her as
pottery rendered translucent or as glass rendered opaque by shaping and
firing a mixture containing a large percentage of glass with a very
little clay. After the cessation of the Florentine experiments we know
of no European porcelain for nearly a century, though the importation of
Chinese porcelain had largely increased owing to the activity of the
various "India" companies. The next European porcelain, made like the
Florentine of glass and clay, was that of Rouen (1673) and St Cloud
(1696); and during the 18th century artificial glassy porcelain was made
in France and England largely, and in other countries experimentally.
German experimenters worked in another direction, and the first
porcelain made in Europe from materials similar to the Chinese was
produced at Meissen by Bottger (1710-1712). During the 18th century not
only was there a very large trade in imported Chinese and Japanese
porcelain, but there was a great development of porcelain manufacture in
Europe; and in every country factories were established, generally under
royal or princely patronage, for the manufacture of artificial porcelain
like the French, or genuine porcelain like the German. The English made
a departure in the introduction of a porcelain distinct from either,
through adding calcined ox-bones to the other ingredients; and this
English bone-porcelain--a well-marked species--is now largely made in
America, France, Germany and Sweden as well as in England.

By the end of the 18th century the risks and losses attendant on the
manufacture of the French glassy porcelain had caused its abandonment,
and a porcelain made from natural materials like the Chinese has since
been generally made on the continent of Europe.

The older tin-enamelled wares--derived from the Hispano-Moresque and the
Italian majolica--so largely made in France, Holland, Germany and
elsewhere during the 17th and 18th centuries, met with a fate analogous
to that of the French porcelain. Tin-enamelled earthenware is always a
brittle substance, soon damaged in regular use; so that, when, in the
middle of the 18th century, the English potter first appeared as a
serious competitor with a fine white earthenware of superior durability
and precision of manufacture, the old painted faience gradually
disappeared between the upper millstone of European porcelain and the
nether millstone of English earthenware.

The 19th century witnessed a great and steady growth in the outpu