See also:

• ENGLISH

ENGLISH POTTERY FROM THE 16TH TO THE 19TH  See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

CENTURY' The course of pottery manufacture in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England followed, generally rather in the See also:

• REAR

rear, that of See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France, See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany and other See also:

• NORTHERN

northern countries . Before the coming of the See also:

• ROMANS
• ROMANS, EPISTLE TO THE

Romans much pottery of the See also:

• LATE

late See also:

• STONE
• STONE (0. Eng. shin; the word is common to Teutonic languages, cf. Ger. Stein, Du. steen, Dan. and Swed. sten; the root is also seen in Gr. aria, pebble)
• STONE, CHARLES POMEROY (1824-1887)
• STONE, EDWARD JAMES (1831-1897)
• STONE, FRANK (1800-1859)
• STONE, GEORGE (1708—1764)
• STONE, LUCY [BLACKWELL] (1818-1893)
• STONE, MARCUS (184o— )
• STONE, NICHOLAS (1586-1647)

Stone See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age and the See also:

• BRONZE

Bronze age was made in I See examples in See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour, See also:

• PLATE

Plate X . See also:

• BRITAIN (Gr. Hperavuml vi7vot, Bperravia; Lat. Britannia, rarely Britannia)

Britain . The Romans introduced their more advanced technique, and, besides importing See also:

• ITALIAN

Italian and Gaulish pottery, they founded numerous centres of pottery manufacture, as at Upchurch, See also:

• CASTOR

Castor, See also:

• URICONIUM (more correctly Viroconium)

Uriconium, &c . With the departure of the See also:

• ROMAN

Roman legions their See also:

• SIMPLE

simple, yet comparatively advanced, pottery vanished, and Saxon and See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early See also:

• NORMAN
• NORMAN, SIR HENRY WYLIE (1826-1904)

Norman times have See also:

• LEFT

left us little but wares resembling those of the Germanic and Frankish productions (fig . 5o) . The early See also:

• MIDDLE

middle ages passed without much improvement, and, though rare specimens—like the ewer in the,See also:

• FORM (Lat. forma)

form of a mounted See also:

• KNIGHT, CHARLES (1791-1873)
• KNIGHT, DANIEL RIDGWAY (1845– )
• KNIGHT, JOHN BUXTON (1843–1908)

knight in See also:

• SALISBURY
• SALISBURY, EARLS OF
• SALISBURY, ROBERT ARTHUR TALBOT GASCOYNECECIL, 3RD MARQUESS OF (1830-1903)
• SALISBURY, ROBERT CECIL, 1ST EARL OF (c. 1565-1612)
• SALISBURY, THOMAS DE MONTACUTE, 4TH EARL OF (1388-1428)
• SALISBURY, WILLIAM LONGSWORD (or LONGESPEE), EARL OF (d. 1226)

Salisbury Museum—proved that glazed wares were made in this See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country, the See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general run of our See also:

• MEDIEVAL

medieval pottery vessels never soared above the skill of the travelling See also:

• BRICK (derived according to some etymologists from the Teutonic bricke, a disk or plate; but more authoritatively, through the French brique, originally a " broken piece," applied especially to bread, and so to clay, from the Teutonic brikan, to break)

brick or See also:

• TILE (0. Eng. tigel, Fr. tuile, connected with Lat. tegula)

tile maker.' The monastic tile-makers, with their strong, See also:

• GOTHIC

Gothic tile pavements, produced See also:

• ARTISTIC

artistic See also:

• WORK

work of a very high See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order; but the patrons of the See also:

• COMMON

common See also:

• POTTER, ALONZO (1800-1865)
• POTTER, HENRY CODMAN (1835–1908)
• POTTER, J
• POTTER, JOHN (c. 1674-1747)
• POTTER, PAUL (1625—1654)
• POTTER, PHILIP CIPRIANI HAMBLEY (1792—1871)

potter remained content with his rudely made and simply glazed pitchers, flagons, dishes and mugs (see fig . 51) . Even in the 16th century the excellence of See also:

• ENGLISH

English See also:

• PEWTER

pewter probably acted as a barrier to the introduction of finer pottery, and it was only the importation of See also:

• FOREIGN

foreign wares—Italian, See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German, Dutch and See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French—that stirred up our native See also:

• CLAY (from O. Eng. claeg, a word common in various forms to Teutonic languages, cf. Ger. Klei)
• CLAY, CASSIUS MARCELLUS (1810-1903)
• CLAY, CHARLES (1801–1893)
• CLAY, FREDERIC (1838–1889)
• CLAY, HENRY (1777–1852)

clay-w ;rkers to the possibilities of their See also:

• ART

art . In early Tudor times there was some importation of Italian See also:

• MAJOLICA

majolica as well as of the Hispano-Moresque pieces, and the religious See also:

• WARS

wars as well as the See also:

• CONSTANT, BENJAMIN (1845-1902)

constant intercourse with the See also:

• LOW, SETH (1850- )
• LOW, WILL HICOK (1853- )

Low Countries brought over to the eastern counties not only the stonewares of the Rhineland and the " See also:

• DELFT

Delft " wares of Hol- See also:

• LAND

land, but also emigrant potters from those countries who tried to practise their native crafts amongst us . The See also:

• CIVIL

Civil See also:

• WAR
• WAR (O. Eng. werre, Fr. guerre, of Teutonic origin; cf. O.H.G. werran, to confound)

War appears to have been unable to check this new spirit, for we have the See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence of dated examples to show that various immigrants went on quietly practis- See also:

• ING

ing their See also:

• TRADE (O. Eng. trod, footstep, from tredan, to tread; in M. Eng. the forms teed, trod and trade appear, the last in the sense of a beaten track)
• TRADE, BOARD OF

trade along the See also:

• THAMES

Thames See also:

• SIDE
• SIDE (mod. Eski Adalia)

side, in what were then the out- skirts of See also:

• LONDON

London, and probably in the eastern counties and See also:

• KENT
• KENT, EARLS AND DUKES OF
• KENT, JAMES (1763-1847)
• KENT, WILLIAM (1685-1748)

Kent as well . It seems probable that the earliest See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence was an Italian one, but before this was firmly domiciled it was sup- planted by that of the Dutch and Germans .

The first wares of an improved See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind that were made in England are so closely re- lated to the German stonewares and the " Delft " wares that it is often difficult to determine whether actual specimens are of English or foreign origin . The first, and in some senses the greatest, of English potters was See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John See also:

• DWIGHT, JOHN (d. 1703)
• DWIGHT, JOHN SULLIVAN (1813-1893)
• DWIGHT, THEODORE WILLIAM (1822-1892)
• DWIGHT, TIMOTHY (1752-1817)

Dwight, an educated See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man, 1 An excellent See also:

• SUMMARY

summary of the remains of English medieval pottery will be found in Hobson's " Medieval Pottery found in England," Archaeological See also:

• JOURNAL
• JOURNAL (through Fr. from late Lat. diurnalis, daily)

Journal, vol. lix.who had held the See also:

• OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")

office of secretary to three successive bishops of See also:

• CHESTER
• CHESTER, EARLS OF

Chester, and who obtained a patent in 1671 for the manufacture of certain improved kinds of pottery . We have no knowledge where Dwight acquired his skill in the potter's art, for when he obtained his patent he was residing at See also:

• WIGAN

Wigan (See also:

• LANCASHIRE

Lancashire), far removed from the districts where foreign potters had settled . About 1672-1673 Dwight set up a factory at See also:

• FULHAM

Fulham, where he resided till his See also:

• DEATH

death in 1703 . He was always an eager experimenter, and from his diaries it seems certain that he was searching after the, then, mysterious See also:

• CHINESE, JAPANESE AND

Chinese See also:

• PORCELAIN

porcelain . We have no grounds for believing that he ever attained success in this See also:

• SEARCH, or VISIT AND SEARCH

search, for his known productions may be grouped into two See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

main classes: (1) Hard-fired red stoneware—mostly small vessels, teapots, mugs, &c., in See also:

• IMITATION (Lat. imitatio, from intitari, to imitate)

imitation of the Chinese buccaros ? (2) Whitish, See also:

• GREY, CHARLES GREY, 2ND EARL (1764-1845)
• GREY, HENRY GREY, 3RD EARL (1802-1894)
• GREY, LADY JANE (1537-1554)
• GREY, SIR EDWARD
• GREY, SIR GEORGE (1812–1898)

grey, or drab See also:

• SALT (a common Teutonic word, cf. Dutch zout, Ger. Salz, Scand. salt; cognate with Gr. &Xs, Lat. sal)
• SALT, SIR TITUS, BART

salt-glazed stoneware made in imitation of, and often not to be distinguished from, the wares of the Rhineland . But Dwight produced a considerable number of modelled portrait-busts, statuettes, &c., all in stoneware of various tints, which entitle him to a See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place in the very first See also:

• RANK (O.Fr. rant or rent, mod. rang, generally connected with the O.E. and O.H.G. bring, a ring)

rank of potters . The portrait-bust of See also:

• PRINCE
• PRINCE (Lat. princeps, from primus capio, " I am the first to take "; Ital. principe, Fr. prince)

Prince See also:

• RUPERT (1352—1410)
• RUPERT (HRODBERT), ST
• RUPERT, PRINCE, COUNT PALATINE OF THE RHINE AND DUKE OF BAVARIA (1619—1682)

Rupert (See also:

• BRITISH

British Museum), the statuettes of See also:

• MELEAGER (Gk. M€X aypos)

Meleager (British Museum), of See also:

• JUPITER

Jupiter (See also:

• LIVERPOOL
• LIVERPOOL, EARLS
• LIVERPOOL, EARLS OF

Liverpool), &c., are worthy of a sculptor of the Italian See also:

• RENAISSANCE, THE

Renaissance, while the recumbent effigy of See also:

• LYDIA

Lydia Dwight (See also:

• VICTORIA
• VICTORIA (or VITTORIA), TOMMASSO LUDOVICO DA (C. I540-C. 1613)
• VICTORIA [ALEXANDRINA VICTORIA]

Victoria and See also:

• ALBERT
• ALBERT (1490'1545)
• ALBERT (149o-1568)
• ALBERT (1522–1557)
• ALBERT (FRANCIS CHARLES AUGUSTUS ALBERT EMMANUEL) (1819—1861)
• ALBERT (FRIEDRICH RUDOLF ALBRECHT)
• ALBERT, FREDERICK AUGUSTUS
• ALBERT, MADAME (c. 2805—2846)

Albert Museum) is one of the most beautiful See also:

• WORKS

works ever executed by an English potter . Meantime the manufacture of See also:

• TIN (Lat.- stannum, whence the chemical symbol " Sn "; atomic weight =117.6, 0=16)

tin-enamelled pottery, in the See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style of " Delft," was prosecuted with increasing See also:

• INDUSTRY (Lat. industria, from indu-, a form of the pre, position in, and either stare, to stand, or struere, to pile up)

industry in London on the See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

south side of the See also:

• RIVER

river, and particularly at See also:

• LAMBETH

Lambeth . By the end of the 17th century the same imitation " Delft " wares were made at See also:

• BRISTOL
• BRISTOL, EARLS AND MARQUESSES OF
• BRISTOL, GEORGE DIGBY, 2ND EARL OF1 (1612-1677)
• BRISTOL, JOHN DIGBY, 1ST EARL OF 6 (1580-1653)

Bristol and Liverpool, continuing until, in the closing years of the 18th century, tin-enamelled earthenware was abandoned in favour of the perfected English cream-colour . There is a strong See also:

• FAMILY

family likeness in all this English " Delft," whether made at Lambeth, Bristol or Liverpool .

The See also:

• BODY

body of the See also:

• WARE

ware is harder and denser than in the tin-enamelled wares of the See also:

• CONTINENT (from Lat. continere, "to hold together "; hence " connected," " continuous ")

continent, and is not so suitable for its See also:

• SPECIAL

special purpose, as it is generally deficient in See also:

• LIME
• LIME (O. Eng. lim, Lat. limes, mud, from linere, to smear)

lime . The decoration is usually painted in See also:

• COBALT (symbol Co, atomic weight 59)

cobalt See also:

• BLUE (common in different forms to most European languages)

blue of See also:

• GOOD, JOHN MASON (1764-1827)

good See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone, though inferior in softness and richness of tint to that of the best Delft pieces; polychrome See also:

• PAINTING

painting was not so common, and it differs from that of the Dutchmen in the greater prevalence of a See also:

• PALE (through Fr. pal, from Lat. palms, a stake, for paglus, from the stem pag- of pangere, to fix; " pole " is from the same original source)

pale yellow colour and the general See also:

• ABSENCE (Lat. absentia)

absence of any good red like that found on the poly-chrome wares of Delft, See also:

• ROUEN

Rouen, &c . German stoneware also received a well-merited See also:

• SHARE (O. Eng. scearu, chiefly in compounds, e.g. land-scearu, a share of land, from sceran to cut; cf. " shear" )

share of See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long before the See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time of Dwight, and it is often impossible to distinguish the grey and See also:

• BROWN
• BROWN, CHARLES BROCKDEN (1771-181o)
• BROWN, FORD MADOX (1821-1893)
• BROWN, FRANCIS (1849- )
• BROWN, GEORGE (1818-188o)
• BROWN, HENRY KIRKE (1814-1886)
• BROWN, JACOB (1775–1828)
• BROWN, JOHN (1715–1766)
• BROWN, JOHN (1722-1787)
• BROWN, JOHN (1735–1788)
• BROWN, JOHN (1784–1858)
• BROWN, JOHN (1800-1859)
• BROWN, JOHN (1810—1882)
• BROWN, JOHN GEORGE (1831— )
• BROWN, ROBERT (1773-1858)
• BROWN, SAMUEL MORISON (1817—1856)
• BROWN, SIR GEORGE (1790-1865)
• BROWN, SIR JOHN (1816-1896)
• BROWN, SIR WILLIAM, BART
• BROWN, THOMAS (1663-1704)
• BROWN, THOMAS (1778-1820)
• BROWN, THOMAS EDWARD (1830-1897)
• BROWN, WILLIAM LAURENCE (1755–1830)

brown See also:

• ALE

ale-jugs, greybeards, &c., presumably of English manufacture in the 17th and early 18th centuries, from their German prototypes . Fulham remained an important centre of this manufacture, and a See also:

• FINE

fine brown stone-ware was largely made at See also:

• NOTTINGHAM
• NOTTINGHAM, CHARLES HOWARD, 1ST EARL OF1 (1536-1624)
• NOTTINGHAM, EARLS OF

Nottingham as early as 170o; in each See also:

• CASE
• CASE, JOHN (d. 1600)

case the manufacture continues in neighbouring districts to this See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day . The development of a native English pottery took place in See also:

• NORTH
• NORTH, BARONS
• NORTH, MARIANNE (1830—1890)
• NORTH, ROGER (1653-1734)
• NORTH, SIR THOMAS (1535?-16o1?)

North See also:

• STAFFORDSHIRE

Staffordshire . A growing community of See also:

• PEASANT (O. Fr. paysant, Mod. paysan; Lat. pagensis, belonging to the pagus or country; cf. " pagan ")

peasant potters, who manufactured some strongly decorative English wares by very simple means, was established here from the middle of the 17th century . Rudely fashioned dishes, jugs, bottles, &c., were shaped in the See also:

• LOCAL

local red-burning brick See also:

• CLAYS, PAUL JEAN (1819-1900)

clays, and, while the pieces were still soft, simple but effective decorative patterns were See also:

• DRAWN

drawn upon them in diluted See also:

• WHITE
• WHITE, ANDREW DICKSON (1832– )
• WHITE, GILBERT (1720–1793)
• WHITE, HENRY KIRKE (1785-1806)
• WHITE, HUGH LAWSON (1773-1840)
• WHITE, JOSEPH BLANCO (1775-1841)
• WHITE, RICHARD GRANT (1822-1885)
• WHITE, ROBERT (1645-1704)
• WHITE, SIR GEORGE STUART (1835– )
• WHITE, SIR THOMAS (1492-1567)
• WHITE, SIR WILLIAM ARTHUR (1824--1891)
• WHITE, SIR WILLIAM HENRY (1845– )
• WHITE, THOMAS (1628-1698)
• WHITE, THOMAS (c. 1550-1624)

white clay (slip), trailed on through a See also:

• QUILL

quill or from a narrow-spouted See also:

• VESSEL (O. Fr. vaissel, from a rare Lat. vascellum, dim. of vas, vase, urn)

vessel . This See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient and See also:

• WORLD

world-wide See also:

• PROCESS

process (for it was used by the Ptolemaic See also:

• EGYPTIAN

Egyptian, the Roman and the See also:

• BYZANTINE

Byzantine potters) has furnished the peasant potters of every See also:

• EUROPEAN

European country with characteristic wares, but nowhere was it used with greater skill than in England . The English slip-decorated wares are often spoken of as " Toft ware," because See also:

• THOMAS
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

Thomas Toft, living in what is now See also:

• HANLEY

Hanley (Staffordshire) boldly signed and dated many of his pieces (167o, &c.); but similar wares were made at See also:

• WROTHAM

Wrotham in Kent, in See also:

• DERBYSHIRE

Derbyshire, See also:

• WALES (Cymru, Gwalia, Cambria)

Wales and elsewhere . The repute of z Bottger at See also:

• MEISSEN

Meissen made a similar ware as his prelude to the See also:

• DISCOVERY

discovery of white porcelain, but this was after Dwight's death . W the Staffordshire See also:

• DISTRICT

district must have spread by the time of the Revolution, for soon after 1690 John See also:

• PHILIP
• PHILIP (Gr.'FiXtrsro , fond of horses, from dn)^eiv, to love, and limos, horse; Lat. Philip pus, whence e.g. M. H. Ger. Philippes, Dutch Filips, and, with dropping of the final s, It. Filippo, Fr. Philippe, Ger. Philipp, Sp. Felipe)
• PHILIP, JOHN (1775-1851)
• PHILIP, KING (c. 1639-1676)
• PHILIP, LANOGRAVE OF HESSE (1504-1567)

Philip Elers, a Dutchman of good family, settled there and began to make a See also:

• SUPERIOR

superior pottery to any previously made in the district . Elers is generally described as a See also:

• GREAT

great inventor who brought all kinds of knowledge into the district, but the only wares he is known .to have made were singularly like those of Dwight, and, quite recently, records of a lawsuit in which Dwight charged Elers and some other Staffordshire potters with suborning his work-men and infringing his See also:

• PATENTS

patents have been brought to See also:

• LIGHT

light .

It is certain that, from the time of Elers, the Staffordshire potters made great advances in the fabrication of their wares, and during the 18th century they evolved two distinctively English kinds of pottery , (1) the white and drab salt-glaze, (2) English earthenware . Staffordshire Salt-glaze.--It is uncertain when and how the Staffordshire potters learnt that a highly siliceous pottery could be glazed by throwing common salt into the See also:

• KILN (0. E. cylene, from the Lat. culina, a kitchen, cooking-stove)

kiln at the height of the firing, for the practice had originated in the Rhineland more than a century before . Many writers have maintained that the practice was introduced by Elers, but this is uncertain . Early in the 18th century a fine, white, thin, salt-glazed ware was made in Staffordshire, in many See also:

• QUAINT (O. Fr. cointe, from Lat. cognitus, known, probably influenced by association with Lat. corn plus, neat)

quaint and fanciful forms largely influenced by Chinese porcelain—still an See also:

• OBJECT

object of wonder and See also:

• MYSTERY (Gr. µw(Trilpcov, from tcuvrm, an initiate, µfew, to shut the mouth)

mystery . Teapots, See also:

• COFFEE (Fr: cafe, Ger. Kaffee)

coffee-pots, See also:

• TEA (Chinese cha, Amoy dialect t€)

tea-caddies, plates, dishes, See also:

• BOWLS

bowls, candlesticks, mugs and bottles were made in great variety, and at its best the ware is a dainty and elegant one, so that a brisk trade was See also:

• DEVELOPED

developed in the district, and, for the first time, a distinctively English pottery was exported to the continent and to the See also:

• AMERICAN

American colonies . English Earthenware.—The manufacture of tin-enamelled pottery scarcely obtained a foothold in Staffordshire, but the invention of the white salt-glazed ware paved the way for one of the greatest revolutions in the potter's art that the world has ever seen . This was nothing less than the-See also:

• ABANDONMENT (Fr. abandonnement, from abandonner, to abandon, relinquish; abandonner was originally equivalent to mettred banddn, to leave to the jurisdiction, i.e. of another, bandon being from Low Latin bandum, bannum, order, decree, " ban ")

abandonment of the See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary red or See also:

• BUFF (from Fr. bu.ffie, a buffalo)

buff clays with a coating of white slip or of tin-See also:

• ENAMEL (formerly " amel," derived through the Fr. amail, emmll, esmail, from a Latin word smaltum, first found in a 9th-century life of Leo IV.)

enamel, and the substitution of a ware white throughout its substance, prepared by mixing selected white-burning clays and finely-ground See also:

• FLINT
• FLINT, AUSTIN (1812-1886)
• FLINT, or FLTNTSHTRE (sir Gallestr)
• FLINT, ROBERT (1838- )
• FLINT, TIMOTHY (1780-1840)

flint (See also:

• SILICA

silica)) . The See also:

• CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change has generally been associated with See also:

• WEDGWOOD, JOSIAH (1730-1795)

Wedgwood, most famous of English potters, but he really only perfected, along with his contemporaries, the Warburtons, Turners and others, the work of See also:

• HALF

half a century's experiment and discovery . The ware compared most favour-ably, from the point of view of serviceableness, neatness and See also:

• MECHANICAL

mechanical finish, with all that had gone before it, and as the tin-enamelled wares had almost everywhere in See also:

• EUROPE

Europe sunk to the position of domestic crockery—for the Chinese, German, French and English porcelains had displaced it with the wealthy—this better-fashioned and more durable English ware gave it its final death-See also:

• BLOW, JOHN (1648-1708)

blow . English earthenware in its various forms was to be met with all over Europe, from London to See also:

• MOSCOW (Russian Moskva)
• MOSCOW, (Russian Moskva)

Moscow, and from See also:

• CADIZ
• CADIZ (Cadiz)
• CADIZ (in Lat. Gades, and formerly called Cales by the English)

Cadiz to See also:

• STOCKHOLM

Stockholm; and, aided by emigrant English potters, the See also:

• CONTINENTAL

continental nations soon began a similar manufacture for them-selves . Everywhere this great change was encouraged by the growing fondness for mechanical perfection, and it is not with-out a sigh that a See also:

• LOVER, SAMUEL (1797-1868)

lover of pottery can See also:

• WITNESS
• WITNESS (from O. Eng. witan, to know)

witness the See also:

• GRADUAL (Med. Lat. gradualis, of or belonging to steps or degrees; gradus, step)

gradual disappearance of the painted tin-enamelled wares—degenerate survivals though they were of Italian majolica, French See also:

• FAIENCE

faience and Dutch " Delft "—before the unconquerable advance of another form of pottery which in its inception was based on technical rather than artistic qualities, especially as nearly a century passed before the new material was turned to artistic See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account . By general consent the name of See also:

• JOSIAH (Heb. yo' shiyydhu, perhaps " Yah [weh] supports ")

Josiah Wedgwood has been pre-eminently associated with this great change, and with good See also:

• REASON (Lat. ratio, through French raison)

reason, for though he had many contemporaries who equalled or even excelled him in certain kinds of pottery, no other potter ever approached him in the range of his products and the varied applications to which he turned the exercise of his remarkable ' For a discussion of the stages through which this was achieved the reader is referred to special works, such as Prof .

A . H . See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

Church's English Earthenware, and W . See also:

• BURTON, JOHN HILL (1809–1881)
• BURTON, ROBERT (1577-1640)
• BURTON, SIR FREDERICK WILLIAM (1816–f goo)
• BURTON, SIR RICHARD FRANCIS (1821-1890)
• BURTON, WILLIAM EVANS (1804-1860)

Burton's English Earthenware and Stoneware.talents ? True, he soon abandoned the simple Staffordshire wares, coloured with mottled glazes or clay-slips, to which the names of Astbury or Whieldon are commonly attached, but the varied productions of his factory See also:

• UNITED

united the best work of a district fruitful in new kinds of pottery, with something especial to Wedgwood himself . Thus he adopted and improved the See also:

• GREEN, A
• GREEN, ALEXANDER HENRY (1832—1896)
• GREEN, DUFF (1791—1875)
• GREEN, JOHN RICHARD (1837—1883)
• GREEN, MATTHEW (1696-1737)
• GREEN, THOMAS HILL (1836-1882)
• GREEN, VALENTINE (1739–1813)
• GREEN, WILLIAM HENRY (.1825–1900)

green and yellow glazes which had come down from medieval times (see the cauliflower ware piece, Plate X.), and gave a new direction to their use in his green-glazed dessert services, candlesticks, &c . He carried on the manufacture of hard-fired red-clay teapots, mugs, coffee-pots, cream-jugs, &c., introduced by Elers; and, along with his See also:

• FELLOW

fellow-potters, he invented drab, grey, brown and other See also:

• COLOURS, MILITARY

colours in similarly hard-fired unglazed bodies . He neither invented nor alone perfected the Staffordshire cream-coloured earthenware, but he made it so well that his " See also:

• QUEEN
• QUEEN (O.E. cwen, wife, related to "quean," O.E. cwene, a hussy; cf. Gr. yvvi7: from root gan-, to produce; cf. genus, " kin," &c.)

Queen's ware " was the best of its class . He undoubtedly invented the See also:

• JASPER

Jasper ware, in which on grounds of unglazed blue, green, See also:

• BLACK
• BLACK, ADAM (1784-1874)
• BLACK, JEREMIAH SULLIVAN (1810–1883)
• BLACK, WILLIAM (1841-1898)

black, &c., white figures and ornamental motives, adapted from the See also:

• ANTIQUE (Lat. antiquus, old)

antique by See also:

• FLAXMAN, JOHN (1755-1826)

Flaxman, Webber and other sculptors, were applied; and he even attempted to re-produce the painted vases of the See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek decadence in dry colours painted over a hard black body . Wedgwood's " Jasper ware," his most See also:

• ORIGINAL

original See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production (see Plate X.), differed both in nature and See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition from all the See also:

• SPECIES

species of pottery that had preceded it . In an See also:

• ATTEMPT (Lat. adtemptare, attentare, to try)

attempt to obtain the qualities of the finest porcelain See also:

• BISCUIT (pronounced according to the old spelling " bisket," a Fr. form from Lat. bis, twice, and coctum, cooked, in reference to the original method of preparation; cf. Ital. biscotto, Sp. bizcocho, &c.)

biscuit, Wedgwood discovered, after years of experiment, that by mixing together a plastic white clay and " cawk " or See also:

• BARYTES

barytes he could obtain a " body " which might be " thrown " on the See also:

• WHEEL (0. Eng. hweol, hweohl, &c., cognate with Icel. hjol, Dan. hiul, the Indo-European root is seen in Sanskrit chakra, Gr. r in Aos, circle, whence " cycle ")
• WHEEL, BREAKING ON THE

wheel or " pressed " in moulds, and which, while it fired to a white and sub-translucent pottery,was capable of being coloured, by the usual metallic oxides, to various shades of blue, green, yellow, See also:

• LILAC

lilac and black . The ware resembled " biscuit " porcelain in that it needed no glaze to render it impervious to See also:

• WATER

water, and it thus marked the See also:

• CULMINATION (from Lat. culmen, summit)

culmination of those " dry " or unglazed wares that had been so largely made in See also:

• CHINA

China, See also:

• JAPAN

Japan and Europe, where the quality resides in the fired clay material without any See also:

• ADVENTITIOUS (from Lat. adventicius, coming from abroad)

adventitious aid from a glaze .

The general practice was to make the body of the vessel of a coloured material and to See also:

• ORNAMENT (Lat. ornare, to adorn)

ornament this with applied figures or ornamental reliefs, in " white " of the same kind, " pressed " from See also:

• INTAGLIO (an Ital. word, from intagliare, to incise, cut into)

intaglio moulds and then applied by wetting the See also:

• SURFACE

surface and squeezing—leaving the See also:

• FIRE (in O. Eng. f j'r; the word is common to West German languages, cf. Dutch vuur, Ger. Feuer; the pre-Teutonic form is seen in Sanskrit pu, pavaka, and Gr. irup; the ultimate origin is usually taken to be a root meaning to purify, cf. Lat. purus)

fire to unite the vessel and its applied ornament into one piece . Sometimes the ornament was in a coloured clay applied on a white body, and we get in the same way black on red, buff on red or black, and red or black on buff and drab bodies . The variety of bodies produced by Wedgwood and his followers in this way is exceedingly great, and is only to be equalled by the diversity of their application, for the pieces made include plaques, vases, plates, dishes, jardinieres, bulb-pots, teapots, cups and saucers, inkstands, See also:

• SCENT

scent-bottles, buttons, buckles, and, in a word, every kind of thing that could be made in clay . Many of the applied designs, whether of figures or ornament, were very beautiful in a way, being copied or adapted from Greek and Roman gems, vases, &c . At their best they are marvellous for the precision and delicacy of their See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution, and it is impossible to imagine that anything better could have been done in this style . So perfectly did they represent the See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste of their See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period that attempts were made at Sevres, Meissen, See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin and Buen Retiro to produce something of the same kind in porcelain; but none of these can be compared with the works of Wedgwood, or his great See also:

• CON

con-temporary See also:

• TURNER, CHARLES (1773–1857)
• TURNER, JOSEPH MALLORD WILLIAM (1775–1851)
• TURNER, NAT (1800-1831)
• TURNER, SHARON (1768-1847)
• TURNER, SIR JAMES (1615–1686)
• TURNER, WILLIAM (d. 1568)

Turner (see Plate X.), in beauty of colour or perfection of workmanship . It is obvious nowadays that much of this work was inspired by mistaken motives; that it was founded on an imperfect view of ancient art; and that it was marred by its mechanical ideals; but it must be remembered that it was in perfect See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

harmony 2 It is amusing or annoying to find in European museums the wares of Wedgwood, Turner, See also:

• ADAMS
• ADAMS, ANDREW LEITH (1827-1882)
• ADAMS, CHARLES FRANCIS (1807-1886)
• ADAMS, HENRY (1838— )
• ADAMS, HENRY CARTER (1852— )
• ADAMS, HERBERT (i858— )
• ADAMS, HERBERT BAXTER (1850—1901)
• ADAMS, JOHN (1735–1826)
• ADAMS, JOHN QUINCY (1767-1848)
• ADAMS, SAMUEL (1722-1803)
• ADAMS, THOMAS (d. c. 1655)
• ADAMS, WILLIAM (d. 162o)

Adams and one of the See also:

• LEEDS
• LEEDS, THOMAS OSBORNE

Leeds See also:

• POTTERIES, THE

potteries, all lumped together as " Wedgwood," and yet one can hardly wonder at it, remembering how much has been written of Wedgwood and how little of the other English potters of the 18th century . with the spirit of the times, and that while it emphasizes for us the pseudo-classic taste of the late 18th century, it marks an advance in the technical skill of the potter, which is simply astounding . The co-ordination of labour, which had gone further with the Greek and the Italian potter than is generally supposed, was now brought to a See also:

• CLIMAX, JOHN (c. 525–600 A.D.)

climax . Mechanical appliances were introduced for the performance of many portions of the potter's work that had hitherto been indifferently performed by See also:

• RUDE, FRANCOIS (1784–1855)

rude and exhausting See also:

• MANUAL

manual toil; and while the application of mechanism was pushed too far—so that in the first half of the 19th century we find the most inartistic pottery the world has ever seen—we must regard this even more as a cyclic See also:

• MOVEMENT

movement of human feeling than as the work of any individual, or See also:

• GROUP

group of men . The late 18th century marks the period when pottery was no longer produced, as Italian majolica, the See also:

• HENRI

Henri-Deux ware, the See also:

• PALISSY, BERNARD (1510-1589)

Palissy wares, the best faience of See also:

• NEVERS

Nevers, Rouen, Moustiers, Delft or See also:

• NUREMBERG (Ger. Nurnberg)

Nuremberg had been, for the See also:

• NOBLE, SIR ANDREW (1832- )

noble or the wealthy, but when it was largely in demand by the poorer classes, anxious in their turn to have a useful ware which should imitate the more costly porcelain used by the great . France, Germany, See also:

• SWEDEN
• SWEDEN [Sverige]
• SWEDEN, NORWAY AND

Sweden, See also:

• RUSSIA
• RUSSIA (Rossiya)

Russia, and later the United States, all followed in the See also:

• WAKE (A.S. wacan, to " wake " or " watch ")
• WAKE, THOMAS (1297-1349)
• WAKE, WILLIAM (1657-1737)

wake of the English potters, and the See also:

• PRINTING (from Lat. imprimere, O. Fr. empreindre)

printing-See also:

• PRESS (through Fr. presse from Lat. pressare, frequentative of premere, to crush, squeeze, press)

press was applied in all countries to produce elaborate engraved patterns in blue, brown, green, &c., in order to get an effective-looking ware in harmony with the spirit of the times, and at the same time cheaper in See also:

• PRICE
• PRICE, BARTHOLOMEW (1818–1898)
• PRICE, BONAMY (1807-1888)
• PRICE, RICHARD (1723-1791)

price than the simple painted patterns of the vanquished tin-enamel .

Collections.—The British and the Victoria and Albert Museums naturally contain the most representative collections of English pottery . The museums at Liverpool, Bristol, See also:

• BURSLEM

Burslem, Hanley and Nottingham, also have good collections, while See also:

• BIRMINGHAM

Birmingham, See also:

• MANCHESTER
• MANCHESTER (popularly Manchester-by-the-Sea)
• MANCHESTER, EARLS AND DUKES OF

Manchester and Stoke-upon-See also:

• TRENT
• TRENT (Lat. Tridentum; Ital. Trento; Ger. relent)
• TRENT, COUNCIL OF

Trent may be mentioned . The See also:

• GUILDHALL

Guildhall Museum, London, is See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich in early wares found or made in London and its vicinity . Continental collections of English pottery are meagre in the extreme and badly described, even in the ceramic museums at Sevres and See also:

• LIMOGES

Limoges . The collection at See also:

• DRESDEN

Dresden is interesting, as it was See also:

• PURCHASED

purchased from the collection made by See also:

• ENOCH, BOOK OF

Enoch See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

Wood, a Staffordshire potter . In See also:

• AMERICA

America, the See also:

• BOSTON
• BOSTON, THOMAS (1676-1732)

Boston Museum of Fine Arts, the See also:

• METROPOLITAN (Lat. metropolitanus, Gr. µnrpoiroXtrns)

Metropolitan Museum of New See also:

• YORK
• YORK (HOUSE OF)
• YORK, EDMUND OF LANGLEY, DUKE OF (1341-1402)
• YORK, EDWARD
• YORK, FREDERICK AUGUSTUS, DUKE OF (1763-1827)
• YORK, RICHARD, DUKE

York, and the See also:

• PENNSYLVANIA
• PENNSYLVANIA, UNIVERSITY OF

Pennsylvania See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy of Fine Arts at See also:

• PHILADELPHIA

Philadelphia, contain interesting examples of wares exported to America in the late 18th and early 19th centuries .