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THE CERAMIC ART
THE CERAMIC ART A COMPENDIUM OF THE HISTORY AND MANUFACTURE OF POTTERY AND PORCELAIN
By JENNIE J. YOUNG WITH 464 ILLUSTRATIONS
Argilla quidvis imitaberis uda Horace, Epist., II., 2, 8
NEW YORK HARPER & BROTHERS, PUBLISHERS FRANKLIN SQUARE 1878
Entered according to Act of Congress, in the year 1878, by H a r p e r & B r o t h e r s, In the Office of the Librarian of Congress, at Washington.
Contents Illustrations Index
{PAGE 1}
PREFACE.
IN writing the present volume, the author’s object has been to answer as tersely and lucidly as possible the more important questions in connection with the history and manufacture of pottery and porcelain, and to bring the results of recent research to bear upon some of the unsolved problems of the “science of ceramics.” The literature of the subject is formidable in dimensions. Authors have divided the field into sections, and have in many cases presented learned and exhaustive special treatises. Notwithstanding the solid learning and critical acumen reflected in their pages, their form and voluminous character, however, detracted from their value as books for familiar and speedy reference, and left the acquirement of a general knowledge of the ceramic art a matter for wide research and prolonged study on the part of every reader and collector. The attempt has here been made to condense the leading points of the subject, to arrange them after a simple and easily intelligible method, and thus to present in one volume a comprehensive history. No hesitation has been shown in drawing upon foreign authors. Many of the later developments of the art have also been touched upon, and the results of the more recent efforts of artists and manufacturers have been illustrated and described. In treating of America, the author has endeavored to convey some idea of its wealth in materials and of the present condition and tendencies of the industry, and to do justice to those who have laid the foundation of its claim to recognition in the world of art.{2}
The author has incurred obligations in many quarters for information and assistance. Mr. Samuel P. Avery, the Hon. Yoshida Kiyonari, Japanese Minister at Washington, General Di Cesnola, and the many private collectors whose cabinets are represented in the following pages, gave valuable aid both in obtaining illustrations and in other respects. Mr. Charles Edward Haviland, Mr. Theodore Haviland, and M. Bracquemond contributed many valuable hints upon technology and the manufacture and composition of different wares. The dealers of New York, Boston, Washington, Albany, and other cities took an active interest both in directing the author to collections and in furnishing specimens for illustration. Among American manufacturers, Mr. Thomas C. Smith, of Greenpoint; Mr. James Carr, of New York; Mr. Hugh C. Robertson, of Chelsea, Massachusetts; and Mr. J. Hart Brewer, of Trenton, are especially deserving of thanks for helping the author to a true insight into the past history, present condition, and prospects of the art in the United States.
In regard to the engravings, while it was, of course, found necessary in many cases to cull from the rich accumulations of ceramic treasures in Europe, in order to secure the proper illustration of the work, the preference has invariably been given to the collections of America. Such a course recommended itself for obvious reasons. It was thought that it would, in the first place, gratify those desirous of knowing where, in this country, the best representatives of the art of certain countries are to be found; and that, in the second place, it would direct artists where to study the best styles of decoration. One result of the author’s investigations in this matter has been the conviction that the American collector is cosmopolitan in his tastes, and that the American cabinet—in many instances the American tea-table—represents the amity of nations. The arts of all countries are found arrayed side by side in a profusion of which it would have been hard, a few years ago, to find a trace.
In choosing the pieces to be engraved, a threefold aim has been kept in view: the elucidation of the text, the representation of the{3} greatest number of different wares by characteristic examples, and the introduction of as many beautiful works of art as possible consistently with the accomplishment of the two previous objects. The requirements of the student of decorative art have been fully considered, and due weight has been given to the fact that these requirements can be met better by the pencil than the pen.
In procuring specimens, the author has acknowledgments to express both to private collectors and to the curators of public institutions. Among the latter may be mentioned General Loring, of the Boston Museum of Fine Arts, and Mr. H. C. Hutchins, of the Metropolitan Museum of Art in this city, both of whom admitted the author to a close inspection of the collections under their charge, and personally superintended the taking of sketches and photographs. Similar favors were received from the trustees and Dr. M‘Leod, of the Corcoran Art Gallery; from Professor Baird and Mr. Cushing, of the Smithsonian Institution, in Washington; and from the officers of the United States Geological and Geographical Survey of the Territories. Mr. Edward Bierstadt of New York, and Mr. T. W. Smillie of Washington, also granted facilities and volunteered courtesies which proved invaluable.
Casual reference is made in the following pages to the marks of factories and artists, but after due deliberation it was decided not to make them the subject of special treatment or illustration. Several good manuals are already in the hands of the public, and a book of marks should never take any other form. It is comparatively useless unless easily portable and handy. Then, again, marks are, and always have been, imitated to such an extent that they are not the most trustworthy guides to the parentage of specimens. Collectors who buy pieces for the sake of the mark they bear may be deceived; those who buy for the sake of beauty may occasionally be mistaken; but a cultivated taste can never be deluded into finding beauty in the unbeautiful. The art, and not the mark, should be studied; and the fact that many of the finest and most highly valued specimens—Chinese,{4} Japanese, Persian, Saracenic, Greek, Italian, and many modern wares—have no mark gives additional point to the observation.
If the present work should be found defective in certain points, it must be remembered that it could hardly be otherwise, considering its scope and limits. The author will be satisfied if, besides answering its primary purpose, it should increase the interest already awakened in the subject of which it treats, and lead students to appreciate and examine the collections at their command in this country.
J. J. Y.
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CONTENTS.
INTRODUCTION.
Advantages of the Study.—The Lost Origin of the Art.—Ascribed to the Gods.—Legends of China, Japan, Egypt, and Greece.—Keramos.—A Solution suggested.—How Pottery illustrates History.—How it explains the Customs of the Ancients.—Its Bearings upon Religion.—Examples from Egypt, Greece, and China.—The Art represented in Pottery.—Its Permanency.—As a Combination of Form with Drawing and Color.—Greek Art.—Its Merits and Defects.—The Orientals, and their Attention to Color.—Eastern Skill.—The Aim of Palissy.—The Highest Aim of the Ceramic Artist.—Painting on Porcelain.—Rules to be Observed in Decorating.—Where Color alone is a Worthy Object.—How the Art affords the Best Illustration of the Useful combined with the Beautiful.—Its Place in the HouseholdPage 19
BOOK I.—NOMENCLATURE AND METHODS.
CHAPTER I TECHNOLOGY.
Confusion in Use of Terms.—Porcelain as an Instance.—Derivation of Ceramic.—Pottery.—Faience.—Majolica.—Mezza-Majolica.—Composition of Porcelain.—Origin of Word.—Where first made.—When introduced into Europe.—Hard and Soft Paste.—Soft Porcelain of Venice, Florence, England, France.—Hard Porcelain invented at Meissen by Böttcher.—Vienna.—Discovery of Kaolin in France.—Biscuit 48
CHAPTER II CLASSIFICATION.
Tabulated View.—Brongniart’s Division: Its Objections.—Classification adopted.—Leading Features and Advantages.—Distinctions between Different Bodies and Different Glazes{6} 54
CHAPTER III COMPOSITION OF WARES AND GLAZES.
Hard and Soft Pottery and Porcelain.—Composition of Porcelain: Kaolin—Its Derivation and Ingredients—Petuntse—How prepared in China.—The European Process.—Differences between Chinese and European Porcelains.—Chemical Analysis.—English Porcelain and its Peculiarities: Its Average Composition.—How English Clay is prepared.—French Artificial Porcelain.—Parian.—Common Earthen-ware: Table of Ingredients of different kinds.—General Table.—Glazes: Classes.—Brongniart’s Classification.—Difference between Enamel and Glaze.—Silicious Glaze.—History.—Use of Oxides.—Egyptian Processes.—Metallic Lustre.—Stanniferous Enamel: Its History 59
CHAPTER IV MANUFACTURE AND DECORATION.
Divisions of Chapter.—Japanese Method of Preparing Porcelain Clay.—Old Sèvres Soft Porcelain.—Pug-Mill.—Blunger.—Early Italian Methods.—Shaping the Clay.—Moulding among the Egyptians, Greeks, Italians, and at the Present Day.—Moulding Porcelain.—Japanese Method.—European.—Throwing.—The Potter’s Wheel in all Countries.—Baking and Firing.—Egyptian, Greek, Italian, and Japanese Kilns.—Those of Modern Europe and America.—Times of Firing.—Glazing and Painting.—Metallic-Lustre Majolica.—Japanese Methods.—Glazing Stone-ware.—Natural and Artificial Porcelain 66
BOOK II.—THE ORIENT.
CHAPTER I EGYPT.
The East the Cradle of Art.—The Antiquity of Egypt: Its Claim to Notice in every Branch of Inquiry.—The Fountains of Oriental and Greek Art.—The Nile Clay.—Egypt’s Early Maturity.—Limitation of Material.—Effect of Religion upon Art.—Two Periods in Art History.—Ancient Religion.—Various Symbols.—Unglazed Pottery—Sun-dried: Bricks.—Moulds, Stamps, etc.—Vessels.—Baked Ware: Its Early Date.—Color of Vessels and Bricks.—Coffins.—Cones.—Figures.—Sepulchral Vases.—Amphoræ and other Vessels.—Decoration.—Græco-Egyptian Pottery.—Glazed Ware, miscalled Porcelain: Its Nature, and how Colored.—Wall Tiles.—Inlaying of Mummy Cases.—Personal Ornaments.—Images.—Beads, etc.—Vases.—Bowls.—Glazed Schist.—Stanniferous Enamel 82
CHAPTER II ASSYRIA AND BABYLONIA.
Possible Priority to Egyptian Pottery.—Similarity between Assyrian and Egyptian.—The Course followed by both Arts.—Unbaked Bricks.—Baked Bricks.—Writing Tablets.—Seals.—Vases.—Terra-cottas.—Porcelain.—Glazing and Enamelling.—Tin.—Colored Enamels.—Babylonian Bricks.—Glazes{7} 97
CHAPTER III JUDÆA.
Art Derived from Egypt.—Never Reached any Eminence.—Preference for Metals.—Frequent Allusions in Scripture.—Bought Earthen-ware from Phœnicia and Egypt.—Home Manufacture.—Decoration.—Necessity for Distinguishing between Home and Foreign Wares 103
CHAPTER IV INDIA AND CENTRAL ASIA.
Mystery Surrounding People.—History of its Art in great measure Unknown.—Questions of its Existence and Originality.—How they Arose.—The Brahmins.—Geographical Position.—Views of Early Travellers.—Later Investigations.—More Ancient Pottery.—Clay Used.—Knowledge of Glazing: Its Application to Architecture.—Glazed Bricks.—Terra-cotta.—Chronological Arrangement.—Porcelain: Its Decoration.—Use of Gold.—Siam 105
CHAPTER V CHINA.
Art Different from that of Europe or America.—How it must be Viewed.—Religion.—Legend.—Hoang-ti the Inventor of Pottery.—The Leading Points of Religious System.—Personified Principles.—Lao-tseu, Confucius, and Buddha.—Kuan-in.—Pousa or Pou-tai.—Dragons.—Dog of Fo.—Ky-lin.—Sacred Horse.—Fong-hoang.—Symbols.—Meaning of Colors and Shapes.—Pottery: When First Made.—Céladon.—Crackle.—How Made.—Porcelain Crackle.—Decorations on Crackle.—Household Vessels.—Stone-ware.—Licouli.—Tower of Nankin.—Pipe-clay.—Boccaro.—Colors and Decoration of Pottery.—Colors on Crackle. Porcelain: When Invented.—King-teh-chin.—All Classed as Hard, Exceptions.—Old Porcelains.—Kouan-ki.—Blue-and-white.—Persian Styles.—Turquoise and other Blues.—Leading Events of Ming Dynasty.—Egg-shell.—Tai-thsing Dynasty.—Mandarin Vases.—Families.—Old White.—Jade.—Purple and Violet.—Liver Red.—Imperial Yellow.—Chinese Ideas of Painting.—Soufflé.—Grains of Rice.—Articulated and Reticulated Vases.—Cup of Tantalus 109
CHAPTER VI COREA.
Geographical Position.—Successive Conquests.—Its Independent Art.—Confused Opinions regarding it.—Its Porcelain.—Decoration 154
CHAPTER VII JAPAN.
How to Study Japanese Art: Its Origin.—Its Revived Independence.—Nomino-Soukoune.—Shirozayemon.—Raku.—When Porcelain was First Made.—Shonsui.—Form of Government.—The Gods.—Symbols.—“Land of Great Peace.”—Foreign Relations.—General Features of Art.—Chinese and Japanese Porcelains.—Pottery: Geographical Distribution.{8}—Classification.—Satsuma.—Difficult Ware.—Saki Cups.—Imitations of Satsuma.—Kioto.—Awata.—Awadji.—Banko.—Kiusiu.—Karatsu.—Suma.—Porcelain: Leading Differences between Japanese and Chinese.—Sometsuki Blue.—Ware for Export.—Gosai, or Nishikide.—Arita, or Hizen.—Families.—Decoration.—Modern Hizen.—Seidji.—Kioto.—Eraku.—Kaga.—Portraiture.—Owari.—Lacquer.—Cloisonné.—Rose Family.—Early Styles: Indian: Dutch Designs.—General Characteristics of Japanese Art 156
CHAPTER VIII PERSIA.
Persia, and its Influence.—History.—Conquests.—Religious Revolutions.—Zoroaster.—Mohammed.—Geographical Position.—General View of Influences bearing upon Art.—Decoration.—Flowers and Symbols.—Conventional Styles.—Whence came the Monsters Appearing upon Wares.—Metallic Lustre.—Pottery: Composition.—Caution in Looking at Specimens.—Wall-Tiles and their Decoration.—Vases.—Porcelain: Had Persia a True Porcelain?—Classification, and the Difficulties Attending It.—Decoration.—Classes Formed by Prevailing Color 189
BOOK III.—EUROPE.
CHAPTER I THE FOUNTAINS OF EUROPEAN ART.
Routes by which Art Travelled.—Their Point of Convergence.—Cyprus: Its History.—The Successive Nations Governing It.—The Strata of Ancient Civilization found within its Shores.—The Discoveries of Cesnola.—Larnaca.—Dali.—Athieno.—Curium.—Progress of Cypriote Pottery.—Early Greek Art: Its Connection with Assyria and Egypt.—Phœnician and Assyrian Art.—General Deductions.—Asia Minor.—Oriental Art turning in various Streams to Greece.—What Greece Rejected, Persia Seized upon.—Persia’s Contributions to Ceramic Art.—History in Reference to its Art.—Effect of Conquest.—What Persia Taught the Arabs.—Spread of Persian Art by the Saracens.—Rhodes.—Damascus.—Progress of Saracenic Art.—The North of Africa.—Metallic Lustre and Stanniferous Enamel.—Hispano-Moresque.—Early Spain.—Persian Influence upon Europe 198
CHAPTER II GREECE.
General Character of Greek Ceramics.—Form and Color.—Borrowed from Egypt and Phœnicia.—How Original.—Unbaked Clay: Bricks and Statues.—Terra-cotta: Where Used.—Tiles.—Models.—Vessels.—Pithos.—Amphora.—Pigments used on Terra-cotta.—Rhyton.—Glazed Wares: Quality of Glaze.—Paste.—Enumeration and Description of Vessels.—Uses of Vases.—Chronological Arrangement.—Methods of Making Vessels.—Successive Styles of Ornamentation.—Figures.—Earliest Style.—Archaic Style.—Human Figures.—“Old Style.”—Approach to Best Art.—“Fine Style.”—“Florid Style.”—Decline.—Classification according to Subjects Represented on Vases.—Reliefs and Statuettes as Decoration{9} 219
CHAPTER III THE IBERIAN PENINSULA.
Spain: Ancient Pottery.—Valencia the Most Ancient Centre.—The Roman Period.—Arabs.—Valencia under the Moors.—Its Decline.—Malaga the Most Ancient Moorish Settlement.—The Alhambra Vase.—Influence of Christianity.—Majorca.—Azulejos.—Modern Spain.—Porcelain.—Buen Retiro.—Moncloa.—Alcora.—Portugal: Vista Allegre.—Rato.—Caldas 233
CHAPTER IV ITALY.
Italian Art.—Whence Derived.—Greece and Persia.—Divisions.—Ancient Roman and Etruscan.—Etruria and Greece.—Questions Resulting from Discoveries at Vulci.—Early Connection between Etruria and Greece.—Etruscan Art an Offshoot of Greek.—Examples.—Best of Black Paste.—Why Etruscan Art Declined.—Rome.—Nothing Original.—Its Debt to Etruria and Greece.—Decline of its Art.—Unglazed Pottery and its Divisions.—Glazed Pottery.—Samian Ware.—Aretine.—Terra-cotta.—After Rome fell.—The Renaissance.—Saracenic Influences.—Crusades.—Conquest of Majorca.—Tin Enamel and Metallic Lustre.—Bacini at Pisa.—Lead Glaze.—Majolica Made at Pesaro.—Sgraffiati.—Luca della Robbia.—Sketch of his Life.—His Alleged Discovery.—What he really Accomplished.—Where he Acquired the Secret of Enamel.—His Works.—Bas-Reliefs.—Paintings on the Flat.—His Successors.—Recapitulation of Beginnings of Italian Majolica.—Chaffagiolo.—Siena.—Florence.—Pisa.—Pesaro.—Castel-Durante.—Urbino.—Gubbio and Maestro Giorgio.—Faenza.—Forli, Rimini, and Ravenna.—Venice.—Ferrara.—Deruta.—Naples.—Shape and Color.—Modern Italy.—Porcelain: Florence and Earliest Artificial Porcelain.—Theory of Japanese Teaching.—La Doccia.—Venice, and the Question of its First Making European Porcelain.—Le Nove.—Capo di Monte 240
CHAPTER V FRANCE.
Prospect on approaching France.—Present and Past.—The Ancient Celts.—Under the Romans.—Middle Ages.—Poitou, Beauvais, and Hesdin.—Italian Influence.—A National Art.—Bernard Palissy, Barbizet, Pull, and Avisseau.—Henri Deux Ware.—Rouen.—Nevers.—Moustiers.—Marseilles.—Strasburg.—Limoges.—Haviland’s New Process.—Examples.—Bourg-la-Reine.—Laurin.—Deck.—Colinot.—Creil.—Montereau.—Longwy.—Parville.—Gien.—Sarreguemines.—Niederviller.—Luneville.—Nancy.—St. Clement.—St. Amand.—Paris.—Sceaux.—Porcelain: Efforts to Make Porcelain.—First Artificial Porcelain.—St. Cloud.—Lille.—Paris.—Chantilly.—Mennecy.—Vincennes.—Sèvres.—Natural, or Hard, Porcelain.—Discovery of Kaolin.—Various Factories.—Limoges.—Deck.—Regnault.—Solon.—Pate Changeante.—Pate-sur-Pate 271
CHAPTER VI GERMANY AND CENTRAL EUROPE.
Early Pottery.—Lake Dwellers.—Early German.—Peculiar Shapes.—How Peasants Account for Relics.—Roman Epoch.—Tin Enamel.—Leipsic.—Breslau.—Nuremberg.—The Hirschvogels.—Villengen.—Höchst.—Marburg.—Bavaria.—Switzerland.—Belgium.—Delft.{10}—Stone-ware: Countess Jacqueline.—Teylingen.—Graybeards.—Fine Stone-ware.—Grès de Flandre.—Creussen.—Porcelain: Böttcher.—His First Productions.—Meissen Porcelain.—Decoration.—Best Days of Meissen.—Its Decline.—Vienna.—Höchst.—Fürstenburg.—Höxter.—Frankenthal.—Nymphenburg.—Berlin.—Holland.—Weesp.—Loosdrecht.—The Hague.—Switzerland.—Zürich.—Nyon 327
CHAPTER VII RUSSIA, DENMARK, AND SCANDINAVIA.
Scandinavian Pottery allied to Teutonic.—Hand-shaped Vessels.—Primitive Kiln.—The Eighteenth Century.—St. Petersburg: Its Porcelain.—Moscow.—Rorstrand.—Marieberg.—Modern Swedish Faience.—Denmark.—Kiel.—Copenhagen.—Imitations of Greek.—Copenhagen Porcelain 344
CHAPTER VIII GREAT BRITAIN AND IRELAND.
Continuity of History.—Early British Urns.—Scottish Relics.—Irish Urns.—Roman Conquest.—Caistor Ware.—Anglo-Roman Ware.—Saxon Period.—After the Norman Conquest.—Tiles.—Dutch Potteries in England.—English Delft.—Stone-ware.—Sandwich.—Staffordshire Potteries.—Early Products.—The Tofts.—Salt Glaze.—Broadwell and the Elers Family.—Use of Calcined Flint.—Wedgwood.—His Life.—Jasper Ware.—Queen’s Ware.—The Portland Vase.—Basaltes.—Wedgwood’s Removal to Etruria.—His Death.—Minton & Co.—Their Imitations of the Oriental.—Pate Changeante.—Pate-sur-Pate.—Cloisonné Enamel on Porcelain.—Other Reproductions.—Their Majolica.—Their Artists.—Minton, Hollins & Co.—Lambeth.—Doulton Ware.—Terra-cotta and Stone-ware.—George Tinworth.—Fulham.—Bristol.—Leeds.—Liverpool.—Lowestoft.—Yarmouth.—Nottingham.—Shropshire.—Yorkshire.—Porcelain: Plymouth Hard Porcelain.—Cookworthy.—Bow.—Chelsea.—Derby.—Worcester.—Minton.—Pate-sur-Pate.—Spode.—Copeland.—Bristol.—Tunstall.—Caughley.—Nantgarrow.—Swansea.—Colebrookdale.—Pinxton.—Shelton.—Belleek.—General Character of Manufacture in Great Britain 352
BOOK IV.—AMERICA.
CHAPTER I SOUTH AMERICA.
Antiquity of American People.—Scope of Inquiry.—Peru: Its Old Inhabitants.—Course of Ceramic Art.—Doubts regarding Origin of Peruvian Civilization.—Periods.—The Incas.—Pizarro.—Geological Evidence of Antiquity.—Unbaked Bricks.—Pachacamac.—Its Graves.—Opposite Types.—Effect of Religion.—Symbols.—Forms of Pottery.—Water-Vessels.—Human Forms.—Leading Features of Decoration.—Colors Employed.—Processes.—Customs Learned from Pottery.—Brazil: Ancient Specimens.—Modern Ware.—Bricks and Tiles.—Talhas.—Moringues and other Water-Vessels.—Colombia{11} 391
CHAPTER II CENTRAL AMERICA.
Connection with Peru.—Nicaragua.—Ometepec.—Modern Potters.—Guatemala.—Ancient Cities.—Who Built Them.—Copan.—Quirigua.—Palenque.—Mitla 418
CHAPTER III THE MOUND-BUILDERS.
Who were they?—Their supposed Central American Origin.—The place they occupy in the present History.—Recent Discoveries.—Pottery of the Lower Mississippi.—Deduction from Comparison with Peruvian 425
CHAPTER IV INDIAN POTTERY.
Successors of the Mound-builders.—Opinion of Professor Marsh.—Pueblos descended from the Mound-builders.—Natchez and Mandan Tribes.—Pueblos of Colorado, etc.—Pottery found at El Moro.—Zuni.—Further Discoveries.—Immense Quantities of Fragmentary Pottery.—Corrugated Pottery of Colorado.—Painted Pottery.—Moquis of Tegua.—Modern Pueblos.—Trade in Pottery.—Resemblances between Potteries of South, Central, and North America.—Indian Pottery from Illinois.—Louisiana, and how Pottery made.—New Jersey Indians.—Tennessee.—Maryland.—Other Indian Tribes 429
CHAPTER V UNITED STATES.
The Future of America.—Obstacles in the Way of Progress.—Commercial Conditions Illustrated by Tariff.—Expense of Artistic Work.—Lack of Public Support.—American Marks.—Misrepresentation of American Wares.—Materials.—Early Use in England by Wedgwood, etc.—Cookworthy and a Virginian.—Native Use of Clay.—New Jersey.—Value of Clay Deposit Illustrated.—American Kaolin.—Vague Use of Word.—Analysis.—Opinions of American Deposits.—Pottery: Dependence upon England.—Wedgwood’s Fears of American Competition.—Norwich.—Hartford.—Stonington.—Norwalk.—Herbertsville.—Sayreville.—South Amboy.—Philadelphia.—Baltimore.—Jersey City.—Bennington.—New York City Pottery.—Trenton.—Present Extent of Industry.—Trenton Ivory Porcelain.—Terra-cotta.—Beverly.—Chelsea.—Portland.—Cambridge.—Porcelain: Philadelphia.—William Ellis Tucker.—Bennington.—Jersey City.—Greenpoint.—Decorating Establishments.—Metal and Porcelain 442
INDEX: A, B, C, D, E, F, G, H, I, J, K, L, M, N, O, P, Q, R, S, T, U, V, W, X, Y, Z 489
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ILLUSTRATIONS.
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Fig. Country or Subject Collection Page
INTRODUCTION
1 France Old Sèvres Pate Teudre L. Double 23
2 Greece and Phonecia Amphoræ Di Cesnola 25
3 China Bottles 26
4 Greece Diogenes in Pithos 27
5 " Prize Vase 28
6 " Rhyton Trumbull-Prime 29
7 " Kylix 29
8 Egypt Sepulchral Cone Trumbull-Prime 30
9 " Painted Ball 31
10 " Glazed Draughtsman 31
11 Babylon Enamelled Brick Louvre 32
12 Japan Hexagonal Vase R.H. Pruyn 37
13 Persia Tile 38
14 " Mosque of Sultaneah 39
15 Japan Porcelain Vase J.F. Sutton 40
16 China Crackle Vase J.F. Sutton 41
17 France Palissy Dish Soltykoff 43
18 " Limoges Porcelain Mrs Charles Crocker 46
19 " Limoges Porcelain Thomas Scott 47
TECHNOLOGY
20 Egypt Blue-glazed Pottery 48
MANUFACTURE
21,22 ... Pug-mills 67
23 Judea Potter at Work 70
24 Egypt A Pottery 72
25 Italy Venetian Potter 74
26-29 ... Earthen-ware and Porcelain Kilns 77,79
EGYPT
30 Captives making Bricks 84
31 Scarabæus Way, Bost. Mus. of Fine Arts 86
32 Gods Way, Bost. Mus. of Fine Arts 87
33 Earthen-ware 88
34 Pottery Cone Trumbull-Prime 89
35 Terra-cotta Vase British Museum 89
36 Polished Terra-cotta 91
37 Polished Terra-cotta British Museum 91
38 Glazed Pottery Vase 92
39 Scarabæi Way, Bost. Mus. of Fine Arts 92
40 Pectoral Tablets Way, Bost. Mus. of Fine Arts 93
41,42 Mummy Figures Way, Bost. Mus. of Fine Arts 94,95
43 Fragment Tin Enamel Trumbull-Prime 96
ASSYRIA, Etc
44 Pottery Vases 97
45 Terra-cotta Venus 98
46 Cylinder British Museum 98
47 Inscribed Seal 98
48 Seal of Sabaco 98
49 Enlarged Impression 99
50 Back of Assyrian Seal 99
51 Fragment: Porcelain (?) 99
52 Box in Porcelain(?) 99
53 Enamelled Brick Louvre 99
54 Babylonian Brick 100
55 Mujellibé 100
56 Terra-cotta Tablet British Museum 101
57 Baked Clay Ram 102
58 Glazed Coffins 102
JUDEA
59 Earthen-ware Vessels 103
60 Lamps and Oil Vessels 104
INDIA
61 Porcelain Vases 108
CHINA
62 Porcelain Group S.P. Avery 109
63 Cheon-lao 111
64 Kuan-in S. P. Avery 112
65 Dog Fo 113
66 Vase with Ky-lin August Belmont 113
67 Sacred Horse 114
68 Fong-hoang 114
69 Vase with Fong-hoang Robert Hoe, Jr 115
70 Crackle Vase S.P. Avery 118
71 Nankin Tower 119
72 Bricks from Nankin Tower N. Y. Metro. Museum 119
73 Crackle Vase J.C. Runkle 120
74 Porcelain Lantern S.P. Avery 121
75-82 Honorific Marks 124
83 Blue-and-white Porcelain J.C. Runkle 125
84 Blue-and-white Porcelain W.L. Andrews 125
85 Lancelle Vase W.L. Andrews 126
86 Blue-and-white Vase J.C. Runkle 127
87 “Hawthorn” Vase S.P. Avery 128
88 “Hawthorn” Vase J.C. Runkle 129
89 Black “Hawthorn” S.P. Avery 130
90 Aster Plaque W.L. Andrews 131
91 Ewer, Persian Style J.C. Runkle 132
92 Turquoise Vase S.P. Avery 133
93 Kieu-long Green J.C. Runkle 135
94 Ming Vase G.R. Hall, Bost. Mus. of Fine Arts 137
95 Ming Vase J.C. Runkle 138
96 Ming Vase, Green F. Robinson 139
97 Rose Family Mrs J.V.L. Pruyn 140
98 Rose Plate Robert Hoe, Jr 141
99 Rose Bowl Mrs J.V.L. Pruyn 142
100 Rose Egg-shell W.L. Andrews 143
101 White Porcelain Cup J.C. Runkle 145
102 Five-fingered Rosadon G.W. Wales 149
103 Yellow Porcelain J.F. Sutton 150
104 Grains of Rice S.P. Avery 151
105 Reticulated Vase S.P. Avery 152
106 Cup and Saucer Mrs J.V.L. Pruyn 153
COREA
107 Earthen-ware Jar A.A. Vantine & Co 154
108 Porcelain Cup and Saucer W.L. Andrews 155
109 Porcelain Vase 155
JAPAN
110 Japanese Gods 156
111 Raku Bowl A.A. Vantine & Co 160
112 Kiri-mon 161
113 Guik-mon 161
114 Tycoon’s Arms 161
115 Dragon Bowl Corcoran Art Gall. 162
116 Satsuma Vase Bost. Mus. of Fine Arts 166
117 Satsuma Vase August Belmont 167
118 Satsuma Vase R.H. Pruyn 168
119 Satsuma Vase J.W. Paige 169
120 Satsuma Vase J.F. Sutton 170
121 Kioto Faience A.A. Vantine & Co 171
122 Kioto Faience Bost. Mus. of Fine Arts 171
123 Kioto Faience J.F. Sutton 172
124 Kiusin Vase A.A. Vantine & Co 172
125 Karatsu Vase J.F. Sutton 173
126 Suma Vase A.A. Vantine & Co 173
127 Satsuma Vase Robert H. Pruyn 174
128 Porcelain Plaque W.L. Andrews 175
129 Old Hizen, or Imari A.A. Vantine & Co 177
130 Porcelain Dish R.H. Pruyn 177
131 Hizen Porcelain Vase Mrs J.V.L. Pruyn 178
132 Japanese Porcelain Vase H.C. Gibson 178
133 Kaga Vase A.A. Vantine & Co 179
134 Owari Vase Yoshida Kiyonari 181
135 Lacquer VaseCorcoran Art Gallery 182
136 Tokio Cloisonné Enamel J.F. Sutton 182
137 Owari Cloisonné Enamel J.F. Sutton 183
138 Rose Family Vase Robert H. Pruyn 183
PERSIA
139 Faience Plaque Robert Hoe, Jr 189
140,141 Faience Plaques Bost. Mus. of Fine Arts 192
142 Shrine of Imam Hussein 194
143 Porcelain Bottle Jacquemart 196
144 Porcelain Narghili 196
FOUNTAINS OF EUROPEAN ART
145 General Di Cesnola 199
146-149 Phœnician Vases Di Cesnola 200-202
150 Assyro-Phœnician Vase Di Cesnola 203
151 Greek Vase Di Cesnola 204
152-158 Phœnician Pottery Di Cesnola 205-209
159 Greek Vases and Cups Di Cesnola 210
160 Saracen Tile Trumbull-Prime 213
161 Saracen Tiles Bost. Mus. of Fine Arts 213
162,163 Rhodian Faience 214,215
164 Maghreb Urn 216
GREECE
165 Early Greek Aryballoi Trumbull-Prime 219
166 Early Greek Vases 220
167 Greek Vase Louvre 221
168 Head of Minerva Trumbull-Prime 222
169 Stamnos 223
170 Askos 223
171 Skyphos 223
172 Rhyton 224
173,174 Kraters 224,225
175 Holmos 225
176 Kelebe 225
177 Oxybaphon 225
178,179 Prochoos 226
180 Olpe 226
181 Kyathos 227
182 Kantharos 227
183 Kylix Trumbull-Prime 228
184 Early Greek Oinochoe Trumbull-Prime 228
185 Early Greek Oinochoe T.G. Appleton, B. M. of F. A. 229
186 Bacchic Amphora T.G. Appleton, B. M. of F. A 229
187 Kalpis T.G. Appleton, B. M. of F. A 230
188 Hydria Trumbull-Prime 231
189 Amphora T.G. Appleton, B. M. of F. A 231
SPAIN
190 Hispano-Moresque Vase South Kensington 233
191 Hispano-Moresque Plaque J.W. Paige 234
192 Alhambra Vase 235
193 Hispano-Moresque Plaque G.W. Wales, B. M. of F. A 236
194 Early Hispano-Moresque Boston Household Art Rooms 236
195 Moorish Tile 237
196 Early Hispano-Moresque Boston Household Art Rooms 237
ITALY
197 Etruscan Vase J.J. Dixwell 243
198 Roman Lamps 245
199 Samian Ware 245
200 Siculo-Moresque Vase 247
201 Siculo-Moresque Vases Castellani 248
202 Sgraffiato 249
203 Luca della Robbia 250
204 Robbia Medallion Hôtel Cluny 251
205 Robbia Plaque Bost. Mus. of Fine Arts 251
206 Robbia Medallion South Kensington 252
207 Andrea della Robbia Plaque Bost. Mus. of Fine Arts 252
208 Imitation Robbia Bost. Mus. of Fine Arts 253
209 St Sebastian, by Giorgio South Kensington 253
210 Chaffagiolo Pitcher South Kensington 254
211 Siena Vase South Kensington 254
212 The Sforza Dish 256
213 Pesaro VaseJohn Taylor Johnston 257
214 Castel-Durante Dish South Kensington 258
215 Castel-Durante Dish Castellani 258
216 Plate by Xanto Marryat 259
217 Urbino Vase Castellani 260
218 Urbino Pilgrim’s Bottle South Kensington 261
219 Gubbio Lustre South Kensington 261
220 Platean by Giorgio South Kensington 262
221 Faenza Dish 263
222 Deruta Dish South Kensington 264
223 Medicean Porcelain Castellani 266
224 Design on the Above 267
225 Nove Porcelain 269
FRANCE
226 Biscuit Group, Sèvres August Belmont 271
227 Bernard Palissy 274
228 Palissy Dish Rothschild 276
229 Palissy Pitcher Rothschild 277
230 Barbizet Plaque Tiffany & Co 278
231 Palissy Cistern 279
232 Henri Deux Ewer 280
233 Henri Deux Biberon Malcolm 280
234 Rouen Faience 281
235 Rouen Faience Trumbull-Prime 282
236,237 Moustiers Dishes 284,285
238 Haviland Faience Smithsonian Inst. 290
239 Haviland Faience Henry Havemeyer 296
240 Haviland Faience G.W. Gibson 297
241 Haviland Faience Whitelaw Reid 297
242 Haviland Faience Mrs Wm. H. Dannat 298
243 Haviland Faience Mrs Col T. Scott 300
244 Haviland Faience Clara L. Kellogg 302
245 Bourg-la-Reine Faience G. Collamore 303
246 Bourg-la-Reine Faience Tiffany & Co 303
247 Deck FaienceCorcoran Art Gallery 304
248,249 Deck Bottle and Vase G. Collamore 305
250 Colinot Faience Tiffany & Co 306
251 Colinot Faience G. Collamore 306
252 Colinot Faience Tiffany & Co 307
253 Longwy Faience G. Collamore 308
254,255 Longwy Faience Tiffany & Co 308,309
256 Parville Faience Tiffany & Co 309
257 Gien Faience D. Collamore 310
258 Sarreguemines Faience G. Collamore 310
259 St Cloud Porcelain Jacquemart 312
260 Vincennes Porcelain Duke de Martina 313
261 Sèvres Pate Tendre August Belmont 314
262 Jewelled Sèvres Mrs J.V.L. Pruyn 315
263 Jewelled Sèvres H.C. Gibson 315
264 Sèvres Vase Mrs C.B. Hosack 316
265 Sèvres Vase White House 317
266 Sèvres Porcelain Candlestick Mrs J.V.L. Pruyn 317
267 Sèvres Vase White House 318
268 Sèvres Tea-set Miss M.F. Curtis 318
269,270 Washington’s Sèvres 319
271 Limoges Porcelain S.S. Conant 320
272 Limoges Porcelain 320
273 Limoges Porcelain Mrs Col T. Scott 321
274 Limoges Porcelain General A.J. Myer 321
275 Limoges Porcelain Whitelaw Reid 322
276 Limoges Pate Tendre H.J. Jewitt 322
277,279 Limoges Pate Tendre 323,324
280,281 Deck Vase and Plaque G. Collamore 325
282 Pate-sur-pate, by Solon G. W. Wales, B. M. of F. A 326
GERMANY
283 Hut-shaped Vases 328
284 Hirschvogel Vase 330
285,286 Delft Faience Mrs J.V.L. Pruyn 331,332
287,288 Graybeards 334
289,290 Fine Stone-ware 335
291 Böttcher Stone-ware D. Collamore 337
292 Meissen Porcelain F. Robinson 337
293 Meissen Porcelain 338
294 Meissen Porcelain L. Double 339
295 Meissen Porcelain August Belmont 340
296 Meissen Porcelain (Marcolini) J.C. Runkle 340
297 Modern Dresden Porcelain D. Collamore 341
298 Berlin Porcelain D. Collamore 341
299 Berlin Porcelain Vase August Belmont 342
RUSSIA, DENMARK, & SCANDINAVIA
300 Russian Faience D. Collamore 344
301,302 Swedish Faience William Astor 345,346
303 Norwegian Faience W.B. Dickerman 347
304,306 Ipsen Terra-cotta Ovington Brothers 348,349
307 Wendrich Terra-cotta T. Schmidt 350
308 Copenhagen Porcelain Mrs J.V.L. Pruyn 351
GREAT BRITAIN
309 Ancient British Vases 353
310,311 Celtic Pottery 354
312,313 Romano-British Ware 355
314 Saxon Pottery 356
315 Anglo-Norman Vases 356
316,318 Old English Tiles Bost. Household Art Rooms 357
319 Posset-pot, 15th Century Bateman 359
320 Staffordshire Tyg 359
321 Elers Ware 360
322 Josiah Wedgwood 360
323 Wedgwood Cameo 361
324 Wedgwood Basaltes Meyer 362
325 Wedgwood Jasper Barlow 363
326 Wedgwood Earthen-ware W.S. Ward 363
327 Wedgwood Portland Vase 364
328 Wedgwood Jasper Vase John W. Britton 365
329 Wedgwood Earthen-ware D. Collamore 365
330 Wedgwood Plate Tiffany & Co 366
331 Wedgwood Majolica Horace Russell 367
332 Minton Stone-ware D. Collamore 368
333 Minton Plaque Tiffany & Co 369
334 Minton MajolicaCorcoran Art Gallery 370
335,336 Doulton Ware W.B. Dickerman 371
337 Lambeth Faience 372
338,339 Lambeth Faience D. Collamore 373
340 Doulton Terra-cotta Smithsonian Inst. 374
341 Lambeth Faience Dr H.G. Piffard 375
342 Lowestoft Pottery F. Robinson 375
343 Plymouth Porcelain 377
344 Bow Porcelain 377
345 Chelsea Porcelain 378
346 Derby Porcelain F. Robinson 378
347 Bloor-Derby F. Robinson 379
348 Old Worcester Porcelain Robert Hoe, Jr 379
349 Worcester Porcelain G. Collamore 380
350,351 Worcester Porcelain D. Collamore 380,381
352 Minton Pate-sur-pate, H.C. Gibson 382
Solon
353 Jewelled Copeland Tiffany & Co 383
354,355 Copeland Parian 384
356 Copeland Reticulated W.B. Dickerman 385
Ware
357 Shelton Porcelain D. Collamore 388
358,360 Belleek Porcelain Tiffany & Co 388,389
SOUTH AMERICA
361 Tile-piece, by F.T. Vance 391
362,363 Peruvian Pottery 393,397
364 Peruvian Water-jar Smithsonian Inst. 400
365 Peruvian Pottery 400
366 Peruvian Drinking-vessel 401
367 Pottery from Cuzco 401
368 Coiled Water-vessel Smithsonian Inst. 402
369,370 Peruvian Pottery 403
371 Peruvian Water-vessel Smithsonian Inst. 404
372 Greek Head-shaped Cup 404
373,375 Peruvian Pottery 405,406
376,378 Peruvian Pottery Smithsonian Inst. 407,408
379,381 Peruvian Pottery 408,409
382 Peruvian Black Vessel Smithsonian Inst. 410
383 Peruvian Painted Cup Smithsonian Inst. 410
384,385 Peruvian Pottery 411
386,388 Peruvian Pottery Barboza 412,413
389 Brazilian Basin 414
390 Burial Urn 414
391,392 Modern Pottery 415,416
393 Colombia Corrugated Ware Smithsonian Inst. 417
CENTRAL AMERICA
394 Vase from Ometepec Smithsonian Inst. 418
395 Vase from Ometepec Smithsonian Inst. 419
396 Tripod from Ometepec Smithsonian Inst. 419
397 Urns from Ometepec 420
398,399 Terra-cotta Figures 420,421
400 Terra-cotta Heads 421
401 Guatemala Urn 422
402 Guatemala Cup 422
MOUND-BUILDERS
403 Vases from Missouri Mrs J.V.L. Pruyn 425
404 Vase Bost. Mus. of Fine Arts 426
405 Vase Smithsonian Inst. 426
406 Vase Bost. Mus. of Fine Arts 427
407 Vases 427
INDIAN
408,410 Corrugated Pottery U. S. Geol. Survey 432,433
411 Pottery Handle U. S. Geol. Survey 433
412 Pottery Ladle U. S. Geol. Survey 434
413 Pottery Pipe U. S. Geol. Survey 434
414,423 Painted Pottery U. S. Geol. Survey 434-436
424 Pottery with Relief U. S. Geol. Survey 436
425,428 Modern Moqui U. S. Geol. Survey 436,437
UNITED STATES
429 Greenpoint Porcelain 443
430 Jersey City Earthen-ware 456
431 N. Y. City Porcelain 457
432 N. Y. Iron-stone China 458
433 N. Y. City Pottery 458
434,438 Trenton Parian 464-467
439,440 Chelsea Terra-cotta 470
441,442 Philadelphia Porcelain Trumbull-Prime 471,472
443 Bennington Porcelain Trumbull-Prime 472
444 Greenpoint Century Vase 474
445 “Kéramos” Vase 475
446Greenpoint Biscuit Porcelain 476
447 “Song of the Shirt” 477
448,449 Greenpoint Porcelain 478,479
450 Greenpoint Porcelain E. Bierstadt 479
451 Poets’ Pitcher 480
452,454 Greenpoint Porcelain 480,481
455 Greenpoint Porcelain 482
456 English Porcelain D. Collamore 482
457 Jersey City Earthen-ware 483
458,460 Bennett Faience D. Collamore 484,485
461 Plate by J.M. Falconer 485
462 Porcelain and Silver Reed & Barton 486
463 Porcelain and Silver Reed & Barton 486
464 Porcelain and Silver J.W. Britton 487
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