Chapter 15

Fig. 215.

Up to 1798, white, cream-coloured, and blue printed wares only were made at these works. In that year, semi-transparent porcelain was made, and continued until 1811, when it was abandoned, and earthenware only again produced. In 1821 it was again produced, and soon afterwards china was commenced and has been a staple branch to the present day. In 1825 some of the more skilled workmenfrom the Derby works found employment with Mr. Minton, and brought their skill to bear on his productions. “Among these were Steele, Bancroft, and Hancock, as painters in fruit and flowers.” In 1836 Mr. Herbert Minton, as will be shown, first conceived the idea of making encaustic paving tiles. Mr. John Simpson held the position of principal enamel painter of figures and the highest class decorations, from about 1837 to 1847, when he removed to London to take charge of the porcelain painting at Marlborough House. Mr. Samuel Bourne, of Norton-in-the-Moors, Staffordshire, who had been apprenticed to Messrs. Wood and Caldwell, to learn the art of enamel-painting, and who had attained by his industry and talents a high reputation, entered the service of Mr. Minton, in 1828, as chief designer and artist, and continued to render the firm occasional services until 1860, when the infirmities of increasing years necessitated his retirement.

Fig. 216.

In 1849 M. Arnoux, son of a celebrated manufacturer of hard porcelain at Toulouse, visited Stoke, bringing with him an introductionfrom Mr. Evans, of Birmingham; when it was arranged that M. Arnoux should superintend and carry out the patent which, in 1839, Mr. Minton, in conjunction with Dr. Wilton George Turner, had taken out. This was for “an improved porcelain,” “made from Kaolin or Cornish clay, made into cream and passed through sieves; Dorsetshire or similar clay treated in like manner; and pure feldspar, all in certain proportions and mixed with great care.” In this, the bisque was produced by submitting it to a less heat than usual before glazing, and then, when dipped, subjecting it “to a greater degree of heat than is usual for the mere purpose of glazing, and effecting the glazing at the same time.” The glazes were also of peculiar composition. Beyond various experiments, this was not carried out until 1849, when this hard paste porcelain for chemical purposes was brought to such perfection, that it was pronounced to be better than that of Meissen or Berlin. There was, however, so much risk in firing this ware, in consequence of the difficulty of procuring a sagger capable of withstanding the necessary heat, that the manufacture was abandoned, and M. Arnoux turned his attention to the artistic decoration of the ordinary manufacture, and to his continual zeal and ability, combined with the enterprise which has always distinguished the firm, England is indebted for the highest honours in this branch of their national industries.

M. Emile Jeannest was engaged as sculptor, and in 1854 he left and took an appointment with Messrs. Elkington, in whose service he died.

M. Carrier de Belleuse succeeded M. Jeannest, and remained some years, when he returned to Paris, and attained so high an eminence as a sculptor that he has been placed on the Commission for the Sèvres Manufactory.

He was succeeded by M. Protât, who, after having executed some of the stone statues now adorning the India Office, returned to France.

Previous to this, Parian was, about 1842, introduced, and formed a staple branch of Messrs. Minton’s productions. In 1851 Herbert Minton and Augustus John Hoffstaedt took out a patent for “improvements in the manufacture.” In the same year Herbert Minton and James Nasmyth took out a patent for “certain improvements in machinery.” In the same year, 1851, the “Great Exhibition” was held, and resulted in an award of great merit to this firm, an honour which each successive exhibition, whether English or foreign, hasaugmented. In 1850 Majolica was added to the other art-productions of this manufactory, and in this it still stands pre-eminent. No firm has surpassed them in the sharpness of details; the purity of colours; the excellence of glaze, or the artistic character of these goods, which comprise every description of both useful and ornamental articles. In 1851 Della Robbia and Palissy ware were also here commenced.

Figs. 217 to 220.

Figs. 221 to 223.—Minton’s productions.

Figs. 224 to 229.—Minton’s productions.

The history of the manufacture of encaustic and other tiles by Minton, Hollins & Co. is the history of the entire modern trade in these useful and beautiful articles. In 1828 Herbert Minton first turned his attention to the subject, but was prevented by circumstances from fully developing his plans. In 1830 Mr. Samuel Wright, of Shelton, took out a patent for “a manufacture of ornamental tiles.” This, in January 1844, he supplemented by another patent for the “manufacture of ornamental bricks and quarries for floor pavements and other purposes.” Mr. Wright’s experiments were highly satisfactory, but from various causes, although he executed several orders, they were not commercially successful.Becoming weary of his almost resultless experiments, he sold his moulds and patent rights to Mr. Minton, who agreed to pay him a royalty of 10 per cent. on all the tiles sold. Mr. Minton commenced the manufacture in a single room next to the present throwing-house at the earthenware works, and only three men were at first employed. He was much aided in his task by the late Mr. George Leason, a practical potter, who had been brought up under him.

Figs. 230 to 233.

“Mr. George Berks,” says Mr. Stringer, to whom I am indebted for the following notes, “who was a man of good general attainments, did what modelling was required. One of the earliest improvements effected by Mr. Minton was the substitution of brass moulds for the plaster ones used by Mr. Wright, which enabled the maker to beat up the clay so as to give a sharper edge to the tile. Before that alteration the edges had to be cut after they were taken from the plaster mould. A decided advantage was thus gained; but innumerable other difficulties had to be encountered, chiefly arising from the irregular contraction of the clays. Sometimes the inlaid parts would at a slight tap at the back of the tile fall out, or the tiles would become stained in the firing; and in short all sorts of ill luck and misadventures were the weekly result. The tiles were at first fired in a small oven at the china works which would hold about 700 tiles, and he and his fellow labourers used regularly to go there to witness the drawing of the oven. Time after time they found nearly the whole contents spoilt in one way or other, and they were carted away to form part of the foundations on which many of our pottery streets now stand. If it so happened that 100 out of the 700 proved fairly good, the fact was a source of encouragement to all concerned. Repeated failures were, however, only followed by further experiments. Mr. Minton was ever confident that skill and perseverance would in the end prove a success; but surely never was any man’s patience or pocket more sorely or severely tried. Occasionally a few orders were satisfactorily executed, but they were on a comparatively small scale. In April, 1836, Mr. Mintonsent to Mr. Josiah Booker, of Liverpool, a plan for tiling his hall, and this gentleman adopted Mr. Minton’s suggestions; and it would seem gave the order with the view of forming an opinion of the tiles for the purpose of exportation; little imagining the difficulties that had to be got over before they could be successfully introduced at home. The prices quoted to Mr. Booker were 15s. per square yard, and 6d.per tile of 6 inches square for the border, being about one-half the prices Mr. Wright had charged them. In 1837, a hall pavement was laid in the mansion of Sir John P. Orde, Bart., at Kilmoray, Loch-Gilp-Head, N.B. It should be remarked that, at this time, the only colours made use of were buff, red, and chocolate. In November, 1836, after the death of his father, Mr. John Boyle joined Mr. Minton as partner, and so continued until December, 1841. This gentleman had a keen eye to the profitable working of the manufactures, and often cast uneasy glances at the corner near the throwing-house, and at length began to urge that that department ought to be abandoned. It was on one of these occasions that Mr. Minton uttered the well-known words, “Say no more on the subject, Mr. Boyle. I will make these tiles if they cost me a guinea each!” We do not hear that any other remonstrance followed this rebuke. The late Harriette, Duchess of Sutherland, was one of the early patrons of the tile manufacture; and, indeed, the Staffordshire potteries generally are much indebted to her Grace for the great encouragement she ever gave, and the interest she ever took in every improvement calculated to elevate the character of our manufactures, and advance the prosperity of the district. Her example and influence amongst the nobility afforded much encouragement to the British potter, and tended greatly to the attainment of that success in the art which has been so marked of late years. The tiles were extensively introduced at Trentham Hall, and some of the finest of the early specimens are to be found there. The first work of great importance that was undertaken was the floor of the Temple Church, London. Lewis N. Cottingham, Esq., F.S.A., made an examination of the Chapter House, Westminster, in January, 1841, in order to procure suitable examples for the tiles proposed to be used in the restoration of the Temple Church. On the removal of portions of the boarded floor the pavement was found to be in a very perfect state, few tiles being broken, and the colours in many parts as brilliant as when laid down. Mr. Minton undertook to reproduce the various designs composing this ancient pavement. It was a work of great labour and difficulty; but was accomplished to the satisfaction of the architect, and all others interested in the work. The charge made was merely nominal, taking into account the great expenditure necessarily involved at a time when so many difficulties still attended the manufacture. Mr. Minton was a diligent collector of old tiles, and friends amongst the nobility, gentry, and clergy, in all parts of the country, ministered to his taste, and sent him either examples or sketches of such as they met with in their travels; nothing pleased him better than to receive choice specimens and to superintend their reproduction. The late Mr. Welby Pugin furnished Mr. Minton with many tile drawings, some of which he had designed during his many night journeys to Staffordshire, whilst engaged in the extensive works for Lord Shrewsbury, at Alton Towers and Cheadle Church.”

Figs. 234 to 239.—Minton’s productions.

Figs. 240 to 243.

In June, 1840, Mr. Richard Prosser took out a patent for making a variety of articles from clay in a powdered state, viz., buttons, tesseræ, floor tiles, glazed tiles, &c., by pressure; by preference using screw presses of different powers for articles containing up to and including fifty square inches of surface in each piece; articles of larger surface, and of course requiring a greater pressure, being made by hydraulic press, the pumps of which were worked by steam. Patents were taken for England, France, and America. That for France lapsed in consequence of a condition of the French patent law requiring the process being worked in that country within six months of its date; the political condition of France at that time, in the opinion of the patentee, not being safe for the investment ofcapital. Of this patent and its application, the following notes, drawn up for me by Mr. John Turley, are of especial interest.

“The English patent was very early introduced to the firm of Minton and Boyle, of Stoke-on-Trent. Mr. Minton took a lively interest in it, but not so Mr. Boyle. Mr. Prosser sold the half part of the English patent to Mr. Minton. Arrangements were made for the prompt commencement of making glazed tiles, tesseræ, and buttons, at Messrs. Minton and Boyle’s works. Two work-rooms were given up to Mr. John Turley, engineer, who at first placed six button presses in one, and a large tile-press in the other, and commenced making white glazed tiles (6 in.) and buttons in these works in August, 1840. Prior to this time, white glazed or Dutch tiles (6 in.) could be bought in the London market for less money than paid to the journeyman potter for making this article at Stoke. The demand for white glazed tiles was soon very great, and has subsequently become a staple article of manufacture in most potting districts by this process. Buttons, tiles, and tesseræ continued their progress in numbers manufactured until 1843, when, on March 8th, the process of making tesseræ was exhibited by Mr. Turley at the Society of Arts, London—Lecture by Cowper; Paper read by Blashfield—and 290 boxes of buttons, three dozen in each, given away at the doors. March 11th, 1843, the same press and process was exhibited by Mr. Turley at the Marquess of Northampton’s soirée, as President of the British Association—a brilliant gathering, at which were present Prince Albert, the Duke of Wellington, Sir Robert Peel, a number of bishops, and about thirty foreign princes. The late Prince Consort took so much interest in the process, that Mr. Prosser and Mr. Minton decided that a description of the process and a drawing of the press as then seen at work should be prepared forthwith, and presented to his Highness, which was done, and presented on the 15th of March, 1843. This paper, with copy of drawing of the press, was reproduced in Dr. Ure’s ‘Dictionary of Arts and Manufactures,’ edited by Robert Hunt. After this introduction to the Society of Arts and the British Association, Mr. J. M. Blashfield, Digby Wyatt, and Owen Jones, by their designs and favourable influences, brought the geometrical floor tile with its many colours, in combination with the encaustic floor tile, into extensive use in the rebuilding of churches, noblemen’s mansions, and other public buildings.“In August, 1840, he commenced making buttons and tesseræ with six presses, and continued progressing until December, 1841, when twenty-five presses were at work; September 5, 1842, sixty-two presses at work; and at March, 1844, ninety presses at work, with ninety women and one hundred and eighty girls. The girls working half-days and at school half-days—one girl being required to place on setters for firing the produce of one press. The first six months of 1844 the firm received orders for 27,123 great gross, and sold 22,519 great gross. Infringements were now rife in various directions. Most of them were stopped on receipt of notice. Two were costly suits: one, by Mr. Thomas Prosser (who held the American Patent)versusMr. Henry Van Wart, as an American merchant, for sending into the States buttons made in England irrespective of the American patentee; the other suit was for infringement in making—R. Prosser and H. MintonversusChamberlain and Lilly. This trial ended August 22, 1845, at Bristol, and its issue was, that Chamberlain and Lilly should work under license. February 3, 1845, an arrangement was made between Minton and Prosser and Mr. H. Van Wart to close the American suit. The course for the sale was again clear for buttons, and progress was made in the manufacture and sale thereof for a few years, when an abrupt termination took place from the unfavourable surroundings and the inability of the patentees to agree as to the future manufacture.In 1845 were made 33,928 great gross.„ 1846 „ „ 50,493 „ „„ 1847 „ „ 26,784 „ „„ 1848 „ „ 1,289 „ „when button-making ceased at Stoke.”

“In August, 1840, he commenced making buttons and tesseræ with six presses, and continued progressing until December, 1841, when twenty-five presses were at work; September 5, 1842, sixty-two presses at work; and at March, 1844, ninety presses at work, with ninety women and one hundred and eighty girls. The girls working half-days and at school half-days—one girl being required to place on setters for firing the produce of one press. The first six months of 1844 the firm received orders for 27,123 great gross, and sold 22,519 great gross. Infringements were now rife in various directions. Most of them were stopped on receipt of notice. Two were costly suits: one, by Mr. Thomas Prosser (who held the American Patent)versusMr. Henry Van Wart, as an American merchant, for sending into the States buttons made in England irrespective of the American patentee; the other suit was for infringement in making—R. Prosser and H. MintonversusChamberlain and Lilly. This trial ended August 22, 1845, at Bristol, and its issue was, that Chamberlain and Lilly should work under license. February 3, 1845, an arrangement was made between Minton and Prosser and Mr. H. Van Wart to close the American suit. The course for the sale was again clear for buttons, and progress was made in the manufacture and sale thereof for a few years, when an abrupt termination took place from the unfavourable surroundings and the inability of the patentees to agree as to the future manufacture.

In 1845 were made 33,928 great gross.„ 1846 „ „ 50,493 „ „„ 1847 „ „ 26,784 „ „„ 1848 „ „ 1,289 „ „

when button-making ceased at Stoke.”

In August, 1845, Mr. Michael Daintry Hollins joined Mr. Minton in the general manufacturing business; and the tile department formed a separate concern, under the style of Minton, Hollins, & Co. Mr. Hollins was a nephew of Mr. Minton’s deceased wife (who wasMiss Hollins, of Shelton,) and had been educated for the medical profession. In 1846, Mr. Samuel Barlow Wright, son of the original patentee, was admitted to a share in the business of the tile works, under the style of Minton, Hollins, and Wright. The patent of Mr. Wright was for fourteen years, and was renewed for seven years in 1844. At that period the works continued to be conducted at a loss, and but a small amount of business was done. It may be safely asserted that during the entire existence of the patent, so far from profit being the result, Mr. Minton had sacrificed many thousands of pounds to perfect the manufacture; to say nothing of the extraordinary liberality of his gifts of tiles. In other hands the manufacture might have proved a pecuniary success at an earlier period; but Mr. Minton was lavish in his expenditure in adopting every mechanical or other improvement—hydraulic presses under Prosser’s patent, Napier’s steam hammer, &c.—that promised further success.

Figs. 244 to 246. Minton’s Vases.

Figs. 247 and 248.—Minton’s Majolica.

Previous to the year 1848, the only process of printing which had succeeded for the decoration of pottery, was the one from engraved copper-plates. In this process all the lines that form the picture are cut into the metal, and these lines were filled in by the printer with the required colour, which had previously been mixed with boiled oil. The impression was then taken on tissue paper, at the ordinary copper-plate printing press, and from the paper transferred to the ware. In that style the picture or ornament was formed by a succession of lines, so that it was almost impossible to produce an even layer of colour, so desirable in flat-surface ornamentation. In 1848, Messrs. Collins and Reynolds, who had for some years carried on in London the business of decorative and picture printers, submitted to Mr. Minton some trials they had made of transferring to pottery impressions taken on paper from the flat surface of metal or stone, instead of from the engraved lines; and by that process broad and flat layers of colour could be produced, and several colours transferred at the same time to the ware. These first-trials were made with ordinary pigments; and, therefore, only served to show the power of transferring the impression from the paper to the ware. Mr. Minton perceived at once that the process would, in all probability, prove of advantage, and supplied the proper enamelling colours for further experiments. It was now found, however, that these colours were much more difficult of management than the ordinary pigments. This arose from their being mixed with solarge a proportion of glass, which necessitated the use of stronger oils to carry the colour; and this again caused the colour, when of sufficient strength, to blister in the kiln. Mr. Minton was not, however, discouraged; and, believing that the difficulties would ultimately be overcome, he joined the experimenters in taking out a patent for the process. The patent is dated the 14th March, 1848, and is entitled “for improvements in ornamenting china, earthenware, and glass.” The difficulties so early encountered were very long in being overcome; months, and even years, of disappointment and loss followed, and it was only after innumerable trials had shown what particular oils and of what strength were required for different colours, that the obstacles were finally surmounted, and the process established as an additional and improved means of mechanical decoration. The process was applied to the decoration of earthenware and china generally, both useful and ornamental; but has proved to be more successful with flat surfaces. It was at an early period applied to ornamenting glazed tiles, and quickly supplanted the old and more expensive method of ground-laying. Mr. Pugin was the earliest patron of these tiles, and introduced them into the new palace of Westminster; the walls of the smoke-room of the House of Commons being the first instance of their use. Numerous specimens were shown at the Exhibition of 1851, and again at Paris in 1855, on which occasion the inventor and manager (Mr. Alfred Reynolds) obtained a first-class certificate. And here it should be remarked that Messrs. Minton took every opportunity of bringing before the Jury the merits of those in their employ, whom they considered deserving of distinction for the service they had rendered to them. There is now a very extensive trade done in these tiles, which are very beautiful and every variety of design. They are applied to wall decoration generally, also to hearths, the sides of fire-places, the making of flower boxes, and to a variety of other useful and ornamental purposes. In this improvement both beauty and cheapness are combined. To speak of the merits of these, even briefly, would occupy a chapter; it is sufficient to say that they are of every possible variety of design—floral, geometrical, mythological, historical, and otherwise,—and that the combinations of colours and the arrangement of the patterns give them a brilliancy all their own. Later on the partnership with Mr. Hollins terminated, and that gentleman continued the manufacture of encaustic and other tiles. (See page 213.)

Of the variety of productions of Minton’s works in former, and at the present times, it is impossible to speak in detail. So varied, so distinct, and so extensive are they in material, in body, in style, in decoration, and in uses, that anything like a detailed account becomes impossible. In stoneware, all the ordinary articles—jugs, mugs, bottles, &c.—are extensively produced; many of the designs of the pressed jugs being marked by pure taste and simplicity of design. In ordinary earthenware, dinner, tea, breakfast, toilet, and other services, and all the usual articles, are made in great variety, from the ordinary white and blue printed wares, up to richly enamelled and gilt patterns.

Figs. 249 and 250.

One of the processes successfully adopted by Minton’s is that ofpâte-sur-pâte, a process in which the artist, instead of using colour, employs liquid clay, in which he paints, or rather “lays on” his design; the whole being afterwards glazed. In this process M. Marc Solon, formerly of Sèvres, is particularly successful, and the trays, plaques, &c., produced by him are characterised by pure but severe taste, and masterly treatment. His monogram, the combined letters M and S, distinguish his best works.

In imitation of bronze Messrs. Minton have succeeded far beyond anything before attained, in producing not only a perfect colour, but a thoroughly metallic appearance; their drinking cups and other articles in bronzed porcelain are well designed and of high character. The Persian ware also is of the highest class both in point of correct adaptation of Persian designs and in manipulative treatment.

The pierced or perforated articles are marvels of lightness and of skill. These, which are among the most difficult tasks for the potter, are, as emanating from Minton’s, perfect in every minute detail; they are gems for any cabinet.

Fig. 251.

In china, besides all the usual services—dinner, tea, breakfast, dessert,déjeuner, toilet, trinket, etc.—an endless variety of fancy and ornamental goods are produced. Notably among these are vases, ewers, tazzæ, and other articles of extreme beauty, and of every style of decoration. A marked feature in these is the embossed gilding of borders, &c. by a process patented by the firm. InParian, the statuary, busts, groups, vases, ewers, and other articles, equal those of almost any manufactory; while in majolica, della Robia, and other goods, the productions of this firm stand pre-eminent. The engravings, Figs.205 to 264, give a fair idea of the marvellous beauty and variety of Minton’s goods. Whatever emanates from their factory, indeed, may safely be pronounced to be perfect and unsurpassed, both in design, in manipulation, in body, in glaze, and in colouring. Messrs. Minton rank among the foremost houses throughout the world in those specialities of manufacture to which they have devoted their unbroken attention. The richness and elaborate character of some of the designs, and the faultlessly artistic treatment of others, are shown on the examples I have selected for illustration.

Figs. 252 to 254.

Figs. 255 to 258.

Fig. 259.—Minton’s Productions.

Figs. 260 to 264.—Minton’s Productions.

The marks used by Messrs. Minton from time to time are the name “MINTON” impressed on the body of the ware; the names “MINTON,” “MINTON & BOYLE,” “MINTON & CO.,” etc., printed on the surface; and an imitation of the Sèvres doubleL, with the initial M added. This latter mark, of which two examples are given on Figs.255 and 256, is pencilled in blue on the ware; itoccurs on fine porcelain tea services, richly painted and gilt, and of remarkably good, and sometimes very elaborate, design. Sometimes also the letter M alone (Fig.221) occurs. Of late years, too, an ermine spot (Fig.222) in gold or colours has occasionally been used.

Fig. 265.

The name MINTON impressed, or “stamped,” in the body of the ware, was not used until 1861, so that this will be a guide to possessors in appropriating examples.

Figs. 266 to 270.

Sometimes the words “FELSPAR CHINA,” “NEW STONE” or “SEMI CHINA” occur.

Other marks used by Messrs. Minton are shown on Figs.266 to 270.

Hollins.—The history of the famous works of Messrs. Minton, Hollins, & Co., and of the rise and development of their manufacture of encaustic, enamelled, majolica, and other tiles, has already been given on pages 195 to 206, and therefore need not be repeated. In 1868, as there stated, the partnership ceased, and from that time the manufacture of tiles passed into the hands of, and has been continued solely by, Mr. Michael Daintry Hollins, under the old style of “Minton, Hollins, & Co.” The productions of the works, as of old, consist of unglazed encaustic, and tesselated, or rather, geometrical, tiles for pavements; glazed encaustic tiles for fire hearths; majolica and enamelled tiles for grate cheeks, flower-boxes, wall-linings, &c.; and plain and painted tiles for various species of decoration. These are all made from the same moulds, and of precisely the same excellent quality both in body and decoration as under the old firm; the business is, indeed, in every respect the same as before the dissolution.

The engravings, Figs.271 to 282, show some of the designs of Minton, Hollins, & Co., and are of the highest style of art. The unglazed and the glazed encaustic tiles for pavements are made of the hardest and most durable materials that have yet been discovered—far beyond those of many other makers—and the workmanship as well as the designs are of a superior order. They are made in the simple red and buff patterns of mediæval times, as well as in various combinations of colours; among these are black, white, buff, chocolate, salmon, green, blue, red, grey, yellow, &c., and these are varied in their combinations to an almost endless variety.

In majolica tiles, for flower-boxes, many effective and appropriate designs are made; these are of bold relief and richly coloured. Among the patterns are tulips and other flowers in high relief, painted true to nature, and of remarkable richness. Earthenware tiles, printed or painted, not in relief, are also largely produced for the same purpose.

For wall decoration, fire-place cheeks and linings, and other purposes, the variety of tiles produced by the firm is very extensive, and embraces almost every class of design. In these are some with the patterns (notably the lily) all in very high relief, and the colouring of the richest and most effective character.

Figs. 271 to 276.—Minton, Hollins & Co.’s Tiles.

Fig. 277.—Minton, Hollins & Co.’s Tiles, Philadelphia Exhibition.

Others have their patterns painted by hand on the flat surface, by skilled artists; and others, again, are transfer-printed, or acombination of printing and painting. Some form a more or less rich diaper, and others are separate or continuous patterns, while others again form borders of more than usual elegance.

Fig. 278.

Among special patterns may be named a series of masterly designs of Morning, Noon, Evening, and Night, represented by well-conceived figures in blue on a black ground; a series of emblematic designs of the Seasons, printed in chocolate or other monochrome on the white or buff surface; and a series of allegorical, mythological, and fabulous subjects, each treated in the same admirable manner. The body of some is of fine white earthenware, very hard and durable, and others are buff, grey, or cream-coloured, and in each of these bodies the tiles are produced of many patterns and of every degree of finish.

Figs. 279 to 281.—Minton, Hollins & Co.’s Tiles.

Fig. 282.—Mosaic and Alabaster Reredos by Minton, Hollins & Co., Philadelphia Exhibition.

The geometric or tesselated pavements are of every conceivable variety; the tiles composing them being made of different forms and of all shades of colour, but all produced with the utmost mechanical nicety so as to “fit” in ever-changing variety. A notable feature in the tiles of this firm is the richness, the clearness, and the purity of the colours and the excellence of the glaze; these features, added to faultless quality of body, to high-class artistic treatment of patterns, and to excellence of mechanical workmanship, place them high in estimation. Messrs. Hollins were very extensive exhibitors at the Philadelphia Exhibition, 1876, and their productions excited great interest and admiration. One of their main attractions was a lovely chimney-piece composed oftiles exquisitely painted with humming birds, &c., and over it a lovely painting of a mother and her children executed with perfect artistic taste and feeling on thirty tiles; this great achievement in ceramics is shown on Fig.277. Another notable exhibit was a reredos in mosaic (Fig.282), and in mosaic also was a fine head of Washington. The rest of their exhibits consisted of every possible variety of tiles, and all of equal excellence. The marks used are “Minton Hollins & Co. Patent Tile Works, Stoke on Trent”; “Minton & Co.Patent,Stoke on Trent”; “Minton Hollins & Co. Stoke on Trent”; “M. H. & Co.,” &c., at the back of the tiles.

Trent Pottery.—These works were established in 1861 by Mr. George Jones, the head of the present firm of “George Jones and Sons.” Messrs. Jones manufacture all the ordinary description of ordinary earthenware; from the gaily-decorated articles required in Africa and in South America, and the spotless white granite for the United States, to stoneware, and printed, enamelled, and gilt wares, for home use and for the Colonies. The firm also make a large and striking variety of articles in majolica, in which they successfully vie with most houses in the trade. In this they make both useful and ornamental articles, most of which are of a high order of art, being well modelled, carefully finished, and of a quality that will bear comparison with most others. Some of the productions exhibited at Paris in 1867 (when they obtained a medal), at London in 1871, and at Vienna in 1873, are shown by Figs.283 to 306. The imitation Palissy ware is highly successful. In vases, candelabra, centre and side pieces, flower shells, and numberless other articles, Messrs. Jones have produced many striking and good designs. Some of these are shown on the engravings; others, especially an aquatic centre-piece of four heights, in Cupids, shells, dolphins, and coral; a flower-pot, in which the magnolia forms the basis of ornamentation; and an ewer abundantly decorated with lizards, snakes, &c., are bold, good, and highly effective in design. The mark used by Messrs. Jones is simply the monogram composed of the initials G J joined together.

Figs. 283 to 286.—Trent Pottery Majolica.

Figs. 287 to 306.—Trent Pottery Majolica.

Albert Works, and Copeland Street Works.—(Poole, Stanway, & Wood.)—The business of this firm was established in 1859 in the Albert Works, Liverpool Road, by Messrs. George Turner, Joseph Emery Hassall, and William Bromley, as a Parian manufactory only.In 1863, the present much larger works were built. In 1862, Mr. Bromley retired from the concern, and in 1863 Mr. Thomas Peake joined it, and the firm continued as “Turner, Hassall, & Peake” until 1871, when the latter withdrew, and was succeeded by Mr. Poole, when the style became “Turner, Hassall, and Poole.” In 1873 Mr. Hassall retired, and was succeeded by Mr. Stanway, and the firm then became “Turner, Poole, and Stanway.” Later on Mr. Turner also retired from the firm, and Mr. Josiah Wood, having entered into partnership with the remaining partners, the style was altered to its present form of “Poole, Stanway, and Wood.” At first Parian only was made, but after a time the decoration of china (bought in the white) was added. After this had been done for about ten years the manufacture of china was commenced, and is now a large and profitable branch of the business. The present productions of these works are Parian, principally statuary, of the higher quality in body, in colour, and in workmanship; china, in which tea, breakfast, dessert, trinket, and other services, vases, figures, groups, &c., are made in every style of decoration, and of excellent quality; majolica, in all the usual varieties of articles; and terra cotta, in which they produce water-jugs, fern-stands, tobacco-jars, filters, candlesticks, flower-vases, tea-pots, &c. The speciality of the works is, however, in Parian, and in this they rank very, and deservedly, high; in this the novelty was introduced by Mr. Turner of decorating the Parian body with majolica colours. By this means a greater clearness and brilliancy as well as softness of colour is attained, “crazing” is avoided, and a more pleasing effect and finish gained. The operations of the firm are not confined to the home markets, but a considerable trade is done with foreign ports. The terra cotta goods are produced in red and cane colour, and richly enamelled. The body is remarkably fine and even, and very hard, compact, and durable. In statuary Parian, a large variety of groups, single figures, animals, and ornamental pieces are produced. The groups and figures, both after the antique and original designs by celebrated modellers, are of a high degree of excellence. Notably among these is a very charming pair, “Night” and “Morning,” by Carrier. Busts, too, are produced very extensively, and of various sizes, both copied from classic models and of modern celebrities. In centre-pieces, compotiers, &c., Messrs. Poole, Stanway, & Wood are particularly successful. A set of four, with juvenile figures representingthe Seasons, are peculiarly graceful and elegant, the open-work dishes of these and others being of admirable design and faultless finish; as is also another in which the stem is surrounded by three cleverly modelled Cupids. The tinting of these is pleasing and artistic; the creamy richness of the body (of course unglazed) giving a peculiar softness to the flesh, while the drapery and accessories, being delicately coloured and glazed, impart a finish to the designs that is very charming. A centre-piece with a pedestal rising from three gracefully modelled female figures, and supporting an exquisite open-work dish, is of peculiar elegance; the angles of the tripod base are formed of boldly modelled sea-horses, whose curled tails rise gracefully up and support three smaller dishes. A very successful and powerfully conceived design is a comport in which the base is formed of three young Tritons, who, surrounding an elegant lyre standard, alternate with the same number of shells; above them rises the open-work bowl.

It is interesting to add that one of the partners of this firm, Mr. Josiah Wood, is a worthy descendant of a long line of potters; his grandfather, Aaron Wood, himself a famous potter, was the son of Aaron Wood (who was apprenticed to Dr. Thomas Wedgwood), and the brother of the celebrated Enoch Wood, of whom notices are given in other parts of this volume. Mr. Stanway, another of the partners, is the son of William Stanway, whose fifty years’ connection with the Wedgwoods I have spoken of in my “Life of Wedgwood” and alluded to in another part of this volume.

Glebe Street Works, andWharf Street Works.—These two manufactories belong to Messrs. Robinson and Leadbeater, and are entirely confined to the production of Parian goods, of which they are among the largest and most extensive producers, both for the home markets and for exportation. TheGlebe Street Workswere commenced in 1850, by a clever Italian figure-modeller named Giovanni Meli, who produced clever groups and single figures, till 1865, when he sold the entire business, with its plant, moulds, and machinery, to Messrs. Robinson and Leadbeater, and returned to Italy with the full intention of there commencing a terra cotta manufactory. This he relinquished, after a short trial, mainly through the lack of a suitable native clay or marl for the making of his saggers. Giovanni Meli then went to Chicago, wherehe succeeded in his wishes, and established a manufactory of the kind he had attempted in Italy, and there he continues to the present time. TheWharf Street Workswere commenced in 1858 by Mr. Leveson Hill, after whose death, which occurred shortly afterwards, they were carried on by his executors until 1870, when they were sold to Messrs. Robinson and Leadbeater, who thus became proprietors of both concerns. By them the works have been considerably enlarged, and as their business operations are rapidly extending, they bid fair to rank among the largest in the district.

The operations of the firm are entirely confined to Parian, and in this they produce statuary groups and figures in large variety; statuettes and busts, both classical, portrait, and imaginative; vases of endless form, variety, and size; centre-pieces and comports of elegant design; flower-stands; brackets and pedestals; bouquet-holders trinket-caskets; cream-ewers; jugs, and a considerable variety of fancy articles.

By giving their constant and undivided attention to this one branch of ceramic art (Parian), Messrs. Robinson and Leadbeater have succeeded in so improving it both in fineness and purity of body and in tone of colour, as to render their productions of far higher than average merit. They have studied excellence of body, originality of design, and cleverness of workmanship, as before that of marketable cheapness, and in this they have done wisely. In material, they rank with the best productions of many competing firms, while in fineness of surface and careful manipulation they are scarcely excelled.

Among the designs produced by this firm are many of more than average merit, and they are issued, in some instances, of large size.—“Clytie,” a clever reproduction, is a bust of about twenty-two inches in height, whilst several others (Gladstone, Disraeli, Cobden, Tennyson, Dickens, and other modern celebrities) are of various heights. Among their principal groups are “Innocence Protected,” “Penelope,” “The Power of Love,” “Cupid Betrayed,” “Cupid Captive,” “Golden Age,” “Rock of Ages,” “Guardian Angel,” “The Immaculate Conception,” “Christ and St. John,” and “Virgin and Child;” and in single figures are many well designed and faultlessly produced. These are all good, and the same remark will apply to the remainder of the figures and busts. The centre-pieces, comports, and flower-holders, are characterized by the same good taste in design and the same excellence in finish; their variety is great, andmany of them have a freshness and originality in conception that is very encouraging. Messrs. Robinson and Leadbeater are very successful in their original portrait busts, many of which they have produced, both for private purposes and for sale. Among the latter, the busts of Abraham Lincoln, Charles Sumner, and Governor Andrew, have had a very extensive sale in the United States, to which market, indeed, the greater part of their general statuary and other goods is sent. An excellent portrait statuette of Queen Victoria may also be reckoned among their successful productions. In addition to the States and the home markets, the firm export largely to Canada, the Colonies, and Germany. They use no mark.

Copeland Street.—Messrs. Billington & Co. manufacture the commonest descriptions of china in all the usual services.

Bridge Works.—Formerly worked by Messrs. Davenport & Co., W. Adams & Co., Minton, Hollins & Co., Jones & Co., and Grose & Son, this manufactory is now carried on by Hancock & Whittingham for the production of the usual useful classes of earthenware.

Walker & Carter.—The manufactory now carried on by this firm belonged formerly to Wolf, and next to his son-in-law Hamilton, and later was worked by Z. Boyle & Co., W. Adams & Co., and Minton, Hollins & Co. The present firm manufacture the ordinary classes of earthenware.

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