'TTT^XE 'RQMA'NCES OF CHI^NA ALBERT R. MANN LIBRARY New York State Colleges OF Agriculture and Home Economics AT Cornell University Cornell University Library NK 3780.058 Little romances of china. 3 1924 014 065 092 V]^ Cornell University WM Library The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924014065092 LITTLE ROMANCES OF CHINA LITTLE ROMANCES OF CHINA Privately Printed for the 3AGA POTTERY COJ SYRACUSE, NEW YORK ONONDAGA POTTERY COMPANY '\ NK 313661 CopyiiKbled 1919 ONQNDAGA POTTERY COMPANY SYRACUSE. NEW YORK FOREWORD rHE purpose of this little vol- ume is to recount in simple, readable form a few interest- ing facts concerning the history of ceramics in various countries of the world. No attempt has been made to be technical. Our experiences have unearthed quaint stories and fas- cinating romances of the pottery of the world, and these have been brought together in this little book with the hope that they will bring pleasure to the reader. LITTLE ROMANCES OF CHINA INTRODUCTION THE same motive which prompted men living way back in the stone ages to make vessels of clay, has prompted men and womlen, who when small children made dolls' dishes of mud, or talcum powder and water, to fashion now, rare dishes and ves- sels of china and porcelain. To be sure, when the cave men of pre- historic times made vessels from clay, the methods were crude, and the dishes uncouth in form. Soon some one discovered, how- ever, that the burning of the clay would cause it to harden, and thus durable vessels could be made. A very old art is that of the potter and as with all other arts, time brought progress and improvement. Moulding by hand gave place to the potter's wheel; before long the vessels made assumed a variety of shapes, and decorations appeared. From mere clay porcelain and china were wrought, and many LITTLE ROMANCES OF CHINA distinctions in quality and design were de- veloped. Even the word "pottery" reluctantly gave way to the more modern term "ceramics." But it has lost none of its charm, and many there are who still love to think of the times when the art of pottery was a new one, and the sun-tanned potter sat cross-legged before his clay, lovingly fashioning his vessels, never permitting his hand to shake. ra I GROUP SHOWING EGYPTIAN WATER JUG (REAR). SMALL KOHL POT, AND FIGURINE WHICH WAS PUT IN GRAVES IN ANCIENT TIMES IN EGYPT Courtesy, Commercial Museum Philadelphia, Pa. EGYPT, BABYLONIA AND ASSYRIA Most of us, it is to be feared, call a vase a vase, and end the matter right then and there; while if we were to trace the origin of that vase or the origin, of the process by which its manufacture became possible, what a deep rich vein of romance we might strike. Judging from the pottery of today, much of it modern and most efficient appearing, it is difficult to believe that as far back as 4000 B. C. there are evidences of the potter's wheel. An appreciation and love of the beautiful dates from the beginning of time, and even before the rule of Moses, astute and wise of law givers, we find the potter, lover of graceful curves and slender lines, seeking self expression in the vases and bowls he painstakingly fash- ioned. It gives one quite a start of surprise to learn that wine was served to King Pharaoh in cups and vessels made by his potters, and which even today are considered graceful and artistic. And we find the Pharaoh's daughter of Sunday School pictures assuming flesh and blood, and real human characteristics when we [3] LITTLE ROMANCES OF CHINA learn that willing servants, eager to obey her imperious will brought to her, cosmetics in jars which had been moulded by cross-legged potters who labored assiduously for her royal favor. We even find ourselves wondering whether she used her cold cream at night or morning and whether she knew the secret of applying it with an upward and outward movement to prevent wrinkles I And being brought to a realization that Miss Pharaoh actually lived, it becomes an easy matter to think of her father, King Pharaoh, as once having been a very human king with a real personality. We are inter- ested in knowing that the wine in his cellar for lightening his spirits, and the oil for the more homely purpose of lighting his lamps were kept in great jars and vessels made by his royal potters, — some of these receptacles holding as much as ten gallons of liquid. Not only were the skilful fingers of the potter kept busy moulding these vessels, but they also were called upon to fashion jars and vases for the tombs of the wealthy. When a rich man died, jars containing food were placed with him in the tomb, together with [4] LITTLE ROMANCES OF CHINA small doll like "figurines" of slaves — about six inches in length — who were to serve the great one in the spirit world. It is true, of course, that the pottery of these ancient times was crudely fashioned, and mostly of earthenware, but much of it was of fine quality, and from the stories carved on the walls of their temples we learn just how the potter moulded the clay on his wheel, and how he baked it in his kiln. Then, too, as the years went by, new me- thods and processes were perfected, and soon we find an Egyptian who made a wonderful discovery. We can picture him sitting before his clay, absorbed, as he experiments with this combination and that, until, at last, flushed and triumphant, he proves beyond doubt that on one certain kind of clay, a shining surface can be formed. So we have the glazed coating on clay. It would not be possible to estimate the importance of this discovery. Who the potter was, or what his name, is not known. Forgotten, long ago he went to that land of spirits, with perhaps not even one of his own vases, to grace his tomb. But to this day, his discovery, modified and modernized by time is still made use of in obtaining the rich [5] LITTLE ROMANCES OF CHINA coppery red or the brilliant turquoise blue surface of lustrous vases. Following this discovery another was made in Egypt. Over 3000 years ago, the opaque glossy covering over heavy coarse pottery was first used. To this has been given the name enamel, and wonderful in- deed are the gorgeous enameled tiles which formed pavements and walks for kings, princesses and priests of the royal houses. Thus, in Egypt, so many years ago, we find the potter "thumping his wet clay," moulding this figure and that whose "sub- stance from the common earth was ta'en." While in Babylonia and Assyria the events of history were being recorded in books of pot- tery. Queer hieroglyphics, curious characters and symbols were traced on pieces of clay when still soft and moist, and were then baked to insure their permanency. So we have clay tablets, veritable libraries of stone from which learned students read for us the stories of love and war in that far distant past. [61 GRECIAN VASE— RED FIGURED DESIGN Courtesy^ University Museum PMiadelphia, Pa. GREECE The word "ceramics" which covers the entire art of both pottery and porcelain is de- rived from the Greek word "keramos" which means pottery, and to the beauty-loving Greeks is accredited the finest specimens of the pre- historic period. You to whom the history of Greece never fails to bring a thrill will find most fascinating the many stories of their everyday lives as told in their pottery. Much of the Greek pottery was decorated with horizontal borders picturing stories of love, war, adventure, mythological deeds of valor and religion, marriage feasts, and just simple stories of their lives day by day. So graceful and beautiful were many of the love- ly vases thus decorated, that when their owners died, they were put in the tombs with them. Great num;bers of these have since been re- covered, with the result that today in private and public collections the world over there are some fifteen thousand vases, decorated with the stories of the lives of the Greek people. Many of these, in a well preserved condition date as far back as 2500 B.C. Some authorities there are who divide [7] LITTLE ROMANCES OF CHINA Grecian pottery into four periods. First comes the Primitive Period, which includes the vases made between the years 2500 and 600 B.C. The second, or Black Figured Period, takes in the work done between 600 and 500 B.C. In this period we find the beautiful vases varying in color from cream to a stun- ning red, and decorated with clear-cut figures in black, depicting engrossing stories from the thrilling Greek legends. The years from 520 to 400 B.C. mark the third period when Athens reached the perfection of vase paint- ing, and is known as the Red Figured Period. Then in 404 B.C. came the fall of the glori- ous Athens, bringing about the Fourth Period. Her skilled potters left Athens and wandered afar; the Period of Decadence commenced, and we find sorry specimens of her ceramic art, — vases which were made purely for effect with decorations gaudy and theatrical. One of the beautiful vases still in exis- tence at the British Museum was found at Athens, and is said to have been filled with the ashes of Its owner. On one side of this graceful, beautiful vase is the figure of Athene painted in black, with the flesh white, and part of the flowing draperies in crimson. [8] ROME When we stop to consider that the ancient Romans were essentially a military, fighting people, it is not to be wondered that their contribution to the potter's art is not so in- teresting or important as the Greek's. The Romans never quite caught the trick of mix- ing the clay and getting the proper glazing. But it was the Romans through their coloniza- tion who did much toward spreading a know- ledge of pottery over the world. As with the Greek vases and urns, Roman pottery was also decorated with borders of painted figures telling of stories and scenes of Roman life, but these generally depicted stories of military battles and triumphs. The best known of the Roman ware is the Samian Ware made of a rich, red clay, and covered with a thin glaze. Much of this ware contained elaborately embossed scenes of Roman sports or martial pictures. It is with the Roman too, that we associate the queer oil lamps of long ago. Although fashioned quite frequently from metal, these lamps were also made from clay. Low open vessels they were, with curved handles and a [91 LITTLE ROMANCES OF CHINA spout to hold the wick. These lamps were exceedingly effective in their decoration, and were made by pressing the clay in a mould. In religious, funereal, or triumphal proces- sions, they were tarried for illumination. We are indebted to the Romans for one form of decoration which was discovered by a skilful and ingenious Roman potter. Care- fully and slowly he would scratch into his vessel a design. Then he would fill these scratch-incisions with color. This method is known as slip painting. So we learn of another country which has contributed to the potter's art of the world. And although the Roman pottery was not perhaps so beautiful as that of tfie Greeks yet it played an important part in the develop- ment of world ceramics. [10] CHINESE VASE— MING DYNASTY CHINA "I wish you a happy New Year," we say, or "Many happy returns of the day," you exclaim, and express your good wishes on a card. But time was when the Chinese, master potters, expressed their wishes for long life, riches, and honor by means of symbols on deli- cate porcelain cups, plates, or vases. Picture to yourself a sleek que-ed China- man padding into a potter's hut, and saying blandly, "The day after tomorrow is the birth- day of my heart's delight, my moonflower, my blossom of the dawn. Make me a most hon- orable cup telling my fiancee I present to her my most great felicitations." And because all the flowers and birds of China have symbolic meanings, the potter would understand just what decorations to use. Thus the dragon is the emblem of political power, and the symbol of all beginnings in- cluding spring. The pheasant is the symbol of beauty; the parrot stands for a warning to women to be faithful to their husbands; the crow is a foreteller of evil; the stork of long life; and ducks and geese are symbols of married happiness. Ill] LITTLE ROMANCES OF CHINA The symbolic meanings of flowers and trees are also interesting. The lotus repre- sents the creative power in the Buddhist relig- ion; chrysanthemums are indicative of enjoy- ment and good wishes; while peonies express good fortune and love. The peach tree is a symbol of marriage, and its blossoms ward off evil. The Chinese, fitted both by the nature of their soil, and an instinctive gift for harmoni- ous color and the skill to apply it, are not only the greatest race of potters but they are also the discoverers of porcelain. A most interesting story is told concern- ing the patron saint of Chinese potters and porcelain manufacturers, who is always repre- sented by a porcelain figure. It appears that in his life upon earth, he was a porcelain maker, and one day, he received a commission from the Emperor to make some very fine vases. With meticulous care he fashioned these vases, bringing all his skill to bear upon the task. But alas, when the work 'was finished, the vases appeared to be of inferior design and quality, and in his despair he threw himself into the roaring furnace in which his vases were being baked ! [13] LITTLE ROMANCES OF CHINA When the vases were removed along with the charred remains of their maker, however, they were found to be of exceptionally fine quality, and so impressed was the Emperor with their beauty, and the sacrifice of the self- immolated maker that he deified him. Whether or not this is true is a matter for conjecture but the fact remains that the Chinese are the discoverers of porcelain. Al- though a few rare pieces had been carried from China to Europe by camels it was not until about 1 5 1 6 when the Portuguese entered China that much porcelain was sent to Europe. Most fine porcelain is made in King-te- chen, in southern Kiang-si. This remarkable city is built on the bank of a small river sur- rounded by mountains, and its 3,000 kilns and workshops are built among temples, shops, guard houses, and pavilions, extending along the water front for several miles. Much of the Chinese porcelain bearing the name of other cities is made in King-te-chen, and then shipped to Canton and other places to be dec- orated. Much care was given to decoration, particularly on the colorful Chinese vases. The different parts of a landscape on one vase would be entrusted to various artists accord- [ IS 1 LITTLE ROMANCES OF CHINA ing to their ability. This one would form the colored circle around the border, a second would trace the outlines of the flowers which a third would fill in with color, while still an- other would paint only birds and flowers. There is one story, without which this chapter would not be complete, and that is the legend of, the Willow Ware pattern, — a legend which all China loves. In 1780, Thomas Minton, a celebrated English potter, designed a Chinese plate, setting forth with slight differences this tale. Once upon a time, there was a Chinese Mandarin who had a very beautiful daughter Koong-See. Velvety-eyed, with soft skin, and expression demure, she was indeed alluring, and her father, a most commercial and crafty Chinaman, calculated that he could marry his beautiful daughter to a Tajin of great power, and so increase his own fortune. As he pic- tured the great wealth the marriage of his little daughter would bring him his little eyes would glisten, and he would rub his long- nailed hands together with glee. Koong-See, however, had given her heart to Chang, her father's secretary. But Chang, you see, was very poor, and no fitting match [14] LITTLE ROMANCES OF CHINA for the daughter of a Mandarin. Yet, what a lover! Under the protecting, graceful wil- low tree which overhung the silver stream, Chang and Koong-See would sit, and in the silvery musical language of the Chinese, he would tell her that she was his "moon flower," his "fragrant blossom." "Over the green and golden hills, and through the white streets we will wander until the dawn is violet lidded," he would chant, and Koong-See's eyes would grow soft, and her little hand would flutter into his contentedly. But one dreadful night Koong-See's father discovered them, and the enraged Mandarin ordered Chang to be gone. His daughter to marry a low-born Chinaman! Poor little Koong-See was loclced up in her room, and required to live on bread and water. On the very next day the Mandarin se- cured a powerful Tajin for a son-in-law. The arrangements were satisfactorily concluded, and to Koong-See came her truculent wicked father with the news that when the peach trees blossomed, she was to wed a mighty Tajin, old and ugly. Peach blossom time came all too soon, and Koong-See, mute and suffering, was [16] LITTLE ROMANCES OF CHINA dressed in her wedding gown by eager, ex- cited maids. Forlorn and alone she sat, when Chang entered stealthily. "Little moon flower," he pleaded, "fly with me now, while everyone is at the wed- ding feast." And so the two lovers stole away, hand in hand, through the garden, under the drooping willow, over the queer little curved bridge that spanned the river, and finally found refuge in a gardener's hut. They were married immediately, and off they floated in a boat secured by Chang, to the great Blue River and safety. To an island they fled, where they lived in a dream of happiness. But alas, the angry Taj in never ceased searching for his runaway bride, and one fatal day, he learned of their refuge. Gather- ing an army, he landed on the island, and although the noble Chang fought valiantly, he was pierced by a hundred sharp arrows, and fell. Frantic, Koong-See set fire to their little home, and threw herself into the midst of the flames. The Chinese gods, in their pity for the [ 16] LITTLE ROMANCES OF CHINA lovers, changed the spirits of Koong-Seie and Chang into doves, and decreed that the Tajin should meet a speedy and violent death. So it is that in the history of Chinese pot- tery, we find many legends and stories. And their pottery is known for the richness of color, beauty of design and symbolism, and grace of line. f IT] JAPAN Certain American amusements have con- spired to bring to the minds of most of us, when we think of Japanese pottery, the un- attractive nut bowls in atrocious reds and un- believable blues, which are the reward of those who score 250 or more, with the wooden balls which are so temperamental about going in the grooves with the big numbers. But as a matter of fact, the Japanese have brought the same skill and cunning to bear on the pottery of their country as is characteristic of everything they undertake. The best examples of Japanese pottery are of very subdued colors, and beautiful in their graceful shapes and artistic designs. And we find instances of infinite patience and meticu- lous care in their pottery, a noteworthy ex- ample being the lovely Cloisonne ware with designs made of tiny particles of colored enamel. As in Chinese porcelain, flowers, birds, and scenes are depicted on the china. Gods of fortune, mountains, men, women, battles, festivals, — each plays a symbolic part in the fascinating Japanese ceramics, and each tells [18] JAPANESE IMARI WARE Courtesy^ Commerciai Museum Philaielphia. Pa. LITTLE ROMANCES OF CHINA the Story of an almond-eyed, eager little potter who put his heart and soul into the work he loved. One would, of course, expect to find rare china and porcelain among the better classes in Japan, but the surprising part is that even the coolies eat their rice and drink their tea from bowls and cups of delicate porcelain. As early as 600 B.C., the Japanese are known to have made articles of clay, but the actual making of porcelain began in the 8th century A.D. It is to Kato Chirozayemon that the beginning of Japanese china-ware is attributed. For this reason he has been called the father of Japanese china ware. Back in the 13th century he visited China, and there learned the secret of making china. One can picture him padding around from one potter or one kiln to another, with bland, expression- less face and smooth tongue. "You like the work?" he might ask indifferently of a busy, deft-fingered potter. And always his little bright eyes would be noticing this process and that, and always he would be storing away memories in his quick, active mind. It was in the sixteenth century, that the famous Satsuma ware was first made. At that [19] LITTLE ROMANCES OF CHINA time a Japanese prince journeyed to King-te- chen wiiich even in those days of indifferent, slow means of communication was becoming almost world famous for its kilns and potter- ies. And this Japanese prince who must have been a very wise and far seeing sort of person took back with him to Japan, skilled workmen from King-te-chen. Perhaps he bribed them with promises of great wealth, or perhaps he lured them with glowing pictures of his land of cherry blossoms, but in any event they went with him, and it was at Satsuma that the right kind of clay was discovered, and there was made the famous ware of that name. In all the world's pottery, Satsuma ware, looking almost like ivory with its exquisite designs, and subdued colors, will always take its place among the finest examples of ceramic art. Unfortunately the Japanese came under the insidious influence of large sums of money offered by people in the West, and as a result we find that the ideals of the potters degener- ated, and consequently much inferior ware has been produced. But we still have the lovely Cloisonne, the graceful, charmingly decorated Saki cups, and the beautiful Imari or Old Japan Ware. [20 1 ITALIAN MAJOLICA WARE, 17th CENTURY. HISPANO MORESQUE, 16th CENTURY. SPAN- ISH MAJOLICA WARE, 18th CENTURY Courtesy, Pennsylvania Museum, Memorial Hall Philadelphia, Pa. SPAIN AND ITALY In Spain the pottery which was about the first to attract attention was the Hispano- Moresque ware of the 14th century. This was at the time when Spain was captured by the Moors, and the Alhambra of Granada was erected. There still exists, a rare and celebrated vase of the Alhambra. The colors of this vase are a beautiful pure blue enamel decorated with a yellow lustre on a ground of white. The secret of the lustre process, was brought by the Moors from Bagdad where the Persians were highly skilled in making pottery, and in this, as in the beautiful red ware, the Spaniards became very adept. Not until the reign of Charles III, how- ever, was real porcelain made in Spain, but in Italy in 1580 porcelain was made to some extent, under the influence and direction of Francesco I de Medici. When we come to Italian pottery we find that during the great artistic Renaissance, the Italians imitated the ancients, in giving to their beautiful decorations a utilitarian pur- pose. Each form not only corresponded to t 21 1 LITTLE ROMANCES OF CHINA its determined purpose, but the decoration itself was expressive of the use for which the object was designed. Thus we find small round dishes which were filled with preserved fruit and sent to young maidens on festival occasions. The picture on these vases usually represented love scenes. And now we come to Charles III, who did so much towards the development of pottery first in Italy, and later in Spain. Keenly in- terested in pottery, in 1736 he established a manufactory at Naples, and so fascinating did he find the fashioning of the beautiful Capo di Monte ware there made, it is said that many a time he himself worked on a bench in the manufactory. Then in 1759 when Charles III was called to the throne of Spain, he took with him a number of skilled potters, and established a new manufactory at Madrid, where a porce- lain ware was made, very similar to the lovely Capo di Monte ware at Naples. Thus we touch but lightly on the history of pottery in Spain and Italy. The lovely Spanish tiles, the beautiful Majolica ware, the unbelieveably artistic Medici ware, — each has a history of its own, well worth studying. [22] FRENCH POTTERY 1792. FRENCH POR- CELAIN 1824 CONTAINS MONOGRAM OF LOUIS XVIII. RARELY FOUND Courtesy, Pennsylvania Museum, Memorial Hall Philadelphia, Pa. FRANCE Way back in the sixteenth century, there lived a humble young glass painter and land surveyor, — Bernard Palissy. One day, he was shown a rare and beautiful cup of white enamel, and so deeply impressed was he with the beauty of its lines, and the purity of its substance that he determined to devote his life to discovering the secret of its manufacture. For sixteen long years he worked, seeking to discover this secret of Chinese porcelain, and not only did he bring privation and suffering upon himself, for many times he came near to starving, but he also brought suffering upon his family, burning the furniture and floor boards of his home, in order to get fuel to fire his kiln. One can picture an indulgent wife explaining apologetically that her husband was slightly eccentric, but that no sacrifice must be considered too great to further his work. When Palissy finally succeeded in making the type of pottery that will always be associ- ated with his name, it was inferior in artistic merit to contemporary productions in Spain and Italy, where the people had brought back [ 23] LITTLE ROMANCES OF CHINA with them from Asia a remarkable skill in ceramics. Even back in this sixteenth century the Italians understood and used most of the colors and enamels which we use today, as well as the metallic lustres, and it is their formulae which have formed a basis for all of our modern discoveries in polychromatic dec- orations. Palissy, then, in manufacturing his cele- brated ware, could only make use of the enamels used in the Latin countries, and yet, elated and triumphant, he claimed himself to be the inventor in France of enameled faience, faience being the name applied to ware which Is decorated with many colors. "In any case," says one critic severely, "he made a great mis- take In burning his furniture, and reducing his family to beggary, in order to discover that which the humblest potter already knew." But to continue, Palissy attracted the at- tention of Constable de Montmorency, and the influence of so powerful a nobleman soon brought him Into favor at the French court, although he was a Protestant. He was ap- pointed Inventor of Rustic Pottery to the King and Queen Mother and in about 1563 he was graciously permitted to establish pottery [24 1 LITTLE ROMANCES OF CHINA works in Paris in the vicinity of the Royal Palace of the Louvre. Palissy worked and lived in Paris for about t?venty-five years, and was a personal favorite of Catherine de Medici, and her sons, but he finally died in a dungeon of the Bastille where he had been thrown because he would not renounce his Protestant faith. His most characteristic works were large plates, ewers, and oval dishes with figures of reptiles, fish, shells and plants, — not the work of an artist, we are told, but of a highly gifted naturalist. It was during the sixteenth century, when Palissy lived that pottery reached its zenith of beauty in France. The pottery known as Henry Deux — or Henry II — now numbers just fifty-three pieces, and although valued at $125,000 money cannot buy them. Nor can one think of French china without calling to mind Rouen china. The potteries at Rouen were founded by Frances I in the seventeenth century. Rouen ware is distin- guished by intricate border designs of deep rich blue and dull red. Moustiers pottery must also be mentioned if only because it is whispered that a service [25] LITTLE ROMANCES OF CHINA made for the famous Madame de Pompadour cost I, coo livres, — about $5,000. But surely the beribboned and petticoated maids of those days must have handled Madame's dishes much more carefully than today's happy-go- lucky domestics ! Moustiers china has deli- cate wreaths of many colored flowers as its distinguishing feature. Well known also for its beautiful china is Sevres ware, — lovely vases and service ware with gem-like decorations. At Sevres as in so many other cities of France at various times, the court took a surprising interest in pottery. The king became a partner in the works at Sevres, and between 1760 and 1770, the finest pieces of Sevres ware were made. In 1778, Empress Catherine had made at Sevres a service containing 744 pieces with the beauti- ful turquoise blue ground. The cost of this set was 328,188 livres, — over one million dollars ! During the last one hundred years Li- moges has become the center of the porcelain industry in France, and until recently when the difficulty of replacement and prohibitive prices made this impractical to purchase, was widely used in the United States. r 26 ] CUP AND SAUCER, MEISSEN, GER- MANY, ABOUT 1780.— BAVARIAN POR- CELAIN, BY PAUL HANNONG Courtesy, Pennsylvania Museum, Memorial Hall Philadelphia, Pa. GERMANY The porcelain and china of Germany lacks much of the fineness of decoration and purity of materials which characterizes the pottery of most other countries. At one time along the valley of the Rhine there was made a white or gray salt glazed stoneware from which steins and beer mugs were fashioned. And up until the Renaissance the greater part of their work of any artistic merit consisted in clay pavement tiles, chiefly notable for their spirited decorations of animals. Later, in the early part of the eighteenth century, came Dresden china. At that time Johann Friedrich Bottger, a chemist, dis- covered the secret of porcelain making. A porcelain works was established in which the notorious elector King of Saxony practically imprisoned Bottger, where he was obliged to continue with his experiments. Here for eight years he worked, and when he died, at the age of thirty-four, he had solved a great problem, and produced a hard, white porcelain which has remained the type for Europe ever since. We are told that the best porcelain came from Dresden between 1731 and 1756. [27] LITTLE ROMANCES OF CHINA Then, in Berlin, in 175 1, a manufactory was established by Wilhelm Caspar Wegele. This was sold after ten years of unprofitable business to a man named Gottskowski. In 1763 Gottskowski gave up his entire porcelain factory to the king, receiving in exchange 900,000 marks, ($225,000). Here again we find a king's taking remarkable interest in the pottery of his country, and this king, with a view to encouraging the manufacture of porcelain, made presents of magnificent ser- vices of Berlin china to several German princes. Bavarian china must also be mentioned. In 1754, Paul Hannong, having discovered the secret of hard porcelain offered it to the royal manufactory at Sevres, but the authori- ties would not pay the price he asked for his secret, and at the same time began persecu- ting Hannong. It appears that in that year a decree had been passed forbidding the making of translucent ware except at Sevres. Thus Hannong was compelled to go to Frankenthal. This factory was purchased In 1 761 by Elector Earl Theodore, and at- tained great celebrity. [28] t ^ r^. ■ : . ^ VVEDGEWOOD COPY OF FAMOUS PORTLAND VASE Courtesy, Pennsylvania Museum, Memorial Hail Philadelphia, Pa. ENGLAND Although today we associate Chelsea ware, Derby ware, and Wedgewood with British pottery, it must be recalled that the English were not pioneer potters. Even throughout the middle ages, there was not much activity in the ceramic art. At that time there was little intercourse with foreign coun- tries, and the sturdy Anglo Saxons were un- sympathetic towards any form of art. During a period of four centuries, there were many Roman soldiers in Britain, and numerous Roman villas, cities and camps were built, but even for these, choice household goods were imported, so apparently many of the beautiful relics extant were brought to Britain from Europe. Later, however, as pagan faiths gave way to Christian beliefs, some tiles and decorative pottery were made near monastic centres for the embellishment of abbies and monasteries, but even then the crude ware of the Anglo Saxon was of a coarse textured, dark clay, badly baked. And the potter's wheel was unknown. All pieces were shaped by hand. LITTLE ROMANCES OF CHINA The county of Staffordshire, well fitted by virtue of its clayey soil, for the making of pot- tery, is called the home of British pottery, and even today it numbers the manufacture of earthenware among its chief industries. And here it is, in the county of Staffordshire, that a curious tale was woven. In about 1690, when the drinking of tea had already begun to become very popular in England, two brothers named Elers began manufacturing beautiful tea cups and tea pots of a most delicate quality, which became known as Elers ware. A valuable piece of knowledge, — this process of the making of Elers ware! So jealous were the brothers of their precious secret, they would employ none but men who were mentally deficient to work for them. Thus, they reasoned, the secret of their process would not be stolen. Then one day two men, Astbury and Twy- ford by name, applied for work. Satisfied as to the evidences of their imbecility, the Elers brothers promptly hired them. But Astbury and Twyford were two potters who had merely feigned imbecility, and not only did they learn the carefully guarded secret of Elers ware, but later Astbury in improv- [30] LITTLE ROMANCES OF CHINA ing it, used flint, which did more to improve earthenware than any other discovery. Then, in 1730, in the town of Burslem — the principal town of Staffordshire was bom Josiah Wedgewood, master potter. He came of a long line of potters, and at a very early age he showed a love and skill in the fashioning of pottery. When he was sixteen years old, however, he became desperately ill with small- pox, and, although he recovered, he became lame from the effects of this malignant dis- ease. But undaunted by his terrible physical handicap, he worked untiringly, continuously experimenting with the clay he loved, and constantly effecting improvements. Finally, he opened a salesroom in London which soon became the resort of nobility. In 1762 Queen Charlotte bestowed upon him the title of Potter to Her Majesty, in acknowledgment of which is named the ware of lovely cream color, and resembling beautiful ivory "Queen's Ware." Jasper ware was Wedgewood's triumph; a fine, unglazed stoneware with background usually of green, lilac, yellow, black, pink or blue, on which he fashioned exquisite clear art cameos and graceful, sharply-defined figures. [Bl] LITTLE ROMANCES OF CHINA Wedgewood loved miniature work, and many and beautiful were the cameos and medallions fashioned by his deft, skillful fingers. This master potter, indomitable of will, untiring in purpose, had for his wife, a helpmate who ever encouraged and inspired him, his cousin Susanna Wedgewood; and their daughter Susanna, was the mother of the famous Charles Darwin. Wedgewood was re- garded by his contemporaries as the father of his art in modern times. After the time of Wedgewood, we find attempts were made to imitate Oriental and Occidental porcelain. This was in about 1840. But most English porcelain is purely imitative — and has never been strikingly original. At about the same time Wedgewood was becoming famous in Burslem, Nicholas Sprig- mont, an artist of remarkable personality and ability had established a factory at Chelsea. He was a keen-minded and able financier as well as an efficient director and the entire suc- cess of the factory at Chelsea was due to his efforts. We can picture him inspecting this department and that, encouraging his work- men, directing one man, then another, and [38] LITTLE ROMANCES OF CHINA bringing his clear, far-sighted judgment to bear on all decisions. As further proof of his wisdom, he en- gaged the services of a great French sculptor, Louis Francois Roubilac who gave to Chelsea ware its beauty and grace of line. Nor must we forget Derby ware, which owes its origin to William Duesbury, an ob- scure painter who once worked in the potter- ies at Staffordshire. The origin of the Derby potteries is not known; but the skill and in- genuity of Duesbury made them famous, and the works at Derby flourished from about 1756 to 1848. One other make of English porcelain must be mentioned, which is the beautiful Worcester ware. In this ware, the Chinese influence was very strong, as evidenced by the richly colored backgrounds, the birds of bril- liant plumage, and the delicate borders. One memorable day, king George III and his family visited the factory where Worcester ware was made. Can you imagine the excite- ment of the workmen as the news spread that the king was coming? One can almost pic- ture a bewildered nervous workman dropping [88] LITTLE ROMANCES OF CHINA a plate or graceful cup, as the royal party approached him. But, in any event, the visit was a great success, and so delighted was the king with this beautiful ware that he bestowed upon this porcelain works the title "Royal." Here, then, is the story of just a few of the better known makes of English china and porcelain. The history of each, were the de- tails told fully would in itself make an entire book. [34] AMERICAN INDIAN WARE— BEFORE TIME OF COLUMBUS Courtesy, Commercial Museum Philadelphia, Pa. AMERICA Particularly at this time is the interest in Made-in- America china rapidly developing. The war has had two serious effects on im- ported china, — it has made the prices almost prohibitive, and the replacement of broken pieces practically impossible. The American woman is beginning to associate flimsy, brittle china with the period of the plush album and old-fashioned melodeon. She is beginning to see the folly of entrusting thin, egg-shell china to the careless handling of servants, and she is fast beginning to appre- ciate the value of durable Made-in-America china and the atmosphere of good taste which its smart designs, and individual decorations bring with it. To be sure, there has always been a cer- tain amount of interest in American China. Years ago, the presidents of the United States when they took up their residences in the White House ordered special American-made services manufactured for their use. But to- day "Made in the United States" is synono- mous with all that is finest and most beautiful in china ware. Many of the very old glazes r 85 ] LITTLE ROMANCES OF CHINA long lost or kept secret, have been rediscovered by the chemists of today, artists are continu- ally designing for greater beauty, working con- ditions are scientifically perfect — these and many other conditions and facts all tend to increase the interest in and demand for Ameri- can China. Nor is ceramic art in this country a new or recently developed one. From the crud- est of vessels made by inferior Indian tribes we can trace the romantic story on our own shores through the quaint jars of more skillful tribes, particularly the Pueblo, Zuni and Moqui Indians of Arizona and New Mexico. High- est art was reached by the Pueblo of ancient days. Bowls, bottles, urns, pitchers, mugs and dippers, are preserved to us still. A great many have been found in Colorado, Utah and the valleys of the Rio Grande. The Indian tribes of the Northern States were too busy hunting fur skins for warmth and too fond of wandering to produce artistic pottery. The Mohawk, Cayuga and Onondaga tribes left a few perfect examples — among them the curious little "toy" cups which measure scarce- ly an inch in diameter. Because pottery was at first made only for [36] LITTLE ROMANCES OF CHINA cooking and carrying or storing food it is not surprising to learn the women were the potters. And so we see first the squat Indian woman, awkwardly perhaps, shaping crude cooking utensils. Then later as vessels were used in religious ceremonies and games the lithe cop- per-skinned Indian man followed the potter's art, and deftly shaped bowls and urns, and finally pipes. Indian diplomacy and negotiation is un- thinkable without the pipe — of peace if ac- cepted, of hostility if rejected. So important did pipes become that they were actually used as currency. Very elaborate and grotesque they were moulded. Those made by the Iro- quois Indians were extremely fanciful with the head of an animal or bird forming the bowl and a particularly fierce looking snake coiled around it. A characteristic specimen was found on an Onondaga tribe site near the town of Pompey. The bowl and stem of this pipe are in one piece. On vessels the markings for decorative purposes are oftenest those of cords or pliable fabrics which were wrapped around the wet clay that its impression might be left. Circles [87] LITTLE ROMANCES OF CHINA and curved designs were most often used, for it is obviously easier of successful handling. It is the pottery found near Mexico which best deserves the description — masterpieces of ancient American ceramics. Many Mexican temples were built long, long ago of well- formed bricks. The well-known ruins of Yucatan speak for themselves in architec- tural achievement. Faces formed from clay show remarkable modeling skill at a very early date. The tribes of the Aztecs used the potter's wheel which enabled them to produce pottery of much delicacy. Peruvian pottery is more interesting in the ceramic manifestations of the Incas. Their work was not only grotesque in its oddity but it was also most uncanny. The decora- tion or shape of the vessel was carried out in the sound which liquid poured from it would make. If a cat — there was a distinct mew, if a monkey — a screech, and so on through various forms. These crude yet barbarically splendid bits of ancient pottery are being sought and valued by Americans. In Europe sovereigns and people have long collected and prized as a [38] LITTLE ROMANCES OF CHINA record of civilization and the handiwork of beauty all the examples to be found in the four corners of the earth. Until the Great Exhibi- tion of 1876 with its impetus to greater pottery industry in the United States there were but few collections of any sort. Now there are priceless treasures of the Old World in in- numerable collections, and of course a goodly showing of our own ancient and modem skill. A word of more modern American work. Salt-glazed stoneware manufacture was begun in New York in 1735; but there was no at- tempt to make fine china until 1769, though a certain white ware was made as early as 1689. Coarse earthenware utensils were probably first made in Virginia where several potteries did a thriving business before 1649. The first Dutch settlers in New York brought the knowledge of the making of Delft ware. "Slip decorated" earthenware was manufac- tured in certain German settlements in the state of Pennsylvania by the year 1760. This peculiar manifestation of "art" in pottery is really picturesque because of its very crudeness and homeliness. It is quite worth a trip to t39 1 LITTLE ROMANCES OF CHINA the nearest museum just to read some of the inscriptions on the plates. A dish in the Penn- sylvania Museum in Philadelphia bears this one: "Not Be Ashamed I Advice thee Most if one Learneth thee What Thous not Knowest, the Ingenious is Accounted Brave but the Qumsey None Desire to have, 1762." Real porcelain was made in New York City in the early years of the nineteenth cen- tury, but a Philadelphian was the first to pro- duce hard porcelain in 1825. Egg-shell porce- lain was first made about 1 8 84. And now the manufacturing of China ware in the United States is a very Important in- dustry. r40] ONONDAGA POTTERY COMPANY Makers of Syracuse China ONONDAGA POTTERY COMPANY Makers of Syracuse China That name is significant of the earliest potters on our historic ground — ^the Onondaga Indian tribes. Founded in 1870 for a pro- duction, distinctly American, wherein the best of older methods and materials should result in a durable, fine china, its development is an achievement of which its owners, as Americans, are very proud. Syracuse China is admired for its unusual brilliancy, liked for its remarkable wearing qualities and bought for its patterns, sensible prices and absolute satisfaction. Far and wide the name will be found — in homes, hotels, schools, military mess halls, railroad restaurant cars, colleges, hospitals, restaurants, clubs, fraternity houses, steamships and so on wherever appearance and durability are equally desirable. [48 1 THE MANUFACTURE OF SYRACUSE CHINA Clay derives its origin from several felds- pathic rocks, principally granite, which, under the influence of water and weather, have been decomposed and collected in natural depres- sions of the soil, thus forming beds of varying thickness. Clay, then, is decomposed felds- par. Owing to the difference in the materials in the original rocks, and the extent to which decomposition has gone, there is the greatest variety in the quality of the resulting clays. The selection of the several kinds of clay and other raw materials is the first step of importance in the making of Syracuse China, for all improvements in the quality of the finished product, from earthenware up, are the result of more careful selection of materials and greater care in the manufacture of the product. Prolonged study and research are necessary to determine the proportion of each kind best suited for the requirements of manu- facture and the quality of ware to be made. The grinding of the materials for china manufacture is a trade by itself. The pow- dered ingredients are mixed with water to [45] LITTLE ROMANCES OF CHINA form a thin paste, called "slip," of creamy con- sistency. After a thorough mixing, the ma- terial is strained through a silk lawn which catches all minute particles of sand or other grit that would cause defects in the china if not removed. From the lawns the slip flows over powerful electro-magnets which remove any particles of iron, which would cause reddish spots in the china. It is then pumped into filter presses which removes the surplus water leaving the clay of about the consistency of putty. Any air in the mass of clay will cause blisters or bubbles in the ware; it is therefore removed by forcing the clay through a pug mill, from which it comes looking very much like chunks of dough. The clay is now ready for the potter. In forming the desired vessel or object several methods are used ; for the more simple pieces such as plates and saucers, a workman will flatten out a portion of clay like a pancake and pass it to his neighbor workman who deftly throws it onto a mould for shaping to the desired form; this in turn is placed on a revolving machine, which is an adaptation of the potter's wheel, where, by means of a tool or profile, the clay is brought to the desired thick- [4«1 LITTLE ROMANCES OF CHINA ness and shape. The upper side of the plate Is formed by the mould; so the plate is made bottom side up. In making cups, the outside is given shape by the mould, while the inside is formed by the tool. Handles are moulded separately, then fitted and stuck on with great care, clay slip being used for this purpose. When these are fired, the handles are as firmly attached to the cups as though they had been originally one piece. Casting is interesting. A liquid is changed to solid almost by magic. Take a pitcher for example: First, there is a plaster of paris mould, the inside of which is shaped to con- form with the outside of the pitcher to be made in it. Slip (liquid clay) is poured into the mould until it is filled and allowed to stand for a minute or two, then it is poured out. The plaster mould has absorbed water from the clay nearest it and left a coating of plastic clay inside the mould, which remains when the liquid is poured off. It is now allowed to dry and the clay becomes firm. The workman opens moulds, and lo ! the birth of a pitcher. When dry, the pieces come from the mould white. Ragged edges are trimmed with wet [47] LITTLE ROMANCES OF CHINA sponges. They are now known as "Green" ware. The next step is making ready for the firing or baking. Clay receptacles, called saggers here come into play. They are of various shapes, made to accommodate the various shapes and sizes of ware ; some resem- ble a man's hat box in shape and size. The green ware is placed in these saggers and bedded in a non-fusible material, and the saggers are placed in large ovens or kilns for firing. In this firing the ware is vitrified; a condition which is not far from melting. As the fire increases in temperature, there is a contraction in the size of the ware until the maximum heat is reached, when the piece has contracted one-seventh in size. It is apparent we have come to a critical stage in the pro- cess, for with the shrinkage and near-melt- ing condition of the ware, a slight mishap or want of care in the preparation will cause dis- tortion in shape, and consequent loss. Even with the best of care, great losses are encoun- tered in the vitrifying process, as you will see when you realize that one kiln filled solidly with translucent china contains ware to the value of about $3,000.00. [48] LITTLE ROMANCES OF CHINA The method of filling a kiln is picturesque. The men carry the filled saggers on their heads, in and out of these strange looking ovens. Filled with ware, a sagger weighs about eighty pounds, so you see it is work for strong men. The kilns are round measuring eighteen feet in diameter and about twenty feet in height inside, and resemble huge bee- hives. The saggers are placed in rings follow- ing the circular shape of the kiln and are piled up in tall columns, one on top of another, until the kiln is filled. The placing is con- trolled, so that certain kinds of ware go in the locations that will produce the best re- sults. A kiln will hold about 3,000 saggers containing 36,000 pieces of china. When filled, the door is bricked up, sealed, and iron bands around the kiln securely fastened to counteract the expansion caused by the intense heat. The kiln has ten fire boxes or grates around its base. The fire is started slowly and increased gradually to a white heat. Through spy-holes, the fireman can watch the pyrometers or cones which indicate the progress of the fire. Cones are made of different compositions which melt at varying temperatures. When [49] LITTLE ROMANCES OF CHINA the desired temperature is reached, the fires are allowed to die out and the kiln begins to cool. Sixty hours are required to complete the firing, and when the kiln has sufficiently cooled, the saggers are taken out and the china removed. What has taken place? From the green state the ware has become translucent and completely vitrified, and is now known as "Biscuit" ware. It is still without glazing. The ware must now be cleared of the material in which it was bedded; it is then placed in tumbling machines about like dishes are placed in a dishwasher. A quantity of flint-like sub- stance the size of pebbles Is thrown in, the cover closed, and the machine is revolved until the surface of the china is perfectly scoured and smoothed. The ware is now sorted for the first discard. Glazing comes next. When the ingre- dients are mixed in the proportions necessary for the perfect finish of Syracuse China, they are melted together, and on cooling, we have what appears to be a chunk of glass. It is broken up and ground in millstones to the fineness of flour, mixed with water, and reaches the dipping vats with a consistency of thin cream. The biscuit ware, having been se- [60] LITTLE ROMANCES OF CHINA lected and cleaned, is now dipped quickly and deftly in the glaze mixture so that it comes through carrying just a film of glaze. The dipped ware is placed on boards to dry and be prepared for the second firing. Great care is taken in placing the ware in the saggers, for in the next firing, the glaze is melted and fused over the surface of the biscuit ware. These saggers are fitted with non-fusible clay pins stuck into their sides for holding and suspending each piece of china separately, for contact between two pieces would result in their being hopelessly fastened together. In other respects, the firing of the glaze kiln is similar to the biscuit firing. In both cases, the joints between the saggers are sealed with clay to prevent exposure of the contents to combustion gases, which would be injurious to the ware. Eight days are re- quired for filling, firing, cooling, drawing, and preparing for the refill. When the ware is taken from the saggers after the glaze fire, it is carefully examined for the second discard. All the perfect pieces are then carefully gone over, and the pin marks made by suspension in the saggers are ground off. The methods of decorating Syracuse China [51) LITTLE ROMANCES OF CHINA include Copper-plate transfer printing — Fill- ing in by hand — Lithographic decalcomania transferring — Ground-laying — Compressed air spraying — Gilding and lining by hand. A pattern for copper-plate printing is en- graved in copper which comes in the form of rolled plates J^" in thickness. The color is spread on the plate, scooped ofF, bufEed off, the color for the pattern lodging in the etched lines. The plate is passed through a press and imprint taken on a specially prepared tissue paper. From this the pattern is cut, fitted to the ware, and rubbed on. The ware is put into a water bath the paper coming off while the color and pattern remain on the dish. Filling by hand is hand-painting to fill in a copper printed outline. This method had its origin about 1750 and is still in use, but has been very largely replaced by lithography. The art of lithography on china has de- veloped in late years to a degree of perfection at one time thought unattainable; one by one the difficulties have been overcome and pat- terns of the most elaborate and intricate de- tail are faithfully executed. The process of making the transfers is diflicult to describe because of the remarkable [6S] LITTLE ROMANCES OF CHINA ingenuity required in the many steps to re- produce the multi-color pattern. The paper is specially prepared. It is duplex, a thin tissue coated with gelatin on a thicker paper to hold shape during the printing of the several colors. The patterns are printed on the gelatin side of the paper. The designs for the decalcomania process are produced in the factory, lithographed on stone and printed in the different colors with the same hair line nicety of adjustment that obtains in the finest art lithographic establish- ments. But the color work on china requires more scientific knowledge than the average lithography. For instance, colors change dur- ing the firing process; yellow under red kills the red; lavender fires to a strong cobalt blue. The color chart used in this department varies altogether from the solar spectrum combina- tions because of changes that come about in the kilns through the effect of heat. In the process of printing the decalcomania work, the sheets are placed on rotary machines for brushing the color on, then passed through a dusting machine to remove surplus color. Suction devices carry off the dust and keep the air of the room wholesome. After the pat- 158] LITTLE ROMANCES OF CHINA terns are printed, the sheets are cut by girls for the purpose of transferring each individual pattern to the particular piece of china for which it was made. In applying the pattern, a little size is put on the china where the dec- oration has to go, and to the transfer, so that it will stick. The size being vegetable matter, burns off. The gelatin paper is now split from the heavier paper, properly placed on the china and rubbed down. The piece is then placed in a bath of water which dissolves the gelatin, freeing the paper, and leaving the multi-color pattern fixed on the china, except for the firing. Ground-laying is the method sometimes employed for solid color work and wide bands. An adhesive oil is brushed on the ware and when partly dry, the color is dusted on with a pad. A shaded ground is produced by means of compressed air. The color is mixed with liquid until quite thin, placed in a recep- tacle attached to the nozzle of an air brush. The compressed air is released by means of a valve and the color applied to the china in a fine spray. It operates just like an atomizer. Gold Bands require the use of a wheel supported on a pivot. The plate is placed on the wheel and as it is revolved, a brush [64] LITTLE ROMANCES OF CHINA charged with specially prepared gold is applied to the ware. An accurately drawn line or band is thus completed as the wheel turns. After decoration the china is ready for the third and final firing, for which enamel kilns are used. The ovens are 12 feet long, 4 feet wide and 7 feet in height. No saggers are used; the oven itself being lined and sealed entirely with fire brick, serves the same pur- pose. The heat is not so great as in the bis- cuit and glaze kilns, and firing requires only about twelve hours. Great care must be exercised here for an accident will cause the loss not only of the kilnman's work but the loss of the work of all those who shared in the production of the piece. The china is now taken from the enamel kiln, sent to the ware-room for the final sort- ing, and incidentally the third discard. The pieces which pass the critical judgment of the inspector are carefully wrapped in tissue paper and prepared for shipment. A few points about gilding are well for the purchaser to know. Assuming that only pure gold has been used (it is sometimes [55] LITTLE ROMANCES OF CHINA called "coin gold," but is really much purer than coin gold), its durability will depend — first, on how well the gold has been fired to the surface of the china; second, on how thickly the gold has been applied. There should be no question about the first point in any well-conducted decorating establishment; but on the second point there is a great tempta- tion to put the gold on as thinly as possible; and when one considers that pure gold costs $23.00 per ounce and is a very heavy metal, it is not to be wondered at. But the durability of the gilding will be in proportion to the thickness of the applica- tion ; so if you want your china gilded, be pre- pared to pay a fair price, or else to be dis- appointed. In the above we have considered the best gold work only and have not contemplated so-called "bright golds" generally used, which are put on pottery merely to sell the goods without any regard to durability. Such ma- terials are not used in the decoration of Syracuse China. [66]