This is the state of Austria in 1851. Men of all grades look anxiously to France; well knowing that the events in Paris next year, if they lead to outbreak, will be felt in Vienna instantly. Yet Strauss delights the dancers, and the military bands play their “Hoch Lebe” round the throne. The nobles scorn the merchants and the men of letters; who return the noble scorn with a contemptuous pity. The murmur of the populace is heard below; but still we have the gayest capital in all the world. We throng the places of amusement. Dissipation occupies our minds and shuts out graver thought. Verily, Charles Stuart might be reigning in this capital.
THE POTTER OF TOURS.
Among the choicest works of art contributed to the Great Industrial Exhibition by our French neighbors, were some enameled earthernware vases of remarkably fine workmanship, and particularly worthy of attention for their grotesque yet graceful decorations. These vases had, however, a still higher claim to distinction than that arising from their own intrinsic value, for they were the workmanship of one who may truly be ranked among “nature’s nobles,” although by birth and station owning no greater title than that of “Charles Avisseau, the potter of Tours.”
A worthy successor of Bernard Palissy, he has, like him, achieved the highest success in his art, in spite of difficulties which would have caused most other men to yield despairingly before what they would have deemed their untoward fate. Charles Avisseau was born at Tours on Christmas-day, in the year 1796. His father was a stone-cutter, but whenever labor was slack in that department, he sought additional occupation in a neighboring pottery. While still a child, he used frequently to accompany his father to the factory. His eager attention was quickly attracted by the delicate workmanship of the painters in enamel, and before long he attempted to imitate their designs. The master of the factory observed some flowers and butterflies which he had sketched on a coarse earthernware vase, and at once perceiving that he gave promise of being a good workman, he engaged him in the service of the factory.
The boy now began to feel himself a man, and entered with his whole soul into his work. By the dim and uncertain light of the one lamp around
which the Avisseau family gathered in the long winter evenings, Charles would spend hour after hour in tracing out new designs for the earthernware he was to paint on the morrow. He was at first too poor to purchase either pencil or paper, and used to manufacture from clay the best substitute he could for the former, while he generally employed the walls of the apartment as a substitute for the latter. He applied himself indefatigably to the study of every branch of his art—the different varieties of earths, the methods of baking them, the mode of producing various enamels, &c.—until, after some years of patient labor in the humble situation he had first occupied, he was offered the post of superintendent of the manufactory of fine porcelain at Beaumont-les-Hôtels. He was still, however, but a poor man; and, having married very young, was struggling with family cares and the trials of penury, when one day there fell into his hands an old enameled earthenware vase, which filled him with a transport of astonishment and delight. This was the chef-d’œuvre he had so often dreamed of, and longed to accomplish; the colors were fired on the ware without the aid of the white glaze, and the effect was exquisite.
“Whose work is this masterpiece?” inquired the young man.
“That of Bernard Palissy,” was the reply; “a humble potter by birth. He lived at Saintes three centuries ago, and carried with him to the grave the secret of the means by which his beautiful enamels were produced.”
“Well, then,” thought Avisseau, “I will rediscover this great secret. If he was a potter like me, why should not I become an artist like him?”