Chapter V: United States (2)

Besides these, Mr. Broome has modelled a great number of the heads and busts which have always been the staple of workers in parian. Some are original, others are reproductions from the antique. To the former class belongs an ideal Cleopatra (Fig. 438). The artist has chosen a full and sensuous type of beauty, vastly different from that adopted by recent painters who have ventured to portray upon canvas the charms which melted the stern Cæsar and enslaved Antony. Somehow one associates the style of beauty represented in Mr. Broome’s bust rather generally with the land of Egypt than specially with the conquests of Cleopatra. This may result from a familiarity with less truthful conceptions, and in that view implies a decided merit. The artist has in details followed history as closely as it seems possible for him to have done, and has wisely preferred study and research to giving his imagination a free rein. Imagination, or an American model, might have led him to present a higher type of beauty, but neither would have led him to produce a distinctively Egyptian Cleopatra. Accepting his ideal, it is worked out with unmistakable talent, and with the most painstaking attention to workmanship.

It is unnecessary to particularize farther. The Etruria Pottery Company have made a good beginning, and in directing the efforts of their artists it is to be hoped that they may not allow the commercial success of copies of the antique to divert attention from such works as those described. The paste employed is fine, compact, and hard, and assumes in some pieces the clear and polished appearance of marble. Its precise composition is not known. The paste is, as in the usual case, poured in a fluid state into plaster moulds, which absorb the superfluous water. Oxides are used to vary the color of the casts, and a number of tints of great delicacy and beauty have been secured.

American terra-cotta must be briefly dismissed. At the Centennial Exhibition an extensive assortment was shown from works situated in many parts of the country. One or two makers displayed an utterly misguided taste in attempting something original. Others appeared to confine themselves to the well-known Apollo Belvederes, Niobes, and other antique subjects. Garden vases and ornaments were meritorious as a class; but whatever artistic work may be produced in some quarters, in others art is only budding, and will take some time before it blooms into flower. Some excellent work in terra-cotta is executed in Philadelphia and New York, and has been referred to above. Of the hundreds of other factories throughout the country few have done anything distinctive. One or two might possibly be mentioned, such as the Halm Art Pottery Company, of Sandy Hill, New York, which are gradually drawing away from the commonplace, and may be expected, sooner or later, to possess an artistic individuality. Among Eastern workshops may be mentioned those of Beverly, Portland, North Cambridge, and Chelsea, Massachusetts. A great deal of the red terra-cotta of Beverly is consumed by decorative artists and students. The Portland terra-cotta is well known both for excellence of body and beauty of shape. The paste is unusually fine and close in texture, and is excellent under the brush. The North Cambridge establishment also turns out ware of a high quality. The designing department is evidently under skilful and competent supervision, and the forms have an antique grace which never loses its charm. As in the case of Beverly, the products of both these workshops are well adapted to the purposes of the decorator.

Chelsea demands a larger share of our attention for styles of work in terra-cotta unique among American products. The establishment is at present carried on by Robertson & Sons, under the name of the “Chelsea Keramic Art Works.” The firm consists of J. Robertson and his two sons, A. W. Robertson and Hugh C. Robertson. The workshop was founded on 1st June, 1868, by A. W. Robertson, for the production of English brown-ware. He was joined by his brother, and the chief wares made at that time were fancy flower-pots. J. Robertson was admitted to the firm by his sons on 1st June, 1872, and affords a good instance of the wide experience it is possible to compress into one lifetime. Mr. Robertson was born in Edinburgh, Scotland, and first worked in the Fife pottery, at Dysart, where his father was head workman. He there acquired a knowledge of modelling and mould-making, and at the age of sixteen was engaged by the Watsons of Prestonpans, Mid-Lothian, then the leading fine-ware factory in Scotland. He next tried the North of England, and worked as modeller and mould-maker at several factories, gaining experience and proficiency, and ultimately took the management of a small red-ware pottery, where he introduced both white and printed ware, “smeared black” and “lustred” ware. On leaving, he tried manufacturing on his own account for a time, and then accepted the position of superintendent of a black-ware factory at North Shields. He arrived in America in 1853, and worked first in a factory at South River; then with Mr. J. Carr, at South Amboy, and afterward at Thirteenth Street, New York; next with Speeler, Taylor & Bloor, at Trenton; and lastly as manager of the East Boston pottery. His next step was to join his sons at Chelsea, each of whom has had a more or less varied career, and is expert in at least one branch of the business. Since the establishment was opened, a great many experimental pieces have been made of different materials, sizes, and shapes. What are known as porous cones were made some time ago for chemical purposes, and are of so open a body that the breath can be drawn through them with ease. We have already seen that Jersey City claims this discovery. The credit is probably due to both, as they appear to have arrived at the same result by independent courses. Work of a more purely artistic character was tried about eight years ago, but, commercially speaking, without success. A second attempt was made in 1873, and the production has been continued down to the present time. The artists and collectors of Boston soon discovered certain qualities in the Chelsea potters and their works deserving recognition. They may possibly have reached the conviction that Chelsea is to be numbered among the places where artists value their work solely according to its truth, excellence, and beauty. Without affecting to disregard commercial considerations, they succeed in giving their art the precedence. It is not, therefore, a matter of surprise either that they should have convinced a section of the public that Chelsea can do noble service in the cause of American art, or that many excellent works should bear its mark. Allusion may first, however, be made to certain matters with which the Robertsons allow their attention to be diverted from more serious pursuits. They have been inspired by Doulton’s treatment of stone-ware to make certain small pieces of fine earthen-ware of a gray color faintly tinged with blue, and very brilliantly glazed. The decoration consists of incised designs. The pieces do not bear a very close resemblance to Doulton ware, but are in themselves decidedly attractive. The Robertsons, having mastered the fundamental secret of the Haviland process, viz., of applying the colors upon the unbaked clay, have, in the second place, brought out a few pieces after the style of the Limoges faience. Their success here is limited by a palette which must be considerably enriched before the effects of the French ware are reached.

The best Chelsea works are in red and white unglazed earthen-ware. Of these we give two illustrations (Figs. 439 and 440). Some of the forms are original, and others are after the Greek, Italian, and other types. The decoration consists of designs graved in the paste, of mouldings in relief, and of carvings in relief. The application of moulded ornaments to the surface has been practised in all ages, and the Chelsea work does not demand special comment, although many of the designs are attractive and simple. The carving in relief belongs to a different order of work. Instead of being moulded, the ornamentation of leaves or flowers is carved out of clay laid upon the surface of the vase while still moist from the hands of the thrower. The effect is similar to that obtained by mouldings, but the work is finer, the details more highly finished, and the outlines sharper and clearer. Of the designs in these and the pieces decorated with mouldings, the best are those in which leaves either lie across the vase or form a calyx from which it rises upward. The absence of color allows the attention to rest solely upon the fidelity with which every detail is rendered. If this be the quality of work with which the Robertsons tested American taste eight years ago, it is not easy to understand why they did not succeed.

PORCELAIN.

Philadelphia.--William Ellis Tucker.--Bennington.--Jersey
City.--Greenpoint.--Decorating Establishments.--Metal and
Porcelain.

The history of American porcelain is necessarily brief. The impetus toward the higher branches of the art, emanating from Europe, in due time reached these shores. It affected the rapidly developing enterprise of the citizen of the young Republic, and touched his faith in the vast and varied resources of his country. Previous to the achievement of independence, however, and during the early colonial intercourse with England, an incident occasionally transpired not without interest in our narrative. When Mr. Richard Chaffers died in Liverpool, and his porcelain establishment was closed, many of his workmen came to this country. In 1771 it was reported in England that a large china manufactory was established in Philadelphia, where “better china cups and saucers are made than at Bow or Stratford.” It may astonish many who are not acquainted with anything in American ceramics beyond the competitive spirit which rules the business, to find that more than a century ago it had left England behind in the race!

There appears to be no longer any doubt of the existence of a porcelain factory in Philadelphia about the year 1770, and that, therefore, the report alluded to above was “founded on fact.” Advertisements have been discovered which go far toward settling the question. They promise work equal to that of Bow, and are therefore in all probability the basis of the rumor above mentioned, which was current in England a year later. How long the works were carried on is not known.

The next porcelain venture was made in the same city, between 1816 and 1830, by William Ellis Tucker. Tucker began as a decorator, and, after a series of experiments, made first a non-translucent ware of good quality, and then natural porcelain (Figs. 441 and 442).

His works were originally situated behind his father’s china store in Market Street, and afterward at the corner of Market, Schuylkill, and Front streets. One serious impediment to success was a treacherous workman, who did all he could to frustrate his employer’s design. His first experiment was to cut the handles off the pieces when placing them in the kiln. His next was to wash the seggars with felspar, which melted in the kiln and fastened the wares to the bottom of the seggars. When Tucker first made porcelain for the market is not recorded, but in 1827 he was honored with a silver medal by the Franklin Institute of the State of Pennsylvania. Some time prior to Tucker’s death, in 1832, Judge Hemphill had been admitted as partner, and subsequently carried on the factory, in connection with Thomas Tucker, a brother of the founder, for a few years. He then sold out. Thomas took the works in hand alone in 1837, and kept them running for about a year, when the production ceased. The products of the factory were chiefly table wares. The paste and glaze were both excellent, but the form and decoration would not permit of competition with imported china. The workshop went down for want of public support, and also on account of the alleged impossibility of securing the services of skilled artists. We have already seen that Lyman & Fenton conjoined the making of artificial porcelain (Fig. 443) with that of pottery at Bennington, Vermont. This factory is chiefly remarkable as the first from which figures in biscuit were turned out. We have also noticed the Jersey City enterprise of Henderson & Co. Several attempts to produce porcelain were made at Greenpoint, Long Island. In 1848, Mr. Charles Cartalege met with some success in the manufacture of knobs and buttons, but in no table ware. Altogether it is probable that about a dozen different establishments were founded for the purpose of inaugurating the manufacture of a native porcelain. They generally succeeded in making a few pieces, and then stopped for lack of patronage. The honor of first establishing the industry upon a successful basis, and of turning out a commercial ware, is to be ascribed to Mr. Thomas C. Smith, of the Union Porcelain Works, Greenpoint.

Mr. Smith is an American, whose ancestors arrived in the Eastern States about one hundred and fifty years ago. He was brought up as a mechanic, and first went into the porcelain manufacture in 1857, under a company composed of a number of Germans who had started the business about three years previously. At this time several small kilns existed in Greenpoint, like that of Cartalege, for the purpose of making door-knobs and other hardware trimmings. The paste then used was compounded upon the principle of the English artificial paste, and contained a large proportion of burned bones or phosphate of lime. This was the composition used by the Germans with whom Mr. Smith connected himself. These Germans, through dishonesty and want of knowledge of the business, soon brought the concern into trouble, from which Mr. Smith tried to extricate it by acting as manager for a time, but the derangement and prostration of trade, caused by the outbreak of the Civil War, compelled the company to wind up its affairs. Mr. Smith, being the largest creditor, became the purchaser, his intention being to bring the porcelain enterprise to an end, and make the property available for some other purpose. Meantime he went abroad. At the time when the second battle of Bull Run was fought he was in France, and it was there the idea grew upon him that there was a good opportunity for establishing the porcelain business in his native country. So complete was the change in the formation of his plans, that he immediately turned his attention to making such inquiries as might subserve his purpose, among the great workshops of France and England. When he returned home, his intention of abandoning the manufacture of porcelain disappeared, and he decided to embark anew. The experiments which followed were attended with much anxiety. Up to November, 1863, the old bone body had been retained; but in 1864 Mr. Smith stopped using it, and directed his attention solely to the production of a natural kaolinic porcelain like that of China or Meissen. His experiments extended over about two years. The first pieces were uneven and the vitrification was incomplete. This arose from an ignorance of the correct composition required for success. Farther trials were more encouraging, and in 1865 he succeeded in making a plain white-ware, which he could place upon the market. Mr. Smith prides himself upon one fact, that, unlike any one of the European establishments, from that of Florence downward, he succeeded without aid either from a wealthy patron or from government.

In 1866 he first began to decorate, with one English and one German artist. By availing himself of odd fragments of information, he not only improved his decoration, but discovered some European usages, the prevalence of which he had not suspected. One of these was that Dresden ware was sent in large quantities to England to be decorated, and was afterward returned to Dresden and sold as Meissen ware. On one occasion he bought in Europe a Meissen porcelain cup decorated with blue, red, and gold. On returning home, he broke the cup, and put one of the pieces in his porcelain furnace, to see if the colors would stand the heat to which his own were exposed. When it was withdrawn the red had disappeared, a thin, almost imperceptible line was all that was left of the gilt, and the blue had run into streaks and blotches. This little experiment taught him that he was contending with difficulties, in firing his colors, which European makers had not thought it necessary to meet. That he has succeeded is marked by the extension of his works, which cover about an acre of ground, and give employment to about one hundred and seventy people. All his porcelain is decorated by his own artists. Mr. Karl Müller is the chief designer and modeller, and brings a long experience as a sculptor to bear upon his studies in clay. He is a German, whose art education was mainly acquired in Paris under the tuition of the ablest artists of Europe. His predilection for the potter’s art led him to associate himself with Mr. Smith. Before doing so, in 1874, he modelled three terra-cotta figures of base-ball players, in different attitudes suggestive of athletic activity.

The ingredients of Greenpoint porcelain are the kaolins of Cornwall, Delaware, Pennsylvania, and Georgia; felspar from Maine and Connecticut; and quartz, also from Connecticut. These are compounded according to the purpose for which the paste is to be used. In that for table ware the proportions are: kaolin, 37; felspar, 33; quartz, 30. For the glaze: felspar, 15; lime, 15; kaolin, 12; quartz and broken porcelain, 58. The paste made into hardware trimmings contains a greater proportion of American kaolin than that for table ware. As to the merits of the latter it is thus spoken of by M. Ch. de Bussy, from whose official report we have already quoted: “The porcelain of Greenpoint is second to none in quality of paste and hardness of glaze. Most of the articles are heavy, and may be compared in form with that which in French commerce is known as _limonade_: we have, however, seen thinner pieces, such as tea and coffee cups, well made, and which would figure honorably among the productions of Europe (bien fabriquées, et qui pourraient figurer honorablement parmi les productions d’Europe).” Mr. Karl Müller’s first work of art was a “Century Vase” (Fig. 444), designed by Mr. Smith for the Centennial Exhibition. Bison heads form the handles; medallions decorate the front and back, and below them is a belt of gold with small bison, walrus, ram, and other animal heads arranged at intervals. The base is surrounded by a series of medallions or panels, representing, in white relief, Indians, a soldier of the Revolutionary era, the Tea Scene in Boston Harbor, and other historical incidents. The body is painted in blue, red, and gold. The artistic character of the vase can be sufficiently studied in the engraving. The decoration, it will be observed, consists in part of paintings on the flat, and in part of the reliefs already mentioned, which give a meaning to the distinctive title, “Century Vase,” chosen for the piece. It illustrates the national progress of a century.

When Mr. Longfellow wrote his poem “Kéramos,” it is hardly probable that he contemplated the possibility of supplying a subject to the art of which he sang. The poet wrote of the potter, and the potter has illustrated his song. The poem had no sooner appeared than it was made the groundwork of an illustrative vase (Fig. 445). As in the “Century Vase” history is represented by periods and leading events, so in the “Kéramos” vase the history of ceramic art is represented by the leading contributions to its continuous progress. In panels on the base the potters of all ages are seen at work--Egyptian, Greek, and modern. Above these, on the body, are reliefs illustrative of the pottery of Peru, Italy, France, Spain, England, and other countries. As we turn it round, the advance of ceramic art is seen as in a diorama, and amidst the various scenes appears in relief the bust of the poet whose song inspired the work. The form of the vase is singular, simple, and severe, but well suited to the artist’s treatment of his subject. Its rigidity is considerably softened by the quaint, projecting feet and the figures they support, and by the decoration surrounding the flaring top.

Among the other productions of Greenpoint is a series of statuettes, groups, and animal figures, which were first made in a non-translucent hard clay, of a light but warm brown or buff, and afterward in porcelain biscuit. The material first used is dense and non-vitrifying, more nearly resembling terra-cotta than parian. It is well suited to the production of statuettes and groups, in the modelling of which unmistakable talent and originality are displayed. We can in this department, better perhaps than in any other, appreciate the spirit permeating the designing-room at the Union Works. The rule appears to be to study the antique, but instead of copying or reproducing the works of the ancients, to follow their example in choosing subjects from the every-day life of the artist’s own time. We nowhere see a copy of ancient statuary or feel a breath of borrowed inspiration. Every subject is taken from modern literature, or from life in America in the nineteenth century. One piece (Fig. 447) has under it the words “Stitch! stitch! stitch!” and presents us with a softened illustration of Hood’s poem. We say “softened,” because the artist has preferred--wisely or not we will not now determine--to tone down the unutterable misery of the picture, in which the “woman sat in unwomanly rags, plying her needle and thread.” The unspoken weariness and mingled longing and resignation are here, but the squalor and wretched poverty are rather suggested by the broken box upon which the needle-woman sits, than forced upon our notice. If we accept what was evidently the artist’s working canon, that the literal realization of human wretchedness has no place in art, then we must also accept the work as a fitting counterpart to that of the poet. In any case the conception is praiseworthy, and the execution skilful. Another group was suggested by Poe’s “Raven:”

“And my soul from out that shadow that lies floating on the floor
Shall be lifted--_nevermore_!”

The bust of Pallas stands, with the raven on its shoulder, upon a pedestal, in front of which lies a veiled figure. The piece is, we have said, suggested by the poem, of which it is in no sense a literal interpretation. A third group consists of a nude boy and dog, and tells its little story truthfully and forcibly. The attitudes and modelling are alike excellent.

Other pieces, such as a procession of frogs and turtles with shouldered “pitcher-plants,” illustrate the humorous side of the artist’s genius (Fig. 448). The subject appears to be a favorite one, as we find it variously treated in porcelain also. The other statuettes particularly deserving of notice are a stone-mason, two firemen--one of the old _regime_ and one of the new--and a bust of Forrest as William Tell. These specimens will suffice, with what was said above, to indicate the direction in which this branch of art at Greenpoint is being extended.

There has yet to be considered the staple product of the Union Works, viz., its household porcelain. The paste is, as we have seen, of good quality, and the manufactured ware is strong and serviceable. One of the great obstacles in the way of the success of other enterprises--the lack of skilled artists--Mr. Smith has overcome, and now employs a number of decorators whose work augurs well for the continued prosperity of the establishment. We have seen one set (Fig. 449), composed of a circular tray, sugar-bowl, milk-pitcher, and teacups, which is entirely praiseworthy in both design and workmanship. The prevailing color is lavender, into which are wrought, in the form of birds and flowers, delicate tints of blue and yellow. The effect of the whole is soft and pleasing, and is heightened by the graceful design of the pieces, and the fine translucent body upon which the decoration is laid.

We cannot here point to any style as being particularly distinctive of the workshop. The taste of the decorators is broad and catholic.

White reliefs are occasionally used with fine effect in the ornamentation of pitchers and cups. One of the latter shows white figures in relief upon pale grounds.

The cup is of a very graceful shape, and a miniature Columbia supported by an eagle forms the handle. A pitcher in biscuit (Fig. 451) is surrounded by heads of distinguished poets in relief. In this case also the shape is excellent, and the mouldings, including the subsidiary decoration, are admirably finished.

The painting upon some of the plates is deserving of particular notice. They can only be referred to individually, as we have seen that no leading style has been adopted under which they could be treated of collectively. There is no uniformity either in the merit of the designs or decorations. One has for centre-piece a view of Memorial Hall (Fig. 453), and, set in a rim of deep crimson, oval medallions with similar views. The drawing is very careful, and the colors well assorted. On another style a flower or a fern covers the bottom and falls upon the rim, which has no other decoration. Others have views of a windmill (Fig. 455), a cottage embowered in foliage painted in monochrome, or fruit. In some we find delicacy, and in others the work of a brush unaccustomed to search for subtleties of tint or the more refined expression of which color is capable. Fortunately the latter are the exception and the former the rule.

To examine the methods of the artists of Greenpoint, the plate (Fig. 452) may be referred to. The flowers forming its decoration may be found by almost any country roadside. Gathered as they grew, they were taken to the decorating-room, and were there transferred to porcelain. Apart altogether from the artistic result, there is a principle in such a manner of seeking designs deserving of attention. We have seen that in Japan the secret of the infinite variety of art lies in the close sympathy between the artist and nature. He turns to his promptress on all occasions for inspiration and suggestion. It must be so everywhere. The boundless wealth of form and color found in nature confers an equally boundless variety upon the art in which it is reflected. The conventional is limited by human ingenuity: the natural has no limit.

As a final example of table ware let us instance a plate (Fig. 454) decorated in gold, blue, red, green, yellow, and pink, so sparingly that only a close examination brings out the real richness of the coloring. In the first place, the decoration lies entirely upon the rim, with the exception of two circles of gold and blue. The design consists of crossed branches painted in blue and gold, with insects and brightly feathered birds. The effect is exceedingly soft, the delicacy of the colors being as pleasing to the eye as it is satisfactory in point of taste. The mark of the Greenpoint porcelain is an eagle’s head with the letter S--the manufacturer’s initial--through the beak.

Besides the manufacturers and the artists employed in their establishments, many persons make a business of decorating earthen-ware and porcelain, and within the past few years many more have been attracted to this branch of art. It is regularly taught by two New York institutions, the Decorative Art Society and the Ladies’ Art Association, and has many devotees both in the East and West. Much of the work executed by these artists is highly creditable; and there is a great deal that never reaches the public eye, which is marked by both delicacy and originality.

One of the regular professional establishments is that of Warrin & Lycett, of New York. The example here given (Fig. 457) is Jersey City earthen-ware, and was painted by Mr. Warrin, who has had an experience of about fifteen years as a decorator. The colors are bright, and are very happily blended. The ground is a shade of light green, and the flowers are painted in their natural colors. At this workshop success was reached some time ago in a very delicate operation, that of transferring photographs to porcelain.

Mr. John Bennett, formerly the Director of the Faience Department of the Doulton factory at Lambeth, has within the past year settled in New York, and is now turning out decorated faience after the styles seen in the English original. He uses imported Lambeth biscuit, and has erected a kiln in connection with his studio for firing the decoration. It is his intention, in course of time, to use American clays, in order to obviate the necessity of importing biscuit, and at the same time to obtain new shapes made after his own designs. Among his best ground colors are pale yellow, pale blue, and a rich brown tinged with red. The latter is very effectively used with leaves and flowers drawn over the piece in shades of green and yellow. All Bennett’s pieces have an even and brilliant glaze. After what has been said of Lambeth faience, no attempt need here be made to characterize the art represented by this ware. It will be, as indeed it deserves to be, admired; and America ought to be congratulated upon the acquisition of so good a representative of the Lambeth school of decorators.

The tile-piece at the opening of the book devoted to America (page 391) was painted by Mr. F. T. Vance, of New York. The drawing is excellent, and the design is original and decidedly meritorious. The arrangement of the figures gives a life to this and other pieces by the same artist entirely lacking in the styles of tile-painting, which consist of a repetition on each tile of the same design, or of varied but independent designs.

Mr. John M. Falconer, of Brooklyn, is an artist who has devoted himself very successfully to ceramic decoration. Some of his designs on Greenpoint porcelain (see Fig. 455) are very pleasing, and the coloring is chaste and well handled. A more ambitious work is that given below (Fig. 461), an appropriate wedding-gift to an artist’s daughter. The distance toward which the bride and groom are walking is rose-hued, and the church-spire and foliage partake of the effect. Roses are strewn along the path. A heavy knotted white sash forms a curtain and encloses the scene. Above, in a lunette of dark blue bordered with white pearls, is a golden-haired Cupid holding a box of wedding-cake, with the names of the lady and gentleman on the lid. The border of the plate is a deep flat pink, with a narrow outer line of white. The plate is remarkable both as a work of art and for the delicate manner in which, as a gift, it conveys the congratulations and good wishes of the giver. Some of his works, besides the one above alluded to, are in the possession of Mr. T. C. Smith; and others, both in camaïeu and polychrome, are entitled and owned as follows: “Independence Hall,” Rev. Morgan Dix, D.D.; “The Old Clothing Store, Boston,” Mrs. C. F. Blake; “Albert Durer’s House,” and “The Oldest House in St. Louis, Missouri,” Charles Brown, Troy, New York; “Shakspeare’s House,” Edward Green, New York; “A Smoke Fancy,” “Autumn, Montclair, New Jersey,” “Church at West Point,” “Moonlit Lake,” Aaron Vail, Jr., Troy, New York; “Crescent Moon,” John Gale, Esq.; “Killearn Manse, Scotland,” Hon. M. B. Macleay, New York; “The Old Tower, Newport,” Mrs. S. P. Avery; “Across the Water,” F. A. Bridgman, Paris; “At Montreal,” George H. Boughton, London; “At Wilmington, North Carolina,” Mrs. J. P. Whitehead, Newark, New Jersey; “Old Castle, Sunset,” Alfred Jones, Yonkers, New York; “The Philosopher,” Rev. L. L. Noble, Annandale, New York; “Moonlight,” Charles Parsons, Montclair, New Jersey; landscape, and a set of two blue and one yellow vases, Hon. George B. Warren, Jr., Troy, New York. Mr. Falconer has the advantages of a cultivated taste and well-trained skill to help him win such a reputation as might induce him to substitute, even to a greater extent than at present, porcelain or pottery for the more perishable canvas.

There remains to be noticed an artistic combination in which, although it has long been practised in Europe, American workmen have recently succeeded in producing exceptionally fine effects. Reference is made to the combination of metal and porcelain. We have seen with pleasure slender and exquisitely wrought stands of silver and gold, in which delicately painted French porcelain dishes and basins are converted into card-receivers, flower-stands, and fruit-dishes. A great deal of taste can be displayed in the selection of colors to suit the metal, as well as in the deeper harmony which reproduces in silver or gold the flower stems on the porcelain. Chinese porcelain, in rich colors--green, pink, and blue--is similarly treated. Pieces of the Green family are tastefully set in silver and gold, the mouldings on the bands of metal corresponding with the painted borders of the porcelain.

From such specimens of a double art we turn to others less rich, but scarcely less attractive. Faience vases are mounted in bronze and brightly burnished brass, and derive a new character from the association. Works of this class show that, while it is possible to define the limits of the field peculiar to ceramic art, its place in household decoration cannot be specified with equal precision. Already it has entered into effective alliances with the arts of the silversmith, goldsmith, the workers in the baser metals, of the enameller, the carver, and the cabinet-maker. In these several relations it is not now intended to follow it farther. They would lead to the consideration of many arts essentially distinct, and as foreign to each other as to that whose history has led us from the sun-dried bricks of Egypt to the porcelain of Greenpoint.

INDEX.

Abaquesne, Marreot, 281.

Abraham, Copeland’s director, 383.

Abubeker, 191.

Adam, director at Vincennes, 314.

Adobes, 396.

Africa, 213, 216, 217, 241.

Agapenor, 201.

“Agate” ware, 361.

Agostino, assistant of Luca della Robbia, 253, 263.

Agyllos, 241.

Ahriman, 190.

Ainos, 163.

Akai, 161.

Alabastros, 225.

Alambra, 203.

Albany slip, 457.

Alcora, 239.

Alençon, 53, 317.

Alexander the Great, 190, 200.

Algeria, 216.

Alhambra, 235, 236, 247.

Ali, 191.

Alluaud, director at Limoges, 321.

Amasis, 200.

Amathus, 201, 204.

Amazon, tribes on, 417.

Ambrosio, son of Andrea della Robbia, 253.

America, 391-487
(_see_ South America, Central America, Mound-builders,
Indians, United States).

American china, 463.

American clays, 446, _et seq._

American Crockery Company, Trenton, 462.

American Pottery Company, 455.

Ameya, 160.

Ammon, 85.

Amphora,--æ, 24, 27, 90, 222, 224.

Amstel, 343.

Andrea della Robbia, 253.

Anglo-Roman pottery, 354.

Anglo-Saxon pottery, 355.

Anspach, faience, 330;
porcelain, 341.

Antonio, artist at Ferrara and Faenza, 262.

Antwerp, majolica, 331.

Aphrodite, 201.

Apostle mugs, 336.

Apries, 200.

Apulia, 221, 265, 293, 295.

Arabesque, origin of, 213.

Arabs, 189, 190, 213, 214, 217, 218, 233, et seq., 273.

Araguaya Indians, 438.

Archaic Greek vases, 229.

Arequipa, 410.

Aretine ware, 246.

Arita, 161, 172, 176, 179.

Arizona, 429, _et seq._

Arsenal Pottery, Trenton, 462.

Artaxerxes, 190.

Articulated vase, 153.

Artificial porcelain, invented in Europe, 52;
classification, 55, 56, and meaning of term 57;
analysis, 61;
difficulty of its manufacture, 81;
Chinese, 122;
Persian, 122, 196;
Spanish, 238;
Italian, 265, _et seq._;
French, 312, _et seq._;
English, 376, _et seq._;
American, 457, 458, 471, 472.

Aryballos, 226.

Arystichos, 226.

Asia Minor, 211, 213, 214, 215.

Askos, 224.

Assyria, --n, 32, 63-65, 97-102, 198, _et seq._, 220, 426;
porcelain, 100.

Astarte, 202, 204.

Astbury, English potter, 360;
uses calcined flint, 361.

Astbury & Maddock, Trenton, 460.

Aster decoration, 130.

Athieno, 203.

Aubry, M., director at St. Clement, 311.

Aue, kaolin of, 53, 337.

Augustus II., director at Meissen, 338.

Augustus III., director at Meissen, 338.

Auteuil, Haviland’s workshop at, 287.

Avisseau of Tours, 277.

Awadji, 171.

Awata, 167, 171.

Aztecs, 423.

Azulejos, 216, 233, 236, 239;
Minton’s, 366, 368.

Babel, 22, 101.

Babylon, 65, 97.

Babylonia, 64, 98.

Bacchus, 21, 22.

Baden, porcelain of, 340.

Bahia, 416.

Bagnall, 360.

Baireuth, 330; porcelain, 341.

Balboa, 418.

Balearic Islands, 236, 248
(_see_ Majorca, Minorca, Iviça).

Baltimore, Maryland, 455.

Banko-yaki, 171.

Banks & Turner, 382.

Barberini Vase, 363.

Barbin of Mennecy, 313.

Barbizet of Paris, 277.

Barcelona, 234, 237.

Barlow, Arthur, 371.

Barlow, Hannah B., 371.

Barr, Martin, Worcester, 380.

Bartlem, potter in South Carolina, 454.

Basaltes, Wedgwood’s, 364.

Battersea, 380.

Battisto Franco, 257.

Battus, 216.

Beauvais, 273.

Becker, workman at Höxter, 341.

Belgium, 331;
porcelain, 343.

Belleek, Ireland, porcelain of, 388, _et seq._

Benedetto, artist at Siena, 255.

Bengrath Oppal, director at Meissen, 338.

Bennett, John, New York, 483.

Bennington, Vermont, 457;
porcelain, 472.

Benten, 162.

Berlin, 338, 341, 342.

Bernardo Buontalenti, inventor of Medicean porcelain, 268.

Bernart, Jehan, 279.

Beverly, Massachusetts, 468.

Beyerlé, Baron de, 310.

Biagio, artist at Faenza and Ferrara, 262.

Bikos, 223.

Billingsley, or Beely, 387.

Bingley, Thomas, 376.

Binns, R. W., director at Worcester, 380.

Birkenhead, 375.

Biscuit, meaning of, 53.

Bis-ja-mon, 162, 163.

Bissen, Danish sculptor, 349, 351.

Bleu fouetté, 132.

Blois faience, 308.

Bloor, Ott & Booth, Trenton, 462.

Bloor, Robert, 379.

Bloor, Trenton potter, 460.

Blue-and-white porcelain of China, 123, _et seq._;
of Japan, 126, 175.

Blue of the sky after rain, 122, 131.

Blunger, 67.

Boccaro, 119.

Boileau, director at Sèvres, 314.

Bone, enameller (Plymouth), 377.

Bordeaux, 312;
porcelain, 320.

Böttcher, 52, 336, 337, 452.

Bourg-la-Reine, 288, 302, 303, 304.

Bow china, 377, 379, 471.

Boyle, John, partner of Minton, 366.

Bracquemond, M. and Mme., 288, 291, 295, 322.

Bradwell stone-ware, 360.

Bramelds of Swinton, 386.

Bramfield, J. and W., 376.

Brazil, 413, 414-417.

Breslau, 329.

Brewer, J. Hart, Trenton, 462, 465.

Brichard, Eloi, director at Vincennes, 314.

Bricks, 88, 89, 98, 101, 106, 220, etc.

Brick stamp, 88, 101.

Bristol pottery, 373;
porcelain, 376, 386.

Britain, Great, and Ireland, 352-390.

Brongniart, director at Sèvres, his classification, 54, 55, 315, 316, 318.

Broome, Isaac, Trenton artist, 464, _et seq._

Brosely pottery, 375.

Brown, Westhead, Moore & Company, 388.

Brühl, Count, 338, 339.

Brussels, 331;
porcelain, 343.

Buddha, 110, 111.

Buddhism, 111, 161.

Buen Retiro, 238.

Bunsen, 85, 241.

Burroughs, G. S., Trenton, 462.

Burslem, 360;
Wedgwood at, 362.

Butler, Frank A., 371.

Byzantium, --ine, 241, 248.

Caballito, Peruvian, 409.

Cabuahuil, 421.

Cairo, 214.

Caistor ware, 354.

Caldas, 239.

Caldwell & Wood, 364.

Callimachus and the Corinthian order, 301.

Caltagirone, 247.

Camaïeu, 123, 282, 333.

Cambrian Pottery, 387.

Cambridge, Massachusetts, 468.

Cambyses, 29, 200.

Camillo, artist at Ferrara, 262.

Campania, 241.

Campbell, Colin Minton, 360, 368.

Capo di Monte, 268, 269, 270.

Carolina, clays, 440, 447;
works in, 454.

Carr, James, New York, 458, 463.

Cartalege, Charles, Greenpoint, 472.

Casa Pirota, 261.

Castel-Durante, 257.

Castellani collection, 185, 243, 247, 252, 261, 262, 266.

Castelli, 264.

Catto, artist at Faenza and Ferrara, 262.

Caughley, 387.

Céladon, 116, 131, 150, 161, 179, 195, 197.

Celts, --ic, 274;
Irish, 353.

Central America, 418-424.

Ceramic art, its origin, 19, _et seq._;
etymology of “ceramic,” 22, 49;
general view of, _see_ Introduction;
its struggles in America, 444, _et seq._

Cesnola, General L. P., 199, 202, _et seq._

Chaffagiolo, 255.

Chaffers, Richard, 374, 471.

Chamberlains of Worcester, 380.

Chambrette, Jacques, Luneville, 310.

Champion, Richard, 376, 386.

Chang-ti, 110, 111.

Chanon, Commissioner at Sèvres, 315.

Cha-no-yu, 160.

Chantilly, porcelain of, 313.

Chapelle of Sceaux, 311.

Chaplet, artist, 288, 302.

Chelsea-Derby, 379.

Chelsea (England) porcelain, 377, _et seq._

Chelsea (Massachusetts), 459, 468, _et seq._

Cheou-lao, 111, 162.

Cherokee, clay, 447.

Cheroulion, 223.

Cherpentier, François, 279.

Chertsey, tiles, 355.

Chicanneau, 52, 312.

Chichimecs, 422, 426.

Chili, --ans, 402, 408.

Chimu, --s, 399, 400, 408, 409.

China, --ese, general history, 109-153;
legend, 20, 110;
porcelain in Egypt, 25;
customs, 28, 292;
in Persia, 191, 196, 197;
general reference, 37, 107, 163, 164, et passim, to 188,
213, 268, 270, 281, 283, 306, 313, 322, 324, 338, 377, 385, 408.

Christ, 22.

Christiania, faience of, 347.

“Christian” porcelain, 164, 184.

Chrysanthemo-Pæonian family, 138, 176, 177.

Chulula, 424.

Chytrai, 225.

Cincinnati, 463.

Citium, 201, 202.

City Pottery, Trenton, 461.

Clark, Shaw & Co., of Montereau, 307.

Classification, 54, _et seq._

Clay, composition of, 61.

Clays, American, 446, _et seq._

Clerissy family at Moustiers, 283.

Clignancourt, 320.

Cloisonné, enamel, 108, 181, 182;
Minton’s, 367.

Coast pottery of Peru, 400.

Cobalt, blue, 123.

Cockscomb, 124.

Coke, John, Pinxton, 387.

Colebrookdale Pottery, 375, 387.

Colhuas, 422.

Colinot of Paris, 306.

Colombia, 417, 437.

Colorado, 429, _et seq._

Color, its place in Greek art, 36;
in Oriental art, 37, _et seq._;
how obtained, 65, 81.

Composition of wares and glazes, 59.

Concealed color, porcelain of, 123.

Cones, Egyptian, 30, 89.

Confucius, 111.

Connecticut felspar, 449;
stone-ware made in, 454.

Conrade Brothers, artists at Nevers, 282.

Constantine, 241.

Convent of Gratitude, 118.

Cookworthy, William, 376, 386, 447.

Copan, 423.

Copeland parian, 366;
sketch of, 382, _et seq._;
porcelain and silver, 486.

Copenhagen faience, 347;
porcelain, 351.

Cordova, 217.

Corea, 154, 155, 159, 161, 163, 313.

Corean, 158, 160, 161, 164.

Corinth, 241, 242.

Cornwall kaolin, preparation of, 61;
analyses, 450;
used at Greenpoint, 449, 475.

Coroados of Brazil, 415.

Corrugated ware, from Colombia, 417;
from the West, 433, 437, 438, 439.

Cortez, 423, 424.

Costa Rica, 419.

Coxon & Co., Trenton, 462.

Coxside porcelain, 376.

Cozzi, Geminiano, 269.

Crackle, 116, 120, 148, 161, 168.

Crauden’s chapel tiles, 356.

Cream-colored ware, Wedgwood’s, 363;
American, 456, _et seq._

Creil faience, 306;
porcelain, 307.

Creussen stone-ware, 336.

“Crouch-ware,” 360.

Crown-Derby, 379.

Crusaders, 214, 247, 356, 357.

Cuarto Real, 236.

Cup of Tantalus, 152, 153.

Cup of the learned, 125.

Curium, 201, 204, 206, 207, 208.

Custine, Count, 310.

Customs illustrated by pottery, 26, _et seq._
(_see_ also different countries--Egypt, Assyria, Babylonia, etc.).

Cutts of Pinxton, 387.

Cuzco, 400, 412.

Cyfflé, Paul Louis, Luneville and Niederviller, 310.

Cyprus, 199, 220.

Cypselus, 241.

Cyrene, 216.

Cyrus, 190.

Daikokou, 162.

Dali, 202, 206, 208, 209.

Damascus, 214, 215.

Damousse, artist, 288.

Danaus, 21.

Darmstadt, porcelain of, 341.

Darnet, Mme., 53, 317.

Davis, Isaac, Trenton, 460.

Deck, faience of, 304;
porcelain, 324, 325.

Decoration, best styles of, 44, 80, 81.

Decorative Art Society, 483.

Delaplanche, artist, 288, 292.

Delaware, Indian pottery, 438;
Kaolin, 449.

Delft, 136;
French, 311, 331, 333;
English, 358, 373, 454.

Della Robbia ware, imitation, 265, 268, 366
(_see_ Luca, Andrea).

Demaratus, 241, 242.

Denmark, 347-351.

Dennis, S., Connecticut potter, 454.

Derby porcelain, 378, 379.

Deruta, 263.

Desima, 176, 186.

De St. Criq & Company, at Creil, 307; at Montereau, 307.

Difficult ware, 168.

Dillwyn, Swansea, 387.

Dinos, 225.

Diogenes, 26, 27, 222.

Diskos, 226.

District of Columbia, Indian pottery, 438.

Doccia, La, 268.

Dog of Fo, 113, 157, 163.

Dossi Brothers, artists at Ferrara, 262.

Doulton ware, 370, _et seq._;
sketch of John Doulton, 370;
artists, 371;
terra cotta, 372;
imitation, 469.

Dragons, Chinese, 112;
Japanese, 163.

Dresden, 52, 336, _et seq._;
ware imitated, 381, 475.

Dubarry, or Pompadour Rose, 315, 387.

Dubois Brothers, 313.

Duesbury family, 378, 379.

Du Liege, porcelain painter, 324.

Dunkirk, 311.

Durantino, Francesco, 259.

Dutch in Japan, 164.

Dynastic colors of China, 115.

Dwight, Dr., first English porcelain, 52.

Dwight, John, potter at Fulham, 373.

East Boston, 463.

East Liverpool, 451, 452, 463.

East Trenton Pottery Company, 462.

Ebelman, director at Sèvres, 315, 316, 326.

Ecouen, château of, 281.

Egg pottery, 171.

Egg-shell porcelain, 133, 140;
French, 322.

Egypt, --ian, 20, legend, 21;
Chinese porcelain in, 25;
customs illustrated by pottery, 29-31, 89, _et seq._;
porcelain, 48, 62, 92, _et seq._;
glaze, 63-65, 91, 92;
symbols, 85, _et seq._;
in Cyprus, 198, _et seq._;
in Etruria, 243;
processes, 71, 74;
history and general reference, 82-96, 97, 98, 99, 101,
102, 103, 104, 220, 242.

Elers Brothers, 360.

“El Frate,” artist at Ferrara, 263.

El Moro, 431.

Ely tiles, 357.

Enamel, 63-65.
(_See_ Stanniferous.)

Encaustic tiles, 366.

England, first porcelain made in, 52, 242, 352, _et seq._;
tiles, 355;
lead-glazed pottery, 357;
Delft, 358;
porcelain, 376;
her debt to America, 447.

English marks in America, 445.

English porcelain, composition, 61;
history, 376, _et seq._

Eraku, 179.

Etruria, 241, _et seq._;
Wedgwood’s, 364.

Etruria Pottery Company, Trenton, 462, _et seq._

Etruscan, 240, _et seq._;
black, red, and yellow ware, 243.

Ettlinger, commissioner at Sèvres, 315.

Europe, 198.

European art, its fountains, 198.

Evagoras, 200.

Faenza, 261, 262, 265, 424.

Faience defined, 49;
à niellure, 280;
à la corne, 282.

Falconer, John M., artist, 484, 485.

Families of Chinese porcelain, 138.

Fauquez family, St. Amand, 311;
of Valenciennes, 320.

Ferrara, 262.

“Fine style,” Greek, 230.

Flanders, faience of, 311.
(_See_ Grès de Flandre.)

Flashed glaze, 133.

Flights of Worcester, 380.

Florence, porcelain invented at, 52;
its majolica, 255;
porcelain, 265.

“Florid style,” Greek, 230.

Florida, Indian pottery, 438;
clay, 446.

Flushing, Long Island, 463.

Fo, 110, 113.

Fogen, 159.

Fong-hoang, 114, 163.

Fontana family, 258.

Fontenoy vase, 23.

Forli, 262.

Fou-hi, 110.

Fouque, Joseph, 284.

Fournier, 351.

Fourniera of Limoges, 320.

France, 271-326;
ancient, 271-273;
porcelain, composition of, 60;
history, 312, _et seq._

Francesco Durantino, 259.

Francesco Maria, 255.

Francesco Vezzi, 269.

Francesco Xanto, 258.

Francis I., 266.

Frankenthal, 317, 341.

Frye, Thomas, artist at Bow, 377.

Fulham settled by Dutch, 358;
stone-ware, 359, 373.

Furnaces, 74, _et seq._

Fürstenburg, porcelain of, 340, 351.

Gallienus, 25.

Galloway & Graiff, Philadelphia, 455.

Garducci, artist at Urbino, 258.

Garrett, partner of Copeland, 383.

Gaul, 272.

Gelanor, 21.

Geminiano Cozzi, 269.

Genghis Khan, 190.

Georgia, Indian pottery, 438;
clay, 446;
kaolin, 451.

Gérault Daraubert, 317.

Germany, pottery of, 327-330;
stone-ware, 333-336;
porcelain, composition of, 60, 336-342.

Gien faience, 309.

Ginori, Marquis Carlo, 268.

Gioanetti, Dr., founds factory at Vineuf, 270.

Giorgio Andreoli, imitator of Luca della Robbia, 253;
artist at Gubbio, 259, _et seq._

Giovanni, son of Andrea della Robbia, 253.

Girolamo, son of Andrea della Robbia, 253.

Giyoki, or Gyoguy, 73, 159, 160.

Glasgow Pottery Company, 460, 462.

Glaze, porcelain, 60;
artificial porcelain, 61;
pottery, 63;
history of, 64, 80, 81.

Glazing, 80, 81.

Glot of Sceaux, 311.

Göggingen, 330.

Golgoi, 203.

Goodwin, John, Trenton, 460.

Gosai, 176, 177.

Goths, 217.

Græco-Egyptian, 91.

Graffiti, 249;
Minton’s, 367.

“Grains of rice” work, 152, 197.

Granada, 216, 218, 233, 236.

Granite-ware, 456, _et seq._

Gravant, director at Vincennes, 314.

Graybeards stone-ware, 335.

Greatbatch, D., modeller, at Jersey City, 456.

Greece,--eek, legend as to origin of pottery, 21, 22;
conquests defined, 24;
customs illustrated by pottery, 26-28, 227;
painting, 32-34, 36, 37, 221, 222, 228-232;
forms, 35, 41, 223, _et seq._, 264, 326;
whence derived, 90, 209-212, 219, _et seq._;
glaze, 65, 222, 223, 273;
moulding and modelling, 68;
wheel, 72, 73;
furnaces, 74-76;
in Cyprus, 199, _et seq._;
origin of Greek art, 198-212;
general history, 219-232;
sun-dried pottery, 220;
terra-cotta, 220;
styles, 228, _et seq._;
influence in Italy, 240, _et seq._, 264;
in France, 292, 295;
in Denmark, 347-350;
in Brazil, 414;
in United States, 455, _et seq._ _passim_, 467, 470;
general reference, 20, 49, 84, 95, 110, 190, 191, 192,
198, 240, 273, 299, 392, 404, 477.

Green family, China, 130, 139.

Greenpoint porcelain, 443;
imported kaolin, 449;
kilns, 463;
history, 472, _et seq._;
ingredients, 475, 476;
biscuit, 478.

Greenwood Pottery Company, 462.

Grellet Brothers of Limoges, 320.

Grès de Flandre, 336;
revived by Doulton, 370.

Gros-Caillou, 311.

Grosso, artist at Ferrara, 263.

Guatemala, 420.

Gubbio, 259.

Gueguetenango, 420, 421.

Guettard, chemist at Bagnolet, 317.

Guidobaldo II., 257, 259, 261.

Guik-mon, 161.

Hague, the, 343.

Haguenau, 286.

Haji, 158, 159.

Halm Art Pottery Company, New York, 468.

Hancock, R., engraver, 381.

Handley, A., artist at Worcester, 381.

Hanford, Isaac, potter at Hartford, 454.

Hangest, Hélène de, 279.

Hannong, Charles François, potter at Strasburg, 286;
family, 286, 312, 316, 320, 341.

Hard porcelain. (_See_ Natural.)

Harrison, partner of Wedgwood, 362.

Hartford, Connecticut, 454.

Harvey & Adamson, Philadelphia, 455.

Hattersley, Charles, Trenton, 461.

Haviland, Charles Field, 325.

Havilands, of New York and Limoges, 287;
their faience and process, 287, 288;
their artists, 288;
examples, 291, _et seq._;
mark, 304; porcelain, 321, _et seq._;
faience imitated, 469.

Hawthorn pattern, Chinese, 128; black, 129.

Helstone china clay, 376.

Hemphill, Judge, Philadelphia, 472.

Henderson & Co., D., Jersey City, 455, 472.

Henri Deux ware, 63, 279;
Minton’s, 367.

Herbertsville, New Jersey, 455.

Herculaneum pottery, 375.

Hermann, 24.

Hesdin, 273.

Hesse-Cassel, porcelain of, 341.

Hide-yoshi, 160.

Hindoos, 105.

Hirschvogel, 329.

Hispano-Moresque, 217, 233, _et seq._, 240.

History illustrated by pottery, 23, 139.

Hizen, 160, 161, 175, _et seq._, 179.

Hoang-ti, 20, 110, 113, 116.

Höchst, faience, 330; porcelain, 340.

Holland, faience, 331-333;
porcelain, 343.

Holmos, 225.

Holdship, Josiah, Worcester, 381.

Hollins, Michael Daintry, 366, 368.

Homer, 75.

Ho-nan, 121.

Honduras, 423.

Honorific marks, 123.

Horoldt, director at Meissen, 337, 338.

Hotei, 162.

Houdayer, John F., Trenton, 460.

Höxter, 341.

Hudson River Pottery, New York, 457.

Hulaku, Khan, 191, 193.

Hydria, 224.

Hyrche, 223.

Iberian peninsula, 233-239.

Ibis mummy pots, 90.

Idalium, 202, 203.

Illinois, ancient, 431, 438;
kaolin, 449.

Imari, 175.

Inachus, 21.

Incas of Peru, 395.

India, 105-108, 138.

“Indian” porcelain, 187.

Indiana kaolin, 449.

Indians, North American, 425, 429-441.

Inland pottery of Peru, 400.

Ipsen, Mme., 347.

Ireland, ancient, 353.

Iron-stone china, 458.

Irving, 24.

Ise, 160, 172.

Israelites, 31, 88.

Italy: potter’s wheel, 73;
furnaces, 76, 217;
history, 240-270;
general character of its art, 264;
porcelain, 265, _et seq._;
influence in France, 273.

Iviça, 236.

“Ivory porcelain,” 463.

Jacqueline, Countess, 333.

Jacques, manufacturer at Bourg-la-Reine, 304.

Jade, 146, _et seq._, 149, 150.

Jade-colored porcelain, 123, 146, 147.

Jasper-ware, Wedgwood’s, 364, 365.

Jeffords & Co., Philadelphia, 455.

Jehan de Voleur, 273.

Jehovah, 21.

Jerichau, Danish sculptor, 351.

Jersey City, New Jersey, 455, 472;
decorated earthen-ware, 483.

Jewelled porcelain, Sèvres, 315;
Copeland’s, 384.

Jinmu, 158.

Joubert & Cancate, makers of porcelain, Limoges, 321.

Jou-yao, 122.

Judæa, 103, 104.

Jullien, manufacturer at Bourg-la-Reine, 304.

Jupiter, 21.

Kados, 224.

Kaga, 170, 175, 179, _et seq._

Kagoshima, 167.

Kalpis, 225.

Kami,--ism, 20, 161.

Kandler, artist at Meissen, 337-339.

Kanoun, 226.

Kantharos, 226.

Kaolin, 51;
discovered in Saxony, 52, 337;
in France, 53;
St. Yrieix, 316;
Alençon, 317;
etymology, 59;
composition, 59;
how prepared, 59, _et seq._;
American, 447, _et seq._

Karatsu, 172.

Kato Shirozayemon, 144, 159, 160.

Kato-siro-ouye-mon, _ibid._

Kean, Michael, partner of Duesbury, 379.

Keironan, 216.

Kelebe, 225.

Keller & Guérin, Luneville, 310.

Keramos, 22, 49.

Kiel, 347.

Kien-long, 134, 135, 138.

Kilns, 71, 74, _et seq._;
in America, 463.

King-teh-chin, 112, 122, 123, 126, 133, 135, 137, 142, 150.

Kioto, 167, 171, 175, 179.

Kiri-mon, 161.

Kiusiu, 167, 172.

Korzec, porcelain of, 345.

Kothon, 225.

Kotylos, 226.

Kouan-yao, 122, 123, 127.

Kouei, 124.

Kouen-ou, 20, 116.

Koung-tseu, 111.

Koutsi fakata, 159.

Krater, 225.

Kraut, Hans, 330.

Krossos, 225.

Kuan-in, 111.

Kutani, 170.

Kyathos, 226.

Kylin, 113, 163.

Kylix, 27, 209, 226.

La China, 239.

Lacquer, 165, 181.

Ladies’ Art Association, 483.

Lafond, artist, 288, 302.

Lagynos, 224.

Lake dwellers, 327, 395.

Lambeth settled by Dutch, 358;
stone-ware, 359;
faience, 370;
school of art, 371;
artists, 371;
American, 458, 483.

Lambrequin decoration, 124.

Lamoninary, Valenciennes, 320.

Lancelle, 127.

Lang lizen, 125.

Land of Great Peace, 163.

Lanfranco Brothers, 257.

Lanfrey, François, manager at Niederviller, 310.

Lao-tseu, 111.

Lapis-lazuli blue, 132.

Larnaca, 202, 205.

Lathrop, Charles, potter at Norwich, 454.

Laughlin, Mr., East Liverpool, 451, 452.

Lauragais, Count de Brancas, 317.

Laurin, artist, 288, 302, 303, 304.

Learned, cup of the, 125.

Lebœuf and Thebaut, 307.

Lebœuf, Milliet & Co., of Creil, 307.

Leeds pottery, 374.

Leipsic, 329.

Lekythos, 225.

Lelong, Nicholas, founds Nancy, 311.

Lemire, artist at Niederviller, 310.

Levigating mills, 452.

Licou-li, 118.

Lille faience, 311;
porcelain, 313, 320.
Limoges faience, 286;
porcelain, 320;
imitated, 469;
with metal, 486.

Lindeneher, artist, 288.

Lindenir, painter at Meissen, 338.

Literature enriched by figures, 31.

Liverpool delft, 358, 374, 380.

Locker & Co., Derby, 379.

Longevity, god of, 111;
symbols, 114, 124, 163.

Longwy faience, 307.

Loosdrecht, 343.

Lotus as a symbol, 85.

Louisiana, ancient, 431, 439.

Lowe, Alexander, director at Vienna, 340.

Lowestoft pottery, 375;
porcelain, 376.

Luca della Robbia, 247;
sketch of his life, 250, _et seq._;
his works, 251;
the younger Luca, 253;
successors and imitators, 253, 263, 329.

Lucumon, 242.

Ludwigsburg, 341.

Luneville, 310.

Luson, Herolin, 375.

Lyman, Fenton & Co., 457, 472.

Lynch, J. and T., Trenton, 461.

Macquoid & Co., W. A., New York, 457.

Madrid, 238, 239.

Magistrates’ porcelain, 122, 123.

Magna Græcia, 241, 244, 245, 246, 265, 295.

Maine felspar, 449.

Majolica, defined, 49-51;
how painted, 80, 193;
imported into Italy, 249, 254;
earliest Italian, 255;
Wedgwood, 365;
Minton, 366, 368;
Carr, 459.

Majorca, 234, 236, 248, 249, 250.

Malaga, 234, 235.

Malmesbury tiles, 355.

Malpass, William, 376.

Malvern tiles, 355.

Mancos, 433.

Mandan Indians, 430.

Mandarin vases, 135.

Manhattan Pottery, 457.

Manises, 234.

Manor-house, York, pottery, 376.

Manufacture, 66, _et seq._

Marburg, 330.

Marcolini, Count, director at Meissen, 338.

Marieberg, faience of, 346, 347.

Marreot Abaquesne, 281.

Marseilles, founded by Phœnicians, 273;
faience, 285;
porcelain, 317.

Maryland Indians, 440;
felspar and quartz, 449.

Massie, Sieur, potter at Limoges, 286, 320.

Mayer, Joseph, Trenton, 462.

Mazarine blue, 132.

Mecca, Temple of, 213.

Medicean porcelain, 52, 185, 265, _et seq._

Meissen, 52, 53, 337, _et seq._, 475.

Melchiorre, Fra, 262.

Mennecy, porcelain of, 313.

Mercer Pottery, Trenton, 462.

Mercury, 21.

Mesopotamia, 211.

Metallic lustre, 50, 65;
how applied, 80, 193, 195, 217, 233, _et seq._, 240, 247, 249, 254.

Mexico, 418, 421, _et seq._

Meyer, commissioner at Sèvres, 315.

Mezza-majolica, 50, 249, 254.

Mikado, 158, 161, 163.

Miles, Thomas, stone-ware maker, 360.

Millham Pottery, Trenton, 462.

Millington, Mr., Trenton, 460, 461.

Ming dynasty, porcelain of, 123, 133, _et passim._