[Illustration: _Llewellyn Jewitt_ (signature)]
_From a bust by W. H. Goss._]
THE
CERAMIC ART
OF
GREAT BRITAIN
FROM PRE-HISTORIC TIMES DOWN TO THE PRESENT DAY
BEING A HISTORY OF THE ANCIENT AND MODERN
POTTERY AND PORCELAIN WORKS
OF THE KINGDOM
AND OF THEIR PRODUCTIONS OF EVERY CLASS
BY
LLEWELLYNN JEWITT, F.S.A.
LOCAL SECRETARY OF THE SOCIETY OF ANTIQUARIES OF LONDON;
HON. AND ACTUAL MEMBER OF THE RUSSIAN IMPERIAL ARCHÆOLOGICAL
COMMISSION,
AND STATISTICAL COMMITTEE, PSKOV;
MEMBER OF THE ROYAL ARCHÆOLOGICAL INSTITUTE OF GREAT BRITAIN AND
IRELAND;
ASSOCIATE OF THE BRITISH ARCHÆOLOGICAL ASSOCIATION;
HON. MEMBER OF THE ESSEX ARCHÆOLOGICAL SOCIETY AND OF THE MANX
SOCIETY, ETC.;
COR. MEMBER OF THE ROYAL HISTORICAL SOCIETY,
ETC. ETC. ETC.
_ILLUSTRATED WITH NEARLY TWO THOUSAND ENGRAVINGS_
IN TWO VOLUMES.--I.
LONDON
VIRTUE AND CO., LIMITED, 26, IVY LANE
PATERNOSTER ROW
1878
[_All rights reserved._]
LONDON:
PRINTED BY VIRTUE AND CO., LIMITED,
CITY ROAD.
TO
COLIN MINTON CAMPBELL, ESQ.
M.P. FOR NORTH STAFFORDSHIRE,
ETC. ETC.,
THIS WORK,
WHICH TREATS OF AN ART FOR WHOSE DEVELOPMENT AND EXTENSION
HE AND THE FIRM OF MINTON
(OF WHICH HE IS NOW THE HEAD) HAVE DONE SO MUCH,
IS APPROPRIATELY AND WITH PERMISSION
Dedicated,
AS A MARK OF HIGH PERSONAL ESTEEM, AND AS
A SLIGHT TOKEN OF APPRECIATION OF THE EMINENT SERVICES
HE HAS UNIFORMLY RENDERED
TO THAT IMPORTANT BRANCH OF ART-MANUFACTURE
WITH WHICH HIS NAME IS SO INTIMATELY
AND SO WORTHILY ASSOCIATED.
LLEWELLYNN JEWITT.
WINSTER HALL, DERBYSHIRE,
_November, 1877_.
INTRODUCTION.
In issuing my present work I have two distinct personal duties to
perform, and I hasten, in these few brief lines of introduction, to
discharge them. First, I earnestly desire to ask indulgence from my
readers for any shortcomings which may be apparent in its contents;
and next, I desire emphatically to express my thanks to all who have
in any way, or even to the smallest extent, assisted me in my labours.
The preparation of the work has extended over a considerable period
of time, and I have had many difficulties to contend with that are,
and must necessarily be, wholly unknown to any but myself--hard
literary digging to get at facts and to verify dates, that is not
understood, and would scarce be believed in, by the reader who turns
to my pages--and hence errors of omission and of commission may have,
nay, doubtless have crept in, and may in some places, to a greater or
less extent, have marred the accuracy of the page whereon they have
occurred. I can honestly say I have left nothing undone, no source
untried, and no trouble untaken to secure perfect accuracy in all I
have written, and yet I am painfully aware that shortcomings may, and
doubtless will, be laid to my charge; for these, wherever they occur,
I ask, and indeed claim, indulgence. I believe in _work_, in hard
unceasing labour, in patient and painstaking research, in untiring
searchings, and in diligent collection and arrangement of facts--to
make time and labour and money subservient to the end in view, rather
than that the end in view, and the time and labour and money expended,
should bend and bow and ultimately break before _time_. Thus it is
that my “Ceramic Art” has been so long in progress, and thus it is that
many changes have occurred during the time it has been passing through
the press which it has been manifestly impossible to chronicle.
I have the proud satisfaction, however, of knowing that my work is the
only one of its kind yet attempted, and I feel a confident hope that it
will fill a gap that has long wanted filling, and will be found alike
useful to the manufacturer, the china collector, and the general reader.
When, some twenty years ago, at the instance of my dear friend Mr. S.
C. Hall, I began my series of papers in the _Art Journal_ upon
the various famous earthenware and porcelain works of the kingdom,
but little had been done in that direction, and the information I
got together from time to time had to be procured from original
sources, by prolonged visits to the places themselves and by
numberless applications to all sorts of people from whom even scraps
of reliable matter could be obtained. Books on the subject were not
many, and the information they contained on English Ceramics was
meagre in the extreme. Since then numerous workers have sprung up, and
their published volumes--many of them sumptuous and truly valuable
works--attest strongly to the interest and pains they have taken in
the subject. To all these, whoever they may be, the world owes a debt
of gratitude for devoting their time and their talents to so important
a branch of study. To each of them I tender my own thanks for having
devoted themselves to the elucidation of one of my favourite pursuits,
and for having given to the world the result of their labours. No work
has, however, until now been entirely devoted to the one subject of
British Ceramics, and I feel therefore that in presenting my present
volumes to the public I am only carrying out the plan I at first laid
down, and am not even in the slightest degree encroaching on the
province of any other writer.
I think I may safely say there is scarcely a manufacturer--even if
there be one at all--in the length and breadth of the kingdom with
whom I have not frequently communicated in the progress of this work.
Except in some few solitary instances I have received the information I
have sought, and my inquiries have met with the most cordial and ready
response.
To all those who have thus assisted me with information or otherwise,
and especially to my friend Mr. Goss, who has greatly assisted me
over the onerous task of some of the Staffordshire potteries, I offer
my warmest thanks; and to those few others, who from inattention,
shortsightedness, or other cause, have not responded to my inquiries, I
would express my sorrow if, through that inattention on their part, I
have been unable to give as full particulars regarding their potteries
as I could have wished. To thank by name those who have assisted
me with information would require a long list indeed; I therefore
tender my acknowledgments to all in the one emphatic good old English
expression--“_Thank you!_”
LLEWELLYNN JEWITT.
WINSTER HALL, DERBYSHIRE.
_November, 1877._
CONTENTS OF VOL. I.
CHAPTER I.
PAGE
Practice of the Art in England--The Celtic Period--Classes
of Vessels--Cinerary Urns--Food Vessels--Drinking Cups,
&c.--Modes of Ornamentation--Food Vessels--Immolation Urns
or Incense Cups--Handled Cups 1
CHAPTER II.
Romano-British Pottery--Upchurch Ware--Durobrivian
Ware--Roman Potters’ Kilns--Pottery in London--Salopian
Ware--New Forest Ware--Yorkshire, Oxfordshire,
Lincolnshire, and other Wares--Varieties of Vessels:
Amphoræ, Mortaria, &c.--Sepulchral Vessels--Tiles--Tile
Tombs--Clay Coffins--Lamps--Penates--Coin Moulds, &c. 24
CHAPTER III.
Anglo-Saxon Pottery--Forms of Vessels, from Illustrated
MSS.--Culinary Vessels--Pitchers and other domestic
Vessels--Cinerary Urns--Cemeteries at Kingston, King’s
Newton, Bedford, &c.--Modes of Ornamenting 64
CHAPTER IV.
Pottery of the Norman and Mediæval Periods--Examples
from Illuminated MSS.--Norman Potworks at Burley
Hill--The Ferrars Family--Mediæval Pottery--Grotesque
Vessels--Costrils--Mammiform Vessels--The Cruiskeen or
Cruiska--Godets, &c.--Simpson’s Petition--Rous and Cullyn’s
Patent--Bellarmines--Ale-pots--Salt-glazing--Butter-pots--Dr.
Plott--State of Staffordshire Potteries--Combed
Ware--Ariens Van Hamme--John Dwight--The
Brothers Elers--The Tofts--William
Sans--Tygs--Candlesticks--Cradles, &c. 76
CHAPTER V.
Pottery in England in the Eighteenth Century--Delft
Ware--Posset Pots--Billin’s Patent--Redrich and Jones’s
Patent--Benson’s Patents--Ralph Shawe’s Patents--Trial
of Right--The Bow Works--Heylyn and Frye’s Patents--The
Fulham Works--White’s Patent--The Count de Lauraguais’
Patent--Staffordshire Wares--The Plymouth Works--William
Cookworthy’s Patent--Josiah Wedgwood--Crease’s and other
Patents--Ralph Wedgwood’s Patents--Progress of the Art
during the Century 107
CHAPTER VI.
The Fulham Works--Dwight’s Inventions and Patents--First
China made in England--Dwight’s Books of Recipes,
&c.--Present Productions--Lambeth--Exchequer
Trial--High Street--Coade’s Works--London
Pottery--Lambeth Pottery--Fore Street--Waters’
Patent--Imperial Pottery--Crispe’s
China--Blackfriars Road--Bas-reliefs for Wedgwood
Institute--Vauxhall--Aldgate--Millwall--Mortlake--Southwark;
Gravel Lane--Isleworth--Stepney--Greenwich--Deptford--Merton--
Hounslow--Wandsworth--Ewell--Cheam--Chiselhurst 118
CHAPTER VII.
Chelsea--M. Spremont--Sale of the Works to
Duesbury--Removal to Derby--Wages Bills--Simpson’s
Works--Wedgwood’s Works--Ruhl’s Works--Bow--Heylin and
Frye--Weatherby and Crowther--Craft--Sale of Works to
Duesbury--Kentish Town--Giles and Duesbury--Euston
Road--Mortlocks and others--Hoxton--Hammersmith 168
CHAPTER VIII.
Worcester--Royal Porcelain Works--Dr. Wall--Warmstry
House and its Owners--The Porcelain Company--Early
Marks--Transfer Printing--King of Prussia Mug--Josiah
Holdship--Poem--Robert Hancock--Richard Holdship--Derby
China Works--Caughley--Flight and Barr--Chamberlain--Kerr
and Binns--R. W. Binns--Productions of the Works--Royal
Services--Tokens--Royal China Works--Granger and
Lee--Productions--St. John’s Encaustic Tiles--Rainbow
Hill Tileries--St. George’s Pottery Works--Rustic
Terra-Cotta--Stourbridge--The Lye Works--Stourbridge Clay 221
CHAPTER IX.
Salopian Wares--Uriconium--Caughley Works--Thomas
Turner--Introduction of “Willow Pattern”--Worcester
Works--Close of Caughley Works--Marks--Transfer
Printing--Hancock and Holdship--Coalport
Works--Jackfield--John Rose--Swansea and
Nantgarw--Productions of the Coalport
Works--Marks--“Willow Pattern” and “Broseley Blue
Dragon,” &c.--Broseley Pipes--Coalbrookdale Iron
Works--Terra Cotta--Madeley--Martin Randall’s
China--Jackfield Pottery--Maurice Thursfield--“Black
Decanters”--China--Craven Dunnill & Co.’s Tile
Works--Broseley--Benthall--Maw’s Tile Works--Broseley
Tileries--Benthall Potteries--Coalmoor 263
CHAPTER X.
Plymouth--William Cookworthy--The Divining
Rod--Discovery of Petuntse and Kaolin--Productions of
the Plymouth Works--Patent--Specification--Marks--Sale
to Champion--Transference to Bristol--Death
of Cookworthy--Plymouth Earthenware
Works--Watcombe--Terra-Cotta Works--Honiton--Exeter--Bovey
Tracey Pottery--Indiho Pottery--Bovey Pottery--Folley
Pottery--Bideford Pottery--Framington Pottery--Aller
Pottery 318
CHAPTER XI.
Bristol--Delft Ware--Redcliffe Backs--Richard
Frank--Ring--Flower--Bristol China--William
Cookworthy--Richard Champion--Transference of
Plymouth Works--Extension of Patent--Wedgwood’s
Opposition--“Case” of the Manufacturers--Champion’s
Specification--Champion’s Productions--Edmund
Burke--Bristol Vases--Figures--Marks--Bristol
Earthenware--Temple Backs--Potters’ Songs--Temple and St.
Thomas’s Street Works--Temple Gate--Wilder Street--Bristol
Glass--William Edkins--Salt Glaze--Brislington--Crews
Hole--Westbury--Easton--Weston-super-Mare--Matthews’s Royal
Pottery--Poole--Architectural Pottery Company--Bourne
Valley--Branksea--Kinson 350
CHAPTER XII.
Nottingham Ware--List of Potters--Nottingham Mugs--Bears--
Lowesby--Coalville--Ibstock--Tamworth--Wilnecote--Coventry--
Nuneaton--Broxburne--Stamford--Roman Kiln--Blasfield’s
Terra-Cotta--Bolingbroke--Wisbech--Lowestoft and Gunton--
Delft Ware--Lowestoft China--Stowmarket--Ipswich--Ebbisham--
Wrotham--Yarmouth--Cossey--Cadborough--Rye--Gestingthorpe--
Holkham--Nuneham Courtney--Marsh Balden--Horspath--Shotover 415
CHAPTER XIII.
York--Place’s Ware--Hirstwood’s China--Layerthorpe--
Osmotherley--Hull--Belle Vue Pottery--Stepney Lane
Pottery--Leeds--Hartley, Greens, & Co.--Britton and Sons--
Leathley Lane Pottery--Castleford Pottery--Eagle
Pottery--Pontefract--Ferrybridge--Knottingley--Ralph
Wedgwood--Swinton Pottery--Rockingham Ware--Cadogan
Pots--Rockingham China--Brameld & Co.--Dale’s
Patent--Baguley’s Productions--Mexborough--Rock
Pottery--Mexborough Pottery--Mexborough Old Pottery--
Rawmarsh--Rotherham--North Field Pottery--Holmes’s
Pottery--Don Pottery--Denaby--Kilnhurst--Wath-upon-Dearne--
Newhill Pottery--Wakefield--Potovens--Yearsley--Wortley--
Healey--Colsterdale 460
CERAMIC ART IN GREAT BRITAIN.
CHAPTER I.
Practice of the Art in England--The Celtic Period--Classes of
Vessels--Cinerary Urns--Food Vessels, Drinking Cups, &c.--Modes
of Ornamentation--Food Vessels--Immolation Urns or Incense
Cups--Handled Cups.
The history of the ceramic art in our own country is one of intense
interest and of paramount importance. I open my present work, which I
intend to devote to its consideration, with this assertion, and before
it is done I hope I shall have proved its truth.
It is a subject which may be treated in more ways than one. It may
be considered technically, _i.e._ with regard to manipulation,
to the mixing of bodies and glazes, and the practical parts of the
potter’s art; or historically, so as to treat of the introduction
and progress of the art in this country, its gradual extension and
improvement, the chief seats of its operations, and the characteristics
of the productions of each age and place. To neither of these do I
purpose confining myself; but to the latter I shall, here and there,
mix up just sufficient of the former to render it more intelligible
and useful. The main ingredients of the “body”--to use a potter’s
term--of my work will be history, description, and biography, with just
sufficient technicology to temper it and give it its proper tenacity
and consistency. For the facts relating to the earliest examples of
that art, from which I shall deduce my narrative, I rely upon actual
researches into grave-mounds and otherwise, undertaken by myself or
by others; and for the rest--those relating to the art in mediæval
and later times--upon constant inquirings and searchings and readings
carried on, with this special end in view, during the course of many
years.
It is impossible to show when the potter’s art was first invented or
when it was first brought into use in this island; but that it was
practised here in the very earliest days of its being inhabited by
its savage population can be abundantly proved. To this pre-historic
period, then, I shall first direct attention; and then endeavour to
trace the history of the art down from the Celtic to the Romano-British
period; from the time of the Romans to the Anglo-Saxons and Normans;
and so gradually come downwards through mediæval to modern times,
giving, under each separate seat of the more modern manufacture,
historical notices of the works and their founders, and descriptive
particulars of the more characteristic of their productions.
[Illustration: Fig. 1.--Celtic Pottery in the Norwich Museum.]
The practice of the fictile art in England dates back, as I have
already said, to a very remote period--that of its Celtic or ancient
British population, by whom there is abundant evidence it was much
esteemed. It is pleasant to know, and to be able indisputably to
prove, that from those early days down to the present time the art
has, through a long succession of ages, continued with more or less
skill, to be observed among us, and that thus in pottery, as in nothing
else, an unbroken chain, connecting us in our present high state of
civilisation with our remote barbarian forefathers of the stone age,
exists. The weapons and other implements of imperishable stone and
flint have, long ages ago, died out, and any possible connection
between them and the weapons or tools of our own day has died with
them; but the vessels of simple clay have an abiding-place with us
which has lasted without a break until now, and will yet last for ever.
Hitherto the course of the potter’s art has been one of constant and
gradual improvement; but its capabilities for further development are
almost unbounded, and another generation will witness advances of which
we can now but dimly dream.
Among the ancient Britons, vessels of clay were formed for sepulchral
and other uses, and it is entirely to their grave-mounds that we are
indebted for the examples which have survived to our time. It is in
the course of examination of these mounds that these fictile remains
have been brought to light; and it is by a careful examination of these
alone, and by constant comparison of the “finds” of one locality with
the discoveries of another, that a proper estimate of their character
has been, or can be, drawn.
[Illustration: Fig. 2.--Monsal Dale.]
[Illustration: Fig. 3.--Cleatham.]
The pottery of this period may be safely arranged in four classes[1],
viz.--1. _Sepulchral_ or _Cinerary Urns_, which have been
made for and have contained, or been inverted over, calcined human
bones; 2. _Drinking Cups_, which, in a similar manner, are
supposed to have contained some liquid to be placed with the dead
body; 3. _Food Vessels_ (so called), which are supposed to have
contained an offering of food, and which are more usually found
with unburnt bodies than along with interments by cremation; 4.
_Immolation Urns_, (erroneously called _Incense Cups_ by Sir
R. Colt Hoare for want of more knowledge of their use), which are very
small vessels, found only with burnt bones (and usually also containing
them), placed in the mouths of, or close by, the larger cinerary urns.
These latter I believe to have been simply small urns intended to
receive the ashes of the infant, perhaps sacrificed at the death of its
mother, so as to admit of being placed within the larger urn containing
the ashes of the parent: I venture, therefore, to name them “Immolation
Urns.”
No notice of the pottery of this period is to be found in ancient
writers, if we except the allusion of Strabo,[2] who says that one of
the commodities with which the Phœnicians traded to the Cassiterides
was earthenware. But in connection with this it is necessary to state
that no example of pottery which can possibly be traced to Phœnician
origin has as yet been found in any of the hundreds of barrows which
have been opened.
[Illustration: Fig. 4.--Ballidon Moor.]
[Illustration: Fig. 5.--Tresvenneck.]
The pottery exhibits considerable difference, both in clay, in size,
and in ornamentation. Those presumed to be the oldest are of coarse
clay mixed with small pebbles and sand; the later ones of a somewhat
less clumsy form, and perhaps a finer mixture of clays. They are
entirely wrought by hand without the assistance of the wheel, and are
mostly very thick and clumsy. They are very imperfectly fired, having
probably been baked on the funeral pyre.
In the examination of barrows of this period it not unfrequently
happens that the spot where the funeral pyre has been lit can very
clearly be perceived. In these instances the ground beneath is
generally found to be burned to some considerable depth; sometimes,
indeed, it is burned to a fine red colour, and approaches in texture
somewhat to that of brick. Where it was intended that the remains
should be placed in an urn for interment, it appears, from careful
examinations which have been made, that the urn being formed of
clay--most probably, judging from the delicacy of touch, and from the
impress of fingers which occasionally remains, by the females of the
tribe--and ornamented according to the taste of the manipulator, was
placed in the funeral fire and there baked, while the body of the
deceased was being consumed. The remains of the calcined bones, the
flints, &c., were then gathered up together, and placed in the urn;
over which the mound was next raised.
[Illustration: Fig. 6.--Trentham.]
From their imperfect firing, the vessels of this period are usually
called “sun-baked” or “sun-dried;” but this is a grave error, as any
one conversant with examples cannot fail, on careful examination,
to see. If the vessels were “sun-baked” only, their burial in the
earth--in the tumuli wherein, some two thousand years ago, they were
deposited, and where they have all that time remained--would soon
soften them, and they would, ages ago, have returned to their old
clayey consistency. As it is, the urns have remained of their original
form, and although, from imperfect baking, they are sometimes found
partially softened, they still retain their form, and soon regain their
original hardness. They bear abundant evidence of the action of fire,
and are, indeed, sometimes sufficiently burned for the clay to have
attained a red colour--a result which no “sunbaking” could produce.
They are mostly of an earthy brown colour outside, and almost black in
fracture, and many of the cinerary urns bear internal and unmistakable
evidence of having been filled with the burnt bones and ashes of the
deceased, while those ashes were of a glowing and intense heat. They
were, most probably, fashioned by the females of the tribe, on the
death of their relative, from the clay to be found nearest to the spot,
and baked on or by the funeral pyre. The glowing ashes and bones were
then, as I have already stated, collected together, and placed in the
urn, and the flint implements, and occasionally other relics belonging
to the deceased, deposited along with them. In some instances, however,
it is probable that even the cinerary urns were burned in a separate
fire, as were the “drinking cups,” which are usually fired to a much
harder degree than they are. No kiln, or anything approaching to one,
however, could of course have been used.
[Illustration: Fig. 7.--Darley Dale.]
[Illustration: Fig. 8.--Darley Dale.]
[Illustration: Fig. 9.--Darley Dale.]
[Illustration: Fig. 10.--Darley Dale.]
The _Cinerary_ or _Sepulchral Urns_ vary very considerably
in size, in form, in ornamentation, and in material--the latter,
naturally, depending on the locality where the urns were made; and, as
a general rule, they differ also in the different tribes. Those which
are supposed to be the most ancient, from the fact of their frequently
containing flint instruments along with the calcined bones, are of
large size, ranging from nine or ten, to sixteen or eighteen inches
in height. Those which are considered to belong to a somewhat later
period, when cremation had again become general, are of a smaller size,
and of a somewhat finer texture. With them objects of flint are rarely
found, but articles of bronze are occasionally discovered. Sometimes
they are wide at the mouth, without any overlapping rim; at others they
are characterised by a deeply overlapping lip or rim; others are more
of “flower-pot” form, with encircling raised bands, while others again
are contracted inwardly at the mouth by curved rims. Some also have
loops at the sides. The ornamentation is produced chiefly by incised
lines, or punctures, or by lines, &c., produced by indenting into the
soft clay a twisted thong (Fig. 37). Encircling and zig-zag lines of
various forms, reticulated and lozenge-formed patterns, and rows of
indentations, are the usual decorations; but occasionally, as at West
Kennet and Launceston Heath, clearly defined patterns are produced by
the finger or thumb nail.
[Illustration: Fig. 11.--Launceston Heath.]
[Illustration: Fig. 12.--Cleatham.]
[Illustration: Fig. 13.--Launceston Heath.]
[Illustration: Fig. 14.--Stone.]
[Illustration: Fig. 15.--Cleatham.]
The more usual of the forms will be best understood by the engraved
examples, selected from the proceeds of many barrow openings in
different parts of the kingdom.
[Illustration: Fig. 16.--Broad Down.]
[Illustration: Fig. 17.--Tredenny.]
The four urns (Fig. 2, 3, 4, and 6) are characteristic examples of the
variety with the broad or deep overlapping border or rim. The first of
these has the pattern incised in the soft clay, that on the rim being
in diagonal lines, and the central portion reticulated. The second has
the herring-bone or chevron ornament around its rim, and the third
example is ornamented with horizontal and vertical lines alternately on
its rim, and zig-zagged, filled in with horizontal and crossed, lines
on the central part. The lines in this are all produced by indenting
a twisted thong into the clay while in a soft state. Fig. 16 has its
ornamentation indented with twisted thongs in “herring-bone” pattern
both on the outside and inside the rim and around the central part.
Fig. 8 has a central band as well as overhanging lip. Figs. 11 and 13,
from Dorsetshire barrows,[3] are of different form, the ornamentation
consisting of incised lines and impressed thumbmarks, &c. The remaining
engravings also give excellent examples of other forms and varieties of
these sepulchral vessels. Figs. 9 and 10 have the upper part curved,
and almost approaching to cup shape, and Fig. 7 has raised bands; in
Fig. 14 the upper parts are hollowed out; and in Fig. 15 the upper part
is marked with lozenges. Figs. 19 and 23 are ornamented with indented
dots produced by pressing the end of a stick or other substance into
the soft clay. Fig. 23 has these dots in zig-zag lines.
[Illustration:
Fig. 18. Fig. 19. Fig. 20. Fig. 21.
Cinerary and Immolation Urns from Darwen.]
[Illustration: Fig. 22.--Darley Dale.]
[Illustration: Fig. 23.--Calais Wold.]
[Illustration: Fig. 24.--Glen-Dorgal.]
[Illustration: Fig. 25.--Clahar Garden, Mullion.]
[Illustration: Figs. 26, 27, 28.--Clahar Garden, Mullion.]
[Illustration: Fig. 29.--Denzell.]
[Illustration: Fig. 30.--Gerrans.]
[Illustration: Fig. 31.--Place, near Fowey.]
[Illustration: Fig. 32.--Lanlawren.]
[Illustration: Figs. 33 and 34.--Bosporthennis.]
[Illustration: Fig. 35.--Trevello.]
[Illustration: Fig. 36.--Boscawen-Un.]
[Illustration: Fig. 37.--Darwen.]
[Illustration: Fig. 38.--Morvah Hill.]
[Illustration: Fig. 39.--Fimber.]
[Illustration: Fig. 40.--Roundway Hill.]
[Illustration: Fig. 41.--Monsal Dale.]
[Illustration: Fig. 42.--Green Low.]
[Illustration: Fig. 43.--Broad Down.]
[Illustration: Fig. 44.--Gospel Hillock.]
Fig. 21 has the reticulated lines produced by indentations from twisted
thongs. Fig. 22 is a remarkably fine example. Around its upper portion
are encircling lines, between which is the usual zig-zag ornament.
Around the central band, too, are encircling lines, between which are
a series of vertical zig-zag lines. The whole of the ornamentation has
been produced by twisted thongs; some, however, being of tighter twist
than others. Inside, the rim is ornamented by encircling and diagonal
lines. It has on its central band four projecting handles or loops,
which are pierced. Nine other looped examples, from Cornwall, are shown
on Figs. 5, 17, 24, 25, 26, 27, 29, 30, and 35;[4] along with other
examples from the same county. Figs. 18 and 20 are two “Immolation
Urns,” found along with, or in, Figs. 19 and 21. Fig. 38 shows a kind
of ear or handle on the side of another vessel.
[Illustration: Fig. 45.--Monsal Dale.]
[Illustration: Fig. 46.--Grindlow.]
[Illustration: Fig. 47.--Elk Low.]
The _Drinking Cups_ are usually of tall form, globular in the
lower half, contracted in the middle, and expanding at the mouth.
In ornamentation they are more elaborate than the cinerary urns,
many of them, in fact, being covered over their entire surface with
impressed or incised patterns, frequently of considerable delicacy in
manipulation, and always of a finer and higher quality than those of
the other descriptions of pottery. Figs. 39 to 48 will show some of the
varieties both of form and style of decoration. Instances have been
known in which a kind of incrustation has been very perceptible on
the inner surface, thus showing that their use as vessels for holding
liquor is certain; the incrustation being produced by the gradual
drying up of the liquid with which they had been filled when placed
with the dead body.
[Illustration: Fig. 48.--Elk Low.]
[Illustration: Fig. 49.--Hitter Hill.]
[Illustration: Fig. 50.--Hitter Hill.]
[Illustration: Fig. 51.--Trentham.]
Fig. 47, which, however, may perhaps be a food vessel, has the unusual
feature of being ornamented on the bottom quite as elaborately as
around its sides. The bottom is shown on Fig. 48. The whole of the
ornamentation has been produced by the indentation of twisted thongs
into the pliant clay.
Fig. 39, from Fimber, is richly and elaborately ornamented over its
entire surface with the most delicate indentations, and is (with Fig.
42) one of the best and most perfect of known examples. When found
it stood close to the shoulders of the skeleton of a strong-boned,
middle-aged, man, which lay on the right side. Fig. 42 is equally as
elaborate in ornamentation, and as good in form. Like the former, it
is ornamented by thong indentations. Fig. 41 is of the same general
shape, but not so elaborate in design; the greater portion of the
ornamentation consisting of reticulated and lozenge patterns. Fig.
45 is also a remarkably good example, and is about equal in point of
ornament with Fig. 46. Fig. 40 is of very different form, as are also
Figs. 43 and 44. The ornamentation on the first of these is produced in
the usual way, and on the second, by simple indentations. Other forms
of drinking cups are met with, but these are the most usual.
[Illustration: Fig. 52.--Penquite.]
[Illustration: Fig. 53.--Fimber.]
[Illustration: Fig. 54.--Hay Top, Monsal Dale.]
[Illustration: Fig. 55.--Fimber.]
[Illustration: Fig. 56.--Trentham.]
[Illustration: Fig. 57.--Monsal Dale.]
The _Food Vessels_--small urns, so called because they were
probably intended to contain an offering of food--are of various forms
and sizes, and are, in point of decoration, more or less elaborate.
They are usually small at the bottom, and gradually swell out until
they become, frequently, wider at the mouth than they are in height.
They are formed of clay of much the same kind as the other vessels,
and are fired to about the same degree of hardness. Figs. 49 to 57
will show their general form and style of decoration. Figs. 49 and 50
were found in the same barrow, and yet, as will be seen, exhibit very
different styles of ornamentation. The first of these is four and three
quarter inches in height, and five and a half inches in diameter at the
top. It is richly ornamented with the usual diagonal and herring-bone
lines, formed by twisted thongs impressed into the soft clay, in its
upper part. Around the body of the urn itself, however, is a pattern
of lozenge form, very unusual on vessels of this period. The second is
five and a quarter inches in height, and six and a quarter inches in
diameter at the top. It is very richly ornamented.
[Illustration: Fig. 58.]
[Illustration: Fig. 59.]
[Illustration: Fig. 60.]
[Illustration: Fig. 61.]
[Illustration: Fig. 62.]
[Illustration: Fig. 63.]
[Illustration: Fig. 64.]
[Illustration: Fig. 65.]
[Illustration: Fig. 66.]
[Illustration: Fig. 67.]
[Illustration: Fig. 68.]
[Illustration: Fig. 69.]
[Illustration: Fig. 70.]
[Illustration: Fig. 71.]
[Illustration: Fig. 72.--Broad Down.]
Fig. 53 has the pattern rudely indented over its whole surface. Fig.
51 is coarse and rude, and the pattern very simple. Figs. 54, 55, and
57 are of different character, and have a kind of handle or projecting
stud on four sides. They are among the most elaborate, in point of
ornamentation, of any of these interesting vessels, of which other
forms besides those engraved have occasionally been found. On Wykeham
Moor, in Yorkshire the Rev. Canon Greenwell has brought to light some
urns of a different character, and of greater width at the mouth.
[Illustration: Fig. 73.--Broad Down.]
The diminutive vessels, usually called (though, as I have said,
erroneously) “Incense Cups,” but which I propose to call “_Immolation
Urns_,” are ornamented in the same manner as the other pottery.
The form, as will be seen from Figs. 58 to 75, varies much, from a
plain salt-cellar like cup to the more elaborately rimmed vase. Three
examples (Figs. 68, 70, and 75) have the very unusual appendage of
a handle at one side; others have holes in their sides, as if for
suspension, and I suspect this has been the case in the urn containing
the ashes of the mother. Fig. 67 has four handles.
Holes for, as supposed, suspension, are shown in Figs. 58, 72, and 74;
these have each two of these small perforations in the side. Others, as
in Figs. 64 and 67, have perforated loops at their sides. Fig. 65 is
of unusual form, having a broad rim round its mouth; it is elaborately
ornamented. Figs. 5, 18 and 20 are shown with the urns with which they
were found.
[Illustration: Fig. 74.--Broad Down.]
Other forms of these interesting little vessels, which generally range
from an inch and a half to three inches in height, occur. They will
be best understood from the engravings. One of these (Fig. 72), for
the purpose of showing its pattern more carefully, is engraved of its
FULL SIZE. It is a remarkable example, and has its bottom
ornamented as well as its sides and rim, which are shown on Figs. 73
and 74. When found it was filled with burnt bones, probably of an
infant. On one side were two perforations.
[Illustration: Fig. 75.--Denzell.]
Among the unusual forms of Celtic pottery may be named the curious
examples (Figs. 76 and 77) one of which is a kind of drinking mug with
a handle, and the other is supported on feet. Fig. 76, and another
of somewhat similar kind in the Ely Museum, are the only two known
examples of this form of vessel, and they will be seen to be very
richly ornamented. Fig. 76 is in the Bateman collection, as is also
Fig. 77. It is one of the class of vessels hitherto called incense
cups, and is, I believe, unique--no other example on feet having come
under my notice.
[Illustration: Fig. 76.--Pickering.]
[Illustration: Fig. 77.--Pickering.]