la porcelaine de Rouen_ (Rouen, 1898);
Pottier, _Histoire de la faience de Rouen_ (Amiens, 1870); L'Abbe H.
Requin, _Histoire de la faience artistique de Moustiers_, tome I^er
(Paris, 1903); M.L. Solon, _The Old French Faience_ (London,
1903)--the best survey of the whole subject, with a very full
bibliography. The various volumes of the _Gazette des beaux-arts_
contain many valuable original articles. (W. B.*)

GERMAN, DUTCH AND SCANDINAVIAN POTTERY

In northern Europe until the time of the Renaissance the making of tiles
is the only branch of the potter's craft of artistic rank. The pavement
tiles of Germany of the Gothic period, examples of which have been
found in the valley of the Rhine from Constance to Cologne, often bear
designs of foliage or grotesque animals full of character and spirit.
Their decoration is effected either by impression with a stamp of wood
or clay, or by "pressing" the tile in a mould to produce a design in
relief. The surface is sometimes protected by a lead glaze--green, brown
or yellow--but is generally left unglazed.

Glazed tiles with relief ornament were also made as early as the 14th
century for the construction of stoves, such as have continued in use in
Germany to the present day. About 1500 a development took place in the
combination of glazes of different colours on a single tile. In the
middle of the 16th century Renaissance ornament appears in place of
Gothic canopies and tracery, and blue and white enamels begin to be used
in combination with lead glazes of other colours. Figures in the costume
of the period, or shields of arms, in round-arched niches are a
favourite motive alike in the stove tiles and in the wares of similar
technique known as _Hafnergefasse_, which have been wrongly attributed
to Hirsvogel of Nuremberg. These were made not only in that city but
also in Silesia and at Salzburg, Steyr, and elsewhere in Upper Austria;
their manufacture continued into the 18th century.

Imitations of Italian majolica with polychrome painting on a white
enamelled ground were first made in southern Germany about 1525, and it
is with these wares that the name of Hirsvogel should really be
associated. The same style survived for more than a century and a half
in the stoves and pottery made by the Pfau family at Winterthur in
Switzerland, from the end of the 16th century onwards. An interesting
development is exhibited by certain rare productions, of Silesian
ori