The Project Gutenberg eBook of The Ceramic Art
Title: The Ceramic Art
Author: Jennie J. Young
Release date: July 15, 2013 [eBook #43221]
Most recently updated: October 23, 2024
Language: English
Credits: Produced by Chuck Greif and the Online Distributed
Proofreading Team at http://www.pgdp.net (This file was
produced from images available at The Internet Archive)
THE CERAMIC ART
THE CERAMIC ART
A COMPENDIUM OF
THE HISTORY AND MANUFACTURE
OF
POTTERY AND PORCELAIN
By JENNIE J. YOUNG
WITH 464 ILLUSTRATIONS
Horace, Epist., II., 2, 8
NEW YORK
HARPER & BROTHERS, PUBLISHERS
FRANKLIN SQUARE
1878
Entered according to Act of Congress, in the year 1878, by
H a r p e r & B r o t h e r s,
In the Office of the Librarian of Congress, at Washington.
| Contents Illustrations Index |
PREFACE.
IN writing the present volume, the author’s object has been to answer as tersely and lucidly as possible the more important questions in connection with the history and manufacture of pottery and porcelain, and to bring the results of recent research to bear upon some of the unsolved problems of the “science of ceramics.” The literature of the subject is formidable in dimensions. Authors have divided the field into sections, and have in many cases presented learned and exhaustive special treatises. Notwithstanding the solid learning and critical acumen reflected in their pages, their form and voluminous character, however, detracted from their value as books for familiar and speedy reference, and left the acquirement of a general knowledge of the ceramic art a matter for wide research and prolonged study on the part of every reader and collector. The attempt has here been made to condense the leading points of the subject, to arrange them after a simple and easily intelligible method, and thus to present in one volume a comprehensive history. No hesitation has been shown in drawing upon foreign authors. Many of the later developments of the art have also been touched upon, and the results of the more recent efforts of artists and manufacturers have been illustrated and described. In treating of America, the author has endeavored to convey some idea of its wealth in materials and of the present condition and tendencies of the industry, and to do justice to those who have laid the foundation of its claim to recognition in the world of art.{2}
The author has incurred obligations in many quarters for information and assistance. Mr. Samuel P. Avery, the Hon. Yoshida Kiyonari, Japanese Minister at Washington, General Di Cesnola, and the many private collectors whose cabinets are represented in the following pages, gave valuable aid both in obtaining illustrations and in other respects. Mr. Charles Edward Haviland, Mr. Theodore Haviland, and M. Bracquemond contributed many valuable hints upon technology and the manufacture and composition of different wares. The dealers of New York, Boston, Washington, Albany, and other cities took an active interest both in directing the author to collections and in furnishing specimens for illustration. Among American manufacturers, Mr. Thomas C. Smith, of Greenpoint; Mr. James Carr, of New York; Mr. Hugh C. Robertson, of Chelsea, Massachusetts; and Mr. J. Hart Brewer, of Trenton, are especially deserving of thanks for helping the author to a true insight into the past history, present condition, and prospects of the art in the United States.
In regard to the engravings, while it was, of course, found necessary in many cases to cull from the rich accumulations of ceramic treasures in Europe, in order to secure the proper illustration of the work, the preference has invariably been given to the collections of America. Such a course recommended itself for obvious reasons. It was thought that it would, in the first place, gratify those desirous of knowing where, in this country, the best representatives of the art of certain countries are to be found; and that, in the second place, it would direct artists where to study the best styles of decoration. One result of the author’s investigations in this matter has been the conviction that the American collector is cosmopolitan in his tastes, and that the American cabinet—in many instances the American tea-table—represents the amity of nations. The arts of all countries are found arrayed side by side in a profusion of which it would have been hard, a few years ago, to find a trace.
In choosing the pieces to be engraved, a threefold aim has been kept in view: the elucidation of the text, the representation of the{3} greatest number of different wares by characteristic examples, and the introduction of as many beautiful works of art as possible consistently with the accomplishment of the two previous objects. The requirements of the student of decorative art have been fully considered, and due weight has been given to the fact that these requirements can be met better by the pencil than the pen.
In procuring specimens, the author has acknowledgments to express both to private collectors and to the curators of public institutions. Among the latter may be mentioned General Loring, of the Boston Museum of Fine Arts, and Mr. H. C. Hutchins, of the Metropolitan Museum of Art in this city, both of whom admitted the author to a close inspection of the collections under their charge, and personally superintended the taking of sketches and photographs. Similar favors were received from the trustees and Dr. M‘Leod, of the Corcoran Art Gallery; from Professor Baird and Mr. Cushing, of the Smithsonian Institution, in Washington; and from the officers of the United States Geological and Geographical Survey of the Territories. Mr. Edward Bierstadt of New York, and Mr. T. W. Smillie of Washington, also granted facilities and volunteered courtesies which proved invaluable.
Casual reference is made in the following pages to the marks of factories and artists, but after due deliberation it was decided not to make them the subject of special treatment or illustration. Several good manuals are already in the hands of the public, and a book of marks should never take any other form. It is comparatively useless unless easily portable and handy. Then, again, marks are, and always have been, imitated to such an extent that they are not the most trustworthy guides to the parentage of specimens. Collectors who buy pieces for the sake of the mark they bear may be deceived; those who buy for the sake of beauty may occasionally be mistaken; but a cultivated taste can never be deluded into finding beauty in the unbeautiful. The art, and not the mark, should be studied; and the fact that many of the finest and most highly valued specimens—Chinese,{4} Japanese, Persian, Saracenic, Greek, Italian, and many modern wares—have no mark gives additional point to the observation.
If the present work should be found defective in certain points, it must be remembered that it could hardly be otherwise, considering its scope and limits. The author will be satisfied if, besides answering its primary purpose, it should increase the interest already awakened in the subject of which it treats, and lead students to appreciate and examine the collections at their command in this country.
J. J. Y.
CONTENTS.
| INTRODUCTION. | |
Advantages of the Study.—The Lost Origin of the Art.—Ascribed to the Gods.—Legends of China, Japan, Egypt, and Greece.—Keramos.—A Solution suggested.—How Pottery illustrates History.—How it explains the Customs of the Ancients.—Its Bearings upon Religion.—Examples from Egypt, Greece, and China.—The Art represented in Pottery.—Its Permanency.—As a Combination of Form with Drawing and Color.—Greek Art.—Its Merits and Defects.—The Orientals, and their Attention to Color.—Eastern Skill.—The Aim of Palissy.—The Highest Aim of the Ceramic Artist.—Painting on Porcelain.—Rules to be Observed in Decorating.—Where Color alone is a Worthy Object.—How the Art affords the Best Illustration of the Useful combined with the Beautiful.—Its Place in the Household | Page 19 |
| BOOK I.—NOMENCLATURE AND METHODS. | |
| CHAPTER I TECHNOLOGY. | |
Confusion in Use of Terms.—Porcelain as an Instance.—Derivation of Ceramic.—Pottery.—Faience.—Majolica.—Mezza-Majolica.—Composition of Porcelain.—Origin of Word.—Where first made.—When introduced into Europe.—Hard and Soft Paste.—Soft Porcelain of Venice, Florence, England, France.—Hard Porcelain invented at Meissen by Böttcher.—Vienna.—Discovery of Kaolin in France.—Biscuit |
48 |
| CHAPTER II CLASSIFICATION. | |
Tabulated View.—Brongniart’s Division: Its Objections.—Classification adopted.—Leading Features and Advantages.—Distinctions between Different Bodies and Different Glazes{6} |
54 |
| CHAPTER III COMPOSITION OF WARES AND GLAZES. | |
Hard and Soft Pottery and Porcelain.—Composition of Porcelain: Kaolin—Its Derivation and Ingredients—Petuntse—How prepared in China.—The European Process.—Differences between Chinese and European Porcelains.—Chemical Analysis.—English Porcelain and its Peculiarities: Its Average Composition.—How English Clay is prepared.—French Artificial Porcelain.—Parian.—Common Earthen-ware: Table of Ingredients of different kinds.—General Table.—Glazes: Classes.—Brongniart’s Classification.—Difference between Enamel and Glaze.—Silicious Glaze.—History.—Use of Oxides.—Egyptian Processes.—Metallic Lustre.—Stanniferous Enamel: Its History |
59 |
| CHAPTER IV MANUFACTURE AND DECORATION. | |
Divisions of Chapter.—Japanese Method of Preparing Porcelain Clay.—Old Sèvres Soft Porcelain.—Pug-Mill.—Blunger.—Early Italian Methods.—Shaping the Clay.—Moulding among the Egyptians, Greeks, Italians, and at the Present Day.—Moulding Porcelain.—Japanese Method.—European.—Throwing.—The Potter’s Wheel in all Countries.—Baking and Firing.—Egyptian, Greek, Italian, and Japanese Kilns.—Those of Modern Europe and America.—Times of Firing.—Glazing and Painting.—Metallic-Lustre Majolica.—Japanese Methods.—Glazing Stone-ware.—Natural and Artificial Porcelain |
66 |
| BOOK II.—THE ORIENT. | |
| CHAPTER I EGYPT. | |
The East the Cradle of Art.—The Antiquity of Egypt: Its Claim to Notice in every Branch of Inquiry.—The Fountains of Oriental and Greek Art.—The Nile Clay.—Egypt’s Early Maturity.—Limitation of Material.—Effect of Religion upon Art.—Two Periods in Art History.—Ancient Religion.—Various Symbols.—Unglazed Pottery—Sun-dried: Bricks.—Moulds, Stamps, etc.—Vessels.—Baked Ware: Its Early Date.—Color of Vessels and Bricks.—Coffins.—Cones.—Figures.—Sepulchral Vases.—Amphoræ and other Vessels.—Decoration.—Græco-Egyptian Pottery.—Glazed Ware, miscalled Porcelain: Its Nature, and how Colored.—Wall Tiles.—Inlaying of Mummy Cases.—Personal Ornaments.—Images.—Beads, etc.—Vases.—Bowls.—Glazed Schist.—Stanniferous Enamel |
82 |
| CHAPTER II ASSYRIA AND BABYLONIA. | |
Possible Priority to Egyptian Pottery.—Similarity between Assyrian and Egyptian.—The Course followed by both Arts.—Unbaked Bricks.—Baked Bricks.—Writing Tablets.—Seals.—Vases.—Terra-cottas.—Porcelain.—Glazing and Enamelling.—Tin.—Colored Enamels.—Babylonian Bricks.—Glazes{7} |
97 |
| CHAPTER III JUDÆA. | |
Art Derived from Egypt.—Never Reached any Eminence.—Preference for Metals.—Frequent Allusions in Scripture.—Bought Earthen-ware from Phœnicia and Egypt.—Home Manufacture.—Decoration.—Necessity for Distinguishing between Home and Foreign Wares |
103 |
| CHAPTER IV INDIA AND CENTRAL ASIA. | |
Mystery Surrounding People.—History of its Art in great measure Unknown.—Questions of its Existence and Originality.—How they Arose.—The Brahmins.—Geographical Position.—Views of Early Travellers.—Later Investigations.—More Ancient Pottery.—Clay Used.—Knowledge of Glazing: Its Application to Architecture.—Glazed Bricks.—Terra-cotta.—Chronological Arrangement.—Porcelain: Its Decoration.—Use of Gold.—Siam |
105 |
| CHAPTER V CHINA. | |
Art Different from that of Europe or America.—How it must be Viewed.—Religion.—Legend.—Hoang-ti the Inventor of Pottery.—The Leading Points of Religious System.—Personified Principles.—Lao-tseu, Confucius, and Buddha.—Kuan-in.—Pousa or Pou-tai.—Dragons.—Dog of Fo.—Ky-lin.—Sacred Horse.—Fong-hoang.—Symbols.—Meaning of Colors and Shapes.—Pottery: When First Made.—Céladon.—Crackle.—How Made.—Porcelain Crackle.—Decorations on Crackle.—Household Vessels.—Stone-ware.—Licouli.—Tower of Nankin.—Pipe-clay.—Boccaro.—Colors and Decoration of Pottery.—Colors on Crackle. Porcelain: When Invented.—King-teh-chin.—All Classed as Hard, Exceptions.—Old Porcelains.—Kouan-ki.—Blue-and-white.—Persian Styles.—Turquoise and other Blues.—Leading Events of Ming Dynasty.—Egg-shell.—Tai-thsing Dynasty.—Mandarin Vases.—Families.—Old White.—Jade.—Purple and Violet.—Liver Red.—Imperial Yellow.—Chinese Ideas of Painting.—Soufflé.—Grains of Rice.—Articulated and Reticulated Vases.—Cup of Tantalus |
109 |
| CHAPTER VI COREA. | |
Geographical Position.—Successive Conquests.—Its Independent Art.—Confused Opinions regarding it.—Its Porcelain.—Decoration |
154 |
| CHAPTER VII JAPAN. | |
How to Study Japanese Art: Its Origin.—Its Revived Independence.—Nomino-Soukoune.—Shirozayemon.—Raku.—When Porcelain was First Made.—Shonsui.—Form of Government.—The Gods.—Symbols.—“Land of Great Peace.”—Foreign Relations.—General Features of Art.—Chinese and Japanese Porcelains.—Pottery: Geographical Distribution.{8}—Classification.—Satsuma.—Difficult Ware.—Saki Cups.—Imitations of Satsuma.—Kioto.—Awata.—Awadji.—Banko.—Kiusiu.—Karatsu.—Suma.—Porcelain: Leading Differences between Japanese and Chinese.—Sometsuki Blue.—Ware for Export.—Gosai, or Nishikide.—Arita, or Hizen.—Families.—Decoration.—Modern Hizen.—Seidji.—Kioto.—Eraku.—Kaga.—Portraiture.—Owari.—Lacquer.—Cloisonné.—Rose Family.—Early Styles: Indian: Dutch Designs.—General Characteristics of Japanese Art |
156 |
| CHAPTER VIII PERSIA. | |
Persia, and its Influence.—History.—Conquests.—Religious Revolutions.—Zoroaster.—Mohammed.—Geographical Position.—General View of Influences bearing upon Art.—Decoration.—Flowers and Symbols.—Conventional Styles.—Whence came the Monsters Appearing upon Wares.—Metallic Lustre.—Pottery: Composition.—Caution in Looking at Specimens.—Wall-Tiles and their Decoration.—Vases.—Porcelain: Had Persia a True Porcelain?—Classification, and the Difficulties Attending It.—Decoration.—Classes Formed by Prevailing Color |
189 |
| BOOK III.—EUROPE. | |
| CHAPTER I THE FOUNTAINS OF EUROPEAN ART. | |
Routes by which Art Travelled.—Their Point of Convergence.—Cyprus: Its History.—The Successive Nations Governing It.—The Strata of Ancient Civilization found within its Shores.—The Discoveries of Cesnola.—Larnaca.—Dali.—Athieno.—Curium.—Progress of Cypriote Pottery.—Early Greek Art: Its Connection with Assyria and Egypt.—Phœnician and Assyrian Art.—General Deductions.—Asia Minor.—Oriental Art turning in various Streams to Greece.—What Greece Rejected, Persia Seized upon.—Persia’s Contributions to Ceramic Art.—History in Reference to its Art.—Effect of Conquest.—What Persia Taught the Arabs.—Spread of Persian Art by the Saracens.—Rhodes.—Damascus.—Progress of Saracenic Art.—The North of Africa.—Metallic Lustre and Stanniferous Enamel.—Hispano-Moresque.—Early Spain.—Persian Influence upon Europe |
198 |
| CHAPTER II GREECE. | |
General Character of Greek Ceramics.—Form and Color.—Borrowed from Egypt and Phœnicia.—How Original.—Unbaked Clay: Bricks and Statues.—Terra-cotta: Where Used.—Tiles.—Models.—Vessels.—Pithos.—Amphora.—Pigments used on Terra-cotta.—Rhyton.—Glazed Wares: Quality of Glaze.—Paste.—Enumeration and Description of Vessels.—Uses of Vases.—Chronological Arrangement.—Methods of Making Vessels.—Successive Styles of Ornamentation.—Figures.—Earliest Style.—Archaic Style.—Human Figures.—“Old Style.”—Approach to Best Art.—“Fine Style.”—“Florid Style.”—Decline.—Classification according to Subjects Represented on Vases.—Reliefs and Statuettes as Decoration{9} |
219 |
| CHAPTER III THE IBERIAN PENINSULA. | |
Spain: Ancient Pottery.—Valencia the Most Ancient Centre.—The Roman Period.—Arabs.—Valencia under the Moors.—Its Decline.—Malaga the Most Ancient Moorish Settlement.—The Alhambra Vase.—Influence of Christianity.—Majorca.—Azulejos.—Modern Spain.—Porcelain.—Buen Retiro.—Moncloa.—Alcora.—Portugal: Vista Allegre.—Rato.—Caldas |
233 |
| CHAPTER IV ITALY. | |
Italian Art.—Whence Derived.—Greece and Persia.—Divisions.—Ancient Roman and Etruscan.—Etruria and Greece.—Questions Resulting from Discoveries at Vulci.—Early Connection between Etruria and Greece.—Etruscan Art an Offshoot of Greek.—Examples.—Best of Black Paste.—Why Etruscan Art Declined.—Rome.—Nothing Original.—Its Debt to Etruria and Greece.—Decline of its Art.—Unglazed Pottery and its Divisions.—Glazed Pottery.—Samian Ware.—Aretine.—Terra-cotta.—After Rome fell.—The Renaissance.—Saracenic Influences.—Crusades.—Conquest of Majorca.—Tin Enamel and Metallic Lustre.—Bacini at Pisa.—Lead Glaze.—Majolica Made at Pesaro.—Sgraffiati.—Luca della Robbia.—Sketch of his Life.—His Alleged Discovery.—What he really Accomplished.—Where he Acquired the Secret of Enamel.—His Works.—Bas-Reliefs.—Paintings on the Flat.—His Successors.—Recapitulation of Beginnings of Italian Majolica.—Chaffagiolo.—Siena.—Florence.—Pisa.—Pesaro.—Castel-Durante.—Urbino.—Gubbio and Maestro Giorgio.—Faenza.—Forli, Rimini, and Ravenna.—Venice.—Ferrara.—Deruta.—Naples.—Shape and Color.—Modern Italy.—Porcelain: Florence and Earliest Artificial Porcelain.—Theory of Japanese Teaching.—La Doccia.—Venice, and the Question of its First Making European Porcelain.—Le Nove.—Capo di Monte |
240 |
| CHAPTER V FRANCE. | |
Prospect on approaching France.—Present and Past.—The Ancient Celts.—Under the Romans.—Middle Ages.—Poitou, Beauvais, and Hesdin.—Italian Influence.—A National Art.—Bernard Palissy, Barbizet, Pull, and Avisseau.—Henri Deux Ware.—Rouen.—Nevers.—Moustiers.—Marseilles.—Strasburg.—Limoges.—Haviland’s New Process.—Examples.—Bourg-la-Reine.—Laurin.—Deck.—Colinot.—Creil.—Montereau.—Longwy.—Parville.—Gien.—Sarreguemines.—Niederviller.—Luneville.—Nancy.—St. Clement.—St. Amand.—Paris.—Sceaux.—Porcelain: Efforts to Make Porcelain.—First Artificial Porcelain.—St. Cloud.—Lille.—Paris.—Chantilly.—Mennecy.—Vincennes.—Sèvres.—Natural, or Hard, Porcelain.—Discovery of Kaolin.—Various Factories.—Limoges.—Deck.—Regnault.—Solon.—Pate Changeante.—Pate-sur-Pate |
271 |
| CHAPTER VI GERMANY AND CENTRAL EUROPE. | |
Early Pottery.—Lake Dwellers.—Early German.—Peculiar Shapes.—How Peasants Account for Relics.—Roman Epoch.—Tin Enamel.—Leipsic.—Breslau.—Nuremberg.—The Hirschvogels.—Villengen.—Höchst.—Marburg.—Bavaria.—Switzerland.—Belgium.—Delft.{10}—Stone-ware: Countess Jacqueline.—Teylingen.—Graybeards.—Fine Stone-ware.—Grès de Flandre.—Creussen.—Porcelain: Böttcher.—His First Productions.—Meissen Porcelain.—Decoration.—Best Days of Meissen.—Its Decline.—Vienna.—Höchst.—Fürstenburg.—Höxter.—Frankenthal.—Nymphenburg.—Berlin.—Holland.—Weesp.—Loosdrecht.—The Hague.—Switzerland.—Zürich.—Nyon |
327 |
| CHAPTER VII RUSSIA, DENMARK, AND SCANDINAVIA. | |
Scandinavian Pottery allied to Teutonic.—Hand-shaped Vessels.—Primitive Kiln.—The Eighteenth Century.—St. Petersburg: Its Porcelain.—Moscow.—Rorstrand.—Marieberg.—Modern Swedish Faience.—Denmark.—Kiel.—Copenhagen.—Imitations of Greek.—Copenhagen Porcelain |
344 |
| CHAPTER VIII GREAT BRITAIN AND IRELAND. | |
Continuity of History.—Early British Urns.—Scottish Relics.—Irish Urns.—Roman Conquest.—Caistor Ware.—Anglo-Roman Ware.—Saxon Period.—After the Norman Conquest.—Tiles.—Dutch Potteries in England.—English Delft.—Stone-ware.—Sandwich.—Staffordshire Potteries.—Early Products.—The Tofts.—Salt Glaze.—Broadwell and the Elers Family.—Use of Calcined Flint.—Wedgwood.—His Life.—Jasper Ware.—Queen’s Ware.—The Portland Vase.—Basaltes.—Wedgwood’s Removal to Etruria.—His Death.—Minton & Co.—Their Imitations of the Oriental.—Pate Changeante.—Pate-sur-Pate.—Cloisonné Enamel on Porcelain.—Other Reproductions.—Their Majolica.—Their Artists.—Minton, Hollins & Co.—Lambeth.—Doulton Ware.—Terra-cotta and Stone-ware.—George Tinworth.—Fulham.—Bristol.—Leeds.—Liverpool.—Lowestoft.—Yarmouth.—Nottingham.—Shropshire.—Yorkshire.—Porcelain: Plymouth Hard Porcelain.—Cookworthy.—Bow.—Chelsea.—Derby.—Worcester.—Minton.—Pate-sur-Pate.—Spode.—Copeland.—Bristol.—Tunstall.—Caughley.—Nantgarrow.—Swansea.—Colebrookdale.—Pinxton.—Shelton.—Belleek.—General Character of Manufacture in Great Britain |
352 |
| BOOK IV.—AMERICA. | |
| CHAPTER I SOUTH AMERICA. | |
Antiquity of American People.—Scope of Inquiry.—Peru: Its Old Inhabitants.—Course of Ceramic Art.—Doubts regarding Origin of Peruvian Civilization.—Periods.—The Incas.—Pizarro.—Geological Evidence of Antiquity.—Unbaked Bricks.—Pachacamac.—Its Graves.—Opposite Types.—Effect of Religion.—Symbols.—Forms of Pottery.—Water-Vessels.—Human Forms.—Leading Features of Decoration.—Colors Employed.—Processes.—Customs Learned from Pottery.—Brazil: Ancient Specimens.—Modern Ware.—Bricks and Tiles.—Talhas.—Moringues and other Water-Vessels.—Colombia{11} |
391 |
| CHAPTER II CENTRAL AMERICA. | |
Connection with Peru.—Nicaragua.—Ometepec.—Modern Potters.—Guatemala.—Ancient Cities.—Who Built Them.—Copan.—Quirigua.—Palenque.—Mitla |
418 |
| CHAPTER III THE MOUND-BUILDERS. | |
Who were they?—Their supposed Central American Origin.—The place they occupy in the present History.—Recent Discoveries.—Pottery of the Lower Mississippi.—Deduction from Comparison with Peruvian |
425 |
| CHAPTER IV INDIAN POTTERY. | |
Successors of the Mound-builders.—Opinion of Professor Marsh.—Pueblos descended from the Mound-builders.—Natchez and Mandan Tribes.—Pueblos of Colorado, etc.—Pottery found at El Moro.—Zuni.—Further Discoveries.—Immense Quantities of Fragmentary Pottery.—Corrugated Pottery of Colorado.—Painted Pottery.—Moquis of Tegua.—Modern Pueblos.—Trade in Pottery.—Resemblances between Potteries of South, Central, and North America.—Indian Pottery from Illinois.—Louisiana, and how Pottery made.—New Jersey Indians.—Tennessee.—Maryland.—Other Indian Tribes |
429 |
| CHAPTER V UNITED STATES. | |
The Future of America.—Obstacles in the Way of Progress.—Commercial Conditions Illustrated by Tariff.—Expense of Artistic Work.—Lack of Public Support.—American Marks.—Misrepresentation of American Wares.—Materials.—Early Use in England by Wedgwood, etc.—Cookworthy and a Virginian.—Native Use of Clay.—New Jersey.—Value of Clay Deposit Illustrated.—American Kaolin.—Vague Use of Word.—Analysis.—Opinions of American Deposits.—Pottery: Dependence upon England.—Wedgwood’s Fears of American Competition.—Norwich.—Hartford.—Stonington.—Norwalk.—Herbertsville.—Sayreville.—South Amboy.—Philadelphia.—Baltimore.—Jersey City.—Bennington.—New York City Pottery.—Trenton.—Present Extent of Industry.—Trenton Ivory Porcelain.—Terra-cotta.—Beverly.—Chelsea.—Portland.—Cambridge.—Porcelain: Philadelphia.—William Ellis Tucker.—Bennington.—Jersey City.—Greenpoint.—Decorating Establishments.—Metal and Porcelain |
442 |
INDEX: A, B, C, D, E, F, G, H, I, J, K, L, M, N, O, P, Q, R, S, T, U, V, W, X, Y, Z |
489 |
ILLUSTRATIONS.
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| Fig. | Country or | Subject | Collection | Page |
| INTRODUCTION | ||||
| 1 | France | Old Sèvres Pate Teudre | L. Double | 23 |
| 2 | Greece and Phonecia | Amphoræ | Di Cesnola | 25 |
| 3 | China | Bottles | 26 | |
| 4 | Greece | Diogenes in Pithos | 27 | |
| 5 | " | Prize Vase | 28 | |
| 6 | " | Rhyton | Trumbull-Prime | 29 |
| 7 | " | Kylix | 29 | |
| 8 | Egypt | Sepulchral Cone | Trumbull-Prime | 30 |
| 9 | " | Painted Ball | 31 | |
| 10 | " | Glazed Draughtsman | 31 | |
| 11 | Babylon | Enamelled Brick | Louvre | 32 |
| 12 | Japan | Hexagonal Vase | R.H. Pruyn | 37 |
| 13 | Persia | Tile | 38 | |
| 14 | " | Mosque of Sultaneah | 39 | |
| 15 | Japan | Porcelain Vase | J.F. Sutton | 40 |
| 16 | China | Crackle Vase | J.F. Sutton | 41 |
| 17 | France | Palissy Dish | Soltykoff | 43 |
| 18 | " | Limoges Porcelain | Mrs Charles Crocker | 46 |
| 19 | " | Limoges Porcelain | Thomas Scott | 47 |
| TECHNOLOGY | ||||
| 20 | Egypt | Blue-glazed Pottery | 48 | |
| MANUFACTURE | ||||
| 21,22 | ... | Pug-mills | 67 | |
| 23 | Judea | Potter at Work | 70 | |
| 24 | Egypt | A Pottery | 72 | |
| 25 | Italy | Venetian Potter | 74 | |
| 26-29 | ... | Earthen-ware and Porcelain Kilns | 77,79 | |
| EGYPT | ||||
| 30 | Captives making Bricks | 84 | ||
| 31 | Scarabæus | Way, Bost. Mus. of Fine Arts | 86 | |
| 32 | Gods | Way, Bost. Mus. of Fine Arts | 87 | |
| 33 | Earthen-ware | 88 | ||
| 34 | Pottery Cone | Trumbull-Prime | 89 | |
| 35 | Terra-cotta Vase | British Museum | 89 | |
| 36 | Polished Terra-cotta | 91 | ||
| 37 | Polished Terra-cotta | British Museum | 91 | |
| 38 | Glazed Pottery Vase | 92 | ||
| 39 | Scarabæi | Way, Bost. Mus. of Fine Arts | 92 | |
| 40 | Pectoral Tablets | Way, Bost. Mus. of Fine Arts | 93 | |
| 41,42 | Mummy Figures | Way, Bost. Mus. of Fine Arts | 94,95 | |
| 43 | Fragment Tin Enamel | Trumbull-Prime | 96 | |
| ASSYRIA, Etc | ||||
| 44 | Pottery Vases | 97 | ||
| 45 | Terra-cotta Venus | 98 | ||
| 46 | Cylinder | British Museum | 98 | |
| 47 | Inscribed Seal | 98 | ||
| 48 | Seal of Sabaco | 98 | ||
| 49 | Enlarged Impression | 99 | ||
| 50 | Back of Assyrian Seal | 99 | ||
| 51 | Fragment: Porcelain (?) | 99 | ||
| 52 | Box in Porcelain(?) | 99 | ||
| 53 | Enamelled Brick | Louvre | 99 | |
| 54 | Babylonian Brick | 100 | ||
| 55 | Mujellibé | 100 | ||
| 56 | Terra-cotta Tablet | British Museum | 101 | |
| 57 | Baked Clay Ram | 102 | ||
| 58 | Glazed Coffins | 102 | ||
| JUDEA | ||||
| 59 | Earthen-ware Vessels | 103 | ||
| 60 | Lamps and Oil Vessels | 104 | ||
| INDIA | ||||
| 61 | Porcelain Vases | 108 | ||
| CHINA | ||||
| 62 | Porcelain Group | S.P. Avery | 109 | |
| 63 | Cheon-lao | 111 | ||
| 64 | Kuan-in S. P. Avery | 112 | ||
| 65 | Dog Fo | 113 | ||
| 66 | Vase with Ky-lin | August Belmont | 113 | |
| 67 | Sacred Horse | 114 | ||
| 68 | Fong-hoang | 114 | ||
| 69 | Vase with Fong-hoang | Robert Hoe, Jr | 115 | |
| 70 | Crackle Vase | S.P. Avery | 118 | |
| 71 | Nankin Tower | 119 | ||
| 72 | Bricks from Nankin Tower | N. Y. Metro. Museum | 119 | |
| 73 | Crackle Vase | J.C. Runkle | 120 | |
| 74 | Porcelain Lantern | S.P. Avery | 121 | |
| 75-82 | Honorific Marks | 124 | ||
| 83 | Blue-and-white Porcelain | J.C. Runkle | 125 | |
| 84 | Blue-and-white Porcelain | W.L. Andrews | 125 | |
| 85 | Lancelle Vase | W.L. Andrews | 126 | |
| 86 | Blue-and-white Vase | J.C. Runkle | 127 | |
| 87 | “Hawthorn” Vase | S.P. Avery | 128 | |
| 88 | “Hawthorn” Vase | J.C. Runkle | 129 | |
| 89 | Black “Hawthorn” | S.P. Avery | 130 | |
| 90 | Aster Plaque | W.L. Andrews | 131 | |
| 91 | Ewer, Persian Style | J.C. Runkle | 132 | |
| 92 | Turquoise Vase | S.P. Avery | 133 | |
| 93 | Kieu-long Green | J.C. Runkle | 135 | |
| 94 | Ming Vase | G.R. Hall, Bost. Mus. of Fine Arts | 137 | |
| 95 | Ming Vase | J.C. Runkle | 138 | |
| 96 | Ming Vase, Green | F. Robinson | 139 | |
| 97 | Rose Family | Mrs J.V.L. Pruyn | 140 | |
| 98 | Rose Plate | Robert Hoe, Jr | 141 | |
| 99 | Rose Bowl | Mrs J.V.L. Pruyn | 142 | |
| 100 | Rose Egg-shell | W.L. Andrews | 143 | |
| 101 | White Porcelain Cup | J.C. Runkle | 145 | |
| 102 | Five-fingered Rosadon | G.W. Wales | 149 | |
| 103 | Yellow Porcelain | J.F. Sutton | 150 | |
| 104 | Grains of Rice | S.P. Avery | 151 | |
| 105 | Reticulated Vase | S.P. Avery | 152 | |
| 106 | Cup and Saucer | Mrs J.V.L. Pruyn | 153 | |
| COREA | ||||
| 107 | Earthen-ware Jar | A.A. Vantine & Co | 154 | |
| 108 | Porcelain Cup and Saucer | W.L. Andrews | 155 | |
| 109 | Porcelain Vase | 155 | ||
| JAPAN | ||||
| 110 | Japanese Gods | 156 | ||
| 111 | Raku Bowl | A.A. Vantine & Co | 160 | |
| 112 | Kiri-mon | 161 | ||
| 113 | Guik-mon | 161 | ||
| 114 | Tycoon’s Arms | 161 | ||
| 115 | Dragon Bowl | Corcoran Art Gall. | 162 | |
| 116 | Satsuma Vase | Bost. Mus. of Fine Arts | 166 | |
| 117 | Satsuma Vase | August Belmont | 167 | |
| 118 | Satsuma Vase | R.H. Pruyn | 168 | |
| 119 | Satsuma Vase | J.W. Paige | 169 | |
| 120 | Satsuma Vase | J.F. Sutton | 170 | |
| 121 | Kioto Faience | A.A. Vantine & Co | 171 | |
| 122 | Kioto Faience | Bost. Mus. of Fine Arts | 171 | |
| 123 | Kioto Faience | J.F. Sutton | 172 | |
| 124 | Kiusin Vase | A.A. Vantine & Co | 172 | |
| 125 | Karatsu Vase | J.F. Sutton | 173 | |
| 126 | Suma Vase | A.A. Vantine & Co | 173 | |
| 127 | Satsuma Vase | Robert H. Pruyn | 174 | |
| 128 | Porcelain Plaque | W.L. Andrews | 175 | |
| 129 | Old Hizen, or Imari | A.A. Vantine & Co | 177 | |
| 130 | Porcelain Dish | R.H. Pruyn | 177 | |
| 131 | Hizen Porcelain Vase | Mrs J.V.L. Pruyn | 178 | |
| 132 | Japanese Porcelain Vase | H.C. Gibson | 178 | |
| 133 | Kaga Vase | A.A. Vantine & Co | 179 | |
| 134 | Owari Vase | Yoshida Kiyonari | 181 | |
| 135 | Lacquer Vase | Corcoran Art Gallery | 182 | |
| 136 | Tokio Cloisonné Enamel | J.F. Sutton | 182 | |
| 137 | Owari Cloisonné Enamel | J.F. Sutton | 183 | |
| 138 | Rose Family Vase | Robert H. Pruyn | 183 | |
| PERSIA | ||||
| 139 | Faience Plaque | Robert Hoe, Jr | 189 | |
| 140,141 | Faience Plaques | Bost. Mus. of Fine Arts | 192 | |
| 142 | Shrine of Imam Hussein | 194 | ||
| 143 | Porcelain Bottle | Jacquemart | 196 | |
| 144 | Porcelain Narghili | 196 | ||
| FOUNTAINS OF EUROPEAN ART | ||||
| 145 | General Di Cesnola | 199 | ||
| 146-149 | Phœnician Vases | Di Cesnola | 200-202 | |
| 150 | Assyro-Phœnician Vase | Di Cesnola | 203 | |
| 151 | Greek Vase | Di Cesnola | 204 | |
| 152-158 | Phœnician Pottery | Di Cesnola | 205-209 | |
| 159 | Greek Vases and Cups | Di Cesnola | 210 | |
| 160 | Saracen Tile | Trumbull-Prime | 213 | |
| 161 | Saracen Tiles | Bost. Mus. of Fine Arts | 213 | |
| 162,163 | Rhodian Faience | 214,215 | ||
| 164 | Maghreb Urn | 216 | ||
| GREECE | ||||
| 165 | Early Greek Aryballoi | Trumbull-Prime | 219 | |
| 166 | Early Greek Vases | 220 | ||
| 167 | Greek Vase | Louvre | 221 | |
| 168 | Head of Minerva | Trumbull-Prime | 222 | |
| 169 | Stamnos | 223 | ||
| 170 | Askos | 223 | ||
| 171 | Skyphos | 223 | ||
| 172 | Rhyton | 224 | ||
| 173,174 | Kraters | 224,225 | ||
| 175 | Holmos | 225 | ||
| 176 | Kelebe | 225 | ||
| 177 | Oxybaphon | 225 | ||
| 178,179 | Prochoos | 226 | ||
| 180 | Olpe | 226 | ||
| 181 | Kyathos | 227 | ||
| 182 | Kantharos | 227 | ||
| 183 | Kylix | Trumbull-Prime | 228 | |
| 184 | Early Greek Oinochoe | Trumbull-Prime | 228 | |
| 185 | Early Greek Oinochoe | T.G. Appleton, B. M. of F. A. | 229 | |
| 186 | Bacchic Amphora | T.G. Appleton, B. M. of F. A | 229 | |
| 187 | Kalpis | T.G. Appleton, B. M. of F. A | 230 | |
| 188 | Hydria | Trumbull-Prime | 231 | |
| 189 | Amphora | T.G. Appleton, B. M. of F. A | 231 | |
| SPAIN | ||||
| 190 | Hispano-Moresque Vase | South Kensington | 233 | |
| 191 | Hispano-Moresque Plaque | J.W. Paige | 234 | |
| 192 | Alhambra Vase | 235 | ||
| 193 | Hispano-Moresque Plaque | G.W. Wales, B. M. of F. A | 236 | |
| 194 | Early Hispano-Moresque | Boston Household Art Rooms | 236 | |
| 195 | Moorish Tile | 237 | ||
| 196 | Early Hispano-Moresque | Boston Household Art Rooms | 237 | |
| ITALY | ||||
| 197 | Etruscan Vase | J.J. Dixwell | 243 | |
| 198 | Roman Lamps | 245 | ||
| 199 | Samian Ware | 245 | ||
| 200 | Siculo-Moresque Vase | 247 | ||
| 201 | Siculo-Moresque Vases | Castellani | 248 | |
| 202 | Sgraffiato | 249 | ||
| 203 | Luca della Robbia | 250 | ||
| 204 | Robbia Medallion | Hôtel Cluny | 251 | |
| 205 | Robbia Plaque | Bost. Mus. of Fine Arts | 251 | |
| 206 | Robbia Medallion | South Kensington | 252 | |
| 207 | Andrea della Robbia Plaque | Bost. Mus. of Fine Arts | 252 | |
| 208 | Imitation Robbia | Bost. Mus. of Fine Arts | 253 | |
| 209 | St Sebastian, by Giorgio | South Kensington | 253 | |
| 210 | Chaffagiolo Pitcher | South Kensington | 254 | |
| 211 | Siena Vase | South Kensington | 254 | |
| 212 | The Sforza Dish | 256 | ||
| 213 | Pesaro Vase | John Taylor Johnston | 257 | |
| 214 | Castel-Durante Dish | South Kensington | 258 | |
| 215 | Castel-Durante Dish | Castellani | 258 | |
| 216 | Plate by Xanto | Marryat | 259 | |
| 217 | Urbino Vase | Castellani | 260 | |
| 218 | Urbino Pilgrim’s Bottle | South Kensington | 261 | |
| 219 | Gubbio Lustre | South Kensington | 261 | |
| 220 | Platean by Giorgio | South Kensington | 262 | |
| 221 | Faenza Dish | 263 | ||
| 222 | Deruta Dish | South Kensington | 264 | |
| 223 | Medicean Porcelain | Castellani | 266 | |
| 224 | Design on the Above | 267 | ||
| 225 | Nove Porcelain | 269 | ||
| FRANCE | ||||
| 226 | Biscuit Group, Sèvres | August Belmont | 271 | |
| 227 | Bernard Palissy | 274 | ||
| 228 | Palissy Dish | Rothschild | 276 | |
| 229 | Palissy Pitcher | Rothschild | 277 | |
| 230 | Barbizet Plaque | Tiffany & Co | 278 | |
| 231 | Palissy Cistern | 279 | ||
| 232 | Henri Deux Ewer | 280 | ||
| 233 | Henri Deux Biberon | Malcolm | 280 | |
| 234 | Rouen Faience | 281 | ||
| 235 | Rouen Faience | Trumbull-Prime | 282 | |
| 236,237 | Moustiers Dishes | 284,285 | ||
| 238 | Haviland Faience | Smithsonian Inst. | 290 | |
| 239 | Haviland Faience | Henry Havemeyer | 296 | |
| 240 | Haviland Faience | G.W. Gibson | 297 | |
| 241 | Haviland Faience | Whitelaw Reid | 297 | |
| 242 | Haviland Faience | Mrs Wm. H. Dannat | 298 | |
| 243 | Haviland Faience | Mrs Col T. Scott | 300 | |
| 244 | Haviland Faience | Clara L. Kellogg | 302 | |
| 245 | Bourg-la-Reine Faience | G. Collamore | 303 | |
| 246 | Bourg-la-Reine Faience | Tiffany & Co | 303 | |
| 247 | Deck Faience | Corcoran Art Gallery | 304 | |
| 248,249 | Deck Bottle and Vase | G. Collamore | 305 | |
| 250 | Colinot Faience | Tiffany & Co | 306 | |
| 251 | Colinot Faience | G. Collamore | 306 | |
| 252 | Colinot Faience | Tiffany & Co | 307 | |
| 253 | Longwy Faience | G. Collamore | 308 | |
| 254,255 | Longwy Faience | Tiffany & Co | 308,309 | |
| 256 | Parville Faience | Tiffany & Co | 309 | |
| 257 | Gien Faience | D. Collamore | 310 | |
| 258 | Sarreguemines Faience | G. Collamore | 310 | |
| 259 | St Cloud Porcelain | Jacquemart | 312 | |
| 260 | Vincennes Porcelain | Duke de Martina | 313 | |
| 261 | Sèvres Pate Tendre | August Belmont | 314 | |
| 262 | Jewelled Sèvres | Mrs J.V.L. Pruyn | 315 | |
| 263 | Jewelled Sèvres | H.C. Gibson | 315 | |
| 264 | Sèvres Vase | Mrs C.B. Hosack | 316 | |
| 265 | Sèvres Vase | White House | 317 | |
| 266 | Sèvres Porcelain Candlestick | Mrs J.V.L. Pruyn | 317 | |
| 267 | Sèvres Vase | White House | 318 | |
| 268 | Sèvres Tea-set | Miss M.F. Curtis | 318 | |
| 269,270 | Washington’s Sèvres | 319 | ||
| 271 | Limoges Porcelain | S.S. Conant | 320 | |
| 272 | Limoges Porcelain | 320 | ||
| 273 | Limoges Porcelain | Mrs Col T. Scott | 321 | |
| 274 | Limoges Porcelain | General A.J. Myer | 321 | |
| 275 | Limoges Porcelain | Whitelaw Reid | 322 | |
| 276 | Limoges Pate Tendre | H.J. Jewitt | 322 | |
| 277,279 | Limoges Pate Tendre | 323,324 | ||
| 280,281 | Deck Vase and Plaque | G. Collamore | 325 | |
| 282 | Pate-sur-pate, by Solon | G. W. Wales, B. M. of F. A | 326 | |
| GERMANY | ||||
| 283 | Hut-shaped Vases | 328 | ||
| 284 | Hirschvogel Vase | 330 | ||
| 285,286 | Delft Faience | Mrs J.V.L. Pruyn | 331,332 | |
| 287,288 | Graybeards | 334 | ||
| 289,290 | Fine Stone-ware | 335 | ||
| 291 | Böttcher Stone-ware | D. Collamore | 337 | |
| 292 | Meissen Porcelain | F. Robinson | 337 | |
| 293 | Meissen Porcelain | 338 | ||
| 294 | Meissen Porcelain | L. Double | 339 | |
| 295 | Meissen Porcelain | August Belmont | 340 | |
| 296 | Meissen Porcelain (Marcolini) | J.C. Runkle | 340 | |
| 297 | Modern Dresden Porcelain | D. Collamore | 341 | |
| 298 | Berlin Porcelain | D. Collamore | 341 | |
| 299 | Berlin Porcelain Vase | August Belmont | 342 | |
| RUSSIA, DENMARK, & SCANDINAVIA | ||||
| 300 | Russian Faience | D. Collamore | 344 | |
| 301,302 | Swedish Faience | William Astor | 345,346 | |
| 303 | Norwegian Faience | W.B. Dickerman | 347 | |
| 304,306 | Ipsen Terra-cotta | Ovington Brothers | 348,349 | |
| 307 | Wendrich Terra-cotta | T. Schmidt | 350 | |
| 308 | Copenhagen Porcelain | Mrs J.V.L. Pruyn | 351 | |
| GREAT BRITAIN | ||||
| 309 | Ancient British Vases | 353 | ||
| 310,311 | Celtic Pottery | 354 | ||
| 312,313 | Romano-British Ware | 355 | ||
| 314 | Saxon Pottery | 356 | ||
| 315 | Anglo-Norman Vases | 356 | ||
| 316,318 | Old English Tiles | Bost. Household Art Rooms | 357 | |
| 319 | Posset-pot, 15th Century | Bateman | 359 | |
| 320 | Staffordshire Tyg | 359 | ||
| 321 | Elers Ware | 360 | ||
| 322 | Josiah Wedgwood | 360 | ||
| 323 | Wedgwood Cameo | 361 | ||
| 324 | Wedgwood Basaltes | Meyer | 362 | |
| 325 | Wedgwood Jasper | Barlow | 363 | |
| 326 | Wedgwood Earthen-ware | W.S. Ward | 363 | |
| 327 | Wedgwood Portland Vase | 364 | ||
| 328 | Wedgwood Jasper Vase | John W. Britton | 365 | |
| 329 | Wedgwood Earthen-ware | D. Collamore | 365 | |
| 330 | Wedgwood Plate | Tiffany & Co | 366 | |
| 331 | Wedgwood Majolica | Horace Russell | 367 | |
| 332 | Minton Stone-ware | D. Collamore | 368 | |
| 333 | Minton Plaque | Tiffany & Co | 369 | |
| 334 | Minton Majolica | Corcoran Art Gallery | 370 | |
| 335,336 | Doulton Ware | W.B. Dickerman | 371 | |
| 337 | Lambeth Faience | 372 | ||
| 338,339 | Lambeth Faience | D. Collamore | 373 | |
| 340 | Doulton Terra-cotta | Smithsonian Inst. | 374 | |
| 341 | Lambeth Faience | Dr H.G. Piffard | 375 | |
| 342 | Lowestoft Pottery | F. Robinson | 375 | |
| 343 | Plymouth Porcelain | 377 | ||
| 344 | Bow Porcelain | 377 | ||
| 345 | Chelsea Porcelain | 378 | ||
| 346 | Derby Porcelain | F. Robinson | 378 | |
| 347 | Bloor-Derby | F. Robinson | 379 | |
| 348 | Old Worcester Porcelain | Robert Hoe, Jr | 379 | |
| 349 | Worcester Porcelain | G. Collamore | 380 | |
| 350,351 | Worcester Porcelain | D. Collamore | 380,381 | |
| 352 | Minton Pate-sur-pate, | H.C. Gibson | 382 | |
| Solon | ||||
| 353 | Jewelled Copeland | Tiffany & Co | 383 | |
| 354,355 | Copeland Parian | 384 | ||
| 356 | Copeland Reticulated | W.B. Dickerman | 385 | |
| Ware | ||||
| 357 | Shelton Porcelain | D. Collamore | 388 | |
| 358,360 | Belleek Porcelain | Tiffany & Co | 388,389 | |
| SOUTH AMERICA | ||||
| 361 | Tile-piece, by F.T. Vance | 391 | ||
| 362,363 | Peruvian Pottery | 393,397 | ||
| 364 | Peruvian Water-jar | Smithsonian Inst. | 400 | |
| 365 | Peruvian Pottery | 400 | ||
| 366 | Peruvian Drinking-vessel | 401 | ||
| 367 | Pottery from Cuzco | 401 | ||
| 368 | Coiled Water-vessel | Smithsonian Inst. | 402 | |
| 369,370 | Peruvian Pottery | 403 | ||
| 371 | Peruvian Water-vessel | Smithsonian Inst. | 404 | |
| 372 | Greek Head-shaped Cup | 404 | ||
| 373,375 | Peruvian Pottery | 405,406 | ||
| 376,378 | Peruvian Pottery | Smithsonian Inst. | 407,408 | |
| 379,381 | Peruvian Pottery | 408,409 | ||
| 382 | Peruvian Black Vessel | Smithsonian Inst. | 410 | |
| 383 | Peruvian Painted Cup | Smithsonian Inst. | 410 | |
| 384,385 | Peruvian Pottery | 411 | ||
| 386,388 | Peruvian Pottery | Barboza | 412,413 | |
| 389 | Brazilian Basin | 414 | ||
| 390 | Burial Urn | 414 | ||
| 391,392 | Modern Pottery | 415,416 | ||
| 393 | Colombia Corrugated Ware | Smithsonian Inst. | 417 | |
| CENTRAL AMERICA | ||||
| 394 | Vase from Ometepec | Smithsonian Inst. | 418 | |
| 395 | Vase from Ometepec | Smithsonian Inst. | 419 | |
| 396 | Tripod from Ometepec | Smithsonian Inst. | 419 | |
| 397 | Urns from Ometepec | 420 | ||
| 398,399 | Terra-cotta Figures | 420,421 | ||
| 400 | Terra-cotta Heads | 421 | ||
| 401 | Guatemala Urn | 422 | ||
| 402 | Guatemala Cup | 422 | ||
| MOUND-BUILDERS | ||||
| 403 | Vases from Missouri | Mrs J.V.L. Pruyn | 425 | |
| 404 | Vase | Bost. Mus. of Fine Arts | 426 | |
| 405 | Vase | Smithsonian Inst. | 426 | |
| 406 | Vase | Bost. Mus. of Fine Arts | 427 | |
| 407 | Vases | 427 | ||
| INDIAN | ||||
| 408,410 | Corrugated Pottery | U. S. Geol. Survey | 432,433 | |
| 411 | Pottery Handle | U. S. Geol. Survey | 433 | |
| 412 | Pottery Ladle | U. S. Geol. Survey | 434 | |
| 413 | Pottery Pipe | U. S. Geol. Survey | 434 | |
| 414,423 | Painted Pottery | U. S. Geol. Survey | 434-436 | |
| 424 | Pottery with Relief | U. S. Geol. Survey | 436 | |
| 425,428 | Modern Moqui | U. S. Geol. Survey | 436,437 | |
| UNITED STATES | ||||
| 429 | Greenpoint Porcelain | 443 | ||
| 430 | Jersey City Earthen-ware | 456 | ||
| 431 | N. Y. City Porcelain | 457 | ||
| 432 | N. Y. Iron-stone China | 458 | ||
| 433 | N. Y. City Pottery | 458 | ||
| 434,438 | Trenton Parian | 464-467 | ||
| 439,440 | Chelsea Terra-cotta | 470 | ||
| 441,442 | Philadelphia Porcelain | Trumbull-Prime | 471,472 | |
| 443 | Bennington Porcelain | Trumbull-Prime | 472 | |
| 444 | Greenpoint Century Vase | 474 | ||
| 445 | “Kéramos” Vase | 475 | ||
| 446 | Greenpoint Biscuit Porcelain | 476 | ||
| 447 | “Song of the Shirt” | 477 | ||
| 448,449 | Greenpoint Porcelain | 478,479 | ||
| 450 | Greenpoint Porcelain | E. Bierstadt | 479 | |
| 451 | Poets’ Pitcher | 480 | ||
| 452,454 | Greenpoint Porcelain | 480,481 | ||
| 455 | Greenpoint Porcelain | 482 | ||
| 456 | English Porcelain | D. Collamore | 482 | |
| 457 | Jersey City Earthen-ware | 483 | ||
| 458,460 | Bennett Faience | D. Collamore | 484,485 | |
| 461 | Plate by J.M. Falconer | 485 | ||
| 462 | Porcelain and Silver | Reed & Barton | 486 | |
| 463 | Porcelain and Silver | Reed & Barton | 486 | |
| 464 | Porcelain and Silver | J.W. Britton | 487 |