Lafayette, with this legend, “General Lafayette was born at Auvergne, in
France. At 19 he arrived in America in a war-ship furnished at his own
cost in 1777, & volunteered in our army as Major General. At Brandywine
he was wounded but refused to quit the field; he assisted the army with
£10,000 from his own purse, and kept in service until our independence
was sealed and country free; in 1784 he returned to France loaded with
honors and the gratitude of the American people; in 1824 the Congress
unanimously offered a ship for his return, he declined the honor, but
landed from the Cadmus at New York, August 24th, 1824, amid the
acclamations of 60,000 freemen.” In front of the pitcher is another
portrait of Lafayette in vignette, with this legend above it, “General
Lafayette, welcome to the land of Liberty,” and below, “He was born at
Auvergne in France, 1757, joined the American struggle in 1777, and in
1824 returned to repose in the bosom of the land whose liberty he in
part gave birth to.” This pitcher is globose in shape, is in a good
shade of blue, and is unmarked.
[Illustration: Cadmus Plate.]
74. Lafayette. Cadmus. Enoch Wood & Sons.
This was the name of the ship which brought Lafayette to America in
1824. The stamp “Cadmus” appears on a few only of the plates, and the
others must be classified by the knowledge of, and comparison with, the
marked ones, or with the illustration here shown. This is an exceedingly
beautiful plate; the graceful shell border is so rich and dark a blue,
and the centre expanse of water and full-sailed ship and sloop are so
distinct and bright, that it gives one the impression of looking out
from a dark cave upon the sunny ocean. Every plate that I have seen
bearing this design has been of the finest color, clearest print, most
brilliant glaze, and in good preservation. They have the stamp “Enoch
Wood & Sons.” The Cadmus was built for Mr. William Whitlock, and
belonged to the Havre line of packet-ships organized and managed by
William Whitlock, Jr., & Co., of 46 South Street. When this eminent
shipping-house learned that Lafayette had declined the offer of a
national vessel, the members at once put the Cadmus at his service,
declining to receive any remuneration therefor. No other passengers were
allowed on board save the General and his suite, and the ship took no
cargo. Captain Allyn was the commander. Lafayette fully appreciated this
initial act of American friendship and hospitality, and the first
private house at which he dined after arriving was at Mr. Whitlock’s.
The ship became in later years a whaling vessel. The Long Island
Historical Society have a portion of the wood-work of the berths from
the state-room occupied by Lafayette.
75. Landing of Lafayette. Clews.
Pieces bearing this print are perhaps more eagerly sought after by
collectors, patriots, and historical students than are those bearing any
other design. The prints are all in dark blue of good tint (except a few
rare polychrome prints of which I shall speak), but vary in clearness
and distinctness. It is said that whole dinner services and tea-services
were printed with it, but I have never seen either teapots or creamers.
I have found four sizes of plates, including the tiny cup-plates; large
soup-plates, pitchers, platters, bowls, and vegetable-dishes, and lovely
little pepper-pots and salt-cellars. And I have also seen an imposing
toilet service proudly bearing in richest blue the “Landing of
Lafayette.” The border is a handsome design of what I think is intended
for laurel leaves (but which more resemble ash), clusters of flowers
which are perhaps laurel blossoms, and larger flowers which may be wild
roses, but look like jonquils. In the centre of the plates and on the
sides of the larger dishes is a spirited design bearing at the base, in
dark blue letters, the words, “Landing of Lafayette. At Castle Garden,
New York, August 24th, 1824.” In the foreground of this view are
marshals or sentinels on horseback, then comes a row of six smoking
cannon, then the bay covered with beflagged shipping and small
sail-boats, and two clumsy, strangely shaped steamers, the Robert Fulton
and Chancellor Livingston, with their side-wheels quite up out of the
water. At the right, a small bridge over the water leads to an inclosed
fort, over which floats the flag of the United States. Over all is a sky
of strongly defined clouds. On the back is the impressed stamp,
“Warranted Clews Staffordshire.” A platter with this design is here
shown. Plates of this pattern sell for from four to ten dollars,
according to clearness, condition, and size. This design has been seen
in polychrome. A few years ago there stood in a barroom in New York an
enormous punch-bowl capable of holding many gallons. It bore printed or
painted in high and varied colors the “Landing of Lafayette.” Plates and
platters also have been offered for sale in New York with the design in
many colors. Sometimes this design is found upon pitchers with a poor
portrait of Lafayette.
[Illustration: Lafayette Landing Platter.]
Lafayette arrived in the Cadmus at Staten Island on Sunday, but
postponed by request his entrance into New York until the following day.
The landing at the Battery must have been a magnificent sight. The
steamship Robert Fulton, manned by two hundred sailors from the
Constitution, and her companion ship the Chancellor Livingston, “led in
triumph rather than towed the Cadmus to the place of landing.” Two
hundred thousand persons welcomed the General with shouts, cannon
thundered from the shore, the forts, the vessels. Flags, triumphal
arches, decorations of various kinds adorned the streets and buildings.
For those who, when they glance at their “Landing” plates, wish to find
the image of the General there present, I will add that he was then
sixty-eight years of age, was conceded by all to be far from a beautiful
or heroic figure, with his small head, staring eyes, retreating
forehead, and bad complexion, and he wore on that occasion “nankeen
pantaloons, buff vest, and plain blue coat with covered buttons.”
76. Lafayette. Faïence Patriotique. Nevers.
A plate of coarse pottery, with border of blue and yellow leaves. At the
top two blue and yellow flags, and in the centre of the plate this
legend in hand-painted, irregular letters of blue:
(“Cadet Rousette a des plats bleus
Qui sont beaux, qui n’vont pas au feu;
Si vous voulez en faire emplette,
Adressez-vous à La Fayette.
Ah! Ah! Ah! mais vraiment,
Cadet Rousette est bon enfant.”
1792.)
This is a good specimen of the “Faïences Patriotiques.” These
revolutionary emblems were made at the Nevers Pottery, in France, in
large numbers, at the time of the French Revolution. They were coarsely
painted with patriotic, though frequently ill-spelled, designs and
mottoes, and were designed to appeal to and influence the French
peasantry. The great heat used in the firing prevented the potters from
using red paint (since that color was destroyed by the high
temperature), so in direct violation of all “rules of revolutionary
iconology,” the liberty cap was rendered in blue or yellow. It was in
honor of the “Fayence of Nevers” that the poem of Defraney was written
that begins,
(“Chantons, Fille du Ciel, l’honneur de la Fayence!
Quel Art! dans l’Italie il reçut la naissance
Et vint, passant les monts, s’établir dans Nevers.
Ses ouvrages charmans vont au delà des mers.”)
This Nevers plate is in the Huntington Collection at the Metropolitan
Museum of Art.
77. Lafayette. Faïence Patriotique. Nevers.
Plate of coarse Nevers pottery with hideous profile portrait of
Lafayette in yellow and blue, and date 1794. Border of blue leaves. Also
in the Huntington Collection.
78. Lafayette. Faïence Patriotique. Nevers.
Plate of coarse Nevers pottery with scroll border of green, yellow, and
blue. A full-face portrait of Lafayette in bright yellow, with purple
hair. In the Huntington Collection.
79. Lafayette. Faïence Patriotique. Nevers.
Large plate of Nevers pottery, fourteen inches in diameter, with
slightly scalloped edge. In the centre a design of a long-legged bird
with man’s head, saying, “La Fayette, Je tends mes filets.” The bird
tramples under foot, or under claw, a head marked “le Roi Soliveau,” and
is addressing his remarks to a head on a pole with a flag marked “Loi
Martiale.” There is also a network or fence inclosing frogs. Above all,
the inscription, “Les grenouilles qui demandent un Roi, ou le Roi
Soliveau.”
80. Lafayette. Portrait. Sèvres.
A Sèvres plate with an exquisitely painted portrait of Lafayette in full
uniform. A rich border of red, blue, and gold. In the Huntington
Collection.
81. Lafayette. Portrait.
Square plate with fluted border, with splashes of purple and yellow,
like No. 52. A spray of flowers in each corner. In the centre a fine
profile portrait of Lafayette in full uniform. In the Huntington
Collection.
82. Lafayette. Portrait.
Plate with pierced border like No. 53. In the centre the same portrait
as in No. 81. In the Huntington Collection.
83. Lafayette. Bust.
Bust four inches in height. One of same set described in No. 31. One can
be seen in Huntington Collection.
84. Lafayette. Medallion.
White porcelain profile medallion about two inches and a half in
diameter. No mark.
Lafayette. At the Tomb of Franklin.
Were we sure that the figure in this design is Lafayette, it would
properly be placed here, but it is very uncertain whether the seated
mourner is Lafayette, or merely some sombre-minded, non-historical,
though patriotic citizen; so a description and illustration of this
design will be found among the Franklin Prints, No. 60.
Lafayette. At the Tomb of Washington.
See No. 33. The figure in this design may not be that of Lafayette.
Lafayette. Portrait. Erie Canal.
See No. 166. The presence of Lafayette at the formal opening of the Erie
Canal was naturally felt to be a great honor, hence the appearance of
his name on many of the plates; but as the other design is more
prominent it is classed under that name.
There are many modern Parian busts of poor likeness and indifferent
artistic merit, and occasional hand-painted plaques of Lafayette, but
they hardly come within the intentions and purpose of this list.
XVI.
PATRIOTIC AND POLITICAL DESIGNS
The heroes and the naval battles of the War of 1812 furnished manifold
subjects for the designs printed on a vast number of mugs and pitchers.
They were made and printed at the Liverpool and Staffordshire pot-works
to supply the American trade, and were imported in great numbers to this
country. English potters appeared to have none of that form of patriotic
pride and independence that would prevent them from celebrating and
perpetuating the virtues and victories of their late enemies, or hinder
them from printing inscriptions and verses insulting to their native
land and their fellow-countrymen; they were plainly and unsentimentally
mercenary. These portraits, mottoes, and battle-scenes appear in various
combinations of subjects, sometimes in juxtaposition with Washington
designs. Occasionally a mammoth pitcher is found—a dozen pitchers rolled
into one—decorated with a dozen different but generic prints. Such is
the great heroic vessel known as the “Historical Pitcher of the War of
1812.” It was made by Enoch Wood & Sons of Burslem, Staffordshire,
England, about 1824, by the order of Horace Jones, Esq., of Troy, N. Y.
It is now owned by his grandson, Horace Jones Richards, Esq., of the
same city. It stands twenty inches in height, and measures twenty inches
from the end of the spout to the extreme point of the handle. The body
is eighteen inches in diameter—a foot and a half, and it holds eleven
and a half gallons. It has an embossed border around the top, and is
decorated with a coarse design in copper-lustre and green. On the front
of the pitcher is the name of the purchaser, Horace Jones, and around
the body are various prints that are often seen singly on other and
smaller pitchers. In front, about five inches above the base of the
pitcher, is a small projection or knob. This served as a second handle
by which to carry the pitcher (for it is a great weight when filled—if
it ever is filled), and it formed also a support to rest on the edge of
a smaller vessel when pouring from the pitcher. On either side of this
small handle are portraits of Washington and Adams. There are on one
side of the great pitcher-body portraits of Captain Jones, of the
Macedonian, Major-General Brown, of the Niagara campaign, Commodore
Bainbridge, of the Constitution. Below these portraits a circle of
prints representing the Constitution escaping from the British fleet;
Commodore Macdonough’s victory on Lake Champlain, and a large American
eagle with the motto, “E Pluribus Unum.” On the other side of the
pitcher are the portraits of Commodore Decatur, Commodore Perry, and
Captain Hull, of the Constitution; below are the engagements between the
Chesapeake and Shannon off Boston Harbor, June 1, 1813, and Commodore
Perry’s victory on Lake Erie. Below the large handle on the right are
two views of the manufactory and the names of the makers, and on the
left a naval monument with flags and motto, “We have met the enemy and
they are ours.”
This pitcher arrived in Troy a short time before Lafayette made his
visit to that city in 1824, and was first publicly used at the reception
given to him September 18, 1824. Since then it has been used on many
notable occasions. A bill was introduced to the State Legislature in
Albany, in the spring of 1891, for the purchase of this pitcher and its
preservation in the State Library. The purchase sum required was three
hundred and fifty dollars. The bill did not pass. It is a pity it cannot
be in the possession of the National Museum at Washington, since the
State of New York did not care to preserve it as a relic.
There are some designs of the American eagle and flag, and a few
relating to men of Revolutionary times, which may be assigned, though
without any positiveness, to the period between the War of the
Revolution and the War of 1812. With these prints I resume the list of
American subjects.
85. John Adams. Portrait.
A pitcher, eight inches in height, printed in black, with a very good,
though coarse, portrait of Adams, and the inscription, “John Adams,
President of the United States.” Underneath is a design of two fat
cherubs tying up a parcel and bundles—possibly an idealization of
emigration. The print is signed “F. Morris, Shelton, Staffordshire.”
Strange to say, this pitcher was purchased in Chester, England.
86. Proscribed Patriots. Liverpool.
A design printed in black on pitchers, and here shown. On the side a
medallion with a willow-tree and monument. On the monument the
inscription, “G. W. Sacred to the memory of G. Washington, who
emancipated America from slavery and founded a republic upon such just
and equitable principles that it will” (remainder illegible). Around
this medallion the legend, “The Memory of Washington and the Proscribed
Patriots of America. Liberty, Virtue, Peace, Justice, and Equity to all
Mankind.” Under this, “Columbia’s Sons inspired by Freedom’s Flame Live
in the Annals of Immortal Fame.” Under the monument are portraits of
Samuel Adams and John Hancock, and the letters S. A. and J. H.; and
under these a beehive and cornucopia. On the front of the pitcher is the
American eagle and shield, with inscription, “Peace, Commerce, and
Honest Friendship with all Nations, Entangling Alliances with none.
Jefferson. Anno Domini 1804.” Under the handle, “Fame,” in clouds.
[Illustration: Proscribed Patriots Pitcher.]
87. William Franklin. Medallion. Wedgwood.
Two blue and white jasper medallions of the son of Benjamin Franklin.
These medallions appear in Wedgwood’s “List of Illustrious Moderns.”
William Temple Franklin was the last Royalist governor of New Jersey,
but his claim to fame rests only on his being the son of his father. Two
of these medallions are in the Huntington Collection.
Samuel Adams. Portrait. Liverpool.
On Proscribed Patriots Pitcher. See No. 86.
88. Jefferson. Name in Inscription.
On a pitcher bearing a portrait of the American eagle, with motto, “E
Pluribus Unum,” are these stanzas:
“Sound, Sound the trump of Fame,
Let Jefferson’s great name
Ring through the world with loud applause
As the firm friend of Freedom’s cause.
“Let every clime to freedom dear
Now listen with a joyfull ear.
With honest pride and manly grace
He fills the Presidential place.
“The Constitution for his guide,
And Truth and Justice by his side,
When hope was sinking in dismay,
When gloom obscured Columbia’s day,
He mourn’d his country’s threaten’d fate
And sav’d it ere it was too late.”
Jefferson. Quotation. Liverpool.
See No. 127.
Jefferson. At Tomb. Staffordshire.
See No. 33.
Jefferson. Portrait. Staffordshire.
See No. 166.
89. John Hancock. Portrait. Liverpool.
A black print on a mug. On a ribbon scroll the inscription, “The
Honorable John Hancock.”
John Hancock. Portrait. Liverpool.
On Proscribed Patriots Pitcher. See No. 86.
John Hancock. House.
See No. 157.
90. Montgomery. Battle-Scene. Liverpool.
Black print on a pitcher of a battle-scene entitled “The Death of
Montgomery.” One may be seen in the Trumbull-Prime Collection.
91. Warren. Battle-Scene. Liverpool.
Black print on a Liverpool pitcher of a battle-scene, with name “The
Death of Warren.” One may be seen in the Trumbull-Prime Collection.
92. American Eagle. Sailor Pitcher. Liverpool.
A Liverpool pitcher with an American spread eagle over the words
“Herculaneum Pottery, Liverpool.” On one side waves and a full-rigged
ship bearing American flag; sometimes printed in black, and often
coarsely colored by hand. This print is often seen on sailor pitchers
with other prints of different designs. On the other side, a sailor’s
ballad surrounded by wreath of flowers, with engraver’s signature, “Jo^h
Johnson, Liverpool.”
93. American Eagle. Masonic Pitcher. Liverpool.
A Liverpool pitcher with American eagle and shield. On the other side,
Masonic emblems. There were a vast number of these Masonic designs, one
is shown on page 147, and as they were not specially American, though
doubtless made largely for Americans, it is useless to specify them.
94. Ship Alligator.
A pitcher with view of the ship Alligator on one side. On the reverse a
spread eagle, with a scroll border in gilt containing the names of
fifteen States.
95. Mug. Union to the People.
A mug of Liverpool ware printed with a group of three men clasping
hands. They are supposed to be Hamilton, Madison, and Jay, but may be
any other American statesmen. Above the group, a liberty cap with the
words “Union to the People.” Below are branches with leaves and the
legend, “Civil and Religious Liberty to all Mankind.”
96. Salem Ship-building. Liverpool.
Two prints representing scenes of timber-rolling and ship-building,
intended to commemorate the era of great prosperity in Salem ship-yards.
They are accompanied with these verses:
“Our mountains are covered with Imperial Oak
Whose Roots like our Liberties Ages have Nourish’d;
But long e’er our Nation submits to the Yoke
Not a Tree shall be left on the Field where it flourish’d.
“Should invasion impend, Every Tree would Descend
From the Hilltops they shaded Our Shores to defend;
For ne’er shall the Sons of Columbia be slaves
While the Earth bears a Plant, or the Sea rolls its waves.”
The finest specimen of Liverpool ware bearing these prints and verses is
a great punch-bowl, eighteen inches in diameter, in the rooms of the
East India Marine Society in Salem. It also bears on the inside of the
bowl, in large letters, the name of the Society and other inscriptions,
and the date 1800. Pitchers also are found with these prints, and also
with the spread eagle with the mark “Herculaneum Pottery, Liverpool.”
One may be seen in the rooms of the Bostonian Society in the old
State-House, Boston. These prints are perhaps the most pretentious of
any made for commercial interests in this country, and are usually very
clear and good.
97. Plan of City of Washington. Liverpool.
A Liverpool pitcher with black print of a map between two female
figures. Inscription, “Plan of the City of Washington.” On reverse is
Washington design No. 13.
98. Emblem of America. Liverpool.
A Liverpool pitcher with a coarse black print of a female figure holding
the American flag, and facing two clumsily-drawn, stumpy Indians. In the
background a group of oval portraits labelled Raleigh, Columbus,
Franklin, Washington, etc. The legend “An Emblem of America.” On the
reverse a Washington design.
99. Crooked Town of Boston. Liverpool.
A Liverpool pitcher printed in black, red, or green, with inscription,
“Success to the Crooked but Interesting Town of Boston.” On the other
side a long ballad, varying on different pitchers.
100. Liberty. Liverpool.
A Liverpool pitcher with black print. Design, a seated figure of Liberty
with the legend, “May Columbia Flourish.”
101. Infant Navy. Naval Pitcher.
This design is found on Liverpool pitchers of at least four sizes. Under
the nose of the pitcher is in large letters the inscription, “Success to
the Infant Navy of the United States.” On the side of the pitcher
sometimes was seen a black transfer print of a full-rigged ship,
sometimes the American flag and eagle, sometimes a large print of a
naval battle with this printed motto, “L’Insurgente French Frigate of 44
guns and 411 Men striking her Colours to the American Frigate
Constitution, Commodore Truxton, of 40 guns, after an action of an hour
and a half in which the former had 75 Men killed & wounded & the latter
one killed & three wounded, Feb. 20th, 1799.” A very good pitcher with
the latter design may be seen at Washington’s Headquarters, at
Morristown. See also No. 18, and pages 141 _et seq._
102. American Flag.
This print is found on pitchers and mugs, sometimes colored over the
print. It is found on pieces with various other Washington and Sailor
prints.
103. For America. Liverpool.
A Liverpool pitcher with the Farmers Arms, described on pages 153 _et
seq._ Legend, “For America.”
104. Peace and Prosperity to America. No. 1.
Liverpool pitcher printed in red, with scrolls of pink lustre. The
design is a shield supported by two female figures; the word “New York”
on the top of the shield in large letters, and the names of twelve other
States, including Boston, on a ribbon scroll. Legend, “Peace, Plenty and
Independence.” On the other side a shield supported by an eagle and an
Indian. Legend, “Success to the United States of America, E Pluribus
Unum.” In front of pitcher the motto, “Peace and Prosperity to America.”
105. Peace and Prosperity to America. No. 2.
A Liverpool pitcher with a wreath of ribbons and stars bearing names of
eleven States, two of them being “Boston” and “Tenassee.” In centre of
wreath the words, “Peace, Plenty, and Independence.” This wreath forms a
medallion or shield supported by two female figures, each with a
cornucopia. Above the medallion an eagle and flag. On the front of the
pitcher, the motto, “Peace and Prosperity to America.” This much
resembles No. 104.
106. United States Soldier.
Liverpool pitchers and bowls with black or red print of United States
soldier standing with his foot on the head of a British Lion. Legend,
“By Virtue and Valor we have freed our Country, extended our Commerce,
and laid the foundation of a Great Empire.” In the background stand four
Continental soldiers.
107. Liberty. Naval Pitcher.
A black print of ribbon scroll with names of sixteen States, enclosing
verses beginning,
“Oh Liberty! thou goddess
Heavenly bright,
Profuse of bliss,
And pregnant with delight.”
On the reverse, a print of a ship with American flag.
108. People of America.
A Liverpool pitcher with a print of three men holding hands and
elevating a liberty cap on a pole. Underneath, “People of America” on a
scroll, and the words, “Civil and Religious Liberty to All Mankind.” On
the reverse, Liberty seated, and a soldier standing with a harp between
the two figures. Beneath, the words “Tun’d to Freedom for our Country.”
109. Historical Pitcher of War of 1812.
Described on page 299 _et seq._
110. American Heroes.