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176 established upon its present splendid scale the royal porcelain manufactory of Sèvres. Of all the European fabrics, this is by far the most beautiful in texture and softness, as it is incontestably the finest in painting and colour. The forms are not always good; no attempt seems to have been made to copy the classic outlines, many are heavy and cumbrous, but the paste of the early period is exquisitely soft and pearly. From 1750 to 1769 was the palmy period of the Sèvres manufacture. Then was produced the true “pâte tendre,” which, from its peculiar texture, had the power of absorbing a large quantity of the pigments used, as well as of glaze; hence the extreme richness of the colours, and brilliancy of the glazed surface.

Fine specimens of this period, when decorated with grounds of bleu de roi, turquoise, or rose dubarri, and painted in subjects after Watteau or Boucher, command almost fabulous prices at the present time. Of the large number of vases now collected together, few, perhaps, would sell for less than 1000l. each; indeed, one rose dubarri vase has been sold since it was placed in the Exhibition for 2000 guineas.

The large and fine collection dispersed at the Bernal sale a few years ago fetched very high prices. A pair of rose dubarri vases, painted with Cupids, was bought by the Marquis of Hertford for 1940l.; these had been acquired by Mr. Bernal many years before for 200l.

The principal part of the present collection is furnished by her Majesty, whose possessions in this branch of art are the finest in the world. The greater part was purchased by George IV., when Prince of Wales, at the period of the French revolution. Beau Brummell, who was a great connoisseur in these things, assisted, it is said, by a confectioner named Benôit, in the service of the prince, succeeded in bringing to this country some of the finest works of ceramic art which had adorned the walls of Versailles under the old regime. These fine works have only, at a comparatively recent period, been brought to light. They were found scattered in closets all over Buckingham House, where they had been put away for years.

If some of these vases could tell their tales of woes and joys, what a history might they not unfold. Created in the purlieus of the most brilliant and corrupt court in Europe, fondled by a Pompadour, a Louis XV., a Dubarri, or made to adorn some dainty boudoir of the many beauties of Louis XV.’s court (for it must be remembered these fine things were never made for sale), they seem equally with their possessors to have shared the terrible events of the revolution. A complete set is rarely found; they are mostly single specimens which have survived the dark days of anarchy and confusion, when the stately royal palaces and chateaux of the old noblesse were given up to plunder and destruction.

It is curious, in this collection, to see how many of these have been brought together again. There are several instances where the missing ones have been restored—where the long severed companions have, for a time at least, been made happy. Can these fragile things of the past tell each other of their joys and sorrows? Can they, during the dark and silent hours of the night (they certainly cannot during the day), compare notes of their eventful lives? how they were happy and joyous together in the congenial society of the Trianon, or tell of the scandal and intrigues of the Œil-de-bœuf; or, oh, horror! of the utter disgrace and ruin that afterwards fell upon them, even to be handled and desecrated by the grimy paws of auctioneers’ men, and knocked down for certain guineas to la Albion perfide, better far in their own artistic opinion, have been literally knocked down and smashed at once. But it is to be hoped these high-born objects are comforted at last, for most of them are owned, if not by royalty, at least by nobility; neither can it be said that their merits are unappreciated, for the two cases of Sèvres here exhibited are valued at not less than 200,000l.

A very fine rose dubarri vase, belonging to Lord Crewe, of the rare shape, somewhat resembling an ancient galley, finds itself in company again with its long-severed companions, viz., a pair of corresponding jardinières, also of rare form, sent by Mr. Goding. A fine bleu de roi vase, centrally placed, and lent by Mr. Loftus Wigram, is made happy again after strange wanderings in the East and the loss of its mate.

It has already been mentioned that the finer products of Sèvres were not made for sale, but reserved for presents. In the last century, when the French Government looked with jealous eye on our Eastern possessions, it was not uncommon to send presents to Eastern potentates. In 1791, when our army got possession of the spoil of Tippoo Saib’s tent, a pair of Sèvres vases were found which had been sent out from France. They fell to the lot of an officer, who brought them to England. They were kept “dark” for many years, during which period one got broken, and, so to speak, returned to its original clay: the other ultimately came into the possession of Mr. Wigram, and now finds itself again amongst old friends.

The painting on many of these vases is of a very high character. It was customary to employ artists of high repute to decorate the best works; and the same labour and talent bestowed on canvas would have produced fine pictures, and would now fetch high prices, but there is nothing to warrant the giving of 2000l. for a single vase.

The beautiful rose colour named after Madame Dubarri has been successfully imitated in England; this, together with the fine dark blue and turquoise blue, are amongst the most successful efforts of the Sèvres colourists.

Apart from its scarcity, there is undoubtedly a charm about the old Sèvres porcelain which, although not easy to define, still makes it the most coveted amongst collectors.

A large portion of a very fine set, known as the Roman History Service, has been exhibited by Her Majesty. It is of the finest bleu de roi, and decorated with paintings of classical subjects, principally by Dodir, one of the most celebrated of the Sèvres artists between 1780 and 1790. It formerly belonged to Egalité, Duke of Orleans. During the confusion of the Revolution, a portion of the service became severed from the rest; this ultimately reached the hands of a London dealer,