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FOOTNOTES:[1]See “North Hylton.”[2]This may be seen in the Museum of Practical Geology, London.[3]The following were the proportions of the ingredients used by Pennington:—“Pennington’s body, March 18, 1769—Bone ashes, 60 lb.; lyme sand, 40 lb.; flint, 35t frit. To every 60 of the above 20 lbs. of clay.”[4]“Christian’s china body (January, 1769). To 100 parts rock: flint, 24 parts; best flint glass, 6 parts; small glass, 6 parts; crown glass, 6 parts. To every 20 lbs. of the above put 1 lb. of salts. Glaze—4 china body (foreign): 16 flint glass; 3 white lead; 12 oz. of pearl ashes.”[5]Many of the early productions of these works have a peculiar green tinge about them. This was the effect of the copper, which for some time tainted the manufactory.[6]For an account of the Roman pot-works at Wilderspool, near this place, see vol. i. p.51.[7]This deed will be found printedin extensoon page 63.[8]See the “Life of William Hutton and the History of the Hutton Family,” edited by Llewellynn Jewitt, 1872, p. 13.[9]It may be well to note that my history of the Derby China Works appeared in January, 1862, and Mr. Chaffers’ first edition of his book was published in 1863; my history of these works, and information which I supplied him, being mainly the foundation of his notice.[10]For all the information connected with this purchase and the removal of the Chelsea moulds, &c., to Derby (which it would be needless to repeat here) see my account of the Chelsea China Works in the first volume of this book. (Vol. 1. p.176,et seq.)[11]This painter is also, besides being written Boreman, sometimes entered as Bowerman, and as Bowman, and is undoubtedly the same as Mr. Marryat, in his “History of Porcelain,” erroneously calls Beaumont. He was afterwards employed at Derby.[12]Mottoes.[13]Shipped for Derby, and therefore paid for from there.[14]Cordwood—charcoal.[15]For other extracts from the Weekly Bills, etc., see vol. 1., pp.179 to 183.[16]The letters and other particulars concerning this demolition and removal will be found in vol. 1, pages184–5.[17]In 1787 the weekly wages paid at the works seem to have been about £34. In 1790 there were eleven hands employed in gilding and eight in burnishing, and more burnishers were required.[18]A notable instance occurs with regard to the design and arrangement and pose of the figure of Lord Howe (modelled by Coffee), the curious and interesting letters concerning which I possess. Another instance was with regard to a bust of Sir Richard Arkwright, for which, by “desire of Mr. Strutt,” Mr. Duesbury had a plaster cast taken from the face of Sir Richard, and had also Wright’s picture lent him by Mr. Strutt. Another instance occurred over a service made for the Duchess of Northumberland in 1795, a letter regarding which, in my own possession, says that the six comports are put into Wright’s hands.[19]At this time, among other memoranda, I find he had produced “4 knife hands,” for which he was paid £3 13s.6d.; and a “small figure of Meditation,” for which he had two guineas; and was paid six guineas for eighteen days’ work at Aston.[20]One of these letters is so amusing that I cannot resist printing it. It is as follows:—“Sir,—I received your favor of the 24th Inst only this day, in Answer I shall tell you that on the 7th Inst I wrote to Spengler to know from whether he had settled with you that I might know whether I was discharged from my bail, he answered me the 9th that he was working indefatigably to bring under the pretended debt (as he call’d it) and that he was allowed out of his weekly wages barely to maintain himself upon this I thought he would continue to work ’till at he had compleatly discharged your debt. But how great was my astonishment when last Saturday sen’night I saw him arrive, in the most pity full condition. I asked him immediately what brought hither, and whether he had settled with you and cleared me of my responsibility, I recd. no other answer, but that nobody would ever ask me any thing and that you owed him money; without saying any thing more he sat down to dinner with me, and after dinner he went up into my room to shave himself and dress his hair; a little while after my servant going up to make my bed found him in it she told him he could not remain in the house, all the rooms being engaged, he begged to be left to take a little rest (being very ill) and he would rise again. I good naturedly never intended to disturb him, and thought him really asleep in my room! ’till 11 o’clock when I went up to take a few things I wanted I found he was gone, and on looking round I missed several things which he has made free with to the amt. of £4 4s.Notwithstanding this I think he is still in London or its vicinity. and that he will have impudence enough to call on me or to write: However I give up every thought of making any good of him. Therefore must beg you to dispose to the best advantage of those things he left in yr possession, and to let me know what further sum is coming to you, without any more law proceedings. When I know your demand I shall endeavour to settle it with Mr. Lygo to whom you may give orders for the purpose I remain Sir Yr most obedt. Hble servtH. Hurter“London 28th Novr 1792”[21]See Vol. I., pp. 139 to 141.[22]For an account of those works see later on in this volume.[23]The following brief pedigree, which I have drawn up from the parish registers, and other sources, gives all needful information regarding his family:—WILLIAM BILLINGSLEY ===MARY of Derby, buried at | survived her husband. St. Alkmund’s, Derby, | 4th March, 1770. | | +-----------------------+-------+-------------+--------+---------+ | | | | | | WILLAM ===SARAH SARAH ELIAS ===MARY MARY SARAH POSTHUMIA BILLINGSLEY, | RIGLEY, BIL- BIL- | BIL- BIL- BILLINGS- bap. at St. | married LINGS- LINGS- | LINGS- LINGS- LEY, Alkmund’s, | at St. LEY, LEY. | LEY, LEY, “daughter Derby, | Alk- bap. | bap. 4 bap. 1 of Mary 12 Oct., 1758, | mund’s, 21 | Oct., Oct., Billings- apprenticed | Derby. Jan., | 1763. 1764, ley, to Duesbury | 4th 1760, | bur. widow,” 26 Sep. 1774, | Nov., bur., | 27 bap. china painter, | 1780. 24th | Sep., 3 June, etc. | July, | 1773. 1770. | 1764. | | +-----------------------+ +-----------+---------------+-----------------+ | | | | | SARAH ===GEORGE JAMES LAVINIA BILLINGSLEY, JAMES BILLINGSLEY, WALKER, BIL- bap. 1 Nov., 1795. BILLINGSLEY, bap. 14 china maker, LINGS- (In the register this bap. 3 Nov., Sep., 1783, who was LEY, is oddly entered; 1795. buried at associated bap. “Samuel,” being the parish with 11 Aug., substituted for Church of Billingsley. 1793, “Sarah.”) died at Swansea, bur. Nantgarw, and was January 4th, 12 Nov., buried at Eglwysilan, 1817, aged 1793. Sep. 10, 1817. In the 31, as register of that appears by parish she is entered the as “Levinia, daughter registers of of William and Sarah that Church, Beeley, Nantgarw,” copied for aged 21 years.[25]me by Rev. T. D. Thompson.[24]Frequently, but erroneously, called “Beaumont,” “Bowerman,” or “Bowman.”[25]For this entry I have to thank the Rev. Rice Jones, M.A., the Vicar of Eglwysilan.[26]The names down to this line are in the second William Duesbury’s handwriting, and have, been crossed through.[27]The names from here forward seem to have been the originally written ones of 1787.[28]Notice.[29]“Mr. Billingsley, at the Nantgarrow manufactory, from Lynn sand, potash, and other components, made a porcelain which, as an artificial felspar, has some excellence, and approaches nearest real felspar; the expense certainly was great; and only was his ware defective through his being unacquainted with theprinciplesof combinative potency. This was a notable instance how much the mechanical processes of pottery are in advance of the ‘work and labour of love’ for public benefit—the science of chemistry in regard to atoms.”—Shaw’sChemistry of Pottery, 1837.[30]It is worthy of note that Billingsley was a common name about Broseley and Madeley; the entries in the parish registers are very numerous.[31]This agreement I have printed entire in my “Life of Wedgwood,” p. 347.[32]Whittington, it must be borne in mind, is a place of considerable historical and antiquarian interest. The family of De Whittington, to which “Dick Whittington” belonged, took its rise and its name from this place; and at the “Cock and Pynot” ale-house here, the great Revolution of 1688 was planned; the “Revolution House” and the “plotting-chair” being matters known to most historical readers. Here, too, the Rev. Samuel Pegge, the great antiquarian writer, lived; he being Rector of Whittington. “Pynot,” it may be added, is the provincial name for the magpie.[33]Amongst many other works, Mr. Arthur Jewitt was author of “The History of Buxton,” “History of Lincoln,” “Lincolnshire Cabinet,” “Hand-book of Perspective,” “Hand-book of Geometry,” &c., and he contributed largely to thePenny Magazine, Brayley’sGraphic and Historical Illustrator, &c., &c. He was the intimate friend of Edward Wedlake Brayley, of John Britton, of Ebenezer Rhodes, and others. He was born in 1772 and died in 1852, on his 80th birthday.[34]I am informed by W. Drury Lowe, Esq., owner of the estates, that a Roman coin in his possession was found in an old working of the ironstone pits.[35]The only other examples I have met with of porcelain tokens issued by china works are those issued by the Worcester Porcelain Company, which have been described on page 254, vol. I.[36]For a full account of this discovery see theReliquary, vol. viii., pp. 129 to 140.[37]See page 74, vol. i.[38]Other urns from this place are engraved in vol. i., Figs. 233 to 242.[39]In this partnership Mr. Copeland had no interest in the works, and Mr. Spode’s interest in the London house was comparatively small.[40]Many of the old Derby models, moulds, etc., passed into the hands of Mr. Alderman Copeland, and have been made available by the firm.[41]Recently purchased by the present head of the firm, C. Minton Campbell, Esq., M.P.[42]Then the principal inn, removed thirty years ago to make room for the new market buildings.[43]The price (1873) delivered in the Potteries was £2 10s.[44]A bust of my dear old friend, Mr. S. C. Hall, editor of theArt Journal, has, since this was written, been prepared for me by Mr. Goss, from Gallimore’s modelling. It is a splendid work of Art, and, as a likeness, is perfect.[45]For the entire extract, containing many interesting particulars, see vol. i., p.97.[46]A copy of these indentures is printed in my “Life of Wedgwood,” pages 66–7. They are signed by “Ralph Wood,” “Aaron Wood,” and “Dr. Tho. Wedgwood,” and witnessed by “SaraXWood, her mark,” and “Jos. Allen.”[47]The managing man at this time was T. Heath.[48]Mr. Lakin travelled for orders at this time.[49]It is said that a John Shrigley in 1765 built the largest hovel of his day, and that it fell to pieces soon after the last brick was laid.[50]Probably from the manufactory at Cliff Bank, previously worked by D. Bird. Shaw says that those works were had by T. Mayer in 1829, and continues, “We shall just notice here that Mr. T. Mayer has succeeded in achef d’œuvreof the Art of Pottery, by many considered as the best Specimen of Solid Earthenware hitherto produced. It is an Earthenware Table, of truly elegant workmanship, thirty-two inches diameter, on an elegant pedestal of proportionate dimensions, ornamented in a very chaste style, with subject from National History.”[51]Vol. I., p. 350.[52]“The Wedgwoods; being a Life of Josiah Wedgwood, with Notices of his Works and their Productions,” &c. By Llewellynn Jewitt, F.S.A. London: Virtue & Co., 1865. 1 vol. 8vo, illustrated.[53]For memoir of Bentley and others see my Life of Wedgwood.[54]While speaking of the Portland Vase I desire to take the opportunity of putting on record the fact that in 1877 Mr. John Northwood and Mr. Philip Pargeter completed a unique and matchless work of art—a literal copy of the Portland Vase in its own material, glass, and cut by exactly the same process as must have been employed by the artist of the original one thousands of years back. Of this marvellous work I gave a careful account in the “Reliquary,” from which I make the following extract:—“The material is, of course, glass, and, thanks to the skill and perseverance of Mr. Pargeter, this has been produced of as nearly as possible the same rich full deep tone of blue colour, closely approaching to black when seen with the light upon it, but of vast richness in dark blue when the light passes through it. Upon this blue body Mr. Pargeter succeeded in laying a layer of fine white soft opal glass, specially made for the purpose, to a considerable thickness; and the welding of these two together was a process of exceeding difficulty. The two kinds of glass, the one being opaque and the other transparent, are usually of very different degrees of specific gravity (the usual opal being of much lighter material than ordinary glass), but for this special purpose they had to be made of the same degrees of specific gravity and of expansion and contraction. This difficult task was, through the skill and constant trials of Mr. Pargeter, brought to a successful result, and the welding accomplished with the utmost thoroughness and delicacy; not a flaw, or air-bubble, or even partially-united spot being visible in the whole of the work. The body of the vase being entirely coated, even to half-way up the neck, with the opal, it was ready for Mr. Northwood to operate upon, and he set about his herculean task—one he had desired all his life to accomplish—with that spirit of determination that ensured success. For three years he has unceasingly devoted himself to his task, never working less than six hours a day, and oftener more, at his gem-like material, and patiently cutting away, by hand, and by hand only, the opal coating, so as to leave the blue surface clear as a groundwork, and the figures and other parts of the design in relief. The whole of the grouping, the figures, the trees, and indeed every minute portion of the decoration is delicately carved in the opal, and entirely carved and cut by hand as in the original. By the entire cutting away of the opal the amethystine glass of the vase itself is cleared and polished, while by the gradations of thickness in the carving all the most delicate shades of colour, from the finest white to the sweetest of all half-tones—produced by leaving simply a thin and fairylike film of the coating on the body—in blue, are produced. The effect, as may be imagined, is rich and gorgeous in the extreme; but its general effect is the least part of its merit; this lies in the nature of the work itself, in the extreme delicacy and beauty of manipulation, and in the almost microscopic nicety of its finish. It is literally cameo engraving in its highest, most difficult, and most beautiful phase; and the vase, now completed, is indeed, in Art, a ‘gem of the first water,’ and one that can never, in point of execution and in artistic skill, be surpassed.”I may also add, while speaking of the Portland Vase, that in 1877 one of the first fifty was brought to the hammer and realised £273.[55]Veining, same as in the combed and tortoiseshell wares.[56]Tortoiseshell ware.[57]George Walker and his father-in-law, William Billingsley, who had assumed the name ofBeeleyorBealey.—(See “Derby” and “Nantgarw.”)[58]Of this clever painter Mr. Binns says:—“Baxter was certainly the most accomplished artist who painted Worcester porcelain in the first half of the present century, and his productions are the most covetable works of the time. We have been favoured by his son, Mr. Thomas Baxter, F.G.S., with a few notes respecting him. It was Mr. Baxter’s early training, aided by a naturally artistic mind, which enabled him to take the high position which we have assigned to him. Mr. Baxter’s grandfather had workshops in London for painting and gilding china; they were situated at No. 1, Goldsmith Street, Gough Square, Fleet Street, a locality connected with Worcester from an early date. It was usual for Mr. Baxter, sen., to obtain white porcelain from France, Staffordshire, and elsewhere, and decorate for the London dealers. It appears that Mr. Baxter, jun., was patronised by Lord Nelson, and frequently employed by him in making sketches at Merton; he also painted a rich dessert service for his lordship. Many of the celebrated subjects of the time painted by Sir J. Reynolds, West, and others, were introduced by him on plaques of porcelain; some of them are now in his son’s possession, viz., ‘Thetis and Achilles,’ after West; ‘Puck,’ after Sir J. Reynolds; and ‘Boy with Cabbage Nets,’ after the same artist. Mr. Baxter was also engaged by a celebrated connoisseur, in London, to copy some of the more remarkable works in his collection. This gentleman, in his conversation on Art matters, frequently stated that, in his opinion, there was no decorative Art in England. After his return from Paris, on one occasion, he showed Mr. Baxter a fine piece of porcelain which he had purchased in that city, and asked him whether such a work could be produced in England. To his great surprise, Mr. Baxter replied that he had painted that very piece himself, in Goldsmith Street. This little occurrence will give us some idea of the superior character of our artist’s work, and the effect of his teaching is evident in Messrs. Flight & Barr’s ornamental productions. Mr. Baxter established a School of Art during his visit to the city, from 1814 to 1816; and some of those who afterwards distinguished themselves in connection with the Arts and Art-manufactures of the city formed part of his class. Amongst these, we may name Doe, Astles, Webster, Pitman, Lowe, and S. Cole. When Mr. Baxter left Worcester, in 1816, he went to Mr. Dillwyn, at Swansea, and continued there for three years. Amongst the special works painted at that establishment, may be named the ‘Shakespeare Cup,’ now in the possession of his son, and a dessert service of garden scenery (a style peculiar to himself), which, we believe, is in the possession of Mr. Dillwyn. Mr. Baxter returned to Worcester in 1819, and joined Messrs. Flight & Barr’s establishment again, but subsequently removed to Messrs. Chamberlain’s. The handle of a well-known vase, formed by horses’ heads, was modelled by Mr. Baxter from the head of a favourite mare of Messrs. Barr. During Mr. Baxter’s residence with Messrs. Chamberlain, we believe his principal works were services; and the last of which he was engaged was a service of fruit, of which a specimen is in our cabinet. He died in April, 1821.” The ‘Shakespeare Cup’ or goblet, here alluded to, was “turned by Baxter himself, the form of the leg having the outline of the dramatist’s face in profile; the cup is adorned, both on its inner and outer side, with subjects from the plays.”[59]A notice of Billingsley, his family, and the various works he founded, will be found on pp. 101 to 105ante.[60]In reference to these initials, Chaffers absurdly says, “Sometimes the letters C. W. are found stamped under, which may perhaps mean ‘China Works.’”[61]“Grave Mounds and their Contents,” “Half Hours among some English Antiquities,” &c.[62]“So early asA.M.3959, we learn from the books of Leinster and of Lecan, the body of Slanoll, son of Ollamh Fodhla, was buried in the earth.”[63]For this and several other of the engravings illustrating this notice of the ancient fictilia of Ireland, I am indebted to my good friend the Rev. J. Graves, M.A., and through him to the council of the “Royal Historical and Archæological Association of Ireland,” whose truly valuable “Journal” they have graced.[64]As I have elsewhere explained, this is an error of Sir William’s; no urns were simply “sun-baked;” they were, there can be no doubt, burned on the funeral pyre, as already stated.[65]Ballydoolough, the Place or Town of the Dark Lake.[66]Journal of the House of Commons, Ireland, vol. v., p. 175.[67]“3rdNovember 1753, page 181.[68]“8th November, 1753, page 185, Committee of Supply.[69]Journal of the House of Commons, Ireland, vol. vii., p. 43.[70]Art Journal.[71]To Messrs. Macmillan & Co., the publishers of this truly important and invaluable work—a work which ought to be in every library—I am indebted for the illustrations, Figs. 740 to 759, which through their courtesy I am enabled to here introduce. To them I beg to tender my best thanks.

[1]See “North Hylton.”

[2]This may be seen in the Museum of Practical Geology, London.

[3]The following were the proportions of the ingredients used by Pennington:—“Pennington’s body, March 18, 1769—Bone ashes, 60 lb.; lyme sand, 40 lb.; flint, 35t frit. To every 60 of the above 20 lbs. of clay.”

[4]“Christian’s china body (January, 1769). To 100 parts rock: flint, 24 parts; best flint glass, 6 parts; small glass, 6 parts; crown glass, 6 parts. To every 20 lbs. of the above put 1 lb. of salts. Glaze—4 china body (foreign): 16 flint glass; 3 white lead; 12 oz. of pearl ashes.”

[5]Many of the early productions of these works have a peculiar green tinge about them. This was the effect of the copper, which for some time tainted the manufactory.

[6]For an account of the Roman pot-works at Wilderspool, near this place, see vol. i. p.51.

[7]This deed will be found printedin extensoon page 63.

[8]See the “Life of William Hutton and the History of the Hutton Family,” edited by Llewellynn Jewitt, 1872, p. 13.

[9]It may be well to note that my history of the Derby China Works appeared in January, 1862, and Mr. Chaffers’ first edition of his book was published in 1863; my history of these works, and information which I supplied him, being mainly the foundation of his notice.

[10]For all the information connected with this purchase and the removal of the Chelsea moulds, &c., to Derby (which it would be needless to repeat here) see my account of the Chelsea China Works in the first volume of this book. (Vol. 1. p.176,et seq.)

[11]This painter is also, besides being written Boreman, sometimes entered as Bowerman, and as Bowman, and is undoubtedly the same as Mr. Marryat, in his “History of Porcelain,” erroneously calls Beaumont. He was afterwards employed at Derby.

[12]Mottoes.

[13]Shipped for Derby, and therefore paid for from there.

[14]Cordwood—charcoal.

[15]For other extracts from the Weekly Bills, etc., see vol. 1., pp.179 to 183.

[16]The letters and other particulars concerning this demolition and removal will be found in vol. 1, pages184–5.

[17]In 1787 the weekly wages paid at the works seem to have been about £34. In 1790 there were eleven hands employed in gilding and eight in burnishing, and more burnishers were required.

[18]A notable instance occurs with regard to the design and arrangement and pose of the figure of Lord Howe (modelled by Coffee), the curious and interesting letters concerning which I possess. Another instance was with regard to a bust of Sir Richard Arkwright, for which, by “desire of Mr. Strutt,” Mr. Duesbury had a plaster cast taken from the face of Sir Richard, and had also Wright’s picture lent him by Mr. Strutt. Another instance occurred over a service made for the Duchess of Northumberland in 1795, a letter regarding which, in my own possession, says that the six comports are put into Wright’s hands.

[19]At this time, among other memoranda, I find he had produced “4 knife hands,” for which he was paid £3 13s.6d.; and a “small figure of Meditation,” for which he had two guineas; and was paid six guineas for eighteen days’ work at Aston.

[20]One of these letters is so amusing that I cannot resist printing it. It is as follows:—“Sir,—I received your favor of the 24th Inst only this day, in Answer I shall tell you that on the 7th Inst I wrote to Spengler to know from whether he had settled with you that I might know whether I was discharged from my bail, he answered me the 9th that he was working indefatigably to bring under the pretended debt (as he call’d it) and that he was allowed out of his weekly wages barely to maintain himself upon this I thought he would continue to work ’till at he had compleatly discharged your debt. But how great was my astonishment when last Saturday sen’night I saw him arrive, in the most pity full condition. I asked him immediately what brought hither, and whether he had settled with you and cleared me of my responsibility, I recd. no other answer, but that nobody would ever ask me any thing and that you owed him money; without saying any thing more he sat down to dinner with me, and after dinner he went up into my room to shave himself and dress his hair; a little while after my servant going up to make my bed found him in it she told him he could not remain in the house, all the rooms being engaged, he begged to be left to take a little rest (being very ill) and he would rise again. I good naturedly never intended to disturb him, and thought him really asleep in my room! ’till 11 o’clock when I went up to take a few things I wanted I found he was gone, and on looking round I missed several things which he has made free with to the amt. of £4 4s.Notwithstanding this I think he is still in London or its vicinity. and that he will have impudence enough to call on me or to write: However I give up every thought of making any good of him. Therefore must beg you to dispose to the best advantage of those things he left in yr possession, and to let me know what further sum is coming to you, without any more law proceedings. When I know your demand I shall endeavour to settle it with Mr. Lygo to whom you may give orders for the purpose I remain Sir Yr most obedt. Hble servtH. Hurter“London 28th Novr 1792”

“London 28th Novr 1792”

[21]See Vol. I., pp. 139 to 141.

[22]For an account of those works see later on in this volume.

[23]The following brief pedigree, which I have drawn up from the parish registers, and other sources, gives all needful information regarding his family:—WILLIAM BILLINGSLEY ===MARY of Derby, buried at | survived her husband. St. Alkmund’s, Derby, | 4th March, 1770. | | +-----------------------+-------+-------------+--------+---------+ | | | | | | WILLAM ===SARAH SARAH ELIAS ===MARY MARY SARAH POSTHUMIA BILLINGSLEY, | RIGLEY, BIL- BIL- | BIL- BIL- BILLINGS- bap. at St. | married LINGS- LINGS- | LINGS- LINGS- LEY, Alkmund’s, | at St. LEY, LEY. | LEY, LEY, “daughter Derby, | Alk- bap. | bap. 4 bap. 1 of Mary 12 Oct., 1758, | mund’s, 21 | Oct., Oct., Billings- apprenticed | Derby. Jan., | 1763. 1764, ley, to Duesbury | 4th 1760, | bur. widow,” 26 Sep. 1774, | Nov., bur., | 27 bap. china painter, | 1780. 24th | Sep., 3 June, etc. | July, | 1773. 1770. | 1764. | | +-----------------------+ +-----------+---------------+-----------------+ | | | | | SARAH ===GEORGE JAMES LAVINIA BILLINGSLEY, JAMES BILLINGSLEY, WALKER, BIL- bap. 1 Nov., 1795. BILLINGSLEY, bap. 14 china maker, LINGS- (In the register this bap. 3 Nov., Sep., 1783, who was LEY, is oddly entered; 1795. buried at associated bap. “Samuel,” being the parish with 11 Aug., substituted for Church of Billingsley. 1793, “Sarah.”) died at Swansea, bur. Nantgarw, and was January 4th, 12 Nov., buried at Eglwysilan, 1817, aged 1793. Sep. 10, 1817. In the 31, as register of that appears by parish she is entered the as “Levinia, daughter registers of of William and Sarah that Church, Beeley, Nantgarw,” copied for aged 21 years.[25]me by Rev. T. D. Thompson.

[23]The following brief pedigree, which I have drawn up from the parish registers, and other sources, gives all needful information regarding his family:—

WILLIAM BILLINGSLEY ===MARY of Derby, buried at | survived her husband. St. Alkmund’s, Derby, | 4th March, 1770. | | +-----------------------+-------+-------------+--------+---------+ | | | | | | WILLAM ===SARAH SARAH ELIAS ===MARY MARY SARAH POSTHUMIA BILLINGSLEY, | RIGLEY, BIL- BIL- | BIL- BIL- BILLINGS- bap. at St. | married LINGS- LINGS- | LINGS- LINGS- LEY, Alkmund’s, | at St. LEY, LEY. | LEY, LEY, “daughter Derby, | Alk- bap. | bap. 4 bap. 1 of Mary 12 Oct., 1758, | mund’s, 21 | Oct., Oct., Billings- apprenticed | Derby. Jan., | 1763. 1764, ley, to Duesbury | 4th 1760, | bur. widow,” 26 Sep. 1774, | Nov., bur., | 27 bap. china painter, | 1780. 24th | Sep., 3 June, etc. | July, | 1773. 1770. | 1764. | | +-----------------------+ +-----------+---------------+-----------------+ | | | | | SARAH ===GEORGE JAMES LAVINIA BILLINGSLEY, JAMES BILLINGSLEY, WALKER, BIL- bap. 1 Nov., 1795. BILLINGSLEY, bap. 14 china maker, LINGS- (In the register this bap. 3 Nov., Sep., 1783, who was LEY, is oddly entered; 1795. buried at associated bap. “Samuel,” being the parish with 11 Aug., substituted for Church of Billingsley. 1793, “Sarah.”) died at Swansea, bur. Nantgarw, and was January 4th, 12 Nov., buried at Eglwysilan, 1817, aged 1793. Sep. 10, 1817. In the 31, as register of that appears by parish she is entered the as “Levinia, daughter registers of of William and Sarah that Church, Beeley, Nantgarw,” copied for aged 21 years.[25]me by Rev. T. D. Thompson.

[24]Frequently, but erroneously, called “Beaumont,” “Bowerman,” or “Bowman.”

[25]For this entry I have to thank the Rev. Rice Jones, M.A., the Vicar of Eglwysilan.

[26]The names down to this line are in the second William Duesbury’s handwriting, and have, been crossed through.

[27]The names from here forward seem to have been the originally written ones of 1787.

[28]Notice.

[29]“Mr. Billingsley, at the Nantgarrow manufactory, from Lynn sand, potash, and other components, made a porcelain which, as an artificial felspar, has some excellence, and approaches nearest real felspar; the expense certainly was great; and only was his ware defective through his being unacquainted with theprinciplesof combinative potency. This was a notable instance how much the mechanical processes of pottery are in advance of the ‘work and labour of love’ for public benefit—the science of chemistry in regard to atoms.”—Shaw’sChemistry of Pottery, 1837.

[30]It is worthy of note that Billingsley was a common name about Broseley and Madeley; the entries in the parish registers are very numerous.

[31]This agreement I have printed entire in my “Life of Wedgwood,” p. 347.

[32]Whittington, it must be borne in mind, is a place of considerable historical and antiquarian interest. The family of De Whittington, to which “Dick Whittington” belonged, took its rise and its name from this place; and at the “Cock and Pynot” ale-house here, the great Revolution of 1688 was planned; the “Revolution House” and the “plotting-chair” being matters known to most historical readers. Here, too, the Rev. Samuel Pegge, the great antiquarian writer, lived; he being Rector of Whittington. “Pynot,” it may be added, is the provincial name for the magpie.

[33]Amongst many other works, Mr. Arthur Jewitt was author of “The History of Buxton,” “History of Lincoln,” “Lincolnshire Cabinet,” “Hand-book of Perspective,” “Hand-book of Geometry,” &c., and he contributed largely to thePenny Magazine, Brayley’sGraphic and Historical Illustrator, &c., &c. He was the intimate friend of Edward Wedlake Brayley, of John Britton, of Ebenezer Rhodes, and others. He was born in 1772 and died in 1852, on his 80th birthday.

[34]I am informed by W. Drury Lowe, Esq., owner of the estates, that a Roman coin in his possession was found in an old working of the ironstone pits.

[35]The only other examples I have met with of porcelain tokens issued by china works are those issued by the Worcester Porcelain Company, which have been described on page 254, vol. I.

[36]For a full account of this discovery see theReliquary, vol. viii., pp. 129 to 140.

[37]See page 74, vol. i.

[38]Other urns from this place are engraved in vol. i., Figs. 233 to 242.

[39]In this partnership Mr. Copeland had no interest in the works, and Mr. Spode’s interest in the London house was comparatively small.

[40]Many of the old Derby models, moulds, etc., passed into the hands of Mr. Alderman Copeland, and have been made available by the firm.

[41]Recently purchased by the present head of the firm, C. Minton Campbell, Esq., M.P.

[42]Then the principal inn, removed thirty years ago to make room for the new market buildings.

[43]The price (1873) delivered in the Potteries was £2 10s.

[44]A bust of my dear old friend, Mr. S. C. Hall, editor of theArt Journal, has, since this was written, been prepared for me by Mr. Goss, from Gallimore’s modelling. It is a splendid work of Art, and, as a likeness, is perfect.

[45]For the entire extract, containing many interesting particulars, see vol. i., p.97.

[46]A copy of these indentures is printed in my “Life of Wedgwood,” pages 66–7. They are signed by “Ralph Wood,” “Aaron Wood,” and “Dr. Tho. Wedgwood,” and witnessed by “SaraXWood, her mark,” and “Jos. Allen.”

[47]The managing man at this time was T. Heath.

[48]Mr. Lakin travelled for orders at this time.

[49]It is said that a John Shrigley in 1765 built the largest hovel of his day, and that it fell to pieces soon after the last brick was laid.

[50]Probably from the manufactory at Cliff Bank, previously worked by D. Bird. Shaw says that those works were had by T. Mayer in 1829, and continues, “We shall just notice here that Mr. T. Mayer has succeeded in achef d’œuvreof the Art of Pottery, by many considered as the best Specimen of Solid Earthenware hitherto produced. It is an Earthenware Table, of truly elegant workmanship, thirty-two inches diameter, on an elegant pedestal of proportionate dimensions, ornamented in a very chaste style, with subject from National History.”

[51]Vol. I., p. 350.

[52]“The Wedgwoods; being a Life of Josiah Wedgwood, with Notices of his Works and their Productions,” &c. By Llewellynn Jewitt, F.S.A. London: Virtue & Co., 1865. 1 vol. 8vo, illustrated.

[53]For memoir of Bentley and others see my Life of Wedgwood.

[54]While speaking of the Portland Vase I desire to take the opportunity of putting on record the fact that in 1877 Mr. John Northwood and Mr. Philip Pargeter completed a unique and matchless work of art—a literal copy of the Portland Vase in its own material, glass, and cut by exactly the same process as must have been employed by the artist of the original one thousands of years back. Of this marvellous work I gave a careful account in the “Reliquary,” from which I make the following extract:—“The material is, of course, glass, and, thanks to the skill and perseverance of Mr. Pargeter, this has been produced of as nearly as possible the same rich full deep tone of blue colour, closely approaching to black when seen with the light upon it, but of vast richness in dark blue when the light passes through it. Upon this blue body Mr. Pargeter succeeded in laying a layer of fine white soft opal glass, specially made for the purpose, to a considerable thickness; and the welding of these two together was a process of exceeding difficulty. The two kinds of glass, the one being opaque and the other transparent, are usually of very different degrees of specific gravity (the usual opal being of much lighter material than ordinary glass), but for this special purpose they had to be made of the same degrees of specific gravity and of expansion and contraction. This difficult task was, through the skill and constant trials of Mr. Pargeter, brought to a successful result, and the welding accomplished with the utmost thoroughness and delicacy; not a flaw, or air-bubble, or even partially-united spot being visible in the whole of the work. The body of the vase being entirely coated, even to half-way up the neck, with the opal, it was ready for Mr. Northwood to operate upon, and he set about his herculean task—one he had desired all his life to accomplish—with that spirit of determination that ensured success. For three years he has unceasingly devoted himself to his task, never working less than six hours a day, and oftener more, at his gem-like material, and patiently cutting away, by hand, and by hand only, the opal coating, so as to leave the blue surface clear as a groundwork, and the figures and other parts of the design in relief. The whole of the grouping, the figures, the trees, and indeed every minute portion of the decoration is delicately carved in the opal, and entirely carved and cut by hand as in the original. By the entire cutting away of the opal the amethystine glass of the vase itself is cleared and polished, while by the gradations of thickness in the carving all the most delicate shades of colour, from the finest white to the sweetest of all half-tones—produced by leaving simply a thin and fairylike film of the coating on the body—in blue, are produced. The effect, as may be imagined, is rich and gorgeous in the extreme; but its general effect is the least part of its merit; this lies in the nature of the work itself, in the extreme delicacy and beauty of manipulation, and in the almost microscopic nicety of its finish. It is literally cameo engraving in its highest, most difficult, and most beautiful phase; and the vase, now completed, is indeed, in Art, a ‘gem of the first water,’ and one that can never, in point of execution and in artistic skill, be surpassed.”I may also add, while speaking of the Portland Vase, that in 1877 one of the first fifty was brought to the hammer and realised £273.

I may also add, while speaking of the Portland Vase, that in 1877 one of the first fifty was brought to the hammer and realised £273.

[55]Veining, same as in the combed and tortoiseshell wares.

[56]Tortoiseshell ware.

[57]George Walker and his father-in-law, William Billingsley, who had assumed the name ofBeeleyorBealey.—(See “Derby” and “Nantgarw.”)

[58]Of this clever painter Mr. Binns says:—“Baxter was certainly the most accomplished artist who painted Worcester porcelain in the first half of the present century, and his productions are the most covetable works of the time. We have been favoured by his son, Mr. Thomas Baxter, F.G.S., with a few notes respecting him. It was Mr. Baxter’s early training, aided by a naturally artistic mind, which enabled him to take the high position which we have assigned to him. Mr. Baxter’s grandfather had workshops in London for painting and gilding china; they were situated at No. 1, Goldsmith Street, Gough Square, Fleet Street, a locality connected with Worcester from an early date. It was usual for Mr. Baxter, sen., to obtain white porcelain from France, Staffordshire, and elsewhere, and decorate for the London dealers. It appears that Mr. Baxter, jun., was patronised by Lord Nelson, and frequently employed by him in making sketches at Merton; he also painted a rich dessert service for his lordship. Many of the celebrated subjects of the time painted by Sir J. Reynolds, West, and others, were introduced by him on plaques of porcelain; some of them are now in his son’s possession, viz., ‘Thetis and Achilles,’ after West; ‘Puck,’ after Sir J. Reynolds; and ‘Boy with Cabbage Nets,’ after the same artist. Mr. Baxter was also engaged by a celebrated connoisseur, in London, to copy some of the more remarkable works in his collection. This gentleman, in his conversation on Art matters, frequently stated that, in his opinion, there was no decorative Art in England. After his return from Paris, on one occasion, he showed Mr. Baxter a fine piece of porcelain which he had purchased in that city, and asked him whether such a work could be produced in England. To his great surprise, Mr. Baxter replied that he had painted that very piece himself, in Goldsmith Street. This little occurrence will give us some idea of the superior character of our artist’s work, and the effect of his teaching is evident in Messrs. Flight & Barr’s ornamental productions. Mr. Baxter established a School of Art during his visit to the city, from 1814 to 1816; and some of those who afterwards distinguished themselves in connection with the Arts and Art-manufactures of the city formed part of his class. Amongst these, we may name Doe, Astles, Webster, Pitman, Lowe, and S. Cole. When Mr. Baxter left Worcester, in 1816, he went to Mr. Dillwyn, at Swansea, and continued there for three years. Amongst the special works painted at that establishment, may be named the ‘Shakespeare Cup,’ now in the possession of his son, and a dessert service of garden scenery (a style peculiar to himself), which, we believe, is in the possession of Mr. Dillwyn. Mr. Baxter returned to Worcester in 1819, and joined Messrs. Flight & Barr’s establishment again, but subsequently removed to Messrs. Chamberlain’s. The handle of a well-known vase, formed by horses’ heads, was modelled by Mr. Baxter from the head of a favourite mare of Messrs. Barr. During Mr. Baxter’s residence with Messrs. Chamberlain, we believe his principal works were services; and the last of which he was engaged was a service of fruit, of which a specimen is in our cabinet. He died in April, 1821.” The ‘Shakespeare Cup’ or goblet, here alluded to, was “turned by Baxter himself, the form of the leg having the outline of the dramatist’s face in profile; the cup is adorned, both on its inner and outer side, with subjects from the plays.”

[59]A notice of Billingsley, his family, and the various works he founded, will be found on pp. 101 to 105ante.

[60]In reference to these initials, Chaffers absurdly says, “Sometimes the letters C. W. are found stamped under, which may perhaps mean ‘China Works.’”

[61]“Grave Mounds and their Contents,” “Half Hours among some English Antiquities,” &c.

[62]“So early asA.M.3959, we learn from the books of Leinster and of Lecan, the body of Slanoll, son of Ollamh Fodhla, was buried in the earth.”

[63]For this and several other of the engravings illustrating this notice of the ancient fictilia of Ireland, I am indebted to my good friend the Rev. J. Graves, M.A., and through him to the council of the “Royal Historical and Archæological Association of Ireland,” whose truly valuable “Journal” they have graced.

[64]As I have elsewhere explained, this is an error of Sir William’s; no urns were simply “sun-baked;” they were, there can be no doubt, burned on the funeral pyre, as already stated.

[65]Ballydoolough, the Place or Town of the Dark Lake.

[66]Journal of the House of Commons, Ireland, vol. v., p. 175.

[67]“3rdNovember 1753, page 181.

[68]“8th November, 1753, page 185, Committee of Supply.

[69]Journal of the House of Commons, Ireland, vol. vii., p. 43.

[70]Art Journal.

[71]To Messrs. Macmillan & Co., the publishers of this truly important and invaluable work—a work which ought to be in every library—I am indebted for the illustrations, Figs. 740 to 759, which through their courtesy I am enabled to here introduce. To them I beg to tender my best thanks.

Transcriber’s Notes:

1. Obvious printers’, punctuation and spelling errors have been corrected silently

2. Where hyphenation is in doubt, it has been retained as in the original.

3. Some hyphenated and non-hyphenated versions of the same words have been retained as in the original.

4. Where appropriate, the original spelling has been retained.

5. Superscripts are represented using the caret character, e.g. Dr. or Xxx.

6. Italics are shown as _xxx_.

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