APPENDIX. BOOKS UPON POTTERY AND PORCELAIN.
Reading edition
The following synopsis of works on “pottery and porcelain,” for which we are indebted to Mr. G. W. Wales, will be found useful and interesting:
General Historical Treatises.—Jacquemart, “History of the Ceramic Art”—a descriptive philosophical study of the pottery of all ages and nations, profusely illustrated in aquatint and woodcut, and containing one thousand marks and monograms; Semper, “Der Stil in den Künsten,” in the second volume treats of ceramics, and is a well-illustrated, comprehensive, and useful hand-book; Mareschal, “La Faïence Populaire au 18me Siècle,” has one hundred and twelve colored plates, mostly of French and Delft porcelain; Maze, “Recherches sur la Céramique” is illustrated by photographs, and has a list of marks and monograms; Burty, “Chefs-d’Œuvre des Arts Industriels,” gives a popular account of ceramics, well illustrated (there is a translation by Chaffers); Stallknecht’s papers on “Artistic Pottery and Porcelain” give also an account of the articles in the Vienna Exposition of 1875; Treadwell’s “Manual” is a brief popular work; Hall, “Bric-à-brac Hunter.” One of the best works in English is Marryat’s “History,” well illustrated, in colors. So also is Graesse’s “Guide de l’Amateur,” a very complete collection, in fac-simile, of marks and monograms. Chaffers’s “Keramic Gallery,” besides historical notices and descriptions, gives several hundred photographs of rare and curious specimens of these arts.
Besides these works, devoted especially to ceramics, it will be well to refer to the following, selected out of many books treating generally of the arts of the middle ages, most of them illustrated in the best style, in which may be found chapters or short treatises on pottery and porcelain, with admirable illustrations adapted for use as designs for decoration: Sommerard’s “Arts au Moyen Âge,” plates; Villemin, “Monumens Français;” Lenoir, “Musée des Monumens Français;” Lacroix, “Arts of the Middle Ages;” Louandre, “Arts Somptuaires;” “Instrumenta Ecclesiastica;” Racinet, “L’Ornement Polychrome;” Jones, “Grammar of Ornament;” Bedford, “Treasury of Ornamental Art;” Newbery, “Gleanings from Ornamental Art;” Chenavard, “Album de l’Ornamentiste;” “Tradesman’s Book of Ornamental Designs;” Wyatt, “Industrial Arts of the Nineteenth Century;” Durand, “Recueil et Parallèles des Edifices de tout Genre;” South Kensington Museum, “Industrial Arts;” “Photographs from the British Museum;” Labarte, “Arts Industriels au Moyen Âge;” Zahn, “Ornamentmalerei.”
Manufacture.—The following books treat more particularly of the processes of manufacture of pottery and porcelain, only incidentally touching the artistic history. They are mostly in French, viz.: Brongniart, “Traité des Arts Céramiques,” two volumes of text and one of plates. This is well illustrated, and cited by all writers on the subject as high authority. Figuier, in the first volume of the “Merveilles de l’Industrie,” which treats both sides of the subject, is very fully illustrated as regards both the manufacture and the art-history of glass, pottery, and porcelain. Other briefer treatises are those by Guillery, Bastenaire-Daudenart, Boyer, and a treatise on pottery (Paris, 1772), in volume ii. of the “Description des Arts et Métiers.” In English: Tomlinson’s “Brief History,” from the “Encyclopædia Britannica;” and Arnoux, in volume iii. of Bevans’s “British Manufacturing Industries.” See also Turgau, “Les Grandes Usines de France,” for history of the Sèvres porcelain; Denistoun, “Dukes of Urbino,” volume iii., page 382, for an account of the manufacture of maiolica in the duchy of Urbino; Rosina, “Memoria sulle Stoviglie,” on manufacture of utensils and analysis of clays in the Lombardo-Venetian territory.
The following books give some practical instructions on painting, enameling, etc.: Tilton, “Designs and Instructions for decorating Pottery;” Snell, “Practical Instructions;” “Art Recreations;” Gessart, “Art of Enameling;” Sutherland, “Practical Guide;” Reboulleau.
Marks and Monograms.—Chaffers’s “Marks and Monograms,” which contains also an historical essay on English pottery, with illustrations; also his “Collector’s Hand-book”—a concisely-arranged volume of fac-similes of marks, a supplement to the work just named; Mareschal, “Iconographie de la Faïence”—a dictionary of ceramic artists and marks, with colored illustrations of the different styles; Hooper and Phillips, “Manual”—a dictionary of easy reference; Demmin, “Guide de l’Amateur de Faïences” (two volumes)—a comprehensive, illustrated work of high authority; Bohn’s “Guide to Knowledge of Pottery and Porcelain,” containing also a priced catalogue of the Bernal collection, and an essay; Maze, “Recherches,” illustrated by photographs; Meteyard’s “Wedgwood Hand-book”—a thorough history of this exquisite ware. See also a work by the same author, for admirable photographs of Wedgwood’s principal works, and Fortnum’s “Catalogue of Maiolica.”
The following books treat of the history of pottery and porcelain of different countries and periods:
England.—For a sketch of the art of pottery in England, see the introductory chapters of volume i. of Eliza Meteyard’s “Life of Josiah Wedgwood;” her “Wedgwood Hand-book,” which gives marks, monograms, priced catalogues, and a glossary of technical terms. The same author has recently (1876) published “Wedgwood and his Works,” admirably illustrated with photographs of his more important works; also “Wedgwood Memorial,” likewise beautifully illustrated. Prefixed to Chaffers’s “Marks and Monograms” is an Essay on the Vasa Fictilia of England;” Jewitt’s “Life of Wedgwood” contains also a “History of the Early Potteries of Staffordshire,” well illustrated; Haslem’s “Old Derby China,” illustrated in color, gives a full account of this ware and of the principal workmen, with marks and price-lists; Binns’s “Century of Potting in Worcester” gives in an appendix a sketch of Celtic, Roman, and Mediæval pottery in Worcestershire. See also “Wedgwood, an Address by W. E. Gladstone” (1863); Boyer, “Traité sur l’Origine, les Progrès et l’État actuel des Manufactures de Porcelaine et de Faïence en Angleterre”—one of the excellent Roret manuals of arts and trades.
France.—Mareschal, “Faïence Populaire au 18me Siècle,” with one hundred and twelve finely-colored plates, mostly of French and Delft ware (Paris, 1872); Pottier, “Histoire de la Faïence de Rouen” (1870), two volumes, quarto—an elaborate and finely-illustrated treatise; Pouy, “Les Faïences d’Origine Picarde” (1872), with colored plates and marks; Forestié, “Les Anciennes Faienceries de Montauban,” and other places in the department of Tarn-et-Garonne. On the pottery of the Gauls, see Du Cleuzion, “Poterie Gauloise.” A publication by the Arundel Society gives fine photographs of twenty examples of “Henri-Deux ware” from the South Kensington Museum.
Italy, Germany, Spain, etc.—On “maiolica,” see the history by Passeri, treating of the products of Pesaro and Urbino, and of the works of Giorgio da Gubbio. On “maiolica and Italian faience,” see the splendidly-illustrated works by Delange and Sauzay, “Monographe de l’Œuvre de Bernard Palissy” (Paris, 1872); and the “Recueil de Faïences Italiennes” of the fifteenth, sixteenth, and seventeenth centuries (Paris, 1869), by Delanges, Darcel, and Bornemann. Fortnum’s “Maiolica;” also his “Catalogue of Maiolica, Hispano-Moresco, Persian, Damascus, and Rhodian wares in the South Kensington Museum,” finely illustrated in color, and giving marks and monograms; “Centennial Exposition Catalogue of the Castellani Collection;” Beckwith’s “Majolica and Fayence” (New York, 1877) is a concise and useful general treatise on ceramics, containing much information in small space, with numerous photo-engraved illustrations; Drake’s “Notes on Venetian Ceramics;” Riaño, “Catalogue of Art Objects of Spanish Production in the South Kensington Museum;” De Jorio, “Galleria de’ Vasi, Real Museo Borbonico;” “Le Secret des Vraies Porcelaines de la Chine et de Saxe” (1752); Robinson, “Catalogue of the Soulages Collection.” Asselineau, “Meubles et Objets divers du Moyen Âge” gives specimens of Palissy and Flemish ware. Lazari, “Notizie della raccolta Correr di Venezia.”
Oriental and Savage Races.—Alabaster, “Chinese Art Objects in South Kensington Museum;” Audsley and Bowes, “Keramic Art,” now in course of publication, splendidly illustrated with colored plates by Racinet; Jarves, “Glimpse at the Art of Japan;” Schweinfurth, “Artes Africanæ;” Hartt, “Manufacture of Pottery among Savage Races.” On the cloisonné enamels of China, see appendix to Julien’s “Industries de l’Empire Chinois.” On “Chinese porcelain decoration,” consult “Owen Jones’s Examples of Chinese Ornament,” giving one hundred fine colored plates, from examples at South Kensington.
Tiles.—Nichols’s “Examples of Decorative Tiles, in fac-simile, chiefly in Original Size;” chapter entitled “Céramique,” by Riocreux and Jacquemart, in volume iv. of Lacroix’s “Moyen Âge et la Renaissance,” which contains a bibliography of ceramics.
Ancient Pottery.—Birch’s “History of Ancient Pottery” treats of Assyrian, Egyptian, Greek, Roman, Etruscan, Celtic, Teutonic, and Scandinavian pottery, and is fully illustrated. It contains also a list of the principal collections of ancient pottery. One of the best works is Millingen’s “Ancient Unedited Monuments,” giving excellent colored illustrations of painted Greek vases. Other valuable works are those of Inghirami, “Pitture di Vasi Etrusche,” four volumes quarto, with fine outlines of Greek vase-decoration, some in color; a very beautifully-illustrated work (in color) is that of the Count of Syracuse, “Notizia dei Vasi dipinti rinvenuti a Cuma;” see also Lucien Bonaparte’s “Museum Étrusque;” Donati, “Della Maniera d’interpretare le Pitture ne’ Vasi fittili antichi;” “Description of the Ancient Terra-Cottas in the British Museum,” illustrated by line-engravings; Stackelberg, “Die Gräber der Hellenen,” giving plates of urns, vases, bass-reliefs, etc.; Dumont, “Inscriptions Céramiques de Grèce;” Fabroni, “Vasi fittili aretini;” Kramer, “Ueber den Styl und die Herkunft der bemalten griechischen Thongefässe;” De Sanctis, “Vasi antichi della Collezione Hamilton,” with outline illustrations; G. Gerhard, “Vases Grecs relatifs aux Mystères,” outline illustrations; Gerhard, “Etruskische und kampanische Vasenbilder” (Berlin, 1843), with finely-colored illustrations of vases; Gerhard, “Auserlesene griechische Vasenbilder” (Berlin, 1856), two volumes text, two volumes plates, quarto, also admirably illustrated; Fitzwilliam Museum at Cambridge, part iii., “Fictile Vases;” Schliemann, “Trojanische Alterthümer;” “British Museum Catalogue of Greek and Etruscan Vases,” with outlines; “Catalogue of the St. Petersburg Imperial Collection of Vases in the Ermitage,” with sixteen plates of outlines; Inghirami, “Etrusco Museo Chinsino,” copperplate outlines; “Engravings of Ancient Vases in the Collection of Sir William Hamilton” (Naples, 1791), three volumes folio.
On Egyptian pottery consult Wilkinson’s “Ancient Egyptians;” and the splendid illustrated volumes of Champollion, Lepsius, and Belzoni, for illustrations from the monuments.
Biography.—Jouveaux, “Histoire de trois Potiers Celèbres,” biographical sketches of Palissy, Wedgwood, and Böttger; “Lessons from Noble Lives” (Palissy); see C. C. Perkins’s “Tuscan Sculptors,” volume i., for a chapter on “Luca della Robbia,” also in Vasari; Vasari, volume xiii., page 72, “Vita di Battista Franco.” For a list of books of reference on “ceramics,” see Chaffers’s “Marks and Monograms.”