Page:Encyclopædia Britannica, Ninth Edition, v. 19.djvu/647

Rh TEUTONIC, GAULISH, ETC.] POTTERY 623 ialearic ottery. iculo- (oorish. mark appended (No. 2) is attributed to the manufactory of Manises, which was very productive in the 17th century. In addition to the lustred pottery of this sort made in Spain ware of similar design and execution was produced in the Balearic Islands. Many pieces exist bearing the arms of Inca in Majorca. The beauty of Balearic pot- tery is mentioned by Giovanni da Uzzano, who wrote a I treatise on trade and navigation in 1442. It was also alluded to by J. C. Scaliger (ExcrcitaMoncs, xcii.) in the 16th century. This pottery was largely imported into Italy, where it no doubt influenced the design of some of the so-called &quot;majolica,&quot; though it can hardly have originated its manufacture, as has so often been asserted. Another class of pottery has been attributed to the Moslem conquerors of Sicily, though without much distinct evi dence. It is very similar to the Hispano-Moorish ware, except that the lustre is painted over a ground of blue not white enamel. Some Potter s mark. No. 2. Fio. 50. Hispaiio- Moorish plate, painted iu blue and copper lustre. other pottery, with paintings in blue with black outlines, on a white silicious slip, and covered by a thick vitreous glaze, may be the work of Siculo-Moorish potters. The designs are very bold and effective, often with inscriptions in large Arabic characters, or grotesque horses and other animals, boldly drawn. The attribu tion of Moslem pottery to special localities is always difficult and uncertain, owing to the great similarity in design and in methods of execution that is always common to Moslem races wherever they may have chanced to settle. The Kensington Museum and the Hotel Cluny have the best collections of Persian and Hispano-Moorish wares. The British Museum, the Louvre, and the Archaeological Museum of Madrid have many very choice specimens. Others are scattered through the various museums of Europe. ,her In other parts of the world, especially among the Moslem people oslem of India, Persia, and northern Africa, very graceful pottery is now uutries. made, especially the plain biscuit varieties, in accordance with traditional forms and methods. The common pottery of Egypt is very beautiful in shape and often pleasant in colour and texture ; at several places on the banks of the Nile a fine red ware, very like the Roman &quot;Samian,&quot; is still largely manufactured, and the water- jars made of the common brown clay are generally fashioned in shapes of almost Hellenic beauty, which seem to have been con tinually used since the time of the Ptolemies. Literature. For the subject of the preceding section the reader may consult Chardin, Voyages en Perse, c. 1650 (printed in 1811) ; Rochechouart, Souvenirs d un Voyage en Perse, 1867 ; Henderson, Collection of Pottery, &c., 1868 ; Fortnum, South Kensington Museum Catalogue of Pottery, 1873 ; Davillier, Les Faiences Hispano-Moresiiues, 1861 ; and many works on the general history of pottery. SECTION IX. TEUTONIC, SAXON, AND GAULISH. Great quantities of sepulchral urns have been found dating from the departure of the Romans from Britain to the 10th century, but almost no specimens exist of the domestic pottery of this period. The shapes, the char acter of the clay, and the ornamental patterns on the cinerary urns are very much the same whether they are Cinerary found in Germany, Scandinavia, Britain, or France : they urns - mostly show traces of Roman influence ; some are even coarsely-executed copies of red Samian ware, and are skil fully wheel-made and well fired. Others are very rude, hand -made, and scarcely to be distinguished from the pottery of the early iron age. In the main, however, the urns are much neater, more glossy, and more elaborately ornamented than the prehistoric pottery. They are made of hard well-burned clay, generally grey, brown, or blackish in colour. The decoration is often very elaborate, with incised lines, some arranged in wavy bands, others in wheel- made rings. The most characteristic ornaments are simple geometrical patterns, stars, crosses, the svastika, and others, impressed in the soft clay from wooden stamps (see fig. 51). FIG. 51. Saxon cinerary urns ; the stamped patterns are shown full size. Many urns have a ring of bosses pressed out from the inside by the potter s thumb, and some few have bands or stripes in coarse ochre colours or white. The surface of the urns is frequently glossy, partly from the hard silicious quality of the clay, but often because it has been mechani cally polished. A black shining surface was sometimes given with graphite (plumbago), as was the case with some of the Roman black pottery. A lump of graphite was found with blackened urns in a tomb at Hogelberg. 1 Mediaeval Pottery of England and France, llth to 15th English Century. Though great quantities of pottery for domestic and use were made during this period it was extremely fragile, and, being of very coarse ware, without artistic beauty, few ware- specimens have been preserved to our times. It consisted mostly of tall jugs, globular pitchers, bowls, dishes, and drinking-cups, all of which were made for some centuries with but little variation in shape or quality. Fig. 52 shows a selection of common forms, usually made of coarse red or yel low clay, often cov ered with white slip, and partly glazed with a green or yellow vitreous glaze, rendered more fusible by the presence of a large FlG&amp;lt; 52. Common forms of medieval pottery ; proportion of oxide the upper part of the slender jug is covered of lead. Some have with a green vitreous lead glaze; the other coarse painted s uuglazed with stripes of red ochre, stripes in coloured ochres ; others have heraldic badges or fanciful ornaments, rudely modelled, and fastened to the body of the pot ; and some grotesque jugs are formed in 1 See Du Cleuzion, La poterie Gauloise, 1872, and Cochet, ArcMo- lorjie ceramique, 1860.