At Rörstrand, near Stockholm (see above, [p. 388]), the work still continues on the lines of the older porcelain of Copenhagen (i.e. in the style in favour ten or twelve years ago), with the same simplicity and charm in the decoration and delicacy in the modelled relief. Perhaps we may attribute to a special quality in the felspar of the north the pure and refined quality so noticeable in the pastes and glazes.
At Rozenburg, continues M. Garnier, a factory already well known for its fayence, a very original kind of porcelain has lately been made. The composition of the paste, though based on kaolin, presents some peculiarities. The ware is of an incredible thinness and lightness, and the strange decoration, based in part upon Japanese motives, is not without charm and originality. The shapes of the vases, however, go too far in the direction of eccentricity. (Cf. [p. 389].)
As at Meissen, so in the porcelain now made in Italy there is a total absence of all personality and novelty, and the old, well-beaten road is still followed. At Florence this is carried so far that the old moulds acquired so many years ago from the Capo di Monte works are still in use. ‘Ce sont des choses,’ says M. Garnier, ‘qui prêtent trop au “truquage” et qu’il faut laisser aux fabricants de vieuxneuf.’
EXPLANATION OF THE MARKS ON THE FOLLOWING PLATES (A. TO E.)
CHINESE MARKS
1. Ta Ming Yung-lo, 1402-1424. Mark of Yung-lo, engraved under the glaze in early seal or ‘tadpole’ characters.
2. Ta Ming Hsuan-te nien chi, 1425-1435.
3. Cheng-hua nien chi, 1464-1487.
4. Ta Ming Cheng-te nien chi, 1505-1521.
5. Ta Ming Kia-Tsing nien chi, 1521-1566.