Parian

The development of bisque figures seems to have originated in Europe in the 18th Century. Derby, and then Minton, were the main English potteries noted for its production up to 1840, but by 1851 Copeland had taken the lead and claimed to be the inventors of parian.

Even now the makings of parian figures is a highly skilled craft, so in the early days of its development it would have been still more difficult, particularly in regard to temperature control in the coal-fired ovens. Figures are cast in moulds from slip, several moulds being required for each figure. The casts are assembled into a copy of the original model, and all the parts which are liable to warp or move during firing are carefully supported by props. These props have to be coated with powder to prevent adhesion and are made of the same material as the figure so far as to be subject to similar contraction in the kiln. The model is then left to stand for two or three days to ensure it is dry enough not to crack during firing in the biscuit oven.

Baking commences, taking sixty to seventy hours at a high temperature. The fires are then drawn and the oven gradually cooled. When the statue is cold, the props are removed and any flaws dealt with. It is embedded in sand-filled saggers which support the statue as it is refired for vitrification. During manufacture parian statues contract by about 15%: 3% through evaporation before firing and a further 12% during the first firing.

In the Art Journal of 1870, Belleek parian was highly praised for its quality and marble-like appearance. Belleek's first major triumph was at the Dublin Exhibition of 1872. It was by far the largest display and included nine Figurines and Busts, the Prince of Wales Ice Pail, Comports, Centre Pieces, and the Chinese Tea Urn with the double-spouted kettle on a dragon stand.

(FromR-L) The largest vase is the green stage, just out of the mould.
The next one is in the biscuit stage. The blue shade vase is the same biscuit stage with glaze applied ready for the final firing and the last one is the finished product.

This close-up of Crouching Venus shows clearly how this piece must have been over-supported during firing, causing her foot to lift off the base.