CORNELL UNIVERSITY LIBRARY FROM University Library Pottei 3 1924 031 224 334 The original of tliis book is in tlie Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924031224334 '^;s:^ < < O pa H iz; o o iz; o H o •»»i!M. « in m ^o N V> M to fo V) in -^ t?■*w^o^o6ocJ ■^■cowwndwM -raniuojuT2 M IH -Epos ^ qsE;oj o> "t •ijSBjoa; CO CO 1 d M d d -EisauS^jH f^ *-l d d d -amji d d d M -sssuvSuEp^ 'S I •uoji JO apixQ s ■*^0 0«> r«»»nin^ »ot-.fnM rj nco tor n d"M.w w d M M t f -■Buiuintv -EOiiJS :J5:5:g.£'!Jsa,'i-°iiSS < c h g c J s 5 u n 1 d 1— i 1 eg 1 1— ;? c ] . 1 1 I - t I > •c u >< ■5 1 c S .1 g t 1 c m ■ s u 01 ■I ■1 ' POTTERY. 95 For purity of composition and perfect whiteness, it is claimed that this Indiana clay is not excelled, if equalled by the kaolins of Europe or the other kaolins of America. To a certain extent it has been tested. Several hundred tons of clay have been shipped to several potteries, and it has been used in the manufac- ture of iron stoneware. The clay was exhibited at the Centennial Exhibition. It is very white in appearance, Antique Ornament. has no grit, and has an unctuous feel. There is no doubt but what it has the chemical properties of the finest kaolin, and it only needs an intelligent experi- ment to test the question whether or not it will make porcelain. Mr. Edward Orton, President of the Ohio agricultural and mechanical College, and assistant geologist for the State of Ohio, under date of Feb- ruary 23, 1876, writes, "that there has not been found in Ohio any felspathic rocks except in the drift, and consequently no kaolin is to be looked for in the State." At East Liverpool on the Ohio River, a few miles above Steubenville, there is a very large seam of clay g6 POTTERY. which underlies Cove No. 3. There has not at the present writing (1877) been published any chemical analysis of this clay. The manufacture of pottery is however, very large. East Liverpool does a business of $1,500,000 in pottery. This is chiefly in yellow ware, althpugh white ware is made at this place. At Sciotoville on the Ohio River, eight miles above Portsmouth, there is found a seam of clay, from two to ten feet in thickness. This is an admirable clay for all kinds of fire brick. It furnishes the building material for the furnaces at different places on the river. From this clay is also made the saggers used in the potteries at Cincinnati and Sciotoville. The ball clay of Missouri is mined eight miles west of De Soto, Missouri. It has a large percentage of kaolin. The Golconda ball clay comes from Pope County, Illinois. It owes its origin to the same causes as that mined in Lawrence County, Indiana, and has the same value in the making of fine earthenware. There is no published statement of a chemical analysis of the clay found at Bath, South Carolina, but it is not relied upon as a silicious clay. Glen Cove, Long Island, New York, furnishes a clay whose principal value is the silica it contains. Opposite Grand Tower, there is a mine of silica in a very pure state. At Hartford, Connecticut, is the main Source of supply for felspar., Chester County, Pennsylvania, furnishes a valu- able article of kaolin clay. At Baltimore, Maryland, and Syracuse, New York, there are kaolin clays. POTTERY. 97 At Zanesville, Ohio, a clay has been found which Is used in potteries for the manufacture of encaustic tiles. The work of these potteries is very good. It is difiScult to arrive at accurate estimates of the Masks. relative cost of the production of pottery in different parts of the United States. Estimates, at least may be given of the cost of materials in one of the most successful manufactories of earthenware in the United States. It is situated 5 98 POTTERY. at Cincinnati, has been in operation eleven years, and is the first established west of the Alleghanies. The fire clay of which so much is used in the making of saggers, comes from Sciotoville, Ohio. It is brought to Cincinnati by the Ohio River in barges. It costs $5.00 per ton at the wharf. Silica in a pure state, and without a trace of iron, is mined near Grand Tower, Missouri. It was formerly shipped to Cin- cinnati by rail, when it cost $1 1 per ton. Now it comes by river, in barges, and costs only $6 per ton. Felspar comes from Hartford, Connecticut, by rail, and costs about $16 per ton. The kaolin comes from a mine in Huron, Indiana. The clay costs about $10 per ton at the pottery. This kaolin answers the purpose of the potter, yet for certain work he sometimes uses that which comes from Chester County, Pennsylvania, which costs about $15 per ton at the mine. The cost in Cincin- nati includes freight. The soft coal only is used for manufacturing purposes at Cincinnati. It averages a cost of about $3.25 per ton. The anthracite about $7.00 per ton. In addition to the great difference of cost between the soft coal and the anthracite, it is estimated there is a saving of at least seven per cent, in favor of the soft coal, by reason of the rapidity with which heat can be raised from it. It is also preferred because its high flames equalize the heat in the kiln. The labor in the pottery to which we refer is alto- gether by the piece. It employs a large number of boys and girls as well as men and women ; their earnings average $2.50 per day. POTTERY. 99 X. The Brilliant Future open to this Indus- try IN THE United States. It will be seen by the highly important facts which have been set forth, that this industry promises to become of great value in the United States. There are many questions to be considered with re- gard to superiority and economy of production. It is probable that the potteries will seek parts of the country where fuel is cheapest, and which at the same time are not too far from the clays needed in manufacture. Staffordshire is a curious example of the wisdom of such selection. The clays necessary to make fine ware are at the present time brought from the counties of Dorset, Devon and the Duchy of Corn- wall, where they are a profitable branch of commerce. The soil of Staffordshire has a variety of clays used for common ware. One of the most important is that called marl, which is fire clay from beds of the coal measures. It is used for making the " saggers " or clay boxes in which the ware is placed before it goes to the ovens. A large amount of this is needed, and it is important it should be good, cheap, and easily procured, but the greatest expense in the man- ufacture of pottery is that of fuel. For baking pot- tery a large quantity is required. Besides what is used in the ovens and kilns, there should be taken lOO POTTERY. into account what is absorbed by the furnaces for steam engines, preparing materials and heating the shops. It has been estimated at Staffordshire, that for every ton of manufactured goods at least three tons of coal are wanted, and for decorated goods, it will take more than twice that quantity. It is well then for those who are establishing potteries in this country, carefully to consider the question of locality. It will be observed that the three principal elements in the cost of production at Cincinnati, fuel, fire clay, and kaolin, are at a very cheap rate. One man- ufacturer there says that kaolin clay takes up 45 per cent of the amount of material used by him in the manufacture of plain ware. We have already seen the great cost of coal in the manufacture of pottery. We have no details of the cost of the production of plain ware at the Trenton potteries. The evidence which has been given with regard to the presence in this country, of all the clays neces- sary for the manufacture of all kinds of pottery is clear and conclusive. Having all the materials, the next step is to obtain skilled superintendents. In order to make the soft porcelain of France, the hard porcelain of China, and the various biscuit and porce- lain of England, Germany and Italy, we must have the presence of those who have been instructed how- to mix the clays into pastes, and how to combine the materials which make glazings and enamels for the different potteries. Already we hear that the Doultons intend establishing a pottery here. More of this kind of skilled labor must be brought here, and it POTTERY. lOI will not be long before our own people will be in- structed, so that they themselves may become Chinese Ornament. master workmen. As this new and important in- I02 POTTERY. dustry develops in this country, there will inevitably be active competition among ourselves. That strug- gle for superiority which marks all commerce, every- where will stimulate each proprietor to produce bet- ter work at cheaper prices than his neighbor. As the business now stands, we are mainly producing com- mon ware, which, although it requires skilled labor, does not enlist the artistic element. We do not attempt, except in a small way, the manufacture of porcelain, or of those plastic pastes, out of which are made works of ornament and art. In the culture and refinement of the people, the production of pottery and porcelain and its ornamentation, have no equal among all the decorative arts. This industry will stimulate art instruction, and in its turn art in- struction will furnish the skilled hand, the trained eye and the brain fruitful with design. There is yet another more powerful reason why this exquisite employment can be planted and nour- ished upon our soil. In other places, care has been taken to show how much of the potter's art in Euro- pean ateliers, has been obtained from the Chinese, and how seriously and eagerly the Western nations seek yet further to get possession of the mysterious methods which to-day place Asiatic pottery at the height of ceramic art. The question cannot fail' to have been raised in the mind of every reader, why have not S6vres and Dresden and Staffordshire imported Chinese and Japanese artists to their own workshops ? — It is prob- able that the Asiatics will not admit foreigners into POTTERY. -103 their laboratories, and could strangers obtain such an opportunity, it would be difficult to put into success- ful operation in France or elsewhere the secrets of their labor. It is not easy to carry away what may in some respects, be the result of sleight of hand. It is evident that these Eastern nations have a certain knowledge which cannot be conveyed by word of mouth or in written language, but which may be a legacy of genius passed down from one to another generation. Is it not possible however that this treasure of knowledge which has been denied to Europe may fall to America, whose west boundaries stand so much nearer the Asiatic shore ? In the tenth century a few Greeks carried the art of enameling to the city of Limoges, whose art products subsequently filled all Europe. Japanese arts and industries and even the Japanese people are seen in all our large cities. Our great Pacific State of Cali- fornia is yearly receiving a vast immigration of Chinese people. This multitude of Asiatics may surely be induced to bring with them all that appertains to ceramic industry. They will know what is needed for every branch of its manufacture. They will bring abundant material, and not least their wonderful palette of colors. They also will find the artists who have learned to combine with delicacy and harmony all tints and tones upon objects of ornament and daily use. There is no reason why the ceramic art as it has been developed in China and Japan, may I04 POTTERY. not be speedily established in the United States. Its presence here will be a source of wealth and taste. It will add to our commercial importance, while it will help to place us among the art-producing nations of the world. APPENDIX. THE CLAYS AND POTTERIES OF ENGLAND. HOW pottery is made in England has recently been clearly set forth by Mr. L. Arnoux of the Minton Manufactory at Stoke-upon-Trent. We quote his interesting description at length : For earthenware of China, the English use two kinds of clay — the ball clay, called also blue clay, and the kaolin. For porcelain kaolin only is used, for earthenware, both. The ball clay comes from Teign- mouth and Poole, and is one of the lower tertiary clays of Devon and Dorsetshire, and is unusually plastic. The quantity of iron in it is small. The clay from Poole is considered the finest. More than 75,000 tons of it are annually sent to English potteries alone, besides smaller quantities to the continent. The clay containing kaolin is called in England China or Cornish clay. It is principally obtained at St. Stephens and St. Austell, in Cornwall; Lee Moor, near Dartmoor, in Devon, and a few other places ; the whole of them sending to the potteries about 130,000 tons annually. From the same districts comes another granite, in a less advanced state of decomposition, called Corn- 5* I06 APPENDIX. ish stone, which is used fresh from the mine without further preparation. In it the felspar retains its alkaline element, so that it can be easily melted, and is found a useful and cheap flux for the vitrification of the various mixtures. The composition of these rocks varies considerably, so that it requires constant experiments to determine in what proportion the quartz and the fusible parts stand to each other. Flints are also largely used in the manufacture of earthenware. They are found abundantly in the chalk districts, the brown sort being considered the best. Under a moderate red heat they become white and opaque, and may be easily crushed between iron rollers. In that state they are placed in pans of water and ground by large stones of chert, till they become sufficiently divided to remain in suspension in the liquid without sinking and hardening at the bottom of the tanks, which, by the way, are called " arks." Flints are comparatively a cheap material, and their carriage to Staffordshire represents a large portion of their cost. Such are the four materials essential for making earthenware. The respective quantities in which they are used varies in each manufactory, but the principle is always the same : the ball clay being the foundation, and flint the whitening material ; but as an excess of this would make the body difficult to work, Cornish clay assists in making it whiter and less liable to break under a heavy weight or sudden changes of temperature. The Cornish stone is used in a small quantity as a. flux, to render the ware more APPENDIX. 107 compact and of a closer texture. When the mixture of these materials is completed, the color taken by- earthenware when fired would not be a perfect white ; the quantity of oxide of iron existing in the clays, however small, would be still sufficient to impart a yellowish tint, particularly after the glazing of the ware. This is counteracted by the addition of a small quantity of oxide of cobalt, the power of which over the iron, as a staining material, is such as to neutralize it completely ; the result, in fact, being the same as that obtained by washerwomen, who use blue to the linen with the object of making it look white. From the moment that the materials are extracted to the lime when the goods are perfected, the number of distinct operations to perform is so great, that there can be given only a summary description of those most important. The grinding of those materials which are not already in a fine state of division is one of the most essential, for upon it depends the soundness of the ware, and without it the difficulties of workmanship would be greatly in- creased. It must be so perfect, that when the dif- ferent components are put together in the slip state, they should mix readily and form a homogeneous compound. , The grinding for the use of potters is a trade of itself ; but good quality is of such import- ance that the manufacturers who can afford it prefer having mills of their own. In these the different materials are ground in water in separate pans, till they can pass freely through fine silk lawn, and are Io8 APPENDIX. afterwards stored in distinct reservoirs, and the ex- cess of water removed, so that a quart measure of each should weigh a determined number of ounces. As the potter knows beforehand the proportion of solid matter contained in each liquid measure, it only remains for him to count the number of quarts or gallons which must be introduced into the body of the ware. This being done, the liquid mass must be deprived of its superabundance of water. Till lately it was the custom to effect this by running the slip ten or twelve inches thick over the surface of long kilns, paved with bricks and provided with flues underneath. The heat which was maintained in these, assisted by the porous nature of the bricks, was suf- ficent to bring it to the proper state of toughness ; but the kilns could not be filled more than once a day, and required besides a large quantity of fuel, much of which was wasted in the form of dense smoke. Now, thanks to the new apparatus of Messrs. Needham and Kyte, the same result is ob- tained with great saving in space, time, and fuel. The process is simple, and easy to manage. As soon as the final mixture is sifted, the slip is directed to a well, whence it is raised by a hydraulic pump and sent to the presses, which are composed of a variable number of large wooden frames. These are closely ribbed on both faces, and when placed side by side in a vertical position, they leave in the mid- dle an interval of about three-quarters of an inch in thickness. Each of these hollow compartments is lined with a sheet of strong cotton stuff", folded in APPENDIX. 109 such a way as to form a bag, in the middle of which a small metal fitting passes through the upper part of the frames, and forms the spring by which the slip can be ' admitted into the interior. When the bags are tied together, the slip is admitted into their in- terior and submitted to such pressure from the pump that the water filters through the interstices of the stuff, and escapes by the small intervals left between the ribs of the frames. After allowing a sufficient time for the action of the pump, the presses are dis- mounted, and the solid clay is found in the middle of the bags, ready for use in the various departments. The processes for shaping the different articles are many. For the more expeditious preparation of the wares, it was necessary that each workman should devote the whole of his time to a special branch of his art. For this reason there are several classes of potters called according to their avocation : throwers, turners, handlers, hollow and flat ware pressers, figure and ornament makers, tile modellers, mould and sagger makers, besides those who are em- ployed in the decoration of the goods. Of all these various branches, the. most attractive for those who are witnessing it for the first time, is the throwing; and it is a source of amazement for them to see how quickly, in the hands of the potter, the same lump of clay can be transformed in a variety of ways. The potter's wheel is of great antiquity. In some Egyptian hieroglyphics from the tombs of Beni-Hassan, known to have been made during the twelfth dynasty, the different occupations of the pot- 1 10 APFEiVDIX. ter are painted with great distinctness. In one of these, two potters are using the wheel for making their vessels — implying that this contrivance has been in use for something like four thousand years. The forms and proportions of the wheels may be varied without altering the principle. A spindle, finished at its lower end in the form of a pointed pivot, is placed on a hard substance on which it can easily revolve. The upper end is furnished with a wooden head or small platform, on which the lump of clay is to be placed, and between this head and pivot is fixed a horizontal wooden disc of large diameter, which acts as a fly-wheel and keeps the spindle in motion for a certain length of time. The motion may be given by the hand, the foot, or mechanical power, which causes the spindle to revolve with great velocity. A good thrower requires a great deal of practice, as he is expected to throw several hundred pieces a day, although the art is far from being what it was in the olden times. In consequence of the new plan of pressing all large pieces in plaster moulds the thrower has but small or moderate size pieces to work, and these he finishes only in the inside, leav- ing the outside to be done by the turner, when the pieces are in a more advanced state of dryness. This division of work, brought about by the exigen- cies of the trade, is very much to be regretted, for the old thrower was really an artist who could impress his feeling on the work which was entrusted to him from beginning to end. He has not now the same opportunity of showing his skill, and cannot take in APPENDIX. 1 1 1 his work the pride and interest which he would have felt if circumstances had not been altered. The same may be said of the turner, who finishes the outside on a lathe like that used for turning wood. The thrower prepares the pieces of a thicker bulk than is required, and it is the turner's business to bring them to a proper thickness by removing the excess of material and giving to the exterior a smooth and highly finished surface. /If the handles are orna- mented, they are pressed in plaster moulds ; if plain, they are squeezed from a brass cylinder, filled with clay, with a small aperture at the bottom, from which it escapes under the pressure in long ribbons. These are placed side by side on a board, cut across at the required length, and bent in the form of han- dles when they get sufficiently hard. They are after- wards fitted, and made to adhere to the pieces by means of a little water or slip dropped from the point of a brush. Flat pieces, such as plates, dishes, saucers; and the like, are made in plaster moulds, on which a bat of soft clay is tightly compressed by a hand tool, called a polisher. The process is very expeditious, although the presser is obliged to repeat the opera- tion twice, to give more pressure and finish. For this kind of ware the potter's wheel, called a jigger, is simplified so far, that the iron spindle resting on its point and fixed to a bench, is provided only with a round plaster head on which the moulds are placed. The presser keeps this in motion with his left hand while with the right he guides the polisher. 112 APPENDIX. In those manufactories which have adopted the latest improvements, the jiggers are worked by steam power, and the stoves in which the pieces are sent to dry are heated by steam pipes. These are con- structed on a new principle, consisting in a number of shelves which revolve round a central spindle, so that by a gentle push of the hand, each section is successively brought in front of the door, giving the opportunity of removing or putting in the moulds. This simple contrivance does away with the necessity for the assistant boy entering the stove, and feeling the bad effects of the heat. When the pieces are not exactly round and can- not be thrown or pressed on jiggers, it is the custom to have them made in plaster moulds, which have been cast on models prepared for the purpose. As long as the clay keeps soft, it takes the shape of any hard substance against which it is pressed, and for that reason, plaster, which has the property of ab- sorbing moisture readily, is preferred. The use of plaster for moulds is comparatively recent, and although its properties were known in early times, there is no evidence that it was ever employed for that object. Greeks, Etruscans, and Romans, had their moulds made of fired clay ; the Chinese, in raw clay thoroughly dried. In Staffordshire, before the use of plaster, they were made of fired clay or metal ; but plaster is more economical than any of these, although moulds made of this material do not last long, and require constant renewing. The making of moulds, well adapted for pressing JAPANESE DESIGNS APPENDIX. 113 the various shapes, is a very important part of the potter's business. They must allow of a certain amount of contraction, and, at the same time, must easily dislocate without pulling away any part of the piece, which is still sufficiently soft to be distorted by careless handling. Some pieces will require moulds made in one or two parts ; others, a large quantity of them, the various fragments being in that case pressed separately, and carefully put to- gether afterwards. The pressing is done in this way : the potter begins to flatten a lump of clay in the form of a bat, and transfers it to the inside of the mould ; then, by the repeated blows of a sponge in his right hand, he compels the soft material to take the exact form of the mould, and, of course, of any ornamentation which may be on its inner surface. A good presser ought to be systematic in his work, and not to apply more pressure to one part than to another, otherwise the different portions of the pieces would not contract alike, and would be liable to show an irregular surface, or even crack in the drying or firing processes. For several reasons there are pieces which can- not be pressed : they may be required very thin, or their shape is such that the potter cannot reach all the parts to take the impression conveniently. In this case he must adopt the following plan. The mould is tied up and filled with liquid clay through an opening left in the top. The plaster rapidly ab- sorbs the water and a deposit of solid clay adheres to the surface. This soon increases in thickness ; 1 14 APPENDIX. and when the potter thinks it is sufficient, he pours out the slip which is in excess. The piece soon hardens, and when it begins to contract, it is then time to remove it from the mould. This process has the advantage of giving a uniform thickness, and as there is no other pressure than that caused by the absorption of the plaster surface, there is a better chance for the piece to contract equally, and on this account this method (called casting) is preferred for articles which require a neat execution. In some cases it is cheaper than ordinary pressing ; but the drawback is the excessive contraction or diminution of bulk, of which the ware thus made is subjected. An irregular contraction is the source of most of the defects attending the ceramic manufacture, and it is worth explaining the causes, of which there are three. It has already been men- tioned that natural clays, which have remained in a damp soil for ages, contain materials in a hydrous state, i. e. combined with water, which sometimes in- creases their bulk considerably. These are unstable compdunds, and may be destroyed by thoroughly drying them. Some other materials used in pot- ting may be artificially combined with water, as would be the case if ground in it for an unnecessary length of time. The second reason is the interposition of the uncombined water between the solid particles of the clay, and as this cannot be worked without it, this cause of shrinking cannot be avoided. It will be easily understood that when the water in the mixture evaporates, the solid particles, under atmos- APPENDIX. 115 pheric pressure, will move to take its place, and this effect will continue as long as they find enough moisture to assist in their free motion. The conse- quence is, that the mass shrinks more and more, till the contraction is stopped by the inability of the particles to move farther ; and this happens before the pieces are completely dry. From that .state to complete dryness, the evaporation of the remaining water will leave small holes, which will make the texture of the ware porous, and prone to absorb any liquid with which it may come in contact. The shrinkage in the raw state then is mechani- cal, and distinct from that which takes place in the oven under the influence of heat. Under this agency the particles enter into combination, and if the pro- cess is carried far enough, the ware may become par- tially vitrified and acquire a certain amount of trans- parency. The more perfect the vitrification, the closer will be the contact of the particles, and consequently the greater the diminution of bulk. From these causes, the total contraction may vary from one-sixteenth to one-fifth of the original model. The least will belong to ware pressed with stiff clay gently fired ; the greatest to that cast with liquid slip and brought to the vitrified state. In these last the shrinkage is greater in height than in width, a fact explained by the weight of the upper portions acting vertically to assist the closer contact of the particles in the under-structure, when the same opposes their free action in a horizontal direction. In making the models, care should be taken to bring Il6 APPENDIX. the contraction to a common centre, or if there are several, to strengthen sufficiently the connecting parts. After the drying of the ware, the next operation consists in placing it in saggers, which, as has been said, are made of common fire-clay, and of a form and size to suit the different articles which they are intended to hold. A certain thickness of flint or sand is placed at their bottom for the purpose of giv- ing them a firm bed, and as it is the interest of the manufacturer to make the same firing answer for the greatest quantity of goods, care is taken to fill the saggers as far as is safe. The placing of the ware is done at the outside of the ovens, and when these are to be filled, the saggers are quickly arranged one over the other in columns, called " bungs," each sagger forming the cover for the one immediately underneath. A small roll of soft clay placed between makes them stand better, and at the same time pre- vents the ashes carried by the draught from finding their way into the interior, and damaging the con- tents. The firing must be conducted very slowly at first, to prevent a too sudden evaporation of the damp, which would cause the splitting of the goods. This being done, the heat is raised gradually, care being taken to feed the mouths with fuel as quickly as it is consumed. It requires an experienced fire- man to see that one part of the oven does not get in advance of the other. He manages this by throwing in a certain quantity of air through small openings APPENDIX. WJ in the brickwork, which are shut or left open accord- ing to circumstances. Whatever may be the con- struction of the oven, the quantity of air mixed with the gas produced by the combustion of fuel causes the atmosphere to be reductive of oxidizing ; which means that the different materials submitted to the heat would, in consequence of an abundance of car- bon, have a tendency to be deprived of their oxygen and return to a metallic state, or that by firing in presence of an excess of air or carbonic acid, they would be kept in a high state of oxidation. It is fortunate that all classes of English pottery, without exception, require, or are njt injured by, an oxidiz- ing fire, which is the most economical way of firing, since by it all the gases are completely burnt inside the oven without any waste of fuel. By a better application of this principle, Messrs. Minton have introduced a new oven, in which the fuel is so com- pletely utilized, that it requires only one half of the usual quantity of coals, besides doing away with the dense smoke which is the annoyance of the district. By the first fire to which it is exposed, the ware is converted into what is termed, from the French, biscuit. Some classes of pottery do not require more than a single firing, as, for instance, the common terra cotta and stoneware. However, for all English ware it is not necessary to have two fires, for the fol- lowing reasons: First, the necessity for getting a denser texture of the ware by submitting it to a strong heat, lest the glazes which are to be melted on their surface, and which thereby become very Il8 APPENDIX. dense and most contractible, should not agree with the more open texture of the body, and should crack or craze when exposed to changes of temperature. Secondly, that for coating the ware with the glaze, it is necessary to dip the article in the vitreous mix- ture finely ground, and kept in suspension in water ; consequently, if it were in the raw state when this was done, the adhesion of the particles would be so small that they would readily dissolve in the liquid. It is customary, therefore, to expose the goods first to a hard fire, which, according to the size of the ovens and the quality of the ware, may last from forty to fifty hours. From the biscuit oven, the goods, if they are to be left white, may be sent to be glazed ; but if they are to be decorated with a printed pattern, they must be forwarded to the printing department. The necessity for covering the biscuit with glaze to stop the absorption of liquids or greasy substances, which would find their way into its interior and would stain it, is so obvious, that it is not neces- sary to dwell on the importance of this operation. It was used by the Egyptians and Assyrians, who knew most of the saline mixtures by which white and col- ored glazes could be obtained. During the nine hundred years which may be counted between the revival of pottery by the Arabs and the introduction of well-made glazes by Stafford- shire potters, the last glaze in existence was that ob- tained by the grinding or pounding of the natural sulphide of lead, called galena. It is with this single APPENDIX. 119 material, stained with metallic oxides, that the Arabs glazed their rich looking pottery, and the same was used afterwards for our encaustic tiles and our com- mon pottery, from the time of Elizabeth down to the middle of the last century. Lately, however, the science of making glazes has considerably improved, and a variety of new substances has been introduced. To prepare a glaze is one of the most delicate opera- tions possible, and failures are attended with most serious consequences. The conditions to be fulfilled are many. It must not be too fusible nor too hard, either of which conditions would make it dull or apt to craze ; and it must be transparent, otherwise the colors underneath would not be clear. It may hap- pen that a glaze which apparently seems good when it comes out from the oven, will craze when a few months, or perhaps years, have elapsed. Generally, the less alumina that there is in the biscuit, the easier is the adaptation of the glaze, and this ac- counts for the soft porcelains being easier to manage in this respect than ordinary earthenwares. The materials used for the foundation of glazes are in principle the same as those for the body, viz., silica, in the form of flint, or sand and felspar, pure or mixed with other components in the granitic rocks. These are the hard materials to be vitrified by the fluxes, which are carbonate or oxide of lead, boracic acid or borax, potash or soda, carbonate of lime or barytes. There is no definite receipt for mixing, and they may be combined in a variety of ways. Every manufacturer has receipts of his own, I20 APPENDIX. and some make their glazes a great deal better than others. They are rather expensive, chiefly owing to the increased price of borax, a material of compara- tively modern use, which, being apt to promote the brilliancy of the wares and the beauty of the various colors, is now extensively used. When the compo- nents of the glazes are not soluble in water, it may be sufficient to have them finely ground in water. But if any soluble salt, such as borax, nitre, or soda is employed, it is necessary to render them insoluble by vitrifying them together with other substances. This may be effected in crucibles, or, still better, in reverberatory furnaces, where a large quantity may be melted more conveniently. In this case, when the mass is well liquefied by the intensity of the heat, it is run into cold water, which, cooling it sud- denly, causes it to break into small fragments. This is called & fritt ; and when it is sent to the mill, any other insoluble material may be added to it if neces- sary. To lay a thin coat of glaze on the surface of earthenware is a most expeditious process. Advan- tage is taken of the porous nature of the biscuit, which, being dipped in the liquid slip, rapidly absorbs the water while the solid particles of the glaze, which, however fine, could not follow the water to its in- terior, are found coating the surface. As the pieces are removed from this Bath before the pores of the clay are saturated with water, they are seen to dry almost directly. After this, the last operation consists in firing the pieces a second time, to give them that neat and APPENDIX. 121 finished look which belongs to glazed substances. The saggers, ovens, and the mode of conducting the fire do not differ in this case from those used for making biscuit. The ovens are, however, smaller, and the saggers cannot be packed so closely with the different articles, as every piece has to be isolated, otherwise the glaze in melting would cause them to stick together. To provide against this, small imple- ments made of clay cut in different forms are used, and, not to disfigure the ware, are contrived in such a way that the points of contact between them and the pieces should be as small as possible. This sec ond firing does not take more than fifteen or eigh- teen hours, and this completes the series of operations by which ordinary earthenware may be produced. The various porcelain biscuits known under the name of Parian or statuary biscuit, are specially used for statuettes, busts, and other articles for which it is desirable to get the appearance of white marble. This is a kind of hard porcelain made from a mixture of kaolin and felspar, in which the degree of hard- ness or fusibility is regulated by the proportion of one material towards the other. Of course, similar biscuits m.ay be made by more complicated receipts, but the principle is always the same, viz., the taking advantage of the fusibility of felspar or Cornish stone, to secure the required amount of transparency. The light being allowed to penetrate to some depth be- low the surface, imparts to these biscuits a softness which is wanting in the similar productions of Sfevres, Germany, and Denmark. 6 122 APPENDIX. In noticing the bluish-white color of the foreign article as compared with the cream'tint of the Eng- Ush, it must be explained that this difference lie's in the management of the fire, since in none of them are stain or color introduced to procure any such result. As the reader must now understand, there is in all clays, pure as they may be, a certain amount of oxide of iron, which during the firing process forms silicate of protoxide or peroxide, according to the chemical composition of the atmosphere of the oven in which they stand. On the Continent, to make hard porcelain successfully, the fire must be reduc- tive ; in England, on the contrary, it is oxidizing ; and it is to the formation of a small quantity of sili- cate of peroxide of iron disseminated in the mass, that the creamy color of Parian is due. Parian is generally cast, which accounts for the great contrac- tion it undergoes when fired, and much care is re- quired for propping or supporting the various articles, as neglect or miscalculation in this respect would inevitably ruin them. Otherwise, as this biscuit is made from few materials and takes one single firing, the simplicity of the manufacture has induced many small makers to undertake it — a fact that we should regret, if we were to take a purely artistic view of this subject. Parian, which was originally sold in biscuit state, has since been glazed, for the purpose of mak- ing pieces of decoration. The manufactory at Wor- cester, several years ago, made a great many colored and gilt ornaments in the Cinque-cento style, to APPENDIX. 123 which it has lately added a highly artistic imitation of the Japanese lacquered ivories. Plain and encaustic tiles form an important branch of ceramic trade, and with which the name of Herbert Minton is closely associated. The pro- cess of making tiles is new and peculiar. The plain tiles are made from dry clay reduced to dust, which, being submitted in metallic moulds to a pressure of several hundred pounds to the inch, becomes so compact, that further contraction is almost sup- pressed, and they can be handled without risk of breaking. Encaustic tiles are made from plastic clay in which the different portions of the design are sunk below the surface, so as to form recesses in which slips of different colors are poured according to a set pattern. When these become as hard as the body of the tiles, the surface is made smooth and level with a steel scraper, which removes all the superfluous material, till the colors are shown stand- ing neatly side by side with the greatest precision. It is a pretty process and interesting to witness. Besides the flooring tiles, there are many sorts made for lining walls and fireplaces, varying considerably in style and material. BIBLIOGRAPHY OF THE PRINCIPAL WORKS UPON THE CERAMIC ART. Arnoux (L.) Pottery, a description of how it is made in England. 8vo. London : Edward Stanford, 1876. s^.6d. Audsley (G. A.) and Bowes (J. L.) Keraraic Art in Japan, 63 plates and 200 pages of Text, with numerous Wood Engravings printed in colors. Two vols, folio. Lond. Sotheran, 1877. £9 9^- French Edition translated by M. P. Louisey. Paris : Didot, 1877. Avisse (Paul et Renard). L'Art C6ramique au XIX Siecle, etc. 8vo. Paris : Levy, 1876. Beckwith (Arthur). Majolica and Fayence. Italian, Sicilian, Majorcan, Hispano-Moresque and Persian. Fifty- one Wood-cuts and Plates of Marks and Monograms. i2mo. N. Y., 1877. $1.50. Beckwith (L. P.) Pottery, Observations on the materi- als for the Manufacture of Terra Cotta, Stone, etc. 8vo. N. Y., 1872. $1.50. Binns (B. W.) A Century of Potting in the city of Worcester, being the history of the Royal Porcelain Works from 1731 to 1851, to which is added a short account of the Celtic, Roman and Medioeval Pottery of Worcester, shire. 2d Edition. 8vo. 394 pages, with illustrations. Lond. Longmans, 1877. 52J. 6d. 126 BIBLIOGRAPHY. Birch (S.) History of Ancient Pottery, Egyptian, As- syrian, Greek, Etruscan and Roman, 13 plates in colors and 209 wood-cuts. 8vo., Lond., 1858 and 1873. 42J. Blanc (Charles). Du decor des vases. Paris : Firmin Didot, 1873 ; and many articles of great value upon Cera- mic Art, published in the Gazette des Beaux Arts. Plant (Edmund C.) et Albert Jacquemart. Histoire de la Porcelaine. Paris : J. Techener, 1862. 8vo. 60 fr. Blake (Wm. P.) Ceramic Art : A Report on Pottery, Porcelain, Tiles, Terra Cotta, and Brick, with a Table of Marks and Monograms, Notices of the Distribution of Materials for Pottery, etc. Vienna Exposition of 1873, 8vo. N. Y., 1875. $2.00. Bohn (Henry G.) A Guide to the Knowledge of Pot tery and Porcelain and other Objects of Vertu, to which is added an engraved List of Marks and Monograms. Col- ored plates. Lond., 1872. loj. dd. Bonghi (Diego, La). Figulina di Castelli, Letter to Commander Bernardo Quaranta. Naples, 1856. Boyer, Nouveau Manual Complet du Porcelainier, etc. Two vols. 1846, one vol. plates. Atlas 8vo. Roret En- cyclopedie. Paris, Rovet, 1827. British Museum Catalogue of Greek and Etruscan Vases. Brongniart (A.) et de Riocreux. Description method- ique du Mus6e Ceramique de la Manufacture Royale de Porcelaine de Sevres. Two vols. Paris, 1845. Brongniart (A.) Descriptive Methodique du Musee Ceramique de Sevres. 4to. Paris, 1855. Also several articles of high value upon the Ceramic Art published in the Gazette des Beaux Arts. Brongniart (A.) Trait6 des Arts Ceramiques. Paris, 1 854. Burty (Phillippe). Chef d'ceuvres des Arts Industriels BIBLIOGRAPHY. 12"] C^ramiques, etc. 600 pages avec plus de 200 gravures sur bois. Paris : Ducrocq, 1866. 15 fr. Burty (Phillippe). Chefs d'oeuvre of the Industrial Arts. Pottery, Porcelain, Glass, Enamel, Metal, Goldsmiths' Work, Jewelry and Tapestry. Edited by William Chaff- ers. Illustrat. 8vo. 1867. $5.00. Chaffers (William) Marks and Monograms on Pottery and Porcelain of the Renaissance and Modern Periods, with Historical Notices of each Manufactory. Preceded by an Introductory Essay on the Vasa Fictiliaof the Greek Romano-British and Mediaeval Eras. With 3000 Pot- ters' Marks and Illustrations, and an Appendix containing an Account of Japanese Keramic Manufactures. Sixth Edition. Royal 8vo. Lond., 1876. 42^. Chaffers (W.) Collector's Handbook of Marks and Monograms on Pottery and Porcelain of the Renaissance and Modern Periods, with nearly 3000 Marks and Index. 12 mo. Lond., 1877. 6j. Chaffers (W.) Keramic Gallery, containing 468 Illustra- tions of rare, curious and choice examples of Pottery and Porcelain, with Historical Notices and Descriptions, a vols. Royal 8vo. Lond., 1872. 84J. Champion (M. Paul). Industries, anciennes et mo- dernes de I'empire Chinois d'apr^s les notices traduites du Chinois, par M. Stanislaus Julien, membre de I'lnstitut, et accompagnees de Notices industrielles et scientifiques. Taris : Lacroix. 1869. Champion (Richard). Two Centuries of Ceramic Art in Bristol. Being a History of the Manufacture of " the Tnu; Porcelain." With a Biography, and an account of the Delft Earthenware and Enamel Glass Works. By 128 BIBLIOGRAPHY. Hugh Owen. Portrait, plates and almost 150 wood-cuts. Royal 8vo. Lond., 1873. . A^s. Darcel (A.) Recueil des faiences Italiennes des XV, XVI, XVII siecles. Paris: H. Delange. 1871. 400 fr. Darcel (A.) Notices des faiences peintes Italiennes, Hispano-moresques et Franjaises, du mus^e de la Renaissance. Paris, 1865. And a large number of essays and articles covering the entire field of Ceramic art, published in the Gazette des Beaux Arts. Davillier (J. C.) Histoire des faiences et porcelaines de Moustiers et autres fabriques mSridionales. iSmo. 144 pages, Paris, 1863. 4 fr. Delange (Henri.) Letter i M. B. Fillon a propos de sa brochure intitul6e : Les faiences d'Oiron. 8vo. 8 pages. Paris, 1863. De La Beche (Sir Henry) and Reeks (Trenham) Catalogue of Specimens illustrative of the Composition and Manufacture of British Pottery and Porcelain from the occupation of Britain by the Romans to the Present Time. 150 Woodcuts, (Museum of Practical Geology) 8vo. Lond. 1855. Designs and Instructions for Decorating Pottery in imitation of Greek, Roman, Egyptian and other styles of Vases. With an Illustrated and Descriptive list of sub- jects to select from, etc. i6mo. Bost. 1877. .50 Drake (W. R.) Notes on Venetian Ceramics. 8vo. Lond. 1868. 4f. Demmin (Auguste). Guide de I'amateur de faiences et porcelaines. Post 8vo. Paris, 1861. Seconde edition, revue, corrigee, consid^rablement aug- mentee et orn^e de 850 figures, marques et monogrammes dans le texte. Post 8vo. Paris, 1863. BIBLIOGRAPHY. ijq Troisieme edition, accompagn^e de i6o reproduc- tions de poteries, 1800 marques at monogrammes. Avec portrait de I'auteur. 2 vols. i2mo. Paris, 1867. Demmin (Auguste). Histoire de la ceramique. Paris, Renouard, 1868. Demmin (Auguste). Recherches sur la priority de la renaissance de I'art Allemand. Paris, 1862. D'Urbino. Stona di conti e duchi. Florence, 1859. Du Sommerard (Alexandre) Les Arts au moyen age. Plates 6 vols. fol. text 5 vols. 8vo. Paris, 1838-46. Elliott (Chas. W.) Pottery and Porcelain from Early Times down to the Philadelphia Exhibition of 1876. 165 Illustrations, and Marks and Monograms. 8vo. N. Y. 1878. JSoo- English Pottery and Porcelain ; Being a Concise Ac- count of the Development of the Potter's art in England. Profusely Illustrated. 8vo. Lond. 1875. ^^• Fabrone (A.) Storia degli antichi vari fittili Avetini, with 8 plates 8vo. Avizzo. 1841. Fillon (Benjamin.) Les faiences d'Oiron, lettre k M. Riocreux, conservateur du musee de Sevres. 8vo. Fon- tenay (Vendee.) Robuctun, 1862. Lettre k M. B. Fillon, a propos de sa brochure intitulee ; les Faiences d'Oiron, par Henri Delange. Paris, 1863. Fortnum (C. D. E.) Descriptive Catalogue of Maiolica, lEispano-Moresco, Persian, Damascus and Rhodian wares in the South Kensington Museum. Royal 8vo. London, 1873. 40J. Fortnum (C. D. E.) Maiolica. Being a reprint of the Introduction to the above. Numerous wood-cuts. i2mo, London, 1875. 2s. 6d. 1 30 BIBLIOGRAPHY. Fratri (Luigi.) Raccolta de Majolica antiche lipinte nel museo, Pasolini di Faenza, 1852. Un Pavimento in Majolica nella basilica Petroniane di Bologna. Descrizione di un insigne raccolta di majoliche poss- edeuta da Geremia Delsetti. Gallick (T. J.) and Timbs (John) Painting Popularly Explained, including Painting on Ivory, Vellum, Pottery, Porcelain, Enamel, Glass, etc. i8mo. Lond. 1873. (>s. Geretele (J. G.) Lehrbuch im Potteriefache. 8vo. Gehren, 1856. Gerhard (Edward) Konigliche museen Leitfaden zur basen terra-cotta, etc. 8vo. Berlin, 185 1. Gerhard (Edward) Auserlesene Griechische vasenbil- der. Berlin, 1856. Etruskische und Kampanische vasenbilder. Berlin, 1843. Gerspach. Notes sur la Cferamique Chinoise. Paris : Quentin, 1877. Gheltof (Guiseppe Mariano Urbano de). Studi intor- no alia Ceramica. Venice : Navartovitch, 1876, 8vo. 90 pages. La manifattura di Maiolica e di porcellana in Este. Sine L. et A. 8vo. 23 pages. Graesse (Johann Georg Theodore). Guide de )' Ama- teur de Porcelaine et de Poteries. Collection complete des Marques de Fabriques de Porcelaines et de Poteries de I'Europe et de I'Asie, 8vo. Dresden, 1864. Second edi- tion, 1875, Guide du visiteur a la Manufacture Nationalede Porce- laine de Sevres. Contenant les marques de fabrique des difl^rentes epoques ainsi que les monogrammes de tous les artistes, peintres, d^corateurs et doreurs de 1753 a 1874. Paris: De Mourgnes, 1874, i8mo. 101 pages. I fr. .50 BIBLIOGRAPHY. . 131 Hall (H. Byng). The Bric-a-brac Hunter ; or, chap- ters on china mania. i2nio. Lond. 1875-6. \os. 6d. Hartt (Chas. F.) Notes on the Manufacture of Pot- tery among Savage Races, Svo. Rio Janeiro, 1875. Haslem (John). The Old Derby China Factory, and the worlcmen and their productions, containing biographi- cal sketches of the chief artist-workmen, and the various marks and fac-similes copied from the old Derby pattern- books ; the original price-list of more than 400 figures and groups, etc. Colored plates and numerous wood-cuts. Impl. 8vo. Lond. 1876. 31J. 6d. Hooper (W. H.) and Phillips (W. C.) A Manual of Marks on Pottery and Porcelain. With numerous illustra- tions, i6mo. Lond. 1877. ^s. 6d. Inghirami (Francesco Cavaliere). Pitturi di Vasi fit- tili, 4 vols in 2. 4to. Fiesole, 1835. Monumenli Etrus- chi, Fiesole, 1821-26. Jacquemart (M. Albert). Histoire artistique indus- trielle et commerciale de la Porcelaine, accompagn^e de recherches sur les sujets et les emblemes qui le d6cor- ent ; les marques et inscriptions qui font reconnaitre les fabriques d'oii elle sort : les variations de prix qu'ont ob- tenues les principaux objets connus, et les collections ou ils sont conserves aujourdhui, par Albert Jacquemart et Edmond le Blant, enrichies de vingt-six planches gravies £l I'eau forte, par Jules Jacquemart. Lyons et Paris : Te- chener, 1862. Svo. 6ofr. Jacquemart (Albert) Les Merveilles de la Ceramique ou I'Art de fa9onner et de d^corer les vases en terre cuite, faience, gr^s et porcelaine, depuis les temps an- tiques jusqu 'a nos jours. 132 . BIBLIOGRAPHY.^ i&re partie, Orient, 1866, i8mo. de 366 pages, avec 53 vignettes. Paris, Hachette. 2 fr. 2nde partie, Occident, i8mo. de 363 pages, avec 53 vignettes sur bois par J. Jacquemart. Paris, Hachette 1868. 2 fr. Sifeme partie, Occident (temps moderne) 371 pages avec 48 vignettes sur bois et 833 monogrammes, par J. Jac- quemart. Paris, Hachette, 1869. 2 fr. Jacquemart (Albert) Anciennes Faiences Franpaises. Gazette des Beaux Arts XI, 142 to 164. De la forme et nomenclature des vases, 215 to 224, and numerous other valuable articles published in the Gazette des Beaux Arts from 1859 until the recent death of this celebrated author. Jacquemart (Albert) History of the Ceramic Art. A descriptive and philosophical study of the pottery of all nations, containing 200 wood-cuts by H. Catenacci and Jules Jacquemart, 12 engravings in aquafortis, by Jules Jacquemart, and 1000 marks and monograms. Trans- lated by Mrs. Bury Palliser. Lond. Low, 1873. 42J. Jewitt (L.) Life of Josiah Wedgwood, with notices of his Works and their productions. Memoirs of the Wedg- wood and other Families, and a History of the Early Pot- teries of Staffordshire. Portrait and 145 wood-cuts. 8vo. Lond. 1865. i8j. Jewitt (L.) Ceramic Art of Great Britain from prehis- toric times, down to the present day : being a history of the ancient and modern Pottery and porcelain works of the kingdom and of their productions of every class. Il- lustrated by nearly 2000 engravings. Roy. 8vo. Lond. 1877. 52J. (>d. Julien, Stanislaus, Histoire et fabrication traduit du Chinois avec des additions par Salvetat. Paris, 1856. BIBLIOGRAPH Y. 1 3 3 Kenzelmann, (Chr. Beatus) Historische Nachrichten tiber die Porzellan-Manufaktur in Meissen u. deren Stifter Johann Fr. v. Bottger, gr. 8vo. Meissen, Goedsche. 1810. Kolbe (G. ) Geschichte der Kdniglichen — Porzellan manufactur zu Berlin. Nebst eine einleiten den Ubersicht der geschichtlichen entwickelung der ceramischen Kunst. 8vo. Berlin, 1863. Lacroix (a.) Practical instructions for painting on China, translated from " Des couleurs vitrifiables. " Lend. Lechertier. Lazari (Vicenzo,) works on maiolica and other pot- terj'. Venice, 1851. Leyshon (E. J.). Operative Potter, with receipts for the manufacture of China, etc. London, 1866. Lockwood, M. S. A manual of Ceramic Art. i6mo. N. Y. 1878. Marryat (Joseph) Collections towards a history of Pottery and Porcelain in the XV, XVI, XVII and XVIII centuries, with a description of the manufacture, glossary, and a list of monograms. Plates and wood-cuts. 8vo. Lond. 1850. Second edition, 1857. Third edition, 1868. 42 J. Mareschal (M. A. A.) Les Faiences anciennes et modernes, leurs marques et decors. Beauvais Victor Pineau, 1867, 8vo. avec loi planches chromo-lithograph- ifees et 16 p. de texte, prix i5fr. Second partie, Faiences franpaises. Paris: Delaroque, 1874. 3ofr. Mareschal (A. A.) Imagerie de la faience franyaise. Paris : E. Delaroque, 1869. Mareschal (A. A.) I,a Ceramique et les Faussaires. Beauvais, Simon, 1875, 32mo. 32 pp. 134 BIBLIOGRAPHY. Marscha! (A.) La faience populaire du XVIIP siecle ; sa forme, son emploi sa decoration, ses coulers at ses marques. Paris: Delaroque, 1872, 112 planches chromo- lithographees. 35^- Mayer (Jos.) On the art of Pottery, with a history of its prsgress. Liverpool Print, 8vo. McLaughlin (M. Louise). China painting, A practical manual for the use of amateurs in the decoration of hard porcelain. Sq. lamo. Cincinnati, 1877. .75 Meteyard (Eliza). Wedgwood and his Works. Illus- trated, 2 vols. 8vo. Lond. 1873. ^'^s- Millet (A.) Ceramique Normande, Priority de I'inven- tion de la porcelaine a Rouen en 1873. Rouen, Coignard, 1867, izmo. 24 pp. Montanari (Prof. Giuseppe Ignazio). Lettera del in- torno ad alcune majoliche lipinte esistenti nelle collezione del cari. Domenico Mazza. Neatin on the Origin, Progress in Improvement and Present State of the Manufacture of Porcelain and Glass. i2mo. Philadelphia, 1846. Nichols (John Gough). Examples of decorative tiles, sometimes termed encaustic, engraved in fac-simile chiefly in their original size. Ninety-five plates, 4to. Lond. 1845. Nichols (Geo. Ward). Art Education Applied to In- dustry. See chapter on Pottery. New York : Harper Brothers, 1877. ' Palliser (Mrs. Bury). The China Collector's Pocket Companion, with upwards of looo Illustrations of Marks and Monograms, 12 mo. Lond. 1874-5, 5^- Passeri (Giambattista). Istoria dalle pitture in maio- lica fatte in Pesaro a in luoghi circonvicini. Farnese, 1758. BIBLIOGRAPHY. 135 Passeri (Giambattista). A letter written in 1857, upon Maestro Giorgia da Gubbio, containing valuable informa- tion, and from the pen of the Marquis Francesco Ranghi- asci Brancalloni, has been inserted in the appendix of the last edition of Passeri, published at Pesaro. Piccolpasso (Cipriano-Durantino) I tre libri del arte del Vasajo nei quali si tratta non solo la pratica ma breve- mente tutti i secreti di essa cosa che persino al di d'oggi e stata sempre tenuta ascosta, del cavaliere. Rome, 1857, Porcelain Painting. A Practical Treatise. izmo. Lond. i860. IS. 6d. Pottery ; How it is made, Its form and decoration. Il- lustrated, by Geo. Ward Nichols. 8vo. N.Y. 1878. Pettier (Andre,) C6ramique, Essai de classification des poteries Normandes des XIII, XIV, et XV siteles. Rouen :, Brifere, 1866, 8mo. 13 pp. Pettier (Andre) Histoire de la faience populaire de Rouen. Rouen, Le Brument. 1868. Porry (F.) Les faiences d'origine picarde et les collec- tions diverses Amiens. Lenod, Herouart, 1872, 8.vo. 3a pages, avec fac-similes colories et marques. Prime (Wm. C.) Pottery and Porcelain of all times and nations, with tables of factory and artists marks for the use of collectors, profusely illustrated. Sra. 410. N. Y. 1878. $7.00. Pungileoni (Padre Luigi) Notizia delle pitture in majolica falta in Urbino. RaC1net(L.) rOrn6ment Polychrome. 4to. Paris, 1869. Raffaeli (Giuseppe) Meraorie istoriche delle majoliche lavorate in Casteldurante ossia Urbania. (Printed at Fermo, 1846.) Riocreux (M.) Conservateur du Mus6e du S6vres. 136 BIBLIOGRAPHY. Several valuable articles upon Ceramic Art of a critical and historical character, published from time to time in the Gazette des Beaux Arts. Rochechouart (Julien de, Compte) Souvenirs d'un voyage en Perse. 8vo. Paris, 1867. Ris-Paquot, Histoire generate de la Faience ancienne, franpaise et etrangere, consideree dans son histoire sa nature, ses formes, et sa decoration, 200 fl. en couleur et 1400 marques et monogrammes. 2 vols, folio. Paris, Simon, 1876. Ris-Paquot, Nouveau Dictionnaire des marques et monogrammes des faiences, poteries, etc., reproduites avec leurs couleurs naturelles. Paris, Delaroque, 1874, 242 pages. 2700 marques. 10 fr. Riano, Catalogue of Art objects of Spanish production in South Kensington Museum. London. Robinson (S. C.) Catalogue of the Soulages Collec- tion. Lond. 1856. Robinson (S. C.) Guide to the knowledge of pottery, porcelain, and other objects of vertu. Lond. Bohn, 1862. Salvetat (Alphonse). Chef des travaux chimiques a la manufacture de Sevres. Notes et additions a traits des arts ceramiques, etc., par A. Brogniart. Paris : Asselin, 1876. Semper (Gottfried). Der Stil in den terrischen und tektonischen Kiinsten oder .^sthetik. Frankfurt am Main, i860. Shaw (Simeon). History of the Staffordshire potteries and the rise and progress of the manufacture of pottery and porcelain, and notices of eminent potters. i2mo., Hanley, 1829. Snell (Henry J.) Practical instructions in enamel BIBLIOGRAPH Y. 1 3 7 painting on glass, china, tiles, etc., to which are added full instructions for the manufacture of the various pigments re- quired. Twelve pages of illustrations. 8vo. Lond. 3J. Sparkes (John C. L.) A Hand-book to the Practice of Pottery Painting. i6mo. Lond. 1877. is. This is republished in Boston, under the title : Sparkes (John C. L.) Hints to China and Tile Decorators. Ed- ited and Revised by an American Decorator. i6rao. Bos- ton, 1877. .50 Sybel (Johann Karl). Nachrichten von dem Stadtchen Plauen an der Havel, besonders von der dort angelegten Porzellan Manufaktur. 8vo. Berlin, Nicolai, 1812. Tiffin (W. F.) Chronograph of the Bow, Chelsea and Derby Porcelain Manufacturers. 8vo. Lond. 1875. ''■^• Tilton (S. W. & Co.) Designs and Instructions for Decorating Pottery. Boston, 1877. Tomlinson (C.) Pottery and Porcelain, in " His- tory of Processes of Manufacture.'' izmo. New York, 1864. Treadwell (John H.) A Manual of Pottery and Porce- lain for American Collectors. i2mo. N. Y. 1873. 2.75. Weber (J. F.) Die Kunst, das achte Porzellan zu ver- fertigen. Mit 8 Kpft. 8vo. Hanover, Hahn, 1798. Waring (J. B.) Ceramic Art in Remote Ages. 4tp. London, 1875. 84J. Wedgwood and his Works, A Selection of his choicest Plaques, Medallions, Cameos, Vases, and ornamental ob- jects, from designs by Flaxman and others, reproduced in permanent photography, with a sketch of the life of Wedg- wood, and of the progress of his Art manufacture, by Eliza Meteyard. Imp. 4to. Lond. 1872. 63^-. 1 3 8 BIBLIOGRAPHY. Wedgwood Hand-book. A Manual for Collectors: treating of the Marks, Monograms, and other tests of the old period of manufacture ; also including the catalogues with prices obtained at various sales, together with a glos- sary of terms. By Eliza Meteyard. i2mo. Lond. 1875. loj. 6d. Wedgwood, (J.) Life, with a Sketch of the art of Pot- tery in England, by Eliza Meteyard. Portraits and numer- ous illustrations. Two vols. 8vo. Lond. 1865-6. Wedgwood manufactures, A catalogue of, with illustra- tions. Edited by Eliza Meteyard. 8vo. Lond. los. bd. Whiteford (S. T.) A Guide to Porcelain Painting. iSmo. Lond. is. ZiEGLER (J.) Etudes C^ramiques, Recherche des prin- cipes du Beau dans 1 'architecture, I'art ceramique, et la forme en ge'neral. Theorie de la coloration des reliefs. Svo. atlas fol. Paris, 1850. INDEX. Araoux Lm Superintendent of Minton Potteries in England^ 7-90; describes how pottery is made in England, 105-123 . on printing, 71. Art Education* necessary for success in the production of pottery, 1, a. Ashberry, M., did not invent cream ware, 14. Ane, Switzerland ; kaolin discovered there, 19. B. Billequin M., A^ent to China, appointed by French Government to investi- gate about manufacture of pottery, 86. Biscuit, meaning of the word, 6. Blanc Charles, describes pottery, 10-19 J architecture of pottery, 24. Bottscher. German potter not mentioned by Blanc, iq. Broignart M., describes pottery, 10. C. Ceramic, ipieaning of the word, 4. Chemica}.!properties of potter's clay, 7, 8, 9. Chester County, Pa., has kaolin, 96. China-wa^e, meaning of the word, 5. Clays, for pottery in New Jersey, 90, gx, 94 ; Indiana, 92 ; Missouri, New York, Pennsylvania, South Carolina and Maryland, 96 ; Ohio, 97 : Teign- mouth and Poole, Cornwall, Leemoor, in Devon, England. How clays are treated in English manufacture, 106-109 ; table of analysis of clays in Eu- rope and America, 94. Cloissonne on porcelain, how made, 83, 83, 84, Colors, vitrifiable, where sold, 38, 39; how made, 41 ; coloring materials and fluxtis of vitrifiable colors, 41, 43 ; their chemical composition, 43-47 ; for common earthenware, 49 ; composition of palettes, 50, 51 ; directions for use, 51-54 ; not vitrifiable, 64 ; on window glass, 65 ; in terra cotta, 72-77. CoUings. Art foliage, 57. Cox, Mr., State Geologist, Indiana, 93. Crackleware. How it is made, 79, 8a. Crockery, meaning of the word, 5. I40 INDEX. r). Decoratior of pottery identified with the orders of architecture, 32; practical suggestions about it, 31, 37, 55-62 ; the utensils for decoration, 35, 36, 37 ; use of colors in decoration, 48, 54 ; not vitrifiable, 64 ; by printing, 69-72 ; in architecture for exteriors, use of terra cotta, 72-77, De Cool Delphine. Describes figure painting, 60. D'EntrecolIes. Jesuit missionary in Chinas 17th century who wrote about pottery. Dresden manufactory, how it was established, 19. East Liverpool, Ohio, potteries, 96. IP- Faience, meaning of the word, 5 j fine faience. 10-14. Firing. What is firing or baking, 6, 63 j how the English bake their potteries, 116, 117, 118. GJ-- Glazing' pottery. Described by M. Arnoux, 117-120. Glen.Cove, Long Island, N. Y., has a mine of pilica clay, ofi. Golconda, ball clay found in Pope County, Illinois. Goyard M., Paris, potter, 39. Hartford, Conn., has felspar mines, 76. Henry Deux, ware, 14. I. Illinois, and Lawrence County, Indiana, 96. Jacquemart M. A., on Chinese porcelain, 84, 83. Japan. Machinery for making pottery, 21. Julien Stanislaus. His history of Chinese porcelain, 81. Kaolin. A Chinese word for the clay which makes porcelain, 8. L. La Croix, A., Paris, maker of colors, 3S-41. Lavergne, Charles, describes painting on glass, 65-68. Lechertier, Barbe & Co., London, dealers in color, 38. INDEX. 141 Limoges, City of. How the Greeks carried there the art of enamelling, 103. Lucca della Robbia. Enamel used by him, 12, 13. Ly. Father^ one of the missionaries of the Order of Vincent St. Paul in China, 350 years ago, wrote about pottery m China. Lycett, E., New York Baker of pottery, 38, 39. :ivi, Maaestricht, Rhenish provinces, potteries there, 88. Majolica, whence its name, 11, 12. Mettlach, Rhenish provinces, potteries there, 88. Orton, Edmund, Ohio, president of agricultural college, gs. Ovens, portable for uses of amateurs, 39. Parian ware, how it is made, X2i, 133. Pallissey Bernard, 14. Philadelphia Centennial Exposition. Exhibition of Chinese and Japanese pottery, 78. Pottery, its production, 2, 3 ; meaning of the word, 5 ; a brief history of how it has been made in the past, 10-15 ; how it is made at the present time, 20, 21, 105-123 ; Japanese machinery for making 1121-33 J degeneracy of mod- ern European manufacture, 21 ; its architectural construction, 24-31 ; terms correspond to the members of the human figure, 34 ; its decoration, 32, 55-63 ; baking or firing, 38, 39, 40 ; curious and rare works in pottery, 78 ; mystery of Chinese and Japanese manufacture, 79-85 ; " crackle," how it is made, 79-80 ; Cloissonne porcelain, 84 ; manufacture in the United States ; statistics of exports and imports, 87 ; facilities for making it here, 89 : clays to be found here, 89-98 j clays in New Jersey, go, 91 ; Indiana, 93 ; Missouri, New York, Pennsylvania, South Carolina, Mary- land, 96 ; Ohio, 97 ; what it cost to make it in Cincinnati, 98 ; brilliant future for this industry in the United States ; 99-103 ; how Parian ware is made, 132 ; encaustic tiles how made, 123. Porcelain, meaning of the word, 5 ; what is hard porcelain, 16, 27 ; what is soft porcelain, 17, 18 ; English porcelain, 18. Printing on pottery, history of, 6g, 72. Saggers, described, 120, 121. Salvetat M , superintendent Sevres manufactory, 42. Sarreguemines, France, pottery made there, 34. Sarrelouis, Rhenish Provinces, pottery made there, 88. Sciotoville, Ohio, its potteries, 96. Serlio, Italian writer on architecture, 31. Shaw's Encyclopedia of Ornament, 37. Siedel & Son, Dresden, Germany, makes colors, 38, 39. 142 INDEX. South Kensington Museum^ its facade in terra cotta. nt Stoneware, meaning of the term, 5, 15. O?. Technical terms used in the ceramic art, 4-6. Terra cotta, how used in exterior decoration, 71-77- Trenton, N. J., potteries there, lOO. Tiles encaustic, bow made, 123. TJ. United States, facilities here for the manufacture of pottery, qq-ioi. "V. Violet Le Due, Report on SSvres manufactory, 55. ~W. Wedgwood, His creamware not his original invention, 14. 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