The _azulejos_ or enamelled tiles of the Alhambra, bearing pa.s.sages from the Koran, shields and other devices, are well known; they date from the beginning of the 14th century (see Fig. 44).

MALAGA. The princ.i.p.al as well as the earliest centre for the manufacture of fayence was in this city, and the finest known specimen of Moorish fayence is the celebrated vase of the Alhambra, which is supposed to be as early as the palace itself, viz. the 14th century, and was probably made here. The colours of the decoration are a pure blue enamel, surrounded or heightened with a yellow l.u.s.tre on white ground.

Figs. 45 and 46 are other specimens of the Spanish l.u.s.tre ware, with shields of arms, of the 15th or 16th century.

MAJORCA was the next in importance as regards its ancient manufacture, but it must also have had a very extensive trade in fayence, for it was exported to almost every part of the globe. Giovanni de' Bernardi da Uzzano, writing in 1442 about the productions of the Balearic Isles, says "_the fayence of Majorca has a very extensive sale in Italy_."

[Ill.u.s.tration: FIG. 45.--PLATEAU.]

As the keramic art in Spain declined, the Arabic inscriptions, which were perfect on the early vases like that of the Alhambra, were copied, but the painter, not knowing their signification, employed them as ornaments, until at last they became altogether confused and illegible.

The arabesques were no longer in such elegant taste, and large coats of arms entirely filled the centres of vases and plates.

VALENCIA was also celebrated for its fayence, which may be traced back to Roman times, for Saguntum, now Murviedro, is mentioned by Pliny and others as noted for its jasper red pottery. It is impossible to discover the origin of the _l.u.s.tred_ pottery of Valencia, but it probably dates from the beginning of the 15th century, when it became the most important in Spain. The pieces attributed to this place have Christian devices; many of them bear the inscription, "In principio erat Verb.u.m et Verb.u.m erat apud Deum," from the first chapter of St. John, and the eagle displayed (not in an escutcheon as in the arms of Aragon), for St.

John was particularly venerated at Valencia. Of its earlier productions of the Moorish period nothing is known.

[Ill.u.s.tration: FIG. 46.--PLATEAU.]

[Ill.u.s.tration: FIG. 47.--DISH.]

Valencia has from time immemorial been celebrated for its _azulejos_ or enamelled tiles. There are many houses of the 15th and 16th centuries still existing in the ancient cities of Spain, the walls of whose rooms are covered with tiles ornamented with borders, scrolls, and geometrical designs. The celebrity of this manufacture is maintained to the present day. Fayence of all descriptions was extensively made at Valencia throughout the 17th and 18th centuries. Fig. 47, a dish, is blue and white with a lion in the centre.

MANISES, near Valencia, was also celebrated from the 16th to the 18th century. The decorations appear to be of Oriental design, executed for the most part in a rich copper-coloured l.u.s.tre. Some dishes with copper-colour l.u.s.tre have upon them a mark of an open hand, which may be the emblem of the place, and are dated 1610 and 1611. Fig. 48, a vase, is painted in l.u.s.tre, with foliage, birds and animals, and with a rudely executed shield of arms, seemingly of Sicily or Portugal.

[Ill.u.s.tration: FIG. 48.--VASE.]

TRIANA, near Seville. There were several _fabriques_ here, one for the manufacture of spires or ornaments of earthenware, with which the gables of the buildings were crowned; others for the _azulejos_ or tiles so much used in Spain, and for fayence vessels of all descriptions. Fig. 49 is a bottle in the form of a lady in the costume of the period of Louis XIV., _en grande tenue_; inside the _fontange_ or top-knot of the headdress, which forms the spout, is written "Victor. I. Viva. Mi. Arno.

Don. Damian. Sant. ?."

[Ill.u.s.tration: FIG. 49.--BOTTLE. Height 14 in.]

[Ill.u.s.tration: FIG. 50.--DISH. _Dated_ 1774.]

ALCORA. There was a very important _fabrique_ of fayence at this place, carried on by the Count D'Aranda, in the 18th century.

The usual mark upon this fayence is the letter A in gold or colour.

[Ill.u.s.tration: FIG. 51.--PLAQUE.]

TALAVERA, near Toledo, was one of the most important manufactories in Spain in the 17th and 18th centuries, and the word _talavera_ was used to indicate all fayence in the same manner as _fayence_ in France and _delft_ in England.

[Ill.u.s.tration: FIG. 52.--BOWL. _18th Century._]

Fig. 52, a bowl, is glazed, decorated within and without with a bull fight, storks, and trees, in green, orange and manganese.

CONTINENTAL FAYENCE

FRANCE

Maiolica and Fayence are essentially the same, being composed of the same material and covered with a tin glaze or opaque white enamel, which serves to hide the dingy colour of the clay, and forms a fine ground for the reception of colours.

SAINT PORCHAIRE. All the earliest writers on the subject appear to have thought that it was made in Touraine, and it was called HENRI DEUX ware.

The ware next became known as FAENCE D'OIRON, but in 1888 it was affirmed that the factory of this pottery was at Saint Porchaire.

The distinguishing characteristics of this curious ware are, in the first place, the body, which is of a creamy white pipeclay, very compact and of fine texture, so that it does not, like the ordinary fayence, require an opaque white enamel, but merely a transparent glaze; and secondly, that instead of being painted with enamel colours over the surface, it is inlaid with coloured plates, in the same manner as the _champ leve_ enamels or niello work in metal.

Fig. 53, a candlestick of cream-coloured ware, is inlaid with arabesques and other patterns, in dark brown and reddish brown, with reliefs of three boys, tragic masks, shields of arms of France, and the cipher of Henri II.; above are three terminal figures of satyrs; date about 1540.

[Ill.u.s.tration: FIG. 53.--CANDLESTICK.]

Fig. 54, a _biberon_, is inlaid with interlaced bands and scrolls, rosettes, guilloches, masks, &c., in a reddish colour; a curved band on the neck has a row of ciphers, these being the letters A. M., elegantly arranged as a decorative monogram, probably that of the Constable Anne de Montmorency.

[Ill.u.s.tration: FIG. 54.--BIBERON. Height 9-1/4 in.]

BEAUVAIS was celebrated for the manufacture of decorative pottery in the 14th century, and descriptions of cups of the _terre de Beauvais_ frequently occur in early inventories. Several specimens of it are still in existence; they are of red, green, or blue glaze, with gothic inscriptions and arms of various provinces of France in relief.

APT. The fabrication of fayence is said to have commenced here about the middle of the 18th century, princ.i.p.ally in imitation of jasper and brocatelle marble. The manufactory of M. Bonnet was established about 1780, and marbled ware and vases of a yellow colour were produced.

[Ill.u.s.tration: FIG. 55.--VASE.]

Fig. 55 is a yellow vase with masks and vine leaves.

BLOIS. A manufactory of fayence was in existence here throughout the 17th and 18th centuries. It was similar to that of Nevers and Rouen.

Some specimens are signed Lebarquet.

[Ill.u.s.tration: FIG. 56.--CANDLESTICK.]

AVIGNON. A manufactory of pottery flourished here from about 1650 to 1780, but there were also potteries early in the 16th century. The pottery is of a chocolate brown, with a fine metalloid glaze like bronze or tortoisesh.e.l.l. The ewers and bottles are of elegant forms, resembling those of Italy, sometimes perforated and ornamented with masks and flowers in relief, or painted yellow.

[Ill.u.s.tration: FIG. 57.--EWER. _About 1600._]

BERNARD PALISSY, born 1510, succeeded, after many years of diligent research, in discovering the enamel which decorates his ware. His earthenware, as well as his style of decoration and his beautiful modelling, were quite original. The natural objects represented upon his ware are true in form and colour, being mostly modelled from nature; the sh.e.l.ls are copied from tertiary fossils found in the Paris basin; the fish are those of the Seine, and the reptiles and plants such as he found in the environs of Paris.

[Ill.u.s.tration: FIG. 58.--DISH. _16th Century._]

NEVERS. The earliest evidence of the making of fayence at Nevers is the foundation of a _fabrique_ by Dominique Conrade, in the latter half of the 16th century, which was carried on by his son and grandson. In 1652, Pierre Custode established another _fabrique_, which was equally successful, and seven generations of his family were employed in it.

Other manufactories were started in the 18th century.

The fayences of the first epoch, 1600 to 1660, have frequently been confounded with Italian maiolica, but a little attention will show the points of difference. In the Nevers ware the figures are always yellow on blue ground; the Italian figures are usually blue on yellow. At Nevers red or metallic l.u.s.tre was never employed, and the outlines are always traced in manganese violet, never in purple or black. During the second epoch, the ground was a peculiar lapis-lazuli blue, like the Persian colour called _bleu de Perse_; it entirely covered the piece, was spotted or painted with white, or sometimes in yellow and orange, and decorated with flowers and birds. The Chinese patterns are in light blue _en camaeu_, sometimes intermixed with a sort of brown lilac.

[Ill.u.s.tration: FIG. 59.--PILGRIM'S BOTTLE. _Bleu de Perse. 2nd half of 17th Century._ Height 11-1/2 in.]

[Ill.u.s.tration: FIG. 60.--EWER. _Painted with j.a.panese figures, 2nd half of 17th Century._ Height 15-3/8 in.]