As I have previously shown, Alexandre Brongniart established a coherent science of ceramics. By the mid-nineteenth century, Brongniart had popularised the term "la céramique" as a widely-applicable name for the field of pottery and porcelain making, and other related arts. In the Twentieth Century, ceramic manufacturing became increasingly technical. The inclusive field of artisans and industrialists that Brongniart had once envisioned was fracturing. Voices called for the separation of pottery making from experimental, industrial ceramics and the meaning of the term “ceramics” was hotly debated. Numerous etymologies were traced, but, as the predominant language of science transferred from French to English, none of the twentieth-century authors recognized Brongniart’s key role in the invention of the term. Critically, this language debate coincided with and reflected the global politics, nationalism, and warfare of the first half of the Twentieth Century.
Taking on the task of ordering the sciences related to pottery and clay-based objects, natural historian and porcelainier Alexandre Brongniart sought a new way of describing the ancient practice. Early in his forty-seven-year career as director of the Sèvres Porcelain Manufactory, Brongniart developed a research center for the advanced study of pottery and porcelain making. Brongniart recognized that an inclusive and distinct term for the field was necessary, but it had to be introduced carefully, so that it was welcomed rather than rejected as presumptuous. Through close reading of Brongniart’s writings, as well as contemporary periodicals and the texts of other authors, the development of the word “ceramic” – originally introduced by Brongniart and his associates in French as “la céramique” – can be traced closely. I show that this was a deliberate, methodical, and years-long effort to create a durable, comprehensive term.