The later factory carried on at NAPLES under Ferdinand IV. shows the influence of the excavations at Herculaneum in the severe classical style by which it is marked. Painted views of the district of Naples and of the local antiquities are a favourite feature. At the same time the works gained some renown by the cleverly modelled statuettes in biscuit china of greyish tone made under the direction of Filippo Tagliolini.
Vase, Sèvres, given in 1780 by Gustavus III. of Sweden to Catherine II. of Russia. Decorated by Morin, Fontaine, and Le Guay on a _bleu de roi_ ground. Height, 19½ in. Jones Collection.
The Florentine experiments and the Pisa bowls remain as solitary relics in the story of European porcelain until the year 1673, when the scene is shifted to France. At this date a privilege was granted for making porcelain to Edme Poterat, of St. Sever, a suburb of Rouen, in the name of his son Louis. Since 1644 he had been working as a _faïencier_ as lessee of the Sieur Poirel de Grandval, _huissier de cabinet_ to Anne of Austria; the Sieur Poirel had been granted an exclusive licence for making faïence in the province of Normandy. The manufacture of porcelain at Rouen was not continued for long after the death of Poterat in 1694, in consequence of a dispute between his sons, which resulted in their privilege being withdrawn. The nature of this earliest French porcelain is established by a few pieces, which there are sufficient grounds for supposing to be authentic. One of these is at South Kensington, a tall cup finely fashioned in a paste of bluish tone and carefully painted in a strong underglaze blue; the design consists of small vases of flowers amid formal _lambrequin_ ornament below a castellated border.
A point of special interest in connection with the earliest French experiments is that, while the efforts of their authors were consciously directed at the emulation of Oriental porcelain, the style of decoration adopted by them was thoroughly French, showing hardly any trace of Chinese influence. The surviving Rouen specimens are closely similar in their ornament to the faïence produced by the factory in which they were made. The same is true of the porcelain manufactured, for the first time in Europe on a commercial scale, at ST. CLOUD, near Paris. This factory was started by a Rouen potter named Pierre Chicaneau for the making of earthenware. As the result of experiments made shortly before his death, Chicaneau could boast of producing objects in porcelain “_presqu’aussi parfait que les porcelaines de la Chine et des Indes_.” His widow and family continued the work he had begun, and in 1702 were granted letters patent by Louis XIV.; the factory was subsequently carried on by Henri Trou, second husband of Chicaneau’s widow. The jar reproduced in Plate 12 illustrates admirably the style in vogue at the St. Cloud works. Formal devices adapted from Rouen faïence and inspired by the designs of Bérain, are symmetrically disposed as borders, leaving a large part of the surface free, so as to display to full advantage the soft tone of the glaze. The sense of fitness and proportion never absent from the best French work asserts itself as much in the painted ornament as in the rich ormolu mount with which the jar is embellished. The legs of console outline and the rayed masks between them are typical forms of the art of Louis XIV.’s reign; instinct as they are with sober dignity, they are saved from stiffness of effect by the contrast of the band of running foliage engraved on the collar round the top of the jar.