Rensselaer Union, Volume 8, Number 52, Rensselaer, Jasper County, 14 September 1876 — Sevres Vases. [ARTICLE]

Sevres Vases.

In Memorial Hall there arc twenty-two Sevres vases, all of modern manufacture, exhibited by the Government of France. In noticing these vases it will be well to bear in mind that they represent the finest fabrique in the world—un institution w hich is both a manufactory and a school of art, whose productions have been copied far and wide over Europe; whose best work is incomparably the most beautiful and thoroughly artistic porcelain Eroduct known. It would not, therefore, e fair to judge Sevres porcelain by any other standard than its own. It is but poor praise to say that these vases—in color, quality and form—are the finest in the Exhibition. That is so much a matter of course that it is but just in the Government —which does us especial honor by sending them —to enter them simply us a display, and not for competition. Yet such |x>or praise as this unfair comparison amounts to is all that can lie given these vases. Judging them by the high standard of Sevres excellence, they arc inferior. I am now speaking of the collection as a whole. I shall note the exceptions presently. Pate tendre is unquestionably the most precious and beautiful porcelain ever produced. It is also the most difficult of all pottery to manufacture. It is a purely chemical composition, very soft and vitreous, and can oe welded like glass. Indeed, its inventors being persuaded that Chinese porcelain was a kind of glass, proceeded to compouna a paste on that theory. Its chief artistic peculiarity consists in its combining with the glaze, and thoroughly incorporating the colors of the painting with it. As it is fired at low heat, the richness of the colors remain unimpaired. The scale of these colors is too long to be given here, but they comprise the most beautiful known to "chemistry. Bleu tie roi, bleu celeste and rose Du Burry (Pompadour) are some of them. The best period of pate tendre was from 1753 to 1800. By a royal edict, after the King became proprietor of the works, all other factories were restricted to the manufacture of porcelain painted with blue figures in imitation of Chinese ware. The marks during the best period were a double L with a letter of the alphabet beginning with A; then a double letter in the same sequence. During the Republic the marks were various. It is a curious fact that Sevres possesses no collection of her finest wares made during this epoch. The best and largest collections are owned in England. As aspecimen of the value attached to the pie _:es, I may cite the last sale of the ware which was of any importance, when a set of three jardenieres brought £IO,OOO.

To return to the display in Memorial Hall. The forms of the vases are exceedingly varied, and, according to the custom at Sevres, names are given to them either from their special shapes or ornamentation, or from the names of the designers. The largest and most conspicuous parce is a vase Alexandre Bomquiart of the premiere grandeur. It resembles an Urbino vase in the swelling contours of the body, the curved lip, and the narrow neck and base. The handles, however, are upright, and end in whorls. It stands nearly seven feet high. Its color is a pure translucent white of wonderful brilliancy, and the glaze has all the smoothness of a mirror. Yet the very chemical qualities which give this magnificent result render rich surface decoration impossible. The extreme hardness of the glaze prevents the colors from incorporating with it, and they lie exposed upon tire surface. The composition aud painting are by M. Harriot. It represents the Genius of the arts and sciences, a naked child sitting cross-legged in the calyx of a sunflower, holding the compasses in one hand and the globe in the other. The drawing of the figure is conventionalized, and is well done. The obverse of the vase has the same design. Butterflies are introduced, flying upward from the base of the plant, and gilt stars are scattered sparingly over the white surface. Gilt rays radiate from around the Genius, and harmonize well with tlie flower. The leaves and stems are so arranged as to decorate tho lower pai-t of the vase, and spears of ripened grain are introduced about the handies. A blackberry vine, conventionally treated, is painted around the plinth. Blue and gilt is sparingly introduced in the decorations of the upper and lower members of the piece, and there is a great deal of the same color and gilding in the handles which end below in rosettes and ducks’ heads.

I have described this vase at some length, because it may be taken as a typical specimen of tlie collection and of the condition of the art Of design in France at the present time. The drawing is universally good; the composition giving prominence to the central idea is carefully studied and the conventional treatment is exceUent, yet the result is not satisfactory. It la over fanciful. It lacks an art feeling. It pleases for the moment, for it has all the effervescence aud sparkle of wine, but you go back to it again and it is stale. On either side of this vase, which stands in the rotunda, are a pair of small (Paris) vases in pate tendre of that beautiful color known as bleu de roi. They are admirably decorated in an Oriental manner with colored enamels in relief and gold. A few flowers are introduced into the design, but the richness of the body color, which seems fairly to absorb the light, and the brilliant contrast between the enamels distract the mind from any attention to the detail of the pattern. The only other specimens of pate tend>e are a pair of vases in the French court (where the rest of the Sevres exhibit is arranged;, decorated by M. Eugene Froment. They are premiere grandeur, standing some thirty inches high. They are prettily painted with groups of little Cupids swinging on trapezes, playing with the emblems of the arts and sciences. The zone which contains the figures is of a delicate huff color; above ana below it the t#o colors, grot bleu and bleu celeste, are beautifully contrasted by arabesque of the lighter tint, disposed upQn toe darker shade. The plinth is decorated with bril : liant enamel colors. Of the other vases, a tall one of Chinese shape, painted by M. Barre. is noticeable for theharmooy and delicacy of its colors. The ground is celadon, on which are a perfect wilder-

ness of grasses and wild flowers. Another vase of modified form of the same shape is of a bright canary-yellow color, with medallions containing! well drawn and painted flowers. The srabesrjtae decoration of this piece is painted on with paste (pate d’applioation). A better and a charming example of this process is s crater-shaped vase, decorated with birds and flowers. The fond of this piece suggests in color the celebrated rose Du Barry. A pair of conietBhaped vases present a lovely contrast of turquoise blue and the pink of apple-blos-soms, with here and there a bright-winged butterfly. As a specimen of Sevres work ■ manship in another directk"\ there is a porcelain plaque, some four feet long by three high, with an interpretation of Watteau, painted by M. Alicl Schilt. It Is called L’Embarquement pour Cythcre, and represents a party of ladies and courtiers picnicing os a pleasant, shaded bank, which slopes down to the stream, where the shallop is awaiting them. A troop of Cupids are hhrrying the party aboard. Borne of the little fellows ure pushing on the unwilling damsels, others are hoisting the sails aud pennons, and others are carrying down the provisions. A group of peasants stand upon the shore watching the embarkation. The scene might be taken from the Decameron. The tone of the picture is rich and mellow, and the colors have almost the effect of oil. — Philadelphia Cor. N. Y. Tribum.