THE CREAM-JUG
The eighteenth-century tea-table and its accessories--The beauty of
the cream-jug--Its evolution in form during a century.
“I must further advise you, Harriet,” says a lady in the _Fool of
Quality_, in admonishing her daughter, “not to heap such mountains of
sugar into your tea, nor to pour such a deluge of cream in; people will
certainly take you for the daughter of a dairymaid. There is young
Fanny Quirp, who is a lady by birth, and she has brought herself to the
perfection of never suffering the tincture of her tea to be spoilt by
whitening, nor the flavour to be adulterated by a grain of sweet.” This
was published from 1766 to 1770 and indicates that a set of rules for
observance was afoot in a time when etiquette was formal.
But if cream was neglected by some precisians, the cream-jug bears
evidence that in many circles it was a welcome and possibly very
necessary addition to the strong green tea then drunk.
It was etiquette to place the spoon in the cup to show the hostess that
no more tea was required. It was the custom at Scottish tea-tables and
possibly elsewhere to have numbered spoons. The guests did not ask
for a second cup until all the other guests had finished the first.
Hence the cups were passed up to the hostess and the spoons numbered to
ensure that each got his own again.
Sir Alexander Boswell in his poem “Edinburgh” writes:
The red stone teapot with its silver spout,
The teaspoons numbered and the tea filled out;
Though patience fails, and though with thirst he burns,
All, all must wait till the last cup returns.
The silver strainer had apparently become obsolete in Sir Walter
Scott’s day, for he writes in _St. Ronan’s Well_:
“A silver strainer, in which in times more economical than our own, the
lady of the house placed the tea-leaves after the very last drop had
been exhausted, that they might hospitably be divided among the company
to be eaten with bread and butter.”
The Scots are a hardy race.
In lieu of the strainer a long-handled spoon with pierced bowl was used
to thrust down the spout, as sometimes the tea refused to pour out.
Etiquette forbade the hostess to blow down the spout.
The beauty and variety of the cream-jugs may be traced for a whole
century. One of the earliest examples (illustrated p. 301) shows a fine
helmet-shaped jug, having the London hall-marks for the year 1736, and
the mark of Paul de Lamerie the maker, renowned for his superlative
work. The handle is original in conception and has a grotesque head as
a terminal. The ornament is elaborate and representative of the best
types of the George II era. A cream-jug of about 1740, made in Dublin
by John Hamilton (illustrated p. 339) may be compared with the above
example. The helmet form with the undulating rim is common to both
specimens, but the treatment differs in character. The Irish example
has three feet and possesses beauties peculiarly its own.
[Illustration: CREAM-JUGS.
GEORGE I. 1726.
GEORGE III. 1764.
Evolution from rotund form of early eighteenth century to slender
shapes. The handle becomes broken in its curves. Three feet are in
frequent use. The lip pointed and elongated. (See Irish cream-jugs, p.
339.)]
[Illustration: CREAM-JUGS.
GEORGE III. 1779.
GEORGE III. 1780.
The single foot varying in length and the body becoming elongated.
Compare with casters of same period as to elongation from foot.
(_By courtesy of Messrs. Elkington & Co._)]
That early eighteenth-century examples were not always highly ornate is
shown by the cream-jug with London hall-marks for 1726. This represents
the transitional stage between the simple character of the Queen Anne
styles and the elaboration found in those of the reign of George III.
The series of cream-jugs illustrated (p. 305) shows the evolution in
form from the Queen Anne rotundity to more slender examples; the handle
becomes broken in its curves and three feet are in frequent use. The
lip is pointed and elongated. This latter style lasted from about 1740
to about 1765 (see a fine Irish example of this type illustrated, p.
339). This specimen is in date 1764.
Illustrated on page 305 are two typical examples of the last quarter of
the eighteenth century. It will be observed that the three feet have
in 1779 disappeared. The single foot is now fashionable and varies in
height. The body becomes elongated. The handles still retain the older
mid-century forms, with slight variations. The tendency to increased
height in the cream-jugs at this date may be compared with the casters
illustrated in Chapter IX.
A selection of late George III cream-jugs (illustrated p. 309) shows
the classic tendency at the closing years of the eighteenth century
and the first decade of the nineteenth century. The example, in date
1790, is tall and has a foot terminating in a square base, like a
classic vase. The adjacent example, ten years later, is a reversion
to the potter’s form with flat bottom. The flat-topped handle is a
reminiscence of the classic urn. The evolution in form, as is seen, is
steadily towards the fuller body. The examples shown on the same page,
in date 1804 and 1809, indicate new tendencies. It is merely the swing
of the pendulum of fashion. In the first example the foot is beginning
to appear in the form of a narrow rim at the base. The handle in the
last specimen returns to the severe classic circular shape.
SALE PRICES
CREAM JUGS
The prices of these vary according to the style of ornament,
chasing, and general character.
Queen Anne plain examples have brought as much as 125s. per oz.,
realizing £25. Early eighteenth-century specimens bring as a
rule from 60s. to 100s. per oz. Later eighteenth-century drop
considerably in value, from 40s. to 60s. per oz. A George IV
cream-jug, made by Paul Storr in 1820, sold for 36s. per oz. and
realized £17.
[Illustration: LATE EIGHTEENTH-CENTURY CREAM-JUGS.
GEORGE III. 1790.
GEORGE III. 1800.
The beginning of classic type. Foot frequently following classic vase
form. The reversion to the potter’s style with flat bottom.]
[Illustration: LATE EIGHTEENTH-CENTURY CREAM-JUGS.
GEORGE III. 1804.
GEORGE III. 1809.
The evolution towards the fuller body. The reappearance of foot as a
narrow rim at base. The handle assuming its former circular shape.
(_By courtesy of Messrs. Elkington & Co._)]
XI
SCOTTISH
SILVER
[Illustration: SCOTTISH QUAICH. EDINBURGH, 1705.
Maker, Robert Inglis.
(Marks illustrated p. 405.)
(_In possession of Messrs. Garrard & Co._)]
[Illustration: MUG. EDINBURGH, 1790.
(Chasing added later.)
Assay Master, Archibald Ure. Maker, Joseph Kerr.
Marked A U, I K, and date letter K.
(_At Royal Scottish Museum, Edinburgh._)]