy of liv es . In order to escape the consequences of the edict of 1 784

s 7 m r 1 8 for ( ee pp. 9 the anufacto y applied in 7 5 the right “ ” m r to continue the anufactu e of busts , biscuits , and other

for sculptured pieces , as well as the right to paint in all colours

r w di and to deco ate and inlay ith gold , on con tion that the firing

’ d A n ivill ers was conducted entirely with coal . M . g , knowing “ ” how much the export of biscuit pieces had been developed ,

r and anxious not to discourage such a beautiful indust y, finally allowed the decoration in gold so long as it was not used all

o r r ve the piece , and pe mitted the production of biscuit pieces * so long as they did not exceed the height of 1 8 inches . In 1 78 6 Bourdon- Despl anches obtained a fur ther subsidy of

r m liv es , while the che ist Josse, who was connected with

r r 400 r this wo ks , eceived a subsidy of livres for having discove ed a pleasant blue porcelain paste with which all kinds of ornw mental pieces might be formed without using gold or other

r r colou s . The works continued in full ope ation until about

1 793 r m r , when all French indust y was co pletely pa alysed , but there seems to have been a revival after the worst period of the

Revolution, and we find the works successively under the

ir m r r Schoel cher d ection of Huet and Benja in , and afte wa ds of , t 8 1 un il it was finally closed in 1 0 .

ecr ee of J anuar 17 1 787 see . D y , ( p 132 FR E NCH P OR CE LA I N.

r It should be stated that , speaking gene ally, the productions

rr r Of of this works are of i ep oachable quality and execution . its fine biscuit ” pieces we give an exampl e in the reproduction o f r m 1 7 90 the ve y re arkable bust of Mirabeau , made about

no t which is preserved in the museum at Sevres . It is a little

’ piquant to see the manufactory of the Comte d A rtois doing its

m n o best to popularise the great e f the Revolution . The more ordinary productions of the factory during its first period closely r esemble the pieces attributed to Hannong at

r V m Vincennes, having an ext emely itreous and slightly a ber

r r . colou ed body, with a ve y defective glaze The polychrome

r r -V flower paintings are cha acterised by a eddish iolet colour,

t o r which is also used line the borde s of dishes and plates .

r m r - These early pieces bea the a k P . H . in under glaze blue . Under the influence of Bourdon -D espl anches the porcelain

r m r m o un quickly became white and o e ilky in t ne , and of quite

it r exceptionable quality may, indeed, stand compa ison with the

o r of Se r rm are contemp rary p oductions v es . The fo s somewhat bizarre , and in the full Louis XVI . style , while others are

r o r Se r r r di ectly c pied f om those of v es . The deco ations are gene ally landscapes or figure -groups painted en ca maieu in a grey

- colour, but we also find well painted bouquets in polychrome,

r r and ext emely ca eful gilding. “ ” r The biscuit pieces were very numerous , and comp ised busts of distinguished pers onages as wel l as groups and

r statuettes inspi ed by those of Sevres or Niderviller . During this second period the mark consisted of the letter s ” ”

. . r or r r r . . C P inte laced, mo e f equently the capital lette s C P ” r r surmounted by the c own of a prince of the blood . The ma k was generally enclosed in a vignette and was painted in red or

r some other enamel colou .

A V UX .

r - t r S A ha d pas e po celain factory, managed by one ieur r e 1 7 7 0 . Mo eau , was in xistence in , at Vaux , near Meulan It has

t r Hannon been stated tha this wo ks was founded by g, but of

t r r his the e is no proof. The body of this po celain was white,

HA RD —PA STE POR CE LA I N FA CTORI E S OF FR A N CE . 133

m il an and the pieces were carefully ade , wh e the gilding d the ” r “ ’ r . r painting we e pe fect The mark consisted of two c ossed V s .

PA R IS : FA BR I E FA BO R G NT N ST. A O I E QU DU U U .

The only knowl edge we have of the existence of this factory is an application made in 1 7 73 by one Sieur Morel to be

l d m r r St . t al owe to anufactu e porcelain in the faubou g An oine , m with the intended ark M . A . P.

PA R IS : FA BR I E D E LA R U E D E LA R O E TTE QU QU .

r 1 7 73 Souroux re This wo ks was founded in by , and it

1 78 4 r r mained in his possession until , when Rivet became di ecto , O but in a few years it passed into the hands of livier, the

' ‘ - i . r r m famous fa ence maker The body of this wa e is ext e ely ,

m - r V r t . it eous and so ewhat amber colou ed , wi h a very bright glaze Certain pieces are decorated with gold lines or with little blue “ - S. flowers . The general mark is an in under glaze blue .

of There was another factory in the rue de la Roquette ,

r 1 7 74 1 78 7 which Vincent Dubois was the owner f om to , known “ ” as Les Trois Levrettes because a company of archers met in this place ; and we are of opinion that the pieces marked in

- under glaze blue with two crossed arrows , which are generally

r r attributed to the factory of Locre (see p . eally came f om

r this wo ks .

I LE PA R IS : FA BR IQUE D E LA CO U RT L .

This works was founded in 1 773 by Locre at rue Fontaine-au Roi with the avowed intention of producing imitations of to German porcelain . The works appears have produced a

r ik large number of pieces , comp ising fine show pieces l e the

r r e large vase with a colou ed g ound and arab sque ornament, 4 8 m of which we give a r eproduction in Fig. ; and nu erous

ff - W r tea , co ee and dinner services, of a beautiful hite, deco ated r with ornaments and little flowers in the style of the pe iod . “ ” We must also mention the beautiful and well -made biscuit

or o r pieces , of which the access ies were ften deco ated by

vermiform applications of porcelain slip (bar botine) . At a R E LA I 134 FR E NCH PO C N .

later date the works produced porcelain of a commoner kind

a r r very slightly decorated . Tow ds the end of the eign of m Louis XVI . they also made porcelain painted in i itation of

t r see . agate, to compete with English po te y ( Fig

r 1 78 4 R uffin er w Locré Towa d g became associated ith , and their works attained so much impor tance that in 1 78 7 it was classed among the factories which were sufficiently important to

re r :d efinite be maintained, although they we not g anted a

o authorisati n . k It should be mentioned that it was in this wor s , about the 1 790 year , that the process of casting was first applied to the

- r manufacture of pieces of hard paste po celain .

r m 1 7 94 The business appea s to have co e to an end about ,

probably owing to the troubles of the Revolution . At a later

r r Pou at a nd R uffin er date the manufactu e was evived under y g ,

r o o r but they only p oduced rdinary c mme cial porcelain .

f r r The mark of this acto y consisted of two crossed to ches ,

m r r evidently an atte pt to imitate the crossed swo ds of D esden, and this mark should not be confounded with the two crossed

r S ar ows mentioned above (see p . ometimes the biscuit ” r e a r pieces bea the same mark , or Locr Pa is , or Fabrique de

r ill la Cou t e.

PA R IS : FA BR I E D E LA R U E D E R LY QU E UIL .

- r Lassia 1 7 74 A porcelain make named applied , in , to be k allowed to establish a porcelain wor s in rue de Reuilly, ” r S t. r r faubou g Antoine , and registe ed the mark L. No se ious

ro o r p ducti n appears to have taken place, howeve , until about

1 78 1 Guettard a , when we find Cadet, , Lalande, and Font nieu stating that the porcelain vessels of Lassia had great fi re r t 1 esisting quali ies . In 78 4 this factory was one of those protesting against the royal decree we have already mentioned see ( p . and it appears that at the time it was directed by

’ Lassia Chanou and . About 1 78 5 the Marquis d A ub ared e was prepared to advance su ffi cient c apital to introduce the method of fi r n ing by coal , but failed to obtai the necessary authority . In 1 788 Lassia applied for the exclusive permission to make

HA R D - PA STE POR CE L A IN A T IE F FR A N E 135 F C OR S O C .

- c stoves and mantel pie es , but without success . We have no precise information as to when the works was actually discon

tinued it in 1 800 , but we know that was not in existence .

r The porcelain of this facto y was white , and of good quality. We often find it decorated with grounds in enamel (on-glaze)

h r r colour, a yellow ground being quite c a acte istic . The pieces

are r r l - frequently deco ated with ca efu ly executed gilding . The

L r- mark is the letter . , either in blue unde glaze or in gold on

the glaze . l n 1 7 84 Chanou separated from Lassia and founded a works “ ” his of own , registering the mark C . H . The pieces of his

r S manufacture are very are. uch as are known are of careful

- workmanship , with well painted designs , and the mark is

stamped in red on the glaze .

PA R IS : FA BR I E DE MO NSIE U R A CLIGN A N CO U RT QU , .

In 1 7 75 Pierre D eruell e notified the authorities at Sevres of the opening of a porcelain factory at Clignancour t which had

e 1 1 be n founded about 7 7 . At the same time he obtained the privilege of placing his establishment under the patronage of

’ r r I Monsieu , the King s eldest b other (afterward Louis XVII ) ,

r r hence the title by which the po celain is gene ally known .

Moitte The works passed into the hands of De and produced , li until after the Revolution, porcelains of extremely good qua ty,

r where the paintings and gilding, which are ve y well executed , decorate a material just as beautiful and white as that of sevres itself ; in fact this manufactory produced pieces quite com

Se r . parable with those of v es , in the current styles of the period

r r t The ea liest mark was a windmill , doubtless f om the fac that

windmills abounded in the locality, but after securing the “ S a S . patronage of Monsieur, his initials L . . X (Louis t nislas Xavier) were made into one complicated monogram which was

r on m gene ally marked in red the glaze , while so etimes this

r o O mark was surmounted by a p incely c ronet. ther marks “

r i . are known , such as the inte laced initials contain ng a D “ ’

D eruell e . ( ) , while a D surmounted with a prince s coronet, and M o or n . fi ally an , surmounted with the same c ronet , in red 136 FR E NCH POR CE LA I N.

r r gold on the glaze , became cur ent ma ks . An attempt was even

o m r r Se r made t use the a k of two c ossed as at v es , sur

’ mo a Se r m unted by prince s coronet , but v es i mediately stopped

or this infr ingement of its mark . It is rec ded that a visit of the police in 1 7 79 led to the seizure o f many porcelain pieces

r r r Se r for deco ated in the styles which we e rese ved to v es , and

D eru elle this was fined livres , with confiscation of the

pieces .

E NE A R ME L N BOISSE TT . , U

1 7 7 7 Vermonet r m In , fathe and son , com enced to manu

’ i r facture porcelain at an old fa ence facto y, and obtained the li privilege of sel ng their wares in the region of Melun . This

r r facto y appea s to have existed about fifteen years , and produced

or ra mainly pieces of white porcelain , pieces deco ted with

r r paintings of flowers or bouquets. The gene al ma k is said ” t o be the letter B .

SA INT - E NIS D .

e - M . Lafert , an old farmer general, authorised the erection of a works for the manufacture o f fine porcelain on his proper ty at

S - r aint Denis, whe e certain pieces in white porcelain and in ” m Se r r biscuit, in close i itation of the v es porcelain of the pe iod “ r Se we e produced. The vres museum possesses two biscuit

r o S pieces , one of which epresents L uis XVI . and is igned Cross

1 77 r ro a r the othe M . Le Comte de P vence ( fterwa ds Louis

’ I r r S - XVII ) , and is ma ked G osse , l ile aint Denis ,

PA R IS : FA BR I E D E LA R E INE R E THIR O U X U . QU ,

Of all the factories which competed with Sevres this is the one which carried the imitation to the greatest point of

r r mm pe fection, but it is a singula co entary on the royal authority of the period to find a rival factory openly patronised

by the Queen. About 1 7 7 8 Andre-Marie Leboeuf founded a porcelain works T r in rue hi oux which prospered so r apidly tha t in 1 7 7 9 Leboeuf was fined livres for infringing the privileges of Sevres

fOC

P A R I S d z1m T u rn o u x

(P i t a (l u r e ).

F 5 2 W A W H IG . . N D S E ER BA IN , IT

PAINTINGS IN CO LO URS.

H in L . 11 in. B . . i 5 u m Sevr es M u s e .

HA RD —PA TE P OR CE LA IN FA CT R I E OF FR A N E 137 S O S C .

r or r o by imitating ce tain of the processes , deco ati ns , reserved to m m that factory . An exa ination of the s all ewer and basin 2 . 5 reproduced in Fig , and a comparison of these pieces

Se see with the similar work of vres ( Fig. will enable us t o understand why the director of Sevres shoul d prevent the

r u r ma ket being overrun by such beautif l productions . Appa ently it was after this police visitation that Leb oeuf put himself

- r him under the patronage of Marie Antoinette , who autho ised to

m r r r a k his porcelain with her monog am . It was f om this

factory, too , that the Queen ordered some of the pieces for her

l a iter ies m for , while she purchased any other pieces as presents

m r her friends , so that the com on name of the p oductions of this ” Por ce a ines a l R ein e factory became l a . There is no evidence that biscuit pieces were ever pro

duced r , but the glazed and decorated pieces were cha acterised

by the beauty of their body and glaze , and the perfection

r r of their deco ation . We have al eady mentioned the ewer

m m Se r and basin fro the museu at v es , and we reproduce

53 m - rt in Fig . a covered crea jar from the Victoria and Albe

museum which also shows the taste and style of the pieces . After the Revolution the works passed into the hands of Guy

e. and Housel , and subsequently into those of Leveill

to r t . Two marks appear have been in use , eithe the let er A

’ - z in under gla e blue, or the letter with the Queen s crown

o over it, in red or in gold . The mark M . A . interlaced, cann t

r be att ibuted to this factory with certainty.

’ PA R IS : FA BR I E DU D U C A NGO LEME R U E D E BO N Y. QU D U , D

Guerhard Dihl r 1 780 and established this wo ks in , securing

’ - leme d A n ou . the protection of Louis Antoine , Duc g f Dihl Thanks to the ef orts of , who was an able , scientific man , the productions were soon brought to a high degree of perfec Dihl tion, and it was who first established a complete palette of

- colours for the decoration of hard paste porcelain . All the rich

- r ond s ole r a nd eu al l r under glaze g ounds (f g f ) , and the colou s of

Se r ro S r vres , we e successfully p duced here . e vices with under glaze blue , as well as those with rich gilding and the most 138 FRE N CH POR CE LA IN.

“ sumptuous decorations , and fine biscuit pieces , all manifest

the same high degree of finish . The productions of this factory were as highly appreciated

r in England as in F ance , and they maintained their position

r m r during the Revolution and the fi st E pi e. It seems probable that the unceasing efforts of Dihl to develop his pr oductions

m O r Se r were due to his a bition to btain the di ectorship of v es ,

m Bron iar o r n t . which was, h weve , ulti ately secured by g But it is certain that the rivalry between these two men was an important factor in the development of the porcelain industry

end m of France at the of the eighteenth , and the com encement

r Dihl of the nineteenth , centu y . We find that had his portrait

or 1 7 98 painted on a p celain plaque by the painter Le Guay in , 1 801 d on - while in he produce , also porcelain , a half length

or m - r o p trait of hi self, life size , painted by Ma tin Dr lling, and this

r r Se r po t ait, which is now preserved in the museum at v es , is a real masterpiece of execution in painting on hard -pas te Dihl porcelain . It is not too much to say that thus created

tr r - the indus y of port aits on hard paste porcelain in France .

r The ma k of this factory consisted of the letters G . A . interlaced (sometimes in an Oval V ignette surmounted by a

r m red princely co onet) , the ark being in or gold on the glaze . ” After the Revolution we find the name Dihl written with a ” or Guerhard Dihl t pencil , and , Paris , writ en in various styles .

PA R IS : FA BR I E D E LA R U E F PI NCO R T QU O U .

r Lemai e, whom we have already mentioned in connection

r - r r with the ha d paste po celain wo ks at Vincennes , founded ,

1 760 r r about , a wo ks in the rue des Amandie s , Popincourt ,

o 1 78 3 » N er e r r which was b ught in by ast p , and afte wa ds

r r es belonged to Nast f e . We are not acquainted with any

of r r r r o pieces the ea lie yea s of this facto y, but in some c llections there are pieces of skilful manufacture bearing the word Nast “ ”

r d . in e Some biscuits of this factory were extremely well

executed, and we know a bust of Bonaparte , when he was still a r , the Bu ona a r t Manu a ctu r e gene al which bears inscription p , f d e Por celaine ol u cito en Nast r u e d es A ma ndier s Pe in y , , p

HA R D— PA S TE POR CE LA IN FA TOR I E A N 139 C S OF FR CE .

cou r t l Se r m , whi e the museum at v es possesses a agnificent bust

ma Boizo t r of Hoche , which y be attributed to , which dates f om

1 7 95 .

’ : D C E - - X PA R IS FA BR I E D U U O R L A NS O R PO NT A U X CHO . QU D , , DU U

o In 1 78 4 ne L . Honoré de la Marre de Villiers registered the “ ” r mark M . J . for a facto y which he was about to establish in S t . 1 78 6 a the rue des Boulets , faubourg Antoine . In it p ssed

O utre uin o a into the hands of J . B . q de M nt rcy and Edme

- - Toulouse, who obtained the patronage of Louis Philippe Joseph ,

’ d Orl é ans m Duc , and established themselves at rue A elot , Pont

- r r aux Choux . The e is little to be said about this facto y except 1 806 that it endured down to about , and that its productions were executed pretty carefully in the genera l style of the other

r Parisian factories of the pe iod.

r . . Two marks appea to have been used, one the letters L P

- interlaced (Louis Philippe) , while the other consisted of the ” Mon arc O O utre uin t . letters . M . ( q y)

SA I NT-BR I CE .

In 1 78 4 Gomon and Croasmen founded at Saint -Brice a porcelain manufactory and applied for the protection of the

no t r Dauphin . This patronage was , however, g anted as Lille

s already possessed that privilege ( ee p . We have no other information about this factory , and its productions are nk u nown .

CHO ISY .

It is stated that Clément established a works at Choisy in 1 78 4 1 78 6 fe , which in belonged to one Le vre , but we have no knowledge either of the mark or of the productions of this factory.

: W KS PA R IS PR I NCE O F WA LE S O R .

1 78 9 r In an Englishman , named Potte , established a works

Cru ssol r r in rue de , which he called the wo ks of the P ince

r * r of Wales , where he intended to p int patte ns on glass and on

9“ Potter b r u h h n n ro ess ver rom E n l and w here it had b een o g t t e pri ti g p c o f g , erfected man e rs l i r — E a ear . p y y e D. 140 FR E NCH P OR CE LA I N.

r o r il f porcelain . In o der to btain the necessa y priv ege he of ered

r o r r to give a quar ter of his p ofits to the p o . Be thollet and Demarest reported that his method of printing in black was

' ' r i r r capable of application to po celain , fa ence and ea thenwa e , but

him no or m gave licence, as the auth ities had not at this mo ent decided anything about the continuance of monopolies and

r privileges . Potte appears to have had a successful business as

r a manufactu er of earthenware in the English style , but little is

u m e r known of his porcelain . The m seu at s v es possesses a cup “ ” m r decorated with butterflies bearing the a k Potter in blue , “ m a r m r and sometimes we find the ark Potter Pa is . The a k

’ or m d A r tois C P of the fact y of the Co te . . with a coronet over “ ” m i r r Crussol - r it is so et mes Inte p eted as indicating Potte , but m such a confusion is not ad issible .

’ Potter s productions appear to have been of the cheapest

r kind , intended for eve yday use, so that doubtless most of them

r disappea ed long ago .

142 FR E N CH POR CE LA I N.

r r r r mate ials . It was the efo e decided to educe the output . The immediate r esult was that the most active and in

enious of o m g the workpe ple left the establish ent , and , taking advantage of the fact that the edicts defining the monoply o f

Se r r r v es were no longer enfo ced, began to wo k on their own

or m r r t r account for other anufactu e s, hus inc easing the exist

o ff m ing competiti n . Those of the sta who re ained loyal to the

r r di ectors, and the principal a tists and chemists , fell into idle

o r i ways, and the p litical fe ment of the time soon man fested

r r r itself in the royal manufacto y . Ve y soon the wo kpeople were divided into two classes : those of moderate opinions

o e r who remained true to the r yalist ideas , and thos who we e inflamed with the new revolutionary propaganda ; and these

r latte soon accused the chiefs of causing, by their negligence

r ff and inaction, the uinous condition into which the a airs of the factory had fallen . m At this oment, some financiers who had won over the noisy

r O f O o e po tion the workpeople to their pini ns , pr posed to buy the

s r r manufactory on condition that they paid its debt . A epo t of

ff to 1 . 7 90 the position of a airs was presented Louis XVI in , but

r m r he indignantly efused to sell the anufacto y, and wrote at the “ bottom of the repor t the following lines : I intend to keep Sevres at my own expense ; but I wish the expenditure to be r r u educed , and so eg lated as not to exceed a hundred thousand

’ ecu s the monthly salaries of the workmen not to exceed livres about) , if they cannot be further r d shall ' b e ro educe . The debts paid with the p ceeds of the sales ,

r and I will have no mo e debts incurred , which will be an easy m m thing, since I supply the onthly oney from the funds set

r apart for the expenses of the oyal palaces . I wish an economical plan of administration to be drawn up within a short

. t the r time An exact accoun of mate ials supplied, as well of the

m S l me sales , shall be made , and the oney hal be delivered to

r r r afte discha ging the debts , so that I shall be able to judge f om a thorough knowledge of the matter whether I should keep the r or it manufacto y, dispose of in a more advantageous way than ” would be possible at present . X X I .

SE V R E S

A (D E SCRIBED IN THE CATALO GUE A s BR ULE PA RFUM) - A PPLE -GR EEN G U W P L RO ND ITH PAINTED ANE S.

R BB D R I T 143 s V S U NG HE BE VOL UTI ON .

But events moved much more rapidly than the King anticipated , and the next step was taken by the National

1 7 91 Se r S Assembly , which decided , in , that v es hould not be

r alienated with , or included in , the National P operties while 26 th 1 791 Se m by a decree of May , , vres was co prised among the

r r possessions of the King , and its expenses we e cha geable to his

. o of r civil list At this m ment the value the wo ks , with its stock

r r r in t ade and its sto e of materials , was mo e than

of livres , while the debts amounted only to the sum

r liv es . It was decided that the debts incurred previous to 1 791

r r should be discha ged by selling a po tion of the existing stock , while the sale of the fresh products was to provide funds for In 1 7 2 Haud r r the . 9 meeting current expenses , y , the oversee of

r - o m r salt mines of F anche C mté was appointed com issa y, and

a Se r charged with the dministration of vres , under the di ection of q Hettlin er and , the Minister of the Interior ; but g and Regnier

Haud r r retained their posts , because y knew nothing of po celain

o Hau d r manufacture . The missi n of y, indeed, seems to have b r e ime r of een a purely political one, as under his g the wo kpeople Sevres apparently spent their time in denouncing their chiefs to

m S Hettlin er the Co mittee of Public afety. g and Regnier had to submit to an unceasing surveillance , while their papers were

m Hettlin er S seized ore than once . g , who was a wiss , was

’ emi r es l was suspected of wishing to join the g , and fina ly he

r r arrested along with Regnier and seve al othe s . At this juncture one of the members of the Convention named Battelier

his was appointed administrator, and he promptly delegated

r Chano r r t . u au ho ity to J . B , one of the a tists of the facto y , who had G denounced the directors . hanou distinguished himself by n thefts , misuse of fu ds , and embezzlement , and in order to carry out these designs more freely he got Battelier to discharge t had the cashier, Barran , on the accusation hat he not collected

r o r r m r conside able am unts due f om ce tain noble e ig ants , and

’ that he had given a receipt for livres worth of forged

i n r r ass a ts . g His goods we e seized , and he was o dered to get in all the debts of the establishment in a month ; a perfectly absurd

o Batt li r c ndition . e e decided , also, that all the superior posts of H P R E L A IN 144 FR E N C O C .

the manufactory were in future to be fi lled by election by the

workpeople .

r Hettlin er o Du ing this time, g , being ill , was all wed to leave

r m m o . r his pris n and keep to his oo He de anded , time afte

l to m to b , time , e al owed leave France but the Co mittee of

r r who Ag icultu e , had just been given the charge of the works at

’ e r Hettlin er s r o S v es , objected to g departu e , as his kn wledge

or of would be useful in the w king the manufactory. In this m m extre ity they decided to inde nify him , and restore his posi

im Hettlin er r h . tion to Finally , g was awa ded a salary of

o francs on conditi n that he did not leave France , and the

u S Committee of P blic afety reorganised the directorate ,

r Hettlin er S appointing at fi st to these posts g and almon , with

r r whom we e associated in succession , Meye as financial director ,

zot r r La rené e h Boi as di ecto of sculpture , g as c ief painter, and

ll r m t r Bertho et as p incipal che ist , who was some time af e ward

replaced by Darcet . t Wi h the end of the Reign of Terror, the lives of the chiefs of the departments and the principal artists were no longer in

o m danger, but the financial positi n was si ply deplorable, and

r r the workpeople were literally allowed to sta ve with hunge . In 1 793 n July, , whe the Minister of the Interior issued an order the u r allowing sale of painted and sc lptu ed pieces , there were no less than francs ’ worth of such products in the

S S r E m a ta r . wa ehouses A contract was igned with one ieu p y y , a

’ m r r for r r orce e chant of Pa is, exporting f ancs wo th of p ’ hi lain, while francs worth of defective pieces of w te porcelain were s old to one Sieur Lignereux for sale in Paris

r m itself. Unfo tunately these su s were swallowed up by the

fer S r - m cof s of the tate , which at that time we e well nigh e pty,

w as Se and not one single sou received by the staff of vres .

So f r bad was the situation of af ai s , and so desperate the needs

t r of the staff, that the direc o s were driven to make advances to r r r m the painte s and wo kpeople f o their own moneys , or such

t o r as hey c uld obtain from their f iends . It is said that Hettlinger sold his j ewellery to save his workpeople from starvation, and often the casual relief granted by the Govern

146 FR E NCH P OR CE LA IN . these steps the Council of the Five Hundred finally granted m d su . them the of francs , which was pai Again a proposition was made t o form a company to take over the affairs of Sevres from the State for the sum o f f m francs , but the of er was ost energetically opposed . It should be noticed that the successive governments of the rev ol u

i ar r r Se r t on y period never t ied to supp ess the vres manufacto y . They limited its productions and the number of the workpeople

f r o when financial af airs were in their most c itical conditi n , but there always seems to have been an idea that ultimately the establishment might have a great influence on the revival of the

r porcelain indust y, and it was merely left to starve . That it

' once again reached a condition of prosperity was l argely d ue to Bron niart 1 800 the nomination of g as director of the works in , and the subsequent protection accorded to it by Napoleon . After having been influenced by three charming women La

m r - r Po padou , La Dubarry, and Marie Antoinette, the manufacto y

Se r r r of vres found , du ing the evolutiona y period, no influential

r or o o guides in the matte of taste art. They repeated ver and ver

o again the shapes and the decorati ns of the time of Louis XVI .

r m r r Monog a s fo med in tiny flowe s, or initials composed of roses

r - - r or fo get me nots , decorated the cups which we e used as birth day presents ; while subsequently we see the appearance of

or oval rectangular medallions, filled with painting, on vases which are more and more based upon Greek or Roman models .

r fi r o It was necessary to sac i ce eve ything to politics, and go d ” citizens required cups and plates on which the fasces of lictors . and tricolour cockades alternate with Phrygian caps and the

r r r r initials of the King ; while at a late pe iod tricolou ed ibbons ,

m S as the sole orna ental device , how the changes of the political r e i o r me. ee 5 g (S Figs . 5 and Everything that was f rme ly r g acious and beautiful became solemn , and even dull , with the “ - N r . 0 badly revived, ill unde stood passion for the Antique materials could have been more unfi tted for such a hybrid style

- Se r r or . than the porcelains of v es , whethe of soft hard paste The

was m r r worst to co e, however, when the Convention itself o de ed what was meant to be an imposing memorial of the Republic . s é v n ns (p aw t e nd r e ). FI 5 5 — . U P G . C DECO RATED WITH T RICO LO UR

S. P 1 RIBAND ERIO D 793 . H i . 3 5 n. Sevr es M u s u m e .

s fi v n ns (p aw t e n d r e ). F — IG . 5 6 . SAUCE R DECO RATED W ITH TRIC O LOUR R I B A N D S P E R I O D 1 7 93

A 148 FR E NCH POR CE L IN .

‘ o r Viala . The m ulds of these wo ks , which have been pre

at Se r for served v es , have evidently been used the manufacture

r b r . r of a conside a le numbe of pieces At a late date, the vic torious generals of the revolutionary armies had the signal “ ” r Boiz ot honour of having thei busts executed in biscuit , ” oub ert modelling the busts of J and Marceau , the medallion “ r of Hoche , and finally the bust of Bonapa te . Long before

’ ’ the coup tl eta t the Directory ordered Sevres to send to the “ ito enn e m r . c embe s of the Executive Committee, and to the y ”

Bona ar te . r p , busts of the victorious general The o der goes on to say that it is the duty of this national establishment to r in m r eproduce , a anner both useful and ag eeable, the features of t r a ci izen who has done the Republic such g eat services . k It should be remarked that , in eeping with the philosophic

o tendencies of the period, certain of the earlier gr ups , such as

r r those illustrating the histo y of Telemachus , were also rep oduced .

Finally, .one result of the expedition to Egypt was the

o se - r t creati n of a called Egyptian style , which is so ve y ugly tha

r we cannot egret its short life . It has already been mentioned that Talleyrand continued the ' cu stom of sending Sevres p orcelain as diplomatic presents

’ m i d Hau Even the Com ittee of Publ c Safety offered to M . g

r r witz , the P ussian ambassado , a service designed by the

r m architect Masson , and decorated with arabesques taken f o

’ R r aphael s f escoes . They also offered to the minister of Hesse

’ r Cassel po celain pieces worth francs, and francs

r a S . worth to the P ince de la P ix , the panish ambassador They l ikewise gave porcelain pieces to various ministers O f the Cis

Serb ell oni alpine Republic , such as Visconti, , and Rangone, as

. S a well as to M de pinola, the Minister of the Republic of Geno

u To end the history of this nhappy period , we may say that

the r 1 78 9 1 7 92 r during yea s to , the ma k consisted of the two ’ ” L s “ “ O . , . O with the date marks L. M . N .

r o 1 7 92 1 8 00 m rr In the pe i d to , the ark of the cu ent year was o d ’ mitte , and we find instead of the interlaced L s the words ” Se r or S r v es eve , either above or below the interlaced lette s ’

. . R e u bli u e Fr an se R F ( p q cai ) . GROUND

Ma

CHAPTER XVI .

SEV R E S N E R THE IR E CTIO N O F A LE X A N R E BR O N GN I A R U D D D T.

I N the previous chapter we have seen the deplorable condition to which the royal manufactory of Sevres was reduced during the tempestuous period of the Revolution . We have now to consider, briefly , how its position was restored, in the first half of

r the nineteenth centu y , and how , under the control of the

i r Bron niart distinguished sc entist, Alexand e g , it continued its

r o labours unde the First Empire and the Restorati n .

Bron niart ri man g was prima ly a scientific . He was by train

r o ing a mining engineer and a professo of natural hist ry, when t mm at the age of hirty he was appointed , on the reco endation of

r r Se r r r Be thollet, to be di ector of v es . For this post the e we e m Dihl any rival candidates , the chief of whom was , the director

’ D ue d A n o l m of the factory of the g u e e (see p . Considering

m Bron niar t at Se the monu ental labours of g vres , his enthusiasm , his honesty, and the influence of his methodical mind, we cannot

r but think that in many espects the choice was a wise one . His first efforts were directed to the re- establishment of the works

ff r w and the sta on a prope footing, and ith this aim he suppressed the sinecures and checked the abuses that had resulted from the disorganisation of the previous decade . He

r ort replaced day work by piece wo k , and app ioned apprentices among all the Skilled workpeople ; while he also retained the

Boiz ot — services of , the sculptor whose fertile and subtle genius

a o — of r La rené e and of we have alre dy menti ned the painte , g , the

r d onck One r S aen . flowe painter, Van p of his ea liest difficulties w as the financial condition of the works , which had been P E A 150 FR E NCH OR C L I N. rendered still more deplorable by the dishonesty of an agent Lemercier— who was sent out to Russia to dispose of some

’ francs worth of porcelain and who only remitted about

1 801 r r m fr ancs . In , howeve , the gove n ent granted a

r to Se f r r regula subsidy vres which af o ded a little b eathing time ,

r m 1 806 o so that the wo ks anaged to exist until , when Nap leon

Se r decided that vres , along with the Gobelins tapest y works ,

r r might be instrumental in reco ding and diffusing his glo ies . Before we speak of the productions of Sevres under the various governments from 1 8 00 to 1 848 it would be as well to recount the successive improvements due to the labours of Brongniart and the group of able assistants he gathered round him Bron niart r . As we have said g was prima ily a scientific man, and his own inclinations were strongly in favour of all those processes which could be regul ated so as to lead to certainty of

r r manufacture . It is p obably to this fact that we must att ibute

o t r his decisi n to abandon tha most distinctively F ench product ,

o - Se ffo the s ft paste porcelain of vres , and his sustained e rts to produce a hard-paste porcelain which left nothing t o be desired ff from the purely scientific point of view . By the aid of a sta

r m c m of cleve che ists, directed su cessively by such e inent men

S e the as Laurent , Malaguti , and alv tat , all known European

o r r clays , ka lins, and othe mate ials, as well as the bodies and

e of r m l glaz s ancient pottery of every kind , we e syste atica ly analysed ; while with the help of able practical men like

e r m m r R gnie , the methods of anufacture were also i p oved in m the sa e direction . It should likewise be mentioned that

1 8 1 2 Bron niart r in g was enabled , by the inte position of

m or Napoleon , to visit the fa ous porcelain w ks at Meissen ; the

S o to r S r King of axony being bliged f ee teinauer , its di ector, from his oath of secrecy so that Brongniart might learn al l the

r r of r t m jealously gua ded sec ets the g ea rival establish ent.

A ll t o m o f hese investigati ns, and the scientific te per the

r to om o r pe iod , led s ething like a rev lution in the natu e of

Se r Bron niart vres po celain . We have already said that g

r m - t abandoned the manufactu e of the fa ous old soft pas e , and every effort was made to bring the hard -paste porcelain into

152 FR E NCH P OR CE LA IN. influences at work at Sevres it would not be fair to attribute to this cause alone the want of artistic feeling displayed through

r r . ou t the pe iod Many causes cont ibuted to this end , and we are compelled to realise that throughout Europe the first half of

r r the nineteenth centu y was largely a pe iod of artistic sterility , while the grandiose ideas of the first Empire and of the Restor ation in France impressed a special character of their own on, the porcelain of Sevr es In order to describe these in due sequence we must now r efer to the historical development of Sevres under the various governments of the half century which

’ Bron niart s ffi almost coincided with g tenure of o ce. When Napoleon decided to foster the works at Sevres he appointed a commission consis ting of some of his officials and of

r r f r or the chief manufacture s of Pa is . The o ficials desired to est e to Sevres the powers which had been granted by the royal edict

78 7 see the m 1 . of ( p while Paris anufacturers, for their

o m m part, were anxi us to aintain their privilege of aking poree lain pieces which could be decorated either ou their works

r r m r l a ns or by painters wo king in thei own rooms (cha b e ) .

o r Napoleon , however , seems to have c nside ed the question

or m r m of p celain anufacture f o the national point of view,

r and , seeing that the export t ade in French porcelain was t steadily growing , he finally decided tha the industry should

r r r r o Se be f eed f om eve y estricti n , while at vres the manu

r rr the r factu e should be ca ied to highest pitch of pe fection , r m 1 806 so that, f o , we find Napoleon and his court giving

of Se much attention to the development vres , and paying r m f equent visits to the anufactory . We may realise what the ideas of the period wer e when m we re ember that Brongniar t preposed to make a magnifi r m cent vase , one met e high , decorated with subjects sy bol

o r of ising the c nquest of Germany, in a se ies allegorical

red r i designs in black and in the Et uscan style, for wh ch he

w ar wished sketches to be taken at the seat of , so that he m ight preserve on vases the memory of the glorious events of that epoch . Very se e n all the resou rces of the establishment appear to have been directed to the production of pieces which s fi v z n s (P A t e d u r e ). 5 — “ FI G . 7 . PL : S TH E L O F O ATE UBJECT, BATT E MARENG , BY SWE E BA 1 CH P O 802 . . ERI D

D ia. 9 in . . A Sevr e M s u seu m .

154 FR E N CH P OR CE LA I N.

r Lord Malmesbury, after the T eaty of Amiens , with a table

- r r 1 8 serVice . 07 , of tortoiseshell g ound , wo th francs In , S in the night between a unday and a Monday, there came a sudden order to Sevres to pack up the “ Olympic ” service of r be r r the Empe or, which will desc ibed late on , and despatch it at once to Russia ; whil e s ome weeks afterwards a

rt r m v fu he present was ade to the Czar of the Egyptian ser ice , n t valued at francs, without mentioni g some magnificen D ll m P s re in . va es, painted by g, which acco panied it rince

' Wii rtemb er r 1 8 09 William of Prussia , the King of g, eceived in a

’ r Se magnificent p esent of vres porcelain , but Napoleon s munifi cence was especially shown in the pr esents which he t On made on the occasion of weddings and chris enings . the marriage of the Princess Stephanie to the Grand Duke of Baden

1 806 S r in , plendid presents of porcelain we e sent both to the

m r ar ied couple, the principal witnesses , the officiating bishops, m the court chamberlains, and the master of the cere onies . When Jerome Bonaparte married Catherine of Wiirtemberg ano ther distribution of Sevres porcelain took place ; but naturally the greatest luxury was shown at the baptism of the

n m Of Wiirtemb er r Ki g of Ro e . The Duke g (the godfathe )

’ r eceived francs worth of porcelain pieces , Madame (the

’ m r god other) f ancs worth , Queen Hortense (another god

’ mother) francs wOrth ; the Cardinal Fesch ’ francs worth ; while the chamberlains and other officials had

m r agnificent p esents of lesser value. Finally a large porcelain

baptismal font with The Trinity and the Four Evangelists ,

o painted by Rousset , was sent to the P pe, and this piece is still

r p eserved in the museum of the Vatican . It need hardly be said that all these productions were in the

o m st grandiose style . The shapes of all the tableware had been

r f m Se r m ve y much modified ro the old v es odels of Duplessis , and the pure French style of the eighteenth century was replaced by a bastard style founded on Etruscan and Egyptian “ ” S . v u e art The Egyptian ser ice , which had been made for in * the r had r Tuile ies , on great occasions , a blue ground deco ated

This was th s r i r n d t h Czar in 1 80 e e v ce p ese te o t e 7 . - s fi v a ns (p aw d une ).

- F d E Caill e 58 . LK : on FIG . MI JUG BROWN GROUND ( ) DECO RATED W ITH PAINTED CAMEOS AND L A s W LL A S W H F GI DING, E IT A RAMED “ ” GRO U P O F Fox AND GRAPES.

H in . D 3 in ia . . . 7 S 1

Victor ia a nd A l ber t M u seu m .

H R 156 FR E NC PO CE LA I N.

o t r r . figu es This vase c s f ancs to produce , and was not 1 8 1 completed until 3 . Another featur e of the works under the First Empire was the production of monumental porcelain columns to commemorate

’ or One m Napoleon s vict ies. of these was ore than ten metres in

r m 1 8 08 m height , while anothe , ade in , to co memorate the

m of r r m ca paign Auste litz , was mo e than five etres high , and

r m this is still prese ved in the museu at Versailles . The imperial cour t seems to have been especially fond of

r n r i r ma n po celai tables and fu n tu e, of which we y me tion the

of the r m r table impe ial family , as well as the table of the i pe ial

’ am o m r palaces , and the f ous table of Nap leon s a shals , but we shall refer to this production of furniture at Sevres a little later on .

1 8 1 5 r In , when Pa is was invested by the allied armies ,

e the n r s vres was occupied by Prussians , but the ma ufacto y was

ro r r r m . p tected , and the P ussian officers secu ed it f o damage

r 3rd o r r Howeve , on July , they t ok f ancs f om its cash box

r o m r 4 th r as a cont ibuti n to the ilita y chest of the Prussian co ps , and General Blucher commanded an inventory to be made of all the porcelain pieces in order that sOme might be sold in Paris

r for at reduced p ices the benefit of the Prussian army , while the Sevres porcelain pieces made in commemoration of the history

o r o r of Nap leon we e t be packed up and sent to Be lin . It

r r o m appea s as though this we e d ne to secure a oney indemnity , for Bron niart ro u f r when g p tested , Bl cher of e ed to compromise

r r for the f ancs taken from the treasu y by force , the

or r d p celain pieces al ea y sent to Berlin, and a further sum of

‘ fr r l ancs . Louis XVIII . also p otested that the Al ies were plundering an establishment which belonged to his family

r n of ff r om and not to F a ce , but in spite all e o ts at compr ise the works was finally plundered and the war ehouses and sh owrooms S emptied . Fortunately the annual subsidy from the tate which

r r to r r b ut va ied f om f ancs , was not inter upted , as the treasury had no money at the m oment they raised a fund fo r immediate purposes by selling off all the remaining stock of

old - r the soft paste po celain pieces , both in white as well as in A68

s fi v n ns (p at e d u r e ).

5 — S F TH E SP SH 9. VA E COMMEM O RATIV E O ANI

- EX PEDITI O N O F 1823 . CH RO ME GREEN

GRO UND WITH SI LV ER AND PLATINUM .

MEDA LLI O NS O F LO UIS XV III . AND

H S V . H O . C ARLES X . LO UI X III IN C ARI T - PERI O D 1824 25 . H 4 f . t .

G r a n d Tr ia n on . Ver s a il l es .

158 FR E NCH P OR CE LA I N .

- 1 832 small snuff box was made for the King in , and this was decorated with twenty-fi ve miniatures prettily painted by

J ac uoto t Madame q . The most important and characteristic productions of the

r o r pe i d we e, however, the large porcelain plaques, or slabs

mo r o painted with copies of fa us pictu es . It is nly by carefully studying the examples preserved at Sevres that one can form an idea of the perfection with which these works were executed by

r m ac uo ot t . such a tists as Mada e J q , M Constantin and Madame

l z au r r of D uc u e . r The t anspa ency the flesh colours , the ichness

and quality of the dresses of silk and velvet, the delicacy of the

of w lace, and the brilliant sparkle the j e els have alike been

r r endered with wonde ful fidelity. Neither must we forget that the Skill of the artists was supported by at least an equal degree of manufacturing skill which could produce such large and l wonderfully even plaques of porcelain, and g aze and fire them

successfully , with all their tender and subtle gradations of

o col ur . During the whole of the perio d under review there seems to “ ” r u r have been no g eat prod ction of sculptu ed biscuit pieces .

ffi I of It must su ce to mention the busts of Napoleon , Louis f I . o XVII , and of Charles X Busts and profile medallions

o - L uis Philippe, and of the members of his family, were also

r r r ll executed , while some deco ative figure g oups we e mode ed

Kl a mann by g , but it cannot be said that they were very

r satisfacto y. A S was natural under so many changes of government the marks used at Sevres varied considerably during the first half of “ 1 8 02 1 8 01 . the nineteenth century. In the mark was T in “ X (the year 1 0) in 1 803 II (the year 1 1 ) accompanied by “ the word Sevres in 1 804 a horizontal stroke crossed by two

re e ” oblique ones with the inscription Man Nal Sevres ; in 1 8 05 ” “ Mre Im l e Se s 1 806 p vres , with an angle bi ected in the

r i same lettering, with two ho izontal l nes , each having a large dot in the centre (see Section on In 1 807 a date mark l ” inscri tion bein 7 for 1 807 8 for was again added to the p , g , 1 808 “ 9 1 809 1 8 10 inscri , and for ; while in , besides the same p - s fi v n ns (p aw auxe ). “ — A W I TH P P S TH E F 60 , V S S I G . E AINTING RE RE ENTING TRIU M PH O F LO UI S META L M O UNTS

LE P O 1 840 . AND HAND S. ERI D

H 5 ft 8 in .

Gr a n d Tr ia n on , Ver s a il l es .

CHAPTER XVII .

A SK E TCH O F THE MO DE R N D E V E LO PM E NTS O F FR E NCH

PO R CE A I N L .

ALTHO UGH it is a little too early to write the history of the developments o f French porcelain in the last half of the nineteenth century it is desirable that we should give a brief Sketch of the progress that has been made both at Sevres and

elsewhere . Se On Bron niart To deal first with vres . the death of g his

E belmen r me associate, , continued his t aditions for a ti , and as the Revolution of 1 8 48 had no effect on the works at Sevres they were able to exhibit in the London Exhibition of; 1 8 5 1 exceedingly thin cast pieces of hard-paste porcelain in imitation

of - r the Chinese egg shell and pierced po celains .

E bel men o r r 1 85 1 , h weve , died p ematurely in , and was

r succeeded by Victo Regnault , the famous physicist , who ,

r having no artistic taste , went still fu ther in developing the technical side of the Sevres manufacture at the expense of its m artistic qualities . It is t o his inventi ve skill that the ethods

of r r r e air casting la ge po celain pieces by the use of comp ess d ,

of m in ri r or a vacuu , to keep them shape du ng d ying,

due. In the museum of the Petit Trianon there are now dis played a number of pieces made at this time from a mass of the old soft-paste material that had been found stored in the r cella s of the manufactory, but it cannot be said that from the point of V iew of perfect production these pieces were a success . M OD E R N D E VE L OPM E N TS 161

In 1 8 55 Queen Victoria paid a V isit to Sevres and was presented with a plaque of hard -paste porcelain painted with a ’ “ ” Ru sd ael s u r S copy of y pict re, The Bu st of unshine , while in 1 8 5 6 r “ the P ince Consort was presented with a vase in biscuit ,

r - with a red ground , on which B unel Rocques had painted an all egorical picture of the c ountries of the world bringing their

productions to the Universal Exhibition . The most important artistic development during this period was the gradual perfection of the famous process of pate-s ur i e r c t . r r r p This p ocess , in which po celain clays of va ious colou s

n o or l could be used in co j uncti n , , as it was fina ly developed , in which cameo -like effects wer e produced by painting and

m -fluid o r odelling with semi white slip on a col u ed ground ,

r r d appea s to have been fi st eveloped by Robert, the head of the

o R iocreu x painting department , at the instigati n of M . , the

r e u 1 learned keepe of the S vres m seum . In 8 62 a number of small cups were exhibited at the Universal E xhibition in

’ o Gél ontaine s L ndon, decorated by y with subjects from La F

and fables , bordered with ornamental devices flowers executed

in this way. In spite of some technical defects these pieces ,

now r m Se which are prese ved in the useum at vres, form an interesting contribution to the history of the development of

r ce amic art . This famous process was further developed by

So - M . lon Miles , who by his exquisite skill and profound knowledge brought to perfection this method of painting in

- * We r . bas relief. may also mention the wo k of M Gobert , k l whose executive s i l was of the highest order, and whose talents as a figure -painter made their influence felt on the whole

r . p oduction of Sevres during this period Mme . Escalier also designed some beautiful compositions of flowers and birds which were either executed by herself, or by skilled workers such as

Celos . It should also be mentioned that during this period the palette of on-glaze colours was considerably extended by the

’ it - l un n A n account of this pr ocess of pdte-sar p dte decoration w il b e fo d i B ur ton s ” ’ i h Mr Solon s amous rod uctions History of E ngl ish Porcel ain in connection w t . f p f E n l i — or th e sh h ouse of M inton E D . g . LA I 162 FR E NCH POR CE N. addition of what are known as hard -kiln colours (cou leur s d e

- n d ew d emi gra f ) of the utmost brilliance , and some excellent painting was execu ted in this manner on the hard -paste

A oil . porcelain by Mme . p The exhibition of 1 8 67 at Paris found the works at Sevres

o showing an enormous collecti n of pieces, remarkable rather for

r their technical skill than for their taste . All the styles we e t represented, whether E ruscan , Chinese, Japanese, Arabic , or XVI r on Louis , not to mention European styles of deco ation

Chinese forms, and other bizarre conceits . ’ Toward the end of Brongniart s directorship the buildings at sevres had been found too cramped for all the processes that

r 1 853 were conducted there , and as the result of an enqui y in , it

w La din -in ne . u was decided to build a manufactory , brother

r r law of the di ector Regnault , was ent usted with the plans of

the new works , which was to be built on the banks of the

St. . Seine, just within the park of Cloud The building was commenced in 1 861 and w as well advanced at the ou tbreak of the Franco -German war in After the disaster of Sedan it was immediately decided to

r r r e t ansport all the p oducts of the facto y , the sp cimens in the

r r r museum , and the books of the lib a y to Pa is , and they were accordingly removed to the cellars of the Louvre and other

S r public buildings in Paris . The removal lasted from eptembe

6th S r 1 8 th m for to eptembe , and was only just completed in ti e, on September 1 9th the bridge of Sevres was blown up and the

of manufactory was in the hands the Germans. Regnault, the

S et Riocreux director ; alv at, the chemist ; , the keeper of the

r r Se r museum ; and Robe t, the chief painte , remained at v es , but

o 1 8 1 5 all work ceased . No plundering was d ne as in , although ! in Spite of an order issued by the staff of the Crown Prince of

’ r m r or P ussia , so e marauders b oke into Regnault s lab atory and

m m of pillaged it . So e of the odels the eighteenth century productions had already been installed in the buildings of the

I t may b e mentioned that the ol d manufac tory was transformed into a normal school for oun ir l s and is stil l us d for th t ur isi wil l fi nd th e a ose . V tors y g g , p p e buildin s in the littl own f g e t o Sevres itsel f .

164 FR E NCH POR CE LA I N .

r c m or Sev body eached o pletion , and the new p celain of res , which can be dec orated with all the c olours and enamels used

f r o the . by the Chinese, is now a staple production wo ks In the period between 1 8 79 and 1 8 8 9 they also produced

of magnificent specimens in imitation the old Chinese Céladon ,

- - * Sang de boeuf and Fl ambé pieces . In fact great attention was

m m one paid to the study and i itation of old Chinese ethods , and o f the triumphs of Sevres during recent years was the repro duction of a Chinese plate in the Sevres museum known as the plate with the seven borders which was so successfully carried out that it is difficult to distinguish the original from the repro duction . T

r S In 1 8 87 M . Lauth was succeeded as di ector of evres by the o r for r r fam us potte Deck , whose principal ef ts we e di ected to the production of gr es (stonewares) and a soft-paste porcelain

. 1 8 90 having a glassy basis Deck , however, died in and was

. r m succeeded by M Baumgart, an official from the depa t ent of

- the Beaux Arts , who still holds that position . The magnificent display of porcelain pieces made by Sevres at the Universal E xhibition of Paris in 1 900 gave one a fine idea

the r o of p esent conditi n of the establishment . The collection

r - n - comp ised pieces of soft paste porcelai , pieces of hard paste Se porcelain , and of the new vres porcelain which we have

r - r t just mentioned . The ha d paste porcelain pieces we e ei her

or — white or decorated with coloured clays , with under glaze

r t colours . It might be u ged against the majori y of these pieces that they seemed to have been too much inspired by the styles

introduced and developed at Copenhagen . “ In the new porcelain body magnificent groups of biscuit

r pieces we e exhibited , among which we must especially men

i Leonard Frém et . tion the superb table garnitures of M . , M C . t b and M arde , while the figures designed y such artists

. er Barrias Suchetet as A Boucher , Ch et , , Paul Dubois , , Felix

t r b r Charpen ie , Des ois, etc . , were also of great me it .

It shoul d h r m e e arked that this success w as l ar gel y d ue t o the special furnaces d evised and constr uct M — ed b . A uscher d ur in this eriod E D y g p . ‘ 1 A similar Chinese l ate is in the British M use um Coll ection p . M ODE R N DE VE L P E 165 O M N TS.

z The glazed pieces were decorated with crystalline gla es ,

i o r r w th col u ed pastes unde the glaze, and with every variety

- on- r of under glaze and glaze colou s . ne w Se 1 8 8 7 The soft paste of vres , made in the period from

1 900 r its to , does not, howeve , equal in quality the old soft

r paste of the eighteenth centu y , the pieces being too glassy ,

r and the appea ance altogether too glittering. It may also be mentioned that a considerable collection

’ Of r r éscer a mes stonewa e pieces (g ) was exhibited , but any description of these would be beyond the scope of this volume . The marks on the Sevres porcelains from 1 848 to 1 900

r necessarily changed conside ably , and a complete series of these

S on r We r will be found in the ection Ma ks . must , howeve , point out here that from 1 848 to 1 8 5 1 the mark consisted of the ” “ t S letters R . F . in a circle , and benea h the letter . and the m two last figures of the year . It ust also be mentioned that in 1 848 it was decided to mark every piece in chromium -green

‘ was and this - t before it glazed , chromium green mark was mos m characteristic , as it was impossible to i itate it over the glaze . From 1 85 2 to 1 8 54 the mark consisted of an eagle framed by S - s s the letter . on the left hand side and by the two la t figure - 1 8 54 1 870 of the year on the right hand side . From to the ” h r mark was an N . wit the imperial c own , with the inscription “ ’ D or e a Sevr es and the t wo figures for the year ; while the pieces o f soft paste produced during the period bear the

1 8 7 1 to 1 8 74 letter T under the N . From the mark was a “ S ” circle enclosing the two letters R . F . over the letter . 1 8 74 1 892 and the date mark , while from to the letters “ “ D or e R . F . were interlaced and surmounted by the words ” “ ’ ' ” r es ou a Sevr es or Deeor e a Sev . These marks are in m 1 8 88 glaze red . Fro the mark is that of a thrower at his

Se r and wheel, surrounded by the inscription v es the two ” figures indicating the year (see Section on Marks ) Between 1 8 1 0 and 1 848 the gilded and decorated pieces

a u bore only a mark on the gl ze, but a caref l examination of the

r body of the pieces eveals marks , engraved in the paste , of the initials of the thrower or of the maker, and the date mark . '

166 FR E NCH POR CE LA IN.

When a piece of that period was sold as imperfec t it bore no m 1 8 48 r - ark, but after all the ejected pieces had a wheel cut “ r the made through the ch omium mark under glaze , while “ ’ ’ ’ the marks D or e a Sevr es or D ecor e a Séw es occur only on choice pieces . In addition to this it must be said that the “ biscuit pieces

r m Se r i 1 8 93 bore the imp essed sta p v es in an oval unt l , while the initials of the figure maker and the year were also impressed

S 1 8 93 r O f r r in the paste . ince the ma k the th owe at his wheel , m “ r . al eady referred to, has been i pressed in the biscuit pieces A few words must also be given t o the progress made in the development of French porcelain by the independent factories , particularly those of Limoges . When once the restrictions imposed by the old royal edicts had been removed , at the time of the Revolution, the existence of the kaolin beds near Limoges naturally led to a further development of the hard -paste porcelain industry in that

W r of district. e have already traced the g owth the hard

r Guerhard paste porcelain industry in Pa is , and the firms of Di 8 1 8 . 1 3 and hl (see p . 3 ) as well as that of Nast (see p ) con tinned their traditions O f good manufacture under the first

r r Empi e . The productions of Caen at the same pe iod have

s e also been referred to ( e p .

r l It was , howeve , at Limoges itse f that the industry soon

r - r attained a condition of impo tance. The hard paste po celain

r facto y at Limoges , which we have already mentioned as forming

Se s Al l u u a branch of vres ( ee p . was continued by M . a d

- and is still a thriving and prosperous concern , producing to day,

Pou at A lluaud t - under the style of y and , excellen table services ,

- t f - w toilet se s , and tea and cof ee services of perfect hite paste and excellent glaze , capable of receiving an extensive palette of on- glaze colours . It would be impossible to mention all the fac tories that have t m been developed in the vicinity of this own , but no ention of it would be sufficient that did not contain the name of M . Charles

r m Haviland , a naturalised F enchman, who came from A erica in 1 840 ‘ , and founded a works to produce porcelain for the

1 70 FR E NCH P OR CE LA I N.

o h of These pieces were s ld as t ey stood , so that many them were

f r l t r r of in erio qua ity, but hey we e all deco ated either by Parisian or a l m r . foreign decor tors , and false y a ked In many cases the marking has been done so carelessly that it is quite sufficient

” r r m r O f to declare the fo ge y, as for instance when we find the a k

r -m r or a painte with a date a k subsequent to his decease, the mark of a well -known flower painter on a piece decorated with

t - orce figure painting. It should be added hat the soft paste p lain produced at Vincennes during the last few years of that factory and the soft -paste porcelain of Sevres are alike thin in the body, beautifully white and transparent, and have an extremely glossy and brilliant glaze. In Se e . addition to these false decorations of white vres piec s d it is necessary to point out that many genuine , slightly ecorated Se s vres pieces have been ab olutely remodelled by the forger .

Little bouquets of flowers, for instance , and slight gilding would be ground off or removed by a careful application of hydrofluoric

o acid , and then the pieces w uld be elaborately decorated with a blue or turquoise ground , so that with rich gilding , they could

o be sold at a greatly enhanced price . In ther instances bouquets were covered with medallions with figures , or paintings O f m birds ight be surrounded by a landscape, but in many cases such frauds r eveal themselves by the fact that in removing the original painting with a grindstone a part o f the soft glaze has

are also been removed, and the colours of the false decoration often dry and hard-looking when compared with the genuine Se t vres painting on sof paste . It is sometimes possible also to trace through the superposed turquoise or rose-Pompadour

r grounds a faint silhouette of the o iginal decoration . We may likewise add that the refi ring of gilded pieces

r always leaves traces to the skilled eye, as the gold gene ally i is becomes dull and s nks more into the glaze , so that it ffi necessary to retouch the gilding , a process extremely di cult unless every mark of the retouching is to remain visible to the

initiated . P - n ieces of table services which have been used, and retai any r t aces of greasy or oily substances , are apt to spit when they 1 FR E NCH P OR CE LA I N FOR CE R I E S. 1 7

refired - i hi are , producing little black pin po nts in the glaze w ch

are unmistakable to an expert .

The -V - - i porcelain pieces of Mennecy illeroy , Bourg la Re ne ,

a r Se in and other f ctories, deco ated in the vres style, spite of

their characteristic colour and their marks incised in the paste ,

hearin Se r are often to be met with g a forged vres ma k, but here

again the cheat ought only to deceive the unwary . The porcelain pieces of Tournay and of Saint-Amand are ’ ” often to be found with the forged mark of the two crossed L s . Se Se l of vres , but a comparison with genuine vres pieces wi l show that these productions are always thicker in the body and

less white than the genuine Sevres pieces . It should never be forgotten that in the old Sevres soft - paste “ time the colour was either painted impasto or floated on in

- the style of water colour, in a manner entirely distinct from the miniature-like processes of stippled painting with reserved high

s i - light , which was espec ally used in painting on hard paste

- s porcelain. The gilding also of the soft pa te porcelain pieces , executed with pure leaf gold ground up in honey so that the

d . metal stan s up thickly upon the piece, is absolutely distinctive

w r Finally, it must al ays be emembered that any piece decorated with the characteristic yellowish -green colour of oxide of chromium, or any colour containing a chromium basis , must 1 801 be later than , when this mineral was first introduced Se at vres . so It is not too much to say that ninety per cent . of the called soft-paste porcelain of Sevres to be found in collections d to ay is not of genuine sevres decoration . As to the hard -paste porcelain pieces it is certain that many ’ of the pieces from the factories of the Comte d A rtois (see

ir x 1 Th ou see . 36 p . or of the rue ( p ) and others which

on- have been originally marked in glaze red , have had those Se Wi marks removed and replaced by the vres mark , thout any alteration in their decoration . The greater number of falsifications of hard -paste Sevres pieces have , however, arisen from the pieces sent out from the w 1 81 5 1 900 factory bet een and , at periods when white pieces 1 72 FR E NCH P OR CE LA IN.

were allowed to be sold . Even in pieces where the genuine

Se has vres mark has been cut through with the wheel, the cut

ro often been disguised by a d p of fusible enamel . These white pieces have naturall y been decorated with the most elaborate

r historical paintings representing the histo y of Louis XIV . or it Napoleon, in order to enhance their value, and is quite common to find such pieces bearing the special marks which would indicate that they had been made for use in some of the a e royal Ch teaux . Richly gilded pi ces like those used in the

o royal chateaux of Louis Philippe and Napole n III . are also often found with the same forged marks .

r Certain Pa isian factories have long produced , and still

r w continue to p oduce , large ovoid vases ith blue or rose t m grounds, richly painted and mounted wi h gilded ounts ; as ff - e well as tea and co ee services, j ardini res, and other pieces

- or made in ordinary hard paste porcelain , decorated in imitation

- m the soft paste porcelains of the ti e of Louis XV. These

r t o fo geries are, however, too gross deceive anyone but the m r e est tyro . w t In conclusion , we may ish tha all our readers should possess in their collections none but authentic pieces , but to attain such a desirable end they cannot too closely study the pieces preserved in the public museums , from which the

r d keepers scrupulously clear away, from time to time , all fo ge

r pieces , or ma k them with distinctive labels .

- UNDER GLAZE BLUE . 1 9 — O -P S P L - O LY . D L S O F CH L R E O N . . FT A TE RCE AIN ANTI G AZE — - 20 21 . BL O N L . v UE G AZE

22 M Y I S TH E M O S P S . , ENNEC . NCI ED IN I T A TE

- - N L . 23 . R O SE CO LO UR O G AZE - 4 N L . 2 . BLUE O G AZE - 25 V INCENNES (about GO LD O N GLAZE . - 26 L O H L . . B UE G AZE - 2 L A . 7 . BLUE O H G ZE

28 . SE V RE S ( 17 29 30

6 4

4 — - L U 9. HARD PASTE PO RCELAIN O F STRASBURG (AB OUT B UE NDER L G AZE . 50 — - OW O N . HARD PASTE PO RCE LAIN OF STRASBURG (AB O UT BR N L G AZE . 51 —H -P P R O -COLO . ARD ASTE O RCELAIN O F STRASBURG (ABO UT SE UR - O N GLAZE . 52 — - . HARD PASTE PORCELAIN O F STRASBU RG (ABOUT BLUE UNDER L G AZE . — - - 53 . H L ARD PASTE PO RCELAIN O F STRASBURG (17 50 BLUE UNDER G AZE . 1 60 9a n n n n ( 7 ) v 5 5 . (ABO UT

56 . I S THE 7 ) NCI ED IN MO S P I T ASTE . 5 7—6 - - 1 . H P S PO L O F N V LL ARD A TE RCE AIN IDER I ER . 62— 3 — 6 . TERRE DE LO RRAINE 6 4 — - . HARD PASTE PORCE LAIN 6 5—66 — H - - E . P S PO L O E V L BL L . ARD A TE RCE AIN A ENCIENNES. UE UNDER G AZ 6 7 - . C . R E D O N L AEN G AZE . - 68 . LA U R A GU A I S BL L E . UE UNDER G AZ O R I S THE P S NCI ED IN A TE . - — - 69 70 H P LA . . ARD A STE PO RCE IN O E LIM O GES (E IGHTEENTH CENTURY) BL -GL UE UNDER AZE . — - - H . 7 1 . P S E PO L O R O LE S BL O R GO L O N L ARD A T RCE AIN R AN . UE D G AZE - 7 2 . D O N R E GLAZE . - M 7 5 . L L 3 7 ARSEI L ES (R O BERT) . B UE UNDER

- - - 6 H D P L F M L P E D O N L . 7 . R AR ASTE PO RCE AIN O ARSEIL ES (R O BERT ) . G AZE V INCENNES (ABOUT BLUE UNDER

PO RCELAIN o r V INCENNE S (ABO UT BLUE 80 — H - . P R I L ARD A STE PO RCELAIN O F CLI G N A N COU R T (PA s ) . B UE UNDER L G AZE . 8 1— — - D O N 83 . H P BE ARD A STE PO RCE LAIN O F CLI G N A N COU R T (PA R Is) . L G AZE . ' 84 - H - L . P S PO L A T R E D O R GO ARD A TE RCE AIN O F OLI CN N COU R (PA R I s) . D O N - GLAZE . — - - 8 5 . H P P L O H L . ARD ASTE O RCELA IN O F CLI G N A N CO U R T (PARI S) . B UE G AZE 86 - BO I SSE T TE BL U L . . UE NDER G AZE 8 - 7 88 . D R A LA R TH I R oux . R E O EINE , RUE GOL OH- L D G AZE . 9 - - 8 . HARD PASTE PO RCELA I N O F A N - L U DER G AZE . 9 — - 0 . HARD PASTE PORCELAIN O F PARI 91 -92 37 9? 93 99 n n 3 ; O N - L G AZE .

W 324 8 .

1 2 2 12 3 12 5

— - - 1 . H R 10 P S O L F E 1 810 1 814 . P E D ON ARD A TE P RCE AIN O S V RES. RINTED IN L G AZE . 1 1 1 —H -P P E 14 - 4 BL - L . S E 1 8 182 . ARD A TE O RCELAIN O S VRES. UE UNDER G AZE the d t f the ear ( a e mark c ons is ts of t he t w o l ast fi gures o y ) . — - 1 12 . H PA S P L O F E 1 824 CH L S B L ARD T E ORCE AIN S V RES. ( AR E UE - UNDER GLAZE . 1 13—1 14 — H - - - . P 28 BL L . S P L E 1825 1 8 . ARD A TE O RCE AIN O F S V RES. UE UNDER G AZE - 1 15 . M BL FO R 1829 1 830 . $ 7 ARK IN UE O DEC RATED PIECE S. - - — 1 16 . H P S PO 3 M BL FO R L O F SE S. 1829 1 8 0 ARD A TE RCE AIN VRE . ARK IN UE P S W H GO L B S IECE IT D AND . 1 1 - - - 7 . H P S PO L O F SE V S 1830 LO S PH L PP . M ARD A TE RCE AIN RE . ( UI I I E) ARK BL IN UE . — - — 1 18 . H P S P N G O L OR B L O L F E 183 1 1 834 I . O S V S. ARD A TE RCE AIN RE . D UE ’ 1 1 9- - 1 20 . THE K S CYPH 1 834 1848 . ING ER IN BLUE . - - — 121 . H P PO M P S L E SE 184 848 . ARD A TE RCE AIN O V RES. 5 1 ARK RINTED IN CHRO ME -GREEN UNDER -GLAZE 122- 125 — - . HARD PASTE PO RCELAIN O F SE V 14 1 14 2 14 3

126 12 — H - PU L 1848 8 . P S PO L O F SE E S THE S O R ARD A TE RCE AIN VR . EC ND E B IC ( Ir ' w M ark rint ed in R e d t o ind icat e the ear of d ecoration. m p , y — - - - 129 H P ON L . . S PO L O F E V S 1 852 1854 . R E D ARD A TE RCE AIN S RE . G AZE — - — 1 30 . SO P S 4 FT A TE 1 852 185 . — - — 1 31 . H P S 1 4 1 0 ARD A TE 85 8 7 . l 32 -SO - S 4— . FT PA TE 1 85 1870 . 1 33 — M “ E - . O S V S 1 854 1 87 0 . ARK, DEC RATED AT RE . 1 34 — “ ” — . M L 04 1 0 G S. SEV 1 8 87 . ARK , I DED AT RE — 1 35 . SRV R E S PO L 1 8 1 7 . RCE AIN . 1 36- 1 — — 37 . SE P L 1 8 2 1 899. V RES O RCE AIN . 7 f h r (The d ate mark c onsists of the l ast tw o fi gures o t e yea . ) — — - 138 . SE V S PO L 1880 1889. R E D O H L . RE RCE AIN. G AZE - - 1 3 9 89 1 904 W H O M . 1 0 . IT UT DATE ARK — 1 40 M R L . 91 . . 1888 1 8 ARK IN E IEF — M - - d n al l ie ces b e ore fi rin l 41 . A BK in CHRO ME GREEN UNDER GLAZE printe o p f g (1 848

1 42 — Th sam ut O f the wheel for d e ec tive ieces sol d . . e e MARK cancel l ed b y a c f p “ ” 143 — M im ressed in the M O S P S for the SEV S B S S 1860 . ARK p I T A TE RE I CUIT ( MA RKS A N D MON OGRA MS

TH E P I N TE R S D E CO R TO R S A N D GILD E R S A , A ,

V IN CE N N E S- S EV R E S

1750— 1 904 .

A l oncl e Bird s A nimal s Barr e et ached Bou uets , , , 43 . D ; q , - — E mbl ems , 1 7 58 1 7 81 . 1 7 80 1 7 91 .

Land sca es A nd r e, u , Fl ow ers 1846 - 1 1 J l , p Barr e 88 . es , , 4 — 1869 1 8 3 .

Land sca es — A nteaume , Fi ures 1 852 1 883 , p Barriat . , g , 1 A nimal s , 7 54 .

r m nt ord ers A oil A i Fi ures 1845 Ba d oin O na e , B , p , lex s, g , u ,

5 . e tc . entered 1 7 0 1 864 . ,

me Fi ures 1 864 B c Fl ow ers A pOil (M ) , g , e quet , ,

entered 1 7 48 . 1 894 .

B E mi Fl ow ers etc . A r ch el ais Ornament 1 865 l , l , , , , , e et e — 902 1 8 7 8 1 900 . 1 .

rat r ’ A r m d Bird s Fl ow ers B Lo i eco o , 187 9 an , , , elet, u s , D — 1 904 . e t c . , 1 7 45 17 46 .

A e in Portraits Miniatures Ber r Fi ures 1807 ss l , , , ang e , g , — 1 846 1 7 50 1 94 . 7 .

A ub r the d r Fl ow ers B r rand etached Bou e t ( el e ) , , e t , D ent ered 1 5 uets 1 7 50—1800 7 4 . q , .

A uv ill ain Ground l a er Bi fai Gil d in entered , y , en t, g , — 1 8 7 7 1904 . 1 7 5 6 .

O rnament 1 8 0— ecorator 1 87 7 A visse 5 1884 . Bi n i , , e v lle, D ,

1 904 .

Fl ow ers 17 50 B i y (junr . , Bi e tached Bou uets a ll net, D q , — 1800 . 50 1 800 17 . 1 2 Bal l an er ecorator 1 902 me 3 g , D , Bi e (M ) nee Chanou , 1 n t

1 904 . F — l ow ers 17 50 1800 . 6 , m — 7 B in O rna ent 1824 1839. arb , , rd e corat or 1 8 11 . 1 Blanch a , D ,

- B a n c h a r d A x . B r d t Fl ow ers 1 75 1 1800 . , , a e , , l l e m nt 8 - O rna e , 1 7 8 1900 . i Barr t G arl and s and Bon a , uets 1 7 80- 17 91 q , .

I 186 P OR CE LA N.

823 etach e d Bou uets n in Fi ures , 1 Dusoll e, D q , Con a , g SD st t .

45 b e ore 1800 . 1 8 . f ' Fl o wers et ached Dut and a De tac he d Bou Cornaill e, , D D T , 5 —1 93 u e ts Garl and s b e ore Bou u ets 1 7 5 7 . q , , f q , 1800 Fi ure aint er . Courcy (d e) , g p , - 1 86 6 1 886 . ecorator 59 E aubonne D , ied a et ecorat or . 4 Cour s j , D D 1 90 . 1 8 86 . me ec orat or E scal ll er , (M ) , D , Gil d in ent ere d — out ri r 1 8 4 18 88 . C u e , g , 7 3 Butt erflies 17 8 . E a Bird s , , v ns , nd Land sca e s ent ered D mmouse Fi ures a p , a , g — nt 18 62 1 8 80 . 1 7 5 2 . O rname s ,

A rab es ues Bird s - 2 F ot , q , , id ecorator 1852 1 88 . l Dav , D , a B rfl ie s b e ore 1 800 . utt e , f

me Fi u re ' 4 t M , a s a e s 1 81 . ar ue i n Land c , F ag ( ) g Dav gno , p - ub ec ts 1856 1 87 0. S j ,

’ nd Fi ures 1 805 Fic uenet Fl ow ers a Del aiosse, g , q , - O rnament 1864 1 881 . 1 81 5 . ,

ms Minia ' ontaine E mb l e , i r Ger ar d F , Derich swe le , , nt ered 1 752 . t c . e — t u re s , e , t r 1858 1 8 84 . D ecora o , 1 27 i Fl ow ers , 8 Ornaments 1 7 94 Fon a , Desper ais, , t ne

1 8 57 . 1822 . Gil d in entered h O rnament 181 5 Fontel l iau, g , Deutsc , ,

1 7 5 3 . 1 8 1 7 . F w rs Bou uets Fo re l o e , q Lands ca e Genre u , Devell y , p , , etc b e ore 1800 . — . , f 1 8 13 1 848 .

e corat or 1903 . Fourner i , D , - e O rnament 1 880 1904 . Devieq , , t or 1 87 8 Four ni r D ec ora , e ,

1 904 . - id i r Ornament 1 8 19 1845 . D e , , F ures Genre a o a rd i , , Fr g n , g - 847 1 869. etc . 1 Chinese Sub ect s and , Dieu, j Fi ures Chil d ren Fr it ch g , , Gil d in b e ore 1 800 . , g , f s — 1 7 63 1 7 6 5 . D Scul tor ecorator oat , p , D t r Pate -sur-Pate 1 878 Fr om Fi ure ain e . ( ) , ent, g p

1 904 .

Fi ures Sub ect u uets Dodi , g , j , Fum z Detached B o q , n e , - Portraits 1 7 54 1803 . — , 1 77 7 1 801 . Gil d in Dra d Chinese Fi ur es, G neau g , n , g ? a (j “ 1 00 t er 1 800 . Gil d in b e ore 8 . a g, f f

- Land sca es and Drou t ecorator 187 9 1 904 . Gauthi r e , D , e , p e — l s 7 87 17 91 . A nima , 1

' t or 1 883 Gébl eux D ecora , r ue Fl owers 1 828 . w , D o t, ,

1 904 .

Fl ow ers Garl and s Pate-sur Dub oi , , e O rnamentist ( s G ly , 56 — e t c . ent ere d 1 7 . te 1 85 1 1888 . , Pa ) ,

u m ur s 2 . Ducl uzeau M , Fi e F ure s G enre 1 75 ( ) g , G t ig , , enes , Sub ects Portraits 1 81 8 j , , Fl ow ers Garl and s 1 848 . G i , , 7 en n, - Bord ers etc . , il din 1802 1827 . , Durosey , G g, MA R KS A N D M ONOGR A MS. 187

il d in b e r Fi ur es Portraits , u in G e or 1800 . Geo g et , g , J b , g , f 02—18 23 etc . , 1 8 .

Past oral Sub ect s Ger ar d , j , J l i R enaissance Oma u enne,

Miniatures b e ore 1 800 . , f m nt t r 800 e a e 1 . , f Ger ar d Mme Vau , ( ) . née L m r t Fl ow ers 1 864 a be , , rin Fl ow ers b e ore t , , f 1896 .

1 800 . L n l é Land sca es 1 8 13 a g ac , p , s Gir r d A rab es ues , Chine e a , q 1844 . b e ore 1800 fi ures et . c . g , , f La R h Fl ow ers Garl and s oc e , , , G rt E namel l er Fi ure obe , , g E mb l ms b r 00 e e o e 1 8 . — , f aint er 1 852 1891 . p , ’ ec orator 1896 La rr , D , — sse e ecorator 1902 1904 . Gob l ed , D , 1 904.

h Gil d in a ter 1 800 . Latac e, g , f — Godi Gil d in 1 808 1828 . n, g, Le Bel d r Fi ures and (el e ) , g Fl ow ers and Bird s Fl o wers b e or 00 G m r e 18 . o e y , , , f 1 7 56 . Le B l o n r Garl and s e (y u ge ) , , — - Fi ures 1 863 18 79. Go i B ou uets 1 7 8 0 1 7 93 . up l, g , q ,

Le Bel Land sca es , 1804 Gr émont Garl and s Bou , p , , 44 1 8 . — uets 1 7 0 1 7 8 1 . q , 7 Leand r Past oral Sub ects e, j ,

Gri o Gil d in 1 7 49. , g, Miniat ures l e t 17 8 5 . s n , f

Ground l a er 1 872 Leeat, y , Guil l emain ecorat or a ter , D , f 1904 . 180 0 .

t Chinese sub ects etc. Leco , j , Land sca es Hal l ion, E ug ene, p , b e fore 1800 .

1884 . Led o Land sca es Bird s ux , p , , Hal l ion Fr an ol s Gil d er and , c , 1 7 58 . ecorat or 1866— 5 D , 189 . O rnamentist 1866 Legay , , H ri Garl and s etache d en on , , D 1 884 . B u u ets b ore 1 84 o e 7 . q , f - ecorator 1902 1904 . Leger , D , Heric r Garl and s D e ou t , , t ached ou ue s b e ore B q t , f Gil d in 1748 . Le Guay , g,

1800 .

i ures Past oral ts Hi k F , u Fi ures Sub ec , l en, g Le G ay , g , j — Sub ec ts b e ore 1 800 . it s 1 7 8 1781 . j , f Portra , 7

H r Fl ow ers etc . , 1 7 47 Miniatures Chinese ou y , , Leguay , , — 1 7 55 . 2 18 17 . c hil d ren, 17 7

n s 1811 H ar d O rname t , u , r a d Gil d in a ter 1800 . Leg n , g, f 846 1 . — Humb r Fi ures 1862 Gil d in 1864 1888 . e t, g , Leroy , g,

187 0.

Fl w ers Bird s Le o , , Hun Fl ow ers etached vé y , , D 4 A rab esques 1 7 5 . - , B ou uets 1 91 1 7 99. q , 7 Fl ow ers — L Fe ix , , d ecorator 1886 1904. l J ar el , D , evé hines e sub ects b e ore f C j , f Detached ou uets J oy au, B q , b e ore 1 800 f . — 04 ué Decorator 1883 1 9 . A Z Lig , , 188 FR E NCH POR CE LA I N.

me r Mod ell er N ail hier M nee Lu s D ecorat o , , , ( ) ca , J ZD ou — 04 Dur ose F l o w e r s 1 8 7 8 1 9 . y , , 0 b e ore 1 80 . me nee f Maqueret (M ) , Fl ow ers Ro ill , , u at r Ouint Ch ar ecorato . 0 . , les , D b e ore 1 8 80 . f — 1 87 9 188 2 . M r i t Fl ow ers 1 86 1 a t ne , , int Ed rd Ground Ou , oua , 187 8 . - l a er 1 88 8 1893 . y ,

Mas Fl ow er Grou s etc . , sy , p uint E mma Ground O , nuel , - 1 7 7 9 1806 . — l a er 18 7 7 1 88 9. y , Scul tor 188 1 Maug end r e, p , — Fi ures 1 882 1 888 . Pail l , g , 1 8 6 et 8 .

ll e Maussion (M d e) , 0 ul r 1 7 5 . — Pa Sc to , Fi ures 1860 187 0 . j , p g , ou

é rault d r Bord ers M (el e ) , , Fl ow er s etached Parpette, , D - 91 1 7 54 17 . 55 u u t s 17 . B o q e , é r aul t o n r Bou M (y u g e ) , l l e Fl ow ers Parpette (M ) , , uets Garl and s 1 7 86 q , , e nt ered 1 7 94 .

1 7 89. l l e i Parpette (M Lou son) , Ornament 1848 Mé r ig ot , , — F w rs 1 89 1825 . l o e , 7 1 84 8 . P h e ecorat or 1880 M r A fr d Fi ure eluc , D , ey e , l e , g s 904 — 1 . 1 86 3 1 87 1 .

it Fl ow ers 1 756 . Pet , , Mi a d Fl ow ers B ou uets c u , , q ,

Panel s 1 59 . , 7 ' Pfeifi er etached B ou uets — , D q , il d in 1 792 1812. Micaud G g, , 0 b e fore 1 8 0 . i d r Pastor Philipp , ( l ) , Mich et ach ed B ou uets ne e e el , D q , al Sub ec ts Chil d ren j , , b e ore 1 800 f . - 17 80 1 7 91 . 13 Mi O tat ecora tor ( 24 let p , D , Phi i i Fl ow ers and 862 — l pp ne, 1 1 87 7 . - t 8 1 791 . O rnamen s, 1 7 7 ecorator 1884 LM Mim r a, D , a we r D e Pi rr d r) Fl o s, 904 e e (el e , 1 . tached Bou uets b e ore q , f M r etach ed Bou uet s M oi on, D q , 1 800 . — 1 7 90 17 91 .

ou uets M n n t Fl ow ers etached Pi rr (y g r ) , B q , 5 o ge o , , D e e oun e

Garl and s b e ore 1800. B ou uet s 1 7 5 4 . , f q , - 904 Pih a ecorator 1888 1 . l — n, D , a : M r a Gildin 1809 18 15 . l If; o e u, g,

r t u d r Port ai s , Pith o (el e ) , M rin Marine and Mil itar t o , y His t rical Sub ects b e o j , b Su ec ts 17 54 . j , r 00 fo e 18 . il d in 1 888- 1904 M r i , G g , . s o n n r Fi ures Pith o (y ounge ) , g ,

Fl ow ers and O rnaments , Fi ures 1830—1848 Moriot . § , g , o e 00 b ef r 1 8 . ecorative Gil d in Pline, D g ,

Mu ! Land sca es 17 54 . t , p , > e 1831 .

il d er . Porch on, G etached ou uets Niquet , D B q , 8 etached Bou uets l e t 1 92 Poui ot , D q , f 7 . ll

r 8 . l r 55 b e o e 177 F ow e s O rnament 1 7 . f N oel , , ,

'

190 FR E N OH POR CE LA I N .

O rnamentis t 1 802 - Tr n , V i Gil d in 17 52 1 791 . oy o , ncent, g ,

18 1 7 .

- e orat or 1889 1 904 . — U ri h c r Fl ow ers 1832 1882 . l c , D , Walte , ,

Gil d in ab out V d e Gil d in Fl ow ers W e ding er , g, au , g, , y

18 14 . 1 7 53 .

V a r A rab es ues Kr o o Ar ab es ues Fl owers av sseu , q , w t, q , ,

1 7 53 . 1 50 7 .

Viei r d E mb l ems O rna lla , , Yver nel Land sca es Bird s — , p , , ment s 17 52 17 90 . , 1 7 50. — Vi ecorator 1883 1904 . gnol , D ,

A R TISTS WHO SIGN E D THE IR N A ME S

IN FULL .

— 1 7 40 1 904 .

- A nd r J Land sca es 1 843 1869. Did i r O rnament and Fl ow ers 1 819 é, . , p , e , , 45 - 1 8 . Bal d isser oni Fi ure s 186 5 1 87 9. , g , m Ornament and Sub ects 1 852 Duel uzeau (M e. A d aid Por Barriat , j , el e) , t raits 1 809—1 848 1883 , . .

H Fi ures 1862 - Dufr r , . Beran r J Fi ures 1 807 1846 . , y , g ge , , , g , esne en Fo ai O rnament and Fl ow ers B i Th d u Marine sub ects 1 842 nt ne, , o s, . , j , 50 84 18 . 1 8 .

- Fr a o ard Th Sub ect s and Land B u Land sca es 1 804 1814 . g , j oq et, p , n 1 -1 69 sca es 847 8 . Bo u Ml l e Vir i ie Land sca es p , q et ( g n ), p , i ur 35- 63 Frome t , Del or mel , Bu . F es 18 1 8 . n g , g , - 1853 1884 . Land s a es 184 c 3 . Bucq (Le), p , Fi ures 1 8 1 Ga i 7 . llo s g , Fl ow ers 1862-1 Bul ot, , 883 . Gar ner a L. Marine Sub ects 1 838 y , , j , Fi ures 1863 -1 Bru 883 . nel , g , 2 184 . u Fl ow ers 1848 -18 84 Cab a , C. , , . - Fi ures 1851 1888 . Gé ly , J . , g , l O rnament 18 65-18 94 Cé os J . . , , , Fi ures 1 803-1806 G r t . e o g e , g , o Mme. d Fi ures 187 0 Co e . l ( ), g , E namel s and Beliefs 186 -1 6 God d é , , 1 8 3 . C r d Fi ures 186 6-1884 o c . y ( e), g , F u - u Hamo i res 1 849 1854 . n, g , D l Fi ures 1 808 -18 1 e au t 7 . g , g , Fl ow ers and Fruit 1 8 8-1848 1 . J acob b er , , Dem n Sub ects 18 0 — ar e 8 1 8 14. , , me. j J ad elot (M Subj ects and l l e Demarne M . C r ol i e Land Fi ures 1 864-187 1 ( a n ) , g , . sca es 1822-1 25 p , 8 . ll Denois M e. n Portraits 1 820 Sub ect s 1 801-1 842 ( Je ny ) , , . j , .

Scul tor 1 — - D s ois , 886 1887 . Fl ow ers 1 84 1 853 b , p Labb e 7 . e , , Devell C Land sca es 1 813- . 1848 . y , , p , WH SI G E D THE I R N A ME I N L 191 A R TI STS O N S F U L .

Land s 3 - m r Land sca es 1 858 . Ré nier ca es 18 6 1870 . La b e t , p , g , p , - 9 4 O rn ment 5 r ecorat or 1 896 1 0 . Ri ch ar d E . a 1 8 8 . Las ser e, D , , , , me ur es and Land sca e 1806 -1 4 ur e M . P ul i e Fi R rt , 8 3 . La nt ( a n ), g obe , p 0 Sub ect s, 1 85 . R d i Scul tor ecorator 1881 -1 883 j o n, p , D , . - 0 1 844 . Lan l acé Land sca es , 18 7 R P Fi ures 1 4 -1 o . 8 8 87 2 . g , p ussel ( g , Land sca es La ois (Pol cl es), p , Schi A b Fi ures Sub ects 1847 ngl y lt ( el), g , j , — 1847 18 72 . 8 0 1 8 . 4 PO rt raits and Land sca es , 180 Fl ow ers 1 22- L Schi L. 8 1 855 ebel , p lt ( , . 844 1 . S M113 . Fi ures Sub ects olon ( g , j , - Sub ects Fi ures 17 78 1840 . 1862-1 1 8 7 . Loguay , j , g ,

r 4 Lessor r e Fi u es , 1 83 . Sweb ach Sub ects Land sca es 1 806 , g , j , p ,

- 42 1814 . Land s ca e s 184 1 18 . Ly ny b y e, p ,

l r ird s 1 848 - Mé r i ot F F ow e s , B , Tr a r J Bird s Fl ow ers 1 841 1873 g , g e , . , , , .

1 888 . i ures 1 81 9 Tr everr et (d c), F g , . - Fi ures O rnament M r H i , g , , i ur 63 y Tri t F es 1 8 . e e e ne s an, g , 2-186 1 86 8 . Tur a Mme C c Portraits g n ( onstan e) , , - Mor iot Fi ures Port raits 1 830 1848 . , g , , 1 834 .

- Fi ur es 18 16 . Par L. B , . , g , Van Os Fl o w ers and Fruit 18 11 -1 14 ent 8 . , , m l 1 - Phi i E na e s 847 1 87 7 . l p, , Van M r ck Sub ects Land sca es a , j , p , - - - Phi i i Stil l Li e 1 7 85 1840 . 1 825 1862 l pp ne , f , . - P u ar A . Land s ca es 1 8 15 1845 . V r d i r J esi ner ab out 1 890 o p t, , p , e e , D g . Bibliography.

— t tis ti ue et Histoire d e l a orce aine d u Lim in S a ous . A LLU A U D . q P l

Limo es 1 837 . g ,

A IMY — Trait d es c ou eurs our l a eintur n Em i ARCLAIS DE M O N T . é l p p e e a l i 65 in Par s 1 7 . t sur l a Porce e . e la ,

— n manuf ct ure n tiona e n 1 88 8 U e e . SCHE R E . S. aris A U , a a l , P , 4 1 8 9 .

-M arie- ntoinett et l a M nufe de ev S r s . V a E S. e ers i A U SCH E R . es , A e a ll , 1 901 .

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S L — R h r h r n n r s d E . e c e c s su l es ci n s o c ine e T u O e e e o rn . ris I , a p ela ay Pa , 18 83 .

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198 I ND E X.

d d e 77 J acob b er 155 Cu stine omt e d e 118 Po ar , . , , . 157 , C , , l M 120 F ontaine 103 ac u e s and u ien 35 83 , J q J ll , , , - ffic 118 121 Font aine eau , a ace 84 Cy , bl P l 64 153 ac uoto t M me 153 158 , J q , , , Four nie r a 125 o sse 131 , J , a onar d 15 3 a ou 163 Fr , J o u enne , 44 D l , g Fr ankenth a 7 0 74 76 u i-eu 109 110 D ammou ss e 167 , , , , J , . , l l 116 ul l ien and Bu na 12 ar a A . 35 37 u 8 D bl y , , , J g , r miet 164 ar cet 75 125 131 144 F é , D , , , , F 40 5 51 K aki mon arnet 7 8 80 u v , d e, 4 , y e att erns 30 D , , l y p , , i i ar u 115 ur nitu r e ( n a d ) , 92. 31 D , F l avid 153 156 K and er 39 D , l , K ao in 8 54 55 7 1 7 5 77 avi ie r . C. 2 , , , , , D ll , J , l , , 80 78 80 81 116 117 118 124 D ax , 79, , , , , , , , 127 D e Bey , 82 Ca e r ia 123 b , Kl a mann 15 1 ecima 6 g 3, 58 D , , Gar d et 164 D eck Th 164 168 , , , l 161 Gé y , La or d e 81 D el a l an ch e 167 b , p , ene st 107 , L a er te 136 D el eneu r 87 G f , , é rin 40 G , Laffi tt e 153 e t 4 14 , D lf , , G er r é au l t 84 , La r ené e 100 144 149 100 15 5 g , , , n n . D e o , V , , Gl en 167 , Lal l eme nt 31 é ar ais 153 , D p , Gl r a l t - ema 168 p D y , Lamar r e A 128 3 136 , l l P . 1 5 D er u e e, , ,

o t R . 83 , , Lamoniar 123 e s ois 163 164 Gl y , D b , , o er t 161 , Lan cr et 37 e s r es 106 G b , D , p ois 110 , Lanfre F 118-121 7 138 149 G y , Bih 13 , , l , om r oo n w ar e 7 22 ; , L a ort e R 167 od in 91 G b p , D , omon and Cr oasm en 139 , L a oc h e 91 G R , or ez B . 27 28 D , , , r avant 40 41 54 G , , , L a R u e 56 89 109 110 114 r an d 91 , , , , , D , Gr el l et 125 , La Scimia 125 126 omte l l in 138 153 154 , , ; C D rO g , , , M r os ai ou ar is Fac G C ll (P ) , d e 126 r 1 , D ry and e , 1 9 tor of 128 y , La ssia 134 135 u ar r ad ame 65 88 93 , , D y , M , , , b Gu erh ar d and D ih l 137 166 , , Lau r ent 150 T r o h r 33 , u o is ( h e t e s) , , D b B ue ttar a 54 75 124 125 , , , , Lauth Ch 163 164 40 41 47 G , , , , Guifi r e 19 y , Lé ance 106 u ois 7 6 85 , D b , , Gu and Hous e 137 y l , Le Bel 91 , u ois P . 164 D b , , L e oeu 104 136 137 b f, , , u ois V . 133 D b , , L e c omt e , 110 D u ch ev al , 124 Le cot 91 D u cl u z eau M me 158 , , 6 H ach e Co . 1 7 L e evr e 139 D u ar eau 126 f , g , H agu enau , 71 72 76 116 Le u a 91 138 uh a d e 54 G y , , D l , H al ot 167 L e u a 91 103 153 u e ssi s 42 55 89 154 g y , , , D , , , , pl H annOn B . 71 g , Lem air e 129 138 uvau L uot ed 49 92 , , D x, . (q ) , , H annon . P . g , C , L emer c ier , 150 H annon o se h 7 6 116 117 g , J , , , p L emir e Ch Sau va e 118 ( . g ) , , H annon au 71 72 73 g, P l , , , . 119 120 121 , ,

r 74 9 6 E ar th enw ar e n ish 7 5 . 3, 11 (E gl ) , , 164 Leonar d , H annon ier r e 76 77 1 16 7 6 84 87 118 124 134 140 g , P , . . , , , , , , er -D rot 122 Lep r e u , E b el men 160 163 128 129 130 132 , , , , , L e i ch e 89 106 109 111 R , , , , . n and 3 4 30 138 H aud ry 143 E gl , , , , , 112 ’ E nt r ec ol l e s er e d 7 5 H avi and Ch 166, 167 , P , l , Lev aux , 106 H a i E s ca ier M me 161 v and , Th 167 l , , l Lev ei e 137 ll , E ti o e s 130 He im 153 ll , , i x 144 L gner eu , vans B e ot 42 44 53 54 55 , 91 , J , , , , E ll , Li e 2 7 -2 9 32 1 2 2 -1 2 3 ll , , , 60 7 3 75, 7 7 , , Li mo e s 5 80 124 125 g , , , , , H r e b o D . 87 , , 1 6 6 -1 6 7 H ettl in e 2 g r 96 98 , 100, 10 i n , , i n 7 7 F a e c e, 3, 4 5 6 7 11 13 L mp r un , , , , , , , 105 106 141 143 144 , , , , t d 21 1 5 19 63 7 1 72 7 3 117 1 18 Lister D r . . uo e ) , , , , , , , , , , M (q Hoch st 70 72 121 , , 134 , 129 Loc r e, 133 , 2 Lo ew enfi n ck , 7 Hu et 123 Fa ot , 19 64 91 Lou is X I V . 4 5 7 13 l , , , , , , , F au u ez 42 48 49 87 123 Lou is X V . 11 39 q , , , , , , , ,

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1 131 u seums see al so Col l e c h i i ine 153 99 102 110 111 1 9, , ( P , , , , , M l pp tions : r itish 7 un Pi erre 91 142 ) B , ; Cl y , , t anis as X avi er 37 o mar 119 ond é i a e 109 110 i S , ; Lou s l ; C l C P g ll , , Pil onsieur a terw ard s h ant i ) , 33 ; r e sd en, l ivuy t Co . 167 (M , f (C lly D , X 127 135 156 6 43 Limo e s 14 35 130 ith o n 91 Loui s V , , , ; , III ) , , , , ; g , P - a 157 acto r of 98 135 136 Lou vre , t h e , 100 ; M en u es ainted 95 99 138 ; (f y ) , , Pl q (p ) , , , , - uis h i i e 129 139 157 n e c 37 ; itti a ac e , , 158 161 Lo P l pp , , , y , P P l ,

Louv e cienne s a ac e of 93 100 ; o sen ur , 91 ; om ad o ur , ar u ise d e , P l , R b g P p M q , 17 evr es 13 14 48 1 2 Lunevi e 118 121 ou en ; , , , , 58, 6 , 6 , 68 , 83 88 90 ll , , R , s , , , 40 47 48 49 66 93 Lu ne s D u c d e uot e d , 18 , 25 , 34, , , , , , y , (q ) - - 42 43 44 47 48 59 68 78 99 100 102 106 109, ont au h ou actor , , , , , , , , , , , P C x (f y 117 120 122 125 128 o f 139 1 11 , , , , , , ) , 130 136 137 138 139 140 o r ce ain : o f Bow 31 48 , , , , , , P l , , , 3 i c an 154 ach au t . d e 56 , 7 151 153 158 V at ; 50 75 o f h e se a 31 32 M l , M , , , ; , , ; C l , , , ac u er 53 7 5 7 7 -81 131 V er sai e s 99 120 156 ; 48 50 7 5 h inese 1 3 6 M q , , , , ll , , , , , ; C , , , , 3 aine uch e s se d e 82 8 V ict or ia and er t 2 3 , 7 8 11 14 34 54 60 70 M , D , , Alb , , , , , , , , , , a a uti 150 7 14 25 32 66 83 84 86 151 160 o enh a en 164 M l g , , , , , , , , , , ; C p g , ; a maison l a 153 95 99 103 104 115 124 F or entine 1 2 H ar d M l ( ) , , , , , , l , , ; - - ar ia h er es a o f u st ria 94 ast e 8 11 12, 39 7 0 8 1 M T A , p , , , , , ar ie - nto inett e 65 67 93 84 88 96 100 106 108 1 1 6 M A , , , , , , , , , ,

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ark s 15 26 27 28 29 33, N i u e t 91 7 5 84 88 108 126 146 147 M , , , , , , q , , , , , , , , 6 34 35 36 37 38 50 52 5 , o ai es ar é ch a d e 74 150 151 160 164 168 169 ; , , , , , , , N ll , M l , , , , , , 57 69 7 2 7 3 83 84 86 87 o e 91 o f V ienna 94 o f Wor c e s , , , , , , , , N l , , ; 92 105 107 117 121 123 or d o mte d u 105 t e r 31 32 48 87 168 , , , , , , N , C , , , , , , 0 St 125 126 128 129 13 Pot er at L . Sieu r d e . 124, , , , , , , ( 132 133 134 135 136 137 tienne 15 16 20 21 30 , , , , , , E ) , , , , , 138 139 140 148 158 159 O erkir ch 117 ot t er 31 139 , , , , , , b , P , , 66 170 17 1 172 at 134 165 , 1 , , , O er z e 117 Pouy , b ll , - l 66 ar h ateau of 64 O r ean s 13 84 85 126 Pou y at and A l u au d , 1 M ly , C , l , , , ’ M armontel 103 O r eans D u c d 22 23 28 r evo st 91 104 , l , , , , , P , , ar r e d e V i ier s 139 30 acto r of at ar is r ince of Wa es actor M ll , ; (f y , P ) , P l f y , ar s ei es 127 128 139 ari s 1 39-140 M ll , , (P ) , ’ 0 as sie 125 O s sou ar u is d 130 ro in of or ce ain, 9, 1 , M , , M q , P pp g P l as son 148 O u d r 99 113 47 M , y , , ath ians 106 O ut r e u in d e M ont ar c 139 M , q y ,

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