who, it is said, offered it to the Queen for 10,000l.; but as the ware is too costly for use, it was declined by Her Majesty. At all events, the missing pieces are now brought together, and they form a magnificent whole, illustrating most unmistakeably the high state of perfection to which this manufacture had arrived.
There are few things in this collection more remarkable, or that tend to show the marvellous richness of our country in works of Art, than the case containing the twenty-four specimens of the peculiar pottery of Henry II.—known as “Faience de Henri II.” Probably every specimen in existence is now known. Fifty-three pieces are extant; of these, twenty-eight are in France, one in Russia, and the remaining are contained in this case. This pottery is unique of its kind; its manufacture was not of gradual growth, but rose at once to a high degree of perfection, and was discontinued at the end of a few years. It is not known, at the present day, by whom or where it was carried on. It has been supposed that this Fayence was executed in Italy, but it differs materially from any known Italian manufacture; the greater part of the pieces are believed to have come from Touraine and La Vendée It is, however, quite possible that the artists employed were Italian. The decoration consists principally of interlaced ornaments, in black or brown, upon a white ground. These elegant incrustations are not the only ornaments used; it is enriched also with alto-reliefs, mouldings, corbels, masks, &c.; in some cases with detached figures. The forms of the different vases are always pure in outline and in the style of the Renaissance.
Although we are ignorant of the locality of this manufacture, there is no difficulty in determining the exact period, and for whom many of the pieces were made. The Salamander, and other insignia of Francis I., are to be observed on some of the pieces; but, in the finer specimens, we find the arms of Henry II., of France, with his device—the three crescents—or his initial H. interlaced with the two D.’s of Diane de Poitiers. Hence, we must conclude that the manufacture began at the end of the reign of Francis I., and continued under that of Henry II.
The choicest example known is the candlestick belonging to Sir A. Rothschild; the form is monumental, and in the finest style; for delicacy of detail and beauty of execution, this piece has never been surpassed. It came from the collection of M. Préau some years since, at a cost of 220l. Another choice specimen is the large ewer sent by Mr. Magniac; it is of perfect form, and ornamented with masks and arabesques; the handle is formed by a human figure reversed, the legs terminating in serpents’ tails, which twine round the shell that forms the mouth of the vessel.
Not less beautiful are the two smaller ewers belonging to Sir A. Rothschild, who now owns the largest number of pieces of this ware: some of these specimens were obtained at the sale at Strawberry Hill for very moderate sums, their value not being at that time apparently understood. The large price which this ware would now command, if offered for sale, may be understood, when it is asserted that this case is worth 30,000l. A large portion of this estimate, however, must be ascribed to its rarity.
If the French can lay claim to the parentage of this pottery, we can also show another kind which is purely English work, and quite equal to it; indeed in some respects far superior. There are few works of native art of which we have better reason to be proud than of the exquisite productions of Wedgwood. About the middle of the last century he began to make experiments. After many years of labour and endurance, equalled only by that of Palissy himself, he produced the admirable fac-simile of the Portland or Barberini vase, of which there are three copies in this collection. When this vase (now in the British Museum) was offered for sale by auction, Wedgwood was anxious to possess it, thinking that many persons would be willing to pay a liberal price for a good copy. For some time he continued to offer an advance upon each bidding of the Duchess of Portland, until at length, his motive being understood, he was offered the loan of the vase if he would consent to withdraw his opposition, and the Duchess became the possessor for 1800 guineas.
But Wedgwood did not confine himself to copies; he produced many fine original works, a large number of which are now brought together. He was materially assisted by the classical learning and elegant taste of his early partner, Bentley, a descendant of the famous critic. Subsequently Flaxman was employed to model the more important works, when they assumed the elevated and refined form of the Grecian school.
There are some interesting specimens of the little known Fulham pottery, exhibited by Mr. Reynolds. This establishment was founded towards the end of the seventeenth century. The examples consist of whole-length figures and busts on a small scale; the modelling evinces very considerable merit, and it is to be regretted that the manufacture of an artistic fabric of so much promise should have lasted so short a time.
Such a fine collection of enamelled works on metal has never before been brought together in England; there are examples of all periods whenever the art was practised. In the Alexandrian necklace we have the rare instance of the use of enamel by the Greeks, and it is difficult to understand why so fascinating an art was not more general amongst a people who had such a keen appreciation of the beautiful.
The very fine, though mutilated, pectoral cross, from the Debruge collection, exhibited by Mr. B. Hope, is a rare example of the art as practised by the Byzantine workmen of about the tenth century: this process is termed “cloisonné.” The design is formed by slender lines of filagree gold attached to a plate of the same metal, so as to form the outline of the design; the interstices are filled with enamels of the colours required, which become vitrified and translucent under the action of fire; the whole is then polished, and thus becomes the most enduring of all modes of decoration. In the rare cup sent by Mrs. Paul, the enamel is not laid on, but worked into the metal lines of the sides and
