in the clay are admirable examples of the right use
of a refractory material. Villeroy and Boch reproduced the old Rhenish
stonewares, and many interesting new departures in addition, but mostly
in German forms that have not commended the wares to other nations.

[Illustration: PLATE X.

Chelsea porcelain; 1745-1770 Figure after Watteau.

Worcester Porcelain; c. 1760-1770.

Whieldon and Wedgwood, cauliflower ware; c. 1750-1760.

Wedgwood's jasper; c. 1780.

Turner's jasper; c. 1780.]

_Artistic Results._--While the great potteries of Europe have been
employed in improving their methods of manufacture and in consolidating
their knowledge on the technical and scientific side, so that they are
able to produce pottery more perfect in shape, with a higher degree of
finish and greater certainty of result than was ever known before, it
cannot be said that the artistic results have been commensurate with the
labour expended. Fortunately, however, the success of these important
industrial concerns in stereotyping modern production has incited a
considerable number of clever men, either potters or artists, to become
artist-potters and producers of individual wares, often recalling the
works of the great schools of bygone centuries. This movement, which
to-day has its exponents in every European country as well as in the
United States of America, originated in France between 1840 and 1850,
when the formation of the earliest ceramic museums and the new-born
interest in the old French faience led to various attempts at
pottery-making by the old methods of handwork and rule of thumb.
Avisseau of Tours (1845), Pull of Paris (1855), and Barbizet (1859)
began to make pieces in the style of Palissy, and Ulysse of Blois (1863)
revived painted faience in imitation of that of Nevers. Slowly a demand
for painted pottery was created among collectors and amateurs, and in
France and other countries artists began to dabble in the painting of
pottery. In some cases the artist retained his freedom, painting pieces
obtained from some pottery manufacturer, which he sold on his own
account after they had been decorated and fired; or he became attached
to a particular factory and his productions were sold by the potter; or
the artist became an amateur potter, and either worked alone or
encouraged other artists to co-operate with him.

It is impossible to do more than mention a few of the prominent men in
each class, whose works wer