The earliest known fabric of this earthenware is that mysterious and unique manufacture of the "Renaissance," the fine Fayence of Henry II. The manufacture of this ware, which was at once carried to a high degree of perfection, seems to have been suddenly and unaccountably lost, without leaving any record of where or by whom it was produced. By many it is supposed to be of Florentine manufacture, and to have been sent by some of the relations of Catherine de Medicis as a present to Henry II.; but it differs too essentially from Italian Majolica, both in the paste of which it is composed, and in the style in which it is decorated, to warrant such a conjecture. Italy does not possess in her museums a single specimen of this ware, and of the thirty-seven pieces extant, twenty-seven have been traced as coming from Touraine and La Vendée. Many antiquaries, therefore, infer that the manufacture was at Thouars, in Touraine, although the Fayence may have been the work of an Italian artist.
But if the place of its manufacture is unknown, the pieces extant clearly attest the period of its fabrication. The Salamander, and other insignia of Francis I., are met with on the earlier specimens of this pottery; but upon the majority of pieces, upon those more pure in design and more beautiful in execution than the preceding, we find the arms of Henry II., with his device, the three crescents, or his initial H, interlaced with the two D's of the Duchesse de Valentinois. Indeed, so constantly do her emblems appear upon the pieces, that the ware, though usually designated as "Faïence de Henri II.," is sometimes styled "Faïence de Diane de Poitiers." Even her widow's colours, black and white, are the two which are employed in some of the finest pieces. They were the fashionable colours of the court, Henry wore no others during his life, and was attired in them in the fatal tournament in which he fell. Her impresa, the crescent of Diana, is conspicuous on his palaces, and he even caused it to be engraved upon his coins. From these circumstances we must, therefore, conclude that the manufacture of this ware began at the end of the reign of Francis I., was continued under that of Henry II., and, as we find upon it the emblems of these two princes only, we may naturally infer that it is of French origin.
The paste of which this Fayence is composed is equally distinct from Majolica and Palissy ware. The two latter are both soft, whereas this, on the contrary, is hard. It is a true pipeclay, very fine, and very white, so as not to require, like the Italian Fayence, to be concealed by a thick enamel, and the ornaments with which it is enriched are simply covered with a thin, transparent, yellowish varnish.
The style of decoration in this ware is unique. Patterns or arabesques, are engraved on the paste, and the indentures filled with coloured pastes, so as to present an uniform, smooth surface, of the finest inlaying, or resembling, rather, a model of Cellini's silver work, chiselled and worked in niello. Hence it is sometimes styled "Faïence a niellure." These patterns are sometimes disposed in zones of yellow ochre, with borders of dark brown, sometimes of a pink, green, violet, black, or blue; but the dark yellow ochre is the predominant colour.
The collection of the late M. Préaux was the richest in the world in the most beautiful examples of Fayence; it was disposed of by auction about twelve years ago, in consequence of the death of the proprietor, and the choicest specimen in it was the candlestick, of which we give a figure, and which was purchased by Sir Anthony de Rothschild for about £220, duty included. The surface is exquisitely enriched with arabesque patterns, either in black upon a white ground, or in white upon a black. The form is monumental, and in the finest style; three figures of genii support escutcheons, bearing the arms of France, and the double D. These genii stand upon masks, which are united by garlands enamelled in green. The top of the candlestick terminates in the form of a vase, and bears inscribed the fleurs-de-lys and the monogram of our Saviour. This piece, for delicacy of detail and beauty of execution, is unequalled by any specimen known of this exquisite Fayence. Sir Anthony de Rothschild also purchased at M. Préaux's sale a small cup, decorated in the same style, with the descents interlaced, for which he gave 1300 francs. He, therefore, now is fortunate in having the finest collection known of this ware, as, in addition to the specimens already mentioned, he possesses two exquisite ewers of the Henry II. Fayence. One he purchased at the sale of the Comte de Monville for 2300 francs; the other, with a curious handle of elaborate workmanship, he bought for nineteen guineas at Strawberry Hill, where he also purchased a tripod salt-cellar, supported with scroll ornaments for £21.
REFRESHMENTS FOR THE PULPIT.
In the books of Darlington parish church, the following items appear, showing that, in the olden time, provision was made for comforting the inner man: "Six quarts of sack to the minister who preached when he had no minister to assist, 9s. For a quart of sack bestowed on Jillett, when he preached, 2s. 6d. For a pint of brandy when Mr. George Bill preached here, 1s. 4d. For a stranger who preached, a dozen of ale. When the Dean of Durham preached here, spent in a treat in the house, 3s. 6d." This would hardly be considered orthodox at the present day.
BEDESMEN IN THE TIME OF HENRY VII.