Purchase of this book includes free trial access to www.million-books.com where you can read more than a million books for free. This is an OCR edition with typos. Excerpt from book: and frequently thinner than that of other factories, although some of the earlier pieces are heavy and thick. In pieces belonging to tea sets or table services, there are often dry places in the glaze where it does not entirely cover the body, often presenting the appearance of sweating. The imperfection of the glaze may occur on the sides, but it is particularly noticeable on the bases. In the best pieces, however, these defects are not found. The phenomenon of
mooning, that is, the presence of translucent discs in the paste, is usually quite pronounced. On account of a royal edict, at one period (from 1766 to 1784) gold was not permitted to be used on any French porcelain excepting that of the Sevres factory. On the products of other establishments, during this period, no gilding is found. The ware made at Sevres, however, is almost invariably gilded, and the finer pieces are elaborately decorated with gold bands, traceries, and burnished patterns. Previous to 1753, before the removal of the factory to Sevres, Hellot introduced the beautiful rose-Pompadour color. Edouard Garnier, at one time conservator of the museum at Sevres, states in his work entitled
The Soft Porcelain of Sevres
(London, 1892), that no example decorated with this ground color is known bearing a date later than 1761. More recent investigations show this statement to be erroneous, since the same deep rose color was employed throughout both the Louis XV. and Louis XVI. periods on soft paste, and to some extent, after 1769, on hard paste. Previous to 1764, the date of the Marquise de Pompadour’s death, this color was known as rose-Pompadour. During the brief reign of the Comtesse du Barry at the court of Louis XV. (1768-1774), the same ground color received the appellation of rose du Barry, and sin…
