DOI issue:
Nr. 78 (Septembre 1899)
DOI article:Sparrow, Walter Shaw: William de Morgan and his pottery, 1
DOI Page / Citation link:https://doi.org/10.11588/diglit.19232#0260
William De Morgan
not really detrimental to the appearance of a
tile-picture, as the joints may be so numerous in
relation to the area of the picture as to resolve
themselves into texture when seen from the proper
distance. Besides, even when they are clearly
visible, they have no worse effect in decorative
art than on plain walls. To the artist while at
work, on the other hand, the interruption of the
tile joint is troublesome, and the way in which it is
got over in my method of painting is satisfactory.
• . . One obvious use of lustre-ware, as of under-
glaze earthenware, is its application to domes and
towers, and to all parts of buildings that catch the
level rays of the sun. I am not acquainted with
any style of architecture in which lustre has been
so employed on a large scale, and I suppose a
precedent would be necessary.”
We see, then, that Mr. De Morgan dreams of
lustred towers and domes shining above ceramic
cities. It is a beautiful dream, and I firmly believe
that the use of glaze and colour in architecture is
certain to triumph in the long run, as it supplies
a need which is felt in every land where the modern
commercial spirit is at all lively and mischievous.
In France, for example, this need has been recog-
nised for nearly fifty years, and serious efforts have
been made there to revive that architectural use of
enamelled earthenware which in the sixteenth
century gave so much charm to the Chateau de
Madrid, in the Bois de Boulogne. This castle or
country house, called by the people the Chateau
de Faience, was decorated by Girolamo della
Robbia, whom Francis I. had called from Florence 1
and enamelled earthenware was used so abund-
antly, that even the chimney-shafts were em-
bellished with it. But this style of decoration
went out of fashion with the graceful and delicate
architecture of the Renaissance, and nearly three
hundred years passed away before Frenchmen
began to hark back to its fanciful gaiety of effect.
Since then, thanks to many such gifted potters as
MM.Collinot, de Beaumont, and Deck, French archi-
tects have had plenty of excellent ware with which
to decorate country houses and suburban villas.
DESIGNS FOR POTTERY-WARE
BY WILLIAM DE MORGAN
not really detrimental to the appearance of a
tile-picture, as the joints may be so numerous in
relation to the area of the picture as to resolve
themselves into texture when seen from the proper
distance. Besides, even when they are clearly
visible, they have no worse effect in decorative
art than on plain walls. To the artist while at
work, on the other hand, the interruption of the
tile joint is troublesome, and the way in which it is
got over in my method of painting is satisfactory.
• . . One obvious use of lustre-ware, as of under-
glaze earthenware, is its application to domes and
towers, and to all parts of buildings that catch the
level rays of the sun. I am not acquainted with
any style of architecture in which lustre has been
so employed on a large scale, and I suppose a
precedent would be necessary.”
We see, then, that Mr. De Morgan dreams of
lustred towers and domes shining above ceramic
cities. It is a beautiful dream, and I firmly believe
that the use of glaze and colour in architecture is
certain to triumph in the long run, as it supplies
a need which is felt in every land where the modern
commercial spirit is at all lively and mischievous.
In France, for example, this need has been recog-
nised for nearly fifty years, and serious efforts have
been made there to revive that architectural use of
enamelled earthenware which in the sixteenth
century gave so much charm to the Chateau de
Madrid, in the Bois de Boulogne. This castle or
country house, called by the people the Chateau
de Faience, was decorated by Girolamo della
Robbia, whom Francis I. had called from Florence 1
and enamelled earthenware was used so abund-
antly, that even the chimney-shafts were em-
bellished with it. But this style of decoration
went out of fashion with the graceful and delicate
architecture of the Renaissance, and nearly three
hundred years passed away before Frenchmen
began to hark back to its fanciful gaiety of effect.
Since then, thanks to many such gifted potters as
MM.Collinot, de Beaumont, and Deck, French archi-
tects have had plenty of excellent ware with which
to decorate country houses and suburban villas.
DESIGNS FOR POTTERY-WARE
BY WILLIAM DE MORGAN