Fig. 49.—Bottle.Height 14 in.
Fig. 50.—Dish.Dated1774.
Alcora.There was a very importantfabriqueof fayence at this place, carried on by the Count D’Aranda, in the 18th century.
The usual mark upon this fayence is the letter A in gold or colour.
Fig. 51.—Plaque.
Talavera, near Toledo, was one of the most important manufactories in Spain in the 17th and 18thcenturies, and the wordtalaverawas used to indicate all fayence in the same manner asfayencein France anddelftin England.
Fig. 52.—Bowl.18th Century.
Fig. 52, a bowl, is glazed, decorated within and without with a bull fight, storks, and trees, in green, orange and manganese.
Maiolicaand Fayence are essentially the same, being composed of the same material and covered with a tin glaze or opaque white enamel, which serves to hide the dingy colour of the clay, and forms a fine ground for the reception of colours.
Saint Porchaire.All the earliest writers on the subject appear to have thought that it was made in Touraine, and it was calledHenri Deuxware.
The ware next became known asFaïence d’Oiron, but in 1888 it was affirmed that the factory of this pottery was at Saint Porchaire.
The distinguishing characteristics of this curious ware are, in the first place, the body, which is of a creamy white pipeclay, very compact and of fine texture, so that it does not, like the ordinary fayence, require an opaque white enamel, but merely a transparent glaze; and secondly, that instead of being painted with enamel colours over the surface, it is inlaid with coloured plates, in the same manner as thechamp levéenamels or niello work in metal.
Fig. 53, a candlestick of cream-coloured ware, is inlaid with arabesques and other patterns, in dark brown and reddish brown, with reliefs of three boys,tragic masks, shields of arms of France, and the cipher of Henri II.; above are three terminal figures of satyrs; date about 1540.
Fig. 53.—Candlestick.
Fig. 54, abiberon, is inlaid with interlaced bands and scrolls, rosettes, guilloches, masks, &c., in a reddish colour; a curved band on the neck has arow of ciphers, these being the letters A. M., elegantly arranged as a decorative monogram, probably that of the Constable Anne de Montmorency.
Fig. 54.—Biberon.Height 9¼ in.
Beauvaiswas celebrated for the manufacture of decorative pottery in the 14th century, and descriptions of cups of theterre de Beauvaisfrequently occur in early inventories. Several specimens of it are still in existence; they are of red, green, or blue glaze, with gothic inscriptions and arms of various provinces of France in relief.
Apt.The fabrication of fayence is said to have commenced here about the middle of the 18th century, principally in imitation of jasper and brocatelle marble. The manufactory of M. Bonnet was established about 1780, and marbled ware and vases of a yellow colour were produced.
Fig. 55.—Vase.
Fig. 55 is a yellow vase with masks and vine leaves.
Blois.A manufactory of fayence was in existence here throughout the 17th and 18th centuries. It was similar to that of Nevers and Rouen. Some specimens are signed Lebarquet.
Fig. 56.—Candlestick.
Avignon.A manufactory of pottery flourished here from about 1650 to 1780, but there were also potteries early in the 16th century. The pottery is of a chocolate brown, with a fine metalloid glaze like bronze or tortoiseshell. The ewers and bottles are of elegant forms, resembling those ofItaly, sometimes perforated and ornamented with masks and flowers in relief, or painted yellow.
Fig. 57.—Ewer.About 1600.
Bernard Palissy, born 1510, succeeded, after many years of diligent research, in discovering the enamel which decorates his ware. His earthenware, as well as his style of decoration and his beautiful modelling, were quite original. The natural objects represented upon his ware are true in form and colour, being mostly modelled from nature; the shells are copied from tertiary fossils found in theParis basin; the fish are those of the Seine, and the reptiles and plants such as he found in the environs of Paris.
Fig. 58.—Dish.16th Century.
Nevers.The earliest evidence of the making of fayence at Nevers is the foundation of afabriqueby Dominique Conrade, in the latter half of the 16th century, which was carried on by his son and grandson. In 1652, Pierre Custode established anotherfabrique, which was equally successful, and seven generations of his family were employed in it. Other manufactories were started in the 18th century.
The fayences of the first epoch, 1600 to 1660, have frequently been confounded with Italianmaiolica, but a little attention will show the points of difference. In the Nevers ware the figures are always yellow on blue ground; the Italian figures are usually blue on yellow. At Nevers red or metallic lustre was never employed, and the outlines are always traced in manganese violet, never in purple or black. During the second epoch, the ground was a peculiar lapis-lazuli blue, like the Persian colour calledbleu de Perse; it entirely covered the piece, was spotted or painted with white, or sometimes in yellow and orange, and decorated with flowers and birds. The Chinese patterns are in light blueen camaïeu, sometimes intermixed with a sort of brown lilac.
Fig. 59.—Pilgrim’s Bottle.Bleu de Perse.2nd half of 17th Century.Height 11½ in.
Fig. 60.—Ewer.Painted with Japanese figures,2nd half of 17th Century.Height 15⅜ in.
Fig. 61.—Pilgrim’s Bottle. Apollo and Daphne;rev.A Bacchanalian Scene.In blue and yellow.Height 12¼ in.
Rouen.There was a manufactory of pottery atRouen early in the 16th century, and towards the end of the next century there were many establishments. At the commencement of the 18th century, the Chinese style pervaded all the Rouen fayence, but it was transformed or travestied and possessed a special physiognomy; the subjects were landscapes and buildings with figures, fantastic birds, dragons, &c., in blue, green, yellow, and red, bordered with the square Chinese ornaments. At a later date the decoration consists principally of flowers issuing from cornucopiæ and rococo ornaments; this sort of style is called in France “à la corne.” The paste of the Rouen fayence is heavier and thicker than that of Delft, but the designs and ornaments are full of taste, decorated in bluecamaïeuand in polychrome, some in the style of Nevers, with white onbleu de Perse, but of paler colour. The pieces were frequently of large size, and included fountains, consoles, vases, &c.
Fig. 62.—Ewer.
Fig. 63.—Ewer.
Fig. 64.—Plate.
Fig. 62 is painted with polychrome decoration of landscapes, &c.; period of Louis XIV.; height 26⅜ in.
Fig. 63 is painted in blue with arabesques and flowers; period of Louis XIV.; height 9¾ in.
Fig. 64 is painted in the centre with a rose ornament, with medallions and scrolls round the rim, in blue and orange; period of Louis XIV.; diam. 10 in.
Fig. 65.—Compotier.
Fig. 66.—Compotier.
Fig. 65 is painted in polychrome; period of Louis XV.; diam. 9⅝ in.
Fig. 66 is painted with Chinese figures, &c., in polychrome; period of Louis XV.; diam. 10 in.
Strassburg[1]andHagenauwere noted for the manufacture of fayence, established by Charles François Hannong about 1709. It was called in France “poterie du Rhin,” and is of a peculiar character, and easily known, being generally decorated with flowers and scrolls in red, rose colour, and green. Charles F. Hannong was succeeded by his sons Paul and Balthasar. The former took charge of the Strassburg works, and the latter the factory which had been started at Hagenau. The Strassburg fayence works were closed in 1780.
Fig. 67.—Fountain.
Fig. 68.—Clock and Bracket.
Fig. 67, polychrome decoration, bears the initials of Paul Hannong; about 1750; height 22¼ in.
Fig. 68, in three pieces, coloured in maroon, yellow, blue and green, bears the mark of Paul Hannong; about 1750; height 3 ft. 9 in.
Moustiers.The products of the Moustiersfabriquesmay be divided into three periods:—
1st Epoch. Towards the end of the 17th century. The subjects are hunting scenes, &c., painted in blue; champêtre scenes and figures in costumes of the period of Louis XIV.; and mythological and biblical subjects with arabesque borders. The outlines are sometimes lightly indicated in violet of manganese.
Fig. 69.—Plateau.
2nd Epoch. From the commencement of the18th century to about 1745. The specimens of this period are in bluecamaïeuwith highly finished and graceful interlaced patterns, among which are cupids, satyrs, nymphs, terminal figures, flowers, masks, &c.; canopies with draperies resting upon consoles, vases, fountains, &c.
3rd Epoch. From 1745 to 1789. The fayence is mostly painted in polychrome; the colours are blue, brown, yellow, green, and violet. The decorations are flowers, fruit, and foliage, and sometimes mythological subjects. Other patterns of this period consist of grotesque figures, and caricatures. The outlines of the designs were transferred to the surface of the ware by means of paper patterns, pricked with a fine needle and powdered over with charcoal.
Fig. 70.—Compotier.
Fig. 69, painted in greencamaïeuwith a rustic subject in the style of Boucher, with polychrome floral border; 1720 to 1760; diam. 11⅛ in.
Fig. 70. Compotier, painted with a centralhunting subject, after Tempesta, surrounded by a floral border, and outer border of garlands, in polychrome; 1680 to 1720; diam. 10⅜ in.
Fig. 71.—Plate.
Fig. 72.—Barber’s Basin.
Fig. 71. Plate, octagonal, with curved outline, painted with central medallion of Juno standing in a landscape, surrounded by a garland, and roundthe border the busts of divinities within medallions, and garlands, in polychrome; 1680 to 1720; diam. 10 in.
Fig. 72. Barber’s basin, painted in polychrome with the subject of Diana and Actæon; 1680 to 1720; length 15 in.
Varagesalso possessed manufactories in the 18th century for fayence in the style of Moustiers, from which it is only a few miles in distance. Some of this ware bears the mark of a cross, and was called “Faïence à la Croix.” Fig. 73 is painted with rustic figures in landscape, after Wouverman; crimson and green flower border, and marked with a cross. 18th century. Diam. 11½ in.
Fig. 73.—Plate.
Marseilles.The manufacture of fayence at Marseilles, and elsewhere in the South of France, was in activity early in the 17th century. A little after 1750, twelvefabriquesof pottery were in existence. In 1790 there were eleven manufactories existing, but most of them ceased about 1793, on account of the Treaty of Commerce with England. The Revolutionof 1793 gave an additional blow to the keramic industry of Marseilles. In 1805 there were only three factories at work, employing twenty hands. In 1809 only one remained.
Fig. 74.—Tureen.
The fayence is much the same in character as that of Moustiers, and sometimes resembles that of Strassburg. The decorations are frequently in red or green, sometimes with Chinese designs. There is one peculiarity about the Marseillaise fayence which at once fixes its identity, and this is, three green leaves or marks painted on the backs of plates and dishes to hide the imperfections in the enamel caused by thepernettesor points of support on which they rested in the kiln. There is also a great resemblance between the early ware made here and at Genoa, in consequence of the emigration of many workmen. We learn from a complaint made on the subject by the potters of Marseilles to the Intendant of Provence in 1762, from which it seems they took a great number of apprentices at very low wages, and the wages were paid in fayence, which mode of payment they said deteriorated the quality, and caused the workmen to emigrate to Genoa. Also they complained that great quantities of Genoese fayence were imported into Languedoc and Provence, and spread over France, which was absolutely ruinous to the trade of the two provinces, and especially to Marseilles.
Fig. 74. Soup tureen, cover, and stand, with polychrome flower decoration and gilding, was made by Savy, about 1750; length of tureen, 15½ in.
Sincenyin Picardy. A manufactory wasestablished here in 1733, by Jean Baptiste de Fayard, Gouverneur de Chaunay et Seigneur de Sinceny. Dr. Warmont (Recherches Historiques sur les faïences de Sinceny, &c., Paris, 1864) divides the products of this manufactory into three periods:—
1. Rouennaise, 1734 to 1775.2. Faïence au feu de réverbère, 1775 to 1789.3. Décadence de l’Art, 1789 to 1864.
The earliest pieces were painted in blue; the next in blue touched with red or green and yellow, decorated withlambrequins(mantlings),à la corne(cornucopiæ), birds, and butterflies. Chinese figures were doubtless stencilled by pricked papers and charcoal powder.
Fig. 75.—Bowl and Cover.
About 1775 a great improvement was perceptible in the fayence of Sinceny; the paste became finer in quality, the colours brighter and more varied, in more exact imitation of the porcelain of Japan. This was accomplished by what is calledle feu de réverbère, in contradistinction to the old processau grand feu; the latter included only one baking, while in the other the ware was placed a second time in the kiln, and the pigments were not exposed to so great a heat, which allowed the employment of brighter colours. Table services decorated in polychrome, with branches of roses, sometimes in greencamaïeu; delicate wicker baskets, watch stands, &c., were produced; they were painted with Chinese figures, rococo scrolls, and other ornaments. From 1790 the fayenceau feu de réverbèrewas largely discontinued on account of its expensive character and the introduction of English ware at a lower price; but still, both descriptions were occasionally made.
Fig. 75 is a bowl and cover, painted in colours inside with a coronet, supported by two cupids on clouds with a flaming heart beneath, 18th century.
Lunéville.Founded in 1731 by Jacques Chambrette, it was calledLa Manufacture Stanislas; Jacques was succeeded by his son Gabriel and his son-in-law Charles Loyal. They made fayence of blue decoration like Nevers, and sometimes with rose and green colours like the old Strassburg ware. Large figures of lions, dogs, and other animals, of natural size, are sometimes met with.
Fig. 76.—A Pair of Rustic Figures.With polychrome decoration.About 1775.Height 8¾ in.
Fig. 77.—Dish.In polychrome.About 1760.Length 13¼ in.
Aprey, near Langres. Established, about 1750, by Lallemand, Baron d’Aprey. About 1780 it was conducted by M. Vilhault, who made a superior kind of fayence. The early style is that of Strassburg with rose colour, green and yellow predominating.
Fig. 78.—Plate.In polychrome.Diam. 9⅜ in.
AtManerbe, near Lisieux in Normandy, and atMalicorne,Infreville,Château-la-LuneandArmentières, those elegant glazed earthenware pinnacles or finials which adorn the gables of old mansions in various parts of Normandy were constructed. They are 5 or 6 feet in height, being a series of small ornaments placed one above another on an iron rod; they partake of the character of thefigulines rustiquesof Palissy, and have frequently been sold as such.
Fig. 79.—Finial.About 1600.
St. Clément.Established about 1750. Little is known of thisfabrique. There are some specimens of the 18th century in the Sèvres Museum; also some others of later date, 1819 and 1823.
Fig. 80.—Écuelle.With gilt scrolls on white ground.
Toulouse.Established in the 18th century. The ware is very similar in style to early Rouen pottery. A large hunting bottle, with loops for suspension, painted with blue flowers, and bearing round the neck the inscription “Laurens Basso a Toulousa Le 14 Maÿ 1756,” was formerly in the possession of the late Mr. C. W. Reynolds.
Niderviller.[2]Established in 1760, by Jean Louis, Baron Beyerlé. The ware is in the German style, potters from Germany having been employed in its production, and is remarkable for the richness and delicacy of its decoration, which most frequently consists of flowers in bouquets and garlands. His fayence figures and groups are well modelled. About 1780,four years before Beyerlé’s death, the factory was purchased by General Count Custine, and carried on by him under M. Lanfray, principally for the manufacture of porcelain, which will be subsequently referred to.
Fig. 81.—Vase.
Fig. 81. Vase with cover, one of a pair; urn shape, painted to resemble deal, with medallions containing landscapes in rosecamaïeu, and borders of bay leaves. It bears the mark of Count Custine; date about 1774; height 17⅜ inches.
Douai.Two brothers of the name of Leech, from England, were engaged, in 1782, by M. George Bris, of Douai, to superintend the manufacture of English pottery on a large scale, in a factory (now a Normal School) in the Rue des Carmes. It was one of the first of the kind established in France. The chief workmen, who came originally from England, instructed pupils, who carried the new process to Chantilly, Forges, and other places in France.
Vincennes.In 1768 M. Maurin des Abiez undertook a manufacture of fayence in the manner of Strassburg, it being well known that there did not exist in France any fayence comparable to it in beauty and solidity; he had purchased the secret, and brought to Paris a staff of workmen who had been engaged at Strassburg. He acquired possession of the Château de Vincennes for twenty years. Pierre Antoine Hannong was engaged as director, and the works were carried on for four years, until 1771, when the factory got into difficulties and was closed.
Sarreguemines.[3]Established about 1770 by Paul Utzschneider. The beautiful fayence produced here is in imitation of porphyry, jasper, granite, and other variegated hard marbles, and was sometimes cut and polished by the lathe; it was also made with white raised figures on blue in the style of Wedgwood, and a third kind was red ware like the Japanese. The name is impressed on the ware.
St. Amand-les-Eaux, near Valenciennes. Founded about 1750 by M. Fauquet, and continued by his son. The latter occupied himself especially with the gilding of his ware, which gave his neighbours the opportunity of saying he melted all his louis-d’ors in making his experiments and ruined himself. In the revolution of 1789 he emigrated, and all his goods were confiscated. In 1807 he attempted to revive thefabrique, and advertised that the St. Amand works were in full activity, making white fayence in the style of Rouen.
Fig. 82.—Inkstand.
Fig. 82, an inkstand, with ink and pounce pots and drawer, painted on a grey ground with blue and white flowers under the glaze; about 1760-80.
Sceaux Penthièvre.In 1753, Jacques deChapelle established a manufactory of a particular sort of fayence, of which he alone possessed the secret. The ware is in the style of Strassburg, its prevailing colours being pink and green; it is painted with flowers, but more carefully finished, and with landscapes and other forms of decoration.
Fig. 83.—Plate.
Bourg-la-Reine.Established in 1773 by Messrs. Jacques and Jullien, who removed hither from Mennecy. The early ware is very similar to that of Sceaux. Besides the white fayence for domestic use, more artistic pieces were produced, painted on the enamel after it had received a slight baking; this ware is principally in imitation of the Italian.
Creil.A manufactory of fine fayence, workedin the 18th century by M. StCriq, made opaque porcelain and stoneware in the English style, and transferred prints on to the ware.
Fig. 84.—Plate.With a yellow border and transfer-printed landscape.
Montereau.In 1775, Messrs. Clark, Shaw, & Co., obtained letters patent to carry on a manufactory of English fayence, called Queen’s ware, from clay found in the vicinity. This ware had a very extensive sale, and dealt a severe blow to the manufacture of French fayence. It soon spread over France, and was extensively made at Toulouse, Creil, Sarreguemines, and other places.
Lille.A manufactory of fayence, was foundedin 1696, by Jacques Feburier, of Tournai, and Jean Bossu, of Ghent, who made a wareà la façon de Hollande.
Fig. 85.—Dish.
Another important manufactory of fayence was established in 1711, by Barthélemy Dorez and Pierre Palissier; it continued in active work for nearly a century. A third fayence manufactory was founded in 1740 by J. Masquelier, and was continued inthe same family until 1827. A fourth was established in 1744, by M. Chanou, who made a brown earthenware calledterre du St. Esprit, in the English fashion. There were also two other factories here in the 18th century.
Thepottery of Germany consists of two distinct classes: the fayence with opaque white stanniferous glaze, and that which to a great extent is called in England stoneware, in GermanySteingut, and in Francegrèsor sandstone. These epithets exactly describe the quality of the latter ware. It is very serviceable for domestic utensils, such as drinking bottles and vessels of everyday use, and is covered with a thin transparent glaze, effected by throwing common salt into the kiln when the ware is nearly baked—the salt vaporised by the heat surrounds the vessels, and acting upon the silica of their surfaces produces a thin gloss of silicate of soda over the ware, rendering it perfectly impervious.
Nuremberg(Nürnberg). The celebrated Veit Hirschvogel, of Schlettstadt, was born in 1441, and died in 1525; he was a great potter, contemporary with Luca della Robbia, of Florence. The early pieces of pottery are somewhat like maiolica, but the colours are brighter, green predominating in many specimens; figures in relief in niches are frequently seen on vases. Several chimney-pieces of this ware of the 15th century are still in existence, one is in the castle of Salzburg, and manypieces treasured up in museums are supposed to have been made by Hirschvogel himself. The Nuremberg pottery of the 16th and 17th centuries is not uncommon. Hirschvogel was succeeded by his sons and a host of continuators. Fayence of the 18th century is also met with, painted with scriptural subjects, sometimes in bluecamaïeu, sometimes in other colours.
Fig. 86.—Jug.15th Century.
Fig. 86. Jug, of enamelled earthenware, invarious colours, with figures in low relief; attributed to Veit Hirschvogel; height 13 in.
Fig. 87.—Dish.
Fig. 87. Dish, painted in the centre with Christ rising from the tomb; signed with the painter’s name Glüer, 1723.
Leipzig.In the convent of St. Paul, which was built in 1207, there was a frieze of bricks, covered with tin enamel glaze, representing in relief the heads of Saints and Apostles, 20 in. by 15 in., 2½ in. thick. On the demolition of the convent a selection of these was deposited in the Dresden Museum; they are of Byzantine character, in green enamelshaded with black; the hair, beard, and eyes of the figures are coloured.
Strehla.A manufactory for earthenware was in existence here for many centuries. A pulpit of enamelled earthenware still exists, supported by a life-size figure of Moses, ornamented with eight plaques of religious subjects and figures of the four Evangelists, bearing the name of the potter and the date 1565.
Oberdorf.A factory was carried on by a potter named Hans Seltzman; a very fine stove made by him, with an inscription and dated 1514, is in the Palace at Füssen, in Bavaria. Many other places throughout Germany were equally famous in the 16th and 17th centuries, for the manufacture of stoves, asAugsburg,Memmingen, &c.
Bayreuth.The manufacture of a brown stoneware with Renaissance medallions, arabesques, &c., in relief flourished here in the 16th century. At a later period, fine fayence was produced, painted in bluecamaïeu. The designs are delicately traced with a brush on a fine paste; the forms are canettes, jardinières, &c. At the end of the 18th century afabriqueof fayence was carried on by a Herr Schmidt, who assiduously copied the English ware; there are specimens in the Sèvres Museum bearing the counterfeit mark of “Wedgwood.”
Fig. 88.—Coffee-pot.
Fig. 88. Coffee-pot and cover, chocolate coloured ground, decorated with gilt scrolls; F, the cypher of Frederick the Great, under a crown in front; about the middle of the 18th century; height 9 in.
Cologne(Köln). The stoneware made here in the 16th century is better known throughout Europe than any other description of pottery; its durabilityfor domestic uses and the elegant character of its ornamentation in relief, caused it to be sought for everywhere. Thegrès de Colognehas been confounded with thegrès de Flandres, which latter name is given erroneously and indiscriminately to all stoneware of German manufacture, notwithstanding the German inscriptions the pieces bear and the arms of German cities and families. The best and most highly finished decorativegrèsor stoneware cruches were undoubtedly made in Germany, if not at Cologne. The clay for making the Cologne ware came from Langerwehe between Düren and Aix-la-Chapelle. The manufactory was not actually in Cologne, but in the vicinity, possibly atFrechen, and atLauenstein, where a factory was established in the 18th century.
There were also factories atSiegburgandLimburg.
All the ware was made in moulds, and it must be borne in mind that the vessels were not always made at the date indicated upon them, for the moulds were used successively through a series of years, and it is no uncommon occurrence to find two different dates upon the same piece. Some of the finest specimens known bear the name of Baldem Mennicken, a potter dwelling atRaerenin the ancient Duchy of Limburg, which town until the treaty of 1814 was part of Holland, and it is probable that the stoneware produced here indicates the origin ofgrès de Flandres.
Fig. 89.—Limburg Cruche.Grey and blue.Height 8¾ in.
Fig. 90.—Raeren Cruche.Grey and blue.Height 7¼ in.
Fig. 91.—Siegburg Canette.Cream colour. Dated 1574.Height 17¼ in.
Grenzhausen, in Nassau. There was a factory here about 1780, wheregrèsor stoneware was made; it is of a fine quality and easily mistaken for the more ancientgrès. The forms are usually plates, dishes, and jugs, in which the decoration consists of a fine blue enamel on grey ground, with incuse ornaments executed by hand.
Fig. 92.—Jug.
Fig. 92, a jug of reticulated pattern, is engine-turned, and enriched with brilliant enamel colours, 18th century.
Fig. 93.—Fountain.
Fig. 93, a large fountain, is purple blue and white, 16th century; height 30 in.
Kreussen, a town of Bavaria, has long been noted for its pottery. Thegrèsof the 17th century, calledKreussener Steingut, is of a dark brown colour, in the forms of cylindrical mugs, tankards, &c., with figures in relief round them, painted in bright coloured enamel.
Fig. 94.—Tankard.
Fig. 94, a tankard, has a chocolate-coloured ground, with coloured enamel ornaments and figures of the Emperor and the Electors of Germany on horseback, dated 1696.
Bunzlau, in Silesia.Grèswas made here in the 16th and 17th centuries. The products of the 18th century are distinguished by ornaments in relief, flowers, coats of arms, &c., sometimes gilt. At the present time an extensive trade is still carried on in the manufacture of chocolate and coffee pots, usually covered with a brown glaze, and lined with white. There is preserved a monster coffee-pot, 15 feet high, made at this place in the 18th century.
Harburg, on the Elbe, opposite Hamburg, is noted as the residence of Johann Schaper, who was born towards the end of the 16th century. His exquisite paintings of landscapes and figures are usually in Indian ink or sepiaen grisaille, the colours being fixed by heat.