File:Pottery and porcelain, from early times down to the Philadelphia exhibition of 1876 (1878) (14772817862).jpg

Identifier: potteryporcelain00elli (find matches)
Title: Pottery and porcelain, from early times down to the Philadelphia exhibition of 1876
Year: 1878 (1870s)
Authors: Elliott, Charles Wyllys, 1817-1883
Subjects: Pottery -- History Pottery -- Marks
Publisher: New York, D. Appleton and company
Contributing Library: New York Public Library
Digitizing Sponsor: MSN

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g painted in blue camaieu (in one color), withsubjects—hunting-scenes, escutcheons and armorial bearings, country-scenes, figures of tlie time of Louis XIV., etc. Most of these areassigned to Clerissy. The second style runs from aljout ITOfi to 1745. The specimensof this period are better known to amateurs, and not so rare; they arealso decorated in blue camaieu, with liighly-iinished and gracefully-inter-laced patterns, auKjiig which arc Cupids, satyrs and nym))lis, terminalfigures, garlands of flowers, masks, etc.; and canopies resting on con-soles, or brackets, from which hangs drapery bordered or framed withfoliage and hatched spaces; mythological personages, vases of flowers,and other designs, being frequently introduced ; the centre subjects are FAIEXCF OF MOUSTIERS. u; classical or chamfetre figures in costume of tlie time, sometimes coats-of-arms. Some of the faience of tliis period is painted in cobalt-bluein the Chinese style, which M. Davillier attributes to Pol Roux, and
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==5 I 00 o refers to a similar plate in the Sevres collection bearing the arms of legrand ColhertP In this style there is evidently a following of the mai-olicas of Italy in what is known as the Eaffaelesque ware. But thatwas never, I believe, painted in blue. 148 POTTERY AND POBCELAIK. The third style, running from 1745 to 1789, is almost alwayspainted in polychrome; the colors are blue, brown, yellow, green, andviolet. Garlands of tiowers, fruits, and foliage, are used. Mythologicalsubjects also appear—Cupids, medallions, gods and goddesses, etc. Tothis class apparently belongs our illustration (Fig. 85). Some of theseornamental pieces are well painted, and latterly have been much soughtfor, but they do not rank Mith the work of Nevers or liouen. XX thetime of the French Revolution there was a large industry in pottery atMoustiers—some twelve fabriques being in full activity. Xearly allhave disappeared, and the town has dwindled into one-third its formersize. Strasbourg, or IIag

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