You will doubtless have seen figures and busts in an unglazed white porcelain—some shops have whole cabinets full of them. They are in what is calledParian ware, and when you see them like this it may well puzzle you to know why anyone should want to buy them,

I think it is well worth looking at this ware. Whereas the Victorians liked to have the odd piece about, usually under a glass case, to set off their heavy dark hangings and curtains, there are surely other things we could do with these things nowadays. What is more, in some sorts of Parian the white, is often attractively combined with tints and even glazes.

But first let us have a look at its history. Parian first appeared about 184o, as the result of efforts to recreate the delightful old Derby (and originally Sevres) “biscuit” (i.e. unglazed) porcelain—then, as now, extremely expensive. It was an instant success with the early Victorians for it gave them their beloved classical style sculpture in a miniature form, and enabled them to bring into the ordinary middle-class home works that could normally only be housed in the ducal mansion like Chatsworth, or the nobleman’s garden. In fact, many of the early models were actually reduced from famous pieces of sculpture which had won fame at such events as the Great Exhibition of 1851. One of the most celebrated of these was the “Greek Slave,” of the American sculptor Hiram Powers, and Copelands made many reproductions of this. Our picture shows John Bell’s “Dorothea,” the girl in Don Quixote who dressed as a shepherd: this was one of Minton’s contributions. As well as these two firms, many others tried their hand at Parian ware, including Meighs, Bootes, Mountford ; Wedgwoods also joined in, but instead ofcalling their version Parian (after the marble of the Greek island of Paros, which it was supposed to resemble) they preferred to use the name Carrara ware, from the Italian marble.

Antique Collector MagazineAs already mentioned, Parian was often tinted; I have seen some of John Bell’s large nymphs and Venuses in a pleasant pastel green—while sometimes there was a combination of white Parian and coloured glass. Quite often, too, there are very small pieces, like our little bust of Clytemnestra on the back cover, which is only five inches high, and cost me 4s. 6d. in a junk shop.

Busts were also made of most of the famous characters of the day, but somehow I have never been attracted to the idea of having the Duke of Wellington or Mr. Gladstone perpetually in my room. “Clytie,” in spite of her dreadful history—she killed her husband–is much to be preferred. I also like the small figures of children by potters like Adams.

But many other things besides statuettes and busts were made in Parian, and I think that this is why it may interest people other than the real Parian enthusiasts, who of course have their own special standards. There are, for example, plaques like the pair on the back cover, after the famous pair of reliefs by Thorwaldsen, the Danish sculptor, called “Night” and “Morning,” and now in Chatsworth House. These cost me 25s., and are apparently by Mintons. There are also “useful” wares, in a sort of Parian which will hold water, and jugs decorated with reliefs similar to the stoneware jugs of the time. You will also come across some of these (and also vases) which are covered all over with delicately modelled applied petals and leaves. They are very spikey to handle, and a nightmare to keep clean, but, all the same, remarkable examples of Victorian craftsmanship which it would cost a fortune to imitate today—and so unlikely to be forged.

As to displaying it, I think I have said enough to indicate that there is plenty of variety to choose from in making up a cabinet, or better still, perhaps, an alcove with a dark background. If I were going in for all white I think I would try to arrange some dark shelves against a deep plum or blue velvet backing, then throw some light on the pieces. But this would not be so necessary if you were to intersperse the all-white pieces with the coloured ones. It should be noted, however, that the tinted versions are appreciably more expensive than the white. My “Dorothea” cost me five pounds, but the John Bell nymphs were offered at eighteen pounds several years ago.

Of course, there is no reason why one should stick rigidly to Parian only. There are figures and busts in the black basaltes made by Wedgwood and others, and there are also some very attractive terra cotta figures about, some of them imported from France. One or two of these could set off one’s Parian gallery very handsomely.

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