Porcelain

by Edward Dillon

[A], [B], [C], [D], [E], [F], [G], [H], [I], [J], [K], [L], [M], [N], [O], [P], [Q], [R], [S], [T], [U], [V], [W], [Y], [Z]

‘Aging’ of clay, [19-20]
Alcora, attempts to make porcelain at, [324]
‘Alumina’ Company at Copenhagen, [388]
Alumina, proportion of, in hard pastes, [7], [385]
Amiot, Père, sends china from Pekin, [52] note, [298] note
Amoy, export of porcelain from, [127], [142]
—— stoneware made near, [166]
Annam, porcelain made in, [175]
Arab trade with China, [209]
—— traders, Chinese porcelain distributed by, 2[10] seq.
—— writers on Chinese porcelain, [60], [209-217]
Arabian Nights, Martabani ware mentioned, [216]
Arabic inscriptions on Chinese porcelain, [94]
Aranjuez, porcelain gabineto at, [323]
Arita, porcelain district of Japan, [181-182], [193]
Armorial china, [164], [253], [369]
—— —— decorated at Canton, [114], [164]
Arras, porcelain made at, [289]
Arrow-holders in Chinese porcelain, [139]
Assyrian and Babylonian glazes, [33]
Augustus the Strong, collects Chinese porcelain, [159]
—— —— his collection of porcelain, [227]
—— —— porcelain in exchange for dragoons, [228]
—— —— his taste as a collector, [244-245]
Augustus the Strong, his ambition to imitate Oriental porcelain, [245]
Bachelier, art inspector at Sèvres, [291]
—— his memoir on the Sèvres works, [290]
—— quoted, [294], [295], [296], [301]
Bacon, John, modeller at Bow, [348]
Barbin at Mennecy, [287]
Barbotine, or slip, [19], [312]
Batavian porcelain, [102]
—— —— term how used, [223]
Baxter, family of enamellers, [362-363], [369]
Belleek porcelain, [374]
Bemrose, Mr., on Derby porcelain, [350]
Berlin, Meissen staff removed to, [262]
—— Wegeli’s earlier porcelain, [262]
—— contemporary porcelain, [389], [391]
—— porcelain and Frederick the Great, [262]
—— —— methods of sale, [263]
—— —— marks on, [264]
Bertin, the French minister, his Chinese porcelain, [52] note, [298] note
Billingsley, W., [366], [367-368], [371]
Bing and Gröndhal factory at Copenhagen, [388], [393]
Binns, Mr., documents relating to English porcelain, [357], [358]
Biscuit oven, [27]
Bismuth used in glaze, [374], [388], [390]
Black glazes on Chinese porcelain, [149]
Bloor, Robert, at Derby, [356]
‘Blue and white,’ origin of Chinese, [75], [156]
—— —— of Ming period, [81-85], [157]
—— —— how distinguished, [83]
—— —— of Wan-li period, [95], [157]
—— —— Chinese name for, [155]
—— —— Chinese porcelain, [155-160]
—— —— earliest Chinese, [156]
—— —— origin of Chinese, [156]
—— —— Chinese porcelain, with hatched lines, [160]
Blue decoration sous couverte, [43]
—— enamel, difficulty of successful application, [99] note
—— —— used with famille verte, [101]
Boccaro ware, made in China, [166]
—— —— imitated by Böttger, [247]
Bohemia, Northern, contemporary porcelain, [392]
Bondy, Rue de, Paris, factory at, [313]
Bone, Henry, employed at Bristol, [381]
—— —— paints on slabs of porcelain, [381]
Bone-ash in English porcelain, [329], [330], [338], [343], [372-373]
Borneo, Chinese porcelain found in, [156], [209-210]
—— Chinese trade with, [209]
Böttger, his life, [246-248]
—— as an alchemist, [246], [248]
—— his porcelain at the Leipsic Fair, [247], [249]
—— compared with other great potters, [250]
—— assistance from Dutch potters, [250] note
—— the number of his experiments with enamels and glazes, [252]
Böttger-ware, polished, [248]
—— with enamel colours, [249]
—— with brown glaze, [249]
Boucher, his models used at Sèvres, [296]
Bourbon, Duc de, and Chantilly, [286]
Bow, fragments of porcelain found at, [343]
—— nature of porcelain there made, [344-345]
—— Craft’s punch-bowl, [345-346]
—— marks on porcelain, [348]
—— factory, origin of, [342]
—— —— bought by Duesbury, [352]
—— porcelain, [342-348]
Brameld, Thomas, and Rockingham porcelain, [372]
Brancas Lauraguais, experiments with kaolin, [305], [313], [378], [379]
Brinkley, Captain, on Japanese ceramics, [194]
—— —— quoted, [196]
Bristol porcelain, [379-386]
—— —— marks on, [380]
—— —— colours on statuettes, [381-382]
—— —— medallions with floral wreaths, [382]
—— —— ‘cottage china,’ [382]
—— —— glaze on, [382]
—— —— hardness of paste, [384]
—— —— great infusibility, [384]
—— —— composition, [384]
—— —— plasticity of clay, [384]
British Museum, Oriental porcelain in, [53]
Brongniart, director at Sèvres, [303]
—— sells stock of undecorated Sèvres soft paste, [304]
—— introduces severe type of paste, [307]
—— his influence at Sèvres, [308-309]
Bronzes, early Chinese, influence of shapes on porcelain, [57]
Brown glazes of Chinese, [74] note
Brühl, Count, armorial china for, [253]
Brunswick, Duke of, and Fürstenberg porcelain, [265]
Buen Retiro, Madrid, porcelain factory at, [322-324]
Buonicelli, director at Buen Retiro, [323]
Burke at Bristol, [383]
Burleigh House, early Chinese porcelain formerly at, [85], [222]
Bushell, Dr., work on Chinese porcelain, [15], [54], [91], [153]
—— translations from Chinese works on Korea, [171]
—— manuscript, [61]
—— —— quoted, [86], [138]
Cailloux in French porcelain, [16]
Canton, early Arab trade, [209]
—— enamellers on porcelain, [108], [114], [164], [165]
Capo di Monte, Naples, porcelain factory at, [318-320]
Capo di Monte factory removed to Portici, [320]
Carlos, Don, at Naples, makes porcelain, [319]
—— —— now Charles iii. of Spain, carries his workmen to Buen Retiro, [319]
Cassettes. See Seggars.
Casting, process described, [25], [354]
—— used for Derby statuettes, [354]
Catherine ii., her Sèvres dinner-service, [298]
Caughley porcelain, [365]
Celadon glazes, [42]
—— word used in restricted sense, [64]
—— of Sung dynasty, [63-65], [132], [144]
—— origin of term, [64] note
—— early examples in European collections, [71]
—— later Chinese ware, [145]
—— made in Siam, [173], [212] note
—— Japanese, [192], [195], [197]
—— old pieces in Japan, [178], [201]
—— (martabani) in Persia, [215]
—— earliest specimen at Oxford, [218]
Censors, influence of, on Chinese arts, [74]
Ch’ai yao, early Chinese ware, [62]
Chambrelans or chamberers, term explained, [303]
Champion, R., [375], [377], [379], [382-383]
Chang, the elder and younger brothers, [65]
Cha-no-yu, Japanese tea ceremony, [178]
Chantilly, porcelain made at, [285-287]
—— sprig pattern, [286]
—— marks on porcelain, [287]
Chao Ju-kua, his report on early Chinese trade, [210]
Chardin on porcelain in Persia, [215]
Charlottenburg factory, [389], [391]
Chelsea-Derby porcelain, [341], [352-355]
—— —— marks on, [352]
—— —— new forms introduced, [352-353]
—— —— statuettes made by ‘casting,’ [354]
Chelsea factory, site of, [335]
—— —— end of, [341]
—— porcelain, [331-342]
Chelsea porcelain, an early ware, [332]
—— —— marks on earliest pieces, [332]
—— —— Japanese wares imitated, [336]
—— —— sales of, [337], [341]
—— —— claret colour on, [338], [340]
—— —— use of gold on, [338]
—— —— rococo forms, [339]
—— —— turquoise on, [339]
—— —— statuettes, [340]
—— —— models of birds and fruit, [340]
—— —— marks on, [342]
Cheng-hua (1464-87), use of date-mark, [82]
—— enamelled ware, [86]
—— porcelain of, [93]
Cheng-tai enamels on copper, [88], [93]
Cheng-te (1505-21), porcelain of, [94]
Cheng-tung (1435-49), double date-mark, [93]
Cheyne Row called China Row, [333]
‘Chicken cups’ of Cheng-hua, [93]
Chicoineau family, [240], [282], [284], [288]
Chimie, in French soft pastes, [280]
China collecting, ridicule attached to, [61], [243]
—— origin of English term, [222]
—— clay. See Kaolin.
—— stone (see also Petuntse), [9], [10]
—— —— preparation of, [16]
Chinese characters, varieties of, [117-118]
—— porcelain exported to different countries, [50]
—— —— influence of old traditions, [51]
—— —— mistakes in early classification, [52]
—— —— late origin compared to other arts, [56]
—— —— survival of old types, [58]
—— —— classification of, [58], [141]
—— —— old native accounts of, [60]
—— —— composition of early wares, [69]
—— —— plain white ware, [141-144]
—— —— unglazed ware, [144]
—— stonewares, [165-167]
—— trade with the West, [209] seq.
Ching (blue), Julien’s wrong use of word, [64] note
Ching-tsu, Chinese term for celadon, [64]
Chini, Persian word for china or porcelain, [49] note, [222]
Christian subjects on Chinese and Japanese porcelain, [133], [182]
Chromium, as a source of green, [304], [309]
Chün yao, early Chinese ware, [65], [152]
—— —— numbers engraved on, [66]
Church Gresley porcelain, [371]
Church, Prof., on composition of porcelain, [5], [69], [241], [338], [343], [370], [384]
Ciron, Ciquaire, at Chantilly, [285]
‘Clair-de-lune’ glaze (yueh-pai), [105], [148]
Clignancourt, Paris, factory at, [313]
Cloisonné enamels on Japanese porcelain, [203]
Coalport or Coalbrookdale porcelain, [366]
Cobalt blue, sources of that used by Chinese, [40], [75] note, [92]
—— —— how prepared by Chinese, [130]
—— —— grounds of Chinese, [148]
Coloured pastes, [40], [311]
Colours used in decoration of porcelain (see also Enamels), [39]
—— resistance to fire, [41]
Condé, house of, and Chantilly, [285-287]
Constantin, painter on porcelain, [271]
Contemporary porcelain, [387-394]
—— —— use of new colours and glazes, [389-390]
Cookworthy, William, [375-380]
—— —— search for china-clay, [376-377]
Copenhagen, porcelain made at, [274]
—— contemporary work, [388], [393]
—— Japanese influence, [388]
Copper-red under glaze, [80], [130]
—— —— examples in British Museum, [81]
—— —— of Hsuan-te, [92]
Copper-red glazes on Chinese porcelain, [150-154]
Coral-red grounds on Chinese porcelain, [115]
Cornflower or barbeau on porcelain, [313], [355]
Cornwall, search for materials for porcelain, [359], [376-378]
Cottage china made at Bristol, [382]
Courtille, La, Paris, factory at, [313]
Couverte, French term for glaze, [31]
Cozzi, makes porcelain at Venice, [317]
Crackle ware, old Chinese (Ko yao), [65]
—— —— Chinese, varieties of, [45]
—— —— glazes of, [145]
—— —— equivalent to Ko yao, [145]
—— —— Korean, [171]
Craft, Thomas, his punch-bowl, [345-346]
‘Crazing’ of glazes, [32]
‘Crow-claws,’ term explained, [29]
—— marks of, on Japanese porcelain, [191]
‘Crusader’s Cup’ at Dresden, [77], [152], [217]
Danish porcelain, [273], [388], [393]
Darwin, Dr., letter to Wedgwood, [378]
Date-marks on Chinese porcelain, [82]
—— —— method of reckoning, [91] note
—— —— cyclical, [110] note
—— —— two systems, [118]
—— —— how written, [118]
—— —— earliest example, [119]
—— —— those of Kang-he rare, [119]
—— —— on Sèvres porcelain, [302]
Dauphin, collector of Oriental porcelain, [230]
Decoration of porcelain, Tang-ying’s principles, [112]
Dégourdi, Feu, term explained, [26]
Delft ware, early imitations of Chinese porcelain in, [224]
—— —— competition with Chinese porcelain, [234]
—— —— in England, [240]
Demi grand feu, term explained, [59]
—— —— glazes of, [98]
—— —— ware of, [79], [106]
Derby biscuit, or bisque, [353-354]
—— porcelain, [350-357]
—— —— little known of early period, [351]
—— —— sold in London, [351]
—— —— degenerate patterns, [355]
—— —— ‘old Japan’ copied, [355]
—— —— marks on, [356]
Dietrich, ‘professor of painting’ at Meissen, [256]
Dillwyn, L. W., at Swansea, [367-368]
Doccia, near Florence, porcelain factory at, [320-322]
—— Chinese white ware and Capo di Monte porcelain imitated, [321]
—— contemporary work, [394]
Dresden, Chinese porcelain at, [161]
—— Ethnographical Museum, Chinese porcelain from various lands, [211]
—— Oriental porcelain presented by Grand Duke of Tuscany, [228]
—— collection of porcelain, [227], [245]
—— approximate date of bulk of specimens, [228]
—— porcelain. See Meissen porcelain.
Duesbury, William, [341], [342], [349], [350-352], [356]
—— and Longton Hall, [349]
Duesbury’s work-book, quotations from, [350-351]
Duplessis, the king’s goldsmith, at Sèvres, [291], [296]
Dutch dealers supply Augustus of Saxony with porcelain, [228]
—— painters, Chinese porcelain in their pictures, [159]
—— trade with China, [220]
—— —— with Japan, [183-184]
Dwight, Dr., attempts to make porcelain at Fulham, [240-241]
—— —— nature of the paste made by him, [241]
—— Lydia, stoneware figure of, [242]
Earthenware, term used to include porcelain, [334] note
Egg-shell porcelain, [107]
Egypt, Chinese porcelain found in, [158], [211], [212], [215], [216]
Egyptian fayence and glazes, [33]
Eisen-porzellan of Böttger, [248]
Empress-Dowager of China a connoisseur of porcelain, [115-116]
Enamel colours on Meissen porcelain, [251-252]
Enamelled fayence compared with porcelain, [73]
—— porcelain, Saracenic origin of, [87], [88]
Enamelled porcelain of Ming dynasty, [86-91], [161]
—— —— three classes, [90]
Enamels, always superimposed on glaze, [31]
—— relation to subjacent glaze, [45]
—— on European porcelain, [45]
—— on Chinese porcelain, [45-48]
—— on Japanese porcelain, [192]
—— firing of, [46]
—— new sources of colour, [48]
—— —— at Sèvres, [309]
—— on copper, influence on porcelain enamels, [88]
Encastage, term explained, [28]
England, how Chinese porcelain first reached, [219], [221], [223]
—— early attempts to make porcelain in, [240-242]
English porcelain, rival influence of Sèvres and Dresden, [328]
—— —— copies Oriental and Continental models, [328]
—— —— three types of soft-paste, [330]
—— —— royal patronage, [329], [335], [356]
—— —— divided into five periods, [331]
—— —— contemporary work, [390-391]
—— trade with East, [221]
Engobe. See Slip.
D’Entrecolles, Père, his letters, how written, [126]
—— —— reception of letters in Europe, [126]
—— —— summary of letters, [127-136]
European enamelling on white Chinese porcelain, [165]
—— influence on Chinese porcelain, [109], [135], [159], [162]
—— market, Chinese porcelain for, [163-164]
—— porcelain, early attempts at manufacture, [235-243]
Façonnage, or shaping, [20]
Falconet, his models used at Sèvres, [296]
Famille rose, [106-110]
—— —— European influence on painting, [109]
Famille verte, [98-102]
—— —— with black ground, [100]
—— —— relation to Ming enamels, [100]
Favorite, La, near Baden, porcelain cabinet, [227]
Fawkner, Sir Everard, and Chelsea porcelain, [335-337]
Fayence, enamelled, competition with porcelain in seventeenth century, [233]
—— —— practical disadvantages of, [234]
Felspar, [9], [10]
—— decomposition of, [10]
—— how far equivalent to china-stone, [16] note, [251]
—— pure, used in Danish and Swedish porcelain, [388], [393]
Feng Ting ware, white Chinese porcelain, [68], [142]
Firing of porcelain, chemical reaction, [11]
—— —— systems described, [26], [191]
—— —— at King-te-chen, [133]
Fischer, Herr, at Herend, [271], [392]
Flambé glazes, [42]
—— —— on Chinese porcelain, [152]
—— —— firing of, [152], [153]

—— —— how painted on, [153]
—— ware, early type, [66]
Florence, porcelain made in sixteenth century. See Medici.
Flour-spar used in glaze at Fürstenberg, [265]
Flowers in porcelain at Meissen, [254], [293] note
—— —— at Vincennes, [293]
Fond laque on Chinese porcelain, [102]
—— —— much found in Persia, [147]
Forms of Chinese porcelain, [137-141]
—— of Japanese porcelain, [192]
Fostât rubbish-heaps, fragment of Chinese porcelain found in, [216]
Fouliang, Annals of, [127]
France, early collectors of Oriental porcelain in, [229-231]
Francesco, Grand Duke of Tuscany, makes porcelain, [237]
Frankenthal, porcelain made at, [267]
Franks, Sir A. W., on Oriental china, [53], [121], [185]
—— —— on Strassburg porcelain, [270]
—— —— on Parisian kilns, [314]
—— —— on Lowestoft porcelain, [370]
Frederick the Great and porcelain, [255], [262], [274], [275], [335]
Frits, used in French soft pastes, [279]
Frye, Thomas, at Bow, [342-343]
Fuel used in firing porcelain, [28]
Fukien, Chinese province, two wares made, [66], [142]
—— white porcelain, [142-143]
—— —— imitated in Europe, [142]
—— —— decorated in England, [144]
—— enamelled porcelain, [143]
Fulda, porcelain made at, [268]
Fulham, Dr. Dwight attempts to make porcelain at, [240]
Furnaces for firing porcelain, three types described, [27]
—— for Chinese porcelain, [134]
—— for Japanese porcelain, [191]
—— for French soft pastes, [280]
Fürstenberg, porcelain made at, [265]
Fusibility of porcelain, experiments at Sèvres, [8], [18]
Gardner, at Tver, makes porcelain, [275]
Garnier, Édouard, late director at Sèvres, [310]
—— —— report on contemporary porcelain, [389-394]
Garniture, term explained, [23]
—— de cheminée in Chinese porcelain, [139]
Geneva, porcelain painters at, [271], [311]
Gersaint, his catalogue of Oriental porcelain, [230]
Ginori family at Doccia, [320-321]
Glass, possible influence on early Chinese glazes, [57]
—— made by Hu imitated in porcelain, [113]
Glazes, [12], [30-38]
—— preparation of, [30]
—— applied to unbaked ware by Chinese, [30]
Glazes, called oil by Chinese, [31]
—— distinguished from enamels, [31]
—— fusibility of, [32]
—— on Egyptian fayence, [32]
—— composition of ancient, [33], [144-154]
—— three main classes of, [34]
—— on Chinese porcelain, [35]
—— relation to subjacent paste, [35]
—— containing lime, [35-36]
—— at Sèvres of two types, [36]
—— on European porcelain, composition of, [36]
—— on Chinese porcelain, composition of, [37]
—— when first used by Chinese, [69]
—— sole source of decoration on early Chinese porcelain, [70]
—— for French soft pastes, [281]
—— for hard pastes at Sèvres and Limoges, [306]
‘Glozing’ or glazing oven, [27]
Gold as source of red colour (see also Rouge d’or), [89]
Gotzkowski, Berlin banker, [262]
Gotha, Museum at, early Chinese porcelain, [72], [174], [212]
—— porcelain made at, [269]
Gouyn, Charles, manager at Chelsea, [333]
Granite, primary source of both kaolin and petuntse, [9]
Granitic rocks, varieties of, [9]
Granja, La, porcelain gabineto at, [323]
Gravant, potter at Sèvres, [290], [294]
Graviata bowls, [115]
Green and blue enamels not successfully united by Chinese, [98] note
—— —— on two vases of Ming porcelain in British Museum, [99] note
—— glazes on Chinese porcelain, [149]
—— of famille verte, how applied, [99-100]
Grieninger, manager at Berlin, [263]
Growan-stone and clay, [377]
Hague, porcelain made at, [273], [389], [393]
Hampton Court, Oriental porcelain at, [185], [225-226]
Hampton Court, no specimens of famille rose or of ‘Old Japan,’ [225]
—— —— age of porcelain represented at, [226]
—— —— Queen Mary’s china cabinet, [226]
Hancock, Robert, working at Battersea, [347]
—— —— and transfer-printing, [360]
Handles, fixing of, [23]
Hannong family, Strassburg potters, [268], [269], [305], [313], [318]
Hardness of porcelain, [5], [18]
Haslem, J., on casting process at Derby, [26], [354]
Hat-stands in Chinese porcelain, [139]
Haviland factory at Limoges, [389], [390]
Hellot, chemical adviser at Sèvres, [291], [300]
—— his memoir quoted, [278-280], [294], [299]
Herculaneum works at Liverpool, [371]
Herend, in Hungary, porcelain factory at, [271], [392]
Herold or Höroldt at Meissen, [253]
Hippisley, translations from Chinese, [91] note
Hirado or Mikôchi ware, [193-195]
Hirth, Dr., on early Chinese trade, etc., [54], [210-213]
—— —— collection of early Chinese porcelain, [72]
Höchst, porcelain made at, [264]
Holdship, Richard, [358]
Holland, Chinese ‘blue and white’ early imported, [158]
—— Chinese porcelain in, [229]
—— porcelain made in, [272-274], [389], [393]
Hookah-bases of Chinese porcelain, [140]
Hsuan-te (1425-35), porcelain of, [92]
—— blue and white of, [83]
Hua-shi, a stone used in Chinese porcelain, [131], [376]
Hungary, porcelain made in, [271], [392]
Hung-chi (1487-1505), porcelain of, [93], [147]
Hunger, at Vienna, [260]
Hunger, at Venice, [317]
Hybrid pastes of Italy, [316]
Imari porcelain, [186-193]
—— —— elements of decoration, [187]
—— —— relation to early Chinese enamelled wares, [187-188]
—— —— relation to other Japanese wares, [188]
—— —— copied at King-te-chen, [188] note
—— —— composition of paste, [190]
—— —— source and nature of materials, [190]
—— —— in Dresden collection, [229]
Incense, vessels used in burning, of Chinese porcelain, [138]
India, Chinese porcelain found in, [85], [158]
—— porcelain enamelled at Canton for, [165]
Insufflation of glaze by Chinese, [30]
Iron-red in fine lines to imitate the rouge-d’or, examples at Dresden, [162]
Jade, highly esteemed in China, [57]
—— influence on early Chinese glazes, [57]
Japan, early pottery of, [177], [179]
—— Korean potters in, [179]
—— porcelain of, [177-207]
Japanese experts on Chinese porcelain, [55]
—— porcelain, how introduced from China, [180-181]
—— —— early export of ‘blue and white,’ [182]
—— —— exported by Dutch, [183-184]
—— —— sources of information, [183] note, [193] note
—— —— export stimulated by troubles in China, [184]
—— —— princely patronage of, [189], [194]
—— —— founded on Ming types, [189], [197], [199]
—— —— composition of paste, [190]
Japanese porcelain, preliminary firing, [191]
—— —— glazes how prepared, [191]
—— —— furnaces, [191]
—— —— marks of crows-feet, [191]
—— —— shapes and uses, [192]
—— —— colours employed, [192]
—— —— celadon, [192], [195], [197], [201]
—— —— stories of processes discovered by spies, [196], [202], [203]
—— —— influence of conservative criticism on, [206]
—— trade with China, [178]
Julien, Stanislas, translations from Chinese, [53]
Ju yao, early Chinese ware, [62]
Kaga or Kutani ware, [203-206]
Kai-feng Fu, old Sung capital, [62], [63], [65]
Kakiyemon, a potter of Hizen, [183]
—— ware, [185]
—— —— blue enamel over glaze, [186]
—— —— imitated at Meissen, [253]
—— —— imitated at Chantilly, [286]
Kändler at Meissen, [253]
—— chief modeller of ‘Dresden figures,’ [253]
Kang-he (1661-1722), porcelain of, [96]
—— his date-mark, why rare, [119]
Kaolin, [8], [10]
—— preparation of, [16]
—— proportion of, in hard pastes, [17], [385]
—— search for in France, [305-306]
—— found at Alençon and St. Yrieix, [305-306], [378]
—— found in Cornwall, [376-378]
Kaolinic stoneware, use of term, [69]
Karl Theodor, Elector Palatine, [260], [267]
Kenzan, potter at Kioto, [197]
Khanfu, Arab name for Hangchow, [209]
Kia-king (1795-1820), porcelain of, [114], [155]
Kia-tsing (1521-66), porcelain of, [94]
Kien-lung (1735-1795), porcelain of, [105-114]
—— his poems inscribed on porcelain, [113]
Kien-lung, Sèvres porcelain for, [298]
Kien yao, old Chinese ware, [66], [180]
—— —— example in British Museum, [71]
—— —— white porcelain, [142], [143]
Kilns for firing porcelain. See Furnaces.
King-te-chen in early days, [62]
—— oppression of court officials, [94]
—— in Kang-he’s reign, [96]
—— lists of porcelain made, [95], [104], [115]
—— burned, [115], [125], [220]
—— position, [123-125]
—— Pekin, how reached from, [123]
—— Canton, how reached from, [124]
—— relation to Jao-chau and Fouliang, [124-125]
—— description of town, [125], [127]
—— materials brought down in junks, [128]
—— foreign designs copied at, [165]
—— works abandoned for long period in seventeenth century, [220]
Kinsay or Hangchow, [62], [63], [209]
Kioto, porcelain made at, [196-199]
—— potters copied Ming enamelled wares, [198]
—— wares, récherché rudeness of, [197]
Kishiu ware or Ô-niwa yaki, [199]
—— —— imitated for export at Tokiyo and Kobe, [200]
Kiyomidzu, suburb of Kioto, porcelain made at, [197], [198]
Kizayemon family, court purveyors of porcelain, [188]
Kochi, meaning of Japanese term, [175]
—— ware of Japanese, [201]
Kok, Juriann, his new porcelain at the Hague, [389], [393]
Koransha, combination of Japanese potters, [193]
Korea, relations with China and Japan, [168]
—— fanciful attribution of various wares to, [169], [186]
Korean porcelain, classification of, [170]
—— —— celadon, [170]
—— —— plain white, [170]
—— —— crackle ware, [171]
Korean porcelain described in early Chinese books, [171]
—— inlaid with white slip, [171]
—— potters in Japan, [169]
Koreans, early use of enamel colours by, [169]
Kousnetzoff factory, Moscow, [392]
Ko yao, early Chinese ware, [63], [65], [145]
‘Kronenburg porcelain,’ origin of name, [267]
Kuang-tung porcelain of Raynal, [166]
Kuang yao, stoneware, [166]
—— —— early Chinese ware, [63]
Kublai Khan, [72], [213]
Kutani or Kaga ware, [203-206]
—— ware, relation to Imari porcelain, [204]
—— —— marks on, [205]
Kwan-yin, statues of, [135], [143], [226]
Lace imitated in porcelain at Berlin, [264]
Lang Ting-tso, superintendent at King-te-chen, [96] note, [103], [151]
Lang yao, origin of name, [103]
Langen, von, at Fürstenberg, [265]
—— —— at Copenhagen, [274]
Laque Burgauté, [114]
Lathe, use of, in shaping porcelain, [22]
Lead in glaze, [33-34]
Leithner, chemist at Vienna, [261]
Lemon-yellow, opaque glaze on Chinese porcelain, [111-115]
Lille, porcelain made at, [284]
—— coal early used in porcelain kilns, [285]
Lime in paste or glaze of porcelain, [35-36], [251]
Limoges district, porcelain works in, [15], [314-315], [389-390]
—— enamel copied in Chinese porcelain, [135] note
Lister, Dr. Martin, at Saint-Cloud, [282], [326]
Lists of porcelain made for Chinese court, [95], [115]
Lithophanic porcelain, at Berlin, [264]
Littler at Longton Hall, [348]
Liverpool porcelain, [370-371]
London, West of England porcelain painted in, [363], [366], [369]
Longton Hall porcelain, [348-349]
Lowestoft and Oriental armorial porcelain, [369-370]
—— china, so-called, [165], [369]
—— porcelain, [369-370]
Ludwigsburg, porcelain made at, [266]
Lung-chuan celadon, reproduced at King-te-chen, [132]
—— yao, early Chinese ware, [63]
Lung-king (1566-72), porcelain of, [95]
Lustre ware, attempted imitation by Chinese, [74] note
Lyle, Mr., on old Siamese porcelain, [173]
Macaulay on china collectors, [61] note
Madeley, Sèvres porcelain copied by Randall at, [366]
Magnesia, an element of porcelain paste, [12], [131]
—— in paste of Vinovo porcelain, [318]
—— in paste of Spanish porcelain, [324]
Magnets, removal of iron from slip by, [19]
Magots, decorated in famille verte style, [100]
Mainwaring, Mr. Massey, his collection of Dresden figures, [254] note
Mainz, elector of, and Höchst porcelain, [264]
Manchu or Tsing dynasty, [96]
Mandarin china, [114]
Manganese-purple glazes on Chinese porcelain, [98], [147]
—— —— in the San-tsai enamels, [99]
Marcolini, Count, director at Meissen, [256]
Marieberg, porcelain made at, [273]
Marks on Chinese porcelain, [117-122]
—— —— how and where applied, [117], [119]
—— —— give little information, [119], [122]
—— —— Tang or hall, Chai or studio, [120]
—— —— allusive, descriptive, emblems and devices, [120-121]
—— —— ‘canting’ devices, [121]
Marks on European porcelain. See under the principal factories.
—— on Japanese porcelain, [197], [199], [200], [205]
Marnes, used in French soft pastes, [279]
Martabani celadon, examples in European collections, [71]
—— ware, [64-65], [210] seq., [144], [173], [215]
Materials of porcelain, M. Vogt’s experiments, [17]
Maubrée, flower-painter on porcelain, [271]
Mazarin or powder-blue grounds of Chinese, [148]
Medici, Lorenzo de’, receives present of Chinese porcelain, [217]
—— porcelain, [236-238]
—— —— only identified lately, [236]
—— —— Vasari’s account, [236]
—— —— decoration of, [237]
—— —— composition of, [237]
—— —— marks, [238]
Medicine-flasks (yao-ping) or snuff-bottles of Chinese porcelain, [113-114], [140]
—— —— of Chinese porcelain, used by Arabs, found in Egyptian tombs, [140]
Meissen porcelain, [244-258]
—— —— composition, [7], [250-251]
—— —— first successfully made (1713-1716), [249]
—— —— composition of glaze, [251]
—— —— hardness of paste, and difficulties in application of enamels, [251]
—— —— early pieces mostly defective, [252]
—— —— ‘Dresden figure groups,’ [253]
—— —— imitation of Chinese magots, [253]
—— —— armorial designs, [253]
—— —— flowers imitated, [254]
—— —— attempts to make large figures, [254]
—— —— effects of Seven Years’ War, [255]
—— —— important position of enamel painters, [255]
Meissen porcelain, early exported to Turkey, [255] note
—— —— marks on, [257]
—— —— recent work, [257], [392]
—— —— marks on, copied, [258]
—— —— smuggled into England, [334]
Melchior at Höchst, [265]
—— at Frankenthal, [268]
Mennecy, porcelain made at, [287-288]
Mica, an element in Chinese porcelain, [11], [131], [376] note
Mikôchi or Hirado ware, [193-195]
Ming dynasty, porcelain of, [78-95]
—— porcelain, colour decoration, [79], [86-91], [161]
—— —— ‘blue and white,’ [81-85], [95], [157]
Minton, Thomas, [366], [373]
Mirror black glaze on Chinese porcelain, [130], [149]
Mohammedan forms of Chinese porcelain, [140]
Mo-hung, iron-red painted over glaze, [150]
Mokubei, potter at Kioto, [201]
Moore, Bernard, imitates Chinese glazes, [387]
Morikaga, painted on Kaga ware, [204]
Moulding, antiquity of process, [23-25]
—— process described, [23-25], [128]
—— largely used for Chinese porcelain, [112]
Muffle-stoves for firing enamels, [47], [281]
Nabeshima or Okôchi ware, [195]
Nantgarw porcelain, [367-368]
Napoleon’s ideas for decoration of porcelain, [308]
Niderwiller, porcelain made at, [270]
Nien-hao. See Date-marks.
Nien Hsi-yao, superintendent at King-te-chen, [104-105]
Nien yao, [105]
Nightingale, Mr., on sales of Chelsea porcelain, [335] note, [336] note
Ninsei, potter at Kioto, [196]
Nove, Le, porcelain factory at, [318]
Nymphenburg, porcelain made at, [267]
Nyon, porcelain made at, [271]
Okeover plate in British Museum, [164]
Okôchi or Nabeshima ware, [195]
‘Old Japan.’ See Imari.
Ô-niwa yaki or Kishiu ware, [199-200]
Oriental porcelain, earliest specimens in Europe, [217-218]
Orleans, Duke of, collector of Oriental porcelain, [230]
—— —— and Saint-Cloud, [283]
—— family, interest in porcelain, [314]
—— porcelain made at, [288]
Ormolu mountings at Sèvres, [297]
—— —— on English porcelain, [339]
Orry de Fulvi at Vincennes,

[290]
Oude Amstel, Dutch porcelain, [273]
—— Loosdrecht, porcelain made at, [272]
Ovens for firing porcelain. See Furnaces.
Owari porcelain, [201-203]
—— —— materials and composition, [190]
—— —— cheap ware for export, [203]
Owen, Mr., on Bristol porcelain, [376], [381] note
Painted glazes, term explained, [44], [59]
—— —— on Ming porcelain, [79]
—— —— of Hsuan-te, [92]
Painters on Chinese porcelain, [108]
—— —— signatures of, [108]
—— —— division of work, [129]
—— on Sèvres porcelain, signatures of, [303]
Painting, schools of, in China, [82]
—— on porcelain. See also Enamelling.
Palissy probably endeavoured to make porcelain, [239] note
Parian ware, [373]
Paris, soft-paste factories at, [288]
—— hard-paste factories at, [312-314]
Pâte-sur-pâte, [41], [311]
‘Peach-bloom’ glaze, [105], [154]
Pen-rests in Chinese porcelain, [139]
Persia, Chinese porcelain in, [147], [157], [215], [216]
Persian fayence compared with Chinese porcelain, [73]
Persian fayence, early use of blue under glaze, [74], [75]
—— —— Chinese influence on, [76]
—— Gulf, early Chinese trade with, [213]
—— —— English trade with, [221]
—— inscription on fifteenth century Chinese porcelain, [94]
Petuntse (see also China-stone), [8], [10]
—— proportion of, in hard pastes, [385]
Pierced decoration in Chinese porcelain, [154]
Pillows in Chinese porcelain, [139]
Pinxton porcelain, [371]
—— Billingsley makes porcelain at, [368], [371]
Pirkenhausen factory, Carlsbad, [392]
Place, Dr., of York, experiments with various clays, [242]
Planché, modeller at Derby, [351]
Plymouth porcelain, [375-381]
—— —— composition of glaze, [380]
—— —— marks on, [380]
Poems on Chinese porcelain, [113]
Poison detected by Chinese porcelain, [215]
Polo, Marco, account of China, [72]
—— —— on Chinese porcelain, [213-214]
Pompadour, Marquise de, and Sèvres, [290], [292], [295], [300]
Porcelain, physical properties of, [5]
—— microscopical structure, [5]
—— chemical composition, [6-12]
—— materials, [14-18]
—— transition to kaolinic stoneware in Japanese porcelain, [206]
—— vague early use of the word, [217]
—— early reports in Europe as to its composition, [223]
‘Porcelain fever’ at time of Seven Years’ War, [255]
Porcelain or purslane, word, how used in Elizabethan times, [222]
Portugal, porcelain made in, [325]
Portuguese in China, [219]
—— as importers of porcelain, [222], [230]
Poterat family of Rouen, [239], [282], [284]
Potsherds of Chinese porcelain, ground up for paste of English porcelain, [326] note
Potter’s wheel, [20-22]
—— —— early forms, [20-21]
Pourcelainnes, the word, how used by Marco Polo, [214]
Pressing, process described, [23]
Quan-yin, or Kwan-yin (Jap. Kwannon), [135], [143], [226]
Randall copies Sèvres porcelain, [366]
Raynal, Abbé, on Chinese porcelain, [85]
—— —— quoted, [166], [231]
—— —— on classification of Oriental porcelain, [223] note
Réaumur makes porcelain, [278]
Red decoration sous couverte, [43]
Red Sea ports, early Chinese trade with, [213]
Reine, porcelaine de la, made in Rue Thiroux, [313]
Reproductions of old types of Chinese porcelain, [104], [115]
Riaño, Don Juan, on Spanish porcelain, [322], [325]
Rice-grain, in pierced decoration, [155]
Ringler, the arcanist, [264], [266], [267]
Risampei, a Korean, at Arita, [181]
Ritual vessels in Chinese porcelain, colours of, [138]
Rockingham porcelain, [371-372]
Rörstrand, porcelain made at, [273]
—— —— contemporary work, [388], [393]
Rose, John, [365], [366]
Rose-red grounds (opaque), mei-kwei, on Chinese porcelain, [110]
Roses on English porcelain, [352], [368]
Rouen porcelain, [238-239], [282]
—— —— examples where found, [239]
Rouge d’or on Chinese porcelain, [107]
—— —— date of introduction in China, [110] note
—— —— not mentioned by D’Entrecolles, [136]
—— —— late introduction in Japan, [189], [205]
—— —— used early at Saint-Cloud, [283]
Rouge d’or, source of, [284] note
—— —— mentioned in De Frasnay’s poem, [284] note
Rozenburg works at the Hague, [389], [393]
Russian porcelain, [274], [392]
Sacrifice of the potter Tung, [113]
Saint-Cloud, porcelain made at, [282-284]
—— seventeenth century designs on porcelain, [283]
St. Petersburg, porcelain made at, [274], [392]
Saladin’s present of Chinese porcelain, [215]
Salting collection, early vase with cloisons, [80]
—— —— enamelled bowl with Cheng-te mark, [89], [161]
—— —— famille verte with black ground, [101]
Salvétat, notes to Julien’s work, [53]
Samson, imitates old wares, [314]
Sanda celadon, [201]
Sang de bœuf glazes, [42]
—— —— imitated in England, [387]
—— —— on Chinese porcelain, [151]
San tsai or ‘three-colour’ glazes, [44]
—— —— the ‘three colours’ of Ming enamels, [89], [97]
—— —— relation to Kishiu ware, [98]
Saracenic glass, enamels on, [88]
—— —— found in China, [88] note
—— motives and forms in Chinese porcelain, [76], [140]
—— origin of enamelled porcelain, [87], [88]
Sassanian influence on Far East, [70] note
Sawankalok, porcelain made at, [173], [212] note
Sceaux, porcelain made at, [288]
Schneeball-vasen, [254]
Schnorrische Erde used by Böttger, [250]
Seggars, preparation and arrangement in furnace, [28-29]
—— arrangement in Chinese furnaces, [133]
—— late introduction in Japan, [188]
Sei-ji, Japanese term for celadon, [64]
Sentoku, Japanese reading of Hsuan-te, [92]
Seto, village in Owari, connection with Japanese porcelain, [180], [202]
Seto-mono, Japanese equivalent to ‘china,’ [202]
Sève for Sèvres, [290] note
‘Severe’ or kaolinic porcelain, [17-18], [385-386]
Sèvres, experimental work at, [15]
—— hard paste, two types, [17]
—— the new porcelain, [18]
—— the soft paste of, [289-304]
—— porcelain works removed to, [292]
—— edicts against competing works, [295]
—— the factory a fashionable lounge, [295]
—— date of the best work, [297]
—— soft paste abandoned, [303]
—— —— repainted at later dates, [304]
—— the hard paste of, [305-312]
—— German workmen at, [305]
—— Macquer succeeds Hellot, [305]
—— early hard paste of mild type, [306]
—— the new mild type of hard paste, [307], [390]
—— proposed withdrawal of State support, [310], [311], [312]
—— hard paste, analysis of, [386]
—— contemporary porcelain, [389], [390]
—— laboratory, chemical and technical researches on Chinese porcelain, [47-48], [55]
—— porcelain sold at Versailles, [292]
—— —— biscuit figures, [296]
—— —— royal dinner-services, [297-298]
—— —— colours of grounds on, [299]
—— —— turquoise enamel, how prepared, [299]
—— —— Rose carnée or Pompadour, [300]
—— —— gilding on, [301]
—— —— date-marks on, [302]
—— —— jewelled decoration, [302]
—— —— artists’ marks on, [303]
—— —— felspathic glaze, [306]
—— —— glaze on early hard paste, [306]
—— —— big vases of, [307-308]
—— —— the Napoleonic decoration, [308]
—— —— changes in decoration illustrate history, [310]
—— —— coloured pastes, [311]
—— —— pictorial plaques, [271], [311]
—— —— later developments, [312], [390]
‘Shaping,’ term explained, [20]
Sha-t’ai or ‘sand-bodied’ relation to hua-shi, [132]
—— —— used as slip, [154]
Shonsui, first made porcelain in Japan, [181]
Siamese porcelain, [172-175]
—— —— primitive methods of support in kilns, [174], [211]
—— —— Buddhist emblems, [175]
—— —— decorated at Canton, [175]
Signatures of painters on famille rose plates, [108]
Silica, proportion of, in hard pastes, [7], [385]
Silver plate replaced in France by porcelain, [285]
Slip or barbotine, [19], [312]
—— decoration of Chinese porcelain, [146], [147], [154]
Slop-blending, [16]
Snuff-bottles of Chinese porcelain, [113-114], [140]
Soft pastes, how distinguished, [277] note
—— —— of France, origin of, [277-279]
—— —— composition, [279]
Solon, M., at Sèvres, [311]
Sometsuke, Japanese term for ‘blue and white,’ [187]
Soufflé glazes on Chinese porcelain, [30], [150]
Sous couverte or under-glaze decoration, [43]
Spain, porcelain made in, [322-324]
—— Chinese porcelain early imported, [322]
Spengler of Zurich at Derby, [354]
Spode family of Stoke, [372-373]
—— Josiah, abandons use of frit in porcelain, [373]
—— —— his felspar porcelain, [373]
—— ware, [373-374]
Sprimont, Nicholas, manager at Chelsea, [333], [338], [341]
—— —— his Case of the Undertaker, [334]
Staffordshire porcelain, composition, [372]
Steatite in Chinese porcelain, [131]
—— used at Worcester, [359]
—— used at Swansea, [368]
—— relation to Hua-she, [376] note
Stoneware, relation of, to porcelain, [7], [386]
—— composition, [7]
Stonewares of Chinese, [165-167]
Strassburg, porcelain made at, [269]
Strawberry Hill, porcelain at, [266], [283], [321], [379] note
Sui-ki, Chinese term for crackle or truité ware, [146]
Sumatra, Chinese trade with, [210]
Sung dynasty of China, [62]
—— porcelain, [62-68]
—— —— copied in later times, [52], [104]
—— —— rarity in European collections, [71]
Su-ni-po and Su-ma-li, cobalt blues of Arab origin, [92]
Swansea porcelain, [367-369]
Swedish porcelain, [273]
—— —— contemporary work, [388], [393]
Swinton, Rockingham porcelain made at, [371]
Swiss porcelain, [270]
Ta-mo (Jap. Daruma), [143]
Tang dynasty of China, importance of, [56], [209]
Tang-ying, superintendent at King-te-chen, [110]
—— report on manufacture of porcelain, [111-113]
Tao-kwang (1820-50), porcelain of, [115]
Tea drinking, influence on ceramic wares, [179], [224], [243]
—— —— ridiculed in drinking-song, [243]
Tek-kwa or Te-hua, [142]
‘Throwing’ on wheel, [20-22]
Thüringer Wald, porcelain made in, [269]
Tin enamel used at Chantilly, [286], [294]
Tin-glazed fayence, [73]
Tin in glaze, [33-34]
Ting yao, old Chinese ware, [67], [141]
Tingui of Marco Polo, [213-214]
Tokugawa period, decline of art in later times, [198], [205]
Toshiro, Japanese potter, [180]
To-t’ai, ‘bodiless’ porcelain, [91]
Tournai, porcelain made at, [289]
Toys made of Mennecy porcelain, [287]
—— made of Chelsea porcelain, [337]
Transfer-printing at Bow, [347]
—— at Worcester, [360]
‘Transmutation’ glazes on Chinese porcelain, [66], [150-154], [151] note
Trembleuse saucers, [283], [294]
Trenchard family, early pieces of Chinese porcelain in possession of, [219]
Triads of colour—San-tsai, [89], [97]
Trou, Henri, at Saint-Cloud, [283]
Tsang Ying-hsuan, superintendent at King-te-chen, [96]
Tschirnhaus, glass made by, [246-247], [278]
—— his connection with Böttger, [246-247], [248]
Tsing or Manchu dynasty, [96]
Tung, the potter’s god, [113]
Tung-chi (1861-74), porcelain of, [115]
Tu Ting ware, term explained, [68]
Turks use coffee-cups of Oriental porcelain, [224]
Turner, Thomas, at Caughley, [365]
Turquoise glaze on Chinese porcelain, [97], [147]
—— grounds (opaque)—fei-tsui—on Chinese porcelain, [110-111]
—— —— on Sèvres porcelain, [299]
—— —— on Chelsea porcelain, [339]
Tu-ting, [142]
Tzu-ching, writer of Bushell MS., [61], [79], [86]
Tzu-kin (burnished gold), Chinese name for fond laque, [146]
Unaker, kaolin from America, [342], [376], [378]
Uranium, black enamel from, [261]
Uses of Chinese porcelain, [137-141]
—— of Japanese porcelain, [192]
Venice, Chinese porcelain in St. Mark’s, [77] note
—— early attempts to make porcelain in, [235]
—— Oriental porcelain abundant in seventeenth century, [235] note
—— porcelain made at, [316-318]
—— German influence on porcelain, [317]
Vernadsky, on chemical reaction in firing porcelain, [11]
Vezzi family at Venice, [316]
Vienna, origin of porcelain works, [260]
—— porcelain, decoration, [260]
—— —— marks on, [260]
Villeroy, Duc de, and Mennecy, [287]
Vincennes, porcelain made at, [289-291], [293-295]
—— bleu du roi, [294]
—— early perfection of porcelain, [295]
Vinovo, or Vineuf, porcelain factory at, [318]
Vissage or wreathing, [22], [106] note, [384]
Vogt, M., of Sèvres, quoted, [17], [278]
Wall, Dr. John, at Worcester, [357], [363]
Walpole, Horace, porcelain from Doccia, [321]
Wan-li (1572-1619), his present of porcelain to Jehangir, [85]
—— porcelain of, [95]
Warham, Archbishop, celadon bowl at Oxford, [218]
‘Wasters,’ importance of discovery of, [29]
Watteau, influence on German art, [253]
Wedgwood, his Jasper ware, [40]
—— at Meissen, [256]
—— and fugitive workmen, [381] note
—— his opposition to Champion, [383]
Weesp, in Holland, porcelain made at, [272]
White Chinese porcelain, two families of, [68]
Willow pattern at Caughley, [365]
Worcester porcelain, [357-364]
—— —— foundation of factory, [357]
—— —— composition of pastes, [358]
—— —— the factory described, [358]
—— —— Oriental wares copied, [359]
—— —— portraits of celebrities, [360], [364]
—— —— marks on, [360], [364]
—— —— transfer-printing, [360-361]
—— —— migration of painters from Chelsea, [361]
—— —— bleu du roi grounds, [361-362]
—— —— decorated in London, [362-363]
—— —— the Chamberlain factory, [363]
—— —— late developments, [364]
‘Wreathing’ or vissage, [22], [106] note, [384]
Wu-kung, five vessels on Buddhist shrine, [138]
Wu-shê (see Garniture), [139]
Wu-tsai, the ‘five colours’ of Ming enamels, [89]
—— relation to famille verte, [101]
Yang-tsai, ‘foreign colours,’ associated with Indian enamels, [165]
Yao-pien, or furnace transmutation, [152]
Yao-ping, or medicine-flasks, [113], [140]
Yeiraku ware, [198-199]
Yeisen, potter at Kioto, [197]
Yellow glazes on Chinese porcelain, [94], [147]
Yi-hsing yao, stoneware, [165]
Yuan or Mongol dynasty, [72]
—— —— porcelain of, [77], [152]
Yung-cheng (1722-35), porcelain of, [103-105]
—— copies of old wares, [104]
—— his early interest in porcelain, [135]
Yung-lo (1402-24), early date-mark, [67]
—— porcelain of, [68], [91]
Zaitun, [142], [209], [213]
Zanzibar, Chinese porcelain found at, [211]
Zengoro, family of Japanese potters, [198]
—— his coral red, his Yeiraku seal, [198-199]
—— his Kairaku ware in Kishiu, [200]
—— Hozen at Kutani, [205]
Zurich, porcelain made at, [270]

Printed by T. and A. Constable, Printers to His Majesty at the Edinburgh University Press

FOOTNOTES:

[1] Some English porcelain is stated by Professor Church to have a hardness equal to that of quartz. See below, ‘Bristol Porcelain.’

[2] We have thought it well, once for all, to treat briefly of the scientific aspect of our subject, but those who are not interested in this point of view may pass over the next few pages.

[3] I shall return to this point in a later chapter. I lay the more stress on this fact, as it is often stated that the hard and slightly translucent stonewares, such as the Fulham ware of Dwight, which contains as much as eighty per cent. of silica, form one degree of a series of which true porcelain is the next term. The fact is, those who sought to make porcelain by a refinement in the manufacture of stoneware were as much astray as those who started from a fusible glass frit.

[4] The china-stone of Cornwall might, in part at least, be claimed as an old volcanic rock, and that used in the Imari district of Japan is distinctly of volcanic origin. Both these rocks, however, consist essentially of a mixture of quartz and felspar.