Marseilles. The manufacture of fayence at Marseilles, and elsewhere in the South of France, was in activity early in the 17th century. A little after 1750, twelve fabriques of pottery were in existence. In 1790 there were eleven manufactories existing, but most of them ceased about 1793, on account of the Treaty of Commerce with England. The Revolution of 1793 gave an additional blow to the keramic industry of Marseilles. In 1805 there were only three factories at work, employing twenty hands. In 1809 only one remained.
Fig. 74.—Tureen.
The fayence is much the same in character as that of Moustiers, and sometimes resembles that of Strassburg. The decorations are frequently in red or green, sometimes with Chinese designs. There is one peculiarity about the Marseillaise fayence which at once fixes its identity, and this is, three green leaves or marks painted on the backs of plates and dishes to hide the imperfections in the enamel caused by the pernettes or points of support on which they rested in the kiln. There is also a great resemblance between the early ware made here and at Genoa, in consequence of the emigration of many workmen. We learn from a complaint made on the subject by the potters of Marseilles to the Intendant of Provence in 1762, from which it seems they took a great number of apprentices at very low wages, and the wages were paid in fayence, which mode of payment they said deteriorated the quality, and caused the workmen to emigrate to Genoa. Also they complained that great quantities of Genoese fayence were imported into Languedoc and Provence, and spread over France, which was absolutely ruinous to the trade of the two provinces, and especially to Marseilles.
Fig. 74. Soup tureen, cover, and stand, with polychrome flower decoration and gilding, was made by Savy, about 1750; length of tureen, 15½ in.
Sinceny in Picardy. A manufactory was established here in 1733, by Jean Baptiste de Fayard, Gouverneur de Chaunay et Seigneur de Sinceny. Dr. Warmont (Recherches Historiques sur les faïences de Sinceny, &c., Paris, 1864) divides the products of this manufactory into three periods:—
1. Rouennaise, 1734 to 1775.
2. Faïence au feu de réverbère, 1775 to 1789.
3. Décadence de l’Art, 1789 to 1864.
The earliest pieces were painted in blue; the next in blue touched with red or green and yellow, decorated with lambrequins (mantlings), à la corne (cornucopiæ), birds, and butterflies. Chinese figures were doubtless stencilled by pricked papers and charcoal powder.
Fig. 75.—Bowl and Cover.