![\"\"](\"https:\/\/culture-catalogweb.joanneum.at\/wp-content\/uploads\/RMC_Fayence-vonSalis_FotoAHe_01-klein-1024x640.jpg\")
<\/p>\n<\/p>\n
Faience in CERAMICA CH<\/a><\/p>\n Technically, faience (tin-glazed earthenware or delftware) is earthenware with a light-coloured, yellow, pink or reddish fabric. After the first firing, also known as biscuit firing, both the interior and exterior of the vessel were dipped in a lead-tin glaze, which was opaque thanks to the presence of the tin. So-called high-fire glazes could then be used to apply the decorations (in-glaze painting). A second firing (glost firing at 1000\u20131190 \u00b0C) resulted in the colours fusing with the glaze. The vessel could then be painted again, this time using overglaze colours, after which it was covered with an additional coat of transparent shiny lead glaze (\u201ccoperta\u201d). The third firing was carried out in a muffle kiln at a temperature of 650\u2013850 \u00b0C. The range of colours included cobalt blue, manganese violet, copper green, Naples or antimony yellow, iron brown and iron red.<\/p>\n Simple faience produced in large quantities and often hastily painted was considered \u201c… luxury tableware for the middle classes, the better off tradesmen, farmers, merchants, officials and low-ranking clergy…\u201d who usually possessed only a very small number of individual pieces of true porcelain.<\/p>\n Translation Sandy Haemmerle<\/p>\n Ger.: Fayence<\/p>\n Fr.: Fa\u00efence<\/p>\n Literature on faience production<\/strong><\/p>\n Bartels 1999 Blondel 2001 Guyot 2018 Heege 2016 Maggetti 2007 Maggetti 2012 Maggetti 2017 Maggetti 2023 Matter 2012 <\/p>\n","protected":false},"excerpt":{"rendered":" Faience in CERAMICA CH Technically, faience (tin-glazed earthenware or delftware) is earthenware with a light-coloured, yellow, pink or reddish fabric. After the first firing, also known as biscuit firing, both the interior and exterior of the vessel were dipped in a lead-tin glaze, which was opaque thanks to the presence of the tin. So-called high-fire … Continue reading Faience<\/span>
\nMichiel Bartels, Steden in Scherven, Zwolle 1999, 201-236<\/p>\n
\nNicole Blondel, C\u00e9ramique: vocabulaire technique, Paris 2001, 75-81.<\/p>\n
\nClaude Guyot, \u00c9tude des terres de pipe, formes et d\u00e9cors entre fa\u00efence et porcelaine. Lun\u00e9ville 2018.<\/p>\n
\nAndreas Heege, Die Ausgrabungen auf dem Kirchh\u00fcgel von Bendern, Gemeinde Gamprin, F\u00fcrstentum Liechtenstein. Bd. 2: Geschirrkeramik 12. bis 20. Jahrhundert, Vaduz 2016, 271-288.<\/p>\n
\nMarino Maggetti, Technique de la fa\u00efence fran\u00e7aise (fin XVIIIe\/debut XIXe si\u00e8cle), in: Marino Maggetti (Hrsg.), La fa\u00efence de Fribourg: 1753-1844, Dijon 2007, 14-31.<\/p>\n
\nMarino Maggetti, Technology and Provenancing of French faience, in: Jos\u00e9 Miguel Herrero\/Marius Vendrell, XXXII Reuni\u00f3n de la Sociedad Espanola de Mineralog\u00eda. International seminar on Archaeometry and Cultural Heritage: the contribution of Mineralogy, Bilbao, 27 de Junio 2012 (Seminarios de la Sociedad Espanola de Mineralog\u00eda 9), Mdrid 2012, 41-64.<\/p>\n
\nMarino Maggetti, Technologische Analyse eines fr\u00fchen (1800-1806) Matzendorfer Steinguts, in: Keramik-Freunde der Schweiz, Mitteilungsblatt 131, 2017, 105-123.<\/p>\n
\nFa\u00efence ou terre blanche? Le Bois d\u2019\u00c9pense ou Saint-Cl\u00e9ment? Keramikfreunde der Schweiz Bulletin 101, 25-31.<\/p>\n
\nAnnamaria Matter, Die arch\u00e4ologische Untersuchung in der ehemaligen Porzellanmanufaktur Kilchberg-Schooren. Keramikproduktion am linken Z\u00fcrichseeufer 1763-1906 (Monographien der Kantonsarch\u00e4ologie Z\u00fcrich 43), Z\u00fcrich 2012.<\/p>\n