30 
RERAMIC STUDIO 
were 
fixed 
GRAND FEU CERAMICS 
Taxile Boat 
II-SEVRES AT THE PARIS EXPOSITION OF J900* 
HE Sevres Exposition of i 
where for the first time 
grouped reds of copper, 
blues and enamels rivaling the 
palette of Chinese ceramists, was 
quite sensational, but at no time 
before 1900 had the factory shown 
in its decennial (now quinquen- 
nial) exhibitions such an ensemble 
of varied ceramics, new shapes, 
complex technique, and works of art by the most celebrated 
talent. And at no time had the Laboratory met with such a 
succession of fortunate discoveries, whether accidental or 
scientifically deducted. 
It must be said also that at no time the vogue for ceram- 
*Lack of room and the large Dumber of illustrations prevent ns from 
giving Mr. Boat's second paper complete in this number. It will be con- 
tinued in July issue As it was impossible to take direct photographs of 
all the pieces illustrated, so many having been dispersed, some of the 
illustrations are reproduced from " La Manufacture de Sevres en 1900," 
published by E. Levy, 13 rue Lafayette, Paris. 
ics had been so strong and outside influences so stimulating, 
and never had just or prejudiced criticism so persistently 
assailed the State factory, which was even threatened with sup- 
pression. A successful exhibition was absolutely necessary. 
As the Ministry of Finances refused additional credit, 
the Sevres administration went to work on its own resources. 
The first plan was the construction of an Exhibition Palace in 
gres outside, and porcelain inside, which, built in the center 
of the Champ de Mars gardens, would contain the products of 
the factory. Gres, which, since the works of Carries, the re- 
gretted master, had conquered not only cultivated minds but 
the popular favor, was adopted in order to show the possibil- 
ity of applying on a large scale this first class ceramic material 
to the construction, and to the inside as well as outside poly- 
chrome decoration of modern residences. Had not the Chi- 
nese built in Nankin a porcelain tower? 
Lack of funds prevented the carrying out of this great 
original plan. It was decided that only a fragment would be 
executed as a demonstrative piece. The sculptor Coutan, 
member of the Institute, and director of the works of art of 
Sevres in 1894, took charge of the work. Keeping for himself 
the sculptural part which symbolises the Arts of the Fire, he 
secured the collaboration of the architect Mr. Risler, and with 
the help of the personnel both executed the external part of 
Large piece in grds, a part of the decoration of the Ceramic Palace fragment. The largest piece which has been made iu 
stoneware, with the exception of large oil jars made by the Spaniards. 
