[201]This Venetian china, either of hard paste or of the hybrid class, must not be confused with the opaque glass, thelattimo, or, more properly,Latisuol, ware, made about 1730 in imitation of porcelain both at Murano, and also near Bassano.[202]Compare with this the use of steatite, a magnesian rock, from the Lizard, at Worcester, and at other West of England factories. The Chinese have also at times made use of a steatitic rock.[203]Marryat (p. 451) gives an interesting account of this enterprising man. He was occupied also in the draining of marshes, the improvement of agriculture, and the promotion of commerce.[204]With this appointment we may perhaps connect the elaborate trophy of white porcelain at South Kensington. The figures of slaves on which this is supported are modelled after those of Tacca on the celebrated monument at Leghorn. This piece is attributed, however, to the Capo di Monte factory.[205]The word ‘china’ is sometimes used in Spain in the same vague sense as in England, but the name seems only to have come in with the Staffordshire ware so largely imported in the last century. Note, however, that the factory at Buen Retiro was known as La China.[206]I quote this remarkable passage from Sir A. W. Franks’s paper on the origin of the Chelsea porcelain works (Archæol. Journal, 1862). Marryat misquotes and misinterprets the passage.[207]One possible exception to this very general statement may be found in a pamphlet quoted by Mr. Solon,Instructions how to make as good china as was ever sold by the East India Companyby A. Hill, London, 1716. According to this writer, fragments of Oriental china were to be finely ground and mixed with fluxing and plastic materials to form a paste. Now there is evidence that at a much later date ‘potsherds’ were imported from China, and ground up to form an ingredient of the porcelain, both at Bow and at Worcester.[208]The memorandum-book of Duesbury, the future porcelain king, begins in 1742. He was then working, on weekly wages, as an ‘enameller’ of china figures. But was the ware that he was decorating at this time a true porcelain?[209]Mr. Burton says that at the present day the Staffordshire porcelain is composed of bone-ash 6 parts, china-stone 4 parts, and kaolin 3½ parts.[210]Mr. Willett, of Brighton, has a pair of ‘goat and bee’ jugs in silver, with the hall-mark of 1739.[211]There is an interesting series of these very early pieces in the British Museum. A white ware salt-cellar, with crayfish in relief, has the triangle mark. A jug, in the form of a grotesque Chinaman, is a good specimen of the early paste. We notice the same waxy look in the paste that we find in the Saint-Cloud ware. The surface, however, is generally grayer.[212]In 1758 we find an advertisement of a house to let in ‘China Walk,’ Chelsea.[213]Both Gouyn and his successor, Sprimont, were very likely Walloons from the neighbourhood of Liége. In a contemporary work, however, the latter is spoken of as ‘a French artist of great abilities.’ Rouguet’sPresent State of the Arts, 1755.[214]Note the term ‘earthenware.’ As in a much earlier proclamation of the time of Charlesii.(forbidding the importation of painted earthenware, except ‘those of China, and stone bottles and jugs’), the word is used officially to include porcelain.[215]Such a regulation would seem to show that in England the enamel-painters were in the field earlier than the manufacturers of porcelain.[216]The later date is supported by the statement of Sprimont in his ‘Case,’ that ‘the ground flat of the manufacturer has gone on still increasing,’ for we know that the works were enlarged in 1757. The expression ‘crowned head’ applies better to the King of Prussia than to the Elector of Saxony. In 1760, as we have seen, Count Schimmelmann was at Hamburg selling, on behalf of Frederick, part of the vast stocks accumulated at Meissen.[217]In a London paper of December 4, 1763, appeared the following statement—I quote from Mr. Nightingale’s book,—‘A few days since, his R. Highness the Duke of Cumberland was at Mr. Sprimont’s manufactory at Chelsea, and we are informed that his Highness will shortly purchase the same, that so matchless an art should not be lost.’ A week later, however, a formal contradiction of this report appeared in another paper, in the form of a note at the end of an advertisement of the sale of the contents of Sprimont’s factory. All this has a very modern air. We have a skilful combination of theballon d’essaiand the puff preliminary.[218]This collection has lately disappeared from its old home in the Geological Museum, where it had been the delight of two generations of collectors. Most of the specimens have, however, quite recently been discovered at South Kensington.[219]Much of the white ware at this time was decorated outside by ‘chamberers.’ Compare the memorandum-book of Duesbury quoted below.[220]The advertisement of these sales in contemporary newspapers, and many of the catalogues, have been collected together and reprinted by the late Mr. J. E. Nightingale.[221]Before this time the gold had been simply laid on with japanner’s size and only gently heated. See Burton’sEnglish Porcelain, p. 46.[222]There was a revival of the practice of mounting, or, to use the old term, ‘garnishing’ porcelain in ormolu about this time. At Boulton’s works at Soho, near Birmingham, famous, a little later, in the history of the steam-engine, these metal mountings were largely made, and Wedgwood began to apply them to some of his wares (see Nightingale, p. xxxiv.).[223]I can find no confirmation of the statement that Roubiliac modelled figures for Sprimont. Certain statuettes bearing an R. impressed on the paste have been attributed to him. There is no reference to any such work in the life of the artist by M. Le Roy de St. Croix (Lyons, 1886). Roubiliac, who died in 1762, was already in 1750 at the height of his reputation, and fully employed in more important work.[224]Mr. Burton points out that it would be quite impossible to make a translucent ware with the materials of the first patent. He doubts also the use of bone-ash in the earlier porcelain of Bow, the paste of which is distinctly of the Saint-Cloud type. I think, however, that there can be little doubt but that the ‘virgin earth’ refers to bone-ash, and the fragments from Bow in which this substance has been found seem to be derived from an early ware.[225]Specimens from this find may be seen at the British Museum, at South Kensington, and in the late Jermyn Street collection. An interesting and detailed account of the fragments, which were excavated and arranged by Mr. Higgins of the adjacent match-works, will be found in Chaffers’sMarks, pp. 908seq.[226]This difficulty of making the decoration keep pace with the outturn of the kilns was felt at this time at other kilns—from King-te-chen to Sèvres and Worcester. Recourse was more and more had to the outside enameller—the ‘chamberer’—on the one hand, and to transfer-printing on the other.[227]This document is exhibited at the British Museum by the side of the punch-bowl.[228]These figures are probably exaggerated. Sprimont, a little earlier, says that he was employing at Chelsea ‘at least one hundred hands.’[229]‘Printed teas and mugs’ are mentioned in Bowcocke’s memorandum-book in 1756.[230]See Nightingale’sEnglish Porcelain, pp. li.seq., and Bemrose’sBow, Chelsea, and Derby Porcelain, pp. 153seq.[231]The rococo vases, however, of this ware in the British Museum seem to be of a somewhat later date, if we take Sprimont’s work at Chelsea as a criterion.[232]These ‘Darby figars’ may possibly have been of earthenware. There are some richly painted statuettes of this material at South Kensington, though these indeed seem to be of a somewhat later date.[233]Mr. Bemrose, in his work onBow, Chelsea, and Derby Porcelain, gives photographic reproductions of several pages from Duesbury’s work-book.[234]These details I take from the notes of a man who had formerly practical experience of such work—Mr. Haslem, in hisOld Derby China Factory.[235]And yet the colours are sometimes brilliant and effective—for example, on a large dish or tray of Spode ware at South Kensington (see below,p. 373). This strange ‘breaking-down’ of the old Japanese patterns may be compared to the scattered fragments of the original Greek design that we see on the pre-Roman coins of Gaul and Britain.[236]It appears from a correspondence that has been preserved that in 1791 the second Duesbury was looking out for royal support. ‘A gentleman about the court’ whom he consulted recommended him to seek the patronage of the Duke of Clarence, for, said he, ‘the duke is theonly prince that pays the tradespeople.’ At that time there was great jealousy of the Worcester works, where the king had lately made large purchases.[237]WhyTonquin, of all places? We should rather have expected to find Nankin or Canton, as at Bow.[238]See the engraving in theGentleman’s Magazinefor August 1752. This was in the nature of a puff. In the corner we read ‘A sale of the Manufacture will begin at the Worcester Music Meeting on September 20th, with great variety of ware and, ’tis said, at a moderate price.’ Edward Cave, the originator of theGentleman’s Magazine, and ‘the father of parliamentary reporting,’ was an important shareholder of the Worcester works.[239]Steatite is essentially a silicate of magnesia. We have seen that a soapy rock, probably of this nature, entered at times into the composition of the porcelain made at King-te-chen. At a later time silicate of magnesia, in various forms, has found its way into the hybrid pastes of Italy and Spain.[240]These two buildings may be probably traced back to the Temple of Vespasian, in the Forum, and to the Pyramid of Cestius respectively. Hancock must have got his materials from French and Italian engravings after Claude and Pannini.[241]Dr. Johnson was for a long time a close neighbour—his well-known interest in the manufacture of porcelain must have brought him into contact with the Baxter family. We find a Baxter mentioned in Bowcocke’s notes as early as 1751. See Chaffers, p. 896.[242]The teapot in the Schreiber collection with the mark ‘Allen, Lowestoft,’ must be regarded as asupercherie. The painting on it of a crucifixion is evidently by a Chinese hand. This teapot has, however, been connected with an Allen of Lowestoft, a porcelain enameller and amateur glass-stainer.[243]Some recent discoveries of moulds make it, however, probable that the early wares of Worcester and Bow were imitated at Lowestoft.[244]We are told that the first three of these substances areto be fritted together, but this would be manifestly impossible. The recipe is curious as being an anticipation of the materials used by Spode thirty years later. But we must receive most of these recipes that have thus come down to uscum grano.[245]This ‘soapy rock’ was at once identified with the steatite of the Lizard. The other porcelain experts, from Worcester and from Liverpool, who visited Cornwall about this time, seem to have devoted their attention more especially to this substance. They were thus, to some extent, on a false scent, for the Père D’Entrecolles probably somewhat exaggerated the importance of thisWha-she, and, moreover, as has been shown by later French investigation, most of the material of soapy consistency employed at King-te-chen is no true steatite or magnesian silicate, but rather a more fusible variety of the petuntse, containing much mica.[246]Was Frye, the painter of Bow, who first made use of the American earth, also a quaker? Cookworthy and Champion, it appears, first became acquainted with one another through the medium of one of the Bristol Frys, and it is known that moulds and patterns from Bow were used at Plymouth. It is at least remarkable that we should be indebted for our knowledge of the constitution of Chinese porcelain, in the first place, to a Jesuit father, and then to a member of the Society of Friends; while, on the other hand, Böttger—like Cookworthy, a druggist—was an adept in the dark arts.[247]Besides the factory mentioned in this letter, we hear from the diary of Dr. Pococke that as early as 1750 a white ware with reliefs was made at the ‘Lowris China house’ with ‘soapy-rock from Lizard Point.’ A sauce-boat marked ‘Bristoll’ is referred to these works in theGuide to English Pottery in the British Museum, p. 109.[248]Lauraguais (Comte de), Duc de Brancas, born 1733; died 1824.[249]Seep. 306. At Strawberry Hill was ‘Michael Angelo’s Bacchus, made in the china of the Comte de Lauraguais, from the collection of the Comte de Caylus’ (Walpole’sWorks, ii. 405seq.).[250]By Champion, at least, at a later time. The cross swords have in some cases been subsequently obliterated (Pl. e. 84). Mr. Owen thinks that this was in consequence of a quarrel with the custom-house authorities in 1775.[251]And for tin also. The mark was adopted, no doubt, in honour of the ‘premier’ product of Cornwall. It would, however, be more in place on a ware with an opaque tin glaze, such as the soft paste of Chantilly.[252]So at Sèvres during the greater part of the last century the glaze has consisted of pegmatite, a very similar material to the Cornish growan-stone. The inconveniences of such a glaze have been pointed out by Vogt and others.[253]Of another workman employed by Champion, one Anthony Amatt, Mr. Hugh Owen gives some particulars. At one time, attempting to cross the Channel and find employment in France, he was arrested—at the instigation, it is said, of Wedgwood—and confined for some time as a State prisoner. Amatt died in 1851 at the age of ninety-two. Wedgwood was very active in preventing the emigration of English potters, who, he declared, were lured from their country by French and German agents (Meteyard’sWedgwood, ii. p. 475).[254]There are also in existence some examples of undoubted Bristol hard-paste porcelain, covered with a soft lead glaze.[255]The porcelain made by Count Lauraguais, to judge by the analysis given above, must have contained even more kaolin than the Bristol ware.
[201]This Venetian china, either of hard paste or of the hybrid class, must not be confused with the opaque glass, thelattimo, or, more properly,Latisuol, ware, made about 1730 in imitation of porcelain both at Murano, and also near Bassano.
[201]This Venetian china, either of hard paste or of the hybrid class, must not be confused with the opaque glass, thelattimo, or, more properly,Latisuol, ware, made about 1730 in imitation of porcelain both at Murano, and also near Bassano.
[202]Compare with this the use of steatite, a magnesian rock, from the Lizard, at Worcester, and at other West of England factories. The Chinese have also at times made use of a steatitic rock.
[202]Compare with this the use of steatite, a magnesian rock, from the Lizard, at Worcester, and at other West of England factories. The Chinese have also at times made use of a steatitic rock.
[203]Marryat (p. 451) gives an interesting account of this enterprising man. He was occupied also in the draining of marshes, the improvement of agriculture, and the promotion of commerce.
[203]Marryat (p. 451) gives an interesting account of this enterprising man. He was occupied also in the draining of marshes, the improvement of agriculture, and the promotion of commerce.
[204]With this appointment we may perhaps connect the elaborate trophy of white porcelain at South Kensington. The figures of slaves on which this is supported are modelled after those of Tacca on the celebrated monument at Leghorn. This piece is attributed, however, to the Capo di Monte factory.
[204]With this appointment we may perhaps connect the elaborate trophy of white porcelain at South Kensington. The figures of slaves on which this is supported are modelled after those of Tacca on the celebrated monument at Leghorn. This piece is attributed, however, to the Capo di Monte factory.
[205]The word ‘china’ is sometimes used in Spain in the same vague sense as in England, but the name seems only to have come in with the Staffordshire ware so largely imported in the last century. Note, however, that the factory at Buen Retiro was known as La China.
[205]The word ‘china’ is sometimes used in Spain in the same vague sense as in England, but the name seems only to have come in with the Staffordshire ware so largely imported in the last century. Note, however, that the factory at Buen Retiro was known as La China.
[206]I quote this remarkable passage from Sir A. W. Franks’s paper on the origin of the Chelsea porcelain works (Archæol. Journal, 1862). Marryat misquotes and misinterprets the passage.
[206]I quote this remarkable passage from Sir A. W. Franks’s paper on the origin of the Chelsea porcelain works (Archæol. Journal, 1862). Marryat misquotes and misinterprets the passage.
[207]One possible exception to this very general statement may be found in a pamphlet quoted by Mr. Solon,Instructions how to make as good china as was ever sold by the East India Companyby A. Hill, London, 1716. According to this writer, fragments of Oriental china were to be finely ground and mixed with fluxing and plastic materials to form a paste. Now there is evidence that at a much later date ‘potsherds’ were imported from China, and ground up to form an ingredient of the porcelain, both at Bow and at Worcester.
[207]One possible exception to this very general statement may be found in a pamphlet quoted by Mr. Solon,Instructions how to make as good china as was ever sold by the East India Companyby A. Hill, London, 1716. According to this writer, fragments of Oriental china were to be finely ground and mixed with fluxing and plastic materials to form a paste. Now there is evidence that at a much later date ‘potsherds’ were imported from China, and ground up to form an ingredient of the porcelain, both at Bow and at Worcester.
[208]The memorandum-book of Duesbury, the future porcelain king, begins in 1742. He was then working, on weekly wages, as an ‘enameller’ of china figures. But was the ware that he was decorating at this time a true porcelain?
[208]The memorandum-book of Duesbury, the future porcelain king, begins in 1742. He was then working, on weekly wages, as an ‘enameller’ of china figures. But was the ware that he was decorating at this time a true porcelain?
[209]Mr. Burton says that at the present day the Staffordshire porcelain is composed of bone-ash 6 parts, china-stone 4 parts, and kaolin 3½ parts.
[209]Mr. Burton says that at the present day the Staffordshire porcelain is composed of bone-ash 6 parts, china-stone 4 parts, and kaolin 3½ parts.
[210]Mr. Willett, of Brighton, has a pair of ‘goat and bee’ jugs in silver, with the hall-mark of 1739.
[210]Mr. Willett, of Brighton, has a pair of ‘goat and bee’ jugs in silver, with the hall-mark of 1739.
[211]There is an interesting series of these very early pieces in the British Museum. A white ware salt-cellar, with crayfish in relief, has the triangle mark. A jug, in the form of a grotesque Chinaman, is a good specimen of the early paste. We notice the same waxy look in the paste that we find in the Saint-Cloud ware. The surface, however, is generally grayer.
[211]There is an interesting series of these very early pieces in the British Museum. A white ware salt-cellar, with crayfish in relief, has the triangle mark. A jug, in the form of a grotesque Chinaman, is a good specimen of the early paste. We notice the same waxy look in the paste that we find in the Saint-Cloud ware. The surface, however, is generally grayer.
[212]In 1758 we find an advertisement of a house to let in ‘China Walk,’ Chelsea.
[212]In 1758 we find an advertisement of a house to let in ‘China Walk,’ Chelsea.
[213]Both Gouyn and his successor, Sprimont, were very likely Walloons from the neighbourhood of Liége. In a contemporary work, however, the latter is spoken of as ‘a French artist of great abilities.’ Rouguet’sPresent State of the Arts, 1755.
[213]Both Gouyn and his successor, Sprimont, were very likely Walloons from the neighbourhood of Liége. In a contemporary work, however, the latter is spoken of as ‘a French artist of great abilities.’ Rouguet’sPresent State of the Arts, 1755.
[214]Note the term ‘earthenware.’ As in a much earlier proclamation of the time of Charlesii.(forbidding the importation of painted earthenware, except ‘those of China, and stone bottles and jugs’), the word is used officially to include porcelain.
[214]Note the term ‘earthenware.’ As in a much earlier proclamation of the time of Charlesii.(forbidding the importation of painted earthenware, except ‘those of China, and stone bottles and jugs’), the word is used officially to include porcelain.
[215]Such a regulation would seem to show that in England the enamel-painters were in the field earlier than the manufacturers of porcelain.
[215]Such a regulation would seem to show that in England the enamel-painters were in the field earlier than the manufacturers of porcelain.
[216]The later date is supported by the statement of Sprimont in his ‘Case,’ that ‘the ground flat of the manufacturer has gone on still increasing,’ for we know that the works were enlarged in 1757. The expression ‘crowned head’ applies better to the King of Prussia than to the Elector of Saxony. In 1760, as we have seen, Count Schimmelmann was at Hamburg selling, on behalf of Frederick, part of the vast stocks accumulated at Meissen.
[216]The later date is supported by the statement of Sprimont in his ‘Case,’ that ‘the ground flat of the manufacturer has gone on still increasing,’ for we know that the works were enlarged in 1757. The expression ‘crowned head’ applies better to the King of Prussia than to the Elector of Saxony. In 1760, as we have seen, Count Schimmelmann was at Hamburg selling, on behalf of Frederick, part of the vast stocks accumulated at Meissen.
[217]In a London paper of December 4, 1763, appeared the following statement—I quote from Mr. Nightingale’s book,—‘A few days since, his R. Highness the Duke of Cumberland was at Mr. Sprimont’s manufactory at Chelsea, and we are informed that his Highness will shortly purchase the same, that so matchless an art should not be lost.’ A week later, however, a formal contradiction of this report appeared in another paper, in the form of a note at the end of an advertisement of the sale of the contents of Sprimont’s factory. All this has a very modern air. We have a skilful combination of theballon d’essaiand the puff preliminary.
[217]In a London paper of December 4, 1763, appeared the following statement—I quote from Mr. Nightingale’s book,—‘A few days since, his R. Highness the Duke of Cumberland was at Mr. Sprimont’s manufactory at Chelsea, and we are informed that his Highness will shortly purchase the same, that so matchless an art should not be lost.’ A week later, however, a formal contradiction of this report appeared in another paper, in the form of a note at the end of an advertisement of the sale of the contents of Sprimont’s factory. All this has a very modern air. We have a skilful combination of theballon d’essaiand the puff preliminary.
[218]This collection has lately disappeared from its old home in the Geological Museum, where it had been the delight of two generations of collectors. Most of the specimens have, however, quite recently been discovered at South Kensington.
[218]This collection has lately disappeared from its old home in the Geological Museum, where it had been the delight of two generations of collectors. Most of the specimens have, however, quite recently been discovered at South Kensington.
[219]Much of the white ware at this time was decorated outside by ‘chamberers.’ Compare the memorandum-book of Duesbury quoted below.
[219]Much of the white ware at this time was decorated outside by ‘chamberers.’ Compare the memorandum-book of Duesbury quoted below.
[220]The advertisement of these sales in contemporary newspapers, and many of the catalogues, have been collected together and reprinted by the late Mr. J. E. Nightingale.
[220]The advertisement of these sales in contemporary newspapers, and many of the catalogues, have been collected together and reprinted by the late Mr. J. E. Nightingale.
[221]Before this time the gold had been simply laid on with japanner’s size and only gently heated. See Burton’sEnglish Porcelain, p. 46.
[221]Before this time the gold had been simply laid on with japanner’s size and only gently heated. See Burton’sEnglish Porcelain, p. 46.
[222]There was a revival of the practice of mounting, or, to use the old term, ‘garnishing’ porcelain in ormolu about this time. At Boulton’s works at Soho, near Birmingham, famous, a little later, in the history of the steam-engine, these metal mountings were largely made, and Wedgwood began to apply them to some of his wares (see Nightingale, p. xxxiv.).
[222]There was a revival of the practice of mounting, or, to use the old term, ‘garnishing’ porcelain in ormolu about this time. At Boulton’s works at Soho, near Birmingham, famous, a little later, in the history of the steam-engine, these metal mountings were largely made, and Wedgwood began to apply them to some of his wares (see Nightingale, p. xxxiv.).
[223]I can find no confirmation of the statement that Roubiliac modelled figures for Sprimont. Certain statuettes bearing an R. impressed on the paste have been attributed to him. There is no reference to any such work in the life of the artist by M. Le Roy de St. Croix (Lyons, 1886). Roubiliac, who died in 1762, was already in 1750 at the height of his reputation, and fully employed in more important work.
[223]I can find no confirmation of the statement that Roubiliac modelled figures for Sprimont. Certain statuettes bearing an R. impressed on the paste have been attributed to him. There is no reference to any such work in the life of the artist by M. Le Roy de St. Croix (Lyons, 1886). Roubiliac, who died in 1762, was already in 1750 at the height of his reputation, and fully employed in more important work.
[224]Mr. Burton points out that it would be quite impossible to make a translucent ware with the materials of the first patent. He doubts also the use of bone-ash in the earlier porcelain of Bow, the paste of which is distinctly of the Saint-Cloud type. I think, however, that there can be little doubt but that the ‘virgin earth’ refers to bone-ash, and the fragments from Bow in which this substance has been found seem to be derived from an early ware.
[224]Mr. Burton points out that it would be quite impossible to make a translucent ware with the materials of the first patent. He doubts also the use of bone-ash in the earlier porcelain of Bow, the paste of which is distinctly of the Saint-Cloud type. I think, however, that there can be little doubt but that the ‘virgin earth’ refers to bone-ash, and the fragments from Bow in which this substance has been found seem to be derived from an early ware.
[225]Specimens from this find may be seen at the British Museum, at South Kensington, and in the late Jermyn Street collection. An interesting and detailed account of the fragments, which were excavated and arranged by Mr. Higgins of the adjacent match-works, will be found in Chaffers’sMarks, pp. 908seq.
[225]Specimens from this find may be seen at the British Museum, at South Kensington, and in the late Jermyn Street collection. An interesting and detailed account of the fragments, which were excavated and arranged by Mr. Higgins of the adjacent match-works, will be found in Chaffers’sMarks, pp. 908seq.
[226]This difficulty of making the decoration keep pace with the outturn of the kilns was felt at this time at other kilns—from King-te-chen to Sèvres and Worcester. Recourse was more and more had to the outside enameller—the ‘chamberer’—on the one hand, and to transfer-printing on the other.
[226]This difficulty of making the decoration keep pace with the outturn of the kilns was felt at this time at other kilns—from King-te-chen to Sèvres and Worcester. Recourse was more and more had to the outside enameller—the ‘chamberer’—on the one hand, and to transfer-printing on the other.
[227]This document is exhibited at the British Museum by the side of the punch-bowl.
[227]This document is exhibited at the British Museum by the side of the punch-bowl.
[228]These figures are probably exaggerated. Sprimont, a little earlier, says that he was employing at Chelsea ‘at least one hundred hands.’
[228]These figures are probably exaggerated. Sprimont, a little earlier, says that he was employing at Chelsea ‘at least one hundred hands.’
[229]‘Printed teas and mugs’ are mentioned in Bowcocke’s memorandum-book in 1756.
[229]‘Printed teas and mugs’ are mentioned in Bowcocke’s memorandum-book in 1756.
[230]See Nightingale’sEnglish Porcelain, pp. li.seq., and Bemrose’sBow, Chelsea, and Derby Porcelain, pp. 153seq.
[230]See Nightingale’sEnglish Porcelain, pp. li.seq., and Bemrose’sBow, Chelsea, and Derby Porcelain, pp. 153seq.
[231]The rococo vases, however, of this ware in the British Museum seem to be of a somewhat later date, if we take Sprimont’s work at Chelsea as a criterion.
[231]The rococo vases, however, of this ware in the British Museum seem to be of a somewhat later date, if we take Sprimont’s work at Chelsea as a criterion.
[232]These ‘Darby figars’ may possibly have been of earthenware. There are some richly painted statuettes of this material at South Kensington, though these indeed seem to be of a somewhat later date.
[232]These ‘Darby figars’ may possibly have been of earthenware. There are some richly painted statuettes of this material at South Kensington, though these indeed seem to be of a somewhat later date.
[233]Mr. Bemrose, in his work onBow, Chelsea, and Derby Porcelain, gives photographic reproductions of several pages from Duesbury’s work-book.
[233]Mr. Bemrose, in his work onBow, Chelsea, and Derby Porcelain, gives photographic reproductions of several pages from Duesbury’s work-book.
[234]These details I take from the notes of a man who had formerly practical experience of such work—Mr. Haslem, in hisOld Derby China Factory.
[234]These details I take from the notes of a man who had formerly practical experience of such work—Mr. Haslem, in hisOld Derby China Factory.
[235]And yet the colours are sometimes brilliant and effective—for example, on a large dish or tray of Spode ware at South Kensington (see below,p. 373). This strange ‘breaking-down’ of the old Japanese patterns may be compared to the scattered fragments of the original Greek design that we see on the pre-Roman coins of Gaul and Britain.
[235]And yet the colours are sometimes brilliant and effective—for example, on a large dish or tray of Spode ware at South Kensington (see below,p. 373). This strange ‘breaking-down’ of the old Japanese patterns may be compared to the scattered fragments of the original Greek design that we see on the pre-Roman coins of Gaul and Britain.
[236]It appears from a correspondence that has been preserved that in 1791 the second Duesbury was looking out for royal support. ‘A gentleman about the court’ whom he consulted recommended him to seek the patronage of the Duke of Clarence, for, said he, ‘the duke is theonly prince that pays the tradespeople.’ At that time there was great jealousy of the Worcester works, where the king had lately made large purchases.
[236]It appears from a correspondence that has been preserved that in 1791 the second Duesbury was looking out for royal support. ‘A gentleman about the court’ whom he consulted recommended him to seek the patronage of the Duke of Clarence, for, said he, ‘the duke is theonly prince that pays the tradespeople.’ At that time there was great jealousy of the Worcester works, where the king had lately made large purchases.
[237]WhyTonquin, of all places? We should rather have expected to find Nankin or Canton, as at Bow.
[237]WhyTonquin, of all places? We should rather have expected to find Nankin or Canton, as at Bow.
[238]See the engraving in theGentleman’s Magazinefor August 1752. This was in the nature of a puff. In the corner we read ‘A sale of the Manufacture will begin at the Worcester Music Meeting on September 20th, with great variety of ware and, ’tis said, at a moderate price.’ Edward Cave, the originator of theGentleman’s Magazine, and ‘the father of parliamentary reporting,’ was an important shareholder of the Worcester works.
[238]See the engraving in theGentleman’s Magazinefor August 1752. This was in the nature of a puff. In the corner we read ‘A sale of the Manufacture will begin at the Worcester Music Meeting on September 20th, with great variety of ware and, ’tis said, at a moderate price.’ Edward Cave, the originator of theGentleman’s Magazine, and ‘the father of parliamentary reporting,’ was an important shareholder of the Worcester works.
[239]Steatite is essentially a silicate of magnesia. We have seen that a soapy rock, probably of this nature, entered at times into the composition of the porcelain made at King-te-chen. At a later time silicate of magnesia, in various forms, has found its way into the hybrid pastes of Italy and Spain.
[239]Steatite is essentially a silicate of magnesia. We have seen that a soapy rock, probably of this nature, entered at times into the composition of the porcelain made at King-te-chen. At a later time silicate of magnesia, in various forms, has found its way into the hybrid pastes of Italy and Spain.
[240]These two buildings may be probably traced back to the Temple of Vespasian, in the Forum, and to the Pyramid of Cestius respectively. Hancock must have got his materials from French and Italian engravings after Claude and Pannini.
[240]These two buildings may be probably traced back to the Temple of Vespasian, in the Forum, and to the Pyramid of Cestius respectively. Hancock must have got his materials from French and Italian engravings after Claude and Pannini.
[241]Dr. Johnson was for a long time a close neighbour—his well-known interest in the manufacture of porcelain must have brought him into contact with the Baxter family. We find a Baxter mentioned in Bowcocke’s notes as early as 1751. See Chaffers, p. 896.
[241]Dr. Johnson was for a long time a close neighbour—his well-known interest in the manufacture of porcelain must have brought him into contact with the Baxter family. We find a Baxter mentioned in Bowcocke’s notes as early as 1751. See Chaffers, p. 896.
[242]The teapot in the Schreiber collection with the mark ‘Allen, Lowestoft,’ must be regarded as asupercherie. The painting on it of a crucifixion is evidently by a Chinese hand. This teapot has, however, been connected with an Allen of Lowestoft, a porcelain enameller and amateur glass-stainer.
[242]The teapot in the Schreiber collection with the mark ‘Allen, Lowestoft,’ must be regarded as asupercherie. The painting on it of a crucifixion is evidently by a Chinese hand. This teapot has, however, been connected with an Allen of Lowestoft, a porcelain enameller and amateur glass-stainer.
[243]Some recent discoveries of moulds make it, however, probable that the early wares of Worcester and Bow were imitated at Lowestoft.
[243]Some recent discoveries of moulds make it, however, probable that the early wares of Worcester and Bow were imitated at Lowestoft.
[244]We are told that the first three of these substances areto be fritted together, but this would be manifestly impossible. The recipe is curious as being an anticipation of the materials used by Spode thirty years later. But we must receive most of these recipes that have thus come down to uscum grano.
[244]We are told that the first three of these substances areto be fritted together, but this would be manifestly impossible. The recipe is curious as being an anticipation of the materials used by Spode thirty years later. But we must receive most of these recipes that have thus come down to uscum grano.
[245]This ‘soapy rock’ was at once identified with the steatite of the Lizard. The other porcelain experts, from Worcester and from Liverpool, who visited Cornwall about this time, seem to have devoted their attention more especially to this substance. They were thus, to some extent, on a false scent, for the Père D’Entrecolles probably somewhat exaggerated the importance of thisWha-she, and, moreover, as has been shown by later French investigation, most of the material of soapy consistency employed at King-te-chen is no true steatite or magnesian silicate, but rather a more fusible variety of the petuntse, containing much mica.
[245]This ‘soapy rock’ was at once identified with the steatite of the Lizard. The other porcelain experts, from Worcester and from Liverpool, who visited Cornwall about this time, seem to have devoted their attention more especially to this substance. They were thus, to some extent, on a false scent, for the Père D’Entrecolles probably somewhat exaggerated the importance of thisWha-she, and, moreover, as has been shown by later French investigation, most of the material of soapy consistency employed at King-te-chen is no true steatite or magnesian silicate, but rather a more fusible variety of the petuntse, containing much mica.
[246]Was Frye, the painter of Bow, who first made use of the American earth, also a quaker? Cookworthy and Champion, it appears, first became acquainted with one another through the medium of one of the Bristol Frys, and it is known that moulds and patterns from Bow were used at Plymouth. It is at least remarkable that we should be indebted for our knowledge of the constitution of Chinese porcelain, in the first place, to a Jesuit father, and then to a member of the Society of Friends; while, on the other hand, Böttger—like Cookworthy, a druggist—was an adept in the dark arts.
[246]Was Frye, the painter of Bow, who first made use of the American earth, also a quaker? Cookworthy and Champion, it appears, first became acquainted with one another through the medium of one of the Bristol Frys, and it is known that moulds and patterns from Bow were used at Plymouth. It is at least remarkable that we should be indebted for our knowledge of the constitution of Chinese porcelain, in the first place, to a Jesuit father, and then to a member of the Society of Friends; while, on the other hand, Böttger—like Cookworthy, a druggist—was an adept in the dark arts.
[247]Besides the factory mentioned in this letter, we hear from the diary of Dr. Pococke that as early as 1750 a white ware with reliefs was made at the ‘Lowris China house’ with ‘soapy-rock from Lizard Point.’ A sauce-boat marked ‘Bristoll’ is referred to these works in theGuide to English Pottery in the British Museum, p. 109.
[247]Besides the factory mentioned in this letter, we hear from the diary of Dr. Pococke that as early as 1750 a white ware with reliefs was made at the ‘Lowris China house’ with ‘soapy-rock from Lizard Point.’ A sauce-boat marked ‘Bristoll’ is referred to these works in theGuide to English Pottery in the British Museum, p. 109.
[248]Lauraguais (Comte de), Duc de Brancas, born 1733; died 1824.
[248]Lauraguais (Comte de), Duc de Brancas, born 1733; died 1824.
[249]Seep. 306. At Strawberry Hill was ‘Michael Angelo’s Bacchus, made in the china of the Comte de Lauraguais, from the collection of the Comte de Caylus’ (Walpole’sWorks, ii. 405seq.).
[249]Seep. 306. At Strawberry Hill was ‘Michael Angelo’s Bacchus, made in the china of the Comte de Lauraguais, from the collection of the Comte de Caylus’ (Walpole’sWorks, ii. 405seq.).
[250]By Champion, at least, at a later time. The cross swords have in some cases been subsequently obliterated (Pl. e. 84). Mr. Owen thinks that this was in consequence of a quarrel with the custom-house authorities in 1775.
[250]By Champion, at least, at a later time. The cross swords have in some cases been subsequently obliterated (Pl. e. 84). Mr. Owen thinks that this was in consequence of a quarrel with the custom-house authorities in 1775.
[251]And for tin also. The mark was adopted, no doubt, in honour of the ‘premier’ product of Cornwall. It would, however, be more in place on a ware with an opaque tin glaze, such as the soft paste of Chantilly.
[251]And for tin also. The mark was adopted, no doubt, in honour of the ‘premier’ product of Cornwall. It would, however, be more in place on a ware with an opaque tin glaze, such as the soft paste of Chantilly.
[252]So at Sèvres during the greater part of the last century the glaze has consisted of pegmatite, a very similar material to the Cornish growan-stone. The inconveniences of such a glaze have been pointed out by Vogt and others.
[252]So at Sèvres during the greater part of the last century the glaze has consisted of pegmatite, a very similar material to the Cornish growan-stone. The inconveniences of such a glaze have been pointed out by Vogt and others.
[253]Of another workman employed by Champion, one Anthony Amatt, Mr. Hugh Owen gives some particulars. At one time, attempting to cross the Channel and find employment in France, he was arrested—at the instigation, it is said, of Wedgwood—and confined for some time as a State prisoner. Amatt died in 1851 at the age of ninety-two. Wedgwood was very active in preventing the emigration of English potters, who, he declared, were lured from their country by French and German agents (Meteyard’sWedgwood, ii. p. 475).
[253]Of another workman employed by Champion, one Anthony Amatt, Mr. Hugh Owen gives some particulars. At one time, attempting to cross the Channel and find employment in France, he was arrested—at the instigation, it is said, of Wedgwood—and confined for some time as a State prisoner. Amatt died in 1851 at the age of ninety-two. Wedgwood was very active in preventing the emigration of English potters, who, he declared, were lured from their country by French and German agents (Meteyard’sWedgwood, ii. p. 475).
[254]There are also in existence some examples of undoubted Bristol hard-paste porcelain, covered with a soft lead glaze.
[254]There are also in existence some examples of undoubted Bristol hard-paste porcelain, covered with a soft lead glaze.
[255]The porcelain made by Count Lauraguais, to judge by the analysis given above, must have contained even more kaolin than the Bristol ware.
[255]The porcelain made by Count Lauraguais, to judge by the analysis given above, must have contained even more kaolin than the Bristol ware.