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diff --git a/old/63771-0.txt b/old/63771-0.txt deleted file mode 100644 index d69615f..0000000 --- a/old/63771-0.txt +++ /dev/null @@ -1,1688 +0,0 @@ -The Project Gutenberg eBook, The Clay Industries, by John Randall - - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - - - - -Title: The Clay Industries - including the Fictile & Ceramic Arts on the banks of the Severn - - -Author: John Randall - - - -Release Date: November 15, 2020 [eBook #63771] - -Language: English - -Character set encoding: UTF-8 - - -***START OF THE PROJECT GUTENBERG EBOOK THE CLAY INDUSTRIES*** - - -Transcribed from the 1877 Salopian and West-Midland Office edition by -David Price. - - - - - - THE - CLAY INDUSTRIES - INCLUDING THE - FICTILE & CERAMIC ARTS - ON THE - BANKS OF THE SEVERN: - - - WITH NOTICES OF THE - - Early Use of SHROPSHIRE CLAYS, the History of - POTTERY, PORCELAIN, &c., in the District. - - BY - - JOHN RANDALL, F.G.S., - - AUTHOR OF - - ‘The Severn Valley,’ ‘Old Sports and Sportsmen,’ ‘Life - of Captain Webb,’ ‘John Wilkinson,’ &c. - - * * * * * - - MADELEY, SALOP: - - Printed and Published at the Salopian and West-Midland - Office. - - 1877. - - * * * * * - - - - -DEDICATION. - - - TO - Alexander H. Brown, Esq., M.P. - -SIR, - -The following treatise on the “Clay Industries” of the Borough you -represent may scarcely appear at first sight of that importance to -warrant the usual form of a dedication, and I confess I cannot but wish, -for present purposes, that its merits were more commensurate with the -object. As a large number of your constituents however are engaged in -these various branches of trade—in one of which you too have more than a -general interest, and as I have been at some trouble to collect facts -bearing upon their general history, the work itself may not be without -some value. - -The motive which dictates the dedication will not, I think, be -misconstrued, inasmuch as the prominent part I took more than nine years -ago in introducing you to the constituency, as one likely to become a -representative of the “Commercial Element” of the Borough, and the highly -satisfactory way in which those predictions have been verified and -fulfilled, as well as the very general regard and esteem all feel who -have observed your public and private character, justify me in feeling a -special pride in the result, and hereby making this public -acknowledgement of services so faithfully and honourably rendered. - -I have the honour to remain, - -Dear Sir, - - yours faithfully, - - JOHN RANDALL. - -MADELEY, JAN. 1ST, 1877. - - - - -INTRODUCTION. - - -THE Borough of Wenlock comprises places not only rich in historic -interest but important also as centres of manufacturing industry; and -none more so than those grouped within a mile or two of the Iron-bridge, -itself a work of world-wide fame. “Broseley Pipes” and “Broseley -Bricks,”—the latter including all similar productions emanating from -Coalbrookdale, the Woodlands, Lady-Wood, Coleford, &c.—possess -acknowledged merits which create for them a constant demand, whilst in -higher branches of the art, where similar natural and other clays are -used, Messrs. Maw, Craven, Dunnill, and Co., and Bathurst, find a still -more extensive market for their goods. - -From time immemorial the merits of these clays seem to have been known -and recognised; if not from Early British, at any rate from the period -when the armies of imperial Rome penetrated the Valley of the Severn, -through intermediate ages, these beds of clay which give employment to -thousands seem to have been used for some purpose or other, either for -articles of ornament or of use. At Caersws, near Llandinam, on the left -bank of the Severn, we have seen Roman bricks apparently with the -initials of the workmen’s names upon them; whilst of pottery, cart loads -have been found there and at Wroxeter, including a number of jars, -bottles, urns, lamps, vases, &c., with hunting and other subjects. Some -of the mortars, colanders, dishes, and similar kitchen utensils, are of -coarse white clay, similar to that now used at Broseley. It is therefore -evident from modern excavations that fifteen hundred years ago the value -of these clays was known to the brick-makers and potters introduced by -that enterprising people. Specimens of Norman and of later periods are -rare, but certain evidences concur to make it clear that not only fifteen -hundred years ago was the worth of these clays established, but that from -that period to the present they have been used in one way or another. - -The subject is therefore one of historical as well as of industrial -interest, although those at present engaged in the various branches of -manufacture may be too absorbed in turning the material to account to -pause to note the stages the trades in which they are engaged have gone -through. - -It was the value of these clays which led to the establishment of works -for the manufacture of porcelain at Caughley, Jackfield, Coalport, and -Madeley, historical notices of which works will be found in the following -pages, which are for the most part a reprint of articles that have -appeared in the “Salopian and West-Midland Magazine.” - - - - -NATIVE CLAYS: -OR THOSE USED FOR -BRICKS & TILES, TESSELATED TILES, -POTTERY, &c. - - -CLAY, as commonly understood, means earth of sufficient ductility to -allow of its being kneaded by the hand into useful shapes or forms, and -ranks as a _raw_ material, or one not worked up or prepared for use. -Some clays are soft, others are indurated, or hard and rocky: but all -have, nevertheless, been in one sense prepared by poundings, washings, -and mixings, carried on by Nature on a much larger scale than that on -which they are now fitted for use. They differ in quality, in degree of -firmness, and in colour, and show certain relationships by which it is -clear that they are derived from sand, just as sand is derived from a -hardy race of pebbles, which in turn bear a close relationship to rocks, -from which undoubtedly they are also derived. Surface clays, used for -making inferior bricks and tiles, whose earthy odour gives evidence of -alumina, are often derived from red sandstone rocks, which have been -ground down by machinery of waves or streams; whilst the deeper -coal-measure clunches, used for firebricks and pottery, were originally -the sediment thrown by rivers at their embouchures into inland lakes or -seas. Common red clays, deriving their colour from iron, have many -impurities, and contain a large percentage of alumina. Fire-clays are -nearly free from iron, and contain a large amount of silica, whilst -china-clay, or _kaolin_, contains felspar, sometimes with the impurities -of soda and potash. - -Let us first take brick and tile Clays. Of the three substances -expressed by the three words of four letters—clay, coal, and gold, we -question whether the first does not rank highest in importance. The -latter may be the most coveted, but the former, we imagine, contributes -most to the conveniences and comforts of mankind. It is in one form or -another universally attainable. There is a great difference in its -qualities; and when it is remembered that a porous brick made from bad -clay will hold nearly a quart of water, the advantage of good clays -producing good bricks which will protect health and property from the -injurious effects of a fickle climate, becomes apparent. In addition to -ordinary clays used for the manufacture of building materials, we have -throughout the whole coalfields of Shropshire and Staffordshire superior -fire-clays, which occur in a tough indurated state, and are known by the -familiar name of clunches. They possess but a small portion of iron, -which gives a red colour to ordinary clays, at the same time that they -are distinguished by an almost entire absence of lime and alkalies; yet -contain, on the other hand, that proportion of silica and alumina which -although they cannot be melted by the strongest heat, form ingredients -which during the process of burning combine to form an artificial stone -capable of sustaining great heat. The following is an analysis of one of -these fire-clays:— - -Silica 61.91 -Alumina 21.73 -Protoxide of Iron 4.73 -Lime 0.09 -Magnesia 0.59 -Potash 3.16 -Soda 0.25 -Chloride of sodium 0.08 -Organic matter 0.70 -Water 6.73 - 99.97 - -These shales or clunches, now indurated, were originally the soft soils -from which the roots of plants of the coal-measure period drew their -nourishment; and they still retain the impression of such roots in great -abundance, as any one may satisfy himself who takes a piece in his hand -to examine it. The vegetable matter derived from roots, and from the -plants themselves, give them a dark colour; but this burns away in the -firing, and the bricks come out of the kiln nearly a pure white. It is -almost invariably found that where the vegetation of a seam of coal grew -on the spot, and was not transported, as was the case in some instances, -that one of these underclays is to be found still retaining very -beautiful casts of the roots of plants, and not unfrequently the seeds as -well as the plants themselves that grew above them. As fire-clays, they -are little if at all inferior to the famous Stourbridge clays, and they -supply an invaluable material for crucibles, for bricks for the interior -of our blast and puddling furnaces, for the kilns of our potteries, and -for various other purposes where intense heat is required. - -With regard to clays in general, and the art of working in them, it may -be remarked that archæologists have told us little. They have divided -the past history of the race into the stone, bronze, and iron periods, -but have told us nothing of the age of clay, or of an art which we -venture to say was one of the oldest invented by man. Clay and -clay-workers are found everywhere; and the material is one of the most -abundant provided by Nature. The first man would find it soft, yielding, -and ready to his hands, with the impressions of birds and beasts, -suggestive of the use to which it might be put, and the act of moulding -it into form would be as natural as that of plucking fruit from a tree, -or that of taking up a stone to strike a harder blow than the hand could -give. Hardening it in the sun or baking it in a wood fire would be -equally simple; whilst the act of fashioning a shapeless mass into an -enduring form would yield so much pleasure that it would be repeated. -That the art is pre-historic, and began before the race commenced a -record of its doings, is evident from specimens which accompany the -remains of men of whose tribe and nation we know nothing. Living beings -stronger than man had been masters of the globe before he came, and -ignobly perished, leaving but the impressions of their bones to tell of -their existence; but man brought with him a new element by which to -subjugate and subdue the materials he saw around him to his use, and left -behind him more enduring monuments. - -Other enduring materials pressed into the service of architects of -ancient and modern times were once as incoherent a mass of atoms, and as -unshapable as these clays, and were either earths, clays, or sands, which -Nature by the processes of kneading, pressing, and baking, in her great -laboratory, converted into stone. We find them to some extent ready -shaped to hand in the quarry, and we cut them into cubes or blocks, and -pile them up in buildings, according to the humour or taste of the time. -Bricks are artificial stones, and in making them we follow the example -Nature set us only that we cut the plastic material first of all to the -size we desire it, then convert it into stone by heat; and this -artificial stone, we venture to say, for durability and beauty, is equal -even to Nature’s own production, and quite as suggestive to the mind. -Nature’s finished material may be deemed more suitable for churches; but -artificial stone, fashioned into shape by man, is quite as appropriate -for a dwelling in which the highest social sanctities gather. Indeed the -art of using artificial stone appears to have been roused from the torpor -into which it had fallen since Roman and Flemish authorities set such -good examples. People had been so long accustomed to see brickwork used -only for inferior houses, and stone for buildings of greater pretensions -that, till recently, English bricks have scarcely had justice done them. - -The antiquity of brickmaking is so well-known that it is scarcely -necessary to allude to it. It will suffice to remind the reader of the -tower of Babel, built about 400 years after the period assigned to the -flood. That bricks were made in Egypt at an early period of her history -is well known; and that this same people had faith in their durability is -clear from the fact that they impressed them with hieroglyphics, or -historical records, transmitting to us the names of their kings. Mr. -Smith of the British Museum, has brought home clay cylinders which the -Assyrians used for writing upon. Again, the way in which Jewish writers -speak of pots and potters, comparing humanity to lumps of clay fashioned -into vessels of honour and dishonour, and the silly and wicked portion of -humanity to potsherds, good for nothing but to be cast upon the highway, -shows that they drew much of their philosophy from the art. With them, -as with other nations of antiquity, the art of working in clay ranked -high. Potters of the tribe of Judah “dwelt with the king.” And one very -noticeable feature is the fact that the same simple means are still -employed to effect the same object; for illustrations in the catacombs of -Thebes show that forty centuries ago clay was kneaded with the feet, -turned upon a wheel, and baked in a circular oven, as at present. The -praise of those who out of rude clay fashioned things of use and beauty, -and impressed upon plastic materials the living thoughts that stirred -men’s minds was loudly sung, whilst the more successful cultivators of -the art were honoured with medals and statues, and their names -transmitted by poets and historians to posterity. The Greeks and Romans -gave a dignity to the art by raising it to a level with that of -sculpture. A Corinthian potter, Pliny tells us, was in his day regarded -as the first who contrived making likenesses in clay by pressing the -material up to the outlines his daughter had drawn of her lover’s shadow -on the wall and placing it with other pottery to be hardened in the fire. -Other authors ascribe to the art a higher antiquity and speak of it as -the parent of sculpture. The estimation in which it was held is shown by -the fact that exhibitions of the best works in clay were frequently held -in Athens; and amongst the ruins of that city statues of clay have been -found, some in groups, representing Grecian Mythology; and some of large -size retaining portions of the paint with which they were coloured on the -eyes and eyebrows. In the Townley Gallery of the British Museum, No. 38 -is a statue of a Muse, three feet eleven inches high; and also a -terra-cotta statue of a Muse resting her left arm upon a pile of writing -tablets, which are placed upon a square column, but the head is gone. -The former represents Orania, the latter Calliop, whose office it was to -note down the worthy actions of the living, as it was that of Clio’s to -celebrate those of departed heroes. - -Celts, Etruscans, and Chinese made early and great advances in the art of -using clay: the latter had even an imperial porcelain work at -King-te-Ching, a hundred and eighty-four years Before Christ, and thirty -years B.C. they introduced the same art into Japan. - -With regard to bricks and tiles we know that among Roman and mediæval -builders bricks made of clay were held in high estimation. The former -enterprising people having penetrated into our valleys and excavated our -hill sides in search of lead and iron were not likely to neglect the -clays with which the ore for the latter was associated; and evidences of -the extent to which they worked them on the banks of rivers, where such -seams were exposed, particularly on the banks of those flowing through -the great centres of their occupation, confirms this view. Their armies -were accompanied by men learned in the art; and in the relics dug up at -Malmesbury, Salisbury, Romsey, Malvern, and Uriconium, modern workers in -clay may learn much of the early history of their craft. The still -upstanding walls at Wroxeter, with string courses of tiles, and the -numerous specimens of bricks, tesseræ, and pottery in different coloured -clays, brought to light by excavations within its shadow, are interesting -from the fact that some are supposed to have been manufactured from clays -still in use in the neighbourhood. - -At Caersws, a little village on the banks of the Severn, between -Llandinam and Newtown, well made bricks, both of composite and simple -clay, may be seen stamped with Roman letters, probably the initials of -workmen’s names; and, as a test of the durability of both, it may be -remarked that after having done duty in buildings in which the Roman -masons placed them, they have been rebuilt by British workmen into the -chimneys of the village. These, of course were burnt; but, favoured by -the extreme dryness and heat of their own climate, the Romans, like the -Egyptians, used clay mixed with chopped straw, to assist the tenacity of -their bricks, which, without being at all artificially heated, have -lasted thousands of years. The material of which Roman bricks in this -country were formed was usually a strong clay, such as brickmakers call -tile-clay; well tempered, well pressed, and well burnt, producing a heavy -tough brick, indefinitely durable, and of a good deep-red colour. - -Roofing tiles have been made in a similar way to bricks, one would -imagine, looking at the specimens found at Wroxeter and other places from -the time of Roman occupation down to the present. They are found in -double layers, forming slightly projecting string-courses in the -buildings, but larger and thicker than ours; some of those dug up at -Wroxeter being 17 inches by 12, and 4 inches thick, whilst some are 21 -inches square. One of these larger ones has the impression of the foot -of an ox, evidently received whilst in the process of drying. Very many -interesting specimens of bricks, tiles, and pottery are found here, and -the art of working up the clays of the district has no doubt been -practised from that time to the present. - -Formerly clays were allowed to lie during the winter to weather as it is -called; and a statute now obsolete required, under a penalty, that bricks -should not be made unless the clay for making them had been turned over -at intervals, three times at least before the 1st of March. But -brickmakers now, not having patience to wait for the action of the -weather, have invented machinery to do the work, and the clay is taken -direct from the pit to be crushed by iron rollers, and conveyed by coarse -canvas screens to the pug-mill. This is an upright cylinder, with a -revolving vertical shaft, fitted up with horizontal knives following each -other at an angle so as to cut, amalgamate, temper the material, and fit -it for use. The process of forming the brick itself requires more tact -than the reader would imagine, as the yielding clay has to be thrown into -the mould so that every part shall be filled up with a body of equal -consistency. To cause the clay to leave the mould, the latter is each -time dipped into water, in which case the process is called -slop-moulding, or is sprinkled over with sand or coke-dust; and when so -made the brick is placed lengthways with others on smooth flats, half an -inch or an inch apart and allowed to dry. The best kind of bricks are -subjected to considerable pressure in the mould by means of a machine, -and a hollow is left inside for the mortar, to enable them to fit close -in the joint. Ornamental bricks of elaborate design for architectural -purposes require more delicate manipulation, and the clays for these -undergo more careful preparation. Machines also are used which take the -clay from the crushing-rollers, temper and thoroughly amalgamate it, and -convert it into the finished article. - -The old methods of preparing clay for bricks and tiles, still practised -by some firms, is probably the best where a good tough article is -required: that is treading and hand-tempering by the workman, who kneads -it with his naked feet, and “slaps” or “wedges” it by breaking off pieces -and beating one against another. Machinery, however, is extensive used, -and horizontal rollers are set so as to secure different degrees of -fineness, in conduction with the pug-mill. - -Lime is a great enemy to good bricks, as small portions escape both -rollers and pug-mill, and being converted into quicklime by burning, it -slacks and bursts bricks subject to rains and frosts. Compare the sound, -and hard durable bricks made here with those made near London, into which -Cockneys knock their nails without troubling themselves to look for a -joint, and say whether, with less freights, they might not be made to -supersede the rubbish passing under the name of London bricks, which are -soft, damp, and perishable, and some of which, like others of inferior -quality, will hold from a pint to a quart of water. Stone, as shewn by -the new Houses of Parliament, will not withstand the action of the -corroding acid to be found in a London atmosphere; but good hard -Shropshire bricks will, and for public buildings, to say nothing of -ordinary domestic structures, they are invaluable. - -The Staffordshire blue bricks which of late years have come into such -general use, particularly in buildings connected with railways, are made -from a clay containing a large proportion of peroxide of iron, a clay -which produces a red, a buff, or a blue brick according to the process of -firing and the degree of heat it undergoes in the kiln; but it will in no -case stand a terra-cotta heat, in consequence of the iron acting as a -flux. But the great centres of the art of brick making are on the banks -of the Severn. Clay and clay workers are to be found at Lilleshall, -Lightmoor, Horsehay, and the Woodlands, where, as at Broseley, clays are -found on the surface. Here, on the valley side the surface is -honeycombed by burrowings after clay and coal. One of the most important -beds of clay for making ordinary bricks and tiles is one 17 feet in -thickness, worked in many places by shallow shafts, and levels driven -into the hill sides, which when abandoned cause the surface to collapse, -and the ground to crack, as if by an earthquake. A very pretty church, -built a century since on the brow of the hill overlooking some of the -brickfields, is now a complete wreck, in consequence of these burrowings -after clay. The chancel is falling away from the body of the building, -the walls are torn from the roof to the foundation, and the windows have -fallen from their places, leaving the oak pews and handsome marble -monuments a prey to the elements. Clays and coals are being pared away -from around it as a mouse would pare a cheese. Of course the bishop -cautions and threatens, but as long as his lordship declines to go into -the mines these sappers and miners are safe; and to them must succumb not -only the church, but the graveyard— - - “Where the rude forefathers of the hamlet sleep.” - -In conversation with the President of the Academy of Science at St. -Petersburgh, who some years ago visited this district, and with other -gentlemen distinguished in science and art, we have heard the highest -admiration expressed of these clays of the Severn Valley. Indeed, the -very handsome public structures—now that prejudice is giving way, and -that improved and more artistic treatment of the material -predominates—which we see in towns erected upon true architectural -principles, and by professors of classical and constructive styles of -decoration, are sufficient indications of the capability of the material -in all its varieties for producing works of a very high order of merit, -with a light and aerial effect not found in the old red brick, nor even -in many of the stone erections, of former times. - -Besides bricks and tiles, these clays have been turned to account from -very early periods in other ways, as for pottery, for instance, of -different kinds. - -We have no reliable authority for fixing the date at which the art of -potting was first practised in Shropshire, but it appears clear that the -articles were of the simplest kind, being almost uniformly domestic: -those in daily use, such as milk-pans, dishes, tea-pots, jugs, and mugs. -The latter were substitutes for the drinking horns, which later -improvements in the plastic and ceramic arts have driven out of use. We -have an ancient specimen of one made at the Pitchyard, and a drawing of -another made at Haybrook, well _potted_, and elegant in shape. The -latter is the best manipulated, and probably it was from this -circumstance that the latter work was called “The Mug-House.” - -In evidence adduced sometime since in an Election Scrutiny at Bewdley, a -public-house referred to was called the “Mughouse,” which house is -situated on the Severn, at a point where the bargemen, who formerly drew -the vessels up the river instead of horses, were in the habit of stopping -to get mugs of ale. “Tots” were made out of the same kind of clay, but -smaller, and were used when the men drank in company; hence a person who -had drank too much was supposed to have been with a convivial party, and -was said to have been “totty,” a word often found in old works. Tots had -no handles, and some of the old drinking cups, more particularly those of -glass of Anglo Saxon make, were rounded at the bottom that they should -not stand upright, and that a man may empty them at a draught,—the custom -continuing till later times gave rise to our modern name of tumbler. The -small tots had no handles; the mug had a “stouk,” as it is called, -consisting of a single piece of clay, flattened and bent over into a -loop. The ware was similar to the famous “Rockingham ware” made on the -estate of Earl Fitzwilliam, near Wentworth. - -The discovery of a salt glaze took place in 1690, and the manufacture of -that kind of ware must have commenced here soon after, as traces of works -of the kind are abundant. This method consisted in throwing salt into -the kiln when the ware had attained a great heat, holes being left in the -clay boxes that contained it in order that the fumes may enter and -vitrify the surface. Evidences of the manufacture of these old mugs and -tots, together with milk-pans and washing-pans, having been made at an -early period, are numerous; and the old seggars in which they were burnt -often form walls of the oldest cottages in Benthall and Broseley Wood. - -A considerable number of old jars, mugs, and other articles, have from -time to time been found in places and under circumstances sufficient to -indicate great antiquity; as in mounds overgrown with trees, and in old -pits which for time immemorial have not been worked. One large earthen -jar, with “George Weld,” in light clay, was found in an old drain at -Willey, and is now in the possession of Lord Forester. Mr. John -Thursfield, who lived at Benthall hall, was at one time proprietor of -these works. - -Three quarters of a century ago these works were carried on by Messrs. -Bell & Lloyd; afterwards by Mr. John Lloyd, one of the best and most -truly pious men we ever knew, who some time before his death transferred -them to a nephew, Mr. E. Bathurst. His son succeeded him, and after a -time sold them to the present proprietor, Mr. Allen, who to the ordinary -red and yellow ware, which finds a ready sale in North and South Wales, -has added articles of use and ornament in other ways, including forcing -pots, garden vases, and various terra cotta articles. - -Of the Pitchyard works we know little, only that they stood where the -late Mr. E. Southorn carried on his Pipe Works, and where we remember -them in ruins more than fifty years ago; but the numerous seggars, now -found in cottage garden walls, shew that they must have been continued -for some considerable time. - -But, besides the manufacture of bricks, tiles, and pottery, these clays -have been raised to a trade within the past few years in this district -which is every day increasing, and which is capable of much further -expansion: we refer now to the important department of encaustic or -inlaid tiles and mosaics. The art of producing tiles of this description -is only recently revived in this country, and is one which in point of -antiquity is not to be compared with its sister branches. The first -attempt, so far as we are aware, to revive the art in Shropshire, was at -Jackfield; but the first designs were crude, quaint, and spiritless, and -altogether wanting in those nicer distinctions and qualities which, not -being perceived by the mind of the producer, could not be wrought by the -hand. In this as in many other branches of fictile art _insight_ into -the principles as well as eyesight is required, and the mistake—as in -many other instances—was committed of attempting something which, with -the expenditure of thought and time, might catch the uneducated eye—the -object being to produce _quantity_ rather than _quality_. But the call -made upon the art by the enlightened demands of the age soon gave a -wonderful impetus to the improvement, and men of educated artistic -taste—like the Mintons and the Maws—soon called to their aid the -assistance of the greatest genius and the highest designing talent at -command; at the same time that they directed their efforts to definite -points in which utility might be made the instrument of beauty, and by -which originality and intelligible design might be made to rise out of -the most common-place wants. But although the modern manufacture of -geometric and encaustic tiles is recent, it already far surpasses the -ancients in variety and arrangement, in geometric patterns, and in beauty -of design in encaustics as well as in mechanical finish; although it may -be doubted whether the same breadth of general effect is studied as in -many ancient examples. Mintons, of Stoke, Maw and Co., of Benthall, -Hargraves and Craven, of Jackfield, and Mr. Bathurst, of Broseley, have -each produced beautiful encaustic tiles for pavements—both for -ecclesiastical and domestic use; and there is yet a large field for -development of the use of similar tiles to colour and enrich the details -of our street architecture, as well as in that of more elaborate and -important structures. - -The Coalbrookdale Co., have recently manufactured some admirable -terra-cotta entablatures, with historical subjects for costly buildings -in the metropolis. The erection of the Literary and Scientific -Institution also, of different coloured clays shews their adaptation to -works of great architectural beauty. - - - - -MAW AND CO’S TESSELATED, MOSAIC, AND MAJOLICA WORKS. - - -It was the excellency of the Broseley and Benthall clays, above referred -to, which attracted the Messrs. Maw to the spot and led them to remove -from Worcester, to where they had been in the habit, first of all, of -having them conveyed by barges on the river, to the present site of their -works, fashioned out of the old Benthall Iron Works, carried on a century -ago by Mr. Harries, then owner of the Benthall estate. Notwithstanding -the additions made by them, the trade has so wonderfully developed itself -that after building upon or in some way occupying every inch of ground, -they are cramped for room, and have purchased a piece of ground at the -Tuckies on which they are about to erect more commodious premises. - -In addition to those classical and other adjuncts of architectural -comfort and embellishment, embracing encaustic tiles—the reproduction of -an art limited in mediæval times to church decoration, but now having a -much more extended application, and the manufacture of tesseræ, used in -the construction of geometrical mosaic pavements, similar in character to -those found in the mediæval buildings of Italy, also moresque mosaics, -like those occurring in Roman remains in this country and on the -continent, they now manufacture a superior majolica, and faience of great -purity, in both of which departments they have recently received first -class medals at the Philadelphia exhibition. The accompanying engraving -will convey an idea of the adaptation of faience to articles of domestic -utility. - - [Picture: The adaptation of faience to a fireplace] - - - - -JACKFIELD POTTERY AND PORCELAIN. - - -Older even than the Haybrook Mug House are the Pot Works of Jackfield, -which, according to the parish register of Stoke-upon-Trent, quoted by -Mr. Jewitt and Mr. Chaffers, supplied a race of potters to that great -centre of early pot-making in the year 1560. Excavations made too, some -years ago, brought to light on a spot near which the present works of -Craven, Dunnill & Co., now stand, an oven, or kiln, with unbaked ware, -which appeared to have been buried by a land-slip; and in an old pit, -which it was said had not been opened for two centuries, a brown mug was -discovered, which had upon it the date 1634. If Jackfield supplied early -potters for Stoke, Stoke sent pot masters to Jackfield. One of these was -Mr. Richard Thursfield, an ancestor of Greville T. Thursfield M.D., who -took these works and carried them on in 1713. He was succeeded by his -son John, of whom we have spoken as afterwards living at Benthall and -carrying on works there. The late Richard Thursfield, Esq., had in his -possession some good examples of Jackfield ware. Among them was a -handsome jug, gilt, having on it, we believe, the name of one of the -family. - -In 1772, or soon after, Mr. Simpson carried on the works; and he appears -to have further improved the manufacture, for in addition to the “black -decanters,” as his mugs were called, he made various articles of superior -quality, which prior to the breaking out of the war with America found a -ready sale there. The old mill turned by the waters of the Severn, where -he ground his materials, has just been taken down. - -Mr. Blakeway afterwards carried on the works, and was joined by Mr. John -Rose, upon leaving Caughley, and, after carrying them on a short time by -himself, he removed them, as he did the Caughley Works, to Coalport, on -the opposite bank of the river. - -The site of the old pottery was on the ground which is now occupied by -the Jackfield Encaustic Tile Works, the clays of which are specially -adapted for geometrical and encaustic tiles; and such tiles have been -made here for a number of years; but since the old works, came into the -possession of the present firm of Messrs. Craven, Dunnill and Co., great -changes have taken place. The firm took a lease of about four acres of -ground, and adjoining the old works built a large and commodious -manufactory, which has been in operation for nearly two years. They have -since taken down all the buildings of the old works, and have erected on -their site and joining up to the new works, large warehouses, show room, -offices, and entrance lodge. The plan of the works is very complete, so -as in every way to economise in the process of manufacture, and they are -now among the most complete works of the kind. - -As shewn in the accompanying engraving, the buildings consist of four -blocks, one detached and the others connected, each block accommodating a -separate branch of the manufacture. - - [Picture: Craven Dunnill & Co.’s new works] - -In the detached block the raw materials are reduced to a state ready for -the workman. - -The second block contains the damping places, where the clays are kept in -a certain degree of moisture; pressers’ shops for the various colours of -geometrical tiles, and the encaustic tile makers’ shops, with their -stoves. - -The next block provides for the drying and firing of the goods and -decorating shops. - -On the first floor are workshops employed for painting, printing and -enamelling, or other decorative purposes. - -The fourth block provides for the sorting and stocking of goods and for -packing them for despatch; also the offices and showroom. - -Near to the detached block first described a small gas-works has been -erected, which supplies the whole of the buildings. - - - - -CAUGHLEY. - - -Like the works previously mentioned, those of Caughley were upon the -outcrop of the coals and clays of the Shropshire coal-field. They were -established about the middle of the 17th century, on the estate of Mr. -Brown, who lived at Caughley Hall, and was an ancestor of T. Wylde Brown, -Esq., of the Woodlands, near Bridgnorth. An opaque stone china appears -to have been made there in the first instance. - -The works appear to have been carried on by Mr. Brown, in the first -place, and then by Mr. Gallimore, a relative of Mr. Brown’s; and -afterwards by M. Turner, who succeeded in producing an article of very -superior merit, and one which will always hold a distinguished place in -the history of the ceramic art. Mr. Turner was the son of the Rev. -Richard Turner, D.D., rector of Cumberton, vicar of Emley Castle and -Norton, and Chaplain to the Countess of Wigtown. Thomas his son, was -born 1749, and married in 1783, Miss Dorothy Gallimore, a niece of Mr. -Brown, of Caughley Hall. Mr. Turner was a gentleman of great taste, a -good draughtsman, and an excellent engraver, having learned the latter -art at Worcester, probably under Robert Hancock, some very fine examples -of whose work are in the possession of Mr. Arthur Maw, of Severn House, -who also has many very fine productions of Caughley at the best period of -its existence. In 1780 Mr. Turner visited France, and brought back with -him several skilled workmen, and an architect, whom he employed in the -erection of a very handsome _chateau_, in the French style of -architecture. The works were several years in progress, and were -completed in 1775, as shewn by a newspaper paragraph of November 1st in -that year, which, is as follows:— - - “The porcelain manufactory erected near Bridgnorth, in this county, - is now quite completed, and the proprietors have received and - supplied orders to a very large amount. Lately we saw some of their - productions which in colour and fineness are truly elegant and - beautiful, and have the bright and lively white of the so much - extolled Oriental.” - -Printing on porcelain appears first to have been introduced by Dr. Wall -at the Worcester works, a process soon after taken to Caughley by a -person named Holdship, a former partner in the Worcester works, where it -was practised as a great secret, with closed doors. - -Mr. Chaffers says:— - - “The excellence of Turner’s porcelain and the invention of the - beautiful dark blue of the Caughley china, attributed to him, gained - him great patronage. In 1780 he produced the celebrated “willow - pattern,” which even at the present day is in great demand, and the - “blue dragon,” another favourite pattern, and completed the first - _blue printed table service_ made in England for Thomas Whitmore, - Esq., of Apley Park, near Bridgnorth; the pattern was called - _Nankin_, and was something similar to the Broseley tea service - produced in 1782, all in porcelain. Mr. Thomas Minton, of Stoke, - assisted in the completion of this service, being articled as an - engraver there. - - “Messrs. Chamberlain of Worcester, until the end of 1790, had their - porcelain in the white from Thomas Turner of Caughley. He at first - mixed all the bodies himself, but afterwards instructed his sister - how to do it; subsequently a man named Jones mixed for him.” - -The other works at Worcester, Grainger & Co., formerly, when first -established, merely painted and finished ware manufactured at Caughley. -The China so sent was marked with the letter “C.” for Caughley; sometimes -“S.” for Salopian. - -Among the chief workmen were the following:—Dontil, painter; Muss and -Silk, who afterwards attained great celebrity in London, as painters on -enamel, were landscape painters. Thomas Fennell, and Edward Jones flower -painters, Thomas Martin Randall, bird painter, Edward Randall, gold -decorator, Adams, blue painter, De Vivy and Stephan, modellers. - -Perry, one of the workmen who was apprenticed to Mr. Turner, states that -in 1797 they had four printing presses at Caughley, introduced by Davis; -the patterns at that time and for years previously being birds and blue -panels; that Turner had been an engraver at Worcester; that he recollects -a slab on the front of one of the arches of the building at Caughley, -stating the date of its foundation, 1772, which would be the time he -succeeded Mr. Gallimore, and that it was not finished for some time -after. - -In the Salopian Mag. we gave an engraving of the old works, from a view -in the possession of Mr. Hubert Smith, the only lineal descendent of Mr. -Turner; and also of a “puzzle jug,” now in the possession of Mr. E. -Thursfield, of Bridgnorth. It is eight inches in height, and is formed -of the usual body of these works. It is decorated with blue sprigs, and -bears on its front the name, in an oval border, of - - John Geary - Cleak of the - Old Church - Brosley - 1789. - -On the bottom is written in blue “Mathew th v & 16,” though one would -fail to see any allusion in the text here referred to either to the -vessel or to its purpose. - -The first specimens of Caughley are but little removed from earthenware, -but the material speedily improved, as did the manipulation or potting; -the latter to an extent as regards shape and outline so much so as to -render many of them superior to the same class of articles of the present -day. Their excellence in this respect is so self-evident as still to -render Caughley china a great favourite. Choice articles of this -manufacture are carefully guarded by Shropshire families, with whom they -have become heirlooms; they are carefully stored in corner cupboards and -on kitchen shelves, where they were once kept in countenance by rows of -shining pewter, and are only produced at christenings and weddings, and -on such red-letter days and rare occasions. Every year will add to their -value, to the veneration in which they are held; and at distant periods, -and when compared even with the ordinary productions of our factories at -the present day, they will serve to show how successful were the -well-directed efforts at the Caughley Works to produce a porcelain which -should take high rank and maintain it. - -The buildings of the old factory have been razed to the ground; the -plough passes over where they stood, and a few pitchers turned up now and -then are the only indications obtained of these interesting works. But a -class of clever men were educated there; some of whom—as the late Herbert -Minton’s father, John Rose, and others—have done much to raise the -character of our English productions. - - - - -COALPORT PORCELAIN WORKS. - - -The first works at Coalport were we believe founded and carried on by -William Reynolds, Thomas Rose, Robert Horton, and Robert Anstice; the -former William Reynolds, being then Lord of the Manor. The buildings, or -a good portion occupied by them are still standing. - -Mr. Thomas Rose, and Mr. John Rose, were sons of a respectable farmer -living at Sweeney. The latter was a clerk under Mr. Turner, at Caughley, -and left him to take the Jackfield works about the year, it is said, -1780. Having carried them on for a few years, in conjunction with Mr. -Blakeway, during which time he greatly improved the quality of the -article manufactured there, he established the present Coalport works on -the side of the canal, then recently opened, and opposite to those of -Reynolds, Horton, Thomas Rose, and Robert Anstice. On Mr. Turner -retiring from the Caughley works in 1799, Mr. Rose and the new company he -had formed purchased them, and by means of increased capital shortly -afterwards removed both plant and materials from Caughley and Jackfield -to the more advantageous position they now occupy, on the banks of the -canal and the Severn. Even the buildings were pulled down and the bricks -and timber removed to the opposite side of the Severn, where they were -used in constructing the cottages now standing opposite to the present -Coalport Works. - -A staff of excellent work-people had been obtained from Caughley and -Jackfield works combined, but an accident occurred on the night of the -23rd of October in that year by the capsizing of the ferry, as the -work-people were crossing the Severn, by which twenty-eight were drowned, -some among them being the best hands employed at the works. It was a -dark night, the boat was crowded, and the man at the helm, not having -been accustomed to put the boat over allowed the vessel to swing round in -the channel where, with a strong tide running, it was drawn under by the -rope which went from the mast to a rock in the bed of the river. Some -managed to scramble out on the Broseley side of the stream; but the -following were lost, notwithstanding the efforts of those who rushed to -the river side on hearing the despairing cries raised to save them. Jane -Burns, Sarah Burns, Ann Burns, Mary Burgess, Elizabeth Fletcher, Mary -Fletcher, Elizabeth Beard, Jane Boden, Elizabeth Ward, Sarah Bagnall, -Sophia Banks, Mary Miles, Elizabeth Evans, Catherine Lowe, Jane Leigh, -Charles Walker, George Lynn, James Farnworth, George Sheat, John Chell, -Robert Lowe, William Beard, John Jones, Benjamin Gosnall, Benjamin Wyld, -Richard Mountford, Joseph Poole, and another. The twenty-eight lost -included some of the best artists; and an unfinished piece of work, left -by Charles Walker but a few minutes before he lost his life, was till -within a few years ago reverently kept in the warehouse as a memento of -the unfortunate event. - -The event, as may be expected, created a great sensation at the time, and -was thus commemorated, by Mr. Dyas, one of the Coalport workmen: - - Alas! Alas! the fated night - Of cold October twenty third, - In seventeen hundred ninety-nine; - What cries, what lamentation heard, - The hour nine, when from yon pile, - Where fair porcelain takes her form, - Where energy with genius joins, - To robe her in those matchless charms, - A wearied band of artists rose, - Males and females, old and young, - Their toil suspend, to seek repose, - Their homes to gain, they bent along. - Sabrina’s stream was near to pass, - And she her frowning waves upraised, - Her mist condensed to darksome haze - Which mocked the light; no star appeared. - Yon boat, which o’er her bosom rides, - Enveloped in the heavy gloom, - Convulsive stretch’d along her sides, - To snatch the victims to their doom. - Soon e’er on board their faltering feet - A monster fell who grasped the helm, - Hove from the shore the distressed crew, - And so the dreadful overwhelm, - Swift horror’s wings o’er spread the tides, - They sink! they rise! they shriek! they cling! - Again they sink; alarm soon flies, - Along their shores dread clamours rise, - But Oh, the bleakest night preventing - Every means to save their breath, - Helpless, hopeless, life despairing - Twenty-eight sunk down in death. - Alas small time for Heaven’s implorings, - Quick sealed their everlasting state, - Or, in misery, or in glory, - The last tribunal will relate, - Here fold, O muse thy feeble wings, - Hope where thou canst, but not decide, - Dare not approach those hidden things, - With mercy, justice, these abide. - Return with sympathetic breath, - See yon distracted mother stands, - Three daughters lost, to heaven she lifts - Her streaming eyes and wringing hands, - Hark! from those dells how deep the wailings, - Fathers, Mothers, join their moans, - Widows, orphans, friends and lovers, - Swell the air with poignant groans; - Recluse in grief, those worthy masters - Silent drop the mournful tear. - Distress pervades surrounding hamlets, - Sorrow weeps to every ear, - Sleepless sighings hail the morning, - Morning brings no soothing ray. - -The author of these verses, Mr. Dyas, was a very clever carver on stone -and on wood. He engraved the blocks for a work printed by Mr. Edmonds at -Madeley, entitled “Alexander’s Expedition down the Hydaspes and the Indus -to the Indian Ocean.” He was the author too of an invention world-wide -in its benefits, that of the printers’ roller; an invention second only -to the art of printing itself, and infinitely superior to thousands of -others out of which vast fortunes have been made. - -In 1804 the company consisted of Cuthbert Johnson, William Clarke, John -Wootton, and John Rose. In 1811 it was John Rose, William Clarke and -Charles Maddison. In 1820 they bought the famous Swansea works and -entered into an agreement with Messrs. Billingsley and Walker to make a -superior kind of porcelain made by them, first at Nantgarw in -Glamorganshire, and afterwards at the Cambrian Pottery, Swansea, in the -same county. This was a pure soft paste porcelain, superior to any at -present produced in the kingdom, and second only to the famous _pate -tendre_ of Sevres at the very best period of its manufacture. This china -was first made in 1813 by Billingsley, who went from Derby to Worcester, -and from there to South Wales. He was an artist, and understood the -manufacture in all its branches. He produced a fret body, by mixing the -materials, firing them in order to blend them together, then reducing the -vitrified substance into clay—a process which was carried on at Old -Sevres during the reign of Louis XV.—and thereby produced an article fine -in texture, beautifully transparent, and of a delicate waxy hue, very -superior to the dingy blue tinge given to much of the best china of that -day. Connoisseurs were at once attracted by it, and Mr. Mortlock went -down and entered into an engagement to purchase all that Billingsley and -his son-in-law could make. Mr. John Rose finding he had lost a customer, -whilst orders he was wont to receive were going to South Wales, went -over, bought the plant, moulds, and everything, and entered into an -agreement with Walker and Billingsley for a period of seven years to make -the same quality of china at Coalport. The process however was an -expensive one, from the difficulty of working the clay, which wanted -plasticity, and also from the loss in the burning, as being a soft body -it was apt to melt or warp, and to go out of shape, if it had a little -too much fire in the biscuit kiln. About that time, too, Mr. Ryan -discovered a very pure felspar in the Middleton, one of the Briedden -hills, the true _Kaolin_, to which the Chinese were indebted for the -quality of their egg-shell and other first class china. The fret body -was therefore abandoned, the _pate tendre_ for a _pate dure_, as the -French say, and by adding pure felspar to the Cornish stone and clay -which contains a large percentage, a good transparent body was obtained -at a less cost than by using a _fret body_. About this time also the -Society of Arts offered a prize to any one who should find a substitute -for lead in the glaze, the deleterious effects of which told upon the -dippers, and produced paralysis; and Mr. Rose by applying felspar to the -glaze succeeded in obtaining it. He was awarded the Gold Medal of the -Society; and from that time following, for some years, a badge was either -attached to the ware or engraved upon it as follows:—“Coalport Felspar -Porcelain, J. Rose & Co: the Gold Medal awarded May 30, 1820; Patronised -by the Society of Arts.” The Devonports and other manufacturers competed -for the prize. - -The felspar porcelain however never equalled the original Nantgarw fret -body ware for purity and transparency, a white plate of which would at -the present time fetch a couple of guineas. It cannot be said that any -new element was introduced by using felspar, because the kaolin, -contained in Cornish stone and clay, as discovered by Cookworthy in 1768, -had been, and was now used at Plymouth, Derby, Worcester, Caughley, and -Coalport; and by a judicious admixture of this and a free use of bone -(phosphate of lime) a good serviceable china was produced. The former -gave mellowness, and the latter whiteness, which approached in a degree -the qualities of old and Oriental china. In fact Mr. Rose, who had the -sole management of the works, spared neither pains nor expense in raising -the character of the productions of the Coalport Works, which were now by -far the largest porcelain works in the kingdom, if not in the world. -Like Minton, he was a man of wonderful energy, being strong in body, -having a clear head, a cool judgment, and gifted with remarkable -perseverance. - -The works were now in a state of prosperity; warehouses were opened in -Manchester, London, Sheffield, and Shrewsbury, and a large trade was -being done with dealers all over the kingdom. There was plenty of -employment, and a good understanding generally prevailed between masters -and their work people. Both before and after the strike there were at -Coalport, as at other works of the kind elsewhere, an intelligent class -of men, among potters and painters, as well as in other departments. -Painters, especially, had good opportunities for mental culture and -obtaining information. Numbers worked together in a room, one sometimes -reading for the benefit of the others, daily papers were taken, -discussions were often raised, and in politics the sharp features of -party were as defined as in the House of Commons itself. The rooms were -nicely warmed, and a woman appointed to sweep up, to bring coals, to keep -the tables clean, to wash up dishes, peel potatoes, and fetch water for -those who, not living near, brought their meals with them. It is not -surprising, therefore, that men, having such advantages, should sometimes -rise to higher situations. Some became linguists, some schoolmasters, -engineers, and contractors; one, breakfasting with a bishop, whose -daughter he afterwards married, saw upon the table, some time since, a -service painted by himself when a workman at Coalport. Some were -singular characters: old Jocky Hill kept his hunter; John Crowther, a -very amiable fellow, exceedingly good natured, and always ready to do a -favour to any one who asked him, lived quite a recluse, studying algebra -and mechanics. He has suggested many improvements in locomotives, steam -paddles, breaks, &c., &c., and had the honour of submitting to the -Government the plan of terminating annuities, by which money at that time -was raised to carry on the war, and by which we have been saved the -burden—so far—of a permanent debt; also of making other suggestions, -which have been likewise adopted. He also invented a most ingenious -almanack applicable to all time. - -Coalport men were usually great politicians; Hunt, Hethrington, Richard -Carlile, Sir Francis Burdett, and Cobbett, had their disciples and -admirers; and such was the eagerness to get the Register, with its -familiar gridiron on the cover, that a man has been despatched to -Birmingham for it from one of the rooms, his shopmates undertaking to do -his work for him whilst he was away. - -The works themselves are ill designed and badly constructed, the greater -portion of them having been put up at the latter end of the past and -beginning of the present centuries, whilst other portions were added from -time to time, with no regard to ventilation or other requirements of -health. Consequently there are the most curious ins and outs, dropsical -looking roofs, bulging walls, and drooping floors, which have to be -propped underneath, to support half a century’s accumulations of china, -accumulations amounting to hundreds and hundreds of tons in weight. In -entering some of these unhealthy _ateliers_ and passages strangers have -to look well to their craniums. Some work-rooms have very stifling -atmospheres, charged with clay or flint; the biscuit room notably so. We -have said that a good understanding prevailed generally between masters -and workmen. There was one notable exception, the great “strike” as it -was called, which occurred somewhere in November, 1833; a memorable event -in the history of the works, so much so that in speaking of occurrences -it is usual to the present time to ask in case of doubt if it happened -before or subsequent to the strike. The men had their “Pitcher,” a well -conducted sick society; and a “Travelling Society,” for assisting those -in search of employment, with branches in all centres of the trade. -Trades unions, however, were just then coming to the front. The -Combination Laws had been repealed eleven years previously; otherwise, -such was the temper of the Shropshire magistrates, and the feeling -generally in relation to the trades unions, that had they existed on the -statute book not a few would have had to have experienced the penal -consequences of their acts. With the men who still adhered to the -masters the works continued to be carried on to a limited extent; after -much suffering and privation some of the hands returned, whilst some -obtained employment elsewhere. The course taken by Mr. John Rose, in -resisting the men was warmly approved of by his neighbours, who -subscribed for a handsome silver cup, which is now in the possession of -Mr. Charles Pugh, who married Miss Martha Rose, daughter of Mr. Thomas, -and niece of Mr. John Rose. It is a large and massive piece of plate. A -vine stem entwines around the foot and forms the handles, a vine border -with grapes also forms a border round the rim of the cover. On one side -is the following inscription: - - Presented to John Rose Esqr., - of - Coalport China Manufactory, - By his - Friends and Neighbours - March 3rd - 1834. - -On the reverse side is the following: - - Tribute of respect - to his - Public and Private Character - and to the - uncompromising firmness - with which - he has recently resisted the - demands of an illegal - conspiracy. - -We have lived to see trades unions legalized, and trade combinations -adopted by masters as well as men. - -Mr. Walker had invented a maroon colour dip for grounds, which was used -with much success. A good deal was done too about this time in imitation -of the _Sevres_ style of decoration, and thousands of pounds were spent -in endeavouring to make the famous torquoise of the French; but a pale -imitation, called celest, only was obtained; some years afterwards -however a much better colour was produced, first by Mr. Harvey, secondly -by Mr. Bagshaw, thirdly by Mr. Hancock. - -In 1839 the late William Pugh became one of the firm, it then being John -Rose, Charles Maddison, and William Pugh. In 1841 it was Charles -Maddison, William Pugh, Thomas Rose, and William Frederick Rose. In 1843 -William Pugh, and William F. Rose were the proprietors. In 1845 the -Messrs. Daniell received the command of the Queen to prepare a dessert -service as a present by herself to the Emperor Nicholas, and it was -manufactured at the works. It was a magnificent service of _bleu de -roi_, and had the various orders of the Russian Empire enamelled in -compartments, with the order of St. Nicholas, and the Russian and Polish -eagles in the centre. In 1850 the famous Rose-du-Barry was discovered. -The attempt to do so had been suggested by the Messrs. Daniell, in 1849; -and after repeated experiments by Mr. George Hancock, who is still the -colour-maker at the works, it was produced. This colour, so named after -Mdme du Barry, one of the mistresses of Louis XV, had been formerly made -at the Sevres Works, but the art had been lost, and its reproduction -created a demand for very rich dessert services and ornaments of the -colour. Very costly services of it were produced for the Messrs. -Daniell, Mortlock, Phillips, Goode, and other London dealers, which -attracted considerable attention at the Exhibition of 1851. One splendid -dessert service of it was purchased by Lord Ashburton; others also, after -special models and designs, of this colour were subsequently produced for -the head of the State, for the Emperor of the French, and for noblemen -like the duke of Northumberland, the Marquis of Lansdowne and others. - -The following are the remarks of the Jurors on that occasion:—“Rose J., -and Co., Coalbrook Dale, Shropshire (47, p. 727), have exhibited -porcelain services and other articles, which have attracted the special -attention of the Jury. A dessert service of a rose ground is in -particular remarkable, not only as being the nearest approach we have -seen to the famous colour which it is designed to imitate, but for the -excellence of the flower-painting, gilding, and other decorations, and -the hardness and transparency of glaze. The same observation applies to -other porcelain articles exhibited by this firm. The Jury have awarded -to Messrs. Rose and Co. a Prize Medal.” The company also obtained medals -at the French Exhibition in 1855, and at that of London in 1862. - -A good deal has been done of late years in the Sevres style of decoration -on vases, the moulds of which came direct from Sevres manufactory. It is -a pleasing incident, and one worth mentioning, that some years ago Mr. W. -F. Rose in company with Mr. Daniell visited Paris, and of course went to -Sevres. Mr. Daniell was at once taken round the works, but Mr. Rose -feeling some delicacy remained outside. Mr. Daniell mentioned the -delicacy of his friend, and the manager at once sent for him in, and -shewed him the greatest respect. He told him he might send his best -artists to copy any thing he saw, or employ theirs to do so: and sometime -after he sent over the moulds themselves to Coalport. - -In 1862 Mr. Pugh became sole proprietor of the works, and continued so to -his death, in June 1875. Mr. Charles Pugh, brother of the deceased, and -Mr. Edmund Ratcliff, brother-in-law, were left executors; and for an -adjustment of claims by them and others the estate was thrown into -Chancery and a receiver and manager, Mr. Gelson was appointed. The stock -which is immense and had been accumulating for half a century is being -brought into the market. Hundreds of dozens of one pattern, “India -tree,” for example, which had remained out of sight for forty years, are -being brought to light. In some instances a hundred dozen or so of -saucers, (printed,) are found stowed away, without cups to match; whilst -scores of piles of plates and dishes, sixteen or eighteen feet high, may -be seen (white) in others, which had been sorted and put on one side from -some defect or other. It speaks well for the quality of the china that -the biscuit and glazed are both sound and good. In some cases the floors -are literally giving way from the immense weight of stock they have to -sustain. In one place a quantity of old Caughley China was discovered; -whilst in another were found a number of Caughley copper plates engraved -by the late Herbert Minton’s father. - -It may excite surprise that so large a stock should have been allowed to -accumulate, but much was the result of a wish to keep the men employed. -The fact of a number of copper plates being found with his name on, -confirms what we have previously said about Thomas Minton, who founded -the important commercial house bearing his name and that of his son at -Stoke, having been employed as an engraver at Caughley. M. Digby Wyatt, -also, in his paper read before the Society of Arts and reported in the -Society’s Journal, May 28th, 1858, on the influence exercised on ceramic -art by the late Herbert Minton, says:—“Mr. Thomas Minton was a native of -Shropshire, and he was brought up at the Caughley works, near Broseley, -as an engraver. He then went to town and worked for Spode, at his London -House of business.” In 1788 he went to Stoke, bought land, and built the -house and works which have since become so celebrated. Up to 1798 -however he only made earthenware which was printed and ornamented in -blue, similar to that at Caughley. - -Mr. Wyatt, in the paper just quoted, speaking of John Rose and of the -late Herbert Minton admitted that in the excellent, rapid, and cheap -production of porcelain for Mr. Minton to have stood still for a moment -would have been to have lost his lead in the trade. And Mr. Daniell, in -the discussion which followed, said:—“With reference to Mr. Minton’s -predecessors in this branch of art, he might remind the society of one -whose name was upon their records as the recipient of the society’s gold -medal for china and porcelain manufactures long before Mr. Herbert -Minton’s time. He referred to John Rose, of Coalport, who made more -china in his day than all those who were mentioned in the paper.” - -It will be seen from what we have written that Thomas Turner, of -Caughley, and J. Rose, of Coalport, were the creators, so to speak, of -new industries which drew around them large populations and gave -employment to thousands who otherwise might have sought for it in vain, -or have found it under less advantageous circumstances. It will be seen -also that not only were they benefactors contributing materially to the -common stock of national prosperity themselves, but that their energies -and abilities inspired others who in turn became industrial organisers, -and through various channels carried on the work of progress. - - - - -MADELEY CHINA WORKS. - - -EXCEPTING to the trade, and to some of the old inhabitants, it is not -generally known that Martin Randall established China Works at Madeley, -and made porcelain similar to that of Nantgarw and little if at all -inferior to old Sevres porcelain. He and his brother Edward were -Caughley men; he left there to go to Derby. He afterwards went to -Pinxton, and thence with Mr. Robins, a Pinxton man, to London, where they -entered into partnership and carried on business. They were supplied -with Nantgarw white china by Mr. Mortlock, till Mr. Rose cut off the -supply from the Welsh Works, by engaging Billingsley and Walker to make -it for himself alone at the Coalport Works. They still continued to -carry on business at Islington, where they erected buildings suitable, -and fired the ware in box kilns with charcoal. - -About this time the demand was great with connoisseurs among the -aristocracy for old Sevres china; and the London dealers, finding that it -was not obtainable in sufficient quantities to meet the demand for highly -decorated specimens, hit upon the expedient of employing agents in Paris -to buy up Sevres china in white for the purpose of having it painted in -London, as Nantgarw had been, and selling it to their customers as the -bona fide productions of Sevres. Slightly painted patterns too were -procured, and the colours got off with fluoric acid, and rich and -expensive paintings, grounds, and gilding substituted. - -About the year 1826 they dissolved partnership and Mr. Randall came to -Madeley, where he occupied a house in Park Lane, now the residence of the -Wesleyan minister. He then took more commodious premises at the lower -end of Madeley, where he erected enamelling, biscuit, and other kilns, -and made and finished his own ware. Thomas Wheeler, William Roberts, and -F. Brewer, were his potters; Philip Ballard, Robert Grey, and the present -writer, were painters there, and Enos Raby was ground layer. John Fox of -Coalbrookdale, William Dorsett, of Madeley, also were with Mr. Randall -for a short time. Not having had experience in the making of china, -great mistaken were committed, and heavy losses sustained. We have known -a biscuit kiln fired till tea-pots and cups and saucers were melted into -a mass before a trial was drawn, crow bars being necessary to remove -them; in some instances they assumed the most fantastic forms. At other -times the ware would be short fired in the biscuit kiln and would take up -so much glaze that on coming out of the glaze kiln it would fly off in -splinters. These wastrels were buried, broken up, or thrown into the -canal, to be out of sight. - -Mr. Randall however, as the result of repeated and persevering -experiments, succeeded in producing a fret body with a rich glaze which -bore so close a resemblance to old Sevres china that connoisseurs and -famous judges failed to distinguish them. He refused however, from -conscientious motives, to put the Sevres mark, the initials of Louis. -Louis, crossed at the bottom, which was done with less hesitation at -Coalport with much more feeble imitations. When introduced on one -occasion to a London dealer, of the name of Frost, who had a shop in the -Strand, as Mr. Martin Randall’s nephew, the dealer in old china observed -that the old Quaker made the best imitation of Sevres that ever was made, -but added, “he never could be got to put the double L on it, and we -cannot sell it as Sevres.” We remarked that he was “too conscientious to -do so,” upon which he replied, “O, d—n conscience; there is no conscience -in business.” - -Mr. Randall had less hesitation however in putting the Sevres mark on -what was known to be Sevres; and he did very much for Mortlock, Jarman, -and Baldock, who had agents in Paris, attending all sales where old -Sevres was to be sold, in redecorating it in the most elaborate and -costly manner. The less scrupulous London agents however did not -hesitate to pass it off as being really the work throughout of Sevres -artists. Indeed they have been known to have boxes of china going up -from Madeley, sent on to Dover, to be redirected as coming from France, -inviting connoisseurs to come and witness them being unpacked on their -arrival, as they represented, from Paris. A little entertainment would -be got up, and supposing themselves to be the first whose eyes looked on -the rich goods after they left the French capital, where it would be -represented, perhaps, that they had been bought of the Duc-de—or of -Madame some one, after having been in the possession of royalty, they -would buy freely. - -Sevres porcelain fetched high prices then, but it has risen higher in the -market, even since, and has gone on rising to the present time. In 1850 -cups and saucers fetched from £25 to £30 each, and bowls £66 or £70. -Three oval vases and covers at Lord Pembroke’s sale fetched £1020. -Prices have however since gone up; and at Mr. Bernal’s sale a pair of -rose Dubarry vases sold for 1850 guineas; and cups and saucers for £100. -Single plates have since sold for £200; vases for 500 or 600 guineas -each, and cups and saucers for 150 guineas. A year ago a set of three -Jardiniers fetched at Christie’s, by auction, £10,000! - -We remember seeing an ornament at the Marquis of Anglesey’s at _Beau -Desert_ which we were assured was old Sevres, and had been purchased at a -great price on the continent, but which we recognised as one of our own -painting at Madeley. A man can always tell his own painting; but it is -not an easy matter for another however experienced sometimes to do so. -An amusing instance occurred at Coalport. Mr. F. W. Rose who had been -conversant from a child with china, on one occasion bought a vase, -painted with birds, believing it to be old Sevres, but which was made at -the Coalport Works and painted by the present writer at Madeley. Mr. -Rose, sending for us down to the office said, “here, Randall, is a vase I -have given a good price for, which is the right thing; can you do -anything like it?” Our reply was, it would be strange if we could not, -as we did that when a lad, adding that it was made at his own -manufactory, that it was modelled by George Aston, and purchased out of -the warehouse, in the white, by T. Martin Randall. We need scarcely say -that he was very much astonished on finding he had been duped by a London -china dealer with a piece of his own ware. It was put out of sight; but -the late Mr. Pugh did not forget occasionally to remind his partner of -the incident. - -Mr. Randall removed from Madeley to Shelton, in the Potteries, for the -greater convenience of carrying on his works. He was invited by the late -Herbert Minton to become a partner, and to make his ware for the benefit -of both at his extensive works at Stoke. Age however, and a longing for -retirement led him to decline, and he soon afterwards retired to a -cottage at Barleston, where he died, and was buried, in a sunny spot of -his own choosing, within sound of the murmuring waters of the Trent. He -was a good man; one holding large and liberal views, and one who took an -active part in various social and religious movements of the day, being -an active promoter more particularly of Temperance Societies, when first -established in this country. Specimens of his ware are much prized and -sought after by collectors. A fine specimen with torquoise ground is in -the possession of Henry Dickinson Esq. - -The chief beauty of Mr. Randall’s porcelain, like that of other fret -bodies, or _pate tendre_ china, was that it admitted of a complete -amalgamation of the painting with the glaze, and also of a richness and -depth of colour, as in the case of torquoise, not to be produced on -ordinary china. - - - - -***END OF THE PROJECT GUTENBERG EBOOK THE CLAY INDUSTRIES*** - - -******* This file should be named 63771-0.txt or 63771-0.zip ******* - - -This and all associated files of various formats will be found in: -http://www.gutenberg.org/dirs/6/3/7/7/63771 - - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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