DOI Heft:
No. 96 (February, 1905)
DOI Artikel:Notes on the crafts
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.26963#0482
Notes on the Crafts
TILED HEARTH. GRUEBY POTTERY COMPANY
popular suffrage, a free press, etc., may be men-
tioned as of considerable importance, also, the
more thorough attention given to hygiene in matters
of house construction and household furnishing.
Plumbing, lighting, and ventilating are arranged
with greater respect to the health of the inhabitants
than in less matter-of-fact days. In modern dwell-
ings we find bathrooms and lavatories, kitchens
and offices, built with as much regard to their
maintenance in sanitary condition, as was devoted
by our forefathers almost solely to the construction
of their dairies.
This tendency towards improved domestic hy-
giene, combined with the general trend towards
the welding of the artistic with the utilitarian (than
which we know of no more flourishing sign of a
healthy art growth), leads us to call the attention
of the readers of The International Studio
to the subject of “Faience,” as executed by a num-
ber of thriving concerns to-day. It is always en-
lightening, in the discussion of a subject, to under-
stand the full meaning of its generic name. Let us
begin by realizing the complete signification of
“faience.”
The history of glazed ware is as old as the his-
tory of civilization. We need merely mention
Egypt, Babylon, Spain and the Moorish Conquest,
Majorca (and the incursion of its industry into
Italy, where it became known as “Majolica”), to
recall the course of development of this craft to
the minds of our readers.
Among the many Italian workers in glazed
earthenware, Luca della Robbia (1400-1482), in
Florence, and his successors, Andrea and Andrea’s
sons, attained the greatest fame, and it was not
until the work of the family began to decline that
xcn
TILED HEARTH. GRUEBY POTTERY COMPANY
popular suffrage, a free press, etc., may be men-
tioned as of considerable importance, also, the
more thorough attention given to hygiene in matters
of house construction and household furnishing.
Plumbing, lighting, and ventilating are arranged
with greater respect to the health of the inhabitants
than in less matter-of-fact days. In modern dwell-
ings we find bathrooms and lavatories, kitchens
and offices, built with as much regard to their
maintenance in sanitary condition, as was devoted
by our forefathers almost solely to the construction
of their dairies.
This tendency towards improved domestic hy-
giene, combined with the general trend towards
the welding of the artistic with the utilitarian (than
which we know of no more flourishing sign of a
healthy art growth), leads us to call the attention
of the readers of The International Studio
to the subject of “Faience,” as executed by a num-
ber of thriving concerns to-day. It is always en-
lightening, in the discussion of a subject, to under-
stand the full meaning of its generic name. Let us
begin by realizing the complete signification of
“faience.”
The history of glazed ware is as old as the his-
tory of civilization. We need merely mention
Egypt, Babylon, Spain and the Moorish Conquest,
Majorca (and the incursion of its industry into
Italy, where it became known as “Majolica”), to
recall the course of development of this craft to
the minds of our readers.
Among the many Italian workers in glazed
earthenware, Luca della Robbia (1400-1482), in
Florence, and his successors, Andrea and Andrea’s
sons, attained the greatest fame, and it was not
until the work of the family began to decline that
xcn