RERAMIC STUDIO 
sources, carried to its apogee the gr^s cerame, and enforced 
general admiration. 
Tiien ceranaists became legion, everybody wanted to 
model gres. This grand feu stoneware temporarily forged 
ahead of the porcelain which had itself thrown into confusion 
the crowd of faience makers. A male material, gres gave to 
products a character of solidity and hardness which attracted 
the sculptors, while porcelain, with its milky brilliancy and 
distinction, kept its admirers and followers. An impassioned 
struggle began between these two materials, the only logical 
ones, by their solidity and inalterability, both covered with 
the rational glaze of the grand feu, and we will find them side 
by side at the Exposition Universelle of igoo. 
Blng and G-rondahl, Copenhagen. Porcelain Vase, subject " Growth." 
Sevres would have achieved surely but slowly the com- 
plete reform of its decorative processes, if the appearance of 
Carries and Copenhagen had not hastened its completion. 
These two factors were useful in this, that they provoked the 
magnificent French display of 1900. 
Carries, taken away in the midst of his youth and talent, 
had, like Palissy, numerous imitators, not gifted with the fiame 
of the master, but interesting, especially Jeanneney, because 
they fought for the good cause. Chaplet, acclaimed in 1889, 
triumphantly reappeared with his flamm6 reds and his tur- 
quoises, covering a fine body with the curious chemical com- 
binations of reducing atmospheres. The chemist Bigot took 
rank with his large^gr^s vases. Muller was firing at the same 
time his architectural tiles, and the works of sculptors loved by 
the public. He had restored the Hall of the Archers and the 
frieze of the lions in the Palace of Suze, and successfully car- 
ried out the audacious execution of the large composition by 
Charpentier for the Monumental Gate. Pillivuyt and Giraud- 
Demay met with favor with their metallic glazes. I also pro- 
duced successful associations of gres and porcelain with artis- 
tic effect, and I renewed the pates of application with a series 
of fine mat glazes. Mr. Boissonnet showed interesting crys- 
talline glazes on gres, and the exhibitions of Haviland were 
made attractive by his fine flamme reds. Gres was everywhere, 
outside as well as inside the monuments. Even terra-cottas, 
cleverly concealed under the glaze, took the appearance of 
the product in vogue. As to the friends of muffle decoration 
and the faience makers, they were yet a glorious legion. 
All the Art Magazines and newspapers of the world have 
praised and exalted as it deserves, the aristocratic Copenha- 
gen porcelain, of so pure a material and of such a captivating 
and peculiar art. In 1900 it found again the admirers and 
enthusiasts of 1889. The masterly talent of the modelers 
afifirmed itself in a series of little animals, insects, fishes, 
rodents, etc. each more charming than the other. Painters 
had drawn their decorations from familiar scenes of animal 
life or from the wild poetry of northern landscapes. 
Copenhagen offered besides a group of small cabinet 
pieces, covered with craquel^s or with unexpected and scintil- 
lating crystallizations, without falling into the mistake of the 
large crystallized vases of Sevres. And very loyally the 
Danish chemists acknowledged that their attention had been 
called to crystalline glazes by the works of Sevres exhibited 
in 1884. 
The helpful influence of the Royal Manufactory of Copen- 
hagen was manifest in all Northern ceramics and especially in 
the productions of Bing & Grondhal, which, notwithstanding 
more heaviness in shapes, could favorably compare with the 
wares of the Royal establishment. Sweden also, with the 
pale reliefs and the pink decorations of the Rorstrand porce- 
lains, made a charming impression. 
Holland, with Rosenburg, was represented by the twisted 
and bizarre shapes of a porcelain as thin as an egg shell, closely 
related to English porcelain and decorated with fancy paint- 
ings resembling more in technique the mufBe fires than the 
grands feux. 
England which during the century had not been interested 
in the struggle for the conquest of high temperatures, had 
taken little part in the Exposition. However, the Doultons 
had constructed a large gres pavilion, in which was a great 
accumulation of pieces, and among them a few of a real artistic 
and technical interest. But large pieces, like the great Diana 
vase, gave the impression of a pretentious richness, nothing more. 
Fisher and Meig, Ph'kenhammer, Bohemia. Hard porcelain, grand feu nudergla; 
decoration. Medium size vase. 
