The Arts in the Middle Ages and at the Period of the Renaissance - P. L. Jacob

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his expressive language, “that it is twenty-five years since an earthen vessel was shown to me; it was turned, enamelled, and of such exquisite beauty, that from that very moment I began to argue with myself, while remembering observations made derisively to me by some persons when I was painting figures. And seeing that they were beginning to give up the use of these objects in the country where I lived, and that glazing also was not in great demand, I set myself to think that had I but discovered the art of making enamel, I might make earthen vessels and other articles of beautiful appearance; for God had given me the capacity to understand a little about ceramic painting, and from that instant, without in the least regarding my utter ignorance of siliceous substances, I set myself to discover enamels like a man groping in the dark.”

      It has been much disputed, but we may as well say at once to no purpose, how to assign with certainty a particular locality whence came this object which inspired Palissy; but whatever may have been its origin, it seems to us to be a question of little moment, because at the time when Palissy must have seen it, the Italian manufactories, and even those which were afterwards established in various localities, had succeeded in disseminating their wares far and wide; and, besides this, the works of Palissy, which we still see, bear testimony to a style that was peculiarly his own, and in some measure original.

      However this may have been, here we have him seeking out and grinding all kinds of substances, mixing them, and coating with them pieces of ware which he first subjected to the action of an ordinary potter’s oven, afterwards to the more powerful heat employed by glass-makers. Then we see him building an oven in his own house—taking into his service a working potter, to whom, on one occasion, when he has no money for the payment of wages, he is obliged to give his own clothes; again we find him turning, single-handed, a mill for grinding his materials which ordinarily required “two powerful men” to work it; then again, wounding his hands in repairing the oven that the fire cracked, and the bricks and mortar of which had become “liquified and vitrified;” so that he is obliged for several days “to eat his soup with his fingers tied up in rags;” pushing the conscientiousness and zeal of an experimentalist so far as to fall down in a state of insensibility on finding that the whole contents of an oven, on which he had been relying, proved to have numerous defects. In despite

      BIBERON OF HENRI II WARE.

      Or Oiron fayence. (Pourtales’ Collection.) Now in the possession of J. Malcolm, Esq.

      of his poverty we see him destroying pieces of work that he considered were not quite perfect, though a fair price was offered him for them, merely because “they might bring discredit on him and loss of reputation;” and finally, we see him breaking up and putting into the fire, for want of other fuel, the flooring of his house and the furniture of his humble abode.

      The magnificent discovery, brought about by the single initiative of an individual who had said that he would succeed, and who heroically endured all kinds of misery, privations, and humiliations, in order to attain his object, was the labour of not less than fifteen years.

      “To console me,” relates Palissy, “even those from whom I had a right to expect help laughed at me” (he here alludes to his family—his wife, and children—who had not the same unbounded faith as himself in the ultimate success of his labours); “they paraded the town exclaiming that I was burning the woodwork of my house; thus was my credit injured, and I was looked upon as a fool. Others said I was attempting to make base coin. I went about quite humiliated, ashamed of myself. I owed money in several quarters, and generally had two children out at nurse, and not able to pay the cost. All ridiculed me, saying: ‘He deserves to starve, because he has given up his trade.’

      “Struggling on in this way, at the end of ten years I became so thin that my legs and arms had no roundness of shape left about them; my legs were all of a size (toutes d’une venue); so that as soon as I began to walk, the garters with which I fastened my stockings used at once to slip down, stockings and all, on to my heels. … For many years, having nothing wherewith to cover my ovens, I was exposed all night long to the winds and the rains, without receiving any help or consolation, except from the screech-owls hooting on one side and the dogs howling on the other. … Sometimes I found myself, with all my garments wet through from the rain, going to bed at midnight, or at dawn of day; and when proceeding in this condition to bed, I went reeling along without a light, and stumbling from side to side, like a man drunk with wine; I was overcome by previous sorrow, the more so because after long-continued work I saw my labour lost. And on entering my chamber I found a fresh persecution awaiting me—the complaints of my wife—worse than the first, and which now makes me wonder how it was I did not die of grief. … I have been in such anguish that many and many a time I fancied I was at death’s door.”

      At last, despite all these obstacles, disappointments, physical and mental suffering, the determined experimentalist succeeded in his anticipations, and gave to the world those works he called rustics, and which were so original and so beautiful that they had but to be seen in order to invite attention, and to gain for him all the praise, as well as the profit, he received.

      We have just intimated it was at Saintes that Palissy, when in search of immortal fame, underwent his rude apprenticeship. A short time after he had attained these definite results, religious questions having caused some disturbances in Saintonge, the Constable de Montmorency, who had been sent to suppress the Huguenot rising, had an opportunity of seeing Palissy’s works: he requested that he should be presented to him, and at once declared himself his friendly protector. And we must take this word protector in its widest sense, for the potter, who had zealously embraced the doctrines of the Reformation, and who subsequently preferred to be imprisoned for life rather than abjure his faith (if he did not die in the Bastille, at least he was imprisoned there at the time of the Massacre of St. Bartholomew), indeed required protection, as much for the exercise of liberty of conscience as for carrying on his artistic labours. After Montmorency had commissioned him to execute some considerable works, which also gained him the patronage of several important personages, he obtained for him the favour of royalty. Palissy was summoned to Paris, and received the title of “inventeur des rustiques figulines du roi et de la reine-mère”—Henri II. and Catherine de Médicis. He was lodged in the Tuileries; and was not long there before he became renowned, not only for his ceramic productions, but also for his scientific knowledge.

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