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1
Some English porcelain is stated by Professor Church to have a hardness equal to that of quartz. See below, ‘Bristol Porcelain.’
2
We have thought it well, once for all, to treat briefly of the scientific aspect of our subject, but those who are not interested in this point of view may pass over the next few pages.
3
I shall return to this point in a later chapter. I lay the more stress on this fact, as it is often stated that the hard and slightly translucent stonewares, such as the Fulham ware of Dwight, which contains as much as eighty per cent. of silica, form one degree of a series of which true porcelain is the next term. The fact is, those who sought to make porcelain by a refinement in the manufacture of stoneware were as much astray as those who started from a fusible glass frit.
4
The china-stone of Cornwall might, in part at least, be claimed as an old volcanic rock, and that used in the Imari district of Japan is distinctly of volcanic origin. Both these rocks, however, consist essentially of a mixture of quartz and felspar.
5
For f
1
Some English porcelain is stated by Professor Church to have a hardness equal to that of quartz. See below, ‘Bristol Porcelain.’
2
We have thought it well, once for all, to treat briefly of the scientific aspect of our subject, but those who are not interested in this point of view may pass over the next few pages.
3
I shall return to this point in a later chapter. I lay the more stress on this fact, as it is often stated that the hard and slightly translucent stonewares, such as the Fulham ware of Dwight, which contains as much as eighty per cent. of silica, form one degree of a series of which true porcelain is the next term. The fact is, those who sought to make porcelain by a refinement in the manufacture of stoneware were as much astray as those who started from a fusible glass frit.
4
The china-stone of Cornwall might, in part at least, be claimed as an old volcanic rock, and that used in the Imari district of Japan is distinctly of volcanic origin. Both these rocks, however, consist essentially of a mixture of quartz and felspar.
5
For further details consult the authorities quoted in the Handbook of the Jermyn Street Collection, p. 5; for sections showing the relation of the beds of kaolin to the surrounding rock, see Brongniart’s Traité des Arts Céramiques, vol. i.
6
It is to the scattered notices and essays of Mr. William Burton that we must go for information in this country. In his new work on English Porcelain he does not treat upon this side of the subject.
7
The most complete work on the processes of manufacture is now Dubreuil’s La Porcelaine, Paris, 1885. It forms part forty-two in Fremy’s Encyclopédie Chimique. This volume brings up to date and replaces in some measure the great work of Alexandre Brongniart, the Traité des Arts Céramiques (two volumes, with a quarto volume of plates), Paris, 1844. M. Georges Vogt in La Porcelaine, Paris, 1893, gives valuable details of the processes employed at Sèvres.
8
The cailloux of the French. This material is often described as felspar, but I think that quartz can seldom be completely absent.
9
I should, however, be inclined to class not only much of the porcelain of Japan, but some of that made in Germany and in south-west France, rather in the ‘severe’ kaolinic than in the intermediary class of M. Vogt.
10
We can, however, distinguish, in the tomb paintings of the Middle Empire, an earlier form without the lower table. This earlier type, moved by hand from the upper table, was that used by the Greeks at least as late as the sixth century B.C., and a similar primitive wheel is still used in India. On later Egyptian monuments of Ptolemaic time, the potter is seen moving the wheel by pressing his foot on a second lower table, as now at Sèvres and elsewhere. Both forms of wheel appear to have been used by the Italian potters of the Renaissance.
11
This seam is often visible on vases of old Chinese porcelain, and may be taken as a sign that the object has been moulded.
12
Porcelain in China followed, as we shall see, in the wake of the more early developed arts of the bronze-caster and the jade-carver. Hence the prevalence in the early wares of shapes unsuitable to the wheel.
13
I think that this is a more practical division than the one made by M. Vogt and adopted by Dr. Bushell.
14
An important exception is to be noted in the case of the firing of large vases in China.
15
A good instance of the first case is the finding of crow-claws in the rubbish-heaps of Fostât or Old Cairo. As to the method of support indicating the place of origin, see what is said below about the celadon ware of Siam.
16
There is only one exception of any importance—the porcelain of Chantilly, much of which has an opaque stanniferous glaze.
17
So we can infer from the magnificent wall decoration of the Achæmenian period brought home from Susa by M. Dieulafoi.
18
A glaze of this nature was in the Saracenic East applied to a layer of fine white slip, which itself formed a coating on the coarse paste. Such a combination, often very difficult to distinguish from a tin enamel, we find on the wall-tiles of Persia and Damascus.
19
Metallic gold has, of course, been applied to the decoration of porcelain in all countries.
20
The colour of the ruby glass in our thirteenth century windows has a very similar origin. In this case the art was lost and only in a measure recovered at a later period. As in the case of the Chinese glaze, the point was to seize the moment when the copper was first reduced and, in a minute state of division, was suspended in floccular masses in the glass.
21
With these colours a dark blue is sometimes associated. Is this derived like the turquoise from copper? It is a curious fact that we have here exactly the same range of colours that we find in the little glass bottles of Phœnician or Egyptian origin, with zig-zag patterns (1500-400 B.C.).
22
See Vogt, La Porcelaine, p. 219. The problem is really more complicated.
