Chapter XXIII: Contemporary European Porcelain (1)

We have seen that in England the new aims and the new schemes of decoration that have so profoundly affected most of our industrial arts have so far had little influence upon the porcelain manufactured by the large Staffordshire firms. Here and there, as by Mr. Bernard Moore of Longton, an attempt has been made to take up the problem of the _flambé_ glazes, which has so fascinated the French potters. Mr. Moore has succeeded in making some _sang de bœuf_ vases which in outline and colour closely follow the Chinese models. Otherwise the many skilful artists--more than one of them, I think, are Frenchmen--employed by our porcelain manufacturers have been content to follow in the main the old traditions, nor has any occasional attempt that has been made to imitate, not the latest but rather the work of the last generation at Sèvres, produced any very satisfactory results. It cannot be denied that both in the design and in the decoration our English porcelain has, for some time, remained outside the art movement of the day.

Indeed at the present time, and for the last twenty years, whatever of interest we can find in the contemporary production of porcelain, centres in two factories--Sèvres and Copenhagen. To the latter works we must now return for a moment.

The royal factory, of which we have already spoken, was closed after the disastrous war of 1864. But during the eighties a number of able men, both artists and men of science, occupied themselves with the new porcelain problems, and in 1888 a fresh company was formed, the ‘Alumina.’ These men--I will only mention Philip Schou--were much impressed by the technical and artistic merits of the porcelain lately sent from Japan, highly finished ware decorated under the glaze with great delicacy and generally in subdued colours. They were influenced above all by the work of the Japanese potter Miyagawa Kozan, called Makudzo. The Danish porcelain produced during the nineties is distinguished as a whole by its cool, subdued colours, with a prevalence of various pearly tints approaching more or less to celadon. In the carefully executed but boldly designed decoration, we see the influence both of the Japanese naturalists and of the impressionist painters of the day. The snow scenes, the rocks, the dancing waves and the sea birds have been suggested by the stormy coasts of the Baltic and the North Sea. It is from the primitive rocks of this coast that the pure felspar, which plays so large a part both in the paste and in the glaze, has been obtained.

It was at Copenhagen probably that the crystalline glazes, derived from salts of bismuth, were first made--this was by Engelhart, about 1884.

At a rival Danish factory--that of Bing and Gröndhal--many clever artists, some of them ladies, have modelled in porcelain figures of animals either in the round or in relief on the sides of vases: we find dogs, cats, and even seals (but not the human figure). Indeed in this kind of work something in the nature of a school has grown up.

Fresh life has lately been given to the old works at Rörstrand, near Stockholm. Here in the underglaze decoration the same cool, pearly colours that we find in favour at Copenhagen are predominant. Great care has lately been devoted to the modelling of flowers.

At the Rozenburg works, near the Hague, a new paste has been invented by Juriann Kok. The extraordinary tenacity and plasticity of this material allows of its being worked into the strangest forms--some of the vases, with long, thin, angular handles, suggest work in hammered metal. By means of a fantastic decoration--quaint, elongated figures, and forms of marine life, such as the long-clawed Japanese lobster--a certain original _cachet_ has been given to this ware.

The Charlottenburg works, near Berlin, have lately felt the influence both of Copenhagen and of the new school of Sèvres. Everything has been lately tried--sculpturesque developments in various directions, and again the decoration of large wall surfaces with porcelain plaques enamelled so as to resemble oil pictures; but as in former days, so now, the technical and scientific side of this industry tends to prevail over the artistic.

M. Édouard Garnier, the late director of the Museum at Sèvres, in a report upon the porcelain exhibited at Paris in 1900, has ably summed up his impressions of the wares now being manufactured in various parts of Europe, and I cannot do better than follow so excellent an authority in his ‘appreciations’ of this modern porcelain.

M. Garnier dates the latest renaissance of European porcelain from the new ground struck out in the seventies, not only at Sèvres, by Deck and others, but also in many private kilns, as by Bracquemont in Paris and by Haviland in the Limoges district. What specially distinguishes the latest work is the advantage taken of the new colours that can now be employed with the _grand feu_ so as to participate in the brilliancy and purity of the glaze. A delicacy of tone, a transparency and a harmony are now obtainable which contrasts favourably with the dry and dull colours of the old methods of painting. On the other hand, says M. Garnier, the progress in chemical knowledge has been so rapid that the new processes and colours have tended to become the masters of the artists who employ them, instead of remaining subtle tools in their hands.

This tendency is especially noticeable at Copenhagen, and the crystalline glazes, derived from bismuth, that have spread thence all over Europe, are a case in point. So again, starting from the _flambé_ glaze of the Chinese, the modern potter is inclined to run riot with the numerous new materials at his command.

At Sèvres--I follow M. Garnier’s report--advantage has been taken of the new porcelain paste (that of the ‘milder’ Chinese type) to revive in the biscuit ware the reproductions of works of sculpture for which the factory was so renowned in the days of the _pâte tendre_. The pureness and softness of the material and the skill of the manipulation are noteworthy apart from the artistic merit of the work. (Let me here call attention to the fifteen figures by Léonard, ‘_Le Jeu de l’Écharpe_,’ in the new biscuit ware.) This revolution in the style of decoration has now spread to other parts of France, and has affected the great commercial factories of the south-west, especially the ware made by the firm of Haviland.

English porcelain was but poorly represented at Paris in 1900; besides, as we have said, it is in other branches of the potter’s art that we have to look for a reflection of our new native school of decoration. It is indeed a curious fact that many of the designs that we associate with Morris and his followers may be found rather upon the wares of Copenhagen and Sèvres than on our English porcelain. I cannot, however, pass over some criticisms of M. Garnier, in which he falls foul of certain tendencies in the fashioning and decoration of the wares turned out by our big Staffordshire firms. As to how far these criticisms are merited, any one may form an opinion for himself by a glance at the shop-windows of London. ‘The English paste,’ says M. Garnier, ‘is of a special nature which lends itself admirably both to the shaping and to the decoration; the execution is _hors ligne_, but this is accompanied by an overloading of detail, a heaviness in the decoration, and a want of harmony and proportion between the different parts of the piece that cause one to regret that so much talent and care have been employed only to arrive at so very unsatisfactory a result. Besides this, we notice in the English _céramiste_ a want of sincerity, with the result that at first sight you cannot tell what manner of substance you are looking at, whether it is porcelain or dirty ivory, or again a gilt ceramic ware rather than a bronze with a poor patina.’ A curious point in connection with this criticism is that, if I am not mistaken, a good deal of the work thus severely dealt with has been designed, if not executed, by French artists. It is made, however, to satisfy the demand of our great unleavened middle-class.

Turning to the porcelain from the royal works at Charlottenburg, M. Garnier finds fault with the exuberance and overloading of the sculptures and reliefs. But certain large architectural pieces and some frames in rococo style, in pure white ware, excite his admiration, for the beauty of the paste, the purity and the limpidity of the glaze, and the marvellous way in which the technical difficulties of the execution have been surmounted; so, too, for the brilliancy of the colouring and the way in which the enamel colours combine with and form one material with the glaze, as if one were looking at a soft-paste ware. Above all, in some pieces of the ‘new porcelain’--for the milder paste is now in use at Berlin to some extent--the colours of the _grand feu_ and the purity of the enamel are remarkable.

At Meissen, says M. Garnier, they are still working on the old lines: reproductions of the models made a century and a half ago by Kändler are as much as ever in demand. Certain ambitious attempts in a newer style have resulted in errors that will add nothing to the fame of the works. (Dr. Heintze, the present director, has especially devoted himself to the development of the new colours under the glaze. But the porcelain now produced, apart from the copies of the old wares, follows in the lines either of the Copenhagen porcelain, or again, at times, of the coloured pastes of Sèvres.)

Certain districts of Northern Bohemia have become of late centres of ceramic industry. The predominant bad taste and over-decoration of the porcelain made there (I still follow M. Garnier) is above all exemplified in certain coloured statuettes, ‘_articles de bazar_ which corrupt the taste of the public and whose sale ought to be prohibited.’ An exception must be made for the produce of the Pirkenhausen works, near Carlsbad. The marvellous plasticity of the paste, made from the rich deposits of kaolin near Zottlitz, has been taken full advantage of, not only on the wheel and in the mould; it has allowed also of the free modelling of the superadded reliefs by the artist’s hand.

The factory at Herend, in Hungary, founded in 1839, no longer turns out the ware of Oriental style, so much admired by Brongniart, by Humboldt, and by Thiers. Herr Fischer, the director and principal artist, has lately made good imitations of the coloured pastes of Sèvres, with leaves and branches in relief.

At St. Petersburg the imitation of the over-decorated hard paste of Sèvres has been abandoned in favour of the soft and harmonious colours and the pure and limpid glazes of Copenhagen. The vases with designs of white paste, in relief upon coloured grounds, in a manner now little in favour at Sèvres, are less happy. At the Kousnetzoff factory, at Moscow, a polychrome decoration, in imitation of Byzantine embroideries and enamels, has been applied to tea-services of somewhat geometrical forms, while the French porcelain of the time of Louis Philippe continues to be imitated.

At Copenhagen, says M. Garnier, the new porcelain, which since its introduction in 1889 has been praised and exalted in all the art journals of Europe, is still produced on the same lines. Not to speak of the new and strange results already obtained from coloured and enamelled glazes, greater experience in the use of the extended palette at the command of the decorator has produced results in which we find an admirable delicacy and restraint. It was, however, from Sèvres that the impulse first came. We can trace it in the work turned out of late years by Messrs. Bing and Gröndhal. But in place of the amiable and gracious art of France we find here a severe, sometimes we might almost say a rude, style, but one not without character and elevation.

At Rörstrand, near Stockholm (see above, p. 388), the work still continues on the lines of the older porcelain of Copenhagen (_i.e._ in the style in favour ten or twelve years ago), with the same simplicity and charm in the decoration and delicacy in the modelled relief. Perhaps we may attribute to a special quality in the felspar of the north the pure and refined quality so noticeable in the pastes and glazes.

At Rozenburg, continues M. Garnier, a factory already well known for its fayence, a very original kind of porcelain has lately been made. The composition of the paste, though based on kaolin, presents some peculiarities. The ware is of an incredible thinness and lightness, and the strange decoration, based in part upon Japanese motives, is not without charm and originality. The shapes of the vases, however, go too far in the direction of eccentricity. (Cf. p. 389.)

As at Meissen, so in the porcelain now made in Italy there is a total absence of all personality and novelty, and the old, well-beaten road is still followed. At Florence this is carried so far that the old moulds acquired so many years ago from the Capo di Monte works are still in use. ‘Ce sont des choses,’ says M. Garnier, ‘qui prêtent trop au “truquage” et qu’il faut laisser aux fabricants de vieuxneuf.’

EXPLANATION OF THE MARKS ON THE FOLLOWING PLATES (A. TO E.)

CHINESE MARKS

1. _Ta Ming Yung-lo_, 1402-1424. Mark of Yung-lo, engraved under
the glaze in early seal or ‘tadpole’ characters.

2. _Ta Ming Hsuan-te nien chi_, 1425-1435.

3. _Cheng-hua nien chi_, 1464-1487.

4. _Ta Ming Cheng-te nien chi_, 1505-1521.

5. _Ta Ming Kia-Tsing nien chi_, 1521-1566.

6. _Ta Ming Lung-king nien chi_, 1566-1572.

7. _Ta Ming Wan-li nien chi_, 1572-1619.

8. _Ta Tsing Kang-he nien chi_, 1661-1722.

9. _Ta Tsing Yung-cheng nien chi_, 1722-1735.

10. _Do._ _do_., in seal characters.

11. _Ta Tsing Kien-lung nien chi_, 1735-1795. Seal characters.

12. _Ta Tsing Kia-king nien chi_, 1795-1820. Seal characters.

13. _Ta Tsing Tao-kwang nien chi_, 1820-1850. Seal characters.

14. _Ta Tsing Tung-chi nien chi_, 1861-1874. Seal characters.

15. _Wan chang shan tu._ ‘Scholarship lofty as the Hills and the
Great Bear.’

16. _Ki yuh pao ting chi chin._ ‘A gem among precious vessels of
rare jade.’

17. _Shun-ti tang chi._ ‘Made at the Shun-ti (cultivation of
virtue) Hall.’

18. _Tsae chuan chi lo._ ‘Enjoying themselves in the waters.’

19. Conventionalised seal character for _Sho_--longevity.

19A. _Fu_, a bat, a synonym of _fu_--happiness.

JAPANESE MARKS

20. _Kai-raku yen sei._ ‘Made at the Kai-raku house.’

21. _Ken-zan._ The maker’s name.

22. _Yei-raku._ The seal granted to Zengoro. Seal character.

23. _Fuku._ Happiness. (Chinese, _Fu_.) Seal character.

24. _Hopin chi liu._ (Japanese, _Ka hin shi riu_). _See_ p. 199
note.

GERMAN MARKS

25. Meissen. The rod of Æsculapius.

26. Meissen. Monogram of Augustus II., King of Poland.

27. Meissen. Crossed swords and letter (for painter or director).

28. Vienna. The shield of Austria.

29. Höchst. The wheel of the Mainz archbishops, surmounted by a
cross.

30. Fürstenberg. The initial letter of the town.

31. Berlin. The sceptre carried by the Brandenburg elector as grand
chamberlain of the empire.

32. Frankenthal. Crowned lion of the palatinate; the monogram J. A.
H., probably for Joseph Adam Hannong.

33. Frankenthal. The monogram of Karl Theodor, surmounted by a
crown.

34. Nymphenburg. Quarter of shield with arms of Bavaria.

35. Ludwigsburg. Arms of Würtemberg. Three stag horns.

36. Ludwigsburg. Monogram of Duke Charles, surmounted by ducal
crown.

37. Fulda. Double F, for ‘Fürstliche Fuldaische.’

38. Fulda. Cross from the arms of the prince bishop.

39. Herend. Below--the arms of Hungary.

DUTCH, DANISH, SWEDISH, AND RUSSIAN MARKS

40. Weesp. Crossed swords and three dots. Similar mark used
elsewhere.

41. Oude Loosdrecht. The ‘M:’ stands for manufactuur.’

42. The Hague. The arms of the town.

43. Copenhagen. The wavy lines represent the ‘three Belts.’

44. Sweden; Marieberg. The three crowns from the arms of Sweden.

45. Moscow. St. George surrounded by band, with inscription. Above,
the Russian eagle.

46. St. Petersburg. Monogram of Catherine II. (Ekaterina).

BELGIAN AND SWISS MARKS

47. Tournay. A tower, the arms of the town.

48. Tournay. Crossed swords and four crosses.

49. Zurich. German Z and two dots.

50. Nyon. A fish.

FRENCH MARKS

51. Saint-Cloud. The sun, emblem of Louis XIV.

52. Saint-Cloud. Initials of town and of director of factory--Trou.

53. Chantilly. A hunter’s horn.

54. Mennecy. D. V., for the Duc de Villeroy.

55. Vincennes. The initials of Louis XV. crossed, without
year-mark.

56. Vincennes. Initials of Louis XV.; year-mark for 1753, and
decorator’s mark (H.).

57. Sèvres. Time of First Empire. The 7 stands for 1807.

58. Sèvres. Double C, enclosing X, for Charles X. 24 for 1824.

59. Paris; Courtille. Two crossed arrows.

60. Orleans (?). Label with three points from ducal arms.

61. Paris; Clignancourt. The windmill of Montmartre.

62. Paris; Rue Thiroux. A, for Marie Antoinette, under a crown.

ITALIAN AND SPANISH MARKS

63. Venice. Incised. Probably of Vezzi family.

64. Venice. Anchor of Cozzi factory.

65. Le Nove. Star of eight points.

66. Vinovo. Cross of Savoy above letter V, for the town.

67. Madrid, Buen Retiro. The _fleur-de-lis_ from the royal arms.

ENGLISH MARKS

68. Chelsea. Triangle, incised.

69. Chelsea. Anchor, in relief.

70. Chelsea. Anchor.

71. Bow. Anchor and dagger.

72. Bow. Monogram of Thomas Frye. (?) Perhaps sometimes a Worcester
mark.

73. Chelsea-Derby. Anchor and letter D.

74. Derby. Jewelled crown, crossed batons, with dots and letter D.

75. Derby. Jewelled crown and letter D.

76. Worcester. Imitation of Chinese characters.

77. Worcester. Crescent.

78. Worcester. Imitation Chinese seal character.

79. Worcester. Crossed swords and number.

80. Swansea. Trident.

81. Longton Hall. Crossed L’s and dots.

82. Plymouth. The symbol for tin.

83. Bristol. Symbol for tin, with a cross.

84. Bristol. Crossed swords, erased.

INDEX

‘Aging’ of clay, 19-20

Alcora, attempts to make porcelain at, 324

‘Alumina’ Company at Copenhagen, 388

Alumina, proportion of, in hard pastes, 7, 385

Amiot, Père, sends china from Pekin, 52 _note_, 298 _note_

Amoy, export of porcelain from, 127, 142

---- stoneware made near, 166

Annam, porcelain made in, 175

Arab trade with China, 209

---- traders, Chinese porcelain distributed by, 210 _seq._

---- writers on Chinese porcelain, 60, 209-217

_Arabian Nights_, Martabani ware mentioned, 216

Arabic inscriptions on Chinese porcelain, 94

Aranjuez, porcelain _gabineto_ at, 323

Arita, porcelain district of Japan, 181-182, 193

Armorial china, 164, 253, 369

---- ---- decorated at Canton, 114, 164

Arras, porcelain made at, 289

Arrow-holders in Chinese porcelain, 139

Assyrian and Babylonian glazes, 33

Augustus the Strong, collects Chinese porcelain, 159

---- ---- his collection of porcelain, 227

---- ---- porcelain in exchange for dragoons, 228

---- ---- his taste as a collector, 244-245

Augustus the Strong, his ambition to imitate Oriental porcelain, 245

Bachelier, art inspector at Sèvres, 291

---- his memoir on the Sèvres works, 290

---- quoted, 294, 295, 296, 301

Bacon, John, modeller at Bow, 348

Barbin at Mennecy, 287

_Barbotine_, or slip, 19, 312

Batavian porcelain, 102

---- ---- term how used, 223

Baxter, family of enamellers, 362-363, 369

Belleek porcelain, 374

Bemrose, Mr., on Derby porcelain, 350

Berlin, Meissen staff removed to, 262

---- Wegeli’s earlier porcelain, 262

---- contemporary porcelain, 389, 391

---- porcelain and Frederick the Great, 262

---- ---- methods of sale, 263

---- ---- marks on, 264

Bertin, the French minister, his Chinese porcelain, 52 _note_, 298 _note_

Billingsley, W., 366, 367-368, 371

Bing and Gröndhal factory at Copenhagen, 388, 393

Binns, Mr., documents relating to English porcelain, 357, 358

Biscuit oven, 27

Bismuth used in glaze, 374, 388, 390

Black glazes on Chinese porcelain, 149

Bloor, Robert, at Derby, 356

‘Blue and white,’ origin of Chinese, 75, 156

---- ---- of Ming period, 81-85, 157

---- ---- how distinguished, 83

---- ---- of Wan-li period, 95, 157

---- ---- Chinese name for, 155

---- ---- Chinese porcelain, 155-160

---- ---- earliest Chinese, 156

---- ---- origin of Chinese, 156

---- ---- Chinese porcelain, with hatched lines, 160

Blue decoration _sous couverte_, 43

---- enamel, difficulty of successful application, 99 _note_

---- ---- used with _famille verte_, 101

Boccaro ware, made in China, 166

---- ---- imitated by Böttger, 247

Bohemia, Northern, contemporary porcelain, 392

Bondy, Rue de, Paris, factory at, 313

Bone, Henry, employed at Bristol, 381

---- ---- paints on slabs of porcelain, 381

Bone-ash in English porcelain, 329, 330, 338, 343, 372-373

Borneo, Chinese porcelain found in, 156, 209-210

---- Chinese trade with, 209

Böttger, his life, 246-248

---- as an alchemist, 246, 248

---- his porcelain at the Leipsic Fair, 247, 249

---- compared with other great potters, 250

---- assistance from Dutch potters, 250 _note_

---- the number of his experiments with enamels and glazes, 252

Böttger-ware, polished, 248

---- with enamel colours, 249

---- with brown glaze, 249

Boucher, his models used at Sèvres, 296

Bourbon, Duc de, and Chantilly, 286

Bow, fragments of porcelain found at, 343

---- nature of porcelain there made, 344-345

---- Craft’s punch-bowl, 345-346

---- marks on porcelain, 348

---- factory, origin of, 342

---- ---- bought by Duesbury, 352

---- porcelain, 342-348

Brameld, Thomas, and Rockingham porcelain, 372

Brancas Lauraguais, experiments with kaolin, 305, 313, 378, 379

Brinkley, Captain, on Japanese ceramics, 194

---- ---- quoted, 196

Bristol porcelain, 379-386

---- ---- marks on, 380

---- ---- colours on statuettes, 381-382

---- ---- medallions with floral wreaths, 382

---- ---- ‘cottage china,’ 382

---- ---- glaze on, 382

---- ---- hardness of paste, 384

---- ---- great infusibility, 384

---- ---- composition, 384

---- ---- plasticity of clay, 384

British Museum, Oriental porcelain in, 53

Brongniart, director at Sèvres, 303

---- sells stock of undecorated Sèvres soft paste, 304

---- introduces severe type of paste, 307

---- his influence at Sèvres, 308-309

Bronzes, early Chinese, influence of shapes on porcelain, 57

Brown glazes of Chinese, 74 _note_

Brühl, Count, armorial china for, 253

Brunswick, Duke of, and Fürstenberg porcelain, 265

Buen Retiro, Madrid, porcelain factory at, 322-324

Buonicelli, director at Buen Retiro, 323

Burke at Bristol, 383

Burleigh House, early Chinese porcelain formerly at, 85, 222

Bushell, Dr., work on Chinese porcelain, 15, 54, 91, 153

---- translations from Chinese works on Korea, 171

---- manuscript, 61

---- ---- quoted, 86, 138

_Cailloux_ in French porcelain, 16

Canton, early Arab trade, 209

---- enamellers on porcelain, 108, 114, 164, 165

Capo di Monte, Naples, porcelain factory at, 318-320

Capo di Monte factory removed to Portici, 320

Carlos, Don, at Naples, makes porcelain, 319

---- ---- now Charles III. of Spain, carries his workmen to Buen Retiro, 319

_Cassettes._ _See_ Seggars.

Casting, process described, 25, 354

---- used for Derby statuettes, 354

Catherine II., her Sèvres dinner-service, 298

Caughley porcelain, 365

Celadon glazes, 42

---- word used in restricted sense, 64

---- of Sung dynasty, 63-65, 132, 144

---- origin of term, 64 _note_

---- early examples in European collections, 71

---- later Chinese ware, 145

---- made in Siam, 173, 212 _note_

---- Japanese, 192, 195, 197

---- old pieces in Japan, 178, 201

---- (martabani) in Persia, 215

---- earliest specimen at Oxford, 218

Censors, influence of, on Chinese arts, 74

Ch’ai yao, early Chinese ware, 62

_Chambrelans_ or chamberers, term explained, 303

Champion, R., 375, 377, 379, 382-383

Chang, the elder and younger brothers, 65

_Cha-no-yu_, Japanese tea ceremony, 178

Chantilly, porcelain made at, 285-287

---- sprig pattern, 286

---- marks on porcelain, 287

Chao Ju-kua, his report on early Chinese trade, 210

Chardin on porcelain in Persia, 215

Charlottenburg factory, 389, 391

Chelsea-Derby porcelain, 341, 352-355

---- ---- marks on, 352

---- ---- new forms introduced, 352-353

---- ---- statuettes made by ‘casting,’ 354

Chelsea factory, site of, 335

---- ---- end of, 341

---- porcelain, 331-342

Chelsea porcelain, an early ware, 332

---- ---- marks on earliest pieces, 332

---- ---- Japanese wares imitated, 336

---- ---- sales of, 337, 341

---- ---- claret colour on, 338, 340

---- ---- use of gold on, 338

---- ---- rococo forms, 339

---- ---- turquoise on, 339

---- ---- statuettes, 340

---- ---- models of birds and fruit, 340

---- ---- marks on, 342

Cheng-hua (1464-87), use of date-mark, 82

---- enamelled ware, 86

---- porcelain of, 93

Cheng-tai enamels on copper, 88, 93

Cheng-te (1505-21), porcelain of, 94

Cheng-tung (1435-49), double date-mark, 93

Cheyne Row called China Row, 333

‘Chicken cups’ of Cheng-hua, 93

Chicoineau family, 240, 282, 284, 288

_Chimie_, in French soft pastes, 280

China collecting, ridicule attached to, 61, 243

---- origin of English term, 222

---- clay. _See_ Kaolin.

---- stone (_see also_ Petuntse), 9, 10

---- ---- preparation of, 16

Chinese characters, varieties of, 117-118

---- porcelain exported to different countries, 50

---- ---- influence of old traditions, 51

---- ---- mistakes in early classification, 52

---- ---- late origin compared to other arts, 56

---- ---- survival of old types, 58

---- ---- classification of, 58, 141

---- ---- old native accounts of, 60

---- ---- composition of early wares, 69

---- ---- plain white ware, 141-144

---- ---- unglazed ware, 144

---- stonewares, 165-167

---- trade with the West, 209 _seq._

Ching (blue), Julien’s wrong use of word, 64 _note_

Ching-tsu, Chinese term for celadon, 64

_Chini_, Persian word for china or porcelain, 49 _note_, 222

Christian subjects on Chinese and Japanese porcelain, 133, 182

Chromium, as a source of green, 304, 309

Chün yao, early Chinese ware, 65, 152

---- ---- numbers engraved on, 66

Church Gresley porcelain, 371

Church, Prof., on composition of porcelain, 5, 69, 241, 338, 343, 370, 384

Ciron, Ciquaire, at Chantilly, 285

‘_Clair-de-lune_’ glaze (yueh-pai), 105, 148

Clignancourt, Paris, factory at, 313

Cloisonné enamels on Japanese porcelain, 203

Coalport or Coalbrookdale porcelain, 366

Cobalt blue, sources of that used by Chinese, 40, 75 _note_, 92

---- ---- how prepared by Chinese, 130

---- ---- grounds of Chinese, 148

Coloured pastes, 40, 311

Colours used in decoration of porcelain (_see also_ Enamels), 39

---- resistance to fire, 41

Condé, house of, and Chantilly, 285-287

Constantin, painter on porcelain, 271

Contemporary porcelain, 387-394

---- ---- use of new colours and glazes, 389-390

Cookworthy, William, 375-380

---- ---- search for china-clay, 376-377

Copenhagen, porcelain made at, 274

---- contemporary work, 388, 393

---- Japanese influence, 388

Copper-red under glaze, 80, 130

---- ---- examples in British Museum, 81

---- ---- of Hsuan-te, 92

Copper-red glazes on Chinese porcelain, 150-154

Coral-red grounds on Chinese porcelain, 115

Cornflower or _barbeau_ on porcelain, 313, 355

Cornwall, search for materials for porcelain, 359, 376-378

Cottage china made at Bristol, 382

Courtille, La, Paris, factory at, 313

_Couverte_, French term for glaze, 31

Cozzi, makes porcelain at Venice, 317

Crackle ware, old Chinese (Ko yao), 65

---- ---- Chinese, varieties of, 45

---- ---- glazes of, 145

---- ---- equivalent to Ko yao, 145

---- ---- Korean, 171

Craft, Thomas, his punch-bowl, 345-346

‘Crazing’ of glazes, 32

‘Crow-claws,’ term explained, 29

---- marks of, on Japanese porcelain, 191

‘Crusader’s Cup’ at Dresden, 77, 152, 217

Danish porcelain, 273, 388, 393

Darwin, Dr., letter to Wedgwood, 378

Date-marks on Chinese porcelain, 82

---- ---- method of reckoning, 91 _note_

---- ---- cyclical, 110 _note_

---- ---- two systems, 118

---- ---- how written, 118

---- ---- earliest example, 119

---- ---- those of Kang-he rare, 119

---- ---- on Sèvres porcelain, 302

Dauphin, collector of Oriental porcelain, 230

Decoration of porcelain, Tang-ying’s principles, 112

_Dégourdi, Feu_, term explained, 26

Delft ware, early imitations of Chinese porcelain in, 224

---- ---- competition with Chinese porcelain, 234

---- ---- in England, 240

_Demi grand feu_, term explained, 59

---- ---- glazes of, 98

---- ---- ware of, 79, 106

Derby biscuit, or bisque, 353-354

---- porcelain, 350-357

---- ---- little known of early period, 351

---- ---- sold in London, 351

---- ---- degenerate patterns, 355

---- ---- ‘old Japan’ copied, 355

---- ---- marks on, 356

Dietrich, ‘professor of painting’ at Meissen, 256

Dillwyn, L. W., at Swansea, 367-368

Doccia, near Florence, porcelain factory at, 320-322

---- Chinese white ware and Capo di Monte porcelain imitated, 321

---- contemporary work, 394

Dresden, Chinese porcelain at, 161

---- Ethnographical Museum, Chinese porcelain from various lands, 211

---- Oriental porcelain presented by Grand Duke of Tuscany, 228

---- collection of porcelain, 227, 245

---- approximate date of bulk of specimens, 228

---- porcelain. _See_ Meissen porcelain.

Duesbury, William, 341, 342, 349, 350-352, 356

---- and Longton Hall, 349

Duesbury’s work-book, quotations from, 350-351

Duplessis, the king’s goldsmith, at Sèvres, 291, 296

Dutch dealers supply Augustus of Saxony with porcelain, 228

---- painters, Chinese porcelain in their pictures, 159

---- trade with China, 220

---- ---- with Japan, 183-184

Dwight, Dr., attempts to make porcelain at Fulham, 240-241

---- ---- nature of the paste made by him, 241

---- Lydia, stoneware figure of, 242

Earthenware, term used to include porcelain, 334 _note_

Egg-shell porcelain, 107

Egypt, Chinese porcelain found in, 158, 211, 212, 215, 216

Egyptian fayence and glazes, 33

_Eisen-porzellan_ of Böttger, 248

Empress-Dowager of China a connoisseur of porcelain, 115-116

Enamel colours on Meissen porcelain, 251-252

Enamelled fayence compared with porcelain, 73

---- porcelain, Saracenic origin of, 87, 88

Enamelled porcelain of Ming dynasty, 86-91, 161

---- ---- three classes, 90

Enamels, always superimposed on glaze, 31

---- relation to subjacent glaze, 45

---- on European porcelain, 45

---- on Chinese porcelain, 45-48

---- on Japanese porcelain, 192

---- firing of, 46

---- new sources of colour, 48

---- ---- at Sèvres, 309

---- on copper, influence on porcelain enamels, 88

_Encastage_, term explained, 28

England, how Chinese porcelain first reached, 219, 221, 223

---- early attempts to make porcelain in, 240-242

English porcelain, rival influence of Sèvres and Dresden, 328

---- ---- copies Oriental and Continental models, 328

---- ---- three types of soft-paste, 330

---- ---- royal patronage, 329, 335, 356

---- ---- divided into five periods, 331

---- ---- contemporary work, 390-391

---- trade with East, 221

_Engobe._ _See_ Slip.

D’Entrecolles, Père, his letters, how written, 126

---- ---- reception of letters in Europe, 126

---- ---- summary of letters, 127-136

European enamelling on white Chinese porcelain, 165

---- influence on Chinese porcelain, 109, 135, 159, 162

---- market, Chinese porcelain for, 163-164

---- porcelain, early attempts at manufacture, 235-243

_Façonnage_, or shaping, 20

Falconet, his models used at Sèvres, 296

_Famille rose_, 106-110

---- ---- European influence on painting, 109

_Famille verte_, 98-102

---- ---- with black ground, 100

---- ---- relation to Ming enamels, 100

Favorite, La, near Baden, porcelain cabinet, 227

Fawkner, Sir Everard, and Chelsea porcelain, 335-337

Fayence, enamelled, competition with porcelain in seventeenth century, 233

---- ---- practical disadvantages of, 234

Felspar, 9, 10

---- decomposition of, 10

---- how far equivalent to china-stone, 16 _note_, 251

---- pure, used in Danish and Swedish porcelain, 388, 393

Feng Ting ware, white Chinese porcelain, 68, 142

Firing of porcelain, chemical reaction, 11

---- ---- systems described, 26, 191

---- ---- at King-te-chen, 133

Fischer, Herr, at Herend, 271, 392

_Flambé_ glazes, 42

---- ---- on Chinese porcelain, 152

---- ---- firing of, 152, 153

---- ---- how painted on, 153

---- ware, early type, 66

Florence, porcelain made in sixteenth century. _See_ Medici.

Flour-spar used in glaze at Fürstenberg, 265

Flowers in porcelain at Meissen, 254, 293 _note_

---- ---- at Vincennes, 293

_Fond laque_ on Chinese porcelain, 102

---- ---- much found in Persia, 147

Forms of Chinese porcelain, 137-141

---- of Japanese porcelain, 192

Fostât rubbish-heaps, fragment of Chinese porcelain found in, 216

_Fouliang, Annals of_, 127

France, early collectors of Oriental porcelain in, 229-231

Francesco, Grand Duke of Tuscany, makes porcelain, 237

Frankenthal, porcelain made at, 267

Franks, Sir A. W., on Oriental china, 53, 121, 185

---- ---- on Strassburg porcelain, 270

---- ---- on Parisian kilns, 314

---- ---- on Lowestoft porcelain, 370

Frederick the Great and porcelain, 255, 262, 274, 275, 335

Frits, used in French soft pastes, 279

Frye, Thomas, at Bow, 342-343

Fuel used in firing porcelain, 28

Fukien, Chinese province, two wares made, 66, 142

---- white porcelain, 142-143

---- ---- imitated in Europe, 142

---- ---- decorated in England, 144

---- enamelled porcelain, 143

Fulda, porcelain made at, 268

Fulham, Dr. Dwight attempts to make porcelain at, 240

Furnaces for firing porcelain, three types described, 27

---- for Chinese porcelain, 134

---- for Japanese porcelain, 191

---- for French soft pastes, 280

Fürstenberg, porcelain made at, 265

Fusibility of porcelain, experiments at Sèvres, 8, 18

Gardner, at Tver, makes porcelain, 275

Garnier, Édouard, late director at Sèvres, 310

---- ---- report on contemporary porcelain, 389-394

_Garniture_, term explained, 23

---- _de cheminée_ in Chinese porcelain, 139

Geneva, porcelain painters at, 271, 311

Gersaint, his catalogue of Oriental porcelain, 230

Ginori family at Doccia, 320-321

Glass, possible influence on early Chinese glazes, 57

---- made by Hu imitated in porcelain, 113

Glazes, 12, 30-38

---- preparation of, 30

---- applied to unbaked ware by Chinese, 30

Glazes, called oil by Chinese, 31

---- distinguished from enamels, 31

---- fusibility of, 32

---- on Egyptian fayence, 32

---- composition of ancient, 33, 144-154

---- three main classes of, 34

---- on Chinese porcelain, 35

---- relation to subjacent paste, 35

---- containing lime, 35-36

---- at Sèvres of two types, 36

---- on European porcelain, composition of, 36

---- on Chinese porcelain, composition of, 37

---- when first used by Chinese, 69

---- sole source of decoration on early Chinese porcelain, 70

---- for French soft pastes, 281

---- for hard pastes at Sèvres and Limoges, 306

‘Glozing’ or glazing oven, 27

Gold as source of red colour (see also _Rouge d’or_), 89

Gotzkowski, Berlin banker, 262

Gotha, Museum at, early Chinese porcelain, 72, 174, 212

---- porcelain made at, 269

Gouyn, Charles, manager at Chelsea, 333

Granite, primary source of both kaolin and petuntse, 9

Granitic rocks, varieties of, 9

Granja, La, porcelain _gabineto_ at, 323

Gravant, potter at Sèvres, 290, 294

Graviata bowls, 115

Green and blue enamels not successfully united by Chinese, 98 _note_

---- ---- on two vases of Ming porcelain in British Museum, 99 _note_

---- glazes on Chinese porcelain, 149

---- of _famille verte_, how applied, 99-100

Grieninger, manager at Berlin, 263

Growan-stone and clay, 377

Hague, porcelain made at, 273, 389, 393

Hampton Court, Oriental porcelain at, 185, 225-226

Hampton Court, no specimens of _famille rose_ or of ‘Old Japan,’ 225

---- ---- age of porcelain represented at, 226

---- ---- Queen Mary’s china cabinet, 226

Hancock, Robert, working at Battersea, 347

---- ---- and transfer-printing, 360

Handles, fixing of, 23

Hannong family, Strassburg potters, 268, 269, 305, 313, 318

Hardness of porcelain, 5, 18

Haslem, J., on casting process at Derby, 26, 354

Hat-stands in Chinese porcelain, 139

Haviland factory at Limoges, 389, 390

Hellot, chemical adviser at Sèvres, 291, 300

---- his memoir quoted, 278-280, 294, 299

Herculaneum works at Liverpool, 371

Herend, in Hungary, porcelain factory at, 271, 392

Herold or Höroldt at Meissen, 253

Hippisley, translations from Chinese, 91 _note_

Hirado or Mikôchi ware, 193-195

Hirth, Dr., on early Chinese trade, etc., 54, 210-213

---- ---- collection of early Chinese porcelain, 72

Höchst, porcelain made at, 264

Holdship, Richard, 358

Holland, Chinese ‘blue and white’ early imported, 158

---- Chinese porcelain in, 229

---- porcelain made in, 272-274, 389, 393

Hookah-bases of Chinese porcelain, 140

Hsuan-te (1425-35), porcelain of, 92

---- blue and white of, 83

_Hua-shi_, a stone used in Chinese porcelain, 131, 376

Hungary, porcelain made in, 271, 392

Hung-chi (1487-1505), porcelain of, 93, 147

Hunger, at Vienna, 260

Hunger, at Venice, 317

Hybrid pastes of Italy, 316

Imari porcelain, 186-193

---- ---- elements of decoration, 187

---- ---- relation to early Chinese enamelled wares, 187-188

---- ---- relation to other Japanese wares, 188

---- ---- copied at King-te-chen, 188 _note_

---- ---- composition of paste, 190

---- ---- source and nature of materials, 190

---- ---- in Dresden collection, 229

Incense, vessels used in burning, of Chinese porcelain, 138

India, Chinese porcelain found in, 85, 158

---- porcelain enamelled at Canton for, 165

_Insufflation_ of glaze by Chinese, 30

Iron-red in fine lines to imitate the _rouge-d’or_, examples at Dresden, 162

Jade, highly esteemed in China, 57

---- influence on early Chinese glazes, 57

Japan, early pottery of, 177, 179

---- Korean potters in, 179

---- porcelain of, 177-207

Japanese experts on Chinese porcelain, 55

---- porcelain, how introduced from China, 180-181

---- ---- early export of ‘blue and white,’ 182

---- ---- exported by Dutch, 183-184

---- ---- sources of information, 183 _note_, 193 _note_

---- ---- export stimulated by troubles in China, 184

---- ---- princely patronage of, 189, 194

---- ---- founded on Ming types, 189, 197, 199

---- ---- composition of paste, 190

Japanese porcelain, preliminary firing, 191

---- ---- glazes how prepared, 191

---- ---- furnaces, 191

---- ---- marks of crows-feet, 191

---- ---- shapes and uses, 192

---- ---- colours employed, 192

---- ---- celadon, 192, 195, 197, 201

---- ---- stories of processes discovered by spies, 196, 202, 203

---- ---- influence of conservative criticism on, 206

---- trade with China, 178

Julien, Stanislas, translations from Chinese, 53

Ju yao, early Chinese ware, 62

Kaga or Kutani ware, 203-206

Kai-feng Fu, old Sung capital, 62, 63, 65

Kakiyemon, a potter of Hizen, 183

---- ware, 185

---- ---- blue enamel over glaze, 186

---- ---- imitated at Meissen, 253

---- ---- imitated at Chantilly, 286

Kändler at Meissen, 253

---- chief modeller of ‘Dresden figures,’ 253

Kang-he (1661-1722), porcelain of, 96

---- his date-mark, why rare, 119

Kaolin, 8, 10

---- preparation of, 16

---- proportion of, in hard pastes, 17, 385

---- search for in France, 305-306

---- found at Alençon and St. Yrieix, 305-306, 378

---- found in Cornwall, 376-378

Kaolinic stoneware, use of term, 69

Karl Theodor, Elector Palatine, 260, 267

Kenzan, potter at Kioto, 197

Khanfu, Arab name for Hangchow, 209

Kia-king (1795-1820), porcelain of, 114, 155

Kia-tsing (1521-66), porcelain of, 94

Kien-lung (1735-1795), porcelain of, 105-114

---- his poems inscribed on porcelain, 113

Kien-lung, Sèvres porcelain for, 298

Kien yao, old Chinese ware, 66, 180

---- ---- example in British Museum, 71

---- ---- white porcelain, 142, 143

Kilns for firing porcelain. _See_ Furnaces.

King-te-chen in early days, 62

---- oppression of court officials, 94

---- in Kang-he’s reign, 96

---- lists of porcelain made, 95, 104, 115

---- burned, 115, 125, 220

---- position, 123-125

---- Pekin, how reached from, 123

---- Canton, how reached from, 124

---- relation to Jao-chau and Fouliang, 124-125

---- description of town, 125, 127

---- materials brought down in junks, 128

---- foreign designs copied at, 165

---- works abandoned for long period in seventeenth century, 220

Kinsay or Hangchow, 62, 63, 209

Kioto, porcelain made at, 196-199

---- potters copied Ming enamelled wares, 198

---- wares, _récherché_ rudeness of, 197

Kishiu ware or _Ô-niwa yaki_, 199

---- ---- imitated for export at Tokiyo and Kobe, 200

Kiyomidzu, suburb of Kioto, porcelain made at, 197, 198

Kizayemon family, court purveyors of porcelain, 188

Kochi, meaning of Japanese term, 175

---- ware of Japanese, 201

Kok, Juriann, his new porcelain at the Hague, 389, 393

_Koransha_, combination of Japanese potters, 193

Korea, relations with China and Japan, 168

---- fanciful attribution of various wares to, 169, 186

Korean porcelain, classification of, 170

---- ---- celadon, 170

---- ---- plain white, 170

---- ---- crackle ware, 171

Korean porcelain described in early Chinese books, 171

---- inlaid with white slip, 171

---- potters in Japan, 169

Koreans, early use of enamel colours by, 169

Kousnetzoff factory, Moscow, 392

Ko yao, early Chinese ware, 63, 65, 145

‘Kronenburg porcelain,’ origin of name, 267

Kuang-tung porcelain of Raynal, 166

Kuang yao, stoneware, 166

---- ---- early Chinese ware, 63

Kublai Khan, 72, 213

Kutani or Kaga ware, 203-206

---- ware, relation to Imari porcelain, 204

---- ---- marks on, 205

Kwan-yin, statues of, 135, 143, 226

Lace imitated in porcelain at Berlin, 264

Lang Ting-tso, superintendent at King-te-chen, 96 _note_, 103, 151

Lang yao, origin of name, 103

Langen, von, at Fürstenberg, 265

---- ---- at Copenhagen, 274

_Laque Burgauté_, 114

Lathe, use of, in shaping porcelain, 22

Lead in glaze, 33-34

Leithner, chemist at Vienna, 261

Lemon-yellow, opaque glaze on Chinese porcelain, 111-115

Lille, porcelain made at, 284

---- coal early used in porcelain kilns, 285

Lime in paste or glaze of porcelain, 35-36, 251

Limoges district, porcelain works in, 15, 314-315, 389-390

---- enamel copied in Chinese porcelain, 135 _note_

Lister, Dr. Martin, at Saint-Cloud, 282, 326

Lists of porcelain made for Chinese court, 95, 115

Lithophanic porcelain, at Berlin, 264

Littler at Longton Hall, 348

Liverpool porcelain, 370-371

London, West of England porcelain painted in, 363, 366, 369

Longton Hall porcelain, 348-349

Lowestoft and Oriental armorial porcelain, 369-370

---- china, so-called, 165, 369

---- porcelain, 369-370

Ludwigsburg, porcelain made at, 266

Lung-chuan celadon, reproduced at King-te-chen, 132

---- yao, early Chinese ware, 63

Lung-king (1566-72), porcelain of, 95

Lustre ware, attempted imitation by Chinese, 74 _note_

Lyle, Mr., on old Siamese porcelain, 173

Macaulay on china collectors, 61 _note_

Madeley, Sèvres porcelain copied by Randall at, 366

Magnesia, an element of porcelain paste, 12, 131

---- in paste of Vinovo porcelain, 318

---- in paste of Spanish porcelain, 324

Magnets, removal of iron from slip by, 19

_Magots_, decorated in _famille verte_ style, 100

Mainwaring, Mr. Massey, his collection of Dresden figures, 254 _note_

Mainz, elector of, and Höchst porcelain, 264

Manchu or Tsing dynasty, 96

Mandarin china, 114

Manganese-purple glazes on Chinese porcelain, 98, 147

---- ---- in the San-tsai enamels, 99

Marcolini, Count, director at Meissen, 256

Marieberg, porcelain made at, 273

Marks on Chinese porcelain, 117-122

---- ---- how and where applied, 117, 119

---- ---- give little information, 119, 122

---- ---- _Tang_ or hall, _Chai_ or studio, 120

---- ---- allusive, descriptive, emblems and devices, 120-121

---- ---- ‘canting’ devices, 121

Marks on European porcelain. _See_ under the principal factories.

---- on Japanese porcelain, 197, 199, 200, 205

_Marnes_, used in French soft pastes, 279

Martabani celadon, examples in European collections, 71

---- ware, 64-65, 210 _seq._, 144, 173, 215

Materials of porcelain, M. Vogt’s experiments, 17

Maubrée, flower-painter on porcelain, 271

Mazarin or powder-blue grounds of Chinese, 148

Medici, Lorenzo de’, receives present of Chinese porcelain, 217

---- porcelain, 236-238

---- ---- only identified lately, 236

---- ---- Vasari’s account, 236

---- ---- decoration of, 237

---- ---- composition of, 237

---- ---- marks, 238

Medicine-flasks (_yao-ping_) or snuff-bottles of Chinese
porcelain, 113-114, 140

---- ---- of Chinese porcelain, used by Arabs, found in Egyptian tombs, 140

Meissen porcelain, 244-258

---- ---- composition, 7, 250-251

---- ---- first successfully made (1713-1716), 249

---- ---- composition of glaze, 251

---- ---- hardness of paste, and difficulties in application of enamels, 251

---- ---- early pieces mostly defective, 252

---- ---- ‘Dresden figure groups,’ 253

---- ---- imitation of Chinese _magots_, 253

---- ---- armorial designs, 253

---- ---- flowers imitated, 254

---- ---- attempts to make large figures, 254

---- ---- effects of Seven Years’ War, 255

---- ---- important position of enamel painters, 255

Meissen porcelain, early exported to Turkey, 255 _note_

---- ---- marks on, 257

---- ---- recent work, 257, 392

---- ---- marks on, copied, 258

---- ---- smuggled into England, 334

Melchior at Höchst, 265

---- at Frankenthal, 268

Mennecy, porcelain made at, 287-288

Mica, an element in Chinese porcelain, 11, 131, 376 _note_

Mikôchi or Hirado ware, 193-195

Ming dynasty, porcelain of, 78-95

---- porcelain, colour decoration, 79, 86-91, 161

---- ---- ‘blue and white,’ 81-85, 95, 157

Minton, Thomas, 366, 373

Mirror black glaze on Chinese porcelain, 130, 149

Mohammedan forms of Chinese porcelain, 140

_Mo-hung_, iron-red painted over glaze, 150

Mokubei, potter at Kioto, 201

Moore, Bernard, imitates Chinese glazes, 387

Morikaga, painted on Kaga ware, 204

Moulding, antiquity of process, 23-25

---- process described, 23-25, 128

---- largely used for Chinese porcelain, 112

Muffle-stoves for firing enamels, 47, 281

Nabeshima or Okôchi ware, 195

Nantgarw porcelain, 367-368

Napoleon’s ideas for decoration of porcelain, 308

Niderwiller, porcelain made at, 270

Nien-hao. _See_ Date-marks.

Nien Hsi-yao, superintendent at King-te-chen, 104-105

Nien yao, 105

Nightingale, Mr., on sales of Chelsea porcelain, 335 _note_, 336 _note_

Ninsei, potter at Kioto, 196

Nove, Le, porcelain factory at, 318

Nymphenburg, porcelain made at, 267

Nyon, porcelain made at, 271

Okeover plate in British Museum, 164

Okôchi or Nabeshima ware, 195

‘Old Japan.’ _See_ Imari.

_Ô-niwa yaki_ or Kishiu ware, 199-200

Oriental porcelain, earliest specimens in Europe, 217-218

Orleans, Duke of, collector of Oriental porcelain, 230

---- ---- and Saint-Cloud, 283

---- family, interest in porcelain, 314

---- porcelain made at, 288

Ormolu mountings at Sèvres, 297

---- ---- on English porcelain, 339

Orry de Fulvi at Vincennes, 290

Oude Amstel, Dutch porcelain, 273

---- Loosdrecht, porcelain made at, 272

Ovens for firing porcelain. _See_ Furnaces.

Owari porcelain, 201-203

---- ---- materials and composition, 190

---- ---- cheap ware for export, 203

Owen, Mr., on Bristol porcelain, 376, 381 _note_

Painted glazes, term explained, 44, 59

---- ---- on Ming porcelain, 79

---- ---- of Hsuan-te, 92

Painters on Chinese porcelain, 108

---- ---- signatures of, 108

---- ---- division of work, 129

---- on Sèvres porcelain, signatures of, 303

Painting, schools of, in China, 82

---- on porcelain. _See also_ Enamelling.

Palissy probably endeavoured to make porcelain, 239 _note_

Parian ware, 373

Paris, soft-paste factories at, 288

---- hard-paste factories at, 312-314

_Pâte-sur-pâte_, 41, 311

‘Peach-bloom’ glaze, 105, 154

Pen-rests in Chinese porcelain, 139

Persia, Chinese porcelain in, 147, 157, 215, 216

Persian fayence compared with Chinese porcelain, 73

Persian fayence, early use of blue under glaze, 74, 75

---- ---- Chinese influence on, 76

---- Gulf, early Chinese trade with, 213

---- ---- English trade with, 221

---- inscription on fifteenth century Chinese porcelain, 94

Petuntse (_see also_ China-stone), 8, 10

---- proportion of, in hard pastes, 385

Pierced decoration in Chinese porcelain, 154

Pillows in Chinese porcelain, 139

Pinxton porcelain, 371

---- Billingsley makes porcelain at, 368, 371

Pirkenhausen factory, Carlsbad, 392

Place, Dr., of York, experiments with various clays, 242

Planché, modeller at Derby, 351

Plymouth porcelain, 375-381

---- ---- composition of glaze, 380

---- ---- marks on, 380

Poems on Chinese porcelain, 113

Poison detected by Chinese porcelain, 215

Polo, Marco, account of China, 72

---- ---- on Chinese porcelain, 213-214

Pompadour, Marquise de, and Sèvres, 290, 292, 295, 300

Porcelain, physical properties of, 5

---- microscopical structure, 5

---- chemical composition, 6-12

---- materials, 14-18

---- transition to kaolinic stoneware in Japanese porcelain, 206

---- vague early use of the word, 217

---- early reports in Europe as to its composition, 223

‘Porcelain fever’ at time of Seven Years’ War, 255

Porcelain or purslane, word, how used in Elizabethan times, 222

Portugal, porcelain made in, 325

Portuguese in China, 219

---- as importers of porcelain, 222, 230

Poterat family of Rouen, 239, 282, 284

Potsherds of Chinese porcelain, ground up for paste
of English porcelain, 326 _note_

Potter’s wheel, 20-22

---- ---- early forms, 20-21

_Pourcelainnes_, the word, how used by Marco Polo, 214

Pressing, process described, 23

Quan-yin, or Kwan-yin (Jap. Kwannon), 135, 143, 226

Randall copies Sèvres porcelain, 366

Raynal, Abbé, on Chinese porcelain, 85

---- ---- quoted, 166, 231

---- ---- on classification of Oriental porcelain, 223 _note_

Réaumur makes porcelain, 278

Red decoration _sous couverte_, 43

Red Sea ports, early Chinese trade with, 213

Reine, porcelaine de la, made in Rue Thiroux, 313

Reproductions of old types of Chinese porcelain, 104, 115

Riaño, Don Juan, on Spanish porcelain, 322, 325

Rice-grain, in pierced decoration, 155

Ringler, the arcanist, 264, 266, 267

Risampei, a Korean, at Arita, 181

Ritual vessels in Chinese porcelain, colours of, 138

Rockingham porcelain, 371-372

Rörstrand, porcelain made at, 273

---- ---- contemporary work, 388, 393

Rose, John, 365, 366

Rose-red grounds (opaque), _mei-kwei_, on Chinese porcelain, 110

Roses on English porcelain, 352, 368

Rouen porcelain, 238-239, 282

---- ---- examples where found, 239

_Rouge d’or_ on Chinese porcelain, 107

---- ---- date of introduction in China, 110 _note_

---- ---- not mentioned by D’Entrecolles, 136

---- ---- late introduction in Japan, 189, 205

---- ---- used early at Saint-Cloud, 283

_Rouge d’or_, source of, 284 _note_

---- ---- mentioned in De Frasnay’s poem, 284 _note_

Rozenburg works at the Hague, 389, 393

Russian porcelain, 274, 392

Sacrifice of the potter Tung, 113

Saint-Cloud, porcelain made at, 282-284

---- seventeenth century designs on porcelain, 283

St. Petersburg, porcelain made at, 274, 392

Saladin’s present of Chinese porcelain, 215

Salting collection, early vase with _cloisons_, 80

---- ---- enamelled bowl with Cheng-te mark, 89, 161

---- ---- _famille verte_ with black ground, 101

Salvétat, notes to Julien’s work, 53

Samson, imitates old wares, 314

Sanda celadon, 201

_Sang de bœuf_ glazes, 42

---- ---- imitated in England, 387

---- ---- on Chinese porcelain, 151

San tsai or ‘three-colour’ glazes, 44

---- ---- the ‘three colours’ of Ming enamels, 89, 97

---- ---- relation to Kishiu ware, 98

Saracenic glass, enamels on, 88

---- ---- found in China, 88 _note_

---- motives and forms in Chinese porcelain, 76, 140

---- origin of enamelled porcelain, 87, 88

Sassanian influence on Far East, 70 _note_

Sawankalok, porcelain made at, 173, 212 _note_

Sceaux, porcelain made at, 288

_Schneeball-vasen_, 254

_Schnorrische Erde_ used by Böttger, 250

Seggars, preparation and arrangement in furnace, 28-29

---- arrangement in Chinese furnaces, 133

---- late introduction in Japan, 188

Sei-ji, Japanese term for celadon, 64

Sentoku, Japanese reading of Hsuan-te, 92

Seto, village in Owari, connection with Japanese porcelain, 180, 202

Seto-mono, Japanese equivalent to ‘china,’ 202

Sève for Sèvres, 290 _note_

‘Severe’ or kaolinic porcelain, 17-18, 385-386

Sèvres, experimental work at, 15

---- hard paste, two types, 17

---- the new porcelain, 18

---- the soft paste of, 289-304

---- porcelain works removed to, 292

---- edicts against competing works, 295

---- the factory a fashionable lounge, 295

---- date of the best work, 297

---- soft paste abandoned, 303

---- ---- repainted at later dates, 304

---- the hard paste of, 305-312

---- German workmen at, 305

---- Macquer succeeds Hellot, 305

---- early hard paste of mild type, 306

---- the new mild type of hard paste, 307, 390

---- proposed withdrawal of State support, 310, 311, 312

---- hard paste, analysis of, 386

---- contemporary porcelain, 389, 390

---- laboratory, chemical and technical researches
on Chinese porcelain, 47-48, 55

---- porcelain sold at Versailles, 292

---- ---- biscuit figures, 296

---- ---- royal dinner-services, 297-298

---- ---- colours of grounds on, 299

---- ---- turquoise enamel, how prepared, 299

---- ---- _Rose carnée_ or _Pompadour_, 300

---- ---- gilding on, 301

---- ---- date-marks on, 302

---- ---- jewelled decoration, 302

---- ---- artists’ marks on, 303

---- ---- felspathic glaze, 306

---- ---- glaze on early hard paste, 306

---- ---- big vases of, 307-308

---- ---- the Napoleonic decoration, 308

---- ---- changes in decoration illustrate history, 310

---- ---- coloured pastes, 311

---- ---- pictorial plaques, 271, 311

---- ---- later developments, 312, 390

‘Shaping,’ term explained, 20

_Sha-t’ai_ or ‘sand-bodied’ relation to _hua-shi_, 132

---- ---- used as slip, 154

Shonsui, first made porcelain in Japan, 181

Siamese porcelain, 172-175

---- ---- primitive methods of support in kilns, 174, 211

---- ---- Buddhist emblems, 175

---- ---- decorated at Canton, 175

Signatures of painters on _famille rose_ plates, 108

Silica, proportion of, in hard pastes, 7, 385

Silver plate replaced in France by porcelain, 285

Slip or _barbotine_, 19, 312

---- decoration of Chinese porcelain, 146, 147, 154

Slop-blending, 16

Snuff-bottles of Chinese porcelain, 113-114, 140

Soft pastes, how distinguished, 277 _note_

---- ---- of France, origin of, 277-279

---- ---- composition, 279

Solon, M., at Sèvres, 311

_Sometsuke_, Japanese term for ‘blue and white,’ 187

_Soufflé_ glazes on Chinese porcelain, 30, 150

_Sous couverte_ or under-glaze decoration, 43

Spain, porcelain made in, 322-324

---- Chinese porcelain early imported, 322

Spengler of Zurich at Derby, 354

Spode family of Stoke, 372-373

---- Josiah, abandons use of frit in porcelain, 373

---- ---- his felspar porcelain, 373

---- ware, 373-374

Sprimont, Nicholas, manager at Chelsea, 333, 338, 341

---- ---- his _Case of the Undertaker_, 334

Staffordshire porcelain, composition, 372

Steatite in Chinese porcelain, 131

---- used at Worcester, 359

---- used at Swansea, 368

---- relation to _Hua-she_, 376 _note_

Stoneware, relation of, to porcelain, 7, 386

---- composition, 7

Stonewares of Chinese, 165-167

Strassburg, porcelain made at, 269

Strawberry Hill, porcelain at, 266, 283, 321, 379 _note_

_Sui-ki_, Chinese term for crackle or _truité_ ware, 146

Sumatra, Chinese trade with, 210

Sung dynasty of China, 62

---- porcelain, 62-68

---- ---- copied in later times, 52, 104

---- ---- rarity in European collections, 71

Su-ni-po and Su-ma-li, cobalt blues of Arab origin, 92

Swansea porcelain, 367-369

Swedish porcelain, 273

---- ---- contemporary work, 388, 393

Swinton, Rockingham porcelain made at, 371

Swiss porcelain, 270

Ta-mo (Jap. Daruma), 143

Tang dynasty of China, importance of, 56, 209

Tang-ying, superintendent at King-te-chen, 110

---- report on manufacture of porcelain, 111-113

Tao-kwang (1820-50), porcelain of, 115

Tea drinking, influence on ceramic wares, 179, 224, 243

---- ---- ridiculed in drinking-song, 243

Tek-kwa or Te-hua, 142

‘Throwing’ on wheel, 20-22

Thüringer Wald, porcelain made in, 269

Tin enamel used at Chantilly, 286, 294

Tin-glazed fayence, 73

Tin in glaze, 33-34

Ting yao, old Chinese ware, 67, 141

Tingui of Marco Polo, 213-214

Tokugawa period, decline of art in later times, 198, 205

Toshiro, Japanese potter, 180

To-t’ai, ‘bodiless’ porcelain, 91

Tournai, porcelain made at, 289

Toys made of Mennecy porcelain, 287

---- made of Chelsea porcelain, 337