RERAMIC STUDIO 
7 
Copenhagen. Hard porcelain 
Horse fly, blue 'bocly, white wings. 
of application or pates-sur-pates. They met with great favor. 
Every ceramist wanted to see this discovery and profit by it, 
But the secret was jealously kept. Was not the factory then 
an Imperial property, a private establishment? All that was 
done was to impress the public by telling what expensive 
difificulties surrounded the preparation of these colors. 
While Sevres was trying to adapt to hard porcelain the 
processes of colored pates of the soft porcelain and of Chinese 
glazes, ceramists in France and in Europe were working for 
the improved fabrication of soft porcelain. 
Meissen confined itself to muffle painting, and Vienna, 
which, after a glorious past, was entangled in financial difficul- 
ties until it died in 1864, had not the courage to undertake 
expensive scientific experiments. 
Copenhagen. Hard porcelain. Pish, «iiit.', iinteil wiili iii7ilv, blaok f-yes. 
Taxile Doat Collection. 
Berlin kept painting on its vases the Flemish scenes which 
the clever artists from Meissen, recruited by Frederick II, had 
brought with them. 
Copenhagen followed the others, without having 
yet taken any interest in the Sevres evolution. 
The wars of Spain had ended in 18 12 the cele- 
brated mark of Buen Retiro. 
Italy which had seen the coming to light of the 
curious porcelains of the Medicis, of the fine majolicas 
of the Renaissance, of the soft porcelain of Capo di 
Monte, and had as early as 1734 made hard porcelain 
under the dynasty of the Marquises of Genori, was 
still in 1850 satisfied with the easy decorative results 
of muffle firing. 
Practical England preferred to experimenting, the 
improvement of its soft porcelain, which had become 
phosphatic and was called by Brongniart "natural" 
because it contained only elements taken direct from 
nature. Being half way between the hard porcelain 
and the artificial soft paste, it had neither the difficul- 
ties of the first nor the losses of the second; adopted 
all over the Kingdom, it answered well the needs of a 
purely commercial order which had been the incentive of 
its clever inventors, so England also was not interested in 
the new movement. 
However in France this movement was growing outside 
of the Imperial factory. Minds were on the watch. The 
Limousins, owners of the Kaolin quarries, were extending 
their factories which gradually, by the durable qualities of 
their hard porcelain, were giving a death blow to their 
competitors, the glorious faience factories of the preceding 
century, Rouen, Nevers, Moustiers, Strasbourg, Marseilles. 
Taxile Doat Collection. 
Mouse on a lump of sugar. 
Mouse-grey glaze. The lump of 
sugar is unglazed. 
Copenhagen. Small piece of craquele porcelain, called truite (speckled trout.) 
Mr. Solon, initiated among the first, through his presence 
in Sevres, to the new researches, dispersed everywhere as 
early as i860 the clever subjects of his ceramics, while some 
inventive minds, inspired by the brilliant enamels of Palissy, 
were seeking new faience enamels. Avisseau 1845, Barbizet 
1859, P"l^ 1S55 and the Parvilldes led by their works to the 
birth of the agglomeration of artists, which under the com- 
mercial name Theodore Deck forced the attention of the artis- 
tic world and shone in the first rank in the Expositions of 
1867 and 1878. 
Near the exhibit of Theodore Deck in 1878, the Limousin 
Copenhagei 
Cats. 
Hard porcelain, grand feu underglaze deco 
