CHAPTER VIII.

Etruria—Josiah Wedgwood—The Wedgwood Family—Indenture of Apprenticeship—Ridge House Estate—Etruria Works founded—Thomas Bentley—Flaxman—Catalogues of Goods—Jasper and other Wares—Portland Vase—Monument to Josiah Wedgwood—Marks—Various Productions of the Works—M. Lessore.

Having already, some years ago, written a work devoted to the life of Josiah Wedgwood—a history of the family to which he belonged, of the works founded by him, and of his various productions[52]—it will not be necessary to enter at any very great length into the subject in this chapter.

Josiah Wedgwood was born at Burslem in July, 1730, and was baptized on the 12th of that month, the entry in the parish register being as follows:—“1730. Josiah, son of Thomas and Mary Wedgwood, bapd. July 12th.” He was the youngest, the thirteenth, child of Thomas Wedgwood (eldest son of Thomas Wedgwood and his wife, Mary Leigh, of the Churchyard House and Works, Burslem), by his wife, Mary Stringer. This Thomas Wedgwood was born in 1686–7, and his family consisted of seven sons and six daughters. The daughters were, I believe, Maria, born in 1711; Anne, born in 1712; Mary, born in 1714; Margaret, born in 1720; Catherine, born in 1726; and Jane, born in 1728: while the sons were Thomas, of the Churchyard and Overhouse, born in 1716; Samuel, in 1718; John, in 1721; Aaron, in 1722; Abner, in 1723; Richard, in 1725; and Josiah, in 1730.

Figs. 517 to 523.—Wedgwood’s Jasper Ware.

The Wedgwoods were an ancient family of Staffordshire, being originally, I believe, of Wedgwood in Wolstanton, where a Thomas de Weggewood “was frankpledge, or headborough, of the hamlet of Weggewood” in 1370; and a century later John Wedgwood, adescendant, then of Blackwood or Dunwood, married Mary Shawe, the heiress of Harracles. The Wedgwoods of Burslem, who belonged to this family, had, for many generations before the birth of Josiah, been potters there, and indeed a considerable portion of the place passed into the hands of one of them, Gilbert Wedgwood, by marriage with Margaret Burslem, heiress of the De Burslems, the original owners of the place, about the year 1612. The issue of this marriage was, it appears, six sons and two daughters: Joseph, who died without issue; Burslem, whose line became extinct in the third descent; Thomas, who married Margaret Shaw (who survived him, and afterwards married Francis Fynney), and had a family of seven sons and nine daughters, and was the ancestor of the families known as the “Overhouse Wedgwoods” and the “Church Wedgwoods,” of which latter Josiah was a member; William; Moses; and Aaron, who was ancestor of the family known as the “Big House Wedgwoods;” Mary, married to Broad; and Sarah, married to Daniell. The eldest son of Thomas and Margaret, to whom I have alluded, was John, who appears to have been born in 1654 and to have died in 1705. He had by his wife, Alice, a daughter, Catherine, who married her cousin, Richard Wedgwood, potter, of the “Overhouse” branch, and had by him John, an only child, who died a minor.This lady, who survived her husband, married, secondly, Thomas Bourne, and thirdly, Rowland Egerton, and died a widow in 1756. The second son of Thomas and Margaret, Thomas Wedgwood, was born in 1660, and married, in 1684, Mary Leigh. He resided, and had his pot-works close to the churchyard at Burslem, where they still exist. By his wife, Mary Leigh, he had a family of four sons and five daughters. The sons were Thomas (father of Josiah), John, Abner, who died young, Aaron, and Daniel; and the daughters, Catherine, married to her relative, Dr. Thomas Wedgwood, jun.; Alice, married to Thomas Moore; Elizabeth, married to Samuel Astbury; Margaret, married to Moses Marsh; and Mary, married to Richard Clifton. Thomas Wedgwood, who succeeded his father at the Churchyard Works, died in 1739, when his youngest and most famous son, Josiah, was hardly nine years old (and by his will the sum of twenty pounds, to be paid him on attaining the age of twenty, was left), and was in turn succeeded by his eldest son, Thomas, in the business. This Thomas Wedgwood married, in 1742, Isabel Beech, and in his marriage settlement is described as “of the Over House, Burslem, potter,” and probably both these and the Churchyard Works were carried on by him.

To this Thomas Wedgwood his eldest brother, Josiah Wedgwood, was bound apprentice on the 11th of November, 1744. The original indenture of apprenticeship (which, with a vast number of other documents, wills, &c., I had the pleasure to be the first to make public in the Life of Wedgwood), preserved in the Museum at Hanley, is as follows:—

“This Indenture, made the Eleventh day of November, in the Seventeenth year of the Reign of our Soveraign Lord, George the Second, by the grace of God, King of great Brittain, and so forth, and in the year of our Lord one Thousand Seven Hundred forty and four, Between Josiah Wedgwood, son of Mary Wedgwood, of the Churchyard, in the County of Stafford, of the one part, and Thomas Wedgwood, of the Churchyard, in the County of Stafford, Potter, of the other part, Wittnesseth that the said Josiah Wedgwood, of his own free Will and Consent to, and with the Consent and Direction of his said Mother, Hath put and doth hereby Bind himselfe Apprentice unto the said Thomas Wedgwood, to Learn his Art, Mistery, Occupation, or Imployment of Throwing and Handleing, which he the said Thomas Wedgwood now useth, and with him as an Apprentice to Dwell, Continue, and Serve from the day of the Date hereof, unto the full end and term of five years from thence next Ensuing, and fully to be Compleat and Ended; During which said Term, the said Apprentice his said Master well and faithfully shall serve, his secrits keep, his Lawfull Commands Every were gladly do; Hurt to his said Master he shall not do, nor willfully suffer to be done by others, but the same to his Power shall let, or forthwith give notice thereof to his said Master; the goods of his said Master he shall not imbezil or waste, nor them Lend, without his Consent, to any; at Cards, Dice, or any other unlawfull Games he shall not Play; Taverns or Ale Houses he shall not haunt or frequent; Fornication he shall not Commit, Matrimony he shall not Contract; from the Service of his said Master he shall not at any time depart or absent himselfe without his said Master’s Leave:but in all things as a good and faithful Apprentice Shall and Will Demean and behave himselfe towards his said Master and all his, During the said Term, and the Said Master his Apprentice the said Art of Throwing and Handleing which he now useth, with all things thereunto, shall and will Teach and Instruct, or Cause to be well and Sufficiently Taught and Instructed after the best way and manner he can, and shall and will also find and allow unto the Said Apprentice Meat, Drink, Washing and Lodging, and Apparell of all kinds, both Linen and Woolen, and all other Necessaries, both in Sickness and in Health, meet and Convenient for such an Apprentice During the Term aforesaid, and for the true performance of all and Every the said Covenants and Agreements either of the Said Parties Bindeth himselfe unto Each other by these presents, in Witness wereof they have Interchangeably Set their hands and Seals the Day and year before mentioned.Josiah Wedgwood.Mary Wedgwood.Thos. Wedgwood.Sealed and Deliveredin the Presence ofSamuel Astbury.Abner Wedgwood.

Josiah Wedgwood.Mary Wedgwood.Thos. Wedgwood.

Sealed and Delivered

in the Presence of

Samuel Astbury.

Abner Wedgwood.

Fig. 524.—Fac-simile of Signatures to Wedgwood’s Indentures.

Facsimiles of the autograph signatures of Josiah Wedgwood; of his mother, Mary Wedgwood; his brother, Thomas, to whom he was bound; his uncle, Samuel Astbury (husband to Elizabeth Wedgwood, his father’s sister); and his brother or uncle, Abner Wedgwood, are given in Fig.524. The indenture is endorsed “JosiahWedgwood to Thos. Wedgwood. Indenture for 5 years. November 11th, 1744.” Of the Churchyard Works a view is given on page 244.

In 1749 Josiah Wedgwood’s apprenticeship expired, but he probably remained for some time in the employ of his brother. He next went to Stoke, where he lodged with a mercer, Mr. Daniel Mayer, and commenced making imitation agate and other knife-handles, and in 1752 entered into partnership with John Harrison for the manufacture of the same kind of goods (see page232). Two years later both Wedgwood and Harrison entered into partnership for a term of five years with Thomas Whieldon, at Fenton Low, as already spoken of under the head of those works (which see). At the expiration of the five years, namely, in 1759, Josiah Wedgwood returned to Burslem and commenced business on his own account; first, there is reason to believe, at the “Churchyard” Works, and next at the Ivy “House” (Fig.368), which he rented from his relatives of the “Big House.” Next, he entered upon another manufactory, the “Bell Bank,” or “Bell Works” (Fig.367), as it became called, and thus carried on their pot-works at the same time. Here he produced his famous “Queen’s ware,” which earned for him the appointment of “Queen’s potter,” which was thus brought about.

In 1762, on the occasion of the accouchement of Queen Charlotte, Wedgwood, having by that time perfected the body and glaze of his fine cream-coloured ware, presented to her Majesty a caudle and breakfast service of his manufacture, which was graciously received. This service, which was of course made of the finest and best cream-coloured quality which could be produced, was painted in the highest style of the day by the first artists of the works, Thomas Daniell and Daniel Steele. The ground of this service, which was prepared with all the skill the art would then admit of, was yellow, with raised sprigs of jessamine and other flowers, coloured after nature. The Queen received this tribute of an infant art, and was so pleased with it that she at once expressed a wish to have a complete table service of the same material. Wedgwood submitted patterns for the several pieces, “which were approved, with the exception of the plate, which was the common barleycorn pattern, then making by all the salt-glaze manufacturers. Her Majesty objected to the roughness—the ‘barleycorn-work’ as it is called—and therefore this part was made plain; on the edge was left only the bands, marking the compartments; and being approved by her Majesty, the pattern was called ‘Queen’s pattern.’” The ware was at once named by Wedgwood“Queen’s ware,” and he received the Queen’s commands to call himself “Potter to Her Majesty.” On the service being completed the King gave Wedgwood his immediate patronage by ordering a similar service for himself, but without the bands or ribs. This alteration in pattern was “effected to the entire satisfaction of his Majesty,” and some little alterations being made in the forms of some of the other pieces, it was called the “Royal pattern.” The patronage thus given was of incalculable benefit to Wedgwood, to the district around him, and indeed to the whole kingdom, for it opened up a source of wealth to thousands of people, and was the means of extending commerce to a marvellous extent. Orders for the new kind of ware flowed in upon him in a regular and constantly increasing stream, and at prices which were then considered liberal or even high. It is recorded that at this period he received at the rate of fifteen shillings per dozen for table plates, and for other pieces a proportionate price. The tide of fortune which thus had set in upon him was immensely increased by his subsequent inventions, and ultimately swept him from his small manufactories at Burslem to the colony he established a few miles off at Etruria. The other most usual form of plate in his Queen’s ware was the “Bath” or “Trencher,” from its resemblance to the wooden platter or trencher, and this was succeeded by the concave rim, and other varieties. Wedgwood did not patent his inventions and improvements, and thus every manufacturer was stimulated, and a host of Queen’s or cream-ware makers soon, sprang up. When he “discovered the art of making Queen’s ware,” wrote Wedgwood himself, “which employs ten times more people than all the china works in the kingdom, he did not ask for a patent for this important discovery. A patent would greatly have limited its public utility. Instead ofone hundredmanufactories of Queen’s ware there would have beenone; and instead of an exportation to all quarters of the world, a few pretty things would have been made for the amusement of the people of fashion in England.” Some of his Queen’s ware Wedgwood had decorated with transfer printing by Sadler and Green of Liverpool, as already noted under that head. This is alluded to in the “Burslem Dialogue:”—

“L.—Oi’d summat t’ doo t’ get dahn t’ L’rpool wi’ eawr caart, at th’ teyme as oi fust tayd Mester ‘Siah Wedgut’s wheit ware for t’ be printed theer. Yu known as hâe ther wur noo black printin’ on ware dun i’ Boslem i’ thoos deys.“T.—Oi remember ’t varry weel. Oi s’pose as ’Siah wur abaht th’ same age as thiseln, Rafy, wur he no’?“L.—Ya, oi rek’n he wur tew year yunker til me.“T.—When he started i’ bizness fust, he made spewnes, knife hondles, an’ smaw crocks, at th’ Ivy hahs, close to where we’re nah sittin’.“L.—Aye, oi weel remember th’ toyme; an’ arter that he flitted to th’ Bell Workhus, wheer he put up th’ bell-coney for t’ ring th’ men to ther work isted o’ blowin’ em together wi’ a hurn. ’Twur a pity he e’er left Boslum, for he wur th’ cob o’ th’ Wedguts.”

“T.—Oi remember ’t varry weel. Oi s’pose as ’Siah wur abaht th’ same age as thiseln, Rafy, wur he no’?

“L.—Ya, oi rek’n he wur tew year yunker til me.

“T.—When he started i’ bizness fust, he made spewnes, knife hondles, an’ smaw crocks, at th’ Ivy hahs, close to where we’re nah sittin’.

“L.—Aye, oi weel remember th’ toyme; an’ arter that he flitted to th’ Bell Workhus, wheer he put up th’ bell-coney for t’ ring th’ men to ther work isted o’ blowin’ em together wi’ a hurn. ’Twur a pity he e’er left Boslum, for he wur th’ cob o’ th’ Wedguts.”

Figs. 525 and 526.—Flaxman’s Medallions of Josiah Wedgwood and his Wife.

Figs. 527 to 533.—Wedgwood’s Basaltes or Egyptian Black Ware.

On the 25th of January, 1764, Josiah Wedgwood married, at Astbury, in Cheshire, his distant relative—his seventh cousin—Sarah Wedgwood, daughter, and eventually heiress, of Richard Wedgwood, Esq., of Smallwood, in that county, and also heiress to her brother John. By this marriage Josiah Wedgwood ultimately became possessed of a fortune of some twenty thousand pounds. After his marriage he still resided at the “Ivy House;” and, having failed in his proposal to purchase the “Big House” when his relatives retired from business, he set about the founding of an entirely new manufactory. His “Big House” relations were the brothers Thomas and John Wedgwood, sons of Aaron Wedgwood, by his wife Mary Hollins. This Aaron was son of Aaron, sixth son of Gilbert, from whom Josiah and the various Burslem branches of the family were descended, and he and his wife, Mary Hollins, were both buried inthe same grave on the same day, 24th of April, 1743. He, as well as his son and his grandsons, Thomas and John, were lead-glaze potters. About 1740, it is said, these two “commenced the manufacture of white stoneware upon their own account; but although very industrious and ingenious workmen (one of them being well skilled in burning or firing the ware, and the other an excellent thrower), they were unsuccessful for a long time, and had actually determined to abandon any further attempt to make the white stoneware, when an accidental circumstance encouraged them to proceed. The water with which they prepared the clay, it seems, became highly saturated with salt, owing to the shard ruck or rubbish from their ovens being placed immediately above their water pool, and which rubbish contained much salt. The rain passing through the shard ruck, dissolved the salt, and carried it into the pool, whence it got into the body of the ware, and, in conjunction with the flint and clay, together with the lime which generally adheres to flint stones, formed a fusible body that arrived at a state of vitrification with a lower degree of heat than was requisite to prepare this body for the salt glaze. This discovery induced them to make other and more extended trials, and in these they succeeded beyond expectation. The Wedgwoods followed up their success with unremitting diligence; and shortlyafterwards built a new and commodious manufactory, where they had a supply of good water. This was near the Windmill, invented and erected by the celebrated Brindley for reducing flint-stones to a fine powder by grinding them in water, and thereby preventing the pernicious effects upon the health of the men employed in preparing the flint according to the old method, by pounding it by hand in a dry state in a mortar. The fine dust of the flint getting into the lungs produced coughs and consumptions, which frequently proved fatal. This building, censured at the time as having been upon too extensive a scale, was the first earthenware manufactory in the Potteriesnot covered with thatch. In 1750 they erected an excellent and substantial dwelling-house adjoining their manufactory, which so far exceeded the other houses in the Potteries in point of size and elegance, that it then was, and now is, distinguished by the appellation of the ‘Big House;’ and in the year 1763 these gentlemen retired from business in the possession of an ample fortune, the just and honourable reward of their industry and integrity.”

Having taken into partnership his relative, Thomas Wedgwood, “who had been some years a faithful and industrious foreman in the manufactory,” in the Queen’s ware department, Wedgwood became more at liberty to prosecute his experiments. This Thomas married Elizabeth Taylor, of the Hill, Burslem, by whom he had issue Ralph (the head of the firm of “Wedgwood & Co.,” of the Hill Works, afterwards of Ferrybridge; inventor of the “Penna-polygraph,” the “Manifold Writer,” &c.; author of the “Book of Remembrance,” developer of his father’s invention of the Electric Telegraph, the “Fulguri-polygraph” as he called it; and a man of undoubted scientific attainments); John Taylor Wedgwood, the eminent line-engraver; Samuel; Thomas; Aaron; and Abner. Thomas Wedgwood, the partner of Josiah, a man of great acquirements, of high scientific attainments, and of intense business qualifications, died in 1788.

Agate and Porphyry Wares.Queen’s Ware made at the Bell Works.Queen’s Ware Centre.Crabstock Red-ware Teapot.Figs. 534 to 539.—Wedgwood’s Productions.

Agate and Porphyry Wares.

Queen’s Ware made at the Bell Works.

Queen’s Ware Centre.

Crabstock Red-ware Teapot.

Figs. 534 to 539.—Wedgwood’s Productions.

In 1766 Wedgwood produced his “basaltes” of “Egyptian,” fine black ware, which became so famous, and this was followed by his “Jasper,” “White-stone,” “Cane-coloured,” “Mortar,” and other wares. His various wares were thus described by himself:—

“1. Aterra-cotta; resembling porphyry, granite, Egyptian, pebble, and other beautiful stones of the silicious or crystalline order.“2.Basaltesor black ware; a black porcelain biscuit of nearly the same properties with the natural stone; striking fire with steel, receiving a high polish, serving as a touchstone for metals,resisting all the acids, and bearing without injury a strong fire: stronger, indeed, than the basaltes itself.“3.White porcelain biscuit, of a smooth, wax-like surface, of the same properties with the preceding, except in what depends upon colour.“4.Jasper; a white porcelain biscuit of exquisite beauty and delicacy, possessing the general properties of the basaltes, together with the singular one of receiving through its whole substance, from the admixture of metallic calces with the other materials, the same colours which those calces communicate to glass or enamels in fusion; a property which no other porcelain or earthenware body of ancient or modern composition has been found to possess. This renders it peculiarly fit for making cameos, portraits, and all subjects in bas-relief, as the ground may be of any particular colour, while the raised figures are of a pure white.“5.Bamboo, or cane-coloured biscuit porcelain, of the same nature as No. 3.“6. Aporcelain biscuit, remarkable for great hardness, little inferior to that of agate. This property, together with its resistance to the strongest acids and corrosives, and its impenetrability by every known liquid, adapts it for mortars and many different kinds of chemical vessels.“These six distinct species, with the Queen’s ware already mentioned, expanded by the industry and ingenuity of the different manufacturers into an infinity of forms for ornament and use, variously painted and embellished, constitute nearly the whole of the present fine English earthenwares and porcelain which are now become the source of a very extensive trade, and which, considered as an object of national art, industry, and commerce, may be ranked amongst the most important manufactures of the kingdom.”

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

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

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

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

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

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

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

Fig. 540.—Etruria Works.

In 1766 Josiah Wedgwood purchased the Ridge House Estate, in the township of Shelton, which he afterwards named “Etruria.” On this estate, in the succeeding year, he commenced the building of what he called the “Black Works,”i.e.the works intended for the production of his basaltes or black ware, and soon afterwards (in 1768) took into partnership, in the ornamental department, Mr. Thomas Bentley, of the firm of Bentley & Boardman of Liverpool, who were his agents in that town.

Figs. 541 and 542.—Medallion and Autograph of Thomas Bentley.

Figs. 543 and 544.—First Vases made at Etruria.

Thomas Bentley, who was the son of Thomas Bentley of Scropton, in Derbyshire, was born there on the 1st of January, 1730, and was brought up at Manchester. From thence he removed to Liverpool, where, in conjunction with Mr. Boardman, he commenced business as Manchester warehouseman, they living together in Paradise Street.[53]On joining Wedgwood, Thomas Bentley of course left Liverpool, and devoted himself to the business in London. In 1769 the Etruria works were opened, and on the 13th of June in that year its first productions were thrown—Thomas Bentley turning the wheel, while the “great” Josiah Wedgwood himself “threw” the pieces. These were three vases of Etruscan form, and they afterwards passed throughall the processes of the potter’s art, and were painted in Etruscan style, with suitable inscriptions. These historical and priceless vases are in the possession of Mr. Francis Wedgwood, of Barlaston. Two of these are shown above (Figs.543, 544), engraved from careful drawings made by myself from the vases at Barlaston. They bear the words

June xiii mdcclxixOne of the first Day’s ProductionsatEtruria in StaffordshirebyWedgwood and BentleyArtes Etruriæ renascunter

Figs. 545 and 546.—Flaxman’s Bas-reliefs in Jasper Ware.

Each of these vases is labelled in Wedgwood’s own handwriting, “Part of Plate 129, vol. i., of Hamilton’s Antiq. Hercules and his Companions in the Garden of the Hesperides,” showing both the subject and where obtained. In 1770 Wedgwood and Bentleyestablished works at Chelsea for the decoration of these “encaustic vases” and for other purposes. Of the names of some of the painters at that time (October, 1770) employed in this Chelsea establishment I am enabled to give evidence in the following document in my own possession:—

The partnership of Wedgwood and Bentley had reference only to theornamented, not to theusefulware; and in this account, although the workmen were employed on both branches, the wages were divided into headings:—“On J. W.’s Acct.” (distinguished as Josiah Wedgwood’s account), and “On W. & B.’s Acct.” (Wedgwood and Bentley’s account). Thus, John Lawrence, for the week ending October 6th, is paid for six days’ Work, at 1s.9d.a day, of which 5s.3d.is charged to “J. W.,” and the other 5s.3d.to “W. & B.” The Chelsea painting establishment continued for some time, and down nearly to the close of last century painting and enamelling were done for the firm in London.

In 1772 Bentley (who, in 1754, had married Hannah Oates of Sheffield, who did not live long) married, at All Saints’ Church, Derby, his second wife, Mary Stamford, of that town. In the year following, the partners issued their first catalogue of goods, which was entitled—

“A Catalogue of Cameos, Intaglios, Medals, and Bas-reliefs, with a general account ofVases and other ornaments after the antique; made by Wedgwood and Bentley, and sold at their rooms in Great Newport Street, London.

“‘Quoniam et sic gentes nobilitantur.’Plin.lib. xxxv.,De Vasis fictilibus.

“‘Quoniam et sic gentes nobilitantur.’

Plin.lib. xxxv.,De Vasis fictilibus.

“London: printed in the yearMDCCLXXIII., and sold by Cadel, in the Strand; Robson, New Bond Street; and Parker, printseller, Cornhill.”

It is of much smaller size than the later editions, and contains sixty pages, inclusive of introduction, &c. The following quotation, from the introductory portion, will enable collectors to arrive at a correct idea of the dates of the production of the various wares:—

“The proprietors of this manufactory have been encouraged by the generous attention of the nobility and connoisseurs to their first essays to give it all the extent and improvement they were able, and with constant application and great expense they have now produced a considerable variety of ornaments in different kinds, the merit of which they humbly submit to the judgment of those who are best skilled in these subjects.“The variety of new articles which many of their respectable friends have not seen, and multitudes of persons of curiosity and taste in the works of Art have never heard of, render some account or catalogue of them desirable, and even necessary: but many of the articles, and especially the vases, being of such a nature as not to admit of satisfactory and clear descriptions, several parts of this catalogue can only give a slight and general enumeration of the classes, without descending to particulars.“We shall, however, hope to make the general enumeration sufficiently intelligible, and descend to particulars where the nature of the subjects admits of it.“To give an idea of thenatureandvarietyof the productions of our ornamental works, it will be necessary to point out and describe the variouscompositionsof which the forms, &c., are made, and to distinguish and arrange the several productions in suitableclasses.“Thecompositions, or bodies, of which the ornamental pieces are made, may be divided into the following branches:—“I. A composition ofterra cotta, resembling porphyry, lapis lazuli, jasper, and other beautiful stones, of the vitrescent or crystalline class.“II. A fineblack porcelain, having nearly the same properties as thebasaltes, resisting the attacks of acids, being a touchstone to copper, silver, and gold, and equal in hardness to agate or porphyry.“III. A fine white biscuit ware, orterra cotta, polished and unpolished.”

“The variety of new articles which many of their respectable friends have not seen, and multitudes of persons of curiosity and taste in the works of Art have never heard of, render some account or catalogue of them desirable, and even necessary: but many of the articles, and especially the vases, being of such a nature as not to admit of satisfactory and clear descriptions, several parts of this catalogue can only give a slight and general enumeration of the classes, without descending to particulars.

“We shall, however, hope to make the general enumeration sufficiently intelligible, and descend to particulars where the nature of the subjects admits of it.

“To give an idea of thenatureandvarietyof the productions of our ornamental works, it will be necessary to point out and describe the variouscompositionsof which the forms, &c., are made, and to distinguish and arrange the several productions in suitableclasses.

“Thecompositions, or bodies, of which the ornamental pieces are made, may be divided into the following branches:—

“I. A composition ofterra cotta, resembling porphyry, lapis lazuli, jasper, and other beautiful stones, of the vitrescent or crystalline class.

“II. A fineblack porcelain, having nearly the same properties as thebasaltes, resisting the attacks of acids, being a touchstone to copper, silver, and gold, and equal in hardness to agate or porphyry.

“III. A fine white biscuit ware, orterra cotta, polished and unpolished.”

Fig. 547.—Medallion, White on Black.

Thus, in 1773, it is evident there were only three kinds of ware made by Wedgwood, viz., “terra cotta resembling porphyry, lapis lazuli, jasper, and other beautiful stones, of the vitrescent or crystalline class,” such as the imitation porphyry, marble, and other vases, were composed of; the “fine black porcelain, orbasaltes,” so largely used for vases, figures, medallions, and other ornamental purposes, as well as for tea-pots, &c.; and the “white biscuit ware, or terra cotta,” used both in combinationwith other materials in the production of vases, medallions, and other decorative pieces, and separately for the manufacture of stands and other ornamental goods. The combination of these two latter bodies will be called to mind by collectors, perhaps, more easily with regard to medallions than otherwise. In these the oval of the plaque was frequently made of the black ware, and the bust of the white terra cotta (Fig.580).

In the next year (1774) a fourth variety was added, thus described in the catalogue of that date:—

“IV. A fine whiteterra cotta, of great beauty and delicacy, proper for cameos, portraits, and bas-reliefs.”

Fig. 548.—Jasper Plaque.

This was the first appearance of what afterwards became the most beautiful of all Wedgwood’s productions—the “Jasper ware.” It will be perceived that at this date (1774) it was simply spoken of as a “fine white terra-cotta,” and that it remained for later years to produce it with its splendid blue and other coloured grounds, with raised white figures and ornaments. In 1787 this variety, which then had attained its highest perfection, is described at greater length as—

“IV.Jasper—a white porcelainbisquéof exquisite beauty and delicacy, possessing the general properties of the basaltes, together with that of receiving colours through its whole substance, in a manner which no otherbody, ancient or modern, has been known to do. This renders it peculiarly fit for cameos, portraits, and all subjects in bas-relief, as the group may be made of any colour throughout, without paint or enamel, and the raised figures of a pure white.”

Figs. 549 to 562.—Wedgwood’s Jasper Ware.

Fig. 563.—“Peace preventing Mars from bursting the door of Janus’s Temple.”

Fig. 564.—“Mercury uniting the hands of England and France.”Bas-reliefs in Jasper by Flaxman; charged in his bills.

Fig. 564.—“Mercury uniting the hands of England and France.”

Bas-reliefs in Jasper by Flaxman; charged in his bills.

Of the productions in this ware Wedgwood wrote:—“As these are my latest, I hope they will be found to be my most approved, works. Verbal descriptions could give but an imperfect idea of the delicacy of the materials, the execution of the artist, or the general effect, and I must therefore beg leave to refer those who wish forinformation in these respects to a view of the articles themselves.„ In 1775 a reissue of the English catalogue, consequent on the change of the London warehouse from Great Newport Street to Greek Street, Soho, made its appearance. At the end is an addition of six pages, containing an engraving and explanation of Wedgwood’s newly-invented inkstands and eye-cups.

Fig. 565.—Jasper Déjuner.

In 1775, on the occasion of Richard Champion applying to Parliament for an extension of the term of patent-right in Cookworthy’s invention of porcelain (as detailed in my first volume), “Josiah Wedgwood, in behalf of himself and the manufacturers of earthenware in Staffordshire,” gave the scheme his most determined, but happily not successful, opposition. The printed papers connected with this matter are of the highest interest and importance, but having already been printedin extensoin my “Life of Wedgwood,” I refrain from again introducing them. It is also needless to recapitulate the particulars regarding numerous editions, English and foreign, of the catalogue.

In 1780 (November 26th) Thomas Bentley died at his residence at Turnham Green, London, and was buried at Chiswick on the 2nd of December, where a tablet is erected to his memory. About this time, and probably previously as well as later, Flaxman the sculptor was much employed by Wedgwood, and his designs and models gave a tone and a character to the productions which raised them to an immeasurable height. I was so fortunate as to be able to print, for the first time, in 1864, some of the original bills for work done by Flaxman for Wedgwood, in which many well-known portrait groups, &c., are named. From these I give a few items for the purpose of reference:—

and so on. Besides these he charges for drawings of crests and coats of arms; drawing bas-relief vases, &c., at a guinea a day; outlines for lamp and stand; drawings of chimney-pieces; patterns for borders for plates, &c. Many of Flaxman’s originals are still in Messrs. Wedgwood’s hands, and the moulds are still used by them for their lovely productions; others, notably a series of exquisite models in wax, are in the possession of Sir D. C. Marjoribanks. Of some of those named I give engravings.

In 1782 Wedgwood was elected F.R.S., and communicated to that learned body his invention of “a thermometer for measuring the higher degrees of heat, from a red-heat up to the strongest that vessels made of clay can support;” in the following year his observations on “Derbyshire Black Wadd;” and afterwards other observations on thermometers, &c. In 1785 he invented his famous “Jasper Dip,” which has continued in use ever since. In that year he wrote “The new jasper, white within, will be the only sort made in future; but as the workmanship is nearly double, the price must be raised. I think it must be about 20 per cent. Nov. 21, 1787.” Thus, till 1785, the “jasper” body was the same throughout; from Nov., 1785 to 1858, it was “dipped,” remaining white inside; and in the latter year the “solid jasper” body was re-introduced, and continues to some extent to be made.

MRS. MEERMAN.

MRS. SIDDONS.

MR. MEERMAN.

HERSCHELL.

KING OF SWEDEN.

THE QUEEN OF PORTUGAL.

DR. BUCHAN.

C. JENKINSON.Figs. 566 to 573.—Wedgwood Medallion Wares.

C. JENKINSON.

Figs. 566 to 573.—Wedgwood Medallion Wares.

Fig. 574.—Group from the Portland Vase.

In 1786 the then recently deceased Duchess of Portland’s magnificent collection of antiquities and objects ofvirtuwere sold by auction, and among other articles of matchless interest was the Barberini or Portland Vase. This vase Wedgwood determined to possess, and having bid up to about a thousand pounds againstthe Duke of Portland, his grace, on learning why it was wanted, very kindly offered, if he would forego bidding and permit him to purchase, he would place it in Wedgwood’s hands to copy as he thought proper. It was therefore knocked down to the Duke for £1,029, andhanded to Wedgwood by him; this “inestimable jewel,” as he called it, remained in his hands more than twelve months. Of this vase Wedgwood produced fifty copies, which were subscribed for at fifty guineas each, but it is said that even this sum, £2,500, fell far short of the outlay incurred in making them. One of the first fifty is in the possession of Mr. Francis Wedgwood (where it will remain, it is hoped, with the first-thrown vases, as heirlooms); another is in the possession of the Duke of Sutherland, at Trentham; a third belongs to Sir D. C. Marjoribanks; a fourth is in the Mayer Museum; and others are at different collections. The body used for this vase was black jasper, and the figures, in their proper tone, were worked up and cut by the seal and gem engraver to the utmost possible degree of sharpness and finish. The original moulds are still in existence, and from them Messrs. Wedgwood still produce their famed Portland vases, both with a black, and with deep, or light, blue ground.[54]

In 1786 Wedgwood was elected a Fellow of the Society of Antiquaries, and in the following year the sixth edition of his Catalogue contained for the first time the addition of the “Bamboo” and “Mortar” bodies:—

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