Chapter XIV: Wedgwood 247 (5)

“I, John Sadler, of Liverpoole, in the county of Lancaster, printer, and Guy Green, of Liverpoole aforesaid, printer, severally maketh oath, that on Tuesday, the 27th July, inst., they, these deponents, without the aid or assistance of any other person or persons, did, within the space of six hours, to wit, betwixt the hours of nine in the morning and three in the afternoon of the same day, print upwards of 1,200 earthenware tiles of different patterns, at Liverpoole aforesaid, and which, as these deponents have heard and believe, were more in number, and better, and neater than 100 skilful pot painters could have painted in the like space of time in the common and usual way of painting with a pencil; and these deponents say that they have been upwards of seven years in finding out the method of printing tiles, and in making tryals and experiments for that purpose, which they have now, through great pains and expense, brought to perfection.”

Two printers doing the work of a hundred tile painters! The stupendous nature of the invention is seen in the light of this statement. Caxton never made a greater discovery when he set his type moving, and the illuminated manuscripts of the monks became the printed page in the hands of the common people. Josiah Wedgwood, with characteristic foresight, saw the value of the work of Sadler and Green, and his waggons made weekly journeys from Staffordshire up to Liverpool laden with his Queen’s ware to be decorated in the new style.

[Established 1710].

[Pennington 1760].

[Transfer Printing]

[1756]

EARLY LIVERPOOL MARKS.]

To come back to the controversy for a moment, it is claimed that Worcester was first to produce printed china. There is at the Bethnal Green Museum a printed mug of Worcester, dated 1757. It will be remembered that the date of Sadler and Green’s affidavit was 1756. But a claim is made for a third factory—Battersea. There is a letter from Horace Walpole to Bentley, dated 1755, in which he says: “I shall send you, too, a trifling snuff-box, only as a sample of the new manufacture of Battersea, which is done from copper-plates.” There are also dated pieces of this Battersea enamel with the design printed upon them, dated as early as 1753 and 1754. In all probability Worcester derived the secret from Battersea, as Robert Hancock, of Worcester fame, who signed some of the older pieces, was formerly an engraver at Battersea.

(1756-1822).]

In spite of this fact there is every reason for believing that at Liverpool, Sadler and Green independently discovered the art of printing on china, as their affidavit declares them to have been engaged upon it for seven years, which takes them back to 1749.

(1822-1841).]

Of the earlier potters of Liverpool, we have little space to deal in this “Chat.” Chaffers, a contemporary of Josiah Wedgwood, and a formidable rival of the Staffordshire potter; Thomas and Samuel Shaw; John Pennington, celebrated for his punch-bowls and for a very fine blue ware, are all well known to collectors of Liverpool ware. We give the marks of these factories, and of other Liverpool makers: Philip Christian (1760-1775), W. Reid & Co. (1756-1760), Herculaneum Pottery (1790-1841). Staffordshire had its Etruria and Lancashire its Herculaneum. In the earlier days of the potter classic names were much in vogue. A favourite pattern in Herculaneum china was a series of the towns of England printed on the pieces, with the name in a medallion at the bottom of the piece. The bird is the liver, being the crest of the city of Liverpool, and was used at Herculaneum by Messrs. Case, Mort & Co. in 1833. The anchor mark is between this date and 1841, when the factory ceased.

When it is remembered that Wedgwood had his ware printed by Sadler and Green and that Bow sent to Liverpool to have the Liverpool designs transferred to the Bow china, it is easy to understand how complicated it becomes to determine with exactitude how little or how much was actually printed at Liverpool, because there came a time when the secret leaked out and when other factories besides Liverpool and Worcester began to print their own wares.

We reproduce a Liverpool mug, printed in brownish red colour, representing a lover and his lass. It is typically English in treatment and design, and it is this quality which makes Liverpool printed ware so interesting. There is nothing like it in any of the Continental wares. The quaint and delicate English pastoral scene breathes of the eighteenth century. The refrain might run:—

“Phyllida, my Phyllida!
She takes her buckled shoon,
When we go out a-courting
Beneath the harvest moon.

. . . .

The ladies of St. James’s!
You scarce can understand
The half of all their speeches,
Their phrases are so grand:

But Phyllida, my Phyllida!
Her shy and simple words
Are clear as after rain-drops
The music of the birds.”

_In possession of Mr. S. G. Fenton, Cranbourne Street._

OLD LIVERPOOL MUG (4 IN. HIGH).

(Printed in brown.)]

Or take the old Liverpool jug with the landscape printed in black on one side, and the humorous heads, entitled “Courtship and Matrimony,” on the other; which heads, by the way, will our readers kindly turn upside down to gather what the acid doggerel written underneath alludes to. It is a pity the jug is not perfect, but the top has a metal band which remedies the broken spout. The lines underneath the heads run:—

“When two fond fools together meet,
Each look gives joy, each kiss is sweet,
But wed, how crabb’d and cross they grow
Turn upside down and you will know.”

(Transfer-printed in black.)

Landscape and Heads entitled “Courtship and Matrimony.”

_From the Collection of Capt. H. F. Maclean._]

We reproduce as a headpiece two exquisitely black printed Liverpool tiles. It is true they are badly damaged, but their quaint designs were worth the preserving. The one with the gallant sportsman firing at a deer at very close range is queerly out of perspective. The other tile is a typically English rural scene, and pity it is that more of our rustic scenery has not found its way to our national china.

(Transfer-printed and partly coloured after glazing.)

_From the Collection of Capt. H. F. Maclean._]

Another of our illustrations is that of a Liverpool mug with subject entitled “The Tithe Pig,” in which the vicar appears to have come off worst in a wordy encounter with two of his parishioners. There is a grim humour about many of the eighteenth-century decorated mugs and jugs which are a record in ceramics of party strifes and of long-forgotten social enmities.

It will be seen that the Liverpool printed ware has in it an element of decoration which some of the other wares do not possess. Many of our readers doubtless possess specimens of this black or brown printed ware, mugs, or tiles, or teapots with old-world scenes upon them like the landscapes of our illustration. Shepherds and herds, fifers and fiddlers and dancers, village-green sports, lads and lasses “dancing the hays”—these are the homely scenes transferred from the old copper-plates.

XIV

WEDGWOOD

I. Strawberry. II. Lag and Feather. III. Feather border. IV. Bell-flower and leaf pattern.

_By courteous permission of Messrs. Josiah Wedgwood & Sons._]

_By courtesy of Messrs. Josiah Wedgwood & Sons._]

XIV

WEDGWOOD

The pottery made in England did not exhibit any marked characteristic, nor was it of much artistic value until Josiah Wedgwood, by his genius, raised Staffordshire ware to such a degree of perfection that it was universally used on the Continent of Europe.

Josiah Wedgwood, the youngest of a family of thirteen, was born in 1730, and came of a race of potters. There were Wedgwoods, potters, at Burslem, in the seventeenth century. We give an illustration of a puzzle jug having the inscription, “John Wedg Wood, 1691” (see p. 212).

Young Josiah left school at the age of nine and was apprenticed to his brother. At eleven, he had a most virulent attack of small-pox, which left him a weakling. Later on in life, he had to have one of his legs amputated owing to a weakness which he always had after his first terrible illness. Physically handicapped from the start, Josiah Wedgwood—wooden-legged though he was for over a quarter of a century—was the prince of English potters. His genius was coupled with great business capability. His inventions were eminently successful. Starting with £20, which his father left him, he died worth over half a million.

Thoroughness seems to have been his policy, and prosperity always attended him. He interested himself in getting an Act of Parliament for better roads in the vicinity of the Staffordshire potteries. He cut the first sod of the Grand Trunk Canal.

His aim was a glorious one. “Let us make all the good, fine, and new things we can,” he said to his partner Bentley once, “and so far from being afraid of other people getting our patterns, we should glory in it, and throw out all the hints we can, and, if possible, have all the artists in Europe working after our models.”

He allowed no imperfect thing to leave his factory. It is a quaint scene one conjures up of the potter who, when going through his works, used to lift the stick he leant on and smash to pieces some offending dish or vase, saying, “This won’t do for Josiah Wedgwood.”

The beginnings of Wedgwood ware were simple enough. In 1752, Josiah left Burslem to go to Stoke, where he was engaged in manufacturing knife-handles and like objects in imitation of agate and tortoiseshell. Subsequently he entered into partnership with John Harrison, of Newcastle, and their wares were made at Stoke. In 1754, Wedgwood and Harrison entered into partnership with Thomas Whieldon at Little Fenton, the most eminent potter of his day. Shortly after Harrison disappears from the partnership. This connection between Whieldon and Wedgwood was a most important one. Their principal manufactures were tortoiseshell plates and dishes, cauliflower jugs, teapots with crabstock handles, and agate knife-handles. While with Whieldon, Wedgwood produced a new green earthenware, highly glazed and decorated with flowers and fruit, which was mainly used for dessert services.

WHIELDON TORTOISESHELL WARE.]

The tortoiseshell ware now known by Whieldon’s name is very beautifully made. Usually the plates and dishes are hexagonal or octagonal in shape, with very finely moulded edges, and having a mottled and variegated arrangement in colour, which more resembles marble than tortoiseshell.

Wedgwood made snuff-boxes, and various trinkets intended to be mounted in metal. These productions of his were coloured to represent precious stones. When the jewellers of London and Bath were shown these wares, they considered them a valuable discovery, the secret of which they could not discover. But learning the low price at which Wedgwood was intending to sell them they grew less favourable, probably from thinking the imitation would ruin the sale of genuine jewels.

We learn, too, that Wedgwood at this time was so incapacitated from attending to his business, owing to the remains of his old complaint, that he was obliged to communicate the secret of the method and proportions of his mixtures to a workman.

The ware manufactured by Whieldon, both during his partnership with Wedgwood and afterwards, are of good quality, and are highly prized by collectors. A tortoiseshell plate costs a sovereign to-day.

Of course none of these early wares of Wedgwood are marked. We shall show how he laid the foundation of his manufactory, which he called “Etruria,” after the Italian home of the famous Etruscans, whose work he admired and imitated.

What Wedgwood did for Staffordshire is shown best in the following sentence by M. Faujas de Saint Font in his “Travels,” who says, speaking of the Wedgwood ware: “Its excellent workmanship, its solidity the advantage which it possesses of sustaining the action of fire, its fine glaze, impenetrable to acids, the beauty and convenience of its form, and the cheapness of its price, have given rise to a commerce so active and so universal that in travelling from Paris to Petersburg, from Amsterdam to the furthest part of Sweden, and from Dunkirk to the extremity of the South of France, one is served at every inn with English ware. Spain, Portugal, and Italy are supplied, and vessels are loaded with it for the East and West Indies and the continent of America.”

Leaving the biographical side of the subject, we come to the actual productions of Josiah Wedgwood. We left him in partnership with Whieldon. That partnership ended, he commenced manufacturing on his own behalf. He speedily found that one pottery was not enough to satisfy his tireless energies. He became the owner of two. In 1762, he presented Queen Charlotte with a breakfast service of cream-coloured earthenware. In return he received the title of “Potter to her Majesty,” and his Queen’s Ware became a great success. Every fortnight a waggon left Burslem for Liverpool with a freight of this ware, to be decorated by Messrs. Sadler and Green by their transfer process at Liverpool.

About this time he took his cousin, Thomas Wedgwood, into partnership, and later Thomas Bentley, of Liverpool, a man of great taste, who exercised no inconsiderable influence upon the style of design of the new pottery at Etruria. A man of wide reading and culture, it was he who supplemented Wedgwood’s practical efforts by his theories. It was always Wedgwood first, but Bentley was an ideal second. He took no part in what Wedgwood termed the “useful” side of the manufactory, such as, for example, the manufacture of Queen’s Ware and other articles for everyday use. Bentley’s partnership was only concerned with the “ornamental” side of the pottery, such as the manufacture of vases and works of art.

In 1769 Etruria was opened, and Josiah Wedgwood might have been seen at the potter’s bench and Thomas Bentley at the wheel, and their united labours produced the first vase, having an inscription which runs:—

JUNE XIII., MDCCLXIX.
ONE OF THE FIRST DAY’S PRODUCTIONS
AT
ETRURIA IN STAFFORDSHIRE,
BY
WEDGWOOD AND BENTLEY.
ARTES ETRURIÆ RENASCUNTER.

The subject of decoration is Hercules in the Garden of the Hesperides, and was a forerunner of those classical pieces which have made Wedgwood as honoured a name in Europe as that of Palissy the Frenchman, of Lucca del Robbia the Italian, or of Böttcher the German.

The range of the Wedgwood ware may be gathered from the fact that in one of the catalogues the productions are divided into twenty distinct classes. It is not our intention to enumerate these, but they comprised series of medals and medallions of the Cæsars, the Roman emperors, the heads of the Popes (consisting of no less than two hundred and fifty-three medallions), a hundred heads of the kings of England and France, together with “heads of illustrious moderns.” In addition to these there were admirable busts, some being twenty-five inches in height, of Lord Chatham, Cornelius De Witt, John De Witt, Plato, and many more. These were in black basaltes, durable as marble. Lamps and candelabra of antique forms were produced from “two shillings apiece to five guineas.”

In passing, we may refer to the above fact to show why Wedgwood or any other ware varies in value so much at the present day. Obviously a two-shilling lamp will not be as valuable as a five-guinea one. Readers learn that certain china has fetched a large price in the auction-room. Sometimes they erroneously infer that other china they possess, which bears the mark of the same factory, is equally valuable. The above will point the moral of the story. It is a fact that cannot be too often insisted upon that the great factories turned out productions by the ton, many of them intended for ordinary everyday use, and though bearing their mark, yet not valuable from the collector’s point of view.

There are, of course, other reasons why china is or is not valuable, but this is a very solid reason too often overlooked. To be able to differentiate the good from the bad, “that is the question.” To know that a specimen is good is one thing, to give the reason why is another. When the reader begins to do this he or she is already a connoisseur.

In order to give a fairly proportionate idea of what Wedgwood ware is, we quote a list and description of six different kinds of ware in his own words:—

“1. A _terra-cotta_; resembling porphyry, granite Egyptian, pebble, and other beautiful stones of the silicious or crystalline order.

_In Museum at Etruria._

_By courtesy of Messrs. Josiah Wedgwood & Sons._]

“2. _Basaltes_ or black ware; a black porcelain biscuit of nearly the same properties with the natural stone; striking fire with steel, receiving a high polish, serving as a touchstone for metals, resisting all the acids, and bearing without injury a strong fire; stronger, indeed, than the basaltes itself.

“3. _White porcelain biscuit_, of a smooth, wax-like surface, of the same properties with the preceding, except in what depends upon colour.

“4. _Jasper_; a white porcelain biscuit of exquisite beauty and delicacy, possessing the general properties of the basaltes, together with the singular one of receiving through its whole substance, from the admixture of metallic calces with the other materials, the same colours which those calces communicate to glass or enamels in fusion—a property which no other porcelain or earthenware body of ancient or modern composition has been found to possess. This renders it peculiarly fit for making cameos, portraits, and all subjects in bas-relief, as the ground may be of any particular colour, while the raised figures are of a pure white.

“5. _Bamboo_, or cane-coloured biscuit porcelain, of the same nature as No. 3.

“6. A _porcelain biscuit_, remarkable for great hardness, little inferior to that of agate. This property, together with its resistance to the strongest acids and corrosives, and its impenetrability by every known liquid, adapts it for mortars and many different kinds of chemical vessels.

“These six distinct species, with the Queen’s Ware already mentioned, expanded by the industry and ingenuity of the different manufacturers into an infinity of forms for ornament and use, variously painted and embellished, constitute nearly the whole of the present fine English earthenwares and porcelain which are now become the source of a very extensive trade, and which, considered as an object of national art, industry, and commerce, may be ranked amongst the most important manufactures of the kingdom.”

Of these various wares we give illustrations. The three vases we reproduce are fine examples in imitation of porphyry and other precious stones (see p. 256). The material is so hard that it can be worked upon by the lapidary, and takes as fine a polish as the real stone it resembles.

_By courtesy of Messrs. Josiah Wedgwood & Sons._]

Of the celebrated basaltes or black ware, sometimes called Egyptian ware, the vase we reproduce as the first made at Etruria was of this class, and we give two other examples.

We give two very beautiful specimens of the Jasper ware. This wonderful ware was made in seven colours: blue, lilac, pink, sage-green, olive-green, black, and yellow. Specimens of this last colour are very rare.

_In Museum at Etruria._]

“Future ages may view the productions of the age of George III. with the same veneration that we now behold those of Alexander and Augustus,” writes Wedgwood of his cameo portraits, with fine enthusiasm.

_Reproduced by kind permission of Messrs. Wedgwood & Sons._

WEDGWOOD PLAQUE (designed by Flaxman).

L’ENTENTE CORDIALE.

Mercury uniting the hands of England and France.]

Having dealt with the biographic side of Wedgwood ware, and of the genius of the great Josiah Wedgwood, and having enumerated the various classes of ware originated by him, we come now to the consideration of his classic wares, of which the wonderful replica of the Portland Vase stands as the most notable example.

(Copied by Josiah Wedgwood.)

_In British Museum._]

In passing, we mention the celebrated service of Wedgwood made for the Empress Catherine II. of Russia, which took eight years to complete. It consisted of 952 pieces, of which the cost was about £3,000. This splendid service had upwards of 1,200 views of the seats of noblemen and gentlemen in various parts of England. A large service for Queen Charlotte of views in black enamel of palaces and seats of the nobility took three years to execute.

To his celebrated “Jasper” ware, Wedgwood devoted immense and never-ending skill to bring it to its final perfection.

The use to which he put this jasper is well illustrated in his series of beautiful portrait medallions. We reproduce a design of a plaque by Flaxman, representing the hands of France and England being joined together by the god Mercury.

Wedgwood was enabled, by the patronage of noblemen who possessed fine classic examples and gladly lent them to the great potter, to copy some of the finest specimens of the old art of the Greeks. He was thus enabled to produce the celebrated “Dancing Nymphs” and the “Head of Medusa” from Sir William Hamilton’s collection; and to other great collections he was similarly indebted.

In 1787, the collection of the Duchess of Portland came under the hammer. The sale included the celebrated Barberini Vase, which was dug up by order of the Pope Barberini, named Urban VIII., about the first quarter of the seventeenth century. This urn contained the ashes of the Roman Emperor Alexander Severus and his mother, and had been deposited in the earth about the year 235 A.D.

The body of this vase, now known as the Portland Vase, which was composed of glass, is a rich dark blue, approaching black. The snow-white figures which appear on it are in bas-relief. It is a magnificent example of ancient art.

At the sale above alluded to, the Duke of Portland and Wedgwood were contesting hotly for possession of the vase. The price had reached a thousand guineas. At this moment the Duke, crossing to Wedgwood, asked him why he wished to possess the vase, to which the potter replied that he was desirous of copying it. The Duke immediately offered the loan of the piece, and the vase was thus knocked down to the Duke of Portland, and Wedgwood borrowed it from the owner for a twelvemonth.

The subsequent history of the vase is interesting. The Duke of Portland, as one of the trustees of the British Museum, allowed it to be exhibited there. In 1845 a fanatic dashed this priceless gem to pieces with a stone. Owing to the defective state of the law he escaped with a very slight punishment. But so great a sensation did the affair cause that an Act was at once passed by Parliament making similar offences punishable by terms of imprisonment. The pieces of the vase were skilfully joined, but the fractures are still visible, as will be seen from our illustration. It is now in the “Gold medals room” of the British Museum, and by its side is one of the fifty copies which Wedgwood made for subscribers at fifty guineas apiece. The vase itself once changed hands for eighteen hundred guineas, and one of Wedgwood’s copies fetched two hundred and fifteen guineas in 1892.

The body used for this vase was black jasper, a body used on but three other occasions. The figures on it were worked up and cut to the utmost degree of sharpness and finish, by the seal and gem engraver—a striking piece of reproduction. The original moulds are still in existence, and Messrs. Wedgwood still produce copies both in black and in a deep blue ground. But the price is in shillings and not in guineas nowadays.

Among the various catalogues issued by Wedgwood, some were issued in Dutch and in French. There is one, dated 1775, which contains a perfect little essay to the possible buyer of his ware. From the point of view of the potter and artist, he gives reasons for the genuine work of art costing more money than an unworthy and feeble imitation.

Wedgwood writes so simply and naturally that it is worth the perusal of all who love china for china’s sake, to ponder over what the master potter says:—

“The proprietors of this manufactory hope it will appear to all those who may have been pleased to attend to its progress, that ever since its establishment it has been continually _improving_ both in the variety and in the perfection of its productions.

“A competition for _cheapness_, and not for _excellence of workmanship_, is the most frequent and certain cause of the rapid decay and entire destruction of arts and manufactures.

“The desire of selling much in a little time without respect to the _taste_ or _quality_ of the goods, leads manufacturers and merchants to ruin the reputation of the articles which they manufacture and deal in; and whilst those who buy, for the sake of a fallacious saving, prefer mediocrity to excellence, it will be impossible for manufacturers either to improve or keep up the quality of their works.

“This observation is equally applicable to manufacturers and to the productions of the Fine Arts; but the degradation is more fatal to the latter than the former, for though an ordinary piece of goods, for common use, is always dearer than the best of the kind, yet an ordinary and tasteless piece of ornament is not only _dear_ at any price, but absolutely _useless_ and _ridiculous_.

“All works of art must bear a price in proportion to the skill, the taste, the time, the expense, and the risk attending the invention and the execution of them. Those pieces that for these reasons bear the highest price and, which those who are not accustomed to consider the real difficulty and expense of making _fine things_ are apt to call _dear_, are, when justly estimated, the _cheapest_ articles that can be purchased; and such as are generally attended with much less profit to the artist than those that everybody calls _cheap_.

“There is another mistake that gentlemen who are not acquainted with the particular difficulties of an art are apt to fall into. They frequently observe that a handsome thing may be made as cheap as an ugly one. A moment’s reflection would rectify this opinion.

“The most successful artists know that they can turn out ten ugly and defective things for one that is beautiful and perfect in its kind. Even suppose the artist has the true idea of the kind of beauty at which he aims, how many lame and unsuccessful efforts does he make in his design, and every part of it, before he can please himself? And suppose one piece is well-composed and tolerably finished, as in vases and encaustic paintings, for instance, where every succeeding vase, and every picture, is made not in a mould or by a stamp, but separately by the hand, with the same attention and diligence as the first, how difficult must it be to preserve the beauty of the first model.

“It is so difficult that without the constant attention of the master’s eye, such variations are frequently made in the form and taste of the work, even while the model is before the workman, as totally to change and degrade the character of the piece.

“_Beautiful forms_ and _compositions_ are not to be made by chance; and they never were made nor can be made in any kind at a small expense; but the proprietors of this manufactory have the satisfaction of knowing, by a careful comparison, that the prices of many of their ornaments are _much lower_, and of all of them as _low_ as those of any other ornamental works in Europe, of equal quality and bisqué, notwithstanding the high price of labour in England, and they are determined rather to give up the making of any article than to degrade it. They do not manufacture for those who estimate works of ornament by their _magnitude_, and who would buy pictures at _so much a foot_. They have been happy in the encouragement and support of many illustrious persons who judge of the works of Art by better principles; and so long as they have the honour of being thus patronised, they will endeavour to support and improve the quality and taste of their manufactures.”

Such were Wedgwood’s ideals, and he raised the making of pottery in England into a fine art. The inscription on his monument at Stoke-upon-Trent shows the esteem with which his contemporaries held him.

Sacred to the Memory of

JOSIAH WEDGWOOD, F.R.S. & S.A.,

Of Etruria, in this County,
Born in August, 1730, died January 3rd, 1795,
Who converted a rude and inconsiderable manufacture
into an elegant art and an important
part of national Commerce.
By these services to his country he acquired an
ample fortune,
Which he blamelessly and reasonably enjoyed,
And generously dispensed for the reward of merit
and the relief of misfortune.
His mind was inventive and original, yet perfectly
sober and well regulated;
His character was decisive and commanding, without
rashness or arrogance;
His probity was inflexible, his kindness unwearied;
His manners simple and dignified, and the cheerfulness
of his temper was the natural reward of the
activity of his pure and useful life.
He was most loved by those who knew him best,
And he has left indelible impressions of affection
and veneration on the minds of his family, who
have erected this monument to his memory.

The marks used by the Wedgwoods have been few. It is usually the name Wedgwood, occurring in various sized type from time to time. In passing, we may say that the manufacture of china was never attempted by the great Josiah. _His work was earthenware and not porcelain._ But some of it had many of the qualities of china, the more delicate ware being nearly semi-transparent, as is china. About the year 1808, and only for a few years, was china made at Etruria, and then not to any extent; consequently specimens are very scarce. The mark on this china is the name WEDGWOOD in small capitals printed in red or blue.

On all other wares the name WEDGWOOD is impressed, in some specimens in large capitals, in others in small capitals, WEDGWOOD.

Sometimes, though rarely, the name occurs in ordinary type, Wedgwood. On other pieces the name occurs thus:—

WEDGWOOD
ETRURIA.

During the period when Bentley was associated with Etruria the following were impressed:—

WEDGWOOD
& BENTLEY.

or

Wedgwood
& Bentley.

The general mark used during this period was a circular one, the letters on which were raised and not sunk as in the others.

The marks WEDGWOOD & CO., or simply the word WEDGEWOOD, are both spurious, and were used by Messrs. William Smith and others of Stockton, against whom the firm at Etruria obtained an injunction restraining the imitators from using the name “Wedgwood,” or “Wedgewood” with an additional _e_. This was in 1848.

Of the varying vicissitudes of the Wedgwoods since the days of the great Josiah, we have had no space to allude. But it is sufficient proof that he laid a very sure foundation to a fine business, inasmuch as the firm is in flourishing condition at the present day, and from 1870 have made splendid porcelain.

His Queen’s ware, which he made for the Queen Consort of George III., was the prototype of the ordinary dinner ware of to-day. We reproduce a quaint old Wedgwood teapot with queer design upon it, representing the mill to grind old folks young.

It is a far cry from Queen Charlotte to President Roosevelt, but it is surely a singular record of a great firm that the Wedgwoods made the new service of china to be used on State occasions at the White House. The design has been copyrighted, thus ensuring its exclusive use. It is of simple gold pattern, bearing the great seal of the United States enamelled in colours upon it. The set consists of over a thousand pieces, and was ready early last year.

In the conclusion of the journey round the china shelf in this series of “Chats,” the writer trusts that they have stimulated the interest of the readers in their old china and have helped to solve certain dark riddles, and to give pedigree to “family jars.”

The Mill to grind Old Folks young.]

SALE PRICES.

WHIELDON. £ s. d.

Box and cover, formed as a melon.
Sotheby, February 24, 1902 3 0 0

Teapot and cover, hexagonal in shape,
with Chinese figures in panels, the
whole decorated in translucent
colours. Sotheby, February 24, 1902 5 15 0

Group, “Summer Arbour,” with two
seated ladies, top surmounted by a
bird, unusual colour. Edwards, Son &
Bigwood, Birmingham, May 13, 1902 28 0 0

Group, small, two figures, “The Lovers,”
rare colours. Edwards, Son & Bigwood,
Birmingham, May 13, 1902 11 10 0

Diamond-shaped teapot and cover,
painted with buildings, figures, and
scale ornament in brilliant green
and lake; and a pair of double
sauce-boats, painted with figures
and flowers in blue in the Chinese
taste. Christie, January 12, 1903 17 17 0

WEDGWOOD.

Bust, black basalt, nearly life size, David
Garrick. Christie, February 4, 1902 37 16 0

Cabaret, blue jasper, with reliefs of
Nymphs and Cupids, consisting of
teapot and cover, two basins, cup
and saucer and oval plateau; and a
black basalt copy of a lamp.
Christie, February 4, 1902 6 6 0

Chatelaines, three old English cut steel
and seven ditto clasps, set with blue
and white Wedgwood plaques, in
oval frame. Christie, February 4,
1902 81 18 0

Pendants and clasps, nine, cut steel,
set with Wedgwood plaques, with
Nymphs and Cupids; and one other
piece. Christie, February 4, 1902 36 15 0

Plaque, oblong, blue jasper, with figures
sacrificing at an altar, festoons of
flowers above, 4-1/2 in. by 10-1/2 in., in
gilt frame. Christie, February 4,
1902 8 18 6

Portrait medallions, eight, of Addison,
Hon. W. Hastings, &c., in octagonal
frame, and eight smaller plaques
with classical subjects. Christie,
February 4, 1902 71 8 0

Teapot and cover, light blue jasper
ground, with white relief subjects.
Sotheby, February 24, 1902 4 4 0

Vase, of classical design, the front
ornamented with a group of Cupids
dancing, in relief; Wedgwood & Bentley.
Sotheby, February 24, 1902 15 10 0

Vases and covers, pair, two-handled, light
blue and white, with raised figures
and other emblems, representing
Music and Dancing, having mask-head
handles, 18 in. high. Alexander,
Daniel & Co., Bristol, May 7, 1902 13 0 0

Vase, the Portland, or Barberini, a fine
example, and one of the earliest, in a
dark slate-blue body, the reliefs
harmonising in tone with the field,
on revolving stand, with metal tripod,
mirror, &c. Christie, June 11, 1902 399 0 0

Vase and pedestal, the vase of granulated
ground, with reliefs of Flaxman’s
Muses, leafage, &c., scroll handles,
a figure of Pegasus on cover; the
pedestal of square form, fluted, with
reliefs of the Four Seasons; vase
15 in., pedestal 8-3/4 in. high. Christie,
June 11, 1902 33 12 0

Vase, on triangular base, supported by
three Atlas figures, reliefs of arabesque
scroll, festoons, &c., figure of
Cupid on cover, 13 in. high. Christie,
June 11, 1902 63 0 0

Medallions, three, Venus and Adonis,
and Cupid riding upon a swan;
black ground, white relief; Wedgwood
& Bentley. Christie, June 11,
1902 54 12 0

Medallion, large oval tri-coloured: The
Triumph of Achilles at Troy, green
ground, border on black. Christie,
June 11, 1902 24 3 0

Portraits or Heads of Illustrious Moderns.
Portraits, framed singly:—Hippocrates
and Terence, Wedgwood
& Bentley, metal frames;
Frederick the Great, Wedgwood &
Bentley; and Prince Charles Stuart,
metal frames; Marie Antoinette,
Prince Paul of Russia, and Mrs. Barbauld,
one Wedgwood & Bentley,
metal frames; Inigo Jones, black
basalt, high relief, and Alexander,
an early terra-cotta portrait, in
colour; Joseph II., and Dr. Benjamin
Franklin, in white biscuit; Sir
Isaac Newton, Admiral Keppel, and
a male portrait, looking left, in white
jasper, &c., one Wedgwood & Bentley;
General Eliott (Lord Heathfield),
circular, white, and J. P. Elers,
in a copper-lustred frame; Joseph
Priestley, Unitarian Minister, a portrait,
in glazed pottery, and Dr. Black, in
blue and white. Christie, June 11,
1902[3] 1,500 0 0

Figures, pair, large black. Foster,
December 23, 1902 19 8 6

Teapot and cover, sage-green, and basin,
with groups of classical figures,
Nymphs, Cupids, and foliage in
relief. Christie, December, 1902 16 5 6

Vase and cover, oviform, blue jasper,
decorated with rams’ heads in relief,
and cameo figured panels, on
plinth, 13-1/2 in. Foster, November
27, 1902 7 10 0

Vase and cover, campana-shaped, blue
jasper, with a frieze of Cupids
sacrificing, masks, laurel-branches,
and a wreath of vines under the lip;
on octagonal-shaped pedestal, with
figures of griffons at the corners,
with classical frieze, 20 in. high.
Christie, July 10, 1903 210 0 0

Wedgwood lustre ware wall ornament,
in shape of a nautilus shell and a
lustre plate, both marked. Sotheby,
May 17, 1920 10 10 0

Black and white jasper copy of the
Portland vase, numbered 60, 10-1/2 in.
high, on bronze stand, with hoof feet,
and marble pedestal with mirror top.
Sotheby, May 17, 1920 21 0 0

Black basalt bust of Newton, on circular
pedestal, 12 in. high; another,
of the same, 6-1/4 in. high; and a bust
of Seneca, 10-1/4 in. high. Sotheby,
May 17, 1920 5 5 0

Blue and white jasper copy of the Portland
vase, 10-3/4 in. high. Sotheby,
May 17, 1920 3 3 0

Dessert service, modelled as leaves, outlined
with green, and with gilt borders,
comprising an oval centre dish
and stand, two sauce tureens, covers
and stands, a sauce ladle, twelve
dishes in four shapes, and twelve
plates, impressed mark, 33 pieces.
Puttick & Simpson, July 9, 1920 8 18 6

Blue jasper oval jardinière, decorated
with acanthus foliage and honeysuckle
ornament, 10 in. wide; and
a figure of Britannia, 9-1/2 in. high,
on gilt-wood plinth. Christie, July
12, 1920 8 8 0

Three blue jasper candlesticks, with
figures of Nymphs holding cornucopia-shaped
nozzles, 10 in. and 10-1/2 in. high.
Christie, July 12, 1920 8 8 0

Blue jasper oval plaque, by Wedgwood
and Bentley, 11-1/4 in. by 8 in.; and
three smaller ditto, with Bacchanalian
and amatory trophies in relief.
Christie, July 12, 1920 50 8 0

Two blue jasper plaques, with Muses
in relief, 5 in. by 7 in., in metal-gilt
frames; a plaque, with Hebe, by
Wedgwood and Bentley; and two
others. Christie, July 12, 1920 12 12 0

Oval blue jasper plaque, with the Infant
Academy, in gilt frame; an oblong
plaque, with the Marriage of Cupid
and Psyche, 5-3/4 in. by 8-1/2 in.; and a
circular plaque, with Cupid sharpening
his arrow. Christie, July 12, 1920 19 19 0

_Designed by Lady Diana Beauclerk._

_By kind permission of Mr. F. Rathbone._

WEDGWOOD PLAQUE. THE YOUNG PAN.]

FOOTNOTES:

[3] This collection of portraits, by Josiah Wedgwood, is undoubtedly the most important one ever gathered together. Many are unique—all are of interest, as faithful _facsimiles_ in a permanent material that cannot be affected by time or climate.

INDEX

Abbey and Graham, “Herculaneum” (Liverpool), 200

Absolon, potter, Yarmouth, 200

Allen, Robert (Lowestoft), 117

America, clay from, used at—
Bow, 51
Plymouth, 92

“Amherst, Japan,” as a mark, 182

Anchor as a mark—
Bow, 54
Caughley, 137
Chelsea, 34, 35
Liverpool, 241
Venice, 30
Worcester, 73

Angoulême sprig pattern imitated by Derby, 22

Arms, coats of, on china—
Lowestoft, 115
Oriental china, 115, 120

Aubrey, Lady, designs on Derby painted by, 12

“B” as a mark, 53

“B. A. E.,” initials on Liverpool bowl, 246

“Ballades in Blue China,” quoted, 4

Bamboo ware (Wedgwood), 257

Banks, Sir Joseph—
friend of Cookworthy, 92
letter concerning Billingsley and Walker, 169

Barberini Vase (Wedgwood), 260, 261, 263

Basaltes (Wedgwood), 256

Bath, Camden Place, view on Worcester vase, 80

Batons, crossed, as a mark, 7

Battersea, 29
printing, Horace Walpole on, 240

Baxter (painter), Swansea, 172

“B B” as a mark, 182

Beauclerk, Lady Diana, design for Wedgwood plaque, 277

Beddoes (painter), Swansea, 174

Bee and goats jug—
Bow, 62, 63
Chelsea, 35

Bellarmine—mugs thus named (Low Countries), 197

“Benbow, Francis,” name on Caughley mug, 137

Bentley, Thomas, partner with Wedgwood, 253

Bethnal Green Museum—
Minton majolica fountain at, 186
pieces reproduced from collection at—
Bow, 49, 50
Chelsea, 29
Crown Derby, 3
Plymouth, 91
Spode, 152
Staffordshire delft mug, 206
Wedgwood Puzzle-jug, 212
Worcester, 80 (removed to Victoria and Albert Museum)

Billingsley, flower painter, 140, 165
at Nantgarw, 169
at Swansea, 170

Bird (as a mark), Liverpool, 241

Biscuit, definition of, xxiii

Biscuit ware (Derby), 21

Biscuit, white porcelain (Wedgwood), 257

Bloor, Robert (Derby), 15

Bloor Derby—
illustrations of—
tea-pot, v
vase, 17
marks, 16
Sale Prices, 24

Blue dragon, introduced at Caughley, 138

Blue-printed table service, the first made in England, 138

Bone-ash porcelain, definition of, xxv

Bone, Henry (Plymouth), 94

Böttcher, J. F. (Dresden), 196

Bow, =49-65=
characteristics of Bow china, 61
discovery of fragments of china, 57
marks, 53, 54, 60
paste, 59
printed wares at, 60
Sale Prices, 63

Bow china illustrations of—
figure, 50
ink-stand, 49

Boyle, John (Minton), 182

Brameld (Rockingham), 118

Brislington, copper lustre at, 221

Bristol, =97-109=
blue delft, 97
characteristics of, 106
end of factory, 104
Sale Prices, 107

Bristol china, illustrations of—
cup and saucer, 102
“Mandarin” decorated, 97
vase, 103
delft bowl, 213
pottery, 201
St. Vincent’s Rock, view on Worcester vase, 80

British Museum—
Portland vase, 264
recent Lowestoft acquisitions at, 124
specimen reproduced from collection at (Chelsea), 32

Browne, Robert (Lowestoft), 115

Brunel, portrait of, on mug, 214

Buckingham, Duke of, connection with Chelsea, 30

“Buckle, Elizabeth,” name on Lowestoft china, 117

“Burges, William and Elizabeth,” names on delft mug, 206

Burke, Edmund—
cup and saucer from service ordered by, 102
encouragement of Richard Champion by, 105

Bust, copper lustre, 227

“C” as a mark (Caughley), 140

“Calder, M. and E., Norwich,” names on Lowestoft, 116

“Cambrian” as a mark, 171

“Cambrian-Argil” as a mark, 216

Cambrian Pottery (Swansea), 170, 171

Camelford, Lord, clay on estate of (Plymouth china), 91

“C and G” as a mark, 156

Carlyle quoted on Worcester china, 72

Carpenter, with tools, figure of (Chelsea), 29

Case, Mort & Co. (Liverpool), 242

Catherine II. of Russia, Wedgwood’s service for, 263

Caughley, =135-147=
marks, 140, 143
old blue mug, 137
Sale Prices, 147

Cave, Edward, of Worcester, 69

“C. B. D.” as a mark, 142

“C. D.” as a mark, 140

Chaffers, Richard, Liverpool, 240
mark of, 240

Chamberlain—
marks of, 78
scent-bottle, 80
Worcester, 78

Chamberlain, Lilley & Kerr, Worcester, 79

Champion, Richard—
Bristol, 97-106
his death in America, 105
Wedgwood’s opinion of, 104

Chantilly sprig pattern (Derby), 22

Charlotte, Queen, Wedgwood’s service for, 253, 263

Chelsea, =29-47=
best period of, 33
characteristics of china, 40
decline of, 35
illustrations of—
figure of carpenter, 29
“Foundling” Vase, 38
openwork vase, 27
Vase in British Museum, 31
marks, 34, 35, 39
marks imitated at Coalport, 143
Sale Prices, 42

Cherokee Indians, clay from, used at Bow, 51

“Chesterfield” Vase (Chelsea), 37

China, definition of, xxiii

Christening cup, 208

Christian, Liverpool, 241

Clay—
from Virginia (Plymouth), 92
from the Cherokee Indians, (Bow), 51
Lowestoft, used at Worcester, 114

Cleopatra, death of (Chelsea vase), 32

Coalport, =135-147=
Billingsley at, 165
Chelsea, Dresden, Sèvres marks imitated at, 143
illustrations—
plate (modern), after Sir Joshua Reynolds, 145
two-handled cup and saucer, 135
vase, 141
marks, 140, 142, 143
Nantgarw and Swansea incorporated with, 140
Sale Prices, 147
service made for Emperor of Russia, 142

Colebrookdale, 136-8

Cook, Captain, friend of Cookworthy, 92

Cookworthy, William (Plymouth), 91-96

“Cooper, John,” name on Lowestoft china, 127

Copeland—
discovery of Parian ware by, 21, =156-158=
excellence of ware of, 151, 158
illustration, plates, 157
marks, 156
Sale Prices, 161

Copeland & Garrett, marks of, 156

Copeland, W. T. & Sons, marks of, 156

Copper Lustre Ware—
best period of, 225
illustrations of, 221, 222, 223, 225, 226

Courtney (late Bloor), Derby china, 20

Cradle, old English earthenware, 207

Crescent as a mark—
Bow, 54
Caughley, 140, 143
Lowestoft, 130
Worcester, 70, 71, 78

Cross as a mark—
Bow, 53, 60
Bristol, 100
Caughley, 140
Lowestoft, 130

Crossed daggers, Derby mark, 8, 9, 11

Crown Derby—
illustrations of, 3, 11, 13, 17
marks, 7, 8, 16, 20
peculiarities in crown mark, 8
Sale Prices, 23

“C. S. N.” as a mark, 142, 143

Cumberland, Duke of, contributes annual sum to Chelsea, 33

“Curtis, James and Mary,” names on Lowestoft mug, 118

Curtis, Thomas (Lowestoft), 181

“C. W.” as a mark, 169

“D” as a mark, 7, 8, 39

Dagger as a mark, 54

“Daniell” as a mark, 142

Davies, William (of Worcester), 69

Delft, blue—
Bristol, 97
illustration of (Old Staffordshire), 206
Lowestoft, 115

Della Robbia ware copied by Minton, 184

Derby, =3-25=
biscuit ware, 21
cause of decline of, 16
characteristics of, 22
illustrations of—
Bloor Derby, v, 17
Crown Derby, 3, 11, 13, 17
marks—
Bloor Derby, 16
Crown Derby, 7
Sale Prices—
Bloor Derby, 24
Crown Derby, 23
Derby, Chelsea, 46

Derby-Chelsea, 8, 39
marks, 39
Sale Prices, 44

De Witt, Cornelius, portrait of (Wedgwood), 255

De Witt, John, portrait of (Wedgwood), 255

Dillwyn (Swansea)—
Etruscan ware, 171, 174
illustration of, 173
lustre ware made by, 228
marks of, 171

Dixon & Co. (lustre ware), Sunderland, 228

Dobson, Mr. Austin, quoted, 68

Donaldson, painter, Worcester, 78

Doulton, Messrs., Lambeth, 29, 205

Dragon blue, introduced at Caughley, 138

Dresden copied—
at Chelsea, 37
at Worcester, 84
marks imitated at Coalport, 143
origin of factory at, 196

Dudley House, Chelsea vases at, 39

Duesbury, William—
the first, 6, 8
the second, 12
the third, 15

Duesbury & Sheffield (Derby), 15

Dwight, John, 202
the inventor of porcelain in England, 29

Earl St. Vincent, friend of Cookworthy, 92

Earthenware—
definition of, xxiii
old English, 193-218

Egyptian ware (Wedgwood), 258

“England,” use of word on modern china, 144

English slip ware, 208

English ware universal on Continent, 253

Etruria, 253
first vase produced at, 254

Etruscan ware, Dillwyn (Swansea), 171, 174
illustration of, 173

Evans & Co., Swansea, 174

“F” as a mark, 53

Falstaff, Quin as, Bow figure, 55

“Fayence, Spode’s new,” 154

Felspar porcelain (Coalport), 140
Minton & Boyle, 182

Flaxman, design on Wedgwood (France and England), 260, 263

Flight & Barr, 78
Billingsley, painter, with, 165
marks, 78

Flight, Thomas (Worcester), 78
marks of, 78

Flora, Bow figure of, 64

Fordyce, Lady Margaret, designs on china painted by, 12

“Foundling” Vase (Chelsea), 37, 38

Frank, R., Brislington, 228

Frederick, Prince of Wales, portrait of, painted by Frye, 51

Frederick the Great (Worcester mug)—
Carlyle’s description of, 72
illustration of, 73

French sprig pattern (Derby), 22

Frog mug, Sunderland, 203

Frye, Thomas (of West Ham), 51
as a mezzotint engraver, 52
various signatures of, 60

Fuddling cup, 207

Fulham pottery, 202
flip-mug, Alexander Selkirk, 214

Garrick, as Richard III., Bow figure, 55

George II., patron of Chelsea, 33

German workmen brought to Chelsea by George II., 33

Glass, Joseph, potter, 207

Glassy porcelain, definition of, xxv

Glaze—
definition of, xxiii
leadless, 144

Globe as a mark, 184

Goats and bee jug (Bow), 62, 63
Chelsea, 35

Gold lustre ware, 232, 233
jug, 232

Grainger, Lee & Co., Worcester, 81
marks, 79

Green, Guy, Liverpool, 238

“H” as a mark, Lowestoft, 129

Hancock, Robert, engraver, 72, 76

Hard paste, definition of, xxiv

Hard porcelain—
first manufacture of, in England, 91
made at—
Bristol, 97, 98
New Hall, 105
Plymouth, 91

Harrison, John, 250

“Harvey, William,” name on Lowestoft, 123

Henri II. faïence, copied by Minton, 185

Herculaneum Pottery (Liverpool), 200, 241

Heylin, Edward (of Bow), 51

Hogarth, “Midnight Conversation” of, Liverpool bowl, 246

Hughes, Lowestoft, 129

Ironstone china—
Mason, xxiv, 216
illustrated, 217

Isleworth, 205

“I. W.” as a mark, 199, 211

Jackfield, factory at, 138

Japan patterns used at Derby, 22

Japanese influence on Spode, 155
Derby, 22

Jasper ware (Wedgwood), 257
illustrations of, 249, 258, 259

Johnson, Dr., experiments of, at Chelsea factory, 40

“K & B, Worcester,” as a mark, 79

Kaolin, xxv, 195

Kean, Michael (Derby), 15

Kerr & Binns (Worcester), 79

King of Prussia mug, Carlyle’s description of, 72

Kishere, Mortlake, 205

“L,” two letters, mark on Lowestoft, 130

Lamb, Charles, on Old China, 4

Lambeth, Dutch potters at, in seventeenth century, 205

Lane, Delph, 216

Lang, Mr. Andrew, verse quoted, 4

Laurel wreath on Bristol china, 106, 107

Lead glaze, definition of, xxiii

Lead, large amount used in Bow glaze, 62

Leadless glaze, xxiii, 144

Leeds pottery, 201

Limoges enamel, copied at Worcester, 83

Lister, Dr. Martin, 30

Liverpool—
pottery once its staple manufacture, 200
Queen’s Ware (Wedgwood), decorated at, 253

Liverpool ware, =237-246=
illustrations of, 237, 243, 244, 245
marks, 240, 241
Sale Prices, 246
tiles, 245

Locker & Co. (late Bloor) (Derby), 20

Longbeards, mugs thus named (Low Countries), 197

Lonsdale, Lord, Derby service, sketches made by, 12

Lowestoft, =113-132=
birthday tablets, 123
Bow and Chelsea copied by, 127
characteristics of, 130
coats of arms on, 115
delft, old, attributed to, 115
errors concerning, 115, 119
illustrations of, 113, 117, 118, 122, 123, 125, 128, 129
marks, 127, 129, 130
moulds and fragments recently discovered, 122
old factory, site of, 121
Oriental influence on, 127
origin of, 114
Sale Prices, 131
spurious imitations made in France, 127
Worcester, its resemblance to, 127

Luson, Hewlin (Lowestoft), 121

Lustre ware—
copper, 221-227
gold, 232, 233
silver, 227-232
illustrations of—
copper, 221, 222, 223, 225, 226
gold, 232
silver, 227, 228, 229, 231

“M” as a mark, 182

“M & B” as a mark, 182

“M & Co.” as a mark, 184

Mandarin decorated porcelain—
Bristol, 97, 99
Lowestoft, 116, 127
Worcester, 83

Marriage plates, 114, 115

Mason, Charles James, 216

Mason, Miles, mark of, 216

Mason Patent Ironstone China, xxiv, 215, 216
illustrated, 217
marks, 216
Sale Prices, 218

Mayflower, in relief, Bow pattern, 58

Meissen, origin of factory at, 196

Mill to grind old folks young, 271

Minton, Thomas, 181-2

Minton Ware, =181-189=
faïence, 181
illustrations, 183, 185, 186, 189
majolica, 186
marks, 182, 184
reproduction of Henri II. ware, 185
Sale Prices, 187

Minton & Boyle, mark of, 182

Minton-Campbell, Colin, 182
Sale Prices of his china collection, 187

Minton, Hollins & Co., 184

Moore & Co., lustre ware, Sunderland, 228

Morris, painter, Swansea, 174

Mortlake, pottery at, 205

Mottoes on earthenware, 206, 208, 211-214

Moulds, xxiv
disinterment of, at Lowestoft, 122
illustration of, 113

Nankin pattern, Caughley, 138

Nantgarw, =165-171=
characteristics of, 175
founders of, solicit Government patronage, 169
glassy nature of, 169
illustrations of, 166, 167
marks, 169, 170, 171
Sale Prices, 176

Nelson, portraits of, on jugs, 214

New Canton, title of Bow Factory, 49

Newcastle mugs and jugs, 201

“New Fayence, Spode,” 154

Nollekens, Life of, quoted, 30

Nottingham, 202

Oiron faïence (copied by Minton), 185

Old folks, mill to grind young, 712

O’Neale, painter, Worcester, 78

Opaque, xxiv
porcelain (Spode), 153

Oriental models copied—
at Bow, 58
at Caughley, 137
at Chelsea, 35, 37, 39
at Coalport, 144
at Worcester, 67, 70, 85
by Minton, 181
by Spode, 154

Oriental—
marks on English china (Chelsea), 39
Worcester, 71
porcelain, having English coats of arms, 115, 120

Over-glaze, xxiv

“P” as a mark, 240

Palissy ware copied by Minton, 184

Parian ware (Copeland), 158
how discovered, 21

“Parrish” (of Norwich), name on delft plates, 115

Parting cups, 208

Paste—
definition of, xxiv
hard, 91, 97, 98, 105

Pastille-burner (Crown Derby), 11
Spode, 152

Pastorella, woman playing the (Bow), 50, 53

Pennington, mark of, 240, 241

Perdita (Mrs. Robinson), portrait of, on modern Coalport, 146

Petersburg, 197

Petuntse, xxv, 195

Philips, Richard (Lowestoft), 127, 129

Piggin, 208

Pinxton, Billingsley at, 165

Planché, Andrew, originator of Derby works, 6

Plato, portrait medallion of (Wedgwood), 255

Plymouth, =91-96=
characteristics of, 106
illustrations of, 91, 94, 95
marks, 94, 96
Sale Prices, 107

Plymouth, Lady, designs on Derby painted by, 12

Porcelain—
definition of, xxv, 195
_hard_—
at Bristol, 97, 98
at New Hall, 105
at Plymouth, 91
first manufacture of, in England, 91

Porphyry (Wedgwood), 256, 258

Portland vase, 260, 261, 263

Portrait medallions (Wedgwood), 255, 274, 275, 276

Posset-mug, 207

Posset-pot, 207

Pottery, definition of, xxv, 194

Powles, Richard (Lowestoft), 129

Prices, why old china commands high, 106

Printed table service, first blue, made in England, 138

Printing on china, xxv

Printing transfer—
at Battersea, 240
at Liverpool, 237, 239
at Worcester, 72

Purple lustre ware, 232

Puzzle jugs, 207
illustration of (Wedgwood), 212

Queen Charlotte, Wedgwood service for, 200, 253, 263

Queen’s Ware (Wedgwood), 253, 270
importance of, in history of ceramics, 200

Quin as Falstaff, Bow figure of, 55

“Quinton” (of Yarmouth), name on delft plates, 115

“R” as a mark, 184
initial on Lowestoft, 129

Redgrave (Lowestoft), 129

Reid & Co. (Liverpool), 241

“Resist” pattern (lustre ware), 231

“R. H.”, signature on Worcester mug, 72, 76

Richard III., Garrick as, Bow figure, 55

Ring, Joseph, Bristol, 201

Robinson, Mrs. (Perdita), portrait of, on modern Coalport, 146

Rockingham, unfinished ware from, sold to Robert Allen (Lowestoft), 118

Rose, French refugee, painter at Lowestoft, 118

Rose, John (Caughley), 138-9
establishes the Coalport factory, 139
Swansea factory purchased by, 174

Rose, I. & Co., marks of, 142

“R. P.,” initials on Lowestoft, 127

Russia—
Catherine of, Wedgwood service made for, 263
Emperor of, modern service made for (Coalport), 142

“S” as a mark, 140

Saddlers’ Hall, portrait of Frederick, Prince of Wales, at, 51

Sadler, John (Liverpool), 138
signature on tile, 246

Sadler & Green, 239
Wedgwood’s Queen’s Ware decorated by, 253