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FRANCIS PATRICK: GARVAN, B.Aj.897
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.SCHOOL OF THE FINE ARTS,

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PENNsyLVANiA Museum and School of Industrial Ari

ART PRIME!

CERAMIC SERIES, No. 5

TINEMAMELED

PHILADELPHIA, 1906

Maiolica Tile Panel (3"> inches in height),
Polychrome Decoration.
Faenza (''), Italy, Seventeenth Century.
Museum No. '05-110.

ART PRIMER

CERAMIC SERIES, No. $

Pennsylvania Museum and School of Industrial Art

TIN ENAMELED POTTERY

Maiolica, Delft
AND OTHER
Stanniferous Faience
BY
EDWIN ATLEE BARBER, A.M., Ph.D.
Curator

printed for the museum
PHI>A12EkPHIA
',-¦1906-

Copyright, 1906, by
The Pennsylvania Museum
and
School of Industrial Art
Philadelphia, Pa.

PREFATORY NOTE.
The Art Primers of the Pennsylvania Museum and School of
Industrial Art are designed to furnish, in a condensed form, for
the use of collectors, historical and art students and artisans, the
most reliable information, based on the latest discoveries relating
to the various industrial arts. Each monograph, complete in itself,
contains a historical sketch, review of processes, description of
characteristic examples of the best productions, and all available
data that will serve to facilitate the identification of specimens.
In other words, these booklets are intended to serve as authori
tative and permanent reference works on the various subjects
treated. The illustrations employed, unless otherwise stated, are
reproductions of examples in the Museum collections.
In reviewing the various branches of ceramics the geographical
arrangement used by other writers has given place to the natural
or technical classification, to permit the grouping together of simi
lar wares of all countries and times, whereby pottery, or opaque
ware, is classified according to glaze, its most distinctive feature,
while porcelain, or translucent ware, is grouped according to body
or paste.
In preparing the material for Tin Enameled Pottery, the author
has consulted the principal authorities on the various branches of
the subject, but he is particularly indebted, for many of the facts
presented, to the South Kensington Handbook on Maiolica, by T.
Drury E. Fortnum ; Europaischen Fayencen, by Dr. Justus Brinck-
mann ; English Earthenware and Stoneware, by William Burton ;
French Faience, by M. L. Solon ; Histoire des Faiences Patriotiques
sous La Revolution, by M. Champfleury ; Dictionnaire dela Ceramique,
by Edouard Garnier ; Dutch Pottery and Porcelain, by W. Pitcairn
Knowles ; Hispano-Moresque Ware of the Fifteenth Century, by A. van
de Put ; Old English Pottery, Named, Dated and Inscribed, by John
Eliot Hodgkin and Edith Hodgkin, and Histoire Generate de la
Faience Ancienne, by Ris Paquot. The matter relating to Talavera
ware and the recently discovered Mexican or Puebla maiolica
appears here for the first timg,
E. A. B.

TIN ENAMELED POTTERY.

CHARACTERISTICS.
Tin Enameled Pottery, known also as Stanniferous Faience
(from stannum, the Latin word for tin), is a coarse, more or less
porous, ware covered with a heavy, opaque, putty -like white
enamel, resembling in appearance thick white lead paint, which,
as a rule, shows on the under sides of pieces, or the backs of plates,
in ridges or drops where its flow has ceased. The word enamel, as
here used, signifies an opaque coating on the ware, as distinguished
from glaze, which is transparent or translucent. True majolica and
delft wares are enameled , ordinary pottery, such as modern red
or brown kitchen ware, is glazed. Tin enamel is a composition of
glass and oxide of lead, to which has been added a certain portion
of oxide of tin. The latter ingredient produces the white, opaque
effect ; hence the name, stanniferous enamel.
ORIGIN.
It is not known exactly when and where tin was first used in
the glazing of earthenware. It is a well established fact that the
bricks of Babylonia and Assyria were coated with a white stannif
erous enamel many centuries before the appearance of maiolica
in Italy. At a later period tin enamel was in use by the Arabs,
and early in the fourteenth century this method of glazing was
extensively employed by the Moorish potters of Spain. It was
not until the fifteenth century, however, that the so-called His
pano-Moresque wares of Malaga and Valencia, and the maiolica of
the Italian potters began to be produced in abundance.
For convenience of study we may divide Tin Enameled Pottery
into three groups, as follows :
I. Maiolica of Italy, Spain and Mexico.
II. Delft of Holland and England.
III. Stanniferous Faience of Other Countries.

I. MAIOLICA.
The word Majolica, or Maiolica, is derived from Majorca, the
name of the island where the ware is supposed to have originated.
At first the term was restricted to tin-enameled wares decorated
with metallic lustres, but later it was applied to all stanniferous
faience of Italy and Spain. The earliest example of tin-enameled
ware of Italian workmanship that is known was executed by Luca
della Robbia in 1438. Throughout the fifteenth, sixteenth, seven
teenth and eighteenth centuries maiolica continued to be produced
extensively in these countries. PROCESSES.
Maiolica ware was subjected to two firings. The body itself was
first baked. Then the biscuit was dipped in the liquid enamel
preparation, and after this was allowed to dry the decorations
were painted on the absorbent surface. The ware was then dipped
in a bath of transparent glaze which served to protect the decora
tion and give it greater brilliancy. This thin film was called by
the Italian potters coperta or marzacotto. It was composed of sand,
potash and oxide of lead. The ware was then subjected to a
second firing, which liquefied the enamel and fixed the painted
colors. On the other hand, some of the stanniferous faience of other
European countries was fired three times, first the ware itself, then
the enamel, and finally the decorations, as in the later productions
of France and Germany.
FORMS OF MAIOLICA VESSELS.
Among the numerous shapes of maiolica vessels are many char
acteristic forms, which are known by specific names :
Albarello, a drug jar of cylindrical shape, with straight or
slightly concave sides.
Bacile, a deep, bowl-shaped dish.
Bacino, a dish or basin used as an architectural ornament, built
in the walls of old churches or other edifices.
Canestrella, a fruit dish, molded and usually having a pierced
or openwork rim.
Disc, a fiat, circular tile for insertion in the walls of buildings.

Ongarescha, a cup or bowl, mounted on a low foot.
Pilgrim's bottle, a bottle-shaped vase or flask with flattened
front and back, usually having modeled handles.
Saliera, a salt cellar.
Scodella or Scudella, a bowl with short stem and foot.
Scodella da donna di parto, a set of vessels made to fit together
in the form of a vase or urn, consisting of the scodella, or broth
bowl, on which is placed the tagliere or plate for bread, which
serves as a lid ; on this the ongaresche or drinking cup, inverted,
is surmounted by a covered saliera, or salt cellar. These sets were
used by ladies during confinement, but only separate pieces are
now found in collections.
Tazza, same as Scudella.
Tagliere, a shallow plate.
Tondino, a plate with broad rim or marly and deep centre or
cavetto. Vase, an amphora-shaped vessel of decorative form, usually with
two twisted, convolute or serpentine handles, sometimes modeled
in the forms of heads, human figures, cupids, animals, etc.
Vaso di Spezieria, a pharmacy vase or electuary pot, with han
dle and spout.
Vaso senza bocca (a vessel without a mouth), a jug with closed
top and an opening at the bottom through which it was filled.
When placed upright the contents could be poured out of the
spout. STYLES OF DECORATION.
Among the characteristic styles of decoration employed by the
maiolica painters, particularly as border designs, are the following :
Berettino. Designs reserved in white, heightened with brown
ish yellow on a darker ground.
Candeliere or Candelliere. Grotesque figures of animals
and men symmetrically arranged on either side of, or about, a cen
tral stem. Frequently seen in Castel Durante and Urbino wares.
Cerquate. Patterns composed of oak leaves and acorns, usu
ally in yellow on a blue ground, encircling a central design.
Found on many productions of Castel Durante and other fabrics.
Fiori. Combinations of flowers and birds.
Foglie. Designs consisting entirely of leaves.
Frutti. Combinations of fruits and leaves.

8
Grotesche. Combinations of grotesque figures of men, women
and animals, with foliated extremities, etc.
Istoriato. Subject painting, historical, mythological, biblical,
etc. This style of decoration usually covers the entire surface and
is especially characteristic of Urbino and Faenza wares.
Paesi. Landscapes and buildings.
Quartiere. Divided into equal compartments, either radiating
from the centre, as on plates, or in vertical panels, as on vases and
drug jars.
Rabesche. Arabesque patterns.
Sopra azzuro. Designs reserved in pale grey, heightened with
white, on a dark blue ground.
Sopra bianco (or bianco sopra bianco). White designs painted
on a white or slightly tinted ground.
Tirata. Interlined ribbons, or strapwork.
Trofei. Designs in which trophies of arms, musical instru
ments, tools, etc., are prominent motives. Particularly character
istic of the Urbino wares.
ITALY.
The attribution of maiolica wares is frequently a matter of con
siderable difficulty, owing to the great similarity in coloring and
decorative work of different localities, and the absence or scarcity
in collections of signed or marked examples by which other pieces
can be identified. Many of the best potters and artists carried the
art from one place to another, and introduced the same methods
and styles of decorative treatment at widely separated points.
There are, however, some well-marked characteristics which dis
tinguish particular products, that enable the expert to assign the
latter to their proper sources with a tolerable degree of certainty.
The principal seats of maiolica production in Italy were as fol
lows : —
FAENZA.
The town of Faenza was one of the earliest centres of the manu
facture of maiolica in Italy. Enameled pottery was made here in
the latter part of the fifteenth century, and continued to be pro
duced down to recent times.
Characteristics : Wide borders, with grotesques and figures,
painted a berettino, or sopra azzuro. A large number of drug vases
and electuary pots were made here. The predominating colors

1. Maiolica Albarello (9% inches in height).
Yellow and Green, on Dark Blue Ground. Caffagiolo, Italy, Seventeenth Century.
Museum No. '03-595.
2. Maiolica Ai.barello (10% inches in height).
Red, Yellow and Greeu, on Dark Blue Ground. Faenza, Italy, Seventeenth Century.
Museum No. N, 957.

3. Maiolica Benitiep. (17% inches in height).
Decoration in Polychrome. Faenza, Italy, Seventeenth Century.

are yellow, dark blue and a peculiar red used in draperies, called
" vergiliotto," similar to the ochreous red employed by the Urbino
potters. The albarelli are usually decorated in compartments or
panels (a, quartiere), frequently bearing on one side a profile head
and often the name of a drug in Gothic lettering. Scriptural sub
jects were often painted on the Faenza wares. Frequently the let
ters S. P. Q. R* appear in the decorations. Some writers assert
that the word faience is derived from the name of this town.
An albarello, in the Museum collection, in blue, orange and
pale copper green, may be attributed to Faenza (see No. 2). The
decorations consist of coarsely painted leaves and flowers, and on
the front the head of a man.
An unusual example of Faentine maiolica in the Museum col
lection is a benitier, seventeen and a half inches in height, repre
senting a hermitage. On one side is the figure of a monk, and on
the other a crucifix (see No. 3). The colors are a brownish orange,
green, blue and greenish grey. The illustration facing the title
page shows a large tile panel in the Museum collection (see also
No. 6).
CASTEL DURANTE.
Castel Durante was also one of the oldest centres of maiolica
manufacture. The earliest dated examples belong to the begin
ning of the sixteenth century. The best period was from 1508 to
1580. Characteristics: A pale buff-colored paste; paintings of gro
tesques, scrolls, leaves, trophies, musical instruments and cupids
or "amorini." Plates with subject scenes are frequently edged
with yellow lines. The carnations in the decorations are usually
of an olive green, while the peculiar red of the Urbino palette is
absent. Pharmacy jars, vases and bottles were extensively pro
duced. URBINO.
The city of Urbino was justly celebrated in the sixteenth cen
tury for the beauty of its maiolica wares. Among its products were
well-executed vases, pilgrim bottles and drug pots, often possessing
serpent handles and mask spouts. The large plaques or bacili are
frequently painted with biblical subjects, scenes from Roman his-

* Senatus Populusque Romanus, The Senate and the Eoman People.

10
tory, games of children, etc., in the istoriato style, in which a large
number of figures usually appear.
Characteristics: Urbino pieces are frequently edged with a heavy
yellow line. An ochreous red color in the decorations is a striking
feature of this ware. The letters S. P. Q. R* occur occasionally
on Urbino maiolica.
A scodella, or shallow bowl on a low foot, which may be attrib
uted to Urbino, bears a painting, in the istoriato style, in ochreous
red or orange, blue, green and black, representing Hercules and
Cacus (see No. 4). GUBBIO.
The town of Gubbio was noted in the sixteenth century for its
manufacture of enameled pottery. The best works are believed to
have been executed by Giorgio Andreoli, a celebrated modeler and
potter, later known as Maestro Giorgio. The Gubbio productions
are distinguished by their beautiful metallic lustre colors, opales
cent, golden, and particularly a rich ruby red, which latter is so
characteristic and distinct that it is usually called the Gubbio lus
tre. The iridescent colors are variously known to the Italians as
cangiante (changing), madreperla (mother-of-pearl), a reverbero (re
flecting) and rubino (ruby). The predominating characteristics of
Maestro Giorgio's decorations are masks, trophies and foliated
scrolls, terminating in the heads of men and animals, eagles and
dolphins. His most beautiful works were produced during the
first quarter of the sixteenth century.
The Gubbio lustres have recently been reproduced at that place.
CAFFAGIOLO.
The maiolica of Caffagiolo in Tuscany possesses marked char
acteristics. Dated examples of the early part of the sixteenth cen
tury are known, while some of the undated pieces are of earlier
manufacture. A dark cobalt blue was frequently used as a ground
color, which was usually laid on with a coarse brush, showing dis
tinctly the separate strokes, producing a peculiar mottled effect.
Other characteristic colors are a light copper green and a bright
orange yellow. Metallic lustres were seldom employed. An alba
rello, or drug jar, with concave sides, painted in dark mottled blue,
yellow and light green, is in the Museum collection (see No. 1).
* Senalus Populitsque Romanus, The Senate and the Roman People.

4. Maiolica Scodella (11 inches in height).
Istoriato Style ; " Hercules and Cacus."
Decoration in Polychrome. Urbino, Italy, Eighteenth Century.
Museum No. '93-43.

5. Maiolica Dish (14% inches in height).
Blue Camaieu Decoration. Genoa, Italy, Eighteenth Century.
Museum No. '.S2-7S'J.

11
On the front is the figure of a man, while a tablet among the or
naments on the reverse side bears the letters S. P. Q. D. and the
date 1617. The letters S. P. Q. F* are also frequently found on
pieces of Caffagiolo ware. SAVONA.
At Savona a good quality of maiolica was manufactured in the
seventeenth and eighteenth centuries. The decorations are usu
ally in a rather pale but clear blue. The pieces are thin, frequently
with scalloped edges. A plate covered with heavy, dark green
enamel, decorated with a stork in black, owned by a Hartford,
Connecticut, collector, bears on the back the shield mark or arms
of the town. GENOA.
Maiolica was produced here in the eighteenth century. The
character of the ware is very similar to that of Savona, situated
some twenty-three miles distant, being distinguished by a bluish
white enamel and subject paintings in blue. Authorities have
differed as to the attribution of the " tower and beacon " mark
which is found on pieces of this ware. Present writers seem to
agree that this was one of the marks used at Genoa. A fine dish
in the Museum collection, with irregular, scalloped edge, bearing
this mark, is decorated with a figure scene representing a lady in
a chariot drawn by swans and accompanied by flying cupids, or
amorini, painted in blue camaieu (see No. 5).
PESARO.
Dated examples of Pesaro maiolica go back to the first half of
the sixteenth century. It was often decorated with mother-of-
pearl (madreperla) lustre and shows the influence of the Persian
potters. The best period was from about 1500 to 1560.
DIRUTA.
The maiolica of Diruta seems to be an imitation of the Gubbio
or Pesaro wares. A characteristic of the Diruta products is the
metallic lustre which frequently enriches them, particularly ma
dreperla and a dull ruby resembling the lustres of Gubbio. The
large circular dishes are usually provided with a low foot or base
perforated with two holes for suspension.
* Senatus Populusque Florentiwus, The Senate and People of Florence.

12

MEZZA-MAIOLICA.
This term was applied to the early, coarse earthenware of Italy,
resembling maoilica in appearance, but covered with a white 3lip
on which the designs were painted and then coated with a lead
glaze, and sometimes lustred. Many of these pieces are ascribed
to Diruta. Tin enamel was not used on this class of ware.
SPAIN.
MALAGA.
Malaga is believed to have been the earliest seat of the manu
facture of lustred faience in Spain. Hispano-Moresque pottery
was made here in the fourteenth, fifteenth and early sixteenth
centuries. The principal characteristics are beautiful yellow lus
tre and dark blue decorations in highly conventionalized animal
and plant forms, arabesques and strap-work on a white tin-enam
eled ground. The celebrated Alhambra vase, believed to have
been made about the middle of the fourteenth century, is attribu
ted by the best authorities to Malaga.
VALENCIA.
Valencia was the most important seat of maiolica manufacture
in Spain during the fifteenth and sixteenth centuries. The prin
cipal characteristics are mock Arabic inscriptions and more or less
natural renderings of animal and plant forms, such as vine leaves,
bryony foliage, animals and birds in golden lustre and dark blue
on a cream ground. Much of the ware is of a heraldic character.
The eagle frequently appears as a decorative motive, sometimes
on the front and occasionally on the backs of plates and plaques.
The later productions are inferior in decoration and possess a red
dish or coppery lustre. Under the name of Valencia ware was
that produced in the neighboring towns of Gesarte, Manises, Mis-
lata and Paterna.
TALAVERA.
Another important site of the pottery industry was at Talavera-
la-Reyna, Spain. Some writers believe that faience was made here
as early as the sixteenth century, and Brongniart regards Talavera
as the true centre of the manufacture of Spanish pottery. Jacque-

li. Maiolica Saliep.a (f)1^ inches in length).
Pale Blue, Green. Y'ellow and Orange. Faenza (?), Italy, Seventeenth Century.
Museum No. '99-732.

7. Maiolica Tazza (10% inches).
Yellow, Light Green and Pale Brown. Talavera, Spain, Eighteenth Century.
Museum No. '04-G20.

13
mart states that the decorations and forms were of great variety
and excellence ; well painted ornaments, masks, scrolls, flowers,
landscape and figure subjects have been found on this ware.
Gamier, in his Dictionnaire de la Ceramique, asserts that this lo
cality, in the vicinity of Toledo, was so renowned for its faience
in the seventeenth and eighteenth centuries that the name " Tala
vera " came to be commonly applied to pottery in Spain, just as
the word " Delft " is used in England to indicate stanniferous
faience. He further states that M. Casati, who wrote an account
of the faience of Talavera, asserts that this ware is distinguished
by a greenish tint of the enamel approaching the green color of
water. The ware presents a certain resemblance to some of the
Italian maiolica, particularly to that of Savona, and of Delft, and
some of it in polychrome decoration bears a resemblance to the
faience of Moustiers.
Talavera being in the interior of Spain, its pottery shows less of
Moorish influence than that of Malaga or Valencia on the Medi
terranean coast.
In the seventeenth and eighteenth centuries considerable quan
tities of Talavera ware were taken by the Spaniards to Mexico,
where in recent years many fine examples have been brought to
light by collectors. A good example of Talavera ware with poly
chrome decoration, the gift of Mrs. John Harrison, may be seen
in No. 7. Another fine piece, similarly decorated, is a circular
bowl, eleven and a half inches in diameter and six inches deep,
with central figure of a lion in purple. The predominating colors
used in these pieces are brownish-yellow, pale green and light
brown.
PORTUGAL
Maiolica was made in Portugal from the sixteenth century down
to recent times. While little is known of the products of the old
potteries of this country, it is stated by several authors that drug
pots, vases and pieces belonging to table services, with blue deco
rations, were made there to a considerable extent.
The " Fabrica de Sto. Antonio " of Porto sent to the Centennial
Exposition in 1876 some well-modeled maiolica figures in white
enamel, three of which are now in this Museum. They represent
Jupiter, St. John and Penelope, and are about three feet in height.

14

MEXICO.
Pottery of various kinds has been made at Puebla, Mexico, al
most continuously since the Conquest. Many pieces of stannifer
ous faience have been found in Mexico which have come to be
known as Talavera ware. It is stated, on what seems to be good
authority, that workmen were brought from Talavera, Spain, by
the Dominican Friars, who settled in Mexico soon after the year
1600 and established potteries at Puebla. These Toledan potters
initiated the natives into the mysteries of the manufacture. For
two centuries this industry thrived, and at one time more than a
score of potteries were in operation in Puebla. In the first quarter
of the nineteenth century, however, the art began to decline, and
at the present time nothing is being made in Mexico but imita
tions of the old maiolica and ordinary wares. The best of the re
productions are made by Senor Enrico Ventosa, of Puebla, which
are marked with his monogram. This artist is reviving the best
styles of the old majolica, with the same materials and by the use
of the original processes.
The shapes of the earlier pieces attributed to Mexico are varied,
some of them being copies of the old Spanish or Italian forms, such
as cylindrical drug jars or albarelli, basins, etc., while other forms
are, more or less, departures from the European. We have seen
urn-like vases and large barrel-shaped vessels. The decorative
work is generally crude, although some jar-shaped vases reveal a
higher degree of artistic drawing in conventional designs, in the
Chinese taste. The body of the pieces examined is composed of a
coarse, sandy, buff-colored or reddish clay, harder than that of
Delft, covered with a hard, white tin enamel.
Examples of Puebla ware, decorated in the Oriental manner,
have been found in considerable abundance, giving rise to the sup
position that they are the work of the Chinese. The theory has
even been advanced by certain Mexican antiquaries that Chinese
potters were brought to Mexico from the Philippines, but it is more
reasonable to suppose that these pieces are the productions of the
later Spanish-Mexican potters, who, breaking away from the old
traditions, imitated the Oriental wares which found their way into
Mexico in considerable quantities in the seventeenth and eighteenth
centuries, through the port of Acapulco. A large jar or vase of

8. Maiolica Bowl (15 inches).
Decoration in Dark Blue. Showing Spanish Influence.
Puebla, Mexico, about 1700.
Museum No. '06-165.

9, Maiolica Vase (13 inches in height).
Decoration in Dark and Pale Blue. Showing Chinese Influence.
Puebla, Mexico, Eighteenth Century.
Museum No. '06-107.

15
this character, in the Museum collections (see No. 9), effectually
disposes of the theory of Chinese workmanship. Encircling the
body are rudely painted human figures, male and female, with long
queues. No Oriental artist would depict Chinese women with hair
so arranged. In the eighteenth century pseudo-Chinese decora
tions became very popular at the Puebla potteries.
The maiolica which is found in abundance in the vicinity of
Puebla seems to be of two distinct varieties, one of which, and evi
dently the earlier, more strongly resembles the old Spanish and
Chinese products in forms and coloring, while the other, of coarser
texture and glaze and inferior decoration, reveals a distinct native
Mexican feeling in treatment, particularly in the crude and gaudy
coloring, the reds, yellows and greens often being vivid and harsh.
The blue and yellow colors, which predominate, have been applied
thickly, and are perceptibly raised above the white ground.
While Mexico is rich in deposits of tin, the ore used until a
comparatively recent date, in glazing the ware, was probably
brought from Spain, since these veins were not opened until a late
period. At present the tin mines of Zacatecas, Guerrero, Jalisco,
and Hidalgo are yielding abundance of ore of a superior quality,
and an important tin mining industry is gradually being built up.
The Museum has recently come into possession of a most inter
esting collection of old Puebla ware. Tiles, from some of the early
cemeteries, churches and other buildings, are coarsely decorated
with dark blue designs, — conventionalized flowers, animals and
human figures. One of these, bearing a representation of St.
Michael, is painted in yellow and black in a solid raised blue
ground. Others, with rude paintings of Chinamen in blue, were
taken from an old house in Puebla which was erected in 1687,
while several are from an Indian church at Tlaxcalancinco, near
Cholula, which dates back to 1789. There are also some decorated
drug jars (see Nos. 10 and 11), and spherical vases in blue, salt cel
lars, and a curious little benitier or receptacle for holy water in
colors, — green, yellow, brick red and brown (Nos. 12, 13 and 14).
The most interesting example in the collection is a bowl, fifteen
inches in diameter, of late seventeenth, or early eighteenth cen
tury, workmanship (No. 8). The decorations, in raised blue enamel
on a white ground, consist of animal and floral designs and
mosque-shaped buildings, suggestive of Moorish influence. All of
the pieces here shown are of Mexican manufacture, and belong to
the seventeenth and eighteenth centuries.

16
At Guanajuato, ordinary pottery is made, principally plates,
with a yellowish glaze. At Oaxaca are more extensive manufac
tories, which produce wares having a lustrous white glaze com
posed largely of lead, and a variety with a beautiful green glaze,
mainly objects for domestic use.
Characteristics : Mexican maiolica is, as a rule, poorly potted,
and has a pinker, harder and more gritty body than the Spanish.
The enamel is less opaqe and less evenly applied, frequently show
ing the tint of the body beneath and numerous pores or pin holes,
which may be distinctly seen in the illustration of the fine vase,
No. 9. The decorations are more crudely painted and the dark
blue, which predominates, is less clear than that of the Spanish
ware and stands out in pronounced relief, as though it had been
thickly mixed and heavily applied in coarse bold strokes. Other
colors found on old Puebla ware are green, yellow, brick red and
dark brown. The yellow and green have also, in many instances,
been thickly laid on. Frequently the enamel presents the appear
ance of having a heavy coating of transparent, silicious glaze,
which gives it a harder and more glassy appearance. These pecu
liarities make the attribution of the old Puebla majolica a matter
of considerable ease, since the genuine Spanish pottery of Tala
vera, which is still to be met with in Mexico, shows more careful
workmanship, and the decorative colors, being thin, do not stand
out in relief. The Mexican maiolica was not covered with a bath
of lead glaze, or marzacotto, as were the Italian tin-enameled wares.
The decorations were painted directly on the crude enamel, and
became incorporated with it when fired in the kiln.
H. DELFT.
The word Delft is derived from the name of the town in Hol
land where the ware was first produced, and which for several
centuries continued to be the chief centre of the industry. Delft
ware was probably made as early as the latter end of the fifteenth
century, but little is known of it until about a hundred years later.
From that time down to the present it has been manufactured at
many establishments. The origin of this faience was the attempt
of the Dutch potters to imitate the more costly porcelain which
had been brought from the far East. At first the blue color only
was used, but later other colors, green, red, yellow, brown, purple
and gold, were added. The decorations were neither ewer nor under

10, 11. Maiolica Drug Jars, or Albarelli (9% inches in height).
Decorations in Dark Blue. Puebla, Mexico, about 1730.
Museum Nos. 'Oii-164, 103.

12, 13. Maiolica Salt Cellars (2% ami 3% inches in height).
Decorations in Green, Yellow and Dark Brown.
Museum Nos. '06-104, 105.
14. Maiolica Benitier, or Holy Water Stoup (8% inches in height).
Decoration in Dark Green, Brown, Yellow and Brick Red. Puebla, Mexico, 1800-1840.
Museum No. '06-106.

17
the enamel, but in it, the colors and enamel being liquefied and
fixed at one firing. The decorative process may, therefore, be
properly expressed by the term inglaze painting.
HOLLAND.
The Delft ware of Holland, made in the town of Delft and sev
eral other places of lesser importance, is distinguished by a porous
and friable body, light in weight and of a yellowish or pale brown
color, in which carbonate of lime enters largely, so that on the
application of acid it effervesces. It is usually so soft that it has
the appearance of having been fashioned from common inud, and
can be easily cut with a knife. The thick enamel entirely covers
the ware, and is found spread over the under sides of plates, as
well as on the upper surface. So perfectly was the enamel adapted
to the body that crazing, or cracking of the surface, seldom oc
curred. Plates and other pieces were separated or supported in
the kiln by three bars of fire clay, which in being detached usu
ally left three equidistant, long, rough scars on the under side,
where the enamel was torn away. This peculiarity is noticeable
in a large proportion of the pieces made in Holland. While some
of the Holland faience was decorated in polychrome, the blue color
predominates to a marked extent.
Delft ware occurs in a great variety of forms, — vases of various
designs, often imitating Oriental shapes, frequently gracefully
fluted, with covers surmounted by figures of animals ; plates and
plaques ; ornamental figures ; drug and tobacco jars ; tea canisters ;
candlesticks ; punch bowls ; dishes of various forms ; covered
boxes ; trays and utensils for table and household use. Fre
quently vases and jars were made in sets of three, five or seven,
for the adornment of the mantel shelf or cabinet, in the Chinese
manner. Some of the circular dishes are fluted or lobed, like
those produced at some of the German factories (see Nos. 17 and
18). VARIETIES OF DELFT FAIENCE.
Tin enameled tiles, in blue or purple monochrome, were among
the earliest productions of the Dutch potters. These were embel
lished usually with scriptural subjects.
Faience, with blue decorations in the enamel, mainly in the
Oriental style, was produced extensively in the seventeenth and
eighteenth centuries.

18
Afterwards the decorations were in various colors and gold over
the enamel, imitating Chinese porcelain. A wine jug of this style
in the Museum collection is elaborately painted in red, green,
black, brown, purplish blue and gold. It has a lobed body and
plaited handle (see No. 20).
Black enameled Delft, with painted designs in polychrome, in the
Chinese style, was produced at several potteries in the latter part
of the seventeenth century and the beginning of the eighteenth.
Examples of this variety are now rare.
The best examples of Delft ware are faithful copies of Chinese
and Japanese porcelains, which at a short distance can only with
difficulty be distinguished from the Oriental. The enamel is par
ticularly brilliant, and is so characteristic that a practised eye will
have no difficulty in recognizing the Dutch Delft wherever seen.
The curious custom of naming their factories after natural or
artificial objects prevailed among the Dutch potters in the seven
teenth and eighteenth centuries, and the marks which they adopted
to distinguish their wares were frequently the pictorial represen
tations, or the names or initials, of these objects. The pottery of
Huibrecht Brouwer, for instance, was called "The Porcelain
Hatchet " (mark, the outlines of an axe) ; P. Verberg adopted for
his works the name of "The Golden Flowerpot" (De vergulde
Blompot), and his wares were frequently marked with the word
"Blompot;" the mark of "The Three Bells" consisted of rude
drawings of three bells ; the productions of " The Water Can " (De
Lampetkan) were usually marked with the initials L P K ; " The
Metal Pot " (De Metaale Pot) used for one mark the letters M. P.,
and " The Peacock " works employed the Dutch name of that bird,
Pauw, either written out in full, or arranged in a monogram.
Other potters, however, used the initials or monograms of their
own names, although their establishments were known by fanciful
titles, such as "The Double Pitcher," "The Old Moor's Head,"
"The Young Moor's Head," "The Boat," "The Koman," "The
Two Ships," and " The Two Wild Men."
From a large collection of Delft in the Museum collections a few
of the more striking forms have been selected for illustration. No.
15 shows one of a pair of ornamental dishes decorated in blue in
the Chinese style, by Huibrecht Brouwer, eighteenth century.
No. 19, plaque with polychrome decoration and mark of the three

15. Delft Dish (9% inches in width).
Decoration in Blue ; Hawthorn Pattern.
By Huibrecht Brouwer, Holland, Eighteenth Century.
Museum No. \s2-789.
16. Delft Cheese Dish and Tray {G% inches in height).
Decorations in Blue and Green.
By P. van der Strom, Holland, Eighteenth Century.
Museum No. 'K2^90

17,1s. Delft Lobed Dishes (12 and 13V£ inches).
Decorations in Polychrome. Delft, Holland, Eighteenth Century.
Museum Nos. '99-.">Sii, '82-1452.

19. Delft Plaque (13% inches).
Decoration in Polychrome. By W. van der Does, Holland, Eighteenth Century.
Museum No. '05-108.

20. Delft Wine Jug (11% inches in height).
Decoration in Polychrome and Gold. Delft, Holland, Eighteenth Century.
Museum No. '82-400.

19
bells, by W. van der Does, eighteenth century. No. 16, cheese
dish and tray, blue and green decoration in relief, by P. van der
Strom, early eighteenth century, of the " Vergulde Blompot " (the
Golden Flowerpot) factory.
ENGLAND.
The manufacture of Delft ware was introduced into England
from Holland previous to the middle of the seventeenth century.
The English ware, made of native materials, was of a somewhat
denser and more vitreous body than the Dutch, and lacking the
excessive porosity of the latter, did not retain as thick or even a
coating of the enamel, hence the buff body showing through often
imparted a rosy tint to the surface. The lack of affinity between
the body and enamel frequently caused crazing, and for that rea
son the earlier English Delft was often coated on the back with a
clear lead glaze, showing crude mottlings of brown, purple and
yellow. A thin wash of lead glaze was used over the enamel, in
the Italian manner. In the decorations blue was the principal
color employed. The ware was subjected to two firings.
The shapes of English Delft were almost as varied as those of
Holland. Large plaque-shaped dishes with representations of roy
alty and nobility, puzzle jugs, candlesticks, drinking cups and
mugs, shaving dishes, caudle pots, sack or wine bottles, posset
pots, drug pots and apothecaries' pill slabs, plates and other uten
sils were made in abundance. These were frequently embellished
with dates and inscriptions, and sets of circular or octagonal plates
were inscribed with single lines or verses which, taken together in
their proper sequence, formed a complete quotation. The English
Deft was generally inferior, both in body and decoration, to that
of Holland. Writers on old English pottery state that the body
of English Delft is of sufficient hardness to resist a steel point,
and that it will not effervesce under acid. Our own observations,
however, have not convinced us of the infallibility of these tests,
since in many cases it has been clearly demonstrated that the body
of the English ware effervesces under acid as freely as that of the
Holland Delft, and while the paste of some pieces is slightly harder
than the latter, it can be easily cut with a knife, and in some in
stances is so soft that it can be scraped away with the thumb nail.
We are therefore compelled to abandon the body test as a reliable

20
guide to the origin of English specimens, and to fall back upon the
forms of the pieces and their peculiarities of decoration. The pos
set pot, caudle urn and puzzle jug do not appear to have been
produced outside of England, while the transfer-printed wares of
Liverpool and the shapes and decorative features of Bristol and
Lambeth Delft are usually so distinctive as to be readily recog
nized.
LAMBETH.
At Lambeth, a suburb of London, Delft ware was made in Eng
land previous to 1650, a piece in the Museum of Practical Geol
ogy, London, being dated 1631. Hodgkin describes many pieces,
the latest of which bears date 1797. The paste of this product is
of a light buff tint, with an opaque white enamel. The blue color
of the decoration is usually of a paler tint than that of the Dutch
or of other English Delft. A puce or violet color was also used.
The best of the large circular dishes or plaques, painted with scrip
tural subjects or figures of kings and queens, are attributed to Lam
beth, as are most of the wine and sack jugs, puzzle mugs, inscribed
plates, drug pots and pill slabs. The decorations more closely
resemble those of Holland Delft than do those of other English
tin-enameled wares. Some of the Lambeth dishes possess lobed,
fluted or embossed borders. A Lambeth Delft plate, in the collec
tion of the Historical Society of Pennsylvania, bears the legend
and date, " God Save King George, 1716," in blue (see No. 21).
A caudle urn, owned by Mr. George Cuthbert Gillespie, on deposit
in this Museum, bears the date 1678 and the initials C. F. T. The
decoration, in dark and light blue, consists of flowers, birds and
butterflies. The handles, with modeled serpents, are bluish green,
and the three feet represent birds. The lid is surmounted by a
crown, in which sits a crowned swan (see No. 22).
BRISTOL.
The Delft of Bristol possesses a slightly harder enamel, often
thicker and muddier than that of other English faience, and tinted
instead of being dead white. Many of the Bristol plates are en
tirely covered on both sides with a heavy, evenly applied enamel.
The blue in the decoration is of a darker and more pronounced
tone than that used at Lambeth. Michael Edkins was one of the
principal decorators, who later (in 1761) was an enamel painter on
Bristol glass. One style of decoration, known as bianco-sopra-

21. Delft Plate.
Blue Decoration. Lambeth, England, 1716.
In the Historical Society of Pennsylvania.

22. Delft Caudle Urn (11 inches in height).
Blue and Green Decoration. Lambeth, England, 1678,
Lent by Mr. George Cuthbert Gillespie.

23. Delft Bowl (7% inches in width).
Blue and Purple Decoration. Bianco-Sopra-Bianco Inside Border.
Bristol, England, about 1760.
Museum No. '06-203.

24. Delft Plate (8% inches).
Decoration in Dark Blue. Bianco-Sopra-Bianco Bordei'.
Bristol, England, about 1760.
Museum No. \S2-7.~>s.

21
bianco, was practised there, in which border patterns in white
enamel were painted on a ground of slightly different tint, green
ish-white, or a shade of greyish-blue, known by the French as bleu
agate. Some of these pieces were probably the work of Edkins.
Several plates, with broad, flat margins, on which are painted
enameled strawberry and flower border devices on a light greyish-
blue ground, with central designs in dark blue, may be seen in the
collection of the Museum (see 24). A similar plate is in the Essex
Institute, Salem, Mass., and two others are in the Wadsworth Athe
naeum at Hartford, Conn.* In addition to blue, other colors, such
as yellow, red, purple and brown were used. The decorations were
frequently in the Oriental or Dutch style. The oldest known pieces
of Bristol Delft date back to about 1700, and the manufacture was
continued until near the end of the century.
In the Museum collection is a bowl with landscape painted on
the outside in Chinese style in deep blue and purple, with a bianco-
sopra-bianco border around the inner rim and in the bottom the in
scription " Success to the British Arms " (see No. 23). We have
seen plates with lobed or scalloped edges and central landscapes
in blue and purple. Two posset pots (see No. 26), in the Museum
collection may also be attributed to Bristol. They are decorated
in polychrome. LIVERPOOL.
The Liverpool Delft is characterized by thinness of the pinkish
body and a bluish tone of the enamel, which often contains small
pin-holes. Another peculiarity often observed is the absence of
glaze on the decorated portions, the colors, dark blue, pale green,
yellow and red, having been absorbed into the enamel. Frequently
the blue color has spread, presenting the appearance of having
been applied to a wet surface. Punch bowls, often inscribed and
dated, and painted with representations of sailing vessels, are
abundant in this ware. Caudle pots, puzzle jugs (see No-. 25) and
mugs are also found, and large quantities of fire-place tiles were
produced. The decorative designs were frequently printed by the
* Plates of this style were at one time attributed by American collectors to
Saint-Amand-les-Eaux, France, and certain English collectors, we understand,
believe them to be the products of the obscure factory at Wincanton, England.
Many of the best authorities at the present time, however, agree in assigning
them to Bristol.

22
transfer process. Two tiles with black prints, in the Museum col
lection, are so soft in body that they can be cut away like chalk
(see No. 27). In the Wadsworth Athenaeum, Hartford, Conn., are
several similar tiles, printed in dark red. Delft ware was first
made at Liverpool near the end of the seventeenth century, con
tinuing to be produced until about 1760.
STAFFORDSHIRE.
The Delft ware produced in Staffordshire is coarser in body,
glaze and decoration than that of other English varieties. The
enamel possesses a yellowish hue. The backs or bottoms of pieces
are usually coated with lead glaze instead of enamel, while the
decorations, in blue, with dashes of green and yellow, are ex
tremely crude. Most characteristic are the large circular dishes or
plaques, with rudely drawn figures of royal personages, Adam and
Eve and other biblical subjects, with trees roughly daubed on with
a sponge. Delft was made at several places in Staffordshire from
about 1680 until late in the following century.
BRISLINGTON.
At Brislington, near Bristol, tin enameled pottery, of a hard,
coarse, reddish body, was produced to a limited extent in the
eighteenth century. It was embellished with blue designs and
sometimes with crudely painted copper lustre ornamentation. The
ware was of a cheap character and thinly coated with a coarse yel
lowish enamel.
WINCANTON.
Delft ware was also made at Wincanton, in Somerset, to a lim
ited extent, for a few years previous to 1750, but little is known of
the products of this unimportant factory. A few examples are in
the British Museum.

, ii.cru Touts'-
,f:vnc #'

25. Delft Puzzle Jug (6% inches in height).
Decoration in Blue. Liverpool, England, Early Eighteenth Century.
Museum No. '06-204.

26. Posset Pot (6 inches in height).
Decoration in Polychrome. Bristol (?), England, Early Eighteenth Century.
Museum No. '06-206,

27. Delft Tiles (5 inches).
Decorations Printed in Black. Liverpool, England, about 1760.
Museum Nos. '05-432, 433.

23

III. STANNIFEROUS FAIENCE OF OTHER
E UR OPE AN CO UNTRIES.
FRANCE.
The earliest stanniferous faience produced in France in the six
teenth century was executed by Italian potters in imitation of the
earlier maiolica, but gradually a national style was developed by
the French potters who succeeded them.
The stanniferous faience of France is distinguished by its soft,
porous body, usually of a dirty cream or pale brown color, but is
frequently a pronounced pink. The enamel is white or pinkish,
occasionally tinted a bluish- or greenish-white. It covers both
sides. The decorations at first were painted on the dry enamel before
firing ; later they were painted over the fired enamel. At several
places gilding was used.
While the body and enamel of French faience closely resemble
those of the Italian and Dutch potters, the decorative treatment is
of an entirely different character. The paintings, as a rule, are
more carefully executed, and, in the later products, include a wider
range of colors, among which the reds, pinks and greens are con
spicuous. The French faienciers never used a lead glaze (marzacotto of the
Italian majolists) over the enamel.
The principal forms of French faience are plates, platters, pla
teaux, tureens, pilgrim bottles, ewers, statuettes, trays, jardinieres,
sugar sifters, barber's basins, clock cases, vases and various pieces
of table services. STYLES OF DECORATION.
A marked tendency toward conventionalism is to be observed
in much of the stanniferous faience of the French potters. Among
the most pronounced styles of decoration are the following :
Armorial. Heraldic designs as a central decoration, with arab
esque or set border patterns.
Broderie. The imitation of set embroidery or lace patterns, as
first practised at Rouen.
Camaieu. Painted in a single color outlined with a darker shade
of the same.

24
Corne. A pattern which originated at Rouen, in which the
principal decorative motive is a cornucopia of brightly-colored
flowers. Grisaille. Painted in various shades of grey.
Italian. The imitation of old maiolica in design and coloring
as seen in the early products of Nevers, Rouen, Lyons, Nimes and
other French faience centres.
Lambrequins. A conventionalized pattern suggested by the ra
diating traceries and pendant ornamentation of a lambrequin,
first found on some of the old Rouen faience.
Monochrome. Decorated in a single uniform tone of color.
Patriotique. Trophies of arms, musical instruments, flags and
inscriptions of a patriotic nature used as decorative motives at
Nevers and other places during the Revolution of 1789.
Peinture sur email cru. Painted on the dry enamel before
the first firing ; underglaze, or inglaze (first period).
Peinture sur email cuit. Painted on the baked ware ; over-
glaze (second period).
Persian. White enamel decorations on a dark blue ground,
after the Persian taste, as seen in some of the old Nevers ware.
Polychrome. Painted in several colors.
Quartiere. See Rayonnant.
Quiver. A style of decoration in which quivers of arrows form
the principal motive. Often found on old Rouen faience.
Rayonnant. Divided into sections or compartments radiating
from the central design. Also called Quartiere. This style was
employed at Rouen before it was used at other places.
The stanniferous faience of France may be classified as follows :
1. School of Nevers. ^
2. School of Rouen. > First Period.
3. School of Moustiers.)
4. School of Strasburg. Second Period.
FIRST PERIOD.
Decorations painted on the unbaked enamel (Peinture sur Email
Cru). The three great faience manufacturing centres of this period in
France were Nevers, Rouen and Moustiers.

Tin Enameled Plates (9 inches).
28,29. " Faience Patriotique," Yellow, Green and Brown. School of Nevers, France, 1789-1792.
Museum Nos. '97-77.3, 'S2-1429.

Tin Enameled Plates (10 inches).
30. Marseilles, France, Eighteenth Century. Polychrome Decoration. By Veuve Perrin.
81. School of Rouen, France, Eighteenth Century. " Broderie " Style. Blue Monochrome.
Museum Nos. '82-748, 468.

25

1. NEVERS.
Tin enameled faience was produced at Nevers, France, from the
latter part of the sixteenth century until about the end of the
eighteenth, the earlier products being an imitation of the Italian
maiolica. Workmen were brought from Italy to prosecute the
work, but the marzacotto or lead glaze, so characteristic as an
outer covering of the older maiolica, was not used here. The
earliest products of this centre were painted with biblical, mytho
logical and allegorical subjects in the style of the maiolica of
Faenza and Urbino.
The faience of Neversis distinguished by comparative hardness
of body and enamel. One of the most distinctive styles of decora
tion was what is termed the " Persian," consisting of designs painted
in white enamel on a rich, deep blue ground. The same blue ground
was used, with reserve panels in white containing polychrome
paintings. Another variety was painted in blue on a white field,
in the manner of the Holland Delft. About the beginning of the
eighteenth century the figure paintings of Chinese porcelain were
imitated to some extent. The colors were usually weak, and red
does not seem to have been employed. The predominant colors
were blue, yellow and manganese purple.
Among the characteristic styles is what is known as the inscribed
Faience Patriotique, or " Speaking Pottery," produced during the
Revolution of 1789. It is decorated with devices and inscriptions
of a patriotic nature. Two pan-shaped dishes of this character,
in the Museum collection, are here shown, the colors being blue,
olive green, brown and yellow (see Nos. 28 and 29).
At Auxerre, Dijon, Meillonas and La Forest the Nevers styles
were imitated to some extent.
2. ROUEN.
Tin enameled pottery is believed to have been made at Rouen
in the sixteenth century, but not until about 1645 was the manu
facture firmly established. From this time until the close of the
seventeenth century a true French faience was produced exten
sively at several different factories. One of the earliest styles of
ornamentation at Rouen was the painting of arabesques or con
ventional designs, known as the " Lambrequins " and " Em
broidery " (broderie) patterns, suggested by the ornamentation of

26
the embroidered hangings of the period (see Nos. 31 and 33).
The former consisted of pendant designs radiating from or toward
the centre ; the latter of finer lace-like traceries serving as border
designs of plates and platters. These decorations, first produced
in blue on a white ground, or in reserved white patterns on a blue
ground, were at a later period painted in polychrome. Red and
blue were often used in combination. Coats of arms and mono
grams frequently figured as central ornaments.
Another distinctive style which originated at Rouen, and was
afterward copied extensively by other factories, was the employ
ment of a quiver or a cornucopia (a la come) as the principal deco
rative motive. At a still later period the Strasburg style, in which
brilliantly colored flowers were painted over the enamel, was
closely imitated.
The Rouen faience was the most original in its decorative
features of all the French wares of this class, being characterized
by accuracy of drawing, elegance of modeling and richness of
coloring. Many of the best Lambrequins, Embroidery and her
aldic patterns have been recently copied at the Gien factory, where,
however, a transparent glaze is used instead of the opaque stan
niferous enamel.
To the Rouen school belong the wares of Lille, Sinceny, Quim-
per and St. Cloud. These were either servile imitations or modi
fications of Rouen styles. In the collection of Mrs. John Harri
son are an oblong platter and circular plate of Quimper faience,
with coats of arms in relief and openwork borders, in dull blue
and yellow on a greyish enamel.
3. MOUSTIERS.
The manufacture of enameled faience began at Moustiers about
1680, and continued through the following century. Pierre C16-
rissy was the earliest faiencier at this place. Olerys established a
pottery here about 1738, and to him is credited the grotesque style
of decoration, as well as that with minute figures of men and ani
mals and wreaths and garlands of small flowers, usually painted
in purple, green or orange camaieu. At a later period polychrome
decoration was employed. His mark consisted of the monogram
LO. A platter with green ornamentation, outlined with purple,
of the Moustiers school, is in the Museum collection (No. 34). A
fine example of Olerys' work, the gift of Mr. John T. Morris, is a

Tin Enameled Platteks (11% to 15^ inches in length).
32. Strasburg, France. Polychrome Decoration, by Hannong.
33. School of Rouen, France. Polychrome Decoration, Quiver Pattern.
34, School of Moustiers, France. Green Decoration, Purple Outlines. Eighteenth Century.
Museum Nos. '99-731, '82-494, '99-733.

35. Tin Enameled Dish (14% inches).
Brownish-Yellow, Blue, Light Green and Purple. Moustiers, France, 1735-1745.
Painted by P. Olerys.
Museum No. '06-274.

27
large dish with scolloped edge, 14J inches in diameter, with cen
tral figure design and border in the lambrequins style, carefully
painted in brownish yellow, light blue, sage green and pale pur
ple, which bears the monogram POL, penciled in yellow (No. 35).
The principal features of Moustiers faience are a white enamel
of great depth and brilliancy, underglaze decorations in blue, or
in polychrome, in which is sometimes found an inferior, opaque
red. The decoration is frequently suggestive of the Rouen school.
Among the manufactories which copied the Moustiers styles
were those of Clermont-Ferrand, Varages, Ardus and Montauban.
SECOND PERIOD.
Decorations painted on the baked Enamel (Peinture sur Email
Quit), and often heightened with gold.
4. STRASBURG.
The Hannong family established the manufacture of tin-enam
eled faience at Strasburg soon after 1720. Paul Hannong a few
years later effected great improvements in faience painting. The
decorations were carefully executed over the enamel and, being
fired in the reverberatory kiln, requiring less heat than inglaze
painting, a greater variety of colors resulted, including, among
others, delicate pinks, reds and purples. Gold was first intro
duced in the decorations of stanniferous faience by Paul Han
nong. The manufacture continued until about 1780, the best
period being from about 1740 to 1760.
The principal characteristics of Strasburg faience are good mod
eling, lightness of weight, smooth, milky white or cream-colored
enamel, with decorations in brilliant colors, which are usually flat
and do not stand out from the surface. One of the most striking
peculiarities of this ware is the outlining of the decorations with
fine black hair lines. Plates and platters with openwork borders
were made here.
In the Museum collection are numerous plates, a platter with
openwork border and a fine soup tureen with modeled lid and
feet (see Nos. 32 and 36). The Hannong mark was the letter H
with a dot above it, and frequently a pattern number beneath.
The mark of Paul Hannong consisted of the initials P. H. That
of Joseph Hannong of the letters J. H.
Strasburg was the principal faience manufacturing centre of
this period. In 1871 it became a part of the German Empire.

28
To the School of Strasburg belong the wares of Marseilles, Ni-
derviller, Luneville, St. Clement, Sceaux, and the majority of the
smaller factories, or all of those using overglaze colors and gold
in the decorations. MARSEILLES.
Stanniferous faience was made here in the latter part of the sev
enteenth century, and the manufacture continued through the
greater part of the eighteenth. In 1750 there were at least ten
factories in operation at this place.
Among the best artists was Honore Savy. He painted his de
signs over the enamel, the colors usually standing out in slight
relief, as may be detected by passing the hand over the decora
tions. A copper green was much used in the decoration, and the
scars on the backs of plates were frequently touched with this
color. His mark was the fleur-de-lis. A beautifully modeled and
painted tureen in the Museum collection bears this mark (see No.
37). J. Gaspard Robert, proprietor of another factory, produced ware
of similar character and of equal merit. One of his characteristic
patterns consisted of shells, fishes and marine algae in green, while
another of his favorite designs was composed of flowers and in
sects. He also employed gold in the decorations. He marked his
pieces with his full name or the initial R.
Veuve Perrin, known as the widow Perrin, also produced faience
of excellent quality in the same general styles. Some of her pieces
were covered with a brilliant yellow enamel on which were painted
sprays of flowers in other colors. Her mark was the monogram
V. P., usually in black. A plate in the Museum collection bear
ing this mark is decorated with Chinese figures and birds in poly
chrome, on a white ground. The scars on the back are colored
green (see No. 30).
The Marseilles faience bears a strong resemblance to that of
Strasburg. It is distinguished by its beautiful and graceful shapes
and the artistic modeling of handles, feet and covers, the latter
often being surmounted by flowers, fruit and shells.
NIDERVILLER.
A manufactory was established at Niderviller about the year
1760 by Baron de Beyerle for the production of tin-enameled
faience which, in modeling and decoration, resembled the wares of

36. Tin Enameled Tureen (14 inches in length).
Polychrome Decoration, by Hannong. Strasburg, France, Eighteenth Century.
Museum No. Z, 126.

37. Tin Enameled Tueeen (12 inches in length).
Polychrome Decoration, by Honon* Savy. Marseilles, France, Eighteenth Century.
Museum No. Z, 125.

38. Tin Enameled Vases (14% inches in height).
Decorated in Colors and Gold. Sceaux, France, Eighteenth Century.
Museum No. '04-109.

29
the neighboring town of Strasburg. These products were greatly
diversified, the best, as at the latter place, being enriched with fine
flower painting after the manner of the Meissen porcelain decora
tors. One striking style was in imitation of cooper's work, painted
to represent the graining and veinings of pine and other woods,
with a representation of a white paper card or label pinned to the
surface, bearing a carefully executed landscape or other design,
usually in pink or black.
About 1780 the Count de Custine purchased the works and
twenty years later the statuettes of the sculptor, Charles Sauvage
Lemire, were attracting much attention:
During the Beyerle period a monogram consisting of the letters
B and N (the initials of his name and that of the town) was fre
quently used on the ware. During the second period the mark
consisted of an interlaced double C either with or without a coro
net. The manufacture continued into the nineteenth century.
LUNEVILLE AND ST. CLEMENT.
The manufacture of stanniferous faience was commenced at
Luneville about 1731, and about 1757 a second factory, under the
same management, was established at St. Clement, some six miles
distant. The products of these factories were in the style of the
Strasburg ware, but inferior to the latter in quality. At Luneville
a specialty was the manufacture of large faience dogs. Paul Louis
Cyffle, a sculptor, became, in 1746, the modeler of the afterwards
celebrated statuettes which were the principal productions of
Luneville. SCEAUX.
At Sceaux, near Paris, stanniferous faience was produced from
about 1750 to 1813. The ware is conspicuous for its beautiful
shapes in imitation of porcelain, such as jardinieres, vases, etc.,
which are artistically decorated in colors and frequently with gold.
A pair of vases in the Museum collection are painted with medal
lions on one side containing cupids or boys in pink or rose, height
ened with gold, while on the reverse are bouquets of brilliantly
colored flowers. The plinths or bases are mottled or marbled (see
No. 38). These fine examples are marked with the word Sceaux in
full. Other marks of this factory are an anchor and the letters S. P.
(Sceaux-Penthievre).

30
Particularly characteristic of Sceaux faience is a peculiar shade
of dark rose or lake, and figures of cupids in the decorations.
OTHER FRENCH FAIENCE CENTRES.
Among the other places in France where stanniferous faience
has been produced are the following :
Apt, Bellevue, Bordeaux, La Rochelle, Lyons, Montpellier,
Nimes, Orleans, Paris, Rennes, Saint-Amand-les-Eaux and Sama-
det. But little, however, is known of the products of these facto
ries and few authenticated pieces are found in collections. At St.
Amand-les-Eaux the bianco-sopra-bianco style of decoration, white
designs on a brownish-white or pale blue ground, was" employed.
At St. Omer, a small, peculiarly-shaped, four-winged insect was so
frequently introduced into the decorations as to make it a charac
teristic feature of the ware. The wares of these places were prin
cipally imitations of the faience of the larger centres of the manu
facture. For this reason, the identification of French faience, other
than the productions of the leading factories, whose characteris
tics are unmistakable, is extremely difficult, if not impossible, in
the absence of distinguishing marks. Where marks occur, how
ever, reference to the published works on the subject, particularly
those mentioned in the Prefatory Note, will make the attribution,
in most cases, possible.
GERMANY.
Tin-enameled pottery was produced extensively in various parts
of Germany toward the latter end of the seventeenth century and
through the eighteenth. Its principal features are a soft body and
a preponderance of purple and blue in the decorations. Beer mugs
with painted medallions, or floral and figure subjects on a mottled
ground, are numerous. Among other common forms are tureens,
ornamental figures, wine jugs and circular plates and dishes with
lobed or corrugated circumference. BAYREUTH.
Stanniferous faience was produced at Bayreuth early in the
eighteenth century. The decorations were painted on the fired
enamel, purple being the predominating color. Large drinking
mugs, painted by competent artists, were among the principal
products. An example in the Pennsylvania Museum is painted

39. Tin Enameled Plate (12% inches).
Polychrome Decoration, Yellow Border. Kellinghusen, Germany, Eighteenth Century.
Museum No. '82-1441.

40. Tin Enameled Mug (T4 inches in height)
Polychrome Decoration , by Pfeiffer.
Bayreuth, Germany, Eighteenth Centurj'.

41. Tin Enameled Wine Jug (13 inches in
height).
Polychrome Decoration, Eighteenth Century.
"JudaandTamar." Germany.
Museum Nos. '82-336, 399.

31
over the glaze, in the French style, with a carefully executed figure
of a man, supposed to be the portrait of Moses Mendelssohn. It
is- marked with the letters B. P., the initials of the place of manu
facture, Bayreuth, and the name of Joh. Georg Pfeiffer, who was
after 1747 proprietor of the factory (see No. 40).
Pieces marked B. K. were produced in the time of Knoller, 1720
to 1745. These bearing the letters B. F. S. were made during the
management of Frankel and Schreck, from 1745 to 1747.
NtFRNBERG.
The manufacture of faience was carried on at Nurnberg during
the first half of the eighteenth century.
The mark most frequently found on this ware is the letter K.,
followed by three dots arranged in a triangle, the initial of Georg
Friedrich Kordenbusch, a painter at that factory. He also used
the two initials of his name, G. K., and occasionally the letters
N. B. (Nurnberg) above the K.
Numerous examples of Nuremburg faience may be seen in the
Museum collection, including a set of plates in light blue enamel
with dark blue painting, the central device being a basket of fruit.
KELLINGHUSEN.
A factory was in operation at the end of the eighteenth century
at Kellinghusen in North Germany, where stanniferous faience
was made with underglaze polychrome decorations. Bouquets of
flowers, boldly painted in green, blue, brown, yellow, brownish red
and violet are most characteristic, and plates frequently have bor
ders with superficial yellow ground. The ware is frequently,
though not always, marked. The most common mark is com
posed of the letters " K. H.," with the initial of the decorator be
neath as "M." for " Moller," "Dr. G.," for "Dr. Grauer," etc. In
the Museum collection are two large dishes or plates, one of which
is here shown (No. 39).
OTHER GERMAN FAIENCE CENTRES.
Faience was also made at Braunschweig, Cassel, Eckernforde,
Frankenthal, Frankfurt-am-Main, Fulda, Hanau, Hochst, Ktiners-
berg, Miinden, Schleswig, Stockelsdorff, and numerous other places
of lesser importance. At Hochst were produced many soup tureens
in the forms of birds and animals. Some of the more important

32
German factories developed pronounced styles of work which are
easily recognized, but it is next to impossible to identify the wares
made at the numerous small establishments. A German wine jug
of the eighteenth century is decorated with a biblical scene, Juda
and Tamar, in colors. The title of the subject is frequently found
on these jugs, scratched beneath the handle in fine, sometimes
microscopic lettering (see No. 41).
One of the most interesting pieces in the Museum, of uncertain
provenance, is a soup tureen with heavy yellow enamel ground
and overglaze decorations of sprays of flowers in natural colors.
The handles are in the form of a boar's head.
SWEDEN.
There were three important centres of faience manufacture in
Sweden during the eighteenth century, Stockholm, Marieberg and
Stralsund. The products of these places are characterized by ap
plied ornaments, such as flowers and figures, in high relief, and
polychrome decorations, in which the purples predominate, rang
ing from violet to a purplish black. A characteristic form of vase
is represented as rising from a mound, or ruins of a tower, fre
quently having modeled figures grouped around the base in bold
relief. Many of these vases will be found in public collections.
STOCKHOLM AND RORSTRAND.
The early productions of Stockholm, from 1726 to 1759, were
principally imitations of Oriental and Dutch wares, usually
painted in a rather pale blue camaieu, on a bluish enamel, some
times relieved with border designs in white enamel. A plate of
this period, in the Museum collection, is ornamented with a cen
tral device of a five-pointed star with long rays, in blue camaieu,
and a sopra-bianco margin, consisting of a fruit and flower design
in white enamel. Around the ledge is a narrow blue band in
Chinese style. On the base is the date mark (1759) and the ini
tials of the decorator, "K. I." in blue (see No. 43). This fabric
presents a totally different appearance from that of the other
Swedish factories, resembling more closely the Delft ware of Hol
land in coloring and general effect.
From 1760 to about 1783, known as the second period, when
competition set in, the Stockholm factory became the Rorstrand

42. Tin Enameled Vase (17% inches in height).
Purple Decoration ; Relief Ornaments. Stralsund, Sweden, Eighteenth Century.
Museum No. '82-309.

43. Tin Enameled Plate (8% inches).
Blue Camaieu Decoration ; Bianco-Sopra-Bianco Border. Stockholm, Sweden, 1759.
Museum No. '82-754.

44, 45. Tin Enameled Boxes (7% inches in length).
Polychrome Decoration. Marieburg, Sweden, Eighteenth Century.
Museum Nos. '99-7:'.8, 739.

46. Tin Enameled Platter (35 inches in length).
Purple Decoration; View of Drottningholm. Marieburg, Sweden, Eighteenth Century.
Museum No. '99-475.

33
works. The mark is the name " Rorstrand,' ' with the date of manu
facture.
MARIEBERG.
The Marieberg factory was established about 1750, and the manu
facture ceased about the year 1780. In the Museum collection
is a pair of covered dishes, or boxes, the lid of one being sur
mounted by modeled figures of a boy and goat, and that of the
other by a girl and dog. These bear the Marieberg mark, three
crowns over the letters " M. B. " (see Nos. 44 and 45).
A superb platter, thirty-five inches in length, with walls an inch
in thickness, shows a well-painted view of Drottningholm in pur
ple (No. 46). STRALSUND.
The manufactory at Stralsund was in operation before the mid
dle of the eighteenth century, continuing until about 1786. A
large vase, in the Museum collection, made at Stralsund in 1769,
has a perforated cover and is decorated with landscapes and ruins
of buildings painted lightly in purple. Draped around the sides
are festoons of flowers and leaves in bold relief. At the base a boy
and dog are modeled in the foreground (see No. 42). The mark
consists of the arms of the town, a crown on the point of three
radiating lines, together with the initial of the director of the fac
tory and figures representing the date. Stralsund passed into the
possession of Prussia in 1815.
DENMARK.
A manufactory of stanniferous faience was founded by Jean
Buchwald at Kiel, Denmark, previous to 1760. The body of this
ware is exceedingly soft, and where the enamel is thin it shows a
pinkish tint. The decorations are usually in the style of the Stras
burg faience, although the modeling strongly suggests the Swedish
influence. A small covered cream jug, with bar handle and three
feet, in the Pennsylvania Museum, is marked "Kiel" above the
letter " T," the initial of Taennich, who was director of the factory
about 1765 (see No. 47). Abraham Leihamer was one of the prin
cipal decorators, and his name is sometimes found on early pieces
produced at this factory. Kiel passed into the possession of
Prussia in 1866.

34

BELGIUM.
The most important faience manufacturing centre in Belgium
was Luxembourg. Here, in 1767, the Boch Brothers established
a factory, where many varieties of pottery and porcelain have
been made down to the present time. In the latter part of the
eighteenth century and early part of the nineteenth, stanniferous
faience was produced extensively. A jug in the Museum collec
tion is covered with a ground of dark blue enamel with a white
panel in front, on which is a transfer printed engraving in black
with the inscription: Dans Vermandois infanterie.
On avait sa tente !
This was evidently produced after the Revolution, probably about
1810. The jug has a small lip and a pewter cover. A similar jug
with deep blue ground has a reserve panel in white, in which is
painted in colors the figure of a man with a barrel organ. This
piece belongs to the latter half of the eighteenth century (see No.
48). The mark of this firm, used before the Revolution, was the mono
gram L. B. At a later date an impressed mark was used con
sisting of a circle containing the words " Boch a Luxembourg "
surrounding a central numeral.
HUNGARY.
In the eighteenth century there was a manufactory of stannif
erous faience at Holitsch, Hungary, where plates and dishes of
various forms, and vases, were made and decorated in imitation of
the wares of Marseilles and Montpellier. A very characteristic
style of decoration used there consists of a solid yellow ground,
with medallions reserved in white, on which are painted flowers,
landscapes and Chinese figures, in polychrome. These medallions
are circular, fan shaped, or of other forms, and are applied to
round, triangular and lobed dishes of various designs. The en
amel is heavy and thick, of a deep, rich yellow (in the Montpellier
style), covering both sides of dishes. Two plates, in the Museum
collection, are of circular form, an inch and a half in depth, one
marked with the letter H and the other with the initials H. I. (see

47. Tin Enameled Ceeam Jug (3% inches in height).
Polychrome Decoration. Kiel, Denmark, 1765.
Museum No. '82-1372.

48. Tin Enameled Jug (9% inches in height).
Polychrome Decoration, on Dark Blue Ground. Luxembourg, Belgium, about 1780.
Museum No. '05-441.

49, 50. Tin Enameled Plates (9^ inches).
Polychrome Decorations, Yellow Borders. Holitsch, Hungary, Eighteenth Century.
Museum Nos. '82-476, 477.

35
49 and 50). The painting is slightly in relief, like that of the
faience of Marseilles.
In the collection of Mrs. John Harrison, Philadelphia, is a tri
angular dish with the characteristic orange ground and poly
chrome medallions in the Chinese style. This piece bears the
mark H. H.
Mr. Solon figures, in his French Faience, a covered dish of Aprey
ware which is similarly decorated, the painted white medallions
being in a red ground.
THE UNITED STATES.
Stanniferous faience has never been made in the United States,
except in an experimental way. The blue Delft ware of Holland
has been imitated to some extent at certain potteries, but instead
of tin enamel the ordinary transparent glazes have been used. A
common grade of white pottery covered with colored glazes, under
the trade name of "Majolica," has been produced extensively at
several establishments, particularly the New York City Pottery of
James Carr, the Mayer pottery in Trenton, and the pottery at
Phcenixville, Pa., but this possesses none of the characteristics of
the old Italian faience.
The nearest approach to tin-enameled ware in this country is a
variety of earthenware made a half century or more ago at the
Bell pottery, Strasburg, Va., which is glazed with pewter, and con
sequently contains a small percentage of tin. This ware, how
ever, was only produced in a limited way. A large water jar, with
cover and stand, recently added to the Museum collection, shows
a pewter glaze over a coating of white slip. The handles consist
of moulded lions' heads, and on the front is a relief figure of Daniel
wrestling with two lions. This piece was made by Solomon Bell
about the year 1842.
We have been shown examples of tin-enameled pottery, which
were claimed by their owners to be specimens of "the first ware
ever made in Trenton," but these have invariably proved to be
pieces of ordinary Dutch Delft of the latter part of the eighteenth
century. If such ware was ever produced in this country, the
first piece has yet to be recognized.

Recapitulation of Principal Features of Tin Enameled Pottery.

Countries.

Italy  \
Spain  j
Mexico 
Holland 
England 

France 
Nevers..Rouen..

Moustiers..

Strasburg..

Marseilles..

Niderviller .
Sceaux 

St. Amand.
Germany 
Sweden 
Denmark 

Belgium...Hungary-

Body.

Medium softnes

Medium hardness and
pinkish tint.

Soft, easily cut
knife.

with

Harder, less e
scratched with
pinkish tint
enamel Is thin.

asily
point ;
where

Medium softness (ex
cepting Nevers, which
is harder).

Enamel.

White ; the Italian ware covered
with a thin coating of lead
glaze ; frequently with metallic
lustre.
Heavy, irregular ; no lead glaze,

White or tinted ; no lead glaze.

White; thin coating of lead
glaze.

White or tinted ; no lead glaze.

Decoration.

Incorporated in the enamel (un
derglaze). Blue, yellow and
green predominating.
Crudely painted in raised blue or
polychrome.

Incorporated in the enamel (un
derglaze). Polychrome paint
ings, sometimes with gold. Blue
predominating.
Painted between the fired enamel
and lead glaze, or transfer
printed. Blue predominating.
Bristol often with bianco-sopra
bianco traceries.

Italian and Persian styles. In
corporated in the enamel (un
derglaze). No red.
Lambrequins, armorial, cornuco
pia and quiver. Incorporated
m the enamel (underglaze).
Blue and red predominating.
Minute figures, grotesque style, in
camaieu and polychrome. In
corporated in the enamel (un
derglaze).
Polychrome paintings, frequently
with fine black outlines, occa
sionally gold on the enamel
(overglaze).
Colors in slight relief on the en
amel.
Imitation of wood-graining, etc.
Cupids and flowers, painted ore
the enamel, often with gold.
Bianco-sopra-bianco or raised
white traceries.
Purple and blue predominating.
Frequently mottled grounds.
Purple predominating. Relief
flowers and figures.
Swedish style.
Dark blue ground. Painted and
printed panels. Sprays of flow
ers on white.
Solid yellow ground, reserved
medallions, often in Marseilles
style.

Shapes.

Drug jars, vases, plates, plaques
salt cellars, etc.
Similar to above.

Covered jars, vases, tiles, dishes
figures, etc.

Caudle urns, posset pots, puzzle
mugs, plates, punch bowls,
tiles, etc.

Tureens, vases, plates, platters,
figures, etc. ; modeled feet,
handles and lids.

Tureens, mugs, wine jugs, plates,
plaques, figures, etc.
Vases, plates, figures, jugs, etc.
Milk jugs, etc.
Mugs, etc.
Plates, dishes, trays.

Mares.

Names of Fabriques crudely
painted with brush ; arbitrary
signs, monograms and dates.
Frequently unmarked.
Unmarked.

Initials and names of makers;
symbols of factories ; often un
marked.
Rarely marked.

Names and initials of makers
and factories.

Names and initials of makers
and factories.
Names or initials of factories and
dates.
Name of place and initials of
painters.
Names of place and makers.

Initials ; H in combination with
other letters.

INDEX.

a la come decoration, 26
Amorini, 9
Andreoli, Giorgio, 10
Aprey, 35
Apt, 30
Ardus, 27
a reverbero lustre, 10
Auxerre, 25
Bayreuth, 30
Beacon mark, 11
Belgium, 34
Bell Pottery, Virginia, 35
Bellevue, 30
Beyerle, Baron de, 28, 29
Biblical scenes, 8, 9, 32
Boch Brothers, 34
Bordeaux, 30
Braunschweig, 31
Brislington, 22
Bristol, 20, 21
Bristol glass, 20
Broderie pattern, 25, 26
Brouwer, potter, 18
Buchwald, Jean, 33
Caffagiolo, 10
Caudle urns, 20
Camaieu, 23
Cangiante lustre, 10
Carr, James, 35
Cassel, 31
Castel Durante, 9
Clerissy, Pierre, 26
Clermont-Ferrand, 27
Coperta, 6
Corne, a la, 24, 26
Cornucopia pattern, 26
Custine, Count de, 29
Cyme, Paul Louis, 29
Decoration, a la corne, 26
bryony leaves, 12
camaieu, 23
cornucopia, 26
gilding, 27, 29
green scars on back, 28
grisaille, 24
heraldic, 26

Decoration, istoriato, 10
outlined in black, 27
patriotique, 25
Persian, 24, 25
quiver, 26
raised enamel, 15
raised painting, 28
Delft, 16-22
Denmark, 33
Dijon, 25
Diruta, 11
Dutch potters, 16-18
Eckernforde, 31
Edkins, Michael, 20, 21
Enamel defined, 5
England, 19-22
Essex Institute, Salem, Mass., 21
Fabrica de Sto. Antonio, 13
Faenza, 8, 9, 25
Faience Patriotique, 25
Forms of maiolica vessels, 6, 7
France, 23
Frankel and Schreck, 31
Frankenthal, 31
Frankfurt-am-Main, 31
Fulda, 31
Genoa, 11
Germany, 30-32
Gien, 26
Glass, Bristol, 20
Glaze defined, 5
Grauer, Dr., 31
Grisaille, 24
Gubbio, 10
Gubbio lustres, 10, 11
Hanau, 31
Hannong, 27
Heraldic patterns, 26
Hispano-Moresque ware, 5, 12
Hochst, 31
Holitsch, 34
Holland, 16-19
Huibrecht, potter, 18
Hungary, 34

38

Istoriato style, 10
Italy, 8-13
Kellinghusen, 31
Kiel, S3
Knbller, 31
Kordenbusch, Georg Friedrich, 31
Kunersberg, 31
La Forest, 25
Lambeth, 20
Lambrequins style, 25
La Eochelle, 30
Leihamer, Abraham, 33
Lille, 26
Liverpool, 21
Luca della Robbia, 6
Luneville, 28, 29
Lustre, a reverbero, 10
cangiante, 10
Gubbio, 10, 11
madreperla, 10, 11
rubino, 10
Lustres, 6, 12
Luxembourg, 34
Madreperla lustre, 10, 11
Maestro Giorgio, 10
Maiolica defined, 5, 6
Majorca, 6
Malaga, 12, 13
Marieberg, 33
Marseilles, 28, 34, 35
Marzacotto, 6, 23
Mayer Pottery, Trenton, 35
Meillonas, 25
Mexico, 14-16
Mezza-Maiolica defined, 12
Moller, decorator, 31
Montauban, 27
Montpellier, 30, 34
Moustiers, 26, 27
Moustiers, School of, 24, 26
Miinden, 31
Nevers, 25
Nevers, School of, 24
New York City Pottery, 35
Niderviller, 28, 29
Nimes, 30
Nurnberg, 31
Olerys, 26
Orleans, 30
O. L., monogram, 27
Paris, 30
Persian style, 24, 25
Perrin, Veuve, 28

r PSSLfO 1 1
Pfeiffer, Job.. Georg, 31
Phoenixville, Pa., Pottery, 35
P. O. L., monogram, 27
Portugal, 13
Posset pots, 20
Processes, 6
Puebla, Mexico, 14
Puzzle jugs, 20
Quimper, 26
Quiver pattern, 26
Bennes, 30
Robert, J. Gaspard, 28
Rorstrand, 32, 33
Rouen, 25, 26
Rouen, School of, 24
Rubino lustre, 10
Saint-Amand-les-Eaux, 21, 30
Savona, 11
Savy, Honored, 28
Samadet, 30
Sauvage, Charles, 29
Sceaux, 28, 29
Schleswig, 31
Schreck and Frankel, 31
Sinceny, 26
Spain, 12, 13
Speaking pottery, 25
S. P. Q. F., 11
S. P. Q. R, 9, 10
Staffordshire, 22
Stanniferous faience defined, 5
St. Clement, 28, 29
St. Cloud, 26
St. Omer, 30
Sto. Antonio, 13
Stockelsdorff, 31
Stockholm, 32
Stralsund, 33
Strasburg, Va., 35
Strasburg, 27
Strasburg, School of, 24
Styles of French faience, 23
Styles of maiolica decoration, 7
Sweden, 32, 33
Taennich, 33
Talavera, 12, 13
Talavera ware, 14-16
Tin mines of Mexico, 15.
Tower and beacon mark, 11
United States, 35
Urbino, 9, 10, 25
Valencia, 12, 13

39

Van der Does, W., potter, 19
Van der Strom, P., potter, 19
Varages, 27
Ventosa, Senor Enrico, 14
Verberg, P., potter, 18

V. P., monogram, 28
Wadsworth Athenaeum, Hartford, Ct.,
21 22
! Wincanton, 21, 22