tres of the manufacture were at Meckenheim near Cologne
and Bunzlau in Silesia.

As in England, so in Holland (by Ary de Milde and certain Delft potters)
and in Germany, attempts were made with some success, early in the 18th
century, to imitate the Chinese red stoneware, known as _boccaros_. The
early efforts of Bottger, the discoverer of the secret of true
porcelain, at Meissen, belong to this category. His red ware is of such
hardness that it was cut and polished on the lapidary's wheel. For some
time after the manufacture of red ware at Meissen had ceased, a glazed
brown ware of less hard body with gilt or silver decoration was made at
Bayreuth. The products of other minor factories of this class cannot now
be identified.

Mention may be made of the lead-glazed peasant pottery, such as the
bowls produced at Marburg with quaint symbolical devices modelled in
relief and applied. Slip-covered wares with _graffiato_ decoration,
apparently of indigenous growth and not inspired by foreign examples,
were made well on into the 19th century near Crefeld and elsewhere in
Germany, at Langnau in Switzerland, and by German emigrants in
Pennsylvania. In Holland a peculiar green-glazed ware was made in the
18th century with pierced geometrical decoration recalling the Dutch
carved woodwork of the period.

_Delft._--One of the most remarkable phenomena in the history of pottery
is the appearance about 1600, in a highly developed state, of the
manufacture of a tin-enamelled earthenware at Delft. It was introduced
in that town by Herman Pietersz of Haarlem, but whence he learned his
art is unknown. The faience-makers (_plateelbackers_) were one of the
eight crafts of Delft which formed the Gild of St Luke founded in 1611.
About 1650 a great development took place, and till the latter years of
the 18th century, when its faience was ousted by the more serviceable
wares of the English potteries, Delft remained the most important centre
of ceramic industry in northern Europe. The ware is of fine
buff-coloured clay, dipped after the first firing in a white tin-enamel,
which formed the ground for painted decoration; after painting, this was
covered with a transparent lead glaze and fired a second time, so that
in its technique it belongs to the same class as the painted Italian
majolica and the old French faience. At its best it is rightly ranked
among the greatest achievements of the potter's art.

Characteristic of the first period a