File:A history and description of the old French faïence, with an account of the revival of faïence painting in France (1903) (14762868501).jpg

Identifier: histdescroldfrn00solo (find matches)
Title: A history and description of the old French faïence, with an account of the revival of faïence painting in France
Year: 1903 (1900s)
Authors: Solon, Louis Marc Emmanuel, 1835-1913 Burton, William, 1863-
Subjects: Pottery Pottery
Publisher: London, New York (etc.) Cassell and Co., ltd.
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute

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ed to Marseilles the white enamel ofMoustiers had lost none of its brilliance and purity; while theshapes to which Savy applied it, his ewers, stands, tureens, andother pieces of table ware, with their gracefully twisted and con-voluted feet and handles, and the dainty groups of fruits andflowers that surmounted their covers, showed an elegance ofdesign altogether unknown to the Moustiers potters. Theartistic tendency of the manufacture has been attributed to thefoundation of an Academy of Arts in the city, and to the facilityit gave to the masters of selecting clever modellers and paintersfrom among the rising artists trained in the school. Savy him-self was an associate of the academy. Savys ware was all decorated over the glaze. He waspartial to the use of a copper green enamel, laid in a flattint over designs traced and shaded with black lines. Apeculiarity of his work is that touches of the same transparent 1^ o 1/2 ■a ^ ^ ^  ?\ L I// V y r
Text Appearing After Image:
I.1TNEVILX.E. Fig. 51.—THE SON of p. p. rubens—figure IN EARTHENWARE, OR FAIENCEFINE. (ATTRIBUTED TO THESCULPTOR CYFFLE).H. 14 in. (See p. 114.) MARSEILLES. 119 green colour are applied over the dry spots left in the stan-niferous enamel by the cockspurs on which the piece restsduring the firing. An official report of the time praises theexcellence of his productions, described as an immensity ofworks of all kinds. In 1777, the Count of Provence, brother to the King, visited,in state, the manufactory of Savy, then one of the glories of theto^n. He was so satisfied with all that was shown to him thathe graciously granted to the manufacturer permission to placethe establishment under his patronage, and to call it henceforth Manufacture de Monsieur, frere du roi. It is said that fromthat moment Savy adopted the fleur-de-lis as his mark ; butthis sign cannot be taken as a sure indication of origin, for itappears on many specimens of faience of an obviously differentprovenance. The fac

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