This description may apply rather to a sort of semi or imperfect porcelain of Persian manufacture, as to the reality of which there has been and is much doubt, rather than to the peculiar class of faience of which we have been writing.
As to the porcelain or hard faience of Persia, here and there are to be met with singular examples, which, because of a peculiar style of painting, combined with a certain coarseness or imperfectness of paste, have usually been relegated to the less dexterous potters of Persia. That pottery has been made in Persia, far back in the dimness of the Dark Ages, there seems to be no doubt; just what it was remains a doubt; because even then a sort of commerce, probably by sea and land, existed with China, and thence came porcelains of various qualities and many designs. We are apt to believe that, until our day, there were few “cakes and ale”—little art, or only coarse fabrics. Whereas fine and admirable work of many sorts, and especially in porcelain and pottery, had reached perfection before our European or Western civilization began. Out of China came porcelain to Persia; out of Persia and Phœnicia came pottery to us.
Of the Persian porcelain, or hard pottery, a single example is to be seen in Mr. Avery’s collection, now in the Museum of Art at New York. It was bought at the Vienna Exhibition from Prince Ehtezad-es-Saltenet, uncle to the Shah of Persia, and we may suppose it, therefore, to have about it the true flavor of genuineness. It is a bowl of rather coarse ware, approaching to the hardness, if not the translucency, of porcelain; it is painted with blue of a common color, and with a not very interesting design; and is valuable as an example of the probable work of Persian potters.
But there exist many pieces of pottery besides these, which have usually been called Persian because of their peculiarities of design and of coloring. Some of these approach closely to the work already designated as Rhodian or Damascene. In the upper plate of Fig. 62, from Mr. Prime’s collection, is shown one of these, which the owner is inclined to believe may be Persian and not Rhodian. So also the painted faience egg ([Fig. 62]), obtained by him from a lamp in a mosque of the Holy Land. The face and the coloring do certainly impress one with a Persian faith, though it may not be easy to explain the reason why.
In my possession is a sweetmeat-pot covered with an “engobe” or “slip,” upon which are boldly painted in colors flowers and leaves; these last are peculiar in shape, and are by some believed to be Persian work—I doubt it, but it is possible.
We have a few words to say of the Persian or Arabic Tiles. These have been found inlaid upon the walls of mosques and palaces and tombs in Damascus, in Cairo, in Ispahan. As far back as the palmy days of Babylon and Assyria, these enameled or glazed bricks or tiles were used to decorate the walls of their buildings; and that is about all we know. These bricks remain; for, of all the works of man, the brick is seemingly imperishable.
It is also certain that upon some of these bricks or tiles is found a glaze or enamel made with the use of tin; so that what is now called stanniferous enamel was known at that early day, and long before it was used in Italy by Luca della Robbia, who at one time was supposed to have invented it.
The example here given ([Fig. 63]) is a very beautiful plaque, made up of many pieces, and is remarkable for the splendor of its color, rather than for any perfectness of design. It is interesting, however, as showing the dresses of the cavaliers of the Persian court.