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 iijiiifiiiriiiiiiiiii
 
 UNIVERSITY OF CALIFORNIA 
 
 AT LOS ANGELES
 
 HANDBOOK 
 
 TO THE 
 
 COLLECTION 
 
 OF 
 
 BRITISH POTTERY AND PORCELAIN, 
 
 IN THE 
 
 MUSEUM OP PRACTICAl GEOLOGY, 
 
 JERMYN STREET, LONDON, S.W. 
 
 LONDON: 
 
 PlllNTED FOU HKU MA.IKSTY'S STATIONERY OFFICE, 
 
 T<Y KYRK ANI) Sl'OTTISWOODE, 
 
 PBINTBRS TO TIIK QUBKN'S MOST EXCEIXI'-NT MAJESTY. 
 
 SOLD ONLY AT THE MUSKUM. 
 
 1893. 
 I*rice One Shilling.
 
 LIST OF MAPS, SECTIONS, AND OTHER PUBLICATIONS OF THE 
 GEOLOGICAL SURVEY OF ENCLf^ND AND WALES. 
 
 Thb Maps sue those of the Ordimnco Survey, tfooloKU'ttHy coloured by the GooloKieal Survey of the United KinKdom.uuc 
 thti Suporiutomlence of Sir A ucii. Gbikik. D.So.. LI..!)., K.R.S., Director General. 
 
 I Por Maps, Sections, and Moinoirs illustrating Scotland, Ireland, and the West Indies, aea " Oatslogue") 
 
 ENGLAND AND WALES.-(Scaloone-iuch toamilu.) 
 
 Maps marked * arc also published as Drift Maps. Those marked t are published only as Drift Maps. 
 
 Shtx>ls »♦. 5, (■>•. /•, S». It, 11 to 22. U.^, 2«. 30, 31, 33 to 37, -W, 41, *t, -W*, 01*, C5t, (Wt.yo*, 83*, 80*. price 8s. Gd. each. 
 
 ShiH't 4. f>*. Sheets 2*, 10, 23, 24, 27 to 20, .S2, 38. 3;i. 58, 84t, 8,Jt, 4«. each. 1. of WiKht ( Now Series), 6«. 
 
 Sheets divided into quarters ; all at 3s. eix-h qutirter-sheet, cxccptinK those in braekots, which arc Is. 6d. ii'\ct\. 
 
 !♦. 42 4,S 45. 4(5. NW. SW, NE», SK. 48, N Wt, SVV», NKt, (SE*). (4<Jt), 50t, 51*. 52 to 57. (57 N W), 5!» to 63, m SWf N I 
 
 NW». SKt, f.7 Nt, (St).tiSEt, (NW»),SWt. 71 to 75, 76.(N) S, (77 N), 78, 7», NW», SW.NB*, SE',80NW», SW», Nl 
 
 SK* 81 N\V*. SW, XE. SE, S2. 8,3*, 87. 88, NW, SW». NE, SE, 8'J NW* ,SW. NE, SE» 90 (NE*), (SE*), l»I, (NW»), (SW 
 
 A'E*. SI''*. »2 NW. SW«, NE. SE, 113 NW, SW, NE», SE*, 91 NWt, SWt, (NEt), SE+, 95 N W*. >rE*. (SE*), 90 N W*. SV 
 
 NE* SE*. 97 NW, SW. NE*, SE, 98 NW, SW, NE*,SE, 99 (NE*). (SE*), 101 SE, NE*, NW*,SW*. 102 NE*, lu; 
 
 104* 105 NW, SW. (NE*),SE*.106NW*. SW*. NE*. SE*. 107 SWt. NE*. SE*, 108 8W*, NE*. BE*, 109 SW, SE*. 1 
 
 (NW*), (NE*),SE*.SW*. 
 
 XHTBEX IMCAPS :-(ScaIp 4 miles to 1 inch.) 
 WALES, 4c.-Sheets 9 (l-inch Maps, 37. 3S, 40, 41) ; 10 (35, 3ti, 42, 43) ; 14 (57-59) ; 15 (56. 58, 60, 61) ; 19 (75-78) ; 20 (73, 1 
 
 79, 80).3.s-. 0(/. each. 
 ENGLAND AND WALES.— Sheets f. (E. Yorkshire). 7s. Crf. ; 12 (London and lower part of Thames Basin). 10s. 6t 
 14 (Torquay to 1. of Wight) its. ; 15 (Chichester to Hastings), 4s. 6d. 
 
 HOXtIZOirT.A.X. SECTION'S, VERTICAXi SECTZOKS, 
 
 1 to 147, Enidand, price 5s. each. 1 to 79, England, price 3«. 6d. each. 
 
 COMPIiETED COXTM'TXES OF EN'CIi.a.ia'B A.tSJ> \(rAIiES, OD a Scale of one-inch to a Mile. 
 She«?ts marked * have Descriptive Memoirs. Sheets or Counties marked t are illustrated by General Memoirs. 
 
 ANOLESEYt,— 77N,78. Hor. Sect.40. 
 
 MEDFOiiDSllIllE,-4CNW,XE, SWt, SEt. 52 NW, NE, SW. SE. 
 BERKSUIRE,— 7*, 8t, 12*, 13*, 34*, 45 SW*. Hor. Sect. 59, 71, 72, 80. 
 
 BRECKNOCKSniREt,— 36, 41, 42, 56 NW, SW. 57 NE, SE. Hor. Sect. 4,5, 6, 11, and Vert. Sect. 4 and 10. 
 BUCKINGHAMSHlRE,-7* 13* 45* NE, SE, 46 NW, SWt. 52 SW. Hor. Sect. 74. 79. 
 
 OAKRMARTHENSHlREt,S7,3S,40, 41, 42 NW, SW, 56 SW, 57 SW, SE. Hor. Sect. 2-4,7,8 ; and Vert. Beet. 3-6, 13, 1< 
 CAERNARVONSHIREt.— 74 NW, 75, 76, 77 N, 78, 79 NW SW. Hor. Sect. 28, 31, 40. 
 CAMBRIDGESHIREt,-46 NE, 47*. 51*. 52 SE. 64*. 
 
 CARDlGANSHlREt,— 40. 41, 56 NW, 57, 58, 59 SE, 60 SW. Hor. Sect. 4, 5, 6. 
 
 CHESH1RE.-73 NE, NW. 79 NE, SE, 80, 81 NW, SW*, 88 SW. Hor. Sect. 18, 48, 44, 60, 64. 66, 67. 70. 
 CORNWALLt,-24t, 25t. 26t, 29t, 30t, 31t, 32t, & 33t. 
 
 DENBlGHt,— 73NW, 74,75 NE,78 NE, SE. 79 NW, S W, SE, 80 SW. Hor.Sect. 31,35, 88, 39, 43, 44; and Vert. Sect. 24. 
 DKRBYSHlREt,— 62NE,63NW,71 NW, SW, SE,72 NE, SE, 81, 82, 88 SW, SB. Hor. Sect. 18,46,60.61.69, 70. 
 DEV(>NSHIREt,-20t, 21t. 22t- 23t. 24t. 25t. 26t.& 27t. Hor. Sect. 19. 
 DORSETSHIRE.— 15, 16, 17, 18, 21, 22. Hor, Sect. 19, 20, 21, 22, 56. Vert. Sect.22. 
 ESSEX,— 1*. 2*. 47*, 48*. Hor. Sect. 84, 120. 
 FLINTSHIREt,— 74 NE, 79. Hor. Sect. 43. 
 
 GLAMORGANSHIREt,— 20, 36, 37, 41, & 42 SE, SW. Hor. Sect. 7, 8, 9, 10, 11 ; Vert. Sect. 2, 4, 5. 6, 7. 9, 10, 47. 
 GLOUCESTERSHIRE,— 19, 34*, 35, 43 NE, SW, SE, 44*. Hor. Sect. 12 to 16, 69; Vert. Sect. 7, 11.15, 46 to 61. 
 HAMPSHIRE,-8t, 9t, 10*. lit, 12*, 14, 15, 16. Hor. Sect. 80. 
 
 HEREFORDSHIRE,— 42 NE, SE, 43, 55, 56 NE, SE. Hor. Sect. 5. 18, 27, 80, 84 ; and Vert. Sect. 15. 
 HERTFORDSHIRE,— It NW, 7*, 46, 47*. Hor. Sect. 79, 120, 121. 
 HUNTINGD0N,-51 NW. 52 NW, NE, SW, 64*. 65. 
 KENTt,— It SW & SE, 2t, St, 4*, 6t. Hor.Sect. 77 and 78. 
 LANCASHIRE,— 79 NE, 80 NW*. NE, 81 NW, 88 NW, SWt, 89, 90, 91, 92 SW, 98. H. S. 62 to 68, 85 to 87. V, S. 27, 34, 6 
 LEICESTERSHIRE,— 53 NE, 62 NE, 03*, 64*, 70*, 71 SE, SW. Hor. Sect. 46, 48, 49, 52, 122, 124, 125. 
 LlNCOLNSHIREt,— 64*, 65*, 69, 70*, 83*. 84*, 85*, 86*. 
 
 MERlONETHSHIREt.— 59 NE, SE, 60 NW, 74, 75 NE, SE. Hor. Sect. 26, 28, 29, 31, 32, 36, 87, 38, 39. 
 MIDDLESE.X.t,-lt NW, SW. 7*. 8t. Hor. Sect. 79. 
 
 MONMOUTHSHIRE,— 35, 36, 42 SE,NE, 43 SW. Hor, Sect. 6 and 12; and Vert. Sect. 8, ». 10, 12. 
 MONTGOMERYSHIREt,— 56 NW, 59 NE, SB, 60, 74 SW. SE. Hor. Sect. 26, 27, 29. 30. 32. 34. 35. 86. 38. 
 NOBFOLKt,-50 N W*, NE*, 64*, 65*, 66*, 67, 68*, 69. 
 
 NOETHAMPTONSHIRE,-64*, 45 NW, NE, 46 NW, 52 NW, NE, SW, 53 NE, SW,& SE.6S SB, 64. 
 NOTTINGHAM,— 70*, 71* NE, SE, NW, 82 NE*, SB*, SW, 83, 86, 87* SW. Hor. Sect. 60, 61. 
 OXFORDSHIRE,— 7*, 13*, 34*, 44*, 45*, 53 SE*, SW. Hor. Sect. 71, 72, 81, 82. 
 PEMBROKESHIREt,— 38. 39, 40, 41, 58. Hor. Sect. 1 and 2 ; and Vert. Sect. 12 and 13. 
 BADNOR.SHIRE,— 42 NW, NB, 66, 60 SW, SB. Hor. Sect. 6, 6, 27. 
 BUTLANDSHIREt,— this county is wholly included within Sheet 64.* 
 
 SUROPSHlRE,-55 NW, NE, 56 NE. 60 NE, SB, 61, 02 NW. 73, 74 NE, SE. Hor. Sect. 24. 26. 80. 83 34 86 41 
 45, 63. 54, 58 ; and Vert. Sect. 23, 24. » . . «. ••i, 
 
 SOMERSETSHIRE,— 18, 19, 20, 21, 27, 35. Hor. Sect. 16, 16, 17. 20, 21, R2; and Vert. Sect. 12, 46, 47, 48, 49. 50 51 
 STAFFORDSHIRE,— 54 NW, 55 NE, 61 NE, SE, 62, 63 NW, 71 SW, 72, 73 NB, SB, 81 SB, SW, Hor Sect 18 
 24, 25, 41, 42, 45, 49, 54, 67, 61, 60; and Vert. Sect. 16. 17, 18. 19. 20. 21. 23, 26. ' ' 
 
 SUFFOLK,— 47,* 48,* 49*, 60*, 61*, 66* SB*, 67*. 
 SURREY.- 1 SWt, 6t, 7*, 8t, 12t. Hor. Sect. 74, 75, 76, and 79. 
 SUSSEX,- 4*, 5t, 6t, 8t, 9t, lit. Hor. Sect. 73, 75, 76, 77, 78. 
 
 •WARWICKSIIIRB,-44*, 45 NW, 53*, 54, 62 NE, SW, SE, 63 NW, SW, SE. Hor. Sect. 23, 48 to 61 ; Vert. Sect 21 
 ■WILT8HIRE,-12*, 13*. 14, 15. 18, 19, 34*, and 36. Hor. Sect. 16 and 69. 
 
 WORCESTERSHIRE,— 43 NB, 44*, 64, 55, 62 SW. SE, 61 SE. Hor. Sect. 13, 23, 25, 60, 69, and Vert. Sect. 16, 
 U 75401.
 
 Wedgwood Vase. 
 [Mounted on Pedestal near Wall Case I.] 
 
 ^'opy, l>y Josiah Wedgwood, of a large Greek Vase in the British 
 Mus^'uiii. The original was formerly in the collection of Sir William 
 Haiuilton. It belongs to the latest period of vase-painting, known as 
 tht; style of the Basilicata, and is supposed not to be earlier t4)an 
 B.C. 200. [No. G. 343, p. 104.] 
 
 Presented by the late Apsley Pellatt, Esq.
 
 HANDBOOK 
 
 TO THE 
 
 COLLECTION 
 
 OF 
 
 BRITISH POTTERY AND PORCELAIN, 
 
 IN THE 
 
 MUSEOI OF PllACTICil GEOLOGY, 
 
 JERMYN STREET, LONDON, S.W. 
 
 LONDON: 
 
 I'KINTKD FUR UKU MAJESTY'S STATIONERY OFFIOK, 
 
 BY EYRK ANU STOTTISWOODK, 
 
 PRITSTKIIS TO TlIK yCKKN'H MOHT EXCKI.I.KNT MAJKHTY. 
 
 SOLI) ONLY AT THE MUSKUM. 
 
 1893. 
 Price One ShiUiiif/.
 
 
 V R E F A C E. 
 
 The conditions under which a Collection of Pottery and Porce- 
 lain gradually grew up in a Museum devoted to Geology and 
 the cognate sciences were fully explained by Sir Henry De la 
 Beche in his Preface to the Catalogue of the Ceramic Collection, 
 originally published in 1855. From that Preface the following 
 passages may be cited : — 
 
 " When the sanction of the Treasury was given, in 1835, to the sug- 
 gestion that advantage should be taken of the progress of the Geological 
 Sun-ey to form collections illustrative of the mineral wealth of the country,, 
 and of the application of its various mineral substances to the useful pur- 
 poses of life, the Geological Survey was engaged upon Cornwall. Among 
 the important .sul)stances there obtained were certain granite rocks known 
 as Cornish or China-stone, and an artificial product named Cornish or 
 China-day, substances then largely employed in the composition and 
 manufacture of porcelain and of certiun earthenwares, and still more 
 extensively used for these manufactures in the present day. The speci- 
 mens of these mineral substances obtained for the Museum, then in 
 Craiu's Court, innaediatelv led to collections of others illustrative of the 
 earthenware and porcelain more or less manufactured with them. 
 
 " As the progress of the Geological Survey continued, various other 
 British minend substances, which either had been in former times or 
 were now emi)loye(l for ccTamic purposes, became known ; and it was 
 considered desirable to form a collection which should illustrate the 
 (•omposition and manufacture of British juUtery and porcelain, from the 
 occupation of Britain by the Romans to the present time . 
 
 " In forming tJH! collection it becanu^ needful to show, to a certain ex- 
 tent, the progress of enamelled colours from early times. Indeed, it 
 would luive l)een difficult to understand that part of the subject without 
 such s[)ecimens. }Ienc(! those showing the enamel coloiu-s found at 
 Nineveh and Babylon, tin; examination of which enaliled Dr. Percy, 
 metnllnrgist to the Museum, to ])oirit out that certain metallic oxides aiul 
 their combinations were systematically used in enamel colours many 
 centuries iM'fore the periods usually assigned. In like manner certain 
 Greek vas<>s iM'ciune valuable, as also specimens fioiii Jialy, commonly 
 known as Majolica, and from other countries, in obl^dning knowledge 
 applicalde to a pi'oper consideration of the advance made in the compo- 
 sition and manufacture of British pottery and poreelfiin." 
 
 U 75t()l. 2000.— l()/;t.^. W(. It 120. \ 3 
 
 :ir>i237
 
 VI 
 
 At'tor the (It-nth ol" Sir Heniy Dt- l.-i Bochc the Ceramic 
 Dojwirtuu'nt wju? greatly oxtentk'tl by the exertions of the 
 Curator, the late Mr. Tienhani Reeks. In forming and develop- 
 ing tlie collection, the technological rather than the artistic side 
 of the subject lias been steadily kept in view ; and it is con- 
 se(|uently believed that though many of the specimens may be 
 less elegant and intrinsically valuable than those in other collec- 
 tions, yet the Ceramic Department, as a whole, is probably 
 uiu-ivalled, so far, at least, as British products are concerned, in 
 educational and scientific value. 
 
 A detjiiled Catalogue of the Pottery and Porcelain was origi- 
 nally published in 1855 ; a second edition, greatly amplified, 
 appeared in 1S71 ; and a third in 1876. Experience has shown, 
 however, that the majority of visitors do not require an inventory 
 of the specimens in this or in any other department of the 
 Museum. Instead, therefore, of issuing new Catalogues, or new 
 editions of old ones, it is intended to publish a series of readable 
 " Handbooks " to the several departments ; and the present 
 Handbook to the Ceramic Collection may be regarded as the 
 first of the new series. It has been prepared by the Curator, 
 Mr. F. W. Rudler^_^who has retained most of the descriptive 
 matter of the old Catalogues, modifying and enlarging it where 
 necessary, so as to form at once a guide to the Collections and a 
 concise manual on the subject of British Pottery- and Porcelain. 
 
 ARCH. GEIKIE, 
 
 Director. 
 Museum of Practical Geology, 
 28, Jermyn Street, London, S.W., 
 10th Februaiy 1893.
 
 vu 
 
 CONTENTS. 
 
 PAGE. 
 
 Introduction ------- l 
 
 Geueral reniai"ks on ceramic art - - - - 1 
 
 Early history of pottery - - - - 2 
 
 Composition and origin of clays - - - 4 
 
 Composition of the bofly or paste - - - - 7 
 
 Physical characters of ceramic pastes - - - 8 
 
 Chinese porcelain - - - - - 9 
 
 Introduction of Oriental porcelain into Europe - - 12 
 First European manufactory of h-ird por<;elain at Meissen in 
 
 Saxony - - - - - - -12 
 
 Origin of other continental porcelain works - - 14 
 
 Early English porcelain works - - - - 15 
 
 Cookworthy's discovery of kaolin - - - 1 8 
 
 Raw Materials - - - - - -19 
 
 Kaolin or China clay, &c. - - - 25 
 
 China- stone . - . • - 28 
 
 Flint ------ _ 29 
 
 Manufacture of EARTHENWiiEE and Porcelain - - 30 
 
 Manufacture of earthenware - - - - 30 
 
 " Dip ware " - - - - - - 32 
 
 Manufacture of porcelain - - - - 33 
 
 Potter's wheel - - . - - - 35 
 
 Glazes ---._. - 36 
 
 Egyptian glazes or enamels - . - 37 
 
 Assyrian and TJabylonian. glazes - - - - 40 
 
 Indian cnann'Is or glaz'js - - - - - 41 
 
 (ireek glaz-is - - - - - - 41 
 
 Lea^l glazes - - - - - -47 
 
 Tin glazes or enamels - - - - - 49 
 
 Majolica ware - - - - - - 50 
 
 Palissy ware - . . . . - 53 
 
 Delft ware - - - - - - 54 
 
 Felspathic glazes - - - . - 55 
 
 Salt glaze - - - - - - - 57 
 
 Smearing . . . . _ - 58 
 
 Colours - - - - - . - 58 
 
 Lustres - - - - - . -(31 
 
 Ancient Bkiti.sh l\)iry.\ir - - - - - 03
 
 vm 
 
 rxuE. 
 
 l^OMAN PoTTKIiY ... - - - 64 
 
 lt»'(I lustrous wnro (SaiiiiMii) - - » - 64 
 
 lu'tl lu^tiuus waif i'uuiid in Loiicoii - - - 67 
 
 Ivt'tl lustrous wniv found at (!a.stor, Colchester, &c. - 70 
 
 Other kinds of Ivonian jiottery found in England - - 70 
 
 Koniaii pottery from the lihine for comimrison with that 
 
 I'oiiiid ill Knghind .... - 79 
 
 Aretint' ware - - - - - - 82 
 
 AxtiLo-SAXON Pottery - - - - - 82 
 
 MkDKKVAI, PoTTKRY U5?En I.N BlUTAlN - - • 8S 
 
 Stakioijmsiiiue Pottery and PoRCEr.AiN - - - 87 
 
 Slip ware - - - - - - 91 
 
 A^afe ware - . . . . - 93 
 
 'I'ortoisc-shell ware - . - - - 9^ 
 
 Elers' ware .... - .94 
 
 Salt-glazed ware - - - - - 06 
 
 AVedgwood ware ... - . 10() 
 
 Wedgwood cameos, &c. ----- 105 
 
 Wedgwood poreelairi ... - _ l()5 
 
 Old Staffordshire ware exclusive of Wedgwood ware - 106 
 
 Modern Staffordshire ware - - - - 110 
 
 Bow P(»H<KLAIN - - - . . - 113 
 
 CllELSKA J'olUF.LAlN - - - - - 117 
 
 Derby Pok( elain ..---. 122 
 
 PiNXTON Porcelain - - - - - 127 
 
 Plymouth Porcelain - - - - - 127 
 
 Bristol Porcelain - - - - - - 131 
 
 Bristol Delft and earthenware .... 1.36; 
 
 Brislington lustre ware - - - - . I39 
 
 Rockingham Porcelain and Earthenware . - - 140 
 
 Worcester Porcelain - - - - - 142 
 
 Shroe'shire Pottery and Porcelain - - - 146 
 
 Swansea Earthenware and Porcelain . - - 148 
 
 Nant(;arw Porcelain - - - _ . 150 
 
 Leeds Pottery - . - . . - 151 
 
 Don Pottery - - - - . _ -154 
 
 Castlekord Pottery - - - - - 154 
 
 Ferrymrhx.e Potteey - - - - . 154 
 
 Place's Ware - - . - - - 155 
 
 LivERi'<M)L Pottery and Porcelain - . - _ 155 
 
 Miscellaneous examples of old English Pottery - - 158 
 
 Newcastle and Sunderland Pottery, &c. - - . igo 
 
 Xottin<;ham EART^EN^VARE, &c. - - - . 162 
 
 LowKsiJY Pottery - - - _ - -103 
 
 " Varmoith Pottery," &c. ... . i(j4 
 
 LowEST(»FT Pottery and Porcelain - - - 164 
 
 V/hotham PoriEKY - - - - ... 1(55 
 
 CvDBOROL'UH FOTTEKY - . - - . Jgg
 
 - IX 
 
 PAGE. 
 
 BisHOi's Waltham Pottkuy - - - - 16G 
 
 Branksea Pottery - - - - - 166 
 
 Watcombe Terra Cotta ----- 160 
 
 Fulham Pottery ----- - 167 
 
 Mortlake Pottery - - - - - - 108 
 
 IsLEwoRTH Pottery - - - • - 169 
 
 Lamheth and Vauxhall Pottery - . - - 109 
 
 Lambeth ornamental stone ware - - - 170 
 
 Dei-kt War (British and Foreign) . - - 171 
 
 Belleek (Iuish) Porcelain, ttc. . - . - 174 
 
 Pokio-Bei.lo Pottery - - - - - 175 
 
 Foreion Pottery and Porcelain - - - - 175 
 
 Index - - - - - - -176
 
 X 
 
 LIST OF ILLUSTRATIONS. 
 
 Y\g. Paob. 
 Frontispiece. — Large Wedgwood Vase aftoi' the antique, 
 
 de!i!crit)ed at ----- - 104 
 
 1. Potter's Wheels as used by tlie ancient Egyptians - 36 
 
 2. Egyptian Figure of Ptah-Sekeri-Hesar - - 3S 
 
 3. Egyptian Figure of Ta-hur - - - - 38 
 
 4. Babylonian Brick with cuneiform inscription - - 40 
 
 6. Ancient Indian Enamel - - - - 41 
 (?. Early Greek Vase found at Vidci - - - 42 
 
 7. Greek Hydria from Vulci - - - - 42 
 
 8. Greek Amphora from Vulci - - - - 43 
 
 9. Greek Amphora from Vulci - - - - 43 
 
 10. Greek Amphora from Ruvo - - - - 43 
 
 11. Greek Oxybaphon from Iliivo - - - - 43 
 
 12. Greek Gi^iu)clioe from the Campania - - - 44 
 
 13. Greek G^nochoe from the Campania - - - 44 
 
 14. Upper View of a Greek Cylix from Vulci - - 44 
 
 15. Under View of ditto - - - - - 45 
 
 16. Upper View of a Greek (.^ylix from Vulci - - 45 
 
 17. Under View of ditto - - - - - 45 
 
 18. Upper View of a Greek Cylix from Ruvo - - 46 
 
 19. Under View of ditto - - - - - 46 
 
 20. Upper View of a Greek Cylix from Nola - 47 
 
 21. Under View of ditto - - - - - 47 
 
 22. Etruscan Cantharos - - - - - 47 
 
 23. Etru.^can Scyphos - - - - - 47 
 
 24. Majolica IMate of Siena manufacture - - - 53 
 
 25. Section exposed in Cannon Street, London (1851), showing 
 
 the position in which the Roman ware was found - 67 
 
 26. Vase in Roman red lustrous ware, found in London - 68 
 
 27. Fragment of Vase in Itoman red lustrous ware, found in 
 
 London - - - - - - 68 
 
 29. Fragment of Vase in Roman red lustrous ware, found in 
 
 London - - - - - - 68 
 
 29. Acetabulum in Roman red lustrous ware, found in London 69 
 
 30. Fnigment of Vessel in Roman red lustrous ware, found in 
 
 London - - - - - - 69 
 
 31. Mortarium in Roman red lustrous ware, found in London - 69 
 
 32. Fragment of Cup of Aretine ware, found in London - 69
 
 XI 
 
 PAGE. 
 
 Fig. 
 
 33. Mark of Human Foot stomped on Aretine ware - 69 
 
 34. Potter's Mark on Roman red lustrous ware - - 69 
 
 35. Potter's Mark on ditto - - - - 69 
 
 36. Catinus in Roman red lustrous ware, found in London - 69 
 
 37. Vase in Roman red lustrous ware, found at Castor, 
 
 Northamptonshire - - - - - /O 
 
 38. Fragment of Bowl in Roman red lustrous ware, found at 
 
 Castor - 70 
 
 39. Roman Potter's Kiln at Castor - - - - 71 
 
 40. Another Roman Potter's Kiln at Castor - - 71 
 
 41. Cake of Roman Glass or Frit from Castor - - - 71 
 
 42. Roman Vase found at Castor - - - - 72 
 
 43. Roman Vase found at Castor - - - - 72 
 
 44. Roman Vase found at Castor - - - - 72 
 
 45. Roman Vase found at Castor - - * - 72 
 
 46. Roman Vase found at Castoi" - - - - 72 
 
 47. Roman Vase found at Castor - - - - 73 
 
 48. Roman Unguentarium found at Castor - - - 73 
 
 49. Roman Unguentarium found at Castor - - - 73 
 
 50. Roman Unguentarium found at Castor - - - 73 
 
 51. Fragment of Roman Va.se, found at Castor - - 73 
 
 52. Fragmenc of Roman Pottery from Castor - - 73 
 
 53. Fragment of Roman Pottery from Castor - - - 73 
 
 54. Fragment of Roman Pottery from Castor - - 73 
 
 55. Fragment of Roman Pottery from Castor - - - 73 
 
 56. Fragment of Roman Pottery from Castor - - 73 
 57- Roman Vase found at Winchester - - - "74 
 
 58. Roman Vase found in London - - - - 74 
 
 59. Roman Vsise found in London - - - - 74 
 
 60. Roman Vase found in London - - - - 75 
 
 61. Roman A m])hora found in London - - - 75 
 
 62. Roman Am[)h()ra found in London - - - 76 
 
 63. Roman Am|)liora found in Loudon - - - 76 
 
 64. Roman Amphora found in London - - - 76 
 
 65. Roman flattened Amphora found in London - - 77 
 
 66. Roman Mortarium, found in London - - - 77 
 
 67. Roman Lamp, found in London - - - - 77 
 
 68. Roman Liini]), found in London - - •■ - t7 
 
 69. Roman Lamp, found in London - - - - / ( 
 
 70. Uoman Terra-cotta Toy, found in London - - 77 
 
 71. Uoman lirick, found in London - - - - 78 
 
 72. Roman Flue-brick, found in London - - - 78 
 
 73. liowl in Roman red lu.strous ware from Cologne - - 79 
 
 74. Vase in liouian red lu.strous ware from tiie Rliine - 80 
 
 75. Patera in Roman red lustrous ware from the Rhine - 80 
 
 76. Roman V^ase from the Rhine - - - - 81 
 
 77. Roman Vase from the Rhine - - - - 81
 
 All 
 
 yxdK. 
 
 7S. Hoiimii Viiso from the Rhine - - - - fsi 
 
 79. Komun Lamp from ibe IJhine • - - - HI 
 
 80. Cup ill Ari'tiiie ware .... - 82 
 
 81. rii.ItT Vit'w of ditto - - - - - 82 
 
 82. Karlv Kiiglish l':l«.Mim's Bottle t'uiiud in London - S4 
 
 83. Karly English Juf,', found in London - - - 84 
 
 84. Karlv Enjilish Ju;'. found in London - - - 84 
 
 85. Early English Costivl, found in London - - - «o 
 
 86. Old SiiiHonlshire Butter-jK)! - - - - 88 
 
 87. Old StaHonlshire Tvg - - - - - 91 
 
 88. Old Statfordshire, or Wrotham, Candk'stiek - - 91 
 
 89. Old Staffonlshire Dish by Thoinas 'Loft - - - 92 
 
 90. Tea-pot in Tortoise-shell ware - - - - 94 
 9L Pigfjin in Elers' red ware, witli ladle - - - 95 
 
 92. Coffee Cup and Saucer in Elers' red ware - - 95 
 
 93. Model of Body of Tea-pot in stoneware - - - 97 
 
 94. Model of Body of Jug in stoneware - - - 97 
 
 95. Saucer in drab and white salt-glazed ware - - - 98 
 
 96. Seau in salt-;,dazed ware - . - - 
 
 97. Tea-pot in salt-glazed ware - - - 
 
 98. Plate in red-printed salt-glazed ware 
 
 99. Puzzle-jug by John Wedgwood, 1691 - - - 101 
 
 100. Butter boat in Josiah Wedgwood's Queen's ware - 102 
 
 101. Vase in VVedgwood's black basaltesor Egyptian ware - 102 
 
 102. Vase in Wedgwood's Egyptian ware - - 103 
 
 103. Lamp in Wedgwood's Egyptian ware - - - 103 
 
 104. Plaque in Wedgwood's jasper-waie, with the Sacrifice of 
 
 Iphigenia in cameo-work _ - - - 105 
 
 105. Vase in Neale's ware - - - - - 107 
 
 106. Vase in Spode's ware - - - - - 100 
 
 107. Wine-cooler in Minton's ware - - - - HI 
 
 108. Bust of Juno in Parian by Copclaiid - - - 111 
 
 109. Vase in Parian by Messrs. Boote - • - - 112 
 
 1 10. Vase in Modern Wedgwood ware - - - 112 
 HI. Screen of Minton's Enamelled Briclis - - H3 
 
 112. New Canton Likstand, 1751 - - - - lit 
 
 113. Fragment of Bow Biscuit with May-flower pattern - 115 
 
 114. Figure of a Female iu Bow porcelain - - - 116 
 
 115. Figure of a Carpenter in Chelsea porcelain - - 120 
 
 116. Vase- in Chelsea porcelain - - - - 121 
 
 117. Cup and Saucer in Chelsea-Derby porcelain - - 123 
 
 118. Cup and Saucer in Crown-Derby porcelain - - 124 
 
 119. Cup and Saucer in Crown-Derby i)orcelain - - 125 
 
 120. The King's Vase in Derby porcelain - - - 126 
 
 121. Salt-cellar in Plymouth porcelain - - - - 130 
 
 122. Mug in Plymouth porcelain . - - - 130 
 
 123. Plate in Plymouth pottery - - - - 130 
 
 98 
 99 
 99
 
 XIU 
 
 Fig. PAGK. 
 
 124. Bristol Mark over a Dresden Mark - - - 135 
 
 125. Delft Plate made at Bristol - - - - 136 
 
 126. Mark on Bristol Delft plate - - - - 136 
 
 127. Worcester Jug printed with Bust of the King of Prus-ia 
 
 1757 144 
 
 128. Scent Bottle in Worcester porcelain - - - 145 
 
 129. Cup and Saucer in Salopian ware - - - - 147 
 
 130. Suiiar-basin in Swansea ware - - - - 148 
 
 131. Cup in Place's ware .... - 155 
 
 132. Mug in Old English delft ware, 1631 - - - 172
 
 CERAMIC SERIES. 
 
 Introduction. 
 
 General Remarks on Ceramic Art. — It has been well remarked 
 that there is no branch of industry viewed in reference to its 
 liistory, its theory, and its practice, which offers more that is 
 interesting, with regard alike to its economic application and to 
 its scientific aspect, than the ceramic or plastic art : none afford- 
 ing products more simple and varied, more ea^^y of mauufactnre,. 
 and, notwithstanding their fragility, more durable.* 
 
 It would appear in vain to search for any centre whence this 
 ai-t, like many other branches of human industry, may have 
 radiated among the early nations of mankind. At the same 
 time certain peculiar methods of working the materials employed 
 in the art can readily be traced to their respective sources ; and 
 it may be oiten seen that a nation, spreadinu; by conquest or by 
 colonisation, has cariied with it certain peculiarities of the ceramic 
 art. 
 
 .The plasticity of clays after rain and their subsequent desic- 
 cation in countries where evaporation is rapid could not fail to 
 attract attention to the soft state of such clays at one time, and 
 to their comparative liardness at another. We should therefore 
 expect that sun-dried portions of clay would be early used for 
 building purposes in regions generally dry, especially where 
 building stones were scarce or even altogether absent. 
 
 The alluvial deposits of Mesopotamia and of the valley of the 
 Nile were utilized at a very early period in the preparation of 
 sun-dried bricks : and such crude materials are still used for 
 domestic architecture in Egypt and elsewhere. According to 
 Professor Maspero, " tlie ordinary Egyptian brick is a more 
 " oblong block of mud mixed with chopped straw and a little 
 " sunil and dried in the sun."t 
 
 Sun-dried bricks, and even shapeless msisses of mud, are in 
 like manner extensively employed in Per.-jia and otiier eastern 
 countries for the construction of houses, forts, and defensive 
 walls. " Not only villages," says Mr. Simpson when speaking of 
 
 * Alexandre Bronpniart. " Traitc den Artt* CeniiDiques ; on dcH Poteries con- 
 sidtTtVs dun* leur Hitttoire, leur Pratique, et leur Th^-orie." Puris, 1844. (Preface, 
 tome I.) 
 
 t " Ejopti't" Archicolojjy." Hy G. Maspero, D.C.L. Triinslatcd from tlu; 
 French by Amelia B. Edwards. Second edition, 1H89, p. 3.
 
 2 Rurrisn pottkhy and poucelain. 
 
 I'ci-sia, " liut Inrm' towns :uv built of mud or sun-drit'd brick."* 
 Siuiilnr i'()ii>tructi\ c uuiterials are common in South America 
 HUtl a'on^ the Pacitic coa^t northwards as far as San Francisco, 
 where the unburnt bricks pa-;s under the Spanish name of (idubcs, 
 or its corrupted ferm dohlrs. Even in so luimid a climate as 
 that of Eii'dand, cottage walls have becTi built— like the " cob " 
 walls of Devonshire — of unbaked mud, or ai-^illaceous matter, 
 mixed with chopped straw.f 
 
 However serviceable sun di-ied bricks miffht bo in a com- 
 parativcly rainless country, it is obvious that the use of clay 
 would be jrivatly extended wlien it came to be recoijnised that 
 the mater. al could be further hardened by artificial heat. The 
 hardeninof of clays by tire could hardly fail to be observed at an 
 early date, since any form of monl led clay, when subjected to 
 the action of strong heat, would readily show the induration 
 which could be thus produced. The hardened state of such 
 clays would readily suggest the extension of their use to the 
 m mufactiu'e of dtnnestic vessels, especially for such as might be 
 advantageously employed over fires. No doubt in regions where 
 the vegetation afibrded gourds and similar fruits fit for use as 
 domestic vessels, the des^ire to obtain those of baked clay, except 
 for use over fire, might be checked ; while elsewhere the horns 
 and skins of animals might be often found to serve sufficientlj'' 
 well for the like purposes. Mevertheless, the obvious convenience 
 of baked clays for vessels required to withstand the effects of 
 fire, and th'i desire for obtaining those of larger size than could 
 be obtiined from horns and gourds, would eventually produ e an 
 extended demand for the potter's ware. J 
 
 Early History of Potter]/. — Whatever may have been tl e 
 origin of the manufacture of potteiy, and however the art may 
 have be^^n spread, it was certainly known and practised in times 
 beyond the reach of historical lecords. There is abundant 
 evidence afforded by monuments of the later Stone Age to show 
 that the art was cultivated among the peo[)les of Western Europe 
 at a time when they were apparently ignorant of the use of 
 metals, excepting perhaps gold. 
 
 Several instances have been recorded of the discovery of 
 fragments of pottery in association with relics of the earlier 
 stone age, or p't^fco^i^/tic period ; but in most of these cases the 
 conditions of the discovery seem to leave room for much doubt. 
 One of the Vjest known examples of pottery reputed to be of 
 palaeolithic age is the urn, which was found in a fragmentary 
 stiite by M. Dupont ;it the Trou du PVontal, and is now exhibited 
 in the R(}yal Natural History Museum in Brussels. The Trou 
 du Frontal is a sepulchral rock-shelter in Carboniferous Lnne^tone 
 
 • "Mud, a Material in Persian and Eastern Architecture." By William 
 SimpHon. Journ. Soc. Arts, vol XL, 189'2, p. G97. 
 
 t On Cob Walls, Jec Quart. R,;-., yo\. LVIII., IS.'',7,p. 524. 
 
 X On the possible ori;,Mn of the potter's art see Dr. E. B. Tyler's " Rfseirchc'* 
 into the Early History of Mankind," :5nl edition, 1878, p. 270.
 
 PREHISTORIC POTTERY. o 
 
 in the valley of the Lesse, near Dinaut ; and the potsherds were 
 found at t!ie entrance to the cave under conditions which led 
 M. Dapont to conclude that they might be referred to the 
 Reindeer period.* Few archc-Bologists, however, are disposed to 
 regard tliis pottery as affording evidence of a knowledge of fictile 
 art at so early an epoch. " No fragments of metal or pottery," 
 says Sir John Lubbock, " have yet been found which can be 
 referred with confidence to the Reindeer period."t Speaking of 
 the pahieolithic cave-men. Professor Boyd Dawkins, in like 
 manner, says, " there is no reason to suppose that they used 
 vessels of pottery.":): 
 
 But whilst little or no satisfactory evidence of the existence 
 of palaeolithic pottery has yet been cited, there can be no doubt 
 as to the widespread knowledge of fictile art in the succeeding 
 period, known as the neolithic age. Many of the pile-buildings 
 in the Swiss lakes, which may be referred to this later stone 
 period, — a period characterised by the use of polished stone 
 implements, and the absence of buth bronze and iron, — have 
 yielded among thfir relics numerous remains of earthenware 
 vessels, spindle-whorls, and other objects. As might be expected, 
 these early specimens indicate the rude state of the art. The 
 paste is coarse, and generally contains embedded grains of quartz, 
 or fragments of shell, \vhile the objects have evidently been made 
 by hand, without the aid of the potter's wheel, and appear to 
 have been very imperfectl}' hardened by Hre. The ornamentation 
 of such ware is almost confined to simple incised lines, produced 
 sometimes by mere scratching with the finger nail, and sometimes 
 "by a thong twisted round the moist paste. P'raginents of coarse 
 hand -made pottery have also been found, associated with stone 
 implements, in the Danish kitchen-middens, or heaps of refuse- 
 shells. But while only the rudest forms of ware have been 
 ^brought to light from these sources, it is to be noted that early 
 specimens of the potter's art, of a much finer description and 
 more carefully worked, have been discovered in many tumuli or 
 burial mounds, which fiom their contents have been assigned 
 by archjtologists to the newer stone epoch or neolithic age. 
 
 In later times, when the use of bronze became general, con- 
 siderahle advance must have been made in the ceramic art, as 
 testified by the remains found among the later Swiss lake-dwell- 
 ings, and in tumuli of thft brcjnze age in this country. Not only 
 has the clay in these cases been more carefully prepared, but the 
 forms into which it is worked have become more varied, and 
 the style of ornamentation UK^re refined. Few, if any, of the 
 specimens, however, show signs of having been turned on the 
 potter's wheel, and it is generally believed that this meclianical 
 
 * " L'hoiniiK! pendant liH -\f,'cs do In Pierre dans Ics Environs de Dinunt-Bur- 
 Meu«e." I'ur M. E. Jiupont. IJnixclk-s. 2nd. td. 1H72. p. I'JK. 
 
 t "Prehistoric Times." liy Sir John Lubhociv, IJarl , M.l'. Ilii ed. 1878, 
 p. 3:i8. 
 
 J " Early Man in Britain." By W. Boyd Dawkins, .M..\., I'.R.S. 1890, p. 209. 
 
 U 7M01, B
 
 URITISH rOTTKUY AND PORCELAIN. 
 
 contrivance, ancient as it undoubtedly is, was practically 
 unknown durini^ those early phases of civilisation represented by 
 the so-called nges of stone and bronze. 
 
 A very tine collection of j)rehistoric pottery, mostly of se- 
 pulchral character, disinterred Irom tuTuuli in the North of 
 England, by Canon Greenwell, will be found in the British 
 Museum.* 
 
 The high antiquity of the ceramic art ia attested not only by 
 such pottery as that mentioned above, but also by the constant 
 discovery of remains of pottery among the ruined cities and 
 tombs of ancient nations, with whose history we are more or 
 less acquainted ; and also l»y early records, such as those of the 
 Scriptures, which attbrd frequent references to the art, and at 
 the same time show that it was formerly held in high esteem. f 
 
 It should be noted that notwithstanding the high antiquity of 
 the potter's craft and the apparent simplicity of fictUe industry 
 in its cruder phases, there have existed in modern times many 
 savaere races who, before contact with civilisinrj influences, were 
 absolutely ignorant of even the simplest stages of the art. 
 Among peoples who were formerly without any knowledge of 
 pottery, may be mentioned the Australians, the Maories of New 
 Zealand, the Andamanese, the Veddahs of Ceylon, and the 
 Polynesians of Tahiti. 
 
 Composition and Oriyin of Clays. — Clays consist of fanely- 
 dividtd plastic materials, derived either from the chemical 
 alteration of certain felspathic and other aluminous minerals or 
 from the mechanical disintegration of pre-existing rocks of an 
 argillaceous character. The j)urest clay is that known under the 
 Chinese name of Kaolin \X it is also called China-clay from its 
 employment in the manufacture of china or porcelain, while in 
 this countiy it is likewise termed Cornish clay, since it is 
 obtained chiefly from quarries in Cornwall. This pure clay 
 is derived from the decomposition of some of the minerals 
 known as felspars,^ generally from that particular kind called 
 
 * For description of this pottery see " British Barrows." By Canon Greenwell 
 and Professor Kolleston. 1877. 
 
 t In the genealogy of the tribe of Judah, a family of potters is mentioned a.<» 
 working for the king. 1 Chron. iv. 23. 
 
 X The term kaolin is said to he derived from Kaouliuy {" lofty ridge,") the name 
 of a hill east of King-techin, whence some of the material is obtained. 
 
 § Although analyses show slight variations in the composition of these felspars, 
 the following may be taken to fairly represent their general composition : — 
 
 Silica. 
 
 Alumina. I Potash. 
 
 Soda. 
 
 Lime. Magnesia. 
 
 Orthocla.se» 
 Albite" 
 01i(?ocla.se' 
 liabradorite^ - 
 Anorthite' 
 
 ti.5'24 
 
 18 -.57 
 
 U-02 
 
 1-25 
 
 o-:j4 t 
 
 G8-75 
 
 18-79 
 
 1-21 
 
 10-90 
 
 0-51 
 
 (!3-94 
 
 2.3-71 
 
 2-17 
 
 Tm 
 
 2-52 
 
 5a -89 
 
 27-HO 
 
 1-28 
 
 4-92 
 
 8-28 
 
 45-U 
 
 32-11 
 
 0-22 
 
 1-06 
 
 18-3-2K 
 
 0-10 
 0-09' 
 
 • From Baveno, analysed by Abich. ^ From the Rifsengebirge, by Lohmeyer. 
 ' From Wambninn, SileKia. by Rammelsberg. '' From Oberstfin, by Delesse. 
 
 • From Hecla, by S. Von Walter-.hau.'en, ' With 0-54 of protoxide of iron. 
 
 f With 0'77 of protoxides of nickel and cobalt, and 0-3 of wat«r. 
 
 It is, perhaps, right to observe that although the several felspars are commonly
 
 ORIGIN OF CLAYS. 5 
 
 orthoclase,* which is the common felspar in most granite rocks. 
 The orthoclase may be regarded as a double silicate of aluminium 
 and potassium. Exposed to the action of waters containing car- 
 bonic acid in solution, such as the natural waters which are con- 
 stantly flowing over the surface of the rocks or circulating though 
 them, the felspar may readily suffer decomposition, its potash being 
 removed as a soluble carbonate, whilst the insoluble silicate of 
 aluminium left in a hydrated condition, may form ^\^ pure white 
 clay, or kaolin.t Most clay^, however, contain, in addition to 
 the hydrous silicate of aluminium, a variable proportion of free 
 silica and of other foreign substances in a state of mechanical 
 association. These substances greatly affect the manner in 
 which a clay behaves on exposure to heat. Thus, the presence 
 of compounds containing potash, lime, or oxide of iron confers 
 upon it a greater or less degree of fusibility, while a larger 
 proportion of silica renders it refractory. 
 
 Although the kaolinisation of felspar may be effected by 
 ordinary w^eathering, yet in most cases the alteration has 
 probably been brought about by subterranean rather than by 
 superficial agencies. It is notable that in Cornwall, where the 
 decomposition of the granite has proceeded to great depths, the 
 kaolin is usually accompanied by minerals containing compounds 
 of fluorine and boron ; and a similar association has been observed 
 in other china-clay districts. The characteristic associates of the 
 altered felspars in the clay-yielding granites are such minerals 
 as tourmaline, lepidolite, topaz, apatite, and fluor-spar. 
 
 As far back as 1824, Leopold von Buch suggested that certain 
 kaolins had probably resulted from the action of compounds 
 containing fluorine, rising from deep-seated subterranean sources, 
 and attacking felspathic rocks.J These views were modified 
 and extended by M. Daubree, who supported them by ingenious 
 experimental evidence.^ It is worth noting too, that Mr. J. H. 
 Collins has effected the kaolinisation of felspar by means of 
 hydrofluoric acid.|| 
 
 B|ioken of an bo many sepanite species, it is probable that only a few of them are 
 Bpe«ifically distinct. 'I'hus, accordinf; to the views of TscluTmak, the so-called 
 Npecies oliji^ociase and lahradorite are merely isomorphons mixtures in difrerent 
 proporlions of albite and anorthite. 
 
 ♦ This term has reference to the existence of two cleavages in the mineral at rijjht 
 angles to each other. 
 
 t The term kuolinite has been applied by Messrs. S. W. Johnson and .1. M. Ulake 
 to 11 definite chemical compound, occurring as microscopic six-sided pearly scales, 
 and suppose<l to represent the pure basis of kaolin. It has the formuhi Al,t)j. 
 2 SiOj. iJ H,0, corrcspondinfj to Silica, IC' .'», alumina 375, water H per cent. 
 Amer. Johtti. Science. (2nd series). Vol. xliii., 1807, p. .'J.'il. Sit' uho a paper 
 "On Kaolinite." By Allan Dick. Mhicialoi/. Mai/., vol. viii., 1H8'J, p. 15. 
 
 X " Leber den Thiiringer Wald." Miti. Ta.sihenbuch, 1821, p. 4.'j7 ; Get>ammeUe 
 Schriflcn, vol. iii., 1877, j.. IHC. 
 
 § " Pltiides synthctifpies de Geologic experimcntalc." Par A. Daubr/'c. I'arig, 
 1879, p. 64. 
 
 II "On the Nature and Origin of Clays: the rcinposition of Knollnite." 
 Mineraloij. Afag., vo\. v'u., 1H87, p. 20.') ; also ,/ourtt. Sor. Art.s, vol. xxlv., 187G, 
 p. 572. 
 
 B 2
 
 G niUTlSH POTTERY AND PORCELAIN. 
 
 Till' nu'thotl of working kaolin and preparing it for the use of 
 the potter will be described in a subsetjuent cbapter, dealing 
 with the raw materials eniploj'ed in ceramic manufactures (p. 20). 
 
 When the remains of the decomposed felsp.ars are washed by 
 natural ao^encies into localities whei-e they become mingled with 
 other earthy matters in a linely-eomminiited state, or when the 
 clays have been derived from a rock which contains decomposing 
 hornblende, the resulting material is no longer white, but is 
 varitnisly coloured and more or less imjiure. Even when we 
 suppose the jmrer varieties to have heen deposited in the first 
 instance, and to have formed distinct beds in previous geological 
 times, it is easy to see that these clays may be again removed 
 by atmospheric influences, rivers, and other abrading agents, 
 and thus be rendered impure by the admixture of a variety of 
 substances biought into intimate association with them by these 
 causes. 
 
 The clays yielded by the B-vey Tracey beds, near Newton 
 Abbot, in Devonshire, have probably been derived, at least in 
 great part, from the kaolinised felspar of the Dartmoor granite. 
 Sir H. 'i\ de la Beche, referring to these clays, says that they 
 " apjiear to have been formed naturally much in the same 
 " manner as is now done artificially in Cornwall and Devon, 
 " though on a larger scale ; decomposed granite having been 
 " washed down fr>ni Dartmoor into a lake or estuary, so that 
 " while the grosser particles were first lodged at its higher end, 
 " nearest the granite, the fine sediment was accumulated at the 
 " lower part."* 
 
 The Bovey clay, which has been worked since about the year 
 1730,t is largely used in the British potteries under the name 
 of Teignraoxuth clay {see also p. 27). 
 
 Another clay extensively employed in the potteries of this 
 country is the well-known Poole clay, so termed from being 
 shipped at Poole in Dorsetshire, though chiefly raised in the 
 neighbourhood of Wareham. This is an example of a tolerably 
 pure clay (that is, one containing a large proportion of silicate 
 of aluujinium, with free silica but without injurious ingredients), 
 which has been accumulated far from any decomposing crystal- 
 line rocks, such as granites, porphyries, and the like. It is 
 known also in the potteries as " blue clay." Its decomposed 
 fels| athic mattei- may readily have been derived from other 
 beds, such as thor.e of many sandstones, in which that matter 
 may have been disseminated. Prior-existing clays may also have 
 Vjeen broken up and re-deposited. 
 
 It is not known when Poole clay was first worked. By an 
 Order in Council of 1666, arising out of a dispute between 
 Wareliam and Poole, it is directed that no dues were to be paid 
 on " tobacco-pipe clay." In an Act of Parliament obtained by 
 
 * " Report on the Geolofry of (/ornwall, Devon, and West Somerset," by Sir 
 II. T. de la Beche, F.R.S., Svo., 1839. 
 
 t Lysou's Magna Britannia, Devonshire, p. ccxci.
 
 POTTERY CLAYS AND PASTES. / 
 
 Poole in 1756, the clay is termed '•' tobacco-pipe clay." 
 Hutchins, iu his History of Dorsetshire, published in 1774, 
 mentions this clay as the chief article sent from " the Key at 
 Wareham," and in 1796 about 10,000 tons of it were exported 
 annually.''^ (See also p. 27.) 
 
 The Poole clay is referred by geologists to that part of the 
 Eocene, or Lower Tertiary strata, known as the Lower Bagshot 
 beds. Numerous remains of land-plants, suggesting a sub- 
 tropical flora, have been obtained from these clays. The Bovey 
 clays, formerly regarded as Miocene, are placed by Mr. J. Starkie 
 Gardner, also in the Bagshot series, at a slightly higher level 
 than that of the leaf -beds of Bournemouth. 
 
 Many of the clays termed pipe-clays, from being used in the 
 manufacture of tobacco pipes, appear to have been derived, not 
 directly from the decomposition of crystalHne rocks, but rather 
 from the disintegration of pre-existing stratified rocks, 
 Mr. Maw has suggested that some of the finer white clays of 
 the Lower Tertiaries may have been derived from the Chalk. 
 {Seeip.21.) 
 
 The artificial preparation of selected clays for pottery other- 
 wise than by well washing and mixing them, does not appear to 
 have been practised in Europe until long after it was familiar to 
 the Chinese, and indeed seems to have been adopted in European 
 countries only in the early part of the eighteenth century, in, 
 order to produce a paste (a- body in imitation of that of Chinese 
 porcelain. 
 
 Composition of the body or paste. — The chief substance 
 entering into the composition of the body or paste of all pottery 
 and porcelain is silicate of aluminium, generally associated with 
 certain alkaline and eartliy silicates, and with more or less free 
 silica. In the paste after firing, the amount of silica varies from 
 40 to nearly 80 per cent. The silicates are introduced in the 
 form of various clays, and in the case of porcelain, partly in the 
 form of china-stone, wliilst the free silica is generally supplied 
 by addition of calcined flints. 
 
 Magnesia has sometimes been introduced into certain pastes, 
 chiefly in the form of the mineral termed steatite or soaj^- 
 stone ; it may often, however, be found in small quantity in 
 clays, particularly where the beds of clay contain products 
 
 * The follnwinjr is an extract from Hutchins' Ilistori/ of Dorset (ciWt'um 1700). 
 " Ooofl tobacco-pipe clay is dug round this tow!i (Warchain) nt Arne Hill, Hcncfxcr 
 Hill, Nordcii, &c. It formerly sold at .'io.s. a l<m, but ii(i\v at Hs. or l.js. Nearly 
 10,000 tons are aiimuilly exported to London, Hull, Liverpool, (ilasf;ow, itc, but the 
 most considerable part to Liverpool for thi- siijiply ot the Stafror<lsliire ]poilcrics, and 
 to Selbj for the n«e of the Ix*ed8 j)oiterief. 'I'hc j)riiicipal jjits nie on Norden and- 
 Witch farms, the former belonpinfr to William Moreton I'itt, and the latter to John' 
 Calcr.ift, I'^ij., and the clay taken from the same is in j^reat repute wiili the ."^tafrMd^ 
 shire and Yorkshire jpottrries from its peculiar excellence, and being the prineipna 
 ingredient in the ware eommoidy ealleu Staffordshire ware, so imiver^ally iu use in 
 this kingdom as well as in many other parts of Europe." In IH'J'i upwurds of 
 80,000 tons of clay were sent from I'oole.
 
 8 BRITISH POrrERY AND PORCELAIN. 
 
 (lorived from districts in wliich magnesian limestones may be 
 prest'nt. 
 
 Tlio old Worcester paste contained magnesia freely introduced 
 in the shape of hard and soft varieties of " soapy rock " from 
 Mullion in Cornwall ; l»vat these steatitic minerals gave way to 
 the use of bone-ash. Calcined ox-bones arc still largely used in 
 the paste of soft porcelain. Lime is also a constituent of many 
 pastes, and is usually introduced either as chalk or as gypsum. 
 
 Judging from the analyses which have been made of the 
 ancient pottery of Asia Minor, Egypt, Greece, Italy, and other 
 advanced nations of antiquity, the pastes, or bodies, employed by 
 them appear to have been little else than natural clays, selected 
 for their fitness to the purposes for which they were intended. 
 It has, indeed, been inferred that for the red ware some form of 
 peroxide of iron was introduced into the paste, and certainly in 
 some of the bodies this oxide is found in somewhat considerable 
 quantity ; but it should be recollected that certain clays naturally 
 contain a large proportion of this substance. In the paste of 
 the celebrated Greek pottery of the Campania there is often 
 much peroxide of iron. The mean of eight analyses of this 
 pottery (differing but little from one another) by M. Salvetat at 
 Sbvres, was as follows : — Silica, 55'88 percent., alumina, 18*88 per 
 cent., peroxide of iron, 1580 per cent., lime, 7"48 per cent., 
 magnesia, 1*63 per cent. 
 
 Pity steal characters of ceramic pastes. — Confining our attention 
 to natural clays, we may regard the bricks and pottery made 
 from them as varying in texture from those which are simply 
 dried in the sun to those which are highly fired or baked in 
 kilns at a considerably elevated temperature. In the former 
 case the brick or piece of pottery is merely a dry piece of clay, 
 the particles cohering slightly together ; but in the latter case a 
 partial chemical change has been effected, which however slight 
 in some instances, is yet sufficient to produce firm cohesion 
 between the particles, so that when ftie piece which they collec- 
 tively form is struck, a bell-like sound is emitted. 
 
 It will he obvious that sun-dried bricks or pottery, being 
 merely pieces of desiccated clays, hardened only by the loss of 
 hygi-oscopic water, may be again reduced to the state of soft 
 clay by the addition of the water lost by drying. Buildings 
 constructed of adobes, or sun-dried bricks, suffer disastrously 
 from the effects of heavy rains. This, however, is not the case 
 with baked bricks or pottery, inasmuch as during the process of 
 firing the chemical compo.sition of the clay is altered, and the 
 constitutional water is more or less completely expelled, thus 
 leaving the siliciites almost or even entirely anhydrous. It 
 geneially requires, however, a red heat for the perfect dehydra- 
 tion of a clay. As the water cannot be aL'ain introduced by the 
 mere mechanical act of absorption, it follows that with well- 
 baked bricks or pottery mixture of their powder with water 
 does not produce a plastic substance resembling the original
 
 SHRINKAGE OF CLAYS. 9 
 
 clay from which the bricks or pottery were formed. The 
 porosity of pottery may depend either on the amount of firing, an 
 incomplete iDaking tending to retain a portion of the clay in its 
 natural state ; or on the composition of the clay, together with 
 the amount of heat employed. 
 
 It is also necessary to study the shrinkage of clays consequent 
 upon drying and firing,, since in this respect difierent claj's vary 
 materially. The "fat" clays, as thej^ are tei'uied, those which 
 are very unctuous and plastic, from containing little gritty matter 
 and much water, usually shrink very considerably ; while those 
 which are " dry " or " lean," that is, more harsh to the touch from 
 usually containing disseminated grains of sand and less watei- in 
 the same bulk, better keep to the size and sha|)e artificially given 
 to them. Thus a piece composed of the first kind will commonly 
 get out of shape and crack, while one made of the latter may 
 retain its general form. Porcelain suffers much more than 
 common earthenware, and in some kinds of j^orcelain the con- 
 traction may amount to as much as 25 per cent., a serious 
 diminution of bulk, for which the modeller of figures in porcelain 
 has to make due allowance in the course of his work. 
 
 The shrinkage arises mainly from two causes ; first, from the loss 
 of water, which in a highly plastic paste may cause contraction to 
 the extent of upwards of 15 per cent. ; and, secondly, if the body 
 be formed of readily-fusible substances, a further diminution of 
 bulk arises from the closer juxtaposition of the component particles 
 by incipient fusion ; and this amounts frequently to from 10 to 
 15 per cent. From these causes it becomes essential that in 
 pottery all portions of the clay employed should be of the same 
 kind or composition, as otherwise the shrinkage would 1)0 unequal, 
 and the vessel in baking would be distorted and cracked from 
 that cause alor-e. In the employment of natural clays, therefore, 
 it becomes needful to thorouglily knead and bake them, a process 
 well understood by the ancient nations, judging from their better 
 kinds of j)ottery. 
 
 Although natural clays may frecjuently lune been employed 
 singly, it could scarcely happen but that occasional experience, 
 and oft^n, probably, original (h.'sign, arising from known varia- 
 tions in their ]>lastic or other characters, inductHl the potters to 
 mingle certain of them together, especially in districts where both 
 "fat" and "dry" or "lean" kinds might Ih' found near each 
 other. In the operation of firing, the potters probably found 
 Buch variations of fusibility in the clays employed as to load 
 them to mingle two or more together, so that a highly fusil)le 
 paste woiild be modified by one found from exj)erience to be more 
 refractory, 
 
 ChAncffe 'porrdain. — Artificially prepared clays .seem to have 
 been first employed V)y the (Jhinese for their |)otteryor porcelain. 
 The date at which the use of these prepared clays commenced in 
 China appears uncertain. Indeed how far the clays may have 
 been first used in their natural state, afl found in the vicinity of
 
 10 BRITISH POTTERY AND PORCELAIN. 
 
 (leconiposod granite rocks, the iiaturnl process hy which they 
 -were formed being afterwards artificially imitated, seems also 
 uncertain. Tt niiLjht easily happen that the kaolin distributed in 
 beds, or irregnlarly in hollows, first attracted attention; this 
 kaolin being mingled with (piartz in such proportions that if 
 jiounded the whole would constitute a material well fitti^l for 
 tlie manufacture f)f ]iorcclMin. Be this as it may, it is certain 
 tliat porcelain was manufactured in China at a very early date. 
 According to the researches of M. Stanislas Julien,* the manu- 
 facture was commenced in tlie country of Sin-p'ing (province of 
 Ho-Uan) under the dynasty of Han, at some time between B.C. 185 
 and A.D. 87. Dr. Hirth, however, believes that the use of kaolin 
 was not introduced until some time after A.D. 536, and probably 
 during the T'ang dynasty ; f while M. du Sartel also refers the 
 origin of porcelain to this dynnstyj (G18 to 906). According to 
 Mr. Hippisley, '"no specimens manufact ired prior to the advent 
 " of the Simg d3'nasty have survived to the present day " : § this 
 dyna>^ty extended from 960 to 1259. Mr. Franks remarks that 
 " it was under the great native dynasty of the Mings (1368 to 
 " 1644) that the manufacture of porcelain received its greatest 
 " development." II 
 
 It is probable that the general composition of the artificially 
 prepared clays employed by the Chinese for their porcelain has 
 long remained the same, so that by an examination of those now 
 eniploj-ed we may obtain a fair knowledge of those formerly 
 used. According to the Pere d'Entrecolles, who resided in the 
 early part of the last century at King-te-chin, the site of the 
 gi-eat porcelain manufactories, the chief ingredients are kao-lin 
 and 'pe-tun-tse. It is generally believed that kaolin is the de- 
 composed felspar above mentioned, but the definition of pe-tun- 
 tse is involved in more difficulty. Pe-tun signifies a wldte paste, 
 and the suffix tse is nit^rely a diminutive applied to the material 
 when made into the usual form of small cakes or bricks. It 
 ajipears, indeed, that several substances used in the manufacture 
 of porcelain, prepared in the form of white tablets, pass under 
 the common name of pe-tun-tse ; but by D'Entrecolles the name 
 was restricted to the lusible ingredient of the paste, and there- 
 fore has c^enerally been considered to denote a substance resem- 
 bling our Cornish china-stone. 
 
 Certain rocks employefl in the manufacture of Chinese por- 
 celain, and collected at King-te-chin by the French Consuls at 
 
 * " Ilistoire et Fabrication de la Porcelaine Chi noise ; Ouvrage tradiiit dn Chinois," 
 tar M. Sranislas .Iiilieii." Parip, 18.">6. Translator's preface, p. xx. 
 t " (vhinene Porcelain: a study in Chinese Mediaeval Industry and Trade." By 
 
 par 
 
 t 
 F. Hirth. Shanghai, 18H8 
 
 * '* La Porcelaine dc Chine," par O. I)ii Sartel. Paris, 1881. 
 
 § " Sketch of the History of the Ceramic .\rt in China." By Alfred E. Hippisley, 
 Jiep. Smithtonian 2n.st., Washington, 1890, p. :i87. See also Dr. S. W. Bushell's- 
 essav on •' Chinese Porcelain before the present Dynasty," in Journ Pekin Oriental 
 Sec' 
 
 II " Catalogue of a Collection of Oriental Porcelain and Pottery." By A. W, 
 franks, Esq., F.U.S., F.S.A. 2ud edition, 1878, p. xiii.
 
 CHINESE PORCELAIN. 
 
 11 
 
 Canton, have been the subject of recent study by M. Georges 
 Vogt, of Paris. His re«eai-ches, unlike those of Ebehnan and 
 Salvetat, lead to the conclusion that considerable differences 
 exist between some of the materials used in China and those 
 employed in Europe. Muscovite, a potash -mica, was invariably 
 detected by M. Vogt, and he believes that the paste of Chinese 
 porcelain contains in many cases nearly 20 per cent, of this 
 white mica.* 
 
 Some of the Chinese clays are prepared merely by washing, 
 but those materials which are derived from hard rocks require 
 to be reduced to powder and then mixed with water, when the 
 finer particles are carried off in mechanical suspension, and 
 gradually deposited in tanks. Steatite or soap stone (hua she, 
 " slippery stone ") is also sometimes used by the Chinese in 
 their porcelain. 
 
 The following analyses (Nos. I and II.) by MM. Laurent and 
 Mahiguti, show the chemical composition of certain of the 
 Chinese porcelains ; the constitution of Chinese, like that of 
 other porcelain, necessarily varying according to the intentions 
 of the manufacturers as to the market for their wares. No. I. 
 is an analysis of the paste or body of a white vase ornamented 
 with painting, while No. II. is the analysis of the body of a 
 greenish white plate with blue ornaments. For comparison 
 with these are given two analyses (Nos. III. and IV.) of ancient 
 Chinese porcelain by Professor A. H. Church, F.R.S. No. III. 
 represents the composition of a white, and No. IV. that of a 
 brownish, body.f 
 
 
 I. 
 
 IL 
 
 in. 
 
 IV. 
 
 Silica - 
 
 Alumina - - - 
 
 Potash - - - 
 
 Soda 
 
 Lime - - 
 
 Protoxide of iron 
 
 MagueiiiH 
 
 70 -.5 
 
 20-7 
 
 6-0 
 
 • r, 
 
 0-1 
 
 63-5 
 
 28-5 
 
 5-0 
 
 0-6 
 
 (I-R 
 trace 
 
 75-0 
 17-8 
 4Tj 
 1-0 
 1-0 
 0-2 
 
 72-0 . 
 17-5 
 
 .^.•0 
 
 1-0 
 
 i-y 
 
 2 5 
 
 
 98-6 
 
 'JS- t 
 
 y9-5 
 
 yy • :> 
 
 With these analyses of Chinese porcelain it may be interesting 
 to compare the composition of Japanese porcelain. M. Henry 
 Wurtz found the composition of a specimen of Japanese egg-shell 
 china to be— Silica, 78 8 ; alumina, IT'S ; oxide of iron, OG ; 
 
 * After staling; his results, he adds: «' II eu n'sulte que la piife h p.-rcihime 
 chinoisf arrive h renforni<-r nowvont pres de 20 pour 100 de mica blaiic, portion 
 a.^Sfz iriiportiintc pour avoir iiiie iiifliiciici; profonde sur Ich proprii'trs di- la porce- 
 laiiie ainsi compos.'e." — " De la composition des roclies employees dnius la f'ahriiaiion 
 dela porcrliiiiie en Chine." Note de .M. Georfjcs Vogt. Comptis licndus dr I' Acad, 
 des Scirricp.i, t. ex., 1890, p. 4.'{. 
 
 f " Some Points of Contact between the Scientific and Artistic Asjiecls of I'olterj 
 and Porcelain." Cantor Lcetures, hy Prof. A. H. Church, M.A. Journ. Soc. Arls, 
 Tol. xxix., 1H81, p. 141.
 
 12 lIRITlSn POTl'ERY AND PORCELAIN. 
 
 lime. 0-2 ; potash, 02 ; soda, 20. Professor Church has called 
 attontiou to the preponderance of potasli over soda in Chinese 
 poi-celain. and of soda over potash in Japanese porcelain. 
 Possibly an explanation may be found in M. Vo^^t's recognition 
 of a large propoi-tion of jx)tash-niica in the materials of many 
 Oliinese pastes. Numerous analyses of Ja{)aneHe clays have 
 been made, especially by Professor K \V. Atkinson, of Cardiflf, 
 ^vho resided for many years at Tokyo. 
 
 Introduction of Oriental Poi-celain into Europe. — Although 
 vases and other pieces of Chinese porcelain found their way to 
 Europe befoie the Portuguese had doubled the Cape of Good 
 Hope in 1497, it was only after that event that tiiis porcelain 
 became well known to various European nations.'^ The Portu- 
 o^uese appear to have carried on a considerable ti-ade in Chinese 
 porcelain, as also did the Dutch, who succeeded them in a great 
 part of their East Indian traffic. According to Marryat,t the 
 earliest mention of China ware in England is in 1506. 
 
 The English East India Company, formed in IGOO, having at 
 length obtained an establishment at the Port of Gombron,^ oppo- 
 site Ormus, in the Pereian Gulf, imported porcelain directly 
 from this port into England. The curious bowls and other 
 objects in porcelain, ornamented with perforated designs filled in 
 with a translucent glaze, are still known as Oomhroon ware.X 
 
 First European Manufactory of Hard Porcelain at Meissen 
 in Saxony. — The introduction of Chinese porcelain prodliced a 
 .strong desire to imitate it ; but, although the ornamental designs 
 were copied upon ordinary European wares, such as those of 
 Delft, it was long before any real advance was made towards 
 the production of a similar paste. Italy appears to have been 
 the land in which fair imitations were first produced, and it is 
 «aid that at Venice a kind of porcelain was made, even in the 
 fifteenth century. Although no specimens of Venetian porcelain 
 of this early period are extant, it is otherwise with the Floren- 
 tine- ware, which dates back to 1575, of which several examples 
 
 * The Portuguese introduced Chinese porcelain into Europe about 1520; but as 
 tarly as 1487 some porcelain vases were sent from Egypt as a present to Lorenzo de' 
 
 Medici. 
 
 t " A History of Potterj- and Porcelain, mediieval and modern." 3rd ed., London, 
 1868, p. 247. iiapin states that "in the year ITjOO, Philip of Austria and Joan, who 
 " had taken the title of Kin<j and Queen of Castile, left the Low Countries, and 
 " embarked at Middelhurgh for Spain. They set sail on the 10th of January, and 
 " before they left the Channel iheir fleet was dispersed by a .storm, and the .ship on 
 " board which they were ran into Weymouth. Sir Thomas Trenchard, the High 
 " IShcrifT, went to jiaj his respects to them, and they accepted his irvitation to lodge 
 " at his house at Wolveton." Hutchins, in his History of Dorset, states that " when 
 " the King took his leave, he presented his host with some immense Delft ware 
 " dishes, and some hoyt\s of Oriental China." Mr. Marry at says that " these are 
 " the earlie«t pieces of Oriental porcelain known to us as having been brought to 
 " England, with the exception of a curious baiin or drinking-bowl of the pale sea- 
 " green thick ware, called .Archbishop Warham's ( 1.504-1. 'J32)." Among the new 
 year's gifts to Queen Klizabcth, 1.087-8, Lord Treasurer Burghley offered one 
 " porrjTiger " of " while porselyn " garnished with gold, and Mr. Robert Cecil, 
 " a cup of grene pursselyne." 
 
 * Some excellent examples of this ware, obtained in Persia by Gen. Sir R, Murdoch 
 Smith, are exhibited in the South Kensington Museum.
 
 DRESDEN PORCELAIN. . 13 
 
 are known to collectors. These early efforts at porcelain manu- 
 facture in Europe, however creditable, failed to produce a body 
 like that of the hai-d Oriental ware, and no manufacture of 
 porcelain acquired importance until the discoveries of Bottcher, 
 in the early part of the eighteenth century, laid the foundation 
 of the famous factory of Dresden china. Bottcher appears to 
 have been an apothecary's assistant in Berlin, who fled into 
 Saxony to avoid persecution on account of his supposed secret of 
 making gold. It is related that when working in the laboratory 
 of Tschiruhaus, an alchemist, at Dresden, some crucibles pre- 
 pared by him assumed the character of Chinese porcelain. He 
 at first worked at Dresden with a brown clay found near 
 Meissen,, and produced a red ware,* but it was not until 1709 
 that he made white porcelain. Though not of good quality, it 
 was sufficiently successful to lead to the establishment of a manu- 
 factory at Meissen by Augustus II., Elector of Saxony and King 
 of Poland, who had previously seen the importance of the sub- 
 ject, and had even confined Bottcher, though with every 
 comfort, in the Albrechtsb.urg at Meissen, in order to prevent 
 his escape, and the consequent loss of the secret. In 1710, 
 Bottcher was appointed director of the Meissen factory, and 
 five years later he succeeded in making excellent porcelain. 
 This manufactory has continued in existence to the present day, 
 producing the fine porcelain known as Dresden china. 
 
 Whatever were the clays with which Bottcher originally 
 worked, it appears that he finally employed the kaolin of Aue, 
 near Schneeberg, in the Erzgebirge. It is stated that he was 
 led to its use by finding that some hair-powder furnished to him 
 was heavier than the ordinary kind ; and by experiment he 
 then ascertained that this powder, substituted for the wheaten 
 flour with which the true hair powder should have been com- 
 posed, was the substance which lie sought for the manufacture 
 of his porcelain, being, in fact, dried and powdered kaolin. f 
 
 The greatest secrecy was adopted with respect to Bottcher's 
 method of manufacture. The kaolin itself was sent in scaled 
 barrels, by pworn persons, and its exportation was prohibited. 
 The workmen were closely watched, and the establishment at 
 the Albrechtsburg at Meissen was a complete fortress for the 
 confinement of the parties euiployed. The injunction " Be secret 
 until death " was written in the workshops. This secrecy con- 
 tinued even down to 1812, when on M. Broiigniait's inspection 
 of the works at the requisition of Napoleon I., it was found 
 
 * A (1<)iilil(.'-}iiinfllcil Clip iind simcer, in Hiittchcr's red ware, will lu' found Anior./r 
 the Hmall collection of foreign n]>ecinR-ns in the gallery on the western side. Tliis 
 piece niay he assif^ned to about the year 170C. 
 
 t Tlie statement is that John Selinorr, an iron-maKter, riding near Aue, observed 
 that a soft white earth adhered strongly to his horse's feet. C'onsidering that thi« 
 earth might he used as a substitute for wht-at-flour as hnir-powder, lie earried some 
 away with him, and ii was subsequently sold in large qiinntitieH for this purpose at 
 Dresden, I/eipHic, and other plaeeR. This kaolin continued long to be known as 
 Schnorrifche ireis-ic Krdr (Schiiorr'i white earth).
 
 14 . BRITISH POTTERY AND PORCELAIN. 
 
 nocossnrv to roh^uso M. Stoiiiau, the diroctor of the factory, 
 fri)m liis oath, in order to exphiiii the process adoj)ted. 
 
 On(jin df other Continental Porcelain Workf^. — Notwithstand- 
 ing all the precautions taken, it happened in 1718, the year 
 previous to Bottcher's death, that Stolzel, the chief workman at 
 .Meissen, escaped, and endeavoured to establish works at Vienna, 
 with the aid and under tlie direction of a Belgian named Claude 
 du Pasquier or Du Pa(i[uier. The latter obtained a license for 
 25 years from the Emperor Charles VI., but was not able to 
 raise the funds necessary for canying on the work in a proper 
 manner. There was consequently no advance until the manu- 
 factory was ncquiied for the State by the Empress Maria Theresa 
 in 1744. A workman from the Vienna manufactory named 
 Ringler, made, in 1740, good porcelain at the pottery at Hochst, 
 a village on the Nidda, in the territory of Mayence. 
 
 The method of manufacturing the Meissen porcelain gradually 
 spread. In 1750, a porcelain manufactory was commenced at 
 Berlin by a merchant named Wegely, w^ho obtained the secret 
 from the Hochst workmen. Gottskowki, a banker, succeeded in 
 1761, and advanced the works. Frederic II. bought them in 
 1763, and converted them into a Royal manufactory. 
 
 In 1758, a manufactory which had been established at Neu- 
 deck, in Bavaria, in 1747, was transferred to Nymphenburg, 
 near Munich. The St. Petersburg manufactory was founded by 
 the Baron Yvan Antinovitsh in 1744 and enlarged in 1765 by 
 the Minister Olson tieff. 
 
 While the manufacture of hard paste porcelain was spreading 
 in certain localities, that of a soft paste was also extending in 
 other pai-ts of Europe. In Italy it was established at Doccia in 
 1735, and at Capo di Monte, near Naples, in the following year. 
 From Doccia the art was carried to Spain, and works wero estab- 
 lished at Buen Retiro in 1759. But by far the most important 
 works were those in France. 
 
 The celebrated Sevres works were first established at St. 
 Cloud, where, from 1695, a ware with a coarse yellow paste had 
 been manufactuied. From the account given by Dr. Martin 
 Lister, who visited the St. Cloud works in 1698, it would appear 
 that "there was no moulding or model of China ware which 
 " they had not imitated; and they had added many fancies of 
 " their own, which had their good effects, and ayjpeared very 
 " beautiful." R^amur, who had obtained kaolin and pe-tun-tse 
 froMi China, endeavoured to discover similar substances in 
 France (1727 to 1729). Although he did not himself succeed in 
 these researches, he nevertheless paved the way for the use of 
 those substances at Sevres when discovered. In 1745, a com- 
 pany was formed with privileges for 30 years, and the manu- 
 fact<jr7 was estaVjlished in the Chateau de Vincennes. These 
 privileges were sold in 1753, and a third share having been 
 taken by Louis XV., it oVjtained the title of a Royal manufactory. 
 In 1756, the works were removed to Sevres, more space being
 
 EARLY ENGLISH PORCELAIN. 15 
 
 required in consequence of their progress ; and in 1760, Louis XV. 
 became the sole proprietor. Thougli the " soft porcelain "* had 
 been made, as in England, for several years, the " hard porcelain," 
 such as had been for a long time manufactured at Meissen, was 
 not made at Sevres until after the discovery of kaolin in France. 
 This seems to have been first effected near Alen9oii, by the Comte 
 de Erancas-Lauraguais, about the year 1758. Guettard gave an 
 account of this kaolin to the Acadmiie des Sciences in 1765. 
 The clay, however, was found not sufficiently good for the 
 purposes required, but soon afterwards kaolin was accidentally 
 discovered at St. Yrieix, near Limoges, and having been ascer- 
 tained to be both abundant and of good quality, the manuAxcture 
 of hard porcelain was established at Sevres in 1769. 
 
 Early English Porcelain Works. — With regard to our own 
 country, it appears that evidence may be adduced tending to 
 show that the manufacture of porcelain was attempted here at 
 an earlier date than has been usually assigned to its introduc- 
 tion. As far back as 1671, Mr. John Dwight established at 
 Fulham a manufactory for the production of various wares,' 
 including what has been termed porcelain. That the substance 
 whicli he produced was strictly entitled to be called " porcelain " 
 seems, howevei-, to be open to much doubt, and the finest 
 specimens of his pri)duction which have come down to us, though 
 of great merit, may be described as a very fine variety of stone- 
 ware, approaching in some cases to translucencj^ Nevertheless, 
 it is possible that Dwight succeeded in producing an imperfect 
 kind of porcelain, of which no samples are now known. His 
 patent of April 23, 1671, refers to " the mistery of transparent 
 " earthenware, commonly known by the name of poicelaine or 
 " China and Persian ware " ; and Dr. Plot, in his History of 
 Oxfordshire, published in 1677, mentions that Mr. Dwight "hath 
 " found ways to make an earth white and transparent as 
 " porcellane, and not di.stinguishable from it by the eye or by 
 " experinicnts that have been jiurposely made to tiy wherein 
 " they disagree." In support of Dwiyht's claims as the inventor 
 of porcelain in this country, the late Mr Chafiers publishedf 
 some extracts from certain memorandum books in the possevssion 
 of Mr. C. J. C. Bailey, of Fulham, in which reference is made 
 to receipts for tin; manufacture of ditfenmt kinds of "transparent 
 porcelane or china cley." It seems certain, howcixcr, that true 
 china-clay, or kaolin, was unknown at tiie Fulham factory. 
 
 * T)iL- term " soft " iind "hard " jxircclain are often iinjiloyed to ilistiiifriiish tho 
 difTercnt kiiid.s, l)\it it iiiay be doulited liow far this is advisable, Bering that the 
 different kinds pass ho much from one into the other. " Hard" porcelain is more 
 refractory than "soft," and is UMially also less easily scratched. Not onl_>- as respects 
 the body or i>asfe, but also with ifixard to the glazes employed, the same distinctions 
 prevail ; the harder bodies bein}< commonly covered with harder (.dazes. The 
 character of the fractured siirface and the mieroscoiiic strucMire dis|)layed in thin 
 sections will serve in many cases to distinguish a " hard " from a " soft " paste. 
 
 •f " Marks and Monograms on Pottery and Porcelain." 4th cd., 1h7I, p. HfiO.
 
 16 BRITISn rOTTEUY AND PORCELAIN. 
 
 The exact date of the fouiulation of the porcelain manufactories 
 ut Bow and Cliflsea is not definitely known* Froni a patentf 
 taken out in 1744 by Messrs. Heylyn and Frye, who were 
 inttMvsteil in the Bow manufacture, we learn that in their process 
 a glass is formed witli one part of either " pott ash, fern ash, 
 '• i>earl Jish, kelj), or any other vegetable lixiviall salt," and "one 
 • part of sands, flints, pebbles, or any other stones of the 
 " vitrifying kind ;" this frit being reduced to powder is mixed 
 with variable proportions of unakev, from which sand and mica 
 have been removed by washing. The " unaker " here mentioned 
 wa« a china-clay which had then recently been brought from 
 " the Cherokee nation in America," but its use does not appear 
 to have been long continued, for in another patent taken out in 
 1749 by Thomas Frye alone, no mention is made of the use of 
 unaker. In this specification he says : " As there is nothing in 
 " nature but by calcination, grinding and washing will produce 
 " a fixed indissoluble matter, distinguished by the name of virgin 
 " earth, tiie properties of which is \sic) strictly the same whether 
 " produced from animals, vegetables, or fossills, no other differ- 
 ''• ence arising from the process but that some bodys produce it 
 " in greater quantities than others, as all animal substances, all 
 " fossils of the calcarious kind, such as chalk, limestone, &c. ; 
 " take, therefore, any of these classes, calcine it till it smokes 
 " no more, whicli is an indication that all the volatile sulpherous 
 " parts are dissipated, and that the saline are sett loose ; then 
 " grind and wash in many w^aters to discharge the salts and 
 " filth, reiterate the jiroce.'^s twice more, when tlje ashes or 
 " virgin earth will be fit for u.ie.":}: He then states that the 
 ashes are to be mixeil with flint or sand, and burnt; and the 
 product, when ground, to be mixed with one-third of its weight 
 of pipe-clay. Professor Church infers that the " ashes or virgin 
 •' earth " of Frye's patent must have been bone-earth, or calcined 
 bones, and substantiates his inference by an analysis of old Bow 
 porcelain, which gave 173 per cent, of phosphoric acid, evidently 
 due to the phosphate of lime in the burnt bone.§ 
 
 With regard to the Chelsea works, Mr. Grosley, who visited 
 London in 1765, was informed " that the county of Cornwall 
 " supplied them with the sort of earth fit to make porcelain."|| 
 The sand used to render the clays perfectly " dry ' is said to 
 have been obtained from Alum Bay in the Isle of Wight, a sand 
 which has been extensively employed in the manufacture of 
 
 * Mr. Marryat points out that Dr. Martin Lister in 1698 alludes to a manufacture 
 of porcelain (if such it could be termed, being little better than a kind of opaque 
 glass) at Chelsea. 
 
 t Specifications of Patents, No. 610, Dec. 6, 1744. 
 
 X Specification of Patenu, No. 649, March 17, 1749. 
 
 § Cantor Lectures, Journ. Soc. Arts, vol. xxix., 1881, p. 128. 
 
 jl "Tour to London," Lend., 1772, vol. ii. p. 76.
 
 EARLY ENGLISH PORCELAIN. 17 
 
 glass.* It is certnin also that at the Chelsea works pounded glas» 
 was at first mixed with the clay and sand in order to imitate 
 the transparency of the Chinese porcelain. A phosphatic paste 
 was also made at Chelsea, Professor Church having found in one 
 specimen 14 per cent, of phosphoric acid, thus proving that 
 calcined bones were used as at Bow. 
 
 It should be noted that the early English porcelain produced 
 at Bow, Chelsea, Derby, and Worcester was of the soft kind^ 
 and therefore very different from true Oriental porcelain. 
 
 It has been assumed, on evidence, however, which appears to 
 be rather slender, that veritable hard-paste porcelain was made 
 in England, of English china-clay, as early as 1766 by a 
 remarkable Frenchman, the Comte de Brancas-Lauraguais.t 
 From the Scotf>' Magazine for 1764 the following passage has 
 been cited : " They write from Paris that after a number of 
 " chymical operations, the Count de Lauraguais has at last 
 " found out the true composition of the porcelain from China 
 " and Japan, which he can manufacture at a very cheap rate, 
 " as the materials are easily to be obtained." Shortly after- 
 wards the Count >ettled in England, and sought to develop his 
 manufactures here. In 1766 a patent was granted to "the 
 " Count de Lauraguais, of London," who, " by labour, study, 
 " travelling, and expenco in trying experiments," had invented 
 " A new method of makinf; Porcelain Ware in all its different 
 " Branches, vizt, to make the courser (sic) species of China, the 
 " more beautiful ones of the Indies, and the finest of Japan " ^ 
 and the patent adds that this is done " in a manner different 
 " from any that is made in our dominions, and he having found 
 " the n)aterials tryed in Great Britain, has brouglit the same 
 " to so great perfection that the porcelain n)ade therewith after 
 " his new method far excells any that has hitherto been made 
 " in Great Britain, the same not being fusible by fire as all other 
 " china made there is.":|: A distinction is here clearly di-awn 
 between the refractory ware made by the Count and the fusible 
 soft paste produced at that time at several English works ; 
 while the sbitement seems equally clear that the materials used 
 in the manufacture of the new porcelain were discovered in 
 Britain. Professor Churcli found a Iraginent of this porcelain 
 to con til in — silica, 58; aluniina, 36; oxide of iron, 1 ; lime, 1 ; 
 potiush, 3 ; and soda, I per cent,; aii<l lie adds: "the kaolinic 
 " character of this ware is evident."§ Very little, if anything, 
 
 * Ttiis Hand occurs at llic Imsi! of the I/owcr Hcadon Mi'ils, foriiiiii;,'- jmrt of th(» 
 Tertiary Ktratn on thi- norflurn si<le of llie Islt-iit Wi^'ht. Tlir jmre wliitc miikI wiif* 
 at ofif time worked iind rarrifd away in iarj,'i' (luantiticfi from Ilradon Jlill, .Mum 
 Ray, for ^'lasH matiiifactorii-ii. 
 
 t " -Marks and .Monograms on Pottery and Porcelain." By William ChafTorH. 
 4th ed., 1874, p. .'.:<.•). 
 
 X Specifications of Pat»-nt8, No. 849, .June 10, 1706. 
 
 § Cantor Lectures, Journ. Sor. Arts, vol. xxix., 1881, p. 142.
 
 KS milTISIl I'UTTEUV AND PORCELAIN. 
 
 seems, liowever, to have boon done in miiniyacturing a hard 
 , paste in EngUuul previonsly to Cookwortliy's lamons discovery. 
 
 Cook worth I/' s discovcri/ of l:iioll.ii.--T\\e great advance of the 
 porcelain manufacture in England is duo to the discovery of the 
 kaolin of Cornwall by William Cookvvorthy of Plymouth. 
 AccordiniT to Mr. Worth, this tliscovory must have been made 
 between the years 1745 and 1750,* and therefore long before 
 the date of any reference to the discovorios of the Count de 
 Laura^uais. Cookwordiy apparently had his attention directed 
 to the subject by an American, wlio showed him samples of 
 China-stone and kaolin from Virginia in 1745 f He afterwards 
 found these substances in Cornwall, and eventually worked 
 both, in conjunction with Lord CamelfortJ, on proi)erty of the 
 latter in the parish of St. Stephen's. Borlase in his Natural 
 History of CornwoU (1758) makes no mention of any Cornish 
 clays employed in pottery, but merely notices that of Amalebria 
 in Towednack, as likely from some experiments he had made, 
 to be, useful for porcelain, stating that there were other white 
 clays at Tregonning Hill near Breage. He also notices other 
 clays as fitted for the purpose, and mentions that W. Cook- 
 worthy had made experiments on tlie Breage China-stone, and 
 that it had been found useful in the manufacturo of porcelain. 
 Pryce ia his Mineralogia Comuhiensis, published in 1778, 
 states that artificial kaolin (China clay) was then prepared in 
 the parishes of Breage and St. Stephen's by repeated washings 
 with clear water, and afterwards packed in casks and sent off,| 
 and that Mr. Cookworthy, by his late imi)rovements at his 
 porcelain marmfaeto/y then establi.^hed at Bristol (having been 
 removed thither from Plymouth), was likely to produce ware 
 which should rival the best Asiatic China. Mr. Worth considers 
 it almost certain that Cookwortliy's first experiments were made 
 at Plymouth, but that " the first attempts to establish the 
 " manufacture were made at Bristol." It was at Plymouth, 
 however, that the hard paste was first made on a large scale. 
 In 1768, Cookworthy took out his celebrated patent for using 
 Cornish clay (kaolin) and moorstone (China-stone) in the 
 manufacture of porcelain ;§ shortly afterwards he joined Richard 
 Champion of Bristol, and in 1773 the patent right passed into 
 Champions name.|| The hard paste porcelain .of Plymouth and 
 Bristol will be described in detail in a subsequent chapter {see 
 pp. 127, 131). 
 
 * " William Cookworthy aud the Plymouth China Factory." By 11. N. Worth, 
 F.G.S. Trans. Devon Assoc, vol. viii., 1876, p. 480, , 
 
 t PrideHUx's " Relics of William Cookworthy," 1858, p. 12. 
 
 + " Mineralogia Cornubicnsis," p. 32. 
 
 § Specifications of Patents, No. 898, March 17, 1768. 
 
 II See Mr. Hujjh Owen's " Two Centuries of Ceramic Art in Bristol," 1873.
 
 PLASTIC MATLEIALS. 19 
 
 Raw Matekials 
 
 Employed in the Manufacture of Pottery and Porcelain. 
 
 [See specimens in lower compartments of Pedestal Cases.] 
 
 Soon after the Museum of Practical Geology was established, 
 now more than 50 years ago, it was considered desirable to illus- 
 trate the application of clays and other mineral-substances to 
 the manufacture of pottery and porcelain. Most of the specimens 
 collected at that time are still pr<4served in the Museum, and will 
 be found in the lower compai-tment of the pe lestal case, 
 numbered 53. 
 
 Rather more than 20 years ago this department received an 
 important extension by the generosity of Mr. George Maw, F.G.S., 
 of the Benthall Works, near Broscley, in Shropshire. Uniting 
 the experience of a practical manufacturer with much geological 
 knowledge, Mr. Maw had for many years collected various plastic 
 materials from different parts of Britain ; and had gone to the 
 expense, whenever considered desirable, of having them cheuii- 
 <;ally analysed : moreover, in all cases, he had examined carefully 
 into the physical characters of the substances, with a view to their 
 applicability to ceramic manufactures. Mr. Maw's collection — 
 numl)ering upwards of 700 specimens, representing more than 
 120 different kinds of clay — is displayed in t'le lower compurt- 
 ineuts of the six pedestal cases in that part of the niuseuui 
 devoted to ceramic products. 
 
 The specimens are arranged in geological sequence, coiumenc- 
 rng with the newer deposits, viz. : — 
 
 JSos. 1 to 18. Recent and Post-Tertiary. 
 
 19 to 28. Miocene.* 
 
 •29 Middle Bagshot . "^ 
 
 J, 30 to 42. Lower Bagshot. I ^ 
 
 .,, 43 to 4.5. London Clay. ^l^ocene. 
 
 ,, 46 to 48. Woolwich and Reading series. ^ 
 „ 49 to 51. Cretaceous. 
 „ 52 & 53. Spoeton Clay (Cretaceous and Jurassic). 
 
 54 t(^ (M. Wealden. 
 „ 02 to GH. Purbeck be<ls i)f Dorsetshire. 
 <, 09 to 79. Jurassic and RhiL'tic. 
 „ 80 to 84. Tria.ssic (Keuperj. 
 
 85 to 90. Permian 
 ., 91 to 115. Carl)Ojiifi.Toua. 
 „ llfitolLS. Devonian. 
 II!) to 123. Silurian. 
 
 * Since Mr. Maw presented ami arran^rd Iii< collection ^f^. .1. Stiirkie Ganlner 
 lias ni.iiutiiined that tlu- IloveyClays are not Miocene, as formerJT lield, Imt .ire 
 jprol);il)l_v of l/ower i'agslint aj^e. 
 
 .U 75401. r
 
 20 HKITTSH rOTTKIlV A.VD PORCELAIN. 
 
 Each clay i.s lepresentGil 1)y six speciiiK-us, iu the following 
 onlor, namely : — 
 
 1. The native clay in the unlmrnt state. 
 '2. The -native clay in the kiln-bnrnt state. 
 
 3. A slab ol" inihnrnt clay, exactly 4 inches square, pressed 
 out of retined clay after the coarse particles had been removed 
 by pjxssing it through a tine lawn of wove wire containing 100 
 wires of 1 0,000 perforations to the inch. 
 
 4. The coarse matter so removed. 
 
 5. A burnt slab of native or unrefined clay originally moulded 
 4 inches sijuare. 
 
 6. A burnt slab of refined clay originally moulded 4 inches 
 square. 
 
 The value of this collection is greatly increased by the fact 
 that each specimen has been distinctly labelled by the donor, and 
 that Mr. Maw also contributed, at the tiute of his donation, 
 the following remarks on the general subject of clays and other 
 plastic materials, in relation to their utilisation in ceramic 
 manufactures : — 
 
 " Plastic strata may be defined as beds of mechanical origin, 
 containing alumina as an essential constituent, wdiich have under- 
 gone little or no consolidation, or been subject to metamorphic 
 action. 
 
 " Although common to various geological formations from the 
 palaeozoic to tlie most recent deposits, a very large proportion of 
 plastic strata applicable to ceramic manufactures occur in the 
 I'ecent and tertiary beds. 
 
 " Plastic strata diminish in frequency as the older deposits 
 are apiiroached: in the earlier paheozoic formations the beds 
 which were at the time of deposition soft clays and marls occur 
 for the most part as shales and slates, or have undergone further 
 metamorphism into hard porcelanites and other altered rocks 
 unavailable for thepott^^rs' use. Indeed the very changes which 
 the potter effects by artificial heat have, as regards the earlier 
 rocks, been fmticipated in the laboratory of nature, pressure in 
 conibination wath heat having altered their original soft and 
 plastic condition, changing them into the hardest rocks. 
 
 " It must not, however, be supposed that all clays cf economic 
 applicability occur in a soft and plastic f^tate, as every gradation 
 exists between hard metamorphic rocks and the softest clays, and 
 many of the most valuable cla) s occur in a semi -indurated con- 
 dition, are mined by the process of blasting;-, and brought to the 
 surface in hard rock-like masses. These, by exposure to atmos- 
 pheric changes and alternations of wet and drought, frost and 
 thaw, are speedily, Vjy the process known as weathering, disinte- 
 grated and rt^duced to the plastic condition. 
 
 " The state of mechanical sub-division is of no little importance 
 in the applicability of clays to the various pui-poses of ceramic 
 manufacture. A reference to the specimens will at once show 
 that every gi adation exists between an almost impalpable con-
 
 MR. MAW ON CLAYS. 21 
 
 dition* and a mixture of coarse and iiiie matter, as in the bulk 
 of the sjjecimens, the coarse residue of which sometimes forms as 
 much as 10 or 20 per cent, of the entire weight. 
 
 " Bearing in mind that most clay-strata result from the 
 mecbanicMl disintegr.ition of older rocks, it will be ea'^ily under- 
 stood that tlieir state of subdivision has been dependent for the 
 most part on the transporting and sorting agencies of water, 
 carrying away and separating the finer parts held longer in sus- 
 pension than the coarse matter. 
 
 " The origin of some of the finer white clays must, however, 
 be attributed to the chemical dissolution of calcareous rocks by 
 the agency of carbonated water, the insoluble silica, alumina, 
 magnesia, &c., associated with carbonate of lime in chalk and 
 limestone in the finest state of sub-division, being left behind as 
 an impalpable residuum. The writer, in a paper on ' The sources 
 of the materials cctmposing the white clays of the Lower 
 Tertiaries,' published in the 'Quarterly Journal of the Geological 
 Society ' (vol. xxiii. p. 387), suggested such a derivation from 
 the chalk, of the smooth clays of Bovey Tracey and Mewton 
 Abbot (Nos. 20-27), and of similar clays from the Lower Bag- 
 shot beds of Wareham (Nos. 30-38), and it seems scarcely open 
 to question that tlie white clays resting on the carboniferous 
 limestone of North Wales, Derbyshiie, and Tipperary (Nos. 12- 
 18) are the remnants of tiie subaerial dissolution of the lin)estone, 
 (See papers on this subject by the writer at pp. 241 and 299, 
 vol. iv., of The Geological Magazine.) 
 
 " The chemical composition of plastic strata varies as much as 
 their mechanical condition. The}' may be generally described as 
 an associ ition of silicate of alumina, ahimina, free silica, and 
 magnesia, with more or less water of combination. Clan's and 
 marls .scarcely ever occur entirely free from iron, to which their 
 colour is mainly due ; it exists in various states of combination 
 furtlier referred to below. Carbonaceous matter, especially in 
 the tertiary and carboniferous clays, is frequently a.ssociated in a 
 fine state of subdivision, and the alkalies are generally present in 
 variable proportions botli as silicates and carbonates. 
 
 " Contraction in burning. — This character is of so much iin- 
 jtortance in all branches of ceramic manufacture tliat it may be 
 of intert-st to notice one or two features that tlie experiments 
 exhibit. 
 
 " The amount of contraction in burning, due j)artly to the loss 
 of water of combination and of the carbonic acid in the car- 
 bonates, when pres(;nt, and to the ignition of any carbonaceous 
 matter conbiined in the clays, but more e.s})ecially to the diawing 
 t<jgether of the particles in the production of vitreous silicates, 
 is very variable and depends b(;thon the chemical and mechanical 
 
 * As in exaiii[)Ic.'i 20, 21, 22. 2.3, 24, mid 27 from thf Hoviy Triircj lifjiiitc dcpotit 
 from the Xewtoii Abbot Clay WorkH, nnd Nos. ."lO, :fl, 32, 'SA, .34, :I5, .Ki, .37, iiiui 38 
 frf)ra the Lower Uagshot bods of NN'arebain, and also Nos. 43 and 12.3, from which 
 the finest lawn failed to icparate anj gritty particles. 
 
 c 2
 
 22 muTisH POTrEUY and rOltCELAlN. 
 
 Ct-tmpDsition ot tlu' clays. Tlu' pieseiico ol' the allcjilies and iron 
 tends to conipk'tc vitritication, which is always acconii)anied by 
 a gieat amount of contraction, and the production of a glass-like 
 body with a bright couchoidal fracture (as in No. 115). On the 
 other hand, in clays containing inucli free silica or even silicate 
 of alumina without the acconipaniuient of the fluxing alkalies, a 
 small amount of contraction takes place and an open porous 
 ' body ' is the result. 
 
 "The amount of contraction is not less due to the state of 
 mechanical subdivision of the constituent particles. Clays in a 
 coai'se state of subdivision and containing a large proportion of 
 gritty matter, especially silicious sand, invariably contract less 
 in burning than those of smooth and fine texture, in which the 
 constituents are in an impalpab'e state of subdivision ; this will 
 be at once seen by a comparison of the amount of contraction of 
 the slabs composed of the coarse clay in its natural state with 
 those moulded from the clays from which the coarse particles 
 have been removed ; and the larger the proportion of coarse 
 matter in the native clay the greater is the difl'err^ncc between 
 the amount of contraction of the clay in its natural and refined 
 states. The average contraction of the whole of the burnt slabs 
 composed of the native unrefined clay amounts to 6 "01 per cent., 
 and of the burnt slabs of refined clay 7"53 per cent, of the 
 original moulded size. This appears due to two causes, firstly, 
 that a mixture of large and small narticles is, to begin with, 
 actually more dense than a mass of particles of equal !-ize, and 
 therefore admits <.f less contraction in the drawing together of 
 the pai tides in viti-ification, and secondly, that the coarser sub- 
 division and less intimate contact seems to hinder the recombi- 
 nation of the constituents as vitreous silicates in the process of 
 burning. 
 
 " Few clays produce a perfectly vitreous and unabsorbent 
 body. Some of the burnt slabs approach to a glassy texture; 
 whilst others are so highly silicious and coarse in grain as to be 
 held together by very slight cohesion. These are in the burnt 
 state open and spongy, and have undergone but little contraction 
 in the kiln. Such clays, as for example Nos. 108, 109, IK', 111, 
 112 from the North Worcestershire coalfield, of which the cele- 
 brated Stourbridge fire-bricks are made, are fiom their refractory 
 character eminently suitible for the manufacture. 
 
 " The great majority of the examples are intermediate in 
 character between these two extremes, and after the process of 
 burning, form a comjiact but slightly porous body, subject to a 
 iiioderate amount of contraction, and are available for general 
 pottery purposes. 
 
 " The Colouring Matter of Clays. — No native clay is entirely 
 free from the presence of iron which occurs in aluminous earths 
 in various prf)|)ortions and states of combination. Those most 
 free from iron are the white Tertiary clays of Devon and 
 Dorset, largely exported from Teignmouth and Poole for the
 
 UR. MAW UN CLAYS. 23 
 
 manufacture of white earthenware ; for this purpose the absence 
 of iron is a matter of great importance, as it imparts to the ware 
 a yellowish tint, to obviate which it is found necessary to cloak 
 and neutralise the natural cream colour of the burnt clay by the 
 admixture of very sinall proportions of cobalt blue. 
 
 " Iron in the white ami gray Tertiary clays occurs principally 
 in the form of gray carbonate of protoxide, generallj' in associa- 
 tion with finely divided carbonaceous matter, in proportions 
 varying from a mere trace up to 4 or 5 per cent. 
 
 " Iron, which is iso prejudicial in clays emploj^ed for white 
 potteiy, is an essential colouring matter in those used in the 
 manufacture of terra-cotta, encaustic tiles, bricks, and all 
 common pottery. 
 
 " These may be considered separately as — 
 
 " (a.) Gray clays ; (b.) Yellow clays ; (c.) Red clays. 
 
 " (a.) Gray Clays, so largely developed as ' chinches ' and fire- 
 clays in the carbonaceous beds of the coal measures, owe 
 their colour, in addition to the presence of caibonaceous 
 matter, to carb'mate of protoxide of iron in a fine state of 
 subdivision, and occasionally to the presence of finely divided 
 pyrites or bisulphide of iron (as in Nos. 45, 65, 70, 72, and 
 103;, which also occurs in the London cla}'-, gault, &c. 
 
 " A pale gray clay, almost white (No. Gl), from the hase of 
 the Ashdown Sands (Wealden), near Hastings, contains a 
 much larger proportion of iron than its colour would seem 
 to indicate, from its occurring in the form of the compara- 
 tiveh' colourless basic sulpliate, of which there is HifS per 
 cent, present. 
 
 " (6.) Yelloiv clays are coloured by hydrous sesquioxide of iron, 
 and generally occur as surface deposits, or where red and 
 gray clays have been suTyect to weathering, as on ex{)Osed 
 surfaces or along lines of jointing. Tlicy occasionally 
 occur {('.(J. Xo. 30) intt-rstratified with red and gray beds, 
 but appear more generally to be the result of a kind of rust- 
 ing process. Gr.iy carbonate of iron on exposure to watery 
 infiltrations, accomp-.mied by atmosithcric oxidation, 
 V)cconies converte<l into the yt^llow hydrous sesquio.xide ; 
 and bisulphide of iron, which readily dccomj^oses under 
 similar circumstances, becomes converted i>artly into sul- 
 phate of protoxide and ])artly into hydrous sesquioxide, to 
 the presence of which the yellow joint surfaces of the London 
 clay and gault are due. 
 
 "Yellow clays have also been derived from red beds by 
 the red anhydrous se-scpiioxide and the lower hydrates re- 
 ceiving water of combination. 
 
 " (c.) Red clays and marU, r.t/. th<»s(! of the koupci", ( )ld Red 
 beds, Permian, coal mcfusurcs, the middle Weahh'U, the 
 Neocomian strata of France, the plastic clay of the London 
 and Paris basint, and other Tertiary strata, derive their 
 colour from the presence of anhydrous sesquioxide and the
 
 24 imiTISH P01TKHY AND PORCELAIN. 
 
 lowoi- liydroiis oxides of iron which occur in vjinablo propor- 
 tions, and are generally associated with sninll quantities of 
 iron in other states of combination, the colour of which the 
 red oxide obscures. Red hiPumtite may be cited as a 
 familiar example of almost pme anhydrous ses(|uioxide of 
 iron, whicli, wiien finely divided, has a strong colouring 
 power. The red keuper niarls receive their colour from 
 about 3 per cent, of this anhydrous sescpiioxide, whilst the 
 red clays of the argile iilafiliqur oi Paris, and of the Neoco- 
 mian beds of Beauvais, used in the manufacture of the 
 celebrated Beauvais pottery, contain as much as 20 percent,, 
 equivalent to 15 or 16 per cent, of metallic iron. Nearly all 
 such red clays are variegated by lighter patches from which 
 the oxide of iron has been abstracted : partly by a segrega- 
 tional process, drawing together the iron into ferruginous 
 nodules of hydrous sesquioxide, and also from its dissolution 
 by the aci'ls of organic decomposition derived from imbedded 
 organic remains. Details of the analysis of red and other 
 clays will be found in a paper Ijy the writer ' On the dispo- 
 sition of iron in vaiiegated strata,' Quarterly J(;urnal of the 
 Geological Society, vol. xxix. p. 351. 
 
 ''Tlie Colouring of Burnt Clays. — The colour of burnt ferru- 
 ginous clays is entiiely due to the amount of iron present, 
 irrespective of its previous state of combination, but subject to 
 certain conditi(ms m the general composition of the clay. The 
 action of the kiln, with some exceptions referred to below, is 
 uniform on nearly ever}' state of combination in which the iron 
 occurs; viz., to reduce it to anhydrous sesquioxide associated as 
 silicates in a more or less intimate state of < ombination with the 
 other silicates developed in tlie process of burning. 
 
 •'Yellow clays coloured with hydrous sestpiioxide (e.(). yellow 
 ochre), as in No. 30, and red clays coloured with anhydrous 
 sesquioxide, and tlie lower hydrates merely lose their water of 
 combination and become bright brick reds {e.g. red ochre and 
 Venetian red). 
 
 " Gray clays containing finely divided pyrites or bisulphide of 
 iron are also conveited l»y the kiln into bright reds, the sulphur 
 being driven off, leaving the terra-cotta chaiged with the red 
 anhydrous se.squioxide. 
 
 "In clays charged with gray carbonates of iron the following 
 reaction takes place: Tlie carbonic acid (UO.^) is driven off as 
 carbonic oxide (CO), part of its oxygen peroxidising the iron. 
 
 "Gray clays containing less than 1 or 1^ per cent, of iron 
 change in the kiln to various sha'Ies of cream colour and buff, 
 whilst those containing from 2 to 10 or 12 percent, range in 
 colour from yellowish-fawn to dark reds ; from 3 to 4 per cent. 
 of iron produces in the kiln the bright red bodies used in the 
 manufacture of red terra-cotta, encaustic tiles, red building 
 bricks, &c. There seems to be no essentiat difference (with the 
 exception noticed below) in the colouring matter of the clays
 
 MR. MAW ON CLAYS. 25 
 
 that burn buff and those that burn red in the kihi, the depth of 
 colour depending merely on the amount of iron present, the buff 
 shades regularly graduating into the deeper shades of red. 
 
 " The brightest shades of red and buff are, however, produced 
 with but a partial vitrihcation of the body. At a heat sufficient 
 to insure its complete vitrification a further change of colour 
 takes place. The bright buff shades are changed to neutral 
 grays, and the reds to a slaty-grayish- black, which probably 
 results from a partial reduction of the metallic colouring matter 
 and its more intimate combination with the other vitreous sili- 
 cates produced at the higher temperature. In clays containing 
 a large proportion of carbonaceous matter the complete peroxida- 
 tion and consequent colouring power of the iron seems to be 
 an-ested. In No. 28, containing 13 per cent, of organic matter, 
 the combustion of the carbon in contact with the ferruginous 
 oxides seems wholly or partially to have )-educed them to a 
 metallic state, or lower oxide having less colouring power than 
 the sesquioxide, and a remarkable bleaching of the burnt clay 
 has been the result. The presence of the alkaline earths in 
 ferruginous clays, especially of lime and magnesia, has also a 
 singular V)leaching power in the kiln, arresting the development 
 of the bright red colour. No. 90, a Permian marl containing 
 6 per cent, of sesquioxi'le of iron and 85 per cent of carbonate 
 of lime, burned of a grayish l)uff instead of the rich )ed such a 
 proportion of iron would otherwise have produced. From some 
 experiments made by the writer, it has been ascertained that as 
 small a proportion as 5 per cent, of caustic magnesia mixed with 
 a red clay, entirely destroys its red colour in the kiln, probably 
 from the production of a pale-coloured double silicate of iron and 
 the alkaline earth. A familiar example of this reaction occui-s 
 in the process of manufacturing yellow bricks in the neighbour- 
 hood of Ijondon, the colour of which is dependent on the a<lmix- 
 ture of ground chalk with the brick earth, the brick earth by 
 itself V>urninfj of a red colour." 
 
 Apart from Mr. Maw's large collection of specimens of plastic 
 strata, there will be found, in the lower part of Peck'stul 
 Case .53, a small series iHusti'ating thn raw materials usually 
 employed in ceramic manufactures, ami including the china-clays 
 and china-stones which form the basis of true j)orcelain. 
 
 Kaolin or China Ohiy, tCr. — Kaolin, or China clay, is chidly 
 prepai'cd in Cornwall fiom the decomposed gi-anite in the neigh- 
 boui'hood of St. Austell a ml St. Stephens, and from the north 
 side of 'l'n;fronini; Hill near Bn'a<fL' : while in Devon it is woiked 
 at Lee Moor, nejir I'lyrnpton, an<l at Cornwooil on thi' south side 
 of Dartmoor. Although the nu'thod of ju-eparing kaolin is 
 sufficiently simple, nuich care is refjuired to obtain the substance 
 in as pure a condition as |)0ssible. The presence of iron hius 
 particularly to be avoided, as many of its comnounds would tend
 
 26 imrTisH pottery and porcelain. 
 
 to cdUuii- the paste of the iiorcelaiii or tlie earthenware into the 
 composition of wliich tliey might enter. 
 
 Ill preparing kaoHn those localities are preferably selected 
 where water can he readily procured, and wliere tlie rock is in a 
 peeuliarly soft and friable state owing to the decomposition of 
 its felspar. Tlie conditions under wliich this disintegration ha» 
 probably been brouglit about have already been referred to at p. 5. 
 The less of foreign minerals the rock may contain, and the 
 harder, the heavier, and the less decomposed these may be, the 
 better. The disintegrated rock, consisting of clay, usually 
 associated with nuich quartz and mica, is broken up by the pick, 
 anil exposed to the action of running water. The water con- 
 taining the clay in a state of mechanical suspension is led 
 througli a system of channels, called " drags," in which its 
 velocity becomes checked and some of the associated quartz and 
 mica is consequently deposited. Thence the clay-water is usually 
 conducted through other channels, known as " micas," which 
 serve as catch-pits for the deposition of such particles of mica as 
 escaped from the previous treatment. Thus purified, the stream 
 is diverted to a series of " pits " in which the suspended clay 
 slowly settles down, and eventually the clear supernatant water is 
 run uti",to be used in some cases for the treatment of fiesh clay -rock. 
 The deposit of clay, still semi-fluid, is subsequently transferred 
 to larger tanks of stone, where it remains until it acquires con- 
 siderable consistency, and is finally conveyed to the " dry," or 
 building in which the clay is spread over the tile flooring, or 
 *' pan," which is heated l^y furnace flues. According to Mr. 
 Collins the clay, when first brought to the " dry," contains about 
 50 per cent, of water, and this is reduced to about ]2 or li per 
 cent, in the dry clay. From every ton of clay nearly 1,500 lbs. 
 of water must consequently be evaporated, and this evaporation 
 is effected in the best works by the expenditure of about 168 lbs. 
 of coal.* 
 
 Samples of kaolin, or china-clay, are exhibited fiom various 
 localities near St. Austell in Cornwall, and from the Morley or 
 Lee Moor Works in Devon. 
 
 The following analyses of kaolin from Bluebarrow, St. 
 Austell, (A. 6), and from St. Stephens, Cornwall (A. 7), were 
 made by L)r. Lyon Playfair (now Lord Playfair) at the laboratory 
 of this Museum, in 1852 : — t 
 
 * "The Hcnsbarrow Granite District." By J. II. Collins, F.G.S. Truro, 1878, 
 p. 22. .See aJKO Journ. Soc. Artx, vol. xxiv., 1876, p. 572. 
 
 t For other unalvsts of kaolin, nvv Miiuraloy. Mag., vol. vii., 1887, p. 7G, where 
 Piof. W. Ivison Al;ica<lani gives 27 analyses. See also Mr. Col iiis's analyses in his 
 psper " On the Nature and Origin of Clays " in Mi7i. Mag., vol. vii., 1887, p. 20.'>. 
 
 The results of n.odern iiivestigatu ns on elays m Germany (especially by Aron, 
 Bisehof, Kichters, and Seger) are well summarised in Dr. Zwiek's Jalirbuch iiber 
 die Leistunyen mid Forl.schrilte der Thonuaaren-,Kulk-,nnd Cement- Industrie. 
 I. JahrgaiifT. Berlin, 1878.
 
 POTTERY CLAYS. 
 
 27 
 
 Clays dried at the Temperature of 212° Fahrenheit. 
 
 Bluebarrow. 
 
 St. 
 
 Stephens 
 
 45-52 
 
 
 46-38 
 
 40-76 
 
 
 38-60 
 
 2-17 
 
 
 3-47 
 
 1-90 
 
 
 1-77 
 
 traces 
 
 
 traces 
 
 9-61 
 
 
 9-08 
 
 Silica - - . - . - 
 
 Alumina, with peroxide of iron 
 
 Lime- - - - - - - 
 
 Polish, with trace of soda - - 
 
 Magnesia, phosphoric acid, and sulphuric acid 
 
 Water, with a small quantity of organic matter 
 
 99-96 
 
 99-30 
 
 The specimen A. 15 is a sample of Bovey clay, an impure 
 kind of china-clay naturally prepared by the action of streams 
 on the disintegrated granite of Dartmoor, as explained on p. 6- 
 This c\&y is largely worked near Newton Abbot, but is known 
 commercially from the place of shipment as Teignmouth clay. 
 
 The following is an analysis of Teignmouth clay made in the 
 laboratory of this institution by Mr. W. Weston : — * 
 
 Silica 5206 
 
 Alumina - ..... 29'o8 
 
 Potash 2-29 
 
 Lime ...... 0'43 
 
 Magnesia ...--... 0-02 
 Protoxide of iron ..... 2-37 
 
 ITT i. f combined ---..- 10'27 
 
 ^^^t^n hygroscopic .... 2-56 
 
 99-:]8 
 
 In the year 1892 there were produced in Devonshire 32,688 
 tons of clay, principally from 13ovey Tracey, Newton Abbot, and 
 Kingfeteington.f 
 
 Several specimens, marked A. 16 to 20, presented by Messrs. 
 W. and J. Pike, of Wareham, illustrate the different kinds of 
 Poole clay, already noticed at p. G. The amount of clay sent 
 from Poole by sea and rail in 1892 was 80,103 tons.J The 
 clay is dug l)etween Wareham and Corfe, and at several other 
 localities in the Lower Bag.^hot beds of Dorsetshire. 
 
 The following is an analysis of Poole clay made in the 
 laboratory of this institution by Mr. W. Weston : — § 
 
 Silica 48-99 
 
 Alumina ...... IVi'll 
 
 Potaflii ;j;5i 
 
 Lime ...... 043 
 
 Magnesia -----... 0-22 
 
 Protoxide of iron ..... 2-34 
 
 ITT 1. r combined ...... 9-6;{ 
 
 Water -s v • o <}o 
 
 L hygroscopic - - - - 2 33 
 
 9;i-36 
 
 * Dr. Percy's " Metallurgy," vol. i., 187'), p. 99, where will he found a large nunihcr 
 of analyses of clays. 
 
 f ".Mineral Statistics of the United Kingdom . . for thr Year 1K91,'. I'rcparcd 
 by II. M. Inspectors of Mines, by direction of the Secretary of State for the Home 
 Department," IHO.'i, p. 16. 
 
 X Ibid., \). 19. 
 
 § Percy's " Mcullurgy," vol. i., 1875, p. 99.
 
 28 LIUTISII 1\)TTKUV AND I'ORCELAIX. 
 
 Tho spocinien A 21 represents tlie famous Stourbridge clay, a 
 lu«'-lilv refiactorv " iire-elav," from the coal measures of Stour- 
 britlgo, Worcestershire ; used for tire-bricks, crucibles, siggers, 
 kc. 
 
 The following analysis of Stourbridge clay was made by Mr. 
 C. Tookey in the lab iratory of this institution, under the direc- 
 tion of the late Dr. Percy : — * 
 
 Silica 6510 
 
 Alununa ...... 22-22 
 
 I'otasli 0-18 
 
 Lime ...... 014 
 
 Magnesia 0'18 
 
 Protoxide of iron' - - - - - 1-02 
 
 riiosiilioric ncid - - - - - - -0 06 
 
 iir 1. f combined - - - - -7' 10 
 
 Avater < , o.io 
 
 I. hygroscopic 2 18 
 
 Organic Matter ..... 068 
 
 99-66 
 
 A lartic collection of fire-clay bricks, crucibles, retorts, and 
 other ware for withstanding high temperatures, will be found in 
 a table case on the western side of the Hall, near to the series of 
 British building stones. 
 
 China Stone. 
 
 The china-stone of Cornwall, which is largely exported to the 
 Potteries, is a disintegrated granite rock, consisring usuall}' of a 
 mixture 'bf quartz, partially decomposed felspar, and scales of a 
 greenish-yellow micaceous mineral called gilbertite. The extent 
 to which the felspathic constituent has suffered alteration varies 
 materially in different varieties of china-stone, but the felspar 
 always retains inore or less of its alkaline silicate, which thus 
 renders the rock fusible. It is often associated with fluor-spar, 
 which materiall}^ increases its fusibility. 
 
 It is generally as-umed that china-stone ri.-presents the dis- 
 integrated granitic rock which, in a more advanced state of 
 decomposition, furnishes kaolin ; but the relation between the 
 china-.stone and china-clay is still somewhat obscure. The stone 
 seems in many cases to occur as patches and bands in the granite. 
 The cJiina-stone is quarried chiefly from the granite of St. 
 Stephens, in Cornwall, which furnishes also some of the best 
 kaolin. In quarrying the stone, those parts should be avoided 
 in which it becomes intermixed with schorl, or black tourmaline, 
 a mineral somewhat connnon in the granite of which the china- 
 stone forms a portion. The stone requires no preparation before 
 being .sent to the potteries, but when quarried is merely broken 
 into pieces of a size convenient for carriage. 
 
 * Percy's " Metallurf,'^ " vol. i., 1875, p. 98. For other analyses of fire-clays, &c., 
 see " Catalogue of th*- (Jollcctiou of Metallurgical Specimens fornu-d by ihc late 
 John -IVrcy, P:s,)., M.D.,F.R.S., now in the South Kensington Mus(Mini. By Prof. 
 J. F. I{Iake, M.A., F.G.S. With an lutroiluction by I'rof. Kobcrts-AusteD, C.B., 
 F.B.S." 1892.
 
 FLINT. 
 
 29 
 
 Some of the china stone is so compact as to be used locally as 
 a building stone, and it has the reputation of being- durable. 
 Mr J. H. Collins proposes to distinguish the china-stone as 
 a definite rock under the name of Petuntzyte, and gives the 
 following analyses of this rock from St. Stephen's by Mr. J. B. 
 Hannay. of Glasgow : — * 
 
 
 I. 
 
 IL 
 
 IIL 
 
 
 
 Silica -.-.-- 
 Alumina . - . - 
 Lime ..---- 
 Magnesia . - - - 
 Potash (with a little soda) 
 Iron - * - 
 Manpauese . . - . - 
 Fluorine . . - - 
 Water 
 
 73-39 
 16-50 
 0-50 
 0-31 
 7-66 
 trace 
 
 69-50 
 17-85 
 2-66 
 0-1-2 
 7-99 
 trace 
 trace 
 -71 
 1-30 
 
 75-66 
 18-79 
 1-70 
 0-35 
 6-60 
 trace 
 
 -74 
 1-25 
 
 -u 
 
 0-91 
 
 
 100-35 
 
 100-12 
 
 100-15 
 
 The specimens A. 22 to 25 are samples of china-stone from 
 St. Stephens, St. Dennis, and Tregonning or Tregonau Hill, near 
 Breage, all presented by the late Mr. J. Arthur Phillips. 
 
 According to the " Mineral Statistics for IS92," the amount 
 of china-clay and china-stone conveyed from Cornwall by rail 
 and sea during the year was 408,492 tons, having the value at 
 the openworks of 806,369^. It is assumed that the amount thus 
 sent away repre-euts the total production of the county for the 
 year. 
 
 Flint. 
 
 Although natural clays, such as the Bovey and Poole clays 
 previously mentioned, are extensively employed in the manu- 
 facture of British pottery, they are usually mixed, to a greater 
 or less extent, with the artificially prepared kaolin of Cornwall 
 and Devon, the proportions varying according to the kind ot 
 earthenware or porcelain re(iuire(l. Grains of silica are always 
 mechanically minified with the clays, and these are now com- 
 monly derived from linely-pounded iiiiits. The iliutsf arc 
 
 * "The Hciisharrow (lianit.' District." \iy .F. H. Collins, F.G.S., 187s, p. :V2, 
 Mr. Collins (listinguiBhes the china-clay rock as Carrlnzi/tv, taking ihe name from 
 the famous works of Carcia/e, nenr St. Austell, in Cornwall. 
 
 -f 'I'liC introduction of flints into the manufacture of pottery is attributed to Mr. 
 .Vstbury, a StafTonNliire [KjUcr of great cuteriirisc, who, in 1720, riding (o liondon 
 on businrss, as was tlirn a common ])i;ii'licc, found bis horse's eyes disordircd before 
 he reached Dunstable. On ariiving at the iini in that town be coiisultecl ilu' ostler, 
 who placed a small flint in the fire, heated it to rirdness, and, after throwing it 
 into water, ])ulverised it. lie then blew a little of the powder into the horse's 
 eyes. The attention f)f Mr. ,\stburv was arrested by the process of reilucing the 
 flint to powder, and ob>^erving the wliite charneter of the latter, lie had some flints 
 sent to Shelton, " wherr," according to Dr. Shaw {( '/icmi.stri/ n/' /'orrclniii, (il(is.<i, 
 and Polhrij, 18.'l7, ji. U48;, " on bis reiiirn home be had them fired iifler the ware 
 was baked ; then pulverised in a large mortar, and in the state of jxiwder mixed 
 with pi|)e-clay in water, with which be irashrd the inside of hi-- hollow ware, 
 ritimately it was introduced into the body."
 
 30 BRITISH roTTEIlY AND PORCELAIN. 
 
 obtained from the chalk districts from which there is the cheapest 
 carringo. Those which are bUick are usually employed ; and 
 rolled Hint pebbles, or boulder flints, from the sea-shore, are 
 much preferred to flints (juarried directly from the chalk. 
 
 The flints are flrst calcined or burnt in a kiln to render them 
 ea.'=^ily broken, and they are then stamped or crushed and, being 
 afterwards mixed with water, are reduced to the consistency of 
 cream by grinding in circular pans, the bottoms of vrhich are 
 cominoidy paved with some hard stone, generally chert, over 
 which heavy stones of the like kind are driven round by 
 machinery, iind the flints are thus ground in water between 
 them. \Mien taken out of these pans the mixture is 
 placed in a reservoir, often termed an ark, where the pounded 
 flint settles and the water is drawn off". 
 
 The specimens A. 2G to 29 show the flints in the raw state ; 
 calcined ; stamped and crushed ; and, finallj'-, ground in the 
 mill A. 30 is a sample of chert from the Carboniferous Lime- 
 stone of Gronant, Talacre, Flintshire; used for paving the flint- 
 grinding mills in the Staflbrdshire potteries. 
 
 'Manufacture ov Earthenware and Porcelain. 
 
 [See specimens in lower compartment of Pedestal Case No. 53.] 
 
 Manufactibve of Earthenware. 
 
 With respect to the manufacture of common earthenware, one 
 which is carried on in England on a vast scale, not only for 
 home consumption, but also for exportation, the following sketch 
 of the processes usually employed may be useful to the visitor.* 
 
 The common, body is generally composed of Dorset or Poole 
 clay (" ball clay "), Cornish or Devon kaolin, and flint. 
 
 The best body is formed of Dorset or Poole clay, Cornish or 
 Devon kaolin, Cornish chir)a-stone, and flint. 
 
 The Dorset or Poole clay, which may be regarded as the base 
 or chief ingredient in the manufacture of English earthenware, 
 is beaten up with water, and reduced to a state in which it can 
 be passed through sieves of various sizes, in order to free it from 
 lumps, and to render it of a fine uniform consistency. The 
 kaolin requires no preparatory cleaning, and the flints are used 
 in the finely-cotn minuted form in which they are obtained by 
 their deposit in water after passing through the grinding mills. 
 The china-stone requires to be crushed and reduced to a fine 
 powder in mills, its treatment being indeed similar to that of 
 the flints, with the exception of its not requiring calcination. 
 
 All the materials being thus ready for use, the proportions of 
 each considered requisite for the kind of ware about to be made 
 are mixed with water and with cich other, and the mixture 
 taken to the slip kiln, a long britk tr«.'ugh heated by means of 
 
 * An excellent description of the manufacture will be found in an article by Mr. 
 W. Burton in Prof. Thorpe's " Dictionary of Applied Chemistry," vol. iii., 1893, 
 p. 296. For porcelain, see also M. Dubreuil's volume, " La Porcelaine," in Fremy's 
 Encyc. Chim., Paris, 1885.
 
 MANUFACTURE OF EARTHENWARE. 31 
 
 flues from a furnace. Here it is kept simmering until it 
 acquires somewhat the consistency of dough. In this state it is 
 ready for use, and is placed, until required, in cold dark cellars. 
 If coloured bodies or pastes are required, so as to give a general 
 tint to the ware, cei'tain metallic oxides, or coloured clays or 
 marls, are added to the prepared mixture. The specimen B, 1 
 shows the paste ready for use. 
 
 The body or paste of mixed materials being now prepare!, it 
 is either thrown, as it is termed, by means of the potter's wheel 
 (see p. 35), that is, raised into circular forms of different kinds 
 by means of the rotary motion of the wheel, and by the action 
 of the fingers ; or more generally it is moulded into forms : in 
 the latter case the paste is first rolled into flattened pieces, 
 which can be easily squeezed into a mould, commonly of plaster 
 of Paris. The " thrown " forms may be finished by placing 
 them on a lathe and turning them into more accurate shapes. 
 B. 2 is a piece of ware thrown on the wheel, and B. 3 a similar 
 piece after turning on the lathe. 
 
 The various forms liaving been completed, the pieces are 
 carefully dried in rooms prepared for the purpose, in order to 
 deprive them as much as possible of moisture. Indeed, the 
 water is to be regarded only as a tool in the manufacture, a 
 vehicle of plasticity to be laid aside when no longer required. 
 
 Having been thus sufficiently dried, the pieces of earthenware 
 are placed in large flat-V)ottomed ])ans, oval or round, as may be 
 considered desirable, with vertical sides of sufficient height ; 
 these cases are termed saggers or seggars, and are made of 
 refractory materials, such as fire-clays, broken pieces of earthen- 
 ware after the first firing, and also of broken saggers themselves, 
 pounded up, and often mixed with a small portion of damaged 
 Dorset, Devon, or Cornish clays. In these saggers the diied 
 pieces are so placed as to allow as many as possible to be packed 
 without injury to one ani;thei'. The objects are generally sup- 
 ported on a i)ed of finely ground calcined flint. The daggers 
 are tlien arranged in a conical kiln, termed the " Ijiscuit 
 kiln," in piles one above another, so that an upper covers 
 a lower sagger. Common ware is sometimes burnt with- 
 out protection in saggers. The kiln is then fired, that is, 
 the proj)er lieat is comniunicateil to it, and the fire is continued 
 for about three days; for instance, a kiln fired on Monday 
 evening will be ready to be drawn, or the saggers and their 
 contents removed, on Friday morning. The ware is then in the 
 condition of biscidf, IxTing white and porous, and readily absorbino- 
 water. B. 4 is a sample of biscuit ware. 
 
 This " biscuit" may now be painted with certain colours, which 
 can be U3ed under the glaze, that is, before it is covered with a 
 preparation which in another " firing" forms a coating of glass, 
 or it may receive transfers from engiavings, thus pn^dncinL,^ 
 printed were. The colours which can be advantageously u.^imI 
 " under the glaze " are few as compared with those employed
 
 38 HKiTisii roriEUY and POUCELAIN. 
 
 above it.* In tlio latter case the paints usod are enamel colours, 
 that is, ^[lasses of diHereut kinds mixed with metallic oxides 
 ■which give the required colour.f The printing is but the 
 employment of tlie colours that can be advantageously used 
 " under the glaze," mixed with oil and worked as ordinary 
 printing ink for engravings. Care is required in manipulating 
 the paper from which the ]>rint is transferred to the " biscuit," 
 and in dexterously removing the ))aper after its application, so 
 that the inqiression be not injured. To drive off the oil used 
 as a vehicle for the colours, the ware after " printing " is exposed 
 to a low heat in a kiln termed the hardening kiln, after which 
 it is ready to be glazed. B. 4>a is a piece of biscuit ware, painted 
 with colours that may be used under the glaze ; B. 5 is a piece 
 ol" biscuit printed in blue ; while the prints marked B. 7 are 
 samples of the engravings on thin paper for transference to the 
 biscuit. 
 
 The materials of the glaze, which may vary according to the 
 practice at different potteries, are mixed with water, so as to 
 iorm a substance of about the consistency of cream. Into this 
 liquid the earthenware, either painted with colours whicli will 
 not suffer by the heat of the kiln into which it is next placed, 
 or })riuted with colours of the like kind, is dexterously dipped. 
 Upon removal all traces of the colouring are lost under a thin 
 general coating of the finely comminuted materials of the glaze, 
 the water being readily absorbed by the porous " biscuit ware." 
 It is now placed in saggers and exposed for about a day in the 
 gloss or glost kiln, as it is termed, where it is subjected to a 
 lower temperature than in the biscuit kiln, but at the same 
 time a temperature sufficiently high to fuse the coating upon 
 the ware, and so form a glass, which by its transparency 
 discloses the painting or printing beneath, while by its imper- 
 viousness it prevents the access of liquids to the porous body. 
 The earthenware is then ready for the market. 
 
 Dip Ware. — While referring to the manufacture of earthen- 
 ware mention should be made of a very ingenious method, 
 apparently in use long before the present white earthenware was 
 invented, commonly termed dipt or dip ware. This kind of 
 earthenware is still made, although not to so great an extent as 
 formerly, " printed " and " biscuit painted ware " being able to 
 advantageously compete with it in lowness of price. In the 
 manufacture of this ware, the body or paste after having been 
 prepared as usual, is handed over to the " dip turner." This 
 workman having received the " thrown " piece (a mug for 
 instance) in its rough state, places it on a lathe, and takes off its 
 
 * Cobalt blue, chrome green, &c. may be used under the glaze, as tliey are not 
 altered by the heat of the gloss or glazing kiln. Hed from peroxide of iron cannot 
 he thus applied, as the heat of the kiln converts the red into brown or black. 
 
 f These glasses are in general more readily fusible than is the kind of glaze 
 employed, so that the latter is not injured by the firing, the enamel colour simply 
 covering and sufficiently uniting with it. The glaze itself can be coloured with 
 TariouK metallic oxides. {See p. 37.)
 
 MANUFACTURE OF PORCELAIN. 
 
 33 
 
 inequalities, even giving it a pattern, if thought desirable, by 
 engine turning. Having coloured clays (either natural or 
 artificially prepared) of the consistency of cream in a vessel ^vitll 
 a spout that can be varied in form, he blows into this vessel 
 through another tube, and thus forces the creamy clay out of the 
 first-mentioned spout upon the piece of clay turning slowly on 
 his lathe. In this manner rings of coloured clay can be de- 
 posited on the revolving piece of ware, and by dexterously 
 dropping portions of the creamy clays, patterns of different kinds 
 and of different colours may be produced, great variety of design 
 being thus obtainable. The arborescent or dendritic forms may 
 also be produced b}'' the " dip turner," who, after covering the 
 turned piece of the original paste or body with an evenly-spread 
 coating of his " dip " compound in its creamy condition, drops 
 upon it, before it becomes dry, another kind of " dip " compound, 
 having a greater density than the first, and thus, by holding the 
 piece so that the heavier compound or colour can descend amid 
 the moist first-spread " dip " he permits it to disseminate its 
 particles in an arborescent form. The pieces thus prepared are 
 then merely fired in the " biscuit " kiln, and glazed in the 
 " gloss " kiln for the market. 
 
 The specimens B. 8 to 12, illustrate the successive stages in 
 the manufacture of dip-ware. 
 
 Manufacture of Porcelain. 
 
 The manufacture of porcelain bears a general resemblance to 
 that of earthenware, the differences relating chiefly to the com- 
 position of the pastes or bodies and of the glazes, to the arrange- 
 ment of kilns by which the more refractory materials are exposed 
 to higher temperatures, and to muffles or kilns for firing the 
 various enamel colours employed upon the different forms given* 
 to the porcelain. The materials for fine porcelain are o round 
 with the greatest care to excessive fineness, and revolving 
 magnets are often used to extract particles of iron, which would 
 detract from the purity of the ware. 
 
 According to the analyses of M. Laurent, the general com- 
 position of the Sevres porcelmn, from 1770 to 1836, was that 
 given in the following analysis, No. I., while No. II. shows the 
 composition of tlie paste used for printing upon in 1843 ; the two 
 l)eing nearly identical : — 
 
 Rilica 
 Alumina 
 Lime 
 Potash 
 
 I. 
 
 II. 
 
 .')8 • 
 
 84-5 
 
 4-5 
 
 3 1) 
 
 100 
 
 58-03 
 
 33-94 
 
 4-58 
 
 2-97 
 
 99-52
 
 34 
 
 mUTISH POTTERY AND PORCELAIN. 
 
 The substances usually employed to form the paste or body 
 are kaolin, from St. Yrieix-la-Perche, near Limoges ; china-stone, 
 (elastic clay IVom Abondant on the eastern edge of the Foret-de- 
 Dreux, the siliceous sand (nearly pure silica) of Aumont, near 
 Creill, and chalk from the Colliue-de-Bougivall. 
 
 According to the analyses of M. Laurent, the composition of 
 the Meitiscn (Dresden) porcelain of 1825 chiefly differed from 
 that of Stjvres in containing scarcely any lime, but more potash, 
 as will be >-een b}- the analysis No. III. With this may be com- 
 pared the analysis No. IV. showing the composition of the 
 Berlin porcelain of 1808 ; this shows that the proportion of 
 silica in the Berlin ware was greater, while the per-centage of 
 potash was lower than in the Meissen, but higher than in the 
 Sevres porcelain. 
 
 III. 
 
 IV. 
 
 silica 
 
 57-7 
 
 66-6 
 
 Aliwuiiiu - - - 
 
 360- 
 
 28-0 
 
 Potash - 
 
 5-2 
 
 3-4 
 
 Lime - - - 
 
 0-3 
 
 O'S 
 
 Protoxide of iron 
 
 0-8 
 
 0-7 
 
 „ manganese - 
 
 traces 
 
 0-6 
 
 100-0 
 
 99-6 
 
 The chemical composition of '.the various kinds of English 
 porcelain had not until recently received much attention. Two 
 kinds of English soft porcelain were analysed by Mr. Couper with 
 the following results : — * 
 
 Silica 
 
 Alumina 
 
 Lime 
 
 Protoxide of iron 
 
 Phospliate of lime 
 
 Magnesia - 
 
 Alkali and loss 
 
 .} 
 
 V. 
 
 VI. 
 
 39-88 
 
 40-60 
 
 21'48 
 
 24-15 
 
 10-06 
 
 14-22 
 
 26-44 
 
 15-32 
 
 
 
 0-43 
 
 214 
 
 5-28 
 
 100-00 
 
 1 
 
 100-00 
 
 To Professor A. H. Church we are indebted for several 
 analyses of English porcelain, of great interest as throwing light 
 upon the materials employed at an early date in this country. 
 The analysis here cited as No. VII. shows the composition of 
 the semi-porcelain made at Fulham in the l7th century by 
 D wight, and proves that kaolin was not then used.f No. VIII. 
 
 * " Philosophical Magazine," vol. xxxi. (N.S.), 1847, p. 440. 
 
 t "Some Points of Contact between the Scientific an<l Artistic Aspects of Pottery 
 and Porcelain." Cantor Lectures by Prof. Church, ^yurw. .S'oc. .(4/-/*, vol. XXIX., 
 1881. p. 141.
 
 THE POTTERS WHEEL. 
 
 35 
 
 is an analysis of some fragments of Boiu porcelain, unglazed, 
 (lug np many years ago on the site of Messrs. Bell and Black's 
 works, showing by the phosphoric acid that bone-ash had been 
 employed.* ISo. IX is an analysis of a piece of Chelsea porce- 
 lain, belonging to the early Sprhnont period, f while No. X. 
 shows the composition of the hard paste made at Bristol by 
 Champion. X 
 
 
 VII. 
 
 viir. 
 
 1 
 
 IX. 
 
 .J. 
 
 X. 
 
 Silica 
 
 
 79-5 
 
 40-0 
 
 40-2 
 
 62-92 
 
 Aluiiiiiiii 
 
 - 
 
 12-5 
 
 16-0 
 
 8-4 
 
 3316 
 
 Oxide of iron 
 
 - 
 
 1-0 
 
 — 
 
 1-2 
 
 — 
 
 Lime 
 
 ■ 
 
 15 
 
 24-0 
 
 27-4 
 
 1-28 
 
 Potash - 
 
 - 
 
 3-e 
 
 0-fi 
 
 0-9 
 
 1 2-64 
 
 Soda 
 
 - 
 
 1-5 
 
 1-3 
 
 1-0 
 
 Phosphoric acid - 
 
 
 — 
 
 17-3 
 
 20-3 
 
 — 
 
 
 yo-o 
 
 1 99-2 
 
 99-4 
 
 100-00 
 
 The ingredients emploj^'ed in the manufacture of English 
 porcelain are commonly Cornish or Devon kaolin, Cornish china- 
 stone, and flint, with prepared bones. According to Aikin, the 
 following was the composition of the body or paste of a Stafford- 
 shire porcelain, about the year 1840 : — 
 
 Corui.sh kaolin 
 Cornish china-stone 
 Flint - 
 Prepared bones 
 
 31-0 
 
 26-0 
 
 2-5 
 
 4'J-5 
 
 lOC-0 
 
 Pofter's IVheel. 
 
 As tlie potter's wlieel has been so important an aid in the 
 manufacture of pottery antl porcelain, a slight notice of its 
 progress among mankind seoms desirable. After nmch discussion 
 on the subject it would appear probahlc that the potter's wlieel , 
 like so many other things connected with the ceramic art, was 
 derived fnjm China. M. Broiigniart infrrred that the potti-r's 
 wheel, after leaving China, whciv it had been long known, 
 passed int<j Egypt by Scythia and J:Jactria, ami through Scythia 
 or Egypt itself to the Arabs of the Arabian peninsula and of 
 Afri«i. He also considered that the evidence tended to show 
 that it was introduced through Scythia, nnd nearly at the same 
 time into Greece and its coK^nies in Southern Italy, reaching 
 Etrai'ia at a later date, and that it sprea<l over th(! whole of 
 Southern Euroj)e, Home, aii<l its colonies, Spain, «S:c., as these 
 
 * Jouni. Sor. Arts, X.\IX., l«81, p. 128. 
 
 t " Soiifit KcTisiii^fon Museum Art Ilanilhooks : ICii^li^li I'orcclaiii. 
 Church, Part I., I«89, p. 21. 
 J Ibid., J'art II., ].. 70. 
 
 U 75101. 
 
 liy Prof 
 
 D
 
 3G 
 
 IJKITISH rOTTKUY AND POUCELAIN. 
 
 cimntries bociime civilised and acquainted ^vitll the arts of the 
 East, st(>p}>ing at the southei-n jiart of Germany, and onlv 
 ]i;irtially entorinsx it: and that while penetratinij;- into Gaul, it 
 ivniained unknown among the ancient Scandinavian nations. 
 None of the neolithic pottery found in this country shows any 
 evidence of a knowledge of the potter's wheel ; nor does that of 
 the bronze aze* 
 
 iSSr.. 
 
 Fig. 1. 
 
 Representations of the potter's wheel in the tombs of Beni 
 Hassan at Thebes (Fig. 1), show that the ancient method of 
 employing it in Egypt was much the same as that connnon in 
 most countries at the present day. In modern works where the 
 wheel is used, steam-power is almost invariably employed ; but 
 the use of the wheel has to a great extent been superseded by 
 improved methods of " moulding " and " pressing." 
 
 Glazes. 
 
 [See specimens in Pedestal Case No. 5.] 
 
 The porosity of ordinary jiottery, however valuable in hot 
 climates for the purpose of cooling liquids,t was clearly in most 
 cases a disadvantage, and led at a very early period to the use of 
 a glazing, or thin glass covering, for the purpose of rendering 
 the ware impervious to fluids. In the present state of our know- 
 ledge it appears difficult to fix a probable date for this invention, 
 or even to attribute it to anj^ locality. As regards the potter's 
 art, so little is known of the early intercourse of the Chinese 
 with the nations adjoining them, and of these again wnth the 
 more western nations of antiquity, that even supposing the view 
 taken of the progress of the potter's wheel to be approximatel}'' 
 correct, and that early Chinese pottery was glazed, so that a 
 knowledge of a process ])y which a glaze was formed would 
 travel with the wheel, we still remain in doubt as to how far the 
 first glazing of potterj'' can be traced to that people. The early 
 
 * See Sir John Evans's "Ancient Bronze Implements," 1881, p. 487. 
 
 t Probably this application of unplazed ware was known in early times, seeing 
 that the comparative coolness of water in porous vessels, from the reduction of 
 temperature consequent upon the c\aporation of the water percolating through their 
 walls, would have been readily observed and appreciated in warm climates.
 
 GLAZES. 37 
 
 Chinese glazes do not appear to be known. Those which we see 
 upon their ancient porcelain would seem to be derived from the 
 same substances as those now employed, namely, mixtures in 
 which felspar forms a chief ingredient, and whicli usually require 
 "high firing," or considerable heat to melt them. Sr.ch glazes, 
 however, would be little applicable to the ware of those ancient 
 nations whose pottery has become known to us — ware which, for 
 the most part, is not of a very refractory kind. 
 
 The composition of glazes requires to be buch that when they 
 are exposed to the heat necessary for vitrification they shall 
 unite with the ])aste or body, and that in cooling they shall not 
 split, crack, or ci^aze, in consequence of their contracting during 
 firing to such an extent that they cannot, when fired, completely 
 covet- the pottery or porcelain beneath. The glassy substances 
 employed as glazes — metallic silicates and borates — firmly unite 
 with the paste or body beneath, and thus a complete union is 
 effected. The substances conmionly used in the production of 
 glazes are quartz, flint, felspar, gypsum (hydrous sulphate of 
 lime, or calcium sulphate), borax (hydrous biborate of soda, or 
 sodium diborate), boric acid, common salt (sodium chloride), potash, 
 soda, and red oxide of lead. Some glazes are first formed into 
 frits, or imperfectly vitrified bodies, and then pounded for use. 
 Most glazes are either alkaline or lead glazes, the former being 
 again separable into soda and potash glazes. Coloured glazes 
 are formed with the addition of certain metallic oxides, such as 
 those of manganese, copper, iron, chromium, cobalt, &c. Opaque 
 gla.ss or enamel is made, usually, with oxide of tin, sometimes 
 with phosphate cf lime, or, rarely, with ar.senious acid.* 
 
 Egyptian Glazes or Enamels. 
 
 When or wherever the use of glazes may have originated, it is 
 certain that they were employed at an early period in Egypt.f 
 It «ouM appear that tlie ware made, like ordinary unglazed 
 Egyptian pottery, from the common clay of the Nile, wouM not 
 readil}' adhere to sueli glazes or enamels as the Egyptians em- 
 ployed ; and hence ai-ose the nece.ssity for introducing a difierent 
 material, when it was pro[)Osed to glaze the sui'face. Accordingly 
 we find that their small glazed figures and other ornamental 
 objects are composed in the interior of gi'ains of sand cemented 
 together by some vitreous matter, conimonly silicate of soda. 
 Sueh a body could have ver^' little plasticity ; but although thus 
 ill-suited to be worketl on tin- lathe, it was readily stnnq)e<I in 
 
 * On the optical fharactor.M and artistic value of gla/«'s the visitor may be referred 
 Xn a i>fipcr" On I'ottcrv fihi/es : tht-ir Chissificatioii ami Di'corafivc Value in Cera- 
 mic Dciiign," by Wilton P. \i\\,Jouin. Sor. Arl.i.vo\. xli., IH93, p. 29.">. 
 
 t "Opa<ine glassfP or ftiamcls, as old as the XVII Ith dynasty, and onainellcd 
 objects as early a» the IVth, have been found in Kgvpt." " History of Ancient 
 Pottery," by Samuel Hirch, F.S.A., 1858, vol. i. p. C. 
 
 D 2
 
 3S 
 
 lUMIlslI PoTTKlvV AND PORCELAIN. 
 
 iiuniUls, and it is therefore by this means that moat of the objects 
 ■were lonneil. The blue, greenisli-bhie, and k^'^'^'^ glazes fre- 
 quently seen on Egyptian ^vure appeal- to be due to a f^ilicate of 
 copper and sodium^ or of copper an<l calciuui. CJlazed bodies 
 of this character are known as old as the sixth dynast}^* 
 
 Many examples of these blue-gl ized objects are exhibited in 
 the collection. C. 1 to C. 8 are the little sepulchral figures, called 
 shi(J)ti or ushdbii, which represent the deceased enveloped in 
 bandages. The l)<>dy is stamped with an inscription i» hiero- 
 glyphics from the Eitual of the Dead. Each figure is mounted 
 on a plinth, and supported at the back by a flat column. 
 
 According to analyses made in the laboratory of this Museum, 
 the white body, seen in the fractured specimens, is composed of 
 tine sand cemented by silicate (jf soda. The soda was probably 
 introduced in the foi m of a carbonate (derived, peidiaps, from ihe 
 Natron Lakes), and, having been mingled with the sand, the 
 mixture was moulded, fired, and glazed. The glazed frits are 
 often, though incorrectly, known as Egyptian " porcelain." 
 
 A beautiful turquoise-blue is 
 seen on the little figure of Ptah- 
 Sekeri-Hesar, C. 10 (Fig. 2), and 
 < n the small images of Ta-hur 
 (Thoueris), C. 11 and 12 (Fig. 3). 
 In some of the other specimens 
 the glaze becomes more or less 
 nreeni-h, due probably to over- 
 firing. The series includes a 
 figure of Ra (the sun), C. 13; of 
 Pasht (Bubastis), C. 1-t ; of Tat, 
 in shape of a Nilometer, the 
 emblem of stability, C 15; of a 
 fish, C. 16; and of the Sacred 
 Eye, C. 17. 
 
 The symbolical eye is found with Ei,ryptian mummies, usually 
 near the incision wliich was made for evisceration in the process 
 of embalmincr. 
 
 The blue glaze was in some cases applied to objects carved in 
 .steatite and other substances, as seen in some of the scaraba?i, 
 C. 22. It may be noted that the elliptical base of each specimen is 
 impressed or carved in intaglio, with hieroglyphics, Jiiid is bored 
 throufrh its loncrer diameter either for strinofinf; or for mountinjx 
 as a signet ring. The scarabaeus, or sacred beetle of the 
 Egyptians, was called Kheper, or " Creator." 
 
 The specimen C. 21 is a pectoral plate from a munmiy, carved 
 in a steatitic substance, coated wiih a glaze and inlaid with 
 enamels. It presents the form of an Egj ptian doorway with 
 
 Fig. 2. 
 
 Fia. y. 
 
 * " History of Ancient Pottery," by Samuel Birch, 18.i8, vol. i., p. 68.
 
 EGYPTIAN GLAZES. 39 
 
 recur\ ed cornice, and has carved upon it, in low relief, a subject 
 representing the adoration of the jackal of Anubis. The carved 
 steatite was dipped into the cupriferous glaze, and then exposed 
 to tlie heat necessary for vitrifying the glaze. Portions of a 
 frit covered with a deep blue glaze, together with pieces of yellow 
 aragonite, were then inlaid in cavities excavated in the steatite, 
 thus filling up the general design. As these cavities are lined by 
 the green glaze, it is evident that they were carved previously to 
 the glazing. The pectoral plate was suspended from the neck of 
 the mummy by a cord passing through apertures pierced in the 
 cornice. The plates were known as uta or uja. 
 
 The female figure, with winged arms, C. 22a, is carved in wood, 
 inlaid with coloured enamels and gilt. Some of these enamels 
 present a turquoise-blue colour, similar to that of the cupriferous 
 glazes on many of the foregoing specimens, whilst others possess 
 a rich blue tint resembling a cobalt bine ; it lias, however, been 
 proved by examination in the laboratory of this institution that 
 this deep blue colour is produced by copper, and not by cobalt. 
 Some fragments of the blue mosaic are tipped with a red enamel ; 
 all the pieces have been carefully ground to fit into the depres- 
 sions caived in the wood. Traces of gilding, which are still to 
 be detected on the figure, show that the elevated wooden parti- 
 tions between the several pieces of enamel were originally gilt ; 
 a,nd those portions of the figure which are not covered by mosaic 
 ■work appear to have been enriched by painting and gilding. 
 
 The colouiing matter of the blue enamels, illustrated by many 
 fjpecimens in this series, seems to be similar to that of the famous 
 Egyptian or Vestorian blue, a frit which was largely used when 
 ground as a pigment by the ancient Egyptians, frum whom a 
 knowledge of its use passed to the Romans. It is said to have 
 been discovered by Vitruvius of Alexandria, who obtained it by 
 heating a mixture of sand, carbonate of soda, and co])per filings.^ 
 Fragments of the frit have been found among Gallo-Jloman 
 remains in Britta'iy.f The art of producing this blue pigment 
 seems to have died out, but in recent years it has 1)een fre(|uently 
 reproduced. M. Foufjue has shown that it may be pie})ared 
 without tiie use of any alkali, and has obtained a fine blue 
 crystalline double silicate of copper and calcium, having the 
 composition CuO. CaO. 4 SiO.^. This compound is interesting 
 for the intpnse ])](,'ochroism which it exhiljits in the micrascojie, 
 l>eing in one direction deep l)lue and in an<jther direction of pale 
 rose tint.:}: Prof Flindei-s Petrie has recently presented to the 
 Museum several specimens of the ancient blue frits with other 
 pigments obtained by him during his exphjiations in Egyjit. 
 'J'hese have been examined chemically l>y Prof. W. J. Russell, 
 F.R.8. 
 
 • .Tourn. Chemical Soc, toI. Ivii., IH'jo. Abstracts, p. 21.'). 
 
 + Hullcfin Sor. Min.Tulofjiqiie d-' Kranro, t. iii., 1H«0, y. I'.tT; f. iv. IRHl, p. S2. 
 X " Siir le bleu epypticn ou vestorien," par M. V. Fou^uc. Uul. Soc. Min. Frauce, 
 t. xii., 1889, p. 36.
 
 40 
 
 imniSH POTTKHY AND PORCELAIN. 
 
 A.^sijriiiu and Babjloniaa (Jiazcs. 
 
 Tho p;la/.od ware of Assyria and Babylonia was inferior in 
 every xvspect to that of K^ypt. Many of tlio specimens whicli 
 have come down to us show the application of a coloured glaze 
 or enamel to the siu-face of britks for the purpose of ornamental 
 architecture. —an application which was prohaljly derived by the 
 Assyrians from the Eg3-ptians. 
 
 A large Babylonian brick, C. 2;}, (Fig. 4*), presented 
 
 by the Council of the 
 Royal Institution, 
 shows the charactei' 
 of the material when 
 iniglazed. The brick 
 is stamped with a 
 cuneiform inscription 
 which has been trans- 
 lated as follows : — 
 
 Nebuchadnezzar 
 Kini^ of Babylon 
 Eestorer of Bitzazgal 
 And Bitsidda 
 Eldost Son 
 Of Nabopolassor 
 pi,e_ 4 King of Babylon. 
 
 The specimens C. 24 and 25 are fragments of enamelled 
 bricks, presented by Sir Henry Layard ; the former from 
 Nimroud (Nineveh) and the latter from Khorsabad, Assyria ; 
 whilst the specimens C. 2G to 28 are pieces of similar enamelled 
 bricks, from Babylon, collected and presented many years ago 
 by the late Mr. \V. Kennett Loftus. 
 
 Examination of the glazes on these bricks, by the late Dr. 
 Percy at this institution, showed, as regards the specimens of 
 Babylonian bricks, that with a soda-glass, or silicate of sodium, 
 an opaque white colour was obtained by the use of oxide of tin, 
 while a yellow was produced by means of antimony and lead 
 (antimoniate of lead, or " Naples yellow "). The blue colour 
 derived from copper was previously well known, but the occur- 
 rence of lead in the blue enamel, oxide of lead proljably having 
 been employed as a flux, had not been previouslj' ascertained. 
 From the manner in which the Babylonian bricks are coated, 
 the glaze having run over and down the sides, it would appear 
 as if the glazing composition had been applied while the face of 
 the brick to be glazed was horizontal, and that this position 
 of the surface was maintained when the brick was tired, in 
 order to vitrify the composition. The Assyrian enamelled 
 bricks in this collection appear to show that similar glazes or 
 enamels were probably employed by the Assyrians at a still 
 earlier date. The bodies of all the Assyrian and Babylonian 
 bricks mentioned above contain calcareous matter. 
 
 • This woodcut, from Birch's "Ancient Pottery," 1873, Fig. 87, has been kindlj 
 furnished by Mr. Murray.
 
 INDIAN AND GREEK GLAZES. 
 
 41 
 
 Indian Enamels or Glazes. 
 
 The Egyptian method of ena- 
 melling frits composed of siliceous 
 sand cemented by some alkaline 
 silicate seems to have been intro- 
 duced into India by the Mobam- V^ 
 medans. A specimen, C. 29, (Fig. 
 5) from the tombs of the Kootub 
 (Shahee Dynasty), Golconda, 
 which may be referred to about Fig. 5. 
 
 the loth century, was presented many years ago by Major 
 Oliphant. In this specimen the frits are enamelled with dif- 
 ferently coloured glasses, and the enamelled frits then cut so as 
 to form a design in mosaic when embedded in a wall of chunam 
 or plaster. A portion of a bird (C) is represented in yellow on 
 a turquoise-blue ground (B) with a margin of white (A). The 
 blue colour, probably formed by a silicate of copper and soda, 
 as in the Babylonian brick, closely resembles the turquoise-blue 
 of the Sevres porcelain. These enamelled frits have been used 
 in India from the 13th century, and it is said that they are still 
 made in Scinde. 
 
 Greek Glazes. 
 
 It has been supposed that the black glaze employed in the 
 ancient Greek vases, especially those found in the Campaniii, is 
 due in great part to volcanic ashes, which were spread by the 
 brush over the required portions, the vases being then exposed 
 to the heat necessary for the fusion of the ash. The white and 
 other colours used upon these vases are not enamels, but coloured 
 clays or enrjohet^ painted on the vases after the design had been 
 sketched. Among the splendid series of specimens in the British 
 Musum, there are some pieces showing, in those places where 
 the engobes have peeled off, a freedom of hand which much 
 surpasses that exhibited by the finished work, as might, indeed, 
 l)e expected from the greater difficulty of working with coloured 
 clays <jf the proper consistency. According to M. Salvt'tat, who 
 analysed the black glaze of some Greek pottery (Campanian), it 
 had the following composition : — 
 
 Silica .-...- 4.63 
 
 Ahiruina - • - - . . . lir> 
 
 Lime - • - - . - - 57 
 
 Miij^ncsia - - - ... i>-;? 
 
 Soda ....... 171 
 
 Oxidoofiron - - - ... 107 
 
 1000 
 
 The (juuntity of soda in this compound, which otherwise does 
 not very materially <lifler in constitution from some volcanic 
 aslies, might lead to the supposition that it had been added as a
 
 42 
 
 imiTISII riHTERV AND PORCELAIN. 
 
 Fig. 6. 
 
 Mux. The whole, iudei'd, may have l)ecn artificial, l)ut whether 
 natural or artiticial, its use in painting on tliese vases iUustratosi 
 the application of a <j^iaz;e to Greek pottery for ornamental 
 jnirposes. 
 
 A small, but eliaracteristie series of specimens is exhibited in 
 the j;;hiss cases which stand on the bridge over the staircase 
 leading from tl.e Hall. 
 
 The early Greek vase 
 C. 30 (Fig. G) was found 
 at Vulci, in Etruria, and 
 may be referred to about 
 700 B.C. It illustrates 
 the mode ot' decoration 
 generally employed on 
 such Avare. (Jn the body 
 of the vase, which is red- 
 dish, figures were first 
 sketched in red, then 
 coloured by black glaze, 
 and tired ; engobes of white 
 and red were ad(.]ed in 
 certain parts, and portions 
 of the figures were picked out by scratching through the glaze 
 with a point. 
 
 A similar mode 
 of decorating is 
 illustrated by 
 the fine hyclria, 
 or water- va'se, 
 C. 31 (Fig. 7), 
 found also at 
 Vulci. This 
 piece, ornament- 
 ed with highly 
 artistic designs, 
 may be dated 
 between 500 
 iind 400 B.C. 
 
 The two am- 
 phorce.C 32 and 
 33 (Figs. S and 
 9) were both^ 
 obtained from 
 Vulci, and fur- 
 nish further 
 illustrations of 
 thesamemethod 
 of ornamenta- 
 tion. The am- 
 Yk. 7. phora, C. 34-
 
 GREEK GLAZES. 
 
 43 
 
 (Fig. 10), from Ruvo, near Naples, is not so ancient as the 
 former specimens, and may probably be referred to about 
 300 B.C. The figures on this piece are left in red, whilst the 
 ground is painted with a black glaze. 
 
 Fig. 8. Fig. 9. 
 
 A similar style has been employed in the decoration of some 
 of the foll(Aving specimens, such as the large oxyhaphon, C 36 
 (J'ig. 11), which was also found at Ruvo. 
 
 Fig 10. 
 
 Fir,, l:,
 
 44 
 
 BRITISH PO'riTKV AND PORCELAIN. 
 
 The wnochoi-', or wine jug, C. 38 (Fig. 12), is of red body, 
 cinn|»lotoly coated with hhick ghize and oniainented around the 
 neck with engobe, whilst tlie siniiUir vessel with trefoil lip, C. 38 
 (Fig. 13), is also covered with the black glaze. Both specimens 
 were found in the Campania. 
 
 Fig. 13. 
 
 Fig. 12. 
 
 Several examples of the Greek cylix, or double-handed tazza, 
 are exhibited in the collection, and as these are usually 
 decorated with paintings on the under side, they are placed on 
 a glass mirror which enables the design to be readily seen by 
 
 Fig. 14.
 
 GREEK GLAZES. 
 
 45 
 
 Pig. 15. 
 
 reflection. Tlie specimen G. 42, from Vulci, in Etruria, is 
 represented in Figs. 14 and 15. Another cylix from- Vulci is 
 
 Fi(i. 16. 
 
 Fio. 17.
 
 4ti 
 
 BRITISH POTTERY AND PORCELAIN. 
 
 Ill 
 
 aiked 0. 4;i, ami .IcpicU-d in Fi^r.. Ki aiid 17. The tine 
 specimen, from Ruvo, near Naples, marked C. 44, is elegantly 
 decorated on both sides, as seen in Fig.s. 18 and 19. 
 
 Fig. 18. 
 
 Fig. 19.
 
 GREEK GLAZES. 
 
 47 
 
 The figures 20 and 21 represent the upper and under sides 
 of an elegant httle cyhx, found at Nola in the Campania, and 
 covered with black glaze, but not decorated with any painted 
 design (C. 40), 
 
 Fig. 20. 
 
 Fig. 21. 
 
 The Etruscan cantJutrofi, C. 49 (Fig. 22), and the scjji)hos!,C. 50 
 (Fig. 23), are examples of a black ware, with smooth external 
 Kurface, apparently due to a very thin coat of glaze. 
 
 Fig. 22. 
 
 1<^G. 2X 
 
 Lead GlazcM. 
 
 Lead liii.s bfcn found, as previously stated (p. 40), in the 
 enamel or gUize of the Babylonian bricks. Brongniart refers to
 
 4S inuTiSH roiTEUY and porcelain. 
 
 a Roman lamp in the BUdiotlteqite Imperlale at Paris of about 
 the second or third century of the Christian era, with a green 
 c'Uproous ghize containing lead ; as also a small statuette of 
 Venus Anadyomene, su[)posed to be less ancient than the lamp, 
 in like manner covered with the gre:jn glaze containing lead. 
 The Arabs emjdoyed a plumbiferous glaze in the ninth cen- 
 tury, for some fragments of Arab pottery of that date, in the 
 Ceramic Museum at Sevres, have a lead glaze. Two broken 
 \ases now preserved at Sevres which were taken from a tomb of 
 the date of 1120 in the celebrated Abbaye de Jumieges, have 
 plumbiferons glazes, the one yellowisli and the other a brilliant 
 gieen. How far these vases may have been manufactured in 
 France is uncertain ; but if the statement of Passeri ba well 
 founded, that in 1100 a lead glaze was produced on the pottery 
 then manufactui-ed at Pesaro by covering the body or paste 
 with oxide of lead, plumbiferons glazes must have been em- 
 ployed in Europe in the early part of the 12th century. Load 
 glaze was in use in Alsace in the IStli century. Stazlstatt, who 
 died in 1283, is commonlv reputed to have been the first pei-son 
 in Alsace, who glazed fictile ware with lead. 
 
 The M'>ors introduced their lead glaze into Spain in the 
 13th century, and about that time its use seems to have spread 
 in different countries. The tiles used in the French castles and 
 abbej's of the 13th century (Abbaye de Voulton, near Provins, 
 Fontaineblea-J, Chateau de Gisors, St. Etienne d'Agen) were 
 covered with a lead glaze, as also were the various Norman 
 tiles which have been used in the churches and castles of 
 England. These tiles date back to the early part of the 13th 
 century, and seem to have been very commonly employed in 
 the 14th, loth, and 16th centuries, and even later. 
 
 A series of encaustic tiles, with geometrical and heraldic 
 designs, is exhibited under the reference-numbers C. 52 to 66. 
 These tiles were obtained from Droitwich and Malvern, in 
 Worcestershire ; from Reading Abbey and East Hampstead Park 
 in Berkshire ; from Castle Acre in Norfolk ; and from Tavistock 
 in Devonshire. The design was impressed in the clay, and the 
 hollows filled in with clays of various colours, the entire surface 
 being then coated with a lead glaze. It has been suggested 
 f lom the artistic character of some of the designs, so far in 
 advance of those on the contemporaneous domestic pottery, that 
 the inlaid tiles were probably made — at least in some eases — in 
 the religous houses themselves.* 
 
 Lead glazes were largely employed at a later period in the 
 Staffordshire and other potteries of this country, as will be seen 
 by reference to many of the specimens in the collection; and 
 they still continue to be much used for glazing common earthen- 
 ware, although it is desirable to avoid as much as possible such 
 
 * " South Kensington Museum Art Handbooks : English Earthenware." By Prof. 
 A. II. Church, M.A., Part I., 1884, i>. 12.
 
 LEAD AND TIN GLAZES. 
 
 49 
 
 The following 
 
 glazing on vessels used for domestic purposes 
 
 may be taken as examples of the composition of the plumbiferous 
 
 glazes used for ordinary English earthenware :* — 
 
 
 Cream-colour 
 Glaze. 
 
 Printed Watc 
 
 
 Glaze. 
 
 Carbonate of lead - - . . . 
 Cornish china-stone - . - . . 
 Flint .... - 
 Flint glass .-----.. 
 
 66 
 22 
 12 
 
 45 
 
 28 
 13 
 14 
 
 
 100 
 
 100 
 
 The annexed are examples of glazes containing lead used for 
 some of the soft English porcelains : — 
 
 I. — Cornish china-stone, 100 parts, calcined flint, 60 parts, carbonate of 
 lime. 25 parts, Cornish kaolin, 10 parts, soda, 10 parts, borax 60 parts, 
 and carbonate of lead, 30 parte. 
 
 These substances are fritted together with 20 per cent, of 
 carbonate of lead, and 10 per cent, of flint. 
 
 II. — Cornish china-stone, 34 parts, chalk, 17 parts, flint, 15 parts, and 
 borax, 34 parts. 
 
 These materials are fritted together and the glaze formed of 
 C9 per cent, of the frit, 10 per cent, of Cornish china-stone, and 
 21 per cent, of carbonate of lead. 
 
 Tin Glazes or Enamels. 
 
 When certain infusible suV)stances, in a finely divided state, 
 are introduced into the substance of a glaze, the particles 
 remain mechanically suspended in the vitrified product, whicli 
 thus accjuircs more or, less opacity. Binoxide of tin, or stannic 
 oxide, employed in this manner produces an opaque white 
 enamel, which has been largely applied to the glazing of certain 
 kinds of pottery, since it forms a surface well adapted to receive 
 painting. It is generally suppo.sed that the use of tin for this 
 purpose originated with the Persians and Arabians, but it has 
 been shown that stanniferous glazes were u.scd in Assyria and 
 Babylon (p. 40). W(! are not aware that such glazes have been 
 found among the ])roductions of the ancient Chinese. Brongniart 
 infers that tin glazes or enamels were known to the Arabs of 
 Northern Africa in the ninth centuiy. Vy<)]u the (evidence of 
 the bricks with stannifei'ous glazes from Babylon and Nineveh, 
 the use of such glazes may readily have been derived fiom the 
 countries east of the Mcdit<!iTanean. The tiles employed at the 
 tomb of Midionict at Medina built in 707, huve, however, 
 neither tin nor lead in their irlaze. 
 
 * " Chemical Technology," by Dr. F. Knapp, c-ditcd hy Dr. K. Koualds and Dr. 
 T. Richardson, vol. ii., p. 477.
 
 .■)0 luuTisii rorrKuv and poiuelain. 
 
 It socius clear that stannit'frou.s ^^lazos were introduced into 
 Europe by tlie Arabs or Moors during- their power in Spain. 
 There still remain some beautiful works in enamel tiles in that 
 country, especially at the Moorish palace of the Alhauibra, 
 where many of the tiles are coated with a stanniferous glaze. 
 The dates of tlie earlier of these tiles at the Alhauibra would 
 )ange from 1273 to 1302. Tiles of a like general kind are still 
 manufactured at V^alencia. It has been suggested by Mr. Drury 
 Fortmim that the occurrence of tin-ore in Spain may have led 
 originally to the accidental discovery of tin glazes or enamels. 
 
 Five fcrtigments of tiles from the Alhambra, are exhibited as 
 C. 82 to 86, and tw^o from the Alcazar at Seville. As a typical 
 example, the tile G. 82 may be referred to. Upon the face of 
 the tile, which is of a reddish paste, a coating of wdiite opaque 
 stanniferous enamel was spread, and upon this white surface, 
 after firing, the design was painted in blue and brown enamels. 
 
 Majolica Ware* — Though Moorish tiles were probably intro- 
 duced into Italy at the conquest of Majorca by the Pisans in 
 1115, and such tiles were sufficiently esteemed to be employed 
 for ornamental purposes in the churches of Pisa and other 
 places, it is by no means clear when and how a knowledge of 
 tin glazes passed into Italy. It has been generally considered 
 that they were first used by Luca della Robbia, the Florentine 
 sculptor, so celebrated for his terra-cotta figures and bas-reliefs 
 covered wuth stanniferous glazes. Delia Robbia was born 
 about the year 1400, and was eminent as a sulptor in bronze 
 and marble before he modelled in clay for terra-cottas. He 
 died in 1481. During his lifetime, and for long after his death, 
 similar work was executed by his assistants Ottoviano and 
 Agostino, his nephew Andrea, and his great nephews Giovanni, 
 Luca, and Girolamo. The colours which these masters employed 
 were yellow, opaque blue, green, and violet 
 
 Although Luca della Robbia has usually been regarded as the 
 first to employ stanniferous glazes in Italy, it is not improbable 
 that he may have derived his knowledge of such glazes from the 
 early .samples of Italian Majolica ware, with are coated with a 
 similar enamel, and are apparently of an age contempoi-aneous 
 with that of Della Rohbia's earliest etfoits in this direction.t 
 The early examples of Majolica or " Raffaelle " ware resemble 
 the Moorish |)ottery from which it took its origin. The term 
 Majolica, is, indeed, derived from Majorca, — an island which, 
 according to Fabio Ferrari, was called Majolica by the ancient 
 Tuscan writers, and whence this kind of pottery was introduced 
 into Ital}-. The popular designation of Raffaelle ware, has 
 
 * Reference iDay be advantageously made by the student to a fine work on 
 Majolita ami allied ivan s, published for the Science and Art Department, and 
 entitled " A Descriptive Catalogue of Maiolica, llispaiio-Moresco, Persian, Damascus, 
 and Khodian waros in the South Kensington Museum ; with Historical Notices, 
 Marks, and Monograms. By C. Drury E. Fortnuni, F.S.A.," 187:i, pp. 698. 
 
 t " Catalogue of the Soulages Collection," by J. C. Robinson, F.S.A., 1857, p. 52.
 
 MAJOLICA. .^1 
 
 arisen from its decoration having been in some cases copied 
 from designs after Kaft'aele.* 
 
 The process of manufacturing Majolica ware has been 
 described by Passeri, who wrote in the middle of the last 
 century.f After the b idyor paste had been fired, it was coated 
 with a white clay or earth and a composition of oxide of lead 
 and oxide of tin, the proportion of tin being increased as the 
 enamel was required to be whiter and harder. This manu- 
 facture was in the most flourishing state from about 1540 to 
 1560, and declined greatly in importance after 1574. Duke 
 Guid' Ubaldo II. of Urbino greatly encouraged its manufacture, 
 giving to his works designs by RafFaelle and his pupils. The 
 towns of Urbino, Gubbio, Pesaro, Castel Durante, and Faenza 
 were the most celebrated for their production of this ware, but, 
 the manufacture was extended to other places in Italy. Some 
 of the early ware known as Mezza Majolica is not glazed with 
 tin, but is formed of a coarse body which has been coated with 
 thin M'hite slip, on which the painting was executed and after- 
 wards covered with a lead-glaze. Such ware is often decorated 
 with colours which present peculiar iridescent and metallic 
 lustres. It appears indeed that the term Majolica was originally 
 restricted to ware having such lustres applied to a tin-glazed 
 surface, and even some modern authorities have advocated the 
 limitation of the term to its original use. Among the early 
 Majolica lustres the famous ruby has been considered peculiar 
 to one artist Maestro Giorgio, of Gubbio ; and although it 
 appears that he was not the inventor of this glaze, he never 
 theless so appropriated it that many Majolica painters are 
 believed to have sent their productions to M. Giorgio in order 
 that he might enrich them with the celebrated lustre.J 
 According to Brongniart, there is no colour on the Majolica 
 ware due to any preparation of gold.§ 
 
 Only a few pieces of Majolica ware are here exhibited, and 
 the visiUjr seeking other examples may be referred to the 
 valuable and extensive collection in the South Kensington 
 Museum. The circular plateau, or hacile, C. 90, is a specimen 
 of Mezza Majolica, having the centre grounded in white :ind 
 painted in blue with a female bust- portrait in profile, enriched 
 
 ♦ It iH probable that l{;ifT:i('lle himself neither i)ainted on Majolira ware nor 
 fuinished dceifrns for its dceoration. A letter bus, however, been attributed to 
 Kaffiieile, in which the Duchess of I'rhino is iii(orni<-d that the desif^ns are ready 
 which she had desired for her sideboard. It is certain that the l{alVaelle who 
 wrote this h-tter could imt liave been the f^reat master, inasmuch as the latter had 
 been dead lun^; before the period to whicli the letter may be referred (Miirryat's 
 " History of I'ottery and Porcelain," .'{rd ed., IH'IH, j.. :<:>). Some of the desi{,Mis ol 
 Majolica' ware are consi.lcrerl to have been taken from the engravinj,'s of KafFaclle's 
 works by Marco Antonio. 
 
 t " Istorirt della I'itture in Majolica fattc in I'csaro e nel Ino^hi circonviciiii, a 
 work first printed in Venice in ITT)?, and reprinted at BoloKH" in 1775. Another 
 edition, edite<l bv Ij^nazio Montniiari, appeared in \A.\:\. All these are exceedingly 
 Bcarce. A ♦ranslation in French, witli an a] pendix by the translator, M. Delango 
 was published in I'aris, I)ecetnt)er IH.'i.';. 
 
 X " C^atalogue of the Soulages Collection," by J. ('. Kobinson, K.S.A . y. 1. 
 
 § The gold purple, or " purple precipitate of Cast;iuB," was not known untd U'lSS. 
 
 U 7.')4(»1. E
 
 52 BRITISH POTTER V AXD PORCELAIN. 
 
 with vt'llow metallic lustre washed over the costume and hea«l- 
 dress ; the ra\ ed border is painted in blue and white with 
 3'ellow lustre ; while the reverse is coated with coarse yi'llowish- 
 brown glaze. It is believed that specimens decorated with these 
 lustres were made only at three localities — Pesaro, Gubbio, and 
 Deruta. Pieces of Majolica ware intended as lovers' presents 
 were often painted with portraits and ap])ropriate inscriptions, 
 and are known as Amator'ii Majolica. This specimen although 
 of coarse body, and called Mezza Majolica, appears to be coated 
 with a tin -enamel. 
 
 The Mezza Majolica plate, C. 91, is decorated in the centre 
 with a large floriated initial E, outlined in blue, painted with 
 brown iridescent madrejicrla lustie, and eniiched with crimson 
 or ruby lustre. Its date may be fixed between 1510 and 1520. 
 This piece was probably decorated at Gubbio, where Maestro 
 Giorgio is believed to have monopolised the use of the ruby 
 lustre. These lustred pieces were the true old Majolica ; the 
 term, says Mr. Fortnum, " w^as originally applied only to wares 
 " having the lustre enrichment ; and it is probable that this 
 " distinctive appellation was more or less in use until the decline 
 " of the manufacture." " The method of producing these 
 " metallic effects may here be briefly repeated from the descrip- 
 " tion in the supplement to Piccolpasso's work. He there states 
 " the ingredients of the pigments as communicated to him by 
 " Maestro Vincenzio of Gubbio, and explains the method of 
 " building the furnace in which the pieces to be lustred after 
 " baking are exposed to the action of hot smoke, produced by 
 " the burning of faggots of broom and brushwood. This smoke, 
 " being carbon in a highly-divided state, coming into contact 
 " with these pigments on the heated wares, reduces the metallic 
 " salts, leaving a thin surface of the metals, which being of a 
 " mixed nature and blended with other ingredients, produce 
 " those varied and beautiful tints."^ Mr. W. de Morgan's recent 
 reproductions of the old lustres are noted at p. 62. 
 
 In the plateau C. 92 we have a sample of Majolica ware of 
 the best period. This piece is painted in colours with a design 
 representing C. Mutius Scaevola burning h.is right hand before 
 King Porsenna. The reverse is inscribed in blue " G. V. V. D. 
 " Munus F. Andrea Volaterrano. Mutio ch' la sua destra 
 " eranfe code." This bacile istoriato, which is a good example 
 of the best style of Majolica ware and is useful as showing the 
 colours employed, was made at Pesaro in the duchy of Urbino, 
 and bears on the rim the arms of the Duke Guid' Ubaldo of 
 Urbino. The initials on the back are those of "Guido Ubaldo 
 " Urbini Dux," and the inscription may be rendered," Presented 
 to Frate Andrea of Volterra," the rest being merely descriptive 
 of the scene depicted on the front. Collectors are familiar with 
 other pieces of this service, which, it is believed, was made in 
 1545 at the botega of Lanfranco in Pesaro. 
 
 * Fortnum's " DescriptiTe Catalogue," 1873, pp. 180, 181.
 
 jrAJOLICA. 
 
 53 
 
 Another plateau of the best period is marked C. 93, and is 
 painted in colours with a group of astrologers, and j^outh in 
 costume of the period j^laying an organ, while an attendant blows 
 the bellows. The reverse is inscribed in blue, " ASTROL OGIA, 
 1545." 
 
 The next piece, C. 94, is a Majolica plate ornamented in 
 colours, with three shields of arms on the rim. The reverse is 
 painted with sca'e pattern in orange on yellow ground, the 
 white centre being inscribed in blue, " MDXX XITI • F • ATHAN 
 j!\SIVS • B • M." Similar specimens have been attributed to 
 Baldasara Manarn, of Faenza, to whom the initials B. M. probably 
 refer, while the F. may stand for Faenza. This piece is useful, 
 not only as illustrating the colours employed, but also as showing 
 by a tinger-mark that the stanniferous ground and colours upon 
 it were in a thick pasty state before firing. By a careful inspec- 
 tion of the three preceding specimens, it will be observed that 
 the only colours employed are blue, yellow, light brown, and 
 bluish black, with their mixtures. 
 
 The coloured design on the plate, C. 95, is emblematical of the 
 suVjection of Science to Love ; and the reverse is inscribed, 
 " Atnor crudele con site voglie prave fecie Aristofil portar freno 
 " e sella, 1547." It is notable that the blue colour of part of 
 this inscription is brought out only where the glaze passes over 
 the writing. 
 
 On the plate, C. 96, the design is painted in dull-green 
 camaieu, with touches of yellow introduced in the sky. In 
 the central concavity is a cupid, and on the broad border the 
 Rape of Proserpine. The reverse is ornamented with scrolls 
 painted in blue on a white enamelled ground, and bearing the 
 artist's monogram. Mr. Fortnum, who has copied this monogram 
 in his Catalogue, p. 456, has pointed out that it corresponds with 
 the mark on a Majolica plate, which also bears an inscription 
 with the placH and date of manufacture ; Fabriano. 1527. 
 Specimens of this manufacture are extremely rare. 
 
 The plate, (A 98, of 
 Siena mamifacture, is 
 an example of Majolica 
 ware of rather later date 
 than the pieces previous- 
 ly noticed. It is orna- 
 mented in colours 
 represented in Fig. 24. 
 
 as 
 
 Pdliss;/ lla;.^. —The 
 celebiat(;(l ware mnxlo by 
 Palissy was coated with 
 a stanniferous glaze, the 
 production of which cost 
 him nnich labour, and 
 upon this glaze coloured 
 
 E 2
 
 54 
 
 BRITISH rOTTERV AND TOUCELAIN. 
 
 enamels wore oiiij^loytMl. Bernard Palissy was bom of poor 
 parents at La Chapolle Jiiron, in Porigord, about- tlie year 1510. 
 He was a most enter|)rising man, and while working at glass- 
 painting and land-surveying for a subsistence, studied geology, 
 chemistry, and other blanches of science. Having seen a beauti- 
 ful cup of enamelled pottery, he laboured to discover the secret 
 of its enamel. For IG years he vainly attempted to imitate it, 
 spending in these atteni])ts all his money, and involving himself 
 in much misery. Success, however, finally crowned his efforts. 
 He died in confinement in the Bastile about the year 1589. 
 
 Palissy's " rustic ware," which has become extremely famous, 
 is remarkable for its decorations in relief, truthfully modelled 
 and coloured from natural objects in the neighbourhood of Paris, 
 such as reptiles, fishes, leaves, and even the fossil shells of the 
 district. An example of this ware is furnished by the oval dish, 
 C. 101. In the centre is a fish, modelled in high relief and 
 surrounded by fern fronds and a({uatic plants, with a lizard, 
 frog, snake, insects, and freshwater shells (Planorhis, Faludina, 
 &c.), all coloured in enamels from nature. In addition, however, 
 to this characteristic relief ware, Palissy produced a great 
 variety of different kinds of pottery. 
 
 Belft Ware. — The famous Delft ware was coated with a stan- 
 niferous glaze or enamel, upon which the designs were executed 
 chiefly in blue. Only a single specimen of this ware is here 
 exhibited, in order to show the character of the glaze, but a 
 collection of interestin<; examples will be found in the lower 
 part of Wall Cases XXXV. to XLIV. From Holland the manu- 
 facture of Delft ware was introduced into this country, and 
 specimens made at Lambeth, Bristol, Liverpool, and other 
 English localities are described under their respective places of 
 manufacture. The punch-bowl, Mo. S. 10 (p. 173), is interesting 
 as bearing a motto alluding to the use of tin in the enamel. 
 
 It is remarkable that the bodies or pastes employed by Luca 
 della Rol)bia, and by the manufacturers of the Majolica and 
 Delft ware, are so nearly alike in composition, as to suggest a 
 suspicion that a knowledge of their constitution may have been 
 deiived one from another. The Palissy ware is, however, differ- 
 ently composed, C(jntaining less calcareous matter than the 
 others, and consisting almost wholly of silica and alumina. The 
 foilcjwing analyses of these .several wares are given by M. 
 Brongniart, the analyses having been made at Sevres : — 
 
 
 
 Liica 
 della Kobbia. 
 
 Majolica. 
 
 Delft. 
 
 Palissj. 
 
 Silica 
 
 . 
 
 49-65 
 
 48-00 
 
 49-07 
 
 67-50 
 
 Alumina 
 
 . 
 
 1.1-50 
 
 17 -.50 
 
 16-19 
 
 28-51 
 
 Lime 
 
 . 
 
 22-40 
 
 20-12 
 
 18-01 
 
 1-.52 
 
 Magnesia 
 
 - 
 
 0-J7 
 
 1-17 
 
 0-82 
 
 — 
 
 Oxide of iron 
 
 - 
 
 3-70 
 
 3-75 
 
 2-82 
 
 2 05 
 
 C'arl)ODic acid 
 
 and loss • 
 
 8-58 
 
 9-46 
 
 13-09 
 
 0-42* 
 
 This quantity represents loss, and not carbonic acid.
 
 GLAZES. 55 
 
 Felspathic Glazes. 
 
 A knowledge of Felspathic glazes, or those in which felspar 
 forms a more or less prominent ingredient, seems to liave been 
 introduced into Europe with that of the composition of the 
 Chinese porcelain pastes or bodies ; so that as European imita- 
 tions of the latter extended, the use of felspathic glazes also 
 spread. These glazes usually require a far greater heat for 
 their fusion than is required for those which aie employed on 
 ordinary earthenware. 
 
 The Chinese glazes are variously composed, but consist chiefly 
 of petrosilex (a quartzo-felspathic rock), the fusibility of which 
 is increased by the addition of lime, fern-ashes, and powdered 
 gypsum (che-kao). These materials, finely powdered and care- 
 fully mixed, are suspended in water, and the mixture applied 
 directly to the ware in its raw or unbaked state, the method 
 being, therefore, essentially different from that followed in 
 European manufactories, where the porcelain is never glazed 
 until it has been brought to the state of " biscuit " by firing.* 
 
 The felspathic glazes of Chinese porcelain are illustrated by 
 the specimens C, 104 to 116. Of these specimens, the first is a 
 tile from the famous Porcelain Tower at Nankin, which is 
 assigned to the date 1411. 
 
 Although, doubtless, many modifications may have been made 
 
 in the glazes employed at Meissen (Dresden) since the first 
 
 European porcelain works were carried on at that place at the 
 
 commencement of the eighteenth century, yet the glazes still 
 
 used there are interesting, as probably pointing in some measure 
 
 to the composition of those early employed. The following has 
 
 been given as the Meissen glaze of 1836, and it will be noticed 
 
 that it is destitute of felspar : — 
 
 Calcined qiiiirtz; - - ... 37'0 
 
 Kaolin ol' Seilitz, calcined . - - 37"0 
 
 Compact limestone of Neuntraansdorf, near Pirna 175 
 
 Pieces of porcelain ----- 85 
 
 1000 
 
 The glaze of the Berlin porcelain had, in 1836, the following 
 
 composition : — 
 
 Kaolin of Mori - - - ' ^} 
 
 Quartz saud - - . . - . 4.> 
 
 GypHum - - • - - 14 
 
 Pieces of porcelain - ... - 12 
 
 (Id 
 
 * For the compoHitiou of Chinese glazcR, boc M. SfaniKlas Julien's tr:iii8lntioa 
 from the Chint'se, entitled " Histoirc ef K:ibri<;iitioii de la I'orcelniiie Chinoiw, 
 Paris, 18.>6, p. l.'iU.
 
 56 BRITISH POTTEUY AND PORCELAIN. 
 
 Prior to the year 1780 tlic glaze employed at Sevres was 
 coini»ouudod as follows : — 
 
 Biscuit - - - • 4'8 
 
 Sand from Fontaiiicbloau - - 40 
 
 Chalk from Bougival - - 12 
 
 100 
 
 Since that date, however, the use of an artificially-prepared 
 glaze has been abandoned, and recourse hiid almost exclusively 
 to the pegmatite of St. Yrieix, near Limoges, a rock composed 
 of felspar and quartz. According to the analyses of M. Salv^tat 
 this rock has the following chemical composition : — 
 
 Silica .... 74-3 
 
 Alumina - - . - 18 '3 
 
 Potash ... - 6*5 
 
 Lime - ... 0*4 
 
 Magnesia • - - - 0'2 
 
 Loss . - . . . 0"3 
 
 100-0 
 
 For the glazes of English porcelain Cornish china-stone usually 
 forms an important ingredient, a frit being not unfrequently 
 made with this rock, associated with borax, flint, lime, or other 
 substances. Formerly lead was more employed in such glazes 
 than it is at present. 
 
 The Society of Arts in the session 1819-20 offered a premium 
 to the person " who shall discover to the society the cheapest, 
 " safest, most durable, and most easily fusible composition fit 
 " for the purpose of glazii)g earthenware, without any prepara- 
 " tion of lead, arsenic, or other pernicious ingradients, and 
 " superior to any hitherto in use." In the following session the 
 Isis Gold Medal was awarded to Mr. John Rose, of Coalport, 
 Shropshire, for an improved glaze for porcelain, having the 
 following composition : — 
 
 Parts. 
 
 Felspar from Welshpool, Montgomeryshire - - 27 
 
 Borax ..... - 18 
 
 Sand from Lynn, Norfolk - . - - 4 
 
 Cornish china-clay - - - - 3 
 
 Nitre ....... 3 
 
 Soda - - - - - 3 
 
 This mixture was fritted, and three parts of calcined borax 
 then added.* 
 
 A sample of this glaze is seen on the specimen 0. 119, which 
 bears the folhnving inscription, printed in red: — "Coalport 
 " Improved Feltspar (sic) Porcelain ; patronized by the Society 
 " of Arts; the Gold Medal awarded May 30, 182(); J. Rose 
 " and Co" (See also Coalport porcelain, p. 147.) 
 
 '' Transactions of the Society of Arts, vol. xxxviii., I82I, p. 42.
 
 GLAZES. 
 
 57 
 
 Cornish china-stone - 25 
 
 Soda - - - 6 
 
 Borax - - 3 
 
 Nitre - - ij 
 
 Fritted in glass- 
 oven, ana then 
 
 Felspar and felspathic rocks have ever since been largely- 
 used in the glazes of English porcelain. Most of the felspar 
 now used is impoited from Norway and Sweden, 
 
 The following formula was given by Drs. Ronalds and Richard- 
 son,* as producing a porcelain glaze considered excellent in 
 
 1848 :— 
 
 Parts. Per cent. 
 
 fFrit - - 26 
 
 China-stone - - 26 
 
 .. . ^^, „ White lead - 3 
 
 the following^ Flint - - 7 
 
 mixture used : j Carbonate of lime 7 
 
 1^ Oxide of tin - - 3 
 
 At one period the famous Worcester porcelain was coated 
 with a glaze of the following composition : — Red lead, 38 ; sand, 
 27 ; flint, 11 ; carbonate of potash, 15 ; and carbonate of soda, 
 9. This glaze, however, was long ago displaced b> a composition 
 in which China-stone and borax play an important part. 
 
 The constituents of the glaze, having been mixed in the 
 proper proportions, are fritted in a kiln, and the molten mass 
 run into water, whereby it becomes disintegrated. The powdered 
 frit is mixed with borax and other materials, and the mixture 
 ground in a mill. In order to secure complete incorporation of 
 the materials and reduction to an extreme state of division, tiie 
 grinding has in some cases to be continued for as long as 10 
 days.t The finely-divided glaze is suspended in water so as to 
 form a liquid of the consistency of cream, into which the 
 biscuit ware is dipped. After the pieces have been dried in an 
 oven, they are triinmed to remove any superfluous glaze, and 
 are then fired for many hours in the glost kiln, whereby the 
 glaze fuses and forms a thin smooth coating, unitbrndy spread 
 over the surface of the porcelain, which is then ready for deco- 
 ration by the painter and gilder. 
 
 Salt Olaze. 
 
 It is generally believed that salt glaze, or one in which com- 
 mon salt by its volatilisation amid the biscuit ware produces 
 the glaze, was first employed by Messrs. Palmer and Bagnall, at 
 their potteries at Burslern, in Staffordshire, about the year 1680. 
 
 Salt gla/.ing is effected towards the end of the firing by 
 throwing comnion salt (chloride of sodium) into the kiln con- 
 taining the ware, through apertures made for the purpose. At 
 the high temperature of the' kiln the salt is volatilised, and its 
 vapour thus surrounds the various vessels which are being 
 baked. The vapour of tluj so«lium chloride, the silica and 
 silicates, in the paste (jf the ware, and the watery vapour which 
 is always present, react upon one another, the hydrogen (>f the 
 water forming, with the chlorine of the salt, hydrochloric acid, 
 
 • See the additions to their translation of Kimpp's «' Cheniiciil Technology," vol. ii., 
 
 p. 466. „ 
 
 t " A Guide ihrough the Uoysil Pcjrcelain Works, Worcester,
 
 ^ BRITISH POTTERY AN'D PORCELAIN. 
 
 which pJisses oti" in the state of vapour, while the oxygen of the 
 steam unitin*]j witl\ the sodium produces soda, which forms a 
 siliciite on the surface of the ware, so that the biscuit becomes 
 coated with a tliin layer of silicate of sodium, or soda-glass. 
 Lead is in some eases associated with the salt glaze. 
 
 The old salt-glazed ware of Staffordshire is described on 
 p. 96 ; and a laroe series of characteristic specimens, obtained 
 mostly from the" Enoch Wood Collection, is exhibited in the 
 lower part of Wall -cases, I. to V. The early Fulham stone- 
 ware, of Dwight's manufacture, was also salt-glazed. 
 
 As salt glaze lequires for its production a very high tempera- 
 ture, and is not considered so generally applicable as other 
 glazes, it is employed at present only for sjjecial purposes. For 
 vessels required to contain acids and other corrosive liquids, 
 salt-glazed stone-ware is largely employed ; and it is also used 
 for drain and chinmey pipes, and for the stone-ware insulators 
 of the wires of electric telegraphs. When the body of the ware 
 contains iron, as is commonly the case with impure clays, the 
 stone-ware will present various shades of yellow and brown, 
 often of much richness. The surface of salt-glazed ware is also 
 characterised by a peculiar granular texture, somewhat resembling 
 that of orange-peel. 
 
 Sir Henry Doulton's remarkable application of stone-ware to 
 decorative purposes receives due notice at p. 170, in connexion 
 with the description of the history and productions of the 
 Lambeth and Vauxhall potteries. 
 
 Smearing. 
 
 Smearing, as it is termed, is produced by the evaporation, or 
 volatilisation, of certain glazes in closed saggers. Thus in the 
 earthenware kilns, where common glazes are employed upon the 
 ware, if the saggers be closed, and the heat be sufficient, other 
 biscuit-ware placed in the saggers may be slightly covered with 
 a coating of glaze, or be " smeared," by the evaporation from the 
 glazes. Certain compositions may also be placed in the bottom 
 of the closed saggers, and by their evaporation the ware in them 
 may be smeared or semi -glazed. Various mixtures are em- 
 ployed, and common salt is sometimes added ; for example, the 
 following composition may be used : — Common salt, 67 ; potash, 
 38 ; oxide of lead, 5. 
 
 Colours. 
 
 [See specimens in Table Case 3 ; east side.] 
 
 In the preparation of the materials used for painting on pot- 
 tery and porcelain the colouring agents are usually mixed with 
 some vitrifiable substance, or flux, which on fusion causes the 
 colours to adhere to the surface, and at the same time serves as
 
 POTTERY COLOURS. 59 
 
 a protection by covering them with an impervious glaze. Since 
 organic and volatile colours would suffer more or less alteration 
 upon exposure to the temperature necessary for the fusion of 
 the flux, their use is obviously excluded, and the range of 
 colours available for ceramic decoration is therefore confined to 
 certain metallic oxides and salts. In some cases the colouring 
 agents remain mechanically suspended in the flux, which thus 
 serves merely as a vehicle; while in other cases the oxides form 
 fusible silicates or borates by entering into chemical combination 
 with certain constituents of the flux with m hich they are mixed, 
 or of the paste to which they may be applied : examples of 
 mechanical suspension of colours are aflbrded by the greens from 
 oxide of chromium and by the reds and browns from peroxide of 
 iron ; while examples of chemical combination are furnished by 
 cobalt and copper colours, the silicates, and not the oxides, of 
 these metals being the true colouring agents. 
 
 In some modes of ceramic decoration the artist employs 
 coloured clays, or slips, the pigment becoming incorporated in 
 the body of the ware. Such encaustic colours were used by 
 Wedgwood in the decoration of some of his basaltes, or black 
 ware (p. 104). Coloured slips are in like manner used in the 
 favourite style of decoration called pdte sur pate. Most pottery- 
 pigments, however, are enumel colours, or, in other words, the 
 colouring matter is associated with a fusible material, which, 
 when fired, vitrifies as a coloured glass.* 
 
 ' Obviously the most durable mode of decoration would be that 
 of applying the colour to the ware when in the state of biscuit, 
 since it would then be protected by the coating of glaze subse- 
 quently laid over the surface. This mode of application is, 
 however, practicable only wlien tlie colours are capable of 
 resisting, unaltered, the temperature to which the ware is 
 exposed during the firing of the glaze. Such is the case, for 
 example, with the cobalt blues and chrome greens. But such 
 colours are exceptional, for in most cases the tint would be 
 seriously altered, if not entirely dispelled, liy the high tempeia- 
 ture requisite for fusing the porcelain glaze, and such colotii-s 
 can therefore be used only for painting upon t'le glazed surface ; 
 thus some of the yellows from prepaiations of antimony are 
 rendered almost colourless l)y a high temperature. Hence the 
 distinction between colours employed under the glaze, and those 
 which can be used only over the glaze. 
 
 Among the nu;tallic oxides which are available in cenimic 
 decoration tlie following are the most important : — Oxide of 
 cotrt^^, prepared generally IVoni ores containing cobalt and nickel 
 — sulphides, arsenides, and arsenio-sulpliides-is extensively 
 used in the preparation of blues, grays, and blacks, these colours 
 
 * On tlic sntij.ct of colours iitid ^Ih/ch tlie vinifor nuiy l>f referred to Professor 
 Church's Cniifor I.ectiiri'u on ".Some I'oints of Contact between tlie Scientific iind 
 Artistic Aspects of Pottery and I'orcelain." Journ. Soc. Arls, vol. xiix., 1881, 
 pp 95, lu').
 
 60 BRITISH POTTEllV AND PORCELAIN. 
 
 boiiiL' capable of withstaiuHntjj a liigh temperature, and there- 
 f(uv of lieinij^ used uiuler the tjjla/e ; the purity of tone of the 
 cobalt -bhies is grt^atly afieeted by the presence of nickel, iron, 
 or manganese. Oxide of chroiniu'ni generally obtained by the 
 decomposition either of chroiuate or bichromate of potash, or of 
 chromate of mercury, is used for producing a very stable green 
 colour whieli may be worked under the glaze ; chromium is also 
 a constituent of a pink colour used in ceramic decoration. 
 Peroxide of iron, or ferric oxide, prepared by the calcination of 
 ferrous sulphate, or green copperas, is used for reds, browns, and 
 violets, the tints varying with the temperature at which the 
 calcination is effected, and being capable of modification by 
 association with other oxides; the bright red of the Kaga ware 
 of Japan illustrates the vivid character of some iron pigments. 
 Oxide of antimony, giving various shades of yellow, is generally 
 mixed with oxide of zinc or of iron, but is sometimes used in the 
 form of antimoniate of lead or " Naples yellow." Oxides of 
 copper form silicates which are red with the suboxide (cuprous 
 salts), and blue with the protoxide (cuprous salts), when associ- 
 ated with an alkaline silicate. Peroxide of vumganese occurring 
 abundantly in a native state as pyrolusite, is used for violet, 
 puce, and black ; sesquioxide of uranium, a rare compound, is 
 occasionally employed for producing an orange colour ; while 
 oxide of iridium, an expensive prep.-i ration, is highly valued 
 for giving a hlack colour of extraordinary intensity. Oxide of 
 zinc, although incapable by itself of iropartint^ colour to any 
 vitreous substance, is nevertheless of great importance by its 
 power of modifying and improving other colours with which it 
 may be associated, such as the cobalt-blues. The tint may often 
 also be affected by the character of the flux employed. 
 
 Of the materials used for fluxing, the chief are felspar, borax, 
 nitre, litharge, alkaline carbonates, and preparations of bismuth. 
 It is necessary that the vitreous substances formed by these 
 fluxes, and coloured by the metallic oxides, should expand and 
 cont)act by alterations of temperature, in the same degree as the 
 body or glaze to which they are applied, since the colours would 
 otherwise become cracked or " crazed." 
 
 The collection includes a series of pottery pigments in powder, 
 with slal)S of porcelain showing the same colours after firing 
 (D. 1 to 27), prepared and presented many years ago by Messrs. 
 Minton and Co. ; a series of 28 small porcelain specimen-slabs, 
 illustrating a great range of tints (D. 28 to 55), also from Messrs. 
 Minton's works ; a sc ies of 34 specimens of colours showing 
 each pigment in its raw state, accompanied by a specinien-slab 
 exhibiting the same colour after firing (D. 56 to 89), prepared and 
 presented, from the Exhibition of 1862, by Messrs. Emery and 
 Co., of Cobridge, Staffbidshire ; 14 specimen -slabs of majolica 
 enamels and glazes (D. 90 to 103), prepared and presented by 
 Messrs. Maw and Co., of the Benthall Works, Broseley ; 29 
 cylindiical vessels of porcelain, each coloured in transverse bands
 
 COLOURS AND LUSTRES. 61 
 
 with different tints of enamel colours (D. 104 to 132); a speci- 
 men-slab (D. 133), divided into 20 compartments, showing the 
 principal colours employed at the National Porcelain Manu- 
 factory at Sevres ; 15 trial plates, with samples of various 
 colours employed at Sevres (D. iS-t to 148) ; and 12 porcelain 
 tablets (D. 152 to 163), each divided into three compai-trnents 
 exliibiting y6 of the principal colours employed at the Royal 
 Porcelain Manufactory at Berlin. 
 
 One of the most interesting ceramic pigments is the famous 
 Purple of Gassing. D. 23 is a bottle with this colour in the 
 raoist state, as a precipitate formed by adding a solution of 
 protochloi'ide and perchloride of tin (stannous and stannic chlo- 
 rides) to a solution of terchloride of gold (auric chloride), or by 
 digesting metallic tin in a solution of gold terchloride. Purple 
 of Cassius forms the base of all the pink and purple colours 
 used for painting over the glaze, but tiie pinks and purples used 
 under the glaze (D. 14 and D. 16) generally contain the oxides 
 of chromiun) and tin. 
 
 ' ' A small series, presented by Messrs. Minton & Co., illustrates 
 the materials employed in gilding on porcelain. The preparation, 
 as used, is shown in the bottle U. 164. An amalgam of gold 
 and mercury is mixed with a flux, and the powder worked up 
 with turpentine and oil, so that it may be applied to the ware 
 by means of a camel-hair pencil. The design having been 
 traced with this preparation, the piece is placed in a muffle and 
 submitted to firing. The gold left on the surface by the evapo- 
 ration of the vehicle is at first " dead," but readily assumes its 
 metallic lustre by burnishing with a piece of agate or haematite. 
 The slab D. 165 shows the gold after burnishing. The rich 
 effect of raised gold, as seen on the slab D. 167, is economically 
 obtained by first tracing the design with thick yellow enamel, 
 the surface of which is then gilt. 
 
 LiiMres. 
 
 [See specimens in Wall Cases XL. and XLI. ; lower compartment, 
 
 top shelf.] 
 
 Common pottery is often decorated with a brilliant metallic 
 lustre, which in some cases results from an extremely thin film 
 of the metal upon the glazed surface. As the metals thus 
 employed must not be susceptible of altrration by the agents to 
 which pottery is conmionl}- (exposed, n^coursi; is usually had to 
 the precious metals, chiefly g(jld and ]>latininii, but the (juantity 
 used is so extremely sniall that the commonest forms of eai-thcn- 
 ware may be coate«i with tliese lustres. Different processes ai'C 
 followed in the y)reparation of lustres, Imt they all consist in 
 reduciiii: the metal fron) a sbite of conibinatif)!!, and depositing 
 it in such a form that it exhibits its characteristic iusti'e irUli<iitt 
 burni'iliiiitf. The gold is dissolved in acjua regia, tin is fre(|uently 
 added, and the preparation mixed generally with balsam of
 
 62 BRITISH porrtuv and pohcelain. 
 
 sulpluir jiiul oil of turpentine. This preparation having been 
 applied to the surface by means of a brush, the piece is carefully 
 tireil and the reduced metal deposited in a state of extreme 
 tenuity : inileed, the layer is often transparent, and hence the 
 colour may be modified by that of the subjacent surface.' 
 
 It appears that the earliest known lustred pottery is that 
 found on the i-uins of Rhages and other ancient cities in Persia, 
 some of which, according to Sir R. Murdoch Smith, may be 
 2,000 years old. A knowledge of lustres was probably brought 
 to Europe by the Arabs, and some of the oldest European 
 examples are from Spain. Two specimens of coarse Hispano- 
 Arabic ware, of late date, are exhibited as D. 168 and 169. 
 
 It has been supposed that the lustres on some of the old 
 Spanish ware are due to a very thin layer of some preparation 
 of copper and not to the metal itself. It is notable that a 
 brilliant lustre similar to that on the Spanish ware was used in 
 the last century at Brislington, near Bristol. {See p. 139.) 
 
 The employment of lustres in the decoration of Majolica ware 
 has been already referred to (p. 51). It is generally said that 
 their use was introduced into Italy by the Moors, and that the 
 art of producing the niadreperla and ruby lustres was first 
 practised at Pesaro towards the close of the 14th century. 
 Notwithstanding the beauty of these lustres, their employment 
 on majolica ware does not seem to have extended beyond a period 
 of about 60 years, and the art of lustre-decoration came gradually 
 to be lost. After a disappearance of three centuries, the art was 
 revived at Doccia and Gubbio. 
 
 Of late years Mr. William de Morgan, of Chelsea, has most 
 successfully turned his attention to the production of lustres, 
 especially of copper and silver, and has obtained great proficiency 
 in their application to ceramic decoration. Writing in 1892,* 
 he thus describes his process, as then practised at Fulham : — 
 " The pigment consists simply of white clay, mixed with copper- 
 " scale or oxide of silver, in proportions varying according to 
 " the strength of colour we desire to get. It is painted on the 
 " already fused glaze with water and enough gum arabic to 
 " harden it for handling and make it work easily. . . . The 
 " ware, when painted, is packed in a close muffle, which is then 
 " raised to a very low red heat, so low, when the ordinary tin 
 " enamels are employed, as to be only just visible. A charge 
 " of dry wood, sawdust, wood chips, or, indeed, any combustible 
 " free from sulphur, is then introduced into the muffle through 
 " an opening level with the floor, a space having been left clear 
 " under the ware for its reception. As soon as it has blazed 
 " well up, the opening is closed. The flare then chokes down, 
 " and the combustion of the charge is retarded, the atmosphere 
 " in the muffle consisting entirely of reducing smoke." 
 
 * "Lustre Ware." By AVilliani de Morgan, Journ. Soc. Arts, vol. xL, 1892, 
 756.
 
 ANCIENT BRITISH POTTERY. 03 
 
 Several examples of lustres on common ware of the Stafford- 
 shire potteries are exhibited. The use of lustre pigments was 
 successfully carried on many years ago by Messrs. Lockett & Co., 
 of Longton. Samples of common ware daubed over with a 
 purple metallic lustre will be found among the productions of the 
 Newcastle and Sunderland potteries. Lustre pigments have also 
 been used at Swansea. In recent years, lustre decoration has 
 been most successfully employed by Messrs. Maw, of Broseley, 
 Salop. 
 
 A beautiful pearly lustre, like that of mother-of-pearl, is 
 exhibited on some cups and saucers (D. 177 to 182), made by 
 Messrs Gillett and Brianchon, of Paris, and exhibited at the 
 International Exhibiti.)n of 1862. This peculiar nacreous lustre 
 is produced by the use of nitrate of bismuth as a flux, mixed 
 with resin and essence of lavender as a vehicle, and associated 
 with certain metallic oxides as colouring agents. A similar 
 lustre has been used on Worcester and Belleek china. (See p. 175.) 
 
 Ancient British Pottery. 
 
 In describing the various kinds of pottery found in tliis 
 country it is necessary to allude in the first place to those 
 primitive wares which, being of pre-Roman age, are generally 
 known as Ancient British pottery. Much of this early ware is 
 found under conditions which show that it was contemporaneous 
 with the use of stone and bronze implements in these islands ; 
 but it is probable that similar coarse pottery continued to be 
 made even subsequently to the period of the Roman conquest. 
 The paste of this pottery consists of coarse unprepared clay, 
 usually mixed with pebbles ; and in most cases it has been but 
 imperfectly baked. The vessels vary considerably in size and 
 form ; most of them were simply fashioned by hand, and are 
 therefore as irregular in outline as they are rude in ornamentation. 
 The larger vessels are commonl}'^ urn-shaped, with a wide mouth, 
 narrow base, and overhanging rim. In decoration they exhibit 
 great simplicity ; the common ornaments having been often 
 produced by means of cords, bands, or thongs twisted round the 
 vessel when yet moist ; in other cases they consist of zig-zag, 
 chevron, or herring-bone patterns, either scratched in the paste 
 with a sharp-pointed instrument or impressed by means of a 
 rude stamp. It was proV)ably to some of these vessels tiiat the 
 Rotnans applied the term hanrmulfe or baskets. Most of the 
 samples of such ware which have come down to us ap[)e(ir to 
 have been used for sepulchral rather than for domestic purposes. 
 Indeed, tliis early pottery is chiefly found in bnrrows or tumuli, 
 where it is frequently associated with im|)lements of polished 
 stone and bronze, and with beads of glass, amber, and jet. Tlie 
 late Mr. Bateman, who had grf^at ex[)erience in ojiening burial 
 moiinds in Derbyshire, proposed to classify this pre-historic
 
 64 RRTTISH rOTTEIlY AND PORCELAIN. 
 
 pottery in the four folknviiiijj gr<)U]->s :* Cinerary or i^epulchral 
 vrns, which are found either eontainiii<j; calcined human bones 
 or inverted over them ; Incense-cups, which are smaller vessels, 
 of dcmbtful use ; Food vesseh, su])posed to have contained offerings 
 of food to the departed ; and, finally, Drinking cups. Such a 
 classification, however, is far from satisfactory, and our know- 
 ledge of the uses of many of these vessels is still very imperfect. 
 The so-ealled incense-cups were termed by the late Mr. Llewellyn 
 Jewitt immolation-urns. 
 
 There are at present only two examples of ancient British 
 pottery in this collection. A very fine series, however, will be found 
 in the British Museum, including the collection formed by Canon 
 Greenwell, and described in his work on British Barrows, f 
 
 The specimen exhibited in Pedestal Case No, 2, under the 
 reference D* 1, is a small but elegant cinerary urn, presented by 
 Kenneth R. Murchison, Esq., and found on the late Sir Roderick 
 Murchison's ancestral estate at Tarradale, in Ross-shire, Scotland. 
 
 Mr, Arthur J. Evans has recently described some interesting 
 types of pottery from an urn -field at Aylesford, in Kent, referred 
 to about the middle of the first century B.C. These Late Celtic 
 vases are of light body, made on the wheel, and of elegant form, 
 offering a marked contrast to tlie rude indigenous pottery of the 
 pre-Roman barrows of Britain.^ 
 
 Roman Pottery. 
 
 [See specimens in Pedestal Case No. 2 ; west side.] 
 
 Roman Red Lustrous Ware (Samian). 
 
 The use of this kind of pottery appears to have extended 
 with the Roman empire, fragments having been dibcovered 
 wherever tiie Roman people had settled after their conquests. 
 The date of its manufacture probably extended from the first 
 century B.C. to the fourth century of our era. It seems to have 
 been employed for domestic purposes, as earthenware and porce- 
 lain now are in this country. Passages from classical writers 
 may be cited to show that at certain periods it was fiashionable 
 at Roman tables, but at other times it fell into disfavour, and 
 its ase became almost a reproach, Samian ware was also 
 employed for vessels used in certain religious ceremonies. 
 
 The paste of the ware is usually of a tine sealing-wax red 
 colour, and was well worked before being wrought into shape. 
 Vessels of this ware have been generally carefully manufactured, 
 the plain pieces bearing the marks of having been turned on the 
 lathe, while the pieces which are moulded outside are in like 
 manner carefully finished inside. The red colour is derived 
 
 * "Ten Years' Digpngs in Celtic and Saxon Grave Hills." London, 1861. Mr, 
 Bateman's fine collection is no^v exhibited in the SheflBeld Mubcum. 
 
 t " British Barrows." By the Rev. W. Greenwell and George Rolleston. 1877. 
 J Archa-ologia, second series, vol- ii., 1890, p. 315.
 
 ROMAN POTTERY. 
 
 65 
 
 from the presence of peroxide of iron (ferric oxide), which is 
 supposed to have been purposely introduced into the paste by 
 admixture of certain ochres with the levigated clay. The glaze 
 is generally brilliant, unless it hr\s been decomposed from having 
 been subjected to unfavourable conditions when buried in the 
 earth, and appears to have been formed of a silicate with an 
 alkaline-earthy base, coloured by peroxide of iron. The 
 glazing on certain specimens suggests that tlie vessels, in an 
 unglazed condition, were dipped into a liquid slip containing the 
 materials which, on firing, would vitrify and form the glaze. 
 The late Dr. Birch suggested that a salt glaze might have been 
 used. Some of the ware seems to be polished rather than glazed. 
 A piece of Roman red ware found at Chatelet, and analysed 
 by M. Salvetat, presented the following composition : — 
 
 Silica ..... 64-00 
 
 Alumina - - , . - 17-77 
 
 Oxide of iron .... 10-23 
 
 Lime - - - ... 4-86 
 
 Water ..... 2-29 
 
 9915 
 
 The following analyses of two fragments of this ware found 
 in London were made at the Museum of Practical Geology by 
 the late Messrs. Philipps and Smith under the direction of 
 Dr. Percy, F.R.S. :— 
 
 
 I. 
 
 TI. 
 
 Silica - - . - - 
 Alumina - - . . - 
 Peroxide of iron . . . 
 Lime - - - . - - 
 Magnesia . . . - 
 Potash - - - - - 
 Soda . - . - - 
 
 54-45 
 22 - 08 
 7-31 
 9-76 
 1-67 
 3-221 
 1-76 f 
 
 60-67 
 
 20-96 
 
 5-95 
 
 6-77 
 
 1-22 
 
 Alkalies in small 
 
 quantities. 
 
 , 
 
 100-25 
 
 95-57 
 
 Respecting this ware, M. Brongniart observes " that it was 
 " worked in the most perfect manner, and with the aid of the 
 " greater part of the processes and means now employed in the 
 " most perfect manufacture."* The moulding seems to have 
 been so conducted that, with numerous stamps of different kinds, 
 a OTcat variety of pattcnis could be produced. These stamps 
 appear to have been impressed upon a ;;encral ni'-uld, into which 
 the moist paste was pressed, the mould being often formed of 
 the same pa^^te as the ware itself, and baked prior to use.t In 
 consequence of shrinkage, after drying ami firing, the finished 
 
 * " Traite Hes Arttt Ceraraiquen," tome i., p. 423. 
 
 t A fine mould for a Ucm;ui bowl will be found among the specimens from the 
 Rhine (No. E. 241).
 
 t;6 BunisH roTTEuv and porcelain. 
 
 piece of ware would be smaller than tiie baked mould. If the 
 latter were turned inside, when in the state of paste and before 
 receiviiif^ the ini|)ressions from the stamps, as probably it was, 
 the marks of the turnin*,' on a lathe would be impressed on the 
 outer surface of the piece of ware enclosed ; and thus an 
 exjilanation would be offered of the difficulty which is suggested 
 in attempting to account for the way in which the marks from 
 the lathe are sometimes singularly associated with the raised 
 ti'mres of the pattern. The moist paste of the ware inside, in 
 the general mould, could readily be turned after it had been 
 pressed properly against the latter, so that the fine work on the 
 exterior need not have been handled after pressure into the 
 general mould, and the finishing completed by the lathe inside 
 and around the edges. Indeed, if the general mould were whole 
 and employed as a sagger, the interior vessel in its state of 
 paste, after drying and shrinking, might have been fired in it. 
 
 It has generally been considered doubtful whether this red 
 lustrous ware was manufactured in the British Islands, though 
 its remains are sufficiently common, especially at Roman stations 
 in the south and west of England. It appears to have been 
 largely imported during the Roman occupation of these countries, 
 and, judging from the mended specimens, often discovered, seems 
 to have been of fair value at the time ; much in the same way 
 tliat Chinese porcelain was prized before porcelain was made in 
 this country. The late Mr. Roach Smith held that all I he 
 Samian ware found in Britain was of foreign origin ; but the 
 discovery of a portion of a mould for a bowl during excavations 
 at York in 1874, supports the view that such ware was also 
 manufactured to some extent at the Roman stations in this 
 country. Most of it, however, was probably made in Gaul. 
 
 The ware is usually known to antiquaries as " Samian," from 
 Satnos having been celebrated for its manufacture of a red 
 pottery The Samian potters were famous about B.C. 900 ; but 
 it may be doubted if any vessels of their manufacture have ever 
 been found at the Roman stations in England.* This so-called 
 Samian ware appears to have been manufactured extensively in 
 Italy, Gaul, and Germany ; while a somewhat similar material 
 known as " Aretine ware " was made at Aretium, the modem 
 Arezzo, in Italy. Various instruments in bronze, copper, ivory, 
 or bone, probably used in the manufacture and ornamentation 
 of the pottery, have been found where kilns for firing this ware 
 have been discovered. Moulds also, and stamps for making 
 them, have in like manner been obtained in certain localities 
 where it was manufacture*!, as at Rheinzabern, Lezouk, Arezzo, 
 and elsewhere. Though all this ware does not exhibit the 
 potters' marks, a large proportion of it is found to be carefully 
 
 * On the application of the term Samian to the. Roman red lustrous ware found 
 in England, .*ee discussion by Gen. Pitt-Rivers in his "Excavations in Crauborne 
 Chase" (Printed Privately), vol. iii., 1892, p. 294.
 
 ROMAN WARE FOUND IN LONDON. 67 
 
 stamped with such marks. Sometimes the name is in the 
 nominative followed by F. (fecit), aa for example, MONT ANS'F., 
 showinff that Montanus made it : in other cases the name is in 
 the genitive succeeded by M. {"tnanu), such as CRISPINI" M-, 
 signifying that the object was the work of Grispinus ; while the 
 abbreviation O. or OF. or OFFI. (officind) points to the manu- 
 factory of some potter, or at some place nnmed in the inscrip- 
 tion. According to Brongniart, some pieces of this ware have 
 been found with marks engraved with a point after baking, and 
 he observes that though in the Roman potteries fouud in 
 France the potters' names are chiefly Latin, there are, ne\'erthe- 
 les«, many Uaulish names, such as Livex, Vekivix, Buturix, &c. 
 
 Roman Red Liistrous Ware found in London. 
 
 The following section (Fig. 25) exposed while the improve- 
 ments were in progress in Cannon Street, City, in 1851, was 
 recorded by the late Mr. Chaffers, and will serve to illustrate the 
 manner ynd relative position in wdiich this ware is usually dis- 
 covered in the City of London. 
 
 
 
 te 9 6 3 o 
 
 I ■ I ■ I I I 1^ fCET 
 
 Fig. 25. 
 
 A. present level of tho street. B, roadway pi-evious to the Groat Fire 
 ot Loiulon, 16o6. C, f^i'ouiid in which the Norman and Early p]ngli.sli 
 pottery is found. D, portion of Roman tesselated pavement. E, black 
 soi ., in which the Samian and other Roman ware is found. F, chiy. rent- 
 ing on G, gravel. 
 
 A large number of the specimens collected in Pedestal Case 
 No. 2, were obtained from the Chaffers Collection, and include 
 illustrations of all the chief types of Samian ware. Other col- 
 lections will bo found in the British Museum, and in the Museum 
 of the Corporation at Ciuildhall. In whatever part of the City 
 of London deep excavations are made this ware is almost 
 certfiin to be found. An extraordinary collection of Roman 
 relics, including soum! very fine specimens of Samian pottery, 
 was unearthed in 1872, during the excavations for cellar.s on the 
 jiremises of the National Safe Deposit Company in Wal brook.* 
 
 * Tills collection was described by the late Mr. J. K. I'rice, F.S.A., in a work 
 entitled " Roman Antiquities illustrated hy Reinuiiis recently discovered on the site 
 " of the Niiiioiml Safe Deposit CompanyV premises, Mansion House, I<ondon.'* 
 •Ito London, 1873. 
 
 IJ 7.'>4<ll. v
 
 6S 
 
 imiTisH rorrKiiY and torcelaix, 
 
 Aiaoni>- tho finer specimens in this niusenni may he mentioned 
 tlie elegant ^•iVSL^ or howl, E. 1 (Ficr. 26), be:nin^- tho potter's 
 mark Tf • VITAL {L{(ficin(l Vitalis). This piece was found in 
 St. Martin's-le-Grand," London, in Aujrust 1845. 
 
 Fig. 26. 
 
 Of somewhat similar character is the bowl, or paro2-)sis* 
 E. 2 (Fig. 27), stamped with the potter's mark OF ' RVFINI. 
 
 > 
 
 Fig. 27. 
 
 The fragment of a 
 J' vase, E. 5 (Fig. 28), 
 i found at St. Maiy at- 
 i Hill, London, in Jnly 
 1845, is notewoithy, 
 inasmuch as the orn;i- 
 inentation includes a 
 border of horizontMl 
 figures representing tho 
 Pj(j_ 28. Venus de' Medici. 
 
 The s))ecimens succeeding E. 6 are placed, with few exceptions, 
 in the lower compartment of the case. Several of these 
 specimens, such as E. 14 to IG, have been mended by means of 
 lead in much the same manner as porcelain is now sometimes 
 repaired with metallic rivets. They show the esteem in which 
 the red w^are was held in this country during the Roman 
 
 * On the terminology, see a paper " On vessels of Sammn ware," by H. Syer 
 Camming, Esq., Journ. Brit. Arch. Assoc, Dec. 1891, p. 277.
 
 SAMIAN WARE FOUND IN LONDON. 
 
 69 
 
 occupation, and also recall the fragile character of Samian ware, a 
 character to which allusion has been made by classical authors.* 
 
 Fig. 29 represents an 
 elegant little acetabu- 
 him, or vinegar cup, 
 E. 17; while Fig. 30 
 depicts a fragment of a 
 vessel of rather excep- 
 tional form. 
 
 Fig. 29. 
 
 Fig. 30. 
 
 Fig. 31. 
 
 The mortarmm, F. 30 (Fig. 31), 
 having the l)order ornamented with 
 a mask, bears the potter's mark 
 VLIGGI • M. The mortarium, in 
 which substances were ground for 
 domestic use, was lined inside up 
 to a certain height with grains of 
 quartz or other hard stone, forced 
 into the paste or body after the piece was finished. The sub- 
 stances having been ground or pounded, and probably mixed 
 with some liquid, were poured out through the oritice in the 
 mouth of the mask. 
 
 The elegant little cup, E. 19 
 <Fig. 32), found in 1841 at tlie 
 terminus of tlie Greenwich 
 Railway, has the potter's mark 
 stamped on a footprint (Fig. 33). 
 The print of the human foot, 
 not uncommon on the pottery Fig. 32. Fig. 33. 
 
 of Arctium (modern Arezzo), probably had reference to the use 
 of the foot in treading the clay. 
 
 The insription 
 MICCIO (Fig. 34) 
 occurs on a frag- 
 ment of Samian 
 ware, E. 34, wiiich 
 was found in Creed 
 Lane : whilst tlint 
 of AISTIVI • M 
 (P'ig. 3.5) is found 
 on another speci- 
 men fiom the same 
 locality. The murk 
 CELSIN VS- F 
 
 Fig. 36. 
 
 (Fig. 36) is on a flat catinus, E. 38, found in 1845 in Staining 
 Lane, London. 
 
 * ThuK, I'laiifus, in hix pliiy of Mrnrrchmus (Act 1, sc. 2), makcn one of the 
 chancters bid another knock gently at the door, whereupon comen the reply, " I 
 tliink you are afraid the doors are miuh; of Hainian wan?." 
 
 " .1/. Placide pultu. P. Mttui.s, credo, lie foreh .Saiuia; wnt." 
 
 r 2
 
 -0 
 
 imiTISH rOTTEUY AND PORCEL.VIN 
 
 Jied LustnnLS Ware found chiefly at Casttor and at Colchester^ 
 
 Some fine pieces of Samian 
 ware, from various Roman 
 stjitions in Enf^land, are ex- 
 liibited in the upper part of 
 the Pedestal Ciise No. 2. Tlie- 
 lar^e fragment of a vase, E. 39, 
 is h:indsomeIy decorated with 
 moulded figures, as shown in 
 Fig. 37. A crack in this piece 
 shows the way in which it has 
 ^"^- 37. been united in two places by 
 
 lead rivets, in the time of the Roman occupati{m of England. It 
 was found at Castor (the ancient Z)t'-ro6>'iva').J^6ar Peterborough, 
 Northamptonshire, and was presented to the Museum, with many 
 others, by Earl Fitzwilliam. The next piece, E. 40, from the 
 same locality and presented by the same donor, is ornamented as 
 
 .'■.hown in Figr. 38. This likewise show& 
 ancient lead rivetting, while the speci- 
 men E. 41 has been so prized as to Ije 
 repaired in two places. A high value 
 must evidently have been set on 
 favourite pieces of Samian ware ; and 
 ^^^- -^S- one specimen discovered near the 
 
 Mansion House in London, was described by the late Mr. J. E. 
 Price as having the rivet " worked over upon its inner surface 
 " with a metallic substance which gives it an appearance similar 
 " to our electro-gilding."* 
 
 Other kinds of Roman Pottery found in England. 
 
 [Placed in upper compartment of Case 2.] 
 
 Whatever doubts may exist as to the Romano-British manu- 
 facture of Samian ware, there can be no question that coarser 
 kinds of pottery were produced on a large scale in this country 
 during the Roman occupation. Two Roman kilns for firing, 
 pottery, discovered by the late 3Ir. Artis in Normangate Fields 
 Castor, near Peterborough — the Durohrivce of Antoninus — are 
 represented by models presented by Earl Fitzwilliam, and are- 
 here figured. Fig. 39 is a reduction of the representation of the 
 kiln given by Mr. Artis, in his DuroWivce of Antaninv.s lUv.s- 
 trutetl, pi. XL., fig. 3. The kiln was discovered in December 
 1822, and vessels and fragments of pottery were found in con- 
 nexion with this and the other kiln, many of which are in this- 
 collection. Fig. 40 is taken from pi. XL., fig. 1 of the same 
 
 • •* Koman Antiqaities.'' 1873. p. o7.
 
 ROMAN WARE FOUND AT CASTOR. 
 
 71 
 
 work. In pi. XXXIX. of Artis's Durohrivce will be found a 
 plan of the ground occupied b}' the Roman pottery, showino; 
 the site of the works and the course of a Roman road. Both 
 these wax models were constructed by Mr. Artis. 
 
 Fig. 39. 
 
 Fjg. 40. 
 
 A numl>er of UxjIh and omamentH, in bone or ivory and bronze, 
 discovered on the site of the Ca.stor }»ottery, will be found by 
 the sidu of the models. There is also 
 a l.irge fragment of a cake of frit or 
 glans, E. 8G (Fig. 41), which having 
 been found at the old pottery, 
 probably represents the material 
 used theie for glazing the ware. 
 
 Fio. 41.
 
 72 
 
 lUUTISH POTTERY AND PORCELAIN. 
 
 The composition of this substance, according to an analysis made 
 •it the Museum of Practical Oeology, is as follows : — 
 
 Silica 09-40 
 
 Ahiiniiift ..... '2'62 
 
 Protoxide of iron . - - - 091 
 
 Protoxide of manganese - - - 0'64 
 
 Magnesia - - - - - 079 
 
 Lime 7-81 
 
 Potash 0-98 
 
 Soda 14-63 
 
 Carbonic acid - - - - 0-32 
 
 98-10 
 
 It is thus a glass composed essentially of the silicates of soda 
 and lime, and having a composition similar to that of much of 
 the ancient Roman glass. 
 
 A line collection of Castor ware, the gift of 
 Earl Fitzwilliaui, is here exhibited. Fig. 42 
 represents a specimen, E. 88, found in one of 
 the kilns. The paste is yellowish brown, with 
 a reddish-brown glaze, having a slightly me- 
 tallic lustre. The sides are impressed in six 
 compartments, with the intervening ridges 
 ornamented with imbricated scales, apparently 
 Fig. 42. made by overlapping cut pieces of the clay. 
 
 This piece is figured in Artis's Dwrohrivoi, pi. LIII., Fig. I. 
 
 The vase E. 89 Was found in a Roman 
 building near Water Newton, Northampton- 
 shire, in February 1826. 
 The paste is yellowdsh 
 brown, with black glaze, 
 and the vase is ornamented 
 with elegant engobe scroll 
 applied in white pipeclay 
 as seen in Fig. 43. Tool! 
 marks made before clazinjj 
 appear above and beneath 
 the scroll. This vase is 
 figured in Artis's Duro- 
 hrivce, pi. XLI„Fig. 1. 
 The vase E. 90 has a yellowish white body with 
 stronger yellow on the exterior, and 
 is painted with black as represented 
 I in Fig. 44. This also is figured in 
 'Artis's Durohrivte, pi. XLVII., Fig. 1. 
 The small vase E. 91 (Fig. 45), de- 
 picted in Artis's Durohriva',]A. LI., is 
 in light brown unglazed ware. E 92, 
 (Fig. 46) is a sinall vase in white 
 ware, with red glaze, whicii was 
 found in a Roman kiln at C.istor, and Fig. 46. 
 
 Fig. 43. 
 
 Fig. 44. 
 
 Fig. 45. 
 
 appears in Artis's Durohrlvoi as Fig. 1., pi. LIV.
 
 CASTOR POTTERY. 
 
 73 
 
 Fio-. 47 represents a vase of dark-colon re '1 ware,E. 93, apparently 
 m ide from a carbonaceons clay not highly fired. The pattern is 
 
 produced partly 
 by glossy lines 
 upon a dull 
 ^^W^V^\\^ ground, as if from 
 ^11 i! W S smoothing pres- 
 '^'^ sure by a tool, 
 and partly by 
 bands from turn- ii 
 ing in a lathe. It ^^•. 
 was found in 
 February 1826, 
 in a Rom an build- ^^^- 48. 
 
 Fig. 49. Fig. 50. 
 ing at Watpr Newton, Northamptonshire, and 
 h IS been figured in Artis's Du^robrivce, pi. LI., Fig. 2. 
 
 Several unguentaria in Castor ware are here exhibited, of 
 which Figs. ■• 48, 49, and 50 lepresent respectively the pieces 
 liiarked E. 9G; E. 97, and E. 100. 
 
 Many other specimens of Roman pottery found at Castor, and 
 Yii) doubt of local manufacture, are exhibited in the lower part of 
 this case. These formed part of the Artis collection, and are 
 marked E. 137 to E. 177, all having been presented many years 
 ago \)f Earl Fitzwilliam. ' 
 
 Fig. 47. 
 
 Fig. 51. 
 
 Fig. o2. 
 
 Fig. 63. 
 
 Fio. 14,. 
 
 Fig. 55. 
 
 Fig. 56.
 
 74 
 
 lUtlTISlI POTTERY A\D PORCELAIN. 
 
 representation 
 
 stag 
 
 Fig. 67. 
 
 Mucli of the Castor ware is thin and well-potted, and decorated 
 with graceful patterns laid on in white clay-slip, or eiigobe. 
 Figs. 51, 52, 58, oi, 5.5, and 50 (representing fragments exhibited 
 in the Museum as E. 140, 152, 155, 150, 
 1()-S, and 100 respectively) illustrate the 
 characteristic ornamentation of this pottery, 
 and give an excellent idea n-jt only of the 
 elegant .scroll -work, but also of the hunting 
 ."■cenes which are figured in low relief upon 
 much of this ware. The vase E. 102 
 
 (Fig. 57) though found 
 
 at Winchester is pro- 
 bably a piece of Castor 
 
 pottery ; as also is the 
 
 vase E. 109 (Fig. 58) 
 
 which was found, in 
 
 1845, at Cateaton 
 
 Street, London. The 
 
 latter offers, in its 
 
 of a 
 
 hunt, another 
 
 illustration of the Roman love of the chase. 
 
 Examples of Roman pottery made in the 
 J\"ei^ Forest are furnished by the specimens E. 130 to 134, which 
 were found at Crockle, near Wellow, and were presented in 
 18()3 by Mr. J. R. Wise. Some of these show a characteristic 
 purplish glaze, with slightly metallic lustre. 
 The sides are marked by indentations which 
 appear to have been made by pressure of the 
 thumb, and in No. E. 132 they are so deep as 
 almost to meet inside the vessel. The character 
 of these indentations is shown in Fig. 59, which 
 represents a vase, E. 129, found in Lothbury, 
 in 1847, but probably of New Forest origin. 
 
 Many interesting examples of Romano-British 
 pottery have been found by General Pitt- Rivers 
 in his excavations in Cranborne Chase. 
 
 It is well known that the so-called marshes at 
 the moutli of the Med way, especially in the 
 Fig. 09. neighbourhood of the village of Upchurch, were 
 the site of exten.sive potteries during the Roman occupation 
 of Britain. A layer of pottery, in some places a foot in thickness, 
 may be traced over a considerable area, and although this pottery 
 is for the most part in mere frngments, yet associated with these 
 are occasionally found well-preserved ve-sels, several examples of 
 which are in this collection. The Komano-British pottery of 
 Upchurch has a character of its own by which it may be traced 
 over many parts or Britain and even on the Continent. It 
 appeals to have been made of Iccal clays, and presents usually a 
 bluish black colour, a colour which is generally attributed to
 
 UPCHURCH POTTERY 
 
 75 
 
 Fig. 60. 
 
 the ware having been fired in " smother-kilns," where the re- 
 ducing action of the smoke and hydro-carbon vapours would tend 
 to prevent the iron in the clay passing into the state of peroxide, 
 to which the red colour of pottery is generally due. Whilst the 
 forms of the Upchurch pottery are by no means inelegant, the 
 ware was evidently intended for useful rather than for orna- 
 mental purposes, and it consequently presents little -or no 
 ornamentation. Such ornament as it does present consists either 
 of incised lines, straight, wavy, or zigzag ; or of raised bosses and 
 •studs, grouped in bands or circles. This w are never bears any 
 potter's marks. 
 
 A large collection of Upchurch pottery was presented to the 
 Museum, in 1871, by Mr. J. Chisholm G: oden, and is exhibited 
 in the lower compartments of two cases 
 in the Vitreous Series, opposite to the Pedestal 
 Case No. 2. This collection includes speci- 
 mens marked E. 197 to E. 232. There are 
 also many pieces, assignable to Upchurch, 
 which have been found in London and at 
 various provincial Roman stations, and are 
 consequently exhibited in other sections of 
 the Museum. Probably the vase, E. 108 
 (Fig. 60), which was uneartiied in Queen 
 Street, Cheapside, in 1850, may be attributed 
 to the Medway potteries. 
 
 Romano-British pottery 
 was also made at several _ 
 
 other localities in Britain ; 
 but probably these potteries 
 were of less importance than 
 those already mentioned. 
 Many of the specimens 
 discovered in London are 
 not readily referred to tiieir 
 place of manufacture. Re- 
 mains of kilns have 1 een 
 found in the city, close to 
 St. Paul's. The large «m- 
 phmxi E. Ill, represented in 
 Fig. 61, is of light-brown 
 unglazed ware, 2 i'eet 9 
 inches in height, and was 
 found in Aldernianbnry. On 
 account of its unusually large 
 .size, itcould not be exhil)ited 
 in the case, and is thorefore 
 mounted on a tripod which 
 stands on the top of ]Y'destal 
 Case No. 2. 
 
 Fio. G].
 
 70 
 
 HRlTlSll PO'ITERY AND PORCELAIN. 
 
 Fig. 62. 
 
 A smaller amphora of similar ware, E. 112 (Fig. 02), founrl in 
 
 <ligging the foundation of 
 London Bridge, is placed 
 on a tripod in Case No. 2, 
 where also will be found 
 other amphorfe of rather 
 dirterent ware. The speci- 
 men, E. 113 (Fig. 03), of 
 red unglazed pottery was 
 brought to light during 
 some excavations in Old 
 Broad Street, in August 
 1850; whilst the rather 
 curiously-shaped vessel, E, 
 115 (Fig.04),was unearthed 
 in Cannon Street. The 
 flattened amphora, E. 110 
 (Fig. 05), resembling a pil- 
 grim's bot'le, was found in 
 Moorgate Street, in 183o. 
 Some of the amphora? are 
 pointed at the base, and 
 were evidently intended to 
 be supported on stands or to be fixed in soft earth. Tiiey were 
 used for holding wine, oil, &c., and specimens have been found, 
 stuck in the ground, in an upright position. 
 
 Fig. 63. 
 
 Among other interesting specimens of Romano-British pottery 
 found in London may be mentioned the mortar luw,, E. 117 
 (Yi". 06), in rather coarse unglazed buff ware, stamped on the
 
 ROMAN POTTERY FOUND IN LONDON. 
 
 77 
 
 rim with the potter's mark ALBINVS. This piece was found 
 in April IS-l-i, in some excavations in Cock Lane, Smithtield. 
 
 Fig. 65. 
 
 Fig. 66. 
 
 Several Roman lamps are exhibited, of which three specimens, 
 E. llcS, 119, and 120, are figured respectively as Figs. 07, (58, 
 and 69. There are also some curious terra-cotta toys. E. 123 
 (Fig. 70), representing a boy on horseback, was found in 184-0 
 in the Borough (South wark) on 'the Surrey side of London. 
 
 Fig. 67.. 
 
 Fio. 68. 
 
 Fio. 69. 
 
 Fig. 70.
 
 78 
 
 lUUTISH I'OTTKUV AXO POIUELAIN. 
 
 A few interesting speciinonii of Romum bricks and tiles are 
 provisionally placed on a j)linth at the foot of the balustrade, 
 near to Pedestal Case No. 55, on the eastern side of the Museum. 
 
 The red brick or flange tile, E. 233 (Fig. 71), found in Queen 
 
 Street, in the City, in March 1850, 
 bears the stamp P • PR • BR- ; whilst 
 the next specimen (E. 234), also 
 found in London, is inscribed 
 P • BR • LON. The inscriptions on 
 these tiles have been variously 
 read, 'i he " LO N " certainly refers 
 to London, but the " BR " n»ay 
 mean cither the Province of Britain 
 or the auxiliary troops called 
 -jM Brittones. Thus the inscrii)tion 
 -^^ on E. 234 may be read cither 
 Fig. 71. Froprtt'tor BRitanni 'Lo'Sdiiiii or 
 
 Vi'ima (cohors) BRittonwin ho'sdinii. In like manner the 
 inscriptioii on E. 233 may mean either Vropraitor TRovincim 
 BRiifani, or Frcefectics FRime (cuhortis) BRiiUonum. The 
 jiossible meanings of sucii inscriptions have been discussed by 
 the late Mr. C. Roach Smith, Mr. T. Wright, and Mr. J. E. Price. 
 
 Some Roman roofing tiles, found in London, are exhibited 
 under the reference numbers E. 238a, 2386, and 238c. The tile 
 238« is the imbrex or semi-circular lidge-tile which re-^ts upon 
 the tegulcB b and c, or flat tiles, each with two flanges, so that 
 the ridge tiles cover them in such a manner as to prevent the 
 water ])assing beneath. The ridge-tile is wider at one end than 
 at the other, in order that it may cover the next tile in succession 
 under it, thus forming a ridge down the roof. 
 
 The hollow flue-brick E. 239 (Fig. 72) was found, in August 
 184G, during excavations in Ducksfoot Lane, London. Such 
 hollow tiles were used by the Romans to convey heated air from 
 the hj^pocausts. The upper and lower paits of the specimen are 
 scored with waved and diaironal lines to secure adhesion of the 
 cement or mortar. 
 
 Fig. 72.
 
 SAMIAN WARE FROM COLOGNE. 
 
 '9 
 
 Roman Pottery from the Rhine for Cumparison ivith that found 
 
 in England. 
 
 (Upper compartment of Case 2.) 
 
 As water-carriage down the Rhine would have afforded easy 
 means of establisliing with Britain a trade in the pottery which 
 was made at several important stations on that river, it has been 
 thought desirable to obtain some illustrative specimens of Roman 
 pottery from the Rhine for comparison with similar ware dis- 
 covered in Britain. Those selected for this object were chiefly 
 obtained many years ago from the collection of M. Levens, of 
 Cologne, and it is said that they were discovered in that city or in 
 its vicinity ; but even should they not all have been found there, 
 yet, coming certainly from the Rhenish districts, they are im- 
 portant for the purpose contemplated. They serve as excellent 
 illustrative examples of the pottery manufactured on the north 
 of the Alps. Cologne {Colonia Agrippina) became a large and 
 flourishing ])lace after A.D. 51, when the Emperor Claudius 
 planted a colony there, naming it after his wife, whose birthplace 
 it was.* Hence the ])ottery either made or used there is valuable 
 for comparison, particularly when we consider the facility of 
 water-carriage to and from that station. By means of the Rhine 
 and Moselle, trade in pottery could easily iiave been carried on 
 with Treves or Trier (Avgusta Trevirormn), once the capital of 
 the Roman empire, while the moutlis of the Rhine would afford 
 ready means or communication with Britain. It is highly 
 probable that red lustrous Roman w^are of Rhenish manufacturet 
 was introduced into Britain, and it is certain that at a later date 
 much pottery came over from the Rhine country. 
 
 The " Samian " bowl 
 E. 242 (Fig. 73), found 
 at Cologne, is specially 
 notewurthy U)Y sake 
 of its perfect con- 
 dition. The embossed 
 desitrn includes the 
 representation of a 
 .soldier in armour, with 
 sword and shield, en- 
 gaged in combat with 
 a retiarins, holding on 
 liis left arm a net ^^^^- 73. 
 
 * This locality was first Hsorl as a Koman (tamp. It became the chief town of the 
 TIbii (Ojipiihim or Cioilax I'liinrum) after tlial tribe was removed thither frotii the 
 ripht hank f>f the Rhine iinilcr Tiberius. 
 
 •f This ware was certainly niiiniifaetiired at lleiU-geMberp, about five leagues from 
 Strasbiirp, where some of if was found in a l{(iniaii pottery kiln. Tiie remains of 
 Koman pottery kilns liave been found in several localities near thi; Rhine, as at 
 Kheinzabern (Tithrrna liheiii), four leagues from Lauterberg, where fifteen kilns 
 iverc discovered within a small area; Ittenweiler, four leagues from Ileilegenberg,&c.
 
 80 
 
 liUlTISH POTIEUV AND PORCELAIN. 
 
 with !v s\vor<l, and in liis riglit hand a tliree-prongcd spear; also 
 a (h-iipod fii^iire presenting a pahn hranch to an emperor soated 
 Dii a ouruk' cliair. 
 
 The rare specimen E. 241 is intcrestin<:;f aa being- an example 
 <.)f a nionld lor a Roman " Saniian " bowl. It is made of butt- 
 colonred ware, and is impressed on the inside with festoon -and- 
 tassel border and with tigniTsof a Roman warrior, two soldiers in 
 conflict, and an equestrian soldier, wnth rabbits, dogs, &c. below ; 
 .stamped in the side with the potter's mark, COBNERTVS • F. 
 
 A fragment of a mould for a Roman bowl, with impressed 
 ornaments similar to those found on Samian ware, was brought 
 to light during excavations in 1874, outside the city of York, 
 iind is preserved in the museum of the Yorkshire Philosophical 
 Society. A plaster cast of this interesting specimen presented 
 l>y the Society, through Canon 
 Raine, is here exhibited, for 
 comparison with the Rhenish 
 .specimen. 
 
 The two-handled cup or vase, 
 E. 253 (Fig. 74), represents a type 
 of vessel which does not appear 
 to have been hitherto discovered 
 in Britain. A Roman red ware 
 vase of similar form, and with 
 raised engobe or barbotine orna- 
 ments, found on the site of a 
 pottery at Rheinzabern in 1804, 
 and now in the museum at 
 Sevres, is figured by Brongniart 
 and Riocreux in their Desc. Meth. 
 du Musee Ceramique de Sevres, 
 pi. IX., Fig. 10. 
 
 Fig. 74. 
 
 A perfect patera, E. 244 
 (Fig. 75), bearing the potter's 
 mark VRSVLVS, may l)e com- 
 pared with the fragments Nos. 
 E. 24, 25, and 26, found in 
 London, when it will be ob- 
 served that the ware, manu- 
 facture, and style of orn-imenta- 
 tion are similar. A patera of 
 precisely the same kind, found 
 at the. Palace of the Luxem- 
 bourg, Paris, where moulds for 
 the manufacture of ornamented 
 red Roman ware were dis- 
 covered, is figured in the Besr. 
 Meth. du MvMe Ceramique de Sevres, pi. IX., Figs. I'm and b.
 
 ROMAN POTTERY FROM THE RHINE. 
 
 8X 
 
 The vase E. 252 (Fig. 76) admits of 
 comparison with the Castor vase E. 88, 
 on which there are somewhat similar 
 imbricated scales. Still closer is the 
 similarity between the vase E. 259 
 (Fig. 77) withsllpornamentrepresenting 
 
 hounds chas- 
 
 ing 
 
 in pottery at Rheinzabern {Taberua Rheni), is figured by 
 orniart in his Traite des Arts Ceramiques, pi. XXIX., Fig. 1. 
 
 Fig. 77. 
 
 Roma 
 Brongniart 
 
 Tlie.se hunting scenes are rendered 
 with much spirit and fidelity, although 
 the animals are simply represented by 
 slip trailed over the surface of the ware, 
 
 In like manner the vase E. 261 (Fig. 
 78) is ornamented with bosses in slip, 
 or barbotine, similar to the dotted 
 designs on certain fragments of ware 
 found at Castor, such as the specimens 
 de.signated E. 158 and 159. 
 
 a deer 
 and a hare, 
 and the pieces 
 of (Castor 
 
 pottery E. j, ^g 
 
 152, 163, &c., 
 
 which are decorated with similar 
 desighs. This kind of ware maj- 
 have been manufactured by the 
 Romans in many localities north of 
 the Alps. A fragment representing a 
 hunting scene, from the remains of a 
 
 Fig. 79. 
 \Tith loops for suspensiou. 
 
 The small vase, E. 255, 
 from till' Cato collection 
 is notalile in that it lioars 
 around the body an in- 
 set iption in white engolic 
 V-I'T'A-. TheeliarMC- 
 ter of the inscriptions on 
 cups of tins waiH^, such ol" 
 Vita, Vinum, Blhe, Replc, 
 A 7)10, A ?"<?, Felix, &Lc.,Hho\vs 
 that the vessels were used 
 for convivial purposes. 
 
 An interesting specimen. 
 E. 202, is represented in 
 Fig. 79. 'I'his is a lani]> 
 fui-nislie<l with eight, 
 nozzles, or burners, and
 
 82 
 
 BRITISH rO'lTERY AND PORCELAIN. 
 
 Fig. 80. 
 
 Aretiiie Ware. 
 
 Arctium, the modern Arezzo, in 'riiscany, was iainous for its 
 
 pottery. I'liiiy speaks of Aretine 
 ware «s bfiiifj^ of a superior 
 kind (jV(/^ Hist, Lib. xxxv., C(<ji>. 
 12). Dr. Fabroni, in his Storia 
 <le(jl'i Ant/chi Vast Jitt'dl Aretini 
 (Arezzo, 1841), refers to the va- 
 rious aneient and modern authors 
 who have mentioned the ware, 
 and crives illu^trations justifying 
 the high character assigned to 
 it. As a characteristic specimen 
 of this tine pottery, the hemi- 
 spherical cup E. 264 is exhibited. 
 Figures 80 and 81 represent 
 this specimen, and illustrate the 
 higher style of art which was 
 employed, in Roman Italy, in the 
 decoration of such ware. The 
 bov\ 1 was obtained from Arezzo. 
 
 I'IG. 81. 
 
 Anglo-Saxon Pottery. 
 
 It appears that after the Romans cjuitted Britain towards the 
 middle of the fifth century, the pottery which they left behind 
 continued in use among the inhabitants of the country : such, at 
 least, may be inferred from the occurrence of fragments of 
 Roman pottery, including the red lustrous ware, in graves con- 
 sidered to be of early Anglo-Saxon date. There may indeed be 
 some difficulty concernini,^ that kind of pottery which was cer- 
 tainly manufactured by the Romans in Britain, since it may 
 ffiirly be supposed that potteries would be continued for a time 
 at many of the former Roman sites, and that the forms given to 
 the ware would also for a while be somewhat similar. With the 
 vessek of the red lustrous ware, however, the evidence is more 
 definite, since there is little reason to suppose that this ware was 
 largely manufactured in Britain. Even during the^ Hornan 
 occ'upation, it was of sufficient value to be mended by rivetting, 
 as testified by many specimens in this collection, described in 
 the previous page.s. The manufacture of even the coarser kinds 
 of Romano-British pottery was probably abandoned before the 
 periofl of the Saxon conquest. 
 
 As the Anglo-Saxons used food vessels which were generally 
 made of either metal or wood, especially ash -wood, while their
 
 MEDIAEVAL POTTERY. 83 
 
 drinking cups were either of horn or of glass, it seems likely tliat 
 they had little need of pottery for ordinary domestic purposes. 
 Most of the specimens attributed to the Anglo-Saxons are indeed 
 in the form of cinerary urns, commonly made of clay, which 
 exhibits no marks of much preparation before use, and appears 
 to have been generally of such a (juality as would not require 
 much care in the selection. Many vases, or urns, of Saxon 
 pottery are characterised by a globose body, with symmetrical 
 swellings round the shoulders. This potter}^ is frequently orna- 
 mented with impressed zig-zag and various stamped designs, 
 some by no means deficient in general effect, and corresponding 
 with that which has been termed Germanic and which extended 
 into Gaul.* The pottery itself has rarely been highly fired. 
 
 It has been observed that the Saxon pott ry found in the 
 southern counties is generally better in quality and more elegant 
 in form than that obtained in other parts of England, a fact 
 sufficiently explained by the closer relations that subsisted 
 between the south-east and the Continent. 
 
 The Museum at present possesses no definite examples of 
 Anglo-Saxon pottery, though it is possible that some of the 
 pieces classified with the mediaeval wares in the following section 
 may be attributed to a Saxon origin. 
 
 Mkdi^.val Pottery used in Britain". 
 
 However difficult it may be to feel assured as to the pottery 
 used in Britain much anterior to the Norman Conciuest (lOGG), 
 certain earthenware vessels have been discovered in situations 
 and under circumstances which point to their having been used 
 in this country for ordinary domestic wants in the times com- 
 monly t -rmed mediaeval. A small but characteristic series of 
 such vessels will be found on the top slielf of Wall-cases I. to V. 
 The foiTns of these early examples are usually deficient in ele- 
 gance, although now and then a specinjen may present to some 
 extent the designs of better peri<xls. The late Mr. Chaffers, in 
 his notes " On Mediaeval Earthenware Ves-jels,"t figured some of 
 these forms taken from Norman manuscripts for cr»m])aris()n with 
 vessels in his own collection, many of which afterwards ])a'^sed 
 into the possession of this Museum, and now form conspicuous 
 objects in the collection. Nearly all those specimens which may 
 be fairly considered to represent British medi;eval nuinulacture 
 offer but litth' tliat can Ite termed tasteful. At th(' same time 
 ordinary pitchers and cups seem to have Vjeen employed at tlr; 
 
 * FifjurcH and descriptioiis of this kind of jxittery will be found iu Hrongniiirt'H 
 TrniU (Us Artx Ci'ramiciurs, p]. XXVI., XXVII. ; Wri^lit'sCW, Hdiiuiii and Sii.ron ; 
 and (itliir .vorks. See also " The IiidiiKtrial Arts of the An>;lohaxoni." IJy the 
 IJHron .J. de IJaye; translntt-d by T. li. lliirboUl.', 189:$, p. 112. 
 
 t "Journal of the Archxologiciil Association," vol. i. p. 24. 
 
 11 75401. a
 
 84 
 
 HHITISII POTTERY aNB PORCELAIN. 
 
 tables of persons of some importance, and, iiuleed, were thoujj^lit 
 worthy of notice in the inventories of even loyal households. 
 Tluis, Charters quotes the following entry in the piiyments of the 
 executors of Eleanor, queen of Edward I., in the thirteentli cen- 
 tury : " Item, Juliana' La Potere, pro CCC. 'plclicriis viijs. vicl" 
 And ngain in the same document we find : " Item Johannii Le 
 " SqueU'r,-f pro M'''. et D. discis, tot patellis, tot salseriis, et CCCC. 
 " chlphis xlijs." i 
 
 Many of the specimens in this collection have been dug up 
 
 from time to time in the City of 
 London, occasionally in association 
 with coins and other objects which 
 offer some clue to their date. 
 Attention may be called to the 
 pilgrim's bottle, F. 1 (Fig. 82), found 
 in Cannon Street in 1851 ; and to 
 the jugs or pitchers of Norman 
 shape, such as that represented in 
 Fig. 83. These are usually coated, 
 to a greater or less extent, with a 
 glaze of yellowish or brown colour ; 
 while a greenish speckled glaze is 
 not uncommon on some of these 
 vessels, such as the jug F. 10 
 (Fig. 84). This specimen was dug 
 ^^^' ° up in London Wall, and it may be 
 
 •added that a vessel of similar form was discovered at a depth 
 
 of J 3 feet in Friday 
 
 Street, City of London, 
 
 associated with pennies 
 
 of Henry III. and Ed- 
 ward I. Its date may 
 
 therefore be referred to 
 
 the latter part of the 
 
 thirteenth century, but 
 
 the form was probably 
 
 not limited to this 
 
 period. 
 
 The green glaze, 
 
 which is conspicuous 
 
 on several specimens of 
 
 ware in this series, is 
 
 V JT essentially a lead sili- 
 
 \ Jr Ciite coloured by iron 
 
 I K and copper silicates. 
 
 f ^ The glaze on F. 12, a 
 
 water pitcher found in 
 Fig. 83. 
 
 Fig. 84. 
 
 * The squeler was a seller of esgiieles, from the French ecuelle, a porringer, dish, 
 or basin : whence also our word scullery.
 
 MEDLEVAL POTTERY FOUND IN LONDON. 
 
 85 
 
 Queen Street", Cheapside, in 1842, was analysed many years 
 ago in the laboratory of this Museum by the late Professor von 
 Hofmann, with the following results : — 
 
 Silica 
 
 Protoxide of lead 
 
 Protoxide of iron 
 
 Protoxide of copper - 
 
 Lime 
 
 Alumina 
 
 Potash and soda - 
 
 43-04 
 48-34 
 3-31 
 1-31 
 1-03 
 2-65 
 0-64 
 
 100-32 
 
 This glaze was probably produced by dusting the vessels, before 
 tiring, with a mixture of powdered galena, or sulphide of lead, 
 and iron and copper scales, when metallic silicates would be 
 foi-med by the silica derived from the body ; while the lime, 
 alumina, and alkalies would also be obtained from the same 
 source. 
 
 It is interesting to note that vessels having a similar gi'een 
 glaze have been found at considerable depths below the surface, 
 sometimes associated with Roman relics. 
 
 The green-glazed puzzle jug, F. 19, is an example of the so- 
 called Tudor ware, of special interest from the fact that it bears 
 in bold relief the date 1571. This piece is figured by Mr. and 
 Miss Hodgkin in their recently published work,"*^ where it stands 
 as Figure 1. 
 
 The visitor should not overlook among the 
 specimens in this series the early English 
 costrel.t F. 22, represented in Fig. 85. This 
 vessel, which was found in London in 1850, 
 is made of red ware, marbled on the surface 
 in white and red, and highly glazed. The 
 lateral projections, in the form of lions' heads, 
 are perforated for the passage of a cord or 
 tiiong, so that tlie vessel might be suspended 
 from the neck (xr waist and carried at the 
 .side, after tlie manner of a pilgrim's bottle. 
 Some of the old costrels were no doubt of 
 continental make, and were brought over to 
 tiiis country by travellers. 
 
 All the specimens described in this section 
 will be found on the top shelf of the range 
 of wall-cases numbered I. to V. on the eastern 
 aide of the ]\Iuseum. Fio. 85. 
 
 * " ICxamples of Karly Knglinh Pottery, named, dated, and inscribed." By John 
 Eliot Hodgkin, K.S.A., and Kditli Hodgkiu. I.ondon, 181(1. 
 
 t The turin (Jostrel, formerly written Costrel, is derived from the old Freach 
 Costrel, a name given in allneion to the vemel being carried at the nidi: 
 
 a 2
 
 2Q HUITISH POTTERY AND PORCELAIN. 
 
 Wliile it is prol);\ltle that earthen vessels of common manu- 
 facture continued in use in Enf^'land even in royal* and important 
 noblef households, down to the fifteenth and sixteenth ceuturies, 
 such vessels being, for the most part, mnde in this country, there 
 is yet much reason to suppose that the German and Flemish wares 
 found their way into those households, and that the earthen pots 
 mentioned as " garnished with silver " were often of this better 
 kind of manufacture.t Of the German stone-ware, that of the 
 nei*^hbourhood of Cologne and other localities near the Rhine 
 wjis the most celebrated, and was exported to various countries,, 
 including England. It was in high repute in the sixteenth cen- 
 tury. The Flemish ware, coiinnonly known as Gres de Flanclre^, 
 was also in great esteem from about ] 540 to 1620. It is believed 
 that most of the stone-ware vessels known as Gray-bearcU, of 
 which good examples are furnished by F. 24, 25, and 2G, were 
 imported from the Continent. 
 
 The " gray-beard " or " long-beard " was a vessel much used in 
 ale-houses in the sixteenth and seventeenth centuries. It was a 
 bottle or jug having upon the neck or beneath the spout a rudely 
 executed mask w^ith a conspicuous beard. Such vessels were 
 known as Bdlarmines, a name sarcastically given to them in 
 reference to Cardinal Robert Bellarmin, who rendered himself 
 obnoxious by his opposition to the progress of the reformed 
 religion in the Low Countries. Allusions to these jugs are to be 
 found in many poems and plays of the period. 
 
 The encaustic tiles manufactured for use in ecclesiastical and 
 domestic buildings from the thirteenth to the fifteenth century, 
 and even later, form an interesting group of ceramic products ; 
 but the artistic character of many of their designs is so greatly 
 superior to that of the contemporaneous pottery of this country 
 that it appeals highly probable that most of them were imported 
 from abroad, especially from France. Several of these tiles are 
 exhibited in pedestal case No 5, and have been already noticed 
 (p. 48) in the description of the lead-glazes with which they 
 are usually coated. 
 
 * In the reffulations for the household of Edward IV. (latter part of fifteenth 
 century) ainonj,' the onlcrs for the " pilcher-liotise," it is directed that " the hutler 
 " for till' mnntht: delyverythe nightly, at tlic huftt-ry harre for the kynge for all njight ; 
 " with the ale in new (islmi ciippes, and two other for tiie watche, which of ryghte 
 " should he delyveryd ajraine at the cnphorde in the mornynge, with the pottes to 
 " Bcrve men of worshipj)e in the halle." {lAher Ni<jcj\ p. 78.) 
 
 t Mr. Chaffers points to the Jloii.sehold fiook of the ¥/,iv\ of Northumberland 
 (l.'jl2) as showing the common use of earthen pots at the tables of his dependants,, 
 adverting to the order that " Wherea.s erthi/7i potts he bought, that ledder potts he 
 bought for them for serving of lyveries and meallys in my lonl's hous." 
 
 An election feast of the Drapers' Company, in 1552, is quotel, at which earthen 
 pots were used for ale and wine, gilt cu[)s heinir employed "for red wine and 
 ipocras." So late as 1G6.3, Pejiys mentions, in his JJinri/, drinking out of "earthen 
 " pitchers and wooden dishes," when sitting at the merchant-strangers' table at a Lord 
 Mayor's feast. 
 
 X Some e.xcellent examples of silver-mounted stone-ware jugs may he seen in the 
 South Kensington Museum. See Prof. Church's " Plnglish Earthenware," Part I., 
 p. 17.
 
 THE POTTERIES. 87 
 
 Staffordshire Pottery and Porcelain. 
 
 The collection of old Staffordshire ware occupies the range of 
 Wall-case?, Nos. I. to V. (excepting the top shelf, which is devoted 
 to various kinds of mediieval pottery), and is thence continued 
 in Cases VI. to X., along the eastern side of the room. The earliest 
 examples, about to be described in this chapter, will be found on 
 the upper shelves of Cases I. to V. 
 
 Though the district in Stafiordshire known as The Potteries 
 has long been famous for the production of ceramic wares, it is 
 somewhat difficult to trace the early history of the district in 
 connexion with this manufacture. It has, indeed, been supposed 
 that its clays were made into pottery by the Roman occupants 
 of that part of Britain ; but, although this supposition is highly 
 probable, it does not seem to be supported by any positive 
 evidence. Coarse ware appears to have been manufactured in 
 the district certainly as early as the year 1500, if not indeed 
 earlier. According to Dr. Shaw, " there exists documents which 
 *' imply that during many centuries considerable quantities of 
 '■ common culinary articles were manufactured of red, brown, 
 ",and mottled pottery, easily made from a mixture of different 
 *' clays found in most parts of the district."* It is to the abun- 
 dance and variety of these clay.-^, combined with the facility of 
 obtaining coal, when coal came to be employed foi* the manufac- 
 ture, that we may attril)ute the early progress of these potteries. 
 In fact the geolo^^ical character of the district is one highly 
 favourable to the establishment of such manufactures ; and 
 though the materials now employed for the earthenware and 
 porcelain so abundantly produced in the district may be derived 
 from other localities, yet its supply of coal and of refractory 
 clays for the fireVjricks reijuirod in the work;*, the actual estab- 
 lishment of these works, and the skilled labour at hand, still 
 make it the chief locality for the ceramic manufactures of this 
 country. The " pottery towns " of North Staffordshin\ and the 
 neighbouring places, inhabited by a very large population more 
 or less c<jimected with ceramic industries, include Stoke-upon- 
 Trent, Burslem, Hanley, ljf)ngton, Shelton, Tunstall, Cobridge, 
 Fenton, Etruria, and Dresden. 
 
 Among tlie })roductiona of the district that of Batter Pota 
 appears to have been undertaken at an early date. In 1G61 it 
 was of sufficic!nt importance to attract the atti'iition of (iovern- 
 ment, the potters of Hurslem being th(;n coMij)t'lled l)y Act of 
 Parliament to make their pots of a certain size and (|uality. 
 
 Several c.xam|)le8 of these vessels, now extremely rare, are 
 exhibitetr on the second shelf of Case II., and one of them 
 
 * "HiiJtory of the StaffonUhlro rottcrics," l>\ Dr. Simeon Shaw : Hanloj, 1829, 
 p. 97.
 
 88 BRITISH parrEiiv and porcelain. 
 
 (G. 1) is represented in Fig. SG. Dr. Plot, in his " NaturcaT 
 History of Staffordshire," published in 1080, says (p. 108), 
 " The butter they buy by the /)r>/, of a long cylindrical fonn, made 
 " at B a rslem in this county oi a certain si^^e, 
 •' so as not to weigh above six pounds at most, 
 " and yet to contain at least 14 pounds of 
 " hutter, according to an Act of Parliament 
 " made about 14 or 16 years agoe,* for regu- 
 " lating the abuses of this trade, in the make 
 " of the pots, and false packing of the butter."^ 
 He also mentions that the cheesemongers of 
 London had established a factory at Uttoxeter, 
 and that the factors kept a surveyor during 
 the summer, who probed the pots with an in- 
 strument called a hutterhoare. It was an object 
 that the pots should be hard, and not so porous 
 as to imbibe much water, which might be 
 L^ counted in the weight for butter. Dr. Shaw, 
 
 ^ writing in 1829, remarks that "the common 
 
 Fig. 86. " people of the district, at the present day, call 
 " Irish tub-butter pot-butter," and the same use of the term is 
 still retained. 
 
 The clays used in the Staffordshire Potteries during the seven- 
 teenth century appear to have been obtained exclusively from the 
 neighbourhood, and for the most part from the coal measures. 
 Fine sand, for admixture with the clays was dug from the hilly 
 part of Baddeley Hedge and Mole Cop. Plot in his '' History of 
 Staffordshire," published in 1686, presents us with a valuable 
 statement as to the clays then used, and the method of manu- 
 facture adopted at that time, including the mode of glazing. This 
 account is sufficiently interesting to be quoted. After mention- 
 ing the Amblecot clay as the best, and as used for melting pots 
 at the glasshouses of Amblecot and elsewhere, he continues : — 
 
 " Other potters' clays for the more common wares, there are at 
 many other places, particularly at Hordey Heaih in the parish 
 of Tipton ; in Momvay Field above mentioned, where there are 
 two sorts gotten, one of a yelloioish colour mixed with luhite, the 
 other hlewish ; the former stiff and weighty, the other more friable 
 and light, which, mixt together, work better than apart. Of 
 these they make divers sorts of vessels at Wednesbury, which 
 they paint with sli2'>, made of a reddish sort of earth gotten at 
 Tipton. But the greatest pottery they have in this county is 
 can-ied on at Burdeni, near Newcastle under Lyme, where for 
 c making their severall sorts of pots, they have as many different 
 sorts of clay, which they dig round about the toivne, all within 
 
 * 13 & 14 Charles II. cap. 26., 1661. Although not published until 1686, Plot's 
 work must have been written streral years prior to that date.
 
 OLD STAFFORDSHIRE WARE. 89 
 
 half a mile's distance, the best being found nearest the coale, and 
 are distinguish't by their colours and iuhcs as folJoweth : — 
 
 " 1. Bottle clay, of a bright whitish streaked yellow colour. 
 
 *' 2. Hard fire day of a duller whitisli colour, and fuller inter- 
 sperst with a dark yellowy Avhich they use for their hlach 
 wares being mix't with the 
 
 " 3. Red blending clay, which is of a dirty red colour. 
 
 " 4. White clay, so called it seems, though of a blewish colour, 
 and used for making yellow-colour'd u-arc, because yellow 
 is the lightest colour they make any ware of. 
 " All wdiich they call throwing clays, because they are of a closer 
 texture, and will work on the ivheel ; which none of the three 
 other ckiys they call sli2)s, will any of them doe, being of looser 
 and more friable natures ; these mixed with water they make 
 into a consistence thinner than a syrup, so that being put into a 
 hmket it will run out through a quill, this they call slip, and is 
 tlie substance wherewith they paint their ivares; whereof the 
 
 " 1. Sort is called the orange slip, which before it is work't, 
 it is of a greyish colour mixt which (sic) orange balls, and 
 gives the ware (when annealed) an orange colour. 
 ' " 2. The white slip, this before it is work't, is of a dark 
 blewish colour, yet makes the ware yellow, which being 
 the lightest colour they make any of, they call it (as they 
 did the clay above) the ivhite slip. 
 ■ " 3. The red slip, made of a dirty reddish clay, which gives 
 
 tuares a black colour. 
 "Neither of which c^/y.s or .s'^i/j.s must have &ny gravel or sa7id 
 in them. Upon this account, before it be brought to the wheel 
 they prepare the clay by steeping it in water in a s(|uare pit, till 
 it be of a due consistence ; then they bring it to their heating 
 hoard, where, with a long spaiida., they beat it till it be well 
 mix't; then, being first made into great squai-iak rolls, it is 
 brouglit to the wageing board, where it is slit into flat thin pieces 
 with a wire, and the least st<jnes or gravel pick'd out of it. This 
 being done, they v;agc it, i.e., knead or mould it like hrcad, and 
 make it into round h(dls proportionable to their W(jrk, and then 
 'tis brought to the wheel and formed as the workvian sees good. 
 " When the 2>(>tter has wrouglit the clay either into hollow or 
 fiat ware, they are set abroad t.^ dry in fair wt-atlwjr, but by the 
 fire in foulo, turning them as they see occasion, which they caU 
 whaving. When they are dry they si<ndc them, ie., put cars and 
 handles to such vensels as re(juire them. These also bi-ing dry, 
 they then slip or paiid them with their several sorts of slip, 
 according as tliey (h-sign their work, when the first slip is dry, 
 laying on the others at their leisure, the urangcslip makeing the 
 gromid, liud the. vh if r, and rcd,i\m paint; wliicli two co1oui-h 
 they break with a wire hrnsh, much after the nianncr tliey doe 
 when they nuirhle paper, and thf-n cloud them with a j^^'nf^H
 
 90 nUITlSH rOTTERY AND PORCELAIN. 
 
 when tlioy ni-o pretty <lry. After the vessels are painted, they 
 /(>«(/ tlicin, with what sort oHead ore tliey call Smithum, which 
 is the smallest ore of all beaten into dust, finely sifted and 
 strewed upon them, which gives them the gloss, but not the 
 colour ; all the colours being chiefly given by the variety oLdi2)s, 
 except the Motley colour, which is procured by blending tlie 
 lead wnth manganese, by the workmen call'd Magnus. But 
 when they have a mind to shew the utmost of their skill in 
 giving their icares a fairer gloss than ordinary, they lead them 
 with lead calcined into powder, wdiich they also sift fine and 
 strew upon them as before, which not only gives them a higher 
 gloss, but goes much further, too, in their work than lead ore 
 would have done. 
 
 " After this is done, they are carried to the oven, which is 
 ordinarily above eight foot high, and above six i'o6t wide, of a 
 round copped forme, where they are placed one upon another 
 from the bottom to the top. If they "be ordinary wares such as 
 cyliiidricall butter pots, &c.,ih&i are not leaded, they ure exposed 
 to the naked fire, and so is all their fiat ware, though it be 
 leaded, haveing only parting shards, i.e., thin bits of old pots 
 put between them, to keep them from sticking together. But if 
 they be leaded hollow wares they doe not expose them to the 
 naked fire, but put them in shragers, that is, in coarse metall'd 
 pots made of marie (not clay) of divers forms according as their 
 wares require, in which they put commonly three pieces of clay 
 called Bohhs for the ware to stand on, to keep it from sticking to 
 the shragers ; as they put them in the shragers to keep them 
 from sticking to one another (which they would certainly other- 
 wise doe by reason of the leading) and to preserve them from 
 the vehemence of the fire, which else would melt them doune, 
 or at least ivarp them. In 24 hours an oven of jyots will be 
 buint, then they let the fire go out by degrees, which, in 10 
 hours will be perfectly done, and then they draw them for sale, 
 which is chiefly to the poor crate men, who carry them at their 
 hacks all over the countrey, to whom they reckon them by the 
 piece, i.e., quart in holloiv ware, so that six pottle, or three gallon 
 hottles make a dosen, and so moi-e or less to a dosen as they are 
 of greater or lesser content. The fiat wares are also reckon 'd by 
 pieces and dosens, but not (as ihe hollow) according to their 
 content, but their different bredths." 
 
 Excellent examples of the brilhant lead glaze, described in the 
 preceding extract, are furnished by some of the pieces of early 
 Staffordshire ware in this collection, notably by the curious old 
 vessels called Tygs. 
 
 One of these is represented in Fig. 87. The tyg* was a drinking 
 
 * The word ti/r/ is derived from the Anglo-Saxon ti/gel or tigel, siguifying a tile, 
 or anything made of chiy ; whence tygel-vyrhta denoted a tile-worker or potter, a 
 word that survives in the surname Tilewright and its corruptions, still commoD in 
 Staffordshire.
 
 SLIP WARE. 
 
 91 
 
 cup having more than a single handle, so that several persons 
 drinking from the vessel, and each using a separate handle, 
 would bring their lips to different parts of the 
 rim. They were largely used in the 16th and 
 17th centuries. The doubled-handled tygs are 
 generally called "parting cups," while those 
 with more than two handles, sometimes with 
 as many as ten, pass under the name of " loving 
 cups." The glaze on this and on the other 
 pieces of old Staffordshire ware was essentially 
 a glass formed of silicate of lead. Galena, the 
 ordinary ore of lead (sulphide of lead), ob- 
 tained from the Derbyshire mines, was dusted 
 in a pulverised state upon the unbaked ware 
 through a coarse cloth or a muslin bng, and 
 a silicate formed by its reaction with the 
 silica of the body of the ware during firing. 
 
 Some fragmentary tygs and other vessels 
 from the site of old potteries at Tickenhall in 
 Derbyshire, presented by Miss Lovell, of Calke 
 Abbey, may be compared wnth the Stafford- 
 shire ware. 
 
 Fig. 87. 
 
 Slij) ware. 
 
 In the quotation from Plot on a previous page (p. 89), fre- 
 quent mention is made of the use of " slip " in the decoration of 
 the early productions of tlie Stafibrdsliire potteries. Some 
 valuable examples of the dip ware 
 are exhibited in this collection, and 
 a fine series of specimens will also 
 be found in Mr. Henry Willett's col- 
 lection, now in the British Mu.seum.* 
 
 Tbe candlestick, G. 23 (Fig. HS) 
 is interesting as beaiing tiie date 
 JG49, traced in hlip figinvs ; but it 
 sljould be mentioned that Professor 
 Church and some other authorities 
 are disponed to assign this s])ecim(.'n 
 to Wrothain. Coarse slip wan' was 
 undouVitedly made at Wrothani, in 
 Kent, during the 17th century (.see 
 p. 165); but it is by no means ea.sy *^'o- ^■ 
 
 in all cases to distinguish tlir [.roductions of thi« locality from 
 
 • A \.\r\it niimWr of cxrellcnt illiistrntioii« of slip-(l<corntod wnrc. rrprodurod 
 from photoprapbn ami priiitrd in an ni>i.r.)priut(; brown tint, will Ix; found in thi« 
 " Fxainplfs of Karly I'.iif.'li'-li I'ott.rv, n«ni<<l, .latod. and inscril>«'d." My .lotiii Kliot 
 Jlo'dpkin, F.S A., aiid Kdith IlodKki'n. London, IH'JI. Oilier pirrrn are fi,<ur.Ml by 
 Mr. !.. M. Solon in the luniitifiil ctchinj^n of hifl fine work " Tlie Art of the Old 
 English Potter." London imd Derby, 1883.
 
 92 
 
 15R1TISH POTTERY AND PORCELAIN. 
 
 those of the Stationlshire ]i()ttenes. The l}iro;e ty^, G. 17, the 
 posset pot, G. 18, and the knobbed lnuf,^ G. ID, have likewise been 
 doubtfully referred to Wrotliani.* There is reason to believe 
 also that somewhat similar ware was produced at the Cock-pit, 
 Hill Works, in Derby, and a few pieces, like the dish, G. 24, and 
 the posset-pot, G. 33, have been attributed by some authorities 
 to this factory. 
 
 We tread, liowever, upon more certain ground when we pass 
 from these pieces of doubtful origin to the famous pottery known 
 
 Fig. 89. 
 
 as Toft ware, of which a highly characteristic example is presented 
 by G. 25 (Fig. 89). This ware was undoubtedly turned out from 
 Toft's works at Tinker's Clough, between Shelton and Newcastle- 
 under-Lyme. In this, and similar ware, the ground is orna- 
 mented with rude designs, in slip ; the ulip, as explained in the 
 (juotation from Plot, being simply clay reduced to a batter-like 
 consistence by admixture Mnth a due proportion of water. The 
 thick liquid was delivered from a pipette, and allowed to trail 
 over the surface of the unVjaked ware according to the fancy and 
 skill of the workman. The slip was projected from the tube by 
 blowing through the lips, or its delivery was controlled by 
 placing the finger over the open end of the pipette and removing 
 it when the emission of the slip was desired. After ornament- 
 ation with coloured slip, the ware was " leaded," or dusted with 
 
 • Mr. L. M. Solon has tupgested that the art of producing slip decoration may 
 have been derived from the continent, and passed, bj way of Kent, to the Midlands. 
 (" Art of the Old P:uglish Potter," p. 28.)
 
 AGATE AND TORTOISESHELL WARES. 93 
 
 galena powder, and on firing in the kiln the entire surface of 
 body and slip became coated with a vitreous silicate of lead. 
 
 A brown bowl (G. 187) washed inside with a slip of Devon 
 clay, and rudely d-:corated with incised figures cut through the 
 slip, is interesting as bearing the date 1755. It will be found 
 on the floor of Case 1. 
 
 In some cases the clay body was covered while damp with a 
 thin coating of slip of a different colour, and a brush or toothed 
 tool like a grainer's comb, was dragged over the surface, thus 
 producing a veined or marbled eff'ect. Examples of this Combed 
 ware are presented by the specimens marked G. 32, 33, 39, 40, 
 and 42. As the decoration of this pottery is only superficial, 
 it is radically different from tliat of the mai-bled and agate-like 
 ware of later date. 
 
 Agate Ware. 
 
 In order to produce this pottery, thin layers of variously 
 coloured clays, chiefly red and brown, were superposed one upon 
 another, and from this pile of alternating strata thin slices 
 were cut transversely by means of a wire. These striped slices, 
 or " bats," were then carefully pressed into shape in moulds, and 
 the irregular blending of the coloured clan's pioduced a wa\'y 
 pattern like that of certain agates an^ marbles. In some cases 
 the effect was improved by a glaze of delicate bluish tone. The 
 manufacture of this ware was greatly imprc)\ed by Thoums 
 Wheildon, of Little Fenton, and it is known that some of Josiah 
 Wedgwood's early efforts were directed to the manufacture of 
 knife handles in agate-ware. 
 
 Among the speciuiens of agate-ware exhibited in Case IV., are 
 several knife-hafts. One of them is broken across to show the 
 character of the variegated paste, from which it is Feen that the 
 pattern is not merely superficial, but passes com[)letely through 
 the paste. 
 
 A ware closely resembling some of the Staffordshire agate- 
 ware, was certainly ma<le at Leeds. A sporinicn in the collfction 
 (K. 42), is stamped " Leeils P(jttery," and this piece has led to 
 the identification of other specimens of agate ware which would 
 otherwise have been attributed to the Staffordshire potteries. 
 
 Tortoisefihell Warr. 
 
 The surface of this ware is covered with u variegated glaze, 
 ((ithcr of a rich brown or of a niotth^l purjiln and gi-ccn colour, 
 obtained by the iise of manganese ore with galena. Thomas 
 Wheilflon of Litth- Fenton, was famous for th<' pioduction of 
 such "tortoise-shell ware," and it was also nianufacturfd liy 
 Josiah Wedgwood during his pa)tnerNhi[> with liuii-ison and 
 with Wheil'lon. Many of the [)iece8 exhibited in \\'ull-ca.sc V., 
 may be referred to the years 1750 and 17G0.
 
 94 
 
 BRITISH POTTER V AND PORCELAIN. 
 
 The octagonal plates, G. 81 and 
 82, are characteristic examples 
 of the ware, while the beautiful 
 80 (Fig. 90) is 
 as a skilful piece 
 the 
 
 the 
 with 
 
 specimen G. 
 noteworthy 
 of work, 
 douhle, and 
 perforated 
 work. 
 
 Wheildon, who acquired reputa- 
 tion for his tortoise-sliell and agate 
 producing pottery in imitation 
 
 bod}'^ being 
 
 outer case 
 
 ornamental 
 
 Fig. 90. 
 ware, was also famous for 
 
 of fruit and vegetables. Among the miscellaneous specimens 
 on the bottom shelf of Cases I. to V., will be found examples of 
 caulijlower ware (G. 3 96), and pine-apple tuare (G. 197). 
 
 Elers' Ware. 
 
 On the Ke volution of 1688, two brothers, John Philip and 
 David Elers, descended from .-m ancient Saxon family of dis- 
 tinction, but settled for some time in Holland, accompanied the 
 Prince of Orange to England, and settled after a while in 
 Staffordshire as potters. 
 
 Finding at Bradwell Wood, a lonely spot about two miles 
 from Burslem, an ochreous clay well suited to the manufacture 
 of red pottery, they established themselves there and erected a 
 pot-work for the production of their ware, while they hired an 
 establishment for the sale of their products at Dimsdale, about 
 a mile away. One of their objects seems to have been to 
 manufacture a red ware similar to that of Japan or China, it 
 being desirable at that time to imitate oriental porcelain and 
 pottery. By careful selection and preparation of their clays, 
 they succeeded in producing a much finer kind of ware than any 
 that had previously been made in this country. From the 
 character of the specimens preserved to us, it may be inferred 
 that they were men of considerable taste and skill ; an inference 
 corroborated by the testimony of contemporary writers. Thus, 
 Dr. Martin Lister, in a note appended to some letters published 
 in 1693, referrino- to the soft red iron-ore or haematite of 
 Lancashire, alludes to Elers' Ware in the following eulogistic 
 
 terms : " I have this to add, that this clay Hamiatites is as 
 
 " aood, if not better, than that which is brought from the East 
 " Indies. Witness the Tea Pots now to be sold at the potters 
 " in the Poultry in Cheap-side, which not only for art, but for 
 " beautiful colour too, are far beyond any we have from China. 
 " These are made of the English Hannatites in Staffordshire, as 
 " I take it, by two Butch-men, incomparable artists."* 
 
 * " Extracts of some letters from Mr. .John Stiirdie, of Lancashire, concerning 
 " iron ore ; and more particularly of the HtRmatites, wrought into iron at Milthorp 
 " Forge in that County. Communicated hy Dr. Martin Lister, F.R.S." Philo- 
 iophical Transactions, voL xvii., 1693, p. 69.5. Note on p. 699, dated May 1, '93.
 
 ELERS WARE. 
 
 95 
 
 Fig. 91. 
 
 The shop in the Poultry was kept by David Elers, while his 
 brother carried on the factory at Bradwell Wood. The ware 
 w^as sold at a very hit^h price, and genuine specimens are now 
 extremely rare. The Museum is fortunate in possessing a 
 rather extensive series, believed to be authentic, having been 
 obtained many years ago from the famous collection of Enoch 
 Wood. 
 
 These specimens sufficiently show the fineness of texture 
 resulting from great care in levigating and mixing the raw 
 materials. According to Shaw, the body 
 was composed of one part of Bradwell 
 red clay and four parts of clay from 
 Hill Top. The ware w^as accurately 
 turned on the lathe and the pieces, 
 generally of small size, were character- 
 terised by much delicacy and elegance 
 of form. The little piggin (G. 62) and 
 the dainty ladle (G. 64) both represented 
 in Fig. 91, offer a striking contrast to the coarse ware which 
 had been previously made in the Staffordshire potteries. 
 
 Much of Elers' ware was characterised by a peculiar mode of 
 ornamentation, well illus- 
 trated in this collection. 
 Small masses of damp clay 
 were applied to the body, 
 after it had been turned on 
 the lathe, and the ornament 
 was sharply stamped in 
 relief with a metal die, on 
 which the pattern had been 
 engraved, the superfluous 
 clay being then neatly re- 
 moved. Fig. 02 represents ym. 92. 
 a cup and saucer (G. 58 and 50) illustrating the style of orna- 
 ment which was thus staled directly on the ware, and not 
 moulded. Professor Church has pointed out the precise ])hysical 
 characters of Elors' ware, whih^ Mr. Solon has also cidlcil atten- 
 tion to its distinctive charactci'istics. It is a haul, dense, semi- 
 vitrified hody, having a specific gravity of 2li or 24. 
 
 In a'ldition to this fine red ware, the Klers are said to have 
 manufactured a black body, from a mixture of clay and iron- 
 sUjne, which may have been the precui'sor ol" Wetlgwoud's 
 famous " K;.'y[)tiaii ware." (Ij-eat secrecy was maintained in all 
 the dcitails of niannfacture ; it is said, indeed, than an idiot 
 turned the thrower's wheel, and that the most ignorant labourers 
 were employed for those parts of the work which were not exe- 
 cuted Viy John Philip Elers liimaelf. Di*. Slriw mentions* that 
 
 * " History of the Staffor.Uhirc rottcrifn," p. 118.
 
 ,0G muTisH roiTEiJV and poucelain. 
 
 Twvfonl W!us supposed to be the first, by pretendint:^ carelessness, 
 to Imve entered the works autl found out the processes em- 
 pl>vod. Eventually Mr. Astbury,* by feigning idiocy, and 
 obtaining employment in tlie works, learned the secrets, and 
 made red ware,t being soon followed in this business by other 
 ]>otters. From the competition thus arising, and from annoy- 
 anee by the other manufacturers of the district, the Elers dis- 
 continued their works, and, according to ])r. Shaw, removed in 
 1710 to Lambeth or Chelsea, wdiere they connected their work 
 with " the glass manufacture established in 1G76 by Venetians, 
 *' under the auspices of the Duke of Buckingham.''^ 
 
 The character of much of Astbury's ware may be seen in the 
 specimens G. 48 to G. 52. His relief ornaments were usually 
 stamped in pipe-clay, or Devon clay, on a body of brown or red 
 ware, and the whole coated with lead glaze. Though the ware 
 was coarser than Elers', it was bright and effective ; whilst the 
 ornaments, though ruder and less sharp, seem to have been 
 more varied, including not only flowers and geometrical figures, 
 but animals and heraldic devices. 
 
 Salt-glazed Ware. 
 
 It is probable that the use of salt as an agent in glazing 
 pottery was introduced into Staffordshire by John Philip Elers, 
 the glaze employed before his time having been mostly plum- 
 biferous. The well-known story which attributes the discovery 
 of the glazing power of salt to a farm servant, who allowed a 
 pot of brine to boil over, may be dismissed as unworthy of 
 credence. 
 
 The name of Elizabethan Ware, sometimes applied to the 
 early salt-glazed pottery, is quite inappro{)riate, inasmuch as its 
 manufacture was not established until long after the time of 
 Queen Elizabeth. It has also been termed Crouch Ware, a name 
 which, according to Mr. Solon, was derived from the use of the 
 white Derbyshire clay, known as " Crouch clay." Dr. Shaw 
 states that in manufacturing salt-glazed ware, common brick 
 clay and sand from Mole Cop were first used, and subsequently 
 Can marl and this sand, some potters employing with the sand 
 dark-gray clay from the coal pits. Some of the principal 
 
 * Mr. .John Astbtiry, who introduced the use of flint into the Potteries, died iu 
 1743, at the age of dry years. 
 
 t Dr. Shaw mentions that Twyford and Astbury carried on a inauufactorjr together, 
 inakiii" red porcelain (?) and while pottery, and employing a salt glaze. 
 
 X "Chemistry of I'otiery," 1837, p. 411. 
 
 S The account given is that in 1680, at Staidey Farn, near Mr. Palmer's pottery, 
 at Ba^nall, the servant of Mr. Joseph Yates was boiling salt in water to be used in 
 curing pork, and that during her temporary absence the mixture boiled up, and ran 
 over the sides of the earthen pot containing the brine. The earthen pot became red 
 hot and when cool was found to be glazed, ilr. Palmer availed himself of the 
 accident, glazing common brown ware by means of salt, and in this he was soon 
 followed by other manufacturers. See Shaw's " History of the Staffordshire 
 PotterieB," p. 108. 
 
 1, See Mr. Solon's remarks in his " Art of the Old English Potter," 1883, p. 71.
 
 SALT-GLAZED WARE. 
 
 97 
 
 potters were in the liabit of adding a pint of red lead to each 
 bushel of salt.* Around the ovens employed for firing the wave, 
 there was a scaffold on. which a fireman stood to cast in the salt. 
 The vapour arising from the salt-glazing is described, about the 
 end of the 17th century, as being so considerable as to produce 
 a dense white cloud, sometimes so thick as to cause persons to 
 run against each other in the streets. 
 
 At that time the ovens are described " as always adapted to 
 " the quantity of articles made during each week ; and no 
 " manufacturer of that period fired more than one oven-full 
 " weekly, commencing on the Thursday night, and finishing 
 " about midday on Saturda}'. There were about 22 ovens then in 
 " Burslem and its vicinity, each with eight mouths at equal 
 " distances." 
 
 For the chemical principles involved in salt-glazing, reference 
 may be made to p. 57. The ware was protected in the kiln 
 by being enclosed in saggers, one of which is exhibited in the 
 collection (G. 100). It was found built into an old wall in the 
 neighbourhood of Hanley, Stuftbrdshire. The sides exhibit four 
 perforations, through v;hich the vapour of the salt gained access 
 to the enclosed pieces of ware, and the sagger has itself become 
 irregularly coated with salt glaze. On account of its size this 
 specimen is placed on the bottom shelf at the right-hand corner 
 of Case V. 
 
 The paste of some of this ware is so fine as almost to resenil)le 
 a porcelain. Indeed, Professor Church observes that, had a little 
 more alkali entered into the composition of the better and whiter 
 specimens, it would have been in reality a kind of porcelain. 
 It is extremely liard, and the glaze is but little inferior in 
 hardness to (juartz. The specific gravity of the ware is about 2-2. f 
 
 Some of tlie salt-glazed ware of early date was shaped l)y 
 pressing the moist paste in metal moulds, tlie ornament thus 
 possessing very sharp relief; whilst other pieces were "cast" 
 
 Kii,. y:;. 
 
 Fio. 94. 
 
 * " History of the StafFonlsliirc rottcrics," p. llo. 
 
 t " Catalo^'iie of the SpfcimcTis of Old HngliHli iind other I'ofU-ry in the Colli-ctioii 
 of Arthur Herbert Church. Cirenci-ster, 1H70, p. H. Also: " Knf;ii«h Karthenwarc," 
 by Prof. A. II. Church, I'art I., 1884. (South Knnsingtoti Musuuni Handbooks.)
 
 98 
 
 BRITISH POTTERY AND PORCELAIN. 
 
 in moukls of plaster-of-Paris, the slip licinp introduced so as to 
 t'orni at first a thin hiyer, lining the mould, and this operation 
 being repeated until a sutiiciently thick body was obtained. 
 Many of the stoneware models or " blocks " from which the 
 plaster moulds were taken are here exhibited, together with one 
 or two of the metal moulds, now become extremely rare. 
 
 G. 101 (Fig. 93) is a thick stone-ware block for the body of 
 an eight-sided tea pot, whilst G. 104 (Fig. 94) is a similar model 
 for the body of a jug, ornamented with the pecten-shell pattern 
 so common on this ware. The specimens marked G. 167 and 
 lG7(f are metal moulds, which would leave upon the pressed 
 ware an impression of the pattern as sharp as though it were 
 delivered from a seal. 
 
 The upper shelf in the lower compartments of Wall -cases I., II., 
 and III. contains a fine series of drab-coloured salt-glazed ware. 
 Fig. 95 (G. 97) represents a specimen of this beautiful manufac- 
 ture, with its characteristic decoration. The drab-coloured sur- 
 face is decorated in relief with white 
 ornaments in Devon clay, and it 
 will be noticed that in many of 
 the pieces these ornaments bear a 
 striking resemblance to the pressed 
 decoration on Elers' ware ; a resem- 
 blance so close, indeed, that many 
 authorities have been led to believe 
 that this rare ware may safely be 
 attributed to the Elers' factory. 
 Many of the pieces exhibit marks of 
 having been turned on the lathe 
 before being ornamented. 
 As types of the ordinary white salt-glazed ware, reference 
 may be made to Figs. 96 (G. Ill) and 97 (G. 112). 
 
 Fig. 95. 
 
 Pig. 96. 
 
 Fig. 97. 
 
 The extreme thinness and delicacy of the finer specimens of 
 this ware are marked fea<,ures in such pieces as the trays or 
 small dishes, G. 164, 165, 166, and 168. There is rarely any 
 mark which will fix the locality or dat(i of a particular piece of 
 salt-glazed ware, but the large tureen, G. Ill, has upon its base
 
 SALT-GLAZED WARE. 
 
 99 
 
 the initials "J. B." in cursive characters, and the date 1703 
 rudely scratched in the paste under the glaze. The plate, G. 173, 
 is notable, inasmuch as the border is ornamented in relief with 
 a military trophy, the Prussian eagle, a portrait of Frederick the 
 Great, and an inscription, " Success to the King of Prussia and 
 his Forces :" this allusion to the victories of Frederick the Great, 
 therefore, gives an approximate date to the specimen. Mr. H. 
 VVillett has a similar plate, with the same inscription, in tortoise- 
 shell ware ; thus showing that the two kinds of ware were 
 manufactured at the same period, and perhaps in the same fac- 
 tory. 
 
 It is believed that the manufacture of salt-glazed stone-ware 
 in Staffordshire extended from about 1G90 to 1780, though it 
 probably survived at Burslem until a much later period. Some 
 of the finest productions may be referred to about the year 1750. 
 The following useful chronological arrangement is given by 
 Prof. Churcli :— * 
 
 " Period I. — Prior to 1720. Impressed and applied orna- 
 ments on engine-turned vessels : archaic period. 
 
 " Period II. — 1720 to 1740. Flint introduced into the 
 body : iine sharp work. 
 
 " Period III. — 1740 to 1760. Extensive use of coloured 
 enamels in decorating the salt-glazed surface. 
 
 " Period IV. — 1760 to 1780. Prevalent ornamentation of 
 basket and pierced work : period of decadence." 
 
 Examples of the modes of ornamenting salt-glazed ware by 
 enamelling and gilding may be seen in the specimens G. 182 to 
 186; while the phites, G. 180 (Fig. 98) and G. 181, show how 
 
 Fig. 9H. 
 
 this ware was occasioTiHlly decorated by means of tnimfcr prints. 
 The printing was |ir<)bal»ly executed by Sadler mid Green of 
 Liverpool (see pp. 156, 157). 
 
 * Sontli Ki-nsJDgton MuHeiim Art IIiindbcKiks : Kiij^Iish Kurt Ju-n ware, I'lirt I.. 
 1884, p. 61. 
 
 U 75401. II
 
 100 HRlTlSll POTTERY AND PORCELAIN. 
 
 We(h/ivood Ware. 
 
 [Wall cases VI. to X. ; upper shelves.] 
 
 Altliough the Stiitloi-dshire pottery was hy no moans so 
 ileticicnt. either in tasteful design or in execution, as has often 
 been supposed, anterior to the productions of Wedgwood, there 
 can yet be little doubt that this justly celebrated potter gave a 
 new impulse to the manufactures produced at the Potteries. 
 Josiah Wedgwood, the youngest son of Thomas and Mary 
 Wedgwood, was born at Burslem in July 1730.* It appears 
 that his early education did not extend beyond the ordinary 
 course of reading, writing, and arithmetic, taught at a school at 
 Newcastle-under-Lyne ; but he was one of those who continue to 
 educate themselves through(nit life, and thus acquire deserved 
 ad\antages and reputation. 
 
 Soon after his lather's death, in 1739, he was removed from 
 school, and at this early age placed as a " thrower " under his 
 brother Thomas, who had succeeded to the Churchyard Works 
 at Burslem, previously occupied by his father. In 1744 Josiah 
 was api^renticed as a potter to his brother for the term of five 
 years. When freed from this service he entered into a partner- 
 ship with John Harrison and Thomas Alders at the Clitf Bank 
 Pottery, but the connexion was of only short duration, and he 
 soon associated himself with Mr. Thomas Whieldon, of Fenton, 
 where he manufactured, among other things, a green ware with 
 a remarkably brilliant glaze. This connexion, not suiting 
 Wedgwood's views, he returned to Burslem in 1759, and com- 
 menced business for himself in part of the Ivy Works belonging 
 to his cousins, and there manufactiired small ornamental articles. 
 After removing to the premises known as the Brick-House 
 Works (" Bell Works ") he was fortunate enough to obtain the 
 patronage of Queen Charlotte, wdio so much admired liis " cream 
 ware" — a material which had received great improvements at 
 tlie hands of Wedgw^ood — as to desire that it should be called 
 " Queen's Ware." The foundation of his reputation having been 
 thus laid, orders flowed freely to his manufactory at Burslem. 
 
 Wedgwood was also fortunate in connecting himself commer- 
 cially with his friend Mr. Thomas Bentley, a merchant of Liver- 
 pool, who became his partner, so far as the production of orna- 
 mental objects was concerned, and managed a warehouse in 
 London for the sale of ornamental goods. Mr. Bentley's classical 
 acquirements and knowledge of art were of the greatest service 
 to Wedgwood ; and, by procuring the best models, they were 
 enaVjled to produce those exquisite cameos, medallions, vases and 
 other ornamental objects for which the firm became so justly 
 celebrated. Of these objects the finest were produced either in 
 
 * On Wedgwood's monument in tJie parish church at Stoke-upon-Trent he is said 
 to have l)een horn in August 1730, but tlie register of .St. John's, liursleui, shows 
 that he was baptised in the previous month.
 
 WEDGWOOD M'AKE. 
 
 101 
 
 the black body, called Egyptian ware or basaltes, or in the 
 beautiful material known as "jasper ware." The discovery of 
 the jasper was certainly one of Wedgwood's greatest ac^liievements. 
 By the use of either sulphate or carbonate of barium, or both, he 
 obtained a dense compact paste approaching poixielain in many 
 of its characters, sufficiently hard to receive a good polish, and 
 capable of being delicately and uniformly tinted by the presence 
 of certain metallic oxides. One of Wedgwood's own receipts for 
 the jasper composition, preserved in the Mayer M8S., and pub- 
 lished by Miss JMeteyard, specifies six parts of esiwk (or massive 
 barium sulphate, the mineral known as heavy spar or harytes), 
 three of potter's clay, one of flint, and one-fourth of carbonate of 
 baryta. 
 
 Josiah Wedgwood died in January 1795, at Etruria, the classic 
 name which he had given to the locality near Newcastle-under- 
 Lyne, where he had erected his extensive works. His memory 
 is perpetuated in the " Wedgwood Memorial Institute " at 
 Burslem, his native place.* 
 
 The collection of Wedgwood ware occupies the upper half of 
 the entire range of wall-ca.ses numbered VI. to X. Not perhaps 
 so rich in special departments as certain private collections 
 may be, it is nevertlieless of exce{)tional value to the student, 
 inasmuch as it contains characteristic examples of msarly all the 
 varieties of ware, both useful and ornamental, manufactured 
 by Wedgwood. 
 
 The earliest piece in the collection, 
 identified with the Wedgwood family, 
 is the puzzle- jug (G. 219), repre- 
 sented in Fig. 99. This vessel, l)e- 
 lieved to be uni(|Ue, is of coai'se Itrown 
 pjiste, coated with green lea<l-glaze, 
 and Ijears an incised in.scription, 
 
 It is untloubtcMlly the work of John 
 
 Wedgwood, great uncle to .Josiali 
 
 Wedgwoo«l, l)eing the (eldest brotliei- 
 
 to J(jsiah's paternal gi-and lather. 
 
 John VVedgwood was Ixjrii in I(!.')l- 
 
 and died in ITOo. He was the graml- Fm.. '■''.'. 
 
 .son of (iilhert Wedgwood, the first ol" thr name who settled in 
 
 Bui-slem in the early part of the 17th c<;ntui-y. 
 
 Numei'oUH examples ol' Wedgwootl's famous Qticm's Wure. will 
 be found in the collecti<;n. Tliese not only dis])lay tln' v.iridus 
 
 * For a full account of Wefl>,'wooil and lii« produi^tions. flio visitor may roiisult 
 "The Life of .Josiali Wtdf,'woo(l," " Wtd^rwoo.l and lii» Works." and " Tlif 
 VVfdgwood Handbook," all tlir.c l.y Ivli/a Mut.vanl ; "Tlir Wril^woods : btiiifT « 
 Life of .Josiah Wcdfjwood," l.v JJcw.llvriii .Jcwilf, F.S.A. ; and • \V.<1;:wo(mI ; an 
 Address, by tht IJifrlit Hon. \V. K. Glad'stone," delivered on layin)^ llie founilation 
 stout' of till- Wedgwood .Meiiioriiil Institute, iit Hiiislcni, Oct. '_''■, ISH'?. 
 
 u 2
 
 102 
 
 BRITISH POTTERY AND PORCELAIN. 
 
 shatlos of creani-col(Mir which lie omployed, hut show the excellence 
 oi" the " pottini; " which characterised all Wedgwood's produc- 
 tions. The butter-boat (G. 251) 
 Vv^. 100, is an early unmarked 
 specimen, made at the Bell Works 
 and obtained from Enoch Wood's 
 collection. The lai-ge centre-piece 
 (G. 258) is an important specimen, 
 admirably illustratina^ the charac- 
 teristics of the ware, and has been 
 I'iG. 100. figured, as a typical example, by 
 
 Professor Church in the " South Kensington Handbook." 
 
 Some of the cream-ware is decorated with painting and 
 gilding, while other pieces are ornamented with transfer-print- 
 ing. The tea-canister (G. 252) is an early example of Liverpool- 
 printed ware, figured in Miss Meteyard's Life of Wedgwood, 
 vol. ii., p. 64. A tea-pot (G. 255), presented by the Rev. J. 
 Allen, is printed in purple transfer, with a tea-drinking scene on 
 one side, and on the other side the following stanza : — 
 
 " Kindly take this Gift of mine, 
 " The (j ift & giver I hope is thine ; 
 " And tho' the value is but small, 
 " A loving Heart is worth it all." 
 
 A sample of wdiite Pearl W<Lre, of some interest is furnished 
 by the sugar-basin, G 283. The cups and other objects', dis- 
 tinguished as G. 273 to G. 278, presented by Mr. Hugh Owen, 
 formed a portion ot the breakfast service made by Wedgwood 
 for George III. for use at Gloucester Lodge, Weymouth. 
 
 The two-handled vase (G. 308) is as excellent an illustration 
 
 of Granite Ware, as G. 309 is of 
 Onyx Ware. The basin (G. 307) 
 is a sample of so-called Bamboo 
 Ware. The pie-dish, (G. 306) is 
 one of the dishes, representing 
 baked pie-crust, made by Wedg- 
 wood in times of scarcity, in order 
 to avoid the use of flour. In the 
 Life of George Brunmiell* it is 
 said that " the scarcity two years 
 " after Hrunnnell's retirement, viz., 
 " in July 1800, was so gi'eat that 
 " tlie consumption of flour fur 
 " pastry was prohibited in the 
 " Royal Household, rice being used 
 " instead ; the distiller left ofl' malt- 
 " ing, iiackney-coach fares were 
 " raised 2o per cent, and Wedg- 
 " woodf made dishes to represent 
 " pie-crust." 
 
 * Life of Georjje Brummell, Esq., by Capt. JefiFs, 1844, vol i. p. 49. 
 t As Josiah WedgAvood died in 1795, this must have reference only to tin r-iui . r 
 Wedg^voods,
 
 WEDGWOOD WARE. 
 
 103 
 
 Some of the most important examples of Wedgwood's produc- 
 tions in this collection are the EgyptioM Ware or basalfes 
 (G. 310 to G. 335), among which the ewer, represented in 
 Fig. 101, is specially noteworthy. The design is emblematic 
 of Water ; a seated Tiiton, surrounded by the sea, clasps tlie 
 neck of the vase, which is ornamented with a dolphin's head, 
 whilst the body is decorated with a festoon of Imlrushes and 
 a border of leaves. 
 
 Another fine specimen of black Egyptian ware is represented 
 in Fig. 102. This is an oviforini amphora and cover (G. 323), 
 having the two handles in the form of serpents springing from 
 the heads of the Medusa? ; the body is ornamented in relief with 
 a classic group representing the apotheosis of Homer ; whilst the 
 cover is surmounted by a Pegasus. 
 
 Fig. 102. 
 
 Fio. io;i. 
 
 The. lamp (G. 324), shown in Fig. 103, is another cxcelhint 
 Hpocinif;n. On a triani^Milar basn are thi-e(^ chissic ligun-s grouped 
 around a ci.'ntial shaft, wiiicli supports a slialluw vase l»«!:irin;^^ 
 three small burners in scallop shells ; the cover is terniinnted by 
 a burner in the forni a pahn tn-e, with three seated figures at its 
 base. 
 
 On the top slielf (;f ruse i.s a large bust oi" Cornelius de Witt, 
 in black Kgyptian ware. Wedgwood's life-si/ed l)usts of Dutch 
 patriots were modelled about the year 1779, and had a large tsale 
 in Holland.
 
 104 IIRITISH POTTERY AND rORCELAlN. 
 
 Soino of \Vih1<; wood's black ware was decorated with paintings 
 in encaustic, or unj^lazcd enamel colours, tl)us iniitatin^^ the eUcct 
 of the ancient (hvek painted vases. Examples of this mode of 
 decoration are furnished by the vases G. 88(j to G. H88, which 
 are jiainted witli classic figures in red and white. The finest 
 specimen, however, is the immense vase, or crater (G. .S43) which 
 is mounted on a pedestal in front of a cohunn near Wall-case I., 
 and is figured in the frontispiece to this Handbook. It is a copy 
 of a Greek vase in tlie British Museum, belonging to the latest 
 period of vase-painting known as the style of the Basilicata, and 
 suppost'd to be not earlier than 200 B.C. The original vase was 
 formerly in Sir W. Hamilton's collection. This copy was the 
 largest work executed l)y Wedgwood. Its height is 2 feet 
 1) inches, and its greatest diameter 18 inches. This valuable 
 specimen of Wedgwood's work was presented to the ]\Iuseum by 
 the late Ap.sley Pellatt, Es^. 
 
 Of all Wedgwood's productions, the finest was un(|uestionably 
 his Jasper Ware. The peculiarities of this beautiful material 
 were due to the use of minerals containing barium — notably the 
 suli)hate, or " heavy si)ar " — as constituents of the paste. By 
 admixture with various oxides, the jasper received a variety of 
 delicate tints, the most characteristic being blue, sage-green, and 
 lilac. In some cases the colour permeated the body, whilst in 
 others it was merely superficial, being due to a wash of coloured 
 paste, or "jasper dip'' ; occasionally the solid and the dip were 
 associated, the coating and the body being of different colours. 
 
 The fine effect produced l)y applying ornaments of white jasper 
 to a delicate blue ground is well ilhistrated by the two vases, 
 G. 389 and G. 340. The latter is a very charming piece, and has 
 been figured in Prof. Church's " Handbook of English Earthen- 
 ware," Fig. 52. It is an oviform amphora, having the body 
 ornamented with a frieze of figures representing Apollo and the 
 nine Muses, and the cover surmounted by a white figure of 
 Pegasus. 
 
 But the choicest piece of Wedgwood ware in the collection is 
 undoubtedly tlie copy of the famous Portland or Bdrherinl Vase, 
 with the bas-reliefs executed in white jasper, and laid on a fine 
 black ground ((). 342). 
 
 This is one (jf the original conies made by Wedgwood, and was 
 obtained diivctly from the late Mr. Charles Darwin, who was 
 one of Wedgwood's (h'scendants. The original vase is formed of 
 dark blue transparent glass with the bas-reliefs laid on in white 
 semi-opa(iue paste. It was discovered between the years 1623 
 and 1G44, in a marble sarcophagus buried beneath the mound 
 called Monte de Grano, near Rome, which was opened by order 
 of Pope Barberini (Urban VIII.). The sarcophagus was formerly 
 supposed to be that of the Emperor Severus and his mother 
 Mamaea, who were slain in Germany, A.D. 235. The vase was 
 brought to England l)y Sii- William Hamilton in 1784, and pur- 
 chased by the Duchess Dowager of Portland. At the sale of her
 
 WEDGWOOD WARE. 
 
 105 
 
 museum in 1786 it was bought in l»y the Duke of Portland for 
 1,020^., and was then lent to Wedgwood for the purpose of being- 
 copied. The original vase is now in the British Museum, where, 
 on Feb. 7th, 1845, it suffered violent injury at the hands of one 
 William Lloyd ; but it has since been admirably restored, 
 
 Wedgwood Caiiieos, cfx\ — An illustrative collection of cameos 
 and intaglios in Wedgwood ware is displayed in two glass cases 
 placed one on each side of the pillar opposite to Wall-case VIII. 
 Each specimen is mounted in a gilt setting, which freely exposes 
 the back. Nos. 1 to 189 form a iine series of black medallions 
 of classical portraits, executed in basal tes, and bearing for the 
 mcst part the mark of Wedgwood and Bentley. Nos. 190 to 
 194 are classical intaglios in basaltes. Nos. 195 and 196 are 
 cameo portraits in plain white ware ; and the remaining speci- 
 mens, Nos. 197 to 213, are examples of ja.sper cameos in two or 
 more colours. 
 
 The most important specimen in this series is the large relievo 
 plaque. No. 214, represented in Fig. 104. This slab, which 
 
 Fig. 101. 
 
 measures 1 5 inchcis liy (i inches, is of sage-green jasper with 
 cameo-work in white, representing the sacrific(^ of Tphigenia. 
 The modcllin'' is attri1>utc«l to the Italian artist Pacetti. Thr 
 
 .... 
 
 subject is copi(;d fVoni the sculptun- dm the sarco])hagus u\ wliicli 
 the Barberini va.se was discoverecl, and which is preserved in the 
 Museum of the Caj)itol at Rome 
 
 Wedffti'ovi I I'll I'celain. 
 
 It is b(;li<!Ved that thf iiiJinufaeture of porcelain was not 
 att<'mpted by Josiah Wedpwo(»(l, lait it was subse<|Urntly under- 
 taken at Etnn-ia by his iirpjirw 'I'honias i;v<'rley. The produc- 
 tion of porcelain at tlu-sc woi'ks conniifnccil pnilably about the 
 year 18()S, but was eaiii('<l on for only a short jxriod. A small 
 series of specimens, niarkfd G. 'Sr>{i to G. :]62, is cxhiluted in 
 Wall-case X. Each ))iece is nuuked in re<l with the name 
 
 ■' W EDO WOOD."
 
 106 BRITISH POTTERY AND PORCELAIN, 
 
 Old Staff\yr(Uhirr Ware, exclusive of Wedgwood Ware. 
 
 [Wall-ftiscs VI. to X. ; lowoi- shelves.] 
 Wliilo tlio upper slielves of the range of (i^lass-casea along the 
 I'justoni wall are ilevoteil to the Collection of Wedgwood Ware, 
 all the lower shelves of these cases are occupied by the produc- 
 tions of other Staffordshire potters, many of whom were either 
 the contemporaries or the immediate successors of Wedgwood. A 
 few pieces, at the commencement of the series, are of still earlier 
 date. 
 
 The octagonal plate in delft ware (G. 363), painted with a 
 river-scene, is marked in blue under the glaze 
 
 These initials are those of Josiah Twyford, of Shelton, who is 
 mentioned by Dr. Shaw as the first potter who introduced the 
 use of pipe-clay into the Staffordshire potteries. 
 
 The obelisk in granite ware (G. 364), and the bust of George 
 Washington (G. 367) bear the impressed mark, " Ra. Wood, 
 Burslem." This Ralph Wood was the father of Aaron Wood, 
 who was apprenticed to Dr. T. Wedgwood, and he was, conse- 
 quently, the grandfather of Enoch Wood, whose name appears 
 on several other specimens, such as G. 368. 
 
 The earliest pieces of this pottery are marked " E. WOOD," and 
 the latest " enoch wood & sons," while others, like the bust of 
 the Emperor of Russia (G. 372) are stamped " wood & caldwell." 
 The latter piece is inscribed " Alexander, ^Et. 3.5. Moscow burnt. 
 Europe preserved, 1812." The mark, indicating the partnership 
 between Enoch Wood and James Caldwell, was used from 1790 
 to 1818. 
 
 Mr. Enoch Wood was an enthusiastic collector of Staffordshire 
 pottery, and from his collection a large number of the specimens 
 in this Museum were obtained. Jn 1816 the Staffordshire 
 manufacturers assembled to celebrate the fiftieth anniversary of 
 the opening of the canal between the Trent and the Mersey, a 
 work of the greatest importance to them. A museum was then 
 inaugurated, illustrative of the progress of Staffordshire pottery, 
 and some well-known old works, which had been closed for 
 many years, were searched for specimens. A selection of these 
 examples, obtained from Enoch Wood, to whom the collection 
 belonged, forms the bavse of the Staffordshire series exhibited in 
 this Museum. Other portions of the Wood collection are in the 
 South Kensington Museum, and in the Museums of Edinburgh, 
 Dublin, Stoke-on-Trent and Hanley ; w^hile part of the collection 
 is exhibited at Dresden. 
 
 Among the many potters whose manufactures are here illu- 
 strated an honourable place must be assigned to John Turner, of 
 Lane End, whose works are exemplified by specimens G. 105 to 
 G. 411. The excellence of his blue and white jasper- ware will
 
 STAFFORDSHIRE POTTERY. 
 
 107 
 
 be seen in the vase G. 408 and the dish G. 409rt. Jolin Turner 
 died in 1786, but the business was continued by his sons. A 
 patent was granted to WilHam and John Turner in 1800, for a 
 new method of manufacturing porcelain and earthenware by the 
 introduction of a material known in Staffordshire as " Tabberner's 
 Mine rock." " Little Mine rock," and " New Rock " (Specifica- 
 tions of Patents, No. 2367, January 9, 1800). The bowl G. 
 412/>, is marked " Turner's Patent." 
 
 Several specimens, G. 390 to G. 393, illustrate the work of 
 Elijah Mayer, of Hanley, whose black Egyptian ware and Vmff 
 and cane-coloured bodies are of very delicate texture. With 
 these are some specimens, y)resented by Mr. W. H. Goss, F.G.S., 
 which, though unmarked, are known to have been made by J. 
 Mayer of Hanley. 
 
 A large jug in blue jasper, with wiiite raised figures re})re- 
 senting the four seasons (G. 447) is an excellent example of the 
 work of William Adams, who was one of Wedgwood's pupils, 
 and afterwards a manufacturer on his own account. His blue 
 and white jasper ware closely resembled Wedgwood's. 
 
 Several specimens, G. 897 to G. 403a, illustrate the various 
 kinds of ware, including blue and white jasper, made by 
 Neale & Co., of Hanley, who were contemporaries of Wedgwood 
 And imitators of his works. The important piece G. 401, repre- 
 sented in Fig. 105 is in green glazed earthenware, decor.ited 
 with gilding. 
 
 H. Palmer, who was at one time in pai tnership with 
 Neale, unscrupulously copied| 
 Wedgwoofl's patterns. Some 
 small intaglios in black 
 Egyptian ware, presented liy 
 Mr. lllidge, arc stam))ud with 
 Palmer's natnc, or in some 
 cascH with the initials " H.P." 
 
 Voyez wjis a clever Frencli 
 modeller, at one time in the 
 employ of Josiah Wedgwood, 
 and afterwards with Palmer 
 and Neale & Co. A charac 
 teristic jug, morlcllcfl by him 
 with figuics in high reliid" and 
 dated 1788, is exhibit»;d as 
 G. 383. 
 
 Several pieces of eaithcn 
 ware and jjorcelain ((i. 48.3 to 
 G. 442a) bcai" the mark «)f 
 " DAVENPORT." Mr. .b>hn 
 
 Davenport, established wtn'ks 
 at Loiigpc^rt in Stafl'ordshire, 
 in 1793, an<l the business 
 passed to his descendants. 
 
 Fi(i. lo;,.
 
 108 BRITISH POTTERY AND PORCELAIN, 
 
 Of tlio chiim made Ity MiK's Mason, in the early part of the 
 present century, some cliaracteristic pieces arc here exhibited 
 (G. 4(i3 to G. i66.) In coniiexion with these specimens it may 
 \^e interesting to ipiote tlie f()llo\vin(^ advertisement from the 
 Morning Herald of Monday, October 15. 1(804: — 
 
 Mason's China. 
 
 It has hitherto been the opinion, not only of the Tublic, hut alHo of the 
 Manufacturers of this Country that the earths of these Kingdoms are un- 
 equal to those of Foreign Nations for the fabrication of china. Miles 
 Maeon. late of Fenchurch Street, London, having been a principal 
 purchaser of Indian Porcelain, till the prohibition of that article by heavy 
 duties, has established a Manufactory at Ijano Delph, iiear Ncwcastle- 
 under-Line, upon the ])rinciple of the Indian and Sevo (sic) China. The 
 former is now sold at the ])rincipal Shops only in the City of London, and 
 in the Country as British Nankin. His article is Avarranted from the 
 Manufactory to possess superior (jualities to Indian Nankin China, being 
 more beautiful as well as more durable, and not so lial)le to snip at the 
 edges, more difficult to break, and refusablo or uuitable by heat, if broken. 
 Be'in" aware that to combat strong prejudices with success, something 
 superior must be produced : h(\ therefore, through the medium of his 
 Wholesale Friends, proposes to renew or match the impaired or broken 
 services of the Nobility and Gentry, when by a fair trial or C(mjunction 
 with foreign china, he doubts not that these fears will be removed, and, 
 in a short period, the Manufactories of Porcelain, by the patronage of 
 the Nobility of this country, will rival, if not excel, those of foreign 
 Nations. 
 
 N.B. The articles are stamped on the bottom of the large pieces, to 
 prevent imposition. 
 
 Several spechnens, such as G. 465, bear the well-knov^^n mark, 
 " mason's patent ironstone china." The improvement, for 
 which a patent was granted in 1813, consisted in using the 
 scoria or slag of ironstone pounded and ground in water, in 
 certain proportions, with Hint, Cornwall stone and clay, and blue 
 oxide of cobalt. (Specifications of Patents, No. 3724, July 23, 
 1813.) 
 
 On the lower shelves of Cases IX. and X. is an illustrative 
 series of Spode Ware (G. 469 to G. 492), mostly presented by 
 Mr. Battam. The original Josiah Spode was apprenticed to 
 Thomas Whieldon; of Fenton, in 1749. He conducted works at 
 Stoke-upon-Trcnt, where he manufactured blue-printed, cream- 
 coloured, and other wares. On his death in 1798, his son Josiah 
 continued the business, and soon afterwards commenced the 
 manufacture of porcelain, which he is said to have improved by 
 introducing the use of bone-earth and of felspar ; it has been 
 shown, however, by Professor Church that he was not the first 
 to employ bone-earth in either porcelain or earthenware. He 
 died in 1827, and was succeeded in the business by his son, 
 Josiah Spode, at whose death the works passed into the hands 
 of Messrs. Copeland and Garrett. 
 
 The vase (G. 476), with perforated cover-, mounted on a tripod 
 stand foi-med by three dol{)hins, executed in red terra-cotta,
 
 STAFFORDSHIRE POTTERY. 
 
 109 
 
 with black ornaments in relief, is an excellent example of early 
 Spode ware (Fig. 10(i). 
 
 Fig. 106. 
 
 The specimens G. 415 and G. 416 arc examples of the iVe^y 
 Hall China, the earliest porcelain made in StatforrI shire. The 
 New Hall Works at Shelton were established by a company of 
 potters, who, in 1777, purchased Cookworthy's patent which 
 had been extended to Champion. (>S'ee p. 132.) The New Hall 
 Works where closed in 1825. 
 
 The following is an alphabetical list of other Staffordshire 
 potters whose productions are represented in this collection : — 
 
 Baddeley, W.* 
 
 Batty fc Co. 
 
 Birch. 
 
 B(jtt & C). 
 
 C. & H. (Cookson and 
 
 Harding). 
 Clementsoii, J. 
 Clews. 
 Cyples. 
 Dale, J. 
 
 Ducroz &; .Milli;lgc 
 Green, 'J'. 
 Hackwooij. 
 Harding. 
 Harley. 
 H.-ath. 
 Hollins, S. 
 Hollins, T. & J. 
 Keeling. Toft & Co. 
 Lakiu. 
 
 Lakiii & I'ooh:-. 
 Miusoii, Miles. 
 Mayor & Newbold. 
 
 Meir, F. 
 
 Mist. 
 
 Mohr & Smith. 
 
 Moseley. 
 
 ]\Iyatl. 
 
 Phillips. 
 
 Poole, R. 
 
 Pratt. 
 
 llidgway. 
 
 KicJgway &r Sons. 
 
 llidgway, \V., Son tS: Co. 
 
 Riley. 
 
 Rogers. 
 
 Salt. 
 
 Shortliose & Co. 
 
 Shortho.se & Heath. 
 
 Sncyd, T. 
 
 Steel. 
 
 St(!venson, A. 
 
 Taylor, G. 
 
 Walton, 
 
 Wilson. 
 
 Kafldelpy'H waro is mnrkpfl " Kastwofxl," the filait- of mamifHcturi'.
 
 110 DRITISH rOTTERY AND PORCELAIN. 
 
 WEST SIDE. 
 
 Modern Staffordshire Ware. 
 
 [Wall-ca^es XXXV. to XXXIX.] 
 
 The Staffordshire aeries is continued on the western side of 
 the Museum, where the upper part of the range of wall-cases is 
 devoted to illustrations of the modern manufactures of the 
 Potteries. Many of these specimens were obtained from the 
 Great Exhibition of 1851, and have become of interest as 
 examples of the finest Staffordshire productions of that period. 
 
 The western series commences with examples of the manufac- 
 tures of Mr. Copeland, and of Messrs. Copeland and Garrett 
 (G. 493 to G. 523), thus continuing the collection of Spode ware 
 on the eastern side. William Copeland was a partner in Spode's 
 firm, and his son, the late Mr. William Taylor Copeland, 
 subsequently became possessor of the works. The style of the 
 present firm is •' Messrs. W. T. Copeland & Sons." 
 
 The famous house of Minton's was founded at Stoke-upon- 
 Trent, in 1790, b}'- Thomas Minton, who had been in Spode's 
 employ. The business was afterwards enomnously extended by 
 the late Mr. Herbert Minton, who for a long time was in 
 partnership ^vith his nephews, Mr. M. D. Hollins and Mr. Colin 
 Minton Campbell. The series G. 529 to G. 574 illustrates some of 
 the most noteworthy productions of this factory, including many 
 pieces with Minton's early marks. 
 
 From a technological point of view, much interest attaches 
 to the specimens illustrating the manufacture of tiles and tessc- 
 lated pavements. Nos. G. 551 to G. 553, show the kaolin or china 
 clay, pressed into the form of tesserae according to Prosser's 
 patent. (Specification No. 8548, June 1 7th, 1840.) 
 
 The dry clay, in a state of fine powder, is subjected to 
 hydraulic pressure, and its particles arc thus forced to cohere 
 into the required shape without employing the agency of water. 
 It is then vitrified by firing. 
 
 In the centre of the entrance hall of the Museum is an 
 example of a tesselated pavement from a design founded on a 
 Roman mosaic pavement discovered at Woodchester in Glouces- 
 tershire. This pavement was executed by Messrs. Minton and 
 Co., with tessene of their manufacture. 
 
 The examples of modem tiles of Minton's manufacture (G. 
 554 to G. 573) are placed for convenience on the top shelf 
 Many of these are encaustic tiles. Each tile usually consists of 
 three strata of clay, the superficial stratum being impressed 
 with the pattern from a wooden mould. Coloured slips are 
 then poured into the depressions, and, after partial drying, the 
 surface is levelled down and the tile fired.
 
 STAFFORDSHIRE POTTERY. 
 
 Ill 
 
 The western series of Staffordshire specimens contains exam- 
 ples not only of the productions of Copeland's and Minton's 
 factories, but also of the work of the following Staffordshire 
 manufacturers, viz. : — W. H. Goss, C. Meigh & Sons, F. & R. 
 Pratt, J. Richhuss and C. Toft, and Ridgway & Co. The ivory 
 porcekiin, piesented by Mr. Goss, of Stoke-upon-Trent, is a 
 singularly beautiful material. 
 
 An adjacent pedestal case. No. 4, is devoted to the exhibition 
 of a fine collection of Staffordshire porcelain and potteiy, of 
 modern make, obtained mostly 
 from the Great Exhibition of 
 1851. Attention may be called 
 to the large wine cooler (G. 
 575) in cream-coloured ware, 
 manufactured by Messrs. 
 Minton & Co., and represented 
 in Fig. 107. Among the most 
 noteworthy of Minton's pro- 
 ductions in this case are the 
 handsome porcelain bottles and 
 vajses (G. 576, G. 580), richly 
 decorated after old Sevres 
 models. Messrs, Minton have 
 for many years had the advan- 
 tage of the services of M. Leon 
 Arnoux, and later those of 
 M. L. Solon, in the production 
 of their artistic manufactures. -p, ,^~ 
 
 Several admirable specimens of Copeland's productions, about 
 the year 1851, are iiero exhibited. The bust of Juno after the 
 antique (G. 583), 24 inches high, is an 
 early specimen of Copeland's Parian 
 (Fig. 108). The beautiful material 
 tenried Parian or staUiary hifn'M/i, 
 which was invented in the Pottei'ies 
 nearly fifty years ago, differs from 
 ])orcelain only in the employment of 
 an easily fusible felspar instead of 
 Cornish stone, and is fired at a 
 temperatni'e comparatively not high. 
 The fabi-ication of figures with this 
 biscuit re<|uires gn^at car(; and skill, 
 the figures being cast in several 
 portions nnd caitifully joined together, 
 while tiieir l)ulk diminishes by firing 
 to no less than a (piarter of the size 
 of the model. The firing itself also 
 needs mucii care, props being neces- 
 sary to support the figures, which
 
 112 
 
 mUTISH POTTERY AND POUCELAIN. 
 
 otherwise would liocoine distorted. The pleasing' tone of the 
 hody is sjiid ti> be (hie to a small ((uantity of the silicate of 
 peroxide of iron contained in the felspar or in the clays. 
 
 The specimen G. 5<S4/> is a <j^roup in white biscuit, represent- 
 ing two children playing with a rabbit, marked in relief — 
 
 X >:' 
 
 "PuBD. BY C. BagulEy', -/'(^ajf/ey, 
 
 .V^^/^/'i-f. 20JULY, ISIO.' 
 
 This last figure is obscure; the date maybe hSlO or 1818, 
 It is interesting, however, to find so early a piece resembling 
 jmrian in many of its cliaracters. 
 
 The laroe vase (J. r>92 (Fig. 109) is a sample of Parian ware 
 34 inches high, with floral ornamentation in very high relief, 
 manufactured by Messrs. T. and R. Boote, of Burslem. Some 
 small portrait busts in parian, by Mr. W. H. Goss, of Stoke- 
 upon-Trent, are excellent examples of the utilisation of this 
 ware. 
 
 The only other piece in this case to which special attention 
 need be called is the two-handled vase, G. 593 (Fig. 110), 31 
 inches high, by Messrs. Wedgwood & Sons, of Etruria. The 
 ornament is in white relief on a dark blue ground, after the 
 manner of old Wedgwood Jasper ware. 
 
 Fig. 109. 
 
 Fig. 110,
 
 BOW PORCELAIN. 
 
 113 
 
 The remaining specimens of Staffordshire ware, consisting for 
 the most part of framed plaques, are distributed, according to 
 the avaihible space, over the walls in the neiglibourhood of the 
 cases containing the Ceramic Collection, partly on the eastern 
 and partly on the western side of the Museum. The pedestal 
 of perforated enamelled bricks (G. 005), by Messrs. Minton & 
 Co., represented in Fig. Ill, is placed between Wwll-cases XXX. 
 and XXXI. 
 
 l lilLimilum^l!MiU.U^^U4JIP J^^^^ 
 
 Fk;. 111. 
 
 I*,OW PoiiCELAIN. 
 
 [Wall-cases XI. and XIT.] 
 
 The range of wall cases uinlcr th<* windows, along tlie soiithciii 
 or Jermyn-Street side of the Museum, contains a larg(; collection 
 of s])ecimenM illusti'uting the history of the nmnufactui-t' of 
 British ']>orcelain. The sci'ies commences in Case XI., with tin; 
 productions ot thf lamoiis l'act<»ry at How. 
 
 It i.s generally believcMl that the j)orcelain works at Stratford- 
 le-Bow were establisht <l alxmt the year 17.S(), l)ut tlir ciirlit^st 
 authentic information concerning tin- factory does not commence 
 until sevei'iil years later. Jn I 744- a sample ol" china clay was 
 brought to this countiy IVom America, and, with the \iew of 
 intnjducing this material at l)o\v, a patent was taken i>ut in 
 Decemltei- of that yenr by Edward IJe^'lyn, of How, niiTcliaiit ,
 
 114 
 
 BRITISH POTTERY AND PORCELAIN. 
 
 autl Thomas Fryo, of West Ham, Essex, painter, for the production 
 of a porcohiin containiuf^, among other ingredients, " an earth, 
 " the produce of the CiieroUee nation in America, called by the 
 " natives uDdki'i'." Tlic Mr. Frye here mentioned, who was an 
 artist and engraver, became manager of the Bow works, and 
 during the subsequent partnership of Messrs. Weatherby and 
 Crowther assiduously devoted himself to the improvement of 
 the manufacture, but in 1759 he was compelled to abandon 
 the employment in consequence of ill health, and in 1762 he 
 died of consumption. 
 
 Some interesting particulars respecting the Bow f;ictory are 
 furnished by a document in the cover of a box in the British 
 Museum containing a punch bowl. The writing is signed " T. 
 " Craft, 1790," and informs us that " this bowl was made at the 
 " Bow China Manufactory about the year 1700, and painted 
 " there by Mr. Thomas Craft. My cipher is in the bottom ; it 
 " is painted in what we used to call the old Japan taste, a taste 
 " at the time much esteemed by the then Duke of Argyle ; 
 " there is nearly two pennyweight of gold, about 15 shillings ; I 
 " had it in hand at ditferent times about three months : about 
 " two weeks' time was bestowed upon it ; it could not have 
 " been manufactured, &c. for less than 4?. There is not its simili- 
 " tude. I took it in a box to Kentish Town, and had it burnt 
 
 " there in Mr. Gyles's kiln ; cost me 3s 
 
 " The above manufactory was carried on many years under the 
 " firm of Messrs. Crowther and Weatherby, whose names were 
 " known almost over the world. They employed 300 persons ; 
 " about 90 painters (of whom I was one), and about 200 turners, 
 " throwers, &c., were employed under one roof. The model of 
 " the buildings was taken from that at Canton, in China." 
 
 In connexion with the statement in this last paragraph it is 
 
 interestingto notice the speci- 
 men H. 22 (Fig. 112), an ink- 
 stand which is inscribed 
 
 " MADE AT NEW CANTON, 
 l7ol." It was shown by 
 tlie late Mr. Chaffers that 
 the Bow works were known 
 in the early stages of their 
 existence as " New Canton," 
 and he published from the 
 memorandum books in Lady 
 ■pjg I J. 9 Charlotte Schreiber's posses- 
 
 sion " A Weekly Account of 
 Bisket ware made at New Canton " during the first six months 
 of 1754. 
 
 Mr. Weatherby, one of the partners in the business at Bow, 
 died in 1762, shortly after Mr. Frye's death, and the next year 
 John Crowther became a bankrupt, but he appears to have 
 retained an interest in the works for some time after his failure.
 
 BOW PORCELAIN. 
 
 115 
 
 In 1777 Crowther was elected into Morclen College, Blackheath, 
 and Craft, writing in 1790, says, "I am the only pei'son of all 
 those employed there who annually visit him." About the 
 year 1775 or 1776 the Bow works were sold to Mr. William 
 Duesbury, and the moulds and models were removed to Derby. 
 The factory was afterwards converted into chemical works, and 
 in Craft's time was used as a manufactory of turpentine. 
 
 Some interesting account books and other documents used at 
 the old Bow works passed some years ago into the possession of 
 Lady Charlotte Schreiber, and these records not only show the 
 large amount of business which was at one time carried on at 
 the Bow works, but incidentally afford much information as to 
 the character of the ware produced. 
 
 But the most valuable information on this subject is that 
 which was derived from the excavations at Bow in 1868, by 
 Messrs. Bell and Black. While trenchino- a drain from the 
 lucifer-match manufactory to the sewer the workmen found, at 
 a depth of 8 or 10 feet from the surface, a number ot fragments 
 of old Bow porcelain and portions of saggei*s ; the " find " being 
 probably on the site of an old kiln. Some of these pieces, 
 presented by Mr. Bell, are exhibited in this collection, and by 
 showing the character of the Bow paste and 
 the style of ornamentation have led to the 
 identification of many pieces of Bow china 
 which had previously been wrongly attri- 
 buted to other manufactories. While some 
 of the specimens Itrought to light by these 
 excavations are coated with a glaze, most of 
 them are merely in the state of biscuit, and 
 are theref(n'e castaway fragments of unfinished 
 ware. Such is the specimen H. 1 (Fig. 118), ^u; \i;] 
 
 which is a fragment of a cup oi'namenti'd 
 witli the embossed five-petalled Hower known as the May-llower 
 or hawthorn patteiii. 
 
 Th.' ci)-cuhir disc of frit (H. 19), the roll of baked clay (11. 21), 
 and the fragment of a .sagger ( II. 20) aiT interesting relics ol 
 the old works. 
 
 But little is known regarding the materials finplo^-cd at Bow. 
 According to Heylyn and Fiye's patent, granted in 174'4, one 
 paii of pf)tasli ())• ))( ail ash is mixed with one part <»f sand or 
 Hint and a varialtle pi-opoi'tion of " unakei-." In a sub.sciUKMit 
 patent taken out liy Frye alone in 174I>, no mention is made ol 
 the unaker : bnt it is .said that a " virgin eai'tli," produced by 
 the calcination of cei'tain " animals, vegetables, and fo.ssils," is 
 mixed with Hint or sand and a certain proportion of pipe-day. 
 The glaze is de.scriberl as made of saltpetre, red lea<l, and sand, 
 with tln! addition of white lead and smalt.s, Brofessov ("Innch 
 has pointed out that the earth obtained by the calcination of 
 animal matter must have been bone-eartli, uinl his exami- 
 nation of .some fi-agm(.'nts of porcelain obtaimij rrmn i]\r ili-.iinage 
 I' 7.')4(il. I
 
 no 
 
 BRITISH POrrERY AND PORCELAIN. 
 
 oponvtions at Bow rovoaled the proscmce of upwards of 17 por 
 cent of plu)sphoric aciil. {iScc his analysis on p. 35.) 
 
 The various uukIos of decoration employed at the Bow works 
 are well ilhistrated by specimens in this collection. Some of 
 the pieces, like the sauce-hoat, H. 54, are painteil in blue under 
 the ^laze, and it is worth notiii<i^ that many of the pieces of 
 unghi/ed })orcelain du<r up at tlie works were in like manner 
 painted with cobalt blue. There ia evidence to show that as 
 early as 1756 the managers of the Bow works availed themselves 
 of tlie method of transfer-printing, and occasionally sent their 
 porcelain to be decorated at Liverpool. The plate H. (iO is a 
 delicate specimen of late Bow porcelain, decorated with a transfer 
 print in red. The subject of the engraving is often found on 
 specimens of early printed Worcester porcelain ( compare N. 4>0a). 
 The nietliod of printing on china is generally attributed to ISadlor 
 and Green, of Liverpool, about 1750, or soon afterwards, and refer- 
 ences to printed pieces of Bow china occur among Bowcocke's 
 memoranda, published by Chafters. 
 
 Among the painted and gilt pieces are several examples 
 (H. 24 to H. 27) of the " partridge pattern," frecjuently men- 
 tioned in the notes of John Bowcocke. It should be remem- 
 bered, however, that the same pattern is found on Worcester 
 and on Plymouth china. Some of the finest productions of the 
 old Bow factory were its china statuettes, of which examples 
 are furnished by the specimens marked H. 45 to H. 48. It 
 is known that John Bacon, the sculptor, worked at one time 
 for Bow ; and we learn from •' NoUekens and his Times " that 
 Moser, the keeper of the Royal Academy, also modelled for the 
 Bow factory. 
 
 The figure of a female playing the pastorella (Fig. 114) is one 
 
 Fio. 114. 
 
 of a pair ( H. 47 and H. 48), each of which is marked in red 
 with an anchor and dagger. This mark has sometimes been
 
 BOW AND CHELSEA PORCELAIN. 117 
 
 regarded as an early Chelsea mark, but most collectors now 
 agree in attributing it to Bow, an attribution which receives 
 some support from tlie capital cursive ,^^^ which, in addition to 
 
 the anchor and dagger, is marked upon the figure H. 45. 
 
 It may be remarked that at the back oL' each of the figures 
 H. 47 and H. 48 near the base a square hole has been pierced 
 before glazing, for the purpose of receiving a metal stem sup- 
 porting nozzles for candles. As this square hole is said to be 
 never found on similar Chelsea pieces, it has come to be 
 regarded as a distinctive feature of old Bow figures. 
 
 The triangle, commonly attributed to Bow, is now considered 
 by many collectors to be a Chelsea mark. Two small cream 
 jugs of the famous " goat and bee " pattern, one coloured and 
 the other plain, are exliibited as H. 33 and H. 34. These bear 
 the mark of an incised triangle, formerly regarded as distinctive 
 of Bow china. However, a- cream mug in the possession of 
 Mr. W. Russell, and another in the possession of Mr. T. Thorn- 
 hill, both of similar paste and pattern to these pieces, bear the 
 triangle, together with " Chelsea, 1745," indented in the paste. 
 The two cream jugs here exhibited were formerly in the 
 Strawberry Hill Collection. 
 
 'The greater number of the specimens of Bow china are 
 unmarked, and the identification has consequently to be based 
 on the character of the body and the style of ornamentation. 
 It should, therefore, be understood that, in the present state of 
 our knowledge on this subject, the reference of some of the 
 specimens in this collection to the Bow manufactory is open to 
 revision. 
 
 Chelsea Poucklain. 
 [Wall-ca.ses XIII. and XIV.] 
 
 Although tlie (rxact date (jf tlic e.stal)lishni(Mit of tlie porcelain 
 works at Chelsea lias not been Jiscertained, it was jjiobubly at 
 lefist as early as 174."). The " goat and bee " cream jugs niaik((<l 
 with an inipresst^d triangh; and dated " Chelsea, 1745," have 
 been mentioned above. It hsus been .supposed that the nninu- 
 facture had even then obtained considerable im])()rtance, for the 
 French Company, which at that time <h'sircd the exclusive 
 privilr-gc of cHtahlishing a porcelain manufactory at Vinctauics 
 (sul)se([uently that of Si-.vres) urged the benefit that Franco 
 would gain by having works which should exchnle the German 
 and L'liylish porcelain. This reference, however, may have been 
 made to th(! pnxluetions of P)OW rather than to those of ('helsea. 
 Be that as it may, it is known that in 1747 several persons 
 
 I 2
 
 118 BRITISH POITKKY ANH PORCELAIN. 
 
 came fnnn the vStattbrdshire potteries, and settled at the Chelsea 
 woi-ks.* 
 
 'IMie late Mr. J. E. IS iyhtiiigale, of Wilton, who undertook an 
 extensive search among old newspapers with the view of dis- 
 covering advortisouionts and other notices of early English 
 porcelain, could tin<l no reference' to Chelsea china before the 
 early ])art of 1750.t An advertisement from the " Chelsea 
 China Worehonse, St. James's street," dated January 17, 1750, 
 refers to the productions of " IMr. Charles Gouyn, late Proprietor 
 and Chief Manager of the Chelsea House." At this time the 
 w^orks were in the hands of Mr. Nicholas S[)riinont, originally a 
 silversmith, who appears to have succeeded Gouyn at Chelsea. 
 Probably, as Prof. Church has pointed out, both Gouyn and 
 Sprimont were of Flemish origin. 
 
 It would appear from a memorial;]: presented to the' Govern- 
 ment that the i)roprietor or conductor of the works, styled '• the 
 Undertaker of the Chelsea Manufacture of Porcelain Ware," was 
 " a silversmith by profession," who, " from a casual acquaintance 
 " with a chymist who had some knowledge this way, was 
 " tempted to a trial, which upon the progress he made, he was 
 " encouraged to pursue with gi-eat labour and expense." Un- 
 fortunately the date of the memorial is not given, but 
 Mr. Franks has pointed out that it is certain from internal 
 evidence that " tne document was written after 1752, and 
 probably before 1759."Ǥ It mentions that at least one hundred 
 persons were then employed, " of which is a nursery of 30 lads 
 " taken from the j)arishes and charity schools, and bred to 
 " designing and painting, arts very much wanted here, and 
 " which are of the e^reatest use in our silk and linen manu- 
 " factures." The memorialist complains sadly of the smugghng 
 sales of the Dresden porcelain, allowed to be imported for 
 private use, but otherwise prolwbited, pointing out " that a 
 " certain foreign minister's house has been for a course of yeard 
 
 * " Charles Simpson, .6.3 yeai-s of age in 1817, was born at Chelsea, to which 
 place his father Aaron Simpson went in 1747, along with Thomas Lawton, slip- 
 makiT, Samuel Parr, turner, Richard Meir, fireman, and John Astlmry, painter, 
 all of Hot Lane ; Charle* Wedgwood, of the Stocks, a good thrower, Thomas Ward, 
 and several others of IJursleiii, to work at Chelsea china manufactory. They 
 soon ascertained that they were the principal workmen on whose exertions all 
 the excellence of the i>orcelain must dei)end ; they then resolved to commence 
 business on their own account at Chelsea, and were in some degree successful ; 
 but at length, owing to disagreement among themselves, they abandoned it and 
 returned to Hurslem, intending to commence there the manufacture of china ; 
 but soon after their return Aaron Simpson died, the design was relinquished, and 
 each took the employment quickly offered in the manufacture of white stone-ware, 
 then sold readily on the day of drawing the oven." — Shaw's History of the 
 Staffordshire Potteries, llaulcy, 1829, p. 167. 
 
 ■(• " Contributions towards the History ot Early English Porcelain, from Con- 
 temporary Sources." By J. E. Niglitingale, I'.S.A. (Printed for private circulaticm.) 
 .Sahsbury, 1881. 
 
 I Lansdowne MSS., No. 829, fol. 21, printed at length in Marryat's " History of 
 Pottery and Porcelain," .3rd cd., p. 373. 
 
 § " Notes on the Manufacture of I'orcelain :it Chelsea." 15y Augustas W. Franks 
 M.A., Archceoloyical JoiinutI, vol. xix., 1862, ji. 343.
 
 CHELSEA PORCELAIN. 119 
 
 " a warehouse for this commerce, and tlie large parcel advertized 
 " for public sale on the seventh of next mouth is come, or is to 
 " come, from thence." It appears that this Dresden porcelain 
 paid only eightpence by the pound when entered for private use, 
 so that the competition established became finally very injurious 
 to the Chelsea manufacture. The memorialist speaks of having 
 sold to the value of more than 3,500/. during the previous 
 winter, " which," he adds, " is a great deal, considering the thing 
 " is new, and is of so great extent that it has been beyond the 
 " reach of his industry to produce such complete assortments as 
 " are required in a variety of ways." 
 
 According to Faulkner's Histonj of Chelsea, the Chelsea china 
 manufactory was situated at the corner of Justice Walk, and 
 occupied the houses at the upper end of Lawrence Street. 
 Several of the large old houses Avere used as show rooms. These 
 houses were long since pullctl down, and others erected in their 
 place. An advertisement in the London Evonivg Post of 
 December J 9, 1749, refers to property in "Great China Row, 
 " Chelsea." Tn July 1843, upon digging the foundation for 
 Cheyne Row West, extensive remains of the Chelsea porcelain 
 works were found, including large quantities of broken vases, 
 figures, &c. It is believed that a smaller factor}' at Chelsea 
 was also at one time engaged in the manufacture of porcelain, 
 but its productions were probably unimportant. It is known, 
 indeed, from Shaw's History, that certain Staffordshire potters 
 set up as china makers at Chelsea, (see foot-note on p. 118). 
 
 In the early part of 1757, an advertisement, quoted by 
 Mr. Nightingale, informs us that " the Chelsea Porcelaino Manu- 
 " factory has been very much retarded by the Sickness of 
 " Mr. Sprimont." Another advertisement in the sj)ring of 1761 
 announces that " his Indisposition will not permit him to carry 
 " it on much longer"; and in a sale-notice in January 17(13 he 
 assures the public that " it will positively be his last Sale, being 
 " unfortunately obliged, on account of his lameness, to decline 
 " carrying on the same." 
 
 It was rumoured at one time that tlie manufactory would 
 probably be purchased by the Duke of Cuinlierland "that so 
 " matchless an art shoidd not be lost." The Duke was a great 
 patron of the works, and it is said that he was at one time 
 interested in the proprietorshij), conjointly with Sir K\-eraiil 
 Faulkener. A bust of the Duke oi" Cumberland in plain white 
 Chelsea porcelain is exhibited as I. 1. 
 
 An advertisement in llie Puhlic Adrertizrr of January 2, 
 17(i4, re-printed by Mr. NiL'litingale, anr:ounc(s Ihat "Mr. 
 " S])rimont, th<^ sole possessor of this rare I'orceiaine Secret, is 
 " advised to go to tlie (Jernian Spaw, " and relets to ihe sale of 
 the stock and plant of the works, to be followed by the sale of 
 "the last Pro<luce of that once most magnificent I'orcelaine
 
 120 
 
 Hurnsii porrEiiY and porcelain. 
 
 ]\raimfactory." Towards the end of l7fi}) Sptimont's connexioti 
 with ChelsJa was hroui^ht to a close, and early in the following 
 year the works passed into the hands of Mr. William Duesbury, 
 of Derby. For some time he carried on the bnsiness at Chelsea 
 and Derby sinuiltjineonsly, and the Chelsea works were not 
 finally discontinued until the year 17S4, when the available 
 plant was transferred to Derby, whither many of the w^orkmen 
 and artists also proceeded. (See Derby Porcelain, p. 122.) 
 Sprimont's death occurred in 1771. 
 
 While the sand for the Chelsea porcelain was obtained from 
 the Isle of Wight (p. IG), and perhaps some of the clay also, it 
 may easily have hap})ened that the clays of Poole in Dorset were 
 likewise employed. These clays were then w^ell known, and would 
 scarcely be neglected by the Chelsea manufacturers. The 
 supposition that kaolin was actually in) ported from China for 
 these works is improbable, but it may have originated from the 
 fact that plain porcelain, according to some authorities, was 
 imported from China to be enamelled at Chelsea. The saucer 
 (I. 15) is supposed to support this view, since the paste appears 
 to be oriental while the decoration is quite in the Chelsea style. 
 Bone-ash seems to have been largely employed in the manu- 
 facture of the Chelsea porcelain, as attested by the analysis of 
 a figure by Professor Church ; given on p. 35. 
 
 The figure of a carpenter, 
 I. 6 (Fig. 115), is an example 
 of the simpler efforts of the 
 Chelsea modellers ; while the 
 pair of figures, I. 5 and I. 6, 
 illustrate the more highly 
 decorated style. Great, skill 
 was disi)layed in the pro- 
 duction of the colours employed 
 in the decoration of the 
 porcelain. The claret colour 
 has been considered as the 
 most remarkable of those em- 
 ployed ; but some other enamels 
 ;ire equally good. The fine 
 mazarine blue, is seen in the 
 ground of the small vase, I. 19 
 (Fig. 116). 
 
 Fig. 115. 
 
 Some of the early pieces of Chelsea porcelain are interesting 
 as examples of the crude character of the work in its early 
 stages, when the technical details were incompletely mastered. 
 Thus the plate I. 23, and the compotier I. 24, are of extremely 
 dense paste, and the glaze is much fritted. The plate I. 29 
 shows the glaze accumulated round the base in " tears ; "
 
 CHELSEA PORCELAIN. 
 
 121 
 
 whilst in most other speci- 
 tDens these inequalities have 
 been removed by the rim 
 haviaff been ground smooth. 
 It may also be observed that 
 many of these early pieces 
 exhibit on the back three 
 strongly defined marks pro- 
 duced by contact with the 
 supports on which they rested 
 during firing. These stilt- 
 marks are seen, for instance, 
 on the tureen and plateau, 
 I. 46. Defects in the })aste 
 or in the glaze were in many 
 cases concealed by having 
 sprigs of flowers painted over 
 them ; this artifice is illus- 
 trated by many specimens, 
 such as the plate I. 30. 
 
 Fig. 116. 
 
 As regards marks, the earliest pieces of Chelsea porcelain do 
 riot appear to have had any. The embossed oval with raised 
 
 anchor upon it (v^J is generally considered to be an early mark. 
 
 though it has been suggested that it may be also attributed to 
 Bow. The general Chelsea mark was the anchor jr . either 
 
 gilt or painted over the glaze, commonly in red. Two anchors 
 were sometimes employed. The anchor and dagger is now 
 generally regarded as a Bow rather than a Chelsea mark, whilst 
 the incised triangle may have been used at l>oth manufactories. 
 
 Mr. R. W. Read, of Salisbury, luis jiointed out tliat the gilt 
 anchor was probably not used until a rather late period, and 
 that collect<jrs are not justifiod in rcgui-diTig it a,s the mark of 
 a superior quality of poicelain.* Tiic trade mark ap]>ears to 
 have harmonised with the character of the decoration, and the 
 profusely gilt specimens may always be referred to a somewhat 
 late period of manufacture. An advertisement of an auction 
 in l7<)() stat»!s tliat there will be included in tlie sale " for the 
 " a[>proljatioii of the Connoisseur, a few pieces of sonte new 
 " Colours, which have l)een found this year by Mr. Spriniont, 
 " the Proprietor, iit a very large Expense, incredil»le I>al»our 
 
 * " A Krprint of the Oriijiiml f ;at!ilii;.'iir nf <»nr year's curii)ii> iinMliictions of llir 
 Chcltea I'orcelain Muniif»<tory," with Introductory Keinarku by Hapliiiel W. Kiml. 
 F.R.C.S. (Sulinbury. 1H80.) This cntalojfiie refers to a 16 days' Half at Konl's 
 Auction U<ioins in tlic llaymiirkcl, in March 1756. The sale comprised 1,681) 
 lots, composed of more than (i.-'iOd pieces; yet tiiis is described a-s tlie ;)rodiiction of 
 a sinple year! Only 100 copieg of the catalogue were re-printed, and these only for 
 private circulation.
 
 122 nuiTisH I'orrERY and porcelain. 
 
 " and doisf A})pliccat"uin, uU highly finished, and heightened 
 *' with the gi)ld |H'cnliar to tlmt fine and distinguished Manu- 
 " factory, wliich malvcs this Porcehiin the most beautiful and 
 " magnificent ever s-een, and cannot be made at any Foreign 
 " Manufactory. " 
 
 Dekhy- Porcelain. 
 
 [Wall-cases XV. to XIX.] 
 
 Long before the celebrated porcelain factory was established 
 at Derby, there existed at Cockpit Hill an extensive pottery 
 generally known as "The ])erby Pot Works." Nothing appears 
 to have been ascertained about the foundation of these works, 
 but it is known that they continued in operation up to the 
 time of the bankruptcy of the proprietors, Messrs. John and 
 Christopher Heath, in 1780. Although earthenware was the 
 staple manufacture at Cockpit Hill, it appears that porcelain 
 wjus made to a limited extent. 
 
 According to tradition, the earliest examples of china produced 
 in Derby were small figures of animals and other ornaments, 
 mannfactured by a foreigner in Lodge Lane about the year 1745. 
 
 The late Mr. Llewellyn Jewitt believed that this foreigner 
 was Andrew Planche, the son of a French refugee ; but the 
 early histor}^ of the Derby works is in every way obscure, and 
 the stoiy about the foreigner — which seems to have been derived 
 from Samuel Keys, " one of the old Derby hands," who was 
 apprenticed at the works in 1785, and lived until 1850 — may 
 after all have had but slender foundation. Very few new facts 
 regarding the origin of the Factory could be obtained by the 
 late Mr. John Haslem, when collecting materials for his history.* 
 
 AVilliam Duesbury, Avhose name figures so prominently in 
 connexion with Derby China, was Ijom at Longton in the 
 Staffordshire potteries, and worked when young as an enameller. 
 Mr. Nightingale believed that Duesbury had a share in estab- 
 lishing, or reviving, the manufacture of porcelain at Langton 
 Hall. It appears that his connexion with Derby has not been 
 clearly traced to an earlier date than 1756, though it has been 
 said that he commenced the production of china there as early as 
 1750. At first Ins efforts appear to have been confined to the 
 manufacture of small figures, smelling-bottles, and other trivial 
 objects, but he soon extended his business by the production 
 of useful ware. The works were situated on the Nottingham 
 Road, beyond St. Mary's Bridge. Gradually the business devel- 
 oped, and in 1766 Mr. Duesbury was led, as previously stated 
 
 * " Tlie <)U\ Derby C'hin.i Factory ; the Workmen and their Productions." By 
 John Haslem. London: George Bell & Sons, 1876. See also "The Pottery and 
 Porcelain of Derhyphire." By Alfred Wallis and Wm. Bemrose, jun. 1870.
 
 DERBY PORCELAIN. 
 
 123 
 
 (p. 120), to purchase the Chelsea works. The two establish- 
 ments being thus united under one proprietor, the Chelsea 
 
 anchor was associated with the letter 
 
 as the initial of either 
 
 ilie mark in 
 
 Duesbuiy or Derby, and tlie porcelain bearing this composite 
 
 mark jL became known as " Chelsea-Derby." When the 
 
 Chelsea works were linally abandoned, the moulds and models 
 were transferred to Derby, and it is believed that at least a 
 portion of the plant from Bow was also transported thither. 
 Some of the best workmen and artists from 1 joth Chelsea and 
 Bow are well known to have settled at Derby, 
 
 Examples of Chelsea-Derby china, bearing 
 gold, are furnished by 
 the specimens exhibited 
 as J. 1 to J. 9. Fig. 
 117 represents a char- 
 acteristic piece (J. 2) 
 painted with flowers, 
 and having a deep blue 
 border enriched witli a 
 jrilt runninrj ornament. 
 
 Upon the decease of 
 Mr. William Duesbury, 
 in 1786, his eldest son ^^f'- ^l'^- 
 
 carried on the Derby porcelain works for many .years, in partner- 
 ship during part ot the time with Mr. Michael Kean, an 
 Irisliman of some reputation as an artist. After tlie death of 
 the second Mr. William Duesbur}', which occurred about the 
 year 1790, the business was managed by Kean, assisted by a 
 third William Duesbury. Eventually the business was thrown 
 into Chancery, and it ultiniatel}' l)ecame tl-e property of .Mr. 
 Robert Bloor, who had been clerk to the firm of ])uesburv and 
 Kean. Tliougli possessini^ good capacity for business, In- \\,is 
 not, like his pnMleces.sors, gifted with artistic taste, and tlu" works 
 conse(|Ucntly degenei'att'd imder his management. Mr. IJIoor, 
 after a long illness, dii-d in IS-l-C), and the old factory vas 
 pulled down alnnit this time After its demolition, a nnnnc i y 
 wsiH Vaiilt upon the site, but this in turn was destroyed in lN(t;{. 
 After Hloors drath th<' Derly china business ]i;isse(l intn llir 
 hanils of .Mr. 'riiurnas Clarke, who soon sold it to Mr. Saninol 
 Jjoyle, of Fenton, and in LSI-S the concern was closed, the stock 
 and plant being i-emoved tlie I'ollowing year to StaHbidshii-r. 
 
 There is mneli nneertainty respecting the materials at tiist 
 employed ut the old Derby poieelnin wctrks. It is not im|»rol>a- 
 bje, however, that they were almo.st tlie same m^ those rmploytd 
 at Chelsea, seeing that Derl»y owed much of its importance to 
 the acfjuisition of workmen from Chelsea ami P>ow. Tli<! Hide- 
 ford clay was piobably known at Derby even when the works 
 were tirt est:d)lish<'d, ms that clay wa.s tlirn much used in the 
 Stafford si lire potteries, and the ware made with it was in great
 
 124 nRlTTSH POTTERY AND PORCELAIN. 
 
 (hMuantl between 1780 aiul 1741. At one time the Derby works 
 obUiino.l clay i\ou\ a lend iiiiue at Brassiiigtoii, but its use was 
 soon given up. The Cornish kaolins and china stones, which 
 became well known to ihe potters, especially after their intro- 
 duction into the Staffordshire potteries about 1777, appear to 
 have been euiploved in the Derbv works towards the end of the 
 last or beginning of tlie present century. 
 
 After the Chelsea-Derb3% or Chelsea-Duesbury mark, previously 
 noticed, the earliest known Derby mark is that of the initial ^ 
 
 surmounted by a crown, in allusion to the royal pati'onago with 
 which Duesbury was first favoured about 1773. This mark is 
 found, in slaty blue, on the cup and saucer J. 9. At a latter date 
 about 1788, the second Duesbury added the cross batons with 
 three dots in opposite angles, thus completing the well-known 
 
 " Crown-Derby " mark "^r. In the early Crown-Derby pieces 
 
 the mark is generally executed in puce or lilac, and the crown is 
 carefully jewelled or dotted ; in latter times it degenerated, and 
 in 1831 it was discontinued. A good examjile of the early puce 
 mark is seen on the covered cuj) and saucer, J. 24, represented 
 in Fig. 118. 
 
 The late Mr. John Haslem, the historian of the Derby factory, 
 took great interest in the collections in this Museum ;• and being 
 
 Fig. 118. 
 
 anxious that, so far as Derby was concerned, they should be 
 thoroughly illustrative, he greatly aided the curator in seeming 
 characteristic acquisitions. It is therefore believed, that the 
 series contains types of all the successive phases of the manu- 
 facture. 
 
 The biscuit figures of Diana and Mars (J. 43 and 44) are good 
 examples of the artistic statuettes for which the factory was at 
 one time distinguished. The beautiful material in which they 
 are cast is said to have been first used by Kean ; but in later 
 days the figures were made in a harder body, similar to that of 
 ordinary china. John Mountford, one of the Derby figure
 
 DERBY PORCELAIN. 
 
 125 
 
 makers, in endeavouring, many years afterwards, while in the 
 eniployment of Copeland's, to imitate the old Derby biscuit, the 
 recipe for which was lost, was led to the discovery of Parian 
 ware. 
 
 Several examples of china figures, painted and gilt, are 
 exhibited. While some were, no doubt, modelled at Derbj'', 
 others were probably merely cast there in moulds brought from 
 Chelsea and Bow ; such, for instance, would be the case with the 
 well-known figure of Quinn as Falstuff (J. 49). 
 
 A large double-handled tureen, marked J. 91. placed on account 
 of its size on the top of Case XIX., offers an excellent illustra- 
 tion of the clever flower-painting of William Pegg, the Quaker, 
 whose rather remarkable career has been narrated by Mr. Haslem. 
 
 Fig. 119. 
 
 The delicate little coffee can and saucer, J. 35 (Fig. 119), were 
 painted by Banford. The otlier Derl)y painters represented in 
 tlie collection are Boreman (J. 57), Steele (J. 62), Askew (J. 67), 
 Billingsley (J. 71 and 71a.), Webster (J. 88), John Hancock, 
 jun. (J. 41), and Joliti llaslem (J. 84, 85, and 8fi). Mr. Haslcin 
 .subsequently ac(iuir(^(l great reputation as a miniature painter, 
 and the delicacy and finish of his work are well seen in these 
 specimens. 
 
 Much of the Derby china was decorated in wliat was known 
 as the "Japan style," and sevt^ral examples of the richest of these 
 patterns are here exhibited. The pattern on J. 60 was termed 
 "Old Japan"; that on J. 60rt "Witches' Japan"; on J. 6()/> 
 " Rock Japan " ; on J. 60c " Grecian Japan " ; and on J. 93 ( Wall- 
 caae XXXVf.) " Exeter Japan." 
 
 Perhaps the finest piece of Derby ])orcelain in the collection is 
 the large " King's Vase " J. 92 TFig. 120), which, in eojiseciuence 
 of it.s si/e, is placed on tlie top whelf of Case XXXV. This 
 liand.soriie va.se received its name in consefjuence of its having 
 been originally modelled by the I)erby workpeople for presenta- 
 tion V)y them to William IV., to celebrate the passing of the 
 Reform Bill of 1832. It whs decided, however, by the Ministers 
 of the day that the King couUl not accept any expression of
 
 126 
 
 BRITISH rO'ITEUY AND PORCELAIN. 
 
 ]iolitical sentimont, and consequently tlie presentation was never 
 made. 
 
 ■>vfViX'r''^:y^^'^K^°y^,^^. 
 
 Fir,. 120. 
 
 There seems no doubt that many of the Derby patterns were 
 inspired by Sevres models. The bottle J. 14 is marked in blue 
 with a jewelled crown, the letter D, and two crossed L's in 
 imitation of Sevres. Other pieces, such as the figures J. 12 and 
 J. 13, are marked in blue under the glaze with ciossed swords in 
 imitation of Drr-sden. On much of the late Derby china the 
 marks are printed ; the pieces J. 21 to 23, for instance, being 
 thumb-printed in red, with a crown and the letter HI. Others 
 are printed with the name of Bloor, or of the subsetiuent pro- 
 prietors. 
 
 On the closing of the old Derby china works in 1848, a small 
 m;iriufact'>ry was establishe<l in King Street, Dciby, by Mr, 
 William Lockei', who had for many years been manager to Bloor. 
 In this enterprise Locker was associated with seveial others from 
 the old factory. From time to time changes were made in the 
 partnership, the last survivor of the original partners being 
 Mr. Sampson Hancock. In 1877 new and extensive works were 
 established on the Osmaston Road, Derby, by Mr. Edward 
 Phillips, of Worcester, for the " Derby Crown Porcelain Com- 
 pany."
 
 PINXTON AND PLYMOUTH PORCELAIN. 127 
 
 PiXXTON PORCELAIX. 
 [Wall-case XIX. ; bottom shelf.] 
 
 A manufactory of porcelain was established at Pinxton, near 
 Alfreton, in Derbyshire, about 1795, by Mr. John Coke, who 
 secured the co-operation of William Billingsley, the flower 
 painter from the Derby works. Under Billingsley, who was not 
 only a gi)od artist but a practical potter, a tine transparent paste 
 was produced, greatly resembling that which was afterwards 
 made at Nant-garvv. It is probable that Billingsley did not 
 reiiiiiin at Pinxton more than four or live years, and that he took 
 with him his receipts for the body and glaze, as the porcelain 
 subsequently made was of an inferior quality. Billingsley '.« 
 receipts are in the possession of Mr. Hancock, of Worcester, and 
 were published by Mr. Haslem. The following is the formula 
 for the Pinxton body : — " Lynn sand, GO lbs. ; bone, 40 lbs. ; 
 " 5 lbs. potash dissolved in water, and the whole mixed together 
 " and made into bricks and fritted in the biscuit kiln, afterwards 
 " ground and mixed with Cornish clay in proportion to suit your 
 " mind." 
 
 , After Billingsley left Pinxton the works were conducted for 
 some time by Mr. Coke alone, and they afterwards passed into the 
 hands of Mr. Cutts, a painter, who subsequently settled in Staf- 
 fordshire. The Pinxton works were closed about 1812, but their 
 site is still known as " Factory Square " and " China House 
 Square." It is believed that generally no mark was used at 
 
 Pinxton, but a cursive o^ is sometimes found. This mark 
 
 occurs on the mug jind saucer, J. 96. 
 
 The plate J. 9i illustrates tlie character of the ware produced 
 at Pinxton under Billingsley 's management ; while the dish, 
 J. 95, shows the natuie of the china subse()uently inanufactured 
 there. Botii pieces are unmarked. 
 
 Plymouth Porcelain, &c. 
 [Wall-cases XX. and XXI.] 
 
 The eailiest production of iiard-paste porcelain in this country 
 seems undoulttedly to have been due to th« enterprise and 
 ability of .Mr. WMIiam C<K)kw(;rthy, of Plymouth. Cookworthy, 
 who was a mend)er of the Society of Friends, and in the latter 
 part of his lift; an cniiiicnt minister of that society, was boin at 
 Kingsbridge, in South J^evoii, in 1705. In uarly life he was in 
 bu.sin««s as a wholesale chemist and <lruggist in Notte Street, 
 Plymouth, at first in |>artner.sbi|> with a Mr. Bevans, his former 
 eini)loyer, and afterwards v ith his brother Philij) Cookworthy. 
 While in Itusiness, William (yook worthy ac(iuii-ed coiisideraiile 
 reputation for his chemical k»iowle<lge, and it was this knowledge
 
 128 BRITISH POrPKRY AND PORCELAIN. 
 
 which appours to have induced him to direct his attention to the 
 nianiitactiire of jtorcdain, especially after the P^rc d'EiitrecoUes, 
 who in 171- resided at Kintjj-te-chin, a famous locality for por- 
 cehiin works in China, iiad made known the materials employed, 
 specimens of which had been sent to Paris in 1727-29. 
 
 In a letter to Mr. Hiiitjfston, of Penryn. in Cornwall, dated 
 30th May 1745, Cookworthy mentions that a person from 
 Viri^inia had discovered both kaolin and ]ietuntse there, and had 
 niade from these material^ certain s|>ecimens of porcelain, which 
 he showed to Cookw^orthy. Whatever the vahie of the information 
 may have been, the letter shows that Cookworthy had his 
 attention directed to the materials for the manufacture of por- 
 celain at t'liit time.* 
 
 Mr. Prideaux infers that the discovery of the kaolin and china- 
 stone of Cornw^all may have taken place about 1755. f But 
 Mr. R. N. Worth, a more recent writer, is disposed to place it 
 not later than 1750. J Cookworthy had evidrntly searched the 
 country in different directions, with the view of discovering 
 these materials, for Borlase, writing in 1758, mentions his 
 researches in the parish of Breai;e, and Mr. Prideaux quotes 
 information received from Mr. Martin, of the St. Austel Blowing 
 House, to the effect that Cookworthy discovered porcelain-granite 
 in the tower of St. Columb church, which was built of that granite, 
 from St. Stephens. 
 
 Cook worthy's first discovery of the china-stone seems, how- 
 ever, to have been made at Tregonning Hill, near Breage, where 
 also he found abundance of the china-clay, which he termed 
 " caulin." Subsequently he discovered " immense quantities both 
 " of the petunse stone and the caulin" in the jjarish of St. Stephens, 
 nearer to Plymouth, and where it might be " more commodiously 
 " and advantageously wrought." 
 
 Having discovered the necessary raw materials in various 
 parts of Cornwall and Devon, and having experimented on their 
 utilisation, Cookworthy, in conjunction with Lord Camelford,§ 
 
 * The following is an abstract from this letter : — 
 
 " I had lately -with me the person who has discovered the China earth. He had 
 " with him several samples of the china-ware, which I think were equal to the 
 " Asiatic. It was found on the hack of Virginia, where he was in quest of mines ; 
 " and havmw read Du Halde, he discovered hoth the petunzc and kaolin. It is this 
 " latter earth which he says is essential to the success of the manufacture. He is 
 " gone for a cargo of it, having bought from the Indians the whole country where it 
 " rises. They can import it for 13/. per ton; and by that means afford their china 
 " as cheap als common stoneware ; but they intend only to go about 30 per cent. 
 " under the company." He then proceeds to express no very high opinion of this 
 person, and it will be observed that " samples of the ware " were shown, while no 
 mention is made of actual specimens of kaolin and petuntse. 
 
 t " Relics of William (Jook worthy," 18r)3, p. 4. 
 
 + " William Cookworthy and the Plymouth China Factory." By R. N. Worth, 
 F.G.S. Rep. and Trans. Devonshire Assoc, vol. viii., 1876, p. 480. 
 
 § The following letter from Lord Camelford to Mr. Polwhele (History of Corn- 
 wall;, dated Hoconnoc, November 30, 1790, is important on this subject:— " With 
 " regard to the porcelain manufactury that was attempted to be established some 
 " time ago, and which was afterwards transferred to Bristol, it was undertaken by 
 " Mr. Cookworthy, upon a friend of his having discovered on an estate of mine in 
 " the parish of St. Stephens a certain white saponaceous clay, and close by it a 
 " species of granite or moor.stoue, white with greenish spots, which he immediately
 
 PLYMOUTH PORCELAIN. 
 
 129 
 
 established works at Plymouth for the manufacture of porcelain 
 of hard paste, and in 1 768 took out a patent for the manu • 
 
 facture.* 
 
 The porcelain is described as composed of " moors tone " or 
 " growan " and " growan clay," that is, of porcelain-granite and 
 china-clay, the stone j,^iving the ware "transparence and mellow- 
 ness," and the clay imparting " whiteness and infusibility." The 
 two ingredients were used in about equal parts. After being 
 baked to the condition of biscuit, the china was glazed by means 
 of china-stone, the best stone for this purpose being, according 
 to Cookwoithy, a solid variety " stained with abundance of 
 greenish spots," occurring at Tregonning Hill. This made " an 
 " excellent glaze, without the addition of vitrescent ingredients " ; 
 but in other cases he added to the levigated stone a proper j.ro- 
 portion of " lime and fern ashes, or an earth called magnesia 
 " alba." 
 
 For the decor;ition of the ware, Cookworthy is said to have 
 engaged an excellent painter from Sevres, named Soqui, Lequi, 
 orXe Quoi.t It has also been generally stated that Henry Bone, 
 the celebrated enameller, woiked when young at Cookworthy's 
 factory ; but doubt has been thrown on this statement by Mr. 
 Hugh Owen. 
 
 - Much discussion has arisen as to the site of the Plymouth 
 china-factory. According, however to Mr. Worth, who has veiy 
 carefiill\ examined this question, tliere can be little doubt that 
 the china was made in some old premises " on the eastern side of 
 " High Street, immediately to the north of Vintry Street.''^ 
 From 50 to 60 people were engaged there ; and the demand for 
 the blue and white porcelain is said to have been considerable. 
 The fuel seems to have been chiefly wood.§ 
 
 As the works at Plymouth, though successful as a manufac- 
 ture, did not f)rove commercially remunerative, they were closed 
 about the end of 1771, and the manufacture was transferred to 
 Bristol, where it had been previously carried on by Richard 
 Glianipion under the style of Cookworthy & Co. Champion 
 finally purchased all interest in the Plymouth patent in October 
 177H, and the legal transfer was eflected in the following year. 
 
 Mr. Cookwortliy, aft<M- closing his connexion with the manu- 
 facture of porcelain, appears to have devoted his remaining years 
 
 " perceived to be the two iimterials described by the luiNsionary P^ro d'EiitrecolleH, 
 " as the constituciif parts of the Chiiics<- porccliiin, the one givirip wliiteiicss and 
 " body to thf paste, the other vitri(i(ratioli ami transiiarelicy. The (lifH<Millies found 
 " in proiiortioninp pnijierly these rnatiTJals, so as lo f^ive exactly llie necessary 
 «' degree of vitrification, and no more, and other niceties with regani to the 
 " manipulation, dinconriged uh from proceeding in this concern, after we had 
 " procured a patent for the use of our materials, and expended on it between 
 " two and three thousand jjoiinds. We then sold our ii.terest to Mr. Champion, of 
 " Bristol." The discovery of the china-clay and cliina-stoue wan made by Cook- 
 worthv himself, and not by " a friend of his." 
 
 * SpecificafionH of J'atenf^s, No. HUH, March 17, 1708. 
 
 t See Owen's " Two CenturicH of Ceramic Art in Bristol," |). 89. 
 
 I Hrp. and Trans. Dcv. A.tsor., vol. viii., 1870, ]>. 494. 
 
 t^ Hurt's " Ueview of I'lymoiith " (1816) as <pioted by I'rideanx in his " lielics of 
 Cookworthy," p. 5.
 
 130 
 
 BRITISH POITERV AND PORCELAIN. 
 
 mitjl his cleaili, which occuirccl at Plymouth in 1780, ai the age 
 of 70, to his duties as a minister in the Society of Friends. 
 
 Untloubted specimens of Plymouth porcehiin have become ex- 
 tremely scarce, but the Museum possesses many authentic pieces. 
 
 Thus the salt-cellars, in form of 
 valves of Tridorna, mounted on 
 a base of coral and shells (K. 1 
 and 2, Fig. 121), though un- 
 marked, are undoubtedly early 
 specimens of this porcelain. 
 I'hey are known to liave V)een 
 originally in the possession of 
 Fig. 1:21. a per.«on who was directly con- 
 
 nected with the old Plymouth works, Irom wdiom they passed to 
 the dono'-, ]\Ir. Williams, a member of the same family. Similar 
 forms are believed to have been made at Bristol and at Bow. 
 
 The mark, when one was used, is Jj > ^^^^ alchemic symbol 
 
 for tin (Jupiter), and probably adopted in allusion to the stanni- 
 ferous character of that portion of country where the raw mate- 
 rials were ol)tained. 
 
 The mug (K. 9, Fig. 122), bears this mark in brown, while 
 
 another mug (K. 8), is similarly 
 marked in gold ; both these speci- 
 mens were presented many years ago 
 by Eail Morley. On some other 
 pieces, as K. 16 and K. 18, the 
 mark is in blue. 
 
 It appears that earthenware, or delft, 
 w^as also at one time manufactured at 
 Plymouth. It is difficult to identify 
 Fig. 122. the ware, but two pieces in the collec- 
 
 tion (K. 19 and K. 20) presented by Montague Fi. Parker, Esq., 
 are believed to be genuine. The plite (Fig. 123) bears the 
 
 Fig. 123.
 
 BRISTOL PORCELAIN. 131 
 
 crest of the Parker family, and it is said that it was made locally 
 for an ancestor of the donor. 
 
 Bristol Porcelain. 
 
 It has been asserted that the manufacture of porcelain in 
 Bristol was not commenced until the transfer of Cookworthy's 
 patent to Champion in 1773 ; but, independently of the fact that 
 the latter began to make porcelain in 1768, as soon as the patent 
 in whioli he had an interest was obtained, there is a still earlier 
 attempt referred to in Champion's correspondence.'* Mr. Caleb 
 Lloyd, residing at Charlestown, S. Carolina, in November 1765, 
 sent a box of kaolin to Bristol, to be forwarded to Lord Hyndford, 
 who was a relative of both Champion and Lloyd. The result of 
 the experiments on it was related by Champion to Lord Hynd- 
 ford, under date of 2Sth February 1766. 
 
 " My Lord, — The difficulties which I have had in the trial of 
 the South Carolina clay prevented my acknowledging the receipt 
 of a letter which your Lordship did me the honour to send me. 
 Mr. Goldney declined it for want of conveniences, but expressed 
 his obligations for your Lordship's obliging message. / therefore 
 had it tried at a manufactory set up here some time ago, on the 
 principle of the Chinese 2>orceiain ; but not being successful is 
 given up. The porcelain of the Chinese is composed of the kaolin 
 (or clay) and the petuntse (a stone), both found generally to- 
 gether. The pro|)rietors of the work in Bristol imagined they 
 had discovered in Cornwall all the n.aterials similar to the 
 Chinese ; but though they burnt the body part tolerably well, 
 yet there were impurities in the glaze or stone, which were in- 
 surmountable, even in the greatest fire they could give it, and 
 which was equal to a glass-house heat. The experiment ol" 
 the Cai-olina clay promised well as far as the clay would permit, 
 and was found to be much purer than their own, but there not 
 being any stone t) try with it, a com))lete trial could not be 
 made. I have scnit some to Worcester, but this and all the 
 pjiiglish porcelains being c(jmpose<l of IVits, there is no probability 
 of success." 
 
 At what period these experimental works were begun and by 
 whom conducted there is no clear record, but Mr. Woi'th h;is 
 sought to prove tluit (!ook worthy's earliest uttem])ts to establish 
 a manufactory of hard porcelain were ma<le at Hi'istol prior to 
 January I764.t 
 
 Richanl CliaiMpion began to make porcelain in 176.S, and in 
 the "Worcester .Journal" of 22nd Marcli 1770 advertised for 
 workmen : — " China ware painters wanted for the Plymouth New 
 
 ♦ For the greaU-r part of thcw noten we are iii<U-l)lcd to Mr. Hugh Owiii, 
 F.S.A.. ilie historiiin of the Bristol (Miiim Factory. 
 
 t Hep. and Trims. Devonshire As.soc, vol. viii., 187G, p. 4116. 
 
 U 75401. K
 
 132 BRITISH POTTERY AND PORCELAIN. 
 
 " Invontetl Porcelain Manu factory. A nuniber of sober, ingenious 
 " artists, caj>able of painting on enamel or blue, may hear of 
 " constant employment by sending their proposals to Thomas 
 " Frank, in Castle Street, Bristol."* 
 
 The exact locality of the china works before 1771 has not been 
 traced. The i)remises, afterwards occupied as a china factory, 
 and now km-wn as No. 15, Castle Green, were rated in Septem- 
 ber 1773 to William Cookworthy & Co. 
 
 In October 1773, the patent right passed into Champion's sole 
 name, and from September 1773 to September 1780, the premises 
 were rated to Richard Champion & Co ; in 1781, to Richard 
 Champion only ; and they then passed into the occupation of 
 J. Carey, pipe maker. It will be observed that the Bristol china 
 works were carried on for many years longer than the period 
 formerly ascribed to them. 
 
 Simeon Shawf gives a very circumstantial account of the 
 transfer of Champion's patent by sale to a company of Stafford- 
 shire potters in 1777, but the date is erroneous. Sarah Cham- 
 pion, sister to the potter, who kept an elaboiate journal, as well 
 as copies of her letters, wrote, under the date of 14th January, 
 1781 : — " My brother being obliged to expend a month or two 
 " in Staffordshire on account of the china manufactory ; " and 
 again on the 9th June following : " My brother, who with my 
 " sister C. returned the 4th of this month from London, on their 
 " way from Staffordshire . . . intending for some time to 
 " come to make Newcastle, in Staffordshire, the place of their 
 " residence ; he being in a way of profitably disposing of the 
 " china manufactory, reserving a part to himself." This agrees 
 w ith the records of the Bristol poor rates, wherein the china 
 manufactory is assessed to R. Champion for the rate made in 
 advance in September 1781. J 
 
 Champion had a warehouse in London, at No. 17, Salisbury 
 Court, Fleet Street, for the sale of his porcelain, and the agent 
 was Mr. Joseph Hancock. 
 
 * A reduced facsimile of Champion's enamelling kiln, with memoranda in his 
 autograph, dated October 1770, will be found at p. 19 of .Mr. Hugh Owen's "Two 
 Centuiies of Ceramic Art in Bristol." 
 
 t In 1777 he sold the patent to a company in Staffordshir». Mr. Samuel Hollios, 
 red china potter of Shclton ; Anthony Keeling, son-in-law of Enoch Booth, potter, 
 Tunstall ; John Turner, Lane End; .liicob Warhurton, son of William Warburton, 
 of Hot Lane; William Clowes, potter, of Pert Hill; and Charles IJagnall, potter, 
 Shelton. After this agreement, Mr. Champion directed the processes of manufacture 
 for the company, at the manufactory of Mr. Anthony Keeling, at Tunstall; but when 
 that gentleman (Mr. Champion) removed to London, in 1782, a disagreement ensued 
 among the partners ; Mr. Keeling and Mr. .John Turner withdrew, and they who 
 continued together engaged as managing partner Mr. .John Daniel, son of the person 
 ■who introduced plaster moulds, and settled the manufactory at the New Mall, 
 Shelton, only a short time previously erected by Mr. Whitehead, of the Old Hall, 
 Ilanley, on which account the porcelain had the appellation of Aew Hall China. 
 Mr. .Joseph Warburton was the principal gentleman to whom the potteries were 
 indebted for this spirited introduction of the porcelain manufactory. — " Shaw's 
 History of the Staffordshire l\jtteries, Ilanley, 182')." 
 
 X During Champion's career as a china potter, he took 20 apprentices ; the first 
 was Henr> Hone, afterwards an U.A. and miniature enanieller to the Royal Family, 
 •who w.xs indentured for seven years on the 2Uth Jaiuiary 1772.
 
 BRISTOL PORCELAIN. 133 
 
 When the Plymouth works were about to be discontinued, 
 Champion entered into negotiations for the purchase of the 
 entire interest in the patent, and the terms were long a subject 
 of debate by correspondence. In October 1773, Sarah Cham- 
 pion, writing to a reUxtive, said tliat a satisfactory arrangement 
 had been made at a personal interview between Cookworthy 
 and her brother.* 
 
 Although the patent was vested solely in Richard Champion 
 in October 1773, as proved by the names of Cookworthy ik Co. 
 being replaced in the poor rate of September 1773, by those 
 of Champion & Co., the deed confirming the transfer was not 
 executed until the 6th May 1774, Cookworthy having been 
 prevented fi'om visiting Bristol by domestic troubles during the 
 interval. 
 
 Champion having in the <ame year been mainly instrumental 
 in the return of Edmund Burke as one of the members for 
 Bristol, determined to petition Parliament for an Act to extend 
 the period of his letters patent for 14 years beyond the original 
 term, and Burke s energetic support justified the determination. 
 Aftei- a lontj and fierce struggle with Wedgwood, who used his 
 powerful pen and very extensive influence with his characteristic 
 energy in opposing the Bill, it passed the Commons by a 
 Hiajority of 49, without amendment, although several new 
 clauses were proposed. The struggle w^as renewed again in the 
 House of Lords with even more bitterness than in the lower 
 House. Wedgwood published several elaborate and well- 
 written ai-guments against the Bill, and, supported by Earl 
 Gower, succeeded in getting a clause inserted allowing to the 
 trade the free use of kaolin in opaque ware ; a most valuable 
 concession, consideriiig that Champion himself was bound by- 
 deed to pay 100 per cent, more for that raw material than his 
 opponents. During the contest in committee of the Lords, Mr. 
 Wedgwood urged the insertion of a clause to admit the free use 
 of the raw materials; this was opposed by Champion, who 
 offered instead to register a speciticaLion, which was accepted and 
 rendered compulsory by the Act.f This specitication was drawn 
 up and lodgtnl in the hands of the Loril Chancellor before the 
 Bill pas.se(J, and was enrolled on the l'>th September 1775. 
 In tld.s specification it is said that the proportions of the in- 
 gredients may vary from one part of growan clay (china clay 
 
 * " I am glad I have it in my power to add that the chiiiii l)u.siiiess wliicli luuught 
 " him (W. Cookworthy) to Hristol is mttl.il. I linpc satisl'iictorily to holh piirtics, 
 " indeed I had iilwuys hoped when tliey met it would be so. My brother often 
 " represented to liiin the (^Teat injury he iiiia^^ineii would attend a lax tor ever on a 
 " work, left it entirely to himself to make his own terms to which he promised to 
 " abide, Williiim Cookworthy immediately determined that he woul<l i^ive up the 
 " p<Tpetual claim, and fix it to 'J9 years, the time of letise for the eluy."— (,(^'or- 
 rvspandenrv of S. Chamjiion.) The terms were severe and oppressive, as (Jhanipion 
 was bf)iiiid to pay a royalty to Cookworthy eoual to the total cost of the raw materials 
 procured from Cornish mines leased by Cookworthy. 
 
 t IJ Geo. 11!., chap. oJ. 
 
 K 2
 
 134 BRITISH POTTERY AND PORCELAIN. 
 
 or kaolin) to tour parts of growan stone (china stone or petuntse) 
 io U) 1)1" clay to one of stone. The raw materials of the glaze 
 are said to ditter in number and proportions according to will, 
 but they may consist of " the stone or giavel aforesaid, and the 
 " clay aforesaid, magnesia, nitre, lime, gypsum, fusible spar, 
 " arsenic, lead, and tin ashes (oxide of tin)." In order to lessen 
 the great risk incurred in tiring porcelain of so hard a charac- 
 ter, Champion, when making his commoner ware, seems to have 
 adopted tlie Chinese })lan of glazing ovt-r the raw body, and 
 finishing with one tiring only ; and lie specifies two glazes, the 
 tirst a transparent one for this purpose, and the second, contain- 
 ing a large proportion of kaolin, which, with arsenic and oxide 
 of tin (tin aslies), would make the rich enamel glaze that forms 
 the covering of his statuettes, which were biscuited in the usual 
 way, as well as his finer ware. 
 
 Professor Church thus describes the characteristic peculiarities 
 of an example of Bristol porcelain : — 
 
 '^^' Paste.— Colour, milk-white. Fracture. — Sub-conchoidal, 
 slightly flaky ;* lustre of fractured surface, something between 
 greasy and vitreous ; under the microscope somewhat hackly, 
 ap])arently compact and homogeneous. Glaze. — Thin, slightly 
 bubbled, and having the hardness of fused felspar — about 6 on 
 the mineralogical scale. Hardness of paste. — Extraordinarily 
 high : is just that of quartz ; 7 on the mineralogical scale. 
 Specijic gravity of the fragment examined, including a small 
 amount of gilding and a thin layer of glaze, as well as 90 or 
 more per cent, of the paste itself = 2"37. 
 
 " The cause of the hardness and other fine qualities of Cham- 
 pion's porcelain is explained when we turn to its analysis. It 
 iii to the very high proportion of silica present in it that its 
 density, hardness, and durability are chiefly due. The larger 
 the proportion of silica present the liigher the temperature the 
 paste will require and bear in the kiln, and tlie more compact the 
 resulting porcelain. A broken handle of a tea-cup, authenticated 
 as Champion's manufacture, gave, after the removal of the glaze, 
 the following results as the mean of two careful analyses : — 
 Silica, 62-92 ; alumina, 33-16 ; lime, 1-28 ; alkalies, 2-64. ; total 
 10000. .rl 
 
 vf'fJt will be seen that the alkalies and lime of the Bristol 
 porcelain do not together amount to 4 per cent. This is a 
 remarkably small amount of fluxing or fusible ingredients. The 
 average amount of alkaline oxides in fine oriental porcelain 
 appears to be 6 per cent., in Dresden 63 per cent., and in Sevres 
 7 per cent. It may be safely aflirmed that few, if any, hard 
 porcelains have ever been made with so little alkaline matter as 
 this porcelain of Bristol. And when we come to soft English 
 ])orcelaiii8 we often find no less than 33 per cent, of alkaline 
 matters, bone-earth, and fluxing salts, and only 40 per cent, of 
 silica, and 25 of alumina."
 
 BRISTOL PORCELAIN. 135 
 
 Many pieces in the Collection show the characteristic mark of 
 the Bristol factory — a cross painted in blue, and 
 in many cases accompanied by a number. A 
 sauce boat, L. 19a, decorated in blue, is marked 
 in relief " Bristoll." The cross-swords of Dresden 
 were occasionally imitated, as on the coffee-pot 
 L. 8, which bears the mark represented in Fig. 
 124. Fig. 124. 
 
 The numbers accompanying the marks on Bristol porcelain 
 are believed to refer to the painters. These numbers range 
 from 1 to 24, but it is difficult to appropriate them to the several 
 artists who used them. Mr. Hugh Owen believes, however, 
 that No. 1 was used by Henry Bone, the celebrated enameller. 
 He was born at Truro in 1755, and apprenticed to Richard 
 Champion at the Bristol china works. " There is no doubt," 
 says Mr. Owen, " that the best painting executed at Castle Green 
 " was from Bone's pencil." Tlie beautiful covered basket and 
 stand, L. 11, is marked with the figure 1, in addition to the 
 cross, and was doubtless decorated by Bone. 
 
 The sugar-basin, L. 2, and several other specimens in the 
 collection, will serve to show the spiral ridges so well known to 
 collectors of Bristol porcelain. Mr. Hugh Owen says that 
 " one of the distinguishing characteristics of Bristol porcelain, 
 *' which als'^ marks the Plymouth ware, but in a greater degree, 
 " is the series of spiral ridges, often to be observed on the 
 " surface of thrown ware when held in reflected light. The 
 " difficulty of preserving a uniform density in the clay of any 
 " vessel raised on the wheel by spiral action must be obvious. 
 " The hands of the workmen are dipped in water from time to 
 " time whilst raising a vessel on the potter's wheel, and thus 
 " certain proportions of thrown ware acquire an imequal hygro- 
 " metric condition. In the subsequent process of drying and 
 " firing those |)artsthat have imbibed the most moisture shrink 
 " in proportion more than the denser parts. As a natural con- 
 " quence, the moister layers of the clay being in tlie direction of 
 " the throwing or spirill, the whole vessel, without any change 
 " of form, has a spiral action imparted to its molecules in the 
 " reverse direction to that given to them on the wheel." 
 
 Richard Champion left Bristol on the 5th November 1781, and 
 
 up to the 8th Ajn-il 1782, superintended the wcrks of the china 
 
 conq)aiiy in Stafronlshin-, to which his patent right had been 
 
 transferred. On tin; i)tli April Kdmund T.urke, who had accepted 
 
 the office of Paymaster of the Forces, appointed his son, Richard 
 
 Burke, and Richard Champion joint-dqtuty paymasters-general. 
 
 On the ^Ist July the death of the Marquews of Rockingham 
 
 brought a change of Ministers, an«l ( 'iianq»ion lost his upiM)int- 
 
 inent'^ He reg'Ixinefl it on the 16th April 17.S3, under the 
 
 famous Coalition Ministry, only U) resign it finally on the (Jth 
 
 January 1784, when that Administration colhipsed. On the 7th 
 
 October 1784 he left England for South (\TroIinn. where at a
 
 136 
 
 BRITISH POTTERY AND PORCELAIN. 
 
 fann cillod Rockybrnneli he carried on tlie usual bnwincss of a 
 planter. He was appointed master in ecpiity for the district of 
 Canidon in those days enihracino^ a large scope of country, and 
 was elected a member of the Assembly. He died of fever on 
 the 7th October 1791, and was buried just outside the town at 
 Camden. 
 
 Bristol Delft and Earthenware. 
 [Wall-cases XXI. to XXIII., bottom shelf.] 
 
 The art of Pottery in this city has claim to great antiquity. 
 The governor of Bristol Castle under Edward I. in his accounts, 
 preserved in the Pipe Roll for the twelfth j^ear of that reign 
 (1284) has an item — "pro terra fodienda ad vasa fi.ctilia 
 faciendu." Extensive works must have existed along the whole 
 bank of the river f r om Bristol Bridge to RedclifFe pit, at a period 
 beyond history, as shard heaps are found wherever excavations 
 have been made on that line. The earliest record that has been 
 discovered of a master potter's name is in the register of the 
 Society of Friends, wherein Thomas Frank, gallipot-maker,* is 
 recorded as having been married in 1697. The works situated 
 on Redclitfe bank,.weie carried on by the family, for the manu- 
 facture of Delft ware, till 1777, when they were removed to No. 9, 
 Water Lane, the premises occupied at this moment as the Bristol 
 Pottery. 
 
 " Richard Frank & Son, earthen and stone pot works, are 
 " removed from Redcliffe Backs to Water Lane, where they con- 
 " tinue the same business in all its branches." — Felix Farley's 
 Journal, January 2, 1777. 
 
 The plate, L. 20 (Fig. 125), presented by the late Mr. William 
 
 Edkins, of Bristol, was 
 painted by Michael 
 Edkins, the grandfather 
 of the donor, at Richard 
 Frank's factory on Red- 
 cliffe Back. The initials 
 on the reverse (Fig. 126) 
 are those of Michael and 
 Betty Edkins. 
 
 E 
 
 Fig. 125. 
 
 0760 
 
 Fig. 126. 
 
 * Professor Chorch has critically examined a small gallipot of delftware found near 
 the site of Frank's pottery : — A buff coloured body nearly completely covered with a 
 st.inniferous enamel. The body i.s hard, denser, and a trifle redder and darker in
 
 BRISTOL POTTERY. 137 
 
 Oa the wall, between Cases X. and XI., is a frame of sixteen 
 delft tiles, painted ii blue with a view of Re Iclitfe Church, 
 Bristol. These were made by Richard Frank, at his factory', 
 between 1738 and 1750 
 
 On the 20th September 1784, Mr. Joseph Ring, who had 
 married a daughter ot Richard Frank, purchased the stock and 
 plant at a valuation of 669L Is. Shcl; of this the wheels, tools, 
 and trade appliances (including an old iron pot in the yard) were 
 valued at only 10^. 4s. 6d. Richard Frank died, aged 73, on the 
 3rd April 1785, and was inteiTed in the burial ground of the 
 Society of Friends at Redcliffe Pit. 
 
 In June 1786, Mr. Ring commenced his preparations for manu- 
 facturing Queen's ware. Anthony Hassells, of Shelton, was 
 engaged at a ijuinea a week, to assist him. Hassells had been in 
 business, and Mr. Ring purchased his stock on hand, some one 
 hundred and forty-eiyht dozens, and paid him 51. os. for the cost 
 of his journey to Bristol — SI. 14s. Gd. for the expenses of work- 
 men who accompanied him — and 51. 5s. for " moulds." In August 
 1786, he was fairly at work, as the purchase of materials shows 
 — amongst other things, " ground flints " from Bell &"(Jriffin, of 
 Stone, Staffordshire ; and 14 pounds of sopphora [zafFre] from 
 John Salte, London.* 
 
 ' On the 9th January' 1788, Mr. Ring took Messrs. Taylor and 
 Carter into partnership under the firm of Ring and Taylor, Mr. 
 Cartur being a sleeping partner, supplying 1,500/. of a capital of 
 4,500Z, Mr. Ring was killed by the fall of a roof whilst superin- 
 tending some alterations on the 5th of April 1788, and the 
 business was continued, with the widow as a partner, under the 
 firm of Ring, Taylor, and Carter. In 17.':*7 printing on ware was 
 first intruduced at the Water Lane pottery. 
 
 Ring's cream- ware is thin and well potted ; the edges being 
 remarkably sharp ; and the fluted pieces very regular and well 
 defined. It is generally yellower than either the Leeds or 
 Wedgwood's cream- ware. Both these arc coloured bodies, but 
 Ring's lijis a white bfxly, and the tint was obtained by means of 
 a yellow glaze. The covered sugar basin, L 22, is an e.\ample 
 of Ring's cream-coloured ware. 
 
 tint than the body of similar Dutch warrf. The hodv, as exposod nt tho upper rdfyc 
 of this pot, Jms nearly thi! lianlness of tluor Hpar, or 4 on the mincnilDfiical scale ; 
 while the body of the Dutch specimens with which if is compared In less thiin 3 — 
 the hardness of cale spar. The jrlaze, or rather the etiainel of this piece, is of ii 
 <listinetlv greenish blin; tint, very uniform in texture and colour; and a tritle nioro 
 opa(|ue than the enamel <if the Dutch e\atri]ilcs, which are distinctly inferior in 
 (|uality. The surface of the enamel is slij;litly iriilescrni fr(Mn commencrinj; decorn- 
 p<jsition. owinji •" " l"ng contact with the soil. 
 
 ♦ .Mr King advertised tho establislnncnt of the manufacture early in the next 
 year : — 
 
 " Bristol Pottery, Temple Rack.— Joseph Hiuf.' takes this op|)ortunity to inform 
 " merchants and others that he 1ms establiblied a manufactory nf the (Queen's and 
 " other earthenware whieh he will nell on as low tenns, wliolcsftle and retail, as any 
 " of the be-t mnnnfai'tun rs in SlafTnnlslilre can rendei- the •■Mnir to Miistnl." — 
 £ri.slol Gazette and Public Advertiser, /or Thursdiii/. ./(iinniii/ \Hili, I7H7. iVo. 
 1010.
 
 138 BRITISH POTTEIIY AND PORCELAIN. 
 
 An agreemont for a in'w pavtnorship at the Bristol pottery 
 was drawn up, dated 5th April 1813, between Henry Carter, 
 John D. Pountney, and Joseph King, son of the late partner. 
 Mr. Ring, however, died at the age of 28, on the day the deed is 
 dated, without having executed it ; and Mr. Carter only con- 
 tinued in the firm until 1816, when he retired, and was succeeded 
 by Mr. Edward Allies. Tiie business was tlien carried on under 
 the style of Pountney and Allies until March 1835, when Mr. 
 Allies retired, and Mr. Pountney remained the sole proprietor. 
 
 The jug, L. 35, is stamped in small capitals on the base, 
 " Pountney and Allies." On the specimen, L. 27, dated 1814, is a 
 printed view of Bristol, with the Temple Church and pot works 
 in the rear, inscribed " Bristol Pottery." 
 
 Mr. Pountney finding the business beyond his powers took 
 Mr. Gabiiel Goldney into partnership for seven years, from the 
 18th October 1836. At the expiration of this limited agreement 
 it was renewed for a like period. 
 
 Mr. Goldney retired at the expiration of his second agreement, 
 in September 1850, and Mr. Pountney was again alone. He died 
 at Clifton in October 1852. 
 
 There was another Delft potter named Joseph Flower, whose 
 ware was of excellent character. Many well-executed pieces, 
 dated from 1742 to 1750, are still in the possession of a descen- 
 dant, Mr. James Flower Fussel of Leigh, near Bristol. This delft 
 is thin, neat in make, well potted, and with a good glaze. 
 
 William Fifield, the Bristol enamel painter, who was born at 
 Bath in 1777, was apprenticed to a glass stainer, and worked at 
 the enamel kiln of Water Lane pottery for fifty years. He died 
 in 1857. Fifield has been described as " one of the best of the 
 " Bristol china painters, who survived many years the extinction 
 " of the manufacture," If the "manufacture" indicated is 
 Champion's, a collation of the dates will show that Fifield was 
 but three years old when the porcelain works became extinct. 
 Several specimens of Fifield's work will be found in this collec- 
 tion, namely, the five pieces distinguished as L. 32 to L. 36. 
 
 Henry Clark, an artist of considerable ability, was originally 
 apprenticed at the Water Lane pottery, and continued in the 
 employ for nesirly 50 3'ears. He died about 1862. His best 
 nieces were flowers and landscapes. 
 
 Richard Peake, a flower painter, worked r.t Water Lane from 
 about 1850 to 1856. 
 
 One of the old Staffordshire family of potters, named Toft, was 
 engaged for a short period about 1867. 
 
 Thomas Pardoe, whose name will be found on some plates well 
 painted with flowers (as L. 37), was a glass stainer and enameller, 
 who lived from 1809 to 1820 (with some short intennission) in 
 Bristol, and painted, on his own account, china purchased in the 
 white from the Staffordshire works.
 
 BRISLINGTON POTTERY. 139 
 
 Brislington Lustre-ware. 
 
 An example of this ware (L. 40) will be found on the lower shelf 
 of Case XXIII., and most of the followino- information regarding 
 the pottery has been obliginglj' furnished by Mr. Hugh Owen. 
 
 The body of the Brislington waie is hard but very coarse. It is 
 composed of clay and sand, covered with a yellow enamel dip, 
 and resembles delft. The peculiar character of tiie ware is due 
 to the brilliant copper-lustre of its decoration, produced by 
 the use of copper or copper sub-oxide. The ornanientatiou 
 is exceedingly rude, though in some cases probably copied from 
 the similar Hispano-Moorish w;ire. The manufacture was carried 
 on by Richard Frank and his family, ar, Brislington, but became 
 extinct before the end of the last centuiy. 
 
 The late Mr. R. F. Ring remembered the Brislington works 
 and indicated the locality. They were situated at the bottom 
 of St. Ann's Wood, between St, Arno's Vale and the river, on a 
 line about half a mile beyond Netham Dam ; the building, after- 
 wards occupied as a flour mill, still exists divided into tenements. 
 The mill-pond, witli its now open flood-gate, also remains. It 
 was supplied by Brislington brook, the course of which is through 
 the old flood-gate and over-fall, substantially built with blocks 
 of moulded slag from the copper works. When the mill-pond, 
 now grazing ground, was cleared out, many years ago, a large 
 quantity of fragments of broken lustre- ware was found ; in itself 
 satisfactory evidence of the former occupation of the premises 
 as a pottery. 
 
 The ware made at Brislington was cf a common and cheap 
 character ; and s-oap-disiies, small plates, and shallow baking- 
 dishes of this ware are frequently met with in farm-houses and 
 cottages in the neighbourhood of Gloucester and Bristol. 
 
 Some doubts liave b(!eu expressed respecting the existence of 
 this peculiar manufacture in Bristol, and the numerous cxanq)les 
 liave V.>een affiliated to Spain, in forgetfulness that a i)rohilMtory 
 duty on foreign ware rendered it impossible to import so common 
 a commodity. Moreover, the Spanish ware is of a rich pale 
 lemon colour, soft and unctuous to the touch, with rich arabesque 
 ornaments in coppf-r lustre, and commonly in addition, animals 
 or birds in deep blue. TheBiislingtc^n ware is much tliicker and 
 more clumsily made ; wanting the smooth suiface and the flncr 
 texture which characterise that of Spain ; and the coating of 
 cnami^l, thin and coarse, betrays to the touch an inb-rior manu- 
 facture. The colour, moreover, is crude, and the lustre ornaments^ 
 often mere dashes with the pencil, are poiu ami unartistic in form. 
 It was burned with the coal procured from the Nortli of England; 
 and the expenstss of this fuel, which, according to information 
 furnished by the late Mr. Richard Ring, was 2/. per ton, remlering 
 the numufjicture unremunerative, the works were closed. 
 
 Tlic Brislington copper-lustre ware works were not included 
 in the sale of the Water I^ane Pottery by R. Frank to Joseph
 
 140 BRITISH POTTERY AND PORCELAIN. 
 
 Wwif^ in 1784. The book containing the inventory and particulars 
 of the transler of those works is iu the possession of Mr. Hugh 
 Owen. 
 
 There is evidence in proof that Richard Frank's son continued 
 that factory after the pottery in Water Lane, Bristol, was dis- 
 posed of. Richard Frank, the elder, died in April 1785 ; and on 
 tlie 14th June following, John Williams, son of Thomas Williams, 
 of Bristol, labourer, was indentured as an apprentice to Richard 
 Frank, potter, and Elizabeth, his wife, for seven years. There is 
 a memorandum appended to this record in the Book of Appren- 
 tices kept by the Bristol Corporation, that : — "On the 6th Oct')ber 
 " 1 789 John Williams was turned over to Elizabeth Ring, widow, 
 " for the remainder of his time." The Brislington works could 
 not, therefore, have been closed before this ; and the transfer of 
 the apprentice probalily marks the exact date of their discon- 
 tinuance. 
 
 Rockingham Porcelain and Earthenware. 
 [Wall Case XXIV.]* 
 
 This ware was manufactured at Swinton, near Rotherham, in 
 Yorkshire. As early a^ 1757 a tile-yard and a manufactory of 
 earthenware were established on the estate of Charles, Marquis 
 of Rockingham, in Swinton, Wath-upon-Dearne. Mr. Edward 
 Butler, at that time the tenant and occupier, was induced to 
 establish the manufactory in this locality, from the circumstances 
 of variou'j beds of clay having been found in an adjacent parcel 
 of ground called Swinton Common, consisting of the common 
 yellow clay used for the purposes of making bricks, tiles, and 
 coarse earthenware ; of a finer white clay for making pottery of 
 a better quality ; of an excellent clay for making fire-bricks ; and 
 also a white clay usually called pipe-clay. 
 
 In 1765 the works became tenanted by Mr. William Malpass, 
 who carried on the same kind of manufacture. In 1788 the 
 works were taken by Messrs. Thomas Bingley and Co., a more 
 opulent firm, who considerably enlarged them, awd carried on 
 an extensive tra'le, not only in the common descriptions of 
 earthenware, but also in white, and blue-and-white dinner and 
 tea services, and other wares of a superior quality. They also 
 manufactured the brown or chocolate-coloured tea and coffee 
 services, pitchers, &lc., which obtained the name of " Rockingham 
 ware," for wliich the demand was considerable. The " Cadogans," 
 or teapots filled from an opening in the base, obtained much 
 celebrity ; two examples, M. 15 and 16, are exhibited in the 
 
 * Convenience of space has led to the selection of this position for the Rocking- 
 ham ware, although it is thus separated from the productions of the other Yorkshire 
 potteries.
 
 ROCKINGHAM WARE. 141 
 
 collection. The rich brown glaze of the Rockiiiuham ware was 
 obtained by the use of oxides of manganese and iron. 
 
 It appears that from about 1790 to 1800, the firm was known 
 as Messrs. Green, Bingley, & Co. In 18U7 the works passed into 
 the bands of Messrs. John and ^^'illiam Brameld ; and upon their 
 deaths, Messi-s. Thomas, George Frederick, and John Wager 
 Brameld became the tenants. During their tenancy the works 
 were much enlarged, and a mill for grinding flints was erected. 
 Many improvements were introduced in the manufacture of 
 dinner services, &c., and of u.seful and ornamental earthenw^are 
 of every description. An example of the manufacture of the 
 best period is furnished by the earthenw^are plate, M. 12, which 
 is painted in the centre with a .spray of Dilwynia florihunda ; 
 the botanical name being written in red on the back. 
 
 About the year 1820, Mr. Thomas Brameld directed his 
 attention, in addition to the ordinary work, to the manufacture 
 of porcelain of the finest description, sparing no labour or cost in 
 bringing it to perfection ; and in the painting and gilding he 
 employed the best artists. 
 
 At these works were produced, in glazed porcelain, dinner, 
 dessert, breakfast, and tea services, vases, groups of flow^ers, 
 chimney and drawing-room ornaments, cornices, &c., all richly 
 painted and gilt ; and in plain white biscuit china, vases, flower 
 baskets, flowers, statuettes, busts, &c. Among their vaiious pro- 
 ductions were a dinner and dessert service on an extensive scale, 
 richly painted and ornamented, for King William IV.; two 
 pattern plates for the dessert service are exhibited as M. 1 and 
 M. 2. A vase of very large size, the property of Earl Fitzwilliam, 
 is now iu Wentworth Woodhouse. 
 
 The materials used by Messrs. Brameld in the china and 
 porcelain works were Coniish stone and china-clay from St. 
 Austell, in Cornwall ; calcined bones, and flints from Ramsgate, 
 Sandwich, Shoreham, and other parts of the coast of Kent and 
 Sussex, which were ground at the w'orks. Clay was also obtained 
 from Warehnm an«l other parts of the coast of Doraet. 
 
 Some beautiful examples of Rockingham porcelain are ex- 
 hibited, most of which are marked with the Roekingh;ini crest, a 
 griffin, and are inscribed : — *'' t^<)rA'<ria/i")n //e4./'>i^ fyjiu^K^/ef, 
 
 Some of these; specimens arc very richly decorated, and the 
 cups are elaborately painted on the IiikhIc. 
 
 In the years 1826 and 1827 (years of great commercial diffi- 
 culties) Messrs. Brameld became enibarras-eeJ, but the works were 
 continued V>y th(;iii with the assistance of Earl Fitzwilliam, tli<;ir 
 landlord, till the y(!ar 1842, when they were di.scuntinued as a 
 manufactory either of earthenware or of porcelain.
 
 142 british potter? axd porcelain. 
 
 Worcester Porcelain. 
 
 [Wall-casosXXV. toXXX.] 
 
 According to the historians of Worcester,* the manufactory of 
 porcelain was cstjiblislied there in 1751 1 chiefly through the 
 exertions of Dr. John Wall, a physician of th it city, who was 
 at once a skilful chemist and an admirable artist. The company 
 formed to carry on the works commenced its operations in a fine 
 old mansion, called Warmstry House, formerly the residence of 
 the Windsor family and the Earls of Plymouth. A view of the 
 works appeared in the Gentleman's Magazine for August 1752. 
 According to Mr. Binns,t the earliest Worcester china was com- 
 posed of a frit body ; and although the old receipt known as 
 " The True Secret of making Worcester Porcelain " is not extant, 
 yet he believes that the following formula must be very similar to 
 that originally used by Dr. Wall, viz., sand 120 parts; gypsum, 
 7 ; soda, 7 ; alum, 7 ; salt, 14 ; and nitre, 40. These materials 
 having been fritted together, the product was crushed, and 75 
 parts of the frit were mixed with 15 of whiting and 10 of pipe- 
 clay. The body thus made was coated with a glaze containing 
 38 per cent, of red lead, 27 of sand, 11 of ground flints, 15 of 
 potash, and 9 of carbonate of soda. While the frit body long 
 continued in use for the finer kinds of china, an inferior paste 
 was formed for commoner ware by the use of steatite, which was 
 obtained from the serpentine rocks of Mullion in West Cornwall 
 The frit paste was distinguished by its density and by its green 
 colour when viewed by transmitted light, wliile the soap-rock 
 body was less dense and of a yellowish colour. 
 
 As early as 1768 the Worcester porcelain seems to have been 
 much esteemed. Thus a writer in the Annual Register for that 
 year, after noticing the pcircelain of Dresden and Chantillon, and 
 cla-^sing that of Chelsea with them, considering all as more orna- 
 mental than useful, and as costly as oriental porcelain, adds, 
 " We have indeed many other manufactures of porcelain which 
 " are sold at a cheaper rate than any that is imported, but 
 " except the Worcester they all wear brown and are subject to 
 " crack, especially the glazing, by boiling water." 
 
 In 1772 the 21 years' lease of Warmstry House expired, and 
 the premises passed into the hands of a new company. Dr. 
 Wall's death occurred in 1776. In 1783, Mr. Flight, the London 
 agent for the Worcester Porcelain Company, purchased the 
 Ttroperty for 3,000/5., and 10 years later the firm became "Flight 
 and Barr," On the admission of another partner in 1807, the 
 
 .•f ,•.■; >-. /•> !'•>■>,' ■'■■ .(. ( J ij ij'j 
 
 * Nash's " History of Worcestershire," vol. ii. p. 124 ; and Green's " Sistor^ anfl 
 Antiquities of Worcester," 17'J6, vol. ii. p. 19. 
 
 t About the same date as that of the establishment of the Derby works. Probably 
 the preat success of the Chelsea and Bow porcelain about this time directed much 
 attention to this manufacture. The Swansea pott«'ry was established in 17.50. 
 
 ■•■ " A Century of Jfotting in the City of Worcester, being the History of the Royal 
 Porcelain Works from 17.51 to 1851," by K. W. Binns, F.S.A., 186.5, p. 40. A 
 second edition appeared in 1877.
 
 WORCESTER PORCELAIN. 143 
 
 style was changed to that of " Barr, Flight, and Barr," and on 
 the death of the elder Barr in 1813, it became "Flight, Barr, and 
 Barr." In 1788, King George III. visited the factory, and hence- 
 forth it was termed the Koyal Worcester Porcelain Works. -, •• 
 
 It appears that when the Worcester works were sold to Mr. 
 Flight, two of the employes, Robert and Hutuphrey Chamberlain, 
 left the establishment and commenced business in the town on 
 their own account. This business was ultimately so successful 
 as to prove a formidable opponent to the old works, and in 1840,. 
 after a long period of rivalry, the two establishments were 
 amalgamated. Various changes in the proprietorship subse- 
 quently occurred, and in 1862 the present joint-stock company 
 was constituted as " The Worcester Royal Porcelain Company, 
 Limited." 
 
 The early productions of Worcester seem to have been chiefly 
 imitations of Clrina and Japan wares — imitations much en- 
 couraged by the high repute in which those kinds of porcelain 
 were then held. The oriental marks were more or less perfectly 
 copied, as may be seen on several of the specimens here ex- 
 hibited, e.g. N. 5, 15 and 16. 
 
 Tl)e brand of a chequer or square variously fretted, 
 bearing a <ieneral resemblance to a Chinese mark, was 
 largely used on the early pieces ; and will be found in 
 blue on many specimens in the collection, such as N. 1, 
 
 3, 4, 6, &c. One of the earliest ordinary marks, a crescent (C[ , 
 
 can by no means be regarded as a counterfeit, and was probably 
 suggested, according to Mr. Binns, by one of the quarterings in 
 the Warn istry arms. The blue crescent occurs on specimens N. 
 Zi y, 9, and numerous others in this series. The crescent was 
 
 ndt lifeed after 1793. The letter // was emj)loyed at a very 
 
 early date, and was ])robal)ly suggested by the initial of both 
 Wall and Worcester ; it will be found on specimens N. GS, ()4, 
 0(J, and (J7. Tlie crossi'd swords, in imitation of tho Dresden 
 mark, may be seen on N. 27, 79, and some othei-s ; while tho 
 Dresden caduceus occurs on N. 78, Many of the specimens on 
 the lower shelves of" the Worcester series, mostly Idue painted 
 ware, bear trivial figures, rcgai'ded rather jls workmen's mai-ks 
 than as marks distinctive of the factory. 
 
 Among the finest examples of early Worcester china, the visitor 
 fihcmld notice such specimens as tlie shaped flower-vase, N. 3, 
 characteristically decorated with a painting of exotic birds; the 
 duuble-haridird cuj), N. 6, painted with conv«'ntion;il foliage in 
 the favourite JajMiiesi! style of tiie period ; tin* open-work fruit 
 basket, N. 17, richly paintc<l and gdt ; the gallon jug, N. 19, 
 with trof)ifal liirrls and bntterfiics ; and tlic two-handled cup, 
 N. 20, witli tho Ja|)aiicse fan-j)attern. Many of these specimens, 
 and several others exhibited in this series, furnish examples of 
 the deep mazarin-l)lue ground, enriched with the well-known fish-
 
 144 
 
 BRITISH POTTERY AND PORCELAIN. 
 
 scale pattern. The small covered jar, N. 'M. slightly decorated 
 witli sprays of flowers in pur})le enamel, has been figured by 
 Pn)fessor Church, who describes it as "an excellent example of 
 " the graceful yet sim})le forms prevalent in the best period of 
 " the Worcester works."* 
 
 At an early date in the history of the Worcester works, Dr. 
 Wall availed himself of the process of transferring printed en- 
 gravings on to a glazed surface, and applied this art to the 
 decoration of his porcelain. Some of the earliest specimens are 
 delicate engravings by Robeit Hancock, who had studied under 
 Ravenet, an engraver employed at the enamel works which were 
 established at Battersea in 1750, and where, according to Mr. 
 Binns,t transfer- printing was first introduced. At first the 
 designs were printed over the glaze and the printed pieces 
 ex]>osed only to the heat of the enamel kiln ; but the invention of 
 under-glaz(5 printing soon followed, and the designs were then 
 transferred to the ware when in the state of biscuit. Many 
 examples of early printing on Worcester china will be found in 
 the collection, but especial attention may be directed to the jug, 
 N. 33, t ui-. 127, which bears the earliest known date of Worcester 
 printed ware, 1757. 
 
 This is a pint jug, with transfer- 
 prints over the glaze : on one side is a 
 three-quarter portrait of Frederick the 
 Great being crowned by an angel with 
 a laurel wreatii, and inscribed " King 
 of Prussia," while on the other side 
 is an allegorical figure of Fame, and 
 in centre a military trophy with three 
 flags bearing the names of his 
 victories " Reisberg, Prague, Collin ; 
 " Welham, Rossbach, Breslau ; Neu- 
 " mark, Lissa Breslau." The en- 
 graving is signed "-R4- Worcester," 
 hemrr the initials of Robert Hancock,! 
 
 Fig. 127. 
 
 * " English Porcelain," Part II., in the South Kensington Museum Art Handbooks, 
 
 p 50, 1889. 
 
 t "^ A Century of Potting in the City of Worcester, p. 5.'). 
 
 + A poem on the subject of this transfer-print appeared in the Gentlema7t's 
 M*tqnziue for December 1757, and was reproduced with slight alterations in 
 Bcrrow's Worcester Journal for January 1758. This poem was addressed to 
 Josiah Holdship, to whom the design of tlie dec()rati()n was then attributed :— 
 " What praise is thine, ingenious Holdship, who 
 " On the fair Porcelain the Portrait drew." 
 In justice to Robert Hancock, who was really the engraver, the following couplet 
 was annexed to the reprint of the poem in the Worcester Journal :— 
 
 " Hancock, my friend, don't grieve tho' Holdship has the praiie, 
 " 'Tis your's to execute, 'tis his to wear the bays." 
 In a graphic description of one of these King of Prussia Mugs, from the pen of 
 Mr Carlvle, it is referred to as " A Mug got up for temporary ICnglish enthusiasm, 
 " and the accidental instruction of posterity. It is ot tolerable China : holds a good 
 pint ' To the Protestant Hero, with all the Honours.' "—History of Friedrich II. 
 ofPrwtsia, called Frederick the Great, vol. vii., book xviii., cap. x.
 
 WORCESTER PORCELAIN. 
 
 145 
 
 A quart mug, N. 37, is in like manner ornamented in black 
 transfer printing, with a portrait of the Marquis of Granby 
 crowned hy a winged figure with laurel wreath, and has a figure 
 of Britannia on one side and of Fame on the other. The cream- 
 jug, N. 34, and the sucrier, N. 35, are similarly decorated, with 
 groups of figures in the Watteau style. 
 
 Tn the lower half of the Cases XXVIII. to XXX. will be found 
 a large collection of blue and white china, some pieces painted and 
 others printed, illustrating the Worcester products of various 
 periods. The upper half of these cases contains an illustrative 
 series of Worcester wares, of much interest in consequence of the 
 number and variety of marks which are represented. 
 
 On the basin, the vase, and the cup, designated respectively 
 N. $4, 95, and 96, will be found the early mark of the period 
 when Flight became posses.sor of the factory — namely, the word 
 
 t_ycfyA/, in cursive characters, and a crescent, both pencilled in 
 
 blue under the glaze. The vase, N. 100, beais an impr*ssed 
 mark " F. B. B." (Flight, Barr,and Barr), surmounted by a crown, 
 in'iicative of Royal patronage ; whilst N. 101, and several othei- 
 pieces, are stamped " B. F. B." (Barr, Flight, and Barr), sur- 
 mounted by a crown. The latter mark occurs on the cup and 
 saucer, N, 104, where it is associated with the following inscrip- 
 tion in red, " BaiT, Flight, and Barr, Royal Porcelain Workn, 
 Worcester, London House, No. 1, Coventry Street." 
 
 Of the work of the rival Worcester 
 factory, conducted by the Chamberlains, 
 .several illustrative })ieces are exhibited. 
 Thu.s, the cup and saucer, N. 106 ; the scent- 
 bottle, N. 108 (Fig. 128), with double sides, 
 the outer one being jicrforated ; and the 
 covered vjise, N. 10!), with similar pierced 
 honeycomb pattern, all bear the mark in red 
 
 The plate, N. 118, has the mark bat-printc<l 
 in red, "Chamberlain's Koyal China, Wor- 
 cester. & 155, New Bond Street, London," 
 and a similar mark, in j)inple, occurs on 
 N. 119 ; whilst other specimens, such as 
 N. 120 and 121, carry the mark, " chambi ll- 
 LAIN's, wouckstek," inipresseil in the j)aste. 
 A large v;ise (N. 127), placed on the top 
 shelf of Wall-case XXXVI., is painted witli 
 a figure-subject in.scribed on the base, 
 " Marguerito, the Rose Queen of Salency, 
 Mrs. S. C. Hall." This important ))iece is 
 marked in pink, " Ciiamberlaiu and Co., 
 Worcester." 
 
 Flo. 1J8.
 
 14i6 BRITISH POTTERY AND PORCELAIN. 
 
 Tlio iiKirk used by Messrs. Kerr ami Biuns from 1852 to 1862 
 will l>e round on the specimens N. Ill mid 126a. This con!>ist8 
 of four W.'s in a circle, surrounding the figures 51 within the 
 liorns of a crescent. The W.'s refer to Worcester, and the 
 figures to 1751, the year in which the manufacture of porcelain 
 was established there. 
 
 The Worcester Regattii Mug for 1846 (N. 112) painted with a 
 view of Worcester, is marked in red, " Oeorge Grainger, Royal 
 Gliiua Works, Worcester." The large vases, N. 128 and 129, 
 with V lews of Worcester and Malvern, are also marked " Grainger, 
 Lee, and Co., Worcester." Grainger's works are now under the 
 proprietorship of the Worcester Ptoyal l^orcelain Company. 
 
 Shropshire Pottery and Porcelain. 
 
 [Wall-cases XXXI. and XXXII.] 
 
 One of the oldest potteries in Shropshire was situated at 
 Jackfield, near Thursiield, and mention of " potters from 
 Jackfield " is said to occur as early as 1560. Some character- 
 istic examples of tlie ware usually attributed to Jackfield are 
 presented by the jugs and teapots marked 0. 1 to 0. 3a. These 
 are composed of a rather coarse red body, coated with a 
 brilliant black glaze, ornamented with oil-gilding. The 
 specimen O. 2. bears a gilt inscription, " Richard and Ruth 
 Goddin, 1769." 
 
 About the year 1751 a small pottery was established at 
 Caughley, near Broseley, in Shropshire. Under Mr, Thomas 
 Turner, who came from the Worcester works in 1772, porcelain 
 of a superior quality was manufactured, and usually decorated 
 with Chinese subjects printed in a celebi'ated deep blue colour. 
 Many examples of tliis blue printed ware will ]je found in the 
 collection, and will serve to show the cl<jse resemblance between 
 some of the Caughley and Worcester china. 
 
 The large jug, O. 13, with a mask beneath the spout, and 
 printed in blue with flowers, is inscribed ^^ J^a/m^d f^f-fn/n^i^lu^ 
 
 y^^y ; " This piece, like many others in this series, is marked 
 in blue under the glaze, with the letter C. 
 
 Others are similarly branded in blue with the letter S. and a 
 few, like O. 4, and O. 4a, are stamped "SALOPIAN." The 
 two-handled covered cup and saucer, O. 9, (Fig. 129) is an 
 excellent example of Caughley ware ; it is painted in blue,
 
 SALOPIAN WARE. 
 
 147 
 
 enriched with gilding and marked under the glaze with the 
 initial S. 
 
 Fig. 129. 
 
 Mr. John Rose, the founder of the Coalbrook Dale or Coal- 
 port works, was apprenticed to Thomas Turner, of Caughley, 
 a,nd about 1780 he commenced business at Jackfield, A few 
 years after Mr. Rose had established his works at Jackfield, he 
 removed to Coalport on the opposite side of the Severn. On 
 the retirement of Turner, in 1799, Mr. Rose purchased the 
 Caughley works, and about the year 1814 removed the business 
 to his manufactory at Coalport ; the Caughley works being then 
 ^.bandoned. In 1820 the Swansea and Nantgarvv works were 
 incorporated with the Coalport factory, and Messrs. Billingsley 
 and Walker, of Nant^arw, were engaged there. About this 
 period Mr. Rose introduced certain improvements, which gained 
 for him the Society of Arts' gold medal (p. 56). Mr. John Rose, 
 the founder, died in 1841, but the style of " John Rose & Co. " 
 is still retained. It is to be rerrretted that at one time the 
 marks of other manufactories were imitat-ed at Coalport. Thus 
 the Vfiuses O. 29 and 30, thou<di marked with C. bear also the 
 Ohelsea anchor; whilst O. 31, 32 and 33, are marked in blue 
 with two L's crossed, after the well-known style of Stivres 
 porcelain. 
 
 On .some specimens, as O. 30 and 37, the word " Coalpoi't," 
 is marked ; and on others as O. 44 to 49, the mark is "JOHiV 
 KOSE & CO., colp:j{Rook dale, 1850." 
 
 The cup 0. o7, is marked in piu'ple with tlie monogram, 
 " C. B. J)." (Colebrook Dale), surroundcMl hy inHcri])tion, 
 "Daniel!, London." Tlie )ichly ornamented plate O. 50, is a 
 «pecimen of the service executed by command of Her Majesty 
 for presentation to the Emperor of Russia. It was (-(xhiliited in 
 the Oreat Kxhiltition of 1851. and is inarkeil in gold, " A. B. & 
 R l\ Danifll, 120, New liond Stre. t, .t l.S, Wignu^ro Street." 
 
 In connexion witli the ceramic productions of Shropshii-e, 
 
 attention should be directed to the fine scries of .specimens of 
 
 modern Majolica ware, manufactured ami presented in 1S71, l)y 
 
 Messrs. Maw & Co., of the Benthall Works, near Broseley, in 
 
 U 75401. j^
 
 148 BRITISH POrrEllY AND PORCELAIN. 
 
 Shropshire. These specimens, distinguished Jis O. 52 to O. 126, 
 are placed on the upper shelves of Wall-cases XXXIX. to 
 XLIV., where they are near the series of specimens illustrative 
 of the modern productions of the Staffordshire potteries. 
 
 Swansea Earthenware and Porcelain. 
 [Wall-cases XXXIII. and XXXIV.] 
 
 Earthenware works were established at Swansea about the 
 year 1750, and the ware there manufactured was of much the 
 same kind as that then produced at the Staffordshire potteries. 
 The works, with the name of the " Cambrian Pottery," became 
 much extended in 1790, under the management of Mr. George 
 Haynes ; and in the early part of this century he introduced a 
 superior kind of ware, giving it the name of " Opaque China." 
 
 The earthenware figure, P. 1, is marked in brown, 
 '^^a'mlua-n Wo-^^eiy^ " whilst the vase P. 2, is similarly 
 marked with the word -^ "(fu^/Ui&S^J^^'.^''.'' The ewer, 
 P. 3., with trefoil lip and gilt liandle, ornamented with Greek 
 figures in white, outlined in black printing on blue ground, is^ 
 stamped " opaque porcelain." 
 
 In 1802 Mr. Lewis Weston Dillwyn purchased the Swansea 
 works, and soon afterwards, by the aid of Mr. W. W. Young,, 
 the draftsman employed by him in his works on natural history, 
 whom he had instructed in enamel painting, the opaque china 
 became remarkable for beautiful and truthful painting of birds, 
 
 butterflies, and shells, drawn from 
 nature. Several typical pieces of 
 this interesting ware are exhibited 
 under the reference numbers P. 4 
 to 12. The covered basin, P. 12 
 (Fig. 130) is a very characteristic 
 example ; it is painted with butter- 
 flies, having their scientific names 
 written on the inside (Papilio Ata- 
 lanta, P. lo., P. lucina, P. ArguSr 
 and P. Artaxerxes). This piece is- 
 
 ^^^^^ unmarked, but similar ware repre- 
 
 j^ie 130. sented by the specimens P. 4 to 
 
 P. 8, is stamped with the word "SWANSEA," and with the 
 letter C. 
 
 Although it would appear from passages in Donovan's 
 " Excui-sions in South Wales and Monmouthshire " that a kind 
 of porcelain was manufactured at Swansea towards the end ot 
 the last century, yet it was not until 1814 that the fine paste 
 which obtained such repute as " Swansea porcelain was pro-
 
 SWANSEA WARE. 149 
 
 duced. Respecting the introduction of this manufacture, the 
 late Mr. Dillwyn afforded the following information to the 
 director of the Museum : — 
 
 " My friend Sir Joseph Banks informed me that two persons, 
 named Walker and Beely,* had sent to Government, from a 
 small manufactory at Nantgarw (10 or 12 miles north of 
 Cardifi), a specimen of beautiful china, witli a petition for their 
 patronage, and that, as one of the Board of Trade, he requested 
 me to examine and report upon that manufactory. Upon 
 witnessing the firing ot a kiln at Nantgarw, I found much 
 reason for considering that the body used was too nearly allied 
 to glass to bear the necessary heat, and observed that nine- 
 tenths of the articles were either shivered, or more or less 
 injured in shape by the firing. The parties, however, succeeded 
 in making me believe that the defects in their porcelain arose 
 entirely from imperfections in their small trial-kiln, and I 
 agreed with them for a removal to tlie Cambrian pottery, at 
 which two new kilns, under their direction were prepared. 
 While endeavouring to strengthen and improve this beautiful 
 body, I was surprised at receiving a notice from Messi-s. Flight 
 and Barr, of Worcester, charging the parties calling themselves 
 Walker and Beely with having clandestinely left an engagement^ 
 at their works, and forbidding me to employ them." 
 
 An excellent body was finally obtained at Swansea, and as 
 might be expected, the natural history subjects painted upon it 
 were most carefully executed. The hoopee painted on the plate 
 P. 21, may be cited as a fair example. The manufacture was 
 not, however, long continued. Other occupations engaging the 
 attention of Mr. Dillwyn, the manufacture of porcelain was laid 
 aside in 1817, and earthenware again became the sole product of 
 the Swansea pottery, until about the year 1820, when the works 
 were discontinued, and the appliances, having been purcliased by 
 Mr. Rose, were removed to Coalport. 
 
 The North Devon or Bideford clays seem to have been early 
 employed at the Swansea works, as also the Dorset or Poole 
 clays. Cornish kaolin and china-stone likewise formed a 
 portion of the porcelain Ixxly. Steatite, from veins in tlie 
 serpentin(! of the Lizard, Cornwall, was also employed during 
 the manufacture of the porcelain. Flints were obtained ciiiclly 
 as balhist in trading vessels and colliers, from tho chalk di.stricts 
 of the south and scjuth east of England. 
 
 As regards marks, Mr. Dillwyn said that " the articles made 
 " at and marked 'Swansea' includ(! all, I ])elieve, which have a 
 " more compjict fractun;, and tlu^ addition of a tri<l<'nt denotes 
 " a supposed improvement, which was idtimately not found to 
 " answer." 
 
 Beely win a corruption of liillinysley, the name of Walker's fathor-iii-Iaw. 
 
 I- 2
 
 150 BUITISH POrrERY AND PORCELAIN. 
 
 The word ^^ ^U4.att,i<ia/ ' painted in red, occurs on the 
 
 specimens P. 21 lo 23, 28 and 29 ; whilst tlie impressed mark, 
 " swANSbiA," and a trident, will be foutid on the plates P. 24 to 26. 
 The little vase, P. 21, which with many other specimens was 
 presented by Mrs. Dillwyn, is of the same body or paste as the 
 specimens ot' Nantgarw porcelain, and was an experimental ])iece 
 made on trial, in 1814 or 1815, to render the body more durable. 
 
 NaNTGARW PORCIiLAlN. 
 
 [Wall-case XXXIV. ; upper shelves.] 
 
 In 1813 a porcelain ujanufactory was established atNantgarw, 
 near Cardiff, by William Billinosley and his son-in-law, George 
 Walker, wdio have been already mentioned in connexion with 
 the Swansea porcelain. Billingsley was a clever china i)ainter, 
 who had worked at Derby and at Worcester, and who before 
 coming to Nantgarw had assumed the name of Beely. The 
 small capital of the founders of the Nantgarw factoiy was soon 
 exhausted ; and moriey was then advanced by Mr. W. W. Young, 
 already mentioned as a painter at the Swansea works. An 
 interesting letter contributed by Mr. Young to The Gamhrian 
 newspaper of October 19, 1822, has been unearthed by Mr. W. 
 Turner* ; and from this letter we learn the brief history of the 
 Nantgarw factory. It appears that as sufficient capital was not 
 forthcoming, the work at Nantgarw was taken over by the 
 proprietors^ of the Swansea pottery. Owing, however, to 
 •disagreement, Billingsley, who is described as being a man of 
 violent temper, soon left Swansea and returned to Nantgarw, 
 where by the assistance of several patrons he struggled on for 
 nearly two y<ars; but in 1820 he left in financial difficulty, 
 and the plant and stock at the works were then purchased by 
 Mr. Youn'^. 
 
 The following is an extract from a memorandum of agreement 
 -made on the 2nd February 1822, between Mr. David Morgan 
 of the town of Neath, ironmonger, of the one p.irt, and William 
 Weston Young, of the parish of Newton Nollage, land surveyor, 
 of the other part, whereby it is agreed " that he [Morgan] shall 
 " not make bricks or any other articles from the said sand 
 " [Dinas sandt] without the consent of the said Win. W. Young, 
 " who does al>o agree on his part to bind himself in the same 
 " manner an<l under the san.e penalties [5,000^.] not to reveal 
 
 * " The Porcelain Woiks at Nantgarw," by Wm. Turner. Trans, of the Cardiff 
 Aaluralists' Society, vol. xx., 18**8, p. 1. 
 
 t This is a siliceous deposit occurring in the Vale of Neath, in Glamorganshire, 
 and valued for the manufacture of fire-hricks which are used in the construction 
 *f furnaces for copper-smelting.
 
 LEEDS POTTERY. 151 
 
 " the said method to any other person or persons, or to make 
 " any fire-brick or any other articles lur sale from the said sand 
 " without the consent of Mr. D. Morgan, but that he shall at all 
 " times be at liberty to make the said materials for his own 
 *' purposes at his china manufactory at Nantyarto or else- 
 " where." 
 
 The works at Nantgarw continued to be carried on at a loss, and 
 in October 1822, thej^ were advertised for sale. It is believed that 
 Billingsley went to Coalport in 1820, and entered the service of 
 Mr. John Rose, and that on the sale of the Nantgarw works, two 
 years later, Rose was a purchaser. Nantgarw china in the 
 white vras undoubtedly stored for years at Coalport, and it is 
 stated that the services of Billingsley and Walker were continued 
 there until the death of the former in 1828. 
 
 The Museum possesses some very characteristic examples of 
 Nantgarw porcelain, illustrating the beautiful translucency of 
 the paste, and the admirable flower-painting in Billingsley 's 
 style. The series is marked Q. 1 to 12. Most of these pieces 
 bear the impressed mark, " nantgarw," and the initials "C. W.," 
 sometimes mistaken for " G.W." and assigned to George Walker. 
 
 Leeds Pottery. 
 [Wall-cases XXXV. to XXXIX.] 
 
 The occurrence of excellent clays in the coal measures around 
 Leeds probably led at a very early period to tiie manufacture of 
 earthenware in this locality. It is believed that the suburb 
 called Pottemewton received its name from ancient pot- works 
 established there,* but nothing definite is known respecting the- 
 fictile industries of the district previously to the last century., 
 Thoresby. writing in 171.5, refers to the manufacture of tobacco 
 pipes at Leeds as " a manufaoture but lately begun." 
 
 Pottery was manufactured at Leeds in I7(j0 by two brothers 
 named Green, and this may be regarded as the foundation of the 
 famous work.s. It is sai<l that the earliest production was a 
 black ware, but the manufacture of cieam-coloured ware must 
 have been soon afterwards introduced. (Jlays were brouglit 
 from Devon and Cornwall; and proV)a])ly Poole clay was em- 
 ployed from the commencement of the works, t hut loeal clay 
 from Wurtley was also use<i. The pottery was conducted at an 
 early date under the style of " Humble, Green, and Co." By an 
 agreement, dated November 11, 1775, " Joshua Green, of Mid- 
 •' dleton, gent., antl John Green, of Hunslet, potter, with <livers 
 " others, urid(!r the firm of Humble, Green, and Co., agree with 
 Messrs. Hutchinson and Evers to erect and nuiiiitain in repair at 
 
 ♦ " Hmtoricul Notcn of the Leeds Ol.l Totten." \\y .losrpli H. Kidson and 
 Frank Kidson. I>-.ds, IH'j'2, p. 13. 
 
 t In IT'tC, Ifut<Jiiii« nu-ntions, in bin f/islort/ of Dorset, t\mt much of the Pool^ 
 clay was exported " to J>elby, for the nxe of the I^eedn potteries."
 
 l.')2 imrnsH pottery and porcelain. 
 
 their mill :i water-wheel with all neo'cssary macliinery for 
 on-indinsx tlints. For VA vears the wheel was to be used exclu- 
 sively by the Greens, who were to su])ply })arnt Hints and to 
 pay lOs". for every 100 pecks of wt^l I ground and levigated flints, 
 the workman's wages being tirst deducted. 
 
 Much of the success of the factory seems to have been due to 
 the energy of a Mr. William Hartley, who became a partner in 
 the tirin, which was then known under the style of " Humble, 
 Hartley, Greens and Co." Messr!». Kidson have reprinted an 
 advertisement from the Leeds Intelligencer, for February 19, 
 1781, wiiich announces the retirement of Richard Humble, and 
 the assumption by the new firm of the title of " Hartley, Greens 
 and Company." 
 
 At one time they carried on an extensive trade with Russia, 
 their agent in that country being first Mr. Barwick, and after- 
 wai-ds his nephew, Mr. Jubb. As the Leeds pottery was found 
 to effectually withstand the severity of the climate, it enjoyed 
 almost a monopoly of the Russian market, until superseded by 
 the lighter ware manufactured by Wedgwood. 
 
 Illustrated pattern books of the Leeds pottery were published 
 by Messrs. Hartley, Greens & Co., and these offer valuable aid in 
 the identification of the ware. One of these catalogues printed 
 in English, French, and German, is in the library of the Museum 
 of Practical Geology, and bears the following English title : 
 " Designs of sundry articles of Queen's or Cream-colour'd 
 " Earthen- Ware, manufactured by Hartley, Greens, and Co. at 
 " Leeds Pottery ; with a great variety of other articles. The 
 " same Enamelled, Printed, or Ornamented with Gold to any 
 " Pattern ; also with Coats of Arms, Cyphers, Landscapes, &c. 
 " &c. Leeds, 1786." The French title-page in the same copy 
 is dated 1785, while the German title bears as early a date as 
 1783. This copy, from which three plates are missing, was 
 presented to the library by Mr. W. Sykes Ward, of Clay Pits 
 House, Leeds. A second copy of the Leeds pottery ])atternbook 
 was ])resented in 18C5 by the late Mr. Llewellyn Jewitt, F.S.A. 
 It contains the three ] dates missing from the former cop}', with 
 many additional illu.strations, but has no title-j)age. It is, how- 
 ever, of much later date, as the paper bears a water-mark dated 
 1814. 
 
 It appears that after the death of Mr. Hartley difficulties 
 arose among the partners, and the property was thrown into 
 Chancery. The business subsequently passed into the hands of 
 Mr. Samuel Wainwright, then to Messrs. S. & J. Chappell, and 
 afterwards to Messrs. Warburton and Britton. According to 
 Messrs. Kidson, the old factory may be said to have come to an 
 end in the year 1878. 
 
 Much of the cream-coloured or Queen's ware manufactured at 
 Leeds during the best period bore considerable resemblance to 
 Staffordshire pottery. It is thickly coated with a brilliant 
 glaze, of slightly greenish tint, composed, according to The
 
 LEEDS POTTERY. 153 
 
 Leeds Guide, of 1806, as quoted by the Kidsons, of 60 parts of 
 white lead to 10 of flint and 20 of Cornish stone. Perforated 
 work is frequently introduced, but is commonly confined, as 
 shown in the books of designs, to a few characteristic patterns. 
 
 Although the ware was but rarely marked, several of the 
 specimens in the collection are stamped with the name of the 
 pottery in full. Thus the cream coloured dishes marked R. 2 
 and 3, bear the impressed mark, " LEEDS pottery "; whilst the 
 oval dish, R. 1, is stamped " hartley, greens, & CO., leeds 
 pottery," with the figure 5. On the 
 
 open-work basket of cream-ware, R. ^ *{. 
 
 11, the stamp is repeated cross- wise : ^/)^ -.O*^ 
 
 The teapot, R. 30, which is notable for 
 its ornamentation of chequer work and ^ '^^^ 
 
 bands in orange and brown, is also sji^' ^^' 
 
 stamped " leeds pottery." The barrel- 
 shaped tea-pot, R. 42, bearing a similar stamp, is decorated with 
 marbling, resembling that of tlie Staflfordshire marble ware. 
 Similar decoration will be found on the specimens R. 41 and 43, 
 but these are unmarked. 
 
 Examples of painting on Leeds ware are furnished by the 
 plate R. 13, which is enamelled with flowers in green ; the dish 
 R. 17, ornamented in colours, with flowers and insects; the jug 
 R. 35, painted with flowers and inscribed " . . . . Scudmore, 
 1771 "; and the teapot R. 29, ornamented in red and black with 
 a wheatsheaf on one side, inscribed " Success to tlie Grain 
 Return'd," and with a plough on the other side, inscribed " God 
 speed the Plough." 
 
 As an example of very superior decoration, attention may be 
 called to the oval dish, R. 16, which has the centre painted with 
 a portrait in purple, surrounded by a gilt scroll border and 
 flowers. 
 
 Transfer-printing in black on the cream-coloured ware of 
 Leeds is well illustrated by the tea-kettle, with its stand and 
 cover, R. 28, decorated with birds and with an allegorical 
 subject, and inscribed " Let Wisdom unite us." The coft'ee-])ot, 
 R. 35a, which is ornaniented in black transfer printing over the 
 glaze with .subjects relating to courtship and marriage, treated 
 allegorical ly, is noteworthy in that one of the engravings is 
 
 inscribed ". ^r^r/j rj^^Z/r^^y " The decoration on the cup 
 
 and saucer, R. 33, is printed in red. 
 
 It is kn(nvn that the Ledls pottery had at one time an 
 extensive; continental trade, an<l the ])attern book of the pottei'y 
 was issued in several laiiguaL,'''s. A specimen of the ware made 
 for the Dutch market is Inrnished hy the oval dish, R 14, which 
 has the centre ornamented with bluck transfer-printing, repre- 
 senting a figure of Liberty with lion eoucluint. nnil military 
 trophies, and inserlb-d '' ^^oor Vrijheid en Vaderlnnd." The 
 pieces R. 31 and 32 show the coarse style of decoration
 
 154 BRITISH POTTERY AND PORCELAIN. 
 
 frequently found on cream-colourctl ware, which was probablj^ 
 painted in HoHand, thou^jh made at Leeds. These specimens are 
 rudely painted with male and female portraits, one on each side 
 of an orange tree, inscribed " PVOR," and bearing a Dutch 
 legend. It is believed that the porti aits are those of the young 
 Prince William V. of Orange and his wife Sophia Wilhehnina, 
 whom he married in 1797. Similar pieces are sometimes, 
 attributed to Turner, of Caughley, Shropshire. 
 
 Don Pottery. 
 
 [Wall-case XXXVIII.] 
 
 Towards the close of the last century the succe.ss of the LeedsF 
 pottery led to the establishment of several other manufactorie» 
 in the district. About 1790 Mr. John Green left Leeds, and 
 established a pottery at Swinton, on the River Don. Subse- 
 quently he was joined by other members of his family, and the 
 title cf the firm became " Greens, Clark, and Co." In 1834 the 
 works were purchased by Mr. Samuel Barker, and are still in 
 the possession of his family. The early pieces, chiefly of cream- 
 coloured ware, are stamped with the name of the pottery 
 in full 
 
 Three examples of Don ware are exhibited under the reference- 
 marks R. 47 to R. 49. 
 
 Castleford Pottery. 
 
 [Wall-case XXXIX. 
 
 At Castleford, near Leeds, a pottery was established about the 
 year 1790 by Mr. David Dunderdale. At the beginning of the 
 present century the works were conducted by Messrs. D. Dun- 
 derdale and Co. ; and the pieces of this date are inscribed " D. D. 
 & Co." In 1820 the works were closed, but a part was after- 
 wards taken by some of the workmen. Subsequently they 
 passed into the hands of Messrs. Taylor, Harrison, and Co., 
 who were succeeded, in 1854, by Messrs. Thomas Nicholson 
 and Co. 
 
 Four characteristic specimens of Castleford ware are exhibited 
 as R. 50 to 53. 
 
 Ferrybridge Pottery. 
 [Wall-case XXXVIIL] 
 
 A pottery was established in 1792 at Ferrybridge by Knot- 
 tingley, near Pontefract in Yorkshire. Originally conducted 
 under the name of Tomlinson and Co., tiie firm assumed the 
 style of Wedgwood and Co. on the introduction in 1796
 
 pla.ce's ware. 165 
 
 of Ralph Wedgwood, the son of Thomas Wedgwood, who was 
 the partner of the great Josiah Wedgwood, many of whose 
 productions were imitated at this pottery. Four specimens, 
 designated R. 54 to 57, are exhibited in illustration of the FeiTy- 
 bridge ware. The first two pieces are stamped " wedgwood 
 & CO." and the last bears the impressed mark " ferrybridge." 
 
 Place's Ware. 
 
 [Wall-case XXXIX.] 
 
 A fine description of pottery was manufactured at an early 
 date by Mr. Francis Place at the Manor House at York. Mr. 
 Place was a son of Mr. Rowland Place, of Dimsdale, in the county 
 of Durham, and acted as clerk to an attorney in London until 
 1665. The remainder of his life was apparently devoted to 
 artistic and experimental pursuits. He died in 1728. Ralph 
 Thoresby states, in his JJiicatus Leodiensis, that Mr. Place 
 discovered an earth well fitted for the manufacture of fine ware, 
 and that " his pottery cost him much money ; he attempted it 
 " solely from a turn for experiments, but one Clifton took the 
 " hint from him, and made a fortune by it." One of " Mr. 
 " Place's delicate fine mugs," said to have been "equal to true 
 " china ware," was in Thoresby 's museum, and is described as 
 being " made of English materials in the manor House at York, 
 " by the very ingenious Mr. Francis Place, who presented it to 
 " me, with one of the outer covers [saggers], purposely made to 
 " preserve them from the violence of the fire in baking." 
 
 Lord Orford (Horace Walpole) says : — " I have a coHee-cup 
 " of his ware ; it is of gray earth, with 
 " streaks of black, and not superior to 
 " common earthenware." This cup was 
 sold at Strawberry Hill, and passed into 
 the hands of Mr. A. W. Franks, liy 
 whom it was presented, in 1861), to this 
 Museum. It is represented in Fig. 131. 
 An old pasteljoard lal)cl, attached to 
 the handle of this cup, is inscribed, 
 probably in Walpole's handwriting, "Mr. 
 Francis Place's China." i'lo. 131. 
 
 Liverpool Pottery anj; Porcelain. 
 
 [Wall-ca.se XXXIX.] 
 
 The hitc Mr. Joseph Mayer, the hi.storian of the Liverpool 
 works, unearthed from the list of town-«lues payuldc at the port 
 of Liveqx)ol in 1674 several items showing that the; manufacture 
 of pottery was established in the town at tliat early date.
 
 156 BRITISH I'OITKUV AND PORCELAIN. 
 
 Specimens of Liverpool wiiie referable to the early part of the 
 eighteenth century aire still extant, two specimens of blue- 
 painted coarse ware beino; ilated respectively 171(3 and 1722. In 
 a description of the town ]niblished in " The Liverpool Memo- 
 " randum Book, or Gentleman's, Merchant's, and Tradesman's 
 •■' Daily Pocket Jiairnal for the year 1754," it is stated that 
 " the chief manufactures carried on here are blue and white 
 " earthenware, which at present almost vie with china." 
 Indeed, at one time pottery appears to have bean the staple 
 manufacture of the town. 
 
 The principal Liverpool potters were Alderman Shaw, James 
 Drinkwater, Richard Chaffers, Seth Pennington, Philip Christian, 
 and Zachariah Barnes. Large punch -bowls of delft ware painted 
 in blue were made by both Shaw and Pennington, and the latter 
 manufactured china resembling oriental porcelain and orna- 
 mented with a rich blue colour. 
 
 Several punch- bowls, believed to be of Liverpool manufacture, 
 are exhibited in this collection. One of exceptional size, having 
 a diameter of upwards of 20 inches, is placed on the top shelf 
 of Case XXXIX. It is a bowl of delft ware, ornamented in 
 blue with military trophies on the outside, and a three-masted 
 man-of-w^ar on the inside; the sea is coloured green, while the 
 union -jack, ensign, and pennant are touched with red. The 
 trophies are very similar to those on a lx)wl figured by Mr. 
 Mayer,* said to have been made at Seth Pennington's and 
 painted by John Robinson. 
 
 The following specimens are placed on the bottom shelves of 
 Cases XXXVIIL nnd XXXIX. The delft bowl S. 1 1 is inscribed 
 ^'Success to Trade": S. 12 bears the inscription "Wilkes and 
 Liberty"; S. 13 has the motto "God grant Unity," with date 
 1749; S. 15 is painted in blue, with a three-masted man-of-war 
 in sail, inscribed " Success to the Friend-ship, 1766 ; " whilst 
 S. 16 is painted with flowers in green, blue, pmple, and yellow, 
 in panels on mottled purple ground, and inscribed " One Bowie 
 more «Sz; then." 
 
 The large punch -bowl S. 14, placed on the top shelf of Case 
 XXXIX, is ornamented with flowers painted in blue, and in- 
 scription, " Parliment {sic) Bowl, free without Excise, 1736." 
 
 To Mr. John Sadler, of Liverpool, is generally attributed the 
 discovery of the useful art of printing on pottery from copper- 
 plate engravings. Mr. Binns has shown that Alderman Jansen 
 first printed on enamelled metal objects at the works at Battersea, 
 but the application of printing to ceramic decoration seems to 
 have been independently developed at Liverpool. John Sadler, 
 the inventor, was the son of Adam Sadler, a printer in Liver- 
 pool, who had formerly served as a soldier under the Duke of 
 Marlborough in the war.-} in the Low Countries. John Sadler 
 carried on the business of an engraver in Harrington Street, 
 
 * " History of the Art of Pottery in Liverpool," 18.55, p. 22.
 
 LIVERPOOL WARE. 157 
 
 and having noticed that some of his waste prints w^ere used by 
 children to stick on to fragments of earthenware obtained from 
 the potteries, he commenced experiments witli a view of ex- 
 tending this application to purposes of decoration. With this 
 object he associated himself, about the year 1750, with Mr. Guy 
 Green, who bad succeeded to the printing business of Mr. Adam 
 Sadler. It was proposed to apply to the King for a patent, and 
 the documents necessary for tliis purpose were prepared ; but 
 it was afterwards considered desirable to keep tlie process secret 
 and not to secure patent rights.* 
 
 Much of Wedgwood's cream-coloured ware was sent weekly 
 by carriers' waggons from Staffordshire to Liverpool, where it - 
 was printed by Sadler and Green, and afterwards returned by 
 the same means to Wedgwood. Even as late as 1794 this 
 arrangement was continued. 
 
 Several examples of Liverpool printed ware will be found in 
 the collection. 
 
 The mug S. 7 is printed with the Buck's Arms, and has the 
 
 engraving signed ^^ Q7adtei^ .l£(uM/{.eotf' 
 
 The tea-pot S. 8 is printed on one side with a portrait of 
 John Wesley, inscribed in a ribband " john wesley, m.a.. fellow 
 OF LINCOLN COLLEGE, OXFORD ; " on the reverse the followini; 
 inscription, e.urrounded by scroll-work and sacred vignettes : 
 " Let your Conversation be as beeometh the Gospel of C'hrist ;" 
 the engraving of Wesley is signed " Green, Liverpool." 
 
 A small series of Liverpool printed stove-tiles is displayed in 
 a case attached to the pillar oppo.site Wall-case VIII., on the 
 opposite side of the Museum. The engraving on one of these 
 is signed, "J. Sadler, Liverjoool." 
 
 On a site formerly occupied by copper works on the .south side 
 of the Mersey, near Liverpool, a pottery was started alxjut 1794< 
 by Messrs. Abbey and Graham. Mr. Richard Al)bey had be<Mi 
 an engraver in the employ of Mr. Sadler, and ha<l afterwards 
 
 • The late Mr. .Iose])h .Miiytr pulilislied, uuioiig other doiiinnnt>, the following 
 affidavit :— 
 
 " I, .loliii SadleV, of Liverj)ool, in the county of Ijiueaster, j)rinler, and (iiiy 
 Green, of Livcri)Oole afon-naid, printer, severally nniketh oath, that on 'riii"<ila_v, 
 the 27th ilay of .Fulv instant, they, tlii-se depniients, without the aid or assistance 
 of any other pernou or jjcrsons, did, witliin the sjjace of six hours, to wit, In-twixt 
 the hours of nine in the niorninjj and three in the afternoon of the same day, 
 jirint upwardH of twelve hundred earthenware tiles of different ])atterns at Liver- 
 poole aforesaid, and which, as the dejioner.ts have heard and believe, were nmre 
 in number and better and neater than one hundred skilful pot jiainlerH iK\dd have 
 painted in the like sjiai-e of time in the eoniuKHi and usual way of pMiniin^' with 
 a pencil ; and these de|>onenf» say that they tune been upwar<ls of seven \tarH 
 in findin({ out the method of |)rinlin>r tiles, and in making fryals iind experiments 
 for that purpose, which they Uu"*' now, through great pains and expense, brought to 
 
 perfection. 
 
 " (Signed) .Ions* SAPi.itK. 
 
 " (ilir (}|(KKN. 
 
 "Taken and sworn :il Liver|i(H)ie in the (bounty of Lancaster, the second daj" 
 of August one thousand seven hiiiidre<l and fifty-six, before Wm. Stratham, a 
 Master Extraordinary in Chanrery."
 
 158 BRITISH POTTERY AND PORCELAIN. 
 
 boon engaged at pottorioa in Glasgow and in France. He 
 soon rotii'od from the business, which then passed into the 
 hands of Messrs. Worthington, Humble, and Holland. They 
 engaged a number of operatives from the Staffordshire potteiies, 
 and founded the colony called Hercnlaueum. About tlie year 
 1800 the manufacture of china was introduced. In 1806 the 
 works were enlarged, and the number of proprietors increased. 
 The Company was dissolved in 1833, and the property sold. 
 Messrs. Case and Mort then leased the pottery of the purchaser, 
 and carried on business there until 1836, when it passed into 
 the hands of Messrs. Mort and Simpson, who occupied it until 
 1841. At that date the pottery was discontinued, and the site 
 occupied by the Herculaneum Dock. 
 
 The specimens S. 1 to S. 3 are stamped « herculaneum," 
 while S. 4 and 4« bear the impressed mark of a liver. This 
 bird, forming the crest of the borough of Liverpool, was used as a 
 mark at the Herculaneum pottery by Messrs. Case, Mort, and Co. 
 
 Miscellaneous pieces of old English Pottery. 
 
 The shelf below the Leeds and Liverpool ware is occupied by 
 a collection of miscellaneous specimens of old English pottery, 
 of which but few are marked. They are mostly of Staffordshire 
 wave, but some may probably be attributed to Newcastle. 
 Those which present examples of early transfer-printing were in 
 all likelihood decorated at Liverpool. It should be understood, 
 however, that it is merely convenience of space which has led 
 to the selection of this position, and that it is not by any means 
 to be supposed that the specimens here collected have any con- 
 nexion with the Liverpool pottery, except where this is distinctly 
 specified or suggested. Many are interesting for the mottoes 
 they bear or for the historical events which they commemorate. 
 
 The toad -mug S. 17 has the following legend painted in black, 
 and surrounded by a rude floral border in colours : — 
 
 " Tho' malt and venom 
 
 " Seem united 
 " Don't break my pot 
 
 " Nor be ai?righted." 
 
 The tythe-mug, S. 20, is ornamented in black transfer- printing, 
 
 inscribed, "Jameson," and rudely painted in red, yellow, and 
 
 green; subject, " Tythe in kind, or the Sow's Revenge"; a 
 
 clergymatj collecting tithes attacked by a sow in a pigstye to 
 
 the amusement of the fanner's family, and crying, — 
 
 " The fattest Pig it is my due, 
 
 "Oh ! Save me from the Wicked Sow." 
 
 The mug, S. 21, is also printed in black, the subject being the 
 farmer and wife offering babe to the vicar, with doggerel entitled 
 " The Tithe Pig," commencing ; 
 
 '• In Country Village Jives a Vicar 
 
 " Fond as all are or Tithes and Liquor."
 
 OLD ENGLISH MUGS. 159 
 
 The barrel -shaped mug, S. 22, is printed, and rudely painted 
 with a drinking party, inscribed, 
 
 '''' i. t.^l<S4€/U., =J^«^Z€ (p'TUt / 
 
 with verses, from the " School for Scandal," entitled, " The 
 General Toast." The verses begin thus : 
 
 " Here's to the maid of bashful fifteen 
 
 " Likewise to the matron of Fifty 
 " Hear's (sic) to the bold and extravagant Queen 
 
 " And here's to the housewife thats thrifty." 
 
 The Rodney Mug, S. 23, bears two relief portraits. Lord 
 Rodney and an oval medallion with a ship, laid on in cream- 
 coloured paste, tinted green. The vessel represented is De Grasses 
 flag-ship, " Ville-de-Paris," which was taken by Rodney in 1782. 
 
 The next piece, S. 24, is .i jug printed in purple, with a three- 
 masted man-of-war, and a copy of West's picture of the death of 
 General Wolfe, 1759. The specimen was probably made by 
 Thomas Wolfe, of Stoke-upon-Trent, who claimed relationship 
 with the General. 
 
 The large jug, S. 25, is ornamented with transfer-printing in 
 red outline, and painted with colours. On one side a hay-making 
 scene ; on the other side John Bull seated on a column inscribed, 
 **'The British Constitution," and looking across the Channel at 
 Napoleon, who is weeping at the loss of the flotilla, and exclaim- 
 ing, " ! my poor Crnzy Gun Boats, why did I venture so far 
 " from home ?" while the Englishman cries, "I Told you they 
 
 " would be all swamp'd, but you would be so d d Obstinate ; " 
 
 the whole inscribed " Patience on a Monument smiling at Grief! ! " 
 with the following distich : — 
 
 "The Mighty Chief with fifty thousand Men, 
 " March'd to the coast, and March'd bjick again 
 
 "Ha! Ha! Ha!" 
 
 The three specimens S. 26 to 28 refer to Nelson, and S. 29 to 
 
 Wellington. The mug, S. 30, presented by Mr. Franks, C.B., is 
 
 printed in black, with Duncan's ship, " Venern hie " in full sail 
 
 towing De Winter's ship, " Vrijheid," inscribed with the following 
 
 verse : — 
 
 " Vain are the Boasts of Belgick's sons 
 " When faced by British ships and guiis ; 
 " Tho' do WiiitiT does in Autumn como 
 " Brave Duncan Id-ings his harvest home." 
 
 On the mug, S. 31, is a print in >)la"k of Louis XVI. taking 
 leave of his family on the morning of his execution ; the engra- 
 ving signed, " Fh-tcher & Co., Shelton." 'I'lmmas Fletcher is 
 known to have been in business at Shelton in (he (!arly j)ait of 
 this century, not as a potter, but as a " black printer and 
 " ennmeller." Louis XVI Wiis executed on 21st January 1793. 
 The engraving bears verses commoncing as folloWH : — 
 
 " Farfwoll Quoen, Childron, Sistor, Tionis rrios, 
 " Abate your grief & dry those streaming Eyes."
 
 160 BRITISH POTTERY AND PORCELAIN. 
 
 The next piece, S. 32 is printed in brown with the " Farmer's 
 Anns," and mottoes, " All our Trust is in God," and " Industry 
 produceth Wealth," with verses beginning : — 
 
 "May the Mighty and firoat 
 " Roll ill Splendor and State 
 " I envy thonri not I declare it." 
 
 The specimen S. 33 is a mug printed in black with the 
 " Baker's Arms," and motto, " Praise God for all " ; the engraving 
 signed, " <S'. Daniel, Stoke." 
 
 On the top shelf of Wall-case XXXVIII., is an exceptionally 
 large jug, with the Blacksmith's arms printed in black, and 
 motto, " By Hammer and Hand, all Arts do stand." 
 
 A very large jug on the top of Case XXXVII. is ornamented 
 with caricatures, outlined in brown transfer-printing over the 
 glaze, and rudely coloured by hand. On front is a view of the 
 burning of Moscow, from the Kremlin, September 14, 1812, in- 
 scribed in the clouds of smoke, " Hurrah Your Serene Highness " : 
 on one side of the jug, a figure of a Russian soldier returning 
 home with French pigmy-soldiers impaled on his bayonet and 
 strung up on his gun, preceded by a little boy astride of the 
 French eagle ; inscribed in English and Russian, " A Russian 
 boor returning from his field sports " : on the opposite side of 
 the jug a Russian soldier hewing down a Frenchman with a 
 hatchet, inscribed, " Specimen of Russian chopping blocks " ; 
 below this scene an inscription in English and Russian, " So you'r 
 " the last! says this brave honest Man, Now Nap. return to 
 " Russia if you can " ; around the neck of the juj^ the following 
 inscriptions, " Europe preserved, September 14th, 1812," and 
 " Hourrah Your Serene Highness." 
 
 Newcastle and Sunderland Pottery, &c. 
 [Wall-cases XL. to XLIV.] 
 
 A considerable manufacture of common earthenware has long 
 been carried on in the North of England, especially in the neigh- 
 bourhood of Newcastle and of Sunderland. As early as 1730 or 
 1740 the manufacture of white earthenware was introduced into 
 the district by Mr. Warburton at the Carrs Hill Pottery, near 
 Gateshead, on the Durham side of the Tyne ; a pottery which, 
 after having been successfully conducted for 70 years, gradually 
 declined, and was closed in 1817. About 1755 Mr. Byers estab- 
 lished works at Newbottle, and in 1762 Messrs. Christopher 
 Thompson and John Maling erected potteries at North Hylton, 
 near Sunderland. In 1817 Mr. Robert Maling removed the 
 business from Hylton to the Tyne. Messrs. Dawson established 
 a pottery at Hylton in 1800, and Messrs. Phillips have also had 
 works at this locality. At Southwick, near Sunderland, Scott 
 & Co. er-rcted potteries in 1789, and Moore & Co. in 1803. About 
 the beginning of the present century Messrs, Dixon, Austin & Co.,
 
 NEWCASTLE WARE. 161 
 
 and Messrs. Phillips, liad potteries in the neighbourhood of 
 Sunderland. 
 
 At St. Anthony's, near Newcastle-upon-Tyne, potteries were 
 established between the years 1780 and 1790, and many pieces 
 from these works bear the mark of Sewell and Donkin. St- 
 Peter's pottery, near Newcastle, was built by Thomas Fell &- Co. 
 in 1817.* 
 
 The cream-coloured fruit-dish and stand, T. 1, is stamped, 
 " FELL, NEWCASTLE," a mark which also appears on the next 
 piece, while some of the other specimens are stamped simply 
 " FELL." The frog-mug, T. 3, inscribed " Newcastle pottery," is 
 printed with trophies to the memory of Lord Nelson, and in- 
 scribed with memorial verses, commencing thus : 
 
 " Remember whilst his mortal part has rest 
 " Th' immortal lives in every Briton's breast." 
 
 Another frog-mug, T. 4, is rudely ornamented with the purple 
 
 metallic lustre characteristic of Newcastle and Sunderland wares, 
 
 and it also bears the following verses jirinted in brown, beneath 
 
 a ship : — 
 
 " Thou noble bark of brightest fame, 
 
 " That bear'st proud England's honoured name, 
 
 " Right welcome home once more ! 
 
 " Welcome thou gallant little sail 
 
 " In England's name I bid the [sic) hail ! 
 
 " And welcome to her shore." 
 
 Marine subjects were, naturally popular at potteries situated 
 
 near seaport towns, and several will be found on these products 
 
 of the Northern potteries. The slab, T. 8, shows a frame in 
 
 purple lustre surrounding a printed transfer of a man-of-war in 
 
 full sail, inscribed : 
 
 " May Peace and Plenty on our Nation Smile 
 
 " And Trade with Commerce bless the British Isle." 
 
 The celebrated cast-iron bridge over the Wear, uniting Monks- 
 wearmouth and Bishopswearmouth, which was commenced in 1793 
 and completed in 179G, formed the subject of many engravings 
 on pottery. The mug T. 5 is printed with " An East View of the 
 " Iron Bridge over the Wear, near Sunderland ; Foundation stone 
 " laid by R. Burdon, M.P., Sept. 24th, 93"; inscribed, " Edwd. 
 Barker." 
 
 The bridge is likewise represented on the large jug, T. 6, which 
 also bears a print of the " Northumberland 74," and verses en- 
 titled "Forget-me-not," which begin thus : 
 
 " The gailor tost in stormy seas, 
 " Though far hia l)ark iniiy roam, 
 " Still hears a voice in evenr breeze 
 " 'I'hat wakens thoughts of home."' 
 
 * For many of the fuels stated above we arc indebted to Mr. Christopher 
 Thomjison Malin^'H ii()tic4- in " Tlie Industrial Uesonrees of the District of the 
 Thrt-e Northern Uivcrs, the Tyue, Wear, and Tccb." (,2ud ed., 18G4.;
 
 162 IHUTISH POTTERY AND PORCELAIN. 
 
 This i»iece is inscribed " .i. iMiii.Lirs, UYLTON pottery." The 
 same verses niul a view of tlie biiilge over the Wear are printed 
 on the large jug, T. 9, which is marked " DiXON, AUSTIN, & CO., 
 SUNDEULANIX" 
 
 The biiiige appears again on the bowl, T. 7, associated with 
 
 nautical subjects, and the following verses : — 
 
 " Glide on my bark, iho summer's tide, 
 
 " Ib gently flowing by thy Bide ; 
 
 *' Around thy prow the waters bright 
 
 " In circling rounds of broken light, 
 
 " Are glit'ring as if Ocean gave, 
 
 " Her countless gems to deck the wave." 
 
 The name of "sevvell" is impressed on T. 11; that of 
 " SEWELL cV DONKIN " on T. 12, and " SEWELLS & DONKIN " on T. 13, 
 and the following piece ; whilst " sewells & CO." is the mark on 
 T. 15. Among other marks in this series the following will be 
 
 found : " PATTERSON & CO., TYNE POTTERY," on T. 16 ; " SCOTT," On 
 
 T. 17 ; " DAW.SON & CO." on T. 18 ; and *• moore & co." on T. 19. 
 The fruit-basket and stand, T. 20, is stamped '* w. s. & CO., queen's 
 ware, STOCKTON," the initials being those of William Smith and 
 Co., of Stockton-on-Tees. The following piece is stamped, " w. 
 s. & co.'s WEDGWOOD." In 1848 an injunction was applied for 
 by Messrs. Wedgwood, of Etruria, to restrain some of the Stockton 
 potters from using such marks as this. 
 
 The specimen T. 22 represents the pottery at Middlesbro'-on- 
 Tees, in Yorkshire, and bears, as an impressed maik, an anchor 
 and the words, " middlesbro pottery." A plate, with the 
 willow pattern in blue, is not only stamped, " belle vue pottery, 
 HULL," but bears a similar inscription, printed in blue cursive 
 characters under the glaze. This was presented in 1893 by Mr. 
 F. Boynton, of Bridlington Quay. 
 
 Nottingham Earthenware, &c. 
 
 [Wall-case XL.] 
 
 It is known that the manufacture of certain kinds of pottery, 
 especially a brown-glazed earthenware, was long carried on in the 
 town of Nottingham, and was probably not abandoned until the 
 beginning of the present century. In a list of trades and em- 
 ployments exercised in the town, with the number of ma^stera in 
 each, made in 1G41, one potter is mentioned, and in a similar list 
 for 1739 two potters appear. About the middle of the last 
 century the trade became more active, and Dr. Deering in his 
 Historical Account of Nottiiirjham (1751) mentions that the 
 town sends down the river (Trent) coals, lead, timber, corn, wool, 
 and -potters ware. Under the year 1757 in Baileys Annals of 
 Nottinghamshire, we read that, 'Mr. Morley was a manufacturer 
 " of brown earthenware, carrying on his works in the lower part 
 " of Beck Street, on the road to St. Ann's Well; and by this 
 " bu-iness he amassed a very considerable fortune. This ware
 
 NOTTINGHAM AND LOWESBY WARE. 163 
 
 " was at one time of great celebrity throughout the whole of the 
 *' Midland Counties, especially its famous brown mugs for the 
 " use of public-houses ; and it is remarkable that though these 
 " works have been discontinued now for a hundred year's,* the 
 ^' appellation of Nottingham ware is still, in many remote 
 ^' villages, attached to tlie better and more highly finished class 
 ^' of brown earthenware pots of every description." No fewer 
 than 12 pot maker's are mentioned in " An exact list of tlie 
 " Burgesses and Freeholders of the town and eo:inty of the 
 " town of Nottingham .... who polled .... at 
 ^' the election of two Burgesses to serve in Parliament," in 1774, 
 but in a similar list for 1803 only one potter is named. The 
 cause of the decline of the trade was the competition of the 
 Staffordshire manufacturers. Thus, Blackner in his History of 
 Nottingluira, published in 18 lo, says that " there were likewise 
 " two potteries within the last thirty years . . . But the 
 " clay was principally brought from a considerable distance, 
 ■" wliich added so nmcii to the cost of the pots as to pievent the 
 " proprietors maintaining a competition with the Staffordshire 
 •" dealei's." 
 
 Mr. Morley's pottery was situated in Mug House Yard, Mug 
 House Lane, Beck Street, and the other works mentioned by 
 Blackner were on the east side of what is now Milton Street. 
 
 It is believed that some part of the clay used for the lirown 
 ware was obtained from the neighbourhood of Huci<nall Torkard, 
 in Nottinghamshire, while a yellow clay was procured from 
 Stafford.shire.f 
 
 The large christening bowl, U. 1, in brown glazed earthenware, 
 is inscribed in incised cur.sive q} mxv Adtar n, Nouemher 20, 172()." 
 The huge brown bowl, U. 2, is incised in like manner with the 
 words, " Old England for Ever, 1750." The large mug in brown 
 ware, U 3, presented by Mr. Edmund Percy, bears an incised 
 inscription in cursive characters round the rim, " Made at 
 Nottirighirn, y I7th Dag of A iigiist, A.D. 1771." On the brown 
 mug, U. 4, the name and date are scratched in the paste, thus : — 
 
 u 
 
 LOWKSHY POTTKIIY. 
 
 [Wall-caae XLI.] 
 
 A small pottery was established at Lowesl)y, in Leicestersliire, 
 by Sir F. 0. Fowke about the year 1835, but has long bem dis- 
 continued. A re<l ptuste was manufactured from the lius clay.>i of 
 
 * This is clearly an error. Hiiilcy's work was published in IK.").'), and there is 
 evidence to show tli;it thr nianut'.icfiire ol [lottfrj in .NOtlin^'lmni was not discon- 
 tinued until, at the very eiirliesf, tin- laltir end of the last iinlury. 
 
 t For much of the infonnation on Noltinjrham ware we are indelited to Mr. 
 U. H. l{othera and .Mr. Uriscoe, of Nottingham. 
 
 ■•■ The late Mr. Ll-wellyn .lewitt referred to a Nottingham posset-pot, nnidc for 
 S. Watkin.Hon, the Mayor, and dated as early as 1700. ■ 
 
 U 7.5401. M
 
 ]C4 BRITISH porrEiiY and 1»0RCKLAIN. 
 
 tlie district, and some of the pottery was modelled alter Etruscan 
 forms. 
 
 Three specimens are exhibited, of wliich two bear the impressed 
 mark, "Lowesby" and a tleur-de-Hs. 
 
 "Yarmouth Pottery," &c. 
 [Wall-case XLL] 
 
 It is known that about the end of the last century a potter 
 named Absolon had works at a place still known as " The Ovens " 
 at Yarmouth. It appears, iiowever, that no potting was ever 
 done there, but that the business consisted simply in decorating 
 ware manufactured elsewhere, and tiring the colours in a gloss- 
 kiln. The mark of " Ahsolon Yarind " is found on pieces stamped 
 with an arrow, but it is at present uncertain to what factory the 
 mark of the arrow should be attributed. The arrow is stamped 
 on the three specimens, V. 1 to 3 ; while the flower-pot, V. 7, 
 bears the impressed mark, " wedgwood," and is also marked in 
 
 brown, — ''^ c^M-o^^y (y^^/S. cyl^e. 2S/' shewing clearly that 
 
 Absolon imported white Avare from the Staffordshire potteries. 
 Some of the specimens, as V. 4 to 6, are painted boldly with 
 flowers, having the names written on the back in red. 
 
 Lowestoft Porcelain and Pottery", 
 [Wall-case XXXIV,] 
 
 According to Gillingwater's " Histoiy of Lowestoft," written 
 in 1790, the manufacture of porcelain was attempted in the year 
 1756 by Mr. Hewlin Luson, of Gunton Hall, near Lowestoft. 
 Although his experiments were frustrated, a porcelain factory was 
 establibiied at Lowestoft in the following year by Messrs. Walker, 
 Brown, Aldred, and Richman. A soft paste was first made, but 
 it is asserted that about 17<S0 the manufacture of a hard body 
 was introduced. It is generally considered that much of the 
 BO-called Lowestoft china is merely Oriental porcelain, possibly 
 decorated at Lowestoft, but the late Mr, Chaffers maintained 
 that hard paste was manufactured there. 
 
 The period of greatest prosperity of the Lowestoft woi-ks was 
 between 1770 and 1800. In the year 1802 the works were 
 abandoned, and the stocK sold. 
 
 From certain pieces of delft ware bearing inscriptions and 
 dates as early as 1752, it appears probable that before the manu- 
 facture of porcelain was introduced common pottery had been 
 manufactured at Lowestoft, or at least that delft ware had been 
 painted in this locality.
 
 KENT AND SUSSEX POTTERIES, 165 
 
 The small series of specimens, illustrating the Lowestoft 
 products, is placed near the Swansea porcelain, on the lower 
 shelves of Wall case XXXIV. It should be understood, however 
 that several of the pieces are placed with the " Lowestoft china " 
 simply in deference to the opinions of certain collectors and not 
 as authenticated specimens. 
 
 Wrotham Pottery. 
 [Wall-case XLIV.] 
 
 Coarse earthenware, decorated ia many cases with slip orna- 
 ment, was made at Wrt)tham, in Kent, certainly towards the 
 close and probably as early as the middle of the 17th century. 
 A dish in the British Museum is dated " Wrotham, 1699 ; " while 
 a piece in Mr. C. W. Reynolds' collection, which had long been in 
 the possession of a Kentish family, and was traditionally referred 
 to Wrotham, bears the date 1008. Mr. and Miss Hodgkin figure 
 a piece in the Liverpool Museum, reputed to be of Wrotham 
 manufacture, and bearing as early a date as 1612. 
 
 A double-handled possett-pot, W. 1, is exhibited as a sample of 
 this ware. It was obtained from the Marryat Collection, and is 
 inscribed in rude characters, laid on in slip before glazing, 
 "WROTHAM," with initials " I. E." and date 1703. It is probable 
 that many pieces of slip ware, usually referred to the Statford- 
 shire potteries, may be more justly assigned to Wrotham. 
 
 In comiexion with the history of pottery in Kent, it may be 
 mentioned that records are extant showing that as early as 1582 
 a Dutch potter was settled at Sandwich. 
 
 Cadborougu Pottery. 
 [Wall-case XLIV.] 
 
 At Cadborough, near Rye, in Sussex, a pottery was established 
 about the beginning of the present century, atid the manufacture 
 of a red ware is still carried on lo a limited extent hy Mr. 
 Mitchell. The coarse red body is coated with a brilliant lead 
 glaze, producing a mottled green or brown surface. 
 
 Mr. H. Willett, of Brighton, possesses several pieces of Rye 
 pottery, inscribed with the name of the locality and dated. To 
 him the Museum is indebted for a mug in re<l glazed ware, orna- 
 mente<l with yellow stars, and inscription " E.* C* FEUUARY {sic.)* 
 18* 181 I* ; "the figure 4 rudely .scratched in the base;. 
 
 A specimen of similar ware in Mr. Willett's Collection is 
 inscriVjed " Rye Pottery." 
 
 w 2
 
 166 lUUTISH rOTTEUY AND I'OllCKLAIN. 
 
 Bishop's Wat.tham Pottery. 
 
 A lart^e vase in red wave, ornamented with classical subjects 
 in black, is mounted on a pedestal near Case X LTV., and is a 
 tine example of the pottery made at Bisho])'s Waltham, ia 
 Hampshire, where works were first established in 1862. 
 
 Branksea Pottery. 
 
 [Wall-case XLIV.] 
 
 Many years ago an attempt was made to estal>lish a pottery 
 on Branksea Island, opposite Poole, on the coast of Dorsetshire. 
 It is believed, however, that after a few trials the project was 
 abandoned. A small pitcher, W. 5, with a sample of the local 
 clay from which the ware was manufactured, is here exhiV)ited. 
 
 Watcombe Terra-cotta. 
 [Wall-cases XL. to XLII.] 
 
 The origin of the terra-cotta works at Watcombe, near Tor- 
 quay, is due to the discovery, some years ago, of a deposit of fine 
 red clav during some excavations near Watcombe House, the 
 residence of Mr. G. J. Allen. As the clay was found to be 
 admirably adapted to the purposes of modelling, a company was 
 formed for its utilisation ; and the manufacture of terra-cotta 
 was started under the management of Mr. C. Brock. The 
 works have been conducted with great spirit ; and the fine 
 examples of the ware which have been presented to the Museum 
 by the company (W. 7 to 21) sufficiently attest the taste and 
 skill which have been brought to bear upon the manufacture. 
 The pieces issuing from these works are marked with the 
 words, " Watcombe, Torquay," either impressed or printed. 
 
 A sample of the Watcombe clay is exhibited as W. 6. 
 
 The following analysis of this clay was made in Dr. Percy's 
 laboratory, by the late Mr. J. W. Ward : — 
 
 Silica 
 
 . 
 
 57-83 
 
 Alumina 
 
 - 
 
 2055 
 
 Peroxide of iron 
 
 • 
 
 7-75 
 
 Lime - - - 
 
 . 
 
 1-68 
 
 Magnesia 
 
 - 
 
 0-97 
 
 Peroxide of manganese 
 
 - 
 
 trace. 
 
 Carbonic acid - 
 
 - 
 
 0-90 
 
 Potash 
 
 . 
 
 3-87 
 
 Soda - 
 
 • 
 
 0-56 
 
 Phosphoric acid 
 
 - 
 
 trace. 
 
 Water, hygroscopic 
 
 - 
 
 213 
 
 ,, combinec 
 
 
 4-39 
 
 
 100-63 
 
 Other potteries have been establislied at Bovey Tracey, at 
 Barnstaple, and elsewhere in Devonshire, but their productions 
 are not at present represented in this Collection.
 
 FULHAM WARE. 167 
 
 FuLHAM Pottery. 
 
 [Wall-case XXX.] 
 
 It has been alreadj^ mentioned (p. 15) that John D wight, of 
 Oxford, bad discovered the manufacture of an imperfect kind of 
 porcelain, certainly as early as 1671. On the 13th of April of 
 that year letters patent were granted to D wight for " the mistery 
 " of transparent earthenware, commonly knowne by the names 
 " of porcelaine or China, and Persian ware, as alsoe the misterie 
 " of the stone ware, vulgarly called Cologne ware." In this 
 patent we are told that " at his own proper costs and charges, he 
 " hath invented and sett up at Fidham, in our county of 
 " Middlesex, several new manufactories." So important were 
 Dwight's discoveries, that Dr. Plot, in his History of Oxfordshire, 
 published in 1677, sums up his account by saying " in short, he 
 " has so advanced the Art Plastick, that 'tis dubious whether 
 " any man since Prometheus have excelled him, not excepting 
 " the famous Damophilus and Gorgasus of Pliny." 
 
 The materials which Dwight employed in the Fulham pottery 
 are not .specified in either of the two patents which he obtained. 
 Dr. Plot, speaking of the manufacture, says " these arts he 
 " employs about materials of English growth, and not much 
 '• applied to other uses ; for instance, he makes the stone bottles 
 " of a clay in appearance like to tobacco-pipe clay, which will 
 " not make tobacco-pipes, although the tobacco-pipe clay will 
 " make bottles." Books containing recipes for use at the Fulham 
 works are extant, bearing dates 1692 and 1698. 
 
 A fine collection of authenticated pieces of early Fulham ware, 
 formerly in the possession of the family, then of Mr. Baylis, and 
 afterwards of Mr. C. W. Reynolds, was dispersed a few years 
 ago. Some of the finest pieces, however, including examples of 
 Dwight's admirable stoneware, are preserved in tliB South 
 Kensington Museum and in the British Museum. 
 
 After the death of John Dwight, the pottery at Fulham is 
 said to have passed into the lian<ls of a Margaret Dwight, who 
 entered intfj ])arLner.>hip with Thomas Warland ; but some years 
 afterwards these proprietors became insolvent. Subsequently 
 Miss Dwight married a Mr. White, and the works long remained 
 in the possession of their descendants. In IcStH tiiey passed into, 
 the hands of Mr. C. J. C. IJailey.* 
 
 On one of the lower shelves is a small scries (X. 1 to X I<S), in- 
 tended to illustrate the kinds of ware manufactured at Fulham ; 
 but the grounds on which several of these specimens are attributed 
 to this fjictory are admittedly very slender. 
 
 Pieces in the, style of the mug X. 1 are generally regarded a<*- 
 e-Kamples of Dwight's porcelain, but ju'rliaps on insufii(!icnt. 
 gi-ounds. The handle of a similar specimen in Mr. Solon'.sr 
 collection was found by Prof. Church to contain al)out 5 per cent, 
 of so<la. 
 
 ♦ "The Ceramic Art of Cn.-at Uriuiin." By L'ewollyii .Ii'wit«, F.S.A. N«^ 
 edition, 18K3, p. H8.
 
 1G8 HRITISH POTTERY AND PORCELAIN. 
 
 The oiirly Fiilhnm stoneware was in many cases ornamented 
 with the initials of the reigning so\eroign, and specimens thus 
 marked ai*e known to extend from the reign of Charles II. to 
 that of George I. Queen Anne's initials,* which are on the mug 
 X. 2, and the following piece, would place the date of their 
 manufacture somewhere between 1702 and 1714. 
 
 On X. 4 is a portrait of William III., while the specimens 
 X. 5 to 7 bear the initials " G.R." 
 
 It is believed that these are examples of the Fulham stone- 
 ware made in imitation of the gres de Flandres or Cologne 
 ware : but as this ware was larg(ily imported into England, it is 
 difficult to separate the home-ma(]e from the foreign pieces, and 
 consequently it is possible that some of the specimens here 
 referred to Fulham are of continental origin. 
 
 The jug^, X. 17, in brown stone-ware ornamented with scroll- 
 work in relief obtained by cutting away the base, and with 
 stamped diaper-pattern, &c., tilled in with blue, bears the artist's 
 name scratched in the paste. — " R W. Martin, Fulham." This is 
 an example of modern ornamental stone-ware, thrown at Fulham, 
 then decorated by Mr. Martin, and afterwards fired at the Fulham 
 pottery. 
 
 The next piece, X. 18, is a terra-cotta plaque, with head of 
 mother and infants in intaglio rilievato, stamped on the back 
 "R.w.M," and 1871, with " Osier A. Afunro" scrsitched in the 
 paste. 
 
 MoRTLAKE Pottery. 
 [Wall-case XXX.] 
 
 Lysons, in liis " Environs of London," published in 1792, says, 
 that about 40 years since a manufacture of delft and earthen- 
 ware was established by William Sanders, which is still carried 
 on by his son. In the Supplement to the same work, dated 
 1811, it is said that the manufactory was then carried on by 
 Wagstaff & Co., and that there was a small manufactory of 
 white stone- ware belonging to Mr. Joseph Kishere. Some of 
 this ware was of a very superior make, much resembling that 
 made by D wight at Fulham. Although it is rarely marked, 
 the following marks are occasionally found stamped upon it : 
 " Kishere," " Kishere, Mortlake," and " Kishere's Pottery, Mort- 
 lake, Surrey." 
 
 The late Dr. Hugh Diamond, in 1875, presented the two 
 specimens, X. 19 and 20, which serve to represent this pottery ; 
 the former piece beans an impressed mark " Kishere, Mortlake." 
 
 •• * The initials " A.R." on certain pieces of continental manufacture may refer to 
 Aufrustu.a, Elector of Saxony and King of Poland.
 
 THAMES POTTERIES. 169 
 
 IsLEWORTH Pottery. 
 [Wall-case XXX.] 
 
 A small factory was established at Railshead Creek, Isle worth, 
 >Ti 1760, by Joseph Shore of Worcester. It is said that at first 
 both pottery and porcelain were produced, but on the death of 
 the superintendent Benjamin Quarinan, in 1787, the manufac- 
 ture of porcelain was discontinued. Much of the coarse pottery 
 was known as " Welsh ware." About 1825 tiie works were 
 removed to Honnslow, but were abandoned about two years 
 after their removal. 
 
 Three pieces, X. 21 to 23, are exhibited, not without some 
 doubt, as specimens of Isleworth ware. 
 
 Lambeth and Vauxhall Pottery. 
 [Wall-case XXXVI.] 
 
 It is known that about the middle of the 17th century 
 certain Dutch potters settled at Lambeth, and introduced the 
 manufacture of glazed tiles. That such manufacture was 
 established in London certainly as early as 1668 may be seen 
 from the evidence given before the barons of tlie Court of 
 Exchequer in a case relating to a parcel of potter's clay, belong- 
 ing to Edmund Warner, which had been seized bv the Custom 
 House officers. This trial took place in 1693, and William 
 Riddal then deposed that " he was Steward and Tenant to the 
 " sairl Warner for above 20 Years, in all which time the .^aid 
 " Warner constantly sold to the Potters in London considerable 
 " quantities of the same sort of Clay now in dispute, for the 
 " making of White and Painted Eartlien-ware." Evidence on 
 Warner's belialf was also tjikcn from five London potters : 
 " Williani Knujht, Thomas JJariicr, Jlnir// de Wilde, John 
 " Rrjbins, MoHfifi Johnson, are all potters in London, and swore 
 " that they ha<l all seen the said Warner's Clay, which was 
 " seized, that it was really Potter's Clay, and of the same sort 
 " wliich they had constantly bought of him, sonie for above 25 
 " years, (jtlurs ever since they were Traders." 
 
 On the 27th of Octol^er 1676, letters patent were grautetj to 
 John Aricns Van Hamme, a Dutchman, who had settled in this 
 country, for his "art of makeinge tiles and porceJane, and otiier 
 " earthenwan^s, after the way practised in Holhin<l." It is 
 probable that this Van Uainme, may have establisjie<l himself at 
 Lambeth.
 
 170 Burnsii roiTEUY a\d porcelain. 
 
 From what we know of the pt-ocUictions of the Lambeth 
 potteries, they appear to have been chiefly delft and stoneware. 
 The works floniished until the close of the 18th century,* 
 when they were unable to compete with the Staffordshire 
 potteries, and afterwards only common stone-ware was made. 
 
 Many examples of Lambeth dell't ware will be found in the 
 collection, but they are placed with the other specimens of delft 
 from various localities on the bottom shelf of the range of 
 Wall-cases, and are referred to at p. 172. The pieces, marked 
 X. 24 to 27, simply show the character of the brown stone-ware 
 manufactured at Lambeth at a comparatively recent period. The 
 mug, X. 24, is stamped "Stephen Green, Lambeth; and the 
 Reform bottle, X. 25, with effigy of Lord Brougham, is stamped 
 " Doulton &Z, Watts, Lambeth Pottery." 
 
 Lambeth Ornamental Stoneware, &c. 
 
 Within the last 20 years Sir Henry Doulton has developed 
 at the Lambeth Potteries an entirely new branch of manu- 
 facture. The salt-glazed stoneware, which had previously been 
 limited to the formation of vessels comparatively rude in type,, 
 and used principally for chemical and sanitary purposes, is now 
 successfully applied to the production of objects of a highly 
 artistic character, which have become famous as " Doulton ware." 
 A large selection of specimens illustrates the variety and 
 originality of decoration applied to this well-known materialf 
 
 Many of the specimt^ns of this ornamental stoneware are 
 decorated in sgraffito style, the outlines being scratched in the 
 paste, and the incisions filled in with blue glaze. Some clever 
 sketches of animals, executed in this style by Miss Hannah B. 
 Barlow, are seen on the pieces X. 28 to 30 : whilst the two 
 following specimens illustrate the work of Mr. George Tinworth, 
 a deaf and dumb artist who has since acquired high reputation. 
 
 * The following advertisement is quoted from Felix Farley's Bristol Journal, 11th 
 May 1776:— 
 
 " Wanted in Griffith and Morgan's Pot-house, Lambeth, near London, a Stone 
 Kiln hurner, also a top-ware turuer and an ingenious painter. These men must 
 understand their Business well, as th>- Company have indifferent hands enough 
 
 already. 
 
 Ig^" Thev are desired not to leave Bristol till they have wrote to the Company 
 and had their answer." 
 
 t For further information on the ornamental stoneware of Lambeth, the visitor 
 may be referred to a paper " On some recent inventions and applications of 
 " Lambeth stoneware, terra-cotta, and other pottery for internal and external 
 " decoration," by .John Sparkee. Journal of the Scciety of Arts, vol. xxii.. 
 No. 1119, May 1, 1874, p. .5,17. It was under the artistic superintendence of Mr, 
 Sparkes, at that time mai^ter of the Lambeth School of Art, that this manufacture 
 was originally developed
 
 DELFT WARE. 171 
 
 In addition to the decorative stone-ware, there are in the 
 collection examples of several other kinds of art pottery from 
 L;imbetb, such as tlie Faience, which is coated with a lead-glaze 
 applied after the desi^ has been painted on the biscuit- ware ; 
 the Impasto, in which the effect is obtained by the use of 
 coloured slips laid on to the cluy while still soft; and the Silicon 
 ivare, which is described as " a vit,rified stoneware impregnated 
 " with metallic oxides throughout its mass, and coated with a 
 " ' smear,' or semi-irlaze."* 
 
 Delft Ware {British and Foreign). 
 [Wall-cases XXXV. to XLIV. ; bottom shelves.] 
 
 It is said that as early as the year J 310 the manufacture of 
 pottery was successfully carried on at Delft in Holland — a town 
 which in the l7th century acquired extraordinary reputation by 
 this industry. The famous Delft ware was made from clay ob- 
 tained in the neighbourhood of Maestricht, mixed with marl and 
 sand, and was coated with an opaque stanniferous glaze or 
 enamel, frequently presenting a slight greenish or blueish tint. 
 
 The evidence already adduced with respect to the Lambeth 
 potteiy (p. 169) shows that in the middle of the l7th century 
 — a period when the Delft manufacture had attained its greatest 
 prosperity — certain Dutch potters established themselves in tiiis 
 country ; and, following up tlie history a lew years, we learn, 
 from the preamble to a patent granted in lG7(i, that a Dutcli 
 potter, encouraged by the British ambassador at the Hague, had 
 settled here witli the view of pursuing his " Art of makeing 
 " tiles Hnd porcelane and other earthen wares ((f/cr the way 
 " practised in, HollandJ'^ ¥yo\i\ the success which attended the 
 manufacture of Delft ware at Lambeth, the art extended to other 
 localities, and was certainly carried on at Fulham, Liverpool, and 
 Bristijl. The want, however, of sufficient means of distinction 
 between the warts uxmXa at these several places freciuently 
 rendeiH it diflicult, and sometimes indeed impo.ssibh;, to satisfac- 
 torily refer pieces of English Dellt to their respective localities, 
 or even to separate the British from the foreign specimens. 
 
 ♦ "Sonic Dcvploitmciits of Kiiplisli I'ottiTy during the last Kifty Vciirs," a lecture 
 by Sir Ht-nry Doulton, delivured at the lloyul InHtttution on Fel). 17, 1H88. I'roc. 
 Jin,/. Insl., vol. xii, IHH'J p. 212. 
 
 t Sptcificution of I'ati-iits, No. 1»1, Oct. 27, 1€7C.
 
 172 
 
 lUUTlSH POTTERY AND PORCELAIN. 
 
 Many of the pieces of Delft wart; in the collection are interesting 
 
 for sake of the dates and inscrip- 
 tions which they bear. The 
 earliest dated specimen isa barrel- 
 shaped mucr ,Y. 11. (Fig. 132), 
 painted in blue,withbirds,insects, 
 and liowers, and inscribed around 
 the rim " WILLIAM AND 
 " ELIZABETH BVRGES, 24th 
 " AVGVST, 1G31 "; also dated 
 under the handle 1632. 
 
 The white-glazed surface of 
 this piece has a peculiar granular 
 appearance, unlike that of any 
 of the other pieces of Delft ware 
 in the colh'ction, and somewhat 
 Fig. 13-2. resembling that of a salt-glazed 
 
 surface. It is, nevertheless, believed|to be of Lambeth manufacture. 
 
 The glaze on the indubitable Lambeth Delft is usually very 
 w^hite and opaque, as is excellently shown in some of the speci- 
 mens here exhibited, such as the well-known wine jugs, Y. 1 to 
 3. These wine pots usually have a globular body, with a narrow 
 neck, but no spout, and are furnished with a handle. Many 
 have the name of the wine and a date written in blue across the 
 bdly of the jar. The specimen Y. 1 is not inscribed, but is 
 mounted in pewter, the lid being stamped with the Tudor rose 
 and crown, and initials " H.G." Y. 1«- is inscribed " SACK, 
 1646 " ; Y. 2 bears the inscription "WHIT, 1647," and Y. 3 is 
 marked " CLARET, 1662." 
 
 The candlestick, Y. 5, is painted in blue with the arms of the 
 Fishmongers' Company, and inscribed " W. W .E., 1648." This 
 ware so closely resembles that of the wine pots that it must 
 be referred to the same manufactory. 
 
 The pill-slabs, Y. 6 and 7, and the drug-pot, Y. 8, are interest- 
 ing relics of the apothecary's art. The slabs are painted in blue, 
 with the arms of the Apothecaries' Con)pany, and the motto, 
 " Opifer que per orbem dicor." They Xvere formerly used by 
 apothecaries in rollmg the materials of pills. It is to be noted 
 that the glaze on these slabs is of a much less opaque white 
 colour than that on the preceding pieces, and their attribution to 
 Lambeth, though prc^bable, is open to some doubt. 
 
 Many of the curious caudle-cups and puzzle-pots to be found 
 in collections of Delft ware are generally regarded as undoubted 
 productions of the Lambeth works. The two-handled caudle- 
 pot and cover, Y. 4, presented by Mr. J. F, Walker, M.A., may 
 be noted for the pinkish tint on pai-ts of the glaze. The 
 puzzle -pot, Y. 12, which has a false bottom enclosing a cavity 
 which communicates with three tubular handles, is inscribed 
 with the initials " C. T. E." and date 1684.
 
 DELFT WARE. ]73 
 
 The next specimen, Y. 13, is a caudle-pot inscribed on the base 
 " H. H. K., 1696." The large dish, Y. 35, is painted in blackish 
 blue with the arms of the city of London, inscribed " ANNO 
 1654, LONDE." 
 
 Of Bristol Delft, an undoubtedly genuine specimen has already 
 been figured and described (p. 136). Few pieces are so well 
 authenticated as this Edkins plate, but it is beUeved that the 
 specimen Y. 18, and ]»robably some of the adjacent pieces, may 
 also be safely attributed to Bristol. Y. 18 is a covered tankard, 
 painted in blue with a landscape, and date 1 at the base of the 
 handle 1758 ; the cover is ornamented with a portrait of Queen 
 Anne, and is inscribed inside " L. C. Pope, 1758," 
 
 The flat bottle, Y. 19, with ring-shaped body, is inscribed 
 " James and Ann Tompson, 1784." A balloon in purple and 
 yellow forms a prominent object in the landscape painted on 
 this piece.* 
 
 An interesting series of Delft punch-bowls will be found in the 
 collection. Most of these are attributed to Liverpool, and have 
 ahready been described (p. 156). The bowl, S. 10, is regarded, 
 however, by Prof. Churchf as being more probably of Bristol 
 manufacture, since its inscription refers to a locality in Cornwall, 
 suggesting an origin in tlie West of England. It bears on the 
 , inside, painted in blue, the following verses : 
 
 " John Udy of Luxillion 
 
 " his tin was so fine 
 
 " it glidered this punch bowl 
 
 " and made it to shine 
 
 " pray fill it with punch 
 
 *' lett the tinners sitt round 
 
 " they never will budge 
 
 " till the bottom they sound. 
 " I731."t 
 The punch-bowl, Y. 23. is coated with a greeni.sh glaze, and 
 painted in pale bhie on the outside with hunting scenes, and on 
 the inside with a portrait surrounded by military trophies, and 
 the following inscription : — 
 
 " William, the Princely Youth, with Transport see, 
 " He chains th' Oppressor, sets th' Oppressed Free, 
 " Hail Friend of Albion and of Liberty ! " 
 
 A fine series of Delft dishes, coarsely painted with portraits of 
 English Kings and Queens, is placed on the bottom shelf of the 
 
 * Thr; earliest balloon ascents were ma<k' in Friince in 178.'3, and Lunanli's 
 fifMt ascent in tliiH countrj' took place on Scpteiultcr 2lKt, 1784. 
 
 t " English Karthenware: South Kensington Museum .\rt Handbooks " I'art H 
 p. 70. 
 
 J These verses have allunion to the use of Cornish tin, which, in the form of 
 hiiioxide, is employed in the prepanition of tlie brilliant opaijuo white eniimel of 
 Delft ware. Udy is a commou Cornish name, and Luxillion is a parish about three 
 miles from Lostwithiel. The old verb (jliddrr, which occurs in the third line 
 signifies " to glaze"; thus in The Devil is an Axse Ben Jonson writes, •' keep it in 
 jour galley-pot well (jliddercd."
 
 I7i lUnTISH rmTERV and roilCELAIN. 
 
 ranj^c of Wall-cjises, XXXIX. to XLIV. Such platters are com- 
 monly attrilnitod to Lambetli, but it lias been sii<:;<ijested that 
 they "are more likely to be old Staffordsiiiro ware. The speci- 
 mens here exhibitftl bear rude portraits, mostly full length, of 
 Charles II. ; Charles II. and Queen C^atherine of Biaganza ; 
 James XL; William III.; Mary, the Queen of William III.; 
 William and Mary ; and Queen Anne. 
 
 The important ])iece, Y. 49, nvidently a copy from Palissy, is 
 assigned to Lambeth. It is a large oval dish painted in pale 
 blue ; the centre ornamented in low relief with a recumbent nude 
 female figure surrounded by five amorini ; the border sunk in 
 eight wells or godets, alternately circular and oval, painted with 
 birds and flowers, and sej^arated by baskets of flowers, and masks 
 in relief; inscribed " H. T. T., 1697." A siu)ilar specimen is in 
 the British Museum. 
 
 It is probable that to Lambeth may also be attributed the 
 dish Y. 34, which differs from most other pieces in being painted 
 in colours. The colours are blue, green, yellow, orange, and 
 ])ur|>le; the subject is Christ and His Disciples on the road to 
 Emmaus ; above the figure of Christ is a bird symbolizing the 
 Holy Spirit, and in the clouds the word GOD ; the piece is dated 
 1653, in blue on quatrefoil in foreground. 
 
 The dish Y. 33, rudely painted in coloui-s with the Crucifixion, 
 is known to have been in use in Suffolk at an early date. Owing 
 to the ready means of intercourse between Holland and our 
 eastern sea board, large quantities of Dutch Delft were 
 imported during the l7th and 18th centuries into Harwich, 
 Yarmouth, Hull, and other eastern ports. It is probable that 
 many, and certain that some, of the specimens of Delft ware in 
 this collection are of Dutch manufacture ; this remark applies 
 especially to such pieces as the plates Y. 24 to 27. 
 
 A fine s^-ries of coloured illustrations of English Delft, with re- 
 productions of a large number of inscriptions and dates on such 
 ware, will be found in the recently -publiiihed work of Mr. and 
 Miss Hodgkin.* 
 
 Bki.leek Porcelain (Ireland), &c. 
 
 [Wall-ca.9es XLI. to XLIIL] 
 
 The occurrence of large quantities of felspar in the neighbour- 
 hood of Belleek, near Lough Erne, in County Fermanagh, led 
 .some years ago to the establishment of porcelain works in this 
 locality. Prior to the Dublin Exhibition of 1853, Mr. Kerr, of 
 the china factory at Worcester, and Mr. Armstrong, of London, 
 made a tour through Ireland for the purpose of discovering 
 
 * " Examples of Early English Pottery, named, dated, and inscribed." By John 
 Eliot Hodgkin, F.S.A., and YAhli Hodgkin. London, 1891.
 
 IRISH AND FOREIGN WARES. l7o 
 
 materials suitable for the manufacture of pottery and porcelain. 
 The materials thus obtained served for the production of the 
 celebrated st-rvice designed from subjects in " The Midsummer 
 Night's Dream," and displayed in the Dublin Exhibition. In 
 consequence of the exhibition of this service, attention was called 
 to the existence at Belleek of felspar, as well adapted to the pur- 
 poses of the potter as that imported from Sweden or Norway; 
 and a manufactory was accordinglv established, in 1857, under 
 the direction of Mr. Armstrong. The china-clay employed was 
 imported from Cornwall. 
 
 The naci-eous lustre seen on much of the ware is due to the 
 use of a preparation similar to that patented by Brianchon, and 
 formed of salts of bismuth mixed with resin and oil of lavender, 
 and coloured by certain metallic oxides. (Sec p. 68.) 
 
 The small series of specimens, Z. 1 to ] 3, sufficiently illustrates 
 the productions of the Belleek factory. Many of the ornamental 
 pieces are characterized by careful modelling from natural 
 objects, such as shells, coral and sea-weed. The Paper Nautilus, 
 or Argonaut shell, Q. 12, is notable as a faithful copy of an 
 object of extreme delicacy. 
 
 Porto-Bello Pottery. 
 
 An earthenware figure of a Highlander, made at the Porto- 
 Bello pottery, near Edinburgh, and presented by Archibald H. 
 Dunbar, Esq., is the only representative of the ceramic industry 
 of Scotland whicli the Museum at present possesses. 
 
 Foreign Pottery and Porcelain. 
 (Ancient and Modern.) 
 
 [Cases on both sides of tlie lower gallery ; Oriental porcelain 
 in Pedestal Case 5]. 
 
 Although the main object kept in view in forming the Ceramic 
 Collection in this Museum has Viocn the illustration of the history 
 and present condition of the manufacture of pottery and porce- 
 lain in this country, it has nevertheless haj'pened tluit a few 
 samples of foreign wares, mostly presentations, have from time 
 to time been introduced into the (collection. The forei;j;n depait- 
 ment thus formed is, however, necessarily incomplete ; nor is it 
 considered desirable to attempt any extension of the collection in 
 this direction. It is, perliaps, .sutticient, tlierefore, to merely in- 
 dicate the position of the foreign series, without introducing any 
 descriptive notices, which would indt'oil fall beyond the: scope 
 of this work, ])rofcs.sedly a hand book of British pottery and 
 porcelain.
 
 176 
 
 I N 1) E X 
 
 
 PAGE. 
 
 
 PAGH. 
 
 Acetabula, Roman - 
 
 - 
 
 69 
 
 Brankseo pottery 
 
 - 166 
 
 Adams' ware - - - 
 
 - 
 
 107 
 
 Bricks, Babylonian 
 
 - 40 
 
 Adobes ... 
 
 - 
 
 2.9 
 
 Bricks, Egyptian 
 
 1 
 
 Agate ware - - _ 
 
 - 
 
 93 
 
 Bricks, Roman 
 
 - 78 
 
 Alhiimbra tiles 
 
 - 
 
 50 
 
 Brislington ware 
 
 - 139 
 
 Analysis of — 
 
 
 
 Bristol delft - 
 
 - 136 
 
 Berlin porcelain 
 
 - 
 
 34 
 
 Bristol porcelain 
 
 - 131 
 
 Kow „ - 
 
 - 
 
 35 
 
 British pottery, ancient 
 
 - 63 
 
 Bristol „ - - 
 
 - 
 
 35 
 
 Buen Retiro porcelain 
 
 - 14 
 
 Chelsea „ - 
 
 - 
 
 35 
 
 Butter pots 
 
 - 87 
 
 China clay - - - 
 
 . 
 
 27 
 
 
 
 China stone 
 
 - 
 
 29 
 
 Cadborough pottery 
 
 - 165 
 
 Chinese porcelain - 
 
 . 
 
 11 
 
 Cadogans 
 
 - 140 
 
 Clays 
 
 - 
 
 27 
 
 Cambrian pottery 
 
 - 148 
 
 Delft ware - - . 
 
 . 
 
 54 
 
 Cameos, Wedgwood - 
 
 - 105 
 
 Delia Kobbia ware 
 
 _ 
 
 54 
 
 Cannon Street section 
 
 - 67 
 
 Dresden porcelain - 
 
 . 
 
 34 
 
 Capo di Monte china - 
 
 - 14 
 
 Fulham ware 
 
 . 
 
 35 
 
 Carclazyte - 
 
 - 29 
 
 Greek glaze 
 
 . 
 
 41 
 
 Castleford pottery 
 
 - 154 
 
 Gieek pottery 
 
 - 
 
 8 
 
 Castor ware 
 
 - 70 
 
 Green mediaeval glaze 
 
 - 
 
 85 
 
 Caughley ware 
 
 - 146 
 
 Majolica ware 
 
 - 
 
 54 
 
 Cauliflower ware 
 
 - 94 
 
 Palissy ware 
 
 - 
 
 54 
 
 Chafters collection 
 
 67,83 
 
 Roman frit 
 
 - 
 
 72 
 
 Chamberlain's porcelain 
 
 - 145 
 
 fc'amian ware 
 
 - 
 
 65 
 
 Champion, R. 
 
 - 131 
 
 Sevres porcelain - 
 
 - 
 
 33 
 
 Chelsea porcelain 
 
 16,117 
 
 Anchor, as a mark 
 
 . 
 
 121 
 
 Chelsea Derby porcelain 
 
 - 123 
 
 Anglo-Saxon potterj' 
 
 - 
 
 82 
 
 Chert 
 
 30 
 
 Aretine ware - - - 
 
 66,82 
 
 China clay 
 
 - 4, 25 
 
 Assyrian glazes 
 
 . 
 
 40 
 
 China stone 
 
 28,29 
 
 Astbury's ware 
 
 - 
 
 96 
 
 Chinese glazes 
 
 - 55 
 
 Atkinson, Professor - 
 
 _ 
 
 11 
 
 Chinese porcelain - 
 
 9 
 
 Aylesford, late Celtic pottery - 
 
 - 
 
 64 
 
 Church, Professor, quoted 
 
 11,16,34,99, 
 120, 134, 173 
 
 Babylonian glazes - 
 
 - 
 
 40 
 
 Cinerarv urns 
 
 - 64 
 
 Baguley's parian 
 
 - 
 
 112 
 
 Clays - 
 
 - 4,27 
 
 Bailey, Mr., of Fulham - 
 
 15, 
 
 167 
 
 Coalbrook Dale ware 
 
 - 147 
 
 Bamboo ware 
 
 
 102 
 
 Coalport ware - 
 
 - 147 
 
 Barberini vase 
 
 - 
 
 104 
 
 Cob walls 
 
 2 
 
 Basaltes, Wedgwood's 
 
 - 
 
 103 
 
 Collins, J. H., quoted - 
 
 - 5, 26, 29 
 
 Bellarmines - - - 
 
 - 
 
 86 
 
 Cologne ware 
 
 86, 168 
 
 Belleek porcelain 
 
 . 
 
 174 
 
 Colour of clays 
 
 - 22 
 
 Bemrose, W., Derby porcelain 
 
 - 
 
 122 
 
 Colours, pottery 
 
 - 58 
 
 Berlin glaze - - - 
 
 - 
 
 55 
 
 Combed ware - 
 
 - 93 
 
 Berlin porcelain 
 
 - 
 
 14 
 
 Contraction of clays 
 
 - 21 
 
 Billingsley - - 127, 
 
 149 
 
 1.50 
 
 Cookworthy, W. 
 
 18,127 
 
 Binns, Mr., quoted 
 
 - 
 
 142 
 
 Copeland's ware 
 
 - 110 
 
 Biscuit ware . . - 
 
 - 
 
 31 
 
 Cornish clay - 
 
 4,25 
 
 Bishop's W'altham ware 
 
 - 
 
 166 
 
 Cornish stone 
 
 - 28 
 
 Bone, H., enameller - 
 
 132 
 
 135 
 
 Craft's bowl - 
 
 - 114 
 
 Bone-earth ... 
 
 16,17 
 
 Crouch ware 
 
 - 96 
 
 Boote's parian 
 
 - 
 
 112 
 
 
 
 Boticber's ware 
 
 - 
 
 13 
 
 Daubree, M. - 
 
 5 
 
 Bovey clay - . - 
 
 . 
 
 5,27 
 
 Davenport ware 
 
 - 107 
 
 Bow porcelain 
 
 16 
 
 ,113 
 
 Delft ware - - 54, 136, 156, 171 
 
 Brancas-Lauraguais 
 
 15,17 
 
 De Morgan's lustres 
 
 - 62
 
 INDEX. 
 
 177 
 
 
 
 PAGE. 
 
 
 PAGE. 
 
 D'Entrecolles - 
 
 . 
 
 - 
 
 10 
 
 Lambeth delft 
 
 - 169 
 
 Derby porcelaiu 
 
 
 - 
 
 122 
 
 Lambeth pottery 
 
 - 169 
 
 Dip ware - - - 
 
 
 - 
 
 32 
 
 Lambeth, Doulton •ware 
 
 - 170 
 
 Dobies 
 
 - 
 
 - 
 
 2 
 
 Lamps, Roman 
 
 - 77 
 
 Don pottery 
 
 
 - 
 
 154 
 
 Lead glazes - - - 
 
 - 47 
 
 Doulton ware - 
 
 - 
 
 - 
 
 170 
 
 Leeds pottery - - - 
 
 - 151 
 
 Dresden china 
 
 
 - 
 
 13 
 
 Liverpool pottery 
 
 - 155 
 
 Dresden glaze - 
 
 - 
 
 - 
 
 55 
 
 London, Roman ware from 
 
 - 67 
 
 Dupont, M. - 
 
 
 - 
 
 2 
 
 Lowesby pottery 
 
 - 163 
 
 Durobrivian ware 
 
 - 
 
 - 
 
 70 
 
 Lowestoft pottery - 
 
 - 164 
 
 Dwigbt, John 
 
 
 15 
 
 ,167 
 
 Luca della Robbia 
 
 . 50 
 
 
 
 
 
 Lustres - - - 51. 61, 139 
 
 Edkins plate - 
 
 - 
 
 - 
 
 136 
 
 
 
 Egyptian bricks 
 
 
 - 
 
 1 
 
 Macadam, Professor - 
 
 - 26 
 
 Egyptian glazes 
 
 - 
 
 37,39 
 
 Majolica ware 
 
 - 50 
 
 Egyptian ware, Wedgwood's 
 
 
 - 
 
 103 
 
 Manufacture of earthenware - 
 
 - 30 
 
 Elers' ware 
 
 - 
 
 - 
 
 94 
 
 Manufacture of porcelain 
 
 - 33 
 
 Elizabethan ware 
 
 
 - 
 
 96 
 
 Mason's ware - - - 
 
 - 108 
 
 Encaustic tiles 
 
 - 
 
 48,86 
 
 Maspero, Professor, quoted - 
 
 1 
 
 Evans, A. J., on Aylesford pottery - 
 
 64 
 
 Maw, Mr. G., quoted - 
 
 7, 19, 20 
 
 
 
 
 
 Maw's majolica 
 
 - 147 
 
 Felspars 
 
 - 
 
 . 
 
 4 
 
 Mayer's ware - 
 
 - 107 
 
 Felspathic glazes 
 
 
 - 
 
 55 
 
 Mediaeval pottery 
 
 - 83 
 
 Ferrybridge potterv 
 
 - 
 
 - 
 
 154 
 
 Medway pottery 
 
 - 74 
 
 Fifield, W. - 
 
 
 - 
 
 138 
 
 Meissen porcelain 
 
 - 12 
 
 Flints - 
 
 - 
 
 - 
 
 29 
 
 ^lezza majolica 
 
 - 51 
 
 Florentine porcelain 
 
 
 - 
 
 12 
 
 Minton's ware 
 
 - 110 
 
 Foot, as potter's mark 
 
 - 
 
 - 
 
 69 
 
 Morgan, Mr. W. de, on lustres 
 
 - 62 
 
 Foreign pottery 
 
 
 - 
 
 175 
 
 Mortaria ... 
 
 69,76 
 
 Franks, Mr A. W. 
 
 10, 
 
 118 
 
 155 
 
 Mortlakc pottery 
 
 - 168 
 
 Frog mugs 
 
 - 
 
 - 
 
 161 
 
 Mugs, old P]nglish - 
 
 - 158 
 
 Fulham pottery 
 
 
 15 
 
 ,167 
 
 Nanfgarw porcelain 
 
 - 150 
 
 Gardner, J. S., on clays 
 
 - 
 
 - 
 
 7,19 
 
 Neale's ware 
 
 - 107 
 
 Glazes 
 
 
 - 
 
 36 
 
 Neolithic pottery 
 
 3 
 
 Gloss-kiln 
 
 - 
 
 - 
 
 32 
 
 New Canton 
 
 - 114 
 
 Goat-and-bee mugs - 
 
 
 - 
 
 117 
 
 New Forest ware 
 
 - 74 
 
 Gombroon ware 
 
 - 
 
 - 
 
 12 
 
 New Hall china 
 
 109, 132 
 
 Goss's ivorj- porcelain 
 
 
 - 
 
 111 
 
 Newcastle pottery 
 
 - 159 
 
 Goss's parian busts 
 
 - 
 
 - 
 
 112 
 
 Nottingham earthenware 
 
 162 
 
 Grainger's Worcester 
 
 
 - 
 
 146 
 
 Nymplienburg j)orcelain 
 
 - 14 
 
 Granite ware - 
 
 - 
 
 - 
 
 102 
 
 
 
 Oraybeards - - - 
 
 
 - 
 
 86 
 
 Onyx ware - - - 
 
 - 102 
 
 Greek glazes - 
 
 - 
 
 - 
 
 41 
 
 Opatpie china - - - 
 
 - 148 
 
 Grecuwell, Canon - 
 
 
 - 
 
 4,64 
 
 (Jwen, Mr. Hugh - 18, 129 
 
 131, 139 
 
 Hannay's ar:alyse« 
 
 ^ 
 
 _ 
 
 29 
 
 Palissy ware 
 
 - 53 
 
 Hard paste defined - 
 
 
 - 
 
 15 
 
 Palnier>' ware - - . 
 
 - 107 
 
 Herculaneiim pottery - 
 
 - 
 
 - 
 
 158 
 
 I'ardoe, Tliomas 
 
 - 138 
 
 Hochst porcelain 
 
 
 - 
 
 14 
 
 Parian ware - - . 
 
 111, 125 
 
 iiodgkin, Mr. and Miss, 
 
 on 
 
 old 
 
 
 Petuntse - - - 
 
 10 
 
 English pottery - 
 
 8" 
 
 ,91, 
 
 174 
 
 retuntzyfe 
 Pie crust ware 
 
 - 29 
 
 - 102 
 
 Indian coamels 
 
 T • \ 1 ' 
 
 
 - 
 
 41 
 
 I'iiie apple ware 
 i'itixtoii piircelain 
 
 94 
 - 127 
 
 Jnsh porcelain 
 Ironstone china 
 
 • 
 
 " 
 
 174 
 
 1 
 I'itt-Hivers, (leneral 
 
 - r.fi, 74 
 
 
 — 
 
 108 
 
 
 
 Isleworth pottery 
 
 - 
 
 - 
 
 169 
 
 IMace's ware - 
 Plymouth porcelain 
 Poole clay 
 
 - 1 55 
 
 - 127 
 
 - 6,27 
 
 Jack field pottery 
 
 
 - 
 
 146 
 
 I'ortland vase 
 
 - 104 
 
 Japan(!se i)orceiain 
 
 - 
 
 - 
 
 11 
 
 I'orto Pello wan- 
 
 - 175 
 
 Jasper ware 
 
 
 10) 
 
 104 
 
 Potter's wheel 
 
 35 
 
 Jewitt, Mr. Llewellyn 
 
 64, 
 
 122, 
 
 152 
 
 Purple of CaHfiius 
 
 - 61 
 
 Julien, Stanislas, qiiotefl 
 
 * 
 
 * 
 
 JO 
 
 I 
 
 Queen's ware 
 
 100, 101 
 
 Kaolin . - - 
 
 
 4,18,25 
 
 
 
 Kaolinite 
 
 
 - 
 
 :» 
 
 Raw materials . ^ . 
 
 - 19
 
 178 
 
 BRlTrSII POTTERY AND PORCELAIN : INDEX. 
 
 Ivlu'uish pdttorv 
 
 Kix, Mr. W. v.. oil glazes 
 
 IvDckiiifrlmiii ware - 
 
 Koinnii pottery 
 
 loose's folspathic glaze 
 
 Snck-pots 
 
 Sadler, engraver 
 
 Snggers 
 
 St. Petersburg porcelain 
 
 Salopian ware - 
 
 Salt glaze - - . 
 
 Salvetat, M. - 
 
 Samian ware 
 
 Saxon porcelain 
 
 Sevres glazes 
 
 Sevres porcelain 
 
 Shrinkage of clays - 
 
 Shropshire porcelain - 
 
 Silicon ware 
 
 Simpson, Mr. W., quoted 
 
 Slip ware . . - 
 
 Smearing - . . 
 
 Soapston*! - - . 
 
 Solon, M., on Old English pottery 
 
 Spode ware - - - 
 
 StafTordshire pottery - 
 
 Steatite 
 
 Stourbridge clay 
 
 Sunderland jiottery - 
 
 Sun-dried bricks 
 
 Swansea porcelain - 
 
 Teignmouth clay 
 Tickenhall pottery - 
 Tiles, lead-glazed 
 Tiles, Liverpool 
 
 8, 
 
 PAOK. 
 
 - 79 
 
 - 37 
 
 - 140 
 
 C4 
 56, 147 
 
 - 172 
 
 - 156 
 
 - 31 
 14 
 
 - 146 
 57, 96 
 41, 56 
 64,66 
 
 12 
 56 
 14 
 21 
 
 ■ 146 
 
 • 171 
 
 2 
 
 . 91 
 
 58 
 
 7 
 91 
 
 • 108 
 
 87 
 
 7 
 
 28 
 
 • 160 
 
 ■ 1,8 
 
 • 148 
 
 • 6,27 
 
 • 91 
 48 
 
 - 157 
 
 PAGE. 
 
 Tiles, Uoinan - - - 78 
 
 Till glazes - - - - 49 
 
 Tithe mugs - - - - 158 
 
 Toad mugs - - - 158 
 
 'I'cft ware - - - - 92 
 
 Tortoiseshell ware - - - 93 
 
 Toys, Roman - - - 77 
 
 Turiiei's ware - - - - 106 
 
 Twyford's ware - - - 106 
 
 Tygs - - - - 90 
 
 ITnaker - - 16,114,115 
 
 rpcliurch pottery - - - 74 
 
 Vauxiiall i)ottery - - - 169 
 
 Venetian porcelain - - - 12 
 
 Vestorian hliie - - - 39 
 
 Vienna porcelain - - - 14 
 
 Vogt, M. G., quoted - - - 11 
 
 Voyez jug - - - - 107 
 
 Wall, Dr., Worcester - - - 142 
 
 Watcombe terra-eotta - - 166 
 
 Weathering of clays - - - 20 
 
 Wedgwood, Josiali - - - 100 
 
 Wedgwood cameos - - - 105 
 
 Wedgwood porcelain - - 105 
 
 Wedgwood ware - - - 100 
 
 AVheel, potter's - - - 35 
 
 Willett collection - • - 91 
 
 Wood, Enoch - - - 106 
 
 Worcester porcelain - - - 142 
 
 Worth, Mr. R. W., quoted - 18, 128, 131 
 
 Wrothani ware - - 91, 165 
 
 Yarmouth pottery - • - 164
 
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 8 SW - - OLDHAM. By E. Hull. U.
 
 88 SK . 
 SS NK • 
 
 89 SK - 
 89 S\V - 
 IH) SK • 
 1H)XK - 
 ill SW - 
 SI N\V- 
 t»2 SK - 
 93 NW- 
 93 NK - 
 9.S N\V - 
 
 l« > K it J Vi 
 m N \V - 
 91 NK- 
 
 95 S\V. SE 
 
 96 JiW 
 »6$K 
 9« NK 
 
 96 N W 
 
 97 S\V - 
 
 97 NW- 
 
 98 SK - 
 9SNE- 
 101 SK 
 
 lot SW, SE 
 
 lasSE 
 
 108 NE 
 110 SW 
 
 . SW 
 
 SHEET METCCOXKS OF THE GEOXiOCICAX. SURVEY— COH/inuec/. 
 
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 . SOUTHrORT. LYTHAM.nndSOl'TH SHOKK. I!\ (\ E. 1)k Ranck. «W 
 
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 COII.NTRY l.etw.t-n YORK & HULL. Ry .1. R. Dakvns, C. Fox-Strangways. and A.Q.Oamkeo.v. I*. 
 
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 I 
 
 ls.6( 
 
 2s. 6d. 
 
 THE IVXIXa-ERAI. DISTRICTS CF ElKTCIiAIO^S ATtTB WAIiES. 
 
 COAL-FIELDSi — Scale, one inch to a mile. 
 
 .Viiplosoy,78 (SW). 
 
 Bristol and Somerset, 19, 35. 
 
 Ooalbrook Dale, 61 (NE & SE). 
 
 Glee Hill, 53 (NE.NW). 
 
 Flnitshireand Denbighshire, 74 (NE & SE^ 79 (NE, SE). 
 
 Dorbv and Yorkshire. 71 (N W, NE, & SK).'82 (NW &SW), 
 
 81 (NE),37 (NE, SE),8S(SE). 
 Forest of Dean, 43 (SE & SW). 
 Forest of Wyre, 61 (SE), 55 (NE). 
 Lancashire, 80 (NW),81 (NW), 89,88 (SW, NW). 
 Leicestershire, 71 (SW).63 (NW). 
 
 Northumberland i Durham, 103, 105,106 (SE), 109(SW,SE). 
 N. Stutlordshire,72(NW),T2(.SW),73(NE),80(SE),81(SW). 
 S. Stattordshire, 51 (NW), 62 (SW). 
 Shrewsbury, 60 (NE). 61 (NW & SW). 
 South Wales. 36,37, 38, 40,41, 42 (SE, SW). 
 Warwickshire. 62 (NESE),H3(NW SW')..i4 (NE),.=i3 (NW). 
 Yorkshire. 88 (NE, SE),87 (SW).92 (SE).93 (SW). 
 
 COAL-FIELDS AND OTHER MINERAL DISTRICTS- 
 
 Scale, six inches to a mile. 
 
 The Coal-fields and other mineral districts of the N. of 
 
 ^- Tiln^land are published on a scale of six inches to a mile, 
 
 ■ to 6s. each. MS. Colourt^d Copies of other six-inch 
 
 .lot intended for publication, are ileposited for refer- 
 
 , i.- in the Geological Survey OHice, 28, Jermyu Street, 
 
 London. 
 
 Xiancastaire. 
 
 Sheet 15, Ireleth.— 16, Ulversione.— 17, Cartmel.— 22, 
 Aldinjrham.— 47, Ciitheroe.— 1«, Colue.— W LanesliawBr.— 
 55. Whalley.— 50, llasgate.— 57, Winewall.— 61, Preston.— 
 tJ2, Baldersione.— 63, Accringtoii.— 61, Burnley.— 65, Stipcr- 
 den .Moor.— 39, Layland.— 70, Blackburn.— 71, Haslingden — 
 72, Cliviger, Bacup. — 73, Todniorden.— 77, Cliorley.— 78, 
 Bolton - le - Moors.— 79, Entwistle— BO, Tottinffton.— 81, 
 Wardle.— 81, Ormskirk.— 85, Standish.— 86, Adiington.— 
 87, Bolton-le-Moors.— 88, Bury. Heywood.— 89, Roclidale,&c. 
 —92, Bickerstaffe.— 93, Wigan.— 94, West HouKhton.— 
 95, RadclifTe.- 96, ^Middleton. Prestwich.— 97, Oldham.— 10,1, 
 Knowsley.— 101, Billintre.- 102, Leigh, Lowton.— 103, Ashley. 
 Eccles.— 104. Manchester, Salford.- 105, Ashton-under- 
 Lyne.— 100, Liverpool.- 107, Prescott.— Kis, St. Helen's.- 
 109, AVinwick.— Ill, Cheedale.— 112, Stockport.- 113, Part 
 of Liverpool. 
 
 Barbam. 
 
 Sheet 1, Ryton.— 2, Gateshead.— 3, Jarrow.— 4, S. Shields. 
 —5, Greenside. — 6, AVinlaton.- 7, Wasliingloii.— S, Sunder- 
 land. — 9, Pt. of Hunstanworth.— 10, Edmondbyers — 
 11, Ebchester.— 12, Tantoby.— 13, Chester-le-St —15, Killhope 
 Moor.— 16, Hunstanworth.— 17, Waskerley.— 18. Muggks- 
 
 Durtaain — continued. 
 
 wick.— 19,Lanchcsler.— 20, Hetton-le-Hole.— 22, Wear ] 
 —2,3, Eastgate.— 2t, Stanhope.— 25, Wolsjngliam.— 26, 
 cepeth.— 30, Benny Seat.— 32, White Kirkley.— 33, I 
 sterley.— 34, Whitwortli.— 38, .Vlai/e Rock.— llj Cocklield 
 42, lip. Auckland.— IG, Hawksley Hill Ho.— 52, Bania 
 Castle. — 53, Winston. 
 
 irorttaumberland . 
 
 Sheet 44, Rothbury.— 45, Longfraralington. — 46, Rrooi 
 hill.— 47, Coquet island.— 54, Longhorsley,— 55, Ul.cham. 
 50, Druridge Ray.— 63, Netherwitton.— 64, Morpcih.— t' 
 Newhiggin.- 72, Bedlingion.— 73, BIyth.— 80, Cramlington 
 81, Earsdon.— 82. NE. of Gilslaiid.— 83. Coadley Gate, 
 iledduii.— 88, Long Benton.- 89, Tynemouth.— 91, Gr, 
 head.— 92, Ualtwliistle.— 93, HaydonBridgc.— 94, Hexlim 
 95, Corbridge. -90, Horsley.— 97, Newcastle.— 98, V/alk, 
 101, Whitliehl— 102, Allendale Town.— 10.3. Slaley.— 105 Nei 
 lands.— 106, Blackpool Br —107, Allendale.— 108, Blarichlani 
 —109, Shotleylield.— no, Wellliope.— Ill, 112, Allenheads. 
 
 Cumberland. 
 
 Sheet 24 (and 26a) Kirkby Ravens*orth.-55, Searne-- 
 £6, Skid'law.— 63, Thackthwaite.— 61, Keswick.— 65, D,, 
 raye. — 69, Buiiermcre.— 70, Grange.— 71, Helvellyu.— 7 
 Wastwater.— 75, Stonethwaite Fell. 
 
 'Westmorland. 
 
 Sheet 2, Tees Head.— 6, Dufton Fell.— 12, Patterdale, 
 Near Grasmere.— 25, Grasmere.— 38, KendaL 
 
 Yorkshire. 
 
 Sheet 3, Lune Forest.- -7, Redcar.— 8, 9, Saltburn, Ac— 1 
 Cotheistoiie Moor.— 12, Bowes.— 13, WyclifTe.- 17, Gui.sboro 
 —20, Lythe.— 24, Kirkby Ravensworth.— 25, Aldborough - 
 82, 33, Whitby.— 38, Marske.-39, Richmond.— 46, Litfl 
 Beck.— 47, Robin Hood's Bay.— 53. Downholme.— 68, J 
 bourne.— 82, Kidstones.— 84.E. Witton.— 97, Poxup.— 98 1\ 
 Gill.— 99, Haden Carr- TOO, Lofthouse.- 115, Arnclifle — i 
 Conistone .Moor.- 13.3, Kirkby Malham.- 152, Biubberhou- 
 — 184, Dale End.— 185, Kildwick.— 200, Keighley — 2UJ 
 Bingley.— 202, Calvcrley.— 203, Seacroft.— 204, Aberford - 
 215, Peeke Well.— 216, Bradford.— 217, Calverley.-2" 
 Leeds.— 219, Kippax.— 231, Halifax.— 232, Birstal.— 
 East Ardsley.— 234. Oastleford.— 246, Hudderslleld.— Z, 
 Dewslmry.— 248, Wakefield.— 249, Pontefract.— 250, Darra 
 ton.— 260, Uonlcy.— 261, KirkburLon.— 262, Darton.- 
 Hemsworth.— 264, Campsall.— 272. Holm firth.— 273, P« 
 stone— 274, Barusley.- 275, Darfield.— 276. Brodswortl 
 281, LangsclL— 282, Wortley.— 28,3, Wath upon Dearnj 
 281, Conisborough.— 287, Low Bradford.— 288, Ecclesfleld 
 289, R'dherham.— 290. Braitiiwell.— 293, Hallam Moon 
 295, Haudsworlh.- 296, Luughton-eii-le-Morthen — 2 
 Waleswood.— 300, Hartliill. 
 
 1 
 
 MINERAL STATISTICS. M 
 
 The produce of Coals. Metallic Ores, and other Minerals. l{y R. Hunt. From 1853 to 1857. Inclusive, 1*. 6d. each. 
 1858,i>ar< /., 1». 6(i.; Part II., 5s. 1859. Is. 6^/. 1860. ,3». M. 1861, 2s.; and Appendix, Is. 1862. 2s. 6d. 1863. 2«. 6d 
 1864, 2». 1865, 2». Gd. 1866 to 1881. 2«. each. (These Statistics are now published by the Home Office.) 
 
 THE IRON ORES OF GREAT BRITAIN. 
 
 ^^*'^J- '^^?,^®jr**' *""' North Midland Counties of England (Out of print). Part II. South Staffordshire. Price 
 \ Part IIL South Wales. Price Is. 3rf. Part lY. The Shropshire Coal-field and North Staffordshire. U.Zd. 
 
 1
 
 I NIVERSITY OF CALIFORNIA. LOS ANGELES 
 
 THE UNIVERSITY LIBRARY 
 
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