LIMBACH, Saxe-Meiningen. This manufactory was also under the direction of Gotthelf Greiner. It was established about 1762.

Fig. 160 is painted with flowers; mark, two letters L crossed; diameters 4-7/8 and 8-1/4 in.

GERA. A manufactory was founded here about 1780.

[Ill.u.s.tration: FIG. 161.--SUGAR BASIN.]

Fig. 161 is painted with festoons of pink flowers; mark, G in blue; height 6-1/4 in.

[Ill.u.s.tration: FIG. 162.--CUP, COVER, AND SAUCER.]

Fig. 162 is grained in imitation of oak, with medallions painted with views, "Schloss aus dem Kohlenhofe" on cup, and "Lauchstaedt vor dem Brunnen" on saucer; signed, "Ruhlig Fec"; mark, G in blue; diameters 3 and 5-1/4 in.

BADEN-BADEN. A porcelain manufactory was established in 1753 by the widow Sperl and workmen from Hochst, with the patronage of the reigning Margrave, under Pfalzer. It ceased in 1778.

[Ill.u.s.tration: GOTHA

FIG. 163.--FIGURE OF BACCHUS. _In white biscuit._ Height 11 in.]

GOTHA. Founded in 1780 by Rothenberg, and afterwards (1802) conducted by Henneberg.

RAUENSTEIN, in Saxe-Meiningen. A factory for hard paste was established here in 1760.

[Ill.u.s.tration: FIG. 164.--CUP AND SAUCER.]

Fig. 164 is painted with flowers; mark, R--n; diameters 3 and 5 in.

WALLENDORF, in Saxe-Coburg. There was also a factory for hard paste established by Greiner and Haman here in 1762.

Fig. 165 is painted in dark blue, and with leaves in relief; mark, W, in blue; height 10 in.

[Ill.u.s.tration: FIG. 165.--VASE.]

AUSTRIA

VIENNA

This manufactory for _hard paste_ was founded about 1717. There are several traditions as to its origin: one is that a musician named La France, and a billiard-marker, named Dupuis, brought with them to Vienna, in October 1717, a certain Cristofle Conrad Hunger, who had been employed at Meissen as an enamel painter and gilder, and that in the following year they were joined by a man named Stolzel of Meissen, who was possessed of the secret, and became director. Another that it was a private enterprise set on foot by Claude du Pasquier, who obtained from the Emperor Charles VII. a privilege for twenty-five years. Major Byng Hall (_Adventures of a Bric-a-Brac Hunter_), however, says that it was established in 1718 by Claude Innocenz de Blaquier, who engaged one Stenzel or Stolzel to co-operate with him. With this object in view De Blaquier proceeded secretly to Meissen, where he contrived to sc.r.a.pe acquaintance with the arcanist in a coffee-house. He engaged with Stenzel in a game of billiards, taking care to lose, and thus he secured his object. Stenzel after some slight hesitation, accepted an offer of a thousand dollars to be paid yearly.

[Ill.u.s.tration: FIG. 166.--CABARET.]

De Blaquier had to contend with many difficulties owing to his not being possessed of the secret, and at the end of the second year Stenzel not having been paid regularly according to his contract, returned to Meissen, after having maliciously destroyed many of the models. The works had consequently to be suspended. But De Blaquier, being a man of energy and determination, endeavoured by numerous experiments to discover the porcelain mixture, and his efforts were finally crowned with success.

[Ill.u.s.tration: FIG. 167.--MILK-POT.]

After twenty-five years' labour De Blaquier decided in 1744 to offer the works to the Government.

The young Empress Maria Theresa resolved to support the factory, which promised to give occupation and profit to her subjects, honour and gain to the State. She therefore commanded that it should be taken by State contract from its owner, and that De Blaquier should receive the direction with a salary of 1500 florins a year.

[Ill.u.s.tration: FIG. 168.--PLATE.]

From 1747 to 1790 was the best period for figures and groups, while from 1780 to 1820 painting on china became celebrated, the subjects being taken from paintings by Watteau, Lancret, Boucher, Angelica Kauffmann, and others.

In 1785 the most important improvements were made under the Baron de Lorgenthal or Sorgenthal; artists of the highest talents were employed, a first-rate chemist named Leithner was engaged to prepare the colours and gilding, the _chefs d'uvre_ of the early masters were copied, while the gilding was brought to a perfection which has never been surpa.s.sed.

[Ill.u.s.tration: FIG. 169.--CUP AND "TREMBLEUSE" SAUCER. _18th Century._]

After the death of the Baron in 1805, Neidermayer became Director. The manufacture continued in its flourishing condition until about 1815.

From the year 1784 to the date of its extinction, it was the custom to mark every piece with the number of the year, which circ.u.mstance may be of great service to the connoisseur who seeks early specimens of Vienna porcelain. It is stamped without colour underneath the piece--or rather indented, the first numeral being omitted; thus the number 792 stands for 1792; 802 for 1802; and so on.

From 1827, under the direction of Scholtz, who followed Niedermayer, the manufactory began to decline, and what with economy, indifferent workmen, and bad artists copying from French models its doom was sealed.

It gradually dwindled down to a second-rate factory, and in consequence of the great annual expense it was discontinued in 1864. The books on art belonging to the factory, and all the drawings of its most successful period, together with many of the models, the library, and the keramic collection, were given to the Imperial Museum in Vienna, to be retained as a lasting memorial of its celebrity.

Fig. 166 is painted in _camaeu_ on purple ground, and gilt; mark, shield crowned; length of tray 12 in.

Fig. 167 is painted in colours and gilt, with busts of ladies, ent.i.tled "L'Herisson" and "Fantaisie Moderne"; mark, the shield in blue; height 6 in.

Fig. 168 is painted in colours, with two nymphs in a landscape playing with the infant Bacchus; mark, the Austrian shield of arms, in blue; the painting attributed to Furstler.

SCHLAGGENWALD, in Bohemia. This manufactory was established in the year 1810. George Lippert was the owner in 1842, and much improved the industry. Some pieces are marked "Lippert & Haas."

[Ill.u.s.tration: FIG. 170.--CUP AND SAUCER.]

Fig. 170 is painted in colours, with medallions containing figures of Justice; mark, S; diam. 2-1/2 and 5 in.

HEREND, in Hungary. There was a manufactory of porcelain here towards the end of the 18th century, but particulars concerning its origin are not known.

Fig. 171 is painted in oriental style, with flowers, &c.; late 18th century.

[Ill.u.s.tration: FIG. 171.--PORTION OF A CABARET OR BREAKFAST SERVICE.]

SWITZERLAND

NYON, on the lake of Geneva. A manufactory was in full work here towards the end of the 18th century. It is said to have been established by a French flower painter named Maubree, and several Genevese artists painted on the porcelain, occasionally marking it with a "G" or "Geneva"

in full; but there never was a manufactory of china at Geneva itself.

[Ill.u.s.tration: FIG. 172.--CUP AND SAUCER.]

ZuRICH. Established here in 1763 by a few Zurich gentlemen, with the aid of a workman, named Spengler, from Hochst. Another German, Sonnenschein, a sculptor, was employed to model figures and groups. The factory was not a financial success. In 1793 the works were sold to a potter named Nehracher, and on his death in 1800 the works ceased.

[Ill.u.s.tration: NYON

FIG. 173.--CUP AND SAUCER. _With mark, fish in blue._]

Fig. 174 represents a soldier trampling on a Turk and unveiling a lady, martial and love trophies on the ground.