Porcelain. Dillon Edward
Porcelaines. Paris, 1865.
Tiffen (W. F.): A Chronograph of the Bow, Chelsea, and Derby China Manufactories. Salisbury, 1875.
Turner (W.): The Ceramics of Swansea and Nantgarw. 1897.
Uyeda, Tokunosuke. La Céramique Japonaise. Paris, 1895.
Vernadsky. Molecular Composition of Porcelain. ‘Comptes Rendus,’ 1890, p. 1377.
Vogt (Georges): La Porcelaine. Paris, 1893.
Wallace Collection (Hertford House): Catalogue of Porcelain, etc. 1902.
Walpole (Horace): Ædes Strawberrianæ: Catalogue of the Strawberry Hill Collection. Privately printed, 1784.
Wurtz (Henry): Chemistry and Composition of Porcelain and Porcelain Rocks in Japan. Philadelphia Exhibition Reports, 1877.
Zais (E.): Die Kurmainzische Porzellan-Manufactur zu Höchst. Mainz, 1887.
KEY TO THE BIBLIOGRAPHICAL LIST
America. Barber.
Berlin. Kolbe.
Bibliography. Champfleury, Jaennicke, South Kensington.
Bow. Bemrose, Tiffen.
Bristol. Owen.
Buen Retiro. Riaño.
Capo di Monte. Riccio.
Catalogues. Burlington Fine Arts Club, Bertin, Binns, Franks, Garnier, Schreiber, Walpole, Wallace.
Chantilly. Chantilly, Gasnault, Macon.
Chelsea. Bemrose, Franks, Tiffen.
China. Burlington Fine Arts Club, Bushell, D’Entrecolles, Franks, Griggs, Gulland, Grandidier, Hirth, Hippisley, Julien, Meyer, Monkhouse, Du Sartel.
Coalport. Randall.
Composition and Chemistry. Brongniart, Church, Reeks, Vernadsky.
Continental Porcelain. Brinckmann, Franks, Garnier.
Derby. Bemrose, Haslem, Tiffen.
Doccia. Ginori.
Dresden. See Meissen.
English Porcelain. Alexandra Palace, Burton, Church, Jewitt, Nightingale, Reeks, Solon.
Fürstenberg. Stegmann.
General. Chaffers, Garnier, Jacquemart, Jaennicke, Litchfield, Marryat, Piot, Vogt.
Höchst. Zais.
Japan. Brinkley, Bushell, Bing, Franks, Gonze, Hoffmann, Paris Exhibition, Uyeda, Wurtz.
Korea. Bushell.
Lille. Houdoy.
Manufacture. See Technology.
Marks. Chaffers, Franks, Jaennicke, Ris-Paquot.
Medici. Davillier.
Meissen. Brinckmann, Engelhardt, Grässe, Seidlitz.
Nantgarw. Turner.
Plymouth. Owen.
Repairing. Thiancourt.
Saint-Cloud. Lister, Gasnault.
Saxony. See Meissen.
Sèvres. Bachelier, Davillier, Garnier, Gasnault, Vogt.
Swansea. Turner.
Sweden. Stråle.
Technology. Brongniart, Burton, Bushell, D’Entrecolles, Dubreuil, Julien, Reeks, Salvétat, Vogt, Wurtz.
Tournay. Soil.
Venice. Davillier, Drake.
Vienna. Falke.
Wedgwood. Meteyard.
Worcester. Binns.
LIST OF WORKS ON OTHER SUBJECTS REFERRED TO IN THE TEXT
Borlase. Natural History of Cornwall. Oxford, 1758.
Chardin. Voyages en Perse. Amsterdam, 1686.
Davis (Sir John): The Chinese. 1857.
Gertz. Les Produits de la Nature Chinoise et Japonaise. Yokohama.
Hirth (F.):—
China and the Roman Orient. 1855.
Fremde Einflüsse in der Chinesischen Kunst. Leipsic, 1896.
Chinesische Studien. Munich, 1890.
Lister (Dr. Martin): Journey to Paris. London, 1699.
Polo (Marco):—
Le Livre de M. P. Edited by M. G. Pauthier. Paris, 1865.
The Book of Ser M. P. Edited by H. Yule, 1871.
Paléologue: L’Art Chinois. Paris, 1887.
Plot (Dr.): Natural History of Oxfordshire. Oxford, 1677.
Rein (J. J.): Industries of Japan. 1889.
Richthofen (Ferdinand v.): China. Berlin, 1877.
Yule (H.): Cathay and the Way Thither. 1866.
CHAPTER I
INTRODUCTORY AND SCIENTIFIC
IT is with a comparatively small branch of the art of the potter that we are concerned in this book. Porcelain or china, in all countries except the one where it was slowly brought to perfection, has always remained something of an exotic, and even in China we shall see that it was the immediate Imperial patronage and the constant demand for the court at Pekin that brought about the great development of the art under the present dynasty. In Japan, the first independent country to which the new art spread, it was under the eye of the greater and smaller feudal lords, often in the very garden of their palaces, that the kilns were erected, while the ware produced was reserved for the use of the prince and his household. Both in China and Japan we shall find the decline of the art to go hand in hand with the advance of the demand for the Western market, so that by the beginning of the nineteenth century we lose all interest in the manufacture.
This dependence upon royal or princely support is equally prominent in the history of the shortlived porcelain factories of Europe. Their success or failure has generally followed closely upon the greater or less interest taken in them by the reigning prince, and few of these kilns survived the political changes of the end of the eighteenth century.
No doubt, within the last twenty years or so a certain revival has come about both in the Far East and in certain European countries, and that under totally different conditions from those which prevailed in the eighteenth century. Here and there, at least, the manufacture of porcelain has come within the sphere of the new impulses that have brought about such changes in the ‘Arts and Crafts’ at the end of the nineteenth century.
In its main lines, the history of porcelain is a very simple one. Slowly developed during the Middle Ages in China, the manufacture became concentrated at one spot, at King-te-chen, and there reached its highest development early in the eighteenth century. In Europe, the repeated attempts to produce a similar ware had about the same time been crowned with complete success in Saxony; while in England and in France a ware closely resembling in aspect the Chinese, but softer and more fusible, had been accepted as an equivalent. Speaking generally, then, we can make these three statements with regard to the history of porcelain:—
1. That the art had its origin and complete development in China.
2. That it has seldom flourished except under royal or princely patronage.
3. That porcelain, from the artistic point of view, is essentially a product of the eighteenth century, and that this statement is true in the main as regards the country of its origin,