Chats on Royal Copenhagen Porcelain by Arthur Hayden, a Project Gutenberg eBook.

INDEX

A as a mark, Copenhagen faience, 330
Abildgaard, 107
A.H. as a mark, 102
Aluminia Company buys factory (in 1883), 205
Aluminia mark on Art faience, 330
Andersen, Hans, Princess and Swineherd, Tinder Box, figures illustrating, 269, 284
Animal life, study of, at Copenhagen, 270, 339
Antonibon, Pasqual, potter at Venice, 24
Arentz, Johan, 109
Arnoux, Report on Pottery at Paris Exhibition (1867), 24
Art Faience, Copenhagen, 307-330
B and G (as a mark), 283
Bargains in porcelain, a regiment of dragoons exchanged for collection of porcelain, 32
Battle of Copenhagen, 179
Bowl commemorating, 184
Bau, N., 109
Baÿer, J. C., the painter of the Flora Danica service, 105
Signature of, 103
Berlin factory founded by Frederick the Great, 32
Bing, M., collection of Oriental art at Paris, 215
Bing and Gröndahl, Messrs., the factory of, at Copenhagen, 283
Bird life, strongly represented in figures and painted work, 270, 339
Biscuit figures, a high test of ceramic art, 266
Biscuit figures of great size (Sèvres porcelain) (1900), 224
Blue-and-white, early, underglaze painted, 157-76
Painters of, 104, 110
Table of marks, 174-6
Boisgelin, Count Louis de, visits Copenhagen factory (1790), 76, 109
his report quoted, 76-84, 150, 151
Bornholm clay used at early period, 63, 78, 165
Botanical character of Copenhagen, decoration in Flora Danica service, 148
Böttger, Johann Fredrich, his discovery of hard porcelain, 22, 29
his secret divulged throughout Europe, 30, 35
Bowl in memory of Battle of Copenhagen, 184
Brandstrup, gilding by, 195
Brongniart discontinues making pâte tendre at Sèvres, 24
Bushell, Stephen W., "Chinese Art," quoted, 23
C7 (incised) as a mark, illustrated, 104
Cadewitz, Martin, 107
Camrath, Johan, junior, 110
senior, 108
Caroline Matilda (Queen of Denmark), her tragic history, 47
Catherine II, Empress of Russia; her friendship with contemporary philosophers and scientists, 142
Establishes a French theatre at St. Petersburg, 142
Letter of Voltaire to, 143
Great services made for— Flora Danica, 139
Sèvres, 139
Wedgwood, 140
Characteristics of modern Copenhagen porcelain, 230, 233
Charles XV of Sweden, present of Fournier Copenhagen service to, 39
Child-life a feature in Copenhagen modelling, 274
"Chinese Art," by Stephen W. Bushell, quoted, 23
Chinese conventional underglaze blue-painted types, 233, 238
Crackled glazes, 292
Flambé glazes, 291
Influence on Copenhagen at the outset of the modern period, 211
Potter, the poetry of the, 95, 245
Prototypes in underglaze painted porcelain, 233
Subjects at Copenhagen, rare, 125
Christian VII (of Denmark), the court of, 43-52
Chronology (Queen Juliane Marie period) (1732-1780), 42
Chronology (1780-1820), 74
Classic movement the, in Europe, 191
Classic ornament, avoidance of, in modern Copenhagen porcelain, 234
used in Copenhagen decadent period, 196
Clement, chemist at Copenhagen factory, produces first crystalline glaze in 1886, 219
Clio, Hans, signature of, 101, 106
Colour, combinations of rich, in Copenhagen art faience, 325
Colours of underglaze painting, their limitation, 236, 268
Colours invented by Müller, 64, 78
Commemorative placques, 230, 243
Commonplace development of underglaze painting avoided at Copenhagen, 234
Contemporary criticism of Copenhagen factory (1790), quoted, 76
Copenhagen Art Faience, 309-31
Copenhagen factory compared with Meissen, 77-80, 126
Copenhagen Factory Mark, its origin and symbolic meaning, 56
Copenhagen porcelain, early (soft-paste), 37
Copenhagen porcelain, characteristics of modern style, 230, 233
Copyists of modern Copenhagen porcelain, 229, 295
Costume subjects, weakness of, in china, 266
Costume subjects, respective claims of overglaze and underglaze painting, 268
Costume subjects. Meissen vitiates Europe, 126
Costume subjects in Meissen and Chelsea manner avoided at Copenhagen, 126, 129, 277
Court scandal. Coup d'état of Crown Prince Frederik, 48
Court scandal. The story of Queen Caroline Matilda, 47
Crackled glazes, 292, 301
Crown, use of, as a mark, 262
Crystalline glazes, 289-303
Crystalline glazes invented by Hr. Clement in 1886, the chemist at the Copenhagen factory, 219
Dalgas, Frederik, his activity in upholding the traditions of the factory, 313
his development of the Art Faience, 313
Dannemand, Countess, presents a service of Copenhagen porcelain to Charles XV of Sweden, 39
Danish and Japanese ceramic art compared, 247
Danish heroes of the Battle of Copenhagen, 184
"Danish" pattern, the, in blue and white, 159
Dish, illustrated, 169
Plate, illustrated, 249
Decadence, the, at Copenhagen factory (1820-1880), 177-97
Decoration, fitting, a true test of high ceramic art, 238
Defects in firing in porcelain corrected by the painter, 265
Delft and its origin, 309
Denmark the arena of European conflicts, art impulses extinguished, 179
Denmark, the first porcelain made in, 35
Derby porcelain peacock compared with Copenhagen model, 288
Diderot and Catherine II of Russia, 142
Diversity of designs, Müller period, 81
Dutch potters' imitation of Chinese porcelain, 309
Eckersberg, Danish painter, 197
Eighteenth century, outburst of enthusiasm for art of potter, 28
Empire style, the so-called, 191
Encyclopædia Britannica (1911), article on Ceramics (re Copenhagen) quoted, 282
Engelhardt, Hr. V., chemist at Copenhagen factory, his crystalline glazes, 223, 296
English factories, soft-paste, list of, 27
Hard paste, 27
English factories, slavish imitation of Oriental models and marks, 11, 281
The short duration of the old, 202
English factories, soft paste mainly produced at, 27
English porcelain, its peculiar technique, 310
English potters, clever technique of, 27
Europe, establishment of china factories in, 21
Secret of hard paste discovered, 29
European ceramic art, a new note added by Copenhagen, 216
European factories, hard-paste, origin of, 30
F painted in forget-me-nots, 99
F5, mark Fournier period, 36
Factory marks, European, with royal and patrician cyphers, 28
Factory Mark, not used from 1773-1775 at Copenhagen, 42, 56
Factory Mark (Copenhagen), origin and meaning of the three blue lines, 56
Factory, the old, closed down for want of fuel, 135
Factory, the Royal Copenhagen, to-day, 333-45
Art Faience and its future, 330
Dalgas, Frederik, the modern spirit of, the artistic distinction achieved under his direction, 313
Facilities for study of plant and animal life, 339
Its artistic environment, 339
Its modern equipment, its hygienic improvements, 340
The studios (illustrated), 341
Faience, Copenhagen Art, 309-31
Faience, its technique, 321
Falck, A., buys factory in 1867, 196
Figure Subjects, early production of, at Copenhagen, 71
National character of, 126, 274
Figure Subjects and Groups (1780-1820), 111-36
Classification of, 122
Renaissance period, 263-88
Figure Subjects, Thorvaldsen period, 196
Fischer, Admiral, bowl in memory of, 184
Fish modelled from nature, 273
Flambé glazes of Chinese potters, 291
Flora Danica service, the, 137-56
Painters and modellers of, 105, 106, 108, 144, 155, 156
Flora Russica, by Dr. P. S. Pallas, German naturalist, 153
Florence, imitative porcelain made at, 23
Foreign porcelain prohibited in Denmark, 114
Foreign workmen and artists at Copenhagen—
Baÿer, 83
Cadewitz, 83
from Meissen, 59
Luplau, 60, 83, 121, 122
Thomaschefsky, 83
Form versus Colour, 265, 266
Formal landscape, the, supplanted by modern Copenhagen, 234
Fortia, de, Count Alphonse, his volume, 76
Fournier, Louis, French potter at Copenhagen, 36
Fournier, Louis, and his period (1760-1766), 35-9
Mark used by, 36
Frederick the Great carries off Meissen workmen to Berlin, 32
Frederick the Great founds the Berlin factory, 32
his ruse to stimulate interest in porcelain, 32
Frederik V of Denmark, Sèvres service a present from Louis XV, 38
Frederik V establishes a factory at Copenhagen, 35
Frederik VI, his early training, 141
Orders the Flora Danica to be made, 140
Frederiksborg Castle, vases at, 125
Fürstenberg, artist from, at Copenhagen, 71
Fürstenberg, mark of, mistaken for early Copenhagen porcelain, 36
Future triumphs, the supernatural yet unplumbed, 253
Garmein, painter (1820-1825), 195
Garnier, M. Edouard (of Sèvres Museum), quoted, 220, 223
Genius independent of modern science, 67, 91
George III demands release of his sister on pain of war being declared, 51
Gilding of exquisite quality at Copenhagen, 91
Ginger jar, the Chinese, of commerce, its beauty, 237
Glaze—
Overglaze decoration, 233
Underglaze decoration, 214, 224, 236, 268
Glazes—
Chinese crackled, 292
Chinese flambé, 291
Crystalline (Copenhagen), 295
Transmutation, 291, 301
Gray, Thomas, student of nature, 153
The first note of love of nature in English literature in his "Letters," 153
Grimm and Catherine II of Russia, 142
Gubbio, ruby lustre glaze of, 318
Hald, Andreas, 109
Signature of, 102
Hamilton, Lady, Nelson's letters to, 187
Hamlet, quoted, 192
Hansen, Lars, painter, 106
Hard paste—
first made at Meissen, 22, 29
Plymouth, Bristol, and New Hall, 27
Sèvres, manufacture of, at, 24
Heraldic placques designed by Arnold Krog, 230, 243
Hetch, G., Director of Copenhagen factory, 191
Highest work of Copenhagen, an attempt to indicate, 230, 233
Hispano-Moresque ware, 318
HM (incised) as a mark, illustrated, 104
Holm (Privy Chancellor to Queen Juliane Marie), encourages Müller, 55
Holm (potter), signature of, 103
Holmskjold, the botanist, director of Copenhagen factory, 144
Höyen, his lecture on the natural Scandinavian art, 196
I as a mark, 195
I. Holm, 103, 107
Imitativeness of European potters, 11, 215, 281, 309, 314
Imitators of modern Copenhagen porcelain, 229, 281
Initials on Copenhagen porcelain (F), 99
Inscription on Chinese vase, 95
Copenhagen (bowl), 184
(cup), 69, 99
(plate), 87
(cup and saucer), 99
Staffordshire pottery, 96
Italian Majolica, old masters of, 317
J (mark of Jensen), 195
Jacobsen, quoted, 251
Japanese and Danish ceramic art compared, 247
Japanese imitations of Copenhagen porcelain, 247, 281
Japanese influence in Copenhagen at outset of modern period, 235
Japanese ivory carver, his technique, 267, 329
Jensen, mark of, 195
Jews compelled by Frederick the Great to buy porcelain, 32
Joachim, Christian, his art faience, 322, 325
JS (incised) as a mark, 103
Juliane Marie, Dowager Queen, patron of Müller, 55
Part of, in overthrow of Struensee, 48
Juliane Marie porcelain period—
Part I (1775-1780), 41-71
Part II (1780-1796), 73-110
Excellence of modelling an ideal for modern work, 268
Juliane Marie style revived, 233
K (incised) as a mark, 175
Kalleberg, G., the designer of fine subjects, 107, 118
Kändler of Meissen and his style, 126
Kaolin, definition of, 22
Keith, Sir Robert Murray, British Minister at Copenhagen, 51
Krog, Arnold, Art Director at Royal Copenhagen Factory (from 1885), 210
his artistic impulses, 213
his development of new style in underglaze painting, 214
Traditional ornament discarded, 234
Nature, the source of inspiration, 215
Signatures of, 255
Kronborg, Castle of, painted on a cup, 192
Kroyer, Danish painter, 197
L as a mark (incised), 175
(painted), 195
Landscape subjects painted in underglaze colours, 237
Lead glaze not used at Copenhagen, 340
Lead-poisoning, no cases at Copenhagen, 340
Lehmann, Peter Heinrich Benjamin,107
Signature of, 101
Living schools of decorative art, 345
Lost arts, the technique of genius, 91
Louis XV sends a Sèvres service to Frederik V of Denmark, 38
Ludwigsberg factory, 31
Lunbye, Johan Thomas, Danish painter, 197
Luplau, comes to Copenhagen from Fürstenberg factory, 71, 105
his limitations, 117
Signature of, 101
Lyngbe, L., mark of, 195
M (incised) as a mark, 104
Madsen, Professor Karl, quoted, 105
Majolica, old masters of, 317
Mark not used at Copenhagen (1773-1775), 104
Marks (continental) with royal and patrician cyphers, 28
(Copenhagen) art faience, 330
Early blue-and-white porcelain, 174-6
Fournier period (illustrated), 36
Müller period (1775-1801), 100-4
Peculiarities in position of (blue-and-white porcelain), 171
Renaissance period, used by leading painters and modellers (from 1885), 255-62
Similarity between early Copenhagen and Fürstenberg, 36
Three blue lines, origin of the, 56
(English) imitation of Oriental, Sèvres, and Meissen, 11, 281
Mason's ironstone china, 310
Meehl, Hans, mark of, 104
Meissen—
Establishment of factory at, 29
Figure subjects of, compared with Copenhagen, 77, 126
Marks copied by English potters, 11, 281
Porcelain, authoritative history of, 29
Secret of, divulged and spread throughout Europe, 30
Workmen and materials carried off by Frederick the Great to Berlin, 32
Workmen at Copenhagen, 59
Mehlhorn, a potter from Saxony, comes to Copenhagen, 36
Meyer, Elias, 109
Panel painted by, 97
Meyer, M., 109
MII (incised) as a mark, 174
ML (incised) as a mark, 174
Modellers and painters, Müller period (1773-1801), list of, 105-10
Modellers' and Painters' Marks (early blue-and-white), 174-6
(Renaissance period), 255-62
Modern ephemeral art movements unheeded at Copenhagen, 248
Modern equipment of Copenhagen factory, 340
Modern Renaissance at Copenhagen—
Crystalline glazes, 289-303
Early days, 201-19
Figure subjects, 263-88
Golden period, 219-54
Moltke, Count, of Bregentved, Fournier porcelain in collection of (illustrated), 33
Moore, Mr. Bernard, his examples of glazing, 292
Moorish potters, arabesque designs of, 318
Müller, Frantz Heinrich (1773-1801)—
Discontent and misery contemporary with establishment of his factory, 39, 48
his secret mission to other factories, 52, 84
Portrait of, 41
Range of his subjects and order of their production, 68
Recognition of, in his lifetime, 64
Scurvy treatment of, at factory, 80, 83
Statue of him that was never erected, 64
Successors of (1820-1880), 177-97
Technique of, 63, 64
Müller period, the, culminating point of, 71
Mussel-blue painted, the great service, 172
Mussel-blue painted, underglaze, the suggestive idea of modern developments, 234
Napoleonic wars, 202
National character of early Copenhagen porcelain, 130
of Japanese ceramic art, 247
National Museum (Stockholm), Copenhagen porcelain at, 38, 69, 115, 119
National sentiment in Müller's designs, 95
in modern Copenhagen porcelain, 235, 246
National style created at Copenhagen, 84
Nature, Danish, reflected in modern Copenhagen porcelain, 252, 253, 339
Nature-study a dominant note at Copenhagen, 150, 339
Nelson, Admiral Lord—
Letters to Lady Hamilton, 187
sends Copenhagen porcelain to Lady Hamilton, 188
Nicolaj, Christian Faxoe, 108
Numerals (1-7), painters' marks on early blue-and-white, 176
Nymphenberg factory, 30
Oeder, the originator of the Flora Danica, 149
Old Copenhagen Factory described by contemporary eye-witnesses (1790), 76-84, 154
Omar Khayyám, quoted, 96
Ondrup (1779-1787), signature of, 102
Oriental prototypes of European porcelain, 215, 237, 281, 309
Originality at Copenhagen factory, its avoidance of ephemeral art movements, 248
of stereotyped styles, 234
Outburst of activity in 1780, 75, 113
Overglaze decoration, modern revival of old Copenhagen forms, 229
Overglaze painters, Müller period, 105-10
Painters, Müller period (1773-1818), list of, 105-10
Painters' and Modellers' Marks (early blue-and-white), 174-6
Painters, underglaze, early blue-and-white, 106, 110
Pallas, Dr. P. S., the protégé of Catherine II of Russia, 153
Paris Exhibition (1889), success of Copenhagen porcelain at, 220
(1900), 223
Pâte dure porcelain of Meissen and allied schools, 22
Pâte tendre porcelain of Sèvres and allied schools, 22, 24
Peasant life a feature in Copenhagen figures, 273
Peasant types and contemporary character in figure subjects, 130, 273
Peacock, figure of (Copenhagen), compared with Derby porcelain model, 287
Peculiarities in marks (blue-and-white), 171
Persian pottery, 318, 321
Petuntse, definition of, 22
Placques, heraldic commemorative, 230, 243
Poetry and imagination, expression of, in modern Copenhagen work, 246
Poetry of the potter's art, the, 95, 245
Porcelain—
First made in Europe (Böttger), 22, 29
in Denmark, 34
Hard-paste, schools of, 21
Semi-porcelain, a term in English ceramics, 310
Soft-paste, schools of, 21
Portraits—
Frederik, Crown Prince (vase), 49
Juliane Marie, Queen Dowager (vase), 45
Müller, Frantz Heinrich, (cup) 41
Rabener, 92
Pott, chemist at Berlin factory, 31
Potter, Chinese, the poetic terms of the, 245
Preus, Sören, modeller of flowers, 108
Processes at old Copenhagen factory described, 63, 76-80, 91
Rarity of old porcelain—
Copenhagen (Fournier period), 36
Florence (sixteenth century), 23
Renaissance, modern, Copenhagen, 199-262
Retail depot opened at Copenhagen, 60, 113
Revival of overglaze painting, 229
Rhodian pottery, 322
Rhymes and mottoes on Copenhagen porcelain, 99
on Staffordshire pottery, 96
Ringler, a workman at Vienna, carries the secret of hard paste far and wide, 30
Roscoe and Schorlemmer, Treatise on Chemistry, quoted, 31
Rosenborg Castle—
Flora Danica service at, 137-56
Fournier porcelain at (illustrated), 25, 37
Rousseau, Jean Jacques—
his influence on Struensee, 47
his naturalistic theories, 141
Royal factory established at Copenhagen by Frederik V (1760), 35
Royal patronage of potters—
(in general), 28
(in particular) Copenhagen:
Christian VII, 104
Frederik V, 35
Juliane Marie and royal family shareholders in Müller's company, 56
Crown Prince Frederik and the Flora Danica service, 140
Berlin: Frederick the Great, 32
Fürstenberg: Duke of Brunswick, 31
Meissen: Frederick Augustus, Elector of Saxony, 29
acquires porcelain in exchange for a regiment of dragoons, 32
St. Petersburg: Emperor Paul, 28
Empress Catherine II, 31
Empress Elizabeth Petrowna, 31
Vienna: Empress Maria Theresa, 30
St. Cloud, factory (1695-1773), 21, 23
Scandinavian Diana biscuit group in Sèvres porcelain, 224
Schleswig-Holstein, war concerning the duchies of, fatal to Danish art, 205
Schmidt, Jacob, 102
Schou, Philip, pioneer of Modernity, 205
Makes a European tour, visiting factories of Holland, Belgium, France, and England, 214
Rebuilds factory at Frederiksberg—his genius, 205
The triumph of his foresight, 213
Copenhagen porcelain raised to a new plane, 216
Schou, Philip, comparison between, and Müller, 210
Schreiber, Lady Charlotte, letter from Francesco Antonibon to, 24
Secret of hard-paste porcelain spreads throughout Europe, 30
Secrets of craftsmen not dependent on scientific accuracy, 67
Semi-porcelain peculiarly English, 310
Sèvres, crystalline glazes at, 301
Sèvres factory, date when hard paste first made at, 24
Sèvres factory, marks of, copied by English potters, 11, 281
Sèvres porcelain, its spirit reflecting northern ideas, 224
Sèvres porcelain, Louis XV
sends present of service to King of Denmark, 38
Service made for Catherine II of Russia, 139
Sèvres styles introduced at Copenhagen, 37
Shakesperean subjects (Copenhagen), 326
Signatures of artists, etc., in Copenhagen porcelain—
Baÿer, 103
Clio, 101
Hald, 102
Holm, 103
Krog, 255
Lehmann, 101
Liisberg, 256
Luplau, 101
Meehl, 104
Ondrup, 102
Schmidt, 103
Skovgaad, Peter Christian, Danish painter, 197
Soft-paste porcelain, definition of, 23
English, 27
When made at Copenhagen, 36
Sören Preus, 108
Söroe, view of, painted on a cup, 195
Spiritual outlook, the, of modern Copenhagen, 252
Staffordshire figures stripped of their pigment, 266
Staffordshire potters' fondness for rhymes, 96
Stockholm, National Museum, specimens of porcelain at, 38, 69, 115, 119
Fournier period, 38
Juliane Marie period, 69, 119
Struensee, John Frederick, his fatal influence at the Court of Christian VII, 47
his overthrow by Queen Juliane Marie, 48
his execution, 51
Styles which modern Copenhagen wisely avoided, 234
Subject, the apt choice of a fitting, the truest test of the highest ceramic art, 238
Successors of Müller, 177-97
Supernatural, the, untouched by Copenhagen, 253
T (incised) as a mark, 175
Table of leading painters and modellers, Müller period (1773-1810), 105-10
Table of Marks, Müller period (1775-1810), 100-4
Table of Marks, old blue-and-white porcelain, 174-6
Tables of Marks, painters and modellers of Renaissance period from 1885, 255-62
Technique—
Copenhagen art faience, 317, 325
Copenhagen porcelain (modern) imitated by many factories, 229, 247
Copenhagen porcelain (old), processes described, 63, 268
(Müller period) its triumph with primitive methods and impure materials, 67, 88, 91
English porcelain, 310
Figure subjects, the limitations of the potter obeyed, 267
Modelling and its especial, 266, 267
Modern schools of potters, 229, 247
Underglaze decorated porcelain, 236, 237
Underglaze painter, true ideal in, 214, 234, 242
Thomaschefsky, Carl Fridrich, 110
Thorvaldsen, figures after sculpture of, 196
Three blue lines (Copenhagen mark), origin of, 56
TI (incised) as a mark, 170
Times (1801), quoted, 183
Toby jugs stripped of their pigment, 266
Transmutation glazes, 291, 301
Tschirnhaus, Ehrenfried Walter von, 29
Tuscany, Grand Duke of, patron of Florence factory, 23
Tvede, Claus, modeller, 105
Underglaze painted, early blue-and-white, 157-76
Underglaze painting, new technique created, 214, 234, 242
Underglaze painting succeeds overglaze painting in figure subjects, 268
Unmarked Copenhagen porcelain (1773-1775), 42, 56
Verses on Copenhagen porcelain, 87, 99
Vincennes factory (1740), 23
Voltaire, letter to Catherine II of Russia, 143
W2 (incised) as a mark, 176
Wedgwood exhibition, the, by Messrs. Josiah Wedgwood & Sons, London, 1909 (including service made for Catherine II, Empress of Russia), 140
Wedgwood, his introduction of classicism into Staffordshire, 192, 278
his jasper ware, its classification, 310
Wedgwood service made for Catherine II of Russia, 140
Wedgwood workmen apply in vain at Copenhagen, 122
Wiedewelt, the sculptor, assists Fournier, 36
Wilkins, W. H., A Queen of Tears. History of Caroline Matilda, Queen of Denmark, 47
Winther, Christian, quoted, 251
Worcester, its Oriental prototypes, 215, 237, 281
Workmen, foreign, at Copenhagen, 59, 60, 83, 121, 122
Workmen, foreign. English artisans from Wedgwood's factory apply in vain at Copenhagen, 122
Zimmermann, Professor Ernst (Meissen porcelain), 29
Zurich factory, 31