Volume 4 — THE POTTER OF TOURS.

Among the choicest works of art contributed to the Great Industrial Exhibition by our French neighbors, were some enameled earthernware vases of remarkably fine workmanship, and particularly worthy of attention for their grotesque yet graceful decorations. These vases had, however, a still higher claim to distinction than that arising from their own intrinsic value, for they were the workmanship of one who may truly be ranked among “nature’s nobles,” although by birth and station owning no greater title than that of “Charles Avisseau, the potter of Tours.”

A worthy successor of Bernard Palissy, he has, like him, achieved the highest success in his art, in spite of difficulties which would have caused most other men to yield despairingly before what they would have deemed their untoward fate. Charles Avisseau was born at Tours on Christmas-day, in the year 1796. His father was a stone-cutter, but whenever labor was slack in that department, he sought additional occupation in a neighboring pottery. While still a child, he used frequently to accompany his father to the factory. His eager attention was quickly attracted by the delicate workmanship of the painters in enamel, and before long he attempted to imitate their designs. The master of the factory observed some flowers and butterflies which he had sketched on a coarse earthernware vase, and at once perceiving that he gave promise of being a good workman, he engaged him in the service of the factory.

The boy now began to feel himself a man, and entered with his whole soul into his work. By the dim and uncertain light of the one lamp around which the Avisseau family gathered in the long winter evenings, Charles would spend hour after hour in tracing out new designs for the earthernware he was to paint on the morrow. He was at first too poor to purchase either pencil or paper, and used to manufacture from clay the best substitute he could for the former, while he generally employed the walls of the apartment as a substitute for the latter. He applied himself indefatigably to the study of every branch of his art—the different varieties of earths, the methods of baking them, the mode of producing various enamels, &c.—until, after some years of patient labor in the humble situation he had first occupied, he was offered the post of superintendent of the manufactory of fine porcelain at Beaumont-les-Hôtels. He was still, however, but a poor man; and, having married very young, was struggling with family cares and the trials of penury, when one day there fell into his hands an old enameled earthenware vase, which filled him with a transport of astonishment and delight. This was the chef-d’œuvre he had so often dreamed of, and longed to accomplish; the colors were fired on the ware without the aid of the white glaze, and the effect was exquisite.

“Whose work is this masterpiece?” inquired the young man.

“That of Bernard Palissy,” was the reply; “a humble potter by birth. He lived at Saintes three centuries ago, and carried with him to the grave the secret of the means by which his beautiful enamels were produced.”

“Well, then,” thought Avisseau, “I will rediscover this great secret. If he was a potter like me, why should not I become an artist like him?”

From that hour forward he devoted himself with the most unwearying perseverance to his great pursuit. He passed whole nights over the furnace; and although ignorant of chemistry, and destitute of resources, instruments, or books, he tried one experiment after another, in hopes of at length attaining the much-desired object. His neighbors called him a madman and a fool; his wife, too gentle to complain, often looked on with sad and anxious eye as she saw their scanty resources diminishing day by day—wasted, as she conceived, in vain and fruitless experiments. All his hopes seemed doomed to disappointment, and destitution stared him in the face; yet one more trial he determined to make, although that one he promised should be the last. With the utmost care he blended the materials of his recomposed enamel, and applied them to the ware, previous to placing it in the oven. But who can describe the deep anxiety of the ensuing hour, the hour on which the fondly-cherished hopes of a lifetime seemed to hang? At length with beating heart and trembling hand he opened the furnace; his ware was duly baked, and the colors of his enamel had undergone no change! This was a sufficient reward for all his labors; and even to this day Avisseau can never speak of that moment without the deepest emotion.

But this was not a mind to rest contented with what he had already achieved: he longed still further to perfect his art. He accordingly gave up his situation in the factory, and opened a shop in Tours, where he earned his livelihood by selling little earthernware figures, ornaments for churches, &c., while he passed his nights in study and in making renewed experiments. He borrowed treatises on chemistry, botany, and mineralogy; studied plants, insects, and reptiles; and succeeded at last in composing a series of colors which were all fusible at the same temperature. One more step remained to be achieved: he wished to introduce gold among his enamel; but, alas! he was a poor man, too poor to buy even the smallest piece of that precious metal. For many a weary day and night this thought troubled him. Let us transport ourselves for a few moments to the interior of his lowly dwelling, and see how this difficulty too was overcome. It is a winter’s evening; two men—Charles Avisseau and his son—are seated at a table in the centre of the room; they have worked hard all day, but are not the less intent upon their present occupation—that of moulding a vase of graceful and classic form. Under their direction, two young sisters are engaged in tracing the veins upon some vine-leaves which had recently been modeled by the artists; while the mother of the family, seated by the chimney-corner, is employed in grinding the colors for her husband’s enamels. Her countenance expresses a peaceful gravity, although every now and then she might be perceived to direct an anxious and inquiring glance toward her goodman, who seemed to be this evening even more than usually pensive. At last he exclaimed, more as if speaking to himself than addressing his observation to others:

“Oh, what would I not give to be able to procure the smallest piece of gold!”

“You want gold!” quietly inquired his wife; “here is my wedding-ring: if it can help to make you happy, what better use can I put it to? Take it, my husband! God’s blessing rests upon it.” So saying, she placed the long-treasured pledge in Avisseau’s hand. He gazed upon it with deep emotion: how many were the associations connected with that little circlet of gold—the pledge of his union with one who had cheered him in his sorrows, assisted him in his labors, and aided him in his struggles! And, besides, would it not be cruel to accept from her so great a sacrifice? On the other hand, however, the temptation was strong; he had so longed to perform this experiment! If it succeeded, it would add so much to the beauty of his enamel: he knew not what to do. At length, hastily rising from his seat, he left the house. He still retained the ring in his hand: a great struggle was going on in his mind; but each moment the temptation to make the long-desired experiment gained strength in his mind, until at last the desire proved irresistible. He hurried to the furnace, dropped the precious metal into the crucible, applied it to the ware, which he then placed in the oven, and, after a night of anxious watching, held in his hand a cup, such as he had so long desired to see, ornamented with gilt enamel! His wife as she gazed upon it, although at the same time a tear glistened in her eye; and looking proudly upon her husband, she exclaimed: “My wedding-ring has not been thrown away!”

Still, Avisseau, notwithstanding his genius, was destined to lead for many years a life of poverty and obscurity. It was not until the year 1845 that M. Charles Sciller, a barrister, at Tours, first drew attention to the great merit of some of the pieces he had executed, and persuaded him to exhibit them at Angers, Poitiers, and Paris. The attention of the public once directed toward his works, orders began to flow in upon him apace. The President of the Republic and the Princess Matilda Bonaparte are among his patrons, and the most distinguished artists and public men of the day are frequently to be met with in his atélier. In the midst of all this unlooked-for success, Avisseau had ever maintained the modest dignity of his character.

M. Brongniart, the influential director of the great porcelain manufactory at Sèvres, begged of him to remove thither, promising him a liberal salary if he would work for the Sèvres Company, and impart to them his secrets. “I thank you for your kindness, sir,” replied the potter of Tours, “and I feel you are doing me a great honor; but I would rather eat my dry crust here as an artisan than live as an artist on the fat of the land at Sèvres. Here I am free, and my own master: there I should be the property of another, and that would never suit me.”

When he was preparing his magnificent vase for the Exhibition, he was advised to emboss it with the royal arms of England. “No,” he replied, “I will not do that. If her Majesty were then to purchase my work, people might imagine I had ornamented it with these insignia in order to obtain her favor, and I have never yet solicited the favor of any human being!” Avisseau has no ambition to become a rich man. He shrinks from the busy turmoil of life—loving his art for its own sake, and delighting in a life of meditative retirement, which enables him to mature his ideas, and to execute them with due deliberation.

In the swamps and in the meadows he studies the varied forms and habits of reptiles, insects, and fish, until he succeeds in reproducing them so truly to the life, that one can almost fancy he sees them winding themselves around the rushes, or gliding beneath the shelter of the spreading water-leaves. His humble dwelling, situated in one of the faubourgs of Tours, is well worthy of a visit. Here he and his son—now twenty years of age, who promises to prove in every respect a worthy successor to his father—may be found at all hours of the day laboring with unremitting diligence. A room on the ground-floor forms the artist’s studio and museum: its walls are hung with cages, in which are contained a numerous family of frogs, snakes, lizards, caterpillars, &c., which are intended to serve as models; rough sketches, broken busts, half-finished vases, lie scattered around. The furnaces are constructed in a little shed in the garden, and one of them has been half-demolished, in order to render it capable of admitting the gigantic vase which Avisseau has sent to the Great Exhibition. There we trust the successor of Bernard Palissy will meet with the success so justly due to his unassuming merit, and to the persevering genius which carried him onward to his goal in the midst of so much to discourage, and with so little help to speed him on his way.