«i m Wm 'm^ ^iiiifr ( « t JIJV "if iii 111? iiiiiilll 'I Wmrn wmm iiiif" 1 it Iii Infill 1 I i H UfJJj '1 1 ' i i M I iii 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."«§ 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 CENEUAIi MEIMCOXXtS OF THE GEOXiOGZCAXi SVItVE'T. EPORT on CORNWALL, DEVON, amnVESTSOMERSE'C By Sir H. T. Dk La Beche. 14s. (O.P.) 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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/. . PART of the YORKSlllUK 0O.\I,-l'IKM). Hy A. H. Grkrn. J. R. DAKYNsniia J. C. Wabd. 1». - DKWSHURY, Ao. Hv A. H. Oukkn. J. R. Dakyns. J. C. Wak!) iiiul R. Russell, tid. - ROI.TON, LANCASHIRE. BvElllLL is. . \\ia\y. Kv Kpwark Hri I. CJiul Kd.) i.«. (O.P.) - Tilt" (n)UN'rRY iHiw.H'ii LlVKRl'OOL «ii(i S(M'Tlll'01lT. Hv C. K. 1)R Rance. 3d. (O.P.) . SOUTHrORT. LYTHAM.nndSOl'TH SHOKK. I!\ (\ E. 1)k Ranck. «W - Tho COUNTRY Ix-twrni HLAOKl'OOL niid Fl.KKT WOOD. Hy 0. K. 1)K llANCK. firf. - SOUTIIKRN PART .-f tlio FURNESS DISTRICT in N. LANCASHIRI';. Rv W. T. AvEMNE. 6<f. - RRADFORDiimiSKlPTON. Ry J. R. Dakvns, C. Fox-Stuanoways, R. RussKLL.aiid W. U. Dalton. - NORTH nn.l EAST of HARROt^ATE. l!v C. Fox-Stranoway.s. (W. - The COUNTRY »)lmwivii YORK luid MAI.'TON. Rv C. Fox-Stkanqwats. 1«. 6rf. - N. and K. of LEEDS, and near TADCASTKR. Rv \V. T. Avri ink. A. H. Oukkn (and otiiors). (O.P.) COII.NTRY l.etw.t-n YORK & HULL. Ry .1. R. Dakvns, C. Fox-Strangways. and A.Q.Oamkeo.v. I*. - DRIFFIKLD Ry J. R. Dakyns and C. Fox-Strangways. !></. ■ RRl lil-lN(5TON RAY. Ry .1. R. Dakyns and C. Fox-STKA.NcavAYS. Is. ■ Sl'ARROROU(".H ai.d FLA^IROROUGH HKAD. Kv C. Fox Stranoways. 1«. . \VHITBYnnd SCARROROIUUL Ry C. Fox-SiRANOWAYtf and G. Rarkow. 1». 6d. • NEW MALTON, PICKERING, and HELMSLKY. Ry C. Fox-Strakowa ys 1«. ■ KSKDALK, ROSEDALE. \c. Ry C. Fox-Stkangwats, C. Rkii. and G. Rarro\v. Is. (id. NORTHALLKRl'ON and THIRSK. Ry C. FoxStranowaym. A. G. Camkuon, and G. Harrow I\(iI-EROR()U(iH. Ry J. R. Dakyns. R. H. Tiudkman, W. Gitnn, and A. Stuahan. 2«. - >LVLLERSTAN(;, with i)avts of WKNSLEYDALK, SWALKDALE, uiul ARKENDALK. • KIRKRV LONSDALE and KENDAL. Ry W.T. Avklink.T. Mc K. Hlghks, and R. H. TlDDEMAN. KENUAL. By W T. Avklink and T. Mc K. IIughks. 2nd Ed. hv A. Strahan. 2s. "JoRTHERN* part of til.. ENGLISH LAKE DISTRICT. By J. C. Ward. 9«. NORTH CLEVELAND. KyQ. Baurow. Is. C(/. OTTKRBURN and ELSDON. By Hroii Millkk. CHEVIOT HILLS. Ry C. T. Clougit. Is.Dd. PLASHETTS and KIELDER. Bv C. T. Clougd. Is. 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 This book is DUE on the last date stamped below liAN 2 6 1d# JAN 5 1959 y) SEP 9 1989 nvuRL APR 1 6 1968 lUN URL Jul ^ IUL21 J; nri) in MIL *" DEC Form L-0 25m-2,*43(5205) \9&t 4WKAUG 3 1968 m I mi 1990 mqiuru DECl k 1 im 51 fe ij^d J UC SOUTHERN REGIONAL LIBRARY FACILITY ■ Ill III I II 11 I AA 000 607 358 9 3 1 58 b6'8'l6 6679 m^ 1 \M§^K.. m.»