Full text of "Ceramic literature: an analytical index to the works published in all languages on the history and the technology of the ceramic art; also to the catalogues of public museums, private collections, and of auction sales in which the description of ceramic objects occupy an important place; and to the most important price-lists of the ancient and modern manufactories of pottery and porcelain"

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Class

CEEAMIC LITEEATUEE.

CERAMIC LITERATURE

AN ANALYTICAL INDEX

TO THE WORKS PUBLISHED IN ALL LANGUAGES ON THE
HISTORY AND THE TECHNOLOGY OF THE

CERAMIC ART;

ALSO TO THE CATALOGUES OF PUBLIC MUSEUMS, PRIVATE COLLECTIONS, AND
OF AUCTION SALES IN WHICH THE DESCRIPTION OF CERAMIC

OBJECTS OCCUPY AN IMPORTANT PLACE ;

AND TO THE MOST IMPORTANT PRICE-LISTS OF THE ANCIENT AND
MODERN MANUFACTORIES OF POTTERY AND PORCELAIN.

Compiles, Classifies, anfc 2>escrtbeo

M. L. SOLON,

Author of " The Art of the Old English Potter;" " The Ancient Art Stoneware of the

Low Countries;" " The History of the Old English Porcelain;"

"French Faience;" "Italian Majolica," &c.

LON DON :

CHARLES GRIFFIN & COMPANY, LIMITED;

EXETER STREET, STRAND.

1910.

77^7

INTRODUCTION.

IT has been said that ours is an age of bibliographies. One should not wonder
at the considerable number of classified lists of books brought out during the
last few years as an assistance to scientific and historical researches ; they
were but answering a demand created by absolute necessity. In the present
state of human knowledge, when so much has been written upon every possible
subject, the pursuit of any special branch of learning can scarcely be prosecuted
without the use and help of some synoptic survey of the whole range of per-
tinent literature. Every student feels the want of a reliable handbook to
the knowledge of books, a mentor who will point out to him the best sources
from which solid instruction is to be obtained ; every author shall find his
task much lightened if an index to all the publications he may have to consult
is placed at his disposal.

Bookland is extending its area with alarming rapidity. Printed
matter rushes out in a powerful and far-reaching stream from the printer's
press, unceasingly at work all over the civilised world. Raging volcanoes,
the lava they vomit with ever-increasing activity, spreads far and wide, and
wherever it passes the configuration of the ground is for ever transformed.
In the field, where the learned bibliophile once used to move with so much
ease and facility, landmarks are gradually obliterated, boundaries are con-
tinuously displaced. Who will, soon, da,re to wade, guideless, across the
chaos of volumes, pamphlets, and leaflets added every day to the accumulated
legacy of untold generations ? Who will, unassisted, attempt to reduce into
order their bewildering confusion ? To shape a straight course through a
labyrinth in which the way is constantly intersected by fresh paths branching
off widely in all directions shall be, at no distant date, placed beyond the
range of human possibility. A wise explorer should, therefore, rest satisfied
if he succeeds in drawing out the correct chart of a mere corner of the limitless
expanse which opens before him. In the wild stretch, ceramic literature
forms a quiet oasis. From end to end of the region, the distance is not so
great that the traveller should feel his forces exhausted before he has had
time to visit its most remote and secreted spots. His discoveries, it is true,
shall be of a modest order. No towering summit, no gigantic tree, will meet
his eye, breaking with lofty lines the tame features of the landscape. A
moment of surprise at the sight of a solitary rock, a pleasant rest by a flowery
bush, may occasionally relieve the monotony of his perigrination. He who
has undertaken the journey for the love of ceramic art must not and should

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INTRODUCTION.

not expect anything more. When the days of toil are over he will find his
reward in the consciousness that he has acquired, a complete knowledge of
the land it has been his pleasure, or his duty, to explore.

Champfleury was the first to realise the important part that a ceramic
bibliography should play in the formation, or the study, of a special library.
Before the publication of his work, all we knew of ceramic literature was
limited to a feAv stray titles of books on pottery admitted, so to speak, on
sufferance in the general catalogues of " Books on Art," and to some short
lists hastily compiled by the writers of the general ceramic histories. Nothing
there could indicate the extension that might be given to that branch of
Bibliography.

Our own journey of exploration through the " quiet oasis " of ceramic
literature was instigated by the perusal of Champfleury 's newly published
book. From the very day a copy of it fell into our hands we started, under
its trusted guidance, to the conquest of the works of which we find there an
inspiriting nomenclature. Had not the task to be undertaken been so clearly
pointed out, the notion of forming a library, composed entirely of books
treating of pottery and porcelain, would probably never have entered our
mind.

But as we went on collecting volume upon volume, putting under con-
tribution the stores of the best booksellers of England and of the Continent,
and establishing friendly communication with authors and collectors, we
had soon to recognise that our guide-book — invaluable as it had proved to
be at the outset of our researches — was far from containing the whole fund
of information that could be gathered. Champfleury was by no means a
specialist. Engrossed by many other preoccupations, he had given to the
subject a very moderate share of attention. We found that in the sections
he had chosen to treat a considerable number of titles could be added to those
mentioned riot always with sufficient accuracy. Moreover, the omission of
such important groups as those formed by the classical ceramics and the
pottery of prehistoric and mediaeval ages left a regrettable gap in the com-
pleteness of the scheme. It was evident that to be of real use to those interested
in the matter the " Ceramic Bibliography " had to be written over again.

We did not underrate the difficulties we should have to encounter in the
execution of the work when we resolved to attempt it. The following modi-
fications and additions were to be introduced in the original plan. Each
section had to be completed by the insertion of all the titles omitted, and of
those of the numerous publications issued during the past twenty years.
Errors had to be rectified, descriptive notices of the works appended in all
cases. Entirely new sections had to be constituted, such as Greek vases and
Terra-cotta, Roman pottery, Prehistoric, Mediseval, etc., etc. Lastly, a faulty
classification had to be replaced by a clear and comprehensive arrangement
by subjects, with an easy reference to the full description of each work.

Of the difficulties with which our way was beset, the greatest one was
not that of increasing the previous list by a goodly number of new items ;
we found it to consist in the discrimination to be exerted in 'admitting or
rejecting certain works which had but an indirect claim to our attention.

As it happens with regard to the complex constitution of many other

INTRODUCTION.

sciences, the science of ceramics is inseparably connected with many collateral
subjects of study.

The composition of bodies, glazes, and colours necessitates, on the part
of the practical potter, too bent on bringing improvements and innovations in
the processes of manufacture, more than a superficial acquaintance with
chemistry, physics, and geology. Historical researches on the ancient pottery
of all nations shall lead the student into the limitless field of archaeology. The
artistic and critical appreciation of the comparative merit of the masterpieces
of the fictile art at the finest periods shall plunge the thinker into the depths
of aesthetics and philosophy. If the ceramographer is in need of some original
information upon pot-making in remote countries, he has generally to consult
the books of travels which seldom fail to contain some useful particulars,
and in this way the study of ceramics is linked to that of ethnology The
manufacture of brick and tile cannot be considered independently from the
building art ; it is scarcely necessary to point out how a modest craft becomes
thus intimately connected with the noblest conceptions of architecture.

These cognate exigencies, not to speak of the few minor ones that we
leave unmentioned, should be provided for in a ceramic bibliography which
has any pretention to approach, if not to exhaust, every ramification of a
complex subject. Many a work on chemistry, archaeology, art criticism,
travel, and architecture shall have to be introduced in all cases when it supple-
ments the shortcomings of the special pottery books. But while making
incursions in the fields adjacent to his own grounds, the bibliographer must
impose some limits to his wanderings lest he should fall under the reproach
of conducting his reader too far away from the limits of permissible deviations.

Of the numerous works which stand but in distant relation to ceramic
art we shall refrain from giving more than a selection. It may be found by
some that in exercising our discretion we have erred on the side of excess
rather than of insufficiency ; by others that we have unaccountably ignored
certain reference books of particular importance ; but everyone will readily
admit that the infallible criterion by which such a choice could be regulated
is not easy to establish

Another of the moot points we had to consider, in settling the plan we
were to follow, was whether it would be advisable to gather a large selection
of such papers and articles as have appeared in serial publications, and insert
their titles in our list. This plan has been partially adopted by previous
writers, but with such an incomplete and unsatisfactory result as to demon-
strate the hopelessness of ever succeeding in the attempt. There is not one
set of the transactions of the learned societies of the cultured world — and
their name is legion — which does not contain a large number of reports, essays,
or notices referring to the discovery of ancient pottery, the history of local
manufacture, the description of some technical process, etc. Most of those
publications are of so difficult access, that to investigate their contents stood,
for us, beyond the range of possibility ; on the other hand, to advise any
reference to certain short-lived journals, or some unobtainable exotic magazine
— as the case might be — would have been resented as a pedantic and somewhat
ironical recommendation. We came to the conclusion that, being unable to
record the titles of all the fugitive papers that have appeared in the serial

vii

INTRODUCTION.

publications, we would ignore them, as a rule. So many exceptions to this
decision shall, however, be made in particular instances, that journalistic
literature will be, after all, amply represented in our list.

All essays, monographs, reports, etc., published at first under the auspices
of a learned society, and subsequently issued by the author in a separate
form, acquire, by this fact, an absolute right to be admitted as independent
works. In a few other cases, we have met with articles which, although
not yet reprinted from the serial publication in which they were inserted,
appeared to us to be of too great a value to be passed under silence. Among
these must be counted some original notices referring to subjects still under
study, and which supply valuable materials towards a work to be written
at a future date ; we shall do our best not to forget any paper of that order,
although it is rare to find an essay of real importance that has not been
re-issued in the form of a volume or a pamphlet.

Other series must, obviously, be left in a state of incompleteness. Cata-
logues of private collections, price lists, and pattern-books of modern manu-
factures, etc., come unquestionably within the scope of our subject. But it
cannot be denied that their mighty number would discourage, from the very
first, the researches of any one but a particularly well-situated and experienced
specialist. We cannot leave them out ; neither can we — had it been in our
power to draw the complete list — find place for all of them. Here, again,
we have had to choose and to reject, at the risk of being accused either of having
unnecessarily inflated that part of our work, or of being guilty of many
unpardonable omissions.

We must confess that we differ entirely from the opinion of certain
librarians and bibliophiles of the " dry-as-dust " school, who assert that the
task of a bibliographer should be confined to the minute description of the
outward aspect of a volume and the mention of the successive editions through
which the work has passed since its original publication. In our estimation,
a few remarks concerning the author, the contents, and even the literary,
historical, or technical value of each work should in most cases accompany
the record of its title. Is it not a common experience with all book lovers
that the short MS. notes, written on the flyleaf of an old volume by one
of its former possessors, always add much to its interest ? The necessity of
supplying some instructive and critical notices has been recognised by Champ-
fleury in his " Ceramic bibliography " ; but he has been far from giving to
that part of his labour all the attention it required. His occasional annota-
tions, remiss and superficial as they be, do much, nevertheless, towards
increasing the value and relieving the dryness of a lengthy nomenclature.
We have thought it expedient to enlarge considerably upon this portion of
the original plan, and to give full scope to the expression of our personal
observations.

By far the larger part of the works, hereafter catalogued and described,
is standing on the shelves of our study. Volume after volume has been
examined at full leisure, and each of them has received its due share of con-
sideration. It is now our intention to record; candidly and to the best of our
ability, the opinion we have formed as to their comparative importance and
particular utility, from the ceramist's point of view.

vin

INTRODUCTION.

In doing so, we are aware that we run the risk of incurring the censure
of any reader who may happen to disagree with the gist of our appreciation.
Finding himself at variance with us on more than one case, he will emphatically
declare that by restricting our labour to the mere compilation of a sober list
of titles, we would have placed our ceramic bibliography above all blame,
while it would have proved quite as useful for the purpose it is intended to
serve.

This we make so bold as to flatly deny.

Granted that part of what we have said by way of commentary may be
passed over by one who happens to have already formed his opinion on
some particular questions, much remains which, in the wide scope of our
subject, is not unworthy of his attention. Indeed, after having deplored
the presumption with which we have given vent to personal views of decidedly
questionable worth, since they stand on some points in absolute contradiction
with his own, our hypercritical censor may, one day, have to thank our out-
spoken remarks, when — embarrassed as to the choice of books he had better
consult or purchase to assist his incipient researches on a new branch of study-
he condescends to refer to these bibliographical notes he has been so hasty
to condemn.

It is an easy task and a pleasant duty to select for recommendation the
leading works which, in each section of the ceramic literature, head the list
by right of merit. Upon the foremost among these recognised authorities
not enough encomium shall ever be bestowed. The verdict of the public
has, long before this, marked them out as incomparable models of the kind,
all we can add to emphasise their pre-eminence will still fall short of their
deserts.

Second only to the foregoing works, a few others of minor importance
should receive a due meed of praise, in spite of their apparent shortcomings.
Of that kind certain incomplete books, the instructive value of which is not
maintained throughout, are yet commendable by the exhaustive treatment
of some particular subject, neglected by other writers. The reason why an
otherwise indifferent volume should not altogether escape recognition shall
be carefully explained.

We shall endeavour to bring to the front the half-forgotten names of the
unassuming specialists whose researches and discoveries have supplied fresh
contributions to our general store of knowledge. From the well condensed
pamphlet, intelligently and patiently elaborated by the early investigator
of a still unexplored field of study, we often get as much value in a single coin
as the diluted stuff which swells the pages of a recent 4° volume can give
us in small change. Many a compiler of encyclopedical works has turned
such obscure pamphlets to very profitable use ; but he is apt to forget to name
the source from which his materials have been derived. Our efforts to render
to each writer the share of credit that directly reverts to him in the collective
achievements of his time cannot fail to be appreciated.

Much discretion has to be exercised by the conscientious reviewer in
his attempts to winnow the chaff from the wheat. He must beware of con-
demning too readily books which, although manifestedly incomplete, are,
nevertheless, possessed of some redeeming points, sufficient to save them from

INTRODUCTION.

absolute rejection. Such a volume is, for instance, undoubtedly unreliable
as an authority ; an incorrect and out-of-date letterpress would have rendered
it worthless, were it not that it contains a remarkable set of plates which can
still be of great service to the student. Such another, on the contrary, unites
abominable illustrations with a text of standard merit. This one is still
entitled to our consideration for having remained for a long time the only
text-book upon a subject now placed on new grounds by the advance of modern
knowledge. This other, dealing with common-place information regarding
the current trade of our days, although of very little interest to the contem-
porary, is destined to become ultimately a precious source of materials for
the historian of the future.

The duty of the bibliographer does not, unfortunately, stop at the
gratifying labour of making a selection of the best works for special com-
mendation. He has to take equal notice of everything that passes between
his hands ; and whether it be good, bad, or indifferent he has to render of it
a clear-sighted and impartial account. Now, it has to be acknowledged
that each large group of works serried together by the requirements of syste-
matic classification is composed of items very unequal in their merit. And
one should not wonder at it. One may say that of all the historical and
scientific topics on which an ill-prepared probationer has ever thought himself
fully qualified to discant ; of all the subjects which may tempt an illiterate
scribbler to rush into print on the flimsiest pretence, none has perhaps been
so freely used and abused in our days as the Ceramic Art, and all questions
more or less distantly connected with its study. A word of warning in refer-
ence to the worst cases shall not be found out of place in this bibliography.

One has had but too many occasions to meet with a brilliant article
in which, a good-natured reviewer extols, in an influential periodical, the
excellence of a newly published work, often nothing better than a mere com-
pilation of worn-out materials. Great is the number of candid believers who
are caught daily by the meritricious advertisement of the shrewd publisher
trying to push the sale of some common-place production by means of a
grandiloquent prospectus, supported by laudatory testimonials signed with
most creditable names. Plain speaking must be, at all risks, the line followed
in this work. Many a trumpery book has long enjoyed — through an inex-
plicable cause — an ill-deserved reputation ; it is time that it should cease
to be quoted as an authority. Unvarnished sincerity in the expression of
an opinion resting on firm grounds can alone act as a safeguard against the
snares set to mislead the first steps of the unexperienced.

We shall have to point out, for careful avoidance, the designing and
bare-faced impositions, as well as the harmless platitude. The vulgar catch-
penny ; the so-called popular handbook that some literary Jack-of-all-trades
has hastily and carelessly engrossed from unreliable sources with an eye upon
our pocket, must be duly signalled. Against such unprofitable lucubrations
it is good that the student who has not much time to lose should be fore-
warned.

We mean to run to earth the shameless plagiarism, the pitiable travesty
of an unacknowledged model, the impudent patchwork which denotes, on
the part of the writer who has signed it with his name, an utter disregard for

INTRODUCTION.

the feeling known as literary honesty. We shall brand as he deserves the
easy-going pilferer who, making use of a few pages of somebody else's book
wantonly cut to pieces and awkwardly pasted together again, proudly disports
himself before us in the character of an ass under a lion's skin. The worthless
productions for which he is responsible have often taken the form of an
imposing folio volume, illustrated with numerous plates, badly drawn and
cheaply engraved, but made gaudy with gold and colours. Under its garish
garb the volume has made its way in the world and has usurped a place in
the best libraries. As no serious author has ever thought it worth his while
to disprove the erroneous statements with which it abounds, the contents
are often taken as solid evidences by the unwary.

Nor shall we leave undenounced the egregious work, which — far from
wanting in originality— stands out, an arrant oddity, from the rank and
file of well-regulated productions. To that order belong the vagaries of the
half-demented exegete who sees in the rude traceries incised on primitive
pottery a symbolic exposition of the philosophical system and religious beliefs
of prehistoric races. And, also, the unpalatable disquisition of the heavy
debater, unfolding at full length the nebulous theory by means of which
some historical enigma, so far left unexplained, shall, at last, receive a definite
solution.

Lastly, we shall expose, without mercy, the sham erudition of the self-
styled historian, the unscrupulous writer who, labouring under an overload
of imaginative powers, has not shrunk from fabricating — through an artful
blending of facts and fictions — the proofs he required to support a long train
of extravagant speculations. Such fallacies, spawned in an ill-balanced
mind from erratic cogitations and unbounded conceit, should be stigmatised
and shown up as a danger to all ; they are bad to read, and still worse to
remember. Hard as it is to believe, these pernicious writings have exerted
a manifest influence on ceramic literature, and we fear that, notwithstanding
the warnings repeatedly sounded from right quarters, their dogmatic and
confident tone shall long continue to impose upon guileless credulity.

We hope it will be understood that in providing this bibliography with
copious annotations, we were only actuated by the ambition of making it
as complete as possible, and rendering it of better use to those whom it is
intended to assist. The idea that the authority of our personal judgment
could be enforced upon others has never entered our mind. Whether we have
expressed admiration or disapproval, interest or indifference, we have merely
recorded the impression we have received from an unbiassed examination
of the work we had to describe. It is a prima facie, and not a definitive esti-
mation of its merits that we venture to offer to our indulgent reader. Let
him regard our notes in the same light as he would regard those that the
bibliophile is prone to jot upon the blank leaf of his volumes for the benefit
of the unknown friend who may happen, in after times, to institute an analytic
examination of his library.

We are well aware that any critical appreciation of a book should be of
questionable value were it not supplemented by a synopsis of its contents,
and occasionally by the quotation of some weighty passages, to supply such
practical information shall be our first duty ; whenever required they shall
not be found wanting. xi

INTRODUCTION.

Our work would belie its title if it did not contain a summary of the
history of ceramic literature.

Before the last sixty years, it could scarcely be said to exist, so scanty
was the number of books which could be ranged under that heading. With
the exception of the classical publications on Greek vases — and those that
addressed themselves to the antiquary rather than to the potter — all that we
had on the subject was limited to a few descriptive notices of the leading
manufactories, usually found inserted in the topographical works and local
histories, and to a still fewer technical treatises.

To the formation of admirable collections in which the master-pieces
of the ancient potter had been given a place of honour, together with the
revival of a long neglected art, may be attributed the development of a
new branch of literature. A revolution was being accomplished in the direction
of artistic taste. For the first time attention was being drawn to the merit
of the productions of a minor art previously regarded with absolute indifference.
Upon the larger part of the miscellaneous objects which provoked the
covetousness of the curious, everything had yet to be said ; the queries,
raised from all sides, remained unanswered, for want of an available authority
that could be consulted on the subject. At that juncture, the supply of
instructive books had become an imperative want, and it was not long before
such a pressing desire- had been amply gratified. Old amateurs can still
remember the prolific times which saw a host of histories of the Ceramic Art,
monographs of the chief centres of manufacture, eesthetical essays, and practical
treatises, brought out in rapid succession apparently without quenching the
thirst for more knowledge that the fascinating pursuit of pottery-collecting
had excited in all classes of society.

An instructive survey of the developments of ceramic literature could
not be obtained by an arrangement of books by order of publication. From
a chronologically classified list of titles we could, to a certain extent, determine
the state in which general knowledge stood at the moment when it had been
found necessary to institute further researches upon a particular question.
We must bear in mind, however, that, far from proceeding steadily and safely
in the way of improvement, the progressive march of a science so complex
in its constitution is bound to be fitful and irregular in the extreme. Isolated
efforts may not always assist and hasten the onward course of a host of toilers ;
they may sometimes act as an unwieldy impediment. In the aggregate study
of the fictile art many steps have been taken in vain, others have fallen into
a decidedly retrogressive direction.

The general history of ceramic literature has, to be divided into chapters,
each of which should be treated almost independently from the others.
Whether historical or technical in its purport, every branch of learning has
been initiated, stimulated, or retarded, as the case may be, under the pressure
of surrounding influences arising from particular circumstances and conditions.

WTienever a freshly opened section of archaeological or scientific research
is passing from its preparatory state into one of broader extension, the increase
of printed matter brought out in connection with the movement is not always
in proportion to the advance of knowledge already secured by previous labour.
If the production of books obeys, like every other production, the call of a
xii .

INTRODUCTION.

growing demand, it may also be influenced by unforeseen eventualities. This
is the reason why it may happen that, while some books are published at the
precise moment when they were most wanted, others come too soon, before the
matter on which they profess to treat has been sufficiently investigated ;
others, on the contrary, come too late, when they can add nothing to the
knowledge of a subject exhausted long before.

To know something of the motives which have induced the preparation
of a book, and of the circumstances under which it was given to the public,
is the only means to form a correct idea of the relation it bears to the general
advance and improvement of ceramic literature.

By becoming acquainted with the fortuitous occurrences to which its
production may be ascribed, we are enabled to realise how it is that many
a volume, now set aside as a futile and unprofitable fantasy, has at one moment
enjoyed an undisputed consideration, and that some others shall never become
unworthy of the good opinion that greeted their apparition.

For instance, the occasion of some examples of a pottery of undefined
character and unknown provenance being suddenly revealed, seldom fails to
induce some inventive spirit to frame a few conjectures of his own in eluci-
dation of the problem. The result of his cogitation is immediately put into
print and broadly circulated ; but it goes without saying that the flimsy
fabric falls to pieces at the first production of accurate information.

In the case of a new fad being introduced in the collecting world, it may
happen that the object of the fashionable craze is, after all, of very little con-
sequence. Pandering to the whim of the hour, many servile pens are soon
at work, nevertheless, to sing the praises of the rising idol, and to expatiate
upon its unsuspected beauties. But the flowery trash produced under such
conditions is doomed to share the fate of the short-lived infatuation which
had called it into being ; they both disappear together, to be remembered
only as egregious mystifications.

It has often occurred that, to get rid of the difficulty presented by the
solution of some historical enigma, an ingenious theory is built up of plausible
inferences, when actual facts and dates have proved unobtainable. Just as
it was on the point of being accepted by all, the theory is upset by the discovery
of an out-of-the-way volume containing the very information which had,
so far, escaped all researches, and settles the uncertain points in quite an
unexpected manner. As a matter of course, all that has been previously
printed on the question has, henceforth, to be rejected as frivolous and
worthless. If, now, we discard any other instances of premature publications
to turn our attention towards those which appeared at a comparatively late
period, we notice that, amongst the last named, are included most of the
standard works which are and shall be considered as incontestable authorities.
Whether they condense the totality of aggregated studies, or simply the result
of investigations conducted on a special line, the works that have waited
until times were ripe for their production mark, as a rule, a memorable epoch
in the history of ceramic literature. To that order belong, among others,
the comprehensive compendium which forms the crowning stone of a slowly
and steadfastly erected edifice. The labour it entailed could not obviously
have been undertaken before sufficient material had come to hand, so as to

xiii

INTRODUCTION.

allow the writer to produce an exhaustive compilation, and to admit nothing
in it which had not stood the test of a strict and protracted examination.
One may reasonably assume, therefore, that a really good reference work,
uniting to the merit of emanating from a competent pen the further recom-
mendation of being a summary of the last acquisition of knowledge, is a
substantial improvement upon all those previously written, and should be
selected in preference to all others.

As we have already stated, it is from the detailed records of the favourable
circumstances that fostered the extension of ceramic study, in each of its
divers branches ; nay, from the isolated particulars we can gather of the
conditions under which volume after volume was added to the steadily swelling
stock that we can alone evolve a complete picture of the evolutions of the
pertinent literature. It is our intention to enter, together with the description
of a book — whenever such observations may further the end we have in view
— an account of the latent influences and ambient tendencies which may have
instigated its production and ministered to its success. In the first part of
our work these remarks shall, necessarily, appear in a desultory order. They
shall be summarised and supplemented in the second part by historical sketches
briefly relating the birth, growth, and vicissitudes of each separate department
of the literature, which will be found prefixed to each section.

Conducted on such a plan, our labour cannot fail to offer some of the
advantages one expects to reap from the use of a truly profitable bibliography.
Our ambition has been to make of it more than a silent finger-post in the
way to knowledge, we should like the work to be considered as a trustworthy
leader, an impartial adviser who can, in most cases, point out the best and
shortest channels through which researches should be directed to obtain a
rapid and solid instruction.

An arrangement of the author's names, in alphabetical order, has been
adopted in Part I. ; the titles of all the works due to the same writer are
given in succession ; each title being accompanied with a descriptive notice.
Differing on this point from a common practice, we have refrained from giving
any description of the volume considered from the pure bibliographical point
of view. Our reason for this neglect is that the works most highly valued
by the bibliophile, ancient and rare editions, are scantily represented in the
aggregate of ceramic literature. Modern publications, on the other hand,
have little, in the outward disparities which distinguish the various reprints
of the same work, that may command particular interest ; to give an account
of their typographic features would have, unnecessarily, overloaded the
notices. We shall not forget, however, to signal|the degree of rarity of the
volumes we describe ; in the cases of many pamphlets we may have to say
that they are almost impossible to find. It is easily understood that such
pamphlets were usually printed in very limited numbers, and the few copies
that have not terminated their uncalled for existence in the waste-paper
basket have now found a permanent abode in the public libraries, where they
can be consulted, if no longer obtainable in the trade.

In our quotations of prices we have been guided by those marked in the
best booksellers' catalogues. But a comparison of the publication price of
the book, and the one at which it is offered a few years afterwards, will
xiv

INTRODUCTION,

show that the fluctuation is so great as to render a correct valuation almost
impossible.

We have made it a rule to give an English translation of all the titles in
foreign languages ; it may appear scarcely necessary in some instances, but
in many others it may be appreciated as affording a rapid and accurate
interpretation.

In the second part we have attempted to give a methodical classification
of the works described in the first.

Under distinctive headings are recorded, in an abridged form, the titles
of all the volumes and pamphlets relating to a particular branch of knowledge.
They are classified, in each section, according to the country in which they were
published, and arranged by date of publication. This disposition enables
one to ascertain, at a glance, whether a given subject has been treated in several
languages, and which are the earliest and latest books printed on the question.
Most of the sections comprise a few subdivisions, formed with the view of
preventing confusion and making researches easier and quicker. One could
not think, for instance, of amalgamating together, under the general heading
of Tiles, the descriptions of mediaeval pavements and the pattern-books of
the modern tile-maker ; both ancient and modern tiles had to be arranged
under a separate heading. In the case of a work which has its place equallv
well marked within two or more categories, the mention of its title shall be
repeated. For instance, Meurer's " Majolica Tiles " having been entered in
the section " Majolica," must be named again in " Tiles/' Catalogues of
collections and sales must form a separate group ; but the titles of those
devoted to a special class of pottery, such as " Majolica," " Sevres Porcelain,"
" Stoneware," " Oriental Ceramics," etc., shall be entered in each of the
sections of which they can assist the study.

I cannot conclude this Introduction without expressing my best thanks to
Messrs. Charles Griffin & Co., Ltd., for the unremitting care they have displayed
in the production of this work.

M. L. SOLON.

May, 1910.

INTRODUCTION.

INTRODUCTION,

show that the fluctuation is so great as to render a correct valuation almost
impossible.

In the second part we have attempted to give a methodical classification
of the works described in the first.

Under distinctive headings are recorded, in an abridged form, the titles
of all the volumes and pamphlets relating to a particular branch of knowledge.
They are classified, in each section, according to the country in which they were
published, and arranged by date of publication. This disposition enables
one to ascertain, at a glance, whether a given subject has been treated in several
languages, and which are the earliest and latest books printed on the question.
Most of the sections comprise a few subdivisions, formed with the view of
preventing confusion and making researches easier and quicker. One could
not think, for instance, of amalgamating together, under the general heading
of Tiles, the descriptions of mediaeval pavements and the pattern-books of
the modern tile-maker ; both ancient and modern tiles had to be arranged
under a separate heading. In the case of a work which has its place equallv
well marked within two or more categories, the mention of its title shall be
repeated. For instance, Meurer's " Majolica Tiles " having been entered in
the section " Majolica," must be named again in " Tiles." Catalogues of
collections and sales must form a separate group ; but the titles of those
devoted to a special class of pottery, such as " Majolica," " Sevres Porcelain,"
" Stoneware," " Oriental Ceramics," etc., shall be entered in each of the
sections of which they can assist the study.

I cannot conclude this Introduction without expressing my best thanks to
Messrs. Charles Griffin & Co., Ltd., for the unremitting care they have displayed
in the production of this work.

M. L. SOLON.

May, 1910.

CO NTE NTS.

PAGE

INTRODUCTION, v
PART I.

A DESCRIPTIVE LIST OF WORKS ARRANGED, IN ALPHABETICAL ORDER, BY NAMES

OF AUTHORS, 1

PART II.

ABBREVIATED TITLES OF THE SAME WORKS, CLASSIFIED UNDER SUBJECTS, COUNTRIES

OF ORIGIN, AND DATE OF PUBLICATION, . . . . . . . . 475

TECHNOLOGY, . . .477

a. — Raw Materials and Chemistry, .... . 478

b. — General Treatises of Manufacture. .... . 481

c. — Ovens and Firing, 483

d. — Brick and Tile Manufacture, 484

e. — Pottery — Faience — Earthenware — Stoneware, 486

/.—Porcelain, ......... .488

q. — Colour Making, . 489

h. — China Painting, . 490

„ — Models and Designs for the use of Ceramic Artists, .... 494

i. — Transfer Printing and Photo-Ceramics, 495

j. — Repairs and Restoration, 495

k. — Trade — Regulations — Hygiene, 497

HISTORY OF THE CERAMIC ART, . . . . . 498

WORKS OF GENERAL INTEREST, . ... . 501

PREHISTORIC POTTERY (European), 503

VITRIFIED FORTS, 508

EARLY POTTERY OF AMERICA. 508

CLASSICAL CERAMICS, 511

GREEK VASES, , 511

a. — History — Technology — Reproductions — Interpretations, . . . 515

6. — Catalogues of Greek Vases, 525

c. — Serial Publications, . 530

ANTIQUE TERRA-COTTA, 531

a. — General — Descriptions — Reproductions, 536

b. — Museums and Private Collections ; Catalogues, . . . . . 538

c. — Catalogues of Sales, .,,,,,,,., 540
xvi

CONTENTS.

PAGE

KOMAN POTTERY, 541

a. — General, 544

b. — Gallo-Roman Pottery, 546

c. — Arethian or Samian Ware, .548

d. — Murrhine Vases, •. . 548

e. — Antique Vitreous Paste and the Portland Vase, .... 548

/.—Terra-Cotta Lamps, 5-19

ORIENTAL CERAMICS, 550

CHINESE, 550

EGYPTIAN AND ARABIAN, 552

INDIAN, 554

JAPANESE, 554

PALESTINE, 556

PERSIAN, 556

TURKISH, 558

AMERICAN, 558

EUROPEAN CERAMICS, 559

AUSTRIAN — BOHEMIAN — HUNGARIAN, 559

BELGIAN, . 559

DANISH, 560

DUTCH, 560

ENGLISH, 560

a. — General, 563

b. — Monographs, 564

c. — Wedgwood Ware, 568

d. — Medallions in Vitreous Paste, 570

FRENCH, 570

a. — General, 572

b. — Monographs, 572

c. — Henri-Deux Ware, 579

d. — Palissy Ware, 580

e. — Sevres Porcelain, 580

/. — Faiences Patriotiques, 584

GERMAN, 587

a. — General, 587

b. — Monographs, . . 587

ITALIAN, 590

Pottery — Majolicas-Porcelain, 592

PORTUGUESE, 596

RUSSIAN, .597

SPANISH, .597

SWEDISH AND NORWEGIAN, • 598

Swiss, 599

U.S. OF AMERICA, .599

MEXICAN, ... 601

b xvii

CONTENTS.

PAGE

DECORATIVE TILES 602

a. — Ornamental Pavements, Ancient and Modern, 603

b. — Pattern-books of Modern Manufacture, 607

ANCIENT STONEWARE, 608

JACOBA KANNETJEES, 609

ACOUSTIC POTTERY, 611

TERRA SIGILLATA, 612

BUCCAROS, 613

STOVES, 614

TOBACCO PIPES, 615

ARMORIAL CHINA, 615

MUSICAL CERAMICS, 615

ARCHITECTURAL TERRA-COTTA, 616

a. — Brick Building, . 616

b. — Pattern-books of Terra-Co tta Manufacturers, 617

c. — Terra-Cotta Figures, . . 618

BIOGRAPHIES, , 619

BIBLIOGRAPHY, 623

PERIODICALS, . . . . . . ' . . 624

MARKS AND MONOGRAMS, . . ^ 627

THEORY OF THE CERAMIC ART, . - . 629

COLLECTING AND COLLECTORS, . 630

WORKS OF FICTION, 631

MUSEUMS AND COLLECTIONS, 631

a. — Catalogues of Public Museums, 633

b. — Catalogues of Private Collections, 641

c. — Catalogues of Sales, 644

EXHIBITIONS, 644

CATALOGUES — OFFICIAL REPORTS — REVIEWS, ETC., . 649

A few works, the titles of which have been entered at the last moment
in this second part, will not be found described elsewhere.

xvni

PART I.

CEEAMIC LITERATURE.

ABA

ADE

ABADIE (Collection A.).— Catalogue des
faiences frangaises et dtrangeres,
etc. Paris, 1888. 8°, pp. 21 ;
with 3 pi. Catalogue of sale.

ABBOT (Ch. C.).— Primitive industry:
or illustrations of the handiwork
in stone, bone and clay of the
native races of the Northern
Atlantic Seaboard of America.
Salem, 1881. 8°, pp. vi-560.
Pottery : pp. 169-184 ; with 25
illustr. Pipes: pp. 315-340;
with 22 illustr. 15s.

Clay vessels of the rudest description.

ABEKEN (Dr. G.).~ Illustrazione di
due vasi con dipinture arcaiche.
Roma, 1886. 8°, pp. 7 ; fold. pi.

" Explanation of two vases painted in
the archaic style."

The two vases were found near Cervetri ;
one is, now, in the Museo Gregoriano, the other
in the Berlin Museum.

ABINGTON (L. J.).— Pottery and por-
celain (Article in Knight's Penny
Cyclopaedia).

Abington was a well-known character in
the "Potteries," where he long worked as a
designer and modeller, devoting part of his
time to local preaching.

ADAMBERGER (Collection). - - Auction
Catalogue der Kunst-Sammlung
von H. A., etc. Wien, 1871.
4°; 17 illustr.

ADAMEK (L.). — Unsignierte Vasen
des Amasis. Ein Beitrag zur
griechische Vasenkunde. Prag,
1895. 8°, pp. 51 ; with 2 pi. and
16 illustr. 4 m.

"The unsigned vases of Amasis. A
contribution to the knowledge of Greek
vase painting."

From the examination of twenty vases signed
or attributed to Amasis, a black-figure painter
of the sixth century, the writer arrives at the
conclusion that the artist was of Egyptian
origin, and worked at Athens during the reign
of his namesake, Amasis.

(H.). — Entwiirfe fur Ziegel-
rohbau. Berlin, s.d. 30 Fol. pi.

" Sketches for brick buildings."

ADELINE (Jules).— Le musde d'anti-
quites et le musee ceramique
de Rouen. Rouen, Auge, 1882.
4°, pp. 27 ; with a frontispiece
and 30 etch. pi. 15 fcs.

"The museum of antiquities and the
Ceramic Museum of Rouen."

The etched views show the place the Ceramic
collection occupied in the old galleries before
they had been transferred to the palatial build-
ing erected to contain the united museums
of the town. Such specimens of Rouen faience
as can be recognised on the plates are, however,
drawn on too small a scale to be of much use.

La l^gende du violon de fai-
ence. Paris, Conquest, 1895.
8°, pp. 46 ; with a portrait of
Champfleury and 8 etched vig-
nettes. 10 fcs.

" The legend of the faience,fiddle."

A pretty volume, in which the actual facts
on which Champfleury had grounded his amus-
ing novel are related in a somewhat common-
place manner. The reason why this small talk,
good enough for the gossiping habitues of the
curiosity shops, should have been thought worth
being given to the public, dressed in such an
elegant garb, is not made obvious by the writer.

ADELMANN (Collection). — Die Kunst
Sammlungen, etc. Dr. Leofrid
Adelmann, Wiirzburg. Cologne,
Heberle, 1888. Imp. 4°, pp. 211 ;
with 30 phototyp. pi. 10s.

Catalogue of sale. The collection was rich

ADL]

CERAMIC LITERATURE.

[ALB

in ancient stoneware and faience of German
manufacture. Ceramics : 411 Nos. ; with
8 pi.

ABLER (F.)-— Mittelalterliche Back-
steinbauwerke des preussischen
Staates. Berlin, 1860-62. 4°,
2 vols., with engr. pi, chromos.,
and illustr.

"Mediaeval brick buildings of the
Prussian States."

AGINCOURT (Seronx d').— Recueil de
fragments de sculpture antique
en terre cuite. Paris, 1841. Sm.
4°, pp. 100, with 38 pi. 10 fcs.

" A selection of fragments of antique
sculpture in terra-cotta."

The private collection of Roman terra-cotta
formed by the author of the Histoire de Vart
par Us monuments was engraved for this work,
in a rather bad style, by G. G. Macchiavelli.
D'Agincourt published the volume anony-
mously, but repeated references to his previous
" immense work " enlighten us as to the name
of the writer. It is pompously dedicated to
the "Students of the Fine Arts," who, he says,
will remember the love he entertained for them,
and will, he hopes, cherish his memory.

AGNEW (Thomas).— The collection of
Wedgwood ware of Messrs.
Thos. Agnew & Sons. Man-
chester, s.d. 8°, 480 Nos., fold.

Pi.

One of the early sales of old Wedgwood
ware. Good prices were realised. A pair of
large vases, No. 292 (insufficiently described),
reached £250.

AIKIN (A.). — Illustrations of arts and
manufactures ; Papers read be-
fore the Society of Arts, etc.
London, 1841. 8°. 4s. Pottery:
pp. 1-104 ; with 6 illustr.

AKERMAN (John YODge).— Archaeological
index to remains of antiquity of
the Celtic, Romano-British, and
Anglo-Saxon periods. London,
1847. 8° ; with 19 pi. 8s.

"Articles on the discovery of potter's kiln,
and ancient pottery ; pages 84 to 92. "

An account of excavations on

the site of some ancient potteries
in the western district of the
New Forest, conducted by the
Rev. J. Pemberton Bartlett.

London, Nichols & Sons, 1853.
4°, pp. 8; with 2 plates. (In
Archwologia, vol. xxxv.) 4s.

The vessels and fragments of pottery repre-
sented on the plates are of the usual Romano-
British type, decorated with incised patterns.
Traces of five potter's kilns were discovered on
the spot, buried under three big mounds ; the
masonry work was, however, totally ruined.
In several other works by Akerman, Secretary
to the Society of Antiquaries, illustrated
articles on ancient pottery will also be found,
namely : —

Account of excavations in an

Anglo-Saxon burial ground at
Harnam Hill, near Salisbury.
1854. 4°, pp. 20, and 3 pi.

- Remains of Pagan Saxondom.
London, Russell Smith, 1855. 4°,
pp. 84 ; with 40 pi. in col. (2 pi.
of urns). £1 Is., etc.

ALABASTER (C.). -- Catalogue of
Chinese objects in the South
Kensington Museum. With an
introduction and notes. London,
1872. 8°. Sect. 1— Porcelain,
pp. 7-36.

ALBERI (Eugenio). — Una visita alia
manifattura di porcellane di
Doccia. Fir enze, 184:0. 8°, pp.16.

"A visit to the porcelain factory of
Doccia."

A brief, but precise, description of the
Doccia manufactory as it stood under the
direction of the Marquis Carlo Lorenzo Ginori,
third of the name. The superior business
capacity, the strong will, and the patriotic
spirit of the Ginori family, combined with a
large private fortune, have saved the Doccia
works from the hardships so many undertakings
of the same order have had to undergo. The
Ginoris always scorned to ask for privileges
and State support ; yet under their firm and
enlightened management the prosperity of the
establishment kept constantly on the increase.
The conditions of the Doccia manufactory were
already much improved in 1840. The universal
Exhibitions to which the firm has always con-
tributed have made us aware of the immense
progress which has been accomplished within
the last fifty years.

ALBERICI (A.)-— Catalogue de la col-
lection . . . appartenant a Mr.
A. A. Vente a Rome, Avril,
1886. Rome, 1886. 4°, pp. 94 ;
with 16 phototyp. pi. 15 fcs.

Catalogue of sale of the collection of a Roman

ALB1

CERAMIC LITERATURE.

[ALK

artist. Greek vases and terra-cottas, Nos. 1-45 ;
faiences, Nos. 737-772; porcelain, Nos. 807-825.

ALBINUS (Petms).— Meissnische Berg
Chronica. . . . Dresden, 1590.
Sm. fol., pp. 205. 20 m.

"Chronicles of the Meissen Mountains."

Chapter xxiii. , pp. 173-180, notices clays
and earths. Mention is made of a sand em-
ployed in the manufacture of Waldeburg stone-
ware. The prehistoric pottery found in the
province is described at length.

ALCOCK (Sir Rutherford).— Art and art

industries in Japan. London,
Virtue & Co., 1878. 8°, wood-
cuts. 5s.

Ceramics might have occupied a larger place
in a book dealing with the arts of Japan. The
subject is, however, disposed of in one chapter
of ten pages, a few of which are devoted to
Doulton ware.

ALEXANDER (Arsene).— Jean Carries,
imagier et potier. Etude d'une
oeuvre et d'une vie. Paris, May
et Motteroz, 1895. 4°, pp. 209 ;
with 20 heliotype pi. and num.
illustr. 25 fcs.

"Jean Carries, image-carver and potter.
An essay on his life and his works."

Palissy has told us, in his memoirs, how a
piece of beautiful white pottery, which was
fortuitously shown to him, led him to decide
upon his vocation ; the sight of a small piece
of Japanese stoneware exerted the same con-
verting influence on the sculptor, Jean Carries,
and made him a potter. Haunted by the desire
of having at his command a fictile material
which would be dense and hard of texture,
smooth and silky of surface, without showing
the glaring brilliancy of ordinary glazes, Car-
ries threw himself, heart and soul, one day into
the fascinating pursuit of ceramic experiments.
He found in hard stoneware — the male relative,
as he called it, of feminine porcelain — the very
kind of pottery which might yield the ideal
material he dreamed of obtaining. The ground-
work was thus ready to hand ; the ordinary
body requiring only refinement in the process
of manipulation. As to its complement of
glazes and colours, he trusted to his own in-
genuity and perseverance to discover the sub-
stances and the mixtures that no professional
potter could supply to his satisfaction. His
first steps were taken in the dark. The place
to which he repaired to prosecute his experi-
ments was a distant and lonely village ; his
assistants were a few labourers borrowed from
a common pot work. He knew no other guide
than the impulse of his fancy, no other teach-
ing than his mistakes ; but he was systematic,
even in his extravagant trials, clear-sighted
and practical in his observations. Many an
accident opened to him a new line of re-
search ; out of an apparent failure often came

one of his most valued discoveries. One may
easily realise that the results obtained so
empirically were often unexpected, either
felicitous or disappointing, inexplicable in most
cases. He employed none but the simplest
means, depending chiefly, for the production of
curious effects, upon eventual successful firing,
over which he seems to have had mysterious
command. For a few years he mused and
toiled in his retreat, a prey to feverish excite-
ment, throwing, turning, modelling, glazing,
and firing with his own hands a host of stone-
ware pieces of all possible shapes, of all imagin-
able and unimaginable hues. Always a surprise
and an enchantment for the eye — some of them
indescribable oddities — these pieces display
effects of colour blending and harmonies never
seen before, and never to be repeated. They
show, in common with primitive Japanese
pottery, the glorification of failure ; they mark
an onward step in the direction of controlling
what had hitherto been uncontrollable. Con-
jointly with these multi-coloured gems of in-
trinsically ceramic qualities, Carries modelled
a large number of purely plastic works, masks,
busts, figures, etc., which he produced in plain
stoneware of sober grey, yellowish or brown
tints. The potter and the artist worked hand-
in-hand in perfecting many an admirable piece;
one is at a loss to decide which of the two
deserves our highest praise. One of the chief
pre-occupations of their maker was to rescue
pottery, as a material, from the undignified
condition into which it had been dragged down
by the mercenary requirements of modern in-
dustry, and to demonstrate, proofs in hand,
that stoneware should rank as high as marble
or bronze in the estimation of the sculptor,
and in this he has partially succeeded. Car-
ries' career as a potter did not extend over
more than three or four years. Death sur-
prised him, still full of schemes for future im-
provements, in the thirty-fourth year of his age.

ALIATA (G.) (Principe di Ucria).— Di un
vaso greco-siculo, Palermo,18Ql.
4°, pp. 7 ; with 2 photogr. pi.

A crater with Arismap and griffins ; on the
reverse five Amazons and griffins.

AL1ZERI (T,).— D'una rara majolica
nuovamente recata in Gen ova.
Genova, 1881. 16°, pp. 11.

" A rare piece of majolica, lately
brought to Genoa."

Description of a majolica painting on tiles,
inscribed " Ave Maria, 1529," supposed to have
been made at Albissola.

ALKEMADE (K. van) and SCHELLING (P.
van der). — Nederlands Displegtig-
heden . . . etc. Rotterdam,
1731. 3 vols., 12 pi. 16s.

"The celebration of banquets in ancient
Netherland."

Contains a description of the old drinking
vessels used in Holland on festive occasions.
Chapter xxxvi., vol. ii., treats of the "Vrouw

ALL]

CERAMIC LITERATURE.

[AMA

Jakobaas Kannetjes." Illustrated with copper
plates.

ALLARD (L). — Bernard Palissy, ou le
potier de Saintes. Piece his-
torique en cinq actes, pre'cedee
d'un prologue en deux parties.
Paris, Vannier, 1865. 12°, pp.
168.

"Bernard Palissy, the potter of Saintes.
Historical drama in five acts, and a pro-
logue."

A bad drama written in execrable verse.

ALLDADD. — Rapport sur les Gres
molasses, ou Granits are*naces
kaoliniques de Dignac. Limoges,
1832. 8°.

" Report on the ' Gres molasses ' or
kaolinised sandy Granites of Dignac."

Lettres des fabricants de por-

celaine de Limoges a Mr. le
Secretaire d'Etat, ministre des
finances, et a Mr. le Secretaire
d'Etat, ministre du commerce et
des travaux publics, centre les
taxes municipales illegalement
etablies sur les matieres qui
servent d'aliment a leur industrie.
Limoges, Impr. Chapoulaud, 1836.
8°, pp. 50.

" Letter addressed by the porcelain
manufacturers of Limoges to the Secre-
taries of State, the Ministers of Finance,
Commerce and Public Works, to protest
against the taxes, unduly levied by the
Municipality, upon the raw materials
employed it their industry."

Historique et statistique de

la porcelaine du Limouzin.
Limoges, 1837. 8°, pp. 24.

" History and statistics of the Limoges
porcelain."

Etude sur les vases murrhins.

Limoges, 1846. 8°.

" Researches upon the Murrhine
vases "

The above pamphlets, written by one of the
leading manufacturers of Limoges, are now
almost unobtainable.

ALMSTROEM (Robert).— Lervarorna och
deras tillverkning. (Article in

Uppftnningarnas bok, the book
of inventions.) Stockholm, 1876.
8°, pp. 95 ; with text illustr.

" Lessons on ceramic manufacture."

Abstract of the history of the ceramic art,
to which is added a description of the processes
of manufacture in use in the factories of Ror-
strand, Gustafsberg, and other pottery works
of Sweden.

ALT (W. J.). — Catalogue of a collec-
tion of articles of Japanese art
lent for exhibition by W. J. A.
(Bethnal Green Museum). Lon-
don, 1876. 8°.

ALZOLA y MINONDO (P. de).— El arte
industrial en Espafia. Bilbao,
1892. 8°.

" The industrial arts of Spain."

AMANTON (N. N.).— Notice biograph-
ique sur Leonard Racle, de Dijon.
Dijon, Trantin, 1810. 2e Ed. 8°,
pp. 17.

"Biographical notice of Leonard Racle,
of Dijon."

Leonard Racle, architect, had established a
faience manufactory at Pont-de-Vaux. His
ceramic productions would now be forgotten,
but for a few lines that Voltaire has written on
the subject. "Mr. Racle," says he, "has a
genius which allows him to disdain the favours
of kings and princes. The large and beautiful
pieces of faience which come out of his factory
are masterpieces of the art, and he sells them
to people who pay him well." This notice de-
scribes his career as a talented architect and
engineer, but is, unfortunately, silent as to
that part of his life he devoted to the manu-
facture of pottery.

AMATI (Abate Girolamo). — Intorno ad
alcuni vasi etruschi o italo-greci
recentemente scoperti. Roma,
1829. 8°, pp. 14. (Reprint from
the Giornale Arcadio.)

" On some Etruscan or Italo-Greek
vases recently discovered."

A name inscribed on an antique vase, and
believed to be Zeuxis, has given occasion to the
antiquary to discant upon the probability of
the fan-.ous Greek painter being of Italian
origin, since a vase evidently made in Italy is
signed with his hand.

- Sui vasi etruschi illustrati da
S. E. il Signer Principe di Canino.
Osservazioni. Roma, 1830. 8°,
2 parts; pp. 23-13.

AMBJ

CERAMIC LITERATURE.

[ANG

"Remarks upon the Etruscan vases
described by Prince of Canino."

An answer to the article written on the
subject by Raoul Rochette.

AMBROSCH (S. A.)-— Pe Charonte
etrusco. Ace. vasorum fict. qua
in Mus. Berol. asserv., pictura
adhunc ined. Vratislaiv, 1837.
4°.

" The Etruscan Charon ; to which is
added the description of the inedited
vase paintings in the Berlin Museum."

AME (Efflile). — Les carrelages emailles
du Moyen-Age et de la Renais-
sance, precedes de 1'histoire des
anciens pavages ; Mosaiques,
Labyrinthes, Dalles incrustees.
Paris, Morel, 1859. 4°, pp. 207 ;
with 90 chromolith pi. 100 fcs.

" Glazed tiles of the Mediaeval and
Renaissance periods ; to which is pre-
fixed a history of ancient pavements,
Mosaics, Labyrinths, and inlaid slabs."

English antiquaries may be credited with
having been the first to direct adequate atten-
tion to the decorative tiles of the middle ages ;
the first comprehensive work, which condensed,
into a general history of ornamental pavements,
the information contained in many detached
papers dealing with the subject, is due to a
French architect, Mr. E. Ame". The volume
places before us well selected examples of the
various styles of work successively employed
for floor decoration, beginning with Roman
Mosaics, next dealing with the inlaid tiles, and
ending with the brilliantly-coloured faience
pavements of the 16th century. As an ap-
pendix to this general survey are attached
the description of several Gothic pavements
still extant in some ancient edifices of the
Yonne Department.

AMELUNG. -- Personificierung des
Lebens in der Natur, in den
Vasenmalerei der hellenistischen
Zeit. Miinchm, 1888. 8°.

" The impersonation of life in Nature,
as represented in the vase paintings of
the Hellenic times."

- Fuhrer durch die Antiken in
Florenz. Miinchen, 1897. 8°.

"A guide to the collection of anti-
quities in Florence."

Painted vases, pp. 197 et seq.

ANCONA (Catalogue of the Collection).— Sale
at Milan, 1892. 4°, with 12 pi.

by Castelfranca. Prehistoric,
Etruscan, Greek, and Roman
pottery.

ANDERSON (J. E.)-— A short account
of the Mortlake Potteries.
Richmond, printed for the
author. 1894. 8°, pp." 14.

Records of the ancient stoneware and delf
factories established at Mortlake in 1742, with
an account of the pottery works existing at the
present day.

ANDRE (A.). — Catalogue raisonne du
musee archeologique de la ville
de Rennes. Rennes, 1863. 8°,
2d Ed., 1876. 8°, pp. 514.

" Descriptive catalogue of the Rennes
Archaeological Museum."

Greek and Etruscan vases, pp. 60-76 ; Pre-
historic, pp. 143, 161 ; European ceramics, pp.
337-370 ; Faience of Rennes, 120 Nos.

ANDRE. — Catalogue des faiences
d'art peintes par Mr. Andre.
Paris, 1878-79, and following
years. 8°.

Catalogues of the yearly sales of the works of
Mr. Andre, landscape painter, on faience and
lava.

ANGST (H.)- — Ziircher Porzellan.
Zurich, 1905. 4°, pp. 12; with
2 col. pi. and 18 illustr. 4s
(Eeprint from Die Schweiz.)

" The Zurich porcelain."

In August, 1763, Heidigger and F. Korabi,
both burgesses of Ziirich, entered into partner-
ship to establish the manufacture of porcelain
in the town. It was in full working order in
1766. The poet and painter, Solomon Gesner,
joined the enterprise from the first, supplying
designs for the decorators, and painting choice
specimens with his own hand. The practical
management was in charge of one Adam
Spengler, of Schaffhausen. He retained his
position until 1791, the year of his death. In
the same year the Porcelain Company, which
had fallen into bad circumstances, had to be
wound up. The manufacture of faience con-
tinued to be carried on during a few years.
The Zurich porcelain included, besides elegantly
painted table and tea services, a great variety
of groups and figures enamelled in colours.
Little value can be attached to the author's
statement that the process of transfer-printing
was invented at Ziirich. As a matter of fact,
A. Spengler had worked at Derby with his
brother, J. J. Spengler, and there had been
taught the process, which he imported into
Switzerland.

ANS]

CERAMIC LITERATURE.

[ARC

ANSELMI (JL).— L'antico eremo di S.
Girolamo presso Arcevia ed il
suo altare in maiolicha attribuito
ad Andrea Delia Robbia, con
1'elenco descrittivo del monu-
ment! Robbiani esistenti nelle
provincie delle Marche. Jassi,
Ruggini, 1886. 4°, with 1 pi.

" The ancient hermitage of Saint
Girolamo, near Arcevia, and its majolica
altar attributed to Andrea Delia Robbia;
with a descriptive list of the Delia
Robbia works extant in the provinces
of the Marches."

- Le maioliche dei Delia Robbia
nella provincia di Pesaro-Urbino.
Roma, 1897. 4°, pp. 18 ; with 9
illustr. (Reprint from the
Archimo storico dell'Arte.)

" The majolica of the Delia Robbias in
the province of Pesaro-Urbino."

ANTALDI-SANTINELLI (March. C.).— Cata-
logo descrittivo artistico della
raccolta di rnaioliche antiche
dipinte posseduta dal Municipio
di Pesaro. Pesaro, Terenzi,
1897. 8°, pp. 134; with 1 pi.
of marks. 3 fcs.

" Catalogue of the collection of ancient
painted majolica in the possession of the
Pesaro municipality."

The collection, now exhibited in the Pesaro
Atheneum, had been previously described by
Montanari, and is often referred to in other
works. It comprises 553 Nos.

(Oh,)- — Catalogue des anci-
ennes faiences frangaises et
etrangeres . . . composant la
collection C. A. Preface par G.
Papillon, Vente a Paris, 3-6
Avril, 1895. 4°, with 25 pi.

Deuxieme vente, 23-25 Avril,

1895. Paris, 1895. 4°, with
2 pi.

Catalogues of sale.

APLIGNY (Le Pileur d').— Traite des

couleurs mate"rielles et de la
maniere de colorer relativement
aux differents arts et metiers.

Paris, Saugrain et Lamy, 1779.
12°, pp. 342. 5 fcs.

" Treatise of the substantial colours,
and of the methods of using them in the
practice of the various arts and crafts."

This volume, a sort of Handmaid to the
Arts, supplies practical directions for painting
upon all kinds of materials, including enamel
and porcelain, after the methods in use at the
times. As it is a mere compilation of the
special treatise previously published, it offers
no particular interest.

AQUILA (F. F.).— Raccolta di vasi
diversi, antichi, etc. Roma, 1713.
Obi. fol.

A collection of divers vases, anti-
quities, etc., in the possession of Pope
Clement XL, drawn and engraved by F.
R Aquila.

This work, which we have not been able to
see, is mentioned in the catalogue of Horace
Walpole's library at Strawberry Hill.

ARCHER (Elizabeth L). - - Porcelain
painting. A practical treatise
for the use of amateurs. Lon-
don, 1860. 16°, pp. 30.

ARCHER (Prof. H. C.). --Report on
pottery and porcelain. (In Re-
ports on the Vienna Universal
Exhibition, 1873. London, 1874.
8°, vol. iii., pp. 109-169.)

Prof. H. C. Archer was Director of the
Edinburgh Museum of Science and Art.

- Oriental art in Liverpool.

Liverpool, 1874. 4°.

Catalogue of the second exhibition of the
Liverpool Art Club.

ARCLAIS de MONTAMY (Didier d1).— Traite
des couleurs pour la peinture en
Email et sur la Porcelaine ; pre-
cede de Fart de peindre sur
FEmail, et suivi de plusieurs
memoires sur differents sujets
interessants, tels que le travail
de la Porcelaine, 1'art du Stuc-
cateur, la maniere d'executer les
Camees et les autres pierres
figurees, le moyen de perfection-
ner la composition du Verre
blanc et le travail des Glaces,
etc. Paris, Cavelier, 1765. 12°,

ARD]

C ERA MIC LITER A TURE.

[ARG

pp. 287. 5 fcs. A German
translation was published at
Leipzig in 1767. 8°.

" Treatise on colours for enamel and
porcelain painting, prefaced with an
essay upon the art of enamel painting,
and followed by sundry papers treating
on subjects of interest — namely, the
manufacture of porcelain, the art of
modelling in stucco, the method of
cutting cameos and other figured stones,
the way of improving the composition of
white glass, the making of mirrors, etc."

D'Arclay was one of the best chemists of his
time. The recipes contained in his book are
few in number, but they are all the result of
his own practical experiments. He discovered
the preparation of a bright red obtained from
iron, and he describes the process with great
accuracy. Although he was not a professional
painter, his advice for painting in vitrifiable
colours, which is correct and clear, could not
have been better expressed by a practical man.
He is less precise when speaking of the manu-
facture of porcelain. His remarks on the
different constitutions of the French and Ori-
ental bodies show that he had studied the
subject from a scientific point of view, but he
does not leave the field of pure theory. When
alluding to the composition of the soft por-
celain used by the manufacturers of his time,
he simply says that each maker has a different
recipe of which he keeps the secret. The work
was published after the death of the author.

ARDANT (H.).— Notice historique sur
Part ceramique et sur le Musee
de Limoges. Limoges, Ducourti-
eux, 1869. 8°, pp. 33.

" Historical essay on the ceramic art
and the Limoges Museum."

ARDITO (Michele).— Illustrazione di un
vaso trovato nelle ruine di Locri.
Napoli, 1791. 4°, pp. 76, 1 pi.

"Description of a vase discovered in
the ruins of Locri."

All the classics are put under contribution
in this long-winded discourse to prove that the
female figure, playing the lyra, painted on the
small vase found at Locri, is an allegorical
representation of " innocent pleasure."

ARGNANI (FrederigO).— Le ceramiche e
maioliche faentine dalla loro
origine fino al principio del
secolo xvi. Appunti storici del
professore F. Argnani, conserv-
atore della pinacoteca com-
munale di Faenza. Faenza,
1889. 4°, pp. xii-33, with 20

double pi. lith. in colour, con-
taining a great number of speci-
mens. 30 fcs.

" Pottery and majolica of Faenza ; from
their origin up to the beginning of the
sixteenth century. Historical documents
contributed by Prof. F. A., curator of the
civic museum at Faenza."

We may trust the curator of a civic collection,
chiefly composed of pottery of a local origin, to
point out to us all the merits of the specimens
confided to his care ; but we must bear in mind
that these merits may happen to have become
magnified and increased in his own eye, by the
natural result of a long concentration of mind
upon a captivating subject. Prof. Argnani
will not entertain any notion which would tend
to rob Faenza of the honour of having been
the first Italian city in which majolica was
ever produced. In the case of pieces of doubt-
ful attribution he has no hesitation in ascribing
their origin to his beloved town. He resumes,
at great length, the controversy started by
C. Malagola, and asserts, once more, that the
factory of Cafaggiolo has never existed. The
inscription, Fatto in Chaffagiolo, found upon
certain pieces of ancient majolica should,
according to his belief read, Fatto in ca'Fagiolo.
Consequently, such pieces ought to be restored
to Faenza, where a potter of the name of
Faxoli or Fagioli, is supposed to have worked.
It might have been expected that the mark on
which this contention is based, would have
been reproduced for examination and included
in the long list of fac-sitnile monograms which
covers the two last plates. But it is not to be
found there, and the theory of ca'Fagiolo may
suffer from this regrettable omission.

The plates have been drawn and coloured
con amore by the author himself, from examples
preserved in the museum and the local collec-
tions. They represent, mostly, jugs and
dishes of a rude description, coarse pieces
which have escaped the rapacity of the curi-
osity dealer owing to their unprepossessing
appearance, and the uncouth style of their
decoration. Let not this, however, be taken
as a disparagement of their historical value.
Rough as they are, their primitive character
imparts to them a special interest, inasmuch as
pieces of this order are seldom seen in other
museums.

II rinascimento delle cer-
amiche maiolicate in Faenza,
con appendice di documenti in-
edite fornite da C. Malagola.
Faenza, 1898. 4°, pp. viii-358,
and atlas 4° of 40 col. pi. con-
taining 193 subjects. 100 fcs.

" The revival of majolica pottery in
Faenza, with an appendix of inedited
documents contributed by C. Malagola."

A supplement to the work described above ;
it deals with the history of the Faenza majolica
from the later part of the fifteenth century
down to the seventeenth.

ARG]

CERAMIC LITERATURE.

[ARN

ARGNANI (Frederigo). — Ceramiche e
Majoliche archaiche faentine.
Faenza, 1903. 4°, pp. 39 ; with
22 col. pi. and descriptive
notices. 25 fcs.

ARKWRIGHT (I.).— Catalogue of the
Arkwright Oriental Collection
in Sutton - Scarsdale, Chester-
field. London, 1893. 4°, pp. 18.

286 Nos. of Chinese and Japanese porcelain,
pottery and lacquer.

ARLIDGE (Dr.).— The true history and
the interesting legend of the
Willow Pattern Plate. Hanley,
1882. Sq. 12°, pp. 36. Privately
printed.

ARMAIHAC (L. d').— Rapport sur rex-
position de ceramique a Saintes,
en 1868. Saintes, 1870. 8°,
pp. 21.

" Report on the Ceramic Exhibition at
Saintes in 1868."

The town of Saintes is closely associated
with the memory of Palissy ; it was, moreover,
the centre of an ancient pottery district. All
that could illustrate the art- industry of the
past had been diligently gathered by the
organisers of that exhibition.

ARMAND (Ch.).— Notice d'unfourcon-
tinu pour cuire les ciments, les
produits ceramiques, etc. Paris,
1870.

" Notice of a continuous oven for firing
cements and ceramic products."

ARNAUD (E.).— Exposition Interna-
tionale de Philadelphie. Rapport
presente a Mr. le Ministre de
!' Agriculture et du Commerce
sur la ceramique. Paris, 1877.
8°, pp. 44.

" Philadelphia International Exhibi-
tion. Report on the section of ceramics
addressed to the Minister of Agriculture
and Commerce."

ARNAUD et FRANCHE.— Manuel de cer-
amique industrielle. Paris,
Dunot and Pinat, 1906. 8°,
pp. ix-674 ; with 306 text illustr.
12 fcs.

"A manual of industrial ceramics."
8

ARNAYON (L.). --The collection de
faiences provencales. Notes d'un
amateur marseillais. Paris, Plon,
1902. 4°, pp. 73 ; with 8 photogr.
pi. 10 fcs.

" A collection of provincial faience.
Notes of a Marseillese amateur."

Marseilles and Moustiers factories are repre-
sented by numerous and select examples. Each
section is prefaced with a historical notice.

Catalogue of sale. Paris,
1902. 8° ; with 20 pi.

Faiences of Moustiers, Marseilles, Nevers ;
porcelain of Sevres and Saxony.

ARM (Paul)— Studien zur Vasen-
kunde. Leipzig, 1887. 8°, pp.
170. 4 m.

" Studies towards the knowledge of
vases."

Researches on Greek epigraphy. An at-
tempt to determine the age and the origin of
Greek vases through the style and the characters
of the inscriptions they bear.

ARNOULD (Hme. Arthur— Delphine de Cool).
-La ceramique et les emaux.
Paris, L. Allison & Co. (1890?).
Sq. 12°, pp. 60. 1 fc.

An elementary treatise of porcelain and
enamel painting, forming part of the Biblio-
thegue populaire des Ecoles de dessin, published
by Rene Me"nard.

ARNOOX (Leon). - - Lectures on the
results of the great exhibition
of 1851. Ceramic manufacture,
porcelain and pottery. London,
D. Bogue, 1853. 8°, pp. 41.
(Reprint from the Journal of
the Society of Arts.}

- Paris Universal Exhibition,
1855. Report on ceramic man-
ufactures. London, 1857. 8°,
pp. 24. (Reprint from the Official
Reports of the British Commission. )

International Exhibition.

Paris, 1867. Report on pottery,
etc.

- London International Exhi-
bition, 1871. Ceramics. (Reprint
from the official reports.) Lon-
don, 1871. Sq. 8°, pp. 26.

The Royal Commissions of the International

ARO]

CERA MIC LIT ERA TURE.

[AUB

Exhibitions could not have chosen a reporter
better qualified by practical knowledge and
sound judgment to indite a comparative review
of the ceramic exhibits which had entered into
competition. All the reports entrusted to
Leon Arnoux's professional experience are
marked with the stamp of consummate experi-
ence of the art, and evince the impartial
appreciations of an unbiased spirit.

- Pottery. An article in Bevans'
British Manufacturing Industries.
London, Stanford, 1876. 18°,
pp. 62.

AROSA (Collection). --Collection de
faiences anciennes hispano-maur-
esques, italiennes, hollandaises et
fran§aises. Suite importante de
faiences de Delft, etc. Paris,
1895. Sm. 4° ; with 6 pi.

Catalogue of Sales. The collection com-
prised 283 Nos.

ARTAUD (P.)- — De la ceramique et
principalement des vases sigilles
des anciens avec les precedes
pour les imiter.

" On ceramics, and particularly on the
sigillated pottery of the ancients, with
the method of reproducing it."

In this very important work Mr. Artaud,
curator of the Lyons Museum, has described
and illustrated all the various kinds of Roman
pottery discovered in the region. The plates
were engraved, but the text was never printed ;
it forms two folio volumes of MS. deposited
in the library of the Palace of Arts.

ARTIS (E. Tyrell).— The Durobrivse of
Antoninus, . . . Potters' kilns,
implements for . . . the manu-
facture of earthen vessels, dis-
covered by E. T. A. London,
1823-28. Fol., with 21 lith. pi.

ASCENCIO (J. I.).— Azulejos de Tri-
ana. Madrid, 1877. 8°, pp. 13
(Reprint from La Academia.)

" The tiles of Triana."

ASHBY (H. I.).— How to analyze clay
practical methods for practica
men. Chicago, Windsor & Ren
field, 1898. Pp. 71. 2s.

ASHPITEL (A.)-— On the vases of tin
ancients ; particularly of a verj

splendid blue and white vase
found at Pompeii. London, s.d.

8°.

Treats of a vase of glass paste with white
reliefs.

ASPELIN (J. R.).— Antiquites du Nord
Finno-Ougrien. Traduction fran-
caise by G. Biaudet. Helsingfors,
1877-84. 5 vols., 4° ; with 2,187
text illustr. £3.

" Antiquities of North Finno-Ougrian."
The prehistoric remains of Finland.

ASSEGOHD (AlpuOnse).-— Notice sur une
assiette en faience de Rouen de
la collection de Mr. G. Gouellain.
Bernay, 1877. 8°, pp. 11.

" Notes upon a plate of Rouen faience
in the collection of Mr. Gouellain."

An interesting plate cleverly painted with
the subject of a lady at her toilette, and
bearing on the border the arms of Bernart
a Norman family. It is supposed that it was
made by Caussy, a Rouen manufacturer. The
plate had already been made the subject of
a paper read by its possessor before the
Antiquarian Society of Normandy.

-Ceramique du Moyen-
age et de la Renaissance. Paris,
Levy, 1876. Sm. fol, 28 lith.
pi. ; no text.

"Ceramics of the Mediaeval and Ren-
aissance period."

Under the above title have been collected
in a special portfolio, the plates representing
vases and drinking vessels previously included
in the work, Meubles tt Armures du Moyen-
Aye, issued by the same publisher. With the
exception of a few specimens of ancient stone-
ware and Palissy dishes, the objectsfpresented
as " Ceramics " are vases of gold, silver, or
marble.

AUBERT (E.)--- Conseils pratiques
pour la peinture ceramique a la
gouache verifiable. Paris, 1881.
8°, pp. 16. 2 fcs.

" Practical advice on the method of
ceramic painting with verifiable body-
colours."

This sort of "impasto" painting with
coloured clays upon unbaked pottery was
then much in favour, under the name of
"Barbotine."

AUBRY (Me.)- — Request au Roi sur les
secrets de la vraye et parfaite

AUB]

CERAMIC LITERATURE.

[AUD

porcelainede France (1702). Sm.

4°, pp. 8.

" A request to the King concerning the
secret of the true and perfect porcelain
of France."

In compliance with that request, letters-
patent were granted, in 1702, to the widow
of P. Chicanneau and her sons, for the manu-
facture of porcelain, the secret of which they
claimed to have discovered, and of which they
were making excellent examples at their Saint
Cloud factory. This was irrespective of the
patent to the same effect obtained by Louis
Poterat of Rouen, in 1678, and which was
not extinct when the request was granted.

AUBRY (Me.)-— Au Roy. Nouvelle
requite de la veuve Chicanneau
tendant a obtenir le privilege de
fabriquer de la faience qui n'avait
pas etc accorde. S.l.n.d. Sm.
4°, pp. 7.

"To the King. A further request of
Widow Chicanneau in view of obtaining
a privilege for the manufacture of faience,
already applied for, but not yet granted."

The Saint Cloud faience was celebrated long
before the manufacturers petitioned for a Royal
privilege. This was repeatedly refused on
account of the competition carried on by
neighbouring manufactories. Richly decorated
articles and large vases for the decoration of
the Royal residences were made at Saint Cloud.
A series of fine drug pots, preserved in the
pharmacy of the Versailles Hospital, testifies
to the ability of their makers.

AUDIAT (L.).— Les oublies. Bernard
Palissy. Saintes, 1864. 12°,
pp. xxi-358. 3 fcs.

Published on the occasion of the national
subscription which had been opened for the
purpose of erecting a statue to Palissy in the
town of Saintes. Louis Audiat was secretary
to the committee. Circumstances obliged him
to send his work to the press before it was
completed to his satisfaction. Four years later
he published a much enlarged and improved
edition.

Bernard Palissy. Etude sur

sa vie et ses travaux. Paris,
Didier, 1868. 12°, pp. vii-480.
5 fcs.

This biography is the result of a long and
dispassionate study of the Palissic legend. It
deserves a larger share of attention than many
a more romantic sketch to which certain cele-
brated writers have devoted a few moments of
passing enthusiasm. The pictures cannot be
said to have been brought to an exact focus.
At any rate, it is a fair attempt at giving
a plain and correct delineation of a very
complex character, hitherto somewhat distorted
by idealistic and poetical considerations. All

biographers have yielded, more or less, to the
captivating interest presented by the romance ;
few of them have attempted to reduce the
legendary account to a tale of sober truth.
The task, as a matter of fact, offers immense
difficulties, and no adequate thanks would
reward the trouble taken in its accomplishment.
Documentary information is limited to the auto-
biographic details given by Palissy himself, and
we find them either incomplete or misleading.
Contemporary writings are singularly silent
about him. As to the deceptive lights thrown
upon his magnified figure by modern hero
worshippers, they hinder rather than assist
a critical appreciation of his true personality.
They may be likened to the mosses and
climbers which, clinging to the trunk of an
old tree, conceal its original shape. Although
full of admiration for the great man whose life
and deeds he has undertaken to depict, Audiat
intends to be strictly impartial, his first care
is to warn his readers against the danger of
accepting blindfold all the statements vouched
for by previous biographers. "Too much
importance has been attached," says he, "to
many an inference too hastily drawn from some
ambiguous sentence of the memoirs, or even
from more explicit passages on which one
should place but a limited measure of con-
fidence." The accuracy of the tradition is,
on many points, open to doubt. It tells of
certain facts which are by no means corro-
borated by the knowledge we have obtained of
the times in which Palissy lived, and also of
the remarkable men with whom he found
himself in close association. Some of these
latter, for instance, have now been recognised
as the real promoters of several theories and
systems which Palissy has presented as his own.

The purpose of the book is, obviously, to
place before us the presentment of a figure,
which differs much from the classical portrait
delineated by previous historians. Audiat goes,
perhaps, a little too far in that direction when
he develops his personal opinion of Palissy in
the character of a Huguenot. Convinced that
Palissy's abjuration of the religion of his
forefathers was never a complete one, the
author — a fervent Catholic himself — does not
believe that the convert was, at any time, the
staunch Huguenot he is represented to have
been. "It may be," says he, "that in his
constant hankering after truth, the honest
and over-confident man could not help being
strongly influenced by the preachings of the
fiery apostles of the new faith." But when
Palissy joined the Reformed Church it was
only as a means of asserting, openly, his
sympathy for a social movement which he
hailed as the harbinger of a coming era of
truth and righteousness ; in short, he never
was a "rank heretic" at heart. This is what
Audiat endeavours to establish by drawing
ingenious deductions from certain events in the
life of his hero.

Of Palissy, as a potter, the work does not
tell us much that is not to be found in other
biographies.

— Palissy et son biographe.
Reponse a Mr. Athanase Coc-
querel fils. Paris, Douniol, 1869.
8°, pp. 48. 2 fcs.

AUD]

CERAMIC LITERATURE.

[AUG

" Palissy and his biographer."

An answer to the virulent attack directed

by a Protestant pastor against Audiat's Life

of Palissy.

AUDIAT 6t FILLOfl.— (Euvres de Maitre
Bernard Palissy. 1888. 2 vols.
8°.

AUDSLEY (George Ashdown).— Notes on

Japanese art. Head before the
Architectural Association, Lon-
don, 1872. Illustrated by speci-
mens of Japanese art from the
collection of J. L. Bowes, Esq.
Liverpool, 1872. 4°, pp. 31 ; with
15 photogr. pi. Printed for
private circulation. 12s.

Catalogue raisonne of the
Oriental Exhibition of the Liver-
pool Art Club, held at the Club
Rooms, No. 4 Sandon Terrace,
December, 1872. Liverpool, pub-
lished by the Art Club, 1872. 4°,
pp. 163.

The richest collections of the town had been
put under contribution to impart exceptional
interest to this exhibition, the first of an
annual series that the newly - founded club
intended to hold for the benefit of all art
amateurs. Oriental ceramics were particularly
well represented. Sections II., III., IV., and
VI.- of the catalogue described remarkable
examples of Persian ware, Satsuma faience,
Kaga ware, as also Chinese and Japanese
porcelain.

- Blue and White. Catalogue
of a collection of Oriental por-
celain, sold at Liverpool. Liver-
pool, D. Marpes, 1878. 8°, pp.
viii-43 ; photogr. pi.

- Eirst national porcelain paint-
ing competition inaugurated by
the Ceramic Art Co., Trenton,
N.J. Held in the Waldorf-
Astoria Hotel. New York, 1897.
16°, pp. 21 ; with 3 pi.

Mr. G. A. Audsley had accepted the task of
adjudicating the prizes and reporting on the
results of the competition.

AUDSLEY and BOWES (James Lord).— Ker-

amic art of Japan ; with an in-
troductory essay on Japanese

art, and representation of the
marks and inscriptions found on
Japanese pottery. London, Soth-
eran, 1875. 2 vols., Imp. 4°, with
42 col. pi. ; 21 pi. in monochrome,
4 pi. of marks and illustrations
in the text. 2,000 copies printed.
Subscription price, £7 7s. An
abridged edition was published
in 1 881 ; 4°, pp. 304, with 32 pi.,
£2 2s. A French translation was
printed by F. Didol. Paris, 1877-
80. The publication price was
500 fcs.

One of the most sumptuous works devoted
to the ceramic art. The chromolithographic
plates, executed in Paris under the super-
intendence of A. Racinet, surpassed in excel-
lence anything that had been produced before.

G. Audsley, a well-known architect, under-
took to deal with that portion of the text in
which Japanese ware is considered from the
artistic point of view ; the historical part
and the classification of the various types of
manufacture devolved upon his collaborator,
J. L. Bowes. The work was the outcome of
the extensive collection formed by the latter ;
such a book was the fit companion of such
a collection. The history of the ceramic art
of Japan could not have been laid on a better
foundation. As a consequence of the social
revolution which had just occurred in the land
of the rising sun, the European market had
been flooded with art treasures plundered in
sacking the palaces of the Dai'mios. J. Bowes
lost no time in securing a large share of this
amazing windfall. For a while these examples
of an art so varied in its manifestations
remained as many open queries to the collector
who was at a loss to know where he could
acquire the indispensable elements of know-
ledge of the subject. A further course of
investigation showed that most of the speci-
mens afforded in themselves all the information
required as to their place and date of manu-
facture. With the assistance of the learned
Japanese travellers to Europe, few of whom
failed to visit the Bowes collection, inscriptions
were translated, marks and seals identified,
and important enlightenment obtained on
many perplexing points.

Owing to the rapid advance of our know-
ledge of Japanese matters, part of the text
has now become somewhat out of date. But
the illustrations will always remain as models
of the kind. They did much to increase the
interest just awakened in the collecting world
by the ceramics of Japan, and it cannot be
denied that, considering the incipient state of
the study, no better elucidation of the plates
could have been written at the time to act as
a guide to the collector.

AUGIN (A.). — Exposition retrospec-
tive de Nancy. Impressions et

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CERAMIC LITERATURE.

[AUS

souvenirs. Nancy, Typ. Crepin-
Leblond, 1875. * 8°, pp. 464.
5 fcs.

" Retrospective Exhibition of Nancy —
Impressions and reminiscences."

Contains the description of the old faience
of the province, and of the figures in "Terre de
Lorraine," contributed to the Exhibition by
local collectors ; also some interesting notices
on the history of the ancient manufactories.
Ceramics, pp. 189-363.

AURES (A.).— Marques de fabrique
du Musee de Nimes, publiees en
facsimile. Nimes, 1876. 8°, pp.
92; with 23 engr. pi. 15 fcs.

" Facsimiles of Roman pottery marks
in the Nimes Museum."

AURIAC (Gen. Angles d').— Catalogue des
vases etrusques et des vases
grecs, loniens, Corinthiens, Atti-
ques, appartenant a la ville de
Grenoble. Grenoble, 1905. 8°,
pp. 24.

"Catalogue of the antique vases be-
longing to the town of Grenoble."

AUSCHER (E. S.).— Etude critique sur
la manufacture de porcelaines
de Sevres. Paris, Michelet, 1894.
8°, pp. 47. 1 fc.

" A critical study of the porcelain man-
ufactory of Sevres."

To compare the cost of production in private
industry and in the national manufactory of
Sevres is the blunt-edged weapon wielded by
the writer in his bitter attack on the manage-
ment of an establishment to which he had been
attached for a few years. He inveighs against
directors, artists, and workmen, past and
present, and blames all that had been, and was
being done. Strange to say he does not recom-
mend the suppression of this much abused
institution, but advocates a series of improve-
ments which would evidently leave the door
open for the very same blunders he deplores,
and against which he took up the cudgels.

- Les ceramiques cuisant a une
haute temperature. Paris, 1899.
8°, pp. 227; with 35 illustr. 3 fcs.

"The ceramic wares firing at a high
degree of temperature."

Technical rules and practical observations
applicable to the manufacture of stoneware and
hard porcelain.

AUSCHER et GU1LLARD.— Marie Antoi-

nette et la manufacture de Sevres.
1901. 8°, pp. 19, 2 pi.

— La manufacture de Sevres
sous la Revolution. 1902. 8°,
pp. 19.

- Les deux premiers conserva-
teurs du musee de Sevres. 1903.
pp. 19.

- La ceramique au Chateau de
Versailles sous Louis XIV. 1903.
pp. 73 ; with 16 illustr.

The foregoing papers have been reprinted
from the Revue de i'histoire de Versailles.

- A history and description of
French porcelain, translated and
edited by W. Burton. London,
Cassell, 1905. 8°, pp. xiv-196;
with 24 col. and 48 half-tone pi.
£1 10s.

An excellent compendium in which the
facts concerning the history of French porcelain
are brought up to the present state of know-
ledge.

Les industries ceramiques.
Terres cuites, Briques, Tuiles,
Faiences, Gres et Porcelaines.
Paris, Bailliere, 1901. 18°, pp.
280 ; with 53 illustr. 5 fcs.

" Ceramic industries. Terra - cotta,
Brick and Tile, Earthenware, Stone-
ware, and Porcelain."

A short technical treatise brought up to date
and describing the improved conditions of
modern manufacture.

- Technologic de la ceramique.
Paris, Bailliere, 1901. 18°, pp.
273 ; with 93 illustr. 5 fcs.

"Ceramic technology."

A companion to the above volume. Treats
especially of raw materials, tools, machinery,
ovens, &c.

AUSSANT (M. J.).— Fabrique de pot-
eries artistiques a Fontenay,
pres de Kennes, au XVI. et au
XVII. siecles. Rennes, 1870.
8°, pp. 35, with 9 photos. 10 fcs.

" A manufactory of artistic pottery at
Fontenay, near Rennes, during the six-
teenth and seventeenth centuries."

AVI]

CERAMIC LITERATURE.

[BAG

The Ceramic Exhibition held at Rennes in
1864, contained a few specimens ascribed to the
Fontenay manufactory. Some fragments of
pinnacles and gable-ends, coming from the old
houses of the village, seem all that can safely be
attributed to the works once existing in the
place. The author has been ill-advised in
selecting for reproduction and as a fit subject
for a lengthy description, a spurious pot em-
bossed with religious subjects, which is a well
known example of the sham medueval pottery
manufactured by Fleishmann of Nuremberg,
towards 1845. Dr. Aussant was director of
the Museum of Rennes ; a notice of his life
and works has been published by Mr. Andre.

AYISSE (Paul) et RENARD (Emile). -L'art
ceramique au XIX. siecle, rec-
ueil de modules, dessins, formes
et motifs dans tous les styles, en
grandeur naturelles. Composi-
tions nouvelles et pratiques par
nos meilleurs artistes. Paris,
F. Desire, 1861. Fol., with 35
engr. pi. 2d Ed. (with a new
title), Levy, 1876.

"Ceramic art in the nineteenth cen-
tury ; a selection of models, designs,
shapes, and subjects of various styles,
drawn to the size of execution. Original
compositions by our best artists."

The publication, conducted by two talented
designers of the national manufactory of Sevres,
was discontinued after the 17th part.

AYOLIO (F. P.).-Sulle antiche fatture
di argila che si trovano in Sicilia.
Palermo, L. Dati, 1829. 8°, pp.
xv-167 ; with 12 engr. pi. 5 fcs.

"The antique works of clay which are
found in Sicily."

AVON (L'abb'e). - - Antiquites mexi-

caines du Musee du Grand

Seminaire de Nimes. Tours,
1881. 8°, pp. 20 ; vign.

" Mexican antiquities in the Museum
of the Grand Seminary of Nimes."

Description of a few specimens of Mexican
pottery of no particular interest, accompanied
with historical notes on ancient Mexican
civilisation.

AXERIO (G.)- — Delia fabbricazione dei
Laterizi, delle Calci e dei Cem-
enti. Delle arte vitraria. Delle
arte ceramiche. Milano, 1868.
Fol., pp. 83 ; with 21 pi. 5 fcs.

" The manufacture of bricks, lime, and

cement The art of glass. The ceramic
art."

Printed after the 1887 Exhibition at the
expense of the municipality of Milan.

AYMAR (A.). — Antiquites prehistor-
iques, gauloises et romaines du
Cheylounet. Le Puy, 1874. 8°,
pp. 179 ; with 3 pi. "

"Prehistoric, Gallic, and Roman anti-
quities of Cheylounet."
Pottery: pp. 92-120. 4 fcs.

AZAM (Dr.)— (Anon.). — Lesanciennes
faienceries de Bordeaux, par un
collectionneur. Bordeaux, Feret,
1880. 8°, pp. 31; with 5 lith.
pi. (Reprint from the Memoires
de la Soctite Archeologique de
Bordeaux. 5 fcs.

" The ancient faience manufactories of
Bordeaux, by a collector."

All the official documents relating to the
several manufactories which have existed in
Bordeaux since 1718 are. given in extenso at the
end of this short monograph. The description
of a few specimens, as well as their reproduc-
tion on the plates, show that the ware produced
in these factories was richly and tastefully
decorated in blue and in colour, in a style
which seems a combination of those of Rouen
and of Moustiers. The manufacture of stanni-
ferous faience was abandoned at the beginning
of this century. It was superseded by imita-
tions of English earthenware, which continued
to be manufactured with success up to the
present day.

BABELON (Ernest). — Le Cabinet des
antiques & la Bibliotheque Na-
tionale, choix des principaux
monuments de 1'antiquite, du
Moyen-age et de la Renaissance.
Paris, 1888. 3 vols., fol. ; with
60 heliogr. pi. Publ., 150 fcs.

" The cabinet of antiquities at the
National Library ; a selection of the-
chief examples of art from the antique,
mediaeval, and renaissance periods."

An important series of Greek painted vases
and terra-cottas is included in the collection.

BACHELIER (J. J.).— Memoire histori-
que de 1'origine et des progres
de la manufacture nationale de
porcelaine de France, avec des

CERAMIC LITERATURE.

[BAD

observations sur toutes les parties
de la manutention, et les moyens
d'amelioration economique dont
elle est susceptible, demande par
Mr. d'Angevillier, directeur gen-
eral, et remis en 1781 par le
Citoyen Bachelier, alors un des
inspecteurs de la partie des arts
de la dite manufacture. Ce
memoire est suivi de plusieurs
pieces justificatives sur la reclam-
ation du Citoyen Bachelier.
Paris, de 1'Impr. de Delance,
1799. 32°, pp. 59. 10 fcs.

" Historical memoir of the origin and
progress of the national porcelain manu-
factory of France, with a few remarks
upon all the branches of manufacture and
the economical improvements which might
be introduced ; written at the request of
M. d'Angevillier, general director, and
delivered to him in 1781 by Citizen
Bachelier, then one of the art inspectors
of the aforesaid manufactory. This
memoir is accompanied with several vin-
dicatory documents in support of the
claims of Citizen Bachelier."

After having directed the artistic department
of the Royal manufactory of Sevres for close
upon fifty years, Bachelier was abruptly dis-
missed from his post in 1798, no reason being
given for his dismissal. He protested ener-

fetically against the arbitrary decision of the
tate minister Garat. This memoir was printed
with the object of placing before the public a
record of the services he had rendered to the
factory when acting as the art director, and an
outline of those he would still be able to render,
if he were reinstated in his former position. A
report on the situation of the Royal factory,
which he had addressed to the then adminis-
trator in 1781, while he was still in office, was
reprinted on that occasion. It showed the
practical and sensible views Bachelier enter-
tained concerning the improvements which
could be easily introduced. There is little
doubt that he had forcibly pointed out the
weakest points in the administrative rules of
the national establishment, and in its artistic
direction. So clear sighted were his remarks,
so practical his suggestions, that, in more than
one case, they would still apply to present
circumstances. His disregarded advice strikes
the reader of the memoir as having lost nothing
of their value; one is bound to acknowledge
that, were they now given a fair trial, much
benefit would result from their application.

Bachelier was a talented painter and took
much interest in the technics of the art. He
experimented with success upon the method of
painting in wax, the lost process of the ancients.
He deserves particularly to be remembered as
the founder of the national school of elementary

drawing at Paris ; a most efficient school, now
maintained by the Government, but in which
he lost, at the outset, the fruit of all his
savings.

The memoir has been reprinted with his-
torical notes, by G. Gouellain.

BACHOFEN (J. J.).— Die Unsterblich-
keitslehre der orpischen Theo-
logie auf den Grabdenkmalern
des Alterthums nach Anleitung
einer Vase aus Canosa in Besitz
des P. Biardot in Paris. Basel,
1867. Obi. fol.; with 1 col. pi.
20 m.

" The belief in Immortality taught by
the Orpischian theology and allegorised
on the funereal monuments of the
ancients, as represented by the subjects
painted upon a vase found at Canosa, in
the possession of P. Biardot at Paris."

BACIMI (G.).— Le ville Medicee di
Cafaggiolo e di Trebbio in Mug-
ello. Cenni Storici. Firenze,
Baroni e Lastrucci, 1897. 12°,
pp. 188.

"The Medicean Villas of Cafaggiolo and
Trebbio in Mugello. Historical notes."

In the chapter devoted to the majolica
factory of Cafaggiolo, the author has for ever
disposed of the theory propounded by Malagola
and Argnani. Not only has he been able to
locate the place where the factory stood, the
existence of which has been so warmly con-
tested, but he has also been able to identify,
in some of the marks found on the ware, the
initials of some of the potters and painters
mentioned in ancient documents as having
worked at Cafaggiolo.

BACKSHELL (W.).— Practical guide to
painting with ceramic colours on
China and Terra-cotta. London,
1882. 12°.

BADEN POWELL (B. H.).— Handbook of
the Manufactures and Arts of
the Punjab. Lahore, 1872. 8°,
vol. ii., pp. 220-234; Porcelain
and Pottery.

The vicinity of Lahore abounds in ruined
monuments, some of which, dating from the
eleventh century, are richly ornamented with
glazed terra- cotta work. Glazing on pottery is
now, however, quite a forgotten art in the
province. Each village in the Punjab has its
pot- works, turning out a large quantity of jars,
vases, bowls, and other articles of daily use ;
but unglazed pottery only is made. Surface
decoration is obtained either by painting with

BAT]

CERAMIC LITERATURE.

[BAR

coloured varnishes and lacquer, or by the ap-
plication of an amalgam of silver and mercury.
All the processes used by the native potter at
the present day are fully described in this
. article.

BAIF (Lazare).— Lazari Bayfii annota-
tiones in L. 11 de cap ti vis . . .
ejusdem annotationes . . . quibus
. . . Vasculorum genera expli-
cantur. Parisiis . . . Rob.
Stephani, 1536. Sm. 4°, pp. 203 ;
with woodcuts. 20 fcs.

A 2nd edition was publ. at
Basle by Froben in 1540. S. 4°.

Lazare Bait', Abb^ de Charon, was one of the
most learned men of the sixteenth century.
Sent by Francis I. as Ambassador to the Court
of Venice in 1530, he cultivated his taste for
classical antiquities during his sojourn in Italy.
In the treatise De Vasculis, which forms the
second part of this volume, he recorded all the
names of vases and vessels which are mentioned
by Greek and Latin writers. He also at-
tempted to give an account of the forms to
which these names might probably apply, of
the use to which each form was appropriated,
and of the materials they were made of respec-
tively. The woodcuts, attributed to Voeriot,
are but fanciful inventions of some Renaissance
designer, and in no way reproductions of the
antique vessels they are supposed to represent.

A short summary of this treatise, also in
Latin, but giving the translation in French of
the names of the vases, was issued at Lyons in
the same year. It was intended for the use of
young scholars. (See Stephanus).

BALDRY (A. L.).— The Wallace collec-
tion at Hertford House. Lon-
don, Goupil, 1904. 4°, pp. 302 ;
num. illustr. (10 of ceramics).
15s.

BALECHE et CPAM,— Peinture sur por-
celaine, sur verre, et sur cristaux,
precedes de la manuf. royale de
Sevres, etc. Paris, 1847. 12°,
pp. 32. 2 fcs.

" Painting on porcelain and glass after
the method in use at the royal factory of
Sevres."

BALLANTIHE (A. Randal).— Robert Han-
cock and his works. Nat, 1730 ;
ob., 1817. London, printed at
the Chiswick Press, 1885. Sm.
4°, pp. 50 ; with portr. and 12
photogr. pi. 150 copies printed.
8s.

This handsomely printed little volume is of
some interest to the collector of Old Worcester
China. Robert Hancock had been apprenticed
as an engraver to the Battersea enamel works,
where he worked under the direction of T.
Ravenet. In 1756 he was engaged by the
Worcester Porcelain Company, and introduced
there the process of decoration by transfer
printing after the method he had previously
practised at Battersea. He became a partner
in the firm in 1772, but retired two years later.
Proofs of the copper plates he engraved for
china decoration, still preserved in the Royal
Porcelain Works of Worcester, are given in the
book.

BALLER (G. ¥.).— Sale catalogue of
the English portion of the col-
lection of porcelain. London,

1872. 8°.

BALLHEIMER (R.).— Griechische Vasen
aus dem Hamburger Museum fur
Kunst und Gewerbe. Hamburg,
1905. 8°, pp. 55 ; with 20 illustr.
3 m.

" Greek vases in the Museum of In-
dustrial Art in Hamburg."

BAMMEYILLE (Collection Joly de).— Anti-
quites egyptiennes, grecques,
romaines, etc., decrites par W.
Froehner. Paris. 1893. 4°, pp.
81 ; with 22 pi. 20 fcs.

Catalogue of sale. Greek terra-cottas : 252
Nos. Reproductions of 29 groups and figures
of Tanagra and Asia-Minor are given on the
plates.

BARBARACI (G.). — Dissertazione sopra
un vaso di creta grseco-siculo rap-
presentante le cistefore di Cerere.
Palermo, 1755. 4°, pp. 64; with
Ipl.

" Dissertation upon an earthen vase
representing the cistephores of Ceres."

The vase is a black figured lekithos with a
funereal scene.

BARBER (E. A.).— Catalogue of the
collection of tobacco pipes de-
posited by E. A. Barber in the
Pennsylvania Museum. Fair-
mount Park, 1882. 8°.

- The pottery and porcelain of
the United States ; a historical
account of American ceramic art
from the earliest times to the

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CERAMIC LITERATURE.

[BAR

present day. New York, G. P.
Putnam & Sons, 1893. 8°, pp.
xvii-440; with 223 illustr. £1 5s.

One might say that the introductory chapter
on the prehistoric pottery of America, prefixed
to a book essentially modern in its tenour,
could very well have been dispensed with.
Treated in a superficial manner it does not do
justice to the subject ; and, moreover, being
made to stand as a preface to a purely indus-
trial and commercial report, it looks as much
out of place as would a condensed history of
classical ceramics placed at the head of a Greek
book, relating the progress of earthenware
manufacture recently established in Greece
after the English methods.

From prehistoric times we jump at once into
a survey of the conditions of the potter's trade
during the first part of the nineteenth century,
a period which, notwithstanding the efforts
made for the establishment of a prosperous
industry, saw more abortive attempts than
lasting successes.

The historical portion of the work having
been thus disposed of, we come to its actual
purpose which is to bring together a succession
of descriptive notices of the manufactories
concurrently at work in the United States.
Each of them has its separate article in which
its productions are fully examined and illus-
trated ; however unimportant, not one of them
is forgotten. It is questionable whether what
the author has to say about many a pot works
which had existed only a few years and was
doomed soon to disappear should be noticed in a
general history of ceramic art ; but we do not
doubt that parts of the book may be of interest
to the American reader, who is the best judge
of the true value to be attached to the meed of
praise so lavishly and inconsiderately distri-
buted by a most indulgent critic. A second
edition, revised and enlarged, was brought out
in 1901.

BARBER (E. A.)-— The Pennsylvania
Museum and School of Indus-
trial Art. Catalogue of American
potteries and porcelain. Phila-
delphia, 1893. 8°, pp. 43 ; with
51 text illustr. Is.

An interesting feature of this museum is a
series of coarse dishes of red and yellow clay,
rudely scrolled over with slip decoration or
incised traceries, made by Swiss and German
immigrants after the methods used in their own
country. The dates inscribed upon them range
from 1762 to 1847 ; they bear sentences written
in German dialects. The rest of the collection,
consisting chiefly of articles of domestic ware,
is of very recent manufacture. Our compli-
ments are due to the artist who has illustrated
this catalogue, his pen and ink sketches are
models of the kind.

Historical sketch of the Green

Point (N.Y.) porcelain works of
Ch. Cartlidge & Co. Indianapolis,
16

pp. 59 ; with text

1895. Sq. 8
illustr. 5s.

Sixty years ago a few English operatives
attempted to lay down the foundations of
American manufacture upon the debased notions
of an industry degenerating in the mother
country. They seem to have had no higher
ambition than to imitate the standard abomina-
tions turned out for the exportation trade by
the inferior pot-works of the "Potteries"
district. As a matter of course, their produc-
tions did not equal in quality the wretehed
wares they had taken as models. It is under
those conditions that the first manufactory of
English China was established in America by
Ch. Cartlidge, in 1848. It was closed after
eight years of unremunerative efforts.

This is only one of the many instances of
spirited enterprises, which, started at the same
period, were doomed to come to a speedy end.
Under other climes, scarcely any hopes of
ultimate success could be entertained from
such a discouraging commencement. But the
evolution of the industrial art does not always,
in the New World, follow its normal co,urse.
Brisk life is suddenly evolved out of an ap-
parently inanimate body. A decayed and
sapless trunk had been imported from the old
Continent ; and, transplanted in fresh soil, it
was soon to be covered with verdant and
vigorous boughs. Judging from what has been
achieved during the past few years, the potter's
art should soon attain a high degree of emin-
ence. This is no longer a hope, but an absolute
certainty. In the meantime, such records as
the monograph of the Green Point factory will
enable the masters of the day to contrast, with
legitimate pride, their refined productions with
the miserable results obtained by the half-
skilled artisans which were their forerunners.

— The pioneer of china painting
in America. 1895. 8°, pp. 15 ;
with text illustr. (Reprint from
the New England Magazine.)

An account of the life and work of E. Lycett,
a china painter born in the " Potteries." He
went to New York in 1861, and opened an
establishment for the decoration of china, in
which a large quantity of richly painted porce-
lain has been executed for the American
market, either by his own hand or under his
direction.

- Anglo-American pottery. Old
English china with American
views. A manual for collectors.
Indianapolis, 1899. Sq. 8°, pp.
161-xiv; with 93 text illustr.
10s.

No English collection has yet given ad-
mittance to the heavy white earthenware,
decorated in blue printing with imaginary
landscapes and clumsy garlands of flowers,
made in the "Potteries" between 1820 and
1850, perhaps the worst period of the manufac-
ture. Some of the dinner services of that
description were expressly made for the

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CERAMIC LITERATURE.

[BAR

American market and adorned with views of
American towns and scenery. They are now
eagerly gathered by the collectors of the D nited
States by whom the exhaustive work of Mr.
Barber is very highly appreciated. It contains
a complete list of the subjects known to be in
existence, and in most cases gives the name of
the makers.

In a second edition, issued in 1902, the
number of subjects has been increased almost
to a thousand, with 135 illustrations. A direc-
tory of more than 1 50 private collections in the
United States has also been added.

- Tulip ware, or the Pennsyl-
vania German potters. An his-
torical sketch of the art of slip
decoration in the United States.
Philadelphia, 1903. 8°, pp. 233 ;
with 2 col. pi. and 94 illustr.
15s.

Coarse pieces of pottery decorated in sgraf-
fiato, or with coloured slip, are still found in
the cottages of Pennsylvania. They were
inscribed and dated presents made for a friend,
by the German potters settled in America,
after the art of their own country. The earli-
est known example of the ware is dated 1722.

- Marks of American potters.
Philadelphia,FsitteTSon & White,
1904. Sq. 8°, pp. 174 ; with 1,000
marks and text illustr.

- Handbooks to the Pennsyl-
vania Museum. Salt - glazed
stoneware. Philadelphia, 1906.
8°, pp. 28 ; with 12 illustr.

- Tin enamelled pottery. 1906.
8", pp. 39 ; with 20 illustr.

- Artificial soft paste porcelain.
1907. 8°, pp. 32 ; with 15 illustr.

- Lead-glazed pottery. Part I.
—Common clays. 1907. Pp.32;
with 24 illustr.

Reliable Primers, compiled from the best
sources, intended for the use of the visitors to
the museum.

BARBET de JOUY (Henri).— Les Delia

Robbia, sculpteurs en terre email
lee. Etude sur leur travaux
suivie d'un catalogue de leur
oeuvre fait en Italic en 1853
Paris, Renouard, 1855. 12°, pp
98. 10 fcs.

" The Delia Robbia, sculptors in enam-
elled clay. An essay on their art, to
which is added a descriptive catalogue of
their work prepared in Italy in 185V

Vasari's Life of the Painters was, for long,
the only source from which information could
be obtained regarding the Delia Robbia and
their work. Mr. Barbet de Jouy, who had
made an exhaustive examination of all the
monuments of enamelled faience attributed,
in Italy, to Luca and his family, undertook
to verify and to supplement the meagre par-
ticulars recorded by the Florentine biographer.
He found in the Archives, and in the pub-
lications of the Arc-hseological Societies, the
means of pointing out the inaccuracy of long
accredited statements, and of establishing a few
important facts unsuspected before. Although
knowledge has made great progress since this
essay was written, it is still quoted as an
authority on the subject.

BARBIER (Y.).— Poteries de la Savoie.
(In La Savoie Industrie lie, vol.
ii. Chambery, 1875. 8°, pp. 561-
604.)

The history, legislation, and statistics of the
ancient and modern manufacture of faience and
earthenware in the Savoy province.

BARBIER de MONTAULT (Mgr.).— Les car-
relages emailles du Chateau de
Dissaix (Vienne). Poitiers, 1887.
8°, pp. 5.

"The glazed tiles in the Chateau of
Dissaix."

- Fouilles de 1'eglise des Chat-
elliers. St. Maixent, 1888. 8°,
pp. 66 ; with 3 pi. 6 fcs.

" Excavations on the site of the ancient
church of Chatelliers."

The tiled pavements described in this paper
were reproduced in lithography by Lieutenant
Esp€randieu.

BARDIM, de Florence (Collection).— Cat. of

sale. London, Christie's, June,
1899. Text 8°, pp. 81 ; atlas 4°,
of 71 phototype pi.

Majolica : 73 Nos. with 1 3 pi. , each containing
several subjects.

BARING GOULD (S.).— The Frobishers :
a story of the Staffordshire Pot-
teries. London, Methuen, 1901.
8°, pp. 308.

This sensational story has been framed for
the purpose of bringing to the knowledge of
the tender-hearted English reader the crying
evils connected with the social conditions

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CERAMIC LITERATURE.

[BAR

of the Staffordshire potters, and particularly
the deadly processes of manufacture, from the
effects of which they have to suffer. Anyone
who has lived in the Potteries and become
acquainted with the operatives and their work |
will have no hesitation in saying that the i
portion of the book which is supposed to |
rest upon facts collected on the spot does as
much credit to the imaginative powers of
the author as the most ingeniously contrived !
intricacies of the plot.

BARKER (T. 0.)-— Durability of brick
pavements, Indianapolis, 1891.

8°.

BARKER (W. B.).— Lares and penates:
or, Cilicia and its governors . . .
together with a description of
some household Gods of the
ancient Cilicians, broken up by
them on their conversion to
Christianity. . . . London, In-
gram Cooke, 1853. 8°, pp. xiv-
394; with map and text illustr.
5s.

During his long residence at Tarsus Mr.
W. B. Barker, H. M. British Consul, prosecuted
a searching examination of the vast accumu-
lation of broken terra-cottas that successive
landslips had exposed to view on the side of
the hills, where they had lain buried since the
classical ages. From the finest and best pre-
served examples that could be reclaimed out
of this huge mass of debris he formed an
important collection, the description and inter-
pretation of which became the groundwork of
this archaeological study.

He arrived at the conclusion that, after their
conversion to Christianity, and on some solemn
occasion, the inhabitants of Tarsus brought to
that spot for total destruction the images of
the gods they had repudiated, and also the
Lares and Penates which had so long presided
over the safety and happiness of their house-
holds.

A more plausible explanation of the presence
of so many broken lamps, vases, and figures
heaped up on the same spot, in the vicinity
of a far -renowned temple, would b-: that it
marked the place where the innumerable votive
offerings brought over by a constant throng of
worshippers to the sanctuary, were thrown
away when their number had increased to such
proportions that it became necessary to effect
their removal and make room for new ones.

BARLOW (T. 0.).— Catalogue of the
very choice collection of Wedg-
wood ware. . . . Sale at Christie's.
London, 1869. 8°, pp. 17 ; wood-
cuts.

The collection, entirely composed of old
Wedgwood ware, comprised 175 Nos.

BARNABEI (F.).— Delle maioliche di
Castelli nell'Abruzzo. Firenze,
1876. 8°. (Reprint from Nuova
antologia.}

" Upon the majolica of Castelli in
Abruzzo."

A review of the monographs previously
published, with the addition of some entirely
new matter.

Dell'arte ceramica in Roma.

Discorso del Prof. F. B. inaugu-
randosi la mostra dei lavori cer-
amici romani nel museo artistico
industriale. Roma, Botta, 1881,
8°, pp. 18.

" Ceramic art in Rome. A speech de-
livered by Prof. F. B. on the occasion of
the opening of the Exhibition of Roman
ceramic works in the museum of in-
dustrial art."

La ceramica all 1'Esposizione

universale di Parigi del 1878.
Roma, 1882. 8°, pp. 173.

" Report on ceramics at the Interna-
tional Exhibition, Paris, 1878."

- Antichita del territorio falisco
esposte nel Museo Nazionale
Romano a Villa Papa Giulio.
Milano, 1894. 4°, pp. 590 ; with
210 text illustr., and 18 fol. pi.
Vol. iv. of the Monuments antichi.
Publ., 90 fcs.

" Antiquities of the Faliscan territory,
exhibited in the Roman National Museum
at the Villa Papa Giulio."

A museum of Etruscan antiquities recently
opened.

BARNARD, BISHOP, and BARN ARDS.— Illus-
trated catalogue of plain, enam-
elled, and art - painted tiles.
S.l.n.d. (recent). 4°, 40 col. pi.
Privately printed.

BARRAL. — Memoire sur les faiences
pour poeles, panneaux de chemi-
ne'es, carreaux, etc. Paris, 1845.
4°, pp. 34.

" Memoir upon faience stoves, fireplace
slabs, tiles, etc."

Technical opinion drawn up by a civil

BAR]

CERAMIC LITERATURE.

[BAR

engineer on behalf of Pichenot, a Paris stove
manufacturer, in support of the action brought
by him against some of his competitors in the
trade.

BARRE (1). -- Collection de Mr.
Albert B. Antiquites

grecques, vases peints de la
Grande-Grece et de 1'Attique,
terres cuites de Tanagra, pot-
eries et verres chypriotes. Vente
a Paris, Mai, 1878. 4°, pp. 72 ;
with 7 chromolith., 5 phototype
pi., and 26 text illustr. 12 fcs.

"Sale catalogue of A. Barre's collec-
tion of antiquities."

One recognises in the plan followed in the
formation of this most instructive collection,
together with the evidence of antiquarian
knowledge, the taste and discrimination of a
trueborn artist. Mr. Barre was a sculptor
whose talent had been nurtured in the passion-
ate study of antiquity ; his ambition, as a
collector, was to bring together telling examples
which would illustrate the origin and develop-
ment of plastic art in the classical land where
it reached its zenith. The selection of speci-
mens had been coherent and comprehensive ;
the collection, which had been the result of
many years' researches, found in W. Frohner
a most competent interpreter. The introduc-
tory notices he wrote for each section of this
catalogue offer a clear and succinct epitome of
the first chapters of the history of ancient art.

Archaic pottery, vessels of rude workman-
ship of a kind hitherto disregarded, are here
largely represented. The works of the primitive
races, in their rudimentary style of ornamenta-
tion, open to the mind of the observer a subject
deserving of deep cogitation. We notice that,
in its earliest manifestations, the development
of decorative art presents, at all times, and
wherever it may happen to make its appear-
ance, a strangely similar character. Placed
under different conditions, the embryonic germ
may either remain dormant and unproductive,
or else develop into a luxuriant and gigantic
growth. What its progress has been among
the Cypriots, the Etruscans, and the Greeks,
has been obviously evinced in the various
groups of terra-cottas studiously assembled by
Mr. Barre. They cover a period of about
one thousand years. Hardly any distinctive
feature can be distinguished in the aggregated
productions of the earliest ages. The plain
earthen vessel, sometimes embellished with
rude traceries of straight lines and zigzag in-
cisions, the uncanny fetish fashioned to a
distant likeness of a living creature — either
man or animal — are found there, bearing a
striking analogy to all work that is, usually,
called prehistoric. An immeasurable span
seems to separate the uncouth pottery of
Hissarlik from the exquisite figures of Tarsa
and Tanagra ; yet when the study of the
intervening periods allows us to follow step
by step the evolution of Greek civilisation, the
line of filiation may be clearly reconstituted.
Nothing could better illustrate the transforma-

tion of a rude craft into an art of infinite
refinement than a well co-ordinated series of
ancient terra-cottas. The ornamentation of
the vase becomes more varied, elegant, and
ingenious. The misshapen idol assumes by
degrees a closer resemblance to the human
figure. Without departing altogether from
its conventional treatment, the presentment
becomes, unmistakably, that of some Olympian
Deity. At Tanagra the aesthetics of the coro-
plast undergo a radical change ; the art takes
a decided step towards a realistic representa-
tion of nature. Instead of the, conventional
images of tutelary divinities, elsewhere de-
posited by the side of the dead, fictile repre-
sentations of the people who lived and moved
at the time are chiefly found in the Boeotian
tombs. They are children at play, workmen at
their trade, grotesque personages, and comical
groups. Finally appear the graceful figures of
nude ephebes and veiled maidens enwrapped
in flowing draperies ; the loveliness of their
nonchalant attitude expresses no definite action,
and precludes the idea of discovering any hidden
symbol or allegory in this simple embodiment
of grace and youth. All was then subservient,
in the ideal of the artist, to the expression of
plastic beauty, the comeliness of forms which
attract the eye and charm the thoughts of the
admiring beholder. The* supreme tendencies
of Greek art at its finest period become clearly
manifest in these modest creations of the maker
of terra-cotta figures.

The section of painted vases, in this cata-
logue, deserves special attention. I must
mention, among the choice examples of which
it is composed, a pyxis bearing the name of
Megakles. No vase painting of the highest
order could be said to surpass in elegance and
purity of style the frieze of seated girls, repre-
sented as playing on instruments or busy with
womanly work, depicted round this small
requisite of the toilet table of a Grecian lady.
The name of Megakles has not been found
inscribed upon any other piece.

BARRY (C.)- — On terra-cotta, especi-
ally as used in new buildings in
Dulwich College. London, 1864.

4°.

- Works executed in terra-cotta
at New Alleyn's College, Dul-
wich. London, 1868. 4°.

Sessional paper of the R. Inst. of British
Architects.

BARTH (Carl).— Chart of marks and
monograms on porcelain. Stutt-
gart, 1865. (Also with German
text.)

A large sheet of lithographed marks, mounted
on cloth and folded in a 32° case.

BARTHELEMY (Anatole de).— Carreaux
emailles du XIVe. siecle prove-
nant du Musee de Saint Germain -

CERAMIC LITERATURE.

BAR]

en-Laye. Paris, Leroux, 1876.
8°, pp. 5; with 1 pi. (Reprint
from the Musee archeologique.)

" Glazed tiles of the fourteenth century
in the Museum of Saint Germain."

BARTHELEMY (Anatole de).— Lettre ad-
ressee a Mr. de Caumont sur le
camp vitrifie de Peran (Cotes du
Nord). S.d. 8c,pp.6; with 1 plan.

" A letter to Mr. de Caurnont on the
subject of the vitrified fort of P^ran."

- Carreaux histories et vernis-
ses, avec noms de tuiliers. Caen,
Delesque, 1887. 8°, pp. 23;
illustr. (Reprint from the Bul-
letin monumental.) 2 fcs.

" Ornamented and glazed tiles bearing
names of the makers."

Several names of potters arid tile makers
which occur in the original accounts and
documents of the fourteenth and fifteenth
centuries are recorded in this paper. Sketches
are given of eighteen tiles upon which the
maker of the pavement has inscribed his name,
followed by the words : Me fit. It is to be
regretted that in no -case is the inscription
accompanied with a date, nor does it record
any of the names of tile makers found in the
old documents.

- Carreaux histories et vernis-
ses du XIII. siecle. 8°, pp. 8 ;
3 illustr. (Reprint from the
Bulletin monumental, 1890.)

Heraldic tiles ; researches on the families
whose coat-of-arms they bear.

BARTHELEMY (Ct).— Notice dune col-
lection de vases et de coupes
antiques en terre-cuite provenant
du feu Prince de Canino. Paris,
1848, pp. 25.

"One portion of the collection of Prince
Lucien Bonaparte."

BARTHELEMY (Ed. de).— Notices sur
quelques carrelages histories,
adressees a Mr. de Caumont.
Paris, Derache, 1852. 8°, pp. 16;
illustr. (Reprint from the Bul-
letin monumental.)

" Notices of some ornamented tile
pavements."

When this paper was written, the subject of
20

[BAR

mediaeval tiles had scarcely been touched upon
by French archaeologists. It does not profess
to do any more than to call public attention
to the ornamented tile pavements discovered
a short time before in a district particularly
rich in examples of that sort, and to give
a brief description of the most remarkable
among them. Incomplete as these first notices
are bound to be, they have proved of great
assistance to the writers who have, later on,
exhausted the subject of the ancient tiles of
Champagne.

Carrelages emailles de la
Champagne. Paris, 1878. 8°,
pp. 7 ; with 2 lith. pi. (Reprint
from the Revue de Tart Chretien?)

" Glazed tiles of the Champagne Pro-
vince."

After a lapse of more than twenty years the
learned antiquary supplemented his previous
notice with a paper in which he gave the
names of several localities of the same province
wherein richly ornamented pavements had been
discovered during that interval. I may in-
cidentally remark that the presence of such
pavements in provinces which were at the
time under English domination, and where
churches were built in the English style, some-
times by English architects, might warrant us
in raising the question whether the custom of
replacing mosaic by tiles of glazed earthenware
for the floor decoration of ecclesiastical build-
ings was not — contrary to the notion generally
accepted — imported from England into the
northern and central provinces of France. As
the dates found upon English pavements are
older than those ever found in France, the
question deserves further investigation.

BARTHELET (A.)-— The works of art
and Bric-a-Brac Doctor. By A.
Barthelet, artist repairer of fine
decorative wares. A theoretical
and practical exposition of all
the processes employed in the
restoration of fine ornamental
wares. The most complete work
of the kind yet published — the
only one in the English language
—accompanied with A Help to
the Memory, etc. Philadelphia,
published for the author, 1884.
12°, pp. 96; illustr. 5s.

BARTLETT (W.).— Catalogue of a col-
lection of old Wedgwood ware.
Liverpool, privately printed by
Lee & Nightingale, 1882. 4°,
pp. 126. 10s.

The catalogue of one of the most methodical

BAR]

CERA MIC LITER A TURE.

[BAS

and complete collections of old Wedgwood ware
in private hands. It follows the order adopted
for the price list of the Etruria works,
published by J. Wedgwood, in 1787, nearly
every No. of which is represented by an
example of the piece described. The collection
comprises about two thousand specimens.

BARTOLI (Pietro Santi).— Le Antiche

Lucerne sepolcrali figurate, rac-
colte dalle cave sotteranee, e
Grotte di Roma, nelle quali si
contengono molte erudite mem-
orie. Designate, ed intagliate
nelle loro forme da P. S. Bartoli.
Divise in tre parte con Fosserva-
tioni di Gio. Pietro Bellori.
Roma, 1691— 2nd Ed., 1704. 4° ;
with 116 engr. pi. £2.

An edition with text in Latin
was published at Berlin in 1702.
15 m. The first edition contains
twelve unnumbered plates, which
are not found in the subsequent
issues.

"The ancient sepulchral lamps dis-
covered in the tombs and caves of Rome,
the representation of which are suggestive
of many erudite observations. Designed
and engraved by P. S. Bartoli. Three
parts, accompanied by explanatory notes
by G. P. Bellori."

BASILEWSKY et DARCEL (A.)- — Collec-
tion Basilewsky. Catalogue rais-
onne precede d'un essai sur les
arts industriels du Pr. au XVIe.
siecle. Paris, Morel, 1875. 4°,
pp. 458 ; with 50 pi. £6.

" The Basilewsky collection. Descrip-
tive catalogue, to which is prefixed an
essay upon industrial arts from the first
to the sixteenth century."

A general collection which contained many
choice pieces of enamelled terra - cotta and
Italian majolica, examples of which are de-
scribed and reproduced in colour (pp. 102-116
and pi. 43-48).

BASSEGIO (G. B.).— Commentario della
fabricazione di stoviglie presso
Bassano. Bassano, Tipogr. Bas-
segio, 1861. Per le nozze An-
tonibon-Bonaguro. 8°, pp. 17.

" Notice of the manufacture of pottery
at Bassano. ';

Ever since the beginning of the eighteenth
century, the old family Antonibon had been
connected with the manufacture of pottery at
Bassano. In 1732 Gianbatista Antonibon was
making majolica at Nove. His son Pasquale
conceived the idea of introducing the manufac-
ture of real porcelain in 1750. To that effect,
he engaged the services of one Johan Fisher,
who came over from Dresden accompanied by
a few workmen from the same place. All they
could do was to build an oven on approved
principles. Being unable, however, to establish
a regular fabrication of the ware, they were
dismissed, and they returned to Germany.
A course of more successful experiments was
conducted by P. Lorenzo, of Cadore. This
latter soon produced a hard porcelain of good
quality, of which the felspar of the Brenta
and the kaolin of Fretta were the chief
constituents. The making of it was, however,
completely abandoned in 1820.

Pottery continued to be manufactured ; a
member of the Antonibon family was still
managing the factory, when his friend Bassegio
printed this historical notice of the local
industry on the occasion of his marriage.

Catalogue of the extremely
beautiful and highly interesting
collection of Greek and Etruscan
vases formed by S. G. Bassegio.
London, s.d. 8°.

A collection on sale by private treaty,
exhibited in London.

BASSLER(A.).— AltperuanischeKunst.
Beitrage zur Archaologie des
Incareichs, nach seinen Samni-
lungen, von Arthur Bassler. 4
vols., fol. ; with 165 pi. (some
col.). Publ., 450 m.

" Ancient Peruvian art. Contribution
to the archeology of the Inca Kingdom,
illustrated with specimens in the collec-
tion of the author."

All the decorations of the vases described
in this volume, whether painted or in relief,
have been carefully traced, developed, and
reproduced on the flat in their natural sizes.
The shape of the vessel is only given when its
remarkable character illustrates such portion
of the text in which the history, the beliefs,
and the philosophy of the ancient Peruvian
race are dealt with by the author. An English
translation, by A. H. Keane, has been issued,
London, 1904, £5.

BASTENAIRE-DAUDENART (F.).-L'art de
fabriquer la porcelain, suivi d'un
vocabulaire des mots techniques
et d'un traite sur la peinture et
dorure sur porcelaine. Paris,
Malher, 1827, 2 vols., 12°, pp.
846 ; with 4 pi. 6 fcs.

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CERA MIC LITER A TURE.

[BAT

" Treatise on the manufacture of por-
celain : with a glossary of technical terms,
and instructions for painting and gilding
on porcelain."

The author claims the credit of having been
the first to write a practical treatise on the
subject. Having been for many years the
proprietor and manager of the factory of Saint
Amand-les-Eaux, he had acquired some know-
ledge of the processes of manufacture, and was
anxious to obtain celebrity as a ceramic writer.
His work is not, however, so complete and
trustworthy as one might expect to find it.
Daudenart has preferred to remain silent
about the making of soft china, yet we know
that he was in the position of giving us all
possible information on that matter. The
methods and recipes, once employed in the
extinct factories, were still practised at Saint
Amand, the last place in France where the
fritted body was made, under his management.
It is, therefore, somewhat disappointing to find
that the book deals entirely with the manu-
facture of hard porcelain, imperfectly known
to the writer, and does not disclose any of the
secrets of the obsolete "Porcelaine tendre,"
with which he was thoroughly conversant.

A German translation of this work has been
published by Ch. Schmidt.

BASTENAIRE-DAUDENART (F.).— L'art de
fabriquer la faience blanche re-
couverte d'un email transparent
k 1'instar francais et anglais, suivi
d'un traite de la peinture a fe-
verbere, et d'un vocabulaire de
mots* techniques. Paris, Fortie,
1828. 8°. pp. 539 ; with 3 pi.
6fcs.

" The art of making the white earthen-
ware with a transparent glaze after the
methods adopted in France and England,
to which is added a treatise of the re-
verberatory kiln painting, and a glossary
of technical terms."

The publication of such a treatise was well
timed at a moment when the white earthen-
ware, glazed with lead, was everywhere
replacing, for domestic purposes, the old
stanniferous faience, which had altogether
fallen into discredit. Before inditing this
volume, B. Daudenart visited the Stafford-
shire "Potteries," and the short account of
his journey is not without interest. He was
particularly impressed by the importance of
the English factories, and wondered how an
establishment which gave employment to close
upon two thousand workmen could be con-
ducted in such perfect order. Of all the
technical improvements he saw there, for the
first time, what surprised him the most was the
regular application of steam power to pottery
manufacture. A second edition appeared in
1830, and a German translation by G. Frick, in
1832.

L'art de fabriquer la faience

.22

recouverte d'un email opaque
blanc et colore ; suivi de quelques
notions sur la peinture au grand
feu de reverbere, et d'un vocabu-
laire de mots techniques. Paris,
Malher, 1828. 12°, pp. xiv-480 ;
with 2 pi. 3 fcs.

" The art of making the faience covered
with white and coloured opaque enamels ;
with instruction on the method of paint-
ing for the reverberatory kiln, and a
glossary of technical terms."

- L'art de fabriquer les poteries
communes usuelles, les poeles,
les gres fins et grossiers, les
creusets, les carreaux, les tuiles,
les briques ordinaires et refrac-
taires ; suivi d'un memoire ad-
resse au Grand Conseil superieur
des manufactures a Paris, sur la
question relative a I'enqu&te com-
merciale ordonnee par le Gouv-
ernement pour la levee de la pro-
hibition existante en France sur
les poteries anglaises. Paris,
Anselin, 1835. 8°, pp. 560 ; with
3 pi. 5 fcs.

"The art of making common pottery
for domestic use, stoves, fine and rough
stoneware, crucibles, roof and wall tiles,
ordinary and refractory bricks ; to which
is added a Memoir addressed to the
Superior Council of Manufactories in
Paris on the occasion of the inquest
opened by order of the Government upon
the advisability of abrogating the act by
which the importation of English pottery
into France was prohibited."

A German translation by H. Schmidt ap-
peared at Weimar in 1859.

Although apparently minutely precise and
reliable, the descriptions of the technical pro-
cesses given in the foregoing volumes are not
always to be depended upon. Moreover, they
are most of them too much out of date to be of
any use to the modern manufacturer.

BATEMAN (Thomas). -- A descriptive
catalogue of the antiquities and
miscellaneous objects preserved
in the Museum of Thomas Bate-
man at Lomberdale House, Der-
byshire. Bakewell, printed for
the author by J. Gratton, 1855

BAT]

CERAMIC LITERATURE.

[BAU

8°, pp. 305 ; with 8 pi. and illustr.
in the text. 10s.

Thomas Bateman, one of the learned mem-
bers of the R. Archaeological Society, had formed
his collection chiefly out of the proceeds of the
excavations he conducted for many years in
several counties. It contained numerous speci-
mens of ancient pottery, ranged in the catalogue
under the following headings: — Celtic pottery,
sepulchral urns and other prehistoric vases,
205 Nos. ; Roman cinerary urns, 57 Nos. ;
Roman fictile ware, 167 Nos. ; Etruscan an-
tiquities and pottery of various descriptions,
81 Nos. ; and, lastly, a few curious specimens
of slip decorated and early English earthen-
ware. The collection is now exhibited in the
Sheffield Museum.

- Ten years diggings in Celtic
and Saxon Grave-hills, in the
Counties of Derby, Stafford, and
York, from 1848 to 1858 . . .
with remarks on the crania and
pottery from the Mounds. Lon-
don, J. R, Smith, 1861. 8°, pp.
309 ; woodcuts. 8s.

BATTY-LANGLEY.— The London prices
of bricklayers' materials and
work, etc. London, R. Adams,
1749. 8°, pp. 390; with 32 pi.
5s.

In addition to the cost of materials and
workmanship in the brick-building trade, this
volume contains the statutes regulating the
craft of brick and tile makers since the time
of Edward III. It also gives interesting infor-
mation on the English Delft potters of Lambeth
— the "white potters," as they were called —
who manufactured vessels and tiles of painted
faience after the method used in Holland.
Langley says that their ware could fairly
stand comparison with that imported from
abroad ; but in the case of tiles, the Lambeth
productions were disliked by the bricklayers,
being made of a very hard clay which ren-
dered cutting and fitting slow and difficult.
This peculiarity is of great importance for the
identification of genuine English Delft speci-
mens.

The list of terms connected with brick-
building at the time (the signification of many
of which have long become obsolete) may be
found of some utility.

BAUDOT (A. de). — De 1'emploi des
materiaux polychromes dans la
construction, et la ceramique en
general. Paris, V. Morel, 1884.
8°, pp. 22.

" On the use of polychrome materials
in architectural buildings, and the cer-
amic art in general."

BAUDRY (Pan!).— Collection ceramique
du musee des antiquites de
Rouen. Faiences. Rouen, Impr.
Ch. Lapierre, 1864. 12°, pp. 19.

" Ceramic collection in the museum of
antiquities at Rouen. Faiences."

Description of the collection of A. Pettier,
acquired by the town of Rouen and exhibited in
the old museum.

BAUDRY (L'abbe F.) et BALLEREAU (L.).-
Puits funeraires gallo-romains
du Bernard (Vendee). La Roche-
sur-Yon, Gaste, 1873. 8°, pp.
359 ; with map and numerous
figs, of pottery. 12 fcs.

" Mortuary pits of the Gallo-Roman
period found at Bernard (Vendee)."

A few isolated examples of mortuary pits,
shaped like those so far considered as peculiar
to ancient Etruria, had already been found
in France and in England, when Abbe' Baudry
chanced to discover a large number of such
pits in the Bernard district. He gives a
detailed account of all the excavations. In
each case the interment had taken place after
incineration. The ashes of the dead, enclosed
in a large cinerary urn, were placed at the
bottom of the pit ; the cavity was afterwards
filled up with soil mixed with charcoal, bones
of domestic animals, and innumerable frag-
ments of pottery. Over a hundred shapes of
pots, found whole or in fragments, have been
drawn by Mr. Ballereau to illustrate the work.

BAUMEISTER (A.).— Denkmaler klas-
sischen Alterthums zur Erlau-
terung des Lebens der Griechen
und Romer in Religion, Kunst
und Sitte. Munchen, 1885-88.
3 vols. 4°. Publ., 75 m.

"Monuments of classical antiquities,
illustrating the life of the Greeks and
Romans, their religion, art, and customs."

Contains a chapter on Painted Vases. See
Rohden.

BAUMEISTER (G.).— Faiencefliesen aus
alten turkischen Baudenkmalern.
Nurnberg, 1880. Fol., 13 chromo-
lith. pi. (all published). 15 m.

" Faience tiles from ancient Turkish
monuments."

Reproductions in colour of the original size
are given of specimens which seem to have been
selected on account of their simplicity and
insignificance. Such tiles can hardly be said to
represent the old Turkish manufacture, the
productions of which equal in elegance of
design and brightness of colours those of the
best factories of Asia Minor and Persia.

BAIT]

C ERA MIC LITER A TURE.

[BAY

BAUMGART (E,),— La manufacture de
Sevres k 1'Exposition de 1900.
Paris, Librairie centr. des Beaux
Arts, 1901. Sm. fol., pp. 34;
with 50 photogr. pi. (some col.)
and 11 text illustr. Publ., £3.

" The manufactory of Sevres at the
1900 Exhibition."

A review of the part that the national
establishment has played in the local and
international exhibitions to which it has con-
tributed is given in the introduction. The
plates represent the latest productions. To
those who have not viewed the exhibits of
1900, it will be a surprise to see how com-
pletely Sevres has, on that occasion, broken
the old traditions, and replaced the practice of
the time-honoured arts of surface decoration
by technical subtleties, such as the display of
unprecedented and never to be repeated effects
of colours and glazes. Painting and gilding
are strangely conspicuous by their absence.

BAUSSAN de BIGNON.— Memoire sur la
meilleure construction des fours
pour bien cuire les briques, la
chaux, etc. Paris, 1766.

" Memoir on the manner of building
the kilns for firing bricks, lime, etc."

BAUYALET de SAINT VICTOR. -- Vases
Grecs et Etrusques avec une
notice sur ces vases. Paris, 1837.
Fol. Dessins executes en coul-
eurs metalliques de 1'invention
de 1'auteur et de ses propres
mains. Publ., 1,668 fcs.

"Greek and Etruscan vases, with de-
scriptive notices. Designs executed by
the author's own hand in metallic colours
of his invention."

The work of a visionary who prided himself
of having invented some colours particularly
well adapted to the painting of the plates. We
extract from the preface the following para-
graph. "This collection will be therefore
quite unique, and its value is bound to be
increased by the fact that, as I alone can
execute it with my pencil, the number of
painted copies will be, necessarily, very
limited." Copies in outline occur sometimes
in the trade, but those with coloured plates
are very rare.

BADX (A.). — La poterie des Nuraghes
et des tombes des geants en Sar-
daigne. Paris, 1885. 8°; with
11 illustr.

" The pottery of the Nuraghes and the
tombs of the giants in Sardinia."
24

BAXTER (S.).— The Morse collection
of Japanese pottery. Boston,
1887. 4°, pp. 16 ; with 4 pi. and
16 illustr. in the text. (Reprinted
from the American Architect.}

BAWO and DOTTER. -- Limoges ; its
people ; its china. New York,
1901. Sq. 12°, pp. 26; with text
illustr.

Notes on the "Elite works" at Limoges,
issued by B. & D. of New York. A charming
booklet.

BAYARD (Cl,).— Tarif du prix des
differentes pieces et figures en
biscuit de terre de pipe, ou
emaillees sur biscuit et enlumi-
nees et toute autre bijouterie de
ce genre, tant utiles qu'agreables.
Le tout au plus juste prix pour
le marchand. Lesquels articles
se fabriquent a la manufacture,
ci-devant previlegiee du Roi, des
Sieurs Bayard, pere et fils, a
Belle vue, ban de Toul. S.d.
4°, pp. 4.

" List of prices of the various objects
and figures of earthenware, unglazed or
enamelled in colours, and other fancy
articles pleasant and useful. All at very
moderate prices for the trade. Manu-
factured at the works (lately with Royal
privilege) of Belle vue, near Toul."

Established in 1758, the Bellevue manufac-
tory applied for permission to assume the title
of "Royal manufactory," a distinction which
was granted in 1773, to be withdrawn a few
years later. The catalogue, which describes
chiefly articles of current manufacture, shows
that the production were principally imitations
of English earthenware.

BAYE (J. de). — Notes sur des carreaux
emailles de la Champagne. Paris,
1885. 8°, pp. 20 ; with text
illustr. (Extr. from Memoires de
la Societe des Antiquaires de
France.)

" Notes on some glazed tiles from
Champagne."

Industrial arts of the Anglo-
Saxons. London, 1893-94. 4° ;
with 17 pi. and text illustr.

BAZ]

CERAMIC LITERATURE.

[BEG

English translation by J. B.
Harbotte. 9s.

The French work appeared in 1889. It is
a compilation from the English archaeological
publication, illustrated with badly engraved
plates. Pottery : pp. 112-118.

BAZIN (Ch.).— Pavages de FAbbaye
de Breteuil et du Prieure de
Merle(Oise). PavagedePAbbaye
de Foigny (Aisne). Paris, 1850.
8°, pp. 8 ; with 4 pi. (Reprint
from the Revue Archeologique.)

"Pavements of Breteuil Abbey and
Merle Priory. Pavement of Foigny
Abbey."

BEARD (J. C.).— Painting on china.
What to paint and how to paint
it. New York, s.d. 8°.

- Painting on china. Practical
instruction in over-glaze painting
in the decoration of hard por-
celain. New York, 1882. 4°.

BEAUCHAMP (W. I,).— Earthenware of
the New York aborigines.
Albany, 1898. 8°, pp. 78 ; with
33 pi., cont. 245 figs. (In Bul-
letin of the New York State
Museum.)

On no other ancient pottery of America is a
likeness to the prehistoric earthen vessels of
Europe so strikingly exhibited, particularly in
the method followed in the impressed and
incised ornamentation.

BEAUREPAIRE (E. de).— Etude sur les
carreaux vernisses a usage fun-
eraire. Paris, 1885. 8°.

" Notes on the glazed tiles used for
funereal purposes."

BECKER (C.) und HEFNER (J. von). —
Kunstwerke und Gerathschaften
des Mittelalters und der Renais-
sance. Frankfurt a j Main, 1852.
2 vols., 4°; with 212 hand-col,
pi. 2d ed,, 1863. £12.

" Art work, vessels, and utensils of the
Middle Ages and of the Renaissance."

Ceramic art is represented by five plates
The notices are short and merely descriptive
In the cases of undated specimens the dates
affixed to them by the writers are quite

speculative and should not be considered as
accurate.

BECKER (J. A.).— Notes sur les Gres-
cerames du Rhin. Paris, 1884.
12°, pp. 12.

" Notice of the Rhenish stoneware."
Published by Merkelback & Wick, stoneware
manufacturers, of Grenzhausen, to be distri-
buted at their dep6t in Paris.

BECKER (Leon).— Catalogue of sale.
Paris, 1852. 8°, pp. 23 ; with
10 illustr.

The collection of a Belgian amateur, chiefly
composed of ancient stoneware (260 Nos. ).

BECKET-DENISON (Collection C.).-Cata-
logue of sale. London, Christie,
1885. 8°, pp. 283; with numerous
pi. 10s.

This collection, which comprised 3,354 Nos.,
had been formed very rapidly. Within a few
years B. Denison had acquired some of the
choicest works of art which had appeared in
the auction sales. His extravagant bids were
always entered under the pseudonym of "Mr.
Duncan." The ceramic objects in his possession
were of the highest order ; a selection of them
is represented on six plates.

BECKING (E.).— Fliesen-Boden nach
Gemalden des XV. und XVI.
Jahrhunderts, von J. von Eyck,
Hans Holbein, Hans Memling,
etc. Stuttgart, J. Hoffmann,
1903. Sm. 4°, pp. 12; with 28
col. pi. 16 m.

" Tile pavements from oil paintings of
the fifteenth and sixteenth centuries, by
J. Eyck, H. Holbein, H. Memling, etc."

The specialist, attracted by this promising
title, may not find the plates of the album
coming up exactly to his expectation. There
is little in the patterns reproduced that recalls
the mediaeval character of ornamentation ; these
geometrical combinations of slabs of stone,
marble, and coloured clays, might belong to
any epoch ; indeed, the series does not seem to
differ from the designs in the pattern books of
the modern tile manufacturer.

BECKWITH (Arthur). - Majolica and
Faience; Italian, Sicilian, Major-
can, Hispano - Moresque, and
Persian. New York, Appleton,
1877. 12°, pp. 185; with 51
illustr. in the text, drawn by
the author. 2d ed. 5s.

To a few historical notices of the chief

BEG]

CERAMIC LITERATURE.

[BEL

centres of manufacture compiled from the
standard works, is added a list of the mottoes
and sentences found inscribed upon pieces of
Italian majolica ; a personal contribution of the
writer to the study of the ware. After this,
the account passes from general considerations
on the aims of decorative art to some rather
unprofessional hints on faience painting. It
ends in cursory notes on the pottery exhibited
at Philadelphia in 1876, with remarks on the
conditions of the ceramic art in modern times.
The illustrations are mostly taken from ex-
amples in the Castellani collection, and in
fig. 51, designed by the author himself, we are
asked to see the application of the principles of
decoration previously propounded.

BECKWITH (L. P.).— Pottery. Obser-
vations on the materials for the
manufacture of terra-cotta, stone-
ware, etc. New York, 1872. 8°.

BEDFORD (George).— Paris Universal
Exhibition of 1878. Report on
terra-cotta. London, Sampson
Low, 1879. 8°, pp. 28. (In the
Society of Arts; artisans' reports.)

BEHLA (Robert).— Die Urnenfriedhofe
mit Thongefassen des Lausitzer
Typus. Luckau, 1882. 8°, pp.
120 ; with 2 lith. pi. containing
75 figs. 3 m.

"The burial grounds containing earthen
urns of the type generally found in the
Lausitz province."

Like Silesia, Lausitz abounds in prehistoric
graves containing an immense quantity of
cinerary urns and other earthen vessels. The
description of the various types said to be
peculiar to that province and the account of
some of the excavations in which they were
discovered is prefaced with an interesting
review of the works of the old German writers
who have mentioned that curious pottery and
dealt with it in the full belief that it was a
natural product of the soil.

BELLEYOYE (Ad.).— Note sur quelques
marques de potiers de la periode
gallo-romaine. Metz, Delimit,
1885. 8°, pi.

" On some potters' marks of the Gallo-
Roman period."

BELLIER de la CHAYIGNERIE— Notice sur
L. P. Schilt, peintre sur por-
celaine, attache & la Manufacture
Imp. de Sevres ; avec un cata-
logue de son ceuvre. Versailles,
Impr. Cerf., 1860. 8°, pp. 15.
Portrait.
26

" Biographical notice of L. P. Schilt,
porcelain painter attached to the Imp.
factory of Sevres ; with a catalogue of
his works."

Schilt was one of the leading flower painters
on porcelain of his time. He entered the
Sevres manufactory under the direction of
Brongniart. His son distinguished himself as
figure painter in the same establishment.

BELLINI (Dr. Lorenzo). —La Buccher-
eide. Firenze, 1729. Sq. 8°, pp.
xxxiv-264. 2ded. Bologna, 1823.
2 vols., 16°. 3d ed. Milano, s.d.
16°. (In DaeFs Biblioteca rara.}

It is not without astonishment that we learn
of the extraordinary infatuation for the Buccaros
which prevailed among Italian and Spanish col-
lectorsduring the seventeenth century. Wemust
not forget, however, that, even at the zenith
of their glory, good examples of the highly
perfumed vases of Peru and Mexico were only
on rare occasions imported into Europe, where
they always remained scarce and costly. This
may partially account for the favour with
which they were regarded. The ruling laws of
taste were singularly modified in Italy at the
beginning of the eighteenth century. Extrava-
gance was considered as a happy substitute for
refinement. To collect the uncouth jugs of the
Indians was, in itself, a daring assertion of
individual contempt for all accepted notions
of beauty. This eccentricity could only be
surpassed by the whimsical achievement of
composing a poem in four cantos on the subject
of the outlandish pottery. It was reserved to
Dr. Lorenzo Bellini to accomplish such an
extraordinary task. At the instance of his
friend, Count Magalotti, also an enthusiastic
admirer of Buccaros, the learned doctor resolved
to celebrate their paramount merits in a poem
published in their honour, but in which, we are
bound to say, the precious jugs seem to have
little to do with the manifold topics lightly
touched upon in this long strain of pompous
and highly sounding rhyme. The title of
' ' The Bucchereide " has been fixed upon to
allow an eccentric spirit to display his poetical
verve ; a broad frame in which many a picture
has found a place. We cannot attempt to
analyse this kaleidoscopic lucubration, it is
made up of paradoxes and sophisms alternating
with high precepts of philosophy and morals ;
some parts of it have been qualified as sublime,
others appear to touch the ridiculous, and we
jump abruptly from lines full of true pathos
into vulgar banter.

The MS. written for the benefit of his
friends, in the last years of the seventeenth
century, was only printed after the death of
the author. An anonymous annotator prefaced
the poem with an essay on the Buccaros in
which the information on the subject, given
previously by Magalotti in his Letters on the
Odoriferous Pottery of Europe and America,
was clearly and comprehensively condensed.
The 2nd edition of the Bucchereide contains
a short biography of Dr. L. Bellini, known to
the scientific world by his works on human
anatomy.

BEM]

CERAMIC LITERATURE.

[BEN

BEMROSE (W.) and WALLIS (A.).— The
pottery and porcelain of Derby-
shire : A sketch of the history
of fictile art in the county. Com-
piled from data hitherto unpub-
lished, and illustrated by a set
of the marks in use at the Derby
china factory, arranged in chrono-
logical order ; with biographical
notices of the proprietors, artists,
modellers, and others connected
with the works. London, Bern-
rose & Sons, 1870. 2d ed., 8°,
pp. 51 ; with a view of the Derby
works and 1 photo.

Published originally as a handbook to the
exhibition held at Derby in 1870, to which
the collectors of the Midlands had contributed
a large quantity of choice specimens of china
of local manufacture, this short monograph
deserved, on all accounts, to be reprinted in
the present form. Much of the information
we possess on the Derby china was printed
in it for the first time. The unremitting
interest that Mr. Bemrose took in the revival
of the Derby china factory, closed since 1849,
the facility he had to consult the ancient
documents and registers of the firm, and his
acquaintance with many a garrulous old work-
man, placed him in the position of obtaining
a fulness of particulars that would have been
denied to any other writer.

Notes upon the Nantgarw and Burton china
are given in the appendix.

BEMROSE (W.).— Bow, Chelsea, and
Derby porcelain ; being further
information relating to these
factories, obtained from original
documents not hitherto pub-
lished. London and Derby, Bem-
rose & Sons, 1898. 4°, pp. xi-174;
with 20 collotype pi. and 30 half-
tone illustr. £1, 5s.

Additional light is thrown upon some points
of the history of English porcelain by the un-
edited particulars contained in a quantity of
old deeds and documents which, after having
been preserved in the Duesbury family, came,
lately, into the possession of the author. They
relate, chiefly, to the founder of the Derby
porcelain works, and to his early connection
with the Bow and Chelsea factories. The
reprint of several catalogues of sale of the
current productions of these works previously
given by Read, Haslem & Nightingale, com-
plete a volume of some importance to the
collector of English china.

— A descriptive catalogue oJ

porcelain and other art objects
in the collection of William Bem-
rose, Elmhurst, Derby. Derby,
printed by Bemrose & Sons, 1898.
8°, pp. 61 ; with 25 phototype
pi. and 12 text illustr. Privately
printed.

Derby china is particularly well represented
in the ceramic section of this catalogue.

Longton - Hall porcelain.
Being further information relat-
ing to this interesting fabrique.
London, 1906. 8°, pp. xxi-72 ;
with 48 pi. (some col.) and 18
text illustr. £2, 2s.

The very wealth of illustrations with which
the volume has been provided, while it en-
riches it, may also open the door to criticism.
Several of the specimens can scarcely be accepted
as the work of Littler.

BENNDORF (Otto).— Riscatto di Ettore
su'Vaso ceretano. Roma, 1866.
8°, pp. 30 ; with 1 fold. pi.

" The ransom of Hector, upon a Ceret-
ian vase."

Griechische und Sicilische
Vasenbilder. Berlin, Guttentag,
1869-83. Fol.; with 62 lith. pi.
and text illustr. 1 50 m.

" Greek and Sicilian vase paintings."
While praising without reserve the learned
discrimination which has presided over the
selection of the examples of vase paintings
reproduced in this work, and the erudition
displayed in their elucidation, one cannot
help expressing the regret that the volume
should not have been brought out in a better
style. In its typographic execution it strikes
us as very inferior to the fine engravings and
the beautifully printed letterpress usual in the
earlier publications on the subject of Greek
vase painting. The meagre outlines in which
the plates are clumsily drawn betray the hand
of some unskilled lithographer, who has mechani-
cally transferred to stone the spiritless tracings
he had taken from the original pieces, and not
that of an artist capable of rendering the purity
and elegance of the designs of which it was
intended to give a satisfactory reproduction.
Plates and text are printed on a flimsy and
cheap paper which could only be excused in
the publications of the lowest order.

BENNDORF und GONZE (A.).— Vorlege-
blatter fur archaologische
Uebungen. Part 1-8. Wien,
1869-75. Series A. E. (by Benn-

'27

(] ERA MIC LITER A TUR K.

dorf alone). Wien, 1878. New
series (by Benndorf and others).
Wien, 1888-91. Fol.

"Materials for the practical study of
archaeology."

A very fine serial publication in which
classical ceramics occupy a large space.

BENOIST (C.)-— Ville de Limoges.
Analyse des actes et delibera-
tions de Fadministration munici
pale, de mai, 1790, & decembre,
1878. Limoges, 1889-1902. 8°.

"Town of Limoges. Analysis of the
Acts and resolutions of the municipal
administration."

Contains much information on the regula-
tions of the trade and the development of
technical instruction.

BERGERAT (E,).— Les chefs d'oeuvres
d'art a 1'Exposition universelle,
1878. Paris, Baschet, 1878. 2
vols., fol. ; with 40 photogr. pi.
and numerous illustrations.
Publ., 50 fcs.

" Masterpieces of art at the Inter-
national Exhibition of 1878."

A splendid publication, in which a few of
the chief ceramic establishments of France
and England have a separate notice, written
by various specialists and illustrated with re-
productions of the most remarkable exhibits.

BERGERET (£.)•— Briques et Pavages
emailles. L'atelier d'Argilly sous
les Dues de Bourgogne. Beaune,
Batault, 1900. 8°, pp. 54 ; with
63 col. pi. 8 fcs.

" Tiles and glazed pavements. The
tile works of Argilly under the Dukes of
Burgundy."

It is attempted to establish that the numer-
ous and interesting tile pavements found in
that part of Burgundy have all been made at
Argilly.

BERGSTEEN (K, G.).— Prakt. Anleitung
zum Anfertigen der Drainrohren
ohne kostbare Apparate. Berlin,

1858. 8°.

" Practical instruction upon the manu-
facture of drain pipes without employing
costly apparatus."

BERIO (F. M.).— Lettera del Marchese
F. M. Berio in delucidazione di

un vaso etrusco, diretta a S. Ex.
G. Capece Latro, Archivescovo
di Tarante, etc. Napoli, 1808.
Sm. 4°, pp. 87 ; with an appendix.
2 fcs.

" A letter .
Etruscan vase."

in elucidation of an

BERLING (K.). — Die Fayence und
Steingutfabrik Ubertusburg. Ein
Beitrag zur Geschichtedersachsi-
schen Keramik. Dresden, 1891.
8°, pp. 30 ; with 4 phototyp. pi.
5 m.

" The faience and stoneware manufac-
tory of Ubertusburg. A contribution
towards the history of ceramics in
Saxony."

A factory was established at Ubertusburg,
in 1770, as a branch of the Meissen royal
porcelain works, for the manufacture of fai-
ence and stoneware. Until 1776 it remained
in the experimental state. In that year Mar-
colini, the celebrated director of Meissen, took
the management into his own hands. Imita-
tions of Wedgwood ware — English "steingut,"
as it was then called — were manufactured with
some success. The ware was stamped with
the name of Wedgwood, a practice also fol-
lowed in many other German factories, hence
the identification of Ubertusburg specimens
made at that period offers some difficulty.
Later, the mark was altered into the full
name of Ubertusburg or its initial.

From 1814 up to 1835 the establishment
was conducted under the title of Royal Manu-
factory. After that it fell into private hands
and was closed in 1850.

Dresden. Konigl. Kunstge-

werbe Museum. Fiihrer. Abth.
III. Keramik. Dresden, 1895.
8°, pp. ]08 ; with 11 text illustr.

"Dresden. Handbook to the Royal
Museum of Industrial Art. Guide to
Section III. — Ceramics."

Short historical notices of the various groups
of ceramic ware exhibited in the museum. This
museum has been lately formed as an addition
to the Royal collection, of Oriental and Dresden
porcelain.

- Das meissener Porzellan und
seine Geschichte. Berlin, 1900.
4° ; with 30 pi. (15 coloured) and
219 text illustr. Publ., £8.

" The Meissen porcelain and the history
of its manufacture."

It was necessary that the mass of informa-
tion already obtained on the origin and develop-

BER]

CERAMIC LITERATURE.

[BEU

ment of the Meissen manufactory should be
gathered and classified, and that a reliable
history of its glorious days should be written j
in a definite form Herr K. Berling, keeper
of the Royal collection at Dresden, has accom-
plished the task in such a complete and suc-
cessful manner that his handsome volume will
long stand as the text-book on the subject. _ Its
value for the study of the Meissen productions
is greatly increased by the numerous plates and
illustrations, in which the particular styles cor-
responding to the successive periods of manu-
facture are clearly represented.

BERLUC - PERUSSIS. - - Les anciennes
faienceries de la Haute-Provence.
Digne, 188:5. 12°, pp. 15. 3 fcs.

" The ancient faience works of Upper
Provence."

A valuable supplement to the works already
published upon Moustiers factories and their
ramifications. Mane and Cere'st, two pot-
works of the same district, are mentioned here
for the first time. The marbled earthenware,
the staple article of manufacture of the Moulins
of Apt, is given special attention, and the finest
specimens of the ware, still in the possession of
the family, are fully described.

BERNAL (R.). -- Catalogue of the
celebrated collection of works
of art, from the Byzantine
period to that of Louis XVI.,
of Half Bernal, Esq., to be sold
in London by Christie & Man-
son, March, 1855. 4° ; with 34
pi. 10s.

The catalogue comprises 4294 Nos., including
many rare and beautiful specimens of pottery
and porcelain from all the chief manufactories.
The sale lasted 32 days and produced £45,400.

BERNDT (F.).— Die Gefasse unseres
Hauses. Drei Vortrage liber
Keramic. Aachen, Jacobi, 1880.
8°, pp. 85 ; with 1 pi. of vases.
2 m.

"The pottery of our houses. Three
papers on ceramic art."

Three lectures read before the members o
the Museum Society of Aix-la-Chapelle — 1st
The making of vases of clay. 2nd. The con
stituent parts of a vase and their decoration
3rd. Classical vases and modern ceramics
Printed at the expense of the Society.

BERTHET (Elie). — Maitre Bernard
roman historique. Paris, Dentu
1875. 12°.

A sensational novel, of which an imagiuarj
Palissy is made the hero.

BERTOLOTTI (A.).— Figuli, Fonditori e
Sculptori in relazione con la
corte di Mantova nei secoli XV.,
XVI., XVII. Notizie e docu-
ment! raccolti negli archivi Man-
to vani. Milano, 1890. 8°, pp.
115. 5 fcs.

" Potters, bronze founders, and sculp-
tors, in their connection with the Court
of the Dukes of Mantua, during the
fifteenth, sixteenth, and seventeenth
centuries. Notices and documents col-
lected in the archives of Mantua."

A large collection of interesting documents,
hitherto unpublished, of great importance for
the history of ceramic art, not only in Mantua,
but also in the other centres of Italian manu-
facture. In the correspondence between the
officers of the court and the majolists of Pesaro,
Venice, Urbino, Faenza, etc., which has been
discovered by the author, we find definite evid-
ence of the high estimation in which the potters
and their work were held by the princes and the
noblemen of Italy. These letters include com-
munications addressed to some masters of the
art, in which all the advantages that would
accrue to one who might be willing to come
and establish the industry in the town, are fully
enumerated ; others relate to sets of vases and
dishes, ordered by the Duke and by members
of his family for the adornment of their palaces.
Among the names of majolica painters, cele-
brated at that period, we find a few which
appear in print for the first time and whose
work is totally unknown to us.

BERTRAND (R. de). — Les carrelages
mureaux en faience et les tapis-
series des Gobelins k Dunkerque.
Dunkerque, Hubert, 1861. 8°,
pp. 13.

" The faience wall tiles and the Gob-,
elins tapestries at Dunkerque."

Description of the important tile panels,
painted in blue with scenes of the siege of
Dunkerque, now in the town museum.

BERYILLE (L.).— Notice sur le vernis
Martin ; suivie d'indications pour
la peinture sur terre fine cer-
amique. Paris, s.d. 8°.

" Notice of the Martin lacquer ; with
instructions for painting on fine pottery."

BEULE. — Causeries sur 1'art. Paris,
Didier, 1867. 12°, pp. 390.

" Small talk on art."

Contains a chapter on ' ' Chinese and Greek
Vases. " Mr. Beule", then permanent secretary
to the French Academy, was too highly pene-

BIA]

CERAMIC LITERATURE.

[BIA

trated with the love of classical art to reconcile
the dignity of the Greek ceramics with the
fancies of Oriental porcelain. "The Chinese
designers," he says, " never had any conception
of plastic beauty. Their vases evince, in their
wanton forms, a thorough disregard for harmony
of proportion and elegance of outline. Devoid
of the fundamental qualities which make a
Greek vessel a pure work of art, their porcelain
and their bronzes, however precious they may
be in material and workmanship, do not rise
above the level of ordinary industrial produc-
tions." The article had originally appeared
in the Revue des deux Mondea.

BIANCOLI (Conte Alessandro). - - L'arte

della majolica ; poemetto del
Cte- A. Biancoli, Bagnacavallese ;
con la vita dell'autore ed illus-
trazioni del canonico teologo
Luigi Balduzzi. Ravenna, Cal-
derini, 1875. 8°, pp. xxviii-187.
3 fcs.

" The art of Majolica ; a short poem
by Cte- A. B. of Bagnacavallo ; with
a life of the author and annotations by
Canon L. Balduzzi."

Whether or not Biancoli was a poet born, it
is not for us to decide ; but writing poetry seems
to have been his constant occupation, and the
list of his poetical productions which consist
chiefly of translations from the Latin is a very
heavy one. During his residence in the small
town of Faenza he kept friendly intercourse
with Count Ferniani. under whose direction the
last of the majolica factories, once the glory of
the place, was dragging its precarious existence.
It is to their joint exertions that is due the
lucubration of this poem. Ferniani, experi-
enced in the practice of the art, supplied the
argument ; Biancoli undertook to put his notes
into rhymes, and expanded the subject into
four cantos. The first treats of the clays and
materials employed in the manufacture of
pottery, and of the various ways of fashioning
the ware. In the second, the firing and en-
amelling processes are described. Instructions
for painting on majolica occupy the third. The
last canto opens with a laudatory epistle to
King Ferdinand IV. , then reference is made to
the trade that the Faenza manufacturers were
still conducting with foreign countries ; finally
an account is given of the State visit of Queen
Amelia of Saxony, and of the splendid display
of majolica vessels made in the civic banquet
which took place on that occasion.

The poem was completed in 1768. Biancoli
was fond of letting his MSS. circulate among
his literary friends, but being opposed to their
publication during his life time, he would never
consent to have them put into print. It was
more than one hundred years after his death
that a member of the family, a great admirer of
his verses, and particularly of the work L'arte
della Majolica, resolved to give it to the public.
The devoted admiration for the poetical merit
of the treatise entertained by the publisher
may not be shared by all readers, but the
amount of historical and technical information

it contains amply warranted the tardy publica-
tion which has saved it from oblivion.

BIARDOT (Prosper E.).— Explication du
symbolismedes terres cuites grec-
ques de destination funeraire.
Paris, Humbert, 1864. 8°, pp.
69. 3 fcs.

" Interpretation of the symbolical
meaning of the Greek terra-cottas asso-
ciated with funereal rites."

The pseudonym of P. Biardot covers the
personality of Miss Hamilton Gray, to whom
we owe the work published in London in 1840,
under the title of : Tour to the Sepu/chres of
Ktruria. This essay was the forerunner of the
big work described hereafter.

Les terres cuites grecques
funebres dans leur rapport avec
les mvsteres de Bacchus. Paris,
F. Didot, 1872. 8°, pp. 551 ; with
atlas fol. of 50 pi. (some col.).
Publ., 120 fcs.

"Greek funereal terra-cottas, and
their connection with the Bacchanalian
mysteries."

It took the author of this egregious work
more than thirty years to weave the intricate
web of a system of antiquarian study, in which
the hyperbolical methods, once in honour in
the exegetic school, are again brought into use.
One might have thought that the day has now
gone by when such metaphysical delusions
could be seriously entertained and discussed.
The whole theory developed in the book rests
upon the fundamental principle of hieratic
astronomy that "all cosmical forces are repre-
sented in antique philosophy by the planets
and the sidereal powers, materialised into
divinities with human form." Accepting these
premises, we must believe that the Greek
terra-cottas deposited in the tombs of the dead
were tutelary images representing the celestial
rulers of the universe. We need scarcely say
that such a dogma is too great a departure
from what the rationalist student of modern
time is willing to concede.

Let us give, as an example of the method
of elucidation adopted by P. Biardot, a few
quotations culled from the pages referring to
one of the large terra-cotta vases found in the
burial chambers of Canosa, important pieces of
which the writer had secured possession.

These vases, accurately reproduced on the
plates, belong to the group of polychromatic
vessels remarkable for the extraordinary pro-
fusion of figures, animals, and ornamentation
in full relief, affixed to the form. This style is
peculiar to the Apulean potter. Any unbiased
archaeologist would consider the over-crowded
decoration and the bright colours with which
it is painted, simply as a telling representation
of an epoch of decadence in which a showy
display of superfluous detail had replaced the
unity of conception and purity of design so

BIL]

CERAMIC LITERATURE.

[BIL

conspicuous in earlier works. The owner of
the vases, having cogitated at full leisure upon
their latent signification, has much to say on
their subject. What follows is but a short
abridgment of the recondite allegories which
the ecstatic contemplation of ornamental de-
vices, meaningless to the uninitiated, can
reveal to a true Exegete.

The quadriga of horses in full relief issuing
from the shoulder of one of the vases represents
the sun, while the moon is personified by the
woman's head placed underneath. The in-
clination of the head towards the left indicates
the moon's course. The five rosettes painted
on the sides, and distinguished by red and blue
colours, are the five planets. The dolphin,
introduced in the inferior part of the com-
position, is waiting to carry the souls of the
departed into the celestial regions. The
hippocamp, seen on the other side, is Psyche
represented under that form. Upon the base
of the vessel, painted in pink colour emblematic
of death, the infernal seas are represented by
horizontal bands of waved lines.

Leaving aside the interminable series of
disquisitions suggested by the ornamentation
of the vase, we come to the still more
extraordinary revelations embodied in the
various parts of its structure and the disclosure
of their occult signification.

The top of the vessel is provided with five
irregular necks, or apertures, the central one
symbolises the sun, those on the left the
milkyway and the zodiac, those on the right
the solstices of summer and winter. The
bottom is left open, which uncommon want of
completeness in t he form is to be regarded as
a forcible allusion to the migration of the soul
which, according to the religious belief of the
Greeks, leaves the body after death to repair
to the moon and appear before its judge, etc.

Each of the terra -cottas examined and
described by Prosper Biardot has been sub-
mitted to the same analytic treatment, but it
is to be questioned what benefit the archaeologi-
cal student can possibly gain from the perusal
of such delusive speculations.

BILBAUT(Th.).— Ceramiqueset faiences
anciennes. Vente a Douai, 1876.
Douai, Impr. Duthilleuil, 1876.
8° ; with 5 lith. pi. 5 fcs.

" Catalogue of sale of the Bilbaut col-
lection."

The collection, which comprised 530 Nos.,
included several large earthenware stoves of
German and Dutch manufacture, some French
faience, and numerous specimens of porcelain
from the northern factories of Douai, Lille,
Tournay, and Valenciennes. Demmin's pecu-
liar vocabulary has been adopted for the
description of the specimens, and a local artist
has reproduced the best ones on lithographic
plates of very amateurish treatment.

- L'art ceramique au coin du
feu. Premiere serie. I. Le
bibelot de Marie Desbryans.
Poteries d'Oiron et Rustiques

Figulines de Bernard Palissy.
II. Le Christ en croix de Mon-
sieur le conseiller Fortuyet.
Rouen bleu et Rouen poly-
chromes. Paris, 1892. 18°, pp.
376. 3 fcs.

" Ceramic art by the fireside, etc."

This novel is intended to impart to the man
of the world, in a disguised and entertaining
manner, a smattering of ceramic knowledge
that he might be reluctant to acquire in the
ordinary way. It is framed on the plan of the
ingenious toys in which children are expected
to find instruction combined with amusement.
With such a childish purpose, nothing better
than a childish production could be expected

La ceramique des Colonies
fran^aises. Age de terre. Age
de pierre. Poteries de la Guyane
et des Antilles francaises. Paris,
Societe d'editions scientifiques.,
1893. 8°, pp. 160. 3 fcs.

" Ceramics of the French Colonies.
Age of clay. Age of stone. Pottery of
Guyana."

In the historical exhibition of America, held
at Madrid in 1892, could be seen a dozen or so
of ancient earthen vessels of various origin. It
was with reference to these specimens that this
essay was elaborately concocted from notes and
documents previously accumulated apparently
without any definite purpose. It contains
much about the Deluge, the prehistoric races,
the ceramic art in general and the Greek vases
in- particular, but little or nothing about its
avowed subject — viz., the potteries of the
French colonies. We are asked to share the
perplexity of the writer who, in the face of
these simple globular or ovoid pots, originating
from various parts of the world, is at a loss to
account for the extraordinary likeness they
bear to one another. Forgetting the axiom
he has formulated at the opening of his
disquisition that: ''In all primitive races the
march of civilisation proceeds always on the
same lines," and that the earliest attempts
at vase making were bound to exhibit the
rudimentary notions of the sphere and the egg,
he devotes a vast amount of geographical and
historical research to the object of showing
how it came to pass that these notions
penetrated from one country into another.
He concludes by advocating the expediency
of recognising an age of clay. We thought
that the names of stone, bronze, and iron ages
had been fixed upon to designate the successive
periods in which man — "a tool using animal"
— had substituted a superior material to the
one he had so far employed for making his
weapons and tools, and transformed, thereby,
his social conditions. Were we to accept the
term, "age of clay," as applied to an ill-defined
period of the past, we might next be asked
to call the present epoch by the no less
appropriate term, the age of porcelain.

BIN]

CERA MIC L IT ERA TURE.

[BIN

BINDI (YincenZO).— Le majoliche di
Castelli ed i pittori che le illus-
trarono. Brevi notizie storiche
ed artistiche. Napoli, Cioffi,
1883. 4°, pp. 62. 6 fcs.

" The Castelli majolica and the artists
who have decorated it. Short historical
and artistic notices."

A complement to the works of Bonghi,
Cherubini, Rosa, etc., who have treated the
same subject. It contains a few documents
not given in the previous monographs.

RING et GRONDAHL — Catalogue de-
scriptif des figures et bas-reliefs
d'apres Thorvaldsen, executes
en biscuit dans la fabrique de
MM. Bing et Grondahl, a Copen-
hague. Copenhagen, s.d. 8° ;
with 8 lith. pi. (In Danish and
French.)

" Descriptive catalogue of the figures
and bas-reliefs, after Thorwaldsen, exe-
cuted in biscuit in the manufactory of
Messrs. B. & G., of Copenhagen."

BINNS (Ch. F.).— The manual of prac-
tical potting. Second edition,
revised and enlarged, specially
compiled by experts, and edited
by Charles F. Binns. London,
Offices of the Pottery Gazette,
1897. 8°, pp. 204. 15s. 3rded.,
17s. 6d.

Recipes obtained from various sources
occupy the largest part of this handbook.
To these are added the trade calculations and
some of the practical methods followed by
English potters in the manufacture of china
and earthenware. Mr. Ch. Binns has been,
for a time, associated with his father in the
management of the Worcester porcelain works

— Ceramic technology, being
some aspects of technical science
as applied to pottery manufac-
ture. London, Offices of the
Pottery Gazette, 1897. 8°, pp
102. 12s.

A small treatise intended to bring theorj
within the grasp of the manufacturer imj
fectly acquainted with chemistry.

The story of the Potter, being

a popular account of the rise anc
progress of the principal manu

factures of pottery and porcelain
in all parts of the world, with
some description of modern prac-
tical working. London, G. New-
nes, 1898. 16°, pp. 248 ; with 57
zinco-block illustr. Is.

Full of well selected and condensed informa-
tion. This small volume may do more than
many expensive publications to spread the
knowledge of ceramic history. Its modest
price places it within everybody's reach, and
its intrinsic value renders it equal, if not
superior, to the best popular handbooks on
the subject.

BINNS (Richard William). — A guide

through the Worcester Royal
Porcelain Works, with a descrip-
tion of the various processes and
manipulations used in the manu-
facture of porcelain. Worcester,
printed by F. Gosling, 1853. 8°,
pp. 35 ; with 10 lith. pi. of views
of the works, and a folding pi.,
printed from the old coppers
engraved by Robert Hancock
and others.

With this handbook, now become scarce, Mr.
R. W. Binns opened the series of publications
he has devoted to the history of the Worcester
Porcelain Works. . In the previous year, 1852,
he had entered into partnership with Mr. Kerr,
and taken the lead in the artistic manage-
ment of a firm which nourished for nearly fifty
years under his able direction.

Shakespere's Midsummer
Night's Dream. With illustra-
tions, as designed and modelled
by W. Boy ton Kirk, Esq.,
A.R.H.A., for a dessert service
manufactured by Messrs. Kerr,
Binns & Co. (late Chamberlain
& Co.), Royal Porcelain Works,
Worcester, Dublin, Philadelphia,
and New York, for the Dublin
Great Exhibition of 1853. Litho-
graphed by Day & Son. Dublin,
J. M'Glashan, 1853. Roy. 8°,
pp. 35 ; with 13 lith. pi., drawn
by J. A. Winter.

Although issued under the joint names of
the members of the firm, this volume was
actually prepared at the suggestion and under
the direction of Mr. Binns. He himself made
the general arrangement, and designed the

BIN]

CERA MIC LIT ERA TURE.

[BIN

forms and decorations of this dessert service,
remarkable on many accounts. Made for the
Dublin exhibition, it claimed to have been
manufactured from materials chiefly found in
Ireland ; an Irish sculptor of great talent had
been entrusted with the execution of the
models. The lithographic plates, reproducing
the groups and figures which entered into the
composition, do not give enough credit to the
work of Boy ton Kirk, as one may judge from
the few examples preserved in the Worcester
Museum.

Porcelains, like books, obey their destiny.
The service, having been sold after the exhibi-
tion, was soon lost sight of. All traces of it
were gone when, many years afterwards, Mr.
Binns chanced to come across a few of the
pieces, badly damaged, but probably the only
remnant of what had been one of the most
creditable and costly productions of the Royal
Porcelain Works. They were immediately
acquired and deposited in the museum, where
they stand as an excellent illustration of the
revival of ceramic art in England.

- The origin and early history
of the manufacture of porcelain
at Worcester. A memoir read
at the annual meeting of the
Archaeological Institute, held at
Worcester, July, 1862. Wor-
cester, Deyton, 1862. 8°, pp. 12;
with woodcuts and marks.

The Battersea works are justly credited with
the introduction of transfer printing applied
to the decoration of enamel on copper. Mr.
Binns demonstrated in this paper that the pro-
cess was soon after imported into Worcester
by the engraver Robert Hancock. There is
little doubt that printing on china was in full
practice at Worcester before Sadler & Green,
of Liverpool, claimed to be the inventors of its
application to pottery and applied for a patent,
which was not granted to them.

- A century of potting in the
City of Worcester, being the
history of the Royal Porcelain
Works from 1751 to 1851; to
which is added a short account
of the Celtic, Roman, and
Mediaeval pottery of Worcester-
shire. London, Quaritch, 1865.
8°, pp. 228 ; woodcuts. 1 Os.

This volume became the basis of the defini-
tive history of the Worcester manufactory,
published thirteen years later.

- A century of potting in the
City of Worcester, etc. (title as
above). London, Quaritch, 1878.
Roy. 8°, pp. 376 ; with 22 pi. and
87 text illustr. £2, 2s. A few

copies were printed on large
paper, with photographs added.

£7.

When R. W. Binns decided to write a mono-
graph of the Royal Porcelain Works the loss
of all account books and business papers left
by the old firm, and destroyed in 1848, greatly
increased the difficulties of his task. The first
edition was, on that account, insufficiently sup-
ported by documentary evidence. For years
afterwards the author went on gathering an
abundant harvest of supplementary materials.
References to the Worcester porcelain of the
early period were ferreted out of contemporary
books and periodicals. Some of the original
acts and deeds signed by members of the first
company, and other important evidence, were
accidentally discovered. Finally, a fruitful
examination of authenticated specimens, of
which Binns had seen an untold number pass
through his hand, rendered it imperative that
the small volume should be revised and en-
larged to the proportions of a compact history.
A Century of Potting in the City of Worcester
will remain the standard book on the subject.
Numerous illustrations reproduce the best types
of Worcester porcelain at the various periods
of manufacture. Proofs from the original
copper plates, still preserved at the factory,
form an interesting and useful complement.

- The poetry of pottery. Hom-
er's Hymn from Cowper. Long-
fellow's poem from Harper's
Magazine ; with pottery illustra-
tions by R. W. Binns, F.S.A.
Published as descriptive of a
pair of vases manufactured at
the Royal Porcelain Works for
the Paris Exhibition, 1878. Sm.
4°, pp. 37 ; with 4 photos. Pri-
vately printed.

The vases, illustrating painting and sculp-
ture, and the various operations of the potter's
art, were modelled by J. Hadley.

- Catalogue of a collection of
Worcester porcelain in the Mus-
eum of the Royal Porcelain
Works. Worcester, Baylis, 1882.
8°, pp. 183 ; with illustr. 10s.

The museum, entirely composed of specimens
of Worcester porcelain, contains also some of
the old moulds and models, and other relics of
the early manufacture. Its formation was
chiefly due to the untiring care of R. W.
Binns. It comprises 1900 Nos., and the
catalogue, of great importance for the study
of the ware, is illustrated with reproductions
grouped together chronologically.

- A guide through the Worces-
ter Royal Porcelain Works.

BIN]

CERAMIC LITERATURE.

[BIR

Worcester, 1882. 8°, pp. 48 ; with
illustr.

A guide-book presented to the visitors to the
factory.

BINNS (Richard William).— The partner-
ship deeds of the Original Por-
celain Company, founded by Dr.
Wall, Worcester, 1751. Wor-
cester, 1883. 8°, pp. 16; with
facsimile of signatures. Privately
printed.

These deeds, now preserved at the factory,
came to hand a few years after Mr. Binns had
published his great work.

- A guide through the Royal
Porcelain Works. Worcester,
1893. Obi. 12°, pp. 48; illustrated
with views of the modern work-
shops. Published on the occa-
sion of the Chicago Exhibition.

The Worcester Koyal Por-
celain Co. Worcester, 1893.
Obi. 12°, pp. 48 ; with phototype
illustr. Privately printed.

In addition to numerous examples of Wor-
cester porcelain, this handsome booklet contains
views of the royal castles for which dinner ser-
vices have been executed at the works.

- Worcester china. A record
of the work of forty-five years,
1852-1897. London, Quaritch,
1897. 8°, pp. 140 ; with 35 half-
tone pi. £1. A few copies have
been printed on large paper with
extra plates.

Not long after the publication of this volume
R. W. Binns peacefully ended his nobly and
usefully employed existence, admired and re
spected by all. The enormous quantity of
porcelain of all kinds that was produced under
his direction bears the impress of his personal
taste. Indeed, were it not that ' ' Worcester "
is a commanding name, by the side of which
all others are bound to fall into the shade,
"Binns' ware" would have taken a place
alongside Wedgwood ware or Minton's ware.
So exclusively had his whole career been linked
with the existence and welfare of his beloved
manufactory that, having recorded the Succes-
sion of improvements and described the finest
works made during the time of his manage-
ment, the writer has thought it unnecessary
to give us any particulars about his own life,
or to insert any remarks about the condi-
tions and prospects of the modern ceramic
art. The biographical notice, which we regret

not to find in this volume, should be written
while the memory of the man and his work
is still fresh in the minds of those who have
known him.

BINNS (W. I.).— The first century of
English porcelain. London, Hurst
& Blackett, 1906. 4°, pp. xvi-
251; with 77 pi. (45 col.). Publ.,

£2, 2s.

Unassuming in its scope, but full of reliable
information clearly presented, this volume will
be appreciated by the lover of old English china
as a preliminary study of the subject.

BIONDI (R.).— Collection des dessins
des difFerentes formes des vases
italo-grecs, communement ap-
peles etrusquesjusqu'iciconnus,
tires d'apres les originaux par
Mr. R. Gargiulo. Naples, 1822.
4°. Text in French and Italian,

" A collection of drawings of all the
shapes of the Italo-Greek vase, com-
monly called Etruscan, known up to
this time ; drawn from the originals by
R. Gargiulo."

BIRCH (S.) and NEWTON (C. F.),-A cata-
logue of the Greek and Etruscan
vases in the British Museum.
London, 1851-70. 2 vols., 8°,
pp. 372 and 334 ; with 9 pi. of
forms in outline. 12s.

The gallery of Greek vases in the British
Museum rivals, if it does not surpass, the finest
collections ever formed in Europe ; the Louvre
Museum is only superior to it in number of
specimens. For more than a century it has
been enriched by numerous and important
bequests, and no private collection has been
thrown on the market from which the trustees
of the British Museum did not acquire the
most select portion. At the present day, one
may say that the successive epochs and chief
styles of vase painting could nowhere else be
studied with so much fruit, and seen illus-
trated by so many examples of incomparable
beauty.

Birch and Newton's catalogue comprises less
than 2,000 Nos. The additional volume by
which it was to be completed has never been
published.

BIRCH (S.).— History of ancient pot-
tery. Egyptian, Asiatic, Greek,
Roman, and Etruscan. London,
Murray, 1858. 2 vols., 8° ; with
col. pi. and text illustr. Publ.,
£2, 2s.

BIR]

CERAMIC LITERATURE.

[BIS

- 2d ed. London, Murray, 1873.
8°, pp. xv-644 ; with 13 col. pi.
and 209 illustr. 18s.

The want of a text-book which should bring
together the history of the ancient pottery of
all nations, from the earliest ages, had often
been expressed. Dr. S. Birch was the first to
attempt the realisation of such a scheme, and
he brought it to completion with absolute suc-
cess. It would be nothing short of presumption
on our part to praise a work the immense value
of which is acknowledged by all students of
archaeology. All we can say is that, according
to the opinion of the masters of the science,
Birch's general history of ancient pottery has
remained, up to this day, an unassailable
authority on most of the subjects that are
treated in it. It condenses the substance of
many volumes of difficult access and often of
still more difficult interpretation ; all materials
have been selected with judicious discrimina-
tion and classified with clearness and accuracy.
In short, notwithstanding the advance accom-
plished in antiquarian knowledge since its
publication, it is still the best cyclopaedia of
ancient ceramic art to which we may refer, in
full confidence, for general information.

The following papers by S. Birch
appeared in Archceologia : —

- Explanation of the myth upon
a fictile vase found at Canino,
now in the British Museum.
1841. 4°.

- Observations on a fictile vase
representing the contest of Her-
cules and Juno. 1844. 4°.

- Observations on a vase found
at Sandy, Bedfordshire. 1844.
4°.

- Note on a vase with Pelops
Plexippus in the B. M. 1846. 4°.

- Description of a fictile vase
from Vulci, supposed to com-
memorate the fate of the family
of Agamemnon. 1847. 4°.

On a vase representing an
adventure of Perseus. 1855. 4°.

BIRDWOOD (G. C. M.).— The industrial
arts of India. London, 1880. 8°,
2d ed. One of the handbooks
of the South Kensington
Museum.

Pottery : pp. 300-324 ; with 12 illustr.

BIRINGDCCIO (Yanoccio).— De la piro-

technia. Libri. X. dove ampia-
mente si tratta non solo di ogni
sorte e diversita di Miniere, ma
anchora quanto si ricerca intorno
a la prattica di quelle cose, di
quel che si appartiene a Farte de
la fusione over gitto de metalli,
come d'ogni altra cosa simile k
questa. Composti per il S.
Vanoccio Biringuccio, Sennese.
Con privilegio Apostolico & de
la Cesarea Maesta & del Illus-
triss. Senate Veneto. Stampata
in Venetia per Venturino Rossi-
nello. Ad instantia di Curtio
Navo & Fratelli, MCCCCCXL.
4°, pp. xiv-168; woodcuts.

2nd ed. In Vinegia, per
Giovan Padoano, ad instantia di
Curtio Navo, MCCCCCL. 4°,
pp. xv-334 ; woodcuts.

" Pyrotechny. In ten books, dealing
very fully with minerals of every kind
and variety, as well as with all that per-
tains to the art of smelting and casting
metals, and of many kindred subjects."

"Capit. XIIII. — Discorso sopra a 1'arte
figulina, con alcuni suoi secreti, pp. 145."

Three pages have been thought sufficient to
unfold the secrets of the potter's art. Short as
they are, the descriptions of the various pro-
cesses applied to the making of common pottery
and majolica are quite practical. The most
important formulae in connection with the
manufacture of the times, that is the composi-
tions of the flux called "mazacotto," and of the
stanniferous enamel are perfectly correct. Less
mystery was certainly made at that moment
about the secrets of the trade, which we also
find disclosed in the MS. of Piccolpassi written
in 1548, than at a later period, when the so-
called recipes given by technical writers are
generally extravagant and untrustworthy.

BIRKET- SMITH (S.)- — Die malede
Vaser i Antikkabinettet i Kjo-
benhavn. Copenhagen, 1862.

"The painted vases in the Museum of
Antiquities in Copenhagen."

BISCARI (T. P. C.).— De vasi murrini.
Kagionamente d'Ignazio Paterno
Castello, Principe di Biscari &
AcademicodellaCrusca. Catania,

BIS]

CERAMIC LITERATURE.

[BLA

1781. Sm. 4°, pp. 39 ; with 2 pi.
3s.

" A disquisition on the murrhine

vases."

Written in support of the theory that the
murrhine vases were cut out of agate, onyx,
opal, rock-crystal, or other precious stones.
The two examples engraved to illustrate this
view are not calculated to strengthen the
argument. One reproduces a marble vase, 18
inches in height, discovered at Catania ; the
other an opal cup, with a gold mount, which
bears all the characteristics of Renaissance
work. Both were in the possession of the
author.

BISCARI (T. P. C.)---Ragionamento
sopra gli antichi ornament! e
trastulli de'bambini. Firenze,
1781. 4°, pi.

"Essay upon the children's trinkets
and toys in antiquity."

The plates reproduce the terra-cotta orna-
ments and toys discovered in the children
graves of Etruria, Rome, and Sicily.

BISCARRA (C. F.).— Dell'arte ceramica
e di Giuseppe Devers. Torino,
1871. 8°, pp. 12; with portr.
and illustr.

" Ceramic art and G. Devers."

Many a curious page might have been written
forty or fifty years ago, upon those singular
characters, the " arcanists " of faience-making,
whom the fad of the moment and a good
humoured curiosity had called into existence.
The tale has not been told, unfortunately ; the
genus is now extinct, and the writings of
Monestrol, the "Potter of Rungis," are about
the only remaining records of their grotesque
eccentricity.

G. Devers, who had just arrived from Italy
with the reputation of being in possession of
the secrets of the old majolica painters, had no
difficulty in taking advantage of a momentary
infatuation for all that related to the revival of
ceramic art. By no means a talented artist,
and with a very limited knowledge of practical
manufacture, he succeeded, nevertheless, in
keeping in suspense for a long while the interest
raised by his first experiments. He received
great encouragement from private amateurs,
and obtained from the French Government
commissions for ornamental majolica intended
for the decoration of public buildings. A few
years passed away, and the long-deferred ex-
pectations ended at last in smoke. Of his
experimental productions, hardly an example
could now be seen ; and one cannot repress a
smile at the unprofessional appearance of their
very imperfect execution.

The Italian notice written on the achieve-
ments of Devers differs, naturally, from what
we have just said. On returning to his native
conntry, he found that the report of his
Parisian successes had preceded him, and on

the strength of the fame he had acquired
abroad, Devers was covered with honours. He
gave up the practice of the potter's art, and
ended his days in the comfortable position of a
professor at the Academy of Turin.

BISCHOF (Carl). - - Die feuerfesten
Thone, deren Vorkommen, Zu-
sammensetzung, Untersuchung,
Behandlung mid Anwendung.
Mit Berlicksichtigung der feuer-
festen Materialen uberhaupt. 2d
ed. Leipzig, 1896. 8° ; with 90
illustr. and 2 pi. 10 m.

"The refractory clays; their occurrence,
classification, trial, treatment, and appli-
cation. With general considerations upon
the fire-resisting materials."

- Gesammelte Analysen der in
der Thonindustrie benutzen
Materialien, und der daraus
hergestellten Fabrikate. Leipzig,
Quant und Handel, 1901. Sq.
8°, pp. vi-165. 10 m.

" General analysis of the materials
employed in the ceramic industry, and
of the products manufactured from them."

BISSING (W. V.).— Catalogue general
des antiquites egyptiennes du
Musee du Caire. Vol. vi.-
Fayence Gefasse. Vienne, 1902.
4°, pp. xxi-114; with 1 pi. and
half-tone illustr. £1, 2s.

"Catalogue of the Egyptian antiquities
in the Cairo Museum. Faience vessels."

Under the common heading of Faience are
ranged glazed vessels of all kinds, steatite,
porcelain, or glazed earthenware. The col-
lection contains few pieces of a high order.

BIZEMONT (A. de).— Faience d'Orleans.
Paris, 1869. 4°, pp. 4. Extr.

"The faiences of Orleans; information
extracted from the works of Messrs.
Jacquemart, Demmin, and Grellou."

BLACAS (de). — Memoire sur une de-
couverte de vases funeraires pres
d'Albano. Paris, s.d. 8°, pp. 21 ;
with 5 pi. 2 fcs.

" Memoir upon the discovery of funer-
eal vases near Albano."

BLACKER (J. F.).— The AB C of col-

BLA]

CERA MIC LITER A TURE.

[BLA

lecting old English china. Giving
a short history of the English
factories, and showing how to
apply tests for unmarked china
before 1800. London, published
by the London Opinion Curio
Club, 1908. 8°, pp. 142 ; with
pen and ink illustr. Is.

A well digested and reliable summary of
the history of porcelain manufacture in England,
derived from the best sources.

BLAKE (William P.).— Ceramic art : a
report on pottery, porcelain, tiles,
terra -cotta, and brick, with a
table of marks and monograms ;
a notice of the distribution of
materials for pottery, chronicle
of events, etc. New York, Van
Nostrand, 1875. 8°, pp. 146 ;
vign. 3s.

A report of the United States Commissioner
at the Vienna International Exhibition, 1873.
The work was entrusted to a competent writer
and is commendable throughout ; the section of
ceramic products applied to building is especi-
ally well done.

BLANC (Ch. ).— Institut de France. Du
decor des vases, fragment d'un
ouvrage sur les arts decoratifs.
Paris, F. Didot, 1873, 4°, pp. 23.
4 fcs.

" On the decoration of vases ; an ex-
tract from a work on the decorative arts."

This paper was distributed to the Committee
of Improvements of the National Manufactory
of Sevres, of which Ch. Blanc, a celebrated art
critic, was a member. It is directed against
the reproduction of oil paintings and, in general,
of all realistic objects upon porcelain vases. The
writer advocates the use of brilliant and intense
colours and the effects to be obtained by their
happy combinations, while he deplores the
modern tendencies of obtaining a subdued
harmony by employing none but pale and
faded tints.

- Grammaire des arts decora-
tifs. Paris, 1882. 8°; with 2 col.
pi. and text illustr. Publ., £1.

" Grammar of the decorative arts."

Besides the article on ' ' The decoration of
vases," the volume contains an essay on " The
form of vases," pp. 338-416, which had appeared
in the Gazette des Beaux- Arts.

See TWers (collection).

BLANCHE! (Adrien). — Etudes sur les
figures en terre-cuite de la Gaule-
romaine. Paris, 1890. 8°, pp.
159; with 2 fold. pi. (Extr. from
the Memoires de la Soc. des Anti-
quaires de France.}

" Essay on the terra-cotta figures of
Roman- Gallia."

A commendable and interesting digest of all
that has come to our knowledge respecting the
Gallo-Roman terra-cottas. Tudot's great work
on the subject has been taken by Mr. Blanchet
as the basis of his essay ; but far from accepting
the theories advanced by that antiquary, he
points out their weak side and endeavours to
replace shadowy conjectures by more rational
views, the outcome of serious and unbiased
studies. A list of all the localities where terra-
cotta figures of Gallo-Roman origin have been
discovered and of the museums in which they
are now preserved, gives to the volume a
particular value.

Supplement,
with 6 pi.

Paris, 1901.

Les ateliers de ceramique
dans la Gaule-romaine. Paris,
Impr. Nat., 1899. 8°, pp. 19.

"The ceramic work-places in Roman-
Gallia."

As a complement to his former work, Mr.
Blanchet enumerates in this paper the names
of seventy localities where Roman potter's kilns
have been excavated.

- Essai d'une bibliographic de
la Gaule-romaine. Paris, 1902.
8°, pp. 32. (In Blanchet, Melanges
d' Archeologie.}

In addition to the titles of the standard
books on the subject, the list mentions the
articles that have appeared in the archasological
publications.

BLANCHETIERE.— Visite a la manufac-
ture de porcelaine de Bayeux.
Caen, Le Blanc - Hardel, 1877.
8°, pp. 16.

" A visit to the Bayeux porcelain
manufactory."

The kaolin employed in this manufactory is
extracted at Pieux, a neighbouring locality ; it
is of very inferior quality. With it are made
chemical utensils and fire-proof porcelain vessels,
particularly well adapted for the purpose they
are intended to serve

BLARAMBERG (de).- -Notice sur quel-
ques objets d'antiquite, de-

BLA]

CERA MIC LITER A TURE.

[BLO

couverts en Tauride dans un
tumulus, pres du site de 1'anci-
enne Panticapee. Paris, 1822.
8°, pi. 2 fcs.

" Notice of a few objects of antiquity
discovered in Taurida, within a tumulus,
near the site of ancient Panticapea."

BLASHFIELD (John Mariot). — On the
structure of Greek fictile vases.
London, 1852. Pp. 10. (Extr.
from the Transactions of the
Society of Arts.)

- An account of the history and
manufacture of ancient and
modern terra-cotta, and of its
use in architecture as a durable
and elegant material for decora-
tion. London, 1855. 8°, pp. 32 ;
with 2 illustr.

Patent terra - cotta vases,
tazze, figures, etc., manufactured
by J. M. Blashfield. London,
1857. 4°, 15 pi.

- A catalogue of 500 articles
made of patent terra-cotta. Lon-
don, 1857, 8°.

- A selection of vases, statues,
busts, etc.. from terra-cottas by
J. M. Blashfield. London, J.
Weale, 1857. 4°, pp. 4; with
105 wood engr. and lithogr. pi.
15s.

- Catalogue of terra-cotta works
of art sold by auction, May, 1858.
London, 1858. 8°.

- Examples of terra-cotta, etc.
Stamford, 1868. Obi. 4° ; with
72 lith. pi.

These catalogues were issued by a terra-cotta
manufacturer whose works, first established at
Mill wall, Poplar, were subsequently removed
to Stamford. The enterprise was formed into
a limited liability company in 1874. It failed
one year after. The plant and stock were sold
by auction in 1875.

BLASI (S. M. di). — Sopra un vaso
greco-siculo figurato del Museo

Martiniano. Palermo, 1755. Sm.
4°, pp. 20 ; with 2 pi. (In Saggi
di . dissertazioni delV Accademia
palermitana delBuon Gusto, vol. i.)

" Upon a Greco -Sicilian vase, with
figures, in the San Martino Museum."

The Palermitan antiquary exposes his theory
that all the painted vases found in Etruria have
a Sicilian origin.

- Breve ragguaglio del Museo
del Monastero di San Martino
delle Scale. . . . Palermo, 1774.

4°.

" A short notice of the Museum of San
Martino delle Scale."

The museum contained a large collection of
Greek vases.

BLATCHLEY (W, S.).— A preliminary
report on the clays and clay-
industries of the coal-bearing
counties of Indiana. Indiana-
polis, 1895. 8°, pp. 184; with 7
pi. (Twentieth annual report of
the Depart, of Geology, Indiana.)

Gives the list of all the manufacturers of
bricks and tiles in Indiana, with descriptions of
some of the works and of the processes of manu-
facture.

BLOCH (Leo). - - Die zuschauenden
Gotter in der rothfigurigen
Vasengemalden des malerischen
Stiles. Munchen, 1888. 8°, pp.
72. 2m.

" The 'on-looking' Deities in the paint-
ings of the red-figured vases of the pictur-
esque style."

In the elaborate and complex subjects painted
on the Greek vases of a late period, the scene is
often presided over by the figure of a Deity, of
a character more or less definite, a mysterious
force which inspires and animates the person-
ages engaged in the action. Koerte had thought
to recognise in these figures the impersonation
of the fateful agency which strikes the victim
of celestial resentment and condemns a hero to
distraction and madness. Bloch refutes this
theory, and describes, from among the paint-
ings in which a supernatural being is repre-
sented intervening in the affairs of mortals,
the many instances of an easily recognisable
tutelary and benevolent Deity. In the sub-
jects he has selected may be seen Pallas- Athene
shielding a combatant warrior, Hermes inspiring
a poet, Kros protecting the lovers, and other
scenes of unmistakable meaning.

BLOMME (A.). — Un carreau vernisse

BLO]

CERAMIC LITERATURE.

[BOD

trouve a Termonde. Anvers,
1877. 8°.

" A glazed tile found at Termonde."

BLONDEL (Spire).— Grammaire de la
Curiosite. L'art intime et le
gout en France. Paris, Marpon,
1884. 4°, pp. 396 ; with 25 pi.
and 190 illustr. 20 fcs.

" A grammar of curiosity ; art in the
house and good taste in France."
Ceramics, pp. 161-184.

BLUMNER (Hugo). --Die gewerbliche
Thatigkeit der Volker des klasis-
chen Alterthums. Leipzig, Hir-
zel, 1869. 8°, pp. 153. 4 m

" The conditions of industrial arts
among the nations of classical antiquity."

The work deals separately with the chief
industrial centres of antique civilisation. A
very complete index supplies the means of
referring to the places in which information
on "Pottery," "Vase Painting," and "Tile
Making" may be found in each section.

- Technologic und Terminologie
der Gewerbe und Kiinste bei
Griechen und Romern. Leipzig,
1899. 2vols., 4°. 20m.

" The technology and terminology of
the industries and arts of the ancient
Greeks and Romans."

In the part relating to ceramics are described
all the antique works of art, paintings, bas-
reliefs, medals, cameos, and intaglios on which
the making and painting of vases are repre-
sented. An article on the same subject pub-
lished in the Mittheilungen des Deutschen arche-
ologischen Institutes, Athens, 1879, has been
reprinted in this work.

BLUMSEIN (Carl). — Delft und seine
Fayencen. Hamburg, Richter,
1899. 8°, pp. 45.

" The town of Delft and its faience."

Havard's Histoire de la faience de Delft in
an abridged form.

BOCH (Roger VOn). — Geschichte der
Topferarbeiter von Staffordshire
im 19 Jahrhundert. Stuttgart,
1899. 8°, pp. 332. 7s.

" History of the operative potter of
Staffordshire in the nineteenth century."

A survey of the social conditions of the
workpeople and the state of the industry at
different periods, the organisation of the trade

associations, and the Government regulations in
the Staffordshire potteries, based on statistics
and official documents. A work of great im-
portance to the economist, and which, in this
concrete form, was wanting in the English
language before Owen had published his
volume on the same subject.

BOCK (0.). — Die Ziegelfabrikation,
Handbuch bei Anlage und
Betrieb von Ziegeleien. Weimar,
1894. 8°, pp. 336 ; with an atlas
4° of 22 double pi. 10 m.

" The manufacture of tiles ; handbook
to the establishment and conduct of a
tile manufactory."

A revised edition of Newmann's Ziegelfabri-
kation in F. Vogt's Neuer Schauplatz der Kunste
und Handwerke.

BOCK (W. de). — Poteries vernissees
du Caucase et de la Crimee.
Paris, 1898. 8°, pp. 64 ; with 31
illustr. (Reprint from Memoires
de la Soc. des Antiquaires de
France.)

" Glazed pottery from Caucasus and
Crimea."

The excavations conducted on the north and
east shores of the Black Sea have yielded frag-
ments of dishes and tazzas of a pottery roughly
decorated with incised patterns, supposed to
have been made in those countries in about
the twelfth and fourteenth centuries. Oriental
influence is easily recognisible in the designs.
They represent figures, animals, and ornamental
patterns similar in character to those seen in
early Persian work, and on the Armenian and
Coptic MSS. of the same period. The originals
are preserved in the St. Petersburg Museum.

BOCKH (A.). — De vasorum panathen-
aicorum generibus. Berlin, 1833.

" The Panathenaic vases."

BODE (W.)> —Die Kiinstlerfamilie
Delia Robbia. Leipzig, Seemann,
1878. 4°, pp 26; with 7 illustr.
(In Dohme Kunst und Kilnstler
Italiem.)

" The Delia Robbias, a family of
artists."

Die italienische Plastik.
Handbiicher der Kgl. Museum.
Berlin, 1893. 8°.

" Italian sculpture. Handbook of the
Royal Museum of Berlin."

Ueber Luca Delia Robbia.

BOD]

CERAMIC LITERATURE.

[BOE

Sitzungsbericht von der Berliner
Kunstgeschichtlichen Gesell-
schaft. Berlin, 1896. 4°.

"Notice of Luca Delia Robbia. A
report read at the meeting of the Society
of the History of Art at Berlin."

BODE (W.).-Altflorentiner Majoliken.
Ausstellung von Kunstwerken
des Mittelalters und der Renais-
sance. Berlin, 1899. 8°.

" Catalogue of an exhibition of works
of art of the Middle Ages and the Renais-
Ancient Florentine majolica "

sance.

- Luca Delia Robbia. Berlin,
1900. 4°, pp. 33; with 2 pi. and
4 illustr. (Reprint from Jahrbuch
der Konigl. Preussis. Kunst-
sammlungen. )

BOEHLAU (J.). — Bootischen Vasen.
Berlin, 1888. 4°, pp. 31; with 1
col. pi. and 36 text illustr. (Re-
print from the Jahrbuch.)

" Boeotian vases."

Vasenscherben aus Kyme in

Aeolis. Roma, 1888. 8°, pp. 21 ;
with 2 pi. and 8 illustr. (Extr.
from the Bull, der Imp. Inst.)

" Fragments of vases from Kyme in
Aeolia."

— Zur Ornamentik der Villanova
Period. Cosset, 1895. 4°, pp. 19 ;
with 16 illustr. (In Festschrift
der anthropologischen Gesell-
schaft.)

" On the style of ornamentation of the
Villanova period."

The prehistoric vases found at Villanova
differ so much in the style of their ornamenta-
tion from early Greek or Etruscan pottery that
a Celtic origin has, sometimes, been attributed
to them.

— Aus ionischen und italischen
Necropolen ; Ausgrabungen und
Untersuchungen zur Geschichte
der nachmykenischen griechi-
schen Kunst. Leipzig, Teubner,
1898. 4°, pp. 127 ; with map, 15
pi., and 74 text illustr. 20 m.

"The Ionic and Italic necropolis; ex-
cavations and researches on the history
of Greek art in the post - Mycenean
period.''

All the knowledge we possess as to the
origin and development of Greek art is chiefly
derived from the result of the early explora-
tions of the ancient burying grounds of Attica.
But the enlightenment yielded by the most
prolific excavations has not always been as
complete as might have been expected. In
most cases, the fact of finding representatives
of such a variety of styles accumulated on the
same spot, did not permit us to ascribe a
common origin to specimens so widely differing
in character ; it rather led us to infer that
many neighbouring and distant centres of
manufacture had been contributors, and that
the Greek colonies used to send their produc-
tions to the mother-country. To the combined
influence that the distinctive pottery imported
from all sides into Attica exerted upon the
Athenian ceramist should, therefore, be attri-
buted the formation of the national art. It
is the task of the historian to go back to the
sources, and localise the birth-place of each
particular style. Mr. Boehlau has made
a step in that direction in his searching
examination of the examples — undoubtedly of
local manufacture — he obtained from his exca-
vations in the Necropolis of lona and Samos.
They comprised many vases and fragments
anterior in date to the seventh century, deco-
rated with geometrical patterns and groups of
fantastic animals, in a style said to have come
from the East, and for that reason, usually
called the Oriental style. Far from accepting
this theory, he declines to see in the works of
what he has called the post-Mycenean period
any traces of imitation. He considers the
decorative elements employed by the Ionic and
Attic potters to be special to them. They
were ornamental notions of their own creation ;
it was from these models that the early Corin-
thian vase-painters borrowed their geometrical
traceries and winged animals, and not, as is
often asserted, from works imported from the
East.

- Eine niederhessische Topferei
des 17 Jahrhunderts. Marburg.
1903. Fol., pp. 9 ; with 15 pi
(2 col.). 10 m.

" A pottery of Lower Hesse in the
seventeenth century."

Slip decorated pottery excavated from the
site of the old factory. Figures and orna-
mental designs offer great analogy with those
of the English ware of the same period ; the
dates, ranging from 1621, are a little earlier
than those observed on any specimen found in
England.

BOEHLAU und YON GISLA.— Neolitische
Denkmaler aus Hessen. Cosset,
1898. 4°, pp. 21 ; with 7 pi. and
31 illustr. (15 of urns). 6s.

" The neolithic remains in Hesse."

BOH]

CERAMIC LITERATURE.

[BON

BOHMERT (Victor).— Urkundliche Ges-
chichte und Statistik der Meiss-
ner Porzellan Manufactur von
1710 bis 1880, mit besonderer
Rlicksicht auf die Betriebs-Lolm-
und Kassenverhaltnisse. Dres-
den, 1880. 4°, pp. 50. (Reprint
from Zeitschrift des Kg I. Sachs.
Statistischen Bureaus.)

" Documents concerning the history
and the statistics of the Meissen Roy.
manufactory of porcelain from 1710 to
1880; with special reference to the man-
agement, wages, and financial conditions
of the establishment."

BOHN (Henry G.)-— A guide to the

knowledge of pottery, porcelain,
and other objects of vertu, com-
prising an illustrated catalogue
of the Bernal collection of works
of art, with the prices at which
they were sold by auction, and
the names of their present pos-
sessors. To which are added an
introductory essay on pottery
and porcelain, and an engraved
list of marks and monograms.
London, G. Bell, 1857. 8°, pp.
504; with 40 illustr. A 3d ed.
was publ. in 1876. 5s.

These were indeed the halcyon days of the
china collector. Collecting choice specimens of
the ceramic art, at first the hobby of a select
group of dilettanti, was becoming a far spread-
ing passion in refined society. A few public
auctions, in which important collections were
dispersed, had thrown purchasers and sellers
into direct communication. The chances of
securing a work of art of unparalleled value
were, then, as frequent as were the opportuni-
ties of obtaining an extravagant price for any
ancient piece of recognised beauty ; to these
circumstances was due the brisk movement
that took place at that moment in the curio
market. From the prices obtained at the
Bernal sale, we may judge of the degree of
eagerness with which really fine works were
competed for ; never had the productions of
ancient industrial arts attained such high
figures, and all seemed to promise that they
would still increase in the future. For long
thiscatalogue has been the vade-mecum of dealers
and collectors, who always referred to it before
completing any transaction. The historical
introduction cannot be said to be of much
value ; it is a mere summary of Marryat's
work. The illustrations, which had been pre-
pared for the sale catalogue, are too imperfect
to give a correct idea of the originals.

BOHN (Collection, H. G.).- Catalogue of
sale. London, Christie, 1875. 8°.

The collection comprised 646 Nos.

BOLLAERT (I.)-— Observations on the
Peruvian tomb pottery ... in
the Museum of Mr. Mayer.
Liverpool, 1860. 8°. (Transac-
tions of the Lancashire and Che-
shire Hist. Soc., vol. i.)

BOMANS (E. A.).— Forteckning ofver
framl. byggmastaren och konst-
vannen E. A. Bomans efterlem-
nade dyrbara och valdasamlingar.
Tredje afdelningen : Den Swen-
ska keramiken. (Rorstrands och
Mariebergs till verknin gar.) Stock-
holm, H. Bukowski, 1888. 8°,
pp. 159 ; with 200 marks, 12 pi.
in col., and illustr. in the text.
8fcs.

" Catalogue of sale of the Bomans col-
lection at Stockholm. Swedish ceramics.
Rostrands' manufactory, 560 Nos. —
Mariebergs', 620 Nos."

BONAPARTE (Lucien). -- Catalogo di
scelte antiquita etrusche trovate
negli scavi del principe di Can-
mo, etc. Viterbo, 1829. 4°. 2fcs.

" Catalogue of the choice antiquities
discovered in the excavations conducted
by Prince di Canino."

An English translation of this catalogue was
published by Lord Dudley Stuart in the
Journal of the Society of Antiquaries, vol. xxiii.,
under the title: "Catalogue of one hundred
vases forming part of the collection lately dis-
covered on the estate of Canino. 4°, pp. 130-'27t5,
with facsimile of inscriptions."

— Museum etrusque de Lucien
Bonaparte, Prince de Canino,
Fouilles de 1828-29. Vases
peints avec inscriptions. Viterbe,
1829. 4°, pp. 211 ; with 42 pi.
of inscriptions and 5 col. pi.
drawn by L. Valadia. 25 fcs.

"The Etruscan Museum of L. Bona-
parte, Prince of Canino ; excavations of
1828-29 ; painted vases with inscriptions."

The memorable discovery of Etruscan re-
mains, made at Vulci, had kindled in the heart
of the explorer the ambition of reviving the

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CERA MIC LIT ERA TV RE.

[BON

forgotten glory of ancient Etruria. Unfor-
tunately, the exclusive standpoint from which
he considered the subject made him lose sight
of the established facts of general history, the
mere recollection of which would have checked
the impulse of his impressive imagination.
When he came to the conclusion that the
tombs discovered in Etruria were anterior in
date to the foundation of Rome, and that all
the painted vases they contained were of
Etruscan origin, he was perfectly convinced
of having supported his opinion with unassail-
able arguments. His theories have all been,
subsequently, confuted. In his partial de-
ciphering of the fictile inscriptions, he has
rendered important services to philology.

BONAPARTE (Luden).— L. P. di Canino.
Lettera contenente la descrizione
del suo Museo di antichita
etrusche, aggiimtovi un articolo
inedito sopra una coppa che rap-
presenta 1. Ercole Assirio. Mil-
ano, Vallardi, 1833. 8°, pp. 22.

"A letter giving a description of P.
di Canino's Museum of Etruscan anti-
quities ; with a hitherto unpublished
article on a tazza representing the
Assyrian Hercules."

The description of the vase is an extract
from the MS. of the second volume of the
Museum, which was never printed.

BONGHI (DiegO). --Intorno alle ma-
joliche di Castelli. Napoli, G.
Nobile, 1856. 4°, pp. 35. 5 fcs.

" Notice of the majolica made at
Castelli."

This incomplete sketch was soon succeeded
by several monographs by Rosa, Cherubini,
Bindi, and other writers, in which the history
of the Castelli majolica and of its artists was
most thoroughly treated.

BONI (A-). — Album di decorazioni
esseguite in terra-cotta nello
stabilimento A. Boni & Co. di
Milano. Milano, 1864-65. 4°;
60 lithogr. pi.

" Album of ornamental terra- cottas
executed in the establishment of A,
Boni & Co. at Milan."

A manufacturer's pattern book. An immense
choice of models ranging from the diminutive
spill vase to architectural designs for the
complete decoration of the walls of a palace.
Apart from the reproduction of a few Renais-
sance friezes and medallions, all modern subjects
show the same deplorable taste.

BOMAFFE (Edmond).-Les faiences de
Saint Porchaire. Paris, 1888.
42

8°, pp. 18 ; with 1 pi. and illustr.
(Reprint from the Gazette des
Beaux- Arts.) 3 fcs.

"The faiences of Saint Porchaire."

A name had been found by Mr. B. Fillon for
the enigmatic earthenware previously known
as Henri-deux faience. He proposed that it
sliould, henceforth, be called "Oiron ware," and
so specious were the arguments on which he
rested his theory that it was accepted almost
without comment. Not long afterwards, Mr.
Bonnaffe chanced to meet with a document
which 'threw an unexpected light upon the
question, and the name of Oiron ware had to
give way to that of Saint Porchaire.

In the inventory taken at the castle of
Thouars, in 1542, after the death of Francois
de la Tre'mouille, mention is made of "two
tazzas of Saint Porchaire clay," and of " a large
flat box in which are enclosed two salt cellars
of Saint Porchaire. " That they were considered
as objects of great value can be inferred from
the fact that they were kept in the same
cabinet in which jewels of gold and precious
stones were deposited. The village of Saint
Porchaire is situated near Bressuire, in Poitou,
where the larger number of specimens of Henri-
deux ware have been discovered. Pottery is
known to have been made in that locality as
early as the fifteenth century, and the clay
found in the vicinity corresponds exactly to
that with which the ware is made. One of the
evidences on which B. Fillon depended as the
mainstay of his theory was the tile pavement
still extant in the Oiron Castle. This Mr.
Bonnaffe considered, on the contrary, as rather
damaging to the case, for if majolica tiles may
substantiate to some extent the assumption
that pottery was made on the spot, it also
shows that the previous pieces of yellowish
clay, inlaid with red and black arabesques,
cannot have the same origin, so different are
they in their style of manufacture. Starting
from these premises, Mr. Bonnaffe instituted
a fresh examination of the whole question,
and it was not long before historical evidences
came to corroborate his personal opinion. The
Lords of Poitou were the Laval-Moritmorency ;
Francois de la Tre'mouille, who possessed the
Saint Porchaire pieces, was Seigneur of Bres-
suire. The coats of arms of the two families
occur upon some of the finest specimens of the
ware. A capital A, many times repeated upon
the candlestick of the Fountaine collection,
stands there for the Christian name of Anne de
Montmorency; the presence of the arms of this
personage on the same piece leaves no doubt on
this point. In- the same manner the letter G,
which forms a kind of diaper upon the ewer
of the Magniac collection,' is the initial letter
of the name of (Jlilles de Laval and not that of
Gouffier, as B. Fillon supposed. Gilles de
Laval was the son of Laval -Montmorency,
whose coat of arms figures upon another piece
in the possession of Baron Alphonse de
Rothschild.

If we recollect that tazzas and salt cellars
appear frequently on the list of all the known
specimens of the ware, we must acknowledge
that the Saint Porchaire theory rests upon
very solid grounds, and that Mr. Bonnaffe"
comes out a victor in the controversy.

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BONNET (A.). - - Die steinzeitliche
Ansiedelung auf dem Michels-
berge bei Untergrombach. (In
Veroffentlwhungen der Grossher-
zoglich Badischen Sammlungen
. . . in Karlsruhe.) Pp. 39-54 ;
with 6 pi. of urns, and text
illustr. Karlsruhe, 1899. 4°.

" The stone age settlement on the
Michelsberg, near Untergrombach."

BONNEYILLE (P.) et JAUNEZ.— Les arts
et les produits ceramiques. La
fabrication des briques et des
tuiles, suivie d'un chapitre sur
la fabrication des pierres arti-
ficielles et d'une etude tres com-
plete des produits ceramiques,
poteries communes, porcelaines,
faiences, etc. Ouvrage accom-
pagne de notes, de tableaux, avec
nombreuses figures dan's le texte
et plusieurs planches. Paris, E.
Lacroix, 1879. 8°, pp. viii-184 ;
vign. and 3 pi. 10 fcs.

" Ceramic arts and their products. The
manufacture of bricks and tiles ; with a
chapter on the manufacture of artificial
stone, and a very complete essay upon
ceramic products, common pottery, faience,
porcelain, etc. With additions of notes,
tabular statements, numerous illustra-
tions in the text, and several plates."

The title tells us all that is to be found in
the book, and perhaps a little more. Written
by two civil engineers, in reference to pottery
applied to the building trade and to the
machinery employed in modern industry.

BONSERGENT (L. F,)- — Epigraphie
romaine et gallo-romaine. Sigles
figulins trouves a Poitiers.
Poitiers, 1872. 8°, pp. 45.
(Reprint from Arch. Hist, du
Poitou.)

"Potters' marks found at Poitiers."

BOOTE (T. and R.).— Manufacturers of
patent encaustic, mosaic, and
ornamental tile pavements, etc.
Pattern books of ornamental
tiles, lith. in .-col. by J. Fleming
& Co. Leicester. Imp. 4°. The

last album was published in 1908.
Fol.

Messrs. Boote bought the Waterloo Works
at Burslem in 1850, and introduced there the
manufacture of earthenware tiles by patent
processes.

BOOTH (G. R.).— Tables of the weights
and measures required in using
potter's materials in the slop and
dry state. With an easy mode
of calculating any quantities by
them. To which are added
several useful hints connected
with the art of potting, adapted
to expedite the labour and pro-
mote the accuracy of the busi-
ness. London, Tilt & Bogue,
1843. 12°, pp. 67.

G. R. Booth was a colour maker at Hanley

(Staffs. ).

BORDEAUX (Raymond). - - Exposition

d'objects d'art et de curiosite a
Evreux en mai 1864. Compte
rendu au point de vue normand.
Caen, Le Blanc-Hardel, 1865.

8°, pp. 27.

" The Evreux exhibition of works of
art and curiosities, considered from the
point of view of the history of art in
Normandy."

- Les brocs a cidre en faience
de Rouen. Etude ceramique nor-
mande. Caen, Le Blanc-Hardel,
1868. Imp. 4°, pp. 32 ; with 4
chromolith. pi. and 4 etchings
printed in the text. 15s.

" The cider pitchers in Rouen faience.
Essay on Norman ceramics."

A monograph of the cider pitcher, a drinking
vessel peculiar to the province of Normandy,
the shape of which differs much, according
to the writer, from that of the wine or beer
jugs used in other provinces. The chief interest
of these pitchers lies in the fact that, being
often presentation pieces from a workman to
a friend or a patron, they have been accordingly
inscribed and dated by their maker.

BOREAU et LEDAIN.— Notice sur une
sepulture gallo-romaine decou-
verte a Gourge, ornee de dessins
representant les principaux vases

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CERA MIC LIT ERA TUBE.

[EOT

funeraires. Niort, 1863. Pp.12;
with 4 pi.

" Notice of a Gallo-Roman sepulture
illustrated with reproductions of the
funereal vases."

BORRIS (H. von)— Berichte iiber Aus-
grabungen, etc. Halle, a. d. S..
1886. 4°. Parts III. -IV. of Vor-
geschichtliche Alterthiimer des
Sachsen. Pp. 35 ; with 7 pi. and
illustr. in the text.

" Reports on the excavations, etc."
Part III. contains the reproduction of a
remarkable cinerary urn, decorated by the im-
pression of cords or twisted twigs. Other
pieces of early Saxon pottery are given in
Part IV.

BORRMANN (R.)— Die Keramik in der
Baukunst. Stuttgart, 1897. 8°,
pp. 152 ; with 85 illustr. (From
Handbuch der Architektur, vol.
iv.) 10 m.

" Architectural ceramics."

Examples of the introduction of terra-cotta,
enamelled ware, majolica, tiles, etc., in archi-
tectural buildings at all times and in all
countries.

- Moderne Keramik. Leipzig,
Seemann, 1902. 8°, pp. 122; with
110 illustr. 6 m.

"Modern ceramics."

A review of the new processes of manufac-
ture and styles of decoration shown by ceramic
manufacturers in the recent exhibitions.

BOSANQUET (R. C.)— Some early funeral
lekythoi. London, 1900. 4°, pp.
15. (Reprint from the Journ.
Hell. Studies.}

BOSC d'ANTIC.— Oeuvres de Mr. Bosc
d' Antic, Dr. en medecine, mede-
cin du roi par quartier, etc.,
contenant plusieurs memoires
sur 1'art de la verrerie, sur la
faiencerie, la poelerie, la poterie,
1'art des forges, la mineralogie,
Felectricite, et sur la medecine.
Paris, 1780. 2 vols., 12°, pp.
together xlviii-789 ; with 3 pi.
10 fcs.

" Works of Mr. B. d' Antic, M.D., one
44

of the physicians in ordinary to the
King, containing several essays on the
arts of glass-, fa'ience-, stove-, and pot-
making, etc."

The essay on faience manufacture was read
by Bosc d' Antic before the academy of Dijon,
and reprinted in the first volume of his works,
pp. 258 283.

BOSCHINI (G.)«— Sopra due piatti di-
pinti in majolica. Lettera al Sig.
Giuseppe Mayer. Ferrara, 1836.
Sq. 8°, pp. 8.

"On two dishes of painted majolica.
A letter to Joseph Mayer."

One of the dishes bears the motto of
Alfonso II., Duke of Ferrara ; Ardet in
Sternum ; both are attributed to Ferrara
manufacture.

BOSSEBOEUF (L'abbe F.).— Documents
sur 1'art ceramique en Touraine.
Tours, 1893. 8°, pp. 57. 5 fcs.

" Documents relating to ceramic art in
the Touraine Province."

Notices of two small fa'ience manufactories
established respectively in 1730 and 1746. Also
documents referring to an unsuccessful attempt
to establish the manufacture of porcelain at
Tours in 1782.

BOSSL — Nouvelles observations sur
les Vases Murrhins. Milan, 1808.
8°.

" New remarks upon the Murrhine
vases."

BOTH (Dr. GiO.).— I bocali di Monte-
lupo, memorie relative a tale
monument!. Firenze, N. Conti,
1818. 18°, pp. 215. 2 fcs.

" The jars of Montelupo ; a memoir
relating to these lost monuments of the
art."

Champfleury describes this little volume as
being a skit directed against the collectors of
Italian majolica. In this case, as in many
others, the biographer, not having seen the
book, has depended too much upon his own
imagination. In reality it is nothing else but
a work of fiction, intended to convey a high
moral teaching under the guise of a children's
tale. A wonderful museum of antique pottery is
supposed to have once been formed at Montelupo
— a town still celebrated for the making of
majolica — by the prior of the convent. The
vases it contained, discovered during excava-
tions made in the monks' garden, were said
to be of Etruscan origin, and dated from the
fourth century B. C. They were covered with
elaborate subjects painted in the most brilliant
colours, and each bore an appropriate inscrip-

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CERAMIC LITERATURE.

[BOU

tion. So curious and interesting was that
unique collection that it attracted crowds of
visitors from all parts of Italy. After the
death of the prior, his successor, who happened
to be a man of stern and bigoted disposition,
with no leaning towards antiquarian studies,
disapproved of a frivolous curiosity which
caused so many strangers to come to the
place and disturb the solitude of the friars.
To remove the cause of such undesirable in-
trusions, he ordered the whole contents of the
museum to be broken and thrown away into
the river. The tale goes on with the adven-
tures of a descendant of the learned prior,
who, anxious to establish the accuracy of such
tradition, started on an eventful expedition
for the recovery of some of the lost vases.
After many troubles he succeeded in laying
hands, if not upon any of the actual specimens,
at least upon a MS., written by the founder of
the ill-fated collection, in which all the objects
it contained were minutely described. It was
seen that every picture was an illustration of
some philosophical maxim, inscribed underneath
in Latin poetry. The wise and virtuous senti-
ments they expressed struck the discoverer with
so much admiration that he decided to publish
the MS., for the edification of youth and old
age and the glory of his ancestor.

BOTTICHER (£.)• -- Hissarlik wie es
1st. Fiinftes Sendschreiben liber
Schliemann's Troja. /fer£n,1890.
Sq. 8°, pp. 115 ; and illustr. 4 m.

" Hissarlik as it is. Fifth correspond-
ence on the Troja of Schliemann."

BOTTIGER (C- A.)-— Griechische Vasen-
gemalde. Mit arch. u. artist.
Erlauterungen der Originals.
Weimar, 1797-1800. 8°. Part
i.-iii., pp. 160-232-288; with an
atlas fol. of 15 pi. engr. by Tisch-
bein from vases in the Hamilton
collection. All published. 15 m.

" Greek vase paintings. With archaeo-
logical and artistic elucidations of the
subjects."

During what is called the artistic phase of
the study, classical antiquaries had considered
Greek vases as pure works of art. They were
succeeded by the writers of the exegetic period,
a group of sophistical and pretentious debaters,
bent on investing any simple painting with a
mystical signification. Their dreamy cogita-
tions never left the field of nebulous mythologies
and obscure metaphysics. Bottiger, one of the
first and most fanatical expounders of the new
creed, went farther than any of his contem-
poraries in the way of visionary divagations.
No archaeological value is now attached to this
work. To make matters worse, the German
language seems to have had for him no form
of sentence intricate and tortuous enough to
impart solemn obscurity to the expression of
thoughts of often impenetrable depth. This

alone would render the perusal of the whole
volume a painful ordeal.

BOTTIGER. --Ueber den Raub der
Cassandra — See Meyer.

BOUFFIER (H.).— Anleitung zur Ma-
jolikamalerei. S.I., 1892. 8°,
pp. 37 ; illustr.

BOUILHET (Henri).— La manufacture
de Sevres et ses produits a
1'expositioii des Champs-Elysees,
1874. Rapport de Mr. H. Bouil-
het, k la Societe d'Encourage-
ment. Paris, impr. Bouchard-
Huzard, 1875. 4°, pp. 18.

"The manufactory of Sevres and its
products at the Exhibition of the
Champs-Elysees, in 1874."

This exhibition had been organised by the
"Socie"t6 de 1'Union Centrale." It was a sign
of the times that the late imperial manufactory
had condescended to send its products to an
exhibition organised by private enterprise.

- A reprint with the same title,
but with additions and correc-
tions, appeared shortly after-
wards. Paris, impr. Clay, 1875.
8°, pp. 31.

BOUILLET (J. B.)« --Notice sur les
estampilles avec noms de potiers
observees sur les vases gallo-
romains decouverts en Auvergne.
Clermont - Ferrand, Thibaud,
1864. 8°.

" Notice of the stamps with names of
potters seen upon the Gallo-Roman vases
discovered in Auvergne."

BOULLEMIER (F.)« -- Suites d'orne-
ments, frises, bordures et rnos-
aiques applicables k la porcelaine,
les cristaux, Forfevrerie, les
bronzes, la t61e vernissee, la
gauffrure, la reliure, les etoffes
de tout genres, et a tout ce qui
concerne le decor. Paris, Engel-
mann, 1831. 36 lith. pi., 4°.
12 fcs.

" Ornaments, friezes, borders, and
mosaics, suitable for the ornamentation

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CERAMIC LITERATURE.

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of porcelain
decoration."

and all styles of

To adorn with a more or less intricate pat-
tern the border of a vase, the edge of a shawl,
or the margin of a book, was all that was
expected from the French industrial artist in
the days of King Louis Philipe. Any floral
design, either in the Italian renaissance or
Arabic character — then' the favourite styles —
was deemed to look equally well upon what-
ever material it could be applied to. Por-
celain and cast iron, textiles and wood carving,
received indiscriminately the same ornamental
treatment. Hence the publication of albums
composed, like the present one, of sketches of
indefinite application and questionable taste.
Although our decorative artists would smile at
the idea of finding in them anything worth
borrowing, they were greatly admired, and
made great use of, by the china painters of
the time.

The name of Boullemier is well known in
connection with the manufactory of Sevres,
to which several members of the family have
been attached as painters and gilders. Antonin
Boullemier, a nephew of the engraver of this
album, came over to England in 1871. He
worked chiefly for Messrs. Minton, and up to
the time of his death, which occurred in 1900,
he always gratified the taste of the true con-
noiseur by the refined treatment of the figure
subjects he knew so well how to paint upon our
fine English china.

BOURDODKOFF (I.)- — Ceramique de
FAsie Centrale. St. Petersbourg,
1905. 4°, pp. xviii ; with 5 pi. of
forms and 22 col. pi. 12s.

" The pottery of Central Asia."

Excellent reproductions of the domestic
pottery, mostly of cheap manufacture, made
in Bokhara, Samarkand, and other towns of
Turkestan.

BOURGEOIS (A.).— La peinture sur por-
celaine & la Comedie Frai^aise.
Marie Besson, artiste peintre,
eleve de Sarah Bernardt. Paris,
1899. 12°, pp. 39.

" China painting at the Comedie Fran-
9aise. M. Besson, painter, pupil of Sarah
Bernard t."

A long preamble on the talent of the artist
followed by the list of the portraits painted by
her on porcelain.

BOURGEOIS (E.).— La ceramique mod-
erne. Grand depot deporcelaines,
faiences et verreries. Paris, s.d.
(1885 ?). 4° ; with 40 pi. in col.
and list of prices. Introductory
notices by Louis Enault. 15 fcs.

Catalogue of the porcelain and earthenware,
46

from the leading manufactories, sold by the
" Grand de"p6t," Paris, rue Drouot. The notices
written by L. Enault form a short history of
the ceramic art.

BOURGEOIS FRERES (Catalogue de la Collec-
tion).— Catalogue of sale. Cologne,
1904. 2vols. 4°; with half-tone
illustr. 12 fcs.

Ceramics, 302 Nos.

BOURGOIN (Jules).— Les arts arabes.
Architecture,menuiserie,bronzes,
plafonds, revetements, pave-
ments, vitraux, etc. Paris,
Morel, 1873. 1 vol. Text and
atlas fol. of 92 col. pi. 100 fcs.

" Arabian arts. Architecture, wood-
carving, wall decorations, pavements,
stained glass, etc."

Contains a series of patterns of Arabian
faience tiles.

- Les elements de Fart arabe.
Le trait des entrelacs. Paris,
Didot, 1879. 4° ; with 190 pi. in
outline and 10 col. pi. 20 fcs.

"The elements of Arabian art. The
tracing of strap-work."

BOURNE (W. R.).— A collection of cer-
amic receipts for many years
used by the late John Bourne,
of Burslem, for fifty years a suc-
cessful practical potter. Hanley,
W. R Bourne, 1884. 8°, pp. 108.
Publ., £1, Is.

Many valuable hints may be gathered from
the long list of mixtures compendiously set
down without further instructions, but, as a
rule, one is liable to expect too much from the
contents of a professional handbook of this
order. Colour making, for instance, requires
more than the mere weighing of the component
substances. Like conjuring books, they may
disclose to us the secret way in which the trick
is done, but only he who is gifted with the
acumen and the deft finders of a born conjurer
may succeed in performing them with credit.

BOURRY (Emile).— De la plasticite des
argiles au point de vue du fabri-
cant de terres cuites. Paris,
1886. 8°, pp. 82 and 11. 3 fcs.

" A treatise on the plasticity of potters'
clays considered from the terra - cotta
manufacturer's point of view."

The most complete work on the matter.

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CERAMIC LITERATURE.

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BOURRY (E.).— Traite des industries
ceramiques. Terres cuites — Pro-
duits refractaires — Faiences —
Gres — Porcelaines. Paris,
Gauthier-Villars, 1897. 8°, pp.
755 ; with 349 illustr. 20 fcs.

" A treatise of the ceramic industries.
Terra-cotta— Chemical utensils and sani-
tary ware — Earthenware — Stoneware —
Porcelain."

All the latest improvements in pottery
manufacture are described in this volume, the
indispensable text-book of the progressive
potter of our day.

An English translation by W. P. liix has
been published by Scott & Greenwood. Lon-
don, 1901. 8°.

BOUTELL (Ch.). — The arts and the
artistic manufactures of Den-
mark. London, Mitchell, 1874.
4°, Ceramics, pp. 91-138 ; illustr.

Published on the occasion of the opening of
the " Royal Danish Gallery," established in
New Bond Street for the sale of Copenhagen
porcelain and other articles of Danish industry.
The chapters on Terra-cotta, Porcelain, and
Faience, describe the objects offered for sale.
Most of them are, singularly enough, recom-
mended as having been painted in London by
French artists.

BOUTILLER (L). — Bernard Palissy,
L'artiste et le savant. Rouen,

1882. 8°, pp. 28.

" Bernard Palissy, as an artist and a
scientist."

A flat and formal address delivered before
the Academy of Sciences and Art of Rouen by
its president. The feelings of sympathy and
admiration which have seldom failed to inspire
all the panegyrists of the great potter, have
not been powerful enough, in this case, to
communicate any warmth to the well pondered
sentences of the orator.

BOUYEAULT (A.) et FIEFFE (C. P.).— Les
faiences patriotiques nivernaises.
Nevers, 1885. 4°, pp. xv-50; with
46 col. pi. Publ., 40 fcs. A
supplement of pp. xxx. was
printed later on.

" Patriotic faience of the Nivernais."

This volume may be joined to the group of
those which followed upon the publication of
Champfleury's Histoire des faiences patriotiques.
The original book had been a revelation to
ceramic collectors. Surely, the author who
had spent his life in gathering the popular
crockery on which the history of the French
Revolution is roughly pencilled, almost from

day to day, did well to point out to us the
interest offered by the emblems and inscrip-
tions it bears. Yet we must not forget that
his unique collection was known, among his
friends, as containing the ugliest faience ever
made in France. He acted wisely, therefore,
in not attempting to exaggerate its artistic or
technical importance. The book he brought
out on the subject was a very modest one,
illustrated with simple pen and ink sketches of
the less insignificant types. No one ever com-
plained that they did not give an adequate idea
of the originals.

A number of more ambitious authors soon
imagined that they could improve upon Champ-
fleury's treatment of the patriotic faience, by
adding to the written description, coloured
reproductions of the subjects, in natural size.
The plates with which the volume of Messrs.
Bouveault and Fie"ffe is richly illustrated, show
clearly how these crude paintings, the cheap
adornments of the vessels of the poor, are un-
worthy of an elaborate and costly reproduction.
As historical documents, they add little to the
subjects of which Champfleury had given the
list.

For our part, we regret that the authors
should have chosen to deal with the late and
commonest productions of the Nevers factories.
We would have preferred to have been left
with the recollection of the beautiful faience of
the early period, the refined majolica on which
the arms of the noble families of the province
were not ashamed to shine. This work reminds
us, painfully, of the low state to which the
manufacture had sunk, when the struggling
potters of Nevers found no other outlet for
their debased ware than the market place of
the neighbouring villages.

BOYALLIUS (C.). --Nicaraguan anti-
quities. Stockholm, 1886. 4°,
pp. 50 ; with 41 pi. and map.
£1, 10s.

- Chapter iv. Ceramic objects
from Ometepec, Zapatera, and
Ceiba. Brief description of 37
fragments of antique terra-cotta
figures and vessels, some of which
are painted in coloured clays ;
they are reproduced upon three
plates.

The results of the excavations conducted by
the author were deposited in the R. Swedish
Museum of Ethnography.

BOWES (James Lord). — Japanese marks
and seals. London, Sotheran,
1882. Imp. 4 . 12s. Pottery :
pp. 1-218 ; with 553 marks.

All the marks found inscribed on the speci-
mens of Japanese pottery examined by J. L.
Bowes, when engaged in the preparation of the
work, Keramic Art of Japan, brought out by
him in collaboration with Audsley, are repro-

BOW]

CERAMIC LITERATURE.

duced in this volume. The custom of marking
earthen vessels with the name of the maker, or
the seal of the factory in which they had been
made, has been general in Japan for the last
three hundred years ; it is rarely that a piece
of pottery or porcelain of Oriental origin does
not bear some distinctive sign of the kind
Examples from the Dresden Museum, the
Franks Collection, the South Kensington
Museum, and the extensive collection formed
by Mr. Bowes, have supplied most of the marks
engraved for this book in exact facsimile.
Japanese scholars are responsible for the trans-
lation.

BOWES (James Lord). — Japanese pot-
tery ; with notes describing the
thoughts and subjects employed
in its decoration, and illustrations
from examples in the Bowes Col-
lection. Liverpool, 1890. Imp.
4°, pp. 576 ; with 16 col. pi. and
577 text illustr. £1, 5s. A few
copies were printed on Japan
paper with extra plates.

The feeling of veneration entertained in
Japan for the archaic pottery that has escaped
destruction has no equivalent in any other
country of the world. When the Tea feast
is celebrated in the house of a magnate, the
vessels chosen for making and drinking the
fragrant beverage are not precious cups of gold
or silver, but coarse and uncouth bowls of
ancient earthenware. While handing them
round the circle of the distinguished guests,
the host expatiates complacently upon the age,
the beauty, and the value of the precious relics.
Under such conditions, it can scarcely be ex-
pected that many genuine antiquities of that
order have ever reached European countries.
But when we recollect what skill a Japanese
craftsman can display in imitating rarities of
all kinds, we understand how it is that no
foreign collection of any importance lacks the
indispensable complement of a series of strange
and very old-looking specimens said to repre-
sent the earliest period of manufacture.

Prehistoric pottery was not known in Japan
before the last few years, when the first ex-
amples of it were unearthed from the soil.
Tradition ascribes to them a date which corre-
sponds to the year 660 B.C. The historical
records of the country do not go further back
than the eighth century of our era ; they con-
tain some references to rude terra cotta of a
nondescript character. It is not considered
probable that any painted or otherwise decor-
ated ware was made before the middle of the
sixteenth century. A special notice is devoted
to the more or less ancient centres of manufac-
ture, in which the art is, in most cases, still
practised. The last and largest portion of the
book is occupied by a descriptive catalogue of
the Bowes collection, in which, by the by,
many specimens of porcelain are intermixed
with those of real pottery, which it was in-
tended to treat exclusively.

Strange to say, Mr. Bowes, whose fondest
thoughts were unceasingly turned towards

Japan and Japanese art, was never enabled
to relinquish for a time his pressing business
occupations and pay even a flying visit to the
land of his dreams. He consoled himself by
throwing his princely mansion open to all the
distinguished travellers who came from the
Mikado's Empire. All his leisure moments
were spent in friendly intercourse with those
who could supply further additions to his
immense store of information. Mr. Bowes
filled, as a pleasant duty to a nation he had
learned to appreciate and love, the post of
Japanese Consul at Liverpool.

- A vindication of the decor-
ated pottery of Japan. Liverpool,
1891. 4°, pp. 63; with 4 pi.
Printed for private circulation.

Mr. Bowes' work on Japanese Pottery had
been the object of virulent criticisms published
in the American press. To a rather fierce
attack, he penned an explanatory answer, in
which most of his opponent's thrusts were skil-
fully warded off in a sedate manner.

Handbook to the Bowes
Museum of Japanese art work.
Liverpool, 1890. 12°, pp. 47;
with plan and illustr.

Distributed to the visitors whom Mr. Bowes
admitted freely to his museum one day in the
week during the season.

- Catalogue of the Bowes col-
lection of Japanese art. Liver-
pool, 1901. 8°, pp. 227; with
7 col. pi.

Catalogue of sale of 2,246 Nos.

BOWES (J. L).— See Audsley, Keramic
Art of Japan.

BOYER. — Manuel du porcelainier, du
faiencier et du potier de terre ;
suivi de 1'art de fabriquer les
terres anglaises et de pipe, ainsi
que les poeles, les pipes, les car-
reaux, les briques et les tuiles.
Paris, Roret, 1827. 2 vols., 12°,
pp. xii-748 ; pi.

" Manual of the porcelain, faience, and
pottery manufacturer ; to which is added
the art of making English earthenware,
stoves, tobacco pipes, bricks, and tiles."

This practical treatise made part of the first
edition of Mannels Roret. It has since been
replaced by another volume written by Magnier,
better suited for the requirements of modern
industry.

- Traite sur 1'origin, les progres,

CERAMIC LITERATURE.

[BRA

et Fetat actuel des manufactures
de porcelain et de faience en
Angleterre.

"Treatise of the origin, development,
and actual state of the porcelain and
earthenware factories of England."

So rare has the foregoing pamphlet become
that we have, so far, been unable to meet witli
a copy of it. The subject treated by the
writer is, however, of sufficient interest to
induce us to record the title.

BRACQUEMOND.— A propos des Manu-
factures Nationales de Ceramique
et de Tapisseries. Paris, Char-
merot. 12°, pp. 67. 1 fc.

"A few words on the subject of the
national factories of ceramics and tapes-
tries."

Bracquemond — a master in the art of etching
— has long been connected with ceramics. He
occupied, for a few years, the position of head
of the painting department at the manufactory
of Sevres, and had subsequently acted as art di-
rector in the porcelain works of Messrs. Haviland
at Paris. Having also relinquished this last
situation, he resumed his former avocation of
an engraver. It was then that, unhindered by
any official or professional restraint, he ven-
tured to put into print his personal opinion on
the efficiency of the State-supported manufac
tories. His dissertation, which advocates the
necessity of absolute reform, never leaves the
range of abstract and high-flown theories. The
errors of all the previous managements are
judiciously criticised, but any practical sugges-
tion for improving the conduct of the work in
the national establishments is carefully avoided.
Dreamy visions of the lofty aim that one should
strive to attain in the practice of decorative
art, replace all that we could expect to hear
from one who was not without experience of
the difficulties of pottery manufacture.

BRADBUR (B. M.).— Catalogue of a

collection of porcelain. . . .

Yarmouth, 1873. 4°; with 5
photos.

Catalogue of sale of a Lowestoft collector.

BRADBURY (Edward). -- Derby china:
old and new. With a description
of the Gladstone dessert service.
London and Derby, Bemrose &
Sons, 1883. Sq. 12°, pp. 60.

An historical account of the Derby porcelain
works from their foundation up to the present
day. The sketch, written in an informal and
sprLhtly style, is enlivened with interesting
anecdotes of the old painters. It ends with a
description of the dessert service presented to
Mr. W. E Gladstone on the occasion of his
political Jubilee by the Liberal Working-men's

Association of Derby. The china was decorated
with floral medallions, due to the hand of a
local painter, James Botue, who had served
his apprenticeship at the old works, and was
then in his eightieth year ; and with landscapes
of Derbyshire scenery painted by Count Holtz-
endorff.

Great as may be the interest attached, in
our days, to such a unique dessert service, it
is but little when we think of the inestimable
value that its historical association will invest
it with in the appreciation of the china collector
of the future.

BRAGGE (William).— Bibliotheca Nico-
tiana : a catalogue of books about
tobacco ; together with a cata-
logue of objects connected with
the use of tobacco in all its forms,
collected by W. Bragge, F.S.A.
Birmingham, printed for the
author, 1880. Imp. 8°, pp. 248.
8s.

The collection comprised the largest number
of tobacco pipes, probably, ever brought to-
gether. Prehistoric terra-cotta pipes from
America ; early clay pipes from Holland,
England, and France ; porcelain pipes from
Sevres, Berlin, Capo di Monte, Copenhagen,
Worcester, Chelsea, and from many other
sources of European and Oriental manufacture,
constituted a complete history of ceramic art
applied to the smoker's requisites. Another
section of the catalogue contains the snuff
boxes of Chinese porcelain, 244 in number.
Mr. Bragge had prepared a descriptive cata-
logue of his collection illustrated with 1200
sketches ; it is to be regretted that the MS.
was never published.

BRAMBILLA (Camillo).— Antonio Maria
Cuzio e la ceramica in Pavia.
Pavia, 1889. 4°, pp. 72; with
4 pi. in chromo. 150 copies
printed. 10 fcs.

"Antonio Maria Cuzio and the cer-
amics of Pavia."

The brick edifices of ancient Pavia were
remarkable for their external decorations of
terra-cotta. Pottery-making must have been
at one time, one of the most prosperous
industries of the town ; still, no artist or
craftsman, who worked in connection with
it, has left any record of his name. All recol-
lection is lost of the very place where once
stood the numerous ovens from which issued
the elegant cornices, the graceful capitals, the
elaborate friezes, and the noble panels so
lavishly distributed upon the walls of La
Cettosa, San Lanfranco, Santa Maria del Car-
mine, la Pusterla, etc. In the facades of the
most ancient churches are embedded some of
the curious " bacini " which seem to throw
back the origin of painted majolica, much
farther into the mediaeval era than any his-
torical evidence would lead us to surmise.

BRA]

CERAMIC LITERATURE.

[BRA

With the name of Pavia, that of Maestro
Giorgio Andreoli, the celebrated majolist.
comes back to our mind ; not, however, exactly
in association with his works, for, according to
the author's statement, no painted majolica
was ever made in the Maestro's native town.

It is not, therefore, either with the history
of architectural terra-cotta or of artistic
majolica that the work pretends to deal. Its
chief object is to preserve the memory of a
notable citizen, a church dignitary of Pavia
who, up to the year of his death in 1694,
found pleasure, and took great pride, in making
large dishes of brick clay. He signed them all
in full, with a few variations in the tenor of
his long inscriptions:

Presbyter Antonius Maria Cutius Papiensis
Prothonotarius Apostolicus.

The dishes were all worked in a decidedly
amateurish way ; the surface, roughly turned,
was coated over with a fine clay of lighter
colour, into this coating the subject was incised
and scraped after the method known as sgraffito
work. Glazed in an imperfect way by the
artist's own hands, they were sent for firing to
the next brick kiln. No fewer than ten in-
scribed dishes of the same make are now
dispersed in the chief Ceramic Museums of
Europe ; all of them are duly described. The
frontispiece reproduces one of the best ex-
amples, which is in the possession of the
author. The three other reproductions are
taken from dishes, also decorated in sgraffito,
and attributed to Pavia manufacture ; they
refer to different periods, from the fourteenth
to the eighteenth centuries.

BRANNER (J. Casper).— Bibliography of
clays and the ceramic arts.
Washington, 1896. 8°, pp. 114.
(United States Geological Survey
Bulletin, 143.)

Second edition. Columbus,

1906. 8°, pp. 451.

Contains the titles of many papers which
have appeared in the serial publications of
America, but which cannot find a place here.

BRANTEGHEM (Collection Yan). — Cata-
logue des monuments antiques,
vases peints, terres cuites, dont
la vente aura lieu k Paris, Juin,
1892. Bruxelles, Claessen, 1892.
Fol., not numbered, 440 Nos. ;
with 75 pi. in outline, photogr.,
and in colour. 75 fcs.

" Catalogue of sale."

During many years Mr. Van Branteghem
had, unremittingly and regardless of cost,
gathered the examples of painted vases and
terra-cotta by which the last direction given to
the study of the Greek ceramic art could be
fittingly illustrated. In his collection the
early periods, so unjustly neglected previously,
50

were admirably represented by numerous
specimens. Such an interesting assemblage of
vases ranging in date from archaic ages to the
fifth and fourth centuries B.C., kylixes bearing
the signatures of Euphronios, Hieron, Brygos,
and other great masters, lekythies of fine white
clay with funereal scenes delicately pencilled
in brown, polychromatic ware, and pieces
adorned with gilt ornamentation, had never
been seen before in the possession of a private
collector. To this was added a large and well
selected series of terra-cotta groups and figures
coming from the latest excavations made in
Greece and Asia Minor. The sale, which
created great excitement in the antiquarian
world, produced £12,800. The catalogue,
which gives only a short description of the
objects, was prepared by W. Frohner ; it is
very handsomely illustrated.

BRARD (C. P.).— Mineralogie appli-
quee aux arts. Paris, 1821.
3 vols. 8°.

" Mineralogy in its application to the
arts."

The materials employed in the manufacture
of pottery and porcelain occupy a large place
in this treatise.

BRAUN (E.).— La morte d'Achemoro,
dipintura d'un vaso fittile. Roma,

1835. 8°, pi.

" The death of Achemoros ; a painting
on a fictile vase."

Vaso apulo nel real museo
borbonico in Napoli ; con dipin-
tura di subbietti nuziali. Roma,

1836. 8°; with 3 pi.

"An Apulian vase in the R. Museum
of Naples; painted with nuptial subjects."

- Vaso di premio col ratto del
Palladio e la gara da Marcia ad
Olimpio ; illustrazione. Roma,

1837. 8°, pp. 14 ; with 2 fold. pi.

"A prize vase with the rape of the
Palladium and the athletic games at
Olympia."

- II giudizio di Paride. Parigi,

1838. 4°, pp. 13 ; 2 pi.
" The Judgment of Paris."

- II ratio di Cefalo . . . dipinte
da Hierone sopra una Kylix.
Roma, 1838. 8°.

" The rape of Cephale, painted by
Hieron upon a kylix."

BRA]

CERAMIC LITERATURE.

[BRE

BRAUN (E.).— Vaso ruvese dall'Orfeo
e Bellerofonte, gia del Sign.
Cav. Lamberti, ora del R. Museo
Badense. Roma, 1838. 8°, pp.
40 ; with 4 pi.

" A vase of Ruvo, with paintings re-
presenting Orpheus and Bellerophon
(now in the R. Museum of Baden)."

- II Sole e la Luna, dipinto di
stoviglia Sabina. . . . Roma,
1839. 8°, pp. 12 ; with 2 pi.

" The sun and the moon ; a painting
on a Sabinian pottery."

Die Schaale des Kodros.
Gotha, 1843. 4° ; with 2 pi.

"The Kodros tazza."

- Le dipinture di Clizia sopra
un vaso Chiusano d'Ergotimo,
scoperte e publ. di A. Francois,
dichiarate di E. Braun. Roma,
1849. 4°; with 4 pi. 12 fcs.

" The paintings of Clizia upon a
Chiusian vase, discovered and published
by A. Francois, and described by E.
Braun."

E. Braun has also contributed many articles
on Greek vases to the learned periodicals of
Germany.

BRAUN (Collection).— Catalogue of the
valuable collection of Etruscan
vases of Dr. E. Braun, of Rome.
London, 1852. 4°.

BRAUN (E.).— Die deutsche Keramic
und das Strassen pflaster unserer
grossen Stadte. Leipzig, Knapp,
1877. 8°, pp. 31 ; with 1 pi.

' ' The German ceramics, and the street
pavement of our large towns."

Suggests a street pavement formed of cubes
and slabs of stoneware.

BRAUN (E. W.).— Kaiser Franz- Josef
Museum fur Kunst und G ewer be
in Troppau (Schlesisches Landes-
museum). Katalogue des Aus-
stellung von alt Wiener Porzellan
(1718-1864). Troppau,l$03. 12°,
pp. xxxix-87.

" The museum of industrial art in

Troppau. Exhibition of old Vienna
porcelain."

An historical introduction, written by the
diiector of the museum, is prefixed to the
catalogue. It contains all the information
lately obtained on the ancient Vienna factory.

- Joh. Christ. Kundmann als
Quelle fur die Kunstgeschichte
des XVIII. Jahrhunderts. Bres-
lau, 1904. 4°, pp. 16. (Reprint
from Schlesien Vorzeit, N.F., III.
Band.) (Priv. printed.)

" J. C. Kundmann as a source of in-
formation for the history of art during
the eighteenth century."

Contains some interesting particiilars on the
English pottery and porcelain of the period.

BRAUN (E. W.) and FOLNESICS (J.).— Die
Kaiserl Konigl. Wiener Porzel-
lanmanufaktur ; eine Auswahl
der glanzendsten Leistungen der
Fabrik in Abbildungen mit his-
torischem Text. Wien, Hof. und
Staatsdruckerei, 1906. Fol., pp.
128 ; with 42 pi. (12 col.) and 40
text illustr. 150 m.

" The Imp. and Royal Vienna porcelain
manufactory ; a selection of the most
remarkable examples of its work, repre-
sented in accurate reproductions, and
elucidated by an historical notice."

BRAUN (Irene). — Majolika, Fayence,
Porzellan-Malerei Vorlagen und
Motive von T. B. O. Fikentscher,
F. Hein, und G. Kampmann.
Miincken, 1893. 24 col. pi., fol.

" Models for earthenware and porcelain
painting after modern artists."

BRAXTON HICKS (Coll. J.).— Catalogue
of sale. London, Christie, May,
1887. 8°, pp. 28 (301 Nos.) ;
with 3 photogr. pi.

The collection, entirely composed of old
Wedgwood ware, realised £3, '21 7-

BREBISSON (R. de).— Le Kaolin des
environs d'Alen9on. Alencon,
s.d. 8°, pp. 25. (Reprint from
Annuaire de V association nor-
mande.}

BRE]

CERA MIC LITER A TURE.

[BRE

" The kaolin found in the vicinity of
Alen^on."

BREBISSON (R. de).— -La porcelaine de
Caen. Alengon, s.d. 8°, pp. 8;
with 1 vignette and 1 photo.

" Hard porcelain of Caen."

The factory, established in 1798, was closed
in 1805.

- La porcelaine tendre de Rouen
en 1675. Evreux,18$Q. 8°,pp.22;
with 1 pi. (Privately printed.)

" The soft china of Rouen in 1675."

Contains, besides an historical account of
that manufacture, a descriptive catalogue of
all the pieces that may safely be attributed
to Rouen.

- Histoire de la ceramique a
Bayeux et dans sa region depuis
the XIIP siecle jusqu'a nos
jours. Bayeux, 1897. 8°, pp. 68.
(In Journal de la Societe des
sciences et arts de Bayeux.)

" History of the ceramic art of Bayeux
and its district."

Gives information upon no fewer than eleven
manufactories of pottery and porcelain at work,
at various times, in the neighbourhood of
Bayeux.

- Histoire de la porcelaine de
Valognes. Valognes, 1899. 8°,
pp. 48.

" History of the Valognes porcelain."

The factory was in operation between 1792
and 1807. China clay found in the locality
was used in the manufacture. An interesting
reprint of a memoir, by Jumelin, on the dis-
covery of the Kaolin of Valognes is added to
this paper.

Etude ceramique. Deux
faiences du Muse'e archeologique
du Mans. Mamers, 1905. 8°,
pp. 15 ; 1 pi.

Notice of two plates, bearing the coat-of-
arms of two local families, in the Archeological
Museum of Mans.

BREMMER (H. F.).— Delftsche Aarde-
werk. Amsterdam, Versluys,
1906. Vol. i. 4°, 1906; with 96
mounted collotype proofs. In-
troduction and index. £1, 5s.

- Delftsche Aardewerk in het
52

Rijksmuseum. Amsterdam, 1907.
Vol. ii.; with 97 pi. £1, 5s.

Delft faience. The first volume contains
reproductions of specimens selected from various
collections. Those given in the second volume
are all in the State Museum of Amsterdam.

BRENCI (G.) and ROTELLINI (S.).— Kac-
colta di ornamenti tratti da terre
cotte dipinte in Siena nel secolo
XV. e XVI. Siena, 1873. Fol.;
51 pi. 30 fcs.

" A collection of designs from paintings
on terra-cotta of the fifteenth and six-
teenth centuries existing in Siena."

Autographic sketches transferred to stone.
The clumsy printing of the plates does not do
justice to the copies, nor much honour to the
models.

- Gli ornati delle Ambrogette
Senesi in terra cotta. Siena,
1883. 25 fcs.

A reprint of the plates was published under
the above title.

BRENCI (G.)-— Majorca Fliesen aus
Siena, 1500-1550. Nach original
Zeichnungen von G. Brenci ;
Text von J. Lessing. Berlin,
E. Wasmuth, 1884. Fol., pp. 2 ;
with 30 lith. pi., containing 151
designs. 30 m.

"The majolica tiles of Siena, 1500-
1550. From the original sketches of
G. Brenci."

This work forms a complement to the one
described above. In both series the versatility
of the majolica painter is strikingly illustrated.
It exemplifies a rarity in works of the kind in
that each tile has a different design, although
all contribute to the unity of the general
arrangement. It seems as though the master,
having fixed the plan of the work, had left his
assistants free to trace the details according to
the bent of their own imagination. The printing
of this second series is a decided improvement
upon that of the first, the sketches having
been drawn directly upon the stone. One may
say, however, that so many fine publications
having made us accustomed to see tile pave-
ments reproduced in their proper colours, such
pen-and-ink outlines appear somewhat insuf-
ficient to be of real use to the artist or to
the tile manufacturer.

BRENDT (G.)-— Die Pommerellischen
Gesichturnen. Konigsberg, 1872-
78. 4°. Part I.— Pp. 36 ; with
5 pi. and 1 map. Part II. — Pp.

BRE]

CERAMIC LITERATURE,

[BRI

46 ; with 5 pi. (Reprint from the
Schriften d. Physik. Ock. Gesells.
zu Konigsberg.) 8s.

" The urns, bearing a human face,
found in Pomerania."

A striking instance of the persistence of a
most distinct type is found in the small vessels
of globular shape, showing upon the front part
the rudimentary delineation of a human face,
particularly abundant in Germany. Countless
examples of this particular shape have been
excavated in very distant places, and their
association with objects belonging to fixed
periods establish, beyond a doubt, that they
never ceased to be made from the time of
the Roman occupation till the close of the
eighteenth century. The archaic method in
which the conventional features of the face
are embossed and incised is so character-
istic that it can only be accounted for by
the maintenance of a traditional handiwork
handed down, in a rude craft, from genera-
tion to generation. To the German brick-
maker and not to the regular potter, should
be attributed the making of this typical
earthen pot. For centuries the trade of the
brick-maker had been carried on in Germany
by nomadic tribes which held little communi-
cation with the inhabitants of the towns.
They pitched their tents in any locality where
their work happened to be required, and when
no longer wanted they repaired to another
place. Assuming that the small pot with a
human face was the only fancy piece they
had ever learned to make — and none of these
rough labourers would ever have been able
to add or change anything to the oirginal
pattern — the ubiquitous presence in the Ger-
man countries of a type that a succession of
centuries could not alter, in any appreciable
manner, is no longer inexplicable.

BRETEUIL (Baron de).— The preambles
of three decrees of 'the Council
of State, concerning the Royal
Manufactory of Sevres, are given,
under that name, by Champfleury.

BRETILLARD.— Collection de Faiences
patriotiques. Cat. of sale. Paris,
1896. 8° (219 Nos.); 1 double
pi., with 24 figs.

BREYIERE (L. N. ).— Notes sur des por-
celaines imprimees de differentes
grandeurs an moyen d'une seule
planche par le precede de feu
Gonord, peintre et graveur, et
offertes a Facademie. Rouen, N.
Periaux, 1833. 8°, pp. 15.

" Notes upon porcelain printed in
different sizes from the same copper

plate, by the process invented by the
late Gonord, painter and engraver."

A few specimens of printing by this process
are preserved in the Ceramic Museum of Sevres.
The proofs were taken from the plates on a sheet
of gelatine, which could be enlarged or con-
tracted by being submitted to different tem-
peratures ; they were afterwards transferred
upon the porcelain in the usual way.

BRIANCHON. — Note sur les briques
moulees d'une maison de Saint-
Eustache-la-Foret. Le Havre,
imp. Lepelletier, 1872. 8°, pp.
11 ; with marks and illustr.

" Notes upon the impressed bricks of
a house built in the sixteenth century at
St. Eustache-la-Foret, in Normandy."

BRIEUX et SALANDRI. -Bernard Palissy.
Drame en un acte et en vers.
Paris, Tresse, 1880. 18°, pp. 50.

" Bernard Palissy. A drama in one
act ; in verses."

BRIGHTWELL (C. L). — Palissy, the
Huguenot Potter. A true tale.
London, The Religious Tract
Society, 1858. 12°, pp. x-201 ;
vign. 2s.

From the name of the Society which pub-
lished this little book we may form an idea of
the lines followed by the narration. It is not
so much Palissy the potter, but Palissy the
Huguenot, the champion of Protestantism, the
martyr to his faith, whose exemplary life is
unfolded in this "true tale" for our edifica-
tion. The familiar style in which it is told
would be envied by any Sunday school teacher
and much appreciated by his class. In its
historical part the account follows closely
Morley's Life of Palissy. It has been thought
unnecessary to refer to the original. We are
told that the great French Huguenot potter
has himself written his complete biography in
the form of dialogue".

BRINCKMANN (Justus).— Das Hamburg-
ische Museum fur Kunst und
Gewerbe. Ein Fiihrer durch die
Sammlungen, zugleich ein Hand-
buch der Geschichte des Kunst-
ge werbes. Leipzig, E. A. Seeman,
1894. Imp. 8°, pp. xviii-828;with
431 illustr. in the text, drawn by
Wilhelm Weimar. 15 m. 250
copies printed on Japan vellum.
35 m.

"The Hamburg Museum of -industrial

BRI]

CERA MIC LITER A TV RE.

art. A guide to the collections, forming
a handbook of the history of industrial
art."

The portion devoted to ceramics in this
catalogue extends over 325 pages. This section
of the Hamburg museum is remarkable for the
completeness with which it illustrates ceramic
art at all times and in all countries, but
particularly with what regards the faience,
stoneware, and porcelain made in Europe since
the Renai-sance period. Important centres
and minor factories are represented almost
without exception. The learned curator, Mr.
J. Brinckmann, has had to put under contribu-
tion the whole range of ceramic literature in
order that every section of his catalogue should
be prefaced with an historical notice of the
ware and of its makers. Such a plan entailed
a formidable labour of compilation, and it has
been achieved with great success. As an
epitome of the history of ceramic art it is
equal to the best work of the same order, and,
we believe, more complete than any other with
respect to the information it contains upon the
German factories still under study. A special
mention must be made of the illustrations
mostly due to the pencil of Mr. W. Weimar,
a very talented artist on the staff of the
museum. They were drawn from the object
itself, with extreme accuracy ; due regard
being given to the proper rendering, in black
and white, of the varieties of substances and
colours. We have no hesitation in saying that
these truly artistic sketches, which do not seem
to have lost their neatness in the reproduction,
far excel the photographic cliches so extensively
used for this kind of illustration.

BRINCKMANN (Justus). — Beitrage zur
Geschichte der Topferkunst in
Deutschland. 1. Konigsberg in
Preussen. 2. Durlach in Baden.
Hamburg, 1896. Imp. 8°, pp.
35 ; with 9 illustr. 2 m.

" Contribution to the history of the
potter's art in Germany. 1. Konigsberg
in Prussia. 2. Durlach in Baden."

In 1776, Councillor Ehrenreich, who had
previously been connected with a similar
undertaking at Marieberg in Sweden, estab-
lished a faience manufactory at Konigsberg
under royal patronage and with subsidies
from the King of Prussia. The factory pro-
duced faience painted in the Strasbourg style
and imitations of English earthenware, but
with little success. The works closed in 1811.
Another factory, started also in 1776 by the
brothers Collins, was still less successful, for
in 1785 it was reported to have ceased. Its
speciality was a black basalt body with which
portrait medallions of the celebrated men of
the period were made. In the list of these
medallions we notice one of Admiral Rodney.

J. A. Benkieser & Co. obtained a privilege
from the Margrave of Baden in 1749 for the
manufacture of faience. The works were in
existence for about one hundred years. Several
examples of presentation jugs, dated, inscribed,
and painted with subjects referring to the

trade, or occupations, of the party for whom
the piece had been made, are illustrated in this
paper.

- Kensan. Beitrage zur Ges-
chichte der Japanischen Topfer-
kunst. Hamburg, 1887. 8°, pp.
61 ; with 1 col. pi. and 15 illustr.
and marks. (Reprint from Jahr-
bmh der hamburgischen Wissen-
schaft Anstalten.} A few copies
printed on Japan paper have 2
col. pi.

" Kensan ; a contribution to the his-
tory of Japanese ceramic art."

BRINKLEY COLLECTION.— Description of
a collection of Japanese, Chinese,
and Corean porcelain, pottery,
and faience made by Cap. E.
Brinkley, of Yokohama ; by E.
Grecy. New York. 1885.

BRINKLEY.— The art of Japan, in two
sections. Pictorial art ; applied
arts. Boston, U.S.A., 1901. 2
vols. Fol. ; with 16 col. pi. inlaid
in mounts, and numerous text
illustr., chiefly by Japanese
artists. £6, 10s.

- Japan and China ; their
history, arts, sciences, manners,
customs, laws, religion, and lit-
erature. London, E. C. Jack,
1904. 12 vols. 8°. £8. Vol.
viii. — Ceramic art of Japan ; with
23 pi. Vol. ix. — Ceramic art of
China ; with 16 pi.

BRIZIO (E.). — Kelazione sugli scavi
eseguite a Marzabotto dal Nov.
1888 a tutto Maggio 1889. Roma,
1890. 4°, pp. 91 ; with 10 pi. (1
of pottery. ) ( K eprint from Monu-
menti antichi.} 10 fcs.

" Report on the excavations made at
Marzabotto from November, 1888, to
to May, 1889."

A complement to the works of Gozzadini.

Sculture fittile scoperte in
Civita Alba, nel commune di

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CERAMIC LITERATURE.

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Sassoferrato. Roma, 1897. 4°,
pp. 22 ; with 17 illustr. (Extr.
from Notizie degli Scavi.)

" Fictile sculptures discovered in Civita
Alba, near Sassoferrato."

BROCKLEHURST (T. U.).— Mexico to-day
. . . and a glance at the pre-
historic remains and antiquities
of the Montezumas. London,
1883. With 9 chromolith. pi.
and 6 illustr.

BROMET ( W. ).— Position of the earthen
vases inserted in the vaulting of
the Church of St. Martin at
Angers. London, 1847. 8°.

A sessional paper of the R.I.B.A. on the

subject of acoustic pottery.

BROMSE (Fr.).— Die Ofen- und Glasur-
fabrikation, nach dem jetzigen
Stande dieser Industrie. Mit
besonderer Berticksichtigung der
altdeutschen Majolika-Oefen, etc.
Weimar, J. Voigt, 1896. 12°,
pp. 123 ; with 7 illustr. 2 m.

" Earthenware stoves and their glazing
according to the conditions of modern
manufacture ; with particular considera-
tions regarding the old German majolica
stoves."

BRONDSTED (P. 0.)-— Memoire sur les
vases panathenaiques. Traduit
de 1'Anglais par J. W. Burgon.
Paris, F. Didot, 1833. 4°, pp. 39;
with 6 pi. 6 fcs.

This paper, read before the Royal Society in
1831, was printed in vol xi. of the Transactions.
An edition, in English, appeared in a separate
form, and with the plates engraved for the
French edition, London, 1834, 4°.

The victors of the Athenian athletic games
received prizes consisting of painted amphoras
full of olive oil from the woods sacred to
Minerva. At the death of the athlete the
trophies he had won during his life were buried
in the grave by the side of his body. A number
of such amphoras were discovered in the ex-
cavations. They are all suitably inscribed
with the name of the winner and that of the,
then, ruling Archon, a practice facilitating
the accurate determination of the date of their
manufacture.

BRONGNIART (A.).— Argile. Strasbourg,
Levrault, 1816. 8°, pp. 96. (Re-

print from Dictionnaire des
sciences naturelles.)

Alexandre Brongniart had been director of
the manufactory of Sevres for sixteen years,
when he contributed this paper to Levrault's
Cyclopedia.

Memoire sur les couleurs
vitrifiables. (In Journal des
Mines, vol. xii., p. 58.)

"An essay on vitrifiable colours."

- Essai sur les arts ceramiques
(Formant Farticle "Poterie" du
Dictionnaire technologique, par
Thomine). Paris, 1830. 8°, pp.
309 ; with 7 pi.

This work may be considered as the first
edition of Brongniart's Traitd des arts cera-
miques, published fourteen years later in its
ultimate form.

— Porcelain. (Reprint from the
Encyclopedie Modern,\)j Courtin.)
Paris, 1830. 8°, pp. 24.

A much abridged sketch extracted from the
work which appeared in the same year.

- Notice sur la manufacture de
Sevres. Du caractere et de 1'etat
actuel de la manufacture royale
de Sevres, et de son influence sur
1'art et le commerce de la por-
celaine. Paris, Didot, 1830. 4°,
pp. 31.

" A notice of the character and actual
conditions of the Royal manufactory of
Sevres, and its influence on the artistic
and commercial development of porcelain
manufacture."

This pamphlet appeared under the initials
A.B. It was written as an answer to the
attacks directed against the Royal manufac-
tory. After having exposed the benefits accru-
ing to private manufacturers from the scientific
experiments continually carried on in that
establishment, and the important improve-
ments already effected through its agency, the
writer points out the necessity of maintaining
the Royal subsidy which was then in danger of
being withdrawn.

— • Rapport fait a la commission
des arts ceramiques du jury
central des produits de 1'industrie
francaise. Paris, 1839. 8°, pp. 74.

Arts ceramiques. Rapport
fait par Mr. A. Brongniart.
Paris, 1845. 8°, pp. 107.

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CERAMIC LITERATURE.

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Two reports on the section of ceramics at
the Paris exhibitions of 1839 and lS4o. Of
great importance as a record of the conditions
of the French industry at that period.

BRONGNIART (A.)-— Premier memoire
sur les Kaolins, ou argiles k por-
celaine, sur la nature, le gisement,
1'origine, et Femploi de cette
sorte d'argile. Paris, Gide, 1839.
4°, pp. 57 ; pi. 3 fcs.

" First memoir upon the kaolins or
porcelain clays ; their nature, mode of
occurrence, origin, and use."

BRONGNIART et MALAGUTI. - - Second
memoire sur les Kaolins ou
argiles a porcelaine, sur 1'origine
et la nature de cette sorte
d'argile. Paris, Gide, 1841. 4°,
pp. 83 ; with tables of the chemi-
cal composition of felspar, and
6 pi.

These two memoirs have lost nothing of
their scientific value ; their contents have been
put under contribution by all writers of
technical books on ceramics. Malaguti held
the position of chemist at the factory of Sevres
during the last years of Brongniart's direction.
Looking at the pottery manufacture from a
scientific point of view, Brongniart was con-
vinced that a porcelain made of natural clays
was vastly superior to any substitute obtained
by a combination of artificial substances.
Consequently, the making of the old Porcelain
tendre was completely abandoned from the first
years of his directorate ; nothing but the
kaolins found in French soil being henceforth
employed in the Royal factory.

Both memoirs appeared in the Archives of
the Museum, but a few copies were printed
with a separate title.

- Traite des Arts ceramiques,
ou des Poteries, consideres dans
leur histoire, leur pratiques et
leur theories. Paris, Bechet,
1844. 2 vols. 8°, pp. 592-706 ;
with atlas of pp. 80, and 60 pi.
30 fcs. A second ed. was pub-
lished in 1854.

"Treatise of the ceramic arts, or pottery,
considered historically, practically, and
theoretically."

If one single book had to be selected to
represent ceramic literature in a miscellaneous
library, if a student of pottery manufacture
had to part with all his technical works save
one, we have no hesitation in saying that the
choice should fall upon Bronginart's Traite des
Arts Cdramiqiies. Before Brongniart gave to

the learned world a treatise which was to
raise the potter's art to the level of a science,
nothing but uncertain and desultory attempts
had been made to gain that end.

He was still a young man when he found
himself at the head of the Royal Manufactory
of Porcelain of Sevres. From that day his
life was spent in improving the manufacture,
enlarging the range of production, and en-
hancing the prestige of this paragon establish-
ment. A consummate scientist, to whom all
branches of knowledge were equally familiar,
he merged his multiple faculties into the
practice of the avocation of his choice and
became the greatest ceramist of his day.
Brongniart was one of the robust sons of the
French Revolution, whose sound and mighty
spirit was animated by a love of truth and
a devotion to duty ; a man of thought and
deeds, such as were wanted at that moment
to reorganise and strengthen the national in-
stitutions that the storm of social convulsions
had left tottering on their basis. No other man
could have written such a noble book. Many
of his contemporaries displayed, in the pursuit
of the arts and sciences with which their
names will be for ever associated, the same
striking clearness of views and stability of
principles. It may be said that their work
is of an ultraformal character, nay, often
turgid and pedantic. One must bear in mind
that the attractiveness of the ever-changing
rules of caprice and fashion, the elegance and
simplicity of a refined taste to which we are
apt to sacrifice, in our own time, exerted no
influence on these intellectual toilers bent on
laying the foundations of a transformed France.
Decorative art was certainly at a low ebb under
Brongniart's direction of the factory at Sevres.
Yet, in all art matters, he always sought the
advice of the most celebrated painters and
sculptors, and never took upon himself the
responsibility of guiding the tendencies of the
^artistic work.

One cannot attempt to review and praise a
book of such paramount importance. Let it
suffice to say that, historical, scientific, and
practical in turn, it contains a wonderful
summary of all that a potter should know
before he may consider himself as thoroughly
proficient in his art. All the information was
gathered from the most reliable sources ; all
technical experiments had been carried out
by the writer himself, or under his direct
supervision ; no statement was set down in
the book before its accuracy had been sub-
mitted to exact scrutiny and conclusively
corroborated.

The methods of manufacture have since
undergone sweeping modifications in some
branches of the ceramic industry. Special
publications have done much to enlarge the
field of theoretical and practical knowledge.
A. Brongniart gave us the first complete
treatise on the subject. Some portions of it
may now appear out of date ; nevertheless,
in a perplexing case, when other authors are
found to disagree, we may say: "Turn again
to the old work and see what the master says
about it."

With the exception of the chapters on por-
celain decoration, done into German, the book
has not been translated into any foreign
language.

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CERAMIC LITERATURE.

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BRONGNIART et RIOCREUX.— Description
methodique du Musee ceramique
de la manufacture royale de por-
celaine de Sevres. Paris, Leleux,
1845. 4°, 1 vol. text, pp. xv-456,
and 1 vol. pi., pp. 8, with 80 pi.
col. by hand. 150 fcs. A re-
print with pi. in black and white
sells at 40 fcs.

" A methodical and descriptive cata-
logue of the Ceramic Museum at the
Royal Porcelain Manufactory of Sevres."

Brongirart had good cause to be proud of
the ceramic museum he had established as an
annex to the manufactory of Sevres. In the
year 1845 the museum, commenced in 1812, had
already attained a development that exceeded
the expectations of the founder himself. This
gratifying result had been obtained, notwith-
standing the scantiness of funds granted by
the Government, by the untiring exertion of
the director and his devoted assistant, D.
Riocreux. No other collection existed in
which examples of all kinds of pottery could
be seen gathered together and systematically
classified. The catalogue was the necessary
complement to such a comprehensive assem-
blage ; its publication largely assisted the
development of ceramic studies, and made
the museum known to the collectors of all
countries. The plates, carefully coloured by
hand, had been lithographed by Jules Peyre,
who later on became chief designer of the
Royal Manufactory. It is a matter of regret
that plates and letterpress should have been
printed upon clay -loaded paper, just intro-
duced at the time as a cheap substitute for
the fine, but costly, hand-made paper formerly
used for publications of this order. As a con-
sequence, all copies of this work are more or
less spotted with damp, and will certainly
decay before long.

Traite des arts ceramiques,
etc., par A. Brongniart; 3e edition
avec notes et additions par A.
Salvetat. Paris, Asselin, 1877.
2 vols. 8°, pp. xxxii-1588. Por-
trait and atlas of 71 pi., with
their description. 30 fcs.

No one was better calculated than Salvetat,
for many years chemist at the factory of Sevres,
to bring to the level of modern knowledge the
magnum opus left by his revered master. The
expediency of such a scheme may be questioned,
as a rule, and particularly when it applies to
a standard book which depicts so faithfully
the conditions in which the potter's art stood
at the time of its publication ; one would often
prefer to have it in its original form. Such
modifications, whether addition or deletion,
as the reviser deems necessary to introduce
savour somewhat of discourteous criticism.
There is no lack of modern books that can

be conjointly consulted for all that pertains
to the changes that have taken place in the
conduct of pottery manufacture. As regards
the fundamental principles of the science of
ceramics, Brongniart's treatise is never at
fault.

•The china collector's
London, 1860. 8°,

BROOKS (G.)«-
assistant.
pp. 15.

In this little handbook the marks printed
in blue, separately, are stuck on the margin
of the leaves.

BROSSARD (P.).— Les faiences lyun-
naises au dix-huitieme siecle.
Paris, 1881. 4°, pp. 16 ; with 1
pi. and 1 illustr. (Reprint from
the Revue des arts decoratifs.]

" The faience of Lyons during the
eighteenth century.-"

Historical information, published for the first
time by Mr. Brossard, curator of the Museum of
Industrial Art at Lyons, concerning the royal
manufactory of faience, established in 1733 by
Joseph Combe, and subsequently carried on
by Dame Lamalle, with an annual subsidy of
money granted by the town council, from 1738
to 1758. Also, a few particulars referring to
a few other manufacturers of the same period.

BROUSSON (H. F.).— Practical help to
amateurs and artists for painting
and decorating all latest produc-
tions in pottery ; with photos, of
over 200 different objects, and
guide to purchase. London, 1886.
8°, pp. 64 ; with 8 photos, of
forms.

A trade catalogue of the Artists' Colours
Manufacturing Co.

BROWN (Henry).— The Renaissance of
art pottery in Lambeth. London,
1898. 4°, pp. 16 ; with 19 text
illustr. (Reprint from Architec-
ture.)

History of the Doulton factory and descrip-
tion of the latest productions.

BROWN (J.).— Brick ornament and its
application. Catalogue and pat-
tern book of architectural terra-
cotta manufactured by Jabez
Brown and Braintree, Chelms-
ford (Essex). London, 1877. S.
fol. of 64 pi.

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CERAMIC LITERATURE.

[BRU

BROWNE (J. W.).— Calcutta Exhibition, !

1882. Descriptive catalogue of
articles exhibited at the Cal- j
cutta Exhibition of articles of
Indian manufacture. Calcutta,

1883. Fol. Pottery: pp. 367-401.

BROWNE (Sir Th.). -- Hydriotaphia.
Urn burial ; with an account of
some urns found at Brampton in
Norfolk ; with introduction and
notes by Sir John Evans. Lon-
don, printed at the Chiswick
Press, 1893. 8°, pp. xxvi-109 ;
with portrait and 2 pi. of urns.
5s.

The first edition of Hydriotaphia was pub-
lished in 1658. The account of some urns
found in Bampton field, in February 1667-68,
was printed for the first time in 1712, after the
death of the author. " The conclusion of the
essay on Urn-burial," says Th. Carlyle, "is
absolutely beautiful. . . . Browne must have
been a good man."

BROWNFIELD (A.).— The Lock-out. A
potters' guild. Proposal by
Arthur Brownfield (master pot-
ter). Hanky, 1892. 8°, pp. 32.

When, owing to the bad circumstances of
the trade, the manufacturers of Staffordshire
deem it expedient to lower the rate of wages,
if the operative refuse to accept the reduction,
work is temporarily stopped in the factories
until the contending parties have come to some
arrangement; this is called a "lock-out." In
1892 such an extreme measure was on the
point of being applied all over the district of
"The Potteries." One of the leading manu-
facturers, Mr. Brownfield, proposed as a
safe-guard against further depression of the
trade, that all masters should combine together
and constitute themselves into a Guild having
for its object the establishment of a fixed
standard of remunerative prices, which all
members should be bound to maintain. The
utter impossibility of persuading the free
producer of our day to return to the autocratic
rules by which the handicrafts of old have so
long been fettered did not seem to have
entered the mind of the projector of this dreamy
scheme, or to have shaken in the least the
confidence he had in the ultimate success of
his exhaustive, but somewhat inconsistent
calculations.

BROWNING (Dr.).— The story of the
common willow - pattern plate.
Translated from the Chinese.
Liverpool, Hollingshead & Wal-
ker, 1882. Sq. 16°, pp. 32.

" Who is there who has not inquisitively
contemplated the mysterious figures on the
willow-pattern plate ? Who, in childish curi-
osity, has not wondered what those three
persons, painted in dim blue outline, were
doing upon that bridge ? What was the boat-
man waiting for in his barge without oars
upon that white stream ? and why are those
disproportionate doves represented kissing each
other as though intensely joyful over some
good deed done ? " So writes the author of this
booklet, and he gives us a Chinese tale of his
own imagination in which the mystery is
ingeniously explained.

BROWN-WESTEAD, MOORE & Co. — The
Cauldon china. Hanley, 1893.
Obi. 8°? pp. 15 ; with 4 illustr.

A small album printed for presentation. It
contains a description of the objects sent by the
firm to the Chicago Exhibition.

BRUN1NG (A.)— Europaisches Porzel-
lan des XVIII. Jahrhunderts.
Katalog der von 15 Februar bis
30 April, 1904, im Lichthofe
des Kgl. Kunstgewerbe-Museuin
zu Berlin ausgestellten Porzel-
lan. Berlin, Reimer, 1904. Sm.
4°, pp. li-216 ; with 40 collotype
pi. (some coloured) and 2 pi. of
marks. £1, 10s.

" European porcelain of the eighteenth
century exhibited in the Light Court of
the Berlin Museum of industrial art."

One of the most comprehensive collections
of choice examples from the porcelain of the
chief German factories ever brought together.
The exhibition also comprised a selection of
the products of the other European porcelain
works.

- Porzellan. Handbiicher der
Koniglichen Museen zu Berlin.
Berlin, 1907. 8°, pp. 230 ; with
166 illustr. 2s. 6d.

" A handbook to the section of por-
celain in the Kunst Gewerbe Museum."

Historical notices, illustrated with examples
in the collection.

BRUNN (E.). — I relievi delle urne
etrusche. Vol. i. — Circlo Troico.
Roma, 1870. 4°, pp. viii-132 ;
with 99 pi. engr. in outline.
50 fcs.

" The reliefs of* the Etruscan urns.
Trojan Cycle.''

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CERAMIC LITERATURE.

[BUG

BRUNN and KORTE.— Vol. ii. With 109
pi. Roma, 1896.

The square sarcophagi reproduced in these
volumes have all been found in Etruscan
territory, but the style of the reliefs with
which they are decorated seems in most cases
to indicate Roman work of the late period,
rather than Etruscan art. A great number of
them are of terra-cotta ; the material of which
each example is made is not, however, men-
tioned in the descriptive notices, which deal
merely with the subjects represented.

BRUNN (H.).— Geschichte der griechi-
schen Kiinstler. Braunschweig,
1853-59. 2 vols. 8°.— 2nd ed.
Stuttgart, 1889. 8°. 20 m.

" History of the Greek artists."

A portion of the work deals with the vase
painters.

Problem in der Geschichte
der Vasenmalerei. Milnchen,
1871. 4°, pp. 72.

" A problem in the history of vase
painting."

A great controversy has been carried on as
to the origin of the early pottery, decorated
with geometrical traceries, found in Greece.
By some writers it is held as having been
imported from Asia ; or, at least, inspired from
works of the Asiatic art. Mr. Brunn, taking
up the theory previously presented by Gonze,
maintains that their style of decoration is
absolutely Aryan in character, that it origi-
nated in Central Europe, and he proposes that
this particular group of rudely painted vessels
should be brought together under the name of
Pelasgic pottery.

- Griechische Gotterideale in
ihren Formen erlaiitert. Mim-
chen, 1893. 8°, pp. 110; with 3
illustr. of terra-cottas. 8 m.

" The plastic forms in which the Greeks
have expressed their ideal of the gods."

- Griechische Kunstgeschichte.
I. Die Anfange und die alteste
decorative Kunst. Mimchen,
1893. 8°.

"The history of Greek art. 1. The
beginnings and earliest types of decora-
tive art."

It has many illustrations of archaic pottery.

Die peters burger Poseidon
Vase. Leipzig, 1876. 8°, pp. 16.

" The Poseidon vase in the Saint
Petersburg Museum."

The subject painted on this vase reproduces
the central group in the west pediment of the
Parthenon.

Ueber die Aristohophos
Vase. S.I,, 1881. 4°, pp. 20;
with 2 pi.

A vase of the Mycenean style, made at Rome,
and signed by the potter Aristonophos.

- Ueber die Ausgrabungen der
Certosa von Bologna. Zugleich
als Fortsetzung der Problem in
der Geschichte der Vasenmalerei.
Munchen, 1887. 4°, pp. 59. 2 m.

" On the excavations made at the
Certosa of Bologna ; together with the
continuation of the disquisition, entitled
A Problem in the History of Vase
Painting."

An answer to the criticism which arose out
of the publication of Brunn's first paper on the
subject.

BUCH (Adam). — One hundred engrav-
ings from paintings on Greek
vases which have never been
published, drawn and etched by
A. Buch from private collections
now in England. London, 1812.
Fol.

The work is mentioned by Brunet. The
first part, comprising ten plates, is preserved in
the library of the Archaeological Society. It
has become so extremely scarce that we may
question whether the publication has ever been
completed ; I never heard of a complete copy
being in existence. Adam Buch was a pupil of
Minasi.

BUCHER (B.)-— Die Kunst im Hand-
werk. Vademecum fur Besucher
Kunstgewerblicher JV1 useen, Aus-
stellungen, etc. Wien, 1872. 12°.
Ceramics, pp. 126-144.

" Art workmanship. A manual for
the visitoi1 to industrial museums, exhi-
bitions, etc."

-"Mit Gunst." Aus Vergan-
genheit und Gegenwart des
Handwerks. Leipzig, W. Gru-
now, 1885. 8°, pp. 461. 5 m.

" ' With your leave.' Handicrafts of
past and present times."

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CERA MIC LITER A TURK.

[BUL

Under this title, the greeting formula in use
among members of the ancient Trade Guilds,
the author has collected the various papers 011
industrial arts he had contributed to the
German periodicals. Several chapters are de-
voted to ceramics, namely : drinking jugs,
Jacobas' Kannetjes, the Oiron faience, Bernard
Palissy, earthen vessels and history, the oldest
porcelain of Europe, Capo di Monte, Buen
Ketiro and Alcora.

BUCHER (B.).— Die alten Zunft- und
V erkers - Ordnungen der Stadt
Krakaw. Wien, Gerold's son,
1889. 4°, pp. 112; with 27 pi.
16s.

" The ancient guild and trade regula-
tions of the city of Cracow."

Contains : " Obligatio figulorum ad edif.
Justitas, 1406," and " Statua figulorum, 1504, >:
pp. 64-68, with a plate of a potter at work.
After the original MS., "Codex Picturatius, "
by Balthazar Behems in the K.K. Jagellonische
Bibliothek.

BUDDINGH (D.)-— Over oude en latere
drinkplegtigheden der Scandi-
naviers, Germanen en Neder-
landers. The Hague, 1842. 8° ;
with illustr. of old vessels, Jacobas
Kannetjes, etc. 4s.

" Upon the ancient and later drinking
customs of the Scandinavians, Germans,
and Nederlanders."

BUDE (L.) and LACHER (C.).— Kunst-
gewerbliche Arbeiten aus der
kulturhistor. Ausstellung zu
Graz. Graz, 1884. Fol. ; with
100 photogr. pi. 80 m.

" Works of industrial art in the Graz
Historical Exhibition of 1883."

BUHLER (Chr.).— Die Kachelofen in
Graubtinden aus dem XVI.-
XVIII. Jahrhundert. Eine
Kunst und Kulturgeschichtliche
Studie. Zurich, C. Schmidt, 1880.
Fol., pp. 44; with 9 col. pi. by
J. J. Hofer.

" The earthenware stoves of the
' Grisons ' canton, from the sixteenth to
the eighteenth century. An a tistic
and historical essay."

The canton Graubiinden, or Grisons, is ricli
in old buildings, many of which can still boast
of having preserved their ancient architectural
stoves, ornamental pillars formed of tiles and
slabs of enamelled pottery, often provided at

the sides with a seat constructed of the same
material. They were all of national origin,
having mostly been manufactured by the
celebrated Winterthur potters. It has evi-
dently been a most pleasant task to the author
of this descriptive sketch, a learned clergyman
of the locality, to hunt out his examples in
distant villages and to give us the benefit of
his discoveries. The traveller in the Engadine
has had occasion to admire in the Rathhaus of
Choire, and in some other ancient buildings of
the same town, several remarkable examples
of the art of the Swiss stovemaker, ranging in
date from 1564 to 1734. Many more curious
stoves are scattered all over the district,
namely : at Davos, Malans, Bremgarten, etc.
The earliest types, built up of tiles embossed
with high reliefs, and glazed with black or
dark green glaze, do not bear any date or
monogram. The more ambitious structures by
which they were succeeded, formed of large slabs
of stanniferous faience, elaborately painted in
various colours, are generally dated and signed
by their makers. On these we find the name
of a family of Swiss potters, the Piaus, to
whom the excellence of their productions
assigns a place amongst the masters of the art.
From the fine chromos accompanying the
letterpress, we may judge of the style and of
the importance of the works made by Heinrich
and David Pfau, who worked at Winterthur
between 1620 and 1697. Later on the stove
manufacture was carried on in several places,
and other fine examples bear the names of
Meier of Steckborn 1763, and Caspar lioustaller
1771. Of all these and of many others the
writer gives a most complete description.
The transcription of the German sentences,
or lines of poetry, which are inscribed under
the painted subjects, add much to the interest
of this exhaustive monograph.

BULL (P.).— Die Emaille - Fabrika-
tion. Anleitung zur praktischen
Herstellung der Emaille, der
Geschirre und das Emaillieren
nach dem nuesten Verfahren von
P. Bull's Technische Bureau fur
Emaille - Industrie. Hamburg,
Bergedorf, 1895. 8°, pp. 168.
14 m. A supplement (4 m.) was
published in 1897. Privately
printed.

"The enamel manufacture. Instruc-
tions for the practical preparation of
enamels ; the making of vessels and the
way to enamel them, from the latest
experiments."

Although this receipt book is particularly
intended for enamelling upon metals, it con-
tains many useful suggestions for the making of
ceramic colours and enamels.

BULLE (H.)-— Die Silene in der arch-
aischen Kunst der Griechen.

BUR]

CERA MIC LI TEE A TURE.

[BUR

Miinchen, Ackermann, 1893. 8°,
pp. 77. 2 m.

" The Silenes in Greek archaic art."

The distinctive character of the Greek and
Italian styles of vase painting is commented
upon by means of the difference existing in the
representation of Silene on the vases found in
the two countries.

BURAT (J.).— Exposition de 1'indus-
trie fraii9aise, annee 1844. De-
scription methodique accom-
pagnee d'un grand nombre de
planches et de vignettes et d'un
essai historique sur les exposi-
tions de 1'industrie. Paris, 1844.
2 vols. 4°.

" Exhibition of the French industry
in the year 1844. Classified description,
illustrated with numerous plates and
woodcuts, and prefixed with an historical
essay on the industrial Exhibitions."

SURGES (W.)-— Art applied to in-
dustry. A series of lectures.
Oxford, 1865. 8°. Pottery, pp.
27-39 ; Bricks, pp. 100-102.'

BURGESS (W.)-— Staffordshire versus
American pottery. Washington,
1891. 8° (in U.S. Consular
Reports, No. 132), pp. 23.

— English pottery and pottery
trade. Washington, 1892. (In
U.S. Consular Reports, No. 136.)
Pp.8.

BURGON (Th.).— Attempt to point out
the vases of Greece proper which
belong to the heroic and Homeric
ages. London, 1845. 8°, pp. 40 ;
Ipl.

BURKE (M. D.)« - - Brick for street
pavements ; an account of tests
made of bricks and paving
blocks, With a brief discussion
of. street pavements and the
method of constructing them.
Cincinnati, 1892.

BURLAMACCHI
Robbia.

(Marchesa).— Luca della

Londm, G. Bell, 1900.

8°, pp. vi-121 ; with 40 illustr.

5s.

Several documents relating to Luca della
Robbia are given in the Appendix. They do
not add much to our previous knowledge of the
master and his work. A catalogue of all the
faience works made by him and by his suc-
cessors is appended to the biography ; it is very
incomplete as regards the collections in other
countries than Italy. As to what regards Italy,
we notice that the important frieze of the
Pistoja hospital, which is noticed in the text,
has not been entered on the list.

BURLINGTON FINE ARTS CLUB.— A short
description of the English and
Continental porcelain exhibited
June, 1873. London, 1873. 4°,
pp. 24 ; with 18 photogr. p .
£3, 10s.

- Illustrated catalogue of speci-
mens of Persian and Arab art
exhibited in 1885. London, 1885.
4°, pp. xxii-70; with 22 phototyp.
plates. (A few copies have some
additional plates.) Introduction
by Henry Wallis. £2, 10s.

Catalogue of specimens of
Hispano-Moresque and majolica
pottery. London, 1887. 4°, pp.
viii-60. ' 3s.

Catalogue of objects of Greek

ceramic art. London, 1888. 4°,
pp. 105; with 2 woodcuts and 54
autotype pi. Catalogue prepared
by W. Frohner. £6.

Exhibition of the art of

ancient Egypt. London, 1895.
4°, pp. xlvii-129 ; with 7 pi. in
outline (4 of pottery), and 27
autotype pi. Introduction by H.
Wallis. £1, 16s.

— Catalogue of blue and white
Oriental porcelain. London,l8S5.
4°, pp. xxii-55 ; with 4 pi. of
marks. Introduction by Cosmo
Monkhouse; catalogue by Rich-
ard Mills. 6s.

Catalogue of coloured Chinese

porcelain exhibited in 1 896. Lcm-

BUR]

CERAMIC LITERATURE.

[BUR

don, 1896. 4°, pp. xiii-67 ; with
5 pi. of marks. Introduction by
C. Monkhouse ; catalogue by R.
Mills. 6s.

BURLINGTON FINE ARTS CLUB. - - Exhi-
bition of ancient Greek art.
London, 1904. 4°, pp. xxxii-
265 ; with 40 pi. £6.

- Exhibition of the faiences of
Persia and the nearer East.
London, 1907. 4°, pp. 82. Cat.
by Ch. H. Read.

The illustrated catalogues of the Burlington
Fine Arts Club, having been printed by sub-
scription for members only, it is but seldom
that copies of them are met with in the
trade. The larger part of the objects described
and illustrated in these catalogues, being
borrowed from private collections, they are
published there for the first time.

BURNS (F. S. G.) and MILES (H. J. A.).-
Tiles from Dame Marjorie's
chimney corner and china from
her cupboard. London, s.d.
(1880?) Album. Sm. 8°; 32 pi.
printed in blue. 3s.

A book for children by two ladies. Original
drawings for painted tiles, with sketches from
specimens of old china introduced in all avail-
able spaces.

BURNETT.— Burnt-in photography on
porcelain, glass, and allied vit-
reous and ceramic fabrics. Edin-
burgh, 1857. A single sheet 4°.

BURTON (W.).— Cantor lectures. On
material and designs in pottery.
London, 1897. 8°, pp. 19 ; with
text illustr. (Reprint from the
Journal of the Society of Arts.}

Examples of ancient ceramic art are de-
scribed and examined in this paper to support
the views of the lecturer on the direction that
should be followed in modern manufacture.
Mr. Burton is director of the Pilkington Tile
Works.

- The use of lead compounds in
pottery from the potter's point
of view. London, 1899. 8°, pp.
83. Is.

A concise, practical, and unbiased examina-
tion of the question lately raised on the dangers
consequent upon the methods employed in

England for the glazing of earthenware. It
was written in answer to the official report
prepared by Professors Thorpe and Oliver, in
which so many restrictions are advocated in
the vise of lead, that it amounts almost to its
absolute prohibition. Mr. Burton demonstrates
the impossibility of applying such a drastic
measure, and recommends the use of fritted
lead ; a system which, in the Continental
factories, has resulted in the disappearance of
all cases of illness among the people working
Avith lead glazes.

— A history and description
of English porcelain. London,
Cassell, 1902. 8°, pp. vii-192 ;
with 24 col. pi., 88 halftone
illustr., and 11 pi. of marks.
£1, 10s.

The technical part of this book, written by
an experienced potter, will particularly instruct
and interest the china collector, who could not
obtain an equal amount of clear and reliable
information on the nature and specific qualities
of the various porcelain wares of English
manufacture in any other ceramic history.

- A history and description of
English earthenware and stone-
ware (to the beginning of the
nineteenth century). London,
Cassell, 1904. 8°, pp. xv-192 ;
with 24 col. pi., 89 illustr., and
4 pi. of marks. £1, 10s.

A well considered and revised survey of all
information previously obtained on the matter.

— Porcelain ; a sketch of its
nature, art, and manufacture.
London, Cassell, 1906. 8°, pp.
viii-261 ; with 50 half-tone pi.

7s. 6d.

The earlier chapters aim at initiating the
china collector into the technics of porcelain
manufacture. A reprint of the translation of
the Letters of Pere d'Entrecolle occupies the
larger part of the section of the book devoted
to Chinese porcelain. The history of the
European manufactories is succintly and clearly
compiled from standard monographs.

BURTY (PMlipe).— Chefs-d'oeuvres des
arts industriels. Ceramique—
Verrerie et Vitraux — Emaux —
Metaux — Orfevrerie et bijouterie
— Tapisserie. Paris, Ducrocq,
Is66. 8°, pp. 598; with 200
illustr. 10 fcs.

"Masterpieces of the industrial arts.
Ceramics — Glass - making and stained

BUR]

CERAMIC LITERATURE.

[BUS

glass — Enamels — Metals — Goldsmith
and jeweller's work — Tapestry."

The talented craftsmen of yore who have
left the stamp of their masterly personality
impressed on the material they have shaped
into things of beauty had been, long before,
acknowledged as incontestable artists. But |
the many admirers of the arts of the past were
still far from being ready to realise that talent
of the true sort was dormant in the modern
workshop, and that more than one exceptionally
gifted designer or modeller, was only waiting
for the opportunity of displaying his creative
powers, and assert his artistic personality. At
that moment, to suggest that any superior
example of painted pottery, chased metal,
carved wood, etc., the work of a living artisan,
could be deemed to be sufficiently remarkable
in conception and treatment to rank on the
same line with a painted canvass or a marble
statue, was considered nothing short of ex-
travagant. Nevertheless, a few clear-sighted
connoisseurs, setting aside the trammels of
deep-rooted prejudices were joining their efforts
in bringing about a general recognition of what
they called the "industrial arts." Burty
became the accredited champion of the cause,
and bravely conducted a front attack against
the mighty powers of the hour, academic
disdain and senile obstinacy. He constituted
himself "critic of industrial art," a speciality
assumed subsequently by many other writers,
but for which Burty was uncommonly well
qualified as one may judge from the merits of
the essays and articles he published from day
to day in the French periodicals. The fruit of
many years' observation and experience has
been embodied in this book, a large part of
which is devoted to ceramics. The author did
not hesitate to bring his history of the potter's
art well up to date. He was the first who
dared to speak of the leading craftsmen of his
clay as equalling the ancient masters of the
best periods. It remains to be seen whether
posterity will ratify his judgment.

The work has been translated into English
by W. Chaffers.

We cannot undertake to give a complete list
of Burty's contributions to the serial publica-
tions to which he was a constant collaborator.
The following have been reprinted in a separate
form.

Exposition des Beaux- Arts
appliques a Findustrie, 1874.
Rapport sur la ceramique.
Paris, Pougin, 1874. 8°. (From
the Revue des arts decor atifs.)

— La poterie et la porcelaine au
Japon. Paris, 1885. 8°. (From
the Revue des arts decor atifs.}

Bernard Palissy. Paris,
Rouam, 1886. 4°, pp. 60 ; with
20 illustr. 3 fcs.

BURTY (Collection, Ph.).— Catalogue of
sale. Paris, 1891. 8°, pp. 319 ;
with 1 pi. and text illustr. drawn
by Ph. B. Introduction by S.
Bing.

Oriental ceramic : Nos. 1321-1522.

BURY-PALLISER (Mrs.)- --The china
collector's pocket - companion.
London, Sampson Low, 1874.
12°, pp. 136; with marks. 3s.

BUS.— A dish of gossip off the Wil-
low Pattern, by Bus, and plates
to match by Fus. London, Laid-
law, s.d. Sq. 8°, pp. 32; with
illustr. printed in blue. 2s.

BUSCHING (J. G. G.);— Grabmal des
Herzogs Heinrich des Vierten
von Breslau. Breslau, 1826.
Fol., pp. 20 ; with 5 engr. pi.
15s.

" Tombstone of the Duke Henry IV.
of Breslau."

Most of the writers on ceramic history,
relying on A. Demmin's authority, have men-
tioned the tomb of Duke Henry IV., erected
in the Church of Breslau in 1295, as incontest-
able evidence that the art of enamelling on
clay was practised in Germany long before
majolica was made in Italy. Demmin had
especially mentioned the bright and glossy red,
conspicuous among the brilliant colours with
which the monument was said to be enamelled,
and the beauty of which the Italian majolica
has never equalled. As the statement is alto-
gether erroneous, it is not unimportant to give
the following extracts from the work'of a local
historian in which the tomb is accurately
described.

"All the monumental tombs of Silesia,"
says Biisching, "are made of marble, stone,
or porphyry; the upper part of the tomb of
Henry IV. is exceptionally made of terra-cotta ;
the rest of the monument being, however,
carved out of sandstone in the usual style.
The whole of the structure- the terra-cotta as
well as the sandstone part — was, at one time,
coated over with distemper colours, but very
few traces of the painting can now be
recognised. "

BUSHELL (S. W.).— Chinese porcelain
before the present dynasty.
Peking, Pie-T'ang Press, 1886.
8°, pp. 55. (Reprint from Journal
of the Pekin Oriental Society.}

No more precious document could have
come to hand to assist the historian of Oriental
ceramics in fixing the various styles of por-

BUS]

CERAMIC LITERATURE.

[BUT

celain made in China from the earliest times on
record than the old Chinese MS., of which this
paper gives a correct, if not a complete, transla-
tion. It is the authentic catalogue of a choice
collection of porcelain formed, towards the end
of the sixteenth century, by an experienced
amateur. To the minute description of the
specimens in his possession the collector had
added accurate sketches of the originals care-
fully executed in water-colour. When Bushell
published his translation he could not accom-
pany it with reproductions of these sketches,
since the original MS. was thought to be
irretrievably lost. Many points clearly estab-
lished by this catalogue may now, however,
be considered as definitely settled, and the
importance of such a text-book could not
be overrated. An interesting account of the
preparation of ceramic colours in use during
the reign of Van-li, 1573-1619, and of the
various styles of manufacture prevailing at
the same period, was affixed by the Chinese
collector to the third part of his MS.; this
has been included in the translation of the
catalogue.

BUSHELL (S. W.).— Oriental ceramic
art. Illustrated with 116 plates
in colour and 437 black and white
cuts, reproducing specimens in
the collection of W. T. Walters.
With a complete history of Ori-
ental porcelain, including pro-
cesses, marks, etc., by Dr. S. W.
Bushell, physician to H.B.M.
Legation, Pekin ; and an intro-
duction and notes by W. M.
Laffan. New York, D. Appleton,
1897. Ten parts, imp. fol. The
text has been reprinted in 8°
form with the title, "Text edition
to accompany the complete
work." £100/

The owner of the collection had himself super-
intended the preparation of these sumptuous
volumes; he died before the printing was quite
completed and left to his executors the care of
bringing them out. It took W. T. Walters
forty years to form this collection, and the
finest specimens procurable were bought by
him regardless of cost. If smaller in size than
the Dresden collection of Oriental porcelain,
experts regard this one as superior in quality.
The letterpress, contributed by S. W. Bushell,
is based on the work described above, and
contains a translation of the Fao-Shno, the
best Chinese work on porcelain.

The plates were produced by Louis Prang
of Boston, after the sketches painted in water-
colours by J. Calowhill, formerly attached to
the Royal Porcelain Works, Worcester.

Chinese art. London, printed

by Wyman & Sons. 1904-06. 8°,

2 vols., pp. 156-151; with 239
illustr. 3s.

One of the Handbooks of the Victoria and
Albert Museum. Ceramics : vol. ii. pp. 1-58,
with 74 illustrations ; marks and seals.

Chinese porcelain. Oxford,
H. Frowde, 1908. 4° ; with 83
plates in colour by W. Griggs,
with corresponding Chinese text
reproduced in facsimile, and
accompanied by translation,
notes, and introduction. £5, 5s.

When, in 1888, Dr. Bushell published an
abridged account of the precious Chinese cata-
logue, once in his possession, the original MS.
had been burnt in the fire which had occurred,
the year before, at Whiteley's Repository. On
his return to Pekin, the Dr. was pleasantly
surprised to hear that, while the MS. was
being offered for sale, a native artist had taken
several accurate copies of it. It is one of these
copies that he caused to be reproduced in colour
by photographic process. The volume was
handsomely printed at the Clarendon Press.
Death carried away the author a few days after
the publication of his work.

BUSHELL (S. W.) and LAFFAN (W. M.).—
Catalogue of the Morgan collec-
tion of Chinese porcelain. New
For#,The Metropolitan Museum
of Art, 1907. 8°, pp. lxxxii-195;
with 76 half-tone plates. 13s.

This catalogue first issued, with coloured
plates, for private circulation, has subsequently
been reprinted for the use of the visitors to the
museum.

BUSSY (Ch. de).— Exposition de Phila-
delphie en 1876. Rapport sur la
ceramique. Paris, Impr. Nat.,

1877. 8°.

The official report of the French Commission.

BUTLER (Samuel). — Ex Voto ; an
account of the Sacro Monte, or
New Jerusalem at Varallo-Sesia.
With some notice of Tabachetti's
remaining work at the Sanctuary
of Crea. London, Longmans,
1890. 8°, pp. 277 ; with 20 collo-
type illustr. 10s. 6d.

In the wide plains of Lombardy, fields of
brick -clay are more readily found than stone
quarries ; consequently, the architect had to
depend, in most cases, on brick-works for the

BUZ]

CERAMIC LITERATURE.

[CAD

erection of a building, and on the use of
moulded terra-cotta for its external decoration.
Judging from the profusion and the beautiful
style of the terra-cotta reliefs with which the
Lombardy edifices, churches, palaces, private
dwellings, etc., are often clad from basement
to roof, one might expect that the potters of
the country formed, in olden times, important
corporations headed by talented and celebrated
masters. But of these no traces are left in
contemporary documents. While history has
recorded the names of nearly all the architects
and sculptors of the Renaissance period, it
is silent with respect to the terra-cotta maker,
to the practical skill of whom the former were
indebted for the ornamentation of some of the
finest monuments of Upper-Italy. One of the
most stupendous examples of the ability of these
anonymous potters is to be seen at the
Sanctuary of Varallo. The place, still in a
comparatively good state of preservation, took
nearly a century to bring to completion. It
comprises forty-eight chapels or oratories, each
containing numerous figures of terra-cotta,
arranged in groups. Some of these groups
number no fewer than forty-six human figures
and several horses, all being slightly over life-
size. The figures are coloured over with
distemper and have a background of landscape,
architecture, and additional figures painted
in fresco. The earliest chapels are the work of
Gaudenzio Ferrari, a well-known Milanese
painter, assisted by an efficient staff of model-
lers, working under his direction. One of
the chapels, that of the crucifixion, bears
the date 1529. Among the many artists who
had been engaged on this work, Tabachetti is
the most conspicuous and prolific. Tabaquet
or Tabachetti was a sculptor of Flemish origin,
who had come to settle in Lombardy. His
name is only known in association with the
terra-cotta figures of Varallo, where he worked
up to 1610, and with another work of the same
sort which he executed a few years later for the
neighbouring Sanctuary of Crea. His figures,
realistic in the extreme, have little in them
that recalls the early style of the Milanese
school, and pervaded the masterly work of his
predecessor, ^Gaudenzio Ferrari. The Flemish
sculptor revels in the grinning faces and in the
extravagant attitudes of the grotesque person-
ages so dear to Adrien Brawer, Van Ostade, and
other Flemish painters. To an ill-disposed critic
certain of these uncouth groups would appear
to be composed of Flemish workmen who had
just left the jollities of the Kermess to do
occasional duty as supers in the performance
of a village passion-play. We must refrain
from expressing our personal impression with
respect to Tabachetti's work, lest we should,
in so doing, wound the feelings of the author
of Ex voto. In his sincere and boundless
admiration for the modeller of the Journey to
Calvary, he declares that, had it been in his
power to be gifted either with the talent of a
Michael-Angelo, or that of a Tabachetti, he
would have no hesitation in preferring to
resemble the latter, rather than to be considered
equal to the former.

The book gives no information about the
potters who performed the practical part of this
extraordinary work, the places where the ovens
were situated, the conditions of the trade at that
period, and other matters of kindred interest.

BUZONNIERE (de).— Notice sur 1'emploi
des machines pour la fabrication
des briques dans les localites ou
les debouches ne sout pas tres
considerables, et description
d'une nouvelle machine destinee
k remplacer le Rebattage, nom-
mee Calibreuse. Orleans, 1845.
8°, pp. 18 ; fold. pi.

" Notes on the use of brick-making
machines in the localities where only a
moderate production is required, and
description of a new machine, destined to
replace the 'beating in,' called 'Cali-
breuse.'"

BYNG-HALL (Major H.). — The bric-a-
brac hunter ; or, chapters on
chinamania. London, Chatto &
Windus, 1875. (2nd ed.) 8°, pp.
290 ; portrait. 4s.

Major H. Byng-Hall travelled all through
Europe in the fulfilment of duties entailed by
the position he occupied in the diplomatic
service. Being also a passionate collector of
old china, he took advantage of his prolonged
sojourn in foreign countries to gratify this
attractive pursuit. It is th« result of his
hunting expeditions through the curiosity
shops of the Continent that he gives to his
brother collectors of England, in a series of
chatty chapters. One can detect in every page
of his narrative his undivided predilection for
the dainty pieces of porcelain, prettily painted
and richly gilt, the cup and saucer, the little
figure, the scent bottle and the bonbonniere ; in
short, the tasteful selection of nick-nacks which
adorn a fashionable lady's china closet in her
town mansion. He confesses his partiality
for the figures of Buen-Retiro and Capo di
Monte, underrated treasures which he prefers
to all others, and which, for a time, he has
been able to collect at his ease, without having
to fear the rivalry of other amateurs ; he is
never tired of expatiating on their unequalled
beauty. So much attention is bestowed upon
his pet porcelain, that no time is left to speak
about the majolica or the pottery of all kinds
he may have met with in his rambles. Shops
and bargains get by far the better of museums
and description;:) of rare specimens, to which
hardly a passing reference is given. The
man of the world as well as the china collector
will, however, find in this book all that the
title promises.

CADORIN (LlldOViCO).— Studii teorici e
pratici di architettura e di ornato
per la erezione delle fabbriche
in terra cotta adattati ai besogni

CAH]

CERAMIC LITERATURE.

[CAM

del secolo. Venezia and Paris,
Bance, s.d. (1840 ?). Fol. ; with
28 engr. pi. and notices in French
and Italian. 20 fcs.

" Studies of theoretical and practical
architecture and ornamentation for the
erection of buildings in terra-cotta,
adapted to the requirements of our
times."

Views of ancient monuments and modern
buildings of purely architectural interest.

CAHIER (A.)-— Coup d'oeil sur quel-
ques parties du Muse'e de Douai.
Douai, 1854. 8°. (Ceramique :
pp. 21-37.)

" A glance at some sections of the
Douai Museum."

CAHIER (Co.) et MARTIN (A.) —Suite aux
melanges d'archeologie, rediges
ou recueillis par les auteurs des
vitraux de Bourges. I. Serie.
Carrelages et tissus. Paris,
Morel, 1868. 2 vols. Fol., pp.
xii, and 250 pi. printed in brown.
50 fcs.

"A sequel to Archaeological Miscellanies,
described or gathered by the authors of
The Stained Glass Windows of Bourges.
First series — Tiles and Textiles."

Death alone could part the brotherly ties
which united the two learned antiquaries to
whom we owe the sumptuous and scarce work
The Stained Glass Windows of Bourges. But
even after the death of one of them, the col-
laboration may be said to have continued, for
. Carrelages et Tissus was published by the sur-
vivor from the documents bequeathed by his
deceased friend. Father Arthur Martin was
an artist of no mean talent, quick and correct
with his pencil ; his taste and judgment were
refined and sure. Indefatigable traveller, he
visited every European town where mediaeval
antiquities could be studied, and he never left
the place before everything of interest that
could be found there had been examined and
sketched by him. After the publication of four
bulky volumes of Archaeological Miscellanies,
such sketches as remained in his portfolios
were arranged by Father Cahier in fifty folio
volumes. It was out of this wondrous store
that his devoted collaborator extracted the
materials for the making of the present work.
Unfortunately, in his passionate haste for
drawing and painting, Father Martin often
neglected to inscribe the source from which
the document had been obtained. In the
absence of all indication of origin, the sketches
could only be roughly classified by styles and
periods. Naming with accuracy the numerous
examples contained in these 250 plates was not
a task easy for the survivor to accomplish.

They were left, therefore, without any ex-
planatory text or index, a shortcoming which
is greatly to be deplored. We have also to
regret that such a remarkable selection of
ornamental patterns has been reproduced in
monochrome ; coloured plates alone could have
conveyed an exact idea of the decorative effect
of the designs, and made this work one of the
most useful stores of materials for the decorator.

CAJANI (A.)- — Catalogo delle pitture
in majolica ed altri oggetti d'arte
esistenti nel gabinetto di M. A.
Cajani. Roma, 1860. 8°.

" Catalogue of the majolica paintings
and other works of art in the collection
of M. A. Cajani."

CALZINI (E.). — Urbino e i suoi monu-
menti. Rocca S. Case, 1897.
Fol. ; with 61 pi. 20 fcs.

" Urbino and its monuments."

The arts in Urbino at the Renaissance time,
pp. 127-198.

CALLENDER (Collection, I. Romaine).— Sale

at Christie's, 1876. 8°, pp. 26 ;
with 5 pi. of Bristol china.

CAMPANA (GiOY.-PietTO).— Museo Cam-
pana. Antiche opere in plastica
discoperte, raccolte e dichiarate
dal marchese Campana. Roma,
1842-51. 2 vols. Imp. fol; with
120 lith. pi., printed on tinted
ground. 80 fcs.

" Antique works
covered, collected,
Marquis Campana."

Terra-cotta bas-reliefs of Greco-Roman style
reproduced in the highly-finished and finely-
stippled treatment then adopted by the
students of the academy for drawings after
the antique. Much labour has evidently been
spent upon each plate, yet the result is spirit-
less and heavy in the extreme. The letterpress,
which offers an allegorical interpretation for
each subject, is bristling with classical quota-
tions, not always conducive to a better under-
standing of the drift of the author's learned
discantations. The work was left uncompleted.

- Cataloghi del Museo Cam-
pana. Roma, 1859. 4°. 15 fcs.

The Campana collection was described by its
owner in twelve catalogues. I. Vasi dipinti
etruschi ed Italo-Greci. III. Opere in plastica
o terre cotte etrusche e Greche-romane. X.
Gabinetto di pitture in majolica dei piu celebri
artifici d' Italia, dal secolo XV. al XVI. XI.
Sculture in majolica di Luca della Robbia e
suoi contemporanei.

in terra-cotta dis-
and described by

CAM]

CERAMIC LITERATURE.

[CAM

CAMPAMRI (SecODuiano).— A brief de-
scription of thirty-two Greek
vases, lately found in excavations
made at Vulci, in the Roman
territory, by S. Campanari, and
now exhibited by him in London,
No. 15 Leicester Place. London,
printed by J. Valpy, 1832. 8°,
pp. 104. 4s.

- Delia grande anfora Tirrena
Volcente rappresentante Achille
e Ajace che giuocano agli astra-
gali. Roma, 1834. 4°, pp. 14.

2s.

" Of the large Vulcian amphora repre-
senting Achilles and Ajax, playing the
game of astragali."

Intorno i vasi fittili dipinti
rinvenuti ne'sepolcri dell'Etruria.
Roma, 1836. 4°, pp. 93; with
3 pi.

" On the painted vases discovered in
the sepulchres of Etruria."

- Antichi vasi dipinti della col-
lezione Feoli. Roma, 1837. 8°,
pp. 265 ; with 11 pi. of forms. 5s.

" Ancient painted vases in the Feoli
collection."

The collection is now in the Wilrzburg
Museum.

- Catalogue of the scarce col-
lection of Greco-Italian vases
recently imported from Italy by
S. Campanari. London, 1839. 8°.

- Descrizione dei vasi rinvenuti
nelle escavazione fatte nel'lsola
Farnese (antica Veio) negli anni
1838 e 1839. Roma, 1839. 4°,
pp. 26 ; with 7 pi. 4 fcs.

" Description of the vases discovered
in the excavations made in the Farnese
Island in the years 1838-39."

- Intorno un vaso fittile trovato
a Norcia. Roma, 1840. 8°. pp.
13 ; 1 pi.

" On a painted vase discovered at
Norcia."

CAMPANER y FUERTES (Alvaro).— Dudas
y conjecturas acerca de la antigua
fabrication mallorquina de laloza
con reflejos metalicos. Palma,
Impr. Gelabert, 1875. 8°, pp.
11 ; with 1 pi. (Extr. from the
Museo Balear de historia, y lit-
er atur a, ciencias y artes.)

" Doubts and conjectures on the sub-
ject of the manufacture of faience with
metallic lustre at Majorca."

- Mas sobre lozas con reflejos
metalicos. Palma, 1876. 8°,
pp.6.

" A few more words on the subject of
faiences with metallic lustres."

CAMPBELL TILE CO —Designs of ma-
jolica and enamelled tiles, etc.,
manufactured by the Campbell
Tile Co.,Stoke-on-Trent. Leices-
ter, lith. by Fleming & Co. 4° ;
70 pi. in col. (1885 ?).

CAMPORI (Marchese Giuseppe).— Notizie
della manifattura Estense della
majolica e della porcellana nel
XVI. secolo. Modena, Typ.
Soliani, 1864. 4°, pp. 40. 5 fcs.

" Notice of the manufacture of majolica
and porcelain in Este during the six-
teenth century."

This paper is a first instalment only of the
valuable information obtained by Campori in
the course of his indefatigable researches on
the origin of the Ferrara manufactory. He
has been able to ascertain, through documents
preserved in the archives of Modena, that, from
the first, the works were conducted under the
direct supervision of the Duke of Ferrara.
Ever since 1515 experiments on the art of
majolica-making had been carried on by work-
men in the pay of Sigismondo d'Este. At the
death of Sigismondo, his chief assistant, a potter
of the name of Biago, passed to the service of
Duke Alfonso I. This latter took such an
interest in the manufacture of pottery that he
became proficient in the practices of the craft ;
it is said that his banqueting table was adorned
with majolica vases made by his own hands,
which he valued, on that account, much above
silver vessels.

The direct intercourse that Princes and
Noblemen were pleased to keep with potters
and majolists in the sixteenth century is
illustrated by extracts from their private
correspondence. Additional enlightenment is
thrown on the earliest porcelain made in
Europe. If the author's conclusions are to

CAM]

CERAMIC LITERATURE.

[CAR

be accepted, the credit of the discovery should
be due to the Ferrara potters. Contemporary
documents disclose that porcelain was made
for the first time at Venice, at the instiga-
tion and under the patronage of Alfonso I.
Later on it was successfully manufactured at
Florence by Camillo d'Urbino, a majolica
painter, who had been for some years attached
to the household of Duke Alfonso II.

We must mention, simply for curiosity's sake,
the transcript of a recipe for making majolica
and porcelain taken out of an Italian MS. of
1503. The prescriptions rank with the most
extravagant lucubrations of the old alchemists ;
they show that one should never use too much
reserve in accepting as genuine information the
so-called recipe books of ancient times, often
meant to discourage, rather than to assist, any
private attempt to penetrate into professional
secrets.

CAMPORI (Marchese Giueseppe).— La ma-

j clique et la porcelainedeFerrare.
Paris, 1864. 8°, pp. 26. (Re-
print from the Gazette des Beaux
Arts, August, 1864. 3 fcs.

Translation of the above paper.

- Delia manifatture della ma-
jolica e degli stucchi instituite in
Torino da Orazio Fontana e da
Frederico Brandani. Modena,
1867. 4°, pp. 9. 2 fcs.

"The manufacture of majolica and
stucco established at Turin by Orazio
Fontana and Frederico Brandani."

In the official registers of accounts preserved
in the Turin Archives occurs the mention of
three orders of payment of various sums, drawn
in favour of Orazio Fontana, for certain majolica
vases by him delivered to the Duke of Savoie,
Emanuele Filiberto, in 1564. This has been
thought sufficient to establish the probability
of the celebrated majolist of Urbino having
worked at his art in the town of Turin. The
proof is by no means conclusive ; at any rate,
never has any piece of majolica been discovered
which may with any certainty be attributed to
a Turin manufactory of that period.

- Notizie storiche e artistiche
della majolica e della porcellana
di Ferrara nei secoli XV. e XVI.
Con un appendice di memorie e
di document! relativi ad altre
manifatture di majolica dell'
Italia Superiore e Media. Mod-
ena, C. Vincenti, 1872. 12°, pp.
150. 3rd ed. Pesaro, Nobili,
1879. 8°, pp. 145. 3 fcs.

" Notices historical and artistic, of the
majolica and porcelain of Ferrara, in the

fifteenth and sixteenth centuries. With
an appendix containing sundry memoirs
and documents relating to other majolica
manufactories of Upper and Central
Italy."

A complement to the contributions of Cam-
pori towards the history of Italian majolica.
Particular attention must be given to some
extracts of the "Memoriale," or household
accounts of Leonello, Marquis of Ferrara, in
which are recorded the various sums paid to
Bastiano, a potter, for some glazed tiles he had
supplied, and to M. O. Jacopo de Sagramoro,
who had painted the same tiles. This is said
to be the earliest date in which tile painting is
found mentioned in an ancient document. In-
formation on the manufacture of majolica and
porcelain at Ferrara is added to that already
published by the writer. Lastly, short mono-
graphs of the manufactories of Mantua, Sassuolo,
Modena, Reggio, Scandiano, San Possidonio,
and a series of inedited records concerning the
majolica of Urbino, Faenza, and Pesaro, with a
short historical survey of the ceramic art in
Parma, testify to the fruitful result of Campori's
labour in the archives and libraries of his
country.

CAMO (Prince de).— See Bonaparte (L).

CANOMILLE-DESLYS (Th.).— Les mer-
veilles de la ceramique rouen-
naise. Rouen, E. Cagniard, 1891.
8°, pp. 27.

" Masterpieces of Rouen ceramics."
A short summary of the history of the
manufacture of faience and porcelain at Rouen.

CAflTAGALLI (the sons of Giuseppe).-

Art pottery works, Florence.
Descriptive catalogue with price
list. Florence, 1883. 8°, pp. 84 ;
with 1 col. pi.

CAP (P. A.)- — CEuvres completes de
Palissy. Paris, 1844. 8°.

Biographic chimique. Bernard

Palissy. Paris, Bethune & Plon,
1844. 8°, pp. 35.

A reprint from the introductory article of
the above work.

CARBONNIER (A.).— Description of the
Sevres porcelain services in the
collection of Count N. P. Scher-
emeteff. St. Petersburg, 1894.
8°, pp. iv-45 ; with 6 pi., and
marks (in Russian).

The paintings of two old
Sevres plates in the possession

CERAMIC LITERATURE.

[CAR

of Count N. P. Scheremeteff.
St. Petersburg, 1894. 8°, pp. 8 ;
with 2 pi. (in Russian). Pri-
vately printed.

Catalogue of the Museum
of Baron Stieglitz in the Central
School of Design in St. Peters-
burg. Ceramics - - Faience —
Majolica (in Russian). St.
Petersburg, 1899. 8°. 7s. Cer-
amic History (illustrs.), pp. 114.
Catalogue, pp. 195 ; with 20 pi.

The blocks are mostly borrowed from the
French and English handbooks.

CARLONI (Marco).— Bassirilievi Volsci
in terra cotta dipinti a vari colori,
trovati nella citta di Velletri . . .
da Marco Carloni, pittore ed
incisore. Roma, 1785. Fol.,
pp. 20 ; with 7 engr. pi. 18 fcs.

" Etruscan bas-reliefs of terra -cotta,
painted in various colours ; discovered
in the city of Velletri . . . by M. C.,
painter and engraver."

The Etruscan people have made a greater
use of terra-cotta, for architectural decoration,
than any other nation of antiquity. From floor
to roof their temples and palaces were covered
with slabs, pillars, cornices, etc., of painted
clay ; the colours were bright and varied, but
in no case, however, do they appear to have
been burnt in. With the exception of what has
been found in the tombs, little remains of the
Etruscan architectural terra-cotta; examples
in the style of the bas-reliefs reproduced by
Carloni are of great rarity. They represent
convivial scenes, chariot races, equestrian war-
riors, etc. The plates are accompanied with
descriptive notices attributed to Father
Becchetti.

CARRARA (F.).— De'scavi di Salona
nel 1850 ; memoria con cinque
tavole. Praga, 1855. 4°.

" The excavations at Salona ; a memoir
with five plates."

- German translation. Leipzig,
1854. 8°. Illustrs. of Roman
pottery.

CARRERE (G. de).— Notice sur cinq

plaques en terre vernissees de

Savignies, faisant partie de sa

collection. Beauvais, Pere, 1889.

. 8°, pp. 16 ; with 3 lith. pi. 3 fcs.

" Notice of five plaques in glazed
pottery in the author's collection."

The funereal slabs that make the subject of
this paper are of a late period. A monograph
of the ancient stoneware or the blue pottery of
Savignies, is added to the description of the
specimens.

CARRIER - BELLEUSE (A.). - - La terre
cuite francaise. II. Serie par
Carrier-Belleuse. Reproduction
phototypique de 1'ceuvre plas-
tique du maitre. Paris, Claesen,
1890-91. 25 pi. in phototype.
Fol. 40 fcs.

" French terra-cottas. Part II., by
Carrier-Belleuse. Reproductions from
the original terra-cottas of the master."
The 1st Part comprises the works of J.
Cheret. Another edition was published
the same year in Berlin with German
title.

The models executed by Carrier for repro-
duction in pottery and porcelain are innumer-
able. In his young days he was attached as a
modeller to Minton's china works, and he ended
his life as art director of the National factory
of Sevres. When he was not at work on some
important work of marble or bronze, in his
Paris studio, he produced a great many busts,
groups and figures of terra-cotta, replicas of
which are known all over the artistic world.
The few excellent examples selected for this
album, cannot, however, give an idea of the
fertile imagination of one of the most clever and
prolific decorative artists of our time.

- Catalogue des ceuvres origi-
nales . . . de Mr. Carrier-
Belleuse. Paris, 1887. 8°, pp.
61 ; portr. and 1 pi. ; catalogue
of sale.

Mr. Paul Mantz has prefaced this catalogue
with a biographical notice of the artist. The
sale included nearly one hundred and fifty
groups, figures, and busts of terra-cotta, to-
gether with a large number of Carrier's sketches
and drawings, and a small collection of old
faience.

CARTAILHAC. — Ages prehistoriques de
FEspagne et du Portugal. Paris,
Reinwald, 1886. 8°, pp. 347;
with 4 pi. and 450 illustr. 20 fcs.

" The prehistoric ages in Spain and
Portugal."

Gives some particulars on the mortuary
pottery, with 24 reproductions of urns.

CARTAULT (A,). — Sur 1'authenticite
des groupes en terre cuite d'Asie-

CAR]

(J ERA MIC LITER A TURE.

[CAS

Mineure. Macon, Impr. Protat,
1887. 4°, pp. 30 ; with 7 photo-
typ. pi. 10 fcs.

" On the authenticity of the terra-
cotta groups of Asia Minor."

So different in style and character from all
that was known of antique terra-cotta were
the important groups lately discovered in Asia
Minor and acquired by Mr. A. Cartault, that
Mr. S. Reiuach had expressed, in the Revue
Archeologique, the opnion that they were
either spurious or made up of odd fragments.
Mr. Cartault took the pen in their defence and
published this paper in vindication of their
absolute genuineness.

CARTAULT (A.)— Nouvelles recherches
sur les terres-cuites grecques.
S.d. 4°, pp. 24 ; with 2 pi. en-
graved by A. Jacquet.

" New researches upon Greek terra-
cottas."

— Vases grecs en forme de per-
sonnages groupes. Paris, Hach-
ette, 1889. 4°, pp. 16; with
2 pi.

" Greek vases in the shape of grouped
personages."

Terres cuites grecques photo-
graphites d'apres les originaux
des collections privees de France
et des Musees d'Athenes. Paris,
A. Colin, 1890. Pp. 58; with
29 phototyp. pi. and separate
notices. 25 fcs.

" Greek terra-cottas photographed from
the originals in the private collections of
France and the museums of Athens."

- See Lecuyer Collection.

CARTER, JOHNSON & Co.— Encaustic tile
manufactory, St. George Works,
Worcester. Pattern book of
ornamental tiles lith. in col. by
J. Fleming & Co. Leicester.

The first plates of the album bear : Carter &
Co., Poole Potteries, Dorset.

CARUANA (A. A.). — Ancient pagan
tombs and Christian cemeteries
in the Island of Malta, explored
and surveyed from the year 1881
to the year 1897. Malta, Gov-
70

ernment Printing Offices, 1898.
8°, pp. 129 ; with 26 col. pi.

Ancient pottery from the
ancient pagan tombs and Christ-
ian cemeteries in the Island of
Malta. Malta, 1899. 8°, pp. 58 ;
with 22 col. pi. 15s.

CARYILLE.— Machine a fabriquer les
briques, les tuiles, les carreaux
et tous les produits de terre
cuite. Paris, Impr. Proux, 1841.
8°, pp. 23.

" Description of a machine for making
bricks, tiles, and other articles of terra-
cotta."

CASATI (Ch. C.).— Note sur les faiences
de Talavera la Reyna. Paris,
Didron, 1873. 8°, pp. 4 ; with 2
col. pi. 3 fcs.

"Notice of the Talavera la Reyna
faience."

The small town of Talavera is situated a
short distance from Toledo. Having visited
the locality and examined many genuine speci-
mens from the ancient manufactory, Mr. C. has
been able to ascertain that the enamel of
Talavera faience is always of a greenish tint.
With this, the result of his personal observa-
tion, begins and ends all that he has to
communicate to us on the subject of the ware
and its characteristics.

- Notice sur les faiences de
Diruta d'apres des documents
nouveaux. Paris, Levy, 1874.
8°, pp. 12 ; with 1 col. pi. 4 fcs.

"Notice of the Diruta faience from
newly discovered documents."

In this paper are given transcripts and
translations of eight ancient documents pub-
lished, the year before, by Mr. A. Rossi who
had discovered them in the civic archives of
the town. The earliest one, dated 1387, is a
receipt delivered to the guild of "vase
makers" of Diruta, for the sum of six liras
they had contributed towards the expenses
incurred on the occasion of the procession of
St. Ercolano. The second is an act of partner-
ship formed between two inhabitants of Perugia
and three vase makers of Diruta for the
manufacture of "certain vases." It is dated
1475, and contains some interesting particulars
concerning the conduct of the pottery trade in
the fifteenth century. Among the others we
find : an invoice of pottery ware sent to a
Perugian merchant in 1488— an act conferring
the freedom of the city upon a majolica painter
who had come from Faenza to practise his art

CAS]

CERA MIC LIT ERA TURE.

[CAV

at Perugia ; and lastly, the record of some
privileges granted, at intervals, to the potters
of Diruta.

Notice sur le musee du
chateau de Rosenborg .
avec n6tes sur des faiences dan-
oises inedites. Paris, Didier,
1879. 8°, pp. 62; with 13 pi.

" Notice of the museum in Rosenborg
Castle . . . with notes upon some
Danish faiences hitherto unpublished."

The article on Danish faience does not
extend beyond two pages ; it is illustrated
with the reproduction of two coarsely painted
plates.

CASSIERS (H.)— Faiences de Delft.
Bruxelles, Dietrich, 1895. 4°,
12 pi. 10 fcs.

Decorative landscapes in the style of the old
Delft faience for the use of ceramic painters.

CASTELLAN! (Alessandro). - - Catalogue
des faiences italiennes, etc.,com-
posant 1'importante collection de
M. A. Castellani. Vente a Paris,
Mai, 1878. Paris, 1878. 8°, pp.
91 ; with marks and illustr. in
the text 5 fcs.

Sale comprising 340 Nos. Majolica, della
Robbia ware, and two pieces of the Medicean
porcelain. The surplus part of an important
collection ; some of the best specimens were
bought in by the owner.

- Catalogue des objets d'art
antiques du Moyen-age et de la
Renaissance dependant de la
succession A. Castellani et dont
la vente aura lieu a Rome, palais
Castellani, Avril, 1884. Paris,
impr. de 1'Art, 1884. 4°, pp.
324 ; with num. pi. and illustrs.
£2. (First sale.)

Catalogue of the sale whicli took place at
Rome after the death of the collector. Ceramic
art was represented as follows : —

Pottery. — Egypt, 4 Nos., 1 fig.; Cyprus,
15 Nos. ; Etruria, 7 Nos. ; Greece, archaic
pottery, 36 Nos. ; painted vases, 86 Nos., with
4 pi. and 7 vign. ; vases with reliefs, 8 Nos. ;
enamelled pottery, 8 Nos. ; terra-cottas, 290
Nos., with 16 pi. and 2 vign. ; Italian majolica,
228 Nos., with 15 illustr. ; Hispano-Moresco
faience, 27 Nos., with 3 illustr. ; Persian ware,
136 Nos.

Porcelain.— 31 Nos., including 3 pieces of
Medicean porcelain.

The catalogue of the second sale (Paris, Mai,

1884) contains only a few numbers of Persian
ware, Italian majolica and Chinese porcelain.

CASTELNAU (F. de).— Expedition dans
les parties centrales de 1'Amer-
ique du Sud, etc. Paris, 1850-61.
15 vols. 8°, 4°, and fol.; with
atlas of 500 pi. Brought out at
the expense of the French Gov-
ernment.

" An expedition through the central
parts of South America."

Part III. contains the vases and terra-cottas
reproduced on nine plates.

CASUCCM. - - Catalogo del museo
Casuccini. Siena, 1862. 8°.

A collection of Greek vases, now in the
Palermo Museum.

CAUMONT (M, de).— Notes provisoires
sur quelques produits ce"ramiques
du Moyen-Age. Caen, 1850. 8°,
pp. 20 ; with 18 illustr. (Extr.
from the Bulletin monumental.}
2 fcs.

" Preliminary notes on some ceramic
products of the Mediaeval era."

A parallel between the Roman mosaic and
the terra-cotta tiles employed in the decoration
of the brick buildings of the Romanesque style, is
followed by the description of a remarkable tile
pavement still extant in the Church of Saint
Pierre-sur-Dives, near Caen, and a conjecture
as to the date of its making. A few words on
the small pinnacles of coloured earthenware,
of which examples are not uncommon in Nor-
mandy, ends a paper which shows how
imperfectly the questions it treats upon were
known sixty years ago by the best archaeolo-
gists of the day.

CAYALLARI (F. S.)— Su alcuni vasi
orientali con figure umane rin-
venuti in Siracusa e Megara-
Iblea. Palermo, 1887. 4°, pp.
42 ; with 5 col. pi. (Reprint
from Atti della R. Accad. Paler-
mitana.) 10 fcs.

" On some Oriental vases with human
figures discovered at Syracuse and
Megara-Iblea."

An Oriental origin is attributed by some
Italian archaeologists to the archaic vases with
geometrical ornamentation discovered in Sicily.
A few of them, reproduced on the plates, bear
figure subjects. Far from showing an Oriental
influence, and supporting the theory propounded
in this paper, these vases will appear to all

CAV]

CERA MIC LITER A TURE.

[GEL

unbiassed students of antiquity as unmistake-
able examples of the early style of Corinthian
vase painting, imitated no doubt by the potters
of Sicily.

CAYALLUCCI (J.) et MOLINIER (E.).— Les
Delia Robbia, leur vie et leur
oeuvre d'apres des documents
inedits. Suivi d'un catalogue de
1'oeuvre des Delia Robbia en
Italie et dans les principaux
musees de 1'Europe. Paris,
Rouam, 1884. 4°, pp. 289 ; with
3 pi., and 98 text illustr. 25 fcs.

"The life and work of the Delia
Robbia, from unpublished documents ;
with a catalogue of the Delia Robbia
works in Italy and in the chief museums
of Europe."

This handsome volume adds a highly inter-
esting chapter to the history of the ceramic
art. Whether we consider them as artists or
as potters, the Delia Robbia are equally great ;
in their fictile productions, the creative genius
of the sculptor and the technical ability of the
craftsman are inseparably linked together. The
statuary of Luca and Andrea ranks on a par
with the famous masterpieces of their time.
The countless numbers of enamelled figures and
bassi-relievi which issued from their ateliers
and that of their descendants proclaim the
prolific activity of a race of faience-makers
preserving for generations the tradition be-
queathed by their forefathers.

All previous monographs and biographies
were but incomplete sketches ; they are re-
sponsible for erroneous statements too often
repeated. Through the late discoveries made
in the Italian archives the authors have been
enabled to fix dates and facts with unimpeach-
able accuracy. Unpublished documents of
great importance are given in externo, and the
descriptive catalogue of the 481 works attri-
buted to the Delia Robbia enumerates all those
that were known at the time of the publication
of the book. A sufficient number of excellent
illustrations enable the reader to form a correct
idea of the noble style of the enamelled reliefs,
and of their admirable adaptability to archi-
tectural decoration. Ample contributions have
lately been added to the study of the Delia
Robbia works, but the book of Cavallucci et
Molinier does not suffer by comparison with
any of those which were published at a later
date.

CAYROIS (Louis).— Le Refuge d'Etrun
et la manufacture de porcelaine
d'Arras. Arras, 1877. 8°, pp.
72 ; with 2 pi. 6 fcs. (Reprint
from La revue de I' art chretien.}

" The refuge house of Etrun, and the
porcelain factory of Arras."

The ancient monastery of Etrun, situated at

a short distance from Arras, possessed a refuge
house in the town, in which the nuns took
shelter when war desolated the country. In
this fine Gothic mansion the manufacture of
porcelain was carried on during a period of
twenty years. Established about 1770 by
Boussemart, of Lille, the factory passed shortly
afterwards into the hands of his creditors, the
four Sisters Delemer. They obtained the pat-
ronage and support of the State of Artois, and
were, moreover, pecuniarily assisted by some
of the wealthy inhabitants of the town. The
porcelain made by the Sisters Delemer was of
excellent quality, and the amount of the pro-
duction, especially in tableware, must have
been considerable, judging from the number
of examples which have found their way into
ceramic collections. Notwithstanding the
apparently favourable conditions under which
the work was prosecuted, the factory came to
grief in 1790. The refuge house is now occupied
by the printing works which published this
monograph.

CAYYADIAS (P.). - - Musee national
d'Athenes. Antiquites myce-
niennes et egyptiennes. Sculp-
tures, vases, terres cuites,
bronzes. Musee de 1'Acropole.
Athenes, Vlastos, 1895. 8°. 4 fcs.

A guide book to the museum. Painted
vases, pp. 74-91 ; terra-cottas, pp. 91-95.

CAYLUS (Anne Claude, Comte de).— Recueil

d'antiquites egyptiennes, etrus-
ques, grecques et romaines.
Paris, 1752-67. 7 vols. 4°, with
826 pi. £3.

" A collection of Egyptian, Etruscan,
Greek, and Roman antiquities."

Each volume contains pictures of a few Greek
vases and terra-cottas, described as Etruscan,
badly reproduced. A supplementary volume
gives the description of the " Briquetage de
Marsal " in Lorraine. It is an accumulation of
bricks and terra-cotta fragments, a gigantic
Roman work from three to seven feet in thick-
ness, which served as the foundations of the
town of Marsal in the centre of a marshy
country.

CELLIERE (Louis).— Traite elementaire
de peinture en ceramique. Beau-
vais, 1878. 12°, pp. iii-76. 2nd
ed., 1879. 3rd ed. Paris, 1883.
8°, pp. 123.

" Elementary treatise of painting on
ceramics."

Sold by the author, a colour merchant and
porcelain painter.

CELSIUS (0.).— Dissertatio de Urnis
veterum sepulchralibus ; resp.

CES]

CERAMIC LITERATURE.

[OHA

Job. Kempe. Upsiliae, 1706.

8°.

" A thesis on the sepulchral urns of
the ancients, read before the members of
the Upsala University by O. Celsius,
and responded to by J. Kempe."

CE8ELLI (L). — Sopra 1'arte ceramica
primitiva nel Lazio. Roma, Typ.
Salvinuci, 1866. 4°, pp. 22 ; with
2 etched pi. ; one containing 33
figs, of early pottery. 3 fcs.

"On the primitive ceramic art of
Latium."

Description of prehistoric vessels found under
the deepest stratum of alluvial loam in the
vicinity of Rome.

CESNOLA (A. P. di).— Lawrence-Ces-
nola collection. Cyprus anti-
quities excavated by Major Alex.
Palma di Cesnola, 1876 to 1879.
London, 1880. Obi. fol., 60 pi.
photographed at Claudet's studio ;
with explanatory notices. Publ. ,
£5, 5s.

- Salamina (Cyprus). The his-
tory, treasures, and antiquities
of Salamis in the Island of
Cyprus. With an introduction
by S. Birch, and upwards of 700
illustrations ; and a map of
ancient Cyprus. London, Triib-
ner, 1882. 8°, pp. xxix-329. 10s.

The antiquities discovered at Cyprus are
said to form the connecting link between the
plastics of Asia and Greece ; they are on that
account of special interest. Vases, groups, and
figures from the last excavations are illustrated
in the three chapters devoted to terra-cotta.

A descriptive atlas of the
Cesnola collection of Cypriote
antiquities in the Metropolitan
Museum of Art. Boston and
New York, 1885-1894. 2 vols.
Fol., each with 150 phototype
and chromolith. pi. ; with ex-
planatory notices. £20.

Vol. II. — Terra-cottas and pottery ; with an
introduction by S. Birch.

- The terra-cottas and pottery
of the Cesnola collection of

Cypriote antiquities. Handbook.
New York, s.d. 8°, pp. 142.

CESNOLA (Gen. Louis Palma di).— Cyprus:

its ancient cities, tombs, and
temples. A narrative of re-
searches and excavations during
ten years' residence in that island.
London, J. Murray, 1877. 8°, pp.
448 ; with maps, 48 pi., and 12
pi. of inscriptions ; numerous
illustr. in the text. Contains an
Appendix on the pottery of
Cyprus by A. S. Murray (with
32 illustr. and 4 pi.). 18s.

CESSAC (de). --Note sur les forts
vitrifies du departement de la
Creuse. 8°, pp. 6. (Extr.)

"Notice of the vitrified forts in the
Creuse department."

An accurate description of some remains of
those rare earth-works still imperfectly studied.
The area of the fort is circumscribed by a wall
6 feet high and 12 feet broad ; the granite
stones, with which the walls are formed, have
been submitted to such an intense heat that the
granite has melted like lava, and the whole of
the construction has been agglomerated into
a solid mass. Fragments of pottery and of
wrought iron, abundantly found on the spot,
tend to indicate that the forts were constructed
in the Gallo Roman period.

- L'oppidum du Puy-de-Gaudy,
pres Gueret (Creuse) et sa mu-
raille vitrifiee. Autun, 1878. 8°,
pp. 25 ; with 1 pi.

"The oppidum of Puy-de-Gaudy and
its vitrified wall."

A further examination of one of the vitrified
forts of the Creuse has shown that the melted
mass was obtained through layers of wood-
ashes, and blocks of granite being disposed
between two walls built eight yards apart from
each other. Under the action of the fire the
granite and the ashes combined into a silicate
of potash ; the vitrification, complete in the
centre, is scarcely apparent on the outside
walls. Experiments conducted by Mr. de
Cessac have demonstrated that the blue granite
of the district, mixed with wood-ashes, melts
into a glass at a comparatively moderate tem-
perature.

CHASTEIGHER (A. de).— Note sur un
fragment de poterie ^ lustre
metallique trouve en Avril 1877
dans les anciens fosses de la ville

OH A]

C ERA MIC LITER A TURE.

[OH A

de Dax. Dax, 1877. 8°, pp. 11
with 11 illustr. (Reprint from
the Memoir es de la Societe de
Borda.)

" Notice of a fragment of pottery with
metallic lustres discovered in the old
moats of the town of Dax."

CHAYAGNAC (Comte X. de) and GROLLIER

(Marquis de). — Histoire des manu-
factures frangaises de porcelaine,
Paris, Picard, 1906. 8°, pp,
xxviii-976 ; with 5 pi. and num-
erous marks. 30 fcs.

" History of the porcelain manufac-
tories of France."

This colossal compilation of pertinent infor-
mation will become the indispensable vade-
mecum of the collector of French porcelain.
Prepared by two collectors of exceptional
knowledge and experience, the volume contains
more documents, dates, and names than could
be obtained from any other source.

CHABAT (Pierre) and MONMORY (Felix).— La
brique et la terre cuite. Ecude
historique de l'emploi de ces
materiaux, fabrication et usages,
motifs de construction et de
decoration choisis dans 1'archi-
tecture des differents peuples.
Paris, Morel, 1878-1880. Fol.,
pp. 150 ; with 80 chromolith. pi.
] 25 fcs.

" Brick and terra-cotta. An historical
study of the uses and application of these
materials, processes of manufacture,
examples of construction and decoration
selected from the architectural monu-
ments of various countries."

CHABAT (Pierre). — La brique et la terre
cuite. Premiere partie : Etude
historique. Deuxieme partie :
Fabrication et usages. Paris,
chez Tauteur, 1886. 8°, pp. 338;
with 81 illustr. in the text.
10 fcs.

" Brick and terra-cotta. 1st Part.
The history. 2nd Part. The manufac-
ture and the application of these materials
to building and other purposes."

The history of brick building in all countries
and from the earliest times, which forms the
first portion of this work, is grounded upon the

best archaeological publications. It sums up
the knowledge obtained by travellers and
antiquaries on this branch of the potter's art.
The book being intended for architects rather
than for manufacturers, the technical processes
of brick-making are only briefly described. It
is a reproduction, in a popular form, of the
preceding work.

CHAFFERS (William). -- Marks and
monograms on pottery and
porcelain of the Kenaissance and
modern periods ; with historical
notices of each manufactory ;
preceded by an introductory
essay on the Vasa fictilia of the
Greek, Romano - British, and
medieval eras. London, Bickers
and Son, 1863. 8°. Ten con-
secutive editions were published.
The last edition, revised by F.
Litchfield, was issued in 1908.

From his position as adviser and agent to many
of the chief china collectors of England, Chaffers
had constant opportunities of following auction
sales, and exceptional facilities for knowing the
contents of the best private collections. He
had accumulated a vast amount of notes and
sketches of the ceramic objects which had come
under his notice in the course of his business,
and when he decided to publish in the form of
a compact handbook of marks the result of his
long experience, a work of such magnitude had
never been attempted before. A few authors
had, it is true, appended a list of marks to the
general history of ceramic art, but the selection
was so short and incomplete as to be of little
value. The object Chaffers had in view was to
identify and reproduce the largest possible
number of potter's marks and bring them into
methodical arrangement. So successfully was
the plan carried out that the book was highly
appreciated from its first edition, and its suc-
cess, far from being interfered with by the
publications of bare-faced plagiarists, increased
with each one of the editions which were
brought out at short intervals. Up to the
day of his death, which occurred in 1892, all
the thoughts of the author were directed
towards the perfection and completion of a
work which, through the constant additions
made to it, had become a monument of ceramic
information. Under the unassuming title of
Marks and Monograms, it contained historical
notices of all the best and less known manufac-
tories of pottery and porcelain, written in a
clear style and in an abridged form. In its
completeness and practicability, Chaffers' vol-
ume remains unsurpassed as a reference register
to which both the student and the learned man
will have to refer for a long time to come. If the
author happened to be mistaken in some cases
when, lacking documentary evidence, he built up
an ingenious theory from mere induction, his
arguments were, as a rule, resting on plausible
grounds. In attributing, for instance, to the
Lowestoft factory a certain class of porcelain

CHA]

CERAMIC LITERATURE.

[CHA

specimens, which were shown afterwards to be
of Oriental origin, he had backed his opinion
by so many circumstantial inferences that he
was himself thoroughly convinced of the truth
of his assertion, and we may add that his belief
was long shared by many connoisseurs.

Keramic Gallery, containing
several hundred illustrations of
rare, curious, and choice ex-
amples of Pottery and Por-
celain from the earliest times
to the beginning of the present
century; with historical notices
and descriptions. 2 vcls. 8°, pp.
xxviii-228 ; with 227 photo-
graphic plates, representing 468
objects. London, Chapman &
Hall, 1872. Publ., £4, 4s.

Reproductions in Woodbury type of ceramic
specimens, selected chiefly from English mus-
eums and collections ; intended as a complement
to "Marks and Monograms," to which they
supply suitable illustrations. A second edition,
with illustrations in half-tone, was brought out
by M. Cundall in 1908. 8°. 35s.

- Collector's handbook of Marks.
London. 1889. 8°.

A pocket edition of the larger work. It
contains all the marks, but not the historical
notices.

Besides the above works, Chaffers has also
published several catalogues of ceramic exhibi-
tions. See Fopman Collection.

CHALLETON DE BROUGHAT (F.).— L'art du
briquetier. Paris, E. Lacroix,
1861. 8°, pp. 365 ; with atlas of
32 lith. pi.

" The art of brickmaking."

CHAMONARD (J.) and LECOUYE (L.).—
Catalogue des vases peints Grecs
et Italo-Greek de la collection de
Mr. Bellon, Paris, 1890. 8°,
pp. 34. (Reprint from the Revue
A rcheologique. )

" Catalogue of the Greek and Italo-
Greek painted vases in the collection of
Mr. Bellon."

In the ethnological section of the exhibition
of 1889, Mr. G. Perrot had attempted to recon-
stitute the workshop of an Athenian potter,
such as it might have been at the finest period
of vase making. Out of the collection of a well-
known amateur of Rouen, Mr. Bellon, he had
selected a number of specimens representing
the various styles of manufacture, which were
exhibited to illustrate and complete the scheme.

The catalogue describes only the part of the
collection which was shown on that occasion.

CHAMPFLEURY.— Histoire des faiences
patriotiques sous la Republique.
Paris, Dentu, 1867, 8°; 2nd ed.,
1867, 18°; 3rd ed., 1875, 18°, pp.
320 ; with 83 illustrs. in the text.
5 fcs.

This book, of which the history of the French
revolution constitutes the largest portion,
contains, nevertheless, much information con-
cerning the provincial pot-works where the
ware was manufactured for local use. It was
the best recommendation for his appointment
of curator of the ceramic museum of the
national manufactory of Sevres, a post Champ-
fleury occupied from 1872 up to the day of his
death.

- Cabinet de Mr. Champfleury.
Faiences historiques ; Royaute ;
Revolution ; Empire ; Restaura-
tion ; Gouvernement constitu-
tional. Paris, 1868, impr. Pillet.
8°, pp. 60 ; with illustr.

" The Champfleury collection. His-
torical faiences : Royalty, Revolution,
Empire, Restoration, Constitutional
Government."

We notice that in the catalogue Champfleury
had prepared for a sale by auction of his own
collection, the name of " Faiences patriotiques "
has been altered into that of "Faiences his-
toriques." Considering that inscribed speci-
mens of private character, such as presents to
friends, etc., entered for a large part in this
collection, we cannot see that there was much
cause for this alteration. The catalogue com-
prises more than 500 Nos., most of which are
not described in the previous work. As the
sale did not take place, the catalogue, of which
only a small number had been printed, was never
published, and is, consequently, difficult to
obtain.

Bibliographic Ceramiqua
Nomenclature analytique de
toutes les publications faites en
Europe et en Orient sur les arts
et 1'industrie ceramique depuis le
xvie siecle jusqu'a nos jours.
Paris, Quantin, 1881. 8°, pp.
352. 16 fcs.

" Ceramic bibliography. A descrip-
tive list of all works published in Europe
and in the Orient, upon the ceramic art
and manufacture, from the sixteenth
century up to the present day."

If we except a few short lists of reference

CHA]

CERA MIC LIT ERA TUBE.

[CHA

books, compiled by ceramic authors as a supple-
ment to their work, this is really the first
attempt at a general classification of all the
volumes and pamphlets connected with the
history and manufacture of pottery in all
countries. Although this branch of literature
is quite of recent formation, the great number
of privately printed publications rendered the
task one of great difficulty. By his position as
curator of the museum and library of the Sevres
manufactory, Champfleury was particularly
well situated to accomplish it with success.
His Bibliographie Ceramiqiie has proved to be
invaluable as a ground-work for the preparation
of the present one, in which the original scheme
is enlarged and completed. Champflexiry was
himself aware that much remained to be done
to bring the work to completion, and he was
preparing a second edition, when death carried
him away before he could realise his intention.

CHAMPFLEURY.— Le violon de faience.
Eaux fortes de J. Adeline.
Dessins en couleur par Emile Re-
nard, de la Manufacture de Sevres.
Paris, Dentu, 1877. 8°. 25 fcs.

" The faience fiddle. Etchings by J.
Adeline. Illustrations in colour by E.
Renard, artist at the Sevres manu-
factory."

The chinamania and the adventures of a
provincial collector have supplied the subject
of this humouristic novel. Apart from its
literary merit, the volume commends itself to the
lover of ceramic art by its charming illustra-
tions. Numerous initial letters, borders, head
and tail-pieces, reproducing the fragmentary
decoration of well selected examples of French
and Dutch faience, are printed in colour all
through its pages. The celebrated faience
fiddle, now in the Rouen ceramic museum, is
reproduced on the etched plates. In another
edition of the same novel (Paris, Conquest,
1885, 8°) the coloured head and tail-pieces are
replaced by 34 etchings by J. Adeline.

- Manufacture de Sevres. Paris,
Plon, 1891. Imp. 8°, pp. 64.
(In the Inventaire general des
richesses d'art de la France.
T.V. Part I.) 5 fcs.

" The manufactory of Sevres."

An inventory of all the pictures and draw-
ings, porcelain plaques, sculptures and models,
terra-cottas and biscuits, and other works of
art, the property of the manufactory of Sevres,
which do not make part of the ceramic
museum.

CHAMPFLEURY (Collection).— Catalogue
de la collection de faiences
patriotiques, tableaux, . . . etc.,
dependant de la succession de
Mr. Champfleury. . . . Vente
76

a Paris, 28 Avril, 1890. Paris,
1890. 8°, pp. 93 ; with illustra-
tions from meflistoire des faiences
patriotiques.

Catalogue of sale with a preface by Paul
Eudel. The collection, which comprised 492
Nos., was sold after the death of Champfleury.

Champfieury has contributed many papers
on French pottery to the leading periodicals,
namely : —

La ceramique du Nord de la France. Exposi-
tion de Valenciennes, 1872. (Gazette des Beaux
Art.)

La ce"ramique aux expositions retrospectives
de province. Orleans, Quimper, Reims, etc.,
1876. (Gazette des Beaux Art.)

Les cinq violons de faience, 1876. (Gazette
des Beaux Art.)

Les faiences parlantes du Centre et du Midi
de la France. (Gazette des Beaux Art.)

Les fabriques diverses de faience patriotique
en France. (La Revue des Provinces. )

Le Baron Charles Davillier et ses collections
ce"ramiques, 1883. (L'Art), etc.

CHAMPIER (Y.). — 1884. Catalogue
illustre de 1'Union Centrale des
Arts decoratifs, avec une etude
sur Fart retrospectif. Paris,
Baschet, 1884. 8°, pp. 196; with
num. illustr. 2 fcs.

" Exhibition of 1884. A catalogue of
the Central Union of the Decorative Arts,
with an essay on art in ancient times."

This is the description of some typical speci-
mens of ceramic art, selected from the exhibits
contributed by private collectors, and not a
complete catalogue of the exhibition. They
illustrate with choice examples the historical
sketch written for the occasion by the editor of
the Revue des Arts Decoratifs. The national
factory of Sevres was amply represented.
Many of the finest examples of the work made
at the beginning of the nineteenth century, and
borrowed from the palaces and public establish-
ments where they are deposited, accompanied
a large selection of pieces of modern manufac-
ture. Short notices of the leading factories of
the present time, Sarreguemines, Haviland,
etc., and of the ceramists, L. Madrassi, E.
Ladreyt, etc., are placed at the end of this
volume.

CHAMPOLLION-FIGEAC (J, J.). — Lettre
adressee a M. E. Piot au sujet
de sa notice sur Bernard Palissy.
Paris, 1842. 8°, pp. 6.

" A letter addressed to Mr. E. Piot on
the subject of his notice of Bernard
Palissy."

CHANTRELL (R. D,). -Ornamental Brick-
work of the 16th century in West

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CERAMIC LITERATURE.

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Flanders. Sessional Papers, R.
Institute of British Architects.
London, 1855-56. 4°.

CHAPPEE (J.)— Le carrelage de 1'Ab-
baye de Champagne (Sarthe),
d'apres les paves retrouves sur
1' emplacement du choeur de
1'eglise de cette abbaye. Mamers,
1898. 8°, pp. 32 ; with 32 illustr.

" The pavement of Champagne Abbey
(Sarthe), from the tiles discovered on the
site of the choir of the Abbey Church."

Slabs of plain terra-cotta of various shapes
were found on the spot. By arranging them in
all kind of combinations the author has tried to
reconstitute the pattern they formed on the
floor of the old church ; a pure work of specula-
tion on his part, as he has by no means
exhausted the number of combinations that
could be obtained from these tiles.

CHARYET (A.). — Esposizione generale
Italiana. Torino, 1884. Folio,
111 photogr. 200 fcs.

" Italian general exhibition."

Part II. Painted majolica from the factories
of Ginori, Mollica, Farina, Schioppa, Caccia-
puoti, Brilla, Ricci, Mingetti, etc.

CHARYET (J.).--L'ane qui prend la
peau du lion ; fourberie floren-
tine a quatre personnages. His-
toire veridique dont la moralite
est que les personnages susdits
en sont completement depourvus.
Paris, 1868. 8°, pp. 32- with a
photo,

" The ass clad in the lion's skin ; a
Florentine imposture acted by four per-
sonages. A true tale, the moral of which
is that the four characters in the play
are equally devoid of any moral sense."

A sharp criticism of Foresi's paper on the
authorship of the Benivieni bust, and its attri-
bution to Bastianini.

CHASE (G. H.).— The Loeb collection
of Arretine pottery, catalogued,
with introduction and descrip-
tion. New York, 1908. 4°, pp.
viii-167 ; with 27 heliogr. pi.
£2, 2s.

Unstinted praises are to be bestowed on the
typographic execution of this handsome volume.
As a complete epitome of the subject dealt with
in the introduction, it may, however, be said to
leave something to be desired. For instance,

one cannot doubt, in the present state of know-
ledge, that a red pottery, similar to that made
at Arezzo, has been extensively manufactured
in Great Britain. Nor are we any longer in
ignorance of the true nature of its particular
glaze. One should not infer from the tone of
one of Martial's epigrams, that earthen pottery
was banished from the table of the wealthy
Romans, when we know of so many instances
of the priceless value attached to some vessels
of the kind. One cannot forget that the Em-
peror Nero drunk his falerniah out of two
favourite cups of black clay embossed with
Homeric subjects, which he much preferred to
vases of precious metal. Being limited to the
reproduction of the best types comprised in a
small collection, the plates do not offer an
exhaustive representation of all the varieties of
the ware. The collection is now in the Museum
of the Harvard University.

CHADDRUC DE CRAZANNES(J. C.)--Notices
sur les antiquites de la ville de
Saintes. Paris, 1817. 8°, pi.

" Notice of the antiquities of the town
of Saintes."

Contains some appreciations of the character
and works of B. Palissy.

CHADYET (G.)— -Poteries prehisto-
riques k ornements geome*triques
en creux (Vallee de la Charente).
Paris, Masson, 1900. 8°, pp. 20 ;
with illustr. (Reprint from the
Comptes rendus du con ff res inter-
national d'Anthropoloffie prehis-
torique.

" Prehistoric pottery with incised
geometrical ornamentation (Charente
Valley)."

CHAUYIGNE (A.)-— Traite de decoration
sur porcelaine et faience ; pre-
cede d'une notice historique sur
1'art ceramique. Paris, R. Simon

(1875 ?). 12°, pp. 72. 2 fcs.

" Treatise of decoration on porcelain
and faience ; with an introduction on
the history of ceramic art."

CHEREMETEFF (Collection).— Notes on
the historic Cheremeteff collec-
tion of old turquoise Sevres
porcelain on view at the Gallery
of Mr. A. Wertheimer, 158 New
Bond St., London. London,I90Q.
Sq. 8° ; Introduction, pp. 40 ;
Catalogue, pp. 23. See Scherem-
eteff, for the completion of the

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CERAMIC LITERATURE.

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Catalogue of the same collection,
in Russian.

CHEREST (lime).— Cataloguedu musee
d'Auxerre. Auxerre, 1870. 8°,
pp. 112. 2nd ed.

Description of the faiences of the region,
preserved in the Auxerre Museum.

- Les faiences de 1'Auxerrois.
Auxerre, 1875. 8°, pp. 53 ; with
1 pi. in col. 6 fcs.

"The faiences of the region of
Auxerre."

This paper has been written by the curator
of the local museum chiefly for the purpose of
pointing out the error made by all previous
writers in attributing certain specimens of
popular faience, mostly painted with patriotic
emblems, to the Auxerre manufactories. These
specimens should all be, according to M.
Cherest's belief, attributed to the pot-works
of Ancy-le-Franc, Vauss, and other neighbour-
ing villages. In these localities several
fai'enciers are known to have been at work
since 1766. At a corresponding period no
faience manufactory was in existence in the
town. After much trouble has been spent in
confuting the attributions given by Champ-
fleury, Jacquemart, and Demmin, we are told
that a factory of painted faience was actually
established at Auxerre in 1797, within the
building of an ancient convent. It is added,
that the style of decoration, in use in the last
named place, was absolutely similar to that by
which the ware made at Ancy-le-Franc, etc.,
may be recognised. After this statement we
think that the writer might have shown a little
more indulgence for those who had previously
ascribed the aggregate of the productions of
similar types to the Auxerre manufactory.

CHERET (J.).— Terres cuites franyaises.
Paris, Claessen, 1885. FoL, 25
photolith. pi. £2.

" French terra-cottas."

Excellent reproductions in large size, printed
in red, of groups and figures modelled and
edited by J. Cheret. A companion volume to
the Terra-cottas of A. Carrier Belleuse.

CHERTIER (F.). --Notice sur une
aiguiere dite Henri II., decou-
verte en Berry ; et sur les ateliers
d'Oiron et de Saint-Porchaire.
Chateauroux, 1891. 8°, pp. 61 ;
with 1 map and 3 pi. 10 fcs.

" Notice upon a vase of the so-called
Henri II. ware, discovered in Berry ;
and upon the pot-works of Oiron and
Saint-Porchaire. "

Strange incentives have often prompted^the

perpetration of one more ceramic pamphlet.
The writer of the present one would, in all
probability, never have troubled himself about
French faience, had it not been that a fortunate
uncle of his chanced to come into the possession
of one of its most rare and valued specimens.
As a dutiful nephew — and before the treasure
was turned into hard cash — he found himself
bound to master all the information so far
obtained upon the most probable origin of the
Henri II. ware. He plunged at once into the
comparative examination of the two last and
most serious hypotheses presented on the sub-
ject by B. Fillon and E. Konnaffe". The opinion
of each of these writers is so widely at
variance, and yet both theories are supported
by s\ich plausible arguments, that the perplexed
inquirer could not make up his mind to chose
either one or the other, but came to the con-
clusion that evidences for and against are
equally strong on each side.

This particular piece, now in the possession
of Mr. Pierpoint-Morgan, had been previously
reproduced and commented upon by Bonnaffe in
his paper on the faience of Saint-Porchaire. It
is one of those by which his assertions are most
effectually supported.

CHERUBINI (Gabriello). — Dei Grue e
della pittura ceramica in Castelli
(Abruzzo ultra 1°). Notizie bio-
grafico-artistiche. Teramo, 1858.
2nd ed., Napoli, 1865. 3rd ed.,
Roma, 1878. 8°, pp. 26.

" The Grue and the ceramic painting
in Castelli. Biographical and artistic
notices."

One must commend the pertinacity of the
worthy biographer of the Grue who, anxious to
keep before the public his own fame as an
author, and the memory of his highly esteemed
countrymen, brought out three editions of the
same pamphlet within the lapse of twenty
years. The ancient factories of central Italy
had ceased to produce the high style of majolica
with which their name had been so gloriously
associated during the sixteenth century, when
richly decorated ware, of a minor order, still
continued to be produced in Castelli. Several
members of the Grue family distinguished
themselves as ceramic painters in the last named
place. Their work, mostlyreproducing elaborate
engravings of the period, is painted in a scheme
of subdued colour, in which soft grey and purple
tints predominate ; the general dulness of the
effect is, occasionally, relieved by thin touches
of gilding. Two of the Grues, Francescantonio
and Phillipo Saverio, had been, in turn,
directors of the porcelain manufactory founded
at Naples by Charles III.

CHEVALIER (L'Abbe A.)-— Carrelage du
xiiie siecle trouve en 1888 Rue
du Cardinal de Lorraine a Reims.
Caen, 1888. 8°, pp. 11; with
text illustr. (Reprint from the
Built. Mon.)

CHI]

C ERA MIC LITER A TURE.

[CHR

CHILLA (Leo).— Original Entwtirfe fur
das Glass- und Keramische-
Kunstgewerbe. Vorlagen fur
das Fachzeichnen an Kunst-
gewerblichen Fach- und Fort-
bildungsschulen, sowie fiir
Kunsthandwerker. Wien, C.
Graeser, 1897. Fol., p. 1; with
22 col. pi. 25s.

" Original sketches for the glass and
ceramic industries. Models for the use
of the schools of industrial art and of
industrial artists."

CHINEAU (G.).— Terres cuites d'art.
Paris, 1888. Sq. 16°, of 31 pi.

Illustrated catalogue of the terra-cotta
figures manufactured by G. Chineau.

CHLINGENSPERG-BERG (Max von). --Das
Graberfeld von Reichenhall in
Oberbayern. Reichenhall, 1890.

' 4°, pp. 164 ; with 40 phototyp.
pi. 30 m.

" The burial ground of Reichenhall in
Upper Bavaria."

The three plates representing the few and
insignificant fragments of pottery discovered in
the excavations go far to show that it was no
longer customary amongst the people of South
Germany to place earthen pots in the graves of
the dead. Broken pottery had only been used
there as filling in material ; the coarse shards
of terra-cotta found imbedded in the soil are
absolutely devoid of interest. The whole of
the find is now preserved in the Berlin Ethno-
logical Museum.

CHOINOWSKIJ (J. A.)— Excavations on
the site of the palace of Kieff' old
town in 1892. Archaeological
research, with 156 illustrations
(21 specimens of pottery repro-
duced in colour). Kieff, 1893.
4°, pp. 78-iv (in Russian).

CHRIST (Job. Friedr.). — De murrinis
veterum disquisitionem sub prae-
sidio J. F. Christii, in Academia
Lipsiensi, defendet Fr. Ehregott
Saxius. Lipzice, 1743. 4°, pp.
58.

" A disquisition on the Murrhine
vases of the ancients, sustained by Fr.
Ehregott Saxius, before the Leipzig

Academy, under the presidency of J. F.
Christ."

The authorship of this essay has often been
wrongly attributed to Ehregott Saxius, whose
name appears on the title page as that of the
supporter of the thesis. As a matter of fact, it
was customary, in the German academies, that
the writer of a paper should entrust to a friend
the task of reading the paper at the meeting of
the learned society, and of upholding the de-
batable points of the argumentation. The
author was only expected to preside over the
discussion. In this essay J. F. Christ has
attempted to reconcile the statements of
Propertius and Pliny upon the nature of the
Murrhine vases, statements on which previous
writers had grounded irreconcilable conclusions.
All is well as long as the author confines him-
self to demonstrate, in a general wa}7, that they
were a fossil and not a fictile material. But
when he comes to introduce to us the few vases
in his possession as real examples of antique
Murrhines, we cannot follow any longer his
rambling speculations.

CHRIST (W.) and LAUTH (J.).— Fiihrer
durch das K. Antiquarium in
Miinchen. Munchen, 1870. 12°.

" Guide book to the museum of anti-
quities in Munich."

CHRISTIE (James), (Anon.).— A disquisi-
tion upon Etruscan vases : dis-
playing their probable connection
with the shows at Eleusis and
the Chinese feast of lanterns ;
with explanation of a few of the
principal allegories depicted upon
them. London, 1806. Sm. foL,
pp. 99 ; with 16 pi. One hund-
red copies were printed for
presentation. In auction sales
the book has realized as much
as 14 guineas ; it is now offered
in the trade for 20s.

The most extravagant expounder of the
eccentric and shadowy doctrines of the exe-
getes was, without contest, the writer of the
present disquisition. Describing the rites of
the Eleusinian mysteries, he says that, at
intervals, appalling shadows of God-like figures
and infernal animals were thrown upon the
walls of the temple. Some of the weird
subjects painted on the antique vases, are, for
him, the representation of this sacred phan-
tasmagoria.

To give an idea of the mystical signification
he could impart to a commonplace subject, we
cannot do better than borrow from his book
the explanation that the painting of a female
acrobat walking upon her hands had suggested
to his imagination.

" The allegory conveyed in this painting
comprises the general meaning of the scenes

CHE]

CERA MIC LITER A TURE.

[CHU

which follow. The vicissitude of decay and
reproduction to which, according to the notions
of the ancients, nature was subject in perpetual
revolution is expressed by a female figure
tumbling. The order of nature is, for a
moment, inverted, but, by an effort of the
limbs, the body appears on the point of being
returned to its proper attitude."

The author entertained, no doubt, a great
idea of the value of his rambling lucubration,
for he has spared no cost in the production of
the volume. It is admirably printed, in large
type, upon the finest paper, and illustrated with
plates and vignettes cleverly engraved.

CHR1STOPH (Jul. R.).— Der praktische
Topfer ; und seine Erfahrungen
von der Thongrube bis zum fertig
montirten ofen, etc. Weimar,
Voigt, 1895. 8°, 2 m.

" The practical potter ; his professional
experience, from the digging of the clay
up to the erection of a complete earthen-
ware stove."

CHURCH (Arthur Herbert).— Catalogue of

the specimens of old English and
other pottery in the collection of
A. H. Church. Cirencester, 1870.
12°, pp. 40. Privately printed.

A few copies of a catalogue, printed for
presentation, are now all that remain of one
of the earliest collections formed almost exclu-
sively of old English earthenware. The whole
of it was destroyed in the fire at the Alexandra
Palace, where it was exhibited in 1873. Church
stood foremost in the sma!l group of independent
spirits who, setting at defiance the dictates of
the then prevailing taste for dainty porcelain,
did not shrink from asserting their sincere
appreciation of the robust and genuine character
of the old English pottery. If the interest
presented by a choice piece of salt-glaze, agate,
tortoiseshell, and embossed and cloudy cream-
coloured ware, is no longer questioned, it is
chiefly due to the efforts that Church and his
friends have made in vindication of their
artistic and technical merits.

Cantor Lectures on some
points of contact between the
scientific and artistic aspects of
pottery and porcelain ; delivered
before the Society of Arts, Nov.,
1880. London^. Trounce, 1881.
8°, pp. 21. (Reprinted from the
Journal of the Soc. of Arts.}

The duties of his official position as professor
of Chemistry at the Agricultural College of
Cirencester, led A. H. Church into making a
thorough study of the theory of pottery manu-
facture ; his artistic education — for he was a
landscape painter of no small talent — had

rendered him a competent judge of the most
efficient ways through which the productions
of our ceramic art could be made to assume a
more perfect form. The aim of this paper
was to reconcile the fixed rules of technical
excellence with the necessities of the constant
modifications of external aspect imposed in
their application by the variations of public
taste. Weighty subjects are touched in turn
by the writer, if not in an exhaustive manner,
at anyrate with a clearness of conception
and a lucidity of expression by which the
meaning is easily grasped by the reader,
whether he be a potter, an artist, or simply
a man of the world in search of practical
instruction.

English earthenware. A
handbook to the wares made in
England during the seventeenth
and eighteenth centuries, as
illustrated by specimens in the
national collections. London,
Chapman & Hall, 1884. 8°, pp.
xiv-123; with 65 illustr. 2s. 6d.

English porcelain. A hand-
book to the china made in
England during the eighteenth
century, as illustrated by speci-
mens, chiefly in the national
collections. London, Chapman
& Hall, 1885. 8°, pp. xiii-99 ;
with 49 illustrs. 2s. 6d.

Both parts were published as handbooks to
the collections intheSouth KensingtonMuseum.
Fifty copies on large paper were issued to sub-
scribers, with a special title page and a
portrait of Thomas Frye of the Bow China
Works.

If sincere love and consummate knowledge
of the subject are deemed to be the best
qualifications for writing a history of the old
English pottery, Professor Church was particu-
larly fitted for the task ; long years of study
and experience gave him an incontestable right
to speak and to be listened to on all matters
connected with our national ceramics. If
materials are not wanting at the present day
for the compilation of an almost complete
survey of the development of the potter's art
in England, on the other hand, it has become
more and more difficult to discriminate between
what is to be accepted and what is to be
rejected in the mass of information placed at
our disposal. Truly reliable statements are to
be brought to the front, and still debatable
points relegated to the background ; and, above
all, justice must be done to many a fanciful
notion, not to say to the confirmed errors
which have been perpetuated from one book
to another. All difficulties on this score have
been successfully overcome in these handbooks ;
we never find the author at fault with his
dates and facts, or venturing lightly upon a
rash speculation. By a careful elimination of

OHU]

CERAMTC LITERATURE.

[OLA

minor particulars, unimportant or irrelevant,
lie has made his narrative reliable and intelli-
gible all through. It is the best compendium
that can be consulted, and the best introduc-
tion to the study of English monographs, of
which it can only give a well digested summary.

Old English pottery and stone-

ware (in Some Minor Arts as
practised in England). London,
Seeley & Co., *1893. Imp. 4°.
Old English slip ware ; pp. 27-
32 ; with 2 col. pis. and 3 illustrs.
Dwight stoneware ; pp. 33-39 ;
with 2 phototype pis. and 5
illustrs. White salt glaze ; pp.
40-45 ; with 2 pis. and 5 illustrs.
Publ., 21s.

The interest of these notices, which had
appeared in the Portfolio, is greatly enhanced
by coloured photogravure plates rendering
admirably the rich tints of the slip decorated
ware, and the quaint look of some other kinds
of old English pottery.

- Josiah Wedgwood, master
potter. London, Seeley & Co.,
1894. 8°, pp. 104; with 4 pis.
and 28 text illustrs. 2s. 6d.
A 2nd edition, with additional
plates, appeared in 1903.

It is not to be expected that new elements
can be introduced in a life of Josiah Wedg-
wood, after the exhaustive works that have
been devoted to the memory of the ' ' prince of
the English potters." A condensed and clearly
presented account of his achievements has,
however, long been wanted by his most fervent
admirers. This volume answers admirably such
a requirement, it is neither too long nor too
short, yet it contains all that a collector of
Wedgwood ware is bound to know. In addi-
tion to what is found in previous works, it gives
the solution of a few points till then left in
abeyance, and rectifies a few accredited mis-
statements. In his appreciation of the charac-
ter of one of the greatest men of the last
century, the biographer has, perhaps, erred on
the side of impartiality. We think that he
does not render full justice to the scientific
knowledge and practical genius which made of
Josiah Wedgwood the renovator of the potter's
art, and the creator of one of the great indus-
tries of his country.

CHURCH (W. A.)-— Patterns of inlaid
tiles from churches in the diocese
of Oxford, drawn and engraved
by W. A. Church. Wattingford,
1845. Sm. 4° ; 24 col. pis. 10s.

The plates engraved by Church were pub-
lished after his death just as he had left them —

that is to say, without an accompanying text.
They consist of a few patterns of isolated tiles,
drawn to the size of the original, and printed in
red on yellow paper by means of roughly cut
blocks.

CHO-YEN— T'ao shno. 1774.

"A description of pottery in six books."

Bushell, from whom we borrow the title of
this Chinese book and its translation, refers to
the author in the following terms: — "Chu-yen
quotes many writers, ancient and modern, in
bewildering confusion."

CHYTIL and JIRII— Katalog der Aus-
stellung von Keramischen und
Glasarbeiten Bohmischen Ur-
spr ungs, 1780-1840. Prag, 1908.
8°, pp. 189 ; with 5 pis. of marks
photogr. from the original. 3 m.

" Catalogue of the Exhibition of
Ceramic and glass works of Bohemian
origin."

CHYZER (Dr. B.).— Ueber die im unga-
rischen Tonwaarengewerbe vor-
kommenden Bleivergiftungen.
lena, G. Fischer, 1908. 8°, pp.
32 ; with 3 illustrs. 2 m.

"The lead-poisoning prevailing in the
earthenware industry .of Hungary."

The author gives a distressing account of the
conditions under which the Hungarian potters
have to work. In the factories, never cleaned
or ventilated, men, women, and children
breathe an atmosphere laden with lead dust.
Few, if any, escape the scourge of lead-poison-
ing and its terrible consequences. One of the
illustrations represents a group of fourteen men
from a small pot-works, all exhibiting the para-
lysed or dropped wrist and the distorted ankle
from which they suffer in addition to the
intestinal disorders to which each may have
fallen a victim.

CITTADELLA (Luigi Napoleone).— Descrizi-
one di un dipinto di Porcellana.
Ferrara, 1853. 8°, pp. 15. 2 fcs.

" Description of a porcelain painting."

The painting in question adorned a vase of
modern Sevres ware.

CLAPP (C. H.) and BABCOLK (E. J.).— Clay
and its properties ; with special
reference to North Dakota clays.
Bismark, 1906. 8°, pp. 324 ; with
35 pis.

CLAYTON (H.).— On brickmaking and
brickmaking machines. London

CLEJ

CERAMIC LITERATURE.

[COG

Int. Exhibition, 1862. London,
1862. 8°.

CLERE (J. F.). — Essai pratique sur
1'art du briquetier an charbon de
terre, d'apres les precedes en
usage dans le departement dn
Nord et dans la Belgique. Paris,
Carilian-Goeury, . 1828. 8°, pp.
188 ; with 4 pis. 5 fcs.

" Practical handbook of the making of
bricks fired with coal, after the method
used in the Nord department and in
Belgium."

The advance made in the brickmaking in-
dustry has rendered this book somewhat out
of date. It may be said, however, that it
contains useful hints of a general character,
evidently written by a competent engineer,
which may be still of some service to the
manufacturer.

CLERFEYT (J.).— La ceramique a FEx-
position Internationale de Lon-
dres en 1871. Bruocelles, impr.
Mertens, 1872. 8°, pp. 451.

" Ceramics at the International Ex-
hibition of London in 1871."

This exhibition was to be the first of a series
in which all branches of industry should be
represented in turn. Ceramics had been
selected for the opening subject ; iron, tissues,
&c. , were to follow from year to year. The
scheme did not prove successful and was
eventually given up.

CLERGET (C. E.).— Nouveaux orne-
ments composes, dessines, et
graves, k Fusage des manufac-
tures et pour Fornementation en
general. Paris, Aubert, 1840.
Fol. ; 36 pis.

" New designs invented, drawn, and
engraved for use in manufactories and
for general ornamentation."

The arabesques of Clerget have been greatly
employed as models by the porcelain gilders.
The artist was for some time designer at the
manufactory of Sevres.

CLOSMADEUC (G. de).— Decouverte de
Stone-Cists a Bec-er-Vill (Qui-
beron). Vannes, 1886. 8°, pp.
15 ; with 2 pis. (1 of pottery).

" Discovery of stone-cists near Qui-
beron."

Pottery of varied forms without any orna-
mentation.

La ceramique des Dolmens
dans le Morbihan. Paris, 1865.
8°, pp. 6 ; with 2 pis. (Reprint
from Revue Archeoloffique.)

"The pottery of the Dolmens in
Morbihan."

During the course of his excavations of the
burial grounds of that part of Britany, the
writer has noticed that wherever earthen vases
are abundant in the tombs, flint implements
are rare; while, on the contrary, where flint
implements are met with in quantity, there are
generally very few, if any, urns or fragments of
pottery.

GOAD. — Etchings of Goad's artificial-
stone manufacture, Narrow Wall,
Lambeth. London, for private
circulation, 1777-79. Fol.

- Goad's Gallery, or exhibition
in artificial stone . . . statues,
vases, etc. Lambeth, 1799. 4°,
pp. 36.

Bacon and the best English sculptors of the
time supplied models to Goad's manufactory.
Among the important works in terra-cotta and
stoneware executed by Goad, one may mention
the colossal statues, made originally for Arundel
Castle, and now placed in the gardens of the
Thames embankment.

COCHET (L'Abbe).— Memoire sur la
coutume de placer des vases
dans la sepulture de Fhomme et
specialement dans les sepultures
chretiennes depuis le xie, jusqu'au
xviie siecle. 8°, pp. 80; wood-
cuts.

" Essay upon the custom of depositing
vases in the sepulchres of the dead, and
particularly in Christian tombs from the
XI. to the XVII. century."

A paper written in support of the theory
that it was a custom, common to all races and
dating from the remotest antiquity, to deposit
earthen vessels in the graves of the dead,
whatever might have been the funereal rites
which accompanied the burial of the remains.

Abbe J. B. D. Cochet was one of the last
representatives of the pick and spade school of
antiquaries, a fervent group of learned men,
whose life was spent in making patient in-
ventories of ancient burial grounds, and in
raising ingenious speculations upon the use and
signification of the miscellaneous vestiges left
in the soil by departed civilisations. The
sacred fire of archseologic fever which raged at
that moment is now well nigh extinct ; the
bones of the Gallic and Saxon chieftains which
have been spared by those indefatigable diggers
have a chance to rest in peace for a time.

COC]

CERA MIC LITER A TURE.

[COL

In the many articles and volumes in which
he has embodied the result of his researches,
under and above ground, the description of
ancient pottery, mortuary or other, occupies a
large place.

Abbe Cochet died in 1875. An account of
his life and labours will be found in the two
obituaries published at Rouen, in the same
year, by Brianchon and M. Hardy.

De la coutume d'inhumer
les hommes dans des tonneaux
de terre cuite. Paris, 1859.
8°, pp. 21 ; with illustrs.

"Upon the custom of inhuming the
dead in terra-cotta jars."

• Archeologie ceramique et
sepulcrale; ou 1'art de classer
le sepultures anciennes a 1'aide
de la ceramique. Paris, 1860.
4°, pp. 19; with 10 pis. 5 fcs.

" Ceramic and sepulchral archaeology,
being the art of classifying the antique
sepultures by means of the pottery they
contain."

It is somewhat doubtful whether the con-
clusions presented by the writer of the essay
could be corroborated by an unbiassed examina-
tion of the earthen vessels discovered in burial
grounds of undetermined antiquity. We recog-
nise, on the contrary, that the cinerary urns and
other pottery belonging to the dark ages that
we are satisfied to call "prehistoric," keep
during the course of uncounted centuries such
an indefinite character, that we may give up
any hopes of ever ranging them into distinct
classes. As generation succeeds to generation,
as the industries of man follow their progressive
course, metal is wrought with greater perfec-
tion, glass is blown into elegant shapes, ivory
and wood are delicately carved, and textiles
are intricately woven and richly embroidered.
Meanwhile, the terra-cotta pot, the constant
associate of these striking testimonies of the
advance of all other handicrafts, remains sta-
tionary, affecting the same rudimentary form
and the same roughness of workmanship. The
coarseness of the material makes it unworthy of
receiving an elaborate treatment, such trouble
is reserved for embellishing the more durable
and valuable substances. Ornamented pottery
of a truly superior order marks the highest
phases of the evolutions of art, such works
nourish only at fitful intervals. If it be true
that the style of decoration of the ware can
alone afford a clue to its probable date and
origin, the historian can find little assistance
in the plain terra-cotta which constitutes the
majority of what is found in the prehistoric
graves. Having, peremptorily, enunciated the
fundamental principles of his theory, the
worthy antiquary has left to others the task of
testing their adaptability to any particular
point under examination. In the present case,
we see that while describing the chief types of
the earthen vessels he had disinterred by
thousands, the author has not been able to pro-

pose any classification into groups, and with
regard to each separate specimen he could do
no more, in most instances, than to hazard a
guarded conjectiire as to the period to which it
belongs.

COCK (David).— A treatise, technical
and practical, on the nature, pro-
duction, and uses of China-clay,
with several useful tables and
statistics, and other information
bearing on the subject, by David
Cock, mining engineer, St. Aus-
tell. London, Simpkin, Marshall
& Co., 1880. 8°, pp. 151 ; with
plans. 5s.

An exhaustive treatise written by a practical
man. Chapter I. — Geology and Mineralogy.
Chapter II. — Operative processes necessary in
raising the clay and preparing it for the market.
Chapter III. — The use of China-clay in the arts
and manufactures. Chapter IV. — Extensive
tables, list of ports to which China-clay is ex-
ported, with a list of freights, &c. The volume
ends with 44 pp. of advertisement connected
with the China-clay trade.

COENEN (F.).— The Willett-Holthuy-
sen Museum. Essays on Glass,
China, Silver, etc. London,
Werner, 1907. Sm. 4°, pp. 62 ;
with 32 half-tone pis. 5s.

Delft ware, pp. 24-32 ; Saxon porcelain, pp.
33-47.

COHAUSEN and POSCHINGER (G.).— Indus-
trie der Stein-Thon-Glasswaaren.
Amtl. Bericht liber die Wiener
Weltausstellung von 1873. Bruns-
wick, 1874. 8°, pp. 85.

"The industry of stoneware, earthen-
ware, and glass. Official report upon the
International Exhibition of Vienna in

1874."

COHENDY(M.).— Ceramique Arvern et
Faience de Clermont-Ferrand.
Clermont-Ferrand, impr.Thibaud ,
1872. 4°, pp. 48. 3 fcs.

" Ceramics of the ancient Arverns and
Clermont-Ferrand Faiences."

Chapter I. — Pottery of the Roman period.
II. — Faiences of the XVIII. century. III. —
Modern manufacture. The text was to be
accompanied by an Atlas of 28 pis., by Mr.
Tamisier, which has not been published.

COLE (A. S.)-— A catalogue of the
works of art at Marlborough

COL]

CERA MIC LITER A TURE.

[COL

House, London, and at Sand-
ringham, Norfolk, belonging to
their Royal Highnesses the
Prince and Princess of Wales.
London, 1877. 8°, Pottery pp.
1-43.

COLIBERT. — Terra - cotta painting.
London, 1883. 8°, pi.

COLLADON. — Couleurs des esmaulx,
ou vernix de la poterie de faience.
Copie de 1'original d'un maitre
potier Anglais. (1680 ?)

" The colours of the enamels or glazes
of the faience pottery. From original
recipes written by an English master
potter."

Extracts from this rare book are given by
Mr. Hendrie in a footnote of his translation of
Theophilus, Book II. The passages occur in a
MS. preserved in the British Museum, the
writer of which, Sir T. de Mayern, had been
physician to Kings Henri IV. and Louis XIII.
of France, before he came over to England to
be attached, in the same capacity, to King
Charles I. Sir T. de Mayern had transcribed
these recipes from the printed book of Colladon,
of which we do not know whether any copy is
still in existence. The fact, recorded in that
book, of the French potters of the times deriving
their instruction from the potters of England is
curious enough to have induced us to enter its
title in our list.

COLLAMORE (G.).— China and pottery
marks. New York, s.d. (recent).
Sq. 8°, 37 pp. of marks.

Published by the firm of Oilman Collamore

6 Co., china dealers in New York.

COLLIGNON (M.).— Catalogue des vases
peints du Musee de la Socie"te
Archeologique d'Athenes. Paris,
Thorin, 1877. 8°, pp. 214 ; with

7 pis. in outline. 3 fcs.

"Catalogue of the painted vases in the
Museum of the Archaeological Society of
Athens."

The Varvakeion Museum at Athens contains
the richest collection of painted vases discovered
in Greece proper. They are classified in this
catalogue in chronological order, and by groups
representing the distinctive styles. Each speci-
men is carefully described, and reference is
given to the publications in which it has been
engraved and commented upon.

Manuel d'archeologie grecque.

Paris, 1881. 8°.

" Handbook of Greek archaeology."

Terra-cotta figures and painted vases, pp.
231-315.

- Apollon et les, muses. Vase
peint d'une collection d'Athenes.
Bordeaux, 1879. 8°, 1 pi.

" Apollo and the Muses. A painted
vase from a collection at Athens."

- Sur trois vases peints de la
Grece propre k ornements dores.
Paris, 1875. 8^; 1 pi.

" Upon three painted vases from Greece
proper with gilt ornaments."

Les ceramiques grecques de

style primitif. 1881. 8°.

" Primitive Greek ceramics."

- Plaques de terre cuite peintes
de style corinthien. Bordeaux,
1882. 8°, pi.

"Terra-cotta slabs painted in the Corin-
thian style."

Cavalier Athenien et scenes

de la vie guerriere, coupe Attique
du Musee du Louvre. Paris,
Charmerot, 1889. 4°, pp. 22;
with 2 pis.

"An Athenian horseman and scenes of
warlike life, on a tazza of the Louvre
Museum."

Loutrophore attique a sujets

funeraire. Musee du Louvre.
Paris, 1894. 4°; with 2 pis. and
2 illustrs.

" An attic loutrophore with funereal
subjects, in the Louvre Museum."

Vase de terre cuite en forme

de double tete signe deCleomenes
d'Athenes. Musee du Louvre.
Paris, 1897. 4°, pp. 19 ; with 2
heliogr. pis. and 2 illustrs.

"Terra-cotta vase in the shape of a
double head, signed by Cleomenes of
Athens, in the Louvre Museum."

An answer to the opinion expressed by
Flirt wangler that the vase was a forgery.

COLLIGNON (M.) et COUYE (L).— Cata-
logue des vases peints du musee
national d'Athenes. P^m's,Fonte-

COL]

CERAMIC LITERATURE.

[CON

moing, 1902. 8°, pp. ix-670. 20
fcs. (with an Appendix contain-
ing the indices and plates of
forms). The plates were pub-
lished in 1904 ; 4°, pp. 22 ; with
52 phototype pis. and text illustrs.
20 fcs.

See Rayet. Histoire de la
ceramique grecque.

COLL1NOT (E.) and BEAUMONT (A. de).-
Recueil de dessins pour 1'art et
Findustrie. Paris, Morel, 1868.
Eleph. fol. ; with 150 pis., mostly
in colour, and short historical
notices. 200 fcs.

The work is composed as fol-
lows : — Ornaments : Arabes, 40
pis. ; Turks, 30 pis. ; Venitiens,
Hindous et Russes, 40 pis. ; de la
Chine, 40 pis.

Messrs. Collinot and Beaumont being known
as manufacturers of ornamental faience in Paris,
one might have expected to find many designs
applicable to ceramic decoration in the series of
plates they have etched as materials for in-
dustrial designers. But it is nothing of the
sort. Afewodd patternsof Arabianand Turkish
tiles, and of Chinese porcelain, are all that
represents Ceramic art in a series of subjects
selected without discrimination, and as badly
drawn as they are crudely coloured.

COLLINS (J. F. E.).— Hensbarrow gran-
ite district ; a geological descrip-
tion and trade history. Truro,

1878.

COLOMB (E.).— Modeles pour assiettes.
Genre antique. Reproductions
d'anciennes faiences. 1891. Fol.,
22 chromolith. pis.

"Patterns for plate decoration An-
tique style. Reproductions of old
faiences."

COLOMBA (G. M.).— II "quos ego" di
Raffaello in una majolica del
Cinquecento. Palermo, 1895.
Fol., pp. 10; with 1 photolith.
and 1 chromo pi. 10 fcs.

" Raffael's ' quos ego ' upon a majolica
dish of the sixteenth century."

This subject, often repeated by the Italian
niajolists, is usually an exact reproduction of

the engraving of Marc Antonio Eaimondi.
Upon the dish, in the possession of Mr. Robbo,
of Palermo, the painting shows a different
arrangement in the disposition of the figures.
From this fact Prof. Colomba draws the con-
clusion that the dish was not painted from the
engraving but from the actual cartoon of
Raffael. The work of the master has not been
preserved to us — this should be considered as
the only correct copy of the lost original.

COMBE (Taylor).— A description of the
collection of ancient terra-cottas
in the British Museum ; with
engravings. London, W. Bulmer,
1810. 4°, pp. vii-39; with 40
engr. pis. 15s.

The specimens, mostly coming from the ex-
cavations made in Italy at the end of the last
century, consist of bas-reliefs and a few figures.
These latter, very different from those found in
Greece proper, may possibly be the work of
Greek artists working under the influence of
Roman art. They made part, formerly, of the
Towneley, Nollekens, and Sir Hans Sloane's
collections.

COMBES (L). — Les amis du peuple.
Bernard Palissy, potier de terre.
Paris, A. Bry, 1858. 8°.

" The friends of the people. Bernard
Palissy, the potter."

Palissy — a son of the people — is here given
as the example all workmen should strive to
imitate, by a writer with strong democratic
convictions.

COMPARETTI (D.).— Saffo nelle antiche
rappresentanze vascolari. Fi-
renze, 1886. 8°, pp. 39; with
4 pis.

" Sappho, in the antique vase paint-
jngs."

COMPTON(Th.).-WilliamCookworthy.
London, Hicks, 1895. 8°, pp.
138 ; portrait and 3 pis. 5s.

CONESTABILE (G.).— Pitture murali a
fresco, e suppelletili etruschi in
bronzo e in terra cotta scoperte
in una necropoli presso Orvieto
nel 1863, da Domenico Golini.
Firenze, typ. Cellini, 1865. 4°,
pp. 182; with fol. atlas of 18
engr. pis. 25 fcs.

" Fresco paintings and Etruscan utensils
of bronze and terra-cotta, discovered near
Orvieto by D. Golini in 1863."

CON]

CERA MH1 LITER A TURK.

[CON

The painted vases discovered in that necro-
polis are described at length in the second part
of this work.

CONNAH (E.).— Recipes for white and
coloured glazes. Wrexham,
Woodall, 1903. 32°. pp. 24.

2s. 6d.

CONSTANTS (A.). — Wees italiennes
sur quelques tableaux celebres.
Florence, Vieusseux, 1840. 8°,
pp. 358 ; with 1 pi. 10 fcs.

" Italian thoughts upon some famous
pictures."

In 1820 the Royal manufactory of Sevres
decided to send Constantin, one of their most
clever artists, to Italy, with commission to paint
copies of some of the masterpieces of the Italian
school upon plaques of porcelain of unusual
size. Constantin remained for thirteen years
engaged on that work. Of all the plaques he
painted, some were sent to the manufactory,
where they may still be seen, others were
acquired by foreign governments. As far as
technics are concerned these paintings may be
considered as a triumph of practical skill. The
writer does not, however, lay so much stress
upon the merit of the wonderful execution, as
upon the artistic feeling with which he has
rendered the beauty of the originals. This is
what he says in his critical examination of the
" Transfiguration," by Raffael : " No one else
can boast of having remained for 1500 hours in
contemplation of that picture ; yet this is ex-
actly the time it stood before my eye as I was
making a copy of it ; I may, therefore, claim
the privilege of being heard on the subject."
We have not to appreciate, here, the value of
the observations suggested to the mind of the
copyist by the model he reproduced in the
highest degree of accuracy. The chapter of
his book entitled: "On porcelain painting,"
might be expected to contain something of
more practical interest, but it is nothing more
than a maundering discantation on the suprem-
acy of the art of the porcelain painter, and
the extraordinary difficulties he has to con-
tend with in the execution of his work.

CONTAYOLA (D. C.)-— La manifattura
delle porcellane di Doccia.
Firenze, 1861. 8°.

" The porcelain manufactory of
Doccia."

CONTRUCCI (Pietro).- Le virtu di Luca
della Robbia. Firenze, 1834.
8°, pp. 31. 3 fcs.

"The virtues, by Luca della Robbia."
No work of the Italian potters equals in
magnitude the majolica frieze which adorns
the loggia of the hospital of the Ceppo, at
Pistoia. A canon of the cathedral has cele-
brated it in a grandiloquent sermon on the

seven works of mercy represented by the artist,
subsequently printed with a dedicatory epistle
to the Bishop. A good theologian, no doubt,
but a poor ceramic historian, the preacher
attributes to Luca a work made by Giovanni,
son of Andrea della Robbia.

- Monumento Robbiano nella
Loggia dello Spedale di Pistoja.
Prato, Giachetti, 1838, pp. 375.
8 fcs.

" The Della Robbia monument in the
Loggia of the PistoiaHospital."

The pamphlet has expanded into a sub-
stantial volume, each virtue has become the
subject of a special sermon. With the ex-
ception of a transcript from the article on
Luca della Robbia, in Vasari's Life of Painters,
historical information is quite as deficient as
in the first pamphlet. This does not prevent a
certain Pellegrini, who has contributed a lauda-
tory appreciation of the book, to say that by
his eloquent dissertation on the subjects
represented on the loggia, Contrucci has made
his name as famous as that of Luca della
Robbia.

- Plastica di Luca e Andrea
della Robbia rappresentendo le
opera della carita evangelica,
illustrate dal Prof. P. Contrucci.
Pistoja, 1841. 8°.

"Reliefs of Luca and Andrea della
Robbia, representing the works of evan-
gelic charity."

A further amplification of the same subjects,
on which it is needless to say more.

CONTUCCL— Musei Kirkeriani in Ro-
mano Soc. Jesu Collegio, aerea
notis illustrata. Roma, 1763.
Fol. 15 fcs.

" The Kircher Museum in the College
of the Society of Jesus."

The collection is rich in early Roman and
Etruscan pottery.

CONZE (A.)- — Philoktet in Troja.
Ueber das Gemalde einer grie-
chischen Vase der Sammlung
Jatta, in Ruvo. Gb'ttwgen, 1856.
8°, pp. 19 ; 1 pi.

" On the painting of a Greek vase of
the Jatta collection at Ruvo."

- Melische Thongetasse. Leipzig,
Breitkopf, 1862. Obi. fol., pp. 8;
with 5 lith. pis. in col. 5 m.

" Vases from Melos."

COO]

CERA MIC LIT ERA 77 ' /,' K.

[COR

An essay on the supposed Asiatic influence
to be traced in Greek ceramic art. Illustrated
with excellent representations of archaic vases.

Vasi con rappresentanze di
riti funebri. Roma, 1864. 8°;
with 3 pis. and 1 cut.

" Vases with representation of the
funereal rites."

- Ueber die neuesten Entdeck-
ungen bemalter griechischer
Thongefasse. Leipzig, 1865. 4°.

" On the last discoveries of Greek
painted vases."

Guerrieri coi loro Valletti.
Perseo ed Achille su vasi cere-
tani. Roma, 1866. 8°; with 2 pis.

" Warriors and their attendants. Per-
seus and Achilles upon the Ceretan vases."

- Zur Geschichte der Anfange
griechischer Kunst. Wien, 1870.
8°; with 11 pis.

" The history of Greek art in the
earliest periods."

COOK (G. H.).— Report on the clay
deposits of Woodbridge, South
Amboy, and other places in New
Jersey. Trenton, 1878. 8°.

COPELAND'S CHINA.— W. T. Copeland
and Sons (late Spode), manufac-
turers of non-crazing ceramic
wares, for all purposes, useful
and ornamental, etc. Hanley,
1892. Obi. 16°, pp. 19 ; with 4
lith. pis. Printed for distribution.

An account of the best vases and useful ware
sent by the firm to the Paris exhibition in
1889 ; it is accompanied by a reprint of the
description of Copeland 's works, written by
Charles Dickens in 1852, and published in
Household Words under the title : "A plated
article. "

- Copeland's (late Spode) China.
Established 1770. Hanley, 1902.
8°, pp. 56 ; with 50 text illustrs.

CORBASSIERE (A.)-— Dalles et paves
ceramiques & base de fer des
manufactures de Sarreguemines.
Paris, impr. Moquet, 1877. 8°,
pp. 13; with 3 pis.

" Slabs and tiles in ironstone pottery
manufactured at the Sarreguemines
Works."

COREY (A.). — De Amazonum anti-
quissimis figuris. Berlin, 1891.

" The most ancient representation of
the Amazons."

CORFIELD (J. E.).— Recipes for making-
potters' colours, lustres, etc.,
compiled from the original MS.
of J. E. Corfield, for some years
assistant to Mr. A. Wenger, of
Hanley, Staffordshire. Hanley,
Allbut & Daniel, 1884. Sq. 32°,
pp. 47. 5s.

We have seen the mysteries of the potter's
trade disclosed in printed handbooks, for a
copy of which as much as £50 was asked by
the compiler ; these happy times were not to
last long, and the price of professional secrets
has, now, strangely fallen in the market.
For the modest investment of five shillings the
purchaser of this handbook can obtain possession
of all the knowledge required for the successful
manufacture of ceramic colours.

CORMARMOND (A.).— Description des
antiquites et objets d'art con-
tenus dans les salles du Palais
des Beaux-Arts a Lyon. Lyon,
1855-57. 4°, pp. xvi-851 ; with
28 pis. 25 fcs.

" Description of the antiquities and
works of art in the Museum of Fine
Arts at Lyons."

CORONA (G-)- —La ceramica; bio-
grafie e noti storiche. Milano,
Hoepli, 1879. Sq. 8°, pp. 269 ;
frontispiece, and 244 marks and
monograms. 10 fcs.

" The ceramic art ; biographic and
historic notes."

Italian majolica, would be a better title for
this book, which deals fully with that subject,
while the productions of other countries are
dismissed in a few paragraphs.

- La ceramica in Parigi nel
1878. L'ltalia ceramica. Roma,
Botta, 1880. 4°, pp. 161. 3 fcs.

"Ceramic art in the Paris Exhibition
of 1878. Italian ceramics."

Interesting particulars on the conditions of
modern ceramic industry in Italy are con-

COR1

CERA MIC LIT ERA TURE.

[COU

tained in this report. We hear of the brisk
revival of the potter's art in the country, and
of the flourishing establishments in which the
traditions of olden times have been, not only
preserved, but greatly improved upon ; also of
the technical schools of pottery, the hopes of
the future, which have been started in several
towns of the kingdom. To judge of the strict
accuracy of these flattering statements, we
must bear in mind that an Italian reviewer is
apt to describe, in a high flown style, what he
presents as a glorious achievement, although it
is actually no more than a promising experi-
ment.

CORONA (G-)- — Esposizione industrial
italiana del 1881, in Milano. Re-
lazioni dei giurati. Milano,
Hoepli, 1885. 8°, pp. 560 ; with
8 pages of marks.

The scope of this volume extends far beyond
the limits of an ordinary exhibition report. It
comprises a general survey of the pottery
manufacture in Italy ; a complete list of all
the factories, including the smallest pot-works
giving employment to two or three workmen,
and a series of tabular statements of their
productions.

CORRARD DE BREBAN.— -Note sur des
vases de terre cuite trouves dans
les fondations des nouvelles
prisons & Troves. Troyes, 1832.

8°.

" Notices of the terra-cotta vases found
in the foundations of the new prisons at
Troyes (Gallo-Roman)."

CORSI (FailStino).— De Vasi Murrini
e di un masso di pietra esistente
in Roma presso el Sr. Sebastiano
Rolli. Roma, Salviucci, 1830.
18°, pp. 46 ; 1 col. pi. 2 fcs.

" Notes on the Murrhine vases and a
piece of stone in the possession of Sr. S.
Rolli, of Rome."

Speculations regarding the true nature of the
Murrhine vases are based upon two conflicting
passages found, respectively, in Pliny and
Propertius, from which many writers have
drawn very different conclusions. The former
says that their substance was a natural stone of
great rarity ; the latter that they were made of
an artificial composition burnt in the furnaces
of the Parthians. Corsi, while maintaining that
the stone described by Pliny is no other than
fluor-spar, a material of which he has seen a
specimen in a private collection in Rome, tries
to reconcile the two contrary statements. He
observes that the two classical authors have
made use of two different words. The vases
to which Pliny refers under the name of
Murrhina, should be considered as the original
once, made of precious stone ; while when Pro

pertius speaks of the Mwrhea cups, he applies
the term to the vitreous imitations that were
extensively produced in the East.

COUNIS (S. G.).— Quelques souvenirs;
suivis d'une dissertation sur
Femail, sur la porcelaine, et d'un
petit traite a 1'usage du peintre
en email. Ecrit a Florence en
1831. Florence, 1842. 8°, pp.
104. 6 fcs.

" My recollections, to which are added
a dissertation upon enamel and porcelain,
and a small practical treatise for the use
of the enamel painter."

Counis, born at Geneva, studied painting in
Paris under Girodet. Attached as a portrait
painter to the Italian courts, he attained some
celebrity for his miniatures on enamel. His
best work was a copy of the Galatea of
Girodet, painted upon a large plaque of por-
celain. Some biographers give the name of
Counis as being the pseudonym of T. M.
Dumersan.

COURAJOD (L.).— Le pavage de 1'eglise
d'Orbais. Paris, Didier, 1876.
8°, pp. 27 ; with 2 pis. and 25
illustrs. 2 fcs.

"The pavement of the church of
Orbais."

A large number of inlaid and glazed tiles,
some of which are ascribed to the thirteenth
century, have been discovered within or near
the Orbais church, in Champagne. But no
portion of the pavement had been left in its
original state, so no idea can be formed of the
general scheme from the isolated tiles found in
the excavations.

Livre journal de Lazare Du-

vaux, marchand bijoutier ordin-
aire du roy, 1748-1758. Paris,
Societe des bibliophiles frangais,
1873. 2 vols. 8°. 20 fcs. J

" Day-book of Lazare Duvaux, mer-
chant jeweller in ordinary to the king."

In his workshop, situated in the Rue de la
Monnaie, Lazare Duveaux had often the occasion
to ornament with gold and silver mounts valu-
able pieces of porcelain entrusted to him by
Madame de Pompadour and the elite, of the
nobility. The entries in his day-book have
reference to Oriental wares, and to the
productions of Vincennes and Sevres. This
reprint of the interesting MS. is accompanied
with historical notes by L. Courajod.

COUSIN (Charles), (Anon.). -Voyage dans

un grenier. Bouquins, Faiences,
Autographes et Bibelots. Paris,

COUJ

CERA MIC LITER A TURE.

[CRE

D. Morgan, 1878. 620 cop.
printed in 8° and 4° sizes,
pp. 270; with 21 pis., chromos,
etchings, and phototype. £1 10s.,
and £3.

"A journey of discovery through a
garret. Old books, faiences, and curios."

Familiar and humouristic gossip exchanged
between the collector, who styles himself " Le
tocque" or "The crazy one," and his secretary
Babylas, on the subject of the curious odds and
ends which are being examined during an ex-
ploration of the garret. Fifteen plates of
ceramic objects of somewhat indifferent quality
give this volume a place in our list.

Racontars illustres d'un vieux

collectionneur. Paris, 1887. 4°,
pp. 350 ; with 23 chromos, 8
etchings, and 32 vigns. 100 cop.
printed on large paper and double
sets of pis. 150-300 fcs.

"The illustrated small-talk of an old
collector."

A companion to the above work, conceived
and carried out on a similar plan. In point of
typographic execution both volumes are re-
markable examples of modern French printing.

COUYE (L). — Vases antiques a figures
rouges. S.l.n.d. 8°, pp. 14;
with 7 text illustrs. 2 fcs.
" Ancient vases with red figures."

COUYE' (see Collignon).— Vases peints
du Musee d'Athenes.

COX (J. C.). --On four Spanish-
Moresco tiles found at Meaux
Abbey. Hull, 1894. 8°, pp. 6 ;
with 2 chromolith. pis. (In Hull
East Riding Antiquarian Soc.
Trans.}

CRARY (J. W.).— Sixty years a brick-
maker. A practical treatise on
brickmaking and burning. In-
dianapolis, 1890.

CREUZER (Fried.).— Ein alt-athenisches
Gefass,mitMalerei und Inschrift,
bekannt gemacht und erklart, mit
Anmerkungen iiber diese Vasen-
gattung. Leipzig, 1832. 8°, pp.
78 ; with 1 fold. pi. in col. 2 m.

" An ancient Athenian vase, with
paintings and inscriptions, published for
the first time and elucidated with accom-
panying remarks on the vases of the
same class."

Description of a small alabastron or perfume
vase, bearing the names of the potter and
the painter. The painting represents an
ephebe and a bacchante preparing for a feast
of Dionysios.

Zur Gallerie der alten Drama-

tiker. Auswahl unedirter grie-
chischen Thongefasse, . . . etc.
Heidelberg, 1839. ' 8°, pp. 130 ;
with 9 lith. pis. in outline. 4 m.

" The Gallery of the Dramatists of
Antiquity. A selection from the Greek
vases in the Grand Ducal Museum of
Carlsruhe, now published for the first
time."

Vase paintings, the subjects of which are
borrowed from the tragedies of the Greek
poets.

CREYKE (W. R.).— Book of Modern
Recipes, containing full instruc-
tions for producing the follow-
ing : — Enamel, underglaze, and
majolica colours ; white and
coloured bodies and glazes for
china and earthenware; glazes
and bodies for jet, Rockingham
and stoneware ; glazes, bodies,
stains, and slips for bricks, tiles,
pipes, etc., at one burning. Full
recipes and particulars for enam-
elling iron, the preparation of
liquid gold, etc. Originally sold
to some of the manufacturers in
England at £30 per volume. 2nd
ed.* Hanky, 1887. 12°, pp. 144.

The note-book of a colour maker, who, after
having gathered here and there the recipes in
use in the factories where he was employed, set
up on his own account as a manufacturer.
Meanwhile, it occurred to him that he might
derive more profit from the sale of his secrets
than from that of his products. He printed a
first edition of a very limited number of copies,
and disposed of these at a fancy price. This
induced him to print a second one, now easier
to obtain than the first, but still very difficult
to meet with. The so-called secrets it contains
are, we need hardly say, to be found in many
other handbooks, and are by no means worth
the extravagant value set upon them by the
publisher.

CRT]

CERA MIC LIT ERA TURK.

[CUN

CRISP (F. A.).— Armorial China; a
catalogue of Chinese porcelain
with coats-of-arms, in the pos-
session of F. A. Crisp. Privately
printed at the Grove Park Press,
London, 1907. 4°, pp. 90 ; with
12 col. pis. £2, 2s.

This collection, begun at the time when all
the porcelain of the kind was considered to be
of Lowestoft origin, contains 1087 specimens
bearing the coats of arms of British families,
painted at the end of the eighteenth century in
the Chinese factories of the East India Com-
pany. The arms are mostly named. A volume
of excellent typographic execution.

— Catalogue of Lowestoft china
in the possession of F. A. Crisp.
London, privately printed, 1907.
4°, pp. 24 ; with a portrait and
14 collotype pis. (some col.).
£1, Is.

A companion to the above volume. The re-
productions of the insignificant articles turned
out by an obscure factory give us no desire to
see any of them in the original. The intro-
duction, avoiding historical controversies, refers
only to the formation of the collection.

- Lowestoft china factory ; the
moulds found there in Decem-
ber, 1902. London, Grove Park
Press, 1907. 4°, intr. 1 p.; with
2 plans and 19 heliogrs. £1, Is.
150 copies printed.

Views of the factory in its present state, and
reproductions of a few moulds are given on the
plates. The Lowestoft Company is known to
have had a large show-room in London and a
depot in Rotterdam. They owned a vessel
sailing regularly between England and Holland.
A glance at the plans and at the views of the
small proportions of this one-oven factory suf-
fices to convince us that one has to look some-
where else to find the source of supply of the
enormous quantity of china sold by the Lowes-
toft Company. The works occupied, not sixty
men as the writer has it, but sixty hands,
mostly women and children.

CROSSLEY (A,).- Tables and analyses
of clays, Indianapolis, 1888.
2nd ed., 1900. 8°, pp. 48. 4s.

Bricks and Brickmaking.
Ottawa, 1889.

CROSTAROSA (P,). — Inventario dei
Sigilli impressi sulle tegole del

tetto di S. Maria Maggiore.
Roma, 1896. 4°, pp. 42. 4 fcs.

" Inventory of the marks stamped
upon the tiles of the roof of S. Maria
Maggiore."

CROZAT (Collection).— Description som-
maire des statues, etc., modeles
en terre cuite, porcelaines, et
faience d'Urbin, provenant du
cabinet de feu Mr. Crozat.
Paris, 1750. 12°, pp. 46; 232
Nos. 20 fcs. (By Gersain.)

Catalogue of sale. In the introductory
notice, the majolica is said to be the work of
Guido Durantino, of Urbino. Italian majolica
was often called Raphael ware ; the writer
observes, however, that he cannot accept such
an erroneous attribution, as "it would not be
fair to the memory of the great painter Raphael
Sanzio, to attribute to his hand works so
grossly faulty in the drawing."

CRUTTWELL (Maud).-Luca and Andrea
dellaKobbia and their successors.
London, Dent, 1902. 4°, pp. 363 ;
with 6 photogr. pis. and 144
illustrs. £1, 5s.

An exhaustive work which condenses all
that had previously been written upon a subject
thoroughly investigated by competent writers
is always a welcome addition to the library.
Scarcely anything that has not been printed
before will be found in the present volume.
But all documents are marshalled in good order
and accompanied with personal appreciations
which give to them an additional value. The
work of Marcel Raymon seems to have been
the text-book followed by the author. Miss
Cruttwell has, nevertheless, made a searching
examination of all the volumes, pamphlets, and
articles written on the Delia Robbia, of which
she gives the titles in the biography.

CUDWORTH (W.). — Antique lamps.
A dissertation on antique terra-
cotta lamps generally, with spe-
cial reference to the author's own
collection. London, J. Clark,
1893. Sq, 8C, pp. 33 ; with 1 pi.
and 18 illustrs. 2s.

These lamps, mostly coming from the
Cesnola and Sandwith collections, were ex-
hibited in the Bradford Art Museum.

CUNHA (F. R. da).— Catalogue d'une
importante collection d'objets
ceramiques, ayant figure en
partie a 1'exposition de Lisbonne

a ERA MIC LITER A TURE.

[DAL

en 1882, dont la vente aura lieu
a Paris, Avril, 1884. 4°, pp. 142 ;
with 20 pis. 20 fcs.

" Sale catalogue of a collection formed
by an amateur of Lisbon."

The porcelain of Sevres, Meissen, and
various German factories was very well re-
presented ; the collection comprised also a
few specimens of English china and Oriental
ceramics. The introduction to the catalogue
was written by Ed. Gamier.

CURTIUS (Ernst).— Herakles, der Satyr
und Dreifussrauber, ein grie-
chisches Vasenbild erliiutert.
Zwolftes Programm der archse-
ologischenGesellschaft zu Berlin,
zum Gedaclmisstag Winkel-
mann's. Berlin, 1852. 4°, pp.
16 ; col. pi.

' Herakles, the satyr and three-footed
robber ; explanation of a Greek vase
painting. Winkelmann's Feast Pro-
gramme, No. 12."

- Die Geburt des Ericthonios.
Terra cotta des Berliner Anti-
quarium. Berlin, 1872. 4°; with
2 pis.

"The birth of Ericthonius. A terra-
cotta in the Berlin Museum."

- Die Giebelgruppen des Zeus-
tempels in Olympia und rot-
figuren Vasen. Berlin, 1883.
4° (in Arch. Zeit.) ; with 2 pis.

" The pediment groups in the temple
of Jupiter at Olympia, and the red-figure

vases."

GUSHING (F. H.) .— A study of Pueblo
pottery, as illustrative of Zuni
culture growth. Washington,
1 886. 8°, pp. 37 ; with 74 illustrs.
(Reprint from the Fourth Annual
Report of the Bureau of Ethno-
graphy.)

According to the theory, propounded by the
writer, that the style of primitive pottery is
affected by environments, the receptacles made
of clay by the old Mexican races imitated the
basket work of the period before them. The
oldest examples are baskets of entwined twigs
or wicker, lined inside with a thick coating of
dry earth. When the making of pottery
burnt in the fire was at last introduced, the

corrugated surface of the vessels resembled
the basket-work of earlier times.

CUSSAC (E,). ~- Ceramique. Notice
raisonnee sur les faiences formant
la collection de Mr. Emile Cussac
de Lille. Lille, 1878. 8°, pp. 15.
Priv. printed.

" Descriptive notice of the faience in
the collection of Mr. E. C. of Lille."

CKULA (DubOYSZky). — Minta majolika
festesre Muster fur majolica-
malerei. Budapest, s.d. (1885 ?).
Eleph. folio; plates in gold and
colour, and diagrams.

" Models for majolica painting."

Patterns of cheap and showy decorations,
in the worst possible taste, introduced by the
Bohemian porcelain factories and presented
under the name of "Designs in the Magyar
Style."

CZOERNIG.— Industrie - Statistic der
oesterreichischen Monarchic fur
das Jahr 1856. 1. Heft. Stein-
waaren,Thonwaaren,Glaswaaren.
Wien, 1857. 8°, pp. 136; with
2 maps of the pottery and glass
producing countries.

" Statistics of the industries of the
Austrian Kingdom for the year 1856.
Part I. : stoneware, earthenware, and
crlass-making."

DA GUERRA (L. de F.).— Archive Vian-
nense. Vianna, 1895-98. 8°
(contains : A fabrica de Louga de
Vianna em Darque), pp. 78-80.
Marks.

"The faience factory of Vianna."

DALEAU (F.)-— Chandeliers et mor-
tiers en terre cuite, Industrie
privee des tuiliers de la Gironde.
Bordeaux, 1892. 8°, pp. 9; with
2 pis. (Extr. from Journal de la
Societe arch, de Bordeaux.)

"Terra-cotta candle-holders and mor-
tars, the fancy work of the brick and
tile makers of the Gironde Department."

DAL]

CERAMIC LITERATURE.

[DAN

Among the brickmakers of the region some
very peculiar — we might say unique — shapes of
small mortars, and candle or flower holders
have persisted from times out of record,
handed down from father to son. To find
a kind of pottery equally primitive and un-
couth in character, and as rude of workman-
ship one must, indeed, go back to the coarsest
urns of the prehistoric ages.

When the crops are gathered in, and the
work in the fields is temporarily suspended,
the toilsome peasant of Gironde becomes a
brickmaker for a while. Small gangs of
labourers leave the villages and the farms,
and tramp away to distant spots, where brick
clay is abundant, and where the old ovens
require but little repair to make them ready
to be filled and fired once more. For a couple
of months the men remain there, secluded
from the rest of the world, busy making bricks
and tiles which are transported at the end of
the campaign to places in which they are required
for building purposes. The leisure moments are
occupied in fashioning fancy articles — the
curious shape of which has never been de-
parted from — modest presents intended for the
gratification of the women and children of the
village.

This custom, a last remnant of the indus-
trious turn of mind of peasants of the middle
ages, throws some light upon the origin of the
particular types of popular pottery, which
have remained unaltered in the provinces for
thousands of years, regardless of the trans-
formation introchiced into all other productions
of the potter.

DALY (Cesar).— Motifs historiques—
tires des anciens batiments de
la Manufacture Nationale de
Sevres. Paris, Ducher, 1873.
Srn. fol. ; 8 pis. (Extr. from the
Encyclopedic d'A rchitecture.)

" Historical examples of architecture ;
details from the ancient building of the
Manufactory of Sevres."

The imposing edifice in which the manu-
factory of porcelain had been established
during the reign of Louis XV. was, at that
moment, under sentence of demolition. To
preserve to posterity some recollection of the
doomed monument, Cesar Daly caused its most
interesting features to be drawn and engraved
for one of his publications. The great fountain
at the entrance ; the lodge in the park known
as "Pavillion de Lully " ; the wrought-iron
gates ; the elegant wood carvings of the show
rooms are among the subjects he selected for
reproduction.

DAMILAYILLE (Collection). — Catalogue
des aiiciennes faiences de Rouen
et de Sinceny, etc. Paris, 1894.
8°, pp. 16 : with 3 pis.

Catalogue of sale. Five specimens of old
Rouen faience. Preface by G. Gouellain.
92

DAMOUR (E.). — Etudes de ceramique
execute'es a la demands des fab-
ricants de porcelain de Limoges.
Paris, 1897. 4°, pp. 47. (Re-
print from the Bull, de la Soc.
d'Enc.)

" Studies on ceramics, prosecuted at
the request of the porcelain manufac-
turers of Limoges."

DAMOUR (L).— Les fouilles de Brou
en 1870. Bourg, 1870. 8°.

"Excavations at Brou in 1870."

Part I., Gallo-Roman potters and their
marks.

DANGIBEAUD (Ch.). — Notes sur les
potiers, faienciers et verriers de
la Saintonge. Saintes, impr. Hus,
1884. 8°, pp. 75; with 4 etch-
ings. 6 fcs.

"Notes upon the potters, faience manu-
facturers, and glass makers of the old
province of Saintonge."

Mr. Dangibeaud denies that any pot works
existed at Saintes at the time when Palissy
was prosecuting his experiments in the town.
This fact has little importance with respect to
the connection of the celebrated potter with
other members of the trade. La Chapelle-
des-Pots and Brisambourg, villages situated
at a short distance from Saintes, were both
important settlements of pot makers ; their
richly ornamented and brightly coloured earth-
enware was well known in central France long
before Palissy's time. The few particulars
gleaned by the writer upon the early days of
these two places are quite insufficient. When
the question has been thoroughly investigated,
it will be seen that they deserved more than
a few passing words. A greater importance is
attached to the minor faience works established
at Saintes and at Angouleme during the last
and the present century ; these had already
found their historian in Mr. Ris-Paquot.

DANGIBEAUD (E. L.).— Saintes au xvic
siecle. La commune. L'atelier
de Palissy, etc. ; avec annotations
de M. de la Morinerie. Evreux,
Herissey, 1863. 8°, pp. 76. 5 fcs.

"Saintes in the sixteenth century. The
Commune. The workshop of Palissy,
etc."

This paper was read before the Archaeologi-
cal Society of Saintes in 1843, and later on
published by the care of Mr. de la Morinerie.
According to some documents preserved in the
municipal archives, Palissy's house was situated
on the city walls, and the actual old tower,
which the potter used as his workshop, could
be accurately determined.

DAN]

CERAMIC LITERATURE.

[DAR

- Contribution au Corpus des
inscriptions ceramiques sigillees.
La Rochelle, 1892-99. (In Comm.
des A rts et mon. hist, de la Charente
Iirferieure.) T. xi., pp. 28-47 ;
with 5 pis. T. xv., pp. 43-56 ;
with 4 pis.

"A contribution to the Corpus of the
inscriptions stamped on antique pottery."

DANIELE (F.)-— Alcuni monumenti del
Museo Carrafa. Napoli, 1778.
4°; 18 pis.

"The antiquities of the Carrafa collec-
tion."

Painted vases, terra-cottas, etc.

DANIELLI (J.). — Exposition du travail,

1891. La Ceramique. Rapport
du jury de la ix. section. Tours,

1892. 8°.

"Report on the ceramic art at the
Tours Exhibition in 1891."

- Les figurines de Tanagra et
de Myrina. Etude et commen-
taires nouveaux sur leur carac-
tere, leur objet, leur destination,
les causes de leur presence dans
les tombeaux, leur fabrication et
leur decoration. Paris, Bernard,
1904. 8°, pp. 50 ; with 60 text
illustrs. 2 fcs.

" The statuettes of Tanagra and My-
rina. New considerations upon their
character, the object they had to serve,
the purpose for which they were destined,
the causes of their presence in the tombs,
their manufacture and decoration."

In the author's opinion the statuettes were
chiefly portraits of the parents of the deceased.

DARBLAY (Ayme) — La porcelaine de
Villeroy. Corbeil, 1897. 8°, pp.
5 ; with 2 pis.

" The Villeroy porcelain."

- Villeroy, son passe, sa fab-
rique de porcelaine, son etat
actuel. Paris, A. Picard, 1901.
4°, pp. 98 ; with 48 heliogr. pis.
(19 pis. reproduce 39 specimens
of Mennecy- Villeroy porcelain)
and text illustrs. 50 fcs.

" Villeroy : its past, its porcelain fac-
tory, its present state."

The ancient demesne of Villeroy is situated
in the parish of Mennecy. It is under this
latter name that the soft porcelain manufac-
tured at the instigation and under the patron-
age of the Duke L. Frai^ois de Villeroy is
known to the collectors. Little light is thrown
by the author of the notice upon the establish-
ment of the manufactory, or the exact period
to which the various styles of decoration may
be attributed. Information on these points is
still wanting. We hear that, according to
contemporary documents, the factory stood in
the very park of Villeroy, not far from the
castle, but that another oven may also have
existed in the Village of Mennecy. Francois
Barbin was acting as director of the works in
1737 ; nothing is known about the place where
he came from and where he had learned the
secrets of the trade. He had two successors,
Jacques and Jnllien, who, in 1773, removed
the factory to Bourg la Reine. Most of the
specimens of the Mennecy porcelain bear the
mark D. V. The photogravures which illustrate
this part of the handsome and portly volume
reproduce water-colours made by Ed. Gamier.

DARCEL (Alfred).— L'exposition d'art
et d'archeologie & Rouen. Rouen,
Briere, 1861. 8°, pp. 46. 3 fcs.

" Exhibition of art and archaeology at
Rouen in 1861."

On the occasion of a provincial exhibition
the industrial arts of the region are exception-
ally well represented, the rare and unpublished
examples contributed by local collectors are
often exhibited there for the first and last
time. The Norman amateur yields to no one
in the keen appreciation of the Rouen faience.
It is still in Rouen that one has to go to see
the old productions of the town brought
together in matchless collections. The report
prepared by Mr. Darcel has preserved to us
a part of the advantages that the history of
French faience derived from the exhibition
of 1861.

- Musee Imperial du Louvre.
Notices des faiences peintes, itali-
ennes, hispano - moresques et
francaises, et des terres cuites
emaillees italiennes. Paris, Ch.
de Mourgues, 1864. 8°, pp. 408 ;
with potters' marks. 5 fcs.

" Notices of the Italian, Hispano-
Moresque, and French painted faiences,
and of the enamelled terra-cottas of
Italy."

By the gift of Charles Sauvageot and the
purchase of the Campana collection, such a
number of remarkable pieces of majolica and
other painted faience had been added to the
Louvre collection, that a special catalogue had
become an absolute necessity. The writing of
it was entrusted to A. Darcel, then assistant

BAR]

CERAMIC LITERATURE.

[DAR

curator. No better man could have been
selected. Darcel had made a special study of
the ceramics of the Renaissance period. To
his natural gift for order and classification, he
joined a keen perception of all features which
may determine the origin, the period, and even
the name of the maker of a puzzling specimen.
On the other hand, he was always on guard
against expressing too hastily an opinion which
rested only on speculative grounds. The plan
he followed in the preparation of his catalogue
presented great difficulty, but it was the best
that could be adopted for a methodical descrip-
tion of Italian majolica. The productions of the
various centres of manufacture were grouped
together and arranged in chronological order,
each section being headed by a historical notice,
which gave also the specification of the main
characteristics by which the ware could be re-
cognised. When we bear in mind that, with the
exception of a few marked pieces, every
example of Italian majolica gave rise at that
moment to endless discussions as to the factory
to which it might belong, we realise what an
arduous task the completion of such a catalogue
must have been to the writer.

No fresh catalogue has been issued by the
succeeding curators of the Renaissance Depart-
ment. The work will have to be done, but,
notwithstanding the advance of knowledge,
very few of Darcel's attributions will be found
to require alteration.

DARCEL (Alfred).— Un Guide de 1'ama-
teur de faiences et de porcelaines.
Paris, 1864. 8°, pp. 15. (Reprint
from La Gazette des Beaux Arts.)

In this slashing review of the second edition
of Demmin's Guide de I'amateur, Darcel has
made himself the mouthpiece of all the ceramic
writers grossly ridiculed and vilified by the
author. Without exceeding, for one moment,
the limits of well-bred criticism, he presented
a selection of the colossal blunders that Demmin
has profusely scattered through his so-called
Guide Bool: No course of argumentation could
have better demonstrated the true worth of
the opinions entertained by the propounder of
so many extravagant statements.

— Union centrale des Beaux
Arts appliques k 1'industrie.
Exposition de 1865. Musee
retrospeetif. * Paris, J. Lemer,
1867. 8°, pp. 560.

" Catalogue of the Retrospective Exhi-
bition of 1865."

The finest exhibition held by the Society of
the Union Centrale. Greek terra-cottas and
painted vases, pp. 16 to 20; Italian majolica,
pp. 234 to 261 ; European pottery and porcelain,
pp. 412 to 477 ; Oriental, pp. 530 to 557. The
Sevres porcelain included the whole collection
of Sir Richard Wallace.

L'exposition retrospective de

Rouen. Rouen, 1884. 8°, pp.
116 ; with text illustrs.
94

Ceramics form the subject of a short chapter
in this report. Darcel's erudition embraced
all the branches of industrial art. His great
works on French architecture and general
archaeology testify to the wide extent of his
antiquarian knowledge. At the time of his
death he was preparing a new catalogue of the
Cluny Museum, of which he had been the
director for several years.

- See Delange (C.). — Recueil de
Faiences italiennes.

— See Basilewsky (La collection).

See Foretell!. — Catalogue de

faiences italiennes.

DARCET.— Memoire sur Faction d'un
feu egal, violent et continue pen-
dant plusieurs jours, sur un grand
nombre de Terres, de Pierres, et
de Chaux metalliques, e"ssayees
pour la plus part telles qu'elles
sortent du sein de la terre.
Paris, Cavelier, 1766. 8°, pp.
162. A second memoir on the
same subject was published in
1771. 8°, pp. 170. 10 fcs.

" A memoir upon the effect of a strong
and equal fire, kept up during several
days, upon a great number of clays, stones,
and metallic calxes, mostly experimented
upon in their natural state."

The researches which the chemists, Macquer
and Guettard. were then prosecuting in view of
discovering the materials constituting the com-
position of true porcelain gave great importance
to the contents of these memoirs. Darcet, a
distinguished physicist, was methodically sub-
mitting, to the highest temperature he was
able to produce, all available kinds of raw
materials which promised to be of some use in
the manufacture of pottery, and the other arts
of fire. In the same laboratory, placed at their
disposal by the Duke of Orleans, Count Brancas-
Lauragnais was, at the same moment, con-
ducting experiments on the kaolin he had
found near Alencon. It may be questioned
whether the curious results obtained by Darcet
during his protracted trials, and detailed by
him in the two memoirs, have been sufficiently
examined, and completed by practical ceramists.
In all likelihood, much of what has been left
in the state of a mere laboratory experiment
might lead to some important improvement in
manufacture, and put an ingenious potter on
the way to the discovery of agents of great
value in the production of new bodies, glazes,
and colours.

DARDEM (E, J.).— Marques et mono-
grammes des faienciers andennais,
precede d'un tableau chronolo-

CERA MIC LITER A TURE.

[DAV

gique des fabriques de faience
d'Andennes, suivi d'une notice
sur Jacques liichardot, sculpteur
faiencier. Bruocelles, 1902. 8°,
pp. 35 ; with 4 pis.

"Marks and monograms of the An-
dennes potters ; with a chronologic list
of the pottery manufactories of Andennes,
and a notice of J. Richardot, modeller in
faience." 5 fcs.

Earthenware in imitation of English pottery
has been extensively manufactured at Andennes,
in Belgium.

DARWIN (E.).— The Portland Vase.
London, 1791. 4°; with 4 pis.
(Extr. from The Botanic Garden,
vol. ii., pp. 53-59.)

The subjects represented on the vase are
described in this essay as being scenes from
the Eleusinian Mysteries.

DAS NEYES (J. A.).— Variedades sobre
objectes relatives as artes. Lis-
boa, 1827. 2 vols. 12°. 15 fcs.

" Notes upon various subjects relating
to the Arts."

Contains a list of the pottery factories in
existence at the time, with description of their
products.

- Nog6nes historicas, econo-
micas e administrativas a pro-
duc§ao e manufactura das Sedas
em Portugal. Lisboa, 1827, 12°,
8 fcs.

"Notices, historic, economic, and ad-
ministrative, on the silk factories of
Portugal."

Chapt. xvii. — Fabrica da louga (manufac-
ture of faience). Rato — Coimbra — Vista
Alegre, pp. 239-252.

DAOBREE (A.)-— I- Examen mineralo-
gique et chimique des materiaux
provenant de quelques forts
vitrifies de la France. II. Ex-
amen des materiaux provenant
des forts vitrifies de Craig-
phadrick, pres d'Inverness (Ecos-
se) et de Hartmanwillerkopf
(Haute- Alsace). (Reprint from
the Revue A rcheoloqique, ) Paris
1881. 8°. 4 fcs. '

" Mineralogical and chemical examina-
tion of the materials forming the vitrified
forts of France, Scotland, and Alsace."

From the similarity presented by the con-
struction of the vitrified forts, the materials
employed and the method of burning them in,
in the various countries in which they are
found, Mr. Daubre'e, General Inspector of
Mines, feels inclined to believe that these
forts are the work of men belonging to the
same race. A thorough examination of these
remnants of primitive industry might be used
to determine the successive settlements of one
particular people, and thereby the history of
the migrations of the northern tribes might be
greatly benefited.

DAUDIN. — Essai sur les poteries ro-
maines decouvertes au Mans en
1809. Paris, Lance, 1829. 4°.

" Essay on the Roman pottery dis-
covered at Mans in 1809."

This work was to have been completed in
four parts, but the publication was stopped
after the first one. It is illustrated with six
plates in outline, representing fragments of red
pottery embossed with figure subjects. The
author claims to have been the first to give
adequate reproductions of the reliefs impressed
on the so-called Samian ware. He forgets that
the work of Grivaud de la Vincelles contained
admirable engravings after specimens of the
red pottery, very superior in accuracy and
finish to his miserable outlines.

DAVID (F. A.). — Antiquites etrusques,
grecques et romaines. See
Hamilton (Sir W.).

DAYID (d'Angers). — Les medaillons de
David d'Angers, reunis et pub-
lie's par son fils. Paris, Lahure,
1867. 4°; with 53 photogr. pis.,
containing 477 medallions. 100
fcs.

"The portrait medallions of David
d'Angers."

It was the ambition of the great French
sculptor, David, to leave to posterity a gallery
of terra-cotta medallions which would present,
modelled by his masterly hand, the likeness of
all the celebrated men and women of his time
He travelled much abroad for the purpose of
obtaining a sitting or two from the foreign
artists, writers, or politicians, the portrait of
whom he was anxious to add to his collection.
David's medallions are all treated in a broad
and sketchy style ; many of them are master-
pieces of the art.

DAYILLIER (Baron J. Ch.).— Histoire des
faiences hispano - moresques k
reflets metalliques. Paris, V.
Didron, 1861. 8°, pp. 52. 5 fcs.

DAV]

CERA MIC LITER A TURE.

[DAY

"History of Hispano-Moresque faiences
with metallic lustre."

The development of the collecting pursuit,
a fascinating occupation which, in the estima-
tion of the true lover of the beautiful, should
be a definite science as well as a limitless art,
owes much to the labours of Charles Davillier.
His example and his advice contributed not a
little to maintaining the high standard of a
newly-born fad which uneducated and incon-
sistent amateurs would, in all likelihood, have
dragged into vulgarity and ridicule. By nature
and education, Davillier was intended to act as
a leader to all his brother collectors. In the
rage for accumulating the works of extinct
handicrafts which had seized, at the time, the
blind as well as the clear-sighted, he never
yielded to the dictates of transient infatuation.
He went forward with his eye always fixed
upon the noblest aim ; his steps were certainly
guided by the experience gained by his pre-
decessors, but the road he shaped for himself
had never been tried before, and he proved
a safe conductor towards untrodden and en-
chanting regions.

When he began to write on pottery he
possessed already a vast erudition, based on
general studies and personal experience. Dis-
carding the too common practice of remodelling
the works of his colleagues, and pointing out
the errors into which they had fallen, he waited
until the sum of materials he had collected from
original sources would allow him to give us a
book which would owe nothing to the re-
searches of other writers, and which he could
call absolutely his own.

A man of fortune, he had repeatedly visited
the museums and collections of Europe, and
spent much time in scrutinising the dusty
documents in the libraries of ancient cities and
forgotten monasteries. He gave most attention
to Spain, a country in which he had been one
of the first to institute the searches of the
"curiosity" collector, and to enjoy the en-
trancing revelation of a still half-ignored art.
The earliest outcome of his discoveries was a
small volume treating of Spanish ceramics.
When the book made its appearance, little or
nothing was known about the lustred ware,
and the few specimens of Hispano-Moresque
faience which had found their way into the
museums were generally attributed to Italian
manufacture. With the exception of the wall-
tiles, of undeniable origin, Spain was said never
to have produced any faience worthy of interest.
It required all the convincing proofs that
Davillier was able to produce to convert the
incredulous. From that moment, however, the
Hispano-Moresque faience was officially recog-
nised and promoted to a place of its own in the
ceramic galleries.

DAY1LLIER (Baron J. Ch.).— Histoire des
faiences et porcelaines de Mous-
tiers, Marseilles et autres fab-
riques meridionales. Paris,
Castel, 1863. 8°, pp. 140. 6 fcs.

"History of the faiences and porcelains
of Moustiers, Marseilles, and other fac-
tories of the South of France."

Before the publication of this volume the
Moustiers faience was worthily represented in
the ceramic collections, but as pieces of un-
certain origin. The various marks they bore
were so many standing queries. By some con-
noisseurs they were attributed to Rouen, by
others to Saint Cloud or Marseilles. Brongniart,
who so diligently endeavoured to trace the
existence of all the ancient factories of France,
never heard of this, the biggest centre of manu-
facture in the South ; the name of Moustiers
does not appear in his book.

To supply the collector with a label for this
highly valued but still undetermined ware was
a tempting scheme for Davillier to carry out.
An important dish, inscribed G. Viry f. a
Moustiers chez Clerissy, put him on the path
of discovery. Such an inscription was suffi-
ciently clear to induce further inquiry. He
repaired to Moustiers, trusting that informa-
tion on the ancient industry of the town could
be easily obtained on the spot. The glory of
the large faience works was still fresh in the
memory of the old inhabitants. An investiga-
tion of the garrets and cellars, a scrutiny of
the family archives, brought to light many
marked specimens and instructive documents.
It was not long before Davillier had become
satisfied that the quest had had a most
successful result. The monograph which he
wrote at the end of his hurried campaign was
as complete as years of researches could have
made it. Indeed, the local historians who,
later on, treated the same subject, could do
little more than follow the main lines of the
original work, and endorse the larger part of
Davillier's statements.

The additional particulars he published con-
cerning the wares at Marseilles and other
Provengal factories, were also obtained from
original sources. They have all been turned to
good profit by subsequent writers.

Niculoso Francisco, peintre

ceramique italien etabli &, Seville.
(1503-1508.) Pp. 9; with 3
illustrs. (In Gazette des Beaux
Arts, 1865.)

" F. Niculoso, an Italian majolist
settled at Seville."

Several faience factories were established at
Seville in the Triana suburb. In one of them
F. Niculoso, a native of Pisa, executed some
important majolica works for the decoration of
the churches and monasteries of the town, some
of which are still in existence. The uncommon
size of the tile panels, as well as their artistic
treatment, which recalls the style of Cafaggiolo,
make them interesting monuments of the cer-
amic art.

La Fayence. Poeme de P.

de Frasnay ; suivi de : " Vasa-
faventina carmen (1735)"; avec
une introduction sur 1'usage et
le prix des faiences aux siecles
derniers. Paris, Aubry, 1870.
8°, pp. 55. 5 fcs.

DAY]

CERAMIC LITERATURE.

[DAY

"Faience: a poem by P. de Frasnay ;
to which is added 'Verses on the Faience
Vases,' and an introductory essay on the
use and price of faiences during the last
centuries."

A devotee of the Muses— as this prolific
rhymer of the times liked to call himself — has
celebrated the handicraft of Nevers, his native
town, in high sounding verses, no better nor
worse than those his contemporaries used to
dedicate to the "Game of chess," the "Art of
rearing silk worms," or other equally inspiring
subjects. The poem appeared in the Mercure
de France, and soon afterwards received the
honour of a Latin translation. It has, at least,
the merit of being short, for it occupies only
four pages.

The prefactory notice supplied by Davillier
enlightens us as to the exact degree of estima-
tion in which painted faience was held by the
higher classes of society, at the very moment
when manufacture was at its best. It has been
said that our modern fancy for ornamental
pottery was but a return to the similar taste
which prevailed in the first half of the eighteenth
century, when French faience had secured a
permanent right of abode in the castles and
mansions of the great. In the year 1702 the
country, ruined by famine, inundations, and
the cost of protracted war, was on the verge of
bankruptcy. King Louis XIV. decided that
the gold and silver plate of the Crown should
be sent to the mint to be converted into coins,
and his meals be served on faience. All
courtiers hastened to follow his example, and
on their table brightly coloured ware replaced
the vessels of precious material. It should be
added that this adoption of simplicity and re-
trenchment was but the fad of the moment.
As a matter of fact, the mighty noblemen had
a very moderate appreciation of the decorative
effect of the Rouen and Nevers services, which
never lost, in their eye, the vulgarity attached
to anything made of common clay. Painted
services were discarded as soon as the fashion
was over. Davillier gives quotations from the
contemporary catalogues of auction sales, in
which we see the finest pieces of armorial
faience being sold at very low prices, while all
specimens of Oriental porcelain continued to
reach a very high figure.

- Une vente d'actrice sous Louis
XVI. Mile. Laguerre, de 1'Opera ;
son inventaire. Meubles pre-
cieux, porcelaines de Sevres, etc.
Paris, Aubry, 1870. 8°, pp. 51 ;
portrait. 5 fcs.

"An actress's auction sale under Louis
XIV. Mile. Laguerre, of the Opera.
Precious cabinets, Sevres porcelain, etc."

Fond as they were of living surrounded with
costly furniture and works of art of all kinds,
the stars of the ballet and of the opera some-
times had an auction sale of their miscellaneous
collections in order to realise, in hard cash, the
value of the princely presents they had received
from their wealthy admirers. This catalogue
contains interesting particulars of the prices

that the Sevres porcelain fetched at these
fashionable auctions.

- Les porcelaines de Sevres de
Madame du Barry, d'apres les
memoires de la manufacture
royale. Notes et documents in-
edits sur le prix des pprcelaines
de Sevres au xviii6 siecle. Paris,
Aubry, 1870. 8°, pp. 75. 5 fcs.

" The Sevres porcelains of Madame du
Barry, from the account-books of the
royal manufactory. Notes and docu-
ments on the price of the Sevres porcelain
in the eighteenth century, published for
the first time."

In Madame Du Barry the factory of Sevres
had found a devoted friend and supporter. By
herself buying extensively the royal porcelain,
and praising its beauty to all comers, the
Countess was most effectually fostering the
wishes of the king, who wanted his factory
to rank first among all similar establishments
in Europe. Her private account with the
works, between the years 1771 and 1774, fills
27 pages. Copious extracts from the ancient
registers supply us with the prices charged
for objects of all descriptions, from the egg-
cup to the richest vase. The value of the
"porcelain tendre," in the best days of its
manufacture, is not generally known. We
wonder at the high figure choice specimens
command at Christie's or at the " Hotel
Drouot"; many may be equally surprised to
learn what its original cost was, and that a
painted dinner service, for instance, was
charged in the books from 30,000 to 40,000
livres. The bill of the service ordered by the
Empress Catherine II. amounted to 328,188
livres. This lessens the apparent folly of the
modern collector, if we consider that the in-
trinsic value of this incomparable porcelain
rises owing to its increasing rarity.

- Le cabinet du Due d'Aumont
et les Amateurs de son temps.
Catalogue de sa vente, avec les
prix, les noms des acque"reurs, etc.
Paris, 1870. 8°; with 32 pis. after
Gouthiere (bronzes). Porcelain:
pp. 32-128. 20 fcs.

"The Due d'Aumont collection, and
the amateurs of his time. Catalogue of
sale, with prices and purchasers' names."

The enlightened taste of the aristocratic art
amateurs of the last century, their passionate
love for a thing of beauty, and their unbounded
liberality, are faithfully mirrored in the cata-
logues of their collections and of the sales
which took place at that period. Davillier
felt more than an ordinary interest in all
that pertains to the memory of a noble race
of ideal collectors, of whom he strove to show
himself a worthy descendant. The reprints

DAV]

CERAMIC LITERATURE.

[DAV

he gave of a selection of ancient catalogues,
accompanied as they were with introductory
notices from his pen, form a series of valuable
documents towards the history of collecting in
bygone days.

DAYILLIER (Baron I Ch.)-— Atelier de
Fortuny. Objets d'art et de
curiosite ; faiences hispano-
moresques, etc. Vente a Paris,
Avril, 1875. 8°, pp. 146; with 3
pis. and pen and ink sketches by
Fortuny. 10 fcs.

While residing in Spain the celebrated
painter had gathered together a remarkable
collection of Hispano-Moresque faiences, which
included a large vase of the same size and
shape as the famous Alhambra vase, and
lustred dishes of the greatest rarity. Davil-
lier, his intimate friend, has written for this
catalogue an introductory chapter on Spanish
ceramics, and the description of the specimens,
thirty-two in number.

La vente du mobilier du

Chateau de Versailles pendant
la Terreur (Documents inedits).
Paris, Aubry, 3878. 8°, pp. 30.
3 fcs.

"The sale of the furniture of the
Versailles Palace during the Reign of
Terror."

A translation from an article published at the
time in a Dutch periodical. Several pieces of
Sevres porcelain figured in the list of articles
to be sold. The auction sale at the palace was
continued, off and on, for more than one year.
The prices of the most important articles are
given in this pamphlet.

Les arts decoratifs en Espagne

au moyen-age et a la Renais-
sance. Paris, Quantin, 1879.
8°, pp. 86 ; with text illustrs.
10 fcs.

" Decorative arts in Spain during the
middle ages and the Renaissance."

An account of the works of art contributed
by the Spanish Government to the exhibition
at the Trocadero Palace in 1878. Ceramics
were represented by a few specimens.

— Les origines de la porcelain
en Europe ; les fabriques itali-
ennes du xve au xvie siecle,
avec une etude speciale sur les
porcelaines des Medicis d'apres
des documents inedits. Paris,
Rouam, 1882. 4°, pp. 140 ; with
41 illustrs. 15 fcs.
98

" The origin of European porcelain ;
the Italian factories from the fifteenth to
the sixteenth century; with a special
essay on the Medicean porcelain, based
on unpublished documents."

In the year 1857 the first known examples
of a translucid ware, of a truly Renaissance
character as regards shape and decoration,
and which bore marks not recorded before
that year, fell into the hands of a Florentine
curiosity dealer of great experience. He circu-
lated far and wide the news of his discovery of
a genuine Italian porcelain of an undetermined
date, but which could, in all probability, be
ascribed to the sixteenth century. Such a
statement was well calculated to excite the
interest of the connoiseurs. It was known, how-
ever, that some kind of porcelain had been
made at Florence, about 1580, by the Grand
Duke Francesco. The presence of marks in-
dicating the arms of the Medicis, the letter F,
and the outline of the dome of Florence, ren-
dered the attribution of the newly discovered
specimens unquestionable. The investigation
of the ancient chronicles that was instituted
on that occasion disclosed the unsuspected fact
that translucid ware had been made, in other
Italian towns, long before it was produced
at Florence. Davillier was one of those who
devoted much attention to the study of the
question. For more than twenty years he
gathered materials and information towards
the completion of a book in which the genesis
of European porcelain was to be disclosed for
the first time.

An account of the priceless specimens of
Oriental origin preserved, in mediaeval times,
in the treasuries of kings and princes, with
extracts of the ancient inventories in which
they are mentioned, form a befitting intro-
duction to the subject. To imitate the marvels
of the East, and discover the mysterious sub-
stance with which they were made had, doubt-
less, been the ambition of many a man addicted
to the practice of the chemistry of the times,
and was the cause of long and strenuous experi-
ments. We have now good reason to believe
that these efforts were not altogether unsuc-
cessful. Maestro A ntonio, a Venetian alchemist,
claimed to have discovered the secret of porce-
lain making as early as 1470. A private letter,
bearing that date, and preserved in the archives
of Venice, testifies to the fact. The writer in-
troduces the Master to a friend as the maker
of dishes and bowls of translucid earth, which
would bear comparison with the finest Oriental
porcelain. In order that his friend may judge
of the beauty of these wonderful productions,
he adds that he is sending him a few speci-
mens of the ware. Unfortunately, no traces
are left of the work of Master Antonio; the
secret died with him. The same may be said
of the porcelain mentioned in old documents
as having been produced by the potter Camillo
da Urbino, at first for the Duke of Ferrara,
and fifty years later in the town of Pisa.

The Medicean porcelain dates, as we have
seen, from 1580. Vasari, Aldovrandi, and
other Italian historians have related the diffi-
culties that the Grand Duke Francesco had en-
countered in his experiments, and the enormous
sum of money that had to be sacrificed before
a satisfactory result could be obtained. All

DAY]

CERAMIC LITERATURE.

these writers are most precise as to the actual
part taken in the management of the works by
the Duke himself. They report that he was
wont to fashion with his own hands the vases
he presented to the reigning princes of Italy.
The very MSS. which contained the recipe for
the composition of the bodies and glazes were
discovered at Florence, not long after the identi-
fication of the specimens. Any practical potter
may see, at a glance, that by employing the
mixtures specified in the MS. a porcelain
exactly similar to that of the Grand Duke
Francis may be manufactured.

A descriptive catalogue of all the specimens
in the public museums and private collections
brings to an end a historical sketch that left
nothing to be desired on the score of novelty
and reliability.

DAYILLIER (Le Baron Charles). — See
Champfleury.

DAYILLIER (Collection Ch.).— See Coura-
jod.

DAVIS (Ch. T.).— A practical treatise
on the manufacture of bricks,
tiles, terra-cottas, etc. Phila-
delphia, Baird, 1884. 8°, pp.
472 ; with 6 pis. and 228 illustrs.
£1, 5s.

" The manufacture of bricks, tiles, and terra-
cottas," the preface tells us, "has never hereto-
fore been practically treated in any work. " One
might infer from this opening statement that
the writer produced this volume in complete
ignorance that many other treatises had pre-
viously been contributed on the subject. But
as we glance through the pages we are con-
fronted by many passages borrowed word for
word from well-known sources, and which —
unacknowledged though they be — testify none
the less to the author's perfect acquaintance
with the standard books on brick and tile
published on the Continent. This ponderous
compilation will, in no ways, supersede the
works on which it is based.

DAYOUST (E.).— La collection Des-
noyer au Musee d'Orleans, avec
une eauforte de 1'auteur. Orleans,
Herluison, 1879. 8°, pp. 50;
with 1 etching.

"The Desnoyer collection in the his-
torical Museum of Orleans."

This collection contains interesting speci-
mens of the faience, soft and hard porcelain,
and biscuit figures, from the various factories
once at work at Orleans.

DAWSON (J.).-The Wedgwood Memo-
rial Institute, Burslem. Burslem,
1894. Printed by the author.
Sq. 16°, pp. 38 ; with portraits

and 3 pis. of Wedgwood ware.

2s. 6d.

A small edition of this handbook was pub-
lished on the occasion of the inauguration of the
new building erected by public subscription
and private donations, as an addition to the
Wedgwood Institute. It contains a description
of the collection of old English pottery and
Wedgwood ware presented to the museum by
Mr. Thomas Hulme.

DAY (L. F.). — The application of orna-
ment. London, Batsford, 1894
(3rd ed.). 8°, pp. 76 ; with 55
illustrs. 3s. 6d.

In Chapter III. the principles of decoration
applied to pottery are presented with the
soundness of views and the authority of a true
decorative artist, whose esteemed works, both
literary and artistic, qualify him to rank as a
master in theory as well as in practice.

DEANE (Ethel).— Byways of Collecting.
London, Cassell & Co., 1908. 8°,
pp.192; with 73 half-tone illustrs.
Old china, pp. 12-69.

DEARN (J. D. ¥.)•— The bricklayer's
guide, . . . etc. London, 1809,

DEBRUN. — Discours sur les proprietes
et sur Futilite de Targile. Pro-
nonce dans la seance publique du
ler Brumaire, an ix., pour la
rentree de 1'Ecole centrale du
Departement de 1'Oise. Beau-
mis, 1800. 4°, pp. 18.

"Lecture on the nature and the uses
of potter's clay, etc."

The professor enumerates the various kinds
of plastic clays, and describes the use which
is made of them in industry and art.

DECHELETTE (J.).— Les vases peints
gallo - remains du musee de
Roanne. Paris, Leroux, 1895.
8°, pp. 19; with 1 col. pi. (Ke-
print from Revue Archeologique.}

"The Gallo-Roman painted vases in
the Roanne Museum."

Specimens of Roman pottery decorated in
the geometric style, with paintings upon white
engobbe, are of rare occurrence in France.
Sixteen vases and numerous fragments have
been discovered at Roanne. The style is said
to show an oriental influence, a point con-
tested by the writer.

Dlfo]

CERAMIC LITERATURE.

[DEC

DECHELETTE (J.).— Le belier consacre
aux divinites domestiques sur
les chenets gaulois. Paris, 1898.
8°, pp. 38 ; with 31 illustrs.

" The ram consecrated to the domestic
deities upon the Gaulish fire-dogs." (G.-
R. terra-cotta.)

- L'Officine de Saint Remy
(Allier) et les origines de la
poterie sigillee gallo - romaine.
Paris, 1901. 8°, pp. 35 ; with 37
illustrs. (Reprint from the Revue
Arch.}

" The workshop of Saint Remy, and
the origins of the Gallo-Roman sigillated
pottery."

Les vases ceramiques ornes

de la G-aule Komaine (Narbon-
naise, Aquitaine, et Lyonnaise).
Paris, Picard, 1904. 4s. Vol. I.,
pp. 305; with 15 pis. and 152
illustrs. Vol. II., pp. 380 ; with
15 pis. and num. illustrs.

"The ceramic vases, with ornaments,
of Roman Gaul."

A colossal repertory of names and marks of
Gallo-Roman potters, with illustrations of their
work.

DECK (Th.). — La faience. Paris,
Quantin, 1887. 8°, pp. 300; with
112 illustrs., and potters' marks.
4 fcs.

A concise history of the manufacture of
" Faience," or, as the author explicitly de-
scribes it, ' ' Earthenware covered with a
coating of transparent glaze or opaque enamel,"
is prefixed to this volume. In ordinary cases
the recapitulation of well-known historical
facts seldom claims particular notice. Here
the personal remarks passed on certain points
of the ceramic history by such a commanding
authority are entitled to our consideration.
His candid opinion — although expressed in very
guarded terms, as though in fear of giving
offence to any one who may happen to entertain
different views — often betrays, none the less,
the sound and impartial judgment of a superior
man, by no means inclined to be influenced by
the passing fads of any group of light-headed
amateurs.

The second part, unfortunately very com-
pressed, constitutes the truly important portion
of the work. However unpretentious in its
form, a technical treatise of such a serious
import is not to be dismissed after a few words
of common - place encomium have been be-
stowed upon it. We must recollect that there

100

are few books to which what may be said of
the present one could be fittingly applied.
Written by the most accomplished ceramist of
his day, it embodies the very essence of a
knowledge paid for by the trying labours of
a whole life, while the teaching we may expect
to receive from it is imparted with absolute
completeness and unrestrained veracity.

Its avowed purpose is to address itself to the
men of the world ; it does not claim to be a
scientific treatise. Nevertheless, all experienced
potters will at once recognise, under its appa-
rent simplicity, the pre-eminent value of the
work as a trusty guide for all those who have
to struggle against the technical intricacies of
the potter's art. If general principles and
practical instructions are laid down with strict
terseness, and if they may appear at first to be
wanting in completeness, let not the perplexed
beginner be discouraged in his efforts to grasp
the meaning of the master. Sedulous atten-
tion, and perseverance in its experimental
application, will soon render an abstract
principle clear and intelligible to the student.
The pursuit of ceramic art will always be
fraught with trying difficulties. A good book
may supply the means of fighting against the
obstacles constantly rising to impede our course,
but it rests with us to win the battle by the
display of an unremitting energy, and the help
of our personal experience.

Always immersed in the practice of his art,
Deck left to others the care of descanting upon
the constant improvement of his own ceramic
productions. Unwilling to speak about himself,
his name had never appeared affixed to any
printed article, pamphlet, or book, when, at
the pressing solicitation of his friends, he con-
sented to break his modest silence and to
publish this small volume. Although he had
attained to a very high position in the artistic
world, to be considered as a master potter had,
in his estimation, a higher value than the
mention of all his titles and distinctions ; and
this is no doubt the reason why, neglecting to
record on the title page of his book that he
was an officer of the Legion of Honour, director
of the National Manufactory of Sevres, etc.,
he describes himself merely as Theodore Deck,
ceramiste.

DECOMBE(L).— Les anciennes faiences
rennaises. Rennes, Cailliere,
1900. 8°, pp. 234; with 15 fac-
simile of marks and 12 half-tone
pis. 10 fcs.

"The old faiences of Rennes."

An important collection of faiences of local
origin is preserved in the Rennes Museum, of
which Mr. Decombe is the learned curator ;
the History is adequately illustrated by these
specimens. The manufacture seems to have,
at first, remained in the hands of Italian
potters. Mortuary tablets, composed of white
tiles inscribed and painted in blue and mangan-
ese, the earliest of which bears the date 1653,
and a figure of the Holy Virgin, dated 1659,
represents that period. In 1749 two factories
were established in the town, both subsidised
by state grants and private contributions.
During a few years the making of faience,

DEC]

CERA MIC LIT ERA TUBE.

[DEL

chiefly in imitation of the Nevers and Rouen
style, was carried on in the above-named and in
a few minor pot-works under ttnremunerative
conditions and distressing circumstances.
Finally, in 1786, the year of the treaty of
commerce with England, the industry was
altogether ruined through, it is said, the
introduction in France of the foreign products.
In support of this statement, extracts from the
contemporary newspapers, in which the trades-
men of Rennes advertised their extensive
importation of English pottery and porcelain,
are given by the author. He has been able to
gather many particulars respecting the local
potters and painters ; they are all duly recorded
and accompanied with facsimiles of marks and
signatures.

DE COOL (Mme. Delphine).— Traite de

peinture sur porcelaine dure et
tendre, email, faience cuite et
crue, et sur lave. Paris (1875 ?).
8°, pp. 29.

" Treatise of painting upon porcelain,
hard and soft pastes, enamel, over and
underglaze, faience, and upon lava."

Madame de Cool, a clever porcelain painter,
directed a studio of young ladies, for the
benefit of whom this handiwork was intended.
See also Arnould (Mme. A.).

DECORDE (L'Abbe J. E.).— Pavage des
eglises dans le pays de Bray.
Paris, Pringuet, 1857. 8°, pp.
14; with 2 pis. (Eeprint from
La Revue de I' Art Chretien.)

" Church pavements in the district of
Bray."

Description of the inlaid and engraved tiles
of mediaeval times, preserved in the Neuchatel
Museum ; contains some interesting documents
referring to the industry of tile making in
Normandy.

DEGEN (Louis). — Les constructions en
briques, avec un volume de
supplement. Combinaisons et
etudes variees sur 1'emploi de la
brique, au point de vue decoratif.
Paris, Morel, 1859. 2 vols. 4°;
with 84 col. pis. 80 fcs.

" Brick building. Sketches and infor-
mation upon the use of bricks, considered
from the decorative point of view."

DEININGER (C. F.).— Sammlung von
Porzellan Malerein. Leipzig,
1892. 4°; 32 pis. in col. 12 m.

" Selection of porcelain paintings."

Materials for the porcelain painter taken
from old German porcelain.

DEICHMULLER (J. Y.).— Das Graberfeld
aus dem Knochenberge bei
Niederrodern, Saxen. Cassel,
Fischer, 1897. 4°, pp. 16 ; with
7 lith. pis. of Franckish cinerary
urns.

" The grave - field in the Knochen
Mountains, near Niederrodern, Saxony."

DE JOHANNIS (A. J.).— Intraprenditori,
capitalisti, e lavoratori. Con-
siderazioni sulla manifattura di
Doccia. Firenze, 1893. (In
Rassegna di Scienze Sociali e
Politiche. Anno x., fasc. 289.)

" Manufacturers, capitalists, and work-
men ; considerations on the Doccia manu-
factory."

DE LA BECHE (Sir Henry) and TRENHAM
REEKS. — Catalogue of specimens
in the Museum of Practical
Geology, illustrative of the com-
position and manufacture of
British pottery and porcelain,
from the occupation of Britain
by the Romans to the present
time. London, G. Eyre, 1855. 8°,
pp. xxiii-179 ; vigns. 5s.

- 2nd Ed. London, 1871. 8°,
pp. xvi-269. Prepared with the
assistance of M. F. W. Eudler,
and augmented with a catalogue
of specimens illustrating the
Clays and Plastic Strata of Great
Britain, collected and described
by George Maw, F.G.S.

- 3rd Ed. London, 1876. 8°,
pp. xvi-336; with 157 vigns.; also
prepared by Trenham Reeks,
curator, and F. W. Rudler,
assistant curator.

In preparing the catalogue of the ceramic
collections, then in course of formation at the
Museum of Practical Geology, the curators had
to adopt an altogether new plan. So far
English ceramics had not yet been systematic-
ally classified. The whole subject was not,
however, of such a wide range that it could
not be fully developed within the scope of a
popular handbook. The pottery and porcelain
of other nations having been summarily dealt

101

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with in the preliminary chapters, the exclusive
attention of the writers was bestowed upon the
factories of Great Britain and their produc-
tions. Accordingly, every group of English
pottery received a separate treatment, each
section being prefaced with a well digested
historical notice. The important manufactory
and the modest pot- works, the vase of costly
china and the rough porringer of Staffordshire,
had their history told with the same exactness
and reliability. All that was said was meant
to captivate the interest of the student without
overtaxing his memory with superfluous details.
Anyone who has read the catalogue of the
Jermyn Street Museum with a purpose, will
acknowledge that he has thereby learned much,
and yet with little trouble. This small hand-
book has done more to spread the taste for
English ceramics than many volumes of more
ambitious pretensions.

DELAFON (M.).— Notice sur la cera-
inique et Fhygiene. Paris, 1898.
8°, pp. 15.

"Notice of ceramic art and hygiene."
A pamphlet in distribution at the manu-
factory of sanitary ware of Jacob & Co., at
Pouilly sur Saone. It contains the usual
epitome of ceramic history, with a few remarks
upon the necessity of substituting porcelain in
place of earthenware for all vessels of house-
hold use.

DELAGRAYE. — (Euvres choisies de
Bernard Palissy, etc. Paris,
Delagrave, 1890. 12°.

"Selections from Palissy 's works."
The preface is signed E. M.

DELAMAIN (Ph.).— Le cimetiere d'Her-
pes (Fouilles et collection Ph.
D.). Angouleme, Cocquemard,
1892. 4°, pp. 44; with 26 col.
pis. 15 fcs.

" The Herpes Cemetery. Excavations
and collection of Ph. Delamain."

Pottery and glass vessels are reproduced on
9 plates. The funereal vases are of the or-
dinary Merovingian types, made of grey clay,
blackened on the surface, and decorated with
bands of geometrical ornaments obtained by
the impression of a revolving tool.

DELAMARDELLE (Mme. la Baronne) et GOUPIL
(F-). — Le£ons pratiques de pein-
ture vitrifiable, sur porcelaine
dure, pate tendre, faience, email
Paris, Kenauld, 1877. 8°, pp
47. 2 fcs.

An English translation has

been published by Lechertier

102

Barbe, with additions by Aural.
London, 1877.

" Practical instructions for painting
on hard porcelain, soft china, faience,
enamel, etc."

The tuition of a professor of china painting
to her pupils, with advertisements and cata-
logues-of Lacroix vitrifiable colours and paint-
ing requisites.

DELAMOTTE (Ph. H.) and WHEATLEY (H. B.)-
- Art work in Earthenware.
Art work in Porcelain. London,
Sampson Low, 1882. 8°, two
handbooks (together), pp. 146;
with 2 col. pis. and 129 woodcuts.
5s.

The illustrations are all borrowed from the
standard publications ; the letterpress makes
no claim to novelty. A second edition, under
the title of A Handbook of Art Indiistries in
Pottery and the Precious Metals, appeared in
1886. The name of H. Wheatley has alone
been retained as that of the author.

DELANGE (Carle).— Recueil des faiences
italiennes des xve, xvie, et xviic
siecles. Text explicatif by A.
Darcel et H. Delange. Paris,
1869. Fol.; with 100 col. pis.
300 copies printed. £12.

" A selection of Italian majolica pieces
from the fifteenth, sixteenth, and seven-
teenth centuries."

A. Darcel, then the best authority on the
matter, has supplied the larger portion of the
explanatory text.

DELANGE (Carle et Henri).— Recueil de

toutes les pieces connues jusqu'a
ce jour, de la faience fra^aise,
dite de Henri II. et de Diane
de Poitiers. Precede du releve
des diverses opinions emises a
cette epoque par les principaux
ecrivains. Paris, Delange, 1861.
Fol., pp. 34 ; with 50 lith. pis. in
colour (a few copies have 51 pis.).
150 copies printed. £15.

" Collection of all the examples of the
so - called ' Henry II. and Diana of
Poitiers ' faience known at the present
day. With a review of the various
opinions entertained on the subject by
the most eminent writers."

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CERA MIC LITER A TURE.

[DEL

The noble folios published by Delange will
always have their place on the shelf of honour
of the library. They were brought out at a
moment which can be well termed the golden
age of ceramic writings. Admirable collections
were being formed all over Europe, and in them
the historian found a ready-made selection of
master-pieces, a wonderful store of material
conveniently placed at his disposal. Mono-
graphs of the most important centres of ceramic
production could be prepared, in which most
interesting matter would appear in print for
the first time, and which could be illustrated
with reproductions of examples of the highest
order, mostly unknown to those who took the
greatest interest in the subject. Owing to the
personal researches of the special collectors,
the compiler could elucidate the specimens he
had chosen to reproduce with historical evi-
dences concerning their place and date of
manufacture, often with the very name of
their maker. Such works were anxiously
expected, and enthusiastically received on their
publication. Delange, an esteemed expert in
works of art, had the run of all the best collec-
tions, and he had made a deep study of the
chief museums of fhirope. He took advantage
of the exceptional conditions in which he
was placed, and undertook to prepare works,
descriptive of the finest productions of the
potter's art of the Renaissance period. He
showed himself equal to the task set before
him. The copies he made from the originals
are always accurate, and of sufficient size to
show plainly all details. In the face of the
stiff and cold chromolithographs, and of the
more uninspiring phototypes, now so extensively
used for book illustration, it is a real pleasure
to turn over the leaves of a volume in which
the plates, broadly but neatly, drawn on stone,
have the charms of an artistic sketch, and are,
moreover, coloured in a way which gives to
them something of the freedom of hand-work.
Although the descriptive text has become
antiquated in some cases, we notice that
Delange had entrusted the preparation of the
text which accompany the plates to the pen
of the most expert connoisseurs of his time,
and that they were, generally, the best notices
that had yet been written on the subject.

- Recueil des principales pieces
connues de la faience frai^aise
dite de Henri II. et Diane de
Poitiers. 52 planches dessinees
par Carle Delange. Nouvelle
edition. Paris, Rouviere, s.d.
4°. PubL, £2.

A reproduction by photographic process, and
in reduced size, of the plates of the original
edition.

DELANGE (Carle) et BORNEMAN (C.).—
Monographic de 1'ceuvre de Ber-
nard Palissy ; suivie d'un choix
de pieces de ses continuateurs et
imitateurs. Texte par MM. de

Sauzay et H. Delange. Paris,
Delange, 1862. Fol.; with 100
lithogr. pis. in colours. 300 copies
printed. £12.

' 'A monograph of the works of Bernard
Palissy ; to which is added a selection of
pieces by his successors and imitators.
With descriptive notices by Messrs. De
Sauzay and H. Delange."

M. De Sauzay, who wrote for this book a
short notice on B. Palissy and his works, was
curator of the Louvre Museum.

DELANGE (Henri).— Notice sur Girol-
amo della Robbia, auteur pre-
sume des poteries dites de Henri
II., et sur sa famille. Paris,
Mauld, 1847. 8°, pp. 15.

"Biographical notice of G. della Robbia,
presumed maker of the so-called Henri
II. faience, and of his family."

- Catalogue d'une belle collec-
tion d'objets d'art et d'antiquites
tels que Terres-cuites et verres
antiques, Vases grecs en terre
peint dits Etrusques. Parist
1857. 8°. Catalogue of sale.

DE LA RUE (Collection).— Catalogue of
the collection of old Wedgwood
ware. . . . Sold at Christie's,
Nov. 12th, 1866. 8°, pp. 72;
with illustrs. borrowed from the
Art Journal and the Life of J.
Wedgwood.

One of the earliest and best collections of
Wedgwood wares ; it contained 270 numbers.

DELATTRE (Le R. F.).— Lampes chreti-
ennes de Carthage. Lyon, 1880.
8°, pp. 64; with 53 illustrs. 5 fcs.

"The Christian lamps of Carthage."

Lamps and plain vessels of common red clay,
seem to have been the only production of the
potter, in mighty Carthage, the capital of
civilised Africa, and once the rival of Rome.
From an early date the town had become one
of the strongholds of Christianity. In the time
of St. Augustine the pagan temples had been
transformed into churches, and no fewer than
twenty-two basilicas could be counted within
its walls. Objects of all kind, bearing Christian
symbols, are discovered in the excavations.
Among them terra-cotta lamps of rude work-
manship are conspicuous by their number. P.
Delattre, French missionary at Algiers, and a

103

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CERAMIC LITERATURE.

[DEM

learned archaeologist, has collected and de-
scribed all the subjects of a religious character
which appear on these lamps.

DELATTRE (Le R. F.).— Les lampes du
musee de St, Louis de Carthage,
1889. 4°, pp. 15; with 17 illustrs.

"Other Christian lamps in the St.
Louis Museum at Carthage."

- Marques ceramiques grecques
et romaines trouvees a Carthage
durant Faimee 1901. Paris, 1902.
8°, pp. 28. (Reprint from the
Revue Archeologique.)

" Greek and Roman potters' marks
found at Carthage."

DELECLUSE (E. J.).— Bernard Palissy.
Paris, 1838. 8°, pp. 32. (Re-
print from La Revue Francaise.)

Audiat commends this notice as being one of
the best ever written on Palissy and his works.

DE LENNICK (Deman).— Collection de
porcelaines anciennes de Chine,
du Japon, de Sevres, de Saxe,
etc., et de quelques faiences
rares et vases Etrusques. Brux-
elles, 1864. 8°.

Catalogue of sale.

DEL FRATE (0,).— Guida storica
descrittiva della Faleria etrusc
(Civita Castellana). Roma, 1898.
12°; with 3 pis.

" Guide-book, historical and descrip
tive, of Etruscan Faleria (Civita Castel
lana)."

Notes on the ceramic art.

DELISLE (Leopold).— Documents sur les
fabriques de Faience de Rouen
recueillis parHailletdeCouronne
Valongnes, 1865. 8°, pp. 77
12 fcs.

"Documents upon the faience manu
factories of Eouen, collected by Haille
de Couronne."

This pamphlet gives all the matter referrin
to the subject contained in the MS. notes pre
pared by H. de Couronne for his History o
Normandy, now in the National Library i
Paris. It contains — 1. An extract of th
registers of the Rouen Parliament for July
1650, showing that N. Poirel and E. Poterai

104

who had obtained a royal privilege for the
manufacture of faience, objected to the estab-
lishment of any other manufactory in the
town. 2. A memoir, written in 1746 by
Bollioud, a canon of St. Antony at Rouen,
for the benefit of the potters of Lyons, his
native town, describing the processes of
manufacture as he had seen them practised.
3. A quotation from the Spectacle de la Nature,
treating on marls and clays. 4. A communi-
cation sent by Madame de Villeray, who had
herself owned and managed some important
works at Rouen. 5. An anonymous note
on the state of the Rouen industry in the
eighteenth century. 6. Information upon the
progress of the various industries of the town
gathered by G. de La Foy, in which the names
of a few faience mamifacturers are mentioned.

DELORME (R,),— Les faiences de Delft.
Collection du Dr. Handle. Paris,
impr. Kugelmann, 1874. 32°,
pp. 33.

" Delft faiences. The collection of Dr.
Handle."

This collection was, we think, unique in
Paris at that time. It contained specimens of
delft faience of the highest order.

DELORT (J. B,). --Dix annees de
fouilles en Auvergne et dans la
France centrale. Lyons, Rey,
1901. 4°, pp. 84 ; with 40 pis.
(Ceramics, pp. 9-22 ; with 20 pis.
of prehistoric, Roman, and
Merovingian vessels.)

" Ten years of excavation in Auvergne
and Central France."

DELSETTE (G.).— Cinque lettere sulla
raccolta di maioliche dipinte,
delle fabbriche di Pesaro e della
provinciaMetaurense,di Geremia
Delsette, esisente in Bologna.
Bologna, 1845. 8°, pp. 8. 3 fcs.

" Five letters on the collection of

painted majolica, from the factories of

Pesaro and the Metaurian province, in
the possession of G. D., of Bologna."

Luigi Frati had just published the catalogue of
this remarkable collection. It was in acknow-
ledgment of a gift of copies of that catalogue
that five well-known artists and antiquaries,
to whom it had been presented, wrote the
flattering letters brought out in pamphlet
form, with evident satisfaction, by the owner
of the collection.

DE MAURI. — L'amatore di maioliche
e porcellane. Milano,"U. Hoepli,

DEM]

CERAMIC LIT ERA TURE.

[DEM

1899. 12°, pp. 650 ; with 16 col.
pis. and marks.

"The collector of faience and porcelain."

Although one of the last that have been issued,
this handbook is by no means an improvement
on its predecessors. English ceramics have par-
ticularly suffered from the insufficient attention
bestowed by the compiler upon this, as well
as upon other sections of ceramic history. In
the article on Wedgwood we read that he
established an important factory of soft china
at Burslem, where he made white and blue
cameos, called "Queen's" ware. The mark is
given as "Wedgwoog. " At Worcester Dr.
Walls, the founder of the manufactory, was
succeeded by Cookworthy, who introduced
the making of hard porcelain, and invented
the process of transfer printing under glaze,
etc.

DEMMIN (A.).— Guide de Famateur de
faiences et de porcelaines. Paris,
Kenouard, 1861. 12°, pp. 176;
with marks. 3 fcs.

"A guide-book for the amateur of
faiences and porcelains."

This is the first publication of a very prolific
writer. Demmin's pen is responsible for many
volumes which threatened, at one time, to bring
about trouble and confusion in the dawning
knowledge of ceramic art. Nowadays public
opinion is tolerably well fixed on the value
that may be attached to their contents. No
true connoisseur would ever think of referring
to his books for enlightenment on some puzzling
point, or would take the trouble of discussing
his long-exploded arguments. The confident
beginner is warned that every fact, every date,
every name, has to be revised and corroborated
from other sources before they are made use of,
if he means to avoid sharing the fate of so many
writers who have accepted them too implicitly.
Demmin shows as little regard for history and
technology as he — a German bred and born —
respects the rules of the French language.
The bare truth is often treated by him as a
negligible quantity in argumentation; the use
of accepted terms is replaced by the introduc-
tion of words of his own making. His aim
seems to have been to overwhelm the reader
with a bewildering accumulation of informa-
tion on all subjects. For years he travelled
all over Europe, visiting museums and private
collections, and jotting down, hurriedly and
indiscriminately, accounts of what he saw
and notes of the speculations suggested to his
impressionable mind. He who knows little
finds much. All that Demmin found, or
thought he had found, became grist to his
mill, and was stored up with the view of
producing this handbook. The aggregate
sum of his notes, thus hurriedly taken, must
indeed have been prodigious. But when re-
turned to his study he appears to have got
somewhat confused as to the true significa-
tion of these hasty memoranda, and to have
supplemented their shortcomings by an appeal
to his faulty recollections. Then from these
there sprung an extravagant theory, supported

only by fanciful evidences, startling and curi-
ous sometimes, but no better than fireworks
and dissolving views. When he had to deal
with a long -established fact, the truth was
presented in such a distorted and truncated
form, and commented upon in such an unpre-
cedented manner, that it became as deceptive
as might have been a total misrepresentation.

The first perusal of a book framed on such
lines may prove rather irritating to anyone in
search of sound education. He may resent
the arrogance of a writer who, reckoning no
doubt upon an unbounded extent of gullibility
on the part of the reader, has ventured to
prepare for us this medley of data and hypo-
thesis, in which ludicrous fantasy disports
itself under the garb of learning. He may
get tired of having this ostentatious person-
ality constantly thrown in his face, and of
listening to the volleys of objurgations and
sarcasms directed against those who enter-
tain an opinion differing from that of the
author. But if that first feeling of legiti-
mate irritation can be got over it will be
succeeded by one of irrepressible hilarity.
It is difficult to remain serious in the face
of this unbroken concatenation of grotesque
misstatements. Many writers may be found
guilty of gross inaccuracj7, but Demmin alone
has the natural faculty of investing, in such
a high degree, pedantic assertions with in-
tense comicality. If anyone, ever so little ac-
quainted with the subject of English ceramics,
is desirous to put what we say to the test, let
him open the Guide de I' Amateur at the chapter
devoted to England and it will be difficult for
him to refrain from laughing outright before he
comes to the end.

- Guide de 1'amateur de faiences
et porcelaines, poteries, terres-
cuites, peinture sur lave, et
emaux, nouvelle edition revue,
corrigee et considerablement
augmentee. Paris, Kenouard,
1863. 12°, pp 576 ; with 850 figs.,
marks and monogrs. 5 fcs.

"A guide-book ... a new edition,
revised, corrected, and considerably en-
larged."

The first edition of the Guide passed unnoticed,
but the publication of the second raised a loud
protest among learned collectors. A. Darcel,
in France, and W. Chaffers, in England, made
themselves the mouthpiece of public feeling
provoked by the aggressive and self-asserting
tone maintained throughout such portions as
had been added to the original work. The
former in a pamphlet entitled Un Guide de
VAmateur, Paris, 1864, the latter in the
Appendix of the third edition of his Marks
and Monograms, London, 1874, sounded the
much-needed word of warning to the unwary.
The severe but by no means undeserved criti-
cism, passed by such competent judges, does
not seem to have put ceramic writers on their
guard, and many a one has, later on, spoiled
a conscientious and valuable work by inserting

105

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[DEM

in it information borrowed from Demmin, and
which we recognise at once through the errone-
ous dates and the faulty spelling scrupulously
reproduced.

DEMMIN (A.)- — Encyclopedic ceram-
ique — monogrammique. — Guide
de Famateur, etc. Troisieme
edition. Paris, Kenouard, 1867.
2 vols. 12°, pp. 1227. 18 fcs.

"Ceramic monogrammic cyclopedia."

In this third edition of the Guide rambling
disquisitions on glass vessels, stained - glass
windows, and artificial stones, have helped
to swell the matter into two volumes. The
wording of the title, Ceramic Monogrammic
Cyclopedia, is one of the instances of Dem-
min's affectation for neologism.

Encyclopedic ceramique -
monogramatique, etc. 4th ed.
Paris, Renouard, 1873. 3 vols.
12°, pp. 1596 ; with 300 repro-
ductions of pottery, 3000 potters'
marks, 3 tables, two of which
relate to monograms, and a
portrait of the author.

The Guide again; this time expanded into
three volumes. The title is lengthened in
proportion, several new subjects being intro-
duced— namely, the making of artificial teeth
and painting upon rock crystal. Another new-
feature distinguishes this fourth edition ; it
is the addition of rough and clumsy sketches
which would disgrace the margins of a school-
boy's copy-book. On the point of accuracy
these illustrations are quite on a par with the
text. Any observation we might dare to
make regarding their correctness is met by
the declaration that these are " croquis artis-
tiques," and not vulgar woodcuts.

— Histoire de la ceramique en
planches phototypiques inalter-
ables, avec text explicatif —
L'Asie, 1'Amerique, PAfrique, et
1'Europe par ordre chronolo-
gique. Poteries opaques (faiences,
etc.) et Kaoliniques (porcelains) ;
peintures sur lave ; emaux sur
metaux, vitraux, verreries, mo-
saiques. Paris, Renouard, ] 875.
2 vols. Fol., pp. 145, and tables ;
with 250 pis. 500 fcs.

" History of ceramic art in unalterable
phototype plates, with a descriptive text
— Asia, America, Africa, and Europe, in
chronologic order, etc."
106

This so-called " history of ceramic art" is in
reality an ambitious photographic record of
the author's collection, with the addition of a
few insignificant specimens, borrowed from
other sources to justify the title. Far from
including representatives of the potter's art,
at all times and in all countries, many of the
most important styles have been omitted, and
others most inadequately illustrated. But
every example in the possession of the collector,
however poor in quality, doubtful in its attribu-
tion, or sadly broken and incomplete, has been
made the subject of a plate The Aroza process
of phototypy was still in the trial stage ; the
reproductions are not always satisfactory, and
what is worse, except in the case of the first
plate, the negatives have not been reversed
before being transferred on the stone ; conse-
quently the printing has given an inverted
image, the right side has become the left ;
monograms and marks are often unrecognisable,
and the inscriptions, which run backwards, are
not easily read. A short notice accompanies
each plate ; we find in them a repetition of the
most inacceptable errors and misleading state-
ments contained in the previous volumes.

- Recherches sur la priorite de
la Renaissance de Fart allemand.
Faiences du xiiie siecle, terres
cuites emaillees du ve siecle.
Paris, Renouard, 1862. 12°, pp.
96. 3 fcs.

" Researches on the priority of the
revival of German art. Faiences of the
thirteenth century; enamelled pottery of
the fifth century."

Compressed in this preliminary essay, we
have the tenets of the creed that Demmin had
revealed, and which he was, for ever after,
ready to uphold against all comers, and defend
at the point of his ready pen. The thesis
which he found himself called upon to develop
to art-lovers and students of history was that,
towards the end of the Mediaeval Ages, all
European nations had been indebted to Ger-
many for the revival of fine arts in general,
and particularly of ceramics. He might have
chosen to speak, like other "inspired" men,
from infallible revelation ; but he preferred to
produce what he called "convincing proofs."
Unfortunately, some critics declined to accept
these "proofs" without further inquiries, and
went to the trouble of investigating the true
value of the proffered evidence. The result
of the inquiry was most damaging to the
stability of his theory.

We shall select, for the reader's edification,
one or two flowers from a very bulky posy. One
is the description of the tomb of Henry IV.,
Duke of Silesia, in the Church of the Cross at
Breslau. We are told that this tomb was
erected in 1290, and that it is made of enamelled
majolica. Particular stress is laid on the
brilliant red enamel, " a colour that the
Italians could never obtain," and special
mention is made of the bright green with
which the monument is partially covered.
On the faith of this statement, nearly all

DEM]

CERA MIC LITER A TURK.

[DEM

ceramic histories-, subsequently published, give
the Breslau tomb as the earliest example of
polychromic faience. The tomb, as a matter
of fact, is carved in stone. Some unrecorded
accident having happened to the lid, that
portion was, at a comparatively modern date,
replaced by a reproduction in terra-cotta. To
conceal the difference in the colours of the two
materials, the whole was painted over in oil
colour ! It is this coat of paint that Demmin
mistook for enamelling.

Many "equally valuable" evidences of the
priority of German majolica over that of Italy
were gathered by the author after the publica-
^tion of his pamphlet. He gave us the benefit
of his discoveries in the various editions of the
Guide. Perhaps the most ludicrous example
of his innumerable blunders was the interpreta-
tion of the mark I.H.F., 1480, inscribed under
a small horse of white and blue faience in his
own collection. How proud he was to place
before the incredulous a piece of that kind,
" actually dated 1480 " ; that the figures stood
there for anything but the date of manufacture,
never caused him a moment's doubt. Collectors
of delft ware well knew, and were not long in
letting him know, that the letters I.H.F. are
the mark of a well-known delft manufactory of
the eighteenth century : In Het Fortuyn,
"At the signe of The Fortune;" this mark
being usually accompanied with the number of
the pattern.

The above extracts from these unparalleled
books suffice to show that we were not quite
wrong in considering them as truly comical
items in a ceramic library.

Catalogue par ordre cliro-
nologique, ethnographique et
generique du musee des arts
plastiques et des industries qui
s'y rattachent. Nouvelle edition,
grandement augmentee. Paris,
Renouard, 1870. 8°, pp. 132;
illustr. with rough sketches by
G. Devers. 5 fcs.

"Catalogue in chronological, ethnolo-
gical, and generic order of the museum
of plastic arts and the industries related
to them."

Order and merit were conspicuously wanting
in the formation of this collection, and the pre-
tentious classification professed to have been
followed in its arrangement is but another
make-believe offered to our credulity. The so-
called "Museum of plastic arts" was a very
modest one, and the small flat on the distant
Paris boulevards, in which the possessor
resided, was amply sufficient to contain it.
While other collectors were confining their
searches to France and Italy, Demmin made
Germany his usual hunting-ground, and he
succeeded in obtaining from out-of-the-way
districts still unexplored a few rare specimens
of various origin. The catalogue shows that
he might, as a connoisseur, have exerted a
little more discrimination in the choice of his
acquisitions. He seems to have gathered

everything, good, bad, or indifferent, ancient
or modern, that fell in his way. The system of
numeration he has followed, and which he
advises all collectors to adopt, is another
childish deception. By leaving out seven or
eight numbers out of every ten on the list, he
reaches in the ceramic section of his catalogue
the figure 1803, which represents, in reality,
scarcely four hundred specimens.

Encyclopedic des sciences,
lettres et arts et revue panoptique
de la Suisse, suivie d'uu guide
artistique. Paris, Renouard,
1872. 12°. 3 fcs.

This is intended to be an artistic guide-book
to Switzerland. It contains a chapter on the
Swiss pottery and the old terra-cotta stoves
which are still numerous in the country.

- Catalogue de cent-cinquante
numeros de la collection Auguste
Demmin. Faiences anciennes,
parmi les quelles le Violon de
Faience, etc., et dont la vente
aura lieu le 12 Mars, 1875. 8°,
pp. 34 ; with illustrs.

Catalogue of sale. The hundred and fifty
numbers, the cream of the collection, did not
realise the expectations of the seller. Witli
the exception of the Faience fiddle, which
fetched £120, the rest sold for the little it was
worth, notwithstanding the brilliant descrip-
tions of the Catalogue.

- Keramic - Studien. Leipzig,
E. Schloemp, 1881-83. 8°.

" Ceramic studies."

The work is divided as follows : Part I.
Faiences ; Arethian Pottery and Terra Sigil-
lata ; Pottery of Keneh and Sciout, pp. 94. —
Part II. Porcelain, pp. 88.— Part III. Stone-
ware, pp. 69. — Part IV. Glass, pp. 115. —
Part V. Terra-cotta, pp. 102.— Part VI.
Enamels on metal, pp. 58.

DEMPSTER (Thomas).— De Etruria Re-
gali Libri vii., mine primum editi,
curante Thoma Coke, Magnte
Britannia} Armigers Regire Cel-
situdini Cosmi III Magni Ducis
Etrurise. Florentiae,l723. 2vols.
Sin. fol. ; with 93 pis.

Thomas Coke, who published this work after
the death of the author, Dempster, dates his
dedication to the Grand Duke Cosmo III. from
London ; although published at Florence it may
be, from the nationality of both writer and
publisher, considered as an English work.
The larger number of the plates reproduce
painted vases and terra-cotta urns ; but they
are of such bad execution as to be of little use

107

DEN]

CERAMIC LITERATURE.

[DES

to the artist. A third volume is generally
added. It is a commentary on Dempster's
work published by J. B. Passeri, Lucca, 1768.

DENNIS (George). --The ^ cities and
cemeteries of Etruria. London,
J. Murray, 1848. 2nd ed., 1878.
3rd ed., 1883. 2 vols. 8°, to-
gether, pp. 1076; num. pis.,
illustrs., and plans. 14s.

A learned guide-book to the remains of
ancient Etruria, written for the use of travellers.
A general survey of Etruscan and Greek pottery
is made the subject of an introductory chapter,
with a copious appendix. Each locality is
treated separately, examples of painted vases
and terra-cottas are described and illustrated
all through the pages of these two bulky
volumes. The work is considered to be one of
the best authorities on the history of ancient
Etruria.

N. W. Meissner has given a German transla-
tion under the title : Die Stadte und Begrdb-
nissplatze Etruriens. Leipzig, 1852.

DENNISTOUN (J.).— Memoirs of the
Dukes of Urbino, illustrating
the arms, arts, etc., of Italy,
1440-1630. London, Longman,
1851. 3 vols. 8° ; woodcuts,
£3, 3s.

Chapter Iv. deals with Italian majolica,
and particularly with the productions of the
Urbino potters. Owing to the scanty amount
of information available at that time the
account has lost much of the interest it excited
on the publication of the work.

DENTI (B.). — Illustratione sopra un
vaso Greco - Siculo. Palermo,
1828. Fol., pp. 15; fold. pi.

" Description of a Siculo-Greek vase."

DENUELLE (Ch.).— La porcelaine et la
manufacture de Sevres. Limoges,
Chatras, 1891. 16°, pp. 32. '

A violent attack against the State-supported
establishment.

DEONNA (W.).— Le statues de terre
cuite en Grece. Atlienes, 1906.
8°, pp. 72. 2 fcs. 2nd ed., 1908.
8°, with 23 illustrs.

"Terra-cotta statues in Greece."

Only a few fragments remain of ancient
terra-cotta statues, the number of which is
supposed by the author to have been
considerable.

DERBY (Ch. H.).— A brief guide to the
various collections in the Bethnal
108

Green branch of the South Ken-
sington Museum. London, 1890.

8°.

DEREWITSKY (A.) and Others.— Das Mu-
seum der Kais. odessaer Gesell-
schaft flir Geschichte und Alter-
tumskunde. Part I., Terracotten.
Frankfurt-a.-Main, J.Baer, 1897.
4°, pp. 46; with 17 phototyp. pis.
Part II., Terracotten. Pp. 48 ;
with 18 pis. 32 m.

"The Museum of the Historical and
Archaeological Society of Odessa. The
collection of Greek terra-cottas."

The specimens are mostly from the Northern
shore of the Black Sea ; there are 567 numbers.

DESAIYRE (L).— Notes sur trois vases
de forme singuliere trouves dans
le departement de la Vendee.
Poitiers, 1892. 8°, pp. 8 ; illustrs.

"Notice of three vases of uncommon
shape found in the Vendee department."

D'ESCAMPS (H.), (Anon.).— Notice his-
torique sur les manufactures de
faience de Creil et Montereau,
Barluet et Cie. Paris, impr. V.
Goupy, 1878. 4°, pp. 12.

Notice sur les faienceries de

Longwy et de Senelle (Meurthe
et Moselle). Paris, typ. Robert
& Buhl, 1878. 4°, pp. 7.

"Historical notices of the manufac-
tories of Creil and Montereau, Longwy
and Senelle."

These two notices printed on the occasion of
the Paris Exhibition in 1878, describe the
current condition of these two important
ceramic establishments. The factory of Monte-
reau, founded in 1775 by a group of English-
men, was the first to compete effectually against
the importation of English ware, of which it
produced successful imitations.

DESCEMET (C.).— Marques de briques
relatives a une partie de la Gens
Domitia. (Inscriptions doliaires
latines.) Paris, 1880. 8°, pp.
226. 8 fcs.

" Marks of bricks relating to a part of
the 'Gens Domitia.' (Latin inscriptions
on jars for wine, etc.)"'

DBS]

CERAMIC LITERATURE.

[DEV

DESCHAMPS DE PAS (L.).— Essai sur le
pavage des eglises anterieure-
ment an quinzieme siecle. Paris,
V. Didron, 1851. 4°, pp. 49;
with 5 col. pis. (Reprint from
the Annales Arch4ologiques.) 10
fcs.

"Essay on the pavements of the churches
prior to the fifteenth century.'

Although the title of this essay would make
us expect a history of the various styles of
ornamental pavements in the churches of
mediaeval times, it deals almost exclusively
with the incised flagstones and the inlaid tiles
of Saint Omer Cathedral. It follows the
account already given by Wallet, and differs
from it only in the method of reconstruction
of the general design supposed to have been
formed by the earthenware tiles found broken
and scattered under the last pavement of the
church and the ruins of the Abbey of Saint
Bertin.

DESGRANGES (F. ),— Train de plaisir &
travers 1'exposition de Limoges.
Paris, 1864. 8°.

" A pleasure trip through the Limoges
Exhibition."

DESLIGNERES (Marcel).— Conference sur
1'emploi de la terre dans les con-
structions, et les industries qui
s'y rattachent depuis 1'origine du
monde jusqu'& Fepoque modern.
Paris, impr. Chaix, 1885. 4°,
pp. 19.

" Lecture on the use of clay in the
building art, and the industries connected
with it from the beginning of the world
up to the present day."

By the words " the use of clay "the lecturer
means the introduction of bricks, tiles, and
terra-cotta in the erection and decoration of
buildings. The lecture is a mere summary of
the history of brick and tiles extracted from
one of the standard books on the matter.

DESLOGES.— Traite general de pein-
tures vitrifiables sur porcelaine
dure, sur porcelaine tendre, sur
email miniature, email genre
Limoges, faience et sur verre,
etc. 2nded. Revue et augmented
par Goupil. Paris, A. de Vresse,
1866. 8°, pp. 88. 2 fcs.

" General treatise of vitrifiable paint-
ing upon hard and soft porcelain, enamel

painting, and Limoges enamel, faience,
glass, etc."

DES MELOIZES (A.).— Les moules en
terre cuite des medaillons de J.
B. Nini. Bourges, Pigelet, 1869.
8°, pp. 19 ; with 6 pis.

Sixty copies printed.

DESNOYERS. — Catalogue du mus^e
historique de la ville d'Orleans.
Orleans, Herluison, 1884. 12°,
pp. 247.

" Catalogue of the historical museum
of the town of Orleans."

Greek vases, Nos. 1-305 ; Greek terra-cottas,
165 Nos. ; Roman terra-cottas, 294 Nos. ;
faience, 441 Nos. ; porcelain, 144 Nos.

DESPIERRES (G.). — Histoire de la
faience de Saint Denis - sur -
Sarthon. Paris, 1889. 4°, pp.
58 ; with 20 col. pis. 30 fcs.

" History of the faience of St. Denis-
sur-Sarthon."

Of all the minor factories which have, during
the last hundred years, turned out a large
amount of atrociously painted crockery, we
have no hesitation in saying that the factory
of St. Denis-sur-Sarthon seems to be one of
the most uninteresting. But no pot-work in
France is without its historian. All the
business papers of that establishment having
been preserved, it has been thought expedient
to print copious extracts from these documents
in a handsome quarto volume, illustrated with
reproductions of a few specimens. The docu-
ments include : The decree granting a royal
privilege for the manufacture of painted faience
at St. Denis to Ruel de Belleisle in 1750;
a complete list of directors and workmen since
the foundation ; the recipes for mixing the
clays and preparing the colours ; the price list
of all the articles sold at the works ; and,
lastly, a description of the styles of decoration
(if such words should be used in reference to
the wretched patterns we see reproduced on
the plates) in use at different periods. All
this, it is true, might indirectly throw some
light upon the conditions of the trade at the
times to which they refer, but it is no more
than a repetition of what we have found over
and over again in other monographs of faience
factories more worthy of record.

DEYEAD (Paul).— Les faiences d'Aprey.
Paris, Foulard, 1908. 4°, pp.
vii-85; with 11 pis. (1 col.)
and 2 pis. of marks. (150 copies
printed.) 25 fcs.

" Faiences of Aprey."
Aprey is a small village situated at about
25 miles from Dijon. There Joseph Lallemant,

109

DEV]

CERAMIC LITERATURE.

[DIE

an officer in the King's army and a landowner
in the place, retired at the close of the war
with Prussia, and established a factory of
painted faience in 1760. The management
passed into the hands of Frangois Ollivier in
1769. He came from Nevers. The produc-
tions were in the new style of over -glaze
enamelling, just started at Strasbourg. The
works were closed in 1792.

DEYIGNE (F.). - - Poterie ancienne.
Une gourde en faience du xvie
siecle. Gand, 1855. 8°; vign.

"Ancient pottery. A travelling bottle,
in earthenware, of the sixteenth century."

Description of a curious bottle in the shape
of a pouch, probably of Bruges manufacture,
bearing in gothic letters the word " Amat."

DEYILLE (A.). — Recherches sur la
peinture des vases antiques.
Rouen, Periaux, 1842. 8°, pp.
29. 5 fcs.

" Researches on the painting of antique
vases."

Mr. Deville regrets that the antiquaries who
have displayed so much erudition in elucidat-
ing the subjects painted on Greek vases, have
remained unconcerned as to the methods em-
ployed in their material execution. He en-
deavours to repair this neglect by briefly
recording the observations he has himself made
with the view of ascertaining what were the
technics of the Greek vase painters. The
notion has since made immense progress, but
this pamphlet is of some interest as represent-
ing one of the first steps made in the right
direction. Incomplete as they are, the sugges-
tions are stamped with a keen sense of the
importance of many questions still left un-
answered. A list is given of the names
inscribed on the vases by their makers. For
the first time, the writer tries to account for
the presence of two names occurring conjointly
on the same piece, the first followed by the
words "has made," the second by "has
painted." He feels inclined to think that the
former stands for that of the artist who had
painted the original work, the latter for that
of the painter who has merely copied it. This
point, as well as many others for which he
offers a solution, is not yet settled at the
present day, but as the arguments are of some
weight even now, the paper is well worth
perusing.

DICKINS (Ch.).— Catalogue of the valu-
able collection of porcelain, the
property of Charles Dickins, of
Sunnyside, Wimbledon. Sold by
Christie, Manson & Woods.
London, 1878. 8°, pp. 21 ; with
1.0 lith. pis.
110

301 Nos. of English and European porcelain.
A second Dickins sale took place at Christie's
in 1907.

DICKSON (W. P.).— Report on Pottery
at the Punjab Exhibition of
Arts, etc. Lahore, 1883. 4°;
with photogr. pis.

DIDIER (F.).— Les fouillis de decora-
tion, par Didier de la manufac-
ture de Sevres. 12 pis. S.l.,n.d.

"A medley of decoration."

Sketches for the use of porcelain painters,
drawn by an artist of the manufactory of
Sevres.

DIDRON (Y.).— Carrelages histories.
Paris, Didron, 1850. (Extr. from
the Annales Archeologiques, T. x.)

" Decorative tiles."

The first article published in France, in
which the attention of antiquaries was directed
to the study of medieval earthenware tiles.

DIDRON (Ed.).— Rapport d'ensemble
sur les arts decoratifs k 1'exposi-
tion universelle de 1878. Paris,
1882. 4°.

" Report on the decorative arts at the
International Exhibition, Paris, 1878."

DIETZ. — Leitfaden zur Anfertigung
von 100 verschiedenen Topfer
Glasuren. Milnchen, 1853. 8°,
2 parts ; with 5 pis.

"Instruction for preparing 100 differ-
ent pottery glazes."

DIETZ (R.)-— Das Porzellan. Halle-
a-S., W. Knapp, 1907. 8°, pp. 94.

" Porcelain." 3 m.

A technical treatise. It contains a list of
all the articles on the subject which have
appeared in the German periodicals.

- Steinzeug, Steingut, Topfer-
waaren. Halle-a-S., 1907. 8°,
pp. 206 ; with 5 illustrs. 4 m.

DIEULAFOY (M.)-— Fouilles de Suse.
Campagne de 1885-86. Rapport
de Tingenieur en chef des ponts
et chaussees, directeur de la mis-
sion. Paris, Leroux, 1887. 8°,
pp. 22-46 ; with 4 chromolith. pis.
and 1 map.

DIG]

CERAMIC LITERATURE.

[DOA

" Excavations at Susa. The campaign
of 1885-86. Report of the chief civil
engineer, director of the mission."

A few Babylonian polychrome slabs and
bricks, deposited in our museums, had made us
aware of the knowledge of enamelling cement
and terra-cotta possessed by the ancient Per-
sians. But we were by no means prepared for
the discovery of gigantic monuments, the walls
of which glittered with a covering of enamelled
bricks shining with the brightest colours the
potter's kiln has ever produced. Such were
the palaces of Artaxerxes and Darius, the
ruins of which Mr. Dieulafoy and his valiant
assistants excavated in the desert of Susa,
near Teheran. A frieze of noble lions in the
Assyrian style, part of an ornamental balus-
trade, and a wonderful procession of archers in
the gorgeous costume of the imperial guard of
King Darius, all brightened with variegated
enamels, were laboriously extracted from a
chaos of debris. They are now one of the
glories of the Louvre Museum. Doubtless,
additional discoveries of equal importance
might have been made on the spot, if the
excavations could have been prosecuted for a
longer time. The chromolithographs with
which this report is illustrated convey a fair
idea of the decorative effect of these matchless
monuments of antique ceramic art.

L'acropole de Suse d'apres
les fouilles executees en 1884-86,
sous les auspices du Musee du
Louvre. Paris, 1890-92. 4°.

Part III. — Faiences and Terra-cottas ; with
10 chromophototype pis. and illustrs. in the
text. Part IV. — The Apadama and the Aya-
dama ; with 2 pis. and illustr.

DIGOT (A.). — Note sur des carreaux
de terre cuite employes au pavage
de deux eglises du xie siecle.
(Extr. from Bulletin Monumental,
vol. xiv.)

" Notice of some earthenware tiles em-
ployed in the pavement of two churches
of the eleventh century."

DILLON (E.).— Porcelain. The Con-
noisseur Library. London, Meth-
uen, 1904. Imp. 8°, pp. xxxv-
420; with 3 photogr., 27 collotype,
and 19 col. pis. £1, 5s.

An excellent epitome of the history of the
porcelain manufacture in all countries. The
author has spent many years in Japan ; his
special knowledge of Oriental porcelain war-
rants his giving to that subject the most
prominent place in the account.

DILLWYN (L. W.).— A Bill and Answer,
filed in the Chancerv Court of

the Great Sessions at Cardiff in
April, 1821 ; with explanatory
remarks by the Defendant. Lon-
don, J. M'Oeeky, 1821. 8°, pp.
104.

Referring to a litigation between the partners
of the Swansea Porcelain Manufactory.

Some Remarks on Two Affi-
davits and One Affirmation,
published by John Roby, Swan-
sea. Swansea, J. M. Voss, 1822.
8°, pp.15.

DISCH (Collection, Ch. D.).— Catalogue
of sale. Cologne, Heberle, 1881.
4°, pp. 176 ; with 20 photogr. pis.
15 m.

Ceramics (chiefly German stoneware), 341
Nos. ; Roman pottery, 515 Nos.

DISNEY (John). — Museum Disneianum,
being a description of a collection
of ancient marbles, specimens of
ancient bronzes, and various an-
cient fictile vases in the posses-
sion of J. Disney, Esq., at the
Hyde, near Ingatestone. London,
1849. 4°, pp. 281 ; with 128 pis.
£1, 10s.

The collection was formed in Italy between
' the years 1748 and 1753, but at a later date it
came into the possession of J. Disney, who
added to it a small number of antique marbles.
Greek vases are described in Part III., and
represented on 32 coloured plates. These vases
are now in the Cambridge Museum. A few
examples of Greek terra- cot tas and Anglo -
Roman pottery are also illustrated in the
volume.

DOAT (Taxile).— " Grand feu" Cera-
mics. A practical treatise on the
making of fine porcelain and
stoneware for the artist potter.
Syracuse, 1905. 8°, pp. 207; with
illustrs. (Translated from the
French by S. Eobineau.) 25s.

A reprint of fourteen letters addressed to
the Keramic Studio Pub. Co., briefly treating
of the composition of porcelain bodies, the
fashioning of the ware, and the conduct of
the firing. The newly introduced glazes and
colours and the superficial effects obtained
with their use, the "Flamme's reds," "C61a-
dons of iron," matt and crystalline glazes, etc.,
are successively dealt with.

Ill

DOB I

CERAMIC LITERATURE.

[DOR

DOBBS (H. R. CO-— The pottery and
glass industries of the North-
West Provinces and Oudh. From
a monograph by Mr. H. R C.
Dobbs, C. S. Thirteen plates
illustrating Biswan, Gouda, Bu-
landshahr, Chimar, Azamgarh,
Amroha, Rampur, Aligarh, and
Lucknow pottery, Lucknow glass
ware. London, 1897. 4°, pp. 6;
with 13 pis. (6 of them in colour).
No. 57 of the Journal of Indian
Art and Industry.

Description of the earthen vessels of the
North-West Provinces, their names and their
use, and the processes of manufacture.

DOBSON (Edward). — A rudimentary
treatise on the manufacture of
bricks and tiles, containing an
outline of the principles of brick-
making, by E. Dobson. Revised
and corrected by Charles Tom-
linson, F.R.S. London, Weale,
1863. 7th ed., Crosby, Lockwood
& Co. 1882. Sm. V, pp. 276 ;
with illustrs. 3s.

In the preface to the fourth edition M. R.
Mallet, who has also contributed some notes
to this treatise, says: "Though small and
elementary, this work may probably claim to
be the most complete upon its subject in the
English language."

DODD (George).— British Manufactures,
Chemical. London, 1844. 12°.

Pottery and porcelain : pp. 167-223 ; with
12 illustrations.

DOELL (J.). — Die Sammlung Cesnola.
St. Petersburg, 1873. 4°, pp. 79 ;
with 17 pis. 6 m.

Part of the Cesnola collection was acquired
by the Saint Petersburg Museum. Terra- cot tas
comprise the Nos. 837-5368 of this catalogue.

DOENGES (W.).— Meissner Porzellan.
Seine Geschichte und kunst-
lerische Entwicklung. Berlin,
Marquart, 1907. Sq. 8°, pp. xii-
305 ; with 23 col. pis., 249 text
illustrs., 1 facsimile, and repro-
duction of marks. 15m.

The only complete monograph of the Meissen
factory published in a popular form.

112

DOGNEE (Eugene M. ().)•— Les arts in-
dustriels al'exposition universelle
de 1867. Paris, 1869. 8°, pp.
890. 3 fcs.

A report on the Paris exhibition drawn up
by a self-appointed reporter. "Ceramics,"
pp. 528-608.

DONATI (F.).— Delia maniera d'inter-
pretare le pitture ne'vasi fittili
antichi. Firenze, 1861. 8°, pp.
43 ; with 3 pis. 2 fcs.

" On the interpretation of the subjects
of antique vase paintings."

In the opinion of the writer one should not
attempt to elucidate the subjects painted upon
Greek vases by means of the inscriptions by
which they are accompanied. Translations are
bound to be unreliable, because these inscrip-
tions were traced by illiterate hands. The
letters are badly formed ; the sentence in-
complete, and the words always misspelt.
Having selected three vases in support of his
argument, the author, a learned Hellenist,
demonstrates that, by altering slightly the
reading of the inscriptions, half a dozen or
more translations can be given, each of an
absolutely different signification. His theory
is that the paintings form a kind of rebus, or
hieroglyphs, in which figures and ornaments
represent abstract ideas. They are arranged
in succession so as to convey the expression of
some philosophical maxim, the understanding
of which is left to the sagacity of the thinker.
It is needless to say that the whole system
rests altogether on visionary speculations.

DORMOIS (Camille).— Notice historique
sur la commune de Villers-
Vineux. Quelques mots sur les
produits de Fart Ceramique dans
le Tonnerrois. Tonnerre, 1857.
8°.

" Historical notice of the village of
Villers-Vineux. A few words on the
products of the ceramic art in the district
of Tonnerre."

Description of the ruins of a tile-maker's
kiln, discovered in that locality.

Notice sur des carreaux
e"mailles provenant d'un hotel
construit k Tonnerre au xvie
siecle. Auxerres, Periquet, 1860.
8°, pp. 6 ; with 1 pi.

" Notice of the glazed tiles found in a
mansion built at Tonnerre in the six-
teenth century."

DOMBUSCH (J. B.).— Die Kunstgilde
der Topfer in der abteilichen

DOR]

CERAMIC LITERATURE.

[DOR

Stadt Siegburg und ihre Fabri-
kate. Mit Bertichsichtigung von
anderen bedeutenden rheinischen
Topferunterlassungen, besonders
von Raeren, Titfeld, Neudorf,
Merols, Frechen, Hohr, und
Grenzhausen. Ein Beitrag zur
Geschichte des Kunsthand-
werkes am Niederrhein. Koln,
1873. 8°, pp. 130 ; with 3 fold,
lith. pis. cont. 36 objects. 5 m.

" The art-guild of potters in the abbey
town of Siegburg and its productions.
With considerations upon some other
important Rhinish pottery works — viz.,
Raeren, Titfeld, etc. A contribution
toward the history of industrial art of
the Lower Rhine."

In point of priority, the name of Canon
Dornbusch must stand before those of all the
now numerous writers who have treated the
subject of ancient stoneware ; in point of
interest and reliability his work is second to
none. The richly embossed vessels of white
or brown stoneware had long been counted
among the most valued specimens in the
possession of the collector, before anything
could be determined about their exact origin.
Hearing of the fragments of ancient pottery
constantly found in the soil of the town of
Siegburg, Dornbusch undertook to institute a
course of excavations and research on the spot.
All had to be done ; no record had been kept
of the numerous factories which had once
existed in the place ; the local histories either
briefly refer to the old industry, or neglect to
mention it. But as soon as investigations
were commenced in earnest, the abundance of
evidence which came forth from all sides, made it
manifest that they were being prosecuted in the
right track. Specimens of the various periods
of manufacture lay within the soil, in thick
strata of broken vessels ; in the heavy piles of
deeds and registers preserved in the archives,
historical enlightenment was to be found. The
labour of reducing to order an incoherent mass
of materials had fallen to a man whose capa-
bilities were quite equal to the task. He
spared no trouble to render his researches as
complete and fruitful as possible, and, owing to
his sagacious and indefatigable exertions, the
history of an important centre of pottery manu-
facture was reconstituted in a clear and definite
form. To him alone nuist be given the credit
of having thrown the light in full upon a point
left previously in total darkness, for, whatever
may be said of the assistance he received from
his antiquarian friends, we must remember
that when Dornbusch published his work,
nothing had been printed on the subject of
ancient stoneware but a few groundless
speculations.

The first part describes the happy conditions
in which the inhabitants of the town of Sieg-
burg lived, in olden times, under the paternal
rule of the Abbot. Many references to the

pottery manufactured within its walls are
given. The acts and deeds which refer to this
prosperous industry go back to the fourteenth
century. An analysis of the first statutes of
the craft, dating from 1516, and their modifica-
tion in subsequent periods, affords a valuable
insight into the customs of the trade and the
private life of the potters. They allow us to
follow the development of the manufacture,
which did not cease to increase until 1632,
when the town was taken and sacked by the
Swedes. From that year all prosperity was at
an end, and we hear only of the efforts made,
but in vain, to restore to the town an industry
extinct for ever.

The second part describes the various types
and best specimens of Siegburg stoneware, and
gives a short account of the processes of manu-
facture. It mentions also, for the first time,
the name of other centres of productions which
were still awaiting further investigation.

A French translation has been published by
Mr. W. H. James Weale in Le Be/roi, Bruges,
1878, under the title, "La Gilde des Potiers
de la ville Abbatiale de Siegburg et ses
produits."

— Abhandlung liber das soge-
nannte " Flanderische Steingut"
des xvi und xvii Jahrhunderts.
Utrecht, 1878. 8°, pp. 40; pi.
3 m.

"Essay upon the so-called 'Flemish
Stoneware' of the sixteenth and seven-
teenth century."

In this somewhat unsatisfactory essay, —
printed after the death of the author, — Dorn-
busch has departed from the method he had
followed for his first work. Wanting to com-
plete the little information he had given upon
the ware of Raeren, Frechen, Grenzhausen,
and other centres, he remained satisfied with
the second-hand particulars, mostly incorrect
and prejudiced, supplied to him by his collector
friends, instead of collecting his materials on
the very spot. His chief purpose in writing
about the brown stoneware of Limburg and
Nassau was to establish that the term " Flemish
stoneware " was erroneous in all cases, as the
ware was never made out of Germany.

DORPFELD (W.).— Troja. 1893. 8°.
Part IV. — Keramische Funde,
by A. Briichner; with 54 illustrs.

DORPFELD (W.), GRABBER (F.), and others.
— Ueber die Verwendung von
Terrakotten am Geison und
Dache griechischen Bauwerke.
Berlin, Reimer, 1881. 4°, pp.
31 ; with 4 col. pis. (41st
Winckelmann's Programe.)

" On the use of terra-cotta on the gables
and roofs of ancient Greek buildings."

113

CERAMIC LITERATURE.

[DOU

DOROW (I.).— Opferstate und Grab-
htigel der Germanen und Komer
am Rhein. Wiesbaden, 1826.
2 vols. 4°, pp. 160; with 41
lith pis. 15 m.

" Places of sacrifice and tumuli of the
ancient Germans and Romans in the
Rhine valley."

Among the many specimens of the Roman
mortuary pottery reproduced on the plates, we
find a piece of Siegburg stoneware, of the
Balustre type ; this affords a curious instance
of the state of knowledge in which German
archaeology stood, at the beginning of the nine-
teenth century, with respect to the national
ceramics of the Renaissance period.

— Poteries etrusques propre-
ment dites. Paris, 1829. 4° ;
with 5 pis.

" The true Etruscan pottery."

Description of the black vases adorned with
figures in relief found at Chiusi, and preserved
in the Florence Museum. The original edition,
in Italian, was published at Pesaro, 1828.
(Notizie intorno alcuni vasi etruschi, Traduzione
riveduta del Cav. L. Cardinali. )

Einfiihrung in eine Abtheilung

der Vasensammlung des R Mu-
seum zu Berlin. . . . Berlin,
1833. 8° ; with 4 lith. pis.

" A guide to a portion of the collection
of vases in the Berlin Museum."

When he was still curator of the provincial
museum at Bonn, Dorow was entrusted by the
Prussian Government with an archaeological
mission to Italy. He brought over from that
country the important collection of Etruscan
antiquities now in the Berlin museum, and
which is described in this catalogue.

DOROW (Collection). — Notice sur la
collection de vases peints et
autres monuments de 1'art
Etrusque appartenant k Mr. le
Conseiller Dorow. Paris, 1829.
8°, pp. 20.

Descriptive catalogue written by Raoul
Rochette.

DORR (Dalton). -- The Pennsylvania
Museum. The W. Hammer
Collection of Greek and Roman
antiquities. Philadelphia, 1894.
8°, pp. 94 ; with 3 pis.

Painted vases, terra-cottas, and a large
collection of Roman lamps.

114

DOSSIE (R.) (Anon.).— The Handmaid
to the Arts. London, 1764.

2 vols. 8°. 2nd edition. " Of
the nature, composition, glazing,
painting, and gilding of porcelain
or china ware, and the conver-
sion of glass into porcelain."
Vol. ii., pp. 343-396. 12s.

The treatise is composed of incongruous
elements, referring partly to the hard porcelain
of the Chinese, and partly to the soft china of
England, intermixed in hopeless confusion.
While the theory of the composition of the
paste is based upon the letters of Pere D'Entre-
colles, the practical directions for producing
good porcelain appear to have been supplied
by some English potter. One may easily notice
that the writer had only a poor smattering
of the processes of manufacture of his time, for
his recipes are all incomplete or untrustworthy.
A passage which brings back to memory one of
the curious methods by which Oriental porce-
lain was originally believed to be imitated in
England, deserves to be quoted :

"I have seen at one of the manufactories
carried on near London, eleven mills at work,
grinding pieces of eastern china, in order, by
the addition of some fluxing or vitreous sub-
stance which might restore the tenacity, to
work it over again in the place of new matter.
The ware commonly produced at this manu-
factory was grey, full of flaws or bubbles,
wrought in a heavy, very clumsy manner," etc.

The last chapter is an account of Reaumur's
discovery.

DOSTE (J. E.).— Notice historique sur
Moustiers et ses faiences. Mar-
seilles, 1874. 8°, pp. 36 ; with a
photogr. view of the town and

3 pages of marks. 110 copies
printed. 4 fcs.

" Historical notice of Moustiers and its
faiences."

This pamphlet adds little to the work of
Davillier, with the exception of a complete list
of the marks used in the various manufactories
of Moustiers, and a short history of the town
which, however, has no reference to the develop-
ment of the Faience industry.

DOUAT (Pere Dominique). - - Methode
pour faire une infinite de des-
seins differens, avec des carreaux
mi-partis de deux couleurs par
une ligne diagonale ; ou observa-
tions du Pere Dominique Douat,
Religieux Carme de la Province
de Toulouse, sur un Memoire
insere dans FHistoire de 1'Acad-

DOU]

CERAMIC LITERATURE.

emie Koyale des Sciences de
Paris 1'annee, 1704, presente par
le Reverend Pere Sebastien
Truchet, religieux du meme
Ordre, Academicien honoraire.
Paris, Florentin de Laulne, 1722.
Sm. 4°, pp. 189 ; with 28 pis.,
containing 72 figs. 7 fcs.

"A method for forming an unlimited
variety of designs by means of the com-
bination of square tiles, diagonally divided
in two triangles of different colours,
etc."

The number of permutations obtained by two
square tiles, each diagonally divided in two
triangles of different colours, amount to 16 ;
three of these tiles give 64 permutations ; and
four tiles, 256. By employing a greater
number, it is easily understood that the
variety of their geometrical combinations is
practically endless. The seventy-two diapers
presented by the ingenious friar, only give an
idea of the limitless number of designs which
may be formed on the same principle. The tile-
makers made great use of this work for the
composition of tile-pavements.

DOUBLE (Lucien). - - Promenade a
travers deux siecles et quatorze
salons. Paris, Impr. Noblet,
1878. 8°, pp. 53 ; etchings and
chromolith.pls. (some copies have
34 pis.). 30 fcs.

"A walk through fourteen reception
rooms, and a backward glimpse at the
last two centuries."

While in the possession of Mr. Double the
painted services of the Royal Sevres porcelain
have, perhaps for the last time, served the
actual purpose for which they were manu-
factured. At a dinner party, in the mansion
of the Rue Louis-le-grand, either the " Buffon "
or the "Harlequin" services,— both covered
with paintings of priceless value — were placed
before the guests. Vases of Vincennes and of
early Sevres vied with chased silver plate of
the same period to make the decoration of the
dining table a show of unsurpassable beauty.
It had been the pride of M. Double to make
the aristocratic refinement of the ancient French
monarchy revive in the costly and tasteful
appointments of a long suite of reception
rooms. Nothing was wanting to impress the
visitor with the idea that he was transported
into the abode of a "grand Seigneur" of the
last century. In the volume which the collector
was pleased to present to friends as a memento
of their visit, the marvels in his possession are
briefly described. Copies were illustrated from
plates borrowed from the publication, in which
objects selected out of his collection had been
reproduced ; the number of these added plates
varies in almost each copy ; they are engraved

by Flameng, J. Jacquemart, and other cele-
brated etchers.

DOUBLE (Leopold).— Collection d'objets
d'art et de tableaux anciens ;
precede de deux notices dont
1'une sur le celebrecollectionneur.
Vente a Paris, 1881. 4°, pp. 169 ;
with 16 pis. 20 fcs.

" Collection of works of art and pictures
by the old masters ; with a descriptive
notice and a biographical sketch of the
celebrated collector."

Dispersed by the chances of the auction sale,
the Sevres services so painfully brought to-
gether by Mr. Double, will no longer grace the
dining table of a refined Amphitryon ; they
have gone piece-meal to find a resting place in
the glass-cases of other collectors.

An enterprising expert in curiosity succeeded,
after long and untiring researches, in reconsti-
tuting the larger part of the service painted at
Sevres for the Empress Catherine II., which he
sold for an enormous price to the Emperor of
Russia. An equivalent amount of trouble will
have to be spent by anyone who, at a future
date, may attempt to bring together again the
scattered pieces of the " Buffon service." The
great naturalist himself caused it to be painted
at the royal manufactory with copies of the
illustrations of his works, and called it the
" Sevres edition."

Complete sets were mercilessly divided, the
sugar basin had to part company from the
coffee-pot, and the cup from the cream jug.
The vases were still left to form a pair. But
there are signs of a coming fashion among
collectors to be satisfied with a single example
out of a pair, and to dispose of the companion
at a gratifying profit.

This catalogue, edited by the brother of the
collector, illustrates a particular system of
coherent collecting which tends fast to
disappear.

The sale produced 2,610,000 fcs.

DOUBLET (X.).— Nouvias achets tout
fres ponnuts a prepous de tchieu
1'houme de piarre Brenard Pari-
tchi qui 1'aviant piace chez Lav-
engue peur encourager les gens
a veni mange d'au cafe et a se
faire coper les piaux. Saintes,
O. Girard, 1866. 8°, pp. 10 ; 1
lith. pi.

"New laid verses on the occasion of
their placing a man of stone, Bernard
Palissy, opposite Lavigne's shop to attract
customers and induce them to stop there
to eat their dinner and have their hair
cut."

Burlesque poetry written in the Saintongian
vernacular.

115

DOU]

CERAMIC LITERATURE.

[DOW

DOUBLET de BOISTHIBAULT (C.)-— Ber-
nard Palissy. Paris, Leleux,
1857. 8°, pp. 21. (Eeprint from
Revue archeologique, Jan. 1856.)

DOULTON & CO.— Architectural designs
manufactured in imperishable
terra-cotta by Messrs. D. & Co.,
Lambeth. Price list. London,
1872. 4° ; with 105 illustrs.

Increased editions of this price list have
been brought out at intervals.

- International Inventions Ex-
hibition, 1 885. A description of
the tile panels exhibited by
Doulton & Co. London, 1885.
12°, pp. 12.

Report of the proceedings on

the occasion of the unveiling of
memorial statue of Henry Fawcett
by His Grace the Archbishop of
Canterbury. London, Chiswick
Press, 1893. 4°, pp. 14 ; 1 pi.

Notes on the Doulton Pot-
teries, Burslem, Staffs. The
acquisition of the works and its
progress. Description of a few
of their works exhibited at
Chicago. S.I., 1893. 12°, pp.
24 ; with illustrs. by Noke, Marc
Solon and Leon V. Solon, and
3 photot. pis.

An account of the proceed-
ings at the presentation to Sir
Henry Doulton, by the managers,
travellers, clerks, artists, fore-
men, and workpeople in his
employ. Lambeth pottery. Lon-
don, 1895. 8°, pp. 32 ; portr. and
3 pis.

— Doulton & Co., Ltd. A de-
scription of their exhibits at the
Paris Exhibition. London, 1900.
8°, pp. 31 ; with 5 pis.

Pictures in pottery. A note

on some hospital wall decora-

116

tions recently executed by Doul-
ton & Co., Lambeth. London,
1904. 12°, col. front., pp. 13;
and 30 pis.

- The Royal Doulton. St. Louis
Exhibition. By E. F. Begg. Lon-
don, 1904. 12°, pp. 12; illustrs.

— Catalogue of new effects on
pottery at the new Dudley Gal-
lery. London, 1906. 16°, pp.
27 ; with col. pi.

— Some notes on Doulton ware
and the productions of the Lam-
beth Studio. London, 1906. 4°,
pp. 12 ; with 1 col. pi. and 6
illustrs.

Royal Doulton sculpture in

terra-cotta by George Tinworth.
London, 1906. 4°, pp. 6 ; and
6 half-tone pis.

The discovery of a long-lost

art. Doulton Sang - de - boeuf,
Rouge flambe, Haricot and Peach
blow ; by A. V. Rose. London,
1907. 8°, pp. 14 ; with 4 col. pis.

DOULTON (Sir Henry).— Random recol-
lections of a life. London, 1896.
8°, pp. 22 ; portrait.

An address delivered by Sir H. Doulton on
the occasion of the third annual meeting of the
Institute he had founded for the benefit of his
workpeople. The lecturer had evidently no
intention of making this paper an autobio-
graphy, for, although he says a few words
about the difficulties he encountered in the
beginning of his career, he speaks a good deal
more of the people he has known than of
himself.

DOULTON (James). — Terra-cotta and
stoneware applied to architec-
ture. A paper read before the
Architectural Society, Liverpool,
April, 1875. London, 1877. 12°,
pp. 31.

DOWNMAN (E. A.).— English pottery
and porcelain ; being a concise
account of the development of

DRA]

CERAMIC LITERATURE.

[DRA

the potter's art in England. Pro-
fusely illustrated. New edition,
revised and greatly enlarged.
London, Upcott Gill, 1896. 8°,
pp. 190.

"The study of ceramics has been, and is,
greatly neglected. " . . . " If china and pottery
are worth collecting, surely they are worth
studying." Having thus disburdened himself,
in the preface of the handbook, of the regret
he feels at the deplorable state of public
ignorance, and intent on laying down the
foundations of future instruction in the matter
of English ceramics, the writer enters at once
into his subject. His account reads very much
like an undisguised abridgment of L. Jewitt's
Ceramic Art of Great Britain. The familiar
set of worn-out woodcuts— old enough, by this
time, to be left to repose in peace — are made to
reappear once more on this occasion. Text
and illustrations may seem somewhat stale ;
one chapter, however, truly original in its
purport, deserves special mention. It treats
of the old English delft dishes, of which the
writer has, it appears, made a small collection,
and which he introduces to us under the novel
appellation of "Blue dash chargers." With
respect to those dishes he deplores again the
unpardonable indifference of the ceramic student
towards a ware which is, says he, "perhaps
the most valuable English pottery." He has
never been able to hear where they were made,
nor does he know what they are made of, for
he has never seen any other articles correspond-
ing to his dishes in paste, glaze, and colours.
The subjects painted on them are all connected
with the Jacobite and Orange questions ; and
on that account we are told that their historical
value is immense. In the picture of Adam and
Eve, so often repeated, we must see an alle-
gory of William and Mary: "Marie stealing
the throne of England and giving it to her
husband. The fruit being always an orange."
One might wish other chapters had been treated
with an equal freshness of view, the book
would then have no equal for its novelty of
appreciation imported into old subjects.

DRAGENDORFF (J.)— De vasculis Kom-
anorum rubris, capita selecta.
Bonn, 1894. 8°, pp. 36; with
Ipl.

" The red vases of the Romans ;
extracts and comments."

DRAGENDORFF (Hans).— Terra sigillata.
Ein Beitrag zur Geschichte der
griechischen und romischen Ker-
amik. Bonn, 1895. 8°, pp. 139 ;
with 6 pis. (Extr. from the Jahr-
biicher des Vereins von Alter-
thumsfreunden in Rheinlande. )
12s.

"Terra sigillata. A contribution to-

wards the history of Greek and Roman
ceramics."

A general survey of all the antique pottery
bearing an ornamentation obtained by the
impression of stamps or seals is given under
that above title. The term "Terra sigillata"
has been adopted by the German antiquaries ;
but whether it is meant to imply a pottery
made of the tablets of fine clay, which were
sold as a panacea against many evils, and
known as " Terra sigillata," or whether it
is intended to describe the process employed
for the ornamentation of the pottery, the
selection of such a name appears equally wrong
in either case. The vases were made of a
common red clay, used by the potters of many
countries, and certainly not of the diaphoritic
tablets, not always obtainable, and surely too
expensive a substance for making pots. As to
what regards the stamping operation, one must
remember that in the case of the Arethian
ware and its imitations, the reliefs are not
stamped on the piece itself; seals were used
only to impress ornaments within the mould ;
the vessels pressed into a mould ornamented
in that manner came out of it completely
decorated.

DRAKE (I. R.).— Notes on Venetian
Ceramics. London, J. Murray,
1868. 8°, pp. 40-xxxiv. 5s.
(A few copies were printed on
large paper with 5 photos.)

Venetian ceramics were still being studied
when Drake contributed to their history the
transcript of many documents preserved in the
archives of the town. They consist in Peti-
tions from the potters, Reports and Decrees of
the Senate, to the number of sixty-two. On
their authority, and on the evidence supplied
by marked specimens existing in the museums,
a chronological memorandum has been drawn
up of all the manufactories of faience and
porcelain which were at work in Venice since
the year 1540. The original documents do not
go farther back than the middle of the seven-
teenth century. Later discoveries have com-
S'eted this historical sketch. The work of
rake, however, loses nothing of its import-
ance, and the complete text of the official
records of the period to which they refer will
always be consulted with interest.

DRANE (Collection R.).— Cardiff' Corpor-
ation Museum. An illustrative
selection of old Worcester por-
celain on loan by Mr. R Drane.

Cardiff, 1898. Sq. 8°, pp. 28.

Antique drinking vessels.

Cardiff, 1905. 8°, pp. 21 ; with
1 pi. of pottery.

DRASCHE.— Erzeugnisse der Thon-
waaren - und - Bau - Ornamente -
Fabrik von H. Drasche in In-

117

DRE]

GERAMIC LITERATURE.

[DUB

zersdorf am Wienerberg. Wien,
s.d. (1875?). Fol.; 44 pis., and
price list.

" Pattern book of the earthenware and
. architectural terra-cotta of H. Drasche
at Inzersdorf."

DRESSEL (E.).— Di un grande deposito
di anfore rinvenuto nel nuovo
quartiere del castro pretorio.
Roma, 1879. 8°, pp. 133 ; with
12 pis. 6fcs.

" Of a large accumulation of amphoras
discovered in the new quarter of the
Pretorian camp."

Learned and interesting interpretations of
the potters' marks impressed on these
amphoras.

Vasi di pasta Egizia smaltata

con ornato a relievo. Rome, 1882.
8°, pp. 58 ; with 6 pis. 3 fcs.

"Vases of Egyptian paste enamelled
with ornaments in relief."

DRESSER (C-)-— Japan : its architec-
ture, art, and art manufactures.
London, 1882. 8°; illustrs. in the
text. Pottery, pp. 368-414.

DREWS (M.) and LAUDIEN (M.).— Vor-
lagen zur Majolica Malerei; auch
fur Porzellan-und-Holzmalerei.
Berlin, 1881. Fol. pis. in colour.

" Models for majolica painting ; suit-
able for painting both on porcelain and
on wood."

Majolica malerei. Berlin,

1883. 8°, pp. 56.

"Instructions for paintingon majolica."

DUBEDAT.— Francois Alluaud. Lim-
oges, impr. Chapouland, 1873.
8°, pp. 56.

Biography of F. Alluaud, one of the leading
porcelain manufacturers of Limoges.

DUBOIS (Etienne).— Peinture vitrifi-
able. Porcelaine, Email, Faience,
Verre et Barbotine. Origine,
histoire et fabrication de la por-
celaine pate dure, pate tendre,
biscuits, couverte, preparation et

118

application des couleurs, suivis
de 1'art de cuire d'apres les pro-
cedes les plus simples. Paris,
. Delarue, s.d. (1880 ?). 8°, pp. 70.
3 fcs.

" Verifiable painting. Porcelain,
Enamel, Faience, Glass, and Barbotine.
Origin, history, and manufacture of por-
celain, hard and soft bodies, biscuits,
glaze, preparation and applications of the
colours ; to which is added a method of
firing the paintings in the simplest way."

A long title, and very little more. The
chief inducement tendered to the buyer of
handbooks, is that this one discloses the
secret (?) of a newly discovered process of
painting in coloured clays ; a process to which
the name of "Barbotine" had been applied.
The facility with which an amateur porcelain
painter may fire his work in his own stove, is
again described in this pamphlet.

DUBOIS (J. J.).— Catalogue d'antiqui-
tes egyptiennes, grecques, rom-
aines et celtiques formant la
collection du Comte de Choiseul-
Gouffier. Paris, 1818. 8°. 3 fcs.

- Description des objets d'art
qui composent le Cabinet du
Baron V. Denon. Paris, 1826.
8°, pp. 314. 5 fcs.

— Catalogue des vases grecs
formant la collection de Mr. C.
L. F. Panckoucke. Paris, 1841.
8°, pp. 26 ; with 2 suppl., pp. 4-
3, and a folding pi. containing
60 figs. 2 fcs.

The collection is now in the Museum of
Boulogne-sur-Mer.

- Description des antiques fais-
ant partie des collections de Mr.
le Comte de Pourtales-Gorgier.
Paris, 1841. 12°, pp. 196 ; with
head and tail pieces and 5 pis. of
vases in outline. 5 fcs.

" Descriptions of the antiquities in the
collection of Count Pourtales-Gorgier."

A handbook to the collection — Greek vases,
Nos. 123-516 ; terra-cottas, Nos. 795-880. It
forms a complement to the publication of
Th. Panofka.

DUBOIS - MAISONNEUYE. — See
Peintures des vases antiques.

DUB]

CERAMIC LITERATURE.

[DUB

Introduction a 1'etude des
vases antiques d'argile peints,
vulgairement appeles etrusques,
accompagniee d'une collection
des plus belles formes ornees de
leurs peintures, suiviede planches
la plus part inedites, pour servir
de supplement aux differents
recueils de ces monuments.
Paris, impr. P. Didot, 1817-1834.
Fol., pp. 48; with 101 pis. in out-
line. 306 fcs., and 765 fcs. with
col. pi.

" Introduction to the study of the
antique vases of painted clay, commonly
called Etruscan ; to which is added a
collection of the most beautiful shapes
adorned with their paintings ; and illus-
trated with plates, mostly inedited, to
form a supplement to the various publi-
cations on antique vases."

Trusting to the knowledge of ancient fictile
art he had mastered on the occasion of his act-
ing as publisher of Millin's great work, Dubois-
Maisonneuve ventured to assume, a short time
afterwards, the character of a full-fledged
antiquarian axithor. From the clumsy wording
of the title the letterpress cannot be expected
to have much literary merit ; the classical
erudition displayed by the writer is of no
better quality. As to the engraved plates,
they cannot be recommended, either for choice
of subjects, or for accuracy of reproduction.

As a very small edition was published, the
work has become extremely scarce.

DUBOUCHET (A.).— Le musee cerami-
que de Limoges. Rapport sur la
situation de ce musee. Limoges,
1873. 8°, pp. 31-xxvi.

" The ceramic museum at Limoges.
A report on the present conditions of
the museum."

- La ceramique contemporaine
a 1'exposition universelle de 1878.
Paris, 1878. 4°, pp. 34; with
text illustrs. (Reprint from
L'Art.)

" Modern ceramics at the Paris Uni-
versal Exhibition of 1878."

- La ceramique contemporaine
a 1'exposition de 1'Union Centrale
des Beaux- Arts. Paris, 1885.
4°, pp. 14; illustrs. (Reprint from
L'Art.)

" Modern ceramics at the Exhibition of
the Society TUnion Centrale,' etc."

Every industrial exhibition in Paris gives a
fresh impetus to the progress of ceramic art.
We are accustomed to find, on these occasions,
more than one artist or nianufacturerendeavour-
ing to strike an individual note in the general
concert. It may be the feeble and isolated
performance of a whimsical fantasist, which
simply gives us a moment of amusement as we
pass by ; but it may also be a bold stroke, the
sound of which shall increase in intensity as it
is re-echoed, far and wide, wherever art pottery
is produced. The human mind is always hanker-
ing after change ; it is necessary, therefore,
that artistic taste should be diverted into
fresh channels, and new fields opened to
technical researches. All efforts made in those
directions are faithfully and feelingly recorded
in Dubouchet's reports. He was a man of
liberal and refined mind, untouched by pre-
judice, as ready to welcome any new-fangled
notion which appeared to contain a promise for
the future, as to admire the master-pieces of
departed arts. His name will always be re-
membered in connection with the ceramic
museum of Limoges, for the foundation of
which his native town is chiefly indebted to
Dubouchet's generosity and unremitting energy.

DUBOYSZKY (J.).— Anleitung zur Ma-
jolika Malerei. S.I., 1891. 8°,
pp. 64.

" Introduction to majolica painting."

Porcelaine. Paris
pp. 531 with 221

DUBREUIL — La
(1885?). 8'
text illustrs. 20 fcs.

One of the volumes of Fremy's Encyclopedic
chimique.

DU BROC DE SEGANGE (L.).— La faience,
les faienciers et les emailleurs de
Nevers. Nevers, Publication de
la Societe Nivernaise, 1863. 4°,
pp. 303 ; with 22 litho. pis. (some
coloured). 60 fcs.

Nearly all the works forming what we may
call the classics of pottery literature belong to the
early period of ceramic studies. In these days,
when that branch of learning was only appre-
ciated by a few, no one would have ventured to
write a book on pottery, except in the case of a
competent specialist who, having accumulated
through a long course of personal research and
experience an enormous store of information,
felt himself in duty bound to impart something
of his knowledge to his brother collectors.
The time had not yet come when scores of
standard books would offer to the literary
pilferer tempting facilities for producing, with-
out leaving his arm-chair, a few common-
place handbooks, in which the name of the
compiler is the only thing unfamiliar to all
educated readers.

Du Broc de Se'gange was one of the early

119

DUB]

CIS ft A MIC LITER A TUKE.

[DUG

writers, and his work, Lafa'ience de Nevers, is
one of the most important in the series of the
French monographs which were published
almost simultaneously. Like the now classical
volumes of Fillon, Pettier, Davillier, Jacque-
mart, and their followers, it was eagerly read
on its appearance, and will long continue to be
highly valued by all students who care for solid
instruction.

A born collector, in constant communication
with the best connoisseurs of his day, Du Broc
de Segange was, moreover, fully conversant
with the history of his native town, and of its
once glorious industry. Having a full know-
ledge of the innumerable specimens which had
passed through his hands, surely no one was
better qualified to become the historian of one
of the most important centres of faience manu-
facture in France.

Although the author had to depend chiefly
on the result of local investigations, he did not
neglect to make himself acquainted with what
had been written previously on ceramic history.
Curiously enough, it was an English book
-which supplied him with materials he had
vainly tried to discover in the French libraries.
In Marryat's History of Pottery and Porcelain,
he found the complete text of the earliest
records of faience -making at Nevers. Equipped
with an abundance of historical documents
collected from many sources, he was enabled
to take up the thread of the narrative from the
very commencement. He traced the arrival
in the town of the Conrads, a family of Italian
potters from Savona, who came at the instance
of the Duke Louis de Gonzague, and established
under his direct patronage a manufactory of
painted majolica, after the methods used in
their country. He was able to relate the
numerous favours the noble Duke was pleased
to lavish upon the foreign artizans ; treating
them, in many respects, with a degree of con-
sideration which made them the equal of the
noblemen of his court. Rapidly the manu-
facture developed into one of the most
important industries of the town. The gradual
transformations of the style of decoration are
illustrated in the book by the description and
reproduction of characteristic specimens repre-
senting the successive stages. There is scarcely
any blank left in those exhaustive annals of
the craft ; the account follows it in its ascend-
ing and declining march from step to step, we
may say, from year to year.

From the civic registers the author has com-
piled the pedigree of the chief families of the
town, supplemented with a complete list of all
the masters, painters, workmen, and merchants
connected with the trade. Long and irksome
as such a list may appear, the collector may
find it, in some cases, well worth consulting.
Not only does it contain all the names found
inscribed on the ware and on the registers, but
also many a name quoted in the history of other
centres in which Nivernean craftsmen settled,
and occupied a leading position. The import-
ance of such documents as to the migration of
master potters and operatives from one centre
to another could not be overrated.

After having rapidly passed over the epoch
of the French revolution and the production
of Faiences patriotiques, the book reviews the
present conditions of faience manufacture at
Nevers. Some efforts have been made, it is

120

true, to restore the prestige of the old industry ;
but it is a heavy task to re-establish the de-
parted prosperity of an art well nigh forgotten,
and it is not on the imitation of the ancient
style that modern manufacturers should depend
for a renewed course of success.

DUG. — Rapport adresse a Mr. le
Ministre de Flnstruction pub-
lique par Mr. Due, membre de
1'Institut, au nom de la Com-
mission de perfectionnement de
la Manufacture Nationale de
Sevres. Paris, impr. Nat., 1875.
4°, pp. 67.

Second Rapport, etc. Paris,

1877. 4°, pp. 7.

A committee had been appointed by the
French government to examine the productions
of the manufactory of Sevres, and suggest what
improvements could be introduced in the artistic
direction. At the end of the year, the ques-
tions discussed by the committee, and the
resolutions they had arrived at, were embodied
in a report drawn up by one of the members.
Speaking in the name of his colleagues, Mr.
Due, an architect of the classical school, after
having passed the works of the year under
review, indulges in the exposition of his
personal views on art. He starts from the
principle that the laws of the aesthetics are
the same whether applied to ceramics or to
architecture, and expatiates upon the noble
and lofty aim that an artist should always
strive to attain. But how porcelain decora-
tion could be brought level with such high-
soaring theories is a problem that the writer
himself would not dare to solve. All he has to
propose, in order to lessen the painful ignorance
of the ceramic artist, is the establishment of a
superior school of decorative art. Like all
other theorists, he is strong in denouncing the
evils that have to be fought against, but the
remedies he advocates had been tried, long
before, and had not been attended with the
expected result.

DU CHATELLIER (Paul).— Lapoterieaux
epoques prehistoriqueetGauloise
en Armorique. Rennes, J. Plihon
& Herve, 1897. 4°, pp. 60 ; with
17 pis. 15 fcs.

"The pottery of the prehistoric and
Gallic periods in Armorica."

A valuable contribution to the study of the
pottery made by the prehistoric races." Many
useful observations suggested by the rude
earthen vases found in the dolmens of Brittany
are presented here for the first time, in addi-
tion to a well-digested summary of the present
state of knowledge on the question of primitive
ceramics.

DU CLEUZIOU (H.). — De la poterie
gauloise. Etude sur la collection

CERA MIC LITER A TURE.

[DUF

Charvet. Paris, Baudry, 1872.
8°, pp. 309; with 207 illustrs.
8 fcs.

" The Gallic pottery ; a study on the
Charvet collection."

The author belongs to an enthusiastic sect
of French patriots, to whom the productions of
ancient art in the country appeal, chiefly, as
being a spontaneous manifestation of truly
national art. Talented architects, headed by
Lassus and Viollet-le-Duc, had heralded the
movement. They advocated the recognition of
a genuine and independent French art, which
found its most glorious expression in the pure
Gothic style. They demonstrated that, by
innovating a system of construction based
entirely on rationalism, and adopting a form
of ornamentation which borrowed its elements
from nature alone, Gothic architecture had
liberated itself from the sway of Romanesque
tradition, which was nothing else but a debased
remnant of classical art.

A crowd of disciples congregated round the
masters, all animated with equal zeal for pro-
pagating the new doctrines. A few of them,
going farther back into the past, went so far as
to detect the impress of an inborn originality
in the earliest works of the Gallic race, regard-
less of the surrounding influences to which the
very existence of these works may be attri-
buted. Actuated by a similar motive, Mr. Du
Cleuziou lias undertaken to point out the
idiosyncrasic features which distinguish the
earthen vessels formed and decorated by
the native Gaul from the pottery made by
the Roman conqueror at a corresponding
period.

We must pass over a lengthy preamble treat-
ing of the use of vases of clay in connection with
the rites and ceremonies practised by ancient
nations, to come at once to the avowed purpose
of the book, which is to initiate us into the
aesthetics of true Gallic art, as exemplified in
ornamented pottery. Many examples are pro-
duced to illustrate a most ingeniously
propounded theory. Signs of undeniable ori-
ginality are said to be authenticated in a
particularly elegant shape, a graceful flower, a
delicate wreath of foliage, or a telling inscrip-
tion. Unfortunately, these illustrations act as
a double-edged argument which cuts both ways.
While the writer regards them as supporting
his theory that the Gallic potter was the first
to make the reproduction of natural objects
enter in the decoration of pottery, a critical
spirit may rightly insinuate that the very same
designs appear frequently on the terra-cotta of
Roman origin, and that they might, conse-
quently, be taken as indicating the work of
an Italian hand. Much is said about the
humouristic turn of the inscriptions in which
the Gaulish spirit can be easily recognised ;
but we cannot lose sight of the fact that they
are all in the Latin language, and that Latin
was not altogether devoid of the vis comica.
Lastly, it is to be remembered that, when the
country was rid of foreign oppression, the
native potter, far from emancipating his art
from the influence of the Roman style, ceased
from that moment to produce ornamental work
of any kind.

DUCUING (FT.).— Imposition univer-
selle de 1867. Paris, 1867. 2
vols. Fol., pp. 960 ; with num.
illustrs. 60 fcs.

" The International Exhibition of

1867."

DUDLEY (Collection of the Earl of).— Cata-
logue of sale. London, Christie,
] 886. 8°, pp. 20 ; with 22 photos.
10s.

One of the richest collections of Sevres
porcelain ever offered for sale ; the catalogue
contains 166 numbers, amongst which are many
sets and pairs of richly decorated vases, and
several dessert services. The highest price
realised was £2,782 for a set of three vases.
Two pairs of Chelsea vases fetched over £2,000
a pair.

DUESBURY (W.).— List of the principal
additions made this year to the
new invented groups, jars, vases,
urns, beakers, cups, chalices, etc.,
of Mr. Duesbury's Derby and
Chelsea manufactory of porce-
laines, biscuits, and china ware,
both ornamental and useful.
S.I., n.d. London (1774?). 8°,
pp. 15.

This rare catalogue_comprises 123 Nos. It
reprinted in W.
and Derby Porcelain.

is reprinted in W. Bemrose's Bow, Chelsea,
De

Catalogue of an elegant and

extensive assortment of Derby
and Chelsea porcelain, etc., at
Messrs. Christie & Manson's
great rooms, etc., to be sold by
auction, 7th May, 1782, and four
following days. 8°, pp. 32.

China on sale by the Candle

at Mr. William Duesbury's
warehouse, Wednesday, the 9th,
and Thursday, the 10th March,
1785, etc. Derby figures, etc.
Sold by auction by W. Hunt.
Fol., pp. 12.

Reprinted in L. Jewitt's Ceramic Art.

DUFOUR. — Observations sur des noms
de potiers et de verriers remains.
Amiens, 1848. 8°, pp. 23. (Re-

121

DUF]

CERA MIC LITER A TURE.

[DUH

print from Memoires de la Soc.
des Antiquaires de Picardie.)

" Remarks upon some names of Roman
potters and glass-makers."

DU FRAISSE DE YERN1NES-— Parallele
des ouvrages de poterie d'Auver-
gne anciens et modernes. Paris,
A. Aubry, 1874. 8°, pp. 15.
(100 copies reprinted from the
Bulletin du Bouquiniste.}

"Analogy of the ancient and modern
pottery of Auvergne."

A MS. memoir written by an eminent juris-
consult of the middle of the eighteenth century,
published, with introductory notes, by M. Paul
Le Blanc. The writer having noticed the simi-
larity of material presented by some remarkable
specimens of ancient pottery and the common
ware made in his day, came to the conclusion
that manufactories of a superior kind of pottery
must at one time have existed in Auvergne, and
he regretted that no record had been kept of
the departed industry. He succeeded in col-
lecting information concerning two abortive
attempts to manufacture painted faience, started
at Clermont-Ferrand about fifty years before
his time. He took note of all particulars, in
view of supplying future historians with reliable
materials. This MS. makes a curious exception
to the apparent neglect into which the pottery
industry seems to have fallen at that time. We
must say that no modern provincial collector,
proud of having found the traces of an old pot
works, the glory of the locality, could have dis-
played more zeal in his researches or more
accuracy in describing the smallest particulars
of his discovery.

DU HALDE (Pere J.).— Description geo-
graphique, historique, chrono-
logique, politique et physique de
1'Empire de la Chine. 1736.
4 vols. Fol. ; maps, plates, and
illustrations. Translated into
English under the title :

- The general history of China
. . . done from the French.
London, 173Q. 4 vols. 8°; pis. 8s.

Vol. 2 contains the translation of the letters

of P. d'Entrecolle, describing the manufacture

of Chinese porcelain ; pp. 309-355. This

• ' translation, though incomplete, is tolerably

accurate.

DUHAMEL DU MONCEAU, FOURCROY ET
GALLON.— L'art du tuilier et du
briquetier. Paris, 1763. Fol.,
pp. 67 ; with 9 pis. (In the En-
cyclopedic, ou dictionnaire raisonne
122

des Sciences et des Arts et Metiers,
par Diderot etd'Alembert. Paris,
1751-80.)

" The art of brick and tile making."
The idea of the Grande Encydoped.it
originated from the publication of Chambers'
Cyclopaedia. A French publisher had com-
municated to Uiderot the intention he had of
bringing out a translation of the English work,
Diderot conceived the plan of enlarging upon
the original scheme, and of editing a series of
practical treatises which, written by noted
specialists, would form an emporium of
technical knowledge never attempted before.
Seldom has a project of such magnitude been
carried to such a successful end. The Royal
Academy of Sciences gave its sanction and
practical assistance to its accomplishment.
The technicology of all trades have, since that
time, undergone great modifications, yet much
is still to be gained by an acquaintance with
the methods and processes used by our fore-
fathers in the making of such works as we
admire as models of their art. In this treatise,
the first contributed under his name to the
Encyclopedic, Duhamel du Monceau, a member
of the French Academy, has only accompanied
with notes of his own the papers supplied by
two experienced manufacturers. A vocabulary
of the terms then used in the brick and tile
trade is placed at the end.

L'art de faire les pipes &
fumer le tabac. Paris, 1771.
Fol., pp. 33; with 11 pis. (In
the Encyclopedia.)

"The art of tobacco-pipe making."
All the materials used in this treatise were
supplied by the tobacco-pipe manufacturers of
Rouen and Saint Omer, in France, and Leyden
and Gouda, in Holland, then the chief centres
of production. The plates represent the tools
used by the pipe-makers, the special ovens in
which the pipes are baked, and the various
forms of French, English, and Dutch tobacco
pipes.

L'art du potier de terre.
Paris, 1773. Fol., pp. 84; with
17 pis. engr. by Ransonette. (In
the Encyclopedie.}

" The art of the earthenware potter."

Although not a professional potter, Duhamel
du Monceau took a special interest in pottery
manufacture, and, a constant visitor to the
faience factories of Paris and the environs, he
had conducted many practical experiments for
the improvement of the trade. So he wrote not
only from information supplied by the best
manufacturers of the time, but also from the
result of his personal experience. He had
established a correspondence with the chief
master-potters of several provinces, and from
the particulars he obtained in that way he was
able to describe the points through which the
productions of various localities differed from

CERA MIC LITER A TURK.

[DUM

each other. A chapter has been set apart for
the description of English pottery. It was
based on notes supplied to him by one of his
colleagues at the Academy, Mr. Jars, who had
visited the Staffordshire potteries in 1765. The
account consists in generalities of no special
interest ; the process of salt-glazing is reported
upon at full length and with accuracy.

Attention must be given to the plate in
which is figured the ancient whe^l of the pot-
maker. It is actually a cart wheel turning on
a central pivot, and set in motion by the thrower
by means of a long stick.

DUMAS.— Eloge tie MM. Alexandre
Brongniart et Adolphe Brongni-
art, membres de F Academic des
Sciences. Lu dans la seance pub-
lique annuelle de 1' Academic des
Sciences. Paris, F. Didot, 1877.
4°, pp. 40.

An appreciation of the works of A. Brong-
niart, author of the Trait6 des Arts Ceramiques,
and for nearly fifty years Director of the
manufactory of Sevres, with a sketch of his
life.

DUMESNIL (A.). — Legendes fran§aises.
Bernard Palissy, le potier de
terre. Paris, Librairie nouvelle,
1851. 18°, pp. 142. 5 fcs. (An
English translation has appeared
in Memoirs of Celebrated Charac-
ters. London, Bentley, 1854.)

" French legends. B. Palissy, the
potter."

Appreciations of Palissy's character differ so
much, according to each of his biographers, that
we must not be surprised to see him considered
here under quite a new light. This time it is
as a true-born peasant, a son of the soil, that he
is presented to us. If he became a potter it is
because " 1'art de terre," as he called it himself,
is the best art that a peasant could choose.
Having spent a contemplative youth in the
fields and the woods, discoursing upon the earth,
the water, the flowers, and the trees was quite
natural to him in after life. Always happy in
the contemplation of nature he was bound to
seek in natural objects the elements of decora-
tion of his rustic pottery. His genius is com-
pared to that of La Fontaine, also, says the
writer, a born peasant who had many points of
resemblance with Palissy. The development
of the above theme is ingeniously supported by
copious quotations from the original works.

DUMMLER (P.)-— Einige eleusinische
Denkmaler. Basel, 1894. 4°.
(In Fesibuch zur Eroffnung des
historischen Museums. )

" Some monuments relating to the
Eleusinian mysteries."

DUMMLER (K.)— Die Ziegel-und Thon-
waaren-Industrie in den Vere-
inigten Staaten und auf der
Columbus - Weltausstellung in
Chicago, 1893. Halle a, S., W.
Knapp, 1894. 4°, pp. 180; with
13 autotyp. pis. and 172 illustra-
tions of views, exhibits, and
machinery. 15 m.

" The tile and earthenware industry in
the United States, and at the Inter-
national Exhibition of Chicago in 1893."

A complete survey of the numerous and
important American manufactories of brick
and tiles, and terra-cottas for building or
decorative purposes, occupy the larger part
of this exhaustive report. The porcelain and
earthenware sent to the Chicago exhibition
by the European firms are also passed under
review. The last part describes the latest
machines applied to the manufacture of bricks
and tiles.

- Handbuch der Ziegel-Fabrik-
ation. Die Herstellung der
Ziegel, Terrakotten, Kohren,
Flatten, Kacheln, feuerfesten,
Waaren, und aller anderen Bau-
materialen aus gebrannten Thon
umfassend. Unter Mitwirkung
vonBaurath Friedrich Hoffmann,
bearbeitet von K. Diimmler.
Halle a. S., W. Knapp, 1897. 8°;
illustrs. in the text. 32 m. 2nd
ed. Berlin, 1900. 3rd ed. Ber-
lin, 1908. 8°, pp. 570 ; with 521
illustrs. 36 m.

" Handbook of the brick and tile manu-
factures. Comprising the making of
bricks, terra-cotta, drain pipes, slabs,
tiles, refractory ware, and all other
articles of pottery in use in the building
trade."

The various sections of this book have also
been published in a separate form.

DUMONT (Albert).— Inscriptions Cer-
amiques de Grece. Paris, 1869.
Archives des Missions Scienti-
fiques. 8 ° , pp. 445 ; with numerous
facsimiles of marks and 14 engr.
pis. 15 fcs.

The collection of inscriptions and potters'
marks gathered in Greece, and published by
Mr. Dumont, is limited to those found impressed

123

CERA MIC LIT ERA TURE.

[DUP

or incised on terra-cotta, and does not include
any of those seen on painted vases.

DUMONT (Albert).— Peintures cerami-
ques de la Grece propre. Re-
cherches sur les noms d'artistes
lus sur les vases de la Grece.
Paris, 1874. 4°, pp. 62. 7 fcs.

"The ceramic paintings of Greece. Re-
searches upon the artists' names read upon
the vases of Greece proper."

Terres cuites orientales et
greco-orientales. Chaldee, As-
syrie, Phenicie, Cbypre, Rhodes.
Paris, 1884. 4°.

" Oriental and Greco-Oriental terra-
cottas."

A review of Heuzey's work : Catalogue des
figurine* antiques du Musee du Louvre,. This
paper is reprinted in the following work.

DUMONT (A.) et CHAPLAIN (J.).-Lescer-
amiques de la Grece propre.
Vases peints et Terres cuites.
Paris, F. Didot, 1881-1890. 4°.
Premiere partie : Vases peints,
pp. 420 ; avec 40 pis. Seconde
partie : Melanges archeologiques,
pp. 260 ; avec 40 pis. et 53-16
illustrs. 60 fcs.

" The ceramics of Greece proper.
Painted vases and terra-cottas."

During the course of their archaeological
mission in Greece, Messrs. Albert Dumont and
Jules Chaplain, both members of the French
Academy, conceived the idea of publishing a
history of the painted vases and terra-cottas
found in Greece proper, a work for which the
last excavations undertaken by Schliemann,
and the schools of archaeology maintained in
Athens by foreign governments, had supplied
an abundance of inedited materials. Death
surprised Mr. Dumont before he had time to
write more than the first chapter ; this part of
the letterpress stops at the period of the black -
figured vases. The second volume is made up
of articles on various subjects, viz. : — terra-
cottas, bronzes, and marbles, reprinted from
the learned serials in which they had appeared.
The drawings were prepared by Mr. Chaplain,
for the illustration of the work, quite inde-
pendently. They reproduce objects preserved
in the public and private collections of Athens,
and which had not, at that time, been engraved
in other publications. Scarcely any reference
having been made to these by Mr. Dumont,
the description of the plates was entrusted to
Mr. E. Pettier, who provided their elucidation
in two appendices : Painted vases and Terra-
cottas. The engraving of the plates is due to
Mr. Jacquet, well known for his illustrations

124

of Heuzey's work, Leu figurines antiques de
terre cuite.

DUPRE (L). — Les carreaux emailles
du Palais de Justice de Poitiers.
Poitiers, 1903. 8°, pp. 11 ; with
Ipl

" Enamelled tiles from the ' Law
Courts ' of Poitiers."

The building now assigned to the Law
Courts was built towards the end of the
fourteenth century by Duke Jean de Berry.
He caused the "Sarrazin Jehan de Valence"
to come over from Spain to Poitiers and make
tiles, in obra dorada, after the manner used in
the Spanish country, for the decoration of the
palace then in course of erection. A list,
dated 1384, which enumerates all the raw
materials that were supplied to the Moorish
potter for the making of these tiles, has come
down to us. From it we can safely infer that
the tiles were to be painted with metallic
lustres. The point is of historical importance
when we recollect that, at this early date,
lustres had not yet been introduced into Italy,
where the process was to receive such an
important development. Two fragments of
circular form, all that has been recovered from
the ancient pavement, show a fine white
stanniferous enamel and three Jteurs-de-lys —
the arms of the Duke Jean— reserved upon a
ground of turquoise blue glaze. An article on
the subject appeared in the Burlington Maga-
zine, November, 1907.

DUNCKER.— Das Romercastell und
das Todtenfeld in der Kinzignie-
derung bei Ruckingen. Hanau,
1873. 4°, pp. 50 ; with 5 lith.
pis. 3 m.

" The Roman castle and burial ground
near Ruckingen."

A large number of fragments of Samian
pottery are reproduced on the plates.

DUPLESSIS (Camille).— Etude sur la vie
et les travaux de Bernard Palissy.
Agen, 1855. 8°, pp. 170. (Re-
printed from the Recueil des
travaux de la Societe d Agricul-
ture, sciences et arts de Saintes,
1855.) 3 fcs.

" A study of the life and works of B.
Palissy."

This paper obtained the first prize in a com-
petition opened in 1855 by the town of Agen
for a life of Palissy. On such occasions it is
the ambition of each competitor to outstrip the
others in belauding the memory of the hero
they have to glorify. It is a panegyric they
have to write ; it must give a glowing picture
of an incomparable genius to whom any tribute
of praise shall always fall short of his deserts.
This essay has been conceived on these lines ;

DUP]

CERAMIC LITERATURE.

[DUR

it bestows the full measure of homage and
admiration upon the works of Palissy, con-
sidered as a philosopher, a scientist, and a
potter ; of his private character nothing is said
but what will redound to his spotless glory.
It is good to recollect, when we read it, that a
panegyric— like an epitaph — must be taken
with grains of allowance.

DUPONT-AUBERYILLE (Collection).— Cata-
logue des porcelaines anciennes,
pate-tendre, etc. Paris, 1885.
12°, pp. 96 ; with 3 pis.

This catalogue, comprising 408 numbers, is
of great interest for the history of French
porcelain. The collector's aim is to illustrate
with authentic specimens the earliest periods of
manufacture at Kouen, Saint Cloud, Chantilly,
Mennecy, etc.

DUPUIS (Ernest). --Bernard Palissy.
L'homme, Fartiste, le savant,
1'ecrivain. Paris, Lecene, Oudin,
1894. 18°, pp. 334. 3 fcs.

" Bernard Palissy. The man, the
artist, the scientist, the writer."

So hackneyed has the subject become that
the mere title of a work upon Palissy and his
life acts upon us as a deterrent from opening the
volume ; this one is, however, no common-
place book, and it cannot be dismissed without
granting it the recognition it deserves. A dip
into its pages is sure to excite a desire to con-
tinue the perusal.

The Palissian literature contains much that
is sagacious and instructive, and much which is
simply shallow, unreliable, and wearisome.
Mr. Dupuis, having gone through all previous
commentaries, has condensed the result of his
investigation into a judicious summary, from
which all uncertain or irrelevant matter has
been carefully eliminated.

His trusty text-book, however, remains the
original memoirs of the master. But he seems to
have seen clearer than any of his forerunners into
the obscurity of certain passages, and he never
ventures on a suggestion which is not sub-
stantially supported by an appropriate quota-
tation from Palissy's work. It is with the
assistance of the dissecting knife and the
microscope that he proceeds to his literary
analysis. A disciple of the modern school, the
cautious biographer declines to accept any-
thing which has not been established as an
absolute fact. Whenever a still open query
admits of more than one elucidation, he lays
before the reader the various sides of the
controversy, but does not express his personal
opinion on their respective merits.

For instance, he makes no attempt at
settling the tangled question of Palissy's birth-
place. He is equally reticent on the following
points on which so much has been written, but
so little has so far been ascertained. What was
the social condition of the man in the early
period of his life ; how was he induced to
adopt the unprofitable and unpromising trade
of a pot- maker ; and what were the actual
bearings of his protracted experiments? As

to the real circumstances of Palissy's death
— the bone of contention of the biographer — he
confesses that he has nothing to say. Placed
between the precise statement of Daubigne', a
contemporary historian, and the confuting
argumentation of Audiat, a modern critic, he
does not feel himself qualified to decide upon
the validity of either.

In many parts of the book, we find an
evident inclination to review the discussion on
certain questions which exhaustive debates
seemed to have finally settled. Judicious as
this course may be for the advance of know-
ledge, it has the disadvantage of rendering the
legendary side of the life of the great potter
more obscure than ever. If it could be proved
that all we believe to be true is, after all, based
on mere conjectures, the time may come when
the very existence of Palissy will be doubtful.
Then some clever philosopher will clearly
demonstrate that he was but an imaginary
personage, an allegorical figure embodying the
intellectual struggles of the epoch.

The fourth part of the volume, which treats
of Palissy as a literary man, is Mr. Dupuis'
special contribution to the subject. In it
he becomes most precise and accurate in his
philological remarks. No one had ever sub-
mitted the language of the memoirs to such a
critical examination. He shows us that, far
from being the rustic and uneducated man that
he repeatedly boasts of being, the author of
the Recette veritable, and the Discours admir-
ables, was a thoroughly well read man, who had
turned his studies to good profit. Palissy
wrote in the best French of the period ; the
phraseology is correct and clear, the choice of
words is ample and excellent ; the expression
being often forcible and vigorous. Highly
sensitive to the beauties of fields and woods,
nature has inspired him with many an eloquent
page ; picturesque and even poetical images
abound in his writings. The style becomes
particularly bold and incisive when the writer
gives vent to his sarcastic power. Well
selected quotations help us to side with Mr.
Dupuis, when he says that Palissy's works can
stand comparison with those of the best writers
of the period, and that, on this score at least,
full justice has not been rendered to him.

DURAND. — Eapport sur la fabrique de
poterie de Mr. David Johnston.
Paris, 1839. 8°, pp. 15.

A report, addressed to the Academy of
Sciences and Arts of Bordeaux, on the earthen-
ware factory established by D. Johnston. It
is the same factory which, under the direction
of Mr. Viellard, stood at the head of the trade
in the South of France up to the last few years.

DURAND (Collection E.).— Descriptions
des antiquites et objets d'art qui
composent le cabinet de feu Mr.
le Chevalier E. Durand, par J.
de Witte, membre de 1'institut
archeologique de Rome. Paris,
1836. 8°, pp. 544 ; with 5 pis.
5 fcs.

125

DUR]

CERAMIC LITERATURE.

[DUS

" Description of the antiquities and
works of art in the collection of the late
E. Durand."

One of the finest private collections of
painted vases and terra-cottas. The chief
museums of Europe have profited by its
dispersal. In the learned catalogue, prepared
by Jean de Witte, the Greek vases are arranged
under seven headings, according to the subjects
painted on them.

DURAND-GREYILLE.— De la couleur du
decor des vases grecs. Paris,
Leroux, 1891-92. 8°, pp. 22-23.
(Reprint from the Revue arclieo-
logique.)

" The colours employed for the decora-
tion of the Greek vases."

Upon the white ground of certain Greek
vases the subjects appear to have been
pencilled with a brown, red, or yellow outline.
After having read the minute observations
presented in this paper, it is no longer possible
for us to doubt that the colour originally used
by the painter was a black oxide of iron which,
under atmospherical influences, has become
partially discoloured. All attempts at classifi-
cation by means of the colours employed, should
therefore be abandoned.

DURELLI (Gaetano e Francesco).— La cer-
tosa di Pavia descritta ed illus-
trata con tavole incise dai fratelli.
G. e F. D. Milano, 1853. Fol.;
60 pis.

" The certosa of Pavia described and
illustrated with plates engraved by the
brothers G. and F. D."

Remarkable examples of architectural terra-
cotta.

DU SARTEL (0.).— La porcelaine de
Chine. Origines, Fabrication,
Decors et marques. La porcelaine
de Chine en Europe. Classement
chronologique. Imitations, con-
trefa9ons. Paris, Ve A. Morel,
1881. 4°, pp. iii-230; with 14
heliogr., 18 chromolith. pis., and
120 illustrs. in the text. 200 fcs.,
and 400 fcs. on Japanese paper.

"Chinese porcelain. Historical notes,
manufacture, decorations, and marks.
Chinese porcelain in Europe. Classifica-
tion in chronological order. Imitations
and counterfeits."

A handsome volume, printed in good style
and adorned with splendid chromolithographs
plates ; altogether a feast for the eye. But
before expressing an opinion upon the value

126

that may be attached to the letterpress, we
must wait until some learned mandarin, con-
versant with the mysteries of the Siouen-te,
and Kien-long porcelain, has passed his judg-
ment as to its reliability. In our utter ignorance
of those questions we have to listen and bow
whenever any self-appointed professor of
orientalism volunteers to lecture upon some
misty points of eastern knowledge. Almost
the only source whence our learning is derived
on the subject of Chinese ceramics is the work
of Stanislas Julien ; without it, this book, like
many others, would lack the prestige of the
formidable words, printed in italics, with a
hyphen drawn between their many syllables.
To apply the shadowy descriptions of the MS.,
of which S. Julien has given a translation, to
the porcelain of all styles, which the traders
with China have thrown with inextricable con-
fusion upon our continent, has been the chief
trouble of the commentators. Who shall say
whether they have been right or wrong in
their venturous speculations? The Chinese
literature may or may not boast of an esteemed
handbook, written by a learned collector of the
Celestial Empire who, having formed a museum
of the ceramic productions of the nations of
the west, has confidently given to his country-
men a history of European porcelain. His
documents were a few odd volumes written in
English or French, which -he could not under-
stand, supplemented with the informations
supplied to him by some travellers coming
from distant countries. A look at such a
book — if such a book is in existence — might
open our eyes upon the probable worth of the
books upon Oriental porcelain, which we have
written under nearly similar conditions.

Mr. Du Sartel has never resided in China ;
the Chinese tongue is unknown to him, so that
the technical works written in that language
— if they could easily be obtained — would be
a closed letter to him. But he was in no worse
situations than all his predecessors, whose
publications he has largely put under contribu-
tion. He has not always been happy in the
parts he has selected to borrow. The fanciful
designation of famille verte, and famille rose,
for instance, which disregards all order of
origin and epochs, had better be left to the
author who introduced it.

- Rapport de la Commission de
perfectionnement de la Manu-
facture Nationale de Sevres.
Macon, 1884. 4°, pp. 49.

" Report of the committee of improve-
ment on the last productions of the
National Manufactory of Sevres."

DU SARTEL (Collection).— Catalogue des
porcelaines de la Chine et du
Japon composant la collection de
Mr. O. Du Sartel. Vente a Paris,
Avril, 1882. 4°, pp. 133; text
illustrs. and a folding pi. in cols,
6 fcs.

Cat. of sale. Preface by Ph. Burty.

DUS]

CERAMIC LITERATURE.

[DUS

DU SARTEL and GONZE.— Katalog der
Orientalish - Keramischen Aus-
stellung im Orientalischen Mu-
seum. Wien, 1884. 8°, pp. xlii-
150 ; 1 pi. and num. illustrs. in
the text. 5s.

" Catalogue of the exhibition of oriental
ceramics in the Oriental Museum."

- Collections dedessinsd'objects
ceramiques de 1'Orient et de
1'Extreme Orient, avec remarques
de Messrs. Du Sartel, Gonze et
Karabacek. Vienna, 1885. Fol.,
pp. 41 ; with 58 photos, and 81
illustrs. 70s.

The specimens contributed to the exhibition
by Austrian collectors were photographed in
groups ; each plate showing a large number of
pieces. They form the complement to the
foregoing catalogue.

DU SAUSSOIS (Aug.)-— Bernard Palissy.
Paris, Chez I'Auteur, 1874. 18°,
pp. 32.

" Bernard Palissy."
Privately printed.

DUSSIEUX (L).— Recherches sur 1'his-
toire de la peinture sur email
dans les temps anciens et mod-
ernes, et specialement en France.
Paris, Leleux, 1841. 8°, pp. 171.
5 fcs.

" Historical notes upon the art of
painting on enamel in ancient and modern
times, and especially in France."

A few chapters on Italian majolica, and on
ancient French faience, testify to the paucity
of the information available in the early years
of the nineteenth century. Lucca della Robbia
and Palissy have each their biographical notice.
The French manufactories are represented by
Nevers and Rouen, the other centres being
completely ignored. A notice on the factory
of Sevres and its painters is placed at the end
of the volume. The writer tells us, in the
preface, that the proofs of his work had been
revised by Al. Brongniart.

An Italian translation of the parts treating
of majolica and faience was published under
the title, Ricerche sidla storia delle pitture in
Majolica.

DU SOMMERARD (Alexandra).— Les arts au
moy en-age en ce qui concern e
principalment le Palais romain
de Paris, I'hdtel de Cluny issu de

ses mines et les objets d'art de
la collection classee dans cet
hotel par A. Du Sommerard.
Paris, Techener, 1838-184(5. 5
vols. text, 8°, and 1 vol. atlas ;
5 vols. lithogr. plates, fol. The
pis. number 510, and are mostly
coloured by hand. £60.

"The arts in mediaeval times, principally
in reference to the Roman Palace in Paris,
the 'Hotel de Cluny' restored from its
ruins, and the collection of works of art
classified in the building by Mr. Du
Sommerard."

A splendid publication, the crowning work
of a life spent in the noble mission of vindi-
cating mediaeval and renaissance industrial arts
from the contemptuous neglect into which they
had fallen. Surrounding himself with over-
whelming testimonies of the glory they had
attained in days gone by, Du Sommerard dared
to uphold, in conjunction with a little group of
clear-sighted contemporaries, the claims that
artistic handicrafts had to our recognition.
The preparation of this colossal work was
undertaken to assist in the propagation of his
ideas. But he was not to see the completion
of its publication. After having successfully
brought out the first volume in 1838, death
overtook him four years afterwards while he
was still engaged in his labours. To his son
devolved the duty of bringing the work into
light, a task which was accomplished in 1846.

The " H6tel de Cluny," and the collections
it contained, were purchased by the French
Government the year after the demise of their
owner. Although the book is intended to form
a general history of " Mediaeval and Renaissance
Arts," the part which refers to the authors
collection is a large one ; it represents this
collection in its original state. Now that the
Cluny Museum, having become national pro-
perty, has reached its present expansion, it is
of great interest to look back upon its forma-
tion, and to be enabled to judge of the work
accomplished by an unassisted collector within
the lapse of a few years and at a comparatively
trifling cost.

Not much is to be learned from the letter-
press. Materials were scant at that time, and
the subjects touched upon are varied and
numerous. But the admirable plates, which
include many choice and rare specimens of
ceramic art, have lost nothing of their value.

DU SOMMERARD (E.)- — Musee des
Thermes et de l'H6tel de Cluny.
Catalogue et description des
objets d'art de Fantiquite, du
Moyen-Age et de la Kenaissance
exposes au Musee. Paris, 1852.
8°. Various editions of this cata-
logue were issued from time to

127

DUT]

CERAMIC LITERATURE.

[EAR

time. It was completely re-
modelled in 1881. The 1875
edition contained only 3,770
Nos.; in that of 1881 the num-
ber was increased to 10,345.

Alexandre Du Sommerard left, in his son, a
worthy successor. He had, for years, accom-
panied his father in his travels, and had
sedulously assisted him in his archaeological
labours. It is to Eugene Du Sommerard that
we owe the last edition of the catalogue, by
the aid of which the researches in the Cluny
Museum are so efficiently facilitated. The
part devoted to ceramics contains no fewer
than 169 pages.

DUTUIT (Collection A.).— Union centrale
des Beaux- Arts appliques a 1'in-
dustrie. Souvenir de 1'exposition
de Mr. Dutuit. Paris, 1869. 4°,
pp. 107 ; with 33 pis. 15 fcs.

" Catalogue of Mr. Dutuit's contribu-
tion to the Exhibition of the U.C. in the
Palais de 1'Industrie, 1869."

Greek vases and terra-cottas, 62 Nos., with
4 pis. (3 col. ) ; Oriental porcelain, 49 Nos. ,
with 4 col. pis.

Antiquites . . . objets divers

exposes au Palais du Trocadero
en 1878. Paris, Levy, 1879. 4°,
pp. 191 ; with 35 pis. £1, 10s.

Illustrated catalogue of the portion of
Mr. Dutuit's collection exhibited at the Inter-
national Exhibition of 1878. Greek vases,
Nos. 61-134, with 7 pis. ; Italian majolica,
Nos. 537-548, with 3 pis. ; Persian ware, Nos.
576-584.

Maj cliques italiennes, vases

siculo-arabes, faiences Henri II.,
Verreries. Paris, 1899. 8°, pp.
xv-46 ; with 79 phototyp. pis.
Privately printed. £1.

The introduction and descriptive catalogue
are written by Frohner. The collection com-
prises— Italian majolica, 69 Nos. ; Siculo-
Arab vases and Persian faience, 4 Nos. ;
Henri II. ware, 3 Nos. Most of the specimens
are of a very high order. It is to be regretted
that the plates are of inferior execution, and
that they lack the neatness indispensable to an
adequate reproduction of finely decorated
pieces.

DUYAL — Memoire pour le Sieur
Mignon, Entrepreneur de la
Manufacture Koyale des terres
blanches, fa§on d'Angleterre.
etablie & Paris. Contre le Sieur
128

Chapelle, proprietaire de la Man-
ufacture de Faience japonnee
etablie a Sceaux. Paris, 1769.
Sm. 4°, pp. 74.

"Memoir presented on behalf of Mr.
Mignon, proprietor of the royal manu-
factory of white earthenware, after the
English fashion, established at Paris ;
and against Mr. Chapelle, proprietor of
the manufactory of japanned faience
established at Sceaux."

This memoir, indited to support the action
brought by Mignon against Chapelle the founder
of the Sceaux factory, contains most interest-
ing particulars of the factory carried on by
the plaintiff at the place called "Le Pont-aux-
Choux," in Paris, and on the life and work of
the defendant, whose character is depicted by
the writer in very scurrilous terms.

DUYEEN (Bros.). --Catalogue of a
special exhibition of Chinese
porcelain ; with an introductory
article by F. Bennet-Goldney.
London, 1905. 8°, pp. 44 ; with
phototype pis.

EARLE (Alice Morse).— China collecting
in America. New York, Scribner,
1 892. 4°, pp. 429 ; with 65 illustrs.
12s.

Miss Earle may be considered as one of the
leading spirits of a numerous group of American
amateurs now busily engaged in gathering the
popular pottery still to be found in the cottages
of New England, and which has remained long
enough in the possession of one family to
deserve the qualification of " old ware."

The account of her experience as a " china
hunter" is full of amusing incidents. It is,
truly, a captivating sport for an idler with a
purpose to penetrate into the homesteads of
old country people and obtain permission to
have a look at " grandmother's china." While
exploring with the narrator the nooks and
corners of a dilapidated farmhouse, we share
with her for a moment the keen expectation,
always present to her mind, of discovering at
last such an unobtainable rarity as an odd
saucer of the Washington tea service, or a jug
with a so far unknown portrait of General
Lafayette.

We are aware that it is quite legitimate to
form a collection upon the most eccentric plan ;
any assemblage of objects which can be classified
and catalogued under a common heading is, to
all intents and purposes, a collection ; but it
must be acknowledged that the notion enter-
tained in that respect by a ceramic collector of
the old school, is not very brilliantly exempli-

EAR]

CERAMIC LITERATURE.

[EBE

fied by a store of pottery picked up in the New
England cottages.

It consists chiefly of specimens of the printed
earthenware sent over to America, between
1830 and 1850, by the potters of Staffordshire.
There has not been a worse period in the whole
course of English manufacture, and the ware
made for exportation was not distinguished by
a marked superiority over that manufactured
for home consumption. We all know the
heavy shapes and clumsy patterns that were
then in fashion ; we remember the prevailing
style of decoration, the imaginary landscape
framed with lumpy garlands of flowers. The
whole is usually printed in blue, either blackish
and patchy, or of such a pale tint as to be
almost colourless ; very different in that respect
from the earliest specimens of printing which
almost rival in brightness and purity of blue
the oriental porcelain they tried to imitate.

Of the better and more ancient examples of
English earthenware, such as good representa-
tives of the work of Josiah Wedgwood, Spode,
and their contemporaries, Miss Earle confesses
that very few, if any, are to be found in
American cottages. As to English china, the
few articles that have come in her way are of
of the kind which can easily be obtained in
third-rate curiosity shops, and should not have
been considered worth reproducing in the book.

A particular interest should, of course, be
entertained for the ware decorated with sub-
jects illustrating the history of the United
States, and with portraits of the great men of
whom the country is justly proud. The
quantity of earthenware of that description,
manufactured in England for the American
market, was considerable. It is now raised to
the rank of " Faience patriotique." Although
it is not, like the popular French faience which
is distinguished by that name, painted by the
same hands that took an active part in the
making of the national history, it is, after all,
of the same character. An extensive catalogue
of all pieces of historical importance is one of
the interesting features of the book. In the
chapter on " Liverpool ware," an almost com-
plete list is given of the subjects printed in
black on the " cream-coloured ware " accurately
described ; this part of the work> which had
never been attempted before, will be particu-
larly appreciated by the English collector. All
the chapters which required historical re-
searches and the production of documental
evidence, have been written with a care and
completeness which cannot be too highly com-
mended. The style of the illustrations is also
deserving of praise ; a few of them are so
charming that they make us almost forget the
unworthy originals that they reproduce so
cleverly.

EARLE (Mary Tracy).— The wonderful
wheel. New York, 1896. 12°,
pp. 152. 5s.

A story based on the eccentricities of
George E. Ohr, the unique potter of Biloxi,
Mississippi.

EBELMEN (Jacques-Joseph). —Rapport fait

par M. Ebelmen au nom du
comite des arts chimiques sur le

proced6 de cuisson de la porce-
laine dure avec la houille employe
par M. Vital Roux. Paris,
Bouchard-Huzard, 1847. 4°, pp.
7. (Extr. from the Bulletin de la
Socidte d" Encouragement.}

" Report addressed, on behalf of the
Committee of Chemical Arts, to the
Society for the Encouragement of Art and
Industry upon the process of firing hard
porcelain with coal employed by M.
Vital Roux."

Interesting as showing the stubborn objection
raised in France against the use of coal in the
firing of hard porcelain.

This report was indited in the same year
that Ebelmen succeeded Mr. Brongniart as
administrator of the national manufactory of
Sevres. A better man could not have been
selected. Death carried him away five years
afterwards, but not before his consummate
knowledge of chemistry, and his administra-
tive genius had had time to impart a new
direction to the progress of manufacture in the
old establishment. Without neglecting the
best traditions, many novelties were introduced
in the technical processes and styles of decora-
tion. He recognised the necessity of infusing the
spirit of modern art into a transformed mode
of manufacture. Artists of great talent left
their studios to take permanent engagements at
the national manufactory. They were asked to
execute on porcelain subjects of their own crea-
tion, and no longer copies from the old masters
as had previously been the practice. Under the
direction of Ebelmen, Sevres became, in reality,
a superior school of ceramics, showing the way to
improvement in all branches of practical pottery,
and bringing forth admirable works in which
painters and sculptors brilliantly carried on
the movement, started not long before, in
vindication of applied arts. The influence
that his efforts, assisted by the practical and
artistic achievements of the talented men with
whom he was surrounded, had exerted upon
the whole industry, is still felt in our days.
Ebelmen died at the age of thirty-eight years,
leaving unfinished a history of modern ceramics
he was preparing for publication.

Chimie, ceramique, geologic,

metallurgie. Revu et corrige
par Salvetat ; suivi d'une notice
sur rla vie et les travaux de
1'auteur. Paris, Mallet-Bachelier,
1861. 3 vols. 8°, pp. 1,508.

" Chemistry, ceramics, geology, metal-
lurgy; revised and corrected by Salvetat,
with a notice of the life and works of
the author."

EBELMEN et SALYETAT. — Recherches
sur la composition des matieres

129

EBE]

CERAMIC LITERATURE.

[EDK

employees dans la fabrication et
la decoration de la porcelaine en
Chine, executees a la Manufac- ;
ture Rationale de Sevres et pre-
sentees a FAcademie des Sciences.
Paris, M. Bachelier, 1852. 8°,
pp. 85. 6 fcs.

" Researches on the composition of the
materials employed in China for the
manufacture and decoration of porcelain,
carried out in the National Manufactory
of Sevres, and submitted to the Academy
of Sciences."

Two memoirs describing the experiments
made upon samples of clays and colours received
from China; they deal respectively with the
raw materials entering into the composition of
the bodies and the glazes, and with the colours
used in porcelain painting.

EBELMEN et SALYETAT.— Rapport sur
les arts ceramiques fait a la
commission fran§aise du Jury
international de 1'Exposition uni-
verselle de Londres en 1851.
Paris, 1854. 8°, pp. 135.

" Report on the ceramic art addressed
to the French section of the Jury at the
London International Exhibition, 1851."

Three years after the death of Ebelmen
Salv^tat published this report, the result of
their joint labour as members of the inter-
national Commission. Baron Ch. Dupin had
prefixed to the work a biographical notice
recording the principal discoveries for which
science is indebted to Ebelmen.

ECK (Ch.). — Application des Globes
ou pots creux k 1'art de batir les
planchers, cloisons, etc. Paris,
impr. Guyot. 8°, pp. 16 ; with
3 pis.

"A system of introducing cylindrical
pots of terra-cotta in the building of
floors, partitions, etc."

ECKHART (A.).— Die Construction von
Brennofen fur Ziegeleien und
Thonwaarenfabriken in Hinsicht
auf die Bauausfiihrung. Leipzig,
1881. 8°, pp. 44; with 17 illustrs.
1 m.

" The construction of ovens in the tile
and earthenware factories, considered
from the builder's point of view."

130

Beachtenswerthe Gesicht-
punkte bei der Anlage period-
ischer Ziegelofen. Halle a. S.,
1883. 8°, pp. 60 ; with 5 illustrs.
1 m.

" Important considerations regarding
the planning of periodical earthen ware tile
ovens."

EDGAR (C- C.).— Catalogue des Anti-
quites egyptiennes du Musee du
Caire. Le Caire, 1903. 4°; with
23 pis. £1.

Greek moulds for bronze and terra-cotta.

EDGEWORTH (Maria).— The Prussian
Vase. London, 1832. 8°, pp. 42.

The pathos of ceramics, the romanticism of
history, have been feelingly compressed in this
short tale. The dramatis persons are: Frederick
the Great, a conventional figure cut after the
approved pattern of a despotic and grotesque
Sultan of pantomime ; a lovely porcelain
paintress transported from Meissen as a war
prisoner, to work in the Berlin factory for the
glory and benefit of the king, and like many
other fellow captives, ordered to marry a
Prussian grenadier ; a villainous Jew, who adds
with his own hand certain scurrilous inscriptions
to the work of the innocent artist to secure
the success of his vindictive plans. A porce-
lain vase, — which, by the king's command, has
to be modelled, baked, and painted within one
month, — is made the pivot around which the
action moves. The fame of the Portland vase,
just produced by Wedgwood, has come to the
ear of the king ; he wants his Berlin manu-
factory to accomplish a masterpiece which
shall surpass in beauty the work of the English
potter. Out of these elements a pathetic
romance is constructed. History has, of course,
to be slightly stretched to meet the require-
ments of the drama. As a matter of fact,
it was only the year after peace had been
signed with Saxony that Frederick the Great
began to take an interest in the Berlin factory,
and to interfere with the liberty of any Saxon
subject was, at that moment, quite out of his
power. We need hardly say that a porcelain
vase cannot possibly be completed within a
month. Finally, we must state that the Port-
land vase was manufactured by Wedgwood a
year after the death of the great Frederick.
Ludicrous as the tale may now appear, it con-
tributed not a little in accrediting a belief in
the cruelties which the poor artists kidnapped
from Meissen had to suffer on the part of the
King of Prussia, a misstatement which we find
repeated in almost every ceramic history.

EDKINS (Collection W.).— Catalogue of
sale. London, Sotheby, 1874. 8°,
pp. 36 ; woodcuts.

The collection comprised the finest known
examples of Plymouth and Bristol porcelain.

EDW]

CERAMIC LITERATURE.

[EMD

They realised very high prices. A. set of four
figures of the Seasons fetched £610. Single
tea cups brought as much as £93, etc.

EDWARDS (E. James).— Two ancient
Greek vases, known as the
" Capo di Monte " and " Acteqn,"
now on view (by permission) in
the British Museum. London
(1865 ?), printed for priv. circ.
for the Rev. E. J. Edwards. 4° ;
with 4 photos, and 1 engr. pi.

EDWARDS (J. C.)-— Bricks, tiles, and
terra-cotta pattern-book. J. C.
E., manufacturer at Ruabon.
London, 1884. Sm. fol., pp. 21 ;
with 48 pis.

One of the best catalogues of architectural
terra-cotta published in England.

EGGER. — Observations sur quelques
fragments de poterie antique
provenant d'Egypte, et qui por-
tent des inscriptions grecques.
Paris, 1857. 4°, pp. 32.

" Remarks upon a few fragments of
antique pottery found in Egypt, bearing
Greek inscriptions."

EHRHARDT (A. H.).— Anweisung zur
Verfertigung und Anwendung
bleifreier Glasuren fur alle Arten
irdener und eiserner Geschirre.
Quedlinburg, G. Basse, 1833. 8°,
pp. 32.

" Instructions for preparing and em-
ploying leadless glazes for all kinds of
earthen and iron vessels."

In 1828 the King of Bavaria had offered a
prize of 1,000 florins for the discovery of a lead-
less glaze which could be employed without
danger to the health of the workmen. The
potters and chemists of the time made many
experiments in that direction ; the result of
their researches was embodied in this paper.

EILERS (G.).--Fayence Ofenfabrik
der Briiderhauses in Neuwied,
1872. 8° ; 70 pis.

" Pattern-book of the ' Briiderhause '
earthenware stoves at Neuwied."

EISELEN (J. Ch.).— Ausfuhrliche theor-
etisch-praktische Anleitung zum
Ziegelbrennen mit Torf. Berlin,
1802. 8°,

" The complete instructions for the
theory and practice of firing bricks and
tiles with peat."

ELINCKHUYZE (Collection). — Catalogue
of sale. Bruxelles, 1875. 8°, pp.
84; with 12 pis. of faience and
porcelain.

The rich collection of a Rotterdam amateur.
Oriental porcelain comprised 580 Nos. ; ancient
stoneware, 54 Nos. ; miscellaneous faience and
porcelain, 60 Nos.

ELLIOT (Ch. Wyllys). — Pottery and
porcelain, from the early times
down to the Philadelphia Ex-
hibition of 1876. New York,
Appleton, 1878. 8°, pp. 358;
with num. illustrs. and marks.
12s.

Three works treating of the history of
the ceramic art were issued simultaneously
in New York in 1878, to satisfy the craving
for knowledge, excited in America amongst
intending collectors by the much admired
display of pottery and porcelain at the Phila-
delphia Exhibition. Exceptional conditions
naturally give rise to the production of
special books ; this was the case when a new
artistic craze, transplanted from the old world,
took root in the upper circles of American
society. On the day when the germs of china
collecting sprouted up amongst the amateurs of
the United States, each of them became anxious
to appear to be thoroughly conversant with
a subject on which all had everything to learn.
Compendiums of general information had to be
got ready on the spur of the moment ; several
publishers, anticipating a profitable specula-
tion, endeavoured to forestall their competitors
in bringing out the much-wanted handbook.
A few volumes of continental works on old
pottery, scissors and paste, and a certain
degree of confidence, was all that was required ;
and with their assistance many an improvised
connoisseur was soon enabled to throw on his
own shoulders a befitting author's mantle cut
out of the spoils he had appropriated from the
writings of some accredited historian. The
outcome of such hasty compilation cannot, of
course, be of much interest to anyone who can
easily refer to the original sources. American
handbooks of that period should not be recom-
mended out of America, where they never
enjoyed much credit on the part of the true
collector. This volume does not make an
exception to the rule ; the woodcuts are mostly
borrowed from L. Figuier's Les merveilles de
I' Industrie, and the letterpress from other and
still more familiar authorities.

EMDEN (Coll. H.).— Catalogue of sale.
Berlin, K. Lepke, 1908. 4°, pp.
202 ; with 94 phototype pis.
13m.

131

CERAMIC LITERATURE.

[ENG

The collection of a Hamburg amateur, com-
prising 1,058 Nos. of European pottery and
porcelain ; it contained many specimens of high
order.

EM (Johann). — Beitrage zur io
nischen Vasenmalerei. Pray,
1899. 8°, pp. 80; with 8 pis. and
44 illustrs. 4 m.

" Contribution towards the identifica-
tion of Ionic vase painting."

From the paintings of the " Klazomenes
Sarcophagus," and of the vases discovered at
Naucratis, the author has attempted to define
the characteristic style of the Ionic ceramics.
There can be no doubt as to the sarcophagus
being the work of a local potter, and the vases,
which bear a similar ornamentation, are bound
to have the same origin. Naucratis, an Ionic
colony, was founded towards the end of the
sixth century B.C. ; the pottery made there by
the settlers cannot, consequently, be anterior to
that date. A list of all the known painted
vases which can be classified in the same group
is given by the author.

ENGELHARD! (C. A.).— J. F. Bottger,
Erfinder der Sachsischen Por-
zellans. Biographie aus authen-
tischen Quellen. Nach dem Tode
der Verfassers vollendet und
herausgegeben von Dr. August
Moritz Engelhardt. Nebst einer
kurzen Darstellung der Staats-
Gefangnisse und merkwurdigen
Staatgefangenen in Sachsen seit
dem sechszehnten Jahrhundert.
Leipzig, A. Barth, 1837. 8°, pp.
659 ; portrait. 6 m.

" J. F. Bottger, inventor of the por-
celain of Saxony. A biography written
from authentic sources. Completed and
published after the death of the author
.by Dr. A. M. Engelhardt. With a short
account of the State prisons in Saxony,
and a memoir of the most notable State-
prisoners since the sixteenth century."

A perusal of this standard biography of the
inventor of the European hard porcelain makes
us well acquainted with the character of the
man and the abnormal surroundings through
which he moved during his short and romantic
existence. With all that concerns his labours,
— or what may have been the lucky casualties,
— which led to his wonderful discovery, our
curiosity remains, however, only partially
satisfied. A prisoner of State, closely watched
in all his movements during eight years, he had
been the subject of a voluminous correspondence
between his warders and Augustus I. , King of
Poland and elector of Saxony, so great was the
importance attached to the experiments he was

132

prosecuting on the transmutation of metals.
The examination of that correspondence, keenly
scrutinised by Engelhardt, allows us to follow,
almost from day to day, all the incidents of
Bottger's life during his captivity. To our
disappointment it becomes silent when the
prisoner, giving up his chimerical researches on
gold making, turns his marvellous abilities
towards the production of a translucent porce-
lain, which was to be as beautiful in its sub-
stance as any of the priceless Oriental vases that
his kingly master had collected, at all cost, in
his Dresden palaces. For eight years Augustus
had not betrayed any loss of confidence in the
ultimate realisation of the wonders that his
alchemist had promised to accomplish. Such
an infatuation on the part of an enlightened
Prince is nothing short of incredible. The
times he lived in may alone account for it.
The blind faith of mediaeval ages in the
mysterious power of supernatural agencies
was still rife in the eighteenth century.
Human credulity had merely shifted its
grounds ; religious superstition had made room
for unbounded confidence in the possibilities of
science. If miracles were no longer prayed for
at some holy shrine, they were confidently
expected from the philosopher's laboratory.
Augustus was still confident that the success
of Bottger's experiments would, one day,
restore to prosperity the shattered finances
of his kingdom. At last, some suspicion of
deceit, or incapacity, on the part of his
prisoner arose in his mind. He called Bottger
to his presence and upbraided him violently on
his repeated failures, and the heavy cost of his
fruitless trials, ending the interview with these
words : ' ' Now, remember, if thou playest me
false I will have thee hanged." Not long after
this occurrence, we hear that a curious red
porcelain was being regularly manufactured in
furnaces intended for carrying out achieve-
ments of a far more scientific order, and that
all was ready for the making of a white ware
of translucent body. Not one word appears
in the official documents to intimate that any
trials had been previously prosecuted in that
direction, and while the composition of white
porcelain was being definitely settled, not a
line was exchanged between the prison and the
palace which had reference to the discovery.
Different though it was from the one that was
expected, the invention of porcelain saved the
life of its inventor.

The biographer is at a loss to account for
this gap in the chain of official records. So,
for sheer lack of material evidence, he has to
resort to inductions and conjectures when he
endeavours to defend Bottger against the grave
imputation that was cast upon him by some of
his contemporaries. It had been said, at the
time, and the rumour had afterwards been
circulated as an established fact, that Bottger
was not in reality the discoverer of the true
porcelain, but that all credit for the invention
was to be rendered to Tschirnhaus, his friend
and companion in captivity. This latter, a
scientist of great renown, had indeed once
composed a kind of opaque glass which he
thought could be perfected into a good imita-
tion of real porcelain, but he had soon seen the
error of his ways, and had abandoned the idea.
The accusation brought against Bottger falls to
the ground when we remember that the king

CERAMIC LITERATURE.

[ERG

always treated him as the sole inventor, gave
him the management of the Meissen works,
and that Tschirnhaus never complained of
having been defrauded of his rights.

One may depend on the strict impartiality of
the biographer, for while rendering full justice
to the inventive genius and chemical know-
ledge of the discoverer of hard porcelain, he
does not attempt to brighten the darkest sides
of his private character. A less flattering
portrait could scarcely have been drawn of a
man who is described as a reckless spendthrift,
a drunkard, a profligate, and who is even
suspected to have acted as a traitor to his king
and to his friends. Let us hasten to add that,
in every other respect he was the best fellow <
in the world ; so much, at least, can we gather
from the picture given of him by Engelhardt.

The conditions of the manufactory under his
administration are presented as having been
deplorable. The directors, neglecting duty for
pleasure, were often absent ; no rules could be
enforced, no discipline had ever been established,
and the workpeople had it all their own way.
Immense sums were squandered every year,
and yet the men were often left many months
without wages. As a consequence, desertions
were frequent. Notwithstanding all the pre-
cautions taken against such eventualities, many
of the best operatives managed to escape from
a lenient imprisonment, and carried into other
places such portion of the secrets of manu-
facture as they had been able to master.
Strange as it may appear, the productions of
the Meissen works lost nothing, under such un-
favourable conditions, of their incomparable
merit. Some of the earliest examples surpass,
in quality and perfection of workmanship,
all that was done later on under happier
circumstances.

Little could be added to a biography con-
scientiously written by one who had acquired
such a thorough knowledge of his hero and of
the times he lived in, so that this will remain
the standard book on the subject. We should
like to see it reprinted in a form more in keep-
ing with its value. Printing and paper are of a
worthless description, and it would be desirable
to have a more artistic presentment of Bottger's
Olympian profile, than the poor lithographic
portrait placed at the head of the volume.

ENJUBAULT (Emile). — L'art ceramique
et Bernard Palissy. Moulins,
1858. 8°, pp. 178. 5 fcs.

" Ceramic art and Bernard Palissy."

As the title implies, the book consists of two
independent parts — general considerations on
the ceramic art, and a biography of Bernard
Palissy. In both sections, in spite of evident
efforts to restrict himself to his subject, the
author is constantly carried away by a flow of
irrepressible eloquence far above earthen pots,
their history, and their makers. He dwells, at
full length, on the pottery of antique times,
not because he knows much about it, but for
the reason that Egypt, Greece, and Rome
being the source of all classical knowledge,
anything that is connected with them affords
good opportunities for a display of historical
and philosophical erudition. When he comes
to the pottery of a more modern period, he

seems in a hurry to escape from the common-
place considerations that faience and porcelain
are apt to suggest, and a few short pages are
sufficient for him to dispose of the whole
history. Among the names of potters that he
mentions, he does not forget that of Josiah
Wedgwood, whom he describes as r "a clever,
indefatigable workman, to whom we owe a
pyrometer."

In the part devoted to the life of Palissy,
the central figure becomes obscured by the
importance given to his surroundings. Actual
facts and relevant remarks are scantily intro-
duced ; but each passing statement offers to the
biographer an occasion for indulging in some
high-flown digression. If he tells us that a
portion of Palissy's work is written in the
form of controversial dialogues, in which
Theory and Practice have been made the
interlocutors, this serves him as a pretext for
dilating upon the relation that Practice should
bear to Theory. In the same manner passages
from the Memoirs are selected and quoted for
the obvious purpose of allowing the annotator
to Taring forth his personal views upon weighty
points of art, science, and philosophy. As to
what regards Palissy and his genius, the
matter is settled in a few sentences, in which
he is said to have been the undoubted creator
of the potter's art in France, and a born
philosopher who succeeded in understanding
many of the theretofore unread pages of the
book of Nature. Due homage having "been
thus rendered to his merits, his name reappears
but seldom in the rest of the book, being then
introduced between two long-winded disquisi-
tions upon abstract questions, With which it has
little, or often nothing, to do.

ENTRECOLLES (F.-I d').— Lettres du
Pere d'Entrecolles sur la fabri-
cation de la porcelaine en Chine,
1712-1722.

" Letters from Father d'Entrecolles on
the manufacture of porcelain in China."

No authority has been more often quoted in
ceramic books than the French missionary on
the subject of Chinese porcelain. His letters
were at the time extensively circulated in MS.
Extracts of them were printed in Du Halde's
Histoire de la Chine, and in all contemporary
works treating of the making of porcelain.
They were not, to our knowledge, ever printed
in a separate form. It was in the JLettres
ediftantes et curieiises &crites des Missions
etrangeres, Paris, 1780-1783, vol. xviii.-xix.,
that they were given in full for the first time.

ERBSTEIN (A.).— Die Kgl. Porzellan
und Gefass Sammlung zu Dres-
den. Dresden, 1889. 12°, pp. 42.

" A guide book to the porcelain collec-
tion of Dresden."

ERCULEI (R.).— Roma. Museo ar-
tistico-industriale. IV. Esposizi-
one, 1889. Arte ceramica e

133

E&R]

CERA MIC LIT ERA TURE.

[ESS

vetraria. Catalogo delle opere
esposte, preceduto da notizie e
document! sulla ceramica italiana
raccolti per cura di R. Erculei,
direttore del museo. Roma,
Civelli, 1889. 8°, pp. 340. 3 fcs.

"Rome. Museum of industrial art.
Fourth exhibition. Ceramics and glass.
Catalogue of the objects exhibited ; with
notices and original documents on Italian
ceramics, published under the direction
of R. Erculei, curator of the museum."

The historical notices placed at the beginning
of this volume render it of paramount interest
for the study of Italian ceramic art. They
supply information published here for the
first time, or to be found only in pamphlets
difficult to obtain, together with the text of
many curious documents. We append the
titles of these notices : —

Funghini (V.).— Degli antichi vasi fittile
aretini, pp. 3-17.

Urban! de Gheltof (M.).— Note storiche

ed artistiche sulla ceramica italiana, pp.
18-162.

Anselmi (A.). — Sull'arte dei vasai in
Arcevia, pp. 163-167.

LllZl (E.). — Industria ceramica in Ascoli-
Piceno, pp. 168-169.

Erculei (R.)« — Statuum artis vasariorum
civitatis Perusii, pp. 170-211.

Raffaelli(F.). — Reminiscenze storiche sopra
1'arte della ceramica nelle provincie marche-
giane, pp. 212-219.

Erculei (R.).— Una fabbrica di majoliche
in Ronciglione, pp. 220-222.

Parazzi (A.). — Due fabbriche di ceramica
. in Viadana, pp. 223-234.

Catalogo degli oggetti esposti.

ERRARD (Ch.)- — Recueil de divers
vases antiques, by Ch. E. Peintre
du roi. Paris and Roma, 1680.
Sm. fol.

" A collection of various antique vases."

ESPERANDIEU (Le Lieutenant).— Fouilles
de Teglise abbatiale des Chat-
eliers. Carrelages emailles. S.I.,
1890. 8° ; 29 autogr. pis. (Priv.
print.)

" Excavations on the site of the ancient
abbey church of Chatelliers. Glazed
tiles."

Carreaux vernisses decouverts

aux Chatelliers, pres de Saint
Maixent (Deux-Sevres). Paris,
Leroux, 1892. 8°, pp. 16 ; with
3 col. pis. and 1 plan. 3 fcs.

134

"Glazed earthenware tiles discovered
at Chatelliers."

The excavations, conducted by Mgr. Barbier
de Montault, yielded a large quantity of
paving tiles of the thirteenth and sixteenth
centuries. The coloured plates which illustrate
this monograph are a great improvement on
the rough sketches previously published.

ESQUIE. — Note sur des carrelages
emailles trouves a Toulouse.
Toulouse, impr. Douladoux, 1879.
8°, pp. 20 ; and 2 pis.

" Notes upon the glazed tiles discovered
at Toulouse."

We have already had occasion to remark that
inlaid mediaeval tiles are found in France in
all provinces once occupied by the English.
Whether or not they brought over from
England this style of floor decoration is a
question which has not yet been ventilated,
although the point is one which deserves the
attention of the archaeologist.

ESSEN WEIN (A.)- — Norddeutschland
Backstein-Bau im Mittelalter.
Carlsruhe, 1855. Fol.; with 37
lith. pis. (some col.) and wood-
cuts in the text. 30 m.

" Brick buildings of the Middle Ages
in North Germany."

- Kunst - und - Kulturgeschicht -
liche Denkrnale des German-
ischen National Museum. Eine
Sammlung von Abbildungen
hervorragender Werke aus
sammtlichen Gebieten der Kul-
tur. Leipzig, 1877. Sm. fol.,
Preface, Index, and 120 pp. of
woodcuts. 30 m.

"Historical monuments of art and
archaeology in the Germanic Museum.
A collection of remarkable examples
illustrating the general progress of arts
and industries."

The splendid museum of national art at
Nuremberg, at first a private collection, owes
its rapid extension chiefly to the exertions of
its first director, the architect Essenwein. As
a means of increasing the financial resources of
the museum, he gathered together, in one
volume, all the woodcuts which had appeared
in the archseologial reviews of Germany,
representing the most interesting objects in
the galleries. He offered it for subscription ;
the profits accruing from the sale to be applied
to the building fund. A great variety of
examples of German ceramic art are included
among the reproductions of works of art of all

ESS]

CERA MIC LITER A TURE.

[FA3

kinds which illustrate a volume somewhat of
the nature of a scrap-book.

ESSINGH (Collection A. Joseph).— Cata-
logue of sale. Cologne, Heberle.
1865. 8°, pp. 166 ; with 12 lith!
pis. and woodcuts.

One of the great collections of Germany.
Ancient stoneware, Nos. 1 to 117; majolica
and porcelain, Nos. 118 to 251. The list of the
prices realised at the sale is added to the
catalogue.

ESTE.— The pipes of all peoples.
(Notes on the Bragge collection.)
(Reprint from the Birmingham
Daily Post, Dec. 16th, 1870.)
Birmingham, 1870. 4°.

ESTORFF (Carl von).— Heidnische Al-

terthtimerder Gegend vonUelzen
Bardengaue.
Han-

im ehemaligen
(Konigreich Hannover.)
nover, 1846. Obi. fol., pp. 134;
with 17 engr. pis. 6 m.

"Pagan antiquities from the neigh-
bourhood of Uelzen, in the ancient Bai*-
dengaue (Kingdom of Hanover)."

The work is merely descriptive of the finds
made in the district, which lies in the vicinity
of Lunebourg, all historical questions and
archaeological speculations having been pur-
posely left untouched by the writer. It con-
tains a very complete account of the various
modes of sepulture adopted by the early
inhabitants of Germany from the Druidic times
down to the first centuries of our era. Over
fifty cinerary urns are represented on the
plates, unfortunately badly drawn and
engraved.

EUDEL (Paul).— Le Truquage. Les
contrefa§ons devoilees. Paris,
1887. 12°. 6fcs.

" Trickery, or shams and forgeries
exposed."

On pages 49-58 and 165-259, the writer
describes the skilful imitations and the sharp
practices of certain dealers by which ceramic
collectors have been imposed upon.

EVANS (A. J.).— On a late Celtic urn-
field at Aylesford, Kent, etc.
London, 1890. 4°, pp. 74 ; with
pis. and illustrs. (mArchceologia).

EVANS (William).— Art and history of
the potting business, compiled
from the most practical sources

for the especial use of working
potters by their devoted friend,
W. Evans. Shelton, printed at
the Examiner Office, 1846. 12°,
pp. 72. 10s.

Whether the practical potter who published
this handbook was really actuated by the
opinion he expresses in the preface that
" every operative has a right to know the
component parts of all that passes through his
hands," or merely by the hope of making a
profitable speculation, his expectation must, in
either case, have been frustrated. The sale
cannot have extended beyond an insignificant
number of copies, for the book is now almost
unknown in the Potteries. Such a publication
must have created some excitement among the
master-potters of Staffordshire, and it was,
surely, denounced as a wanton breach of pro-
fessional discretion. If Lakin's book of recipes
had been previously printed by the manu-
facturer's widow, its prohibitory price had
kept it out of the reach of the public ; this
cheap pamphlet brought the trade secrets
within the means of every workman. The
secrets of the trade were still considered of
great value, being in the possession of a very
few. Most of the master-potters had to
depend, for the preparation of bodies and
glazes, upon the assistance of practical
managers, who kept jealously to themselves
the mystery of their composition.

If we trust the statement of the compiler,
MS. copies of the recipes that are printed in
the Appendix, had previously been sold in the
Potteries for as much as one hundred pounds
each.

EYERS (Edward).— The ancient pottery
of South-eastern Missouri. Salem
(Mass.), 1880. 4°, pp. 30 ; with
maps and 24 lith. pis., accomp.
with descrip. notices. (In : Con-
tributions to the archwology of
Missouri, by the Archseological
section of the St. Louis Academy
of Science. Part I., Pottery.)

FABRICIUS (W. A.).— Lucernae veterum.
Number g, 1653. 4°, pp. 18 ; with
8 pis.

This essay, destined to be read as an
inaugural address, was published by the father
of the author, J. C. Fabricius.

FABRONI (A.).— Storia degli antichi
vasi fittile aretini. Arezzo, 1841.
8°, pp. 80; with 9 engr. pis. 8 fcs.

Arezzo has, unquestionably, been one of the
great centres of manufacture of the bright red

135

CERAMIC LITERATURE.

[FAL

pottery, adorned with elaborate designs in low-
reliefs, and covered with a filmy glaze, to which
the name of "Samian" was most improperly
applied. Fragments of it are discovered in
abundance on the site of the old pot-works, or
in the refuse heaps of ancient towns, but
are seldom found in antique graves, associated
with the mortuary vessels of other description.
This is perhaps why early Italian antiquaries,
who confined their researches within the limits
of the Etruscan necropolis, long neglected the
study of the shining red pottery. Fabroni,
the curator of the Arezzo Museum, resolved to
indite a historical essay on the subject. So
considerable were the heaps of fragments un-
earthed from the very soil of the town, that
the writer felt himself warranted in asserting
that all examples of a similar type found in
other countries, had been imported from
Arezzo. His main object was to discredit
for ever the " Samian " theory. To that
effect he brought forth many specimens
bearing inscriptions traced in Etruscan
characters or names corresponding to those
found on the stone monuments of ancient
Etruria, documentary evidence from which a
local origin could fairly be inferred. Having,
subsequently, established that, according to
the testimony of classical authors, the making
of the red ware had persisted in the town for
uncounted centuries, he came to the conclusion
that the production had been sufficiently
abundant to meet the demand of a colossal
export trade.

Fabroni's sweeping assertion could not, how-
ever, be accepted. Too many ruins of Roman
potters' kilns, where fragments and wasters
plainly indicate that this particular pottery
had been the staple article of manufacture,
have been discovered all over Europe, to admit
of a doubt that it had been actually fabricated
on the spot where it was found.

FAGER. — Rococo Malerein auf Lud-
wigsburger Porcellan. Stutt-
gart, 1891. 4°, of 11 col. pis.
10m.

" Rococo paintings on the Ludwigsburg
porcelain."

Several motives for the use of the porcelain
painter.

FAIRBANKS (A.).— Athenian Lekythoi
with outline drawings in glaze
varnish on a white ground. New
York, Macmillan Co., 1907.
Imp. 8°, pp viii-371; with 15
half-tone pis. and 57 text illustrs.
16s.

A complementary volume is announced which
will contain the vases of the same type, the
subject of which is outlined in matt colours.

FAIRHOLT (F. W.).— Tobacco : its his-
tory and associations, etc. Lon-
don (3rd ed.), 1876. 8°. 5s.
136

Chap. iv. gives illustrations of the clay
pipes of all countries, with an account of their
manufacture.

FAIRIE (J.)- — Notes on pottery clays.
The distribution, properties, uses,
and analysis of ball-clays, china-
clays, and china-stone. London,
Scott and Greenwood, 1901. 8°,
pp. 136. 3s. 6d.

- Notes on lead ores, their dis-
tribution and properties. Lon-
don, Scott and Greenwood, 1901.
8°, pp. 64. 2s. 6d.

FALBE (C. T.)-— Vases antiques du
Perou. Copenhague, 1843. 8°,
pp. 6 ; with 2 pis. (Reprint from
the Memoir e$ de la Soc. Roy. des
Ant. du Nord.)

FALCH1 (T.) - - Vetulonia e la sua
necropoli antichissima. Firenze,
Stab, tipografico fiorentino, 1892.
4°, pp. 323 ; with 19 pis. 10 fcs.

" Vetulonia and its antique necropolis."

The pottery discovered on the site of an-
tique Vetulonia, near Grosseto, is of an archaic
character ; several examples of hut-urns and
other Etruscan vessels of curious shapes are
given on the plates.

FALCONNET (Major de P,).— Brick and
tile making at Allahabad . Roor-
kee, 1874. 8°, pp. 33 ; with 21
col. pis.

During the years 1872-74, the military works
at Allahabad carried on the manufacture of
bricks and tiles for the erection of buildings
in India. The processes described in this
pamphlet are those followed by English manu-
facturers.

FALKE (Collection David).— Catalogue of
sale. London, Christie, 1858. 8°,
pp. 208 ; with 25 lith. pis. 5s.

The sale lasted nineteen days. Ceramic
objects, many of them of high order, were
included in every day's sale. D. Falke was a
dealer in Bond Street.

FALKE (J. von). — Die kunstlerisch-
asthetische Seite der auf der
Ausstellung vertreten Industrie-
Producte. Wien, 1869. 8°. (In
Bericht iiber die We It- Ausstellung
zu Paris, 1867.) Pp. 109-113.

FAL|

CERA MIC LIT ERA TURE.

[FAL

"The artistic and aesthetic aspect of
the industrial products represented at
the exhibition."

Die Kunstsammlimgen Sr.
Majestat des Konigs Karl's XV.
von Schweden und Norwegen zu
Stokholm und Ulriksdal. Wien,
1871. 8°, pp. 254. Ceramics,
pp. 1-90. 15 m.

" The art collection of H.M. Karl XV.,
King of Sweden and Norway, at Stock-
holm and Ulriksdal."

Die ehemalige Kaiserliche
Porzellan-Fabrik in Wien. Stutt-
gart, 1875. 4°, pp. 19 ; with 20
illustrs. (In Gewerbehalle.)

"The ancient imperial manufactory of
porcelain of Vienna."

- Die K. K. Wiener Porzellan-
fabrik. Die Geschichte und die
Sammlung ihrer Arbeiten im K.
K. Oesterreich. Museum. Wien,
Gerold's Sohn, 1887. 4°, pp. 89 ;
with 17 phototyp. pis. (1 col.)

" The Imperial and Royal porcelain
manufactory of Vienna. Its history and
the description of the collection of its
productions in the I. and R. Austrian
Museum of Industrial Art."

This monograph of a celebrated manufactory,
now extinct, repeats and completes the work
mentioned higher up. It contains a catalogue
raisonne of the specimens of Vienna porcelain,
which had been selected from the stock of the
Imperial manufactory at the close of that
establishment, and had just been deposited in
the Museum of Industrial Art. The five
periods of manufacture into which J. von
Falke has divided his book, are adequately
represented in that collection.

It was in 1718 that a Dutchman, named
Du Pasquier, attempted to establish a manu-
factory of hard porcelain at Vienna, with the
assistance of a certain Stenzel, a workman he
had enticed from Meissen, and who had
succeeded in mastering a portion of the secrets
of manufacture. For many years the under-
taking remained in the experimental state ;
the capital needed for its development could
not be obtained, and it dragged a precarious
existence, occupying only ten hands. Limited
as were the productions, they were, neverthe-
less, creditable enough to induce the Empress
Maria Theresa to free the management from
their crushing liabilities, and, placing the works
under her patronage, to have them carried on as
an Imperial manufactory. This occurred at the
date of 1744, and from that time porcelain of a
fine quality, chiefly an imitation of that pro-

duced at Dresden and Sevres, was regularly
manufactured, but without any marked success.
At last, under the management of Sorgenthal
(1784-1805), the Imperial factory enjoyed a
period of extraordinary prosperity. Decora-
tions in the classical style, reproductions of
pictures by the old masters and the best
painters of the times, and above all, an
elaborate gilding, the perfection of which had
never been approached before, secured for
the Vienna porcelain of that period a favour
that it has never lost in the eye of the
connoisseur. From 1805 till 1816, at a time
when the art industries had been so seriously
affected all over Europe as to be almost ruined
by the consequences of the Napoleonic wars,
the fortunes of the Imperial factory had, by a
singular dispensation, reached their highest
point. Over five hundred workmen found
employment at the works, and the sales and
profit made in the year 1816 rose to an unpre-
cedented figure. From that moment the busi-
ness began to decline ; all went gradually from
bad to worse, and no efforts could stop an
evil course which was to end in the definite
closing of the manufactory.

This volume forms one of the handbooks of
the Museum of Industrial Art. A reprint of a
technical treatise on the porcelain and the
porcelain clays of Austria, published by
B. Scholtz in 1824, is given as a supplement.

FALKE (OttO VOn). - - Kunstgewerbe
Museum. Majolika. Berlin,
Spemann, 1896. 8°, pp. 200;
with 79 illustrs. 2s. 6d.

"Industrial Art Museum at Berlin.
Handbook to the history of the majolica
and faience of all countries."

Interesting information respecting the Ger-
man manufactories of stanniferous faience.

— Sammlung Richard Zschille.
Katalog der italienischen Ma-
joliken. Leipzig, Hiersemann,
1899. Sm. fol., pp. xvi-24 ; with
35 phototyp. pis. 45 m.

" Collection R. Zschille. Catalogue of
the Italian majolica."

A remarkable collection which contained
well selected representatives of all the chief
styles of Italian majolica, from the beginning
to the decline of the art. It comprised 229
Nos., 190 of which are represented in the plates.

The collection was sold at Christie's, London,
June 1st, 1899.

Kolnisches Steinzeug. Berlin,

1899. 4°, pp. 24; with 1 photo-
typ. pi. and 9 text illustrs. (Re-
print from the Jahrbuch der
Konigl. preussischen Kunstsamm-
lungen, vol. xx.)

" Cologne stoneware."

137

FAL]

CERA MIC LITER A TURE.

In 1889, as workmen were making some
excavations at Cologne, in the Komodien
Strasse, they brought to light the remains of a
potter's oven the soil around which was
strewn with fragments and wasters of brown
stoneware. A further discovery of the huge
refuse-heap of another pot-works of the same
period, in which pieces and fragments were
equally abundant, was made in Maximinens
Strasse in 1897. In this manner the question,
long left in suspense as to whether stoneware
had been actually manufactured in the town,
was definitely settled. We are now expected
to accept, as an equally absolute fact, that the
making of the brown stoneware had its cradle in
Cologne, and not at Raeren, the mighty centre
of production, so far credited with the inven-
tion. One could not easily realise how such a
claim could be satisfactorily established by
means of the two finds just mentioned. Yet,
it rests on nothing else. As a matter of fact,
they did not supply any dated or inscribed
piece by which the existence of these factories
could be connected with any authentic docu-
ment. Repeated mentions of the potters and
their trade are recorded in the town registers.
None of them is, however, sufficiently explicit.
Far from being conclusive, these concise records
may be altogether misleading. They may have
reference to some common terra-cotta potter,
and not to a maker of artistic stoneware.

The discussion on the priority of Raeren in
the production of this particular style of
pottery, has been fully enlarged upon else-
• where ; we do not intend to revert to it. We
notice that this priority is flatly denied by
Mr. Falke. Such a peremptory verdict ought,
we think, to be substantiated by a better class
of evidence. Against the claim put forth by
the partisans of the theory that brown stone-
ware had originated at Cologne, one may
oppose the fact that the excavations have not
yielded a single trial piece or example of a
very primitive character, such as Raeren has
supplied in countless numbers. This seems
to indicate that the industry did not ori-
ginate here, but was introduced after it had
reached a high degree of improvement else-
where.

The only document in which reference is
made to the potting trade in the Maximinen
Strasse, is dated 1589. It gives us the name of
two men, established in the street, probably as
retailers of stoneware goods. Both are de-
scribed as belonging to Frechen, a neighbour-
ing village, whither we have good cause to
believe the Cologne potters repaired and
carried on their trade when expelled from
the town by a municipal edict. To this
transfer of the industry, the striking similai-ity
that the Cologne ware bears to that of Frechen,
affords a convincing testimony.

FALKE (OttO von).— Katalog der . . .
Sammlung Alt-Meissner Por-
zellan . . . nebst einem
Anhang, Porzellananderer Manu-
facturer!, des Herrn C. H. Fisher
in Dresden. Kbln, 1906. 4°, pp.
164 ; with 50 photot. pis. and
138

numerous half-tone text illustrs.
40 m.

Collection C. H. Fisher— Cat. of sale. Old
Meissen porcelain, 998 Nos., with a small
addition of examples from other sources. The
Catalogue is of great importance. The pre-
face is by Dr. 0. v. Falke.

FALKNER (F.) and SIDEBOTHAM (Collection).
— Catalogue of a collection of
English pottery figures, deposited
on loan, in the Royal Museum,
Peel Park. Manchester, 1906.
8°, pp. 41 ; with 13 pis.

FANELLI (P.).— Idea del perfetto pit-
tore. Accresciato della maniera
di dipingere sopra la porcellana,
vitro, etc. Torino, 1779. 8°,
pp. 118. 2 fcs.

"An idea of a perfect painter; to
which is added the art of painting
upon porcelain, glass, etc."

FANTI (G.).— Ricordi intorno le mai-
oliche faentine. S.I., 1869. 8°,
pp.6.

" Some recollections about the majolica
of Faenza."

FARAO (F. M.).— Sull'interpretazione
di due vasi fittili pestani fatta
dal Lanzi. Napoli, 1810.

"On the elucidation of two fictile
vases found at Pestum, given by Lanzi."

FARABULINI (D.).— Sopra un monu-
mento della scuola di Luca della
Robbia aggiunto al museo sacro
della Biblioteca Vaticana. Roma,
1886. 8°, pp. 51 ; 1 pi. 3 fcs.

"Notice of a majolica relief of the
Della Robbia school added to the ecclesi-
astical museum of the Vatican library."

A work of a late period, hardly to be classed
among the productions of the Delia Robbia
school.

FAREY (P. de). — La ceramique dans le
Calvados. Atelier du Molay.
Tours, 1883. 8°, pp. 20 ; illustrs.
3 fcs.

"Ceramic art in Calvados. Manu-
factory of Molay."

FAR]

CERA MIC LI TEH A TURE.

[FEL

Notes upon the pottery manufacture of a
district not mentioned by previous writers.
The illustrations reproduce some tumular
effigies made of earthenware tiles incised with
figures in the style of the memorial brass plates
and carved flagstones of the same period.

FARGUES (J.)-— On the manufacture
of modern Kashi earthenware
tiles and vases in imitation of
the ancient. Written at the
request of Sir R. Murdoch Smith,
K.C.M.G., by the inventor, Ustad
AH Mohamed of Teheran, and
translated from the Persian MS.
by J. Fargues. Edinburgh,
Museum of Science and Art,
1888. 8°, pp. 11.

An European potter could make no use of
these obscurely worded recipes. It is clear,
however, that they could not be applied to the
manufacture of ancient Persian ware. The
preparation of the precipitate of gold and of
the yellow obtained from iron is repeated
three times. Neither of these colours appears
on the old ware of Persia ; but they are
employed by the modern potter for the decora-
tion of a common faience crudely painted, and
fired at a very low temperature.

FARKASHAZI-FISCHER.— Palissy Elete es
miivei. Budapest, Pallas, 1887.
8°, pp. 127 ; with illustrs. 5s.

A life of Palissy in Hungarian. The wood-
cuts are borrowed from the Gazette des Beaux
Arts.

— Une manufacture nationale.
Budapest, 1887. 8°, pp. 12.

"A plea in favour of the establish-
ment of a state-supported porcelain manu-
factory in Hungary."

FAUCONNIER.— Memoire et consulta-
tion pour les directeurs de la
manufacture de porcelaine de
France k Sevres, exploitee au
compte du Roy ; contre les
syndics de la communaute des
officiers-jures mouleurs de bois,
demandeurs. Paris, Imprimerie
Chardon, 1769. Sm. 4°, pp. 54.

"Memoir and legal opinion for the
directors of the manufactory of porce-
lain of France, carried on on behalf of
the king, defendants ; against the war-
dens of the corporation of wood-measurers,
plaintiffs "

FAUJAS DE SAINT-FOND.— See Palissy.

FAUSSETT (Bryan).— In ventorium sep-
ulchrale : an account of some
antiquities dug up at Gilton,
Kingston, etc., in the County of
Kent, from A.D. 1757 to A.D.
1773. Edited from the original
manuscript in the possession of
Joseph Mayer, Esq., with Notes
and Introduction by Ch. Roach
Smith. Printed for subscribers.
London, 1854. 4°, pp. 230; with
20 engr. pis., some in colour
(1 pi. pottery), and illustrs. in
text. £1, Is.

FEA (Carlo).— Storia dei vasi fittili
dipinti che da quattro anni si
trovano nello Stato ecclesiastico,
etc. Roina, 1832. 8°, pp. 65.

" History of the painted vases dis-
covered during the last four years in
the Papal States ; showing that antique
Etruria kept a regular commercial inter-
course with the Lydian colony, established
in the country several centuries before
the Roman domination.

In adopting the theory expounded by
Lucien Bonaparte in the catalogue of his
collection, C. Fea believed that all the painted
vases had been manufactured in Etruria, and
accordingly he built up a fantastic tale of
their wholesale importation into Greece and
other countries through the intermedium of
the Lydian merchants.

FELDEGG (F. YOn). - - Grundriss der
KunstgewerblichenFormenlehre,
Wien, 1887. 8°; with 122 il-
lustrs. 3 m.

" Elementary rules for the designing
of shapes in industrial art."

Published under the patronage of the K.K.
ministry of public instruction. About one
half of the work is devoted to the drawing of
ceramic shapes.

FELDSCHAREK (R.).— Umrisse Antiker
Thongefasse, etc. Wien, 1876.
Fol.; 15 pis. 10s.

" Outlines of antique vases."

- Ornamente Antiker Thonge-
fasse ; zum Studium und zur
Nachbildung fur die Kunstin-

139

FEL]

CERA MIC LIT ERA TURE.

[FIA

diistrie sowie fur Schulen. Wien,
1878. Fol.; 15 pis. in col. 10s.

" Ornaments of antique vases ; models
for industrial arts and for the schools of
design."

The first two parts of an educational work
published by the Royal Museum of Art and
industry of Austria.

FELIX (E.). — Die Kunstsammlung
von Eugen Felix in Leipzig.
Katalog verfast von Dr. A. von
Eye und P. E. Borner. Leipzig,
Weigel, 1880. 8°, pp. 174; with
atlas fol. of 36 phototyp. pis.
30m.

"The collection of works of art in the
possession of S. F. of Leipzig. Cata-
logue prepared by Dr. A. von Eye and
P. E. Borner."

Ceramics — pis. 26-30.

- Catalogue of sale. Cologne,
Heberle, 1886. 4°, pp. 228 ; with
numerous illustrs. in the text.
10m.

This catalogue contains 135 Nos. of pottery
of various origin. Old German stoneware was
particularly well represented. A large Sieg
burg bottle f

fetched £800.

FERRAND (J. P.).— L'art du feu ou de
peindre en 6mail, dans lequel on
decouvre les plus beaux secrets
de cette science. Avec des in-
structions pour peindre et ap-
preter les couleurs de migniature
dans la perfection. Paris, 1721.
12°, pp. 220. 10 fcs.

"The art of fire and of enamel paint-
ing, being a disclosure of the most valu-
able secrets of that science, together
with instructions for painting and pre-
paring miniature colours to perfection."

Ferrand, a pupil of Petitot, the famous
enamel painter, was a member of the Royal
Academy of Fine Arts. His knowledge of
practical chemistry seems to have been limited
to empirical and extravagant recipes of enamel
colours, gathered from equivocal sources, and
which he transcribes, probably without having
himself ever tested their true worth. Being
doubtful as to what would be the result of
following his prescriptions, he concludes his
work with the candid confession that colours
had better be bought ready-made from the
druggist or the faience manufacturer.

140

FESQUET (F. A. A.).— Lessons in paint-
ing on China. London, 1880. 8°,
pp. 63.

FETIS (Collection Frederic).— Catalogue
des faiences anciennes des di-
verses fabriques, etc. Paris,
impr. de 1'Art, 1887. 8°, pp. 75 ;
with pen and ink sketches in the
text. 5 fcs.

Catalogue of Sale of a collection formed witli
great discrimination by a distinguished amateur
of Brussels. Mr. Gustave Gouellain has pre-
faced the catalogue with an interesting notice.
Some historical notes on the faiences of Brussels,
Tervueren, and the porcelain of Tournay have
been reprinted, at the head of the respective
sections, from articles written by F. Fetis.
The catalogue is composed as follows : — Faiences
of various origins, Nos. 1 to 345 ; Tournay
porcelain, Nos. 346 to 380 ; soft porcelain and
English earthenware, Nos. 381 to 405 ; terra-
cotta medallions by Nini, Nos. 406 to 423.

FEUILLET DE CONCHES.— Les peintres
Europeens en Chine et lespeintres
Chinois. Paris, impr. Dubuisson,
1856. 8°, pp. 47. (Reprinted
from the Revue contemporaine.)

"European painters in China and
Chinese painters."

Treats of the style of Chinese paintings
and of the methods employed by native
artists for painting on porcelain, as well as in
water and body colours, on paper and other
materials.

FEDYRIER (J.).--Une Industrie de
Fepoque Gallo-romaine au village
de Pointre (Jura). Dole, 1898.
8°, pp. 9; Ipl.

"An industry of the Gallo-Roman
period in the village of Pointre."

FIALA (Franz). — Die prahistorische
Ansiedelung auf dem Debelo
Brdo bei Sarajevo. Wien, 1896.
8°, pp. 36 ; with 255 illustrs. in
the text. (Publ. in the Wissen-
schaftliche Mittheilungen aus
Bosnien und der Hercegovina,
vol. iv.)

" The prehistoric settlements on the
Debelo Brdo, near Sarajevo."

Pottery, pp. 1-16, with 106 illustrs. The
other publications of the Scientific Society of
Bosnia and Herzegovina contain occasional
references to the ancient pottery of these
provinces.

PIE]

CERAMIC LITERATURE.

[FIL

FIEFFE (C. P.).— Les faiences patrony-
miques. Caracteristiques des
Saints dans la ceramique niver-
naise. Clamecy, Desvignes, 1901.
8°, pp. 153 ; with 52 phototyp.
pis. giving 78 subjects. 20 fcs.

" Patronymic faiences. The character-
istics of Saints represented upon Niver-
nian ceramic."

To group by order of subjects the old
popular faience of Nevers has been the con-
stant care of Mr. Fieffe, curator of the
Clamecy Museum. As a sequence to the
patriotic faiences, he has published the series
of those painted with the effigy and the name
of a saint. Of these he has counted over one
hundred different examples. They are at a
future date to be supplemented by a selection
of pieces bearing representations of workmen
at their trades, and amorous and bacchanalian
subjects.

Differing in this from the pieces with
patriotic devices of the revolutionary period,
the meaning of which appealed to the feelings
of the nation at large, the specimens painted
with the figure of a saint always had a
personal destination. They were usually in-
scribed with names and dates. No decoration
was considered more appropriate to give
actuality to a present than the figuration of
the patron saint of the party for whom it was
intended ; hence the large number of those
patronymic faiences. In describing the charac-
teristics of each of the holy personages depicted
upon the Nevers fai'enoe, the author indulges,
occasionally, in jocular commentaries upon the
curious legends accredited in the locality. He
has, in that way, managed to enliven descrip-
tions which might otherwise have proved rather
monotonous, without lapsing into an irreligious
tone.

FIERLI (G.).— Sulla nuova fabbrica di
maj cliche cortonese appartenente
al marches! Venuti. Firenze,
1805. 8°.

Notice of the new factory of majolica
of Cortona, belonging to the Marquis
Venuti."

FIGG (William).— Sussex tiles. Lon-
don, 1850. 8°; 12illustrs. (Extr.
from Sussex Archceological Col-
lection, vol. iii.)

FIGUIER (L). --Les merveilles de
Findustrie. Paris, 1876. 3 vols.

8°.

" The marvels of industry."

Vol. I. — Industrie des poteries, des faiences,
et des porcelaines, pp. 159-398 ; with 172 illus-
trations. The account is borrowed from
Marryat and Demmin for the historical part,

and from Brongniart for what refers to manu-
facture. A chapter on the manufactory of
Sevres contains a description of the processes
in use at the time, illustrated with views of the
workshops.

FIL (E.). — Catalogue raisonne des
objets d'art et de ceramique du
Musee de Narbonne. Narbonne,
Caillard, 1877. 8°, pp. xxvi-265.

" Descriptive catalogue of the works
of art and ceramic objects in the Nar-
bonne Museum."

Pottery and porcelain— pp. 137-265. With
historical notices.

FILLON (Benjamin). — Lettres ecrites de
la Vendee a Mr. A. de Montaig-
lon. Paris, Tross, 1861. 8°, pp.
128. 10 fcs.

" Letters written from Vendee to Mr.
A. de Montaiglon."

Contains interesting information on the
early French pottery. Letter III. — Bernard
Palissy and the Parthenay-l'Archeveque.
Letter IV. — A manufactory of fine earthen-
ware established at Fontenay under the
patronage of B. Palissy. Letter X. — Le-
lewel's opinion of the study of earthen vases.

- Les faiences d'Oiron, Lettre
a Mr. Riocreux, conservateur du
Musee de Sevres. Fontenay,
1862. 8°, pp. 8.

" The Oiron faience. A letter to Mr.
Riocreux, curator of the Sevres Museum."

The bedarkened tracks of ceramic history
are sometimes haunted by frisky " Will-o'-the
Wisps," who rejoice in leading away an eager
explorer. While engaged in a journey of dis-
covery through the untrodden fields of early
French pottery, Mr. B. Fillon, a most con-
scientious historian, became the victim of one
of those treacherous fiends. Scarcely had he
started on his expedition, than a trumpery
light disclosed to his bewildered gaze a
succession of alluring phantasms. He soon
lost his bearings in the pursuit of the illusory
images, confident that he was following the
high road to success. In this way he gathered
a sufficient amount of apparently reliable evi-
dence for building up an entirely new theory
of the origin of the so-called Henri II. faience.
For long it was thought that the sagacity dis-
played by B. Fillon in settling this moot point
could never be adequately extolled. Con-
noisseurs were unanimous in endorsing the
now exploded arguments he had embodied
into a letter to his friend, the curator of the
Sevres museum.

- L'art de terre chez les Poi-
tevins ; suivi d'une etude sur
l'anciennet£ de la fabrication du

141

FIL]

CERAMIC LITERATURE.

[FIO

verre en Poitou. Niwt, L.
Clouzot, 1864. 4n, pp. xiii-216 ;
with 6 etched pis. 30 fcs.

"The art of clay in Poitou, with an
essay on the antiquity of glass-making
in the province."

To the publication of ceramic books of
general interest, had succeeded that of the
detached histories of the chief centres of manu-
facture. As a consequence of the temporary
ferment which urged many a learned collector
to put into print the result of a long experi-
ence before his intention had been forestalled
by a dreaded rival, several monographs, — the
instructive value of which has, perhaps, not
been equalled by the sum of all that has since
teen written on the same subjects,— were given
to the public within the lapse of very few
years. Many a contemporaneous work still
remains an unshaken authority on the matter
it had treated for the first time. Fillon's
notable volume belongs to this prolific period
of the ceramic literature. " The art of clay in
Poitou " would have deserved a high place
among the standard ceramic books, but for the
unfortunate error the author had fallen into
with regard to the origin of the Henri II.
faience.

While acknowledging that the preliminary
and concluding chapters have been written
with uncommon care and sound judgment, one
has to deplore that such a large share of the
author's attention should have been bestowed
on that part of the work in which he has so
ingeniously woven the threads of the Oiron
theory. Granting that the conclusions he had
arrived at can no longer be maintained, there
is, nevertheless, much for us to learn from the
authentic documents Fillon has supplied to
the controversy. For if we apply the interest-
ing particulars contained in this voluminous
batch of documentary evidence to the making
of a majolica pavement in the Italian style,
executed by order of Helen of Hangest, by her
potter Charpentier, — and not to an inlaid
Henri II. vessel, a ware of a very different
character — all becomes right and worthy of a
deep interest. The wonder is that, having had
to comment upon a letter addressed to the
Countess by Chevreau, her steward and man of
business, in which it is said — "Charpentier a
besogne a vos ordres dedans la chapelle de
senestre. ..." Fillon was not at all en-
lightened as to the exact kind of ware that
was made in the castle. No doubt he had
seen the speaking remains of the majolica
pavement. Unwilling to be undeceived by
such unimpeachable testimony, he persisted in
heaping argument upon argument in support of
his fascinating romance. A few words referring
to " la faience de Saint-Porchaire," discovered
in an old inventory, sufficed to bring to the
ground the fabric so laboriously erected.

FILLON (Benjamin).— Coup d'oeil sur
I'ensemble des produits de la
ceramique poitevine, suivi de
recherches sur les verriers et
faienciers italiens etablis en
142

France du xvi. au xviii. siecle.
Fontenay-ie-Corntey 1865. 4°,
pp. 36. "

" A general glance at the ceramic pro-
ductions of Poitou, with notes upon the
Italian glass and faience-makers estab-
lished in France from the sixteenth to
the eighteenth century."

An abridgment of the Art of Clay, published,
with the same vignettes and plates, in Poitou
et Vendee.

FILLON (Collection B.).— Catalogue of
sale. Paris, 1882. 8°, pp. 200 ;
with text illustrs. 5 fcs.

Fillon was an eclectic antiquary. No branch
of archaeological knowledge had been neglected
by him. His collection was, consequently, of
a miscellaneous character. Very rich in numis-
matics and ancient works of art, it contained
few specimens of the old French pottery of
which he had been the consummate historian.

FILLON (B.).— (Euvres de Bernard
Palissy. (See Audiat)

FINKS. — Formen und Stempel romi-
scher Thonlampen. Munchen,
1901. 8°, pp. 28; with 6 pis.

F10LET (L.).— Fabrique de pipes de
Saint Omer. S.I., n.d. Imp. 8°,
pp. 2 ; and 70 pis.

" Manufactory of clay tobacco pipes at
St. Omer."

Pattern book, for the use of the trade, con-
taining all the models made at the factory
since 1830. The illustrations form a grotesque
gallery of past glories ; the heroes of the hour,
the engrossing topics of the day, have all been
caricatured or symbolised in clay, as time
went on, by the pipe modeller. The lovers of
emblematic pottery might, not unbecomingly,
call it a series of " patriotic pipes."

FIORELLI (Giuseppe). — Notizia dei vasi
dipinti rinvenuti a Cuma nel
MDCCCLVL, posseduti da
S.A.R., il conte di Siracuza.
Napoli, 1856. Fol, pp. xxix. ;
with 18 chromolith. pis. £1, 10s.

"Notice of the painted vases dis-
covered at Cuma in 1856, in the pos-
session of H.B.H. Count de Siracuza."

The vases made at Cuma were celebrated in
ancient times. Yet, those which were found
on the site of the old city are varied enough in
their style to warrant the opinion that they
are of different origin. The earliest types, bear-
ing subjects of black figures, greatly predomi-

FIO]

CERAMIC LITERATURE.

[FLA

nate in the collection. Some of the specimens
are of great beauty and their archaic style of
drawing is accurately rendered on the litho-
graphic plates designed by A. Rufso. G. Fio-
relli, director of the Naples Museum, has given
a description of the subjects, bristling with
quotations from ancient writers, but wanting in
all the additional information which might
help the modern science of Greek vases.

FIORILLO (R.)- - - Dissertatio de in-
scriptione Grseca vasculi picti
ex Museo Equitis de Hamilton.
Gottingce, 1804. 4°.

" Dissertation on the inscriptions of
the Greek vases in the collection of
Sir W. Hamilton."

FISCHBACH (0.)-— Komische Lampen
aus Poetovio im Besitze des
Steiermark. Landesmuseum
"Johanneum." Gratz, 1896.
8°, pp. 64 ; with 7 pis.

" The Roman lamps found at Poetovio
preserved in the Steier regional Museum."

FISCHER (Hermann).— Die Bearbeitung
der Steine,Glas- und Thonwaren.
Leipzig, 1891. 8°. (In Handbmh
der mechanischen Technologic von
K. Kar marsh, vol. ii.,. part iii.,
pp. 791-932 ; with 81 illustrs.)

"The treatment of stone, glass, and
earthenware."

FITZHENRY (J. H.).— A series of twelve
delft plates illustrating the to-
bacco industry, presented by J.
H. F. to the Victoria and Albert
Museum. London, Board of
Education, S.K., 1907. 4°, pp.
4 ; with 2 views and 12 pis.
(1 col). 5s.

FLACHAT (Stephane).— I/Industrie, Ex-
position de 1834. Paris, Tenre,
1834. 8°, pp. 160 ; with 46 pis.
20 fcs.

" Industry. The exhibition of 1834."

The most important pottery manufactories
of France were represented in the Paris Exhibi-
tion of 1834. Their actual situation, the tariff
of their production, are set down in this
report. The deplorable taste of the period is
exemplified in the reproductions of the stiff and
unhandy Greek shapes then made at Sarre-

gtiemines, and of the extravagant and ponderous
models of Jacob Petit, of Fontainebleau.

FLASH (A.).— Die Polychromic der
griechischenVasenbilder. Wurz-
burg, 1875. 8°, pp. 65. 3 m.

"The polychromy of the Greek vase
paintings."

We have often seen that a fundamental
principle having been duly set down, the
most unexpected deductions may be derived
from it by an impulsive expounder ; but we do
not think that, in the whole range of disquisi-
tions upon the Greek vase painting, could be
found a more startling theory than the one
developed by the writer of this essay. The
principle upon which rests the argumentation
is that the earliest productions of an art at its
dawn are bound to be monochromic. Man
tries to represent with mere lines the form of
an object, long before he possesses the means
of reproducing also its colour. As the art
advances, the technics improve conjointly ;
man discovers, at first, one pigment, then two,
three, and so forth, until at last he obtains a
sufficient scale of colours to endow his work
with an exact likeness to nature. The adop-
tion of polychromy coincides, therefore, with
the moment at which the art reaches its
highest point of perfection. This is, at least,
the author's assumption, and he applies this
rule to the development of Greek vase
paintings.

He finds that the vases of the most archaic
style are those with red figures, on which the
subjects are left of the natural colour of the
clay, the painter having at the time no other
accessory medium at his disposal but the black
varnish which he uses as a background to set
off his roughly delineated figures. Next to
those, in point of antiquity, he places the
vases painted with black figures on red ground ;
on these latter technical improvements are
clearly evinced, in his own opinion, by the
introduction of partial touches of white,
purple, or yellow pastes. The third and last
group in his consideration, comprises another
series of vases, decorated with red figures on
black ground, belonging to a later epoch, and
acknowledged by all to represent the finest
period of the art. This return of the accom-
plished artists to the primitive method employed
by their unskilled predecessors, would not be
easily accounted for in its relation to the
fundamental principle of the march of poly-
chromy, were it not that the author has found
a ready solution to this apparent difficulty.
After mature consideration and a close study
of the best examples of this class, he has come
to the conclusion that what we see now on the
vases with red figures could only have been
a preparatory work, destined to be completed
with a surface painting executed with a great
variety of colours. They were, unfortunately,
distemper colours of an evanescent nature ; age,
damp, and other destructive elements have
obliterated them centuries ago. This is why
no actual traces ot such colours can now be
seen upon the vases ; but the place they
occupied on the paintings can clearly be
discerned, we are told, by a keen observer.

143

FLE]

CERAMIC LITERATURE.

[FLE

In this way, the theory of progressive poly-
chromy is brought out triumphant ; the fact is
no longer questioned that the Greeks painted
their monuments, their statues, and their terra-
cottas with bright colours ; henceforth, it will
also be accepted that the painted vases did not
make an exception to the general progress of
Greek art, which had marched towards poly-
chromy as the final degree of absolute perfection.

FLEISCHIN. — L' Architecture en
briques. Paris, 1871. Album
4° of 44 pis.

" The brick architecture."

FLEISCHMAM (A.).— Gotthelf Greiner.
Historisches Volkstiick in 5
Akten. Saalfeld, 1887. 12°,
pp. 147. 2 m.

" G. Greiner. Historical drama in
five acts."

Scenes of the establishment of the porcelain
manufacture in Thuringia.

FLEISCHMAM (C- W.).— Pattern book
of an art furniture manufacturer
of Nuremberg, containing prin-
cipally models of earthenware
stoves. The album has no title,
and the copies, made up of odd
engravings, differ in the number
of plates. Our own copy con-
tains 60 plates, but it is not a
complete one ; illustrations have
continually been added to the
original pattern book issued
about 1850.

Fifty years ago the romantic craze was at its
highest in Germany. Sham mediajval castles
were built by those who were not fortunate
enough to possess antique towers, the ruins of
which could be turned into a highly picturesque,
if not quite comfortable, habitation. These
pseudo-gothic homesteads would not have been
complete without appropriate furniture and
appointments ; Fleischmann, of Nuremberg,
undertook to supply them with antiquities
made to order. The ancient styles of German
pottery were successfully revived by him.
His reproductions of the remarkable earthen-
ware stoves still extant in Nuremberg were
excellent. He did not forget to produce many
quaint vessels, curiously embossed and richly
toned with coloured glazes, for the adornment
of the old dressers. Were it not that they
were generally inscribed with dates too early
not to awaken suspicion, they were well calcu-
lated to deceive the collector of rare and
unique specimens. The last consignment of
Fleischmann's spurious productions was im-
ported into England a few years ago, and many
a confident purchaser has now to regret having

144

yielded too easily to the temptation of acquiring
a mediaeval-looking earthenware dish or drink-
ing pot, seemingly far surpassing in importance,
antiquity, and state of preservation, all speci-
mens of the same order preserved in the
museums.

FLENTJEN (Marie).— Vorlagen fiir Por-
zellanmalerie nach altenMustern.
Zusammengestellt und entworfen
von M. Flentjen. Leipzig, C.
Garte, s.d. (1885 ?) 8° ; 18 col.
pis. 10s.

"Patterns for porcelain painting,
collected and sketched from ancient
models."

FLETCHER (Samuel).— A treatise on the
art of enamel painting on porce-
lains, metals, glass, and potter's
ware ; describing the materials,
process, and qualities of the
several kinds of porcelain and
pottery ; together with the ex-
terior marks of distinction and
value of each. Also a plan
suggested for the improvement
and extension of ceramic paint-
ing, founded on original dis-
coveries, practical experiments,
and critical observation. London,
Spragg, 1813. 8°, pp. iv-47. A
first edition had appeared in 1803.

After having informed us that he has dis-
covered a more complete series of finer enamels
than any of those used in his time, the author
concludes his preliminary remarks by saying
— "Important as these discoveries are to the
arts and manufactures of this country, I resolved
to relinquish them for other pursuits." Then
he launches into visionary disquisitions con-
cerning an ideal process which will revolu-
tionise the art of painting, "a process better
calculated to show the elegance and correctness
of outline, just and animated expression, greater
beauty and chastity of colour than any other
method of painting can possibly display." The
only part of his invention he condescends to
impart to us is that he has seen his way to
obtaining this result by employing "some
fossil material" as ground work for the
enamelling. Unfortunately, through want of
encouragement for the further prosecution of
his research, he is compelled to leave to some-
one else the glory of bringing to actual com-
pletion a practical scheme of which he can
only, for the present, supply the rough basis.

FLEURY (Edouard).— Etude sur le pav-
age emaille dans le departement

FLU]

CERAMIC LITERATURE.

[FOH

de 1'Aisne. Paris, Didron, 1855.
8°, pp. 103 ; with 200 illustrations,
drawn by Ed. Fleury and engr.
on wood by Mme. Ed. Fleury.
15 fcs.

" Essay on the ancient pavements of
glazed tiles in the Aisne Department."

An author has, indeed, good grounds to feel
proud of his work when, the book being com-
pleted, he may say, like Ed. Fleury has said
in the present case: — "All the materials and
documents I have made use of have been
gathered by myself from original sources ; my
wife and I are responsible for the artistic
illustrations ; and, moreover, instead of being
entrusted to mercenary hands, the printing of
the volume comes out of my own presses."
What a host of interesting monographs, deal-
ing with still imperfectly known ceramic
centres, should we not possess at present, if
many more provincial archaeologists had had at
their command the same facility of bringing
into light the fruit of their life-long researches.
Refraining from extending the scope of his
essay beyond the radius of his personal experi-
ence, the writer has limited himself to the
study of the examples belonging to one parti-
cular region, one of the richest, it is true, in
the artistic productions of the ancient French
tile-maker. Although the black and white
illustrations are given on a very reduced scale,
they convey, nevertheless, a very accurate
idea of the originals.

In its modest proportions this essay cannot
claim to be anything more than a single stone
contributed towards the completion of an
important monument. But the general history
of tile-making will become a strong and lasting
structure if it is built up with such reliable
materials only.

Ed. Fleury was brother to Champfleury,
author of the Faiences patriotiques.

Trompettes Jongleurs et
singes de Chauny. Saint Quen-
tin, 1874. 8°, pp. 40; with a
lith. pi. 3 fcs.

"Juggling trumpeters and Chauny 's
Monkeys."

A curious plaque in faience of Sinceny,
inscribed " Armes de Chauny," illustrates the
traditional quips directed in Picardy against
the inhabitants of that small town. On it two
monkeys, with human faces, are seen holding a
gigantic cat stretched upon a table. A third
monkey, in the robes of a doctor, threatens the
patient with the application of a certain
medical instrument, the obliged paraphernalia
of Moliere's dancing Matassini. Societies of
Musicians and Archers, having a green monkey
painted on their banner, had existed at Chauny
since mediaeval times ; hence the facetious
name of monkeys having been applied to the
men of Chauny.

- Antiquites et monuments du
Departement de 1'Aisne, Paris,

1877-78. 4° ; with 400 illustrs.
60 fcs.

"Antiquities and monuments of the
Aisne Department."

The work comprises the following sections :
— Antiquities of the Stone and Bronze Ages ;
the Gallic, Gallo-Roman, Franco-Merovingian,
Carolingian, and Romanesque periods.

FLURL (MatWas).— Beschreibung der
Gebirge von Baiern und der
oberen Pfalz. Munchen, J. Lent-
ner, 1792. 8°, pp. 642 ; with 5
pis. 8 m.

"Description of the mountains of
Bavaria and the Higher Palatinate."

The last chapter, — pp. 593-624, — contains
the history of the Nymphenburg Porcelain
Manufactory, with a complete list of the
articles manufactured, accompanied with a
plan of the ovens. The first attempts at making
hard porcelain were made at Munich, by order
of the Prince Elector Maximillian III. in 1747,
by a certain Niedermaier, who did not succeed
in manufacturing anything but white faience.
Transported to Nymphenburg, the works were
placed under the direction of Ringler, who pro-
duced a fine porcelain. But the enterprise
was conducted under such difficulties that in
1772 the number of persons attached to the
factory had been reduced to about thirty, and
the production was quite insignificant.

FIJHR (Julius Y. ).— Hiigelgraber auf der
Schwabischen Alb. Stuttgart,
1892. 4°, pp. 56; with 5 pis. and
illustrs. 5 m.

" Grave mounds in the hills of Swabia."

The excavations were carried on, under the
direction of the writer, during the years 1883-
84. The graves which were examined con-
tained, with very few exceptions, many urns
and dishes of well-made pottery. An immense
quantity of fragments was, besides, found on
the same spot, but as no complete vessel could
be reconstituted out of these fragments, not-
withstanding the extreme care which had been
taken to recover them all, the explorer is
of the opinion that loads of broken pots had
been thrown upon the ground to help in
increasing the size of the mound which was
being raised over the grave. This assumption
is substantiated by the fact that among these
fragments some are found which, evidently,
made part of colossal jars of which no complete
example is known ever to have turned up.
The specimens, admirably reproduced on the
plates, give us the idea of a pottery of very
refined manufacture. They are elaborately
incised with lines forming geometrical divi-
sions, and neatly impressed with minute circles
and triangles by means of a sharp iron tool.
Finally, they are partly painted with red and
white slip, and partly covered with green
glaze. No object denoting the influence of
the Roman figulus having been found in the

145

FOH]

CERAMIC LITERATURE.

[FOR

tombs, and incineration having been practised
in all cases, it is assumed that the funereal
pottery discovered in the locality must be
considered as anterior in date to the Roman
epoch, and that it belongs to the prehistoric
ages. One cannot attach much importance to
an argument which would apply equally well
to many ancient burying places of other
German provinces, where it is known for
certain that the custom of cremating the dead
had prevailed long after the Romans had left
the country. Moreover, such a superior style
and workmanship does not leave room for a
doubt that the remarkable urns and dishes of
the Swabian mountains have been made at a
period when civilisation and handicrafts had
reached a very advanced state.

FOBBING (H.).— Die keramische Ab-
theilung des Hamburgischen
Museum fur Kunst und Gewerbe.
Hamburg, Hoffmann, 1878. 18°,
pp. 24. *6d.

"The section of Ceramics in the
Industrial Art Museum of Hamburg."

This handbook, issued by the Museum, is
peculiar in that it contains no reference to the
specimens exhibited in the galleries. It is a
short summary of ceramic history based
chiefly upon the works of A. Demmin.

FOLZER (Elvira).— Die Hydria. Ein
Beitrag zur Griechischen Vasen-
kunde. Leipzig, 1906. 8°, pp.
vi-12 ; with 10 pis. 4 m.

"The Hydria. A contribution to the
knowledge of Greek vases."

FORSTER (R.).— Analekten zu der
Darstellungen des Raubes und
Riickkehr der Persephone. Got-
tingen, 1884. 8° ; with 2 pis.

"Analysis of the representations of
the Rape and Return of Persephone."

FORTSCH (Dr.). — Thongefasse der
Broncezeit aus der Provinz
Sachsen. Leipzig, 1896. 8°, pp.
3 ; with 1 pi. * (Reprint from
Zeitsckrift fiir Naturwissen-
schaften.)

"Clay vessels of the Bronze- Age, from
Saxony."

FOL (I.).— Catalogue du musee Fol.
Geneve, H. Georg, 1874-79. 4
vols. 8°; with 36 chromolith.
pis. and text illustrs. 25 fcs.

The first volume, — Ceramic and plastic, —
146

contains the antique terra-cotta and painted
vases of Greek and Roman origin. The section
of majolica, faience, and porcelain (78 Nos. },
forms part of the third volume. The collection
is now the property of the town of Geneva.

- Etudes d'art et d'archeologie
sur I'antiquite et la renaissance.
Geneve, H. Georg, 1874-78. 4
vols. 4°. 40 fcs.

Vol. I. — Choix de terres cuites antiques,
pp. 87, with 32 pis. and 24 text illustrs. )<c-
produced from specimens exhibited in the
Museum.

FONTENAY (H. de).— Inscriptions cer-
amiques gallo-romaines trouvees
a Autun. Autun, 1874. 8°, pp.
121 ; with 48 pis. of marks. (Re-
print from Memoires de la Societe
Eduenne. )

"Inscriptions of the Gallo-Roman
pottery found at Autun."

With a short bibliography of the subject.

FONT-Y-GUMA (J.).— Rajolas Valenci-
anas y Catalanas. Barcelona,
Vilanova, 1905. 4°, pp. 350 ; to
which is appended a French
translation of the text, Illus-
trated with 443 pen and ink
sketches mostly printed in blue.
40 fcs.

" Tiles from Valencia and Catalonia."
Entirely composed of specimens in the
possession of the author, this profuse selection
of ancient Spanish tiles, includes a large variety
of the types produced in the two provinces,
during the period which extends between the
thirteenth and the sixteenth centuries ; so far,
at least, as these types are represented in the
collection. Scanty is the budget of informa-
tion that can be obtained on the history of
these tiles and their makers. The volume
contains a list and description of the archi-
tectural monuments in Spain, the chief feature
of which is the surface decoration formed of
richly-coloured tiles. Also, a transcript of
sundry original documents relating to the
Hispano-Moresque potters. These will prove
of great assistance to the labour of further
investigators. One cannot praise the meagre
and spiritless treatment of the pen and ink
sketches ; which can give no idea of the freedom
and boldness of the originals.

FORBES - ROBERTSON (J.). — The new
English art -pottery. Doulton
ware and Lambeth faience, de-
scribed by John Forbes-Robert-
son ; with an introduction by

FOR]

CERAMIC LITERATURE.

[FOR

John Sparkes. London, Chatto
& Windus, 1876. 8°, pp. 22;
woodcuts.

Published on the occasion of the Philadelphia
Exhibition.

FORESI (Docteur Alexandra).— Tour de

Babel, ou objets d'art faux pris
pour vrais et vice-versd. Paris,
P. Lauriel, 1868. 8°, pp. 119.
4 fcs.

"The tower of Babel; spurious works
of art mistaken for genuine ones, and

vicc-versd."

Dr. Foresi was a private collector in Florence,
who was always ready to part with the most
valued treasures in his possession in favour of
some friend in exchange for an adequate con-
sideration. Now, if the sincerity of a regular
dealer in curiosities may, sometimes, be open to
suspicion, it should never be so, it appears, when
a private collector pledges his word as to the
truthfulness of his statement. Still smart-
ing under the feeling of indignation he had
experienced at seeing the genuineness of many
costly specimens contested by .the distrustful
connoisseurs to whom they had been offered
for sale, he indited these pages, in which he
vindicates the high value and the authenticity
of the masterpieces of his collection, disclosing
at the same time the villanies of the tricksters
of the trade, to whom the blind and unwary
purchasers have fallen a prey. The ignorance
of the French amateurs who are taunted with
the mistake they have made in accepting, as a
genuine work of the Renaissance period, a
terra-cotta bust modelled by a still living
sculptor in the employment of an Italian
antiquary, is the mainstay of a very witty,
if not quite disinterested, controversy. See
ChaPVet, L'ane qui prend la peau du lion, and
Foresi, Sidle porcellane Medicee.

Sulle porcellane Medicee,
lettera al Barone di Monville, e
poche parole riguardanti gli
sculptori, conte di Nieuwerkerke
e Giovanni Bastianini. Firenze,
1869. 8°, pp. 30 ; with vigns. and
marks. 3 fcs.

"Upon the Medicean porcelain. A
letter to Baron de Monville, with a few
words concerning the two sculptors, Count
de Nieuwerkerke and G. Bastianini."

The first portion of this pamphlet had
already been printed at Florence in 1859. In
that letter addressed to a French curio-expert,
Foresi stated that he had had the good fortune
to discover, and the merit of naming the
first examples of Medicean porcelain ever
known to collectors. It was from his hands
that they passed into the possession of French
and English amateurs. His name not having
been mentioned in the articles which described

for the first time these rare and most interest-
ing specimens, he established in that letter the
right he had to claim for himself the credit of
the discovery. He made his case quite clear,
and the point cannot be contested. It is
quite different with the statements he pre-
sented in the second letter, and we cannot in
any way endorse his opinion. The drift of an
argumentation, supported by a superabund-
ance of evidence of a somewhat unsatisfactory
character, is that the terra-cotta bust of Beni-
vieni, bought by Count Nieuwerkerke for the
Louvre Museum, was a forgery executed by an
obscure sculptor named Bastianini for a
Florentine dealer in antiquities. After the
death of Bastianini a party of friends took up,
in great earnestness, the duty of vindicating
the right he had to be recognised as the maker
of the bust. They went so far as to gather and
exhibit in the San Marco Museum at Florence
all the proofs that could be adduced in support
of their assertion. Among them was the
portrait of an old workman of the tobacco
manufactory, said to have been modelled by
Bastianini as a study for the spurious bust,
this being supplemented by several works by
the same artist.

After the conscientious examination we
made of the whole collection, we could not
come to any other conclusion but that the
portrait sketch, as well as the other works,
denoted only the practical skill of one of those
sculptors, numerous enough in the Italian
trade ; as to comparing their commonplace
execution with the noble style and spirited
touch of the Benivieni, in the Louvre, which
equals in beauty the finest Italian terra-cottas
of the fifteenth and sixteenth centuries, the
idea is too preposterous to be entertained
for one moment. This having been settled to
our own satisfaction, and we think to that of
all artists who have gone into the question, no
production of documentary evidence could alter
our final decision.

FORESTIE (£.)•— Une faiencerie mon-
talbanaise au xviii6 siecle. Mon-
tauban, impr. Forestie, 1875. 8°,
pp. 23 ; with 2 pis. (25 copies
printed.)

" A faience manufactory at Montauban
in the eighteenth century."

This paper has been reprinted in the follow-
ing work.

- Les anciennes faienceries de
Montauban, Ardus, Negrepelisse,
Bressols, Beaumont, etc. (Tarn
et Garonne). Montauban, impr.
Forestie, 1876. 8°, pp. 248 ; with
21 lith. pis. 10 fcs.

" The ancient faience manufactories of
Montauban, Ardus, &c."

Ancient Quercy, like most of the ancient
provinces of France, has possessed at one time
a few factories of painted faience ; the annals
of their precarious existence have been sedu-

147

FOR]

CERA MIC LITER A TURE.

[FOR

lously consigned to this volume. Imitating
successively the styles and patterns in vogue
at Moustiers and Marseilles, the potters of
Montauban cannot lay any claim either to
originality, or superiority of workmanship.
The Ardus works enjoyed, for a short time,
the title of Royal Manufactory ; the ware made
there does not appear to be better or worse
than the average productions of other minor
establishments of the same centre. It is often
mistaken for Moustiers faience, which it closely
resembles. This monograph is of great import-
ance to local collectors, and is not without
value to the knowledge of general history.
Many original documents relating to the con-
duct of the trade at that period will be found
in it. A copy of the recipe book of a colour-
maker is given at the end.

FORESTIE (E.). -- Exposition des
Beaux-Arts a Montauban (Mai,
1877). Rapport presente & la
Societ6 Archeologique. Montau-
ban, 1878. 8°, pp. 36.

" Fine Arts Exhibition at Montauban.
A report addressed to the Archaeological
Society."

Coup d'oeil sur I'art cera-

mique dans le Tarn et Garonne,
depuis les temps primitifs jus-
qu'a nos jours. Paris, E. Plon,
1881. 8°, pp. 15.

"A glance at the ceramic art in the
Tarn et Garonne Department, from the
earliest times up to the present day."

Primitive pottery is abundantly found in
the prehistoric graves of the region, and terra-
cotta in the Gallo-Roman sepultures. Hispano-
Moresque (?) dishes are seen imbedded in the
walls of the Town Hall of Saint- Antonin, built
in the twelfth century ; and traces of Moorish
influence are discernible on the fragments of
ware discovered in the excavations. The fine
tile pavement of the chutch of Belleperche
shows that the art of tile-making was practised
in the country at about the same period.
Examples of embossed and coloured pottery,
dating from the sixteenth and seventeenth
centuries, evidence the fact that the ceramic
art flourished in Quercy long before the
establishment of the faience manufactories,
of which Mr. Forestie has been the conscien-
tious historian.

FORMAN (Collection W. H.).— An inven-
tory of the household furniture.
. . . China, earthenware, etc.
. . . Pippbrook House, Dorking.
Bequeathed by the will of
William Henry Forman. Cata-
logued by W. Chaffers. London,
1869. 8°.
148

- The Forman collection. Cata-
logue of the Egyptian, Greek,
and Roman antiquities. Sold at
Sotheby's, June, 1899. London,
1899. 4°, pp. 109 ; with 26 pis.

Greek vases, pp. 42-81, with 10 pis., are
described by Cecil H. Smith.

FORRER (R.).— Geschichte der euro-
paischen Fliesen-Keramik von
Mittelalter bis zum Jahre, 1900.
Strassburg, 1900. 4°, pp. 93;
with 107 pis. (some col.) and
200 text illustrs. £5.

" History of the European ceramic tiles,
from the Middle Ages up to the year
1 900."

Surely it is not often that we find that the
general character of a volume suffers from an
unnecessary abundance of illustrations. In
the present case, however, it is obvious that if
such a large number of plates borrowed from
the catalogues of modern tile manufacturers,
had not been introduced, the book would have
gained much in appearance. Beginning as a
historical work it ends as a medium for
advertisement.

FORSTER (H, R.)-— The Stowe cata-
logue, priced and annotated by H.
R. Forster. London, Bogue, 1848.
4°, pp. 304 ; with illustrs. 10s.

The princely mansion of Stowe was the seat
of the Duke of Buckingham and Chandos.
The prices attained at the sale would make
a modern valuer in curios smile when compared
with the figures the same pieces would command
in our days. A pair of Chelsea vases, painted
with subjects of Roman history, sold for £23 ;
a large majolica cistern, £67 ; an oviform vase
painted with a battle scene, said to be the chef
d'ceuvre of " Raffaele ware," sic £52. Paint-
ings and furniture fared much better than
ceramics. The total amount realised by the
sale was over £75,000.

FORTNUM (G. Drury E.). -Contribution

to the history of pottery. I. Notes
on the " Bacini " introduced as
ornaments to the architecture of
some churches in Italy. II. He-
marks on a lamp of Persian ware
made for the mosque of Omar at
Jerusalem ; with remarks on the
pottery of Egypt, Persia, Dam-
ascus, etc. London, Nichols,
1870. Pp. 19; with 3 pis. (1
col.). (In Arc.hceologia)

FOR]

CERA MIC LITE MA TURE.

[FOU

- Report on earthenware at the
London International Exhibi-
tion, 1871. (In Official Reports,
Part v.)

A descriptive catalogue of
the Majolica, Hispano-Moresco,
Persian, Damascus, and Rhodian
wares in the South Kensington
Museum. With historical notices,
marks, and monograms. Pub-
lished for the Science and Art
Department of the Committee of
Council on Education. London.
Chapman & Hall, 1873. 8°, pp.
cix-700 ; with 12 chromolith.
plates, 61 woodcuts, and num-
erous marks. £2, 10s.

The specimens of Italian majolica and Persian
ware in the South Kensington Museum form,
perhaps, the richest and most comprehensive
collection ever brought together. A catalogue
of such a collection, written by one of our most
accredited connoisseurs, will always be one of
the best text-books on the subject that may be
placed in the student's hand. We regret to
say, however, that, in some instances, Fort-
num's historical notices are now found to be at
fault. It is when they accept implicitly, and
confidently reproduce as unimpeachable facts,
the statements contained in the works of
J. B. Passed and other ancient writers, which
the latest researches have since completely
discredited.

- South Kensington Museum
Art Handbooks. Majolica. Lon-
don, Chapman & Hall, 1875. 8°,
pp. vii-192 ; with text illustrs.

On a terra - cotta head of
Greek workmanship found on
the Esquiline at Rome.. London,
1886. 8°; with 1 heliogr. pi.
(In Archceologia.)

- On an Italo-Greek terra-cotta
lamp. The antique original from
the bas-relief of which one of the
half figures of the " Martelli
Mirror," ascribed to Donatello,
has been derived. London, 1894.
8° ; with 1 pi.

- Majolica ; a historical treatise
on the glazed and enamelled

earthenware of Italy, with marks
and monograms ; also some notice
of the Persian, Damascus, Rhod-
ian and Hispano - Moresque
wares. Oxford, Clarendon Press,
1896. 4°, pp. xvi-550 ; with col.
front., 20 collotype pis., and fac-
simile of marks. £2, 2s.

The catalogue of majolica and kindred wares
in the South Kensington Museum by the same
author has been taken as the ground work for
this treatise ; many additions derived from the
best sources have brought it to the present
state of our knowledge of Italian ceramics. It
is, in every respect, a comprehensive and re-
liable book. We notice, however, that it is not
without regret and some restrictions, that the
author discards his old belief in Passeri's anti-
quated statements. The illustrations have been
selected from among the specimens in Mr.
Drury Fortnum's collection, presented by him
to the Ashmolean Museum at Oxford.

FOULD (Collection LOUIS).— Description
des antiquites et objets d'art
composant la collection de Mr.
L. Fould, par A. Chabouillet,
conservateur du department des
medailles et antiques de la bibli-
otheque Imperiale. Paris, Claye,
1861. Fol., pp. 200; with 39
pis. 25 fcs.

A fine volume illustrated with clever plates
engraved by Am. and Eug. Varin. Mr. L.
Fould was, at the time when this catalogue was
being prepared, minister of Fine Arts. His
collection, of a miscellaneous character, con-
tained, however, some remarkable specimens of
the ceramic art of the best periods. A fine and
rare Greek patera, painted with black figures
on white ground, and a basso-relievo of Luca
della Robbia are reproduced on the plates.

- Catalogue de la precieuse col-
lection d'antiquites de feu Mr.
Louis Fould. Paris, 1860. 8°.

"Catalogue of sale of the above
collection."

FOUNTAINS (Collection Andrew). -Cata-
logue of sale. London, Christie,
1884. 8°, pp. 66 ; with 21 photos.
10s.

The collection assembled at Narford Hall,
Norfolk, by M r. Andre wFountaine was, perhaps,
the richest in England in unique specimens of
Italian and French faience, many of them being
incomparable masterpieces of the art. Never
has the contention for the possession of ceramic
rarities raged so fiercely among the bidders in

149

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CERA MIC LITER A TUKE.

the auction room, as when this collection was
put up for sale. We can only quote a few
prices. Urbino oval dish, £1,333; pair of
candlesticks in Palissy ware, £1,510; Henri
II. candlestick, £3,675, this piece bought by
Mr. Dutuit, of Rouen. The amount realised
by four days sale, and 453 Nos. , was £91,113.

FOUQUE (£.)•— Moustiers et ses fai-
ences. Aix, 1889. Printed for
the author. 8°, pp. 125 ; with 6
phototyp. pis. 10 fcs.

" Moustiers aud its faiences."

Mr. Fouque, whose ancestors occupied a
prominent position among the master-faienciers
of Moustiers, has given us a monograph of the
departed industry of the town, which deserves
to be placed on a line with the best works of
the kind. Common-place generalities on the
ceramic art have been considerately dispensed
with, and the account never deviates from its
purpose, which is solely to record the history
of the local manufacture. The first chapter
has much to tell us about the Cle'rissy family,
who established the first faience manufactory
at Moustiers towards the end of the seven-
teenth century. In their hands the trade was
soon to develop and prosper, and the ware they
made commanded so much success, that it was
imitated all over the south of France. Pierre
C14rissy, the second of the name, was made a
Baron in 1743 ; the author has, in that respect,
to upset the current tradition that he owed
that distinction to his merits as a potter. Such
a reward, granted for technical or artistic pro-
ficiency, would have been quite unprecedented.
He became a Baron merely through the purchase
of an estate which carried the title with it.
The CleYissys were succeeded, in the conduct of
the chief faience works of Moustiers, by the
Fouque family. Ever since that time the
Fouques have been connected with the ceramic
industry ; one of their descendents, Mr. Le'on
Arnoux, settled in England, where he acted for
fifty years as director of Mintons' manufactory.
Interesting recollections of the most notable
potters and painters of Moustiers still remain
ing in the memory of the old inhabitants are
recorded, and supplemented with transcriptions
of the original documents preserved in the
local archives. To this is added a description
of the best specimens in existence of the
Moustiers faience, and the list of the collections
in which they may be seen. The ware being
particularly remarkable for a bright and limpid
enamel, which has scarcely its equal, a specia"
interest is attached to the recipe for the com
position and preparation of the Moustiers
enamel, copied from the papers in the writer's
possession, and given in the appendix.

FOUQUE-ARNOUX et Ce.— Manufacture
d'ornements en terre - cuite et
bisquit de porcelaine a Toulouse
Toulouse, Lith. Mercadier (1845 ?)
4°; 11 pis. of models.

"Manufactory of ornamental terra-cott*
and porcelain biscuit. Pattern book."

150

A branch of the porcelain factory established
at Valentine, near Saint-Gaudens.

'OUQUET (Dr. D,). — Contribution a
1'etude de la ceramique orientale.
Le Caire, 1900. 4°, pp. 164; with
8 pis. of marks and 6 col. pis.
(Reprint from Memoires de
rinstitut vgyptien.}

"A contribution towards the study of
Oriental ceramics."

In the suburbs of the town of Cairo huge
heaps of refuse have stood untouched for
centuries ; they mark the site once occupied
by the original city of Fostat, founded in the
year 640 of our era, and destroyed by Chaour
in 1168. On being explored, these mounds
were found to contain a prodigious amount of
fragmented pottery and glass. During the
eleven years of his sojourn in Cairo, Dr. Fouquet
has not ceased to watch and put to good
profit the excavations conducted on the spot.
Of the most interesting fragments exhumed
from the mounds lie had the happy idea of
forming a special collection ; although the
notion was, subsequently, taken up by other
archaeologists, his collection remains by far
the best and most complete of all. If ever the
history of Egyptian ceramic art during the
Arab domination is clearly reconstituted, it
will be through the study of these fragments of
which Dr. Fouquet has attempted a provisional
classification. Lying within the soil in super-
imposed strata, in the order in which they were
deposited, the depth at which they are found
affords an approximate clue to their respective
antiquity. Not a few specimens bear the
badge or the name of a well known kalif or
governor of the country, a date, an inscription
traced by the maker, and through these vouchers
the period of a certain style of manufacture is
accurately determined. In addition to the
researches made in old Cairo, the investigations
prosecuted in lower and upper Egypt have led
to the discovery of the very places where
pottery of a particular kind had been exten-
sively manufactured. The wasters, strewn all
over the grounds, leave no doubt about the
former existence of important pot works in
those localities. It was all the more essential
to fix the exact characteristics of Egyptian
productions in mediaeval times, that amongst
the fragments accumulated within the Fostat
mounds a large percentage may be recognised
as being of foreign origin. In the lower strata
examples of the Syrian and Persian ware are
found associated with the early Celadon of the
Chinese ; in the upper ones, the miscellaneous
assemblage includes a few representatives of
the Spanish and Italian majolica.

The author has wisely refrained from giving
a place in his work to anything which did not
appear to be of actual Egyptian manufacture,
and, in this way, he has opened a new chapter
in the history of the ceramic art. His dis-
coveries have enabled him to produce actual
examples of the white and translucid ware,
embellished with metallic lustre, that the often
quoted MS. of the early Arab travellers describe
as being sold in the Bazaars of Cairo. He has

FOU]

CERAMIC LITER A TURK.

[FOU

proved that they were made in the country,
and not imported from Persia, as had been
previously believed. But whether their makers
were the direct descendants of the great potters
of ancient Egypt, and had steadily continued
to practise with unavoidable modifications
the traditions of their forefathers, or whether,
after the art had been allowed to disappear for
a time, it was revived through Persian influence,
remains the problem that future investigations
will have to solve.

FOURCROY (A. F. de).— Rapport surles
couleurs pour la porcelaine du
Citoyen Dilil, fait a la Classe des
Sciences physiques de 1'Institut.
. . . Paris, 1797. 4°, pp. 16.

" A report read before the Institute of
France on the colours for porcelain paint-
ing made by C. Dihl."

- Rapport sur un memoire du
Citoyen Brongniart. Paris, an
X. (1802), impr. Baudoin. 4°.

" Report upon a memoir written by
citizen Brongniart."

The report had reference to some of the
measures proposed by Brongniart for the
complete reorganisation of the national manu-
factory of Sevres, of which he had just been
appointed director.

L'Art du tuilier et du bri-

quetier. (See Duhamel dii Monceau.)

FOURES (AllgUSte).— Le cant des pou-
tie's. Montpellier,impr. Ricateau,
1876. 8°,. pp. 6. (Reprint from
the Revue des langues Romanes.)

Provincial dialects are fast disappearing.
In the south of France, however, the associa-
tions of local poets take pride in preserving,
in their writings, the old language in its purest
form. This poem dedicated to the "Valiant
Potters of Lauraguais," is written in the
vernacular of the province.

- Potiers et poterie du Laura-
guais. AM, Almarie, 1890. 12°,
pp. 35.

" Potters and pottery in the Laura-
guais province."

Historical notes and original documents
referring to the potting industry of the district,
from the year 1377. The practical recipes of
an old Castelnaudary potter, and a notice
upon the new art pottery of H. Bringnier,
complete the essay.

FOURMY (J.).— Memoire qui a rem-
porte le prix propose par 1'Insti-

tut national sur cette question
inise au concours pour la trois-
ieme fois : " Indiquer les sub-
stances terreuses et les precedes
propres k fabriquer une poterie
resistante aux passages subits du
chaud au froid et qui soit & la
porte'e de tous les citoyens."
Paris, chez Fauteur, 1800. 8°,
pp. 37. A second edition was
printed in 1802. 5 fcs.

" Memoir to which the prize has been
awai'ded on the subject offered for com-
petition by the National Institute : —
'To determine which are the kind of
clays and processes of manufacture best
calculated to produce a pottery fit to
resist the sudden changes of temperature
from hot to cold, and at a cost which
shall bring it within the means of all
people.' "

Me'moire sur les objets de
terre-cuite et particulierement
sur les poteries. Paris, chez
Fauteur, an X. (1801). 8°, pp,
95. 5 fcs.

"Memoir on terra-cotta, and especially
on earthen vessels."

— Memoire sur les Ydroce'rames,
vases de terre propres a rafraichir
les liquides, considered sous le
rapport de la fabrication et sous
celui de 1'emploi domestique..
re'dige' pour la Socie'te d'Encour-
agement. Paris, an XII. (1803).
8°, pp. 40. 5 fcs.

" Memoir on the Ydrocerams, or cool-
ing vessels, considered in their manu-
facture and their domestic use ; written
at the request of the Society for the
encouragement of art and industry."

Essai sur les corps vitreux
colored par les metaux. Par Mr.
Fourmy, fabricant d'HygioceY-
ames. Paris, an XIII. (1804).
8°, pp. 40 ; 1 pi.

" Essay on the vitreous substances
coloured with metallic oxides."

The term " Hygiocerame " had been applied
by Fourmy to an hygienic pottery of his
invention.

151

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CERA MIC LIT ERA TURK.

| KRA

A good chemist, as well as a practical potter,
Fourmy was one of the first writers who tried
to formulate the fundamental principles of
ceramic manufacture, and to reduce to fixed
rules the empiric recipes and rule-of-thumb
practices which had so far regulated the trade.
His essays, written in a clear and concise style,
do not pretend to recommend the use of special
materials, to indicate improved ways of manip-
ulation, and supply superior mixtures ; their
purpose is to point out to the manufacturer the
causes through which accidents may arise, and
to teach him the means of guarding against
losses and failures. These pamphlets, shabbily
printed like most of the pamphlets of the time,
are now difficult to obtain ; they are well worth
reprinting ; old fashioned as they may be, they
would still be of great service to the student.

Fourmy's productions, as a potter, have not
taken their place in our ceramic collections.
He does not seem to have bestowed any atten-
tion on the artistic side of pottery manufacture,
and whenever art, or fancy, are not associated
with technical qualities, the best pots and their
maker are bound to be soon forgotten. Were
it not for the few, but excellent pages he has
bequeathed to us, Fourmy's name would be
unknown, just as his ware is now unrecognised.

Like many other inventors, he always
neglected the commercial and practical side of
the enterprises in which he was engaged to run
after some dreamy innovation, and prosecute
ruinous experiments. His career was a suc-
cession of failures. Established at first at
Nantes, in 1778, as a faience and porcelain
manufacturer, he could not succeed, and had
to leave the town after a few years. He
repaired to Paris and embarked in a series of
speculations, which were all fruitless. We find
him next occupying the position of director in
a short-lived manufactory of Clermont-Ferrand,
and subsequently working in connection with
the Creil and Montereau faience works. He
was reduced to very poor circumstances when
he died in Paris, 1332.

FOURNAT (E.).— A propos de Ber-
nard Palissy. Vers lus en soiree
litte'raire a Saintes le 25 Feirier,
1866. Saintes, 1866. 8°, pp. 8.

" On Bernard Palissy. Verses read at
a literary meeting at Saintes."

FOURNIER (Pere).— Catalogue of sale.
Paris, 1885. 4°, pp. 167 ; with
14 photograv. plates. 10 fcs.

Mr. Fournier was a well known curiosity
dealer of Paris. The contents of his show-
rooms were select enough to warrant being
called a "collection." They comprised many
rare specimens of old Sevres porcelain, as we
may judge from the plates of this fine catalogue.
The preface is written by Paul Eudel.

FOWLER (Ch.).— Terra-cotta and arti-
ficial stone as connected with
architecture. London, 1850.

4°.

152

FOWLER (James).— On the so-called
acoustic pottery at Fountains
Abbey. London, 1875. 8°, pp.
7 ; with 2 pis. (Reprint from
the Yorkshire Archaeological
Journal.)

No doubt can any longer exist as to the
function of the earthen pots imbedded in the
walls of mediaeval buildings, after we read the
evidence produced in this paper. It is a quota-
tion from an ancient MS. of the Metz town
library, in which it is said that during the
construction of the Abbey of the Celestins
Order, " the prior had ordered that pots should
be built up into the walls of the Church to
render them more sonorous. "

FOWLER (William). — Decorative tile
pavements at York, Harrington,
etc. 3 col. pis. in " Roman pave-
ments, stained glass windows,
Norman tiles, etc." Winterton,
1796-1819. Atlas folio.

The plates were published singly, and at
long intervals, each being accompanied with a
descriptive prospectus. Fowler, who had begun
life as a journeyman carpenter, produced the
work entirely with his own hand. A correct
designer, and a skilful engraver, he attached
so much importance to the perfection of his
work that, being dissatisfied with the materials
he could obtain in the trade, he employed only
the colours he prepared and the paper that lie
had himself manufactured. The plates were
issued to subscribers at 31s. 6d. each, and it is
said that scarcely forty sets have ever been
completed.

FOY (Jlllien).— La ceVamique des con-
structions. Briques, tiles, car-
reaux, poteries, carrelages cer-
amiques ; faiences decoratives.
Paris, 1883. 8°, pp. viii-264 ;
with 12 pis. of machines, and
plans of ovens. 15 fcs.

" Ceramic productions applied to build-
ing. Bricks and tiles, earthenware, and
decorative faience."

The object this work is intended to serve is
well defined in these few lines of the preface :
"Our task," says the author, "was limited to
the technical part of the ceramic industry ;
it was not our intention to write a complete
treatise on the matter, but merely to give a
statement of the improved processes of manu-
facture, together with a description of the
machinery and ovens now in use in the best
manufactories for the purpose of transforming
clay into terra-cotta and faience."

FRACASSO (L). — Relazione del Du-
cato di Urbino, letta nel Veneto

FRA]

CERAMIC LITER A Tl'RE.

[FRA

Senate da M. Frederigo Badoer,
ambasciatore straordinario a I
Guidobaldo II. della Rovere, |
Duca di Urbino e Govern atore j
generale delle armi della serenis-
vsima Republica di Venezia,
MDXLVII. Venezia,TipMer\o,
1856. 8°, pp. 40.

" A description of the Duchy of
Urbino, read before the Senate of
Venice by M. F. Badoer, ambassador
extraordinary to Guidobaldo II. della
Rovere, Duke of Urbino, etc., 1547."

The original MS. is preserved in the Correr
Museum at \7enice. It was printed with an '
introduction by Fracasso, to celebrate the
wedding of the daughter of G. Reali with
Count F. Berretta, of Udine. All the in-
dustries of the Duchy are described in turn
by the ambassador, but that of the majolists
obtains only a brief mention.

FRACKELTON (S. S.)— Tried by fire.
A work on china painting. New
York, 1886. 4°; with 12 chromo
plates and woodcuts. 20s. 2nd
ed., 1895.

Mrs. Susan S. Frackelton, an American
ceramic artist, is "President of the National
League of Mineral Painters." One of her most
celebrated works is a stoneware jar, decorated
with a branch of olive tree, to which the juries
of the exhibitions have granted the highest
rewards as being ' ' the most original work in
pottery ever produced in America."

FRANCHET (L).— De Evaluation des
hautes temperatures. Paris,
Mersch, 1897. 8°, pp. 18.

" A method for the valuation of high
temperatures."

Practical directions for the firing of ceramic
wares. Examination of Seger's system, and
tables of the degree of temperature to be reached
in the firing of the various classes of pottery
and porcelain.

Le Rutile et ses proprietes
colorantes. Autun, 1902. 8°, pp.
17.

" Rutile and its colouring properties."

De 1'analogie de 1'Emeraude
et du Zircon au point de vue des
proprietes colorantes en atmo-
sphere reductrice. Autun, 1902,
8°, pp. 12.

"Of the analogy existing between

Emerald and Zircon with regard to
their colouring properties in a reducing
atmosphere."

Etude sur les depots metal-

liques obtenus sur les emaux
et sur les verres. Lustres et
reflets metalliques. Paris, 1906.
8°, pp. 38. (Reprint from the
Annales de Physique.)

" Essay on the metallic deposits ob-
tained upon enamel and glass. Lustres
and metallic reflects."

The above papers, the fruit of the long and
conscientious researches of a learned man with
a special experience of the chemistry of pottery,
are of great importance to the student and to
the manufacturer.

FRAMENSTEIN (H. Freiherr von).— Kata-
log der Porzellansammlung.
Gruppen, Figuren und Gefasse
deutscher Manufacture!!. Miin-
chen, 1901. Hugo Helbing. 4°,
333 Nos. ; with 18 phototyp. pis.

Catalogue of sale of a collection exclusively
composed of specimens of German porcelain.
Ludwigsburg manufacture is particularly well
represented (Nos. 141-300).

FRANKS (A. W.).— Catalogue of works
of ancient and mediaeval art ex-
hibited at the House of the
Society of Arts. London, print,
by Wittingham, 1850. 8°, pp.
82. 3s.

Fictile wares — Greek and Etruscan, Nos. 455-
523 ; Della Robbia ware and Italian majolica,
534-570; German stoneware, 581-597; Henry
II. ware, 600-602; Palissy ware, 603-608;
Bottcher ware, 609-611 ; miscellaneous, 612-
619 ; with historical notices and names of
exhibitors.

- Notes on the manufacture of
porcelain at Chelsea. London,
1863. 8°, pp. 10 ; with 1 wood-
cut. (Reprint from the Journal
of the Archaeological Institute.)

When this paper was read at the meeting of
the Archaeological Institute, at Worcester, it
received great attention, for at that time many
were craving for knowledge, and very few were
qualified to impart it. Augustus Wollaston
Franks started his antiquarian studies in the
midst of that movement which was then called
"the collecting fever." He contributed, per-
haps in a larger measure than any of his
contemporaries, to raise the unruly passion for
acquisitiveness of the early collectors to the

153

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CERA MIC LITER A TURK.

[FKA

level of a well regulated science. His natural
feeling for the beautiful, his sound judgment,
had been ripened by a perfect knowledge of
the museums and collections of Europe. For
more than fifty years he took part in the most
memorable battles that were fought in the
auction-rooms, and always succeeded in secur-
ing one of the most desirable shares of the
spoils. Listening to the tales related to him
by countless fellow-collectors, he made good
profit of all that was worth remembering, and
laughed in petto at all the errors and fallacies
he had often to hear. He was never tired of
following with impartial spirit the course of
every promising investigation, and he gradually
stored up in his ever-ready memory, the sum of
all the achievements of his time. This con-
summate erudition was devoted to the greater
glory of his beloved British Museum, the mediiv-
val department of which has been transformed,
if not actually created, by his unremitting care,
and his princely gifts. The information lie
possessed, not only on ceramics, but also on
most of the other branches of applied art, and
which he dispensed so freely to all who came to
consult him, is, however, partly lost to future
generations. He showed himself somewhat
reluctant to commit to print the fruit of his
unparalleled experience. The few catalogues
he has compiled, remarkable and valuable to us
as they may be, represent but an infinitesimal
part of his accumulated knowledge.

FRANKS (A, W.).— Catalogue of a col-
lection of Oriental porcelain and
pottery lent for exhibition by A.
W. Franks, Esq., F.K.S., Bethnal
Green Branch Museum. London,
Eyre & Spottiswoode, 1876. 8°,
pp. 124 ; with 14 pis. of marks
and symbols. 2nd ed. London,
1878. Pp. 246 ; with 25 pis. 5s.

Porcelains of Chinese and Japanese origin
are classified together, in a reliable manner, in
this catalogue ; all previous attempts at dis-
crimination between the specimens of oriental
ceramics had produced more confusion than
enlightenment. The work was prepared under
the guidance of Chinese and Japanese con-
noisseurs of great experience. No fewer' than
1700 examples, selected as typical representa-
tives of eastern pottery in all its branches, and
illustrating the various kinds of clays, bodies,
glazes, and colours, as well as the particular
processes of manufacture, styles of shapes and
decorations in use at successive periods, have
been methodically arranged and described. An
accurate explanation accompanies the facsimile
of marks, which have all been taken from
specimens in the collection. After having
remained on loan for a short time, this collection
was presented by Mr. A. W. Franks to the
Bethnal Green Museum.

Japanese pottery; being a
native report, with an introduc-
tion and a catalogue by A. W.

154

Franks, M.A., F.K.S., etc. Lon-
don, Chapman & Hall, 1880. 8°,
pp. 112 ; with 73 illustrs. and
marks. One of the South Ken-
sington Museum Art Handbooks.
A second edition, with an in-
creased number of plates, ap-
peared in 1907.

This comprehensive collection of the leading
varieties of Japanese pottery was formed in
Japan by native experts, at the request of the
directorate of the South Kensington Museum.
A report fixing the place of manufacture, date,
and name of the maker of each specimen had
been — whenever it was found practicable —
indited to elucidate the collection. It is the
translation of this report which forms the ground
work of the present catalogue. Any additions
and explanatory notes which it has been found
necessary to introduce have been derived from
information supplied by Japanese collectors.

- Guide to the English ceramic
ante-room and the glass and
ceramic gallery. London, 1888.
8°, pp. 18. (For private distri-
bution. )

The catalogue of that interesting section of
the British Museum was still in preparation
when this brief notice was issued on the occasion
of the opening of an ante-room to the Ceramic-
Gallery in the White Building. The collec-
tions of old English slip decorated and salt-glaze
wares, just acquired from Mr. Henry Willet,
and the choice specimens of English pottery
and porcelain, presented by Mr. A. W. Franks,
were then shown for the first time. The
pamphlet merely calls the visitors' attention
to the most remarkable objects exhibited in
that part of the Museum.

Bethnal Green Museum.
Catalogue of a collection of Con-
tinental porcelain lent and de-
scribed by Sir A. Wollaston
Franks. London, Eyre & Spot-
tiswoode, 1896. 8°, pp. viii-109 ;
with 15 pis. of marks.

"It will be readily seen," says the author in
the preface of this catalogue, "that the collec-
tion is not composed to any great extent of the
finest specimens of the ceramic art, but is chiefly
documentary. . . . M ost of the Continental
fabrics are represented." We may add that
few, if any, private collections can boast of
containing such a large number of typical
pieces. The list has been arranged in geo-
graphical and chronological order, and each
section is accompanied with historical notices
of great interest. It forms a truly excellent
epitome of the history of Continental porcelain,
brought up to the latest acquisitions of know-
ledge, and free from the errors or wanton

FEA]

(' ERA MIC LIT ERA TUR K.

[FEE

conjectures which often spoil many a more
pretentious volume.

FRAHTZ (H.).— French pottery and
porcelain. London, G. Newnes,
1005. 8°, pp. ix-177 ; with 7 col.
pis. and 60 half -tone illustrs.

7s. 6d.

We notice that in the list of books given by
the author many of the standard works on the
subject have been omitted. When consulting
this handbook it is advisable that the reader
should refer to recognised authorities before
accepting certain statements evidently drawn
from unreliable sources.

FRASCHETTI (S,). — Vasi delle Far-
macie Romanefabbricati a Roma,
non a Cafaggiolo. (Collezione
dell'ospedale di San Giovanni in
Laterano.) Roma, 1898. 4°, pp.
9 ; with 15 illustrs. (In L'Arte.)

" The vases of the Roman pharmacies
manufactured at Rome and not at Cafag-
giolo. (Collection of the Hospital of
8aint John in Lateran.)"

FRATI (L). — Di un'insigna raccolta
di majoliche dipinte delle fabriche
di Pesaro e della provincia Met-
aurense, descrita ed illustrata da
Luigi Frati ; premessavi una
succinta storico dell'arte cer-
amica. Bologna, 1844. 8°, pp.
104; with 1 pi. 3 fcs.

" Notice of a remarkable collection of
painted majolica from the factories of
Pesaro and the Metaurian provinces ; de-
scribed and explained by L. F. ; prefaced
with a short history of the ceramic art."

A descriptive catalogue of the Delsette
collection.

- Raccolta de majoliche antiche
dipinte nel Museo Pasolini in
Faenza. Bologna, 1852. 8°, pp.
65. 3 fcs.

" Catalogue of the collection of old
painted majolica, in the Pasolini Mus-
eum at Faenza."

The collection contained 486 pieces, repre
senting the various styles of Italian majolica.
It is now dispersed ; this and the above
catalogue are of great value to collectors.

- Di un pavimento in majolica
nella basilica Petroniana, alia

capella di San Sebastiano. Bol-
ogna, 1853. Per le nozze Sassoli-
Beccadelli. 8°, pp. 19. A second
edition : Bologna, 1879. 4°, pp.
28, was published : Per le nozze
Boschi-Sassoli. 3 fcs.

" The majolica pavement of the chapel
of 8. Sebastian in the Petronian Basilica."

This remarkable pavement, still extant in
Bologna, is inscribed : " In Faenza, 1487." It
is one of the earliest dated examples of majolica
painting. The custom of publishing, on the
occasion of a marriage, a learned pamphlet to
be presented to parents and friends as a
memento of the event, is still in honour among
the members of the archaeological and scientific
circles of Italy and Germany. This paper,
published by the keeper of the Bologna Library
to celebrate the wedding of a friend, was
reprinted twenty-eight years afterwards for
the nuptial festivities of the daughter.

Le memorie storiche sulle
majoliche di Faenza. Stadi e
richerche del dottor Carlo Mala-
gola. Roma, Barbera, 1880. 8°,
pp. 13.

" The historical memoirs on the ma-
jolica of Faenza."

A severe critique of Malagola's work on that
subject.

Osservazioni critiche sul libro

del Sr. E. Molinier, "Les majoli-
ques italiennes," e signalmente
sulFarticolo concernente Bologna.
Modena, 1883. 8°, pp. 13.

"Critical remarks upon the work of
Mr. E. Molinier, 'Les majoliques itali-
ennes,' and particularly on the article :
Bologna." t

FRAUBERGER (H.).— Die Kunstsamm-
lung W. P. Metzler in Frank-
furt a. M. Frankfurt, 1897. 4°;
with 1 col. and 61 phototyp. pis.,
and 95 text illustrs. £3.

"The Metzler collection at Frankfort."
Antique terra-cottas, Italian majolica.Gernian
stoneware, etc.

FREETH (Frank).— Old English pottery
collected and catalogued by Mr.
and Mrs. F. Freeth ; with de-
scription and illustration of each
subject. Short explanatory in-
troduction. London, Morgan &

155

FRIJ

C ERA MIC LIT ERA TURE.

[Fill

Co., 1896. 4°, pp. 80 ; with 57
pis. in collotype. £2, 12s. 6d.

This catalogue is handsomely printed, in blue
ink, upon thick water-colour paper ; each plate
contains several subjects photographed from
the originals. The sections of Salt Glaze and
Tortoiseshell, as well as a few of the other
sections, are represented by numerous examples
chosen from the best known types of the ware.
From the many blanks which impair the com-
pleteness of the collection, we may judge that
the collectors have not had the ambition of
illustrating, in their selection, the history of
the potter's art in England, and of recording
its gradual development through its successive
transformations. Early English pottery, in-
cluding the many- handled tygs and the quaint
posset-pots, as well as the other slip-decorated
vessels, have been completely ignored, and not
a single example of the fine red ware of the
Elers has been admitted. The brown stone-
ware has no representative, and the few
specimens of English delft, grouped at the
end, are of insignificant character. The edition
was limited to 100 copies.

FRICK (G.)-— Ueber Porzellanerden-
gewinnung und Porzellanfabri-
cation. Berlin, 1812. Fol.

" On the extraction of porcelain clays
and on porcelain manufacture."

FRIEDENTHAL (C.).— Modelle von Ber-
liner Oefen. Musterblatter der
Schlesischen Oefen und Thon-
waaren-fabrik von C. Frieden-
thal zu Tschauschwitz,by Neisse.
15 pis. printed in col. (S..L, n.d.)
(Recent.)

" Models of Berlin earthenware stoves.
Pattern book of the stoves and earthen-
ware manufactory of C. Friedenthal at
Tschauschwitz, near Neisse."

FRIEDERICH (A.).— Buntglasirte Ofen-
kacheln von Kloster auf dem
Georgenberge, bei Goslar. 1881.
4°, pp. 8 ; with 7 lith. pis. partly
coloured,

" The stove of polychromic faience at
Kloster in the Georgenberg, near Goslar."

FRIEDRICH (Carl). — Augustin Hirs-
vogel als Toepfer ; seine Gefass-
entwurfe, Oefen und Glasge-
maelde. Nurriberg, printed for
the author by Bieling - Dietz,
1885. 4°, pp. 74 ; with portrait
and 28 pis. 15s.
156

"Augustin Hirschvogel considered as
a potter ; his designs for vases and other
vessels, his earthenware stoves, and
stained-glass paintings."

It is a bold venture to set at defiance long
accredited traditions, and to try to upset all
previously accepted notions by means of in-
geniously-framed arguments ; this, however,
is what Mr. Friedrich, librarian at the Industrial
Art Museum of Nuremberg, has endeavoured to
do with respect to Augustin Hirschvogel. The
work of the acknowledged father of artistic
pottery in Germany is represented in all collec-
tions by vases and jugs of a well-known type.
They are adorned with subjects of figures and
ornaments in relief, and the surface is covered
with stanniferous enamels of bright and often
discordant colours. Yet, to our surprise, we
notice that no example of this ware is figured
on the numerous plates which illustrate this
book. It is because the author considers such
rude imitations of Lucca della Robbia majolica
as altogether unworthy of the genius of such a
great artist as Hirschvogel ; and, in fact, in the
first lines of the preface he absolutely refuses
to recognise them as the work of his hands.
His assertion is chiefly based upon the only
passage so far discovered in contemporary
books, which mentions the name of the potter,
and gives some particulars about the kind of
pottery he produced at Nuremberg. One must
acknowledge that the description given by
Neudorffer, his friend and admirer, does not at
all tally with the nature of the heavy faience
pieces generally attributed to him. Mr. Frie-
drich has no hesitation in ascribing the earliest
examples of this style to the potters of Saxony,
and he believes them all to be posterior by a
few years to the death of Hirschvogel. No
vase has ever been found which bore the name
or the monogram of the master ; while, on the
other hand, a jug of the recognised type, now
in the Dresden Museum, is signed by Martin
Moller of Annaberg, and dated 1569. Hirsch-
vogel's career was a most chequered one, and
his pursuit of the potter's art can have had
only a small place in it. In turns a glass
painter, a carver of heraldic shields, an
engraver, a geometer, a cosmographer, and an
astronomer, he was, besides, one of the best?
musicians of his time, and a constant traveller.
In 1535 he repaired to Venice for the purpose,
it is said, of learning glass-making, but, as a
matter of fact, he worked as a potter in the
' ' Botega " of Maestro Lodovico, whose daughter
he married. At the end of three years he
returned to Nuremberg, where, turning to good
account the experience he had acquired, he set
up an oven and began to manufacture with
success a new kind of high-class pottery. It
is, however, clearly proved that this enterprise
was of short duration. In 1543 we find him
settled in Vienna, having given up pot-making,
and busy painting, engraving, and publishing
scientific works till the year of his death, which
occurred in 1553.

From the description given by Neudorffer,
and from the comparative study of the decora-
tive designs engraved by Hirschvogel, Mr.
Friedrich comes to the conclusion that the only
ceramic work which can safely be attributed to
the master, consists of ornamental earthenware
stoves, modelled in the taste of the Italian

FRT]

CERAMIC LITERATURE.

[FRO

Renaissance, and of dishes or drinking vessels
of the same style. All these productions are
coated over with lead-glazes of sober colours,
and in no case do they show any traces of
stanniferous enamels. Whether the verdict
rendered by the author will be ratified by the
generality of German collectors, remains to be
ascertained.

FRIEDRICH (K.).— Praxiteles und die
Niobegruppe, nebst Erklarung
einiger Vasenbilder. Leipzig,
1855. 8°, pp. 144; pis. 2s.

" Praxiteles and the Niobe group ;
with explanation of some vase paintings."

- Die philostratischen Bilder.
Ein Beitrag zur Charakteristik
der alten Kunst. Excurs. II.
Ueber die Raumfiillung auf den
Vasen. Erlangen, 1860. 8°.

"The paintings of Philostrates. An
essay on the characteristics of ancient
art. Part II. — On the disposition of
painted decoration upon the vases."

FRIEDRICH (P.).— Bltitezeit und Nie-
dergang unserer Ziegel-industrie,
dargelegt an den liibeckischen
Ziegelrohbauten. Ltibeck, 1897,
8°, pp. 58.

" The prosperity and decline of our
tile industry in the town of Liibeck, as
evidenced by our own brick buildings."

FRINGS and COMP.— Musterbuch der
rheinischen Mosaik-Platten und
Thonwaaren-Fabrik zu Sinzig
bei Bonn. Fol. (recent). 10
chromolith pis. and price list.

FRISCH (A.)-— Album of ceramic de-
coration in the Japanese style.
10 fol. pis. in outline of Chinese
porcelain vases, and 15 pis. in
chromolith, Berlin, P. Bette,
s.d. (1885 ?).

A series of folio plates without printed
title.

FROEHNER (W.).— Inscriptiones terrae-
cottse vasorum intra Alpes,
Tissam, Tamesin repertas. Got-
tingce, 1858. 8°, pp. xxx-86.
2m.

Contains 2,222 marks of Roman pottery.

- Die griechischen Vasen und
Terracotten der grossherzog-
lichen Kunsthalle zu Karlsruhe.
Heidelberg, 1860. 12°, pp. 119 ;

1 pi. of inscript. 1 m.

" The Greek vases and terra-cottas in
the Grand Ducal Museum of Carlsruhe."

A collection begun in 1837 with a series of
painted vases bought at Naples, by order of the
Grand Duke Leopold. To these were subse-
quently added the terra-cottas of the Pisani
collection, and the various antiquities once in
the possession of Greuzer, Fromel, Schiiler, and
other German antiquaries.

- Les trois bouche'es de pain.
Pour le dejeune' de Mr. de Witte.
Paris, 1866. 8°, pp. 8. (Reprint
from Revue archeologique.}

" Three mouthfuls of bread ; for Mr. de
Witte's breakfast."

Ingenious interpretation of a puzzling inscrip-
tion incised on a Roman vase of black clay.
Through a clever manipulation of archaic Greek
and Koman words, the decipherer construes the
following sentence out of some apparently
meaningless sequence of Roman capitals : —
' ' Eat in silence three mouthfuls of bread and
the spell shall become harmless." This would
make the vase a kind of talisman against evil
charms or poison.

Terres cuites d'Al-Kantara.
Paris, 1867. Fol., pp. 5 ; with

2 pis.

" The terra-cottas of Al-Kantara."

- Choix de vases grecs ine'dits
de la collection de S. A. I. le
Prince Napoleon. Paris, impr.
Clave, 1867. Fol., pp. 48; with
7 col. pis. 25 fcs.

" A selection of unpublished Greek
vases from the collection of H.I.H. Prince
Napoleon."

Catalogue d'une collection
d'antiquite's grecques et rom-
aines, pheniciennes, e'trusques,
e"gyptiennes et ame'ricaines.
(Prince Napoleon collection. )
Paris, 1868. 8°, pp. 208.

Catalogue of sale. Painted vases, pp. 3-93 ;
terra-cottas, pp. 94-112, etc.

Antiques chypriotes pro-
venant des fotiilles faites en

157

FRO]

CERAMIC LITERATURE.

[FRO

1868 par Mr. de Cesnola. Paris,
1870. 8°, pp. iv-27.

" Cyprian antiquities from the excava-
tions made by Mr. de Cesnola in 1868."
Catalogue of sale.

FROEHNER (W.)-— Deux peintures de
vases gre'cs de la ndcropole de
Kameiros. Paris, 1871. Fol.,
with 3 pis. 10 fcs.

"Two paintings on Greek vases from
.the Kameiros necropolis."

- Les musses de France ; re-
cueil de monuments antiques.
Paris, Rothschild, 1873. Fol.,
pp. 74 ; with 40 col. pis. 40 fcs.

"The museums of France; a selection
of antique monuments."

Of the nine plates of vase paintings contained
in this volume, seven are reprinted from the
Collection of Prince Napoleon. Antique terra-
cottas are represented by nine plates, among
which are some curious reliefs of Roman pottery
of unusual character. The publication, of which
this was intended to be the first series, has not
been continued.

- Anatomic des vases antiques.
Paris, Detaille, 1876. 8°, pp. 36.
3 fcs.

"The anatomy of antique vases."

We are all familiar with such expressions
as the neck, the shoulder, the belly, and the
foot of a vase. For this humouristic essay Mr.
Frohner has collected numerous quotations from
the works of classical authors, in which the
various parts of antique vessels are designated
by the same terms that apply to the correspond-
ing parts of the human body. The bodily
structure of an imaginary being having been
thus constituted, it had still to be animated
with an air of spiritual existence. In the
words of the poets, who often address a vase as
an entity susceptible of having feelings of its
own, in the popular sayings of all nations
which endow with endearing or satirical attri-
butes the vessels which play a humble part in
the activity of man's life, the idea has found
a corresponding expression. Vases may even
be said to have a voice, and speak to us with
joy or sadness, and suggest a word of warning
when they are inscribed with sentences of
striking signification.

- Terres cuites d'Asie Mineure.
Paris, H. Hoffmann, 1881. 4°,
pp. 58 ; with 40 photolith. pis.
40 fcs.

" Terra-cottas from Asia-Minor."
The museums of antiquities, vast caravan-
158

serais, in which the waifs and strays of classical
art find a hospitable resting place, had always
welcomed examples of Greek terra-cottas,
seldom obtained in a good state of preservation.
Treated as obscure strangers who had chanced
to be admitted among their betters, although
unprovided with credentials, scarcely anyone
cared to know whence they came, and whether
they would ever take a place in the history of
art. For long they remained insignificant
oddities in our collections, when one day the
interlopers began to arrive in thick crowds
from various quarters, each legion bringing
with it its pedigree and certificate of its
source. The gigantic necropolis of Greece and
Asia Minor had been, simultaneously, opened
in many places, and from their depths had
emerged an ever increasing horde of terra-cottas,
well calculated to surprise the antiquaries.
No one could refuse them the right they claimed
to be admitted among the masterpieces of
Greek art. They were at first broadly divided
into nations, then sorted into tribes. Soon
after groups were formed in which, through the
nature of the clay of which they were made
and the style of the workmanship, one could
identify the natives of the great cities, or even of
the small villages of Hellas and of the neigh-
bouring countries. Frohner is one of those who
assisted, most effectually, in this preliminary
work of classification. Hostile to any con-
jectural system, he limited his assertions to
plain facts, or, at any rate, to rational
deductions. His descriptions are correct, his
observations simple and clear. The subject of
a terra-cotta figure is, for him, no more than
what it seems to represent ; we are spared the
infliction of the mystical riddle and its length}'
metaphorical elucidation, so seldom dispensed
with by the writers of the old school. Start-
ing from the principle that the study of Greek
terra-cotta should not be directed towards the
disconnected examination of isolated figures,
but should be applied to a general investigation
of the characteristics which distinguish the
various groups that have been formed of speci-
mens originating from the same localities, he
endeavours to find in them the means of know-
ing something of the manners, customs, and
beliefs of the people, and the progress of art
and civilization in the different countries,
towns, or villages in which they were dis-
covered.

The searches made at Tanagra for the locally
abundant terra-cotta figures forestalled those
which were undertaken, shortly afterwards, in
Greece proper and Asia Minor. Out of the new
materials supplied by the excavations conducted
in the last-named country, Frohner selected
the specimens described in this volume, exclu-
sively devoted to productions of that origin.
Tarsa occupies the first rank. Its terra-cottas,
equal if not superior to the best works of the
Greek coroplast, were previously represented
by a few fragments, bewitching female heads,
exquisite cupids, charming as they were, but
always bereft of one or more of their limbs.
The excavations made at Tarsa in 1875 brought
to light perfect figures of equal beauty. Differ-
ing in that from those of Tanagra, which
represent mostly personages taken from daily
life, the statuettes^of Asia Minor are usually of
a religious character ; deities such as Venus.
Eros, Bacchus, Pan, Nike, are easily recognis-

FRO]

CERA MIC LITER A TURE.

[FTJR

able by their attributes. One may infer that
it was a transplanted art in those Asiatic
regions from the fact that no specimens of the
archaic times were ever found associated with
those mythologic representations, all of which
belong, unquestionably, to the best period of
the art. The manufacture of terra cotta
figures seems, however, to have, for a long
time, been carried on in the land. The noblest
form of the Clreek plastic is manifest in the
style of many figures of Aphrodite, adolescent
Eros, and winged cupids. But by the side of
these incomparable types of Grecian beauty,
Ave find also heav}' groups of a much later
period representing funeral repasts and nuptial
scenes, in which the influence of Roman art in
full decline is painfully noticeable. Much
value has been set on the groups of that kind.
The archaeologist is marvelling at the import-
ance of the piece, he praises the rarity of the
subject, and revels in the merit of the realistic
treatment. We do not think that an artist
will ever endorse his opinion. As for us, we
should willingly give them all for one of the
truncated statuettes of Tarsa preserved in
the Louvre, not to speak of the perfect figures
reproduced in the book.

Une collection de terres-
cuites grecques. Paris, Gazette
des Beaux arts, 1887. 8°, pp.
20 ; with 2 pis. and 8 illustrs.
3fcs.

"A collection of Greek terra-cottas."

The groups and figures described in this
paper made part of the collection of Madame
Darthes.

FROHNER (W.).— See-

Barre (Collection A.).

Bammeville (Coll. J. de).

Brant6ghem (Coll. van).

Burlington F. A. C. (Exhibition of

Greek ceramic art.)
Dutuit (Coll. A.).

GrSau (Coll. J.), and catalogue of sale.
Hoffmann. Catalogues of sale.
Napoleon (Coll. du Prince Jerome), and

cat. of sale.
Plot (Coll. E.).
Tyzkiewiez (Collection), and cat. of sale.

FROLICH (H, D.).— Geheimnisse der
Porcellanmalerei. Graudenz,
1847. 8°.

"The secrets of porcelain-painting."

FROMBERG (E. 0.).— Die Darstellung
des Goldpurpurs in alien seinen
Ntiancen, fur die Zwecke der
Glas- Email- und Porcellanmal-
erei. Quedlinburg, s.d.

"The preparation of the gold-purple

in all its shades ; in its application to
glass, enamel, and porcelain-painting."

FUGGER-BABENHAUSEN (Prince C. L. M.)—
Museum Fuggerianum. Tableaux
der Kostbarkeiten und Kunst-
gewerbliche Gegenstande in
Fayence, etc., in clem Fugger-
hause in Augsburg aufbewart.
Augsburf/, 1892. Fol. ; photogr.
pis.

" Catalogue of the precious objects and
works of industrial art, in faience, etc.,
preserved in the Fugger Mansion at
Augsburg."

FUMIERE (F.)- — Les arts decora tifs k
Fexposition du cinquantenaire
Beige. Bruocelles, 1880. Fol.,
pp. 106 ; with 25 phototyp. pis.

" Decorative art at the Bruxelles Ex-
hibition, 1880."

FUNGHINI (Y.). — Sulle porcellane
medicee e particolarmente di due
esemplari che 1'autore conserva
nella sua collezione di antichita
in Arezzo. Arezzo, 1886.

" On the Medicean porcelain, and par-
ticularly on two pieces in the author's
collection at Arezzo."

Cenni storici sulle antiche

maioliche italiane. Roma, For-
zani, 1889. 8°, pp. 38.

" Historical notes on the ancient
Italian majolica."

Osservazioni e rilievi sulle

antiche fabbriche di maioliche di
Cafaggiolo, del Mugello, e su
quelle di Faenza. Kiposta all
Prof. Argnani. Arezzo, Stab.
Belloti, 1890.

" Remarks and considerations on the
ancient manufactories of majolica of
Cafaggiolo, of Mugello, and on those of
Faenza. A reply to Prof. Argnani."

FURNIYAL (W. J.).— Explanation of
the Staffordshire Potteries' Slop
Flint and Stone trade calculator,
or tables of equivalents, for re-
ducing pecks of slop flint and

159

FUR]

CERAMIC LITERATURE.

[FUR

stone of varying weights to stan-

«/ O

dard or customary pecks of 32 Ibs.
each ; also a few notes respecting
ready practical methods of ap-
proximately determining the fine-
ness of, and of detecting impuri-
ties and percentage of moisture
in potters' materials and clays.
Hanley, Allbut & Daniel, 1884.
12°, pp. 24 ; with 2 tables or cal-
culators mounted on cardboard.
2s. 6d.

FURNIYAL (W. J.). — Researches on
leadless glazes. Published by
the author. Stone, Staffs., 1898.
8°, pp. 135. Publ., £5, 5s.

To the result of the personal researches of
Mr. Furnival, who professes to have settled
the difficulty of composing a leadless glaze
which shall replace with advantage the lead
glazes in use in the trade, are added transcrip-
tions of the recipes previously experimented
upon, and recommended by technical writers
and professional potters.

Leadless decorative tiles,

faience and mosaic, comprising
notes and excerpts on the his-
tory, materials, manufacture, and
use of ornamental flooring tiles
and faience, with complete series
of recipes for tile-bodies and for
leadless glazes and art - tile
enamels. The work includes the
following specially written con-
tributions : — Notes on the decor-
ative and architectural use of
glazed tiles and faience in China,
by S, W. Bushell. A list of the
principal existing monuments in
India upon which tile -work de-
coration appears, by Stanley Clarke.
Notes on the tile decoration
found on buildings in Punjab and
Bengal, by J. H. Marshall. Design-
ing for ornamental tile-work and
faience, by A. Wood. Stone, Staffs.,
publ. by the author, 1904. 4",
pp. xxiii-852 ; with 37 pis. and
329 text illustrs. £6, 6s.
160

One cannot consider this heterogeneous
assemblage as being a technical or historical
treatise on the manufacture and use of decora-
tive tiles. From the successive sections, which
make a bulky volume, — incomplete as each of
them is bound to be, — a certain amount of
information is obtainable ; but, evidently, no
definite plan has been followed in its prepara-
tion. The examples of ancient tile decoration
the writer has chosen to describe, sucli as the
Italian majolica, and the Dutch and French
faience, in which lead forms so large a part of
the glazes and colours, scarcely justify the
heading of " Leadless decorative tiles."

FDRTWANGLER (A.). --Eros in der
Vasenmalerei . Milnchen, Acker-
mann, 1874. 8°, pp. 90. 2 m.

" Eros in the Greek vase paintings."

Although Eros lias been frequently repre-
sented by the vase painter, he was always
painted in a manner free from the bonds of
tradition. As he had no myth of his own,
says the author, he must be studied, chiefly in
the part he has been made to play in the paint-
ings of antique pottery and the works of plastic
art.

- Arianna dormente e Bacco
sopra cratere etrusco. Ro'ina,
Salvinci, 1878. 8°, pp. 24 ; 2
fold. pis. (1 col.).

" Ariana asleep, and Bacchus, upon an
Etruscan crater."

— Koeniglische Museum zu Ber-
lin. Beschreibung der Vasen-
sammlung in Antiquarium. Ber-
lin, 1885. 2 vols. 8°; with 7
pis. of forms. 15m.

" Royal Museum of Berlin. Descrip-
tion of the collection of vases in the
Antiquarium."

A revised edition of the catalogue prepared
by Levezow in 1834. The collection had been
considerably increased, and Furtwiingler
adopted for its classification an excellent plan
differing entirely from the one followed by his
predecessor.

Mykenische Vasen. Vorhel-

lenische Thongefasse aus dem
Mittelmeeres. Berlin, 1886. 4°;
with 5 pis., and an atlas obi. fol.
of 44 pis. 115 m.

"Mycenean vases. Prehellenic pottery
from the coasts of the Mediterranean
Sea."

The pottery, said to belong to the pre-
Homeric ages, which makes the subject of the
above work, was first described by Schliemann,

FUR]

CERA MIC LITER A TV RE.

[GAG

who discovered it on the site of ancient Mycena ;
later on, however, pottery of the same character
was found on the coasts of the Aegean Sea, in
some Greek Islands, and even as far away as
Egypt.

- Neuere Falschungen von An-
tiken. Berlin, Giesecke & Dev-
rient, 1899. 4°, pp. 39 ; with 25
illustrs. 5 m.

"New forgeries of antiquities."

Chapter II. treats of ancient terra-cottas.
The author explains with what facility modern
counterfeits can be produced, so closely imitating
an antique specimen as to deceive even the eye
of an antiquai'y. In his visits to the chief
museums of Europe he has had occasion to
notice — sometimes among the examples con-
sidered as masterpieces of the art — vases and
figures of terra-cotta which he considers as
flagrant forgeries ; he describes some of these,
and points out the peculiarities on which he
grounds his opinion. It is especially in the
inconstancy of style and treatment in the orna-
mental details made use of by the forger, arid
which, although appearing on the same piece,
undoubtedly belong to periods very far apart,
that he finds convincing proofs of the fraud.

Painted vases are dealt with in Chapter IV.
In this we find the reassuring remark that the
black varnish of the originals could never be
exactly imitated, and, consequently, falsifica-
tions of black and red vases can easily be
recognised. But we are warned that much
caution must be exerted with regard to the
white pieces painted in various colours. Many
an otherwise genuine lekythos, or calix, may
have been tampered with by the dealer in
antiquities, and the subject it bears may be
the recent work of a painter in his employ.

FURTWA'NGLER (A.) and LOSCHKE (G.).-
Mykenische Thongefasse. Ber-
lin, Ascher, 1879. Obi. fol., pp.
9 ; with 12 col. pis. 15 rn.
" Earthen vessels from Mycena."

Published on the occasion of the fiftieth
anniversary of the German Archaeological Insti-
tute in Rome.

FURTWAHGLER (A.) and REICHHOLD (C.).-
Die griechische Vasenmalerei.
Auswahl hervorragender Vasen-
bilder. Mimchen, Bruckmann,
1900. Fol. ; with 60 pis. and
text illustrs. 240 m. (In pro-
gress.)

" Greek vase painting ; a selection of
the most remarkable examples of painted
vases."

The circular issued by the publisher might
have dwelt upon the excellent selection of sub-
jects made by the authors for the production of

this book ; the advertiser has, however, pre-
ferred to claim for the plates which illustrate
the volume a conspicuous superiority over all
engravings of the same order attempted pre-
viously. Such a sweeping assertion can scarcely
be left to pass unchallenged.

Surely one has no fault to find with the
illustrations of the greater number of modern
publications. The subjects are usually either
taken directly from the pieces by the best
photographic processes, or else engraved by
hand from tracings made with sufficient care
to give us an exact facsimile of the original.
It is not the case here. All reproductions are
made from excellent drawings, it is true, but
in which we detect an undue touching up at
the expense of accuracy. Every apparent
incorrectness in the model has been modified or
even removed, with the result that a stiff,
formal, wiry outline replaces the boldness and
the grace of the free pencilling of the Greek
vase painter. The zinco-block, the cheapest,
but also the most inartistic process, has been
selected for the reproduction of the drawings.
All book lovers will also object to the paper,
which shines like patent leather, and is bound
to crack in the folds, and ultimately to fall
into dust.

FURTWA'NGLER (A.).— See Sabouroff Col-
lection.

- See Genick.

amik.

Griechische Ker-

GABELLE (Martial).— Precede' simple
pour cuire chez soi, sans moufle,
les peintures vitrifiables sur por-
celaine. Paris, 1876. 8°, pp. 6.
2nd ed., 1881.

" A simple method of firing, at home
and without a kiln, vitrifiable paintings
on porcelain."

GAEDECHEUS (R.).— Perseus by den
Nymphen. Bild einer griech-
ischen Pyxis. Jena, 1879. Fol.,
pp. 11; pis. 5 m.

" Perseus and the nymphs ; a painting
upon a Greek Pyxis."

- Drei Terra-cotta-statuen aus
Tanagra in Besitze d. Univ.
Jena, 1880. 4°; with 2 photos.

" Three Tanagra figures of terra-cotta
at the Jena University."

GAGER & Co.— Franc-price List. New
York, 1888. 4°, pp. 59 ; with
28 full-page illustrs.

A pattern book of Limoges porcelain.

16J

GAI]

CERAMIC LITERATURE.

[GAN

GAIDAN (F,)- — Notes sur la maison de
faience artistique de F. Gaidan,
104 rue de T Abbe Groult, Paris.
Vaugirard. Nancy, impr. Vag-
ner. Sm. 8°, pp. 7.

" Notes on the artistic faience manu-
factory of F. Gaidan."

The manufacturer makes an appeal to
capitalists for funds to give greater extension
to his manufacture. "Everyone," says he,
"is bound to acknowledge that I have raised
myself to the highest rank among the makers
of artistic pottery. My discoveries are so
numerous and extraordinary that one might
refuse to believe that they are the fruit of the
efforts of a single man ; but my fame is now
so well established that my talent and my
success are recognised by all, " etc.

GAILHABAUD. --Pavement en terre
vernissee dans la salle du Chapi-
tre de 1'ancienne Cathedrale de
St. Omer. Paris, 1869. 4°, pp.
13 ; with 3 col. pis. (Reprint
from L' Architecture du Ve au
XV1P siecle.)

" Pavement in glazed tiles in the
chapter room of the ancient Cathedral
of St. Omer."

GALLE (Efflile). — Exposition univer-
selle de 1889. Ceramiques.
Section fran£aise. Notice remise
au jury sur sa fabrication de
faiences d'art. (Fayencerie de
Nancy.) Nancy, 1889. 4°, pp. 16.

" International Exhibition, 1889. Cer-
amics. French section. Notice of the
art faience manufactured by E. Gall£ at
the Nancy faience works, distributed
to the members of the jury."

The interesting pottery of E. Galle was
bound to suffer from the counter-attraction
created by the marvellous glass he exhibited
in the same year. All the fascinating effects
that fusion and vitrification can produce, —
either normally or with extraordinary difficulty,
— had been mastered by the keenness and per-
severance of a rash and undaunted experimenter.
The most refractory materials had been made
to obey the will and fancy of a consummate
artist. For purity and richness of substance,
originality of conception, and perfection of
workmanship, the creations of Galld were, in
most cases, priceless jewels which defied com-
parison with anything ever produced by the
glass-makers of ancient and modern times.
His faience displayed, — but in a minor degree,
— the same qualities of novelty in the technics,
and of refined taste in artistic treatment.
Each specimen represented a type of its kind,

162

an idea susceptible of further development, a
difficulty easily overcome, all testifying to the
disdain their maker entertained for all that is
trite and commonplace. A perusal of this
catalogue will be sufficient to put a potter on
his mettle, and furnish him with many hints
towards an infinity of new ways and new
processes, all of which Galle has merely experi-
mented with, without taking full advantage of
any.

GALLY (M.). — Les carreaux emailles
decouverts a Precy-le-Sec. Aval-
Ion, 1862. 8°, pp. 3 ; with 4 pis.
(Extr. from the Bulletin de la
Societe d* etudes d'Avallon.)

" Glazed earthenware tiles discovered
at Precy-le-Sec."

In excavating the ruins of an old tower, at a
small castle in Burgundy, the workmen came
across a quantity of earthenware tiles, number-
ing about two thousand. The castle had been
demolished in the fourteenth century, yet these
tiles were in such a good state of preservation
that they were employed in the restoration of
the local church, to which they supplied a
handsome pavement. Samples of the various
patterns were also deposited in the Museums of
Auxerres and Avallon.

GAMURRINI (G. F.).- Le iscrizioni degli
antichi vasi fittili aretini. Roma,
Tip. Tiberina, 1859. 8°, pp. 67.
3fcs.

" The inscriptions of the antique fictile
vases of Arezzo."

No fewer than 446 different marks of potters
have been found, by the author, impressed on
the bright red ware, fragments of which have
been dug out in abundance in the locality.
Each inscription is sagaciouslycommented upon.
Groups are formed of the leading families con-
nected in ancient times with the ceramicindustry
of the town of Arezzo and its surroundings.
In the case of two names appearing on the
same piece, a distinction is drawn between
that of the master, and that of the operative,
either slave or freeman, who worked in his
employ. Following Fabroni's example, Gamur-
rini affects to ignore the existence of any other
red embossed ware, but that which was made
at Arezzo.

GANDY (W.)-— A short account of old
English pottery. A paper read
at the meeting of the Institute
of Estate and House Agents.
London, 1904. 8°, pp. 12.

- Ceramics in architecture and
decoration. Read at the meeting
of the Auctioneers' Institute.
London, 1908. 8°, pp. 20,

GAR]

CERAMIC LITERATURE.

[GAR

GARBAN (E,).— La Porcelaine. Illus-
trations d'E. Sadoux,dessins dans
le texte de Drouot. Paris,
Lecene, Oudin & Cie. 1891 8°,
pp. 300 ; with 7- illustrs. 4 fcs.

This work is intended to initiate young
scholars in the elementary knowledge of por-
celain manufacture, beginning with the extrac-
tion of the china clay, continuing with the
composition of the pastes, the fashioning and
the firing of the ware, and ending with the
various processes employed for its decoration.
No better technical handbook could be recom-
mended to anyone who is desirous of acquiring
a superficial inkling of the methods employed
for the production of French porcelain, without
encountering the difficulties presented by the
study of scientific treatises.

GARCIA LOPEZ (ML).— Manual completa
de Artes ceramicas. Madrid,
Cuesta, 1902. 2 vols. 8°, pp.
xi-328 ; with illustrs. 5 fcs.

" A complete manual of the ceramic
art."

GARDNER (E. A.).— A catalogue of the
Greek vases in the Fitzwilliam
Museum, Cambridge. Cam-
bridge, 1897. 8°, pp. xxi-95;
with 41 zinco-block pis. 12s.

GARDNER (Percy).— Catalogue of the
Greek vases in the Ashmolean
Museum. London,l893. Sm. fol.,
pp. 44; with 26 photochromolith.
pis. and 37 text illustrs. £3, 3s.

GARGALLO-GRIMALDI (Filippo).-H mito
di lo ; dipinto d'un vaso ruvese
del Sig. G. Jatta. Roma, 1839.
8°, pp. 16 ; fold. pis.

" The myth of lo ; a picture of a vase
of Ruvo in the Jatta collection."

— La pittura di un antico vaso
fittile. Roma, 1839. 8°, pp. 16;
fold. pis.

"The painting of an ancient fictile
vase."

Di un vaso greco inedito.
Roma, 1842. 8°, pp. 8 ; pis.
" An inedited Greek vase."

— La pittura di un vaso Greco
nella qualle e rapresentato il

mito di Scirone. Roma, 1843.
pp. 8 ; pis.

" The myth of Sciro represented on
the painting of a Greek vase."

- Su la pittura di un vaso greco
inedito, lettera al ch. Sig. Duca
di Luynes. Napoli, 1848 4°,
pp. 12 ; 1 pi.

" On the painting of an inedited Greek
vase. A letter to the Duke of Luynes."

- Perseo, Vaso ruvese. Roma,
1850. 8°, pp. 10; 1 pi.

" Perseus, upon a vase of Ruvo."

- Penelope ed Enomao. Vaso
Ruvese. Roma, 1852. pp. 8; pis.

"Penelope and Enomaus. Ruvian
vase."

- Dichiarazione della pitture di
un inedito vaso fittile greco del
Museo Jatta. Napoli, 1857. 4°,
pp. 4 ; pi.

" Description of the paintings upon an
inedited vase of the Jatta collection."

- La pittura di un inedito cra-
tere greco di Argilla. Napoli,
1862. 4°, pp. 3 ; pi.

" The painting upon an inedited earthen
crater."

- Dichiarazione del dipinto di
un greco vaso fittile Capuano.
Napoli, 1863. pp. 8.

"Explanation of the painting upon a
Capuan Greek vase."

- I dipinti di un greco vaso di
Argilla Dissotterrato nella ne-
cropoli di Chiusi. Napoli, 1865.
Pp. 6 ; pis.

"The paintings of a Greek vase dis-
covered in the necropolis of Chiusi."

Breve dichiarazione di un
antico vaso fittile di Ruvo col
soggetto della caccia del cinghiale
di Calidone. 4°, pp, 2 ; pis.

"The Calidon boar upon a Ruvian
fictile vase."

163

GAR]

CERAMIC LITERATURE.

GARGALLO-GRIMALDI (Filippo).— Explica-
tion des ornements plastiques
d'un rhyton grec inedit. S.d.
4°, pp. 2 ; pis.

"Explanation of the ornaments in
relief upon an inedited Greek Rhyton."

GARG1ULO (R.).— Collezione delle di-
verse forme de'vasi italico-greci
dette communemente etruschi.
Napoli, 1822. 4°; with 28 pis.
engr. by Biondi. 5 fcs.

"Collection of the various shapes of
the Italo-Greek vases commonly called
Etruscan."

Cenni sulla raaniera di rin-

venire i vasi fittile italo-greci ;
sulla loro costruzione, sulle loro
fabriche piu distinte, e sulla pro-
gressione e decadimento dell'arte
vasaria. Napoli, 1831. Sm. 4°,
pp. 39 ; with 10 pis. 5 fcs.

"Notes on the best method to follow
for the discovery of the Italo-Greek vases ;
on the processes of manufacture ; the
most distinct styles ; and the progress
and decline of the art of vase making."

From the uncertain and inadequate manner
in which the above questions are approached
in this essay, we see that they were still in the
state of unsolved problems.

- Raccolta de'monumenti piu
interessantidel Museo Borbonico
e di varie collezione private.
Napoli, 1825. 2 vols. 4°; with
200 engr. pis. 50 fcs.

"Collection of the most remarkable
monuments in the Borbonico Museum."

A second edition in four vols. was published
in 1868-70. Vol. iv. contains the terra-cottas
and the vases.

GARIN ET AYMAR.— La photographic
vitrifiee. Operations pratiques.
Paris, G. Willars, 1890. 18°
1 fc.

" Vitrified photography. Practical
operations."

GARNAUD (Fils).— Terre cuite blanche
imitant la pierre. Fabrique a
Choisy - le - Koy. Paris, impr.
164

Lemercier (1850 ?). Fol. ; 25
lith. pis. and list of prices.

" White terra-cotta imitating stone."

GARNIER (EdOliard). -Histoire de lacer-
ainique, poteries, faiences et por-
celaines chez tous les peuples,
depuis les temps les plus anciens
jusqu'a nos jours. Preface de
Mr. P. Gasnault. Tours, A.
Mame, 1880. 8°, pp. 568 ; with
9 col. pis. and 160 text illustrs.
drawn by the author. 20 fcs.
2nd ed., 1882. 8°.

"History of the ceramic art, pottery,
faience, and porcelain of all nations, from
the earliest times up to the present day."

Like all other works of an encyclopaedia!!
order, general histories of the ceramic art
require frequent remodelling. The account
has to keep up with the march of advancing
knowledge. Garnier's volume embodied at the
time of its publication an abridgement of what
had been lately ascertained as the result
of modern researches. While neglecting alto-
gether the consideration of exploded theories,
the author endeavoured to register all the
plausible statements offered in elucidation of
some important points, the final solution of
which still remains in abeyance. Although
incomplete in some regards the work was, in
our estimation, a conscientious and commend-
able effort.

Catalogue de la collection

Gasnault, avec une introduction ;
des notes historiques, et plus de
270 marques reproduites en fac-
simile. Paris, Champion, 1881.
4°, pp. 321. 10 fcs.

"Catalogue of the Gasnault Collec-
tion, with an introduction, historical
notes, and over 270 marks in facsimile."

The ceramic collection formed by Mr. Paul
Gasnault, of Paris, was purchased by Mr.
Dubouche, and presented by him to the
Limoges Museum, in which establishment it
has found a permanent abode. It contains
1855 Nos. of pottery, faience, porcelain, and
glass of all countries, selected with great care
and judgment by the former owner.

Une page d'histoire. La
manufacture de Sevres en Fan
viii. Paris, Champion, 1888. 4°,
pp. 19. (Keprint from the Gaz-
ette des Beaux Arts.)

"A page of history. The Sevres

GAR]

CERAMIC LITERATURE.

[GAR

manufactory in the year viii of the
Republique(1798)."

A dark page in the annals of the Sevres
works is transcribed in this interesting paper.
France, crushed by national calamities, revolu-
tions, foreign invasions, and financial ruin,
could take little heed of the miserable condi-
tion in which the late royal manufactory of
porcelain was placed by the force of events.
Selling the expensive ware, which continued to
be produced, was quite out of the question,
and the annual state grant was no longer
paid. In the year 1798 artists and workmen,
who for many months had received no wages,
were reduced to absolute destitution. Bread
was baked in the works, and a few pounds of
meat were occasionally distributed ; bxit the
supplies, bought on credit, were of such bad
quality that the scheme of helping the work-
people in that way had to be abandoned.
These heartrending circumstances prevailed
until Napoleon became First Consul. He
appointed Brongniart director of the manu-
factory in the year 1800. The wise and firm
management of the new director was not long
in effecting a complete transformation. This,
however, was not done without some sacrifices.
To obtain the indispensable funds he decided
to sell by public auction the larger part of the
warehouse's contents. Through these and other
well-planned measures, he succeeded in restoring
the unsettled administration to order.

- The soft porcelain of Sevres,
translated into English by H. F.
Andersen. 50 plates, represent-
ing 250 water-colour subjects
after the originals. London,
Nimmo, 1889.' Fol., pp. 32.
£8, 8s. The French edition ap-
peared in the same year.

The lack of a good and comprehensive history
of the manufactory of Sevres and of its incom-
parable porcelain has always been regretted.
\\hen the announcement came that a volume
worthy of the subject was at last on the eve of
being issued, the news was heartily welcomed
by all amateurs. No one could have been
deemed to be better qualified to accomplish the
task than Edouard Gamier. The position he
was known to have occupied for many years
as assistant curator of the Sevres Museum,
warranted the assumption that he had been
able to gather, in that capacity, an amount of
unpublished materials, written evidence, and
local traditions, sufficient to supplement the
knowledge already obtained, and assist in com-
pleting a perfect monograph. The subscription
price, without being extravagant, was, how-
ever, considered high enough to allow the
publisher to bring out the volume in a style
consistent with the importance of the scheme.
Such anticipations were not to be realised ,
the book came out, a disappointment to all.
Instead of finding in it, as had been reasonably
expected, a fully documented history of the
manufactory of Sevres, its progress and trans-
formations, with a biographical account of its
directors and artists, and a critical examination

of its best productions, one had to be satisfied
with a few pages of letterpress, a large portion
of which is occupied by a summary of the
well-known facts relating to the introduction
of porcelain manufacture in Europe ; a chapter
on imitations and forgeries, without any new
original matter ; a brief commonplace history of
the manufactory, and the list of painters' marks
already given in scores of other books. The
plates were similarly disappointing by being
far below the standard expected in such a
work.

- Exposition de 1889. La manu-
facture de Sevres. Paris, Cham-
pion, 1889. 8°. (Reprint from
the Journal officiel}

"Exhibition of 1889. The manu-
factory of Sevres."

La manufacture de Sevres.
Paris, Charmerot, 1890. 8°,
pp. 15.

A vindication of the national establishment,
written on the occasion of a bill having been
introduced before the Chamber of Deputies,
for the suppression of the annual state grant of
624,000 fcs.

L'industrie de la porcelaine
en France au xviii6 siecle.
Sevres, Limoges. Paris, 1890.
8°, pp. 16.

" The porcelain industry in France,
in the eighteenth century. Sevres,
Limoges."

A lecture delivered by Mr. Gamier at the
Limoges congress.

Sur un vase de Sevres du
musee du Louvre. Paris, Le
Cerf. S.d. 8°, pp. 10. (Reprint
from the Bulletin des Musees.)

"A Sevres vase in the Louvre Museum."
This vase, two metres high, one of the most
elaborate and costly productions of the Sevres
manufactory, was executed in 1783. A frieze
of figures in white biscuit forms the middle
portion ; it was modelled by Boisot. The top
and bottom parts of the vase are decorated in
gold on a blue ground. Bronze mounts, chased
by Thomire in the highest perfection of the art,
complete the decoration. For the execution of
these bronzes Thomire presented a bill which
amounted to 107,703 liv. 11s.

- La faience japonee et la fab-
rique de Pourpres (Var). Char-
tres, impr. Garnier, 1893. 8°, pp.
12 ; illustrs.

"Japanned faience and the Pourpres
factory in the Var department."

165

CERA MIC LI TERA TURE.

[GAT

A faience jug in the Sevres Museum, marked
"Pourpre Japonne," had caused A. Demmin
to believe that it was made in a factory of that
name, and, accordingly, he entered the mention
of the Pourpres factory in his Guide de Vamateur.
The name has since found a place in all the lists
of ancient faience works given by subsequent
writers. jGarnier proves that the inscription
simply refers to the colour and style of a certain
decorative pattern produced by a Paris manu-
facturer.

GARNIER (EdOUard).— Dictionnaire de
la ceramique. Faiences, Gres,
Poteries. Paris, Libr. de 1'Art,
1894. 8°, pp. lxiii-258 ; with 20
col. pis. and facsimile of marks.
3 fcs.

" Dictionary of the ceramic art.
Faience, stoneware, pottery."

Manufacture nationale de
Sevres. Catalogue du Musee
Ceramique. Faiences. Paris,
Leroux, 1897. 8°, pp. xlvi-686 ;
marks and monograms. 10 fcs.

" National manufactory of Sevres.
Catalogue of the ceramic museum.
Potteries."

GARNIER (E.)and GASNAULT (P.).— French
pottery. London, Chapman &
Hall, 1884. 8°, pp. 183 ; with 49
illustrs. One of the handbooks
of the South Kensington Museum.

This handbook, based on the previous work
of the author, and illustrated with examples in
the museum, has been translated into English
by Mr. P. Villars.

GARNIER (E.) ET GUIGNET (E.)— La cer-
amique ancienne et moderne.
Paris, Alcan, 1899. 8°, pp. 311;
with 69 half-tone illustrs. 6 fcs.

" Ancient and modern ceramics."

The historical part is treated by Mr. Gamier,
and Mr. Guignet is responsible for the technical
portion.

GARTHE (Collection Hugo).— Catalogue of
sale. Cologne, Heberle, 1877.
8°, pp. 190-28 ; with 4 pis.

Collection of a well-known amateur of Cologne.
Ceramics, Nos. 1-492. rich in ancient stoneware.
Supplement : terra sigillata and Roman pottery
Nos. 891-1078.

GASNAULT (Paul).— La collection Jac-
quemart et le muse'e ce'ramique
166

de Limoges. Paris, 1876. 4°, pp.
21 ; vigns. (Reprint from EArt.)
5 fcs.

"The Jacquemart collection and the
ceramic museum of Limoges."

Ville de Limoges. Musee
ceramique A. Dubouche. Cata-
logue de la collection Jacque-
mart public d'apres le manuscrit
original laisse par A. Jacque-
mart, avec une introduction par
M. P. Gasnault et un portrait
grave a Feau-forte par M. J.
Jacquemart. Paris, typ. Un-
singer, 1879. 4°, pp. xiv-110;
with a portrait etched by J.
Jacquemart. 10 fcs.

The collection formed by A. Jacquemart was
acquired after his death by A. Dubouche, who
presented it to the Municipal Ceramic Museum
of Limoges. It comprises 587 Nos. The
specimens, selected as representatives of the
various styles of manufacture, do not include
any piece of a high order. Mr. Gasnault, a
distinguished collector, was a staunch friend
and constant collaborator of A. Jacquemart.
He published the MS. catalogue prepared by
the latter, preserving all the attributions given,
even in the cases where their inaccuracy had
been demonstrated. After the death of A.
Dubouche, Mr. Gasnault was appointed honor-
ary curator of the Limoges Museum.

GASNAULT (Collection).— See GarDier.

GASTALDI (B.).— Lake habitations and
prehistoric remains in Northern
and Central Italy. Translated
by C. H. Chambers. London,
1865. 8° ; woodcuts (pp. 25-35 :
pottery).

GATTY (Ch. T.).— Liverpool Art Club.
Catalogue of a loan collection of
the works of Josiah Wedgwood.
Liverpool, 1879. 8°. Reprinted
in 4° size. Pp. 190; with 15
autotype pis. 15s.

To illustrate, as far as possible, the various
sections of the catalogue issued by Josiah
Wedgwood, has been the motive of the organisers
of this exhibition. The Liverpool Museum lent
the best examples of the Mayer collection, and
the private collectors of England made it a
duty to send the finest specimens in their
possession. One is not likely to see again such
a select and comprehensive collection of old

GAU]

CERAMIC LITERATURE.

[GEE

Wedgwood ware as the one which was exhibited
in 1879 at the Liverpool Art Club.

- On some mediaeval pottery
recently found in Derbyshire.
Liverpool, 1879. 8°, pp. 10; with
2 pis. (Reprint from Transac-
tions of the Hist. Soc. of Lanca-
shire and Cheshire.}

On the occasion of the discovery of some
fragments of uncertain date Mr. Gatty wrote
this paper, in which he expresses the opinion
that many of the so-called Norman jugs,
occasionally dug up in Derbyshire, are of a
much later period than the one usually ascribed
to them.

The Liverpool potteries.
Liverpool, Baker, 1882. 8°, pp.
48.

In his capacity of curator of the Liverpool
Museum, Mr. Gatty has had special facilities
for investigating the subject of the local
potteries. He found the civil records full of
entries which testify to the importance that
the industry had once attained in the town.
He has had his notes printed for our benefit,
and as a supplement to the information already
published by J. Mayer.

GAUTHIER (J.).— Note sur un carrel-
age emaille du xive siecle, de-
couvert au chateau de Roulans
(Doubs). Besanqon, 1885. 8°,
pp. 8 ; with 3 pis. (Reprint from
Bulletin de rAcademie de Besan-
con.)

"Notice of a tile pavement of the
fourteenth century, discovered at the
Roulans Castle (Doubs)."

From the coats of arms introduced in the
general design one is led to infer that it was
made by order of Jean de Vienne, admiral of
France, 1341-46, who often resided at the
Roulans Castle, his native place.

GAUTIER (J. E.) et LAMPRE (G.).— Fouil-
les de Moussian. Chartres,
Durand, 1905. 4°, pp. 90 ; with
1 col. pi. and 308 text illustrs.
10 fcs.

An account of the Moussian excavations. It
is illustrated with the reproduction of fragments
of antique Chaldean pottery .

GAY (L'Abbe A.)-— Histoire du village
de Castellet-les-Leberon, sous le
rapport civil et religieux, geo-
graphique et descriptif. Formal-

quier, Masson, 1878. 8°, pp. 126.
2 fcs.

" History of the village of Castellet-l^s-
Leberon (Vaucluse)."

Cesar Moulin, the son of a master potter of
Apt, established in 1728 a pottery manufactory
at Castellet, where he made, chiefly, articles of
marbled clay similar to those his father had
made at Apt before him. Although his works
were placed under the patronage of Baron de
Brancas, he had for years to fight against the
malevolence of the neighbours who attempted,
repeatedly, to drive him away from the village,
on the plea that the firing of his ovens would,
in a short time, consume all the trees of the
surrounding forests. To the account of the
difficulties the manufacturer had to contend
with — a characteristic narrative of provincial
life in the good old times — is added the
description of the best works of Cesar Moulin
and his successors, still in the possession of
the descendants of the ancient families of the
district.

GAY (Maria). — Bernard Palissy.
Poeme. Saintes, 1875. 8°, pp. 15.

The lute has been tuned to sing the doings
of Palissy, the potter, a lute always ready to
answer the call of emergency. Chord after
chord, rhyme after rhyme, the stately ode
streams on, stiff and frigid. The style is most
classical in its turgid correctness. One would
look in vain for a hole to pick in the faultless
versification, for an unguarded expression in
this long-winded rhapsody. This is indeed
poetry, according to a certain academical
standard, but we doubt whether poetry could
ever assume a more refrigerant form, and
whether the history of the great potter has
ever been rendered more wearisome to read.

GAYET (Al,).— L'Art Persan. Paris,
Quantin, 1895. 8°, pp. 318; with
numerous illustrs. 4 fcs. (Cer-
amics, pp. 195-209.)
" Persian Art."

Le r61e de la faience dans

1'antiquite egyptienne. Paris,
1894. 8°. (Extr. from the Ga-
zette des Beaux Arts.)

GEBHARDT (S. Ch, R.).-Das Ganze der
Ziegelfabrikation sowie der Kalk
und Gypsbrennerei. Nebst Be-
schreibung und Abbildung der
in neuester Zeit in England und
Frankreich erfundenen un verr
besserten Maschinen zum Ziegel-
schalen, sowie Pressen, um Thon
oder Erde in Formen zu drticken,

167

GEB]

CERAMIC LITERATURE.

neuer verbesserter Dachziegeln.
Ein ntitzlicbes Handbuch fur
jeden Ziegelei-Besitzer, inbeson-
dere fur diejenigen, welche die
Fabrikation der Ziegeln im
Grossen betreiben wollen. Qued-
linburg, 1835. 12°, pp. 93 ; with
4 pis. A revised edition was
published in 1837 ; with 5 pis.

"A complete treatise of tile manu-
facture, together with the burning of
lime and plaster. With the description
and the design of the machinery, newly
invented or improved in England and
France for the making of tiles, either by
stamping or pressing, for moulding marl
or clay into shape, an improved roof tile,
etc. A useful handbook for every tile
manufacturer, especially for wholesale
makers."

GEBHARDT (S. Ct R.).— Die neuesten
Erfindungen und Verbesserun-
gen im Betreff der Ziegelfabrik-
ation, sowie der Kalk und
Gyps - Brennerei. Eine prakt.
Anweisung alle Arten Dach-
ziegel, etc., zu bereiten. Quedlin-
burg, s.d. 2 parts ; with 15 pis.

" The latest inventions and improve-
ments in the tile manufacture, as well as
the burning of lime and plaster. Practical
directions for making all kinds of roof
tiles, etc."

GEDON (Collection Lorenz).— Die Kunst-
Sammlung Lorenz Gedon. Miln-
chen, Hirth, 1884. 4°, pp. 126 ;
with 32 pis. and illustrs. in text.
10m.

This collection, formed by an architect of
Munich, was sold by Heberle ; the catalogue is
among the best published by that firm. It
contains a few fine ceramic objects, chiefly
Flemish and German stoneware, with five
illustrations.

GEFFROY (A.)-— Oenomatis, Pelops et
. Hippodamie. Vase peint inedit.
Rome, 1881. 4°; 1 pi.

" An inedited painted vase."

— L'epigraphie doliaire chez les
Remains. Paris, 1886. 4°, pp.47.

"The epigraphy of Roman pottery."
168

GEFFROY (Gustave).--Bernard Palissy.
Illustre de nombreuse gravures
par A. Denis. Paris, Librairie
d'Education laique, 1881. 18°,
pp. 88. 1 fc.

Most of the notices on Palissy's life show
that one particular aspect of his many-sided
character has captivated the writer, who
expatiates upon the passages of his works best
calculated to serve a doctrinal purpose. Here
the aim in view seems to have been simply to
add another volume to the catalogue of a cheap
educational library.

GEHLEN (A. F.).— Ueber das Vorkom-
men und die Gewinnung der
Porcellanerde im ehemaligen
Fiirstenthum Passau. Passau,
1881. 18°, pp. 26.

"Upon the finding and the extraction
of the porcelain clay in the ancient
principality of Passau."

The kaolin of Passau was employed by
all the manufactories of hard porcelain in
Germany.

GEHRING (R.).— Griechische Gefasse.
Umrisse in Naturgrosse nach
Originalengezeichnet. Lands/mt,
1892. Part 1. Fol.; 8 pis.

"Greek vases. Drawn full size in
outline after the originals."

GEINITZ (H, B,).— Die Urnenfeldervon
Strehlen und Grossenhain, Cas-
sel, Tischer, 1876. 4°, pp. 32;
with 10 col. pis. of urns. 12 in.

" The urn fields of Strehlen and
Grossenhain."

GENICK (A.). - - Kunstgewerbliche
Vorbilder. Keramik : I. Gefasse
Formen des klassischen Alter-
thums. Berlin, 1876. Fol.

"Models for the Industrial Arts.
Ceramics : I. Forms of the vessels of
classical antiquity."

- Griechische Keramik. Berlin,
1883. 2nd ed. Fol.; 43 pis.
With a vol. of text by A. Furt-
wangler. 4°. 80 m.

" Greek ceramics."

Reproduction of vases and their decoration
in the actual size of the originals.

GEN]

CERAMIC LITERATURE.

(GER

GENNARI. — Sopra 1'antica arte cera-
mica in Pad ova. Memoria
stampata in occasione delle nozze
Bianchini — Da Zara. Padova,

1877.

" The ancient ceramic art in Padua.
Printed on the occasion of the Bianchiiii-
Da Zara wedding feast."

GENOLINI (Angelo).— Maioliche italiane.
Marche e monogrammi. Milano,
Dumolard, 1881. 4°, pp. 172;
with 35 pis., containing 618
marks. 25 fcs.

"Italian majolica; marks and mono-
grams."

A concise review of the history of Italian
ceramic art. All that has been written on the
subject will be found briefly summarised in
this volume. Most of the monographs and
articles published upon the various centres of
manufacture having now become difficult to
obtain, a good digest of their contents is of
great value to the collector. Mr. Genolini is a
well-known expert in the "curiosity" trade.
He gives us the benefit of his personal experi-
ence, and does not willingly embark in debatable
speculations.

- Le maioliche di Caffagiolo, o
Casa Fasoli. Milano, 1882. 4°,
pp. 14. 5 fcs.

"The majolica of Caffagiolo, or Casa
Fasoli."

C. Malagola had tried to establish that no
majolica factory had ever existed in the Tuscan
village of Caffagiolo, and that all the pieces
inscribed with that mark were of Faenza manu-
facture. In support of his opinion he mentioned
the fact that the family of Faxoli was known to
have given some potters to the town of Faenza ;
he pretended that the mark should be read as
" Casa Fasoli," and be. consequently, attributed
to these potters. Mr. Genolini has done much
to confute such an assertion, and a perusal of
his paper will win the approval of all unpre-
judiced connoisseurs.

GENTELE (J. G.)-— Lehrbuch im Pot-
teriefache, enthaltend, im ersten
Theile : Die Beschreibung der
Fabrikation des englischen Stein-
gutes, der Chinawaare, des
Steinzeuges, des Steingutes und
Feldspath-Porzellans auf dem
Continente ; der Siderolith- und
Terralith-Geschirre ; der gefarb-
ten Fayence und der Kachel-
Oefen. Im zweiten Theile : Die

chemischen Verhaltniss der im
Potteriefache gebrauchten Ma-
terialien und Rohstoffe, die
Bereitung der Farben, Analysen
der Rohmateralien. Heraus-
gegeben von J. G. Gentele,
Chemiker zu Stockholm und
Gustafsberg. Gehren, 1856. 8°,
pp. 526. 5 m.

"Text book of the potter's art, con-
taining in Part I. : — Description of the
methods of manufacturing English
earthenware and china, stoneware, the
earthenware and hard porcelain of the
Continent, lacquered ware, painted fai-
ence, and earthenware stoves. In
Part II. : — The chemical nature of the
substances and raw materials employed
in the manufacture of pottery, the pre-
paration of colours, and the chemical
analysis of the raw materials. Published
by J. G. Gentele, chemist of the Stock-
holm and Gustafsberg manufactories."

The processes in use in the English manu-
factories are described by a practical potter
who has learned them in Sweden. In the
appendix are given a few particulars on the
Gustafsberg works, the regulations imposed
upon the workmen, and also some general
notions of the way in which the work should
be conducted in an earthenware manufactory.

GERARD IN. — Chimie industrielle.
Essai sur 1'art ceramique. Reims,
1869. 8°, pp. 72.

"Industrial chemistry. Essay on the
ceramic art."

A thesis presented before the examiners for
the degree of B.Sc.

GERHARD (E.).— liapporto intorno i
vasi volcenti diretto all'Instituto
di corrispondenza archeologica
da Odoardo Gerhard, secretario
dell'Instituto medesimo. Roma,
estratto dagli Annali dell'Insti-
tuto, 1831. 8°, pp. 217 ; with 3
fold. pis. 3 fcs.

" Report on the Vulcian . vases ;
addressed to the Institute of archaeo-
logical correspondence."

Gerhard had already contributed many
learned papers to the Annali, when he pub-
lished this important report. In all his works
on Greek vases, as indeed in all that came
from his pen, the young secretary of tho Insti-
tute had shown himself much in advance of the

169

GER]

CERAMIC LITERATURE.

[GER

accepted notions of his times. A consummate
knowledge of antiquity, coupled with a sound
judgment, tempered in his writings the impulse
of an imagination occasionally prone to yield to
the same allurements which had urged his pre-
decessors into displaying such a partiality for
explaining what was inexplicable. He fore-
stalled the reform which was soon to take
place in the study of painted vases, and
endeavoured to replace metaphysical con-
jectures by rational deductions. The com-
plete list of Gerhard's work will be found in
Notice necrologique sur Ed. Gerhard, by J. L)e
Witte. Bruxelles, 1871.

GERHARD (E.).— Neuerworbene antike
Denkmaler des Konigl. Museums
zu Berlin ... as Nachtrag zum
Verzeichniss der Vasensamm-
lung. Berlin, 1836-46. 8°. 3
parts. 8°; with 6 pis.

" New acquisitions of the Royal
Museum of Berlin ... a supplement
to the catalogue of vases (by Lewezow)."

- Auserlesene griechische Vas-
enbilder hauptsachlich etruski-
schen Fundorts. . . . Berlin,
1840-58. 4 vols. 4°; with 330
col. pis. £15.

"A selection of paintings on Greek
vases chiefly found in Etruria."

Although Gerhard was very careful to reserve
his commentaries for the paintings which had
a manifest reference to mythology or to his-
torical personages, the signification of a subject
was, in his estimation, the first point to be
considered. In forming this selection of Greek
vase paintings, he was actuated by the ambi-
tion of demonstrating, through iconographic
illustrations of the myths of the ancients, his
theory that a deep-seated consciousness of a
supreme being, unique in his essence, was con-
cealed under the external polytheistic worship
of the Greeks. The reproductions are, in these
volumes, of smaller size than the originals, but
they lose nothing by it in correctness. They
are coloured in all copies, instead of being
printed in mere outline, as was customary at
the time.

- Archemoros und die Hesperi-
den. Vasen Erklarung. Berlin,
1838. 4°, pp. 78 ; with 4 pis. 4s.

"Archeuioros and the Hesperides.
Explanation of a Greek vase painting."

The same article had been previously pub-
lished in Italian under the title : "II vaso del
Archemoro." Roma, 1837.

Griechische Mysterienbilder,

etc. Stuttgart, 1839. Fol., pp.
2 ; with 12 pis. 6 m.
170

" Painted vases with subjects referring
to the Mysteries. Published for the
first time."

Letterpress in French and German.

- Notice sur le vase de Midias
au Musee Britannique. Berlin,
1840. 4°, pp. 4 ; with 2 pis. 2s.

"Notice of the Midias Vase in the
British Museum."

-— Tazze dipinte del real Museo
di Berlino, proveriiente delle
scavazione d'Etruria, con indice
dichiarativo. Roma, typ. Sal-
vincei, 1842. Fol., p. 1 ; with 18
col. pis. 15 fcs.

" Painted tazzas of the Berlin Museum,
discovered in the excavations made in
Etruria ; accompanied with a descriptive
Index."

The work appeared without an author's
name.

— Etruskische und kampanische
Vasenbilder des K. Museums zu
Berlin. Berlin, 1843. Fol., pp.
46 ; with 38 pis. (mostly col).
36 m.

"Paintings of the Etruscan and Cam-
panian vases in the Berlin Museum."

Apulische Vasenbilder des
K. Museums zu Berlin. Berlin,
1845. El. fol., pp. 34 ; with 21
pis. (mostly col.). 35 m.

" Paintings of the Apulian vases in the
Berlin Museum."

— Trinkschalen und Gefasse der
K. Museums zu Berlin und
anderer Sammlungen. Berlin,
1848-50. Fol., pp. iv-v-60 ; with
37 col. pis. £3, 3s.

"Drinking cups and vessels in the
Berlin Museum and other collections."

(A first edition, with 19 pis., appeared in
1843.)

— Danae, ein griechische Vasen-
bild. Berlin, 1854. 4°, pp. 15 ;
with 1 pi. 2 m.

" Danae, a painting of a Greek vase."

The fourteenth programme of the Winokel-
rnann f£te.

GER]

CERAMIC LITERATURE.

[GER

Ueber Hermenbilder auf
griechischen Vasen. Berlin,
1856. 4°, pp. 25 ; with 5 pis.

"The representation of Hermes on
Greek vases."

GERICKE (G.).— Der Industrieort Vel-
ten und seine Umgegend. Velten,
1894. 8°; with maps. 2 m.

" The industrial centre of Velten and
its surroundings."

Velten is situated at a short distance from
Berlin. The manufacture of earthenware stoves
was established in the town in 1828. All
particulars concerning the development of the
industry are given in Part III., " The Velten
Stove Industry," pp. 93-154.

GERSAIN (E. F,).— Catalogue raisonne
des bijoux, porcelaines, etc., pro-
venant de la succession de Mr.
Angran, Vicomte de Fonspertuis.
Paris, 1747. 12°, pp. 306-xlviii-
vi ; with 1 pi. by Cochin. 20 fcs.

The notices added by Gersain to the cata-
logue of the collection of M. de Fonspertuis,
summarise the knowledge obtained at that time
upon the Oriental porcelain. An analysis of
the Memoirs of Reaumur is placed at the
end. The catalogues prepared by Gersain are
numerous, but we do not propose to give the
entire list, which may be found in special
works.

GERSPACH. — Notes sur la ceramique
chinoise. Paris, Quantin, 1877.
8°, pp. 14 ; marks. (Reprint from
Gazette des Beaux Arts.)

" Notes on Chinese ceramics."

Description of a few characteristic examples
of Chinese pottery and porcelain collected in
China by Mr. Billeguin, a Frenchman, professor
of chemistry at the Pekin College, at the request
of the directors of the manufactory of Sevres.
They were deposited in the ceramic museum.
The origin, price, and common use of each
specimen was stated in the descriptive list
forwarded at the same time ; that list is given
and commented upon in this paper.

- La faience et la porcelaine
de Strasbourg. Les Hannongs ;
les maitres potiers d'Alsace.
Strasbourg, 1883. 8°, pp. 24.
(Reprint from the Revue Alsati-
enne.)

"The faience and porcelain of Stras-
bourg. The Hannongs; the Alsatian
master potters."

This article will be found reprinted in
Documents sur lea anciennes fa'fenceries.

- Theodore Deck. Paris, Quan-
tin, s.d. 4°, pp. 12; with 11
illustrs. (Reprint from the Revue
des arts decor atifs.)

A friendship of long standing witli Th. Deck
has placed Mr. Gerspach in the position of
inditing a most appreciative as well as truth-
ful necrologic notice on the life and works of
the great French potter.

Deck, a self-made man in the true sense of
the word, began life as an apprentice in a stove
manufactory of Strasbourg. At the close of
his apprenticeship, he started on a pedestrian
tour through northern Europe, taking temporary
employment in the most noted factories, in order
to improve his knowledge in all the branches of
the art. After a few years of wandering, • he
settled in Paris, as foreman in an important
stove manufactory. But his ambition could
not be satisfied with a subordinate situation.
Modeller and designer of no common taste, if
not of much acquired talent, his ambition was
to introduce a new style of pottery, free from
the old traditions, and to gratify a newly-born
longing for novelty. Ceramic manufacture was
showing, at that moment, a steady improve-
ment. Decorative faience was coming to the
front. But while the most audacious efforts
had nothing higher in view than a servile
imitation of Palissy ware and Italian majolica,
Deck conducted his experiments in the direction
of progress and modernism. He was impressed
with the idea that the so-called fine arts should
associate themselves with the revival of cera-
mics, and he felt that the artist would only be
allured into joining the movement if he could
be provided with technical means better cal-
culated to serve his talent. For long he toiled
in secrecy, and at last succeeded in obtaining
special compositions of bodies and glazes,
departing altogether from those usually em-
ployed in the trade, and which permitted the
introduction of a gamut of colours of incom-
parable variety and brilliancy. It was in the
Persian and Rhodian faience, the first specimens
of which had just come under notice, that he
found the fundamental notions of the technical
qualities he meant to apply to a new system of
manufacture. Not only did he succeed in
producing the turquoise and azure blues, the
warm green, the dark purple, and the scarlet
red only seen on the Rhodian ware, but he also
found the way of placing these colours, together
with many additional tints, at the service of
the figure painter.

His genial manners had won him the friend-
ship of many young and rising artists ; the
admiration excited by the result of his experi-
ments, and the simplicity of their practice,
secured him willing assistance. The earliest
outcome of the collaboration of such a con-
summate potter with a group of talented
decorative artists such as Hamon, Ranvier,
Hancker, Hermann, and many others, struck
all amateurs of ceramic art as a revelation ;
an immense success was at once achieved.
Deck's working capital, as a manufacturer,
was meagre in the extreme ; but his friendly
associates were satisfied to wait for the re-

GER]

CERAMIC LITERATURE.

[GET

muneration of their work, till the coming of an
eventual purchaser. The conditions were, and
always remained so, that when a piece had
been sold, the price paid for it was equally
divided between the painter and the potter.
It was owing to these conditions that Deck,
without calling to his assistance the support of
extraneous capital, was enabled to build his
first oven, and gradually to increase his premises
until they had attained the proportions of an
important manufactory. Notwithstanding his
limited financial resources his showroom was,
from the first, filled with artistic pieces which,
under ordinary circumstances, could not have
been brought together without an enormous
outlay. Plaques and dishes worth as much as
three or four hundred pounds each were common.
His business dealings were conducted with the
strictest fairness ; the artists who volunteered
to work with him at the outset, continued to
do so till the end.

The climax of his success was marked by
his accession to the highest position a French
potter could attain, one, indeed, that no potter
had filled before him, that of Director of the
National Manufactory of Sevres. It is, how-
ever, to be questioned whether Deck would
not have better served the advance of ceramic
art by remaining a free and independent faience
manufacturer, instead of becoming the head of
an official establishment, where he had to reckon
with deep-rooted customs, and struggle against
adverse considerations of all kinds, impediments
that no man with revolutionary tendencies
could have possibly surmounted. At any rate
death carried him away before he had had
time to accomplish the changes and ameliora-
tion he had meditated. His short period of
management of the National Manufactory
remained, comparatively, fruitless.

GERSPACH. — Documents sur les anci-
ennes faienceries frar^aises et la
manufacture de Sevres. Paris,
Renouard, 1891. 8°, pp. 246.
10 fcs.

" Documents for the history of the
ancient faience factories of France, and
the manufactory of Sevres."

As the title of this book implies, it is a
collection of ancient documents which could be
extended to any number of volumes. During
many years of research, official deeds, private
contracts, extracts from account books and
business correspondence, quotations from out-
of-the-way volumes, have been jotted down
as they came to hand. They were subsequently
docketed by the writer in alphabetical order,
and annotated for publication. Under the
headings Douai, Rouen, Montereau, etc., will
be found many interesting particulars respecting
the English potters who introduced into France
the manufacture of earthenware after the
English fashion.

GESTOS Y PEREZ (J.).— Ensayo de un
diccionario de los artifices que

,. floreciero en Sevilla desde el
siglo xiii al xviii inclusive.

172

Sevilla, 1899. 4°. " Ceramists."
Vol. i., pp. 72-106. 10s.

" Essay of a dictionary of the artists
who flourished in Seville from the
thirteenth to the eighteenth century."

The list of the ceramists has been reprinted
in the following work.

- Historia de los Barros vidri-
ados Sevillianos desde sus ori-
gines hasta nuestro dias. Sevilla,
tip. La Andalucia moderna, 1894.
4°, pp. 365 ; with 20 pis. (5 col),
and 81 text illustrs. 25s.

"History of the enamelled pottery of
Seville from its origin up to the present
day."

For the first time the history of the ceramic
art of Spain is here unfolded in a comprehensive
and acceptable form. Although purporting to
be restricted to the especial examination of
the productions of the Seville potters, the work
of Mr. Gestos y Perez throws a vivid light on
the condition of the art in the peninsula through
the whole course of its career. Seville may
claim to be considered as the home of Spanish
ceramics. There all the varieties of pottery,
corresponding with the wants and tastes of the
people, have been extensively and successfully
manufactured. The Moorish mosaics of the
thirteenth century, formed by the geometric ar-
rangement of strips of enamelled clay variously
shaped and coloured, cover the internal and
outside walls of the most ancient edifices. In
those of the next period we see patterns of a
similar character obtained by means of square
tiles, on which the design has been sunk and
filled in with coloured glazes. At the same
time appears the ware with metallic lustres,
long believed to have been made only at
Valencia. Numerous examples are still extant
of the elaborate majolica panels, painted with
figure subjects, the style of which had been
introduced, in the sixteenth century, by Italian
artists. Lastly, the period of decline is amply
represented by the somewhat indifferent imita-
tions of the French and Dutch faience made
during the eighteenth century. To trace, with
the support of well selected examples and
historical documents, the development of all
these branches of the art in a single centre of
manufacture, is certainly a great move towards
laying the foundations of a complete history of
Iberian ceramics.

GETTY (Edmund).— Notices of Chinese
seals found in Ireland. Dublin,
Hodges & Smith, 1850. Sm. 4°,
pp. 40 ; with title page and 19
pis. of seals. 6s.

Porcelain seals, of Chinese origin, have been
discovered from time to time in Ireland, im-
bedded in the soil of localities far distant from
each other. How they found their way into
the country is a problem which still awaits a

GET]

CERAMIC LITERATURE.

[GHE

solution. The inscriptions they bear have an
archaic character, but the same signs are, it is
said, still used in China on modern seals.

GETZ (J.).— Handbook of a collection
of Chinese porcelain loaned by
A. Garland. Metropolitan Mus-
eum of Art. New York, 1895,
8°, pp. 56 ; with 32 half-tone pis.

GEYERS (Collection E,).— Catalogue of
sale. Antwerp, 1883. 8c,pp. 72;
with 5 pis.

Oriental porcelain, 609 Nos. ; majolica, etc.,
Nos. 622 to 663. Notice by H. van Duyse.

GEYER (D. Job. Daniel). -- Mtissiger
Reise-stunden. Gate Bedanken
von der Bucarophagia Africana
und denen Mohren esterer Welt.
Dresden, Christian Zilschern,
1735. Sm. 4°, pp. 56.

"Pleasant hours of an idler. Good
thoughts upon the Bucarophagy in Africa
and the negroes of the eastern world."

" The high-born, highly respectable Bucaro."
So were qualified these precious potteries ; and
so runs the title of the first chapter of the
extra-pedantic and circumlocutory essay on
their supposed virtues, written by a doctissimus
medicus of the Dr. Sangrado school. If the
works of Bellori and Magalotti have not made
clear, to the satisfaction of the ceramic student,
what was the precise nature of the Bucaros, he
must be prepared to leave this book in a state
of increased perplexity.

Dr. Geyer confesses that he had previously
no occasion to inquire into the subject, when
a curious case obliged him to make of it a
serious study. He was one day called to attend,
in his medical capacity, a noble lady who was
suffering from the consequences of having eaten
a whole cup and a saucer of Bucaro. A morbid
passion for. scented clay-eating had spread
amongst the ladies of the higher rank. He
quotes the verses of a Venetian poet, who says :

' ' Bucaro e uno appetito di Donna gravida," etc.

A similar cup to the one which had been eaten
was shown to the doctor. It was of small size,
made of yellowish clay, unbaked, so that it
could easily be ground into powder ; this
powder was usually mixed with sugar and
flour, and made into lozenges. We recognise,
from the description, the cups of "terra
sigillata," of which several examples are still
extant. The doctor believes them to come
from Africa, where, according to the traveller,
P. Gages, the natives fashion their drinking
vessels with a certain white or grey clay mixed
with spices and perfumes. From the further
statement that such vessels possess the strange
quality of keeping the water cool in hot
weather, we see that he refers to the bardakes
or gargoulets of the Arabs, rather than to the
Mexican vases described by other authors.

This virtue of cooling the water has caused,
says he, the Holy Inquisition in its tender
solicitude for all sufferers, to provide, at great
cost, a large number of such African gargoulets
for the use of the heretics and schismatics
sentenced to be burned to death ; so that, at
least, during the remainder of their last prison
life, they could enjoy all the comforts of the
wealthy. We shall refrain from entering into
the particulars of the treatment to which he
subjected his unfortunate patient, but we are
certain it will amuse the reader who may have
the good fortune of dropping upon a copy of
this curious pamphlet. From this the writer
passes on to giving his opinion upon the many
other virtues ascribed to the Bucaro. He has
no great faith in the accredited opinion that
they cannot stand the contact of poison without
breaking to pieces, nor that they can cure all
possible illnesses. The assertion that a negro
can be turned into a white man by eating the
clay during a certain time, is by him victori-
ously confuted.

GEYMET. — Traite pratique des emaux
photographiques. Secrets (tours
de main, formules, palette com-
plete, etc.), 4 1'usage du photo-
graph e emailleur sur plaques et
sur porcelaine. 3rd edition.
Paris, Gauthier - Villars, 1885.
18°, pp. 160. 5 fcs.

" A practical treatise of photographic
enamels. Secrets for the use of the
photographer upon enamelled plates and
upon porcelain. (Manipulations, for-
mulas, the complete series of colours, etc.")

- Traite pratique de ceramique
photographique. Epreuves iri-
sees or et argent. Paris, G.
Villars, 1885. 18°.

" A practical treatise of ceramic photo-
graphy. Proofs with iridescent gold and
silver (a complement to the previous
work)."

GHELTOF (G. M. Urban! de).— Catalogo
del museo civico di Venezia.
Venezia, 1872. 8°. Majoliche,
pp. 22 ; with marks. Porcellane,
Vetri, e Smalti, pp. 12. (Reprint
from the Archivio Veneto.) 3 fcs.

- Studi intorno alia ceramica
Veneziana. Venezia, 1876. (Pri-
vately printed.) 8°, pp. 90-150.
10 fcs.

" Researches on the history of Venetian
ceramics."

173

GHEJ

CERAMIC LITERATURE.

[GIL

The archives of Venice have kept the records
of a translucid porcelain having been made in
the town, by one Maestro Antonio, at such an
early date that any authenticated specimen of
the ware, could it ever be found, would be one
of the greatest curiosities of ceramic art. An
application to the provincial Council, dis-
covered by Mr. de Gheltof, seems to leave no
doubt that, in 1518, the applicant, a German
named Leonardo Peringer, was then making a
kind of porcelain similar in all points to that
imported from the East. From other documents
we gather that the manufacture of majolica was
also thriving at Venice at the same period.
The tile pavement still extant in the church
of S. Sebastian shows that the production
could stand comparison with the best works of
other centres. Marks occurring very seldom
upon the early Venetian majolica, it is scantily
represented by identified examples in the
ceramic collections. Mr. de Gheltof lias com-
piled a list of all the names of potters appearing
in contemporary registers, in which we find
that no fewer than forty-two masters were at
work in Venice during the sixteenth century,
a sufficient proof of the importance reached at
that time by the local industry. The appendix
contains transcripts of several official docu-
ments of the thirteenth century, having refer-
ence to the regulations of the trade of pot-
makers. Vessels and fragments of pottery,
which may be ascribed to that period, were
discovered under the foundations of S. Marc ;
they are described in the introductory chapter.

GHELTOF (G. M. Urbani de).— La mani-
fattura di maiolica e di porcel-
lana in Este. Venezia, 1876. 8°,
pp. 23. 3 fcs.

"The manufacture of majolica and
porcelain in Este."

G. B. Brunello established the manufacture
of majolica in Este towards 1765. He also
produced good porcelain, principally figures
and groups, and introduced imitations of
English earthenware, for the making of which
himself and his successors obtained several
privileges.

Fabbriche di maiolica e di
porcellana in Bassano e in An-
garana. Venezia, 1876. Sq. 8°,
pp. 31. 6 fcs.

"The factories of majolica and porce-
lain at Bassano and Angarana."

Additional information on the manufactories
of Antonibon, of which Bassegio had previously
given a short account.

Ceramica Vicentina. Venezia,

1876. 8°, pp. 3. (Reprint from
Arvhwio Veneto.]

- Una fabbrica di porcellana in
Venezia, 1470. Venezia, 1878.
12°.

"A porcelain manufactory at Venice
in 1470."

The last discovery regarding the making of
porcelain at Venice, was conveyed through the
contents of a letter, written by Father Uielmo
da Bologne, dated April, 1470, and addressed
to a friend in Padua. The writer describes
in it the marvellous translucid ware, painted
with many colours, which was made by
Maestro Antonio, the alchemist, at his oven
of San Simeone. He also informs his corres-
pondent that, to make him judge of the beauty
of the new porcelain, he has sent him a vase
and a basin of the learned man's own make, so
fine and so perfect that they might be mistaken
for vessels of Oriental origin.

— La ceramica in Padova. Pa-

clova, Prospering 1888. 8°, pp.
31 ; with 2 illustrs.

" Ceramic art in Padua."

Documents relating to the pottery made at
Padua in the fourteentli and fifteenth centuries,
and to the manufacture of majolica introduced
in 1544.

— Note storiche ed artistiche
sulla ceramica italiana. See
Erculei-Roma.

GIBBS and CANNING.— Terra-cotta man-
ufacturers. Tamworth, s.d. 4°;
24 lith. pis. of architectural terra-
cotta. Pattern book.

GIESBERG (Collection B.). — Cologne,
Heberle, 1894. 8°, pp. 95 ; 3 pis.

Catalogue of sale. Ceramics, Nos. 1-424.

GILLES. — Antiquite"s du Bosphore
Cimmerien, conservees au Musee
Imperial de 1'Ermitage, etc. St.
Petersburg, 1854. 2 vols. 8°;
with text illustrs. and folio atlas
of 91 pis. £20.

" Antiquities of the Cimmerian Bos-
phorus preserved in the Imperial
Museum, the " Ermitage." Text in
Russian and French.

A splendid work published by command of
H.M. the Emperor of Russia. The plates,
drawn by R. Piccard and Solutzeff, reproduce
with fidelity the Greek antiquities, some of a
very high order, discovered in the excavations
conducted on the two banks of the Bosphorus
since the year 1821. Ceramics are represented
by : Painted vases, 20 col. pis. ; Terra-cotta,
14 col. pis.

Mr. Gilles, who has signed the preface and
superintended the publication, was curator of
the Krmitage Museum.

The work has been reprinted, with repro-

GIL]

CERAMIC LITERATURE.

[GLA

ductions of the plates in 8vo. size, by S. Keinach.
Paris, 1892.

GILLOT (Collection Ch.).— Catalogue of
sale. Japanese art. Paris, 1904.
4°, pp. 298 ; with num. pis. and
text illustrs. Ceramics, pp. 93-
149. 20fcs.

GINORI (I.)- — Alcuni parole agli
operai della manifattura di
Doccia. Firenze, Barbera, 1869.

8'.

"A few words to the workpeople of
the Doccia manufactory."

A treaty of commerce was on the point of
being concluded between Italy and France,
which would open the Italian market to
foreign ware. In delivering this address to
his workmen, the Marquis of Ginori described
the conditions that the threatening competi-
tion would create for the home trade, impress-
ing upon their minds the absolute necessity of
meeting the danger by improved manufacture
and cheapness of production.

GIOANETTI (Y. A.).— Discorso sulla fab-
brica di porcellana stabilita in
Vinovo. Torino, typ. Favale,
1859. 18°, pp. 11.

"An account of the porcelain manu-
factory established at Vinovo."

This article, which had appeared in the
Life of V. A. Gioanetti, Professor of Medicine,
was reprinted in pamphlet form at the expense
of Sir James Hudson, H.B. M. Minister at
Turin.

GIRARD (A.). — Exposition universelle
de 1867 a Paris. Rapports du
jury international publics sous
la direction de M. Michel Che-
valier. Faiences fines, faiences
decoratives et porcelaines ten-
dres. Paris, impr. P. Dupont,
1867. 8°, pp. 56.

" International Exhibition at Paris in
1867. Reports of the international jury.
Earthenware, decorative faience, and soft
porcelain."

In the same volume are also printed the
following reports:— Section I. " Terra-cotta
and Stoneware," by Mr. Chandelon. Sec-
tion III. " Hard Porcelain," by Mr. Dommartin.

GIRARD (P.).— Le cratere d'Orvieto
et les jeux de physionomie dans
la ceramique grecque. Paris,
Charmerot, 1897. 4°, pp. 49;

with 12 illustrs. (Reprint from
the Monuments grecs.]

"The crater of Orvieto, and the
expression of the human face in Greek
ceramics."

GIRAUD (J. B.).~ Recueil descriptif et
raisonne des principaux objets
d'art ayant figure a Fexposition
retrospective de Lyon en 1877.
Lyon, impr. Perrin, 1878. Fol.,
pp. 32 ; with 83 photographic
plates. £4.

" A selection of the chief works of art
which have figured at the retrospective
Exhibition of Lyons in 1877, with his-
torical notes and descriptive text."

GIROT (Maurice).— Notice sur les Por-
celaines de Zurich, Nyon et
Geneve. Geneve, impr. Kiindig,
1896. 8°; pp. 9. (Reprint from
the Catalogue de fart ancien a
r Exposition nationale, 1896.)

" Notice of the porcelain of Zurich,
Nyon, and Geneva."

GIRY (A.). — Notice sur un traite du
Moyen-Age, intitule : " De col-
oribus et artibus romanorum."
Paris, 1878. 8°, pp. 20.

." Notice of a mediaeval treatise on the
colours and the arts of the Romans."

This is the " Heraclius treatise," previously

Sinted and commented upon by Hendrie,
rs. Merryfield, and Igles.

GLADSTONE (W. E.).— Wedgwood. An
address. London, J. Murray,
1863. Sq. 8°, pp. 64. Portrait
and 1 woodcut. 3s.

It is no more than what is due to the
memory of an illustrious man, when one of
the greatest authorities among the living rises
to deliver a brilliant panegyric in glorification
of a name momentarily bedimmed by the clouds
of public indifference. No one better than a
Gladstone could have made us understand the
true genius of a Wedgwood. The mighty mind
of the statesman, his consummate knowledge
of men and experience of social questions, could
readily realise the importance of the potter's
industrial and philanthropic schemes. He could
understand the confidence that their originator
had set on their limitless possibilities and value,
to its full extent, and the energy and persever-
ance with which an apparently rash venture
had been brought into happy realisation.

175

GLO]

CERAMIC LITERATURE.

[GOM

Brief, as it is, this eloquent address — ii
which the praise of all the particular achieve
merits of the great craftsman have been madt
subservient to a correct estimation of the
supremacy of his character as a leader of men
and an organiser of the industrial forces of his
country — does more than a bulky, but matter-
of-fact, biography could do, to make us esti-
mate the sterling worth of the man. We
become conscious of the fact that Wedgwood
was great, not necessarily because a potter,
but — if we may so say — although a potter.
Placed by fate in any other centre of action,
influenced by different circumstances, such a
man was bound to exert, for the benefit of his
fellow- workers, the powerful faculty of organisa-
tion, the constant hankering after betterment,
and, lastlj', the love for the beaiitiful in art,
combined with a keen sense of its practical
application to industry. These were the
intellectual capacities which have placed the
name of Wedgwood on a par with those we
honour most highly.

The address was delivered at Burslem, on
the occasion of the opening of the Wedgwood
Institute, October 26th, 1863. A few historical
errors have crept into the narrative ; such as
the date of the amputation of the leg, which
was not performed, as Gladstone has been
made to say, during Wedgwood's infancy, but
in his mature age. To several other trifling
inaccuracies attention should be called when
the pamphlet, now difficult to obtain, is re-
printed.

GLOT. — Observations des fabricants
de porcelaine et de fayence du
Royaume sur une adresse lue k
FAssemblee Nationale, Seance
du 16 Janvier (1789). 8°, pp. 8.

"Observations by the porcelain and
faience manufacturers of the kingdom
on the subject of an address read before
the National Assembly."

An Englishman of the name of Potter, having
petitioned the French National Assembly for
the grant of a privilege which would secure to
him the sole rights of manufacturing earthen-
ware after the English manner, the society of
manufacturers opposed his plea on the grounds
that the same kind of pottery had already been
tried without much success by several French
potters.

We owe to Glot, a notable manufacturer
of Sceaux, a complete list of all the pottery
manufactories existing in France at the time.

GMELIN (Leopold).— Die Elemente der
Gefassbildnerei mit besonderer
Berucksichtigung der Keramic.
Darlegung der Stilgesetze der
Gefassbildnerei und Begriindung
derselben und der Hand der
geschichtlichen Entwicklung
sowie der zwecklichen und tech-
nischen Bedingungen, mit liber
176

100 Abbildungen. Ein Weg-
weiser fur den praktischen
Keramiker. Miinchen, 1885. 8°,
pp. 66 ; with illustrs. in the text
and an atlas of 12 plates elephant
folio, profiles and details of vases
engraved in outline. 15 m.

" The elements of the art of vase-
designing, with special remarks respect-
ing its application to ceramics. An
exposition of the fundamental laws
which preside over the formation of
styles and the selection of shapes of
vases and vessels ; considered from the
historical, as well as from the rational
and technical points of view. A guide
for the practical ceramist."

A pedagogic attempt to submit the art of
designing the shapes and ornamentation of
vases to the systematic rules of a definite
science. The professor has summarised the
question under all its various aspects. It is
taken for granted that the book finds the
student in a state of complete ignorance of
the subject, and it is confidently anticipated
that its perusal will bring him to the apex of
knowledge. No small intellectual exertion is
expected from anyone who will volunteer to go
through the multiplicity of examples of necks,
handles, bodies, and feet of vessels of all kinds
outlined on the gigantic plates of the atlas.
He will have to master the distinctive charac-
teristics of the productions of the ceramic art,
from prehistoric times to the present day, and
to study, besides, the practical application of
each shape, the capabilities of the materials
employed, together with many other pregnant
points only hinted at in the book.

iGDARD, — Precedes photographiques
pour 1'application directe sur la
porcelaine avec couleurs vitrifi-
ables, de dessins, photographies,
etc. Paris, 1888. 12°. 2 fcs.

" Photographic .processes for the appli-
cation on porcelain, in vitrifiable colours,
of drawings, photographs, etc."

GODMAN (Collection Du Cane).— Oriental
and Spanish pottery and glass.
London, 1901. Fol., pp. 86; with
76 photogr. pis.

The catalogue of a fine collection, privately
printed. See Wallis (H.)

GOMES (J. A. I.).— A Vista Alegre.
Apontamentos para a sua his-
toria. Porto, 1883. 8°, pp. 45.
2 fcs,

GON]

CERAMIC LITERATURE.

[GOS

" Vista Alegre, materials towards its
history."

A manufactory of hard porcelain was founded
in that locality by A. F. Pinto Basto, in 1824.
It supplied the home market with table ware
and common articles of ornamentation. The
factory is still at the head of the trade in
Portugal.

GONSE (Louis). -- L' Art Japonais.
Paris, A. Quantin, 1883. 2 vols.
4°; numerous plates and illus-
trations in the text. £10.

"Japanese art."

A splendid publication, sumptuously illus-
trated. Chapter ix. "Ceramics," is written
by M. S. Bing. It extends over 96 pages,
with 5 pis. in chromolithograph representing a
number of specimens, two etchings, and 62
illustrations. M. Bing has lived many years in
Japan, andhasderivedhisknowledgeof Japanese
art and Japanese artists from the best sources.
He can, therefore, speak with authority on the
subject, and we have every reason to trust the
accuracy of his assertions. In his own estima-
tion the merits of the earthenware pottery of
Japan exceed that of its porcelain ; in this
last manufacture the Chinese have remained
inimitable masters. The historical: and techni-
cal accounts he gives of its development, and
of the distinctive characteristics of the produc-
tions of the various provinces, are brief, clear,
and, as far as they go, sufficient to still enhance
the interest that modern collectors feel for
Japanese ceramics.

- L'Art ancien a 1'Exposition
de 1878. Paris, A. Quantin,
1879. 4°; with numerous plates
and illustrs. 30 fcs.

" Ancient art at the Paris International
Exhibition of 1878."

Contains the following articles : — ' ' Les
faiences italiennes et les faiences franchises de
la Renaissance," by Alfred Darcel, pp. 19 ; " Les
faiences fran9aises et les porcelaines," by Alfred
Darcel, pp. 15; "La cgramique de 1'extreme
Orient," by Paul Gasnault, pp. 21 ; "L'ancien
art Mexicain," by Germaine de Poligny, pp. 7.
All the above articles are copiously illustrated.

GOODE (W. J.)- — Brother Goode's
paper on old and modern Sevres
China. London, 1900. Sq. 8°,
pp. 17 ; vigns.

One of the booklets printed for distribution
among the members of the Society of " Ye Sette
of Odd Volumes." This society, primitively
composed exclusively of bibliophilists, used to
meet on frequent occasions round the convivial
table, under the presidency of Mr. Bernard
Quaritch. They discoursed chiefly upon books
and book-lore, and discussed the rare MSS. and
valuable printed works that some of the mem-
bers never failed to bring and submit to the

brethren's inspection. Every new associate
was expected to commemorate his admission by
the printing of a paper treating of a subject
with which he was particularly conversant.
The extraneous element which had gradually
insinuated itself into the learned society, secured
a great variety of subjects. Mr. W. Goode,
of South Audley Street, and who stood then
at the head of the artistic china trade, was
admitted in the capacity of "Potter to their
Oddities. " The paper gives an account of the
Goode collection of Sevres china, an important
and valuable collection. If anything was
wanted to remind us of the avocation of its
possessor, we should find it in the stress laid
upon the prices one has to pay for good
specimens ; a matter on which Mr. Goode was,
undoubtedly, an unimpeachable authority.

- (Collection W. J.).— Catalogue of
sale. London, Christie's, 1895.
8°, pp. 34 ; with 8 pis. 5s.

The collection comprised 295 Nos. of Sevres
porcelain, among which we shall mention a set
composed of one " Vaisseau a mat," and two
" Eventail," jardinieres for which Mr. Goode
had paid £10,000. Many other pieces were of
the highest order.

GOPPINGER (A.)-— Bouquets de fleurs
et vieilles decorations du style
Louis XV., reproduites d'apres
les originaux. Paris, Calavas
(1885?). Sq. 8°; 33 col. pis.
15 fcs.

" Bouquets of flowers and old decora-
tions in the Louis XV. style, reproduced
from original examples."

GORCEIX (A.). — Essai d'un manuel
theorique d'enfourneur pour la
cuisson de la porcelaine. Limo-
ges, 1867. 12°, pp. 16.

" Essay of a theoretical handbook for
the guidance of the placer in the firing
of china."

GOSSE (Edmund W.).— A critical essay
on the life and works of George
Tinworth. With a descriptive
catalogue annexed. Published
by the Fine Art Society, Limited,
148 Bond Street. London, 1883.
Obi. fol., pp. 81 ; with 20 photo-
grs. printed by Goupil. £1, 10s.

The sculptor in terra-cotta, Tinworth, is the
absolute personification of an ideal art craftsman.
Studio and workshop may be adjacent fields on a
common land, but a clear line of demarcation
separates the one from the other. No conflict
should be raised between the masters who reign

177

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CERAMIC LITERATURE.

[GOT

supreme, each in his own region. The craftsman
has no cause to depart from employing the
material and tools of his craft and discard the
technics he has painfully mastered — the artist
may find himself at a disadvantage if he
attempts to follow the craftsman upon his own
ground.

All branches of decorative art have been
illustrated by specialists of real genius ; but
they flourished at spasmodic intervals. The in-
dustrial artist, as he is called for want of a
better name, after having glorified his calling
during the past ages, had almost disappeared
at the beginning of the last century. As a
consequence of the low standard into which
public taste had been allowed to sink, any art
student endowed with lofty aspirations shunned
with horror the idea of debasing his dawning
talent by applying it to industry. On the other
hand, it was considered good commercial policy
on the part of the employer who chanced to
meet with a designer gifted with imagination,
or possessed of uncommon skill, to conceal care-
fully the share that this co-operator might have
taken in the completion of a joint production.

International exhibitions were to effect a
radical change in the relations of art to industry.
Through their agency the industrial artist came
to the front again, and reassumed his true
character. It was no longer a hopeless prospect
for an ambitious youth to join an art firm in
which talent was to be recognised and efforts
well requited. Under new circumstances the
manufacturer began to realize that to associate
with his own the name of a designer, or a
modeller, on whom the eye of the public was
already fixed, was to secure an additional chance
of success. The recognition of many remark-
able individualities in the field of decorative
art — and Tinworth must be counted amongst
them — was the result of the world fairs held
in London and Paris. In the Lambeth pottery
works Tinworth found in terra-cotta and
stoneware the most congenial medium through
which he could give expression to his in-
born feelings. Although placed in more than
modest circumstances, he passed as a student
through the best art schools of London, and he
received there as much classical instruction as
his inipulsive nature could assimilate. He was
longing for the workshop, and when definitely
settled amongst his friends, the potters of
Lambeth, little did he trouble himself with
lofty dreams of carving the marble or preparing
a statue for the bronze founder. He delighted
in unflagging handiwork ; his leisure moments
were occupied in cogitating over the next
scriptural parable he proposed to illustrate,
according to his own interpretation. Between
two important figure subjects he was fond of
decorating, as a rest for his mind, ordinary
stoneware vessels which his dexterous hand
covered with ingenious and graceful scrolls and
rosettes. It is when we bear in mind the
colossal aggregate of his productions that we
can appreciate the true value of his talent.
The excellence of the monument cannot be
judged from a single stone. It is to be acknow-
ledged, however, that each particular work
commanded attention as bearing the impress of
a striking personality. A complete list of the
terra-cottas that came from his hands — if such
a list could ever be drawn — would testify to
the dignity of a life spent in unremitting
178

labours, a life which should stand as an example
for all earnest craftsmen to follow.

This handsome album, for the production of
which no expense has been spared, might,
however, have offered a better representative
selection of examples of Tinworth's many-sided
talent. We regret to see that his purely
decorative works have been altogether omitted.
Such important pieces as his original conception
of the Tower of Babel ; the elaborate salt-cellar
he modelled as a present to Sir Henry Doulton ;
his admirable stoneware fountains ; the beauti-
ful pulpit made for the Philadelphia Exhibition,
etc., were surely well worth reproduction.

GOSS (W. H.).— A sketch of the life
and death of Llewellyn Jewitt.
London, Bemrose & Sons, 1887.
8°, pp. 24. (Reprint from The
Reliquary.}

This biographical notice of a well-known
ceramic writer was supplemented by the publi-
cation of a bulky volume, The Life and Death
of L. Jewitt. Haiiley, Allbut and Daniels,

1887.

GOTZE (A.)-— Die Gefassformen und
Ornamente der neolithischen
schnurverzierten Keramik in
Flussgebiete der Saale. Jena,
1891. 8°, pp. 72; with 2 pis.
3 m.

" The shapes and ornamentation of the
neolithic ceramic vessels, decorated by
the impression of strings or plaited thongs,
found in the Saale valley."

An attempt to classify prehistoric earthen
vessels into two broad groups — those decorated
with incised lines and hand-traced geometrical
figures, and those which bear the impression
of ropes, or twisted strings or thongs. Much
trouble has been taken to describe accurately
a large number of cinerary and other urns
discovered in Thuringia, and to establish a
comparison between these latter and the urns
discovered in other localities which offer these
two particular methods of primitive ornamenta-
tion. We doubt, however, whether it will
ever be possible to make these two varieties
of workmanship indicative of place and method
of manufacture, as the author seems to imply.

GOTZKOWSKY.— Geschichte eines pa-
triotischen Kaufmans. S.l.,1769.
12°, pp. 192. 12m.

"History of a patriotic merchant."

An autobiography of the founder of the
Royal Porcelain Works of Berlin, in which
the erroneous and accredited statement that
Frederick the Great had kidnapped the artists
and workmen, and carried away the models and
moulds of the Meissen manufactory, in order to
establish the manufacture of porcelain at Berlin,
after the victory of his army in Saxony, is most
distinctly disposed of.

GOU]

CERAMIC LITERATURE.

[GOU

In the first pages of the book are related the
efforts Gotzkowsky, then one of the leading
citizens of the town, made towards introducing
the regular manufacture of porcelain in Berlin.
The enterprise, undertaken as it appears merely
to gratify the whim of King Frederick, dis-
satisfied with the abortive attempt previously
made by Weggely, was, of course, a small affair
amidst the heavy charges and responsibilities
which devolved npon the promoter of the new
scheme. Having been told that a certain
"arcanist," or operative well conversant with
the secrets of porcelain making, was then in
Berlin waiting to conclude an engagement with
the Duke of Gotha, Gotzkowsky hastened to
offer him such profitable conditions that they
were at once accepted. The trials lasted for
two years at the merchant's own cost. He
then intimated to the king that his wishes had
been carried out ; that the new Berlin porcelain
factory already occupied 150 people. On the
same day he submitted to His Majesty excellent
specimens of their work.

Glaus, one of the best Meissen painters, and
who had previously worked with Weggely, had
been engaged, at a very high salary, to act as
an art director. At last, when in 1763 the
factory had been set in good working order,
Gotzkowsky asked the king to relieve him from
a burden he was no longer able to bear, and to
supply the funds necessary for its maintenance.
. In that year, and therefore long after the peace
had been signed with Saxony, the private
establishment of the Berlin porcelain works
became a royal manufactory.

GOUELLAIN (G.).— Exposition d'art et
d'archeologie k Rouen en 1861.
Paris, Kochette, 1861. 18°, pp.
15. (Reprint from Les Beaux
Arts.)

Le musee ceramique de
Nevers. Rouen, Le Brument,
1862. 8°, pp. 15. (Reprint from
Revue de Normandie.)

- Revue de 1'Exposition artis-
tique d'Elbeuf en 1862. Rouen,
Cagniart, 1862. 8°, pp. 15.

Mr. Gustave Gouellain was a member of the
enlightened group of local collectors who
deemed that no efforts and no expense should
be spared in forming a public museum, in
which the ancient industry of the town should
be represented by the finest examples obtain-
able. The ceramic museum of Rouen, whose
formation and arrangement \\ere partly due
to his untiring exertions, soon showed how
brilliantly their plans could be realised. This
was only part of a scheme by which what they
called the topography of French art might
have been established. It consisted in the
creation, all over the country, of independent
collections of local productions, where the
particular style of each centre could be com-
paratively studied.

- Etude ceramique sur une vue
du port de Rouen d'apres une
plaque en faience de la collection
de Mr. le baron de Gerycke.
Rouen, Le Brument, 1872. 4°,
pp. 33 ; with 1 etching by E. Le
Fevre, and marks. 5 fcs.

"Ceramic remarks upon a faience
plaque, painted with a view of Rouen
harbour."

This plaque, which may be of Dutch manu-
facture, was painted by a Dutchman named
Dale, in 1784, after an engraving by N. Ozanne.

Ceramique revolutionnaire.
L'assiette dite " a la Guillotine."
Paris, impr. Jouanot, 1872. Sm.
4°, pp. 44 ; with 1 pi. in col.

"Ceramics during the Revolution. The
" Guillotine plate."

The collectors of ' ' Faiences patriotiques "
have in vain searched amongst the scenes and
emblems with which the ware is illustrated,
for a representation of the hideous instrument
so notoriously associated with the worst days
of the French Revolution. Champfleury, their
leader, had come to the conclusion that such a
picture has never been produced, and he
cautions us against accepting as genuine any
piece which may turn up bearing the unseemly
subject, and which must, in all likelihood, be
the work of some speculative forger. In the
face of that warning, Mr. Gouellain bought, in
a Paris curiosity shop, a plate on which an
execution on the guillotine is most atrociously
depicted, and he had no hesitation in consider-
ing it as the original work of some republican
potter. It is needless to say that, whether
genuine or not, such an isolated example has
but little historical importance.

La ceramique musicale au
Trocadero et ailleurs en 1878.
Paris, R. Simon, 1878. 16°, pp.
32. 3 fcs.

" Musical ceramics, at the Trocadero
and elsewhere."

Description of old faience plates painted
with some verses of amorous and bacchanalian
songs, and the noted music to which they were
to be sung.

Ceramique k emblemes his-
toriques. Note sur une faience
avec portrait du general Bona-
parte de la collection de Mr. A.
Assegond. Bernay, impr. Le-
fevre, 1878. 8°, pp. 3.

" Pottery with historical emblems.

179

GOU]

CERAMIC LITERATURE.

[GRA

Note upon a faience plate painted with a
portrait of General Bonaparte."

Speculations as to the probable origin of the
plate, which Mr. Gouellain attributes to Lyons
manufacture.

GOUELLAIN (G.).— Memoire historique
sur la manufacture Rationale de
porcelaine de France, redige en
1781 par Baclielier, reedite avec
preface et notes. Paris, R. Simon,
1878. 12°, pp. 57. 3 fcs.

Reprint, with a preface and annotations
by G. Gouellain, of the Memoir indited by
Bachelier (see that name).

- Collection d'anciennes faiences
de Sinceny de feu Mr. le Dr.
Warmont. Paris, 1891. 8°.

"The Warmont collection of ancient
Sinceny faience."

Sale catalogue with historical notice and
description of the specimens.

GOUTZYILLER (Oh.)-— Curiosites alsaci-
ennes. Les vases de Ribeauville.
Mulhouse, 1872. 8°; with 7
illustrs.

" Alsatian curiosities. The Ribeau-
ville vases."

GOZZADINI (Conte Giovanni).— Di un'an-
tica necropoli a Marzabotto nel
Bolognese. Bologna, Fava, 1865.
4°, pp. 102; with 20 lith. pis.
(some col.) 15 fcs.

" An ancient necropolis at Marzabotto,
near Bologna."

- Di ulteriore scoperte nell'an-
tica necropoli a Marzabotto nel
Bolognese. Bologna, 1870. 4°,
pp. 93 ; with 17 pis. (some col.).
15 fcs.

"The latest discoveries in the ancient
necropolis of Marzabotto."

The two parts, generally found bound to-
gether, contain nine plates of painted vases.

- Intorno agli scavi archeologici
fatti dal Sig. A. Arnoaldi Veli
presso Bologna. Bologna, Fava,
1877. 4°, pp. 96; with 16 lith.
pis. and illustrs. 10 fcs.

" On the archseologic excavations made
by Sigr. A. A. Veli, near Bologna."
Ceramic, pp. 13-33. A number of early
180

Etruscan terra-cotta vases are reproduced on
four plates ; the two following plates give
40 reproductions of the seals with which the
ornamentation was stamped in the clay.

GRABNER (Dr. K.).— Wahres eroffnetes
Geheimniss der Zubereitung
verschiedener Porzellan, Stein-
gut, Fayence und Topfer Glas-
uren, nebst der Verfertigung
mehrerer Porzellanfarben und
verschiedener farbiger Edel-
steine. Mit Umgabe aller Pflan-
zen, aus welchen Farbenstoffe
fur Maler und Farber gezogen
werden konnen, mit Beachtung
des Mineral und Thierreiches.
Ein ntitzliches Buch fur Fabrik-
anten, Maler und Farber. Leip-
zic, Basse, 1837. 12°, pp. 50.

" The secret truly disclosed of making
all kinds of glazes for porcelain, stone-
ware, faience, and pottery ; preparing the
colours for porcelain painting, and imi-
tating precious stones of various colours.
With a description of all the plants from
which colours for painters and dyers can
be extracted, and general considerations
upon the mineral and animal kingdom.
A useful book for manufacturers,
painters, and dyers."

GRACKLANER (0.).— Verzeichniss samt-
licher Schriften liber Gewerbe
Literatur und Industrie, etc.
Leipzig, 1881. 8°.

" General list of the writings upon
industrial literature and industry."

Accounts of the Industrial Exhibitions of
1865-81, list of patents, &c.

GRAESSE (J. G. Th.). — Beitrage zur
Geschichte der Gefassbildnerei,
Porzellan fabrik, Topfer und
Glasmacher Kunst bei den ver-
schiedenen Nationen. Dresden,
1853. 8°, pp. 116.

" Contributions to the history of pot-
tery; the art of porcelain, pottery, and
glass-making in all countries."

- Geschichte der chinesischen
Porzellans. Dresden, 1859. 8°.
pp. 14.

" History of the Chinese porcelain."
(Extr.)

GRA]

CERA MIC LIT ERA TURE.

[GRA

- Beschreibender Katalog der
K. Porzellan und Gefiiss Samm-
lung zu Dresden. Dresden, 1873.

8°.

" Descriptive catalogue of the royal
collection of porcelain and pottery at
Dresden."

H. Th. Graesse was curator of the royal
collection of porcelain, the Griine Gewolbe
museum, and the numismatic cabinet at
Dresden.

— Abriss der Geschichte des
Porzellans und der Thongefiisse,
mit besonderer Beziehung auf
die K. Porzellan- und Gefass
Sammlung zu Dresden. Dresden,
1873. 12°, pp. 146. 3 m.

"Abridged history of porcelain and
pottery, with special references to the
Dresden porcelain collection."

The ceramic handbooks of Th. Graesse have
become somewhat out of date.

- Guide de Famateur de por-
celaines et de poteries, ou collec-
tion complete des marques de
fabriques de porcelaine et de
poterie de 1'Europe et de 1'Asie.
Dresde, 1880. 6th ed. 12°, pp.
194. 5fcs.

"Guide-book for the porcelain and
pottery collector; a complete collection
of marks of all the porcelain and pottery
manufactories of Europe and Asia."

The first edition, published in 1864, con-
tained only 387 marks ; the number was in-
creased to 2,231 in the 1880 edition. It has
been reprinted, in 1900, by Jaennicke, with
considerable additions.

GRAHAM (Rev. Malcolm). -- Cup and
saucer land. London, 1908. 8m.
4°, pp. 48; with 48 half-tone
pis. 5s.

A familiar, but very accurate, description of
the successive processes of manufacture prac-
tised at the present day in the pot works of the
Staffordshire Potteries. The writer, who was
for eighteen years vicar of the parish of
Burslem, has himself taken all the photographs
reproduced in the volume.

GRAND-CARTETET (John).— Les arts in-
dustriels en Suisse. Paris, 1879.
12°, pp. 106. 3 fcs.

"Industrial arts in Switzerland."

Contains a chapter on ceramics, compiled
from previous publications.

GRAND (Y.). — La ceramique de Saint
Henri. Les usines Arnauld
Etienne. Aix, A. Makaire, 1878.
12°, pp. 92 ; with 7 illustrs. 2 fcs.

" Ceramic industry at St. Henri. The
A. Etienne factories."

A monograph of the important brick and tile
works situated in the vicinity of Marseilles.
Information on the other factories of the region
is given in the introduction.

GRANDHOMME et FLOftUET.— Dessins ap-
plicables aux einaux et aux arts
ceramiques. Paris, s.d. (recent).
Fol.; 14 photogr. pis. 25 fcs.

" Designs suitable for enamel painting
and the ceramic art."

GRANDIDIER (Ernest).— La ceramique
Chinoise. Porcelaine orientale ;
date de sa decouverte. Explica-
tion des sujets de decor. Les
usages divers. Classification.
Heliogravures par Dujardin re-
produisant 124 pieces de la col-
lection de 1'auteur. Paris, F.
Didot, 1874. 4°, pp. 232 ; with
42 pis. 40 fcs.

"Chinese ceramics. Oriental porce-
lain ; the date of its discovery. Explana-
tion of the painted subjects. Divers
uses. Classification. Plates in Dujardin
heliogravure, reproducing 124 specimens
in the author's collection."

Whether the knowledge of the history of
Oriental porcelain has made any progress since
the publication of Dusartel's La porcelaine de
Chine is surely not evidenced in this new
volume. It is, again, the book of Stanislas
Julien, presented in a fresh disguise. Upon
this often-used frame-work are hung the fes-
toons of flowery and hollow sentences, the
import of which is by no means calculated to
render more intelligible a subject still involved
in disheartening uncertainty. The sources
whence this compilation has been drawn are
by no means original ; we know them all. As
a compiler, the writer has been often infelicitous
in the choice of his materials, and he might
have used the available store of information to
better advantage. For instance, it is no longer
admissible to write an incorrect notice on
porcelain manufacture, now that so many clear
and sound technical treatises are available for
those imperfectly acquainted with the practices
of the potter's art. Nor is the question of the
origin of porcelain left any longer in the dark.
Davillier's learned work on the subject would

181

CERA MIC LITER A TURK.

[GRA

alone supply the elements of a perfect sketch.
The chapter on " the origin of porcelain "
reads as though Davillier's book had never
been written, or had been purposely ignored.
As an original contribution to modern science,
Mr. Grandidier presents a classification which
he claims as his own. He deprecates, justly,
the use of the arbitrary divisions introduced by
Jacquemart, and will not recognise the ' ' Pink
Family " and the "Green Family." According
to the plan he proposes, Chinese porcelain
should be ranged under as many headings as it
offers styles of decoration and varieties of
coloured grounds. That is to say, a special
class for each style, a special family for each
colour. This is indeed opening a wide field to
the lover of complicated nomenclature ; we shall
not discuss the practicability of such a scheme.

The writer is evidently more at ease when he
enters into the description of the specimens in
his possession. It was not necessary for him to
tell us that he is not a traveller ; nor is he an
Oriental scholar. What need had he to prose-
cute risky and costly journeys through the
Celestial Empire ; has he not found in his
museum the best sources of deep learning?
All he cares to know about China is, for him,
concentrated in the precious store of porcelain
he has accumulated. A few volumes of
Chinese literature are the guide books that
lighten the way in the repeated incursions he
makes through the contents of his well-filled
glass cases. What he reads about the arts,
sciences, religion, customs of the Chinese
people, will gradually become manifest to his
understanding when embedded in some porce-
lain object of which he had not before suspected
the occult signification. More and more he
will absorb himself in a fancy world of his own
creation. It is China "at home" with all its
splendour and all its surprises ; he is quite
unwilling to leave the dreamland of his imagina-
tion for stern reality. Here, at least, he can
construe at his ease — and without having to
reckon with the intrusion of disturbing ele-
ments— the perfect train of evidence on which
he will rest the basis of a complete history of
" Chinese ceramics," bearing on the title page
the gratifying words " as illustrated by ex-
amples in our own collection." One may be
pleased to follow the writer in his rambles, but
it is good to constantly bear in mind that one is
travelling on the confines of the realm of fancy.

The volume is handsomely printed, and the
heliogravures are excellent. The collection, one
of the finest in existence, is now exhibited in
the Louvre Museum, to which it has been
presented by Mr. Grandidier.

GRANGE (G.).— Histoire et vicissitudes
de la manufacture de faience de
Clermont - Ferrand (Auvergne).
Suivie de notes utiles pour les
amateurs et les collectionneurs
de ceramique. Clermont-Ferrand,
1882. En vente chez G. Grange,
marchand de curiosites. 4°, pp.
39 ; with 3 chromolith. pis. and
2 photos.
182

" History of the faience manufactory
of Clermont - Ferrand ; to which are
added some useful notes for amateurs
and ceramic collectors."

Historical information, like old faience, is to
be obtained second-hand at the shop of worthy
Mr. Grange. He does not conceal that the
first portion of his pamphlet is the transcription
of a MS. written by one of his fellow-towns-
men who lived at the time when the faience
factory of Clermont-Ferrand was still in exist-
ence ; this is supplemented by extracts from
Cohendry's work. Brongniart has supplied
the recipes for the making of faience ; these
quotations end with the words : Fiat Lux.
Finis coronat Opus, has been thought a befitting
sentence with which to close the last section,
in which the secrets for mending broken faience
are divulged to the uninitiated.

GRANGER (Albert).— La ceramique en
Allemagne et Fenseignement
technique relatif k cette Indus-
trie. Mission d'etude (1899).
Paris, impr. nationale, 1900. 8°,
pp. 64.

"The ceramic industry in Germany,
and the technical teaching in connection
with it. A study made during a special
mission by A. Granger."

Contains information on the raw materials
found in Germany, the various branches of
manufacture, the commerce of importation
and exportation, the organisation of the
factories, the conditions of the workpeople,
and the technical education.

La ceramique industrielle.

Chimie, Technologie. Paris,
Gauthier Villars, 1905. 8°, pp.
x-644 ; with 175 illustrs. 12 fcs.

"Ceramic industry. Chemistry, Tech-
nology."

GRASSALKOWITS YON GYAYAK (Princess
Marie Leopoldine).- Catalogue of sale
of the collection. Cologne, Heb-
erle, 1887. 4°, pp. 48 ; with 13
pis.

Oriental and Sevres porcelain (mostly with
ormolu mounts), Nos. 24-189, with 6 pis.

GRASSET (aine). — Notice etablissant
que la marque B.B. ne peut etre
attribuee a Bernard Palissy,
celebre potier Agenois, etc.
Paris, Ve. Eenouard, 1872. 8°,
pp. 22 ; with 2 pis. 2 fcs.

"Notes establishing that the mark

GRA]

CERA MIC LITER A TURE.

[GRE

B.B. should not be attributed to Bernard
Palissy, the celebrated potter of Agen."

A verbose disquisition upon an attribution,
the incorrectness of which had been demon-
strated long before this paper was indited.
The mark B.B. found incised upon the figure
of the " Nurse " and other specimens of earthen-
ware of the Palissy school, cannot be the mark
of the great potter for two reasons. The first
being that the figure wears the costume of the
time of Henri IV. ; the second, that the letter
B, of this peculiar shape, was not used in French
handwriting before 1650, when Palissy had
been dead for fifty years. A fact that Mr.
Grasset has omitted to mention is that at
about the same period, a potter named Barthe-
lemy de Blenod, is known to have worked at
Fontainebleau ; in all probability the two B.B.
represent the mark of this latter.

- Musee de la ville de Varzy
(Nievres). Faiences Nivernaises
du 18e siecle. Paris, Loones,
1875, 8°, pp. 16 ; with 1 pi.

" Museum of the town of Varzy.
Nevers faiences of the eighteenth
century."

The notice describes two important examples
of the Nevers factories of the period of decline.
One of them is an equestrian figure of Saint
Hubert, dated 1734. The local production was
still very important at that time.

- Ceramiques. Historique de
la faiencerie de terre de pipe et
de poteries noires dites egypti-
ennes, imitations anglaises qui,
etablie en 1802, en la ville de La
Charite - sur - Loire (Nievre), a
c6sse de fonctionner en 1812.
Paris, H. Loones, 1876. 8°, pp.
11. 1 fc.

" Ceramic art. History of the manu-
factory of earthenware and black pottery,
so-called Egyptian, imitations of English
ware, which, established at La Charite-
sur-Loire in 1802, was closed in 1812."

Francis Warburton, of Burslem, Staffs., who
intended to carry on at La Charit6-sur-Loire,
the manufacture of earthenware after the
English methods, gave up the attempt after
one year of costly and unsatisfactory trials.
He was succeeded by Michael Willis and his
partner, Mr. Le Bault. Vainly did they
impress their productions with the name of
" Wedgwood," they could not find a market
for their clumsy imitations. Mr. Grasset, in
his patriotism, exults in the idea that a large
number of the pieces which the English collector
now admires as the work of Josiah Wedgwood,
have in reality been made at La Charit^-sur-
Loire.

GRAY (John). — James and William

Tassie, a biographical and criti-
cal sketch, with a catalogue of
their portrait-medallions of mod-
ern personages. Edinburgh, 1894.
8°; portrait. 8s. 6d.

GREAU (J.).— Terres cuites d'Asie de
la collection Julien Greau pub-
liees by W. Froehner. Paris,
Hoffman, 1886. 4°, pp. xvi-105 ;
with 120 photolith. pis. and text
illustrs. £5.

" Terra-cottas of Asiatic origin in the
J. Greau collection."

In the numerous volumes published almost
simultaneously on the subject of the newly-
discovered terra cottas of Greek workmanship,
we find the glaring record of the labour under-
taken by the archaeologists of the younger
school, with the view of discrediting many
long established notions, and of leading modern
study into the path of accuracy and rationalism.
The urgency of introducing a complete change
in the old routine of elucidating antique monu-
ments was speedily demonstrated ; a new
method was established, chiefly upon the
results obtained through systematic diggings
executed under the direction of explorers as
eager for discovery as they were cautious in
their way of proceeding, and guarded against
the danger of drawing too hasty conclusions.
New fields of research had yielded an amazing
harvest of painted vases and terra-cotta figures.
From that moment groups began to be con-
stituted of the distinctive types belonging to
the region in which they had been found, and
attempts were made to fix the respective epochs
of the leading styles by the depth at which the
finds occxirred in the soil, and the various
objects discovered in connection with them.
The present volumes are an illustration of the
new direction given to studies. It was from
the necropolis of Asia Minor, just being explored
for the first time, that J. Gr^au formed his
collection of terra-cottas ; on that account it is
almost exclusively composed of specimens of
Lydian and Phrygian origin. Most of the
groups and figures that came into his possession
from these sources showed such an unwonted
and surprising character that their authenticity
was warmly contested. Froehner advocated
their genuineness in the introductory notice to
this work, and later on in many other writings.

Through the work accomplished at that time
many important points referring to the progress
of the art of the coroplast, and the exact
source of certain types of ancient terra-cottas,
were satisfactorily settled. But the reason why
earthen figures were deposited by the Greeks
in the tombs of the dead still remains the
subject of unending discussions among anti-
quaries. If it cannot be denied that a few of
these figures might be connected with the
funereal rites, considering the subject they
represent, examples of that kind are so rarely
found, that the notion of terra-cottas having
served, as a rule, a religious purpose, can

183

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CERAMIC LITERATURE.

[GRE

scarcely be maintained. It has also been
suggested that they were Ex-votos, or pro-
pitiatory offerings to the semi-deified soul of
the departed ; but no trace of such a purpose
has ever been found in ancient texts, and if the
custom of depositing Ex-votos in the graves had
ever existed, contemporary writers would not
have failed to mention it. Froehner does not
venture to decide between these and other
hypotheses. He observes, however, that by
far the greater number of terra-cotta figures are
devoid of allegorical signification or religious
character. Consequently, he prefers to see in
these representations of the people and the
things that the dead had loved and valued
during his life, — always found in Greek tombs,
— the expression of the compassionate feelings
of his afflicted friends, trying to associate in
the adornment of his last abode something of
the brightness of his evanescent existence with
the eternal shade of death. We know that a
very ancient law required that earthen figures
of small value should be chosen instead of more
costly offerings, because if hoards of precious
metal were known to be buried in the graves,
this might, in after times, tempt the cupidity
of the living, and in the event of war, cause
the resting place of the dead to be violated by
a rapacious victor.

GREAU (J.).— Collection Julien Greau.
Catalogue des terres cuites
Grecques, vases peints et mar-
bres antiques. Vente k Paris,
mai, 1891. 4°, pp. 292; with
75 pis. and 116 text illustrs.
40 fcs.

" Catalogue of sale."

Like many collections of that time, this was
rapidly formed and dispersed, but the volumes
in which their contents were illustrated, and
the catalogues of the sales remain to us as a
testimony of their importance, and as a valu-
able assistance to the study of ancient Greek
art.

GREEN (Aaron).— Report upon pottery
and earthenware. London, Samp-
son Low, 1879. 8°, pp. 24. (In
Society of Arts' artisan reports on
the Paris Universal Exhibition of
1878.)

Mr. A. Green was one of the best china
painters in Messrs. Minton's manufactory, an
establishment to which he remained attached
for more than fifty years.

GREENS, CLARKE, & Co.— Pattern book
of the Don pottery, manufactured
by Greens, Clarke & Co. at Don-
caster. S.l.,n.d. (1808). 4°. Two
series of, together 70, plates, con-
taining 292 designs. £6.
184

The Don pottery was established about 1790.
A pattern book was issued a few years after-
wards, in the same style as the one published
by Hartley & Greens, of the Leeds pottery,
many of the designs being almost identical.
Each plate bears the name of "Don pottery"
engraved in a scroll. A very limited number
was printed, and copies are now very difficult
to obtain.

GREENWELL (Rev. W.)-— British bar-
rows : a record of the examina-
tion of sepulchral mounds in
various parts of England. Ox-
ford, the Clarendon Press, 1878.
8°, pp. 763; with 164 text il-
lustrs. 15s.

The pottery found in the English barrows is
described at length in the introduction, and
illustrated by representation of 38 specimens.
Several other woodcuts of early vessels will
also be found interspersed through the volume.

- Recent researches : Barrows
in Yorkshire, Wiltshire, Berk-
shire, etc. Westminster, Nichols
& Son, 1890. 4°, pp. 72 ; with
34 illustrs., chiefly cinerary urns.
(In Archceologia.)

GREG (Th. Tylston).— A contribution
to the history of English pottery.
With special reference to the
Greg Collection. Manchester,
1908. 12°, pp. iii-81.

This important collection was presented by
the writer to the Manchester Art Gallery in
1906.

GREINER (G.)-— Lebensehreibung des
Gotthelf Greiner zu Limbach
Erfinder des Thuringer Por-
zellans, 1732-1795. Hildburg-
hausen, 1877. 8°, pp. 65.

An autobiography of G. Greiner, the dis-
coverer of porcelain in Thuringia.

GREINER (K.). — Aus dem Betriebe
der Steingutfabrikation. . . .
Halle-a-S., 1903. 8°; with 55
illustrs. 3 m.

"On the conduct of the manufacture
of stoneware."

GRELLIER (C.). — L'industrie de la
porcelaine en Limousin. Ses
origines, son evolution, son

GRE]

CERA MIC LITER A TURE.

[GRI

avenir. Paris, Larose, 1909.
8°, pp. 511. 10 fcs.

"The porcelain industry of Limousin.
Its origin, evolution, and future."

Whether we consider it as a historical mono-
graph, a technical treatise, or a statistical
survey of the present conditions of the porce-
lain industry at Limoges, this volume may be
equally commended. All the points touched
by the author have been treated in a reliable
and exhaustive manner. The bibliography in-
cludes the most important articles which have
appeared in periodicals.

GREMPLER.— Der Fund von Sackrau.
Berlin, 1887-88. Fol. 14 m.

"The discoveries made at Sackrau."

Contains an account of the prehistoric pottery
discovered during the course of three successive
campaigns of excavations.

GRESLOU (J.). — Kecherches sur la
ceramique ; suivies de marques
et monogrammes des differentes
fabriques. Chartres, 1863. 12°,
pp. 279. 10 fcs.

" Researches on ceramics ; with the
marks and monograms of the various
factories."

A volume worthy of the bibliophile's approval
on account of the good style of its typographic
execution. This is all that can be said in its
favour. On the day of its publication it was
already behind the knowledge of the time.
The text is but a shallow compilation of the
standard books, and the list of marks is incom-
plete and incorrect.

GRIFFEN (H. R.).— Clay, glazes, and
enamels. With a supplement on
crazing; its causes and preven-
tion. The whole forming a
treatise on glazing and enamell-
ing brick, terra-cotta, and pottery.
Including exact recipes and for-
mulas for all the principal colours
now in use, and full instructions
for their preparation, Indiana-
polis, 1896. 12°. £1.

GRIFFINHOOFE (H. G.).— The medieval
tiles in St. Mary's Church, Mon-
mouth. Monmouth, Waugh, 1894.
12°, pp. 23.

Description of the remains of an ancient
pavement discovered in 1882. Some of the
tiles show the same patterns as those found
at Malvern.

GRIFFIS (Rev. W. E.).— The Mikado's
Empire. New York, Harper
Bros., 1878. 8°; with 108 illustrs.

A chapter on the pottery and porcelain of
Japan gives the information obtained by the
author during his travels.

GRIGGS (W.).— Illustrations of Ar-
morial China. London, privately
printed, 1885. 4°; 24 chromo-
lith. pis., with descriptive notices.
100 copies printed. £2, 10s.

The specimens of porcelain, either of English
or foreign origin bearing the coats of arms of
English families are so numerous as to preclude
any idea of drawing a complete catalogue of
armorial china. No such pretension is claimed
for this set of plates, in which a few examples,
selected somewhat at random from private
collections, are admirably reproduced by the
Griggs process.

GRIGNON.— Bulletin des fouilles faites
par ordre du Koi, d'une ville ro-
maine, sur la petite montagne
du Chatelet, entre St. Dizier et
Joinville, decouverte en 1772.
Bar-le-Duc, 1774. 8°. 10 fcs.

" An account of the excavations, made
by order of the King, on the site of a
Roman town discovered at Chatelet in
1772."

In this book Roman pottery was mentioned
and descanted upon for the first time in a French
archaeological work. The copper plates en-
graved for this volume were published, later
on, in the work of Grivaud de la Vincelle.

GRIMM (H.).— Die Fabrikation des
Feldspath - Porzellans fur die
Praxis bearbeitet. Wien, Har-
tleben, 1901. 8°, pp. 192 ; with
69 illustrs. 3 m.

" The practical manufacture of felspar
porcelain."

GRISELINI (F.)— Dizionario delle arti
e de'mestieri. Venezia, 1768-78.
18 vols. 8°.

" Dictionary of the arts and crafts."

GR1YAUD DE LA YINCELLE (Cl. M.).— An-
tiquites gauloises et romaines
recueillies dans les jardins du
palais du Senat, pendant les tra-
vaux d'embellissement qui y ont
ete executes depuis 1'an ix.

185

GRI]

CERAMIC LITERATURE.

[GRU

jusqu'k ce jour, etc. Paris, 1807.
Fol.; with 27 pis. 15 fcs. Some
copies have the text printed 4°
size.

"Gallic and Roman antiquities dis-
covered in the gardens of the Senate
(Palace of the Luxembourg) during the
works of improvement conducted on the
spot from the year ix. to the present
day."

Roman pottery, pp. 120-179; with 19 pis.
Excellent reproductions.

GRIYAUD DE LA YINCELLE (Cl. !.)•-
Recueil de monuments antiques
la plupart inedits et decouverts
dans Fancienne Gaule, etc. Paris,
1817. 2 vols. 4°; with 3 maps
and 40 pis. 15 fcs.

" Selection of antique monuments,
chiefly inedited and discovered in ancient
Gaul."

- Arts et metiers des anciens
representes par les monuments
en 130 planches ombrees au trait;
ou recherches archeologiques
servant principalement & Fex-
plication d'un grand nombre
d'antiquites recueillies dans les
ruines d'une ville Gauloise et
romaine, decouverte entre Saint
Dizier et Joinville. Ouvrage
public d'apres les materiaux de
1'abbe de Tersan par Grivault de
la Vincelle et continue apres la
mort de ce dernier par G. Jacob
(pere). Paris, 1819 and f. ys.
Fol. 60 fcs.

"Arts and trades of the ancients, re-
presented by the original monuments on
130 outline pis.; being chiefly explana-
tory of a great number of antiquities
found in the ruins of a Gallo-Roman city
discovered between St. Dizier and Join-
ville, etc."

Ceramics : Pis. 15, 16, 20, 118. This work,
which was to have comprised 18 parts, was not
completed ; 16 parts only were published.

GRffiYIUS ET GRONOYIUS. — Thesaurus

Antiquitatum Romanorum con-

gestus a Groevio. Traj. ad.

Rhenum, 1694. 12 vols. Fol.

186

Thesaurus Graecorum Antiqui-
tatum, congestus a Gronovio.
Venetiis, 1732. 13 vols. Fol.;
numerous plates.

Vols. 9 and 12 contain one of the earliest
treatises written on Greek and Roman vases.

GROSCH (H.). — Herreboe - Fayencer
udgivne af Museets bestyrelse.
Kristiania, 1901. Obi. 4°, pp.
29 ; with 10 col. pis. and 1 pi. of
marks. 10s.

" The faience of Herreboe in the Mus-
eum of Industrial Art at Christiania."

History of a factory of painted faience
established in 1758.

Beretning om Kristiania
Kunst Industrie. Museums virk-
somhed. I. Aaret, 1901. Kristi-
ania, 1902. S°, pp. 85. (Ceramic:
4 pis.)

" The Museum of Industrial Art at
Christiania."

GROUET (Ch.)-— Be Fart ceramique
dans le Nivernais depuis le xvie
siecle. Never s, 1844. 18°, pp. 7.
(Extr.)

"Ceramic art in Nivernais from the
sixteenth century."

After a brief historical survey, the writer
comes to the object of his paper, which is the
description of certain specimens of the French
revolution period. Seldom are the coarse
vessels painted with political emblems and
inscribed with patriotic sentences, marked
with the name of their maker. Some of those
which came under his notice were signed with
the name of Besan9on. He has taken the trouble
of tracing the existence of this modest potter, and
of supplying some particulars about his work.

GROUT (F.).— The plasticity of clays.
S.L, 1905. 8°, pp. 13. (Eeprint
from the Journal of the American
Chemical Society.}

GRUNDMAM. — Ueber 98 in Attika
gefundenen Henkelinschriften
auf griechischen Thongefassen.
Leipzig, 1889. Pp. 70. 2 m.

" Upon 98 handle-inscriptions on Greek
vases discovered in Attica."

GRUNER (Lewis). — The terra - cotta
architecture of North Italy

GSE]

CERA MIC LITER A TURE.

(twelfth to fifteenth centuries)
portrayed as examples for imi-
tation in other countries, from
drawings and restorations by
Fred. Lose. 48 finely engraved
illustrations, printed in colours,
with woodcuts, sections, mould-
ing, etc., and descriptive text by
V. Ottolini & F. Lose. London,
1867. Fol. £3, 15s.

GSELL (P.). — La suppression de la
manufacture de Sevres. Paris,
1895. 8°, pp. 16. (Extr. from
La me contemporaine.)

" The suppression of the Sevres manu-
factory."

Ever since the foundation of the national
establishment whose productions were known,
at first, under the proud name of ' ' Porcelaine
de France," and have always kept their place
among the artistic glories of the country, the
same question is raised periodically by the
current opposition to the government, " Is the
manufactory of Sevres of any service to the
nation, and had it not better be closed, since it
cannot exist without a national grant ? " The
manufactory is still in existence, and we do
not believe that pamphlets like the present
one will have any material influence upon its
doom.

GSELL (S.)-— Fouilles dans la ne-
cropole de Vulci, executees et
publiees aux frais de 8. E. le
Prince Torlonia. Paris, Thorin,
1891. 4° pp. 568 ; with 1 plan,
19 (some col.) pis., 4 suppl. pis.
of forms, and 101 text illustrs.
30 fcs.

" Excavations in the Vulci necropolis,
executed and published at the expense of
S. E. Prince Torlonia."

Mr. Gsell, member of the French School at
Rome, conducted the excavations in the year
1889 on grounds extensively explored previously
by several archaeologists. The finds were
deposited in the palace Torlonia de la Lungara.
They were particularly rich in Greek and
Etruscan ceramics ; the plates contain repre-
sentations of the terra-cotta vases and vase
paintings.

GUALAM (M. A.)-— Belle Arti. Mad-
ama Vittoria Maria Jaquotot.
Bologna, 1855. 8°, pp. 8.

" Fine arts. Madame Victoire Marie
Jaquotot."

Biographical notes upon a lady who ranked
amongst the best painters in the manufactory
of Sevres. During her stay in Bologna, where
she executed a fine copy of the Saint Cecilia of
Raphael upon a very large plaque of porcelain,
as well as many other minor works, she made
many friends. One of them, Gualandi, has
consecrated these few pages to her memory,
and has given a complete list of all her works
on porcelain.

GUASTI (G.).— Di Cafaggiolo e d'altre
fabbriche di ceramiche in Tos-
cana, secondo studi e documenti
in parte raccolti dal Comm.
Gaetano Milanesi. Commentario
storico di Gaetano Guasti. Fir-
enze, Barbera, 1902. 8°, pp. xxvi-
494 ; illustrs. and marks. 10 fcs.

" Cafaggiolo and other ceramic factories
of Tuscany ; from researches and docu-
ments partly collected by G. Milanesi.
A historical essay by G. Guasti."

There is no need of further ai'guments to
prove that a majolica factory once existed at
Cafaggiolo. The contrary opinion ventilated
by Malagola and supported by Argnani was
invalidated from the first. It is, however, of
great interest to obtain precise information on
the history of a painted ware that we know to
be second to none in style of decoration and
brilliancy of colours. Evidence has been found
that, in 1504, Piero and Stefano Fattorini,
two potters from Montelupo, established a
furnace for majolica at Cafaggiolo, under the
patronage of Lorenzo de Medici. Their
descendants occupied the works until the year
1600. The marks of the Fattorini have been
identified upon the ware ; this alone would
bring all controversy to an end. But as the
influence of the Faenza style of painting is
obviously marked upon the productions of
Cafaggiolo, and as the joint mark of Pietro
and Stefano has been found on fragments dug
out at Faenza, the correct assignment of an
unmarked specimen will always be a difficult
task. Special notices are devoted in this book
to the following manufactories : — Gagliano o
in Monte ; Montelupo and Sanminiatello ;
Siena and San Quiricco d'Orca ; Pisa, Castel-
florentino and Sanminiato ; The Medicean
Porcelain ; The Ginori and Cantagalli factories.

GUATTINI (G. E.).— Choix des monu-
ments les plus remarquables des
anciens Egyptiens, des Persans,
des Grecs, des Volsques, des
Etrusques et des Remains, con-
sistant en statues, bas-reliefs et
vases. Rome, 1788-89. 2 vols.
Fol.; 234 pis., with expl.

" A selection from the most remarkable
monuments of Egyptian, Persian, Greek,

187

GUA]

CERAMIC LITERATURE.

[GUI

Etruscan, and Roman art, consisting of
statues, bas-reliefs, and vases."

These volumes, published as a mercenary
speculation by two Roman booksellers, profess
to be a continuation of Montfaucon's great anti-
quarian work. They are made up of examples
borrowed from other books, "collected," says
Cicognara, "without taste, choice, or method."
The plates are as badly drawn and engraved as
the worst that may be found in the pxiblica-
tions of a time when the engraver did not lay
much stress on the accuracy of his reproductions.

GUATTINI (G. E.).— Sopra un antica
figulina. Lettera all esimio archi-
tetto L. Dufourny. S.I., n.d. 4°,
pp. 21; fold. pis.

" A letter on the subject of an antique
vase to the architect Dufourny."

GUBLER (Collection).— Catalogue of sale
of a Zurich collector. Cologne,
Heberle, 1893. 4°, pp. 150 ; with
20 pis.

Stoneware, Nos. 1-70; Faience, mostly of
Swiss manufacture, Nos. 71-139 ; various, Nos.
360-420. Twenty-five specimens of Zurich por-
celain are represented upon one plate.
/

GUENEZ (E.). — Decoration ceramique
au feu de mouffle. Paris, G.
Villars (1895?). 12°; pp. 192.

" Ceramic decoration for the kiln fire."

A scientific treatise, worthy of being recom-
mended ; it stands out from the numerous
handbooks published by colour merchants or
professors of china painting for the use of
beginners.

GUNTHER (H.).— Untersuchungentiber
Auswitterungen der Ziegel-
mauer Werk, deren Ursache und
Verhtittung. Giltstrow, 1896.
8°, pp 53 ; 1 pi.

" Research on the decay of brick- work
due to atmospheric conditions, its cause
and prevention."

GUETTARD.— Histoire de la decouv-
erte faite en France de matieres
semblables a celles dont la por-
celaine de la Chine est composee.
Lue a 1'assemblee publique de
1'Academie royale des Sciences,
le 13 Novembre, 1765. Paris,
impr. Royale, 1765. 4°; pp. 23.

"History of the discovery, made in
France, of materials similar to those

188

employed in the composition of Chinese
porcelain. Read at the public meeting
of the Royal Academy of Sciences, Nov.
13, 1765."

The secret of making hard porcelain was
still unknown in France, when the chemist
Guettard presented to the Academy some still
imperfect specimens of his own making. They
had been obtained in the laboratory of the
Duke of Orleans, at Bagnolet, near Paris, with
the kaolin of Alencon. Although Guettard
claimed the credit of having been the first to
use that material, the kaolin of Alencon had
been as a matter of fact discovered and ex-
perimented upon with some success by Count
Brancas Lauraguais a few years previously.
This latter, considering himself defrauded of
an invention which belonged to him, penned a
virulent attack against Guettard, in his M6moire
surlaporcelaine, also addressed to the Academy,
in which he accused him of having shown as
his own manufacture specimens of oriental
porcelain. Guettard had no difficulty in con-
futing the accusation. He also called attention,
for the first time, to the kaolinic rocks existing
in the neighbourhood of Limoges. His official
communication, as well as the result of his
experiments, had a great influence on the speedy
establishment of the manufacture of hard
porcelain.

GUIBERT (L.) and TIXIER (J.).— L'art
retrospectif & FExposition de
Limoges. Monuments his-
toriques, Manuscrits, Orfevr-
erie, Emaux, Vitraux, Tapisseries,
Meubles. Limoges, Ducourtieux,
1889. 8°, pp. 108; with 104
autogr. pis. 10 fcs.

" Ancient art at the Limoges Exhibi-
tion. Historical monuments, MSS.,
gold and silver works, enamels, stained
glass windows, furniture."

Ceramic art, so largely represented in the
modern section of the exhibition, seems to have
been purposely excluded from the retrospective
collection. It is a disappointment not to find
in this volume any reproduction of the old
Limoges porcelain ; the whole ceramic exhibit
amounts to no more than five pieces.

GUIBERTUS (N.).— Assertio de Murr-
hinis, sive de iisquse murrhino
nomine exprimentur, adversus
quosdam de iis minus recte
differentes. Francfurti, 1597.
12°, pp. 91.

" Dissertation on the Murrhines, or of
the vessels called Murrhines, compared
with those that are less correctly called
by the same name."

GUIFFREY.— Documents inedits sur

GUI]

CERAMIC LITERATURE.

[GUT

les anciennes manufactures de
faience et de porcelaine. Paris,
1889. 8°, pp. 23. (Keprint from
the Revue de I'artfrancais.)

" Inedited documents on the ancient
factories of faience and porcelain."

Contains the list of many official documents
relating to the manufacture of pottery.

- Antoine Clericy, ouvrier en
terre sigillee du roi Louis XIII.
1612-1658. Paris, 1891. 8°.
(In Revue de Fart franqais.)

" Antoine Clericy, artificer in Terra
Sigillata to King Louis XIII."

GUILLAUME. — Ecolede la manufacture
Nationale de Sevres ; programme
de 1'enseignement du dessin,
1875. 8°, autogr., pp. 3.

" School of the Nat. Manuf . of Sevres.
Synopsis of the instruction in drawing."

A school of drawing has been established at
the manufactory of Sevres for the benefit of the
apprentices. The sculptor, Guillaume, director
of the school of the ' Beaux-Arts,' had drafted
the programme of the course which was to be
followed in the studies.

GUILLEMOT.— Le Musee Ceramique
de Limoges. Limoges, impr.
Chatras, 1873. 8°, pp. 56.

" The ceramic museum at Limoges."

GUILLERY (E.).— Encyclopedic popu-
laire. Arts Ceramiques. Brux-
elles, 1854. 12°, pp. 104; with a
fancy portrait of Palissy. 2 fcs.

" Popular cyclopaedia. Ceramic art."

A short treatise on ceramic manufacture
based on Brongniart's work.

GULLAND (W. G.).— Chinese porcelain;
with notes by T. J. Larkin.
London, Chapman & Hall, 1898-
1902. Vol. i., pp. 270; with
485 half-tone illustrs. Vol. ii.,
pp. 506, and 411 illustrs. £1, Is.

To exhaust what is practically inexhaustible
— namely, to present some typical example of
,all the varieties of technical processes and
decorative styles employed by the Oriental
potter for the manufacture and embellishment
of his ceramic wares — appears to be the object
of these profusely illustrated volumes. There is
much in the letterpress that has reference to
the religion and the philosophy of the Chinese
very little concerning the history of porcelain

and the date or origin of the specimens de-
scribed. The classification, once more, follows
that of " Famille verte " and " Famille rose,"
imagined by Jacquemart, with families of many
more colours introduced in addition. A long
chapter on Indian china based on the same
authority might have been dispensed with.
All connoisseurs in India now agree that por-
celain was never made in the country, and that
all the pieces affecting Indian shapes and decor-
ation were manufactured in China for the
export trade.

GULLICK (T. J.) and TIMES (J.).— Painting
popularly explained. Painting
on pottery, porcelain, enamel,
etc., pp. 120-131. London, 1859.
8°. 2nd ed., 1864.

A few pages on the history of porcelain
painting chiefly borrowed from Marryat's work.

GUMBEL (G. W. von). — Ueber die
Griinerde von Monte Baldo.
(Grtinerde von Verona. Terra-
verda die Brentonico, etc.)
Miinchen, 1897. 8°, pp. 50.

" Upon the green earth of Monte
Baldo."

GURL1TT.— Ueber Thong efasse und
die Entwicklung ihrer Orna-
mentick. Mittheilungen der
anthropologischen Gesellschaft
in Wien. Wien, 1881. 8°.

"Upon earthen vessels and the de-
velopment of their decoration. A com-
munication addressed to the Anthropo-
logical Society of Vienna."

GUTJAHR und KUPEKER.— Modellsamm-
lungvon sehr reich ornamentirten
Kachelofen in deutscher Eenais-
sance. Leipzig, s.d. (recent).
Folio.

"Models of earthenware stoves richly
decorated in the German Renaissance
style."

GUNDLACH (J. F. von).— Zur Geschichte
der chinesischen Porzellans.
Shanghai, 1888. 8°.

" On the history of Chinese porcelain."

GUTMAM (K. F.).— Die Kunstopferei
des 18 Jahrhunderts in Gross-
herzogtum Baden. Karlsruhe,
1906. 4°, pp. 180 ; with 5 pis.,

189

HAA]

CERAMIC LITERATURE.

4 illustrs. in the text, marks.
15 m.

" The artistic pottery of the eighteenth
century in the Grand Duchy of Baden."

Historical notes and documents regarding
the following factories : — I. Durlach, porcelain
and faience, 1723-1840 ; founded by J. H.
Wachenfeld. II. Baden-Baden porcelain works,
1771-1778, by L. Pfalzers. III. Tile and stone-
ware works, 1793 ; by Schrickel, Bar, and
Maklott. IV. Mosbach, faience, 1770, by
Pierre Berthevin. V. Minor faience works of
Dautenstein and Nonnenweier, 1784-1789.

HAAG (Ellg. et Em.)-— La France pro-
testante ; ou vie des protestants
fran§ais qui se sont fait un nom
dans 1'histoire. Paris, Cher-
buliez, 1857. 10 vols. 8°.

" Protestant France ; or the life of the
French protestants whose names occur in
history."

Vol. viii. contains an article on Bernard
Palissy (pp. 69-97). He is considered as a
scientist and a philosopher, and also as a
potter ; but, above all; in the character of a
staunch Huguenot, and a martyr to his faith.
The influence of Rome is rendered accountable
for his life-long suffering, and ultimately for
his death in the Bastille dungeon.

HABBICHT (H.).— Das ehrbare Topfer-
handwerk zu Eisenach. Eisenach,
H. Kahle, 1902. 8°, pp. 64. 1m.

" The honourable potters' handicraft
in Eisenach."

HABERMAM (G.). — Porzellan, Thon
undGlas Industrie. Beitrage zur
Geschichte der Gewerbe und
Erfindungen Oesterreichs. Wien,
1873/ 8°.

" Porcelain, earthenware, and glass
industry. Materials towards the history
of these industries in Austria, and the
inventions made in the country in con-
nection with them."

A report on ceramics in the Vienna Exhibi-
tion of 1873.

HABERT-DYS.— Fantaisies decoratives.
Paris, 1888. Fol.; 48 col. pis.
50 fcs.

Decorative sketches for the use of the por-
celain painter. Mr. Habert-Dys has published
several series of plates of the same order.

190

HABERT (TheopMle).— La poterie an-
tique parlante. Monographic.
Interessant 1'Aube, la C6te d'or,
la Marne, la Haute-Marne, et
1'Yonne. Paris, Reinwald, 1893.
4°, pp. li-226 ; with 37 lith. pis.
(5 in col.) 45 fcs.

" The antique speaking pottery. A
monograph relating to the Departments
of Aube, etc."

' ' Antique speaking pottery " is rather an
unhappy choice of expression for giving an
accurate idea of the contents of this volume.
The term "antique" stands for Roman and
Gallo-Roman, a very restricted meaning ; the
word "speaking," which might make us expect
that it has been the author's aim to collect the
mottoes, devices, and sentences which the
ancient potter occasionally inscribed on his
work, simply refers to the vessels which bear
the name of the maker on them. Over fifteen
hundred stamps of Roman pot-makers, more or
less familiar to the student, are reproduced in
facsimile on the plates. To these are added
the sketch of a few vases and the reproduction
of some legionary seals stamped on Roman
tiles. An elaborate introduction sums up all
that has been said on the subject without
adding much to our previous knowledge.

- Rapport sur la de*couverte de
poteries a email plombifere de la
periode gallo-romaine, faite en
1884, k la Villa Vertilium (Ver-
tault, Cote d'Or). Chatillon s.
Seine, Leclere, 1887. 8°.

"Discovery of glazed pottery of the
Gallo-Roman period at Vertault."

HABETS (JOS-). — Notice sur quelques
marques de potiers trouvees a
Meerssen pres de Maestricht.
Mons, s.d. Pp. 7.

" A few potter's marks found at
Meerssen, near Maestricht."

HACK (A. F.).— Porzellan, Fayence,
und andere Luxus Thonwaaren.
Wien, 1869. 8°.

Exhibition report in Bericht iiber die Welt-
Ausstellung zu Paris, 1867, pp. 191, 227,
vol. iii.

HAFNER (A.).— Das Hafnerhandwerk,
und die alten Oefen in Winter-
thur. Winterthur, 1876-77. 2
parts. 4°, pp. 66 ; with 1 pi. in
heliotype. 6 m.

HAG]

CERAMIC LITERATURE.

[HAL

" The potters' handicraft, and the
ancient faience stoves of Winterthur."

An additional contribution to a subject
already treated by C. Biilher and W. Lubke.

HAGEMANS. — Ce'ramique grecque et
etrusque. Liege, 1856. 8°; with
3 pis. 2 fcs.

"Greek and Etruscan ceramics."

A notice reprinted in the following work : —

— Un cabinet d'amateur. No-
tices archeologiques et descrip-
tion raisonnee de quelques monu-
ments de haute antiquite. Liege,
Gnuse, 1863. 8°, pp. 509 ; with
16 pis., repres. 248 figs, partly
etched by the author. 5 fcs.

" An amateur's collection. Archaeo-
logical notices, and description of some
objects of great antiquity."

Greek and Etruscan ceramics, pp. 125-259.
Roman and Gallo-Roman ceramics, pp. 395-454.
Gallic ceramics, pp. 498-500. The Hagemans
collection is now in the town museum at Lie"ge.

HAINBACH (R.).— Technik der Decori-
rung keramischer Waaren. Wien,
Hartleben, 1907. 8°, pp. viii-
312 ; with 22 text illustrs. 7s.

Pottery decorating ; a de-
scription of all the processes for
decorating pottery and porcelain ;
translated from the German by
Ch. Salter. London, Scott &
Greenwood, 1907. 8°, pp. vi-
252 ; with 22 illustrs. 7s. 6d.

A technical handbook dealing almost exclu-
sively with the preparation of glazes and cera-
mic colours ; it has nothing to do, as the title
might induce us to believe, with the artistic
side of pottery decoration.

HAINES (Flora E.).— A keramic study.
A chapter on the history of half-
a-dozen dinner plates. Bangor,
Maine, U.S.A. 1895. 12°, pp.
127. 5s.

All that a lady of inquisitive mind, fresh
from America, saw during the twenty-eight
days she spent in watching the processes of
pottery manufacture at the Brownfield Works
of Cobridge (Staffs.) is faithfully recorded in
this booklet ; together with an account of the
establishment of a " Potters' Guild " at the
same factory in 1892. Her admiration for the
trade mysteries that were disclosed to her is

unbounded. She evidently bestowed a small
share of attention upon the personal appearance
of the masculine portion of the operative staff ;
but not exactly to her satisfaction. Making a
comparison between the English workman and
that of her own country, she exclaims, "0!
the sun never shone on such adorable men as

HAKKY BEY (Collection).-Objets d'art
Arabes et Europeens. Cat. of
sale. Paris, 1906. 8°. Faiences
Hispano-Moresques Nos. 1-109 ;
with 5 pis. Faiences Orientales
Nos. 110-423 ; with 11 pis.
(Curious plaque of the Holy
Virgin in Coptic faience.)

HAKLER.— Schwabische Fliese. Ulm,
1862. Sm. 4°, pp. 8 ; with 21
pis. 10 m.

" Suabian tiles."

From the examples contained in this album
we may infer that the ancient pavements of
Suabia rank with brick -work rather than with
the productions of the ornamental tile-maker.
They are unglazed slabs of coarse red clay,
incised or embossed with traceries of a rudi-
mentary character. A similar style of pavement
had been adopted in other countries from the
eleventh century. The specimens given in this
case were selected from those still extant in
the town of Ulm. Extracts from Ame's work,
and a few remarks on the backward conditions
of the tile-makers' industry in Germany, con-
stitute the letterpress.

HALL (Collection S. C.)-— Catalogue of
sale. London, Phillips, 1870. 8°,
pp. 18.

As editor of the Art Journal, S. C. Hall was
in constant communication with the English
manufacturers, whose contributions to the
International Exhibitions were reviewed in his
paper. In fact, his collection consisted chiefly
of the specimens that had been presented to
him. He appreciated them very highly, if
we may judge from the glowing description of
each item given in the catalogue. The lot
of Wedgwood pieces is prefixed with the words
— " The following are believed by the owner to
be Old Wedgwood."

HALL (Hal.)-— Notes on the tiles of
Tewkesbury Abbey. London,
1904. 8°, p. 1 ; with 18 pis.
(Extract from The Ancestor.)

Mediaeval tiles mostly with coats-of-arms.

HALLE (J. S.).— Praktische Kenntnisse
zur Verfertigung des englischen
Steinguts, der Fayence, und des

191

HAL]

CERAMIC LITERATURE.

[HAM

achten Porzellans,so wie der For-
men, Gipsabgiisse und des Glass-
Porzellans. &ertin,W. Oehmigke,
1793. 4°, pp. 46 ; with 1 pi. 6 m.

" Practical knowledge for manufac-
turing English stoneware, faience, and
true porcelain ; together with the method
of making moulds, plaster casts, and
glass-porcelain. "

The English earthenware of Wedgwood and
other Staffordshire potters was so much ap-
preciated in Germany that its importation was
causing much anxiety to German manufacturers.
Many of them soon endeavoured to produce a
good imitation of the foreign article. Treatises
purporting to disclose the secret of making the
new kind of pottery, which, on account of its
hardness, was misnamed " English stoneware,"
presented consequently some chances of success.
The present one shows that the secrets — if
secrets they were - were in no danger of being
vulgarised by theoretical books written by
pedantic lecturers who knew absolutely nothing
about the subject. An obvious lack of practical
knowledge, on the part of the writer, is
evinced all through the book, which is a mere
compilation from De Milly's and other French
technical works of the period.

HALLIFAX (C. J.).— Monograph on the
pottery and glass industry of the
Punjab, 1890-91. Lahore, 1892.
Sm. fol., pp. 28; with 5 pis.
Another edition : London, 1893 ;
with 28 pis. (11 coloured). (In
the Journal of Indian Art.)

This report contains a list of the clays, sands,
salts, and coloured earths used in the Punjab
for the manufacture of pottery ; a description
of the native wheels and kilns ; a list of the
chief articles of earthenware made by the
potters ; and, lastly, a sketch of the social con-
dition of the workmen in the towns and country
villages. It is supplemented with a chapter on
the making of special earthen toys, the sale of
which is restricted to the occasion of the great
Hindu festivals.

HALSEY (R. T. H.).— Pictures of early
New York on dark blue Stafford-
shire pottery. New York, Dodd,
Mead & Co., 1900. 8°, pp. 340 ;
with 154 heliograv. representa-
tions of the pottery printed in
blue, and 3 col. pis. £10, and
£20 on Japan paper.

Only a fanatic collector of Staffordshire pot-
tery printed with American views could enter
into the spirit which has instigated the admir-
able production of this handsome volume. To
all lovers of the ceramic art, in its highest
manifestations, it may appear that the few

192

special works previously published in the
United States were more than sufficient to
illustrate the subject. As to the expensive
substitution of heliogravure for the usual half-
tone process for the reproduction of such com-
mon-place specimens — a luxury which is the
particular feature of the book — one may question
whether, considering the small artistic merit of
the originals, such a trouble was worth the
cost.

— Josiah Wedgwood, American
sympathiser and portrait maker.
New York, 1906. 8°, pp. 16;
with 19 medallions printed in
colour. (In Scribner's Magazine.)

HAMILTON (Sir William). — Etruscan,
Greek, and Roman vases from
the cabinet of Sir W. Hamilton.
. With description in English and
French by D'Hancarville. Naples,
1766-67. 4vols. Fol.; with 520
pis., vigns., initial letters, etc.
£10.

2nd ed. Florence, Societe
Calchographique, 1800-3. Fol.
Text in Italian and French.

- Another edition, with plates
on a reduced scale, engr. by F.
A. David. Paris, 1785. 5 vols.
8°. 40fcs.

The race is well-nigh extinct of the princely
antiquaries of the last century who so lavishly
spent their wealth in the classical districts of
Italy and Greece in the hope of gathering, in
return for their sacrifice, a harvest of antique
statuary and painted vases. This book is a
perennial monument to the memory of the
learned nobleman who published it with no
other object in view than to render a signal
service to art and archaeology. Great has been
the number of works published, later on, on the
subject of Greek vases, but this remains the
most magnificent of all. The plates, engraved
with the intention of supplying models to the
designer, and consequently slightly modernised
in the drawing, are not, unfortunately, always
as accurate as we should now require them to
be. They are drawn, nevertheless, in excellent
style, and do not by any means give a debased
idea of the beauty of the originals.

This was the first collection of vases formed
by Sir W. Hamilton ; it is now preserved in
the British Museum. His second collection
was published by W. Tischbein (see that
name).

HAMILTON (The Duke of).— Catalogue of
the Collection. . . . Sold at

CERAMIC LITERATURE.

[HAN

Christie's. London, 1882. 8°,
pp. 234 ; with 75 photos. £1, 5s.

The sale lasted seventeen days, and realised
close on £400,000. The ceramic objects were
not catalogued in consecutive order. They
comprised very fine examples of all styles.

— Hamilton Palace Collection.
Illustrated priced catalogue.
London, Remington, 1882. 4°,
pp. 224 ; with text illustrs. 15s.

Published in French by the Librarie de I' Art.
The text follows that of the sale catalogue,
with the price realised by each No. and name
of purchaser added. The illustrations are bor-
rowed from L'Art and other French serials.

HAMMAN (Hermann).— Briques Suisses
ornees de bas-reliefs du xiiie
siecle. Geneve, H. Georg, 1866.
4°, pp. 34; 12 double lith. pis.
12 fcs.

- Du xiii au xvi siecle. Second
me'moire. Geneve, 1871. 4°, pp.
32 ; 10 pis. 10 fcs.

"Swiss bricks with embossed orna-
mentation of the thirteenth century."

The word "bricks" here means large pieces
of terra-cotta, lintels, columns, capitals, and
other details of architectural decoration. These
curious remains of a style of architecture, of
which no standing example is now extant in
Switzerland, have been found scattered about
the neighbourhood of Lucerne. A certain
number were discovered buried in the soil,
but the larger quantity may still be seen im-
bedded in the masonry-work of comparatively
recent construction. The author, after having
diligently hunted up all that remains of these
bricks, and carefully sketched the best types,
has succeeded in tracing their origin. He has
clearly established that they come from the
Abbey of St. Urbain, near Lucerne, erected in
1259, and destroyed by fire in 1513. Contem-
poraneous chronicles report that, as stone was
not obtainable in the locality, the building
work was carried on by means of bricks, many
of which were embellished with elaborate and
artistic devices. The ruins of many brick
ovens discovered in the vicinity bear out the
truth of this statement. A few years after the
great fire the Abbey was rebuilt upon a new
plan and the materials of the ruins, carried
away by the neighbours, were utilised for
private purposes. This explains the presence
of these strangely ornamented bricks in the
walls and houses of the district. The embossed
subjects were obtained by impression in terra-
cotta forms ; hence the same subject is found
often repeated. Some of them illustrate the
popular romances of the time "The Wolf at
School," and " Reynard the Fox." Others bear
the heraldic devices of noble families of the
country. Many are decorated with monsters,
flowers, and strap work, in the style of the

thirteenth century, accompanied occasionally
with a lapidary inscription belonging to the
same epoch.

HAMMER (C.). — Kort Ofversigt af
Christian Hammer Konst-och
Kultur - Historiska Samling.
Stockholm,, 1870. 8°; with 228
photographs and 4 plates.

" A glimpse at the artistic and histori-
cal collection of Christian Hammer at
Stockholm."

Part of the collection of Christian Hammer,
a jeweller of Stockholm, adorned the sumptuous
apartments of the Villa Bystrom, in the Royal
Park of that town. It was one of the most
important private museums of Europe, and was
liberally thrown open to visitors by its possessor.
The general catalogue which included, besides
the pictures and other works of art, rare books,
engravings, coins, medals, etc., contained nearly
one hundred thousand Nos.

- Museum Christian Hammer
in Stockholm. Kunst-Sammlung.
Serie Irst. Sale at Cologne, Mai,
1892. Heberle. 4°, pp. 134;
with 14 pis. in phototype, 1 pi.
of marks, and illustrs. in the
text.

Ceramic art is represented in this first part
of the sale catalogue by 447 Nos., and 5 fine
plates containing a large number of specimens
of pottery and porcelain of various origin. The
productions of the Swedish manufactory are
well reproduced on the plates, and the marks
are given in facsimile ; these marks give to
the catalogue a particular interest.

Part II., 4° 1893— Ceramics, 412 Nos. and
one plate. Many examples of Marieberg,
Roerstrand, etc., manufacture. Part III —
Swedish portraits. Part IV., 4° 1894— Cera-
mics, 243 Nos. of various descriptions.

HAMMOND (Adam).— Part I. The prac-
tical brick and tile book. Part
II. The rudiments of practical
brick-laying. Part III. The art
of practical brick cutting and
setting. London, 1890. 7th ed.

HANCOCK (E. C.).— The amateur pot-
tery and glass painter, with di-
rections for gilding, chasing,
bronzing, and ground - laying.
Illustrated with chromo-litho-
graphs, facsimiles from the sketch
book of N. H. Y. Westlake,
F.S.A., and numerous woodcuts.

193

HAN]

CERAMIC LITERATURE.

[HAN

With an appendix reprinted by
special permission of the Depart-
ment of Science and Art, South
Kensington. London, W. Allen,
1881. 4th ed. 5s.

Hancock's ' ' Amateur pottery painter " has
enjoyed a more permanent success than the
host of other handbooks published at the same
period, most of which are now forgotten. It
has run through four consecutive editions, and
is still recommended as a reliable guide. The
personal contributions of the editor are largely
supplemented by wholesale borrowing from pre-
vious publications. For instance, the instruc-
tions given to the student are almost a textual
reproduction of the " Lessonson china painting,"
written by Frank Harris for the Pottery and
Glass Trades' Journal. Westlake has supplied
the notes on glass painting. The South Ken-
sington Museum Handbook on pottery and
porcelain is reprinted as an appendix, and the
volume ends with an account of Howell and
James' amateur painters' exhibition.

HANCOCK (E. C.)-— China colours and
how to use them ; with illustra-
tions. London, 1880. 8°.

Hancock is a coloiir maker at Worcester ;
this handbook, like the preceding one, contains
the price list of his products.

HANNONG (Joseph Adam, 1'aine).— Reponse
de Sieur T. A. Hannong, Con-
seiller de Commerce de S. A. S.
Electorale palatine, manuf'acturier
en faience et porcelaine de Stras-
bourg et Haguenau. En refuta-
tion d'une lettre ecrite le 18
Aoust 1781 par Monsieur Chau-
mont de la Galiziaire, Conseiller
du Roi en tous ses conseils, in-
tendant d'Alsace, a Monsieur
Campan, chevalier de Saint-
Lazare, secretaire du cabinet de
la Heine, pour rendre compte &
Sa Majeste des affaires et con-
duite de ce manufacturier, des
quelles Sa Majeste avoit daigne
s'informer. Avec un abrege des
vexations et maux sans nombre
que 1'exposant, sa famille et ses
ouvriers essuient, depuis trois
ans, de la part de S. A. S. et E.
Mgr. le Cardinal de Rohan, Grand
Aum6nier de France. Suivie de
quelques pieces justificatives.
194

Impr. ^ Dourlach, 31 Decembre,
1781. Sq. 8°, pp. 30; and pp.
xxvi of documents.

"The answer of Mr. T. A. Hannong,
trade councillor of S. A. S. the Elector
Palatine, faience and porcelain manufac-
turer at Strasburg and Haguenau. A
refutation of a letter written, August
18th, 1781, by Mr. Chaumont de la
Galiziaire, royal Councillor and Governor
of Alsace, to Mr. Campan, Knight of
Saint Lazarus, secretary to the Queen, to
report to the Queen upon the business
and the conduct of this manufacturer,
concerning which Her Majesty had kindly
asked to be informed. With an abridged
account of the molestations and number-
less evils that the exponent, his family,
and his workmen have had to suffer,
during the last three years, on the part
of S. A. S. and E. Mgr. Cardinal de
Rohan, Grand Almoner of France. Ac-
companied with vindicatory documents."

After having been, for a few years, director
of the Franckenthal factory, Hannong estab-
lished, on his own account, several faience and
porcelain works in the province of Al^fce. His
financial situation became extremely embar-
rassed. In 1779 his liabilities to the receiver
of the Strasbourg Bishopric amounted to
445,000 fcs. Unable to meet his engagements,
he was thrown into prison, upon the order of
the Cardinal Bishop de Rohan. The year after
he was liberated, having promised to pay in a
given time one half of the sum previously
claimed from him. But he could not comply
with the conditions of the agreement ; his
works were placed under sequestration and he
had to fly to Germany, where he ended his
days. His memoir has been reprinted in
Gerspach's Documents sur les anciennes faiences
franchises.

HANNOVER (E.).— De Spansk-Mauriske,
og de forste Italienske Fayence.
. . . Kopenhagen, 1906. 4°,
pp. 25 ; with 1 col. pi. and 21
illustrs. (Privately printed.)

"The Hispano-Moresque and. the early
Italian faience."

HANS.— Terra sigillata. Ein Beitrag
zur Geschichte der griechischen
und romischen Keramik. Bonn,
1895. 4°, pp. vi-139 ; with 6 pis.
and illustrs. (Reprint from
the Bonner Jahrb.)

" Terra sigillata. A contribution to
the history of Greek and Roman
ceramics,"

HAR]

CERAMIC LITERATURE.

[HAR

- Die arretinischen Vasen und
ihr Verhaltniss zur Augusteischen
Kunst. Bonn, 1898. 4°, pp. 22 ;
with 4 pis. and 12 illustrs.

"The Aretian vases and their relation
to the Augustinian art."

HARDING (G. R.).— A collection of
Italian majolica of the sixteenth
century on sale by G. R. Harding,
art dealer. London, 1902. Sq.
8°, pp. 28 ; with pen and ink
sketches.

HARGREAYES and CRAVEN.— Tile pave-
ments, geometrical and encaustic,
manufactured by Hargreaves &
Craven, Jackfield Works, near
Broseley, Salop. Imp. 4°. 1869.
11 pis. in col. Lith. by Fleming
& Co., Leicester.

The first encaustic tiles made in the district
were produced at the Jackfield Works by
P. Stephan. Messrs. Hargreaves & Craven
continued the manufacture in the old works
for a few years, after which a limited company
was formed ; the factory was rebuilt and con-
siderably enlarged, and great development
given to the production of tiles of every
description.

HARPER (W. J.). — Pottinge in ye
Oldene Tymes ; a reliable and
graphic description of the Staff-
ordshire Potteries in the seven-
teenth and eighteenth centuries.
Tunstall, Harper, 1899. 8°,
pp. 31.

Under this title, the article written by Aikin
in his Forty miles round Manchester, and an
extract from a local almanac of 1795, have
been reprinted.

HARRIS (Frank).— Report on Pottery.

London, Sampson Low, 1879.
8°, pp. 32. (In the Society of
Arts' Artisans Reports on the
Paris Universal Exhibition of

1878.)

HARRIS (G. F.).— The science of brick-
making; with some account of
the structure and physical pro-
perties of bricks. London, Mont-
gomery, 1897. 8°.

HARRIS (W. S.).— The Potter's Wheel,
and how it goes round in the
nineteenth century. Trenton,
N.J., Burroughs & Mountford,
s.d. (recent). 8°, pp. 61 ; illustrs.

An account of a pottery manufactory at
Trenton, New Jersey, one of the most im-
portant centres of ceramic production in
America.

HARRISON (G.).— Memoir of William
Cookworthy, formerly of Ply-
mouth, Devonshire, by his grand-
son (G. H.). London, 1864. 8°,
pp. 207. 2s. 6d.

- A second appendix to the
memoir, mostly extracts from
the diary of Sarah Fox, nee
Champion. Birmingham, 1872.
8°.

HARRISON (Miss J. E.) and MACCOLL (D. S.).
—Greek vase paintings. A
selection of examples, with pre-
face, introduction, and descrip-
tion. London, Fisher Unwin,
1894. Fol., pp. 32 ; with 43 pis.
£1, 10s.

An excellent selection of Greek vase paint-
ings, reproduced by the photo-block process,
from the rare and expensive works published
on the subject. While each of these works
gives, as a rule, the whole contents of one
particular collection, the present volume boasts
of offering only the cream of all public and
private museums. It is, on that account,
specially well adapted for the use of the artist
and the amateur. The rude ornamentation of
the archaic period ; the pictures signed with
the names of the vase painters whose works mark
the acme of artistic perfection ; the familiar
subjects through which one may gain an insight
into the private life of the Greeks, have been
chosen in preference, as representatives of the
various styles of the art.

Shortand unpretentious as it is, the letterpress
contains the latest results of the investigation
prosecuted by the young school of classical
archaeologists. From a purely historical and
technical point of view it may be recommended
as a fair epitome of modern knowledge.

HARSTER (W.).— Die Terra sigillata
des Speierer Museum. Speier,
1896. 8°, pp. 182; with text
illustrs. (Festschrift zur Begriis-
sung der deutschen anthrop.
Gesellschaft.) 6 m.

195

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CERAMIC LITERATURE.

[HAR

"The sigillated pottery in the Spires
Museum."

-Designs

HARTLEY, GREENS & CO.

sundry articles of Queen's or
cream - coloured earthenware,
manufactured by Hartley, Greens
& Co. at Leeds Pottery; with a
great variety of other articles.
The same enamelled, printed, or
ornamented with gold to any
pattern; also with coats-of-arms,
cyphers, landscapes, etc., etc.
Leeds, 1783. 4°, pp. 8 ; with
45 pis. 1st ed. £5. The sub-
sequent issues, £2.

One of the earliest pattern books published
in England by pottery manufacturers for the
use of their travellers, with illustrations of all
the articles produced by the firm. The cata-
logues brought out by Josiah Wedgwood in
1773 and following years, are a mere descriptive
list of his artistic productions, without any
plates, and cannot consequently be placed in
the category of pattern books. From 1783 to
1793 several editions of the Leeds catalogue
were printed, without any modification. In
tha issue dated 1794, the number of the plates
was increased to seventy-one, on which two
hundred and sixty-nine articles were repro-
duced; the name of "Leeds Pottery" was
engraved on each plate, and the corresponding
price list was extended to twelve pages. The
pattern book was reprinted for the last time in
1815. Of this last issue many copies were still
remaining at the old works a few years ago ;
they were lately disposed of in the book trade,
and were at that moment easily obtainable.
But as the price lists and the general title had
been printed independently from the plates,
and not in sufficient quantity to accompany the
sets of engravings, these late copies are gener-
ally found without the title and the printed
description of the objects. These price lists,
now very rare, were printed in English, French,
German, and Spanish ; as the prices were sub-
ject to constant revision, prices are added with
pen and ink. They are computed by " dozens,"
a way of reckoning used by the potters of that
time, but now difficult to understand.

HARTMAM (A.)-— Catalogue des anti-
quite's. Poterie e'trusque, gre'cque
et romaine. Paris, 1899. 4°,
pp. 19 ; with 5 pis. of Tanagra
figures. Cat. of sale.

HARTMAM (Carl). — Handbuch der
Thon- und Glass Waaren Fabrik-
ation, oder vollstandige Beschrei-
bung der Kunst, Ziegel und
Ziegelsteine, thonerne Pfeifen,
196

weisses oder englisches Steingut,
Faience, echtes und Fritte Por-
zellan, ferner Tafel-Spiegel-Hohl-
Kristall und Flintglas zu verfer-
tigen, aus diesen verschiedenen
Materien Gegenstande der ver-
schiedensten Art darzustellen
und dieselben durch Malerei zu
verzieren. Berlin, Emelang, 1 842.
8°, pp. xii-868 ; with 5 pis. 5 m.

" Handbook of pottery and glass manu-
facture, or complete description of the
art of making bricks, tiles, clay pipes,
white or English stoneware, faience,
real and fritted porcelain, glass, looking
glasses, crystal, etc., out of these materials
and how to execute objects of most varied
shapes, and decorate them with paint-
ings."

Die Thonwaarenfabrikation
in ihrem ganzen Umfange. Qued
linburg, 1850. 8°; with 10 pis.
3 m.

"The pottery manufacture in all its
branches."

HARTT (Ch. F.).— Notes on the manu-
facture of pottery among savage
races. Rio- de- Janeiro, 1875. 8°,
pp. 70.

The Indians of Canada, and other aboriginal
tribes of North America, are all more or less
skilled in the making of coarse vessels of un-
glazed pottery. A detailed account of their
simple process of manufacture is given in this
paper. It shows a striking similarity to that
employed by the primitive inhabitants of
Europe. Indeed, reading about the way in
which the Indian proceeds to shape and fire
his hand-made pots, brings to our mind the
recollection of the method once in use among
the ancient Greeks and Romans, and still
essentially preserved in Spain and in other
countries where earthen jars of large dimension
are required by the agricultural population.
In North America the trade is often carried on
by the nomadic tribes. If it happens that the
locality in which they mean to settle for a time
and to find a market for their productions, does
not contain the kind of clay suitable for pottery-
making, they bring along with them a sufficient
supply of the material, and in this way they
are enabled to work on any spot where they
expect a big demand for their ware. To the
squaw is left the care of fashioning the pots ;
handling the vile clay being considered by the
men as a degrading labour. We find evidence
of the same custom having prevailed among
the early Britons and the warlike races of
northern Europe in prehistoric times. Their

HAR]

CERAMIC LITERATURE.

[HAS

cinerary urns and other vessels bear the im-
pression upon the clay of the very small fingers
of the women by whom they were undoubtedly
made. All the improvements that the men
introduced gradually into the manufacture of
glass and the working of metals were never
adapted by the women to the making of pottery.
This explains the fact that whatever had been
the advance of the other branches of man's
industry, the rude earthen vessels remained
unchanged in their coarseness. In the tombs
of an early period which contained articles of
refined workmanship of glass and metals, the
same unseemly clay pot was always found
associated with them.

HARTWIG (P.)- - - Die griechischen
Meisterschalen der Bllithezeit
cles strengen rothfigurigen Stiles.
Berlin, Spelmann, 1893. 4°, pp.
701 ; with 73 illustrs. in the text
and atlas fol. of 75 pis. 220 m.

" The masterpieces of the Greek tazzas
at the best period of the high style of
red-figured vases."

- Herakles and Eurytos and a
battle-scene upon some frag-
ments of a Cylix in the National
Museum at Palermo. London,
1891. 4°, pp. 14; with 2 text
illustrs. (Reprint from the
Journal of Hellenic Studies, vol.
xii.)

- Phrixos mid eine Kentauro-
machie auf einer Schale der
Mitte des v Jahrhunderts. Leip-
zig, 1893. 4°, with 1 pi. and 2
illustrs. (Festschrift fur Over-
beck.)

" Phrixos and a battle of Centaurs on a
tazza of the middle of the fifth century."

Die Anwendung der Feder-

fahnebei den griechischen Vasen-
malern. Berlin, 1899. 4°; with
1 pi. and 6 illustrs. (Reprint
from the Jahrb.)

" The representation of the featherfan
by the Greek vase painters."

HARYEY (Walter).— China painting; its
principles and practice. London
(1880?). 8°. Is.

One of the handbooks published by the
Bazaar.

HASLEM (John).— The old Derby china
factory : the workmen and their
productions. Containing bio-
graphical sketches of the chief
artist - workmen ; the various
marks used ; facsimiles copied
from the old Derby pattern
books ; the original price list of
more than 400 figures and groups,
etc., etc. London, G. Bell &
Sons, 1876. 4°, pp. xvi-255 ;
with 11 pis. in colour. £l,11s.6d.

Apprenticed as a painter to the Derby china
works in 1822, J. Haslem remained connected
all his life long with the factory where he had
learned the rudiments of his art. He removed,
still young, to London, for the purpose of
improving his talent, and soon acquired fame as
enamel portrait painter to the Royal family.
In his new path of life he never ceased to
collect specimens of Derby china, and to
gather information concerning their makers.
He had been sedulous in obtaining such rem-
nants of oral tradition as were still current
among old workmen and employees. In his
day he had become the best authority on all
questions relating to the old factory. In 1857
he had published in the Derby Reporter some
desultory notes on the subject which were,
frequently, turned to good profit by subse-
quent writers. The definitive work was so
patiently and so carefully prepared that,
when ready for the press, nothing more was
wanted to make it a complete and perfect
monograph. The anecdotic portion, which he
alone could have written, is particularly inter-
esting, while his description of the best types,
his warnings against imitations, and the reprint
of the price lists of groups and figures are of
great value to collectors. It is to be regretted
that Mr. Haslem did not illustrate the volume
with plates representing a few good groups or
painted vases in place of the commonplace
patterns of current decoration, which never
added anything to the glory of the Derby
works.

- A catalogue of china, chiefly
Derby, of enamels and other
paintings, etc., etc., the property
of Mr. John Haslem, of Derby.
Printed for private circulation
. by R. Keene. Derby, 1879. Sm.
4°, pp. 68 ; with 5 photogr. pis.
containing numerous objects.

A bitter disappointment awaited Mr. J.
Haslem at the close of the Universal Exhibi-
tion of 1851. His work, so far unreservedly
admired at Court, did not receive any recogni-
tion from the jury of awards. He felt the
blow so keenly that he returned to Derby to
devote himself exclusively to collecting and to
literary work. Amongst other occupations he

197

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CERAMIC LITERATURE.

[HAU

elaborated two handsomely illuminated MS.
volumes entitled A Record of Enamel Paint-
ing for H.M. Queen Victoria, from 1846 to
1857, in which his intercourse with royalty is
recorded from day to day ; his artistic successes,
and the injustice of which he thought himself
the victim, are reported at length. The cata-
logue of his collection was prepared with the
care he bestowed upon every work he under-
took. Each number is accompanied with
annotations illustrating the progress of manu-
facture, or with gossiping particulars about
the painters, most of whom he had known
personally.

HASLEM (Collection of J.).— Catalogue

of sale. Derby, 1884. Sm. 4°.

The catalogue comprised 304 Nos. The two
MS. volumes described above were included in
the sale. A biographical notice of the collector
is prefixed to the catalogue.

HATTON (J.).— Twyfords : a chapter
in the history of pottery. Lon-
don, Virtue & Co., 1898. Obi.
4°, pp. 48 ; with 22 half-tone pis.
and 3 text illustrs. • 6s.

To Mr. Thos. W. Twyford is chiefly due the
introduction and development, in Staffordshire,
of the manufacture of earthenware applied to
sanitary purposes. Several important firms
are now fully occupied with the making of
sanitary ware, but the manufactory established
at Hanley by Mr. Twyford has remained at
the head of the industry. A brief account of
the successive improvements which have placed
this speciality in the position it occupies among
the productions of the Potteries ; a description
of the technical processes employed at the works,
and a few remarks on the present conditions of
the workpeople, render this monograph of great
value to those interested in the study of the
advance of modern manufacture.

HAUDKPER DE BLANCOURT.-L'Art de
la Verrerie, ou Ton apprend a
faire le verre, le cristal et 1'email ;
la maniere de faire les perles, les
pierres precieuses, la porcelaine
et les miroirs ; la methode de
peindre sur le verre et en email ;
de tirer la couleur des metaux,
mineraux, herbes et fleurs. Paris,
1697. 2nd ed. Augmentee d'un
traite des pierres precieuses
Paris, 1728. 2 vols. 16°, pp
328-254 ; with pis. of kilns and
furnaces. English translation
London, D. Brown, 1699. 12°.
10s.

"The art of glass-making, in which
198

are shown the methods of making glass,
crystal, arid enamel ; imitating pearls
and precious stones ; making porcelain
and mirrors ; painting on glass and in
enamel ; and obtaining colours from
metals, minerals, herbs, and flowers."

Enamels and vitrifiable colours have been
used from time immemorial by the glass-
maker and the goldsmith ; but the secret of
their composition was jealously kept by the
members of the crafts. Such colours were
much valued by the potters, and the faience
and porcelain painter who found in them all
the pigments they required for the decoration
of the ware. In connection with the immense
development of the production of pottery
painted in bright colours, treatises on colour-
making began to be brought out at the end of
the seventeenth century, which pretended to
render the potter and the ceramic artist inde-
pendent of the enameller, to whom they had so
far been indebted for their materials. J udging
from the present work, too great a reliance
could not be placed on the promises contained
in the titles of such treatises. Recipes are
given in plenty ; but the operations to be per-
formed are described in such an obscure manner
that the success of an experiment conducted
according to the instruction set down by the
author always appears more than doubtful.

The chapter on Porcelain evinces the com-
plete ignorance which prevailed, at the time,
respecting its composition and manufacture.
No distinction is made as to the constituent
elements of the real porcelain imported from
China and Japan and the faience of France,
Holland, and Italy, which are all ranged under
the same heading. The secret of making " the
finest porcelain that can be obtained " is given
as follows : —

"Take for this paste all sorts of sea- shells,
the whitest and most transparent you can find,
pound them in a marble mortar, and pass the
powder through a sieve. To give it the required
plasticity dissolve an ounce of gum in a bucket
of water, and add to it a small quantity of
quicklime ; mix the shell powder with this
water, and you shall have a paste with which
you can form vases," etc.

The English translation of 1699 has been
reprinted by the Pottery Gazette, London,
1892.

HAUENSCHILD (H. ).— Litteraturbericht
fur d. Thonwaaren-, Kalk-, und
Gyps-Industrie, 1884-85. Berlin,
1886.

" Report on the publications relating
to the earthenware, lime, and gypsum
industries."

HAUPT (A.)-— Die Baukunst der Re-
naissance in Portugal von den
Zeiten Emmanuel's des Gliick-
lichen bis zu dem Schlusse der
spanischen Herrschaft. Frank-
furt a. M., 1890. 8°. 18 m.

HAU]

CERA MIC LITER A TUBE.

[HAV

"The Renaissance architecture in
Portugal from the time of Emmanuel
the Fortunate up to the end of the
Spanish domination."

Vol. I. contains an article on Portuguese
tiles with 12 illustrs.

- Backsteinbauten der Renais-
sance in Norddeutschland. Ber-
lin, s.d. Pp. 12; with 25 pis. from
pen and ink sketches. 25 m.

" Brickbuilding of the Renaissance
period in North-Germany."

HAUPTMANN (£.)•— Constructionen von
Gegenstanden aus gebranntem
Thon. JF/ew, Graeser, 1898. Fol.,
p. 1 ; with 14 lith. pis. 12 m.

" Construction of various works in
terra-cotta."

Working drawings for the building of stoves
with bricks, tiles, and terra-cotta. Published,
under the patronage of the Austrian govern-
ment for the use of the national schools and
the practical builders. Mr. E. Hauptmann is
director of the School of Ceramics at Bechner.

HAUS (G. G-). — Dei vasi greci comune-
mente chiamati etruschi, delle lor
forme e dipinture, dei nomi ed
usi loro in generale, etc. Palermo,
dalla reale stamperia, 1823. Sm.
4°, pp. 90 ; with 1 pi. of forms.
4 fcs.

"The Greek vases commonly called
Etruscan ; their shapes and paintings ;
their names, and the uses to which they
were applied in general."

On his being appointed curator of the Royal
Museum of Naples, Haus published this essay
which was to serve as an introduction to the
catalogue of the Greek vases he intended to
write.

HAUSER (A.)-— Das Studium antiker
Formen fur der Porcellanmanu-
factur. Wien, 1872. 4°, pp. 7.

"The study of antique forms applied
to Porcelain manufacture."

HAUSER (F.)«— Eine Sammlung von
Stilproben Griechische Keramik.
Berlin, 1896. 8°; with 33 illustrs.
(Reprint from the Jahrbucher.)

"A collection of representative ex-
amples of the various styles of Greek
ceramics."

Description of 53 fragments of painted vases.

HAUSLEITER UND EISENBEIN. — Muster
Sammlung von Kachel Oefen.
Frankfurt a. M., s.d. (recent).
Fol.; 37 pis.

"Collection of models of earthenware
stoves manufactured by Hausleiter and
Eisenbein." Pattern book.

HAUSOULLIER (B.).— Quomodo sepul-
craTanagraei decora verint. Paris,
Thorin,1884. 8°, pp. iv-110; with
7 pis.

" How the Tanagrians used to adorn
the sepulchres."

From the examination of the figures dis-
covered within the last few years in the
Bseotian necropolis, Mr. Hausoullier comes to
the conclusion that very few belong to the
archaic period, amongst those which represent
mythological personifications. The greater
number of figures which give representations of
common life, date from the time of Alexander
the Great to the end of the fourth century B.C.
There is little doubt that they were made by
Tanagra artists, with Tanagra clay, and not
imported from Athens, as had often been
asserted.

HAUSSMANN (J. F. L).-Commentatio
de confectione vasorum anti-
quorum nctilium, quse vulgo
etruscae appellantur. Gottingw,
1823. 4°, pp. 34. 3s.

" Essay on the manufacture of the
ancient fictile vases commonly called
Etruscan."

HAUTEFEUILLE (E.).— Note sur 1'Aven-
turine artificielle. Paris, 1861.
4°, pp. 8. (Reprint from the
Bulletin de la Societe dy Encour-
agement. 2 fcs.

BAYARD (Henry).— Objets d'art et de
curiosite tires des grandes col-
lections hollandaises. Faiences,
etc., exposees a Amsterdam en
1873. Haarlem, 1873. 4°, pp.
184; with 3 pis. 10s.

" Catalogue of the works of art and
curiosities, drawn from the great collec-
tions of Holland. Faiences, etc., exhibited
at Amsterdam in 1873."

To each section of the catalogue is prefixed
a historical introduction. Faience, porcelain,
stoneware, pp. 56-78.

199

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CERAMIC LITERATURE.

[HAV

HAYARD (Henry). — Catalogue raisomie
des objets d'art et de curiosite
composant la collection de W.
Gr. E. van Komondt, d'Utrecht.
La If aye, A. Thieme, 1875. 4°,
pp. 169 ; with 4 etched pis. by L.
Flameng and van Kesteren. 12s.
Catalogue of sale.

This catalogue, in which ceramic art is well
represented, contains, however, only eleven
specimens of Dutch faience. It is true that
they are of the highest order ; the Delft violin,
the large coffee pot, or fountain, both cleverly
etched by Flameng, are real masterpieces of
the kind.

Catalogue chronologique des

faiences de Delft composant la
collection de J. London. La
Haye, 1877. 4°, pp. 82; with
1 photogr. pi., 2 etchings by
Flameng, 9 text illustrs. by
Groutzwiller, and marks. Cata-
logue of sale. 20s.

"The Loudon collection of Delft faiences
catalogued in chronological order."

One of the curiosities of this collection was
a large dish, known to be one of the earliest
works made in the town of Delft. The
painting, representing the "Last Judgment,"
contains no fewer than four hundred figures.
It is signed at the back, TOME. S.W.A.,
which Mr. Havard construes as the mark of
an English potter named Tomes Jansz (Tom
Jones ?). The man came to Holland as one of
a troop of soldiers raised by Captain Hamwout.
He settled at Delft, where he entered his name
in the register of the St. Luc Guild, with the
note, "Born beyond London, in England."
The introduction of this catalogue outlined the
great work of Havard, on the faience of
Holland, still in preparation.

De niewve Fabrick van het

Porselein van Sevres. 1877. 18°,
pp. 8. (Extr.)

"The new buildings of the porcelain
factory of Sevres."

Histoire de la faience de Delft;

ouvrage enrichi de vingt-cinq
planches hors-texte et de plus de
quatre cents dessins, facsimile,
chiffres, etc., dans le texte par
Leopold Flameng et Charles
Goutzwillier. Chromolitho-

graphies par Lemercier. Paris,
E. Plon, 1878,. 4°. 50 fcs.

200

" History of the faience of Delft, etc."

The manufacture of painted faience is in-
contestably one of the glories of industrial art
in Holland. Yet for long no one in the country
seemed to have felt much concern about its origin
and development. MSS. records of the old craft
were not wanting, but no Dutch historian had
ever thought it expedient to gather, in a printed
form, a mass of documents quite sufficient to
illustrate a complete history of the Delft
potters. Havard has, at last, filled the gap.
Although lie writes in the French language,
M. H. Havard was born in Holland ; no other
than a Dutchman could expect to cope with
the difficulties presented by the task. M aterials
had to be collected from original sources ;
many registers and deeds, bearing on the
subject, were to be discovered in local archives
and libraries, and the reading of their obsolete
wording made the labour all the more arduous ;
finally, the information obtained had to be
checked with the numerous examples preserved
in the public and private collections of Europe.
No assistance could be expected from the short
and desultory articles introduced in the general
ceramic histories ; in dealing with these latter
the author had nothing else to do than to
point out and rectify the gross misstatements
which had been circulated by accredited writers.
In short, if this may be considered as the first
reliable book published upon the faience of
Delft, it may also be added that, judging from
the thorough and efficient manner in which it
seems to settle all doubts and answer all
queries, it bids fair to remain the classical
authority on the subject.

The establishment of the first faience manu-
factory in the town of Delft,— a fact upon which
idle conjectures had been recklessly ventured,
— is now indubitably fixed at the year 1600.
From that moment the industry entered on a
course of constant and rapid improvement.
The author makes us follow step by step the
march of progress. Successive styles and new
modes of decoration are described and illus-
trated by excellent reproductions of the best
types. The registers and other papers preserved
by the old Guild of St. Luc — to which the
manufacturers and the painters were affiliated
— have yielded a true account of the uses and
customs of the craftsmen, and of the conditions
under which work was prosecuted. It forms a
valuable addition to the history of the trade
corporations in the seventeenth century. No
better plan could have been devised to make
us acquainted with the processes of manufacture
than to translate for our benefit the treatise
upon the making of faience and earthenware,
written in Dutch by Gerrit Paape in 1794.

The second half of the volume constitutes in
itself a mine of documentary information, which
the collector will always consult with benefit.
It contains no less than 763 biographical notices,
accompanied, in all cases when it has been found
practicable, by the trade mark, the signature,
or the reproduction of one of the best works of
the potter to whom it refers.

For its technical merits, purity of glaze and
brilliancy of colours, for spirited execution and
decorative effect, the painted faience of Delft
is equal and, in some cases, superior to any
other. Yet it is only within the past few
years that the ceramic collector has shown

CERAMIC LITERATURE.

[HAV

himself fully awake to a sense of its beauty
and value.

A second and enlarged edition has been
published, Amsterdam, 1909.

- La ceramique. Fabrication,
Histoire. Paris, Delagrave, 1 894.
8°. 2 parts of, together, pp. 304 ;
with 180 text illustrs. by M.
Gouin.

"The ceramic art — Manufacture.
History."

In the first part, which purports to treat of
technology, the processes of manufacture are
hurriedly dismissed to make room for purely
sesthetical considerations upon the potters' art,
the kind of shapes and the style of decoration
best adapted for ceramic productions. The
second part is a well digested compilation of
all the latest works upon the history of pottery
in all countries.

HAYARD (H.) and YACHON (I.). — Les
manufactures nationales. Les
Gobelins, la Savonnerie, Sevres,
Beauvais. Paris, Decaux, 1889.
Imp. 8° ; with 78 woodcuts.
(Sevres, pp. 331-560.) 25 fcs.

" The national manufactories. The
Gobelins, the Savonnerie, Sevres, Beau-
vais."

Facts, dates and names, a correct synopsis
of events, are all that should be asked from the
historian of a national manufactory, the pro-
ductions of which are so well known as those
of Sevres. This is precisely what we find in
the historical portion of this excellent mono-
graph. We cannot blame an author, who meant
to deal rightly with an establishment so essen-
tially official in its constitution, for having
written out his account in a rather official and
eulogistic form. Besides, it is right that a
well authenticated work should oppose its
sedate and precise statements to the repeated
onslaught of the non-disinterested detractors
of a state-supported manufactory, periodically
inserted in the French press, clamouring for
its immediate suppression. But the traces
of official optimism are less acceptable when
the writer, assuming the part of a critic, enters
into private considerations respecting the
present conditions of the national establish-
ment. This influence is noticeable in the last
chapters of the history, which bring it up to
the present day. The importance of the results
obtained by the preceding directions is un-
accountably passed over ; great stress is laid,
on the other hand, upon the excellent tendencies
and the experimental labours of the present
one, as though we were expected to form an
opinion upon their respective merits from
insidious comparisons. Every connoisseur
acquainted with the productions of the manu-
factory of Sevres during the last sixty years
will agree with us when we say that the epoch

in which, under Ebelmen and Regnault, the
deplorable taste of the previous period was
replaced by the artistic creations of a staff of
painters, sculptors, and designers, such as no
other industrial establishment has ever been
able to associate together, deserved better than
a short paragraph in which its mention is
briefly recorded.

HAYILAND & CO.— Fabrique de porce-
laines a Limoges. Fabrique de
faiences d'art. Paris - Auteuil
Exposition Universelle de 1878.
Paris, impr. Quantin, 1878. 4°,
pp. 80 ; with num. illustrs. in
the text.

" Haviland & Co.'s porcelain factory at
Limoges, and art-faience works at Paris-
Auteuil. International Exhibition, Paris,

1878."

A catalogue of the products of the above
factories, with price-lists in French, English,
German, and Spanish. Copiously illustrated
with clever pen and ink sketches by H. Tous-
saint. Published on the occasion of the Paris
exhibition in 1878. This is only one of the
many catalogues brought out by Haviland's
firm.

The White House porcelain

service. Designs by an Ameri-
can artist, illustrating exclusively
American fauna and flora. New
York, 1879. 8°, pp. 88; with
illustrs. in the text.

Full description of a service manufactured
for the White House, upon the order given by
Mrs. R. B. Hayes in 1879, by Messrs. Havi-
land & Co., of Limoges, France. Every piece
bears a different subject painted after the
design of J. B. R. Davis, of New York.

HAYILAND (Ch. Ed.)-— Les manufactures
nationales et les arts du mobilier.
Pans, Quantin, 1884. 8°, pp. 38.
For private distribution.

"The national factories and decorative
arts."

In the shape of letters addressed to Mr.
Lauth, director of the National factory of
Sevres, Mr. Haviland, one of the leading
French manufacturers, ventilates once more
the grievances under which private industry
was supposed to suffer from the unfair com-
petition created by state-supported manu-
factories. The writer dwells upon the intro-
duction in the national establishment of a
" porcelaine nouvelle," a new body, which was
said to be superior to anything done before ;
and he complains, in the name of the trade,
that no one has been so far allowed to see the
results obtained in that direction.

201

CERAMIC LITERATURE.

[HEI

HAYDEN (I.).— Royal Copenhagen
porcelain at the Wolverhampton
Exhibition, 1902. Sq. 32°, pp.
14 ; with 2 col. pis. and text
illustrs. 5s.

- Chats on English china. Lon-
don, Fisher Unwin, 1904. 8°, pp.
xxiii-287 ; with 1 col. pi. and text
illustrs. 5s. 2nd. ed., 1906;
3rd ed., 1909.

(Reprint of articles on English china and
earthenware originally published in Our Home.)

HAYSCHMANN (A. B.).— Bernard Palissy
und Francis Bacon. Leipzig,
Weicher, 1903. 8°, pp. 231;
portrait. 5s.

Bernard Palissy as a social reformer.

HAZELIUS (A.)-— Guide to the collec-
tions of the Northern Museum
in Stockholm. Published by A.
Hazelius. Translated by Isabel
C. Derby. Stockholm, 1889. 8°,
pp. 52 ; with 5 plans and 89
illustrs.

French translation by J. H. Kramer.

HEATH (A.) and MELLOR (Dr. J. W.)-— The
action of heat on binary mixtures
of Felspar, Flint, and china clay.
8°, pp. 20; with 29 figs. (Re-
print from the Transactions of
the English Ceramic Society,
1907-08.)

HEATHER.— The Heather Brick and
Terra-cotta Works, Ashby de la
Zouch. London, 1889. Sm. fol.
price list ; with 22 lith. pis.

HECHT (Hermann). — Untersuchungen
liber einige zwischen Porzellan-
und Feldspath-Steingut beste-
hende Beziehungen. Berlin,
Thonindustrie-Zeitung, 1897. 8°,
pp. 23.

" Researches upon the relations exist-
ing between porcelain and felspar stone-
ware."
202

HEDINGER (A.)-— Neue keltische Aus-
grabungen auf der schwabischen
Alb. 1900-1901. Braunschweig,
Vieweg, 1903. 4°, pp. 15 ; with
23 illustrs. of cinerary urns. 5 m.

"The latest Celtic excavations in the
Suabian Hills."

HEFNER (J. v.) and WOLF (J. W.).-Die
Burg Tannenberg und ihre Aus-
grabungen. Frankfurt a. M.,
1850. 4°, pp. 95; with 10 pis.

5 m.

"Tannenberg Castle and its excava-
tions."

This castle, situated between Darmstadt and
Heidelberg, was razed to the ground in the
year 1400 ; all the objects found in the excava-
tion are therefore anterior to the fifteenth
century. Plate I. gives three patterns of
unglazed tiles with incised ornamentation.
Plate V. contains a selection of earthen jugs of
plain shape, glazed with brown, yellow, and
green.

HEFNER (J. YOU).— Die romische Topf-
erei in Westerndorf. Miinchen,
1862. 8°, pp. 96 ; with 4 fold,
pis. 4 m. (Extr. from Ober-
bayerischen Archives?)

" The Roman pottery in Westerndorf."
Although the author has based his observa-
tions almost exclusively on the result of the
excavations made at Westerndorf, district of
Rosenheim, since 1807, his work may be con-
sidered as one of the best and most complete
treatises on the manufacture of Roman pottery.
For the use of the student who may desire to
supplement the information contained in this
excellent monograph, he has supplied an
exhaustive bibliography of the works and
articles published in the archaeological journals
of all countries, which refer to the subject.

HEGEMANN (H.).— Die Herstellung des
Porzellans. Erfahrungen aus
dem Betriebe. Berlin, 1904. 8°,
pp. viii-428 ; with 119 illustrs.

6 m.

"The making of porcelain, from the
experience obtained in the practice of
the art."

HEIDELOFF (C.)- — Musterwerke aus
des Niirnberger Bauhiitte fur
Hafner und Topfer. Nurnberg,
1851. 4°; with 6 engr. pis.

CERAMIC LITERATURE.

[HEN

"Models of decoration from private
houses in Nuremberg intended for the
use of stove and pot-makers."

HE1M (Collection Max).— Cat. of sale.

Brunettes, 1899. 8°.

Ancient stoneware, Nos. 140-378.

HEIN (F.). — La peinture sur porce-
laine. Nouveaux motifs de de-
coration. Paris, Calavas, s.d.
Fol. ; 24 pis. in col.

" China painting. New models of
decoration."

HEINECKE (Dr. A.).-Neuere Oefen der
Konigl. Porcellan-Manufactur zu
Charlottenburg. Berlin, 1897.
8°, pp. 23 ; with 28 illustrs. 1 m.

"The new ovens of the Royal porce-
lain manufactory of Charlottenburg."

Dr. A. Heinecke is director of the Charlotten-
burg manufactory.

Ueber das Brennen von
Porzellan. Berlin, Tonindustrie
Zeitung, 1908. 8°, pp. 20.

" On the firing of porcelain."

HEINTZ (A.).— Die Thonwaaren-In-
dustrie auf der Pariser Weltaus-
stellung, 1878. Berlin, 1880. 8°.

" The earthenware industry in the
International Exhibition, Paris, 1878."

HEISS (A.)- — Pl^t celtiberien en terre
cuite decouvert a Segovie. Paris,
Levy, 1888. Fol., pp. 11 ; with
1 photogr. pi. (Reprint from the
Gaz. Arch.)

" A Celtiberian plate in terra-cotta
discovered at Segovia."

This plate, of unique description, bears an
inscription in Celtic characters. The inscrip-
tion cannot be translated, and the piece is,
by many archaeologists, considered as a Spanish
forgery.

HELBIG (M. W.).— Les vases du Dipy-
lon et les Naucraries. Paris,
Klincksieck, 1898. 4°, pp. 37;
with 5 figs. 2 fcs.

"Vases of the Dipylon and Naucraries."

Antique vases, discovered near the Dipylon
of Athens, decorated with archaic representa-
tions of games and combats. Their style of
decoration constitutes a special class in the
history of Greek vases.

Les cavaliers Atheniens.
Paris, 1902. 4°, pp. 112; with
38 illustrs. from Greek vase
paintings. 5 fcs.

" Athenian horse riders."

HELBING (Anon.)-— Collection of Greek
vases, terra-cottas, etc. Miinchen,
1899. 4°, pp. 21 ; with 4 pis.
Catalogue of sale.

HENDERSON (John).— Works of art in
pottery, glass, and metal in the
collection of John Henderson,
M.A., photographed and printed
by Messrs. Cundall & Fleming,
for private use. London, 1868.
Fol.; with 20 photogr. pis. £2.

Ceramic objects are arranged in groups.
Greek vases, 2 pis. ; Hispano-Moresque, 1 pi. ;
Majolica, 4 pis. ; Persian and Rhodian, 4 pis. ;
Palissy, etc., 1 pi. ; Chinese and Japanese,
3 pis. Each plate is accompanied with a short
descriptive notice.

- Descriptive notes on the clas-
sical vases in the Henderson
collection, Marischal College,
Aberdeen. With a short notice
by the donor. Aberdeen, 1881.
4°, pp. 25.

HENNICKER (John). -Two letters on
the origin, antiquity, and history
of Norman tiles, stained with
armorial bearings. London, 1 796.
8°, pp. 114 ; with 3 pis. repre-
senting 20 tiles.

The armorial-bearing tiles described in these
letters belonged to a pavement, now . partly
destroyed, which adorned the state rooms of
St. Stephen Abbey, or " Abbaye aux hommes"
at Caen, built in 1077 by William the Con-
queror. Although local traditions and ancient
chronicles agree in considering these tiles as
containing the scutcheons of the noble families
which accompanied William, Duke of Nor-
mandy, in his expedition, the date of their
making cannot correspond with that of the
building of the Abbey. One of these tiles bears
the Royal Arms of France, adopted by St.
Louis, and it is well known that armorial bear-
ings were not in use before the crusades ; the
pavement cannot be, therefore, anterior to the
thirteenth century. The scutcheons are intro-
duced in the borders of a vast composition, the
centre of which is occupied by the tracery of
an intricate labyrinth. People, in single file,
could engage, under the guidance of a leader,

203

HEN]

CERAMIC LITERATURE.

[HER

at the starting point of the meander, and follow
the puzzling course of the maze for almost the
length of a mile without having once to retrace
their steps before they reached the point of
issue. The march was accompanied with the
singing of a well-rhythmed tune, and, in this
way, a large crowd could be kept on the move
without confusion for a considerable time.

HENRIQUES (Agnes). — Vorlagen fur
Porzellan - Malerei nach alten
Mustern. Hamburg, 1895. 4° ;
col. pis. ; all published.

" Designs for porcelain painting copied
from ancient models."

HENRY (W. Ethelbert) and WARD (Snowden

H.). — Photo-ceramics. London,
1896. 8°, pp. 86 ; with 21 figs.
Is.

A handbook of instruction in photography
applied to the decoration of plaques, pottery,
and other ceramic and metallic surfaces.

HENSEL — Essai sur la Majorique
(majolica) ou terre emaillee,
adresse a la Societe libre des
Beaux-Arts, par Mr. Hensel,
Membre correspondant, peintre
de S. M. le Roi de Prusse, Ber-
lin, Avril, 1836. 8°, pp. 13.
Extr. from the Compte rendu des
travaux de la Societe Libre des
Beaux Arts. Paris, 1836.)

" Essay upon the Majorica (majolica)
or enamelled earthenware, read before
the Free Society of Fine Arts, etc."

Leaving aside the little eccentricity of sub-
stituting for_the usual word majolica, the term
"Majorica" — derived from Majorca, the sup-
posed birthplace of the ware — all we find in
this summary of the history of Italian faience
denotes a much better knowledge of the subject
thdn is supposed to have been possessed by the
early collectors. The essay was written at
Rome in 1826 as a preface to the catalogue of
the Bartholdy collection of majolica, bought by
the Berlin Museum on the recommendation of
Hensel.

HERAULT.— Notice sur le kaolin des
Pieux, department de la Manche.
Caen, Bonneserre, 1832. 8°, pp.
192.

" Notice of the China clay of Pieux,
Manche Department."

The clay was exclusively used by the porce-
lain factories of Valognes and Bayeux for the
making of domestic ware and chemical utensils.

204

HERBET (F.).— Les emailleurs sur
terre de Fontainebleau. Fon-
taineblean, 1897. 8°, pp. 46. (Re-
print from Annales de la Societe
historique dn Gatinais.)

" The clay enamellers of Fontaine-
bleau."

Claude Bar tele my, in 1580, and Claude
Beaulat, in 1613, are the first potters mentioned
in the local registers as having worked at their
trade in the village of Avon, near Fontaine-
bleau; the last named man being qualified as
"clay enameller to the king." They made
figures and ornamental pottery in the style of
Palissy's "figulines," so perfect in execution as
to be often mistaken for the work of the old
master. The title of enameller to the king was,
afterwards, granted to several potters of the
place, up to the middle of the seventeenth
century. About all those whose name appears
in contemporary documents, Mr. Herbet has
gathered many interesting particulars.

HERDTLE (E. ). — Flachen Verzierungen
des Mittelalters und der Renais-
sance nach den Originalen gezei-
chnet. I. Abt. Fliese. Stuttgart,
Cohen & Risch, 1866. Fol.; 28
pis. 25 m.

" Flat ornamentation of the Mediaeval
and Renaissance periods, designed from
the originals. Part I., Tiles."

Unless these formal outlines of geometrical
patterns were intended chiefly as models of
freehand drawing for the use of the elementary
classes of the Stuttgart School of Art, where
Herdtle was a professor, one can scarcely
understand why such an uninteresting selection
sho\uld have been made out of the rich mine of
materials formed by the ornamental tiles of the
finest periods. No indication of origin, date,
colours, etc., accompanies the sketches.

HERDTLE (H.).— Erne Sammlung itali-
anischen Majolica-Fliesen. Wien,
Graesser, 1885. Fol.; 26 col. pis.
50m.

" A collection of Italian majolica tiles."

Genoese tiles would have been a more appro-
priate title for this interesting series. The
walls of the monumental staircases of two
palaces in the town of Genoa — evidently built
at the same period and probably by the same
architect — have preserved their original cover-
ing of majolica tiles. The different patterns
employed to form the designs, given in full
size, and the general composition of the large
panels, rendered on a reduced scale, are care-
fully reproduced on the chromolithographic
plates.

Whether, or not, these tiles are of local
manufacture does not appear from the few
lines of introduction prefixed to the plates ;

CERAMIC LITERATURE.

[HET

but as the making of majolica was flourishing
in the Ligurian province at the time to which
they belong, we cannot consider them as
having been imported from another centre of
manufacture.

Although Italian in its details, the general
scheme of the panels is borrowed from Oriental
carpets. No more effective dado could be con-
trived to brighten the lower part of a marble
wall than these harmonious combinations of
brilliant enamels. The palaces are situated,
one in the Via San Matteo, and the other in
the Via Luccoli.

HER1SSON (Cte. d').— Relation d'une
mission archeologique en Tunisie.
Paris, 1881. 4°, pp. 288 ; map,
and 9 pis. (7 of Greek terra-
cottas). 10 fcs.

" An account of an archaeological
mission in Tunis."

HERMANN(DaYid).— MaslograpMa,oder
Beschreibung des Schlesischen
Massel . . . mit semen Schaun-
iirdikeiten . . . auf dem so ge-
nannten Toppelberge gefundene
sonderbaren Reliquien von Urnis
oder Todten-Gefassen, . . . etc.
Brieg, 1711. Sm. 4°. Urnes, pp.
88-153 ; with 4 pis. 12 m.

" Maslographia, being the description
of Massel in Silesia . . . with its curi-
osities, . . . particularly the urns, or
mortuary vessels found in the so-called
Tb'ppel-mountain."

The author, a pastor of Massel, had conducted
many excavations round the town and had
formed an important collection of cinerary
urns, which he describes in his book. This
collection is now preserved in the Breslau
Museum. Chap. VI.: — "Must we consider
these urns as being a natural product of the
soil ? " records the opinion of all the writers
who have upheld that theory, of which Her-
mann demonstrates the absurdity.

HERMANN (Felix).— Die Glas-, Porzel-
lan-, und Email-Malerei in ihrem
ganzen Umfange. Ausfuhrliche
Anleitung zur Anfertigungsamm-
tlicher bis jetzt zur Glas-, Por-
zellan-, etc., Malerei gebrauch-
lichen Farben und Fliisse ; nebst
vollstandiger Darstellung des
Brennens dieser verschiedener
Stone. Wien,l8S2. 8°; with 10
illustrs.

" Painting on glass, porcelain, and
enamel, in all its branches. Practical
instructions for making all colours and
fluxes in use at the present day, with
complete directions for firing the various
materials."

Painting on glass, porcelain,
and enamel. London, Offices of
the Pottery Gazette, 1897.
10s. 6d.
the above work.

English translation of

HERRMANN (Collection Compare).— Cata-
logue of sale. Cologne, Heberle,
1888. 4°, pp. 58 ; with 20 pis.

Hermann, of Vienna, was better known in
all the capitals of Europe as a conjuror and
prestidigitateur than as a collector. The collec-
tion he had formed comprised, however, many
interesting objects, among which we may men-
tion 78 pieces of ancient majolica reproduced
on five plates.

HERRMANN (P.).— Das Graberfeld von
Marion auf Cypern. 28 Pro-
gramm zum Winckelmannsfeste
der Arch. Gesel. zu Berlin. Ber-
lin, Keimer, 1888. 4°, pp. 62;
with 3 phototyp. pis. and 45 text
illustrs. 5 m.

' ' The burial field of Marion in Cyprus."

From the excavations conducted in 1886
by M. Ohuefalsh-Richter, at the expense of
Mr. Watkins, director of the Ottoman Bank
at Lanarka, a great number of terra-cottas and
a few painted vases were obtained. The
British Museum secured the choicest objects,
the rest was sold by auction in Paris, with a
catalogue prepared by Frohner. Plates and
illustrations chiefly represent specimens of
terra-cotta.

HERZ BEY (Max).— Catalogue of the
National Museum of Arab Art
. . . edited by Stanley Lane-
Poole,M.A. £0n<20n,B.Quaritch,
1896. 12°. Pottery, pp. 64-74 ;
with 2 cuts.

The Museum of Arab industrial art at
Cairo ; the pottery is represented by ancient
tiles from the Mosques and fragments of
mediaeval ware found in the rubbish heaps of
the old town ; 327 Nos. in all.

HETTNER (F.)-— Zur romischen Ker-
amik in Gallien und Germanien.
Leipzig, 1893. 4°, pp. 13. (Fest-
schrift fur Johannes Overbeck.)

205

HET]

CERAMIC LITERATURE.

[HEU

"The Roman pottery in Gaul and
Germany."

HETTNER (F.)— Drei Tempelbezirke
im Trevererlande. Trier, 1901.
4°, pp. 45 ; with 14 pis. (7 of
pottery). 15 m.

" Three temple districts in the land of
Treves."

Die Pfalz-Zweibriicker Por-
zellanmanufakture. Ein Beitrag
zur Geschichte des Porzellans
und zur Kulturgeschichte eines
deutscben Kleinstates im acht-
zehnten Jahrhundert. Neustadt
an der Hardt, L. Witters, 1907.
Sm. 4°, pp. vi-240 ; with 1 por-
trait, 1 pi. of marks, 3 phototype
pis., 2 maps, and 16 text illustrs.
10m.

" The porcelain manufacture of Zwei-
briicken in the Palatinate. A document
for the history of porcelain, and the
social conditions of a small German
State in the eighteenth century."

Christian IV. , Count Palatine and Duke of
Zweibriicken, was a prince keenly addicted to
the practice of alchemy. He had in his service,
as physician and laboratory director, one Dr.
Stahl, a man of many schemes and projects.
This latter persuaded him to give his support
to the foundation, in his dominions, of a manu-
factory of hard porcelain. Willingly the
Duke granted to the promoters of the enter-
prise the free use of five front rooms on the
first floor and of two cellars in the small castle
of Guttenbrunn, near his residence. Moreover,
he promised that an oven should be built, at
his own cost, in some part of the garden.
Kussinger, an arcanist who had, during his
employment at the Hb'chst factory, mastered
all the processes of manufacture, was engaged
as manager. Operations were started in 1767.
Dr. Stahl had a small capital to invest in the
undertaking ; he obtained also the pecuniary
assistance of some relatives and friends who
felt confident in his success. But the funds
promised by the Duke, although they were
sadly wanted, were not forthcoming. In that
predicament, part of the subsidies that Chris-
tian IV. was supplying towards the cost of
the experiments then prosecuted for extracting
gold from the water and sands of the Rhine,
had to be surreptitiously diverted and applied
to the maintenanee of the manufactory. Yet,
at the end of the year 1769, the porcelain works
had already drawn a sum of 73,468 Gulden
from the Ducal Exchequer, and could show a
very poor return for an expenditure which
amounted to about double that figure. In
1769 the factory was transferred from Gutten-
brunn to the town of Zweibriicken, where it

206

came to an end in 1775, after the death of its
patron, Christian IV. Nothing seems to be
wanting to make this exhaustive monograph a
vivid picture of the conditions under which
a small porcelain factory was conducted in
Germany at that period, and of the expedients
that had to be resorted to, to retard the final
collapse.

HEUSER (E.).— Frankenthaler Grup-
pen und Figuren. Ein Verzeich-
niss von mehr als 800 Figiirlichen
und etwa 500 anderen kunst-
gewerblichen Erzeugnissen der
kurfurstlich pfalsischen Porzel-
lanfabrik Frankenthal. Speier,
1899. 8°, pp. 33. 2 m.

" Groups and figures of Frankenthal
porcelain. A list of above 800 small
figures, and about 500 other artistic pro-
ductions of the Electoral Palatine porce-
lain manufacture of Frankenthal."

The number of models of groups and figures
executed at the Frankenthal manufactory had,
so far, been estimated at 250 ; the researches of
the writer have raised that number to 800.

- Katalog der vom Mannheimer
Altertumsverein im Friihjahr
1899 veranstalteten Ausstellung
von Frankenthaler Porzellan.
Mit einer Einleitung tiber die
Geschichte der Frankenthaler
Porzellanfabrik, von Dr. Fried-
rich Walter. Mannheim, 1899.
8°, pp. 164 ; with 3 pis. of marks.
Is. 6d.

Exhibition of Frankenthal porcelain. A
catalogue published by the Archaeological
Society of Mannheim.

Pfalzisches Porzellan des
achtzehnten Jahrhunderts in
Zusammenhang mit der Entwick-
lung des Europaischen Porzellan-
Fabrikation. Speier, 1907. 8°,
pp. 58 ; with 3 pis. 2 m.

" The porcelain of the Palatinate in
the eighteenth century, and its relation
to the development of the manufacture
of European porcelain."

HEUZEY (L). — Recherches sur un
groupe de Praxitele, d'apres les
figures de terre cuite. Paris,
1875. 8°; with text illustrs,

HEU]

CERAMIC LITERATURE.

[HEY

" Speculations upon a group of Praxi-
teles suggested by the terra-cotta figures."

- Les fragments de Tarse au
musee du Louvre. Paris, 1876.
8°; with illustrs. (Reprint from
the Gazette des Beaux Arts.}

" The fragments discovered at Tarsa,
in the Louvre Museum."

- Nouvelles recherches sur les
terres cuites grecques. Groupe
de Demeter et de Core, les
cueilleuses de fleurs et les joue-
uses d'osselets. Paris, 1877.
4°, pp. 24 ; with 2 engr. pis.
4 fcs.

"New researches upon Greek terra-
cottas. The group of Demeter and Corea,
the flower gatherers, and the knuckle-
bone players."

- Sur les origines de 1'industrie
des terres cuites. (Read at the
annual meeting of the French
Academy, Nov. 17,1882.) Paris,
1882. 4°, pp. 21. (Extr.) 2 fcs.

" On the origins of the terra-cotta
industry."

- Recherches sur les figures de
femmes voilees dans 1'art Grec.
Paris, 1882. 4°, pp. 44 ; with 3
engr. pis. and 1 photo. 3 fcs.

" Researches upon the figures of veiled
women in Greek Art."

- Quelques observations sur la
sculpture grecque en Gaule.
(Extr. from Memoires de la Soc.
des Antiquaires de France, T.
xxxvii. 8°.)

" A few remarks on the Greek sculpture
in Gaul."

- Musee national du Louvre.
Figurines en terre cuite, Cata-
logue. Tome I. Paris, May &
Motteroz, 1882. 12°, pp. 244.
1 fc.

" National Museum of the Louvre.
Terra-cotta figures. Catalogue."

This volume contains the description of the
Antique terra-cottas of Assyrian, Babylonian,

Phoenician, Cypriot, and Rhodian origin. The
Greek terra-cottas were to form the subject of
the second volume.

Les figurines antiques du
muse'e du Louvre. Paris, Vve.
Morel, 1883. 4°, pp. iv-30 ; with
56 pis. engr. by A. Jacquet.
60 fcs.

" Antique terra-cotta figures in the
Louvre Museum."

A befitting complement to the above cata-
logue is provided in this series of handsome
plates. In both works geographical classifica-
tion has been adopted. Specimens are grouped
together according to their locality of origin ;
the respective time of manufacture of the
various types still remains unascertained in
most cases. The division into three parts —
viz., Orient and Asiatic Islands, Greece, and
Cyrenai'que — offers some advantage for the
comparative study of the terra-cotta figures in
various countries. Introductory notice and
explanations of plates are equally short, the
latter being confined to a correct description of
the object illustrated, and a plain statement
of the few facts connected with its discovery ;
conjectural interpretations of the subject they
may represent are carefully avoided.

We agree with the author in preferring the
correct and clever engravings of Mr. Jacquet,
in which the refined style and the poetry of the
originals are so happily rendered, to the photo-
graphic processes resorted to for the illustra-
tion of other works. The subdued tone and
mellow treatment of the plates perfectly repre-
sent the spirit of sweet vagueness which per-
vades these fascinating figures, often no more
than a suggestive sketch.

HEYDEMANN (HeimM G. D.).— Heroisirte
Genrebilder auf bemalten Vasen.
S.I., n.d. 4°, pp. 19.

" Familiar scenes represented in heroic
style on Greek vase paintings."

- IliupersisaufeineTrinkschale
des Brygos. Berlin, 1866. 4°,
pp. 37 ; with 3 pis. 3 m.

" Iliupersis upon a drinking cup
painted by Brygos."

Due vasi Capuani illustrati
da H. Heydemann. Roma, 1870.
Fol. ; with 1 pi. 1 m.

" Two Capuan vases described by
H. H."

- Griechische Vasenbilder. Ber-
lin, 1870. Fol., pp. 14; with 13
pis. and 3 illustrs. 15 m.

" Greek vase paintings."

307

HEY]

CERAMIC LITERATURE.

[HIL

HEYDEMANN (Heinrich G. D.).— Humorist-
ische Vasenbilder aus Unteri-
talien. Berlin, 1870. 4°; 1 pi.

" Humouristic paintings upon Southern
Italian vases."

- Vasensammlung des Museum
zu Palermo. S.I., 1871. 4°, pp.
48 ; with 6 pis. 4 m.

" The collection of antique vases in
the Palermo Museum."

- Idria Capuana. Roma, 1871.
8°, pp. 10 ; with fol. pi.

" An Idria from Capua."

Die Vasensammlungen des
Museo nazionale zu Neapel.
Berlin, G. Reimer, 1872. 8°, pp.
923 ; with 22 lith. pis. of forms
and inscript. 17 m.

"The collection of vases in the National
Museum of Naples."

Ellas ed Asia sul vaso dei

Persiani nel museo nazionale di
Napoli. Roma, 1873. 8°, pp. 35;
with 5 fold. pis. 5 m.

" Hellas and Asia upon the vase of
the Persians in the Naples Museum."

Niobe und die Niobiden auf

griechischen Vasenbildern. S.I.,
1875. 4°, pp. 26; with 4 pis.
3 m.

" Niobe and the Niobides on Greek
vase paintings."

- Nereiden mit den Waffen des
Achill. Halle, 1879. Fol., pp.
23 ; with 5 pis. 5 m.

" The Nereids bringing the arms of
Achilles."

Satyr - und - Backchennamen,
besonder ueber die auf bemalten
Vasen ueberlieferten. Halle,
1880. 4°; with fold. pis. 3 m.

" The names of the Satyrs and Baccha-
nalians, particularly on those supplied
by the vase paintings."

- Gigantomachie auf einer Vase

208

aus Altamura. Halle, 1881. 4°,
pp. 20 ; with 1 pi. 2 rn.

" The battle of the giants upon a vase
of Altamura."

No. 6 of Halle Winekelmann's Programmes.

Terracotten aus der Museo
nazionale zu Neapel. Halle, 1 882.
4°, pp. 28 ; with 3 pis. 3 m.

" Terra-cottas from the National
Museum of Naples."

No. 7 of Halle Winekelmann's Programmes.

Alexander der Grosse und
Darcios Kodomanos auf unter-
italischen Vasenbildern. Halle,
1883. 4°, pp. 26; with 2 pis.
(8th Programme.)

"Alexander the Great and Darcios
Kodomanos upon the vases of South
Italy."

Vasi caputi mit Theater-
Darstellungen. Halle, 1884. 4°,
pp. 22 ; with 2 pis. and 2 illustrs.
3 m. (9th Programme.)

" Vases from the Caputi collection with
representations of theatrical scenes."

Jason in Kolchos. Halle,

1886. 4°; with 1 pi.

"Jason in Colchos."

Pariser Antiken. 12 Halli-
sches Winekelmann's Programm.
Halle t Niemeyer, 1887. 4°, pp.
90 ; with 2 pis. and 8 illustrs.
4 m.

"Antiquities in Paris."

Notes on the public and private collections
of antiquities in Paris.

HICLING (G,).— China clay : its nature
and origin. (Reprint from the
Trans, of the Institute of Mining
Engineers. ) Newcastle - on - Tyne,
1908. 8°, pp. 26 ; with 1 pi.

Contains a bibliography of articles on the
subject which have appeared in periodicals.

HILBRAT (G.)- — Dimostraziqni sopra
alcuni antiche terrette dipinte
dalla propria mano di Apelle, e
del Sanzio, scritte da Giuseppe

HIL]

CERAMIC LITERATURE.

[HIR

Hilbrat intorno la risoluzione
pronunciata dalFinsigne Acad-
emia Romana di 8. Luca nel
giorno 26 Luglio 1844. Roma,
Tip. Baldassari, 1847. 8°, pp. 70.
3 fcs.

"Memoir upon certain ancient vessels
of earthenware painted by the very hand
of Apelles and Raffael Sanzio, written
by G. Hilbrat in answer to the decision
passed by the worshipful Academy of
St. Luc, at Rome, on July 26th, 1844."

A tradition, then current in Itaty, attributed
to Raffael the painting of many a majolica dish,
and Hilbrat, the Roman collector, laboured
under the staunch conviction that at least
fifteen pieces of majolica in his possession had
been painted by the great master himself. In
vain his friends tried to expostulate with him
on the improbability of such an attribution ;
in vain his assertion was publicly confuted by
the Academy of Arts, to which he had sub-
mitted the specimens on which he rested his
conviction ; nothing could shake his belief.
For three years after the decision of the
Academy, his fermenting brain went on elab-
orating argument upon argument in support of
his theory, until he found himself ready to
publish the pamphlet which was to convert the
unbelievers and confound the opponents.

We must add that dishes painted by Raffael
were not the only treasures in his collection ;
he boasted also of possessing, — priceless jewel,
an antique tazza, on the painting of which
the hand of Apelles was, for him, easily re-
cognisable. Of the extravagant considerations
he unfolded on the subject of that tazza, a
single one will suffice to give an idea of
all the rest. "We notice," says he, "that
some portions of the subject look as though
they had purposely been left unfinished. Now,
if we recollect that the works of the greatest
of Greek painters always bore the inscription,
Apelles has made it, and that this one bears
no signature, we are thus supplied with a proof
that, fearing the unfair criticism from which
he had often had to suffer, the artist left the
painting unsigned, reserving to himself the
possibility of amending all imperfections, and
placing his work beyond all blame. " It is not
every one that could have found in the absence
of a signature an actual proof of authenticity ;
all that follows evinces an equal measure of
ingenuity.

Absurd as it may appear in our days, the
name of Raffael ware has long been given in
England to Italian majolica. The cause of
that erroneous attribution may be found in the
confusion created by the name of one majolist
of Urbino, Raffaello del Colle, who often copied
the compositions of his glorious namesake, the
Sanzio.

HILL (A.). — Essays for the month of
December, 1716. Instructions
how to make as fine china as
ever was sold by the East India

Company, by a tried and infallible
method. London, J. Roberts,
1716. 8°.

The method described in this paper consisted
in grinding fragments of Oriental china and
adding to the powder a fourth part of the lime
obtained by calcining oyster shells. The mix-
ture was diluted in gum water, which gave to
it sufficient cohesion to allow of its being
worked into dishes, vases, etc. A practical
potter would not anticipate any success from
the results that could be obtained in following
such a prescription. We have, however, inde-
pendent evidence that the process was actually
put into practice, and not quite unsuccessfully.

(See Dossie).

HILL (A.). — Hancock's copies for
china painters ; with directions
by J. Hancock. Worcester, s.d.
(1880 ?). 14 chromolith. and 10
monochrome pis. with explana-
tory notices. 8°.

The coloured plates reproduce the water
colours of Mrs. H. C. Angel.

HILLS (G- M.). — Earthenware pots
built into churches, which have
been called acoustic vases. (In
Transactions of the Royal Inst. of
Brit. Architects.) London, 1882.
4°, pp. 65-96 ; with 6 pis.

The most complete essay written on the
subject. It summarises all that is known
respecting the introduction of hollow pottery
in the building of theatres and churches from
ancient times to the mediaeval ages.

HIPPISLEY (A. E.).— Catalogue of the
Hippisley collection of Chinese
porcelain ; with a sketch of the
history of ceramic art in China.
Washington, 1890. 8°, pp. 105.
(Reprint from Report of the
Bureau of Ethnology.) 2nd ed.
Washington, 1902; with 21 pis.
added.

The collection remained on exhibition for
two years in the National Museum of the
U.S.A. An excellent historical sketch prefixed
to the catalogue summarises the information
obtained, up to date of publication, on the
subject of Chinese porcelain.

HIRSCH (R.).— De animarum apud
antiques imaginibus. Lipsiae,
1889. 8°, pp. 54.

"The representations of souls upon
antique monuments."

A thesis read before the Leipzig University.

209

CERAMIC LITERATURE.

[HOB

HIRT (A.)-— Die Brautschau. Zeich-
nung auf einem griechischen
Gefass. Berlin, 1825. Fol., pp.
26 ; with 1 fold. pi. 5 m.

" The Bride's Feast. A design upon a
Greek vase."

Description of a vase in Count Ingenheim's
collection, in which the writer sees a represent-
ation of Ariadne's betrothal to Theseus.

HIRTH (F.). — Ancient porcelain : a
study in Chinese mediaeval in-
dustry and trade. London, 1888.
8°, pp. 80. 3s.

A most valuable essay based on information
obtained from original sources by a learned
sinologist. Historical records of the extensive
commerce carried on between China and distant
parts of the world during the mediaeval era
have been discovered by the author in ancient
and trustworthy Chinese documents. He has
been enabled to determine the earliest date at
which porcelain was exported into foreign
countries, and has thus obtained a knowledge
of the subject which gives a high authority to
the opinion he expresses with regard to some
theories lately propounded by French and
German orientalists. He declines to admit
that the celadon porcelain dishes and vases,
still found in abundance in Egypt, Africa, and
the Indian archipelago, are of Arabian manu-
facture, and are therefore to be regarded
as Mussulman pottery. He has succeeded in
making good his own assertion, that they were
of Chinese origin, and imported by the early
Arab traders to all the ports visited by their
vessels.

Mr. Hirth has given a synopsis of this essay
in his work, Chinesische Studien, Munchen, 1890.

HIRTH (Georg). — Deutsch - Tanagra.
Porzellan-Figuren des 18 Jahr-
hunderts. Munchen, H. Helbing,
1898. 2 vols. 4°. Text, pp. xii,
Ixxxviii, 160; with 80 text il-
lustrs., 184 phototyp. pis., and 1
pi. of marks by L. Frenzel. £2.

"German Tanagra. Porcelain figures
of the eighteenth century."

Catalogue of sale of the first portion of
Dr. G. Hirth's important collection. The
collector has himself written the introductory
notice. A well digested history of all the
German factories, largely represented by
authenticated specimens, was contributed by
Mr Herbert Hirth ; while the descriptive
catalogue of the collection has been prepared
by the auctioneer, Mr. H. Helbing. It is the
first time that we see the name of " Tanagra"
irreverently associated with some of the most
commonplace figures produced by the German
trade. In the larger part of the speci-

210

mens reproduced in this catalogue, one looks
in vain for any signs of taste or refinement ;
they strike us as being mere industrial articles,
only saved by a certain technical superiority
of execution from being absolutely grotesque.
It is needless to say that the skill and spirit of
the talented sculptors employed in the chief
German factories has often found its highest
expression in the porcelain figures. This in-
creases our regret at seeing the best examples
of their art so inadequately represented in this
extensive collection.

HOBSON (R. L).- Medieval pottery
found in England. London, 1902.
8°, pp. 16 ; with 33 illustrs. (Re-
print from The Arch. Journal.}

Catalogue of the collection of

English pottery in the Depart-
ment of British and Mediaeval
Antiquities and Ethnography of
the British Museum. London,
printed by order of the Trustees,
1903. 4°, pp. xxiii-310 ; with 42
pis. (some col.) and 131 illustrs.
£1.

All the varieties of early English pottery
are represented in the British Museum. This
catalogue, which describes and illustrates the
most striking examples of the art from the
mediaeval tiles to the earthenware productions
of Wedgwood's successors, will be of great
assistance in the study of the subject.

British Museum. A guide to

the English pottery and porce-
lain in the Department of British
and Mediaeval Antiquities. Lon-
don, 1904. 8°, pp. xii-127 ; with
15 pis. and 158 illustrs. Is.

- Catalogue of the collection of
English porcelain ... in the
British Museum. London, printed
by order of the Trustees, 1905.
4°, pp. xxvi-161 ; with 39 pis.
(2 col.) and 104 half-tone illustrs.
in the text. £1.

Porcelain, Oriental, Conti-
nental, and British. A book of
handy reference for collectors.
London, Constable & Co., 1906.
8°, pp. xvi-245 ; with 49 pis.
(1 col.) 12s. 6d. 2nd ed., 1909.

HOC]

CERAMIC LITERATURE.

[HOL

HOCHHEIMER (C. F. A.). — Chemische
Farbenlehre. Leipzig, 1794. 8°.

"The science of chemical colours."

Part II. treats of the composition of enamel
colours, pp. 69-102.

HODGETTS (J. F.)-— Older England,
illustrated by the Anglo-Saxon
antiquities in the British Mu-
seum in a course of six lectures.
London, Whiting, 1884. 2 vols.
8°. 6s.

"The earthen jar" is the title of the first
lecture, but the history of the earthen jar is
neglected for such collateral subjects as the
customs of the old Anglo-Saxons ; their dwell-
ings ; their favourite beverages ; their hatred
of Roman civilisation, etc., and a sprinkling of
Anglo-Saxon terms accompanied with the usual
speculations about their probable meaning.
The important collection of prehistoric vessels
in the British rmiseum has not suggested any
definite remark concerning the origin, the
period, the variety of shapes and ornamentation
of certain specimens through which the history
of the ceramics of early times might have been
facilitated.

HODGKIN (J. E. and E.).— Examples of
early English pottery, named,
dated, and inscribed. London,
1891. 4°, pp. 187 ; with 1 col.
pi. and num. text illustrs. £2, 2s.

The various classes of old English pottery
dealt with in this volume are limited to
the following : — Slip decorated ware ; Salt-
glaze ; English delft ; Stoneware. A pro-
gramme which did not admit of any other
pieces but those which bear an inscription and
a date, has led to the exclusion of all examples
of embossed salt-glaze, which is seldom dated
and inscribed, but which is unquestionably one
of the most original and interesting productions,
of the old English potter ; the few specimens
of scratched blue of a late period, ranged under
that heading, are unworthy representatives of
the ware. Having in this way accounted for
the neglect of an important class of early
pottery, we are at a loss to understand why
the old cream colour and the tortoise-shell
ware often found inscribed with the name of
the owner have been omitted.

HODGSON (Mrs. Willoughby).— How to
identify old china. London, G.
Bell, 1904. 8°, pp. xii-165 ; with
40 half-tone pis. 5s.

We have heard that the author was herself
just beginning to take an interest in the study
of old china when she decided to indite a
popular compilation of the best works on the
matter. The small volume was quickly pre-
pared and promptly issued. It is the candid

performance of an amateur who had been so
surprised at the facility with which knowledge
could be acquired, that she thought it her
duty to communicate to others how easily the
subject could be mastered. Evidently she
never realised the difficulty of discriminating
between puzzling specimens of old china,
else she would not have felt so confident in
supplying reliable rules of identification.

- How to identify old Chinese
porcelain. London, Methuen,
1905. 8°, pp. x-178 ; with 40
half-tone illustrs. 5s.

The exorbitant prices lately realised in the
auction rooms for fine specimens of Oriental
porcelain, having been enlarged upon in a
tantalising introduction, a knowledge of the
chief points which make a piece of Chinese
origin highly valuable in the market, are next
offered as a reward to the intending speculator
who will master the contents of this small
handbook. If, having done so, a confident
beginner becomes satisfied that he has little
more to learn on the subject, he may hopefully
start the pursuit of buying Oriental ware with
a view to making it very profitable. But if, —
as is more likely, — he entertains some mis-
givings as to the correct application of the
superficial learning that has been imparted to
him, and hesitates to embark on the speculative
business, he may comfort himself with the
recollection that the risk he had incurred in
purchasing this volume has been a very mode-
rate one. In any case he has had his money's
worth.

HOFER (J.).— Die Fabrikation kiinst-
licher plasticher Massen, sowie
der kiinstlichen Steine, Stein-
und-Cementgtisse. Wien, 1878.
2nd ed. 8°, pp. 317 ; with num.
illustrs.

" The manufacture of artificial and
plastic bodies ; also artificial stone and
the casting of stone and cement."

HOLDER (0.).— Die romischenThonge-
fasse der Altertums-sammlung
inKottweil. Stuttgart, 1889. 4°,
pp. 26 ; with 2 col. pis. and 20
pis. in outline. 3 m.

" The Roman pottery in the Rott-
weil Museum of antiquities."

Catalogue of an important collection of
Roman pottery of all styles, discovered in the
soil of a small table-land situated between the
Prim and the Necker, close to the confluence
of the two rivers. Over one hundred different
forms are outlined on the plates ; they are said
to include all the types of Roman pottery. A
list of about two hundred potter's marks, found
in the locality, is given at the end of the
catalogue.

211

HOL]

CERAMIC LITERATURE.

[HOF

HOLDER (0.).— Die Formen derromi-
schen Thongefasse diesseits und
jensseit der Alpen. Stuttgart,
Kohlhammer, 1897. 4°, pp. 38 ;
with 24 pis. 5 m.

" The forms of the Roman pottery on
this side and on the other side of the
Alps."

HOLZEN (F.).— Die Herstellung hol-
landischer Dachziegel. Berlin,
s.d. 8°, pp. 35 ; with 24 illustrs.
Is. (Eeprint from the Thon-
industrie Zeitung.)

"The manufacture of Dutch roofing
tiles."

HORNES (Dr. M.).— Eine prahistorische
Thonfigur aus Serbien, und die
Anfange der Thonplastik in
Mitteleuropa. Wien, 1891. 4°,
pp. 13 ; with 2 illustrs. (Reprint
from Mittheilungen der Anthro-
pologischen Gesellschaft in Wien.)

"A prehistoric figure of clay found in
Servia, and the beginning of the plastic
art in Central Europe."

An adequate notion of the original may be
derived from the photographic reproductions of
this curious and perhaps unique specimen, pre-
served in the Belgrade Museum. It is a
drinking cup, shaped in the distant present-
ment of a human figure. When described for
the first time in the Journal of the Antiquarian
Society of Servia, ten years had elapsed since
its discovery, and no record had been kept of
the place and conditions in which it had been
found. Its elucidation rests, therefore, upon
mere conjecture. One is bound to question
its proposed attribution to prehistoric times.
Primitive as it may appear to be in regard
to its uncouth shape, the vessel is decorated
with geometrical patterns so cleverly inlaid
with white clay as to denote an advanced
state of manufacture. Prehistoric antiquity
has left nothing that can be compared to such
a superior workmanship, while many examples
of the Germanic pottery of the Carlovingian
era offer the same character of ornamentation,
executed in the same way. It is not improbable
that the work of some German potter of that
period might have found its way to the banks
of the Danube, and we feel strongly inclined to
adopt this view of the question.

HOFMANN (F. H.).— Das europaische
Porzellan der Bayerischen
Nationalmuseums. Munchen,
1908. 4°, pp. x-252; with 72
half-tone plates. £1, 5s.
212

"The European porcelain in the
Bavarian National Museum."

This catalogue comprises 1222 Nos. , consist-
ing chiefly of (Jerman porcelain. The Bavarian
factory of Nymphenburg is particularly well
represented (468 Nos.). A list of all artists
employed in the porcelain works of Germany,
and 8 pis. of marks are given in the appendix.

HOFFMANN (Collection H.). — Catalogue
des objets d'art antique, terres-
cuites, bijoux, verrerie decrits
par W. Frolmer. Paris, 1886.
4°, pp. 72 ; with 20 pis. and text
illustrs. IIe Partie. Catalogue
des objets d'art antiques, vases
peints, marbres, bronzes, etc..
decrits par W. Frohner. Paris,
1888. 4°; with 24 pis. and text
illustrs. 30 fcs.

Catalogue of sale of the important collection
formed by Mr. H. Hoffmann, a well-known
expert in antiquities.

HOFFMANN (Catalogues of toe sales conducted
W-

Antiquites chypriotes. Cata-
logue des objets antiques trouves
a Arsinoe de Chypre ; sculptures,
inscriptions, poteries phenici-
ennes, terres cuites et bijoux,
decrits par W. Frohner. Paris,
1887. 8°, pp. 38. Terra-cottas,
Nos. 181-267.

The excavations at Arsinoe were conducted
by Mr. Max 0. Richter.

- Antiquites grecques. Terres-
cuites de Myrina. Paris, 1888.
Sm. 8°, pp. 29 ; with 6 pis.

Antiquites Terres - cuites
grecques, poteries, etc. Paris,

1889. 8°, pp. 51 ; with 8 pis.

— Antiquites pheniciennes. . . .
Terres-cuites de Myrina et de
Tanagra. Sm. 8°, pp. 39 ; with
12 pis.

- Antiquites egyptiennes. Ter-
res-cuites de Tanagra. Paris,

1890. 8°, pp. 38 ; 6 pis.

CERAMIC LITERATURE.

- Antiquities. Objets egyptiens.
Vases peints. Terres - cuites.
Paris, 1899. 4°; with 44 pis.
and 27 illustrs. 30 fcs.

Greek and Roman pottery, Nos. 68-119 ;
Terra cottas, Nos. 120-320. All the above
catalogues have been prepared by W. Frohner.

HOFFMANN (E. E.).— Desseins zu de-
korirten und zierenden Stiiben-
ofen,theils entworfen, theils nach
der Ausfiihrung bearbeitet und
fur den Doppeldruck litho-
graphirt von E. S. H., Architekt
in Berlin. Berlin, s.d., 6 pis. 4°.
(All published.)

" Designs for the decoration and
embellishment of household stoves re-
produced from sketches or executed
models, and lithographed by double
printing by E. S. H., architect."

HOLCOMBE (C.). --Ancient Chinese
porcelain and other curios be-
longing to G. A. Hearn. De-
scription by Chester Holcombe.
New York, 1894. 8°; with fac-
simile of period marks. 5s.

HOLDER (E.).— Madras pottery. Lon-
don, 1897. 4°, pp. 4; with 16
pis. (some col.). (A special No.
of the Journal of Indian Art.)

HOLLINGSWORTH (A.).— Blue and white
china ; by Brother Alexander
Rollings worth, artificer to the
Sette of Odd Volumes. Delivered
at a meeting of the Sette held
at Limmer's Hotel on Friday,
February 6th, 1891. London,
1891. 16°, pp. 70 ; with 11 pis.
of vases and 7 pis. of marks
printed in blue. (245 copies
printed.)

It is said that no perfect set of the booklets
published by the bibliophilic Brotherhood of
Odd Volumes is in existence. Very few of the
separate numbers appear in the trade.

HOLMES (W. H.). --The following
papers on ancient American
pottery were reprinted from the

Annual Reports of the Bureau of
Ethnology : —

- Illustrated catalogue of a por-
tion of the collections made by
the Bureau of Ethnology. (In
third report. Washington, 1884.)

- Prehistoric textile fabrics of
the United States, derived from
impressions on pottery. Wash-
ington, 1884. With 1 pi. and
56 illustrs.

The pottery of some aboriginal tribes of
America was formed in baskets, the inner
surface of which was lined with cloth. In this
paper are described and reproduced the im-
pressions that the weaving of the tissues has
left, neatly marked, upon the clay.

- Pottery of the ancient Pueblos.
Washington, 1886. Pp. 95; with
150 illustrs. 8s.

No appreciable change is discernible in
the Pueblos pottery ; whether the vessels are
found in the cave dwellings of very remote
antiquity, or in the burial grounds of more
recent periods, they all present an identical
character. The method in which they are
fashioned remains the same. It consists in
building up the shape by a superposition of
thin and long coils of clay ; the joints of those
coils are carefully smoothed on the inside of the
pot, but always left apparent on the outside.
By far the finest example of the ware is the
white pottery of the cliff dwellers, the ground
of which is decorated with geometrical traceries
painted in red and black clays.

— Ancient pottery of the Mis-
sissippi Valley. Washington,
1886. Pp. 66 ; with 102 illustrs.
6s.

In Arkansas are found examples of ancient
pottery of a more advanced description. The
shapes are extremely varied, and show great
ingenuity of design ; many of them being
modelled in the form of human heads, animals,
fruits, etc.

- Origin and development of
form and ornament in ceramic
art. Washington, 1886. 8°, pp.
17 ; with 25 illustrs. 4s.

Synopsis of contents :— Forms suggested by
adventition ; forms derived by imitation ; forms
of shells, fruits, wooden and horn utensils,
and basket work. Modifications of ornaments
through change of materials. Methods of
realisation. Theoretical development of fret-
work, scrolls, etc.

213

HOL]

CERAMIC LITERATURE.

[HOE

HOLMES (W. H.).— Ancient art of the
province of Chiriqui, Colombia.
Washington, 1888. 8°, pp. 187 ;
with 288 woodcuts. 8s.

Chiriqui is situated on the isthmus, which
unites the North with the South American
continent. What tho decorative art may have
been in the territory at the time when it was
inhabited by the prehistoric ancestors of the
present Indians, is chiefly represented by the
mortuary vessels discovered in enormous quan-
tity within the lately-exposed placesof sepulture.
From the excellent reproductions of the many
examples studied by Mr. H. Holmes, we may
judge that the pottery of Chiriqui equals, if it
does not surpass, in beauty of shape and per-
fection of workmanship, all that is found in
the Mexican and Peruvian necropolis. It
affords numerous instances of the typical forms
of vases peculiar to European classical anti-

Suity, which have been almost identically pro-
uced, doubtless through mere coincidence,
by a race which cannot be supposed to have
had any communication with European coun-
tries. The profile of certain vessels, the
geometrical combinations of keys and meanders
with which they are decorated, are so sugges-
tive of Greek art at the archaic period, that
certain writers have tried to establish, on
the testimony of that pottery, that some con-
nection must have existed between the chief
centres of antique civilisation.

HOLT (F. W.)-— Ziegelstein-Architek-
tur. Auswahl praktischer Bei-
spiele. Leipzig, 1876. 8°; with
40 lith. pis.

"Brick architecture; a selection of
practical examples."

HOLWERDA (A. E. J.).— Attische Vasen
der Ubergangstil. Berlin, 1889.
4°, pp. 22 ; with text illustrs.
(Reprint from the Jahrbuch.)
4 m.

"Attic vases of the transition style."

Korinthisch-attische Vasen.

Berlin, 1890. 4°, pp. 31 ; with
text illustrs.

" Vases of the Attico-Corinthian style."
From the Oriental character of the early
Corinthian and Attic vases, sometimes called
Tyrrhenian, has been derived the theory that
Greek art had been affected by Assyrian
influence through the medium of the artistic
productions imported from Asia-Minor. Un-
willing to accept these conclusions, the writer
endeavoured to demonstrate that the Corinthian
pottery is certainly anterior in date to the
earliest painted vases of Asia-Minor. Conse-
quently, the former could not have borrowed
anything from the latter, and the similarity

214

apparent in the style of decoration of vases of
different origin, should not be taken as a proof
that the Greek ceramics owed something to
Oriental influence.

HOLWERDA (J. H.)- — Die attischen
Graber der Bltithezeit. Leiden,
1899. 8°, pp. 21 ; with 13 illustrs.
3 m.

"The tombs of the best Attic period."
The funereal scenes represented on Greek

vase paintings are dealt with in the second part

of this work.

HOOPER (W. H.) and PHILLIPS (W. G.)-
A manual of marks on pottery
and porcelain, a dictionary of
easy reference. London, Mac-
millan, 1876. 16°, pp. 238. 5s.

An original plan has been adopted in the
arrangement of potter's marks and monograms.
Anchors, animals, arrows, and other figured
marks are grouped together and given in
alphabetical order. The authors claim for
themselves the credit of having translated the
Oriental marks placed in the last section.

HOPPIN (J. C.)- — Euthymides. A
study in Attic vase painting.
Leipzig, Harrassowitz, 1896.
Sm. 4°, pp. 42 ; with 7 pis. and
11 illustrs. 5s.

The name of Euthymides, a painter of the
cycle of Euphronios, appears only upon five
red figure vases, but several other pieces have
been attributed to him. By a keen scrutiny of
the style of the signed specimens, and a com-
parison with other paintings offering some
analogy with the former, Mr. Hoppin has
drawn a list of all the vases which he has
recognised as the work of Euthymides, point-
ing out at the same time the inaccuracy
of many attributions presented by previous
writers.

HOPPNER. — Kleine Vorlagen fur
Aquarelle und Porzellanmalerei.
Leipzig, Arnold, 1881-82. 8°;
17 col. pis.

"Small models for water-colour and
porcelain painting."

HORNER (Susan).— Greekvases, histori-
cal and descriptive ; with some
brief notices of vases in the
Museum of the Louvre, and a
selection of vases in the British
Museum. London, Swan Sonn-
enschein, 1897. Sm. 8°, pp.

HOS]

CERAMIC LITERATURE.

167 ; with 1 pi. and outlines of
shapes.

Intended as a vade-mecum to the visitor of
the Greek vase collections in the Louvre and
the British Museum.

HOSTMAM (Christian). — Der Umen-

friedhof bei Darzau in der Pro-
vinz Hannover. Braunschweig,
F. Vieweg & Sohn, 1874. 4°, pp.
129; with 11 lith. pis. in col.
21 m.

"The urns of the burial ground dis-
covered near Darzau in the province of
Hanover."

It is estimated that the number of urns
buried in the "field of rest," discovered near
Darzau, at the junction of the Elbe with the
Camin, must have amounted to about 4000.
Unfortunately they were found in such a
fragmental state that the artist who designed
the plates had, in most cases, to trust to his
own imagination to reconstitute the complete
shape. The vessels are, for the greater part,
covered with a coat of shining black varnish,
and ornamented with lines and meanders
impressed in the clay by means of a " roulette,"
or small punctuated wheel. This style of
workmanship was common to many other
centres at a corresponding period ; the key-
pattern, perhaps a remnant of the Greek and
Roman influence, predominates on the Darzau
pottery. The author has been at great trouble
to contrast with the examples he describes
the many instances of the same key- pattern
occurring upon the pottery of other countries.

The whole find, partially restored, is now to
be seen in the Provincial Museum of Hanover.

This work is rendered particularly valuable
to the archaeologist by the reference made to
the many articles and papers published in the
journals of the learned societies of Germany
on the subject of early pottery, the titles of
which are given in the footnotes.

HOTOP (E.)— Der Brennofen in der
Ziegelei und Thonwaaren-fabrik
und in der Kalk- und Cement-
Industrie. 8°; with 30 illustrs.
3 m.

" The oven in the tile and earthenware
factories and in the lime and cement
industry."

HODDOY (J.). — Eecherches sur les
manufactures lilloises de porce-
laine et de faience. Lille, Danel,
1863. 8°, pp. 89. (Privately
printed.)

"Researches on the porcelain and
faience factories of Lille."

- Histoire de la ceramique lil-
loise, pr^cedee de documents
inedits constatant la fabrication
des carreaux peints et emailles
en Flandres et en Artois au xive
siecle. Paris, Aubry, 1869. 8°,
pp. 167 ; with 3 col. pis. 10 fcs.

"History of the ceramic art at Lille,
to which are prefixed some inedited
documents testifying to the manufacture
of painted and glazed tiles in Flanders
and Artois, in the fourteenth century."

Lille and the surrounding district has been
for centuries a very important centre of pro-
duction ; records of ornamented tile pavements
and pottery in full relief, intended for archi-
tectural decoration, go back to a very, early
date in the civic archives. Mr. Houdoy has
been particularly fortunate in discovering the
original Letters-patent granted, in 1391, by
Philippe le Hardi, Duke of Burgundy, to Julian
de Moustier and Jehan-le-Voleur "ouvriers en
quarriaux peints et jolis " — workers in painted
and nice quarries, — and some other deeds and
papers referring to the making of two important
tile pavements for Hesdin Castle and the Ducal
Palace at Arras. They were to be executed by
the said Jehan-le-Voleur after the design and
under the direction of Melcior Broederlain, a
celebrated painter of the time. It was parti-
cularly specified in the contract that the tiles
were to be of white clay, and painted over with
pretty images of figures, birds and flowers in
various colours. Such a precise description
makes it easy for us to infer that the work was
to be very different in character from the average
pavements of the period, usually composed of
tiles of red and yellow clays. The statement is
all the more interesting that no mention is made,
in the general histories of decorative tiles, of
any painted specimens having ever been found
that could be referred to such an early date.
It is true that a few tiles of white clay, painted
with figures in the costume of the fourteenth
century, were discovered buried under the floor
of St. Omer Cathedral. The fact was recorded
by Mr. Wallet, but without further comments,
and it escaped the notice of the specialists. It
may be that these last vestiges of what may
have been one of the finest pavements of the
times, represent the particular style of work
practised by Jehan-le-Voleur, and other ancient
Flemish tilemakers, of which no example was
supposed to be in existence.

In the seventeenth century Lille already
possessed several factories of painted faience ;
their productions emulated so successfully those
of Nevers and Rouen, that at the present day
the faiences of Lille, being seldom marked, are
attributed by the ceramic collector to one of
the above named places. A factory of soft
porcelain— the second in France — was estab-
lished in the town by B. Dorez in 1711. It
was also at Lille that Leperre Durot conducted
the royal porcelain works, founded in 1784,
under the patronage of the Dauphin. These
factories, and a few others of smaller import-
ance, have found in Mr. Houdoy a most
enlightened and devoted historian.

215

HOU]

CERAMIC LITERATURE.

[HOU

HOUGH (I.). - - The lamp of the
Eskimo. Washington, 1898. 8°,
pp. 26; with 24 pis. (Reprint
from the Report of the U.S. Nat.
Museum for 1896.) 2s.

Only a fewof the lamps used by the Esquimaux
tribes are made of terra-cotta. They exhibit
the lowest form of pottery that can be found
among the productions of prehistoric ages.
Some authors have spoken of the Esquimaux
as the only people in the world who never used
earthen vessels.

- An early West Virginia pot-
tery. Washington, 1901. 8°, pp.
10; with 18 pis. (Reprint from
the Report of the U.S. National
Museum.) 2s.

Pottery was made at Morgantown towards
the end of the eighteenth century, but the
earliest record connected with the manufacture
refers to John Thompson, who was apprenticed
to a potter of the town and began business on
his own account in the first years of the follow-
ing century. His ware, and that made by his
successors between 1800 and 1873, are described
and illustrated in this article, which also con-
tains the catalogue of the specimens exhibited
in the U.S. National Museum. The tools,
moulds, etc., used by the potters are reproduced
on ten plates.

HOUSMAN (H.).— Notes on the Willett
collection of pottery in the
Brighton Museum. Together
with the original catalogue of
the collection. Brighton, W. J.
Smith, 1893. 8°, pp. 100; 16. Is.

In a numismatic collection, the political
history of the civilised world is amply repre-
sented by the successive series of coins and
medals, on which all nations have inscribed
the names of their leaders and graved the
record of their vicissitudes. The clay that the
potter has fashioned into shape has, to a certain
extent, received and preserved a faint reflex of
the social conditions of the past generations,
with whose existence the making and the use
of pottery has been associated. So, it may be
said, that in a collection of their pottery the
progress and decadence of various races may be
traced and followed.

It was with the idea of forming a gallery of
fictile evidence — in which each example would
tell its own tale and all would, through the
form they present or the inscription they bear,
relate to us, in a familiar way, something of
the homely side of our national history — that,
during more than forty years, Mr. Henry
Willett gathered together an enormous store of
specimens of English pottery. His original
notion was carried out by him as completely
as a scheme of such a wide scope could possibly

216

be realised. We must bear in mind that if the
coin collector can succeed in displaying in his
cabinet an almost uninterrupted chronographic
series of dates and facts, a similar achievement
cannot be accomplished by the ceramic col-
lector. The latter must, perforce, rest satisfied
with illustrating the periods which have pro-
duced something of more particular interest
than the insignificant terra-cotta pots, which
have often been made without any appreciable
variations during several centuries to answer
the simple requirements of the people. A
collection which would include representatives
of such dark periods would prove, once more,
that pottery shines, as an art, only at fitful
intervals. Vessels of burnt clay have been, it
is true, made at all times, but improvements in
the making are often very long in coming.
Let us take, for instance, the glorious revival
of arts in western Europe during the Middle
Ages, and we shall realise how inadequately
the efforts of the potter can sometimes respond
to those of his brother craftsmen. The stone
carver and the vellum limner ; the goldsmith
and the brassfounder ; the cloth weaver and
the embroiderer ; the mosaic maker and the
stained-glass painter of that period have vied
with each other in adorning the Gothic cathedral
and the castle of the mighty with works of ex-
quisite taste and unsurpassable technical ability.
Rough earthenware tiles just one degree re-
moved from common bricks, uncouth jugs still
evincing the barbarian workmanship of the
darkest ages, was all the potter could produce
as his own contribution to the onward move-
ment ; they form a singular contrast to so many
contemporary marvels. It is not, certainly, to
the pottery of corresponding times that one
should look to form an idea of the high level
that artistic handicrafts had reached during
the mediaeval era ; and this applies to other
periods of the history of art. Later on,
when, for causes that we cannot at present
investigate, the earthen vessel began to as-
sume a more important place among the
requisites of the altered conditions of society,
we see the potter join at last in the
general advance of decorative art. We notice
from that moment, besides a combination of
efforts directed towards the improvement of
the trade in general, the isolated rising of a
few gifted craftsmen who glory to impart to
the obedient clay which receives its shape
from their hand the impress of their powerful
personality. It is the Renaissance ; a glorious
epoch, when all tended to the gratification of
an unbounded hankering after refinement and
luxury. The prince made then a direct appeal
to the potter, and the potter felt himself equal
to answer any princely demand. Plebeian
earthenware is thrown into the shade by the
introduction of the precious Oriental wares ;
but ere long the coming of a porcelain of
national manufacture establishes a successful
competition against foreign imports.

The march of years prepares the advent of a
great social change. With the improved
education of the masses, democracy awakes to
the sense of its political importance, and the
transformation obviously affects the work of
the potter. The shadow of passing events —
no longer indifferent to the majority — begins to
register itself upon the crockery roughly painted
to please the fancy of the lower classes. While

HOUj

CERAMIC LITERATURE.

[HOW

sensational chap-books and elementary treatises
on educational subjects are eagerly sought after
by the villager and the operative, the pot and
the pitcher exhibit images and inscriptions in
which the feelings and the aspirations of the
people are distinctly evidenced. At first they
simply show the royal arms or the crest of a
noble patron, some graphic symbol of national
glory, or a , suggestive monogram recalling a
name dear to popular memory. Gradually the
subjects depicted upon the ware assume a more
ambitious form. The self-taught decorator at
the village pot- work has to keep pace with the
news of the day. He is constantly called upon
to improvise with the tip of his rude brush a
clumsy portrait, a transparent allegory, a tell-
ing picture which shall illustrate the engrossing
topic of the moment, and thus impart a special
attractiveness to the best articles of his cheap
and gaudy show.

In England, a special facility for decorating
the ware at a small cost, with pictorial sub-
jects of a more elaborate order, was afforded
by the introduction, towards the middle of the
eighteenth century, of the process of transfer
printing. This mode of decoration has been,
ever since, taken great advantage of by the
English potter.

Historical as the Willett collection may be said
to be, at least in a certain sense, chronological
order could not — for the reasons already
given— have been adopted for its arrange-
ment. The specimens are divided, for prac-
tical purposes, into arbitrary sections headed
respectively : — Royalty and loyalty ; Hero
worship ; Seafaring ; American wars ; Politics,
etc. Under such conditions it is obvious
that the intrinsic merit of the piece has to
give way before its historical or social in-
terest. The ceramic collector may, however,
feel a little surprised at the unwonted assem-
blage presented by each section. Ancient
pottery of artistic value, selected at the sale of
some celebrated collection, stands side by side
with vulgar crocks obtained from a country
cottage ; the subjects represented upon them
being the only cause of their present con-
nection. Thus the series ranged under the
heading : Costumes, brings together the costly
porcelain group, and the cheap and grotesque
earthenware figure. Under the title of : Politics,
we find not only busts and statuettes of states-
men in ancient stoneware and china biscuit,
but also the common pint mug, the record of
parliamentary elections in times not far re-
moved from us, when such mugs, duly inscribed,
were presented to his constituents by the candi-
date, and in which his health was freely drunk
at the local beer house. Sporting is not the
least interesting section ; prize-fighting, bear
baiting, horse racing, field sports, etc., are
fully illustrated on many specimens most quaint
and amusing. If we add that most of the
pieces composing the various series are in-
scribed with appropriate sentences and doggerel
verses, which contribute not a little to their
individual interest, we have said enough to
explain the particular value that is attached
to this unique collection. It has been be-
queathed by its owner to the Brighton Museum.

HOUZEDE L'AULNOIT (A.)-— Essai sur les
Faiences de Douai, dites Ores

Anglais. Lille, Danel, 1882. 8°,
pp. 141 ; with 2 pis. 10 fcs.

" Essay on the Douai faiences called
' English Stoneware.' "

A.11 the white and cream-coloured earthen-
ware made in England at the latter part of the
eighteenth century went in France under the
name of English "Gres," or stoneware. Al-
though its importation was heavily taxed, and
at one time had even been prohibited, it had
gained public favour ; the demand for wares of
English manufacture was becoming consider-
able. Highly profitable results were expected
from the establishment, on French territory, of
well equipped manufactories, the productions
of which would so closely imitate the foreign
articles that they would soon drive these latter
out of the market. Two potters from New-
castle, Charles and Jack Leigh, went to Douai
to start the manufacture of English earthen-
ware, with the financial support of some wealthy
inhabitants of the town. A few years after, in
1784, the factory they had established received
a Royal privilege which secured to them the
exclusive right of manufacturing that kind of
ware in the Artois province. An ancestor of
the writer, Houze de 1'Aulnoit, was one of the
directors. The progress of the business was
suddenly checked by the commercial treaty of
1786, which threw open the French market to
English goods. The state of affairs fluctuated
for some time between prosperity and troubles,
arid ultimately the works had to be closed
in 1821.

Mr. H. de 1'Aulnoit is a distinguished
advocate ; perhaps, in his legal career, he has
never accumulated, classified and annotated
with more devotion to his case such a large
amount of documental evidence as he has done
in the preparation of this book. Official
decrees, deeds of partnership, statements of
affairs, requests and petitions to the govern-
ment, succeed each other, marshalled with
forensic impeccability. From a survey of this
formidable array of official documents, we may
gather with what difficulties the conduct of an
industrial business was surrounded in the good
old time. The notion of a private enterprise
being carried on without the interference and
the support of the state was evidently not to
be entertained. To beg for special favours, to
complain of unfair conditions, to boast about
the work already done and promise marvels
for the future, and, finally, to engross supplica-
tions couched in decorous terms and obtain the
influential patronage of some high personage,
seem to have been the chief care of a strong-
minded manufacturer.

The volume, printed on fine paper, is of
excellent typographic execution.

HOWARD (J. J.).— Catalogue of the
collection of armorial porcelain
formed by the late Dr. Howard.
London, 1902. 4°, pp. 14 ; with
Ipl.

Catalogue of sale. Examples of the Oriental
china, sometimes called Lowestoft.

217

HOW]

CERAMIC LITERATURE.

[HUI

HOIORTH (J.).— The art of repairing
and rivetting glass, china, and
earthenware. London, 1898. 8°,
pp. 22 ; with text illustrs. Is.

HUCHER (E,).— Catalogue du Musee
archeologique du Mans. Le
Mans, Monnoyer, 1869. 8°, pp.
104; illustrs.

The ceramic section of the museum contains
a series of ancient pottery made at Ligron
(Sarthe).

HUDDILSTON (J. H.).— Greek tragedy
in the light of vase painting.
New York, Macmillan, 1898.
8°, pp. 183; with 28 illustrs.
5s. A German translation has
been made by Heuse. Freiburg,
1900.

Creuser has described the vase paintings he
called ' ' Illustrations to the works of the Greek
tragic poets." Welcher commented upon such
subjects as appear to furnish a reference to
the lost plays. Luckenbach, looking at the
question from an opposite point of view, denied
that the tragics ever had any influence on
the work of the artist. In his own estimation,
poet and painter borrowed their subjects from
the same source — viz., the popular traditions
which had preserved the memory of heroic
ages. Accordingly, the vase painter delineated
the legend he had chosen to represent from
his own interpretation of the scene, and quite
independently from the tragedy that the poet
had elaborated on the same foundation.

The author of the present essay has made
good profit out of these various theories, and he
has materially added to the list of vase paint-
ings upon which an intimate relation between
ceramic art and the Greek tragedies is illus-
trated. It is surprising, however, to see that
he affects to ignore altogether the work of his
predecessors on the same subject.

- Lessons from Greek pottery ;
to which is added a bibliography
of Greek ceramics. New York,
Macmillan, 1902. 8°, pp. 144;
with 17 illustrs. 5s.

Vase paintings and the life of the Greeks.
Vases and Literature. These are the headings
of the two leading chapters in the book.
The appendix gives a "Bibliography of Greek
ceramics." It is a somewhat misleading title,
considering that it contains only the works
which treat of painted vases, and excludes
mention of those on terra-cottas, by themselves
a very important branch of the classical ceramic
literature. A list of a number of articles on
vase paintings which have appeared in the
serial publications will be found of some use to
the student.

218

HUDSON MOORE (H.).— The old china
book, including Staffordshire,
Wedgwood, Lustre, and other
English pottery and porcelain.
New York, Stokes, 1903. 8°,
pp, 300 ; with numerous illus-
trations. 10s.

Particularly devoted to the description of
such ware of English origin as may be found in
the old households of the United States. The
descriptions are not always illustrated by a
correct example. Thus, "Tortoise Shell" is
represented by a mug of marbled ware, and
" Queen's Ware," by a clumsy milk jug of late
yellow ware of Longton make. Specimens of
rather modern Staffordshire ware, with views
in blue printing, are abundantly reproduced.

HUBNER (E.).— Die antiken Bild-
werke in Madrid. Nebst einem
Anhang, enthaltend die ubrigen
antiken Bildwerke in Spanien
und Portugal. Berlin,1862. 12°,
pp. 356. 5 m.

"The collections of antiquities in
Madrid ; with an appendix containing a
description of the antiquities in the other
collections of Spain and Portugal."

Painted vases : — The Royal Museum and
National Library, pp. 169-195 ; The Academy
of Fine Arts, 229-231 ; Medinacelli Collection,
p. 75 ; Anglona Collection, Vases and Terra-
cottas, pp. 253-260 ; and a few minor
collections.

HUISH (M. B.).— Catalogue of the
collection of Japanese works of
art formed by Sir Trevor Law-
rence, 1869-94. Edited by M.
B. Huish. London, 1895. 4°,
pp. ix-158 ; with 39 autotype
pis. and text illustrs. Ceramics,
pp. 144-154. Privately printed.
£2, 2s.

— Greek terra-cotta statuettes ;
their origin, evolution, and uses.
London, J. Murray, 1900. Sm.
4°, pp. xvi-251 ; with 75 photo-
typ. pis. and 43 half-tone illustrs.
in the text. 21s.

More than fifty years have elapsed since the
sudden revelation of the graceful creations of the
Hellenistic terra-cotta potter has fascinated
both the art collector and the antiquary.
England did not remain behind other nations
in her admiration of the little figures unearthed

HUN]

CERAMIC LITERATURE.

[HTJY

from the necropolis of Greece and Asia-Minor.
The choicest specimens were secured for the
museums and private collections, and the
splendid works on ancient terra-cottas published
in foreign countries were readily purchased and
eagerly read. But with the exception of a fe\v
detached papers, which have appeared in the
antiquarian serials, such as the Journal of
Hellenic Studies, etc., England did not add any
contribution to this engrossing subject. The
present volume was intended to fill a regrettable
gap. It does not pretend to throw a fresh
light on the questions still left undecided, but
it may claim to be a comprehensive summary
of all that has been written on the matter.
Mr. Huish, known for his studies on the arts
of Japan, is not a specialist, but he has mastered
the works of the young school of French archae-
ologists, and his clear and compact digest will
do much to spread the knowledge of this branch
of ancient ceramic art. It is the first time that
the history of Greek terra-cottas, at various
periods and at various places, the use of
statuettes, and the subjects they generally
represent, have been told in the English
language.

HUNT (R.).— Handbook to the in-
dustrial department of the In-
ternational Exhibition, 1862.
London, 1862. 8°. Ceramics,
vol. ii., parts 6-7.

HUNTER (I, C.).— Bits of old china.
London, Kegan Paul, 1885. 8°.

Nothing about china — broken or whole —
will be found in this book. It is made up of
stray bits of personal reminiscences of the old
Chinese country. A translation of a Chinese
stage farce entitled "Poo Kang, or, the mender
of broken china " (p. 108), is, however, to be
recommended to the repairer of ceramic wares
as one of the classics of his craft.

HUTSCHENREUTER (L). — Motive fur
die keramische klein Plastik.
Plauen, 1894. Fol.

" Models for small ceramic objects."

BUTTON (C, A.).— Greek terra-cotta
statuettes ; with a preface by A.
S. Murray. London, Seely, 1899.
8°, pp. xvi-80; with 8 col. pis.
and 16 monochr. pis. represent-
ing 36 subjects. 7s.

This volume, and that of Mr. Huish's,
appeared almost on the same day. Two books
on a subject for so long undeservedly neglected
are surely not more than was wanted. All
admirers of Greek terra-cotta figures are not
necessarily endowed with the erudition of a
classical scholar, and a sense of inability to
penetrate into the depth of the learned dis-
quisitions indulged in by French and German

archaeologists may have deterred many a one, —
most anxious, otherwise, to know something of
the history of those bewitching statuettes, —
from attempting such an inauspicious study.
Any apprehension on that score is now set at
rest. All that is strictly required to facilitate
the learning of this fascinating branch of anti-
quarian lore will be found in Miss Button's
most welcome handbook. It displays a perfect
acquaintance, on the part of the author, with
the history of antiquity, yet the narrative is
never allowed to wander too far away from the
modest terra-cotta figure which remains, as it
should, the centre of attention. Frequent and
appropriate applications of passages of the
Greek anthology to the subjects described
render a perusal of the book still more attractive.
A special care has been bestowed on the photo-
graphic reproductions, all taken from examples
preserved in the British Museum. One chapter,
however, is open to the criticism of the practical
potter. By borrowing her information on the
technical processes from antiquarian authorities,
the author has been led to repeat the ludicrous
errors in which some of them have fallen when
describing how terra-cotta figures were made.

HUYYETTER (Johan d'). - - Zeldzaam-
heden verzameld en uitgegeven
door Johan d'Huyvetter in het
koper gesneden door Ch. Ong-
hena. Ghent, 1829. 4°, pp. 4 ;
with 22 pis. in outline. £1.

"Objects of curiosity collected and
published by J. d'Huyvetter, engraved
on copper by Ch. Onghena."

Such a singular collection, the first formed
almost entirely of vessels of ancient Flemish
and German stoneware, must have been con-
sidered at the time as evincing, on the part of
the collector, a most eccentric and unaccount-
able taste. The strange drinking vessels it
contained were evidently shown by their
possessor in the same spirit as they had been
gathered, that is to say, as mere objects of
curiosity. At any rate, in the few words of
apologetic introduction written in the Flemish
language by J. d'Huyvetter to explain his un-
precedented collection to his brother art-
amateurs, not a hint is thrown out as to the
probable origin of its contents ; not a word
is said about their artistic merit, yet, the
specimens had been so judiciously selected that
many of them are now valued as the most
precious jewels of the rich collections in which
they have later on found their place. The
series of plates begins with an outline of the
large fountain once called " The King of Vases,"
now in the South Kensington Museum, and
which d'Huyvetter had discovered in the tap-
room of a small tavern at Antwerp. Un-
fortunately the reproductions are so incorrectly
drawn that they can only serve as graphic
notes whereby to recognise the objects as we
find them in the museums, or see them more
accurately reproduced in modern engravings or
photographs. Choice examples of Palissy ware
and many remarkable glass vessels were also
included in this interesting collection.

219

IHM]

CERAMIC LITERATURE.

[ING

IBM (M.). — Die arretinischen Topf-
ereien. Bonn, 1898. 4°, pp. 20.
(In Banner Jahrb.}

"The Arretinian potteries."

ILG (A.). — Heraclius. Von den Fiir-
ben und Kiinsten der Romer.
Originaltext und Uebersetzung.
Mit Einleitung, Noten, und Ex-
cursen versehen. Wien, 1873.
8°, pp. xxiv-190. 2 m.

"Heraclius. On the colours and the
arts of the Romans. Original text arid
translation. With explanatory notes."

INGHIRAMI (F.)-— Monument! etruschi,
o di etrusco nome, designati, in-
cise, illustrati e publicati dal.
Cav. F. Inghirami. Badia Fie-
solana, 1821-26. 10 vols. 4°;
with engr. pis., mostly colour.
350 copies printed, and publ. at
650 fcs. £5.

Real genius and unswerving faith were
indeed wanted to sustain the persevering
earnestness of the writer through the stupen-
dous course of labour accomplished by Inghir-
ami. The man was incontestably a born
historian, and could, in many instances, dis-
play the sagacity of a true archaeologist. But
his infatuated admiration for Etruscan art left
no room in his mind for sedate consideration of
the subject. Nothing short of absolute fana-
ticism could,— in the face of so many contra-
dictory opinions, — have kept up his implicit
belief in his personal theory. The militant
zeal he displayed in his endeavour to foster
the acceptance of his own conviction that
Etruria had occupied the foremost rank in
ancient civilisation, can only be compared to
the fervour with which an inspired apostle
tries to win proselytes to a new creed. Fortune
and social position, leisure and pleasure, Inghir-
ami sacrificed them all to devote himself
entirely to his passionate worship of ancient
Etruria.

Accompanied by a small group of devoted
pupils and efficient assistants, the master
repaired to the Badia, an establishment
founded by Cosimo the Ancient for the cul-
ture of science, situated outside the walls oi
Florence. There he established his printing
works, and installed drawing and engraving
studios. Taking upon himself the whole
responsibility of the enterprise, he acted as
chief designer, engraver, and printer, devoting
all the moments he could spare from his active
direction to his archaeological researches anc
the writing of learned essays, all consecratec
to the greater glory of his dear Etruria. On"

220

can scarcely decide whether we should admire
or pity the outcome of such ambitious and
colossal efforts. At the present day his fondest
arguments are irretrievably discarded as un-
tenable. The actual examples he adduces
in support of his assertions are no longer con-
sidered to be true Etruscan works. Heedless
of their characteristic style, he grouped to-
gether, indiscriminately, all examples of pottery
that had been unearthed from the antique
necropolis of Italy. However distant from
what he took to have been the unique centre
of production might have occurred a discovery
of classical vases and terra-cottas, the whole of
it had for him a common origin ; he entertained
no doubt that it had all been imported there
from Etruria. In consequence of his stubborn
misconception, the majority of the fictile vases
he reproduced in his ponderous works, which
are unquestionable examples of Greek work-
manship, are absolutely foreign to the purpose
they were intended to serve.

Curiously enough, while absorbed in the
elucidation of painted vases, he bestowed little
or no attention on the black pottery called
Buccaro nero, the sarcophagi surmounted with
life-size figures, and other masterpieces of terra-
cotta, now recognised as the best representatives
of Etruscan ceramic art.

- Lettere di etrusca erudizione
publicate da Francesco Inghir-
ami. Poligrafta Fiesolana, 1828.
4°; with 14 pis. 15 fcs.

" Letters on Etruscan archaeology."

Pitture di vasi fittile, esibite
dal Cav. F. Inghirami per ser-
vire di studio alia mitologia ed
alia storia degli antichi popoli.
Poligrajia Fiesolana, 1831-37.
4 vols. 4°; with 400 pis. A
second edition was published in
Florence in 1852-56. 50 fcs.

" Paintings on fictile vases published
as helps for the study of mythology and
the history of ancient nations."

- Museo etrusco chiusino, dai
sui possessor! publicato, con ag-
giunto di alcuni ragionamenti
del prof. Dom Valeriani, e con
brevi esposizioni del Cav. F. I.
Poligrajia Fiesolana, 1833. 2
vols. 4°; with 216 pis. in out-
line. 60 fcs.

" The Etruscan museum at Chiusi ;
published by the owners, with a disserta-
tion by Professor D. V., and a few-
remarks by Cav. F. I."

IQU]

CERAMIC LITERATURE.

[JAC

A descriptive catalogue of the private collec-
tion of Mr. Casuccini at Chiusi, which contained
many specimens of Etruscan pottery and Greek
vases.

IQUELON (Collection de Mr. le Marquis d').—
Vente a Paris, Avril, 1887. 4°,
pp. 33 ; with 7 pis. Eouen fai-
ence, 126 Nos. Introductory
notice by G. Gouellain.

IRELAN (Linna). -Pottery. Sacra-
mento, 1890. (In the Ninth Ann.
Rapt. State Mineralogist of Cali-
fornia, pp. 240-261.)'

JACKOB (H.) (Publ. by).— Die neuzeit-
liche Technik der Thon-, Ziegel-,
Cement-, Kalk-, Porzellan-, und
Glass-Industrie und ihre Bezugs-
quellen. Praq, Apolda (1897).
12°, pp. 84.

"The latest technical improvements
in the clay, tile, . . . porcelain and glass
industries, and their sources of supply."

List of the last patents connected with
ceramic manufacture ; directory of machine-
makers, dealers in raw materials and chemicals,
and trade advertisement, chiefly connected with
Austrian industry.

JACKSON (W.).— A text-book on cer-
amic calculations, with examples.
London, Longman & Green, 1904.
12°, pp. xviii-67.

Prepared for the use of the classes in pottery
and porcelain manufacture, held under the
direction of the Staffordshire Education
Committee.

JACOB (G.).--Die Gleichberge bei
Romhild als Culturstatten der
La Tenezeit Mitteldeutschlands.
Halle a. d. S., 1887. 4°, pp. 50 ;
with 8 pis. and 155 illustrs.
Parts v.-viii. of the Vorgeschicht-
liche Alterthiimer der Provinz
Sachsen.)

"The fortified hills near Romhild,
centres of civilisation of the La T£ne
period in Central Germany."

A large accumulation of broken pottery has
been found in the locality. The vessels are of
coarse terra-cotta, almost without ornamenta-
tion. The name of the La Tene period has

been given to the time extending between the
eighth and fourth century B.C.

JACOBSTHAL (J, E.).— Sud-italienische
Fliesen-Ornamente, nach origi-

f O

nalaufnahmen. Berlin, E. Was-
muth, 1886. Fol., pp. 20 ; with
30 chromolith. pis. and 32 text
illustrs. 80 m.

" Ornamental tiles of South Italy
drawn from the originals."

More extensively than any other Italian
town, Naples has adopted — no doubt under
Spanish influence — the introduction of brightly-
coloured majolica tiles in the adornment of
private habitations. In other provinces we
see them employed chiefly for decorative
purpose, but under the burning sky of Naples,
floor and wall tiles are recognised as an absolute
necessity by all who care to keep the house
cool and clean. Along the quays of the town,
the sea-beach gives one an idea of the amazing
quantity of worn-out majolica tiles unceasingly
thrown away to be replaced by fresh ones.
Sand and pebbles disappear under a thick
layer of fragments, thinned and rounded by
the waves.

A Neapolitan tile-maker is usually estab-
lished in a very modest way of business.
Wherever he has found a place suitable for
setting up his working shed and his primitive
kiln, either on the quays or in the suburbs, he
may be seen working in the open air, alone or
assisted by a couple of apprentices. For a few
days he moulds the tiles, then he will glaze
and paint them, for he handles the painting
brush as well as the boss and the scraper. His
patterns, intensely gaudy, do not make any
pretence at refinement. Most of them have
been made by his father, and before him by
several generations of potters, all unconscious
of the advantages of art-training. When he
feels in want of a new design, the motive is
borrowed from the works of the house decorator,
and it is invariably in the debased rococo style,
which is still the glory of the lower class of
fresco-painting of South Italy.

We know more than one instance of these
conditionsof manufacture amongst the numerous
examples placed under our eyes by the collector.
With few exceptions they consist in geometrical
combinations of the circle and the straight line,
filled in with various colours, and forming such
designs as any hand can rapidly execute after a
little practice, or which can be produced by
stencilling. We need not say that the artist or
the amateur would look in vain for any rem-
nants of the tradition left by the majolica
decorators of the sixteenth century in these
showy and vulgar diapers. No indication of
dates or origin is given in any case ; many of
the designs may be, for ought we know, still
produced in our days ; some of them may go
back to the middle of the seventeenth century.
Be it as it may, the pattern produced by a
single tile, repeated indefinitely in the manner
of a modern woven fabric or a common wall
paper, cannot pretend to vie with the stylish
disposition of a Renaissance majolica pave-
ment. On the other hand, the Neapolitan

221

JAC1

CERAMIC LITERATURE.

[JAC

potter still possesses the secret of a shining
white enamel on which his many-coloured
arabesques stand out most effectively.

JACQUEMART (Albert). -La Porcelaine
des Medicis. Paris, 1857. 8°,
pp. 14. (Reprint from the Gaz-
ette des Beaux Arts.)

"The Medicean porcelain."

Notice sur les majoliques

de 1'ancienue collection Cam-
pana. Paris, Techener, 1862.
4°, pp. 28. (Reprint from the
Gazette des Beaux Arts, with
1 etching by J. Jacquemart.)

" Notice of the majolica in the collec-
tion Campana."

- Collection de Mme. Malinet.
Oriental ceramics. Paris, 1862.
8°, pp. 96. Privately printed.

— Collection Ch. de Ferrol.
Oriental porcelain. Paris, 1863.
8°, pp. 98.

Catalogue of sale.

— — Les merveilles de la cera-
mique, ou 1'art de fayonner et
decorer les vases en terre-cuite,
faience, gres et porcelaine depuis
les temps antiques jusqu'a nos
jours. Paris, Hachette, 1866-
69. 3 vols. 12°; numerous il-
lustrs. 9 fcs.

"The marvels of ceramics; being the
art of fashioning and decorating vases of
terra-cotta, faience, stoneware and porce-
lain from ancient times to the present
day."

This work is one of a series of handbooks
published under the title of The Library of
Marvels, hence the heading which, in this case,
might appear deceptive. It is needless to say
that it does not pretend to deal exclusively
with the most celebrated masterpieces of the
potter's art, but that it is intended to resume,
in a concise form, the history of the ceramic
productions of all times and countries. It is
divided into three parts : — I. The East — Egypt,
China, Japan, Persia, etc. II. The Occident —
Greek and Roman antiquity ; Italian and
French Renaissance. III. Faience and porce-
lain of Europe in more recent times. The
woodcuts drawn by Jules Jacquemart for the

222

illustration of the last two volumes may be
considered as models of the kind. One cannot
deny that on its publication this work answered .
a general desideratum, and it was succeeded
by a number of palpable imitations which were
brought into existence through the success it
had obtained. Most of them have followed
the plan adopted by Jacquemart, and made
good profit of the information he had accumu-
lated ; and yet, in most cases, if his name is
at all mentioned it is in connection with some
error he may have committed.

Histoire de la ceramique.
Etude descrip ti ve et raisonnee des
poteries de tous les temps et de
tous les peuples. Paris, Hach-
ette, 1873. 8°, pp. 750; with
146 text illustrs. and 12 copper-
plate etchings by Jules Jacque-
mart. 25 fcs.

" History of the ceramic art. A
descriptive and methodical study of the
pottery of all ages and countries."

The letterpress and illustrations are practi-
cally the same as in the small volumes entitled
The' Marvels of Ceramics, but the addition of
twelve etchings by J. Jacquemart is sufficient
to impart to this edition a special interest. It
is seldom one sees freedom of execution united
to the same degree with absolute accuracy of
rendering. These plates offer the charm one
can only expect to find in a spirited sketch,
and yet the effect is as true and complete as
that of a highly finished work. As the copper
plates have suffered much from excessive use,
one should be careful to select good proofs.

A. Jacquemart died two years after the
publication of this volume. Accounts of his
life and labours were published in 1875 by
A. Darcel, in the Gazette des Beaux Arts, and
by P. Salin, in the Bulletin du Bouquiniste.

An excellent translation in English of the
above work was supplied in 1873 by Mrs. Bury
Pallisser.

JACQUEMART (Albert) and LE BLANC (E,).—
Anciennes faiences fran§aises.
Paris, 1859. 8°, pp. 23. (Re-
print from the Gazette.)

" Ancient French faience."

- Histoire artistique industrielle
et commerciale de la porcelaine,
accompagne'e de recherches sur
les sujets et emblemes qui la
decorent, les marques et les in-
scriptions qui font connaitre les
fabriques d'ou elle sort, les vari-
ations de prix qu'ont obtenus

JAC]

CERAMIC LITERATURE.

[JAH

les principaux objets comrns et
les collections oti ils sont con-
serves aujourd'hui. Paris, Tech-
ener, 1862. Imp. 4°, pp. 690;
with 27 etchings by J. Jacque-
mart. 75 fcs.

" History of porcelain, artistic, in-
dustrial, and commercial ; with expla-
nations of the subjects and emblems
entering into its decoration ; the mai'ks
and inscriptions indicating the places of
manufacture ; the variations in the prices
obtained by the most notable pieces ; and
the collections in which they are pre-
served at the present day."

The rapid advancement in ceramic history
made during the last few years has rendered
the works of Jacquemart somewhat out of date,
but we must not forget that he was one of the
first writers who gave to that branch of learn-
ing its now recognised importance, and that his
books resumed faithfully the knowledge that
was then available.

Endowed with the enquiring and methodical
turn of mind which makes an archaeologist,
supplemented by an intense love for all that is
beautiful, Jacquemart could not rest satisfied
with the matter-of-fact occupation he had to
follow in the custom-house offices, which he
entered as a youth, and where he afterwards
occupied a distinguished position. All his
leisure hours were devoted to literature ; his first
efforts resulted in the publication of a charm-
ing volume on elementary botany dedicated to
young ladies. Soon afterwards his good fortune
threw him in constant intercourse with the
most celebrated collectors of curiosities in
Paris and the provinces. His genial spirit
and courteous manners cemented a life-long
friendship with his associates. Naturally his
attention was soon turned towards ancient
ceramics, the engrossing topic of the times.
To hear such men as Riocreux, Pettier, Fillon,
Gasnault, and all their colleagues, discourse on
the fascinating subjects, to be initiated in
their discoveries, to share their patient in-
vestigations, was bound to end in more than a
fruitless admiration for the objects of their
common pursuit. The history of porcelain,
which he wrote in collaboration with E. Le
Blanc , was the consequence of that intimacy with
so many keen connoisseurs, and it embodied
the sum of information he had sedulously
gathered. All previous authors who had in
any way approached the subject were put under
contribution by him, and there was not a
specimen of interest in the museums and private
collections of the town that he did not examine
and discuss. Unfortunately he never travelled
abroad, and he was thus deprived of studying
the treasures preserved in foreign countries.
Considering that many branches of the ceramic
art were then either unspoken of or just being
investigated, we must not be surprised if, in a
book of such wide scope, some parts fail to
satisfy us. To achieve a complete success was
beyond human possibility. The chapter on
Chinese porcelain has been particularly criti-

cised. He proposed a classification based upon
the prominent colour of certain specimens ; the
names of "famille rose" and "famille verte,"
which were accepted by many connoisseurs,
ought to have been completely abandoned.
The volume, handsomely printed by Perrin, of
Lyons, was most favourably received on its
publication, and the plates it contains will
always offer a particular interest. They are
the first trials with the etching needle of his
son Jules Jacquemart, who was to become one
of the greatest masters of the art. He was
at the time a decorative painter, but at his
father's instance he undertook to illustrate the
forthcoming book with copper plates. Al-
though the series is not a long one, we can see
the artist struggling in the first plates with the
technical difficulties, but mastering the process
so rapidly, that when the work was at an end,
we are bound to say he had nothing more to
learn.

The first issue of the History of Porcelain
was limited to a small number of copies and
was soon out of print. It came out in three
parts, each covered with a printed wrapper.
Since then more copies have been put in the
trade, bearing the original date, but sewn in
one volume with a plain wrapper ; in all these
the plates seem to be the worse for wear.

JAGOR (F.)- — Die Herstellung
schwarzer Thongefasse in Indien
und bei der Turkei. £erlin,1879.
8°; with 1 illustr. (Notes by Dr.
Sarnow. )

" The method used in India and Turkey
for making black earthenware vessels."

JAHN (Albert). — Abhandlung iiber un-
teritalisch-keltische Gefasse in
der Vasen Sammlung des ber-
nischen Museums, ein Beitrag
zur Kunde der keltischen orna-
mentik und symbolik. Bern, A.
Jenni, 1846. 4°, pp. vi-38 ; with
3 lith. pis. 4 fcs.

" A disquisition upon the Celtic vessels
of lower Italy in the collection of antique
vases in the museum of Berne ; being a
contribution towards the study of sym-
bols in Celtic ornamentation."

Included in the small collection of Greek
vases sent to the Berne Museum by the corps
of officers in the service of the King of Naples,
were twelve earthen vessels in which the writer
of this disquisition thought he could recognise
all the characteristics of true Celtic work. He
compares the punctures, circles, and diagonal
strokes incised in the clay of these vessels, with
the similar signs found on the bronze orna-
ments, the coins, and the other objects dis-
covered in the graves of the Celts, particularly
in Switzerland.

223

CERAMIC LITERATURE.

JAHN (OttO). — Beschreibung der
Vasensammlung Konig Ludwigs
in der Pinakothek zu Mtinchen.
Munchen, Lindauer, 1854. 8°,
pp. ccxlvi (introduction) 389
(catalogue and tables); with 11
pis. of forms in outline, and in-
scriptions. 12 m.

" Description of King Lud wig's collec-
tion of vases in the Munich Pinakothek."

In Otto Jahn modern archaeology recognises
one of its revered masters. He took the lead
in the movement instituted in Germany for the
reformation of the study of Greek vase paint-
ings. While his learned colleagues, with Ger-
hard at their head, were too timid to disengage
their method of analysis from the hampering
web woven by their predecessors, Otto Jahn
had the good sense and the courage to break
off frankly from the errors and fallacies of
tradition. He fought the battle armed with
logic and sound learning. Going over the old
ground he repudiated for once and all every
theory which could not stand the test of critical
examination. His first care was to impress
upon the mind of the students the necessity of
discarding the recollection of most of what
they had learned before. His principles are
clearly set down in the introduction to his
catalogue of the Munich Museum ; perhaps the
best pages that have ever been written on
Greek vase paintings. It required at that
moment, on the part of an historian, a certain
amount of rashness, and a full confidence in
the weight of his argumentation, to advance
and maintain the original opinions he enter-
tained on many points. For instance, he refuses
to see a direct application to the memory of the
deceased in the subjects represented on the
vases deposited within the tomb ; he makes
light of the "Genii of Mysteries," a convenient
allegory which had so far helped to give a
mystical signification to all paintings contain-
ing a winged figure ; and, when confronted
with one of the incoherent inscriptions which
had so far fruitlessly exerted the ingenuity of
the stubborn explainer of undecipherable texts,
he has no hesitation in saying that they must
be looked upon as meaningless letters, traced
by the hand of an illiterate potter. These and
many other hyperbolical statements he reduced
to sober truth ; most of his conclusions have
now been accepted by the latest writers. He
foresaw the importance of determining the
origin, epoch, and special technique of the
vases, essential points which had previously
been overlooked, but which form the basis
of modern science. A selection only of the
titles of his numerous works is given here, but
a complete list will be found in the index of
Hiibner's book, Bibliographie der klassischen
Alterthumswissenschaft. Berlin, 1889.

Vasenbilder. Orestes in

Delphi. Theseus und der Mino-

tauros. Dionysos, und seine

Thiasos. Diomedes u. Helena.

224

Poseidon u. Amymone erklart.
Hamburg, 1839. 4°, pp. 40 ; with
4 pis.

" Vase paintings. Explanation of the
subjects, Orestes at Delphi, etc."

- Ueber eine Vase des archa-
ologischen Museums der Uni-
versitat Leipzig. £./., 1847. 8°;
8 pis.

" Upon a vase in the Leipzig Archaeo-
logical Museum."

— Lettre a Mr. J. De Witte sur
les representations d' Adonis.
Paris, 1846. 8°; with 5 pis.

" Letter to Mr. J. De Witte on the
representations of Adonis."

- Ueber ein griechisches Terra-
cotta. ££,1848. 8°, PP- 8; 1 pi.

Upon a terra-cotta bas-relief.

- Ein Vasenbild der Miinchner
Sammlung. S.l.,n.d. 8°, pp. 28 ;
3 chromolith. pis.

" A vase painting in the Munich
Museum."

— Ueber ein griechische Terra-
cottagefass des archaologischen
Museums in Jena. S.I., 1853.
8°, pp. 8 ; with 2 pis.

" Upon a vase of Greek terra-cotta in
the Jena Archaeological Museum."

- Ueber einige Abenteuer des
Heracles auf Vasenbildern. S.I,
1853. 8°, pp. 16; with 6 pis.

"The adventures of Hercules, from
vase paintings."

Ueber einige Vasenbilder,
welche sich auf die Sage vom
Zug der Sieben gegen Theben
beziehen. S.I., 1853. 8°, pp. 12 ;
Ipl.

" On some pictures upon Greek vases,
having reference to the legend of the
march of the seven chiefs against
Thebes."

JAN]

CERAMIC LITERATURE,

[JAN

- Ueber em Vasenbild, welches
eine Topferei vorstellt. S.I.,
1854. 8°; pi.

"On a vase painting representing a
pot works."

- Riti Bacchic! e combattimenti
di Cantauri, pitture d'un vaso
della Magna Grecia. Roma, 1860.
8°; with 3 pis.

"The Bacchanalian rites, and the fight
of the Centaurs ; pictures of a vase of
Great Greece."

- Ueber Darstellungen griech-
ischer Dichter auf Vasenbildern.
Leipzig, 1861. 4°, pp. 63 ; with
8 pis. 6 m.

" Representations of the Greek poets
in the vase paintings."

— Ueber bemalte Vasen mit
Goldschmuck. Leipzig, 1865.

4°, pp. 28 ; 2 pis.

" Painted vases with gilt orna-
mentation."

Darstellungen des Handwerks

imd Handelswerkers auf Vasen-
bildern. S.I., 1867. Pp. 45;
5 pis.

" Representations of trades and crafts-
men upon painted vases-."

Kottabos auf Vasenbildern.
Gottingen, 18Q8. 8°, pp. 40; with
4 pis.

" The game of Cottabos on the painted

vases.

Eduard Gerhard. Ein Le-
bensabriss. Berlin, 1868. 8°.
" A sketch of the life of E. Gerhard."

JANNICKE (Friedricll).— Grundriss der
Keramik in Bezug auf das Kunst-
gewerbe. Eine historische Dar-
stellung ihres Entwicklungs-
ganges in Europa, dem Orient
und Ost-Asien, von den altes-
ten Zeiten, bis auf die Gegen-
wart. Ein zuverlassiger Fiihrer
ftir Kunstfreunde, Sammler, Fab-
15

rikanten, Modelleure und Gew-
erbeschulen ; wie auch als Er-
ganzung zur Kunstgeschichte.
Stuttgart, P. Neff, 1879. 4°, pp.
1,021; with 460 illustrs. and an
appendix, of pp. 95, containing
2,645 marks and monograms.
50 m. (The list of marks has
also been issued separately.)

" An outline of ceramic history in its
relation to industrial art. Historical
account of its development in Europe,
the Orient, and Eastern Asia, from the
earliest period up to the present day. A
safe guide for the collector, the manu-
facturer, the modeller, and the technical
schools, and a complement to the general
history of art."

A formidable mass of ceramic books and
pamphlets has been consulted and dissected in
the preparation of this portentous tome.
Labouring under a feeling of aspiration to
achieve the arduous completeness to which
the works of the German compilers have
accustomed us, the author has endeavoured to
condense the contents of a whole library in a
single volume. A book of that order may be
enlarged to any extent. This is quite large
enough. It might even have been improved if
it had been shortened by the excision of some
of the erroneous matter that has crept into the
text. Original contributions cannot be ex-
pected in this overdrawn epitome of current
knowledge ; nor should one be surprised at
seeing that all the illustrations have been
borrowed from previous publications.

Die gesammte keramische
Literatur. Ein zuverlassiger
Ftihrer fur Liebhaber, Gewer-
betreibende und sonstige Inter-
essanten ; zugleich ein Supple-
ment zu des Verfassers " Grun-
driss der Keramik." Stuttgart,
P. Neff, 1882. 16°, pp. xvi-146.
7m.

" A complete bibliography of the
ceramic literature. A trustworthy guide
for amateurs, manufacturers, etc., a com-
plement to the author's Grundriss der
Keramik."

A list grounded on Champfleury's biblio-
graphy, to which titles of some works on
classical ceramics and general archaeology have
been added. In no case is any explanatory
note appended to the title.

- Altes und Neues liber Maestro
Giorgio, und die Fayencen von

225

JAN]

CERAMIC LITERATURE.

[JAN

Gubbio. 1882. 4°, pp. 14. (Extr.
from Kunst und Gewerbe.)

" Information, old and new, about
Maestro Giorgio and the Gubbio
Faience."

JANNICKE (Friedrich). — Mettlacher

Museum. 1 Abtheilung. Deut-
sches Steinzeug bis zum Ende
des xviii Jahrhunderts. Maenze,
C. Wallau, 1884. Sm, 4°, pp. vi-
96; with 11 phototyp. pis.
Privately printed.

" Mettlach Museum. Part I. German
stoneware up to the end of the eighteenth
century."

To assist their artists and workmen in the
production of the superior class of stoneware,
for which the Mettlach factory is so justly
celebrated, Messrs. Villeroy et Bock have
thought it expedient to form, on the premises,
a museum, in which the best types of the
ancient manufacture should be worthily repre-
sented. In order that the utility of such a
museum should not be confined to their own
people, they have published, for presentation,
a catalogue raisonne" of the specimens it con-
tains, illustrated with excellent reproductions.
Mr. Jannicke, who was entrusted with the
preparation of that catalogue, has prefixed
each section with a historical notice. The
knowledge of the history of the ancient
factories of German stoneware has advanced so
rapidly, that these notices now appear some-
what incomplete.

Handbuch des Porzellan-,

Steingut-,und Fayencen Malerei,
iiber und unter Glazur in ihren
verschiedenen alteren und neu-
eren Arbeiten, etc. Stuttgart,
1891. 8°, pp. 316 ; with 23 il-
lustrs. 5 m.

" Handbook of the painting upon
porcelain, stoneware, faience, etc., over
and under the glaze, by the ancient and
modern methods."

JANNICKE (Friedrich) und GRAESSE (Th.).-
Guide de 1'amateur de porce-
laines et de faiences, edition
revue et augmentee par Jaen-
nicke. Dresde, 1894. 12°.

An enlarged edition of the above work was
issued in 1906. 8s.

Mr. Jaennicke has contributed to the artistic
periodicals of Germany many papers on cera-
mics, mostly translations or extracts from
foreign publications.

226

JANSSEN (L. J. F.).— Die etrurische
Grabreliefs uit het Museum van
Oudheden te Leiden. Leiden,
1854. Fol, pp. 26 ; with 20 lith.
pis. 10 fcs.

" Etruscan urns with reliefs in the
Leydeii Museum of Antiquities."

- Terra-cottas uit het Museum
van Oudheden te Leiden. Ley-
den, 1862. Fol., pp. 28 ; with
58 lith. pis. 15 fcs.

" Terra-cottas in the Museum of Anti-
quities of Leyden."

To report upon the value of the antiquarian
knowledge displayed in this work is beyond
our province. As to the merits of its illustra-
tions, we have no hesitation in saying that they
are about the most wretched lithographic plates
we have ever seen. The crude touches of colour,
with which they are illuminated by hand, render
them still more unseemly.

JANVIER (Catherine A.).— Practical ker-

amics for students. London and
New York, 1880. 8°, pp. 258.
2s.

The student who peruses this handbook will,
it is said, have gained a sound knowledge
of all the elements of the potter's art. It
begins with the remark — "A pot is a vessel
intended to contain something," and it ends
with a chapter on "a few aesthetic hints." In
the intervening pages, history, technics, in-
structions on decorative processes, etc., are
run through at a brief canter. Illustrations
have been dispensed with as unnecessary in a
book whose only aim is to be eminently
practical.

JANZE (Collection de Mr. le Yicomte Hte. de).

— Choix de terres-cuites antiques
du cabinet de Mr. le Vicomte
Hte. de Janz6, photographies
par Mr. Laverdet et reporters
sur pierre lithographique par
Mr. Poitevin. Texte explicatif
par Mr. J. de Witte. Paris,
impr. F. Didot, 1857. Fol., pp.
9 ; with 44 pis. 30 fcs.

" Selection of antique terra-cottas from
the Janze collection, reproduced in litho-
photography by Mr. Poitevin."

No terra-cotta could stand the test of such
an outrageous process of reproduction, without
losing all its charms. The shadowy figures
appear as an unintelligible confusion of white
and black patches on the inky background of

CERA MIC LIT ERA TUBE.

[JEW

the plates. Where are the sweet features, the
graceful cast of draperies, the undulating out-
line of the Greek statuette? All these we
know exist in the originals. In the repro-
duction nothing meets our eye but ugly stains
and cankered surfaces ; the rest is left to our
imagination.

The explanatory notice does not go beyond a
summary description of each object ; a line or
two for each plate, in which the figures are
simply named, without any mention of origin,
style, or the period to which they belong.

JARYES (James J.).— A glimpse on the
art of Japan. New York, Hurd
& Houghton, 1876. 16°, pp. 216 ;
Avoodcuts.

Chapter V. treats of the pottery and porce-
lain of Japan.

JATTA (G.).— I vasi italo-greci del
Signer Caputi, di Ruvo, descritti,
dichiarati e nella miglior parte
ancora inediti, pubblicati da G.
Jatta. Napoli, Tip. Testa, 1877.
8°, pp. 160; with 10 fold. pis. in
outline. 5 fcs.

" The Italo-Greek vases in the pos-
session of Sr. Caputi, of Ruvo, described,
explained, and mostly edited for the first
time ; published by G. J."

This collection was entirely composed of
antique vases discovered in the vicinity of
Ruvo. It was, almost exclusively, the result
of the extensive excavations conducted during
the previous year by F. Caputi on his own
estate. Consequently, the vases described and
reproduced in this catalogue were mostly un-
known to antiquaries. The vases are grouped
together by order of subjects ; an analytic
index is placed at the end of the volume.

JEGOU (F.). - - Industrie morbihan-
naise. La manufacture de por-
celaine de Lorient, 1790-1808.
Lorient, Texier, 1865. 8°, pp.
32. 3 fcs.

" The industry of the Morbihan pro-
vince. The Lorient porcelain manu-
factory."

The attempt to establish the manufacture of
porcelain at Lorient was not attended with
success. This paper records the difficulties
which had to be contended with before the
factory was definitely closed in 1S08.

- CeVamique bretonne. Porce-
laines et faiences lorientaises.
Lorient, 1876. 12°, pp. 12.

"Porcelains and faiences made at
Lorient."

JENTSCH (H.). — Das Graberfeld bei
Sadersdorf im Kreise Guben,
und die jungste Germanenzeit
der Niederlausitz. Guben, Koe-
nig, 1896. 8°, pp. 142; with 4
pis. and 142 illustrs. 2 m.

"The gravefield near Sadersdorf,
Guben, and the early German period
in lower Lausitz."

An account 'of the latest excavations con-
ducted in the province ; some pottery of the
"La Tene " and subsequent periods.

JERYIS (1. P.)- — Rough notes on
pottery. A complete history of
pottery, ancient and modern.
Appendix : Pate sur Pate by M.
L. Solon. Newark, N.J., s.d.
(1896). 8°, pp. 112; with 60 il-
lustrs. and 300 marks. 4s.

Contains interesting information respecting
the importation trade in the United States.
An enlarged edition was issued in the following
year.

A book of pottery marks.
Philadelphia, 1898. 8°, pp. 101.

Reproduction of several thousand pottery
marks, among which will be found those of the
modern manufacturers of America.

Encyclopedia of Ceramics.
New York, 1902. 8°, pp. 680;
with numerous illustrs. £1, 8s.

JEWITT (Llewellyn).— A history of the
Coalport porcelain works. Re-
printed from the Art Journal.
London, 1862. 32°, pp. 30 ; with
text illustrs. 3s.

L. Jewitt published many papers on
Ceramics in the Art Journal, to which he
was a constant contributor. They were all
subsequently incorporated in his books ; we
shall only mention those which appeared in a
separate form. The present one was reprinted
for Messrs. Daniell, china dealers, of Wigmore
Street, and was intended for distribution to
the visitors to their show at the International
Exhibition of 1862.

— A few words on " Fairy Pipes";
with a plate of old English to-
bacco pipes made at Broseley,
Shropshire. London, 1862. 8°.
(Reprint from The Reliquary.}

227

JEW]

CERAMIC LITERATURE.

[JEW

JEWITT (Llewellyn).— The Wedgwoods :
being a life of Josiah Wedgwood ;
with notices of his works and
their productions, memoirs of the
Wedgwood and other families,
and a history of the early pot-
teries of Staffordshire, London,
Virtue, 1865. 8°, pp. 435 ; with
a portrait and num. illustrs. 10s.

This biography appeared shortly before the
first volume of Miss Meteyard's Life of Josiah
Wedgwood could be made ready for publication.
If we believe the rumours current at the time,
it was only begun when Miss Meteyard had
terminated the larger part of her researches
and labour. It was well known that L. Jewitt
and his brother Orlando, the wood engraver,
had been intrusted with the care of designing
and engraving the illustrations prepared for
the forthcoming work, and that they had been
confidently kept acquainted with the progress
of the investigations prosecuted by the author
and her friends. It was, therefore, a surprise
for all to hear that the realisation of the
original scheme was to be forestalled by the
publication of another Life of Wedgwood, com-
piled by one who had so far been trusted as a
collaborator. Under such circumstances Joseph
Meyer refused to let L. Jewitt have access to
the Wedgwood paper he had lately discovered
at Newcastle, a treatment of which the latter
complains bitterly. We do not side with one
party or the other. No one will ever deny to
a writer the right of bringing out a work upon
a subject already chosen by another ; he does
it at his peril. Comparing the two competitive
biographies it is easy to decide which got the
worst of the contest. Our opinion upon Miss
Meteyard's book will be found in its place.
The ardent devotion to the memory of the
greatest English potter which pervades the
one is manifestly absent from the other. This
strikes us, in the cold and formal manner in
which statements and quotations, often irrele-
vant, are hurriedly strung together by L. Jewitt
without any personal appreciation being ex-
pressed of the importance they may assume
with respect to the delineation of the character
of the man whose life it is intended to glorify.
It is apparent, above all, in the perfunctory
manner in which the volume has been ' ' got up. "
Not one of the woodcuts with which it is
illustrated has been specially prepared ; any
worn-out cliches borrowed from various sources
were considered good enough for the occasion.

On the discovery of a tile
kiln at Repton, Derbyshire, by
the Rev. S. A. Pears, D.D.,
Headmaster of Repton School.
London, 1868. 8°, pp. 14 ; with
7 pis. (Reprint from The Reli-
quary.)

From the comparison of the tiles found
imbedded in the soil round the ruins of the

kiln discovered at Repton, with those still
extant in the churches, not only of Derbyshire,
but of the neighbouring counties, it would
appear that the builders of distant localities
derived their suppl}- of tiles from the same
source, and that the centre of production may
be fairly localised at Repton.

- Grave-mounds and their con-
tents. London, 1870. 8°; wood-
cuts.

- Catalogue of the well-known
and important typical and his-
torical collection of English
pottery and porcelain and foreign
examples formed by L. Jewitt
and J. F. Lucas, etc., many of
the specimens being unique and
others of the highest rarity. To
be sold by auction by Mr. Phil-
lips, July 3rd, 1871. London,
8°. Contains 687 Nos. ; with 10
pis. of woodcuts from the Art-
Journal t etc. 3s.

Notwithstanding the commendatory annota-
tions so abundant in all the pages of this
catalogue, such as "Very fine and scarce,"
" perfectly unique," "the choicest of existing
examples," etc., when we look at a priced
copy we are not a little astonished to see that
most of the items so enthusiastically described
could not reach more than a few shillings at
the auction sale.

The ceramic art of Great
Britain from the prehistoric
times down to the present day ;
being a history of the ancient
and modern pottery and porce-
lain works of the kingdom, and
of their productions of every
class. London, Virtue & Co.,
1878. 2 vols. 8°, pp. 1,100;
with nearly 2,000 woodcuts and
a lithogr. portrait of the author.
£1, 10s.

A second edition appeared subsequently
compressed in one volume.

This is the magnum opus of the writer.
Year after year, scraps upon scraps of informa-
tion relating to English pottery and porcelain
were steadfastly filed, docketed, and indexed
by him under their respective headings. Copious
records were extracted from county histories and
local periodicals old and new ; transcripts were
obtained of ancient documents of some import-
ance to the trade ; rare pamphlets were ferreted

JEW]

CERAMIC LITERATURE.

[JOL

out and put under contribution ; and a long
list of names of obscure potters was exhumed
out of the trade directories of past and present
times. In short, all the preparatory work had
been made ready, through which a complete
history of the development of ceramic art in
Great Britain might have been elaborated.
But we are bound to say that, given to us with
as little discrimination as it was gathered, this
large stock of raw material has been disposed
of without sufficient attention being bestowed
upon its proper co-ordination. It has resulted
in a ponderous and ill-digested account bristling
with details devoid of interest, or quite irrele-
vant to the subject.

Taken as a kind of enlarged dictionary of the
British pottery trade, these two volumes will
be of great service to the experienced collector
who, wanting to refresh his memory, refers to
them for verifying a name, a fact, or a precise
date. But an unprepared student, bent on
following the historical march and progress of
ceramic art in England, had better give up all
hopes of finding his way to knowledge through
this babel of desultory information.

A few monographs of the chief centres of
manufacture, reprinted from the Art Journal
and other periodicals, form the best portion of
the book. The rest is composed of random
notices of the minor works, most of them still
in existence, often printed verbatim, if we are
not mistaken, from the particulars supplied by
the manufacturer himself. Each article is
accompanied by numerous, but very stale,
woodcuts. The advertising catalogues of the
International Exhibitions have supplied the
larger part of the illustrations ; everything
they contained which referred to English
pottery, down to the lowest pattern of the
export trade, has been indiscriminately bor-
rowed to swell the number ; we have seen them
all do duty in other circumstances, and, in
most instances, had no need to see them again.
L. Jewitt was too prolific a writer not to have
left work showing signs of insufficient pre-
paration. Obviously deficient in artistic taste,
as well as in technical knowledge, he was not
able to assign to each manufactory its proper
place in order of merit ; praises and censure
are distributed throughout without measure or
distinction. His constant aim is to force upon
us the conviction that he has said the last word
upon each question he has treated, and to put
us on our guard against the opinion expressed
by other writers for whom he affects to enter-
tain very little consideration. As to the assist-
ance he has derived from the works of these
latter, and the very sources from which he
obtained his materials, they usually remain
unacknowledged.

- Half-hours among some En-
glish antiquities. London, Bogue,
1880. 8°, pp. 247 ; with 320 il-
lustrs. 5s.

The chapter on prehistoric pottery contained
in this volume repeats what is to be found in
his earlier books.

Early in life, chance had thrown L. Jewitt in
communication with Thomas Bateman, who
employed the young man in taking sketches of
the objects that were discovered in the exten-

sive excavations that the well-known antiquary
was prosecuting in Derbyshire and Stafford-
shire. Two folio volumes in the Bateman
library contained no fewer than five hundred
drawings executed by Jewitt at his request.
This, no doubt, drew the occasional designer
towards the archaeological science. Although
he was not what is usually termed a classical
scholar, he acquired from his association with
the learned men for whom he drew cinerary
urns and Saxon fibulse, if not a substantial part
of their knowledge, at any rate the practice of
the high-stilted language in which he was, in
after years, so fond of indulging.

JOCHEM (P.).— Die Bestimmung der
technisch-wichtigsten physikal-
ischen Eigenschaften der Thone,
wie Plasticitat, Bindevermogen,
Sehwinden und Feuerbestandig-
keit. Berlin, 1885. 8°; with 3
pis. 1 m. 50 pf.

"The determination of the technical
and physical properties of the clays, such
as plasticity, tenacity, contraction and
refractoriness."

Reprint from the Chemisches Cenlralblatt,
vol. xvi.

JOHNSTON (David).— Rapports sur la
manufacture de porcelaines et
de poteries fines & Bordeaux.
Bordeaux, impr. J. Del mas, 1855.

8°.

" Report upon the manufactory of
porcelain and earthenware at Bordeaux."

The porcelain works which D. Johnston
acquired from Mr. de Saint Amant in 1839
is not mentioned in the ceramic histories ; all
information concerning its productions must
be looked for in this paper.

JOLLIYET (J.).— Peinture en email sur
lave, sa raison d'etre et sa de-
fense centre les obstacles opposes
k son adoption. Paris, 1862. 8°.

" Enamel painting upon lava ; its
applicability, and its defence against
the opposition raised to hinder its
adoption."

JOLY (Alexandre).— Paul-Louis Cyffle.

Notice biographique sur P. L.
CyiHe*, de Bruges en Flandres,
sculpteur du Roi de Pologne,
Due de Lorraine, a Luneville.
Nancy, impr. Lepage, 1864. 8°,
pp. 22. (Reprint from the Mem-

229

CERAMIC LITERATURE.

[JOS

oires de la Societe d'archeologie
lorraine.)

"Biographical notice of P. L. Cyffle,
of Bruges, in Flandres, sculptor to the
King of Poland, Duke of Lorraine, at
Luneville."

The name of this sculptor is associated with
the productions of several factories of porcelain
and faience of the North of France. He is
particularly known for his figures in Terre de
Lorraine.

JONES (Collection).— Handbook of the
Jones collection in the South
Kensington Museum. London,
Chapman & Hall, 1883. 8°, pp.
160; with 53 illustrs. Is. 6d.

Sevres porcelain, 89 Nos. ; Oriental porce-
lain, 34 Nos. ; Chelsea porcelain, 14 Nos. ;
Dresden porcelain, 10 Nos. Moreover, the
collection contains a few pieces of furniture
of the Louis XVI. style of the highest order,
inlaid with Sevres plaques.

JONES (J. C.). — Efflorescences of
bricks. Urbana, 1906. 8°, pp.
21. (From University of Illinois
Bulletin.}

JONES (Owen).— Designs for mosaic
and tessellated pavements : by
Owen Jones, Archt. ; with an
essay on their materials and
structure by F. O. Ward. Lon-
don, publ. by J. Weale for J. M.
Blashfield, 1842. Sm. fol., pp.
6; with 10 col. pis. £1. Some
copies contain an Appendix : An
account of the new process in-
vented by R. M. Prosser. . . .

The pavements were executed by J. M.
Blashfield, with tesserae, manufactured by Mr.
H. Minton.

Examples of Chinese orna-
ment selected from objects in
the So.uth Kensington Museum
and other collections. London
S. & T. Gilbert, 1868. 4°, pp
15 ; and 100 pis. in colours.

Conceived on the same plan as the Grammar
of Ornament by the same author, this excellent
selection of Chinese patterns, reproduced in
the size of the originals, is of the greatest
utility to the decorative artist. The examples
are taken from porcelain vases and cloisonne
enamels.

230

JORGIEYITCH (B.).— A brief descrip-
tion of the Odessa Museum.
3rd ed. Odessa, 1892. (In
Russian.)

JORIO (A. de).— Sul metodo degli
antichi nel dipingere i vasi, e
sulle rappresentanze de piu in-
teressanti del Museo, etc. Na-
poli, 1813. 8°. 3 fcs.

" The ancient methods of vase paint-
ing, and the description of the subjects
represented on the most interesting vases
of the museum."

Two letters to Cavaliere Matteo Galdi.

- Metodo per rinvenire e fru-
gari i sepolchri degli antichi.
Napoli, 1824. 12°; with 8 pis.

" The method of discovering and ex-
ploring the sepulchres of the ancients."

El real museo Borbonico.
Galleria dei Vasi. Napoli, 1825.
8°, pp. 136 ; with 2 pis. of forms.
2 fcs.

JOSEPH (Collection E.).- Catalogue of
sale. London, Christie, 1890.
4°, pp. 156 ; with 33 pis.

A miscellaneous collection in which ceramics
were indifferently represented.

JOSEPH (Felix). — Tables of mono-
grams and marks placed on
various potteries of known ori-
gins ; arranged firstly by order
of the pottery and then geo-
graphically. London, privately
printed, 1857. 4°, p. 1 ; with 27
lith. pis. of marks.

Felix Joseph, for many years established in
New Bond Street, was one of the leading mem-
bers of the curiosity trade. The ambition of a
dealer in works of art is, and will always be,
to be regarded not so much a clever man of
business as a keen and learned connoisseur.
One of the most usual steps he will take to be
recognised as such is to publish a small volume
which, on being presented to a customer, shall
impress him with the notion that he is not
dealing with an ordinary man. A list of marks,
or ceramic handbook, may accomplish that pur-
pose, without giving to the compiler much
trouble to prepare the work. The dealer's
book forms a special class in ceramic literature ;
we shall not range them under a special head-

JOU]

CERAMIC LITERATURE.

[JOU

ing, although they are numerous enough to
form a group which the student should be
recommended to put aside. They are generally
commonplace compendiums of hackneyed in-
formation. It is only on the rare occasions
when the writer ventures to gratify us with
the fruit of his personal experience and the
result of his own remarks, that they exhibit a
freshness of view not to be found in the works
of qualified ceramographers.

As a private collector F. Joseph possessed a
large number of choice pieces of Wedgwood
ware, which have been seen on loan in the
Nottingham and other provincial museums.

JOUAIN (P. A.)-— Notice sur Bernard
Palissy ; suivie d'un aper§u de
ses ecrits et de ses santonismes,
ou locutions saintongeaises, et
d'une complainte sur sa vie.
Paris, Chamerot, 1864. 12°, pp.
48.

" Notice of Bernard Palissy ; to which
are added some remarks upon his writ-
ings ; the words of the Saintonge dialect
he has made use of ; and a popular ballad
upon his life."

A literary lucubration of the deepest pro-
vincial tinge. The life of the great potter is
narrated in a familiar conversation which takes
place between an old woman of Saintes and
her young son. To gratify the pride of Palissy's
countrymen has been the chief object the writer
had in view. He recognises the vernacular of
his province in the original memoirs, and
mentions no fewer than 95 words of Saintongian
origin he has discovered in the text. We owe
to him the enumeration of Palissy's inventions
and discoveries, which he reckons to amount
exactly to 66. Of the fancy portrait in which
the hero is represented handcuffed and chained
up to the wall of the dungeon, as well as of the
popular ballads, or "complaintes," which begin
and end this grotesque production, it is perhaps
better to say nothing.

JOUANNET (F.)-— Notice sur les an-
tiques sepultures populaires du
Departement de la Gironde.
Bordeaux, 1831. 8°, pp. 23 ; with
7 pis. (Extr. from Academic de
Bordeaux. )

" Notice of the ancient popular graves
in the Gironde Department."

Rapport & la societe* philo-
matique sur les poteries fab-
riquees par Mr. de Saint-Amans,
a la maniere anglaise, avec les
argiles du Departement de la
Gironde. Agen, Noubel, 1832.
8°, pp. 6.

" Report addressed to the Philomatic
Society on the pottery manufactured after
the English method by Mr. de Saint-
Amans, with the clay found in the
Department of Gironde."

JOUHANNEAUD (C.).— Le repos du Di-
manche dans les fabriques de
porcelaine. Limoges, impr. Chap-
oulaud, 1878. 8°.

"Sunday rest in the porcelain manu-
factories at Limoges."

A plea in favour of one day weekly rest being
made obligatory for the benefit of the workmen.

Anciennes porcelaines de
Limoges. An article in the Cat.
off. de VExp. de Limoges en 1903.
pp. 236-264.

About forty factories, in existence from 1774
to 1902, were represented at the Exhibition by
327 pieces, all fully described and identified
by the writer of the article, himself a local
manufacturer.

JOURDY (General). - - Histoire geol-

ogique de la faience de Rouen.
Rouen, 1907. 8°, pp. 96; with
7 illustrs. 1 fc.

" Geological history of the Rouen
faience." .

An examination of the clays employed in
the manufacture of pottery.

JOUSSELIN (C. R.).— Essais sur le per-
fectionnement general des pot-
eries, ou 1'art de faire k moindre
frais des vaiselles pour toutes
sortes d'usages, plus belles, plus
solides et plus salubres, sans
employer ni plomb ni e'tain dans
la composition des couvertes,
emaux et vernis. Paris, Mor-
onval, 1807. 8°, pp. 21.

" Essays on the general improvement
of pottery ; being the art of manu-
facturing, at the least cost, earthen
vessels for every requirement, of the finest,
strongest, and most healthy kind, without
introducing either lead or tin into the
compositions of the glazes and enamels."

A promising title and a very disappointing
pamphlet. After having discanted at great
length on what he considers the imperfection
and the insalubrity of the pottery of the
times, the writer — a Nevers master potter —
alludes, in a few guarded words, to the secret

231

JOU]

CERAMIC LITERATURE.

[JUM

processes he has discovered, by means of which
he hopes to revolutionise the conditions of
French manufacture. This is but the preamble
to an earnest appeal to the public to obtain the
capital required to carry out his vast scheme.
He addresses himself, particularly, to the
patriotic feelings of his countrymen who, says
he, ought to support him in his efforts to release
France from the tribute she had, so far, paid to
England for a supply of potter's raw materials
and of earthenware of superior quality.

JOUYEAUX (£.)•— Histoire de trois
potiers celebres. Bernard Pa-
lissy, Josiah Wedgwood, Fred-
eric Bottger. Paris, Hachette,
1874. 12°. 2fcs.

" The history of three celebrated
potters."

A familiar narrative, intended to please
youthful readers, in which the anecdotical
portion of the standard biographies is made
the subjects of short and interesting tales.

JOUY (P. L). — The collection of
Korean mortuary pottery in the
U.S. National Museum. Wash-
ington, 1890. 8°, pp. 26 ; with

5 pis. (Reprint from Reports of
the National Museum, 1888.)

A descriptive catalogue of the specimens
preserved in the museum. Korea, says the
writer, is one vast graveyard. The tombs, the
Ihost ancient of which belong to prehistoric
times, abound in unglazed pottery, often decor-
ated with incised lines.

JUDICA (G.).— Le antichita di Acre,
scoperte, descritte ed illustrate
dal Barone Gabrielle Judica.
Messina, 1819. Sm. fol., pp. 167-
v ; with 34 pis. Terra-cottas,

6 pis. Painted vases, 16 pis.
On the title page a vignette en-
graved by G. Politi. 15 fcs.

" Antiquities discovered at Acre."

JULIEN (Stanislas). — Histoire et fabri-
cation de la porcelaine chinoise,
ouvrage traduit du Chinois. Ac-
compagne' de notes et d'addi-
tions par Mr. A. Salvetat, et
augmente d'un memoire sur la
porcelaine du Japon, traduit du
japonais par le Dr. Hoffmann.
Paris, Mallet-Bachelier, 1856.
8°, pp. cxxiii-320; with a map
of China showing the situation
232

of the ancient and modern por-
celain manufactories, and 14 pis.,
on which the process of manu-
facture followed in China are il-
lustrated. 10 fcs.

" History of the Chinese porcelain and
description of its manufacture, a work
translated from the Chinese ; enlarged
and annotated by Mr. A. Salvetat, and
accompanied with a treatise on the
Japanese porcelain, translated from the
Japanese by Dr. Hoffmann."

This book is the fountain-head of our know-
ledge on Chinese porcelain and its manufacture.
It is a translation of a work much valued in
China, where it is considered as the best treatise
which has ever been written, and as an undeni-
able authority on the subject. The exact
signification of the technical terms employed
by the writer, and which only a Chinese potter
could be expected to understand, is often
difficult to grasp. The translator himself
entertained some misgivings in this respect,
and he recognizes that certain passages may
receive, at a future day, an interpretation
differing from the one he has given. Such a
revision has not yet been attempted, no Oriental
scholar in Europe has, so far, felt himself equal
to the task, or has cared to attempt it. All
critics directed against Stanislas Julien's trans-
lation rest upon the speculations of collectors
who are themselves unacquainted with the
Chinese language.

JULLIAN (C.)- — Notes gallo-romaines.
Kemarques sur un essai d'inven-
taire des Figlinae gallo-romaines.
Paris, 1899. 8°, pp. 19. (In

Revue des etudes anciennes.)

" Gallo-Roman notes. Observations
upon an attempt at an inventory of the
Gallo-Roman pottery."

JUMELIN (Silvestre).— Rapport fait au
bureau de consultation des Arts,
concernant Mr. Le Masson, Ar-
tiste, et concluant £i ce qu'il lui
soit accorde une Recompense
Nationale de Six cents livres,
pour le perfectionnement qu'il a
apporte dans la fabrication des
Poteries et des Porcelaines, avec
les argiles de la Manche et no-
tamment avec le kaolin de Va-
lognes. Valognes, impr. Buhot,
1792. 8°.

"Report addressed to the Committee
of Arts concerning Mr. Le Masson,

JUS]

CERAMIC LITERATURE.

[KAS

artist, and recommending that a National
reward of six hundred francs should be
granted to him for the improvements he
has introduced in the manufacture of
pottery and porcelain, by making use of
the clays found in the Manche, especially
the Kaolin of Valognes."

This rare pamphlet, of which a copy is in
the library of the Sevres manufactory, has been
reprinted by Mr. De Brebisson in his Histoire
de la Porcelaine de Valoynes,

JUSTICE (J,). - - Dictionnaire des
marques et monogrammes des
faiences de Delft. Gand, Vuyl-
steke, 1901. Tall 8°, pp. 126;
with about 700 facsimiles of
marks. 3 fcs. 50 c.

" A dictionary of the marks and mono-
grams of the Delft faience."

In addition to the marks adopted by the
twenty-eight faience manufactories of Delft,
there are also given those of the painters who
worked in connection with them.

JUTHNER (J.).

gerathe.

-Ueber antike Turn-
Wien, Holder, 1896.
, pp. 101 ; with 75 text illustrs.
5 m.

"The appliances in the gymnastic
games of the ancients."

The shapes and uses of the halter, the disc,
the staff, and other accessories of the athletic
sports, as represented on Greek vase paintings.

KARflER (Ch. J,). — Die Porzellan-
malerie, Technic, und Anwen-
dung fiir Dilettanten dargestellt.
Berlin, 1870. 8°, with 7 illustrs.

" Porcelain painting ; theory and
application for the use of amateurs."

KALECSINSZKY (A.)-— Ueber die unter-
suchten ungarischen Thone,
sowie liber die bei der Thonin-
dustrie vervendbaren sonstigen
materialen. Budapest, 1894. 8°,
pp. 31; with map. 1 m. (Re-
printed from Jahresberickt der
Kgl ungar. Anstaltfiir 1892.)

" On the Hungarian clays and the
other raw materials used in the pottery
manufacture."

One hundred and thirty-rive kinds of clays
found in Hungary are practically examined in
this paper.

KAPFF (F.),— Beitrage zur Geschichte
des Kobolts, Koboltbergbaues,
und des Blaufarben Werke.
Breslau, 1799. 8°, pp. 160.

" Contribution to the history of the
Cobalt; the Cobalt extraction, and the
manufacture of the blue colour."

We learn from this curious pamphlet that,
during the eighteenth century, while the largest
supply of Cobalt ore was obtained from Saxony,
it was refined in Holland, the Dutch alone
being in possession of the secret, and that the
distribution of the blue colour to the trade was
centred in Ireland.

KARABACEK.— Zur muslimischen Ker-
amik. Wien,1885. 4°, pp. 12. (Re-
print from the Oesterreicldschen
Monatsschrift fiir der Orient)

" On the Mussulman Ceramic."

A disquisition on the green Martaban
pottery. Many Orientalists do not agree with
the writer's conclusions.

KARO (G.). — De arte vascularia anti-
quissima qusestiones. Bonnae,
1896. 8°, pp. 46 ; with 2 pis.

" Some observations about the most
ancient styles of vase-making."

A thesis held before the members of the
Bonn University and treating of the origin of
old Corinthian ceramics.

- Notes on Amasis and Ionic
black-figured pottery. London,
1899. 4°, pp. 19 ; with 2 pis.
and 4 illustrs. (Reprint from
the Journal of Hellenic Studies)

KASTELEIJN (P. J.).— De Porcelein-
fabrick of volledige beschrijving
der kunst om porcelein te
maaken, etc. Dordrecht, 1779.
8°, pp. 236 ; with 7 folding-
plates. A volume of the Cyclo-
paedia published by A. Blussi &
Son, of Dordrecht.

"The Porcelain manufacture, or the
complete description of the art of porce-
lain making."

A translation of the work of De Milly L'art
de la porcelaine. In the appendix are given —
1. The letters of Pere d'Entrecolles upon the
manufacture of porcelain in China. 2. A short

233

KEE]

CERAMIC LITERATURE.

[KEL

account of the development of the industry in
Europe, with historical information concerning
the manufactories of Meissen, FurstenbeVg,
Berlin, Frankenthal, Baden, Ludwigsburg,
Hochst, Ansbach, and Cassel, in Germany ;
Chelsea in England ; Florence (Doccia), and
Naples, in Italy ; Sevres in France ; and
Amsterdam and The Hague in Holland.

KEELING (Annie E.)-— Bernard Palissy,
the Huguenot Potter. London,
Kelly, s.d. (1880?). 16°, pp. 64.
Portrait.

A child's book.

KEKULE (R.). --Vaso dipinto della
raccolta gisl Santangelo ora nel
Museo nazionale di Napoli.
Roma, 1867. 4to, pp. 15 ; with
I pi. 3 m.

"Painted vase of the Santangelo
collection, now in the National Museum
of Naples."

The subject represents the marriage of
Dejanira.

- Griechische Thonfiguren avis
Tanagra, in Auftrag des k. d.
archaolog. Institute zu Berlin,
Rom, und Athen, nach Aufnah-
men von Ludwig Otto. Stutt-
gart, 1878. Large fol., pp. 31 ;
with 17 engr. pis., 12 of which
are in col. 150 m.

" Greek terra-cotta figures from Tan-
agra ; published by the R. Arch. Inst.
of Berlin, Rome, and Athens, after the
drawings of L. Otto."

Much has been borrowed from the intro-
duction to this work, in which important
information was disclosed for the first time.
The account of the clandestine and wonder-
fully prolific excavations conducted, in the
early days, on the site of the ancient Tanagra,
is particularly interesting and significant, having
been supplied by a competent and trustworthy
eye-witness. Kekule has his own system of
classification with respect to the period of
manufacture ; he admits a mythological inter-
pretation only in the case when there may be no
possible doubt as to the subject represented ;
in any other case, he sees in the figures of
Tanagra works of art inspired by nature, and
intended to reproduce scenes and personages of
actual life. He maintains that these figures
were deposited in the tombs, merely to render
the abode of the dead somewhat similar to that
of the living. He deprecates the notion that
the models and moulds of these figures were
prepared at Athens for the use of the Tanagra
potters, and believes, with good cause, that
they were the works of local artists.

234

Das akademische Kunst-
museum zu Bonn, 1872. 8°,
with 3 pis.

- Ueber ein griechisches Vasen-
gemalde im akademischenKunst-
museum zu Bonn. Bonn, 1879.
4°, pp. 26 ; with 1 phot. pi. and
10 illustrs.

" On a painting upon a Greek vase in
the Bonn Museum."

Helena conducted to Nemesis by Leda is
said to be the subject represented upon this
vase.

- Die Terracotten von Sicilien.
Stuttyart, Spemann, 1884. Fol.,
pp. xi-87 ; with 61 pis. and text
illustrs. 75 m.

" The terra-cottas of Sicily."

A noteworthy introduction, equally free
from pedantic dissertations as from groundless
speculations, accompanies a set of fine plates
engraved by L. Otto. The author has rigorously
limited his investigations to the subject he had
to treat of, and has endeavoured to ascertain
the chief characteristics by which terra-cotta
figures of Sicilian origin can be recognised.
He describes the types belonging to each
locality ; the clay they are made of ; the colours
with which they are occasionally painted, and
the subject they most often represent, con-
trasting such features with those which dis-
tinguish the ancient terra-cottas of other origin.
The works published on the subject, the ex-
amples preserved in the local museums, are
passed under review, and references are made
to the other collections in Europe which possess
interesting specimens of Sicilian terra-cottas.

Ueber einige Vasen des
Hieron. Berlin, 1882. 4°.

" On a few vases painted by Hieron."

KELLEN (J. D. van der). — Antiquites
des Pays-Bas. Choix d'anti-
quit^s remarquables du 13e au 18e
siecle faisant partie de plusieurs
collections tant publiques que
particulieres. La Hai/e, 1861.
Hoy. 4° ; 100 etched plates.
£6.'

" Antiquities of the Low Countries.
A selection of remarkable antiquities
from the thirteenth, to the eighteenth
century, belonging to various private and
public collections."

A few plates of ancient German stoneware.

KEL]

CERAMIC LITERATURE.

[KID

KELLER. -- Analyse von antikem
Kheinzaberer Topfergeschirr.
Programm des Jabresberichtes
cler K. Landwirthschafts- und
Gewerbe-Schule zu Speyer fur
das Jahr, 1 859-60. 4°.

" An examination of an antique earthen
vessel from Rheinzhabern."

KELLER (F.).— Die rothe romische
Topfer-waare, mit besonderer
Rticksicht auf Hire Glasur. Heid-
elberg, C. Groos, 1876. 12°,

pp. 28. 7 m.

" The red earthenware of the Romans,
with special consideration upon the com-
position of the glaze."

One of the long-left unsettled problems of
ancient ceramics seems to have received its
solution through the researches of Dr. F. Keller.
So far, the nature of the peculiar glaze of the
so-called Samian or Arethian ware had not been
exactly determined. The glazing substance is
so thinly and so equally spread on the surface
of the clay, that no good result could be
obtained by any of the technical means at our
disposal. Practical potters, as well as chemists,
have only made conjectures as to its composi-
tion, and the way in which it was applied.
The discovery of a Roman kiln in Northamp-
tonshire, in the proximity of which were found
a cauldron full of borax, and a few vases
covered with glaze, but still untired, led the
writer to conduct a few experiments which
were attended with success. This is how he
obtained a glaze absolutely similar to the
Arethian glaze. He dipped the piece in a
weak solution of borate of soda ; the liquid
runs off the surface, but enough remains on it
to form a coating of extreme thinness. At the
end of the day the borax has crystallised into a
fine dust. The ware is then placed in the
kiln. Under the influence of the aqueous
vapour, the soda combines with the silica of
the clay ; the boracic acid is set free, and a
silicate of soda is formed on the pottery. It
will be noticed that it is the same chemical
action which takes place in the glazing of ordi-
nary stoneware, but obtained, in this case, in
quite a different way.

KENNER (F.).— Dieantiken Thonlamp-
en des K.K. Munz-und-Antiken-
Cabinetsund derK. K. Ambraser-
Sammlung. Wien, 1858. 8°,
pp. 126 ; with 3 lith. pis. and 18
text illustrs. 3 m.

" The antique terra-cotta lamps in the
R. and I. collection of medals and
antiquities, and in the Ambras collec-
tion."

KENZELMANN (E. B.), — Historische
Nachricbten liber die Konigliche
Porzellan-Manufaktur zu Meis-
sen, und deren Stifter Johann
Friedrich Freiherrn von Bottger.
Meissen, 1810, 8°, pp. 32.

" Historical information concerning
the royal porcelain manufactory of
Meissen and its founder J. F. 'von
Bottger."

The establishment at Meissen of the first
manufactory of porcelain was reckoned one of
the country's greatest achievements, yet its
founder J. F. Bottger had been dead for close
on one hundred years before any printed record
of his life and labours was published in Saxony.
A mere mention of his name appeared in the
topographical works dealing with Meissen, in
association with the description of the royal
porcelain manufactory. Kenzelmann was the
first who attempted to make amends for
the neglect in which Bottger's memory had
fallen among his countrymen. His literary
powers were obviously inadequate to the task ;
he could do no more than write a very imperfect
sketch, deficient in biographical details about
the great potter, and altogether incomplete as
regards the history of the works he had
founded.

KERL (B.). — Abriss der Thonwaaren-
Industrie, etc. Braunschweig,
1871. 8°, pp. 524; with 127
illustrs. 3 m.

"Sketch of the pottery manufacture."

Handbuch der gesammten
Thonwaaren - Industrie, etc.
Braunschweig, 1879. 8°, pp.
744 ; with illustrs.

" Handbook of the potting industry
in all its branches."

A third edition, with title as

above, revised and enlarged by
J. Cramer and Hecht, has
appeared in 1907. 2 vols. 8°,
together pp. xliv-1588 ; with
518 illustrs. £2, 8s.

KIDD (Collection E. M.).— Catalogue of
sale. Nottingham, 1903. 4°.
English porcelain and pottery.
402 Nos., with 7 pis.

KIDSON (J. R. and F.). — Historical
notices of the Leeds old Pottery,
with a description of its ware :

235

CERAMIC LITERATURE.

[KIN

together with a brief account, of
contemporary potteries in the
immediate vicinity hitherto un-
noticed. Leeds, 1892. 4°, pp.
162 ; portrait of J. Green and 20
phototyp. pis. £1.

All the facts and particulars dispersed in
anterior publications, as well as the tradition
preserved in the memory of the old townsmen,
have been diligently brought together in this
excellent monograph of the Leed's old pottery
works. The records extend from their estab-
lishment in 1760 to their definite closing. The
account comprises an exhaustive examination
of the different styles of earthenware manu-
factured from the beginning, illustrated by the
reproduction on the plates of well selected
representative specimens.

KIDSON (J. E.).— About Old China.
Liverpool, Ho well, 1908. 8°,
pp. 90 ; with 3 pis. 2s. 6d.

Mr. J. E. Kidson is a dealer in old china
in Liverpool.

KIESERITZKY (G. ). -Nike in der Vasen-
malerei. Dorpat, 1876. 8°, pp.
42 (a thesis).

" Nike in the vase paintings."

KING (A. C.) .— Notice of the Henri
deux ware. Photographs of
twenty examples of the ware,
chiefly in English collections.
London. Arundel Society, 1868.
Fol., pp. 8 ; with 20 photo, pis.
15s.

KIRK. — Outlines from the figures
and compositions upon the
Greek, Roman, and Etruscan
vases of the late Sir William
Hamilton ; with engraved bor-
ders, drawn and engraved by the
late Mr. Kirk. London, JVTLean,
1814. 2nd ed. 8°, pp. xix-52 ;
with 62 pis. 10s.

In this handy volume we have the huge
plates of Tischbein re-engraved on a much
smaller scale. The classical border with which
each subject is surrounded, were intended to
render the work of practical use to designers.

KISSLING (J.).— Das Gesammtgebiet
der Photokeramik, oder sammt-
liche photographische Verfahren
236

zur praktischen Darstellung
keramischer Decorationen auf
Porzellan, Fayence, Steingut und
Glas. 1894. 8°, with 12 illustrs.

2 m.

" General treatise of Photoceramic,
containing all the methods for the prac-
tical preparation of ceramic decoration
upon porcelain, earthenware, stoneware
and glass."

KLASEN (Lndwig).— Fabriken fur die
Thon-, Porcellan-,Kalk-, Cement-
und Glass-Industrie. Leipzig^
1896. 4°, pp. 108; with 192
illustrs. Sect, xv., Part 5, of
Baumgartner's Grundriss- Vor-
bilder von Gebailden oiler Art.

Sketches and plans of buildings for the
manufacture of earthenware, porcelain, cement
and glass.

KLEIN (Joseph). —Verzierte Thonge-
fasse aus dem Rheinland. Bonn,
1887. Imp. 8°, pp. 11 ; with

3 plates in colour. (In the
Jahrbucher des Vereins von
A Itei 'thumsfreunden .)

" Ornamented earthen vessels of Rhine
Land."

The Roman pottery discovered near the
banks of the Rhine. Amongst the curious
specimens described and reproduced in this
paper, a vase decorated with embossed subjects
and covered with a green glaze, is worthy of
particular attention.

KINGSBOROUGH (Edward, Viscount).— An-
tiquities of Mexico ; comprising
facsimiles of ancient Mexican
paintings, etc. 9 vols. Atlas
folio, containing upwards of 1000
large plates . . . accurately
copied from the originals by A. A.
London, 1830-40. £80.

A monument of learning and a masterpiece of
typography. It is said that Lord Kingsborough
spent £30.000 upon the execution of this work.
Just as it had been completed he was prosecuted
for refusing to pay a disputed claim made in
connection with the cost of the publication.
Thrown into the debtors' prison, he died there
after a few days of confinement. Although
Mexican pottery comes in only incidentally,
some interesting reproductions of ancient
pottery, drawn by Augustine Aglio, figure on
the plates.

KIP]

CERAMIC LITERATURE.

[RLE

KIPLING (J, L.).— The Mooltan Pot-
tery. London, Grigg, 1886.
S. fol., pp. 8 ; with 9 col. pis.
(A No. of The Journal of Indian
Art.)

Reproduction of old Indian and Persian
potter}', executed by the students of the Mayo
School of Art, under the direction of the
Principal, J. L. Kipling.

KIPS (E,). --Porzellan-Malerein in
Rauchsalon S.M.Y. Hohenzol-
lern. Ausgeftihrt in der Konigl.
Porzellan - Manufactur, Berlin.
Berlin, A Fritscli, s.d. Fol. ; 10
pis. printed in blue. 25 m.

"Porcelain paintings in the smoking
room of H.M. Yacht ' Hohenzollern ' ;
executed in the Royal Porcelain Manu-
factory of Berlin."

Naval battles and seascapes painted upon
large slabs.

KLEIN (W.). - - Euphronios. Eine
Studie zur Geschichte der griech-
ischen Malerei. Wien, 1879.
4°, pp. 119. 5 m. 2nd edition,
8°, pp. 323 ; with 60 text illustrs.
8 m.

" Euphronios. Materials towards the
history of Greek painting."

Heydemann had brought together and critic-
ally examined the works of Brygos, and
Michaelis had done the same for those of
Duris. Euphronios, perhaps the most cele-
brated among the vase painters of his time,
has been taken by W. Klein as the subject of
an exhaustive study.

It is not to be expected that the life of the
artist could be reconstituted from the scanty
particulars that have come down to us, but the
personality of his talent can be evolved and
determined from a thorough examination of
his works. All we know is that he nourished
towards the middle of the fifth century
B.C., and that a marble pedestal inscribed
" Euphronios Kerameus" has been found in the
ruins of the old Parthenon. That this talent
was acknowledged and envied by his fellow-
craftsmen is evinced by a vase upon which the
painter has written, under his own name, the
words " Euphronios could not have done it
better." The searching investigations of the
author have done more than elucidate a special
subject, they have helped to settle several im-
portant points, of interest for the general history
of art. For instance, we know now from the
position that Euphronios occupied among the
citizens of Athens, that a vase painter could
take rank among the artists of repute, instead
of being lost as we felt inclined to believe,
among the vulgar artisans of the lower class.

Among the Greek pottery preserved in our
museums, two vases and eight tazzas are known
to be the work of Euphronios' own hand.
They are described by W. Klein, who has also
given a comparative examination of all the
pieces of various periods painted by other
masters with the same subjects.

- Die griechischen Vasen mit
Meister-signaturen. Wien, 1883.
4°, pp. 88. 5s.

" Greek vases bearing the name of
their maker."

This work, — a complement to the preceding
one, — deals with no fewer than ninety-two
names of Greek potters and vase painters.
They are grouped according to the style of
painting that prevailed at different periods,
and in this way an attempt at a chronological
classification is made for the first time. To
discriminate between the names which occur so
frequently upon Greek vases, and determine
whether they represent that of the potter, the
painter, or merely the person to whom the
object had been presented, had required in
certain cases a vast amount of research. In
some instances the name appears upon one
vase as indicating the artist who painted it ;
upon another it seems to apply to the maker
of the vase. Often two names occur inscribed
together, and it becomes difficult to affix the
part belonging to each of the collaborators in
the completion of the work.

To each name is devoted a special paragraph
giving a short description of the pieces the
master has signed with his hand, the names of
the museums in which they are preserved, or
the titles of the publications in which they
have been reproduced. Occasionally the article
is accompanied with some remarks on the
characteristic features of the style of each
painter.

The portion relating to the favourite youths,
boys or girls, whose names are inscribed on
vases, is largely extended in the work here-
after noticed.

- Die griechischen Vasen mit
Lieblingsinschriften. Wien, 1890.
4°, pp. 96 ; with a front, and 37
text illustrs. 2nded. Wim,\&$S.
8°, pp. 178; with 46 illustrs.
10 m.

" The Greek vases bearing inscrip-
tions to favourite youths."

Upon certain tazzas, calixes, and other
pieces of small dimensions, often of unique
shape and signed by the best Athenian masters,
are seen inscribed the name of some youth,
accompanied with the word Kalos, "The
beautiful." In the association of two names,
one of which seems to stand for that of the
artist who painted the vase, and the other for
that of a favourite and handsome boy to whom
it had been dedicated and presented, W. Klein
sees nothing else than the expression of the
admiration that the painter entertained for

237

RLE]

CERA MIC LITER A TURE.

[KLU

plastic beauty, of which the youth he had
represented offered a perfect embodiment.
Refusing to accept the erotic interpretation
which is usually given of the association of
these two names, he believes that the elegant
figure of the ephebe has been delineated on the
clay by the vase painter just in the same spirit
as a sculptor would have carved it into marble.
He observes, moreover, that in most cases the
piece appears to have been executed without a
special destination, and that the name of the
beautiful youth, who was to be the recipient of
the gift, had been obviously added, probably
by order of the purchaser.

Centuries afterwards many a choice work of
the Italian majolist was inscribed with a similar
dedication which would transmit to posterity
the sweet name of one " Diva Julia," or " Laura
Bella," a beloved beauty to whom the dish or
the vase had been presented by some faithful
admirer, but whom the painter had certainly
never seen in his life.

KLEMM (G.).— Die koniglich sach-
sische Porzellan Sammlung.
Erne Uebersicht ihrer vorzug-
liclisten Schatze, nebst Nach-
weisungen iiber die Geschichte
der Gefassbildnerei in Thon und
Porzellan. Dresden, 1834. 12°,
pp. iv-154. PL

"The Royal Saxon collection of porce-
lain. A glimpse at its most remarkable
treasures ; with an essay on the history
of pot-making in clay and in porcelain."

- Die koniglich sachsische Por-
zellan und Gefasse-Sammlung,
nebst dem Specksteincabinet
und dem Buddha-Tempel im
Japanischen Palais zu Dresden.
Dresden, s.d. 12°, pp. iv-171.
PI.

" The Royal Saxon collection of porce-
lain and pottery ; with an account of
the Speckstein (Steatite) room, and the
Buddha Temple in the Japanese Palace
of Dresden."

Handbook to the collection as it stood in
the Japanese Palace. It has since been trans-
ferred to the central museum of the town.

Zur Geschichte der Samm-

lungen fiir Wissenschaft und
Kunst in Deutschland. Zerlst,

1837. 8°.

" The history of the Science and Art
museums in Germany."

KLIER (H.)- - - Modern Keramic.
Entwiirfe fiir die Praxis. Piemen,

238

1902. Obi. 4°. 15 col. pis.
12 m.

" Modern ceramics. Sketches for
practical work."

KLIMKE (Aug.). -- Aiileitung zum
Malen anf Porzellan und Glas
fiir Dilettanten. Dresden, 1888.
3rd ed. 8°, pp. 118 ; with 62
illustrs. 2 in.

" Instructions for painting on porce-
lain and glass, for the use of amateurs "

Published by a dealer in artists' materials.

KLITSCHE DE LA GRANGE.-Sulla tech-
nologia del vasellame nero degli
antichi. Roma, 1884.

" The technology of the black earthen
vessels of the ancients."

Experiments made by the writer have shown
that vases of ordinary clay could be tinted
throughout the mass with deep black, by filling
the kiln with thick smoke at the end of the
firing. The black tint obtained in that way is
absolutely similar to that of the Etruscan
buccero nero.

KLOPFLEISCH (F. ).— Vorgeschichtliche
Alterthiimerder Provinz Sachsen
und angrenzender Gebiete. Die
Grabhtigel von Leubingen, Som-
merda und Nieustedt. Allge-
meine Einleitung. Charakteristik
und Zeitfolge der Keramik Mit-
teldeutschlands. Halle a. d. S.,
1883-84. 4°, pp. 106 ; with 106
illustrs. and 3 pis. 7 m.

" Prehistoric antiquities of the pro-
vinces of Saxony and the adjoining
region. The grave mounds of Leubingen,
Sommerda and Nieustedt. General in-
troduction. Characteristics and chro-
nology of the pottery of Central
Germany."

An application of the system of symbolic
interpretation to primitive pottery. Archaj-
ologists of the rational school are apt to look at
such abstruse considerations somewhat in the
same light as an astronomer values the elucida-
tions of planets and constellations enlarged upon
by the astrologer.

KLUGMANN (A.)-— Vasi fittili inargen-
tati. Roma, Salvincci, 1872.
8°, pp. 27 ; with 4 engr. pis.

" Silver fictile vases."

KNA]

CERAMIC LITERATURE.

[KNO

- Coppa inargentata e smaltata
di Villanuova. Roma, 1871. 8°,
pp. 9 ; with 1 pi.

" A tazza silvered and enamelled."

In two sepulchres excavated between Orvieto
and Bolsena were found a few vases which
showed traces of having been silvered over
with films of the metal affixed with size. In
the case of the Villanuova tazza the silvering
had been applied over a green lead glaze.
Specimens of the kind are too scarce to warrant
a belief that silvering ware was one of the
regular processes adopted by the potter ; it
may have been nothing more than an excep-
tional practice indulged in by a subsequent
possessor of the piece.

- Tazze a figure rosse con fatti
di Ercole. Roma, 1878. 8°,
pp. 10 ; with 3 pis.

" Red figured tazza with the labours of
Hercules."

These three papers have been reprinted from
the Annali.

KNABEL (A.).— Die Anlage und Ein-
richtung von Ziegeleien, zur Fa-
brikation von Ziegel und Thon-
waaren. Leipzig, C. Scholtze.
1881. 8°, pp.' 40; with 17
illustrs.

- Die Anlage und I^inrichtung
von Porzellan-Fabriken. Leip-
zig, 1882. 8°, pp 56 ; with 21
illustrs. Part v.-vi. in Scholtze's
Deutsche Bautechnische Faschen-
bibliothek.

"The plans, construction, and equip-
ment of the tile, earthenware, and porce-
lain manufactories."

KNAPP (P.)-— Nike in der Vasen-
malerei. TuUnge, 1876. 8°,
pp. 101.

" Nike in vase paintings."

KNIGHT (Rev. H. H.).— Specimens of
inlaid tiles, heraldic and geomet-
rical, from Neath Abbey, Gla-
morganshire. Edinburgh, 1850.
Ob. fol., pp. 27; with chromo-lith.
pis. reprod. 24 tiles. (Sketches
by Mrs. Vivian, and plates drawn
by Egbert Moxham.) Publ. by

the Committee of the Neath
Philosophic Institution. 15s.

The ancient pavement, discovered in 1848 in
the ruins of Neath Abbey, was formed of red
and yellow tiles ; on some of them were
delineated the coat-of-arms of noble families of
Glamorganshire. To name the escutcheons
emblazoned, more or less accurately, upon these
tiles has been the task the author had imposed
upon himself, and which he has successfully
accomplished.

KNOCHENHAUER (P. F.).— Niederland-
ische Fliesen-Ornamente. Berlin,
Pasch, 1886. Fol., pp. 30 ; with
36 chromo-lith. and 12 outline
pis., and 20 text illustrs. 8 m.

"The decorative tiles of the Low
Countries."

Dutch tiles are seldom remarkable for
elegance of design or fertility of invention ;
still when in place, the manifold repetition of
their unpretentious scrolls and rosettes always
results in a pleasant effect. A complete pattern
is usually formed by the combination of four
tiles of small size. Scarcely any variety of
style is to be noticed in the numerous examples
reproduced in this book. They are evidently
patterns for the current trade, painted in
monochrome, or in two colours. Occasionally
they represent a conventional landscape, a
grotesque figure, or a scriptural subject.

The enterprising spirit of the Dutch merchant
had opened a large outlet for the productions
of the potter. Tiles were extensively exported
from Holland into countries where the Italian,
the French, and the Spanish pottery had never
penetrated. They were eagerly adopted in
distant lands for decorative purposes. In
America many of the old homesteads of New
England have still preserved the sets of white and
blue Dutch tiles which have brightened the chim-
ney-piece of the living room and the walls of
the kitchen, ever since the seventeenth century.
At the same period the efforts of the English
potter had been insufficient to check the
enormous importation of the Delft tiles, much
preferred to those of local manufacture for the
decoration of the houses of town and country.

KNORR (R.).— Die verzierten Terra
sigillata Gefasse von Kannstatt
und Kongen-Grinario. Stuttgart,
1905. 8°, pp. 49 ; with 47 pis.
in outline. 5 m.

" The ornamental terra sigillata vessels
from Kannstatt and Kongen-Grinario."

KNOWLES (P.).— Dutch pottery and
porcelain. London, G. Newnes,
1905. 8°, pp. xiii-122 ; with 54
half-tone illustrs. 7s. 6d.

Some excellent books have been published on
the history of the Dutch faience. From this

239

KNY]

CERAMIC LITERATURE.

[KOE

ample store of information, the writer of the
present volume seems to have derived little
profit. He has failed to produce a good digest
of a well-known subject. Neither has he con-
tributed to it any original matter. The few
particulars he gives regarding the manufacture
of the Delft ware, disclose a decidedly un-
certain knowledge of the technics of the potter's
art.

KNYFF (Collection A. de). -Catalogue of

sale. Bruxelles, 1865. 8°, pp.
95 ; with 9 pen and ink litli. pis.
and marks. 3 fcs.

Oriental porcelain, Nos. 1-352 ; Sevres and
Dresden, Nos. 353 375 ; Delft faience, Nos.
561-645; ancient stoneware, Nos. 646-715.

KOCH (A.)-— Keramik. Schweizer-
ische Landesausstellung, Zurich,
1883. Bericht liber Gruppe 17.
Zurich, 1884. 8°, pp. 98. 2s.

"Ceramics. National Exhibition of
Switzerland at Zurich,"

This report contains some particulars about
the ceramic industry in Switzerland, with
tabular statements of the exports and imports
of the pottery trade.

KOHL (C.)-— Die Bandkeramik der
steinzeitlichen Graberfelder und
Wohnplaze in der Umgebung
von Worms. Worms, 1903. 4°,

• pp. 54 ; with 10 pis. of urns in
outline and 2 pis. of fragments
in half-tone. 6 m.

" The band ceramic of the burial and
dwelling places of the Stone Age in the
neighbourhood of Worms."

The urns and other vessels found in the
vicinity of Worms may be divided into three
distinct groups, each of them very different in
style from the other. From the fact that no
metal object has ever been found in association
with them, it is assumed that they belong to
the Stone Age.

KONEN (K.)-— Gefasskunde der vor-
romischen, romischen, und fran-
kischen Zeit in den Rheinlanden.
Bonn, P. Hanstein, 1895. 8°,
pp. 151 ; with 21 lith. pis., con-
taining 590 figs. 6 m.

" The knowledge of the vases and
vessels of pre- Roman, Roman, and
Frankish periods in the Rhine provinces."

One may fairly anticipate that the day will
soon come when advanced geology will assist
us in the study of the earliest forms of human

240

industry, and particularly of pottery making.
In the present state of knowledge, however,
any attempt at establishing a system of classi-
fication, by which the various types of primitive
earthen vessels could be assigned to their correct
periods seems somewhat premature. The un-
satisfactory result of any such attempt is made
manifest by the present essay. Chronological
divisions have been prepared. They comprise
the various phases of the stone age, palaeolithic
and neolithic, and of the bronze and the iron
ages. The pottery exhumed from the soil of
the Rhine Valley has been arbitrarily distributed
in these sections. With the exception of the -
period of the Mastodon and Dinotherium, of
which it is acknowledged no remains were
found in the area studied by the author, all
the subsequent epochs have been assigned their
fictile representatives. The only criteria relied
on are the respective depth at which each
earthen vessel was found buried, and the
character of the examples of wrought flint and
metal associated with it.

KONIG (F. G.).— Die Ofenfabrikation
nach ihrem heutigen Stande
unter spezieller Beriicksicht.
Der Herstellung der haariss-
freien Elfenbein- und Majolika-
Oefen aus feuerfesten Thon
nebst den entsprechenden Glas-
uren. Berlin, Sendel, 1900. 8°,
pp. 64 ; with 2 pis. 3 m.

" The stove manufacture in its present
condition ;. with special considerations
upon the making of the non-crazing
ivory and majolica stoves made out of
refractory clay, and on their respective
glazes."

KONITZER (C.)— Heracles und die
Hydra. Vase im Museum zu
Breslau. Breslau, 1861. 8°,
pp. 36.

" Hercules and the Hydra, upon a vase
in the Breslau Museum."

KORTE (Gustav).— Ueber Personifica-
tionen psychologischer affekte in
der spateren Vasenmalerei. Ber-
lin, F. Wahlen, 1874. 8°, pp. 90.

2 m.

" The personification of the psycho-
logical sensations in the vase-paintings of
a late period."

The late, or, as it is sometimes called, the
pictorial style of Greek vase painting offers
a far more realistic representation, and at the
same time ideological conception of the subjects
than the more sober and conventional manner
which characterises the works of the earlier

KOL]

CERAMIC LITERATURE.

epochs. In the ancient vases a picture of an
heroic tradition, or a mythical scene, comprises
only the personages taking a direct part in the
action. Later on, the painter began to intro-
duce in the scheme of his composition some
accessory figures of gods or demi-gods, or
simply figures of an allegorical character.
The presence of these figures is often difficult
to explain. According to Koerte's theory,
these figures personify either the feelings with
which the chief actors in the scene are animated,
or most often the baneful influence which mad-
dened and excited them to frenzy. The general
distribution of the works of the Greek poets is
made accountable by the writer for this modi-
fication of the rendering of all classical subjects
by the vase painter.

Eichelformige Lekythos mit
Goldschmuch aus Attica. Ber-
lin, Reimer, 1879. 4°, pp. 4 ;
with 1 pi. (Repr. from the Arch.

Zeit.}

" A Lekythos in acorn shape and with
gilt ornamentation from Attica."

KOLBE (G.).— Geschichte der Konig-
lichen Porcellan-Manufactur zu
Berlin ; nebst einer einleitenden

Ubersicht der geschichtlichen
Entwickelung der ceramischen
Kunst. Berlin, Decker, 1863.
8°, pp. 300. 5 m.

" History of the Berlin royal porcelain
works ; with an introductory sketch of
the historical development of the ceramic
art."

Most efficiently assisted in his task by the
mass of official documents, registers, diaries,
etc., left by his predecessors, Kolbe, director
of the Berlin porcelain works, has written a
complete and reliable history of the establish-
ment over which he presided for many years.

The first porcelain manufactory was started
at Berlin in 1750 by a merchant named
Wegeli ; it was a private undertaking which,
for want of success, had to be given up a few
years afterwards. Gottowski, also a merchant,
renewed the experiment, but as we have
narrated in the article under that name, after
having placed the factory in good working
order, and being unable to bear any longer the
burden of an unremunerative enterprise, he
petitioned King Frederick to be relieved from
further responsibility, and asked him to carry
it on under his Royal patronage. The proposal
was readily accepted by the King after he had
made a personal inspection of the works. A
detailed account of that visit is recorded in the
MS. diary, kept by the director Geringer. We
see that from the first Frederick intimated |
that he meant to exercise a direct supervision ;
over all the details of the management. He
insisted on being enlightened about all the
difficulties of practical manufacture, suggesting

improvements on many points. He ordered
some new buildings to be erected, and went
so far as to sketch with his own hand the plan
of certain ovens he had noticed in other places.
He took steps towards providing for the
pressing financial requirements by means of
a loan ; for the future, expedients had to be
devised to secure a constant supply of funds.
Among the measures taken to that effect, a
decree was rendered, obliging all the Jews of
the kingdom, — the Jews always came in for an
extra share of contribution whenever an in-
crease of taxation had been decided upon, — to
make a purchase of porcelain from the royal
manufactory on the occasion of their marriage,
and several other specified circumstances. The
direction of the royal lottery was also ordered
to include in their list of prizes objects manu-
factured at the same factory. Frederick often
introduced visitors of exalted rank to the
works, and it was understood that to please
the royal manufacturer, his guests should place
with the managers important commissions for
porcelain.

The history follows, step by step, the
chequered career of the Berlin Royal Manu-
factory, and ends with a complete statement
of the condition in which it stood on the day of
the hundredth anniversary of its foundation.

KOLDEWEY (R.).— Neandria. Berlin,
1891. 4°, pp. 52 ; with 1 pi. and
68 text illustrs. Winckelmann
Programme, No. 51. 4 m.

A few terra-cottas.

KONDAKOF (N.).— Greek terra-cottas
(in Russian). Odessa, 187$. Sq.
8°, pp. 105 ; with 10 pis. in out-
line. 10 fcs.

KONDAKOF (N.) and TOLSTOI (J.).— Anti-
quites de la Russie Meridionale.
Paris, 1891. 4°.

KOULA (J.).— Prisperky k. historii
hrneirstvi v. Cechach. Prag,
1888. 8°, pp. 41 ; with 20 text
illustrs. 3s.

" History of the pottery of Bohemia."

Being unable to obtain a translation of this
work we had to rest satisfied with an examina-
tion of its illustrations. They are of sufficient
interest to make us regret that their explanation
is a sealed letter to us. Examples of embossed
bricks of the thirteenth century, as well as
ornamental tiles of the fourteenth and fifteenth,
glazed in various colours, and showing subjects
of figures of a Gothic character, seem to show
that ceramic art in Bohemia was in no way
behind the best productions of Germany at a
corresponding period. The sixteenth century
is represented by drinking vessels, similar in
style to the richly decorated faience jugs
attributed to Hirschvogel. In the following
epoch, vases and dishes also of polychromatic

241

KRA]

CERAMIC LITERATURE.

[KRE

faience, have a painted ornamentation evidently
influenced by the Oriental art ; while with the
middle of the eighteenth century the prevailing
Rococo taste asserts itself with exaggeration in
the works of the Bohemian potter.

KRAMER (G.).— Ueber den Styl und
die Ilerkunft der bemahlten
griechischen Thongefasse. Ber-
lin, 1837. Pp. xiv-213. 3 m.

" Upon the style and origin of the
painted Greek vases."

The opinion Kramer expressed in this
pamphlet has engaged the consideration of
many a learned writer. He pretends that all
the black and red figure vases were made at
Athens, and that it was from that centre of
production that they were exported to all
the countries with which the Athenians held a
commercial intercourse. This theory, strongly
opposed by J. de Witte, has been taken up
again by Otto Jahn, perhaps the greatest
authority on the subject of classical ceramics.

KRAUS (Job.)-— Die Marken (Fabrik-
zeichen) der Porzellan-manufak-
tur in Frankenthal (1756-1800).
Frankenthal, printed by F. Al-
beck, 1899. Sm. 4°, pp. 45-xiii ;
with 4 pis. 4 m.

" The marks of the Frankenthal porce-
lain manufactory."

With the facsimile of all the marks, signs,
and monograms which occur on the Frankenthal
porcelain, are given historical notes on the
factory at the periods to which they refer, and
biographical particulars of the artists and
workmen who worked in connection with it.
Fragmented groups and figures discovered
during excavations lately made on the site of
the factory are reproduced on the plates. The
appendix contains facsimiles and transcripts of
ancient official documents.

KRAUSE (J. H.).— Angeiologie. Die
Gefasse der alten Volker, ins-
besondere der Griechen und
Homer, aus den Schrift- und
Bild-werken des Alterthums in
philologischer, archaologischer
und technischer Beziehung dar-
gestellt. Halle, 1854. 8°, pp.
xvi-488 ; with 6 lith. pis., con-
taining 164 figs, of forms. 5 m.

"Angeiology. The vessels of the
ancient nationalities, particularly Greek
and Roman, described in the writings
and represented in the works of art of
antiquity ; considered from the philo-

242

logical, archaeological, and technical
points of view."

KRAUTH (C. G.).— Erne neolithe Hugel-
grab mit Schnurkeramik, bei
Erfurt. Erfurt, 1905. 8° ; with

2 pis.

"A neolithic grave mound, with pre-
historic pottery decorated by the im-
pression of twisted thongs, discovered
near Erfurt."

KREKEL (J.).— Anleitung zur Porzel-
lanmalerei. Weisbaden, J. Bos-
song, 1892. 8°, pp. 69 ; with 8
illustrs. 2 m.

" Directions for porcelain painting."

KRELL (P. F.). — Die Gefasse der
Keramic ; Schilderung des Ent-
wicklungsganges des Gefasstop-
ferei. Stuttgart, G. Weiss, 1885.
4°, pp. 74 ; with 4 pis. and 33
text illustrs. 12m.

" Ceramic vessels ; a sketch of the
progress and development of the art of
pottery."

To range into arbitrary classes the pottery
of all nations, irrespectively of their constitutive
material, and simply according to the typical
shapes prevailing at various times and in
different countries, seems to have been the
purpose of this essay. Such a plan — if it were
the one intended — proved so difficult to carry
out that it has only been partially followed.
While some illustrations show, grouped to-
gether, pottery of identical shapes, which have
been produced by the potters of many ages and
many lands, other groups are formed of vessels
presenting all the varieties of forms resorted to
by the potters of one special nation. We are
told that they have been so arranged and
contrasted with one another to impress upon
our mind the necessity of introducing in the
style of modern pottery the distinctive stamp
of the times we live in. From his rambling
examination of universal ceramic art, the author
deducts the fact that the level of artistic
eminence reached |at the best periods in all
centres of civilisation is manifestly expressed
in the contemporary earthen vessels. He then
comes to the conclusion that we should en-
deavour to endow our pottery with enough
originality of forms and decorations to make it
reflect, worthily, the artistic tendencies and
achievements of our days.

- Keramische Vorbilder. Ber-
lin, Spielmeyer, 1896-97. Fol.,
with 32 phototyp. pis. 36 m.

"Models for the ceramic art."

KRE]

CERAMIC LITERATURE.

[LAB

Reproductions of ceramic objects selected
from the museums and private collections of
Germany, by Dr. F. Krell, professor in the
Munich school of industrial art. Each subject
is accompanied by working diagrams and
details.

KRETSCHMER(Paul).-DieGriechischen
Vaseninschriften ihrer Sprache
nach untersucht. Giitesloh, 1894.
8°, pp. 251. 6 m.

" The inscriptions upon the Greek
painted vases considered from a philo-
logic point of view."

While the lapidary inscriptions of ancient
Greece and the text of Greek MSS. are written
in a rigorous form which represents the official
language adopted in all the Hellenic country, the
inscriptions of painted vases, traced by a provin-
cial artist, show the variations that the mother
tongue had undergone in the different localities.
These latter are for that reason, says the
author, of particular importance for the study
of dialects. His examination is restricted to
the names and inscriptions painted at the same
time as the subject, and lie ignores those
scratched later on upon the varnish, most
probably by the possessor of the vase. When
dealing with the signatures of the masters
known to have been at work in one of the
chief centres of manufacture, he points out the
local names and those which have a foreign
origin.

KROKER (E.). --Die Dipylonvasen.
Berlin, 1886. (Reprint from
Jahrb. des Inst.)

"The vases of the Dipylon."

KRUGER (Julius).— Die Photokeramic,
das ist dieKunst photograpliische
Bilder auf Porzellan, Email,
Glass, Metall, u.s.w. einzubren-
nen. Wien, Hartleben, 1879.
Sm. 4°, pp. 180 ; with 19 illustrs.
2 m. 50 p.

" Photoceramics, being the art of trans-
ferring and firing photographic pictures
upon porcelain, enamel, glass, metal, etc."

KUTAS (E. R. VOD). — Ungarisches
Landes-Kunstgewerbe Museum.
Illustrirter Fiihrer durch die
Sammlungen. Budapest, 1885.
8°, pp. 79 ; with text illustrs.

" The Hungarian National Museum of
Industrial Art. An illustrated guide-
book to the collections."

Ceramics, pp. 39-69. Curious embossed tiles
and Hungarian pottery.

KYPE (M.).— Handbuch der Porzellan
Malerei. Enthaltend: chemische
und mechanische Bereitung,
theoretische und praktische
Anwendung sammtlicher bis
jetzt gebrauchlicher Farben und
Metalle. 2nd ed., 1861. 8°, pp.
253 ; with 1 pi.

" Handbook of porcelain painting, etc."

Translated from A. Brongniart, Traiti des

arts cdramiques.

LABARTE (Jules). - - Description des
objets d'art qui composent la
collection Debruge - Dumenil,
precedee d'une introduction his-
torique. Paris, Didron, 1847.
8°, pp. 858 ; with 5 pis. in outline
and text illustrs. 15 fcs.

"Description of the works of art
composing the Debruge-Dum^nil collec-
tion, to which is prefixed a historical
introduction."

This was one of the few remarkable collections
gathered at the very outset of the collecting
fever. A lover of the so-called "curiosity"
had then the field all to himself ; with modest
means, but with a fair amount of taste and
knowledge, he was allowed to pick and choose
without having to fear an alarming competi-
tion. The wealthy votary of classical art
looked down with contempt upon the objects
of his search, and public museums had not yet
given them admittance. Revoil, Du Som-
merard, Sauvageot, Debruge-Dum^nil, and a
few other kindred spirits, shared peacefully
between themselves the research and discovery
of treasures despised by all others. The collec-
tion formed by Debruge-Dumenil was, like
those of most of his colleagues, of a compre-
hensive character, and contained specimens of
the greatest rarity and value in all the branches
of applied art. The catalogue was prepared
and published by Labarte, Dumenil's son-in-
law, into whose possession the collection fell
after the death of the collector. Imperfect as
it seems to-day, the historical introduction pre-
fixed to the description of the objects was highly
appreciated at the time. The sale of the collec-
tion , which followed shortly after the publication
of the catalogue, marks the turning point in the
market value of the works of industrial art.
From that moment such specimens as had been
previously obtainable at a small cost com-
manded an ever-increasing price, which placed
them beyond the reach of any admirer un-
provided with ample means.

Histoire de 1'art par les
meubles et les objets precieux

243

LAB]

CERAMIC LITERATURE.

[LAB

. . . Paris, 1847-48. 8°, with
text illustrs.

" History of art in furniture and
precious objects."

A reprint of the introduction of the above
work, now much out of date. It has been
translated into English by Mrs. Bury Pallisser
under the title : Handbook of the Arts of the
Middle Ages. . . . London, 1855, 8°.
Ceramic art, pp. 273-328.

LABARTE (Jules).— Histoire des arts
industriels au moyen-age et a
1'epoque de la Renaissance.
Paris, Morel, 1864-66. 4 vols.,
8°, with 70 woodcuts, and 2
vols., 4°, containing 150 pis., of
which 119 are chromolith., 26
in photolith., 3 lith. and engr. on
copper ; each plate is accom-
panied with an explanatory
notice. 360 fcs. One hundred
copies were printed on large
paper. (Ceramics, 14 pig.)

- Histoire des arts industriels,
etc. 2nd ed., corrected and
augmented. Paris, Morel, 1872-
75. 3 vols. 4°, with 81 pis.
and 85 illustrs. in the text.
300 fcs. One hundred copies
on Dutch paper, 600 fcs.

A reprint much inferior to the original issue.
The text is reduced to three volumes, and the
number of plates from 150 to 81. Moreover,
the plates have lost the freshness which dis-
tinguished those in the first edition. The third
volume is devoted to enamel painting, pottery,
and fa'ience.

LA BLANCHERE (de). - Carreaux de
terre cuite k figures, decouverts
en Afrique. Paris, Leroux,
1888. 8°, pp. 32 ; with 2 col.
pis. and 38 illustrs. (Reprint
from the Revue Archeologique.)

" Terra-cotta tiles, decorated with
figures, discovered in Africa."

Roman traditions persisted long among the
Christian potters of Africa. Many embossed
tiles of red clay, with subjects similar to those
seen on the lamps of a corresponding period,
are found in the tombs. They are all of very
rough execution ; the figure subjects are very
distant imitations of Roman bas-reliefs ; those
bearing representations of animals, such as

244

lions, stags, birds, etc., seem to be identical with
the tiles found in the early Christian graves of
France and Germany.

LABORDE (Comte Alex, de).— Collection
des vases grecs de M. le Comte
de Lamberg, explique'e et publie'e
par M. le Comte de Laborde,
membre de 1'institut. Paris,
imp. Didot, 1813-1824, and 1824-
1828. 2 vols. Imp. fol., pp.
192 ; with 154 pis. in col., and
31 vigns. Publ. 540 fcs. (900
fcs. with proofs before letter).
Sells £6.

" Greek vases in the possession of
Comte de Lamberg, etc."

An important collection formed by Comte
de Lamberg, Austrian Ambassador at Naples,
now in the possession of the Emperor of Austria.
The plates of this publication wei'e engraved by
Tischbein in a style still more formal, and
purposely more incorrect than the one he
applied to the representation of the vases of
the second "Hamilton collection," and those
of Millin and Dubois-Maisonneuve. In the
notices written for their elucidation, M. A. de
Laborde, sacrificing to the taste of the times,
has made an exuberant display of classical
erudition, not always strictly applicable to
the case in point. These handsome volumes
belong to the class of highly-respected works
that the bibliophil thinks it a duty to place on
his shelves, although he knows he may seldom
find an occasion to consult them.

Le chateau du bois de
Boulogne, dit Chateau de
Madrid. Etude sur les arts au
XVP siecle. Paris, Dumoulin,
1835. 8°, pp. 80. 100 copies
printed. 10 fcs.

" The Bois de Boulogne Castle, known
as ' Chateau de Madrid.' An essay upon
the fine arts of the sixteenth century."

The Madrid Castle, built by Francis I., was
remarkable for the scheme of majolica decora-
tion introduced in its architecture. With the
exception of a few enamelled bricks, nothing
remains of a work which must have been one of
the marvels of ceramic art. When the castle
was pulled down at the end of the eighteenth
century, all that was majolica and terra-cotta
was carted away to the mill and ground for
making cement.

Mr. De Laborde has collected together in
this book some important information con-
cerning Girolamo della Robbia and the chief
majolica works he executed in Paris. Called
to France by King Francis I., together with
Primaticio, Rosso, and other Italian artists,
G. della Robbia worked, not only for the
decoration of the Madrid Castle, but also for

LAB]

CERAMIC LITERATURE.

the embellishment of other royal palaces ; j
fact to which the account of the king's house
hold expenses bear repeated evidence.

The author deplores that the introduction o:
enamelled faience in architectural decoration
has fallen into disuse, and urges modern archi-
tects to return to the polychromy of olden time
for the adornment of public edifices.

LA BRETOMIERE (Emile). - - Bernard
Palissy. Melodrame en trois
acts, en vers. Paris, M. Levy,
1860. 8°, pp. 102. 4 fcs.

"Bernard Palissy. A melodrama in
three acts, in verse."

Bernard Palissy : ode en
I'honneur de la statue a lui
elevee par la ville de Saintes.
La Rochelle, 1864. 8°, pp. 15.

" An ode, on the occasion of a statue
of Palissy erected by the town of Saintes."

LA BROISE (H. de).— Societe des arts
reunis de Laval, Exposition de
1875. Laval, Moreau, 1875. 12°.

" Catalogue of the Laval Exhibition in

1875."

LA FERRIERE-PERCY (Comte de).— Une
fabrique de faience 4 Lyon sous
le reigne de Henri II. Paris,
Aubry, 1872. 8°, pp. 16. 3 fcs.

" A faience factory at Lyons in the
reign of Henri II."

Jehan Francisque, of Pesaro, was established
at Lyons as faience-maker in the early part of
the sixteenth century. A little later, a privilege
for making majolica after the Italian method
was granted to Julien Gambyn and Dominego
Tardessir. Another majolist, Sebastian Griffo,
of Genoa, is mentioned in 1555 as having settled
in the town. All the documents referring
to the above potters were discovered in the
civic archives by the writer of this paper, and
by him published for the first time.

LAMARTINE (Alphonse de).— Bernard de
Palissy. Paris, M. Levy, 1863.
8°, pp. 124. (Reprint from the
Civilizateur, 1852.)

Always a poet, even when he condescended
to write in prose, Lamartine could never let
,the prosaic ties of strict historical accuracy
hamper the free flight of his lofty imagination,
or weaken the purpose of his moralising and
humanitarian discourses. Fxill as they are of
eloquent pages, in which the noblest examples
of virtue and honour are glorified in soul-
stirring language, his popular biographies of
the great men of all ages are often deficient in

absolute accuracy. The task he set himself,
viz. , to publish every month the life of one of
the benefactors of mankind, was too heavy to
be accomplished with success ; the notice of
Bernard Palissy, among others, shows a
regrettable want of preparation. It is not
in the character of a philosopher, a scientist,
or an artist that Lamartine has chosen to
represent Palissy. The achievements of the
potter, the new principles and theories formu-
lated by the writer of the Discours admirables,
seem to have been taken for granted, and
speedily passed over. The great teaching that
the biographer derives from the chequered
existence of his hero is the fortitude of mind
with which he stood the ordeal of unrelenting
adversity. After long years of painful toil,
repeated failures, and discouraging rebuffs, his
indomitable energy resulted ultimately in the
triumph of his ideas and the reward of his
efforts. For Lamartine the life of Palissy is,
above all, the glorification of labour. A work-
man, in the true acceptation of the term, he is
the noblest model that all workmen should
strive to imitate.

Having praised, as they deserve, the utili-
tarian and philanthropic principles propounded
in this biography, we must confess that it is
strangely incorrect in all other respects. No-
where else shall we see the name of the great
potter written as Bernard de Palissy ; and no
previous writer had made him the "son of a
miserable pot-maker who taught him his trade."
We cannot help being surprised at seeing one
of his works referred to as bearing the title of
Mon Jardin. And lastly, it is difficult to
understand how Palissy could have begun " to
write the treatises which shall make his name
live for ever in 1590, when enfeebled by age,
and almost on the point of death, he was
imprisoned in the Bastille," while a little atten-
tion on the part of the biographer would have
reminded him that his two works were pub-
lished in 1563 and 1580 respectively.

LA QUERIERE (E. de).— Essai sur les
girouettes, epis, cretes et autres
decoration des anciens combles
et pignons, pour faire suite d
Fhistoire des habitations au
Moyen-age. Paris, Derache,
1846. 8°, pp. 86 ; with 8 pis.
8 fcs.

" Essay on the weather-cocks, pin-
nacles, crests, and other decorations of
ancient roofs and gables ; a complement
to the history of mediaeval buildings."

In addition to the ornamental lead-work,
pinnacles of coloured earthenware were often
used for the decoration of the roof of the
picturesque houses of the Middle Ages. By
means of a superposition of separate pieces
these pinnacles or epis, were made to attain the
height of three to six feet. The ornament was
currently manufactured in the pot-works of
Northern France. Some of them are sufficiently
artistic in treatment to warrant their having
been, at one time, attributed to Palissy, whose

245

LAC]

CERAMIC LITERATURE.

[LAK

work they resemble in many respects. A few
examples, evidently much anterior in date to
the earliest production of the great potter, are
reproduced in this volume. They are of special
interest as showing the application of poly-
chromic pottery to architectural ornamenta-
tion long before the Renaissance time.

LACROIX (A.). — Des couleurs vitri-
fiables et de leur emploi pour la
peinture sur porcelaine, faience,
vitraux, par A. Lacroix, chimiste,
ex-eleve de M. Pelouse et de la
manufacture des Sevres. Notices
et renseignements par MM.
Fragonard, Fontaine, et Goupil
de la manufacture de Sevres ;
Riottot, Ch. Houry, Claudius
Lavergne, Em. Bourieres, et
Dagron. Paris, A. Lacroix,
1872. 8°, pp. viii-32.

" The vitrifiable colours and their use
in painting upon porcelain, faience, and
glass — with notices and information com-
municated by practical porcelain painters,
etc."

Mr. Lacroix may be said to have created the
industry of colour making for painting on
pottery and porcelain, and the works he
established in Paris soon attained a great
importance. The catalogues of his products,
which he published from time to time, are too
numerous for us to mention all of them.

LACROIX (Paul). - - The arts in the
Middle Ages and the Renais-
sance. English edition, revised
and re-arranged by W. Arm-
strong. London,s.d. Roy. 8°. 15s.

A reduction of the great work of Paul
Lacroix, History of the Arts in the Middle Ages
and the Renaissance. Ceramic art, pp. 45 to 62,
with one col. pi. and 13 illustrs.

LACROUX (J.) et DETAIN (C.). — Con-
structions en briques. La brique
ordinaire au pointe de vue de-
coratif. Etude theorique suivie
de nombreux exemples d'appli-
cation pratique de 1'emploi de
la brique, au double point de
vue de la construction raisonnee
et de la decoration qui en resulte.
Paris, Ducher, 1878. 2 vols.
Imp. 4° ; with 155 pis. in col.
130 fcs.
246

" Upon the use of common bricks, con-
sidered from the decorative point of view.
A theoretical study, accompanied with
numerous examples of practical applica-
tion, showing how bricks should be
employed in rational construction, and
the decorative effects that result from
their employment."

LAFON DE CAMARSAC.— Portraits photo-
graphiques sur email, vitrifies et
inalterables comme les peintures
de Sevres. Paris, s.d. (1865 ?).
8°, pp. 28.

" Photographic portraits upon enamel,
vitrified and unalterable like Sevres
paintings."

LAFON (G.)- — Decouvertes des terres
kaoliniques de Tayac-les-Eyzies.
Perigueux, 1896. 8°, pp. 12.

" Discoveries of the kaolinic clays of
Tayac-les-Eyzies . "

LAFOSSE. — Notice sur les antiquites
romaines trouvees dans les
fouilles du nouvel arsenal. Bes-
ancon, s.d. 8°, pp. 12 ; with 7
pis. 5 fcs.

"Notice of the Roman antiquities
discovered at BesaiMjon."

Numerous marks of Roman potters, and a
few examples of Samian and other pottery.

LAIGNES (L. de).— Une faiencerie a
Rotterdam au xvii. et xviii.
siecles. Paris, 1898. 4°, pp. 13 ;
with 11 illustrs. printed in blue.
(Extr. from La Revue de I' Art.)

" A faience works at Rotterdam."

Reproductions of the sketches in the pattern
book of a tile manufacturer of Rotterdam.
They illustrate the common style of work of
the period. Tiles of the same design have been
found by the author fixed in the walls of a
house in Cadiz.

LAKING (F. G.). --Sevres porcelain.
Buckingham Palace 'and Wind-
sor Castle. London, Bradbury,
Agnew & Co., 1907. 4°, pp.
xxxvii-203 ; with 63 col. pis.
£10, 10s.

Of unsurpassed beauty within the whole
range of ceramic treasures, the soft porcelain of
Sevres deserves to be made the subject of a

LAK]

CERAMIC LITERATURE.

sumptuous monograph. It should be ex-
haustiVe enough on the point of information,
and sufficiently accurate in the artistic repro-
ductions to embody a fair knowledge and a
due appreciation of the whole subject. It h
obviously in England — where the finest speci-
mens of the ware have drifted in counties
numbers — that the long wished for work
should be prepared and published. The
announcement of a bulky volume on the point
of being brought out under exalted patronage,
in which the contents of the peerless collection
preserved in the royal castles of England
should be reproduced regardless of cost, had
raised great expectations in the collector'
world. The book was received with something
akin to disappointment. The historical notice
appears somewhat incomplete, and the typo-
graphic execution is not quite as good as it
might have been. Plates and letterpress should
have been printed on paper of a superior quality,
and the three-colour block process, which
has been selected for the reproduction of the
specimens — good as it may be in the case of a
cheaper publication — is insufficient to render
the harmonious blending of rich gilding and
bright colours so bewitching in the originals.

LAKIN (I,)-— The valuable receipts of
the late Mr. Thomas Lakin, with
proper and necessary directions
for their preparation and use in
the manufacture of porcelain,
earthenware, and ironstone
china ; together with the most
recent improvements in the
admired art of glass staining
and painting. Leeds, printed
for Mrs. Lakin by E. Baines,
1824. Sm. 4°, pp. vii-86.

No professional convention ever bound the
master potters to withhold from the public the
secrets of the trade, yet these secrets were
very well kept as a rule, and this is the first
time that the private recipes of a manufacturer
have been printed for the common benefit.
Mrs. Lakin, who had been left a destitute
widow, had no scruple in turning to the best
advantage the practical recipes she had in-
herited from her husband. Her example has
since been followed by many a betrayer of
trade secrets who had not such a good excuse
to give for turning into money the result of
a manufacturing experience which, most often,
was not his own. As much as £50 was
originally charged for one copy of this volume ;
it is said that the whole of a very limited issue
was disposed of at that price, and the copies
having been kept as a valuable rarity by the
descendants of the subscribers, they seldom
come into the book trade.

Lakin was established at Hanley in partner-
ship with Poole. Their ware is of remarkably
good quality and generally decorated in the
style of porcelain painting ; it is always marked
with their joint names. Lakin had to give up
the business, and died at Leeds, where he had

taken an engagement as manager of the cele-
brated earthenware works of the town.

LAMBERT (Anon.).— Coup d'ceil sur
Findustrie du potier de terre a
•Kouen. S.I., n.d. (1838). 8°.

" A glance at the industry of the
earthenware potter at Rouen."

Of all the faience manufactories which once
nourished in Rouen, a single one remained in
1838. It belonged to M. A. Lambert, to whom
this notice may be attributed.

LAMBERT (Glrillaume).— Art CeVamique.
Trait6 pratique de la fabrication
des faiences fines et autres
poteries ; etat actuel de la
fabrication en Angleterre, avec
indication des ressources que
presentent la France et la Bel-
gique pour ce genre d'industrie.
Paris, E. Lacroix, 1865. 8°, pp.
380 ; with a map of the Stafford-
shire Potteries,and 27 pis. 15fcs.

" Ceramic Art. Practical treatise of
the manufacture of earthenware pottery
in all its branches ; actual conditions of
the industry in England, with observa-
tions upon the resources offered by
France and Belgium for the extension
of that industry."

No practical English potter could have given
a better and clearer account of the conditions
of earthenware manufacture, as they stood
forty years ago in the Staffordshire Potteries.
Mr. Lambert is a Belgian Civil Engineer, and
he has occupied the position of managing
director in an important ceramic establishment,
the name of which, however, he does not
mention. Neither does he tell us how he
obtained the accurate and complete knowledge
of the pottery trade in England which he has
displayed in his book. But it is evident that
he must have studied, personally, for many
years the conduct of work in the factories of
Staffordshire to have gained such a perfect
mastery over all the processes of manufacture.
He regrets that Belgium has not followed more
closely on the steps of the English potters, and
he points out all the facilities that could be
found in the country for the development of
the ceramic industry.

Exposition universelle de

Vienne, 1873. Documents et
rapports des jures et delegues
beiges. IXegroupe. Ceramique,
par G. Lambert, membre du
jury. Bruxelles, impr. E. Guyot,
1874. 8°, pp. 79 ; 3 pis.

247

LAM]

CERAMIC LITERATURE.

[LAN

LAMBERT (Giiillaume). - - Exposition
universelle de Paris en 1878.
Rapports publics par la com-
mission beige. Classe xx.
Ceramique. Rapport de M.
G. Lambert, membre du jury.
Bruxelles, typ. Vanderauwera,
1879. 8°, pp. 80.

" Official reports of the Belgian Com-
mission at the International Exhibitions
of Vienna and Paris in 1873 and 1878."

LAMBERT (H.)-— La Flore naturelle.
Paris, 1888. 60 folio pis. in
colour. 120 fcs.

Flowers in water-colour for the use' of the
decorator, by a flower painter of the manu-
factory of Sevres.

LAMBOURSIN (J.). — Traite de la fabri-
cation et de la reparation des
faiences et objets d'art, avec un
appendice contenant toutes les
marques des faiences et por-
celaines frangaises. Paris, 1897.
8°, pp. 115. 5 fcs.

" Treatise of the manufacture and
restoration of faiences and works of art ;
with an appendix containing all the
marks of French faience and porcelain."

LAMEIRE (Ch.). — Rapport sur les por-
celaines modernes qui ont figure
a 1'exposition universelle de 1878.

Paris, 1879. 4°, pp. 58.

" Report addressed to the Minister of
Fine Arts, upon the porcelain exhibited
at the International Exhibition of 1878,
by the committee of the manufactory of

Sevres."

Examination of the principal objects ex-
hibited by the National Manufactory, with
critical remarks upon each shape and the style
of its decoration. At the end is a complete
catalogue of the Sevres exhibits with the names
of the painters and modellers.

LANDON (D.)-— Die Fabrikation des
Porcellans, Steinguts, und
Fayence - Glases, sowie der
hierzu erforderlichen Glasuren,
etc. Mit Abbildungen. Qued-
linburg, s.d. 8°.

"The manufacture of porcelain, stone-
ware, and enamelled faience, with the

248

composition of appropriate glazes, etc.,
with illustrs."

LANA(A.). — Alcune Tavole dei mold
disegni che si possono esequire
coi Mattoni della Fabrica di A.
L. in Borgognato, Provincia
Bresciana. Brescia, 1841. 4°.
31 pis. and price list. 3 fcs.

" A few plates of the numerous designs
which may be executed with tiles of the
manufacture of A. Lana."

LANG (Collection).— Catalogue of a col-
lection of hard paste porcelain,
Delft ware, etc., manufactured by
citizens of Bristol. Bristol, s.d.

(1878 ?). 8°.

LANGE (C.)-— Anleitung zur Ofen-
fabrikation. Fabrikation der
Fayenceofen und der Schmelz-
glasurofen. 1892. 8°. (3rd ed.)
1 m.

" Instructions for oven-building. The
building of biscuit and glost ovens."

LAHGEfl (Magdalene von).— Delfter blau

Malerei, Vorlagen fur Majolika.
Leipzig, Haberland, 1893. Sm.
folio ; 16 pis.

"Delft blue painting. Sketches for
majolica decoration."

LAMLOIS (Frederic).— Societe en com-
rnandite pour la fabrication de
la porcelaine a Isigny. Isigny,
impr. Maurin (1843). 8°.

" A circular announcing the formation
of a Society for the manufacture of hard
porcelain at Isigny (Calvados)."

LANGTON DOUGLAS.— The majolica of
Siena. (In The Nineteenth Cen-
tury, Sept. 1900.) Pp. 15.

Italian writers have asserted that no majolica
factory has ever existed in the town of Siena,
notwithstanding the beautiful dish of the
South Kensington Museum which bears the
inscription, "Fata in Siena da M°- Benedetto."
That they were altogether mistaken is now
demonstrated through the researches made by
Mr. L. Douglas in the municipal archives. In
1363 thirty-three potters were at work in the
city, and their number increased so rapidly
that in 1483 a whole street was occupied by

LAN]

CERA MIC LITER A TURE.

pot works. Several documents refer to Master
Benedetto, the painter of the celebrated dish,
who in 1510 had a bottega in the Piazza di
San Marco. It is true that he was a native
from Faenza, but majolica had been made in
Siena before his coming, for the tiles of the
oratorio of S. Caterina in Fontebranda were
painted in 1480.

Italian translation : - - Le
maioliclie di Siena. Siena, 1903.
8°, pp. 23 ; with '2 pis. (one col), j

LA NOE (G. de). - - Documents pour !
servir a 1'etude des enceintes j
vitrifiees. Paris, 1882. 8°, pp. '
11. (Reprint from the Revue
Archeologique). 2 fcs.

" Document for use in the study of
vitrified forts."

The ancient vitrified fortresses of France
and Scotland offer the most primitive and most
colossal application of the effect of a strong fire,
brought to bear upon a combination of clay
and fusible materials. An experiment to
execute a large work of similar nature was
attempted in modern times. In 1777 a
retired French officer, named Barret, had
been entrusted by the government with the
management of a manufactory of bricks " after
the method used in England," established near
Dunkerque. While producing there heavy
blocks of hard brick clay, employed in the
building of the coast defence works, Barret
conceived the idea of obtaining, through vitri-
fication, monoliths of huge dimensions. He
piled up a mass of unbaked bricks to form a
block 12 feet broad by 8 feet high, the top of
which was approached by an inclined plane,
built of the same material, and 18 feet in
length. Then he submitted the whole fabric
to a particular system of firing. The experi-
ment ended in complete failure ; the mass of
bricks, instead of uniting together under the
action of the intense fire, split in all directions
and broke into pieces. The experiment was
not renewed, Barret being unable to obtain the
funds necessary for another trial. All the
particulars concerning this unfortunate venture
are preserved in the archives of the War Office,
and are transcribed in this paper.

LANZI (Luigi). — De'vasi antichi
dipinti volgarmente chiamati
etruschi. Dissertazioni tre.
Firenze, 1807. 8°, pp. 234;
with 3 pis. 10 fcs.

"The ancient painted vases commonly
called Etruscan. In three disquisitions."

In the days when the bigoted Etrusco-
maniac maintained that Etruria was the only
source of production from which painted vases
had been exported into all parts of Italy and
Greece, where such vases are found in the
excavations, it wanted some courage to attempt

the confutation of that generally accredited
opinion. Winckelmann had already thrown
some doubts as to the probability of all the
vases discovered in countries so distant from
each other having a common origin. Lanxi
determined to settle the question once for all,
and beyond the possibility of further dispute.
That was the aim he had in view in publishing
these dissertations. While admitting that
among the various classes of vases found in the
Etruscan tombs certain types could be set apart
as representing the actual work of the local
potters, he clearly demonstrated that, judging
from the character of the subjects painted upon
them, the style of the decoration and the
inscriptions they bore, the majority of the
finds were unquestionably the work of Greek
artists. His sound train of argumentation was
sufficient to bring conviction into the mind of
all unbiased spirits. Many years elapsed,
however, before the sagacious considerations
propounded in this little volume got the better
of a deep-rooted error, and received the general
recognition they deserved.

LAPIERRE (Ch,).— Estudos chimico e
technologica sobre a ceramica
Portugueza moderria. With an
Appendix, " Breve nocao a his-
toria da ceramica em Coimbra,"
by A. A. Gonealves.

"A chemical and technological study
of the modern ceramics of Portugal."

Some brief historical notes on the potter's
art in Coimbra are given in the Appendix.

LARCHEYEQUE (Marc).— Fabrication in-
dustrielle de la porcelaine dure.
Paris, impr. Malverge, 1898. 8°,
pp. 202 ; with 142 text illustr.
3 fcs.

"Industrial manufacture of hard
porcelain."

Written by a manufacturer of Vierzon
(Cher), this treatise boasts of containing the
description of the latest and most improved
processes of manufacture now in use in the trade,
instructions which one would look for in vain
in any other work of the same order. The
contents of each chapter are briefly, but always
clearly, presented ; the author always aiming
at being practical. A study of the accidents
which are to be met with in the making of
hard porcelain forms an interesting and valuable
portion of this book.

LARROUMET.— L'emploi de la cera-
mique dans Farchitecture. Paris,
1897. 8°, with illustrs. (Reprint
from the Revue de r Union Cen-
trale des Arts Decor atifs). 4 fcs.

" Of the use of ceramics in architecture."

249

LAR]

CERAMIC LITERATURE.

[LATT

LARTET (L.). — Poteries primitives,
instruments en os et silex taill^
des cavernes de la vielle Castille
(Espagne). Paris, Didier, 1860.
8°, pp. 24 ; with 2 pis. 2 fcs.

" Primitive pottery, and bone and flint
implements found in the caverns of
ancient Castille (Spain)."

LASTEYRIE (F. de).— Bernard Palissy.
Etude sur sa vie et ses ceuvres.
Paris, Pillet, 1865. Pp.20. 5 fcs.

An address delivered by the author of the
Histoire de la peinture sur verre before the
Committee for the erection of a statue to
Palissy. Like the generality of special pane
gyrics this one does not go farther than a
superficial consideration of the subject. It
repeats the established facts and the erroneous
statements contained in previous biographies
with equal confidence. As to what regards
the productions of Palissy, the lecturer describes
as his masterpieces the enamelled plaques and
the stained-glass of the chateau of Ecouen,
the figure of a nurse, the nymph of Fontaine-
bleau, and certain dishes with historical sub-
jects, all ofj them now known to be the works
of his successors.

LASZLO (E. D.). -- Chemische und
mechanische Analyse ungarn-
landischer Thone. Budapest,

1886.

" Chemical and practical analysis of the
Hungarian clays."

LA TOUR D'AIGUES (de).— Description
d'un four dans lequel on peut
cuire des briques, des tuiles, et
toutes sortes de poteries tres
economiquement. Paris, 1787.
18°, pp. 8 ; 1 pi. (Reprint from
the Memoires de la Societe Roy ale
£ Agriculture?)

" Description of an oven in which
bricks, tiles, and all kinds of pottery can
be fired at a very small cost."

LAU (Theodor). - - Die Griechischen
Vasen. Ihr Formen und De-
corationssystem. xliv Tafeln
aufgenommen nach Originalen
der K. Vasensammlung in Miin-
chen und herausgegeben von
Th. Lau Gustos der K. Vasen-
sammlung in Miinchen. Mit
250

einer historischen Einleitung und
erlauterndem Text von Dr. H.
Brunii und Dr. P. F. Krell.
Leipzig, A. Seemann, 1877. Sm.
fol., pp. 38; with 64 pis. in col.
56 m.

"The Greek vases,
system of decoration.

Their forms and
Drawn after the

originals in the Royal Museum at Munich,
and published by Th. Lau, curator of the
Royal collection of Greek vases. With an
historical introduction and a descriptive
text by H. Brunn and P. F. Krell."

As the title implies, Greek vases are con-
sidered and classified under their typical forms,
each form being accompanied by examples of
the painted decoration with which they are most
often completed. This volume is particularly
intended for the use of the industrial designer.

LAUCHERT.— Die romische Thonge-
fasse und Legion Ziegel der
archaologischen Sammlung zu
Rottweil. Rottweil, 1845. 8°,
pp. 35. (Reprint from the Mit-
theilungen des A. V. zu Rottweil.)

" The Roman pottery and legion — tiles,
in the archaeological collection at Rott-
weil."

LAUDIEN (Therese und M.).— Vorlagen

fur Porcellan-malerei. Frank-
furt a. 0., Trowitzsch, 1895.
Fol., 30 pis. (some col.). 36 m.
" Designs for porcelain painting."

LAUGARDIERE (CL de). — Ceramique
Nivernaise. Lettre a M. Alfred
Darcel sur le lieu de fabrication
des carreaux du Chateau de
Thouars. Paris, Aubry, 1865.
12°, pp. 9. 3 fcs.

" Nevers faiences. A letter to Mr. A.
Darcel on the place of the manufacture of
the tiles of Thouars Castle."

The castle belonged to the Duchesse de La
Tremouille. Fillon, who mentioned the* tile
pavement of the castle, thought that it had been
made in one of the Poitou factories. A con-
tract passed between the representative of the
Duchesse de La Tremouille and Anthoine Con-
rade, the Nevers faiencier, dated 1636, was sub-
sequently discovered by the writer of this paper.
It referred to the payment and delivery of 480
painted tiles. Some of the tiles, still to be seen
in the state bedroom of the Castle, bear the date

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CERAMIC LITERATURE.

[LAU

1636. There can be no doubt that they are the
same as those which are referred to in the
agreement.

Documents inedits pour
servir a 1'histoire de la cer-
amique dans le Cher. Bourges,
1870. 8°, pp. 8.

" Unedited documents contributed to
the history of the ceramic art in the Cher
Department."

Some obscure pot- works of the province are
here mentioned for the first time.

LAURAGUAIS (Comte de Brancas).— Obser-
vations sur le memoire de M.
Guettard, conyernant la Porce-

laine.
viii-64.

Paris.,
5 fcs.

1766. 8°, pp.

"Remarks on Mr. Guettard's memoir
on the manufacture of porcelain."

Guettard having presented to the Academy
of Sciences some specimens of hard porcelain
made with the kaolin of Aleneon, Lauraguais saw
himself deprived of the honour of having been
the first to make use of the porcelain clay found
in France. He wrote this memoir, which was
printed at the expense of the Academy, not only
to assert his rights to the discovery, but also to
maintain that Guettard had never made any por-
celain, and to defy him to make any with the
substances he had described in the paper which
accompanied his so-called productions. The
accusation fell to the ground ; the hard porce-
lain that Guettard was regularly manufacturing
at Bagnolet was sufficient to demonstrate its
unfairness.

LAUTH (Ch.).— Conferences de laSor-
bonne. La Porcelaine. His-
toire, Fabrication, Decoration.
Paris, 1882. 8°, pp. 12; with
6 wood-cuts by A. Tissaiidier.
(Extr. from La Nature.}

"Sorbonne Lectures. Porcelain: its
history, manufacture, and decoration."

A brief description of the technical processes
employed at the manufactory of Sevres, of
which Mr. Lauth had been appointed Admini-
strator in 1879. The illustrations give the views
of some workshops and ovens, and sketches of
the latest productions.

- Notes techniques sur la fabri-
cation de la nouvelle porcelaine.
Paris, 1885. 8°.

" Technical notes upon the manufacture
of the ' new porcelain.' "

The only objection raised against the merits
of hard porcelain, has been its inability to be

finished off with brilliantly coloured glazes and
enamels, such as we admire on the porcelain of
China and]Japan. Salvctat, chemist at the manu-
factory of Sevres, had obtained, after a brief
series of trials, a new body which was to obviate
that defect, and would permit the application
of the most brilliant of Oriental colours. Since
1880 experimental specimens of the " new por-
celain "—as it was called — had been manufac-
tured ; for long they were carefully concealed
from the intruders' curiosity, but hints were
broadly cast out that the result had surpassed
the most sanguine expectations. Nothing short
of a complete revolution in ceramic art was
asserted to be at hand. At last the long waited
for " new porcelain " made its first appearance
in an exhibition of industrial art, to receive its
due tribute of public admiration. But, with the
exception of laudatory notices in the press and
in the official reports, it failed to excite any
enthusiastic remark from the connoisseurs. It
was thought that the body was somewhat coarse*
and opaque, and that, without looking any
further, one would find in our English china
a material much better calculated to show a
brilliant display of colours. Vases continued
to be occasionally made of the " new porce-
lain," but a wise silence has now succeeded to
the loud concert of praises with which its forth-
coming had been heralded.

LAUTH (Ch.) et YOGI — Manufacture
Nationale de Sevres. Notes
techniques sur la fabrication de
la porcelaine nouvelle. Paris,

1885. 8°, pp. 48. 2 fcs.

"Technical notes on the manufacture
of the new porcelain."

LAUTH (Ch.) et DUTAILLY.— Recherches
sur la porcelaine. Paris, 1888.
8°, pp. 92. 3 fcs.

" Researches on the technical improve-
ments of porcelain."

A record of some laboratory experiments and
chemical analyses undertaken for the following
objects : — (1) The regular production of a por-
celain of soft paste equal to that of " Old
Sevres " ; (2) the discovery and application of
the " Rouge Flamme," and the celadon glazes of
the Chinese; (3) the improving of the tints of
coloured glazes for the " new porcelain," etc.
Years have passed since the publication of these
scientific notes, yet the regular manufacture of
the " Old Sevres " paste is as difficult to control
as ever it was. The secret for making it is now
lost at the very place where it had been so suc-
cessfully practised.

LAUTH (Ch.)« — La manufacture
nationale de Sevres, 1879-1887.
Mon administration. Notices
scientifiques et documents ad-

251

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CERAMIC LITERATURE.

ILEB

ministratifs. Paris, Bailliere,
1889. 8°, pp. 453. 10 fcs.

"The National manufactory of Sevres.
My adminstration. Scientific notes and
official documents."

On his resignation of the post of admini-
strator of the National Manufactory, Mr. Lauth
thought, that he owed to himself to vindicate,
in an explanatory memoir, all the trials,
changes, and reforms which had marked his
tenure of office. Analytical chemist of the town
of Paris, political events had made him the suc-
cessor of Brongniart, Ebelmen, and Regnault, all
sommites of the scientific world ; to receive the
inheritance left by such men was to accept the
burden of an almost overwhelming duty. Each
of his predecessors had done more than to uphold
unimpaired the glorious traditions of the past ;
^ under their learned and judicious administra-
tion the manufactory of Sevres had not ceased
to see its standing conditions brought to a con-
stantly enhanced level. What they have done
for the glory of the national institution en-
trusted to their guidance is reflected in the works
produced by them and their staff of collabor-
ators. All the titles through which Mr. Lauth
may claim to be remembered as having been a
worthy successor to Brongniart, Ebelmen, and
Regnault will be found recapitulated in this
memoir.

LAUZUN (£.)•— Manufacture generate
de carrelages lithoi'des, mosai'que,
etc. Avignon, 1874.

" Manufactory of stoneware tiles. Price
list."

LAYEZARD (E.). -- Contribution a
1' etude des argiles de France.
Paris, 1906. 4°, pp. 79. (Re-
print from the Memoires de la
Soc. d' Encouragement.)

" Contribution towards the study of
the clays of France."

LAZARI (Y.). — Notizia delle opere
d'arte e d'antiquita della rac-
colta Correr di Venezia. Venezia,
1859. 8°, pp. 287. 5 fcs.

" Notice of the works of art and anti-
quities in the Correr Museum at Venice."

Within the exiguous portion still inhabitable
in the ruins of his ancestral palace, and notwith-
standing the scantiness of his means, Abbato
Theodoro Correr had, during the course of his
long life, accumulated a sufficient number of
masterpieces of art workmanship to form
an unique museum of the minor arts of
Italy. His contemporaries laughed at the
egregious collector, mistaking for a senseless
mania, a mere passion for acquisitiveness, the
eclectic feeling which ruled his unprecedented

252

pursuit. The scales were soon, however, to be
turned against the scoffers. A reversion had
taken place, in public opinion, with regard to
the long-forgotten productions of the great
craftsmen of old ; the miscellaneous hoard of
curiosities he had been taunted with garnering
thoughtlessly proved to be full of unsuspected
treasures. And it could not have been other-
wise. Knowledge and discrimination could do,
at that time, what only an unlimited command
of money could scarcely have accomplished at
a later period. Prizes and bargains were then
of common occurrence. The majolica that fell
into Corrcr's hands, for instance, was obtained
at a trifling cost ; but some of the specimens
have now become priceless. Among the 120
pieces which compose the collection, most of
them of a superior order, we may especially
mention the Faenza series, so complete and so
full of examples of incomparable beauty and
rarity. To Lazari, then curator of the collec-
tions, is due the credit of having accurately de-
scribed and classified for the first time the ma-
jolica exhibited, and which had hitherto been quite
devoid of arrangement. In the unpretentious
catalogue he published for the use of the visitor
to the museum, he condensed more sound know-
ledge than could be found in many a more ambi-
tious book. In the part devoted to ceramics
the information given is so large and reliable,
that this catalogue is still considered to be one
of the best authorities on the subject.

LAZZARINI (G. A.)-— Notizie intorno
a fabricare la majolica fina
raccolte dal Canonico G. A.
Lazzarini, parte in Roma, parte
dal Sig. Filippo Antonio Calegari,
e molte piu dal Sig. Giuseppe
Roletti, Professore di detta mani-
f attura nelle Fabbriche di Torino
e Milano. (In. Vanzolini. Ap-
pendix to the reprint of Picol-
passo's Dell arte del Vasajo. Pp.
49-76. 4°, with 2 pis.)

"Notes on the manufacture of fine
majolica compiled partly by Canon G.
A. Lazzarini in Rome, and partly by
P. A. Calegari, but chiefly by G. Roletti,
professor of the aforesaid manufacture in
the factories of Turin and Milan."

LEADER SCOTT.— Luca della Robbia
and other sculptors. London,
1883. 8°. (Luca della Robbia,
pp. 32-43.) Vign.

LE BLANT (Edm.). - - D'une lampe
pai'enne portant la marque
ANNISER. Paris, 1875. 8°,
pp. 7 ; with 1 pi. and 1 illustr.

LEB]

CERAMIC LITERATURE.

[LEB

"A pagan lamp bearing the mark
' Anniser.' '''

This mark is of some interest as it is found
upon lamps adorned indifferently with pagan
or Christian subjects.

- De quelquessujets represented
sur des lampes en terre cuite de
1'epoque Chretienne. Rome,
1886. 8°, pp. 14; with 3 pis.

"Notice of some subjects represented
upon terra-cotta lamps of the Christian
period."

Biblical subjects, and particularly that of
Jonah, are often found upon Christian lamps ;
this paper gives a description of those most
frequently met with.

- Sur quelques carreaux de terre
cuite nouvellement decouverts
en Tunisie. Paris, 1893. 8°, pp.
8 ; with 6 illustrs.

" A few tiles of terra-cotta recently
discovered in Tunis."

The walls of a ruined basilica of the sixth
century were covered with embossed terra-cotta
tiles bearing Christian subjects. Adam and
Eve, Christ and the Apostles, Saint Peter, etc.,
are represented in a highly conventional manner
by some descendants of the Roman potters
settled in the African colonies.

LE BRETON (GastOfl).— Exposition de
Quimper. Les faiences de
Quimper et les faiences de
Rouen. Rouen, impr. Lapierre,
1876. 12°, pp. 23.

" The Quimper exhibition. Faiences of
Quimper and faiences of Rouen."

The style of decoration introduced by the
faience painters of Rouen had been closely imi-
tated at Quimper. Mr. Le Breton, a great
authority on the subject, attempts to establish
the distinctive points by which the ware made
in the two localities could be recognised, but he
acknowledges that the test is often inapplicable.

- Ceramique Espagnole. Le
Salon en porcelaine du Palais-
Royal de Madrid et les porce-
laines de Buen Retiro. Paris,
R. Simon, 1879. 4°, pp. 27;
with 4 illustrations drawn by C.
Gout z wilier. 5 fcs.

" Spanish ceramics. The porcelain-room
in the Royal Palace of Madrid, and the
Buen Retiro porcelains."

Shall we regret, with the writer, that the
Custom of replacing carved wainscoting and

tapestries by porcelain slabs and subjects in
high relief for wall decoration has not been more
extensively followed ? A visit to the rooms
decorated in that style in the palaces of Madrid,
Aranjuez and Capo di Monte will settle the
question. The icy look of the glazed walls,
the discordant contrast of the crude colours,
and, above all, the uncomfortable feeling worked
upon us by the unadaptibility of this fragile
material to architectural purposes are not calcu-
lated to make us desirous of seeing many more
repetitions of these Brobdingnagian china snuff
boxes. No writer on the history of Spanish art
had ever mentioned them. The name of the
artist who modelled the -panels of the Madrid
palace has remained unknown. From the name
seen inscribed on a rococo porcelain lustre at
Aranjuez, Mr. Le Breton infers that the whole
work could be attributed to Giuseppe Gricci.
This sculptor is known to have worked at Capo
di Monte. When Charles III. left Naples to
ascend the throne of Spain, Gricci and other
Italian artists and potters were engaged by
order of the King to assist in the establishment
of the porcelain works of Buen Retiro. The
execution of the porcelain rooms was probably
due to their collaboration, but the general
design may have been planned by the architect
of the palaces.

- La ceramique polychrome a
glagures metalliques dans Fanti-
quite. Rouen, Cagniard, 1881.
8°, pp. 44. 3 fcs.

"Poly chromic pottery with metallic
glazes in antiquity."

To hear about the glazed pottery of ancient
Egypt, the enamelled bricks of Babylon, and
the Greek and Roman vessels which show traces
of lead glaze has now lost the zest of novelty;
this paper adds nothing to our information.

Un memoire inedit sur la
manufacture de porcelaine de
Sevres. Paris, 1882. 8°, pp. 10.
(Extr. from Gazette des Beaux-
Arts.}

" An unedited memoir on the porcelain
manufactory of Sevres."

In the year 1798 the Sevres manufactory was
threatened with utter ruin, all having gone from
bad to worse during those troubled times. A
porcelain manufacturer of Bourg la Reine,
named Jullien, addressed a report to the " Com-
mittee of Arts," in which he pointed out the
causes of the decline of the national establish-
ment. The MS. report, discovered in the
archives, is analysed in this paper.

Le musee ceramique de
Rouen. Rouen, Auge, 1883. 8°,
pp. 61 ; with 20 illustrs. by
Goutzwiller and 1 fold. pi. in
heliogr. 5 fcs. A smaller edition,

O '

353

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CERAMIC LITERATURE.

[LEG

12°, pp. 56, with the fold, pi.,
appeared in the same year.

"The ceramic museum of Rouen."

When Mr. Le Breton published this descrip-
tion of the ceramic section in the town museum it
was still exhibited in the old building. As a cur-
ator he proved a worthy successor to Andre
Pettier and Abbe Colas, consummate connois-
seurs, who had occupied the post before him,
and whose collections of Rouen faience, gathered
during a lifetime with infinite pains and sure
judgment, had formed the nucleus of the
museum. He is himself a noted collector, and
his constant solicitude and liberality have greatly
contributed to the present extension of the
establishment entrusted to his care.

LE BRETON (Gaston).— Un carrelage en
faience de Rouen du temps de
Henri II. dans la cathedrale de
Langres. Paris, Plon, 1884.
8°, pp. 15. 3 fcs.

"A Eouen faience pavement, of the
time of Henri II., in the cathedral at
Langres."

The origin of this pavement still remains un-
determined. It adorns the floor of one of the
side chapels in the cathedral. As one of the
tiles bears the date 1551, which corresponds to
that inscribed on the Ecouen pavement known
to have been made by Arbaquesne of Rouen, one
may conjecture that they were the work of the
same master. The addition of a few sketches
would have much enhanced the interest of the
description. It is to be regretted that illustra-
tions have not been provided to complete this
interesting paper.

LEBRUN DALBANNE (E.).— Carrelages de
Troyes et de Polisy. Bar-sur-
Aube, 1861. 4°, pp. 15; with 7
chromolith. pis. (Extr. from
Gaussen, Portefeuille archco-
logique de la Champagne.)

" The tile pavements of Troyes and
Polisy."

The showy majolica pavements of Italy re-
sponded so well to the taste for gorgeous orna-
mentation which prevailed at the time of the
Renaissance that they were soon introduced into
France, not only for the adornment of public
edifices, but also for that of the private abodes
of the wealthy. A splendid example of this last
application may still be seen, in a good state of
preservation, on the floor of the State bedrooms
of the Chateau de Polisy situated in the Aube
Department.

It was the country seat of Francis de Dinte-
ville, bishop of Auxerre. Dinteville had been
ambassador of the King of France in Italy,
where he resided for many yeara. On the return
to Polisy he caused faience pavements, imitating
those he had admired in his travels, to be laid

down in the castle apartments. The tiles are
painted in the Italian style, with allegorical
figures and emblems. In the panel which con-
tains the coat-of-arms of the bishop is inscribed
the date 1545. Although nothing is known of
the artist who executed the pavement, it may
be assumed that it was the work of a French
potter ; we have abundant evidence that ex-
cellent majolica tiles of the same character were
made in France at the time.

LECHAT (H.)- --Terres cuites de
Cocyre. Collection de Mr. Con-
stantin Carapanos. Athens, 1891.
8° ; with 8 pis. and 13 illustrs.

"Antique terra-cottas from Cocyra in
the Carapanos collection."

LECHEYALLIER - CHEYIGNARD (G.). - - La
manufacture de porcelaine de
Sevres. Paris, Laurent, 1908.
Sq. 8°, pp. 168, 162 ; with 128
half-tone illustrs. 9 fcs.

" The porcelain manufactory of Sevres."
Part I.— The history of the factory from 1738
to 1876. Part II.— Modern times,' from 1876
to 1890. Mr. L. Chevignard is archivist secre-
tary at Sevres.

LECHNER (R.).— Terra-cotta Erzeug-
nisse der Kunstanstalt von R.L.
in Wien. 38 photogr. pis. Fol.

" Works in terra-cotta from the artistic
establishment of R. L. in Vienna."
Mostly reproductions of Tanagra figures.

LECLERT (L.). — Carrelages vernisses,
incrustes, histories et faiences.
Catalogue contenant la descrip-
tion, 1'histoire et le dessin des
diverses pieces qui font partie
de la collection du musee de
Troyes. Troyes, 1892. 8°, pp.
102 ; with 16 col. pis. 2 fcs. 50 c.

" Glazed, inlaid, ornamented, and
enamelled tiles. A catalogue containing
the description, the history, and the
design of the various specimens exhibited
in the Troyes Museum."

The Aube Department is particularly rich
in ancient tile pavements. Specimens of tiles
discovered in the vicinity of Troyes have been
secured for the museum through the unremitting
exertion of its learned curator. Mr. Le Clert
has prefixed to this excellent catalogue a his-
torical essay on the industry of the tile maker
in the province. He has been able to trace the
localities where tile works have for centuries
supplied the region with their ware ; he gives
us the prices of tiles in the fourteenth century

LEG]

CERAMIC LITERATURE.

[LEG

and at other periods, and quotes the names of
the makers of several pavements represented
by a few odd examples in the museum. All these
particulars have been extracted from ancient
documents unpublished before. The plates,
drawn by the author, reproduce in their proper
colours no fewer than 285 examples, and al-
though given on a very reduced scale, their
neatness and accuracy convey a sufficiently
correct idea of the originals.

LECOCQ (G.).— Etude sur les faiences
patriotiques " au ballon ; " illus-
tree par A. Tissandier. Paris,
R. Simon, 1876. 8°, pp. 21;
with 8 illustrs. 2 fcs.

" Notes on the ' patriotic faience '
painted with balloon ascents."

Examples of the popular faience, upon which
the balloon invented by Montgolfier is roughly
depicted, are reproduced in great number in the
works dealing with the ware of that period.
This pamphlet purports to describe and analyse
the chief types of the faience painted with bal-
loon ascents, and gives a historical, political, and
allegorical survey of the subject.

- Note sur un benitier patrio-
tique de 1'epoque revolutioimaire.
Paris, R. Simon, 1880. 8°, pp. 3 ;
with 1 col. pi.

" Note upon a holy- water stoup of the
Revolution period."

A rather strange association of symbols to
be found upon a religious object. This curious
stoup bears, embossed in the centre, the em-
blems of the three social orders, symbolising
Revolution, and the " Fleur de Lys " repre-
senting Royalty.

LECOCQ (J.). — Etude sur laceramique
picarde. Premiere partie : Une
plaque de faience de Sinceny.
Paris, Rouveyre, 1874. 8°, pp.
13 ; with 1 pi. 2 fcs.

" Notes on the ceramic art in Picardy.
Part I. A plaque of Sinceny faience."

This plaque, described previously by Ed.
Fleury, is painted with a grotesque subject and
inscribed " Armes de Chauny."

LECOCQ (Jules et Georges). --Histoire

des fabriques de faience et de
poterie de la Haute-Picardie.
Paris, R. Simon, 1877. 4°, pp.
Ill ; with 20 pi. in chromolith.
and illustrs. in the text. 25 fcs.

"History of the faience and pottery
manufactories of Upper Picardy."

This handsome volume resumes the mono-
graphs previously published by F. Pouy, Dr.
A. Warmont, and others, in which the history
of Sinceny and of the minor factories of the
province appeared to have been exhaustively
treated. To the particulars given by their
predecessors, Messrs. Lecocq, whose collection
at Saint Quentin is rich in specimens of local
origin, have added the transcript of several
documents of historical interest, and a complete
list of the painters, workmen, etc., attached to
the Sinceny works since 1777.

LECOMTE (P.).— Les arts et metiers
de la Turquie et de 1' Orient.
Paris, Soc. d'Ed. Sclent., 1902.
Sq. 8°. Ceramics, pp. 15-39 ;
tobacco pipes, 311-314. 6 fcs.
" The arts and trades of Turkey."

LECUYER (C.).— Collection Camille
Lecuyer. Terres cuites antiques
trouvees en Grece et en Asie-
Mineure. Notices par MM. F.
Lenormand, J. de Witte, A.
Cartault, G. Schomberger, E.
Babelon, C. Lecuyer. Paris,
Rollin et Feuardent, 1882. 2
vols. Fol. ; 110 expl. notices
with 15 text illustrs. and 117
pis. 120 fcs.

"Lecuyer collection. Antique terra-
cottas discovered in Greece and Asia-
Minor."

Most important materials for the history of
ancient terra-cotta figures will be found in the
description of this collection, one of the most
extensive formed after the Tanagra discoveries.
The plates are produced in phototype.

- Terres cuites de Tanagra et
d'Asie-Mineure. Vente a Paris,
Avril 1883. 4°, pp. 71 ; with 30
phototyp. pis. and 29 illustrs.
25 fcs.

Catalogue of sale of the Lecuyer collection.

The catalogue comprises 437 Nos. Collec-
tions of terra-cotta figures were rapidly formed,
and then almost immediately offered for sale.
This caused Frohner to make the following
humorous remark in the short notice he wrote
on that occasion : — " The little Tanagra damsels
cannot, apparently, live in peace together, for
they are no sooner assembled than they seem in
a hurry to part qpmpany and disperse in all
directions."

Deuxieme collection C.
Lecuyer. Terres cuites antiques

205

CERAMIC LITERATURE.

[LEG

trouvees en Grece et en Asie-
Mineure. Texte par A. Cartault.
Paris, 1892. Fol., pp. 64; with
85 photolith. pis. 80 fcs.
" C. Lecuyer's second collection."

The plates of this work show a decided im-
provement on those reproducing the figures of
the first collection. For the first time the ob-
jects have been photographed on white ground ;
and the objectionable practice of obliterating
the ground on the negative has been dispensed
with, to the advantage of the correctness of
outline.

LECDYER (C.).— Terres cuites Grec-
ques provenant de la succession
de Mr. C. Lecuyer. Paris., 1905.
4°, pp. 39 ; 8 pis. 5 fcs.

Catalogue of sale.

LEDUC (£.)• — Les efflorescences des
briques. Tours, 1906. 8°, pp. 8.
(Reprint from the Revue des
materiaux de construction).

" The efflorescences on bricks."

LEE (J. £.)• — Isca silurum; or, an
illustrated catalogue of the
Museum of Antiquities at Car-
leon. London, Longman, 1862.
4°, pp. 148 ; with 52 lith. pis. 6s.

Earthen materials, pp. 27-47 ; with 15 pis.
of Roman pottery, and 1 col. pi. of an old
English drinking jug of scratched clay.

LEFEBRE (£.)•— Histoire d'une
assiette. Paris, Hachette, 1887.
8°, pp. 99. (Illustrs. from Les
merveilles de la ceramique, by A.
Jacquemart).

" The history of a dinner plate."

An educational book for the use of young
scholars.

LEFEBYRE (A.)-— La ceramique
boulonnaise. Boulogne s/Mer,
1899. (In Boulogne s/Mer et la
region boulonnaise. Vol. II.,
pp. 297-446). 4°.

" History of the ceramic art in Boulogne

s/Mer."

LEFEYRE (C.).— Peinture sur porce-
laine, decoration et impression
de toutes les couleurs d'un seul

coup, . . . etc. Paris, Desloges,
1858. 8°, pp. 64.

" Porcelain painting, decoration and
printing of all colours in a single opera-
tion."

The process of transfer printing on porcelain
disclosed to amateurs. A special plate having
been engraved of eacli of the colours entering in
the design, proofs are taken in succession and
upon the same sheet of paper of all the plates ;
the complete proof is then transferred to the
porcelain in what the author calls " a single
operation."

LEFEBRE (I.).— La ceramique du
batiment. Briques, Tuiles, Tuy-
aux, Terres cuites emaillees,
carreaux ordinaires et incrustes,
mosaiques en Gres, Faiences et
Gres architecturaux, Paris,
Masson, 1897. 8°, pp. 496 ; with
5 pis. and 950 text illustrs.
15 fcs.

" Ceramics in their connection with the
building trade. Bricks and roofing tiles,
drain pipes, enamelled terra-cottas, plain
and inlaid tiles, stoneware mosaics, archi-
tectural faience and stoneware."

An English translation under the title of
Architectural Pottery has been published by
Scott & Greenwood. London, 1900.

LEFRANC (P.).— Bernard Palissy.

An article in Le livre, (Vor des Peuples. 4°,
s.d.

LEFRAN(!OIS (Collection A.)- --Faiences
anciennes. Vente a Paris,
Decembre, 1888. 8°, with 7
photogr. pis.

Catalogue of sale. 157 Nos., among which
were some remarkable busts, and other fine
examples of Rouen faience.

LE GRAND d'AUSSY.— Histoire de la
vie privee des Frangais depuis
1'origine de la nation jusqu'a nos
jours. Paris, 1782. 8°, 3 vols.
10 fcs.

" The history of private life in France,
from the origin of the nation up to the
present day."

The subjects of the dining-room and of the
eating and drinking vessels which appeared upon
the table are treated in vol. hi., chap. 7. In the
portion devoted to " Pottery " the author tells
us that some of the pot-works established in

LEH]

CERAMIC LITERATURE.

[LEI

France by the Romans at the time of the occupa-
tion have never stopped making rough pottery,
and he gives the names of small existing factories
which claimed to have carried on the same style
of manufacture, without interruption, during the
intervening centuries.

Numerous pot-makers were at work in the
very centre of Paris until 1486, when they were
driven out of the town by Act of Parliament.
After having acknowledged the superiority of
Palissy's enamelled ware, he ends a short bio-
graphical notice by remarking that the great
potter worked merely for the advancement of
his own fortune and personal glory, rather than
to assist the general improvement of the trade,
which never got the benefit of his secret experi-
ments. Nevers is mentioned as the first town
in France where faience was made in the imita-
tion of Italian majolica. Royal patronage is
said to have been granted to the industry of the
potter, in an efficient way, under the reign of
Henri IV. A curious footnote refers to the
menders of broken pots, and the lawsuit they
had to defend against the faience manufacturers
who attempted to prevent them from carrying
on a trade detrimental to their interests.

LEHMANN (H.).— Guide officiel du
Musee National de Zurich.
Zurich, 1903. 12°, pp. 58 ; with
zinco-block illustrations. 1 fc.

The Zurich Museum contains a large collec-
tion of prehistoric pottery ; rare specimens of
mediseval bricks, tiles, and earthenware vessels ;
numerous earthenware stoves, and an important
selection of Zurich and Nyon porcelain.

LEHNER (F. A.).— Fiirstlich. Hohen-
zollern'sches Museum zu Sig-
maringen. Verzeichniss der
Thonarbeiten. Sigmaringen,
C. Tappen, 1871. 8°, pp. 107.
2 m.

" Hohenzollern Museum at Sigmaringen.
Catalogue of ceramic objects."

The catalogue comprises, not only the speci-
mens exhibited in the museum gallery, but also
those which are scattered all over the castle for
the decoration of the private apartments. Ger-
man stoneware, particularly the Creussen manu-
facture, is the principal feature of a collection
of comparatively recent formation. The de-
scription of the objects follows the order of the
rooms in which they are placed ; the attribu-
tions are not always to be relied upon. A few
of the pieces of the Sigmaringen Museum have
been reproduced and described in Hefner-
Alteneck's Die Kunstkammer 8. K. H. des
Fiirsten von Hohenzollern. Miinchen, Bruck-
mann, 1866-1880.

LEHNER (S.)-— Die Kitte und Klebe-
mittel. Ausfuhrliche Darstel-
lungen aller arten von Kitt- und

Klebemittel fur Glas, Porzellan,
etc. Wien, 1883. 4°.

"The cements and joining mediums.
Practical description of all kinds of
cementing, mending, and joining com-
pounds for glass, porcelain, etc."

LEHNERT (G.).— Das Porzellan. Leip-
zig, Velhagen und Klasing, 1902.
8°, pp. 152; with 260 illustrs.
(some col.). 4 m.
" Porcelain."

Mr. Lehnert has contributed some articles on
ceramics to the Velhagen and Klasings, Monats-
hefte, among which we may quote : — Majolica,
1895; M. L. Solon, 1896, both with coloured
illustrs.

LEIBL (Sebastian). — Neue, wichtige

und sehr niitzliche Mittheilungen
fur Topfereien, Porzellan, Fay-
ence und Steingutf abriken. Ent-
haltend : 1°, Anweisung zur
Bereitung vieler neu erfundener,
vollkommen unschadlicher blei-
frein Glasuren ; 2°, Anleitung zur
Verfertigung der englischen Met-
all-Email, oder Metallglasur ; 3°,
Anweisung zur Bereitung ganz
neuer Prachtglasuren ; 4°, An-
weisung zur Verfertigung einer
Glasur-composition fur Metall-
gefasse. Zweite vermehrte Aus-
gabe. Nuremberg, s. d. 4°,
pp. 14.

" New instructions of great importance
to the potters, and porcelain, faience, and
stoneware manufacturers. Containing :
1, Directions for making various glazes,
not injurious to the health and perfectly
free from lead ; 2, a receipt for preparing
the English metallic glaze; 3, instruc-
tions for making a splendid glaze newly
discovered; 4, the composition of an
enamel with which to glaze vessels of
metal. Second and much enlarged
edition."

LEISCHING (J.).— Das Porzellanzim-
mer in Graf Guid Dubsky'sehen
Palaste zu Bruenn. Bruenn,
1902. 4°, pp. 15.

" The porcelain room in the Palace of
Count Guid Dubsky at Bruenn."

257

LEI]

CERA MIC LI TEE A TURE.

[LEM

LEISCHING (J.).— Sammlung Lanna,
Prag. Leipzig, 1909. Fol., pp.
xlix-142; with 50 pis. (10 col.)
and 58 text illustrs. £4.

The collection of Fr. Adalbert von Lanna
was particularly rich in old German ceramics
and Italian majolica. The complete collection,
of which this is the first volume, comprised
2,240 Nos.

LEJEAL (A.) et J. D.— Note sur une
marque de faience contestee.
Valenciennes? Lemaitre, 1865.
8°, pp. 16.

"Notes upon a faience mark under
discussion."

Collectors could not agree upon the attribu-
tion of a faience mark resembling that of Sevres,
when Dr. Lejeal established that it belonged to
Fauquez, of Saint Amand.

- Recherches historiques sur les
manufactures de faiences et de
porcelaine de Parrondissement
de Valenciennes. Valenciennes.,
Lemaitre, 1868. 8°, pp. V.-142;
with 1 photo, and 1 col. pi. ; 2
etchings by J. Jacquemart, and
3 plans. 15 fcs.

" Historical researches upon the faience
and porcelain manufactories of the
Valenciennes district."

The numerous manufactories of the North of
France, Lille, Tournay, Douai, Valenciennes and
other small works are so closely connected that
the history of any of them can scarcely be told
independently ; it was a good plan, therefore,
to bring them all together in the same book.
Valenciennes has, however, received particular
attention on the part of the author. The migra-
tion of skilled workmen from one place to another
caused many special branches of manufacture to
be carried on simultaneously in the same factory,
and this is why we see stanniferous faience in the
style of Rouen and Strasbourg, earthenware
after the English method, porcelain of soft and
hard paste, manufactured conjointly at Valenci-
ennes during the second half of the eighteenth
century. If it cannot be said that any of these
specialities were produced in the highest degree
of perfection, it cannot be denied that they were
all of very fair quality. The history follows the
development and decline of these various
branches of manufacture in the chief factories
of the district. The text gives transcriptions of
official papers relating to the business, the list of
articles made at each place with their prices and
marks, copies of the ancient recipe books, and
biographical notices of the directors and promi-
nent potters and artists.

258

LEJEUNE (E.).— Guide du briquetier
et du chaufournier. 1° Partie.
Briques, tuiles, carreaux, tuyaux
et autres produits en terre-cuite.
Paris, Lacroix, 1870. 8°, pp.
429; with 219 text illustrs.
4 fcs.

" Practical handbook for the brick and
cement manufacturer. Part I. Bricks,
roof- and wall-tiles, drain pipes, and
other terra-cotta articles."

LELAND (C. J.)- — Porcelain painting.
London, 1880. 8°. (An article
in the "Art at Home" series.)

LE MAISTRE.— De la poterie chez les
Gallo- Remains. Paris, 1835.
8°, pp. 46 ; reprint from Memoir es
de la Soc. des Antiquaires.

" On the pottery of the Gallo-Romans."

LEMEN (R. F.). — La manufacture de
faience de Quimper, 1690-1794.
Quimper, 1875. 8°, pp. 62.
(Reprint from the Bulletin de la
Societe archeologique du Finis-
terre.) 3 fcs.

" The faience manufactory of Quimper."

It is the historian and not the collector who can
decide whether a faience factory has ever been
in existence at Quimper. The fact is attested
by numerous documents preserved in the
archives of the town, and yet specimens of
undoubted local origin are wanting in the
collections.

In 1690 J. B. Bousquet of Marseilles estab-
lished at Quimper a manufactory in which the
making of painted faience was carried on with
some success. Under the management of P. 0.
Caussy, of Rouen, it took a much greater ex-
tension. There is no doubt that the production
was very important, richly decorated pieces
being made for the nobility of the province.
But as the ornamental decoration never departed
from an exact reproduction of the Moustiers and
the Rouen patterns, and no mark was ever
affixed to the ware, to distinguish the copies from
the originals remains a matter of great difficulty.
In the hands of the present proprietor of the
works are a large number of tracings of coats-
of-arms, drawn and used by the painters of
the time for the emblazonment of the faience
of the highest class. A descriptive list of these
coats-of-arms is given in this paper.

LE MENE (J, M.).— Catalogue du
musee archeologique de Vannes.

LEN]

CERA MIC LITER A TURE.

[LEO

Vannes, 1881. 8°, pp. 72; with
3 pis. (one of pottery).

Prehistoric pottery and mediaeval tiles.

LENOIR. — Four official documents,
dated 1779, referring to the
privileges of the Royal Manu-
factory of Sevres.

Full titles given by Champfleury.

LENORMANT (Ch.). — Introduction a
1'etude des vases peints. Paris,
Leleux, 1846. 4°, pp. 88. 4 fcs.

" Introduction to the study of painted
vases."

A reprint of the introductory chapter of the
great work, Elite des monuments ceramogra-
phiques, written in collaboration with J. de
Witte.

- Lettre a Mr. J. de Witte, sur
trois nouveaux vases historiques.
Paris, F. Didot, 1848. 8°, pp.
63 ; with 6 pis. 2 fcs.

" A letter to Mr. J. de Witte on the
subject of three historical vases."

The three vases were in the collection of Mr.
de Bourville, and the subjects represented upon
them were : The Minerva of Phidias ; a king
of Persia running away from a Lion, a satiric
painting ; and, Aristippe between Lai's and
Are tee.

LENORMANT (Ch.) et DE WITTE (J.). —
Elite des monuments ceramo-
graphiques. Materiaux pour
1'histoire des religions et des
mceurs de 1'antiquite, r assembles
et commentes. Paris, 1837-44-
61. 4 vols. 4° ; with 408 pis.
300 fcs.

" A selection from the ceramographic
monuments. Materials towards the
history of the religions and customs of
antiquity ; collected and explained."

A colossal publication which, according to the
original plan, was to comprise twelve volumes,
illustrated with fourteen hundred plates. It
was interrupted by the death of one of the joint
authors, Mr. Ch. Lenormant. Continued by
Mr. John de Witte, the first section, devoted to
the " Gods," was successfully completed, but
only twenty years after the issue of the first
volume. The figures of the twelve superior
deities of Greek mythology which appear on
vase paintings are reproduced in these volumes,
classified into groups, and elucidated with ex-
planatory notes. The other sections of the
work were to have been given in the following

order :— IT. The Heroes ; III. The History ;
IV. The private life of the ancients. Such* a
compendium of Greek vase paintings had never
been attempted before, and it is much to be
regretted that the mighty scheme could not be
brought to complete realisation.

LENORMANT (Fr.). --Description des
antiquites . . . composant la
collection de feu Mr. Raife.
Paris, Laine, 1867. 8°, pp. xv-
220; with 12 pis. 10 fcs.

Catalogue of sale.

Collection Fr. Lenormant ;
antiquites grecques recueillies
dans 1'Attique et dans 1'Asie
Mineure. Paris, 1876. 8°, pp. 26.

Catalogue of sale.

LENZ (A.).— Die landgrafliche Por-
zellan - manufaktur zu Cassel.
Berlin, 1881. 4°, pp. 4.

" The Cassel porcelain manufactory."

Jaennicke had expressed a doubt whether a
porcelain factory had ever existed at Cassel.
Demmin had given the year 1763 as that of its
foundation, and the mark of its productions
as a running horse with a flowing tail. In this
short article Lenz proved that both statements
are equally inaccurate. Contemporary documents
are most precise on the subject. The town
directories from 1767 to 1787 contain a descrip-
tion of the porcelain works which are said to have
been established in 1766, and they give the names
of the directors, all of whom occupied eminent
positions in the State. An undoubted specimen
preserved in the Wilhelmshohe Castle is marked
with the Lion of Hesse. It is a life size bust of
Landgraf Frederick II. of Hesse standing upon
a high pedestal, also of porcelain. The whole is
decorated in colours, and signed " H. Eisen-
triiger, 1781. A Cassel."

In 1787 the manufacture of porcelain was
discontinued and replaced by that of faience and
earthenware.

LEO (Wilt-elm). — Handbuch der
chemischen Farben Bereitung in
ihrem ganzen Umfange, fur
Maler, Fabrikanten, und alle
sich mit Farben beschaftigende
Gewerbe. Quedlinburg, G. Basse,
s.d. 12°.

" Handbook for the preparation of
chemical colours in all its branches."

- Die Schmelzmalerei. Oder
die Kunst auf Email, Glas, und
Porzellan zu malen, und die

259

LEO]

CERA MIC LIT ERA TURE.

[LES

hierzu nothigen Farben und
Fliisse zu bereiten. Nebst dem,
Unterrichte zur Construction des
Brennofens und zum Einbrennen
der Farben. Fur Kiinstler und
Dilettanten. Quedlinburg, G.
Basse, 1845. 12°, pp. 32; with
Ipl. 2m. 2nd edition, 1858. 8°.

" Vitrifiable painting : being the art of
painting on enamel, glass, and porcelain,
with directions for preparing the colours
and fluxes ; together with instructions for
building the kiln and firing the colours.
For professionals and amateurs."

LEON (Collection Alexandre).— Catalogue

des faiences anciennes, etc. Vente
a Bordeaux, Fevrier, 1896. 4°,
pp. 28 ; with 16 phototyp. pis.
6fcs.

A miscellaneous collection of old faiences of
various origin, but particularly from the South
of France.

LEONCE (G.)- — Oiseaux et plantes
d'apres G. Leonce reproduits
en chromolithographie par J.
Mesnard. Paris, Delarne, 1885.
24 fol. pis. 36 fcs.

" Birds and plants reproduced in colour
by J. Mesnard, after the designs of
Leonce."

Leonce was a porcelain painter well known in
Paris, and also in London, where he worked for
a few years.

LEROUX (A.)--— Histoire de la porce-
laine de Limoges. I. Biblio-
graphic, chronologic, statistique,
pp. 177. II. Notices historiques
par J. Savodin, C. Leymarie, et
A. Leroux, pp. 97. Limoges,
Ducourtieux, 1904. 8°. 5 fcs.
" History of the Limoges porcelain."

In addition to documents and particulars
hitherto unpublished, this volume contains a
bibliography, of pp. 112, giving the list of all
the articles bearing on the subject published
in the French periodicals.

LERODX (Collection).-

Paris, 1896.

-Catalogue of sale.

Ceramics, 192 Nos., with 6 pis. comprising
numerous objects.

260

LEROY (G.).— La faience de Rubelles.

Melun,
2 fcs.

1898.

16°, pp. 22.

" The Rubelles faience."

Established in 1842 by A. du Tremblay, the
factory was closed in 1852. Its speciality was
the production of earthenware with relief decor-
ations so contrived that the coloured glazes,
with which it was covered, made the subjects
appear like shaded engravings ; it was for that
reason called " a emaux ombrants." The pro-
cess was an application to pottery of a patent
taken a few years previously under the name of
" lithophanie."

LERUE (J. A. de). — Les anciennes
faiences populaires de Rouen.
Rouen, impr. Cagniard, 1868.
8°, pp. 16.

" The ancient popular faiences of
Rouen."

- Histoire locale. Les indus-
tries d'art. Anciennes poteries
de Rouen. Rouen, 1873. 8°.

"Local history. Art industries.
Ancient faiences of Rouen."

Both the above papers advocate the forma-
tion of a collection of the peasant ware of late
manufacture, decorated with patriotic emblems,
and the admission of some specimens of that
period in the ceramic museum of Rouen.

- Ceramique rouennaise. La
collection de Mr. Gustave Gouel-
lain. Rouen, impr. Lapierre,
1877. 18°, pp. 18.

" Ceramics of Rouen. The G. Gouellain
collection."

Rouen artiste.

La collection
Rouen, 1878.

de Mr. d'lquelon.
18°, pp. 16.

"Artistic Rouen. The D'lquelon col-
lection."

- Ceramique Rouennaise. La
collection de Mr. P. Baudry.
Rouen, 1877. 16°, pp. 21.

The above pamphlets reprinted from articles
written for the Nouvelliste de Rouen describe
three of the best collections of the town.

LESSING (J.).— Persisch-tuerkische
faience Teller. Berlin, 1890.
Fol., pp. 2; with 15 chromolith.
pis. 36 m.

"Dishes of Persian-Turkish faience."

LES]

CERA MIC LITER A TURE.

[LEY

Berliner Porzellan des xviii
Jahrhunderts. Berlin, S. Was-
muth, 1895. Fol., 20 pis. (some
col.) ; with descriptive notices.

" Berlin porcelain of the eighteenth
century."

The specimens reproduced in this work are
all preserved in the Berlin Museum of Industrial
Art.

LESSORS (E.).— A catalogue of works
on Queen's ware painted for
Messrs. Wedgwood by the late
Emile Lessore. On exhibition
at Messrs. Mortlock's galleries.
London, 1876. 8°, pp. 27.

Lessore, a French painter, was one of the
most promising among the young artists who
devoted their talents to the revival of the cer-
amic art. He mastered the technics of majolica
painting at the faience factory of Lorain, at
Bourg-la-Reine, and soon after entered the Im-
perial factory of Sevres. His sketchy style of
work did not accommodate itself, however, to the
delicacy and finish required for the decoration
of porcelain. Feeling somewhat out of his path
in art, and longing to paint again upon faience,
he left Sevres and came over to England, where
he made his Krst trials at Minton's works, and
decorated with success a large number of earth-
enware pieces. Messrs. Wedgwood having
offered him a brilliant engagement, he joined
the firm for which he worked up to the time of
his death.

LESTOURGIE (A.) et BOMBAL (E.).-
Bernard Palissy. Drame en
trois actes. Tulle, V. Drappeau,
1858. 12°, pp. 86.

A well written drama, which was performed
at Saintes in 1864, but without success, owing to
the author's inexperience of the stage and its
requirements.

L'ETOILE. — Catalogue du musee de-
partemental de Moulins. M ou-
lins, Auclaire, 1885. 8°, pp.
144 ; with 39 pis. 3 fcs.

The museum is one of the richest of France
in Gallo-Roman terra-cottas. It comprises —
Figures, 139 Nos. ; Vases, 1,070 Nos., etc.
The objects are briefly entered in the catalogue
without description or annotations.

LETROKNE, (M. J.).— Observations
philologiques et archeologiques
sur les noms des vases grecs.
Paris, 1833-38. 4°, pis. 10 fcs.
" Philological and archaeological re-
marks upon the names of Greek vases."

A severe criticism of the work published by
Panofka on the same subject.

LEYEN (Collection Pierre).— Catalogue of

sale. Cologne, 1853. 8°, pp.
51 ; with 8 lith. pis. and list of
prices realised.

Mr. P. Leven was the head of the firm J. M.
Farina, of " Eau de Cologne " fame. A passion-
ate collector, he had formed a magnificent collec-
tion at a very moderate cost. The sale realised
a comparatively very small sum. A few thalers
secured pieces of German stoneware which would
at the present time be considered almost as
priceless.

LEYEZOW (Konrad). — Verzeichniss
der antiken Denkmaler im
Antiquarium des koniglichen
Museums zu Berlin. Erste Ab-
theilung : Gallerie der Vasen.
Berlin, 1834. 8°, pp. 376 ; with
24 engr. pis. of shapes and in-
scriptions. 5 m.

" Catalogue of the antique monuments
in the Royal Museum of antiquities of
Berlin. Part I., Gallery of vases."

A collection of 333 Greek vases bought from
Mr. Henin, of Paris, by the King of Prussia in
1805 was the nucleus of this museum. The
history of its further development is related in
the preface to this catalogue by Mr. Levezow,
then curator of the " Antiquarium." The cata-
logue of the Greek vases was rewritten by Mr.
Furtwaengler in 1888.

LEWIS (Florence).— China painting.
London, Cassel, 1883. Obi. 8°,
pp. 52 ; with 16 col. pis. 5s.

Miss Florence Lewis is known for the ceramic
paintings she has executed at the Lambeth pot-
tery works. No one was more competent to
write a practical book for the guidance of ama-
teurs and students. The plates represent the
subject in the states of preparation and of com-
pletion.

LEWIS and SIMMONS.— Special exhibi-
tion of old English porcelain at
the Galleries of Messrs L. & S.
London, 1906. 8°, pp. 47 ; with
6 pis. (Privately printed.)

LEYSHON (E. J.).— The operative
potter ; a work containing nearly
400 recipes, compounded by
experienced potters for the
manufacture of china and jas-
per, stone, pearl, and other

261

LHO]

CERA MIC LITER A TURE.

[LIE

bodies, a variety of glazes,
numerous colours, dips, etc., etc.
Cheltenham, Leyshon, 1868. 8°,
24 pages of tabular recipes folded
in two ; the back of each is
occupied by advertisements.

LHOSPIED. — Notice sur les nouveaux
fours et moufles a recuperation
pour la cuisson des produits
ceramiques, par L. & Cie. Fab-
ricants d'emaux et de couleurs
pour la ceramique au Golf Juan
(Alpes-Maritimes). Nevers, 1906.
8°, pp. 16 ; with 4 pis.

" Notice of the new ovens and kilns,
with regenerated heat, for the firing of
ceramic products."

LICETUS (F.). — De lucernis anti-
quorum reconditis, etc. Vlini,
ex Typographia N. Schirutti,
1652. Fol., pp. 1278; with
numerous illustrations engraved
on copper and printed in the
text. £1.

" The mysterious lamps of the ancients."

A great number of curious terra-cotta lamps,

engraved by T. Georg, illustrate the learned

lucubrations of the Genoese antiquary, a firm

believer in the perpetual fire of the ancients.

LIDSTONE (James Torrington Spencer).-

The Thirteenth Londoniade,
giving a description of the prin-
cipal establishments, etc., in the
Potteries ; being the continua-
tion of a University poem on
the Arts. Published by the
author at The Potteries, 1866.
12°, pp. 112.

Over seventy pottery firms in Staffordshire
are here celebrated in a style of poetry of which
the following quotations will give but an in-
adequate idea : —

Cream colour Hail ! Blue Edge, ditto Green.
Sponge, too, Dinner plates, Soup Tureen ;
White Ironstone China, lovely in form,
Dinners, Toilets in ditto, that must ever charm.

In his happy vein the Potteries Pindar begins
one of his odes ; he is no less successful in the
manner in which he brings it to the conclusion.
Speaking of a well-known manufacturer, he
says : —

His proper place in Art Ceramic found,
And died worth more than £30,000.

262

Born iii Torquay, but having spent the greater
part of his life in Canada, Lidstone came over
to England to study " The Arts," and with the
set purpose of writing a national poem on the
glories of England, of which this was to be but a
small instalment.

LIEBERMANN (Collection A. VOD).— Cata-
logue of Sale. Cologne, Heberle,
1894. Fol. ; with 24 pis. and
text illustrs.

Sale in Berlin of a rich collection of ancient
and modern works of art. Faience and porce-
lain, 277 Nos.

LIEBOLD (B.). — Die neuen contiiiuir-
lichen Brennofen zum Brenneii
von Ziegelsteinen, Thonwaaren,
Chamotte-, Cement-, und Kalk-
stein. Vollstaiidige Anleitung
zur Ausfuhrung und Veran-
schlagen der Ringofen. 1876.
8°, pp. 120 ; with 5 pis. and 60
illustrs. in the text. 12 m.

" The new continuous oven for firing
tiles, earthenware, cement, and lime. With
complete instructions for constructing and
estimating the cost of a ring-oven."

- Die Trochenanlagen fiir Zie-
geleien. 1877. 8° ; with 2 pis.
and 26 illustrs. 6 m.

"The drying place in the tile manu-
factories."
f

LIENARD (F.)- — Les fai'enceries de
1'Argonne. Verdun, impr.
Laurent, 1877. 8°, pp. 114. 5fcs.

" The faience manufactories of Ar-
gonne."

Heavy and clumsy faience, decorated with
subjects and emblems painted in showy colours,
was made in the Vosges department towards the
end of the eighteenth century. The particulars
which Mr. Lienard has collected touching the
obscure pot-works of the province are of some
interest to the collector of " Faiences patrio-
tiques." To the historical notices are added
transcripts of the old recipe books.

LIESEGANG (Paul Ed.).-Photograph-
ische Schmeltz farbenbilder auf
Email, Porzellan und Glas.
Diisseldorf, 1898. 8°, pp. 90.
(3rd ed.) 3 m.

" Photographic pictures in verifiable
colours upon enamel, porcelain, and

LIE]

CERA MIC LITER A TURE.

[LIN

LIESYILLE (A. R. de).— Six heures a
F Exposition de Caen. Caen, Le
Blanc-Hardel, 1873. 12°, pp. 35.

" Six hours in the Caen Exhibition."

- La ceramique et la verrerie
au Champs-de-Mars. Paris,
Champion, 1879. 12°, pp. 74.

" Ceramics and glass at the Champs-de-
Mars/'

Mr. de Liesville was curator of the Carna-
valet Museum, to which he had presented his
important collection of historical curiosities and
French faiences. In this paper he gave his per-
sonal impression on the merits of the ceramic
exhibits at the International Exhibition of 1878.

LIEYRE (EdOliard). — Les arts decoratifs
a toutes les epoques. Paris,
1870. 2 vols. Fol. ; with 120
engr. and chromolith. pis. 100 fcs.

" The decorative arts at all periods."

- Musee graphique pour 1' etude
de 1'art dans toutes ses applica-
tions. Paris, s.d. 2 vols. Fol. ;
with 93 etched and chromolith.
pis. (The last seven plates are
entered in the Index, but they
were never published.) 200 fcs.

" The graphic museum : materials
towards the study of applied art in all its
branches."

Contains 22 large plates of ceramic and glass
objects.

All the handsome volumes published by E.
Lievre, being of a general character, give but a
small place to ceramic art ; the few specimens
he has selected for reproduction are, however,
of the highest order, and they are most cleverly
represented on the plates ; we cannot, on that
account, omit to record the titles of two of his
best works.

LIMOUZIN (Ch,).— Monaco artistic et
industriel. La poterie. Nice,
impr. Verani, 1876. 18°.

" Artistic and industrial Monaco.
Pottery."

UNAS (Ch. de).-— Emaillerie, Metal-
lurgie, Toreutique, Ceramique.
Les expositions retrospectives,
Bruxelles, Diisseldorf, Paris, en
1880. Paris, 1881. 8°, pp. 223;
with 8 pis. and text illustrs. 100
copies printed. 10 fcs.

" Enamels, Metals, Jewellery, Ceramics,
at the retrospective exhibitions of
Brussels, Diisseldorf, and Paris in 1880."

— L'art et 1' Industrie d'autrefois

dans les regions de la Meuse
beige. Souvenir de 1' Exposition
retrospective de Liege en 1881.
Paris, 1882. 8°, pp. 167 ; with
text illustrs. 100 copies printed.
10 fcs.

" Art and Industry of ancient times in
the region of the Belgian Meuse. Recol-
lections of the retrospective exhibition of
Liege in 1881."

The ancient stoneware lent to those exhibi-
tions by the museums and the private collectors
of Belgium and Germany has received special
attention on the part of the author.

LINDEN (A.)- — L'argile. Causeries
enfantines et recreatives. Paris,
Delagrave, 1879. 12°, pp. 16;
with col. illustrs. (In the Petite
bibliotheque des connaissances
uiiles. }

" The potter's clay. Familiar instruc-
tion for children."

LINDENBERG (J. F.)-— Nieuwe verligter
lerende de making van water-
verwen met derz. vernissen . . .
Als mede het ondekte geheim,
om'teyte Porcellain, zo wel't
Chinesche als Saxische te maken.
Amsterdam, 1753. 8°, pi. 12s.

A new help to learning how to make colours
mixed with water and with varnishes. Also, the
secret exposed for making true porcelain like
that of China and Saxony.

A translation of the portion of Neri's work
referring to porcelain-making.

LINDENSCMITT (L.).— Handbuch der
deutschen Alterthumskunde.
Uebersicht der Denkmale und
Graberfunde fruhgeschichtlicher
und vorgeschichtlicher Zeit.
Braunschweig, 1880-89. 8°. The
first three parts of a work which
has not been completed. 30 m.
" Handbook to the knowledge of German
antiquities. A survey of the monuments,
and of the contents of the graves of pre-
and early-historic times."

263

LIN]

CERAMIC LITERATURE.

(LOE

LINDENSCMITT (L.).— Das romisch-ger-
manische central Museum in
bildlichen Darstellungen aus
seinen Sammlungen. Mainz,
1889. 4°; with 50 pis. 15 m.

" The Roman and Germanic Central
Museum, illustrated with examples taken
from the collections."

Die Alterthiimer unserer
heidnischen Vorzeit. Mainz.
1858-95. 4 vols. 4° ; num. pis.
150 m.

" The antiquities of pagan times in
Germany."

The above works treat particularly of the
Roman and German antiquities preserved in
the " Central Museum " at Mayence.

LIPPMANN (Friedrich). — Eine studie

iiber Chinesische Email-Vasen.
Wien, 1870. 8°, pp. 32; with
7 pis. 8 m.

" A study on Chinese enamelled vases."

One must not be misled by the headings of
the various sections of this paper. The words
" Arab porcelain," " inlaid porcelain," and " por-
celain decorated with enamels " do not apply to
ceramic objects, but to vases of enamelled metal.

LIPPMANN-LISSINGEN (Collection J. P. von).
—Catalogue of sale. Munchen,
Helbing, 1901. 4°, 392 Nos.,
with 9 pis.

German stoneware, 104 Nos. ; pottery and
porcelain, 177 Nos.

LITCHFIELD (Frederic). — Pottery and

Porcelain : a guide to collectors.
London, Bickers, 1879. 2nd
ed., 1880. 8°, pp. xv-211.
Marks and illustrs. in the text.
5s.

" The current prices of old China," an ex-
tract from the London catalogues of sale is
prefixed to the contents. The letterpress is a
brief compilation of the standard books and the
illustrations are borrowed from the same sources.

- Pottery and porcelain : a
guide to collectors. London,
Truslove, 1899. 8°, pp. 362;
with 7 col. pis. and 150 illustrs.
15s.

Mr. F. Litchn'eld is a well known curiosity
dealer.

264

LITCHFIELD (R. B.).— Tom Wedgwood,
the first photographer, an ac-
count of his life, his discovery,
and his friendship with Samuel
Taylor Coleridge, etc. London,
Duckworth, 1903. 8°, pp. 271.
Portraits and views.

A biography of the younger son of Josiah
Wedgwood.

LITCHFIELD (Samuel).— The Dresden
gallery. Published by S. Litch-
field, Hanway St. London, s.d.
Ob. 16°, pp. 56; with 22 pis.

View of the Meissen porcelain works; marks
and sketches of the Dresden models on sale at
the " Dresden gallery."

L1TZEL (G.)-— Beschreibung der roe-
mischen Todten-Toepffe und
anderer heidnischen Leichenge-
fasse, etc. Speyer, 1749. 16°,
pp. 71 ; with 2 copperplates.
3 m.

"Description of the mortuary pottery
of the Romans, and other cinerary urns
from pagan times."

LLOYD (W. W.)-— The Portland vase.
London, 1848. 8°, pp. 28.

LOCHE (le Comte de).— Notice sur la

f abrique de faience de La Forest.
Chambery, impr. Chatelain, 1880.
8°, pp. 52 ; with 1 photogr.

" Notice of the faience manufactory of
La Forest."

Established in 1730, in the neighbourhood of
Chambery, by Not1! Bouchard, to whom the King
of Sardinia had granted a royal privilege. It
was closed in 1812. Faience for domestic use
was made there by workmen drawn from Mou-
stiers and other centres ; some specimens are
marked " La Forest."

LOCKWOOD (M. S,). — A manual of
ceramic art. New York, Putnam,
1878. 16°, pp. 137 ; 1 pi.

LOEBNITZ (J. ).-Exposition universelle
internationale de 1889 a Paris.
Rapports du jury. Classe 20.
Ceramique. Paris, impr. Nat.,
1891. 8°, pp. 135.

"Official report by Mr. J. Loebnitz,
faience manufacturer at Paris."

LOE]

CERAMIC LITER A TURE.

[LOR

LOESCHEKE (&.)•— Due vasi dipinti
di stile archaico. Roma, 1878.
8°, pp. 16. 2 pis. (1 col.).

" Two painted vases of archaic style."

Dreifussvase aus Tanagra.
Berlin. 4°, pp. 21; with 4 pis.
" A Tripod from Tanagra."

LOEWY (E,).— Zu griechischen Vasen-
bildern. Berlin, 1893. With 2
illustrs.

" On Greek vase paintings."

LOMBART-DUMAS (A-)-— Memoires sur
la ceramique antique dans la
vallee du Rhone. Nimes, 1879.
8°, pp. 98; with 28 pis. lOfcs.

" Notes on the ancient pottery found
in the Rhone Valley."

Prehistoric pottery is reproduced upon the
tirst two plates. The others contain 222 fac-
similes of Roman potters' marks, and inscrip-
tions of Samian and terra-cotta vases.

LONGFELLOW (H. W.).— Keramos.

A poem, first published in Harper's Magazine.
New York, 1887. Reprinted in the English edition
of Longfellow's works. London, Routledge,
1878. 12°, pp. 11-33.

LONGPERIER (Adrien de).— Notice des

monuments exposes dans la
salle des antiquites mexicaines
(Mexique, Perou, Chili, Haiti,
Antilles) au Musee du Louvre.
Paris, Vinchon, 1850. 8°, pp.
119.

" Notice of the objects exhibited in the
room of Mexican antiquities at the Louvre
Museum."

The room which contained the Mexican anti-
quities at the Louvre Museum has for many
years been closed to the public, and the cata-
logue of that collection has become very rare.
This catalogue is prefaced with a historical
notice of the Peruvian terra-cotta vases, of
which there was an important selection.

- Lettre a Mr. Ch. Lenormant
sur deux vases antiques du
Louvre. Le Retheur Tisias—
Polycrate, roi de Samos. Paris,
1852. 8°, pp. 12; with 2 col.
pis. (Reprint from the Revue
Arch.

- Musee Napoleon III. Choix
de monuments antiques pour
servir a 1'histoire de 1'Art en
Orient et en Occident. Texte
explicatif par A. de Longperier,
membre de 1'Institut, conserva-
teur des antiques aux Musees
Imperiaux. Paris, Gide, 1868-
74. 4°.

"Napoleon III. Museum. A selection
of antique monuments to illustrate the
history of Art in the Orient and in the
Occident."

The Campana collection, which was added
to the Louvre under the name of the Napoleon
III. Museum, was rich in antique terra-cottas
and vases of great interest. The work, in which
they were to be reproduced and described by
the curator, Mr. de Longperier, was intended to
comprise 140 parts, of which only 29 were
published. It was to be completed by an album
of 100 litho-photographic plates ; this did not
go beyond the fourth number. A volume had
been issued later on by Guerin (Paris, s.d., 4°)
formed of the 39 plates which were ready at the
time when the original publication was suspended.
They represent chiefly terra-cottas and Greek
vases of archaic character, admirably reproduced
in pho'to-chrome, and accompanied with descrip-
tive notices. The numeration of the plates is not
consecutive.

LONGPERIER (H. de).— Vases peints
inedits de la collection Dzialyn-
ski. Paris, 1868. 8°, pp. 12.
(Reprint from the Revue Arch.}

LORENZIM (C.).— La manifatturadelle
Porcellane di Doccia. Cenni
illustrative raccolti da C. Lor-
enzini. Firenze, 1861. 8°, pp.
24 ; with a view of the Doccia
Works.

"The porcelain factory of Doccia;
descriptive notes collected by C. Loren-
zini."

Translations of this paper were published in
French and in English in 1862.

La manifattura Ginori a

Doccia. Firenze, impr. Barbera.
1867. 8°, pp. 40.

French translation of the
above. Paris, P. Dupont, 1867.
8°, pp. 39.

- Doccia. Manifattura Ginori.
Esposizione di Vienna, 1873.

265

LOR]

CERAMIC LITERATURE.

[LOW

Firenze, typ. Civelli. Imp. 8°,
pp. 21.

LORENZINI (C.).— Doccia. Manufac-
ture Ginori. Exposition de
Paris, 1878. Florence, typ.
Civelli. 12°, pp 20.

These pamphlets, written by C. Lorenzini,
director for the Marquis of Oinori of the Doccia
manufactory, were published for distribution on
the occasion of the International Exhibitions.
After repeating the historical notes given by
Alberi in 1840, they bring the account of the
progress accomplished since that time. Many
new branches of manufacture have been suc-
cessively introduced whereby an establishment
celebrated at first for its artistic productions,
developed into one of the most important con-
cerns of the European ceramic industry.

- Commemorazione del Mar-
chese Senatore Lorenzo Ginori-
Lisci. Firenze, Civelli, 1883.
8°, pp. 12; photos.

" Recollections of the Marquis Senator
L. Ginori-Lisci."

LOSER (C.)- — Handbucher der kera-
mischen Industrie fiir Studie-
rende und Praktiker. I. Teil.
Die Rohmaterialien der kera-
mischen Industrie. Halle a. S.,
1901. 8°, pp. 102 ; woodcuts.

"Handbooks of the ceramic industry.
Part I. The raw materials of the ceramic
industry."

- II. Teil. Aufsuchen, Abboh-
ren und Bewertung von Lehm,
Thon und Kaolin Lagern. Halle
a. 8., 1904. 8°, pp. Ill ; illustrs.
and 10 pis. 8 m.

" The location, excavation, and valua-
tion of the earth, clay, and kaolin
deposits."

LOUGHLING (G. F.)- — The clays and
clay industries of Connecticut.
Hartford Press, 1905. 8°, pp.
121 ; with 13 pis.

LOUYS (P.)- — Les chansons de Bilitis.
Paris, Charpentier, 1900. 12°,
pp. 355 ; with 24 col. pis. and
300 illustrs. in the text, drawn
by Notor from Greek vase paint-
266

ings. 3 fcs. (30 copies printed
on hand-made paper.)

" The Songs of Bilitis."

Poetry of an erotic character that the trans-
lator has attempted to illustrate with subjects
taken from the painted vases of the chief collec-
tions. But let it be said to the credit of the
vase painter, none could be found to correspond
to the freedom of the songs ; between these
latter and the illustrations there is but an im-
aginary connection. Bilitis, a friend of Sappho,
lived in the sixth century B.C.

LOW (J. G. and J. F.).-— Illustrated
catalogue of art tiles made by
J. G. and J. F. Low. Chelsea
(Mass.), U.S.A., 1885. 4°, pp. 6 ;
with 30 photolith. pis. (Private-
ly printed.)

John G. Low produced his first art tiles at
Chelsea in 1879. He had studied painting in
Paris under Couture and Troyon ; but a natural
inclination drew him towards the practice of
ceramic art ; his work as a modeller and a potter
shows that he was not mistaken in turning his
talent in that new direction. The decorative
side of the modern school of French sculpture
had left a deep impression upon his mind ; its
influence is clearly traced on his productions,
but he has always equalled, when he did not
surpass his models. No pattern book of a tile
manufacturer in any country can be compared
to this album for the truly artistic style, and
the distinctive elegance of the examples repro-
duced in it. In technical treatment, Low's tiles
always affected a grecit simplicity ; the delicacy
of the modelling, the pictorial effects of light
and shade obtained by a skilful gradation of
reliefs are admirably brought out by the sober
tints of the coloured glaze he preferred to
brighter colours.

- Plastique sketches. Boston,
s.d. Obi. 8°, of 47 heliogr. pis.

Sketches of figures in bas-relief, modelled by
A. Osborn and produced by Low's art tile manu-
factory.

Views of the works and reproductions of
tiles in relief work will also be found in Lothorp
& Co.'s pattern book. Boston, s.d. Sq. 8°.

LOWENSTEIN BROTHERS.— Catalogue of
the celebrated collection of
works of art and vertu known
as the "Vienna Museum," the
property of Messrs. Lowenstein
Brothers, of Frankfort-on-the-
Main. Sold at Christie's, March,
1860. London, 1860. 8°, pp.
90; with 41 pis. (5 col.). 15s.

The introductory notice to this catalogue says
that the collection was commenced by Emperor

LUB]

CERAMIC LITERATURE.

Maximilian I. and continued by Emperor
Rudolph II. Until the year 1782 it remained
at Prague as an imperial collection ; it was then
sold to Chevalier von Schonfeld, who opened it
to the public under the name of the " Techno-
logical Museum of Vienna." The sale, at
Christie's, comprised 1,291 Nos. ; it lasted ten
days. From the examination of the catalogue
one cannot form a very high notion of this col-
lection, a very miscellaneous assemblage, out of
which it is very difficult to point to any parti-
cular specimen worthy of having been once
imperial property.

LUBBERT (E.)-— Sopra un dipinto
vasculare rappresentante Oresto
come typo dell'espiazione. Roma,
Tip. Tiberina, 1865.

" On a vase painting representing
Orestes as an impersonation of atone-
ment."

LUBBOCK (Sir John).— Notes on Hut-
urns and other objects from
Marino, near Albano, in the
province of Rome. Communi-
cated to the Soc. of Antiq. by
Dr. L. Pigorini, director of the
Royal Museum of Antiquities of
Parma, and Sir John Lubbock,
Bart. London, Nichols, 1869.
4°, pp. 25 ; with two engr. pis.
and text illustrs. (In Archce-
ologia. )

LUCAS (L ). — La manufacture de
faience de Vron, par Mr. Ch.
Wignier. Quelques mots sur
cette monographie. Amiens,

1883. 8°.

"The faience factory of Vron, by
Mr. Ch. W. A few remarks on that
monograph."

LUCKENBACH (H.)-— Des Verhaltniss
der griechischeri Vasenbilder zu
den Gedichten des epischen
Kyklos. Leipzig, Teubner, 1880.
8°, pp. 144. (Reprint from the
Jahrbiicher fur classische Philo-
logie.)

" The relations of the Greek vase
paintings to the poems of the epic cycle."

Contesting the correctness of an opinion
generally adopted, the writer maintains that the
vase painter did not derive inspiration from the
works of the Greek poets, but that his paintings

were free illustrations of the popular traditions
on which the poets themselves had grounded
their poems ; this is particularly noticeable
on the vases of the archaic period. The theatrical
performances of the tragedies may have had
some influence on the manner in which the
painter represented some heroic subject, but
this occurred only at the period of the red
figure vases. In no case, says he, were the
pictures servile illustrations of what the artist
had heard from the rhapsodists, or seen acted by
the comedians ; they always showed the free-
dom of interpretation with which the painter
rendered the scenes he had chosen to illustrate.

LUDOWICI (I.)- - - Stampel - Nameri
romischer Topfer von meinen
Ausgraburigen in Reinzabern.
Tabernae Ehenanae, 1901-1904.
Sm. 4°, pp. x-140 ; with numer-
ous marks and text illustrations.
20m.

" Impressed names of Roman potters,
from examples discovered by me in my
excavations at Reinzabern."

A supplemental volume by the same author
appeared in 1906.

LUDWIG (C. G.).— Terrse musei regii
Dresdensis, quas digessit, de-
scripsit, illustravit Dr. Chris-
tianas Gottlieb Ludwig; accedunt
Terrarum sigillatarum figurae.
Leipzig, 1748. Fol., pp. 298;
with 12 pis. 12 m.

" The earthen substances in the Royal
Museum at Dresden ; considered, described,
and explained by C. G. L., to which are
added the marks stamped upon the ' Terra
sigillata.' "

The collection of natural earths formed by
order of Augustus the Strong, King of Poland
and Elector of Saxony, and preserved in the
Dresden Palace, was described by Ludwig chiefly
with regard to the application of clays to thera-
peutics, and incidentally to the use that can be
made of them in the arts and industries. The
potter's clays, or " Argillsc figulinsn," are, natu-
rally, included in the list drawn up by the
learned doctor. We should have expected that
after the success achieved by Bottger in pro-
ducing true porcelain through his discovery of
the kaolin of Aarau, special attention would
have been bestowed on a chapter of particular
importance to the potters of the times. It is
not so, however ; the subject is treated in such
a superficial manner that the book would not
have been mentioned here were it not that the
marks of "Terra sigillata" engraved on the
plates may be of some interest to the ceramic
collector. Although they are given to indicate
the various origins of a remedy then extensively
employed in medicine, the same marks are

267

LTJB]

CERA MIC LITER A TURE.

[LUM

occasionally found upon small vessels of un-
glazed clays preserved in the collections. A
curative power was supposed to be attached to
the water they had contained, and when broken
the fragments were pounded into powder to be
eaten, or used for external application, as the
case required.

Besides the conspicuous place it has occupied
in the ancient pharmacopoeia ever since the days
of the Greeks and the Romans, Terra sigillata
played a more important part than is generally
suspected in the manufacture of pottery. It
was repeatedly experimented upon by all the
potters who attempted to discover the secret of
the white and translucid ware of the East, as
the material which offered the greatest chances
of success. Palissy speaks of it in his book in a
guarded manner ; his successors admit making
use of it for their best class of pottery. It is
curious to find this kind of clay mentioned in the
decree promulgated by Augustus the Strong for
the establishment of the royal porcelain works
at Meissen. We read in it that " porcelain
shall be produced at the works, similar in all
points to that imported from China, and that
the material of which it is to be made is the
clay known as ' Terra sigillata.' "

A list of all the learned books in which the
subject of " Terra sigillata " has been treated
is appended to Ludwig's work.

LUBKE (I.)-— Ueber alte Oefen in
der Schweiz, namentlich im
Kanton Zurich. Zurich, 1865.
4°, pp. 44; with 2 pis. (Re-
print from Mittheilungen der
antiquarischen Gesellschaft. 5 m.

" The ancient stoves in Switzerland,
particularly in the Zurich Canton."

To the description of the interesting ex-
amples still preserved in the country is prefixed
a short history of the fireplaces and house-
warming stoves from mediaeval times. A fresco
of the thirteenth century, discovered at Con-
stance, shows the representation of a stove made
of earthenware tiles ; stoves are also introduced
in MS. paintings of the same period ; we may
infer from such evidence that they were in use
in Switzerland at a very early date. Actual
specimens anterior to the year 1600 are, however,
extremely rare. It was only towards the be-
ginning of the seventeenth century that the
Winterthur potters gave a great development
to the manufacture of the monumental faience
stoves. The elaborate paintings, the numerous
inscriptions with which they were frequently
covered, impart to them a special interest.
Several examples are fully described in this
paper.

- Geschichte der Plastik. Leip-
zig, 1871. 2nd ed. 8°.

" History of the plastic arts."

Contains a chapter on terra-cotta and enam-
elled faience.

268

LU'DERS (Aug.).— Anleitung zur Por-
zellanmalerei. S.I., 1892. 8°,
pp. 37.

"Instructions for painting on porcelain."

LUTZOW (Car. Fr. Am. von).— De vasis

fictilibus antiquis, more archaico
pictis, quse in pinacotheca R.
Monacensi servantur. Monachii,
Weiss, 1856. 8°, pp. 28.

" The antique fictile vases, painted in
archaic style, preserved in the Pinacothec
at Munich."

— Zur Geschichte des Ornaments
an den bemahlten griechischen
Thongefassen. Miinchen, 1858.
8°, pp. 56 ; with 3 lith. pis. 2 m.

" On the history of the ornaments
painted on ancient Greek vases."

Miinchener Antiken. Miin-

chen, Merhoff, 1870. 4° ; pis.
20 m.

" Antiquities of the Munich Museum."

Contains 6 pis. of ancient vase paintings and
5 pis. of Greek terra-cottas engraved in outline
with questionable accuracy.

LUMHOLTZ (C.).— Unknown Mexico.
A record of five years exploration,
etc. -London, Macmillan, 1903.
2 vols. 8°. Vol. i. contains 5
col. pis. of pottery, with 15 text
illustrs. Vol. ii., 4 col. pis. and
22 text illustrs.

LUMINARES Y YALCARCEL (Count Antonio de).
— Barros Saguntinos. Diserta-
cion sobre estos monumentos
antiques : con varias inscrip-
ciones ineditas de Sagunto,
recogidos, esplicados, y repre-
sentados en laminas. Valencia,
J. Toinas de Orga, 1779. 8°, pi.
" The Saguntium pottery. Disquisition
on these antiquities, with many un-
published inscriptions found at Sagun-
tium, collected, explained, and reproduced
on copper-plates."

An antiquary of the old stock, Count Lumi-
nares had diligently formed a large collection of
the Roman pottery discovered at Murviedo, the
ancient Saguntium, a small town situated in the

LUN]

CERAMIC LITERATURE.

[MAC

vicinity of Valence. He divided his catalogue
into four sections, each division comprising the
vessels of one colour — that is to say, made of a
different clay — grey, yellow, red, and black.

LUNN (R.).— Pottery: a handbook of
practical pottery for art teachers
and students. London, Chapman
& Hall, 1903. 8°, pp. 100 ; 10
pis. and text illustrs. 5s.

LUTHMER (F.). — Beschreibung der
freiherrlich. Karl von Roth-
schild'schen Sammlung chine-
sischer Porzellan. Frankfurt
a. M., 1887. 8°.

" Description of the collection of Chinese
porcelain in the possession of Fr. Karl von
Rothschild."

LUTSCH (H.)-— Mittelalterliche Back-
steinbauten Mittelpommers, von
der Peene bis zur Rega. Berlin,
1890. Fol. ; with 15 pis. and
107 text illustrs. 25 m.

" Brick buildings of the Middle Ages in
Central Pomerania, from the Peene up to
Rega."

LUYNES (H. d'Albert, Due de).— Descrip-
tion de quelques vases peints,
etrusques, italic tes, siciliens, et
grecs. Paris, Didot, 1840. Fol.,
pp. 25 ; with 45 pis. 250 fcs.

" Description of a few painted vases of
Etruscan, Italian, Sicilian, and Greek
origin."

A princely collector whose name stood as high
among the learned men of his day as it ranked
in the peerage of France, Duke d'Albert de
Luynes has himself described and elucidated the
painted vases in his possession. The book,
written with infinite tact and consummate eru-
dition, is illustrated with fine plates. Only fifty
copies were printed for presentation, and it has
become almost unobtainable.

- Explication des figures peintes
et sculptees sur un vase his-
torique trouve pres de Kertsch,
1'ancienne Panticappee. Paris,
1856. 8°, pp. 8.

" Explanations of the figures painted
and modelled upon a historical vase
found near Kertsch, the ancient Panti-
capea."

LUYNES (Victor de).— Rapport sur la
ceramique. Exposition univer-
selle internationale de 1878 a
Paris. Paris, impr. Nat., 1882.
8°, pp. 185. 3 fcs.

" Official report of the Ceramic Section
at the International Exhibition of Paris,
in 1878."

Under the above title have been printed four
separate reports : — I. Hard porcelain, by V. de
Luynes. II. Faience and stoneware, by A.
Salvetat. III. Decorative pottery, by A.
Dubouchet. IV. Oriental pottery, by Ch.
Barriat. An additional paper by A. Salvetat,
entitled " Technical considerations upon the
exhibits of the porcelain manufactory of Sevres,"
gives valuable formulas for the preparation of
coloured porcelain bodies, of which many ex-
amples, decorated in " P&te sur Pate " had been
exhibited by the national factory.

MAC ALDOWIE (Dr. A. M.). — Lead-
poisoning in the Potteries.
Special rules arbitration. The
medical evidence for the defence.
Stoke-on-Trent, 1901. 4°, pp. 16 ;
with 4 charts.

- London versus The Potteries.
Stoke-on-Trent. 8°, pp. 24.

Published on the occasion of the Government
enquiry on the question of lead poisoning in the
pottery trade.

MACCARTHY (J. F.).— Great industries
of Great Britain. London,
Cassell & Co., s.d. 3 vols. 4° ;
illustrs. in the text.

Contains articles on — The history of pottery ;
the porcelain and earthenware manufactories of
Doulton, Brown-Westhead, Moore & Co., Mintons,
Minton-Hollins, Worcester, etc. 15s.

MACDONALD (L.).— Catalogue of the
Greek and Etruscan vases and
of the Greek and Roman lamps
in the Nicholson Museum.
Sydney, 1898. 8°, pp. 51.

MACEDO (J. J. da Costa de). -- Memoria
sobre os vasos murrhinos. Lis-
boa, 1842. 4°, pp. 152; with 3
col. pis. 5s.

" Memoir on the vases Murrhins."

269

MAC]

CERAMIC LITERATURE.

[MAG

The author, perpetual secretary to the Royal
Academy of Science of Lisbon, gives a reprint of
Bossi's paper on the subject, and passes under
review the theories propounded by previous
writers on the nature of the Murrhine vases,
without coming to a definite conclusion. Two
obelisks and a pair of urns, of an unnamed kind
of precious stone, are reproduced on the plates.
Special attention is called on the effects of light
reflected on the polished surface of the objects.

MACGUIR (J. D.).— Pipes and smoking
customs of the American abori-
gines, based on materials in the
U.S. National Museum. Wash-
ington, 1899. 8°, pp. 290; with
239 text illustrs., 1 pi., and 4
maps. (Extr. from the Reports
of the U.S. National Museum.)

Gives also the history of smoking in Europe,
and description of European pipes.

MACINTYRE & CO.— A royal visit to the
Washington Works, Burslem.
(Reprinted from the Stafford-
shire Sentinel, Oct. 15th, 1894.)
16°, pp. 8 ; with a portrait of
the head of the firm, Mr. W.
Woodall, M.P.

MACLAUGHLIN (Miss Louisa).— China
painting. A practical manual
for the use of amateurs in the
decoration of hard porcelain.
Cincinnati, R. Clarke, 1877. Sq.
12°, pp. 69.

Head and tail pieces from ceramic designs.

- Pottery decoration under the
glaze. Cincinnati, 1880. 12°.

MAfON (G.)- — Les arts dans la Maison
de Conde. Paris, Librairie de
1'Art, 1903. 4°, pp 136; pis.
and illustrs. 10 fcs.

" The arts in the House of Conde."
Contains, pp. 80-86, an excellent notice on the
porcelain factory of Chantilly, with 4 illustrs.

MACPHERSON (Duncan).— Antiquities of
Kertch and researches on the
Cimmerian Bosphorus. London,
1857. 4° ; with a col. title page,
12 pis., 2 maps, and illustrs. in
the text. £1.

Plates 7, 8, and 9, Greek vases and terra-
cotta figures.

270

MADERNA (G.)- — Prodotti ceramici.
Maioliche, porcellane, e Gres.
Milano, Hoepli, 1909. 12°, pp.
xii-345 ; with 92 illustrs. 4 fcs.
50 c.

" Ceramic wares. Earthenware, por-
rolain, and stoneware."

Elementary treatise of manufacture.

MAGALOTTI (Conte Lorenzo).— Varie
operette de Conte Lorenzo Maga-
lotti, con giunta di otto lettere
su le terre odorose d'Europa e
d' America, dette volgarmente
Buccheri, ora publicate per la
prima volta. Milano, Silvestri,
1828. 8°, pp. 459 ; portr. 3 fcs.

" Various essays by Count Magalotti, to
which are added eight letters on the
odoriferous earths of Europe and America,
commonly called Buccaros, now published
for the first time."

The result of Magalotti's researches on the
origin and the varieties of the vessels of odori-
ferous clay, which, whether they came from Por-
tugal or America, were at the moment so highly
valued by the collectors, was embodied in a
series of eight letters addressed to his noble and
fair friend, the Marchesa Strozzi. In this chatty
correspondence actual facts are, we must confess,
somewhat diluted in the exuberant verbosity
common to all Italian writers of the period.
Nevertheless much remains for us to learn from
these letters. They contain, upon this for-
gotten pottery, many interesting particulars not
to be found anywhere else.

We shall let the author explain, in his own
words, the characteristic features of the true
Buccaros. " Nature," says he, " has created
various kinds of odoriferous earths. Some of
them are found in Portugal, but it is in America
that one must look for those of a superior quality.
The former exhale but a faint and sweet frag-
rance, while the natural perfume of the latter is
strong and aromatic. Advantage has been taken
of that peculiar quality to fashion, with the
scented clays, vases, and bottles which impart
to the water with which they have been filled
the subtle flavour of their substance. From
the days in which the first specimens of that
precious pottery were introduced into Europe,
it found many an admirer in the upper ranks of
Italian nobility. At the present moment, well
selected examples of the ware are considered as
the indispensable adornment of an elegant
dwelling. On account of their decorative beauty
they take their place in the sumptuous galleries
of the royal palaces ; we find them exhibited in
the private collections as rare curiosities of great
value ; finally, from the clay of which they are
made we extract an incomparable perfume,
which forms an important addition to the list
of those we possessed already."

MAG]

CERAMIC LITERATURE.

From the frequent and laudatory allusions to
the Buccaros which occur in contemporary writ-
ings, we may gather that the crazy infatuation
for the scented pottery of America recorded by
Magalotti had gone so far as to overstep the
limits of permissible exaggeration. The material
it was made of was considered so valuable that
when a vase was broken into fragments many
uses had been found for the pieces. Pounded
in a mortar, and reduced into powder, they
became a specific held in high estimation for
the cure of many a disease. Many other uses
were made of the powder. It was introduced
in the confection of cakes and sweetmeats ; it
served to perfume linen and gloves, and was
mixed with tobacco and snuff. Druggists sold,
under the name of " Acqua di Barro," a sweet-
scented water which was understood to be an
infusion of broken Buccaros. Fragments of the
black vases were mounted by the jewellers in
gold and silver settings, and made into all kinds
of trinkets, ear-drops, brooches, buttons, combs,
hair-pins, etc. These articles commanded such
a large sale that spurious imitations had to be
made, a sufficient supply of the genuine material
not being easily obtainable.

MAGEN (A.)- — Notice sur deux fours
a poterie de 1'epoque gallo-
romaine. Agen, 1873. 8°, pp.
17; with 2 pis.

" Notice of two potters' ovens of the
Gallo-Roman period."

MAGGI (D.). — Sopra un vaso etrusco
trovato in Trinoro. Firenze,
1830. 8°, pp. 16; with 4 pis.

" On an Etruscan vase found in
Trinoro."

A letter addressed to Inghirami, with the
answer of the Etruscan archaeologist.

MAGGIORE (N.). — Spiegazione intorno
a un vaso greco-siculo del museo
Martiniano. Palermo, 1827. 4°.

" Explanation of a Siculo-Greek vase in
the San Martino Museum."

- Festa nuziale nel dipinto di
un antico vaso plastico greco-
siciliano. Palermo, 1832. 4°, pis.

"A nuptial feast represented on an
antique Greco-Sicilian vase."

MAGNIAC (Collection H.).— Notice of the
principal works of art in the
collection of Hollingworth Mag-
mac, Esq. of Colworth, by J. C.
Robinson. London, privately
printed, 1862. 8°.

- Catalogue of sale. London,
Christie, July, 1892. 8°, pp.
250; with 63 photos. £1.

Small sections of ceramic objects are dis-
tributed all through the catalogue. The pieces
of which reproductions are given on the plates
are : The celebrated Henri II. ewer so often en-
graved in other publications ; an old English
stoneware jug with an Elizabethan silver gilt
mount ; a Palissy dish with the figure of Diana ;
and two Hispano-Moresque vases. The de-
scriptive notices are borrowed from the cata-
logue prepared by J. C. Robinson.

MAGNIAC (Ch.) and SODEN SMITH (R.).-
Report on porcelain in the In-
ternational Exhibition of 1871.
London, 1871. 8°. (In Official
reports; British, vol. i., pp. 243-
278.)

MAGNIER (M. D.).— Nouveau manuel
completduporcelainier,fai'encier,
potier de terre, comprenant la
fabrication des Gres-cerames,
des pipes, des boutons en porce-
laine, des diverses porcelaines
tendres ; et contenant : Les pro-
cedes pratiques de ces fabrica-
tions, ainsi que la description
des machines et appareils usites
dans les industries ceramiques.
Paris, Roret, 1864. 2 vols.
18°, pp. 283,212; with 10 pis.
in outline. 6 fcs.

" New and complete handbook for the
porcelain, faience, and earthenware maker,
comprising the manufacture of stoneware,
tobacco pipes, porcelain buttons, the
various porcelains of soft paste; and
containing the practical processes em-
ployed in these manufactures, as well as
the description of machines and apparatus
in use in the ceramic industry."

One of the Manuals Roret. Compiled by Mr.
Magnier, civil engineer, from the best and latest
technical treatises, to replace the handbook con-
tributed to the same series in 1827 by Mr.
Boyer, which had become out of date.

MAGM (Celestin).— Compte rendu a
la Chambre syndicale de la Cer-
amique et Verrerie de nouveaux
precedes de moulage, etc., ap-
pliques a la ceramique et verrerie.

271

MAG]

CERAMIC LITERATURE.

[MAL

Cherbourg, impr. Bedelfontaine,
1876. Sm. 12°, pp. 16.

" Description of a new method of mak-
ing moulds for pottery and glass manu-
facture; a communication addressed to
the Syndical Chamber of the ceramic and
glass industry."

MAGNIN (CelestiD). — Ceramique et
science du moulage ; beaux-arts
en reliefs et art decoratif ; por-
celaine vieux Sevres et kaolin.
Cherbourg, s.d. 32°, pp. 223.
2fcs.

" Ceramics, and the science of mould
making ; fine-arts in relief, and decorative
art; porcelain, old Sevres and kaolin."
3 fcs.

The wording of the above title is sufficient to
make us prepared to meet with a work quite out
of the beaten track, when we come to the
qualifications that the author has appended
to his name, "Moulder, Electro-Metallurgist,
Photographer, Sculptor initiated to the pro-
cesses of photography, and printing in chemical
engraving." The work states that it is upon
the mould- maker that devolves the proud duty
of regenerating ceramic art, now falling into
decline. " Who could fail to understand," says
the author, " that impressions taken from natural
objects must necessarily supersede handwork for
decorative purposes, when they are executed by
the improved system described by the inventor.
As to the superiority of photography upon the
imperfect work made by human hands it is so
evident that, as soon as a practical way of
fixing a photographic image upon pottery has
been discovered, every one must admit that
painting will be thrown into the shade for ever
after." The writer announces to the world that
he has achieved discoveries that render these
improvements easily practicable. His indepen-
dent views on many points of art are expressed
with a freshness of style quite in harmony with
the originality of the precepts.

MAHELIN (I.)-— Petits bouquets genre
Saxe pour la decoration de la
porcelaine. Paris, 1890. 8°,
8 col. pis.

" Small bouquets in the Dresden style
for china decoration."

MAIRONI DA PONTE (G.)-— Rieherche
sopra alcune argille e sopra una
terra vulcanica della provincia
Bergamasca. Bergamo, 1781. 8°.
"Researches on various clays, and
particularly a volcanic earth found in the
Bergamo province."
272

MALAGOLA (€.)•— Memorie storiche
sulle maioliche di Faenza ; studi
e ricerche. Bologna, 1880. 8°,
pp. 544 ; marks. 5 fcs.

" Historical memoir on the majolica of
Faenza."

An exhaustive monograph, accompanied with
documental evidence, and with a catalogue of
all known majolica pieces attributed to Faenza.
The hypothesis that the manufactory of Cafaggio
never existed, developed at great length in this
work, has never been accepted by unbiased con-

noisseurs.

- Cenni storici sull'antica fab-
brica delle maioliche dei conti
Ferniani di Faenza, per FEs-
posizione nationale di Milano
del 1881. Bologna, Romagnoli,
1881. 8°, pp. 8.

"Historical notes on the ancient ma-
jolica factory of the Counts Ferniani, in
Faenza."

The Ferniani factory, said to have been
carried in continuation of the Casa Pirota for
close on three hundred years, had sent its
productions to the Milan National Exhibition
in 1881.

- Maioliche della famillia Cor-
ona. Bologna, 1882. 4°, pp. 8.

" The majolica of the Corona family."

MALEPEYRE (F.).— Manuel du bri-
quetier, tuilier, fabric ant de
carreaux et de tuyaux de drain-
age, contenant les precedes de
fabrication, la description d'un
grand nombre de machines,
fours et appareils usites dans ces
industries. Paris, Roret, 1864.
2 vols. 18°, with 8 pis. 6 fcs.

"Handbook to the manufacture of
bricks, tiles, and drain pipes, containing
an account of the technical processes and
a description of a great number of
machine's, ovens, tools, and apparatus in
use in these industries."

One of the handbooks of the Encyclopedic
Roret. A second edition, revised and enlarged
by A. Remain, was published in 1883.

MALING (T. C.)— Ceramic manufac-
tures of the Tyne district.
(Extr.). Pp. 12 ; 2 illustrs.

MAM]

CERAMIC LITERATURE.

[MAR

-MAMPO ZENSHO. (Cyclopedia of
Arts). S.I, 1694-1718. 13 vols.

8°.

The oldest Japanese cyclopaedia. Vols. vi.
to viii. treat of ceramics ; with 348 illustrations.

MANCINI (E.). — Una recente visita alia
manifattura di Sevres. Rome,
1890. 8°, pp. 20. (Reprint
from the Nuova Antologia).

"A recent visit to the factory of
Sevres."

MANES (W.).— Notice sur 1'industrie
de la porcelaine de Bordeaux.
Paris, 1856. 8°, pp. 18.

"Notice of the porcelain manufacture
at Bordeaux."

MANNHARDT.— Pomerellischen Ge-
sichtsurnen. (Extr. from the
Zeitschrift fur Ethnologie). 1870.
4°, pp. 10 ; with 1 pi.

"The urns with human faces from
Pomerania."

MANNING (Anne)— (Anon.).— The provo-
cations of Madame Palissy, by
the author of Mary Powell.
London, Virtue & Co., 1854. 8°,
pp. 240. 5s.

A historical novel such as novels were written
in the fifties for family reading and circulating
libraries. Sentimental monologues and brisk con-
versations, in which each pei'sonage is permitted
only to express such feelings as will not disgrace
the pages of a fashionable tale, replace dry state-
ments of facts or slow disquisitions left to the
common historian. One might have thought
that Palissy's fame would have saved him from
becoming the subject of such a grotesque tra-
vesty. The poor potter is introduced to us in
his homely capacity of a married man, having
very little consideration for the comfort of his
wife and family. We are made to grieve upon
the troubles and hardships of a good and sensible
housewife, whose lot has been cast by hard fate
with that of an erratic man of genius. The tale
ends happily, and to everybody's satisfaction,
with poor Palissy being appointed "Inventor of
the rustic figulines of the King and the Con-
stable." Confess, gentle reader, that this simple
yet sentimental narrative is quite a relaxation
from the rhetorical panegyrics in which so many
biographers have indulged in ; it is only as such
that we venture to recommend it.

MANNORY (Louis). --Plaidoyers et
memoires. Paris, Herinault,
1753-63. 18 vols. 12°.

" Addresses and memoirs."
18

Vol. xi. contains the reports of several law
cases, relating to the pottery trade, argued
before the French courts.

MARCH (E. ) . — Abbildungen vonVasen,
Gefassen, Statuetten, Ampeln,
Consolen, etc., aus Ernst March's
Fabrik zu Charlottenburg. Ber-
lin (186 ?). Sm. 4° ; with 21
lith. pis. 10 m.

" Models of vases, vessels, statuettes,
lamps, brackets, etc., from the manufac-
tory of E. March at Charlottenburg."

MARCH SOHNE. — Preis - Verzeichniss
ihrer Thonwaaren Fabrik. Char-
lottenburg (recent). 2 vols. 4°;
with 148 photos. 112 m.

" Price list of the earthenware manu-
factory of March & Sons, Charlottenburg."

MARCHANT (Dr. Louis).— Recherches sur
les fai'enceries de Dijon. Dijon,
1885. 4°, pp. 72 ; with 3 etch-
ings, 2 col. pis., and text illustrs.
120 copies printed. 25 fcs.

" Essay on the faience manufactories of
Dijon."

In the year 1669 a potter from Nevers, named
Dupon, introduced the manufacture of white
faience, roughly decorated in colours, in the
town of Dijon, where it continued to be carried
on up to 1854. As may be expected in a locality
celebrated all over the kingdom for its table
mustard, mustard-pots were the staple article
made by the potters. A whole chapter of the
book is devoted to the history of the homely
vessel, illustrated with reproductions of various
specimens representing the modifications intro-
duced at different periods in the shapes and
decorations. The subject is evidently of great
interest for the inhabitants of the ancient
capital of Burgundy, if not for the general
reader. Nothing has been spared, as regards
printing and illustration, to make it a truly
handsome volume. We feel tempted to apply
to it the distich an Italian author once penned
upon the flyleaf of a presentation copy of his
work : —

Se il contenuto poco vale o niente,
Deh ! mira come & bello il contenente.

" If its contents are worth little or nothing,
admire, at least, the fine vestment in which
they are clad."

MARCOALDI (0.). --Delle fabbriche
di terraglia e majoliche di Fab-
riano. (See Yanzolini.)

" Notice of the pottery and majolica
manufactories of Fabriano."

273

MAR]

CERAMIC LITERATURE.

MARCUCCI (L). — Saggio analitico-
chimico sopra i colon miner all e
mezzo di procurassi gli Smalti
e le Vernici ; ecc. con note di
P. Palmaroli. 2nd ed. c. tav.
Roma, 1816. 8°, pp. 264. 8 fcs.

" An analytical and chemical essay on
the mineral colours, with the means of
compounding the enamels and glazes ;
with annotations by P. Palmaroli."

MARESCHAL (A. A.).— Imagerie de la
Faience. Assiettes a emblemes
patriotiques, periode revolution-
naire ; 1789 a 1795. Beauvais,
1865. 4°; 120 pis. in col. 40 fcs.
"Pictures on faience. Plates with
patriotic emblems ; period of the Re-
volution."

Mareschal was a dealer in curiosities estab-
lished at Beauvais. A man of taste and educa-
tion, he was also a man of great business capaci-
ties. Was it on account of the sure profits
that — as a man of business — he could foresee
in that direction that he became so suddenly a
fervent propagator of the new fad introduced
by Champfleury to the collectors of old faience ?
We hardly dare to say so. Be it as it may, as
a matter of fact, before the search for rudely
painted plates with political emblems had started
in earnest, he had ransacked farmsteads and
villages, and in a very short time his large show-
rooms were crammed full with specimens ob-
tained for a few sous from the peasants of the
district. The publication of an album contain-
ing reproductions of the best known types was
sure to give some value to the many duplicates
he had judiciously stored up ; it was, at any
rate, a good means of securing the success of
the speculation. He could draw fairly well on
stone, and becoming his own publisher, the
venture was for him a comparatively easy
matter. We had said somewhere else (see
Fi6ffe) what we thought of the unsightly pro-
ductions of these uncouth soup plates from the
point of view of the artist or the ceramist ; we
feel sure that the historian, curious of tracing
the popular feelings of the Revolutionary era,
would have been more than satisfied with the
tenth part of the wearisome repetition of the
clumsily scrolled emblems, mostly without dates,
given in the two thick volumes Mareschal has
published on the subject.

— Les faiences anciennes et
modernes ; leurs marques et
decors. Beauvais, 1868. 8°,
pp. 121 ; with 101 col. pis., and
16 pp. of marks. 25 fcs.

" Ancient and modern faiences : their
marks and decoration."

274

- Imagerie de la faience fran- .
yaise. Assiettes a emblemes
patriotiques comprenant la peri-
ode revolutionnaire. Orne de
241 types, lithographies d'apres
les pieces originales et classes
par ordre chronologique de 1750
a 1830. Beauvais, 1869. 8°;
introductory notices, 120 col.
pis., and 18 pp. of tables. 40 fcs.

" Pictures of the French faience. Plates,
with patriotic emblems, comprising the
period of the Revolution. Illustrated
with 241 types, lithographed from the
original specimens and arranged in chron-
ological order."

An amplification of the volume previously
published on the same subject. This one con-
tains still more soup plates, but we do not know
for what reason it does not give any example of
the pieces of other forms, such as jugs, tureen
dishes, inkstands, flower pots, etc., which were
produced at the same period.

La faience populaire au
xviii6 siecle ; sa forme, son em-
ploi, sa decoration, ses couleurs
et ses marques. 112 planches
en couleur d'apres les pieces
originales, dessinees et chromo-
lithographiees sur fond teinte.
Paris, 1872. 8°, pp. 16; with
112 pis. 25 fcs.

" Popular faience of the eighteenth
century. Its form, use, decoration,
colours, and marks. Drawn and chromo-
lithographed after the original pieces, and
printed upon tinted ground."

Les faiences anciennes et
modernes, leurs marques et de-
cors. I. Faiences etrangeres. 2e
edition revue, corrigee et aug-
mentee de marques et de decors
nouveaux dessines et chromo-
lithographies d'apres les pieces
originales. Paris, Delaroque,
1873. 8°, pp. viii-65. Subjects
printed in colour in the text, and
22 pp. of marks. 25 fcs.

-II. Faiences francaises. Paris,
Delaroque, 1874. 8°, pp. xiii ;

MAR]

CERAMIC LITERATURE.

with 60 subjects printed in col-
our, and 23 pp. of marks. 25 fcs.

An enlarged edition of the work published in
1808. Upon each page a fragment of poly-
chromic decoration is lithographed as repre-
senting the leading style of one manufactory.
A short historical account of that manufactory is
printed upon the remaining space. The effect
of these bright patches of colour, intervening
cimidst the printed matter, is pleasant in the
extreme. At the time of the collecting rage
a copy of these volumes, bound in sky-blue
morocco, was a most charming present to offer
to a lady collector. The ceramic student of the
sterner sex might cavil at having to accept such
meagre and insignificant fractions of an often
indifferent design as typical examples of the
best styles of faience decoration. But we are
told that they have all been reproduced from
the specimens exhibited in the showroom of the
author ; in such a case we must look at the
plates as illustrating the contents of a private
collection, rather than presenting a selection of
the masterpieces of the ceramic art.

Iconographie de la faience.
Dictionnaire, illustre de planches
reproduisant en couleur la note
dominante des principales fab-
riques, le nom des artists cera-
mists, et les local ites ou ils ont
travaille ; enfin les marques qui
se rencontrent le plus ordinaire-
ment sous les faiences de tous
les pays et les font le mieux
reconnaitre. Dessins inedits.
Paris, 1875. Sq. 12°, pp. 133 ;
with 13 chromolith. pis. 10 fcs.
" The iconography of faience. A
dictionary illustrated with coloured
plates, on which the characteristic style
of the chief manufactories is represented,
and containing the names of many
ceramic artists, with those of the localities
where they have worked ; also the marks
which occur most frequently on the
faience of all countries, and through which
they may most easily be recognised."

The particular feature of this charming little
volume is that to the alphabetical list of mono-
grams to be found in other books of marks are
added the names of potters and painters re-
corded in ceramic history, but which have not
hitherto been found inscribed upon any piece
of faience. The list is very incomplete, for the
monographs of the ancient fa'ience works are
full of such names ; we do not think that to
give the whole roll of them would ever serve any
practical purpose.

- La ceramique et les faussaires.
Paris, 1875. 32°, pp. 32.

" Ceramics and the forger."

In describing the many tricks and dodges
employed by the forger of pseudo antiquities,
an experienced connoisseur could make a very
amusing and instructive book. Contrary to our
expectation, this paper contains nothing of the
kind. It is a mere warning to collectors to be
on their guard against imitations, and to deal
only with respectable members of the trade.

MARINI (G-). --Iscrizioni antiche
doliari, publicate per cura delP-
Accademia di conferenze storico-
giuridico dall Comm. G. B. de
Rossi ; con annotazioni del Dott.
E. Dressel. Roma, Salviucci,
1884. 4°.

" Inscriptions of the antique Roman
pottery, published under the care of the
Academy of historico-legal conferences
by Comm. G. B. de Rossi, with annota-
tions by Dr. E. Dressel."

The original MS., preserved in the Vatican
library, was written by Monsignore Gaetano
Marini in 1799. Numerous inscriptions found
upon bricks, tiles, vases, lamps, as well as upon
the dolia, in short, upon all kinds of Roman terra-
cottas, had been collected and classified by the
writer.

MARQUAND (Allan).— Andrea della
Robbia's Assumption of the Vir-
gin in the Metropolitan Museum.
New York, 1891. 8°, pp. 10;
with 2 pis.

Description of an altar-piece which has
suffered from injudicious restorations.

Some unpublished monu-
ments by Luca della Robbia.
Princeton, 1894. 8°, pp. 17 ;
with 5 pis.

Mr. Marquand has contributed several other
papers on the subject of the Della Robbia and
their work to the American periodicals.

MARQUIS (Collection). — Catalogue of

sale. Paris, 1883. 12°.

Oriental porcelain.

Catalogue of sale. Paris,
1889. 4°, pp. 102; with 10
photogr. pis.

Faiences, Nos. 528-541. Porcelain, Nos. 542-
736.

MARRYAT (J.).— Collection towards a
history of pottery and porcelain
in the fifteenth, sixteenth, seven-

275

MAR]

CERAMIC LITERATURE.

[MAR

teenth and eighteenth, centu-
ries ; with a description of the
manufacture, and a list of mono-
grams. London, J. Murray,
1850. 8°, pp. xv-381 ; with
12 col. pis., and 118 text illustrs.
£1, 5s. Second and third edi-
tion, 1857-1868. A French trans-
lation by D'Armaille and Salve-
tat, with annotations and pre-
face by D. Riocreux, was pub-
lished under the title Histoire
des poteries, faiences et porce-
laines. Paris, Renouard. 1866.
2 vols. 8°.

Joseph Marryat occupies a foremost place
in the group formed by the clear-sighted ama-
teurs who, towards the middle part of the last
century, foresaw the importance that ceramics
would shortly assume among the finest produc-
tions of the minor arts of the past, still waiting,
at that moment, for universal recognition. The
" Cabinets of the curiosities of nature and art,"
heterogeneous assemblages of rarities of all kinds,
which were the pride of the antiquary of yore,
had had their time. Marryat was one of the
first to understand that, to unite with a fascin-
ating interest the largest measure of instructive
efficiency, a collection should be limited in its
scope to the illustration of an unique branch of
knowledge. By applying his unflinching efforts
to the gathering of representative specimens of
the best pottery and porcelain of afi times and
countries, he had opened new vistas to the
collecting pursuit.

The book he published for the instruction of
his fellow-collectors was to act as a powerful
agent for the diffusion of a new taste. It may
be said that a work of that order is usually the
outcome of the general tendencies of the period.
But, on the other hand, it has often happened
that the spread of a newly-born infatuation
could be largely attributed to the influence of
a book in which some impressive writer had
developed the subject. Be it as it may, in the
present case one cannot deny that the publica-
tion of Marryat's Contribution towards the history
of Pottery has stimulated not a little the forma-
tion of ceramic collections and the growth of
ceramic literature.

The plan he adopted for its preparation was
quite a new departure in the framing of a history
of ceramics. A few years before, Brongniart
had, it is true, sketched in broad lines the evolu-
tions of the potter's art from ancient to modern
times. Marryat may have been influenced and
assisted to a certain extent by that masterly
essay. But the mass of materials still required
to complete the scheme had to be obtained
mostly from unexplored sources. A constant
visitor to public libraries, partial to the examin-
ation of out-of-the-way books, the intended
historian ferretted out of ancient records and
documents, the perusal of which might have tired
a less persevering compiler, information of the

276

highest importance. In fact, some of the pas-
sages he extracted from undeniable authorities
have preserved their full value, and may still
be quoted in settlement of the question to which
they relate.

One has, however, to regret that, notwith-
standing the care he took to support his state-
ments with documentary evidence, he was, in
some instances, drawn into adopting an errone-
ous inference. A false interpretation of a phrase
in some old writer, a misleading specimen, or
the incorrect attribution of a mark, have occa-
sionally put him on the wrong track, and resulted
in an undeniable mistake. It would be futile
and injudicious to go to the trouble of refuting
the fallacious speculations which passed current
at the moment, some of which he accepted blind-
fold as established facts. In the present state
of knowledge no blunders of the kind, long ago
disposed of, could ever mislead anyone. To
form a fair appreciation of the value of the work,
we must take it as it stands, with its faults and
shortcomings. An impartial critic will give it
full credit for the amount of original matter that
was pressed into it. Such a conscientious desire
to arrive at the true solution of standing queries,
such a display of sagacity in the efforts made to
gain that end, are seldom seen evinced to an
equal degree in any of the general ceramic his-
tories that have been subsequently given to us.
For what it has done in the past in the interest
of the cause, if not for its actual utility as a
reference book, Marryat's work is entitled to our
highest consideration.

MARRYAT (Collection). — Catalogue of
sale. London, Christie's, Feb.,
1866. 8°, pp. 67 ; with illustrs.
from Marryat's History of Pot-
tery and Porcelain.

The ceramic collection, comprising 1,001 Nos.,
realised £5,600.

MARSH (C.). — An essay on the cameos
of the Barberini vase with a view
to an expl anation of them . Lon-
don, 1787. 8°.

MARTEAUX (Ch.) and LEROUX (M.).-
Catalogue descriptif du Musee
gallo-romain d'Annecy. Annecy,
Abry, 1895. 8°, pp. 130. 2 fcs.

Potters' marks.

MARTENET (E.). — Bernard Palissy.
Conference a 1' Asile de Vincennes.
Paris, Hachette, 1868. 18°, pp.
50. 2 fcs.

A lecture delivered before the inmates of the
Vincennes Asylum.

MARTHA (Jules).— Catalogue des fig-
urines en terre cuite du Musee

MAR]

CERAMIC LITERATURE.

[MAR

de la Societe Archeologique
d'Athenes. Paris, 1880. 8°,
pp. 233 ; with 8 photogr. pis.
10 fcs.

" Catalogue of the terra-cotta figures in
the museum of the Archaeological Society
of Athens."

A plan for the classification of terra-cotta
figures — a comparatively new branch of the
antiquarian science— had hitherto scarcely been
touched upon in the works of special writers.
Mr. Martha has exerted his own judgment in
the arrangement of the various specimens de-
scribed in the present catalogue. The method
he has followed might obviously be adopted with
advantage. It is grounded on the geographical
order. Groups are formed of all the figures found
in the same locality. An alphabetical index
refers to them again, ranged in order of sub-
jects. The following sections are comprised in
the instructive preface : — The places in which
terra-cotta figures are most abundantly found
in Greece ; the nature of the clays employed in
the various centres of manufacture ; the par-
ticular processes used by the makers of each
district ; lastly, the general characteristics which
may help to determine the origin of the typical
specimens, and the period to which they belong.

- L'Art etrusque. Paris., F.
Didot, 1889. 4°, pp. 635 ; with
4 col. pis., and 400 text illustrs.
25 fcs. Chap, xvi., Ceramics,
pp. 451-496 ; references to the
architectural terra-cotta of the
Etruscans occur in many other
chapters.

Mr. Martha, a member of the School of
Archaeology of France at Athens, has applied
his studies to the investigation of the perplexing
questions still left in suspense through our im-
perfect knowledge of Etruscan civilisation.
Architectural remains and plastic monuments
testify to its greatness, but scarcely any records
exist of the cities in which they stood ; the in-
scriptions they bear, which might have assisted
us in tracing the history and the customs of the
people, have baffled the sagacity of all philo-
logists, and remain undeciphered. In vain has
the soil of many necropolises been upturned and
searched over and over again ; the tombs have
given up their mysterious contents, but the
dead bodies have kept the secret of their worldly
existence. Work upon work has been written
on the subject, each offering a different solu-
tion of the problem, always depending on the
strength of a new hypothesis suggested by
specious conjecture. More confusion than en-
lightenment has resulted from this conflict of
opinion. Mr. Martha has bravely journeyed,
torch in hand, through the meanders of an
apparently inextricable labyrinth, and if his
course has not led him to the central light, he
has at least been enabled to describe to us all
the marvels which line the paths.

With respect to ceramics, he has done much
towards bringing into comparative order the
various kinds of pottery of true Etruscan origin.
In the making of terra-cotta the potters of
Etruria were unrivalled in the world, and no
other country has made such a general use of
fictile work. The wooden construction of the
temples was disguised under a covering of
ornamented bricks and tiles ; the statues with
which they were adorned were more often made of
burnt clay than of marble or bronze. Numerous
sarcophagi, of enormous dimension, surmounted
with groups of life-size figures, bear witness to
the ability with which technical difficulties were
surmounted.

How to discriminate between the local pro-
ductions and the objects imported from foreign
countries has long remained one of the most per-
plexing subjects of discussion. The present work
throws much additional light on the question.
Although nine-tenths of the painted vases pre-
served in our museums were discovered in the
soil of old Etruria, the style of decoration of
the larger number of these vases, the Greek
inscriptions they usually bear, together with
the name of well-known Greek artists, compel
us to recognise that they must have been partly
imported from Greece, and partly made on the
spot by the Hellenistic potters who immigrated
into Italy towards the seventh century B.C.
In the latter case the rudeness and vulgarity
of the paintings goes far to show that only
common artisans ever settled in the country.

There is, of course, a great abundance of
pottery of undoubted Etruscan origin. The
author has attempted to classify the diverse
types into chronological order, according to
the relation they bear to the respective anti-
quity of the sepulchres in which they were
discovered. The first period is that of the
Pozzi, or tombs sunk in the shape of a well ;
in these nothing but coarse and plain terra-
cotta vessels of a greyish colour have ever been
found. Next comes the period of the " FOSSE,"
or graves excavated in the soil in the hori-
zontal direction ; these contain vases of red
and black clay of more elegant form, some of
them being decorated with incised traceries of
geometrical character. Lastly, at the epoch
when sepulchral chambers began to be hewn
in the sides of perpendicular rocks, the most
characteristic and undeniable productions of
the Etruscan potter make their first appear-
ance. They constitute the large group of black
pottery to which the Italians have given the
name of " BTJCCAEO NERO." Several illustra-
tions of this class are given in the book. Neither
in shape nor in style of decoration do they recall
the influence of Greek art ; their mode of manu-
facture also differs widely from that of the
Greek vases. The subjects embossed upon the
surface consist generally of fantastic animals
and long processions of stiff personages or mon-
strous deities belonging to Etruscan mythology.
These reliefs are pressed separately in partial
moulds and stuck upon the vase after it has
come out of the hand of the thrower. Genuine
examples of this kind, never found out of
Etruria, may safely be considered as the true
representatives of the national art. This char-
acteristic style seems to have completely dis-
appeared towards the end of the fourth century
B.C., and the Greek imitations, made at a later

277

MAR]

CERA MIC LITER A TV RE.

period, have nothing in particular that can
assist the archaeologist in distinguishing them
from the imported pottery.

MARTIN (Alexis).— Arts Ceramiques.
Faiences et Porcelaines. 37 des-
sins de Schmidt et 195 mono-
grammes. Paris, Hennuyer,
1886. 8°, pp. 227. 6 fcs.

" Ceramic Arts. Faiences and Porce-
lain."

Handbook made up according to the ap-
proved pattern. Printed either for the enter-
tainment of the man of leisure, or to be given
as a prize to school boys, certainly not for the
benefit of the ceramic student, already well
provided for in this class of literature. It con-
tains no special feature, for one can hardly call
attention to the introductory chapter, in which
advice is given to the collector upon the best
way of decorating a dining-room with ancient
faiences.

MARTIN (AugUSte).— Architecture et
Ceramique. Recherches et etudes
sur leurs formes depuis les
Egypt iens jusqu'a nos jours.
Bourges, Jollet, 1865. 4°. 2
parts. Pp. 16 ; with 4 pis. (all
published).

"Architecture and Ceramics. Re-
searches and studies on their shapes from
the times of the Egyptians up to the
present day."

A radish and a turnip truncated at the in-
ferior part are the first examples presented by
the author to demonstrate that the form of
Egyptian vases were evidently borrowed from
that of those vegetables. The system he in-
tended to develop was that in architecture, as
well as in ceramics, all shapes are derived from
the imitation of a natural object. How he
would have succeeded in applying his theory
to all the creations of ancient plastic art still
remains uncertain, for the work did not go
farther than the first two parts.

MARTIN (F. R.).— Moderne Keramik
von Centralasien. Stockholm,
Chelius, 1897. Sm. fol., pp. 9 ;
with 1 1 phototyp. and 6 col. pis.
Descriptive notices and illustrs.
in the text. Publ, £1, 5s.

" The modern ceramics of Central Asia."

A collection of faience dishes, made in Tur-
kestan at the present day, brought back and
described by the collector. They are coarse
pieces of debased manufacture. The decora-
tion is of such a commonplace character that
in the vulgar arrangements of scrolls, leaves,
and rosettes, almost similar in shape to those

278

we are accustomed to see painted upon the
gaudy pottery used by the peasants of some
European countries, we can scarcely find traces
of an Oriental origin.

- F. R. Martin's Sammlungen
aus dem Orient in der allge-
meinen Kunst- und Industrie-
Ausstellung zu Stockholm, 1897.
Stockholm, 1897. 4°, pp. 8;
with 8 phototyp. pis.

" The Oriental collection of F. R. Martin
at the Stockholm Exhibition, 1897."

General views of the exhibition rooms ; the
pottery in the collection is shown on such a
reduced scale that little can be seen of it besides
the shapes.

— The Persian lustre vase in
the Imperial Hermitage at St.
Petersburg, and some fragments
of lustre vases found near Cairo,
at Fostat. Stockholm, G. Chel-
ius, 1900. 4°, pp. 8; with 6
heliogr. pis. 10s.

A complement to Henry Wallis' works on
Persian pottery. The vase described in this
paper was once in the Basilewsky collection ;
the fragments of Persian and Egyptian ware are
in the author's possession.

MARTIGNY (1'AbM).— Lettre a Mr. Ed.
Le Blant sur une lampe chreti-
enne inedite. Belley, 1872. 8°,
pp. 16 ; pis.

" A letter to Mr. Ed. Le Blant on an
inedited Christian lamp."

A dissertation upon the frequent occurrence
of the biblical subject of Jonah upon the ancient
terra-cotta lamps.

MARX (R.).— Auguste Rodin, Ceramist.
Paris, 1907. 4° ; with 18 helio-
gr. pis., reproducing in black
and in colour the chief works in
porcelain executed by A. Rodin
at the National factory of Sevres
25 fcs.

MARZ (J.). — Die Fayencefabrik zu
Mosbach in Baden. Jena, Ti-
scher, 1906. 8°, pp. 110. 3 m.

"The faience factory of Mosbach in
Baden."

MAS]

CERAMIC LITERATURE.

[MAT

MASKELL (W.).— The industrial arts.
Historical sketches with numer-
ous illustrations. London, Chap-
man, 1876. Sq. 8°, pp. xiv-276.
(One of the South Kensington
Museum handbooks.)

Contains a chapter on pottery and porcelain
(pp. 119-186).

MASNER (Karl).— K. K. Oesterreich.
Museum fur Kunst und Indus-
trie. Die Sammlung antiker
Vasen und Terracotten in K. K.
Oesterreich. Museum. Katalog
und historische Einleitung.
Wien, C. Gerold's Sohn, 1892.
4°, pp. xxv-104 ; with 10 photo-
typ. pis. and 36 illustrs. 20 m.

" Catalogue of the collection of antique
vases and terra-cottas in the R.I. Museum
of Industrial Art at Vienna."

The specimens bought in 1865 from A.
Castellani, at Rome ; the collections Scara-
manga, Blum-Blankenegg, etc., have formed
the foundation of this part of the Vienna Mus-
eum. It contains 951 Nos. The plates are
photographed from the originals.

MASON (G. C.).— The application of
art to manufacture. New York,
1858. 8°. Porcelain. The Chin-
ese manufacture of porcelain ;
terra-cotta, pp. 194-248 ; with
20 illustrs.

MASSILLON-ROUYET.— Les Conrade. In-
troduction des faiences d'art a
Nevers. Nevers, Valliere, 1898.
8°, pp. 23 ; with facsimile of
signatures.

Les Conrade, leurs faiences
d'art. Suivi d'une critique.
Paris, May, 1901. Sq. 8°, pp.
55 ; with 2 pis. 2 fcs.

" The Conrads and their artistic
faience."

On the strength of three specimens exhibited
in the Nevers Museum, and so far considered as
being of Italian manufacture, the writer at-
tempts to establish that painted faience was
made at Nevers before the time fixed by pre-
vious historians. In the subject of Rinaldo and
Armide, painted upon one of the dishes, he has
no hesitation in recognising an allegorical re-
presentation of the Duke of Nevers, with his

faithful town personified by the female figure
seated upon his knee. A cupid balancing him-
self upon the branch of a tree is offering to the
couple a fruit that anyone might take to be a
common apple, but which, we are told, is a clear
emblem of the art of faience making. As to
the attribution of these pieces to very early
manufacture it rests only on speculation ;
neither of them being signed or dated.

MASSON (B.). — La ceramique en
Tunisie. Paris, 1896. 8°, pp.
15 ; with 3 illustrs. (Reprint
from the Bulletin de Geographie
Commerciale.)

It is only in the conservative Orient that the
technics and ornamental style of a most antique
industry can be seen perpetuated in the pro-
ductions of modern times. The Berber potter
of Tunis has preserved, almost in its integrity,
the tradition he has inherited from his Phoeni-
cian ancestors. He departs little from the
typical forms of the terra-cotta vessels largely
represented in the burial grounds of Rhodes
and Cyprus, and the black and red traceries,
with which he decorates his modest pots, repeat
unconsciously the archaic arrangements of palm-
ettes and the alternate bands of geometrical
designs and of fantastic animals we are accus-
tomed to see upon classical specimens.

To another influence is due the origin of the
polychromic faience of the Tunis tile-maker.
When the Moors, banished from Spain, came
to settle on the African coasts they brought
along with them new arts and new trades. They
made tiles glowing with bright colours, in the
sumptuous Hispano-Moresque taste, a remnant
of the Persian tradition that their ancestors
had imported into Europe. This Persian in-
fluence still pervades, unrestricted, the gorgeous
enamelled tiles of Tunisian Nebeul.

Mr. Masson, who has made, on the spot, a
long and thorough study of the ceramic in-
dustry, has come to the conclusion that the
conduct of the work in the potters' shops has
remained exactly what it was at the earliest
period, and that some teaching is to be found
there that would be of advantage to modern
manufacture.

This able paper is more than a monograph
of Arabian ware ; it is a valuable document
towards the general history of ceramic art.

MASSON (F.)-— Sevres China in Mr.
Chappey's collection. Paris,
1905. Sm. fol., pp. 32; with
num. illustrs. (A special No.
of UArt.)

MATAGRIN (A.)-— Bernard Palissy, sa
vie et ses ouvrages. Bordeaux,
1862. 8°, pp. 47. (Reprint from
the Revue des races latines.)

One of the essays sent to the " Palissy
competition " at Agen in 1855. We cull from
this notice the following paragraphs : — " Palissy

279

MAT]

CERAMIC LITERATURE.

[MAW

embodies all the achievements, all the glories of
the times in which he lived ; his genius symbol-
ises that of his century. Palissy was much
more "than a skilled artisan, a great artist, an
original and glorious writer ; in short, much
more than an admirable genius — he was an
heroic character ! " A short biography and
long quotations from the original text complete
this notice which, we might say, " typifies " the
larger part of the " Palissy literature."

MATHESIUS (Johan).— Sarepta: darinn
von allerley Bergwerck und
Metallen, was ir Eygenshafft mid
Natur und wie sie zu Nutz und
gut Gemacht guter Bericht gege-
ben, etc. . . . Niirnberg, 1562.
Fol. Other edits., 1564, 1571,
1578, 1587.

" Sarepta : wherein an account is given
of mining of all the metals, of their nature
and properties, and of the methods of
bringing them into use."

The ninth discourse treats of Tin, Lead,
Litharge, Bismuth, Antimony, and of the use
that the potters of the time made of these
metals for their glazes and colours. Mr. Fried-
rich, in his life of Hirshvogel, has given all the
passages of Mathesius work which refer to the
potter's art. The technical knowledge of the
old writer appears often to be of questionable
accuracy.

MATHIEU-MEUSNIER (Collection). - - Cata-
logue des faiences Persanes,
Italiennes, Hispano-Mauresques,
Hollandaises et de presque
toutes les fabriques frangaises.
Paris, 1864. 8°, pp. 27 ; with
4 photos.

The sculptor, Mathieu-Meusnier, had been
one of the early collectors, and his collection,
made at a very modest cost, contained, however,
many remarkable specimens.

MATHON. — Notes descriptives sur
quelques vases du Musee de
Beauvais. , Beauvais, 1860. 8°,
pp. 3 ; with 1 pi.

" Description of a few vases in the
Beauvais Museum."

Frankish and mediaeval pottery of the usual
types.

MATSUGATA.— Le Japona 1'Exposition
universelle de 1878. Public
sous la direction de la commis-
sion Imperiale Japonaise. Paris,

280

impr. Chamerot, 1878. 2 vols.
8°, pp. 159, and vii-192. 10 fcs.

" Japan at the International Exhibition
of 1878. Published by the Imperial
Commission of Japan."

The work is divided into the following sec-
tions : — P. 1, Geography and history of Japan ;
P. 2, art, education, teaching, industry, products,
and horticulture. In vol. ii. will be found the
chapter on pottery and porcelain, pp. 23-64.
It has been reprinted in a separate form.

MATTER.— Antiquites de Rheinza-
bern. Strasbourg, s.d. 4°, pp. 4 ;
and 14 pis. in outline, lithogr. by
Engelmann (pi. 13 was never
printed). Illustrated wrapper.
5 fcs.

" Antiquities of Rheinzabern."

Rheinzabern, near Lauterbourg, was one of
the largest settlements of Roman potters in
Europe ; repeated excavations on the spot have
yielded large crops of curious specimens of
ancient pottery. The insignificant selection re-
produced on the plates is accompanied by a
short and bad descriptive text by Schweig-
hauser.

MATTHAEY (Carl).— Abbildungen der
neuesten Facons fur Porzellan
Steingut- und Topfer-Waaren
von C. Matthaey in Dresden.
Weimar, Voigt, 1841. Fol.,
pp. 6 ; with 8 lith. pis. (Part I.)

" Designs of the newest models for por-
celain, stoneware, and pottery."

MAW & CO, — Patterns of encaustic
tiles, geometrical, mosaic, and
plain tile pavements, and ma-
jolica and enamelled wall tiles,
white glazed tiles, etc., Benthall
Works, Broseley, Salop. S.L,
n.d. (1866?). Imp. 4°, pp. 4;
and 44 pis. in col. The price
list is printed separately. 8°,
pp. 32.

The encaustic tile works carried on at Wor-
cester by Messrs. St. John, Flight & Barr were
purchased by Messrs. Maw, and in 1852 removed
to the Benthall Works, near Broseley.

MAWLEY (R.)— (Anon.).— Pottery and
porcelain in 1876. An art stu-
dent's ramble through some of
the china shops of London.

CERAMIC LITERATURE.

[MAY

London, Field & Tuer, 1877. 8°,
pp. 82. Privately printed.

It may be said of certain books as of certain
wines, " Let them lay by for a number of years ;
it is not yet time to appreciate their true worth."
A rather unpalatable liquid will, later on, become
a luscious beverage ; an insignificant little vol-
ume may, one day, prove to be a treasure of
information. In the present one are consigned
the impressions and remarks of a collector of
modern art china, as he went on through his
shopping expeditions. The account of each
journey of this " up-to-date " pilgrimage is
headed by the facsimile of the press advertise-
ment, through which one of the leading dealers en-
deavours to attract the pilgrim to his shrine, or,
to speak more plainly, to his well-stocked show-
rooms. To the Londoner of our days, somewhat
impervious to the poetical sensation that can
be derived from the contemplation of a china
shop, the tale unfolded in these pages may ap-
pear overdrawn in the extreme. But when one
or two hundred years have gone by, we can
imagine what will be the rapture of the china
collector — if any are left in that distant futurity
— when he happens to have the good fortune of
meeting with an odd copy of this most accurate
and detailed record of the conditions of the art
china trade in England at that unparalleled
period of its prosperity.

MAXE-WERLY (L). — Etude sur les
carrelages du Moyen-Age. Paris,
1894. 8°, pp. 16 ; illustrs. 1 fc.
50 c.

" A study on the tile pavements of the
Middle Ages."

The author's object is to establish that geo-
metrical designs formed by the arrangement of
small pieces of pottery of various forms and
colours has preceded the schemes of decoration
executed in square tiles for the pavement of the
mediaeval churches.

MAXIMIS (Fr. X. de). — Musei quod
Gregorius XVI. Pont. Max. in
sedibus Vaticanis constituit mon-
imenta linearis picturse exemplis
expressa et ad utilitatem studio-
sorum antiquitatum et bonarum
artium publici juris facta. Romce,
ex sedibus Vaticanis, 1842. 2
vols. Fol. ; with 238 engr. pis.
£6.

A noble work, published at the expense of
the Pontifical government, to illustrate the pro-
ducts of the excavations made in the Etruscan
necropolis, which were to be subsequently de-
posited in the Gregorian Museum at the Vatican.
One of the volumes is devoted entirely to the
reproduction of Etruscan and Greek vases,
among which are included many examples of
the highest order. A text, in Italian, accom-

panies the plates, faithfully drawn and cleverly
engraved. Terra-cottas, pis. 34-51 ; painted
vases, pis. 1-90.

MAYAND (S. P.).— Recherches sur les
murs vitrifies. Sens, 1893. 8°,
pp. 22 ; with 1 plan. 2 fcs.
" Kesearches on vitrified walls."

The origin, the structure, and the presumed
dates of the vitrified forts are studied in this
paper, in which will also be found the descrip-
tion of the method employed for melting small
pieces of granite mixed with a fusible medium,
and uniting together the blocks of stone of which
the wall was formed by pouring the melted mix-
ture between the interstices.

MAYENCE.— Fouilles de Delos. Les
rechauds en terre cuite. Paris,
Thorin, 1903. Sm. 4°, pp. 31 ;
with 59 text illustrs. (Reprint
from the Bulletin de Corresp.
Hellenique.)

" The Delos excavations,
warming stands."

Terra-cotta

MAYER (J.). — A synopsis of the
history of the manufacture of
earthenware ; with reference to
the specimens in the Exhibition
of the Liverpool Mechanic's In-
stitution. Liverpool, 1842. 8°,
pp. 12.

- On the art of pottery ; with
a history of its progress in Liver-
pool. Liverpool, D. Marples,
1855. 2nd ed., 1873. 8°, pp.
97 ; woodcuts. 3s.

The name of Joseph Mayer will long be re-
membered by the antiquaries and collectors of
England. The magnificent collection he presented
during hislif e to the town of Liverpool, where he had
been established for many years as a silversmith
and jeweller, partly testifies to the activity and
sure taste he had displayed in his search for rare
and precious works of art ; important as was
the gift, it formed but a portion of the treasures
in his possession. These latter, and the house
in which they stood, were bequeathed to his
native village.

Many remarkable specimens of Liverpool
pottery and porcelain were included in the col-
lection now in the Liverpool Museum. The
authenticity of each of these specimens had been
carefully established by means of the traditional
and documental evidence supplied by the local
families from which they had been obtained.
When J. Mayer decided to publish the infor-
mation he had received, little or nothing was
known about the Liverpool potteries. He suc-

281

MAY]

CERAMIC LITERATURE.

[MAZ

ceeded in fixing the places where stood the most
ancient factories, he found the names of the manu-
facturers, and followed the march and progress of
local manufacture. He told us how to the making
of the Delft ware, in which the potters had
particularly excelled, was soon added a most suc-
cessful imitation of the "salt glaze" and "cloudy"
ware of Staffordshire. Later on, following upon
the steps of Josiah Wedgwood, they produced
a " cream colour ware " which would creditably
compare with that of the greatest potter of the
times, and which they were the first to decorate
with transfer printing. At about the same
period Chaffers and other makers showed that
the manufacture of porcelain had no secrets
for them.

After having established beyond any doubt
that pottery-making had once been one of the
chief industries of the town, he was obliged to
acknowledge that, owing to the absence of marks
and our imperfect acquaintance with the dis-
tinctive characteristics of the ware, only a very
few pieces had so far been identified as being
undoubtedly of local origin.

MAYER (M.)-— Ceramica dell' Apulia
preellenica. Part I. La Mes-
sapia ; with 22 illustrs. Part
II. La Peucezia ; with 3 pis.
and 34 illustrs. (In Rom. Mitth.,
1897-99.)
" Pre-Hellenic ceramics of Apulia."

- Vasi dipinti scoperti in tombe
della necropoli canosina. Roma,
1898; with 17 illustrs. (In
Notizie degli Scavi.)

" Painted vases discovered in the
Necropolis of Canosa."

MAYFART (J. W.). --Die Porcellan
Fabrication. Sonderhausen,
1844. 8°.

" The porcelain manufacture."

MAYR (M.). — Die keramische malerei
. . . fur Dilittanten, Kunst-
gewerbetreibende undTechniker.
Augsburg, 1901. 8°, pp. 104;
cuts. 2 m.

" Ceramic painting . . . for amateurs,
the industrial artist, and the china
painter."

MAZARD (H. A.).— Musee des antiquites
nationales de Saint-Germain-en-
Laye. La Ceramique. Saint-
Germain-en-Laye, 1873. 12° ;
with 6 pis. 6 fcs. (100 copies
printed.)
282

" Museum of national antiquities at
St. Germain-en-Laye. Ceramics."

Description of the pottery of the prehistoric,
Roman, and Gallo-Roman periods discovered in
France and preserved in the Museum of Saint
Germain.

Ceramique. De la connais-

sance par les anciens des glac-
ures plombiferes ; releve des
terres cuites antiques revetues
de glacures plombiferes, existant
dans les divers musees et collec-
tions. Paris, Morel, 1879. 4°,
pp. 72 ; with 2 col. pis. and text
illustrs. 10 fcs.

" Ceramics. Of the knowledge of lead
glazes possessed by the ancients ; a cata-
logue of the antique terra-cottas covered
with a lead glaze, preserved in various
museums and collections."

Plain terra-cotta constituting, as a rule, the
bulk of ceramic objects discovered in the ex-
cavations, doubts have sometimes been enter-
tained as to whether the Greek and Roman
potters had ever completed their productions
with the application of a vitreous coating. The
long undetermined smear which varnishes the
surface of the Samian ware being the sole ex-
ception. A little more attention given to that
question would have settled it long before.
Howbeit, Mr. Mazard was the first to make a
special study of the subject, and to show that
the composition of lead glazes, and even of
opaque enamels, was well known in classical
time. He has collected information respecting
the examples of antique pottery glazed with
lead preserved in the museums of Europe, and
drawn a descriptive list of those which were
thus brought under his notice. He came to
the conclusion that Tarsa, in Cilicia, had been
the great centre of the glazed ware manufacture.
The art of enamelling had been imported there
from Egypt, and it was from the Tarsa potters
that the Romans borrowed the custom of
covering earthen vessels with metallic glazes
of various colours. Since that essay was
written examples of antique glazes have turned
up from all sides, and the list drawn by Mr.
Mazard would appear a very poor one by the
side of the one that could now be given.

MAZE (Alphonse). — Notes d'un col-
lectionneur. Recherches sur la
Ceramique. AperQU chrono-
logique et historique avec mar-
ques, monogrammes et planches
photoglyptiques d'apres le pro-
cede de la maison Goupil. Paris,
impr. A. Le Clere, 1870. 4°, pp.
278 ; with 29 pis. 60 fcs.

MAZ]

CERAMIC LITERATURE.

[MEL

" A collector's notes. Researches on
ceramic art. Chronological and historical
compendium, with marks and monograms;
illustrated with photoglyptic plates by the
Goupil process."

The letterpress, compiled from well-known
authorities, offers no particular interest. The
plates, remarkable examples of the Goupil pro-
cess, contain 145 reproductions of choice speci-
mens, all drawn from the author's collection.

MAZE-SENCIER (Alph.).— Le livre des
collectionneurs. Paris., We. H.
Renouard, 1885. 8°, pp. 878 ;
illustrs. in text. 20 fcs.
" The collector's handbook."

A sort of vade-mecum for the general col-
lector, in which all branches of " curiosity "
are dealt with in turn. Each chapter contains
a historical summary of the subject ; a selec-
tion of marks ; extracts from sale catalogues,
giving the prices obtained by exceptional speci
mens ; and, finally, a full list of the amateurs
who, in various countries, possess the finest
collection in each speciality. Ceramics and
terra-cottas are treated on the same principle.
These chapters furnish special information,
which the collector would have some difficulty
in obtaining elsewhere.

MAZZA (D.). — Indice delle antiche
stoviglie dipinte possedute d'all'
Ospizio de'Cronici ed invalide
di Pesaro. Pesaro, 1857. 4°.

" Catalogue of the ancient painted
pottery in the possession of the Hospital
for Incurables at Pesaro."

In the year 1857 the collection of majolica
formed by Domenico Mazza, of Pesaro, and
presented by him to the hospital he had founded,
passed by purchase into the possession of the
town. This collection, comprising close on five
hundred pieces, is now exhibited in the civic
museum.

MEASHAM TERRA-COTTA CO.— Pattern
book of architectural terra-cotta
(1892). Obi. fol. ; 20 pis. Meas-
ham, near Ather stone.

MEESTER (M. de). — Les industries
Ceramiques en Belgique. Brux-
elles, Lebegue, 1907. 8°, pp.
180 ; with numerous pen and
ink sketches, etc. 4 fcs.
" Ceramic industries in Belgium."

This handbook treats especially of the manu-
facture of bricks and tiles. It contains a com-
plete directory of all the pottery manufacturers
in Belgium.

MEGRET (Ad.)-— Etude sur les canons
de Polyclete. Appendice de la
forme humaine come principe
generateur applique a la con-
fection des vases grecs et rom-
ains. Paris, 1892. 8°; with 10
pis. 2 fcs. 50 c.

" A study on the canons of Polycletus.
Appendix of the human form considered
as a generative principle applied to the
fashioning of Greek and Roman vases."

MEIER (P. JO-— Neue Durisschalen
des berliner Museums. Berlin,
1882. 4°, pp. 27 ; with 4 pis.

" A tazza by Duris, lately added to the
Berlin Museum."

MEILLET (A.).— De la fabrication des
poteries dans 1'antiquite au point
de vue technique. Montauban,
1867. 8°, pp. 22.

"Pottery manufacture in antiquity con-
sidered from the technical point of view."

Curious conjectures on the nature of the
glaze of the Sarnian pottery.

MEINDEL (CO-— Die Bereitung der
Farben zur Porcellanmalerei.
Nebst Anhange, die Auflosung
des Goldes zum Malen des Por-
zellans enthaltend. Quedlinburg
(1850). 8°.

" The preparation of colours for china
painting. With a supplement on the
method of dissolving the gold adhering to
painted porcelain."

MELCHIORRI. — Intorno al rapimento
di Egina figlia di Asopo, espresso
in un vaso etrusco del museo
Gregoriano. Roma., 1838. 4°; pis.

" Notice of an Etruscan vase with the
rape of Egina, daughter of Asopus, in the
Gregorian Museum."

MELIDA (J. R.). — Sobre los vasos
Griegos, Etruscos, e Italo-grie-
gos del Museo Arqueologico naci-
onal. Madrid, 1882. 12°, pp.
48 ; with 6 illustrs.

"Remarks on the Greek, Etruscan, and
Italo-Greek vases in the National Museum
of Archaeology at Madrid."

283

MEL]

CERAMIC LITERATURE.

[MET

MELLEN (J. YOU). - - Historia urnse
sepulchralis sarmaticae, etc.
Jence, 1679. Sq. 8°, pp. 40;
with 4 pis. 4 m.

" History of the sepulchral urns of the
Sarmats."

MELLOR (Dr. J. W.)«— Communications
from the County Pottery Lab-
oratory, Staffordshire. London,
1907. " 8°.

A series of technical papers describing the
experiments conducted in the laboratory of the
Victoria Institute, Tunstall. (Reprint from
The Pottery Gazette.)

MELY (F. de). — Laceramiqueitalienne.
Sigles et monogrammes. Paris,
F. Didot, 1884. 8°, pp. 248;
with a portr. of Giorgio Andreoli,
views of the ancient centres of
manufacture, and numerous
marks. 5 fcs.

" Italian ceramics : marks and mono-
grams."

A complete dictionary of all the names,
marks, or distinctive signs found upon the
pottery and porcelain of Italy reproduced in
facsimile. The correct interpretation of ini-
tials or often repeated ciphers, offers, in some
cases, an insuperable difficulty, experts differing
totally as to their attribution, and being unable
to agree as to the name of the master they
represent. As to the numerous commonplace
signs, such as dots, crosses, circles, scrolls, etc.,
which appear upon the majolica, it is still more
perplexing to settle their signification, and no
more than a conjecture may be ventured about
each of them. Most often these signs were
placed on his work by the majolist as an addi-
tion to the decoration ; to attach to them an
undue importance is, perhaps, to introduce un-
necessary confusion in the study of Italian
majolica. Mr. Melly has entered in his volume
a much larger number of marks and signs than
had ever been brought together ; but so many
of them are undetermined, when not doubtful
and meaningless as a mark, that far from being
incomplete his conscientious labour seems some-
what overdone.

MENDEL (S.)« — Collection, Samuel
Mendel of Manley Hall, Man-
chester. London, 1867. 4°.
Printed privately.

Porcelain and pottery, pp. 205-240 ; with a
historical introduction. Catalogue of sale. 1875.
8°.

MERCATOR (C.).— Die photokeramik
und ihre Imitationen. Anleitung

284

zur Herstellung von eingebrann-
ten Bildern auf Email, Porzel-
lan u. s. w. in einfarbiger mid
vielfarbiger Ausfiihrung (Drei-
farbeiidruckkeramik). Halle a.
8., W. Knapp, 1900. 8°, pp. 99;
with 4 illustrs. 3 m.

" The photoceramic and its imitations.
Instructions for the production of burnt-in
pictures upon enamel, porcelain, etc., in
one or several colours (ceramic printing in
three colours)."

MERRIL (F.) and RIES (H.). - - Brick
and pottery clays of New York
State. Albany, 1895. 8°, pp.
167 ; with 1 map and 2 pis.
30 c. (In Bulletin of the New
York State Museum.)

MESTORF (Johanna). — Urnenf riedhofe
in Schleswig - Holstein. Nam-
burg, Meissner, 1886. 8°, pp.
104 ; with 21 illustrs. in the
text, 12 pis., and 1 map. 10 m.

" The urns cemetery in Schleswig-
Holstein."

An account of the excavations made in 172
different localities of Holstein, Lauenburg, and
Schleswig, in which a large quantity of cinerary
urns of undetermined antiquity were discovered.

MESTORF (J.) and ESSENWEIN (A.).— Ger-
manische Museum. Katalogue
der . . . vorgeschichtlichen
Denkmaler ( Rosenberg' sche
Sammlung). Niirnberg, 1886.
8°, pp. 147 ; with 4 pis. of urns.

. " Catalogue of the Rosenberg Collection
of prehistoric objects in the Germanic
Museum at Nuremberg."

METEYARD (Eliza).— The life of Josiah
Wedgwood, from his private
correspondence and family
papers, with an introductory
sketch of the art of pottery in
England. London, Hurst &
Blackett, 1865. 2 vols. 8°;
with portraits of Wedgwood and
of Bentley, engr. on steel ; full
page illustr. and 95-154 wood-
cuts in the text. 30s.

MET]

CERAMIC LITERATURE.

[MET

Miss Meteyard tells us in the preface that the
preparation of this book had absorbed her
thoughts and occupied much of her time for i
more than fifteen years before it was completed I
and ready for the press ; the plan of writing
such a book had, therefore, originated in her
mind in the very early days when the interest
in old Wedgwood ware was just being revived.
To prepare a costly publication on the subject, at
a time when only a very limited number of
amateurs could be expected to take an interest
in it, required more confidence and courage than
any other writer could perhaps have been able
to muster. Nothing less than the womanly
devotion with which Miss Meteyard felt herself
inspired for the hero of her thoughts, the
great man to whose memory she was to devote
all her life, can explain the implicit faith she
had placed on the ultimate success of her un-
auspicious venture.

While such enlightened connoisseurs as Bar-
low, De la Rue, Dr. Sipson, Joseph Mayer, and
a few others were busily engaged in piling up
in their collections marvels upon marvels of
Wedgwood art, their friend, Miss Meteyard,
went on gathering sedulously materials and
documents towards their history.

A work so carefully planned, so thoroughly
perfected in its details, required many years of
incessant efforts ; however long the period of
gestation is said to have been, we must recognise
that the time has been most effectually em-
ployed. The bulk of materials under examin-
ation was enormous, yet nothing worth noticing
has been allowed to escape unrecorded. No
statement she received in the way of oral com-
munication, private opinions, personal obser-
vations, as well as half-forgotten traditions,
was either accepted or rejected without having
been submitted to strict and impartial investi-
gation. Often in presence of conflicting testi-
monies an indefatigable tenacity of purpose
helped her in her search for truth. She always
preferred to a display of ingenious speculations
the production of plain facts substantiated by
documental evidence. If she has erred, in some
instances, she was quite unconscious of having
fallen into a mistake, and her absolute sincerity
is nowhere to be doubted. '

So intense — so blind might we say — was Miss
Meteyard's adoration for her hero that it never
entered her mind to tone down, in what she
deemed to be an ideal portrait, the harsher
shades of the model, the peculiarities which
form the human side of Wedgwood's character.
No great man has ever lived to whom a few
moments of weakness cannot be imputed ; his
moves on certain occasions are liable to be mis-
interpreted. The historian feels often prompted
to pass in silence a few unimportant facts
which might be construed as detrimental to the
good name of the man, while another may de-
liberately lay stress upon them as throwing some
shady spots on the brilliancy of his career.
Miss Meteyard has never been actuated by any
one-sided consideration. Her unique desire was
to represent Wedgwood just as he was ; she
recorded the most trifling events of his existence,
she espoused all his views, even in the cases
when they may be open to criticism, in the full
confidence that anything which emanated from
such a noble mind was bound to redound to

his greater fame. For doing so, we know that
candid Miss Meteyard has been taken to task
by some fervent admirers of the great potter
who would have preferred an unalloyed pane-
gyric free from all dross, regarded by them as
unnecessary. Notwithstanding this mild re-
proach, by no means supported by the majority
of readers, the book was very favourably wel-
comed and highly appreciated on its appearance.
It has remained the most complete and trust-
worthy source of information. But, financially,
it was a great loss to her, for not only were all
her savings spent in providing the illustrations,
but no part of the proceeds of the sale was
ever received by her ; it went to repay the large
sums advanced at her suggestion.

- A group of Englishmen (1795
to 1815) ; being a record of the
younger Wedgwoods and their
friends, embracing the history
of the discovery of photography,
and a facsimile of the first photo-
graph. London, Longmans,
Green & Co., 1871. 8°, pp. 416 ;
with 1 pi. 10s.

Much remained in the mass of documents in
the possession of Joseph Mayer which continued
the historical information about the Wedgwood
family and the Etruria Works up to the begin-
ning of the nineteenth century, and which could
not find a place in the biography of the great
Josiah. This supplementary matter was made
use of by Miss Meteyard for a volume which,
although quite independent from her great work,
must be considered as a continuation of it. But
when compared with the fascinating chapters
in which the wonderful development of a great
industry by a man of genius had been so happily
narrated, the rest of the tale leaves us somewhat
indifferent. Wedgwood's sons did not inherit
their father's spirit and his love for the potter's
art. They took but little share in the manage-
ment of the works, and were satisfied to live
away from business, in the quiet enjoyment of
the princely income they derived from their
celebrated factory. As to the part of the book
relating to the pretended discovery of photo-
graphy we fear that, in her infatuation for all
that was connected with the name of Wedg-
wood, Miss Meteyard has been carried a little
farther in her speculations than the evidence
at her disposal could have warranted. A
few " drawing-room " chemical experiments on
the action of sunlight upon the nitrate of
silver, conducted on principles long before laid
down in special treatises, and which had proved
fruitless in the hands of previous operators, do
not in any way establish a claim to the invention
of photography in favour of Thomas Wedgwood.

Wedgwood's catalogue of
cameos, intaglios, medals, bas-
reliefs, busts, and small statues ;
reprinted from the edition of
1787. With illustrations. Lon-

285

MET]

CERAMIC LITERATURE.

[MEU

don, Bell & Daldy, 1873. 8°, pp.
108. 5s.

METEYARD (Eliza).— The Wedgwood
handbook. A manual for col-
lectors. Treating of the marks,
monograms, and other tests of
the old period of manufacture.
Also including the catalogues
with prices obtained at various
sales, together with a glossary
of terms. London, G. Bell &
Sons, 1875. 8°, pp. 227. 6s.

The difficulties an inexperienced collector
often finds in discriminating between old and
modern specimens of Wedgwood ware, and the
dangers to which he is constantly exposed on
the part of unscrupulous dealers, always ready
to palm off an imitation for a genuine example,
have led to the compilation of this handbook.
Its contents are comprehensively stated in the
title, which does not belie its promise. In it
will be found accumulated all the information
Miss Meteyard had collected from the best con-
noisseurs with whom she was in constant inter-

- Wedgwood and his work. A
selection of his plaques, cameos,
medallions, vases, etc., from the
designs of Flaxman and others,
reproduced in permanent photo-
graphy by the autotype process.
With a sketch of his life and the
progress of fine art manufacture.
London, Bell £ Daldy, 1873.
Fol., pp. viii-68 ; and 28 pis.
with descriptive notices. £3, 3s.

- Memorials of Wedgwood. A
selection from his fine art works
in plaques, medallions, figures,
and other ornamental subjects.
With an introduction and de-
scription of the objects delin-
eated. London, G. Bell & Sons,
1874. Fol., pp. iv-20 ; and 28
phototyp. pis. £3, 3s.

Choice examples of Wedg-
wood's art. A selection of
plaques, cameos, medallions,
vases, etc., from the designs of
Flaxman and others, etc. Lon-
don, G. Bell & Sons, 1879. P. 1,
286

and 28 phototyp. pis. with de-
scriptive notices. £3, 3s.

No more befitting complement to the literary
works of Miss Meteyard could have been pro-
vided than these stately albums, in which the
chief examples of Wedgwood manufacture are
reproduced in large size. The ware lends itself,
better perhaps than any other, to photographic
reproduction. Colour is only wanted to make
these plates perfect presentiments of the ori-
ginals. As colour is of secondary importance in
these pieces, being only introduced as a ground
intended to set off the style of design and sharp-
ness of execution of the white reliefs, they lose
little of their merit by being shown in mono-
chrome. These albums arc of great value for
the study of Wedgwood's art in all public col-
lections where his productions are not sufficiently
represented. Shortly before her death Miss
Meteyard was planning an anecdotic life of
Wedgwood for the benefit of children.

METZGER (Max). — Liibecker ofen-
kacheln der Renaissance Zeit.
Liibeck, 1900. 8°, pp. 30 ; with
3 photo-lith. pis. and text illustrs.
2 m. (Reprint from Das Museum
zu Liibeck.)

" Stove tiles made at Liibeck at the
Renaissance time."

The embossed tiles covered with a coloured
glaze were extensively used in Germany as early
as the middle-ages for the ornamentation of the
house stoves, and occasionally for architectural
decoration. From old records, preserved in the
town archives, the author has established the
fact that Liibeck had been an important centre
of manufacture, the productions of which were
exported to distant countries. A few of the
models reproduced in this paper, and which
may safely be attributed to one Statius von
Diiren, who worked at Liibeck towards the
middle of the sixteenth century, are frequently
found in other German towns, and, it is said,
as far as Russia.

MEURER (Collection Hippolyt). — Cata-
logue of sale. Cologne, Heberle,
1888. 4°, pp. 40 ; with 7 pis.

Ancient stoneware, Nos. 1-90 ; faience and
porcelain, Nos. 91-135.

MEURER (M.).— Italienische Majolica-
Fliesen aus dem Ende des funf-
zehnten und Anfang des sechs-
zehnten Jahrhunderts, nach
Originalaufnahmen. Berlin,
1881. Fol.; 24 chromolith. pis.
50 m.

" Italian majolica tiles, from the end of
the fifteenth and beginning of the six-
teenth century, drawn from the originals,"

MEY]

CERAMIC LITERATURE.

[MIC

This handsome volume places under our eye
a series of majolica tiles equal in artistic merits
to the much-admired vases and dishes made by
the best Italian potters of the Renaissance time,
and far superior to the reproductions of mediaeval
tiles published as archaeological documents or
patterns for the manufacturer. The examples
have been selected from what remains of the
pavements once adorning the churches of Bol-
ogna, 1487 ; Siena, 1504 ; and Venice, 1510.
They were drawn by the advanced pupils of
the Berlin School of Art, as a number of them
were making a tour through Italy, under the
leadership of their master, Herr Meurer, and
ultimately admirably chromolithographed at the
school in the size of the originals.

MEYER. — Des Hauses Zier. Vorlagen
fiir Malerei auf Porzellan. S.d.
(recent). 8°.

" The decoration of the house. Materials
for porcelain painting."

MEYER (A. B.).— Lung-ch'iian-Yao;
oder altes Seladon-Porzellan ;
nebst einem Anhange iiber damit
in Verbindung stehende Fragen.
Berlin, Friedlander, 1889. 4°,
pp. 41 ; with 3 chromolith. pis.
12m.

" Lung-ch'iian-Yao, or the old celadon
porcelain ; with a supplement treating of
other questions related to the subject."

Vases and dishes of antique celadon porce-
lain, offering all the characteristics of early
Chinese ware, are found in great numbers in
the Mahomedan countries of the West Coast of
Africa, Western India, and the Indian Archi-
pelago. In answer to the assertion of some
leading Orientalists who maintain that all such
celadon vases are of Arabic origin, having been
made by the Mussulman potters who worked in
Egypt and Persia between the seventh and
eighth century of our era, Mr. Meyer published
this clear and conclusive paper, in which he
demonstrated that the ware has nothing in
common with Arab pottery, either in style of
decoration or in the materials of which it is
made, but it is identical in all points with that
found in China. Supporting his contention by
the historical evidences previously brought forth
by F. Hirth in his Ancient Porcelain, on the sub-
ject of Chinese commercial intercourse with the
Far East in mediaeval tim'es, and particularly
the extensive exportation of green porcelain, he
brought the question up to a point where it
would be difficult not to believe with him that
the celadon ware was imported by the Arab
traders in the countries where it is now preserved
by the natives as objects of great value and
antiquity.

MEYER (J. H.) and BOTTIGER (K. A.).—
Ueber den Raub der Cassandra

auf einem alten Gefasse von
gebrannter Erde. Weimar, 1799.
4°, pp. 90 ; with 3 pis. 5 m.

"On the rape of Cassandra, represented
upon an antique vase of terra-cotta."

MICALI (GO- — Storia degli antichi
popoli italiani. Firenze, 1832.
3 vols. 8°; and atlas fol. of 120
pis. with the title Monumenti per
servire alia storia ... 50 fcs.

" History of the ancient people of
Italy."

Etruscan terra-cottas and painted vases are
largely represented on 52 of the plates of the
atlas. A few of them, engraved in colour, are
of remarkable execution, and superior in that
respect to those seen in all previous publications.

MICHAELIS (A.).- -II Hone nemea,
vaso del R. Museo di Monaco.
Roma, 1859. 8°, pp. 21 ; with
3 pis.

" The lion of Nemsea ; a vase in the R.
Museum of Munich."

- Die Verurtheilung des Mar-
syas auf einer Vase aus Ruvo.
Greifswald, 1864. 4°, pp. 18;
with 2 pis.

" The judgment of Marsyas upon a vase
from Ruvo."

Thamyris und Sappho auf
einer Vasenbilde. Leipzig, 1865.
4°, pp. 18 ; 1 pi.

" Thamyris and Sappho upon a painted
vase."

Ueber Vasenbilder die sich
auf der musikal. Wettkampf
zwischen Apollon und Marsyas
beziehen. Berlin, 1869. 4°;
2 pis.

" The vase paintings having reference
to the musical contest between Apollo
and Marsyas."

- Ercole col cornucopia sopra
un vaso ruveso. Roma, 1869.
8°; 1 pi.

" Hercules with the Cornucopia upon a
vase from Ruvo."

287

MIC]

CERAMIC LITERATURE.

[MIL

MICHAILOFF (W. J.).— Porcelain paint-
ing for amateurs. St. Petersburg,
1893. 8°. (In Russian.)

MICHEL (E.).— Essai sur 1'histoire des
faiences de Lyon. Lyon, 1876.
8°, pp. 19 ; with 4 pis. 5 fcs.

" Essay on the history of the faiences
of Lyons."

The anonymous majolists who painted the
beautiful tile pavement of the church of Brou,
at Bourg en Bresse, in 1536, are credited by
the author with having introduced the practice
of their art into the City of Lyons after the
completion of their work. But Mr. N. Rondot,
the learned historian of the Lyonnese arts and
crafts, clearly demonstrated a few years later
that several Italian potters were established in
the town long before the Brou pavement was
executed, and that the work may, therefore, be
attributed to these artists, rather than to others
who might have been called expressly from
Italy. The notice ends with the description of
a few specimens of later manufacture which were
made in close imitation of the ware of Nevers
and of Moustiers, and are often mistaken for
original productions of these two centres.

Catalogue de la collection
ceramique de M. M. Michel et
' Robellaz. Lyon, H. Georg, 1876.
8°, pp. 127. '

Catalogue of sale of two important ceramic
collections. One belonged to the author of the
essay and contained the specimens he had de-
scribed, together with interesting representative
works of the minor factories of the South of
France. The other was the property of a Swiss
amateur, and was particularly remarkable for
the variety of illustrative examples of Swiss and
German faience, seldom seen assembled together
in such a large quantity.

MIEL (E. F.). --Bernard Palissy.
Notice biographique lue a la
Societe libre des Beaux-Arts.
Paris, impr. Gratiot, 1835. 8°,
pp. 11.

" Bernard Palissy : a biographical
notice."

This is said to have been the first instance of
Palissy's name being made the subject of a
special notice read before a learned society with
the view of calling public attention to a man of
genius whose memory was almost forgotten by
his countrymen.

MIESBACH (L.).— La fabrication des
briques et des tuiles depuis son
origine jusqu'anos jours. Vienne
1855. 8°, pp. 17; with 2 pis.

288

" The manufacture of bricks and tiles
from its origin up to the present day."

MIGEON (G.)- — Ceramique orientale
a reflets metalliques. A propos
d'une acquisition recente du
Musee du Louvre. Paris, Ga-
zette des Beaux- Arts, 1901. 8°,
pp. 19 ; with 13 illustrs. 2 fcs,

" Oriental ceramics with metallic lustre.
On the occasion of a recent purchase by
the Louvre Museum."

Wallis had previously reproduced the vase
of the Danna collection which is the subject of
this article. Although the painting is unques-
tionably of Persian style, M. Migeon makes this
vase, and other kindred specimens, the basis of
a theory that the ware with metallic lustre
originated in Egypt and not in Persia, as is
generally believed. The refuse heaps of Cairo
have yielded, it is true, an immense quantity
of lustred fragments, but they include evident
importations from other countries, and, besides,
nothing found in them can be said to be earlier
in date than the broken pottery of the same
order found at Rages, near Ispahan.

- Musee National du Louvre,
Catalogue des faiences francaises
et des gres allemands. Paris,
Motteroz, 1902. 8°, pp. 120;
with 30 half-tone pis. 4 fcs.

" Catalogue of the French faience and
German stoneware in the Louvre Museum.
With historical notices."

- Manuel d'art musulman. II.
Les arts plastiques et industriels.
Paris, Picard, 1907. 8°. La
Ceramique, pp., 255-339 ; with
86 illustrs. 15 fcs.

Mr. Migeon gives to the metallic lustres a
Mesopotamian origin, the tiles of the Mosque at
Kairouan, built in the ninth century, represent
the oldest examples of the style, Persia.
Egypt, and Syria are successively considered in
connection with their ceramic productions. A
study of the lustred Hispano-Moresque ware
brings the account to an end.

MILANI (Collection Ch. Antoine).— Cata-
logue of sale. Frankfurt a. M.,
Prestel, 1883.
with 15 pis.

The collection of a learned antiquary of
Frankfort. Ceramics, Nos. 154-107, chiefly
stoneware ; Etruscan and Roman vases, and
terra-cotta, Nos. 259-307,

8°, pp. 148;

MIL]

CERAMIC LITERATURE.

[MIL

MILANI (L. A.)- — Sepolcreto con vasi
antropoidi di Cancelli sulla mon-
tagna di Cetona. Roma, 1899.
Pp. 41 ; with 49 illustrs. (In
Monumenti . . . della Accad. dei
Lincei. )

" A small sepulchre at Cancelli on the
Cetona Mountain, and the vases in human
form it contained."

MILES (W. A.).— A description of the
Deverel Barrow, opened A.D.
1825. London, Nichols, 1826.
4°, pp. 29 ; with 8 etched pis.

8s.

A large number of cinerary urns were found
in the excavations, seventeen of them are re-
produced on the plates. They were deposited
in the Bristol Museum.

MILET (Ambroise). — Ceramique Nor-
mande. Priorite de 1' invention
de la porcelaine a Rouen en 1673.
Rouen, Cagniard, 1867. 12°, pp.
24. (Reprint from La revue
Normande. )

" Normandy ceramics. Priority of the
discovery of porcelain at Rouen in 1673."

As early as 1847 A. Pettier had made it
known that, according to contemporary docu-
ments, porcelain was made in France for the
first time by Louis Potterat, a faience maker of
Rouen, in 1673. The statement had been re-
ceived with incredulity, but soon marked speci-
mens of undeniable authenticity were found in
sufficient quantity to dispel any doubt. This
paper resumes the additional information ob-
tained on the subject during the preceding
twenty years. Mr. A. Milet, formerly director
of the technical department of the National
Manufactory of Sevres, is now curator of the
Museum of Dieppe ; an institution which owes
its present development to his untiring exertion.

- Antoine Clericy, ouvrier du
Roi en terre sigillee, 1612-1653.
Esquisse sur sa vie et ses ceuvres.
Paris, Baur, 1876. 8°, pp. 20.

" Antoine Clericy, potter to the king,
artisan in terra sigillata. A sketch of his
life and works."

The collectors of Palissy ware soon became
satisfied that the mass of specimens which had
been, from the first, ranged under the same
heading could not possibly have been the actual
work of the old master. Diligent inquiries
disclosed the fact that active factories had been
established by several French potters who
strictly adhered to Palissy's style of manufac

ture and produced excellent imitations of his
work. Clericy must rank as one of the most
successful followers of the " Inventor of the rustic
figulines." He was established as a potter and
glass maker at Marseilles, his native town,
when he was summoned to Paris in 1612 to
exercise his art in Paris with the title of potter
to the king, working especially in " terra sigil-
lata." Palissy himself had experimented upon
the white clay which came from the East in
stamped tablets, and his imitators boasted of
employing the same material. On Clericy's
arrival in the Metropolis he was granted a suite
of rooms in the Tuileries Palace, and allowed to
put up his ovens in the adjoining grounds. A few
years afterwards he took the management of the
factory of Avon, near Fontainebleau, where some
of the finest dishes and figures of coloured
earthenware, long attributed to Palissy, such
as the charming statuette of "La nourrice,"
are now known to have been made. Clericy
enjoyed to the last the favour of his royal
patrons ; he was in receipt of a yearly pension
of 600 livres, and one of half this amount was
granted to his widow. No family connection
has yet been traced between A. Clericy and the
potters of Moustiers, one of whom was made
Baron of Trevans in 1743.

— Notice sur D. Riocreux, con-
servateur du Musee ceramique
de Sevres. Paris, Rouam, 1883.
Sq. 8°, pp. 126 ; with a portrait
etched after a medallion by
Damousse.

As long as the name of Riocreux is remem-
bered among collectors it will be revered as the
embodiment of the sterling qualities that a dis-
interested man can bring to bear upon the
formation of a public museum. When
Brongniart decided to add to the Royal
Manufactory of Sevres an instructive collection
of examples of ceramic art of all times and of
all countries, he recognised in Riocreux, then
employed as a flower painter, the very colla-
borator he needed for realising the scheme.
Accordingly, he entrusted to his care, in the
year 1812, the provisional arrangement of the
few specimens which formed the nucleus of a
museum destined to develop into proportions
far exceeding in magnitude the most sanguine
expectations of its founders. From that day
forth the increase and completion of the col-
lections remained the absorbing preoccupation
of the curator's mind, the chief purpose of his
life. A grant of money for the purchase of
specimens was inscribed in the yearly budget
of the manufactory, but so paltry was the sum
allowed for that purpose that, in less devoted
hands, the project must have failed. Denis Rio-
creux succeeded in surrounding himself with a
host of fellow-workers, and in stimulating the zeal
of the numerous friends to whom he communi-
cated part of his enthusiasm for the cause. In
exchange for the advice and information he was
always ready to give to collectors, he received
numerous presents of rare specimens, for it was
well known that he never accepted anything for
himself, and that all that was offered to him

289

MIL]

CERAMIC LITERATURE.

[MIL

would go towards the embellishment of the Sevres
Museum. He was eighty years of age when the
German War necessitated the removal of the
collections within the walls of Paris ; he could
not be prevailed, however, to leave the manu-
factory, and was one of the few inhabitants who
remained at Sevres during the enemy's occu-
pation. The peace having been concluded, he
had the last satisfaction of seeing his treasures
reinstated in their former home. Although
bent by age and sufferings, he would not allow
anyone, except two young assistants, to help
him in restoring to their proper places all the
specimens of the beloved collection he had almost
lost all hopes of seeing again.

MILET (Ambroise).— Historique de la
faience et de la porcelaine de
Rouen au xviii siecle, a 1'aide
d'aper^us nouveaux et de docu-
ments inedits. Rouen, L'Estrin-
gant, 1898. 16°, pp. 32 ; with
2 pis. 2 fcs.

"Historical notice of the faience and
porcelain of Rouen in the seventeenth
century, considered from a new standpoint
and accompanied by unpublished docu-
ments."

A deed of sale, dated 1674, by which Poirel
de Grandval transfers to his partner, Edme
Poterat, all his rights and claims upon the
faience manufactory they had conducted con-
jointly at Rouen since 1645 is one of the valuable
contributions presented by Mr. Milet towards
the history of French porcelain and its invention
by the Rouen potters. Official documents in
which each member of the Poterat family had
applied in turn for obtaining the privilege of
exclusive manufacture, on the ground of being
the only possessor of the secret, are already well
known ; their contradictory statements, how-
ever, throw more shade than light upon the
question. Specimens which correspond to the
trials and fragments discovered on the site of
the old works, do not allow of a doubt to be
entertained as to the Poterats having really pro-
duced soft porcelain of a fine body ; it is, how-
ever, very strange that no reference to such an
important invention has ever been found in any
contemporary author. Such a recognition would
be of much greater value than the ambiguous
terms of a request written with the view oi
obtaining the monopoly of the manufacture
of faience, and, incidentally, of porcelain, still
acknowledged to be on its trial.

Catalogue du Musee de
Dieppe. Dieppe, 1904. 8°, pp
284 ; with text illustrs.

Early pottery ; tile pavements ; Sevres
porcelain.

MILLER (Fred.). — Pottery Painting.
A course of instruction in the
various methods of working on

290

pottery and porcelain ; with
notes on design, and the various
makes of colours and glazes.
London, Wyman & Son, s.d.
(1885 ?). 8°, pp. viii-147 ; with
55 illustrs. 5s.

A conscientious and exhaustive treatise,
written by a practical artist who has endeavoured
to give to the student the full benefit of his own
experience. Indeed, one may say that if only
good recipes and valuable instructions as to the
practice of the art were needed to make a com-
petent china painter, sufficient teaching would
be found within this small volume.

MILLER-CARR (J.). —Architectural
ceramics. Lecture delivered at
Birmingham on March 1st, 1906.
Doulton terra-cotta. London,
1907. Sq. 8°, pp. 19 ; 2 col. pis.
and text illustrs.

MILLET (F. D.).— Some American tiles.
Boston, 1882. 8°. (Reprint
from the Century Magazine.}

MILLIET (Et.)«— Notice sur les faiences
artistiques de Meillonas (Ain).
Bourg, F. Martin, 1876. 8°,
pp. 16.

- 2nd ed. Paris, Detaille, 1877.
8°, pp. 30 ; with 5 photos.

A very modest industrial establishment was
the faience manufactory of Meillonas, conducted
by the " Seigneur " of the locality — Hugues de
Marron — in the basement of his own chateau.
A man of business, as it would appear, but
richer in schemes than in cash, the Baron had
in vain tried to retrieve his fallen fortunes by
opening stone quarries and digging for coals in
and around his demesne ; when at last, towards
1760, he hit upon the plan of starting the manu-
facture of decorated faience. There was abund-
ance of good potters' clay in the place, where the
making of coarse pottery had been for centuries
the staple industry of the villagers. He engaged
the whole staff of a faience manufactory which
had just come to grief in the neighbouring pro-
vince, and having obtained a small subsidy and
other privileges from the Sindics of Bourg, he
began in good earnest. The Baroness, his wife,
did not think it derogatory to her rank to under-
take the artistic direction of the works ; the
best pieces of Meillonas faience, some of them
are still in the possession of the family, were
painted by her hand. And so the manufacture
went on for years, the work consisting chiefly
in imitations of Moustiers and Marseilles. In
1794 Hugues de Marron was arrested as a sus-
pected aristocrat by order of the revolutionary
tribunal, sentenced to death, and executed at
Lyons. With him the faience manufactory came
to an end.

MIL]

CERAMIC LITERATURE.

[MIL

MILLIET (P.).— Etudes sur les pre-
mieres periodes de la cera-
mique grecque. Paris, Giraudon,
1891. 8°, pp. 169. 3 fcs.

" Studies on the earliest periods of
Greek ceramics."

A dissertation delivered at the Archaeological
School of the Louvre. It is a learned
development of the following proposition : —
" The various technical processes employed
for the decoration of Greek vases have
not been introduced simultaneously, but
tradition has preserved the use of all of them
for a long time after their invention. Con-
sidered from the chronological standpoint, vari-
ous processes may be said to have been coex-
istent rather than successive." Although this
is intended as a direct attack against the now
prevalent system of classifying Greek vases by
their modes of manufacture and style of decora-
tion, the author has done no more than to
point out the existence of certain exceptions,
easily distinguishable, which do not invalidate
the value of a system difficult to replace by a
better one. It is good that we should know of
these exceptions ; nevertheless, the modification
brought about in the style of painting will always
remain our best guide towards the history of
the art.

- Vases peints du cabinet des
medailles et antiques, Biblio-
theque Nationale, photographies
par A. Giraudon. Paris, Gir-
audon, 1890. 3 vols. Fol., of
150 pis. 230 fcs.

" Painted vases in the cabinet of medals
and antiquities of the National Library."

- Vases antiques des collections
de la ville de Geneve, publics par
la section des Beaux Arts de
FInstitut national genevois.
Paris, Giraudon, 1892. Fol., of
55 pis. 85 fcs.

" Antique vases from the collection in
the town of Geneva."

A selection from the vases belonging to the
Archaeological Museum ; the Ariana ; and the
Fol Museum.

- Un lecythe en forme de gland
au Musee du Louvre. S.d. 4°,
pp. 15 ; with 1 vign.

" A lekythos in acorn shape in the
Louvre Museum."

MILLIN (A. B.) et DUBOIS MAISONNEUYE.
Peintures de vases antiques,

vulgairement appeles etrus-
ques, tirees des differentes
collections et gravees par A.
Clener ; accompagniees d'ex-
plications par Aubin Louis Milin,
membre de FInstitut et de la
Legion d'honneur ; publiees par
Mr. Dubois Maisonneuve. Paris,
P. Didot, 1808-1810. Fol. T. 1,
pp. xx-124 ; with 72 pis. T. 2,
pp. 146 ; with 78 pis. and text
illustrs. 80 fcs. A few copies
coloured by hand were pub-
lished at 1,125 fcs.

" Antique vase paintings, commonly
called Etruscan, from various collections,
engraved by A. Clener, etc."

Like all other engravers of Greek vase paint-
ings of his time, Clener, a pupil of Tischbein,
worked under the misapprehension that all
apparent incorrectness in the original was to
be amended in the reproduction. Consequently
his oulines were voluntarily inaccurate, and
the literal style of the vase painter was trans-
lated into the formal and conventional manner
adopted by the Empire School. In the explana-
tory notices which form the introduction to
the work, Millin has displayed consummate
erudition. His knowledge of antiquity always
supplies him with a mythological allegory,
through which a puzzling subject may find an
elucidation. The larger part of his abstruse
speculations have had, later on, to be consigned
to dreamland, whence they came. Nevertheless,
if we make allowance for the prevailing taste and
the partiality for metaphysical considerations,
to which he so willingly sacrificed commonsense,
we find in his discantations enough solid in-
struction and enlightening matter to make these
magnificent volumes one of the greatest monu-
ments erected to the glory of Greek ceramic art.

The name of Dubois Maisonneuve, who pub-
lished the work, appears sometimes in the cata-
logues as that of a joint author. As a matter
of fact Dubois Maisonneuve did not participate
in its preparation, but he brought out, subse-
quently, under his own name, another folio
volume on Greek vase paintings, which should
not be confounded with the present one.

MILLIN (A. L). — Description d'un
vase trouve a Tarente. Paris,
Wasermann, 1814. 8°, pp. 16;
with 1 pi.

"Description of a vase discovered at
Tarente."

The Greek inscription inscribed on the vase
indicates that it was intended to contain the
drogue known as Lykion of Jason. Millin took
it as meaning that the pot belonged to a public
school called the Jason Lyceum. Tochon

291

MIL]

CERAMIC LITERATURE.

[MIL

d'Anncey has restituted the true sense of the
inscription in his paper Dissertation sur I'in-
scription grdcque (Licium de Jason). Paris, 1816.
4°, with 3 col. pis.

MILLIN (A. L). — Description des torn-
beaux de Canosa, ainsi que des
bas-reliefs, des armures et des
vases peints qui y ont ete de-
couverts en 1813. Paris, Vavas-
seur, 1816. Fol., pp. 45 ; with
15 pis. 20 fcs.

" A description of the tombs of Canosa,
also of the bas-reliefs, armours, and
painted vases discovered therein."

Antique vases occupy a more important place
in this work than can be anticipated by the
wording of the title ; thirteen of the plates,
mostly double size, represent very important
subjects of vase paintings.

— Description d'un vase peint
representant le combat des Grecs
et des Amazones en presence des
Dieux protecteurs. S.d. 8°, pp
16 ; with 3 pis.

" Description of a painted vase repre-
senting the battle of the Greeks against
the Amazons in the presence of the
protecting Gods."

— Dictionnaire des Beaux- Arts.
Pam,Desray, 1806. 3vols. 8°.

Short articles on faience, porcelain, vases,
etc.

Raccolta di vasi grechi-et-
ruschi. Venezia, A. Sanquirico.
S.d. (1833 ?). 19 pis.

" Collection of Greco-Etruscan vases."

Odd plates of vases, mostly inedited, and
without Nos. This collection is not, to my
knowledge, mentioned by any writer. There is
no letterpress, and the title does not bear the
name of the author. It was attributed to
Millin by the former owner of my copy.

— Description de trois peintures
inedites de vases grecs du Musee
de Portici. S.I., n.d. 4°; with
3 pis. 35 fcs.

" Description of three inedited paint-
ings of Greek vases in the Portici
Museum."

Three vases with paintings of obscure inter-
pretation.

292

MILLINGEN (J. Y.). --Peintures an-
tiques et inedites de vases grecs,
tirees de di verses collections,
avec des explications by James
V. Millingen. Rome, De Rom-
anis, 1813. Fol., pp. xiii-84 ;
with 63 pis. 40 fcs.

" Paintings of antique and unpublished
Greek vases from various collections."

- Peintures antiques de vases
grecs de la collection de Sir
John Coghill, Bart., et de di-
verses collections, avec des ex-
plications. Rome, 1817. 2vols.
Fol.; with 120 pis. 120 fcs.

" Paintings of antique Greek vases from
the collection of Sir John Coghill, and
various other collections, with explana-
tions."

The plates engraved for the above volumes
are considered as heavy, but tolerably correct
reproductions of the originals ; they appear to
follow the lines of a tracing taken from the vase
itself. A new departure from the established
method of dealing with the subjects of the
paintings is to be noticed in the explanatory
text. Unlike his predecessors Millingen de-
scribes the picture as he sees it. Far from con-
sidering a subject as a recondite allegory re-
quiring a mystical elucidation, if the scene admits
of a very simple explanation he details it, and
passes no further comments upon its signifi-
cation. Born in London in 1774, Millingen
spent the greater part of his life in France and
in Italy.

- Ancient inedited monuments.
Series I. Painted Greek vases
from collections in various coun-
tries, principally in Great Brit-
ain. London, 1822. Sm. fol.,
pp. 105 ; with 40 col. pis. Series
II. Statues, busts, bas-reliefs,
etc. London, 1826. Pp. 39 ;
with 20 pis. £1, 10s.

MILLONE (L. de).— Petit guide illus-
tre du Musee Guimet. 3e recen-
scion. Paris, Leroux, 1897. 12°,
pp. 295 ; with text illustrs.

" Illustrated handbook of the Guimet
Museum."

An important collection of Oriental pottery
and porcelain occupies two of the galleries of
the Guimet Museum. The Japanese portion,
for the arrangement of which the information

MIL]

CERA MIC LITER A TURE.

[MIN

given in Oueda's book La ceramique Japonais
has been put to goodjprofit, may serve as
guide for the formation and classification of &
collections of Japanese ware.

MILLY (N., Cte. de).— L'art de la por
celaine. Paris, 1771. Sm. fol.
pp. xxxii-60 ; with a frontis
piece and 8 pis. engraved b;y
Ransonette. 15 fcs. A Ger-
man translation was publ. ai
Brandenburg, 1774.

" The art of porcelain making."

Nicholas Christiern de Thy, Comte de Milly
being a resident at the Court of a German prince
who glorified in the possession of a porcelain
manufactory, conceived the notion of mastering
through frequent visits to the factory, sufficiem
information to write a practical treatise on por-
celain-making. He had, no doubt, to proceed
with excessive caution in the course of his in-
vestigation ; had his intention been suspected,
the gates of the establishment would certainly
have been closed against him. We know what
precautions were taken at the time to prevent
outsiders prying into the secrets of manufacture,
yet no detail seems to have escaped his obser-
vation. In France the composition of the body
of hard porcelain was no longer a mystery ; De
Montigny, Macker, Guettard, and others had
already experimented with success on the French
kaolins, but the production was still left in its
experimental state. The whole process of manu-
facture, as carried on in Germany in all the
ramifications of the Dresden works, was suddenly
vulgarised by the publication of De Milly's L'art
de la porcelaine. It is easy to recognise that all
the drawings, subsequently engraved in France,
were executed abroad. The shapes of the ovens,
the peculiarity of the trade appliances, betray
their German origin. We cannot mistake the
style of the rococo ornamentation of the wains-
coted state-room in which we see the painters at
work ; it is one of the apartments of the royal
" Schloss " that the anonymous prince had de-
voted to the establishment of his porcelain
manufactory. Although De Milly had prudently
concealed the name of the place where he had
learned the secrets of the trade, it has since
transpired that it was the Ludwigsburg factory.
The treatise, which was at first read from the
MS. at a meeting of the Royal Academy of
France, was printed a few years after to make
part of the great Encyclopedia of Diderot et
D'Alembert. Its appearance was followed by
the publication of a number of ill-disguised imi-
tations, when they were not mere translations in
a foreign language, all claiming to be original
works on the subject.

MINARD (L.).— Recueil descriptif des
antiquites et curiosites du xiiie
au xixe siecle formant la collec-
tion de Louis Minard van Hoore-
beke, architect a Gand. Gand,
1866. Sm. fol., pp. 377 ; with

42 pis. engr. by Ch. Onghena.
40 fcs.

"Description of the antiquities and

curiosities, from the thirteenth to the

nineteenth century, composing the col-
lection of L. Minard."

Formed, at the best moment of the collecting
rage, by a fervent archaeologist of the old school
this collection illustrates, with examples of the
highest order, the development of the artistic
handicrafts in Flanders and the Low countries
from the mediaeval ages. The section on ceramics
comprises about one thousand specimens, ancient
stoneware being particularly well represented.
This catalogue is unfortunately deficient in
historical information. Each piece is minutely
and accurately described, but no trouble seems
to have been taken to ascertain the particulars
as to the place of origin, the period of manu-
facture, the name of the maker, nor is any
suggestion ventured upon any of these points.
The plates, due to the same artist that illus-
trated the Huyvetter Catalogue, are engraved
on too diminutive a scale to be of any use,
except as memoranda.

A most whimsical idea on the part of the
collector has been to prefix to each section a
short explanatory notice, printed in Gothic
letters, so artfully disposed that the mass of the
printed matter stands out upon the white paper
as the dark silhouette or shadow of one of the
typical objects belonging to that section.

MINARD (Collection L.).— Catalogue of
sale. Gand, 1883. 8°, pp. 243 ;
with 30 photos, and 8 diagrams.
15 fcs.

The sale took place after the death of the
collector, under the direction of Mr. H. van
Duyse, who prepared an excellent catalogue for
the occasion. From the amount of valuable
information compressed in this catalogue, we
may judge of the advance of knowledge that
had taken place in a few years, particularly
with respect to ancient stoneware, one of the
interesting features of the collection. The speci-
mens are no longer grouped according to shapes
and colours, as hitherto ; but an arrangement
by the various localities of origin, periods of
manufacture, and styles of decoration has been
adopted. Good photographic reproductions
might have allowed us to appreciate the re-
markable pieces so badly engraved by Onghena
in the private catalogue, but so many objects
are crowded upon the same plate that the
details of each are practically undistinguishable.

MERYINI (G.). - - Descrizione di
alcuni vasi fittili antichi della
collezione Jatta. Parte prima :
Divinita. Napoli, 1846. 8°, pp.
163.

" Description of a few fictile vases of
the Jatta Collection. Part i. : Divinity."
(No more published.)

293

MIN]

CERA MIC LITER A TURE.

MINERYINI (G.).— Illustrazione di un
vaso ruvese del real Museo
Borbonico. Napoli, stamp.
Reale, 1851. 4°, pp. 27; with
Ipl.

" Description of a vase from Ruvo in
the Naples Museum."

Illustrazione di un vaso Vol-

gente rappresentante Ercole
presso la famiglia di Eurito.
Napoli, 1851. 4°, pp. 17 ; with
Ipl.

- II mito di Ercole che succhia
il latte di Giunone. Napoli,
1854.

" The myth of Hercules sucking the
milk of Juno."

- Memorie accademiche. Nap-
oli, 1862. 4°, pp. 117 ; with 9
pis.

" Academic memoirs."

Containing notes upon the vase of Perseus
and Pentea; Perseus and Andromeda upon a
vase from Canosa, etc.

- Terre cotte del Museo Cam-
pano publicate ed illustrate da
G. M. Napoli, 1880-86. Fol.;
with 33 lith. pis.

" Terra-cottasof theCampano Museum."

The museum was opened to the public in 1874.
It occupies the ancient palace of S. Cipriano, at
Capua, and contains several thousand specimens
of terra-cottas all found in the excavations
conducted in the neighbourhood of the town.
This work, which was intended to be the illus-
trated catalogue of the collection, has remained
uncompleted. It was to have been divided into
three parts : — I. Terra-cottas of rough work-
manship and primitive style. II. Greek work
of the archaic period. III. Terra-cottas of the
highest style of art and of more recent periods.

MINNS (G. W. W.).— Acoustic pottery.
Norwich, 1872. 8°, pp. 9 ; with
1 pi. and text illustrs. (Reprint
from the Trans, of the Norfolk
Archaeological Society, vol. vii.)

Earthen jars had often been found embedded
in the masonry of mediaeval churches of various
countries. Many strange conjectures have been
ventured in explanation of their presence. That
they were placed there to increase the sonority
of the building was demonstrated by the papers
written on the subject by the French archseo-

294

logists. On the occasion of the discovery of
many acoustic pots, made at Norwich in the
course of the work of restoration carried on in
two of the churches of the town, Mr. Minns
compiled this excellent summary, not only of the
groundless theories that were at first circulated,
but of the conclusive evidences that were later
on produced by the members of the antiquarian
societies, in support of the assertion that it
was a constant practice in olden times to build
up terra-cotta jars into the walls of theatres
and churches simply for acoustic purposes.

MINTON (H.).— Catalogue of encaustic
tiles manufactured by Minton,
Hollins, and Wright, of Stoke-
on-Trent. 4° (1844). Contains
117 patterns of inlaid tiles with
5 double plates showing the
schemes of complete pavements.

Mr. Herbert Minton, son of Thomas Minton,
the founder of the firm, is justly considered as
the creator of the modern industry of tile-
making. Foreseeing the importance that orna-
mental earthenware tiles were bound to assume
in the decoration of public and private buildings,
he carried out a protracted series of experiments,
with a view of settling the best process of manu-
facture. His first trials were directed towards
the reproduction of the examples left by the
mediaeval tile-maker. As early as 1828 he had
succeeded in producing two complete pavements
for the restoration of Gothic churches. But so
uncertain and costly had been his method of
production that the result was far from satis-
factory so far as remuneration was concerned.
His partners did not share his confidence in
the ultimate success of a venture which offered
such difficulties at the outset, but he continued
his experiments in spite of their strong opposi-
tion. With the application and development of
a process invented and patented by S. Wright,
of Shelton, in 1844, which he acquired from the
inventor, affairs took a new face. The manu-
facture was henceforth regularly established, and
tile- making, carried on upon an ever-increasing
scale, began to yield large profits to the firm.
A novel and prosperous branch of English cer-
amics had been created. He lived to see its
wonderful extension, and could proudly boast
that it was chiefly due to the indefatigable energy
he had displayed in its establishment.

This pattern- book has no title page ; it is
printed in red ink upon yellow paper. The
designs are partly copies of mediaeval tiles, and
partly original sketches by Welby Pugin and
other contemporary architects.

MINTONS.— A brief descriptive ac-
count of a visit to the china,
earthenware, and tile works of
Mintons (Limited), Stoke-oii-
Trent. Stoke-on-Trent, 1884.
12°, pp. 21. (For private dis-
tribution.)

CERAMIC LITERATURE!.

[MIN

This sketch, written at the time when the
firm had attained the apex of its worldly fame and
prosperity, describes the various departments of
manufacture, and the varieties of ceramic pro-
ductions which had made of Mintons an estab-
lishment unique in Europe for the wide range of
its specialities, as well as for the technical per-
fection brought into the working of all the
branches of the potter's art, carried on conjointly
in the vast manufactory. The pamphlet will
be of good assistance to the future historian of
" Mintons' Works."

Messrs. Minton have brought out sundry
illustrated catalogues, among which the follow-
ing may be mentioned : —

Selected patterns of enam-
elled tiles . . . etc., Mintons,
Limited, China Works. 4° (1870
and f.y.)

Flower pots, garden seats,
jugs, etc., in rich coloured glazes,
and new designs for fountains in
majolica, and decorated earthen-
ware for conservatories and pub-
lic buildings. Stoke-on-Trent,

1887. 4°; 13 pis. etched on
copper by W. Wise.

- Breakfast, tea, dinner, and
toilet patterns. Stoke-on-Trent,

1888. 8° ; 27 chromolith. pis.

— The Queen's Jubilee vase.
Presented to Her Majesty by
Mintons, Limited. London, print.
by Bemrose & Sons, 1887. 4°,
pp. 12 ; with 4 collotyp. pis.

A vase of large dimension, with subjects
painted in Pate-sur-Pate, in which the chief
events of the reign of H.M. Queen Victoria were
represented in emblematic figures.

- Saint Louis Exhibition.
on-Trent, 1904. Sq. 8°, pp. 18 ;
with 3 pis.

Mintons' Secessionist ware.
Illustrated catalogue, 1904. 12°,
pp. 28.

- Catalogue of enamelled tiles
for wall decoration. 1906. 4°,
9 col. pis.

- Pate-sur-Pate, by M. L. Solon.
Newcastle, G. F. Bagguley. Fol.,
pp. 13 ; with 10 heliogr. pis.

MINTON, ROLLINS & CO. — Patent tile
works. Stoke-upon-Trent, 1877
and f. y. 4°.

Pattern book of the tiles manufactured by
M. D. Hollins, formerly a partner in the Minton
firm. On dissolving partnership with M. C. M.
Campbell, Mr. Hollins took, as his share, the
manufacture of the patented encaustic tiles,
which he removed into an extensive manufactory
built by him, also at Stoke-upon-Trent. The
original firm was henceforth debarred from pro-
ducing the inlaid tiles, called encaustic, but con-
tinued to manufacture those decorated with
painting and enamelling.

MINUTOLI (A. von). - - Vorbilder fur
Handwerker und Fabricanten
aus der Sammlung des Minuto-
lischen Instituts fur Veredlung
der Gewerbe und beforderung
der Kiinst in Liegnitz. Liegnitz,
1854-63. 6vols. Fol. A 2nd
ed. in 8 vols., fol., was issued
in 1868. It contains 800 photos,
representing about 5,000 sub-
jects. There is no letterpress ;
the title page is illuminated by
hand. Issued privately in a
very limited number of copies.

" Models for the use of artists and
manufacturers selected from the collection
of the Minutoli Institute, for the improve-
ment of industry and the advancement
of art in Liegnitz."

An attempt at classifying the plates according
to subject has been made in the last edition,
in which ceramics form Parts i.-ii. It offers a
particular interest for the study of German
pottery, stoneware, and porcelain, represented
by a large number of specimens. The South
Kensington Museum possesses an incomplete
copy ; the photos, seem to be rapidly fading
away.

MINUTOLI (Collection A. von). --Cata-
logue of sale. Berlin, 1872. 8°,
pp. 318.

This catalogue, originally prepared for the
guidance of the visitors at the Minutoli Institute
at Liegnitz, was used for that of the sale con-
ducted by Heberle at Cologne, Oct., 1875.
Ceramic section, Nos. 187-804. It was on that
occasion accompanied with an album of 100
phototyp. pis. reproducing the most interesting
objects included in the various sections.

MINUTOLI (Collection H. von). --Cata-
logue of sale. Leipzig, 1858. 4°.
Oriental porcelain, pp. 53-79 ;
with 4 lith. pis.

295

MIR]

CERAMIC LITERATURE.

[MON

MIRONOFF (A.).— Representations of
after-life in Greek vase paintings.
Moscou, 1895. (In Russian.)

MOELLER.— DieVerlegungderKonigl.
Berliner Porzellan-Manufactur.
Mit Situationsplan, den Planen
der Siplammerei-Gebaude, der
Dreherei u. Formereigebliude,
der Ofengebaude, der Gas-Ofen,
der Gebaude fiir die Maschinen,
Kapseldreherei, Gas und Schlei-
ferei. Berlin, 1873. Fol., pp.
36 ; with 6 engr. pis. (Extr.
from the Zeilschrift fur Bau-
wesen, xxiii year.) 10 m.

" Architectural survey of the royal
porcelain manufacture of Berlin. Plan,
section, and elevation of the buildings for
workshops, kilns, ovens, sagger-making,
griding machinery, etc."

MOLIN (A. de). — Histoire documen-
taire de la manufacture de por-
celaine de Nyon, 1781-1813.
Lausanne, Bridel, 1904. 4°, pp.
113; with 10 col. pis. and 38
illustrs. 20 fcs.

" Documentary history of the Nyon
porcelain factory."

Having finally disposed of the current story
that there had been two porcelain factories at
work at Nyon, the first one having been started
by a group of Sevres workmen, the author enters
at once into the heart of his subject.

In 1781 one Jacob Dortu, of Berlin, obtained
from the municipal council the permission to
establish a porcelain manufactory in the town of
Nyon. He worked, at first, in association with
Ferdinand Miiller, but five years afterwards
separated from his partner. An attempt was
made at that moment to transfer the works to
Geneva. This attempt having been unsuccess-
ful, Dortu reassumed the management, in part-
nership with Zinkernagel. They added to the
business the manufacture of earthenware after
the English fashion, but the business continued
to be far from prosperous. A statement of
accounts, drawn up in 1790, shows a deficit of
16,920 francs. The factory had never been able
to sell more than one-half of the production.
Finally, the affairs were wound up in 1813. Mr.
Michaud is now the proprietor of the works,
where he makes domestic earthenware.

Numerous and excellent reproductions in
colour make this exhaustive monograph a most
elegant volume.

MOLINARI (F.).— Laterizi, Gesso, Poz-
zolane, etc. Milano, Dumolard,

296

1887. 8°, pp. 334; with 87

illustrs. 4 fcs.

" Brick and tile, plaster, cements, etc."
Part I. Brick and Tile Manufacture, pp. 108.

MOLINIER (E.).— Les majoliques itali-
ennes en Italic. Paris, Picard,
1883. 8°, pp. 117 ; marks and
illustrs. 5 fcs.

" The Italian majolicas in Italy."

Notes taken, during a tour through Italy,
upon the local collections of majolica, with re-
marks upon the earliest specimens that they
contain.

La ceramique italienne au
xve siecle. Paris, Leroux, 1888.
12°, pp. 88 ; with text illustrs.
2 fcs.

" Italian ceramics of the fifteenth
century."

Descriptive of the few examples of Italian
majolica, and particularly of the tile pavements
which can safely be attributed to the earliest
period of manufacture.

— Catalogue de F Exposition
nationale de la Ceramique et de
tous les arts du feu. Paris,
1897. 8°, pp. 38; with text
illustrs.

This exhibition, to which all the French manu-
facturers had been asked to contribute, was held
at the Champs-de-Mars in 1897. The catalogue
contains a historical introduction by E. Molinier.

- Les Delia Robbias. See Cav-

alluci.

MOLINS (E. de).— Catalogo del museo
provincial de antiquitades de
Barcelona. Barcelona, 1888.
8° ; with text illustrs. 4 fcs.

Ceramics are represented in the Barcelona
Museum by Roman pottery, pp. 62-78 ; faience,
pp. 281-283.

MONACHESI (Mrs. N. di R.)-— A manual
for china painters. Being a
practical and comprehensive
treatise on the art of painting
china and glass with mineral
colours. Boston, Lee & Shepard
1897. 12°, pp. xii-286 ; with 5
pis. of painting colours and il-
lustrs. in the text. 4s.

MON]

CERAMIC LITERATURE.

[MON

MONACO (D.) and ROLFE (E. N.). --A
complete handbook to the Na-
ples Museum. London, 1886. 8°.

Painted vases, pp. 177, et seq.

MONCEAU (H.)- - - Les carreaux de

Bourgogne. (In the Revue des

Arts decoratifs, 1881.) 4°, pp. 14 ;

with 2 col. pis. and text illustrs.

" The tiles of Burgundy."

Several tile pavements belonging to that pro-
vince, and dating from the thirteenth to the
sixteenth century, are described in this short,
but most interesting paper. Some of these
pavements are mentioned in it for the first
time ; those discovered at Beaune, the remains
of which are preserved in the Hospital, may rank
among the best examples of the kind. The tiles
were made by order of Chancellor Rolin, of Dijon,
in 1447. Contemporary documents have handed
down to us the conditions under which the work
was executed. They tell us that coloured
sketches were at first submitted to the Chancellor
for his approval, after which the approved de-
signs were placed in the hands of Jehannin
Fouqueret, a figure carver of the town, who
undertook to cut the wooden forms required for
moulding and stamping the ornamental tiles.
A potter of Aubigny, named Denisot Jeot, was
entrusted with the manufacture of the tiles.
He agreed to make fifty thousand of them, for
which he was to receive two francs per thousand,
and four hundred pound weight of lead to be
employed in the glazing. Two important points
may be elicited from the tenour of these docu-
ments. First, that division of labour is not
such a modern institution as we are prone to
believe ; next, that the potter, in this case at
least, was no more than a subordinate operative,
who had no hand in the production of the de-
signs and of the moulds, and whose share in
the completion of the work was restricted to the
purely technical part of the manufacture.

Les carrelages histories du

Moyen-A^e et de la Renaissance,
Paris, Rouam, 1887. 2 parts.
16°, pp. 148 ; with 70 illustrs.
drawn by A. Guillon. 1 fc. 50 c.

A brief historical survey of the art of tile-
making in various countries. A handbook in-
tended for the use of students in the French
schools of art.

MONESTROL (F., Marquis de).— Exposi-
tion des Arts industriels. Des
causes de la splendeur et de la
decadence des arts ceramiques.
Paris, 1863. 8°, pp. 8.

" Exhibition of industrial arts. On the
causes of the prosperity and decline of the
ceramic arts."

— Le potier de Rungis, poeme
en 26 chants. Paris, 1864. 8°,
pp. 52.

The poetical lucubration of an eccentric spirit
whose cherished ambition was to be taken for
a modern Palissy. He was particularly proud
of having had to suffer, like his model, the
painful ordeal of a necessitous existence, aggra-
vated by the constant failure of his technical
experiments. Despising every advice, and re-
fusing all assistance, he made bold attempts to
discover anew the secrets of the potter's art.
Abortive trials, unshapely earthenware pots,
almost grotesque in their imperfection, were all
that he could ever produce. His pride found
self-consolation in the writing of a biographical
poem in which the lofty aspirations of his genius
and the struggles he had to sustain against in-
exorable fate always defeating his best-matured
plans are pompously related. We scarcely need
say that the poem is of much the same order as
the pottery. Rungis, where he had established
his kiln, is a small village in the neighbourhood
of Orleans.

- Compte rendu par le potier
de Rungis sur la ceramique.
Paris, 1865. 8°, pp. 23.

" Report on ceramics by the Rungis
potter. Exhibition of Industrial Art,
1865."

MONGEZ (A.)- — Memoire sur les vases
Murrhins. Paris, 1804. (In the
Memoir es de Vlnstitut national
des Sciences et des Arts.)
" Memoir on the Murrhine vases."

MONK and NEWELL.— The Ruabon terra-
cotta, brick, and tile works. S.I.,
1887. Fol. ; 26 pis. Pattern
book.

MONKHOUSE (W. C.)- — Vallauris
its allies. London, 1882.
(In the Magazine of Art.}

and

4°,

An article on the artistic faience of Massier
Bros., of Vallauris (Var.)

— M. L. Solon. London, 1890.
4°, pp. 8 ; with text illustrs.
(Reprint from The Magazine of
Art.}

A selection of the porcelain pieces, with decor-
ation in " Pate-sur-Pate," made at Minton's
factory by L. Solon, is described in this paper,
which contains also a few biographical notes
on the artist.

- Burlington Fine Arts Club.
Catalogue of an exhibition of

297

MON]

CERAMIC LITERATURE.

blue and white Oriental porce-
lain. London, 1895. 4°, pp.
xxii-55.

MONKHOUSE(W. C.)— Burlington Fine
Arts Club. Catalogue of col-
oured Chinese porcelain. London,
1896. 4°, pp. xiii-67.

Cosmo Monkhouse has prefixed a historical
introduction to the above catalogues.

- Chinese porcelain. With a
preface and notes by Dr. S. W.
Bushell. London, Cassell & Co.,
1901. 8°, pp. xii-176 ; with 24
col. pis. and 64 illustrs. £1, 10s.

No better compendium of our present know-
ledge of Oriental ceramics could be desired than
this handsome volume, for the writing of which
the best authorities on the matter have been
put under contribution by an experienced con-
noisseur. The illustrations have been taken
chiefly from specimens in the Victoria and Albert
Museum, and the collection of Mr. G. Salting ex-
hibited there. Mr. Cosmo Monkhouse died
shortly before the publication of the book.

MONOT (E.).— L'Exposition Univer-
selle de 1889. Ouvrage histor-
ique, encvclopedique et descrip-
tif. Paris, 1890. Svols. 4°; with
an album of 82 pis. and 1,200
illustrs. 25 fcs.

" The International
1889."

Exhibition of

MONTANARY (G. T.)-— Intorno ad al-
cune maj cliche dipinte che esis-
tono nella collezione del Nobile
Signer Cavaliere Domenico Maz-
za, Pesarese. Lettera. Pesaro,
1836. 8°, pp. 45.

" Notice of some painted majolica in
the collection of Cavaliere Domenico
Mazza, of Pesaro. A letter to L. Ber-
tuccioli."

This remarkable collection, which comprised
over 230 specimens, was still in the hands of
the collector when it was described by Montanary.
The catalogue of its contents is of more interest
than the verbose disquisition which is prefixed
to it. The collection, bequeathed later on to
the hospital of Pesaro, formed the nucleus of
the civic museum, where it is now exhibited.

MONTFERRAND (R. de). — Apergu sur
1'art ceramique italien. Collec-

298

tion de Majolica de Mr. A. Ricard
de Montferrand. Saint Peters-
bourg, 1854. 8°, pp. vii-561 ;
with 3 pis.

" A glance on the Italian ceramic art.
The majolica collection of Mr. A. R. de
Montferrand."

This collection, now dispersed, was originally
formed by the Russian painter Orlowski, who
published his catalogue in 1834. The 592 Nos.
which composed the Montferrand Collection are
insufficiently described.

- Catalogue of sale. London,
Christie's, 1859. 8°, pp. 29;
with 14 pis.

R. de Montferrand was the architect of the
monument erected in St. Petersburg to the
memory of Emperor Alexander. He possessed
also an important collection of antique marbles.

MOORE (B.) and MELLOR <J. W.).— The
absorption and dissolution of
Gases by Silicates. "Spit-out."
Longton, 1908. 8°, pp. 20; with
illustrs. (Reprint from the
Trans, of the English Cer. Soc.)

An inquiry into the causes of an accident
which occurs in the manufacture of pottery,
technically called Spitting.

MOREAU-NELATON (E.).— Camille
Moreau, painter and ceramiste,
1840-1897. Paris, Floury, 1899.
2 vols. Fol. Vol. i., Ceramique,
pp. 12, and 80 heliogr. pis. with
descriptive notices. 200 copies
printed. £4.

This sumptuous publication is the dutiful
tribute paid by the author to the revered memory
of his talented mother. Two distinct parts may
be made of the artistic work of Madame Moreau-
Nelaton's prolific career. Alternately, a pas-
sionate lover of nature, and a staid adept of
decorative art, she passed from the representa-
tion in oil painting of graceful subjects of genre
and realistic landscapes to the decoration of
ceramic objects, treated in a masterly style of pure
ornamentation. Never, to her great credit, did
she allow one style of work to encroach upon
the other ; she avoided placing in ceramic
colours upon a vase or a dish such subjects as
could be better rendered on the canvas. She
never took much part in the actual manufacture ;
the ware, the enamels, and the pigments were
supplied to her by the leading contemporary
fa'ienciers. The faience she has embellished with
her work is consequently often different in the
material, but the whole of it holds together by
dint of a peculiar understanding of decorative

MOR]

CERAMIC LITERATURE.

[MOR

effect which can be recognised as her own. Her
painted faience is well represented in the "Musee
des Arts Decora tifs " at Paris.

MOREL-FATIO (A.).— Comer Barrow.
Macon, 1896. 8°, pp. 9. (Re-
print from the Melanges de phil-
ologie romane.)

An essay on the edible clays of Spain and
Portugal.

MOREY (P.)— Les statuettes dites
de Terre de Lorraine, avec un
expose de la vie et des oeuvres
de leur principaux auteurs :—
Cyffle, Sauvage dit Lemire, Gui-
bal et Clodion. Nancy, impr.
Crepin-Leblond, 1871. 8°, pp.
46.

" The statuettes known as ' Terre de
Lorraine,' with a notice of the lives and
work of their makers, etc."

Cyffle, a talented sculptor, born at Bruges in
1724, obtained in 1769 a royal privilege for the
manufacture of groups and figures with a certain
mixture of clays closely resembling porcelain,
of which he had invented the composition. In
the factory he established at Luneville he ex-
ecuted in this material, which he called " Terre
de Lorraine," the numerous figures, groups, and
vases he had himself modelled for the purpose.
The writer of this notice warns us, however,
that all the examples of these figures do not
come from the small establishment he managed
for a few years only. They were, later on,
reproduced in the manufactories of Bellevue,
Saint Clement, and Nidervillers. The same
observation applies to the models of Lemire and
other contemporary sculptors, which were also
simultaneously executed in several places. One
of the most successful manufacturers in the
province was Nicholas Lelong, of Nancy, for
whom Clodion modelled a great number of his
celebrated terra-cottas.

An appendix to this paper gives a reprint oi
the price lists of the figures sold at Nidervillers,
Bellevue, and Saint Clement.

MORGAN (J. de). — Recherches sur les
origines de 1'Egypte. L'age de
la pierre et les metaux. Paris,
E. Leroux, 1896. 8°, Cera-
mics, pp. 151-165 ; with 11
chromolith. pis., reproducing a
great number of earthen vessels,
and text illustrs. 15 fcs.

All the examples given by Mr. De Morgan,
general director of Egyptian antiquities at Cairo,
have been discovered in tombs belonging either to
prehistoric times, or to the first three dynasties.
They may be divided into two classes, viz. : —

The red pottery, plain or decorated with linear
patterns ; and the yellow pottery, painted in
red, sometimes with representations of human
figures and animals. The dish reproduced on
pi. 11 is of very different character. Tt is made
of black clay, and the design it bears is an
intaglio filled in with white. This design offers
a curious likeness to those painted on the
ancient Mexican pottery. Many of the speci-
mens of red pottery have received a fine polish,
and there is little in the making of these fine
vessels that denotes an early state of manu-
facture.

Fouilles a Dahchour en 1894-

95. Avec la collaboration de
Mr. G. Legrain et Mr. G. Jequier.
Vienne, 1903. 4°, pp. viii-118;
with 27 pis. and 157 illustrs.
50 fcs.

" Excavations at Dahchour."

MORGAN (Mrs. Mary J.).— The art col-
lection formed by the late Mrs.
M. J. Morgan to be sold by
auction at the American Art
Galleries. New York, 1886. 4°,
pp. 303 ; with 53 etched and
phototype pis. £4, 4s. An 8°
edit, with prices added was
printed in the same year.

The sale, one of the greatest ever held in
America, realised 1,206,299 dollars ; it was not
more than half the original cost of the collec-
tion. Ceramics were represented as follows : —
Chinese porcelain, Nos. 242-350 ; and Nos. 420-
588 of the catalogue. Choice productions of
the chief European manufactories of modern
times, Nos. 796-948. Porcelain plaques in
frames, Nos. 1,020-1,069. A collection of costly
dessert plates painted expressly for Mrs. Morgan,
Nos. 1,142-1,271.

One could not expect that the modern por-
celain, on which money had been lavished,
would obtain the reckless prices paid for it by
the collector, but in some instances the fall was
even greater than was anticipated. A set of
eighteen dessert plates, which cost Mrs. Morgan
close upon two thousand pounds, fetched only
one quarter of that sum. The " Minton's Pate-
sur-Pate," of which there was a choice selection,
fared a little better, two pairs of vases reaching
£1,040 and £1,600 respectively. The ancient
Chinese porcelain commanded the highest figures.
One single vase, eight inches in height, the
ground of which was of a peculiar reddish colour,
dubbed by some imaginative admirer " crushed
strawberry tint," was knocked down, after a
spirited bidding, for £3,600.

MORGAN (W. de).— Report on the pos-
sibility of a manufacture of
glazed pottery in Egypt. Cairo,

299

MOR]

CERAMIC LITERATURE.

[MOR

National Printing Office, 1894.
8°, pp. 43.

A well-known English potter, Mr. W. de Morgan,
had been asked, during his stay in Cairo, to
enquire into the practicability of establishing
in Egypt the manufacture of pottery and por-
celain after the methods used in Europe. The
report on that subject which he addressed to the
minister of Public Instruction comes to the con-
clusion that, in the absence of suitable raw
materials, it would be impossible to make earth-
enware or porcelain in the country. Such clays
as might be available for potting purposes,
could only be employed for the making of ma-
jolica and delft ware. Even in this last case
he foresees difficulties, especially in the cost of
production, which render any expensive trials
unadvisable.

MORGENTHAU (J. C.).— Ueber den
Zusammenhang der Bilder auf
griechischen Vasen. I. Theil :
Die schwartz - figuren Vasen.
Leipzig, 1886. 8°, pp. 90. 2 m.

" On the relation that the separate
paintings of Greek vases bear to each
other. Part I. : The black-figured vases."

MORIERE. — Essai sur la poterie de
Noron. Caen, Hardel, 1848. 4°,
pp. 22.

- Industrie potiere dans le de-
par tement du Calvados. Caen,
Hardel, 1848. 4°, pp. 13. (Re-
print from the Memoires de
rinstitut des provinces de France. )

" The potting industry in the Calvados
Department."

- Industrie potiere dans le de-
partement du Calvados ; Essai
sur la poterie de Noron. Con-
siderations generates sur la fabri-
cation des poteries. Etat actuel
de la fabrication de la poterie
dite " en Gres " a Noron. Ameli-
orations que Ton pourrait ap-
porter aux precedes suivis a
Noron. Poterie de Gres allant
au feu d'apres le nouveau pro-
cede de Mr. F. Langlois. Im-
portance commerciale de la fab-
rication des poteries de Gres du
Calvados. Caen, Hardel, s.d.
8°, pp. 38 ; with 9 lith. pis. (Re-
300

print from the Annuaire des cinq
departements de Fancienne Nor-
mandie.) 6 fcs.

" The potting industry in the Calvados
Department. General considerations on
the manufacture of pottery. Present
state of the manufacture of stoneware at
Noron. Improvements that could be
introduced in the processes actually in
use. Fireproof stoneware after the new
process of Mr. F. Langlpis. Commercial
importance of the stoneware industry in
the Calvados Department."

As the titles clearly imply, the above papers
are limited in their scope to a statistical survey
of the industry of common pottery in modern
Normandy. The ancient productions of this
particular district are, however, well known to
the ceramic student, and it is most interesting
to find that the earliest methods of manufacture
are still adhered to in some places. One of
them, Pres d'Auge, was celebrated for its figured
and coloured earthenware long before Palissy,
who borrowing the fundamental notions of the
old potters, transformed their rude but effective
style into a refined art. When we read the
description of one of the present pot- works of
Pres d'Auge, we realise that if the ghost of one
of the pot-makers of the fifteenth century were
to revisit the place he would find himself per-
fectly at ease with all the ways in which the
work is conducted. He would see that, as of
yore, after the pieces have been thrown on the
rudimentary wheel or fashioned by hand, they
are glazed, before any baking takes place, by
sieving on the surface the lead ore ground into
fine dust. Fillings of copper and manganese and
yellow ochre are still the only substances with,
which the glaze is coloured. The ovens them-
selves are built up on the ancient principles.
They form a long parallelogram with a fire
mouth at one end ; they have no chimney, but
small openings left in the opposite walls provide
for the issue of the smoke. The vault is con-
structed in the curious way noticed also in the
ruins of the old stoneware ovens of Germany.
Piles of conical pots are bent so as to form
a succession of arcades, the end of which rests
on the top of the side walls ; the whole con-
struction being finally cemented with fireclay.
The ware is not enclosed in saggers, yet it is said
that the firing in such ovens give excellent
results.

MORLEY (H.).— Palissy the Potter.
The life of Bernard Palissy of
Saintes ; his labours and dis-
coveries in art and science, with
an outline of his philosophical
doctrines, and a translation of
illustrative selections from his
works. London, 1852. 2 vols.
8°. 7s. 6d.

MOR]

CERAMIC LITERATURE.

[MOR

— Palissy the Potter. The life
of Bernard Palissy of Saintes.
London, Chapman & Hall, 1855.
1 vol. 8°, pp. 494 ; with 5
woodcuts. 10s. 3rd ed., 1869.

A very conscientious and painstaking bio-
graphy, in which an attempt has been made to
embody and discuss all that had been printed upon
the old French potter and his time ; however, the |
subject was not yet ripe for final recapitulation.
Reliable materials were still wanting; perhaps for
that reason much has been interpolated in the
course of the history, which appears somewhat
inopportune and irrelevant. This was particu-
larly the fact with the first edition, in which
imaginary descriptions and dialogues had been
introduced to impart animation and local colour
to the tale, much to the detriment of its his-
torical worth. They were wisely expunged from
the second edition, yet it would have still further
benefited by more liberal excisions. With the
laudableintention of rendering the account perfect
and comprehensive, every possible opportunity
has been seized to divert it into lengthy digres-
sions. It is taken for granted that the reader
requires elementary instruction upon all sub-
sidiary points. Consequently we are offered a
long rehearsal of French history during the six-
teenth century, and the lives of many celebrated
men of the time, with whom Palissy was never
brought in contact, are, nevertheless, given
at full length. Our attention is constantly dis-
tracted from the main subject. The enamelled
cup shown to Palissy, and which decided his
vocation as a potter, brings in a history of
Italian majolica, and yet from what we know
this cup was probably a piece of Oriental por-
celain. Palissy had travelled much, and had
undoubtedly seen more than one example of
majolica ; an odd example of the same ware
could not have surprised him to that extent.
Besides, he never produced anything which may
be said to resemble majolica. His appointment
as land surveyor of Saintonges, on the occasion
of the re-adjustment of the Gabelles of the
province, gives an excuse for a few pages upon
the levying of the salt taxes in his time, a point
with which the potter had certainly nothing to
do. His joining the Reformed Church renders a
complete review of the progress of the Reforma-
tion in Europe apparently indispensable. Lastly,
many fatiguing repetitions are caused by the
plan which has been followed of considering
severally the various phases of the hero's char-
acter— viz., as a man of the people, a potter,
a religious reformer, a naturalist, and a writer.
Large selections of extracts from his books illus-
trate each of the chapters, but the desultory
order in which quotations are given diminishes
the value of what might have been a serviceable
translation.

The choice of illustrations is not a happy one.
They consist of a fanciful portrait of the potter;
" The wife of Palissy," supposed to be repre-
sented by the figure of " The nurse," which was
not made by him ; the mark B.B., which is
not a Palissy mark, etc.

MORRELL (Mrs. Conyers). — All about

painting on china ; with twelve
descriptive lessons. London,

1883. 8°.

MORREN (P.).— Catalogue of the val-
uable collection of Oriental por-
celain, Frankenthal and Dresden
groups, etc., of the late Mr. Paul
Morren, notaire of Bruxelles.
Catalogue of sale. London, 1879.
8°, pp. 15 ; with 21 photos.

The collection comprised 230 Nos.

MORRIS (Rev. Canon).— A Ducal Tea-
house ; by kind permission of
the Duke of Westminster, K.G.
Drawings by W. Palmer after
originals by H. Stacey Marks,
R.A. Manchester, The Decora-
tive Art Journal Co. , 1 890. Fol. ,
pp. 12 ; with 29 lith. pis. of tiles
painted with birds and flowers,
and 7 double pis. of tiles with
" The seven ages of man." 5s.

English tile manufacturers seldom found a
better opportunity for 'exemplifying the applic-
ability of their art to modern decoration than
in the execution of the scheme conceived by
the Duke of Westminster for the embellishment
of the tea-house he caused to be erected in the
grounds of Eaton Hall about 1870. The whole
surface of the walls was to be covered with
painted tiles of original character. H. Stacey
Marks, an artist who had just come to the
front with works full of humour and true decor-
ative feeling, was entrusted with the care of
designing the cartoons ; these were executed
upon earthenware tiles by the firm of Minton.
A better choice could not have been made ;
artist and manufacturer achieved, through their
joint efforts, a work that will remain one of
the typical productions of English ceramic art
in the nineteenth century. The plates are given
in the actual size of the tiles. We regret that
the series has not been completed ; S. Marks
had added to the subjects of the seven ages of
man, a most humorous frieze representing the
Signs of the Zodiac, which was not reproduced
in the album.

MORRISON (R. B. )•— Brickmakers' Man-
ual, compiled and arranged with
additions by J. A. Keep. India-
napolis, 1890. 8°.

MORSE (Edward S.)-— Shell mounds of
Omori. Tolcio, Japan, 1879.
(In Memoirs of the Science De-

301

MOR]

CERAMIC LITERATURE.

[MOR

partment, University of Tokio,
Japan, vol. i., part i.) 8°, pp.
36 ; with 18 double plates litho-
gr. by a Japanese artist, each
plate is accompanied with an
explanatory notice.

On the shores of the seas, where the pre-
historic tribes had settled permanently or were
wont to repair during the fishing and hunting
season, are found huge heaps of shells inter-
mixed with coarse pottery, and bone and stone
implements, the refuse left by man's long occu-
pation on the spot. The shells of the molluscs,
the staple article of food of the settlers, con-
stitute by far the larger component portion of
these mounds, hence the name they have re-
ceived. If they contain also some vestiges of
man's primitive industry, these cannot be com-
pared with the quantities found in ancient burial
grounds, in which some of the best examples of
the handicrafts of the times have been preserved
to us. The chief feature of the Omori mounds
is the extraordinary quantity of fragments of
pottery found scattered all over the place, and
the scarcity of flint and bone implements. In
this they differ from the shell mounds investi-
gated in America and in Denmark, where the
stone implements greatly predominate over the
remains of pottery. The earthen vessels of
Omori show signs of having been used as cooking
utensils. That some value was attached to them
is evinced by the fact of several examples having
been found carefully mended with rivets. It
might be assumed from this that the nomad
tribes had brought the pottery along with them
from the country where it was made, and had
no means of replacing it when it got broken
during their fishing expeditions. It would be
difficult to account in any other manner for such
care being taken of these apparently worthless
objects. They are all of the most rudimentary
style of manufacture, and the attempt at decor-
ation, consisting of incised traceries and punctu-
ated areas, strangely recalls the ornamental
notions of other primitive nations.

Mr. E. S. Morse, who conducted the excava-
tions, was then professor of Zoology at the
Tokio University.

MORSE (Edward S.).— Old Satsuma.

(In Harper's New Monthly Mag-
azine.} New York, 1888. 8°,
pp. 18 ; with 11 woodcuts of
groups of pottery.

" We do not refer," says the author in the
preamble of his article, " to the highly decor-
ated, crackled ware, which has been sold to our
innocent collectors as Satsuma, and which is
never met with in Japan, save in the shops of
the treaty ports to tempt the foreigner . . .
etc." From the woodcuts illustrating the vari-
ous types of the real Satsuma ware described
by Mr. Morse, the European collector may sur-
mise that he has been, so far, completely deluded
as to what constitutes the true characteristics
of that ware. The perusal of the letterpress is

302

well calculated to increase his confusion, so wide
apart seem to be the various kinds of the pottery
he is asked to consider as true old Satsuma.
Years of sojourn in the country, frequent visits
to the local collections, and long conversation
with native amateurs of repute have enabled
Mr. Morse to master the subject. But the
knowledge and experience acquired by him
under such exceptional circumstances can hardly
be imparted to us within the limits of a maga-
zine article, however cleverly it may have been
written.

- Reviews from the New York
Nation, Boston Transcript, and
New York Studio of the work of
James L. Bowes, Esq., entitled
Japanese Pottery. Salem (Mass.),
1891. 8°, pp. 24.

The accuracy of many statements and attribu-
tions contained in Mr. Bowes' lately published
work was challenged by Mr. Morse in several
critical reviews contributed to American peri-
odicals. He caused, subsequently, the articles
to be reprinted together in pamphlet form. A
carefully prepared defence of the opinions he
had expressed was brought out by Mr. Bowes
under the title A Vindication.

- On the older forms of terra-
cotta roofing tiles. Salem, 1892.
8°, pp. 72; with 85 illustrs.
(Reprint from The Essex Insti-
tute.}

An interesting monograph of an original
character, in which the various forms given to
the roofing tile in all civilised countries are
passed under review. Mr. Morse was then
Director of the Peabody Academy of Sciences.

- Museum of fine arts, Boston.
Catalogue of the Morse collec-
tion of Japanese pottery. Cam-
bridge, Mass., printed at the
Riverside Presse, 1901. 4°, pp.
xiii-384 ; with 68 heliogr. pis.,
40 of which are accompanied by
guide plates in outline drawn by
the author, and 1,514 potters'
marks in the text. £4.

The elements of knowledge indispensable to
all collectors of Japanese ware are compendiously
presented in the introduction of this catalogue.
It represents the well-digested substance of more
than twenty years' studies. A formidable array
of marks and potters' names almost precludes
anyone who is not already familiar with the
infinite varieties of the pottery of Japan to
entertain any hopes of ever mastering the be-
wildering mass of information crowded into the
descriptive list of over five thousand specimens.
When used as a handbook to the collection —

MOR]

CERAMIC LITERATURE

[MUL

that is to say, when a direct examination of
this section of the Boston Museum allows the
student to compare the actual piece with its
description, then alone can the catalogue be
appreciated at its full value. But when we are
left to imagine the particular nature of the paste,
the style of the workmanship, and the colours,
glazes, and decoration of the examples repro-
duced on the plates, whatever may be the
excellence of the reproduction, we realise that
it is next to impossible for us to derive from a
study of these illustrations all the instruction
that can be obtained from the contemplation
of the originals.

MOR-SUNNEGG(E.Y.).— Porzellanschatz
des konigl. bayer. Schloss zu
Ansbach. Ansbach, s.d. (recent).
Fol.; 30 phototyp. pis., with a
historical introduction. 20 m.

" The collection of porcelain in the
Royal Bavarian Palace of Ansbach."
Exclusively composed of German porcelain.

MORTREUIL (A.)-— Anciennes indus-
tries marseillaises. Faiences,
verres, emaux, porcelaines.
Marseilles, Arnaud, 1858. 8°,
pp. 27.

" The ancient industries of Marseilles.
Faiences, glass, enamels, porcelains."

We find in this paper an instance of the state
of the ceramic knowledge towards the middle of
the last century. Several pieces in the collec-
tion of the writer are described as bearing the
mark and name of Olerys, and of other now well
known manufacturers of Moustiers, and yet they
are by him attributed to Rouen and Nevers.
Although a local collector for many years, Mr.
Mortreuil had never heard, evidently, of the best
manufactories of old Provence.

MOSCA (I.)-— Napoli e 1'arte ce-
ramic a del xiii al xx secolo ; la
riforma dei Musei artistici-indus-
triali. Con marche e plante di
antichi fabbriche. Napoli, R.
Ricciardi, 1908. 4°, pp. 217 ;
with 1 pi. of marks. 10 fcs.

" Naples and the ceramic art from the
thirteenth to the twentieth century : the
reform of the museums of industrial
arts, with marks and plans."

One might expect from the title that the book
would contain much information on the pottery
and porcelain of Naples. The larger part of it
is occupied by a general history of the ceramic
art, a monograph of the Sevres factory, and other
irrelevant matter. Many of the marks attri-
buted to Naples are well known to belong to
other places. Most of the foreign names, in-
cidentally quoted, are incorrectly spelt.

MOSES (H.). — A collection of antique
vases, altars, paterae, tripods,
candelabra, sarcophagi, etc.,
from various museums and col-
lections, engraved on 170 plates
by Henry Moses. London, J.
Taylor, 1814. Sm. 4°, pp. vi-61.
(Painted vases, 27 pis.) 15s.
Italian edition. Milano, 1824.

H. Moses, a talented draughtsman and en-
graver, was deeply conversant with Greek and
Roman antiquities, and had made a well-studied
selection of the objects he meant to reproduce.
Although engraved on a very small scale, the
vase paintings are well rendered in his book ;
the design is, however, slightly amended accord-
ing to the notions of the times. H. H. Barber
supplied the historical introduction.

- Vases from the collection of
Sir Henry Englefield, Bart.,
drawn and engraved by H.
Moses. London, Bodwell & Mar-
tin, 1819. Sm. 4°, pp. 63 ; with
39 pis. 10s.

The plates, intended as materials for the de-
signer, are framed in ornamental borders. The
letterpress, printed in English and French, is
particularly free from the mystical speculations
so freely indulged in by the antiquarian writers
of the period.

MOUGIN DE ROQUEFORT (Dr. P.).— Notice
sur quelques poteries sigillees de
Frejus et d'Antibes. Tours,
Bouseraz, 1876. 8°, pp. 19.

" Notice on some sigillated pottery
found at Frejus and Antibes."

MOURIER (J.).— L'art au Caucase. La
poterie et la verrerie. Paris,
1896. 8°, pp. 12 ; text illustrs.

" Caucasian art. Pottery and glass."
Numerous illustrations represent the pre-

historic pottery exhumed from the Caucasian

necropolis.

MOYR-SMITH.— Legendary studies and
other sketches for decorative
figure panels. London, Samp-
son Low, 1882. Fol.; 27 pis. 7s.

Subjects reproduced on Minton's tiles, in
underglaze print.

MULLER (A.)-— De origine pictorum
vasorum quse per hos annos in
Etruriee agris effossa sunt. S.L,
n.d. 4°.

303

MUL]

CERAMIC LITERATURE.

[MUR

" Upon the origin of the painted vases
which, during the last years, have been
discovered in Etruria."

MULLER (E.)- — Drei griechische vas-
enbilder. Zurich, 1887. 4°, pp.
20 ; with 2 col. pis.

" Three paintings upon Greek vases."

- Palissy. Paris, Hachette,
1881. 18°, pp. 36. 15 cents.

A reading book for elementary schools.

MULLER(Emile). — Produitsceramiques
pour constructions et industries.
Paris, impr. Marchandier, v.d.

4°.

Several catalogues of the articles manufac-
tured at the pottery works of Messrs. E. Miiller
& Cie., at Ivry-Port, near Paris. Bricks and
tiles, chemical utensils, sanitary ware, heating
apparatus, enamelled tiles, majolica for building
decoration, and architectural terra-cotta are
extensively illustrated in these catalogues. The
factory was established in 1854.

- Catalogue de 1' execution en
Ores d'un choix d'ceuvres des
maitres de la sculpture frangaise.
Paris, 1896. 4°, pp. 17 ; with
23 phototyp. pis. 5 fcs.

" Catalogue of a selection of the works
of the masters of French sculpture
executed in stoneware."

Splendid reproductions of statues, bas-reliefs,
and architectural decorations, some of them very
large size, made at the factory of Ivry.

MULLER (S.).— Utrechtsche Plateel-
bakkerijen. Rotterdam, 1877.
8°.

" The faience factories of Utrecht."

- Catalogus van het Museum
van Oudheden. Utrecht, 1878.
8°, pp. xiv-237 ; with 3 pis.

" Catalogue of the museum of anti-
quities at Utrecht."

Interesting collection of old Dutch ware.
Tiles for stoves and chimney pieces, Nos. 431-
613. Early pottery, Nos. 614-660. Jacoba-
Kannetjes, Nos. 661-727 (with two plates).
Stoneware, Nos. 728-786. Ancient figures in
pipe-clay, Nos. 787-962. This latter is a curious
series of religious figures, scarcely represented
elsewhere than in the museums of Holland.

MULLER (Walther). --Die Theseus-
metopen vom Theseion zu Athen

304

in ihrem Verhaltniss zur Vasen-
malerei. Gottingen, L. Hofer,

1888. 8°, pp. 63.

" The metopes of Theseus in the
Theseion at Athens, in their relation to
Greek vase painting."

Eine Terrakotta der Got-
tinger Sammlung. Gottingen,

1889. 8°, pp. 12 ; with 1 photo.

" A terra-cotta in the Gottingen
Museum."

Antefix with a horned head in the centre.

MUNSTERBERG (0. von).— Ostasiatisches
Kunstgewerbe in seinen Bezie-
hungen zu Europa. Bayern und
Asien im xvi-xvii und xviii
Jahrhundert. Leipzig, 1895. 4°,
pp. 30 ; with 2 heliogr. pis. and
28 illustrs. 3 m.

" The industrial art of East India in its
relations with Europe. Bavaria and Asia
in the sixteenth, seventeenth, and eight-
eenth centuries."

Particulars on the Oriental pottery and por-
celain imported into Bavaria through the agency
of the Jesuits of Spain and Portugal and the
trade of France and Holland.

- Japanische Kunst-Geschichte.
Braunschweig, 1907. 4°. Cera-
mics, Part in., pp. Ill ; with
69 illustrs. (some col.). 28 m.

" History of the Japanese art."

MURDOCH SMITH (R.).— List of books,
etc., relating to pottery and por-
celain in the Library of the Edin-
burgh Museum of Science and
Art. Edinburgh, 1893. 8°, pp.
59.

- Persian Art. London, s.d. 8°.
Pottery and porcelain, pp. 6-37 ;
with illustrs.

MURRAY (A.).— Etude sur Bernard
Palissy. Amiens, Delattre-Le-
noel, 1879. 8°, pp. 34. (Re-
print from L' investigates.)

" Essay on Bernard Palissy."

MIJR]

CERAMIC LITERATURE.

[MYE

MURRAY (A. S.)-— Designs from Greek
vases in the British Museum.
London., 1894. Printed by order
of the trustees. Fol., pp. 31 ;
with 15 col. pis., containing 62
subjects. 10s.

As the Greek Kylixes are decorated with
paintings on the inner as well as on the outer
surface, they cannot be exhibited in the museum
cabinets without one side being sacrificed to the
other. To obviate this disadvantage a plan was
lately adopted at the British Museum by which
a reproduction, by photographic processes, of
the subject painted inside is placed above the
piece of which the outward decoration is exposed
to view. The interesting series formed by these
reproductions is brought together in the present
volume.

The paintings belong to the period of red
figure vases. They show, most often, a single
figure drawn in an exaggerated attitude, emi-
nently decorative in its outline, and enclosed
within a circle. Many bear the signature of
the vase painters of the best times, together
with dedicatory inscriptions to the favourite
youth for whom they were intended. A descrip-
tive catalogue, prepared by Mr. Cecil Smith and
prefixed to the plates, gives the description of
each kylix, accompanied with a transcription of
the inscribed names, and supplemented with
remarks upon the characteristic style of each
painter. These notes are calculated to facilitate
the correct attribution of unsigned specimens.

- Terra-cotta sarcophagi, Greek
and Etruscan, in the British
Museum. London, 1898. Fol.,
pp. 25 ; with 11 photograv. pis.,
and 5 illustrs. £1, 8s.

Description of the painted sarcophagi of
Clazomena? and Cameiros, and of the one
adorned with a life size group of figures and
bas-reliefs of terra-cotta found at Caere.

MURRAY (A. S.) and SMITH (A. H.).— White
Athenian vases in the British
Museum. London, 1886. Fol.;
with 27 photo, pis., accompanied
with descriptive notices. Intro-
duction by S. Murray.

An apparatus, specially contrived by Mr. A.
S. Smith, has been used to obtain, upon a flat
surface, the development of the subjects painted
round the vases. Each subject is completed^by
a sketch of the piece drawn on a reduced scale.

MUSSET (G.)- — Les faiienceries rochel-
aises. La Rochelle, chez 1'auteur,
1888. 4°, pp. 204; with 20
chromolith. pis. 25 fcs,

" The faience manufactories of Ro-
chelle."

Much care and talent have been spent by
Mr. George Musset, curator of the Rochelle
Museum, upon a subject scarcely worthy of the
trouble. A host of original documents has been
carefully sifted and clearly condensed ; facts
have been established and arrayed in consecu-
tive order ; finally, the history has been indited
with no mean literary merit. It is, therefore,
all the more unpleasant to have to say that
general knowledge has not much benefited by
the publication of these insignificant local re-
cords. However cleverly prepared has been the
sauce, it could not make palatable a decidedly
very poor fish.

Faience of the commonest description only
was produced in the short-lived factories of
Rochelle, Merans, and Saintes. None but in-
ferior workmen were ever employed there ; cast-
off hands from Nevers, Rouen, and Moustiers.
Each painter had a small stock of cheap patterns,
which he repeated there, just as he had pre-
viously repeated them in other places. No par-
ticular style of decoration could be developed
under such circumstances ; hence in the absence
of marks the identification of Rochelle ware is
practically impossible. For a time it found an
outlet in the export trade with the Colonies ;
in the home market it never attempted to com-
pete with the superior productions of the best
French centres.

A correct notion of the simplicity never de-
parted from by the Rochelle manufacturers may
be gathered from the specimens reproduced in
chromolithography by the author himself.

MUTI PAPAZZURRI (&.)• - - Lettera su
d'una antica terra-cotta trovata
in Pallestrina, Roma, 1794. 4°,
pp. 8.1? 1 pi.

" A letter on an antique terra-cotta
discovered at Pallestrina."

A Greco-Roman tile with embossed figures is
described in this paper. Several replicas of the
same subject have since been found in Italy.

MYERS (J. L.) andOHNEFASCH-RICHTER(M.).
A catalogue of the Cyprus Mu-
seum, with a chronicle of ex-
cavations undertaken since the
British occupation, and intro-
ductory notes on Cypriote arch-
seology. Oxford, The Clarendon
Press, 1899. Pp. xii-224 ; with
8 pis. 7s. 6d.

The collection, consisting chiefly of Cypriote
terra-cotta, was begun at Nicosia in 1874 under
the auspices of the Turkish Government. For
long the specimens were deposited, without much
care or order, in a museum entirely dependent
for its maintenance upon private subscriptions.
When the authors undertook to prepare this
catalogue no inventories of the excavations were

305

NAD]

CERAMIC LITERATURE.

[NAU

in existence ; they had, therefore, to establish
the classification from the style and workman-
ship of the specimens of which they formed
groups arranged in an arbitrary chronological
order. During the past few years the result of
each campaign of excavation was kept together,
so that they could be described under a separate
heading. A most laborious and creditable por-
tion of this catalogue consists in the references
given of all the replicas of the pieces preserved
in the Cyprus Museum to be seen in European
museums, or which have been reproduced in
archaeological works.

NADAILLAC (J. F. de). — L'Amerique
prehistorique. Paris, 1880. 8°.

Prehistoric America. Trans-
lated by N. D'Anvers (Nancy
Bell), and edited by W. H. Dall.
London, 1885. 8°, pp. vii-566 ;
with 219 text illustrs. 18s.

In revising the translation fresh matter has
been introduced by Mr. Dall into the original
text. Chap. iv. deals with the pottery of the
mound builders. Examples of ancient American
pottery of various origin are described and illus-
trated in other chapters.

- La poterie chez les anciens
habitants de 1'Amerique. Paris,
s.d. Pp. 40 ; with 34 illustrs.
(Extr. from the Revue d'Anthro-
pologie.)

" The pottery of the ancient inhabitants
of America."

Les pipes et le tabac. Paris,

1885. 8°; illustrs. (Extr.)
" Smoking pipes and tobacco."

La poterie de la vallee du

Mississippi. Paris, 1887. 8°.

" Pottery from the Mississippi Valley.'

NAGLER (G. K.).— Die Monogrammis-
ten und Kunstler aller Schulen
welche sich zur Bezeichnung
ihrer Werke eines figurlichen
Zeichens, etc., bedient haben.
Mit Berucksichtigung der Ma-
jolicafabriken, Porzellanmanu-
fakturen, u.s.w. Miinchen, 1858
80. 5vols. 8°. 120m.
306

"The monogramists and artists of all
schools who have made use of a figurative
sign to mark their works; with special
remarks on the majolica works and the
porcelain factories."

NAHUYS (I.). — Sphragistisches auf
Stein-Kriigen im Alterthums
Museum zu Wiesbaden, 1877.
8°, pp. 11. (Extr.)

" Sigillated stoneware jugs in the
museum of antiquities at Wiesbaden."

Thirteen inscriptions stamped upon stone-
ware jugs of the sixteenth and seventeenth
centuries are elucidated in this paper. We see
that the true reading of the letters composing
the following inscription: — EGZSAZNOE —
should be Ernst Oraf zu Sayn zu Neumagen. An
example sufficient to show that their interpreta-
tion may offer, in some cases, insuperable diffi-
culties to any one who is not deeply versed in
German sigillography and numismatics.

NAPIER (J.). — Manufacturing arts in
ancient times ; with special re-
ference to Bible history. Paisley,
Gardner, 1879. 8°. 3s.

Pottery, pp. 300-309. The passages in the
Bible in which the potter and his art are alluded
to are quoted in the article.

NAPIER (Collection Robert).— Catalogue

of the majolica or ancient Italian
painted pottery. London, 1859.
8°. Priv. printed.

- Catalogue of the works of art
forming the collection of R.
Napier, Esq., of West Shandon
(Dumbartonshire), by J. C. Rob-
inson. London, 1865. 8°, pp. x-
326. Priv. printed. 3s.

Catalogue of sale. London,

Christie, 1877. 8°.

The pottery and porcelain of Oriental and
European origin comprise nearly 1,000 Nos.

NASSE (1.).— Ueber Porzellanfabri-
kation in theoretischenund prak-
tischen Hinsicht. Leipzig, 1826.
Fol.

" Upon the manufacture of porcelain
from the theoretical and practical points
of view."

NAUMANN (P.). —Die Oefen der
Deutsch-nationalen Kunstgew-

NBA]

CERAMIC LITERATURE.

[NEW

erbe- Ausstellung, Miinchen, 1 888.
Dresden, 1889. Fol.; 25 pis. in
phototype.

" The stoves at the National Exhibition
of Industrial Art in Munich in 1888,
selected and published by Prof. P.
Naumann."

The German potter is seen at his best in the
ornamental majolica and earthenware stoves,
which play such an important part in Germany
in the decoration of every household. A very
remarkable selection is given in the album of
the examples exhibited at Munich by the leading
manufacturers. Whether they be reproductions
of ancient models — Gothic, Renaissance, or
Roccoco — or of original design by modern artists,
they are, in most cases, commendable by their
artistic merit, as well as by the perfection of
their technical execution.

MATIN (Anon.)-— A treatise on the
origin, progressive improvement,
and present state of the manu-
facture of porcelain and glass.
Philadelphia, 1846. 12°, pp.
252 ; illustrs.

Follows the treatise written by Porter for
Lardner's Cyclopaedia.

NERBEL — Musterofen der Ofenfa-
brick von F. Nerbel in Mosbach.
S.d. (recent). Fol.; 36photolith.
pis.

" Pattern book of the faience stove
manufactory of F. N. at Mosbach."

NERI, MERRET, et KONCKEL— Art de la
verrerie, auquel on a ajoute le
Sol sine Veste d'Orschall, etc.
Le Secret des vraies porcelaines
de la Chine et de Saxe, etc.
Traduits de 1'allemand par
Mr. D. Paris, 1752. 4° ; with
16 pis. 20 fcs.

" The art of glass-making ; to which is
added Orschall's Sol sine Veste, the secret
of making the true porcelain of China and
Saxony, etc. Translated from the German
by Mr. D."

At the end of this volume the translator has
placed a small treatise on the manufacture of
true porcelain. Its contents are borrowed from
the letters of Pere D'Entrecolles, and follow the
description the French missionary has given of
the processes employed by the Chinese. As the
writer was evidently unacquainted with the
methods in use in the porcelain manufactories of
hjs own country, and yet was unwilling to ignore

them entirely, he has resorted to the following
expedient. After having stated how they pro-
ceeded in China in each stage of the manufacture,
he adds simply — " The same method has been
adopted in Saxony." A plan by which embar-
rassing explanations are conveniently disposed
of.

NEUBURG (R. P.).— Praktische Unter-
weisung in der Porcellan-Glas
und Wachsmalerie ; nebst einer
getreuen Angabe zur vortheil-
haften Fabrikation des Porcel-
lans, der Fayence, etc. Erfurt
(1845?). 16°.

" Practical instructions for painting on
porcelain, glass, and wax ; also a reliable
description of the manner of manufac-
turing very profitably porcelain, faience,
etc."

NEUMANN (F.).— Die Ziegel Fabri-
kation. Handbuch bei Anlage
und Betrieb der Ziegeleien, zur
Herstellung aller Arten von
Mauer- und Dachziegeln, Hohl-
stein und Drainrohren. Weimar,
1874. 7thed. 8°; with atlas of
20 fol. pis. 6 m.

"The brick and tile manufacture.
Handbook for building and conducting a
tile manufactory, and making all sorts of
wall and roof tiles, sanitary ware, etc."

NEVILLE (R. C.).— Sepulcra exposita,
or an account of the opening of
some barrows, with remarks
upon miscellaneous antiquities
discovered in the neighbourhood
of Audley, Essex. Saffron Wai-
den, 1848. 8°; with 15 pis. 10s.

Saxon obsequies illustrated

by ornaments and weapons, dis-
covered in a cemetery near
Little Wilbraham, Cambridge-
shire, in 1851. London, Murray,
1852. 4°; with 40 col. pis. £2, 2s.

For the numerous papers contributed by R.
C. Neville to the antiquarian periodicals on the
subject of Roman pottery, see Soden Smith's
List of Books, etc.

NEWTON (Sir Ch. T.)-— Guide to the
first vase room in the depart-

307

NEW]

CERAMIC LITERATURE.

[NIC

ment of Greek and Roman anti-
quities. British Museum. Lon-
don, 1866. 2nd ed., 1868. 3rd
ed., 1879. 8°.

NEWTON (Sir Ch. T.)-— A guide to the
Blacas collection of antiquities.
London, 1867. 8°.

- Synopsis of the contents of
the British Museum. Depart-
ment of Greek and Roman anti-
quities. Second vase room.
Parts I. and II. London, 1878.
8°.

The Castellani collection. A

series of twenty photographs by
S. Thompson, selected and de-
scribed by C. T. Newton, M.A.,
keeper of the Greek and Roman
antiquities, British Museum.
London, G. Bell, 1874. Fol.,
pp. 6 ; with 20 pis. 15s.

The reproductions of drinking cups or
Rhytons in the shape of animals ; jugs or Oino-
choe of the archaic period ; figures of comic
actors ; and painted sarcophagi of early Etruscan
terra-cotta form the ceramic portion of the work,
pis. 11-20. The selection is equally remarkable
for the artistic beauty of the specimens as for
their archaeological interest. They were pur-
chased from the Castellani collection by the
British Museum.

NEWTON (Ch. T.) and BIRCH (S.).— Report
on the Campana collection.
London, 1856. 8°.

Catalogue of the Greek and

Etruscan vases in the British
Museum. (See Birch, S.)

NIBBY (Antonio). — Dichiarazione del
dipinto di un antico vaso fittile
vulciente offerto dai Signori
Candelori alia San tit a di nostro
Signore Papa Gregorio XVI.
Roma, 1834. Fol., pp. 10 ; with
Ipl.

" Description of an antique Vulcian
vase presented by Signori Candelori to
H.H. Pope Gregory XVI."

The subject painted on this vase represents
Achilles and Ajax gambling with dice. It is
signed " Execia."

308

NICAISE. — Le cimetiere franco-mero-
vingien de Haucourt. Note sur
une coupe en terre cuite de
1'epoque du bronze. CJialon sur
Marne, 1879. 8°; pis.

" The Franco-Merovingian Cemetery of
Haucourt. Notice of a terra-cotta drink-
ing cup of the bronze age."

- Le cimetiere gallo-romain de
la Fosse Jean Fat ; urnes a
visages, etc. Reims, 1883. 8°,
pp. 20 ; with 4 col. pis. Fol.

" A Gallo-Roman Cemetery at Reims;
urns with human faces, etc."

The urns are reproduced the same size as the
originals. Three holes perforated on the front
of the vessel, after it had been fired, stand for
a rudimentary representation of a human face.

The list of all the archaeological works of the
same author is given in this paper.

NICARD (P.). — Les vases nommes par
les Italiens Laziali ou Preistorici.
Paris, 8°, pp. 8 ; with illustrs.
(Reprint from the Rev. Arch.}

" Vases called Laziali, or Prehistoric,
by the Italians."

NICHOLS (Geo. Ward).— Pottery, how

it is made ; its shape and decor-
ation ; practical instructions for
painting on porcelain and all
kinds of pottery with vitrifiable
and common oil colours ; with a
full bibliography of standard
works upon the ceramic art.
London and New York, 1878. 8°,
pp. 142 ; and 42 text illustrs. 3s.

" It is the object of this book to show," says
the author, " that the manufacture of pottery
may become one of the great industries of the
United States." To foster this end he thinks it
his duty to communicate to his countrymen the
knowledge and experience he has himself ac-
quired on the subject. His own views and his
personal interpretation of the most elementary
principles depart so much from our ordinary
notions that we cannot refrain from transcribing
a few passages from his book. It is in the first
page that we shall make a hasty selection of
examples. " Ceramic comes from the Greek
word 'Keramos,' which signifies potter's clay."
The old word faience is derived from the Latin,
" Fagus," a beech tree. There have been dis-
tricts of the same name in Barcelona and Andal-
usia. Stoneware is a name for earthenware,
but not for pure porcelain. Chinaware has
been employed to designate all kinds of

KIC]

CERAMIC LITERATURE.

ware, but usually porcelain. Pottery is used as
a general term including porcelain. The potter's
clay derives its origin from several felspathic
rocks, etc. And the teaching goes on with the
same degree of accuracy all through the chapters.
We cannot quote any more from the amusing
work, but we must recommend, as a fit conclu-
sion to the ludicrous mistakes with which it
abounds, the list of works placed at the end, and
the fanciful spelling of all the names it mentions.

NICHOLS(JohnGOUgll).— Examples of de-
corative tiles sometimes termed
encaustic, engraved in facsimile
chiefly of the same size as the
originals. London, printed by
J. B. Nichols & Son, 1845. Pp.
19 ; and an intr. notice to each
of the four parts ; with text il-
lustrs. 100 pis. printed in red.
30s.

As early as 1828 Mr. Herbert Minton had
succeeded in reproducing the inlaid tiles of medi-
aeval times ; in 1841 the ancient pavement of
Temple Church, London, was reconstituted with
tiles of his manufacture. This work commanded
such a general admiration that it was easy to
foresee the success in store for the newly created
industry of tile-making. Books of patterns, re-
productions of ancient examples, were sure to
be well received by architects and manufac-
turers, hence the number of publications of that
order brought out almost simultaneously.
Nichols' Examples of Decorative Tiles was
assuredly one of the best of the series. The
author had, however, no cause to believe that
the revival of ornamented pavements was chiefly
due to his influence ; it was a movement for
which many others were equally responsible.
Credit must certainly be given to him for a
selection of designs which had been most care-
fully made ; it included representations of the
remarkable tiles which had just been discovered
in the Chapter House of Westminster Abbey,
the Cathedral of Winchester, and several other
Gothic churches and monasteries. Such a book
containing working designs drawn to the actual
size was bound to be of great use, and it obtained
all the success that had been anticipated. Un-
fortunately, not long after its publication, the
larger part of the issue was destroyed by a fire
which occurred in the publishers' premises. It
has now become very rare. We cannot say that
the eminent firm to which we owe so many
beautiful antiquarian works has bestowed upon
this volume as much care as they were wont to
display on their productions. The letterpress,
as well as the plates, are printed in red ink upon
a lemon-coloured paper of such an inferior
quality that it would scarcely be considered
good enough nowadays to make bags for the
grocery trade.

NICOLAS (Felice).— Ulustrazione di due
vas fittili ed altri monumenti
recentemente trovati in Pesto.

Roma, 1809.
10s.

Fol. ; with 3 pis.

" Description of two fictile vases and
other monuments recently discovered at
Pestum."

NICOLE. — De Femploi des briques
ordinaires dans la construction
des edifices publics et prives.
Paris, s.d. Imp. 4°, pp. vi-25 ;
and 30 col. pis. 12s.

" On the use of common bricks in
the construction of public and private
buildings."

Elementary work for contractors, surveyors,
etc.

NICOLE (G.). — Catalogue des vases
Cypriotes du Musee d'Athenes.
Geneve, Kiindig, 1906. 8°. 3 fcs.

- Catalogue des vases Cypriotes
du Musee de Constantinople.

Geneve, 1906. 8C

3 fcs.

pp. 43.

- Meidias et le style fleuri dans
la ceramique attique. Geneve,
1908. 4°, pp. 155 ; with 15 pis.
and 40 text illustrs. 20 fcs.

" Meidias and the floral style in the
ceramics of Attica." .

A vase of exceptional importance in the
British Museum bears the name of Meidias. This
name does not occur upon any other example.
The author does not attempt to decide whether
Meidias was the maker or the painter of the in-
scribed vase. His endeavour has been to trace
and to group together all the specimens which
a similarity of style and treatment would denote
as coming, if not from the same hand, at least
from the same atelier.

NIEDLING (A.). — Original Entwiirfe
fur kunstgewerbliche Erzeug-
nisse der gesammten Thon-
waaren-Industrie. Wiemar, 1879.
4°, of 25 lith. pis. 5m.

" Original sketches for the ceramic
industry in all its branches."

NIERITZ (G.).— Der Goldkoch, oder
die Erfindung des Porzellans.
Eine Erzahlung fur die Jugend.
Giltersloh, s.d. (recent). 12°, pp.
125.

" Goldmaking, or the discovery of
porcelain : a tale for children."

309

NIE]

CERAMIC LITERATURE.

NIESSEN (C. A.)- — Sammlung romi
scher Alterthiimer. Koln, 1889
2 parts. 4°, pp. 42-22. Romai
potters' marks.

" A collection of Koman antiquities."

NIGHTINGALE (J. E.).— Contributions
towards the history of earl}/
English porcelain from contem
porary sources. To which are
added reprints from Messrs
Christie's sale catalogues from
1769 to 1785. Printed for
private circulation. Salisbury,
1881. 8°, pp. xcii-112. 12s.

It is in the press advertisements and sale cata
logues that the author has looked for scraps o1
information concerning the factories of Chelsea,
Bow, Derby, and Bristol. In the course of his
researches he has chanced to meet with repeated
mention of the China produced at Longton-Hall
by Littler, a Staffordshire potter, the very name
of whom had so far escaped the collector's notice.
The enterprise was of short duration, and the
mark adopted by Littler, two crossed L L,
was not often affixed on the ware. Since the
publication of Nightingale's book, however, a
sufficient number of marked pieces have been
found in the collections for determining the
characteristics of this rare china, and for helping
in the identification of unmarked specimens.
This volume is full of original matter, and of
great importance to the student of English
ceramics.

NINAGAWA NORITANE.— <Kwan-ko-dzu-
setzu. Notice historique et de-
scriptive sur les arts et les indus-
tries Japonais. leie Partie. Arts
ceramiques. Tokio, H. Aherens
& Co., 1876, imprimerie C. Levy
a Yokohama. 7 parts, obi. fol.,
126 pis. col. by hand ; with
Japanese text, and a French
translation to 5 parts. 8°. £7.

" Historical and descriptive notices
of the arts and industries of Japan.
Part i.-ii. : Pottery and porcelain."

A great respect for national antiquities has
always prevailed in Japan ; the worship of
ancestors is one of the fundamental tenets of
the religious creed. In the treasury of the
Todaidji Pagoda are preserved a large quantity
of objects said to have belonged to the earliest
Emperors. Once or twice in the course of a
century the treasure chamber is opened and in-
vestigated by an imperial commission, which
issues a report on the conditions in which the
contents have been found. Mr. N. Noritane,

310

archaeologist and dealer in antiquities, was a
member of the last commission. Part of the
relics he had the opportunity of examining on
that occasion were by him described and illus-
trated in this work. The account opens with a
valuable sketch of the history of the potter's art
in Japan. Official records go back to the year
667 r-.f ., and to the first Emperor who reigned
at that date. The tomb in which he is stipposed
to have been buried was discovered and opened
in 1861 ; in it were found about fifty vases of
rough terra-cotta. Figs. 1-26 reproduce the
most interesting specimens of the finds, which,
after they had been drawn by a local artist, were
reburied in the same place. Another sepulchre
at Yamato, said to be the tomb of Nobe, and
dating from the year 297 of our era, had its
inside walls built up with terra-cotta vases of
exactly the same description. One of them is
reproduced on the last plate.

The next part treats of porcelain, and gives
the history of the manufacture from the earliest
period ; it is illustrated with examples drawn
from the author's own collection.

We regret that it has been thought expedient
to resort, for the illustration of this work, to the
European lithographic processes ; the usual
style of Japanese wood engraving would have
given a much more satisfactory result.

From the hands of N. Noritane the collection
he had so carefully formed passed into the suc-
cessive possession of S. Bing, E. S. Morse, and
is now the property of the Boston Museum.

NOEL DBS VERGERS (A.).— Notice sur
le Musee Napoleon III. Pre-
miere partie. Bijoux et Terres
cuites. Paris, 1862. 8°, pp. 31.

" Notice of the Napoleon III. Museum
(Campana Collection). Parti.: Jewellery
and terra-cottas."

L'Etrurie et les Etrusques ;

ou dix ans de fouilles dans les
Maremmes toscanes. Paris, F.
Didot, 1862-64. 2 vols. 8°;
with an atlas folio of 39 pis.
(some col.). 150 fcs.

" Etruria and the Etruscans : being an
account of ten years' excavations in the
Maremmas of Tuscany."

Much had been written by Italian antiquaries
upon the dark history of ancient Etruria, and
the customs and arts of its people ; but the
prejudices and incorrect views of each writer
have brought more confusion than real assist-
ance in the solution of the still standing problems.
Noel des Vergers resolved to start a fresh course
of investigation resting upon entirely new
grounds, and to extract from the soil of the old
Etrurian cities and necropolis the evidence that
might settle the questions left in suspense. He
found an invaluable assistant in his enterprise in
Alexandre Francois, whose experience in Etrus-
can excavation had been rewarded by a memor-

NOE]

CERAMIC LITERATURE.

[NOR

able success ; during ten years they explored
together the marshy region which extends from
the sea to the foot of the Apennine Mountains,
between the Arno and the Tiber. What they
discovered in the course of their researches,
what they deduced from their discoveries, was
duly entered in the diary of the excavations.
The epitome of their achievements constituted
the first book that was ever published in France
on the subject of Etrurian civilisation. As may
be expected, painted vases were largely repre-
sented in the pottery found in the tombs. The
atlas gives the reproductions of the best speci-
mens. They have been classified as follows : —
Greek style vases, pis. 4-16 ; Etruscan black
pottery, pis. 17-19; painted vases discovered
at Vulci, pis. 31-39.

NOEL (G.)- --Catalogue of sale.
Peintures sur faience grand feu
par Gustave Noel. Paris, 1875.
8°, pp. 21 ; with 1 etched pi.

" Underglaze paintings on faience."

Several catalogues of the faience plaques
painted with landscape, sold by auction for the
artist, were painted in 1877-78-81. They have
introductory notices by various writers, and are
illustrated with etchings.

NOELAS (Dr.)-— Histoire des faien-
ceries Roanno-Lyonnaises.
Roanne, 1883. 8°, pp. 276 ; with
60 lith. pis. by the author.
12 fcs.

" History of the faience manufactories
of Roanne and Lyons."

If sincere conviction on the part of the writer
were sufficient to make us espouse his personal
opinion, this book would have fulfilled its aim,
and make us deplore the unpardonable neglect
of previous historians who have omitted to
mention Roanne as a most important centre of
ceramic manufacture. Documentary records
testify to the existence, at an early time, of some
faience works in the locality. Dr. Noe'las under-
took the task of pointing out the lost represen-
tatives of their productions. The private col-
lections of the district supplied him with ex-
amples which he considered as instructive. All
he saw in these collections had been for centuries
in the possession of ancient families of the pro-
vince, and was for him, on that account, bound
to be of local origin. Hitherto the best speci-
mens preserved in these collections had been
said to be of Italian, Delft, Rouen, or Nevers
manufacture, but he had no hesitation in attri-
buting all of them to the old Roanne potters
working, as he says, under foreign influence.
Labouring under this singular, but, we think,
sincere misapprehension, he went so far as to
ascribe a Roanne origin to the Henri II. ware.
The theory of B. Fillon was still generally
accepted ; Bernard and Cherpentier had made
this ware for Helene of Hangest. He discovered
that the fair countess had once possessed a manor

in the vicinity of the town, and that the names of
Bernard and Cherpentier occurred repeatedly in
the civic registers. Well, a fragment of yel-
lowish earthenware inlaid with black traceries
had been found deeply embedded in the soil, not
far from the site of the manor ; who could refuse
to believe, in the face of such strong presump-
tions, that the ware made at Oiron was also
made at Roanne by the same hands and for the
same patroness ? From such an example of
strict argumentation one may judge of the value
of the rest.

The amateurish etching pen of the writer
gives ample credit to the faience of more modern
date, and of most insignificant character, with
which he has profusely illustrated this volume.

NOLHAC (P. de).— Trianon de porce-
lain. Versailles, Bernard, 1901.
8°, pp. 20 ; 3 illustrs. 2 fcs.

The Trianon of porcelain, a small hunting
lodge, was built at the far end of the park of
Versailles for Louis XIV. It owed its name to
the painted faience slabs, cornices, pilasters, etc.,
with which the walls were covered inside and
out. One part of the faience work had been im-
ported from Holland by Claude Reverend, a
dealer from Paris ; the ornamental vases had
been made at Lisieux and at the Saint Cloud
factory. No vestige remains of that colossal
work.

NORDENSKIOLD (G.).— The cliff dwellers
of the Mesa- Verde, South-west-
ern Colorado ; their pottery and
implements. Translated from
the Swedish by D. Lloyd Morgan.

174,
pis.
in the

Stockholm, 1893. 4°, pp
iv, xi ; with portrait, 50
(1 col.) and 97 illustrs.
text. 80s.

The prehistoric dwellings cut in the cliffs of
Mesa Verde, in Arizona, were discovered in 1849.
Many remains of the industry of their inhabi-
tants, such as weapons, implements, pottery
vessels, and other objects testify to the existence
of a race whose primitive civilisation seems to
have been absolutely independent of that of the
Mexicans and Peruvians. The best specimens
of a pottery of a peculiar character, which was
found in abundance in the place, are described
and illustrated in Chapt. ix. of this work.

NORMAN (E.). — Catalogue of sale.
Collection of English pottery
and porcelain formed by Emer-
son Norman ; showing the dis-
tinctive character of each manu-
factory from the earliest times.
London, Philips, 1871. 8°; with
3 photogr. pis. 390 Nos.

311

NOR]

CERAMIC LITERATURE.

[NOV

NORTON (C. B.).— Treasures of art,
industry, and manufacture repre-
sented in the American Centen-
nial Exhibition at Philadelphia,
1876. Buffalo, 1877. Fol. ;
with 50 chromolith. pis. £5.

A selection of art objects with text in English
and French. 8 pis. of pottery.

NORTON (T. M.). - - Etudes sur les
oeuvres d'art de Raphael Sanzio,
d'Urbino, au monastere de Re-
fojos do Lima ; traduit du por-
tuguais par L. C. Capedeville.
Lisbonne, impr. Nat., 1888. 4°,
pp. 158 ; with 18 pis.

" Essay on the works of art by Raffael
Sanzio, of Urbino, in the monastery of
Refojos do Lima."

A series of wall tiles, described and repro-
duced on eleven plates, gives us the occasion of
introducing to the reader this extraordinary
book, a curious instance of mental aberration.
That an intense study of all that has been
written on Raffael and his work, coupled with a
meditative contemplation of an old painting, a
wooden statue, and some majolica tiles preserved
in a Portuguese monastery, should have culmi-
nated, in the mind of a man perfectly rational in
every other respect, into, the staunch belief that
the painting, statue, tiles, and the building itself
were all the work of Raffael is certainly more
than one may imagine. Yet this is precisely
what happened in the case of Mr. Thomas
Mendes Norton, and caused the preparation of
this volume.

Moved by the spirit of revelation, the writer
has put aside such negligible considerations as
facts, dates, and above all commonplace proba-
bilities. His arguments are all of the aesthetic
order, and rest upon his deep knowledge of the
unparalleled genius of the great Italian master.

We have only to deal with the part that refers
to the tiles, an elaborate scheme of majolica
decoration displayed upon the walls of the chapel
and refectory of the monastery. No record has
been kept of their maker or of their place of
origin. Raffael is the only artist, in the opinion
of the writer, who could have painted such an
admirable work. The general character of the
composition is obviously Raffaelesque, while
many of the details are found repeated in his
authenticated paintings. Moreover, on each of
the landscapes which form the centre of the
decorative panels, his monogram is seen dis-
guised amidst the clouds, rocks, and branches of
the trees, affecting in many places the shape of
the letters R.V. With a legitimate pride he
refutes the statement of the biographers who
say that although Raffael is known to have
painted upon majolica ware, no example has ever
been found that could be safely attributed to
him, and he tells us : — " The doubt is no longer
possible ; I have discovered unquestionable

312

proofs of his majolica painting in the Refojos do
Lima."

Page after page is filled with the rambling
discussion of all the arguments that he expects
to be raised in opposition to his contentions.
He seems to ignore absolutely two important
factors in the controversy. The first is that the
tiles are painted in the style of the Spanish
faience painters of the seventeenth century, as
we can easily recognise from the photographic
reproductions. The next is that the monastery
was completely rebuilt between the years 1581
and 1613 ; as is attested by inscribed marble
tablets affixed in the walls.

NOTOR (G.).— La femme dans 1'anti-
quite grecque. Paris, Renouard,
1901. 4°, pp. iv-288 ; with 33
col. pis. and 320 text illustrs.
30 fcs.

" Woman in Grecian antiquity."

The illustrations are all taken from Greek
vase paintings.

NOTT (J.).— Malvern Priory Church.
Malvern, s.d. (recent). 8°.
Contains a chapter on " The
tesselated pavements," pp. 71-
103, with a view of the old kiln
and 3 col. pis. of tiles. 6s.

NOYELLI (Camillo).— L'arte ceramica
all'esposizione di Venezia del
1887, in rapporto alia produ-
zione delPultimo decennio. Roma,
Botta, 1888. 8°, pp. 173. 3 fcs.

" The ceramic art at the Venice Exhibi-
tion of 1887 ; with considerations upon the
productions of the last ten years."

The report upon the ceramic exhibition of
Venice is prefixed with a review of the various
exhibitions in all countries to which the Italian
manufacturers had contributed during the pre-
ceding ten years.

NOYI (G.)- — La fabricazione della
porcellana in Napoli e dei pro-
dotti ceramici affini. Memoria
letta alFAccademia Pontaniana.
Nov., 1878. Napoli, 1879. 4°,
pp. 78. 10 fcs.

" The manufacture of porcelain at
Naples, and of the ceramic products of
the same order."

A valuable complement to Riccio's work.
The technical part, which had been purposely
left untouched by the former writer, is here
thoroughly dealt with. All the clays and raw
materials found in the Italian soil which can be

NUN]

CERAMIC LITERATURE.

utilised in the composition of the porcelain paste
are enumerated and described. All the experi-
ments to which they were subjected in the
Naples manufactory with the view of bringing
them into practical use are recorded from the
original reports. We notice, however, that the
actual recipes for the composition of the body
and the glaze, as well as for the making of
vitfifiable colours, are prudently withheld.

Memoria seconda. I con-
tinuatori delle tradizioni di Cap-
odimonte. Napoli, 1879. 4°,
pp. 42.

" The continuation of the Capodimonte
traditions."

This second article contains information on
the minor factories of Naples in which the making
of porcelain has been attempted with more or
less success.

- I fabricanti di majolica e di
terraglia in Napoli. Napoli,
1881. 4°, pp. 27.

" The Naples manufacturers of majolica
and earthenware."

With the " exception of Castelli, no faience
work of the Neapolitan kingdom has made its
mark in history. This third memoir mentions
some of the pot-works established in the town
and its neighbourhood, and in which common
ware was made for domestic purposes.

NUMNG (J. H.).— Sepulcratum West-
phalico - Mimigardico Gentile.
Duabus sectionibus partitum in
quarum prima. De Urnis, etc.
Frankfurt, 1714. Sm. 4°, pp. 28;
with 3 pis. of urns. 10 m.

" The sepulchre of the Pagans of West-
phalia. Divided into two parts, the first
of which treats of the Urns."

One of the plates shows the peasants of West-
phalia gathering their annual crop of urns.

NYROP(C-).— Den danske Porcellains-
fabrikations Tilbliven. En in-
dustrihistorisk Studie. Kjdben-
havn, 1881. 8°, pp. 32. (Re-
print from the Industriforening-
ens Maanedsskrijt, 1878.) 5s.

" History of the porcelain manufacture
in Denmark."

Mention is made of a porcelain manufactory
conducted by Johann Wolff at Frederiksberg
in 1721 ; Dutch faience, which went at the time
by the name of porcelain, was probably manu-
factured at that place. The Royal porcelain
works of Copenhagen were only established in
1772.

- Danske Fajence-og Porcel-
lainsmoarker. Kjobenhavn, 1881.
8°, pp. 19 ; with 29 facsimiles of
marks. (Extr. from the above
publication.) 3s.

" Marks of the faience and porcelain of
Denmark."

- Dansk Pottemageri. En kapi-
tal af den danske keramiks
historic. Kjobenhavn, 1882. 8°,
pp. 48 ; with 26 illustrs.

" Danish pottery ; a chapter of ceramic-
history in Denmark."

Historical sketch of pottery- making from the
earliest times up to the present day.

0*** (Oppenheim) et BOUILLON-LAGRANGE.

— L'art de fabriquer de la
poterie fa9on Anglaise ; con-
tenant ; Les precedes et nou-
velles decouvertes, la fabrication
du Minium, celle d'une nouvelle
substance pour la Couverte, celle
des Couleurs vitrifiables, 1'art
d'imprimer sur Faience et Por-
celaine et un vocabulaire de
termes techniques et chimiques.
Avec gravures. A 1'usage des
Fabricants et de ceux qui veu-
lent etablir des Poteries ; par
Mr. 0***, ancien manufacturier,
revu pour la partie chimique par
Mr. Bouillon-Lagrange. Paris,
1807. 12°, pp. 298 ; with 2 pis.
3fcs.

" The art of making pottery after the
English method : containing the processes
and the latest discoveries, preparing the red
lead and a new substance for the glaze,
making verifiable colours, the art of
printing upon faience and porcelain, etc.,
with a glossary of technical and chemical
terms."

To imitate English pottery was the general
tendency of the times. Under the name of " terre
de pipe " or "faience fine," good earthenware was
extensively manufactured in France. The writer
published nothing but what was already well
known. The composition of the Jasper and
black basalt ware of Wedgwood, however, was

313

OHL]

CERAMIC LITERATURE.

[OLI

never completely mastered, and we see that Mr.
0*** knew absolutely nothing about their com-
ponents. His information about the process of
transferring prints on the ware was also very
incomplete. He ignores the use of transfer
paper, and describes the method called " bat
printing," no longer employed in England. We
notice that the practical handbooks of that
period are generally due to retired manufacturers
who, if they do not care any more about keeping
professional secrets, are very careful, at the same
time, not to divulge the personal discoveries they
may have made in the course of their experience.

OHLMER (E.). — Fiihrer durch die
Ohlmer'sche Sammlung chinesi-
scher Porzellan, aufgestellt in
Homer - Museum, Hildesheim,
nebst bemerkungen iiber chine-
sisches Porzellan in allgemeinen,
seine Herstelhmg, Verwendung,
und seine Geschichte. Hildes-
heim, 1898. 8°, pp. 60 ; with 8
pis. 5s.

" Guide through the Ohlmer Collection
of Chinese porcelain exhibited in the
Hildesheim Museum, with remarks on
Chinese porcelain in general : its manu-
facture, use, and history."

The plates represent the ruins of marble
palaces in which porcelain enters largely in the
architectural decoration. Also marks and
symbols.

OLD (Watkins 1.). — Indo-European
porcelain : an essay with de-
scriptive catalogue. Hereford,
J. Hull, 1882. 8°, pp. 32. 3s.

Mr. W. Old had made a special collection of
the Chinese porcelain decorated with European
subjects, sometimes called " Jesuit china," a
name for which he proposed to substitute that
of " Indo-European porcelain." He has pre-
faced his catalogue with an excellent historical
notice of that particular ware, ignored or mis-
understood by previous writers on ceramics,
The earliest examples, which date from the end
of the sixteenth century, bear religious subjects
copied from engravings supplied to the local
artists by the missionaries. They were executed
in the factories of Kin-Te-Tchin, and all the lines
of the engraving are faithfully reproduced in
Indian ink. Chiefly exported into Japan, where
the Jesuits were then establishing important
missions, they were intended to be distributed
to the Japanese converts. At a later date, the
Dutch India Company, having introduced tea-
drinking into Europe, began, towards 1660, to
cause sets of tea ware to be decorated in the
European taste, and imported them extensively.

The last period of manufacture is represented
by porcelain, of much inferior quality, painted
with distant imitations of the Dresden patterns,

314

and often bearing crests and monograms, which
was for a time attributed to the Lowestoft
factory.

OLDHAM (T.).-— Antient Irish pave-
ment tiles, exhibiting thirty-two
patterns, illustrated by forty en-
gravings after the originals ex-
isting in St. Patrick's Cathedral,
and Howth, Mellifont, and New-
town Abbeys. Dublin, J. Rob-
ertson, 1845. Sm. 4°, pp. 8;
with front, and 25 pis. 10s.

We must not be surprised to see in these Irish
tiles the repetition of many a design we are
accustomed to meet with among the productions
of other countries. The constant intercourse
kept up by the religious communities of the
Middle Ages accounts sufficiently for the presence
of the same pattern in several monasteries. A
brick and tile kiln was annexed to all abbeys of
any importance. The monks were their own
potters ; at any rate, they superintended the
work made at the brick yard, and supplied the
men with sketches and models, these being fre-
quently borrowed from examples executed in
some other establishment of their order. When-
ever it happened that a newly erected church or
chapel required for its completion and adorn-
ment a tile pavement of exceptional richness of
workmanship, they called in the assistance of a
brother well conversant with the art of designing
and the secrets of the potter's trade ; the making
of the pavement was planned and carried out
under his direction. Few were the monks pos-
sessed of that peculiar talent, and they had often
to travel from England to Ireland, and even to
the Continent, to visit the monasteries which
claimed their services. The same designer may,
therefore, have presided over the execution of
the tile pavements of the conventual buildings
of places very distant from each other.

OLENINE (A. N.). — (Archaeological
works by). St. Petersburg, 1881.
2 vols. 8°. Vol. i., Part ii.,
Painted vases ; with 7 pis.

OLIVER (Dr. Th.)-— Report upon the
pottery industry in France.
London, printed by Darling &
Son, 1899. Fol., pp. 18 ; with
notes and criticism by W. Bur-
ton.

Published on the occasion of the Government
inquiry on the subject of lead poisoning in cer-
amic manufacture. The Commissioner reports
that cases of plumbism are less numerous in the
French than in the English factories.

OLIYIERI (B.). — La ceramica in Cas-
telli ; suo state attuale e mezzi

CERAMIC LITERATURE.

per migliorlarla ; pensieri. Lan-
ciano, 1881. 18°, pp. 39.

" Ceramic industry in Castelli ; its
present condition and the means of
improving it ; suggestions."

OLLIYIER (L F.).— Caloriferes salu-
bres de 1' invention de Louis
Fran9ois Ollivier, ancien manu-
facturier de faience, porcelaine,
minium et terre blanche a cou-
verte de porcelaine, rue de la
Roquette No. 73. Avec brevet
d'invention. Paris, Orizet, 1785.
4°, pp. 8.

"Sanitary stoves invented by L. F.
Ollivier, late manufacturer of faience,
porcelain, red lead, and white earthen-
ware with porcelain glaze."

A report addressed to the French Academy
of Science by Guyton and Berthollet upon the
inventions of L. F. Ollivier.

- Collection de dessins de poeles
de formes antiques et modernes
de 1'invention et de la manufac-
ture du Sieur Ollivier, rue de la
Roquette. Paris, s.d. 4°, pp.
4 ; with 50 pis. (some col.).

" Selection of designs for faience stoves,
in antique and modern shapes, invented
and manufactured by Mr. Ollivier."

Ollivier had styled himself " General manu-
facturer of the faiences of the Republic." He
executed, after the fall of the Bastille, a stove
representing the old state prison, a copy of which
he presented to the Government of the Conven-
tion. This stove, now in the ceramic museum
at Sevres, gives a poor idea of Ollivier as an
artist and a potter. He was, however, full of
enterprise as a manufacturer ; he attempted to
imitate the black-basalt and the Jasper ware of
J. Wedgwood, but as he lacked sufficient tech-
nical abilities, he never succeeded in producing
anything better than miserable counterfeits. A
copy of this catalogue is in the library of the
Sloane Museum in London. The plates are
drawn by Bosse, and engraved by Taraval. An
imperfect copy, with only 18 plates, is priced
1,500 fcs., in the D. Morgan cat., 1904.

OLSCHEWSKY (W.).— Katechismus der
Ziegelfabrikation unter Beriick-
sichtigung der Priifungs meth-
oden fiir die gebrannter Fabric-
ate. Wien, 1880. 8°, pp. 333.

" Treatise of the brick and tile manu-
facture. A method of practical experi-
ments applied to ceramic products."

- Priifung und Begutachtung
von Thon. Unter Berucksich-
tigung practisher Erfahrungen
bearbeitet, und an Beispielen

• erlaiitet. Berlin, 1890. 8°.

" The trial and valuation of clays.
Prepared from the result of practical
experience, and illustrated with examples."

O'NIELL (Dr. W.).— Old pottery and
porcelain. London, 1898. 8°,
pp. 15 ; with pis. (Reprint
from the Architectural and Arch-
aeological Society's Reports.)

- Torksey old pottery and por-
celain manufactory. 8°, pp. 8 ;
with 4 pis.

The manufactory was established at Torksey,
in Lincolnshire, by W. Billingsley, at the be-
ginning of the nineteenth century.

— Bow and Chelsea china. Lon-
don, 1899. 8°, pp. 10; with
5 pis.

The illustrations of these papers are taken
from specimens in the writer's possession.

O'REILLY. — Maniere de fabriquer des
briques legeres, a 1'imitation des
briques flottantes des anciens.
Paris, 1779-80. 8°, pp. 7. (Ex-
tr. from the Annales des Arts et
Manufactures.)

" Method for making light bricks, in
imitation of the floating bricks of the
ancients."

— Procede pour remplacer la
ceruse et le minium dans les
compositions de 1' email ou de la
poterie fine, et considerations
sur 1'etat actuel de cet art.
Paris, 1800. 8°, pp. 14. (Extr.)

" A method for replacing white lead and
minium in the composition of enamel and
glazes in the manufacture of earthenware,
with a few remarks on the present state
of that manufacture."

- Sur les hydrocerames, vases
de terre propres a rafraichir les

liquides. Paris, 1804.
29 ; with 1 pi.

8°, pp.

315

O'Rfi]

CERAMIC LITERATURE.

[OSM

" Upon the hydrocerams, or earthen
vessels, having the property of cooling
liquids."

O'REILLY. — Sur la poterie vernissee
et sur les poteries d'Espagne.
Paris, 1805. 8°, pp. 3. (Extr.)
" Upon the glazed potteries, and par-
ticularly those made in Spain."

These articles, which have all appeared at
different dates in the same periodical, seem
to follow those which Fourmy had published on
these subjects.

ORSI (P.). --Urne funebri cretesi
dipinte nel stilo di Micene.
Roma, 1890. 4°; with 2 pis.
5 fcs.

" Cretan funereal urns painted in the
Mycensean style."

ORTLEB (A. and G.). -- Gefasskunde
oder Keramik. Berlin, C. Mode,
s.d. 16°, pp. 75; with 3 pis. 1m.

" The knowledge of earthen vessels or
ceramics."

Popular history of the ceramic art, beginning
with a chapter on Heraldry, and ending with
directions for cleaning and mending ceramic
specimens.

ORTON (Ed.).— Geology of Ohio. Vol.
vii., Part 1. Geological scale.
Clay deposits. Clay manufac-
ture. Coalfields. Norwalk, Ohio.
1893. 8°, pp. 290. 6s.

- The progress of the ceramic
industry. Madison (Wis.), 1908.
8°, pp. 20. 3s.

ORTWEINS.— Arbeiten in gebranntem
Thon. Wien, Grasser, 1895. (In
Vorlagen fur GewerblicJie Lehran-
stalten, Part vi.) 32 pis. in out-
line. Fol. 12 m.

" Work in terra-cotta."

Sketches of earthenware stoves, with working
diagrams of the details.

OSAM. — Revision der Ansichten
liber Ursprung und Herkunft
der gemalten griechischen Vasen
Giessen, 1847.

" Critical examination of the theories
propounded on the question of the anti-
316

quity and the origin of the painted Greek

vases.

OSGOOD (MiSS A. H.).— How to apply
Worcester . . . and Dresden
colours to china. New York,
1891. 6th ed.

- How to apply matt, bronze,
Lacroix, Dresden colours, and
gold to china. A practical ele-
mentary handbook for amateurs.
New York, 1896. 12th ed.

OSMA (G. J. de). — Azulejos Sevillanos
del siglo xiii. Papeletas de un
catalogo de Azulejos espanoles
de los siglos xiii al xvii. Madrid,
impr. de Fortanet, 1902. 4°, pp.
65 ; illustrs. (Privately printed. )
" Sevillian tiles of the thirteenth cen-
tury. Preliminary notes for a catalogue of
Spanish tiles, from the thirteenth to the
seventeenth century."

- La Loza dorada de Manises
en el ano 1454. Carta de la
Reina de Aragon a Don Pedro
Boil. Madrid, 1906. 4°, pp. 66 ;
with 1 facsimile and 3 illustrs.
(Privately printed.)

" The golden faience of Manises in the
year 1454. A letter from the Queen of
Aragon to Pedro Boil."

- Los letreros ornamentales en
la ceramica morisco del siglo xv.
Madrid, 1907. 8°, pp. 18 ; with
2 pis. and text illustrs. (Re-
print from the Gultura Espanola.}

" The ornamental letters on the Moorish
ceramics of the fifteenth century."

- Apuntes sobre ceramica mor-
isca. Textos y documentos
Valencianos. No. II. : Los
maestros alfareros de Manises,
Paterna, y Valencia. Contratos
y ordenanzas de los siglos xiv,
xv, y xvi. Madrid, printed for
the author, 1908. 4°, pp. 179 ;
with frontispiece and 10 illustrs.
in the text.

OSM]

CERAMIC LITERATURE.

[OWE

" Materials towards the history of
Moorish ceramics. Texts and documents
relating to Valencia. No. II. : The
master-potters of Manises, Paterna, and
Valencia. Contracts and ordinances of
the fourteenth, fifteenth, and sixteenth
centuries."

The contributions of Don G. T. cle Osma to
the study of Spanish ceramics, based on the
discoveries made by the writer in the archives
of the country, have opened new paths in a
hitherto untrodden field.

OSMOND (Collection du Marqnis d').— Cata-
logue of sale. Paris, 1884. 8°;
with 7 illustrs.

Sevres porcelain, 46 Nos. Important vases.
Celadon and Oriental ceramics.

OSSOWSKI (G.)-— Monographic prehis-
torique de Fancienne Pologne.
Cracowie, 1879-88. 4°; with
45 pis. 60 fcs.

" Monograph of Poland in prehistoric
times."

Contains a few examples of the Polish pre-
historic pottery.

OSTERLING (J.)— Dissertatio historica
de Urnis sepulchralibus et armis
lapideis veterum Cattorum. . . .
Lipsiae, 1741. Sm. 4°, pp. 32 ;
with 1 pi. 2 m.

" Historical dissertation upon the sepul-
cral urns and the stone weapons of the
ancients."

OTTO (F. J.).— Der Thon. Braun-
schweig, 1868.

" The potter's clays."

OUEDA TOKOUNOSOUKE.— La ceramique
japonaise. Les principaux cen-
tres de fabrication ceramique au
Japon par 0. T. Avec une pre-
face relative aux " Ceremonies
de The " au Japon, et a leur
influence, par E. Deshayes.
Paris, E. Leroux, 1895. 12°,
pp. 123. 5 fcs.

" Japanese ceramics. The chief centres
of ceramic manufacture in Japan by 0. T.
With a preface relative to the ' Tea cere-
monies ' in Japan and their influence, by
E. D."

The tables which accompany this work record
the names of the chief centres of manufacture ;
the earliest date at which they are known to
have been at work ; and the' designation of
their respective productions.

OUYAROFF (Comte Alexis).— Recherches
sur les antiquites de la Russie
meridionale et des cotes de la
mer Noire. Paris, 1855-60. Fol.;
with an atlas fol. of 34 pis. and
7 maps. 100 fcs. The first
edition, with text in Russian,
was published at Saint Peters-
bourg, 1851-56.

" Researches on the antiquities of
Southern Russia and the shores of the
Black Sea."

Examples of Greek vases and terra-cottas.
This work must be considered as the imperfect
sketch of the magnificent volume published by
Giles under the direction of Count Ouvaroff,
with the title of Antiquites du Bosphore dm-
merien. It is illustrated with photographs taken
from the drawings of Webel, of the Imp. Acad.
of St. Petersburg.

OYERBECK (J.).— Die Bildwerke zum
thebischen und troischen Hel-
denkreis, etc. Halle and Braun-
schweig, 1852-53. 8°; with an
atlas 4° of 35 lith. pis.

" Monuments of the Theban and Trojan
heroic cycle . . . etc."

A learned work illustrated with bad lith.
plates.

- GriechischeKunstmythologie.
Leipzig, 1871-1889. 3 vols. 8°;
and atlas fol.

" Grecian artistic mythology."
Reproductions of Greek vase paintings, etc.

OWEN (Harold). —The Staffordshire
Potter ; with a chapter on the
dangerous processes in the pot-
ting industry by the Duchess of
Sutherland. London, G. Rich-
ards, 1901. 8°, pp. 357.

This thorough and conscientious book has
been written by the son of a man — Mr. William
Owen — who, as the trusted leader and agent of
the " Union men," has spent a long and busy
life in upholding the rights of labour. It is to
him that the account is indebted for this abun-
dance of dates, facts, and documents that no
one else could have supplied ; it is the experience
and sound judgment of the old champion of
social reforms that permeate all the pages of
his son's work.

317

OWE]

CERAMIC LITERATURE.

[OWE

The narrative records the almost uninter-
rupted battles that were fought in the past, not
only on questions of wages, but also on points
of rules and customs between masters and men.
It leaves us impressed with the sense of fairness
and moderation displayed by the masses at the
most critical moments, when the miseries and
privations, following upon the protracted course
of a general strike, might have driven the suf-
ferers to desperation and violence.

The author concludes by expressing his con-
fidence in the forthcoming union of labour and
capital, whose interests, says he, are identical.
Without being so sanguine as to the prompt
realisation of these hopes, we have good cause to
expect that the common sense of the Stafford-
shire potter, which has so often helped him
through the worst crises of the industry, will do
more to promote the betterment of his condi-
tion than revolutionary speeches and disgraceful
riots have ever done in the case of the infuriated
workmen of other times and other places.

In the chapter contributed by the Duchess of
Sutherland the dangers connected with the
practice of certain branches of the trade are
exposed without unnecessary exaggeration. The
heart of the noble lady has been touched by the
account of what her modest neighbours, the
pot- workers, have to suffer as a consequence of
their occupation, and she has thought it a duty
to raise her voice and remind us all that the evil
would find its remedy in the application of wise
regulations, too much neglected in the past.

The appendix gives the scale of wages in the
various branches of the trade from the eigh-
teenth century up to the present day, and con-
tains interesting particulars concerning the mode
of life and the social conditions of the Potteries
operatives.

OWEN (Hugh).— Two centuries of cer-
amic art in Bristol, being a
history of the manufacture of
" The true porcelain," by Rich-
ard Champion ; with a bio-
graphy, compiled from private
correspondence, journals, and
family papers ; containing un-
published letters of Edmund
Burke, Richard and William
Burke, the Duke of Portland,
the Marquis of Rockingham, and
others. With an account of the
Delft, earthenware, and enamel
glass-works from original sources.
London, Bell & Daldy, 1873. 8°,
pp. 32 - xxiv - 402 and index ;
with 142 illustrs. in text and
16 pis. of portraits, views, and
specimens. £3, 10s.
318

It has not escaped the notice of the ceramic
student that some of the best books he ever read
were the unique productions of their respective
authors. One should beware, as a rule, of the
prolific writer of heavy volumes who, diluting
a modicum of borrowed knowledge into a quart
of ink, and dipping his pen in the mixture, covers
with his fluent scribble untold reams of foolscap
paper. A good monograph is perhaps the most
commendable form of a good pottery book.
Without the assistance of these detached chap-
ters, upon which a conscientious specialist has
spent his undeviating efforts, embodying into it
the sum of an arduously acquired learning, the
framing of the general history would not have
been possible. He who has devoted all his
thoughts, all his energy, to the completion of a
single but exhaustive book, dealing with a still
untouched topic, has a better claim to our thanks
than the clever writer of numerous compendiums.

Scanty enough is the number of monographs
of English factories. Yet, one is pleased to
remark that scarcely any of the volumes of which
this small group is formed may be dismissed as
the outcome of injudicious labours wasted upon
an unworthy subject, or described as the incom-
plete essay of a writer not fully prepared for the
task he had undertaken to accomplish. In the
present case, Owen's compact " History of the
Bristol porcelain " may be praised as being a
model of what a perfect monograph might be
expected to be. Its value as an addition to
ceramic history need not be pointed out.

The account of the discovery of the china clay
and stone of Cornwall by Cookworthy about 1758,
and of the use that he and Richard Champion
made of them for the manufacture of hard porce-
lain, first at Plymouth, and subsequently at
Bristol, form a most interesting narrative. Al-
though favoured by the presence of an inexhaust-
ible supply of the best porcelain clay in Europe,
and the complete success of the first experiments,
Champion's enterprise never gave a sufficiently
remunerative result. This new kind of manufac-
ture could not be implanted in English soil ; after
a few years of sturdy efforts it had to be com-
pletely abandoned. The china clay was, however,
found to be of great use in the composition of
various ceramic bodies. But the potters of
England, instead of adopting the recipes of
foreign porcelain, preferred to develop the pro-
duction of the semi-hard kind of china which
originated in the country, and for the making
of which they have no rivals in the world. We
must acknowledge, therefore, that this book
deals with quite an exceptional branch of
English manufacture, specimens of which are
rarely met with. What renders Owen's
work extremely valuable, even to the foreign
collector, is the amount of correlative informa-
tion pertinently introduced in the course of the
narration. The undertaking of Champion and
Cookworthy had necessarily brought them in
contact with the chief potters, as well as with
the art patrons, merchants, and manufacturers
of the times ; out of the intercourse the Bristol
potters had to keep with official and private
personages, springs a long roll of documents and
business correspondence, most interesting to
peruse for the light they throw upon the general
conditions of the British trade and industries
during the second half of the eighteenth century.

OWL]

CERAMIC LITERATURE.

[PAG

OWLES (Collection 1). —A catalogue
of a collection of pottery and
porcelain, etc., to be sold by
Messrs. Spelman, Great Yar-
mouth, October, 1872. Yar-
mouth, Denew, printer, 1872.
Sm. 4°, pp. 90; with 12
photogrs. 10s.

An important collection comprising 1,791 Nos.
Numerous specimens of the so-called Lowestoft
porcelain.

PAAPE (Gerrit). - - De Plateelbakker
of Delftsch Aardewerkmaaker.
Dordrecht, 1794. 8°, pp. 72;
with 5 pis. 12s.

" The faience and earthenware maker
of Delft."

This treatise forms the twelfth volume of an
Encyclopedia published at Dordrecht by A.
Blusse & Son. It was written by a practical
potter of Delft. In the year 1794 professional
secrets had long been divulged, and there was
no longer any cause for making a mystery of
recipes and methods which could easily be
obtained by anyone who stood in want of tech-
nical information. Gerrit Paape has given in
his book a sincere and trustworthy account of
the whole process of contemporary manufacture.
All is simple and clear, as well as absolutely
correct, in his description of the various stages
through which the ware had to pass, from its
fashioning to its final decoration in colours, and
it makes us perfectly acquainted with the way
in which they proceeded. But the thorough
experience, the skill of hand, which made of the
Delft potter perhaps the most accomplished
faience manufacturer of Europe, cannot be im-
parted through the best advice printed in a little
handbook. The art of rendering enamelled
earthenware equal in brilliancy of surface and
purity of colours to the porcelain of China and
Japan, of making, in short, amazing counterfeits
which deceive the eye of an expert, seems to be
quite an extinct art. Mr. Havard in his Histoire
de la Faience de Delft has given a French trans-
lation of the work of Gerrit Paape.

PABST (A.)-— Die Sammlung Frohne
in Kopenhagen. Berlin, P. Bette,
1883. Fol., pp. 6; with 28
photos, comprising 154 speci-
mens. £2.

" The Frohne Collection in Copen-
hagen."

Nearly one hundred examples of ancient
stoneware render this collection of some interest

to the specialist. It contains, however, few
works of superior order. Specimens of Dutch
and German faience complete the album.

- Die Sammlungen des Konigl.
Kunstgewerbe Museums zu Ber-
lin. Berlin, 1884. 8°, pp. 38 ;
with 20 illustrs. and 2 photogr.
pis.

" Handbook to the Royal Museum of
Industrial Art at Berlin."

Keramische Sammlung des
Freiherrn Albert von Oppen-
heim in Koln. Leipzig, Sinsel,
1889. Fol., pp. 10; with 56
phototyp. pis. £2, 10s.

" The ceramic collection of Baron
Albert von Oppenheim."

As the art treasures accumulated by German
collectors came gradually into the market, the
choicest specimens of ancient stoneware were
eagerly secured to form a collection without a
rival among those in private hands. Nearly
every item is either unique or very rare ; each
appears to be the best representative of its kind
that sure taste and discrimination, assisted by
an unbounded liberality, had made it possible to
procure. All styles and all periods of German
and Flemish stoneware are equally well repre-
sented. In the photographic reproductions of
these masterpieces of the potter's art, we can
follow the beginning and development of a
manufacture, the history of which was still under
study ; but one should like to see them accom-
panied with a letterpress of more instructive
import than the brief and inadequate descrip-
tions which have been thought sufficient.

— Kunstvolle Thongefasse aus
dem 16 bis 18 Jahrhundert.
Berlin, 1891. Fol. ; with 52
phototyp. pis. Publ., 45 m.

" Examples of artistic pottery from the
sixteenth to the seventeenth century."

Reprint of the above work under a different
title.

PABST (I.)-— Untersuchung von
chinesischen und japanischen,
zur Porzellanfabrikation ver-
wandten Gesteinsvorkommnis-
sen. Leipzig, 1880. 8°, pp. 39.

" Examination of some specimens of
the raw materials used in the porcelain
manufacture of China and Japan."

PAGANIS (M. Pagan de). — Cornioi di
terra-cotta in Bologna rilevate e

319

PAJ]

CERAMIC LITERATURE.

[PAL

disegnate dall'architetto M. P.
de Paganis. Torino, Bertolero,
1880. Fol. ; 16 col. pis. 10 fcs.

" Terra-cotta cornices in Bologna,
measured and drawn by P. de P.,
architect."

PAJOT-DES-CHARMES.— Nouvelle
methode pour la cuisson des
poteries fines sans cazettes.
Paris, Bachelier, 1824. 8°, pp.
15. (Reprint from the Annales
deV Industrie.}

" A new method of firing earthenware
without saggars."

PALAYSI (L.).— Bernard Palissy et
les debuts de la Reforme en
Saintonge. Paris (1895 ?). 8°,
pp. 55.

" B. Palissy and the dawn of Reforma-
tion in Saintonge."

PALEOLOGUE.— L'Art Chinois. Paris,
Quantin, 1887. 8°. Chapt. vi.,
Ceramique, pp. 178-219 ; with
22 illustrs. 4 fcs.

" The Chinese Art."

PALHA (F.)- — Ceramica. A chapter
in "Esposicao retrospectiva de
arte ornamentale portugueza e
hespaniholo. Lisboa, 1882."
8° ; with 220 pis. 8s.

Catalogue of the retrospective exhibition of
Portuguese and Spanish decorative art. The
.section of ceramics comprised 586 Nos.

PALISSY (Bernard).— Recepte veritable
par laquelle tous les hommes
de la France pourront apprendre
a multiplier et augmenter leurs
thresors : Item, ceux qui n'ont
jamais eu cognoissance des let-
tres, pourront apprendre une
Philosophic necessaire a tous les
habitants de la terre : Item, en ce
livre est contenu le dessein d'un
j ardin autant delectable et d'utile
invention, qu'ilen f ut onques veu.
Item, le dessein et ordonnance
d'une Ville de forteresse, la plus
320

imprenable qu'homme ouyt jam-
ais parler ; compose par Mais-
tre Bernard Palissy, ouvrier de
terre et inventeur des Rustiques
Figulines du Roy, et de Mon-
seigneur le Due de Montmorancy,
Pair et Connestable de France,
demeurant en la ville de Xaintes.
A. La Rochelle, de 1'imprimerie
de Barthelemy Berton, 1563.
Sm. 8°, pp. 130 (folios not
numbered). 250 fcs.

" The true recipe by which all men in
France shall learn how to multiply
and increase their treasures. Item :
all those not conversant in letters shall
learn a philosophy necessary to all
inhabitants of the earth. Item : in this
book will be found the design of a garden,
as pleasurable and useful an invention as
has ever been seen before. Item : the
design and contrivance of a fortified town,
the most impregnable that one has ever
heard of. Invented by Master Bernard
Palissy, workman in clay to the King arid
to my Lord Duke of Montmorancy, peer
and constable of France, residing in the
town of Saintes."

Editio princeps of extreme rarity. A few
copies, otherwise similar in all points to the
issue of 1563, bear the date 1564. The work is
dedicated to the Marshal of Montmorency, and
to the Queen mother, Catherine de Medicis.
Upon the title page is printed a woodcut repre-
senting a man, whose left arm, provided with
wings, is stretched towards heaven, while his
right arm is held down to the earth by the
weight of a heavy stone. Round the subject
runs the inscription, " Povrete empeche les bons
esprits de parvenir." Emblem and motto have
always been considered as designed by Palissy
himself, in order to allegorise the difficulties and
sufferings he had to encounter in his life. But
Mr. Audiat has established the facts that the
emblem was borrowed from Alciat, and that this
very woodcut was the mark of the printer, B.
Berton, who employed it in many other volumes
issued from his press. It is to be noticed that
Palissy did not reproduce it in his second work,
Discours admirables. Beyond the qualification
of " workman in clay to the King," assumed by
Palissy on the title page of the Recette veritable,
the first work does not contain any reference to
the art he practised.

— Discours admirable de la
nature des eaux et fonteines,
tant naturelles qu'artificielles,
des metaux, des sels et salines,

PAL]

CERA MIC LITER A TURE.

des pierres, des terres, du feu et
des emaux. Avec plusieurs
autres excellents secrets des
choses naturelles. Plus un
traite de la marne, fort utile et
necessaire pour ceux qui se
melent de 1' agriculture. Le tout
dresse par dialogues, es quels
sont introduits la Theorique et
la Pratique. Par Mr. Bernard
Palissy, inventeur des rustiques
figulines du Roy et de la Royne
sa mere. A. Paris, chez Martin
le jeune, a 1'enseigne du Serpent,
devant le college de Cambray,
1580. Sm. 8°, pp. 361. 80 fcs.

" Admirable discourses upon the nature
of waters and fountains, natural as well as
artificial, the metals, the salts, the stones,
the clays, the fire, and the enamels. Also
a treatise upon marl, of great advantage
and importance to all who occupy them-
selves with agriculture. The whole pre-
sented under the form of dialogues in which
Theory and Practice are introduced."

Collation — Title page, privilege, and dedi-
catory epistle to Sire Anthoine de Fonts ; an
address to the reader ; and a notice in which
Palissy informs the public that he is ready to
give a verbal interpretation of all the subjects
treated upon in the book to anyone who, being
desirous to obtain it, shall apply to him ; he
also offers to execute any of the fountains of
which he has given the description (together
15 pp., not numbered). The treatise begins
on p. 1 and ends on p. 361 ; after which
come 23 pages (without numbers) of index and
glossary of terms.

The chapter on " The art of clay, its impor-
tance ; and of the enamels and fire " extends
from pp. 266 to 295. It is preceded by a chapter
on " The argillaceous earths."

A repetition of some passages of the " Treatise
on metals," pp. 120 and 136, at the end of the
volume, are evidently erroneous insertions of an
uncorrected proof sheet.

- Le moyen de devenir riche et
la maniere veritable par laquelle
tous les hommes de France
pourront apprendre a multiplier
leurs thresors et possessions.
Avec plusieurs autres excellent
secrets des choses naturelles,
des quelles jusques a present
Ton n'a ouy parler, par Maistre
Bernard Palissy de Xaintes,
21

Ouvrier de terre et Tnventeur
des rustiques figulines du Roy.
A. Paris, chez Robert Fouet,
rue St. Jacques, a 1' Occasion,
devant les Mathurins, 1636. Sm.
8°. Vol i., An epistle from the
author to the people of France.
16 pp. (without numbers), and
pp. 255. Vol. ii., Dedication,
etc. 16 pp. (without numbers),
and pp. 526. 30 fcs.

" How to become rich, and the true
manner in which all the men of France
may learn how to multiply their treasures
and possessions. Together with sundry
other secrets of great value concerning
natural things, unknown to all hereto-
fore."

Forty years had elapsed since the death of
Palissy. R. Fouet, the bookseller who conceived
the idea of giving to the public a reprint of his
two works, decided also to introduce into the
original text such alterations as might make the
speculation more profitable. He affixed to them
quite a different title, that it might excite greater
curiosity and attract purchasers. An epistle
from the author to the people of France was pre-
fixed to the reprint. This epistle was soon re-
cognised as a rank forgery of the publisher's
imagination, and has never been accepted as
Palissy's own writing. Not only had the work
to suffer from unwarrantable additions but also
from many regrettable excisions. For instance,
no doubt from bigoted motives, the part which
refers to the history of the reformed church in
the town of Saintes has been bodily suppressed.

— Les ceuvres de Bernard Palissy
revues sur les exemplaires de la
Bibliotheque du Roi ; avec des
n6tes par Mr. Faujas de Saint-
Fond et des additions par Mr.
Gobet. Paris, Ruault, 1777.
4°, pp. lxxvi-734. 15 fcs.

" The works of B. Palissy, reprinted
from the copies in the Royal Library ;
with annotations by Mr. F. de Saint-
Fond and additions by Mr. Gobet."

Palissy and his works were almost forgotten,
when Faujas de Saint-Fond, a geologist and pro-
fessor of natural history, caused this edition to
be reprinted. Through a singular misconception
he thought it advisable to change the order of
the chapters, and to begin the volume with the'
treatise " On the art of clay," which belongs to
the second work. The others follow in an arbi-
trary succession. He wrote an introductory
notice to each section of the original work, accom-
panied the text by explanatory footnotes, and

321

PAL]

CERAMIC LITERATURE.

[PAL

added to it an original essay on the " Terra
Sigillata." His friend, Gobet, who acted as his
collaborator, was to see the work through the
press. Unsatisfied with such a small part, the
latter contributed some annotations of his own,
not always commendable for sound judgment and
accuracy. A greater mistake imputable to him
is to have given as a genuine work of Palissy an
anonymous article by one of his contemporaries,
entitled " Les declarations des abus et ignorance
des Medecins," which cannot in any way have
been written by the great potter.

Notwithstanding some unnecessary interpola-
tions, this edition is of great value to the student.
It contains extracts from the previous works in
which many celebrated writers have expressed
their opinion upon Palissy and his books. All
of them, from La Croix du Maine, 1584, and
Verdier de Vauprivas, 1585, to Jussieu, Fonten-
i-lle, Buffon, Reaumur, and other learned men of
the eighteenth century, are unanimous in their
appreciation of the great naturalist and philoso-
pher, and render full justice to his genius. Ample
notices of the contemporaries and friends of
Palissy add a special interest to this edition. It
was dedicated by its publisher, Ruaux, to B.
Franklin, who, by reason of the interest excited
in France by the American revolution, had
become the hero of the moment. A few copies
have Franklin's portrait engraved by Saint Aubin
after a design by Cochin.

PALISSY (Bernard).— Bernard Palissy;
ceuvres completes ; editions
eonforme aux textes originaux
imprimes du vivant de 1'auteur;
avec des notes et une notice
historique par P. A. Cap. Paris,
Dubouchet, 1844. 8°, pp. xxix-
437. 4fcs.

" B. Palissy's complete works. An
edition reprinted from the original texts
published during the author's lifetime;
with annotations and a historical notice."

In this edition, dedicated to Brongniart, the
annotator passes a critical examination of
Palissy's doctrines and theories, and summarises
his scientific discoveries.

— Discours admirables de 1'Art
de Terre, de son utilite, des
Emaux et du Feu. Geneve,
1863. 12°, pp. iv-44. 5 fcs.

The most interesting chapter of Palissy's
works, since it contains his biography, reprinted,
with a notice by Mr. G. Revillot.

- (Euvres de Bernard Palissy,
publiees d'apres les textes ori-
ginaux, avec une notice his-
torique et bibliographique et
une table analytique par Anatole
322

France. Paris, Charavay, 1880.
8°, pp. xxvii-500. 4 fcs.

A new feature introduced by Mr. A. France
in this edition is the transcription of a contract,
or tender, said to be entirely written by the
hand of Palissy, in which the potter describes
the grotto, ornamented with figures, animals,
and architectural devices in enamelled clay that
the Queen, mother of Charles IX., had ordered
him to erect in the Tuileries Gardens. The MS.,
now preserved in the Carnavalet Museum, was
then published for the first time. The facsimile
of Palissy's signature, taken from another source,
and the only one in existence, is also given in
this volume.

Resources : a treatise on
" Water and Springs." Trans-
lated by E. E. Willett. Brighton,
1876. 8°, pp. 40.

In this treatise the questions of irrigation and
water supply, as they were understood by the
most advanced men of the sixteenth century,
were treated by Palissy with extraordinary clear-
ness and practicability. The modern problems
of sanitary reforms impart to this chapter of
his works a special interest, and our thanks are
due to Miss E. E. Willet for having given us an
excellent rendering of a portion of a book never
before translated into English in its entirety.

- Les ceuvres de Maistre Ber-
nard Palissy. Nouvelle edition
revue sur les textes originaux
par B. FillOD. Avec une notice
historique, •bibliographique et
iconologique par L. Audiftt
Niort, L. Clouzot, 1888. 8°.
Vol. i., pp. ccvi-144. Vol. ii.,
pp. 280. 12 fcs.

This edition, prepared by B. Fillon and A. de
Montaiglon, had been left unpublished for nearly
twenty years, when Louis Audiat, well known
for the deep study he has made of the life and
works of the French potter, undertook to bring
it out. It is a faultless reprint of the two original
works, and the Editors have enriched it with most
valuable notes and additions. In the intro-
ductory notice, Audiat has condensed the con-
tents of his former books. It is completed by
an extensive bibliography, in which all articles,
pamphlets, and volumes which have appeared
on Palissy are described and commented upon
with the authority of a most competent critic.
Of contemporary portraits, two only are in ex-
istence, one is a faience plaque in the collection
of Sir Antony de Rothschild, the other a painting
on vellum in the Cluny Museum ; both of them
being probably imaginary presentments. Never-
theless Audiat has devoted a special chapter to
Palissy's Iconology, in which all modern pictures,
statues, and engravings executed to perpetuate
his memory are duly enumerated. A glossary
of terms of difficult interpretation is placed at
the end of the second volume.

PAL]

C ERA MIC LITER A TURE.

[PAN

- (Euvres choisies de Bernard
Palissy. Paris, Delagrave, 1890.
12°, pp. 222.

There is a notice signed by E. M.

PALLIER (M.). — Limoges: quelques
mots sur son Industrie. Limoges,
1885. 16°, pp. 16.

" A few words on the porcelain industry
at Limoges, by a manufacturer."

PALIU DE LESSERT.— Les briques
legionnaires, contribution a la
geographic militaire de PAfrique
romaine. Paris, Lauriel, 1888.
8°, pp. 12.

" The bricks of the Roman legions : a
contribution towards the military geo-
graphy of Roman Africa."

PALUSTRE (L.).— Catalogue du Musee
de Tours, 1871. 8°, pp. 77.

A series of interesting mediaeval tiles.

- Album de 1' Exposition retro-
spective de Tours. Tours, 1878.
FoL; 60 pis. 100 fcs.

The exhibition of 1878 included a loan collec-
tion of fine old faience.

- Monographic d'une cheminee
en vieux Rouen polychrome,
epoque Louis XV. Bordeaux,
1892. 8°; with 1 col. pi.

" A chimney-piece in old Rouen poly-
chrom from the time of Louis XV."

PANCKOUCKE (Collection). - - Collection

d'antiquites egyptiennes, grec-
ques et romaines, etc. Paris,
1841. 8°, pp. 40.

" Catalogue of the private collection of
L. J. Panckoucke."

PANDOLA (Collection). — Catalogue of

sale. Roma, 1887. 8°; vigns.

A collection almost exclusively composed of
ceramics.

PANOFKA (T.). — Lettera del Dr.
Teodoro Panofka all 'abate
Niccolo Maggioro. Palermo,
Solli, 1825. 8°, pp. 15 ; 1 pi.

" A letter from Dr. T. P. to the Abbot

N. Maggioro."

Description of a vase in the San Martino
Museum at Naples, representing the education
of Bacchus.

- Vasi di premio illustrati. Fi-
renze, 1826. Fol., pp. 22 ; with
6 pis. 10 m.

" Illustrations of vases intended as
athletic prizes."

The first number of a publication which was
not continued.

- II museo Bartoldiano. Ber-
lino, 1827. 18°, pp. x-180.

Description of the Bartoldi collection acquired
by the Berlin Museum.

- Recherches sur les veritables
noms des vases grecs et sur leur
differents usages, d'apres les
auteurs et les monuments an-
ciens. Paris, F. Didot, 1829.
Fol., pp. 64 ; with 9 pis. 20 fcs.

" Essay on the true names of the Greek
vases and their various uses, based on the
works of the classical writers and on the
ancient monuments."

Published as an introductory notice to Pan-
ofka's work, Mus^e, Blacas, the essay had to
stand the bitter criticism of Letronne, who con-
tested the correctness of the greater part of the
writer's interpretations.

— Musee Blacas. Monuments
grecs, etrusques et remains. T. 1,
Vases peints. Paris, 1830-33.
Fol.; with 32 pis., some col.
40 fcs.

" The Blacas Museum. Greek, Etruscan,
and Roman antiquities."

Panofka had been entrusted with the conduct
of the excavations made in the vicinity of Naples
at the expense of the Duke of Blacas, and with
writing a correct account of the discoveries. The
publication was stopped after the issue of the
fourth part, the Duke having lost interest in it
as soon as the collection had passed, by purchase,
into the possession of the British Museum.
Symbolism in ancient art was still the order of
the day when this work was written. What
stood before the eye of the archaeologist was not
to him the common-place image it was to all
others. Under a veil that the learned man alone
could expect to remove lay a hidden secret or a
wise teaching ; the veil was to be lifted up.
Panofka's subtle and ingenious mind adapted
itself remarkably well to the ideologic system in
favour among his colleagues. An expression of
the face, or a gesture of the hand in a painted
figure ; a flower, a knot of ribbon, as an accessory
to the scene ; an inexplicable emblem introduced

323

PAN]

CERA MIC LIT ERA TURE.

in the decoration of a vase, plunged his imagina-
tion into the depths of metaphysics. His com-
mentaries were verbose, recondite, and generally
vaguely conjectural. Although Panofka subse-
quently recognised his faults, he could never free
himself entirely from the method he had adopted
in his first work.

PANOFKA (T.),— Antiques du cabinet
du Comte de Pourtales-Gorgier.
Paris, F. Didot, 1834. Fol.,
pp. iv-122; with 41 pis. 50 fcs.

" Antiquities of the collection of Count
Pourtales-Gorgier."

Painted vases, 24 col. pis.; terra-cottas, 3 pis.
These latter were engraved by Mercuri.

Der Tod des Skiron und des

Patroclus, ein Vasenbild des
Konigl. Museums. Berlin, 1836.
4°, pp. 23 ; with 4 pis. (2 col.).
5s.

" The death of Skiron and Patrocles
on a vase painting of the Eoyal Museum."

Terracotten des Koniglichen

Museums zu Berlin. Berlin.,
1842. 4°, pp. viii-136 ; with
64 lith. pis. £2.

" Terra-cottas in the Royal Museum of
Berlin."

The gallery of terra-cotta figures, composed
principally of the older collections formed by Bel-
lori, Bartholdi, Von Roller, etc., is here described
and commented upon after the method followed
by the exegetic school. At that moment scarcely
any attention was paid to the exquisite grace
with which these statuettes reproduce the charm-
ing attitudes, the flowing draperies of the maiden
of Greece, copied by the coroplast as they walked
before his workshop, unconscious of being taken
as models. All interest was concentrated upon
their mysterious signification ; figures found in
the tombs were assumed to conceal a religious or
philosophical meaning. The more inexplicable
appeared the allegory, the more welcome it was
to the valiant decipherer. For instance, we have
on Fig. 1 a woman standing by the side of a re-
clining Satyr ; this has been called " Good luck
and good spirit " ; but it has required no fewer
than eleven quarto pages of argument to support
the author's contentions.

The heavy lithographic plates fail altogether
to render the spirited character of the originals.

— Griechinnen und Griechen
nach Antiken skizzirt. Berlin,
1844. 4° ; with illustrations
taken from painted vases. 4s.

It has been translated into English under the
title Manners and Customs of the Greeks, with
illustrations by G. Scharf.

324

Zeus Basileus und Herakles

Kallinikos. Berlin, 1847. 4°;
with 7 text illustrs.

The seventeenth Programme of the Winckel-
manns' fest.

- Von den Namen der Vasen-
bildner in Beziehung zu ihren
bildlichen Darstellungen. Ber-
lin, 1849. 4°, pp. 88; with
9 pis., some col., representing
58 subjects.

" The names of the painters of Greek
vases, with reference to their paintings."

Translation of the work published at Paris in
1829.

- Die griechischen Eigennamen
mit Kalos im Zusammenhang
mit dem Bilderschmuck auf
gemalten Gefassen. Berlin,l85Q.
4°, pp. 90 ; with 4 pis. repres.
50 subjects. 8 m.

" The Greek names, accompanied with
the word ' Kalos/ in connnection with the
subjects adorning the painted vases."

- Die griechischen Trinkhorner
und ihre Verzierungen aus Licht
gestellt. Berlin, 1851. Fol., pp.
38 ; with 3 pis. 3 m.

A representation of the Greek drinking vessels
and their decorations.

- Dionysos und den Thyaden.
Berlin, 1853. 4°, pp. 50; with
3 pis.

" Dionysos and the Thyaden."

The titles of all the articles contributed by
Panofka to the Archaeological Journals will be
found in Soden Smith's List of Books.

PAPILLOfl (G.)-— Manufacture Nation-
ale de Sevres. Guide du Musee
ceramique. Paris, Leroux, 1904.
12°, pp. 180.

Mr. G. Papillon succeeded to Champfleury as
curator of the Ceramic Museum.

PARENTEAU (F. ).— Essai sur les poteries
antiques de 1' Quest de la France.
Nantes, 1865. 8°, pp. 22 ; with
5 etched pis. 5 fcs.

" Essay on the ancient pottery of
Western France,"

PAR]

CERAMIC LITERATURE.

[PAtl

Description of a few curious specimens of
Roman and mediaeval pottery preserved in the
Archaeological Museum of Nantes.

- Catalogue du rnusee departe-
niental d'archeologie de Nantes
et de la Loire inferieure. Nantes,
1869. 8°; with 12 pis. 2nd ed.

Greek ceramics, pp. 12-23 ; Roman pottery,
pp. 66-83 ; Faiences, pp. 84-86 ; Peruvian vases,
pp. 87-90.

PARGETER (Ph.).— Red House Glass
Works, Stourbridge. . . . Re-
production of the Portland vase
in glass by J. Northwood ; with
notes on Wedgwood's repro-
duction. 1877. 8°, n.p.; 1 photo.

PAR1BENI (R.). - - Vasi inediti del
Museo Kircheriano. (Estr. dei
Mon. Ant., vol. xiv.) Roma, typ.
della R. Ac. dei Lincei, 1904.
4°, pp. 32 ; with 14 text illustrs.
12 fcs.

*' Inedited vases from the Kircher
Museum."

PARIS (Pierre).— Elatee, la ville, le

templed' Athena Cranaia. Paris,
Thorin, 1894. 8°, pp. 318 ; with
12 pis. of Greek terra-cottas and
text illustrs. 14 fcs.

" Elateia, the town and the temple of
Athena Cranaia."

From the number of terra-cotta figures found
buried under the walls of the ruined temples, the
writer demonstrates that such figures were not
exclusively used for funeral purposes, but that
they were also deposited in the temples as votive
offerings to the Goddess.

PARPART (Collection Albert yon).— Cata-
logue of sale. Cologne, Heberle,
1884. 4°, pp. 90 ; with 32 pis.
A list of the prices realised at the
sale is added to the catalogue.

This collection was formed by A. von Parpart
at his castle of Hiinegg, on the Lake of Thun.
German porcelain, Nos. 1 to 254 ; Sevres and
other French porcelain, Nos. 255 to 304 ; various,
Noe. 305 to 333 ; Oriental, Nos. 334 to 432, with
5 pis.; ancient stoneware, Nos. 754 to 782, with
1 pi.; faiences of various origins, Nos. 783 to 847 ;
Luca della Robbia and Italian majolica, Nos. 848
to 1,012, with 10 pis.; Greek and Roman terra-
cotta, Nos. 1,013 to 1,036.

PARS (Adrianus). — Katwyksche,
Rynsburgsche, en andere Neder-
landsche Oudheden. Leiden,
1745. (2nd ed.). 8°, pp. 604 ;
pis. 8s.

" The antiquities of Katwick and Rhyn-
bourg, and other antiquities of Holland."

A notice of the " Jacobaes Kannetjes," with
one plate, will be found oil p. 120. Additional
information on the subject is interspersed
through the book, which has been largely put
under contribution by subsequent writers.

PARTRIDGE. —Catalogue of the historic
and unique collection of old
Dresden porcelain exhibited at
South Kensington and Bethnal
Green Museums since the year
1874. Purchased by R. W.
Partridge, and now on exhibi-
tion in his Galleries, May, 1899.
London, 1899. 4°, pp. 52 ; with
30 half-tone plates. 8s.

PARYILLEE (Achille). : - Etude sui-
1'enseignement raisonne de 1'art
ceramique. Paris, E. Mary,
1884. Sq. 8°, pp. 58 ; with an
etched frontispiece. 3 fcs.

" Essay on the practical teaching of
ceramic art."

Instruction in " Ceramic art " is here limited
to a few practical advices to the faience painter,
with the address of the colour merchant where
all the requisite material may be obtained. A
reprint of an article on " Pottery," contributed
by the writer and his brother, Leon Parvillee, to
the Dictionnaire de Pedagogic, adds a few pages
to this short handbook.

PARYILLEE (L6on). — Architecture et
decoration turques au xve siecle,
avec une preface de E. Viollet-
Le-Duc. Paris, Morel, 1874.
Fol., pp. iv-9 ; with 50 pis.,
some coloured. Publ., 120 fcs.

" Turkish architecture and decoration
in the fifteenth century."

During his stay at Brousse, where he had been
called to superintend the restoration of some
ancient monuments, Mr. Parvillee collected the
elements of an album of decorative designs, re-
producing accurately the ornamentation of the
old mosques and palaces of Asia-Minor. The
adjective of " Turkish " is hardly appropriate to
a style in which Arabic and Persian art play such

325

PAST

CERAMIC LITERATURE.

[PAS

a conspicuous part. Turkish art seems to have
little to do with the magnificent " series de tiles "
— the work of the potters of Persia, Rhodes, and
Egypt — the reproductions of which give a cera-
mic interest to the book. As a manufacturer,
Mr. Parvillee has obtained great success in the
international exhibitions for his enamelled fai-
ence of Oriental character ; his large panels of
tiles for architectural decoration, as well as his
ornamental vases and dishes, were generally
admired.

PASSALAQUA (Collection of Count J. B. Lucini).
Catalogue of sale. Milano, 1 885.
4° ; with 24 photo typ. pis. 10 fcs.

Italian majolica, Nos. 289-489 ; enamelled
terra-cotta and pottery, Nos. 490-547 ; Oriental
and European porcelain, Nos. 548-612.

PASSERI (J. B.). — Lucernse fictiles
Musei Passerii. Pisauri, 1739-
51. 3 vols. FoL, pp. 319 ; with
313 engr. pis. £1, 10s.

" Terra-cotta lamps in the Passeri
Museum."

The infinite variety of Greek and Roman
terra-cotta lamps is admirably illustrated on the
plates of this ponderous work.

- Pictures Etruscorum in vas-
culis nunc primum in unum
collectse, explicationibus et dis-
sertationibus illustrate. Romce,
1768-75. 3 vols. FoL, pp. 274 ;
with 300 engr. pis. £2.

" My desire," says the author in the preface,
" is to bring into light again the image of a
nation, once glorious and powerful." As he had
no other object in view than to make the past of
Etruria revive in its monuments, Passeri studied
the painted vases found in the necropolis, not for
their artistic beauty, but for their historical in-
terest. It is most probable that the coarse and
clumsy plates that he caused to be engraved,
simply as references and illustrations of the text,
satisfied him completely. Not long afterwards,
Sir W. Hamilton published reproductions of the
same vases with the idea of making their designs
known and admired by the artist. Neither of
the copies are absolutely accurate, but between
the loose drawings of the former and the stylish
outline of the latter there cannot be any hesita-
tion as to which to choose.

- Istoria delle pitture in maio-
lica fatte in Pesaro e ne'luoghi
circonvicini, dell Abbate Giam-
batisto Passeri da Pesaro, etc.
Venezia, 1752. 18°, pp. 144;
with appendices. (In Raccolta
(Topusculi scientifici e filosofici
del Padre Calogera, vol. iv.)

326

- 2nd ed. Bologna, 1775. 4°,
(In Passeri' s Storia dei fossili del
agro Pesarese. )

- 3rd ed. Pesaro, 1838. 8°,
pp. 115; with appendices. (Pub-
lished by the Pesaro Chamber of
Commerce.)

— 4th ed. Pesaro, Nobili, 1857.
8°, pp. 215 ; with 3 pis.

" History of the pictures upon majolica
made at Pesaro and other places in the
district."

Before Passeri, no one in Italy nor, if we are
not mistaken, in any other country had ever
conceived the idea of choosing a centre of pottery
manufacture as a fit subject for a monograph.
Vasari, it is true, had written the life of Luca
della Robbia, but it was as a sculptor rather than
as a ceramist that he had been given a place in
the Life of Painters. In Passeri's time ancient
majolica was much neglected by archaeologists
and collectors, general attention being then ab-
sorbed by the ancient vases, of which the excava-
tions, conducted simultaneously on many points,
increased the number from day to day. Ani-
mated by the love he bore to the town of Pesaro
and all that had illustrated it in the past, the
antiquarian and geologist, Passeri, relinquished
for one moment the greater works in which he
was engaged to prepare a history of the art in
which it had for so long excelled.

Collector to the backbone, he had freely ad-
mitted in his museum, by the side of his admir-
able specimens of classical ceramics, not only fine
and rare pieces of mediaeval and Renaissance pot-
tery, but also numerous fragments of the kind
excavated from the soil of the town. To these
local finds, and the trust he put in them, are
traceable misstatements and errors which take
away much from the value of the book. On the
authority of some very early dates found inscribed
upon examples^which he candidly believed to
be of Pesaro manufacture, but which we recog-
nise as having been imported there from Faenza
or any other of the most ancient centres of pro-
duction— he was induced to infer that not only
the invention of metallic lustres, but also the
very art of painting upon stanniferous enamel
had originated in the town. He did not forget
to record the names of the other places in Italy
where majolica was also produced, but he re-
frained from giving them more than a passing
mention, and considered their ware as being
derived from that made at Pesaro, of which they
were a more or less successful imitation.

The last chapter of Passeri's book treats of
Chinese porcelain. He does not hesitate to say
that, in his own estimation, Italian majolica is
far superior to Oriental ware, " on account of
the historical and artistic value of the paintings
with which it is adorned."

He did all he could to foster the revival of the
faience industry in the old city. It was by his
advice and under his patronage that a manufac-
tory was established there in 1763. But to his

PAS]

CERA MIC! LITER A TURE.

intense disgust, the two brothers who started the
enterprise, far from reviving the old tradition,
preferred to go with the times, and turned their
efforts towards the imitation of Oriental porce-
lain and Delft faience, in which, it is said, they
became very successful.

Histoire des peintures sur
maj clique faites a Pesaro et dans
les lieux circonvoisins. Traduit
de Pitalien et suivi d'un appen-
dice par Henri Delange. Paris,
chez Fauteur, 1853. 8°, pp. 120.
5 fcs.

A correct translation, in which the Italian
text is rendered in French almost word fcr word.
Delange has accompanied it by a critical examin-
ation of the work ; he was able to point out many
of the contradictions that identified and marked
specimens of old majolica of other origin
offer with the statements of the historian of
Pesaro. This translation was prepared to serve
as introductory notice to the catalogue of an
important sale of Italian majolica, which was
to have been conducted by Delange ; he does
not disclose, however, the name of the collector.

De tribus vasculis Etruscis
encaustice pictes, a Clemente
XIV., P.O.M., in Museum Vati-
canum inlatis dissertatio. Flor-
entice, 1772. Sm. 4°, pp. 54 ;
with 6 etched pis. 5 fcs.

" Dissertation upon three Etruscan
vases, with encaustic paintings, deposited
in the Vatican Museum by Clement XIV.,
P.O.M."

That Passed, who lived in a town where pot-
tery had been and was still being manufactured, |
should have considered the decoration of the j
vases as encaustic paintings, gives an idea of the j
superficial manner in which classical ceramics
were studied at the time.

PASSERINI (L.).— Genealogia e storia
della famiglia Ginori. Firenze,
1876. 8°, pp. 143 ; with 2 pis.
of armorial bearings. 3 fcs.

" Genealogy and history of the Ginori
family."

PATRONI (Giovanni). - - La ceramica
antica nell'Italia meridionale. |
Napoli, Stab, tipogr. della Regia
Universitse, 1897. 4°, pp. 181 ;
with 122 half-tone illustrs. 15 fcs.
" Ancient ceramics in Southern Italy."

To establish the characteristics by which the
painted vases made in the South of Italy can be

distinguished from those imported into the
country from Greece proper is the theme that
Prof. Patroni has developed in this work. The
theory, presented for the first time, is supported
by means of examples chiefly drawn from the
Naples Museum, all belonging to the period when
the art of vase painting was in full decline.

- Guida nel R. Museo archeo
logico dkSiracusa. Napoli, 1897.

8°.

" A guide through the Koyal Museum
of Syracuse."

Vasi dipinti del Museo Vi-
venzio designati da Costanzo
Angelini nel 1798, publicati, con
testo di G. Patroni, da G. Rega.
Napoli, Detken & Rocholl, 1901.
4°, pp. iv-8 ; with 42 pis., some
col. 60 fcs.

" Painted vases from the Vivenzio
Collection, designed by C. Angelini in
1798, and published by G. Rega, with
text by G. Patroni."

A few vases included in this collection have
never been reproduced elsewhere, and all traces
of them are lost. The rest are now in the Naples
Museum.

PAUL (Collection Johannes).— Catalogue

of sale. Cologne, Heberle, 1882.
4°, pp. 220 ; with 32 phototyp.
pis. 15 m.

Ceramics, Nos. 1-457 ; among which are some
remarkable specimens of ancient stoneware ;
Italian majolica ; one " Frutiere " of Henri
Deux ware ; European and Oriental porcelain ;
and* 88 pieces of Wedgwood ware.

PAULSSEN (W.).— Die natiirlichen und
kiinstlichen feuerfesten Thone,
ihr Vorkommen, mechanische
und chemische Untersuchung,
Gewinnung, Vorbereitung, und
Verwendung zu Ziegeln, Retort-
en, Muffeln, Rohren, zum Ofen-
bau, u.s.w. Weimar, Voight, s.d.
8°, pp. 8 ; with 3 fold. pis. and
41 illustrs.

" The natural and artificial refractory
clays : their mechanical and chemical
trial, extraction, preparation, and use for
the making of tiles, crucibles, muffles,
drain pipes, the building of ovens, etc."

327

PAU]

CERAMIC LITERATURE.

[PER

PAUR (J.). — Zwei romische Ziegel-
denkmaler aus Steinamanger in
Ungern. Wien, s.d. 8°, pp. 8 ;
with 3 fol. pis.

" Two monumental Eoman tiles dis-
covered in Hungary."

PAYAN-DUMOULIN (E. de).— Antiquites
gallo-romaines decouvertes a
Toulon-sur-Allier, et reflexions
sur la ceramique. Le Puy, Mar-
chesson, 1860. 4°, pp. 180 ;
with 4 pis. 6 fcs.

" Gallo-Eoman antiquities discovered
at Toulon-sur-Allier, and remarks on the
ceramic art."

An accumulation of broken vases and terra-
cotta figures of the style fully described by Tudot
was excavated from the ruins of a Roman pot-
ter's kiln. This paper, in which the find is
descanted upon, is made tip of common-place
quotations most often misapplied, and is as
uninteresting as are the well-known Gallo-Roman
terra-cottas, of which the clumsy woodcuts
grouped upon the plates give a sufficient idea.

PAZAUREK (G. E.). — Reichenberg.
Nordbohmisches Gewerbe-
Museum. Fiihrer durch die
kunstgewerblichenSammlungen,
1893. -8°, pp. 124; with 31
illustrs.

' ' Handbook to the Reichenberg Museum.
Industrial art of North Bohemia."
Ceramics, pp. 65-104.

Ignaz Bottengruber, einer

der altesten deutschen Porzel-
lanmaler. Breslau, 1902. (Re-
print from Schlesien Vorzeit in
Bild und Schrift.)

" I. Bottengruber, one of the earliest
porcelain painters."

NordbohmischenGewerbemu-

seum in Reichenberg. Keramik.
Reichenberg, 1905. 4°; with 30
pis. (some col.), 100 text illustrs.,
and list of marks. 30 m.

PEAKE(T.)-— Terro-metallic,Roofing,
Ridge, and Paving Tiles, Orna-
mental Terra-cotta, etc. Manu-
factured by T. Peake, "The
Tileries," Tunstall. Stoke-on-
328

Trent. Pattern book. 4°;
col. pis.

The factory was established one hundred and
fifty years ago.

PEIXOTO (R.).— As olarias de Prado.
Industrias populares. Porto,
1898. 8°, pp. 43 ; with 94 text
illustrs. (In Portugalia, vol. i.)

" The potters of Prado. The popular
industries of Portugal."

PELLEGRINI (G.)-— Museo Civico di
Bologna. Catalogo dei vasi an-
tichi dipinti delle collezioni Pal-
agi ed universitaria. Bologna,
Museo Civico, 1900. 4°, pp. 133;
1 photo typ. pi. and 4 lith. pis.;
with 85 text illustrs. £1, 5s.

" Catalogue of the ancient painted vases
from the Palagi and the University col-
lections in the Civic Museum of Bologna."

The Palagi collection was acquired after the
death of the owner in 1860 ; the other portion of
the collection was formerly in the University
Museum, founded in 1712. The catalogue com-
prises 899 Nos. Four pictures of white Lekithies
are reproduced on the plates.

PENAFIEL (A.)-— Monumentos del arte
Mexicano antiguo. Monuments
of ancient Mexican art ; orna-
mentation, mythology, emblems
and architecture. Berlin, 1890.
One vol. text, pp. 358, and two
vols. of 318 pis. (176 col.). £45.

Published, by decision of Carlos Paoheco, at
the expense of the Mexican Government. The
work forms a complete history of Aztec civiliza-
tion, illustrated with reproductions of original
examples of art, among which ancient pottery
is largely represented. The text is printed, side
by side, in Spanish, French, and English.

PENNA (D. S. Femira).— Apontamentos
sobra es ceramics do Para. Rio-
de-Janeiro, 1877. 4°, pp. 30 ;
with 2 pis. (In Archivios dal
Museo national des Chili.}

" Contributions towards the history of
ceramics in Para."

PERCEVAL (S. G.).— On the Brisling-
ton lustre ware in the Bristol
Art Gallery. Bristol, 1906. 8°,
pp.8.

The writer concludes that these specimens are
of Spanish origin.

PER]

CERA MIC LIT ERA TURE.

PERCY (Le Baron). — Memoire sur des
especes d'amphores, dites Tena-
jas, usitees de tous temps in
Espagne. Paris, Sajou, 1811.
8°, pp. 26. (Reprinted from the
Magazin Encyclopedique. )

" Memoir on a kind of anaphoras, called
Tenajas, used in Spain from the earliest
times."

All over the Spanish country, the memory of
the Roman occupation may still be traced in the
persistence of some antique tradition. Just as
in the cellars of Lucullus and Mecaenas the Lesbos
and the Falernian wines were kept maturing in
huge jars (dolia) of terra-cotta — the Xeres and
the Porto are now preserved in capacious tenajas
in the vaults of the Spanish castles and monas-
teries. Both antique dolia and modern ten-
ajas offer a perfect likeness of material, shape,
and workmanship. To read the accurate de-
scription of the making of a tenaja by a Spanish
potter, as it was witnessed by the writer, is to
find oneself transported, in imagination, into the
workshop of a Roman potter, and follow the
various manipulations through which clay was
fashioned under his fingers into jars, urns, and
amphoras. Although the wheel was not made
use of, the shape of the vessels of the largest
proportions — some of them are over ten feet in
height — are remarkably correct and true.

- Memoire sur les vases refrig-
erants, appeles en Espagne Alca-
razas. Paris, Sajou, s.d. 8°.
(Extr. from the Magazin En-
cyclopedique.}

" Memoir on the cooling vases, called
in Spain Alcarazas."

A paper to be consulted in connection with
the history of "Buccaros."

PEREZ-YILLAMIL (D. I.).— Artes e in-
dustrias del Buen Betiro. La
fabrica de la china ; el labora-
torio de piedras duras y mosaico
obradores de bronces y marfiles.
Madrid, Rivadeneyra, 1904.
Roy. 8°, pp. xv-151 ; with 30
phototyp. pis. reproducing 136
objects.

" The arts and industries in the Buen
Retiro. The manufactory of china ; the
ateliers of the lapidaries, works in precious
stones and mosaic ; the bronze makers and
the ivory carvers."

During the first period of manufacture, the
artists and workmen who had been transferred
in a body from the factory of Capo di Monte to

that of Buen Retiro, by order of King Charles III.
in 1761, produced at Madrid a porcelain very
similar in character to that which they had been
accustomed to make at Naples. To discriminate
between the productions of these two places is
often, therefore, a matter of great difficulty.
The china collector may derive some assistance
from the work of Sefior P. Villamil. He will find
in it the description and reproduction of the
models known to have originated at Buen Retiro,
and a complete list of the marks found affixed on
a few specimens. Such indications are, how-
ever, insufficient for the identification of the
larger number of examples ; the same models
having been repeated at Alcora, and, later on, in
a wholesale manner by the Ginoris, of Doccia,
and the paste offering, in all cases, a want of such
distinctive quality as might make it serve as a
guide. The illustrations of this volume are of
special interest, as they reproduce exceptional
vases and classical biscuit figures which are only
to be seen in the royal palaces of Spain. A large
selection of the exquisitely modelled and decor-
ated groups and figures, the true glory of the
Buen Retiro manufacture, allow us to form a
good notion of the characteristic style of a porce-
lain now become extremely rare.

PERNICE (E.).— KothonundRaucher-
gerat. Berlin, 1899. 8°, pp.
with 20 illustrs. (Reprint from
the Jahrbucher.)

" Kothon and fumigatory vases."

A large class of vases destined to burn in-
cense and other perfumes is described here for
the first time.

Ausgewalte Griechische Terra-

cotten im Antiquarium der
Konigl. Museen zu Berlin. Her-
ausgegeben von der General-
verwaltung. Berlin, Reimer,
1903. Fol., pp. 28; with 37
heliotyp. pis. 30 m.

" A selection of Greek terra-cottas in
the Royal Museum of Berlin. Published
by the General Direction."

Figures of terra-cotta, from the archaic period
to the time of the highest development of the
art, are represented in examples discovered in
Greece in several localities, with the exception
of Tanagra.

PERROT (G.)-— L'enlevement d'Ori-
thye par Boree. (Enochoe du
Musee du Louvre. Paris, 1874.
4°, pp. 28 ; with 1 pi.

" The rape of Orithia by Boreus. An
(Enochoe in the Louvre Museum."

- Le triumph d'Hercule. Cari-
cature grecque d'apres un vase

329

PER

CERAMIC LITERATURE.

[PET

de la Cyrenaique. Paris, 1876.
4°; with 1 pi.

" The triumph of Hercules. An antique
caricature after a vase of Cyrenaica."

PERROT (G.) and CHIPIEZ (Ch.)-— A his-
tory of art in ancient Egypt.
Translated by W. Armstrong.
London, Chapman & Hall, 1883.
2 vols. 8°; with 14 pis. and
598 text illustrs. Pottery, vol.
ii., pp. 367-377. £2, 2s.

- History of art in Chaldsea and
Assyria. London, 1884. 2 vols.
8°; with 15 pis. and 452 text
illustrs. Ceramics, vol. ii., pp.

289-308.

- History of art in Phoenicia
and its dependencies. London,
1885. 2 vols. 8°, with 10 pis.
and text illustrs. Ceramics, vol.
ii., pp. 279-326 ; illustrs. of
Cyprus pottery.

- History of art in Sardinia,
Judsea, Syria, and Asia-Minor.
Trans, by Gonino. London, 1 890.
2 vols. 8°; with 8 pis. and 406
text illustrs. Pottery, vol. i.,
pp. 91-94, 348-358. (Zaffira
forgeries, etc.)

History of art in Phrygia,
Lydia, Caria, and Lycia. Lon-
don, 1892. 8°; with 280 illustrs.
Pottery, pp. 319-326.

History of art in Persia.
London, 1892. 8°; with 12 pis.
and 254 illustrs. Pottery, pp.
420 (Friezes of Susa), 472-488.

- History of art in primitive
Greece. Mycenian art. London,
1894. 2 vols. 8°; with 20 pis.
and 544 illustrs. Pottery, vol.
ii., pp. 352-412.

PESSAMHA (J.)«— A fabrica de

do Rato. Documento para a
sua historia. Lisboa, 1898. 8°.
330

" The faience factory of Rato. A
document towards its history."

A porcelana em Portugal ;
primeiras tentativas. Lisboa,
1903. 8°, pp. 25; with 5 pis.
(In Archivo historico Portuguez.)

" Porcelain in Portugal ; the first
attempts."

The plates represent small plaques with sub-
jects in relief and medallions in imitation of the
Wedgwood Jasper. One of the plaques bears
the inscription, " The first porcelain made in
Portugal, in 1773 ; discovered by Bartholomeo
da Costa, etc." (Translation.)

PETERSEN (E.).— Ercole riportante i
pomi delle Esperidi. Roma, 1859.
8°; pis.

" Hercules bringing back the Hesperi-
dian apples."

- Paride ed Elena. Roma, 1860.

8°.

" Paris and Helen."

- Vasenstudien. Berlin, 1879.
4°, pp. 19. (Reprint from the
Archaol. Zeitung.)

Die Gruppe der Tyrannen-
morder auf eine Lekythos der
Sammlung Scaramanga in Wien.
Wien, 1881. 8°; pis.

" The group of the tyrant murder upon
a Lekythos of the Scaramanga Collection."

Ercole e Tritone. Roma,
1882. 8°; with 3 pis.

PETIT-DIDIER (Collection). - Catalogue
of sale. Paris, 1843. 8°.

The collection had been formed at Lyons.

PETIT-LAFITTE.— Vilaris et la decou-
verte du Kaolin. Bordeaux, s.d.
8°, pp. 8.

" Vilaris and the discovery of Kaolin."

This paper claims for Vilaris, a druggist of
Bordeaux, a share in the discovery of the Limo-
ges kaolin. It was he who recognised in the
sample of white clay submitted to his examina-
tion by Mme. Darnet, a material out of which
porcelain could be made, and forwarded it to
Macquer, chemist of the Royal factory of Sevres,
in 1768.

PET]

c $RA MIC LITER A TUR tf.

[PET

PETITON (C.)- — Le musee ceramique
de Rouen. Rouen, 1900. 4°;
60 photogr. pis. 80 fcs.

PETITOT (E. A.)- — Suite des vases
tiree du cabinet de Son Excel-
lence Monsieur Du Tilot, Mar-
quis de Felino, et gravee a 1'eau
forte d'apres des dessins origi-
naux de Mr. le Chev. E. A. P.
par Benigno Bossi. Parma, 1764.
(1st ed.)

" A series of vases etched by B. Bossi,
after the drawings of E. A. Petitot, in the
possession of Mr. Du Tilot, Marquis of
Felino."

PETRIE (I. I. Flinders).— Pottery of

Ancient Egypt. (In Archceo-
logical Journal, vol. xl.) London,
1883. 8° ; with 3 pis.

Naukratis. Part I. With

chapters by C. Smith, E. Gard-
ner, and B. V. Head. 4°, pp.
100 ; with 63 pis. (9 of pottery).
Part II. By E. Gardner, with an
appendix by F. LI. Griffith. 4°,
pp. 92; with 24 pis. (16 of
pottery). London, Triibner,1886-
88. Third and sixth memoir of
the Egyptian Exploration Fund.
£1, 5s.

To Mr. Cecil Smith has been entrusted the
care of describing the pottery discovered at
Naukratis. The Greek colony which had settled
on the spot had imported there the arts and
trades of their country. Upon the pottery they
made brown traceries of geometrical ornaments,
human figures and animals, were painted over a
white engobe (called glaze by the writer), in a
style recalling that of the Arkesilas Cylix and
the archaic vases of Corinth. In the striking
analogy presented by the Corinthian and the
Naukratis painted vases, Mr. Flinders Petrie
found an additional support to the theory which
would ascribe to Greek art in general an Oriental
origin. He seems to have been ill-advised, how-
ever, in producing this evidence, for it is an
established fact that the art of vase- making had
reached in Corinth its highest development more
than a century before the earliest date that can
be assigned to the production of the Naukratis
pottery.

Tanis. Part II. Nebesheh

and Defenneh, with chapters by
A. E. Murray and F. LI. Griffith.

Fourth memoir. London, 1888.
4°; 63 pis. and plans. (Egyptian
pottery, and 9 pis. of Greek

vases.)

— Tell el Hesy (Lachish). Lon-
don, A. Watt, 1891. 4°, pp. 63 ;
with 10 pis. and text, illustrs.
10s.

One of the publications of the Palestine Ex-
ploration. Fund. Chapter vii. treats of the
pottery found in Tell el Hesy. It opens with
the following sentence : — " The excavations at
Tell el Hesy proved to be an ideal place for de-
termining the history of pottery in Palestine."
The most ancient examples are, according to the
writer, represented by the Amorite pottery,
dating from 1,600 to 1,000 years B.C. In the
successive strata, adopting the order in which
they were deposited in the course of centuries,
he found specimens of Phoenician, Jewish, Greek,
Seleucidan, and Roman pottery. These various
styles are illustrated on five plates reproducing
numerous forms and fragments of rough and,
with very few exceptions, undecorated terra-
cotta.

PETRIE (W. M. Flinders) and QOIBELL (J. E.),

with a chapter by Spurell (F. C.
J.) — Nagada and Ballas, 1895.
London, Quaritch, 1896. 4°, pp.
x-79; with 85 lith. pis. (32 of
pottery). £1, 5s.

In the extensive burial grounds of Nagada
and Ballas, in Upper Egypt, human remains
were found to have been deposited in the soil,
either unprotected, or occasionally enclosed in a
stone cist or a large earthen jar. The Egyptian
mode of sepulture was not practised by the tribes
which once inhabited that region. During a
long course of exhaustive excavations, the ex-
plorers did not meet with a single mummified
body. Shall we, therefore, infer that in these
tombs and their contents we must see obvious
evidences of the presence of some unknown race
of invaders, which had taken possession of the
land at a period anterior in date to the intro-
duction in the country of the practice of em-
balming the dead ?

This is the opinion entertained and developed
by Mr. Flinders Petrie. As nothing in the nature
. of the discoveries calls to mind the distinctive
character of any of the various nationalities
which are known to have been important factors
in the mixed population of ancient Egypt, he
proposed that these unprecedented finds should
be considered as representing the degree of civi-
lisation of what he called a " New race." It is
with that object in view that the present memoir
has been written.

His conclusions have not been generally
accepted. The pottery, discovered in profusion
during the campaign, should not, in our estima-
tion, have been relied upon as a witness in sup-
port of the theory. One could not mention an

331

CERA MIC LITER A TURti.

[PFE

example found in the Egyptian catacombs
which recalls the technics of the Nagada vases.
The fine red clay, of which they are formed, is
highly polished on the outer surface, and the
• upper part of the piece is covered with a coating
of black glaze. Such characteristics were never
observed* in any work of remote antiquity, but
they would very accurately describe the red
polished vessels made by the Siout potters of
the present day. Another rather incompatible
evidence, also supplied by the pottery, is that at
Ballas the very soil, from the top to a depth of
six inches, is made up of a mixture of dust, ashes,
and fragments of the same red and black pottery.
One can hardly believe that if the fragments had
lain there for many thousand years, they should
not have disappeared long ago under a thick
layer of sand.

In the tombs of Nagada the finds presented a
slightly different character. Together with mor-
tuary vessels of the kind just described occurred
a few objects of early Egyptian style, but broken
terra-cotta of the late Roman period predomi-
nated largely over all the rest. Evidently the
place had been used as a burial ground by suc-
cessive generations up to a comparatively recent
epoch. An ethnological examination of the
crania has revealed that the tribe did not belong
to the Egyptian, but to the Kabyle race.

From these rambling observations one might
as well conclude that this alien population, which
occupied the Nagada region during an undeter-
mined period, might originally have come from
North-western Africa, and never relinquished, in
the land of adoption, their national manner of
burying the dead. In the style of the pottery they
made we have a kind of intimation that their
settlement cannot have taken place at a time so
distant from our own as we are given to under-
stand.

It is not that we are at all concerned with the
polemic raised by the discovery of a " New race,"
excepting so far as regards its ceramic produc-
tions. Considering that their earthen vessels
are akin to modern Arab ware, and quite unlike
all primitive pottery ; remembering that frag-
ments of them cover the surface of the soil, it
would be difficult for us to agree with an opinion
which gives to the red and black pots of Nagada
a prehistoric origin.

Antique pottery is frequently described and
illustrated in the memoirs subsequently issued by
the Egyptian Exploration Fund.

PETRINI. — Lettera su una antica
terra-cotta trovata in Palestrina.
Roma, 1794. 4°.

" A letter on the subject of an antique
terra-cotta discovered at Palestrina."

PETROY (Y. J.). — Marques des por-
celaines, faiences et majoliques
russes et etrangeres. Moscow,
1904. 8°, pp. xxxviii-208. (In
French and Russian.) 13s.

" Marks of the Kussian and foreign
porcelains, earthenware, and majolica."
332

Contains 675 Russian and 2,850 foreign marks.
The attribution of these latter consists in a mere
indication of the country of origin.

PEYRUSSON (EdOliard).— L'industrie de
la porcelaine en Limousin, son
avenir et ses perfectionnements.
Limoges, impr. Ducourtieux,
1892. 8°, pp. 48.

" The porcelain industry in the district
of Limoges; its prospects and its im-
provements."

Mr. Peyrusson, professor of • chemistry at
Limoges, has made a thorough study of the
present conditions of the local industry, and has
given us, in this paper, the benefit of his prac-
tical experience.

- Preparation de Tor pour la
decoration de la Porcelaine.
Limoges, 1891. 8°, pp. 8.

" Method for the treatment of the gold
employed for the decoration of porcelain."

PEZZA ROSSA (G.).— Scavo di vasi
etruschi sul Mincio, nel Man-
tovano. S.I., 1847.

" Etruscan vases discovered in the
excavations made on the Mincio, in the
province of Mantua."

PFAU (L).— Kunstgewerbl. Muster-
bilder aus der Wiener Weltaus-
stellung. Stuttgart, 1874. Alb.
4°, pp. 22 ; with 40 pis. 3 m.

" Models of industrial art from the
Vienna International Exhibition."
Ceramics, pis. xii-xxiv.

PFEIFFER (B.)-— Die Ludwigsburger
Porzellanfabrik. Stuttgart, 1892.
8°, pp. 52. (Reprint from the
W iirttembergische Vierteljahrs-
hefte.)

" The porcelain factory of Ludwigs-
burg."

In 1756, B. C. Hacther formed a company for
the establishment of a porcelain factory in Wiirt-
temberg. Two years after, Duke Carl signed a
decree which provided for the foundation of such
a factory at Ludwigsburg under the direction of
Counsellor J. G. Trothe. J. J. Ringler, from
Vienna, was entrusted with the practical manage-
ment, a position which he kept for forty years.
Faience manufacture was added to porcelain-
making in 1763. The financial conditions of the
joint undertakings were always precarious. We
notice that the staff had to accept porcelain in

PFU]

CERAMIC LITERATURE.

[PIC

part payment of their wages up to 1802. The
complete list of artists and workmen extends up
to the end of the eighteenth century. The factory
declined rapidly from that time, and was ulti-
mately closed in 1824.

- Album der Erzeugnisse der
ehemaligen Wurttembergischen
Manufaktur Alt-Ludwigsburg.
Stuttgart, 1906. Obi. 4°, pp.
77 ; with 151 pis. in half-tone.
45 m.

" Album of the productions of the
ancient manufactory of Ludwigsburg in
Wurtemberg."

The plates give the reproduction of 570 figures
and 361 vases and other pieces, as also of the
marks and monograms found on the ware.

PFUNGST (H. J.).— A descriptive cata-
logue of a small collection of
Italian majolica in the posses-
sion of H. J. P., 22 Endsleigh
Gardens. London, 1890. Sm.
4°, pp. 13 ; 6 photot. pis. (25
copies priv. printed.)

PHELYPEAUX. - - Under this name,
Champfleury's Bibliographic cer-
amique gives the titles of twelve
official decrees relating to the
Royal manufactory of Sevres.
4°, 1748-1764. Copies of these
decrees are preserved in the
library of the manufactory.

PHILLIPS (J.).— The potter's art in
Devonshire. 1881. 8°, pp. 4.
(Reprint from the Transactions
of the Devonshire Association.)

Notes upon the manufacture of pottery,
ancient and modern, in North Devon ; Mr.
Fishley's pottery ; Mr. Webber's grafitto ware ;
the Barum ware ; the Torquay ware, etc.

PHILLIPS (W. P. & G.) and CHAFFERS (W.).
—Catalogue of an exhibition of
old Wedgwood ware at Messrs.
Phillips' Ceramic Galleries ; cat-
alogued and arranged by W.
Chaffers. London, Davy, 1877.
8°, pp. 49.

— Catalogue of W. and G.
Phillips' exhibition of high class

modern paintings on pottery by
British and foreign artists. Lon-
don, 1880. 16°, pp. 32.

Exhibition of works by L.
M. Solon. London, Bemrose &
Sons, 1897. 8°, pp. 11 (68 Nos.) ;
with a title page by Leon V.
Solon, and 2 phototyp. pis.

PHILLIPS (P. W.).— A short account
of old English pottery, and an
introduction to the study of
Chinese porcelain by Rev. G. A.
Schneider, M.A.; also a cata-
logue of old china offered for
sale at the Manor House, Hitchin,
Herts. Hitchin, 1901. 8°, pp.
124 ; with 50 half-tone pis.

PHOLIEN (Fl. ). — Les anciennes faiences
liegeoises. Contribution a Fhis-
toire de la ceramique au Pays
de Liege. Liege, 1902. 8°, pp.
30 ; with 5 pis. (4 col.). (Re-
print from the Bulletin de VInst.
Arch. Liegeois.)

" The ancient faience of Liege."

Liege was renowned for its glass works. The
manufacture of faience was later attempted in
the town, but never reached a great develop-
ment. A factory was established by Gouron, in
1765. He was succeeded by Joseph Boussemart,
of Lille, who does not seem to have been much
more fortunate than his predecessor. Finally,
the works were closed in 1811. The ware, which
was decorated in the style of Strasburg, Lune-
ville, and Marseilles, bears no marks ; it is of
very difficult identification.

La ceramique au Pays de
Liege. Liege, A. Bernard, 1906.
8°, pp. ii-192 ; with 8 pis. (4 col.)
5 fcs.

Additional information on the faience fac-
tories of Liege, and short notices on Andenne,
Huy, Namur, Maestricht, Dinant, Septfontaine,
La Louviere, and other minor manufactories of
the region.

PIC ( J.L. ). — DieUrnengraberBohems,
Aus der Bohmischen iibersetzt
von J. Miiller Horsley und J. V.
Zelisko. Leipzig, Hiersemann,
1907. 4°, pp. xii-210; with

333

PIC]

CERAMIC LITERATURE.

[PIC

100 pis. and 91 text illustrs.
£4.

" The graves with cinerary urns in Bo-
hemia. Translated from the Bohemian."

PICARD (M. ).— Nouveau traite de pein-
ture sur porcelaine et sur faience
a 1' usage des professeurs des
ecoles speciales de ceramique et
des amateurs. Paris, 1893. 8°,
pp. 95 ; vigns.

" A new treatise of porcelain and
faience painting for the use of professors
in the technical_schools of ceramics, and
of amateurs."

PICCOLPASSI (C.) .— I trelibri dell'arte
del Vasajo, nei quali si tratta non
sola la pratica, ma brevemente
tutti i secret! di essa cosa che
persino al di' d'oggi e stata
sempre tenuta ascosta, del Cav.
Cipriano Piccolpassi, Durantino.
Roma, 1857. 4°, pp. 58 ; with
atlas of 37 lith. pis. 15 fcs. (A
supplementary page, which
should be inserted after p. 42,
is often missing. It contains
recipes for making the gold
lustres.)

2nd ed. Pesaro, 1870. 8°.

(In Vanzolini.)

" The three books of the potter's art, in
which, not only the practice of the art is
treated upon, but also all the secrets con-
nected with it and kept concealed up to
this day, are briefly disclosed."

In all probability this treatise had been
written for immediate publication ; three hun-
dred years elapsed, however, before the MS.
was put into print. The original — now in the
art library of the Victoria and Albert Museum —
belonged then to Sr. Giuseppe Raffaelle, of
Urbania (the ancient Castel Durante), the native
place of Piccolpassi, or Picciol Passo, as he has
signed his name at the end of the preface.

This MS. was well known to the old majolists
as containing a treasure of technical information.
Passeri, who had examined it, speaks of it in his
book, however, in a most disparaging manner.
" All the secrets it pretends to unveil were," says
he, " familiar to all the lads employed in the
majolica manufactories ; whereas the historical
particulars concerning the potters and painters
of the time, which it would have been most im-
portant for us to know, are absolutely wanting."

Insignificant as it appeared to the not always

334

impartial historian of Pesaro, this treatise is of
great interest for the history of ceramic manu-
facture. Cavaliere Piccolpassi had been a ma-
jolica manufacturer and painter ; his sketches
are bound to be accurate, and the description of
the processes he practised himself, at about the
best period of the art, can be taken as correct and
reliable. He has given us drawings of the rudi-
mentary machinery and quaint tools used at that
time, as well as of the shape of the kilns ; and
he has represented the various stages of the
manufacture from the preparation of the clay
up to the placing of the ware and the mode of
firing.

He gives a view of the town of Castel Durante,
and praises the superiority of its painted ware
over all other, for he is proud of calling himself a
Durantin. But he refrains from mentioning any
of the factories in particular, and is silent as to
the names of its best potters and artists. It is
not the secrets he has learned in his native town
that he intends to disclose in his book — his
fellow-craftsmen might consider such a trans-
gression of trade honesty as nothing short of
treachery — but the ways and means he has seen
used in other centres of production. On the
first page Urbino is spoken of as the place in
which work is conducted in the manner he is
about to describe. Venice and Genoa have
supplied the prices he affixes to all the patterns
of painted dishes of which a sketch is given.
After all, it may have been through the appre-
hension of giving offence to his mates and friends
that he decided to leave his MS. unpublished
during his lifetime.

This edition was printed from a MS. copy
made by G. Raffaelle and preserved by him after
he had sold the original. It is somewhat in-
complete, and often inaccurate.

- Les trois livres de Fart du
Potier ; esquels se traicte non
seulement de la Pratique, mais
briefvement de tous les secrets
de ceste chouse qui iouxte mes-
huy a estee tousiours tenue
celee. Translate de 1'Italien en
langue Francoyse par Maistre
Claudius Popelin, parisien.
Paris, Libr. Intern., 1860. 4°,
pp. 87 ; with 37 lith. pis. 15 fcs.

Translation of the above work. It may be
that the old French language lent itself particu-
larly well for rendering the quaintness of ex-
pression of Piccolpassi's MS. with absolute
accuracy ; but we fear that more than one
French reader, puzzled with such a flow of
obsolete words, and ill at ease with the anti-
quated turn of the sentences, may think that
the learned translation had better be translated
again for the benefit of the many who have the
misfortune of not being mediaeval scholars.

The supplement, a fly sheet added to the first
reprint long after the publication of the volume,
appears to have been unknown to Popelin ;
these interesting passages are missing in his
translation

PIC]

CERAMIC LITERATURE.

[PIN

PICHON (Baron J.). — Notes prises sur
Tin vent aire du Mobilier de
Madame la Comtesse Du Barry
sous la terreur. Lettre de Mr. le
Baron J. Pichon. Paris, Aubry,
1872. 8°, pp. 10. (Reprint
from the Bulletin du Bouquiniste. )

" Notes taken from the inventory of the
furniture belonging to Countess du Barry,
under the Reign of Terror."

An autograph note of the commissary who
conducted the sale of Countess Du Barry's
effects, confiscated by the Government, contains
a detailed description of the table and chest of
drawers adorned with porcelain plaques, with
incidental considerations upon the productions
of the Sevres manufactory. This note was
reprinted as a complement to Davillier's work,
Les Porcelaines de Madame Du Barry.

PICHON (L). — La faience a emblemes
patriotiques du second Empire.
Paris, Mangineot, 1874. 32°,
pp. 32 ; with illustrs. 3 fcs.

" The faience painted with patriotic
emblems during the second Empire."

In the possession of Mr. Ludovic Pichon was
a dinner plate bearing the figures 7,500,000, re-
presenting the number of votes recorded in the
plebiscite which called Napoleon III. to the
throne. A strong believer in the importance of
inscribed pottery as historical documents, the
collector seized the occasion of commenting upon
the odd specimen he had discovered, very pleased
to add one more pamphlet to the copious list of
books written on the patriotic faiences. A few
copies have a dedication to the Prince Imperial.

PICKERT (Collection A.).— Catalogue of
sale. Cologne, Heberle, 1881.
8°, pp. 265 ; with 24 pis.

The Pickert collection was one of the most
ancient in Germany. The old house on the
Albrecht Diirer place at Nuremberg, which Pick-
ert had filled from cellar to garret with curiosities
of all kinds, was one of the sights of the town.
Ceramics, Part L— Nos. 1 to 219. Part II. —
Nos. 1 to 541.

PIERPONT-MORGAN (Collection J.).— Cata-
logue of the Chinese porcelain.
By Bushell (S. W.) and Laffan
(W. M.). New York, 1904. Pp.
lxxxii-195 ; with 77 col. pis.
250 copies printed for private
distribution.

A popular edition was issued in 1907 by the
Metropolitan Museum of Arts, New York, with
plates in half-tone. 13s. The collection was
purchased from Mr. A, Garland,

PIETTE (E.) and SAfAZE.— Les tertres
funeraires d'Avezac-Prat. (Hau-
tes Pyrenees). St. Quentin,
1899. 4°, pp. 26; with 29
chromolith. pis. by Pilloy. 30 fcs.
" The burial mounds of Avezac-Prat."

A cemetery of undetermined antiquity. The
pottery found in the tombs is of coarse make,
and bears no vestige of ornamentation. Num-
erous specimens are reproduced on 15 plates.

PIETRASANTA.— Illustrazione di un
antico vaso fittile. Palermo,
1830. 8°; pis.

"Description of an antique fictile vase."

PIGNATELLI D'ARAGONA CORTES (Collection
Prince F. ). - - Catalogue of sale.
Naples, 1895. 4°; with 13 pis.
Majolica and porcelain, pp. 1-31.

PINCOT (Daniel).— An essay on the
origin, nature, uses, and pro-
perties of artificial stone ; to-
gether with some observations
upon common natural stone,
clays, and burnt earth in general,
in which the durability of the
latter is shown to be equal, if
not superior, to the hardest
marbles. London, 1770. 8°.

PINELLI (B.). — Gruppi pittoreschi
modellati in terra-cotta da Bar-
tolomeo Pinelli ed incisi all'ac-
quaforte da lui medesimo. Roma
Gentilucci, 1834. Sm. fol.; 28
pis. 12 fcs.

" Picturesque groups modelled in terra-
cotta by B. Pinelli, and etched by him-
self."

Rough sketches of terra-cotta groups of
figures in Roman costumes. Peasants, Mas-
queraders, Brigands, etc. The portrait of the
etcher forms the frontispiece.

PINCHART (A,).— Preuves authentiques
de 1' existence de la fabrique de
porcelaine etablie au chateau de
Tervueren. Bruxelles, 1846. 8°,
pp. 8. (Reprint from the Bul-
letin des Commissions royales
d'art et d1 archeologie.}

335

PIN]

CERAMIC LITERATURE.

[PIT

" Documents proving the existence of
a porcelain manufactory established in
the Tervueren Castle."

When Charles, Duke of Lorraine and of Bar,
was governor of the Low Countries, towards
1760, he often resided at the Castle of Tervueren,
situated a short distance from Brussels. He
followed with great interest the scientific inven-
tions of his time, and had established in the
castle laboratories and workshops in which ex-
periments were conducted under his personal
direction. Printing on cotton, making wall-
papers, and other new processes, captivated his
attention in turns. The writer thought he had
good cause to believe that the Duke also estab-
lished a porcelain manufactory in the castle. A
few notes entered in the private household
accounts of the Duke are all the proofs he can
bring forth in support of his statement. It re-
quires very little technical knowledge to perceive
that all the items set down in the account book
refer respectively to building a kiln, trying
colours, paying a china painter, buying services
at Tournay to be decorated — that is to say, that
they all apply to porcelain painting, and not at
all to the manufacture of porcelain. In short,
what was simply a princely amusement has been
mistaken for the foundation of a national
industry.

PINSART(C.)— Carrelagesdel'Abbaye
du Paraclet-des-Champs. (In
Courtaux ; Notice historique sur
La Bove et ses Seigneurs. Paris,
1890.) 10 col. pis.; with 54
designs of tiles. 4°.

PIOT (Collection E.).— Catalogue of sale.
Paris, 1860. 8°, pp. 19.

A few pieces of the Medicis porcelain, and a
fine collection of Italian majolica. The cata-
logue is illustrated with numerous marks and
monograms.

— — Antiquites grecques. Cata-
logue of sale. Paris, 1870. 8°,
pp. 68.

Descriptions by F. Lenormant.

- Collection Spitzer. La cer-
amique italienne. Paris, 1886.
8°, pp. 26 ; vigns. (Reprint
from La Gazette des Beaux-Arts.)

" The Spitzer Collection. Italian cer-
amics."

The description of the majolica contained in
this celebrated collection ia replaced by a few
historical notes on the old factories borrowed
from the standard works.

Collection Eugene Piot. Cata-
logue of sale. Paris, 1890. 4°,

336

pp. 114 ; with 19 phototyp. pis.
and 43 text illustrs. 20 fcs.

This catalogue was prepared by W. Froehner.
Greek vases and terra-cottas, Nos. 81-413. The
most remarkable terra-cotta figures are repro-
duced on 14 plates.

Mr. E. Piot edited the serial publication Le
Cabinet de I' Amateur, to which he has contributed
the following articles on ceramics : —

N. S. No. i. — " Etude sur la ceramique des

xve et xvie siecles," pp. 10.
,, No. i. — " La vie et les travaux de Ber-
nard Palissy," 1842, pp. 30.
„ Nos. v-vii. — " Histoire de la porcelaine

en Allemagne," pp. 27.
„ Nos. xii-xiii. — " Histoire de la porce-
laine fran9aise," pp. 16.
„ Nos. xxix-xxxii. — " La manufacture
Royale de faience fine et de por-
celaine etablie a Orleans en 1753."

PISELLI (Y.). — Dipintura archaica
di una picol'anfora dionisiaca,
strenna nuziale. Disegno pub-
licato la prima volta in occasione
delle sponsalizie celebrate tra lo
illustro Conte Servanzi, e la
Signora M. Valentini. Roma,
1841. Fol.

" An archaic painting on a small
Dionysiac anphora; a wedding present.
A subject published for the first time on
the occasion of the marriage of Count
Servanzi with the Lady M. Valentini."

PITON (C.). — A practical treatise on
china painting in America. New
York, 1878. 2nd ed., 1880.
Sq. 16°; with an album of fol.
pis.

PITRE-CHEYALIER.— Avisseau, lepotier
de Tours. Paris, 1851. 8°, pp.
6 ; portr. and vign. (Extr.
from the Musee des Families.}

" Avisseau, the potter of Tours."

Biographical notice of a potter who, towards
1850, was celebrated for his successful imitations
of Palissy ware.

PITT (William). — A topographical his-
tory of Staffordshire, including
its ... manufacturers,
memoirs of eminent natives, etc.
With a succinct account of the
rise and progress of the Stafford-
shire Potteries. N ewcastle-under-

PIT]

CERA MIC L1TERA TV RE.

[POL

Lyme, 1817.
12s.

8°, pp. 410-436.

PITT-RIVERS (General). — Excavations
in Cranborne Chase, etc. London,
1898. 4 vols. 4°. £5, 5s.

Contains figures of a large number of early
cinerary urns.

PLEYTE (W.).— Nederlandsche Oud-
heden van de vroegste Tijden
tot op Karel den Groote. Ley-
den, 1877-85. 4°; with 167 pis.,
mostly col., and 14 maps. £6.

" Antiquities of the Netherlands from
the remotest times up to the Carlo-
vingian period."

Contains numerous reproductions of ancient
pottery. Dr. W. Pleyte is curator of the Leyden
Museum of Antiquities.

PLICQDE (Dr. A. E.).— Liusiannum; la
metropole des ceramistes gallo-
romains. Arras, 1880. Pp. 19.
(Reprint from Congres Archeo-
loqique de France.}

" Liusiannum ; the metropolis of the
Gallo-Roman potters."

A sketch of the following work.

- Etude de ceramique arverno-
romaine. Caen, Delesques,1887.
8°, pp. 32 ; with 2 pis. 2 fcs.

" Essay on the Arverno-Roman pot-
tery."

An account of the excavations made at Lezoux
in 1879 by the writer. The foundations of one
hundred and sixty potters' kilns, the evidences
of seventy distinct workshops, and the marks of
over three thousand potters were discovered in
the place. A classification of the varieties of
Roman pottery found in Auvergne is attempted.

PLOQUIN (Collection). — Catalogue of
sale. Paris, 1891. 8°, pp. 55 ;
with 15 heliogr. pis.

The catalogue is illustrated with excellent
heliogravure plates printed in blue. They re-
produce numerous specimens of a remarkable
collection exclusively composed of faience of
various origin, in which the French factories
were particularly well represented.

- Catalogue. of the second sale.
Paris, 1896. 8°, pp. 66 ; with
20 pis.

The second portion of the collection contained,
besides a large variety of faience and porcelain

objects, a series of terra-cotta medallion por-
traits by J. B. Nini.

PLOT (Dr.).— Natural history of Staf-
fordshire. London, 1686. 4°.
£10.

The minute account given by Dr. Plot of the
methods employed by the potters of Stafford-
shire for the making, glazing, and firing of their
coarse earthen vessels has been reprinted in every
history of English pottery. In The Natural
History of Oxfordshire, (Oxford, 1677), the same
author gives a few particulars on the various
clays employed by the English potters, and he
reports an interesting conversation with John
Dwight on the subject of the stoneware he was
then producing, and on his experiments to find
the secret of Oriental porcelain.

POLIGNY (Germaine de).— Communaute

d'origine de 1'ancien art mexi-
cain avec ceux des bords de la
Mediterranee. Paris, Quantin,
1879. 8°, pp. 7 ; vigns. (Re-
print from the Gazette des Beaux-
Arts.)

" Mexican art, and its common origin
with the arts of the shores of the Medi-
terranean Sea."

A fortuitous similitude of rudimentary shapes
and ornamentation noticed on the pottery of the
ancient Mexicans and those of the Phoanicians,
the Egyptians, and the Etruscans has been
thought sufficient to warrant a presumption that
the decorative art of these antique nations must
have had a common origin.

POLITI (Raffaello).— Slancio artistico di
R. Politi, pittore ed architetto
siracusano all'ombra di Flax-
man, famoso scultore inglese e
sublime imitatore delle dipinture
greco-sicole che si osservano ne'-
vasi fittile. Girgenti, 1826. 8°,
pp. 13 ; 1 pi.

" An artistic essay of R. Politi, painter
and architect of Syracusa, dedicated to
the shade of Flaxman, the celebrated
English sculptor and sublime imitator of
the Greco-Siculo paintings of fictile vases."

A description of a vase discovered at Girgenti,
and dedicated by the writer to the memory of
Flaxman. R. Politi was an artist of talent.
The plates he has etched himself for the il-
lustration of his papers on Greek vases are of
superior execution, and show a feeling for Greek
art seldom met with in the reproductions of
-vase paintings. Most of his pamphlets are now
almost unobtainable.

337

POL]

CERA MIC LITER A TURE.

[POL

POLITI (RaffaellO.).— Illustrazione di

un vaso fittilo rappresentante

Appolo il Citaredo e le Parce

in Girgenti. Palermo, 1826. 8°,

pp. 23 ; 2 pis.

— Illustrazione della pittura
rappresentante Nemesi, trovato
nell'antica Agrigente. Palermo,
1826. 8°, pp. 23 ; 3 pis.

- Illustrazione ad un vaso fit-
tile rappresentante Cassandra e
Ajace d'Oileo. Palermo, 1828.
12°.

- Osservazioni critiche sul vaso
fittile, esistente in Girgenti nel
Archivio Duomo. Venezia,l82S.
8°.

- Achilles. Cenni su di un vaso
fittile rappresentante Achille
vincitore di Ettore. Messina,
1828. 8°.

- Esposizione di un vaso fittile
nella collezione di S. M. Ludo-
vico, Re di Baviera. Palermo,

1828. 4°.

Illustrazione sul dipinto in
terra-cotta di un Ercole ed
Apollo, e di altre tre figuline
Greco - Sicolo - Agrigentine.
Girgenti, 1829. 8°.

Esposizione di sette vasi
Greco-Sicoli-Agrigentini. Pal-
ermo, 1831. 8°, pp. 15 ; 3 pis.
and 2 illustrs.

- Due parole su tre vasi fittili.
Palermo, 1833. 8°; 3 pis.

— Spiegazione di cinque vasi di
Primio. Palermo, 1834. 8°.
(Reprinted in La Concordia,
1841, with addition of 8 pis.

— Sulla tazza dell'amicizia ; un
brindisi al chiarissimo Th. Pan-
ofka. Palermo, 1834. 8°; 2 pis.

338

- Lettera al chiarissimo Signore
J. V. M. su di una figulina rap-
presentante Ercole e Nereo.
Palermo, 1834. 8°.

- Descrizione d'una Deinos, o
vaso in terra-cotta Greco-Sicolo-
Agrigentino. Girgenti, 1837. 4°.

— Anfora panatenaica, al sommo
scrittore C. Malpica. Girgenti,
1840. 8°.

- II mostro di Lerna, lekitos
Agrigentino. Palermo, 1840. 8°.

POLLAK (Llldwig). — Zwei Vasen aus der
Werkstatt Hierons. Leipzig,
1900. 4°, pp. 33 ; with 8 pis.
and 5 text illustrs. 12m.

" Two vases from Hieron's atelier."

The question has already been raised as to
whether the name of Hieron, found inscribed
upon several painted vases of the best period,
should be considered as the signature of the
artist, or simply as the " trade mark " of his
atelier. Mr. Pollak describes two unpublished
pieces, in private possession, which afford fresh
proofs that most of the paintings signed with
that name are so widely different in style that
they could not have been painted by the same
hand.

POLLEN (J. Hungerford).— Photographs
of terra-cotta columns modelled
for the lecture theatre at the
South Kensington Museum bv
G. S. (G. Sykes). With descrip-
tion and a brief memoir of the
artist's life. London, 1866. 4°;
15 photos.

- Universal catalogue of books
on art, comprehending : Paint-
ing, Sculpture, Architecture, De-
coration, Coins, Antiquities, etc.
London, Chapman & Hall, 1869-

vols.

pp.

2212.

77. 3
£1, 10s.

So much room is occupied in this chaotic list
by illustrated novels, books on travel, natural
history, etc., that very little is left for works on
ceramic art. Any research on special subjects
has been rendered extremely difficult by the
adoption of an arrangement of the authors'
names by alphabetical order. Moreover, the
trouble one might take to discover the titles of

PON]

CERAMIC LITERATURE.

[POT

a few books on pottery and porcelain is not
repaid by the bibliographic information obtained;
particulars are wanting in all cases.

PONTICELLI (P.).— Ulustrazione di un
vaso italo-greco del Museo Reale
Borbonico. Napoli, 1822. Sm.
4°, pp. 55.

" Disquisition on an Italo-Greco vase
in the Royal Museum of Naples."

The vase is described as having been con-
secrated to Bacchus ; the pamphlet treats of
Bacchus' worship rather than of antique vase
paintings.

POPELIN (C.).— Les vieux arts du feu.
Paris, Lemerre, 1878. , 8°. 2nd
ed. Pp. 161 ; woodcuts ; rubri-
cated pages. 10 fcs.
" The ancient arts of fire."

The book is divided into three parts. I. Glass.
II. Enamel painting. III. Majolica. It is il-
lustrated with head and tail-pieces drawn by the
author, and engraved on wood by Prunnaire.
Full-page views are given of Venice, Limoges,
Urbino, and Pesaro in ancient time.

- L' email des peintres. Paris,
Levy, 1866. 8°, pp. 208 ; wood-
cuts. 6 fcs.

" The art of enamelling for the use of
painters."

Dedicated to the artist who intends to practise
enamel painting on copper ; this book is also of
great use to the faience and porcelain painter.
It contains a treatise on metals and the colours
that can be obtained from them.

POREE (Chanoine). — Note sur le mono-
gramme de Masseot Abaquesne.
Paris, 1898. 8°, pp. 7 ; with
Ipl.

" Note on the monogram of Masseot
Abaquesne."

A Rouen potter of the sixteenth century to
whom several majolica pavements are attributed.

PORTER (G. R.).-— A treatise on the
progressive improvement and
present state of the manufac-
ture of porcelain and glass.
London, Longman, 1832. 8°,
pp. 334 ; with 50 illustrs. 2s.

No collected history of the ceramic art had
ever been written in the English language when
this treatise was published anonymously as one
volume of Lardner's Cabinet Cyclopedia. De

Milly, Brongniart, and other French writers have
supplied the ground-work of the book. Perhaps
in the use of such sources may we find the reason
why the author dwells at full length upon the
productions of other countries, and finds little
to say about those of England ; at anyrate he
seems to exert extraordinary caution lest he
might give to English pottery and porcelain an
undue preponderance in the account. Josiah
Wedgwood is the subject of a few eulogistic re-
marks, but such important manufactories as
Bow, Chelsea, Worcester, Derby, etc., are dis-
posed of with a mere mention. An exception is
made with respect to the Rockingham works,then
apparently commanding the larger share of
public favour. Several vases made at Rocking-
ham are fully and minutely described and lauded
as masterpieces of the ceramic art. In one of
those thus extolled by Porter we recognise a vase
already glorified by J. Ward in his poem on The
Potter's Art.

POST (J.) et NEUMANN (B.) — (Transl.
by L. Gautier). — -Traite complet
d' analyse chimique, applique
aux essais industriels. Tome II.
ler Fasc. Produits ceramiques.
Verres et gla9ures. Paris, Her-
mann, 1908. 8°, pp. 202 ; with
99 illustrs. 5 fcs.

" A complete treatise of chemical
analysis applied to industrial experiments
Part I. — Ceramic products, glass, and
glazes."

POSSESSE (M. de). — La faience de
Rouen. 4°, pp. 26. (Reprint
from the Memoires de la Soc.
Fran^. de, numis. et d'Arch.)

" A review of A. Pottier's Histoire de la
faience de Rouen."

POTT. — Endecktes Geheimniss des
achten Porzelans, sowie des chin-
esischen als sachsischen ; von
einem Besitzer dieses Geheim-
nisses. Berlin, 1750. 4°, pp.
16 ; with 8 pis.

" The secret for making the true por-
celain, as made in China or in Saxony, by
one in possession of the secret."

We have not seen this rare pamphlet, pub-
lished anonymously. It is said, by German
writers, to be of no practical use.

!POTTIER (A.)- — Origine de la porce-
laine d' Europe. La premiere
porcelaine fabriquee en Europe
a ete inventee a Rouen. Rouen,

339

POT]

CERAMIC LITERATURE.

[POT

1847. 8°, pp. 24. (Reprint
from the Revue de Rouen et de
Normandie.)

11 Origin of the European porcelain.
The first porcelain manufactured in
Europe was invented at Rouen."

A royal privilege, granted in 1673 to Louis
Poterat of Rouen, specifies that the applicant had
discovered the secret of making a porcelain
similar to that of China, and that he intended to
carry on the manufacture of such a porcelain,
together with that of Dutch faience imitations.
When Andre Pettier published the official docu-
ment, no specimens were known by which this
startling information could be supported. Not
long afterwards, however, small pieces of soft
china, closely resembling those known to have
been made at Saint Cloud, but marked with the
initials A. P. were excavated from the site of the
old works at Rouen ; they testified that Poterat's
scheme had effectually been put into execution.

POTTIER (A.). — Sur le vase His-
pano-Moresque de 1'Alhambra, a
propos d'un vase en porcelaine
de Sevres donne a la ville de
Kouen. Rouen, Peron, 1851.
8°, pp. 24.

" Notice of the Hispano-Moresque vase
of the Alhambra ; on the occasion of a
vase of Sevres porcelain having been
presented to the City of Rouen."

Having given a description of the original, the
writer finds fault with the manner in which the
so-called copy has been executed. Nothing
more precise than a rough sketch of the form
and decoration of the vase had been brought
from Spain by a French painter, who communi-
cated it to the Sevres manufactory. From that
sketch the Sevres artist produced, with the
means at his disposal, a piece which never had
any pretension to imitate the technics of Spanish
ceramics.

Essai de classification des
poteries normandes des xiiie,
xive, et xve siecles. Rouen,
impr. Briere, 1867. 8°, pp. 13.

" An attempt to classify the Norman
pottery of the thirteenth, fourteenth, and
fifteenth centuries."

To form two distinct groups of the coarse
pottery of undetermined date found in the pro-
vince is the plan suggested by the writer. Plain
vessels partly covered with coloured glazes
would form the earlier group. The other group,
representing the style of manufacture of the sub-
sequent period, would include all such pieces as
are embellished with ornamental traceries
scratched in the white coating of finer clay
applied on the dark ground. As it is most pro-
bable that both processes were carried on con-
temporaneously during all the mediaeval era, we

340

do not think that the proposed classification
would offer any assistance in establishing the
date and origin of any specimen.

Histoire de la faience de
Rouen : ouvrage posthume pub-
lie par les soins de M. M. L'Abbe
Colas, G. Gouellain et R. Bor-
deaux. Rouen, Le Brument,
1870. 4°, pp. xii-424; with a
portrait, 60 col. pis., and text
illustrs. drawn by Mile. Emilie
Pettier. 70 fcs.

" History of the Rouen faience ; pos-
thumous work published by the care of
Pottier's friends."

Few are the ceramic monographs which may
rank on a par with Pottier's History of the Rouen
Faience ; it has never been excelled, perhaps
never been equalled, by any other work of the
same order. A masterly treatment, on the part
of the historian, has rendered full justice to an
important chapter of the ceramic history.

Andre Pettier, the grandson of a notable
faience manufacturer, occupied for a quarter of
a century the post of head-librarian of the town
of Rouen. In that capacity he had every facility
for obtaining a full knowledge of the historical
vicissitudes and glories of his beloved city. Orna-
mental faience, the making of which had once
been one of the staple industries of the place, had
for him a special attraction. While the finest pro-
ductions of the departed art were disregarded by
all, he was able to form of them a considerable
and selected collection, such as it would have
been impossible to form in after times. As to
the knowledge that Pettier had managed to
acquire, through his unremitting researches, of
the conditions under which the manufacture of
painted faience was carried on two hundred
years before, one might question whether any
of the masters of the best period had ever been
so thoroughly acquainted with the subject.

His thoughts were constantly busy with the
preparation of the book that was to be the
magnum opus of his life. Never satisfied with
the documents he had already accumulated, he
went on gathering and sifting fresh crops of
materials towards the completion of his work.
When death surprised him, he was still uncertain
whether the task he had undertaken could be
said to be at an end. In fact, were it not for the
devotion that his friends bore to his memory, his
disordered MSS. would have remained unpub-
lished, and we should have been deprived of a
monograph that no one else could have written
with such a commanding authority.

His connection with the collecting brother-
hood was always on the increase ; his colleagues
thought it a duty to submit their newly acquired
specimens for his appreciation, and he himself
was never tired of hearing the account of their
discoveries. Under these conditions there was
no limit to the enlargement of his budget of
information. Every MS. or printed document,
every reliable communication relating to the
subject was duly entered in the MS, of the forth-

POT]

CERAMIC LITERATURE.

[POT

coming book. It comprised the following head-
ings : — Official documents regarding the regula-
tion of the trade ; full accounts of the litigations
which arose from time to time between the
masters and the men ; technical recipes and
methods of manufacture, together with the rate
of wages paid at different periods ; the list of
the manufacturers, potters, and painters, with
a short biographical notice affixed to many of
the names, and remarks on the social conditions
of the workmen ; lastly, a description of all
dated examples, with facsimiles of all the marks
found upon the Rouen faience. Naturally the
course of the history was bound to be broken by
the interpolation of so many accessory details, but
all possible confusion is obviated by the clearness
with which the principal dates and facts are found
recapitulated in copious tabular statements.

A. Pottier's own collection — which became
the nucleus of the Rouen Ceramic Museum-
illustrated nearly all the periods of manufacture.
Nevertheless, far from confining his selection of
representative examples to the objects in his
possession, he preferred to give us the cream of
the numerous collections that were placed at his
disposal. His talented daughter, Miss E. Pottier
waa to him an invaluable collaborator ; she re-
produced in water colour all the more remark-
able examples, as they passed through their
hands, and it was her portfolio which supplied
the excellent illustrations of the book.

POTTIER (E.).— Carrelages de 1'eglise
de Belleperche xiiie siecle. Paris,
Plon, 1881. 8°.

" The pavements in the church of
Belleperche."

- Quam ob causam Graeci in
sepulcris figlina sigilla depo
suerint. Paris, Thorin, 1883.
8°, pp. 124 ; 1 pi. 3 fcs.

" On the motives and purposes for
which the Greeks deposited terra-cotta
figures in the tombs of the dead."

This learned paper develops the opinion en-
tertained by the author that the figures placed
in the tombs of the Greeks were in the nature of
Ex Votos, dedicated by the piety of the survivors
to the manes of the departed ; in fact, a propitia-
tory offering, and not a charm intended to guard
the body of the dead against evil spirits, as has
sometimes been suggested.

- Etude sur les Lecythes blancs
attiques a representation fune-
raires. Paris, Thorin, 1883.
8°, pp. 160 ; with 4 col. pis.
6 fcs.

" A study on the antique white Lecy-
thies painted with funereal scenes."

In compliance with the new direction given
by Stakelberg to the study of Greek vases, the
attention of classical archaeologists is now turned

towards fixing the locality of origin of the leading
types, and determining the characteristics of the
peculiar style of painting prevailing in each of
the chief centres of production. The publica-
tion of the present essay is a step taken in that
direction. One may fairly attribute an Attic
origin to the white Lecythies with polychrome
decoration. Seldom, if ever, are the vases of
that description found in any other Hellenic
tombs but those of Attica.

In the course of his disquisition, E. Pottier
establishes that the vessels which played a part
in the funereal rites of the region were all made
at Athens ; they were intended to be used in
burial ceremonies different from those observed
in other provinces. The work is based on the
interpretation of the scenes represented on the
white Lecythies. It is divided into two distinct
parts. The first deals with the religious beliefs
of the Greeks, their modes of worship, and the
obsequies of the dead. The second is devoted to
the examination of the painted vases considered
from an artistic point of view. From the special
features noticeable on the mortuary pottery
found at Athens the author has been able to form
a set of rules by means of which it is possible to
discriminate amidst the aggregate of classical
ceramics such pottery as may be considered as
being of Athenian manufacture. No fewer than
six hundred white Lecythies may now be seen in
the collections ; one hundred and six of them
are described in the appendix.

— Vases peints inedits du Musee
de Ravesteine a Bruxelles.
Paris, 1887. 4°; with 2 pis. and
5 illustrs.

" Inedited painted vases in the Raves-
tein Museum at Brussels."

Un quartier de Nimes a
1'epoque gallo-romaine. Nimes,
1888. 8°, pp. 43 ; with 16 pis.
of potters' marks and 3 pis. of
vases. (Reprint from the Me-
moires de FAcademie de Nimes.)

" A quarter of the town of Nimes in the
Gallo-Roman period."

Etudes sur la ceramique
grecque. Paris, 1888. 4°, pp.
17 ; with 2 pis.

" Studies on Greek ceramics."

The vases bearing the name of the painter are
made the subject of interesting remarks.

- Les statuettes de terre-cuite
dans Fantiquite. Paris, Hach-
ette, 1890. 12°, pp. 314 ; with
92 illustrs. 3.50 fcs. (In the
Bibliotheque des Merveilles.)

341

POT]

CERA MIC LITER A TURE.

[POT

" The terra-cotta statuettes in anti-
quity."

The discoveries made at Tanagra had revealed
to us the graceful terra-cottas of the Boeotian
coroplast. Some examples of his art had indeed
been known before, but they had failed to attract
any notice, and little or nothing had so far
been said about them. When they came to
light in a comparatively considerable number,
influential critics awoke suddenly to the notion
that they embodied the purest expression of a
new standard of plastic beauty. Collecting these
entrancing figurines became the rage of the day.

A general Craving for information on their
subject had n> sooner been born than it was
gratified by the publication of this excellent
handbook. It supplied interesting particulars,
not only on the Tanagra figures which had just
come to the front, but also on all the terra-cottas
of the same order but of a different origin, hither-
to undeservedly neglected. By its modest price,
the booklet placed before all a precise digest of
the contents of many rare and costly volumes.
It was soon out of print, and a copy of it is now
difficult to obtain.

POTTIER (£.)•— Collection de vases
grecs du Musee de Boulogne-
sur-mer. Paris, 1892. 8°. (Re-
print from the Bulletin des

Musses. )

The Greek vases of the Museum of Boulogne-
sur-mer were formerly in the Panckouke collec-
tion.

— A quoi sert un musee de vases
antiques. Paris, impr. Chaix,
1894. 8°, pp. 31 ; with 3 illustrs.
(Reprint from La Revue de Paris. )

On the necessity of forming museums of
antique vases, and on their importance in the
advance of antiquarian studies.

- Musee National du Louvre.
Catalogue des vases antiques de
terre - cuite. lere partie, Les
origines. Paris, May & Mot-
teroz, 1895. 12°, pp. 256 ; with
3 pis. of forms. 1 fc.

— 2eme partie, L'Ecole loni-
eiine. Paris, 1899. 12°, pp.
336.

Speaking of this catalogue, Mr. Heuzey says
that it is a work prepared with energy and know-
ledge, equally popular and scientific.

— Vases antiques du Louvre.
Vol. I. (Salles A.— E.). Les ori-
gines ; Les styles primitifs ;
Ecoles rohdiennes et corinthi-

342

enne. Paris, Hachette, 1897.
4°, pp. 50 ; with 51 half-tone
pis. and text illustrs. by Devil-
lard. 30fcs.

- Vol. II. Paris, 1904 (Salles
E. — G.). Le style archaique a
figures noires et a figures rouges.
Ecoles ioniennes et attiques, pp.
viii and 62-156 ; plates, 62-102.

These albums are intended as a complement
to the 12° catalogue which they illustrate. The
photographic reproductions are somewhat lack-
ing in neatness. Moreover, as they give only
one side of the vase, it has been thought expedi-
ent in some cases to supplement them with pen
and ink sketches, which represent the painted
subject in full development. This plan, followed
in the first volume, has been adopted in the
second.

- Le dessin par ombre portee
chez les Grecs. Paris, Leroux,
1898. 8°, pp. 34; with 16
illustrs.

" The drawing from cast shadows by
the Greeks."

From the observation that many of the
paintings of black figure vases show a correct
and elegant silhouette completed with a singu-
larly faulty delineation of the inner details, two
right feet or two left hands being often seen on
the same figure, Mr. Pottier suggests, as an ex-
planation of the fact, that the models used by
the common vase painter were tracings taken
from the shadows of human personages, pro-
jected by sunlight upon a white wall. Such
tracings were, of course, deficient in all the details
in the shadow, which an unskilled workman had
to supply according to his own fancy. Against
the probability of such a suggestion one might
argue that life-size shadows would be of little
use to the vase painter, and, also, that it is not
possible to trace the shadow of figures in motion,
as they are generally represented upon the vases.
One would more readily accept the idea that
stencilling plates were supplied by the master to
the operatives, who filled them with black colour.
We understand that they were bound to commit
some mistakes when they had to scratch, with-
out a guide, the lines intended to delineate the
inside details of the subject.

- La peinture industrielle chez
les Grecs. Paris, H. May, 1900.
12°, pp. 64; with 55 illustrs.
(Reprint from La Revue des
Arts Decoratifs.)

" Industrial painting amongst the
Greeks."

A popular account of the various styles of
vase painting from the earliest period to the time
of its highest development.

POT]

CERAMIC LITERATURE.

- Douris et les peintres de vases
grecs. Paris, Laurent, 1905.
Sq. 8°, pp. 127 ; with 25 illustrs.
4 fcs.

POTTIER (E.) et REINACH (S.).— La ne-
cropole de Myrina. Fouilles
executees au nom de PEcole
frangaise d'Athenes. Paris,
Thorin, 1886-87. Vol. I., Text,
pp. 631 ; with 58 illustrs. Vol.
II., Atlas of 52 heliogr. pis. 4°.
120 fcs.

" The Myrina Necropolis. Excavations
executed in the name of the French
School of Archaeology at Athens."

Terra-cotta figures, showing a great analogy
of style with those of Tanagra and Tarsus, con-
stituted the larger portion of the finds. They
are admirably reproduced in Dujardin's helio-
gravures. The list of names and inscriptions
found on the terra-cottas comprises 242 Nos.

Musee du Louvre. Terres
cuites et autres antiquites trou-
vees dans la necropole de My-
rina. Catalogue raisonne. Paris,
impr. reunies, 1887. 4°. 5 fcs.

" Terra-cottas and other antiquities
found in the Myrina Necropolis. Descrip-
tive catalogue."

The excavations lasted fifteen months. During
that time the two young members of the French
School at Athens, assisted by a small staff of
workmen, opened no fewer than 2,800 tombs.
Notes were taken of all the objects discovered,
and of the circumstances that attended the dis-
covery. The best part of the finds were de-
posited in the Louvre Museum.

POULSEN(F.).— DieDipylongrabeund
die Dipylon Vasen. Leipzig,
Teubner, 1905. 8°, pp. 138;
with 3 pis. 6 m.

" The excavations and the vases of the
Dipylon."

POUY (F.)- — Les faiences d'origine
picarde et les collections diverses
avec facsimiles colories et mar-
ques. Amiens, impr. L. Herou-
ard, 1872. 8°, pp. 32.

Les faiences, specialement
celles d'origine picarde. 2e edi-
tion, avec note sur la cera-

mique armoriee et chiffree, et
documents divers. Paris, De-
taille, 1873. 8°, pp. 40; with
2 col. pis. and marks. 5 fcs.

" The faiences, specially those of Picardy
manufacture ; with notes upon the speci-
mens with coat of arms and monograms,
and divers other documents."

Under the general name of Picardy faience, a
local collector has indited a short history of the
Sinceny Works, the only one in the Province worth
a special notice. One of the plates reproduces the
subject of the execution of Louis XVI. on the
guillotine. The piece from which it was copied
is known to have been an impudent forgery ;
such a subject has never been found painted
upon the genuine " Patriotic faience." The
works of Dr. Warmont and Messrs. Lecocq which
deal with the ceramic productions of the same
region have deprived this incomplete sketch of
all interest.

POUYARD.— Lettre de Mr. Pouyard,
pretre, a M. A. L. Millin, sur un
vase chretien de terre-cuite, qui
a ete trouve, a Paris, dans le
Palais de I'Archeveche. Paris,
1810. 8°, pp. 64 ; 1 pi.

" Letter . . . upon a Christian vase
of terra-cotta, found in Paris, in the
Archbishop's Palace."

A dissertation on the custom of placing vases
in the sepultures of the ancient Christians.

PRENDERGAST (Dr. W. D.)-— The potter
and lead poisoning. Longton,
1898. 12°, pp. 54.

At distant intervals, a hue and cry is raised by
some sensational philanthropists on the baneful
dangers attending the use of lead glazes in pot-
tery manufacture, and distressing statistics of
the rate of mortality among operatives, directly
attributable to lead poisoning, are widely cir-
culated. The social stir created by these well-
meant but invariably exaggerated disclosures
had resulted, in 1898, in a Government Com-
mission being appointed to inquire into the
sanitary conditions of the trade, and report upon
the reforms that could be introduced into the
most dangerous processes. This paper was the
contribution of a medical man of the potteries
towards an official inquiry which terminated in
1901 to the satisfaction of the manufacturers.
Several reports and various pamphlets were pub-
lished on the question.

PRELLER. — Ueber eine terra-cotta
aus Athens. 8.1, 1852. 8°,
pp. 1 1 ; with 2 pis.

" Upon an Athenian terra-cotta."

343

PRE]

CIS RAM 1C LITERATURE.

PRELLER.— Ueber zwei Vasenbilder

ausAthens. S.L, 1855. 8°; 2 pis.

" Upon the paintings of two Athenian

vases.

PRESTON (Collection H. L).— Catalogue
of sale. Yarmouth, 1872. Sm.
4°, pp. 27 ; with 4 photogr. pis.
of groups of china chiefly of
English manufacture.

PREYOST (F.). --Memoires sur les
anciennes constructions mili-
taires connues sous le nom de
forts vitrifies. Saumur, 1863.
8°, pp. 47.

Dissertation sur les forts
vitrifies dont on trouve les ruines
en Ecosse, en France, et en
Allemagne. Angers, 1687. 8°.

Two papers on the vitrified forts of Scotland,
France, and Germany ; reprinted from the trans-
actions of the Archaeological Society of the De-
partment of Maine et Loire.

PRICE (F. G. Hilton).— A catalogue of
the Egyptian antiquities in the
possession of F. G. H. P. Lon-
don, Quaritch, 1897. 4°, pp.
480 ; with 8 pis. and num. il-
lustrs. Vases, pp. 142 - 153.
Pottery vases, 401-417. Lamps,
417-422. Terra - cotta figures,
423-426. A large quantity of
pottery is comprised in the other
sections of the catalogue. £2.

- Notes upon some early clay
tobacco pipes from the sixteenth
to the eighteenth centuries found
in the City of London, in the
possession of the author. Lon-
don, 1900. 8°, pp. 16. (Reprint
from the Arch. Journ., vol. Ivii.)

PRICE (J. £.)• — Roman antiquities,
illustrated by remains recently
discovered on the site of the
National Safe Deposit Company's
premises, Mansion House, Lon-
don. London, 1873. 4°, pp. 79 ;
344

with 12 pis. (5 pis. of Roman
pottery) and cuts. 6s.

PRIDEAUX (J.).— Relics of William
Cookworthy, discoverer of the
Cornish china-clay and stone,
about A.D. 1755, founder of the
British porcelain manufacture,
about 1760, and an eminent
minister of the Society of
Friends. London, 1853. 8°, pp.
31 ; with a lithogr. portrait and
a silhouette on the cover. 5s.

We find nothing in the correspondence of W.
Cookworthy, appended in this paper to a short
notice of his life, that has reference to his dis-
covery and experiments, and the establishment
of his porcelain manufactory. In one of his
letters, however, the subject of china making is
introduced on the occasion of his having made
the acquaintance of a traveller who had just
arrived from America, and of whom he speaks in
these terms : — " I had lately with me the person
who has discovered china earth." He then
repeats what Pere d'Entrecolles had said of
Chinese manufacture, and expresses his belief
that the substances the traveller had brought
back from Virginia were real Kaolin and Petunse.
It is probable that this chance meeting and the
American clays he had thus the occasion to ex-
amine assisted him most effectually in recognising
in the mines of Cornwall, which he was exploring
for a very different purpose, a stone and a clay
of exactly the same nature as the materials
employed by the Chinese.

PRIEUR (C. A.).— Considerations sur
les couleurs irisees des corps
reduits en pellicules minces. . . .
Paris, Perrouneau, 1807. 8°,
pp. 28.

" Considerations upon the iridescent
colours shown by the substances reduced
to films."

Of importance for the production of metallic
lustres on pottery.

PRIME(W. C.).— Pottery and porcelain
of all times and nations ; with
tables of factories' and artists'
marks for the use of the collector.
New York, Harper, 1878. 4°,
pp. 531 ; with 300 illustrs. £3.

Prime, one of the earliest collectors in America,
had visited the chief museums of Europe, and
was fully conversant with our ceramic literature.
He compiled this book evidently in love with the
subject he treated for the benefit of his American
brother collectors. It was not in his power,

CERAMIC LITERATURE.

[PUK

however, to contribute any marked addition to
the store of knowledge accumulated by his pre-
decessors ; all he could do was to follow the
track opened by English and French writers. So
his conscientiously prepared volume returns to
us, almost in the original form, what had been
sent over to him. This remark does not apply
to the following chapter, a special feature in the
book : — I. Ancient American pottery. II. Pot-
tery and porcelain in the United States. III.
Collectors and collecting in America. With a
few exceptions, the illustrations are all " cliches "
borrowed from the standard publications of
Europe.

PRISSE D'AYESNES. — La decoration
arabe ; decors muraux, plafonds,
mosaiques, faiences, etc. Paris,
1888. 4°; with 110 col. pis.
50 fcs.

" Arabian decorations : wall-coverings,
ceilings, mosaic, faiences, etc."

An abridged edition of the great work L 'Art
arube, by the same author. It contains twenty
plates of Persian and Arabian tiles.

PRITCHETT (R. T.)-— Smokiana. His-
torical and ethnographical. Lon-
don, Quaritch, 1890. 8°, pp. 50 ;
with 50 col. pis. 7s.

All tobacco-smoking nations have adopted
some kind of earthen pipes. Often interesting
examples of pottery manufacture, these pipes
show very different forms and style of ornamen-
tation, according to their country of origin. Good
specimens coming from all parts of the world are
reproduced in this volume, the catalogue of the
private collection of a fervent smoker. The text,
as well as the illustrations, has been autolitho-
graphed by the collector's own hand, a process
imparting to the book a " home-made " look
which suggests to our mind that it was originally
executed for the author's own pleasure and the
benefit of a few friends. The plates are sketched
with spirit and form a most congruous accom-
paniment to the bold and free handwriting of
the calligrapher. We have to congratulate our-
selves that this quaint MS. has not been allowed
to remain unpublished.

PROPERT (J. L.).— Catalogue of a col-
lection of the works of Josiah
Wedgwood. London, printed for
the author, 1881. 8°, pp. 47.
8s.

The collection comprises 162 Nos., chiefly
medallions. It includes also one of the original
copies of Wedgwood's Portland vase. A bio-
graphical notice of J. Wedgwood is prefixed to
the catalogue.

PROSSEL (B.). — Die Steingut- und
Porzellanfabrikation als hochste

Stufen der keramischen In-
dustrie. Nach den neuesten
Erfahrungen in diesen beiden
Zweigen unter besonderer Be-
rucksichtigung der praktischen
Gesichtspunkte bearbeitet.
Leipzig, 1879. 8° ; with 41
illustrs.

" The manufacture of stoneware and
porcelain, being the highest degree of the
ceramic art. Containing the latest im-
provements in both branches, considered
from a practical point of view."

PROSSER (Richard).— An account of

the new process invented by
Mr. R. Prosser, of Birmingham,
for forming various articles of
ornament and utility in earthen-
ware or porcelain of very su-
perior quality. London, 1842.
Fol. ; with 1 pi. See Jones

(Owen).

Description of the process, patented by R.
Prosser in 1840, for making buttons, tessera-,
tiles, etc., from powdered clay. In the same
year Mr. H. Minton, of Stoke-on-Trent, com-
menced to manufacture earthenware tiles by
this process.

PROTAT. — Notes sur les carrelages
emailles de la fabrique d'Aub-
igny, provenant du Chateau
ducal de Brazey-en-Plaine (Cote
d'Or). (Extr. from the Mem. de
la Soc. Edueene, 1881, T. x.)

PROTH (M.).— A travers FUnion Cen-
trale. Paris, Vatou, 187'7. 18°,
pp. iv-56.

" Through the Exhibition of 1'Union
Centrale des beaux-arts appliques a
1'Industrie."

A journalist of the " Intransigeant " group,
Mario Proth expresses his unmitigated contempt
for all that is generally admired, and sounds the
praises of some eccentric exhibits which, dis-
regarded as they are, should be, according to his
opinion, the only things worth our attention.

PUKALL (W.).— Keramisches Rechnen,
auf chemischer Grundlage au
Beispielen erlautert. Berlin,

1907. 8°, pp. 127.

3 m.

345

PUN]

CERAMIC LITERATURE.

[QTTE

" Ceramic calculations established on
chemical grounds, and illustrated with
examples."

PUNGILEONI (P. Luigi).— Notizie delle
pitture in majolica fatte in Ur-
bino. Roma, 1857. 8°, pp. 12.

" Notice of the majolica painting made
in Urbino."

Reprinted in Vanzolini's Istorie delle fabriche
di majoliche metaurensi.

PURDY (R. C.).— The influence of
carbon in the burning of clay
wares. Indianapolis, 1905. 8°,
pp. 68 ; with text illustrs.

- The states of carbon, iron,
and sulphur in clays during
various stages of burning. In-
dianapolis, 1905. 8°.

PURDY ,(R. C.), FOX (H. B.), and KREBEL
(J. J.). — Studies on glazes. Part
I. Fritted glazes. Part II.
Cristalline glazes. Urbana, 1907.
8°, pp. 94-98. (From the Univer-
sity of Illinois Bulletin.)

PURDY (R. C.) and MOORE (J. K.).— Pyro-
chemical and physical behaviour
of clays. Urbana, 1907. 8°,
pp. 116.

PUYMAURIN (M. de).— Memoires sur
different sujets relatifs aux
sciences et aux arts. Toulouse,
1811. 8°.

"Memoirs upon various subjects relating
to science and art."

In the chapter treating of the " Manufacture
of earthenware in England," we have a short
account of the making of pottery in Stafford-
shire, as seen by the traveller in the first years
of the nineteenth century. The white salt glaze
was still extensively manufactured, and we see
that the credit of importing the method of glazing
with salt was at that time given to the brothers
Elers ; a fact that modern writers have often
contested. A curious anecdote was also then
current among English potters, relating how a
Dutch sailor was wrecked upon the Sussex Coast,
where he discovered a fine white clay similar to
the one used in Holland for pottery purposes ;
and how he began to export it to his own country,
and soon established a very lucrative business.

346

QUARANTA (Bernardo). - - Animadver-
siones in vasculum italo-grsecum.
Napoli, 1817. 4°; illustrs.

" Considerations upon the Italo-Greek
vases."

- Di un gran vaso fittile dipinto
che rappresenta i funerali di
Archemoro, e si conserva nel
real Museo Borbonico. Napoli,
1837. 4°; with 4 pis.

" On a large painted vase representing
the funeral of Archemoros."

- Di un vaso greco dipinto che
si conserva nel real Museo Bor-
bonico. Roma, 1840. 4°, pp.
24 ; with 3 pis.

" On a painted Greek vase preserved in
the R. Museum of Naples."

- Intorno ad un antico vaso
greco di creta pitturata scoverto
a Ruvo, e rappresentante Teseo
e altri greci combattitori contro
le Amazoni. S.L, 1843.

" On a Greek vase of painted clay repre-
senting Theseus and other Greek warriors
combating the Amazons."

La contopectria di Cuma
dipinta sopra un vaso di creta
nel Museo di S. A. R. il Conte di
Siracusa. Napoli, 1856. 4°, pp.
9; Ipl.

"The Cumean 'contopectria' painted
upon a vase of clay in the collection of
the Count of Siracusa."

Description of a game played with a rod and
a lyra.

QUEEN CHARLOTTE'S COLLECTIONS.— Cata-
logue of sale. London, Christie's,
1819. Sm. 4°.

The priced catalogues of the sale, which com-
prised an immense quantity of Oriental, Euro-
pean, and English porcelain, and also a few
pieces of Italian majolica, are of particular
interest as showing the little value which was
attached at that moment to all ceramic objects.

(JUERIOZ (JOS$). - - Ceramica Portu-
gueza. Lisboa, Typ. di Annu-

CERAMIC LITERATURE.

[RAL

ario commercial, 1907. 4°, pp.
viii-449 ; with 195 half-tone
text illustrs., and 649 facsimiles
of marks. 40 fcs.

" The ceramics of Portugal."

It is hardly possible to distinguish the idio-
syncrasic character of a pottery which never dis-
played high artistic tendencies. Inspired, in the
beginning, by the Moorish ware, it never went
higher, in its subsequent efforts, than to imitate
the humdrum style of Italian majolica. The
last few years have seen a remarkable de-
velopment of the potter's art in Portugal. For
that reason, no doubt, modern factories and their
productions occupy by far the larger part in the
account. The book is divided as follows : —
Pait I. An historical sketch of Portuguese cera-
mics. II. Short notices of the various factories.
III. Tiles. IV. Terra-cotta modellers. V. Brick
and architectural terra-cotta. VI. Marks. VII.
Artists and manufacturers.

QUEYILLY (E.).— Notes sur la poterie
de Chatel-la-Lune, publiees par
1'Abbe Poree. Caen, 1898. 8°,
pp. 21.

" Notice of the Chatel-la-Lune pottery."

A small village of Normandy where earthen-
ware was made, as early as 1657, by potters
working independently of each other, for there is
no trace of a factory of any importance having
ever existed in the place.

QUILLARD (A.). — La ceramique et la
verrerie a travers les ages. Paris,
Gautier (1894 ?). 18°, pp. 36.
15 c. (No. 20 of the Bibliotheque
scientifique des Ecoles et des
Families. )

" History of ceramics and glass-making
in all ages."

QUILLARD (Ch.).— Les elements de la
Ceramique et de la Verrerie.
Paris, Gautier (1895 ?). 18°,
pp. 36. (No. 45 of the same
series.)

" Elementary pottery and glass manu-
facture."

In its concise form, this small treatise gives a
simplified but accurate account of all the natural
and compound substances which enter into the
composition of ceramic bodies. The chief
materials employed in the manufacture of pot-
tery, and the results obtained by their various
combinations, are enumerated and described by
a practical scientist, who has succeeded in sup-
plying an excellent primer for the use of elemen-
tary schools.

QUIRIELLE (R. de).— Les faiences par-
lantes. Paris, 1867. 8°, pp. 12.

" Speaking faiences."

Another name for the crockery with inscrip-
tions, generally called " faience patriotique."

QUIRIELLE (R. de) et BERTRAND (A.).-
Decouverte d'une officine de
potiers gallo-romains a Lubier
(Allier). Moulins, 1884. 8°, pp.
108 ; 1 pi.

" Discovery of a Gallo-Koman pottery
works at Lubier."

RABUT (L). — Habitations lacustres
de la Savoie. Chambery, 1864-
67. Two parts ; with 16 and 17
lith. pis. 4°. (In the M em. de
la Soc. Savoisienne d'Hist. et
d'Arch.)

" Lake dwellings of Savoy."
A large number of prehistoric earthen vessels
are reproduced on the plates.

RACHAM (B.). --Catalogue of the
Italian majolica and other pot-
tery, 8 Cadogan Square. Lon-
don, 1903. Sm. 4°, pp. iv-27.
(Privately printed.)

The collection of Wyndham F. Cook, Esq.

RACZINSKI (A. de).— Les arts en Por-
tugal. Paris, Renouard, 1846.

8°.

An article on Portuguese tiles, pp. 427-435.

RAFFAELLI (G.).— Memorie istoriche
delle maioliche lavorate in Castel
Durante, o sia Urbania. Fermo,
1846. 8°, pp. 126. 5 fcs.

" An historical notice of the majolica
manufactured at Castel Durante, now
Urbania."

Piccolpassi's ISArte del Vasaio had not yet
been printed when Raffaelli, a native of Urbania,
extracted from the original MS. the materials of
this monograph. The writer has added to the
information he borrowed from the treatise of the
old " Durantino " a list of all the potters and
majolists found in the civil registers or inscribed
on the ware.

RALLIER. — Essai sur les forts de verre
de 1'Ecosse. Paris, 1807. 8°.

347

HAM]

CERAMIC LITERATURE.

[RAN

(In the Memoires de VAcademie
Celtique, vol. iii.)

" Essay on the vitrified forts of Scot-
land."

RAM-BAUD (Y.)- —Exposition de la
ceramique et des arts du feu.
Section retrospective. Paris,
1897. 8°, Pp. 123.

" National Exhibition of ceramics in
1897. Retrospective section. Catalogue
of the old faience and porcelain borrowed
from private collections."

RAME (A.). — Etudes sur les carrelages
histories du xiie au xviie siecle en
France et en Angleterre. Stras-
bourg, Silbermann, 1855. 4°, pp.
48 ; with 20 col. pis. and text
illustrs.

" A study on the ornamented tile pave-
ments, from the twelfth to the seventeenth
century, in France and England."

What has been published of this work, stopped
after the issue of the fourth part, is sufficient for
us to see that, had it been completed, it would
have been equal, if not superior, to all the other
publications treating of the history of decorative
tiles. The patterns selected as representatives
of the various styles are all of the best, and they
have been admirably reproduced in chromo-
lithography. The volume was to comprise one
hundred plates ; twenty of them were executed,
but these are not in consecutive order. A very
limited number was printed of these first four
parts, and they are now difficult to obtain.

- Sur quelques epis en terre-
cuite du xiiie et xive siecle. Caen,
Hardel, s.d. 8°, pp. 8 ; 1 pi.

" Notes upon some earthenware gable
ends of the thirteenth and fourteenth
centuries."

The gables of mediaeval houses were often
adorned with pinnacles of earthenware coloured
with variegated glazes. Those described in this
paper, and preserved in the Troyes Museum, come
from some old buildings of the town.

RANDALL (John). — The clay industries,
including the fictile and ceramic
arts on the banks of the Severn ;
with notices of the early use of
Shropshire clays, the history of
pottery, porcelain, etc., in the
district. Madeley (Salop),
printed at the Salopian and

348

West Midland Office, 1877.
12°, pp. 56.

Reminiscences of the early days of Caughley
and Coalport China Works were still rife amongst
old inhabitants of the district. The writer had
collected the local traditions, and he recorded
them in the familiar style in which they were
communicated to him. A loyal Salopian, he is
full of the paramount importance of Salopian
china, and he does not allow his narrative to
wander from its subject. The Worcester manu-
factory is once mentioned, but it is to let us know
that, until 1790, Messrs. Chamberlain had their
porcelain " in the white " from Thomas Turner,
of Caughley ; the china made at any other place
is simply ignored. Foremost among the records
of the Coalport Works is mentioned the memor-
able fact that the printer's roller was invented
there by one of the workmen. " An invention
second only to the art of printing itself, and
infinitely superior to thousands of others out of
which vast fortunes have been made." This at
least is Mr. Randall's candid opinion. The
feeling of admiration for all that pertains to his
subject has inspired the writer in his description
of the workshops of the china manufactory.
" During working hours," says he, " one of the
men read the newspaper to the others." " A
woman had been engaged to sweep up, bring
coals, peel potatoes, wash up dishes, etc." From
which he draws the following conclusion. "It
is not surprising, therefore, that men having
such advantages should rise to higher situations. ' '

A chapter on the Madeley decorative works
conducted by Martin Randall may raise some
unpleasant misgivings in the mind of the collector
of old Sevres. We hear that the exclusive busi-
ness of the place has been for years to imitate
the productions of the Royal manufactory. Ori-
ginal models were copied by the painters, either
upon genuine Sevres porcelain which had been
obtained in the undecorated state, or upon pieces
manufactured at Nantgarw, for that very pur-
pose, in imitation of the French shapes. Large
consignments of the spurious ware were regularly
sent to the fashionable curiosity shops of London,
where they found a ready sale as real " Pate
tendre " of Sevres.

- Report on pottery and porce-
lain at the Paris Exhibition,
1867. London, 1867. (In Arti-
wns' Reports, pp. 178-188.)

- Report on china painting at
the Paris Exhibition, 1878. Lon-
don, 1878. (In Society of Arts'
Artizans* Reports, pp. 71-80.)

RANDALL-MAC1YER (D.) and WILKIN (A.).-
Lybian notes. London, Mac-
millan, 1901. 4°, pp. 113 ; with
6 pis. of pottery (1 col.). 20s.

Three chapters treat of the Berber pottery.
Chap. vi. Chawia pottery. Chap. ix. Details of
the manufacture of Kabyle pottery. Chap. x.

RAN]

CERAMIC LITERATURE.

[RAT

Comparison of Kabyle and Egyptian pottery.
By instituting a comparison between the earthen j
vessels found in the prehistoric cemeteries of j
Egypt, and those made at the present time by
the Berbers of Algeria, the authors have at-
tempted to establish that these latter were the
direct descendants of the Lybian race inhabiting
Egypt at the earliest period. The likeness sup-
. posed to exist between these two classes of
pottery has not been satisfactorily brought out ;
it is difficult for us to trace any similitude either
in the technics or in the style of shapes and de-
coration, even after reading the chapter written
in support of the assertion.

RANDAU (P.).— Die Fabrikation der
Emaille. Anleitung zur Darstel-
lung aller Arten Emaille fur
technische und kiinstlerische
Zwecke und zur Vornahme der
Emaillirens auf praktischen
Wege. .S.I., n.d. 3 m.

" The manufacture of enamels. Direc-
tions for the preparation of all sorts of
enamels for technical and artistic pur-
poses, and for enamelling in a practical
manner."

RANGHIASCI BRANCALEONI (Marchese).— Di
Mastro Giorgio da Gubbio e di
alcuni suoi lavori in majolica.
Pesaro, A. Nobili, 1857. 8°, pp.
40 ; with 2 pis. and 1 pi. of
marks. 5 fcs.

" Master Giorgio, of Gubbio, and his
works in majolica."

The biographical part of this disappointing
sketch consists in a few notes upon the family of
Andreoli, and particularly upon the two members
of that family who are reported to have come
from Pavia and settled in the town of Gubbio
about 1498. Of their relative, Maestro Giorgio,
the majolist, no particulars of any historical
value have ever reached the knowledge of the
writer. The notice is made up with the descrip-
tion of certain pieces of majolica, painted or
supposed to have been painted by the master.
Upon these examples are based some rambling
conjectures concerning his invention of metallic
lustres, and the characteristics of his usual style
of painting.

RAOUL-ROCHETTE.— Notice sur unvase
grec recemment decouvert a
Nola. Paris, 1826. 8°.

" Notice of a Greek vase lately dis-
covered at Nola."

- Notice sur la collection de
vases peints et autres monu-
ments de 1'art etrusque appart-

enant a Mr. Dorow. Paris,

1828. 8°.

"Notice of the painted vases and other
Etruscan monuments in the possession of
Mr. Dorow."

Monuments inedits d'anti-
quite figuree, grecque, etrusque
et romaine. leie partie : Cycle
heroique. Paris, 1833. Fol.,
pp. 430 ; with 93 pis., some of
them col., and 15 illustrs. 50 fcs.

" Inedited monuments of figured anti-
quity; Greek, Etruscan, and Roman
period. I. Part. Heroic cycle."

Contains 39 lith. pis. of vase paintings.

- Lettre a Mr. le Prof. E. Ger-
hard sur deux vases peints de
style et de travail etrusques.
Paris, 1835. 8°; 2 pis.

" A letter to Prof. E. Gerhard respect-
ing two painted vases of Etruscan style
and workmanship."

- Memoire sur un vase peint
inedit de fabrique corinthienne.
Paris, 1848. 8°, pp. 31 ; with
2 col. pis.

"Memoir upon an unpublished vase of
Corinthian manufacture."

Catalogue of sale. Paris,
1855. 8°, pp. 50.

RASTEIRO (J.).— Quinta e Palacio da
Bacalhoa em Azeitao. Lisboa,
1895. Text, 8°, pp. 97 ; album,
4°, of 54 col. pis. 20 fcs.

" The park and the palace of Bacalhoa
in Azeitano."

The palace was built by the Duke Alphonso
de Albuquerque in 1554. It was profusely
decorated with majolica medallions and decora-
tive tiles, of which the album gives reproductions.

RATHBONE (F.).— Josiah Wedgwood
on the clay of Sydney Cove.
Birmingham, printed by Lakins,
for Sir Richard Tangye, 1885.
4°, pp. 22 ; vigns.

A reprint of an article contributed by Josiah
Wedgwood to the Transactions of the Royal
Society, 1790, under the title, " Analytical experi-
ments of a mineral from Sydney Cove, in New

349

RAT]

CERAMIC LITERATURE.

[RAV

South Wales." Medallions were executed at
Etruria in 1789, bearing an inscription testifying
that they were made with the clay of Sydney
Cove.

RATHBONE (F.) .— Old Wedgwood and
old Wedgwood ware. Handbook
to the collection formed by
Richard and George Tangye.
With a sketch of Wedgwood's
life and labours, and a chapter
on the marks used at Etruria.
London, 1885. 8°, pp. xxxiv-
104 ; with 25 illustrs. and marks.
Is.

This collection, on exhibition at the Birming-
ham Museum, has been partially presented to
the town by the collectors. It'comprises 699 Nos.

Centenary year, 1895. A
catalogue of the Loan Exhibi-
tion of old Wedgwood at the
Wedgwood Institute, Burslem,
June- August, 1895. Burslem,
Dawson, 1895. Sq. 8°, pp. 54 ;
vigns.; 100 large paper copies
printed.

The exhibition comprised 493 Nos.

- Old Wedgwood. The decora-
tive or artistic ceramic work in
colour and relief invented and
produced by Josiah Wedgwood,
at Etruria in Staffordshire, 1760-
1794. Biographical and descrip-
tive chapters, a list of marks
used at Etruria, and explana-
tory text to each object illus-
trated. London, Quaritch, 1898.
Fol., pp. 102 ; with 67 col. pis.
and text illustrs. £10, 10s.
200 copies printed.

W. Griggs has executed, by photographic
processes, the last portion of the plates of this
work, very superior in style and accuracy to
those lithographed in Paris for the first parts
issued in 1893.

A catalogue of a collection of

plaques, medallions, vases, fig-
ures, etc., in coloured jasper and
basalte ; produced by Josiah
Wedgwood, F.R.S., at Etruria,
in the county of Stafford, 1760-
350

1795, the property of Arthur
Sanderson, Esq. Exhibited at
the Museum of Science and Art,
Edinburgh. London, 1901. 8°,
pp. 69 ; illustrs. 6d.

A large paper edition of this catalogue ap-
peared in 1903. It is illustrated with a coloured
portrait of Wedgwood on horse-back, after
Stubbs, a medallion of J. Flaxman, and 20 plates
in heliogravure. 50 copies printed.

The collection of old Wedg-
wood formed by Lord Tweed-
mouth. Ch. Davis Galleries.

London, 1905.
lustrs. Is.

8°, pp. 58 ; il-

- Catalogue of the Wedgwood
Museum at Etruria. Stoke-on-
Trent, 1909. 8°, pp. 120; with
num. illustrs. 2s.

This museum has been formed out of the
blocks, moulds, trials, odd pieces, business
papers, and other items, mostly dating from the
time of Josiah Wedgwood, and which were
lately discovered in some long disused rooms at
the old works.

RATHGEBER(G.).— Nikeinhellenischen
Vasenbildern. . . . Gotha, 1851.
Fol., pp. ii-58. (In Rathgeber's
Schriften. )

"Nike in Greek vase paintings. An
archaeological dissertation."

RATTIER (Collection). — Catalogue of
sale. Paris, 1859. 8°, pp. 84.

Italian faience — Luca della Robbia and
Palissy ware. Terra-cotta, etc.

RAU (Ch.). — The archaeological col-
lection of the United States.
National Museum in charge of
the Smithsonian Institution.
Washington, 1876. 4°, pp. xiv-
104 ; with 340 illustrations.
Pottery, pp. 77-87.

RAYAISSON (F.). — Notice sur une
amphore peinte du Musee du
Louvre, representant le Combat
des Dieux et des Geants. Paris,
1876. 4°, pp. 16 ; with 2 pis.

RAYESTEIN (E. de Meester).— Musee de
Ravestein. Liege, 1871-72, and

RAY]

CERAMIC LITERATURE.

Bruxelles, 1882. 3 vols. 4°.
20 fcs.

" The Ravestein Museum."

The catalogue of an important collection of
antiquities in the possession of Mr. E. de Rave-
stein, Belgian Ambassador to Italy. No plates
accompany the descriptions of the objects, and
owing to this want of illustrations the catalogue
loses much of its value. Vol. i. contains Greek
vases, pp. 83 to 266 ; terra-cottas, pp. 267 to 280.
The supplementary Vol. iii., Greek and Etruscan
vases, pp. 11 to 180 ; terra-cottas, pp. 180 to 253.

- Musee Royal d'antiquites et
d'armures. Musee de Ravestein.
Bruxelles., 1884. 8°. Classical
ceramics, 690 Nos. 1 fc.

An abridged edition of the above catalogue
prepared for the visitors to the museum of anti-
quities of the " Porte de Hale " at Bruxelles,
where the collection was then exhibited. Pre-
sented to the nation by Mr. de Ravestein. This
collection has since then been transported to the
Museum of Decorative Art.

RAYET (Collection 0.)-— Catalogue de
la collection d'antiquites grec-
ques formed by O. Rayet. Paris,
1879. 8°, pp. 45.

An important collection of Greek terra-cottas ;
each number is elucidated by a learned disquisi-
tion written by the collector.

RAYET (0.).— Monuments de Fart
antique. Paris, Quantin, 1884.
2 vols. Fol. ; with 90 heliogr.
pis., accompanied with explana-
tory notices. 150 fcs.
" Monuments of ancient art."

Greek terra-cottas, 17 plates, splendid repro-
duction of well-selected examples.

- Les figurines de Tanagra au
Musee du Louvre. Paris. (Re-
print of three articles in the
Gazette des Beaux-Arts.) Pp. 42 ;
with 14 illustrs. by P. Sellier.

"The Tanagra figures in the Louvre
Museum."

RAYET (0.) et COLLIGNON (M.).— Histoire
de la ceramique grecque. Paris,
Decaux, 1888. 4°, pp. xvii-420 ;
with 15 col. pis. and 145 text
illustrs. 25 fcs.

" History of the Greek ceramic art."

Mr. Maxime Collignon has rendered a signal
service to the spreading of archaeological know-

ledge by completing and bringing out, after the
death of his friend, Olivier Rayet, the work they
had prepared together. It forms a most ex-
cellent survey of the progress lately accomplished
in the study of classical ceramics. A mere glance
at the illustrations is sufficient to satisfy us that
no trouble has been spared in selecting the most
telling examples of terra-cotta and painted vases
which represent the various epochs of the art.
Particular attention has been devoted to the
productions of the earliest period, brought to
light by the excavations prosecuted during the
last few years on the territory of Greece proper,
rude vessels of a kind so far left out of the his-
tories of painted vases.

The aggregate of Greek ceramics has been
divided into distinctive groups, formed according
to the special characters of forms and decoration
which may be said to constitute a marked style.
Each of these groups is dealt with separately in
chapters presented, so far as it has been found
practicable, in chronological order. The fol-
lowing is an abridged synopsis of the contents
of the book : —

The terra-cottas of Hissarlik, the coarse un-
decorated production of a semi-barbarian age,
believed to date as far back as the twelfth cen-
tury B.C. The archaic pottery of various origin,
evincing in their red and black geometrical
traceries the earliest attempts at a painted de-
coration. The earthen vessels adorned with a
more elaborate style of paintings, showing repre-
sentations of fantastic animals, said to denote an
Oriental influence which would refer the manu-
facture of these vessels to the times when the
Greeks established a regular commercial inter-
course with Phoenicia and the East. The earliest
vases made in Italy, and particularly in Etruria,
by potters who had come from Corinth, and upon
which the human figure is, for the first time, seen
introduced in the scheme of decoration. Lastly,
the painted vases and terra-cotta figures made
at Athens between the sixth and fourth centuries
B.C. In these latter productions, the practice of
the various styles of make and ornamentation,
successively introduced within the course of the
preceding ages, is found to have been preserved,
being in some instances brought to the highest
perfection.

To the early vases decorated with black figures
succeeded those with red figures on black ground,
a class which comprises the most exquisite works
of the vase painter. A special notice is devoted
to each of the artists who have signed their
painting with their name. The culminating
height reached by the Greek ceramic art coincides
with the times of Alexander, Phidias, and Apelles;
it is said not to cover more than half a century.

When the style of vase painting began to
deteriorate in simplicity and purity of design, the
technical processes underwent great alterations.
Towards the end of the fourth century white
vases were made painted with subjects in several
colours ; gilding was applied to some parts of
the black and red vases. Moulded work tended
to replace surface decoration ; the curious vessels
affecting the shape of an animal or of a human
figure date from that period. Metal work was
imitated in pottery, and the ornaments of the
clay pot reproduced those hammered and chased
upon bronze and silver. To the adoption of this
method of workmanship may be attributed the

351

RAY]

CERAMIC LITERATURE.

[REG

making of the first examples of black and red
embossed pottery — this latter often called
Samian ware — which after having been practised
in Greece was imported into Arezzo, where it
became the staple trade of the Roman figulus.
With the introduction of brightly coloured trans-
parent glazes and opaque enamels ends the
account of the successive phases of Greek
ceramics. At the end of the third century
B.C. Greece ceased altogether to produce the
painted vases for which its potters had so justly
been celebrated ; the vulgar imitations which
for a time continued to be manufactured in Italy
were but the dying reflections of an art doomed
shortly to disappear and be forgotten.

A short chapter on the application of pottery
to architectural decoration terminates a truly
captivating book replete with historical infor-
mation and technical as well as artistic consider-
ations. The ceramic student would have to look
through a whole library of archaeological works
before he could obtain a portion of the know-
ledge that has been compressed for his benefit in
this valuable compendium.

RAYMOND (Collection Dr.).— Catalogue of

sale. Paris, 1888. 8°, pp. 40 ;
with 4 pis. Rare French faience.

READ (Ch.). — Causerie sur Bernard
Palissy. (Reprint from the Bul-
letin de Vhistoire du protestant-
isme.) Paris, 1893. 8°, pp. 16.

"A chat on B. Palissy."

READ (Ch. H.).— Burlington Fine Arts
Club. Exhibition of the faience
of Persia and the nearer East.
London, 1907. 4°, pp. 82 ; with
27 collotype pis. £4, 4s.

READ (R. W.).— Salisbury and South
Wilts Museum. Loan collection
of Sevres. Salisbury, 1871. 12°.

- Loan collection of porcelain
statuettes. Salisbury, 1872. 16°

- A reprint of the original cata-
logue of one year's curious pro-
duction of the Chelsea Porce-
lain Manufactory, sold by auc-
tion by Mr. Ford on the 29th
March, 1756, and fifteen fol-
lowing days, etc., with introduc-
tory remarks. Salisbury, 1880.
8°, pp. x-54-4. 100 copies,
printed for private circulation.
16s.
352

Collectors know the importance of these cata-
logues, in which the greater part of the figures,
groups, and fancy articles produced at the
Chelsea Works are sufficiently described as to
assist in the identification of unmarked speci-
mens. The original issues are unobtainable ;
this reprint has become so rare as to be almost
as difficult to find.

REAUMUR (de). —Art de faire une
nouvelle espece de porcelaine,
par des moyens extremement
simples et faciles, ou de trans-
former le verre en porcelaine.
Premier memoire. Ou Ton ex-
amine la nature et les qualites
de la nouvelle porcelaine et ou
Ton donne une idee generale de
la maniere de la faire. Paris,
1739. 4°, pp. 78. (Extr. from the
Memoir es de VAcademie royale
des Sciences.)

" The art of making a new kind of por-
celain, by very easy and practical means,
being the manner of transforming glass
into porcelain. Part I. In which the
nature and qualities of the new porcelain
are examined, and a general idea is given
of the method of manufacturing it."

- Part II. Paris, 1739. 4°.

REBOULLEAU DE THOIRRES (E. F.).-
Nouveau manuel complet de la
peinture sur verre, sur porce-
laine et sur email. Paris, 1843.
18°; pis.

"Anew complete manual of painting
upon glass, porcelain, and enamel."

One of the series of the " Manuels Roret."

REDGRAVE (G. R.).— Report on terra-
cotta, bricks, encaustic, and
other tiles at the International
Exhibition of 1871. (Official
Reports, vol. i., pp. 315-332.)

REGAMEY (Will).— Japan in art and
industry. London, 1893. 8° ;
with 100 illustrs. by the author.
Translated from the French by
F. and E. L. Sheldon. 7s. 6d. "

Ceramics, pp. 104-129.

REGNAULT et SALYETAT.— Rapport sur
les arts ceramiques, etc. Ex-

REG]

CERAMIC LITERATURE.

[REI

position universelle de 1862.
Paris, 1862. 8°. (In vol. vi. of
the Rapports du Jury frangais.)

"Mr. V. Regnault was then director of
the Imperial Manufactory of Sevres."

REGOULT (Petrus).— Kristal en Glas-
blazery en Slijpery fabricken van
Petrus Regout te Maastricht.
Pryscourant van Aardewerk.
1854. 4°, pp. 19 ; with illustrs.

" Factories of crystal, glass, and glass-
cutting of P. Regout at Maestricht. With
a price list of earthenware."

Proprietes de Mr. Pierre
Regout a Maestricht, Holland.
S.d. Eleph. fol., of 17 pis. in
colour.

Lithographed views of the mansions, parks,
houses, model-dwellings, etc., belonging to Mr.
P. Regout ; also of his factories of glass and
earthenware.

REICHEL(W.).— Ueber eine Aufnahme
des Francois Vase. Wien, 1888.
8°, pp. 24.

"Upon a new elucidation of the Fran-
Qois Vase."

REIN (J. J.). — The industries of
Japan . . . From travels and
researches undertaken at the
cost of the Prussian Government
London, 1889. 4°. Ceramics,
pp. 452-488 ; with 5 pis. and
1 cut.

REINACH (Salomon). — Catalogue du
Musee de Constantinople. Paris,

1882. 8°.

"Catalogue of the Constantinople
Museum."

The Ottoman Government reserves to itself
the right to keep one-third of the objects dis-
covered in the excavations made on Turkish soil
at the expense of the foreign states. Out of this
percentage a fair collection of vases and terra-
cottas found in Asia-Minor has been formed in
the Museum of Ichinli-Kiosk.

- Peintures de vases antiques

recueillies par Millin (1808) et

Millingen (1813) ; publiees et

commentees par S. Reinach.

Paris, F. Didot, 1891. 4°, pp.
142 ; with 122 pis. in outline
and 1 in colour. 25 fcs.

"Antique vase paintings, collected by
Millin and Millingen ; published and an-
notated by S. R."

Reproduction in reduced size of the plates
illustrating the folio volumes of two classical
writers on Greek vases. The elucidations they
give of the subjects represented on the vases, now
mostly out of date, are carefully revised. Re-
ference is made to all other works in which the
same vase has been engraved, and whenever such
information has been obtainable, the name of the
museum in which it is now preserved is also
given.

Inedited terra-cotta from
Myrina in the Museum at Con-
stantinople. Boston, 1888. 8°,
pp. 8 ; with 2 pis. and 2 cuts.

The so-called Asiatic terra-
cotta groups. Boston, 1888. 4°,
pp. 7. (Reprint from The Clas-
sical Review.}

A contribution to the controversy raised on
the genuineness of the groups in the Cartault
Collection.

— Antiquites du Bosphore Cim-
merien, reeditees avec un com-
mentaire nouveau. Paris, 1892.
8°, pp. xvi-213; with 83 pis.
25 fcs.

"Antiquities of the Cimmerian Bos-
phorus."

Reproductions in phototype of the plates and
illustrations of the work published by F. Gille
in 1854. Painted vases, 12 pla ; terra-cottas,
13 pis.; woodcuts.

— Repertoire des vases peints
grecs et etrusques. Tome I. —
Peintures de vases gravees dans
1' Atlas et le Compte-rendu de St.
Peter sbourg, les Monumenti, An-
nali et Memoir e de Vlnstitut de
Rome, 1' Archaeologische Zeitung,
le Bullettino Napolitano, le
Bullettino Italiano, VEpTiemeris
(1883, 1894), le Museo Italiano,
avec des notices explicatives et
bibliographiques. Paris, E. Ler-
oux, 1899. Sq. 8°, pp. 533;
with over 1,000 illustrs.

353

CERAMIC LITERATURE.

[REN

REINACH (Salomon).— Tome II.— Pein-
tures de vases gravees dans les
recueils de Millingen (Coghill),
Gerhard (Auserl. Vasenbilder),
Laborde, Luynes, Roulez, Schulz
(Amazonenvase), Tischbein
(Tomes I. -V.). Avec une biblio-
graphic de la ceramique grecque
et etrusque. Paris, 1900. Sq.
8°, pp. 423 ; over 1,000 illustrs.
Each vol., 5 fcs. A third vol.
is in preparation.

" Repertory of the Greek and Etruscan
painted vases . . . with explanatory
notices, and a bibliography."

To present to the student of Greek vases a
series of very minute reductions of all the sub-
jects that have been engraved, in order that the
place in which the full size engraving is to be
found may be ascertained without further re-
search is the aim of a work, the importance and
utility of which could not be over-estimated.
Through a feeling of delicacy, perhaps exagger-
ated, the author has refrained from borrowing
anything out of the comparatively now works —
that is to say, those published since 1870 — and
out of the classical journals still in existence.

La naissance de Ploutos sur

un vase decouvert a Rhodes.
Paris, 1900. 8°, pp. 12; 1
illustr.

" The birth of Plutus on a vase dis-
covered at Rhodes."

REISCH (E.).— Das Museo Gregoriano
Etrusco im Vatikan, und das
Kircher'sche und prahistorische
Museum im Collegio Romano zu
Rome. Leipzig, Badeker, 1891.
12°, pp. 205. (Reprint from
Die offentlichen Sammlungen in
Rom., vol. ii.)

" The Gregorian Etruscan Museum, and
the Kircher and Prehistoric Museum in
Rome."

An abridged catalogue with historical notices.
Reference is given to archaeological works in
which the leading objects in the museum are fully
described and reproduced.

REISCHEL (G.).— Die Begrabniss state
bei Hornsommern in Thiiringen
und Vergleichung ihrer merk-
wiirdigen Thongefasse, etc.
Halle a. d. S., 1888. 4°, pp. 18 ;
354

with 2 pis. and 6 illustrs. (Part
ix. of the Vorgeschichtliche Alter-
thiimer der Provinz Sachsen.)

" The excavations near Hornsommer,
in Thuringia, with an examination of I ln-ir
remarkable earthen vessels, etc."

The graves have yielded several examples of
a curious and rare type of cinerary urns of red
tcrra-cotta marked with linear decorations of
white clay. Their form is that of a tundish, and
they are open at both extremities; they were
found placed the broadest part downwards, over
the bones and ashes which had been gathered
after the cremation had taken place.

REISS (W.) and STUBELL— The necro-
polis of Ancon, in Peru ; a con-
tribution to our knowledge of
the culture and industries of the
Empire of the Incas, being the
result of excavations made on
the spot. Translated by Prof.
A. H. Keane. Berlin, Asher &
Co., 1880-87. 3 vols. Fol. ;
with 141 col. pis. £21. (Vol.
iii. contains 11 pis. of earthen-
ware vessels.)

RENAUD (Dr. F.).— The uses and teach-
ings of ancient encaustic tiles.
Manchester, Gill, 1892. Sm. 4°,
pp. 31 ; with 24 col. pis. 12s.

From among the five hundred tracings of
ancient decorative tiles he had accumulated
during twenty years, Dr. Frank Renaud has
selected a small number of patterns which he
has grouped and described under five headings —
viz., Armorial, Pictorial, Symbolical, Moral,
Educational. The first chapters, chiefly descrip-
tive, bristle with quotations from archaeological
works ; in the last ones, the ethics of the ancient
tile designer are expounded with the ingenious
subtlety of a writer who insists on finding a
symbolical moaning expressed in the rudiment-
ary form of the plainest ornament.

With respect to the use of the absolutely in-
correct terms, " Encaustic tiles " — adopted, if
we remember right, by a modern manufacturer
to distinguish his production from the kind of
tiles made previously — we shall remark that the
technical words " Inlaid and glazed tiles "
should always be employed in preference in an
archaeological work.

RENAULD (J.).— La ceramique Peru-
vienne de la Societe d' etudes
Americaines fondee a Nancy.
Nancy, 1880. 8°, pp. 21 ; with
4 lith. pis.

REN]

CERAMIC LITERATURE.

[KEY

" Peruvian ceramics in the possession of
the Society of American Studies founded
at Nancy."

A descriptive notice of 58 vases found in the
Peruvian tombs of the Incasic period (1006-1525).
These vases ware deposited in the museum on
the occasion of the first meeting of the Congress
of Americanists held at Nancy in 1875.

RENNER (A.).— Die Porzellanmalerei
in ihrem ganzen Umfange, etc.
Leipzig, 1833. 12°, pp. 66.

" Porcelain painting in all its branches."

RENOUYIER (J.).— Sur une figurine en
terre-cuite du cabinet archeo-
logique de Montpellier. 4°, pp.
12; with 1 lith. pi. (Reprint
from the Rapports de, la Soc.
Arch, de Montpellier, No. 20.)

" Upon a terra-cotta figure in the col-
lection of the Arch. Society."

A Gallo-Roman figure of a Goddess-Mother.

RENOUX. — Simple expose sur 1'indus-
trie ceramique du Canton de
Salernes, dans le Var. Aix,
Makaire, 1864. 8°, pp. 26.

"Notice of the conditions of the cer-
amic industry in the district of Salernes,
in the Var Department."

REQUIN (Abbe H.). — Histoire de la
faience artistique de Moustiers.
Paris, Rapilly, 1903. 4°, pp.
xvi-299; with 15 pis. (7 col.)
and 15 illustrs. Vol. i. 25 fcs.

" History of the artistic faience of
Moustiers."

A very exhaustive survey of a subject well
studied before. The plates, drawn by E.
Gamier, scarcely give an idea of the variety
and excellence of the productions. The full
series of marks is to appear in the second volume.

REULEAUX (F.).— Briefe aus Philadel-
phia. Braunschweig, 1877. 8°,
pp. 98. (Ceramics, Letters 5
and 6.)

" Letters from Philadelphia."

REUSCH (C. F.).— Dissertatio de Tum-
ulis et Urnis sepulchralibus in
Prussia ; cum figuris. Respon-
dente C. G. Lau. Begiomontano,
1724. 4°,

"A dissertation on the tumuli and
sepulchral urns of Prussia, with plates ;
responded to by C. G. Lau."

REYER (F.).— Sur des figurines de-
couvertes dans la foret d'Evreux.
Evreux, 1827. Pp. 26; with
4 lith. pis.

" On some terra-cotta figures discovered
in the Evreux forest."

REYILLOT DE MURALT (A.).-Cataloguede
la collection de porcelaines an-
ciennes de la Chine etdu Japonap-
partenant a Mr. R. de M. Geneve,
Eggimann, 1901. 4°, pp. 192 ;
with 40 phototyp. pis. (Porcelain,
3 1 pis. ) . 20 fcs. Ten copies have
been printed, illustrated with the
original photographs.

A collection of over 2,000 specimens of Ori-
ental porcelain, of which this volume is the dry
inventory ; there has been evidently no attempt
at making a catalogue raisonnL No order of
classification has been adopted, no marks are
reproduced ; the obsolete distinction between
" Famille verte " and " Famille rose " is the only
indication that is supplied of the styles and
periods of manufacture. In the graceful arrange-
ment, chiefly contrived to please the eye, which
they occupy on the walls and in the glass cases
of the artistic abode of their possessor, the whole
contents of the collection have been photo-
graphed on the plates. All is given, however, on
such a reduced size that it becomes difficult for
us to make, out of these overcrowded groups, the
selection of the examples worth special attention,
which surely deserved to be reproduced separ-
ately, and on a larger scale.

REYMOND (Marcel).— Les Delia Robbia.
Florence, Alinari, 1897. 8°, pp.
278 ; with 190 illustrs. 15 fcs.

" The Delia Robbia."

So much absorbed is Mr. M. Reymond in the
admiration he entertains for the Delia Robbia as
sculptors that he declines to consider them in
their inferior capacity of enamellers and potters.
In the examination he makes of all the recognised
productions, it is the work of the modeller that
fixes bis attention, and on which he expatiates
at full length ; the ceramical merit of the ex-
ecution leaves him altogether indifferent, and he
has nothing to tell us on that subject. As a
catalogue raisonnf. of all the works left by Luca,
Andrea, and Giovanni Delia Robbia, the book
will be found of some value. As a biography of
the masters and as a technical examination of
their enamelled pottery it leaves much to be
desired ; these last points seem to have been
purposely neglected. A list of articles on the
Delia Robbias, which have appeared in the serial
publications of all countries, will be found at the
end of the volume.

355

KEY]

CERAMIC LITERATURE.

[RIA

REYNOLDS (Collection C. W.).— Catalogue
of sale. London, Christie, 1871.
8°; with 8 pis.

The aim of the collector was to obtain a
specimen from all the better-known manufac-
tories of Europe, and the variety of the items
composing his collection shows that he had partly
succeeded in carrying out his ambitious scheme.
The catalogue comprises 734 Nos., among which
are included the series of D wight's stoneware
pieces known as " The Fulham trouvaille."

REYNOLDS (J. C.).— The tobacco pipe,
pipe clays and tobacco. London,
1862. Pp. 16 ; illustrations of
pipes on the cover.

Reynolds' tobacco pipe manufactory was
situated in the City Road, London. This paper,
which describes its exhibits in 1862, contains
also some historical and technical notes on the
manufacture of clay pipes.

RHEAD (G. I.) and (F. A.).— Stafford-
shire pots and potters. London,
Hutchinson, 1906. 8°, pp. xvi-
384 ; with 4 col. pis., 116 illustrs.
in half-tone, and 90 drawings in
pen and ink by the authors.
£1, Is.

Both natives of the Potteries, the authors,
already known as ceramic artists, were fully
qualified to treat the subject. Very little is left
unsaid of what concerns the past of the local
industry, and the masters and men who have
assisted in its development. The present con-
ditions of manufacture, and the gossiping par-
ticulars about the life and work of the modern
artists with whom the writers have been brought
in contact is not the least interesting portion of
the volume.

RIANO (J. F.).— Classified and descrip-
tive catalogue of the art objects
of Spanish production in the
South Kensington Museum ;
with an introduction and notes.

London, 1872.
marks.

8°, pp. xiv-75

— Sobre la manera de fabricar
la antigua loza dorada de Man-
ises. Madrid, Fortanet, 1877.
18°, pp. 18.

"Upon the method of making the
lustered faience of Manises."

A MS. report sent by the Mayor of Manises,
one of the largest centres of manufacture, to the
Count of Florida Blanca in 1785, contained the
practical directions for making the metallic

356

lustre after the methods used for centuries by
the potters of the town. It is a transcript of
that MS., now in the British Museum, that will
be found printed in this pamphlet. Far from
containing precise information about the subject,
the account, after having mentioned all the sub-
stances which enter into the* composition of the
glaze and the lustred colours, ends in telling us
that the knowledge of such particulars is not of
much avail, the important point consisting in the
manipulation of the mixtures and the skilful
practices known only to the experienced men of
the trade, which cannot be described in writing.
Of this a practical potter will readily be made
aware by the perusal of the so-called recipe, in
which nothing is said about the conduct of the
firing of the kiln. Yet it is well known that
it is only owing to the special conditions under
which the ware is fired that the lustre is produced
upon it. An English translation of the Spanish
MS. has been given by the author in the fol-
lowing work.

- The industrial arts in Spain.
London, 1879. 8°, pp. 276;
with text illustrs. One of the
handbooks of the South Ken-
sington Museum.

In the chapter devoted to Spanish ceramic art
(pp. 143-228), Senor Juan F. Riano has given us
a summary of what is known of the subject in
the country. Even in Spain, very little infor-
mation has been obtained respecting the origins
of a ware imported and admired at one time all
over Europe. It is limited to a few obscure
references made by ancient writers to its manu-
facture. The earliest mention of the " Golden
pottery " of Calatayud, and of the extensive ex-
portation which was made of it into distant lands,
has been found in a MS. of the twelfth century.
Ben Batuta, writing in 1349, describes the lustred
faience of Malaga, and also says that it was the
object of an important commerce. From many
authentic sources we learn that in the fifteenth
century the foreign demand for the Spanish
earthen vessels was still in the ascendant, and
that the makers could scarcely cope with it.
Princes, Cardinals, the Pope himself, according to
Eximenus' report, were anxious to acquire the
gilded vases and dishes of Manises, but could
only obtain a scanty supply of them by special
favour.

While such ancient records make us ac-
quainted with the name of the places where the
production had attained its highest importance,
they do not assist us in assigning to any special
factory the various styles of the specimens that
have been preserved up to this time. The richly
ornamented panels and tiles, so profusely used by
the Moors of Spain in architectural decoration,
or the platters or drinking vessels known as
Hispano-Moresque faience seldom bear any mark
or inscription by which the date and locality of
manufacture might easily be determined. The
study of the genesis of this important class of
Spanish ceramics, a study which has made rapid
progress during the past few years, was still in
its infancy when this handbook was published.

In the second'half of the fifteenth century the
style of manufacture underwent a partial change,

CERAMIC LITERATURE.

{RIG

the introduction of Italian majolica leading to
this ware being imitated at Seville, Talavera,
and subsequently at many other places. Gradu-
ally the faience decorated in the Italian, French,
and Dutch taste superseded the lustred ware of
the Moors. At the end of the eighteenth century
this latter was made at Valencia only in common
articles used exclusively for domestic purposes.
The two chapters treating in this handbook
of the porcelain manufactory of Buen Retire, and
of the works of Alcora, form each of them a com-
plete monograph. They contain, together with
historical particulars published for the first time,
a list of the groups and figures sold at each of
these factories, with the names of the directors
and chief artists, and facsimiles of the marks by
which their respective productions can be
recognised.

RICARD (A. de).— Guide du voyageur
dans Sevres. Notice historique
de ses curiosites. Promenade
dans la Manufacture. Poesies
par A. de R. Paris, typ. Gaillet,
1866. 32°, pp. 64.

" Handbook for the traveller to Sevres.
Historical notices of its curiosities. A
walk through the Porcelain Manufactory.
Poetry by A. de K."

RICCIO (C. M.).— Lafabricadellapor-
cellana di Napoli e sue vicende.
Memoria letta aH'Accademia
Pontaniaiia. Napoli, 1878. 4°.
Four parts of, together, pp. 179.
15 fcs.

" The porcelain manufactories of Naples
and the vicinity. Papers read before the
Pontanian Academy."

Documents dealing with the establishment
and progress of the Royal Manufactory of Naples
are not wanting. All papers connected with
its management have been arranged in twenty-
five thick volumes, deposited in the state archives,
The clear and compendious account which C. M.
Riccio has extracted from these volumes is pre-
sented in the dry and precise form of a parlia-
mentary report. Concerning himself merely
with dates, facts and figures, the compiler briefly
summarises the contents of the original docu-
ments, without indulging in speculative induc-
tions or detailed comments. He has divided his
work into four parts — I. The history of the porce-
lain works carried on, first at Capo di Monte, then
at Portici, and later at Naples, between the years
1743 and 1835. II. A synopsis of the researches
and experiments prosecuted at the works for the
purpose of obtaining raw materials of the best
quality and improving the processes of manufac-
ture. III. Biographical notices of the directors,
painters, and modellers. IV. A complete list of
the groups, figures, and models produced during
the various periods ; a description of the richly
painted vases, dinner services, etc., executed for

presentation to royal personages ; lastly, the
price list of all the articles sold at the manufac-
tory.

RICCIO (G.).— Notizie degli scava-
menti nel suolo dell' antic a Capua.
Napoli, 1855. 4°, pp. 19 ; with
12 pis. 2 fcs.

" Notice of the excavations executed
on the site of ancient Capua."

From the fine and numerous examples of red
glazed ware found in the soil, the writer infers
that it was made at Capua, in Roman times, as
well as at Arezzo.

RICHARD (A.). — Epigraphie poitevine.
Marques de potiers et petites
inscriptions gallo-romaines.
Poitiers, 1890. 8°, pp. 77 ; with
12 lith. pis. 5 fcs.

"Potters' marks and short Gallo-Roman
inscriptions."

RICHARD (G.).— Considerazioni sulle
condizioni dell'industria cera-
mica e proposte per suo maggior
s viluppo in Italia. Milano, 1 868.
8°, pp. 40. (Reprint from 11
Politechnico.}

" Considerations uppn the conditions of
the ceramic industry in Italy, and sug-
gestions for its greater development."

Mr. Giulo Richard, the son of a Turin manu-
facturer, had early realised the vital necessity of
keeping up with the times, and of placing Italian
manufacture in the position of making a stand
against the ever-increasing imports from England
and France. The pamphlet he published on the
question created a great sensation. His works
at San Cristoforo, near Milan, had been equipped
according to the best English notions ; the iron-
stone china he had produced there, ever since
1842, was equal in quality to the best ware that
came from England. Under his management
the business, incorporated under the name of
" Ceramica Societa," took a further development.
This society was, at a future date, to absorb and
unite all the chief establishments of Italy.

- Relazione di G. Richard sulla
industria ceramic a quale era
rapprentata all'Esposizione uni-
versale di Vienna nel 1873. 8°,
pp. 134.

" A report on the ceramic industry re-
presented at the Vienna Exhibition of
1873."

Partial statistics of the Italian ceramic in-
dustry at that date.

357

RIC]

CERAMIC LITERATURE.

[RID

RICHARD -GINORI (Societa Ceramica.).—

Origine e vicende della Societa.
Milano, 1905. 4°, pp. 10 ; with
num. pis. and illustrs. Privately
printed.

" The Ceramic Co. Richard - Ginori.
Origin and development of the Company."

Notices on the factories at San Cristoforo,
Milan, Pisa, Doccia, Mondovi, and Vado, now
brought under one management.

RICHARDSON and LOYEJOY.— The follow-
ing papers have been published
by the R. & L. Engineering Co.,
Columbus, Ohio, 1906-07. 8°.

Prospecting and clay testing

apparatus.

Apparatus for testing and

controlling the operations of
power-plants.

Apparatus for controlling

the operations of the factory.

Apparatus for testing and

controlling the drying.

Apparatus for controlling

the burning.

Apparatus for testing clay

products.

Apparatus for controlling

the preparation of glazes and
colours.

RICHARDSON (W. D.)— Kiln Records,
Columbus, 1906. 4°.

RICHTERS (E.). --Untersuchungen
iiber der Feuerbestandigkeit der
Thone. Berlin, Thonindustrie-
Zeitung, 1897. 8°, pp. 74.

" Researches on the nature and condi-
tions of the refractory clays."

Analysis and examination of potter's clays

found in Germany, and conclusions as to the

cause of their refractory nature. The reprint of

; an address delivered by the writer thirty years

before.

RICHTER (Paul) and ZAIS (Ernst). —Die
Thonindustrie des Kannenback-
erlandes auf dem Westerwalde.

358

(In Untersuchungen ilber die Lage
des Handwerks in Deutschland,
vol. i., part 1, pp. 371-459.)
Leipzig, Duncker & Humblot,
1895. 8°.

" The ceramic industry of the ' Potter's
District ' in the Westerwald."

Hohr-Grenzhausen and the adjoining villages
form an important manufacturing centre. Stone-
ware was made there from the beginning of the
seventeenth century, and took an extensive de-
velopment at the time when the wars had caused
the ruin of the Siegburg and Raeren factories.
At first the ware made at Grenzhausen was so
close an imitation of that made at Raeren that
the products of both places are hardly distin-
guishable from one another. We do not think
that this fact has been sufficiently acknowledged
in the historical notice.

RICORD (D. T.).— Noticia de las varias
y diferentes producciones del
Reyno de Valencia, como tam-
bien de sus fabricas y arte, f actos
segun el estado que tenian en el
ano 1791. Sacada de los correos
mercantiles de Espana y sus
India, con varias tablas sinop-
ticas que por acuerdo de la real
Sociedad de amigos del pais de
Valencia ha formada D. Thomas
Ricord presbitero secret ario.
Valencia, B. Monfort, 1793. Sq.
8°, pp. xiii.

" Notice of the various productions of
the Province of Valence, as well as of its
manufactories, with the number of oper-
atives employed therein, as it stood in
the year 1791. Compiled from the Mer-
cantile Reports of Spain and her colonies,
and arranged in tabular statements on
behalf of the Royal Society of the
country of Valence, by D. T. R., Priest ;
Secretary."

In the statistics supplied by this rare pam-
phlet are recorded the names of the local faience
manufactories, the number of workmen to whom
they gave employment, and the annual value of
their productions.

RIDDEL (R.). — Observations on vitri-
fied fortifications in Galloway.
London, 1780. 4°. (In Archceo-
logia.)

RIB]

CERAMIC LITERATURE.

[HIE

RIDDER (A. de ). — Amphores beotiennes
a reliefs. Paris, 1898. 4°; with
10 illustrs. (Reprint from the
Bulletin de Corresp. Helleniques.)

" Boeotian amphoras with decoration in
relief."

- Catalogue des vases peints de
la Bibliotheque Nationale. Pre-
miere partie — Vases primitifs et
vases a figures noires. 4°, pp.
249 ; with 11 pis. and 50
illustrs. Deuxime partie — Vases
a figures rouges et de la decad-
ence. 4°, pp. xiv-556 ; with 23
pis. and 100 text illustrs. Paris,
Leroux, 1901-1902. 40 fcs.

" Catalogue of the painted vases in the
National Library."

- Collection de Clercq. Cata-
logue public par les soins de
1'Academie des Inscriptions et
Belles Lettres. Paris, Leroux,
1905-1906. 5 vols. 4°. Tome
iv., Les marbres, les vases
peints et les ivoires, with 41 pis.
Tome v., Les antiquites chy-
priotes, with 36 pis. 40 fcs.
each vol.

" The Clercq Collection. Catalogue
published by the French Academy."

RIDGEWAY (W.).— A catalogue of the
Loan Exhibition of Pottery and
Porcelain held in the Fitzwilliam
Museum ; with preface by Prof.
W. Ridgeway, and introduction
to each section. Cambridge,
1902. 8°, pp. 130.

RIEBECK (E.).— Sammlung des Herrn
Dr. E. Riebeck, ausgestellt in
Kunstgewerbe Museum zu Ber-
lin. Berlin, 1884. Fol. ; 21
photogr. pis. 36 m.

This ethnological collection, exhibited by its
owner in the Museum of Industrial Art at Berlin,
included some specimens of Oriental ceramics.
The plates represent general views of the exhi-
bition, and of the chief groups of objects.

RIEMANN (J. F.). --Praktische An-
leitung zur Kenntnis der Zeige-
lein und Ziegler Arbeiten. Leip-
zig, 1800.

"Practical introduction'to~the know-
ledge of brick and tile making."

RIES (H.). — The clay-working in-
dustry of the United States in
1897. 4°, pp. 17. (Reprint
from the Reports of the U.S.
Geological Survey, 1898.)

Clay deposits and clay in-
dustry in North Carolina. Ra-
leigh, 1897. 8°, pp. 159 ; with
12 pis.

- The Kaolins and fire-clays of
Europe. Washington, 1898. 4°,
pp. 100. (In the 19th Report of
the U.S. Geological Survey.)

- Clays and shales of Michigan;
their properties and uses. Lan-
sing, 1900. 8°, pp. 67; with 4 pis.

- Clays of New York ; their
properties and uses. Albany,
1900. 8° ; with illustrs. 10s.

Clays ; their occurrence and

uses; with special reference to
. those of the U.S. New York,
Wiley, 1906. 8°, pp. xv.-490.
£1, 10s.

RIEUX (E.). — Les po tiers de Girous-
sens. Albi, 1901. 8°, pp. viii-
43 ; with 2 col. pis. and 12 il-
lustrs. 3 fcs. (Reprint from
La Revue du Tarn.)
" Giroussens pottery."

Nothing but earthen pots of the commonest
description were ordinarily made at Giroussens.
On special occasions the poor pot-maker liked to
show that he possessed sufficient skill and im-
agination to produce an ornamental article which,
when compared with the rude pots and pans of
his daily make, might claim to be called, if
not exactly a work of art, at any rate a master-
piece of the craft. A certain number of these
exceptional and carefully treasured works have
now found their way into the local collections ;
they are described in this curious monograph.
The origin of the Giroussens' industry goes back
to the times of the Roman figulus. In 1620,

359

RIG]

CtiRAMlC LITERATURE.

seventy-two families of potters were at work in
the place. Some interesting recollections re-
specting their customs and social conditions
have been recorded by the writer. Among them
are to be noticed the account of their annual
festivities, and of the strange dispute of the men
of the trade with the Cure of the village.

RIGOLLOT (J.).— Notice sur la cer-
amique gallo-romaine et surjsa
provenance. Autun, 1874. 8°,
pp. 15. (Reprint from the Mem.
de la Soc. Eduenne.)

" Notice of the Gallo-Roman pottery
and its origin."

RING (M. de). — Tombes celtiques de
1'Alsace. Suivi d'un memoire
sur les tombes . . . celtiques du
Sud Quest de I'Allemagne.
Strasbourg, 1866-70. Fol. pi.

" The Celtic tumuli of Alsace ; to which
is added an essay on the Celtic tumuli of
South-Western Germany."

RIOLS (J. de) (E. Santini).— L'art de
cuire sans mouffle. Le peintre
sur porcelaine cuisant lui meme
dans son poele ; ouvrage indis-
pensable aux amateurs de pein-
ture vitrifiable sur porcelaine.
Paris, Le Bailly (1885 ?). 8°,
pp. 32. 2 fcs.

" The art of firing without a muffle.
How a china painter can fire his paintings
at home in his stove. A work indispens-
able to amateur painters."

RIPLEY (Mrs. M. Churchill).— The colour

blue in pottery and porcelain.
Syracuse, N.Y., 1902. 8°, pp.
25 ; with text illustrs. (Reprint
from Old China.)

RIS (L. Cement de). — La curiosite.
Collections frangaises et etran-
geres ; cabinets d' amateurs ;
biographies. Paris, Renouard,
1864. Pp. 287. 3 fcs.

' ' Curios. French and foreign museums ;
private collections ; biographies."

In addition to some notices of the majolica
preserved in the Museums of Florence, Venice,
and Paris, now somewhat antiquated, this vol-
ume contains an interesting article on Avisseau,
the potter of Tours.

360

- Musee du Louvre. Notice
des faiences frangaises. Fai-
ences dites de Henri II. Fai-
ences de Bernard Palissy. Fai-
ences di verses. Paris, 1871,
18°. Pp. 100.

" Museum of the Louvre. Notice of
the French faiences. The so - called
Henry II. ware. The Palissy ware. The
glazed earthenware."

A historical notice is prefixed to each section
of this descriptive catalogue, prepared by the
curator of the collection. The Henri II. and
Palissy ware comprise 11 and 212 Nos. respec-
tively. An inconceivable blunder, to which the
best connoisseurs of the times had fallen a victim,
is rectified by the writer. For a few years the
place of honour in the centre of the Palissy room
at the Louvre had been given to an uncommon
dish of very large proportions. The centre of it
was occupied by a splendid lobster of bright
scarlet colour, framed in the usual medley of
reptiles, shells, and foliage. This masterpiece,
for no other example of Palissy faience could be
compared to it for size and brilliancy of enamels,
had been bought by Dr. J. Cloquet for twenty-
five thousand francs, a record price at the time,
and by him bequeathed to the museum. Exhi-
bited in a special glass case, it formed the cynos-
ure of all eyes. One day it disappeared, having
been consigned to a dusty attic. It is still entered
in the catalogue, however, under this description,
" A dish with lobster, serpents, shells, etc, a
modern counterfeit, made of carved, painted, and
varnished cement, supposed to have been made
in England."

RISCHER (A.)— Das Glasieren der
Ziegel. Berlin, Tonindustrie
Zeitung, 1904. 12°, pp. 48.

" The glazing of tiles."

RIS-PAQUOT (0. E.). — Histoire des
faiences de Rouen pour servir de
guide aux recherches des collec-
tionneurs ; ouvrage avec texte
orne de 60 planches mises en
couleur a la main. Amiens,
chez 1'auteur, 1870. 4°, pp. 38 ;
with 6 plates of marks and 60
chromolith. pis. 30 fcs.

" History of the Kouen faience ; to
serve as a guide to the collector ; a work
with text, embellished with 60 plates
coloured by hand."

Neglecting his original avocation of a mender
and restorer of broken faience, Ris-Paquot blos-
somed one day into a prolific writer of ceramic
history. The practical plan he adopted — which
was to extract from a standard work materials

CERA MIC LITER A TURE.

[RIS

for a book which he called his own — was invari-
ably adhered to in his literary productions. His
Histoire des faiences de Rouen was but a pitiable
imitation of the masterly monograph that Andre
Pettier had just brought out under the same title.
Ris-Paquot's imperfect grasp of the subject he
had ventured to handle is manifest all through
the book. Casting a glance at the first page, we
find it studded with ludicrous mistakes, such as
Keramous, said to mean " a potter," in Greek,
and Sigulinus, " a Roman potter." The mis-
spellings of the word Margolique, for majolique,
Billon, for B. Fillon, and so on, are no less sur-
prising.

French grammar is treated throughout the
text with an equal degree of disregard for cor-
rectness. In the drawing of the plates — also the
work of the author — accuracy having been con-
sidered of small importance, the proportions and
the outline of each object are misrepresented,
and the elementary rules of perspective openly
set at defiance. Moreover, apparently in view
of simplifying the labour of the designer, none
but examples of the poorest and plainest de-
scription have been selected for illustration. Let
us add that the curiously worded statement
which appears on the title page, Planches mises
en couleur a la main, is misleading, as they are,
in the main, coloured in the press ; but when a
spot or two of extra colour is required, it is
roughly daubed on the printed plate with a paint
brush.

Maniere de restaurer soi-
meme les faiences, porcelaines,
cristaux, marbres, terres-cuites,
gres, biscuits, emaux, etc. Paris.,
Lahure, 1872. 12°, pp. 122 ;
with 9 col. pis. 2nd ed., 1876.
5 fcs.

" Directions for mending and restoring
faiences, porcelains, etc."

- Dictionnaire des marques et
monogrammes des faiences, gres,
terre de pipe, terre-cuite, porce-
laines, etc.,anciennes et modernes
reproduites avec leurs couleurs
naturelles. 3,000 marques.
Paris, Delaroque, 1873. 12°.
Pp. 256. 2nd and 3rd editions,
1874-1878. 4th ed., 1879. 8°.
Pp. xvi-549.

" A dictionary of marks and monograms
on faience, stoneware, earthenware, terra-
cotta, porcelain, ancient and modern.
Keprod:iced in their natural colours."

Chaffer's Marks and Monograms has been
freely put under contribution to produce a very
inferior book of marks, to which it was supposed
that the addition of 300 names of Roman potters

would give an appearance of original research.
Some of the marks are printed in black, others in
red ; Wedgwood marks are all printed in red.
This is what is called giving the marks in their
" natural " colour.

Ceramique. Histoire gene-
rale de la faience ancienne, fran-
9aise et etrangere, considered
dans son histoire, sa nature, ses
formes et sa decoration. 200
planches en couleur retouchees
a la main. 1,400 marques et
monogrammes. Amiens, chez
Fauteur, 1874-76. 4°, pp. 240.
300 fcs.

" Ceramics. General history of ancient
faience of French and foreign origin, con-
sidered in its history, its nature, its shapes,
and decorations."

Examples of French faience predominate,
foreign manufactories being very inadequately
represented. We are told that all the drawings
were made from pieces which had actually passed
in the way of trade through Mr. Ris-Paquot's own
hands. Under such circumstances, we under-
stand that no great discrimination could possibly
be exerted in the selection of typical examples ;
the would-be historian was limited in his stock
of materials to what had casually come to him.
This is certainly not the method usually adopted
for the preparation of a general history of ancient
faience ; yet we might have had the chance of
obtaining by these means the reproduction of
some out-of the- way and unpublished specimens.
But as the flat treatment and the spiritless ex-
ecution of the lithographic plates would have
taken away much of the artistic value of the
originals, the sense of what we may have lost
is greatly diminished.

— Manuel du collectionneur de
faiences anciennes, ouvrage ini-
tiant les amateurs et les gens du
monde a la connaissance rapide
des faiences anciennes, fran-
gaises et etrangeres. Amiens,
chez 1'auteur, 1877-78. 8°, pp.
343 ; with 27 col. pis. 30 fcs.

" Manual for the collector of old faience ;
a work giving amateurs and men of the
world a ready knowledge of the ancient
faience of France and other countries."

The letterpress is a reprint of the text accom-
panying the plates of the preceding work. It
reproduces all the omissions, errors, and mis-
spellings of the original. English pottery is
disposed of in less than three pages which would
undoubtedly amuse the reader. From them
we extract what follows : — Article Bradwall,

361

RIS]

CERAMIC LITER A TURK.

[RIS

"J. P. Clers, from Saxony, was the director
of an establishment of pipe-clay and stone-
ware pottery. His products are always marked
with his name. Another factory was founded by
the brothers Clers of Nuremberg." Article Burs-
lem, " Wedgwood must be mentioned, although
his ware is a sort of soft china. Some of his
diminutive masterpieces have received the name of
Queen's vases." Article Liverpool, " One manu-
factory under the direction of Shaw ; it passed
in 1756 into the hands of some Dutchmen, who
signed their productions Dale Street."

For a judicious appreciation of the whole vol-
ume we shall let Champfleury speak : — " Collec-
tors and men of the world for whom the book is
intended," says he, " will do well to distrust
the spelling of the names, the accuracy of the
marks, and the veracity of many of the state-
ments."

RIS-PAQUOT (0. E.).— Origine et privi-
leges de la manufacture royale de
porcelaine de Vincennes et de
Sevres, reedites d'apres les arrets
du Conseil d'Etat du 19 Aout,
1753, et du 16 Mai, 1784. Suivis
de 345 marques et monogrammes
avec leurs couleurs. Preface,
introduction et notes. Amiens,
chez Fauteur, 1878. 12°, pp. 75.
6 fcs.

" Origin and privileges of the royal
porcelain factory of Vincennes and Sevres ;
reprinted from the decrees of the State
Council, 1753-84. With marks, preface,
introduction, and annotations."

Documents inedits sur les

faiences charentaise d' Angou-
leme, L'Houmeau, Garde-Epee,
Saint Eutrope, De Montmoreau,
et Cognac. Suivis de quelques
notes sur les faienceries de la
Charente - Inferieure. Amiens,
chez Fauteur, 1878. 12°, pp. 92 ;
with 8 col. pis. 9 fcs.

" Inedited documents concerning the
faience of Charente, Angouleme, etc., with
a few remarks on the faience works of
Charente Inferieure."

Dr. Werner, an Angouleme collector, supplied
the materials for this monograph of the small
pot- works of the region. A notice of Palissy,
due entirely to R. Paquot, has been added.
The original memoirs of the great potter were
not at hand to be consulted when the notice
was written for we see the " Recepte verit-
able " repeatedly referred to as the " Recep-
tacle veritable."

362

- Le peintre ceramiste amateur,
ou Part d'imiter les faiences
anciennes de Rouen, Sincenis,
Nevers, etc. ; a 1'usage des gens
du monde. Abbeville, 1883. Pp.
195 ; with 36 col. pis. 12 fcs.

"The ceramist painter; being the art
of imitating the old faience for the use of
amateurs. . . ."

" Drawing is, to use a poetical expression, the
soul of painting ; painting without drawing is
nothing." Such are the lofty principles the
faience painter should always bear in mind,
according to the aesthetic theory of the writer.
As Mr. Ris-Paquot is not an experienced china
painter, the work contains little that is of prac-
tical value. The plates lithographed for the
Manuel du collectionner have been reprinted for
the present work.

Traite pratique de peinture
sur faience et porcelaine a Pusage
des debutants. Paris, Laurent,
1886. 8°, pp. 48 ; with 4 pis.
and text illustrs. 2 fcs.

" Practical treatise of faience and por-
celain painting for the use of beginners."
An abridgment of the preceding volume ; the
. plates have nothing to do with the text.

La ceramique musicale et
instrumentale. Paris, Levy,
1889. 4°, pp. 208 ; with 47 col.
pis. and illustrs. 30 fcs.

" Musical and instrumental ceramics."
A few rare examples of old faience, on which
are painted some doggerel rhymes and a few bars
of familiar music, suggested to Mr. G. Gouellain
the idea of describing such pieces in a pamphlet
to which he affixed the title, La ceramique
musicale. Mr. Ris-Paquot has appropriated its
title and contents, and by borrowing irrelevant
materials from well-known sources has expanded
a paper into a thick 4° volume. A series of
rudely painted dessert plates, inscribed with a
few verses of a ribald and inept song, and their
verbose description, is all that has anything to
do with pottery. Over two hundred pages of the
letterpress are filled with a history of popular
songs extracted, without acknowledgment, from
the standard works on the subject.

Shocking lithographic reproductions of a
faience fiddle and of a few whistles and trumpets
of terra-cotta warrant the addition of the word
" instrumental " in the title, introduced as the
author's original contribution.

- Faiences, Porcelaines et Bis-
cuits. Fabrication, Caracteres
Decors. Paris, Laurent ( 1 892 ? ) .
8°, pp. 243 ; with 147 illustrs.
3 fcs. 50 cents.

KIT]

CERAMIC LITERATURE.

[ROB

A selection of the writer's previous inaccur-
acies are reprinted in this volume with the same
disregard for French grammar.

It is one of the singularities of the book market
that the issue of such inferior replicas of much
better works can be turned into paying specula-
tions, and induce the publishers to persevere in
this deplorable direction. They are expensive,
yet they sell ; they are unreliable, not to say
useless ; yet they find their way into the public
libraries. Meantime, many a truly valuable
book, full of conscientious research, and adorned
with illustrations of artistic merit, long remain
on the shelves of the publisher until the whole
edition has to be disposed of for a mere trifle.

Vaso del Pelope.
8°. (Reprint from

RITSCHEL (F.). -
Roma, 1841.
the Annali.)

RIYERO (H. E.) und TSCHUDI (J. von).-
Antiquidades peruanas. Lima,
1851. 4°; with an atlas of 58
pis., mostly coloured. An Eng-
lish translation, with wood-
cuts, but without the atlas of
plates, was published by F. L.
Hawks. London, 1857. 8°.

Contains a few particulars on the Peruvian
pottery ; numerous examples are reproduced on
the plates.

RIX (W. P.).— On the adaptation of
stoneware to chemical appar-
atus. London, 1891. 12°, pp.
27. (Reprint fronTthe Journal
of the Society of Chemical In-
dustry.}

Mr. Rix has been for many years technical
director of Doulton's Works at Lambeth.

- Chicago Exhibition. Official
catalogue of the British section.
Pottery. London, 1893. 8°,
pp. 209.

ROBERT (C.).— Homerische Becher.
50 Programm zur Winckelmanns-
feste. Berlin, 1890. 4°, pp. 96;
with 22 text illustrs. 10 m.
" Homeric drinking cups."

Suetonius relates that it was when sitting at
the banquet table that Nero received the news
of the defection of the German army. In his
wrath he dashed on the floor and broke to pieces
the two favourite earthen vessels he used to call
his " Homeric cups." A few examples of small
bowls, made of red clay coated over with black
varnish and embossed with figures representing

scenes from the Illiad and the Odyssey, have
been discovered in Greece. It is these bowls,
and some other vessels showing a similar style of
ornamentation, that are dealt with in this essay.
The subjects they bear may give them a claim to
be recognised as " Homeric cups." In all
probability the earthen vessels that Nero pre-
ferred to those made of gold and silver were of
this description.

- Scenen der Ilias und Aithi-
opis auf einer Vase der Samm-
lung des Grafen Michael Tys-
kiewicz. (Winckelmami's Pro-
gramme for the opening of the
Wittenberg University.) Halle,
Niemeyer, 1891. Fol., pp. 12 ;
with 2 col. pis. and 17 illustrs.
10m.

" Scenes from the tale of Ilias and
Aethiopis upon a vase in the collection
of Count M. Tyskiewicz."

Sopra i vasi di Polignoto.
Milano, Hoepli, 1899. 4°, pp.
30 ; with 4 illustrs. and 3 fold,
pis. (Reprint from Monumenti
Antichi.)

" On the vases painted by Polignotes."

ROBERT (E.). — Sur les figures des
poteries rougeatres antiques.
Paris, 1865. 8°.

" On the figures represented upon the
reddish antique pottery."

ROBERT (K.).— Le fusain sur faience;
petit guide de peintures vitri-
fiables en grisaille, pour servir
d' etude preparatoire aux pein-
tures vitrifiables en general.
Paris, Meusnier, 1879. 8°, pp.
40. 2fcs.

" Charcoal painting on faience ; a small
handbook to black and white painting in
vitrifiable colours, as a preliminary prac-
tice to the use of vitrifiable colours in
general."

A rather deceptive title which seems to pro-
mise practical directions for obtaining on faience
a ceramic application of the method of drawing
in charcoal, much in fashion at that moment.
Some advice about painting a landscape or other
subject with Iridium black, in the usual manner,
is all that is to be found in this paper.

363

ROB]

CERAMIC LITERATURE.

[ROB

ROBERT (K.).— La ceramique. Traite
prati que des peintures vitrifiables.
Porcelaine, Faience, Barbotine,
L'email, Les vitraux. Paris,
Laurent, 1892. 8°, pp. 176 ;
with text illustrs. 6 fcs.

" Ceramic art. A practical treatise on
painting in vitrifiable colours. Porcelain,
Faience, Impasto, Enamel, Stained glass
windows."

Karl Robert is the " nom de plume " under
which Mr. G. Meusnier, expert and valuer, has
published a series of art handbooks. The work
of an amateur, they are intended for the guidance
of amateurs. A professional china painter can
not expect to find there anything more than the
elements of the art ; but this small treatise may
be recommended as a safe guide for the beginner.
It is illustrated with examples of modern manu-
facture.

Les imitations ceramiques.
Paris, Laurent, 1896. 12°, pp.
90. 2 fcs.

" The imitation of ceramic objects."

Instructions for decorating plaster, mastic,
and biscuit with varnish colours to imitate
painted faience.

ROBERT (L). --Des manufactures
nationales. Paris, impr. Nat.,
1871. 4°, pp. 5.

" The national manufactories."

After the Franco-German War, the question
of suppressing the state-supported manufac-
tories had been raised in the French Chambers.
Mr. Louis Robert, who was then acting as di-
rector of the Sevres porcelain works, addressed
this memoir to the deputies, to vindicate the
necessity of maintaining the grant indispensable
to the existence of the national establishment.

ROBERTSON (H. R.).— The art of paint-
ing on china ; with a chapter on
terra-cotta painting in oil and
water colours. London, Win-
sor & Newton, s.d. 12°, pp. 55 ;
vigns. Is.

With a price list of W. & N.'s colours and
artists' materials.

ROBILLARD DE BEAUREPAIRE (E.).— La
faience de Rouen et de Nevers a
FExposition universelle. Caen,
L. Hardel, 1867. 8°, pp. 38.

" The faiences of Kouen and Nevers at
the International Exhibition."
364

ROBIN (C.)- --Histoire illustree de
1' Exposition universelle par cate-
gories d' industries, avec notices
sur les exposants. Paris, 1855.
8°. Ceramique, pp. 201-266 ;
with 3 illustrs.

ROBINET (Anon. ).— Recueil de planches
sur les sciences, les arts liberaux
et les arts mecaniques, avec leur
explications. Paris, Briasson,
1765. Sm. fol. 10 fcs.

" A collection of plates] illustrating the
various branches of science, fine arts, and
technical trades, with their explanation."

Published as a supplement to Diderot's
Cyclopedia. The ceramic portion contains,
Faience, pp. 5 ; with 12 pis. Potier de terre, pp.
3 ; with 18 pis. The explanatory notices give
the terms employed at the time in the pottery
trade, nearly all of which have become obsolete.
Ovens of the old system, tools of old-fashioned
shape, are reproduced on the plates.

ROBINSON (£.)• -Museum of Fine Arts,
Boston. Catalogue of Greek,
Etruscan, and Roman vases, by
Edward Robinson, curator of
classical antiquities. Boston,
1893. 8°, pp. 249 ; with 1 fold,
pi. (col.), and 17 text illustrs.
Each No. is accompanied in the
catalogue with a small sketch
of the shape.

Of great value, not only to the visitor to the
museum, but also to all students of classical
ceramics, this catalogue could not be too highly
commended. It is prefaced with an abridged
history of Greek vases, clear and interesting,
containing all that could possibly be compressed
in its concise form. The collection is particu-
larly rich in the products of the excavations that
have taken place during the last few years in the
Greek necropolis, and illustrate such periods of
ancient history as are now under study. All the
latest archaeological publications have been con-
sulted to secure a correct and instructive descrip-
tion of the specimens ; their classification seems
excellent.

ROBINSON (J. C.). — Catalogue of a
collection of works of decorative
art ; being a selection from the
Museum at Marlborough House,
circulated for exhibition in pro-
vincial schools of art. London,
1855. Pp. 87.

ROB]

CERAMIC LITERATURE.

[ROD

— Lives of Benvenuto Cellini
and Bernard Palissy. London,
1855. (In Hughes' Reading
Lessons.}

— A descriptive catalogue of a
collection of Oriental and old
Sevres porcelain, the property
of H.M. the Queen, deposited
for exhibition in the Museum of
the Department of Science and
Art. London, 1858. 8°.

— South Kensington Museum.
Italian sculptures of the Middle-
Ages and period of the revival
of art.1 A descriptive catalogue
of the works forming the above
section of the museum, with ad-
ditional illustrative notices.
London, Chapman & Hall, 1862.
8°, pp. 192; with 20 illustrs.
5s.

Contains a description of the Italian terra-
cottas, and enamelled figures and bas-reliefs, ex-
hibited in the galleries, with biographical notices
of the Delia Robbia and other artists.

The name of Sir Charles Robinson will be for
ever associated with the formation and develop-
ment of the South Kensington Museum, an in-
stitution of which artistic England has a legiti-
mate right to be proud. Of all the distinguished
connoisseurs who united their efforts in carrying
out their patriotic design of endowing the country
with a museum which was to prove of unbounded
value as a means of spreading the knowledge and
love of applied art into the masses, no one has
striven more steadfastly than J. C. Robinson in
bringing the mighty scheme into complete realis-
ation. His enthusiastic energy acted as a power-
ful incentive upon the activity of all those
engaged in the work. If their combined efforts
never deviated from the right direction, it was,
to a great extent, owing to his enlightened guid-
ance ; if so much discrimination was evinced in
the formation of the collections, it was partly
due to the active part he took in the selection
and purchase of the specimens. His contribu-
tion to ceramic literature consists chiefly in the
descriptive catalogues of the best collections of
his time. They form works of reference which
will always be profitably consulted.

— Catalogue of the special ex-
hibition of works of art of the
Mediaeval, Renaissance, and
more recent periods, on loan at
the South Kensington Museum.
London, 1862-63. 8°, pp. 766.

8s. An album of 50 photographs
was published at the same time
under the title Art Wealth of
England.

The ceramic sections were catalogued by
Chaffers and revised by J. C. Robinson. The
exhibits contributed by close on five hundred
collectors were classified as follows : — I. Sculp-
tures and terra-cottas. YJI. Henri II. period.
VIII. Palissy ware. IX. Sevres porcelain. XIV.
Persian ware. XV. Porcelain and pottery of
various manufacture. XVI. English pottery
and porcelain. XXI. Majolica.

- Catalogue of the special ex-
hibition of Spanish and Portu-
guese ornamental art, South
Kensington Museum ; with an
introduction by J. Riano. Lon-
don, 1881. 8°, pp. 221.

Ceramics, Nos. 1,135-1,283.

See also Waring (J. B.). — Pottery and
porcelain ; with an essay by J.
C. Robinson.

- Soulage. — Catalogue of the col-
lection.

Uzielli. — Catalogue of the col-

lection.

lac. — Catalogue of the col-

ier. — Catalogue of the col-

lection.

ROBY (J.).— A reply to Mr. Dillwyn's
pamphlet. Swansea, 1821. 8°,
pp. 39 ; with appendix.

A paper published on the occasion of the
winding up of the Swansea Manufactory Co.

ROCHEBRUNE (0. de).— L'artceramique
au xixe siecle. Charles Avisseau
de Tours. Paris, 1857. 8°, pp.
16 ; with 1 lith. pi.

" Biographical notes upon Avisseau,
potter of Tours."

RODDAZ (C. de).— L'art ancien a 1'Ex-
position nationale beige. Brux-
elles, 1882. 4°, pp. 396 ; with
7 chromolith. and 6 etched pis. ;
numerous illustrs. in the text.
20 fcs.

365

ROP]

CERAMIC LITERATURE.

[RON

" Ancient art at the Belgian National
Exhibition."

Ceramic art : Ores cerames, by G. Vermersh.
Delft et Tournay, by L. Dommartin. Faiences
de Bruxelles et d'autres villes, by A. Wauters.
Each chapter contains much unpublished infor-
mation, and is illustrated with excellent sketches
reproducing specimens in the possession of
Belgian collectors.

ROPER (A.) and BOSCH (H.).— Sammlung
von Oefen in alien Stilarten, von
xvi bis Anfang des xix Jahr-
hunderts, ausgewalt und heraus-
gegeben von A. Roper, unter
Mitwirkung, und mit einem Vor-
wort von H. Bosch, II Direktor
des Germanischen Museums zu
Nurnberg. Munchen, Albert,
1895. FoL, pp. 8 ; with 60
phototyp. pis. 40 m.

" A collection of faience stoves of all
styles, from the sixteenth up to the nine-
teenth century ; selected and published by
A. R., with a preface by H. B., Assistant
Director of the Germanic Museum at
Nuremberg."

ROSIER (M.).
fragen.

- Keramische Tages-
Coburg, Miiller &

Schmidt, 1888. 8°, pp. 38.
" Current ceramic questions."

Statistics of the ceramic manufacture in Ger-
many, with suggestions towards its improvement
and development.

ROHDEN (H. VOD).— Die Terracotten
von Pompeji. Bearbeitet von
H. v. R. nach Zeichnungen von
Ludwig Otto. . Stuttgart, Spe-
mann, 1880. FoL, pp. xiv-79 ;
with 50 lithogr. pis. and 34 text
illustrs. 40 m.

" The terra-cottas from Pompeii. De-
scribed by H. v. R., after the sketches
drawn by L. Otto."

The Pompeian terra-cottas consist chiefly of
fragments of architectural decoration and a few
figures of the late period. In all cases the exact
place where the object has been discovered is
carefully recorded. A transcript of the official
reports of the excavations, beginning with the
year 1755, in which all the discoveries have been
entered and described, is given at the end of the
volume.

366

Vasenkunde. Berlin, 1888.
4°, pp. 78; with 114 illustrs.
(Reprint from Baumeister's
Denkmiiler des klassischen Alter -
thums.)

" The knowledge of vases."

ROHLAND (P.).— Die Tone. Wien,
Hartlebea,1909. 8°, pp. 127. 3m.

-Clay."

ROLOFF (C. H.).— Ueber die Murrini-
schen Gefasse der Alten. Berlin,
1810. 8°, pp. 65.

" Upon the Murrhine vases of the
ancients."

The theory developed by the earliest writers,
Cardanus, Julius Caesar Scaliger, Salmasius, and
others that these vessels were made of porcelain,
and had been imported from China into Italy,
was taken up again by Roloff, who supported it
by a close examination of the Latin texts, in
which mention is made of the Murrhine vases.

ROLLE (F.). — Documents relatifs aux
anciennes faiienceriesLyonnaises.
Lyon, Vingtrinier, 1865. 8°, pp.
32. 5 fcs.

" Documents relating to the ancient
faience manufactories of Lyons."

The author, archivist of the town of Lyons,
has given in this paper the text of several his-
torical documents hitherto unpublished. They
are of particular interest and of great assistance
for the study of the Lyons faience.

ROMAN (J.)« — La poterie et la faien-
cerie dans les Alpes. Gap, 1897.
8°, pp. 10 ; with illustrs. (In
the Bulletin de la Societe d1 etudes
des H antes Alpes.)

" Pottery and faience in the Alps."

ROMANOFF (S.)-— Die Behandlung der
Schmelzfarben. Eine Anleitung
zum Malen auf Porzellan und
Faience. Berlin, 1887. 8°.

" The treatment of fusible colours. An
introduction to porcelain and faience
painting."

RONDOT (Natalis).— La ceramique
lyonnaise, du quatorzieme au
dix-huitieme siecle. Paris, Plon,
1889. 8°, pp. 92 ; with 2 photo-
typ. pis. 10 fcs.

RON]

CERAMIC LITERATURE.

[ROS

" The ceramic art at Lyons from the
fourteenth to the eighteenth century."

With unflagging earnestness Mr. N. Rondot
has, almost for a lifetime, dived into the depths
of an ocean of civic records and made the archives
of his native town give back the long-buried
annals of the arts and crafts which have contri-
buted to make Lyons the second city in the
kingdom of France. After the painters, sculp-
tors, printers, weavers, and goldsmiths — which
first occupied his attention — the potters have
had their turn. He has recorded in this pre-
liminary sketch, which was soon to be followed
by a complete monograph, the whole roll of the
members of the art at various periods.

The potters' craft was represented at Lyons as
follows : — In the fourteenth century, by eight
brick and tile makers ; in the fifteenth century,
by forty-nine " Tupiniers" or makers of earthen
pots ; in the sixteenth, by twenty-seven master
potters, seven out of that number being masters
of Italian origin who had settled in the town for
the purpose of making white and decorated
faience after the fashion of Italy ; in the seven-
teenth, by eighteen earthenware and faience
potters ; and, lastly, in the eighteenth, by sixty-
eight " fai'enciers," several of whom, however,
were only merchants and dealers having shops in
the town.

Of the precise kind of ware manufactured at
the earliest periods, not a very accurate idea can
be formed, as identified examples have not yet
been discovered . Such discoveries could scarcely
have been expected to take place at the same
moment when historical proofs of the exist-
ence of an unsuspected industry had just
been revealed. Consequently, the author does
not attempt to recognise any special speci-
men as the work of the early masters whose
names appear in the town registers. Such of
the productions of the Lyons potters as may have
escaped destruction are now dispersed in distant
collections, where they are probably described as
belonging to other centres. The excavator must
now supplement the labour initiated by the
archivist. Up to the present day very few finds
of local pottery have supplied undoubted evi-
dence as to the ware which was made at a definite
place and date.

— Les potiers de terre italiens
a Lyon au seizieme siecle. Paris,
Librairie de 1'Art, 1892. 8°, pp.
160 ; with 12 photogr. pis. and
text illustrs. 15 fcs.

" The Italian potters established at
Lyons during the sixteenth century."

Commercial intercourse had created between
the town of Lyons and the Italian country a
very close relation. The presence of the Italian
potters, a list of whom was given in the previous
volume, is easily accounted for in a free city
where the Medicis and the Sforzas had estab-
lished a Bank, and where all those who intro-
duced the practice of an improved art or a new
industry were sure to find a liberal hospitality.
As early as 1512 no fewer than five Florentine
master potters were at work at Lyons, and from

that moment the civil registers testify to a
gradual reduction in the number of the French
masters.

In 1554 the Genoese Griffo, and subsequently
in 1574, Julien Gambin and Dominic Tardessir,
both of Faenza, solicited a privilege for the sole
right of manufacturing faience after the manner
used in their own country. We do not know
upon what grounds they could rest their appli-
cation, considering that documental evidences
are not wanting to show that several other
Italian potters had been plying their trade in the
town long before that time. On the evidence of
the tenor of sundry documents we may assume
that pottery had been made in the town by for-
eigners about a century before Tardessir at-
tempted to secure a monopoly of manufacture.
The beautiful majolica pavement of the church
of Brou has been attributed by many historians to
the Lyons potters of the previous period. But no
authenticated example has ever been discovered
that would tell us what kind of pottery was made
at the beginning of the sixteenth century. It is
known, however, that the Lyons ware was then in
great demand in the centre and south of France,
but it may have been plain white faience, and any
undecorated and unmarked specimen of it, if it is
still in existence, could not possibly be recognised.
Some painted dishes, the earliest of which bears
the date 1646, are considered by Mr. Rondot as
the work of the Italian majolists established at
Lyons. Fourteen of them are in the Louvre
Museum, and a few others made part of the
Dusartel collection. In the absence of any mark,
the attribution rests on the fact that they are
painted with subjects copied from the illustrated
books issued by the Lyons printers, and that
they carry inscriptions in the French language.
In point of technics, as well as of design, these
dishes are very inferior to the Italian majolica
they strive to imitate.

The chief interest attached to the production
of painted faience in the town of Lyons at a
much earlier period than in any other centre of
French manufacture lies in the support that
such a fact would give to the author's assertion
that the factories started elsewhere at a later date
found in Lyons a supply of able craftsmen ready
to place their experience at the service of a new
master. The name of Gambin, one of the Lyons
potters, appears on the list of the first operatives
engaged in the establishment of the Nevers
faience works ; further research might multiply
the number of similar instances.

One chapter of Mr. Rondot's work is devoted
to the faience of Nimes, and especially to one A.
Sigalon, who manufactured majolica there,
painted in the Italian style, about 1554.

- Les fa'ienciers italiens a Lyon
au xvie siecle. Lyon, 1895. 8°.

" Italian faience makers at Lyons in
the sixteenth century."

(C.)- — Notizie storiche delle
majoliche di Castelli, e dei pittori
che le illustrarono ; raccolte e
publicate dal Dott. Concezio

367

ROS]

CERAMIC LITERATURE.

[ROS

Rosa. Napoli, 1857. 8°, pp.
113. 5fcs.

" Historical notices of the majolica of
Castelli, and of the artists who decorated
it."

Pot-making was carried on at Castelli ever
since the time of the Roman Republic, as proved
by the large quantity of ancient pottery found
in the soil of the city. In the year 1551 majolica
was manufactured in the town. This date ap-
pears upon an earthen tablet, painted in colours,
embedded in the wall of an old house known to
have belonged to a potter named Orazio Pompeo.
The industry is said to have been flourishing at
that time, and its prosperity continued to in-
crease. But the production was confined to
plain articles of daily use, intended for the local
markets. It was only in the first part of the
eighteenth century that the making of elabor-
ately painted pieces was added to the ordinary
manufacture. It was not long, if we may trust
some contemporary records, before the Castelli
majolica secured a large share of the connoisseur's
patronage, not only all over Italy, but also in
foreign countries. A local family of artists, the
Grues, originated a particular style, soon adopted
by other clever painters. Their paintings, well
suited to gratify the taste of the day, would have
been better applied to the decoration of porcelain
than to that of faience ; but the novelty of a
scale of very pale tints, the gilding sparingly in-
troduced, and above all the high finish of the
execution were highly appreciated. One may
estimate the success they must have obtained by
the large number of specimens of the kind still
preserved in collections.

A terrible landslip destroyed a large portion
of the town in 1838 ; the remaining factories
were included in the disaster. Some efforts have
recently been made to revive an industry which
had so much contributed to the prosperity of
Castelli. Tabular statements of the condition of
pottery manufacture in the district in 1856 are
given in the Appendix.

ROSCHACH (E.).— Musee de Toulouse.
Catalogue des antiquites et
objects d'art. Toulouse, 1865.
8°.

Greek terra-cottas, pp. 108-118; painted
vases, pp. 119 - 166 ; Roman pottery, pp.
166-170.

ROSE (A. Y.).— Antonin Boullemier.
New York, 1900. 12°, pp. 25 ;
with 5 pis. (privately printed).

Notes on the work of A. Boullemier, china
painter. He worked at Minton's for many years.
His style of painting has scarcely been equalled
by any ceramic artist.

- Notes on pottery of the nine-
teenth century. New York, 1st
ed., 1901. 2nd ed., 1904. 8°,

368

pp. 47 ; numerous marks.
(Privately printed.)

" What to buy and what to avoid " is the
sentence inscribed on the title-page.

The Barberini vase. New
York, 1904, 12°, pp. 53 ; with
5 pis. (Privately printed.)

These handsome booklets were issued by
Tiffany & Co. for private distribution.

ROSENBERG (M.).— Alte kunstgewerb-
liche Arbeiten auf der badischen
Kunst- und Kunstgewerb-Aus-
stellung zu Karlsruhe, 1881.
Frankfurt a. M., 1882. Fol. ;
with 50 phototyp. pis. 36 m.

ROSINA (G.)-— Memoria sulle stoviglie
fabricate con terre del'Regno
Lombardo - Veneto. Milano,
Regia stamperia, 1822. 8°, pp.
63.

" Essay upon the pottery manufactured
with the clays found in the Lombardo-
Venetian States."

A technical treatise for the use of the manu-
facturers of common pottery in North Italy, with
a list and the chemical analysis of the best clays
to be obtained in the region, particularly for the
making of earthen and stoneware.

ROSNY (L. de). — Introduction a une
histoire de la ceramique chez les
Indiens du Nouveau Monde.
Paris, 1875. 8°, pp. 38. (In the
Archives de la Soc. Americaine
de France.)

" Introduction to the history of Indian
ceramic art in America."

A collection of Peruvian pottery formed by
Mr. Pingret has been taken as a basis, by a
learned philologist, for a short disquisition on
the theory that the art monuments of the eastern
and western hemispheres demonstrate the
regular intercourse that must have existed be-
tween the populations of the ancient and the
new world at the dawn of civilisation. The
presence of the Greek meander and the key
border upon the primitive pottery of America
suggested to him the probability of a close con-
nection between the two races. Not only is the
assumption unsupported by the evidence, but
the Pingret collection was subsequently con-
demned by Americanists as being chiefly com-
posed of spurious specimens,

ROS]

CERAMIC LITERATURE.

[ROU

ROSS (L). — Ueber die Zeit der
griechischen Vasenmalerei, 1852.
8°, pp. 17.

" On the periods of Greek vase paint-
ings."

ROSSBACH (A.)-— Das archeologische
Museum an der Universitat zu
Breslau. Breslau, 1877. 2nd
ed.

" The archaeological museum in the
Breslau University."

- Griechische Antiken des
archeologischen Museums zu
Breslau. Breslau, 1899.

" Greek antiquities in the archseologic
museum of Breslau."

ROSSI (G. G. de).— Vasi greci denomi-
nati etruschi scelti nella copiosa
raccolta di S. E. il Signer duca
di Blacas d'Aulpo, descritti e
brevemente illustrati. Roma.,
1823. 8°, pp. 160.

" Greek vases, commonly called Etrus-
can, selected from the important collection
of H.G. the Duke of Blacas d'Aulpo,
described and briefly explained."

Thirty-seven copper plates, engraved to illus-
trate the work, are preserved in the British
Museum ; they do not appear, however, to have
been published, as no copy of the atlas is known
to be in existence.

ROSSI (S.)-— IHustrazione di un'an-
fora pugliese nel Museo di Fir-
enze. Potenza, 1898.

" Description of an amphora found
in Puglia, preserved in the Florence
Museum."

ROSSIGNOL (Elie A.).— Des antiquites
et principalement de la poterie
romaine trouvees a Montans,
pres Gaillac (Tarn). Caen,
A. Hardel, 1861. 8°, pp. 39;
vigns.

" On the antiquities and, chiefly, the
Roman pottery discovered at Montans."

Montana has been an important centre of
pottery manufacture. Ovens full of ware,
moulds, and fragments have been frequently
discovered in the locality.

ROSSIGNOL (Ferd.).— Les protestants
illustres. Bernard Palissy.
Paris, Librairie nouvelle, 1861.
Sq. 8°, pp. 16.

Like Jean Goujon, the sculptor, and Androuet
Ducerceau, the architect, Palissy was, it is said,
a staunch Huguenot. From the fact of so many
great artists having espoused in France the
doctrines of the Reformation, the writer comes to
the conclusion that those doctrines are not — as
has been asserted by some narrow-minded spirits
— inimical to the development of the fine arts.

ROTELLI (L.). — Belle invetriate
dipinte da G. Botti nel Duomo
di Perugia. Pisa, 1862. 12°,
(Reprint from the Eevista uni-
versale.)

" The vitrified paintings in the Duomo
of Perugia, by G. Botti."

ROTHSCHILD (Collection Alfred de).— A de-
scription of the works of art
forming the collection of A. de
R. London, 1884. 2 vols. Sm.
fol. Privately printed.

Vol. II. Sevres china. Furniture, etc. With
notices by Charles Davis, and 375 photos, by J.
Thompson. Sevres porcelain, 40 pis.; Henri II.
ware, 5 pis.; Chelsea, 1 pi.; Palissy, Dresden,
Majolica, Oriental, etc.

ROTTLINGER (K.)- — Handbuch der
Porzellan-Malerei. Oder grund-
licher Unterricht in Portraitiren
und Landschaftmalen auf Por-
zellan. Quedlinburg, Basse, 1835,
8°, pp. 88.

" Handbook of porcelain painting ;
elementary instructions for painting por-
traits and landscapes on porcelain."

ROUAIX (P.). — Dictionnaire des arts
decoratifs a 1' usage des artisans,
des amateurs, et des Ecoles.
Paris (1880 ?). 4°, pp. 1,042 ;
with 541 illustrs. 20 fcs.

" Dictionary of the decorative arts ;
for the craftsmen, amateurs, and schools."

Articles on ceramics are scattered through the
volume under various headings.

ROUBET (L). --Memoire sur une
question ceramique. Nevers,
Begat, 1868. 8°, pp. 24.

369

ROU]

.CERA MIC LITER A TURE.

" Memoir upon a point of ceramic
history."

This paper, read at the Archaeological Con-
gress of Bourges, treats of the small faience
manufactory of Neuvy (Nievres), and gives a
biographical notice of its founder, Pierre de
Frasnay, author of the poem La faience,

ROUBET (L.) et DE LA GUERRE (R.).-
Collection de moules antiques de
ceramique. Bourges, 1889. 8°,
pp. 65 ; with 20 phototyp.
double pis. (Reprint from the
Memoir es de la Soc. des An-
tiquaires du Centre.)

" A collection of antique ceramic-
moulds."

These moulds, discovered on the same spot,
were all intended for the production of detached
figures and ornaments. The casts obtained from
them were applied to the surface of the vases,
according to the fancy of the workman. This
method of pottery decoration was universally
adopted in the Mediaeval and Renaissance
periods, but it is seldom found employed on the
Roman ware.

ROUCY (A. de).— Notice sur la cer-
amique sigillee de Compiegne et
de ses environs sous la domina-
tion romaine, 8°, pp. 9 ; with
3 pis. (Soc. Hist, de Compiegne.)
" Notice of the stamped pottery made
at Compiegne and its vicinity during the
Roman occupation."

One hundred and ten marks of Roman potters.

ROUILLON (P.). --Apropos d'une
faience republicaine a la date de
1868. Paris, Manginot, 1875.
12°, pp. 24 ; with 1 vign. 4 fcs.
" Upon a republican faience made in
1868."

When, at the end of the second Empire, the
liberal youth of France were venting their hatred
of the existing regime in all imaginable manners,
the etcher Braquemond designed and engraved
an allegorical subject in which their confidence
in the forthcoming of a French Republic was
distinctly expressed. He caused the etching to
be transferred to a few dozen plates, which he
presented to his friends. It represents the
Imperial eagle looking towards the sky and
blinking the eye under the dazzling rays of the
emblems of liberty. " Ce soleil la me fait peur
1868 " is the legend. It was no more than an
artistic whim. To invest a few examples of this
plate with the character of " Faiences patri-
otiques," and give them as a manifest token of
the tendency of popular feelings at that moment,
as the writer has attempted to do, is to magnify
their importance far beyond reasonable limits.

370

ROULEZ (J.). — Choix de vases peints
du musee d'antiquites de Leide.
Gand, 1854. Fol., pp. 92 ; with
20 col. pis. £1.

" A selection of painted vases in the
museum of antiquities at Leyden."

The collection acquired from Lucien Bona-
parte, Prince of Canino, by King William I. in
1839, added to the one brought over from Greece
by Colonel Rottiers in 1823, was the foundation of
the gallery of Greek vases in the Leyden Museum.
At subsequent intervals it was enriched by
several donations and purchases. Mr. J. Roulez
has selected and described in this work a few of
the most remarkable specimens. Credit is due
to Mr. Hooiberg for having reproduced the
originals with much accuracy.

Memoire pour servir a ex-
pliquer les peintures d'une coupe
de Vulci, representant des ex-
ercices gymnastiques. Brux-
elles, 1842. 4°, pp. 29 ; with
3 pis. 4 fcs.

" A memoir to elucidate the paintings
of a tazza from Vulci, representing athletic
games."

Trois medaillons de poterie

romaine. Paris, 1877. 4°, pp.
11 ; with 1 pi.

" Three medallions of Roman pottery."

No more than forty examples of Roman ware
ornamented with relief medallions, pressed in a
separate mould and applied to the surface, are
known to be in existence. These medallions
present a strange likeness to those seen applied
to the early stoneware of Germany. One can
hardly see the result of a chance coincidence in
the application of the same technical process at
two periods so far distant from one another.
Moreover, as some of the Roman specimens of
that style have been discovered near the Rhine,
they must be considered as of great interest for
the study of the origin of German ceramics.

The number of papers on Greek vases con-
tributed By Mr. J. Roulez to the archaeological
periodicals is considerable. An account of his
publications will be found in the biographical
notice written by J. de Witte. Brnxelles, 1879.

ROOQDET.— The present state of the
arts in England. By M. Rou-
quet, member of the Royal
Academy of Painting and Sculp-
ture, who resided thirty years in
the kingdom. London, Nourse,
1755. 12°, pp. 136. A French
edition was published in the
same year. Paris, 1755. 12°.

ROZJ

CERAMIC LITERATURE.

[SAB

A description of the process of china decora-
tion by transfer printing will be found in chapter
xxii., " Porcelain and china ware." The writer
says he has himself practised it by way of experi-
ment, after having seen it in operation at the
Battersea (?) Enamel Works. From a passage
in chapter xx., we may form an idea of the low
degree of estimation in which faience and earthen
ware were held at the time. " It must be ac-
knowledged that if, on one hand, the tables of the
English are decorated only with a few necessary
pieces of plate, on the other, they are not mixed
with that ignoble kind of earthenware known by
the name of Delft. Chinese porcelain may re-
place a service of richer material."

ROZIERE (De).— Memoire sur les vases
Murrains qu'on apportaient (sic)
jadis en Egypte et sur ceux qui
s'y fabriquaient. Paris, Bos-
sange, 1814. 8°, pp. 30. (Re-
print from the Journal des
Mines.)

"Memoir on the Murrhine vases brought
into Egypt in ancient times and those
fabricated in that country."

From the fact, evidenced by many passages in
the works of classical writers, that Murrhine
vases were at one time very abundant in the
Roman Empire, the author concludes that they
were made of a natural substance easily obtain-
able. His opinion is that a vase made of fluor-
spar— the Blue John of Derbyshire — would
answer exactly to the description given by Pliny.
He cannot, however, mention the existence of a
single example of an antique vase made of that
material, and his previous statement that a
great many specimens of Murrhine vases must
have come down to us does not agree with that
lack of a tangible proof of his theory as to the
nature of these vases.

RUBBIAM.— Catalogo delle majoliche
antiche e moderne del Sign.
Fratelli Rubbiani. Roma, 1893.
8°, pp. 64 ; with text illustrs.

Catalogue of sale. An introduction by Prof.
F. Argnani contains some particulars on the
history of the Sassuolo majolica.

RUHNE (J. F.).— Lehrbuch der . . .
Ziegel-Fabrikation von land-
wirthschaftlichen Standpunkte
bearbeitet. Braunschweig, 1877.
8°; with 176 illustrs.

" Treatise on the brick and tile manu-
facture . . . and its practical man-
agement."

RUNGE (L.). — Essai sur les construc-
tions en brique en Italic, publie

d'apr^s ses esquisses en voyage
de 1840 a 1842. Berlin, 1846.
Fol. Text in French and Ger-
man ; with 48 pis. 20 m.

" Essay on brick buildings in Italy ;
published from sketches taken during the
author's travels from 1840 to 1842."

RUSTAFJAELL (R. de). - - Palaeolithic
Vessels of Egypt, or the earliest
handiwork of man. London,
Macmillan, 1907. 8°, pp. 22;

pis. and 8 illustrs.

with 13
2s. 6d.

In the Egyptian excavations flints have been
found with deep depressions left by stony nodules
in silicified sponges. Occasionally the outside of
such flints has been chipped by hand, and thus a
rudimentary vessel has been formed. The
author sees in these primitive receptacles the
origin of pottery.

SABATIER (Collection R.).— Antiquites
egyptiennes, grecques et rom-
aines. Paris, 1890. 8°, pp. 70 ;
with 6 pis.

Catalogue of sale, prepared by G. Legrain.
Terra-cottas, Nos. 646-657 ; painted vases, 658-
693 ; lamps, 694-714.

SABOUROFF (Collection). — Kunstdenk-

maler aus Griechenland, herausg.
bei Ad. Furtwangler. Berlin,
Ascher, 1883-87. 2 vols. Sm.
fol. ; with 149 pis. and 36 text
illustrs. £12. Also an edition
with French letterpress.

" Examples of Greek art from the
Sabouroff collection, published by A.
Furtwangler."

Vol. I. — Introduction, pp. 1-55. Sculpture,
pis. 1-46, in heliogr. Greek vases, pp. 1-19 ; pis,
47-75, in chromolith. Vol. II. — Terra-cottas.
pp. 1-22 ; pis. 76-145, in heliogr. and lithogr.
(some col.). Bronzes, with 4 pis. Each plate
is accompanied with a descriptive notice.

The terra-cottas of this collection, having been
selected from the earliest discoveries made at
Tanagra, are of very high order ; the lithographic
reproductions are, unfortunately, rather un-
satisfactory. After the publication of this sump-
tuous catalogue the collection was divided into
two portions, which were respectively acquired
by the museums of Berlin and of Saint Peters-
burg.

311

SAB]

CERA MIC LITER A TURE.

[SAL

SABUGOSA (De).— 0 Pago de Cintra.
Desenhos de sua Magestade a
Rainha a Senhora Dona Amelia.
Lisboa, impr. National, 1903.
4°, pp. xii-274 ; with plates and
num. text illustrations. 20 fcs.

" The Palace of Cintra, with sketches
by H.M. Queen Amelia."

Tiles take a large share in the decoration of
the old palace ; the most ancient are of Moorish
manufacture. An article on the Azulejos of the
sixteenth century (pp. 205-209) is illustrated with
7 plates of tiles (3 col.), which show a debased
mixture of Arabian and Italian art.

SACKEN (E. YOn).— Das Grabfeld von
Hallstatt in Oberesterreich, und
dessen Alterthiimer. Wien,
1868. 4°, pp. 156; with 26
engr. pis. 15 m.

" The grave-field of Hallstatt, in Upper
Austria and its antiquities."

Hallstatt has proved a rich field of archaeo-
logical discoveries. During the excavations
conducted by E. von Sacken, 1847, nearly one
thousand graves were investigated. In nearly
every tomb earthen vessels were found to have
been deposited with the remains, their number
amounting sometimes to fifteen. They were
mostly rough urns and jars of plain shape, but in
some cases the surface was decorated with in-
cised traceries, and showed traces of having been
painted in several colours. Their style of orna-
mentation presented a strong likeness to that
of the bronze and iron vessels found in the same
graves. On some exceptional objects the influ-
ence of Roman art is obviously marked ; never-
theless von Sacken believes that they are the
work of the Celtic tribes which inhabited that
region two centuries before our era. ,

SAINT JOHN (F.), G'. BARR & CO.— En-
caustic tiles manufactured by
St. J. & B., Palace Row, Wor-
cester. London, Pickering, 1844.
4°; 24 pis. printed in red upon
yellow paper, containing 77
patterns.

H. Minton was just getting over the diffi-
culties he had encountered in the production of
encaustic tiles, and in introducing their applica-
tion to modern architecture, when Chamberlain,
of Worcester, entered in competition with him
in manufacturing tiles similar to those made at
Stoke-on-Trent. Fleming St. John and George
Barr transported this new branch of manufacture
to the old works at Wamstry House, and pub-
lished this catalogue. A few years later Messrs.
Maw took the business from their hands, and
finally removed it to Broseley, where it rapidly
developed into an extensive industry, still
carried on as Maw's Tile Company.

372

SAINT-MARC (C. de). - - Les faiences
d'Oiron en terre de Saint-Por-
chaire. Saint-Maixent, 1889.
8°, pp. 11.

"The Oiron faiences in Saint-Porchaire
clay."

An attempt to reconcile two contradictory
theories, by suggesting that the so-called Henri
II. ware may have been made at Oiron, but with
a clay coming from Saint Porchaire. Ceramic
productions are not always made with materials
found in the place of manufacture, but we do not
remember any instance of a ware having been
named after the locality from which the maker
obtained his supply of clay.

SAINT-YENANT (J. de).— Ancien vases
a bee. Etude de geographic
ceramique. Caen, Delesques,
1899. 8°, pp. 63 ; with 3 pis.
(Reprint from the Bulletin
Monumental.) 3 fcs.

" Ancient jugs with a spout. A study
in ceramic geography."

In the tombs of early Christian cemeteries,
jugs of a particular shape have frequently been
discovered. The writer believes that the shape
originated in the South of France, where such
jugs are still in common use. They are called
" Pegan," in the venacular, a term evidently
derived from the Latin "Pegar." The upper
rim is provided with a broadly open spout, par-
tially covered by a kind of bridge formed by the
top part of the neck running in an uninterrupted
flat band. When one drinks from this spout, the
face of the drinker is protected by that particular
structure from an overflow of the liquid. Modern
manufacturers have applied a similar contrivance
to what they call a " moustache cup." The
writer has been at considerable trouble to collect
and reproduce examples of the type in many
lands ; he has traced its presence particularly in
many of the French provinces, but the practical
utility of the partly-covered spout has escaped
his sagacity.

SALAHEDDIN BEY.— La Turquie a 1'Ex-
position universelle de 1867.
Paris, Hachette, 1867. 8°, pp.
256.

" Turkey at the International Exhibi-
tion of 1867."

Published by the care of the Turkish Imperial
Commissioners. Chapt. xi. Potters and pot-
works at Constantinople. Chapt. xii. Common
pottery manufactured in various provinces of the
Empire.

SALLES (].)• — Etude sur la vie et les
travaux de Bernard Palissy,
precedee de quelques recherches

SAL]

CERA Mtc LITER A TV RE.

[SAL

sur 1'art ceramique. Nimes,
1855. 2nd ed., 1856. 18°, pp.
114.

" Notice of the life and work of Ber-
nard Palissy ; to which are prefixed a few
remarks on the ceramic art."

Written with precision and clearness, this
notice, which contains a sound appreciation of
Palissy's genius, is, however, marred by the in-
troduction of some romantic incidents, in which
historical truth has been sacrificed to dramatic
effect. The biographer has surely drawn upon
his imagination when he wrote that after Palissy
had been appointed " Governor of the Tuileries
Palace," he used to conduct, in great secrecy,
the religious services of the Reformed Church in
the private apartment of the Queen. Imaginary
also is the sensational episode of a family of
Protestant prisoners, marching through the yard
of the Bastille on their way to execution, and
stopping to receive a blessing from the withered
hands that Palissy was holding out through the
iron grating of his cell window.

SALMON (E.).— George Tinworth and
his work. London, 1892. 8°,
pp. 10 ; with 13 illustrs. (In
the Strand Magazine.)

The name of G. Tinworth and that of the
Lambeth Pottery are inseparately linked to-
gether. Perhaps no other industrial artist has
been the subject of so many laudatory notices in
the English periodicals. His quaint scriptural
panels in enamelled stoneware or plain terra-
cotta have not only commanded general atten-
tion, but they have also won the unstinted
praises of the art critics. In the present article
the life of the artist has been briefly narrated,
and his last productions adequately illustrated.

SALYETAT (A.)-— Rapport fait par Mr.
Salvetat au nom du comite des
arts chimiques sur 1'introduc-
tion, a Creil, de la fabrication
d'une pate nouvelle, dite de
Paros, presentee par Mr. A.
Leboeuf. Paris, impr. B. Uzard,
1852. 4°, pp. 3.

" Report presented by Mr. Salvetat, on
behalf of the section of chemical arts,
upon the introduction by Mr. A. Lebceuf,
in the Creil pottery manufactory, of a
new body called Paros."

Mr. Salvetat has occupied the position of
chemist at the Nat. factory of Sevres from 1841
to 1880. During his long professional career he
has published many volumes and pamphlets, of
which the following is only an abridged list.

Rapport fait par Mr. Salvetat

au nom du comite des arts

chimiques et de la commission
des Beaux- Arts appliques a 1'in-
dustrie, sur les porcelaines de-
corees et vernissees de Mr. J.
Lesme, de Limoges. Paris, impr.
B. Huzard, 1853. 4°, pp. 5.

" Report ... on the decorated
and glazed porcelain of Mr. J. Lesme, of
Limoges."

- Rapport . . . sur les travaux
de Mr. Pierrat, restaurateur d'-
objets d'art. Paris, B. Huzard,
1854. 4°, pp. 3.

"Report upon the work of Mr. Pierrat,
restorer of objects of art."

- Rapport . . . sur la porce-
laine tendre fabriquee par Mr.
de Bettignies, a St. Amand-les-
Eaux (Nord). Paris, B. Huzard,
1854. 4°, pp. 6.

" Report upon the soft porcelain made
by Mr. de Bettignies a St. Amand-les-
Eaux."

The last " porcelaine tendre " manufactured
in France.

- De la dorure brilliante sans
brunissage par Mr. Dutertre.
S.d.

" On the liquid gold which shines with-
out burnishing by Mr. Dutertre."

- Divers objets ceramiques pre-
sentes par Mr. Jounet. S.d.
Pp. 2.

" Various ceramic objects presented by
Mr. Jounet."

- Programme de divers prix a
decerner relatifs a 1'emploi de
1'acide borique et du borax dans
les arts ceramiques. Paris, B.
Huzard, 1854. 4°, pp. 5.

" Programmes of various prizes to be
awarded on the use of boric acid and
borax in ceramic manufacture."

— Rapport sur la manufacture
de produits chimiques de Bor-
deaux dirigee par Mr. Vieillard.
Paris, B. Huzard, 1854. Pp. 5.

373

CERAMIC LITERATURE.

[SAL

SALYETAT (A.)-— Rapport sur le con-
cours pour le perfectionnement
des faiences fines dures, des gres-
cerames fins et ordinaires, et
des porcelaines tendres anglaises.
Paris, B. Huzard.

" Report on the competitive memoirs
written on the question of the improve-
ments to be introduced in the manufac-
ture of earthenware, stoneware, and por-
celain after the English method."

Decoration des porcelaines
par Mr. Brianchon. Paris, s.d.
Pp.4.

" A new method of porcelain decoration
by Mr. Brianchon."

All the above papers are reprinted from the
Bulletin de la Societe d' Encouragement.

de ceramique pro-
fessees a 1'Ecole Centrale des
Arts et Manufactures, ou tech-
nologic ceramique, comprenant
les notions de Chimie, de Tech-
nologic et de Pyrotechnic applic-
ables a la fabrication, a la syn-
these, a P analyse, et a la decora-
tion des poteries. Paris, Mallet-
Bachelier, 1857. 2 vols. 12°,
pp. ix-987 ; with text illustrs.
12 fcs.

" Lectures on ceramics delivered at the
Central School of Arts and Manufactures.
Ceramic technology, including the prin-
ciples of chemistry, technology, and
pyrotechny applicable to the manufac-
ture, synthesis, analysis, and decoration
of pottery."

— Proces en contrefagon . . .
precede de dorure sans bruni-
ssage. Paris, typ. Renou, 1858.

4°.

" Method of gilding upon porcelain
without burnishing."

Evidence given in a lawsuit in the case of an
infringement of the patent.

- Opinion sur la fabrication des
briques creuses. Paris, Renou,

1858. 4°.

" An opinion upon the manufacture of
hollow bricks."
374

- Les arts ceramiques exposes
a Londres en 1862. Paris, Bour-
dier, 1862. 8°, pp. 18.

" Ceramic art at the London Exhibition
in 1862."

- Memoires de Chimie. Paris,
G. Villars, 1868. 8°.

The volume contains the following articles : —
" Sur la preparation d'un jaune fusible a meler
pour la peinture sur porcelaine," " Recherches
analytiques sur les rouges employes dans la
peinture sur porcelaine," " Analyses de quel-
ques gres ceramiques." " Notice sur un nouvel
emploi du platine dans la peinture sur porce-
laine," and other papers also published in a
separate form.

Rapport sur le progres de
1'industrie privee dans la fabric-
ation de la porcelaine. Paris,
1875. 4°, pp. 16.

" On the progress accomplished in the
private industry for the manufacture of
porcelain."

- Apropos de 1' inauguration de
la nouvelle manufacture de
Sevres. Paris, 1876. 4°.

" A few words on the occasion of the
opening of the new manufactory of
Sevres."

- Les arts ceramiques a 1'Ex-
position internationale. La man-
ufacture nationale de Sevres.
Paris, Quantin, 1878-79. 8°,
pp. 24. (Extr.)

" Ceramic art at the International
Exhibition of 1878. The national manu-
factory of Sevres."

SALYISBERG (Paul wn).— Chronik der
deutsch - nationalen Kunstge-
werbe-Ausstellung in Mtmchen,
1888. Munchen, 1888. Fol.,
pp. 344 ; num. illustrs. in the
text. 15 m.

Ceramic art is scantily illustrated in this
volume by a few specimens of modern stoneware
and Meissen porcelain.

SALZMANN (A,).— Necropole de Cam-
iros. Journal des fouilles ex-
ecutees dans cette necropole
pendant les annees 1858-65.

SAM]

CtiRA MIC LIVE R A I'URti.

Paris, Detaille, 1870-75. Atlas
of 60 photolith. pis., some col.,
and a printed index. Fol. 300
fcs.

" The Kameiros necropolis. A diary
of the work of excavation executed on
the site of the necropolis during the years
1858-65."

Death surprised Auguste Salzmann before he
could publish the text that was to accompany
the plates of his work. These plates are of some-
what imperfect execution ; they reproduce,
chiefly, rough objects of the archaic period, in
the style of which some antiquaries recognise an
Oriental influence. They comprise — Enamelled
pottery, 4 pis.; terra-cottas, 28 pis.; painted
vases, 20 pis.; marbles, bronzes, etc., 8 pis. In
the section of painted vases are included a few
specimens of the highest order — namely, the ad-
mirable amphora with Thetis and Peleus, and
the tazza with Venus on a Swan, both purchased
by the British Museum. A second edition was
issued in 1897, to which a descriptive text had
been added by W. Frohner.

SAMBON. - - Collection d'antiquites.
Vases peints, terres cuites, etc.
Paris, 1903. Pp. 93 ; with 12
pis. and 57 illustrs. Catalogue
of sale prepared by Sambon.

SAND (George). — Les maj cliques flor-
entines. Paris, M. Levy, 1875.
8°.

" Florentine majolicas."

This account of a visit to the Ginori factory
near Florence, where reproductions of ancient
majolica were then made with great success, will
be found printed at the end of Flavie, in the com-
plete works of the celebrated French novelist.

SANDEMAN (A. A.). — Notes on the
manufacture of Earthenware.
London, Virtue, 1901. 8°, pp.
371 ; with text illustrs. 7s.

Quite a typical book of a kind of which there
are but very few ; it is absolutely what it pur-
ports to be — viz., a practical and not a scientific
treatise. Its purpose is to give useful instruc-
tions as to the conduct of an earthenware manu-
factory after the manner used in England ; and
the plan is carried through in a plain and accurate
manner. The choice of materials and their mix-
ture, the best processes to be followed at the
successive stages of ordinary earthenware manu-
facture are disclosed, together with the precau-
tions that have to be taken to guard against
accidents, all being told in an unpretentious and
intelligible way. If the account errs in one
sense, it is on the side of excessive attention
being given to details which might have been
taken for granted on a shorter statement. In its
sincerity and completeness one might look at

this simple manual as containing the best advice
that an experienced manufacturer had set down
in writing for the benefit of his favourite pupil.

SANDIER (A.). — Formes des vases.
Par A. S. directeur des travaux
d'art a la manufacture de Sevres.
Paris, 1900. 4°, pp. 8; with
116 pis., containing 2,800 dif-
ferent shapes. 50 fcs.
" Forms of vases."

Three geometrical curves are taken by the
author as the basis of all forms, the combination
of which supplies an inexhaustible variety of
shapes for vases. In the superabundance of ex-
amples he sets before our eyes we notice, however,
a fatiguing repetition predominates over attrac-
tive diversity. His evident disregard for what
we are accustomed to call harmony between the
different parts of a vase might have assisted the
designer in showing a little more invention and
taste in his sketches.

SAN DONATO (Collection de) .— Pom, 1870.

8°; with 16 photos.

Catalogue of sale.

The first portion of the collection formed at
the Palace of San Donate by Prince Anatole
Demidoff. Sevres porcelain, including the Rohan
service, which sold for £10,400, Nos. 118-221.
Oriental porcelain, 120 Nos. Delia Robbia ware
and Italian majolica, Nos. 442-455. Also a
numerous and remarkable series of modern por-
celain of various manufacture. The sale was of
a very miscellaneous character ; it took place at
Paris, and lasted from 22nd March to 28th April.

SAN DONATO (Palais de),— Pans, 1880.

4°, pp. 422 ; with numerous
etched pis. and text illustrs.
50 fcs.

Catalogue of sale. The sale of the second
portion of the collection took place at Florence.

Ceramic art was represented as follows : —
Delia Robbia ware, four important works (with
1 etching and 3 illustrs.). A series of Castel
Durante vases. Sevres porcelain, Nos. 461-476
(with 9 illustrs.). Vienna porcelain, Nos. 477-
631 (with 13 illustrs.). Dresden porcelain, Nos.
632-635. Oriental porcelain, Nos. 1,160-1,180
(with 6 illustrs.).

An album of 89 photogr. pis. reproducing
ceramic objects in the San Donato collection has
been published as a complement to the catalogue.

SANDWITH (Th.).— On the different
styles of pottery found in an-
cient tombs in the Island of
Cyprus. London, Nichols, 1877.
4°, pp. 16 ; with 5 col. pis. and
text illustrs. (In Archceologia.)

Examination of the various types of terra-
cotta vases, then in the collection of Thomas
Sandwith, H.B.M., vice-consul at Cyprus.

375

SAN]

c EH 'A MIC LITERATURE.

[SAU

SANFILIPPO (I.).— Breve illustrazione
di un vaso cineriario imerese.
Termini-Imerese, 1877. 8°, pp.
18.

" Short description of an Imerian
cinerary vase."

SANTACANA (F.). — Cataleg illustrat
del Museu Santacana de Marto-
rell (Espana). Barcelona, 1909.
4°; with 42 col. and 20 pis. in
black. 40 fcs.

"Illustrated catalogue of the Santa-
cana collection."

The coloured plates reproduce nearly three
hundred specimens of Spanish tiles, illustrating
the Renaissance and late periods of manufacture.
The Hispano-Moresque style of earlier times is
scarcely represented in the collection. Text in
Catalan and French.

SAPIA DE LENCIA (Collection) —Catalogue
of sale. Paris, 1885. 8°, pp. 55 ;
with 7 pis-, lith. in pen and ink.

Fine specimens (154 Nos.) of Dresden
porcelain.

SARNOW (G.).— Ueber den Einfluss
der chemischen Forschung auf
die Entwickelung der Porzellan-
Industrie. Amtlicher Bericht
iiber die Wiener Weltausstellung
im Jahre 1873. Braunschweig,
1875. 8°.

" The influence of chemistry upon the
development of porcelain manufacture.
One of the official reports of the Vienna
International Exhibition in 1873."

SARRE (F.). — Der Fiirstenhof zu
Wismar und die norddeutsche
Terrakotta-Architektur im Zeit-
alter der Renaissance. Berlin,
Trowitzch, 1890. Sm. fol., pp.
52 ; with 17 photo typ. pis.
10m.

" Wismar Castle and the terra-cotta
architecture in Germany at the Renais-
sance period."

The Castle, built in 1554, was decorated with
terra-cotta supplied by Statius von Diiren, a
sculptor and tile maker from Lubeck. Repro-
ductions of the chief subjects represented in
terra-cotta are given, together with the general
views of the building. A short description of
other monuments, in Mecklenbourg, decorated in
the same style, is added to the monograph.

376

Islamische Tongefasse aus
Mesopotamien. Mit einem An-
hang von E. Mittwoch. Berlin,
1905. 4°, pp. 20; with 19
illustrs. (Reprint from the
Jahrbuch. der K. Preusz. Kunst-
sammlungen.)

" Mussulman pottery from Mesopo-
tamia."

An examination of four fragments of terra-
cotta vases embossed with Oriental figures,
arabesques, and inscriptions, lately discovered
and attributed to the thirteenth century.

SARRIAU (H.). - - Musee central de
ceramique a F Exposition uni-
verselle de 1900. Paris. 8°.

SARTINE (De).— Ordonnance de Mr.
le Lieutenant general de Police,
commissaire du Conseil en cette
partie, concernant les privileges
accordes par divers arrets du
Conseil a la Manufacture Royale
des Porcelaines de France etablie
a Sevres ; et qui renouvelle les
defenses portees par les dits
arrets, et les peines prononcees
au sujet des fausses fabrications
de fleurs et autres pieces de por-
celaines, et de leur vente et
debit. Du 26 mai 1763. A
Paris, de Flmprimerie Royale,
1763. 4°, pp. 3.

" Ordinance of the General Superinten-
dent of Police reiterating the substance
of the privileges granted to the Royal
Manufactory of Sevres, and recalling the
penalties for illegally making flowers and
other articles in porcelain."

SARYY (C.). — Azulejos en Toledo
(Espana). Paris, 1861. Fol. ;
4 col. pis. ; no text.

" The tiles of Toledo, in Spain."

This work, which was intended to give repro-
ductions of the finest examples of Moorish and
Spanish tiles still adorning the walls of the
ancient buildings of Toledo, did not go further
than the publication of the first part. It would
have filled a regrettable gap in the history of
tile making ; those of Spanish manufacture not
having as yet been made the subject of a special
work.

CERAMIC LITERATURE.

[SAW

SAUYAGE (E.). — Les marques de
potiers gallo-romains recueillies
dans le Boulonnais. (In the Mem-
oires de la Societe Academique.)
Boulogne s. Mer, 1899. 8°, pp.
56 ; with 2 pis. Supplement,
pp. 16 ; 1 pi.

" The marks of Gallo-Roman potters
found in Boulonnais."

SAUYAGET (A.).— La ceramique an-
cienne depuis le xve siecle
jusqu'a la fin du xviiie. Faiences
et porcelaines d' Europe et d' Ori-
ent. Gres. Leurvaleur. Bourges
(Cher), chez Fauteur, 1908. 8°,
pp. 276 ; num. marks. 6 fcs.

" Ancient ceramics, from the fifteenth
till the end of the eighteenth century."

A dictionary of marks. Each section is pre-
faced with a historical notice, and completed
with extracts from catalogues of sales, with
prices of the specimens. Entirely autographed
by the hand of the author.

SAUZAY (A. de.). — Catalogue du musee
Sauvageot. Paris, Mourgues,
1861. 8°. 2nded.

Comprising 1,424 Nos., which include many
remarkable specimens of the ceramic art of the
Renaissance period, etc. Explanatory notices
give a special value to this catalogue, which
contains also a list of marks and monograms. A
short biography of Ch. Sauvageot is prefixed to it.

Collection Sauvageot, des-
sinee et gravee a 1'eau forte par
Edouard Lievre, accompagnee
d'un text historique et descriptif.
Paris, Noblet et Baudry, 1863.
Fol. ; 120 pis. with explanatory
notices.

" The Sauvageot Collection, drawn and
etched by E. Lievre."

SAYY (C.) et SARSAY (L.).— Les anciens
carrelages de 1'eglise de Brou, a
Bourg-en-Bresse, derniers ves-
tiges recueillis et reproduits
d'apres les caiques pris sur les
originaux. Lyon, Vingtrinier,
1868. 4°, pp. 23 ; with 15 col.
pis. 150 fcs.

" The ancient tile pavement of the
church of Brou, at Bourg-en-Bresse ; last
vestiges rescued and reproduced from
tracings taken from the original speci-
mens."

The authors were under the impression that
the last remnants of the majolica pavement they
describe had all been destroyed as worthless,
after the much obliterated traces of painting
they still showed in places had been copied by
the engraver entrusted with the illustrations of
their work. They tell us that only two tiles, in
a slightly better state of preservation than the
rest, had been preserved and deposited in the
Lyons Museum. We are pleased to say that
they had been misinformed. An adequate idea
of the exceptional merit of the painted ornamen-
tation may still be obtained from the four beauti-
ful tiles, once forming part of the Brou pavement,
acquired in 1897 by the Louvre Museum, where
they are now exhibited.

A bold decorative scheme intermixed in a
complicated design the medallion portraits of
some classical characters of antiquity with those
of the princely personages of contemporary
times. One could see Philibert-le-Beau, Duke of
Burgundy, represented by the side of Cleopatra ;
Margaret of Bourbon, his wife, was associated
with Julius Caesar ; and Margaret of Austria, his
mother, by whose liberality the church had been
completed in 1530, was accompanied by Mark
Antony.

Some local historians have stated that Louis
van Boghem, the Flemish architect of Brou
Church, had called over from Flanders the tile
makers who executed the pavement under his
direction. This statement is not supported by
documental evidence, and if we consider that
majolica tiles were not used in northern countries
at such an early date for the decoration of
religious edifices, it can scarcely be accepted as
a definite settlement of the question. Mr.
Natalis Rondo t, the best authority on the matter,
thinks that the practical execution of the Brou
pavement may be assigned to the Italian potters
known to have worked at their trade in Lyons as
early as 1512, but he feels inclined to believe that
the tiles were painted by the hand of a French
artist. He has discovered in an ancient MS. a
passage in which the work is attributed to a
certain Canarin ; unfortunately no mention is
made in that document of the nationality of the
painter. A decided French character, notice-
able in the design of the painted tiles of the
Louvre Museum, would go far to strengthen the
plausibility of Mr. Rondot's opinion.

In Dupaquier's Monoqraphie de Notre Dame
de Brou the complete scheme of the ancient pave-
ment is given on one of the plates.

SAWARD (B. C.).— Decorative paint-
ing ; a practical handbook on
painting and etching upon vari-
ous objects and materials for
the decoration of our homes.
London, 1883. 8°. Pottery and
porcelain, pp. 49-120.

377

HCA"|

C tilt A MIC LITER A TURK.

SCARRAT (W.).— Old times in the

Potteries. Hanley, 1907. 8°,

pp. 202; with pen and ink
illustrs,, 5s. 6d.

A series of detached articles, written by an
old inhabitant in the "Potteries," and full of
gossiping information. Illustrated with naive
sketches of old buildings, most of which have
now disappeared.

SCHADOW(P.).— Eine Attische Grable-
kythos. Jena, Neuenhahn,1897.
8°, pp. 34 ; with 1 photo and 2
fold. pis. 2 m.

"A funeral lekythos from Attica."

Small winged figures are represented, on this
vase, issuing from a large pythos. They are the
souls of the defunct, and Hermes, holding a wand
in his hand, seems to direct their flight. This
lekythos is in the Jena Museum.

SCHALLER (P,).— Der wohlunterrich-
tete Ziegler, oder ausfurliche
Anleitung zur Verfertigung aller
Arten von Mauer-und Dach-
ziegel, nebst Vorschlagen zu
einer ganz neuen innern Ein-
richtung einer Dachziegelei, wo-
durch die Verfertigung der
schwierigsten Ziegelarten, na-
mentlich der Kramp-Breitziegel,
erleichtert wird. Ilmenau, 1828.
8°, pp. 280 ; with 9 litho. pis.
A 2nd ed. Weimar, 1855. 8°.
2 m. This treatise forms the
34th vol. of Voigt's Neuer
Schauplatz der Kunste und Hand-
werke.

" The perfect tile-maker, being a prac-
tical treatise of the manufacture of all
kinds of wall and roofing tiles ; together
with a new plan for setting up a manu-
factory by means of which the making of
the most difficult kind of tiles, namely the
large roofing tiles, is greatly facilitated."

SCHAMBERGER (J. W,).— Die keramische
Praxis. Populare Anleitung
zur Erzeugung keramische Pro-
ducte aller Art unter Beriick-
sichtigung der einschlagigen
Maschinen und sonstiger Hilfs-
apparate zur Bereitung von
Massen und Glasuren nebst der
378

erforderlichen Brennofen. Leip-
zig, Hartleben, 1901. 8°, pp.
225 ; with 20 illustrs. 4 m.

" The practice of the ceramic art. A
popular introduction to the making of
ceramic ware of all kinds, with observa-
tions upon the machines and instruments
used in the preparation of bodies and
glazes and the construction of ovens."

SCHARF (George). — Manners and cus-
toms of the Greeks. Translated
from the German of Th. Panofka.
London, C. Newby, 1849. 4°,
pp. 40 ; with 21 pis. 10s.

The plates differ a little from those engraved
for Panofka's work ; those in the English trans-
lation having been re-drawn on a larger scale
from the original Greek vases.

SCHATTEBURG (J. H,).— Der Ziegelroh-
bau in seinen verschiedenen
Charakteristischen Erschein-
ungsweisen als Spiegelbild der
Architektur der Neuzeit. Halle,
1897. 58 autotyp. pis. with text.
Part I. Plain bricks. Part II.
Ornamented bricks. 20 m.

" Brick-building in its divers charac-
teristics, as reflecting the style of modern
architecture."

SCHERER (C.).— Die Porzellansamm-
lung des Schlosses Wilhelmsthal,
bei Kassel. Kassel, 1892. 8°,
pp. 25.

" The porcelain collection in Wilhelms-
thal Castle."

This collection is rich in Oriental porcelain
and in the early productions of the chief manu-
factories of Germany.

Das fiirstenberger Porzellan.

Berlin, Reimer, 1909. 4°,
pp. ix-276 ; with frontispiece
and 179 zinco-block illustrs.
in the text. £1.

" The porcelain of Fiirstenberg."

A volume previously published by H. Steg-
mann dealt with the history and the vicissitudes
of the Fiirstenberg porcelain factory. In this
complementary work the author has undertaken
to consider its productions from the artistic
point of view.

SCtt]

CERAMIC LITERATURE.

[8CH

SCHIASSI (F.),— Sopra alcuni antichi
fittili dipinti. Lettere due. Bo-
logna, 1814. 8°, pp. 35; with 6
engr. pis.

" Two letters on some ancient painted
vases."

An attempt to discriminate between the vases
of Greek and Etruscan origin, and on the methods
employed by the vase painters. The plates re-
produce fragments of pottery engraved within
elaborate frames.

SCHIFFER (H.).— Die alte und die
neue Kunsttopferei Raerens.
Aachen, 1887. 8°, pp. 16 ; with
2 pis. and text illustrs. (Re-
print from the Jahresberichte des
Aachener Gewerbe-Vereins.)

" The old and new art pottery of
Raeren."

An account of a small factory where the
writer has attempted to revive the old industry
of his native village, and has made very success-
ful reproductions of the ancient models.

- Die Kunsttopfer von Raeren.
Ein Sang aus Raerens Vergang-
enheit. Eupen, 1895. 16°, pp.
128. 3 m.

" The Raeren art potter. A poem on
the past days of Raeren."

A tale in which the stoneware potters of that
once prosperous centre of pottery manufacture,
Jan Emens, Balden Mennicken, and other con-
temporaries are made to play a part in a romantic
plot.

SCHILT (L. P.). — A Mr. Emile de
Girardin ; pour repondre a 1'idee
qu'il a emise de supprimer les
Manufactures modeles de Sevres,
des Gobelins et de Beauvais.
Sur la manufacture de Sevres.
Quelques idees d'un travailleur
sur le but d'utilite nationale de
la manufacture de Sevres, lues a
la Commission de F Industrie
Porcelainiere, 9 Avril, 1848, par
Schilt pere, artiste-peintre de la
Manuf. Nationale. 8°, pp. 16
( authogr aphed) .

" To Mr. E. de Girardin, in answer to
the idea he has expressed of closing the
model manufactories of Sevres, Gobelins,
and Beauvais. A few remarks presented

by an art-worker upon the necessity of
maintaining the manufactory of Sevres as
a national establishment. Read before
the Commission of the Porcelain Industry,
April, 1848."

- Le dessinateur de porcelain.
Ouvrage d'ornements meles de
fleurs et destine, non seulement
aux porcelainiers, mais aussi a
tous les fabric ants d' articles de
gout. S.I., n.d. 18 litho. pis.

" The porcelain designer. Ornamenta-
tion combined with flowers. Intended
not only for china painters but also for
all makers of fancy articles."

Louis Pierre Schilt, artist at the Royal Manu-
factory of Sevres, was one of the best flower
painters of his time ; he left a son, Abel Schilt,
also attached to the same establishment, who
painted figure-subjects with great talent.

SCHIO(G.da). — Sopra un vaso etrusco.
Vicenzia, 1845.

" Upon an Etruscan vase."

SCHIRCK (Carl).— Ueber einige Bezie-
hungen der k. k. majolika-Ges-
chirrfabrik in Holitsch (Ungarn)
zu den verwandten Fabriken
Mahrens. Briinn, 1896. 4°, pp.
12. (Reprint from the Mitihei-
lungen des Mahrischen Gewerbe-
Museum.}

" Upon the connection that existed
between the faience factory of Holitsch,
in Hungary, and the factory carried on
at Meran."

Established in 1743, the faience works of
Holitsch never attained any importance. The
manufacture of English earthenware was intro-
duced in 1786 without yielding a much better
result. From the documents preserved in Vienna
can be traced the connection that existed be-
tween this and the minor factories of the pro-
vince up to 1827.

— Zur Geschichte der Znaimer
Thon Industrie. Brunn, 1899.
4°, pp. 24. (From the Mitthei-
lungen, etc.)

" On the history of the ceramic industry
at Znaim."

Znaim has been one of the largest centres of
production of common pottery in Austria. A
special school for the ceramic industry has been
established in the town by the Austrian Govern-
ment.

379

SCH]

CtiHA At 1C LIT tili A TURti.

[SCH

SCHIRCK (Carl).— Die K. K. Majolica
Geschirrfabrik in Holitsch.
Materialien zu ihrer Geschichte.
Brunn, 1905. 4°; with 2 col. pis.
and 33 text illustrs. Privately
printed. 40 m.

" The I. and R. manufactory of
majolica vessels in Holitsch. Materials
towards its history/'

An amplification of the notice described above.

SCHLESINGER (T.).— Der Bau der Zie-
gelbrennofen. Vollstandige An-
leitung zur Erbauung der gang-
fa arsten Oefen zum Abbrennen
aller Arten Mauer-und-Dach-
ziegel Drainsrohren u. s. w.
. . . Nebst einer ausfiihrlichen
Beschreibung und Darstellung
der neuen und patentiren Ring-
ofen mit immerwahrendem Be-
triebe, von Hoffmann & Licht.
Berlin, 1866. 4°, pp. 51 ; with
10 engr. pis. and illustrs. 5 m.

" The construction of brick and tile
ovens. Complete instructions for build-
ing the most practical ovens for firing
wall- and roofing-tiles, drain-pipes, etc.
Together with the accurate description
and representation of the new patent
oven for continuous firing invented by
Hoffmann & Licht."

SCHLESTED (F.). - - Jydepotteindus-
trien. Kjobenhavn, 1881. 8°,
pp. 25 ; with illustrs.

" The manufacture of black pottery in
Jutland."

SCHLIEDER (Sophie-Louise).— Die ma-

j olika-Malerei. Anleitung fur den
Selbst-Unterricht. Berlin, 1886.
8°, pp. 31 ; with 6 pis. in photo-
type and 4 pis. of outlines. 3 m.

" Majolica painting. Instructions for
self-teaching."

SCHLIEMANN (Heinrich). — Trojanische
Alterthiimer. Bericht iiber die
Ausgrabungen in Troja. Leip-
zig, Brockhaus, 1874. 8°; with
a 4° atlas of 217 photogr. pis.
380

Troy and its remains ; a
narrative of researches and dis-
coveries made on the site of
Ilium and in the Trojan plain ;
edited by Ph. Smith. London,
Murray, 1875. 8°; with 52 pis.
and 300 illustrs. £1, 10s.

- Ilias ; the city and country
of the Trojans. The result of
researches and discoveries on
the site of Troy, 1871-79. Lon-
don, 1880. 8°; with maps, plans,
and 1,800 illustrs.

Mycenae ; a narrative of
researches and discoveries at
Mycenae and Tiryns. With a
preface by W. E. Gladstone.
London, 1878. 8°; with maps,
plans, and 700 illustrs.

—'Tiryns. The prehistoric pal-
ace of the Kings of Tiryns. The
result of the latest excavations.
London, 1880. 8°; with maps,
plans, 24 chromolith. pis., and
188 illustrs.

Troja ; results of the latest
researches and discoveries on the
site of Homer's Troy. With pre-
face by A. H. Sayce. London,
1884. 8°; maps and 150 illustrs.

We cannot attempt to analyse the learned
works of Dr. H. Schliemann. All we can say is
that they form an indispensable complement to
the ceramic library. The vases, figures, and
other objects of terra-cotta described and illus-
trated in each volume were discovered on the
presumable site of the Greek cities, of which the
Homeric tradition had preserved the name. They
belong consequently to a remote period of anti-
quity, unrepresented in our museums by any
examples of pottery of a corresponding age, until
Dr. Schliemann's wonderful discoveries supplied
to the archaeologist a host of materials toward
the study of the primitive periods of Greek
civilisation.

SCHMATOLLA (E.).— Die Brennofen fur
Thonwaaren, Kalk, u. s. w. mit
besondere Beriicksichtigen der
Gasbrennofen. Hannover, 1903.
8°, pp. 151 ; with illustrs. 5 m.

Describes the system of gas-firing invented by
the author.

SCH]

CERAMIC LITERATURE.

[SCH

SCHMID (W. M.),— Moderne Gesichts-
urnen. Munchen, 1896. 8°, pp.

8 ; with 8 illustrs.

" Modern pots with a human face."

The small pots with human features roughly
carved on the front, common to all times and to
all countries, are particularly numerous in Ger-
many. From the Roman to the mediaeval ex-
amples there is hardly any noticeable modifica-
tion ; the original type has lingered almost up to
the present day. Filled with grains of three
kinds, they formed a votive offering presented
to the church by persons hoping to obtain a
favour from the patron saint. The writer refers
us to a previous and more important essay on
the subject published by Undset in the twenty-
second vol. of the Zeitschrift fur Ethnologic.

SCHMIDT (Alex.). —Bin Verzeichniss
von Vorlage-Werken fur decora-
tive Malerei und Bildhauerei
von keramischen Gesichtspunkte
aus betrachtet und besprocken.
1885. Part I. 8°, pp. 47.

" A list of the works containing models
for the decorative arts and architecture,
considered and described from a ceramic
point of view."

- Die Keramik auf der pariser
Welt-Ausstellung, 1878. Berlin,
1880. 8°, pp. 254.

" Ceramics at the Paris International
Exhibition in 1878."

SCHMIDT (G. H.). — Die Fabrication
der fur die Glasmalerei, Email-
malerei, und Porcellanmalerei
geeigneten Farben. Weimar,
Voigt, 1880. 8°, pp. 140 ; with

9 illustrs. 4th ed., revised by M.
Miiller. 3 m.

" The manufacture of colours for paint-
ing on glass, enamel, and porcelain."

SCHMIDT (Giovanni). --Tre mattoni
dipinti di Urbisaglia. Roma,
1880. 8°, pp. 15 ; with 1 fold,
pi. (Reprint from the Annali
deir Institute archeologico.)

" Three painted bricks found at Urbi-
saglia."

A description of Roman bricks painted with
figures of Jupiter, Minerva, and Victory.

SCHMIDT (L). - - Visita di Priamo
presso Achille, discorso di L.

Schmidt. Roma, 1849. 8°, pp.
17 ; with 2 fold. pis.

"The meeting of Priam with Achilles."

Description of an amphora of Ruvo in the
Campana Museum, already described by Miner-
vini.

SCHMIEDER— Ueber die Murrinen.
Brieg, 1830. Sm. 4°, pp. 19.

" On the Murrhine vases."

The writer comes to the conclusion that they
were Egyptian porcelain.

SCHMITZ (R. F. L).— Grundzuge zur
Geschichte der Koniglich-bayer-
ischen-Porzellan-Manufactur zu
Nymphenburg. S.I., 1819. 8°,
pp. 40.

" Sketch of the history of the Royal
porcelain manufacture of Bavaria, at
Nymphenburg."

SCHMITZ (Yicaire).— Gres limbourgeois
de Raeren. Bruxelles, 1879-80.
Ten separate pamphlets of, to-
gether, 217 pp. 8°, issued with-
out a general title. (Reprint
from the Bulletin de la Com-
mission Roy ale d'Art d'Archeo-
logie.)

" The Limbourg stoneware of Raeren."

While the question of the origin of the em-
bossed white stoneware had been satisfactorily
settled by the researches made by Canon Dorn-
busch in the town of Siegburg, the place of
manufacture of the brown variety of the same
ware still remained uncertain. A large vase,
bearing the inscription, MADE IN ROREN, was
considered as offering a sure clue towards the
solution of the problem. But the inscription had
perplexed rather than assisted, for a length of
time, the antiquaries who had attempted to give
a correct interpretation of the word Roren. Many
an extravagant speculation had been hazarded
on its probable signification ; many a village,
the name of which presented some similitude with
that of Roren, had been searched, but in vain,
for traces of its possible connection with the
manufacture of brown stoneware. Dornbusch
was the first to turn his attention towards Raeren
in Limbourg, and he asked his friend, Abbe
Schmitz, the vicar of the parish, to set on foot
some preliminary inquiries. His correspondent
was at once confronted with such a mass of over-
whelming evidence that the village had once been
the site of an important centre of manufacture,
the productions of which had nothing in common
with those of Siegburg, that from that moment
all uncertainty came to an end. The fascinating
labour of directing the excavations, which were
at once undertaken by the peasants themselves,

381

SCH]

CERAMIC LITERATURE.

[SCH

fell, of course, to the care of Vicar Schmitz, who
happened to have a taste for archaeological pur-
suits. President Schuermans gave him his
learned assistance in preparing the papers in
which the result of these excavations were duly
registered. The extemporised historian of the
Raeren departed industry stood much in want
of the friendly collaboration of the erudite
President ; the guiding spirit of the latter is
unmistakably present all through the work. It
is obvious that the worthy vicar was not very
conversant with the general history of the pro-
vince. Attached to his village by his pastoral
duties, he could not avail himself of the docu-
ments to be consulted in the public libraries and
museums ; he had, therefore, to depend chiefly
upon the results of the informal and homely
inquest he held in his own parish. His visita-
tions from house-to-house were, however, by no
means unfruitful. Old deeds and parchments
turned up from family archives, full of valuable
memorials of the ancient potters and of their
descendants. His most singular discoveries were
not the least important ones. He tells us, for
instance, how he came by a copy of the first
regulations of the craft, which he found lining
the bottom of an old hat. Gradually, he suc-
ceeded in eliciting from certain old inhabitants
fragmentary recollections of the customs of the
trade, fast vanishing remnants of a tradition
once alive in the place. .All this was embodied,
just as it came to hand, in a series of ten letters
addressed to the President of the Royal Society
of Archaeology of Belgium. Under these condi-
tions his papers could not be more than a succes-
sion of notes and materials somewhat desultory
in their arrangement, but they have the merit
of having been drawn from original sources.
Much has still to be done before the annals of
the artistic industry of Raeren are completely
reconstituted, but in the letters of Vicar Schmitz
will be found the elements of an excellent mono-
graph of the small town which has been in-
dubitably the birth-place of the brown stoneware.
A translation, in German, of the " Gres lim-
bourgeois de Raeren " was given by Th. Holtz-
schneider in the periodical Niederrhein, 1884.

SCHNEIDER (F. J.).— Die zwolf Kampfe
der Herakles in der alteren
griechischen Kunst. Leipzig.,
1888.

" The twelve works of Hercules in the
ancient Greek art."

SCHNEIDER (R.) — Allgemeine Anweis-
ungen fur den Bau und den
Betrieb der Regenerati v-Gasof en.
S.I., 1886. 8°. 1 m.

" General directions for the construction
and management of regenerative gas-
ovens."

SCHNURPFEIL (H.) — Die Tonindustrie
im Glashuttenbetriebe. Berlin.,

382

Tonindustrie Zeitung, 1908. Sq.
8°, pp. v-208 ; with 106 illustrs.
5 m.

" The potting industry in connection
with the manufacture of glass."

Treats of the bricks, kilns, crucibles, and
other clay vessels and accessories employed by
the glass manufacturer.

SCHNUTGEN (Cannon).— Diisseldorf,

1902. Kunsthistorische Ausstel-
lung Illustrirter Katalog. Diissel-
dorf, 1902. 8°, pp. 195 ; with
100 illustrs. 3m.

The finest collections of Germany were
worthily represented in the Exhibition. Cer-
amics : 5 pis.

SCHOLSCHER (Y.).— Bernard Palissy.
Paris, 1854. 32°, pp. 32. (Re-
print from La Revue de Paris.}

In the estimation of Mr. Victor Schoelscher,
an ardent radical and republican writer of some
note, Palissy stands as the ideal image of the high-
minded proletaire in open revolt against tyranny
and injustice. To unravel the trials and suffer-
ings of the victim of odious monarchy is, for the
writer, a legitimate way of furthering the ad-
vance of democratic principles. The opening
sentences will prepare the reader for the rest of
the article. They begin with a diatribe upon the
character of Francis I., denounced as an unduti-
ful king, who summoned to his Court artists from
Italy and other foreign countries, but refused
his patronage to the men of genius born in his
own land. Then, the crimes of the Valois, the
infamy of Catherine de Medicis, are expediently
brought in and duly stigmatised. From this we
pass to the iniquities of the Second Empire, ex-
posed with as much acrimony as the official cen-
sure of the time could have permitted to appear
in print. The Government of Napoleon III. is
accused of having, " with its wonted brutality,"
broken and dispersed the tiles of the Ecouen
pavement — " the finest work of Palissy " — " for
the sake of introducing in the centre of the
graceful arabesques of the old potter, an insolent
N, surmounted with the Imperial crown." In
this instance, as in many others, Mr. Schoelscher
was absolutely misinformed. Far from destroy-
ing the few odd tiles still showing traces of a
much worn-out painted ornamentation, the
architect of Ecouen Castle had them carefully
gathered and deposited in the Louvre and other
Museums. Moreover, the pavement was not
made by Palissy, but by Abaquesne, of Rouen,
whose name it bears. The rest of the tale lays
special stress upon all the parts of the Palissy
legend that a scrupulous examination has proved
unworthy of belief. As a socialistic tract the
notice may have had its merits ; as a biography
of the French potter, it is worse than useless.

SCHONADER (N.). — Praktische Dar-

SCH]

CERAMIC LITERATURE.

[SCH

stellung der Ziegelhiittenkunde.
Salzburg,, 1815.

" Practical tile making."

SCHONE (R.). - - Griechische Reliefs
aus athenischen Sammlungen.
Leipzig, Breitkopf, 1872. Sm.
fol., pp. 70 ; with 37 lith. pis.
12m.

" Greek bas-reliefs from the collections
of Athens."

Greek terra-cottas are represented by 8 pis.
in outline.

- Ueber einige eingeritzte In-
schriften griechischen Thonge-
fasse. S.d. 4°, pp. 13.

" On some inscriptions incised upon
Greek earthen vessels."

Tituli Vasis fictilibus in-
scripti. S.I., n.d. Sm. fol., pp.
64 ; with 1 pi. of forms and 6
pis. of graffiti inscriptions. (Ex-
tr. from the Corpus inscript.)
" Inscriptions incised on the fictile

vases.

- Le antichita del Museo Bocchi
diAdria. .Roma, 1878. Sm. fol.,
pp. 176 ; with 21 pis. 16 fcs.

" The antiquities of the Bocchi Museum
at Adria."

This collection was begun near the end of the
eighteenth century by F. G. Bocchi, and con-
tinued by his son and grandson. It consisted of
antiquities discovered at Adria, mostly Greek
vases of the best period, but more or less broken,
and a few terra-cottas.

SCHONENWALD. — Muster Sammlung
von Kaehelofen. Fabrik in
Linden. Imp. 4°. S.I., n.d.
(recent) ; with 11 pis.

" Collection of models of earthenware
stoves manufactured at Linden by
Schonenwald."

SCHOMBERG (Collection Comte de).— Paris,

1886. Sm. 4°, pp. 28 ; with text
illustrs.

Catalogue of sale. German faience and
Italian majolica. Early stoneware. Sevres
porcelaines, etc.

SCHOOLCRAFT (H. R.).— Notices of some
antique earthen vessels found in
the low tumuli of Florida. New
York, 1847. 8°; 2 pis.

SCHOPER (Hartman). - - Eygentliche

Beschreibung . . . aller
Kiinsten, Handwerken und
Handlen, . . . etc. Frankfurt
am Mayn, 1568. Printed by
Feyerabend. Sm. 8°; with 114
woodcuts by Jost Amman. The
Latin edition published in the
same year under the title,
Omnium mechanicarum aut se-
dentariarum artium, . . . etc.,
has 132 woodcuts. Other edi-
tions, in German and in Latin,
appeared in 1574. Copies sell at
from £5 to £12.

" An accurate description of all the
arts, crafts, and trades . . ."

SCHOPIN (Ellgtoe).— Exposition uni-
verselle de 1878. Notice sur les
faiences dites Barbotines. E.
Schopin a Montigny-sur-Loing
(Seine et Marne). Paris, imp.
Quantin, 1878. Pp. 16; with
2 views of the works.

" Notice of the faiences known as Bar-
botines, exhibited by E. Schopin."

Great as had been the success of the new pro-
cess of faience painting in impasto colours, its
vogue was of very short duration. Its likeness
to oil painting having been at first considered as
a great merit, caused it to be soon neglected as
inappropriate for ceramic decoration.

SCHORN (0, YOn).— Persisch-Rodische
Fayence-Teller. Niirnberg, 1883.
Sm. 4°, pp. 6 ; with 15 col. pis.
10m.

" Dishes of Persian and Ehodian
faience."

Reprinted from Kunst und Gerwerbe, an art
journal published by the Bavarian Museum of
Industrial Art at Nuremberg.

— Die Kunsterzeugnisse aus
Thon und Glas. Eine Ueber-
sicht ihrer technischen und
kunstlerischen Entwickelung

383

SCH]

CERAMIC LITERATURE.

[SCH

von friihen Mittelalter bis zur
Gegenwart. Leipzig, Freytag,
1888. 12°, pp. 216 ; with 128
illustrs. 3 m.

" Art works in clay and glass. A
glance at their technical and artistic
development from early middle-ages to
the present day."

A well compiled handbook. The illustrations
are taken from the standard books on ceramics,
and reproduced by the phototype process.

SCHREIBER (Lady Charlotte).— Catalogue

of English porcelain, earthen-
ware, enamels, etc., collected by
Charles Schreiber, Esq., and the
Lady Charlotte Schreiber, and
presented to the South Kensing-
ton Museum in 1884. London,
1885. 8°, pp. 224 ; with 2 por-
traits and 8 pp. of marks. 2s.
One of the South Kensington
Museum handbooks.

If we are enabled to study the origin and pro-
gress of the chief pottery and porcelain manu-
factories of England, without leaving the galleries
of the South Kensington Museum, if we can
illustrate the successive phases of their history
by an almost unbroken series of well-selected
and most telling examples of their work, we owe
it in the first instance to the untiring exertions
of a passionate and enlightened collector who
never spared either trouble or expense in the
prosecution of her pursuit, and, lastly, to the
liberality with which the noble Lady presented
to the nation, during her lifetime, her matchless
collection.

National museums cannot, as a rule, afford to
bring the illustration of any particular branch of
art to approximative completeness ; their duty
is to work in very different directions, and to
satisfy a variety of equally pressing require-
ments. This being considered, we do not think
that any public institution could possibly have
accomplished — in the regular course of its
gradual extension — what has been so remark-
ably achieved by a private collector. No one
could ever have succeeded in assembling such a
large and representative collection of English
pottery and porcelain at their best periods as
Lady Charlotte Schreiber had found the means
of bringing together.

This catalogue, indispensable for the study of
the history of ceramic art in England, was most
carefxilly prepared by Lady Schreiber herself,
who has added to an accurate description of the
objects many valuable annotations of historical
interest. Curiously enough, the MS. " Day-
Book," in which the place and date of purchase,
the price paid for each specimen, together with
other interesting particulars, were carefully
entered, did not go with the gift of the collection,
but was especially bequeathed to Sir A. Wol-
laston Franks.

384

SCHREIBER (T,).—H mito di Dolone.
Roma, 1875. 8°, pp. 29 ; with
fold. pis.

Sul mito di Troilo. Roma,

1875. 8°, pp. 25 ; with fold. pi.

- Due vasi attici. Roma, 1876.
8°, pp. 16 ; with fold. pis. (Re-
prints from the Annali di cor.
arch.)

SCHRICKER (A.), — Strassburger
Fayence und Porzellan, und die
Familie Hannong, 1710-1780.
4°, pp. 10 ; with 7 illustrs. (In
W estdeutsches Gewerbeblatt.)
Diisseldorf, 1891.

" The Strasburg Faience and Porcelain,
and the Hannong family."

SCHRiJTER (H. R.) und LOT (Fr, G. C.) -
Friderico - Francisceum, Gross-
herzogl. Alterthumer-Samm-
lung aus der altgermanischen
und slavischen Zeit Mecklen-
burgs, zu Ludwigslust. Leipzig,
1837. 8°; with an atlas fol. of
37 lith. pis. 50 m.

" The Grand Ducal collection of objects
from the early German and Slav periods
in Mecklenburg, at Ludwigslust."

SCHROTER.— The trade of the Pro-
vince of Kwang-si and of the
City of Woo-Chow, etc. (A
translation from the Chinese.)
Hong-Kong, 1886. 8°.

This article forms the appendix to the work
Bericht iiber eine Reise nach Kwang-si. It has
also been published in a separate form.

SCHTSCHUKIN (P, J.) und FEDOROFF (E. W.).
— Verzeichniss von Alterthum-
ern der Sammlung P. J. Schts-
chukin. Mos Icaw, 1895-96. Two
parts. 4° ; with 27 photogr. pis.
£4, 10s.

" Catalogue of the collection of anti- •
quities in the possession of P.J.S."

Part I. — Drinking vessels, cups, glass, stone-
ware jugs, etc. Part II. — Porcelain figures,
plates, and dishes, tea and coffee services, etc.

SCH]

CERAMIC LITERATURE.

[SCH

SCHUBLERN (J. J.).— Niitzliche Vor-
stellung und deutlicher Unter-
richt von Zierlichen bequemen
und Holz esparenden Stiiben-
Oefen, etc. Niirnberg, 1728.
Sm. fol., pp. 42 ; with front, and
24 engr. pis. 20 m.

" Useful representation and clear ex-
planation of some ornamental, serviceable,
and wood-saving stoves, etc."

Rich and elegant stoves in the style of the
period. Although the material is not indicated,
it is plain that most of the sketches were intended
to be executed in white faience. The text relates
only to the construction and disposition of the
fireplace and of the flues.

SCHUBRING (P.).-Luca della Robbia
und seine Familie. Leipzig,
Verhagen & Klasing, 1905. 8°,
pp. 155 ; with 172 illustrs. (some
col.). 4 m.

" Luca della Robbia and his family."

SCHUCKHARDT (C.). — Schliemann's
Ausgrabungen in Troja, Tiryns,
Mykena, etc., im Lichte der
heutigen Wissenschaft. Leipzig,
1891. 8°, pp. 405; with 321
illustrs. 6 m.

" The excavations of Schliemann in
Troy, Tiryns, Mycenae, etc., in the light
of our present knowledge."

SCHUERMANS (H.). — Exploration de
quelques tumulus de la Hesbaye.
Bruxelles, 1863-66. 8°, pp. 563 ;
with 35 pis. (some Celtic and
Roman pottery). 10 fcs.

" Exploration of some of the tumili of
Hesbaye."

- Sigles figulins. (Epoque rom-
aine.) Bruxelles, 1867. 8°, pp.
296. 6 fcs.

" Potters' marks. Roman period."

When a Greek potter had completed the vase
which he knew would be admired by the con-
noisseur, proud of his work, he inscribed it with
his name. It was in a very different spirit that
the Roman figulus affixed his mark to his pro-
ductions. He worked for the million. His ware,
mostly household vessels of simple and practical
shapes, was manufactured on a thoroughly in-
dustrial method. It was exported in enormous
quantity into distant lands, and large stocks of
it were accumulated in the emporiums of the
or.

foreign cities ; it was necessary, for the con-
venience of the trade, that the ware of one maker
could be easily distinguished from that of another.
So each of them adopted a distinctive mark.
This is no longer a signature, as in the case of the
Greek potter, but a mere commercial stamp ; the
work does not commend itself as coming from
the hand of a noted craftsman, but from his
manufactory, EX OFFICINA. A constant atten-
tion to methodical and reliable means of fabri-
cation, and to cheapness combined with good
quality, is noticeable in all the productions of
the Romans. Even in the case of the red
Arethian ware, the embossed subjects of which
denote often the refined design of some Greek
artist, we find the same commercial considera-
tions evinced by a numberless repetition of the
same model. An original work, bearing the
impress of the personality of its maker, is seldom,
if ever, found in the Roman pottery.

In all parts of Europe where Roman civilisa-
tion had penetrated, the potter had set up his
workshop and his kiln, and the custom of stamp-
ing the ware with the name of the maker was
adhered to as a matter of importance. All
attempts to collect a complete list of the
names and marks impressed on the Roman
pottery had, so far, been no more than insuffi-
cient compilations ; by putting under contribu-
tion a larger number of museum catalogues and
works on Roman antiquities, Mr. Schuermans
has succeeded in bringing together over six
thousand marks ; more than double the number
that had been recorded before in any book of
the same order.

Satisfactory as had been the result of his
researches, the author tells us, in the preface,
that while his MS. was in the press fresh mat-
erials have accumulated in such profusion that
he forsees the necessity of publishing, at a later
date, a supplementary list which may be as im-
portant as the first one.

— Gres, dits flamands, fabriques
pour Liege. Liege, 1880. 8°, pp.
16. (Reprint from the Bulletin
de VInstitut arch. Liegois.}

" The so-called ' Flemish stoneware ; '
the ware manufactured for the Liege
market."

Les Grks-cerames aux Ex-
positions de 1880. Bruxelles et
Diisseldorf. Lttge, 1880. 8°,
pp. 26. (Reprint from the same
Bulletin. )

" The ancient stoneware at the Exhibi-
tions of Brussels and Diisseldorf, in 1880."

Gres-flamands limbourgeois
etliegeois. Bruxelles, 1881. 8°,
pp. 41 ; with 3 pis. (Reprint
from the same Bulletin.)

" Flemish stoneware from Limbourg
and Liege."

385

SCH]

CERAMIC LITERATURE.

SCHUERMANS (H.).— Les poteries de
Raeren aux armes des Gouver-
neurs et des nobles du Limbourg.
Ruremonde, 1881. 8°, pp. 15.

" The Raeren pottery, stamped with
the arms of the Governors and noblemen
of Limburg."

Gres limbourgeois de Raeren.

Paysans de Raeren. Ruremonde,
1882. 8°, pp. 16.

" The Limburg stoneware. The peas-
ants of Raeren."

- Medallions ceramiques de la
famille d' Orange-Nassau. 1881.
8°, pp. 21. (Reprint from the
Revue de numismatique beige.)

" Ceramic medallions of the family
Orange-Nassau."

Gres cerames a armoiries

liegeoises. le serie. Liege, 1883.
8°, pp. 90.

- 2e serie. Likge, 1886. 8°, pp.
67 ; with 2 pis. (Reprint from
the Bulletin de Vlnst. Arch,
liegeois.)

11 The stoneware stamped with the arms
of Liege families."

Catalogue des collections de

gres cerames du Musee de Brux-
elles. Bruxelles, 1880. 12°, pp.
54.

Catalogue of the stoneware exhibited in the
Brussels Museum (Musee de la Porte de Hall).

— — - Mille inscriptions des vases de
Gres dit flamands. Anvers,l885.
8°, pp. 132. 5 fcs.

" One thousand inscriptions from the
vases of the (so-called) Flemish stoneware."

The high position that President Henri
Schuermans occupied, in Belgium as one of the
chief magistrates of the kingdom had never
made him forget that archaeology depended upon
him as one of the most erudite expounders of
antiquarian knowledge. All amateurs of ceramic
art in the Low-countries will always remember
with gratitude what his labours have done to
dispel the uncertainty which had so long pre-
vailed with regard to the origin of the brown
stoneware of Flanders and Germany.

Relinquishing, for a while, his cherished

386

studies on Roman antiquities, President Schuer-
mans turned his attention towards the prolific
excavations being carried on at Raeren, in the
once Flemish province of Limbourg, by which
the existence of a very important centre of pot-
tery manufacture had just been revealed. The
eventful course of investigations found in him
more than an interested and accurate recorder ;
he showed himself, in all the notes he published
on the matter, a dispassionate and impartial
historian. So much could scarcely be said of
many contemporary writers whose judgment
chanced to be warped by some personal discovery
of inconsiderately magnified importance, and
who sallied forth discanting upon German stone-
ware, insufficiently prepared for the task, and
often with little regard for the truth. As in-
defatigable as any historian bent on solving an
archaeological problem, Schuermans, more for-
tunate than many of them, obtained all the
enlightenment that he was in search of. He
had to examine a huge mass of documentary
evidence, and confront the information they
afforded with specimens brought to light from
day to day by the excavations, or those preserved
in the private and public collections. With the
assistance of Vicar Schmidt he found the civic
registers of Raeren full of references to the
families of the old craftsmen, and very curious
particulars concerning the trade and social con-
ditions of the potters were supplied to them by
private papers, account books, official deeds,
and correspondence in the possession of the
notable inhabitants of the village who had never
suspected they could possess any historical
interest. He was enabled to investigate the
records of the regular intercourse that had ex-
isted between the stoneware makers and the
wealthy merchants of many countries, the noble
families, and the religious orders of the province,
who had taken the Raeren industry under their
patronage. A deep knowledge of heraldry
assisted him in the identification of the coat-of-
arms embossed on the ware, and through his
intimate acquaintance with local history, he
succeeded in making out the true reading of
many a puzzling inscription. Not only did he
increase by many original additions the scanty
store of information previously obtained, but he
rectified the errors and inconsistencies that had
been too readily accepted by early collectors.

The outcome of his diligent investigations
was, from time to time, embodied in a paper
which appeared in the transactions of the anti-
quarian societies of Belgium. These papers —
the titles of which have been given above — con-
stitute a rich mine of materials towards the
history of the brown stoneware of Raeren.

In his last contribution to the subject, " Mille
inscriptions des vases de gres," President Schuer-
mans has condensed, as it were, the very essence
of his learning. It supplies an exhaustive list
of all the names, inscriptions, and marks found
upon the stoneware pieces exhibited in the chief
collections of Europe, or which have appeared
in the auction sales of the century. The in-
structive value of this large inventory lies chiefly
in the care with which an always pregnant and
relevant footnote has been introduced to com-
plete the description of a specimen of historical
importance. A more substantial store of refer-
ences is placed before us in the plain and lucid

SCHJ

CERAMIC LITERATURE.

[SCH

form of these short annotations than could be
extracted from many volumes of speculative
dissertations.

SCHUERMANS (H.) et FET1S (F.).— Ex-
position Rationale. IVe section:
Industries d'art en Belgique an-
terieures au xixe siecle. Classe
E. Ceramique. Catalogue officiel.
Bruxelles, 1880. 8°; with fac-
simile of marks.

" Catalogue of the Belgian pottery and
porcelain in the retrospective section of
the Brussels Exhibition of 1880."

SCHULZ (H. W.). - - Die Amazonen
Vase von Ruvo, erklart und in
kunsthistorischen Beziehung be-
trachtet. Leipzig, 1851. Fol.,
pp. iv-16 ; with 3 engr. pis.
10m.

" The Amazon vase from Ruvo, ex-
plained and considered in its bearings to
the history of art."

SCHULZE (E.). - - Beschreibung der
Vasensammlung des Fr. F. von
Leesen. Leipzig, 1871. 4°, pp.
16 ; with 3 pis. 3 m.

" Description of the antique vases in
the possession of Fr. F. von Leesen."

A collection formed in Italy by the possessor
between the years 1852-1858.

De vasculo picto Amazonis
pugnam et inferiarum ritus re-
presentante. Oothce, 1870. 4°,
pp. 12 ; 1 pi.

" A small painted vase representing the
combat of the Amazons."

SCHUMACHER (W.).— Die Thonfabri-
cate. I. Allgemeine Keramik.
II. Die Thonfabrikate mit ein-
fachem Scherben, oder Fabrika-
tion der Terrakotten, des Sidero-
liths, des Irdengeschirrs, der
Bauermajolica, des Bunzlauer
Geschirrs, des Kochgesehirrs,
der modernen Majolica und der
Majolicaofen, der Fayence oder
italianischen Majolica, und der
Fayenceofen, sowie des Stein-

zeugs. Weimar, Voigt, 1884.
8°, pp. xiv-468 ; with atlas 4° of
9 pis. 10 m.

" The earthenware goods : — I. The cer-
amic art in general. II. The various
productions in pottery, or the manufac-
ture of terra-cotta, stoneware, ironstone
china, common pottery, Bunzlau ware,
cooking vessels, modern majolica and
majolica stoves, faience stoves, as well as
stoneware."

Wilken's work, Die Topferei, has been taken
as the ground work of this treatise, revised and
greatly increased by Schumacher.

- Die Poppelsdorfer Porzellan-
und-Steingut Fabrik von Lud-
wig Vessel in Bonn. . Ein Beitrag
zur Geschichte der rheinischen
Industrie. Bonn, 1888. 8°, pp.
54 ; with 7 col. pis. 2nd ed.
3m.

' ' The Poppelsdorf porcelain and earthen-
ware manufactory of L. Vessel at Bonn.
A contribution to the history of Rhenish
industry."

History tells us that Clemens Augustus,
Elector of Cologne, was a proud and ambitious
prince, always ready to foster the development
of any enterprise which should redound to the
greater glory of his name. A true Meccenas, he
welcomed the proposal he received from one
Raising, a pretended owner of a secret, to estab-
lish in the Electorate a porcelain manufactory
which would rival the most renowned establish-
ments of the kind. In the year 1755, practical
experiments were commenced in the Castle of
Poppelsdorf, situated close to the summer resi-
dence of the prince, and ample subsidies were
provided towards the necessary alterations of
the building and the cost of the preliminary
trials. Unfortunately, as had been the case in
other similar instances, the favour of a munificent
patron had been obtained under false pretences.
Raising was nothing better than a cunning ad-
venturer, who happened to have gained a little
experience as a potter. The man relied on the
discovery he had made in the locality of a fine
white clay which he believed could be employed
as a substitute for the one used at Meissen ; other-
wise, the secrets of porcelain-making which he
claimed to possess were absolutely unknown to
him. After a long course of abortive experi-
ments, all he had been able to produce with that
clay was ordinary earthenware glazed with lead.
The Elector was growing impatient, and Raising
was quite at his wit's end. At this juncture, a
relative of his who occupied a high situation at
Court, and whom he had personally interested
in the success of the venture, came to his assist-
ance. They consulted together, and concocted
a skilful plan which they felt sure would secure
for the Poppelsdorf Works the services of an

387

SCH]

CERAMIC LITERATURE.

[SEG

efficient practical manager. Several candidates
offered themselves for the post, and the choice
fell upon a certain Zeschinger, who held the same
situation at the Fiirstenberg porcelain manufac-
tory. The man felt dissatisfied with the way in
which he had been treated by his employers, and
the confederates had no difficulty in persuading
him that a just reward for his abilities was
waiting for him at Poppelsdorf. A kidnapping
expedition was carefully planned. One night
the much-coveted manager left Fiirstenberg in a
close carriage, escorted by a party of armed men.
and sped away towards Bonn. But they had to
count with the police, who having learned of the
escape of Zeschinger, started in pursuit, overtook
the fugitives, and compelled them to return into
Brunswick territory. The disloyal manager was
thrown into prison, where he might have long
remained but for the intervention of the Elector
of Mayence, to whom he applied as one of his
born subjects. All hopes of making porcelain
were abandoned from that moment, and the con-
dition of the factory went from bad to worse.
Clemens Augustus withdrew all pecuniary assis-
tance, but he allowed Raising to continue, at his
own risks, the manufacture of faience and potr
tery. The enterprise was henceforth conducted
as a private company. Fresh partners succeeded
the retiring partners, but all combinations proved
equally unsuccessful. At last, in 1825, Ludwig
Vessel, a merchant from Bonn, placed the works
upon a satisfactory footing. Under his manage-
ment, and that of his successors, the business
continued to improve, until the establishment
reached the highly prosperous conditions in
which it stands at the present day. It is only
since 1875, however, that the making of porce-
lain has been carried on at Poppelsdorf.

SCHUMACHER.— Archaische Vasen aus
La Tolfa. Berlin, 1889. 8° ;
with 2 pis. (Reprint from the
Jahrbuch. )

" Vases of archaic style found at La
Tolfa."

SCOTTI (A. A.).— Illustrazione di un
vaso italo-greco dell museo di
Monsignor Archivescovo di Tar-
anto. Napoli, 1811. 4°, pp.
116; with 2 fold. pis. 5 fcs.

" Description of an Italo-Greco vase in
the museum of Mgr. Archbishop of
Taranto."

A diffuse disquisition on the subjects repre-
sented upon an archaic vase with black figures.

SEBALD (H.). - - Ueber griechische
Vasen und deren Darstellungen.
Clausthal, 1867. 4°. 1 m.

" Greek vases and the subjects repre-
sented upon them."

388

SEDILLE (P.).— La terre cuite et la
terre emaillee dans la construc-
tion et la decoration ; confer-
ence de Mr. Paul Sedille au Con-
gres des Architectes frangais.
Paris, Morel, 1877. 8°, pp. 19.

" Of the use of terra-cotta and enam-
elled earthenware in architectural building
and decoration ; read by Mr. P. S. at the
meeting of the Congress of French archi-
tects."

- Conference sur la ceramique
monumentale. Congres et con-
ferences du Palais du Trocadero.
Paris, imp. Nat., 1879. 8°, pp.
22 ; with 2 illustrs.

" Lecture on ceramics applied to archi-
• tectural decoration."

In both the above papers the lecturer ex-
presses his regret that bright colours should be
banished from modern architecture. " Our
eye," says he, " has been for so long accustomed
to rest only upon faint shades of grey, which are
nothing else but slight modifications of white,
that we feel shy of indulging in the display of an
harmonious gamut of brilliant tints. On that
account we deprive ourselves of enjoying the
rich and pleasant effects that could be obtained
by the introduction of polychrome faience ; if
only used with proper discrimination it should
play an important part in the external decora-
tion of all our buildings."

SEEMAN (Theodor).— Die Kunst der
Etrusker, nach den Forschungen
unserere heutigen Wissenschaft.
Dresden, 1890. 8° ; photo-lith.
pi.

"The art of the Etruscans; from the
latest investigations of modern science."

SEGER (H. A.).— Seger's gesammelte
Schriften, herausgegeben von Dr
H. Hecht und E. Cramer. Ber-
lin, 1896. Verlag der Thonin-
dustrie-Zeitung. 8°, pp. xv-908.
Portr. 22 m.

" Complete works of Seger, published
by Dr. H. Hecht and E. Cramer."

Among the modern publications devoted to
the technics and the practice of the ceramic art,
the writings of Seger command the highest degree
of estimation. Most of them had appeared in the
Thonindustrie-Zeitimg, of which he was the chief
editor, and they were not easily obtainable in a
separate form. The number of essays and
treatises reprinted in this volume amounts to

SEGJ

CERAMIC LITERATURE.

• [SEM

99, not including the short articles and unfinished
papers given at the end. From 1878, to the
year of his death, Seger was attached to the
Royal Porcelain Factory of Berlin as director of
the laboratory of chemical research.

- Collected writings from Re-
cords of the Royal Porcelain
Factory at Berlin. Easton, Pa.,
1902-03. 2 vols. 8°. £3, 3s.

A translation from the German. As the
above volumes contain Seger's complete works,
we do not give separately the titles of the num-
erous papers which exist in pamphlet form.

SELER (Dr.)- — Konigliche Museen zu
Berlin. Peruanische Alterthii-
mer, inbesondere altperuan-
ische Gefasse, und Gefasse der
Chibcha und der Tolima- und
Cauca-Stamme, goldschmuck,
etc, 64 folio-Tafeln, mit erlau-
terndem text von Dr. Seler.
Berlin, Dr. E. Mertens, 1893.
Fol. 120 m.

" Royal Museums of Berlin. Peruvian
antiquities; particularly the vessels of
ancient Peru, the vessels of Chibcha, and
those of the Tolima and Cauca tribes,
gold ornaments, etc."

The collection of Peruvian antiquities in the
Berlin Ethnographical Museum is the richest in
Europe. The museum published phototype re-
productions of the ancient pottery exhibited in
the gallery on the occasion of the Colombus Ex-
hibition in Madrid. Nearly one thousand speci-
mens are reproduced upon 60 plates in the
following order : — Pis. 1 to 8, vases of Upper
Peru ; pis. 9 to 47, vases of the Peruvian Coasts ;
pi. 48, vases of the Kingdom of Quito ; pis. 49
to 53, vases of the Chibcha ; pis. 53 to 58, vases
from the Valleys of Cauca and Tolima ; pis. 59
and 60, fragments, etc.; and pis. 61 to 64, gold
ornaments.

A work of great ceramic interest ; the first
one entirely devoted to the study of a pottery to
which the amateurs of the last century gave a
passing attention, and collected for a time,
ranging its various styles under the name of
Buccaros. This pottery has since been allowed
to fall into oblivion, hardly any notice being
taken of the originality and beauty of its form,
and in many cases of the perfection of its work-
manship. The plates are accompanied with
explanatory notices written by Dr. Seler, assist-
ant director of the museum.

— Alterthiimer aus Guatemala.
Berlin, 1895. Fol., pp. 30 ; with
104 illustrs., chiefly of pottery.
(Extr.) 5s.

;: Antiquities from Guatemala."

- Die alten Ansiedelungen von
Chacula im Distrikte Neuton des
Departments Hurchetenago der
Republic Guatemala. Berlin,
Reimer, 1901. 4°, pp. 213 ;
with 50 pis. and 282 text illustrs.
(some pottery). 40 m.

" The ancient settlement of Chacula, in
the Guatemala Republic."

SELIWAHOFF (A. I.).— Porcelain and
Faience of the Russian Empire.
Descriptions of the factories,
with facsimile of marks. Wladi-
mir, 1903. 8°. pp. vii-174 ; with
25 lith. pis. 7s. (In Russian.)

A supplement of 43 pp., with 6 additional
pis. of marks, appeared in 1904.

SELLIER (Ch.). — Les curiosites du
vieux Montmartre. Les moulins
a vent. La porcelaine de Clig-
nancourt. Paris, 1898. 12°, pp,
48. 2 fcs.

" The curiosities of old Montmartre.
The windmills. The Clignancourt por-
celain."

SELLIERE (Collection Baron A.).— Cata-
logue of sale. Paris, 1890. 4°,
pp. 108 ; with 40 pis. (9 of cer-
amics). 20 fcs.

Luca della Robbia and his school, Nos. 1-20 ;
Italian majolica, Nos. 21-85 ; fa'ience and stone-
ware, Nos. 86-186 ; Sevres porcelain, Nos. 374-
388 ; Dresden, Nos. 389-391 ; Oriental porce-
lain, Nos. 392-427.

SEMPER (G.).— Wissenschaft, Indus-
trie und Kunst. Vorschlage zur
Anregung nationalen Kunst-
gefuhles bei dem Schlusse der
Londoner Industrie-Ausstellung.
Braunschweig, 1852. 8°, pp. 76.
2m.

" Science, Industry, and Art. A sketch
on the best means- of stimulating the
national artistic feeling on the occasion
of the closing of the Industrial Exhibition
in London."

Obliged to leave Germany, where his ad-
vanced political opinions did not allow him to
stay in safety, Semper, the architect of the
Dresden theatre and other fine buildings in
Saxony, took refuge in London, just at the time

389

LITERATURE.

[SHA

when the first International Exhibition was in
course of preparation. Prince Albert, with
whom he was thrown into communication, is
said to have entertained the highest considera-
tion for his scheme of improvement in the con-
ditions of industrial art, and to have often
listened to his advice regarding the best means
of fostering the advance of artistic education in
England. He advocated, above all, the forma-
tion of public collections, where artists and
craftsmen could look for inspiration at the finest
examples of ancient workmanship. His German
biographers assert that Sydenham Palace and
the South Kensington Museum were only the
realisation of schemes originally drawn by Sem-
per, and they claim for him the credit of having
been the father of our museums of industrial art.

SEMPER (G.).--Der Stil in den
technischen und tektonischen
Kiinsten, oder praktische ^Es-
thetik. Frankfurt a. M., 1860-63.
2 vols. 8°; with 20 col. pis. and
364 illustrs. 36 m.

" On style in the technical and applied
arts, or practical aesthetics."
Ceramics, vol. ii., pp. 1-208.

SENFT (F.).— Die Thonsubstanzen
(Kaolin, Thon, Lotz, Lehm, Let-
ten, und Mergel) nach Entste-
hungweise, Bestand, Eigen-
schaften, und Ablagerungsorten.
Berlin, 1879. 8°, pp. 94. 3 m.

" The earthen materials (kaolin, potters'
clays and marl) ; their occurrence, con-
stitution, properties, and places of
extraction."

SEN-RIOU-SHY.
S.I., 1733.
illustrs.

- Rakouyaki-hinoo.
Pp. 64 ; with text

" The secrets of the Rakou pottery."

A copy of this work, which treats of the pro-
cesses of Japanese pottery manufacture from the
preparation of the clay to the construction of
the ovens, and the composition of glazes and
colours, is in the library of the " Ecole Orien-
tale," at Paris.

SERYANZI COLLIO (S.).— Prospetto di
altare nella chiesa collegiata di
Monte Cassiano, provincia di
Macerata, stupendo lavoro dell
arte figulina, descritto. Camer-
ino, 1870. 8°, pp. 32.

" View of an altar in the Collegiate
Church of Monte Cassiano, a splendid
work of the ceramic art."
390

It is an architectural structure in majolica,
partly white and partly coloured, standing 6 m.
54 cent, high and 3 m. 90 cent, broad. Figures
and subjects in relief complete this elaborate
monument, which bears the dates 1527-1532.

SEYFFER (Collection
1887. 4°, pp.
6 m.

OttO).— Stuttgart,
144 ; with 8 pis.

Catalogue of sale.

Ancient stoneware, Nos. 1-243 ; miscellan-
eous pottery, Nos. 244-280 ; majolica, Nos. 281-
329 ; porcelain, Nos. 330-405.

SHAW (Henry).— Specimens of tile
pavements drawn from existing
authorities. London, Pickering,
1858. 4°, pp. 18, not numbered,
and 47 pis. in colour. £1, 10s.

In publications of an earlier date the rude
tiles of mediaeval times had been reproduced by
a rough typographic process, and printed in red,
by means of a wooden form, upon yellow paper.
Chromolithography, no longer on its trial, was
resorted to in the preparation of this work, in
order that the proper colour of the examples and
the minute intricacies of a complicated tracery
could be adequately rendered. Formerly, the
tiles were reproduced as isolated specimens ;
Shaw gave representation of the whole scheme
of several important pavements, drawn with a
neatness and accuracy which denote the joint
work of a learned archaeologist and a skilful
designer. The book is made up, first, of two
special monographs ; the Jervaulx and the Chert-
sey Abbeys, with plates and historical notices ;
each of these monographs has also been issued
in a separate form. The rest is composed of
examples drawn from various sources in England
and on the Continent ; in all cases an arrange-
ment is given so as to show the pattern formed
by the combinations of several tiles. A short
historical introduction is prefixed to the plates.
It contains a reprint of a paper by W. Surges
which appeared in The BidMer, 1855. This fine
volume is worthy, in all points, of comparing
with the valued archaeological works with which
Shaw has associated his name.

SHAW (S.)-— History of the Stafford-
shire Potteries, and the rise and
progress of the manufacture of
pottery and porcelain ; with re-
ference to genuine specimens and
notices of eminent potters. Han-
ley, 1829. 12°, pp. 244. Printed
for the author. £1. Reprinted
by Scott & Greenwood. London,
1900. 12°.

At the time when Simeon Shaw gave to the
inhabitants of the " Potteries " his unpreten-
tious account of the rise and development of the
staple industry of the district, the trade had just

SHA]

CERA MIC LIT ERA TUBE.

[SHU

entered upon a period of comparative lull. For
more than a century the activity displayed in
an unswerving course of technical improvements,
and the ever-increasing prosperity which had
rewarded the efforts of the manufacturers, had
left no room for any other considerations but the
enjoyment of a well-deserved success, and a blind
confidence in the coming of a still more brilliant
future. Things were, however, beginning to
take a more quiet turn. People had, then,
enough leisure to cast a backward glance at the
accomplished journey, and to call to mind the
remembrance of its most glorious stages. The
" Potteries " men, when chatting together over
a glass at the ale house, were already alluding to
the past as " the good old times." Examples of
many a half-forgotten style of manufacture were
produced and examined with knowing curiosity.
Enoch Wood was forming the first collection of
Staffordshire ware. Shaw realised that the re-
collection of the departed masters and their
neglected methods, still alive in the place, had to
be gathered, while they were still fresh in old
people's memory. Ponderous tomes of country
histories had, it is true, been published, or were
being prepared by erudite compilers. But their
contents referred chiefly to ancient families, old
buildings, and obsolete customs ; and the doings
of the masters of the craft, as well aa the annals
of their trade had been overlooked everywhere. A
native of the Potteries, Shaw had, from his young
days, listened to many tales told by men whose
fathers and grandfathers had taken their share
in the development of the local industry. He
decided to write, for our benefit, the unpublished
chronicles of the potters' art in Staffordshire. It
was not, however, without some apprehension of
exciting criticism that he ventured to put into
print, as he says in the preface, " the gossiping
recollections of his friends and neighbours." As
might have been expected, the common place
talk of his days would, later on, constitute by far
the most interesting portion of the little volume.
If we set aside a few passages worded in a con-
fused and sometimes misleading form, the book
will always be a reference one for the student of
early Staffordshire pottery. All subsequent
writers on the subject have derived their infor-
mation chiefly from this modest volume, and
much is still to be learned from it.

Encouraged by the success he had as a local
historian, Shaw prepared and began the publi-
cation of a more important work : The History
of the Borough of Stoke - upon - Trent. But
pecuniary resources failed him after the eighth
monthly part had been issued. Subscribers were
not forthcoming in sufficient number, so, unable
to proceed with the printing, he had to accept
the offer of his collaborator, J. Ward, who took
upon himself all the risks of the enterprise, and
brought it successfully to an end under his own
name.

- The chemistry of the several
natural and artificial hetero-
genous compounds used in man-
ufacturing porcelain, glass, and
pottery, by Simeon Shaw, LL.D.,
author of Nature Displayed, etc.,

etc. London, printed by Lewis,
1837. 8°, pp. 685 ; portrait.
£1, 10s. Reprinted by Scott &
Greenwood. London, 1900. 8°.

A practical potter will not find much to praise
in this voluminous tome, for the preparation of
which all the treatises of chemistry available at
the time seem to have been put under contribu-
tion. Desultory quotations, accompanied by
the writer's personal remarks, succeed one an-
other in an undigested and indigestible chaos of
scientific formulas and empirical recipes, as un-
intelligible to the student of the theory of the
art as they are useless to the practical potter.
The work ends with a lengthy nomenclature of
natural elements, so strangely arranged in tabu-
lar form that this part alone should suffice to
give credence to the popular report that, towards
the end of his life, Shaw was not in the complete
possession of his mental faculties.

SHEPPARD (Th.).— Early Hull tobacco
pipes and their makers. Hull,
Museum publications, 1902. 8°,
pp. 28 ; with num. illustrations.
Is.

This collection of tobacco pipes of the seven-
teenth century is said to be the most complete
in existence.

SHOKO ROJIN. — Kohon Meibutsu
Ruischu. S.I., 1787. 18 parts.
8°; with illustrs. (some col.).

" Collection and records of famous
utensils, for the most part used in the
tea ceremony. Compiled by Shoko
Rojin."

A copy of the work is in the Nat. Art Library,
South Kensington Museum.

SHORTT (I. T. P.).— Sylva antiqua
Iscana, numismatica, quinetiam
figulina, or Roman and other
antiquities of Exeter, etc. Ex-
eter, Featherstone (1841). 8°.
5s.

Figuline antiquities. The Roman pottery
and Samian ware found at Exeter. Pp. 110-145,
with 5 lith. pis.

SHRIGLEY and HUNT.— Sketches of a
few of the works in ... mural
decoration and art tiles. Lon-
don, 1879. Lith. pi. 4°.

SHURLOCK (MO-— Tiles from Chertsey
Abbey, Surrey ; representing
early romances' subjects. Lon-

391

STB]

CERAMIC LITERATURE.

[SIM

don, W. Griggs, 1885. Fol., pp.
33 ; with 41 col. pis. £2, 2s.

No vestige remains above ground to indicate
the spot where once stood the monastic building
of which the tiles reproduced in this fine and
rare volume formed the pavement six hundred
years ago. A large number of them were dis-
covered in the work of excavation conducted on
the site of Chertsey Abbey. The finds were
temporarily exhibited in the Royal Museum of
Architecture in London ; a portion of the tiles
were subsequently deposited in the British
Museum.

The series selected for reproduction in actual
size by Mr. Manwaring Shurlock may be said
to represent the most elaborate and interesting
mediaeval tiles ever found in England. Sub-
jects from the romances of " Richard Cceur-de-
Lion " and " Sir Tristem " are illustrated upon
them. Although it has not been possible to
reconstitute the complete scheme of the design,
we can judge from the care displayed in each of
these separate subjects that in the early days of
Gothic architecture a pavement was not treated,
as in after times, as an indifferent portion of the
general decoration, and required nothing more
than an endless repetition of the geometrical
combinations obtained with tiles of various
shapes and colours. We see that, with no other
means at his disposal than red and yellow clays,
the tile-maker had bravely attempted to pro-
duce an immense picture which, by the import-
ance of the conception and the artistic work-
manship of all the integral parts, could rival in
interest and beauty the sculptures of the porch
and the frescoes of the chancel.

SIBENALER (J. B.).— Conference don-
nee a la Societe geologique de la
Province de Luxembourg sur les
anciennes faiences de la region
luxembourgeoise, etc. Arlon,
Poncin, 1897. 8°; pi.

" Lecture on the ancient faience of
Luxemburg."

SIBTHORP (Rev. Waldo).— A catalogue

of porcelain and pottery, Ori-
ental, European, and English,
the property of the Rev. R. W.
S. Nottingham, 1874. 8°, pp.
55 ; with 60 photographs. Pri-
vately printed. At the auction
sale of the collection one copy
of this catalogue sold for £7.

SIEBOLD (Ph. Fr. von).— Nippon. Ar-
chiv zur Beschreibung von
Japan. Leiden, 1832-52. Fol.
A chapter on ceramics, illus-
trated with 11 col. pis.

392

SIEBOLD (Henry YOU). —Notes on Jap-
anese archaeology ; with special
reference to the stone age. Yok-
ohama, 1879. With 3 photos.

SILYA (J. F. de).— Arte da Porcelana
ou tractado sobre o modo de
fazer a porcelana. Por M. 0.
Conde de Milly. Traducido do
Francez . . . por J. Ferreira da
Silva. Lisboa, na impressao
regia, 1806. 12°, pp. 266 ; with
4 pis. 3 fcs.

"The art of porcelain; a treatise on
the manufacture of porcelain by Comte
de Milly. Translated from the French,
by order of the Prince Regent, by J. F.
de Silva."

Part iii. of the appendix treats of the porce-
lain of Rio de Janeiro.

- L'arte de Luceiro, ou Trac-
tado sobre o modo de fazer as
Iou9as de Barro mais grossas,
traducido do Francez, etc. Lis-
boa, 1804. 12°, pp. 204 ; with
3 pis. 3 fcs.

" The art of pottery; a treatise of the
manner of making clay vessels of the
largest dimensions. Translated from the
French."

Contains curious particulars concerning the
old French faience factories, particularly those
of the region of Lyons.

SILYESTRE (A.).— Les anciennes
faiences de Carouge. Geneve,
1901. 4°; illustrs. (In: Nos
anciens et leurs osuvres.)

" The ancient faiences of Carouge."

SIMAKOFF (N.).— Recueil de Fart
decoratif de 1'Asie centrale. St.
Petersbourg, 1883. 50 chromo-
lith. pis. £3.

" Selection of examples of the decora-
tive arts of Central Asia."

SIMONE (G. de). — Processo per stam-
pare le stoviglie sopra e sotto
vernice, per soveana determina-
zione palesato. Napoli, 1828.
4°, pp. 15.

SIM]

CERAMIC LITERATURE.

[SLO

" The process of printing upon the
pottery, over and under the glaze, pre-
sented in absolute rules."

SIMONIN. — Les grands ouvriers.
Bernard Palissy. Paris, Hach-
ette, 1867. 18°, pp. 16. 1 fc.

SITTE (C.). — Vortrage aus dem kera-
mische Fackenlehrer Curse. Salz-
burg, 1883. 8°, pp. 52; auto-
graphed and illustr. with pen-
and-ink sketches. 8 m.

" Essays extracted from the lectures of
a professor of practical ceramics."

- Zur Geschichte der Gmunder
Majolika-Fabrikation. 1887. 4°,
pp. 8 ; with 4 illustrs. (Reprint
from the Kunst und Gewerbe.)

" History of the faience manufacture in
Gmunden."

It is only of late years that the faience manu-
factories of Austria have found their historian.
From documents preserved in the town, as well
as from dated pieces, M. Camillo Sitte has been
able to establish that painted faience with stan-
niferous glaze was made at Gmunden as early as
1617.

- Zur Geschichte der salzburger
Weissgeschirr-Fabrikation. 4°,
pp. 14 ; with 7 illustrs. (Re-
print from the Kunst und Ge-
werbe.)

" History of the white ware manufac-
ture at Salzburg."

An Austrian custom of the last centuries was
that among the articles that the bride was ex-
pected to bring into the house on the occasion of
her marriage, a dish and a jug of painted faience
should always be included. Hence the number
of gaily and often richly decorated pieces of
ancient faience still in the possession of the
Salzburg old families. The records of local
manufacture investigated and summarised by
the writer refer chiefly to the white faience works
established by J. M. Moser, at Riedenburg, in
1736, and conducted by his successors until 1860.

SITTL (K).— Die Phineusschale und
ahnliche Vasen mit bemalten
Flachreliefs. Wurzburg, 1892.
4°, pp. 23.

" The Phinean tazza and other vases
with painted surface reliefs."

SIX (Jan). — Vases polychromes sur
fond noir de la period archaique.
Paris, Levy, 1888. Fol., pp. 34 ;
with 2 pis. and 8 illustrs. 3 fcs.
(Reprint from the Gaz. Arch.)

- Drei Lekythen. Aihen, 1893.
8°, pp. 5 ; and 3 col. pis.

" Three Lekythies."

SKELTON. — Patterns of encaustic
Tiles found in the ruins of the
Priory dedicated to Saint
Dionysius near Southampton,
drawn and engraved from the
original tiles and fragments in
the collection of A. H. & T. A.
Skeltoii, at St. Denys. South-
ampton, Skelton, Vincent's Walk,
1857. Sm. 4°; lith. title-page
and 20 pis. printed in red and
yellow.

Of this work only four copies were printed.

SLOSSON (Mrs. Annie).— The China-
Hunters' Club ; by the youngest
member. New York, Harper
Bros., 1878. Sq. 8°, pp. 274;
with 32 illustrs. 10s.

Fashionable society in Littleville — a name
under which the anonymous author has thinly
veiled that of one of the chief cities of the United
States — had exhausted the usual range of refined
entertainments. To get out of Shakespearean
readings, Goethe sandwich parties and other in-
tellectual pastimes, a select circle of ladies and
gentlemen conceived the idea of starting a cer-
amic club. The promoters of this novel and
bold scheme had, more or less frequently, peeped
through the pages of the standard ceramic books,
and were not consequently without a smattering
of knowledge. But the rank and file of the
rapidly enrolled members of the club were still —
as regards the history of old pots and their
makers — in the pure enjoyment of that blissful
state of innocence which makes a tyro collector
exultant at every scrap of instructive information
he manages to worm out of his colleagues. They
organised, in groups of two or three, ransacking
expeditions through the rural villages, and
pounced eagerly upon every bit of old pottery
that could be f erretted out of ancient homesteads.
We may imagine the pleasure they derived from
the exciting hunt. Happy Arcadians, saunter-
ing through verdant valleys where the loaded
branch bent itself towards the hand of the fruit
gatherer, and an abundant crop rewarded each
of their venturous rambles. New Robinson
CrUsoes, in an unexplored crockery land, each
turn of the way offered to their covetous eye a

393

SMI]

CERA Mic LIT ERA TV RE.

[SMI

fresh discovery. Periodical meetings were held,
at which the booty brought back by each mem-
ber was submitted to the admiration of all, and
commented upon by the recognised authorities.
What gratifying acquirements had, after a few
months, resulted from such an instructive inter-
course. One of the lady members confessed
that up to that time the name of Wedgwood had
suggested to her mind nothing more than mortars
of a particular material. Another owned that
she had always thought Spode was the name of
a place. With what rapidity the cupboards and
china-cabinets had been filled with cracked
pitchers and blue printed plates. How confident
in the inestimable value of such specimens were
their elated possessors. No invidious compari-
son with the ceramic collections of the old world
was ever indulged in. Each precious store, the
fruit of local collecting, had only to vie with
others gathered from similar sources. All went
well, and smooth was the course of enjoyment,
until improved knowledge threw a brand of dis-
cord into the camp. One section of the club
had been singularly successful in garnering an
imposing number of examples of the hard por-
celain that an English writer had introduced as
being the production of the Lowestoft factory.
It was considered important that the china thus
collected should be of English origin. Alas ! a
few sceptic spirits had the audacity to question
the origin of the so-called " Lowestoft china,"
and to assert that it was nothing else but common
Chinese porcelain made for the foreign markets.
After a stormy sitting, in which the discussion
waxed fierce and passionate on both sides, the
Lowestoft party decided that they would secede
from the society rather than be exposed to hear
any further doubt expressed as to the English
character of their treasured specimens. And
thus came to an abrupt end the " China Hunter
Club," which had begun under such promising
auspices. Its short-lived existence had certainly
little influence on the advance of ceramic history,
but it will not have been altogether fruitless,
since it has been the cause of the publication of
a very amusing and witty book.

SMILES (S.).— Josiah Wedgwood,
F.R.S. His personal history.
London, J. Murray, 1894. 8°,
pp. 304 ; portr. 6s.

The author of Self -Help was over eighty years
of age when he added to his gallery of great
Englishmen this somewhat attenuated picture
of the greatest of all English potters. He
claimed to have based his work on the contents
of documents handed to him by the Wedgwood
family, which had never been investigated before.
Nothing of importance came out from the in-
vestigation of these papers ; the book contains
nothing that had not been related by previous
biographers. The expectation raised by the
sub-title, " A Personal History," is by no means
satisfied. It seems to promise an account
of the private life of the man, independent of
his public career as a manufacturer ; but it does
not contain any such chatty recollection of his
social manners and habits, any familiar anec-
dotes, or scraps of unwritten tradition, as would
warrant the adoption of such a title. Like all

394

the other lives of Wedgwood, this one is full of
his experiments and discoveries in the potter's
art. Even the actual circumstances of Wedg-
wood's death, the tradition of which is preserved
in the family, were never noticed by his bio-
grapher.

SMITH (Cecile).— Edinburgh Museum
of Science and Art. Catalogue
of a collection of Greek, Etrus-
can, Roman bronzes, fictile
ware, etc., presented to the
museum by Sir Hugh Hume
Campbell, Bart. Edinburgh,
1887. 8°, pp. 23 ; with 8 photos.
(3 of vases). Introduction.
Greek vases, pp. 5-12.

Catalogue of the Greek and

Etruscan vases in the British
Museum. Vol. iii. Vases of the
finest period. London, 1896. 4°,
pp. 425 ; with 28 pis. and text
illustrs. £1, 6s.

- See Foreman Collection.

SMITH (Ch. Roach).— Collectanea an-
tiqua ; etchings and notices of
ancient remains, illustrative of
the habits, customs, and history
of past ages. London. 6 vols.
8°. 1843-1868.

Contains several articles on Roman pottery.
Vol. I. — Potters' marks discovered in London ;
Roman pottery found at Etaples. Vol. II. —
Roman urns, vases, etc., found at Colchester.
Vol. III. — Inscribed Romano-Gaulish vase in
the Louvre. Vol. IV. — Romano-British pottery.
Vol. VI. — Remains of Roman pottery on the
banks of the Medway, etc.

Antiquities of Richborough,

Reculvers, and Lyme, in Kent.
Illustrated by F. W. Fairholt.
London, 1850. 4°. Pottery and
potters' kilns, pp. 58-74.

Descriptive catalogue of his

museum of London antiquities.
London, 1854. 8°; with 16 pis.
and text illustrs. 7s. Roman
pottery, pp. 13-57. Mediaeval
pottery, pp. 113-122.

Illustrations of Roman Lon-
don. London, 1859. 4°. £1, 5s.

SMI]

CERAMIC LITERATURE.

[SOI

Pottery, pp. 78-110; and pis.
24-29.

M. R. Smith has contributed many articles
on Roman pottery to the antiquarian serials of
his time.

SMITH (Ed.).— Moghul colour decora-
tion of Agra described and illus-
trated. Allahabad, 1901. 4°,
pp. 28 ; with 103 pis. (53 col.).
£1, 13s.

Wall tiles in Indian architecture.

SMITH (G.). — The Laboratory or
School of Arts. London, 1739.
5th ed., 1770. 8°; pis. Enam-
elling and enamel painting, pp.
40-54. The art of painting upon
glass, together with the methods
of preparing the colours for
potter's work, or Delft ware, pp.
80-104. 10s.

Compiled from German and other foreign
authors.

SMITH (H. E.).— Reliquiae Isurianse ;
the Remains of the Roman
Isurium (now Aldborough, York-
shire). London, 1852. 4°. Fic-
tilia, pp. 51-54 ; and plates 28-
33.

Archaeology of the Mersey
District. Pottery, plates. (In
the Lancashire and Cheshire
Hist. Society, N.S., vols. vi.-xii.,
and 3rd series, vol. i.)

SMITH (R. H. Soden).— Catalogue of
the collection of English pottery
and porcelain exhibited on loan
at the Alexandra Palace in 1873.
London, 1873. 8°, pp. 104.

The collectors of English pottery and porce-
lain gathered in full force for the 'first time at
the Loan Exhibition of the Alexandra Palace.
They wanted to place boldly before the eye of
the public the still unfamiliar productions of the
early potters, anxious to see whether the moment
had not come to convert many lovers of foreign
ware to a due appreciation of the merits of
national ceramics. Fate had decreed that they
should not see their expectation realised on that
occasion. A fierce fire destroyed the Palace, and
very few of the admirable specimens lent for

exhibition were rescued from the ruins. The
catalogue was still in the printer's hand when
the collection it describes was burnt ; it was
never issued, and only a few unconnected copies
were struck for the benefit of some exhibitors,
friends of the author.

- A list of books and pamphlets
in the National Art Library on
pottery and porcelain. 2nd ed.
London, 1885. 8°, pp. 147. Is.

In the first edition Soden Smith, head librar-
ian at the South Kensington Museum, had only
entered the titles of the books entirely devoted
to ceramics. In the much-increased list, he pub-
lished a few years after, all the publications on
art and archaeology, such as general histories of
art, reviews, magazines, transactions of anti-
quarian societies which contain some reference
to pottery, were included.

Loan collection of English
pottery in the Edinburgh Mus-
eum. Edinburgh, 1889. 8°, pp.
64. Is.

Notwithstanding the loss of his specimens in
the fire at the Alexandra Palace, Soden Smith's
collection of salt-glazed ware grew, in after years,
to be one of the most complete ever brought
together. He was always willing to exhibit it
in public museums. His catalogue, an inter-
esting document for the history of old English
pottery, was printed on the occasion of its ex-
hibition in the Edinburgh Museum of Science
and Art, a short time before the death of the
collector.

SMITH (Sir R. Murdoch).— Edinburgh :

Museum of Science and Art.
Guide to the Persian collection.
Edinburgh, 1896. 8°, pp. 16 ;
Ipl.

SHELL (H. ].)• — Practical instructions
for enamel painting on glass,
china, tiles, etc., to which are
added full^ instructions for the
manufacture of the vitreous pig-
ments required. London, s.d.
8°; with 12 illustrs. 2s. 6d.

SOIL (E.). — Recherches sur les an-
ciennes porcelaines de Tournay.
Histoire ; Fabrication ; Pro-
duits. Paris, R. Simon, 1883.
8°, pp. 376 ; with 20 pis. 12fcs.

" Essay upon the ancient porcelain of
Tournay. History, Manufacture, Pro-
ducts."

395

SOI]

CERA MIC LITER A TURE.

[SOL

The manufactory of soft porcelain estab-
lished at Tournay by Peterinck of Lille in 1750
has had its glorious days ; the productions of
the best period were of the highest order, either
for beauty of paste or elegance of shapes and
decoration. The porcelain made at Tournay
was overlooked for a time by the china collectors,
and little or nothing was known about its history.
Mr. Soil, a distinguished avocat of the town,
took the cause in hand, and recovering one by
one the scattered evidence which referred to the
ancient manufactory, has fixed for ever, in a
learned memoir, the half-obliterated recollec-
tions of its past existence. The annals of the
works are traced from year to year almost with-
out a break. The list of artists and workmen is
given at full length, and to the name of the most
prominent among them is affixed a short bio-
graphical notice. The second half of the volume
is occupied by a descriptive list of all the figures,
vases, and other objects made at the works,
followed by an account of the various styles of
decoration which characterise the different
periods. It is needless to say that this part of
the work, taken in connection with the plates,
on which many of the objects described are re-
presented, is of great service for the identification
of unmarked specimens.

SOIL (E.). - - Une fa'iencerie tour-
naisienne au xvii6 siecle (1688-
1704). Tournay, 1884. 8°.

" A faience manufactory at Tournay in
the seventeenth century."

- Potiers et faienciers tournais-
iens. Lille, 1886. 8°, pp. 220 ;
with 20 col. pis. 10 fcs.

In the volume he devoted to the history of
the Tournay porcelain, the writer refrained pur-
posely from touching on the subject of pottery
and faience of local manufacture ; consequently,
this second work is completely independent of
the first, and contains no repetition of what has
already been recorded. It comprises five chap-
ters. I. Roman and Frankish periods. II.
Mediaeval tinfes. III. History of the craft from
the Middle-ages to the eighteenth century. IV.
The fai'ence makers. V. Tobacco pipes ; stone-
ware ; additional documents on the porcelain
manufacture.

The third chapter is of peculiar importance
for the general history of the potters' craft. It
gives the names of the pot-makers established
at Tournay from the year 1230, and also trans-
scripts of the trade regulations, the earliest of
which bears the date 1407 ; together with
ancient documents unpublished before, and of
particular interest. These refer mostly to the
making of the common pottery used by the
people for daily purposes, of which several illus-
trations are given on the plates. We confess
that the quaint earthen vessels, fashioned in a
rude way by some village potter of ancient times,
have for us a special attraction. In many in-
stances they exhibit an impressive stamp of
native taste, a striking power of invention. The
wretched toiler of the clay, to whom a drudgery

396

work barely afforded the means of supporting a
miserable existence, occasionally found pleasure
and pride in executing an exceptional piece in
which imagination and technical skill were cer-
tainly not wanting. Very few of these modest
masterpieces of the nameless craftsmen of yore
have escaped destruction. We like to look at
such specimens as are preserved in our collections,
or to read about those that are described in the
ceramic monographs.

The stanniferous faience made at Tournay
during the eighteenth century never rose above
a common-place imitation of the Dutch and
French ware. Nevertheless the history of its
manufacturers and of the difficulty they had to
contend with is not without affording some useful
information with respect to the state of the cer-
amic industry at one of its most prolific periods.

SOLDI (Emile). — Les arts meconnus.
Les nouveaux musees du Troca-
dero. Paris, E. Leroux, 1881.
4°, pp. 531 ; with 400 illustrs.
10 fcs.

" The disregarded arts. The new
museums of the Trocadero."

Chapter iii. is devoted to Persian art, and
treats of the enamelled bricks, wall tiles, faience,
etc. (pp. 170-264). In Chapter v., "American
art," the antique vases and terra-cotta statues
of Peruvian and Mexican manufacture are briefly
dealt with.

Les medallions de David

d' Angers ; precedes d'une pre-
face par E. Soldi. Paris, A.
Levy, 1883. 4°, pp. 16, and 125
plates of the medallions en-
graved, in large size, by the
Collas process. 40 fcs.

A selection from the terra-cotta medallions
executed by the master. The volume contains
a portrait of David d' Angers engraved after the
painting of Hebert, and a biographical notice.

SOLON (M. Louis). — Inventions decor-
atives. Choix de compositions
et de motifs d'ornementation.
Paris, Morel, 1864. Fol. ; 50
etched pis. 35 fcs..

" Decorative fantasies. A selection
of ornamental motives."

Several of the sketches etched in this volume
have been executed at the Imperial Manufactory
of Sevres, to which the author was attached
since 1859.

— The art of the old English
potter. Derby, W. Bemrose,
1883. 4°, pp. xiii-214 ; with 50

SOL]

CERAMIC LITERATURE.

[SOL

etchings by the author. £5, 5s.
10 copies on Japanese paper.

- A second edition, in 8° size,
and illustrated with pen and ink
sketches, appeared in 1885. Of
this 200 copies were printed on
large paper, with the illustrations
on India paper.

Another edition was pub-
lished in America, by Appleton.
New York, 1887. 8°.

Slip ware, salt-glaze, and other quaint pro-
ductions of the old English potter, possess a
character of strong originality sufficient in itself
to induce a French artist, who had made England
his country of adoption, to collect and study a
class of pottery so unreservedly disregarded by
Continental amateurs. This book, the outcome
of ten years passionate collecting, is illustrated
by specimens in the possession of the author,
and chiefly found in " The Potteries."

The Queen's Jubilee Vase,
presented to Her Majesty by
Mintons, Limited. Printed by
Bemrose & Sons. London and
Derby, 1887. 8°, pp. 12 ; with
4 collotype pis. Privately
printed.

- On some fragments of English
earthenware lately discovered at
Derby. Derby, 1887. 8°, pp. 9 ;
vign. (Reprint from the Journal
of the Derbyshire Arch. Society.}

An article of no special interest, written upon
a find of miscellaneous fragments of pottery of
no particular importance.

- Salt-Glaze. The catalogue of
a small collection now exhibited
in the Technical Museum at
Hanley ; to which is prefixed a
short disquisition on Salt-Glaze
ware, by the collector. Hanley,
Albut & Daniel, 1890. 4°, pp.
27 ; with 11 phot. pis. 5s.

The collection lent by the author contained
122 specimens of old English stoneware and salt-
glaze.

- The ancient art stoneware of
the Low Countries and Germany
or "GresdeFlandres" and"Stein-

zeug " ; its principal varieties,
and the places where it was
manufactured during the six-
teenth and seventeenth cen-
turies. London, printed for the
author at the Chiswick Press,
1892. 2 vols. 4°, pp. x-386 ;
with 20 etched pis. and 210
illustrs., head and tail pieces
drawn by the author. £5, 5s.,
and £10, 10s. on Japan paper.

Flemish and German stoneware had been ad-
mitted in the ceramic collections long before any
particulars concerning their origin and history
had come to hand. The searching inquiry in-
stituted in Germany and Belgium dispelled the
mystery with which they were enveloped, only a
few years ago. As the English collector had had
so far no occasion of reading an account of the
labours and discoveries of foreign archaeologists
presented in his own language, this work, which
contains a synopsis of all the dates and facts
lately ascertained, was compiled for his benefit.
The plan followed by the writer was to master
and condense the contents of the various mono-
graphs prepared by painstaking specialists, each
of whom had circumscribed the field of his re-
search to one particular centre of manufacture.
To reconcile together the conflicting conjectures
propounded in these disjointed chapters of an
incomplete history, from wide apart standing
points, was the next, and least easy part of the
task. This could only be accomplished by a
conscientious study of the ancient stoneware pre-
served in European collections, and testing the
plausibility of many startling assertions by a
comparative examination of the best typical
examples. By confronting the text with the
original objects which were supposed to support,
some untenable theory, a very different con-
clusion from the one entertained by an acknow-
ledged authority has been arrived at in the
present work. It sets no claims at being a
definite story of ancient stoneware ; its aim has
been to sort and classify a mass of materials full
of precious information, but to each of which
the same degree of confidence cannot be accorded ;
it is a step on the right way, but much has to be
done before the questions still in suspense are
finally settled.

- Exhibition of works by L. M.
Solon at Phillips', Her Majesty's
potters (sic], Mount Street,
Grosvenor Sq., July, 1897. 16°,
pp. 11 ; with 2 pis.

Some numbers are accompanied with a de-
scription of the subjects represented on the vases.

- Pottery Worship. The fallen
Idols. A series of detached
papers dealing with subjects

397

SOL]

CERAMIC LITERATURE.

[SON

usually neglected in the general
histories of the ceramic art, read
before the members of the North
Staffordshire Literary and Phil-
osophical Society by M. Louis
Solon. Stoke on Trent, 1898.
16°. Priv. printed.

Contents : — The Noble Bucearos, pp. 32.
Jacobas Kannetjes, pp. 15. The Perpetual
Lamp, pp. 8. The Enigmatic Murrhine Vases,
pp. 48. Old Celadon, pp. 36 ; Fossil Pottery,
pp. 30. Terra Sigillata, pp. 33.

SOLON (M. Louis).— The manufacture
of pottery in Staffordshire during
the last century. Stafford, 1901.
1 2°, pp. 1 1 . (Reprinted from the
jubilee number of the Stafford-
shire Advertiser.}

Leon Arnoux, 1816-1902.

Stafford, 1902. Sq. 16°, pp. 12.
(Reprinted from the Staffs. Ad-
vert.}

Before he came to England, in 1849, Mr.
Arnoux had already acted for a few years as a
director of the porcelain manufactory estab-
lished by his father at Valentine (Haute Garonne).
Although he entered Minton's China Works
merely as a student of the English processes of
manufacture, it was not long before Mr. H.
Minton, then the head of the firm, had recog-
nised what a valuable assistance could be ex-
pected from him as a collaborator, and he asked
the new-comer to take a share in the technical
and artistic direction of his factory. The rapid
development of the English ceramic industry at
that period has now become a matter of history.
Mr. Arnoux had a hand in most of the improve-
ments which were introduced in all branches of
the art, and in the innovations which soon raised
Minton's to the first rank among the chief manu-
factories of Europe.

- A history and description of
the old French faience, with an
account of the revival of faience
painting in France. London,
Cassell & Co., 1903. 8°, pp. xvi-
189 ; with 24 col. pis. and 54 pis.
in half-tone. £1, 10s.

All the chief factories of France are succes-
sively passed under review. The movement,
initiated towards 1840 by some curious person-
ages, half-potters, half-artists, whose ambition
was to revive the lost art of the faience painter,
is related in the appendix. It is only a brief
sketch of the history of a most interesting period,
which deserves to have its special historian, as
it led to the complete transformation of ceramic
manufacture all over Europe.

398

- A brief history of old English
porcelain and its manufactories ;
with an artistic, industrial, and
critical appreciation of their pro-
ductions. London, Bemrose &
Sons, 1903. 8°, pp. xvi-256 ;
with 20 col. pis. and 48 pis. in
collotype. £2, 12s.

A special feature of this volume is that the
larger number of illustrations reproduce pieces
in private collections never published before ;
information obtained by the author from private
sources are also printed in it for the first time.

- A history and description of
Italian majolica ; with a preface
by W. Burton. London, Cassell,
1907. 8°, pp. xvi-208 ; with 24
col. and 49 half-tone plates.
£2, 2s.

— Pate-sur-Pate, by M. L. Solon,
reproduced by kind permission
of The Studio, published by
Mintons, Ltd., China Works,
Stoke-upon-Trent, 1906. Fol,
pp. 13 ; with 10 pis. in helio-
gravure. Priv. printed.

Description of the process of china decoration
in Pate-sur-Pate, as it was practised by the
writer, first at the Imp. Manuf. of Sevres from
1858 to 1870, and since then at Minton's China
Works. The article had appeared in The Studio
in 1894.

SONNE (Dr. W.).— Hygiene der kera-
mischen Industrie. Jena, G.
Fischer, 1896. 8°. Part 30 of
the Handbuchs der Hygiene of
Dr. Th. Weyl, pp. 907-942.

" Hygiene of the ceramic industry."

The diseases incident to the practice of the
trades of tile, earthenware, and porcelain making
are dealt with in separate chapters, and advice
is given as to the precautions that should be
taken to guard against those diseases. A list of
the books and articles written on the subject is
placed at the end of the paper.

SONNTAG (Z.).— Catalogue developpe
de la collection des matieres
ceramiques de FEcole Imp. et
Roy. professionnelle de Fin-
dustrie de la terre et des in-
dustries qui s'y rattachent, etab-

SOR]

CERAMIC LITERATURE.

[SPA

lie a Znaim. Zna'im, impr. Lenk,
1883. 8°, pp. 85.

" Descriptive catalogue of the collection
of ceramic materials in the Imp. and
Koy. technical school of the clay industry,
and the industries related to it, established
at Znaim."

The Znaim ceramic professional school, situ-
ated near Vienna, is maintained at the cost of
the Austrian Government. French translation
of the German catalogue published same year.

SORBETS (Dr. Leon).— Faiencerie de
Samadet (Landes). Dax, 1895.
8°, pp. 19. (Reprint from the
Revue de Borda.)

" The faience factory of Samadet."

Samadet produced imitations of the Moustiers
faience, always without marks, and consequently
difficult to identify. The works were in exis-
tence from 1732 to 1832.

SOULAGES (Collection).— Catalogue of
the Soulages collection ; being
a descriptive inventory of a col-
lection of works of decorative
art, formerly in the possession of
Jules Soulages of Toulouse, now,
by permission of the Committee
of Privy Council for Trade, ex-
hibited to the public at the
Museum of Ornamental Art,
Marlborough House. By J. C.
Robinson, curator of the Mus-
eum of Ornamental Art. Dec-
ember, 1856. London, Chap-
man & Hall. 8°, pp. 200. 5s.

This collection was acquired by a syndicate of
high-spirited amateurs, and subsequently pur-
chased from them, at cost price, by the Govern-
ment. It became the nucleus of the South
Kensington Museum. Majolica ware, 133 Nos.;
Palissy ware and French faience, 22 Nos.;
Flemish stoneware, 7 Nos.; Delia Robbia ware,
2 Nos. Each section is prefaced with a his-
torical notice ; majolica marks are given in the
appendix.

SOULTRAIT (Cte. de) et THIOLLIER (F.).—
La Bastie d'Urfe. Saint Etienne,
1894. Fol., pp. 57; with 74
heliogr. pis. 50 fcs.

A monograph of the Castle of La Bastie d'Urf6
It contains a chapter describing the majolica tile
pavement attributed to Masco Abaquesne of
Rouen, illustrated with 3 pis.

SOURDEYAL (C. de).— Une nouvelle
poterie d'Avisseau. Notice sur
cette famille. Tours, 1859. 8°.

" A new pottery of Avisseau. Notice
of his family."

SPANO (G.). — Iscrizioni figulinarie
sarde raccolte ed illustrate da G.
S. Cagliari, 1875. 8°, pp. 61.
Ipl.

" Ceramic inscriptions from Sardinia."

SPARKES (J. C. L.).— A handbook to
the practice of pottery painting,
by John C. L. Sparkes, head-
master of the / National Art
Training School, South Kensing-
ton, director of the Lambeth
School of Art. London, Lecher-
tier, 1878. 16°, pp. 78.

Notes on some recent in-
ventions and applications of
Lambeth stoneware, terra-cotta,
and other pottery, for internal
and external decoration. Lon-
don, 1880. 8°, pp. 52 ; with 18
illustrs. and marks.

A ferment of transformation was permeating
the Lambeth Pottery Works when this paper
was read before the members of the Society of
Arts, London. The stoneware body, of which
such an admirable application had been made to
drain pipes, sanitary ware, and chemical utensils,
was being employed by a host of clever artists
as one of the finest materials that could be found
for decorative purposes. Architectural orna-
ments which would take the place of carved
stone on the outside of the building, friezes and
panels of painted tiles which would enrich the
interior with harmonious combinations of colours,
classical and modern statuary, elegant and fanci-
ful vases and vessels, all remarkable for their
originality and perfection of workmanship, were
made in stoneware for the first time at Lambeth.

This revolution in the conduct of the work
was due to the manufacturer, Mr. Henry Doulton.
who had forseen the artistic possibilities of stone-
ware, and to the assistance he received from his
art director, Mr. John Sparkes, also headmaster
of the Lambeth School of Art. A special feature
in the management of the decorative depart-
ment was the employment of talented lady
painters. All works that came from the hand
of one artist had to bear his or her name or
monogram ; a list of the names and marks to
be found on the Lambeth art pottery is given
in the book. The illustrations reproduce choice
specimens of recent manufacture.

399

SPA]

CERAMIC LITERATURE.

[SPI

SPARKES (J. C. L) and GANDY (W.).—

Potters ; their arts and crafts.
London, Partridge, 1897. 8°,
pp. viii-260 ; with numerous
illustrs. 2s. 6d.

SPELMAN (W. R.).— Lowestoft China.
Norwich, Jarrold, 1905. 4°, pp.
78; with 87 pis. (25 col.).
£3, 3s.

A description of some worn-out or broken
moulds, unearthed from the site of the old
Lowestoft factory, has been used as the mainstay
in the preparation of the present monograph.
These pottery and plaster shards, down to the
most insignificant fragment, have all been repro-
duced on the plates. We recognise in some of
them the shapes of the domestic vessels most in
vogue at the time at Worcester and Derby. They
are presented as irrefutable proofs that china has
been made at Ijowestoft. But this fact, clearly
attested by documentary evidence and inscribed
specimens, has no longer to be established. If
the small Norfolk factory has received a rather
disproportionate share of attention, it was owing
to the immense amount of porcelain — now re-
cognised as being of Oriental origin — which was
at one time attributed to it. How such a
glaring error could have for so long been per-
sisted in is the true point at issue in the examina-
tion of the question. Yet in this work, as in
previous articles, this point has been set aside as
unimportant.

All writers agree in accepting the historical
record that, small as were the premises and
limited the number of hands employed, the Lowe-
stoft China Works had established, together
with a large sale-room in London, an important
depot at Rotterdam. Moreover, the proprietors
owned a ship which plyed constantly between
England and Holland, taking potter's clay to the
Dutch fa'ienciers, and returning loaded with
china ware. Such circumstances, if properly
weighed, might put us on the way to find a
plausible solution to the problem. Rotterdam
was one of the seaports where the East India
Company had established an office. An impor-
tant branch of their commerce was the importa-
tion of hard porcelain made in China to suit the
European markets. The shapes and sketches
they sent over to their Eastern factories were
faithfully reproduced by native hands. Would
it be inadmissible to suggest that the Lowestoft
people, in their constant intercourse with the
Dutch, may have found it profitable to become
large buyers of the India Company porcelain ?
The orders they took from private customers
were transmitted to headquarters, and through
that agency any designs or monograms could be
painted on the ware. In this way large profits
were to be added to the scanty returns yielded
by the small factory. That they sold the foreign
goods as being of their own make has nothing to
surprise us ; it was, in many other cases, a
custom of the trade. This being accepted as a
fair presumption, the source of the large stock
accumulated in the London sale-room and the
depot at Rotterdam is no longer a mystery. We

400

must not forget that Chaffers was misled in the
conclusions he had arrived at by the large num-
ber of pieces of hard china bearing the crest and
monogram of the leading families of the town.
These were all believed by their possessors to be
of local manufacture. Many specimens illus-
trated in this volume are attributed to Lowestoft
on such flimsy grounds that the accuracy of the
attribution is bound to be contested.

SPENSER ST. JOHN.— A catalogue of a
collection of 400 specimens of
Peruvian relics formed by Sir
Spencer St. John. Sold in Lon-
don by J. C. Stevens, Oct., 1901.
Sq. 8°, pp. 22 ; with 4 pis.

SPEX(J.)- — Gedichten. Gravenhaege,
Van Balen, 1755. 8°. 5s.

On p. 303 there is an ode on the Jacobaes
Kannetje, with historical notes and 1 pi.

— Kunst Scherben.
12 lith. pis. in col.

SPIELHAGEN (G.).
Berlin, s.d.
12s.

" Artistic potsherds."

Models for beginners ; with the colours to be
used for each subject sampled and numbered.
Published by a colour merchant in Berlin.

SPIELMANN (Sir T.)-— Saint Louis In-
ternational Exhibition, 1904.
Royal Commission. British Sec-
tion. London, 1906. Imp. 4°.
Ceramics, pp. 329-340 ; with
num. illustrs. 10s.

SPIERMANN & WESSELEY.— Musterbuch
der Kunstopferei, Ofen-u. Thon-
waarenfabrik von S. & W. Ham-
burg, s.d. 84 pis. Fol.

" Pattern book of the stove and earth-
enware factory of S. & W."

SPITZER (La Collection F.). — Paris,

1890-92. 6 vols. Fol. ; with
338 chromolith. etchings and
phototvp. pis., and over 800 text
illustrs^ £60, and £120 on vel-
lum Japan.

Friedrich Spitzer, born in Vienna in 1815,
entered still young into the business of buying
and selling rare objects of ancient art, a delicate
branch of commerce for which he showed himself
gifted with uncommon capacitj'. The " curi-
osity trade " was then in its infancy. A shrewd
and enterprising man could, with a little know-
ledge, make many bold and profitable specula-

SPEJ

CERAMIC LITERATURE.

[SPI

tions in the by-paths of antiquarian art, as
dealers who had choice objects for sale were very
few in comparison with the increasing number of
the never-satiated purchasers. When he settled
in Paris, in 1852, Spitzer already occupied a pro-
minent position among the noted experts of
Europe. His extensive and well-managed deal-
ings at the public sales — which had won for him
the name of " the Napoleon of the auction
room? " — exercised a great influence on the
fluctuation of prices. His agents were scouring
all countries in search of hidden treasures, and
when he had news of some valuable collection he
knew how to secure it upon the best terms, and
bring it into the best market. The special re-
quirements and individual tastes of each and all
the wealthiest collectors of Paris, London, and
Vienna were well known to him, and he had
placed himself in the position of assisting or
thwarting the fulfilment of the most intense
desires. A natural good taste, combined with
the smatteiing of artistic education he had ob-
tained from his constant intercourse with ex-
perienced amateurs, had developed in him a safe
judgment which seldom proved at fault. But
the admiration he may have felt for a thing of
beauty never made him lose sight of the profit
to be made out of it ; in this respect differing
from the true collector, which he subsequently
aimed to be. As a matter of fact, no one has
ever turned his knowledge of art matters to such
a wonderful pecuniary advantage. Spitzer's
memory deserves to be revered by all the curi-
osity dealers of after-times. His name will head
the golden list of the legendary heroes of the
bartering persuasion as that of a born genius who,
by humouring the fad of the moment and mini-
stering to the capricious desires of eager dilet-
tanti, had raised himself to the supereminent
position which his successors should take as a
model. Many a man of high-minded character
has spent his whole life in hunting out, acquiring,
and garnering works of art, without having been
actuated for one moment by mercenary motives ;
such disinterested feelings, Spitzer seems to have
been unable or unwilling to understand. He
may have wondered at the noble generosity of
the noted collectors who, seeing no better use to
be made of the treasures they had assembled,
presented or bequeathed them partially or wholly
to some national institution for the benefit of all
and the glory of their own name ; but he never
showed any inclination to follow their example.
Museums are full of such princely gifts ; but we
do not remember having ever seen in any public
gallery anything recorded as being the gift of F.
Spitzer.

One cannot question, of course, the right of a
merchant to dispose of his goods 'as he thinks
best. But we protest against honouring a suc-
cessful speculator in works of art by ranking him
with such generous men as A. W. Franks, E.
Dury Fortnum, Davillier, Dutuit, and many
others who form a group by themselves in the
history of art.

After many years of highly remunerative
commercial transactions, a magnificent collec-
tion had resulted from the residual accumulation
of untold matchless pieces, on which such an
extravagant price had been set that even the
most open-handed from among the habitual or
casual clients of Spitzer, after protracted ne-

gotiations, had not dared to close the bargain.
An uninterrupted stream of greedy purchasers
had passed through the rooms of the colossal
stores ; each of them had freely made his selec-
tion ; many had carried away their acquisition,
in the full belief that they .possessed the gems of
the whole show. All barters had been conducted
with a deftness which puts one in mind of that
of a conjurer ; after that continuous ransack-
ing of the stock, it was found after all the
cream of the cream had been left.

In the mansion of the Rue de Villejuif, Spit-
zer's magnificent abode, what had once been
termed the show-room had become a private
gallery, where one could only be admitted by
special favour ; and the expert valuer posed as
a wealthy and aristocratic collector.

Practically retired from business, the owner
of the collection devoted his leisure to the publi-
cation of an illustrated catalogue. It was
brought out in such a splendid and costly style
that, notwithstanding the high price of the sub-
scription, it is evident that no desire of realising
a sure profit had guided Spitzer in the last under-
taking of his life.

The sections of ceramics are classified as
follows : —

Vol. II. — Les faiences de Saint
Porchaire. Notice par E. Bon-
naff e. Pp. 15 ; with 3 pis.

Les faiences de Bernard Pal-

issy. Notice par E. Molinier.
Pp. 23 ; with 7 pis.

Vol. III. — Les gres de Flandres et
d'Allemagne. Notice par A.
Papst. Pp. 26 ; with 4 pis.

Vol. IV. — Les faiences italiennes et
hispano-moresques. Pp. 88 ;
with 23 pis. Terres cuites de
Luca delta Robbia, et autres.
Notices par E. Molinier. Pp. 3 ;
with 6 pis.

SPITZER. —Catalogue des objets d'art
et de haute curiosite, antique
moyen-age, et de la Renaissance,
composant 1'importante et pre-
cieuse collection Spitzer, dont la
vente aura lieu 33 Rue de Ville-
juif, du Lundi, 17 Avril, au ven-
dredi, 16 Juin, 1893. Paris,
1893. 2 vols. Imp. 4°; with an
atlas fol. of 68 pis. in autotype,
reproducing thousands of ob-
jects in a much reduced scale.
£2, 2s.

401

SPO]

CERAMIC LITERATURE.

[STE

The most important sale* of the century. It
comprised 3,369 Nos., all specimens of high
order. Ceramic art was represented as follows ;
— Palissy ware, 72 Nos.; Saint Porchaire, or
Henri II., ware, 7 Nos.; Persian ware, 27 Nos.;
Hispano-Moresco faience, 17 Nos.; Italian ma-
jolica, 242 Nos.; Luca della Robbia and enamel-
led terra-cottas, 13 Nos.; German faience and
stoneware, 85 Nos. Terra-cottas of various
periods were also introduced in the other sections.
During the last years of Spitzer's life the collec-
tion was offered for sale by private treaty ;
twelve million francs was the price asked for it.
The sale by auction lasted one month, and
realised 9,123,780 francs, a sum which does not
include the result of the sale of the Arms and
Armour which took place later on.

SPONSEL (J. L).— Kabinettstiike der
Meissner Porzellan-Manufaktur
von Johann Joachim Kandler.
Leipzig, H. Seemann, 1900. 4°,
pp. 231 ; with 70 half-tone il-
lustrs. 32 m.

" Cabinet pieces from the Meissen por-
celain manufactory, the work of J. J.
Kandler."

J. J. Kandler was attached as modeller to the
Meissen Factory from 1731 till 1775. Besides a
complete list and description of the models he
supplied, to be executed in porcelain, this work
contains interesting particulars upon the archi-
tectural and monumental schemes in which
Kandler collaborated as a sculptor — namely, the
Japanese Palace at Dresden, the statue of
Augustus III., the Temple of Honour, etc.

SPUTH (E.).— Die Koenigliche Por-
zellan-Manufaktur in Berlin. In-
nere Ausschmiickung der Ver-
kaufsraiime. Berlin., Kanter &
Mohr, 1893. Fol. ; with 34
phototyp. pis. 40 m.

" The Royal porcelain manufactory of
Berlin. Internal decorations of the show-
rooms."

The new show-rooms of the Royal manufac-
tory, and the architectural details of their
splendid decoration photographed from the
originals and published by the architect.

STAGEY (J.).— A Prince in Israel: or
sketches of the life of John
Ridgeway, Esq. London, 1862.
8°, pp. xii-315 ; portrait. 3s.

The life of one of the leading manufacturers
of the Potteries, chiefly considered in his con-
nection with the development of the non-con-
formist congregations.

STACKELBERG (0. M. von).— Die Graber
der Hellenen. Berlin, Reimer,

402

1835-37. Fol. 2 parts. Pp. 43-
49 ; with 79 engr. pis. and 9
vigns. 70 m.

" The graves of the Hellenes."

A rather singular title, considering that it is
applied, not to the description of the tombs, but
to that of the objects they contained. Baron
Otto-Magnus yon Stackelberg was one of the
learned party of German and English explorers
who, during the course of their archaeological
campaign on Greek territory in 1810, discovered
the ruins of the Phigaleian temple of Apollo and
the ^Eginean marbles. His whole life has been
devoted to the study of Hellenic antiquity.
This work, which he completed at the very end
of his career, embodies the results of his anti-
quarian labour. It occupies a high place in the
literature of classical art, not only for the taste
displayed in the selection of the engraved ex-
amples, but also for the erudition with which
the accompanying notices have been written.
The plates, drawn by Stackelberg and chiefly
engraved by Cipriani, contain — Painted vases.
39 pis.; vases in the form of a human figure,
5 pis.; terra-cottas, figures and fragments,
19 pis.

STARR (F.).— The little pottery ob-
jects of Lake Chapala, Mexico.
Chicago, 1897. 8°, pp. 27 ; with
59 illustrs. 3s.

Terra-cotta vases of coarse make and un-
gainly form.

STEGMAM (H.). — Gasfeuerung und
Gasofen. Eine Darstellung ihres
Wesens und ihrer Beziehungen
zu den pyrotechnischen Pro-
cessen der Thonwaaren Indus-
trie der Kalk- und Glas- Fabrika-
tion sowie verwandter Indus-
trien. Berlin, 1877. 2nd ed.,
1881. 8°, pp. 265 ; with 92 text
illustrs. 6 m.

" Gas-firing and gas-ovens. A treatise
of the principle and its application to the
firing of earthenware, the cement and
glass manufacture, and kindred indus-
tries."

Die fiirstlich braunschweig-
ische Porzellanfabrik zu Fiirs-
tenberg. Ein Beitrag zur Ge-
schichte des Kunstgewerbes und
der wirthschaftlichen Zustande
im achtzehnten Jahrhundert.
Braunschweig, 1893. 8°, pp.
176, 5 m.

STE]

CERAMIC LITERATURE.

[STE

" The Brunswick porcelain manufactory
of Furstenberg. A contribution towards
the history of industrial art, and the con-
dition of official administration in the
eighteenth century."

The manufactory of Furstenberg never rose
to a high degree of eminence, yet the history of
its vicissitudes, which reads like a work of fiction,
was well worth being written, inasmuch as it
illustrates vividly the difficulties that the minor
porcelain works of Germany had to encounter at
the outset.

To keep a standing army and subsidise a
private establishment in which a fine porcelain
was manufactured were royal prerogatives
dear to all the petty sovereigns of the German
States. But the extravagant expenditure en-
tailed by the maintenance of the former seldom
allowed an impoverished exchequer to supply
the funds required by the latter.

It was under such unauspicious conditions
that Karl, Grand Duke of Brunswick, accepted
the proposal of a so-called " arcanist," and
resolved to establish, with his assistance, a
porcelain factory in the Castle of Furstenberg.
A gentleman of the Court, Baron von Langen,
the master of the hunt, was appointed official
director. Director and arcanist were to work
conjointly to ensure the success of the enter-
prise. Experiments were supposed to have
begun, but as the subsidy promised by the Grand
Duke had not been supplied, no results could
be shown to His Highness. The courtier was
wealthy, and anxious to gratify the wish of the
Prince ; he saw that if trials were to be conducted
in earnest the cost of them was to come out of
his own pocket. Unfortunately the practical
man was a rank imposter, absolutely un-
acquainted with the secrets of the Dresden
porcelain, which he boasted of having mastered,
and the director, liberal and generous as he was,
showed a total want of business capacity. During
seven years a kind of empirical manufacture was
fitfully carried on, until, at last, the worthy
courtier became aware of the fact that all that
had been produced was a thick and opaque
white stoneware, and that all hopes of obtaining
a translucid porcelain was to be given up, unless
a capable man really in possession of the secret,
could be engaged as a manager. Such a man
was found, willing to relinquish the position he
occupied in that capacity in the factory of. a
neighbouring state, and join the Furstenberg
factory, where better conditions were offered to
him. But all his movements were closely
watched ; to depart openly was for him well
nigh impossible. The only way of securing the
man's services was to kidnap him. This was
done in the dead of night ; and a close carriage
carried him away towards the Brunswick bound-
aries. The kidnapping party was overtaken by
soldiers sent in pursuit ; the deserter was thrown
into prison, and the incident nearly caused a
caaus belli between the two states. All this, and
much more, is narrated by Mr. Stegmann with
an abundance of smaller facts and accessory
details, all supported by documentary evidence
of extraordinary character.

When, at last, after more trials and disap-
pointment, the manufacture of true porcelain
seems to have been definitively established, the

Seven Years' War broke out, ruining the German
industry, and threatening the very existence of
the Furstenberg works. During this unfor-
tunate period the factory was not actually closed,
but the unpaid staff of artists and workmen was
reduced to a state of misery and actual want, of
which the author gives us a heartrending account.
With the year 1795 came the opening of a new
era. Prosperity and confidence had replaced
troubles and hopelessness. This took place
under the management of a Frenchman named
Gerverot. Since then the conditions of the manu-
factory have not ceased to improve ; it is now
conducted, as a paying concern, by a company.

STEIN (R. VOD).— Research on the
manufacture of Greek ceramics
(in Russian). Odessa, 1894. 8°,
pp. 26 ; 1 col. pi.

STEINBRECHT (G.).— Die Steingut-Fa-
brikation, fur die Praxis bear-
beitet. Wien, Hartleben, 1891.
8°, pp. 224; with 86 illustrs.
4 m.

"The manufacture of stoneware; a
practical treatise."

STEINBUCHEL (A. YOfl).— Sappho und
Alkaios, ein altgriechisches Vas-
engemalde. Wien, Strauss, 1822.
Fol, pp. 28 ; with 5 engr. pis.
Also in Italian. Padova, 1824.
8°. 5 fcs.

" Sappho and Alceeus : an ancient Greek
vase painting."

A fine red figure vase found at Girgenti. This
vase, cylindrical in shape, offers the peculiarity
of being provided with an outlet hole at the
inferior part. On the front two figures holding
lyres are inscribed, Sappho and Alkaios, with
the word KALOS.

STEINITZ (K.).— Die Topferei des
Kreises Bunzlau. Leipzig, Hum-
blot, 1895. (In Untersuchungen
iiber die Lage der Handwerks in
Deutschland, vol. i., pp. 167-
229.)

" The pottery manufacture in the
Bunzlau district."

An account of the present conditions of the
potters' industry at Bunzlau and the vicinity,
with short notes on its history since 1547.

STEPHANI (L.).— Die Vasensammlung
der Kaiserlichen Ermitage. St.
Petersburg, 1869. 2 vols. 8°,

403

STE]

CERAMIC LITERATURE.

[STI

pp. 412-502; with 16 pis. of
forms and inscriptions. 15 m.

" The collection of antique vases in the
Imperial Hermitage."

STEPHANI (L.).— Der Kampf zwischen
Theseus und Minotauros. Leip-
zig, 1842. Fol. ; with 10 pis.
and 2 vigns. 9 m.

Vaso a sogetto comico di

Lentini. Roma, 1845. 1 pi.

Boreas und die Boreaden.
St. Petersburg, 1871. 4°; 1 pi.

STEPHANUS (CarolllS). -- De vasculis
libellus, adulescentulorum causa
ex Bayfio decerptus, addita vul-
gari latinarum vocum interpre-
tatione. Lugduni, Ap. Hseredes
Simonis Vincenti, 1536. 16°, pp.
50. See Baif (L. de). 3 fcs.

"The book of vases ; extracted from
the work of Baif for the use of young
scholars; with the translation of the
Latin names in common language."

Italian painted ware is referred to by the
translator under the name of " Majorica." The
only contemporary pottery mentioned in the
nomenclature of vessels is " pots et cruches de
Beauvais."

STERN (E. von).— Das Museum der
K. Odessaer Gesellschaft fur
Geschichte und Altertumskunde.
Lief. III. Teodosia und seine
keramik. Odessa, 1906. 4°, pp.
91 ; 1 map and 9 pis. (8 col.).
16m.

" Museum of the Imperial Historical
and Arch. Soc. of Odessa. — Part III.
The ceramics of Teodosia."

On the site of old Teodosia, a Greek colony on
the northern shore of the Black Sea, excavations
have lately brought to light fragments of pot-
tery of various periods. The plates reproduce
a selection of the finds. Greek vases, 4 pis.;
Byzantine graffito ware, 3 pis.; Persian faience,
1 pi.; terra-cotta, 1 pi.

STETTINER (R.). — Vincennes und
Sevres. Berlin, 1893. 4°, pp.
17 ; illustr. (In Jahrbuch der
Konig. preussischen Kunstsamm-
lungen.)
404

A summary of the French books published on
the subject.

STEVEN (E. J.).— Salisbury and South
Wilts Museum. Catalogue.
Salisbury, 1870. 12°.

Tobacco pipes, pp. 36-41 ; pottery and por-
celain, pp. 63-75 ; tiles, pp. 76, with 1 woodcut.

STIEDA (W.).— Die Anfange der Por-
zellanfabrikation aus dem Thiir-
ingerwalde. Jena, Fischer, 1902.
8°, pp. viii-425; with 24 text
illustrs. 8 m.

" The beginnings of the porcelain manu-
facture in Thuringia."

Historical and descriptive notices of the
following manufactories : — Saalfeld, Rudolstadt,
Ilmenau, Coburg, Gera, Volksted, Limbach,
Wallendorf, Kloster Veilsdorf, Gotha, Gross-
breitenbrach, Rauenstein, Blankenhain, Eisen-
berg, Possneck, etc.

Die Geschichte der Porzellan-

fabrikation in der Mark Bran-
derburg. Leipzig, 1905. 12°,
pp. 24. (Reprint from the For-

schungen zur Branderburgischen
Geschichte.)

" The history of the manufacture of
porcelain in the Marches of Branden-
burg."

- Die keramische Industrie in
Bayern wahrend des xviii. Jahr-
hunderts. Leipzig, Teubner,
1906. 8°, pp. vi-256. 6 m.

" The ceramic industry in Bavaria
during the eighteenth century."

This volume contains detached monographs
of the seventeen porcelain and faience fac-
tories established in Bavaria between 1710 and
1794. They are supplemented by general con-
siderations on the industry in the kingdom.

STIEFF (Christian).— De urnis in Silesia,
lignicensibus atque pilgrams-
dorfiensibus epistola. Wratis-
laviae et Lipsiae, 1704. Sm. 4°,
pp. xvi-64 ; with 4 pis. con-
taining many earthen vessels.
4 m.

"Of the urns of Silesia; letters ad-
dressed to the people of Liegnitz and
Pilgrimsdorf."

A learned disquisition demonstrating that the
earthen vessels discovered in the soil of Silesia

STI]

CERAMIC LITERATURE.

were the work of the ancient Romans, and of the
invading tribes which had succeeded them in the
occupation of the German territory, and not a
natural growth, as was generally believed.

STIEHL (0.)- - - Die Backsteinbau
romanischer Zeit, besonders in
Oberitalien und Norddeutsch-
land. Leipzig, Baumgartner,
1904. Fol. ; with 27 pis. and
113 text illustrs. 36m.

" The brick-building of the Roman
period, particularly in North Italy and
North Germany."

STOCKBAUER (J.) und OTTO (H.). — Die
aiitiken Thongefasse in ihren
Bedeutung fiir die moderne Ge-
fassindustry. Nurnberg, 1876.
Fol., pp. 4 ; with 33 col. pis. and
explanatory notices. 40 m.

" The antique earthenware vases in
their relation to the modern ceramic
industry."

A good selection of designs, taken from Greek
vases, and published by the Museum of Indus-
trial Art at Nuremberg for the use of industrial
artists. The constituent portions of a vase are
treated separately. Thus we have the various
types of form and decoration of the foot, the
neck, the body, the handle, the cover, etc.,
illustrated in a series of plates. A practical
arrangement much appreciated by the designer,
but an injudicious use of which might result in
the association of parts never intended to go
together.

STORELLI (A.)--— Jean Baptiste Nini.
Sa vie, son ceuvre, 1717-86.
Tours, A. Mame, 1896. 8°, pp.

, 177 ; with 72 photogravure re-
productions of Nini's medallions.
40 fcs.

The biographical notice prefixed to this hand-
some volume dispels any doubt that might have
persisted respecting the identity of the artist
who signed his terra-cotta medallion portraits
with the name of J. B. Nini. Mr. Storelli has
established, by means of authentic documents,
that he was in reality J. B. Nini, of Urbino, an
Italian refugee, who worked at Chaumont for
nearly thirty years. Mr. Villers, in his article,
gave the number of the medallions as being
seventy ; the list has been brought up here to
one hundred and seven, and the writer surmises
that it will be further increased when other
models are discovered.

STORMER (M.).— Fehler bei der Thon-
waaren-Fabrikation und deren
Abhilfe, mit besonderer Be-

riicksichtigung der Untersuch-
ungsmethoden. Freiberg (I. $.),
Craz & Gerlach, 1901. 8°, pp.
190 ; with 15 illustrs. 6 m.

" Defects and accidents in eatthenware
manufacture and their prevention; with
special considerations on the experimental
method."

Dr. Stormer has been for many years director
of the special laboratory of Prof. H. Seger and
E. Cramer, and is now conducting an establish-
ment where ceramic analysis and experiments
are made for'private manufacturers.

STRACK (H.)-— Ziegelbauwerke des
Mittelalters und der Renaissance
in Italien, nach original- Aufnah-
men herausgegeben. Berlin,
1889. Fol., pp. 10; with 50
heliogr. pis. and 103 illustrs.
120 m.

"Brick architecture of the Mediaeval
and Renaissance periods. A reproduction
of sketches taken from the originals."

STRALE (G. H.).— Rorstrand et Marie-
berg. Notices et recherches sur
les ceramiques Suedoises du 18e
siecle. Traduit du suedois.
Stockholm, Haeggstrom, 1872.
8°, pp. vi-144 ; with 14 chromo-
lith. pis. and 8 pp. of marks.
15 fcs.

"Rorstrand and Marieberg. Notices
and research upon the Swedish ceramics
of the eighteenth century. Translated
from the Swedish."

A first attempt at manufacturing porcelain
and stanniferous faience was made at Rorstrand
in 1725. A company was formed to subsidise
the experiments of a certain Wolf, of Copenhagen,
who had represented himself as fully conversant
with all the secrets of those manufactures.
During twenty years, time and money were
wasted in unproductive trials; the man was
unable to produce any satisfactory results. It
was only in 1753 that Rorstrand works entered
into an era of full activity under a new manage-
ment. The Marieberg manufactory was estab-
lished, about 1760, by L. Ehrenreich, dentist to
the King. It seems to have prospered from the
first, and its productions are said to have com-
pared favourably with the French and German
faience they strove to imitate. According to
local tradition, hard porcelain was made at both
places. This belief, however, is not substanti-
ated by any authenticated examples. A porce-
lain of soft paste was indubitably produced at
Marieberg; a few marked specimens are in

405

CERAMIC LITERATURE.

[STfc

existence, but all denote a still experimental
state of manufacture. The book ends with an
account of the introduction of English earthen-
ware and its imitations made in the Swedish
factories.

STRALE (G. P.)-— Rorstrand Samling
af Fajans och Porslin. P. I.
Rorstrand Historia och Till-
werkningar, 1726-1850. Stock-
holm, 1879, 4°, pp. xxv-lxxii-154;
with 12 chromolith. pis., 35 text
illustrs., and 8 pp. of marks.

" Rorstrand collection of faience and
porcelain. The history and the produc-
tions of the Rorstrand factory from 1726
to 1850."

P. II. — Marieberg's Historia och
Tillwerkningar, 1758-1788. Stock-
holm, 1880. 4°, pp. xii-172;
with 12 chromolith. pis. and 20
text illustrs. Marks. £3.

" Marieberg : the history and produc-
tions of the Marieberg factory from 1758
to 1788."

A complement to the above work. It con-
tains additional information ; a descriptive
catalogue of the specimens preserved in the
Rorstrand collection ; and a different set of
plates and illustrations.

STRANGE (E. F.).— Palissy in prison,
and other verses. London, 1892.
8°, pp. 62.

STREBEL (H. ).— Ueber Tierornamente
auf Thongefassen aus Alt-Mexi-
co. Berlin, Spemann, 1899. 4°,
pp. 33 ; with 19 pis. 15 m.
(Vol. vi., part 1, of Veroffent-
lichungen aus dem Koniglichen
Museum fur Volkerkunde.)

" The representation of animals upon
the old Mexican pottery."

Examples of decorations derived from animal
form seen on the old Mexican pottery preserved
in the Ethnological Museum of Berlin.

STRELE (Karl).— Die Fabrikation des
weissen Feldspath - Porcellans
und dessen Dekorirung mit
Starkfeuer-Farben. Enthaltend
die Angabe eines rationellen Ver-
406

fahrens zu Zusammensetzung
der Massen und Glasuren, der
neuesten englischen Maschinen,
Drehscheiben ; der gegenwartig
beim Brennen mit Steinkohlen
zu Limoges angewendeten rauch-
verzehren den Beschickungs-
methode nach dem System Mou-
rot, der praktischen Ausfiihrung
des Brennens mit Gasfeuerung,
der gegenwartig in England ein-
gef iihrten Methode des Brennens
mit absteigender Flamme und
der Angabe der in Europa vor-
kommenden Stein- und Braun-
kohlenlager. Weimar, F. Voigt
(1867 ?). 8°; with an atlas of
18 fol. pis. 7.50 m.

" The manufacture of white felspathic-
porcelain, and its decoration with fire-
resisting colours. Contains — Indications
of a rational method for making body
and glaze compositions ; description of the
latest English machines and throwing-
wheels ; the Mourot system employed at
Limoges for consuming the smoke in the
ovens fired with coal ; gas firing ; the
new down-draft ovens used in England ;
and list of the coal- and lignite-producing
countries in Europe."

Die Technik des Kolorirens
und Dekorirens von echtem und
fritten-Porcellan, Steingut, Fay-
ence, Glas, Email, Gold, Silber,
Platin, Kupfer und Maillechort,
durch Bemalen, Bedrucken,
Uebertragen von Photographien
mit verglasbaren Email-oder
Musselfarben und Metallen, so-
wie das Einbrennen derselben
und Poliren der Metalle. Wie-
mar, F. Voigt (1875 ?). 8°;
with 3 pis. 3.75 m.

"The practical method of colouring
and decorating hard and soft porcelain,
stoneware, faience, glass, enamel, etc., by
painting, printing, photographing in
vitrifiable enamels or kiln colours and
metals ; together with the methods of
firing in the colours and burnishing the
metals."

STU]

CERAMIC LITERATURE.

[TAI

STUBEL (A.), REISS (W.), und KOPPEL (B.)-
— Kultur und Industrie siida-
merikanischer Volker. Nach
dem im Besitze des Museums
fur Volkerkunde zu Leipzig be-
findlichen Sammlungen. Text
und Beschreibung der Tafeln
von Max Uhle. Berlin, 1889.
2 vols. Fol. ; with 55 pis.,
mostly col. 120 m.

" Culture and industry of the South
American people. From the objects pre-
served in the Ethnological Museum at
Leipzig. The text and description of the
plates by M. Uhle."

Part I. — Ceramics. The first volume treats
of the antiquities, the second of the productions
of the present time.

STUDN1CZKA (Franz). — Kyrene, eine
altgriechische Gottin. Leipzig,
A. Brockhaus, 1890. 8°, pp.
224; with 38 text illustrs. 10m.

" Gyrene : an ancient Greek goddess."

Archaeological and mythological research
upon the nymph Cyrene who gave her name to
the land of Cyrenaica. Chapter i. contains an
examination of the painted vases of that country.

STURM (G.). --Figurale Vignetten
fur Zwecke der kunstgewerb-
lichen Industrie, entworfen von
G. Sturm ; herausgegeben von
K. K. Handels ministerium as
Vorlegeblatter fur dessen kera-
mische Fachschulen. Wien,
1877. 4° ; 30 chromolith. pis.

" Sketches of figures for the artistic
industries, designed by G. Sturm and
published by the R.I. Ministry of Com-
merce for the use of the practical schools
of ceramics."

SULTANOFF. — Old Russian terra cotta
tiles. Moskow, 1895. 8°, pp.
22 ; with 44 illustrs. (In Rus-
sian.) 2s.

SWOBODA (C. B.).— Die Farben zur
Decoration von Steingut, Fay-
ence und Majolika, etc. Wien,

Hartleben, 1891.
3m.

12°, pp. 114.

" The colours for the decoration of
stoneware, faience, and majolica."

- Grundriss der Thonwaaren-
Industrie, oder Keramik. Wien,
Hartleben, 1894. 12°, pp. 196 ;
with 36 illustrs. 3 m.

" Elements of the earthenware manu-
facture, or ceramics."

SYBEL (J. K.)-— Nachrichten von dem
Stadtchen Plauen an der Havel,
besonders von der dort an-
gelegten Porzellan-Manufactur.
Berlin, Nicolai, 1812. 8°.

" An account of the small town of
Plauen upon Havel, and particularly of
the porcelain manufactory once estab-
lished in the place."

It is asserted that one Samuel Kampe. a run-
away operative from the Meissen manufactory,
had made hard porcelain at Plauen (Prussia) as
early as 1713, and that he continued to make
excellent ware in the works he had established in
the town until the year 1719. No example of the
so-called Plauen porcelain has ever been identi-
fied. It is highly improbable that, during Bott-
ger's life, the secret of his discovery, so jealously
guarded should have fallen into the hands of one
of his workmen. We suspect that the ware made
by Kampe may have been a kind of stoneware,
white and hard, but that it was lacking — as did
. the other imitations of the times — the trans-
lucidity indispensable to constitute true por-
celain.

TAILLEBOIS (E.). - - Quelques sigles
figulins trouves chez les Ausci.
Dax, 1882. 8°, pp. 18. (In
Bulletin de la Societe de Borda.)

" A few potters' marks found upon the
pottery of the Ausci."

TAINTURIER (A.)- — Notice BUT les
faiences du xvie siecle, dites de
Henri II., suivie d'un catalogue
contenant la description de
toutes les pieces connues. Paris,
Didron, 1860. 8°, pp. 26 ; with
1 col. pi. 5 fcs.

" Notice of the faience of the sixteenth
century, so-called Henri II. ware ; with a
descriptive catalogue of all the pieces
known up to this time."

No plausible conjecture had previously been

407

CERAMIC LITtiRATURti.

[TAt

presented concerning the birth-place of a ware
which had deserved to be called the " Sphinx of
Curiosity." Doubting that it could have been
the work of a French potter, Tainturier thought
that it might be atributed to the Italian artist,
Ascanio, the favourite pupil of Benvenuto Cel-
lini, who worked for Francis I. and Henry II.,
an attribution which, it is needless to say, was
as far-fetched and improbable as any of those
advanced previously. He describes only 36
specimens, but mentions seven others said to
be in private collections which he had not
visited.

TAINTURIER (A.).— Les terres email-
lees de Bernard Palissy, inven-
teur des rustiques Figulines.
Etude sur les travaux du maitre
et de ses coiitinuateurs, suivie
du catalogue de leur oeuvre.
Paris, V. Didron, 1863. 8°, pp.
136 ; with 4 pis. lith. by the
author, and illustrs. in the text.
10 fcs.

" The glazed earthenware of Bernard
Palissy, inventor of the rustic figulines.
An essay upon the works of the master
and of his successors, with a descriptive
catalogue of these works."

A short and unpretentious sketch of the life
of Palissy is prefixed to a comprehensive ex-
amination of his fictile productions, considered
from the technical and artistic standpoints.
Much as had already been written on the sub-
ject, this was, nevertheless, the first attempt to
study the master exclusively in his character of
a potter. Former biographers had all fallen into
serious mistakes with regard to the works they
had attributed to him. Tainturier pointed out
that the faience pavement of Ecouen, the panels
of Limoges enamel bearing a spurious signature,
the figure of a nurse and other statuettes,
usually mentioned as the best representatives of
his art, could not have been made by Palissy's
hand. He called the collector's attention to the
numerous examples of coloured earthenware
made by his successors and imitators, and de-
monstrated that they could not be considered as
his original productions, and also warned the
unwary that very clever imitations had also been
made in modern times.

The catalogue of the ware of Palissy and hi
school was as complete as it could be made at
the time, and it records the name of the private
collections in which the specimens were pre-
served. It contains only 221 Nos., a figure thai
could now be multiplied. A somewhat doubtfu
portrait of Palissy, from an earthenware plaque
in the collection of Sir Antony de Rothschild
forms the frontispiece of this valuable essay.

Recherches sur les anciennes

manufactures de porcelaine e1
de faience (Alsace et Lorraine).
Strasbourg, Berger - Levrault,

408

1868. 8°, pp.
and 55 marks.

95 ; with
8 fcs.

2 pis.

" Research upon the ancient porcelain
and faience manufactories of Alsace-
Lorraine."

The Roman pottery discovered at Rhein-
zabern ; the Schelestadt potter mentioned in
the Colmar Chronicle as having been the inventor
of glazed earthenware in 1283 ; the white and
blue vases represented in the pictures of Martin
Schoengauer and other painters of the early
Alsatian school ; the existing examples of the
richly embossed stoves, extensively manufac-
tured during the sixteenth century, which are
successively passed under review by the author
of this conscientious monograph, warrant him in
ascribing to the potter's art in the two provinces
a very ancient origin.

He is not so happy in his account of the intro-
duction of the hard porcelain manufacture.
Finding the word " Porcelain " applied, in the
old documents to the early products of the Han-
nong's factory, established at Strasbourg in 1719,
he infers from it that porcelain was made there
at that date. Hannong was making plain and
decorated faience, and this, like the Delft ware
and its imitations, went at that time by the
name of porcelain. In reality, the first experi-
ments towards the making of porcelain, similar
to that made at Meissen, were only started by
Paul Adam, son of Charles Hannong, in 1750.
He was assisted in his attempt by Ringler, a
well-known " Arcanist," who, after having
escaped from Dresden, had taken an important
part in the establishment of the Vienna and the
Hochst hard porcelain factories. Both potters
had to contend against the royal establishment
of Vincennes, which claimed the exclusive pri-
vilege of the manufacture of porcelain in the
kingdom of France. Legal proceedings were
instituted, and the Strasbourg manufacturers
were compelled to abandon their projects.
Shortly afterwards P. A. Hannong repaired to
Vincennes, where he offered to sell, for a large
sum, the secrets of the Dresden porcelain. But
after a few fruitless experiments, he was obliged
to confess that he was unable to obtain the re-
quisite kind of clay ; and so the bargain could
not be concluded. In 1755, we find him at work
at Frankenthal, where, under the patronage of
the Elector Charles-Theodore, he succeeded in
establishing the manufacture of an excellent hard
porcelain, made of the same material as those
employed at Meissen.

So numerous was the family of Hannong that
some confusion may easily be created between
the potters who bore that name. Paul Adams,
alone, had no fewer than fifteen children more
or less associated with the ceramic industry in
various countries of Europe. Joseph Hannong,
the eldest son of Paul, renewed in 1766 the
attempt made by his father to reform the faience
factory of Strasbourg, and to resume the making
of hard porcelain. A protracted litigation be-
tween Joseph and the Prince of Rohan ended in
the utter ruin of the manufacturer, and the final
closing of the works in 1779. A reprint of the
priced catalogue of the articles sold at the Nider-
villers manufactory, about 1754, is placed in the
appendix.

TAL]

CUR A MIC LITERATURE.

[TAY

TALAMER (A.)-— Rapport sur 1'in-
dustrie ceramique en France et
en Angleterre, et plus particu-
lierement sur la situation de
cette Industrie a Limoges. Paris,
1873. 8°, pp. 50. (In Archives
des Missions scientifiques.)

" Report on the state of the ceramic
industry in France and in England, and
particularly at Limoges."

An account of a visit made to the Staffordshire
Potteries in 1871. The writer describes the
ceramic exhibition held in London in that year ;
contrasts the conditions in which the English
manufactories stand with respect to those of
France; and compares the importance of the
pottery trade in France and in England during
the preceding years.

TAMBRONI (G.)-— Lettera . . . in-
terne alle urne cinerarie disot-
terrate nel pascolare di Castel
Gandolfo. Roma, 1818. 8°, pp.
21; Ipl.

" A letter on the cinerary urns disin-
terred in the meadows of Castel Gan-
dolfo."

From the hill-sides in the Roman Campagna
are often dug out coarse mortuary vessels which
present none of the characters of Etruscan or
Greek pottery. Their likeness to the prehistoric
urns found in Germany led the writer to conclude
that they were the work of the barbarian in-
vaders who came from the North.

TARBOURIECH (A.).— Documents sur
quelques fai'enceries du Sud-
Ouest de la France. Paris,
Aubry, 1864. 12°, pp. 24. 5
fcs. (The article had previously
appeared in the Gazette des
Beaux-Arts.}

" Documents relating to some faience
manufactories of South- Western France."

The factories of Auch and the surrounding
district have not produced any faience that may
easily be recognised or recommended to the col-
lector, but the existence of these factories is
sufficiently vouched for by a few sheets of official
scribbling discovered by Mr. Tarbouriech. The
transcript of these documents, consisting chiefly
in the application made by the potters of that
province for obtaining a privilege which was not
granted in any case, constitutes the larger por-
tion of this paper.

TARQUINI (P.).— De'vasi divinatorii
etruschi. Roma, 1858. 8°, pp.

14. (Reprint from the Civitta
catolica.)

" The prophetic vases of the Etruscans."

Pliny reports that, in former days, the Ori-
ental Magis could predict the future by means of
vases they filled with the blood of a hysena,
but that, in his time, they could no longer raise
the spirit of the god and make him answer their
questions. In some earthen vases inscribed
SVTHTNA, the writer thinks he has discovered the
very vessels that they used in their magical
incantations.

TASSIE (J.) and RASPE (R. E.).— A de-
scriptive catalogue of a general
collection of ancient and modern
engraved gems, cameos as well
as intaglios, taken from the
most celebrated cabinets in Eu-
rope, and cast in coloured pastes,
white enamel, and sulphur by
James Tassie, modeller, ar-
ranged and described by R. E.
Raspe, and illustrated with cop-
per plates ; to which is prefixed
an introduction on the various
uses of this collection, the origin
of the art of engraving on hard
stones, and the progress of
pastes. London, 1791. 2 vols.
4°, pp. 800 ; with 57 pis. £1,
10s. Abridged editions of this
catalogue have been published
1816 (8°) and 1830 (12°).

Tassie's medallion-portraits are the condign
complement of a well-planned collection of
English ceramic art. Like the jaspers of Josiah
Wedgwood, which they resemble somewhat in
their external appearance, they stand quite
apart by their technical composition in the whole
range of ceramic productions ; the peculiar
paste of which they are formed is a sort of con-
necting link between porcelain and glass.

TATHAM (Ch. H.).— Representation of
a Greek vase in the possession
of Ch. H. Tatham, architect.
London, privately printed, 1821.
4°, pp. 10 ; with 3 etched pis.

The extravagant speculations ventured upon
the paintings of this vase and their signification
were communicated to the writer by Messrs.
Christie and Chevalier.

TAYLOR (M. ¥.)• — Notes on some
recent diggings in prehistoric

409

CERAMIC LITERATURE.

graves in Wynaad, Southern
India. London, 1888 ; with
2 pis. (In the Archaeological
Journal. )

TAW-SEIMO.— Monograph on the
Pottery ... of Burma. Ran-
goon, 1895. 8°, pp. 13 ; with
lith. pis. (some col.).

TEICHERT.— Meissner Oefen and
Chamottenwaaren. S.d. (re-
cent). Obi. 12° ; with 108 pis.

Pattern book of earthenware stoves manu-
factured by Teichert, at Meissen.

TEIRICH. — Thonwaaren - Industrie
aus der Wiener Ausstellung.
Wien, 1873. 8°, pp. 102. 1 m.

" The earthenware industry at the
Vienna Exhibition."

TENAX (B. Prdssel).— Die Steingut und
Porzellan-f abrikation als hochste
Stufen der keramischen Indus-
trie. Nach der neuesten Er-
fahrungen, etc. Leipzig, Geb-
hardt, 1879. 8°, pp. 237 ; with
41 illustrs. 5s.

" The stoneware and porcelain manu-
facture, being the highest degree of the
ceramic industry."

B. Prossel occupied for many years the posi-
tion of practical director in the manufactory of
Villeroy et Boch. His book, published under an
assumed name, discloses some of the recipes and
technical processes in use at Mettlach.

TERNINCK (A.)-— Essai sur I'industrie
et les arts dans 1'Artois pendant
la periode Gallo-Romaine. Paris
1879. 8°. Pottery, pp. 21-61,
and pis. 4-10. 20 fcs.

" Essay upon the conditions of industry
and art in Artois during the Gallo-Roman
period."

TESORONO (&.)•— L'antico pavimento
delle Logge di Raffaello. Studio.
Napoli, Museo artistico indus-
triale, 1891. Pp. 48; with 2
double pis. in chromolith. 4 fcs.

" The ancient pavement of the Logge
of Raphael. A study."
410

A verbose narrative of the difficulties experi-
enced by the writer in reconstituting the pro-
bable design of a majolica pavement known to
have been made by Luca della Robbia for the
Vatican. Some years ago the worn-out tiles of
that pavement were replaced by marble flags.
The sketches proposed for its restoration were
worked out from one of the original tiles dis-
covered in a disused passage, and the recollec-
tions of an old custodian of the palace. Sugges-
tions have also been supplied by the examination
of two contemporary pavements still extant, one
in the Vatican, and the other at Florence. As
may be imagined, the result is a mere work of
fancy.

TEXIER (0.)-— Statistique du Depart-
ment de la Haute- Vienne. Paris,

1808. 4°. (In Statistiques de la
France, pp. 224-248.)

" Statistics of Haute- Vienne Depart-
ment."

Interesting particulars on the manufactories
of porcelain and faience at work at Limoges at
the beginning of the nineteenth century.

THEDENAT (H.).— Inscription peinte
sur une gourde en terre cuite du
Musee Carnavalet. Paris, imp.
Nat., 1899. 8°, pp. 8 ; 1 pi.

" An inscription painted upon a bottle

of terra-cotta in the Carnavalet Museum."

A drinking vessel of the Gallo-Roman period.

THEOPHILUS. — Theophili, qui et
Rugerus, presbiteri et monachi,
libri iii. De diversis artibus ;
seu diversarum artium schedula.
An essay upon various arts, in
three books, by Theophilus,
called also Rugerus, priest and
monk, forming an encyclopaedia
of Christian art of the eleventh
century. Translated, with notes,
by Robert Hendrie. London, J.
Murray, 1847. 8°, pp. 447. 10s.

" The Latin text, with the translation
printed on the opposite page."

One should go back to Pliny, and no doubt to
still more ancient writers, to find the origin of
the technical treatises in which trade secrets
were disclosed to the uninitiated. The monk,
Theophilus, who is supposed to have lived in
the eleventh century, exposed in his MS. —
copies of which are preserved in several libraries
of England and other countries — the practical
processes used by the various artificers of his
time. The chapters on the preparation of
colours for painting upon glass becomes duly

THE]

CERAMIC LITERATURE.

[THI

within our range ; moreover, he explains how
the same colours may be applied to the decora-
tion of pottery in the chapter, " Of earthenware
vessels painted in divers colours of glass." His
instructions on that particular subject are, we
regret to say, of a very perfunctory character ;
the method consists simply in adding to the
mineral colours a fifth part of ground glass, and
in firing in the " window " kiln the vases painted
with the mixture.

THEWALT (K.)-— Katalog der Kunst-
Sammlung des Herrn Karl The-
walt in Koln. Cologne, 1903.
FoL, pp. 156 ; with 13 pis. and
text illustrs. 20 m.

Catalogue of sale. Stoneware and German
faience in examples of the first order.

THIAUCOURT (P.).— L'art de restaurer
les faiences, porcelaines, bis-
cuits, terres-cuites, gres, emaux,
laques, verreries, marbres al-
batres, etc. Suivi d'une notice
chronologique de toutes les fa-
briques comrnes ; par P. Thiau-
court, peintre-sculpteur, repara-
teur d'objets d'art ; avec un
avant propos par le Baron Ch.
Davillier. Paris, A. Aubry,
1868. 2nded. 8°, pp. 60. 5fcs.

" The art of repairing faience, porcelain,
biscuit, terra-cotta stoneware, enamel,
lacquers, glass, marble, alabaster, etc.
With a chronological list of all the chief
manufactories, and a preface by Baron
Ch. Davillier."

THIERRY (G.)- — Exposition univer-
selle, Anvers, 1885. La cera-
mique. Paris, 1886. 8°, pp.
191 ; with pi. and illustr. 5 fcs.

" Ceramic art at the International
Exhibition of Antwerp."

THIERS (A.). —Collection d'objets
d'art de Mr. Thiers leguee au
Musee du Louvre. Paris, impr.
Jouaust et Sigaux, 1884. 4°,
pp. xiii-286 ; with portrait, 28
etchings, 5 chromos., and il-
lustrs. in the text. 40 fcs.

" Collection of works of art formed by
Mr. Thiers and bequeathed to the Louvre
Museum."

This catalogue was prepared by Ch. Blanc,
prior to the removal of the collection into the
special room it occupies in the Louvre. He has
prefaced it with a sketch of Mr. Thiers' life as
an art collector ; each object is carefully de-
scribed, and the description is accompanied with
a critical and historical notice often of great
interest. Terra-cottas, antique and modern,
Nos. 1-48 ; Oriental porcelain, Nos. 447-482 ;
European porcelain, Nos. 483-1,418.

THIERSCH (Friedricli).— Ueber die Vasa
murrina der Alten. Munchen,
1835. 4°, pp. 65; with 1 col. pi.
(Extr. from the transactions of
the " Konigl. Akademie der
Wissenschaften von Bayern."

" Essay on the Murrhine vases of the
ancients."

A thorough examination of all the opinions
expressed by the antiquaries upon a problem,
the solution of which still remains in suspense,
will be found in this memoir, the most exhaus-
tive budget of information we possess on the
matter. Whether the writer has successfully
established the correctness of his assumption
that the murrhine vases were made of a glassy
paste, imitating precious stones, and that the
Portland vase may be considered as an example
of the kind, it is not for us to decide.

- Ueber Henkel irdener Gesch-
irre mit Anagrammen, Inschrift-
en und Fabrikzeichen aus dem
aiisser Kerameikos von Athen.
Munchen, 1838. 4°, pp. 58 ;
with 4 lith. pis. (Reprint from
Abhandlungen der K. bayerischen
Akademie der Wissenschaften,
vol. ii., part 3.)

" The handles of earthen vessels bearing
monograms, inscriptions, and potters'
marks found in the outer Ceramicus of
Athens."

Ueber die hellenischen be-
malten Vasen mit besonderer
Rucksicht auf die Sammlung
Sr. Majestat's des Konigs Lud-
wig von Bayern. Munchen,
1844. 4°, pp. 96 ; with 6 lith.
pis., partly col. 5 m.

" Upon the painted vases of the Greeks,
with special considerations upon the col-
lection of H.M. the King Ludwig of
Bavaria."

The work comprises the following chapters : —
Introduction — The uses of Greek vases as in-

411

THI]

CERAMIC LITERATURE.

[THI

dicated by their forms and names — The desti-
nation of the various classes of vases — Origin,
age, and manufacture of the vases. One of the
features of the illustrations is the reproduction
of the Greek coins on which vases are figured.

THIERSCH (Friedrich).— Thiersch's col-
lection of antiquities. Catalogue
of sale. Munich, 1860. 8°.

THIERSCH(Hermann).— "Tyrrhenische"
Amphoren. Eine Studie zur
Geschichte der Altattischen
Vasenmalerei. Leipzig, 1899.
8°, pp. 161 ; with 6 pis. and
text illustrs. 6 m.

" Tyrrhenian Amphoras. An essay on
the history of vase painting in ancient
Attica."

Gerhard had applied the name of Tyrrhenian
vases to a group of black-figured amphoras, in
the paintings of which he thought he recognised
an Oriental influence. The modern theory, de-
veloped at full length by the writer of this essay,
is that the style has originated in Attica, where
they were made in the sixth century B.C.

THIOLLIER (F. and N.). -Fouilles du
Mont Beuvray, ancienne Bib-
racte. Album execute sous la
direction de F. and N. Thiollier.
Saint'-Etienne, 1899. 8°, pp. vii ;
with 61 half-tone pis. (46 of
pottery). 12 fcs.

" Excavations at Mount Beuvray."

The oppidum of Bibracte, near Autun, has
been made the object of extensive excavations
ever since 1867. A large quantity of Roman
pottery has been discovered on the place ; the
finds have been deposited in the Autun Museum,
and in that of Saint Germain-en-Laye. Rare
specimens of painted vases.

THIRION (H.)«— Les Adams et Clodion.
Paris, Quantin, 1885. 4°. The
part devoted to Clodion in this
volume extends from pp. 187 to
415 ; with 2 portraits of the
artist, 10 etched pis., and 33
text illustrs. 50 fcs.

Clodion's terra-cottas may be said to occupy,
in modern sculpture, a place equivalent to that
occupied by Tanagra figures in the plastic of the
Greeks. Both possess the fascinating attraction
. of the spirited and graceful sketch which, while
containing the essence of a higher work of art,
has no other pretention than to captivate our
fancy. The refined sensuality of French society
in the Louis XV. period finds a more exquisite

412

expression in these diminutive statuettes, im-
provised under the witty and deft fingers of the
artist, than in the more pretentious canvasses
and marbles painted and carved by the re-
nowned masters of the day. In the smallest
work of Clodion, we recognise the stamp of that
incomparable man's striking originality. In all
of them the tool of the modeller seems to have
rivalled in freedom of touch and brilliancy of
effect the agile brush of the painter.

Claude Michel, or Clodion, as he chose to call
himself, was of a race of Lorraine artists. His
father, Thomas Michel, and his uncles, the
Adams, were all sculptors of merit. Although
Mr. Thirion does not do more than mention
Clodion's passing connection with the faience
factories of Luneville, Bellevue, Niderviller,
and Nancy, it is a well-known fact that the
models he executed for these establishments
contributed not a little to their success.

Born at Nancy in 1738, he learned there, in
all probability, the rudiments of his art. At the
age of seventeen he was sent to Paris to work
under the direction of his uncle, Lambert Sigis-
bert Adams. He made such rapid progress that
six years after, in 1762, he was awarded a
scholarship at the Royal Academy of Rome.
There he varied the course of his regular studies
by making terra-cotta groups of nymphs and
cupids, so much appreciated by amateurs that
he could never keep up with the demand. On
his return to Paris it was also with his terra-
cottas that he won bis first success at the Salon.
For close on twenty years the popularity of his
charming creations was fairly sustained ; the
number of works he produced during that period
can scarcely be computed. Rank and fashion
had placed his bewitching groups under their
patronage ; sure prospects of fame and fortune
seemed to stand before him. A sudden return
to the stiff and formal style of Greek and Roman
antiquities struck a death-blow to the free and
sprightly manner of the Louis XV. school. In-
credible as it may appear, from the year 1780,
the elegant conceptions of his mundane and
frivolous genius had suffered depreciation ; a
fickle public had thrown down the idol of a
moment, to smile upon new favourites. In the
auction-rooms, where they appeared in numbers,
his choicest terra-cottas could hardly find a pur-
chaser,'or were disposed of at a ridiculous price.
It was then that he bethought himself of his
native place, and of his fellow-townsmen with
whom he had always remained in friendly com-
munication. He returned to Nancy, where he
weathered in comparative calm the storm of the
great Revolution. There he executed for the
account of the potter, Nicholas Lelong, some of
the happiest models he has ever produced. From
that moment he led a wandering and precarious
existence. He again fixed his abode in Paris,
living on the scanty proceeds of badly-paid
Government commissions, models sold to the
bronze manufacturers, or subjects ordered by
the manufactory of Sevres. He died, in very
poor circumstances, in 1814.

Everyone knows what a high price a work of
his hand commands nowadays. A single figure
reached nearly eight hundred pounds at the San
Donate sale ; and it is in hundreds of pounds
that one has to pay for the smallest example of
a genuine Clodion.

TBO]

CERAMIC LITERATURE.

[THO

THOMSON (Sir Henry).— A catalogue of

blue and white Nankin porce-
lain, forming the collection of
Sir H. Thomson, illustrated by
the autotype process from draw-
ings by James Whistler, Esq.,
and Sir H. Thomson. London,
Ellis & White, 1878. Sq. 8°,
pp. 67 ; with 26 pis. 200 copies
printed. £2.

J. M. Whistler, who has partly illustrated
this catalogue, was one of the earliest and most
fervent promoters of " Impressionism " in paint-
ing, and of ' ' Japanism " in fashionable taste. His
lofty scorn for all accepted canons of aesthetics
often led him to become the champion of some-
what eccentric and whimsical doctrines.

For long the group of young artists who re-
cognised him as the oracle of the new creed — the
head of the painting school of the future — was
confined to his personal friends. As to the
circle of converts to Japanese art and its newly
revealed beauty, it expanded with an unex-
pected rapidity ; everything that came from
Japan was seized, treasured, and extolled by an
ever-swelling crowd of admirers. Scarcely had
the rage arisen among a select few, than it
spread amongst all ranks of educated people.
At this juncture, a company of purists, whose
aspirations soared so much above common level,
and who could not condescend to burn their
thrice-refined incense at the altar of the crowd's
idol, could no longer patronise a taste which
threatened to be tinged with the bane of vulgar-
isation. Consequently, it was decreed that if
Eastern art was still to be lauded and respected,
it could only be so on condition that it should
be divested of anything that rendered its con-
stituent principles too easily grasped by common-
place understanding. In the case of Oriental
porcelain, for instance, the ever- varied conceit of
Japanese imagination, the realistic and graceful
rendering of a spray of flowers, the harmonious
combination of brilliant enamels, were deemed
to have absorbed too large a share of our ad-
miration. Henceforth, a simple Chinese vase of
pure white paste, soberly painted, in a somewhat
archaic style, with a blue of intense but delicate
tint, was to become the pole star which should
guide the truly-refined lover of ancient porcelain
in his searches for absolute beauty.

The nearest approach to the ideal type was
pointed out in certain globular jars, painted with
a blue ground streaked with broken lines of
darker blue, over which white blossoms were
broadly scattered. Whether these stood for
apple, plum, peach, or hawthorn blossoms could
never be settled to everybody's satisfaction.
But why should such a trifling consideration
stand for one moment in the way of our supreme
enjoyment of the exquisite purity of the azure
ground ; do we not forget everything earthly
when, gazing at the ethereal vibration of a
glorious Italian sky, our eye remains lost in
contemplation of its unfathomable deepness. In
every other point, but the particular shade of
the blue, these jars were insignificant enough to

offer some guarantee that the odious Philistine
could never share the entrancing rapture created
in the soul of the initiated by the spell of their
indefinable radiance.

And yet the craze for collecting white and
blue china spread h'ke wildfire. A modest
shilling blue plate of the right sort was wor-
shipped by the minor poet as containing a
source of unexhaustible inspiration. A haw-
thorn jar became the bone of contention between
the wealthy bidders of the fashionable auction-
rooms ; and each specimen, when it happened
to change hands, increased in value by some
hundreds of pounds.

Rapid as had been the spreading of the blind
infatuation for the white and blue ware, steady
as had been the rising of its price, neither crazes
were of long duration. The transcendental dif-
ference between the truly celestial tint and the
showy blue of its despicable imitations still re-
mained an article of faith for a few believers, but
for the majority of unbiassed connoisseurs that
difference stood, as a matter of fact, beyond all
possible demonstration. To make matters worse
one of the trusted signs of authenticity, the " six
marks," through which antique Chinese porce-
lain could be distinguished from the modern
Japanese imports, proved to be as unreliable as
all the other tests. After a deep scrutiny of the
signs by which the " six marks " are perplex -
ingly diversified, the best authorities could not
agree as to the exact composition of the mark
which denoted a work of the best period. Thus
ended the fad of a day ; it afforded ample food
to the caricaturist and the humouristic writer of
the moment. It is manifestly recorded in the
interesting catalogue of a collection which con-
tained good, bad, and indifferent specimens,
many of which have lost much of the value
which was then set upon them all. In the
sketches drawn to illustrate this catalogue,
Whistler, as a true impressionist, has contented
himself with indicating broadly, with a brush
dipped in Indian ink, the general aspect of a few
of the simplest pieces. No paltry detail comes
to mar the fascinating impression we are ex-
pected to receive from a symphony in white
and blue, transposed in the key of black and
white.

THOMSON (J.).— Illustrations of orna-
mental brick and terra-cotta
work. Jabez Thomson, terra-
cotta manufacturer, Northwich,
Cheshire. Manchester, Guardian
printing works, 1888. Obi. fol.,
of 22 lith. pis. designed by H.
Pascal.

THORE (Dr.).— Les anciennes fa-
briques de faience et de porce-
laine de 1'arrondissement de
Sceaux. Paris, impr. P. Dupont,

1868.
3fcs.

8°, pp. 24; with 1 pi.

413

THO]

CERAMIC LITERATURE.

[TIS

" The old faience and porcelain manu-
factories of Sceaux and its district."

Faience and earthenware have been brought,
at Sceaux, to the highest degree of perfection.
They often rival the procelain of the times in
the neatness of the reliefs and the finish of the
paintings. Placed under the patronage of the
Duchess of Maine, and subsequently of the Duke
of Penthievre, the works had been, at first, under
the direction of Chapelle, who styled himself a
member of the Academy of Sciences ; he was
succeeded in the management by R. Glot, one
of the most clever modellers of Paris ; such con-
ditions seemed to be a guarantee of success. The
history of the vicissitudes of the Sceaux factory
illustrate, once more, the difficulties private in-
dustries had to contend with under the old
regime. To the interesting documents gathered
by Dr. Thore in connection with the manufac-
tory are added a few particulars concerning the
faience made at Bourg-la-Reine and at Choisy-
le-Roi at a contemporary period.

THORPE (Prof. T. E.) and OLIVER (Prof. H.).
—Report on the employment of
compounds of lead in the manu-
facture of pottery, their in-
fluence upon the health of the
workpeople, with suggestions as
to the means which might be
adopted to counteract their evil
effects. London, printed by Dar-
ling & Sons, 1899. Fol., pp. 50.

THURNAM (J.).— Ancient British bar-
rows, especially those of Wilt-
shire and the adjoining counties.
London, 1869. 8°; with 32 pis.
and text illustrs., cinerary urns,
etc. £1, 5s.

TIECK (F.).— Verzeichniss von Werk-
en der Delia Robbia, Majolika,
etc., welche in den Nebensaalen
der Sculptur-Gallerie aufgestellt

sind. Berlin, 1835.
139. 3 m.

12C

pp.

" Description of the Delia Robbia ware,
majolica, etc., which are exhibited in the
rooms adjoining the Sculpture Gallery."

This collection, once in the possession of
Bartholdi, had just been bought in Florence
for the Berlin Museum. Each section is prefixed
with a historical notice, but the specimens are
described without attribution or indication of
origin.

TIFFIN (1. F.).— A chronograph of
the Bow, Chelsea, and Derby

414

porcelain manufactories, show-
ing their simultaneous progress
and their various marks. Salis-
bury, 1847. 8°, pp. 14; with
1 pi. of marks.

Chronological tables in three columns, in
which are shown the respective development
and productions of the three factories during
the corresponding years. Upon the cover there
is the emblematic figure of a triangle, on each
side of which are inscribed the words, Bow,
Chelsea, Derby.

- La Perdita. A Chelsea pas-
torale, or drawing-room bur-
letta. With a frontispiece of
Chelsea figure. (Privately
printed.)

TIGRI (G.).— De plastici dell'Ospe-
dale di Pistoia. Prato, 1833.
8°, pp. 30. 2 fcs.

" The bas-reliefs of the Hospital of
Pistoia."

TILMANS (Collection). — Catalogue of
sale. Bruxelles, 1892. 8°. Por-
celain and faience, 817 Nos. ;
with 6 pis.

Of some value for the study of Belgian cera-
mics. The factories of Bruxelles, Tervueren,
Bruges, Anvers, Tournay, Andennes, etc., are
adequately represented.

TILTON (S. W.).— Designs and in-
structions for decorating pottery
in imitation of Greek, Roman,
Egyptian, and other styles of
vases. Boston, 1877. 8°, pp.
44 ; with black and red illus-
trations.

The stock of classical (?) shapes to be ob-
tained from a pottery dealer, and the patterns
of corresponding styles with which they may be
decorated with varnish colours of his own manu-
facture.

TISCHBEIN (W.).— Recueildegravures
d'apres des vases antiques, la
pluspart d'un travail grec,
trouves dans des tombeaux au
royaume des Deux-Siciles, prin-
cipalement dans les environs de
Naples en 1789 et 1790, tires du
cabinet de Mr. le Chevalier Ham-
ilton, avec des observations sur

TIS]

CERAMIC LITERATURE.

[TOL

chacun des vases par 1'auteur de
cette collection. Publie d'apres
Mr. G. Tischbein, directeur de
F academic royale de peinture de
Naples. Paris., Benard, 1806.
4 vols. Fol., cont. 245 pis. A
short introduction is prefixed to
each volume. Also, with title
and letterpress in English. £4.
A few copies have the plates
coloured by hand.

"A collection of engravings after
antique vases, chiefly of Greek workman-
ship, found in the tombs of the kingdom
of Sicily, particularly in the vicinity of
Naples, during the years 1789 and 1790;
now in the possession of Sir William
Hamilton; with a few remarks on each
vase by the owner of the collection.
Published under the direction of Mr.
William Tischbein, director of the Royal
Academy of Painting at Naples."

Having disposed of his first collection of
painted vases in favour of the British Museum,
Sir W. Hamilton formed a second one, the result
of two years' excavations in the neighbourhood
of Naples. This was engraved between the
years 1790-99, under the superintendence of the
German painter, W. Tischbein. The designs
were traced directly from the vase paintings ;
but they have been materially altered in char-
acter by the hand of the engraver. A short and
insignificant text by Italinsky and Fontain ac-
companies the plates. Thomas Hope purchased
this second collection. On its way to England
it was partly destroyed in the wreck of the vessel
which carried it.

Tischbein had also caused another set of 100
plates to be engraved from Greek vases in other
collections. They were never published. A list
of them has been given by Heydemann in the
Jahrbuch des Institutes, 1886, pp. 308-313.

TISCHLER (0. ).— Ostpreussische Alter-
thumer aus der Zeit des grossen
Graberf elder nachChristi Geburt.
Konigsberg, 1902. 4°, pp. 46;
with 13 pis. of cinerary urns and
explanatory notices.

" West Prussian antiquities of the
period of the great burying grounds from
the beginning of the Christian era."

TOCHE (Collection Ch.)-— Catalogue of

sale. Paris, 1887. 12° ; with
6 phototyp. pis.

Terra-cottas from Tanagra and Asia-Minor.
81 Nos,

TOCHON D'ANNECY (Collection).— A series
of 89 folio plates engraved after
the Greek and Etruscan vases of
the Tochon collection. The col-
lection, which comprised 574
vases, was purchased by the
Louvre Museum in April, 1818,
together with the copper plates
that the collector had caused to
be engraved with a view to a
publication which was never
issued. A few of the engraved
vases are no longer in the
Louvre ; they may, possibly,
have been sent to the provincial
museums. The prints, sold at
the Chalcography of the Louvre,
are not accompanied with any
printed matter ; there is neither
title nor index. 45 fcs.

TOFT (Ch.)-— Report on pottery and
porcelain. London, S. Low, 1879.
8°, pp. 14. (In the Society of
Arts' Artisan Reports on the
Paris Exhibition of 1878.)

Ch. Toft was a practical potter at Messrs.
Minton's China Works. The clever reproduc-
tions of Henri II. ware produced by that firm
are signed with his name.

TOIFEL (W.)-— Keramik. EineSamm-
lung Originalentwiirfe zur Aus-
fiihrung in Glas, Fayence, Por-
zellan, Majolica, etc. 1886. Fol.
40 pis.

" Ceramics. A collection of original
sketches to be executed in glass, faience,
etc."

It is with little regard for the requirements of
pottery manufacture that the artist has designed
these shapes, which look as if they were intended
to be produced in metal.

TOLDT (F.)«— Ueber das Trocknen
von Thon in grosseren Massen
und einen neuen Thontrock-
nenofen. Leoben, 1897. 8°, pp.
15 ; with 1 pi. 2 m.

" On the drying of clay in large masses
and on a new clay drying oven."

415

TOL]

CERAMIC LITERATURE.

[TOY

TOLDT (F.)-— Regenerativ - Gasofen.
Wissenschaft. Grundsatze fiir
die Berechnung der Querschnitte
solcher Oefen. Leipzig, 1898.
8°. 18 m.

"Regenerative gas ovens. A scientific
basis for the calculation of the transverse
section of such ovens."

TOMKINSON.— A Japanese collection
made by Michael Tomkinson,
illustrated with 147 photograv-
ure plates, etc. London, 1898.
2 vols. 4°. £12. Pottery, by
Ch. Holmes.

TONINI. — Le figuline riminesi. Bo-
lognia, Regia tipogr., 1870. 4°,
pp. 84 ; with potters' marks.
3fcs.

" The pottery of Rimini."

The collection of Roman pottery discovered
in and near the town was deposited in the Gam-
balungana Library.

TORETELLI (Collection). -- Tres belles
faiences italiennes, provenant en
partie de la collection Toretelli.
Paris, 1870. 8°, pp. 30 ; with
8 pis.

Catalogue of sale of a collection of fine Italian
majolica, with an introductory notice by A.
Darcel.

TORR (C.)- — Harrow School Museum.
Catalogue of the classical anti-
quities. Harrow, 1887.

TORTEROLI (I.)-— Intorno alia ma-
jolica Savonese. Ragionamento
storico. Torino, Barera, 1856.
8°, pp. 23. 5 fcs.

" Notice of the majolica of Savona. A
historical disquisition."

Torteroli asserts that the manufacture of
majolica must at one time have had a great
importance in his native town, and that, judging
from the number of churches and palaces whose
outside and inside walls were covered with
painted tiles, tile-making was doubtless the
chief branch of the potters' trade. He confesses,
however, that his searches through the civic
archives have not yielded any information re-
specting the period of manufacture, the site of
the factories, or the names of the potters. All
the tile decorations said to have once embel-
lished the buildings of the city of Savona have

416

now disappeared. A single monument of the art
may still be seen preserved in the neighbouring
church of Allbissola. It is a large panel com-
posed of a great number of tiles, upon which the
subject of the " Nativity " is painted in bright
colours. The work is inscribed — Fatto in Ar-
bissola del 1576, per mano di Agostino. Gero-
lamo Urbinato lo dipinse.

Towards the middle of the eighteenth century
the majolica made at Savona acquired some
celebrity through all Italy, but Antonio Guido-
boni and his two sons were the only masters of
whom the author could find any record. Docu-
ments are more extensive regarding the works of
G. Boselli, who produced, a few years later,
imitations of French porcelain and English
earthenware.

TOTI (A.). — Bernardino Pepi, ossia
1'arte ceramica ristaurata in
Sienna. 1881. 8°. (In Gli
studi in Italia, pp. 188-216.)

" B. Pepi, and the revival of the cer-
amic art in Sienna."

A druggist of the town, Pepi, entered into
partnership with two practical potters, and
established, in 1847, a small majolica factory.
They were particularly successful in the repro-
duction of the tiles composing the beautiful
pavements still extant in the old churches of
Sienna. They also made copies of Luca della
Robbia ware. Much of their despicable fabri-
cation has found its way into public and private
collections, in which many a vile imitation,
bought by some unwary traveller, stands now
as a genuine article.

TOURNAL. — Notes sur la ceramique.
Faiences et porcelaines. Caen,
Hardel, 1863. 8°, pp. 28. (Repr.
from the Bulletin monumental.}

" Notes on the ceramic art. Pottery
and porcelain."

A commonplace summary of ceramic history.

- Catalogue du Musee de Nar-
bonne. Narbonne, Caillard,
1864. 8°, pp. xxii-202.

" Catalogue of the Narbonne Museum."

Greek vases, Nos. 38-97 ; Roman pottery,
Nos. 246-329 ; modern ceramics, Nos. 835-946.

TOYTOT (E. de). — Les arts et les
peintures ceramiques. Paris,
Donniol, 1864. 8°, pp. 40. (Re-
print from Le Correspondant).
3 fcs.

" Ceramic art and ceramic paintings."

As we opened this pamphlet our eye fell upon
the following passage : — " In 1709 Bottger dis-
covers the kaolin, the clay of which true porce-

TRA]

CERAMIC LITERATURE.

[TRE

lain is made. The discovery of this new material
was at once turned to good profit by the fac-
tories of Sceaux-Penthievre, Chantilly, and
Vincennes." We did not proceed any further
in our examination, lest a few more statements
of that order might disturb our long-established
notions.

Fai'enciers de Nevers (Nievre)

Tacherons, proprietaires, dans
le systeme des engagements vol-
ontaires permanents, d'apres les
renseignements recueillis sur les
lieux en 1864, avec une etude
comparative sur la m£me f amille
en 1885. Paris, Didot, 1886.
8°, pp. 53. (Reprint from Les
ouvriers des deux Mondes.)

" The workman of the Nevers faience
factories. Social conditions of the piece-
work operative, living in his own house,
freely, but permanently engaged in a
manufactory. Information obtained in
1864, and supplemented by subsequent
inquiries made in 1885, among members
of the same family."

TRABAUD (P.).— Les Delia Robbia de
Marseilles. Marseilles, 1883. 4°
pp. 19 ; with 4 illustrs.

" The works of the Delia Robbias at
Marseilles."

A bas-relief of enamelled terra-cotta in the
Delia Robbia style, adorning one of the chapels
of the " Major " Church at Marseilles, has in-
duced the writer to look out for evidences of
any member of the Delia Robbia family having
been at work in the town. Although he does
not repudiate the probability of such an assump-
tion, he confesses, at the time, that no historical
proof can be found to support it.

TRAPNELL (A.).— Catalogues of the
Trapnell collection. Bristol, pri-
vately printed, 1898. 4°; pi. of
marks. (Second issue.)

Bristol and Plymouth hard porcelain, pp. 41 ;
Worcester porcelain, pp. 51 ; Oriental porcelain,
pp. 40.

The collection was sold at Christie's, July,
1899.

An illustrated catalogue of

Chinese porcelain and pottery,
forming the collection of Mr.
Alfred Trapnell. Bristol, pri-
vately printed, 1901. 4°, pp.
27

42 ; with 6 pis. of marks and
72 photogr. pis.

- A catalogue of Bristol and
Plymouth porcelain, with ex-
amples of Bristol glass and pot-
tery, forming the collection
made by Mr. A. Trapnell ; with
preface by the Rev. A. W. Ox-
ford, M.A. Bristol, 1905. 4°,
pp. xxxii-60, 8 pp. of reprints of
old sale catalogues, and 10
heliogr. pis. (Privately printed.)

The Trapnell collection presents a most com-
plete illustration of the manufacture of hard
porcelain in England.

TREADWELL (J. H.).— A manual of
pottery and porcelain for Ameri-
can collectors. New York, Put-
nam & Sons, 1872. 8°, pp. v-
161 ; with marks and 26 illustrs.
10s.

From the various shortcomings, inevitable in
a manual written under similar conditions, one
may be induced to surmise that the compiler has
attempted to put to the test the truth of the
popular saying, " If you want to study a subject
so far unfamiliar to you. write a book about it."
In the selection and attribution of the examples
reproduced in diminutive woodcuts, such as the
modern trinket-holder of Barbiset, given as a
representative of Palissy ware ; the pig's head
of purple faience shown as a specimen of Delft ;
the satyr vase of Wedgwood presented as of un-
known origin, but probably Berlin, we may con-
clude that after the labour had been done the
student had not succeeded in mastering the
subject. Although we are told that the book
is intended for " American collectors," a little
more circumspection might have been desirable,
and the possibility of its falling into the hands
of more critical readers taken into consideration.

TREBUTIEN. — Bernard Palissy. Paris,
1840. 8°, pp. 9. Portrait. (Ex-
tr.)

TREU (G.)-— Griechische Thongefasse
in Statuetten-und Bustenform.
Fimfunddreissigtes Programm
zum Winckelmannsf est der Arch.
Gesellschaft zu Berlin. Berlin,
1875. 4°, pp. 23; with 2
photogr. pis., containing 11 sub-
jects. 4s.

" Greek terra-cotta vessels in the shape
of figures and busts."

417

TRE]

CERAMIC LITERATURE.

[TUD

TREU (G.).— Erwerbungen der Anti-
quen Sammlungen in Deutsch-
land. Dresden. Terra - cotten.
Berlin, 1889. Sm. 4°, pp. 20;
with text illustrs.

"Additions to the museums of anti-
quities in Germany. The terra-cottas at
Dresden."

TREUERN (Gotthelf).— Kurze Beschrei-
bung der heidnischen Todten-
topfe, in welchen die Heiden
ihrer Verbrannten Todten iiber-
bliebene Gebeine und Aschen
aufgehoben, unter der Erden
beigesetzt und bei den jetsigen
Zeiten in der Kur- und Mark-
Brandenburg haufenweise aus-
gegraben werden. Nilrnberg,
1688. 8°, pp. 30 ; with 3 pis.

"A short description of the pagan
cinerary urns in which the ancients used
to enclose the bones and ashes of the dead
after the cremation of the body, and
which they buried in the earth ; particu-
larly those which are frequently discovered
at the present day in the Electorate of
Brandenburg."

Local historians of North Germany had long
supported the popular belief that the strange-
looking earthen pots, plentifully discovered in
certain regions, were either a natural product of
the soil, or the work of the elfs and imps said to
dwell in the bosom of the earth. This curious
essay demonstrates the absurdity of entertaining
such a belief, and attempts to give a more
rational explanation of the presence of such
a large accumulation of pottery in the places
which the writer rightly considers as having been
the burial-grounds of the primitive races. It
contains the following chapters : —

I. The names of the vessels. II. The places
where they are to be found. III. Exterior and
interior signs by which they may be recognised.
IV. How to proceed in the excavations. V. Of
the time of the year in which these are to be
undertaken. VI. Of the materials of which the
pots are made. VII. The figures found in the
soil. VII. For what purpose earthen vessels
were used. VIII. When and where originated
the custom of^using such vessels for such pur-
poses.

TRIQUETI (Baron H. de).— Bernard
Palissy. Paris, Schmith, 1856.
12°, pp. 12. 2nd ed. Paris,
1863. 8°.

A lecture delivered at the general meeting of
trade apprentices by Mr. de Triqueti, Secretary

418

to the Committee of the Reformed Church at
Paris.

TROLLOPE (A.).— Decorative pave-
ment of the thirteenth century
in the Church of St. Remi at
Rheims. 8°; with 5 illustrs.
(In Arckeological Journal, vol.
xi.)

TROUDE (A.).— Choix de modeles de
la manufacture nationale de
Sevres, appartenant au Musee
Ceramique. Paris, Calavas,
1897. 4°, pp. 8 ; with 136 pis.
50 fcs.

" A selection of models of the national
manufactory of Sevres, belonging to the
Ceramic Museum."

Statuettes, groups, vases, with a historical
introduction and notices. Mr. A. Troude is
secretary to the museum.

TUDOT (Edmond).— Collection de fig-
urines en argile, ceuvres pre-
mieres de 1'art gaulois, avec les
noms des ceramistes qui les ont
executees, recueillies, dessinees
et decrites par E. Tudot. Paris,
C. Rollin, 1860. Imp. 4°, pp.
104; with 75 lith. pis. and 112
woodcuts in the text. £4.

" A collection of earthen figures, the
early work of Gallic art, with the names
of the potters by whom they were made;
collected, drawn, and described by E.
Tudot."

It matters little to the Gallophiles — a most
patriotic class of French antiquaries — to admit,
with us, that certain handicrafts were imported
into Gaul by the Romans, but we must be willing
to recognise, with them, that the Gallic produc-
tions bear the impress of a truly national feeling,
and free from the influence of the Conqueror.
This point E. Tudot has endeavoured to establish
by means of the terra-cotta figures discovered in
the valley of the Allier. His theory rests more
upon personal conviction than upon actual evi-
dence ; but it is candidly presented and ingeni-
ously developed ; on this account it is entitled
to be considered with impartial interest.

That Roman paganism was introduced
amongst the Gallic tribes and secured a firm
hold in the land is a fact not to be denied. The
efforts of the writer are, therefore, directed to-
wards making good his own belief that all
mythological divinities were bound to assume
in their new abode quite a different character
when tinged with the ambient ferment of Druidic

CERAMIC LITERATURE.

[TUR

traditions. We are, consequently, introduced
to a pantheon of local deities, issued, as it would
appear, from the idiosyncratic spirit of the Gaul,
and embodying, not only the philosophical ten-
dencies of the race, but also the chief character-
istics of the national temperament. Accordingly
many a rude figurine we might take for the de-
based imitation of some Roman type is presented
to us as personifying one of the fundamental
principles of the Druidic creed. A seated woman,
holding two children on her lap, one of the sub-
jects most frequently met with, becomes the
" Goddess-Mother," a nameless divinity who pre-
sided over maternity. A youth lying on a dol-
phin must be taken to be an allegory of the soul
journeying towards the fortunate Islands of the
Celtic Elysium. Some common-place female
figures, lacking any distinctive attribute which
might assist in their identification, are supposed
to be the " Topical divinities," protectresses of
the Allier. Once engaged in that way, the
writer goes so far as to recognise in certain busts
of a smiling boy the image of a pretended " God
Risus," the incarnation of laughing ; laughing,
as is well-known, being a marked propensity of
the nation. Whether God Risus was ever wor-
shipped by the Gauls is not made absolutely
clear, but the mere suggestion of its probable
existence is bound to exact from us a prompt
tribute to his ruling power, in the form of an
irrepressible smile.

Any favourable impression that could be
created by the ingenious manner in which singu-
lar assertions are sustained in the text, vanish at
the examination of the numerous examples
lithographed on the plates. Degenerated as
they are, we can still recognise the classical
character of the Olympian deities, Juno, Ceres,
and Venus in these ungainly figures made on
Gallic soil by the last Roman potters. If we
remember that the making sf such figures ceased
altogether after the country had shaken off the
yoke of the Conqueror ; if we take into consider-
ation the Latin names of the potters and the
inscriptions, always in the Latin language, im-
pressed upon their work, we cannot easily
espouse the opinion so dear to many French
antiquaries, and accept these vulgar productions
of the plastic of the times as striking evidences
of a national and independent art having ever
flourished in Gaul, perfectly distinct, in its
essence, from the art imported in the land by
the foreign oppressor.

— Marques et signatures de
ceramists trouvees dans le Bour-
bonnais. (Reprint from Bul-
letin Monumental.} 8°, pp. 36.

" Marks and names of potters found in
Bourbonnais."

TDNNICLIFF (I.).— A survey of the
County of Stafford. Nantwich,
1786. 8°, pp. 40; with map,
and 8 pis. of arms.

The directory placed at the end contains the
names of all the pottery manufacturers in the
vicinity of Newcastle-under-Lyne.

TURGAN. — Les grandes usines de
France. Paris, 1860 and f.y.
8°; with text illustrs.

" The great manufactories of France."

A periodical publication in which the most
important ceramic establishments are described
in special articles. The following have also been
published in separate form. They'are^all illus-
trated with woodcuts.

- Sevres, 1860. Pp. 70 (1st
article). A supplement of pp.
xvi appeared in 1876.

The supplement describes the new building
erected in the Park of Saint Cloud, to which the
national manufactory was transferred in 1871.

- Fai'enceries de H. Signoret a
Nevers. Pp. 15. (Part 76.)

The method of manufacture of the old Nevers
faience with a stanniferous glaze is still followed
in the Signoret pottery works. Cheap articles of
common use constitute the bulk of the produc-
tion ; artistic reproductions of the ancient
models, richly painted with polychrom decora-
tions, are also extensively made. Another im-
portant branch, introduced later on, is the
making of drain pipes and sanitary ware.

- Fabrique de boutons cera-
miques de Mr. Bapterosse a
Briare. Pp. 25. (Part 78.)

A new ceramic industry created by Bapte-
rosse. The invention consisted in making use
of a felspathic paste of porcelain to which a
single firing imparted a sufficiently glossy sur-
face to dispense with any glazing. Ceramic
buttons, produced in this way, secured an im-
mense sale, and the works gave employment to
thousands of hands. As these articles enjoyed
only for a time the success they had obtained at
the start, Bapterosse's processes have been sub-
sequently turned to many other practical pur-
poses, and the Briare manufactory is still one
of the most important ceramic establishments in
France.

— Fai'enceries de Gien. Pp. 15.
(Part 136.)

A factory established at Gien, in 1822, for the
making of pottery and earthenware after the
English methods, in competition with the works
of Creil et Monterean, where it was manufac-
tured with great success. At the present time
Gien has made a speciality of the reproduction
of the old patterns of Rouen, Nevers, and other
French faience by a cheap process of transfer
printing, not applied upon the stanniferous glaze,
but upon ordinary white earthenware. The
works employ about five hundred hands.

- Fabrique de porcelaine et de
faience de M. M. Haviland et Cie
a Limoges (Haute- Vienne). Pp.

419

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CERAMIC LITERATURE.

[TUK

24. (Part 352.) Also, in English,
1885.

The founder of the firm, the late Mr. Havi-
land, was an American citizen. He settled in
Limoges as a porcelain manufacturer, and in-
troduced hard porcelain on the market of the
United States, the supply of which had so far
been limited to the importation of English china
and earthenware. Haviland's productions were
soon noted for the perfection of their manufac-
ture and the artistic character of their decora-
tion, and it was with rapid strides that the firm
took a foremost place in the home and foreign
industry. A profusely illustrated account of the
Limoges works, and of the branch established at
Auteuil, near Paris, where the ware is decorated,
is given in this article.

TURGAN.— Tuileries de Montchanin
(S&one et Loire). Societe Ch.
Avril et Co. Pp. 15.

" The Montchanin tile works."

TURNER (G. W.).— Synopsis of paint-
ings on wedding present to
H.R.H. The Duke of York and
H.S.H. The Princess May. Man-
ufactured by G. W. Turner &
Sons, Alexandra Works, Tun-
stall, and presented by workers
in the Staffordshire Potteries.

1893. 8°, pp. 7. Printed in
red.

The present consisted of a washing stand and
a dressing table, with toilet sets, etc., all made
of earthenware. It was painted with subjects
of flowers and foliage intended to allegorise " The
marriage of the roses."

Lancelot and Elain. London,

1894. Sq. 8°, pp. 24.

Handbook to an exhibition, in New Bond Street,
of four sets of dressing-room furniture, in earth-
enware, made by W. Halles Turner. The flower
paintings, with which the surface is decorated,
are described as being allegorical illustrations of
the following poems : — Lancelot and Elain,
Faust, Marmion, and the Marriage of the Eoses.
Setting aside the unprecedented flow of the
poetical interpretations of the subjects, in which
each personage of the original poem is repre-
sented by a flower, and also the indifferent
quality of the paintings, we must say that these
huge pieces of earthenware were real " tours-de-
force " of pottery manufacture.

TURNER (William).— The ceramics of
Swansea and Nantgarw ; a his-
tory of the factories. With
biographical notices of s the ar-
tists and others, notes on the
420

merits of the porcelains, the
marks thereon, etc. Also, an
appendix on the mannerisms of
the artists, by Robert Drane.
London, Bemrose & Sons, 1897.
4°, pp. xii-349 ; with 33 pis.,
mostly coloured, and 9 illustrs.
£1, 11s. 6d.

Incontestable as may be the fine quality of
a porcelain body, said by some amateurs to be
superior to all other English porcelain, the pro-
ductions of the Welsh factories cannot be com-
mended for their artistic merit. The deplorable
taste prevailing at the beginning of the' nine-
teenth century is strongly marked in the patterns
of local origin ; the forms are of the so-called
antique style, which never admitted of much
grace and elegance, and the paintings are a de-
based remnant of the manner of the early china
painters, handed down from master to apprentice
in the workshops of the chief manufactories.
Such flower paintings as are reproduced in the
book may be excused when seen executed in
bright enamels on the beautiful surface of a
porcelain vase, but to admire these clumsy
bouquets in their reproduction in chromo is
more than a man endowed with ever so little
artistic education should be asked to do.

- William Adams, an old Eng-
lish potter ; with an account of
his family and their productions.
London, Chapman & Hall, 1904.
8°, pp. xxii-252 ; with 33 collo-
type pis., 30 half-tone illustrs.,
and 1 col. pi. £1, 10s.

Second only to Josiah Wedgwood in the pro-
duction of highly refined pottery, but following
him at a respectable distance, William Adams
testifies fo the influence that the great master
has exerted upon the art of the period. Up to
the present day, the Adams family has occupied
a high position in the trade. Its history is
linked with that of the contemporary manufac-
turers, of whom interesting biographical parti-
culars will be found in the book. The materials
for the preparation of the work were gathered
by W. P. Adams, the direct descendant from
William, first of the name.

— Transfer printing on enamel,
porcelain, and pottery. Its ori-
gin and development in the
United Kingdom. London, Chap-
man & Hall, 1907. 8°, pp. xiv-
175 ; with 1 etching by the
author, and 68 pis. in half-tone.
£1, 5s.

A heavy accumulation of information and
references not always directly relevant to the

TUR]

CERAMIC LITERATURE.

[URL

subject. The important point of the birth-
place of the process of transfer printing is left
unsettled, and the respective merit of ceramic
printing in its various stages is scarcely con-
sidered.

TURRSCHMIED. --Ueber die Ziegel-
fabrikation. Berlin, Plahn,1859.
8°, pp. 31.

" On the manufacture of bricks and
tiles."

TWINING (R.).— The book of the tea-
pot, and of some tea-cup times,
with pictures of tea-pots of many
periods and places. London,
1899. Sm. 4°, pp. 64; with
numerous illustrations.

Printed for presentation by E. Twining &
Co., tea merchants, of London, this charming
little book contains anecdotes on tea drinking
and tea drinkers, profusely illustrated with pen
and ink sketches of curious tea-pots, chiefly of
English and Oriental origin.

TYSZKIEWICZ (La Collection).— Choix de
monuments antiques, avec texte
explicatif by W. Frohner.
Munich, 1892-97. Part i.-iv. ;
with 40 col. pis. £4.

" A selection of antiquities, with ex-
planatory notices by W. Frohner."

The work, which was not completed, con-
tains some reproductions of rare Greek vases
and terra-cottas. Under the title of Memories
of an Old Collector, Count Michel Tyszkiewicz
has published the reminiscences of his long
career as a collector.

UJFALYY-BOURDON (C. E. de).— Les bis-
cuits de porcelaine. Paris,
Rouam, 1893. 4°, pp. 96 ; with
36 illustrs. 5 fcs.

" Porcelain biscuits."

Were it not that a collector should never be
taken into account for having let his hobby run
in a particular direction, one might ask whether
a collection of porcelain figures would not have
offered greater interest, if it had included glazed
and painted specimens, instead of being re-
stricted to those left in the biscuit state. The
formation of exclusive collections are a sign of
the times. To be a general connoisseur in cer-
amics requires, nowadays, the acquirement of
such a wide knowledge, that one is obliged to
limit the field of one's study to a special subject.

At the latter end of the last century biscuit
figures were very much in vogue. They re-
placed, for house decoration, marble statuettes,
a more costly luxury, and terra-cotta figures, less
refined in their material. Every European por-
celain factory was producing a great variety of
attractive models ; the subject may, therefore,
offer ample scope for the writing of a monograph.
In the present essay the chief places of produc-
tion are severally passed under review, special
attention being bestowed on the royal manu-
factory of Sevres. A complete list of the groups
and figures, the plaster models of which are still
preserved in the National establishment, has been
compiled for the first time. Opposite to the
description of each object will be found the
name of the modeller, the price the article was
charged for at the works, and also a few historical
notes or anecdotes referring to the best models
and to their makers.

- Petit dictionnaire des mar-
ques et monogrammes des bis-
cuits de porcelaine ; suivi d'une
etude sur les marques de Sevres.
Paris, 1895. Pp. 114 ; marks.
12 fcs.

u A small dictionary of the marks and
monograms found upon the porcelain
biscuits ; with an essay on the marks of
the manufactory of Sevres."

ULKE (R.).— Katechismus der Por-
zellan- und Glasmalerei. Leip-
zig, J. Weber, 1894. 8°, pp. 232 ;
with 77 illustrs. 3 m.

" Handbook of porcelain and glass
painting."

ULRICH (R.).— Catalogue der Samm-
lungen der antiquarischen Gesell-
schaft in Zurich. Zurich, 1890.
3 vols. 4°; pis.

" Catalogue of the collections of the
Zurich Society of Antiquaries."

Prehistoric and early German urns, Roman
pottery, etc.

URLICHS (L.).— Verzeichniss der An-
tikensammlung der Universitat
Wiirzburg. 3 Heft. Vasen-
sammlung. Wiirzburg, 1872.
8°, pp. 114.

" Description of the collection of anti-
quities in the Wiirzburg University.
Part III. Antique vases." (Ancient col-
lection Feoli.)

421

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CERAMIC LITERATURE.

[VAI

URLICHS (L.).— Zwei Vasen altesten
Stils. Programm zur Stiftungs-
feier des v. Vagner'schen Kunst-
institute. Wurzburg, 1874. 4°,
pp. 11 ; with 2 pis.

" Two vases of the most ancient style."

- Der Vasenmaler Brygos . . .
Siebentes Programm des von
Wagner 'schen Kunstinstituts.
Wurzburg, 1875. Fol., pp. 10 ;
with 1 fold. pi. 3 m.

"The vase painter Brygos. Seventh
programme of the Wagner Institute."

Seven vases signed by Brygos are described
in this paper. In spite of some archaic features
noticeable in his paintings, by the style of the
inscriptions Urlich's estimates that the artist
worked between the 90th and 100th Olympiad.

USSING (J. L.).— To graeske Vaser i
i Antik-Kabinettet i Kjobenhavn.

Kjobenhavn, 1866. 4°, pp. 17 ;

with 2 col. pis.

" Two Greek vases in the Copenhagen

Museum of antiquities."

De nominibus vasorum grse-

corum disputatio.

8°, pp. 175 ; pi. 2 m.

" Controversies on the names of Greek
vases."

UZIELLI (Collection I.).— Catalogue of
the various works of art forming
the collection of Matthew Uzielli,
Esq., by J. C. Robinson. Lon-
don, J. Clayton. 8°, pp. vi-304 ;
woodcuts and engr. pis. (Printed
for private distribution.) 5s.

Catalogue of sale. London,

Christie, 1861. 8°, pp. 293.

A general collection which contained only a
few examples of Greek vases, majolica, and
porcelain. The sale produced over £15,000.

YACHON (M.).— Les industries d'art.
Les ecoles et les Musees d'art
industriel en France (Departe-

422

ments). Nancy, Berger Lev-
rault, 1897. 4°, pp. 441.

" Artistic industries. The schools and
museums of industrial art in France
(Departments)."

Short notices of the past and present condi-
tions of the ceramic industry in the French pro-
vinces give some interesting information re-
specting the following centres :— Marseilles and
the Aubagne potters, Nice and Vallauris, Tou-
louse, Bordeaux, Limoges, Vierzon, Tours,
Rennes, Quimper, Lille, etc. Local museums
are briefly described.

- Rapports de Missions sur les
Institutions d'enseignement art-
istiques et techniques pour les
industries d'art en Europe. (In
collaboration with H. Havard.)
Paris, Public par le Ministere de
1' Instruction publique et des
Beaux-Arts. 5 vols. 4°. v.y.

" Reports of the missions sent to inves-
tigate the conditions of artistic and
technical instruction for the advance of
the art industries of Europe."

The chief museums, schools, and factories of
Germany, Italy, Austria, Russia, Switzerland,
Belgium, Holland, Denmark, Sweden, England,
etc., are succintly passed under review in these
reports.

See Havard (H.)- — Les manufactures
nationales.

YAILLANT (Y. J.). — Les ceramists
boulonnais. Etude sur les pot-
eries de terre, gres, terres cuites,
faiences et porcelaines de Bou-
logne-sur-mer. Boulogne, 1882.
8°, pp. 127. 5 fcs.

" The ceramists of Boulogne. An essay
upon the manufacture of pottery, stone-
ware, terra-cotta, faience, and porcelain
at Boulogne-sur-mer."

Although the trade of the potter could never
have been of much importance among the in-
dustries of Boulogne and the surrounding region,
evidence exists that it was uninterruptedly
carried on in the province from a remote anti-
quity. Roman ware and mediaeval vessels of
rude make, have often turned up in the excava-
tions. Ancient documents in which potters are
referred to are not wanting ; some of them go
back to the eleventh century. Mr. Valliant's
book bears, as an epigraph, a quotation from a
romance of Eustache Le Moine, written in 1073,
" Li POTIER CRIB ; As POS ! As POS." All
through the fourteenth century names of local

VAI]

CERAMIC LITERATURE.

[VAL

potters appear frequently in the civic registers.
As early as 1505, mention is made of the Yvart
and Wimet families who, without interruption,
have supplied the town of Boulogne with pot-
makers during three centuries. Their produc-
tion was limited to common earthenware vessels
sold in the local fairs and markets. Yet an
examination of the ancient documents referring
to the regulations of the trade and the customs
of the workmen furnishes some interesting
materials towards the general history of French
pottery.

The minor factories of the latest period, which,
as a conscientious historian, the writer could not
ignore in his account, have little claim to our
attention. If we except certain dishes of red
clay coarsely decorated with slips or incised
traceries, and perhaps a few painted tiles, ex-
hibiting crude attempts at embellishing a very
rude ware, we do not see that the pottery of
Boulogne ever showed any distinctive character.

- A propos des vases pastilles
et epigraphies de Fepoque gallo-
romaine trouves dans le Boulon-
nais. Arras, 1887. 4°, pp. 28.
(Reprint from the Bulletin de la
Commission des antiquites du
Pas-de-Calais.} 3 fcs.

" On the subject of the slip decorated
and inscribed vases of the Gallo-Roman
period found in the region of Boulogne
s/mer."

The author, curator of the Boulogne Museum,
has made a special study of the Roman pottery,
decorated by the process of trailing a jet of
" slip," or diluted clay poured out, upon the
surface of the vessel, through a narrow tube or
quill. Examples of this method of decoration,
frequently found in the North of France, are
largely represented in the Boulogne Museum.
Elegant scrolls of foliage and flowers, running
dogs and stags, are traced in that manner with
yellow slip upon black or red ground. The
paper deals particularly with the inscriptions
with which they are accompanied, most of which
are of a more or less Bacchanalian character.
Among them we may quote — Sitio, Bibe, Imple
me, Replete, Reple me copo meri, Misce, etc.,
which the writer takes as representing the cheer-
ful characteristics of the Gallic spirit.

YAISIER (A.). — Les poteries estam-
pillees dans 1'ancienne Sequanie.
Besancon, 1882. 8°, pp. 40;
with 15 lith. pis. of marks and
inscriptions. (Reprint from the
Memoir es de la Soc. d* Emulation
du Doubs.)

" The stamped pottery of ancient
Sequany."

There can be no doubt that pottery was ex-
tensively manufactured in the region at the time
of the Roman occupation ; the ruins of the

potters' kilns and the accumulation of fragments
with which they are surrounded are there to
attest it. One might expect that the marks
impressed on the ware discovered on the spot
might assist us in fixing the names of the local
potters. A list has been drawn up of all those
found in the province of Franche-Comte. But
as most of these names are common to many
other centres of production, and as not one
among them occurs in a sufficient number of
instances to make it predominate over the
others, we are deprived of one of the means of
discriminating between the actual production of
the Sequanian kilns and the articles imported
from other places. We can only take this
ubiquity of marks as an additional proof that
the trade in pottery ware extended over all the
Roman possessions.

YALENTINI (D.).— Musei Museorum ;
oder der allgemeiner Kunst und
naturalien Kammer. Frankfurt
a. M., 1714. 2 vols. Fol. ; pis.
20m.

" The museum; or the general cabinet
of nature and art."

Under this name the collectors of yoreTde-
scribed their heterogeneous assemblage of curi-
osities of every possible description. In their
ponderous discantation they seldom failed to make
appeal to the supernatural and miraculous side
of every subject. Fossils were for them extra-
ordinary freaks of nature, and the curious vein-
ings of onyxes and other marbles, in which they
saw sacred images of crucifixes, holy virgins, and
sainted personages, were presented as marvels of
the same order. In describing the treasures in
his possession, Dr. Valentini has indulged in the
usual display of pedantic absurdities which con-
stituted the foundation of the hermetic science
of the old natural philosopher. The various
earths are treated in the first chapters of vol. ii.,
and reference is made to the potter's art. An
essay on terra sigillata of various origin occupies
a prominent place ; it is illustrated by two
plates of marks and the reproduction of a re-
markable vase made of that material. Then
comes an article upon the cinerary urns and the
sepulchral terra-cotta lamps of the ancients.
Chinese porcelain is also touched upon, and from
the obscure and extravagant notions entertained
on these subjects by the worthy doctor we come
to the conclusion that such a book might have
been written hundreds of years before, and not
at a time when general knowledge is supposed to
have stood at a much higher level.

YALIERE. — Rapport du delegue des
ouvriers porcelainiers au Con-
gres de Paris. Limoges, Ducour-
tieux, 1876. 8°.

" Report of the delegate of the opera-
tives of the porcelain factories sent to the
Paris Congress in 1876."

423

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CERAMIC LITERATURE.

[VAN

YALL1ER (G.)- — Briques emaillees du
Sud. Quest de la France. Car-
relages du chateau de Bressieux
(Isere) et du presbytere de Saint-
Trophime a Aries (Bouches du
Rhone), xviie siecle. Pp. 15 ;
with 1 col. pi.

" Glazed tiles from the South- West of
France. Pavements of the Bressieux
Castle, and the presbytery of Saint
Trophime at Aries."

YANAULT. — Les mille et une nuits du
potier. Bernard Palissy. Paris,
Bedelet (1850 ?). Pp. 113-145 ;
with 2 lith. pis. (In Le genie de
V Industrie.}

The Story of Bernard Palissy told to children.

VAN BASTELAER (D. A.).— Les gres-cer-
ames ornes de 1'ancienne Bel-
gique et des Pays-Bas impropre-
ment appeles gr&s flamands.
Chatelet et Bouffioux, centres
importants de production et
d' exportation en Belgique et
dans les pays etrangers. Brux-
elles, 1880. 8°.

" The ornamented stoneware of old
Belgium and the Low Countries, incor-
rectly called Flemish stoneware. Chatelet
and Bouffioux, two important centres of
manufacture and exportation in Belgium
and foreign countries."

A first report.

- Les gres-cerames ornes de la
Belgique et des Pays-Bas. Deux-
ieme rapport fait a la Societe
archseologique de Charleroi, par
son president D. A. Van Bas-
telaer pour la partie technique,
et J. Kaisin, membre du conseil,
pour les documents. Charleroi,
1880. 8°, pp. 284; with 12
lith. pis. 12 fcs.

" . . . A second report addressed
to the Charleroi Archaeological Society ;
the technical portion written by its
president, D. A. V. B., and the documen-
tal evidence presented by Councillor J.
Kaisin."

424

- Les gres wallons ; gres cera-
mes ornes de 1'ancienne Belgique
et des Pays-Bas, improprement
nommes gres-flamands. Trois-
ieme rapport. Les gres ornes a
Bouffioux au xvie siecle. Brux-
elles, 1881. 8°, pp. 61 ; with
3 lith. pis.

"... The artistic stoneware made
at Bouffioux in the sixteenth century."

A third report written in answer to the
criticism to which the publication of the second
report had given rise.

- Les Gres wallons . . . Quatri-
&me rapport resumant les trois
precedents et formant une mono-
graphic au point de vue his-
torique et descriptif. Mons,
1884. 8°, pp. 500; with 19
lith. pis. 25 fcs.

"... A fourth report, summing
up the three previous ones, and forming
a historic and descriptive monograph."

- Les anciens gres artistiques
flamands dans le nord de la
France a la fin du xviie siecle.
Produits dits en allemand " Bol-
lekenskan " fabriques a Mar-
pent. Mons, 1884. 8°, pp. 25.

" The Flemish stoneware in the North
of France at the end of the seventeenth
century. Vessels called in German
' Bollekenskan/ manufactured at Mar-
pent."

From the fragments discovered at Marpent, a
French village situated near the Belgian frontier,
the writer concludes that a stoneware manufac-
tory must have existed on the spot.

- Les gres armories de Chatelet
et de Bouffioux a Liege au xvie
siecle. Mons, 1885. 8°, pp. 61.

"Armorial stoneware made for Liege
at Chatelet and Bouffioux."

Much importance is attached in this paper to
the fact that the nobility of Liege sent commis-
sions to the potters of Bouffioux for the making
of their armorial vessels, as well as to the
potters of Raeren.

— Huit gres ornes anciens de
Bouffioux. Bruxelles, 1891. 8°,
pp. 14 ; with 5 pis.

VAN]

CERAMIC LITERATURE.

[VAN

" Eight ornamented stoneware vessels
of Bouffioux manufacture."

However eager he may be for knowledge, a
ceramic student might well wince at the task
placed before him when, anxious to sift the
question of the Bouffioux stoneware and the
place it should occupy in general history, he
finds himself confronted by the appalling array
of printed pamphlets and volumes containing the
discussion of the subject. This outpour of
archaeological debate was due to the startling
discovery of a hitherto unsuspected centre of
manufacture. At the very moment when a
course of exhaustive inquiries seemed to have
located in Germany the probable site of all the
chief factories of artistic stoneware, it was found
that Bouffioux, a village of the Walloon country,
had been as prolific in the production of that
kind of pottery as any place at work in the
Rhine and the Meuse valleys. The Archaeo-
logical Society of Charleroi may claim the entire
credit of the discovery ; the wide circulation of
their printed transactions spread the news
through the antiquarian world. A great stir
was anticipated ; but the communication was
received abroad with something akin to sneering
indifference. To the claims preferred in favour
of the antiquity and originality of the Bouffioux
pottery which followed the discoveries, it was
merely answered that the find of huge heaps of
stoneware sherds — the best part of which con-
sisted in distant imitations of the plainest types
of Siegburg and Raeren — could not, in any way,
affect the main lines on which the history of the
craft had lately been reconstituted, and that the
fact was far from having the importance that
had been attached to it. It was a bitter dis-
appointment. So far from accepting such a
declaration, the president of the society took
pen in hand to fight and defeat the adverse
party with a vigour worthy of a better cause.

An unwonted strain was put upon the local
printing presses ; page after page of specious
argumentation, blended with good-humoured
sarcasm, were hurled at the head of the obdurate
dissidents. The first report having proved in-
sufficient to bring conviction into their minds, a
second one was published, so complete in all
respects that no one, having perused it, could
have suspected that the subject was susceptible
of further development. It contained a history
of pot-making at Bouffioux before the introduc-
tion of stoneware manufacture ; a statement of
the technical peculiarities by means of which the
Bouffioux productions can be recognised ; tran-
scriptions of all the ancient documents referring
to the craft, with a complete list of all the
masters who had been Governors of the Guild
from 1550 to 1824 ; and, finally, a descriptive
catalogue of all the fragments dug out from the
soil, and now deposited in the Charleroi Museum,
as well as of all the stoneware vessels preserved
in the other museums of Belgium, and which
may, with good reason, be attributed to the
Bouffioux works.

A third and fourth report were subsequently
issued in support of the first two, each enlarging
upon the points already discussed, and bringing
forth a fresh supply of arguments and evidence.
Methodical order and thorough scrutiny oi
details have presided over the preparation oi
these consecutive volumes, the last of which

counts no fewer than 500 pages. The cata-
logue, with its ingenious system of classification
and its accurate description of the fragments,
is a model of its kind. It is illustrated with
coloured plates reproducing a large number of
examples. But if we compare the opinions de-
veloped in the text with the illustrations, we
feel bound to come to conclusions very different
from those entertained by the writer. He in-
sists particularly on the obvious originality and
the artistic character of the Bouffioux ware. We
must confess that among the numerous sub-
jects reproduced for our edification we find no-
thing but clumsy repetitions of well-known types.
The brown jugs and their embossed medallions
are copied from those of Raeren ; as for the
coloured diapers, rosettes, and foliage impressed
on the grey ware of a later period, they are but
commonplace recollections of the style of decora-
tion initiated at Grenzhausen. We agree with
him when he says that on the point of technical
manufacture the Bouffioux productions are
generally excellent ; the clay employed was
often of very fine quality, and the ware is re-
markable for deepness of colour and brilliancy
of glazing ; more than this, we cannot grant.
It is clear, from the contemporary documents,
that cheapness of production had been from the
first the guiding rule of the Bouffioux potters.
No artistic work could have been made under
the conditions in which they were placed. The
wholesale merchants who established warehouses
in the village, and secured gradually the man-
agement of the whole trade, had a main share
in bringing about the decline of the art. The
good models that they imported from the best
factories of Flanders and Germany were repro-
duced for a trifling price ; and they kept the
upper hand over the makers by advancing them
money at ruinous interest. So it happened that
a few years after the Guild had been constituted
the united masters had to lodge a complaint by
the counsel, stating that under the existing cir-
cumstances the scale of prices had fallen to such
a low level that it had become impossible to
work at a profit.

The manufacturer who had been fortunate
enough to escape falling into the clutches of the
mighty merchant, abandoning the hopeless
struggle, hastened to start in business as a mer-
chant, and to make money by oppressing his
former mates and enforcing the " sweating
system," which prevailed in all pot-works.

This sad picture, which has escaped the atten-
tion of the historian of the Bouffioux stoneware,
but which is forcibly indicated in the authentic
documents he has added to his fourth report,
reminds us of the downfall of many another
centre of pottery manufacture, to which a
similar cause may be attributed ; we mean the
rage for cheapness of production which results
from the interference of the middleman and the
blindness of his victims.

An important point that Mr. Van Bastelaer
will not concede to his opponents is that the
invention of the brown stoneware glazed with
salt was imported from Raeren, and did not
originate in the place. Although he cannot
prove the case, he believes implicitly in a local
discovery. As he acknowledges that the ware
of both places was similar, and as one of them
must consequently have been imitated from the
other, his final conclusion must be that Bouffioux

425

VAN]

CERAMIC LITERATURE.

[VAN

has made Raeren, since Raeren has not made
Bouffioux. No one would have followed him as
far as that ; so he has wisely refrained from ex-
pressing any definite opinion on the subject.

It may be questioned if the subject of the
Walloon stoneware was of sufficient importance
to require such a thorough treatment. Had the
learned and conscientious historian dealt with a
branch of the potter's art more interesting to
the general student, and spent on this work the
care and the ability he has displayed in the com-
pletion of these monographs, we feel convinced
that the outcome would have added another
standard book to ceramic literature.

VAN BASTELAER (D. A.). --Les cou-
vertes, lustres, vernis, enduits,
engobes, etc., de nature organ-
iques employes en ceramique
chez les Remains ; recherches
chimiques et archeologiques.
Anvers, J. Plasky, 1877. 8°,
pp. 44. 2 fcs.

" The glazes, varnishes, lustres, slips,
and other coatings of organic substances
applied to pottery by the Romans;
chemical and archaeological researches."

Roman pottery was rendered impenetrable to
liquids by a superficial coating of organic sub-
stances, such as pitch, rosin, wax, oil, etc.

Over sixty quotations from Latin writers are
given to testify to the general practice of such
a method. Although time has partly destroyed
these varnishes, enough has been found still ad-
hering to the clay to allow the writer to carry
out conclusive experiments in regard to their
exact nature.

- Les vases de forme purement
Franque et leurs ornements a la
roulette. Bruxelles, 1890-91-98.
8°; plates.

"Vases of true Frankish form and
their impressed ornamentation."

These vases show the constant use of a small
wheel, bearing engraved upon the outer rim a
succession of dots, lines, zig-zags, etc. By run-
ning the tool over the moist clay, bands of con-
tinuous ornaments could be speedily formed.
Very long afterwards, Wedgwood constantly
used the same mechanical process of ceramic
ornamentation.

La ceramique antique plus

legere que 1'eau ; fabrication et
composition. Mons, 1900. 8°,
pp. 14. (Reprint from the Ann.
du Cercle Arch, de Mons.)

" Antique pottery, lighter than water ;
manufacture and composition."
426

Hydrated magnesia was the substance used
for making bricks so light that they floated on
water.

VAN DE CASTEELE (D.).— Ores liegeois.
Bruxelles, 1879. 8°, pp. 5.

" The stoneware vessels manufactured
for the town of Liege at Raeren and at
Bouffioux."

Greswallons. Bruxelles, 1880.

8°, pp. 7.

" Wallon stoneware,"

A complement to the publications of Mr. Van
Bastelaer upon the Bouffioux factories.

Le sculpteur P. L. Cyme et sa

manufacture de porcelaine a
Hastiere-Lavaux. Namur, s.d.
8°. Pp. 24.

"The sculptor, P. L. Cyme, and his
porcelain manufactory at Hastiere-
Lavaux."

L'ancienne fa'iencerie liegoise.

Bruxelles , 1884. 8°, pp. 43.

" The ancient faience manufactory of
Liege."

Ores cerames de Namur.
Bruxelles, 1885. 8°, pp. 54.
" The Namur stoneware."

All the above articles have been reprinted, in
pamphlet form, from the archaeological journals,
in which they first appeared. Mr. Van de Cas-
teele, archivist of the town of Liege, has found
in the documents entrusted to his care many
ancient records of great importance for the his-
tory of the ceramic industry in Belgium and the
Low-Countries.

VAN DE PUT (A.).— Hispano-Moresque
ware of the fifteenth century.
A contribution to its history and
chronology, based upon armorial
specimens. London, Chapman
& Hall, 1904. Sq. 8°, pp. iv-
105; with 34 pis. (3 col.).
12s.

VAN DUYSE (H.).— Gres Wallons. Le
capitaine Chabotteau ; Bouvig-
nes, Namur. Bruxelles, 1882.
8°, pp. 22 ; 1 pi.

" Walloon stoneware. Captain Chabot-
teau; Bouvignes, Namur."

VAN]

CERAMIC LITERATURE.

[VAS

A biographical sketch of the founder of the
Bouvignes and Namur stoneware factories. In
his chequered career, J. B. Chabotteau was only
incidentally connected with the manufacture of
pottery. Soldier of fortune, underwriter, and
commissioner of the army, inventor, merchant,
and manufacturer in turn, we recognise in him
the regular type of the business adventurer, the
impecunious promoter of shadowy companies.
All his schemes ended in a disastrous failure,
his stoneware manufactories, of which the un-
availing struggles for existence are narrated in
this paper, being as unfortunate as his other
enterprises.

Musee archeologique de la
Ville de Gand. Catalogue de-
scriptif. Gand, 1886. 12°, pp.
128.

'; Catalogue of the Ghent Museum of
Archaeology."

To the zeal and knowledge of Mr. Van Duyse,
the first curator of the museum, is due its ex-
cellent arrangement. Ceramics, Nos. 1-754 ;
some remarkable pieces of mediaeval pottery,
ancient tiles, Flemish stoneware, etc.

YANGUYON (Hme. Brasier de la).— Guide

to painting on porcelain and
earthenware ; publ. by Mile.
Tantiot. Boston, 1877. "

VAN HASSELT (G.).-Over de Jacoba's
Kannetjes. Amsterdam, Van
der Kroc, 1780. 8°, pp. 76. 5s.

" The cannetes of Countess Jacqueline/'

This interesting paper disposes for ever of a
poetical tradition which represents Countess
Jacqueline de Hainault as having fashioned
with her own hand the jugs of coarse stoneware
found embedded in the moats of Teylingen
Castle, where she was kept in captivity.

After the banquet at which the loyal partisans
of the Countess solemnly drank the toast of
allegiance, it was customary to throw the jug
through the window, in order to prevent its
being used again. This alone accounts for the
presence of the many jugs unearthed under the
walls of the castle. Hasselt remarks, moreover,
that neither by their shape nor any of the pieces
are peculiar to Teylingen. Stoneware jugs of
exactly the same character have been dug up
in other places all over Holland, associated with
coins and dated inscriptions which demonstrate
that the ware had been of general iise in the
country for more than a century before the days
of Countess Jacqueline.

YANZOLINI (G.).— Istorie delle fab-
briche di maj cliche metaurensi
e delle attinenti ad esse, raccolte
a cura di G. Vanzolini. Pesaro,
A. Nobili, 1879. 2 vols., 8°; and

1 vol., 4°, pp. 377-248; with
3 pis. and Atlas, 4°. 20 fcs.

" History of the majolica manufactories
of the Metaurian provinces, and of those
connected with them, published under
the direction of G. V."

All the Italian works written upon the ancient
majolica factories having become difficult to
obtain, they were reprinted together in these
volumes, in the following order : —

Passeri ; on Pesaro.

Pungileoni ; on Urbino.

Raffaelii ; on Urbania or Castel Durante.

Ranghiasei-Branealeoni ; on Gubbio.

Mareoaldi ; on Fabriano.

Campori ; on Ferrara, Turino, Mantova, etc.

Each reprint is accompanied with annota-
tions, and additional matter. The third volume
contains " Picolpasso. Arte del vasajo," with
the plates ; and also a short technical treatise
by Gianandrea Lazzarini of Pesaro ; with some
notes on the preparation of majolica colours
extracted from divers authors.

YASARI (G.).— Luca della Robbia.
(In Le vite de'piu eccellenti archi-
tetti, pittori e scultori italiani.
Firenze, 1550, 4°.)

Many of the particulars given by Giorgio
Vasari about the life and works of Luca della
Robbia, and other artists of the same family,
have been found incorrect. Modern researches
have, among other points, established with ab-
solute accuracy the dates of the birth and death
of Luca, and have corrected many other state-
ments wrongly given by Vasari.

YASCONCELLOS (Carolina M. de). — Al-
gumas palavras a respeito de
pucaros de Portugal. (Reprint
from the Bulletin Hispanique,
T. vii.)

"A few words on the subject of the
Portuguese Buccaros."

YASCONCELLOS (J. de).— Exposicao de
ceramica ; documentos coord-
enados. Com uma serie de
marcas ineditas. Porto, 1883.
8°, pp. 98. (50 copies printed.)

" Ceramic Exhibition. A compilation
of documents; with a series of unpublished
marks."

Ceramica Portuguesa. Serie

II. Estudos e documentos in-
editos. Porto, Typ. Elzeviriana,

427

VAS]

CERAMIC LITERATURE.

[VEN

1884. 8°, pp. 112. Privately
printed.

" Ceramic art in Portugal. Inedited
researches and documents."

The above pamphlets were written on the
occasion of a ceramic exhibition held at Porto
in 1882, by the curator of the town museum.
The first is a descriptive catalogue of the objects
exhibited for the use of the visitors. In the
second it has been attempted to give a historical
sketch of the march and progress of the potter's
art in Portugal.

No references to the national pottery, which
must have been produced in early times, have
ever been found in ancient writers, and we are
not told that earthen vessels of the middle-ages
have ever been dug out of the soil. The account
begins with the description of the majolica tiles'
still adorning the walls of old palaces, churches,
and monasteries, which being mostly signed by
Italian artists, can scarcely claim a local origin.
From this we step into the eighteenth century,
when a few faience and porcelain factories were
established in the kingdom by foreign potters ;
but none of them seem to have met with per-
manent success. Imitations of French and
Italian ware only were made ; the marks and
monograms they bear are seldom found repre-
sented in European collections. This record of
the precarious conditions of the Portuguese cer-
amics during the past centuries, when other
branches of applied art had reached such a high
level in the country, gives an additional interest
to the artistic productions of the modern manu-
facturers.

YASCONCELLOS (J. de).— A fabrica de
fai'angas das Rainha. Porto.,
1891. 16°, pp. 16.

The factory of Caldas da Rainha was estab-
lished in 1885 by Bordallo Pinheiro. Its artistic
productions were favourably noticed at the Paris
Exhibition in 1889.'

YAUX (S. W.). — British Museum.
Handbook to the antiquities,
being a description of the re-
mains of Greek, Assyrian, Egyp-
tian, and Etruscan art preserved
there. London, Murray, 1851.
8°; with num. illustrs. 7s. 6d.

YEITCH (G. T.).— City of Birmingham.
Museum and Art Gallery. Cata-
logue with descriptive notes of a
collection of Chinese porcelain
lent by George T. Veitch. Bir-

mingham, 1902.
2d. '

Sq. 8°, pp. 30.

YELTHEIM lind HAGER.— Ueber die Vasa
Murrina. Helmstedt, 1791. 8°.

428

" On the Murrhine vases."

Veltheim held the view that the Murrhine
vases were objects imported to Rome from
China, and he believed that they were made of
soap-stone. This pamphlet was reprinted, in a
much enlarged form, in his Vermischten Aufsdtze.
Helmstedt, 1800. 8°.

YELTHEIM (Comte A. F.).— Conjectures
sur 1'urne de Barberini, appar-
tenant au Due de Portland.
Traduit de 1'allemand avec des
notes par E. C. J. van de Vivere.
Helmstedt, 1801. 12°, pp. xiv-
42. 1 pi.

" Conjectures upon the Barberini vase
in the possession of the Duke of Portland."

A long disquisition, with copious notes, to
prove that the reliefs on the Portland vase re-
present the Story of Alcestes, brought back from
Hades by Hercules and returned to her husband,
Admetes.

YENDEMINI (F.).— Laceramica all'Es-
posizione di Faenza nell'anno,
1875. Bologna, Zanichelli,1876.
4°, pp. 22.

" La Ceramica at the Faenza Exhibi-
tion in 1875."

YENUTI (D.).— Spiegazione d'un ser-
vizio da tavola dipinto e model-
lato in porcellana nella R. Fab.
di Napoli. Napoli, 1782. 4°.

— Interpretation des peintures
dessinees sur un service de table,
travaille d'apres la bosse dans
la fabrique royale de porce-
laine, par ordre de S. M. le Roi
des Deux Siciles. Naples, 1787,
impr. Roy. Sm. 4°. One page
of dedication to H.M. The King
of Great Britain ; with 198 pis.,
and a large fold. pi. engr. in out-
line. 20 fcs.

" Explanation of the subjects painted
on a dinner service, and of the accom-
panying figures in the round, executed in
the Eoyal Porcelain Manufactory by
command of H.M. the King of Sicily."

In these stiff and forbidding outlines is
evinced the lamentable result that a misunder-
stood application of Greek art was to produce
in modern manufacture. Each piece has been
decorated with a subject borrowed from the

YER]

CERAMIC LITERATURE.

[VIG

books just published on Greek vase paintings.
When we have said that the first one represents
an Etruscan tomb with its skeletons, some idea
may be formed of the lack of fitness of such a
scheme for the decoration of a dinner service.
The porcelain was presented by the King of
Sicily to George III., and surely no expense had
been spared to make it worthy of the purpose for
which it was intended. A combat of gladiators,
comprising about fifty figures, with horses,
chariots, trophies, etc., in the usual style of the
Capo-di-Monte porcelain, forms the central piece.
A brief description of the subject represented, in
very bad French, is printed on each plate.

Such a dinner service would well have graced
the Royal Palace of Capo-di-Monte at Naples,
in which the state apartments are all decorated
in the same style of burlesqued antiquity, and
the appointments of which offer, perhaps, the
most unmitigated examples of bad taste to be
seen in all Europe.

YERCOUTRE.— Sur la ceramique
romaine de Sousse. Paris, 1884.
8°, pp. 14 ; with 1 pi. (Reprint
from the Revue Arch.}

" Roman ceramics found at Soussa."

YERHELST (B. K.).— Description des
antiquites et objets d'art qui
composent le cabinet de feu Mr.
Joand'HuyvetteraGand. Gand,
1851. 8°, pp. 124 ; with 22 pis.
and portrait. 10 fcs.

" Description of the antiquities and
objects of art composing the collection of
the late Mr. J. d'Huyvetter."

When Ch. Ongena engraved, for d'Huyvet-
ter's private catalogue, the plates, reprinted in
the catalogue of sale of the collection, the col-
lector had neglected, probably for want of in-
formation on the origin of the ancient stoneware
he had gathered so successfully, to accompany
them with an explanatory notice. Verhelst has
endeavoured to supply the deficiency ; but the
historical notes he has added to the description
of the specimens are so scanty and so erroneous
that it is evident that the knowledge of the ware
and its makers had scarcely made any advance.
There was still no question of grouping the dis-
tinctive types according to the places or periods
of manufacture ; a simple classification by size,
form, and colours is still retained. Each piece
is, however, most accurately described ; the in-
scriptions are faithfully recorded, and the trans-
lation is given, whenever it has been found
practicable. This illustrated catalogue, printed
as a record of the sale, contains a list of the prices
realised, with the names of the purchasers.

YER1ES (A.). — Les figures criophores
dans 1'art grec, 1'art greco-rom-
ain et 1'art chretien. Paris,
Thorin, 1883. 8°. 2 fcs.

"The criophores in the Greek, Greco-
Roman, and Christian art."

Chiefly descriptive of terra-cotta figures.

YESTENRIEDER (L.).— Skize aus dem
Leben des Herrn Grafen Sig-
mund von Haimhaufen. S.L,
1792. (Extr.) 8°, pp. 26 ; por-
trait.

" A sketch of the life of Earl S. von
Haimhaufen, the founder of the Nymphen-
burg Porcelain Manufactory."

YIALLE. — Rapport du delegne des
ceramistes de Limoges a P ex-
position de Philadelphie. Limo-
ges, impr. Chatras, 1877. 8°.

" Report of the delegate of the porce-
lain makers of Limoges at the Philadelphia
Exhibition."

YIALETTES (L'Abbe L.).— Sigles figulins
releves sur les poteries trouvees
dans 1'Aveyron et a Barnassac
(Lozere). Ehodez, 1898. 8°,
pp. 36. (Reprint from the
Memoires de la Societe des Lettres
de V Aveyron.}

" Potters' marks found on the Roman
pottery discovered in the Aveyron Depart-
ment, and at Barnassac (Lozere)."

YICAT. — Die neuesten Fortschritte
by der Ziegel und Cementf abrik-
ation. Berlin, 1868. 8°.

" The latest improvements in the in-
dustry of bricks and tiles, and cement
manufacture."

YIEL CASTEL (Collection du Comte de).—

Paris, 1883. 8°, pp. 28 ; 1 pi.

Catalogue of sale. The collection comprised
378 Nos., chiefly old Sevres porcelain.

YIGNERON (A. S. et M. M.)-— Claude
Gautherot, dit J. B. Nini. Ses
terres-cuites, ses biscuits divers.
Notes et souvenirs par ses ar-
rieres petits enfants. Paris,
1884. 8°, pp. 10 ; portrait.

" Claude Gautherot, alias J. B. Nini.
His terra-cottas and his biscuits of
various kind. Notes and reminiscences
by his great-grand-children."

429

VIG]

CERAMIC LITERATURE.

[VIL

We do not know whether J. B. Nini ranks
very high as a ceramic artist, in the purely
technical acceptation of the word, but as his
delicately modelled terra-cotta medallions are to
be found in ceramic collections, we cannot re-
frain from entering this work on our list and
from reviewing the biographical notices in which
his identity is so warmly contested. In the
present case, the great-grand-childern of Claude
Gautherot assert most emphatically that their
ancestor ought to be recognised as the real
author of the medallions signed J. B. Nini.
The following statements are borrowed from the
family traditions : — C. Gautherot was born in
1729 and died in 1802. He occupied a situation
at the War Office, Paris, and his talent as a
modeller and engraver was well-known in artistic
circles. His social position made it easy for him
to obtain sittings from the notabilities of the
times ; this accounts for the large number of
portraits he has executed. Two of them — viz.,
Voltarie and Rousseau — are signed with his real
name ; notwithstanding the difference in the
signature, all the others are evidently the work
of the same hand. Unfortunately family tradi-
tions are silent as to the cause of his assuming
in all other cases the sobriquet of J. B. Nini.

This notice differs so much, in all particulars
from that previously published by Mr. A. Villers,
that it seems to refer to quite another personage.
This is probably the solution of the controversy ;
Gautherot may have modelled and signed the
medallions of Voltaire and Rousseau ; the others
must be left to J. B. Nini, an Italian modeller,
who is known to have lived and worked for
many years in the town of Chaumont.

YIGNOLA (G.). — Sulle maioliche e
porcellane del Piemonte, con
una appendice sulle antiche
maioliche di Savona. Cenni
storici ed artistici. Torino, 1878.
8°, pp. 62 ; with 2 pis. of speci-
mens and 4 pis. of marks. 3 fcs.

" The majolica and porcelain of Pied-
mont ; with an appendix upon the ancient
majolica of Savona. Historical and
artistic notes."

Old Italy is so rich in admirable majolica that
the inferior productions of the minor factories
can offer but little interest outside the localities
where they were manufactured. Turin claims
to be recognised as an ancient centre of ceramic
industry, and any attempt to establish the fact
was sure to be welcomed by the Piedmontese
collectors. In this monograph the various abor-
tive instances in which it was tried to import the
manufacture of majolica into the chief city of
the Dukes of Savoy, are duly reported. We
hear that, in 1562, a majolica factory, started
under the patronage of Duke Emanuele Fili-
berto, was at work in Turin, first under the
direction of Antonio da Urbino, and later on,
of Orazio Fontana. This enterprise, however,
as well as those which succeeded it at intervals,
were doomed to collapse before they had given
any satisfactory result. It has not been pos-

430

sible, so far, to identify any examples of the
early manufacture. At anyrate, the rich collec-
tion of the Turin Museum does not show any
specimen of the faience of Piedmont which does
not belong to a late period, and imitate more or
less haply the style of the Savona ware.

No more successful was the porcelain factory
established at Vinove by one of the Hannongs
of Strasbourg ; it had to be closed after a few
years, having in vain struggled against insuper-
able difficulties. A few notes upon another
manufactory attempted at Mondovi in 1810
close the account.

The marks reproduced upon the plates are
numerous, but they are mostly workmen's marks
of which, we are told, only unique examples
have ever been found upon the ware. Further
researches have rendered this work rather out
of date.

YILLARS (F. de).— Notes sur Clodion,
statuaire a propos du cabinet
d'un amateur. Paris., Renouard,
1862. 8°, pp. 23. (Reprint from
the Revue universelle des Arts.}
6 fcs.

" Notes on the sculptor, Clodion, and
a private collection of his work."

After a short bibliographical sketch of the
artist, the writer describes the examples of his
work in terra-cotta, then in the possession of
Baron Thibon. Some extracts from catalogues
of the sales, ranging from 1767 to 1829, in which
Clodion's terra-cottas have appeared, show to
what an extent the price of truly valuable works
of art may be affected by the flitting laws which
rule the artistic taste of consecutive periods.
From the year 1783 figures and groups which
had previously commanded a high price were
disposed of for a few francs. By a reversion in
the conditions of the market, the very same
specimens now fetch the highest figure that can
be obtained for a statuette in terra-cotta.

YILLEFOSSE (H. de).— Lampes chreti-
ennes inedites. Paris, 1875. 8°,
pp. 18 ; with 3 illustrs. (Ex-
trait du Musee Archeologique.)

" Unpublished Christian lamps."

- Sur quelques briques rom-
aines du Louvre. Paris, 1880.
8°, pp. 24.

" Notice of some Eoman bricks in the
Louvre Museum."

Contains sixty-seven inscriptions and potters'
marks found on Roman bricks, mostly from the
Campana collection.

YILLEROY ET BOCH.— Notice historique
sur les fabriques de la Societe
Villeroy et Boch. S.I., 1900.

VIL]

CERAMIC LITERATURE.

[VIN

Obi. 8°, pp. 12 ; with 36 views
of the works.

" Historical notice of the factories of
the Villeroy & Boch Co."

- Die Fiirsorge der Firma Vil-
leroy & Bock fur ihre Beampten
und Arbeiter. S.I, 1900. Obi.
8°, pp. 30 ; illustrs.

" The provisions made to ameliorate
the social conditions of their employees
and workmen by the firm Villeroy &
Boch."

Denkschrift, etc. See Wilkens

(K.)

Numerous price lists and illustrated cata-
logues have been issued by the following branches
of the V. & B. Co. : — Mettlach, Vaudrevange,
Dresden, Septfontaines, Merzig, Wadgasse,
and Schramberg.

YILLAMIL. — Catalogo de la collecion
de Porcelanas del Buen Retire
del exemo Senor D. Francesco
de Laiglesia. Madrid, 1908.
8° ; with 27 pis.

" Catalogue of the Buen Retiro porce-
lain in the collection of Signor D. F. de
Laiglesia."

YILLERS (A.).— Jean-Baptiste Nini.
Ses terres-cuites. Blois, 1862.
8°, pp. 63. 3 fcs.

" J. B. Nini ; his terra cottas."

This excellent notice on the maker of the
terra-cotta medallions signed J. B. Nini has lost
none of its value through the publication of the
Vignerons' pamphlet, in which it had been tried
to confute all the statements presented by Mr.
Villers, curator of the Blois Museum. It has now
been positively ascertained that the latter was
right in attributing the authorship of the medal-
lions to J. B. Nini, an engraver who worked for
twenty-six years in the glass manufactory of
Chaumont. The oldest inhabitants of the town
had often heard their fathers speak of him and
of his talent. He was, by no means, of a com-
municative disposition, and never spoke about
himself ; but he was believed to be an Italian
who had had serious reasons for leaving his
country and taking refuge in France. His
leisure moments were employed in modelling
portrait medallions of his friends and patrons,
and of the most celebrated men of his day. Of
these portraits he sold terra-cotta proofs to the
trade ; one franc was the usual charge for one
copy. Notwithstanding the smallness of the
price, they never commanded a large sale, with
the exception of the Franklin medallion, for
which there was a big demand in America.

When he died, in 1786, it was not found possible
to dispose in the market of the considerable
stock of terra-cottas which had accumulated in
his house. They were partly given away to
inhabitants of the locality, and partly destroyed.
The original proofs, pressed out of metal moulds,
and consequently very superior in sharpness and
delicacy of details to the subsequent reproduc-
tions, are now much appreciated by collectors.

YILLERS (G.)-— Notice sur la manu-
facture de porcelaine dure de
Bayeux. Caen, typ. Hardel,
1856. 8°, pp. 16. (Reprint
from the Annuaire Normand.)

" Notice of the hard porcelain manu-
factory of Bayeux."

Mr. Langlois was the first to utilise the kaolin
found at Pieux, near Cherbourg, in the factories
he established, first at Valognes, and afterwards
at Bayeux. The clay is of inferior quality, but
the paste made with it has the advantage of
resisting rapid changes of temperature. It is,
therefore, exceptionally well adapted for the
making of chemical utensils and domestic fire-
proof vessels, which the factory made its
speciality.

YILLETART (E.).— La ceramique an-
cienne et moderne. S.l. (1868 ?).
Pp. 14. (Extract.)

YIMERCATI-SOZZI (Paolo).— La figulina
iconografica ed epigrafica. Ber-
gamo, Gaffari e Gatti, 1877. 4°,
pp. 35 ; with 2 lith. pis. of
Roman lamps and potters'
marks. 4 fcs.

"Ceramics, iconographic and epigra-
phic."

Description of the ancient B,oman pottery,
bearing the maker's mark, in the collection of
the author.

YINCENT (Collection C. and P. N.).— Cata-
logue of sale. Constanz, 1890.
4°, pp. 104 ; with 18 phototyp.
pis. 15 fcs.

Ceramics, Nos. 600 - 876. An interesting
series of Urbino majolica dishes, with inscrip-
tions at the back and dates ranging from 1553
to 1576 ; paintings and inscriptions are repro-
duced on 10 plates.

YINCENT (Jacques).— La Pyrotechnic,
ou arts du feu . . . etc. Paris,
G. Jullian, 1572. 2nd ed.
Rouen, J. Cailloue, 1627. 4°;
woodcuts.

431

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CERAMIC LITERATURE.

[VOG

" French translation of Biringuccio's
Pyrotechnia."

Chap. xiv. Discours sur 1'art qu'on doit
suyvre pour faire Ics pots, avec aucun de ses
secrets. An obscure translation of a very clear
text.

YINET (£.)•— Bibliographic method-
ique et raisonnee des Beaux-

Arts. Paris, 1874-
288-viii. 6 fcs.

77.

8°, pp.

" Methodical and descriptive biblio-
graphy of the fine arts."

The publication of this work was interrupted
after the issue of the first two parts. A list of
works on Greek vases comprises eighty numbers.
Additional mentions of books relating to classical
ceramics are found in the following sections : —
Museums and Galleries, Etruria, Scientific
Missions, Archaeology, etc.

- Lettre a Mr. Minervini sur
un vase de la collection de M.
M. de Santangelo. Paris, 1853.
8°, pp. 12.

" A letter to Mr. Minervini on a vase
of the Santangelo collection."

YIOLARD (£.)•-— De la ceramique ber-
bere, Rapport. Alger, 1897. 8°,
pp. 36.

" A report on Berber ceramics."

YIRCHOW (R. ).— Ueber Gesichtsurnen.
Berlin, 1870. 8°, pp. 16 ; with
8 illustrs.

" On the ancient urns, with a human
face upon the front."

Ueber der Zeitbestimmung

der italienen und deutschen
Hausurnen. Berlin, 1883. 8°.

" Conjectures on the period to which
belong the urns in the shape of a house
found in Italy and Germany."

YISCONTI (E. Q.)-— Le pitture di un
antico vaso fittile trovato nella
Grecia, appartenente al principe
Poniatowski. Roma, 1794. Fol.;
with 4 pis.

" The paintings on an antique fictile
vase, found in Greece, in the possession
of Prince Poniatowski."
432

Lettera sopra alcuni vasi

rinvenuti nelle vicinanze della
antica Alba-Longa. Boma,I811.
4°, pp. 40 ; with 4 pis. 5 fcs.

" A letter on some vases discovered
near the site of ancient Alba-Longa."

YIYENELMUSEUM.-Cataloguedumusee
Vivenel. Compiegne, 1870. 8°.

This collection, presented to his native town
by the architect Vivenel, comprises — Greek
vases and terra-cottas, Nos. 753-1,107 ; Roman
pottery, 1,108-1,960 ; Italian and French faience,
3,002-3,109 ; ancient stoneware, 3,110-3,129.

YIZETELLY (F.), (Anon.). — Catalogue
of the Worcester collection of
porcelain, divided into six classes
or periods, and illustrating the
progress of ceramic manufacture
at Worcester from its earliest
period (1751) to 1862. London,
printed by G. Unwin, s.d. (1865).
4°, pp. 30.

A collection exhibited in 1864 at the South
Kensington Museum, and offered for sale to the
Department of Science and Art " for the nucleus
of a ceramic museum, the want of which was so
often lamented by Minton." The proposal
was not entertained, and the collection was, we
believe, sold by auction. It contained 256 Nos.
It is not unnecessary to observe that the Royal
Porcelain Works of Worcester had no connection
with this, which was an altogether private affair.

YOGEL (E.) and PICHLER (R.).— Woraus
sie tranken. Feuchtfrohliche
Verse von E. Vogel zu kera-
mischen Bildern von R. Pichler.
Frankfurt a. M., 1897. 8°; 16
pen and ink illustrs., with de-
scriptions in verse. 10 m.

" The vessels out of which they drank.
Merry drinking rhymes, written by
E. Vogel, to accompany the subjects
painted by K. Pichler on ceramic ware."

YOGEL (K.).— Die oesterreich. ker-
amische u. Glass-industrie auf
die Weltausstellung in Chicago.
Wien, 1894. 8°.

" The ceramic and glass industries of
Austria at the International Exhibition
of Chicago."

VOG]

CERAMIC LITERATURE.

[VOL

YOGEL (K. J. ). — Scenen Euripideischer
Tragoedien in griechischen Vas-
engemalden. Leipzig, 1886. 8°,
pp. 156. 3 m.

" Scenes from the tragedies of Euripides
in the Greek vase paintings."

YOGT (G.).— Poterie. Paris, 1873.
8°. (In Dictionnaire de Chimie,
by Wurtz.)

The writer was for many years technical
director of the National Manufactory of Sevres.

La porcelaine. Paris, May

et Motteroz, 1893. 8°, pp. 304 ;

with 83 illustrs. and marks.
4 fcs.

The volume forms a companion to Deck's work,
La faience. Although it purports to be a mere
elementary manual of porcelain manufacture,
this small treatise stands much above the usual
range of popular handbooks. It is purely histo-
rical in the first part, but in the second part, which
treats of the composition of pastes, glazes, and
colours, and of the technical processes employed
in the art, a writer of Mr. Vogt's ability was
bound to introduce many scientific observations
and practical directions, the fruit of his long
experience as a potter. They constitute a clear
and reliable compendium of technical knowledge,
in which the ancient methods of manufacture
are contrasted with those in use at the present
day. It is not a complete treatise, but a valu-
able notebook, which will always be consulted
with advantage by the manufacturer and the
ceramic artist.

Recherches sur les porce-
laines chinoises. Etudes faites
sur les matieres recueillies a
King-Te-Tchen, et envoyees a la
Manufacture de Sevres par Mr.
F. Scherzer. Paris, 1900. 4°,
pp. 28. (Reprint from the Bul-
letin de la Societe d 'Encourage-
ment.)

" Researches on Chinese porcelains.
Experiments made on the materials
obtained at King-Te-Tchen, and forwarded
to the manufactory of Sevres by Mr. F.
Scherzer."

- Notice sur la fabrication des
Gres. La fabrication du Gres-
cerame de la Manufacture Nat.
de Sevres. Communication faite
a 1' Union Ceramique et Chau-
28

fourniere de France. Paris,
1900. 8°, pp. 16.

" The manufacture of stoneware at the
Nat. Fact, of Sevres."

- De la composition des Ar-
giles. Paris, 1906. 4°, pp. 20.
(Reprint from the Memoir es de
la Soc. d* Encouragement.)

" On the composition of clays."

YOLKMANNS (Georg-Anton). — Silesia

subterranea, oder Schlesien, mit
seinen unterirdischen Schatzen,
Seltenheiten, etc. Leipzig, Werd-
mann, 1720. Sm. 4°, pp. 344 ;
with 55 engr. pis. 10 m.

" Subterranean Silesia, with its under-
ground treasures, rarities, etc."

This work describes the minerals, the metals,
the stones, the clays, the fossils, etc., found in
Silesia. Two chapters have for us a particular
interest, viz. : — Cap. XIII. OF ALL KINDS OF
SIGILLATED CLAYS, pp. 275-289. Boluses of
terra sigillata were prepared from clays extracted
in Germany and sold as a substitute for those
previously imported from the East. Sixty
varieties of the seals with which they were
stamped are engraved on three plates. One of
them bears the portrait of the first discoverer of
the precious clay, Johannes Montanus, and the
date 1568. Upon others we see a view of the
mountains in which it was discovered, a coat-
of-arms, or an emblem, often accompanied with
the names of the rival places which boasted of
possessing an earth of a quality superior to all
others. All these marks are elucidated by the
author. Cap. XV. OF THE VARIOUS SEPULCHRAL

URNS, OR MORTUARY POTTERY, ETC., pp. 303-327 J

with 4 pis. of earthen vessels. One of the most
curious conjectures indulged in by the early
antiquaries as to the origin of the mysterious
urns so abundantly found buried in the soil of
old Silesia is here related. It appears that, as
they were most often discovered full of bones, it
was believed that they had been buried by the
monks, who often disregarded the rules of their
order by which they were forbidden to eat flesh,
and that in this way they concealed all traces of
their transgressions. It is also stated that in the
Marches of Brandenburg such pots were exten-
sively used by the farmers. The milk poured
into them was said to accumulate more cream
and make better butter. They were placed, full
of water, in the poultry yard, because the
chickens which drank out of them were supposed
to grow fatter and to be proof against disease.
But the writer makes light of afl these extra-
vagant superstitions, and, adopting the theory
propounded by Treuern, demonstrates that they
must be regarded in the same light as the ciner-
ary urns found in the Roman sepultures. He
justly recognises in them the work of the Gothic
tribes which inhabited Germany from the
third up to the ninth century of our era. The

433

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CERAMIC LITERATURE.

[WAR

record he gives of the most important finds of
pottery in the old German burial-grounds is
accompanied with a brief notice of all the books
which had been written on the subject.

YORS (Frederic).— Bibelots and Curios ;
a manual for collectors. With
a glossary of technical terms.
New York, Appleton, 1879. 16°.

YOSMAER (A. ).— lets over de Haagsche
plateelbakkerij " Rosenburg."
Amsterdam, 1892. 8°; with 17
illustrs. (Extr.)

" A few words about the Rosenburg
faience factory at the Hague."

YOSS (A.).— Katalog der Ausstellung
prahistorischer und anthropolo-
gischer Funde Deutschlands.
XI. Allgemeinen Versammlung
der deutscher anthropologischen
Gesellschaft. Berlin, 1880. 8°,
pp. 619 ; with text illustrs. 3 m.

" Catalogue of the Exhibition of pre-
historic and anthropologic objects dis-
covered in Germany. Eleventh general
meeting of the German Society of An-
thropology."

WADDINGTON (Collection Evelyn).— Paris,

1895. 4°, pp. 32 ; with 6 pis.
Catalogue of sale.

The rarest types of the Rouen faience are
represented in this collection by specimens of
the highest order. We notice particularly a panel
composed of twent3T-seven tiles, on which is
painted a nuptial procession with numerous
figures.

WAGGAMAN (Collection).— Catalogue of

a collection of ... and Ori-
ental art objects belonging to
T. E. Waggaman, of Washing-
ton, compiled and edited by H.
Shugio, with preface by the
proprietor. New York, 1893.
8°.

Introductory remarks on the pottery and
porcelain of Japan by a Japanese connoisseur,
pp. 17-28. The catalogue gives the description
of 750 pieces of Japanese ceramics, pp. 29-318.

434

WAGNER (E.).— Antike Bronzen der
grossherzoglich badischen Alter-
thumersammlung in Karlsruhe.
Karlsruhe, 1885. Fol. ; 32
photogr. pis., no letterpress.
30m.

" Antique bronzes in the Grand Ducal
collection of antiquities at Carlsruhe."

Contains six plates of painted vases and three
of Greek terra-cottas, in addition to a number
of bronzes.

Hiigelgraber und Urnen-
Friedhofe in Baden ; mit be-
sonderer Beriicksichtigung ihrer
Thongefasse. Karlsruhe, G.
Braun, 1885. 4°, pp. 55 ; with
7 pis. (1 col.). 5 m.

" Grave mounds and urn burial grounds
in Baden ; with special considerations on
their earthen vessels."

The cinerary urns found in the ancient burial-
grounds of Baden belong mostly to the class
to which the name of Hallstalt type has been
given by German antiquaries. They are orna-
mented with geometrical patterns impressed in
the clay, and beautified by the application of
various colours. Plate vi. gives an excellent
reproduction of one of these urns, perhaps the
finest in existence. Earthen urns of exactly the
same character are illustrated in Fohr's Hiigel-
graber auf der Schwabischen Afh.

WAGNER (F. ).— Sammlung von Origin-
alzeichnungen zu decoriren und
verzierenden Stiibenofen und
Kaminofen in gebrannten und
glazirten Thon. Berlin, 1846-
47. 4°.

" A collection of original designs for
the decoration and ornamentation of
glazed earthenware stoves and chimney
pieces."

WAGNER (J. A. yon).— Thon statt Gold.
Ein Zeitbild aus dem 17 und 18
Jahrhundert. Bautzen, 1899.
Sq. 8°, pp. 236. 4 m.

" Clay in lieu of Gold. A picture of
social life in the seventeenth and
eighteenth centuries."

Bottger's discovery of kaolin told in a tale
for children.

WAKEMAN (W. F.).— Catalogue of
specimens in the collection of

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CERAMIC LITERATURE.

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the Royal Irish Academy. Dub-
lin, 1894. 4°.

Vol. I. Crannoge finds . . . Pottery, ete.

WALCHER-MOLTHEIM (A. R. YOn).-
Bunte Hafner-keramik der Re-
naissance in den osterreichen
Liindern ; Osterreich, ob der
Enns und Salzburg bei beson-
derer Beriicksichtigung ihrer Be-
ziehungen zu den gleichzeitigen
Arbeiten der Niirnberger Hafner
Wien, Gilhofer & Rauschburg,
1906. Fol., pp. viii-121 ; with
25 pis. (12 col), and 130 text
illustrs. £5.

" Polychrome pottery of the Renais-
sance period in the Austrian provinces ;
Austria, or the productions of Enns and
Salzburg considered in their relation to
the work of the contemporary potters of
Nuremburg."

A handsome volume full of new information.
It opens a large field for archaeological research.
The class of pottery examined by the author was
well-known to the German collector, but, so far,
it had remained of undetermined origin. A
chapter which restores to Paul Preuning, of
Nuremberg, the ware generally attributed to
Hirschvogel is of particular interest.

WALDECK (F. de).— Voyage pit-
toresque et archeologique dans
la province d' Yucatan pendant
les annees 1834-36. Paris, 1838.
Fol. ; with 22 pis., mostly col.
(3 of pottery). £3.

" A picturesque and archaeological
journey through the Yucatan province
during the years 1834-36."

Mr. de Waldeck was one of the first to call
attention to the ancient pottery of Central
America. He was strongly impressed with the
variety and originality of the shapes of the
earthen vessels he had occasion to see in his
journey, and of which he made a small selection
for reproduction in his work.

He lived to a very advanced age, and was
known in Paris as " the Nestor of painters."
A constant exhibitor to the Salon, he still con-
tributed some pictures after he had become a
centenarian.

WALDEGG (E. H. YOB). — Die Kalk-
Ziegel- und Rohrenbrennerei in
ihrem ganzen Umfang. Leipzig,

Thomas, 1861.
with 233 illustrs.

8°, pp. 440;

- 3rd ed. Revised and aug-
mented by P. Kaiser. Leipzig,
1895; with 624 illustrs. 20m.

" A complete treatise of the manufac-
ture of lime, bricks and tiles, drain
pipes, etc."

The third edition, brought up to date by an
experienced manufacturer, describes the latest
processes introduced in modern manufacture.
A list of all the articles on the subject which
have appeared in the technical journals of Ger-
many is given in the appendix.

WALKER (Collection). — Catalogue of

sale. London, 1871. 8°; with
3 lith. pis. and 1 woodcut.

Old English pottery and porcelain.

WALKER (Collection T. Shadford).— Cata-
logue of sale. London, 1885. 4°,
pp. 28 ; with 9 photos. 15s.

A collection of old Wedgwood ware formed
by Mr. T S. Walker, of Liverpool. He had
added to it a large selection of Tassie's portrait
medallions and glass cameos. The plates give
235 reproductions out of the 345 Nos. entered
in the catalogue. Although the specimens were
all of very choice quality, the prices showed a
tendency to fall below the scale established by
previous sales. A large jasper vase with the
Apotheosis of Virgil reached only £350, about
one-half of what had been paid for it by the
collector.

WALL (B.). — Lecture on pottery de-
livered before the Literary and
Science Society of Salisbury.
London, 1853. 12°, pp. 41.
Privately printed.

The town of Salisbury had among its residents
a small group of old china collectors who pro-
moted the revival of taste for ceramic art, and
have contributed some valuable books to the
literature. Among them we may count J. E.
Nightingale, R. W. Read, Tiffin, etc.

WALLET (E.).— Description du pave
de 1'ancienne cathedrale de
Saint Omer, consistant en dalles
gravees et incrustees de mastics
de couleurs variees ; suivie de
la description de deux autres
paves de carreaux de terre-
cuite vernisses decouverts, Tun
aux archives de Fancienne cathe-
drale, en 1838, 1'autre lors des

435

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CERAMIC LITERATURE.

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fouilles faites en 1'eglise de St.
Bertin en 1843. Douai, 1847.
4°, pp. 128 ; and atlas fol. of
10 pis. 12 fcs.

" Description of the pavement in the
ancient cathedral of St. Omer, composed
of engraved flagstones inlaid with mastic
varnishes of various colours ; also the
description of two other pavements made
of glazed earthenware tiles discovered,
respectively, one in the archive room of
the ancient cathedral in 1838, the other
during the excavations made in the St.
Bertin Church in 1843."

An interesting subject is offered to our con-
sideration by the various methods of floor decor-
ation employed conjointly in the Cathedral of
St. Omer. As it is probable that these pave-
ments were executed at different periods, their
presence in the same building may help us to
ascertain at what time earthenware tiles super-
seded the marble mosaics and incised stones, of
which such admirable application had been
made in the earlier portions of the church.

Unfortunately, the original pavement of the
cathedral, formed of various materials, marble
slabs, incised flagstones, and glazed tiles, so as
to constitute a magnificent design, had been
wantonly broken up and used as filling rubble
when the floor of the nave was raised a few feet
in 1735. An attempt to restore the debris was
undertaken in 1843, but the endeavour to fix
the place that each fragment occupied in the
general scheme had to be abandoned.

The case was quite different when they
brought to light the tile pavement in the archive
room, and that of St. Bertin's Church, as these
buildings had not suffered from the vandalism
of the restorer, so that the ancient covering of
the floor beneath the ruins remained undis-
turbed. It was found that, in combination with
red tiles of early mediaeval style, borders and
panels of much finer tiles, painted, on white
ground, with figure subjects, had been introduced
in quite an unwonted manner. Knights on
horseback, with sword and shield, similar in
character to the equestrian personages seen on
the heraldic seals of the thirteenth and four-
teenth centuries, are represented on these tiles.
Upon a ocating of fine white clay the subject is
outlined in manganese purple, and enlivened
with touches of green and yellow. Tiles of such
a description are well calculated to excite our
surprise. One must turn to the earliest faience
of Italy to find the equivalent of a white pottery
painted in that manner at a corresponding
period. We do not know whether any other
example of it has ever been found in the North of
Europe. Of all the numerous white tiles that
were discovered at Saint Bertin mixed with the
red ones, only three were secured in tolerably
good condition. They were deposited in the
archaeological museum of the town, where they
may now be seen. The rest were so much de-
teriorated by age and damp that they crumbled
into dust in the hands of the discoverers.

WALLIS (G.)-— The art manufactures

436

of Birmingham and the Midland
Counties at the International
Exhibition of 1862. London,
1862. 8°.

Staffordshire Potteries, Worcester, Coalport,
pp. 58-87. Mr. George Wallis was for many
years curator of the ceramic galleries at the
South Kensington Museum.

WALLIS (G. H.).— Nottingham Castle
Museum. Catalogue of classical
antiquities from the site of the
Temple of Diana, Nemi, Italy.
Discovered during excavations
undertaken by the Right Hon.
Lord Savile, G.C.B., etc., and
given by him to the Art Museum
of Nottingham. Classified and
described, with notes, by G. H.
Wallis, curator. Nottingham,
1891. 8°, pp. 82.

About 600 Nos. of terra-cotta figures, vases,
lamps, etc.

WALLIS (Henry). — Notes on some early
Persian lustre vases. London,
Quaritch, 1885-89. 3 parts.
Imp. 4°, of, together, pp. 36 ;
with 14 col. pis. and text illustrs.
15s.

For long the oldest specimens of lustred
Persian ware in our museums had been ascribed
to the period of Sha Abbas (1585-1627). The
discovery of an Oriental MS. of the eleventh
century, in which the writer describes the trans-
lucid ware decorated with golden lustre he had
seen offered for sale in the bazaars of Misr, in
the course of his journey through Persia, enables
us to place the manufacture of Persian porcelain
and faience at a very early date.

A large collection of fragments answering the
description given by the Oriental traveller may
be seen in the British and the Victoria and
Albert Museums. They were unearthed from the
site of ancient Rhages, near Teheran, a city
known to have been Brazed to the ground in the
year 1221. By determining the distinctive
features of these fragments, and comparing them
with the entire specimens in our possession which
offer a similar paste and a decoration in the same
style also painted in iridescent colours, Mr.
Wallis has been able to fix the approximative
age of many interesting examples of, so far,
unsuspected antiquity. His task has been
greatly facilitated by the inscriptions found on
some lustre vases, the most ancient of which
belong to the thirteenth century. This is, as
far as he could ascertain, the period at which
the process of painting pottery with lustrous
colours was introduced into Persia. It had been,
however, practised in other countries of the East,

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CERAMIC LITERATURE.

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for centuries before that time, by the Arab and
Saracenic potters. If we accept the author's
theory that no lustred Persian ware is anterior
to the thirteenth century, we can no longer con-
sider the Rhages fragments as having a local
origin, a solution which rather confuses the
process of identification. The volume is ad-
mirably illustrated with photo-chromos executed
by Griggs after the original water-colours of Mr.
Wallis ; they are a model of the kind ; the
iridescence of metallic lustres has never been so |
effectively rendered.

- Persian ceramic art in the
collection of Mr. Du Cane God-
man, F.R.S. The thirteenth
century lustred vases. London,
1891. Privately printed. Imp.
4°, pp. xii-50 ; with 29 pis. (24
col.), and 17 tinted pis. in the
appendix. £8.

The grand catalogue of a grand collection,
the first one formed to illustrate, with the choicest
examples, the earliest forms of Persian ceramics.

Typical examples of Persian
and Oriental ceramic art. Lon-
don, Lawrence & Bullen, 1893.
(Parts I.-II.) Imp. 4°, pp. 23 ;
with 4 col. pis. and 1 1 illustrs. in
the text. 14s.

This work, which was to have comprised
25 parts with 50 col. plates, has never been
completed.

- Persian ceramic art belonging
to Mr. Du Cane Godman ; with
examples from other collections.
The thirteenth century lustred
wall tiles. London, 1894. 4° ;
with 43 pis. and 39 text illustrs.
£6.

iThe magnificent embossed and lustred tiles
which cover the walls of the mosques and palaces
of ancient Iran had scarcely been touched upon
in Mr. Wallis' previous works. This volume
describes selected examples of this branch of the
art of the Persian potter.

- Pictures from Greek vases.
The white Athenian lekythi.
London, Dent & Co., 1896. Obi.
fol., pp. 18 ; with 12 col. pis.,
and 22 text illustrs. £2, 2s.

With very few exceptions, the white lekythies
now preserved in our museums were discovered
in the ancient necropolis of Athens and its
neighbourhood. These vases are regarded, on
that account, as being of Athenian manufacture.

Upon the milky surface of the elegant phial is
usually painted, in several colours, a subject
having reference to the funereal rites. They
seemed to have been intended as a votive offering
to the dead. The style of the design is very
different from that of the paintings of the vases
with black or red figures. It has been suggested
that the subjects were reproductions of the
works of the best painters of the period, and
that they show an obvious intention of applying
to ceramic decoration the freedom of treatment
and the effects of colours so far reserved for the
polychrome frescoes which adorned the walls of
Greek edifices. Captivated by the spirited and
delicate pencilling peculiar to the white lekythies
paintings, most of the writers on Greek vases
agree in giving them the foremost place in their
estimation. No doubt, the graceful attitude of
the figures, the prettiness of the faces, and the
natural fall of the draperies satisfy completely
the tendencies of our modern taste ; but for the
true lover of Greek art, for the one who can
appreciate to its full value the ideal beauty of
the more rigid and conventional design of the
red figure vases of the best period, the very
points which recommend the lekythis to general
admiration are nothing else but an unmistakable
sign that the art was then taking its first step
towards realism and decadence.

Italian ceramic art. Ex-
amples of majolica and mezza-
majolica fabricated before 1500.
London, privately printed, 1897.
Sq. 8°, pp. xxxv-123 ; with 60
typo-etching pis. £1, Is.

A book treating of a subject so thoroughly
investigated as the origin of Italian majolica, if
it does not contain anything new, should at least
offer a well-digested summary of the knowledge
arrived at. The introductory notice, in which
the early history of the ware is passed under
review, is not as complete as one could expect
from the pen of the writer. A random cata-
logue of specimens of majolica of the fifteenth
century, illustrated with rough pen and ink
sketches, constitutes the larger part of the vol-
ume. Each plate is accompanied by a short
explanation, which neglects, in most cases, to
indicate the presumable date and place of
manufacture of the piece, an omission which
deprives the sketch of the historical interest
that it might have presented.

- Egyptian ceramic art. The
Macgregor Collection. A con-
tribution to the history of
Egyptian pottery, with illus-
trations by the author. London,
1898. 4°, pp. xxiv-85; with
30 col. pis. and 187 text illustrs.
£3, 3s.

This volume pretends to be more than a mere
descriptive catalogue, for the larger part of the
pen and ink illustrations come from other sources

437

CERAMIC LITERATURE.

[WAL

than the collection of the Rev. W. Macgregor, of
Bolehall Manor House, near Tamworth, which
has been taken as the connecting link of ram-
bling notes gathered by the author in all the
chief museums of Egyptian antiquities. Yet it
cannot claim to be a historical sketch of the
march and progress of the ceramic art in the
land of the Pharaohs. To frame a system of
classification of the Egyptian pottery, either in
chronological or technical order, was certainly a
difficult task. The objects reproduced and de-
scribed are successively presented ; but no
definite plan has been followed in their arrange-
ment. It is true that the specimens given on
the first page are said to be of a very early date.
But they are of the green and turquoise-blue
ware which, far from being archaic in character,
belongs to the most advanced state of manu-
facture, while the style of the truly primitive
periods remains unrepresented. Examples of
the semi-classical pottery glazed in various
colours, made at the time of the Roman occupa-
tion, are grouped at the end of the volume. All
the rest is but a picturesque display of ceramic
productions of undetermined period and place of
origin, which does little to dispel the mist with
which the history of the potter's art in Egypt is
still surrounded.

We cannot refrain from observing that by
substituting the word faience for the long-
accepted term porcelain, the author has been
guilty in many cases of a most regrettable techni-
cal error. Faience and porcelain are both re-
presented in Egyptian ceramics. The glaze
applied to these two very different kinds of
bodies was, however, the same in each case. It
consisted of a fusible compound to which had
been added a small percentage of oxide of copper.
When used as a glazing to the faience — that is to
say, the regular pottery made of natural clay —
it became of a deep myrtle green under the
action of the fire. But when fired in connection
with the siliceous paste — an artful combination
of artificial substances that may fairly be called
porcelain, used for articles of a superior class —
it developed a brilliant turquoise colour, un-
obtainable upon faience. The colour of the
glaze is, therefore, sufficient to prevent any
hesitation in discriminating between what is
faience and what is porcelain. To describe them
both under the same name is to take an unwar-
rantable liberty with ceramic technology We
may add that the same copper-green glaze is
further modified into a pale and yellowish tint
when it is applied to such natural substances as
schist, steatite, etc. Of these three varieties of
the Egyptian pottery many specimens are
included in the collection.

WALLIS (Henry). - - Persian lustre
vases. London, 1899. 4°, pp.
16 ; with 4 col. pis. and 25 text
illustrs. 15s.

Egyptian ceramic art. Typi-
cal examples of the art of the
Egyptian potter, portrayed in
colour plates, with text and
illustrations. London, 1900.
438

Pp. vii-37 ; with 12 col. pis.
and 45 illustrs. £2, 2s.

Like the work dealing with the MacGregor
collection, this one reproduces a number of speci-
mens presented in no particular order. The
volume contains fewer of the late Greek vases and
figures which the author, resting his opinion on
wide hypothesis, likes to consider as the work of
the Egyptian potter, yet the curious bowl placed
at the end of the book seems to be there strangely
out of place. It is made of the same white clay
as the Athenian lekythi ; the figure of our Lord,
outlined in white enamel in the centre of the
piece, is of a purely Byzantine character ; a
character, by-the-bye, which the drawing fails
altogether to reproduce. The bowl may be seen
in the British Museum ; the subject is clearly
delineated on the ivory tint of the ground, and
need not be covered with water, as stated in the
description of it, to become apparent. Enamel-
ling was practised in Asia Minor by Greek artists,
and one might with more plausibility ascribe a
Greco-Byzantine origin to the work. The ad-
mirable treatment of. the Persian ware has not
been maintained in the reproduction of the
Egyptian pottery. For instance, we have to
take it for granted that the heavy green with
which all the pieces are uniformly coloured stands
in most cases for the brilliant turquoise blue of
the originals.

— The Oriental influence on
the ceramic art of the Italian
Renaissance. London, B. Quar-
itch, 1900. Sq. 8°, pp. xxx;
with 50 pp. of pen and ink
illustrs. 12s.

Whether the likeness of the rudimentary
ornamentation of the early Italian majolica to
certain types of the Oriental faience is attribut-
able to foreign influence, or simply to accidental
coincidence, is a point difficult to settle. This
paper does not bring the question much nearer
to final solution.

The art of the Precursors.

A study in the history of early
Italian majolica. London, B.
Quaritch, 1901. Sq. 8°, pp.
xxii-99 ; with 94 illustrs. 18s.

The latest finds of Italian majolica are passed
under review and contrasted with the Etruscan
and Roman pottery. A chapter is devoted to
graffito ware ; another to painted faience. The
appendix deals with fragments discovered in the
Cairo mounds, the designs of which offer a close
likeness to early majolica.

Italian ceramic art. The
majolica pavement tiles of the
fifteenth century. London, B.
Quaritch, 1902. Sq. 8°, pp.
xxvi ; with 93 pen and ink
illustrations. 16s.

WAL]

CERAMIC LITERATURE.

[WAL

From the tile pavements of Italy we gather
more information on the origin of the art of the
majolist than from the earthen vessels ; the tiles
often supplying a date much earlier than any
found on dishes and vases. E. Molinier had
already treated the same subject. The rough
sketches contained in this volume will help to
advance the study.

Oak-leaf jars ; a fifteenth
century ware, showing Moresco
influence. London, Quaritch,
1903. Sq. 8°, pp. xli ; with 92
pp. of illustrations and descrip-
tive notices. £1.

The Albarello, a study in
early Renaissance majolica.
London, Quaritch, 1904. Sq.
8°, pp. xxix ; with 117 pp. of
illustrs. printed in brown. £1.

- Seventeen plates by Nicola
Fontana di Urbino at the Correr
Museum, a study in early six-
teenth century majolica. Lon-
don, Taylor & Francis, 1905.
Sm. 4°, pp. vii-26; with 28
illustrs. £1, Is.

- Figure design and other forms
of ornamentation in the fifteenth
century Italian majolica. Lon-
don, Quaritch, 1905. Sq. 8°,
pp. xxxii ; with 103 pp. of
illustrs. and 4 col. folding pis.
£1, 4s.

- Byzantine ceramic art ; notes
on examples of Byzantine pot-
tery recently found at Con-
stantinople. London, 1908. Sm.
4°, pp. iv-12; with 41 pis.
(6 col.). 18s.

WALSH (M.)-— Chemical and geologi-
cal observations relating to
brick-making in Western India.
S.l.n.d.

WALPOLE (Horace). — Description of
the Villa at Strawberry Hill,
with an inventory of the furni-
ture, pictures, curiosities, etc.

Strawberry Hill, printed by
Thomas Kirgate, 1774. 4°. The
same, with additions, 1784. 4°.
£1, Is.

" The following account of pictures and
rarities is given with a view to their future
dispersion, the several purchasers will find a
history of their purchases, nor do virtuosos dis-
like to refer to such a catalogue for an authentic
certificate of their curiosities." Preface to the
Description of Strawberry Hill, by Horace
Walpole.

A catalogue of the classic
contents of Strawberry Hill,
collected by Horace Walpole.
Sold on Monday, the 25th day of
April, 1842, and twenty- three
following days. London, 1842.
4°, pp. xxiv-250 ; with a lith.
portr., frontispiece, and wood-
cuts in the introduction. 7s. 6d.

- Aedes Strawberrianse. Names
of purchasers and the prices to
the sale catalogue of the collec-
tion at Strawberry Hill, etc.
London, printed for J. H. Burn,
s.d. (1842). 4°, pp. 58. 5s.

The sale produced £33,450. A comparison
of the high price that some of the treasures
of Strawberry Hill reached in the auction
sales when they re-appeared a few years later,
with the paltry sum for which they had changed
hands in 1842 may assist us in forming an ap-
proximate idea of the amazing figures such a
collection would command at the present time.

WALTERS (Henry Beauchamp). — Cata-
logue of the Greek and Etruscan
vases in the British Museum.
London, 1893-96. 4°.

- Vol. II. — Black-figured vases.
1893. 4°, pp. 313 ; with 7 pis.
and 40 text illustrs. 24s.

- Vol. IV. — Vases of the latest
period. 1896. 4°, pp. 275 ;
with 16 pis. and 30 illustrs. 16s.

The vases illustrated on the plates were
selected from those not hitherto reproduced.

- Catalogue of the terra-cottas
in the Department of Greek and
Roman antiquities, British Mus-
eum. London, 1903. 8°, pp.

439

WAL]

CERA MIC LITERA TURE.

[WAR

470 ; with 44 pis. and 90 illustrs.
£1, 15s.

WALTERS (H.B.).— History of ancient
pottery, Greek, Etruscan, and
Roman. . . . Based on the
work of Samuel Birch. London,
s.d. (1905). 2 vols. 8°; with
300 illustrs. (some col.). £3, 3s.

Vol. i., part 1. — Greek pottery in general.
Part 2. — History of Greek vase-painting. Vol.
ii., part 1. — The subjects of Greek vases. Part
2. — Italian pottery.

WALTERS (H. B.)-— Catalogue of the
Roman pottery in the Depart-
ment of Antiquities, British
Museum. London, 1909. 8°,
pp. liv-464 ; with 44 pi. £2.

WALTHER (H.).— Das keramische
Druckverf ahren nach einigen Er-
fahrungen hiibersichtlich erlaiit-
ert. Dresden, Muller, 1893. 8°.
pp. 28 ; woodcuts.

" Ceramic transfer printing explained
by a practical printer."

WARD (John)— (Anon.).— The potter's

art. A poem, in three cantos.
Burslem, 1828. 12°, pp. 98.

" To court the muse " was, at that moment,
the elegant pastime of all men of leisure — young
and old — who felt themselves gifted with a
literary turn of mind. As many a volume of
contemporary poetry may testify, any subject
was then considered as good as any other to be
glorified in a poem of three or more cantos.
Still to confess a weakness for such a frivolous
occupation would have been deemed, by a grave
lawyer, somewhat derogatory to the dignity of
the gown. Consequently, when John Ward, of
Burslem, chose to celebrate in his verses the
staple trade of his native town, he published the
poem anonymously. He should not have enter-
tained any fear in this respect, for the work is
anything but frivolous. The first canto opens
with stanzas on the creation of the world : —

" When the ARTIFICER of heav'n and earth

Resolv'd to call this system into birth," etc.
A copious introduction of Scriptural texts and
classical references to Greek and Roman history
helps to bring the canto, pompously, to the end.
The second one is devoted to the practical part
of the Potter's Art. It begins thus : —
" How bodies new their varied forms acquire

Of clay and flint combin'd and fix'd by fire,

We, now, in moulded numbers would rehearse;

Our subject sues for dignity from verse," etc.
The same high-flowing style is maintained until
we come to the third canto. From that moment

440

" the Muse " shows a tendency to slight jocu-
larity. It is humbly asked, from the reader, to
make some allowance for such apparent levity,
on the ground that in certain passages the poet
has merely versified a few whimsical ideas sup-
plied to him by a more imaginative friend. We
soon relapse into more sedate rhymes, and after
having followed the progress of the art in modern
times, we are requested to listen to a few wise
sayings on moral duties —

" In which grave strain the poem concludes."

In the preface the author excuses himself for
having treated the subject as a poetical allegory,
although his original intention had been to write
a prosaic history of the potter's trade in the
district ; he soon discovered that such a task
would necessitate an amount of information and
practical knowledge altogether beyond his
capability.

WARD (John).— TheBorough of Stoke-
upon-Trent, in the commence-
ment of the reign of Her Most
Gracious Majesty Queen Vic-
toria, comprising its history,
statistics, civil polity, and
traffic, with bibliographical and
genealogical notices of eminent
individuals and families ; also,
the manorial history of New-
castle-under-Lyme, and inciden-
tal notices of other neighbouring
places and objects, by John
Ward. The appendix contains
many ancient and curious char-
ters and documents never be-
fore published, and the work is
embellished with a variety of
plates. London, W. Lewis &
Son, 1843. Imp. 8°, pp. xv-
lxvii-600 ; with 21 pis. £2, 10s.

The publication of this work was undertaken
by Simeon Shaw in 1838. Six monthly parts
were issued under his name, and curious notices,
addressed by Shaw to his subscribers, are printed
upon the wrappers. How it happened that
John Ward came to substitute his own name for
that of the original author is explained in the
preface, perhaps not altogether to the credit of
the former. When Shaw's resources became
exhausted by the expense he had incurred in
printing the first numbers, he applied to J. Ward,
who had occasionally helped him with his literary
advice, for pecuniary assistance in bringing the
volume to completion. An agreement was
entered into, through which it was settled that
Ward would write the remaining portion of the
history and bear all expenses. On condition of
renouncing all claim to be named as joint author,
Shaw was to receive all the profits accruing from
the publication.

CERAMIC LITERATURE.

[WAR

The work was completed in five years. An
exhaustive account of the conditions of the
pottery trade in Staffordshire at various periods ;
many interesting particulars upon the chief
manufactories, and a description of their re-
spective productions ; and, lastly, some reliable
notes on the life and works of the great Josiah
Wedgwood, published there for the first time,
will be found in this volume.

WARD (John). — Notes on encaustic
tiles, Dale Abbey and Morley,
Derbyshire. London, 1890. 8°;
with 2 photolith. pis. (Extr.
from The Reliquary, N.S., iv., v.)

- Billingsley and Pardoe, two
Derby " men of mark," and
their connection with South
Wales. A biographical sketch
with many references to the
bygone manufacture of porce-
lain at Nantgarw and Swansea,
and the specimens in the Cardiff
Science and Art Museum. Derby,
printed for the author by J.
Harwood, 1896. 16°, pp. 32;
with 3 woodcuts.

William Billingsley worked, successively, as
a china painter, at Derby, Pinxton, Mansfield,
Torksey ; then at Worcester in an unknown
capacity. From there, he went to Nantgarw,
where he began to manufacture a fine china ;
but the venture was not attended with success.
Subsequently Billingsley joined M. Rose, at the
Coalport factory where he ended his days.
Pardoe, his son-in-law, was also a china painter ;
for long he followed his fortunes, but little is
known about his work.

WARING (J. B.).— Masterpieces of in-
dustrial art and sculpture at
the International Exhibition,
1862, selected and described by
J. B. Waring, architect. Chro-
molithographed by and under
the direction of W. B. Tymms,
A. Waaren, and G. Macculloch.
London, Day & Sons, 1863. 3
vols. Fol., of, each, 100 pis. in
col., with descriptive text in
English and in French. Pub-
lished at £21.

A splendid memorial to the glories of one of
the most memorable International Exhibitions.
All the chief firms of Eui'ope had taken it as an
honour to be represented in this work. Ceramic
art occupies in it an important place. No classi-

fication having been followed, we have to look
for the plates representing the exhibits of the
pottery and porcelain manufacturers all through
the pa.ges of the three ponderous volumes in
which they are scattered.

WARING (J. B., edited by).— Pottery

and porcelain. Chromolith. by
F. Bedford, with an essay by J.
C. Robinson. London, Day &
Son, 1857. 4°, pp. iv-31 ; with
17 pis. in colours and 10 illustrs.
in the text. The plates had
already appeared in the Museum
of Oriental Art in the Art Treas-
ures' Exhibition, Manchester.

An album of well-selected examples of various
origin, to which the excellent article on " Cera-
mic Art," written by J. C. Robinson, has supplied
the connecting links.

WARING (J. B.).— Ceramic art in
remote ages. With the symbol
of the circle, cross • and circle,
fylfot, serpent, etc. London, J.
B. Day, 1874. Sm. fol., pp. 123 ;
with 55 lithogr. pis., represent-
ing several hundred subjects.
£1, 5s.

The superabundant examples of prehistoric
pottery belonging to all periods and to all
countries grouped on the plates, and the remarks
made on them by the author, produce in our
mind a feeling of inextricable confusion. The
theory that this pottery is meant to illustrate is
abstruse and misty in the extreme. To establish
by the similarity of the rudimentary shapes of
the earliest earthen vessels of many lands that, at
the dawn of civilisation, the embryonic arts of a
leading race cast their commanding influence over
all artistic attempts made in many distant parts
of the world ; to allege that such geometrical
figures, as circles, crosses, triangles, meanders,
incised on the surface of the prehistoric pottery,
are so many evidences that, in primaeval epochs,
humanity at large was embodying, in the same
graphic symbols, the same religious and philo-
sophical doctrines by which all people were then
animated, has been the aim of the writer. We
scarcely need say that to support the hypothesis
it should require a stronger foundation than the
comparison of the primitive signs traced on the
surface of mortuary urns, the work of aboriginal
tribes which, by their geographical location,
cannot be supposed to have ever been brought
in communication with each other. The co-
incidences arising from all primitive hand-
workers using the simplest figures as the easiest
means of embellishing their work have not even
been hinted at in this book.

WARMONT (Dr. A.).— Notice sur les
faiences anciennes de Sinceny,

441

WAR]

CERAMIC LITERATURE.

[WAY

lue en seance du Comite archeo-
logique de Noyon. Noyon, 1863.
8°, pp. 16 ; with 1 col. pi.

" Notice of the old faience of Sincenis."

WARMONT (Dr. A.)-— Recherches his-

toriques sur les faiences de

Sinceny, Rouy et Ognes. Paris,

Aubry, 1864. 8°, pp. 70 ; with

6 col. pis. 8 fcs.

" Historical researches on the faiences
of Sinceny, Rouy et Ognes."

A true son of old Picardy, the author is
anxious to establish the fact that much of the
old faience attributed to the Norman factories
has actually been made in the neighbouring
province. If the style of decoration is identical,
whatever be the origin of the specimen, a
Picardian production is easily recognised, either
by the mark it bears or by some special features
clearly pointed out in this paper. As the manu-
facture was started and carried on by Rouen
potters, the frequent repetition of the Rouen
patterns must be taken as a matter of course.
We mast remark that in this, as in many other
cases, the imitations were slightly inferior to the
originals. Were it not so well known that col-
lectors love truth above all things, it might be
suggested that the possessor of a piece, so far
believed to be Rouen faience, would be rather
disappointed on learning that it comes, in reality,
from a much less celebrated source.

WARMONT (Collection).— Catalogue of
sale. Paris, 1891. 8°, pp. 23.

Composed almost entirely of Sincenis faience.
With an introductory notice on the collector by
G. Gouellain.

WARNE (Ch.).— The Celtic tumuli of
Dorset ; an account of personal
and other researches in the
sepulchral mounds of the Dur-
otriges. London, J. R. Smith,
1866. Fol., pp. 76; with 13
etched pis., representing 60 ciner-
ary urns, and 4 illustrs. £1, Is.

WARREN (G. B.).— Catalogue of the
antique Chinese porcelain owned
by Geo. B. Warren, of Troy,
New York ; with introduction by
J. B. Clarke. Boston, U.S.A.,
1902. 8°, pp. 87 ; with 14 pis.
Privately printed.

A collection of cabinet pieces of no particular
interest. The names of the American collectors
of Oriental porcelain are given in the introduction.

442

WATSON (Collection H. 0.).— An illus-
trated and descriptive cata-
logue of the rare old Persian
pottery, with historical and
other notes pertaining to a
private collection acquired by
Messrs. H. 0. Watson & Co.,
and exhibited at their gallery.
Catalogue and notes by J. Getz,
New York, 1908. Sm. 4°, pp.
81 ; with 8 collotype pis.

The collection comprises 90 Nos., some of
them of high order.

WATZINGER (C.).— Studien zur unter-
italischen Vasenmalerei. Darm-
stadt, 1899, 8°, pp. 50. 2 m.

" A study on the vase paintings of
Lower Italy."

Part I. — The shapes and ornamentation of
the tombs of the ancients as represented on the
painted vases of Lower Italy. Part II. — Scenes
from Greek tragedies painted on vases of the
aforesaid origin. A fragment of a work to be
completed at a future date.

WAY (A.).— Tiles. (In Parker's Dic-
tionary of Architecture.) Oxford,
1850. 5th ed. ; with 12 col. pis.

This article, an amplification of the one which
appeared in the first edition of the Dictionary of
Architecture, has long remained the source from
which the subsequent writers on English tiles
have derived their information.

Hydriotaphia Cambrensis.
Ancient interments and sepul-
chral urns found in Anglesey
and North Wales. With some
account of examples from other
parts of the Principality, and
also of urns discovered with
early interments in various
parts of Great Britain and Ire-
land. Four notices collected
by the Hon. W. Stanley, M.P.
London, 1868. 8°, pp. 77 ; with
8 pis. and 31 text illustrs. of
urns. (Reprint from Archceo-
logia Cambrensis.) 5s.

WAY (J. P.).— A short history of
old Bristol pottery and porce-
lain, marks, etc. Bristol, 1908.

WEA]

CERAMIC LITERATURE.

[WEC

16°, pp. 32; with 12 pis. in
half-tone and 1 pi. of marks. 6d.

The author is a curiosity dealer at Bristol.

WEALE (J. W. H.).— -Notes et docu-
ments pour servir a 1'histoire de
la fabrication de la poterie aux
Pays-Bas. Bruges, 1873. 4°.
(In Le Beffroi, vol. iv.)

A French translation of Dornbusch's work,
The Art-Guild of Potters in the Abbey Town of
Siegburg.

- National Art Library, South
Kensington. Classed catalogue
of printed books. Ceramics.
London, Eyre & Spottiswoode,
1895. 8°, pp. 353.

A well-classified bibliography of ceramics, an
excellent guide to the numerous works on the
subject contained in the art library at the South
Kensington Museum. It comprises 3,584 titles,
a figure reached by the insertion of all the articles
which have appeared in the serial publications
of the learned societies, or in the works of general
interest, books of travels, etc., most of which are
not recorded in this work.

WEBBER (Byron).— James Orroch, R.I.
Painter, Connoisseur, Collector,
in two volumes. London, 1903.
Fol. ; num. pis. £10, 10s.

Blue and white Chinese porcelain, vol. ii., pp.
186-203; with 8 pis. in heliograph.

Many of the pieces came from the Thomson
collection. The historical notice follows the one
given by Chaffers in Marks and Monograms.

WEBER (F. J.).— Die Kunst das achte
Porzellain zu verfertigen. Han-
nover, 1798. 8°, pp. xiv-230 ;
with 7 fold. pis. 5 m.

" The art of manufacturing the true
porcelain."

Before he published this treatise, Weber had
been a porcelain painter at Ludwigsburg, and
an inspector at the Hochst manufactory. He
claims to have been the first who made a com-
plete disclosure of all the professional secrets
connected with the making of hard porcelain.
While working at Ludwigsburg, he supplied
Count de Milly with the technical part of the
book which created such a sensation, and he
complains that no credit was given to him for
his official contribution to that work. At the
. same time, he warns his readers not to place too
much reliance on such information as he had
been able to supply on those early days. His
practical experience, says he, was still limited
and imperfect ; consequently, the recipes that
De Milly obtained from him were always in-

complete and often erroneous. We regret to say
that his own work only shows that he had not
overcome his former shortcomings, and that his
knowledge of porcelain manufacture was still
deficient in many respects.

WEBER (0.).— Die Entstehung der
Porcellan und Steingut Indus-
trie in Bohem. Prag, 1894. 8°,
pp. 128. 3 m.

" The establishment of the porcelain
and earthenware industry in Bohemia."

It was not without great difficulty that the
manufacture of porcelain and earthenware, now
so flourishing in Bohemia, was introduced into
that country. The imperial manufactory of
Vienna, to which an exclusive privilege had been
granted, opposed the establishment of any hard
porcelain manufactory. When the potters of
Schlaggenwald succeeded in producing the real
article, they could only sell it under the name of
" Erdgut," or earthenware. This restraint on
the development of the industry was not to be
of long duration, and from the year 1791 the
number of porcelain works increased with
rapidity. A list of all the manufacturers known
to have been at work in Bohemia from that year
up to 1850 is given in this interesting monograph.

WEBER (S.).— Kunstgewerbliche geg-
enstande der Cultur-histor. Aus-
stellung zu Steyr, 1884. Steyr,
1885. Fol. ; with 80 pis. 20m.

" Objects of industrial art from the
Steyr Exhibition, 1884."

WEBER (T.).— Vorlaufige "Senti-
ments " iiber die bey Giessen
ernirten Urnis und Ollis Sepul-
chralibus. Giessen, 1719. 4°.

" Random disquisitions on the subject
of the urns and other sepulchral pottery
discovered at Giessen."

WECKHERLIN (de). - - Reproductions
photographiques de vases de
gres des xvie et xviie siecles.
La Haye, 1860. 4°; no letter-
press ; 41 photos (48 in a few
copies). For private distribu-
tion. £3.

Baron de Weckherlin, secretary to the Queen
of Holland, was a great admirer of ancient stone-
ware. At the sale of the Huyvetter collection
the best specimens it included passed into his
hands. He had them reproduced by photo-
graphy, and fifty portfolios, each containing a
set of proofs, were made up for presentation to
friends. The objects are given without indica-
tion of date or origin ; the lettering of plates
simply mentions the colour of the pieces.

443

WED]

C ERA MIC LITER A TURE.

[WED

At the death of the Baron, the entire collection
was acquired by Mr. Gambart, the London pub -
lisher, who had it transported to his country
mansion. It had scarcely been placed in the
picture gallery, when a gas explosion nearly
destroyed the building and its contents. The
stoneware suffered particularly from the disaster.
An offer was, however, made by the South Ken-
sington Museum to purchase, as they stood, the
broken and damaged vases. The offer having
been accepted, and the pieces carefully and
successfully repaired, they were soon exhibited
in the museum, where they formed the nucleus
of a stoneware collection second to none in
Europe. Whether some of the specimens had
been so hopelessly smashed that restoration had
become impossible, or whether they had been
previously disposed of by the former owners,
has not transpired ; but we notice that a few
of the most interesting vases photographed in
the album are now wanting in the collection. To
make matters worse, no representations will soon
be left of these exceptional examples of the art
of the old stoneware potter ; the photos, im-
perfectly fixed, are rapidly fading away.

WEDGWOOD (G. R.).— The history of
the tea cup ; with a descriptive
account of the potter's art.
London, Conference Office, 1878.
16°, pp. 154 ; with text illustrs.
2s.

WEDGWOOD (Isaac). - - The potter's
miror. A poem. Tunstall
(Staff.). Printed by I. Wedg-
wood (1820 ?).

WEDGWOOD (Josiah). — Catalogue of
cameos, intaglios, medals, bas-
reliefs, busts, small statues,
vases, etc. London, 1773. Sold
by Cadel, in the Strand ; Rob-
son, New Bond Street ; and
Parker, printseller, Cornhill. 12°,
pp. 60.

The first edition of the cata-
logues, for which Bentley is said
to have written the introduction.

The subsequent editions were
issued, at intervals, with but
slight alterations in the title :—

1774. 2nd ed. — A French trans-
lation, 8°, pp. 82, was issued
in London, same year.

1775. 3rd ed. — A re-issue of the
2nd ed. ; with 6 pp. added

444

and a woodcut of the ink-
stand.

1777. 4th ed.— In English.

1778. A Dutch translation, pub-
lished in Amsterdam.

1779. 5th ed.— In English— A
French edition, London ; and
a German translation, with a
view of the show-room in
Soho, engraved in colour,
Leipzig, were published same
year.

1787. 6th ed., under the follow-
ing title :—

- Catalogue of cameos, intag-
lios, medals, bas-reliefs, busts,
and small statues ; with a gen-
eral account of tablets, vases,
ecritoires, and other ornamental
and useful articles. The whole
formed in different kinds of por-
celain and terra-cotta, chiefly
after the antique and the finest
models of modern artists. By
Josiah Wedgwood, F.R.S., pot-
ter to Her Majesty, and to His
Royal Highness the Duke of
York and Albany. Sold at his
rooms in Greek Street, Soho,
London, and at his manufactory
in Staffordshire. The sixth edi-
tion with additions. Etruria,
1787. 8°, pp. 78; with two
plates engraved in blue steaple.
1788. — A last French edition.
8°, pp. 89 ; with 2 pis.

Of these last two editions a few copies were
printed on large paper.

All the above catalogues have become rare ;
those issued in 1773 and in 1787 command the
highest price, from £3 to £5 being asked for a
good copy.

- Museum Etrurise ; or a cata-
logue of cameos, etc. By the
late Josiah Wedgwood. Liver-
pool, printed for James Board-
man, by G. F. Harris, 1817. 8°,

WED]

CERAMIC LITERATURE.

[WED

pp. 149 ; with engravings after

the Portland vase. 10s.

Under the above title the catalogue of 1787 j
was reprinted by Boardman, the agent for the j
sale of Wedgwood ware in Liverpool. A brief j
history of the art of pottery in England, and a I
description of the Barberini, or Portland vase j
are added to it.

—Catalogue of sale. Catalogue
of the eleven days' sale by
Christie of cameos, bas-reliefs,
medallions, etc., the property of
Mr. Wedgwood and Mrs. Bent-
ley. London, 1781. 8°.

The sale took place after the death of Bentley.
Miss Meteyard says that only one copy of this
catalogue is known to be in existence.

To the above list must be added the mention
of a catalogue of the service executed for the
Empress of Russia, printed in French in 1774,
and now almost unobtainable.

Also various translations in foreign languages,
of which a complete record is wanting.

- Papers relative to Mr. Cham-
pion's application to Parliament
for the extension of the term of
a patent. London, 1775. 12°,
pp. 36. £1.

Wedgwood strongly opposed the extension of
the term of a patent granted to Champion for
the exclusive right of using the Cornish clay in
pottery manufacture. This pamphlet, printed
for distribution to members of Parliament, is
very difficult to meet with.

- Description of the Portland
vase ; the manner of its forma-
tion, and the various opinions
hitherto advanced on the sub-
jects of the bas-reliefs, by J.
Wedgwood, etc. London, print-
ed for the author, 1790. 4°.

- Description abregee du vase
Barberini, maintenant vase de
Portlande (sic], et de la methode
que Ton a suivie pour en former
les bas-reliefs qui y sont repre-
sentes. Par Josiah Wedgwood,
membre de la Societe Royale et
de la Societe des antiquaires,
manufacturier en porcelaine et
Queen's ware de S. M. la Reine
de la Grande Bretagne et de
Messeigneurs les Dues d'York et

de Clarence. Londres, 1790. 8°.
pp. 12 ; pi.

A translation of the English pamphlet pub-
lished in the same year.

The mystic signification of the subjects re-
presented upon the Portland vase had already
exerted the sagacity of many an antiquary. As
no previous elucidation had proved altogether
satisfactory, Wedgwood added his own inter-
pretation of the bas-reliefs in the notice with
which he accompanied the issue of his reproduc-
tion in Jasper ware of the glass original. It is
curious to remark that, on the title-page of his
paper, he describes himself as a manufacturer of
porcelain, a ware that he never attempted to
produce.

- An address to the young in-
habitants of the pottery (sic) by
Josiah Wedgwood, potter to Her
Majesty, and F.R.S. Newcastle
u. L., Smith, 1783. 12°, pp. 24.
£1. Reprinted by Bellows,
Gloucester, 1877. 12°. 3s.

After the violent disturbances which had just
taken place in the Potteries, where the work-
people were threatened with imminent famine by
a sudden and exorbitant rise in the price of
bread and all other necessities of life, Josiah
Wedgwood thought it his duty, as one of the
leading men of the district, to give a word of
warning to those still willing to listen to good
advice. He addressed himself to the young men,
because young people, says he, were more easily
amenable to friendly counsels and sound argu-
ments, and he felt confident, therefore, that what
he had to say would not be lost upon them.
Having first recalled the fact that their present
hardships could be chiefly traced to the total
failure of the crops, he tried next to impress on
their mind the notion that they should not seek
to find the remedy to their troubles by resorting
to riots and plunder, or depend upon public
charity, to alleviate their privations. His con-
clusions were that they should all unite in ob-
taining constitutional reform, such as would be
the free opening of the seaports, through which
a cheap and plentiful supply of corn might be
secured. In that way a recurrence of the evil
circumstances, from which they had to suffer in
the present year, would be rendered impossible
in the future.

- An address to the workmen
in the pottery, on the subject of
entering into the service of for-
eign manufacturers. By Josiah
Wedgwood, potter to Her Ma-
jesty. Newcastle u. L., printed
by J. Smith, 1783. 12°, pp. 24.
£1.

Of greater rarity than the previous one, this
pamphlet is not mentioned by Wedgwood's

445

WED]

CERAMIC LITERATURE.

[WEL

biographers. It draws an appalling picture of
the dangers to be encountered by the workmen
who might feel inclined to accept the tempting
engagements offered to them by the manufac-
turers of South Carolina and Pennsylvania,
much in want of skilled hands. The horrors of
a long sea voyage, with the possibility of ship-
wreck, the difficulty of accommodating oneself
to the customs of foreign countries, and, above
all, the deception and disappointment that are
waiting for the immigrants on their arrival, are
forcibly depicted. Speaking of the French
factories, whose competition was beginning to
be felt in England, and particularly of Mont-
erau, where Shaw, of Burslem, had imported
the processes of English manufacture in 1775,
Wedgwood refers to the manufacturers of that
place as " these adventurers, the masters of this
George Shaw, who are attempting to ruin us
abroad."

WEDGWOOD (Josiah). - - Description
and use of a thermometer for
measuring the higher degrees of
heat, from a red heat up to the
strongest that vessels made of
clay can support. London,
printed by J. Cooper, 1784. 12°,
pp. 26.

A reprint of the description of the pyrometer
invented by Josiah Wedgwood, published at
first in the Philosophical Transactions. London,
1782-84-86.

— Beschreibung und Gebrauch

eines Thermometer.

London, J. Young, 1786. 12°.

A German translation of the foregoing paper.

— The marks employed by
Josiah Wedgwood and his suc-
cessors. (Etruria ?}, 1902. Sq.
8°, pp. 8.

- Letters of Josiah Wedgwood,
1762 to 1780. London, 1903.
2 vols. 8°, pp. vii-500-493 ;
with 2 portrs., 2 pis., and 1
facsimile of handwriting. Publ.
by his great-grand-daughter,
Katherine Eufemia Farrer, for
private circulation. A third
volume of letters extending
from 1781 to 1794, was pub-
lished in 1906.

With very few exceptions, these letters are
addressed to Th. Bentley, Wedgwood's partner
and friend. Bentley's answers, which Wedg-
wood had had bound in one volume, and which

446

he consulted so frequently that the volume was
jocularly called in the family " Josiah's Bible,"
have long disappeared. The editor tells us that
much business and technical detail has been
omitted in the reprint. All that has reference
to the trade and experiments of the great potter
is of primary interest for the ceramic historian ;
any omission of that kind is to be regretted.

- Josiah Wedgwood & Sons,
Ltd., Etruria, makers of china,
earthenware, jasper, basalt, cane
ware, red ware, Rockingham,
mortars. Newcastle (Staffs.),
1908. 12°, pp. 32 ; with 12 pis.
and num. half-tone illustrs.

An excellent guide-book to the old factory.

WEDGWOOD MUSEUM at Etruria. See
Rathbone.

WEIGEL (Dr. M.). - - Das Graberfeld
von Dahlhausen, Kreis Ost-Prig-
nitz, Province Brandenburg
(Zeit der Volkerwanderungen).
Braunschweig, F. Vieweg, 1893.
4°, pp. 31 ; with 95 illustrs.
4 m.

" The burial field of Dahlhausen dis-
trict of West Prignitz, Province of Bran-
denbourg (period of the tribal migra-
tions)."

Pottery of the fourth and fifth century of our
era. All the pieces found in that region present
the same type of form — viz., a low drinking cup,
without foot, but provided with one or more
handles of a peculiar design. They are decorated
with incised traceries.

WEIEING (C. G.). — Chemische Be-
reitung der Farben, mit welchen
auf Emaille, in Oehl, und auf
Papier gemalt werden soil. Leip-
zig, 1793. 8°. (Enamel colours,
pp. 1-18.)

" The chemical preparation of colours
for painting upon enamel, in oil, and on
paper."

WELKER (F. G.).— Le jugement de
Paris et Ulysse evoquant 1' ombre
de Tiresias. Paris, F. Didot,
1846. 8°, pp. 84 ; with 2 fold,
pis. 3 fcs.

" The judgment of Paris, and Ulysses
conjuring up the shade of Tiresias,"

WEL]

CERAMIC LITERATURE.

[WEN

Alte Denkmaler erklart. Got-

tingen, Dietrich, 1849-64. 5
vols. 8°. Vol. iii. contains the
Greek vase paintings, pp. xv-
568 ; with 36 lith. pis. A few
additional vase paintings are
given in Vol. v.

" Ancient monuments explained."
A reprint of Welker's contributions to anti-
quarian publications. His system of archaeo-
logical elucidations followed the rules laid down
by the new school. " Why," says he, "do we
not proceed, in our examination of antique
monuments, with the same methodical accuracy
which is applied to the interpretation of the
works of the classical authors ? In this way
alone can we expect to obtain a sound know-
ledge of antiquity."

- Anfora panathenaica. Roma,
8°, pp. 14; with 2 fold. pis.
(Reprint from Monum. dell Inst.,
vol. vi.)

WELLBELOYED (C.)-— Eburacum, or
York under the Romans. York,
1842. 8°. Fictilia; Bricks,
Pottery, pp. 116-128 ; with pi.

- A handbook to the antiqui-
ties in the grounds and museum
of the Yorkshire Philosophical
Society. By the late Rev. Ch.
Wellbeloved, with large addi-
tions and corrections by his
successor in the office of curator
of antiquities. Seventh edition.
York, Sampson, 1881. 12°, pp.
171.

Several hundred specimens of Romano-
British pottery and a large number of Anglo-
Saxon cinerary urns are exhibited in the museum.
The mediaeval era is represented by a good selec-
tion of inlaid tiles, and an important series of
rare jugs and pitchers with green glaze. From
the style of the embossed medallions stamped
upon these jugs, one may infer that they belong
to the fourteenth century. They were all dug
out from the soil of the city, and are evidently
of local manufacture. Some early Tygs and
slip-decorated dishes, and a few curious ex-
amples of ancient stoneware and English Delft
contribute to render the York Museum of par-
ticular importance for the study of the potter's
art in England.

WENCKE (H.)-— Antiquitaten Samm-
lung. Cat. of sale. Cologne,
1898, 4°. German stoneware,

2 pis. ; Majolica, 2 pis. ; Palissy,
1 pi. ; porcelain, 3 pis. 16 m.

WENCKSTERN (Fr. VOD). -A bibliography
of the Japanese Empire. Being
a classified list of all books,
essays, and maps in European
languages relating to Dai Nihon
(Great Japan), published in
Europe, America, and in the
East, from 1859-93. To which
is added a facsimile reprint of
Leon Pages's Bibliographic Jap-
ponaise depuis le xve siecle jus-
qu'a 1859. Leiden, J. Brill, and
London, Kegan Paul & Co., 1895.
Imp. 8° Vol. ii., 1908.

Fine Arts and Fine Arts' Industries, pp. 148-
171. of which " Pottery " occupies four pages.
No mention is made of the works written in the
Japanese language ; in the case of ceramics, a
list of the chief books treating on the manufac-
ture of pottery and porcelain, with a translation
of the titles, would be particularly desirable.
Vol. ii. contains the literature in European lan-
guages from 1894 to 1906.

WENEWITINOFF(M.).— Ancient Russian
ornamental brick-buildings. A
new branch of the national art.

Moskaw, 1890.
with 7 col. pis.

4°, pp. 18;

WENGER (A.). --List of prices of
patents ; Spurs and Stilts. Co-
bridge (Staff.), 1876. 8°; 1 pi.

Since the publication of this list of Spurs and
Stilts — i.e., props used to support the ware
during the firing — Mr. Wenger has issued, at
frequent intervals, enlarged catalogues of pot-
ters' materials, to be obtained from his estab-
lishment at Etruria. A trade, which had pre-
viously been in the hands of small producers
and local commission agents, was centralised by
him, and made an important branch of interna-
tional commerce. The small colour works, started
by Mr. Wenger at Hanley more than thirty years
ago, was transported to Etruria, and installed in
a spacious manufactory. To the chemical works
was added a universal agency, through the
medium of which the vendor of raw materials,
the patentee of special products, the machine-
maker, the inventor of a new system, were
placed in communication with the pottery manu-
facturers of all countries. It is easy to realise
the importance of exhaustive catalogues issued
under such conditions, as they represent the
state of the ceramic industry at the present day.
We may just mention the latest issues, as they
summarise all the previous ones.

447

WEN]

CERAMIC LITERATURE.

[WES

WENGER (A.),— Notice sur 1'emploi
et 1'expedition des matieres
servant a la fabrication des
faiences et porcelaines, par A.
Wenger, fabricant de produits
chimiques. Hartley (Staffs.),
1888. 4°, pp. 55.

" Notice of the use and the forwarding
of the materials employed in the manu-
facture of pottery and porcelain."

A complement to the price lists, this notice
gives a short topographical account of the Staf-
fordshire Potteries ; a summary description of
the English processes of manufacture ; and,
finally, practical directions for the use of the
materials sold at the " Helvetia Works." It
contains information of great interest to the
foreign manufacturer.

— Helvetia Works, Hanley,
Staffordshire. Chemical pro-
ducts, colours, raw materials,
implements, and machines for
the manufacture and decoration
of china, earthenware, glass,
enamelled iron, etc. Hanley,
1889. 4°, pp. 48 ; with num.
illustrs. Also, a French edition.
4°, pp. 75.

— Helvetia Works (title as
above). Hanley, 1892. 4°, pp.
75. This comprises Tariffs,
Nos. 21 and 22. This latter
contains only potters' engines
and machinery. Supplementary
catalogues and tariffs have been
published of late years.

Vade mecum for potters,
enamellers, and glass-makers.

Hanley, 1904.
lustrs.

4°, pp. 48 ; il-

WERKEN (G. von).— Der Ganze der
Ziegelfabrikation. Altona, 1868.

" A complete treatise of the manufac-
ture of bricks and tiles."

WERNICKE (K.).— Beitrage zur Kenn-
tniss der Vasen mit Meister-
namen. Berlin, 1885. 4°; with
4 pis.

448

" Contribution to the knowledge of
painted vases bearing the name of the
master."

Die griechischen Vasen mit
Lieblingsnamen. Eine archao-
logische Studie. Berlin, Reimer,
1890. 8°, pp. 143. 5 m.

" The Greek vases inscribed with the
names of favourite youths."

The meaning of the word Kalos, which accom-
panies certain names inscribed on the Greek
vases, has been interpreted in various ways.
Panofka, who was the first to investigate the
subject, believed that it was a form of saluta-
tion addressed by the painter to the person for
whom the vase had been painted. Other writers
thought that it was intended to extol the ex-
cellence of the painting. The last interpreta-
tion, supported by the larger number of ex-
amples, was that the word had reference to
some favourite youths of Athens celebrated for
their personal beauty. After a general examin-
ation of the paintings so inscribed, Wernicke has
been driven to say that it is not possible to
arrive at a conclusion that would answer all
cases. He has, therefore, classified all the known
examples in five categories, in each of which the
word may bear a different interpretation.

WESTON (S.)-— Fragments of Oriental
literature, with an outline of a
painting on a curious china vase.
London, 1807. 8°, pp. 158 ;
with pi. 3s.

In this paper inscriptions taken from a
Chinese porcelain vase and a teapot are con-
sidered from the philosophical point of view.

WESTROPP (Hodder M.).— Epochs of

painted vases ; an introduction
to their study. London, Walton
& Maberly, 1856. Sq. 8°, pp.
24 ; with 9 pis. in outline. 12s.

A superficial and unsatisfactory account of
the speculative theories brought out by the
classical authors. The plates, borrowed from
the same sources, are incorrectly reproduced.

Handbook of pottery and
porcelain ; or history of those
arts from the earliest periods.
London, Chatto & Windus, 1880.
8°, pp. xiv-171 ; with text il-
lustrs. 5s.

An ill-digested compilation of the standard
books on the subject. If this little compendium
is destined to disappear altogether in future
ages, it is comforting to remember that posterity
will inherit from us a goodly number of ceramic

WES]

CERAMIC LITERATURE.

[WIE

books, cast in the same mould, and containing
the same mixture of true and false information,
illustrated with the same set of oft-recurring
woodcuts.

WESTWOOD (J. 0.).— Notice of an
early posset-pot. London, 1881.
With illustrs. (Reprint from
the Archaeological Journal.}

WHEATLY & CO.— Illustrated catalogue
of bricks, roofing, ridges, and
floor tiles, etc., manufactured
by W. & Co., Stoke-on-Trent.
Printed by J. Lennox. Leeds,
1885. 4°, pp. 5, and 33 lith. pis.

WHETSTONE.— Designs for tile pave-
ments, plain and encaustic,
manufactured by William Whet-
stone, Coalville, Leicestershire.
S.I., n.d. (1865?). Imp. 4°; 25
pis. in col.

Lith. by J. Fleming & Co., Leicester. The
tile works were established about 1860.

WHITE (Mary).— Howto make pottery.
New York, Page & Co., 1904. 8°,
pp. 179 ; with 68 illustrs. and
15 pis.

Familiar instructions on the elements of
pottery-making given to amateurs by an
amateur.

WHITEFORD (S. T.).— A guide to por-
celain painting, with illustra-
tions by the author. London,
Rpwney, 1873. 8°, pp. 48;
with 8 lithogr. pis. in colour.

Published by a colour manufacturer.

WHITEHEAD (James and Chas.).— Designs

of sundry articles of earthen-
ware manufactured by J. &
Ch. Whitehead, Hanley, Staf-
fordshire ; at the same manu-
factory may be had a great
variety of other articles, both
useful and ornamental, as well
printed, painted, and enamelled,
as likewise dry bodies, such as
Egyptian, black, jasper, etc.,
etc. Birmingham, 1798. 4°.
Price list in English, German,
29

and French of "pp. 25 ; with
frontispiece and 35 pis. engr. on
copper, representing 175 models.
£3, 3s.

Imitations of Wedgwood's ware and Leed's
cream colour. The Whitehead Works were sub-
sequently carried on by Thomas Dimmock under
the name of " Albion Works." This catalogue
has become extremely rare.

WIDE (Sam.).— Geometrische Vasen
aus Griechenland. Berlin, G.
Reimer, 1900. 4°, pp. 16 ; with
121 text illustrs. (Reprint from
the Jahrbuch des Kaiserl. deut-
schen archciol. Institut.} 3 m.
" Greek vases of the geometric style."

Between the archaic vases first described and
grouped by Conze under the name of Mycenean,
and the black-figure vases, a gap had been left
in the study of Greek ceramics. Recent dis-
coveries have established that the vase of the
so-called geometric style must be referred to
that period. Far from all having a common
origin, as had been hitherto accepted, vases of
that description were made in several parts of
Greece, and particularly in Attica, where the
style must have originated in prehistoric times ;
this is, at anyrate, the theory that is developed
in the present essay.

WIDMER (K.).— Keramik. (In Baden:
Seine Kunst und Kultur.} Frei-
burg, Bielefeld, 1907. Sq. 8°,
pp. iii-79 ; with 25 illustrs.
(some col.). 3s.

" Ceramic in the Grand Duchy of
Baden."

It treats specially of the modern manufacture
of art pottery.

WIENER (Lucien).— Manufacture de
Saint Clement. Son histoire, sa
fabrication, son Exposition.
Nancy, Berger-Levrault, 1878.
8°, pp. 39.

" The Saint Clement manufactory. Its
history, manufacture, and exhibits in
1878."

The works were established in 1758 as a
branch of the Luneville manufactory. Richard
Mique, the architect, and Cyffle, the well-known
sculptor, were the founders and co-proprietors.
King Stanislaus, Duke of Lorraine, an enlight-
ened and liberal patron of art, took a great
interest in the development of the pottery and
porcelain manufacture in the country. Special
privileges were granted to the Saint Clement
factory, and to the directors and artists attached

449

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CERAMIC LITERATURE.

[WIG

to the establishment ; one favour, of which they
were particularly proud, was that they were en-
titled to carry a sword, and to be addressed as
" Gentlemen." To the making of stanniferous
faience in the style of Strasbourg was subse-
quently added that of earthenware after the
English method. We notice that, for the pro-
duction of the charming figures of Cyffle and
Lemire, a special body was made of pipe-clay,
flint, and phosphate of lime, a composition not
unlike that of our modern English china. The
pamphlet, compiled from original documents
preserved at the factory, was published, anony-
mously, by the director, on the occasion of the
1878 International Exhibition.

WIENER (LllCien). — Les vases de la
pharmacie de Saint Charles au
Musee Lorrain. Nancy, 1881.
8°, pp. 8.

" Vases from the dispensary of Saint
Charles now in the Nancy Museum."

An important series of vases and drug pots
in faience de Niderviller, manufactured by order
of King Stanislaus, and by him presented to the
hospital of the town about 1750. It comprises
two large vases over one metre in height, richly
decorated and emblazoned with the royal arms
of Poland ; 176 drug-pots, also decorated in
colours and bearing the monogram of the Bang ;
lastly, 77 pots of similar shape painted in blue
with the coat-of-arms of the brethren of the order
of Saint John of God.

WIENNEFELD (H.)-— Beschreibung der
Grossherzogl. Vasen Sammlung
zu Karlsruhe. Karlsruhe, 1887.
8°, pp. 193 ; with 1 pi. 2 m.

" Description of the antique vases in
the Grand Ducal Collection of Karlsruhe."

WIERZBICKI (L. von) and REBCZYNSKI (W.).
— Wzory przemyslu domo-
wego wyroby gliniane wloscian
na rusi naczynia z Kossowa.
Lemberg, 1882-92. 4°. Text in
Polish, German, and French ;
with 22 col. pis.

" The earthen vessels of the Galician
peasants in the Municipal Museum of
Industrial Art at Lemberg."

Poland has preserved the record of the ancient
pot- works which supplied the country with com-
mon pottery, and, at one time, exported their
productions into Northern lands. These his-
torical particulars will be found in the intro-
ductory notice, but no representation of the old
types are given on the plates. These reproduce
merely the patterns of the ware currently manu-
factured in modern times by two potters of
Kossow ; jugs, dishes, and tiles, decorated, upon
" engobe," with incised tracery filled in with
coloured glazes.

450

- Polnish-Ruthenische archeo-
logische Ausstellung in Lemberg,
1885. Lemberg, 1886. FoL, pp.
36 ; with 50 phototyp. pis.

" Archaeological Exhibition of Galician
antiquities in Lemberg."

WIESELER.— Ueber die Kestnersche
Sammlung von antiken Lampen.
Gottingen, 1870. 12°, pp. 71. 3s.

" Notice on the Kestner Collection of
antique lamps."

WIGNIER (Ch.).— Monographic de la
manufacture de Faiences de
Vron, arrondissement d' Abbe-
ville, Departement de la Somme.
Ornee de vingt-cinq sujets mis
en couleur et retouches a la main
par Ris - Paquot. Abbeville,
1876. 8°, pp. 29 ; with 8 pis.
in colour. 6 fcs.

" Monograph of the faience factory of
Vron, near Abbeville (Somme)."

A village pot-works, where rustic operatives
made, during a period of about fifty years, coarse
and showy faience to supply the neighbouring
markets. We are asked to observe that while
the painters of Nevers, Rouen, and Lille pre-
ferred to imitate Italian, Dutch, or Chinese
decorations, the untutored artist of the locality
knew no other guide but his own imagination.
This point is willingly granted ; no one will ever
pretend that the French Grenadier and the
National Guard, the windmill and the church
steeple on the pitchers and decorative plates
belong to any recognised style. Barring the
historical interest attached to its predecessor,
the ware made at Vron may be said to be the
continuation of the patriotic faience of the
Revolution.

Poteries vernissees de 1'ancien

Ponthieu. Paris, Laurent, 1887.
8°, pp. 61 ; with 25 pis. in colour
drawn by the author. 130 copies
only printed. 15 fcs.

" Glazed pottery of the ancient Ponthieu
province."

This volume, a companion to the preceding
one, deals with pottery of a still more modest
rank than the common faience made at Vron and
its vicinity. Ever since the fourteenth century
the villagers and farmers of North-East France
had learned from their neighbours, the Flemish
tile-makers, how to make useful and fancy
vessels of red and yellow clay, and how to glaze
them with lead ore. After the close of the
harvest season, the peasants of many districts

WIL]

CERAMIC LITERATURE.

[WIL

were wont to repair in bands to certain places
where the proper kind of clay could be obtained
and where stood a rudimentary potter's oven
erected and kept in repair at common cost. II
was for them a sort of holiday, part of which was
spent in fashioning such rude pieces of pottery
as were required in the homestead. The simple
methods of forming, glazing, and firing the work
had been handed down from father to son, and
no change was ever introduced in the shapes of
the articles, which were also a matter of tradition.
Several of these shapes are peculiar to the locality
arid are not found anywhere else. We notice
among them a curious double basin, surmounted
with a tall handle in which the mid-day meal
was brought to the labourer in the fields, and a
particular drinking flask that could be slung over
the shoulder by means of a string passed through
the rings affixed to the sides. Also some un
common hand and foot warmers, and among the
objects which received an extra amount of
coloured slip decoration, a fancy flat-iron stand,
intended as a present for the housewife. A
variety of small toys of ingenious contrivance
were also made as surprises for the children, and
to all these articles were added a plentiful supply
of jugs, dishes, and bowls to replace those that
had been broken in the course of the year.

The cemeteries of the country are still full of
mortuary tablets made on these occasions, rude
slabs of terra-cotta upon which the name of the
deceased is rudely incised. Several of these
slabs, with their almost illegible inscriptions, are
reproduced upon the plates.

- Carreaux vernisses du xiie au
xviie siecle. Abbeville, 1890. 8°,
pp. 20 ; with 9 col. pis. (50
copies printed). 15 fcs.

The patterns roughly incised on these tiles
are almost as rude in character as those seen on
the pottery described in the above volume.

WILCOCK & CO., Burmantofts, Leeds.-

A catalogue of the Burmantofts'
faience and decorative terra-
cotta. S.I., 1882. 4°; with 54
photo-lith. pis. Other illustr.
catalogues have been issued by
the firm.

WILDE (Dr. W. R.).— Descriptive cata-
logue of the antiquities of stone,
earthen, and vegetable materials
in the Museum of the Royal
Irish Academy ; with numerous
wood engravings. Dublin, 1857.
2nd ed., 1863. 3s.

Mediaeval pottery, pp. 156-162; mortuary
urns, pp. 169-196 ; with illustrs.

WILDENBRUCH (E. YOB).— The master of
Tanagra. An artist's story of

old Hellas. Translated from the
seventh German edition by the
Baroness von Lauer. London,
H. Grevel, 1887. 8°, pp. 192 ;
with 25 illustrs. of Tanagra
figures. 5s.

A German poet, fascinated by the lovely
creations of the potters of Tanagra, has found
in them a subject for an sesthetical novel. Un-
willing to abandon altogether the heights of
dreamland in which his soul is accustomed to
soar, unfettered by prosaic considerations, he
has scorned to believe that, in antique Boeotia,
sculpture and sculptors were subjected to the
weaknesses of modern art. Terra-cotta figures
bud out between the fingers of untutored model-
lers in this romantic tale through miracles of
love. A disconsolate father recognises the
features of his lost daughter in the sketch that
the wandering hero, seated by a lonely brook,
is fashioning out of the mud of the banks. Many
other incidents, still more improbable than this
instantaneous creation of masterpieces, show
that historical knowledge and comprehension of
the technics of art have been replaced all through
the book by a curious display of imaginative
power. The tale, nevertheless, has obtained a
great success in the fashionable circles of Ger-
many.

WILDS (William). — Elementary and
practical instructions on the art
of building cottages. ... To
which are added practical treat-
ises on the manufacture of
bricks, etc. London, 1835. 8°.

WILKENS (Karl).— Die Topferei. An-
fertigung des ordin. Topfer-
geschirrs, der ordin. Fayence (d.
sog. Porzellan-ofen), des ordin.
Steinguts, etc. Vierte vermehrte
und verb. Aufl. Nebst Atlas v.
UTaf. Abb. Weimar, 1870. 8°.

" Pottery. The manufacture of com-
mon earthenware, common faience (in-
cluding the so-called porcelain stoves),
common stoneware, etc. Fourth edition,
corrected and improved ; with an atlas of
eleven plates."

Denkschrift zur Feier des
50-jahrigen Bestehens der Dresd-
ner Steingutfabrik von Villeroy
& Boch, 1836-1906. Dresden,
1906. Obi. 8°, pp. 24: with
4 portraits and 27 pis.

" Memorial of the celebration of the

451

WIL]

CERAMIC LITERATURE.

[WIN

fiftieth anniversary of the foundation of
the stoneware manufactory of Villeroy &
Boch at Dresden."

WILLET (De).— Collection de Mr. de
Willet d' Amsterdam. Vente a
Paris, 1874. Notice par A.
Bloche. 8°, pp. 67 ; with 10
photos.

Catalogue of sale. The plates reproduce fine
specimens of Italian majolica.

WILLIAMS (L.).— The arts and crafts
of older Spain. London, Foulis,
1907. 3 vols. 8°. Pottery,
vol. ii., pp. iii-220 ; with 17
illustrs. 15s.

WILLIAMS (W. M.).— The chemistry of
London clays. London, 1887.
8°, pp. 8. (Extr.)

WINDUS (H.).— A new elucidation of
the subjects on the celebrated
Portland vase, formerly called
Barberini, and the sarcophagus
in which it was discovered.
London, Pickering, 1845. Obi.
fol., pp. 106 ; with 10 lith. pis.
and text illustrs. 10s.

Having so often been reproduced in Jasper
ware, the Portland vase has taken its place
among the best known examples of English
ceramic art. It is not, however, with the repro-
duction, but with the interpretation of the sub-
jects embossed on the vase, that this volume
professes to deal. All imaginable speculations
have been indulged in about their inscrutable
signification. Yet one may say that the solu-
tion of the riddle is still open to the sagacity of
a modern Oedipus. The elucidation excogitated
by Windus is by far the most extravagant of all
those which have been offered. The frieze is
said to represent an episode in the life of Galen.
And this is how it is narrated. Galen had been
called to attend on a noble Roman lady who was
dying from a mysterious illness. He was not
long in discovering that the cause of her torments
was that she was desperately in love. The ob-
ject of her passion proved to be a rope-dancer
named Pylades. In the three principal figures
of the bas-relief we are asked to see, first, the
celebrated physician in a contemplative atti-
tude ; then the Lady restored to health by the
approach of the Hygeian serpent ; and, lastly,
the rope-dancer coming out of the portico. The
two masks of Satyrs, placed under the handles of
the vase, are described as representing Aescu-
lapius and Galen. " They are," says the author,
" characteristic of the profession of surgery ;
the fillets, or bandages for wounds or bleedings
and the two leeches almost dropping from the

452

extremity of the beard, complete the allegory
without further comment." Further comments,
on our part, are surely unnecessary after this
quotation.

WILHELMI (Ch.).— Les anciens torn-
beaux germaniques a Sinsheim,
leur ouverture, et description
des antiquites qu'on y a trouvees.
Heidelberg, 1831. 8°.

" The ancient Germanic tombs of Sin-
sheim ; an account of their opening, with
a description of the antiquities they
contained."

WILISCH (E.). — Die altkorintische
Thonindustrie. Leipzig, 1892.
8°, pp. 176 ; with 8 fold. pis.
6m.

" The clay industry in old Corinth."

A valuable contribution to modern knowledge
of Greek vases. The author has limited his field
of research to the pottery of Corinthian origin.
After a thorough examination of the well-authen-
ticated examples, he has attempted to write a
historical survey of the development of the pot-
ter's industry in one of the most prolific centres
of production in ancient Greece. The account
has been framed on simple and rational lines.
It describes the styles of painting by which the
successive periods may be recognised, and well-
chosen illustrations are given of the best repre-
sentative types ; the classification is chiefly
based upon the character of the inscriptions, and
the modifications undergone by the shape of the
letters at different epochs ; inscriptions and com-
plete alphabets are given in facsimile. In one
respect, however, the title is somewhat mis-
leading. One might expect to learn something
of the technics of the Corinthian potter, and of
the conditions of his trade in a work entitled
The, Clay Industry in Old Corinth. But the
author has not been able to go farther than his
predecessors in clearing up the mist surrounding
the practice of the art in ancient Greece.

WINGENROTH (M.).— Kachelofen und
Oefenkacheln des 16, 17, und
18 Jahrhunderts, in German-
ischen Museum, auf der Burg,
und in der Stadt Niirnberg.
Nurnberg, 1899. 8°, pp. 18;
with 23 illustrs. and 1 pi. 2 m.

" Tiles and tile stoves of the sixteenth,
seventeenth, and eighteenth centuries in
the Germanic Museum, in the Castle, and
in the town of Nuremberg."

WINKER (Edward). — Die Wegelysche
Porzellanfabrik in Berlin. Ber-

WIN]

CERAMIC LITERATURE.

[WIP

lin, 1898. 8°, pp. 65. (In
Schriften des Vereins fllr die
Geschichte Berlins.}

" The Wegely porcelain factory in
Berlin."

History of the first porcelain works estab-
lished at Berlin in 1753, and closed ten years
afterwards.

WINKLER (Augustus).— De inferorum
in vasis Italise inferioris reprse-
sentationibus. Vratislavice, 1888.
8°, pp. 32.

" The representation of Hades on the
vases of lower Italy."

A German edition was published under the
title Die Darstellungen der Unterwelt auf unter-
italischen Vasen. Breslau, 1888 ; with 1 pi.
2m.

WINTER (Franz). — Die jungeren at-
tischen Vasen und ihr Verhaltniss
zur grossen Kunst. Berlin, W.
Spemann, 1885. 4°, pp. vi-72 ;
with 14 illustrs. 4 m.

" The early vases of Attica in their
relation to high art."

An essay upon the rapid improvement effected
in the style of vase painting by the works of the
great artists, painters, and sculptors of the second
half of the fifth century B.C. The red-figured
vases of that period are considered as repre-
senting the highest form of Greek ceramic art.
Upon many of these vases one may recognise
some subjects evidently inspired from the
metops of the Parthenon, and others which can
be supposed to be a copy of some celebrated
wall painting of the time. These vases are be-
lieved to have all been made in Athens, whence
they were exported into the countries where they
were discovered in the late excavations. A list
of all the vases of this class which have been
reproduced in the antiquarian publications, and
the date of which can be surely fixed between
the years 440 and 400 B.C., is placed at the end
of the work.

Ueber ein Vorbild neuatti-

scher Reliefs. Berlin, 1890. 4°;
with 7 illustrs.

" Upon the subject of a late Attican
relief."

Eine attische Lekythos der

berliner museum ; 55 Winckel-
mann Programe. Berlin, Rei-
mer, 1895. 4°, pp. 17 ; with a
col. pi. and 5 illustrs.

"A Lekythos of Attica in the Berlin
Museum."

— Die antiken Terrakotten. Im
Auftrag des archaolog. Instituts
des deutschen Reichs, heraus-
gegeben von R. Kekule von
Stradonitz. Berlin, Spemann,
1903. Fol., pp. cxxx-480 ; with
num. illustrs. 80 m.

" The antique terra-cotta. Published
by R. Kekule under the patronage of the
German Archseological Institute."

Part I. — A review of the discoveries. The
primitive types and their derivations. The
Archaic types and their development. Part II.
— The later types.

WINTER (I.).— Im Purzlinerlandl.
Eine Studie iiber das Leben der
nordwestbohmischen Porzellan-
arbeiter. Wien, J. Brand, 1901.
8°, pp. 81. 1 m.

" In Porcelain land. A study on the
life of the operatives in the porcelain
manufactories of North Bohemia."

Statistics of the wages, cost of living, and
social condition of the workmen in Bohemia.

WIPPLINGER (Llldwig).— Die Keramik,
oder die Fabrication von Topf er-
Geschirr, Steingut, Fayence,
Steinzeug, Terralith, sowie von
franzosischen, englischen und
hart-Porzellan. Anleitung fur
Praktiker zur Darstellung aller
Arten Keramischer Waaren nach
deutschem, franzosischem und
englischem Verfahren. Wien, A.
Hartleben, 1882. Sq. 8°, pp.
368 ; with 45 illustrs. 4 m.
(Vol. xcviii. of the Hartleben' s
Chemisch-technische Biblioihek. )

" Ceramics, or the manufacture of
earthenware vessels : cream-colour ware,
faience, stoneware, ironstone china, and
the French and English porcelain. In-
structions for practical potters towards
the production of all sorts of ceramic
ware after the German, French, and
English methods."

A reliable manual brought up to the level of
all the latest improvements of the potting in-
dustry. The comprehensive title, " Ceramics,"
is not altogether correct, for this treatise deals
only with the processes employed for earthen-
ware-making. All the other branches of the

453

WIS]

CERA MIC LIT ERA TV RE.

[WIT

potter's art are treated separately in other
volumes of the same series.

It has been translated into_French under the
title, La ceramique, guide pour les praticiens, etc.
Vienne, 1882. 8°.

WISE (J. R.).— The New Forest; its
history and its scenery. London,
1863. 2nd ed., 1888. 8°.

Prehistoric and Roman Pottery, pp. 196-225.

WITHERS (R. J.).— St. Marie's Abbey,
Beaulieu. Encaustic tiles,
copied from examples remain-
ing in various parts of the
Abbey. London, 1845. 4 col.
pis.

WITTE (Jean de).— Description des
antiquites et objets d'art qui
composent le cabinet de feu Mr.
le Chev. E. Durand. Paris,
1836. 8°, pp. 544 ; with 5 pis.
of forms. 5 fcs.

Sale catalogue of the Durand collection.

- Description d'une collection
de vases peints et bronzes an-
tiques provenant des fouilles de
1'Etrurie. Paris, 1837. 8°, pp.
158. 3 fcs.

" Description of a collection of painted
vases and antique bronzes coming from
the excavations in Etruria."

Description des vases peints

et des bronzes antiques qui
composent la collection de Mr.
de M***. Paris, 1838. 8°, pp.
104; pi.

Catalogue of the De Magnoncourt collection.

Description des vases peints

de la collection de Mr. Av***.
Paris, 1839. 8°, pp. 94 ; pi.

" Catalogue of painted vases in the
Avellino collection."

_ Collection d' antiquites de

Mr. le Vicomte Beugnot. Paris,
1840. 8°, pp. 180 ; pi.

Sale catalogue of the Beugnot collection
(painted vases).

Lettre a Mr. Panofka sur une

454

amphore de Nola representant
Penelope. Paris, 1843. 8°, pp.
15; 2 pis.

" A letter on an amphora from Nola
representing Penelope."

- Noms des fabricants et des-
sinateurs de vases peints. Paris,
1848. 8°, pp. 90.

" Names of the makers and painters of
Greek vases."

- L' expiation d'Oreste, expli-
cation d'un vase peint. Paris,
1850. 8°, pp. 24 ; 2 pis.

" The Atonement of Orestes ; elucida-
tion of a painted vase."

- Le jugement de Paris. Cylix
de Brylus. Berlin, 1856. 4°;
pi.

" The judgment of Paris. A Kylix by
Brylus."

Enee sauve par Venus ; Am-
phore de la collection Feoli a
Rome. Paris, 1844. 8°, pp. 14 ;
pi.

" JLneas rescued by Venus ; an am-
phora of the Feoli collection/ '

- Paris et Eros, vase peint a
ornements dores. Paris, 1863.

4°; pi.

" Paris and Eros ; a painted vase with
gilt ornaments."

Notice sur les vases peints a

reliefs du Musee Napoleon III.
Paris, 1863. 12°, pp. 38.

" Notice of the painted vases, adorned
with reliefs in the Napoleon III. Museum.
(Collection Campana.)"

Notice sur quelques vases
peints de la collection Castellani.
Paris, 1865. 8°, pp. 40.

" Notice of a few painted vases in the
Castellani collection."

La double Minerve. Expli-
cation d'un vase peint apparte-
nant au Comte A. du Chastel.

Bruxelles, s.d. 8°.

WIT]

CERA MIC LITER A TURE.

[WOL

" The duplex Minerva. Explanation
of a painted vase."

— Etude sur les vases peints.
Paris, 1865. 8°, pp. iv-122 ;
illustrs. (Reprint from the
Gazette des Beaux- Arts.}

" Essay on ancient painted vases."

In this masterly essay, dealing chiefly with
the vases of the Campana collection, Mr. J. de
Witte has embodied the result of a life-long
study of Greek ceramic art.

- Note sur un vase de terre
decore de reliefs. Paris, 1869.
8°, pp. 11 ; with 1 etched pi.
(Reprint from the Memoir es de
la SocUte Imp. des Antiquaires
de France.)

" Notice of an earthen vase decorated
in relief."

This Roman vase was discovered in Nor-
mandy. It is made of red clay, and offers the
peculiarity, very rare in the works of the ancients,
of being decorated with four skeletons in relief.

Catalogue de la collection
d'antiquites de feu Mr. Ch. Par-
avey. Paris, 1879. 8°.

" Sale catalogue of the Paravey collec-
tion of antiquities."

L'enlevement d'Helene et
Menelas a la prise de Troie.
Vase peint portant les signatures
de Hieron et de Macron. Paris,
1880. 4°, pp. 12 ; with 2 pis.

" The rape of Helen, and Menelaus at
the storming of Troy. Painted vase
bearing the signatures of Hieron and
Macron."

- Hercule et Geryon. Expli-
cation d'un vase peint. Brux-
elles, s.d. 8°; pi.

Description des collections
d'antiquites conservees a 1' Hotel
Lambert. Paris, Charmerot,
1886. 4°. Introd. pp. Ixxx ;
descrip. pp. 182 ; with 34 col.
pis. of painted vases, 2 pis. of
terra-cottas, and sketches of
forms in the text. 45 fcs.

" Description of the collections of anti-
quities preserved at the Hotel Lambert."
Collection of Prince Czartoryski.

- See Lenormand (Ch.) et Jean de

Witte. Elite des monuments cer-
amographiques.

- See Jaoze (H. de). — Choix de
terres-cuites antiques.

WITTMANN (Ch.) und SEIDEL (R.).— Stud-
ienmappe fur die keramische
Industrie. Herausgegeben von
hervorragenden Fachmannern.
Plauen, C. Stoll, 1897. Fol.;
48 pis.

" Designs for the ceramic industry by
the best special artists."

WLHA (JOS.)-— Sammlung von 17
Blatt : Ofen in Kaiserl. Os-
treich. Schlossern. 17 photogr.
pis. Wien, s.d. Fol.

" Collection of 17 photogrs. from earth-
enware stoves in the imperial palaces of
Austria."

WOLFER (M.).— Anweisungzur Fabri-
kation aller Arten von Wasser-
leitungs und Brunnenrohren aus
Thonmasse, etc. Quedliriburg,
1844. 8°, pp. v-48 ; with 6 fold,
pis. 2 m.

" Instructions for making all sorts of
water-pipes out of clay."

WOSTERMANN Y. OYEN (A. A.).— Over-
eenkomst aangegaan tuschen de
Delftsche Plateelbakker op 30
Jan., 1778. (Reprint, Rotter-
dam, 1889.)

" An agreement passed between the
potters of Delft."

WOLF (F.).— Die Meissener Ofenin-
dustrie. Dresden, 1891. 8°,
pp. 16.

" The earthenware stove industry at
Meissen."

Notice of a stove manufactory established by
G. H. Melzer, formerly modeller at the Royal
Porcelain Works.

455

WOL]

CERAMIC LITERATURE.

[WRI

WOLFF - BECKH. — Johan Friedrich
Bottger, der deutsche Erfinder
des Porzellans. Berlin, 1903.
8°, pp. 56 ; portr. Is.

" J. F. Bottger, the German discoverer
of porcelain."

WOLFF (G.)-— Topfer und Ziegels-
tempel der slavischen und vor-
slavischen Zeit aus dem unteren
Maingebiete. 1895 Pp. 13. (In

Annalen des Vereins fur Nas-
sauische A Itertumskunde. )

" Pottery and tiles impressed marks of
the Slavian and pre-Slavian period from
the lower region of the Main."

- Romische Topfereien in der
Wetterau. (Heldenbergen und
Heddernheim.) 1899. 8°, pp.
29 ; with 2 pis. (In Westd.
Zeitschr. f. G. u. K.)

" Roman pottery in the Wetterau."

WOOD (Enoch)— (Anon.).— A represen-
tation of the manufacturing of
earthenware ; with 21 finely
printed plates and a short ex-
planation to each, showing the
whole process of the pottery.
London, printed for the propri-
etors, by A. Cudden, 1827. 16°.
£2.

The frontispiece of this extremely rare hand-
book gives a view of Enoch Wood's factory at
Burslem. It now forms part of the Doulton
Works.

WOODCROFT (B.).— Patents for inven-
tions. Abridgements of the
specifications relating to pot-
tery. Printed by order of the
Commissioners of Patents. Lon-
don, 1863. 12°, pp. 179. 2s. 6d.

The list begins with the patent taken by
Rous, alias Rius Thomas, and Cullyn, Abraham,
" for the sole making of stone potte, etc., in the
year 1626."

WOODWARD (John).— An account of
some Roman urns and other
antiquities lately digg'd up near
Bishops-Gate, etc. London,
1713. 16°, pp. xii-32. 4s.
456

J. Woodward, the principal of Gresham
College and a learned antiquary, describes the
urns, to which he attributes a Roman origin,
as made of unbaked clay, which caused them
to crumble into fragments as soon as they were
got out of the soil. From this fact, we should
now consider such vessels as early British
cinerary urns.

WOOLS (Rev. Ch.)— (Anon.).— The Bar-
row Diggers ; a dialogue in
imitation of the grave diggers
in Hamlet ; with numerous ex-
planatory notices. London,
Whittaker, 1839. Sm. 4°, pp.
112 ; with 11 lith. pis. (three of
urns). 6s.

WORMSTALL (A.). --De corinthiacis
tabellis fictilibus. Monasterii
Guestf, 1890. 4°, pp. 48.

" The Corinthian terra-cotta tablets."

WORSAAE (J. J. A.). — The primeval
antiquities of Denmark. Trans-
lated and applied to the illus-
tration of similar remains in
England by W. J. Thorns. Lon-
don, 1849. 8°; with text illustrs.
5s.

Nordiske Oldsager i det

Kongelige Museum i Kjoben-
havn. Kjobenhavn, 1859. 8°;
with 622 figs. 6s.

" Northern antiquities in the Royal
Museum of Copenhagen."

WOSINSKY (M.). — Die inkrustierte
Keramik der Stein und Bronze-
zeit. Berlin, Asher, 1904. 8°,
pp. 188 ; with 150 typ. pis.
20m.

" The inlaid ceramics of the stone and
bronze ages."

WRIGHT (T.).— Ruins of the Roman
city of Uriconium. Shrewsbury,
1859. 12°, pp. 96 (4 pis. of
Roman pottery.)

With a catalogue of the antiquities in the
Shrewsbury Museum.

WRIGHT HARRISSON.— A memorandum
description of the finer specimens

WUN]

CERAMIC LITERATURE.

[YOU

of Indian earthenware pots.
Wilkes-Barre, Wyoming Hist.
Soc. publications, No. 4, 1883.
8°, pp. 16 ; with photogr. pis.

WUNDAHL (Martha). — Anleitung zur
Majolika-Malerei. Berlin., s.d.
(with price lists and plates of
forms). 1 m.

" Introduction to majolica painting."

WUNDT (L.)— (Anon.).— English pot-
tery and porcelain ; being a
concise account of the develop-
ment of the potter's art in
England. London, The Bazaar
Office, 1880. 12°, pp. 138 ; with
146 text illustrs. 3s.

WYATT (M. D.).— On the influence
exercised on ceramic manufac-
ture by the late Mr. Herbert
Minton. London, 1858. 16°,
pp. 32. (Reprint from the
Journal of the Society of Arts.}

Specimens of the geometrical

mosaics of the middle ages, with
a brief historical notice of the
art, founded on papers read
before the Royal Institute of
British Architects, etc. London,
Day & Son, 1848. Fol., pp. 26 ;
with 21 col. pis. £1, 10s.

Mosaic and marble pavements are reproduced
on the plates ; the designs are of some service
to the tile manufacturer.

WYLDE (C. H.).— How to collect con-
tinental china. London, G. Bell
& Sons, 1907. 8°, pp. xiv-253 ;
with 40 pis. in half-tone. 6s.

This handbook, which gives a condensed
history of the chief manufactories of porcelain
in Europe, has been compiled by the keeper o:
the section of ceramics in the Victoria anc
Albert Museum.

WYLIE (W. M.).— Fairford graves. A
record of researches in an Anglo-
Saxon burial-place in Gloucester-
shire. Oxford, 1852. 4°, pp. 40 ;
with 13 pis. (2 pis. of pottery,
col.). 10s.

WYROUBOFF (B.).— Objets d'antiquite
du Musee de la Societe des
amateurs d'archeologie au Cau-
case. Tiftis, 1877. 4°; with
5 lith. pis.

" Catalogue of the museum of archae-
ology at Tiflis."
Prehistoric pottery.

WYZEWA. — Les arts du feu. Cer-
amique, Verrerie, Emaillerie.
Paris, J. Rouam, s.d. (1885?).
8°, pp. 143. 3fcs.

" The arts of fire. Ceramics, glass,
enamels."

Album of 223 woodcuts from the Gazette des
Beaux Arts, printed on both sides of the paper,
and prefaced with a short historical notice.

XAYIER (A. Y,).— Arte da Louca
vidrada. Traducido do Francez.
IMoa, 1805. 12°, pp. 168;
with 10 pis.

"The art of enamelled pottery. A
translation from Fourmy."

YANYILLE (Collection de Mr. le Cte d').—
Catalogue of sale. Paris, 1907.
8°. 6 fcs.

Faiences and porcelains, 330 Nos., with
6 pis.

YOUNG (Jennie J.).— The Ceramic Art.
A compendium of the history
and manufacture of pottery and
porcelain. New York, Harper
Bros., 1878. 8°, pp. 499 ; with
464 illustrs. £1, 2s.

The American is prone to rush through his
fields of action with a hurried step. Learning,
with him, must go apace with all the rest. A
book which seems to facilitate the prompt
acquirement of a smattering of knowledge in
all the branches of a complicated subject, is the
one he will, most naturally, appreciate. This
volume may be taken as the outcome of this
national idiosyncrasy ; its avowed object is to
condense in a terse form, and to treat in a
sweeping manner all the questions relating

457

YSA]

CERA MIC LITER A TURE.

[ZAI

to the "Science of Ceramics." Through its
pages, history, technics, aesthetics, etc., are
handled simultaneously with astounding ease
and velocity. All periods of manufacture are
passed under review, the present one occupies
a large part in the account, which becomes
especially interesting when it deals with the
pottery of America, ancient and modern . One
must not depend, however, on much discrimi-
nation having been exerted in the gathering of
materials, picked up with too confiding a belief
in the veracity of all previous authors. The
selection of extracts has evidently been made
with the view of presenting information of a
startling character, intended, before all, to
amuse and astonish the reader. We are con-
fronted, in the first chapter, with the descrip-
tion of the Chinese bottles said to have been
discovered in the pyramids, not a doubt being
raised as to the accuracy of the long-exploded
tale. We hear about the marvellous monu-
ments of the pre-Italian majolica of Germany,
the existence of which is vouched for by
Demmin, on the authority of his own word.
Many other wondrous statements are exhumed
from the deserved oblivion in which they have
fallen, and discanted upon for the greater
enjoyment, if not for the sound instruction, of
the captivated reader. The illustrations of the
book have been, with a few exceptions, especi-
ally engraved from specimens preserved in the
collections of the United States.

. — Lettres patentes sur ar-
rest, portant reglement pour les
compagnons et ouvriers qui
travaillent dans les manufac-
tures du royaume. A Paris, chez
P. G. Simon, 1749. 4°, pp. 3.

" Regulations for the workmen em-
ployed in the factories of the kingdom."
Mentioned by Champfleury.

Yvon (Collection de Madame d').— Cata-
logue of sale. Paris, 1892. Sm.
fol., pp. 122; with 25 pis.
20 fcs.

Majolica, Nos. 1-96, with 6 pis. ; Delia
Robbia ware, Nos. 97-103 ; Faience of various
manufacture, Nos. 104-189; European porce-
lain, Nos. 389-434 ; Oriental porcelain, Nos.
435-474. A salt-cellar of Henri II. ware was
included among the faiences.

ZAS (Ernst)— Die Kurmainzische
Porzellan-manufaktur zu Hochst
Ein Beitrag zur Geschichte
des deutschen Kunstgewerbes
Mainz, 1887. 4°, pp. ix-186
458

with 3 pis, and 18 vigns. in text.
£1, 5s.

"The Electoral porcelain manufacture
of Mayence, at Hochst. A document
towards the history of the industrial art
in Germany."

To give facts without comments, to supply
figures and leave the reader to draw from them
his own inference, is the rule which has pre-
sided over the writing of this most accurate
monograph. Nothing is wanted to make the
account complete in all its particulars. We
have a report of the financial situation of the
undertaking drawn, year after year, from
the account books ; a list of all the directors,
artists, workmen, and even shareholders, whose
names appear in the original documents ; and
lastly, a priced list of all the articles manu-
factured at the works.

These materials have been made use of in a
precise and formal manner which cannot impart
much interest to the narration of the common-
place financial difficulties under which the
manufactory of Hochst laboured unremittingly
during its fifty years existence. Every chapter
is treated with a superabundance of details ;
no special stress is laid, however, upon any
particular point, — either historical, artistic, or
technical, perhaps, because none of them de-
parts in any way from the generalities which
would equally apply to the other minor
factories of Germany. History repeated itself
here with uninteresting tameness. Meissen
was the source from which secrets of manu-
facture were derived, and directors, artists,
and workmen were obtained. We see the
same " Arcanists " — whom we have seen in
other places sell their so-called secrets as often
as they could— come and go without leaving
any lasting traces of their passage. The
narrative, unduly protracted, is, we confess,
rather tedious to follow. We are told of all
the endless and always abortive combinations
in which foreign loans, lotteries, public auctions,
etc., were, in vain, resorted to. The wonder
is that, under the trying circumstances of this
continual change of management, and the
constant want of funds from which the con-
cern has always suffered, they continued none
the less to turn out very good porcelain. It
cannot be denied that, if the productions of the
Mayence factory do not evince any special
characteristics, they may, at any rate, bear
creditable comparison with the best porcelain
manufactured at the time in Germany. In
1788 things had come to such a pass that the
Elector, under whose patronage the enterprise
had always been conducted, saw no other
means of saving it from its impending ruin
than to take it in his own hands and conduct
it at his own risk. Under these new condi-
tions the manufacture persisted during ten
years, until in 1798 the works were definitely
closed. The author exonerates the French
general, Custine, from the accusation brought
against him by ceramic historians, of having
burnt the factory to the ground in 1792, by
recalling the mere fact that the building is at
the present moment standing exactly in the
same conditions as it was on the day when its
contents were dispersed by auction. All the

ZAI]

CERAMIC LITERATURE.

[ZIE

papers connected with the business of the firm
were found by him preserved in their integrity ;
it was, indeed, by means of such an unbroken
chain of evidence that he has been enabled to
carry out his work with such an unimpeach-
able completeness.

In point of execution the volume is a remark-
able specimen of German typography ; paper,
printing, and illustrations are all excellent.
The frontispiece reproduces, in colour, the
portrait of the Mayence Elector from a porce-
lain medallion ; two other medallions, the
portraits of the Prince of Thurn and Taxis and
of Goethe, are spirited etchings ; andthezinco-
blocks, introduced in the text, give an adequate
representation of the best pieces, either table
ware or figures, which were manufactured at
Hochst.

- Frankenthaler Porzellan in
Aachen. Aachen, 1894. 8°,
pp. 49. (Extr. from the Zeit-
schrift des Aachener Geschichts-
vereins.)

" The Frankenthal porcelain in Aix-la-
Chapelle."

Die bischoflich wormische

Faiencefabrik zu Dirmstein.
Milnchen, 1896. 12°, pp. 36.
2 m.

"The faience manufactory of Dirmstein
in the Principality of Worms."

A few rare specimens of common faience
marked with a key — the arms of the bishopric
of Worms — and some account books and price
lists, discovered in the Imperial archives at
Vienna, have induced Mr. Zai's to write the
monograph of a small factory, almost the least
successful of the similar ventures started at
that period. Its drowsy efforts to imitate
the newest styles, including the production of
English earthenware, did not delay for long
the end of an ill-fated existence. The tran-
script of the original documents referring to
the manufacture offer some interest for com-
parison with the contemporaneous documents
of the same order left by other German
manufactories.

ZANETTI. — La ceramica a Murano e
la famiglia Bertolini. Venezia,
Naratowich, 1868. 16°, pp. 55.

" The ceramic art at Murano and the
Bertolini family."

The faience manufactory established at
Murano by R. Bertolini in 1753, produced
chiefly coarse ware decorated in the Japanese
style. The result was so unsatisfactory that
the privilege they had obtained from the Senate
of Venice was withdrawn in 1763 ; the works
were closed, and master and men resumed
their old trade of glass-making. No specimen
of that manufacture has yet oeen recognised.

ZANNONI (G. B.).— Ulustrazione di due
urne etrusche e di alcuni Vasi
Hamiltoniani. Firenze, 1812.
8°. 4 fcs.

" Description of two Etruscan urns
and of a few vases of the Hamilton
collection."

ZAYANA (J. B.).-Viage de la catho-
licse real Magestad del rey D.
Filippe II. N. S al reino de
Portugal. I relacion del solenne
recebierto que en el se le hiso.
Madrid, 1622. 4°. 200 fcs.

" The journey of H.KM. D. Filippe II.,
through the Kingdom of Portugal. A
relation of the solemnities with which he
was received."

Contains an article on the potter's art and
the Portuguese potteries of the period. One
of the plates represents the triumphal arch
erected by the potters of the town.

ZEIRICH (E.).— Earthenware (Trans-
lated by J. W. Mollett). In
Reports on the Vienna Exhibition
of 1873, pp. 616-633. London,
1874. 8°.

ZEISS (A.)- — Meine Kunstsammlung.
Leipzig, Seemann, 1900. 4°,
pp. 56 ; with 76 phototype pis.
and 39 text illustrs. £1, 10s.

" My artistic collection."

Ceramics, pp. 20-33, with 9 pis. No
specimen of particular interest.

ZEMP (JOS-). — Die Backsteine von
St. Urban. Festgabe des
schweiz. Landes Museum.
Zurich, 1898. 8°.

" The ornamental bricks of St. Urban.
Printed and distributed on the occasion
of the national fete at the National
Museum at Zurich."

ZIEGLER (C.).— Thon-Keliefs (Fliese)
von der Stiftskirche St. Emme-
ran in Regensburg. Regensburg,
1868. 8°, pp. 3 ; with 4 fol. pis.

" Terra-cotta basso-reliefs (Tiles) from
the church of St. Emmeran in Ratisbon."

Commonplace patterns in the style of the
Swabian tiles.

459

ZIE]

CERAMIC LITERATURE.

[ZIM

ZIEGLER (J.). — Etudes ceramiques ;
recherches des principes du beau
dans Fart ceramique et la forme
en general. Theorie de la colora-
tion des reliefs. Paris, Mathias,
1850. 8°, pp. 348 ; with an atlas
fol. of 14 lith. pis. (2 cols.).
40 fcs.

" Ceramic studies ; researches on the
principles of the beautiful in archi-
tecture, ceramic art, and form in general.
Theory of colour applied to reliefs."

For many a thinker, ceramic art, in the
abstract, is an enchanted land of dreams. So
long as the dreamer lets his thoughts wander
over lofty summits, he revels in visions of
unbounded possibilities. But when the moment
comes of alighting upon the terrestrial level, a
cruel awakening drives away entrancing illu-
sions, nothing is left to him but the stern
commands of inexorable necessity. Overdrawn
as the metaphor might appear when applied to
a maker of earthen pots, it is not, however,
out of place in the present case. It stands
good when we compare the aesthetic principles
formulated by Ziegler during the period of the
dream, and the pottery that he produced, and
which we must take as representing his utmost
power of realisation. A true artist — for he
gave great promise at one moment as a historical
painter and a sculptor — he believed himself to
be a born potter. He started in a way new
to him, fully equipped with theories on the
ethics of plastic beauty, but somewhat deficient
in the practical knowledge of such common-
place subjects as clays, colours, glazes, and
firing. It was not long before he had to
realize that potters are made, and not born.
The worst of it was that in the course of his
wandering experiments, it looked as though
he had forgotten that he was an artist, before
he had had time to become a potter. At least
such a remark is conveyed to our mind by the
examination of the plates contained in the
album, purporting to illustrate the abstract
considerations developed in the accompanying
volume. Far from evincing originality of con-
ception, or a well-marked understanding of the
laws of harmonies and contrasts, the forms of
the vessels are wanting in character and devoid
of elegance. Their ornamentation, always
commonplace, is either borrowed from Arabic
traceries, or composed of realistic foliage, stifl
and badly arranged. Nothing in the whole
scheme is calculated to bring out the skill of
the artist, or the full capabilities of the potter.
Foremost among Ziegler's ambitious intentions
was the revival of the manufacture of the old
brown "Gres de Flandres," of which he
imagined the secret to have been lost. Having
read in Palissy's book that at Voisinlieu, near
Beauvais, could be found a kind of clay superior
to all others for the making of pottery fc it was
at Voisinlieu that he established a small factory
Forgetting that the merit of the ancient stone
ware he wanted to imitate consisted not so
much in the quality of the material as in th
richness and variety of its decoration, couplec

460

with extreme neatness and brilliancy of treat-
ment, he produced only a few original models,
of which thousands of copies were to be cheaply
manufactured by mechanical processes. He
met with no success. Tired at last, after a
few years, of his unremunerative efforts,
Ziegler sold the Voisinlieu factory, recipes,
models, and all to a practical potter who,
giving up all ideas of producing artistic ware,
developed a very successful business by apply-
ing the manufacture of stoneware to the
making of chemical utensils, drain pipes, and
domestic vessels, for which there was then a
great demand and an insufficient supply.

(M.). — Die gemalten Thonge-
fasse schlesiens aus vorgeschicht-
licher Zeit. Breslau, M. Woy-
wood, 1889. Fol. pp. 32 ; with
one map and 7 col pis. 12 m.

" The painted earthen pots of Silesia,
of prehistoric times."

The plates of this work offer excellent repre-
sentations of over eighty rude pots of yellowish
clay decorated with geometric designs, traced
with white and brown slip. Many specimens
of the same order have been extracted by the
author from the heavy mass of Silesian pottery
of undetermined antiquity preserved in the
German museums, and ranged into a distinct
group. Silesia has been, from times beyond
record, a thickly populated region. The
burial grounds of the ancient tribes cover a
very large area. So great was the number of
earthen urns and other vessels that had been
extracted from the graves, that it gave rise to
a popular superstition, according to which they
were either the work of the Kobolds, said
to inhabit the bowels of the earth, or else a
peculiar natural growth. The painted pots
noticed by M. Zimmer are evidently of a late
period. Each example is minutely described,
and the place of discovery is accurately
recorded.

ZIMMERMAN (E.).-KoreanischeKunst.
Hamburg, C. Griese, 1895. 4°,
pp. 23 ; with 20 phototype pis.
and text illustrs. 12 m.

" The Corean art."

Ceramics, pp. 15-19. The introduction of
porcelain manufacture in Japan is traced to
the Corean potters, who had learned it from
the Chinese.

Die Erfindung und Friihzeit

des Meissener Porzellans. Ber-
lin, Reimer, 1908. Sm. 4°, pp.
xxv-328; with 1 col. pi. and
111 text illustrs. 22 m.

"The discovery and the early days of
the Meissen porcelain."

Much uncertainty has prevailed up to this
day as to the circumstances which led to the

ZIR]

CERAMIC LITERATURE.

[ZWI

discovery of the European hard porcelain, and
the exact date of its regular production. Herr
Zimmerman endeavours, not without success,
to demonstrate that the discovery was not due
to a fortuitous occurrence as usually repre-
sented, but to the genius and strenuous
researches of J. F. Bbttger. The first success-
ful results of his protracted experiments were
described in a report addressed to his patron,
Augustus the Strong, King of Poland, and
dated March 28th, 1709, in which he asserts,
for the first time, his capability of making
" good and white porcelain." A few specimens
of the ware of his invention were shown to the
king a year after in 17JO. They appeared so
satisfactory that, in the same year, the establish-
ment of a porcelain factory at Meissen was
ordered by royal decree. It was not, however,
before 1713 that the Meissen works left the
field of experiments to enter into a course of
considerable and steady production. All this,
and many collateral points, skilfully investi-
gated by the writer, had to be demonstrated.

ZIRONI (E.). — Archeologia prehisto-
rica. L'arte delle terre cotte in
ogni tempo. Studi bibliogra-
fiche. Bologna, 1901. 12°, pp.
96. Portr. and 1 col. pi. 2 fcs.

"Prehistoric archaeology. The art of
terra-cotta at all periods. Bibliographical
sketches."

Review of a few archaeological works.

ZSCHOKKE (B.).— Recherches sur la
plasticite des argiles. Paris,
1902. 4°, pp. 59. (Reprint
from the Bulletin de la Soc.
d' Encouragement) .

" Researches on the plasticity of clays."

Resultate der technologi-
schen Untersuchung der Schwei-
serischen Tones. Zurich, Speidel,
1907. 4°, pp. 50 ; with 10 text
illustrs. 10 fcs.

" Results of the technical researches
on the clays of Switzerland."

ZWICK (H.).— Die Natur der Ziegel-
thone und die Ziegel Fabrika-
tion der Gegenwart. Wien,
1878. 16°; with 2 pis. and
123 illustrs. 8 m.

" The nature of the clay used in tile
• making, and the tile manufacture at the
present day."

461

ANONYMOUS.

A.... — La Potichomanide — po&ne
en trois chants sur 1'art d'imiter
les porcelaines de Chine, du Ja-
pon, de Sevres, de Saxe, les vases
Etrusques, Egyptiens, etc., suivi
d'une lettre tres interessante
dcrite de Tours et renfermant
tout ce que Ton a pu decouvrir
jusqu'a ce jour sur Fhistoire de
la Potichomanie ; de notes sur
la Chine ; et de documents
puises dans les ouvrages de
M. M. Champollion - Fijeac,
Brongniart, Vauquelin, Boyer,
d'Entrecolles, etc., sur 1'art
ceramique chez les anciens et

chez les modernes ; par A

Paris, Garnier freres, 1854. 8°,
pp. 112. 6 fcs. English trans-
lation : Potichomania. . . .
London, 1855, 12°.

"Potichomania; a poem in three
cantos upon the art of imitating the
porcelain of China, Japan, Sevres,
Saxony ; the Etruscan and Egyptian
vases, etc. ; with a very interesting
letter written from Tours concerning
all that is known, up to this day, upon
the origin of Potichomania ; also notes
on the Chinese Empire ; and informa-
tion extracted from the works of Messrs.
relative to ceramic art in ancient
and modern times."

We do not know the name of the ingenious
man who introduced, as an artistic pastime,
the simple method of sticking upon the inner
surface of a glass vessel, neatly cut-out scraps
of chromo-lithographs, and of backing them
with a general ground of oil colour. The name
of Potichomania was given to the invention.
It created a sort of intoxication among all
people of leisure, young and old, and spread,
as a fashionable craze, with a rapidity which
can only be compared to the abruptness with
which it was abandoned. The process, now
well nigh forgotten, was celebrated by a poet,
who showed some capability for putting into
verse what could not have been found worth
telling in prose. The poem is dedicated to
the ladies under whose patronage it is placed,
and for whom it was particularly written.

462

A. G. — Prehistoric Russian Pottery
(in Russian), 1903. 8°, pp. 39 ;
with 11 pis. of fragments.

Afghan boundary Commission.
Ornamented Tiles. London,
1893. 4° ; 18 col. pis. (From
the Journal of Indian Art.}

Anciennes faiences de Bordeaux.
See Azam.

Antiquites du Bosphore Cim-
m6reen. See GillCS.

Antiquity's trouvees en Grece,
Vente a Paris, Juin, 1895. 8°,
pp. 31 ; with 12 pis. 3 fcs.

Catalogue of sale. Greek vases and terra-
cottas, 47 Nos.

ANTONIN BOULLEMIER. See Rose (A. Y.).

ART JOURNAL.— The industries of all
Nations. The Art Journal
illustrated catalogue of the
Intern. Exhib. London, 1851.

4°.

The exhibition of Art In-
dustry in Paris, 1855. Illustr.
Catalogue. London, 1855. 4°.

The Art Journal illustr. Cat.

of the Intern. Exhib., 1862.
London, 1862-63. 4°.

The Intern. Exhib., 1871.

Illustr. Cat. London, 1871-72.
.4°.

ART POUR TOUS.— Ceramique. Collec-
tion de planches ceramiques
tirees de cette publication.
Paris, Morel, s d. 2 vols.
Fol. ; 180 pis. 40 fcs.

A collection of plates reprinted from the Art
pour tons. Each subject is accompanied with
a descriptive notice printed in French, English,
and German.

BAR]

CERAMIC LITERATURE.

[CAS

Barrow diggers (The). See Wools.

B. B. — Comparaison entre la fabrica-
tion des poteries en Angleterre
et sur le Continent, pour servir
de base aux modifications a
apporter au tarif des douanes
concernant cette industrie.
Luxembourg, impr. J. Lamort,
1835. 8°, pp. 26.

" A statement of the different condi-
tions in which the manufacture of pottery
is carried on in England and on the
Continent, to be used as a basis for the
alterations that should be introduced in
the importation duties concerning that
industry."

This memoir was addressed by a French
manufacturer (?) to the Commission of inquiry
appointed in Paris in 1834 to propose the
modification of the existing tariffs.

B. (G. F.), and B. (C. D.)— Calendar
tiles. Drawings by G. F. B.
Verses by C. D. B. London,
1883. Obi. 8° ; 12 pis.

BERGEN.— Vestlandske Kiinstindus-
trimuseum. Beretning om Mu-
seets Virksomhed i Aaret.
Bergen, 1893. 8°.

" Report of the museum of industrial
art in Bergen."

BERNISCHES ANTIQUARISCHE MUSEUM.—
Verzeichniss der antiken Vasen
und rom. — kelt. Alterthlimer.
Basel, 1846. 8°; with 4 lith.
pis.

"Catalogue of the antique vases, and
Roman and Celtic antiquities in the
Berne Museum."

BONN.— Katalog der Kgl. rheini-
schen Museums vaterlandischer
Alterthlimer bei der Universitat
Bonn. Bonn, 1876. 8°, pp. 106.

" Catalogue of the national antiqui-
ties of the Rhine provinces in the
museum of the Bonn University."

BRESLAU MUSEUM.— Fiihrer durch die
Sammlungen des Museums schle-
sischer Altertumer in Breslau.

Breslau, 1891. 3d. Ed. 8°,
pp. 116 ; with 30 illustrs. 1 m.

" Handbook to the Museum of Silesian
antiquities at Breslau."

Prehistoric pottery and German ceramics.

Breve nota di quel che si vede in
casa del principe di Sansevero,
Don Raimondo di Gangro, nella
cittk di JSTapoli. Napoli, 1768.
12°, pp. 60.

" Short notice of the curiosities to be
seen in the house of Prince di Sansevero
at Naples."

The porcelain made for the Prince of Sanse-
vero was in an experimental stage. It belongs
to a class of which very few examples are now
in existence. It was a white body which, like
the Bottger ware, received its polish upon the
lapidary wheel. This rare notice records the
invention and gives a few particulars of
the manner in which it was carried on.

British art during Her Majesty's
reign ; being the Koyal Jubilee
number of the Art Journal.
London, Virtue, 1887. 4°, pp.
162 ; with 2 etch. pis. and text
illustrs. 5s.

References are given to the best works of the
English manufacturers and ceramic artists of
modern times. The account is illustrated with
reproductions of a few examples of British
ceramic art, and views of the Delia Robbia
stair-case, and the Ceramic gallery at the
South Kensington Museum decorated with
Minton's majolica.

BRITISH MUSEUM.— Photographs from
the collections of antiquities.
Published by permission of the
trustees of B. M. 964 photogrs.
by S. Thompson. £120, 10s.
London, 1872. 15 vols. Fol.

Grecian, Etruscan, and Roman series, 5 vols.,
with 304 pis.

CARLSRUHE.-Grossherzogl. Badische
Alterthiimer Sammlung in Carls-

ruhe. See Wagner.

Castle Hedingham pottery, 1886.
16°, pp. 7. Reprint from the
Essex County Chronicle, Oct.,
1886.

The manufacture of artistic pottery was
introduced by Mr. Bingham in a small pot-

463

CAT]

CERAMIC LITERATURE.

[DBS

works which, for sixty years, had provided the
locality with articles of common earthenware.
Mr. Bingham was helped in his work by all the
members of his family. Their productions,
stamped with a character of originality, were
much appreciated by amateurs.

Catalogue of the collection of the
works of Josiah Wedgwood.

See Propert

CERAMIC ART CO. (The).— Makers and
decorators of exclusive produc-
tions in artistic china and porce-
lain. President, W. S. Lenox,
Trenton (N.J.), U.S.A. Obi. 4°,
pp. 80 ; with numerous illustrs.
(1896).

Description of the works, followed
by a pattern book, 1896. 4°.

-- A Kino's Inventions. The
loving cup story. New York,
the Lotus Press, 1896. 16°,
pp. 16 ; with 9 illustrs.

Reproductions of the models of
three handled cups manufactured
by W. S. Lenox, The Ceramic
Art Co., Trenton, N.J. 8°.

Chemical recipes ; nearly 1000
modern formulae for producing
all kinds of colours and other
chemical compositions ; with full
explanatory notes and instruc-
tions for manufacture. . . .
Sunderland, 1896. 8°, pp. 316.
Published by the Atlas Chemical
Company. £1, Is.

Pigments, pp. 2-67 ; china and earthenware
dies and glazes, pp. 68-98 ; brick and tile,
pp. 99-113 ; liquid gold, pp. 119-122 ; notes for

bodies and glazes, pp. 68-98 ; brick and tile,
pp. 99-113 ; liquid gold, pp. 119-122 ; no
potters, glass and brick makers, 123-126.

CHINA HUNTERS' CLUB (The).— See
SlOSSOn (Mrs. Annie).

C. J. S. — Hints on fine art pottery
painting. Edinburgh, Soutter,
1881. 8°, pp. 56 ; with 3 pis. 2s.

Published by a dealer in works of art and
artist material.

CLAYWORKER'S HANDBOOK (The). - A
manual for all engaged in the
464

manufacture of articles from
clay. By the author of The
Chemistry of Clay working. Lon-
don, Griffin & Co., 1906. 8°,
pp. viii.-365 ; with 32 text

illustrs. 6s. See Searle (A. B.)«

Collection d'un amateur de Rouen.
Vente a Paris, Nov., 1872, 8°,
pp. 21 ; with 1 photogr. pi.

Fine collection of French faience formed by
Mr. Delaunay of Rouen.

Collection d'antiquites, vases
peints, etc. Paris, 1903. (See
Sambon.)

C. R. — L'arte della ceramica. Milano,
Sonzogno, 1881. 32°, pp. 64;
with 67 illustrs. (In Biblioteca
del Popolo. 15 cents.

Descriptive account of the Pot-
teries, illustrated. Brighton,
Robinson & Pike, 1893. 4°, pp.
90 ; with num. illustrs.

An advertisement book containing a descrip-
tive notice of each of " The Potteries" towns.
The manufactories of each locality are well
described ; views of the works and reproduc-
tions of the choicest specimens of manufacture
are also given.

Description des travaux de la
fabrique Imperiale de porce-
laines, avec une revue de toutes
ses parties. St. Petersbourg,
1844. 8°, pp. 29.

" An account of the productions of the
Imperial porcelain works at St. Peters-
burg; with a description of the manu-
factory in all its departments."

Text in French and in Russian.

Descrizione del Banchetto nuziale
per Alfonso II., Duca di Ferrara
e Barbara, principessa d' Austria,
preparato con appendice di una
lettera sopra due piatti di majo-
lica dipinti. Ferrara, 1869. 8°,
pp. 36.

" Description of the banquet given on
the occasion of the marriageof AlfonsoII.,
Duke of Ferrara, with Barbara, Princess

DIE]

CERAMIC LITERATURE.

[GEF

of Austria ; with a letter on two majolica
dishes."

Contains an account of the majolica vessels
used at the banquet.

Dieci Bambini in fasce di bassore-
lievi nella Loggia dell'Ospedale
degli Innocente in Firenze.
Firenze, 1 897. 10 pis. in chromo-
lith ; with a portrait of Andrea
della Robbia, taken from a con-
temporary majolica dish, printed
on the wrapper. 5s.

" The ten infants in swaddling clothes ;
bas-reliefs in the Loggia of the Hospital
of the Innocents in Florence."

Disquisition upon Etruscan vases.

See Christie (I)

DOCCIA. - - Manufacture Ginori, a
Doccia, pres Florence, fondee en
. 1735. Album de porcelaines et
de maj cliques artistiques. Flo-
rence, 1873. 4°.

" Ginori manufactory at Doccia, near
Florence, established in 1735. An
illustrated catalogue of its productions
in porcelain and artistic majolica."

DOCCIA. See Lorenzini.

DRESDEN INDUSTRIALART SCHOOL— Kata-
log der Bibliothek der Konigl.
Kunstgewerbe-Schule zu Dres-
den. Dresden, Hoffmann, 1897,
8°. 5 m.

"Catalogue of the library of the
Industrial Art School at Dresden."

Part VI. — Ceramics, glass, and precious
stones, pp. 4-56. Part XIII. — Schools, collec-
tions, exhibitions, art associations and guilds.
Appendix, pp. iv.-108.

EDINBURGH MUSEUM.— National Mu-
seum of Antiquities of Scotland.
Catalogue, 1892 ; with num.
illustrs.

Scottish pottery, pp. 161-194. Romano-
British, p. 220.

Eerste Brief over byzondere neder-
landsche oudheden, etc. Donder-
beitels en Vrow Jacobaes Kan-
30

netjesentz. Arnheim,l&.J$ro\iwer,
1757. 8°, pp. 79. 5s.

" First letter on certain antiquities of
the Netherlands, and on the stoneware-
bottles commonly called " Cannetes
of the Countess Jacqueline."

Endecktes Geheimniss des achten
Porzelans. Berlin, 1750. See

Pott.

English china and china marks ;
being a guide to the principal
marks found on English pottery
and porcelain. With engravings
of upwards of 150 marks. Lon-
don, Wyman, s.d. (1900?). 8°,
pp. 35. 2s.

Expose sur 1'organisation du tra-
vail. Les delegues de la Societe
populaire de Limoges. Limoges,
Barbon. Sq. 8°, pp. 23.

Deals with the regulation of work in the
porcelain factories, and advocates co-operation.

Factory Glazes for ceramic
engineers. ... A. of the
series, Leadless sanitary glazes
. . . by a West-Riding Ex-
pert. London and New York,
1908. Fol., pp. iii-56. £2.

The peculiar terminology, the singular tabular
arrangement of the mixtures, as well as the
individual style of writing adopted by the
author, make us incapable of expressing an
opinion on the practical use of this unpre-
cedented list of recipes. Its chief claim to the
potter's attention is that it is not scientific.
Several volumes, prepared on the same plan,
are said to be in the press.

FRANKFURT EXHIBITION.— Historische,
kunstgewerbl. Erzeugnisse, Aus-
stellung zu Frankfurt a M. 1875.
Fol. ; 100 pis. inphototyp. 75m.

" Exhibition of historical and of
industrial art objects."

Gefasse der deutschen Renaiss-
ance, im Auftrage d. K. K.
Handelminist. herausg. v. Oest.
Museum f. Kunst-Industrie.

465

G.G.H.]

CERAMIC LITERATURE.

[IND

Fol. ; 16 heliogr.

Wien, 1876.
pis.

Vases of the German Renaissance ; published
under the patronage of the ministry of Com-
merce, by the I. R. Museum of Industrial Art.

G. G- H. — Dei vasi greci. . . .
See Haus (G. G.).

Griechische Terracotten aus Tan-
agra und Ephesos im Berliner
Museum. Berlin, E. Wasmuth,
1878. Sm. 4°, pp. 10; with
32 photogrs. £2.

" Greek terra-cottas, from Tanagra and
Ephesus, in the Berlin Museum."

Guide des corps des Marchants, et
des Communautes des Arts et
Metiers, tant de la Ville et des
Fauxbourgs de Paris, que du
Royaume, etc. Paris, Veuve
Duchesne, 1766. 12°. 20 fcs.

"A guide-book for the merchants, and
for the Arts and Trade Companies, for
the town and suburbs of Paris, and for
the whole Kingdom."

A short notice of each of the incorporated
trades : Enamellers, p. 228 ; potters, p. 437 ;
glass makers, p. 481 ; stained-glass painters,
p. 485, will be found in this book.

Guide du visiteur a la manufacture
nationale de Sevres. Paris,
Ch. Mourgues, 1874. 12°,
pp. 102.

" The visitor's handbook to the National
Manufactory of Sevres."

Written under the direction of L. Robert,
then administrator of the national manufactory,
It contains a brief notice of the processes of
manufacture, a list of marks, and the names of
all the donors to the ceramic museum.

Haagsche Porceleinfabrick (De).
The Hague, 1863. 8°, pp. 8.
(In Mededeelingen van de veree-
niging beoffening der Geschie-
deniss van 's Gravenhage).

" The manufactory of porcelain at The
Hague."

Doubts have been entertained as to the
making of hard porcelain at The Hague. It is
now ascertained that a workman from Dresden,
named Lynkert, established a manufactory in
the town, under the patronage of the Munici-

466

pality, in 1774. The porcelain made in that
establishment was said to be equal to that of
Saxony, but as its production was very costly,
it had to be sold at a higher price. It was
disposed of, chiefly by means of lotteries.

HANLEY EXHIBITION, 1890. - - North
Staffordshire Technical, Art, and
Industrial Museum. Handbook
and catalogue of the collection
of works of art and other objects
of interest exhibited at the in-
auguration ; with an account of
the museum. Hanley, Allbut
and Daniel, 1890. 16°, pp. 57.

A loan of the celebrated Forman collection,
in the possession of Major Brown, was the
great feature of that exhibition. H.M. the
Queen had contributed some Sevres porcelain
vases from Windsor Castle ; Messrs. Wedg-
wood had sent old Wedgwood ware ; Mr.
R. W. Binns, old Worcester porcelain ; and
other collectors, selections of pottery and china
of various origin. See Solon, Salt-Glaze.

HENRI DEUX WARE.— See King (A. C-).

IMPERIAL INSTITUTE. — Official cata-
logue of the exhibition of decora-
tive and artistic pottery, china
and glass manufacture, in con-
nection with the United King-
dom Section of the Imperial
Institute, including particulars
of a loan collection of china and
pottery dating from the year
1600 A.D. London, 1894. 8°,
pp. 128.

Indian ceramics. 19 photogrs. of
ancient and modern examples
of Indian ceramic art. Report
on the Bombay pottery in the
South Kensington Exhibition,
1871. Sm. fol. £1, 10s.

Permanent photographs of
Madras and Burmese art ware.
Published under the superintend-
ence of the Madras Government
Art Committee. London, 1886.
4°, pp. 12 ; with 50 autotyp. pis.
£2, 10s.

Industries of Staffordshire. His-
torical, statistical, biographical.

TND]

CERAMIC LITERATURE.

[MET

London, s.d. (1890). 4°, pp. 128 ;
with num. illustrs.

An illustrated trade directory ; it contains
an article on the " Staffordshire Potteries" and
the pottery manufacture, with wood-cuts by
Harry Furniss ; also, an historical account of
the towns of the district, with views of the
most important manufactories.

Industriestatistik der Oesterreich.
Monarchie f.d.I. 1856. Heft I.
Steinwaaren, Thonwaaren, Glas-
waaren. Wien, 1857. 8C ; with
a table of the earthenware
manufacture.

" Industrial statistics of the Austrian
Empire, for the year 1856. Part I.
Pottery and glass."

JOHN JAKOB HETLINGER von IINTERTHUR.

- Winterthur, 1890. 4°, pp. 18 ;

with 2 pis. Bust of Louis XVI.

inSevresbiscuit(byBiddermann).

Hetlinger became assistant director of the
R. Manuf. of Sevres in 1779. Under his direc-
tion the first pieces of a large size were pro-
duced in porcelain biscuit. He retained his
post when Al. Brongniart undertook the recon-
stitution of the national establishment, and
worked in association with him until 1803, the
date of his death.

Keure tegens het Namaaken der
Teeckens of Merken der Plateel-
bakkerijen, mitsgaders het ver-
anderen der voorseijde Teeckens
of Merken. Delft, printed by
A. Sterks, 1764 (with facsimile
of marks).

"Regulations concerning the forgery
of the potters' trade marks, and the
alterations introduced in the design of
the aforesaid marks."

Regulations issued by the magistrates of
Delft at the time when the industry of the town
was beginning to decline. A reprint of the
rules, and a reproduction of the accompanying
marks is given in Archie/ v. Nederl. Kimstgesch.
I. Rotterdam, 1877.

Kontroll-apparate fur Ziegeleien
und verwandte Betriebe. Ber-
lin, Thonindustrie-Zeitung, 1903.
12°, pp. 95.

" Controlling apparatus for tile-making
and kindred industries,"

LEIPZIG. — Alte Kunstgewerbliche
Arbeiten aus der Leipziger
Ausstellung, 1879. Fol., 70
phototyp. pis. £3.

" Ancient works of art in the Leipzig
Exhibition, 1879."

— Kunstgewerbe Museum.
Fiihrer durch die Sammlung.
Leipzig, 1884. 8°, pp. 32 ; with
Ipl.

"A guide to the collections of the
museum of industrial art in Leipzig."

LIMOGES. — Statuts de la Societe
fraternelle des artists en porce-
laine, fondee a Limoges le
9 Novembre, 1844. Limoges,
1844. 12°.

"Statutes of the Friendly Society of
Art-workers in Porcelain, established at
Limoges, 1844."

LINTHORPE WARE.— Desultory notes
and comments on the productions
of the Linthorpe Pottery. Dar-
lington, 1885. 4°, pp. 16 ; with
6 pis. Priv. printed.

LISBON EXHIBITION, 1882. — Exposigfto
retrospectiva de arte ornamental
Portugueza e Hespanhola. Cata-
logo. Lisboa, 1882. 5 parts.
8° ; with 220 lith. pis.

The ceramic art was chiefly exhibited in
room E ; the catalogue of that portion of the
exhibition was prepared by F. Palha ; it com-
prised 536 Nos.

List of collectors and dealers in
old china. Syracuse, N.Y., 1905.
The Keramic Studio Publ. Co.
Fol., pp. 32.

MEISSEN PORCELAIN WORKS.— Die konig-
liche Porzellan-manufactur zu
Meissen. Eine geschichtliche
Skizze als Festgabe zur 150
Jahrigen Jubelfeier dieser An-
stalt am 6 Juni, 1860. Mit einer
lithographirten Ansicht der
Schloss und Domkirche oder

467

MEI]

CERAMIC LITERATURE.

[MIN

der Albrechtsburg. Meissen,
1860. 8° ; with 1 lith. pi. 3 m.

"The royal porcelain manufactory of
Meissen. An historical sketch, published
in commemoration of the 150th anniver-
sary of the foundation of that establish-
ment, June 6, 1860. With a view of
the Albrechtsburg."

MEISSEN PORCELAIN WORKS.— Konigl.
Sachs. Porzellanmanufaktur.
Dresden, 1896. 8°, pp. 60; with
4 autotyp. pis.

"The Meissen royal porcelain manu-
factory."

History of the works divided into nine
periods ; marks.

Preis-Verzeichniss der Kon-

ligl. Sachs. Porzellan-manufactur
und deren Niederlagen zu Dres-
den und Leipzig. . . . Dresden,
s.d. 4°, pp. 42; with 32 lith.
pis.

"Price list of the royal porcelain
manufactory of Meissen and its depots in
Dresden and Leipzig."

Preisverzeichniss, etc. An-
other edition with an Atlas of
64 phototyp. pis. Meissen, 1896.
Sm, fol. 40 m.

MUNICH EXHIBITION,1852.— Abbildungen
von Kunstgegenstanden aus der
Landes - Industrie - Ausstellung.
Mimchen, 1852. 125 lith. pis.

Illustrations of art objects from the Exhi-
bition of National Industries. Pen and ink
outlines of such miserable execution that the
well-known masterpieces of ceramic art sent
by Sevres, Dresden, and other manufactories
are scarcely recognisable.

Manufacture imperiale de porce-
laine de Saint Petersbourg (La),
1744-1904. St. Petersbourg, 1906.
Fol., pp. viii-422 and 63 of tables;
with 12 heliogr. pis., one pi. oi
marks, and 493 half-tone illustrs.
75m.

"The imperial manufactory of porce
lain of St. Petersburg."

Published by the Council of Administration
of the imperial factories. Text in Russian.
An abridged translation in French is given at
the end of the volume.

468

A state-supported establishment, the imperial
factory of St. Petersburg has not, as a rule,
disposed of its limited productions through the
usual channels of the trade. Hard porcelain
was made from the beginning ; examples of it
are rarely seen in the collections. Although
chiefly consisting in imitations of the leading
Oriental and European types, some of the
choicest specimens offer particular interest.
Many pieces decorated with portraits of the
imperial family, Russian landscapes, military
groups and popular scenes, testify to the care
that was taken to impart to the ware a national
character.

Manufacture of pottery, porcelain,
and encaustic tiles. S.l.,n.d.
12°, pp. 72 ; with text, illustrs.

A volume in the series entitled : Useful Arts
and Manufactures of Great Britain.

Marken-Kratze. Meissner Por-
zellan Marken. "VieuxSaxe,"
von 1704-1870; sowie die berum-
testen Marken anderer alten
Fabriken Europas. Dresden
(1905 ?). 16°, pp. 18.

" The marks of the Dresden porcelain
from 1704 to 1870, likewise the most
celebrated marks of the other European
factories."

MELBOURNE. -- Catalogue of casts
. . . and illustrations of
ceramic art in the Museum at
the Melbourne Public Library.
Melbourne, 1865. 8°.

Ceramics, pp. 29-90.

MILANO. — Esposizione storica d'arte
industriale. Milano, 1874. Cata-
logo generale. 8° (Ceramics,
pp. 29-90.

Minutes of proceedings at an
arbitration under the Factory
Act, 1901, held before Lord
James of Hereford (Umpire),
. . . into the special rules
proposed by the Home Office
for the regulation of the manu-
facture of pottery. Hanley,
offices of the Staffordshire
Sentinel, 1901-03. 8°, pp. 359.

The difference which had arisen between the
manufacturers of Staffordshire and the Home
Office, on the avisability of enforcing the use
of a leadless glaze, was settled by arbitration.

N.F.L.]

CERAMIC LITERATURE.

[OLD

N. F. L. — Note etymologique, philo-
logique, glossologique, archeo-
logique,ceramicologique, critique
et historique sur le coquemart.
Riberac, impr. Bonnet, 1868. 8°,
pp.8.

" Facecy upon the earthenware vessel
called ' Coquemart ' in old French."

Notice historique sur les manu-
factures de faience de Creil et
Montereau. See D'EscampS (H-).

Notice sur les faienceries de
Longwy et de Senelle. See
D'Escamps.

Notice sur la fabrication mecanique

des briques, tuiles, carreaux,

. etc., de quelque dimension, et

de quelque forme que ce soit.

Reims, 1843.

" Notice of the manufacture of brick
and tile, of all sizes and shapes, by
mechanical processes."

Notizie biografiche intorno al
Marchese Leopoldo Carlo Gi-
nori-Lisci. Firenza, 1837. 8°,
pp. 16.

"A biographical notice of the Marquis
L. C. Ginori-Lisci."

In the noble family of Ginori, the merchant
princes of mediaeval Tuscany have had a long
descent of illustrious successors. From father
to son the Ginoris, animated by patriotic spirit
and guided by a keen sense of the commercial
wants of their times, have endowed their
country with philanthropic and industrial
undertakings of great importance. The credit
of having founded the first manufactory of
hard porcelain in Italy reverts to Senator Carlo
Ginori. As early as 1735, he was occupied, in
association with J. de Baillon, director of the
artillery, in making experiments towards the
discovery of a hard porcelain body which
could compete on the market with the Dresden
productions. These experiments were con-
ducted, at his own cost, on his Doccia estate,
near Florence, the very place where the modern
factory was, subsequently, to be erected. A
visit paid to the Emperor of Austria, in 1737,
gave him the opportunity to enter into com-
munication with Vandelein, chemist of the
Vienna porcelain works. Having engaged his
services and secured the assistance of a few
German operative potters, he returned to
Doccia where the regular manufacture of hard
porcelain was established in 1740.

The opening of the porcelain works was,

however, but a part of the vast scheme he had
planned for the development of Italian industry,
and particularly for the betterment of the
peasants and workpeople of his district.
Among the beneficial institutions he created
for their benefit must be mentioned the agri-
cultural colony of Doccia, where the newest
and best methods of cultivation were carried
on under his personal direction, and the fishing
village he built upon the estuary of the Cecina.
His son, Lorenzo Ginori, following in the
footsteps of his father, greatly improved the
organisation of the utilitarian enterprises,
the welfare of which had been left under his
care. He gave particular attention to the
development of the porcelain manufacture, and
erected new buildings, designed on such an
extensive scale that scarcely any addition had
to be made to them when it became necessary
to meet a prodigious increase of business.
He was succeeded by Leopoldo Carlo, to whose
life this notice is particularly devoted. Leo-
poldo continued to watch over the interests
of the Doccia manufactory, and caused many
ameliorations to be introduced in its manage-
ment. In connection with the works he
established free schools for elementary in-
struction and drawing, and a benevolent
society was started to the great advantage of
his workpeople. With a view of educating the
taste of his artists and designers he built a
special gallery in which the models of antique
and modern sculpture, accumulated during
many years, were becomingly arranged and
exhibited. Always mindful of the social and
moral condition of the many who were de-
pendent upon him, Leopoldo Carlo well deserves
the name of the Owen of Italy which has been
given to him.

NYMPHENBURG FACTORY.— Abbildungen
der vorzuglicheren Artikel der
Konigl. bayerischen Porzellan-
manufaktur zu Nymphenburg.
S.l.t 1831. 4°; with 6 pis. of
forms.

" Designs of the most important articles
sold at the royal Bavarian porcelain
manufactory of Nymphenburg."

().###. — L'art de fabriquer la
poterie. See Oppenheiffl.

OHIO GEOLOGICAL SDRYEY.— Vol. vii.,
Part i. Economical geology,
with geological scale of clay
deposits, clay manufactures,
coal-fields, etc. Norwalk (O.),
1893. 8°, pp. 290. 6s.

Old English China. Its features,
marks, and characteristics. By
a Collector. London, s.d. (recent).
18°, pp. 19. Is.

469

OP1]

CERA MIC LITER A TURE.

Opinion de la Presse sur les Ex-
positions de Gres flammes de
MM. Dalpayrat et Lesbros.
Lille, 1898. 8°, pp. 38.

"What the Press says about the
'flammee' stoneware exhibited by
Messrs. Dalpayrat and Lesbros."

Ornati delle Ambrogette Senesi.

See Brenci e Rotellini.

PALESTINE EXPLORATION FUND.— Quar-
terly statement for 1878. Dis-
cussion on the Moabite pottery
(recognised to be a forgery).
Reprint from the correspond-
ence on the subject published in
the Athenceum.

Portland Vase (The). Etruria,
1907. 16°, pp. 8; with 8 half-
tone illustrs. (By Austin).

Pottery and porcelain in 1876.
See Mawley (R.).

Pottery painting for amateurs.
London, Matthews, 1877. Sq.
8°, pp. 84 ; with 6 col. pis.

Chapters on: The revival of the art in
England ; Theory of the art ; Scope and limit ;
The place of ceramic art, etc. Tariff of the
materials for china painting on sale at Mr.
Matthews, the publisher.

Pottery Pyrometry. Cambridge,
The Scientific Instrument Co.,
Ltd., 1909. 4°, pp. 15; with
20 illustrs.

The Fe>y radiation pyrometer is described
in this pamphlet.

PRAGUE EXHIBITION. — Retrospective
Ausstellung in Prag, 1891.
Catalogue of the Exhibition.
8°; with atlas Fol. of 312 pis.
500m.

Auswahl von Kunstgewerb-

lichen Gegenstanden aus der
retrospective Ausstellung der
allg. Landesausstellung in
Prag, 1891. Prag, 1892.
470

Fol., with 100 phototyp. pis.
84m.

" A selection of objects of industrial
art from the retrospective exhibition of
Prague in 1891."

Projet d'association des travailleurs
en porcelaine. Centralisation
de Findustrie porcelainiere.
Paris, 1848. 8°, pp. 27.

" Project of an association of the
workers in porcelain. The centraliza-
tion of the industry."

Provocations of Madame Palissy.
See Manning (A.).

R. — Johann Friedrich (v.) Bottger.
Leipzig, 1828. 12°, pp. 15,
portrait. (In Denkmdler ver-
dienstvoller Deutschen, vol. ii.).

Life of J. F. Bottger.

Recipes for Enamel, Underglaze
and Majolica Colours and
Lustres ; also for relief Colours,
Bodies, and Glazes for China
and Earthenware. Revised and
corrected by a practical potter.
London, Smith, Greenwood
& Co., s.d. (1885 ?). 8°, pp. 146.
Published by The Pottery
Gazette.

Recueil de fragments de sculpture
antique en terre cuite. See
Agincourt (Seroux d').

Recueil de planches sur les sciences,
les arts liberaux. See

Reglement op de Pypen-
Fabricken, en den Pypen-
Handel, binnen de Stad Gouda.
Te Gouda, bij Wouter Ver-
blaauw, Stradsdrukker, 1815.
4°.

"Regulations of the tobacco-pipe
manufactories, and of the clay-pipe trade
in the town of Gouda."

Gouda is the centre of the clay - pipe
manufacture in Holland.

CERAMIC LITERATURE.

[SEC

Reglement general pour les

manufactures de faience de la
ville de Rouen, en cinq articles,
etablissant libert£ entiere aux
entrepreneurs d'employer des
ouvriers a leur choix, de Tun et
de 1'autre sexe, de former autant
d'eleves qu'il leur conviendra, de
fixer les salaires de gre* a gre,
d'etablir de nouveaux fours et
de fonder de nouveaux etablisse-
ments, a condition de n'y con-
sommer que du charbon de terre
et de la tourbe. Rouen, 1757.

" Regulations for the faience factories
of the town of Rouen, granting full
liberty to manufacturers to employ male
and female operatives as they may
require, to make as many apprentices
as they may choose, to fix wages by
common accord, to build new ovens and
new factories, on condition that coal
and peat only are to be used for firing
the ware."

A printed copy of these regulations is pre-
served in the archives of the Rouen Chamber
of Commerce.

Report of the Tariff Commission,
Vol. v. The Pottery Industries;
with analysis and summary of
evidence, and statistical tables.
London, King & Son, 1907. 4°,
pp. 100.

Rezeptbuch fur alle Zweige der
Keramik. 700 Rezepte gut
erprobter Massen, Glasuren,
Farben, fur den praktischen
Keramiker. Verlag der " Die
Glashutte." Dresden, 1907. 12°,
pp. 314.

" Book of recipes for all the branches
of the ceramic art. Formulae for bodies,
glazes, and colours for practical potters.
(By R. Bellow.)

Reserve Etrusque, 120 pieces de
choix. London, printed by
Schulze, 1838. 8°.

" Etruscan selection ; 1 20 pieces of
high order."

A descriptive catalogue of a selection of
painted vases coming from the collection of
Lucien Bonaparte, Prince of Canino, brought
over for sale in London. It surpasses in
absurdity the most ludicrous interpretations
of Greek vase paintings. A bearded Bacchus
seated in a chariot adorned with vine garlands,
becomes Noah in the Ark. A small vase
moulded in the shape of a head, is described as
the portrait of Cham. A painting signed by
the potter Exechesias, is said to represent the
Prophet Ezekiel, etc. The larger part of the
collection was bought by Ludwig, king of
Bavaria, for the Munich Pinacothek.

Rookwood Pottery, Cincinnati.
Cincinnati, 1895. Sq. 8°, pp.
32 ; with illustrated covers and
illustrs. of the pottery. Second
ed., 1903. 8°, pp. 47; with
marks.

The Rookwood works owe their existence to
the enterprising initiative of a group of Cin-
cinnati ladies, of which Mrs. Maria Longworth
Storer was the leading spirit. From the out-
set, the productions have been justly admired
in the international exhibitions, for intrinsic
ceramic qualities, united with a remarkable
display of artistic originality. American pottery
has scarcely shaken off the trammels of Euro-
pean influence ; the Rookwood ware, however,
makes a striking exception to the commonplace
manufacture of the day, and it augurs well for
the future of an independent American art,
just at its dawn. This private and experi-
mental undertaking of a few ladies has now
become an important industrial concern under
the direction of Mr. W. Taylor.

Saint-Clement (Manufacture de).
See Wiener.

Sappho und Alkaios. See Stein-
buchel.

SARREGUEMINES.— Tarif des produits
de Sarreguemines. ,S.L,n.d. 8°,
pp. 11 ; pi.

Tarif de la manufacture de poterie
fine de Sarreguemines. S.l.,n.d.
Obi. 4°, pp. 28 ; illustrations of
shapes.

" Price lists of the earthenware factory
of Sarreguemines.

Secrets concernant les arts et
metiers. Nouvelle edition.
Rouen, C. Ferrand, 1724. 12°,
pp. 435.

" Secrets concerning the arts and
trades."

471

SER]

CERAMIC LITERATURE.

(STA

Cements to mend broken vessels, pp. 125-128 ;
colours for painting in enamel, pp. 169-183;
gilding on faience, p. 431.

Serie di trecento tavole in rame
rappresentanti pitture di vasi
degli antichi Etruschi tratti
dalla Biblioteca Vaticana e da
altri musei d'ltalia. Roma,
1787. 3 vols. Ob. fol. ; 306 pis.
and an engr. title, without text.

" A series of three hundred plates
engraved on copper representing the
paintings upon Etruscan vases in the
Vatican Library and other museums of
Italy."

This is a reprint of the plates of the work of
Passeri, Picturcu Etruscorum, published under
a new title. Another edition was issued in
1806.

SEVRES (Manufactory of)-— Exposition
des tapisseries et porcelaines
de Sevres . . . au chateau
de Saint- Cloud. Paris, Pongin,
1797. 16°, pp. 32.

A curious scheme of periodical exhibitions
of Industrial Art, the profits of which were to
be applied to the support of the national
establishments of Sevres and the Gobelins.
They were to be held in the Royal Castle and
Park of Saint-Cloud. Numerous side-shows
and entertainments of all kinds would attract
and retain visitors. Special fetes were to
be given. A programme which, as it may
be seen, differs little from that of our latest
exhibitions.

Notice sur quelques unes des

pieces qui entrent dans Fexposi-
tion des porcelaines de la manu-
facture royale de Sevres. Paris,
impr. Herissant Le Doux. 1818.
12°.

For complete list of Sevres

catalogues see Part II.,

SOUTH KENSINGTON MUSEUM. -Examples
of the works of art in the
museum and the description of
the building, with brief descrip-
tion. London, 1880-82. 2 vols.
Sm. 4°, pis. and woodcuts.
£1, 10s.

Staffordshire Potteries Directory
(The). To which is prefixed an
472

historical sketch of the county,
and an account of the manufac-
ture of earthenware. With a
map. Hanley, printed by
J. Allbut & Son, 1802. 12°,
pp. 145. £1, 10s.

Contains a list of 144 pottery manufacturers ;
Mr. Wedgwood's evidence to the Privy Council
and at the Bars of the two Houses of Parlia-
ment ; biographical record of Josiah Wedg-
wood, etc.

Staffordshire Potteries. A special
supplement. The Illustrated
London News, 1884. Fol. ; with
illustrs. by Harry Furniss.

Statistique industrielle du
canton de Creil, a 1'usage des
manufacturiers de ce canton.
Senlis, 1825.

" Industrial statistics of Creil and its
district, compiled for the use of the
manufacturers of that district."

Statuts anciens et nouveaux, regis-
trds en Parlement, arrests,
sentences et regiemens con-
cernant la communaute' des
maistres potiers de terre, car-
leurs, de la ville et fauxbourgs
de Paris. Imprime a la dili-
gence de Nicolas Fontaine,
German Boutet, Jacques Du-
fresnoy et Nicolas Lonette,
jures, gardes en charge en mil
sept cent cinquante-deux. Paris,
impr. Prault, 1752. 12°, pp.
vi-195.

" The old and new statutes registered
in Parliament; decrees, sentences, and
regulations concerning the corporation of
master-potters and tile-makers of the
city and suburbs of Paris, printed by
the care of ... masters of the
craft."

These regulations extend from the year
1465 to the year 1752.

Statuts . . . etc. Imprimes a
la diligence des sieurs Jean Louis
Aubert, 1'aine, Mathieu Prud-
homme, Antoine Combacal et

STO"!

VtiRA Ml< ? L 1 TKRA TU1UL

Claude Charles Faucon, jures et
gardes en charge en 1'annee,
1772. Paris, de 1'Imprimerie
de Prault pere, 1772. 8°.
20 fcs.

Story of Palissy the Potter (The).
London, Nelson, 1877. 16°, pp.
119 ; with 1 pi. lu Lessons from

Noble Lives.

Tazze dipinte del real Museo di
Berlino. See Gerhard (£.)•

T. P. — A few words about Coalport
china. London, A. Andrews,
1888. Sq. 16°, pp. 15; with
marks and 6 pis. of patterns.
Printed for private distribution.

A short historical account of the four manu-
factories : Caughley, Swansea, Nantgarw, and
Coalport, the marks of which are found, on
some pieces, combined together in a complicated
monogram.

TIN WORTH (George).— A record of his
work. London, Doulton & Co.,
1887. 4°, pp. 16 ; one photo.

Treatise on the origin . . . and
present state of the manufac-
ture of porcelain. . . . See
Porter (G. R.).

Treatise on the origin and present
state of the manufacture of
porcelain. . . . See Neatin.

UNMCENTRALE DES BEAUX ARTS APPLI-
QUES A I/INDUSTRIE.— Exposition
de 1865. Palais de 1'industrie.
Catalogue du Musee retro-
spectif. Paris, J. Lemer, 1867.
Imp. 8°, pp. 560. 5 fcs.

A very remarkable exhibition of works of
art organised by the ' ' Society of the Central
Union of the Fine Arts applied to Industry."
The Sevres porcelain, then belonging to the
Marquis of Hertford, and afterwards in the
possession of Sir Richard Wallace, is described
in full in this catalogue. W\th that exception,
the description of the choice and numerous
objects contributed by the richest collectors of
France, is too short and incomplete to be now
of any use.

UNION CENTRALE DES ARTS DECORATIFS.

— Exposition de 1869. Catalogue

du Muse"e Oriental. II. Por-

celaines, Faiences, Verreries.

Paris, 1869. 8°, pp. 65-174.

- Guide du visiteur au Musee
Oriental. Paris, 1889. 12°,
pp. 64.

Oriental pottery and porcelain selected from
the best collections.

Universal catalogue of books on
art. See Pollen (J. H-).

Verzeichniss der Porzellan-Ge-
malde-Sammlung in der Kgl.
Neuen Pinakothek zu Mtin-
chen. Munchen, 1886. 32°,
pp. 50.

" Catalogue of the collection of porce-
lain paintings in the New Royal Pina.-
cothek of Munich."

In the year 1809, the Prince Ludwig of
Bavaria conceived the idea of causing the
masterpieces in the Royal Museum of Munich
to be painted on porcelain, to bequeath to
posterity reliable and unalterable copies, when
time had defaced or destroyed the originals.
The paintings were executed in the Royal
Manufactory of Nymphenbourg, first on a series
of dessert plates, and subsequently on plaques
of various dimensions. For 57 years the work
gave employment to many artists of the royal
manufactory. The collection is now composed
of 72 plates, 2 vases, and 207 plaques, exhibited
in a special room.

VIENNA : K. K. OESTERREICH. MUSEUM FUR
KUNST UND INDUSTRIE.— Katalog
der Special-Ausstellung von
Krtigen und krugartigen Ge-
fassen . . . eroffnet am
4 Mai, 1881. Wien, 1881. 8°.

" Catalogue of the special exhibition of
jugs and other drinking vessels, opened
May 4, 1881, at the R. I. Museum of
Art and Industry."

VIENNA: K. K. OESTERR. MUSEUM F.
KUNST U. INDUSTRIE. — Katalog.
1866. -8°, pp. 150.

" Catalogue of the Industrial Art
Museum in Vienna."

473

VOE]

CERA MIC LIT ERA TURE.

[ZNA

Voellig entdecktes Geheimniss der
Kunst Fayence, englisches Stein-
gut und aechtes Porcellain zu
verfertigen ; Nebst e. Anweisung
der dazu noethigen Formen.
Leipzig, 1793. 8°.

"The secret of making Faience,
English Stoneware, and real Porcelain ;
with instructions as to the best forms to
be used in the manufacture."

WEDGWOOD MEMORIAL INSTITUTE, BURSLEM.
— Handbook to the Exhibition
of Works of Art, 1869. Burslem,
1869. 8°, pp. 35.

The historical introduction was contributed
by J. L. Cherry, editor of the Staffordshire
Advertiser.

WILLETT COLLECTION.— Catalogue of a
collection of pottery and porce-
lain illustrating popular British
history, lent by Henry Willett,
Esq., of Brighton, to the Bethnal
Green branch of the South Ken-
sington Museum. London, Eyre
& Spottiswoode, 1899. 8°, pp.
123 ; with num. illustrs.

The collection has been described by the
collector himself under the name of Housman.
This catalogue does not comprise the slip
ware, salt-glaze, and other ancient specimens
of various kinds which had just been purchased
by the British Museum.

Worcester china. The process of
making china ; illustrated with
twelve engravings descriptive of
the works of the Royal China
Manufactory, Worcester. For
the information of youth. By
permission of the proprietors,
Messrs. Barr, Flight & Barr.

16C

London, J. Wallis, 1810.
with 12 col. pis. £5.

Worcester porcelain.

of the Worcester collection of
porcelain. See

Catalogue

X. — Bernard Palissy. Etude de
ses ouvrages au point de vue
forestier. Paris, 1862. 8°,
pp. 16. (Reprint from Annales

forestieres et metallurgiques,
vol. xxi.)

" Examination of B. Palissy's works
considered from the forester's point of

view.

X. --Collection de feu Mr. X.
amateur normand (Ridel). An-
ciennes faiences fran^aises et
etrangeres. Paris, 1896. 8°.

Catalogue of sale. Ceramics, 206 Nos., with
7 pis. ; Rouen faience and early French
pottery.

ZILMSDORF.— Beschreibung der heid-
nischen Begrabniss Platze zu
Zilmsdorf. Gorlitz, 1827. 8°,
pp. 24 ; with title vign. and
6 lith. pis. of cinerary urns.

" Description of the pagan burial
ground at Zilmsdorf."

A curious plan of circular sepultures contain-
ing above one hundred cinerary urns is given
on pi. ii.

ZNAIM.— K. K. Fachschule fur
Keramik und der gewerbl.
Fortbildungschule. Jahresbe-
richt, 1886 (and following
years). 8°.

"Annual reports of the Imp. and
Roy. Technical School for ceramics at
Znaim."

474

PART II.

CERAMIC LITERATURE.

TECHNOLOGY.

IN the number and the particular class of ceramic books published in one country, much
of the idiosyncrasic propensities of the nation may be seen distinctly reflected. For
dominate over those written in other languages. The fact may be easily accounted for,
instance, we notice that, in the present section, German technical works largely pre-
when we recollect that the German student, gifted with an inquisitive and studious
turn of mind, prefers, as a rule, the. value of theoretical teaching to all that can be learned
from the mere practice of the long-established ways of the trade. It is not a rare
occurrence to see, in the leading pot-works of Germany, or of Austria, a common operative
applying his leisure moments to the study of some special book, in the full conviction
that the acquisition of knowledge will, one day, raise him to the position of a successful
master.

On the other hand, scientific books on ceramics do not appear to be in great demand
in England ; their list is, indeed, singularly short. It is chiefly composed of the general
treatises extracted from the large Cyclopedias ; the reprints of occasional papers read
at the meeting of some learned society ; and, finally, of the popular handbooks on china
painting. Obviously, the majority of these publications is meant rather to provide for
the instruction of the general reader than to foster the advance of the potter's art. But
if we take into account the natural tendencies of the race, this deficiency in technical
literature will seem to us quite a normal consequence. When he has made up his mind
to become a professional potter, the English probationer will, usually, feel rather dis-
inclined to linger over rules and principles, and he will plunge at once into active opera-
tions. Placing himself under the guidance of an experienced manufacturer, he will choose
to follow a course of professional training, and to gain his knowledge of manufacture
through actual handiwork and personal observation. This may explain, in some way,
how it has happened that the increase in the publication of scientific books has not, in
England, been commensurate with the considerable development of the ceramic industry.

France has contributed largely to this section of the ceramic literature ; and in this
fact, again, we can see one of the many sides of the national spirit curiously evinced.
It is well known that a true Gaul yields willingly to an inborn prompting which urges
upon him the duty of imparting to others, less enlightened than himself, the substance
of the knowledge he has laboriously acquired. To discourse upon a subject he has
thoroughly mastered causes him both pride and pleasure. When assuming the part
of a teacher, he finds in the respect and gratitude of his pupils an ample reward for all
his past labours. Whether this may, or may not, be attributed to that cause, it remains
none the less an absolute fact that, in almost every branch of ceramic manufacture,
the first treatise on the subject has been published in France. Moreover, we notice
that the early French book has long kept its place as the acknowledged source from
which were derived most of those subsequently published in other countries. The secrets
of porcelain-making were still jealously guarded by a few manufacturers, when De Milly's
work L'art de la porcelain, disclosed to all the processes of manufacture. For many
years afterwards nearly all that was written on the matter consisted of extracts or
imitations of the contents of this, the first technical treatise worthy of that name. Later
on, in the Traite des arts ceramiques, Brongniart laid the foundations of the new science ;

477

CERAMIC LITERATURE.

his admirable work remains the text-book of the student ; it has been followed by many
writings of great merit, but it has never been surpassed up to this day. We may briefly
mention the works of Duhamel du Monceau, Fourmy, Bastenaire d'Audenard and many
others of minor importance, which had no equivalent in any other language at the time
when they were given to the public.

If, now, we pass to the examination of the few volumes and pamphlets which con-
stitute the whole tribute of Italy to this branch of knowledge, we shall obtain an insight
upon the present conditions of the ceramic industry in the country. In this, as in all
other forms of applied art, the Italian nation, immersed in the contemplation of a glorious
past, remains indifferent as to the progress accomplished in other lands by modern enter-
prise and industrial energy. Consequently, while the list of the monographs of extinct
centres of manufacture has grown to be a long and valuable one, the place where the
titles of practical books intended for the benefit of the manufacturer, the artist, or the
workman, might have been entered, still remains almost a blank ; no technical book of
any practical value having been, as yet, written in the Italian language.

a.— RAW MATERIALS AND CHEMISTRY,

Bohemia and Hungary.

JACKOB (H.).— Die neuzeitliche Technik der Thone. Prag-Apolda, 1897. 12°.
LAZLO (E. D.).— Ungarlandischer Thone. Budapest, 1886. 8°.
PETRIK (L.).— Ueber der Verwendung der Rhytolithe. Budapest, 1888. 8°.
KALECSINSZKY.— Die Untersuchten ungarischen Thone. Budapest, 1894. 8°.

England.

WEDGWOOD (J.). — Papers relating to Mr. Champion's application. London, 1775.
12P.

SHAW (S.).— The chemistry of pottery. London, 1837. 8°.

BOOTH (G. R.). — Tables of the weights and measures required in using potters' materials.

London, 1853. 12°.

COLLINS (J. H.).— Hensbarrow granite district. Truro, 1878. 8°.
COCK (D.).— A treatise on china clay. London, 1880. 8°.
FURNIVAL (W. J.). — Explanation of the Staffordshire Potteries' slop flint and stone

trade calculations. Hanley, 1884. 12°.

RATHBONE (F.).— Wedgwood on the clay of Sidney Cove. S.l, n.d. 4°.
BURTON (W.).— The use of lead compounds in pottery. London, 1899. 8°.
FAIRIE (J.).— Pottery clays. London, 1901. 8°.

Notes on lead ores. London, 1901. 8°.

JACKSON (W.).— A text-book of ceramic calculations. London, 1904. 12°.

MELLOR (Dr. J. W.).— Crystallization in pottery. London, 1905. 8°.

Communications from the County Pottery Laboratory, Staffordshire. London,

1907 and f. yrs.

PASSMORE (A. C.).— Sand and clay. Manchester, 1907. 12°.

HICKLING (G.).— China clay ; its nature and origin. Newcastle-on-Tyne, 1908. 8°.
HEATH (A.) and MELLOR (Dr. J. W.).— The action of heat on binary mixtures or Felspar,

Flint, and China clay. Longton, 1908. 8°.
MOORE (B.) and MELLOR (Dr. J. W.).— The absorption and dissolution of Gases by

Silicates. " Spit-out." Longton, 1908. 8°,

478

CERAMIC LITERATURE.

France,
i

GUETTARD. — Histoire de la decouverte faite en France de matieres semblables a celles

dont la porcelaine de Chine est composee. Paris, 1765. 4°.
LAURAGUAIS (Comte de). — Observations sur le memoire de Mr. Guettard. Paris,

1766. 8°.
D'ARCET. — Memoire sur 1'action d'un feu continu . . . sur un grand nombre de

terres. Paris, 1766. 8°.

Deuxieme memoire. Paris, 1771. 8°.

BAUME. — Memoire sur les argiles. Paris, 1770. 8°.

DEBRUN. — Discours sur les proprietes de 1'argile. Beauvais, 1800. 4°.

FOURMY (J.). — Essai sur les corps vitreux colores par les emaux. Paris, 1804. 8°.

BRONGNIART (A.).— I/argile. Strasbourg, 1816. 8°.

BRARD (C. P.).— Mineralogie appliquee aux arts. Paris, 1821. 8°.

ALLUAUD. — Rapport sur les Ores molasses. Limoges, 1832. 8°.

HERAULT.— Notice sur le kaolin de Pieux. Caen, 1832. 8°.

BRONGNIART (A.).— Premier memoire sur les Kaolins. Paris, 1839. 4°.

— and MALAGUTI. — Second memoire sur les Kaolins. Paris, 1841. 4°.
EBELMEN. — Recherches. sur la composition des matieres employees dans la fabrication

de la porcelaine en Chine. Paris, 1852. 8°.

— Chimie, ceramique, geologic. Paris, 1861. 8°.
LINDEN.— I/argile. Cauteerie enfantine. Paris, 1879. 12°.

CREMER (H.). — Memoire sur le gisement de Kaolin du Teindeix (Dordogne). Lyon,
1884. 8°.

BOURRY.— De la plasticite des argiles. Paris, 1886. 8°.

BREBISSON (R. de).— Le Kaolin d'Alen§on. S.d. 8°.

BARRET.— Geologic du Limousin. Limoges, 1892. 8°.

DAMOUR (E.). — Etudes de ceramique, executees a la demande des fabricants de porce-
laine de Limoges. Paris, Butt, de la Soc. d'Enc., 1896. 4°, pp. 64, with pis.

LAFON (C.). — Les terres kaoliniques de Tayac-les-Eyziez. Perigueux, 1896. 8°.

ZSCHOKKE (B.).— Recherches sur la plasticite des Argiles. Paris, 1902. 4°.

GRANGER. — La ceramique industrielle, Chimie, Technologie.^Pam, 1905.

LAVEZARD (E.).— Contribution a 1'etude des argiles de France. Paris, 1906. 4°.

POST et NEUMANN.— Analyses chimiques. Paris, 1907. 8°.

Germany.

KAPFF (F.).— Beitrage zur Geschichte des Kobolts. Breslau, 1792. 8°.

GEHLEN. — Ueber das Vorkommen des Porzellanerde in Passau. Passau, 1811. 8°.

FRICK. — Ueber Porzellanerdengewinnung. Berlin, 1812. Fol.

PAULSEN (W.).— Die naturliche und kunstliche feuerfesten-Thone. Weimar, 1862.
Fol.

OTTO (F. J.).— Die Thon. Braunschweig, 1863. 8°.

HEROLD (H.). — Die Kaoline der Formation des mittleren Buntsandstein in Thiiringen.
Jena, 1875. 8°.

SARNOW (C.). — Ueber den Einfluss der chemischen Forschung auf die Entwickelung des
Porzellan-Industrie. 1875. 8°. (Official report of the German Committee of the
Vienna Exhibition, 1873.)

SENFT (F.).— Die Thonsubstanzen. S.I., 1879. 8°.

SONTAG (J.). — Catalogue de la collection de matieres ceramiques de 1'Ecole Imp. de
I'lndustrie de la Terre. Znaim, 1883. 8°.

479

CERAMIC LITERATURE.

JOCHUM (P.).— Die Bestimmung der Thone. Berlin, 1885. 8°.
Grenzen der Feuerbestandigkeit. Berlin, S.d. 8°.

OLSCHEWSKY (W.). — Die Ursachen der Verwitterung by Verblendenstcinen und Terra-

kotten. Halle, 1885. 8°.

Priifung und Begutachtung von Thon. Berlin, 1890. 8°.

QUAGLIO.— Feuerfesten Materialen. Berlin, 1886. 8°.

ISCHEUFCHNER (E.).— Ueber die Bewerthung von Thongruber. Berlin, 1890. 8°.

BISCHOF (C.).— Die feuersfesten Thone. Leipzig, 1896. 8°. 3rd ed., 1904.

Gesammelte Analysen der in der Thonindustrie benutzen Materialen. Leipzig

1901. 8°.

RICHTERS (S.).— Die Feuerbestandigkeit der Tlione. Berlin, 1897. 8°.
GUMBEI/(G. von).— Ueber die Grunerde Monte Baldo. Miinchen, 1897. 8°.
MERRIL (G. P.).— Non-metallic Minerals. Berlin, 1900. 8°.

LOESER (C.).— Die Rohmaterialen der Keramischen Industrie. Halle a. S. 1901. 8°.
— Aufsuchen von Lehm, Thon, und Kaolin Lagern. Halle, 1904. 8°.

- Kritische Betrachtung einiger Untersuchung Methoden der Kaoline und Thone.
Halle, 1905. 8°.

Zur chemischen und physikalischen Konstitution der Kaoline und Thone. Halle,

1906. 8°.

Kalthaltige Thone ; ihre Eigenschaften, Verhalten und Farbungen im Feuer.

Halle, 1906. 8°.

- Die Brennfarben der Thone. Halle, 1906. 8°.

ZSCHOKKE (B.).— Untersuchungen iiber die Plasticitat der Thone. Stuttgart, 1902. 4°.
MICHEL (J. S.).— Ueber die keramischen Verblendstoffe. Halle, 1904. 4°.
BOTTCHER (M.).— Ueber die Verfliissigung des Tones durch Alkali. Weidd, 1908. 8°.
ROBLAND (P.).— Die Tone. Leipzig, 1909. 8°.

Italy.

MAIRONI da PONTE (G.).— Kicherche sopra alcuni argille. Bergamo, 1792. 8°.

ROSIN A (G.).— Memoria sulle Stoviglie. Milano, 1822. 8°.

NOVI. — La fabricazione della porcellana in Napoli. Napoli,lS78. 4°.

Russia.

GUROW (A. V.). — Gisements de Kaolin dans les domaines de la Duchesse E. A. Vorouzov,
Daskov. St. Petersburg, 1901. 8°.

Switzerland.

ZSCHOKKE. — Technologischen Untersuchung der Schweizerischen Tone. Zurich, 1907.

4°.

U.S. America.

WURTZ (H.). — The chemistry and composition of the porcelain and porcelain rocks of

Japan. Philadelphia, 1876. 8°.

COOK (J. H.). — Keport on the clay deposit in New Jersey. Trenton, 1878. 8°.
CROSSLEY.— Tables and analysis of clays. Indianapolis, 1888. 8°. 2nd ed., 1900.

JOHNSON (W. D.).— Clays— Firebrick— Pottery. California State Mining Bureau,
1889. 8°.

480

CERAMIC LITERATURE,

ANON.— Ohio geological survey. Norwalk, 0., 1893. 8°.

MERILL (F.).— Brick and pottery clays of New York State. Albany, 1895. 8°.

HOFFMANN (H. A.). — Further experiments for determining the fusibility of clays. New

York, 1895. 8°.

LANGENBECK.— The chemistry of pottery. Easton, Pa., 1895. 8°.
BLATCHLEY (W. G.).— Clays and clay industries of Indiana. Indianapolis, 1896. 8°.
RIES (H.). — Clay deposits and clay industries of Carolina. Raleigh, 1897. 8°.

- The Kaolins and Fire-clays of Europe. Washington, 1898. 4°.

— Clays and shales of Michigan. Lansing, 1900. 8°.

- Clays of New York. Albany, 1900. 8°.

ASHBY (H. M.).— How to analyse clay. New York, 1898. 8°.
BINNS (C. F.).— Manual of ceramic calculations. Columbus, 1900. 8°.
LAUGHLING. — The clays and clay industries of Connecticut. Hartford, 1905.
PURDY (R. C.). — The influence of carbon in the burning of clay wares. Indianapolis,
1905. 8°.

- The states of carbon, iron, and sulfur on clays during various stages of burning.
1905. 8°.

GROUT (F.).— The plasticity of clays. 1905. 8°.

UHLIG (E. C.).— Chemical Analysis. Pittsburg, 1906. 8°.

RIES (H.). — Clays ; their occurrence, properties, and uses. New York, 1906. 8°.

CLAPP (C. H.) and BABCOLK (E. J.). — Clay and its properties ; with special reference to

North-Dakota clays. Bismark, 1906. 8°.

BAKER (M. B.).— Clay and the clay industries of Ontario. Toronto, 1906. 8°.
LOGAN (M.).— Clays of Mississippi. Jackson, 1907. 8°.
PURDY (R. C.) and MOORE (J. K.).— Pyrochemical and physical behaviour of clays.

Urbana, III., 1907. 8°.
BRANNER (J. C.).— The clays of Arkansas. Washington, 1908. 8°.

6.— GENERAL TREATISES OF MANUFACTURE.

England.

REE'S CYCLOPEDIA. London, 1819. Articles : Pottery— Porcelain.

PORTER (G. R.) (ANON.). — Treatise on the . . . manufacture of porcelain and glass.

London, 1832. 8°.

AIKIN (A.). — Illustrations of arts and manufactures. London, 1841. 12°.
ABINGTON. — Article : Pottery and porcelain in the Penny Cyclopcedia. 8°.
PROSSER (R.). — Account of the new process for forming various articles in earthenware

and porcelain. London, 1843. Fol.

DODD (G.). — British manufactures. Pottery and porcelain. London, 1844. 12°.
EVANS (W.).— Art and history of the potting business. Shelton, 1846. 12°.
KNAPP (F.). — Chemical technology. Pottery and porcelain. London, 1848. 8°.
WALL (B.).— Lecture on pottery. London, 1853. 12°.
TOMLINSON — Cyclopaedia of Useful Arts and Science. — Article : Pottery and porcelain.

London, 1860. 8°.
WOODCROFT (B.). — Patents for inventions. Specifications relating to pottery. London,

1863. 12°.

MUSPRATTS CHEMISTRY.— Article : Pottery and porcelain. London, 1861. 8°.
LEYSHON (E. J.).— The operative potter. Cheltenham, 1868. 8°.
ARNOUX (L.). — Pottery. (In British Manufacturing Industries.) London, 1876. 18°.
31 481

CERA MIC LITERA TUBE.

CHURCH (A. H.). — Cantor lectures. Pottery and porcelain. London, 1881. 8°.
SPON'S CYCLOPAEDIA.— Article : Pottery. London, 1882. 8°.

ENCYCLOPEDIA BRITANNIC A.— Article : Pottery and porcelain, by J. H. Middleton.
BINNS (Ch. F.).— The manual of practical pottery. London, 1897. 8°.

Ceramic technology. London, 1897. 8°.

BURTON (W.). — Cantor lectures. Materials in design and in pottery. London, 1897.

8°.

FURNIVAL (W. J.).— Researches on leadless glazes. Stone, 1898. 8°.
ANON. — The clay-worker's handbook. London, 1906. 8°.
Factory Glazes. London, 1908. Fol.

France.

O'REILLY. — Precede pour remplacer la ceruse et le minium dans la composition de

1'email des poteries. Paris, 1780. 8°.
BRONGNIART (A.). — Essai sur les arts ceramiques. Paris, 1830. 8°.

Traite des arts ceramiques. Paris, 1844. 8°.

SALVETAT (A.).— LeQons de ceramique. Paris, 1857. 12°.

Memoires de Chimie. Paris, 1868. 8°.

GERARDIN. — Essai sur 1'art ceramique. Reims, 1869. 8°.

TALANDIER (A.). — Rapport sur 1'industrie ceramique en France et en Angleterre.

Paris, 1873. 8°.
MAGNIN (C.). — Compte rendu de nouveaux precedes de moulage appliques a la ceramique.

Cherbourg, 1876. 12°.
Ceramique et science du moulage . . . V'ieux Sevres et Kaolin. Cherbourg,

s.d. 32°.

BOURRY. — Traite des industries ceramiques. Paris, 1896. 8°.
AUSCHER (E. S.). — Les ceramiques cuisant a haute temperature. Paris, 1899. 8°.
CHANTEPIE (M.). — Sur la dilatation des pates ceramiques. Paris, 1900. 4°.
AUSCHER et GUILLARD. — Les industries ceramiques. Paris, 1901. 8°.

Technologic de la ceramique. Paris, 1901. 8°.

ARNAUD et FRANCHE.— Manuel de ceramique industrielle. Paris, 1906. 8°.

Germany.

ANON. — Vollig entdecktes Geheimniss der Kunst Fayence, englisches Steingut und

aechtes Porzellan zu Verfertigen. Leipzig, 1793. 8°.
GRABNER (K.). — Wahres eroffnetes Geheimniss der Zubereitung verschiedener Porzellan,

Steingut, Fayence und Topfer-Glasuren. Leipzig, 1837. 12°.
HARTMANN (C.).— Handbuch der Thon und Glas Waaren Fabrikation. Berlin, 1842. 8°.

Die Thonwaaren Fabrikation. Quedlinburg, 1850. 8°.

LEIBL (S.). — Neue . . . Mittheilungen fur Topferei, Porzellan und Fayence Fabriken.

Nurnberg, s.d. 8°.

GENTELE (J. G.).— Lehrbuch im Potteriefache. Gehren, 1856. 8°.
MOLLER. — Die Verlegung des K. Berliner Porzellan Manufactur. Berlin, 1873. Fol.
KERL (B.). — Abriss der Thonwaaren Industrie. Braunschweig, 1871. 8°.

Handbuch der gesammten Thonwaaren Industrie. 1878. 8°.

Do., 3rd ed. Braunschweig, 1907. 8°.

WDPPLINGER (L.).— Die Keramik. Wien, 1882. 8°.

STITTE (C.). — Vortrage aus der keramischen Fachlehrer-Curse. Salzburg, 1883. 8°.
482

CERAMIC LITERATURE.

FISCHER (H.). — Die Bearbeitung der Stein-, Glas-, und Thonwaaren. Leipzig, 1891. 8°.
CHRISTOPH (J. R.).— Die praktische Topfer. Weimar, 1895. 8°.
SEGER.— Gesammelte Schriften. Berlin, 1896. 8°.

HECHT (H.).— Untersuchungen iiber einige zwischen Porzellan und Feldspath-Steingut

bestehende Beziehungen. Berlin, 1897. 8°.
SCHAMBERGER (J. W.).— Die keramische Praxis. Leipzig, 1901. 8°.

STORMER (M.) — Untersuchungsmethoden der in der Tonindustrie gebrauchten

Materialen . . . Freiberg, I.S., 1902. 8°.
PUKALL (W.).— Keramisches Rechnen. Berlin, 1907. 8°.

Italy.

GRISELINI. — Dizionario delle arti e de'Mestieri. Venezia, 1768. 8°.

MADERNO (G.). — Prodotti ceramici, Maioliche, Porcellane e Gres. Milano, 1909. 12°.

Portugal.

SILVA (J. F. de).— L'arte de Luceiro. Lisboa, 1804. 8°.

Arte da porcelana. Lisboa, 1806.

XAVIER (A. V.).— Arte da Lou£a vidrada. Lisboa, 1805. 8°.

Spain.

GARCIA LOPEZ (M.).— Manual completa de Arte Ceramica. Madrid, 1902, 8°.

U.S.A.

NEATIN. — On the origin, progress, and present state of the manufacture of porcelain.

. . . Philadelphia, 1846. 12°.

JANVIER (C. A.).— Practical Keramics for students. New York, 1880. 8°.
GRIFFEN (H. R.).— Clay, glazes, and enamels. Indianapolis, 1896. 8°.
RIES (H.).— The clay working industries of the U.S. 1898. 4°.
WHITE (Mary).— How to make pottery. New York, 1904. 8°.
RICHARDSON and LOVE JOY. — Apparatus employed in pottery manufacture. Columbus,

1906-07. 8°.

PURDY (C. R.) and others. — Studies on glazes — Fritted glazes — Crystalline glazes.
Urbana, III., 1907. 8°.

c.— OVENS AND FIRING.

BAUSSAN du BIGNON.— Memoire sur les fours pour cuire la brique. Paris, 1766. 8°.
LA TOUR d'AIGUES (de).— Description d'un four. . . . Paris, 1787. 12°.
GILLY (W.).— Torf-Ziegel-Ofen. . . . Berlin, 1791. 8°.

EISELEN (J. Ch.). — Ausfiihrliche theorisch-practische Anleitung zum Zeigelbrennen mit
Torf. Berlin, 1802.

PAJOT des CHARMES. — Nouvelle methode pour la cuisson des poteries fines. Paris,
1824. 8°.

EBELMEN. — Rapport sur le precede de cuisson de la porcelaine dure avec la houille.

Paris, 1847. 4°.

SCHLESINGER.— Der Bau der Ziegelbrennofen. Berlin, 1856. 4°.
GORCEIX. — Essai d'un manuel theorique d'enfourner pour la cuisson de la porcelaine.

Limoges, 1867. 12°.

4S3

CERAMIC LITERATURE.

ARMAND (Ch.).— Notice d'un four continu. Paris, 1870. 8°.

LIEBOLD (B.).— Die neuen continuirlichen Brennofen. 1876. 8°.

STEGMANN (H.).— Das Bedeutung der Gasfeuer u. Gasofen. Berlin, 1877. 8°.

ECKHART (A.).— Die Construction von Brennofen. S.I, 1881. 8°.

BROMSE (F.).— Die Ofen und Glasurfabrikation. Wiemar, 1884. 8°.

SCHNEIDER (B.).— Regenerative Gasofen. S.I., 1886. 8°.

HOTOP (E.). — Der Brennofen in der Ziegelei und Thonwaarenfabrick. Berlin, 1890.

8°, pp. 58 ; illustrs.

LANGE (G.).— Anleitung zur Ofenfabrikation. 1892. 8°.
MENDHEIM.— Brennofen mit Gasfeuerung. Berlin, 1893. 8°.
KLASSEN. — Grundrissvorbilder von Gebauden alter Art. Leipzig, 1895. 8°.
HEINECKE.— Neuere Oefen zu Charlottenburg. Berlin, 1897. 8°.
BOLZ (C. H.).— Die Pyrometer. Berlin, s.d. 8°.

FRANCHET (L.). — De revaluation des hautes temperatures. Paris, 1897. 8°.
TOLDT (F.).— Kegenerativ-Gasofen. Leipzig, 1898. 8°.
LE CHATELIER.— Mesures des temperatures elevees. S.I, 1900. 8°.
LUCAS (R. J.). — Untersuchungen iiber die Feuerschwindung. Gdttingen, 1903. 8°.
SCHMATOLLA (E.). — Was muss von Feuerung-technik wissen ? Hannover, 1901. 8°.

Rauchplage und Brennstoffverschwindung. 1902. 8°.

Die Brennofen. Leipzig, 1903.

DUMMLER (K.).— Das Brennen der Ziegelsteine. Halle a. S., 1904. 8°.

LOSHPIED. — Notice sur les nouveaux fours et moufles a recuperation. Golfe Juan, 1906.

8°.

RICHARDSON (W. D.).— Kiln records. Columbus, 0., 1906. 4°.
TIMM (C. W.). — Warmetechnische Grundlagen von Drehb'fen und Kohlenstaubfeuerung.

Berlin, 1906. 8°.

LOESER (C.).— Feinkeramische Brennofen. Berlin, 1907. 8°.
HOFFMANN (F.).— Kingofen-Hoffmann. Berlin, 1907. 8°.
HEINECKE (A.).— Ueber das Brennen von Porzellan. Berlin, 1908. 8°.
ANON.— Pottery Pyrometry. Cambridge, 1909. 4°.

d.— BRICK AND TILE MANUFACTURE.

A ustria.
MIESBACK (L.). — La fabrication des briques et tuiles. Vienne, 1855. 8°.

England.

WILDS (W.). — Practical treatise on the manufacture of bricks. London, 1835. 8°.
CLAYTON (H.).— On brick-making and brick machines. London, 1862. 8°.
DOBSON (E.). — A treatise on the manufacture of bricks and tiles. London, 1863. 8°.
HAMMOND (A.).— The practical brick and tile book. London, 1890. 8°.
MONTGOMERY (H. G.).— The manufacture of glazed bricks. London, 1894. 8°.
HARRIS (G. F.).— The science of brick-making. London, 1897. 8°.
BROWN (A. E.).— Brick-drying— Hand brick-making. London, 1902. 8°.
ANSELL (H.). — Manufacture of glazed bricks. London, 1898. 8°.
PRICE (W.). — Manufacture of tiles and the like, and the apparatus therefor. London,

1898. 8°.

HASLUCK (P. N.).— Bricks and Brick-making. London, 1906. 16°.
484

CERAMIC LITERATURE.

France.

DUHAMEL DU MONCEAU.— L'art du tuilier et du briquetier. Paris, 1773.
O'REILLY. — Maniere de fabriquer les briques legeres a limitation des briques flottantes
des anciens. Paris, 1779. 8°.

CLERE (J. F.).— Essai sur Tart du briquetier. Paris, 1828. 8°.

ECK (Ch.). — Application des globes, ou pots creux. . . . Paris, 1831. 8°.

CARVILLE. — Machine a fabriquer les briques. Paris, 1841. 8°.

ANON. — Notice sur la fabrication mecanique des tuiles. Reims, 1843. 8°.

BUZONNIERE (de).— Machine pour la fabrication des briques. Orleans, 1845. 8°.

CHALLETON de BROUGHAT (F.).— L'art du briquetier. Paris, 1861. 8°.

MALEPEYRE (F.).— Manuel du briquetier. Paris, 1864. 18°.

TURGAN.— Tuilerie de Montchanin. Paris, 1866. 8°.

BOURRY (Julien).— La fabrication des briques, etc. Paris, 1867. 8°.

LEJEUNE (C.).— Guide du briquetier. Paris, 1870. 8°.

BONNEVILLE et JAUNEZ.— Les arts et les produits ceramiques. Paris, 1879. 8°.

LEFEVRE (L.).— La ceramique du batiment. Paris, 1897. 8°.

LEDUC (E.).— Les efflorescences des briques. Tours, 1906. 8°.

Germany.

RIEMANN (J. F.). — Praktische Anleitung zur Kenntniss der Ziegelein und Ziegler-Arbeiten.
Leipzig, 1800.

SCHONAUER (N.).— Praktische Darstellung der Ziegelhiittenkunde. Salzburg, 1815.
SCHALLER (P.).— Der wohlunterrichtete Ziegler. Ilmenau, 1828. 8°.
GEBHARDT (S. R.).— Das Ganze der Ziegelfabrikation. Quedlinburg, 1835. 12°.

- Die neuesten Erfindungen im Betreff der Ziegelfabrikation. S.d. 12°.
WOELFER. — Anweisung zur Fabrikation aller arten von Wasserleitung. . . .

Quedlinburg, 1845. 8°.
BERGSTEEN (K. G.).— Prakt. Anleitung zum Anfertigen der Drainsrohren. Berlin,

1858. 8°.

TURSCHMIED.— Ueber die Ziegel-Fabrikation. Berlin, 1859. 8°.
SCHLESINGER (F.).— Der Bau der Ziegel-brennofen. Berlin, 1866. 4°.
NEUMANN (F.).— Die Ziegelfabrikation. Weimar, 1866. 8°.
WERKEN (G. von).— Das Ganze der Ziegelfabrikation. Altona, 1868. 8°.
VIC AT.— Die neuesten Fortschritte by der Ziegelfabrikation. Berlin, 1868. 8°.
WALDEGG (H. von).— Die Kalk-Ziegel- und Rohrenbrennerei. Leipzig, 1861. 8°.
BRAUN (E.). — Die deutsche Keramic und das Strassenpflaster. Leipzig, 1877. 8°.
LIEBOLD (B.).— Die Trockenanlagen fur Ziegeleien. 1877. 4°.
RUHNE (J. F.).— Lehrbuch der Ziegel-Fabrikation. Braunschweig, 1877. 8°.
ZWICK (H.).— Die Natur der Ziegelthone und die Ziegel Fabrikation. Wien, 1878.

Sq. 8°.

OLSCHEWSKY (W.).— Katechismus der Ziegelfabrikation. Wien, 1880. 8°.
ECKHART (A.).— Bei Anlage periodischer Ziegelofen. Berlin, 1883. 8°.

- Tecknik der Verblendstein. Berlin, 1884. 8°.

HOLZEN (F.).— Die Herstellung hollandischer Dachziegel. Berlin, s.d. 8°.
FRIEDRICH (R.).— Bliitezeit und Niedergang unserer Ziegel-Industrie. LiibecJc, 1897.
DUMMLER (K.).— Handbuch der Ziegelfabrikation. Halle, 1897. 8°.

Das^Formen und Dekoriren der Ziegel. Halle, 1899. 8°.

485

CERAMIC LITERATURE.

GUNTHER (H.).— Auswitterung und Ziegelmauer werk. Giitstow, 1896. 8°.

BOCK (0.). — Ziegelei als landwirtschaftliches und selbstandiges Gewerbe. Berlin, 1898.
8°.

Ziegelfabrikation aller Arten. Berlin, 1901. 8°.

— Ziegelofen Konstruktion. Berlin, s.d. 8°, pp. 58 ; illustrs.

BUCHHOLZ (P.).— Die Fabrikation der Dachfalzziegel. Berlin, 1899. 8°.

DUMMLER (K.).— Handbuch der Ziegelfabrikation. Berlin, 1900. 2nd ed., 1908. 8°.

BECK (A. S.).— Ziegeleianlagen und Fabrikation. Berlin, 1901. 8°, pp. 82.

ANON.— Kontroll-apparate fur Ziegeleien. Berlin, 1903. 12°.

RISCHER (A.).— Das Glasieren der Ziegel. Berlin, 1904. 12°.

BJALAWENETZ (M. J.).— Die Herstellung der Kacheln. Berlin, 1906. 8°.

BENLEY (G.).— Die heutige Ziegelindustrie. Berlin, 1908. 4°, pp. 32 ; illustrs.

BUK (J. von). — Der Ziegelmeister in Theorie und Praxis. Leipzig, 1908. 8°, pp. 272 ;
illustrs.

ANON. — Hilfs-Gerate fiir Beaufsichtigung des Betriebes von Ziegeleien. Berlin, 1909.
16°, pp. 184 ; with 135 illustrs.

HEINEMANN (B.) — Die wirtschaftliche und soziale Entwicklung der deutschen Ziegel-
industrie unter dem Einfluss der Technik. 1909. 8°.

India.
FALCONNET (P. de P.).— Brick and Tile-making at Allahabad. Rookee, 1874. 8°.

Italy.

AXERIO (G.).— Delia fabbricazione dei laterizi. Milano, 1868. 8°.
MOLINARL— Laterizi. . . . Milano, 1887. 8°.

U.S.A.

DAVIS (Ch. T.). — A practical treatise on the manufacture of bricks, tiles, etc. Phila-
delphia, 1884. 8°.

CROSSLEY (A.).— Brick and tile-making. Ottawa, 1889.

CRARY (J. W.). — Sixty years a brickmaker. Indianapolis, 1890.

MORRISON (R. B.). — Brickmaker's Manual. With addition by J. A. Reep. Indiana-
polis, 1890. 8°.

BARKER (T. 0.). — Durability of brick pavements. Indianapolis, 1891.

BURKE (M. D.). — Bricks for street pavements. Cincinnati, 1892.

DUMMLER (K.).— Die Ziegel und Thonwaaren Industrie in Chicago. Halle, 1894. 4°.

ANSELL (H.).— Glazed bricks' manufacture. New 'York, 1898. 8°.

e.— POTTERY— FAIENCE— EARTHENWARE— STONEWARE.

Austria.

HOFER (J.).— Die Fabrikation kiinstlicher plastischer Massen. Wien, 1878. 8°.

England.

PINCOT (D.). — An essay on the origin and properties of the artificial stone. London,

1770. 8°.
ANON (E. Wood). — A representation of the manufacture of earthenware. London, 1827.

16°.

486

CERAMIC LITERATURE.

MAYER (J.). — A synopsis of the manufacture of earthenware. Liverpool, 1842. 8°.
RIX (W. P.). — On the adaptation of stoneware. London, 1891. 12°.
SANDEMAN (E. A.). — Notes on the manufacture of earthenware. London, 1901. 8°.
LUNN (R.). — Pottery : a handbook of practical pottery. London, 1903. 8°.

France.

VINCENT (J.).— La Pyrotechnic ou art du feu. Paris, 1579. 4°.
DUHAMEL DU MONCEAU.— L'art du potier de terre. Paris, 1773. Fol.
ANON (Robinet). — Recueil de planches . . . Fa'ienceries. Paris, 1765. Fol.
BOSC d' ANTIC (GEuvres de Mr.).— Memoires sur la faiiencerie. Paris, 1780. 18°.
JUMELIN (S.). — Rapport sur le perfectionnement des poteries. Valogne, 1792. 8°.
FOURMY (J.).— -Memoire qui a remporte le prix. . . . Paris, 1800. 8°.

- Memoire sur les ouvrages de terre cuite. . . . Paris, 1801. 8°.
— Memoire sur les Ydroceram.es. Paris, 1803. 8°.

JOUSSELIN (C. R.).— Essai sur le perfectionnement des poteries. Paris, 1807. 8°.
0*** et BOUILLON LAGRANGE.— L'art de fabriquer la poterie fa9on anglaise. Paris,

1807. 12°.
BASTENAIRE-DAUDENART (F.).— L'art de fabriquer la faience blanche recouverte

d'un email transparent. Paris, 1828. 8°.

- L'art de fabriquer la faience recouverte d'un email opaque. Paris, 1828. 12°.

- L'art de fabriquer les poteries communes. Paris, 1835. 8°.

JOUANNET (F.). — Rapport sur les poteries fabriquees par Mr. de Saint Amans a la
maniere anglaise. Agen, 1832. 8°.

B. B. — Comparaison entre la fabrication des poteries en Angleterre et sur le continent.
Luxembourg, 1835. 8°.

LAMBERT (G.). — Art ceramique. Traite pratique de la fabrication des faiences fines.

Paris, 1865. 8°.

VOGT (G.).— Poterie. (An article in Wiirtz, Dictionnaire de Chimie.) Paris, 1873. 8°.
DECK (Th.).— La faience. Paris, 1887. 8°.

STOFFLER (E.).— La pierre artificielle. 8.1, n.d. Pp. 120 ; 100 illustrs.
VOGT (G.).— La fabrication du Gres-cerame a la Man. Nat. de Sevres. Paris, 1900. 8°.

Germany.

SCHOPPER (H.). — Eygentliche Beschreibung . . . aller Kiinsten, Handwerken und

Handlen. Frankfurt a. M., 1568. 12°.
HALLE (J. S.). — Praktische Kenntnisse zur Verfertigung des englischen Steinguts. Berlin,

1793. 4°.

LEIBL (S.). — Neue Mittheilungen fur Topferein. Nurnberg, s.d. 4°.
EHRHARDT (A. H.). — Anweisung zur Verfertigung und Anwendung bleifreier Glasuren.

Quedlinburg, 1830. 8°.

DIETZ. — Leitfaden zur Anfertigung von 100 verschiedenen Topfer Glasuren. Munchen,

1853. 8°.

WILKENS (K.).— Die Topferei. Weimar, 1870. 8°.
SCHUMACHER (W.).— Die Thonfabricate. Weimar (1890 ?). 8°.
STEINBRECHT (G.).— Die Steingut— Fabrication. Wien, 1891. 8°.
GERTCKE (G.).— Die Kachelofenindustrie in Velten. Velten, 1894. 8°.
BROMSE (F.).— Die Ofenfabrikation. Weimar, 1895. 8°.
STORMER (M.).— Fehler bei der Thonwaareu-Fabrikation. Freiberg, 1901. 8°.

487

CERAMIC LITERATURE.

GREINER (K.).— Aus dem Betriebe der Steingutfabrikation. Halle a. S., 1903. 8°.
SCHNURPFEIL (H.).— Die Tonindustrie in Glashuttenbetriebe. Berlin, 1908. 8°.
DIETZ (R.).— Steinzeug— Steingut^Topferwaaren. Halle a. S., 1907. 8°.

Holland.
PAAPE (G.).— De Plateelbakker. Dordrecht, 1794. 8°.

Italy.

BIRINGUCCIO (V.).— De la Pirotechnica. Venetia, 1540. 4°.

SIMONE (G. de). — Processo per stampare le stoviglie. Napoli, 1828. 4°.

LAZZARINI (G. A.).— Majolica fina. (In Vanzolini.)

Portugal.

SILVA (J. F. de).— L'arte de Luceiro. Lisboa, 1804. 12°.
XAVIER (A. V.).— Arte da Lou9a vitrada. Lisboa, 1805. 8°.

LAPIERRE (Ch.). — Estudos chimico e technologico sobre a ceramica portugueza moderna.
8°. S.d. (recent).

/.— P 0 R C E L A I N.

. Bohemia.

HELLMESSEN (A.).— Das Porzellan. Prog, 1898. 8°.

England.

HILL (A.). — Instructions how to make as fine china. . . . London, 1716. 8°.
DOSSIE (R.).— The Handmaid to the arts. London, 1764. 8°.

France.

BLANCOURT (Haudiquer de).— I/art de la verrerie. Paris, 1697. 12°.

REAUMUR. — Art de faire une nouvelle espece de porcelaine. Paris, 1739. 4°.

NERI, MERRET, et KUNCKEL. — Art de la verrerie. Le secret des vrais porcelaines

de la Chine et de Saxe. Paris, 1752. 4°.

MILLY (Le Comte de).— L'art de la porcelaine. Paris, 1771. Fol.

BASTENAIRE-DAUDENART (F.).— L'art de fabriquer la porcelaine. Paris, 1827. 12°.
BOYER.— Manuel du porcelainier. . . . Paris, 1827. 12°.
BRONGNIART (A.).— Porcelaine. Paris, 1830. 8°.

MAGNIER (M. D.). — Nouveau manuel complet du porcelainier. Paris, 1864. 18°.
DUBREUIL. — La Porcelaine. Paris, 1885. (In Fremy, Encyclopedic Chimique.)
LAUTH (C.). — Conferences de la Sorbonne. La porcelaine. Paris, 1882. 8°.

— Notes techniques sur la fabrication de la nouvelle porcelaine. Paris, 1885. 8°.
PALLIER (M.). — Limoges ; quelques mots sur son Industrie. Limoges, 1885. 12°.
LAUTH et DUTAILLY.— Recherches sur la porcelain. Paris, 1888. 8°.
GARBAN.— La porcelaine. Paris, 1891. 8°.
VOGT (G.).— La porcelain. Paris, 1893. 8°.

LARCHEVEQUE.— Fabrication de la porcelaine dure. Paris, 1898. 8°.
488

CERAMIC LITERATURE.

Germany.

POTT. — Endecktes Geheimniss des achten Porzelans. Berlin, 1750. 4°.

WEBER (F. J.). — Die Kunst das achte Porzellains zu verfertigen. Hannover, 1798. 8°.

FRICK (G.). — Ueber Porzellanerde Gewinnung und Porzellanfabrikation. Berlin

1812. Fol.

SCHOLTZ (B.).— Ueber Porzellan und Porzellanerden. Wien, 1844.
NASSE (W.).— Ueber Porzellanfabrikation. Leipzig, 1826. 8°.

SCHUMANN (L. F.).— Die Kunst durchsichtiges Porzellan. . . . Weimar, 1835. 8°.
LANDON (D.). — Die Fabrikation des Porcellans. Quedlinburg, s.d. 8°.
MAYFARHT (J. W.).— Die Porzellan Fabrikation. Sonderhausen, 1844. 8°.
STRELE (K.).— Die Fabrikation des Feldspath-Porcellans. Weimar, s.d. 8°.
TENAX (B. J.).— Die Steingut u. Porzellanfabrikation. Leipzig, 1879. 8°.
KNABEL.— Die Anlage der Porcelanfabrick. S.l, 1882. 8°.
DEMMIN (A.).— Das Porzellan. (In Keramische Studien.) 1883. 8°.
GRIMM (H.).— Die Fabrikation des Feldspat-Porzellans. Leipzig, 1901. 8°.
HEGEMANN (H.).— Die Herstellung des Porzellans. Berlin, 1904. 8°.
TRIESSE (R. M.). — Das porzellan als isolier ... in der Electrotechnic. Kloster-

lausnitz. 1904. 8°.

Holland.

LINDENBERG (J. F.). — Nieuwe verligter lerende de making van. . . . Als mede

egte Porcellain te maken. Amsterdam, 1758. 8°.
KASTELEIJN (P. J.).— Die Porceleinfabrick. Dordrecht, 1779. 8°.

Portugal.

SILVA (J. F. de).— Arte da Porcelana. Lisboa, 1806. 8°.

U.S.A.
BOAT (T.).— Grand feu ceramics. Syracuse, N. Y., 1904. 8°.

g.— COLOUR-MAKING.
England.

SMITH (G.).— The Laboratory. London, 1770. 8°.

LAKIN (T.).— The valuable receipts of the late Thomas Lakin. Leeds, 1824. Sm. 4°.

WENGER (A.). — Various catalogues of potters' materials. Hanley, 1876 and /. y. 4°.

BOURNE (W. R.).— A collection of ceramic receipts. Hanley, 1884. 8°.

CORFIELD. — Recipes for making potters' colours. Hanley, 1884. 32°.

ANON. — Recipes for enamel, colours, and lustres. London, s.d. (1885 ?). 8°.

CREYKE (W. R.).— Book of modern recipes. Hanley, 1887. 12°.

ANON.— Chemical recipes. Sunderland, 1897. 8°.

CONNAH (E.). — Recipes for white and coloured glazes. Wrexham, 1903. 32°.

HAMBACH (Transl.).— Pottery Decorating. 1907. 8°.

France.

COLLADON. — Couleurs des esmaulx ou vernis de la poterie de faience. (1650 ?).
FERRAND (J. P.).— L'art du feu. Paris, 1721. 12°.

489

CERAMIC LITERATURE.

ANON. — Secrets concernant les arts et metiers. Rouen, 1724. 12°.

ARCLAIS de MONT AMY (D'). — Traite des couleurs pour' la peinture en email. Paris,
1765. 12°.

APLIGNY (Le Pileur d').— Traite des couleurs materielles. Paris, 1779. 12°.
FOURCROY (A. F. de). — Rapport sur les couleurs pour la porcelaine. Paris, 1797. 4°.
PRIEUR (C. A.). — Considerations sur les couleurs irisees. Paris, 1807. 8°.
HAUTEFEUILLE (E.).— Note sur 1'Aventurine artificielle. Paris, 1861. 4°.
PEYRUSSON (E.). — Preparation de Tor pour la decoration de la porcelaine. Limoges,
1891. 8°.

Germany.

MATHESIUS (J.).— Sarepta, oder Bergpostill. Niirnberg, 1562. Fol.

WEINLING.— Chemische Bereitung der Farben. Leipzig, 1793. 8°.

HOCHHEIMER (C. K. A.).— Chemische Farbenlehre. Leipzig, 1794. 8°.

MEINDEL (C.). — Die Bereitung der Farben zur Porzellan-malerei. Quedlinburg, 1850. 8°.

FROMBERG (E. D.).— Die Darstellung des Goldpurpurs. Quedlinburg, s.d. 8°.

LEO (W.). — Handbuch der chemischen Farben Bereitung. Quedlinburg, s.d. 8°.

STRELE (K.). — Die Technik des Kolorirens und Dekorirens von echten und fritten-

Porcellan. Weimar (1870 ?). 8°.

ILG (A.). — Heraclius. Original text und Uebersetzung. Wien, 1873. 8°.
SCHMIDT (C. H.). — Die Fabrication der fiir die Glasmalerei und porzellanmalerei geeig-

neten Farben. Weimar, 1880. 8°.
RANDAU (P.).— Die Fabrikation der Emaille. S.d.

SWOBODA (C. B.). — Die Farben zur Decoration von Steingut, Fayence und Majolica.
Wien, 1891. 12°.

BERSCH (J.).— Erdfarben-Fabrikation. Berlin, 1893. 8°.

BULL (P.).— Die Emaille-Fabrikation. Hamburg, 1895. 8°.

HERRAMHOF (H.). — Untersuchungen iiber Scharffeuerung Farben fiir Hart Porzellan.

Munchen, 1905. 8°, pp. 85 ; 1 pi.

HAINBACH (R.).— Die Technick der Decorirung. 1907. 8°.
ANON. — Kezeptbuch fiir alle Zweige der Keramik. Dresden, " Die Glasshutte." S.d.

(1908). 8°.

Italy.

MARENCCI (L.). — Saggio sopra i colori minerali e mezzo di procurassi gli smalti. Roma,
1816. 8°.

U.S.A.

DICK (W. B.). — Encyclopedia of practical- receipts . . . pottery, porcelain, etc.
New York, 1872.

See also General Treatises of Manufacture — Monographs of Foreign and English
Manufactories.

h.— CHINA PAINTING.
1.— Handbooks to the Art of Painting on China.

China painting had long been considered as an art full of mysterious practices, which

could only be mastered through a long apprenticeship under an experienced craftsman.

One day, the rumour spread, far and wide, that anyone, ever so little proficient in drawing,

could easily decorate earthenware or porcelain merely with the assistance of a good

490

CERAMIC LITERATURE.

technical handbook. This was for many a young lady a genteel occupation to which
she could apply herself in her own house, and which was bound to be handsomely
remunerative. The number of ladies, young and old, who took to the fascinating pursuit
of covering plates and vases with painted ornamentation of a nondescript style, was
really amazing. Small treatises, professing to disclose the secrets of the art, were forth-
coming from all sides to answer the ever-increasing demand, most of them offered at
a price which suited the most modest purses. Pleasant dreams of speedy and profitable
employment were raised in the mind of the misguided amateur-painter ; all were to end
in bitter disappointment. The imperfect productions, which were the result of these
abortive trials, never entered into real competition with the work of the professionals.
Many a promising artist, whose paintings had excited sincere admiration in the circle of
parents and friends, could not find a purchaser for his work when he, or she, tried to put
it on the market. The discouraged amateur soon recognised that experience and
skill of hand cannot be obtained by studying the delusive directions contained in a
so-called practical handbook.

In the meantime the publisher had gathered his crop. While the infatuation lasted,
as soon as a fresh treatise on china-painting was brought out, it was sure to command
a ready sale amongst the crowd of unwary probationers. A few good manuals were
written by practical painters ; but the majority was not above the common catch-penny
pamphlet, compiled for the occasion by some obscure scribbler.

England.

FLETCHER (S.). — A treatise on the art of enamel painting on porcelain. London, 1813.

8°.

GULLICK (T. J.) and TIMES (J.).— Painting popularly explained. London, 1859. 8°.
ARCHER (E. L.).— Porcelain painting. London, 1860. 16°.
WHITEFORD (S. T.).— A guide to porcelain painting. London, 1873. 8°.
BLACK (A. E.). — Practical guide to porcelain painting. London, 1877. 8°.
ANON. — Pottery painting for amateurs. London, 1877. Sq. 8°.
ROBERTSON (H. R.).— The art of painting on china. London, s.d. 12°.
SPARKES (J. C. L.). — A handbook to the practice of pottery painting. London, 1878.

16°.

FESQUET (F. A.).— Lessons in painting on china. London, 1880. 8°.
LELAND (C. G.).— Porcelain painting. London, 1880. 8°.
HARVEY (W.).— China painting. London, 1880. 8°.
HANCOCK (E. C.).— China colours and how to use them. London, 1880. 8°.

- The amateur pottery and glass painter. London, 1880. 8°.
HILL (A.). — Hancock's copies for china painters. Worcester, s.d. 8°.
C. J. S. — Hints on fine arts ; Pottery painting. Edinburgh, 1881. 8°.
BACKSHELL (W.).— Painting with ceramic colours. London, 1882. 12°.
MORRELL (Mrs. C.).— All about painting on china. London,. 1883. 8°.
COLIBERT.— Terra-cotta painting. London, 1883. 8°.
LEWIS (Flor.).— China painting. London, 1883. Obi. 8°.
SAWARD (Ch. G.).— Decorative painting. London, 1883. 8°.
MILLER (F.).— Pottery painting. London, 1885. 8°.
BROUSSON (H. F.).— Practical help to amateurs. London, 1886. 8°.
BRONGNIART (A.). — Colouring and decoration of ceramic ware. (Transl.) London,

1897. 8°.

491

CERAMIC LITERATURE.

HERMANN (F.).— Painting on glass and porcelain. (Transl.) London, 1897. 8°.
HAINBACH (R.).— Pottery decoration. (Transl.) London, 1907. 8°.

France.

CONSTANTIN (A.).— Idees italiennes. Florence, 1840. 8°.

DUSSIEUX (L.). — Kecherches sur Thistoire de la peinture sur email. Paris, 1841. 8°.

COUNIS (S. G.). — Quelques souvenirs ; suivis d'une dissertation sur 1'email et sur la

porcelaine. Florence, 1842. 8°.

MUIDBLED. — Le Jaquotot des amateurs de peintures de Sevres. Paris (184 ?). 12°.
REBOULLEAU de THOIRRES (E. F.). — Nouveau manuel de la peinture sur verre, sur

porcelaine et sur email. Paris, 1843. 18°.

BALECHE et CRAM.— Peinture sur porcelaine. Paris, 1846. 12°.
LEFEVRE (C.).— Peinture sur porcelaine. Paris, 1858. 8°.
JOLLIVET (J.).— Peinture en email sur lave. Paris, 1862. 8°.
DESLOGES.— Traite general de peinture verifiable. Paris, 1866. 8°.
POPELIN (C.).— L'email des peintres. Paris, 1866. 8°.

LACROIX (A.). — Des couleurs vitrifiables et de leur emploi pour la peinture sui
porcelaine. Paris, 1872. 8°.

CHAUVIGNE (A.).— Traite de decoration sur porcelaine. Tours, 1860. 12°.
GABELLE (M.). — Precede pour cuire chez soi, sans moufle, les peintures sur porcelaine.

Paris, 1876. 8°.
DELAMARDELLE (Mme. la Baronne) et GOUPIL (F.). — Le9ons pratiques de peinture

vitrifiable sur porcelaine. Paris, 1877. 8°.
POPELIN (C.).— Les vieux arts du feu. Paris, 1878. 8°.

GELLIERE (L.). — Traite elementaire de peinture en ceramique. Beauvais, 1878. 12°.
COOL (Mme. de). — Traite de peinture sur porcelaine. Paris, s.d. 8°.
DUBOIS (E.).— Peinture vitrifiable. Paris (188 ?). 8°.
BERVILLE (L.). — Notice sur le vernis Martin. Paris, s.d. 8°.
AUBERT (E.). — Peinture ceramique a la gouache vitrifiable. Paris, 1881. 8°.
RIS-PAQUOT. — Le peintre ceramiste. Abbeville, 1883. 8°.

Traite pratique de peinture sur faience et porcelaine. Paris, 1886. 8°.

PARVILLEE (A.). — Etude sur 1'enseignement de Tart ceramique. Paris, 1884. 8°.
RIOLS (J. de). — L'art de cuire sans moufle. Paris, 1885. 8°.
ARNOUX (Mme. A.). — La ceramique et les emaux. Paris, 1891. 8°.
ROBERT (K.). — Le fusain sur faience. Paris, s.d. 8°.

La ceramique. Traite pratique des peintures vitrifiables. Paris, 1892. 8°.

PICART (M.). — Nouveau traite de peinture sur porcelaine. Paris, 1893. 8°.

GUENEZ. — Decoration ceramique au feu de moufle. Paris, 1893. 8°.

LACROIX (A.). — Le dessin sur porcelaine au crayon-pastel vitrifiable. Paris, 1898. 8°,

pp. 32.

Germany.

RENNER (A.).— Die Porzellan Malerei. Leipzig, 1833. 12°.
ROTTLINGER (K.). — Handbuch der Porzellanmalerei. Quedlinburg, 1835. 8°.
NEUBURG (R. P.).— Porcellan-Glass und Wachsmalerei. Erfurt, s.d. 16°.
LEO (W.).— Die Schmelzmalerei. Quedlinburg, 1845. 12°.
FROLICH (H. D.). — Gehemnisse der Porzellanmalerei. Graudenz, 1847. 8°.
BRONGNIART und KYPE.— Handbuch der Porzellan-malerei. 1861. 8°.
492

CERAMIC LITERATURE.

KARNER (C. J.).— Die Porzellanmalerei. Berlin, 1870. 8°.

KLIMKE (A.).— Anleitung zu malen auf Porzellan. 1879. 8°.

HERMANN (F.).— Die Glass und Porzellan Malerei. Leipzig, 1882. 8°.

DREWS.— Majolikamalerei. Berlin, 1883. 8°.

LUDERS (A.).— Anleitung zur Porzellanmalerei. 1885. 8°.

TSCHENSCHNER (E.).— Handbuch der Porzellan und Glasmalerei. Leipzig, s.d. 8°

SCHLIEDER (S. L.).— Die Majolikamalerei. Berlin, 1886. 8°.

ROMANOFF (S.).— Die Behandlung der Schmelzfarben. Berlin, 1887. 8°.

WUNDAHI (M.).— Anleitung fiir Majolika Malerei. Berlin, s.d. 8°.

DUBOVSZKY (J.).— Majolika Malerei. 1891. 8°.

JAENNICKE.— Handbuch der Porzellan Malerei. Stuttgart, 1891. 8°.

KREKEL (J.).— Anleitung zur Porzellanmalerei. Wiesbaden, 1892. 8°.

BOUFFIER (H.).— Majolika Malerei. 1892. 8°.

BRAUN (T.).— Majolika und Porzellan Malerei. Munchen, 1893. 8°.

ULKE (R.). — Katechismus der Porzellan Malerei. Leipzig, 1894. 8°.

HAINBACH (R.). — Technick der Dekorirung Keramischer Waaren. Leipzig, 1894. 8°.

MAYR (R.).— Die keramische Malerei. Augsburg, 1901. 8°.

Holland.

LEIGH (J. C.). — Handleiding tot het houten porceleinschilderen. Nieuwedien, 1876.
LE GRAND (A. C.).— Het schilderen op Porcelein. Amsterdam, 1882. 8°.

Italy.
FANELLI (P.).— Idea del perfetto pittore. Torino, 1769. 8°.

Russia.

MICHAILOFF (W.).— Porcelain painting for amateurs. St. Petersburg, 1893. 8°.

Sweden.

TORNER. — Handl. vid glas o porslinsmalning, etsning, o emaljering. m. m. 1895.

U.S. America.

TILTON (S. W.). — Designs and instructions for decorating on pottery. Boston, 1877.
VANGUYON (B. de la).— Guide to painting on porcelain. Boston, 1877.
MACLAUGHLIN (L.).— China painting. Cincinnati, 1877. 12°.

- Pottery decoration under the glaze. . . . Cincinnati, 1877. 12°.
NICHOLS (G. W.).— Pottery ; how it is made. New York, 1878. 8°.
BEARD (J. C.).— Painting on china. New York, s.d. 8°.

- Practical instructions in overglaze painting. New York, 1882. 4°.

TADD (J. K.). — Modelling and underglaze faience -decoration. New York, 1882. 4°.
HILL (F. S.).— Porcelain painting after the Dresden method. New York, 1883. 8°.
FRACKELTON (Mrs. S. S.).— Tried by fire. New York, 1886. 4°.

OSGOOD (A. H.). — How to apply Worcester and Dresden colours to china. New York,
1891. 8°.

VANCE-PHILLIPS (Mrs. L.).— The book of the china painter. New York, 1896. 8°.
MONACHESI (R.).— A manual for china painters. Boston, 1897. 12°.

493

CERAMIC LITERATURE.

2. — Models and Designs for the Use of Ceramic Artists.
Austria.

CHILLA (L.). — Original-Entwiirfe fiir d. Keramische-Kunstgewerbe. Wien, 1897. Fol.

Belgium.
CASSIERS (H.).— Faiences de Delft. Bruxelles, 1895. 4°.

France.

BOULLEMIER (F.).— Suite d'ornements. Paris, 1831. 4°.

CLERGET (C. E.).— Nouveaux ornements. Paris, 1840. Fol.

DIDIER (F.).— Les fouillis de decoration. S.l.,n.d. 4°.

8CHILT (L. P.). — Le dessinateur de porcelaine. S.l.,n.d.

AVISSE et RENARD.— L'art ceramique au xixe siecle. Paris, 1861. Fol.

SOLON (L. M.).— Inventions decoratives. Paris, 1864. Fol.

COLLINOT et BEAUMONT.— Recueil de dessins. . . . Paris, 1868. Fol.

LEONCE (G.).— Oiseaux et plantes. Paris, 1885. Fol.

HABERT-DYS.— Fantaisies decoratives. Paris, 1888. Fol.

HEIN (F.). — La peinture sur porcelaine. Paris, s.d. Fol.

LAMBERT (H.).— La flore naturelle. Paris, 1888. Fol.

GOPPINGER (A.).— Bouquets de fleurs du style Louis XV. Paris, s.d. 8°.

MAHELIN.— Petits bouquets genre Saxe. Paris, 1890. 8°.

GRANDHOMME et FLOQUET. — Dessins applicables aux arts ceramiques. Paris, s.d.

Fol.

COLOMB (E.).— Modeles pour assiettes. S.I, 1891. Fol.
SANDIER (A.).— Formes de vases. Paris, 1900. 4°.

Germany.

MATHAEY (E. L.).— Abbildungen fiir Porcellan. Weimar, 1841. Fol.

HEIDELOFF (C.).— Musterwerke fiir Hafner und Topfer. Nurnberg, 1851. 4°.

NIEDLING (A.).— Original Entwiirfe fiir Thonwaaren Industrie. Weimar, 1879. 4°.

HOPPNER.— Kleine Vorlagen fiir Porzellanmalerei. Leipzig, 1881. 8°.

DREWS und LAUDIEN.— Vorlagen zur Ma jolica-Malerei. Berlin, 1881. Fol.

FLENTJEN.— Vorlagen fiir Porzellanmalerei. Leipzig, 1885. 8°.

TOIFEL.— Keramik. Originalentwiirfe. 1886. Fol.

MEYER. — Des Hauses-Zier. Vorlagen fur Malerei auf Porzellan. S.l.,n.d. 8°.

FRISCH (A.). — Japanese decorations. Berlin, s.d. Fol.

SPIELHAGEN (G.).— Kunst-Scherben. Berlin, s.d. Lol.

STURM (G.).— Figurale Vignetten. . . . Wien, s.d. 4°.

KIPS (E.). — Porzellan-Malerein in Rauchsalon S.M.Y. Hohenzollern. Berlin, s.d., 1890.

Fol.

FAGER. — Roccoco-Malerein auf Ludwigsburger Porcellan. Stuttgart, 1891. 4°.
DEININGER (C. F.).— Sammlung von Porzellan-Malerein. Leipzig, 1892. 4°.
HOPPNER (J.).— Kleine Vorlagen fiir Porcellanmalerei. Miinchen, 1893.
LANGEN (M. von).— Delfter blau Malerei. Leipzig, 1893. Fol.
HENRIQUES (A.).— Vorlagen fiir Porzellan-Malerei. Hamburg, 1894. 4°.
LAUDIEN (T. und M.).— Vorlagen fiir Porcellan-Malerei. Frankfurt a. 0., 1895. Fol.
494

CERAMIC LITERATURE.

HUTSCHEUREUTER (L.).— Motive fur der keramische klein Plastik. Plauen, 1895. Fol.
KRELL (P. F.).— Keramische Vorbilder. Berlin, 1896. Fol.

WITTMANN u. SEIDEL.— Studienmappe fur die Keramik Industrie. Plauen, 1897. Fol.
KLIER (H.).— Modern Keramik. Plauen, 1902. 4°.

Hungary.
CYULA (D.).— Revai Minta majolika Festesre. Budapest, 1889. Fol.

Italy.

PETITOT.— Suite de vases tiree du Cabinet de S. E. M. Du Tillot. Parma, 1764. 4°.

i,— TRANSFER PRINTING AND PHOTO-CERAMICS.

BREVIERE (L. N.). — Notes sur des porcelaines imprimees. . . . Rouen, 1833. 8°.
WALTHER (H.).— Das Keramische Druckverfaren. Dresden, 1893. 8°.

See also for the history of transfer printing ; Rouquet, The Arts in England ;
Ballantine, Robert Hancock; Binns, Worcester; Mayer, The Art of Pottery;
Turner (W.), Transfer Printing.

BURNETT. — Burnt-in photography on porcelain. Edinburgh, 1857. 4°.
MARTIN.— Handbuch der Emailphotographie. Weimar, 1862. 8°.
GEYMET et ALKER.— Emaux photographiques. Traite pratique. Paris, 1868. 12°.
LAFON de CAMARSAC.— Portraits photographiques sur email. Paris, 1865. 8°.
KRUGER (J.).— Die Photokeramic. Wien, 1879. 16°. 2nd ed., 1893. 8°. (Revised by

Prof. J. Husnik.) Pp. 224 ; 19 illustrs.
GEYMET. — Traite pratique des emaux photographiques. Paris, 1885. 18°.

- Traite pratique de ceramique-photographique. Paris, 1885. 18°.

- Heliographie verifiable. Temperature, Supports perfectionnes, Feux de coloris.
Paris, 1889. 18°.

GODARD (E.). — Precedes photographiques pour 1'application sur la porcelaine, avec

couleurs vitrifiables, de dessins, etc. Paris, 1888. 18°.
GARIN et AYMAR.— La photographie vitrifiee. Paris, 1890. 18°.
KISSLING (J.).— Das Gesammtgebiet der Photokeramik. Berlin, 1894. 8°.
HENRY (W. E.) and WARD (S. H.).— Photo-Ceramics. London, 1895. 8°.
LIESEGANG (P. E.).— Photographische Schmelzfarben bilder. Dusseldorf, 1898. 8°.
MERCATOR (C.).— Die Photokeramik und ihre Imitationen. Halle a. S., 1900. 8°.

y.— REPAIRS AND RESTORATION.

SALVETAT. — Les travaux de Mr. Pierrat, restaurateur d'objets d'art. Paris, 1854. 8°.

THIAUCOURT (P.).— L'art de restaurer les faiences. Paris, 1868. 8°.

RIS-PAQUOT. — Maniere de restaurer soi-meme les faiences. . . . Paris, 1872. 12°.

2nd ed., 1876.

LEHNER (S.).— Die Kitte und Klebemittel. Wien, 1883. 4°.

BARTHELET (A.).— The works of art and Bric-a-Brac doctor. Philadelphia, 1884. 12°.
ROBERT (K.). — Les imitations ceramiques. Paris, 1896. 12°.
LAMBOURSIN. — Traite de la fabrication et de la restauration des faiences. Paris,

1897. 8°.
HOWORTH (J.). — The art of repairing and riveting glass, china, and earthenware.

London, 1898. 8°.

495

CERA MIC LITER A TURE.

AUDEN (G. and H.). — The preservation of antiquities. Cambridge, 1907. 8°.

See also Le Grand d'Aussi, Histoire des Fran^ais ; Grange, Clermont F errand ;
Hunter, Bits of Old China; Blondel, Grammaire de la Curiosite ; Eudel, Le
Trucage; Ortleb, Gefdsskunde.

A;.— TRADE— REGULATIONS— HYGIENE.

PHELYPEAUX. — Arrest du Conseil d'Etat . . . (concerning the trade and manu-
facture of pottery). Paris, 1709-64. 4°.

YSABEAU. — Reglement pour les ouvriers. . . . Paris, 1749. 4°.
ANON. — Statuts anciens et nouveaux concernant la communaute des maitres potiers

de Paris. Paris, 1752. 12°. 2nd ed., 1772.
MANNORY (L.).— Plaidoyers et memoires. Paris, 1753. 12°.
ANON. — Reglement general pour la manufacture de faience de la ville de Rouen. Rouen,

1757. 4°.
Keure tegens het Namaaken der Teckens of Merken der Plateelbakkerijen. Delft,

1764.

Guide des corps des marchants de la ville de Paris. Paris, 1766. 12°.

WOSTERMANN.— Overeenkomst aangegaan de Delftsche Plateelbakker. Delft, 1778.
WEDGWOOD (J.). — An address to the young inhabitants of the Potteries. Newcastle-

under-Lyme, 1783. 12°.

• An address to the workmen of the Potteries. Newcastle-u.-L., 1783. 12°.

BRETEUIL (Baron de). — Arrets confirmant les privileges de la manufacture royale des

porcelaines de France. Paris, 1784. 4°.
GLOT. — Observations des fabricants de porcelaine sur une adresse lue a I'Assemblee

Nationale le 6 Janv., 1789. 8°.

ANON. — Reglement op de Pypen Fabricken. Gouda, 1815. 4°.
Lettre des fabricants de porcelaine de Limoges a Mr. le Secretaire d'Etat, ministre

des finances, et a Mr. le Secretaire d'Etat, ministre du Commerce et des Travaux

publics, contre les taxes municipales illegalement etablies sur les matieres qui servent

d'aliment a leur industrie. Limoges, 1836. 8°.
Statuts de la Societe fraternelle des artists en porcelaine fondee a Limoges, 1844.

Limoges, 1844. 12°.

Expose sur 1'organisation du travail. Limoges, 1848. 4°.

Projet d'association des travailleurs en porcelaine. 1848. 8°.

TOYTOT (E. de).— Faienciers de Nevers. Paris, 1866. 8°.

GINORI (L.). — Alcuni parole agli operai della manufattura di Doccia. Firenze, 1869. 8°.

JOUHANNEAUD. — Le repos du dimanche dans les fabriques de porcelaine. Limoges,

1878. 8°.

BENOIST. — Ville de Limoges. Administration municipale. 1889-1902. 8°.
ROSLER. — Keramische Tagesfragen. Coburg, 1888. 8°.
BUCHER (B.). — Die alten Zunft und Werkers Ordnungen der Stadt Krakaw. Wien,

1889. 4°.

BROWNFIELD.— The lock-out ; A potters' guild. Hanley, 1892. 8°.
ARLIDGE (Dr.). — Pottery manufacture in its sanitary aspect. Hanley, 1893. 12°.
ANON. — Report ... on the conditions of labour in the Potteries. London, Home

Office, 1893. Fol.

SONNE. — Hygiene der keramischen Industrie. Jena, 1896. 8°.
PRENDERGAST (Dr. W. D.).— The potter and lead poisoning. London, 1898. 8°.
BOCH (R. von).— Topferarbeiter von Staffordshire. Stuttgart, 1899. 8°.
THORPE (T. E.) and OLIVER (Th.).— Report on lead compounds. London, 1899. Fol.
496

CERAMIC LITERATURE.

OLIVER (Th.).— Report upon the pottery industry in France ; with notes and criticisms

by W. Burton. London, 1899. Fol.
BURTON (W.). — The use of lead compounds in pottery. London, 1899. 8°.

Pottery and Plumbism. London, 1900. Fol.

GRANGER. — La ceramique en Allemagne et Tenseignement technique. Paris, 1900. 8°.

OWEN (H.).— The Staffordshire potter. London, 1901. 8°.

ANON. — Supplementary rules for the manufacture of earthenware and china. London

1901. Fol.

- Minutes of proceedings at an arbitration under the Factory Act, 1891,
for the regulation of the manufacture of pottery. Hanley, 1903. 8°.

DUCRAY. — Le travail porcelainier en Limousin. Angers, 1904. 8°.

ANON. — Report of the Tariff Commission — Vol. 5, The Pottery Industries. London

King & Son, 1907. 4°.
CHYSER (Dr. B.). — Ueber die im Ungarischen Tonwaarengewerbe vorkommenden

Bleivergiftungen. Jena, 1908. 8°.

Chambres du Commerce de Limoges. — La question douaniere aux Etats-Unis.
Limoges, 1907.

- La porcelaine de Limoges et la douane des Etats-Unis. Limoges, 1908.

32 497

CERAMIC LITERATURE.

HISTORY OF THE CERAMIC ART.

As ancient, as ubiquitous, as protean as any of the other arts of man, the potter's
art has always been closely associated with the march and progress of civilisation. Upon
every spot of the earth where departed nations have lived and toiled, we find abundant
testimonies of its existence. Age after age the art went on in its meandering course
through the cultured world, leaving impressed, all over the track, the indelible mark
of its footprint. In some of its more permanent abodes, we can follow the gradual trans-
formation of popular pottery, and see it passing slowly from the most rudimentary form
to its highest development. This latter stage, unfortunately, is, in no instance, of long
duration. As no art — worthy of the name — can remain in a stationary state, that of
the potter sinks down again in a much shorter time than it took to rise. But if all
improvements seem to be at an end in one country, they are seen to develop to a higher
degree in another. So does the tale repeats itself uninterruptedly ; and the records of
thousands of years of human industry tell of a continuous ebb and flow of progress and
decline.

The annals of ceramic history are graven upon an almost imperishable material.
There is no limit to the duration of an object made of clay hardened by fire, if it remains
unbroken. From the bosom of the earth a host of clay vessels has been rescued, and,
although some of them are of untold antiquity, many seem to have lost nothing of their
pristine condition. More can be learned, from the judicious examination of these vessels,
concerning the people who made or used them, than could be obtained through the
erudite interpretation of ancient writers or the study of ruined monuments. Unscathed,
the earthen pots have preserved the ever-varied shapes that a skilful hand could easily
impart to the plastic material ; and the inscriptions on them can still be deciphered.

To institute an aesthetic comparison between the fictile productions of the human
races, and group them into ethnologic and chronologic order, was surely a scheme worth
engaging the cogitations of the philosopher, and the researches of the archaeologist. It
seems strange that the first work which — taking advantage of the immense amount of
materials already at hand — summarised the knowledge arrived at and gave the general
history of the ceramic art, should have been so long in coming. The subject had failed
to attract any serious attention until modern tendencies had directed archaeological
investigations into untrodden fields. One may say that the written history of the ceramic
art dates but from yesterday. Scraps of information regarding some particular class of
pottery could be obtained from odd volumes, often of difficult access, and we had nothing
more. It is not, however, difficult to account for such an apparent neglect. Ceramic
collections as they are understood nowadays — that is to say, eclectical selections of
miscellaneous specimens, brought together to illustrate the endless transformations of
the potter's art, and exemplify the variations of taste to which, in the successive periods,
they have given such a distinct expression — were not known before the beginning of the
last century. If the cabinet of the amateur, the house of the wealthy, had previously
given admittance to some representatives of the highest classes of ceramic wares, it was,
so to speak, under protest, and to a very limited extent. In the estimation of the old
dilettanti, what we now call the " Minor arts," were not arts at all, and did not deserve
to have a history. Accordingly, to try and unravel the entanglement of the ties which
498

CERAMIC LITERATURE.

bind together the many branches of the ceramic family was not considered worth the
trouble that such a task would entail. Occasionally, it happened that some particular
kind of pottery secured no small share of attention. But this was due to fortuitous
circumstances ; for instance, the association of the pottery with a newly opened course
of archaeological studies, or the gratification of a fashionable fad. The comparative rank
that the ware occupied in the aggregate of the ceramic productions was seldom taken
into consideration.

For a time, Greek and Etruscan vases had their votaries, by whom they were
treasured, not so much as master-pieces of the potter, but as enlightening vestiges of
classical antiquity. Choice pieces of Italian majolica were, casually, tolerated in the art
gallery, by no means in acknowledgment of their intrinsic merits, but on account of the
relationship that their paintings bear, to those of the contemporary great masters.
Porcelain made a class of its own, much admired for the rare and costly trinkets it included.
The mysterious substance of which it was made forbade the idea of a porcelain vase being
classed along with pots of common clay. As for these latter, vulgar vessels mostly name-
less, and of unknown origin, they were looked at, at the best, as mere articles of curiosity,
to be shown in company with ostrich eggs, savages' spears, and carved cocoa-nuts.

The stern antiquary could not have been expected to divert his pedantic thoughts
from his antique vases and their enigmatic signification ; the contents of a china cabinet
were, for him, nothing better than showy trifles, fit only to gratify, for a moment, the
fancy of a capricious lady of rank and wealth. On the other hand, the frivolous man of
fashion refrained from approaching the dusty spoils of the Etruscan tombs, and indulged
in the exclusive contemplation of dainty porcelain. Each of them regarded what
he called the infatuation of the other with a feeling in which pity was mixed with
contempt.

When the few amateurs who, in those early days, took pleasure and pride in forming
special collections, obeyed such irreconcilable promptings, and refused to allow their
collecting pursuit to wander outside the limited range of their stubborn partiality, it
is obvious that the knowledge of all that pertains to the history of the ceramic art, in
general, could make but little progress. Times were not yet ripe for compiling a work
on the subject. Not only would it have been an almost impossible task to accomplish,
but had such a work chanced to have been written and published, it would probably
have found no public to appeal to.

The days are not yet far from us which saw the rise, among a limited circle of
" curiosities' lovers," of a sudden eagerness for gathering ancient objects of various
kinds, utterly neglected before. Old pottery was necessarily included in the list. This
movement took the form of a harmless monomania, a mild fever which attacked the poor
as well as the rich. The symptoms were an irresistible impulse to ferret out of their
hiding place and acquire, when it eould possibly be done, any pieces that came under
the denomination of Pottery. In those opening days of a most retributive campaign the
brotherhood comprised, as we have just said, all sorts and conditions of men. As a
matter of course, in this wild rush after rare pottery, priceless gems often fell to the lot,
not of the educated and truly appreciative, but of the most fortunate hunter. Such
treasures were not, however, to remain in the hands of their unworthy discoverer. They
soon found their way into the possession of the man of taste and means. And so it
came to pass that, within an incredibly short time, ceramic collections were formed,
the like of which, a whole life of unremitting efforts and the command of unbounded
wealth, would be powerless to form at the present day. The still unwritten history of

499

CERAMIC LITERATURE.

the ceramic art had become the indispensable corollary of the newly born collections.
The fascinating interest awakened by these bewildering shows, had created the want of
enlightening text-books.

To discover some hidden treasure, to negotiate its purchase, and, finally, to revel
in its possession, were, for a time, incentives sufficient in themselves to urge the ceramic
collector in the prosecution of his hobby. But to the intense excitement, to the proud
satisfaction associated with the growth of the collection, was soon to be added an ambition
of a higher order.. Constantly confronted with problems which he could not solve, and
questions which had to remain unanswered, the collector grew at last impatient at the
fruitless result of unguided study. He realised that ^he acquirement of knowledge
depended on a more solid instruction than that which could be gathered from the gossiping
information exchanged between the members of the gentle craft. It was in response to
this craving for a higher form of historical and technical education that the first general
histories of the ceramic art were produced. The task of reducing into order the medley
of actual facts and utter fallacies which constituted the ceramic lore of the period was
by no means an easy one. It was taken in hand by a group of eager specialists, who
succeeded in drawing a broad outline of the march and progress of the art in olden times,
and prepared a preliminary classification of the specimens which lay, mostly unnamed,
in the public and private collections. Brongniart, in France, and Marryat, in England —
the former a consummate scientist, the latter a distinguished amateur — must be con-
sidered as the originators of a branch of study which has, after them, engrossed the
thoughts of many a learned historian. To form an idea of the difficulties they had to
overcome before they could bring the undertaking to a satisfactory form, we must
bear in mind that the subject they had to deal with was one which had scarcely been
touched upon by previous writers, and that out of the scanty store of materials within
easy reach there was more to be rejected than accepted. If, with all their unavoidable
shortcomings, the books they gave us were mere provisional sketches, they can still be
taken as models, and they have remained authorities that can be confidently consulted
on many points.

At the present day, when the result of local research has so largely increased the list
of independent monographs, when the past existence of so many minor factories has
been carefully investigated and recorded in print, to write a general history of the ceramic
art seems to have become a mere labour of compilation. In consequence of this apparent
facility, the number of compendious handbooks has, within a few years, strangely
multiplied. Unfortunately, most of the compilers who have glutted the market with
productions of that kind were not adequately prepared for the work. So it happens
that neither the exhaustive treatise nor the compressed epitomes that came last in the
field can scarcely be said to be above the criticisms which can be passed on their fore-
runners. The very abundance of materials to work upon has created not a little con-
fusion in the matter. While light was being thrown on many important points, the
specious hypotheses of a few presumptuous and prejudiced writers have cast a momentary
shade upon questions of no less importance. Truth and fiction are often curiously inter-
mixed in the best general histories. In short, an impartial examination of all this group
of ceramic books leaves us under the impression that none of them is to be implicitly
trusted in all its parts.

500

CERAMIC LITERATURE.

WORKS OF GENERAL INTEREST.

Belgium.
GUILLERY (E.).— Arts ceramiques. Bruxelles (1860 ?). 12°.

England.

PORTER (G. R.) (Anon).— A treatise on the progressive improvement ... of the

manufacture of porcelain. London, 1832. 8°.
MARRYAT (J.). — Collection towards a history of pottery and porcelain. London, 1850.

8°. 2nd and 3rd ed., 1857-1868.

WALL (B.).— Lecture delivered at Salisbury. London, 1853. 16°.
LABARTE (J.).— Handbook of the arts of the Middle Ages. London, 1855. 8°.

(Transl. by Mrs. F. B. Palisser.)

BOHN (H. G.). — A guide to the knowledge of pottery. . . . London, 1857. 8°.
WARING (J. B.). — Pottery and porcelain. With an essay by J. C. Robinson. London,

1857. 4°.

BIRCH (S.).— History of ancient pottery. London, 1858. 8°.
CHAFFERS (W.).— Keramic Gallery. London, 1872. 8°. 2nd ed., 1907. 8°.
MASKELL (W.). — The industrial arts. South Kensington Museum Art Handbook.

London, 1876. 8°.

NAPIER (J.). — Manufacturing arts in ancient times. Paisley, 1879. 8°.
LACROIX (P.). — The arts in the Middle Ages and the Renaissance. London, s.d. 8°.

(Transl. by W. Armstrong.)
LITCHFIELD (F.).— Pottery and porcelain. London, 1880. 12°. 2nd ed., London.

1899. 8°.

WESTROPP (H. M.).— Handbook of pottery and porcelain. London, 1880. 8°.
DELAMOTTE (P. H.) and WHEATLEY (H. B.).— Art work in earthenware. II. Art

work in porcelain. London, 1882. 8°.

SPARKES (J.) and GANDY (W.).— Potters : their arts and crafts. London, 1897. 8°.
BINNS (Ch. F.).— The history of the potter. London, 1898. 16°.
DILLON (E.).— Porcelain. London, 1904. 8°.
HOBSON (R. L.).— Porcelain of all countries. London, 1906. 8°.
BURTON (W.).— Porcelain. London, 1906. 8°.

WYLDE (C. H.).— How to collect Continental china. London, 1907. 8°.
KIDSON (H.).— About old china. Liverpool, 1908. 8°.

France.

BRONGNIART (A.).— Traite des arts ceramiques. Paris, 1844. 8°.

DU SOMMERARD (A.).— Les arts au Moyen-Age. . . . Paris, 1838-46. Fol.

LABARTE (J.). — Histoir^ de 1'art par les meubles et les objets precieux. Paris, 1847-48.

8°.
LABARTE (J.).— Histoire des arts-industriels au Moyen-Age. Paris, 1864-86. 4°.

2nd ed. Paris, 1872-75. 4°.
DEMMIN (A.). — Guide de 1'amateur de faience et de porcelaine. Paris, 1861. 8°.

2nd ed., 1863. 3rd ed., 1867. 4th ed., 1873.
DEMMIN. — Recherches sur la priorite de la Renaissance de Fart allemand. Paris,

1862. 12°.

501

CERAMIC LITERATURE.

JACQUEMART (A.) et LE BLANC (E.). — Histoire artistique. industrielle et commerciale

de la porcelaine. Paris, 1862. 4°.
TOURNAL.— Notes sur la ceramique. Caen, 1863. 8°.
GRESLOU (J.).— Kecherches sur la ceramique. Chartres, 1863. 12°.
TOYTOT (E. de).— Les arts et les peintures ceramiques. Paris, 1864. 8°.
BURTY (Ph.).— Chefs-d'ceuvres des arts industries. Paris, 1866. 8°.
JACQUEMART (A.).— Les merveilles de la ceramique. Paris, 1866-69. 12°.

Histoire de la ceramique. Paris, 1873. 8°.

MARRYAT (J.). — Histoire des poteries, faiences et porcelaines. Traduction par

D'Armaille et Salvetat. Paris, 1866. 8°.
MARESCHAL (A. A.). — Les faiences anciennes et modernes. Beauvais, 1868. 8°.

Les faiences anciennes et modernes. Faiences etrangeres. Paris, 1873. 2nd ed. 8°.

Les faiences anciennes et modernes. Faiences francaises. Paris, 1874. 2nd ed.

8°.

MAZE (A.).— Notes d'un collectionneur. Paris, 1878. 4°.
LIE V RE (E.). — Les arts decoratifs a toutes les epoques. Paris, 1870. Fol.

Musee graphique. Paris, s.d. Fol.

RIS-PAQUOT. — Histoire generale de la faience ancienne fra^aise et etrangere. Amiens,
1874. Fol.

Manuel du collectionneur de faiences anciennes. Amiens, 1877-78. 8°.

ASSELINEAU.— Ceramique. Paris, 1876. 4°.

DEMMIN (A.). — Histoire de la ceramique en planches phototypiques. Paris, 1875. Fol.

FIGUIER (L.).— Les merveilles de 1'industrie. Paris, 1876. 8°.

GARNIER (E.).— Histoire de la ceramique. Tours, 1880. 8°.

DUMONT (V.). — Notice historique sur la decouverte du Kaolin en Saxe et en France.

Bethune, 1880. 8°, pp. 45.
ART POUR TOUS.— Ceramique. Paris, s.d. S. fol. (A selection of plates from that

publication.)
LE BRETON (G.). — La ceramique a glaoures metalliques dans Tantiquite- Rouen, 1881.

8°.

WYZEWA.— Les arts du feu. Paris. 8°.
BOURGEOIS (E.).— La ceramique moderne. Paris, 1885. 4°.
DESLIGNERES.— L'emploi de la terre dans les constructions. Paris, 1885. 4°.
MARTIN (A.).— Arts ceramiques. Paris, 1886. 8°.
MARCEL (P.). — Les industries artistiques. Paris, s.d. 8°.
DECK (T.).— La faience. Paris, 1887. 8°.
LEFEBRE (E.).— Histoire d'une assiette. Paris, 1887. 8°.
RIS-PAQUOT.— Faiences, Porcelaines et Biscuits. Paris, 1892. 8°.
VOGT (G.).— La porcelaine. Paris, 1893. 8°.
HA YARD (H.).— La ceramique. Paris, 1894. 8°.
GARNIER (E.).— Dictionnaire de la ceramique. Paris, 1894. 8°.
GUILLARD (A.). — La ceramique a travers les ages. Paris, 1.896. 12°.

Germany.

BECKER (C.) und HEFNER (J. von).— Kunstgewerke und Gerathschaften. Frankfurt

a. M., 1852. 4°.

GRAESSE (J. Th.).— Beitrage zur Geschichte der Gefassbildenerei. Dresden, 1853. 8°.
ORTLEB (A. und G.).— Gefasskunde, oder Keramik. Berlin, s.d. 16°.
502

CERAMIC LITERATURE.

ANON. — Gefasse der deutschen Renaissance . . . herausg. v. Oest. Museum f.

Kunst-Industrie. Wien, 1876. Fol.

JAENNICKE (F.).— Grundriss der Keramik. Stuttgart, 1879. 4°.
DEMMIN (A.).— Keramic-Studien. Leipzig, 1881-83. 8°.

SCHORN (0. von).— Die Kunsterzeugnisse aus Thon und Glass. Leipzig, 1888. 12°.
BRINCKMANN (J.).— Das hamburgische Museum. Leipzig, 1894. 8°.
LEHNERT.— Das Porzellan. Leipzig, 1902. 8°.
BORRMANN (R.).— Moderne Keramik. 1902. 8°.
BRUNING (A.).— Europaisches Porzellan. Berlin, 1904. 4°.
ROSENBAUM (F.).— Das Europaische Porzellan. Halle a. S., 1905. 4°.
HOFFMANN. — Das Europaische Porzellan des Bayerischen Nat. Museum. Miinchen,

1909. 8°.

Italy.

CORONA (L.).— La ceraiuica. Milano, 1879. 8°.
G. R.— L'arte della ceramica. Milano, 1880. 32°.
DE MAURI.— L'amatore di majoliche. Milano, 1898. 12°.

U.S.A.

PRIME.— Pottery and porcelain. New York, 1870. 8°.

TREADWELL.— A manual of pottery. New York, 1872. 8°.

LOCKWOOD.— Handbook of the ceramic art. New York, 1878. 12°.

ELLIOT.— Pottery and porcelain. New York, 1878. 4°.

YOUNG (J.).— The ceramic art. London, 1879. 8°.

BECKWITH.— Majolica and faience. New York, 1879. 12°.

STALLKNECHT.— Artistic pottery and porcelain. Old and New. New York, 1880. 16°.

JERVIS.— Rough notes on pottery. Newark, N.J., 1896. 8°.

Encyclopedia of ceramics. New York, 1902. 8°.

ORTON.— The progress of the ceramic art. Madison, W., 1903. 8°.

MOORE (Hudson N.).— The old china book. New York, 1903. 8°.

WILDE (M. A.). — Descriptive notes for china lovers. Franklin, D., 1904. 8°.

BARBER (E. A.).— Handbooks of the Pennsylvanian Museum. Philadelphia, 1906. 8°.

PREHISTORIC POTTERY.

(EUROPEAN.)

Celtic, Teutonic, Anglo-Saxon, Gallic, etc., of undetermined Periods.

The study of a large group of rude earthen . vessels usually found in tombs of
undetermined periods, and arbitrarily ranged under the heading of " Prehistoric
pottery," long neglected or ill-directed, is, however, on the eve of forming a well-
defined branch of the archaeological science. With the increase of knowledge the
horizon becomes more and more distant, and presents to our gaze a gradually
increasing expanse of unexplored fields. The student was satisfied at first with an
easily remunerative examination of the authenticated records bequeathed to us by
the highly civilised people of classical antiquity. Later on, the solution of many
a problem raised by the half-obliterated testimonies that the mysterious races which
have no history have left of their passage upon earth, commanded his attention. The

503

CERA MIC LITER A TURE.

study of geology — also a new science — has made it manifest that wherever man has
lived and worked, vessels of burnt clay are found associated with the earliest evidences
of his primitive industry. It is upon geology that the archseologist must depend, if ever
a kind of chronological order is to be established between the various classes of prehistoric
pottery. All has yet to be done in that direction. It was but yesterday that Boucher
de Perthes roused the incredulous astonishment of the antiquarian world by asserting
that the flints, clumsily chipped into shapes, which he had rescued from the soil, were
primitive tools fashioned by the hand of man. General recognition has sanctioned,
beyond all possible doubt, the truth of his assertion ; it now remains for us to see whether
the rudimentary earthen vessels, which most often accompany the discovery of flint
implements, cannot be classified, and their ages determined by the positions they occupy.
With respect to the mortuary pottery of the later periods, the task is rendered easier
by the evidences and documents accumulated by the German antiquaries. Ever since
the sixteenth century, the results of the excavations conducted on the site of the settle-
ments of the primitive inhabitants of Germany have been recorded and discussed by the
learned men of the country. On the authority of Van Ledebur — a bibliophile who has
made a special study of pamphlet literature — the number of articles, essays, and volumes
printed on the subject of earthen cinerary urns and other clay vessels discovered in the
Teutonic territory amounts to nearly two thousand. To reduce into order this appalling
mass of materials has not yet been attempted. Although the Northern tribes are but
latecomers in the history of civilisation, an account of the development of the potter's
art in the last portion of Europe that man has placed under his sway would be a most
welcome addition to our knowledge of prehistoric pottery.

A ustria.

SACKEN (E. F. von).— Das Grabfeld von Hallstatt. Wien, 1868. 4°.
HORNES (M.).— Eine prahist. Thonfigur aus Serbien. Wien, 1891. 4°.
FIALA (F.).— Die prahist. Ansiedlung auf dem Debelo Brdo. Wien, 1896. 8°.
PIC (J. L.). — Die Urnengraber Bohmens. Prag and Leipzig, 1908. 4°.

Belgium.
VAN BASTELAER (D.). — Les vases de forme purement franque. Bruxelles, 1890. 8°.

Denmark.

WORSAAE (J. J. A.).— The primeval antiquities of Denmark. London, 1849. 8°.
Nordiske Oldsager i det K. Museum i Kjobenhavn. Kjobenhavn, 1859. 8°.

England.

BROWNE (T.).— Hydriotaphia. Urne burial. London, 1658. 8°.
MILES (W. A.).— A description of the Deverel barrow. Frome, 1825. 4°.
WOOLS (Ch.).— The barrow diggers. London, 1839. 4°.
NEVILLE (R. C.).— Sepulcra exposita. Saffron Walden, 1848. 8°.

Saxon obsequies. London, 1852. 4°.

WYLIE (W. M.).— Fairford graves. Oxford, 1852. 4°.

WILDE (W. R.).— Catalogue of the Museum of the R. Irish Academy. Dublin, 1857. 8°.
THURNAM (J.).— Ancient British barrows. London, 1859. 4°.
BATEMAN (T.).— Ten years' diggings. London, 1861. 8°.
WARNE (C.).— Celtic tumuli of Dorset. London, 1866. Fol
504

CERAMIC LITERATURE.

WARNE (C.). — Ancient Dorset. Bournemouth, 1872. Fol.

STANLEY (W.) and WAY (A.).— Hydriotaphia Cambrensis. London, 1868. 8°.

JEWITT (L.). — Grave-mounds and their contents. London, 1870. 8°.

— Half-hours among some English antiquities. London, 1880. 8°.
BORLASE (W. C.).— Noenia Cornubia. London, 1872. 8°.
WARING (J. B.). — Ceramic art in remote ages. London, 1874. Fol.
GREENWELL (W.).— British barrows. Oxford, 1878. 8°.
HODJETTS (J. F.).— Older England. London, 1884. 8°.
PITT-RIVERS. — Excavations in Cranborne Chase. London, s.d. 4°.
EVANS (A. J.).— On a late Celtic Urn-field at Aylesford. London, 1890. 4°.
BAYE (J. de). — Industrial arts of the Anglo-Saxons. London, 1893. 4°.
WAKEMAN (W. F.). — Catalogue of the specimens in the collections of the Eoyal Irish

Academy. Dublin, 1894. 4°.

France.

COCHET (Abbe). — De la coutume d'inhumer les homines dans des tonneaux de terre
cuite. Paris, 1859. 8°.

— Memoire sur la coutume de placer des vases dans la sepulture de I'homme. 8°.

— Archeologie sepulchrale et ceramique. Paris, 1860. 4°.

RABUT (L.). — Habitations lacustres de la Savoie. Chambery, 1864-67. 4°.
CLOSMADEUC (G. de). — La ceramique des Dolmens dans le Morbihan. Paris, 1865. 8°.

— Decouverte de Stone-Cists a Bec-er-Vill. Vannes, 1886. 8°.
RING (M. de). — Tombes celtiques de 1' Alsace. Strasbourg, 1866. Fol.
BENOIT (E.).— Les poteries de la grotte de la Baume (Jura). Paris, 1867. 8°.
AYMAR (A.).— Antiquites du Cheylounet. Le Puy, 1874. 8°.

MOREAU (F.).— Collection Caranda. St. Quentin, 1873-96. 4°.

BLEICHER. — Contribution a 1' etude de la ceramique pre-romaine. Colmar, 1888. 8°.

DELAMAIN. — Le cimetiere d'Herpes. Angouleme, 1892. 4°.

DU CHATELLIER. — La poterie prehistorique en Armorique. Rennes, 1897. 4°.

PIETTE (E.) et SACAZE.— Les tertres funeraires d'Avezae-Prat. St. Quentin, 1899. 4°.

CHAUVET (G.).— Poterie prehistorique (Vallee de la Charente). Paris, 1900. 8°.

DECHELETTE (J.).— Poterie de La Tene. Paris, 1901. 8°.

DELORT (J. B.).— Dix annees de fouilles en Auvergue. Lyon, 1901. 4°.

/
BEAUPRE (J.). — Statistique des sepultures pre-romaines du Dept. de Meurthe et Moselle.

Paris, 1904. 8°.
FOURDRIGNEER (E.).— Poteries dolmeniques. Empreintes digitales. Paris, 1907. 8°,

pp. 21 ; figs.

Germany.

ALBINUS (P.).— Meissnische Chronica. Dresden, 1589. Fol.
MELLEN (J. von). — Historia urnse sepulchralis sarmaticse. Jena, 1679. Sm. 4°.
TREUERN (E.).— Kurze Beschreibung der heidnischen Todtentopfe. Nilrnberg, 1688. 8°.
STIFF (C.).— De urnis in Silesia. Lipsice, 1704. Sm. 4°.
CELSIUS (0.).— De urnis veterum sepulchralibus. Upsala, 1706. 8°.
HERMANN (D.).— Maslographia. Brieg, 1711. Sm. 4°.
WOLKMANNS (G. A.).— Silesia subterranea. Dresden, 1720. Sm. 4°.
REUSCH (C. F.). — De Tumulis et Urnis sepulchralibus in Prussia. Regiomontano, 1724.
4°.

505

CERAMIC LITERATURE.

OESTERLING (J.).— Dissertatio de urnis sepulchralibus. Lipsice, 1741. 4°.
DOROW (W.). — Opferstate und Grabhiigel der Germanen und Komer am Rhein. Wies-
baden, 1826. 4°.

WILHELMI (C.). — Les anciens tombeaux germaniques a Sinsheim. Heidelberg, 1831. 8°.
SCHROTER und LISCH.— Friderico-Franciscum Alterthumer Sammlung. Leipzig, 1837.

LEDEBUR (L. v.).— Die heidnische Alterthumer im Schlosse Monbijou. Berlin, 1838. 8°.
ESTORFF (C.).— Heidnische Alterthumer der Gegend von Uelzen. Hanover, 1846. Fol.
VIRCHOW.— Ueber Gesichtsurnen. Berlin, 1870. 8°.
MANNHARDT.— Pommerellischen Gesichtsurnen. Berlin, 1870. 8°.
BERENDT.— Pommerelischen Gesichtsurnen. Konignberg, 1872-78. 4°.
VURDINGER.— Die Gesichtsurne von St. Soloman. S.d. 8°.
HOSTMANN (C.).— Der Urnenfriedhof by Darzau. Braunschweig, 1874. 4°.
GEINITZ.— Die Urnenfelder von Strehlen und Grossenhain. Cassel, 1876. 4°.
FINDER (E.). — Die heidnische Altertiimer im Museum zu Kassel. Kassel, 1878. 8°.
VOSS (A.). — Ausstellung prahistorischer Funde Deutschlands. Berlin, 1880. 8°.
LINDENSCHMITT (L.).— Handbuch der deutschen Alterthums-Kunde. Braunschweig,

1880-89. 8°.

Das romish-germanische Central Museum. Mainz, 1889. 4°.

— Die Alterthumer unserer heidnischen Vorzeit. Mainz, 1858-95. 4°.
BEHLA (R.). — Die Urnenfriedhofe mit Thongefasse der lausitzer Typus. Luckau,

1882. 8°.
KLOPFLEISCH (and Others). — Vorgeschichtliche Alterthumer der Provinz Sachsen. Halle,

1883-92. 4°.

WAGNER (E.).— -Hugelgraber und Urnen-Friedhofe in Baden. Karlsruhe, 1885. 4°.
MESTORF (J.).— Urnenfriedhofe in Schleswig-Holstein. Hamburg, 1886. 4°.

Rosenberg'sche Sammlung. Germanische Museum. Nurnberg, 1886. 8°.

LISSAUER (A.). — Die prahistorischen Denkmaler des Provinz Westpreussen. Leipzig,

1887. 4°.

GREMPLER.— Der Fund von Sakrau. Berlin, 1887-88. Fol.
ZIMMER (M.). — Die bemalten Thongefasse schlesiens aus vorgeschichtlicher Zeit.

Breslau, 1889. Fol.

SCHUMANN (H.).— Urnenfriedhofe in Pommern. Stettin, 1889. 8°.
CHLINGENSPERG BERG (M. von).— Das Graberfeld von Keichenhall. Reichenhall,

1890. 4°.

BRESLAU. — Museum schlesischer Alterthumer. Breslau, 1891. 8°.

GOTZE (A.). — Die Gefassformen und Ornamente der neolithischen Keramik. Jena,

1891. 8°.

FOHR (J. von). — Hugelgraber auf der schwabischen Alb. Stuttgart, 1892. 8°.
WEIGEL (M.). — Das Graberfeld von Dalhausen. Braunschweig, 1893. 4°.

KONEN (K.). — Gefasskunde der vorromischen, romischen, und frankischen Zeit in der

Rheinlanden. Bonn, 1895. 8°.

FORTSCH. — Thongefasse der Broncezeit aus Sachsen. Leipzig, 1896. 8°.
FEUTSCH (H.).— Das Graberfeld bei Sadersdorf. Guben, 1896. 8°.
DEICHMULLER.— Das Graberfeld aus der Knockenbirge. Cassel, 1897. 4°.
BRUNNER (K.). — Die steinzeitliche-Keramik. Braunschweig, 1898. 4°.
BONNET (A.). — Die steinzeitliche Ansiedlung auf dem Michelsberg. Karlsruhe, 1899.

4°.

TISCHLER (0.). — Oestpreussische Alterthumer. Kdnigsberg, 1902. 4°.
HEDINGER. — Ausgrabungen auf der schwabischen Alb. Braunschweig, 1903. 4°.
506

CERAMIC LITERATURE.

KOEHL (C.). — Die Bandkeramik der steinzeitliclien Grab f elder von Worms. .Worms,

1903. 4°.

VOSINSKY (M.).— Die inkrustierte Keramik der Stein-und-Broncezeit. Berlin, 1904. 8°.
KRAUTH (C. G.).— Bin neolith. Hiigelgrab mit Schnurkeramik. Erfurt, 1905. 8°.

Holland.
PLEYTE. — Nederlandsche oudheden tot op Karel den Groot. Leid, 1877. 4°.

Italy.

VISCONTI (A.). — Sopra alcuni vasi . . . della antica Alba Longa. Roma, 1817. 4°.

TAMBRONL— Urne cinerarie di Castel Gandolfo. Roma, 1817. 8°.

LISCH.— Ueber die Hausurnen. . . . Schwer, 1856. 8°.

TARQUINI.— De'vasi divinatori etruschi. Roma, 1858. 8°.

GOZZADINI. — Di un antica necropoli ... a Marzabotto. Bologna, 1865. 4°.

GASTALDL— Lake habitations of North Italy. London, 1865. 8°.

BELDAM (J.). — On Pelasgic and Latian vases. London, 1865. 4°.

CESELLI. — Sopra Tarte ceramica primitivo nel Lazio. Roma, 1868. 4°.

NICARD (P.). — Les vases nommes par les Italiens Laziali. Paris, s.d. 8°.

LUBBOCK (Sir J.).— Notes on Hut-Urns from Marino. London, 1869. 4°.

VIRCHOW (R.).— Ueber der Zeitbestimmung der italienen Hausurnen. Berlin, 1883. 8°.

BAUX.— La poterie des Muraghes en Sardaigne. Paris, 1885. 8°.

BOEHLAU. — Zur ornamentik der Villanova period. Cassel, 1895. 4°.

MAYER (M.).— Ceramica dell5 Apulia preellenica. Bari, 1897-99. 4°.

MILANI (L. A.). — Sepolcreto con vasi antropoidi. Milano, 1899. 4°.

ZIRONI (E.).— Archeologia prehistorica. Bologna, 1901. 12°.

Poland.

OSSOWSKI (G.). — Monographic prehistorique de Tancienne Pologne. Cracowie, 1879-88.

4°.

Russia.

WYROUBOFF (B.).— Musee de la Societe archeologique du Caucase. Tiflis, 1867. 4°.
ASPELIN (J. R.).— Antiquites du Nord Finno-Ougrien. Helsingfors, 1877-84. 4°.
A. G.— Prehistoric Russian Pottery. S.L, 1903. 8°.

Spain.

LARTET. — Poteries primitives de la vielle Castille. Paris, 1860. 8°.
CARTAILHAC.— Ages prehistoriques de TEspague. Paris, 1886. 8°.

Switzerland.

JAHN (A.). — Unteritalish-Keltische Gefasse in der Vasensammlung des bernischen
Museums. Berne, 1846. 4°.

ULRICH (R.).— Sammlung der antiquarischen Gesellschaft in Zurich. Zurich, 1890. 4°.
See also — Classical Ceramics — Egyptian — American — Japanese.

507

CERAMIC LITERATURE.

VITRIFIED FORTS.

Remains of vitrified walls, primitive fortifications of the native races, have been
discovered and studied in many countries, and particularly in Scotland and Northern
France. The latest explorations of Central Africa have made known other examples
of the same mode of construction of very superior workmanship. Although they
can scarcely be said to belong to ceramics, these huge masses of stone, cemented
together by means of a fusible ore, which had been made to fill all interstices under the
action of an artificial heat sufficiently intense to liquefy the hardest materials, are not
without interest for the study of the art of fire in one of its earliest and rudest
applications.

HARRINGTON (D.).— Observations on the vitrified walls in Scotland. London, 1776.
8°. (In Archceologia.)

RIDDELL (R.). — Observations on vitrified fortifications in Galloway. London, 1870.
8°. (In Archceologia.)

RALLIER.— Essai sur les forts vitrifies de FEcosse. Paris, 1807. 8°.

OTWAY (C.).— On a vitrified fort in the County of Cavan. Dublin, 1818. 8°. (In
Royal Irish Ac. Trans., vol. xiii.).

LA PILAIE (De). — Notice sur la ville de Sainte Suzanne, et sur les debrits des fortifica-
tions vitrifiees de son ancien chateau. Paris, 1829. 8°. (In Mem. de la Soc. des
Ant. de France.)

GESLIN.— Rapport sur le Camp de Peran. Paris, 1846. 8°.

BARTHELEMY (A. de).— Sur le camp vitrifie de Peran. S.d. 8°. (In Bulletin Monu-
mental.)

PREVOST (P.).— Memoire sur les forts vitrifies. Saumur, 1863. 8°.

— Dissertation sur les forts vitrifies. Angers, 1867. 8°.

CESSAC (de). — Note sur les forts vitrifies du Departement de la Creuse. S.d. 8°.
L'oppidum du Puy-de Gaudy. Autun, 1878. 8°.

DAUBREE (A.). — Examen mineralogique et chimique des materiaux provenant de

quelques forts vitrifies de la France.
Examen des materiaux provenant des forts vitrifies de 1'Ecosse et de la Haute.

Alsace. Paris, 1881. 8°.
DE LA NOE (G.). — Documents pour servir a 1'histoire des enceintes vitrifiees. Paris,

1882. 8°.
MAYAUD (S. P.).— Recherches sur les murs vitrifies. Sens, 1883. 8°.

EARLY POTTERY OF AMERICA.

It is in the pandemonium of an ethnological museum that one has still to find
materials for the study of antique American pottery. Overlooked by the amateur —
perhaps simply on account of their rarity in Europe — specimens of this kind have
not yet been included in the ceramic collections, which usually contain groups of
pottery of inferior interest. Whether it be the cause or the result of such neglect,
no authoritative book has been published illustrating the best types of the Mexican
and Peruvian earthen vessels. Such a work would demonstrate that the forgotten
pot-makers of antique America may well claim affinity with the most celebrated
potters of all the other nations. For long we had to be satisfied with the few
incorrect sketches to be found in books of travels ; to these have lately been added
508

CERAMIC LITERATURE.

the illustrated catalogues of the special collections. In all instances, the examples
given were selected without any particular regard for their purely artistic merit
or even technical qualities. They still rank among exotic curiosities, and have not been
assigned a place of their own among works of art.

Yet it is on the ground of their artistic and technical superiority that the still
unwritten text-book on American pottery will have to be conceived and carried out.

The necropolis of the once glorious cities of Peru and Mexico have as yet yielded
but an inconsiderable and insignificant portion of the treasures they contain ; such
random discoveries as have been made up to this time are sufficient, however, to give
an idea of what may be revealed to us at some future date. They testify to the high
degree of perfection the extinct races of America had attained in the practice of the
ceramic art. We recognise, in the first instance, that their work stands almost unrivalled
for variety of shapes and ingenuity of conception. In their hand the clay vessel, departing
from the general rule, did not keep long within the rudimental notions of the urn, the cup,
or the bowl of established type, but it soon deviated into all sorts of eccentric forms,
assuming the most unexpected presentments into which the wild fancy of an imaginative
artisan may turn a simple receptacle for liquids. If, after having thus recorded the
observations suggested by a superficial examination of the ware in the aggregate, we
pass to the selection of particular specimens, we shall soon find a number of them which
stand out conspicuously from the rest, just as a choice group of Athenian Rhytons
and Lekyties would from a crowd of Greek terra-cottas of the common order. We are
referring to some small drinking vases, made of fine red clay of various shades, in the
form of a fruit, an animal, or, frequently enough, in that of a human head ; a few
striking examples of the kind may be singled out from amongst the miscellaneous pottery
exhibited in the museums. In certain instances the profile of the head is so pure, the
general design is so full of elegance, that we are bound to question whether the work of
the Peruvian potter could not creditably stand comparison with some admired production
of a Greek potter of the best period, and the exotic jug be permanently placed by the
side of the classical rhyton, without any discredit to either.

A pottery of such a superior order may well command our sustained attention, and
excite our desire of having, one day, a good work supplied to us, in which fine and trust-
worthy reproductions shall place under our eye as many examples of the higher style
as some devoted admirer of the ware could collect from various sources in Europe and
in America. Until such a book is brought out, we must continue to have recourse to
the antiquarian works in which ancient pottery intervenes, too often, as a somewhat
indifferent factor. Of these latter — mostly books of American travels — we can give no
more than a much curtailed selection ; the complete list must be looked for in the special
bibliographies.

KINGSBOROUGH (E. Vise.).— Antiquities of Mexico. London, 1830-48. Fol.

DUPAIX (G.).— Antiquites Mexicaines. Paris, 1834. Fol.

WALDEK (F. de).— Voyage dans la province d'Yucatan. Paris, 1838. Fol.

FALBE (C. T.).— Vases antiques du Perou. Copenhagen, 1843. 8°.

SCHOOLCRAFT.— Notices of some antique earthen vessels of Florida. New York, 1847.

8°.

CASTELNEAU (F. de).— Expedition dans 1'Amerique du Sud. Paris, 1850-61. 8°.
RIVERO (M. E.) and TSCHUDI (J. J. von).— Antiquidades peruanas. Lima, 1851.
LONGPERIER (A. de). — Catalogue des antiquites mexicaines du Musee du Louvre. Paris,

1850. 8°.

509

CERAMIC LITERATURE.

BOLLAERT (W.). — Observations on the Peruvian tomb pottery. Liverpool, 1860. 8°.

HARTT (C. F.). — Notes on the manufacture of pottery among savage races. Rio-de-
Janeiro, 1875. 8°.

ROSNY (L. de). — La ceramique chez les Indiens du Nouveau Monde. Paris, 1875. 8°.

RAU (C.). — The archaeological collection of the U.S. National Museum. Washington,
1876. 4°.

PENNA (D. S. F.). — Apontamentos sobra es ceramios de Para. Rio de Janeiro, 1877. 4°.

POLIGNY (G. de). — Communaute d'origine de 1'ancient art mexicain avec ceux des bords
de la Mediterranee. Paris, 1879. 8°.

EVERS (E.).— Contribution to the archaeology of Missouri. Salem, 1880. 8°.

RENAULT (J.). — La ceramique peruvienne. Nancy, 1880. 8°.

REISS (W.) and STUBEL.— The necropolis of Ancon in Peru. Berlin, 1880-87. Fol.

NADAILLAC (M. de). — L'Amerique prehistorique. Paris, 1880. 8°.

- Prehistoric America. (Transl. by N. Danvers.) London, 1885. 8°.

- La poterie de la Vallee du Mississippi. Paris, 1887. 8°.

La poterie chez les anciens habitants de TAmerique. 8°.

AVON. — Antiquites mexicaines. Tours, 1881. 8°.

ABBOT (G. G.). — Primitive industries of the native races. Salem, 1881. 8°.
BROCKLEHURST (J. U.).— Mexico to-day. London, 1883. 8°.
WRIGHT-HARRISON.— Specimens of Indian earthenware. Paris, 1883. 8°.
BOVALLIUS (C.). — Nicaraguan antiquities. Stockholm, 1886. 4°.

HOLMES (W. H.). — Illustrated catalogue of the collections made by the Bureau of Eth-
nology. Washington, 1884. 8°.

— Prehistoric textile derived from impressions on pottery. Wash., 1884. 8°.

- Pottery of the ancient Pueblo. Wash., 1886. 8°.

— Ancient pottery of the Mississippi Valley. Wash., 1886. 8°.

— Origin and development of form and ornament in Ceramic Art. Wash., 1886. 8°.
Ancient art in the province of Chiriqui. Wash., 1888. 8°.

Aboriginal pottery of the Eastern United States. Wash., 1903. 8°.

GUSHING (F. H.).— A study of Pueblo pottery. Washington, 1886. 8°.

STUBEL (A.). — Kultur und Industrie siidamericanischer Volker. Berlin, 1889. Fol.

PENAFIEL (A.) —Monuments of ancient Mexican art. 1890. Fol.

SELER. — K. Museum zu Berlin. Peruanische Alterthumer. Berlin, 1893. Fol.

NORDENSKIOLD.— The cliff-dwellers of Mesa-Verde. Stockholm, 1893. 4°.

STARR (F.).— The pottery of Lake Chapala. Chicago, 1897. 8°.

BEAUCHAMP (W. M.).— Earthenware of the New York aborigines. Albany, 1898. 8°.

STREBEL (H.). — Ueber Tierornament auf Thongefassen aus Alt-Mexico. Berlin, 1899.

4°.

BAESSLER (A.).— Ancient Peruvian art. S.d. (recent). Fol.
SPENCER St. JOHN.— Peruvian relics. London, 1901. 8°.
LUMHOLTZ.— Unknown Mexico. London, 1903. 8°.

510

CERAMIC LITERATURE.

CLASSICAL CERAMICS.

GREEK VASES:
With the Pottery of Phoenicia, Asia Minor, Etruria, etc.

The painted vases of the ancients were the first ceramic objects admitted in the
archaeological works, the publication of which accompanied the revival of arts and
sciences in Italy. Scanty as was, at that moment, the number of fictile vessels casually
dug out from the Etruscan burial sites, the mortuary pottery which fell into the hands of
the antiquaries secured at once a strong hold upon their minds. We find the painted
vases engraved on the plates of many a folio volume of the seventeenth century. They
were not yet, however, presented as an independent subject of study. Stray examples
were interspersed with antique remains of all classes, brought together by the author
as throwing some light on the manners and customs of extinct civilisations. Together
with ancient coins and inscribed slabs, earthen kylixes and amphoras were held in high
consideration as historical curiosities, but not yet commended as things of beauty. The
purpose they had to serve was to assist the historian in his researches for reviving the
memory of times gone by. In the antiquarian works of the period, little or no importance
seems to have been attached to the exact reproduction of their shapes and decorations ;
so much, at least, can be inferred from the careless manner in which they are treated
by the engraver. When a rough sketch is appended to a lengthy disquisition, it is,
chiefly, to make the reader nealise how great was the difficulty presented by the
elucidation of the subject, and appreciate the sagacity with which the difficulty had
been overcome.

To such considerations may be ascribed the insufficiency of the plates illustrating
the earliest works. In Passeri's ponderous volumes — the first instance of a methodical
system being applied to the study of painted vases — the reproductions, altogether deficient
in accuracy, are far from conveying a flattering idea of the original. What can we infer
from the imperfect execution of those clumsy outlines, if not that, in the estimation of
the author, the value to be attached to a painted vase lay in the interest it possessed as
historical evidence, and not at all in its merits as a work of art. Passeri — who may
well be called the pioneer of Etrusco-mania — was haunted by the ambition of rescuing
from oblivion, and bringing into full light, the glorious past of his native land. He
smarted under the unfairness of the antiquaries, who had done so much, through their
researches, to recall to memory the heroic times of Greece and Rome, and attempted
nothing to dispel the darkness in which the history of old Etruria was still enveloped.
This undeserved neglect had left in the knowledge of antiquity a regrettable gap that
he had resolved to fill. In the fictile vases and the subjects represented upon them he
saw the best means of accomplishing his dream.

So large was the number of painted vases already unearthed in his time from the
soil of Etruria, that the fact of their being of local manufacture was never doubted by
him ; consequently, his works dealt with them as undeniable products of Etruscan art,
embodying in their paintings the very essence of Etruscan philosophy and civilisation.
For long afterwards, his opinion ruled supreme. The name of Etruscan continued to
be applied to all antique painted vases, even in the case of those which had been dis-
covered far away from Etruria. In vain Lanzi had attempted to deprecate the accepta-
tion of the term, grounding his impartial and sound argumentation upon two main points ;

511

CERAMIC LITERATURE.

first, that the so-called Etruscan paintings bore the unmistakable stamp of Greek art,
and next, that they were usually accompanied with Greek inscriptions. The original
belief was, however, too deeply rooted to be easily shaken.

The brotherhood of antiquaries who sided with Passeri turned a deaf ear to any objec-
tion that could be raised as to the absolute accuracy of their leader's views, and they refused
to amend any part of the system he had propounded. A more practical and rationalist
school undertook, later on, to place the study of classical ceramics upon a very different
basis. Leaving the fanatic Etruscophiles to the enjoyment of their abstrusive and bigoted
cogitations, an enlightened group of artists and amateurs began to consider a painted
vase as a pure work of art to be admired, not as a graphic enigma pregnant with the
subtle elements of historical and metaphysical controversy, but for its artistic beauty.
Purity of form, elegance of proportions, and noble style of decoration were to be its highest
merit in the eye of the adepts of the new creed. These principles were already strikingly
illustrated in the collections already formed at the time. Well-selected examples of the
best periods of vase paintings were engraved for special publications, and openly discanted
upon by eloquent orators. In this way many converts were gained to the cause. The
propaganda had, however, a further 'aim in view than the recognition of an undeservedly
neglected branch of classical art. They firmly believed that by fostering the study of
such noble examples, and setting them as inspiring models before the eye of the artists
and craftsmen of the day, they were taking the safest means of redeeming decorative
art from the lawless extravagance of the Barocco and Rococo styles into which it had
been allowed to sink. Ancient vases were to be the guiding star which would light the
way for a speedy return to a refined and lofty taste. The sumptuous volumes brought
out by Sir William Hamilton and his followers were prepared in accordance with those
views. The plates are engraved with a care which denotes an evident intention to present
them as models, or suggestions to the painter and the designer. England took the lead
in the publications of that order, with the works of Millingen, Adam Buck, Moses, and
others. In their misconceived zeal for still enhancing the beauty of the originals, the
engravers went so far as to amend in their reproductions all that they considered as
incorrect in the outline, in order to bring up the archaic drawing of the figures to the
academic standard of the day.

At about the same period, a singular infatuation was beginning to prevail among
the most eminent members of the antiquarian societies. The novel impulse that the
movement we are going to describe gave to the study of painted vases resulted in a great
number of volumes being written in a very peculiar spirit. Classical scholars of no
mean attainment were throwing themselves, heart and soul, into the fascinating pursuit
of elucidating the signification of the subjects represented by the vase painter. Such
a task offered to a fervent antiquary a welcome occasion for a brilliant display of erudition
and ingenuity. It was implicitly admitted that each picture, however simple and in-
telligible it might appear at first sight, contained, hidden under the guise of a recondite
allegory, the expression of some moral teaching or philosophical idea. Accordingly,
every detail of ornamentation, a geometrical combination of lines, as well as the repre-
sentation of plants and flowers, animals and human figures, were capable of receiving a
mystical interpretation. When appearing upon a vase they were all sacred symbols
to be explained only through deep cogitation, assisted by a consummate knowledge of
antiquity. Impressed with that idea, the inspired expounder, painfully conning over
the intricacies of a problem of his own making, cudgelled his brains until he had found
out, in the metaphysics or the mythology of the ancients, some far-fetched hypothesis
512

CERAMIC LITERATURE.

which could be twisted into a semblance of application to the case in point* This is
what has been called the exegetic period of archaeological studies.

.In Germany a delusive system, guided by the visionary conceptions of its votaries,
has found its most characteristic expression in the works of Bottiger. It was reserved,
however, to an English writer, Christie, to distance all his contemporaries in their blind
search for illusory significations and to reach, in his Disquisitions, the highest pitch of
extravagance and absurdity.

Unsound and fallacious as were the doctrines of the exegetes, they hampered, never-
theless, for a certain time, the enlightened efforts of the leaders of the rising school, who
were endeavouring to introduce a more rational and logical method in the conduct of the
study. To Gerhart belongs the honour of having inaugurated the era of modern research.
He foresaw the important place that Greek vases would assume in the knowledge of
antiquity when studied under certain aspects, theretofore absolutely neglected. He was
the first to point out the necessity of establishing their bearings on the general history
of Greek art, by obtaining a considerate classification of the various styles of manufacture,
and fixing the respective periods and localities to which they belong. But Gerhart could
never free himself entirely from the time honoured notion that all subjects admitted of
some allegorical or mystical interpretation.

Otto Yahn entered frankly into the way of radical reform. He dared to assert that
all the work previously done had been accomplished on wrong lines, and that much of
it would have to be ignored before renewing the investigations. A colossal task was
set before the master and his erudite disciples. ^Esthetical cogitations had to vanish
before plain facts. Questions which, so far, had received little or no attention came
to the front ; many a point, still left untouched by the antiquarian writers, was recognised
to be of paramount importance. To the following queries — not to speak of the minor
ones — a course of strict investigation supplied, gradually, a decisive or at least a plausible
answer : —

Was it not possible to constitute, out of the types of Greek vases which present a
distinct association of kindred features, some well-defined groups, and make of these
groups a separate study ?

Which had been the chief centres of production, and which were the shapes and
style of decoration peculiar to each of these centres ; also, in what chronological order
were to be ranged the characteristic styles of the different periods ?

Could the nature of the material employed and the processes of manufacture be
ascertained, and some particulars be known about the potters and the vase painters ?

This programme entails a work very different from a mere elucidation of the
paintings. The names of J. de Witte and Ch. Lenormant, in France, of S. Birch
and Newton, in England, are conspicuously associated with a movement which
originated in Germany.

It is to be borne in mind that the labour of renovation had to be carried on with
no other material at hand than the store of specimens with which the early excavations,
executed in Italy, had filled the museums. The study of Greek vases had still to undergo
a complete change, when, attention being at last turned towards the birthplace of classical
ceramics, Greece proper and Asia Minor were made to give up the hoards of fictile relics
the soil had for so long jealously guarded in its depths. Numerous archaeological missions,
either subsidised by their respective governments, or started by private enterprise,
undertook the organisation of regular campaigns of underground exploration. A field
of research having been selected, it was never abandoned before the place had been
33 513

CERAMIC LITERATURE.

thoroughly investigated. In most instances, the discoveries increased in interest as the
diggings reached the deepest strata of a soil rich in antique remains. The excavations
soon brought to light innumerable evidences of pottery having been made in the
locality from the remotest antiquity. The approximate date of the prehistoric ages, of
which popular tradition had handed down a misty estimation only, had to be thrown
back by thousands of years. In the face of such an unexpected revelation, it had to be
acknowledged that the part of ancient history which treated of the dawn of art in the
land of Hellas would have to be re-written. The task greatly facilitated by a constantly
growing accumulation of materials, happened to be singularly congenial to the inquisitive
tendencies of modern thinkers and historians.

As our world grows older man turns the course of his thoughtful speculations farther
and farther back into the dark ages, where all seems to be conjecture and uncertainty,
and in the hope of tracing the very sources of civilisation, his studies sink deeper and
deeper through the mist of an unfathomable past. He tries to sharpen and define once
more, with a firm chisel, the well-nigh obliterated imprints that untold successions of
races had left behind them wherever they had passed. He means to baffle the power
of inexorable time, and to defy the baneful effects of his destructive march. Already
the most fecund periods of human productiveness and industrious energy have been
victoriously reconstituted. Glorious monuments are not wanting to bear witness to the
exalted degree of perfection that man's creative power had attained in the days when
civilisation was flourishing in its fullest development. But the scope of antiquarian
researches had, so far, been restricted to the investigation and reconstitution of the
memorable epochs of glorious fructification and plentiful harvest. As to the life and
conditions of the nameless tribes which tilled the virgin soil, expecting the reward of their
trials and toil ; as to the primeval periods of gestation, when the seed was slowly ger-
minating in the rudely traced furrow, when all efforts were but experiments, and the
best achievement nothing better than a promise for the future, no attempt had yet been
made to raise the veil in which they were enshrouded.

A group of young and valiant spirits — the dreadnought of archaeological researches
— have lately taken upon themselves the duty of advancing, torch in hand, into the
sombre and trackless regions of the unknown. The journey commences for them at the
very point where their predecessors felt themselves compelled to stop. A few rays of
light are now penetrating the limbos of the so-called prehistoric ages — a capacious recess
of darkness into which all that could not be properly determined has hitherto been con-
veniently relegated. Shapeless vestiges are made to re-assume something of their pristine
appearance. A crumb is as good as a block to serve as the basis of an ingenious hypothesis,
a scintilla takes the proportion of a blazing beacon. Word by word a whole tale is
snatched from scanty and ill-defined evidences, speechless to all but those who know
how to interrogate them.

The very early fictilia are now treated with the degree of reverential attention pre-
viously bestowed only upon the objects of precious metal or refined workmanship, with
which they are often found associated. Wide, indeed, is the span of years which separates
the date of the uncouth vessels of burnt clay discovered at Hissarlik from that of the noble
vase painted by Brygon or Euphronios ; yet modern knowledge is now in position to
trace the almost uninterrupted line by which these two distant points of the potter's
art are clearly connected.

514

CERAMIC LITERATURE.

a.— HISTORY— TECHNOLOGY— REPRODUCTIONS— INTERPRETATIONS.

Austria.

STEINBUCKEL (A. de).— Sappho and Alkaios. Wien, 1822. Fol.
BENNDORF (and others).— Wiener Vorlegeblater. Wien, 1861-91. Fol.
CONZE (A.).— Zur Geschichte der Anfange griechischer Kunst. Wien, 1870. 8°.
FELDSCHAREK (A.).— Umrisse antiker Thongefasse. Wien, 1876-78. Fol.
KLEIN (W.).— Euphronios. Wien, 1879. 4°. 2nd ed., 1886. 8°.

Die griechischen Vasen mit Meistersignaturen. Wien, 1883. 4°.

— Die griechischen Vasen mit Lieblingsinschriften. Wien, 1890. 8°.
KELLER (0.).— Die Thiere der klassischen Alterthums. Innsbruck, 1887. 4°.
REICHEL (W.).— Neue Aufnahme der Franyoisvase. Wien, 1888. 8°.

- Ueber Homerische Waffen. Wien, 1894.

ADAMEK (L.).— Unsignierte Vasen des Amasis. Prag, 1895. 8°.
JUTHNER (J.).— Ueber antike Turngerathe. Wien, 1896. 8°.
ENDT (J.). — Beitrage zur ionischen Vasenmalerei. Prag, 1899. 8°.

Belgium.

ROULEZ. — Choix de vases peints du Musee de Leyde. Gand, 1854. Fol.

- Various papers on Greek vase paintings.

HAGEMANS. — Ceramique grecque et etrusque. Liege, 1856. 8°.

England.

CHRISTIE (J.). — A disquisition upon Etruscan vases. London, 1806. Fol.

BUCK (A.). — One hundred engravings from paintings on Greek vases. London, 1812.

r* Fol.

KIRK. — Outlines from the figures upon the vases of Sir W. Hamilton. London, 1814.

8°.

MOSES (H.). — A collection of antique vases. London, 1814. 4°.
TATHAM (C. H.).— Representation of a Greek vase. London, 1821. 4°.
MILLINGEN (J. V.).— Ancient unedited monuments. London, 1822-26. 4°.
BIRCH (S.).— Explanation of the fictile vase found at Canino. 1841. 4°, pp. 4.

— Observations on a fictile vase representing the contest of Hercules and Juno. 1843.
4°, pp. 7.

Observations on the figure of Anacreon upon some Greek fictile vases. 1844. 4°,

pp.8.

— Description of a fictile vase found at Vulci. 1847. 4°.

- History of ancient pottery. London, 1858. 8°. 2nd ed., 1873. 8°.

BURGON (T.). — Vases of Greece proper which belong to the heroic ages. London, 1845.

8°.
NORTHAMPTON (Marquess of). — Observation upon a Greek vase bearing the name of

Nicosthenes. London, 1848. 4°.

SCHARF (G.).— Manners and customs of the Greeks. London, 1849. 4°.
WESTROPP (H.).— Epochs of painted vases. London, 1856. 4°.
MACPHERSON (D.).— Antiquities of Kertch. London, 1857. 4°.
EDWARDS (J.).— Two ancient Greek vases. London, 1865. 4°.
PETRIE (Flinders W.).— Tanis. London, 1888. 4°.

• Naucratis. London, 1891, 4°,

515

CERAMIC LITERATURE.

PERROT et CHBPIEZ.— History of art in Phrygia. London, 1892. 8°.

- History of art in primitive Greece. London, 1894. 8°.
HARTWIG.— Heracles and Eurytos. London, 1891. 4°.

HARRISON (J. E.) and MacCOLL (D. S.). — Greek vase paintings. London, 1894. Fol.

MURRAY (A. S.). — Designs from Greek vases. London, 1894. Fol.

MURRAY (A. S.) and SMITH (A. H.).— White Athenian vases. London, 1896. FoU

WALLIS (H.).— The white Athenian lekythi. London, 1896. Fol.

HORNER (S.).— Greek vases. London, 1897. 8°.

HUDDILSTON (J.). — Greek tragedy in the light of vase paintings. London, 1898. 8°.

- Lessons from Greek pottery. London, 1902. 8°.

BOSANQUET (R. C.).— Some early funereal lekythoi. London, 1900. 4°.
GARDNER (P.).— The scenery of the Greek stage. London, 1900. 4°.

KARO (G.). — Notes on Amasis and Ionic black-figured pottery. London, 1900. 4°.
WALTERS (H. B.).— History of ancient pottery. London, s.d. (1905). 8°.

France.

BAIF (L.). — Lazari Bayfii annotationes. Parisiis, 1536. 4°.

STEPHANUS (C.).— De vasculis libellus. Lugduni, 1536. 16°.

CAYLUS (A. C. de).— Recueil d'antiquites. Paris, 1752. 4°.

DAVID (F. A.). — Antiquites etrusques, grecques et romaines. Paris, 1785. 4°.

TISCHBEIN (W.). — Recueil de gravures d'apres des vases antiques. Paris, 1806. Fol.

MILLIN (A. L.) et DUBOIS-MAISONNEUVE.— Peintures de vases antiques. Paris, 1808.

Fol.
MILLIN (A. L.). — Description d'un vase trouve a Tarente. Paris, 1814. 8°.

— Description des tombeaux de Canosa. Paris, 1816. Fol.

Vase peint representant le combat des Grecs et des Amazones. S.d. 8°.

— Description de trois peintures de vases grecs du Musee de Portici. S.d. 4°.
DUBOIS-MAISONNEUVE.— Introduction a 1'etude des vases grecs. Paris, 1817-34.

Fol.

BLARAMBERG (de).— Objets d'antiquite decouverts en Tauride. Paris, 1822. 8°.
RAOUL ROCHETTE.— Vase grec recement decouvert a Nola. Paris, 1826. 8°.

- Lettre a Mr. Schorne. Paris, 1832. 8°.

DOROW (W.). — Poteries etrusques proprement dites. Paris, 1829. 4°.
PANOFKA. — Recherches sur les veritables noms des vases grecs. Paris, 1829. Fol.

Le lever du Soleil sur un vase du Musee Blacas. Paris, 1833. 4°.

BRONSTED (P. 0.). — Memoire sur les vases panathena'iques. Paris, 1833. 4°.
LETRONNE. — Observations sur les veritables noms des vases grecs. Paris, 1833. 4°.
RAOUL-ROCHETTE.— Monuments inedits d'antiquite figuree. Paris, 1833. Fol.
Lettre a Mr. le Prof. E. Gerhard sur deux vases points. Paris, 1835. 8°.

— Memoire sur un vase peint de fabrique corinthienne. Paris, 1835. 8°.
BAUVALET de SAINT VICTOR.— Vases grecs et etrusques. Paris, 1837. Fol.
LENORMANT (Ch.) et WITTE (J. de).— Elite des monuments ceramo-graphiques. Paris,

1837-61. 4°.

BRAUN (E.).— H giudizio de'Paride. Parigi, 1838. 4°.

LUYNES (Due de). — Description de quelques vases peints. Paris, 1840. Fol.
DEVILLE (A.). — Recherches sur la peinture des vases antiques. Rouen, 1842. 8°.
WELCKER (F. G.).— Le jugement de Paris. Paris, 1846. 8°.
516

CERAMIC LITERATURE.

LENORMANT (Ch.).— Lettre a Mr. de Witte sur un vase de la Collection Durand. Paris,
1845. 8°.

- Introduction a F etude des vases peints. Paris, 1848. 4°.

— Lettre a Mr. de Witte sur trois vases nouveaux. Paris, 1848. 8°.
WITTE (J. de).— Noms des fabricants de vases peints. Paris, 1848. 8°.

- Various papers on Greek vases. 1843-1880.

LONGPERIER (A. de). — Lettre a Mr. C. Lenormant sur deux vases du Musee du Louvre.

Paris, 1852. 8°.
OUVAROFF (A.). — Recherches sur les antiquites de la Russie Meridionale. Paris,

1855-60. Fol.

VINET (E.).— Lettre a Mr. Minervini. Paris, s.d. 8°.

LUYNES (Due de).— Vase historique trouve pres de Kertsch. Paris, 1856. 8°.
EGGER. — Observations sur quelques fragments dc poterie antique. Paris, 1857. 4°.
NOEL des VERGERS (A.).— L'Etrurie et les Etrusques. Paris, 1862. 8°, and Atlas folio.
WITTE (J. de).— Etudes sur les vases peints. Paris, 1865. 8°.
LONGPERIER (H. de).— Vases peints de la collection Dzialynski. Paris, 1868. 8°.
FROHNER (W.). — Deux peintures de vases grecs de la necropole de Kamiros. Paris,

1871. Fol.

DUMONT (A.) et CHAPLAIN (J.).— Les ceramiques de la Grece propre. Paris, 1874. 4°.
COLLIGNON (M.). — Sur trois vases peints a ornaments dores. Paris, 1875. 8°.

— Apollon et les Muses. Vase peint. Bordeaux, 1879. 8°.

— Les ceramique grecques de style primitif. 1881.^8°.

- Plaques en terre cuite peintes de style corinthien. Bordeaux, 1882. 8°.

— Cavalier athenien, coupe antique du Louvre. Paris, 1889. 4°.
FROHNER (W.).— Anatomic des vases antiques. Paris, 1876. 8°.
PERROT (G.).— Le triumphe d'Hercule. Paris, 1876. 4°.

GAMURRINI. — Vases etrusco-campaniens. Paris, 1879. 8°, pp. 38 ; with 6 pis.
POTTIER (E.).— Etude sur les lecythes blancs antiques. Paris, 1883. 8°.

- Vases peints du Musee Ravestein. Paris, 1887. 4°.

— Etudes sur la ceramique grecque. Paris, 1888. 4°.

— A quoi sert un musee de vases antiques. Paris, 1894. 8°.

— La peinture industrielle des Grecs. Paris, 1898. 12°.

- Du dessin par ombre portee chez les Grecs. Paris, 1898. 8°.

- Une aventure d'Hercule sur un vase du Louvre. Paris, s.d. 4°.
SAGLIO (E.). — Polyphe'me ; description d'un vase grec. Paris, 1887. 4°.
RAYET et COLLIGNON.— Histoire de la ceramique grecque. Paris, 1888. 8°.
MARTHA (J.).— L'art etrusque. Paris, 1889. 8°.

GERAUDON. — Vases peints du cabinet des antiques. Paris, 1890. Fol.

MILLIET (P.). — Etudes sur les premieres periodes de la ceramique grecque. Paris, 1891.

8°.

REINACH (S.). — Peintures des vases antiques recueillies par Millin et Millingen. Paris,
1891. 4°.

Antiquites du Bosphore Cimmerien. Paris, 1892. 8°.

MEGRET (A.).— Etude sur les canons de Polyclete. Paris, 1892. 8°.
DURAND-GREVILLE.— De la couleur du decor des vases grecs. Paris, 1892. 8°.
GSELL (S.). — Fouilles dans la necropole de Vulci. Paris, 1891. 4°.
MILLIET (P.).— Un Lecythe en forme de gland. Paris, 1893. 4°.

EMMANUEL (M.). — La danse grecque antique d'apres les monuments. Paris, 1897. 4°.

517

CERA MIC LITER A TURE.

GIRARD (P.).— Le cratere d'Orvieto. Paris, 1897. 4°.

HELBIG (M. W.).— Les vases du Dipylon. Paris, 1898. 4°.

ZEVORT (Ch.).— Aristophane. Lysistrata. Paris, 1898. 12°.

KARO (G.).— Notes on Amasis. Paris, 1899. 8°.

LOUYS (P.).— Les chansons de Bilitis. Paris, 1900. 12°.

REINACH (S.).— Repertoire des vases peints. Paris, 1899-1900. Sq. 8°.

GASPAR (C.). — Le peintre ceramiste Smikros. Paris, 1902. 4°, pp. 29 ; with text

illustrs.
POTTIER (E.). — Douris et les peintres de vases grecs. Paris, 1905. Sq. 8°.

Germany.

BOTTIGER (K. A.).— Griechische Vasengemalde. Weimar, 1797-1800. Fol.
WAGNER (F.). — Annotationes in picturas vasorum greecorum. Luneburg, 1799. 8°.
MEYER (J. H.) and BOTTIGER (K. A.). — Ueber den Raub der Cassandra. Weimar,

1799. 4°.

FIORILLO (R.). — Inscriptio vasculi graeci pictor. Gottingce, 1804. 8°.
CREUZER. — De causis rerum bacchicarum. Heidelberg, 1808. Sm. 4°.
UHDEN. — Ueber ein altes Vasengemalde. Berlin, 1810. 4°.
KUSCHK. — Commentatio de inscriptione vasculi Locris. 1813. Fol.
HAUSSMANN. — Commentatio de confectione vasorum antiquorum. Gdttingce, 1823. 4°.
WEIGHER (A.). — De Medea Oestro Percita ad illustrandam imaginem vasculi prope

Cannas in Italia reperti. 1824. 4°.
HIRT (A.).— Die Brautschau. Berlin, 1825. Fol.
MULLER (A.). — De origine pictorum vasorum quae in Etruria agris efiossa sunt. Berol,

1831. 4°.

BOECKH (A.). — De vasorum panathenaicorum generibus. Berol, 1832. 8°.
CREUZER (G. F.).— Ein alt athenische Gefass. Darmstadt, 1832. 8°.
PANOFKA (T.).— Der Tod des Skiron un des Patrocles. Berlin, 1836. 4°.

- Argos Panoftes. Berlin, 1838. 4°.

KRAMER (G.). — Ueber der Styl und die Herkunft der bemalten griechischen Thonge-

fasse. Berlin, 1837. 8°.
GERHARD (E.). — Archemoros und die Hesperiden. Berlin, 1838. 4°.

Griechische Mysterienbilder. Stuttgart, 1839. Fol.

— Notice sur le vase de Midias. Berlin, 1840. 4°.
Auserlesene griechischen Vasenbilder. Berlin, 1840. 4°.

- Tazze dipinte del Real Museo di Berlino. Roma, 1842. Fol.

Etruskische und campanische Vasenbilder. Berlin, 1843. Fol.

Apulische Vasenbilder. Berlin, 1845. Fol.

Trinkschalen und Gefasse des K. Museums zu Berlin. Berlin, 1850. Fol.

Danse, ein griechischen Vasenbild. Berlin, 1854. 4°.

Ueber Hermenbilder auf griechischen Vasen. Berlin, 1856. 4°.

THIERSCH. — Ueber Henkel irdener Geshirre mit Anagrammen. Miinchen, 1838. 4°.
CREUZER (G. F.).— Zur Gallerie der alten Dramatiker. Heidelberg, 1839. 8°.

Auswahl unedierter griech. Thongefasse d. Karlsruher Sammlung. 1839. 8°.

JAHN (0.).— Vasenbilder Orestes in Delphi. Hamburg, 1839. 4°.

Various papers on Greek vase paintings. 1847-68.

STEPHANI (L.). — Der Kampf zwischen Theseus und Minotauros. Leipzig, 1842. Fol.
USSING. — De nominibus vasorum graecorum disputatio. Haunice, 1844. 8°.
518

CERA MIC LITER A TV RE.

PANOFKA.— Griechinen und Griechen. Berlin, 1844. 4°.

THIERSCH. — Ueber die hellenischen bemalten Vasen. Milnchen, 1844. 4°.

OSANN. — Revision der Ansichten iiber Ursprung und Herkunft der gemalten griechischen

Vasen. : Giessen, 1847. 8°.

WIESLER (F.). — Das Satyrspiel nach Massgaber eines Vasenbilder. S.I, 1848. 8°.
WELCKER (F. C.).— Alte Denkmaler erklart. Gdttingen, 1849-64. 8°.
PANOFKA.— Von den Namen der Vasenbildern. Berlin, 1849. 4°.

- Die griechischen Eigennamen mit Kalos. . . . Berlin, 1850. 4°.

— Atalante und Atlas. Berlin, 1851. 4°.

- Die griechischen Trinkhorner. Berlin, 1851. Fol.

- Die Vasenmalern Euthymides und Euphronios. S.d. 4°.
ROTHGEBER (G.).— Nike in hellenischen Vasenbildern. Gotha, 1851. 8°.
SCHULTZ (H. W.).— Die Amazonen Vase von Ruvo. Leipzig, 1851. Fol.
ROSS (L.). — Ueber die Zeit der griechischen Vasenmalereien. Halle, 1852. 8°.
CURTIUS (E.).— Herakles, der Satyr und Dreifussrauber. Berlin, 1852. 8°.
GEPPERT.— Die altgriechische Biihne. Leipzig, 1843. 8°.

BRUNN (H.). — Geschichte der griechischen Kiinstler. Braunschweig, 1853. 8°.
OVERBECK (J.). — Gallerie heroischer Bildwerke. Braunschweig, 1853. 4°.
KRAUSE (J. H.).— Angeiologie. Die Gefasse der alten Volker. Halle, 1854. 8°.
PANOFKA.— Dionysos und die Thyaden. Berlin, 1855. 4°.

GOTTLING (W.). — Commentatio de crure albo in clipeis vasorum grsecorum. Jena,

1855. 8°.
PRELLER — Ueber ein Vasenbilder aus Athen. Berlin, 1855. 4°.

— Appolline e Tizio. S.d. 4°.

FRIEDERICHS (K.).— Praxiteles und die Niobeegruppe. Leipzig, 1855. 8°.
LUTZOW (A. v.). — Zur Geschichte des Ornaments an der bemahlten griechischen Thonge-
fasse. Munchen, 1858. 8°.

KONITZER (C.).— Heracles und die Hydra. Breslau, 1861. 8°.
FRIEDERICHS (C.).— Die Hochzeit des Zeus und der Hera. Breslau, 1862. 4°.
CONZE (A.).— Melische Thongefasse. Leipzig, 1862. Obi. fol.
VALENTIN (V.). — Orpheus und Herakles nach drei Vasengemalden. Berlin, 1865.
MICHAELIS (A.) —Die Verurtheilung des Marsyas. Greifswald, 1864. 4°.

- Thamiris und Sappho. Leipzig, 1865. 4°.

CONZE (A.). — Uber die neuesten Entdeckungen bemalter griechischer Thongefasse.

Leipzig, 1865. 4°.
VALENTIN (V.). — Orpheus und Herakles in der Unterwelt nach drei Vasengemalden.

Berlin, 1865.

HEYDEMANN. — Iliupersis auf einer Trinkschale des Brygos. Berlin, 1866. Fol.
SEBALD (H.).— Griechische Vasen und deren Darstellungen. Claustlial, 1867. 8°.
BENNDORF (0.).— Griechische Vasenbilder. Berlin, 1869. Fol.
SCHULTZE (E.). — De vasculo picto Amazonis pugnam . . . representante. Gotha,

1870. 4°.

HEYDEMANN.— Humoritische Vasenbilder. Berlin, 1870. Fol.

— Griechische Vasenbilder. Berlin, 1870. Fol.

BRUNN (H.). — Probleme in der Geschichte der Vasenmalerei. Munchen, 1871. 4°.
OVERBECK (J.).— Griechische Kunstmythologie. Leipzig, 1871. Fol.
HIRSCHFELD (G.).— Athena und Marsyas. Berlin, 1872. 8°.
FORSTER (A.).— Der Raub der Persephone. Stuttgart, 1873. 8°.
KOERTE (G.). — Ueber Personificationen psychologischer Affekte in der spateren Vasen-
malerei. Berlin, 1874. 8°.

519

CERAMIC LITERATURE.

URLICHS (L.).— Zwei Vasen altesten Styls. Wurzburg, 1874. 4°.

— Der Vasemnaler Brygos. Wurzburg, 1875. Fol.

FLASH (A.). — Die Polychromie der griechischen Vasenbildern. Wiirzburg, 1875. 8°.
HEYDEMANN. — Niobe und die Niobiden auf griechischen Vasenbildern. Leipzig, 1875.

4°.

SCHONE (R.). — Ueber einige eingeritzen Inschriften griechischer Thongefasse. S.d. 4°.
FURTW ANGLER (A.).— Eros in der Vasenmalerei. Miinchen, 1875. 8°.
KIEZERITZKY (G.).— Nike in der Vasenmalerei. Dorpat, 1876. 8°,
GENICK (A.).— Kunstgewerblicke Vorbilder. Keramic. Berlin, 1876. Fol.
STOCKBAUER (J.) und OTTO (0. H.).— Die antiken Thongefasse. Niirnberg, 1876.

Fol.

BRUNN (H.).— Die petersburger Poseidon Vase. Leipzig, 1876. 8°.
WEIZAKER.— Ueber die Vase des Klitias und Ergotinios. Heidenheim, 1877. 8°.
LAW (J.). — Die griechischen Vasen. Leipzig, 1877. Fol.
KORTE.— Eichelformige Lekythos. Berlin, 1879. 8°.

BLUMNER.— Technologic . . . bei Griechen und Romern. Leipzig, 1879. 4°.
GADECHENS (R.).— Perseus by den Nymphen. Jena, 1879. 4°.
PETERSEN.— Vasenstudien. Berlin, 1879. 4°.

ROBERT (C.).— Thanatos. Berlin, 1879. 4°.

/
KEKULE (R.). — Ueber ein griechischen Vasengemalde im Kunst-Museum zu Bonn.

Bonn, 1879. 4°.
FURTW ANGLER und LOSCHCKE.— Mykenische Thongefasse. Berlin, 1879. Fol.

Vorhellenische Thongefasse, aus dem Gebiete Mittelmeercs. Berlin, 1885. 4°.

LUCKENBACH. — Die Verhaltniss der griechischen Vasenbildern zu der Geschichten.

Leipzig, 1880. 8°.

BRUNN (H.).— Ueber die Aristonophas Vase. 1881. 4°.
MEIER (P. J.).— Neue Durisschalen des berliner Museum. Berlin, 1882. 4°.
CURTIUS (E.).— Die Giebelgruppen des Zeustempels in Olympia. 1883. 4°.
HEYDEMAN. — Alexander der Grosse und Darcios Kodomannos. Halle, 1883. 4°.
- Vase Caputi mit Theater Darstellungen. Halle, 1884. 4°.

Dionysos Geburt und Kindheit. Halle, 1885. 4°.

Niobe und die Niobiden. Leipzig. 8°.

Epigraphisches auf griechischen Vasen. 1883. 8°.

GENICK und FURTW ANGLER.— Griechische Keramik. Berlin, 1883. Fol.
FORSTER (R.).— Darstellungen des Kaubes der Persephone. Stuttgart, 1884. 8°.
WINTER (F.).— Die jungeren attischen Vasen. Berlin, 1885. 8°.
WERNICKE (K.). — Beitrage zur Kenntniss der Vasen mit Meistersignaturen. Berlin,

1885. 4°.

KROKER (E.).— Die Dipylonvasen. Berlin, 1886. 4°.

MORGENTHAU (C.). — Ueber die Zusammenhang der Bilder auf griechischen Vasen.
Leipzig, 1886. 8°.

VOGEL (K. J.). — Scenen Euripideischer Tragodien in Vasengemalden. Leipzig, 1886.
8°.

ARNDT (F.).— Studien zur Vasenkunde. Leipzig, 1887. 8°.

BRUNN (H.). — Die Ausgrabungen der Certosa von Bologna. Miinchen, 1887. 4°.
SCHNEIDER (F. J.).— Die zwolf Kampfe des Herakles. Leipzig, 1888. 4°.
MULLER (W.). — Die Theseusmetopen in ihren Verhaltniss zur Vasenmalerei. Gottingen,
1888. 8°.

AMELUNG. — Personificerung des Lebens in der Vasenmalerei. Miinchen, 1888. 8°.
520

CERAMIC LITERATURE.

DUMMLER (F.).— Vasenscherben aus Kyme. Roma, 1888. 8°.

BLOCK (L.). — Die zuschauenden Gotter in der rothfiguren Vasengemalden. Leipzig,

1888. 8°.
WINKLER (C.). — Die Darstellungen der Unterwelt auf unteritalisclien Vasen. Breslau,

1888. 8°.

BOEHLAU (J.).— Bootischen Vasen. Berlin, 1888. 4°.
ROHDEN.— Vasenkunde. Berlin, 1888. 4°.
HOLWERDA.— Attische Vasen. Berlin, 1889-90. 4°.

HIRSCH (R.). — De animarum apud antiques imaginibus. Leipzig, 1889. 8°.
GRUNDMANN. — Ueber 98 Henkelinschriften auf griechischen Vasen. Leipzig, 1889.

8°.

SCHUMACHER (K.).— Archaische Vasen aus La Tolfa. Berlin, 1889. 4°.
BENNDORF und NIEMANN.— Das Heroon von Gjolbashi-Trysa, Wien, 1889.
KOCK (W.).— Paris vor Helena. Marburg, 1889. 8°.
STUDNICZKA.— Kyrene, eine altgriechische Gottin. Leipzig, 1890. 8°.
FURTW ANGLER.— Orpheus, attische Vase aus Gela. Berlin, 1890. 4°.
ROBERT (C.).— Homerische Becker. Berlin, 1890. 4°.

— Scenen der Ilias und Aithiopis. Halle, 1891. Fol.

WERNICKE (K.).— Die griechischen Vasen mit Lieblingsinschriften. Berlin, 1890. 8°.

WORMSTALL (A.).— De corinthiasis tabellis fictilibus. S.I, 1890. 4°.

ESCHER (J.).— Triton und seine Bekampfung durch Herakles. Leipzig, 1900. 8°.

SEEMANN (T.).— Die Kunst der Etrusker. Dresden, 1890. 8°.

PROTT (J. v.).— De amphora napolitana. Bonn, 1891. 8°.

KOLDWEY (R.).— Neandria. Berlin, 1891. 8°.

SITTLE (K.).— Die Phineusschale. Wiirzburg, 1892. 4°.

DUHN (F. v.). — Bemerkungen zur Phineusschale. Heidelberg, s.d. 8°.

GEHRING (R.).— Griechische Gefasse. Landshut, 1892. Fol.

WILISCH (E.).— Die altkorintische Thonindustrie. Leipzig, 1892. 8°.

LOEVY (E.).— Zur griechischen Vasenbildern. Berlin, 1893. 8°.

SIX (Jan).— Drei Lekythen. Athen, 1893. 8°.

BULLE (H.).— Die Silene in der archaischen Kunst. Miinchen, 1893. 8°.

BRUNN (H.). — Griechische Gotterideale in ihren Formen erlaiitert. Miinchen, 1893. 8°.

BOEHM (C.).— De Cottabo. Bonn, 1893. 8°.

HARTWIG (P.). — Phrixos und eine Kentauromachie. Leipzig, 1893. 4°.

Die Griechischen Meisterschalen. Berlin, 1893. 4°.

Die Anwendung der Federfahne bei den griechischen Vasenmalern. Berlin, 1899.

4°.

KRETSCHMER (P.).— Die griechischen Vaseninschriften. Gutterloh, 1894. 8°.
DUMMLER (F.).— Griechischen Vasen from Daphnse. Berlin, 1895. 4°.
BOEHLAU.— Zur Ornamentic der Vallombrosa Periode. Cassel, 1895. 4°.

— Aus ionischen und italianischen Necropolis. Leipzig, 1896. 4°.
WINTER (F.).— Eine attische Lekythos des berliner Museums. Berlin, 1895. 4°.
KARO (G.).— De arte vascularia. Bonnce, 1896. 8°.

HAUSER (F.).— Eine Sammlung Stilproben griechische Keramik. Berlin, 1896. 8°.

PERNICE (E.).— Kothen und Eauchergerat. Berlin, 1899. 8°.

THIERSCH (H.).— Tyrrhenische Anphoren. Leipzig, 1899. 4°.

POLLAK (L.).— Zwei Vasen aus der Werkstatt Hierons. Leipzig, 1899. 4°.

WIDE (S.).— Geometrische Vasen aus Griechland. Berlin, 1900. 4°.

FURTW ANGLER (A.).— Neuere Falschungen von Antiken. Berlin, 1899. 4°.

521

CERAMIC LITERATURE.

FURTW ANGLER (A.) und REICHHOLD.— Die Griechische Vasenmalerei. Munchen,

1900. Fol.

POULSEN (F.).— Die Dipylongraber un die Dipylon Vasen. Leipzig, 1905. 8°.
FOLZER (Elvira). — Die Hydria. Ein Beitrag zur Griechischen Vasenkunde. Leipzig,

1906. 8°.
BOTHO GRAEF, HARTWIG (and others).— Die antiken Vasen von der Akropolis zu

Athen. Berlin, 1909. 4°.

Holland.

LEEMANS (C.). — De zangles. Eene Grieksche beschilderde drinkscliaal v. h. Nederl.

Museum v. Oudheden. Leyden, 1844. 4°.

HOLWERDA (A. E. J.).— Attische Vasen des Uebergangsstils. Leyden, 1889. 4°.
HOLWERDA (J. H.).— Die attischen Graber der Bliitezeit. Leyden, 1899. 8°.

Italy.

DEMPSTER (T.).— De Etruria regali. Florentiae, 1722. Fol.
GORI (A. F.).— Museum etruscum. Florentiae, 1737. Fol.
BLASI (E. M. di). — Sopra un Vaso greco siculo figurato. Palermo, 1755. 4°.
BARBARACI. — Sopra un Vaso figurato rappresentante le Cistefore di Cerero. Palermo,

1755. 4°.
PASSERI (J. B.).— Picturse etruscorum in vasculis. Roma, 1768-75. Fol.

De tribus vasculis etruscis. Florentiae, 1772. 4°.

ARDITI (M.).— Illustrazione di un antico vaso. Napoli, 1777. 4°.

DANIELE (F.).— Alcuni monumenti del museo Caraffa. Napoli, 1778. 4°.

ANON. — Serie di . . . tavole . . . pitture di vasi degli antichi Etrusci. Roma,

1787. Fol. (Reprint of Passeri's plates.)
GUATTANI (G. E.).— Choix des monuments les plus remarquables. . . . 1788. Fol.

Sopra un antica figulina. S.I., n.d. 4°.

VISCONTI (E. G.).— Le pitture di un antico vaso fittile. Roma, 1794. Fol.

Lettera sopra alcuni vasi rinvenuti nelle vicinance della antica Alba Longa. Roma,

1817. 4°.

BERIO (J. M.). — Lettera in diludazione di un vaso etrusco. Napoli, 1808. 4°.
NICOLAS (F.).— Illustrazione di due vasi fittile. Roma, 1809. Fol.
LANZI (L.). — De vasi antichi dipinti volgarmente chiamati etruschi. Firenze, 1809. 8°.
FARAS (F. M.).— Sull'interpretazione di due vasi fittile. Napoli, 1810. 8°.
SCOTTI. — Illustrazione di un vaso italo-greco. Napoli, 1811. 4°.
ZANNONI (G. B.).— Illustrazione di due urne etrusche. Firenze, 1812. 8°.
MILLINGEN (J. V.). — Peintures antiques de vases grecs. Rome, 1813. Fol.
JORIO (A. de). — Sul metodo degli antichi nel dipingere i vasi. Napoli, 1813. 8°.
SCHIASSI (F.).— Sopra alcuni antichi fittile dipinti. Bologna, 1814. 8°.
QUARANTA. — Animadversiones in vasculum italo-grsecorum. Napoli, 1817, 4°.
JUDICA (G.).— Le antichita di Acre. Messina, 1819. Fol.
INGHIRAMI (F.).— Monumenti etruschi. Firenze, 1821. 4°.

Lettere di etrusca erudizione. Firenze, 1828. 4°.

SCOTTI. — Vaso italo-greco del museo di Mre. Archivescovo di Taranto. Napoli, 1821.

4°.

BIONDI. — Collection des differentes formes de vases italo-grecs. Naples, 1822. 4°.
PONTICELLI (P.).— Illustrazione di un vaso italo-greco. Napoli, 1822. 4°.
MAGGIORE (N.). — Illustrazione di un vaso nel monastero di San Martino. Palermo,

1823. 8°.
522

CERAMIC LITERATURE.

HAUSS (G. G.). — Dei vasi greci conmmnemente chiamati etruschi. Palermo, 1823. 4°.

GALLO. — Lettera sopra un vaso greco-siculo. Palermo, 1823. 8°.

JORIO (A. de). — Metodo per rinvenire e frugari i sepolchri degli antichi. Napoli, 1824.

4°.
STEINBUCHEL (A. de). — Dissertazione intorno ad una pittura sopra un vaso. Padova,

1824. 8°.

GARGIULO (R.). — Raccolta de monument! del museo borbonico. Napoli, 1825. 4°.
AVELLINO (F. M.).— Oposcoli diversi. Napoli, 1826. 8°.
PANOFKA.— Vasi di premio. Firenze,' 1826. Fol.
POLITI (R.).— Slancio artistico all'ombra di Flaxman. Girgente, 1825. 8°.

— Various papers on Greek vases. 1826-1840.

DOROW (W.).— Notizie intorno alcuni vasi etruschi. Pesaro, 1828. 8°.
BARBARACI (G.). — Dissertazione sopra un vaso di creta. S.d. 4°.
DENTI. — Illustrazione sopra un vaso greco-siculo. Palermo, 1828. Fol.
AMATI. — Intorno ad alcuni vasi etruschi. Roma, 1829. 8°.

— Sui vasi etruschi illustrati da S. E. il Sig. Pr. di Canino. Roma, 1830. 8°.
PIETRASANTA.— Illustrazione di un antico vaso fittile. Palermo, 1830. 4°.
MAGGI. — Vaso etrusco trovato in Trinoro. Firenze, 1830. 8°.
GARGIULO (R.). — Cenni sulla maniera di rinvenire i vasi fittile. Napoli, 1831. 8°.
INGHIRAMI (F.).— Pitture di vasi fittile. Firenze, 1831. 4°.
MAGGIORE (N.). — Rapporto intorno i vasi volcenti del Prof. E. Gerhard. Palermo,

1832. 8°.

- Festa nuziale nel dipinto di un antico vaso. Palermo, 1832. 4°.

MICALI. — Monumenti per servire alia storia degli antichi popoli italiani. Firenze, 1832.

Fol.

FEA (C.).— Storia dei vasi fittile dipinti. Roma, 1832. 8°.
MILLIN (?). — Raccolta di vasi grechi-etruschi inediti. Venezia, 1833. Fol.
NIBBY (A.). — Dipinto di un vaso fittile vulciente. Roma, 1834. 4°.
ABEKEN (G.). — Illustrazione di un vaso con dipinture archaic. Roma, 1836. 4°.
CAMPANARI. — Intorno i vasi fittile rinvenuti in Etruria. Roma, 1836- 4°.

- Descrizione dei vasi rinvenuti nell'Isola Farnese. Roma, 1839. 4°.
BRAUN (E.). — Various papers on Greek vases. 1836-49.

LEPSIUS (R.). — Vase de fabrication etrusque avec deux alphabets grecs. Rome, 1837.

8°.

MELCHIORRL— Vaso etrusco del Museo gregoriano. Roma, 18'38. 8°.
QUARANTA. — Di un vaso greco nel R. Museo borbonico. Roma, 1840. 4°.
PISELLI (V.). — Dipintura archaica di un'anfora dionisiaca. Roma, 184L Fol.
RITSCHEL (F.).— Vaso del Pelope. Roma, 1840. 4°.
ANON (Gerhard). — Scelta di vasi dipinti per la piu parte di provenienza etrusca. (A

reprint.) Roma, 1842. Fol.

GARGALLO-GRIMALDI (F.).— Various papers. 1843-65.
STEPHANL— Vaso a soggetto comico di Lentini. Roma, 1845. 8°.
SCHIO (G. da). — Sopra un vaso etrusco. Vicenzia, 1845. 8°.

SERRADIFALCO (Conte).— Illustrazione di un antico vaso fittile. Palermo, 1846. 8°.
PANOFKA.— Testa di Ganimede. Napoli, 1847. 4°.

- Le nozze di Giasone e Medea. Roma, 1848. 8°.

PEZZA-ROSSA (J.).— Scavo di vasi etruschi sul Mincio. Roma, 1847. 8°.
SCHMIDT (L.).— Visits di Priamo presso Achille. Roma, 1849. 8°.
MINERVINI (G.). — Illustrazione di un vaso ruvese. Napoli, 1851. 4°.

523

CERA MIC LITER A TURE.

QUARANTA. — Funcrali d'Archemoro sopra un vaso greco. Napoli, 1851. 4°.

— La contropectria di Cuma. Napoli, 1856. 4°.

RICCIO. — Notizie degli scavimenti nel suolo dell'antica Capua. Napoli, 1855. 8°.
MICHAELIS (A.).— II lione Nemeo. Roma, 1859. 8° (and other papers).
PETERSEN (E.).— Ercole reportante i pomi delle Esperidi. Roma, 1859. 8°.
DONATI (F.). — Delia maniera d'interpretare le pitture ne'vasi fittile antichi. Firenze,

1861. 8°.

MINERVINI (G.).— Memorie accademiche. Napoli, 1862. 4°.
CONESTABILE (G.).— Pitture . . . e suppelletili etruschi. Firenze, 1863. 4°.
CONZE (C. L.). — Vasi con rappresentanze di riti funebri. Roma, 1864. 8°.

— Guerrieri coi loro valletti. Roma, 1866. 8°.

LUBBERT (E.). — Sopra un dipinto vasculare rappresentante Oresto. Roma, 1865. 8°.
GOZZADINI (G.). — Di un antica necropoli a Marzabotto. Bologna, 1865. 4°.

— Scavi archeologici fatti presso Bologna. Bologna, 1877. 4°.
KEKULE (R.). — Vaso dipinto della raccolta gia Santangelo. Roma, 1867. 4°.
KLUGMANN.— Vasi fittili inargentati. Roma, 1871. 8°.

Coppa inargentata e smaltata di Villanuova. Roma, 1871. 8°.

HIR8CHFELD (G.). — Vasi arcaici ateniensi. Lettera ad A. Conze. Roma, 1872. 8°,

pp. 52 ; with 2 pis.

SCHREIBER (T.).— Due vasi attici. Roma, 1875. 8°.

SANFILIPPO (T.). — Illustrazione di un vaso cinerario imerese. Termini, 1877. 8°.
LOESCHCKE (G.).— Due vasi dipinti di stile arcaico. Roma, 1878. 8°.
KLUGMANN.— Tazze a figure rosse. Roma, 1878. 8°.

FURTW ANGLER. — Arianna dormente sopra cratere etrusco. Roma, 1878. 8°.
ENGELMANN (R.).— Un vaso di Erichtonios. Roma, 1879. 8°.
KORTE.— Vasi etruschi. Roma, 1879. Fol.
MICHAELIS (A.). — Due vasi con scene troiane. Roma, 1880. 8°.
GEFFROY (A.). — (Enomaiis . . . vase peint inedit. Rome, 1881. 4°.
KLITISCHE DE LA GRANGE. — Sulla technologia del vasellame nero degli antichi. Roma,

1884. 8°.

COMPARETTI (D.). — Saffo nelle rappresentanze vascolari. Firenze, 1886. 4°.
CAVALLARI. — Su alcuni vasi oriental! rinvenuti in Siracusa. Palermo, 1887. 4°.
BRIZIO. — Scavi eseguite a Marzabotto. Roma, 1890. 4°.
ORSI (P.).— Urne funebri cretesi. Napoli, 1890. 4°.
ALIATA (G.). — Di un vaso greco-siculo. Palermo, 1891. 4°.
PATRONI. — La ceramica antica. Napoli, 1897. 4°.
MAYER (F. S.).— Ceramica dell' Apulia preellenica. Ban, 1897-99. 8°. 3 parts with

12 pis. and illustrs.

ROSSI (E.). — Illustrazione di un'anfora pugliese. Potenza, 1898. 8°.
ROBERT (C.). — Sopra i vasi di Polignoto. Milano, 1899. 4°.
PARIBENI (R.).— Vasi inediti del Museo Kircheriano. Roma, 1904. 4°.
DUCATI (P.).— I vasi dipinti nello stile del ceramista Midia. Roma, 1909. 4°, pp. 85 ;

with 5 pis. and illustrs.

Russia.

ASCHIK (A.). — Imperial Bosphorus ; its palaeography, monuments, painted vases, etc.

Odessa, 1848. 4°. (In Russian.)

GILLES. — Antiquites du Bosphore Cimmerien. St. Petersboury, 1854. Fol.
524

CERAMIC LITERATURE.

OLENINE (A. N.). — CEuvres archseologiques. Vol. I., part 2. — Peintures de vases antiques.

St. Petersburg, 1881. 8°.
STEIN (R. v.). — Researches on the manufacture of Greek ceramics. Odessa, 1894. 8°.

(In Russian.)
MIRONOFF (A.). — Representation of life beyond the grave in Greek ceramic paintings.

Moscou, 1895. 8°. (In Russian.)
STERN (E. von).— Teodosia und seine Keramic. Odessa, 1906. 4°.

Switzerland.

BACHOFEN (J. J.).— Die Unsterblicheitlehre. Basel, 1867. Fol.

MULLER (E.).— Die griechische Vasenbilder. Zurich, 1887. 4°.

DUMMLER (F.).— Einige eleusinische Denkmaler. Basel, 1894. 4°.

NICOLE (J.). — Meidias et le style fleuri dans la ceramique attique. Geneva, 1908. 4°.

U.S.A.

FAIRBANKS (A.).— Athenian lekythoi. New York, 1908. 8°.

b. — CATALOGUES OF GREEK VASES.
I. Museums ; II. Private Collections ; III. Auction Sales.

I. MUSEUMS.

Australia.

MACDONALD. — Catalogue of the Greek and Etruscan vases in the Sidney Museum
Sidney, 1898. 8°.

Austria.

MASNER (K.).— Die Sammlung antiker Vasen im K. K. Oesterreich. Museum. Wien
1892. 4°.

HOERNES.— Beschreibung griech. Vasen in Triest. Samml. Fontana. Museo civico. Wien
1878. 8°.

Belgium.

ANON. — Catalogue du Musee Ravestein. Bruxelles, 1884. 8°.

Denmark.

BIRKET-SMITH (S.).— Die malede Vaser i Antikkabinettet. Kjobenhavn, 1862.
USSING (J. L.).— To graeske Vaser i antik-kabinettct i Kjobenhavn. Kjobenhavn, 1869.

England.

BIRCH (S.) and NEWTON (C. T.).— Greek and Etruscan vases in the British Museum.
London, 1851-70. 8°.

NEWTON (C. T.).— British museum. Guide to the first vase room. London, 1866. 8°.

- Guide to the second vase room. London, 1879. 8°.
ANON.— Photographs from the collection of antiquities. London, 1872. Fol.

WALTERS (H. B.).— Greek vases in the British Museum. Vol. II., 1893. Vol IV
1896. 4°.

525

CERAMIC LITERATURE.

SMITH (C. H.).— Greek vases in the British Museum. Vol. III., 1896. 4°.

HENDERSON (J.). — Descriptive notes on the classical vases in Marischal College, Aberdeen.
Aberdeen, 1881. 4°.

TORR (C.). — Harrow School Museum. Catalogue of the classical antiquities. Harrow,
1887. 8°.

SMITH (C.). — Edinburgh Museum. Greek, Etruscan, Roman vases. Edinburgh, 1887.
8°.

GARDNER (P.). — Museum Oxoniensis. Catalogue of the Greek vases. London, 1893.
Fol.

GARDNER (E. A.). — A catalogue of the Greek vases in the Fitzwilliam Museum, Cam-
bridge. London, 1898. 4°.

France.

TOCHON d'ANNECY.— Vases du Musee du Louvre. Paris, s.d. Fol.

DE WITTE (J.). — Vases peints du musee Napoleon III. S.d. 16°.

ROSCHACH.— Catalogue du Musee de Toulouse. Toulouse, 1865. 8°.

ANDRE (A.). — Catalogue du Musee de Rennes. Rennes, 1876. 8°.

HEYDEMANN (H.).— Pariser Antiken. Halle, 1887. 4°.

BABELON (E.). — Le Cabinet des antiques a la bibliotheque Nationale. Paris, 1888.

Fol.

MILIET (P.). — Vases peints du Cabinet des antiques. Paris, 1891. Fol.
POTTIER (E.).— Vases grecs du Musee de Boulogne s. Mer. Paris, 1892. 8°.

Musee du Louvre. Vases antiques. Catalogue. Paris, 1895. 12°.

Vases antiques du Musee du Louvre. Paris, 1897-1900. 4°.

FROHNER. — Musee de Marseilles. Catalogue des antiquites. Paris, 1897. 8°.
RIDDER (A. de). — Catalogue des vases peints de la Bibliotheque Nationale. Paris,

1902.
AURIAC (General Angles d'). — Catalogue des vases etrusques et grecs du musee de

Grenoble. Grenoble, 1905. 8°.

Germany.

DORROW (W.). — Einfiihrung in eine Abtheilung der Vasensammlung der K. Museum

zu Berlin. Berlin, 1833. 8°.
LEVEZOW (K.). — Verzeichniss der antiken Denkmaler in K. Museum zu Berlin. Gallerie

der Vasen. Berlin, 1834. 8°.

GERHARD (E.).— Neuerworbene antike Denkmaler. . . . Berlin, 1836-46. 8°.
JAHN (0.). — Beschreibung der Vasensammlung in der Pinakothek zu Munchen.

Munchen, 1854. 8°.

Kurze Beschreibung der Vasensammlung. . . . Munchen, 1854. 12°.

LUTZOW (C.). — De Vasis fictilibus in Pinacotheca Monacencis. 1856. 8°.

FROHNER (W.). — Die griechischen Vasen . . . zu Kalrsruhe. Heidelberg, 1860.

12°.
WAGNER (E.). — Alterthumsammlung in Carlsruhe. Carlsruhe, 1871-81. Fol.

KEKULE (R.). — Das akademische Kunstmuseum zu Bonn. Bonn, 1872. 8°.
URLICHS. — Die Vasensammlung der Universitat Wurzburg. 1872. 8°.
HETTNER (H.). — Konigl. Antikensammlung in Dresden. Dresden, 1881. 8°.
FURTWANGLER (A.). — Beschreibung der Vasensammlung im Antiquarium. Berlin,

1885. 8°.

WIENNEFELD.— Vasensammlung zu Karlsruhe, 1887. 8°.
526

CERAMIC LITERATURE.

ROSSBACH (0.).— Griechische Antiken des Museum zu Breslau. Breslau, 1899. 8°.
BALLHEIMER (R.). — Griechische Vasen aus dem Hamburger Museum. Hamburg,
1905. 8°.

Greece.

COLLIGNON (M.). — Catalogue des vases peints du musee d'Athenes. Paris, 1877.

- et COUVE (L.).— Do. Paris, 1902-04. 2 vols., 8°, et atlas 4°.
CAVADIAS (P.).— Musee national. Atones, 1895. 8°.

NICOLE (G.).— Vases Cypriotes du Musee d'Athenes. Geneve, 1906. 8°.

Holland.
ROULEZ (J.).— Vases peints du Musee de Leyde. Gand, 1854. Fol.

Italy.

JORIO (A. de). — El real museo Borbonico. Galleria de'vasi. Napoli, 1825. 8°.
MAXIMIS (F. X. de). — Musei quod Gregorius XVI. P.M. in sedibus Vaticanis constituit.

Roma), 1842. Fol.
HEYDEMANN (H.).— Vasensammlung des Museum zu Palermo. Berlin, 1870-71. 4°.

- Die Vasensammlung der Museo nationale zu Neapel. Berlin, 1872. 8°.
MONACO and ROLFE.— Handbook to the Naples Museum. London, 1886. 8°.
BARNABEI (F.). — Antichita del Museo Nazionale Romano. Milano, 1894. 4°.
DENNIS. — The new Etruscan Museum at the Villa Papa Giulio.
PATRONI.— Guida del R. Museo di Siracusa. Napoli, 1896. 8°.
AMELUNG.— Fiihrer durch die Antiken in Florenz. Munchen, 1897. 8°.
PELLIGRINL— Vasi dipinti del museo civico. Bologna, 1900. 4°.

Russia.

STEPHANI (L.).— Die Vasensammlung der K. Ermitage. St. Petersburg, 1869. 2 vols.
8°.

- Hermitage Imperial. Vases peints. St. Petersbourg, 1870. 12°.

- Do. Antiquites decouvertes a Kertch. 1886. 12°.
JORGIEVITCH (B.).— Description du Musee d'Odessa, Odessa, 1892. 8°.

Spain.

HUBNER (E.).— Die antiken Bildwerke in Madrid. Berlin, 1862. 8°.
MELIDA (J. R.).— Vasos Griegos del Museo Arqueologico. Madrid, 1882. 8°.

Switzerland.

ANON. — Verzeichniss der Antiquitaten des Bern's Museum. Bern, 1846. 8°.
MILLIET (P.). — Vases antiques des collections de la ville de Geneve. Paris, 1892. Fol.

Turkey.

NICOLE (G.). — Vases Cypriotes du Musee de Constantinople. Geneve, 1906. 8°.

U.8. America.

ROBINSON (E.).— Greek vases in the Boston Museum. Boston, 1893. 8°.
DORR (D.). — The W. Hammer collection of antiquities in the Pennsylvania Museum.
Philadelphia, 1894. 8°.

527

CERAMIC LITERATURE.

II. PRIVATE COLLECTIONS.

Belgium.

HAGEMANS. — Ceramique grecque et etrusque. Liege, 1856. 8°.
RAVESTEIN (E. de).— Musee de Ravestein. Liege, 1871-82. 4°.

England.

HAMILTON (Sir W.). — Etruscan, Greek, and Roman vases . . . with descriptions,

by d'Hancarville. Naples, 1766-77. Fol.
COGHILL (Sir J.)— MILLINGEN.— Vases grecs dc la collection de Sir John Coghill. Rome,

1817. Fol.
ENGLEFIELD (Sir H.)— MOSES (H.).— Vases from the collection of Sir H. Englefield,

London, 1819. 4°.
CAMPANARI (S.). — A brief description of 32 ancient Greek painted vases. London.

1832. 8°.

Catalogue of the scarce Etruscan and Grseco-Italian vases. London, 1830. 8°.

DISNEY (J.).— Museum Disneianum. London, 1849. 4°.

BURLINGTON FINE ARTS CLUB— FROHNER (W.).— Catalogue of objects of Greek

ceramic art. London, 1888. 4°. Ancient Greek art, 1904. 4°.

France.

LAMBERG (Comte de).— LABORDE (A. de).— Collection des vases grecs de Mr. le Comte

de Lamberg. Paris, 1813-24. Fol.

DOROW.— Raoul Rochette. — Notice sur la collection Dorow. Paris, 1828. 8°.
BLACAS— PANOFKA (T.).— Musee Blacas, Vases peints. Paris, 1830-33. Fol.

POURTALES— PANOFKA.— Cabinet du Comte de Pourtales-Gorgier. Paris, 1834.

Fol.
DUBOIS (J. F.). — Description des collections de Mr. le Comte de Pourtales-Gorgier.

Paris, 1841. 12°.

CANINO (Prince de).— See Bonaparte (L.).
PANCKOUKE— DUBOIS (J. F.).— Catalogue des vases Grecs de la Collection L. J.

Panckouke. Paris, s.d. 8°.
CASTELLANI — WITTE (J. de). — Vases peints de la collection de Mr. Castellani. Paris,

1865. 8°.

NAPOLEON (Prince)— FROHNER (W.).— Choix de Vases Grecs de la Collection de S. A. I.

le Prince Napoleon. Paris, 1867. Fol.
DZIALYNSKI (Comte J.)— WITTE (J. de).— Antiquites Conserves a THotel Lambert.

Paris, 1886. 4°.

BELLON— CHAMONARD.— Catalogue de la Collection Bellon. Paris, 1890. 8°.
CLERCQ (De) — RIDDER (A. de). — Catalogue de la collection de Clercq. Tome IV.

Vases peints. Paris, 1906. 4°.

Germany.

LEESEN — SCHULTZ (H.). — Beschreibung der Vasensammlung des Fr. von Leesen.

Leipzig, 1861. 4°.

TYSZKIEWICZ— FROHNER (W.).— La collection Tyszkiewicz. Munich, 1893-97. Fol.
SOMZEE— FURTW ANGLER.— Collection Somzec. Munich, 1897. Fol.

528

CERAMIC LITERATURE.

Italy.

BLASI. — Ragguaglio del Museo di San Martino. Palermo, 1774. 4°.

CARRAFA — DANIELE (F.). — Alcuni monument! del Museo Carrafa. Napoli, 1778. 4°.

BLACAS — ROSSI (G. G. de). — Vasi greci nella raccolta di S. E. il Signor Duca di Blacas

d'Aulpo. Roma, 1823. 8°.

BARTOLDI— PANOFKA.— II museo Bartoldiano. Berlino, 1827. 8°.
BONAPARTE (Lucien). — Museum etrusque de L. Bonaparte, Prince de Canino. Viterbe,

1829. 4°.
— Catalogo di scelte antiquita etrusche. Viterbo, 1829. 4°.

- Lettera contenente la descrizione del suo Museo. Milano, 1833. 8°.

- BARTHELEMY (Ch.).— Notice d'une collection de vases antiques. Paris, 1848. 8°.
INGHIRAMI (F.).— Museo etrusco Chiusino. Firenze, 1833. 4°.

FEOLI— CAMPANARL— Antichi vasi dipinte della collezione Feoli. Roma, 1837. 8°.
JATTA— MINERVINI (G.).— Vasi fittile della collezione Jatta. Napoli, 1846. 8°.
C AS UCCINL— Catalogo del Museo Casuccini. Sienna, 1862. 8°.

CAPUTI— JATTA (G.).— Ivasi italo-greci del Signor Caputi di Ruvo. Napoli, 1877. 8°.
BOCHI— SHONE.— Le antichita del museo Bochi di Adria. Roma, 1878. Fol.
VIVENZIO— PATRONI.— Vasi dipinti del Museo Vivenzio. Napoli, 1901. Fol.

III. CATALOGUES OF SALES.
Belgium.

BRANTEGHEM (van).— Vases peints et terres cuites. Bruxelks, 1892. Fol. By W.
Froehner.

England.

BASSEGIO (G.). — Collection of Greek and Etruscan Vases. London, s.d. 8°.
ANON (Bonaparte, L.). — Reserve etrusque. 120 pieces de choix. London, 1838. 8°.
HERTZ (B.).— Collection of antiquities. London, 1851. 8°.
FORMAN COLLECTION. London, 1899. 4°. By Smith (C. H.).

France.

Vases peints provenant des fouilles de 1'Etrurie. Paris, 1829. 8°. By J. de Witte.
DURAND (Collection E.). Paris, 1838. 8°. By J. de Witte.
BEUGNOT (Collection de Mr. le Vic. de). Paris, 1840. 8°. By J. de Witte.
MAGNONCOURT Vases etrusques de la collection de Mr. de M. Pan's, 1841. 8°.

By J. de Witte.
CANINO (Collection de Mr. le Prince de).— Paris, 1843. 8°. By J. de Witte.

QUATREMERE DE QINCY (Collection).— Parts, 1850. 8°.

DELANGE (Collection).— Paris, 1857. 8°.

RAIFE (Collection).— Parts, 1867. 8°. By F. Lenormant.

NOEL DES VERGERS (Collection).— Part's, 1867. 4°. By H. L.

NAPOLEON (Collection de Mr. le Prince Jerome).— Part's, 1868. 8°. By Froehner.

PARAVEY (Collection).— Part's, 1879. 8°. By J. de Witte.

SABATIER (Collection R.).— Part's, 1890. 8°.

TYSZKIEWICZ (Collection).— Part's, 1898. 4°. By Frbhner.

ANON (SAMBON ?).— Paris, 1903. 4°.

34 529

CERAMIC LITERATURE.

Germany.

THIERSCH (Catalog der Antiken-Sammlung).— Munchen, 1860. 8°.
MARGARITIS (Katalog . . . griechischen Vasen).— Munchen, 1899.

Italy.
PEREZ (Collection).— Roma, 1893. 8°.

c.— SERIAL PUBLICATIONS.

No complete knowledge of classical ceramics can be obtained without the assistance
of the serial publications edited by the Antiquarian Societies of all European countries ;
the store of information scattered through their bulky sets is of the utmost importance
to the study. In the rough list given hereafter the titles are, in all cases, much abbrevi-
ated ; no bibliographical notice of any of these publications is given in the first part
of this work ; but many of the papers they contain and which were reprinted in
pamphlet form are mentioned and described.

Abhandlungen der Berliner Akademie. Berlin, 1804 and /. y.

American Journal of Archaeology. Baltimore and Boston, 1885-97. 4°.

Annali dell'Instituto di corrispondenza archeologica. Roma, 1829-85.

Annali civili del Regno delle due Sicilie. Napoli, 1833-60.

Antike Denkmaler ; herausgegeben von Kaiserl. Deutschen Institute. Berlin, 1887.

Archseologia, or miscellaneous tracts relating to antiquity. London, 1770 and f. yrs.

Archaeological Journal. London, 1845.

Archaologische Zeitung. Berlin, 1843-85.

Archaologische Anzeiger. (Beiblatt zum Jahrbuch der Archaolog. Institute.) Berlin,

1886.

Archaologische-epigraphische Mittheilungen aus Oesterreich-Ungarn. Wien, 1877-97.
Atti della Pontificate Accademia di archeologia. Roma, 1821.
Berichte der sachsischen Gesellschaft der Wissenschaften. Leipzig, 1846.
Berliner philologische Wochenschrift. Berlin, 1880.
Bonner Jahrbucher. - Jahrb. des Vereins von Alterthums - freunden im Rhinelande.

Bonn, 1842.

Bulletin archeologique de r Athenaeum Francais. Paris, 1855-56.
Bulletin de correspondance hellenique. Athenes et Paris, 1877.
Bulletin et Memoires de la Societe des Antiquaires de France. Paris, 1817.
Bulletin de la classe historico-philologique de TAcademie des Sciences. Saint Petersbourg,

1844.

Bulletino archeologico italiano. Napoli, 1862.
Bulletino archeologico napolitano. Napoli, 1843-63.
Bulletino dell'Instituto di Corrispondenza archeologica. Roma, 1829-85.
Compte-rendus de la commission imperiale archeologique. Saint Petersbourg, 1859-88.
Dissertazioni della Pontificia Accademia Romana di Archseologia. Roma, 1820-42. 8°.
Ephemeris Archaeologiche. Athens, 1837. Annually since 1883.
Eranos vindo bournsis. Wien, 1893.
Gazette archeologique. Paris, 1875-1889.
Gazette des Beaux Arts. Paris, 1859 and /. y. 8°.
Institute di corrispondenza archeologica. Roma and Berlin, 1829-91. 8°.
530

CERAMIC LITERATURE.

Jahrbuch des kaiserl. deutschen archaologischen Instituts. Berlin, 1886.

Jahrshefte des osterreich. archeologischen Instituts. Wien, 1898.

Journal des savants. Nouvelle serie. Paris, 1816.

Journal of Hellenic Studies. London, 1881.

Melanges d'archeologie et d'histoire publies par 1'Ecole fran§aise de Rome. Rome, 1881.

Memoires de la Societe d'archeologie et de numismatique de Saint Petersbourg. 1847-

52. Nouvelle Serie, 1880.

Memorie della reale accademia ercolanese di archeologia. Napoli, 1822-62.
Mittheilungen des deutschen Arch. Institute in Athen. Aihen, 1876.
Monument! antichi publicati per cura della R. Accad. dei Lincei. Milano, 1889. (N.S.)
Monumenti inediti di antichita. Napoli, 1820.

Monumenti inediti dell'Instituto di corrispondenza archeologica. Roma, 1829-85.
Monuments grecs publies par 1'Association pour 1'encouragement des etudes grecques.

Paris, 1872-98.
Monuments et Memoires publies par 1' Academic des Inscriptions et Belles lettres. Fonda-

tion E. Piot. Paris, 1894.

Notizie degli Scavi di antichita ; communicate alia Reale Accademia dei Lincei. Roma,

1876.

Revue archeologique. Paris, 1844.
Revue des etudes grecques. Paris, 1888.
Romische Mittheilungen. Roma, 1886.

Saggi di dissertazioni dell' Accademia palermitano. Palermo, 1755.
Saggi di dissertazioni lette nell' Accademia etrusca di Cortona. Roma, 1735-91.
Wiener Vorlegeblatter fiir archaologische Uebungen. Wien, 1888.

ANTIQUE TERRA-COTTA,

The sites of these stupendous burial places of Greece and Asia Minor, Kamiros,
Myrina, and Tanagra, not to speak of many another antique necropolis of various
importance, were still left a blank upon the maps of subterranean geography,
long after the prolific soil of Etruria and Magna-Grecia had been furrowed in every
direction by the pick and spade of the active antiquary. All campaigns of explora-
tion had been, at the outset, localised in Italy within the area which has Rome for
its centre, and the lands of Tuscany and Sicily for extreme limits. During a pro-
tracted course of years, so fruitful in their results had been the researches prosecuted
within these confines — while, on the other hand, any attempt at instituting a regular
pursuit of archaelogical excavations in more easterly countries would have offered, at
that time, insuperable difficulties — that no thoughts were entertained of looking out for
fresh fields of operation. Far from showing signs of being soon exhausted, the grounds
which stretch between Florence and Naples continued to be as productive as ever, and
the occasional discovery of many a field of rest, untouched theretofore by the investi-
gator, did not cease to bring forth, at intervals, unstinted crops of marvels. From day
to day, museums and collections were storing up an ever-increasing hoard of priceless
treasures. The enthusiastic student of antiquity could admire there many a master-
piece of ancient art as supremely beautiful as it had ever been given to the refined
Athenians and Corinthians to contemplate. He could gaze with rapture on the god-like
statue of an unnamed hero, the peerless work of a sculptor famous among the most famous
of his days. He could feast his eye on plastic perfection, and exalt his thoughts in musing
over the radiant majesty that the masterly chisel of the artist had imparted to marble

531

CERAMIC LITERATURE.

and bronze, embodying in the image of an Apollo or a Venus the noblest glorification
of the human form divine. Painted vases were offered to his admiration in collections
of such importance that it may be questioned whether any of the amateurs of Athens
or of Rome ever saw such a number and variety of beautiful examples assembled together.
He could form an idea of the grandeur of classical architecture ; and the splendour of
the internal decoration of public edifices was revealed to him through what remained
of the ruined temples and palaces. Precious mosaic pavements were still lying upon
the ground, and many a vaulted chamber had still kept, undefiled, its harmonious covering
of frescoe-paintings. In short, a learned archselogist had seen so much, admired so much,
in all the branches of ancient art, that he was almost warranted in believing that nothing
more was left to him to discover and to admire. His enchantment equalled his surprise
when he chanced to meet; for the first time, with a representative collection of these
graceful and spirited sketches, the unpretentious work of the Boeotian coroplast, dainty
figures of faintly coloured terra-cotta in which revive the youthful elegance and unaffected
attitudes of the sons and daughters of Hellas, no longer idealised, but taken from the
quick, and portrayed just as the artist saw them live and move in the sunny cities of
Tarsa and Tanagra. In his visits to the galleries of Europe, of which he had so scrupu-
lously scanned the contents, he had never seen any work of such a style ; he had to
recognise that, so far, the knowledge and enjoyment of one of the most fascinating mani-
festations of Greek art had been denied to him.

From the depth of the soil flashes forth the rays of light which illuminate the flimsy
phantasmagory of reconstituted antiquity. A trench, fortuitously cut open through the
deserted hills of a long untrodden region, exposes to our view a host of characteristic
monuments of an unprecedented description, and we become aware that a new chapter
will have to be added to the never-to-be-completed history of art. We realise, to our
own humiliation, that in the very country and at the very period of which we were
particularly proud of having thoroughly studied the leading masters and their achieve-
ments, a remarkable group of artists and craftsmen, of whom we knew nothing, had
existed, whose style developed its intrinsic qualities, almost regardless of surrounding
influences, and whose productions open to our mind unbounded vistas on the possibilities
of protean ancient art.

A striking example of the fact was afforded to us by the discoveries made, about
sixty years ago, within the then newly explored territory of Greece, and the results
which attended these discoveries. We do not allude to the number of painted vases
of immense value, nor to the rare and precious objects of various substances and different
workmanship which were found there in plenty. Fictile vases, sculptured marbles,
chased metals, whatever may be the individual beauty of each specimen, are but the
legitimate reward of the explorer ; in short, the kind of treasure he is prepared to find.
A more unexpected stroke of good fortune marked the very beginning of his researches
on the site of antique Tanagra. It was an amazing quantity of terra-cotta figures
of a well-defined character, which he saw lying at his feet, enshrined in the tombs or
scattered all round, like pebbles in the ground. Specimens belonging to the best period
of the art had been secured in the initiatory excavations made at Tarsa and Tralles,
but they were too fragmented and dilapidated to command general recognition. Almost
all that came out of the Tanagra tombs, on the contrary, was in a perfect state of preserva-
tion. A campaign which had shown such an auspicious opening was bound to be eagerly
prosecuted. The terra-cottas, in which it had chiefly resulted, were, in the main, no more
than modest productions of a minor art, apparently made to be deposited in the grave
532

CERAMIC LITERATURE.

as a pious offering to the manes of a dear departed. They consisted in children's toys,
household ornaments, emblematic objects, figures of men and women of the times, and
occasionally images of Gods and Goddesses. They were, obviously, of current manufacture,
and so moderate in price as to be within the reach of the purchaser of limited means.
Simple and unpretentious as they were in material and workmanship, the diminutive
statuettes were -none the less bewitching in appearance. An indefinite sweetness of
treatment imparted to the graceful conception of the artist an additional charm. One
had to confess that the extent of the Greek potter's genius had been, so far, much under-
estimated, since we had not yet been able to put to his credit these terra-cotta figurines,
perhaps the most fascinating of all his creations. Their size brings to our mind the
recollection of antique bronzes of similar proportions. But the antique bronze has seldom,
if ever, anything in its formal and dignified character that can approach the freedom
of execution, the life-like expression, and the look of sweet simplicity so particularly
attractive in our little earthen figures. Such a disparity of style could not escape the
observation of a true connoisseur. Bronzes and terra-cottas cannot be judged from the
same standpoint. On that account the memorable harvest gathered at Tanagra
had offered a two-fold interest ; not only were the finds objects of intrinsic beauty, but
also of absolute novelty.

Classical archseology — a fast fading-away science, believed to be peacefully expiring
between the arms of an academic set of senile devotees — woke up, suddenly rejuvenised
by the charm of this verdant shoot, bursting forth from the robust trunk of ever-green
antiquity.

In the secluded village of Tanagra a few crafty peasants had been wont, ever since
the existence of buried terra-cottas had been revealed to them, to search the grounds
for specimens, easily sold to travellers. The diggings were only prosecuted at night,
in great secrecy ; the proceeds were sold as coming from a great distance, and said to be
of unknown origin. In spite of all the caution observed by the sellers, as the number
of objects offered for sale went on increasing, the real place whence they came could
not for long remain a mystery. Practical explorers, on the scent of a profitable business,
settled on the spot and established a regular course of excavations.

No sooner had the report reached foreign countries that the ruins of the ancient
capital of Bceotia abounded with terra-cotta figures of incomparable beauty, than collectors
and speculators repaired in great number to Tanagra, contending with one another, on
the very brink of the trenches, for the possession of the finest specimens.

A new idol was being offered to the worship of the eclectic amateur. The first
cabinets in which they were deposited and offered to the admiration of a select few had
been easily filled with marvels, but the early collector could not long keep to
himself the benefit of his discovery. A spark had flashed, and it was to raise a far-
spreading conflagration. In the collecting confraternity, the paramount ambition of all
those who were rich in art treasures of all kind was to add to their possessions some choice
examples of Tanagra figures. To answer the newly created demand large cargoes of
Greek terra-cottas were dispatched to the chief art centres of Europe, and so the intending
buyer was able to gratify his fancy without having to undertake a journey to Greece.
No one seemed to have entertained any doubt as to the genuineness of all that arrived
from the eastern countries, yet it is now a well-known fact that, — although the wholesale
ransacking of vast necropolis virtually unexplored theretofore had yielded a prodigious
supply of antiquities — fraudulent imitations were then stealthily thrown on the market.
They were the work of skilful forgers, and up to this day the authenticity of many remark-
able specimens preserved in our museums remain open to suspicion.

533

CERAMIC LITERATURE.

Greek terra-cottas of the approved kind could soon be studied and admired in public
and private collections. They gave to the fervid antiquary a welcome opportunity to
burnish anew his armoury of classical references, and make good use again of offensive
and defensive weapons which had become somewhat rusted between his hands since
the courteous combats he used to fight on the perplexing signification of the vase paintings
had ceased to be in favour. He knew that upon himself devolved the duty of affixing
some historical or mythological name to every figure or group of personages, and of
investing with an allegorical meaning every design, every emblem that came under
his notice. Moreover, he was expected to frame a judicious elucidation of the problem
not easily solved — viz., to what reason can their presence in the tombs be attributed,
and in which way were they connected with the funereal rites of the ancients ?

The infatuation created by the appearance of those desirable representatives of a
novel art did not stop within the limits of the antiquarian societies ; it was shared to
an equal degree by all men of taste and education. In every literary and fashionable
circle where questions of aesthetics often came into discussion, and all points relating
to the history of art were accounted matters of importance, the critic theorised and
the orator rhapsodised without end on their subject. The artist, one of the first who
fell under the spell, raved about their plastic gracefulness, and found, in the contemplation
of select specimens, inspiration for his next picture.

Stern archaeology had supplied Vanity Fair with a new trinket. Always ready to
appreciate beauty under whatever shape it may manifest itself, the man of the world
took the charming statuettes under his patronage, delighted to recognise in the languid
features and the exquisite proportions of the Boeotian maiden the most refined expression
of his own ideal of feminine elegance. The lady of fashion, herself, did not escape the
fascination. In obedience with the ruling taste of the day, every dainty boudoir in
Paris, London, and Vienna was bound to include, among its most valued adornments,
a rare and choice Tanagra figure. It could be seen, standing upon a Buhl cabinet, in
the strange companionship of a piece of Raku ware and a pot-pourri vase of Vincennes
porcelain. Occasionally the capricious arbiter of good taste who had presided over that
arrangement would stop in front of her favourite terra-cotta, and forgetting for one
moment all the other artistic attractions of her sumptuous abode — not excepting her
own portrait, the success of the last salon, hanging close by upon a brocaded panel —
she would let her dreamy glance follow leisurely the trailing cast of draperies which
veiled and disclosed alternately the shapely contours of a belle of ancient days.

To find a subject which has not been treated before, and which is, besides, certain
to elicit a well-maintained interest, is a piece of good fortune not to be neglected by the
literary man. Accordingly books on Greek terra-cottas were planned, executed, and
published by competent writers, as soon as the first collections were being formed, and
the importance of the subject had asserted itself in learned and refined society. Within
the lapse of a few years many volumes were brought out in succession, in which the
Tanagra figures were for the first time, and independently of other ancient pottery,
studied and described from quite a new point of view. No antiquarian work had
previously done justice to them.

Although a few specimens of that class were introduced by T. Panofka in his book,
Terracotten des K. Museum zu Berlin, in 1842, no distinction had been made by the author
between the style and epoch of the objects composing the collection. Whether the terra-
cotta he chose to describe was of Tuscan, Sicilian, Roman, or Grecian origin, he dealt
with each in turn chiefly for the purpose of indulging, in a lengthy disquisition on the
534

CERAMIC LITERATURE.

subject it was supposed to represent, and displaying an antiquarian erudition which we
would now pass over as unnecessarily pedantic, if not absolutely irrelevant. As to the
few figures of a better style interspersed through this miscellaneous assemblage of objects
of much inferior order, their artistic merit seems to have been either ignored or con-
sidered too insignificant to be worth mentioning. Judging from the deplorable execution
of the lithographic plates, we can infer that no importance was attached to accuracy
of reproduction. Such heavy and vulgar prints were, by no means calculated to excite
a desire of seeing the originals, in the minds of those who only knew them from the sketches
given in the book. This work, although showing a slight improvement over all the
previous ones, cannot be said to have foreshadowed the intense interest that Greek terra-
cottas were to awake a few years afterwards. With regard to methodical classification
and correct representation of the selected examples, none of the early publications can
compare with those which were the outcome of the first excavations made in Greece
proper. It was to the study of the amazing discoveries resulting from these excavations
that was due the full appreciation of a branch of art that the few isolated specimens,
occasionally found in Sicily, had been powerless to reveal.

A separate group in the library should be formed of the volumes devoted, almost exclu-
sively, to the graceful figures, popular types and familiar scenes seldom, if ever, met with
in Italy, but plentiful in the tombs of the Greek necropolis. In these volumes we obtain
all such information as can be safely given as to the source of a figure, the approximative
date of its manufacture, the subject it represents — when that subject is plainly indicated
— and we are spared the speculative disquisitions which were the pride of the writers
of the old school. Moreover, they supply a set of illustrations, of which artistic beauty
is the chief recommendation ; the plates are usually so well executed that a literary
description is rendered almost unnecessary when such a faithful copy of the model is
placed before our eye.

Illustrated catalogues form the larger part of that group. On the score of erudition
those prepared by the curators of public galleries stand first on the list ; while, on the
other hand, the descriptions of private collections offer a wider range of interest, through
the great variety of objects assembled together. Zealous collectors have vied with one
another in bringing out lasting records of the precious store of terra-cotta figures they
had so speedily gathered, and which was to be still more rapidly dispersed by the hazards
of the auction room. To this last circumstance we owe the complementary publication
of a catalogue of the sale, illustrated with many specimens that could not find place
in that of the collection.

Thanks to the newly introduced processes of photographic reproduction, the pre-
paration of such catalogues had been greatly simplified ; the production of any number
of plates requiring only a short time and a comparatively modest outlay. Ample advan-
tage was taken of that facility, and the profuse illustrations with which they are provided
give us faithful representations of nearly everything that was worth reproducing among
the examples that have passed through the hands of the collectors. One slight objection,
however, might be taken to the result obtained, in this particular case, by photographic
processes. Faultless as they would be in the rendering of neat and smooth surfaces,
they became sadly defective when applied to the reproduction of an object soiled and
cankered by age and accidents. The Tanagra figures have not escaped the damaging
influence of the soil in which they lay buried for centuries ; every stain which mars
the evenness and equality of tint of the light yellow clay comes out on the negative as
a conspicuously dark patch, an unseemly effect which destroys all the delicacy and charm

535

CERAMIC LITERATURE.

of the modeller's work. This is particularly exemplified in the photographic plates
published by Mr. de Janze. Greek figures of superior quality are so badly disfigured
by an intensified spotting and partial staining of the surface as to have become almost
hideous in appearance. The touching-up of the negatives, indulged in by the photo-
engraver, is also a matter of regret. For instance, in order to show the object to its best
advantage, a white ground is obtained by hand pencilling ; so, whatever care may have
been displayed in performing the operation, we see an outline which is a fictitious and
not a genuine one. A few volumes illustrated with fine engraved plates have been brought
out with such a satisfactory result as to make us prefer good artistic work to inferior
photographic processes. We may point out in support of our opinion Jacquet's engrav-
ings for Heuzey's Figurines du Musee du Louvre, and the etchings in Kekule's sumptuous
Folio, Thonfiguren am Tanagra.

It is not to be expected that our stock of works on Greek terra-cottas will be largely
increased in the future. So much has been printed on the subject while the excitement
created by the advent of a novel art was still lasting, that all seems to have been said,
and our collections to contain nothing that has not been described and reproduced. The
rage for gathering Tanagra figures is bound to pass away when specimens, which are
becoming more and more scarce to find, shall have become unobtainable ; but the general
infatuation of one moment will not have been fruitless, since it caused so many valuable
publications, costly volumes, and modest handbooks to be placed at our disposal. They
form a fund of materials and documents in which the antiquary can find ample scope
for further study, and the artist a constant source of pleasure and inspiration.

a. — GENERAL— DESCRIPTIONS— REPRODUCTIONS.
Phoenician — Greek — Etruscan — Italian, etc.

Egypt,

EDGAR (C. C.). — Greek moulds for bronzes and terra-cottas. Le Caire, 1903. 4°.

England.

DENNIS (G.).— The cities and cemeteries of Etruria. London, 1848. 8°.
BARKER (W. B.).— Lares and Penates. London, 1853. 8°.
LUBBOCK (Sir John).— Hut-urns from Marino. London, 1869. 4°.
SCHLIEMANN (H.).— Troy and its remains, and other works. London, 1875-84. 8°.
SANDWITH.— On the pottery found in the island of Cyprus. London, 1877. 4°.
CESNOLA (L. P. di).— Cyprus. London, 1877. 8°.
CESNOLA (A. P. di).— Salamina. London, 1882. 8°.
PERROT and CHIPIEZ.— History of art. London, 1885-94. 8°.

FORTNUM (C. Drury). — On a terra-cotta head of Greek workmanship. London, 1886.
4°.

WILDENBRUCH (E. von).— The master of Tanagra, London, 1887. 8°.
REINACH (E.).— Inedited terra-cotta from Myrina. London, 1891. 8°.
MURRAY (A.). — Terra-cotta sarcophagi Greek and Etruscan. London, 1898. Fol.
BUTTON (C. A.).— Greek terra-cotta statuettes. London, 1899. 8°.
HUISH (M. B.).— Greek terra-cotta statuettes. London, 1900. 4°.
536

CERAMIC LITERATURE.

France.

AGINCOURT (Seroux d').— Kecueil de sculptures antiques en terre cuite. Paris, 1814.

4°.

BIARDOT (P.). — Explication du Symbolisme des terres cuites grecques. Paris, 1864.
8°.

— Les terres cuites grecques funebres. Paris, 1872. 8°, and atlas fol.
FROHNER (W.).— Terres cuites d'Al.-Kantara. Paris, 1867. Fol.
Terres cuite d'Asie Mineure. Paris, 1881. 4°.

DUMONT (A.). — Inscriptions ceramiques de la Grece. Paris, 1869. 8°.
FROHNER (W.).— Les musees de France. Paris, 1873. Fol.

DUMONT (A.) et CHAPLAIN (J.).— Les ceramiques de la Grece propre. Paris, 1874. 4°.
SALZMANN (A.).— Necropole de Camiros. Paris, 1875. Fol.

HEUZEY (L.). — Recherches sur un groupe de Praxitele d'apres les figures de terre-cuite.
Paris, 1875. 8°.

- Les fragments de Tarse au musee du Louvre. Paris, 1876. 8°.

- Les terres-cuites babyloniennes. Paris, 1880. 8°.

- Les figures de femme voilees. Paris, 1873. 4°.

- Nouvelles recherches sur les figures de femme voilees. Paris, 1882. 4°.

- Quelques observations sur la sculpture grecque en Gaule. S.d. 8°.

POTTIER (E.). — Quam ob causam Grseci in sepulcris figlina sigilla deposuerint. Paris,

1883. 8°.

HAUSOULLIER (B.).— Quomodo sepulcra Tanagrsei decora verint. Paris, 1884. 8°.
DUMONT (A.).— Terres cuites orientales. Paris, 1884. 4°.
RAYET (0.).— Monuments de Tart antique. Paris, 1884. Fol.
POTTIER et REINACH.— La necropole de Myrina. Paris, 1886-87. 4°.
SCHWEISTHAL.— L'image de Niobe. Paris, 1887. 4°.
CARTAULT (A.). — Sur 1'authencite des groupes en terre-cuite de 1'Asie-Mineure. Macon,

1887. 4°.

— Nouvelles recherches sur les terres-cuites grecques. S.d. 4°.

- Vases grecs en forme de personnages groupes. Paris, 1889. 4°.

- Terres cuites grecques photographiees d'apres les originaux. Paris, 1890. 4°.
POTTIER (E.). — Les statuettes de terre cuite dans 1'antiquite. Paris, 1890. 12°.
PARIS (P.).— Elatee. Paris, 1891. 8°.

MILLIET (P.). — Etudes sur les premieres periodes de la ceramique grecque. Paris,

1891. 8°.

KONDAKOF et TOLSTOI.— Antiquites de la Kussie meridionale. Paris, 1891. 8°.
COLLIGNON.— Vase en forme de double tete. Paris, 1897. 4°.
DANIELLI (J.).— Les figurines de Tanagra. Paris, 1904. 8°.
POTTIER (E.). — Diphilos et les modelleurs de terres cuites grecques. Paris, 1909. 8°,

pp. 127 ; with 24 pis.

Germany.

PRELLER.— Terra cotta aus Athens. 1852. 8°.

SCHOLDERER. — Tanagrsearum antiquitatum specimen. Berlin, 1855. 8°.
THIERSCH (W.).— Ueber Henkel irdener Geschirre. . . . Munchen, 1860. 4°.
SCHONE (R.).— Griechische Beliefs. Leipzig, 1872. Fol.

CURTIUS (E.). — Die Geburt des Erichthonios. Terra cotta des Berliner Antiquarium.
Berlin, 1872. 4°.

537

CERAMIC LITERATURE.

SCHLIEMANN (H.).— Trojanische Alterthumer. Leipzig, 1874. 8°.

TREU (G.).— Griechische Thongefasse. Berlin, 1875. 8°.

KEKULE.— Griechische Thonfiguren aus Tanagra. Stuttgart, 1878. Fol.

GAEDESCHENS (R.).— Drei terra cotta Statuen aus Tanagra. Jena, 1880. 4°.

DORPFELD (and others). — Ueber die Verwendung von Terrakotten am Geisen und

Dache griechische Bauwerke. Berlin, 1881. 4°.
LOESCHCKE (G.).— Draifussvase aus Tanagra. Berlin, 1881. 4°.
HERMANN (P.).— Das Graberfeld von Marion. Berlin, 1888. 4°.
MULLER (W.).— Eine Terracotta der Gottinger Sammlung. Gdttingen, 1889. 4°.
WINTER (F.).— Ueber ein Vorbild neuattischen Beliefs. Berlin, 1890. 4°.
BOETTICHER (E.).— Hissarlik wie es ist. Berlin, 1890. 8°.
DORPFELD (W.).— Troja. . Berlin, 1893. 4°.

PERNICE. — Griechische Terrakotten im Antiquarium. Berlin, 1903. Fol.
WINTER (F.).— Die antiken Terrakotten. Stuttgart, 1903. Fol.

Greece.
DEONA (W.). — Les statues de terre cuite en Grece. Athenes, 1906. 8°.

Italy.

SCHIAVO (D.).— Sopra due Scisi sigillati. Palermo, 1755. 4°.

BISCARI. — Ragionamenti sopra gli antichi ornamenti e trastulli de' bambini. Firenze,

1781. 4°.

CARLONI (M.). — Bassirelievi Volsci in terra cotta. ' Roma, 1785. 4°.
PAPAZZURI (M.). — Lettera su una antica terra-cotta. Roma, 1794. 4°.
AVOLIO (F. di P.).— Delle antiche fatture di argilla. Palermo, 1829. 8°.
RUTGERS (J.). — Due bassirelievi di terra cotta. Roma, 1863. 8°.
BRUNN (E.).— Relievi delle urne etrusche. Roma, 1870. 4°.
LUDERS (0.). — Ritrovamenti di terre cotte in Tanagra. Roma, 1874. 8°.
BRIZIO (E.). — Scavi eseguite a Marzabotto. Roma, 1890. 4°.

Scolture fittile scoperte in Civita Alba. Roma, 1897. 4°.

FALCHI (T.).— Velutonia. Firenze, 1892. 4°.

Russia.

KONDAKOW. — Les statuettes grecques en terre cuite. Odessa, 1879. 8°.

U.8.A.

ANON.— Tanagra figurines. Cambridge, 1879. 4°.

REINACH (S.).— The so-called Asiatic terra-cotta groups. N. Y., 1888. 4°.

b.— MUSEUMS AND PRIVATE COLLECTIONS. CATALOGUES, ARTICLES, Etc.

England.

COMBE (T.). — Ancient terra-cottas in the British Museum. London, 1810. 4°.
NEWTON (C. J.) and BIRCH (S.). — Report on the Campana collection. London, 1856.
8°.
538

CERAMIC LITERATURE.

NEWTON (C. T.).— The Castellan! collection. London, 1874. Fol.
CESNOLA (L.).— Cyprus antiquities. London, 1880. Fol.

HILTON-PRICE.— A catalogue of antiquities. London, 1897. 4°.

MYRES. — Catalogue of the Cyprus Museum. London, 1899. 8°.

WALTERS (H. B.).— Catalogue of the terra-cottas in the British Museum. London,
1903. 8°.

France.

JANZE (Coll. de Mr. le Vic. H. de).— By J. de Witte. Paris, 1857. Fol.
NOEL DBS VERGERS (A.).— Notice sur le Muses Napoleon III. Paris, 1862. 8°.
LONGPERIER (A. de).— Musee Napoleon III. . . . Paris, 1868-74. 4°.
HEUZEY (L.). — Figurines en terre cuite. Catalogue. Musee National du Louvre.
Paris, 1882. 12°.

- Les figurines antiques de terre cuite du musee du Louvre. Paris, 1883. 4°.
POTTIER et REINACH. — Terres cuites de Myrina. Catalogue raisonne. Musee du

Louvre. Paris, 1887. 8°.

HERISSON (Cte. d').— Mission en Tunisie. 1881. 4°.

LECUYER (Coll. Camille).— Terres cuites antiques. Paris, 1882. Fol.

- Deuxieme collection. Terres cuites antiques. Paris, 1892. Fol.
GREAU (Coll. Mien).— Terres cuites d'Asie. Paris, 1886. 4°.
FROHNER.— Terres cuites grecques. Coll. Mme. D. (arthes). Paris, 1887. 8°.

Germany.

PANOFKA (T.).— Terrakotten des K. Museum zu Berlin. Berlin, 1842. 4°.
FROHNER. — Die griechischen Vasen und Terrakotten zu Karlsruhe. Heidelberg, 1860.

12°.

LUTZOW (A. von).— Munchener Antiken. Munchen, 1870. 4°.
ANON. — Griechische Terrakotten aus Tanagra in Berlin Museum. Berlin, 1878. 4°.
FURTW ANGLER.— Kunstdenkmaler aus Griechenland (Sabouroff Coll.). Berlin, 1883.

4°.

TREN (G.). — Erwerbungen der Antiken Sammlungen in Deutschland. Dresden, 1889. 4°.
PERNICE (E.).— Griechische Terrakotten in Museen zu Berlin. Berlin, 1904. 4°.

Greece.

MARTHA (J.).— Catalogue des figurines du Musee d'Athenes. Paris, 1880. 8°.
LECH AT (H.).— Terres cuites de Coreyre. Coll. C. Carapanos. Athenes, 1891. 8°.

Holland.

JANSEN (J. F.). — Terra cottas uit het Museum van Oudheden. Leiden, 1862. Fol.

- Die Etrurische Grafreliefs. Leiden, 1854. Fol.

Italy.

CONTUCCL— Musei Kirkeriani. . . . Roma, 1773. Fol.
CAMPANA (G. P.).— Antiche opere in plastica. Roma, 1842-51. Fol.

Catalogues of the collections. Rome, s.d. 4°.

MINERVINI (G.).— Terre cotte del Museo Campano. Napoli, 1880. Fol.

539

CERAMIC LITERATURE.

Russia.

DOELL (J.).— Die Sammlung Cesnola. St. Petersburg, .1873. 4°.
DEREWUZKY.— Des Museum d. K. odessaer Gesellschaft. Frankfurt, 1897. 4°.

Switzerland.
FOL (W.).— Etudes d'art et d'archeologie. Gentve, 1874-78. 4°.

Turkey.

REINACH (S.).— Catalogue du Musee de Constantinople. Paris, 1882. 8°.
MENDEL (G.). — Catalogue des figurines grecques de terre cuite. Constantinople, 1909.
8°; 15 pis.

U.S.A.

CESNOLA (L. P.). — Cypriote antiquities in the Metropolitan Museum. New York, 1894.
Fol.

c. — CATALOGUES OF SALES.

CESNOLA.— Antiquites chypriotes. Paris, 1870. 8°. By Frohner.
PIOT (Bug.).— Antiquites grecques. Paris, 1870. 8°. By Lenormant.
BARRE (A.).— Catalogue of the collection. Paris, 1878. 4°. By Frohner.
CASTELLANI (Collection).— First sale. Paris, 1878. 8°.

Second sale. Rome, 1884. 4°.

- Third sale. Paris, 1884. 4°.

RAYET (Coll. 0.).— Antiquites grecques. Paris, 1879. 8°.
HOFFMANN (H.). — Various catalogues of sales. Paris, 1886 and /. y. 4°.
LECUYER (C.).— Catalogue of sale. Paris, 1888. 4°.
TOCHE (Ch.).— Terres cuites de Tanagra. Paris, 1887. 12°.
PIOT (E.).— Collection E. Piot. Paris, 1890. 4°.
GREAU (J.).— Terres cuites d'Asie. Paris, 1891. 4°. By Frohner.
BRANTEGHEM (Collection van).— Brunettes, 1892. Fol. By Frohner.
ANCONA (A.).— Terra-cotta. Milano, 1892. 8°.
BAMEVILLE (Collection J. de,).— Pan's, 1893. 4°.
ANON. — Antiquites trouvees en Grece. Paris, 1895. 8°.
HARTMANN (A.).— Catalogue des antiquites. Paris, 1899. 4°.
PHILIP (P.). — Antiquites egyptiennes, grecques and romaines. Paris, 1906. 8°.

540

CERAMIC LITERATURE.

ROMAN POTTERY.

Towards the close of the eighteenth century practical archaeology — if we may
so define the actual prosecution of underground investigation, as distinguished from
the application to book-learning — was stirred into renewed activity by the account
of the gigantic works of excavation conducted, almost simultaneously, upon the classical
grounds of extinct civilisations. All the latest particulars of the amazing harvest of
treasures with which such labours had been rewarded in Italy, Greece, and distant Egypt,
were eagerly received. The sun had been made to shine again upon cities and temples,
for thousands of years buried in darkness, and the slumbering echoes of vast cemeteries,
which had so long remained silent, had been awakened by the triumphal cheers of a band
of intrepid explorers. At the end of a memorable campaign, its glorious results were
duly commemorated by the publication of some stately volume printed at the expense
of a learned society, or an enlightened Mecsenas. Warmly welcome in all antiquarian
circles, these exhaustive reports, and the discussions to which they gave rise, raised within
the brain of many a student a keen desire for more knowledge. The fascination exerted
by the perusal of these fairy-like tales, in which were truly narrated the adventurous
searches for mysterious hoards of marvels expected to be waiting within the depth of
the soil for the hand of the bold and lucky excavator who would exhume them, was
bound to give a fresh impulse to the pursuit of archaeological study. Armed with pick
and spade, and ready for active work, the antiquary of the new school was neglecting,
for a while, old texts and ancient monuments ; all the antique remains that could be seen
standing in his surroundings had become almost indifferent to him. His dreamy cogita-
tions were absorbed in imaginary vistas of subterranean regions where the explorer, after
having long wandered, not without toil and risks, through long and mysterious galleries,
was to reach at last the wonderful precincts of an undefiled sepulchral chamber. In
many localities of England, France, and Germany, the country squire and the village
parson were moved into action. Visions of academic glory crossed the brains of the
intending excavator at the mere thought that yonder conical mound — a land-mark in
the wide expanse of their moors — might contain the elements of a discovery sufficient
to render an obscure name celebrated for ever. No doubt, what could be expected to
come out from the fields-of-rest of the early inhabitants of Western Europe might look
insignificant when compared to the yieldings of the Etruscan tombs and the Egyptian
catacombs, but any find that would throw some light upon a dark period of the national
history should amply repay the finder for his trouble. Accordingly, each one set to work
with the fervent hope of contributing his own mite to the advance of general knowledge.
Learned societies were constituted for the purpose of investigating the sites of buried
cities available for study in a particular province. Few, if any, of the associates were
endowed with this world's goods. The modest subsidy obtained from a few honorary
members was scarcely sufficient to defray the cost of printing the yearly transactions
of the learned brotherhood. As a matter of course, the publication of that erudite
journal was a paramount necessity. In it lay the incentive which kept each worker
on his mettle. If any elaborate dissertation upon a subject of local interest was thought-
fully and exhaustively prepared, the writer had undertaken the task chiefly in the proud
expectation of seeing, one day, his name appear in print, at the end of the article, in the
pages of the journal. To carry on excavations upon a large scale was usually placed

541

CERAMIC LITERATURE.

beyond the capability of the society. But a trench was not casually opened in an old
part of the town, or an old chapel pulled down to make room for a new building, without
attracting the presence of a self-appointed inspector, watching anxiously for some dis-
covery that he could report upon at the next meeting. The majority of the members
set no claims to be ranked as accomplished historians ; they cared little, as a rule, to
determine the respective importance of all the singular objects that fell into their hands ;
but all was described with the same amount of minute accuracy. And in this way they
collected for the historian of the future a store of materials which can never be over-
estimated.

When, on some auspicious occasion, the site of a prehistoric burial ground, or of
some Koman villa, had been definitively located, repeated application for funds were
made to high quarters, and eventually a State grant was obtained, sufficient to institute
a course of systematic explorations. It was, indeed, a glorious moment for the fortunate
man whom his colleagues had selected as director of the operations, when he pointed
out the spot where the first trench should be cut open. With febrile excitement
he urged the diggers on their work ; with vigilant attention he moderated all undue
haste, lest a wanton stroke of the pick might irretrievably damage an inscribed tablet
or a fragile vessel. Often much abortive labour had to be spent, a direction had to
be abandoned for a more promising one, and yet until the actual place was reached
where the first link of a chain of discoveries could be picked up, unerring sagacity and
unflagging circumspection had to be exercised. In other cases, for instance, when the
well-defined area of an ancient cemetery was being explored, a few preliminary soundings
were sufficient to indicate the spot where a truly remunerative work should be com-
menced. One may easily imagine the feelings of exultation which seized the members
of the searching party when long rows of stone coffins were disclosed to the eye, arranged
side by side or superimposed in deep layers. As a rule, the clerical element was largely
represented at the function ; and parson, cure, abbato, or pfarrer were not the least
eager to proceed with the work of spoliation. No doubt each of them had had more
than one occasion, in the course of his pastoral teachings, to denounce with eloquent
indignation the heinous offence of disturbing the sacred rest of the dead, but under the
present circumstances the claims of science stood so much above any other consideration
that one would have been ill-advised to venture a few words hinting at sinful desecration.
True, the remains of Christians were to be found there, as well as those of infidels ; but
whether Pagan or Christian the dead had to give up to the living — in the interest of
knowledge — all that remained of such of their earthly possession as had been once
deposited with them in the grave. As a set-off against a necessary displacement, it
was represented that the finds, treated henceforth with honour and respect, would be
treasured as national monuments.

The campaign having been brought to a successful end, and the harvest deposited
in the local museum, the director of the excavations had to prepare a detailed account
of all that had been done, and an exhaustive description of the objects reclaimed from
the earth. Then — crowning reward of his labour — he undertook to superintend the
printing of the volume, to distribute it, when ready, to his learned colleagues, and
prepare to answer the criticism it could not fail to excite.

It is owing to the outcome of these isolated exertions of the archaeological societies —

so frequent at one time — that many a small town is now endowed with a museum of its

own, and also in connection with the movement that the list of antiquarian publications

has been so largely increased. In the aggregate of underground discoveries, the Roman

542

CERAMIC LITERATURE.

pottery stands foremost, if not by reason of the particular interest presented by each
of the specimens, at any rate, on account of the innumerable quantity in which they
have been found. In every locality where the Komans have once settled and ruled,
they have manufactured, used, and thrown away such an amazing mass of pottery that
on certain spots the under-strata of the soil are entirely made of broken earthen pots.
Usually the presence of a few fragments may be taken as a sure sign that further discoveries
may be expected. Indeed the field may prove so inexhaustible as to make the most
intrepid digger so weary of uninterrupted success that he may abandon the work long
before it is completed.

The exploration of the sites of Roman settlements has supplied the past generations
of archaeologists with a captivating labour, always attended with highly retributive
results. However large may have been the quantity of pottery they have taken out
of the soil, the hoard it contains does not appear to have materially diminished, and all
seem to promise that much remains to be unearthed for the gratification of the generations
to come.

The work of the pen will long continue to follow upon the work of the spade ; each
fresh find of Roman pottery will cause more reports and disquisitions to be written upon
a subject apparently well-nigh exhausted already. Although — if we except certain
examples of the red Arethian ware — there is little decorative work to praise, and few figure
subjects to elucidate and to comment upon in the plain terra-cotta left to us by the
Romans and their imitators. Other points of interest have, however, been found in it
that were sufficient to tempt the descriptive and exegetical power of the antiquarian
writers. Books on Roman pottery stand, with respect to the noble folios published on
painted vases, in the same ratio that the unassisted diggings of a provincial society bear
to the State-supported excavations accomplished on the prolific grounds of Etruria and
Greece. At the earliest and best time a paper on that subject affected usually the large
4° size. We can recognise it at a glance. Broad margins — provided for the purpose
of MS. annotations — enclose a letterpress printed in large type, varied by the introduction
of Latin quotations in italics and lapidary inscriptions in large capitals, and occasionally
a very bad wood-cut-; the bottom of the page is invariably occupied by closely printed
references to a whole library of kindred literature. Let us hasten to say that, at the
present day, the pamphlet on Roman pottery has lost much of that formal aspect ;
nothing in its external appearance distinguishes it from an article upon any other anti-
quarian topic. The serial publications which give it ready admittance are often of a
more modest size ; it is, as a rule, adequately illustrated by photographic blocks, the
Latin quotations are more discreetly introduced, and the substantial footnote — one of
its chief features at the outset — has, now, almost completely disappeared.

The terra-cotta figures of the Gallo-Roman period, having been found in great
number, have been occasionally made the subject of more ambitious volumes, richly
illustrated with examples drawn to the actual size. These coarse and clumsy figures
might be sketched on a very reduced scale, but the most that a skilful lithographer
could apply cannot impart excellence to the debased works of the plastic art in full decline.
The probability is that volumes of this sumptuous kind will always be few.

The last efforts of the antiquaries have been directed towards obtaining a complete
tabulation of all the potters' names found impressed upon the ware, as also of the localities
where the pottery was manufactured ; the pottery was often exported to great distances.
These names, collected from many sources, amount already to many thousands, and a
volume containing them all would be as bulky as the business directory of a small town.

543

CERAMIC LITERATURE.

As we have already stated, most of the publications comprised in this section consist
chiefly of articles printed in the transactions of a learned society, which were usually
re-issued in pamphlet form. It is beyond our capability to prepare a complete list of
them ; the following articles represent a small selection only.

a. — GENERAL.

Belgium.

SCHUERMANS (H.).— Sigles figulins. Epoque romaine. Bruxelles, 1867. 8°.

Exploration des tumulus de la Hesbaye. Bruxelles, 1866. 8°.

VAN BASTELAER (D. V.). — Les couvertes . . . employees en ceramique chez les

Remains. Anvers, 1877. 8°.
La ceramique antique plus legere que 1'eau. Mons, 1900. 8°.

England.

WOODWARD (J.). — An account of some Roman urns digg'd up near Bishops-Gate.

London, 1713. 8°.

ARTIS (E. T.).— The Durobrivee. London, 1823. Fol.
SHORT! (T. P.).— Sylva antiqua Iscana. Exeter, 1841. 8°.
WELLBELOVED (C.).— Eburacum, or York under the Romans. York, 1842. 8°.

- A handbook to the York Museum. 1881. 12°.
AKERMAN (J. Y.).— Archaeological Index. London, 1847. 8°.
— An account of the excavations in the New Forest. London, 1853. 4°.

An account of the excavations at Harnam Hill. London, 1854. 4°.

— Remains of Pagan Saxondom. London, 1855. 4°.
BUCKMAN and NEWMARK. — Illustration of the remains of Roman art in Cirencester.

London, 1850. 4°.
SMITH (C. Roach).— Collectanea antiqua. London, 1843-68. 8°.

Antiquities of Richborough. London, 1850. 4°.

Descriptive catalogue of his museum. London, 1854. 8°.

Illustrations of Roman London. London, 1859. 4°.

SMITH (H. E.).— Reliquiae Insurianse. London, 1852. 4°.

WRIGHT (T.).— The Roman City of Uriconium. Shrewsbury, 1859. 12°.

PRICE (J. E.). — Roman antiquities discovered on the site of ... Mansion House.

London, 1873. 4°.

CARUANA (A. A.).— Ancient Pagan tombs in the Island of Malta. Malta, 1898. 8°.
WALTERS (W. B.).— Roman pottery in the British Museum. London, 1908. 8°.

France.

MATTER.— Antiquites de Rheinzabern. Strasbourg. 4°. (1840 ?)

ROSSIGNOL (E. A.).— De la poterie romaine. Caen, 1861. 8°.

BOUILLET (J. B.). — Estampilles de potiers decouvertes en Auvergne. Clermont-Ferrand,

1864. 8°.

FROHNER (W.).— Les trois bouchees de pain. Paris, 1866. 8°.

MEILLET (A.). — De la fabrication des poteries dans 1'antiquite. Montauban, 1867. 8°.
WITTE (J. de).— Note sur un vase de terre. Paris, 1869. 8°.
ROBERT (E.). — Sur les figures des poteries rougeatres antiques. Paris, 1865. 8°.
544

CERAMIC LITERATURE.

MAZARD (H. A.). — La ceramique au musee de Saint Germain. Paris, 1872. 12°.
- De la connaissance par les anciens des glagures plombiferes. Paris, 1879. 4°.
ROULEZ. — Trois medaillons de poterie romaine. Paris, 1877. 4°.

HERON de VILLEFOSSE.— Sur quelques briques romaines du Louvre. Paris 1880
8°.

MAXE-WERLY. — Vases a inscriptions bacchiques. Paris, 1882. 8°, pp. 44 ; illustrs.

VERCOUTRE (Dr.).— Sur la ceramique romaine de Sousse. Paris, 1884. 8°.

BELLEVOYE (A.).— Marques de potiers de la periode Gallo-Romaine. Metz, 1885. 8°.

GEFFROY (A.).— L'epigraphie doliaire. Paris, 1886. 4°.

HABERT. — Poteries a email plombifere Gallo Eomaines. Chatillon, 1887. 8°.

PALLU de LESSERT.— Les briques legionnaires. Paris, 1888. 8°.

DESCEMET (C.).— Marques de briques. Paris, 1888. 8°.

FROHNER (W.).— Medaillons romains en terre-cuite. 1891. 8°.

LE BLANT (E.). — Sur quelques carreaux de terre cuite. Paris, 1893. 8°.

HABERT (T.).— La poterie antique parlante. Paris, 1893. 4°.

THEDENAT (H.). — Inscription peinte sur une gourde en terre cuite du Musee Carnavalet.
Paris, 1899. 8°.

Germany.

WEBERS (T.).— Ueber die bey Giessen erwittern Urnis. Giessen, 1719. 4°.
LITZEL.— Beschreibung der romischen Todten Topfe. Speyer, 1749. 16°.
LAUCHERT.— Die rmoische Thongefasse zu Kottweil. Rottweil, 1845. 8°.
FROHNER (W.). — Inscriptions terrse coctse vasorum. Gottingce, 1858. 8°.
KELLER. — Antiken rheinzaberer Topfergeschirre. Speyer, 1860. 4°.
HEFNER (J. v.).— Die romische Topferei in Westerndorf. Milnchen, 1862. 8°.
METZGER (M.). — Die romische Inschrift- und Gefass-Stempel in Maximil. Museum.

Augsburg, 1862. 8°.

SCHONE (A.).— Tituli vasis fictiliis inscripti. Berlin, 1871. Fol.
DUNCKER.— Das Romercastell by Ruckingen. Hanau, 1873. 4°.
DRAGENDORFF (J.).— De vasculis Romanorum rubris. Bonn, 1874. 8°.
KELLER (F.).— Die rothe romische Topfer-Waare. Heidelberg, 1876. 12°.
KLEIN (J.).— Verzierte Thongefasse aus dem Rheinland. Bonn, 1887. 8°.
NIESSEN (C. A.).— Sammlung romischer Alterthumer. Koln, 1889. 4°.
HOLDER (0.).— Die romischen Thongefasse in Rotweil. Stuttgart, 1889. 4°.
HETTNER (F.). — Zur romischen Keramik in Gallien und Germanien. Leipzig, 1893. 4°.
DRAGENDORFF (H.).— Terra sigillata. Bonn, 1895. 8°.
HANS.— Terra sigillata. Bonn, 1895. 4°.

HARSTER (W.). — Die Terrasigillata-Gefasse des speierer Museum. Speyer, 1896. 8°.
WOLFF (G.).— Romische Topfereien in der Wetterau. 1899. 8°.
HARTWIG (P.). — Aretenische Gefassform mit Scenen aus der Phaethonsage. S.I., 1900.

8°.

HETTNER (P.).— Drei Tempelbezirke in Trevererlande. Trier, 1901. 4°.
LUDOWICI (W.).— Stempel-Namen romischer Topfer von Reinzabern. 1904-06. 4°.
KNORR (K.).— Die verzierten Terra sigillata von Cannstatt. Stuttgart, 1906. 8°.
PAGENSTECHER.— Die Kalenische Reliefkeramik. Berlin, 1909. 4°, pp. 194 ; with

27 pis.

Holland.

GROEVIUS et GRONOVIUS.— Thesaurus antiquitatum. Traj. ad Rhenum, 1694. Fol.
35 545

CERAMIC LITERATURE.

Italy.

VIMERCATI-SOZZI (P.).— Fittile loveresi. Bergamo, 1842. 4°.

La figulina iconografica. Bergamo, 1877. 4°.

CARRARA (F.).— De'scavi di Salona. Praga, 1852. 4°.
TONINI (L.).— Le figuline riminesi. Bologna, 1870. 4°.
SPANO (G.).— Iscrizioni figulinarie Sarde. Cagliari, 1875. 8°.
DRESSEL (E.).— Di un grande deposito di anfore. Roma, 1879. 8°.
SCHMIDT (G.).— Tre mattoni dipinti. Roma, 1880. 8°.

Spain.

LUMINARES y VALCARCEL (A. de).— Barros saguntinos. Valencia, 1779. 8°.
SAVIRON y ESTEVAN (P.).— Notice di varias excavaciones. Madrid, 1875. 8°.

6.— GALLO-ROMAN POTTERY.

France.

GRIGNON.— Fouilles d'une ville romaine sur la montagne du Cbltelet. Pans, 1774. 12°.
GRIVAUX de la VINCELLE (C. M.).— Antiquites gauloises et romaines recueillies dans

les jardins du Palais du Senat. Paris, 1807. Fol.
Kecueil des monuments antiques decouverts dans 1'ancienne Gaule. Paris, 1817.

4°.

Arts et metiers des anciens. Paris, 1819. Fol.

POUYARD. — Lettre sur un vase chretien de terre-cuite. Paris, 1810. 8°.
REVER (F.).— Sur les figurines decouvertes dans la foret d'Evreux. Evreux, 1827. 8°.
DAUDIN. — Essai sur les poteries romaines decouvertes au Man. Paris, 1829. 8°.
JOUANNET. — Les antiques sepultures de la Gironde. Bordeaux, 1831. 8°.
CORRARD de BREB AN.— Vases de terre-cuite trouves a Troyes. Troyes, 1832. 8°.
LE MAISTRE. — De la poterie chez les Gallo-romains. Paris, 1835. 8°.
DA VILLE (A.). — Notice sur quelques doliums antiques. Rouen, 1842. -8°.
DUFOUR. — Noras de potiers remains recueillis a Amiens. Amiens, 1848. 8°.
CAHIER (A.). — Coup-d'oeil sur quelques parties du Musee de Douai. Douai, 1854. 8°.
BOSQ (P. et C.). — Fabriques de poteries dans le Departement des Bouches du Khone.

Marseilles, 1854. 8°.

RENOUVIER.— Sur une figure en terre-cuite. Montpellier, 1854. 4°.
PAYAN-DUMOULIN (E. de).— Antiquites gallo-romaines decouvertes a Toulon sur

Allier. Le Puy, 1860. 4°.
TUDOT (E.). — Marques et signatures de ceramistes trouvees dans le Bourbonnais. S.l,

1857. 4°.

Collection de figures en argile, oeuvres premieres de Tart gaulois. Paris, 1860. 4°.

LAFOSSE. — Notice sur les antiquites romaines trouvees a Besan£on. Besanqon, s.d. 8°.

BOREAU et LEDAIN.— Sepulture gallo-romaine. Niort, 1863. 8°.

ARTAUD (P.).— Ceramique et les vases sigilles des anciens. (A MS. preserved in the

Lyons Museum.) S.d. Fol.
BOUILLET (J. B.).— Notice sur les estampilles des vases gallo-romains. Ckrmont

Ferrand, 1864. 8°.
FONTENAY (J. de).— Note sur un vase d'argile des premiers temps du christianisme.

Autun, s.d.
546

CERAMIC LITERATURE.

BAUDRY (P.). — Rapport sur quelques marques de poterie romaine. Rouen, 1864. 8°.
DAMOUR (L.).— Les fouilles de Brou en 1870. Bourg, 1870. 8°.
DU CLEUZIOU (H.).— De la poterie gauloise. Paris, 1872. 8°.
BONSERGENT (L. F.).— Sigles figulins trouves a Poitiers. Poitiers, 1872. 8°.
FONTENAY (H. de). — Inscriptions ceramiques gallo-romaines. Autun, 1874. 8°.
RIGOLLOT (J.). — Notice sur la ceramique gauloise. Autun, 1874. 8°.
RONCY (A. de). — Notice sur la ceramique sigillee de Compiegne. Compiegne, 1875. 8°.
DESJARDINS (E.).— Liste des potiers remains de 1'atelier de Bavai. Tours, 1875. 8°.
MOUGIN de ROQUEFORT (P.).— Poteries sigillees de Frejus. Tours, 1876. 8°.
AURES (A.). — Marques de fabrique du Musee de Nimes. Nimes, 1876. 8°.
FLEURY (E.).— Antiquites du Departement de 1'Aisne. Paris, 1877-78. 4°.
MAGEN (A.). — Notice sur deux fours a poterie. Agen, 1878. 8°.

LOMBARD-DUMAS (A.). — Ceramique antique dans la vallee du Rhone. Nimes, 1878.
8°.

BARTHELEMY (A. de).— Vases sigilles de fabrique gallo-romaine. Paris, 1878. 4°.
TERNINCK (A.). — L'industrie et les arts dans 1'Artois pendant la periode gallo-remaine.

Paris, 1879. 8°.

MORTILLET (G. de).— Les potiers allobroges. Annecy, 1879. 4°.
NICAISE. — Note sur une coupe en terre cuite de 1'epoque du bronze. Chalon-s.-Marne,

1879. 8°.

- Le cimetiere gallo-romain. . . . Reims, 1883. 8°.

PLICQUE (A. E.). — Liusannum, la metropole des ceramistes gallo-romains. Arras, 1880.
8°.

QUIRIELLE (R. de) et BERTRAND (A.).— Decouverte d'une officine de potiers gallo-
romains a Lubier (Allier). Moulins, 1881. 8°.

VASSIER (A.). — Les poteries estampillees de 1'ancienne Sequanie. Besangon, 1882.
8°.

TAILLEBOIS.— Sigles figulins trouves chez les Ausci. Dax, 1882. 8°.

— Marques de potiers trouvees dans le Depart, des Landes. Dax, 1888. 8°.

THEDENAT. — Marques sur la poterie rouge trouvee a Reims. Paris, 1884. 8°.

BELLEVOYE (A.).— Marques de potiers gallo-romains. Metz, 1885. 8°.

L'ESTOILE.— Catalogue du Musee de Moulins. Moulins, 1885. 4°.

BRUN (F.). — Poterie sigillee trouvee dans le Depart, des Alpes-maritimes. Nice, 1885.
8°.

SAVE.— Catalogue du Musee de St. Die. 1886. 8°.

VAILLANT (V. J.). — Vases de 1'epoque gallo-romaine trouves dans le Boulonnais. Arrast
1887. 4°.

PLICQUE (A. E.). — Etude de ceramique arverno-romaine. Caen, 1887. 8°.

POTTIER (E.). — Un quartier de Nimes a 1'epoque gallo-romaine. Nimes, 1888. 8°.

ROCHEBRUNE (L.) et De la GUERE (Cte. R.).— Collection de moules antiques de cera-
mique. Bourges, 1889. 8°.

RICHARD (A.). — Marques de potiers gallo-romains. Poitiers, 1890. 8°.
BLANCHET (A.).— Figures en terre cuite de la Gaule romaine. Paris, 1890. 8°.

- Do., Suppl. 1901. 8°.

Les ateliers de ceramique dans la Gaule-romaine. Paris, 1899. 8°.

DANGIBEAUD (Ch.).— Contribution au Corpus des inscriptions de la ceramique sigillee.
1892. 8°.

DECHELETTE (J.).— Les vases gallo-romains du Musee de Roannes. Paris, 1895. 8°.

Le belier sur les chenets gaulois. Paris, 1898. 8°.

547

CERAMIC LITERATURE.

DECHELETTE (J.).— L'officine de Saint Remy. Paris, 1901. 8°.

Decouverte d'un vase sigille de fabrication Arverne. 8°.

HERMANVILLE. — Four a poterie gallo-romaine decouvert pres de Beauvais. Beauvais,

1897. 8°.

MARTEAUX et LEROUX.— Catalogue du musee d'Annecy. 1896. 8°.
VIALETTES (L.).— Sigles figulins de 1'Aveyron. Rodez, 1898. 8°.
FEUVRIER (J.).— Une Industrie gallo-romaine au village de Pointre. Dole, 1890. 8°.
COUTIL (L.). — Les figurines en terre cuite des Eburovices. Evreux, 1899. 8°.
THIOLLIER (F. et N.).— Fouilles du Mont Beuvray. St. Etienne, 1899. 8°.
SAUVAGE (E.). — Marques de potiers gallo-romains recueillis dans le Boulonnais.

Boulogne-sur-Mer, 1899. 8°.

JULIAN (C.).— Essai d'inventaire des " Figlinae " gallo-romaines. Paris, 1899. 8°.
BOULANGER (C.).— Le mobilier funerarre Gallo-Romain, etc. Paris, 1902-05. 4°.
DECHELETTE.— La fabrique de Graufesenque. Bordeaux, 1903. 8°.
Les vases ceramiques de la Gaule Romaine. Paris, 1904. 4°.

C.— ARETHIAN OR SAMIAN WARE.

FABRONI (A.). — Storia degli antichi vasi fittile aretini. Arezzo, 1841. 8°.
GAMURRINI (G. F.).— Le iscrizioni degli antichi vasi fittile aretini. Roma, 1859. 8°.
FUNGHINI (V.). — Degli antichi vasi fittile aretini. (In Erculei, Roma,)
IBM (M.).— Die arretinischen Topfereien. Bonn, 1898. 4°.
HANS.— Die arretinischen Vasen. Bonn, 1898. 4°.

CHASE (G. H.).— The Loeb collection of Aretine pottery. New York, 1908. 4°.
See also Roman Pottery.

d.— MURRHINE VASES.

GUIBERTUS (N.).— De Murrhinis. Frankfurt, 1597. 12°.

CHRIST (J. F.) and SAXIUS (F. E.).— De Murrinis veterum. Lipsia, 1743. 4°.

BISCARI (T. P. C.). — Ragionamenti de'vasi murrini. Catania, 1781. 4°.

VELTHEIM und HAGER.— Ueber de vasie Murrina. Heburst, 1791. 8°.

MOUGEZ (A.). — Memoire sur les vases Murrhins. Paris, 1804. 8°.

BOSSI. — Nouvelles observations sur les vases murrhins. Milan, 1808. 8°.

ROLOFF (C.). — Ueber die murrinischen Gefasse der Alten. Berlin, 1810. 4°.

ROZIERE (de). — Memoires sur les vases Murrhins. Paris, 1814. 8°.

CORSI (F.).— De vasi murrini. Roma, 1830. 8°.

SCHMIEDER.— Ueber die Murrinen. Brieg, 1830. 4°.

THIERSCH. — Ueber die vasa murrina der Alten. Miinchen, 1835. 4°.

COSTA de MACEDO (J. J. da). — Memoria sobre os vasos murrhinos. Lisboa, 1842.

ALLUAUD. — Etude sur les vases murrhins. Limoges, 1846. 8°.

SOLON (L.). — The enigmatic murrhine vases. Stoke on Trent. 1897. 16°.

e.— ANTIQUE VITREOUS PASTES AND THE PORTLAND VASE.

ASHPITEL (A.). — On a blue and white vase found at Pompei. London, s.d.
MARSH (C.). — An essay on the cameos of the Barberini vase. London, 1787. 8°.
WEDGWOOD (J.).— Description of the Portland vase. London, 1790. 4°.
DARWIN (E.).— The Barberini vase. London, 1791. 4°.

VELTHEIM (A. F. von). — Conjectures sur 1'urne de Barberini. Helmstedt, 1801. 8°.
548

CERAMIC LITERATURE.

DRESSEL (E.). — Vasi di pasta egyzia smaltata con ornati a relievo. Roma, 1822. 8°.

WINDUS (T.). — A new elucidation of the subjects on the Portland vase. London, 1845.
Obi. fol.

LLOYD (W. W.).— The Portland vase. London, 1848. 8°.

PARTEGER (Ph.). — Reproduction of the Portland vase in glass ; with notes on Wedg-
wood's reproduction. 1877. 8°.

DAVENPORT (C.).— Cameos. London, 1900. 8°.

ROSE (A. V.).— The Barberini vase. New York, 1904. 12°.

ANON.— The Portland vase. Etmria, 1907. 16°.

See also England, Medallions in Vitreous Paste.

/.— TERRA-COTTA LAMPS.

LICETUS (F.).— De lucernis antiquorum. Utini, 1652. Fol.

FABRICIUS (W. A.).— Lucernse veterum. Niirnberg, 1653. 4°.

BARTOLI (P. S.). — Le antiche lucerne sepolcrali. Roma, 1691. 4°.

FERRARIUS (0.).— Dissertatio de Veterum Lucernis sepulchralibus. Lugd., 1699. 4°.

PASSERI (J. B.).— Lucernse fictiles. Pesaro, 1739-51. Fol.

KENNER (F.).— Die antiken Thonlampen des K. K. Antiken Cabinets. Wien, 1858. 8°.

WIESELER (F.).— Ueber die Kestnersche Sammlung von antiken Lampen. Gott., 1870.
8°.

MARTIGNY.— Lettre sur une lampe chretienne. Belley, 1872. 8°.

VILLEFOSSE (H. de).— Lampes chretiennes inedites. Paris, 1875. 8°.

DELATTRE (P.).— Lampes chretiennes de Carthage. Lyon, 1880. 8°.

Les lampes du Musee de St. Louis de Carthage. S.L, 1889. 4°.

Lampes chretiennes de Carthage. Lille, 1890-91. 8°.

LE BLANT (E.). — Lampes en terre cuite de Tepoque chretienne. Rome, 1886. 8°.

Lampe pa'ienne portant la marque Anniser. Paris, s.d. 8°.

HAMMER (W.).— De antike Lerlamper. Copenhagen, 1887.

BACHOFEN (J. J.).— Komische Grablampen. Basil, 1890. 8° ; with Atlas 4° of 55 pis.

CUDWORTH (W.).— Antique lamps. London, 1893. 8°.

FORTNUM (Ch. D. E.). — On an Italo-Greek terra-cotta lamp. London, 1894. 8°.

FISCHBACH (0.).— Romische Lampen aus Poetovio. Graz, 1896. 8°.

FINK (F.). — Formen und Stempel romischer Thonlampen. Miinchen, 1901. 8°.

The foregoing list is far from exhausting the number of volumes and pam-
phlets which have been written on the subject of Roman lamps. Below we
briefly record the titles of those found quoted in archseological works.

FELLER (J.). — De lucernis antiquorum subterraneis.

MILO (A. de). — Lettera intorno alle lucerne de sepolcri antichi.

MOLERI (Dom Guil.). — Dissertatio de perennibus veterum lucernis.

ORSATI (F.). — Intorno alle lucerne sepolcrali.

AMATO (E. di). — Qual fede meritino quelle lucerne sepolcrali postate sotto 1'occhio
daH'antichita.

WILISH. — De lucernis sepulcralibus.

POUPART (S.). — Dissertation sur une lampe sepulchrale antique, etc.

549

CERAMIC LITERATURE.

ORIENTAL CERAMICS.

CHINESE.

The ancient literature of the Chinese Empire is not wanting in historical and
technical works treating of the national porcelain. From, the study of antique MSS.
and standard books the erudite Chinese collectors are said to have obtained a sound
knowledge of the ware, as also of its periods and places of manufacture ; but it is doubtful
if more than a mere fraction of their learning has reached Europe.

Up to the present day, our chief store of information has practically been limited to
two old text-books, viz. : — Lettres du Pere d'Entrecolles and Histoire de la porcelaine
chinoise, by Stanislas Julien. This latter work, a translation more or less accurate of a
treatise highly appreciated in China, has been taken as the mainstay of all subsequent
publications. In his incapacity of producing fresh materials, each writer seems to glory
in exposing the shortcomings and the unreliability of his indispensable authority. He
questions the accuracy of many statements. He puts a different interpretation on all
the technical terms used in the original treatise, he offers a hypothetical translation of
his own for many important passages, and discredits the correctness of the historical
part of the work. Meanwhile, as the controversy grows more and more entangled
among our self-taught sinologists, the whole question is on the point of being reduced
to a state of utter confusion.

It is from China — from the country itself — that should come the trustworthy book
which, written by a Chinese connoisseur for the benefit of the benighted European,
would settle our futile disputes.

The works of F. Hirth and S. W. Bushell have lately heralded a forthcoming change
in the direction of the study.

Austria.

LIPPMANN (F.).— Eine Studie ueber chinesische Email Vasen. Wien, 1870. 8°.
DUSARTEL (and others).— Orientalische keramische Austellung. Wien, 1881. 8°.

China.

ANON. — Description of the Feou-liang district (in Chinese). Various editions from 1325

to 1823.

CHU-YEN. — T'ao shuo. (A description of potteries in 6 books.) 1774.
TCHING-THING-KOUEL— History of the King-te-tchin porcelain. 1815.
THIEU-KING-KHAI-WON.— A manual of Chinese industry. S.d.
SCHROTER.— The trade of the province of Kwang-si. Hong-Kong, 1886.
BUSHELL (S. W.).— Chinese porcelain. Pekin, 1888. 8°.
GRUNDLACH (J. F. von).— Chinesische Porzellan. Shanghai, 1888. 8°.
GILES (H. A.). — An introduction to the history of the Chinese pictorial art. Shanghai,

1905. 8°.

England.

WESTON (S.).— Fragments of Oriental literature. London, 1807. 8°.
GETTY.— Chinese seals found in Ireland, 1850. 4°.
JONES (Owen). — Examples of Chinese ornaments. London, 1868. 4°.
ALABASTER (C.).— Catalogue of Chinese objects. London, 1872. 8°.
550

CERAMIC LITERATURE.

FRANKS (A. W.). — Catalogue of a collection of Oriental porcelain and pottery. London,

1878. 8°.
THOMSON (Sir Henry). — A catalogue of blue and white Nankin porcelain. London,

1878. Sm. 4°.

OLD (W. W.).— Indo-European porcelain. Hereford, 1882. 8°.
HIRTH (F.). — Ancient porcelain ; a study in Chinese mediaeval industry and trade.

London, 1888. 8°.

HOLLINGSWORTH (A.).— Blue and white china. London, 1891. 12°.
ARKWRIGHT (W.).— Catalogue of the Oriental collection. London, 1893. 4°.
BURLINGTON FINE ARTS CLUB.— Catalogues of Oriental porcelain. 1895-96. 4°.
HUISH (M. B.).— Chinese snuff bottles. London, 1895. 16°.
GULLAND (W. G.).— Chinese porcelain. London, 1898. 8°.
TRAPNELL (A.).— A catalogue of Chinese porcelain. Bristol, 1901. 4°.
MONKHOUSE (C.).— Chinese porcelain. London, 1901. 8°.
GODMAN (F. du Cane). — The Godman collection of Oriental pottery. London, 1901.

Fol.

VEITCH (G. T.). — Catalogue of a collection of Chinese porcelain. Birmingham, 1902. 8°.
BRINKLEY.— Ceramic art of China. London, 1904. 8°.
BUSHELL (S. W.).— Chinese art. London, 1904-05. 8°.

HODGSON (Mrs. W.).— How to identify old Chinese porcelain. London, 1905. 8°.
DUVEEN (Bros.).— Catalogue of Chinese porcelain. London, 1905. 8°.
CRISP (F. A.).— Armorial china. London, 1907. 4°.
BUSHELL (S. W.).— Chinese porcelain. Oxford, 1908. 4°.
BLACKER (J. F.).— Chats on Oriental china. London, 1908.
MEW (E.).— Old Chinese porcelain. London, 1909. 8°, pp. 100 ; with 16 pis.

France.

DU HALDE (Pere).— Histoire de la Chine. 1730. 8°.

D'ENTRECOLLES (Pere). — Lettres sur la fabrication de la porcelaine en Chine. Toulouse,

1810. 8°.

JULIEN (S.). — Histoire de la fabrication de la porcelaine chinoise. Paris, 1856. 8°.
FEUILLET de CONCHES. — Les peintres Europeens en Chine et les peintres Chinois.

Paris, 1856. 8°.

JACQUEMART (A.).— Catalogue de la collection de Mme. Malinet. -Paris, 1862. 8°.
GERSPACH. — Notes sur la ceramique chinoise. Paris, 1877. 8°.
DUSARTEL.— La porcelaine de Chine. Paris, 1881. 4°.

— Collection Du Sartel. Catalogue of sale. Paris, 1882. 4°.
PALEOLOGUE.— L'art Chinois. Paris, 1887. 8°.
GRANDIDIER (E.). — La ceramique chinoise. Paris, 1894. 4°.
VOGT (G.). — Recherches sur la porcelaine Chinoise. Paris, 1900. 4°.

Germany.

RIEBECK.— Die Sammlung E. Riebeck. Berlin, 1883. Fol.
FRISCH (A.).— Farbige Vorlagen. Berlin, 1889. Fol.

MEYER (A. P.).— Lung-ch'iian-Yao ; oder altes Seladon Porzellan. Berlin, 1889. 4°.
HIRTH.— Chinesische Studien. Munchen, 1890. 8°.
MUNSTERBERG (0. von).— Bayern und Asien. Leipzig, 1895. 4°.
OHLMER (E.).— Ftthrer durch die Olmer'sche Sammlung. Hildesheim, 1898. 8°.

551

CERAMIC LITERATURE.

Switzerland.

REVILLOT de MURALT. — Collection de porcelaines anciennes de la Chine et du Japon.
Geneve, 1901. 4°.

U.S. America.

HIPPISLEY (A. E.). — Catalogue of the collection of Chinese porcelain. Washington,

1890. 8°.
HOLCOMBE (Chester). — Ancient Chinese porcelain belonging to G. A. Hearn. New

York, 1894. 8°.
GETZ (B.). — Collection of Chinese porcelain loaned by A. Garland. New York, 1895.

8°.
— The Macomber collection of Chinese pottery in the Boston Museum of Fine Arts.

Boston, 1909. 8°, pp. 83 ; with 7 pis.
Chinese porcelain collected by Mr. and Mrs. Ch. P. Taft. New York, 1904. 4°,

pp. 127 ; with 33 pis.
WALTERS (Collection W. T.).— Oriental ceramic art. New York, 1895. Fol. (Text

by S. W. Bushell.)

WARREN (Collection G. B.).— Antique Chinese porcelains. Boston, 1902. 8°.
LAUFER (B.). — Chinese porcelain of the Han Dynasty. Leiden and New York, 1909.

8°, pp. 339 ; with 75 pis. and text illustrs.

EGYPTIAN AND ARABIAN.

It is to the tombs of ancient Egypt that one must turn to find the earliest evidences
of advanced and refined technique in the productions of the fictile art. In many other
lands the practice of making vessels of burnt clay loses itself in the mist of inscrutable
antiquity. But everywhere common terra -cotta seems to have for long satisfied all require-
ments, and thousands of years had to elapse before any appreciable alteration was intro-
duced in the rudimentary processes adopted at the very outset. History demonstrates
that the Egyptian potter had mastered the secrets of compound bodies, shining glazes,
and brilliantly coloured enamels long before they were known by any other nation. Such
portions of his art as did not die with him, he bequeathed to a long succession of disciples.
The potters of Assyria and Persia profited by his teaching. The Rhodians and the
Moors of Spain received the secrets in their turn, and handed them over to the majolists
of Italy ; finally through these latter all the fa'iencers of Europe obtained their share
of the Egyptian tradition. A fascinating history is still to be written which would deal
with the pottery of Egypt made 3,000 years before our era and follow its development
till the period of Roman domination. There is a mighty array of disconnected examples
to be picked up and linked together into a continuous chain. At one end should be
placed the plain terra vessels common to all primitive civilisations. To these would
soon succeed the objects made of a siliceous material, coated over with transparent
glazes of various colours. The climax of that period of manufacture is the production
of a turquoise blue of which no other artificial compound has ever equalled the brilliancy.
Many might be the variations noticeable in the making of Egyptian pottery until we
should come to the end of the chain, occupied by the still imperfectly known polychrome
vases of Alexandria, on which we find the plastic form of Greek art united with effects
of colours obtained from the variegated glasses, for which the local glass-makers were
so justly celebrated.
552

CERA MIC LIT ERA TURE.

The want of a special book on the pottery of ancient Egypt is scarcely supplied
by the numerous works published by the learned Egyptologists of all countries. It is
a laborious task to go through the contents of the ponderous tomes of Denon (V.), Voyage-
dans la Haute et la Basse Egypte ; Rosellini (J.), / monumenti dell'Egitto ; Lepsius (C.
R.), DenJcmiiler aus Aegypten, and many others, for a comparatively small crop of ceramic
objects. If it be true that each of these works contain a certain quantity of vessels
and figures of terra-cotta and porcelain, in none of them, on the other hand, are they
presented with an attempt at a classification which would make these examples illustrate
the march and progress of the potter's art in the land of the Pharaohs ; none of the
authors has considered their immense variety from the ceramic point of view. We shall
not, therefore, overload this section with the titles of the books of travel or of pure
antiquarian interest which can be found in the catalogues of archseological works.

In the present section, all the works on the pottery of Egyptian and Arabian origin,
ancient and modern, have been grouped together.

BOURGOIN (J.).— Les arts Arabes. Paris, 1873. Fol.

— Les elements de Fart Arabe. Paris, 1879. 4°.

DEMMIN (A.). — Thonwaaren von Kench und Sciout. (In Keramische Studien.) 1881.
PERROT et CHIPIEZ.— A history of art in ancient Egypt. London, 1883. 8°.

— A history of art in Phoenicia. London, 1885. 8°.
PETRIE (W. M. Flinders).— Pottery of ancient Egypt. London, 1883. 8°.

- with SMITH and others.— Naucratis. London, 1886-88. 8°.

- with GRIFFITH and others.— Kahun, Gurob, and Awara. London, 1890. 8°.
KARABACEK.— Zur muslimischen Keramik. Wien, 1885. 4°.

LA BLANCHERE (de).— Carreaux de terre cuite decouverts en Afrique. 1888. 8°.
PRISSE d'AVESNE.— La decoration arabe. Paris, 1888. 4°.
BUHRER (K.).— Aegyptische Bauertopferein. Aarau, 1889. 8°.
GAYET.— L'art arabe. Paris, 1893. 8°.

La faience dans 1'anti quite egyptienne. Paris, 1894. 8°.

DE MORGAN (W.). — Report on the feasibility of a manufacture of glazed pottery in

Egypt. Cairo, 1894. 8°.

BURLINGTON F. A. C.— Exhibition of the art of ancient Egypt. London, 1895. 4°.
DE MORGAN (J.).— Les origines de TEgypte. L'age de pierre. Paris, 1896. 8°.
MASSON.— La ceramique en Tunisie. Paris, 1896. 8°.

PETRIE (W. M. Flinders) and QUIBELL.— Nagada and Ballas. London, 1896. 4°.
HERZ-BEY.— Catalogue of the National Museum of Arab art. London, 1896. 12°.
VIOLARD (E.).— La ceramique berbere. Algers, 1897. 8°.
PRICE (F. G. Hilton).— A catalogue of Egyptian antiquities. London, 1897. 4°.
WALLIS (H.).— The MacGregor collection. London, 1898. 4°.

- Egyptian ceramic art. London, 1900. 4°.

FOUQUET (Dr.).— Contribution a Tetude de la ceramique orientale. Le Caire, 1900. 4°.

QUIBELL (E. J.).— Hierakoupolis. London, 1900. 4°.

RANDALL-MACIVER and WILKIN.— Lybian notes. London, 1901. 4°.

PETRIE (W. M. Flinders).— Abydos. 1902. 4°.

BISSING (W. von).— Fayence Gefasse. Vienne, 1902. 4°.

EDGAR (C. C.). — Greek moulds for bronzes and terra-cottas. Le Caire, 1903. 4°.

SARRE (F.).— Islamische Thongefasse. Berlin, 1905-8. 4°.

MIGEON (G.).— Manuel d'art Musulman. Paris, 1907, 8°.

553

CERAMIC LITERATURE.

INDIAN.

Either the skill of the Indian potter has not yet been revealed to us to its full extent,
or else, what is more probable, his art never rose above the current production of decora-
tive tiles and of a potter}7 of the domestic class. For a better kind of ware — highly
decorated porcelain and faience were highly appreciated and extensively used by the
wealthy classes — India remained for centuries tributary to the Chinese and Persian
makers. All ceramic historians who have been at the trouble to gather and describe
examples of a porcelain, the decoration of which seemed to indicate an Indian origin,
and on that score have constituted in their books a special section of Indian porcelain,
have, it appears, fallen into a manifest error. The question having been thoroughly
investigated by the local societies of antiquaries, it has been established that in con-
sequence of the complete absence of the necessary clays and raw materials all through
the breadth and length of the Indian territory the manufacture of porcelain could not
have been, and in fact never was, carried on in the country. Numerous as are the
porcelain vessels that one sees affecting the Indian shapes and painted with Indian
decorations, reliable authorities assert that all such pieces were imported goods coming
chiefly from China, where they were expressly made for the Indian market from models
supplied by the importers.

WALSH (M.). — Observations relating to brick-making in Western India. S.I., n.d.
Indian ceramics. Report on the Bombay pottery in the South Kensington Exhi-
bition. 1871. Sm. fol.
London Intern. Exhibition. Indian department. Catalogue. 1871. 8°

BADEN POWELL (B. H.). — Handbook of the manufactures and arts of the Punjab.

Lahore, 1872. 8°.

FALCONNET (P. de P.).— Brick and tile-making at Allahabad. Roorkee, 1874. 8°.
JAGOR (P.). — Die Herstellung swarzer Thongefasse in India. Berlin, 1879. 8°.
BIRDWOOD (G. C. M.).— The industrial arts of India. London, 1880. 8°.
BROWN (J. W.).— Catalogue of the Calcutta Exhibition. 1882. Fol.
DICKSON (W. P.).— Report on pottery at the Punjab Exhibition. Lahore, 1883. 4°.
ANON. — Permanent photographs of Madras and Burmese art ware. London, 1886. 4°.
KIPLING (J. L.).— The Mooltan pottery. London, 1886. 4°.
FRANIJI PESHOLANJI BHAMGARA.— Indian art pottery. London, 1888. 4°.
ANON. — Ornamental tiles collected by the Afghan Boundary Commission. London,

1893. Fol.
HALLIFAX (C. J.). — Monograph of the pottery and glass industry of the Punjab. Lahore,

1892. Sm. fol.

TAW SEIN-KO. — Monograph of the pottery ... of Burma. Rangoon, 1895. 8°.
DOBBS (H. R.).— The pottery of the North- West Provinces and Oudh. London, 1897.

4°.

HOLDER (E.).— Madras pottery. London, 1897. 4°.
HOERNLE (R.). — A report on the British collection of antiquities from Central Asia.

Calcutta, 1899-1902. 8°.

JAPANESE.

A much wider range of trustworthy information can now be obtained from Japan
than from China on the subject of the national ceramics. Book instruction, for instance,
which fails us almost entirely in the latter case, has become easily available in the former.
554

CERAMIC LITERATURE.

We possess accurate translations of comprehensive treatises, written expressly for our
benefit by Japanese authorities, and authentic specimens of the various styles of the
ware they describe have been pointed out to us so as to render any uncertainty impossible
on many important points. The international exhibitions have been the means of
throwing European collectors in communication with the learned specialists, sent over
as commissioners by the Japanese Government. They were eager to gather all possible
particulars regarding the origin and the manufacture of our industrial and artistic pro-
ductions, and, in exchange for the knowledge they obtained from us, they did their best
to a,nswer all the questions that were put to them respecting the history and present
conditions of the corresponding arts and industries in their own country. To these
circumstances we owe the Reports on the exhibition of 1878 by MM. Matsuga and Maeda,
as also the MS. written by Mr. Shioda, and published by Mr. A. W. Franks in 1880 ;
not to speak of a few other works and occasional articles contributed to periodicals,
containing historical sketches of their old fabrics, and detailed accounts of the manu-
facture as it is carried out in Japan at the present day. Coming from such an unimpeach-
able source, these publications have paved the way towards further studies, and will
always be profitably consulted.

England.

AUDSLEY (G. A.).— Notes on Japanese art. Liverpool, 1872. 4°.

— Catalogue raisonne of the Oriental exhibition of the Liverpool Art Club. Liverpool,
1872. 4°.

- Blue and white. Catalogue of sale. Liverpool, 1878. 8°.

- and BOWES.— Keramic art of Japan. London, 1875. 4°. 2nd ed., 1881. 4°.
ARCHER (T. C.).— Oriental art in Liverpool Liverpool, 1874. 4°.

ALT (W. J.). — Catalogue of a collection of articles of Japanese art. London, 1876. 8°.

ALCOCK (Sir K.). — Art and art industries in Japan. London, 1878. 8°.

FRANKS (A. W.).— Japanese pottery. London, 1880. 8°.

DRESSER (C.). — Japan : its architecture, art, and art manufactures. London, 1882.

8°.
BOWES (J. L.). — Japanese marks and seals. London, 1882. 4°.

— Japanese pottery. Liverpool, 1890. 4°.

— Handbook to the Bowes Museum. Liverpool, 1890. 12°.

— A vindication of the decorated pottery of Japan. Liverpool, 1891. 4°.

See Audsley, Keramic Art of Japan.

REIN (J. J.).— The industries of Japan. London, 1889. 4°.
REGAMEY (F.).— Japan in art and industry. London, 1893. 8°.
LAWRENCE (Sir Trevor).— Catalogue of Japanese works of art. London, 1895. 4°.
TOMKINSON.— A Japanese collection. London, 1898. 4°.
BRINKLEY.— Ceramic art of Japan. London, 1904. 8 \
MEW (E.). — Japanese porcelain. London, 1909. 8°, pp. 96 ; with 16 pis.

France.

MATSUGA et MAEDA. — Porcelaines et faiences japonaises. Paris, 1878. 8°.

MATSUGA. — Le Japon a 1'exposition universelle. Paris, 1878. 8°.

GONSE (L.).— I/art Japonais. Paris, 1883. 4°.

OUEDA. — La ceramique japonaise. Paris, 1894. 12°.

MILLOUE (L. de).— Guide illustre du musee Guimet. Paris, 1897. 12°.

555

CERA MIC LITER A TURE.

Germany.

ZIMMERMANN (E.).— Koreanische Kunst. Hamburg, 1895. 4°.
BRINCKMANN.— Kensan . . . Japanische Topferkunst. Hamburg, 1897. 8°.
MUNSTERBERG (0.).— Japanische Kunstgeschichte. Braunschweig, 1907. 4°.

' Holland.

SIEBOLD (Fr. von).— Keramiks. (In Nippon Archiv, etc.) Leiden, 1832. Fol.

Japan.

SEN-RIOU-SHI. — The secrets of the Rakou porcelain. (In Japanese.)
MAMPO ZENSHO.— Cyclopedia of arts. S.I, 1694. 8°. (In Japanese.)
SHOKO ROJIN. — Collection of famous utensils, for the most part used in the tea
ceremony. (In Japanese.)

NINAGAWA-NORITANE. — Notice historique sur les arts et les industries japonais.

Tokio, 1876-79. Obi. fol.

SIEBOLD (H. von).— Notes on Japanese archseology. Yokohama, 1879. 4°.
MORSE (E.).— Shell mounds of Omori. Tokio, 1879. 8°.

KOGEI SHIVYO.— Handbook of the Tokyo Nat. Museum. Sever. Edit. 8°. (In
Japanese.)

U.S.A.

JARVIS (J. J.).— A glimpse on the art of Japan. New York, 1876. 16°.
GRIFFIS (W. S.).— The Mikado's Empire, New York, 1878. 8°.
MORSE (E.).— Old Satsuma. New York, 1888. 8°.

Morse collection. See Baxter.

Review of the work of J. L. Bowes. Salem, 1891. 8°.

JOUY (P. L.). — Korean mortuary pottery in the U.S. National Museum. Washington,

1890. 8°.

BRINKLEY.— The art of Japan. Boston, 1901. Fol.
WAGGAMAN COLLECTION. New York, 1893. 8°.
MORSE (E. S.). — Catalogue of the Morse Collection of Japanese pottery in the Boston

Museum. Cambridge (Mass.), 1901. 4°.

PALESTINE.

PALESTINE EXPLORATION FUND.— The Moabite pottery. London, 1878. 8°.

PETRIE (W. M. Flinders).— Tell el Hesy. London, 1891. 4°.

GAUTIER et LAMPRE.— Fouilles de Moussian. Chartres, 1905. 4°. (Caldea.)

PERSIAN.

A lateral branch of Egyptian ceramics, the potters' art of ancient Assyria and Persia,
has developed higher proportions than the parent trunk had ever attempted to attain.
We mean in its application to architectural decoration. The colossal friezes of enamelled
bricks which embellished the walls of the Ninivian palaces and of the monuments lately
discovered at Suza have no equivalent in any other city of the old world. One may say
that the work of the Persian potter is, indeed, an art of its own. Few as are still the
556

CERAMIC LITERATURE.

examples of it which have come to our knowledge, they are sufficient to give us
an idea of its magnitude. It is to be expected that the campaigns of excavations will
soon be resumed in a land where they have already yielded such wonderful results. They
will bring to light a large crop of materials for the publication of many a splendid volume
which will place under our eye a style of polychromic decoration departing entirely
from the notions that our previous studies of classical architecture had allowed us to
form.

European art has much to learn from a thorough appreciation of the harmonious
combinations of graceful lines and bright colours, so strikingly displayed upon the tile-
clad surface of the rich mosques and proud mansions of the mediaeval period still standing
in the ancient towns of Persia. Odd tiles, fragmental friezes, and isolated panels, well
calculated to excite our admiration, have come into our hands. But if a few of them
have been reproduced in the books devoted to Oriental art, we have to regret that in very
few instances is the complete design of which these tiles form part to be found in any
of those books. It is a want that deserves to be gratified. Any work which should
give us satisfactory illustrations of the whole ornamental scheme imagined by the fanciful
tile-makers of Persia would be sure to be favourably received.

FORTNUM (C. D. S.). — A descriptive catalogue of the Persian, Damascus, and Rodian

ware. London, 1873. 8°.

SOLDI (E.).— Les arts meconnus. Paris, 1881. 4°.
BURLINGTON FINE ARTS CLUB.— Catalogue of Persian and Arabian ware exhibited

in 1885. London, 1885. 4°.

SCHORN (0. von).— Persisch-rodische Fayence Teller. Nurnberg, 1888. 4°.
SUNAKOFF (N.).— Kecueil de Tart decoratif de 1'Asie Centrale. St. Petersbourg, 1888.

Fol.
DIEULAFOY.— Fouilles de Suse. Paris, 1887. 8°.

- L'acropole de Suse. Paris, 1890-92. 4°.

DIEULAFOY (Mme. J.).— A Suse. Journal des fouilles. Paris, 1888. 4°.
FARGUES (J.).— On the manufacture of Kashi tiles. Edinburgh, 1888. 8°.
LESSING (J.).— Persich-turkische Fayence Teller. Berlin, 1890. Fol.
PERROT and CHIPIEZ.— History of art in Persia. London, 1892. 8°.
WALLIS (H.). — Notes on some early Persian lustre vases. London, 1885-89. 4°.
Persian ceramic art in the collection of Mr. F. D. Godman. London, 1891. 4°.

- Typical examples of Persian ceramic art. London, 1893. 4°.
Persian lustre ware. London, 1899. 4°.

GAYET (A.).— L'art persan. Paris, 1895. 8°.

SMITH (Sir R. M.).— Edinburgh Museum. The Persian collection. Edinburgh, 1896.

8°.

MARTIN (R. F.). — Modern Keramik von Centralasien. Stockholm, 1897. Fol.
The Per-eian lustre vase in the Imperial Hermitage at St. Petersburg. Stockholm,

1900. 4°.

BOURDOKOFF.— Ceramique de 1'Asie centrale. St. Petersbourg, 1905. 4°.
READ (Ch. H.). — Burlington Fine Arts Club. Exhibition of the faience of Persia and

the nearer East. London, 1907. 4°, pp. 82.
GETZ (J.). — Illustrated catalogue of the old Persian pottery acquired by Messrs. Watson

& Co. New York, 1908. Sm. 4°.
PIER (G. C.).— Pottery of the near East. New York, 1909. 8°, pp. 173 ; with 64 pis.

557

CERAMIC LITERATURE.

TURKISH.

SALAHEDDIN BEY.— La Turquie a 1'exposition universelle de 1867. Paris, 1867. 8°.

PARVILLEE (L.). — Architecture et decorations turques au xve siecle. Paris, 1874.
Fol.

BAUMEISTER (G.). — Fa'iencefliesen aus alten turkischen Baudeukmalern. Nurnberg,
1880. Fol.

JACOBSTHAL. — Mittelalteriche Backsteinbauten zu Nachtschwan im Araxesthale.

Berlin, 1899. 4°.
LECOMTE (P.).— Les arts et metiers de la Turquie. Paris, 1902. Sq. 8°.

AMERICA.
BARBER (E. A.).— The maiolica of Mexico. Philadelphia, 1908. 8°.

558

CERAMIC LITERATURE.

EUROPEAN CERAMICS.

AUSTRIAN— BOHEMIAN— HUNGARIAN.

GZOERNIG. — Industriestatistik der Oesterreich Monarchic ; P. I. Steinwaaren, Thon-

waaren. Wien, 1857. 8°.

HABERMANN (G.).— Porzellan, Thon u. Glas Industrie. Wien, 1873. 8°.
FALKE (J.).— Die ehemalige Kaiserliche Porzellan-Fabrik in Wien. Stuttgart, 1875. 4°.
DRASCHE.— Fabrik von H. Drasche in Tusersdorf. Wien, s.d. Fol.
WIERZBICKI (L.).— Thongefasse ruthenischer Bauern. Lemberg, 1882. 4°.
SITTE (C.).— Salzburger Weissgeschirr. Nurnberg, 1883. 4°.
SONTAG. — K. K. Fachschule fiir Keramik. Katalog der Keram-materialen. . . .

Znaim, 1883. 8°.

FARKASHAZI-FISCHER.— Une manufacture nationale. Budapest, 1887. 8°.
FALKE (J.).— Die K. K. Wiener Porzellanfabrik. Wien, 1887. 4°.
KOULA (J.).— History of the Bohemian pottery (in Bohemian). Prague, 1888. 8°.
CYULA (D.).— Revai Minta majolika Festesre. Budapest, 1889. Fol.
DINER.— Ungarische Fayence. Dusseldorf, 1890. 4°.

WEBER (0.). — Die Entstehung der Porzellan und Steingut Industrie in Bohem. Praq.
1894. 8°.

VOGEL (C.). — Keramische und Glas Industrie. Chicago Ausstelhmg. Wien, 1894. 4°.
SCHIREK (C.).— Majolika Geschirrfabrik in Holitsch. Brunn, 1896. 4°.

- Geschichte der Zna'imer Thon Industrie. Brunn, 1899. 4°.

BRAUN (E. W.).— Ausstellung von Alt Weiner Porzellan. Troppau, 1903. 12°.
SCALA (A. V.).— Austellung von alt Wiener Porzellan. Wien, 1904. 8°.

- Die kaiserl. konigl. Wiener Porzellanmanufaktur. Wien, 1906. 4°.
BRAUN (E. W.).— Die K. K. Wiener Porzellan Manufaktur. Wien, 1906. Fol.
WALCHER-MOLTHEIN (A. R. v.).— Bunte Hafner keramik der Renaissance in der

Oesterreichen Landern. Wien, 1906. Fol.

CHYTIL und JIRIK. — Katalog von Keramischen Bohmischen Ursprung. Prog, 1908.
8 .

BELGIAN.

DEVIGNE (F.).— Une gourde en faience du xvie siecle. Gand, 1855. 8°.
WAUTERS. — Les faiences et porcelaines de Bruxelles. Bruxelles, 1882. 4°.
VAN DE CASTEELE (D.). — Le sculpteur P. L. Cyffle et sa manufacture de porcelaine
a Hastiere-Lavaux. Namur, s.d. 8°.

- L'ancienne faiencerie liegeoise. Bruxelles, 1884. 8°.

SOIL (E.). — Recherches sur les anciennes porcelaines de Tournay. Paris, 1883. 8°.

- Une faiencerie tournaisienne. Tournay, 1884. 8°.

- Potiers et fa'ienciers tournaisiens. Lille, 1886. 8°.

SIBENALER. — Conference sur les anciennes faiences de la region luxembourgeoise.

Arlon, 1897. 8°.

TOMBUE (L.). — Histoire de la ceramique a Huy et a Andennes. Huy, 1901. 8°.
DARDENNE (E. J.). — Marques des faienceries andennaises. Bruxelles, 1902. 8°.

PHOLIEN (F.). — Contributions a 1'histoire de la ceramique au Pays de Liege. Lieae
1902. 8°.

- La ceramique au Pays de Liege. Liege, 1906. 8°.

MEESTER (M. de). — Les industries ceramiques en Belgique. Bruxelles, 1907. 8°.
See also Ancient Stoneware.

559

CERA MIC LITER A TURE.

DANISH.

BING ct GRONDAHL. — Catalogue des figures en bas-reliefs d'apres Thorwaldsen-

Copenhague, s.d. 8°.
BOUTELL (Ch.). — The arts and the artistic manufactures of Denmark. London, 1874.

4°.
NYROP (C.).— Den danske Porcellains fabrikations Tilbliven. Kjobenham, 1878. 8°.

— Danske Fajence-og Porcellainsmaerker. Kjdbenhavn, 1881. 8°.

— Dansk Pottemageri. Kjobenhavn, 1882. 8°.

CASATI (Ch. C.).— Notice sur le musee du Chateau de Rosenborg. Paris, 1879. 8°.

SEHESTED (F.).— Jyde potteindustrien. Kjobenltavn, 1881. 8°.

MEIER (F. J.). — Noget om dansk keramik paa Udstillingen. Kjobenhavn, 1888. 4°.

GARNIER (E.). — La manufacture Royale de Copenhague. Paris, 1894. 8°.

BING (H.).— Porcellansfabrikken Bing og Grondahl, 1853-1903. Kjobenhavn, 1903. 4°.

DUTCH.

REGOUT (P.).— Pattern book of the manufactory of Petrus Regout at Maestricht. 1854.

4°.

ANON.— De Haagsche Porcelein fabrick. The Hague, 1863. 8°.

HA YARD (H.).— Grandes collections hollandaises. Haarlem, 1873. 8°.

— Catalogue de la Collection van Romondt. La Haye, 1875. 8°.

— Catalogue de la Collection J. Loudon. La Haye, 1877. 8°.

- Histoire de la faience de Delft. Paris, 1878. 4°.

DELORME (R.).— Les faiences de Delft. Collection du Dr. Handle. Paris, 1874. 18°.
OBREEN (F. D. 0.).— Merken van Delftsche Plateelbakkers. Rotterdam, 1877. 8°.
MULLER (S.).— Utrechtsche Plateelbakkerij. Rotterdam, 1877. 8°.
KNOCHENHAUER (P. F.).— Niederlandische Fliesen. Berlin, 1886. Fol.
VOSMAER (A.). — De Haagsche plateelbakkerij Rosemberg. Amsterdam, 1892. 8°.
GLAISHER.— Delft ware. London, 1897. 8°.

LAIGNE (L. de). — Une faiencerie a Rotterdam au xvii and xviii siecles. Paris, 1898. 4°.
BLUMSEIN (E.).— Delft und seine Fayencen. Hambourg, 1899. 8°.
JUSTICE (J.).— Dictionnaire des marques de la faience de Delft. Gand, 1901. 8°.
KNOWLES (W. P.).— Dutch pottery. London. 1905. 8°.
FITZHENRY (J. H.).— A series of twelve Delft plates. London, 1907. 4°.
BREMMER (H. P.).— Delftsch Aardewerk. Amsterdam, 1906. 4° ; with 97 pis. Vol. II.,
1907.

- Delftsch Aardwerk ; een practisch sesthetische Studie. Amsterdam, 1908. 8°,
pp. 232 ; with 26 pis.

HAVARD (H.). — Histoire de la ceramique hollandaise. Amsterdam, 1909. 4°. 2d. ed.
MOORE (N. H.).— Delft ware. London, 1909. 8°, pp. 73 ; with 58 illustrs.

ENGLISH.

To borrow from the scattered records of some ancient pottery manufactory sufficient
material for the making of a handsomely printed volume is quite a modern conception.
In England such a notion was entertained, not only at a later time, but also with greater
diffidence than in France and Germany. As a consequence the list of English mono-
graphs cuts but a modest figure, when compared with the prodigious fecundity of that
branch of foreign literature.
560

CERAMIC LITERATURE.

The cause of this apparent indifference to local history must not be attributed to
any want of appreciation on the part of the English amateur for the ceramic production
of his own country. It is well known that the very name of porcelain has always carried
with it, in England, an idea of rarity and costliness at the times when objects of the kind
were only obtained from foreign parts, and that, later on, when it began to be manu-
factured in the country, porcelain continued to be as highly valued as ever. But for
a long time specimens failed to raise, in the mind of their possessor, any curiosity as
to their place of origin, the date of their manufacture, and the name of their maker.
We must remember that, at that moment, all combined to leave these points in a con-
venient obscurity. The purchaser received no information from the merchant; this
latter being most careful to conceal the sources of supply. Moreover, the china lover had
always been impressed with the notion that, however beautiful in treatment might be
a piece of porcelain, it was but a collective work in the completion of which any artistic
individuality could have no more than an auxiliary share.

This appeared especially true with respect to the Oriental importations on which
Europe had long to depend to satisfy the demand for a white and translucid ware which
had come to be considered as inimitable. It was well known that porcelain came from China
and Japan ; but a clear distinction between the products of the two countries had not
yet been established. To make an attempt at ascertaining, for the most typical groups,
the periods and localities of manufacture, or the names and peculiar style of the best
makers, would have been a thankless task ; and no one was rash enough to undertake
it. So far as the various substitutes for Oriental china, which made their appearance
in the eighteenth century, were concerned, we must bear in mind that the specimens
of soft and hard porcelain of European make, appreciated as they may have been, were,
after all, considered in the light of happy but inferior counterfeits of the originals. The
patron of home-made replicas of an unobtainable foreign model had no desire to know
the name of the maker. It cannot be denied that to produce satisfactory imitations
was the chief aim of the English manufacturer. His tea-sets and table-ware affected
an Oriental appearance ; his dainty groups and figures might have been thought to
come from Dresden. He depended for success on being able to supply with a cheaper
article the wishes of the purchaser who demurred to the high prices asked for foreign goods.
For that reason he seldom affixed his name on the china of his own make ; a pseudo
Chinese sign, the saltired sword of Meissen, the crossed L's of Sevres, or any other mark
of a famous Continental factory, served much better his purpose, which was — at least
at the outset — to baffle rather than assist identification. To write upon the conditions
of the china manufacture in England at that period was an idea scarcely to be entertained
by any contemporary. Our knowledge of all that is connected with the early days of
the English porcelain has much to suffer from the want of special books printed at the
time. We have to be satisfied with the scanty particulars which occur in old topographic
works ; not much more than the mention of some china factory, of which the author
happens to record the name, when passing under review the various industries of the
region.

England awoke at last to a sense of the necessity of tracing the origin and the im-
provement of her national arts. Historians came to the rescue, anxious to gather and co-
ordinate all dates and facts connected with the art of the potter. This was concomitant
with the spread of the collecting rage, the assemblage of ceramic specimens from all
sources, and the claims of the perplexed collector, looking out in vain for the elements
of a sound education. It was, for him, of the utmost importance that he should be
36 56J

CERAMIC LITERATURE.

enabled to disengage, from the mass of miscellaneous porcelain with which they had so far
been confounded, the examples of English china, for which he was developing an undivided
interest. Following a movement which had originated in France, a few writers decided
to diverge from the field of general ceramic history and concentrate their study upon
the establishment and vicissitudes of one particular manufactory. They hastened to
give us the benefit of their researches, and English monographs succeeded to each other
until all the chief centres of production had been made the subject of an exhaustive
work. Their number, it is true, is far from equalling that of the monographs issued
in foreign countries ; in the aggregate, however, they constitute a cyclopaedia of the
ceramic art of England of immense value to the student. It may be said, moreover,
that they compare favourably with any other as regards completeness and accuracy.

Worcester, Bristol, Derby, and other minor china factories have had their historical
records strictly investigated, and the result of long and diligent researches has been set
down in handsome volumes, so zealously perfected, that little has been found, ever
since, that could be added to the store of information gathered by their writers.

Such works were, as we have already pointed out, a natural consequence of the
newly -born infatuation for rare and valuable porcelain ; they were anxiously expected
by a crowd of collectors, buyers, and sellers, to whom they presented an intense, and
not always unmeretricious interest.

The conditions were quite different with regard to English pottery, long neglected
for the sake of Italian majolica and French faience, the only ware made of coarse
material which had then a chance to be noticed by the side of refined porcelain.
If some stray example of the work of the old English potter had received admittance
into a famous collection, it was an isolated specimen which either a date or an
inscription, or a decorative treatment particularly elaborate, invested with exceptional
value. English pottery, in all its branches, being disregarded in its own country, we
cannot wonder if the foreign collector long remained unaware of its very existence ;
we have only to thank our own want of appreciation if it is scarcely represented in
the Continental museums. Yet, from the early days of the revival of taste for ceramic
art, this modest pottery could boast of having its text-books. They were written by
a group of independent spirits who not only indulged in the singular pursuit of
gathering the earthenware jugs, mugs, teapots, and other household crocks of our fore-
fathers, but had, moreover, the audacity of expressing upon their merits so laudatory
an opinion that it had little chance of being accepted outside their little circle.
They praised the perfection of manufacture which renders the average productions of
the English pot-works of the eighteenth century, superior in technical qualities to any-
thing that was made in Europe at the same period. They could recognise in these simple,
homely vessels an originality of conception and design which escaped, and still escapes,
general recognition ; and they rightly admired the variegated harmonies of the coloured
glazes blending upon their surface. We must add that the class of pottery we are referring
to was quite of a different order from the ornamental ware of Josiah Wedgwood, which
had its special group of admirers.

It was a rash venture to hint at the historical interest of a slip-decorated dish or to
extol the quaintness of a salt-glaze jug and the harmonious colours of a tortoise-shell
tea-pot before a porcelain collector of those days. He would have answered that such
specimens were only fit for a cabinet of general curiosities, where they could be placed
beside a black jack or an old pewter pint-mug, to show what sort of uncouth drinking
vessels satisfied the taste of our ancestors. To rescue from the gloomy darkness of
562

CERAMIC LITERATURE.

an antiquary's emporium the disparaged earthen pots, and claim boldly for them a place
in the full light, on a line with specimens of foreign pottery of recognised excellence,
could only be attempted by men who had a full confidence in the ultimate success of
the cause they advocated. It was accomplished by a few non-conformist and far-seeing
collectors, among whom we may name A. H. Church, R. Soden-Smith, Lady Charlotte
Schreiber, Henry Willett, and other kindred spirits, who soon cams to the front, and
standing bravely in defence of the old English pottery, protested against the neglect
of which it had been the object. The boldest of the small party wrote and published
books, pamphlets, and catalogues, or caused articles to be inserted in influential periodicals
to further the advance of their ideas ; each of them possessed a well-selected collection
and could back his opinion by producing some remarkable example of the various styles
of work of the old English potter. They soon attracted a respectable array of followers,
easily drawn into a new pursuit which offered untrodden fields of research and an
unstinted source of profitable enjoyment.

We must not forget to record the assistance that the movement received from the
small but representative show exhibited in the Jermyn Street Museum, and particularly
from the admirable catalogue in which the theretofore nameless products of disregarded
handicrafts were correctly named and described with a care usually reserved for specimens
of repute and of good market value. The collection, originally brought together by an
old Burslem manufacturer who wanted to illustrate the progress of the art in the Potteries
district, was no doubt the fixed point from which radiated those formed, later on, on
a similar plan, and it has contributed not a little to the spreading of a new form of the
collecting rage. But, if our old pottery is now recognised as a stout branch of the great
ceramic tree among the English-speaking nations, if the day is, as we think, close at hand
when it will at last assume the place it deserves to occupy in foreign museums, the credit
of having introduced it to the collector's world must be given to the rare admirers of
the early days, who loved it for its own sake, and did not hesitate to put into print the
newly-born notions which now unite so many converts.

«.— GENERAL.

HILL (A.). — Instructions how to make as fine china as ever was sold by the East-India

Company. London, 1716.

ROUQUET. — The present state of the arts in England. London, 1755. 8°.
PUYMAURIN (M. de). — Memoires sur diflerents sujets relatifs aux sciences et aux arts.

Toulouse, 1811. 8°.
DE LA BECHE (Sir H.). — Museum of practical Geology. Catalogue. London, 1855.

8°.
CHURCH (A. H.). — Catalogue of the specimens of old English pottery in the collection

of A. H. Church. Cirencester, 1870. 12°.
BURLINGTON FINE ARTS CLUB.— English and Continental porcelain exhibited in

1873. London, 1873. 4°.
SMITH (R. H. Soden).— Catalogue of the English pottery and porcelain exhibited at

the Alexandra Palace. London, 1873. 8°.

M'CARTHY (J. F.).— Great industries of Great Britain. London, s.d. 8°.
MAWLEY (R.) (Anon).— Pottery and porcelain in 1876. London, 1877. 8°.
JEWITT (L.).— The ceramic art of Great Britain. London, 1878. 8°.
GATTY (Ch. T.).— On some medieeval pottery. Liverpool, 1879. 8°.
WUNDT (Anon).— English pottery and porcelain. London, 1881. 8°.,

563

CERAMIC LITERATURE.

NIGHTINGALE (J. E.). — Contributions towards the history of early English porcelain.

Salisbury, 1881. 8°.
SOLON (M. L.).— The art of the old English potter. Derby, 1883. 4°. 2nd ed., 1885.

8°.

On some fragments of English earthenware. Derby, 1887. 8°.

Salt-Glaze. A catalogue of the Solon Collection. Hanley, 1890. 4°.

Porcelain : an address. Longton, 1909. 8°.

CHURCH (A. H.).— English earthenware. London, 1884. 8°.

English porcelain. London, 1885. 8°. 2nd ed., 1905.

SCHREIBER COLLECTION (Catalogue of the).— London, 1885. 8°.

ANON. — British art during Her Majesty's Reign. London, 1887. 4°.

SMITH (R. H. Soden). — Loan Collection of English pottery in the Edinburgh Museum.

Edinburgh, 1889. 8°.

HODGKIN (J. E. and E.).— Early English pottery. London, 1891. 4°.
CHURCH (A. H.). — Old English pottery and stoneware. (In Some Minor Arts as practised

in England.) London, 1893. 4°.

HOUSMAN (H.).— Notes on the Willett Collection. Brighton, 1893. 8°.
DOWNMAN (E. A.).— English pottery and porcelain. London, 1896. 8°.
O'NEIL (W.).— Old pottery and porcelain. London, 1898. 8°.
FREETH (F.).— Old English pottery. London, 1896, 4°.
BARBER (E. A.).— Anglo-American pottery. Indianapolis, 1899. Sq. 8°.
PHILLIPS (P. W.).— A short account of old English pottery. Hitchin, 1901. 8°.
HOBSON (R. L.).— Mediaeval pottery found in England. London, 1902. 8°.
BURTON (W.).— A history of British porcelain. London, 1902. 8°.
HOBSON (R. L.).— English pottery in the British Museum. London, 1903. 4°.
SOLON (M. L.). — A brief history of old English porcelain. Derby and London, 1903. 8°.
HODGSON (Mrs. W.).— How to identify old china. London, 1903. 8°.
GANDY (W.).— A short account of old English pottery. London, 1904. 8°.
HAYDEN (A.).— Chats on English china. London, 1904. 8°.
HOBSON (R. L.).— English porcelain in the British Museum. London, 1905. 4°.
BINNS (W. M.).— The first century of English porcelain. London, 1906. 8°.
FALKNER and SIDEBOTHAM.— A collection of English pottery figures. Manchester,

1906. 8°.

ANON.— Old English china, by a collector. London, s.d. (1907 ?). 8°.
TURNER (W.).— Transfer printing. London, 1907. 8°.
BLACKER (J. F.).— The A B C of English china collecting. London, 1908. 8°.

- The A B C of collecting English pottery. London, 1910. 8°.
GREG (Th. T.). — A contribution to the history of English pottery. Manchester, 1908.

12°.

STONER and EVANS.— Old English porcelain. London, 1909. 4° ; 32 pis. and notices.
LOMAX (Ch. C.).— Quaint old English pottery. London, 1909. 4°, pp. xiv.-144 ; with

37 pis. and text illustrs.

&.— MONOGRAPHS.

Bristol.

OWEN (H.).— Two centuries of ceramic art in Bristol. London, 1873. 8°.
LANG COLLECTION.— Bristol pottery and porcelain. Bristol, 1878. 8°.
TRAPNELL (A.).— A catalogue of Bristol and Plymouth porcelain. Bristol, 1905. 4°,
564

C.ERAMIC LITERATURE.

PERCEVAL (S. G.).— On the Brislington lustre ware. Bristol, 1906. 8°.
WAY (J. P.).— Bristol pottery and porcelain. Bristol, 1908. 16°.

Burslem.

WOOD (Enoch) (Anon.). — A representation of the manufacture of earthenware. London,

1827. 16°.
DO ULTON.— Notes on the Doulton potteries, Burslem. London, 1893. 12°. See

Lambeth.
MACINTYRE.— Royal visit to Washington Works. Burslem, 1894. 16°.

Chelsea.

FRANKS (A. W.). — Notes on the manufacture of porcelain at Chelsea. London, 1863.

8°.

TIFFIN (W. F.).— A chronograph. Salisbury, 1874. 8°.
READ (R. W.). — A reprint of the original catalogues of the Chelsea porcelain manufactory.

London, 1880. 8°.

BEMROSE (W.).— Bow, Chelsea,, and Derby porcelain. London, 1898. 4°.
O'NEILL (W.).— Bow and Chelsea china. 1899. 8°.
MEW (E.).— Chelsea and Chelsea-Derby china. London, 1909. Sq. 8°.

Coalport.

JEWITT (L.).— A history of the Coalport porcelain works. London, 1862. 16°.
RANDALL (J.).— The clay industry on the banks of the Severn. Madeley, 1877. 12°.
T. P. — A few words about Coalport china. London, 1888. 32°.

Cobridge.

BROWNFIELD.— The Lock-out. A potters' Guild. 1892. 8°.

RAINES (F.).— A keramic study (Brownfield works). Bangor, U.S.A., 1895. 12°.

Derby.

DUESBURY. — List of the principal additions of Derby and Chelsea manufacture. S.I.,
1774. 8°.

BEMROSE (W.) and WALLIS (A.).— The pottery and porcelain of Derbyshire. Derby,
1870. 8°.

HASLEM (J.).— The old Derby china factory. London, 1876. 4°.

— A catalogue of china, chiefly Derby. Derby, 1879. 4°.
BRADBURY (E.).— Derby china. London, 1883. 12°.
ANON.— The Crown Derby porcelain. Derby, 1890. Obi. 16°.
BEMROSE (W.).— Catalogue of the collection of W. Bemrose. Derby, 1898. 8°.

Devon.

PHILLIPS.— The potter's art in Devonshire. 1881. 8°.

Hanley.

WHITEHEAD (J. and C.). — Designs of sundry articles of earthenware. Birmingham,
1798. 4°.

HATTON (J.).— Twyfords. London, 1898. 4°.

565

(! ERA MIC LIT ERA TURti.

Hedingham.

ANON.— Castle Hedingham pottery. S.I., 1886. 16°.

Lambeth.

DOULTON & Co. — Architectural designs manufactured in terra-cotta. London, 1872.
4°.

— FORBES ROBERTSON (J.).— The new English art pottery. London, 1876. 4°.
SPARKES (J.). — Notes on some recent applications of Lambeth stoneware. London,

1880. 8°.

— A description of the tile panels exhibited by Doulton & Co. London, 1885. 12°.
Pattern book. London, 1893 and f. y. 4°.

— An account of the proceedings at the presentation to Sir Henry Doulton by the
workpeople in his employ. London, 1895. 8°.

— BROWN (H.). — The renaissance of art portery in Lambeth. London, 1898. 4°.

- Doulton's exhibits at the Paris Exhibition. 1900. 8°.

• New effects in pottery at the New Dudley Gallery. London, 1900. 16°.

• Notes on Doulton ware of the Lambeth studio. London, 1906. 4°.

- MILLER (F.).— The royal Doulton pottery, Lambeth. London, 1902. 12°.

— Koyal Doulton sculpture in terra-cotta by G. Tinworth. London, 1906. 4°.

Leeds.

HARTLEY, GREENS & Co.— Pattern book of the Leeds pottery. Leeds, 1783. 4°.
GREENS, CLARKE & Co.— Pattern book of the Don pottery. 1808. 4°.
KIDSON (J. R. and F.).— Historical notice of the Leeds old pottery. Leeds, 1892. 4°.

Linthorp.
LINTHORP WARE.— Desultory notes and comments. Darlington, 1885. 4°.

Liverpool.

MAYER (J.).— On the art of pottery. Liverpool, 1873. 8°.
GATTY (Ch. T.).— The Liverpool potteries. Liverpool, 1882. 8°.
DELLA ROBBIA Co.— Illustrated catalogue. Liverpool, 1896. 4°.
ENTWISTLE (P.).— Liverpool pottery and porcelain. Liverpool, 1907. 4°.

Longton.
BEMROSE (W.).— Longton Hall porcelain. London, 1906. 8°.

Lowestoft.

SPELMAN (W. R.).— Lowestoft china. London, 1905. 8°.

CRISP (F. A.).— Catalogue of Lowestoft china. London, 1907. 4°.

The Lowestoft factory. The moulds. London, 1907. 4°.

Mortlake.

ANDERSON (J. E ).— A short account of the Mortlake pottery. Richmond, 1894. 8°.
566

CERAMIC LITERATURE.

Staffordshire ; General.

PLOT (Dr.). — Natural history of Staffordshire. London, 1686. 4°.
TUNNICLIFF.— A survey of the County of Stafford. London, 1786. 8°.
ALLBUT.— The Staffordshire Potteries' Directory. Hanley, 1802. 12°.
PITT (W.). — A topographical history of Staffordshire. Newcastle u. L., 1817. 8°.
SHAW (S.).— History of the Staffordshire Potteries. Hanley, 1829. 12°.
WARD (J.).— The Borough of Stoke-upon-Trent. London, 1843. 8°.
ANON. — Staffordshire Potteries. A supplement to the Illustrated London News. London,
1884. Fol.

— Industries of Staffordshire. Birmingham, 1890. 4°.

— A descriptive account of the Potteries. Brighton, 1893. 4°.
HARPER (W. J.).— Pottinge in ye Oldene Tymes. Tunstall, 1899. 8°.
HALSEY (R. T. H.).— Pictures on blue Staffordshire pottery. New York, 1900. 4°.
SOLON (M. L.).— The manufacture of pottery in Staffordshire. Stafford, 1901. 12°.
RHEAD (G. and F.). — Staffordshire pots and potters. London, 1906. 8°.
SCARRATT (W.).— Old times in the Potteries. Hanley, 1907. 8°.

GRAHAM (Rev. Malcolm). — Cup and saucer land. London, 1908. Sm. 4°.

Stoke-on-Trent.

BROWN-WESTEAD, MOORE & Co.— The Cauldon china. Hanley, 1893. Obi. 12°.
COPELAND CHINA.— Hanley, 1893. Obi. 12°.

- Hanley, 1902. 8°. 2nd ed., 1907.

MINTONS — WYATT (M. D.). — On the influence exercised on ceramic manufacture by
the late Mr. H. Minton. London, 1858. 12°.

— A brief account of a visit to Mintons (Ltd.). Stoke-on-Trent, 1884. 16°.

- Various pattern books. 1887-88. 8°.

— The Queen's Jubilee Vase. London, 1887. 4°.

- Saint Louis Exhibition. 1904. 8°.
Secessionist ware. 1904. 12°.

Swansea.

ROBY (J.). — A reply to Mr. Dillwyn's pamphlet. Swansea, 1821. 8°.

DILLWYN. — Some remarks on two affidavits published by J. Koby. Swansea, 1822.

8°.
TURNER (W.). — The ceramics of Swansea and Nantgarw. London, 1897. 4°.

Torksey.

O'NEILL (W.). — Torksey old pottery and porcelain manufactory. London, 1899. 8°.

Tunstall.

TURNER (G. W.).— Synopsis of paintings. Tunstall, 1893. 8°.

Worcester.

ANON. — Worcester china. For the instruction of youth. 1810. 16°.

BINNS (R. W.).— A guide through the Worcester porcelain works. Worcester, 1853. 12°.

Shakespere's Midsummer Night's Dream. Dublin, 1853. 8°.

567

CERA MIC LIT ERA TURE.

BINNS (R. W.). — The origin and early history of the manufacture of porcelain at

Worcester. Worcester, 1862. 8°.
A century of potting in the City of Worcester. London, 1865. 8°. 2nd ed.

London, 1878. 8°.

A guide through the Worcester porcelain works. 1882. 8°.

Catalogue of a collection of Worcester porcelain. 1882. 8°.

The partnership deeds of the original porcelain company. Worcester, 1883. 8°.

The Worcester Koyal Porcelain Works. 1893. Obi. 12°.

- A guide through the Royal Porcelain Works. 1893. Obi. 12°.

Worcester china. A record of fifty years. London, 1897. 8°.

VIZETELLI (F.). — Catalogue of the Worcester collection of porcelain. London, 1865. 4°.
DRANE (R.).— An illustrative selection of old Worcester porcelain. Cardiff, 1898. 8°.

C.— WEDGWOOD WARE.

Shortly after the death of Josiah Wedgwood, the glory of a name, which once promised
to be perennial, had unexpectedly been allowed to fade. Not that it was quite forgotten,
but the tribute that the historian owes to the memory of all great men had not been
paid in due time ; the book which enshrines, for the benefit of succeeding generations.
the thoughts and deeds of a departed celebrity was wanting in the case of the most illus-
trious, of all English potters. The universal spread of his fame suffered from this
deficiency. All that could be found relating to the man and his work was limited to
some incomplete notices inserted in the local histories of Staffordshire and the few short
biographic articles which appeared in the British cyclopaedias. Writers had been found
to prepare and give us an account of the life of many of his contemporaries whose achieve-
ments, however creditable they may have been, cannot be compared, in their beneficial
result, with what Wedgwood had accomplished when " he transformed, through his
genius and energy, an insignificant trade into one of the mighty industries of his country."
No one had ever thought of collecting the materials for a life of Josiah Wedgwood, and
of writing it down while his memory was still fresh in the mind of his surviving friends.

One may say, as an excuse for that apparent neglect, that his death occurred at
a perturbed and disastrous period. So engrossing were the political events of the time
that all questions of national art and industry had to give way before preoccupations
of a .more vital order. Any attempt to direct public attention to such a subject as the
merits of English pottery would have appeared, to say the least, inopportune. Towards
the middle of the nineteenth century a change in the right direction had, however, taken
place. A gradual improvement in the artistic taste of the cultured classes of society
brought about a fairer appreciation of the long disregarded productions of the minor
arts. The refined pottery of the old Etruria works came naturally to the front. Before
the best specimens of it had obtained a high market value, a group of clear-sighted con-
noisseurs had began to gather them quietly, and important collections were soon formed.
These early collectors constituted a limited circle, working together and with the same
end in view. A highly-spirited young lady, already known in the literary world, Miss
E. Meteyard, associated herself, heart and soul, with the movement. She soon learned,
through her constant intercourse with the members of the circle, to fully appreciate
the works of Josiah Wedgwood, and regretted with them the neglect in which the name
of their maker seemed to have fallen. It was under these circumstances that Miss
Meteyard laid down the plan of the great work which was to be the outcome of the brilliant

CERAMIC LITERATURE.

revival of the taste for old Wedgwood ware, and remain the highest consecration of the
genius of our greatest potter.

On the occasion of the inauguration of the Wedgwood Institute at Burslem, in
1863, W. E. Gladstone gave utterance, for the first time in public, to the feelings just
awakened among the select few. In a memorable address, he sketched with broad and
masterly strokes, an inspiring picture of the noble character of Josiah Wedgwood, and
the commanding voice of the great orator claimed for the man they were glorifying on
that day a seat of honour in the Walhalla of English worthies.

Soon afterwards came the publication of Miss Meteyard's Life of Wedgwood, a most
conscientious and exhaustive work. In the completion of that biography, as well as
in the production of the many volumes on Wedgwood ware she brought out in succession,
the author seems to have drained to the last drop all possible sources of information.
All subsequent biographers, although differing in some respect from her personal appreci-
ation of the character of her hero, have found little to add to the fundamental knowledge
of the subject, for which they were indebted to her book.

Wedgwood ware can be admirably reproduced in photography. There is no lack
of excellent- albums, which, taken in connection with the illustrated catalogues of the
special collections, may allow even a foreign amateur insufficiently acquainted with the
originals to form a correct idea of these typical examples of English pottery in its highest
form. To increase by further publications our store of richly illustrated volumes seems
well nigh superfluous. But we may still expect that many a book will be written as a
new attempt to depict the multiple sides of Josiah Wedgwood's striking personality.
More than one of his admirers might fairly assert that, although the genius of the great
potter may now be adequately appreciated on the industrial and technical aspects under
which it has hitherto been considered, much has still been left unsaid that would depict
the man as an artist, a scientist, and a philosopher. On the other hand, his name
may have to bear the attacks of some cynical detractor, the evil-minded spirit who revels
in soiling and tearing to pieces any mantle of glory, and manages to turn it inside out,
in order to show that there are holes in the lining. Any attempt in that direction should
be treated with contempt. What we mean to say is that the previous biographies have
by no means completed the work that has to be done. Many a portrait must still be
painted and hung up in the gallery. Each of these presentments being bound to reflect
something of the many-coloured rays under which the painter has examined the subject.
An ever-growing display of images of the kind will afford ample materials for the
maintenance of a captivating controversy.

WEDGWOOD (Josiah), — Catalogues of Cameos . . . etc. Various editions, 1773-
1817.

- Papers relative to Mr. Champion's application to Parliament. London, 1775. 12°.
— An address to the young inhabitants of the Potteries. Newcastle u. L., 1783. 12°.

— An address to the workmen of the Potteries. . . . Newcastle u. L., 1783. 12°.

- Description and use of a thermometer for measuring the higher degrees of heat.
London, 1784. 12°.

METEYARD (Miss E.).— Wedgwood catalogue of cameos, etc. London, 1873. 8°.

Wedgwood and his work. London, 1873. Fol.

Memorials of Wedgwood. London, 1874. Fol.

— The Wedgwood handbook. London, 1875. 8°.

— — Choice examples of Wedgwood art. London, 1879. Fol.

LESSORE (E.). — A catalogue of works on Queen's ware. London, 1876. 8°.

569

CERAMIC LITERATURE.

PHILLIPS (W. P.) and CHAFFERS (W.).— Catalogue of an exhibition of old Wedgwood.

London, 1877. 8°.
GATTY (Ch. T.). — Liverpool Art Club. Catalogue of a loan collection of the works of

Josiah Wedgwood. Liverpool, 1879. 4°.
PROPER! (Anon.).— Collection of Wedgwood ware. London, 1881. 4°.

BARTLETT (W.).— Catalogue of a collection of old Wedgwood ware. Liverpool, 1882.
4°.

RATHBONE (F.).— Handbook to the collection formed by R. and G. Tangye. Birmingham

Museum. London, 1885. 8°.

Josiah Wedgwood on the clay of Sydney Cove. Birmingham, 1886. 4°.

Old Wedgwood ; the English relief art-work of the seventeenth century (sic.).

London, 1893-98. Fol.

A catalogue of the Loan Exhibition of old Wedgwood. Burslem, 1894. 8°.

The Sanderson Collection. London, 1904. 8°.

DAWSON (J.).— The Wedgwood Memorial Institute. Burslem, 1894. 16°.
KING (G.).— The history of the great House of Wedgwood. London, 1897. 4°.
MOORE (N. H.).— Wedgwood and his imitators. London, 1909. 8°, pp. 117; with

49 illustrs.
WILLIAMSON (G. C.).— The imperial Russian dinner service. London, 1909. 4° ; with

phototype plates.

See also Biographies, Wedgwood; The Portland Vase; Cat. of Sales, Agnew,
Barlow, De la Rue, Falke (D.), Braxton Hicks, Valker (T. S.), etc.

d.— MEDALLIONS IN VITREOUS PASTE.

TASSIE (J.) and RASPE (R. E.). — A catalogue of ancient and modern engraved gems . . .

cast in coloured plates, white enamel, etc. London, 1791. 4°.
GRAY (J.).— James and William Tassie. Edinburgh, 1894. 8°.

FRENCH.

Modern technology is indebted to the French vocabulary for the use of the terms
" Ceramic " and " Ceramic Art," as employed to express the collectiveness of all
branches of knowledge — historical as well as technical — that pertain to the art of the
potter. It is also in France that the archaeological researches, directed at first towards
laying the foundations of general history, were extended to the separate investigation
of the vicissitude of a particular place of manufacture. The first exhaustive monographs
of ancient factories are due to French writers. In the works of Andre Pettier, Du Broc
de Seganges, B. Fillon, and others, foreign historians found the guiding light which
showed the way to the production of many a volume of local history, framed on the
plan adopted for these inspiring models.

Scientific and literary France was at that moment entering a state of progressive
renovation which affected the march of every isolated branch of study. The common-
place words, " Pottery " and " Porcelain," were beginning to call to mind something
better than vulgar articles of daily use, or of household decoration ; the existence of
a ceramic art had just been revealed. New as the notion was of finding art in pottery, it
was readily accepted, for it opened vistas of fascinating discoveries. It took public fancy,
as it were, by storm. Never was the infatuation for the hoarding up of earthen vessels
and the hankering for the acquirement of special knowledge, to approach the degree of
intensity it reached in those dawning days of ceramic collecting and ceramic literature.
The publications of general and local histories succeeded to each other, and every new
570

CfiRA MIC LITE & A TUBE.

work was eagerly read by the amateur craving for more learning. It was agreed that
henceforth the noted craftsmen who had distinguished themselves in the pursuit of their
calling were to be considered not simply as skilled operatives, but, in some cases, as
truly great artists. As to the technical achievements of the practical ceramist, hereto-
fore disregarded as mere empirical recipes, they were to be recognised as belonging to
science proper. The claims to the highest degree of recognition was, in the case of each
master, to be established by the research and examination of his best works. Old records
were ferreted out ; specimens of uncertain origin had to be critically examined ; styles
of manufacture, marks and monograms accurately determined. In short, materials
had to be gathered from all sides to assist the pioneers of ceramic history in their labour.
It will be seen that there was sufficient novelty of aim and scope in such a synopsis of
studies to put many a learned writer on his mettle.

The collected accumulation of ancient faience and porcelain ready for those who were
prepared to gather it was so enormous as to appear at first almost inexhaustible. France
has, probably, produced a larger quantity of ornamental pottery than any other country
in Europe. All possible kinds of manufacture have been, at one time or other, carried
on with success in the French provinces. To institute a preliminary consideration of the
state of the industry at the successive periods, as evidenced by the immense store of
actual works and documentary records handed down to us, was, indeed, for the intending
historian, travelling through a land of plenty. From a host of inviting subjects offering
themselves to his choice, he could select the most attractive, or the one he could treat
most successfully. As a matter of course, the earliest writers fixed their attention upon
the most important centres of production, and indited the most interesting chapters of
the story. In this way, Nevers, Kouen, Moustiers, etc., were dealt with independently.
The cake had been divided by knowing ones ; they secured the largest slices, and left only
broken crusts and minute crumbs to their successors. When everything seemed to
have been said concerning the chief centres of production, their history and the influence
they had exerted on the improvement of the national industry, the course of study had
to be diverted into minor channels. The individual part that many a factory of a more
modest order had played in the general advance of the art began to be investigated.
Once engaged on such a wide subject, the publication of notices and monographs increased
with astounding rapidity.

We feel indebted to the eccentric collector, who, — having gathered in his distant
province interesting specimens of a ware which still wanted the sanction of the general
public to be classed and appreciated, — wrote upon its merits a paper that made it known
as it deserved. Our thanks are due to the discoverer of the small pot-works which had
subsisted in pirating the patterns originated in the best factories, and who warned his
brother-collectors that all faiences decorated in a well-known style were not bound to
be genuine Rouen, Nevers, or Moustiers.

But by the side of these conscientious and instructive publications we find many that
can scarcely serve any purpose. Of that kind are the fully-detailed accounts of small
works which simply made mustard pots and preserve jars ; the pretentious pamphlets
written to demonstrate the non-existence of works supposed to have flourished ; and sundry
other contributions abounding in inaccuracies, false statements, and inane discussions.

The first duty of a bibliographer is to record the title of every book that comes
within the range of his subject ; the second is to supplement it with a descriptive notice.
But if such notices are to be of any use, they must faithfully indicate the value and
peculiar features of every volume and pamphlet. We have endeavoured to satisfy this
requirement as far as it lay in our power in the first part of this work.

571

CERAMIC LITERATURE.

a.— GENERAL.

LE GRAND d'AUSSY.— Histoire de la vie privee des Franyais. Paris, 1782. 12°.

LA QUERIERE (E. de).— Essai sur les girouettes. Paris, 1846. 8°.

CAUMONT (M. de). — Quelques produits ceramiques du moyen-age. Caen, 1850. 8°.

RAME (A.). — Notes sur quelques epis en terre cuite. Caen, 1858. 8°.

JACQUEMART et LE BLANT.— Anciennes faienceries fran9aises. Paris, 1859. 8°.

MATHON. — Quelques vases du musee de Beauvais. Beauvais, 1860. 8°.

POTTIER (A.). — Essai sur la classification des poteries normandes. Rouen, 1867. 8°.

MARESCHAL (A. A.).— La faience populaire au 18e siecle. Paris, 1872. 8°.

GARNIER and GASNAULT.— French pottery. London, 1884. 8°.

GUIFFREY (T.). — Documents inedits sur les anciennes manufactures de faience et de

porcelaine. Paris, 1889. 8°.

GERSPACH. — Documents sur les anciennes faiences frangaises. Paris, 1891. 8°.
DESAIVRE (L.). — Sur trois vases de forme singuliere. Poitiers, 1892. 8°.
VACHON. — Les industries d'art. (Departments.) Nancy, 1897. 4°.
SAINT-VENANT (J. de) —Ancient vases a bee. Caen, 1899. 8°.
NOLHAC (P. de).— Le Trianon de porcelaine. Paris, 1901. 8°.
SOLON (M. L.).— History of the old French faience. London, 1903. 8°.
AUSCHER (E. S.). — La ceramique au chateau de Versailles. Versailles, 1903. 8°.

— History and description of French porcelain. London, 1905. 8\
BOUTINEAU (F. E.).— Vases de pharmacie du 17e siecle. Tours, 1905. 8°.
FRANTZ (H.).— French pottery and porcelain. London, 1905. 8°.
CHAVAGNAC (X. de) et GROLLIER (de).— Histoire des manufactures fra^aises de

porcelaine. Paris, 1906. 8°.
DORVEAUX (P.).— Les pots de pharmacie. Paris, 1908. 8°, pp. 90 ; 14 pis.

&.— MONOGRAPHS.

A gen.
SABATIER. — Les anciennes faienceries de 1'Agenais. Agen, 1898. 8°.

AlU.

FOURES (A.).— Potiers et poteries du Lauraguais. Albi, 1890. 8°.

Alpes.

ROMAN (J.). — La poterie et la faiencerie dans les Alpes. Gap, 1897. 8°.

Alsace and Lorraine.

HANNONG (J. A.).— Reponse du Sieur J. A. Hannong. S.I, 1781. 8°.
BAYARD (Ch.) — Tarif de la manufacture de Bayard a Berevue. 1790 ? 8°.
TAINTURIER (A.). — Recherches sur les anciennes manufactures de porcelaine et de

faience (Alsace et Lorraine). Strasbourg, 1868. 8°.

MOREY (P.). — Les statuettes dites de Terre de Lorraine. Nancy, 1871. 8°.
572

CERAMIC LITERATURE.

(ANON.)- — Notice sur les faienceries de Longwy et de Senelle. Paris, 1878. 4°,
AUGUIN. — Exposition retrospective de Nancy. Nancy, 1875. 8°.
WIENER (L.).— Manufacture de Saint Clement. Nancy, 1878. 8°.
- Les vases de la pharmacie de St. Charles.- Nancy, 1881. 8°.
GERSPACH. — La faience et la porcelaine de Strasbourg. Strasbourg, 1883. 8°.
GAIDAN (L.). — Notes sur la maison de faience artistiques. Nancy, 1885. 8°.
SAVE (G.).— Les Faiences de Gerardmer. Nancy, 1888. 8°, pp. 8.
GALLE — Faienceries de Nancy. Nancy, 1889. 4°.

Angouleme.
BIAIS (E.). — Etude sur les faiences d' Angouleme et de Cognac. Paris, 1894. 8°.

A prey.
DEVEAU (P.).— Les faiences d'Aprey. Dijon, 1908. 4°.

Argonne.
LIENARD (F.).— Les faienceries de 1'Argonne. Verdun, 1877. 8°.

Arras.

CAVROIS (L.).— Le refuge d'Etrun et la manufacture de porcelaine d' Arras. Arras,
1877. 8°.

Audi.

TARBOURIECH. — Documents sur quelques faienceries du Sud-Ouest de la France.

Paris, 1864. 12°.
CALCAT.— Faienceries d'Auch. Paris, 1898. 8°.

Auvergne.

COHENDY (M.).— Ceramique Arverne. Clermont-Ferrand, 1872. 4°.
DU FRAISSE de VERNINES.— Parallele des poteries d'Auvergne. Paris, 1874. 12°.
GRANGE (G.). — Histoire de la manufacture de faience de Clermont-Ferrand. Clermont-
Ferrand, 1882. 4°.

Auxerre.

CHEREST (A.).— Les faiences de 1'Auxerrois. Auxerre, 1875. 8°.

Bayeux.

VILLERS (G.). — La manufacture de porcelaine dure de Bayeux. Caen, 1856. 8°.
BLANCHETIERE.— Visite a la manufacture de porcelaine de Bayeux. Caen, 1877. 8°.
BREBISSON (R. de).— Histoire de la ceramique a Bayeux. Bayeux, 1897. 8°.

Bordeaux.
DURAND. — Rapport sur la fabnque de poterie de Mr. D. Johnson. Paris, 1839. 8°.

JOHNSON (D.). — Rapport sur la manufacture de porcelaine a Bordeaux. Bordeaux,
1855. 8°.

MANES (W.).— La porcelaine a Bordeaux. S.I., 1856. 12°.

AZAM. — Les anciennes faienceries de Bordeaux. Bordeaux, 1880. 8°.

LABADIE. — Lettres sur la ceramique. Bordeaux, 1904. 8°.

573

CERAMIC LITERATURE.

Boulogne.

VAILLANT. — Les ceramistes boulonnais. Boulogne s. Mer, 1882. 8°.
LEFEBVRE (A.). — La ceramique boulonnaise. Boulogne s. Mer, 1899.' 4°.

Briare.

TURGAN. — Fabrique de boutons ceramiques. Paris, s.d. 8°.

Caen.

MORIERE.— Essai sur la poterie de Noron. Caen, 1848. 4°.
Industrie potiere dans le Calvados. Caen, 1848. 4°.

BREBISSON (R. de).— La porcelaine de Caen. S.d. 8°.

•

Chambery.

BARBIER (V.).— Poterie de la Savoie. Chambery, 1875. 8°.

LOCHE (Cte. de). — Notice sur la fabrique de faience de La Forest. Chambery, 1880. 8°.

Chantilly.

FAUQUENPREZ.— Histoire de Chantilly. 1840. 12°.
MACON. — Les arts dans la Maison de Conde. Paris, 1903. 4°.

Chatel-la-Lune.
QUEVILLY.— Notes sur la poterie de Chatel-la-Lune. Caen, 1898. 8°.

Cher.

LAUGARDIERE (C. de). — Documents pour servir a 1'histoire de la ceramique dans le
Cher. Bourges, 1870. 8°.

Choisy-le-Roi.
ANON.— Faienceries de Choisy-le-Koi. 1878. 4°.

Creil.

ANON. — Statistique industrielle du Canton de Creil. Senlis, 1825. 12°.

D 'ESC AMPS. — Notice sur les manufactures de faience de Creil et Montereau. Paris,

1874. 4°.
WIENER.— Manufactures de Creil et Montereau. 1878. 4°.

Dijon.

MARCHANT (L.). — Recherches sur les faienceries de Dijon. Dijon, 1885. 4°.

Douai.
HOUZE de 1'AULNOIT.— Essai sur les faiences de Douai. Lille, 1882. 8°,

Fontainebleau.
HERBET (F.). — Les emailleurs sur terre de Fontainebleau. 1897. 8°.

Fontenay.

AUSSANT. — Fabrique de poterie artistique a Fontenay. Rennes, 1870. 8°.
574

CERAMIC LITERATURE.

Gien.
TURGAN.— Faienceries de Gien. Paris, 1880 (?) 8°.

Giroussens.
RIEUX (E.).— Les poteries de Giroussens. Albi, 1901. 8°.

Isigny.
LANGLOIS. — Societe pour la fabrication de la porcelaine a Isigny. S.d. 8°.

Lille.

HOUDOY (J.). — Recherches sur les manufactures lilloises. Lille, 1863. 8°.

Histoire de la ceramique lilloise. Paris, 1869. 8°.

CUSSAC (E.).— Notice sur les faiences de la collection of Mr. E. Cussac. Lille, 1878. 8°.

Limoges.

TEXIER.— Statistique de la Haute Vienne. 1808. 4°.
ALLUAUD. — Lettre des fabricants de porcelaine de Limoges. Limoges, 1836. 8°.

— Historique et statistique de la porcelaine du Limousin. Limoges, 1837.- 8°.
PETIT-LAFITTE.— Vilaris et la decouverte du Kaolin. Bordeaux, s.d. 8°.
SALVETAT.— Etat actuel de la fabrication de Limoges. Paris, 1875. 4°.
HAVILAND & Co.— Pattern book. Exhibition of 1878. Obi. 4°.
TURGAN. — Fabrique de porcelaine et de faience de M. M. Haviland & Co. Paris, s.d.

8°.

PALLIER (M.). — Limoges, quelques mots sur son industrie. Limoges, 1884. 16°.
GARNIER (E.).— Sevres, Limoges. Paris, 1890. 8°.

PERRUSSON (E.). — L'industrie de la porcelaine en Limouzin. Limoges, 1892. 8°.
BAWO and DOTTER.— Limoges ; its people ; its china. New York, 1901. Sq. 12°.
JOUHANNEAUD (Ch.). — Anciennes porcelaines de Limoges exposees en 1903. 8°.
LEROUX (A.). — Histoire de la porcelaine de Limoges. Limoges, 1904. 8°.
GRELLIER (C.). — L'industrie de la porcelaine a Limoges. Paris, 1909. 8°.

Lorient.

JEGOU (F.). — La manufacture de porcelain de Lorient. Lorient, 1865. 8°.
Ceramique bretonne. Porcelaine et faience faites a Lorient. 1876. 12°.

Luxembourg.
SIBENALER. — Conference sur les anciennes faiences luxembourgeoises. Arlon, 1897. 8°.

Lyons.

ROLLE (F.). — Documents relatifs aux anciennes faiences lyonnaises. Lyon, 1865. 8°.
LA FERRIERE-PERCY.— Une fabrique de faience a Lyon sous le reigne de Henri II.

Paris, 1872. 8°.

MICHEL (E.). — Essai sur 1'histoire des faiences de Lyon. Lyon, 1876. 8°.
BROSSARD (P.).— Les faiences lyonnaises. Paris, 1881. 4°.
NOELAS. — Histoire des faiences roanno-lyonnaises. Roanne, 1883. 8°.
RONDOT (N.). — La ceramique lyonnaise du xive au xviii6 siecle. Paris, 1889. 8°.

Les potiers de terre italiens a Lyon au xvie siecle. Paris, 1892. 8°.

Les fa'ienciers italiens a Lyon au xvie siecle, Paris, 1895. 8°.

575

CERAMIC LITERATURE.

Marseilles.

MONTREUIL (A.). — Anciennes industries marseillaises. Marseilles, 1858. 8°.
GRAND (V.).— La ceramique de Saint-Henri. Aix, 1878. 12°.
ARNAVON. — Une collection de faiences proven9ales. Paris, 1902. 4°.

Meillonas.

MILLIET (E.). — Kecherches sur les faiences de Meillonas. Bourg, 1876. 8°.

Mennecy.

DARBLAY (A.).— La porcelaine de Villeroy. Corleil, 1897. 8°.
Villeroy ; son passe, sa fabrique de porcelaine. Paris, 1901. 4°.

Monaco.

LIMOUZIN (C.). — Monaco artistique et industriel. La poterie. Nice, 1876. 18°.

Montauban.

FORESTIER (E.). — Une faiencerie montalbanaise ou 18e siecle. Montauban, 1875. 8°.

Les anciennes fa'ienceries de Montauban. Montauban, 1876. 8°.

— Coup d'ceil sur 1'art ceramique dans le Tarn-et-Garonne. Paris, 1881. 8°.

Montigny.
SCHOPIN (E.).— Faiences dites Barbotines. Paris, 1878. 8°.

Moustiers.

DAVILLIER (J. C.). — Histoire des faiences et porcelaines de Moustiers. Paris, 1863. 8°
DOSTE (J. E.). — Notice historique sur Moustiers et ses faiences. Marseilles, 1874. 8°,
GAY (A.).— Histoire du village de Castellet. Forcalquier, 1878. 8°.
BERLUC-PERUSSIS. — Les anciennes fa'ienceries de la Haute-Provence. Digne, 1885.

8°.

FOUQUE (E.).— Moustiers et ses faiences. Aix, 1889. 8°.
REQUIN (1'Abbe H.). — Histoire de la faience artistique de Moustiers. Paris, 1903. 4°,

Nevers.

GROUET (C.). — De 1'art ceramique dans le Nivernais. Nevers, 1844. 18°.
DU BROC de SEGANGES (L.).— La faience et les faienciers de Nevers. Nevers, 1863.

4°.

TOYTOT (E. de).— Faienciers de Neveis. Paris, 1866. 8°.
ROUBET (L.). — Memoire sur une question ceramique. Nevers, 1868. 8°.
TURGAN.— Faiencerie de H. Signoret. Paris. 8°.

GR ASSET. — Historique de la faiencerie de La Charite-sur-Loire. Paris, 1876. 8°.
BOUVEAULT et FIEFFE. — Faiences nivernaises. Nevers, 1885. 4°.
FIEFFE. — La faience patronimique . . . dans la ceramique nivernaise. Clamecy,

1901. 8°.
MASSILLON-ROUVET.— Les Conrade ; introduction des faiences d'art a Nevers. Nevers,

1898. 8°.

Les Conrade ; leurs faiences d'art. Paris, 1901. 8°.

576

CERAMIC LITERATURE.

Orleans.

BIZEMONT (A. de).— Faiences d'Orleans. Paris, 1869. 4°.
PIOT (E.).— La manufacture etablie a Orleans en 1753. 8°.

Paris.

DUVAL.— Memoiro pour le Sieur Mignon (manufacture du Pont-aux-choux). Paris
1769. Sm. 4°.

Picardy.

POUY (F.). — Les faiences d'origine picarde. Amiens, 1872. 8°. 2nd ed., 1873.
LECOCQ (J.). — Etude sur la ceramique picarde. Paris, 1874. 8°.

- and (G.). — Histoire des fabriques de faience de la Haute Picardie. Paris, 1877. 4°.
WIGNIER (C.).— Poterie emaillee de Tancien Ponthieu. Paris, 1887. 8°.

Poitou.

FILLON (B.).— L'art de terre chez les Poitevins. Niort, 1864. 4°.

- Coup d'oeil sur 1'ensemble de la ceramique poitevine. Fontenay-le-Comte, 1865. 4°.-

Quimper.

LEMEN (R. F.). — La manufacture de faience de Quimper. Quimper, 1875. 8°.
LEBRETON (G.).— Les faiences de Quimper a 1'Exposition. Rouen, 1876. 12°.

Rennes.

JACQUEMART (A.).— Les faiences de Rennes. Paris, s.d. 8°.
DECOMBE. — Les anciennes faiences rennaises. Rennes, 1900. 8°.

Rochelle (La).

RIS-PAQUOT. — Documents inedits sur les faiences charentaises. Amiens, 1878. 12°.
MUSSET (G.).— Les faiences rochelaises. La Rochelle, 1888. 4°.

Rouen.

LAMBERT. — Coup d'ceil sur 1'industrie du potier de terre a Rouen. Rouen, 1838. 8°.
POTHER (A.). — La premiere porcelaine fabriquee en Europe a ete inventee a Rouen.

Rouen, 1847. 8°.

DELISLE (L.). — Documents sur les fabriques de faience de Rouen. Valognes, 1865. 8°.
ROBILLARD de BEAUREPAIRE (E.).— Les faiences de Rouen et de Nevers a 1'Exposi-

tion universelle. Caen, 1867. 8°.
MILET (A.). — Priorite de 1'invention de la porcelaine a Rouen en 1673. Rouen, 1867.

12°.

BORDEAUX (Raymond).— Les brocs a cidre en faience de Rouen. Caen, 1868. 4°.

POTTIER (Andre).— Histoire de la faience de Rouen. Rouen, 1870. 4°.

POSSESSE (M. de).— La faience de Rouen. 8.1, n.d. 4°.

RIS-PAQUOT.— Histoire de la faience de Rouen. Amiens, 1870. 4°.

GOUELLAIN (G.). — Etude ceramique sur une vue du port de Rouen. Rouen, 1872. 4°.

LERUE (J. A. de). — Les anciennes faiences populaires de Rouen. Rouen, 1868. 8°.

- Histoires locales. Anciennes poteries de Rouen. Rouen, 1873. 8°.

— Ceramique rouennaise. La collection de Mr. Grustave Gouellain. Rouen, 1877. 18°.
37 577

CERAMIC LITERATURE.

LERUE (J. A. de).— La collection de Mr. Paul Baudry. Rouen, 1877. 18°.

Rouen artiste. La collection de Mr. d'lquelon. Rouen, 1878. 18°.

GOUELLAIN (G.).— La ceramique musicale. Paris, 1878. 16°.

ASSEGOND (A.). — Notice sur une assiette en faience de Rouen. Bernay, 1887. 8°.

CANONVILLE-DESLYS. — Les merveilles de la ceramique rouennaise. Rouen, 1891. 8°.

PALUSTRE (L.).— Une cheminee en vieux Rouen. Bordeaux, 1892. 8°.

BREBISSON (R. de).— La porcelaine tendre de Rouen. Evreux, 1895. 8°.

MILET (A.). — Historique de la faience et de la porcelaine de Rouen. Rouen, 1898. 8°.

POREE. — Note sur le monogramme de Masseot Abaquesne. Paris, 1898. 8°.

JOURDY (Gen.). — Histoire geologique de la faience de Rouen. Rouen, 1907. 8°.

Rubelles.
LEROY.— La faience de Rubelles. Paris, 1898. 12°.

Saint-Clement.
WIGNIER (Ch.).— La manufacture de Saint-Clement. Nancy, 1878. 8°.

Saint-Cloud.

AUBRY. — Requeste au Roi sur les secrets de la vraye porcelaine de France. (1695 ?) 4°.
Nouvelle requete de la veuve Chicanneaux. S.d. 4°.

Saint Denis-sur-Sarihon.
DESPIERRES (G.).— Histoire de la faience de St. Denis-sur-Sarthon. Paris, 1889. 4°.

Samadet.

SORBETS (L.).— Faienceries de Samadet. Dax, 1895. 8°.

LAFOND (P.). — La manufacture royale de faience de Samadet. Paris, 1900. 8°.

SENTEX (L.).— La faiencerie de Samadet (Landes). Dax, 1903. 8°.

Sarreguemine.
/ f
MERIMEE (P.). — Rapport sur une nouvelle poterie de Fabry et Utzschneider. Paris,

1810. 8°.
ANON.— Memoire sur 1'art du faiencier. Paris, 1820. 8°.

Sceaux.

THORE (Dr.). — Les anciennes fabriques de faience et de porcelaine de Sceaux. Paris,
1868. 8°.

Sinceny.

WARMONT.— Notice sur les faiences de Sinceny. Noyon, 1863. 8°.

Recherches historiques sur les faiences de Sinceny, Rouy, et Ognes. Paris, 1864.

8°.
FLEURY (E.).— Trompettes jongleurs. 1874. 8°. (See also Picardy.)

Strasburq.

See Alsace-Lorraine.

578

CERAMIC LITERATURE.

Tours.
BOSSEBCEUF (F.).— Documents sur la ceramique en Tourainc. Tours, 1893. 8°.

Valenciennes.

LEJEAL (A.). — Recherches historiques sur Ics manufactures de faience et de porcelaine

de Valenciennes. Valenciennes, 1868. 8°.
COLLET. — Examen des recherches liistoriques du Dr. Lejeal. 1868. 8°.

Vallauris.

PARFAIT (P.).— Un village de potiers. Vallauris (Var.). Paris, 1873. 8°.
MONCKHOUSE (W. C.).— Vallauris and its allies. London, 1882. 4°.
FRANCHET (L.).— La poterie culinaire de Vallauris. Paris, 1908. 4°.

Valognes.
BREBISSON (R. de).— Histoire dc la porcelaine de Valognes. Valognes, 1899. 8°.

Var.

RENOUX. — Simple expose sur 1'industrie ceramique dans le Var. Aix, 1864. 8°.
GARNIER (E.). — La faience japonnee et la fabrique des Pourpres. (Var.) Chartres,
1893. 8°.

Vron.

WIGNIER. — Monographic de la manufacture de faience de Vron. Abbeville, 1876. 8°.
LUCAS. — La manufacture de faience de Vron. Amiens, 1883. 8°.

C. — HENRI-DEUX WARE.

In Willemin's Monuments franqais inedits, published in 1839, Andre Pettier called,
for the first time, the amateur's attention to a remarkable series of earthenware pieces,
unique of their kind, of which he described twenty-five specimens. But he hazarded
no speculations as to the place of manufacture of that ware and the name of its maker.
Since then, many endeavours have been made to clear up the mystery, and the whole
range of possibilities has been keenly scrutinised with the view of presenting a satisfactory
solution to the problem. H. Delange proposed that it should be attributed to Girolamo
Delia Robbia, who worked in Paris as potter to King Francis I. Tainturier thought
that it might have been the work of two other Italians, also settled in France at the
same period, Ascanio and Paolo, both pupils of Benvenuto Cellini. Judging from the
style of its decoration, which recalls the typographic and bookbinding ornaments of
contemporary times, A. Bernard presented the notion that Geofroy Tory, printer, engraver,
bookbinder, and, some say, also a potter, must have had a hand in the making of these
pieces. In England, a few connoisseurs, comparing the yellowish clay with which they
are made with that of the early cream colour, went so far as to pretend that they were
of English origin. At last B. Fillon brought forth the Oiron theory. It was so cleverly
built up that, for one moment, it rallied all dissidents, and seemed to close the controversy
for ever. But E. Bonnaffe, in his turn, supplied a very different solution of the enigma.
His discovery of the inventory made after the death of Franyois de la Tremouille
threw ^Jie Oiron theory into the shade. This inventory contained the mention of four

579

CERAMIC LITERATURE.

pieces, the description of which appears to agree with the best examples we possess of
the ware, and which are designated as being made of " Saint Porchaire's Clay." As
the village of Saint Porchaire is situated in the very district in which the greater number
of these pieces have been discovered, and as, moreover, pottery is known to have been
made in the place, there was little reason to look anywhere else for the origin of these
puzzling productions of old French ceramic art. Lately, however, some report has been
circulated concerning some pot-works known to have existed not far from Paris, where
a very remarkable ware was produced at the Renaissance period ; it is said that, as
none of the productions of those works have ever been identified, they might well be
represented by the so-called Henri-deux ware. More surprises may still be in store for
us ; many other suggestions may still be presented ; the question is certainly well worth
settling, and the last word has not been said which shall set all uncertainty at rest.

DELANGE (H.).— Girolamo della Robbia. Paris, 1847. 8°.

TAINTURIER (A.).— Notice sur les faiences dites de Henri II. Pan's, 1880. 8°.

DELANGE (C. and H.). — Recueil de la faience frangaise dite de Henri II. Paris, 1861.

Fol.

FILLON (B.).— Les faiences d'Oiron. Fontenay, 1862. 8°.
KING (A. C.).— Notice of the Henri deux ware. London, 1868. Fol.
RIS (L. Clement de). — Musee du Louvre. Notice des faiences franyaises. Henri II.,

Palissy, etc. Paris, 1871. 18°.
DELANGE (C.). — Recueil des principales pieces connues de la faience franyaise dite de

Henri II. Nouvelle edition. Paris, 1888. 4°.

BONNAFFE (E.).— Les faiences de Saint Porchaire. Paris, 1888. 8°.

Article in the Collection Spitzer. Paris, 1890. Fol.

SAINT MARC (C. de). — Les faiences de Oiron en terre de Saint Porchaire. St. Maixent,

1889. 8°.
CHERTIER (F.).— Notice sur une aiguiere dite Henri II. Chateauroux, 1891. 8°.

f
d. — PALISSY WARE.

DELANGE (C.) et BORNEMAN (C.). — Monographic de 1'oeuvre de Bernard Palissy. Paris,

1862. Fol.

TAINTURIER (A.).— Les terres emaillees de B. Palissy. Paris, 1863. 8°.
GRASSET. — Notice etablissant que la marque B. B. ne peut etre attribute a Palissy.

Paris, 1872. 8°.

DANGIBEAU (Ch.).— Notes sur les potiers de Saintonge. Saintes, 1884. 8°.
MOLINIER (E.).— Les faiences de Bernard Palissy. Paris, 1890. Fol. (Article in La

Collection Spitzer.}

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