File:English porcelain - a handbook to the china made in England during the eighteenth century as illustrated by specimens in the national collections (1894) (14590392109).jpg

Identifier: englishporcelain00chur_0 (find matches)
Title: English porcelain : a handbook to the china made in England during the eighteenth century as illustrated by specimens in the national collections
Year: 1894 (1890s)
Authors: Church, A. H. (Arthur Herbert), 1834-1915 South Kensington Museum
Subjects: Pottery, English
Publisher: London : Chapman and Hall
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute

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ut being flat and monotonous. Five of these hues are wellknown—a deep or mazarine blue, sometimes gros bleu,1 some-times powdered, and sometimes marked with the salmon-scalepattern; a fine turquoise blue; a pea or camellia leaf green; amaroon, and a canary yellow. On the spaces or panels, reservedin white, exotic or tropical birds and flowers were painted in richcolours, the outlines being pencilled with a firm yet free hand ina darkish tint of grey or brown. The style was a happy meanbetween exact realism and hard conventionalism, shadows andshading being in great measure ignored. When the designs wereinclosed in panels, a framework of gilding in the form of scrollsgenerally bordered the paintings; the gilding, both matt andburnished, especially after the first few years, was rich in substanceand colour. The designs of tropical birds, flowers, and butterflies,were continued to a very late period of the factory; but theexcellence of the enamels, of the drawing, of the touch, did not
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Fig. 29.—WORCESTER : VASE, YELLOW GROUND, PAINTED AND PRINTED.Schreiber Collection. Fig, 30.—WORCESTER : VASE, PAINTED WITH TROPICAL BIRDS*Schreiber Collection. H WORCESTER. 49 last much, if at all, longer than the close of the best period ofthe manufacture, about the year 1783. The opening of thatperiod may be traced, we think, to the engagement in 1768 of anumber of enamel painters from Chelsea. This migration toWorcester of several trained artists was attended with favourableresults; but it of necessity resulted in a certain degree of resem-blance between the productions of Chelsea and Worcester. InWorcester, however, the remnants of the Chinese traditionalornament and form not only modified the style and design im-ported from Chelsea, but restrained the exuberance and bizarreriewhich were so conspicuous in the last few years of that factory.A magnificent vase in the Schreiber collection (Fig. 30) illustratesat once the blue salmon-scale ground, the rich gilt bordering, andthe

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