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* POTTERY. 325 POTTINGER. with English traditions. Tliese pieces are not often good in form and are manufactured very cheaply; the slip, either poured on from a spouted can or applied in some way equally in- accurate, is allowed to form irregular curving and curling lines on the surface, producing an effect extremely informal and even careless, but associated in our minds with an early and simple art which is always attractive as a form of archaism. Much the most artistic potteiy of modern times is that mentioned above as coming from .Japan ; some of this, thought to be brought from the Province of Bangko, is thin and light and of many shades from a very light gray to a brown, liut always without any glaze or lustre and without applied ornament other than small detached ])atches of enamel-color. Other Wares are exceedingly like bronze in their color, their surface, their resonance; and the figures of fabu- lous animals, the incense-burners and the fire- pots (hibatchi) made of this ware are familiarly known as 'earthenware' bronze. In Europe there is a constantly renewed cfi'ort to produce at- tractive pieces for out-of-door use or for other rough service; garden vases are made of heavy brown ware with or without a slight application of plain color to the surface; garden seats and architectural ornaments for the few modern buildings which allow of that kind of decoration are also produced, sometimes under the name of 'terra-cotta,' but more often, especially when glazed, under the name of majolica, which is obviously a misnomer. It is but seldom that delicate forms appear in these pieces. On tlie other hand, there are a number of en- terprises on foot, in the United States, for the making of especially designed individual pieces. The greater numljer of these are devoted to the making of glazed, painted, and otherwise more elaljorate wares ; some even make a real porce- lain; but there are a few which produce hard, unvarnished potterj* of excellent form and attrac- tive appearance. There are others in which a highly decorative effect is got by the partial glaz- ing of the piece, and still more by the applica- tion of different colored glazes which are allowed to trickle down the sides of the vase as if pro- ducing a remarkable combination of soft or bril- liant colors, the elTect of M-hich is comparable to that of a natural mineral. In the production of these effects much is left to chance; but also niucli is done by the practiced eye and hand and the trained observation which tells to a minute the safest length of time for the exposure to the heat of the kiln. The proportion of successful pieces is large and those which are the most efifec- iive in coloring command high prices. In France the repeated exhibitions of the lovely pieces of the .lapanese potters excite a still more marked interest and a more decided attempt at competing in artistic results with the Oriental workmen. At the Exhibition of 1900 there were at least 20 exhibits of unglazed hard pottery whose only applied ornament lay in certain lines or small surfaces of glaze allowed to run down the surface and then checked by the viscosity of the glaze or liy the beat of the furnace in the manner of what are called splashed or flanib^. These potteries are fotind to be so highly vitrified ^7 the great heat of the kiln that they approach stoneware in their composition. This points to an insuperable difficulty in the classification ot modern wares ; it is impossible to draw the line between one ware and another, because the exact composition of the ))aste differs so widely between one and another place of production and is so often kept secret. Bibliography. A very great number of books have been devoted to the general subject of ceramic art. But none of these can be said to treat merelj- of the rough wares that are not to be classified as faience, majolica, porcelain, and the like. The bibliographies given under all the special terms, for which see the first paragraph of the above article, should be examined. In this place there will be named some general treatises and those works especially devoted to ancient potteries, Egj'ptian, Greek, and the like. Of general treatises, Jacqueniart, Histoire de la ccramique (Paris, 1873), is an often cited treat- ise, and the illustrations, which are very numer- ous, are well drawn and the subjects well .selected. The book by Friedrich .Jaennicke, Grundriss der Keramik (Stuttgart, 1879), is a very thick oc- tavo, crowded with illustrations and fully in- dexed, with a great number of reproductions of makers' marks. Marryat. Pottery and Porcelain (3d ed., London, ISliS), is a general treatise on modern ware, liut does not cover all the ground. For ancient pottery, an admirable standard work is History of Ancient Pottery, EgyjHian, Assyr- ian, Greek, Etruscan, and Roman (London, 1873), by Samuel Birch. Among the costly books especially devoted to the Greek painted vases are: Bendorf, Griechische vnd sizilische Yasen- likler (Berlin, preface dated 18G8) ; Lau, Die yricchischcn Vasen (Leipzig, 1877) ; Dumont and Chaplain, Lcs cerami(iues de la Grcce propre (Paris, 1888 et seq.) ; and for slighter or more general treatises the hand-books of Collignon, Histoire de la c<^ramique grecqiie (Paris. 1888) ; and of A. S. Hurray. Hand-hook of Greek Archce- ology (London, 1892) for Greece. There are sev- eral books containing the bibliography of pot- tery in connection with the historical texts and there is a List of the Works on Pottery and Porcelain in the South Kensington Art Library, by Soden Smith. The Bihliographie ccramique of Champfleury (Paris. 1881) is very complete for books published before its own date. POTTIER, p6'tya', Edmojjd (1855—). A French archaeologist, born at Saarbriicken, and educated at the Xormal College, and (1877-80) at the French school in Athens. Then he assisted Veyries and Reinach in the excavations at ilyrina in Asia Jlinor, and began to specialize in Greek terra-cottas. He taught at Eennes and at Tou- louse, for two years (1884-80). had a course in archoeologj- at the Beaux-Arts and in 1886 entered the employ of the Louvre Museum, where he became adjunct curator and assistant in- structor of Oriental archa-ology and antique ceramics. He was elected to the Academic des Inscriptions et Belles-Lettres in 1899. Besides contributions to archa;o!ogical journals and to the Daremlierg and Saglio Dictionnaire des an- tiquitcs, Pottier wrote various catalogues of the ceramic collections in the Louvre, La neero- pole de ilyrina (1886. with Reinach), Lcs statu- ettes de terre cuite dans I'antiquite (1890), and La peinfiire industrielle che:: les Grecs (1898). POT'TINGER, Sir Hexrt (1789-1856). A British diplomat, administrator, and soldier, born at Mount Pottinger, County Down, Ireland. In 1804 he secured a cadetship in the East India