CHAPTER V.

Stoke-upon-Trent--Josiah Spode--Copeland and Garratt--Copeland

and Sons--Mintons--Hollins--Trent Pottery; Jones--Albert

Street Works--Copeland Street Works--Glebe Street and Wharf

Street Works--Copeland Street--Bridge Works--London Road;

Goss--Kirkham--Campbell Brick and Tile Company--Harrison and

Wedgwood--Bankes--Hugh Booth--Ephraim Booth--Wolf--Bird--Adams

and Son--H. and R. Daniel--Boyle--Reade--Lowndes and Hall.

The large and commercially important, as well as thickly populated

district, known as the “Staffordshire Potteries,” or more commonly

called simply “The Potteries,” comprises a number of towns known

as the “Pottery Towns,” and other places adjoining them. These are

Burslem, Hanley, Shelton, Tunstall, Stoke-upon-Trent, Longton, Etruria,

Cobridge, Fenton, Longport, and Dresden. Of these, Stoke-upon-Trent,

although far from being the oldest, or largest, or busiest, is

the great railway centre, and head of the electoral district; the

parliamentary district of Stoke-upon-Trent (which returns two

members to Parliament) comprising these towns just named, with a

few other out-lying places. Some of these towns are corporate, and

Newcastle-under-Lyme is both a corporate and parliamentary borough. It

is estimated that in this pottery district considerably over thirty

thousand persons are employed in, or dependent on, the staple trade of

the place, that of china and earthenware manufacture.

STOKE-UPON-TRENT.

_Spode._--_Copeland._--The first notice of the name of Spode that I

have met with in connection with potting is an entry of the “hiring” of

Josiah Spode by Thomas Whieldon, in 1749. This I was the first to make

public from the original book of Whieldon’s accounts in my possession.

It is as follows:--

1749. £ _s._ _d._

April 9. Hired Siah Spoade, to give him from this

time to Martelmas next 2_s._ 3_d._, or

2_s._ 6_d._ if he Deserves it.

2d year 0 2 9

3d year 0 3 3

Pd. full earnest 0 1 0

This entry is of considerable historical interest, as being the first

hiring of Josiah Spode, who, being born in 1733, would at that time

be sixteen years of age, and was the founder of the family which

subsequently rose to such eminence in the art. The “hiring” being for

three years, and at wages ranging from 2_s._ 3_d._ to 3_s._ 3_d._ per

week, while other men at the same time were being paid from 5_s._ 3_d._

to 7_s._ per week, would appear to have been a kind of apprenticeship,

or, at all events, a “finishing touch” to the learning of the trade.

From April till Martinmas, which is the great time for all hirings in

the pottery trade, the payment was to be at 2_s._ 3_d._ per week, “or

2_s._ 6_d._ if he deserves it,” with the prospect of a rise of sixpence

per week in successive years. He appears to have fully worked out his

time, and to have been found deserving. Two other entries in the same

book, showing successive hirings, after the expiration of the first

term of three years, are as follows:--

1752. £ _s._ _d._

Feby. 22. Hired Josiah Spoad for next Martlemas,

per week 0 7 0

I am to give him earn. 0 5 0

Pd. in Part. 0 1 0

Pd. do. 0 4 0

1754.

Feby. 25. Hired Siah Spode, per week. 0 7 6

Earnest. 1 11 6

Pd. in part. 0 16 0

Thus in 1752 he got 7_s._ a week, and an earnest of 5_s._; and in

the following year he was raised to 7_s._ 6_d._ per week, with the

unusually high earnest of £1 11_s._ 6_d._ At this time he must have

been married, for in the same year, 1754, it appears the second Josiah

Spode was born. But little is known of the early life of this second

Josiah Spode; the probability, however, is that his father, after

leaving Whieldon’s service, commenced a small manufactory on his

own account, and that he learned the business with him. About 1770,

Spode (the son at that time being about sixteen years old) is stated

to have taken the works at Stoke, previously carried on by Messrs.

Turner, or Turner and Banks. He is said also to have introduced, about

1784, transfer printing into Stoke. Previous to this time Mr. William

Copeland, of London (a native of Stoke), who travelled in the tea

trade, made the acquaintance of Mr. Spode and offered to undertake

a commission to sell his tea ware and other goods to his customers.

The enterprise was very successful, and a warehouse was taken in Fore

Street, Cripplegate, London, for the general sale of Spode’s goods.

Trade increasing rapidly, Mr. Copeland, who became a partner with

Mr. Spode, afterwards, in 1779, purchased the property, 37, Lincoln’s

Inn Fields, and, at the back, in Portugal Street, opened an immense

depot for the sale of pottery goods, in the place where stood the

theatre (originally built by D’Avenant in 1662, and rebuilt by Rich

in 1714), famous as being the house in which Garrick first appeared;

the original Joe Miller flashed out his witticisms; and where the

_Recruiting Officer_, the _Beggars’ Opera_, &c., were first produced.

This establishment was managed by Mr. Copeland; the manufactory being

conducted entirely by Mr. Spode. Mr. Spode’s son, who was ultimately

taken into partnership with his father, was for a time in the London

house, but on the death of the latter, in 1797, he returned to Stoke,

and devoted himself to the manufactory. In 1800 Mr. Spode commenced

making porcelain in addition to earthenware, and was the first to

introduce felspar into its composition. In 1805 he introduced an opaque

porcelain, known as “ironstone china,” which he manufactured to a very

large extent, and exported in immense quantities to France and other

countries. In 1806 H.R.H. the Prince of Wales visited the works, and

Mr. Spode was appointed potter to him. The porcelain, the ironstone

china, and the ordinary earthenware manufactured at this time were of

the very highest character, both in body, in glaze, and in decoration;

indeed, in all three of these respects they rank with the best of the

period.

The first partnership was Spode and Copeland,[39] and next, Spode,

Son, and Copeland. After the death of the elder Spode it again became

Spode and Copeland, and next, on the son of the latter, who was

afterwards alderman, being taken into partnership, Spode, Copeland,

and Son, and was so carried on until the elder Mr. Copeland’s death,

in 1826. In 1827 the second Mr. Spode died, and was succeeded by his

son, the third Josiah Spode, who, however, only survived his father

two years, and died in 1829. Until 1833 the business was carried on by

the executors of the third Josiah Spode, of Hawksyard (his only son,

also named Josiah, being a minor), and Mr. Alderman Copeland. In that

year the entire concern was purchased by Mr. Alderman William Taylor

Copeland, who shortly afterwards took into partnership his principal

traveller and town correspondent, Mr. Thomas Garrett. The firm then

became “Copeland and Garrett,” and was so continued until 1847, when a

dissolution took place. From that time till 1867 the style of the firm

remained simply “W. T. Copeland, late Spode.” In that year Mr. Copeland

took his four sons into partnership, and from that time to the present

the firm has continued under the name of “W. T. Copeland and Sons.”

[Illustration: Figs. 145 to 149.]

[Illustration: Fig. 150.]

Mr. Alderman Copeland was Lord Mayor of London in 1835–6. He sat

as member of Parliament for Coleraine from 1828 till 1832, and for

Stoke-upon-Trent from 1837 till 1852. Losing his seat in that year,

Mr. Copeland was re-elected in 1857 and sat till 1865, when he retired

from the representation. He was the grandson of Mr. William Copeland,

yeoman, of the Holly Bush, in the parish of Stoke-upon-Trent, and

son of the partner of the first Mr. Spode. The will of Mr. William

Copeland, of Holly Bush, was dated November 10th, 1775, and proved

December 28th, 1786. A daughter named Hannah, mentioned in that

document, became the wife of the late Mr. William Astbury, of the

family whose name is intimately mixed up with the history of the

pottery of the district. Mr. Alderman Copeland died in 1868.

[Illustration: Figs. 151 to 155.]

[Illustration: Figs. 156 to 159.--Messrs. Copeland’s

Productions.]

Of the productions of the present firm it is manifestly impossible to

give even a brief _resumé_; the bare enumeration of the different

articles in porcelain and earthenware would occupy many closely printed

pages. It will only be possible to note, here and there, one of their

art-productions. For services, both breakfast, dinner, dessert, tea,

and toilet, the firm ranks among the very highest in order, and these

are produced both in china and in earthenware, and every variety of

ornamentation; in the former from the simple gold or coloured lines

and borders, and in the latter from the commonest sponged patterns, to

the most profuse and lavish relief and painting. One of their highest

efforts, and deservedly so, in the way of services, is the dessert

service made especially for H.R.H. the Prince of Wales, in 1866, which

is one of the greatest triumphs of ceramic art yet achieved. The

service consists of 198 pieces, comprising a centre, eight compotiers,

two cream-bowls, two ice-pails, twelve sweetmeat compotiers,

seventy-two cups and saucers, and fifty plates. The commission was

given shortly before the Prince’s marriage, and hence, as all the

decorations are floral, the orange blossom was allowed to become a

prominent object in each group; and it would be impossible to conceive

flowers more exquisitely painted than they are; they were painted

by Mr. Hürten and others. The centre piece is a double _assiette

montée_, the principal compartment being supported by seated figures

representing the four quarters of the globe, and each bearing an

appropriate symbol. These were the work of Joseph Durham, R.A., and are

miniature reproductions of those which support the statue of “Albert

the Good,” in the Royal Horticultural Society’s Gardens. The four

raised fruit-dishes are elevated upon groups of three figures each,

typical of the twelve months of the year, admirably modelled by Mr. F.

Miller. The four smaller ones, by Mr. G. Halse, equally well typify

the elements, earth, air, fire, and water. The plates, as well as the

pieces I have named, are of the purest porcelain, and are exquisitely

and elaborately perforated. They are divided into panels of fruit and

flowers, surrounded by ribbons and festoons in raised and chased gold,

and in the centre of each is the monogram of the Prince and Princess

of Wales. There are no two pieces alike, although all harmonize well

together.

Three pieces of this beautiful royal service, the centre, one of

the compotiers, and a cream-bowl, are engraved, Figs. 150, 156, and

159, and will show better than any description can the high class of

art-workmanship which they exhibit.

[Illustration: Figs. 160 to 163.--Messrs. Copeland’s Vases.]

One of the greatest improvements in ordinary earthenware which has

been effected by this eminent firm, who have always exercised a

laudable desire to keep pace with, or to be leaders of, the improved

Art-taste of the age, is the production of what they appropriately term

an “Ivory-tinted body.” In this kind of ware they produce table,

dessert, and toilet services of every conceivable design, and of

various degrees of decoration. In the dinner and dessert services the

delicate, soft, warm tone of the ivory tint is peculiarly grateful to

the eye, and has a charming effect when “set” out on the white linen

cloth. The tone of colour which Messrs. Copeland have succeeded in

producing has all the softness of the finest examples of old Wedgwood

cream-coloured ware, but without its somewhat harsh yellowness. Nothing

could be less grating to the eye of taste than this soft tint, and

doubtless in many homes of taste the warm “ivory body” will take the

place of the cold white of the general classes of earthenware. It only

remains to say that in that peculiar body every variety of pattern,

from the rich old Spode with its Eastern brilliant combinations of

gold and rich patches of colour, down to the most ordinary painted

borders, are made. One service which has particularly struck us as

beyond average in excellence is the “Stork.” Those examples in which

the pattern is in relief, and heightened in gold, are peculiarly rich

and good. The shape of the tureens and vegetable-dishes are of great

elegance and beauty. The ivory body is one of the greatest achievements

of the period.

[Illustration: Figs. 164 and 165.]

In porcelain, vases, tazzas, bottles, and other articles of every

conceivable form, and decorated in an endless variety of ways both

in painting, in alto-relievo figures and flowers, and in massive

jewelling, gilding, and enamelling, are produced, and are of the most

costly and elegant character. Services, both of the most sumptuous and

severely simple character, are also produced in every style of art, and

on every scale of cost.

And here it becomes necessary to say a word as to some of the

achievements in colour of this firm. Of these, a new turquoise (which

Messrs. Copeland have christened “Cerulean blue”) is the richest and

fullest produced, and is remarkable for its brilliant intensity; the

Sardinian green is also very good, and the vermilion finer and more

rich than has at any time, or in any place, so far as my experience

goes, been produced. This is especially apparent upon a Japanese

dessert plate, where the decorations are upon pure enamel, requiring

a very high degree of heat, and where the colours come out more

brilliantly than on any other examples I have seen. On this plate,

which is a _chef-d’œuvre_ of Messrs. Copelands’ art, the border

is purely Japanese, and the centre essentially English, but all

equally perfect and equally beautiful; it is, in fact, an original and

brilliant conception, true to the spirit and principles of Japanese

design, but in no respect a copy of any of the productions of the

artists of that nation. The birds are exquisitely painted by Weaver,

one of the best painters of this class, and the remainder by artists of

equal celebrity in their several walks of decoration.

The “Satsuma ware” produced by Messrs. Copeland is of the most

exquisite beauty, and of rare excellence both in the matchless quality

of the body, the peculiarly waxy and very lovely surface of the glaze,

the pure taste which characterises its decoration, and admirable

manipulation apparent in each piece. In this ware, as in others

produced by the firm, it is a literal truism to say “perfection can no

farther go!” Vases and other decorative articles are produced in this

Satsuma ware, and take rank with the finest productions of any age or

any country.

Messrs. Copeland and Son are large producers of plain, and painted, and

enamelled tiles for internal decoration, and these, from the excellence

they have attained in the “body,” and the skill displayed in design

and in ornamentation, have become a speciality of the firm. They are

produced in endless variety, and for every purpose, but one of the most

striking and attractive novelties in this kind of mural decoration,

is that of a continuous design for a whole room, as first attempted

by them for Mr. Macfarlane. Of this speciality, I gave the following

notice in the _Art Journal_ for December, 1875:--

“One of the most pleasing, and, at the same time, novel

and effective, adaptations of fictile art to internal

mural decoration yet attempted, has just been successfully

accomplished by Messrs. Copeland and Sons, of Stoke-upon-Trent.

To this, having been favoured with a private view of the

decorations, we desire to draw attention. The lining of entire

rooms with wall-tiles is, of course, no new thing, but has

been repeatedly done, and in a variety of styles, by different

firms and at different periods; but it has been left to Messrs.

Copeland to strike out an entirely new idea in the mode of

treatment. Mr. Macfarlane, whose Art-productions in metal we

have often commended in the pages of the _Art Journal_, has

recently erected in Glasgow a magnificent mansion, which,

as might be expected from a man of such extensive knowledge

and such pure taste, will enshrine many works of high-class

examples in various walks of Art. In several of the apartments

of this mansion--the billiard and bathrooms, for instance--Mr.

Macfarlane desired to introduce some new feature which should,

if possible, inaugurate what might with propriety be called a

nineteenth-century style of decoration. He therefore wisely

consulted Messrs. Copeland, who, acting on his idea, prepared

a series of designs which, while adhering faithfully to the

classic laws of Art, were, both in subject and in treatment,

strictly characteristic of the present day. The general design

is a terra-cotta dado of full Indian red tone of colour, walls

of pale celadon tint, and a frieze painted in monochrome, in

continuous subjects apposite to the uses of the various rooms,

which are thus covered with tiles, in one grand design, from

floor to ceiling. The walls between the dado and frieze are

covered, as just stated, with celadon tiles placed diagonally,

with the joints made just sufficiently apparent to give a

geometrical break to the surface, and so remove what otherwise

might be a sameness in appearance; while those of the frieze

(which are of a pale yellow-ground colour, well adapted for

throwing out the figures, and which, when the room is lit up,

disappears, and gives the effect of a luminous sky to the

pictures) are placed horizontally, and their edges fitted

with such mathematical precision and nicety that their joints

are invisible. The whole of the tiles have a dead, or purely

_fresco_ surface, and are most perfect for the purpose for

which they are intended; and from their peculiar hardness and

other characteristics--the result of much anxious thought and

experiment--are perfectly impervious to the action of damp, and

cannot fail to be permanent.

“The frieze (three feet in height) of the billiard-room

represents, in four separate groupings on the four sides of

the apartment, the sports of the British race; one side being

devoted to ‘Health,’ in which youthful games conducing to that

essential, from infancy, with its doll and other playthings, to

boyhood and youthhood, with hoop, cricket, skating, curling,

snowballing, and so on; another to ‘Strength,’ with its central

allegorical figure and groups representing pole-leaping,

shot-throwing, wrestling, football, hockey, boxing, &c.; a

third to ‘Courage,’ a central allegorical figure supported by

genii, the one proclaiming, and the other crowning, deeds of

heroism in the army, in saving lives from shipwreck, fire, and

other casualties, and the wild sports of our Eastern empire

and North American colonies; and the fourth to ‘Fortitude,’

in which the central group surrounding the allegorical figure

is composed of lifelike portraits of such men as Livingstone,

Burton, McClintock, Layard, and others; the remaining portions

showing athletes contesting in a foot-race, and crews in a

boat-race. The friezes of this room, painted in monochrome, are

the work of Mr. R. J. Abraham (son of the Art-director of the

works), who recently won the Art-Union prize, and is a gold

medallist, and Mr. Besche, a skilful artist, whose works are

in high repute. The frieze of the heating-room of the Turkish

baths, which is lined in a precisely similar style to the

other, is entirely composed of tropical plants and flowers,

arranged in a masterly and effective manner, and painted, even

to the most minute detail, with consummate skill and with true

artistic feeling. This frieze, which is painted in sepia with

its fullest and best effect, is entirely the work of Mr. Hürten,

and is a worthy example of his pencil both in arrangement and in

treatment. The whole of the plants represented are, without an

exception, studies from nature, sketched and arranged for this

special purpose from the plants themselves in the magnificent

conservatories of the Duke of Devonshire at Chatsworth; and they

are in each individual instance reproduced with pre-Raphaelite

accuracy and precision.

“The friezes are masterpieces of Art as well as of manipulative

skill. They reflect the highest credit on Messrs. Copeland

and their Art-director, Mr. Abraham, by whom they have been

produced, and who have thus inaugurated a new, and what we

pronounce to be a successful style, of internal decoration--one

that is sure to be followed in many a mansion and home of taste

in our country and abroad. Mr. Macfarlane will have reason to be

proud of his acquisition, and has the satisfaction of feeling,

that with the aid of Messrs. Copeland and their skilled staff of

artists, he has originated a novel feature in Art-decoration,

and carried it to an enviably successful issue. Messrs. Copeland

are renowned for the excellence of their work and for the true

artistic feeling and skill which characterise everything that

passes from their hands, and their present productions will, if

that be possible, add to their celebrity.”

Tiles for flower-boxes, lily-pans, garden-seats, slabs for

chimney-pieces, table-tops, fire-places, &c., and for every other

purpose, as well as door-plates, are also largely produced and highly

decorated.

In Parian--the next best material to marble--statuary and busts,

as well as other objects, are extensively made. This is another

speciality of the firm, and one the discovery of which belongs to

them. It is, in fact, the development of the old and ever-famous

Derby biscuit ware,[40] rendered finer and more commercially, as well

as artistically, available by the careful attention of the Messrs.

Copeland. It was introduced by them about 1846, and is said to have

been then made at the suggestion of Gibson the sculptor; from that time

to the present it has been extensively manufactured by every house--by

Copeland’s, perhaps, more extensively than any other. Among the more

recent of their finest works in Parian, are the “Infancy of Jupiter,”

“Lady Godiva,” “Nora Creina,” the “Flute-player,” the “Reading Girl,”

busts of “A Mother” and of “Love,” all by Monti; “Young England” and

“Young England’s Sister,” a very charming pair by Halse; a “Shepherd

Boy,” “Spring,” and “Summer,” by L. A. Malampre; and “Master Tom” and

“On the Sea-Shore,” by Joseph Durham, R.A. Among their other special

works, Foley’s “Ino and Bacchus,” Durham’s “Chastity” and “Santa

Filomena,” Monti’s “Night” and “Morning,” and a score or two others,

are brilliant examples. Besides figures, groups, and busts, a large

number of other beautiful objects of various kinds are produced in

Parian.

[Illustration: Figs. 166 to 168.--Copeland’s Parian Figures.]

The more ordinary classes of goods for general use and consumption are

all of good quality, whether produced in the ordinary earthenware,

the stoneware, or any other kind of body, and in all these classes

Messrs. Copeland are very large producers. Their “crown ware” has so

good a body as to stand the heat of the hard kiln, and thus to take the

richest tints of crimson, &c. The ship fittings--the _Atlantic_

washtop slab especially--are considered to be among the best produced.

It ought also to be added, that Messrs. Copeland were the first to

introduce those elegant and most convenient novelties, “Gordon Trays,”

which they produce in a variety of forms.

[Illustration: Fig. 169 and 170.]

[Illustration: Fig. 171.]

The principal artists employed are Hürten, who has attained, and

deservedly so, the distinction of being one of the best flower-painters

in Europe; Weaver, whose birds are equal to those of any other painter;

Besche, a figure and general painter of great power and excellence; and

Abraham, Junior (a gold medallist), a figure painter of much promise.

Besides these, a number of other talented artists are employed, and the

staff of enamellers, ground-layers, and gilders, includes some of the

best obtainable in each department. In these works, too, female talent

has been highly cultivated, many of the productions of the paintresses

evidencing pure feeling and cultivated taste. The whole is under the

control of Mr. R. F. Abraham, as Art-director of the establishment.

Mr. Abraham, who was formerly at Coalport with Mr. Rose, was a student

of Antwerp and Paris, and is a successful follower of the school of

Etty. The softness of touch, the purity and delicacy of feeling, and

the sunny mellowness of tone, as well as the chasteness of design and

correctness of drawing, produced on the best pieces of his productions,

show him to be a thorough artist, and place him high above most others

in this difficult art, while his intimate knowledge of all the phases

and intricacies of Art, and of all the processes of the manufacture,

render him peculiarly fitted for the post to which he has been called.

[Illustration: Fig. 172.]

The marks successively used by this firm in its various changes are as

follows:--

[Illustration: SPODE]

Sometimes impressed in the body, and at others pencilled on the glaze;

also SPODE in larger capital letters.

[Illustration:

SPODE

Felspar Porcelain]

Also impressed, or painted, or printed on the ware.

[Illustration:

SPODE

Stone-China

or

SPODE

Stone-China

Fig. 175 and 176.]

Printed in blue on the bottom of the goods of that description.

These, with immaterial variations in detail, were all printed on the

ware.

[Illustration:

SPODE

_Spodes_

NEW FAYENCE

Spode’s

Imperial

Spode

Filspar

_Porcelain_

Figs. 177 to 180.]

SPODE, SON

& COPELAND or SPODE & COPELAND, both impressed and printed.

[Illustration:

COPELAND & GARRETT

LATE

SPODE

COPELAND & GARRETT

LADE

SPODE

NEW FAYENCE

COPELAND & GARRETT

NEW

BLANCHE

COPELAND AND GARRETT

COPELAND

& GARRETT

Figs. 181 to 186.]

[Illustration:

C & G

with the name of

the pattern.

COPELAND & GARRETT

LATE

SPODE

THE TIBER

COPELAND & GARRETT

+ NEW +

JAPAN STONE

COPELAND & GARRETT

NEW

FAYENCE

Figs. 187 to 190.]

All the above printed on the ware.

[Illustration:

COPELAND

LATE SPODE.

Copeland Late Spode

COPELAND late SPODE.

COPELAND

LATE SPODE

COPELAND

COPELAND

COPELAND PATENT JASPER

COPELAND

COPELAND

STONE CHINA

WT. COPELAND & SONS

COPELAND

COPELAND

COPELAND

B

Figs. 191 to 203.]

The following are the dates when some of the most celebrated printed

patterns were first introduced:--“Castle,” 1806; “Roman,” 1811; “Turk,”

1813; “Milkmaid,” “Dagger-border,” “Tower,” “Peacock,” and “New

Temple,” 1814; “New Nankin,” “New Japan,” and “India,” 1815; “Italian”

and “Woodman,” 1816; “Blossom” and “Pale Broseley,” 1817; “Waterloo”

and “Arcade,” 1818; “Lucano” and “Ship,” 1819; “Panel Japan,”

“Geranium,” and “Oriental,” 1820; “Font” and “Marble,” 1821; “Bud and

Flower,” “Sun,” “Bonpot,” and “Union,” 1822; “Double Bonpot,” “Blue

Border,” and “Filigree,” 1823; “Image” and “Persian,” 1824; “Etruscan”

and “Bamboo,” 1825; “Blue Imperial” and “Union Wreath,” 1826.

[Illustration: Fig. 204.]

MINTON & CO.

Mr. Thomas Minton, the founder of these works, was born in Wyle Cop,

Shrewsbury, in 1765, and received his education at the Shrewsbury

Grammar School. He had an only brother, Arthur Minton, and a sister,

Elizabeth. On leaving school, Thomas Minton was apprenticed to an

engraver (probably Hancock), at the Caughley China Works, at Broseley,

one of his fellow-apprentices (also a Salopian) being Richard Hicks,

who became founder of the firm of Hicks, Meigh, and Johnson. On the

expiration of his apprenticeship, Thomas Minton continued to be

employed for a time at the Caughley China Works under Mr. Turner, and

then removed to London, where he engraved some patterns for Josiah

Spode, whose London warehouse was at that time in Portugal Street.

From London, having married, he removed into Staffordshire, in 1788 or

1789, where the rapidly increasing demand for blue printed earthenware

gave promise of a good opening for so skilful a draughtsman and

engraver as he had become. On removing into Staffordshire, he set up

as a master-engraver, at Stoke-upon-Trent, his residence and engraving

shop being one of a block of buildings then called Bridge Houses, so

called from being close to Trent Bridge, which houses had been erected

by Thomas Whieldon, the first partner of Josiah Wedgwood. Here he

became very successful, one of his chief employers being Josiah Spode,

for whom he engraved a tea-ware pattern called the “Buffalo,” which

continued in demand for many years; the “Broseley,” so called from

being first produced at the Caughley Works, Broseley, by Mr. Turner,

and which, like the “Willow Pattern,” remains a favourite stock pattern

to the present day; the famous “Willow;” and many others. In the latter

he was assisted by Mr. Henry Doncaster of Penkhull; the original plate

from which this pattern was thus engraved passed from Mr. Doncaster

into the hands of Mr. Wildblood, engraver, of Burslem, and from him

into the possession of Minton & Co., where it appropriately remains,

as do also some drawings and other interesting relics. Mr. Minton

had two apprentices, one of whom, Greatbatch (father of the eminent

artist William Greatbatch, engraver of the “Waterloo Banquet”), became

chief engraver, and manager of that department at Messrs. Spode and

Copeland’s.

In 1793, having determined to commence the manufacture of earthenware,

Mr. Minton purchased a plot of land, the site of the present

manufactory, of Mr. John Ward Hassals, and commenced building on a very

small scale. The following account of the early progress of the works

has been kindly written for me by Mr. Stringer:--

“To start with, there was one ‘Bisque,’ and one ‘Glost’ oven,

with slip house, for preparing the clay, and only such other

buildings and appliances as were necessary to make good working

commencement. Mr. Minton formed an engagement with the brothers

Poulson, who owned the works opposite to the land he had

purchased, known as the ‘Stone Works,’[41] and who were potters

on a small scale, and, as was then the practice, had houses on

the works, now converted into potters’ workshops. They belonged

to an ancient family which had been located at Boothen for

several centuries. Mr. Joseph Poulson was the practical potter,

and his brother Samuel was modeller, mould maker, and useful man

of all work. It was not until May, 1796, that Mr. Minton’s works

were in operation. Considering the magnitude of the present

operations of the firm, which has recently adopted the globe for

its trade mark, it may not be uninteresting to quote from an old

cash-book, which has been fortunately preserved, an item or two

to show from what a very humble beginning great results have

arisen. We find the amount paid the first week, which appears

to have been a sort of broken week (perhaps there had been some

merry-making to celebrate the opening);--

1796. £ _s._ _d._

May 21. By paid wages, coals, &c., this week 12 19 5½

„ 28. „ „ „ „ 29 1 2½

June 4. „ „ „ „ 32 9 7½

Sept. 17. „ Joseph Poulson 18 weeks’ wages,

to this day inclusive 18 18 0

“The average weekly amount under the above head of wages, &c.,

was within a trifle of £50, but still showing real progress.

“The first item on the contrary side is--

1796. £ _s._ _d._

May 23 @ June 3. To received for goods sold,

ready money 33 10 10½

This would be for goods sold to the pot-sellers who hawked

their wares about the country; and we find £596 10_s._ 2_d._

was received under this head during the remaining months of the

first year. The next year’s transactions showed a satisfactory

advance in every respect, as did every subsequent year; and

amongst the circumstances favouring Mr. Minton’s prosperity

may be named--first, that aided by Mr. Poulson’s experience as

a potter, and his own good taste as an engraver and designer,

he produced a quality and style of ware that commanded a

ready market; and in his brother, Mr. Arthur Minton, who had

established himself in the trade in the metropolis, a ready and

devoted agent to extend the trade; so much so that the business

done by him in 1800 amounted to nearly £2,000. He was also

fortunate in having the acquaintance of Mr. William Pownall, a

merchant of Liverpool, who aided him with capital to extend his

operations, and who was, for a few years, a sleeping partner

in the business. Mr. Joseph Poulson was in a short time after

the opening of the works admitted as a partner, and the firm

traded as ‘Minton and Poulson’ for a short time, and then the

style was altered to ‘Minton, Poulson, and Pownall.’ Mr. Poulson

remained a partner until his death in 1808; and it would seem

that up to this period, china or soft porcelain was made at the

stone-works, but was abandoned as unprofitable until Mr. Herbert

Minton’s experiments in after years were fully successful.”

On the failure of the eminent firm of John and William Turner, of Lane

End, the first named entered the service of Thomas Minton, and became,

in fact, the practical potter of the firm after the death of Poulson.

He effected great improvements in the bodies and glazes, and in the

general character of the productions of the works. Soon after Mr.

Minton had commenced business, a scheme having been set on foot for

monopolising the sale of Cornish clay, he and his partners purchased

an estate of eighty-four acres on Hendra Common for a comparatively

trifling sum, and also certain rights and a leasehold interest in

Treloar Common, where there was abundance of china clay and stone,

as also other valuable minerals. Having secured the property, Mr.

Minton took steps to associate with him the leading manufacturers to

work the mines. In this he appears to have been successful, and the

first meeting of “the Hendra Company” was held at the Swan Inn,[42]

Hanley, on the 8th of January, 1800, Mr. Thomas Byerley in the chair,

who represented the firm of Josiah Wedgwood and Byerley; Hollins,

Warburton & Co., by Mr. John Hollins and Mr. John Daniel; Mr. William

Adams, in person; and Minton, Poulson, and Pownall, by Mr. Minton and

Mr. Poulson. These manufacturers composed the whole of the Company,

and they agreed to purchase a part of Minton, Poulson, and Pownall’s

property. Mr. John Brindley, of Longport, was appointed agent to the

Company. The minutes of the meetings are brief in the extreme, and

there is no recital as to the objects of the Company, but there are a

few particulars which may interest the present race of manufacturers

as contrasting their present improved position, as regards the supply

of material, with what it was in those days. July 24, 1800, stone

was ordered to be sold at 50_s._ per ton at Etruria wharf, and

42_s._ at Runcorn; fifteen tons were a boat-load. A vessel, called

the _Venus_, brought to Runcorn ninety-nine tons, and the freight

was £72 7_s._ 9_d._ China clay was £6 per ton at Polemear.

[Illustration: Figs. 205 to 210.--Messrs. Minton’s Productions.]

[Illustration: Figs. 211 to 214.--Messrs. Minton’s Productions.]

It would seem that Mr. Minton had visited Cornwall several times--the

first time in 1798, and we are afforded an insight into the difficulty

and expense of travelling at that period, by the fact that the cost

of each journey was nearly thirty pounds. It seems that Mr. Minton

must have got the mines into something like working order during these

visits, as an immediate supply of clay and stone was available at

the time the Company was formed, and there is proof of this in the

following document:--

“I, John Varcoe, farmer, resident in Treloar, of the parish

of St. Denis, in the county of Cornwall, have this day agreed

with Thomas Minton, of Stoke-upon-Trent, in the county of

Stafford, to let to the said Thomas Minton all my right of

lower tin bounds in Trelavour Common, for the purpose of the

water for washing china clay, so long that Thomas Minton,

or his representatives, may carry on the clayworks in Lord

Arundel’s lands, or in Hendra Common--but not to hinder any

streaming--with privilege of making pools for the use of the

works, at the yearly rent of one pound and eleven shillings and

sixpence, to commence at Michael. next. As witness our hands the

26th day of July, one thousand seven hundred and ninety-nine.

“JOHN VARCOE.

THOMAS MINTON.

“Signed in the presence of

CHARLES BAGNALL.

JAMES KENT.”

Difficulties of all kinds sprung up. Sometimes the water-courses were

obstructed; robbery of all kinds was going on; and there were also the

exacting demands of lords of the manor to battle with and satisfy. Bad

roads, imperfect machinery and methods of getting the minerals, were

other stubborn facts tending to abate “the pleasures of landlordism.”

The property was within three miles of St. Austel, but Charlestown was

then the port of shipment, and the cost of transit thither in waggons

over the wretched roads was 8_s._ per ton; cost of raising, working,

and casking, £1 15_s._; and other expenses, raised the value free on

board there to £4 15_s._ Freight from Charlestown to Liverpool 12_s._,

dues 2_s._ 6_d._, canal freight to the Potteries, 11_s._ 6_d._, and

making a moderate allowance for capital invested, the clay could not

be delivered at less than £6 15_s._ per ton.[43] As a trading concern

the Hendra Company was not a profitable one; but it afforded the

proprietors for twenty years a supply of good and pure material, and

checked any attempt at monopoly. The clay mines were abandoned, but

as there were good tin lodes on the property, and other minerals, the

investment proved not a bad one.

From the first establishment of the Pottery works at Stoke, their

success was unbroken, and not only were great advances made in

processes of manufacture, but they were so much enlarged, that at

the time of Mr. Minton’s death in 1836, they were among the most

important in the district. Mr. Minton married, on January 1st, 1789,

Miss Sarah Webb, of Bruton Street, London, and by her had a family of

four sons, two of whom were the Rev. Thomas Webb Minton and Herbert

Minton, and six daughters. After his marriage, his mother-in-law, Mrs.

Webb, resided with them, and was a valuable acquisition to him in his

business; keeping his books and accounts, and being, in fact, the

financial manager of the concern. She received and paid all money,

and superintended the entire office arrangements, thus leaving Mr.

Minton at liberty to devote his entire time to the manufactory and to

the engraving. Mrs. Minton, also, so far as the cares of her home and

family would permit, took her share in the business.

Mr. Herbert Minton, the second son, was born at the house erected at

the works, at Stoke-upon-Trent, in March, 1792, and when old enough,

was, with his brother and sister, sent to a dame-school kept by Miss

Cheadle, at the only house, beyond what is now the Queen’s Inn, at

that time existing on the Liverpool Road, the remainder being fields

and gardens. At that time the Mintons had removed from the house at

the Works to one on Talbot Bank (now Hill Street, corner of Commerce

Street). Later on, Herbert Minton (as was also his brother) was

sent to Audlem Grammar School, under the Rev. Nicholas Breakspear,

where he remained until nearly fourteen, when he was placed in his

father’s manufactory. In 1808, when only sixteen, he had attained such

proficiency in the business that he became traveller and salesman, and

represented the house both in London and the provinces; and this he

continued till more pressing engagements necessitated his more general

attendance at the works.

“He was ever at the works, before any one else in the morning,

and frequently at five o’clock. In the depth of winter, or

however inclement the weather, at all seasons of the year,

nothing hindered his early commencement of the duties of the

day. Lucifer-matches were unknown in those days, and he,

therefore, usually brought a tinder-box in his pocket--the

old flint and steel affair. He thus procured a light and made

himself a fire. Then he would proceed to examine the stock in

the warehouses, that he might be enabled to order what was

necessary to replenish it, and thus keep the printers and others

constantly at work. He also devoted a certain portion of his

time to the mixing-room, in order to keep up the supply of

bodies, glazes, &c. Then he would proceed to the counting-house,

where I,” says Mr. Stringer, “was an assistant-cashier under

his special superintendence. To convey an idea of his peculiar

nicety and accuracy in this department of his labours, I may

relate the fact that, on a certain Saturday evening, after

examining my cash account, Mr. Herbert told me that I was one

_halfpenny_ short in my balance. He was aware of my usual

accuracy, and was surprised even at this trifling mistake. I

opened my cash-box for further examination, when, to my good

fortune, I discovered the missing halfpenny within it standing

on its edge. This rectified the supposed mistake, and afforded

us both a hearty laugh.”

In 1817, Thomas and Herbert Minton were admitted into partnership

with their father, the firm being “Thomas Minton and Sons.” In 1821,

the elder brother, Thomas Webb Minton, quitted the works, for the

purpose of studying for the Church, and he was ordained in 1825, taking

his first curacy at Chesterfield, and afterwards at St. Cuthberts,

Darlington, and other places. He died in 1870, at Darlington, where

he was incumbent of the Church of the Holy Trinity. In 1828 the

partnership was dissolved, although Mr. Herbert Minton continued to

devote his energies to the development of the concern. On his father’s

death, in 1836, he again took up the business, and shortly afterwards

took into partnership Mr. John Boyle, under the style of “Minton and

Boyle.” In 1841, Mr. Boyle withdrew from the firm, and, about 1842,

became a partner with Mr. Wedgwood; and in 1845, Mr. Michael Hollins,

nephew to Mrs. Minton, joined the firm under the style of “Herbert

Minton and Co.” In 1849 a nephew of Mr. Minton’s, Mr. Colin Minton

Campbell, now M.P. for North Staffordshire, joined the firm under the

same style. In 1858, Herbert Minton died, and Messrs. Hollins and

Campbell continued the manufactory. The present head of the firm is Mr.

Colin Minton Campbell, M.P.; the trading style being simply “Mintons.”

[Illustration: Fig. 215.]

Up to 1798, white, cream-coloured, and blue printed wares only were

made at these works. In that year, semi-transparent porcelain was made,

and continued until 1811, when it was abandoned, and earthenware only

again produced. In 1821 it was again produced, and soon afterwards

china was commenced and has been a staple branch to the present day.

In 1825 some of the more skilled workmen from the Derby works found

employment with Mr. Minton, and brought their skill to bear on his

productions. “Among these were Steele, Bancroft, and Hancock, as

painters in fruit and flowers.” In 1836 Mr. Herbert Minton, as will

be shown, first conceived the idea of making encaustic paving tiles.

Mr. John Simpson held the position of principal enamel painter of

figures and the highest class decorations, from about 1837 to 1847,

when he removed to London to take charge of the porcelain painting

at Marlborough House. Mr. Samuel Bourne, of Norton-in-the-Moors,

Staffordshire, who had been apprenticed to Messrs. Wood and Caldwell,

to learn the art of enamel-painting, and who had attained by his

industry and talents a high reputation, entered the service of Mr.

Minton, in 1828, as chief designer and artist, and continued to render

the firm occasional services until 1860, when the infirmities of

increasing years necessitated his retirement.

[Illustration: Fig. 216.]

In 1849 M. Arnoux, son of a celebrated manufacturer of hard porcelain

at Toulouse, visited Stoke, bringing with him an introduction from

Mr. Evans, of Birmingham; when it was arranged that M. Arnoux should

superintend and carry out the patent which, in 1839, Mr. Minton, in

conjunction with Dr. Wilton George Turner, had taken out. This was for

“an improved porcelain,” “made from Kaolin or Cornish clay, made into

cream and passed through sieves; Dorsetshire or similar clay treated

in like manner; and pure feldspar, all in certain proportions and

mixed with great care.” In this, the bisque was produced by submitting

it to a less heat than usual before glazing, and then, when dipped,

subjecting it “to a greater degree of heat than is usual for the mere

purpose of glazing, and effecting the glazing at the same time.” The

glazes were also of peculiar composition. Beyond various experiments,

this was not carried out until 1849, when this hard paste porcelain

for chemical purposes was brought to such perfection, that it was

pronounced to be better than that of Meissen or Berlin. There was,

however, so much risk in firing this ware, in consequence of the

difficulty of procuring a sagger capable of withstanding the necessary

heat, that the manufacture was abandoned, and M. Arnoux turned his

attention to the artistic decoration of the ordinary manufacture, and

to his continual zeal and ability, combined with the enterprise which

has always distinguished the firm, England is indebted for the highest

honours in this branch of their national industries.

M. Emile Jeannest was engaged as sculptor, and in 1854 he left and took

an appointment with Messrs. Elkington, in whose service he died.

M. Carrier de Belleuse succeeded M. Jeannest, and remained some

years, when he returned to Paris, and attained so high an eminence as

a sculptor that he has been placed on the Commission for the Sèvres

Manufactory.

He was succeeded by M. Protât, who, after having executed some of the

stone statues now adorning the India Office, returned to France.

Previous to this, Parian was, about 1842, introduced, and formed a

staple branch of Messrs. Minton’s productions. In 1851 Herbert Minton

and Augustus John Hoffstaedt took out a patent for “improvements in the

manufacture.” In the same year Herbert Minton and James Nasmyth took

out a patent for “certain improvements in machinery.” In the same year,

1851, the “Great Exhibition” was held, and resulted in an award of

great merit to this firm, an honour which each successive exhibition,

whether English or foreign, has augmented. In 1850 Majolica was added

to the other art-productions of this manufactory, and in this it

still stands pre-eminent. No firm has surpassed them in the sharpness

of details; the purity of colours; the excellence of glaze, or the

artistic character of these goods, which comprise every description of

both useful and ornamental articles. In 1851 Della Robbia and Palissy

ware were also here commenced.

[Illustration: Figs. 217 to 220.]

[Illustration: Figs. 221 to 223.--Minton’s productions.]

[Illustration: Figs. 224 to 229.--Minton’s productions.]

The history of the manufacture of encaustic and other tiles by Minton,

Hollins & Co. is the history of the entire modern trade in these

useful and beautiful articles. In 1828 Herbert Minton first turned

his attention to the subject, but was prevented by circumstances from

fully developing his plans. In 1830 Mr. Samuel Wright, of Shelton,

took out a patent for “a manufacture of ornamental tiles.” This, in

January 1844, he supplemented by another patent for the “manufacture of

ornamental bricks and quarries for floor pavements and other purposes.”

Mr. Wright’s experiments were highly satisfactory, but from various

causes, although he executed several orders, they were not commercially

successful. Becoming weary of his almost resultless experiments, he

sold his moulds and patent rights to Mr. Minton, who agreed to pay him

a royalty of 10 per cent. on all the tiles sold. Mr. Minton commenced

the manufacture in a single room next to the present throwing-house at

the earthenware works, and only three men were at first employed. He

was much aided in his task by the late Mr. George Leason, a practical

potter, who had been brought up under him.

[Illustration: Figs. 230 to 233.]

“Mr. George Berks,” says Mr. Stringer, to whom I am indebted for

the following notes, “who was a man of good general attainments,

did what modelling was required. One of the earliest

improvements effected by Mr. Minton was the substitution of

brass moulds for the plaster ones used by Mr. Wright, which

enabled the maker to beat up the clay so as to give a sharper

edge to the tile. Before that alteration the edges had to be

cut after they were taken from the plaster mould. A decided

advantage was thus gained; but innumerable other difficulties

had to be encountered, chiefly arising from the irregular

contraction of the clays. Sometimes the inlaid parts would at

a slight tap at the back of the tile fall out, or the tiles

would become stained in the firing; and in short all sorts of

ill luck and misadventures were the weekly result. The tiles

were at first fired in a small oven at the china works which

would hold about 700 tiles, and he and his fellow labourers

used regularly to go there to witness the drawing of the oven.

Time after time they found nearly the whole contents spoilt in

one way or other, and they were carted away to form part of the

foundations on which many of our pottery streets now stand. If

it so happened that 100 out of the 700 proved fairly good, the

fact was a source of encouragement to all concerned. Repeated

failures were, however, only followed by further experiments.

Mr. Minton was ever confident that skill and perseverance would

in the end prove a success; but surely never was any man’s

patience or pocket more sorely or severely tried. Occasionally

a few orders were satisfactorily executed, but they were on a

comparatively small scale. In April, 1836, Mr. Minton sent to

Mr. Josiah Booker, of Liverpool, a plan for tiling his hall,

and this gentleman adopted Mr. Minton’s suggestions; and it

would seem gave the order with the view of forming an opinion

of the tiles for the purpose of exportation; little imagining

the difficulties that had to be got over before they could

be successfully introduced at home. The prices quoted to Mr.

Booker were 15s. per square yard, and 6_d._ per tile of 6

inches square for the border, being about one-half the prices

Mr. Wright had charged them. In 1837, a hall pavement was

laid in the mansion of Sir John P. Orde, Bart., at Kilmoray,

Loch-Gilp-Head, N.B. It should be remarked that, at this time,

the only colours made use of were buff, red, and chocolate. In

November, 1836, after the death of his father, Mr. John Boyle

joined Mr. Minton as partner, and so continued until December,

1841. This gentleman had a keen eye to the profitable working

of the manufactures, and often cast uneasy glances at the

corner near the throwing-house, and at length began to urge

that that department ought to be abandoned. It was on one of

these occasions that Mr. Minton uttered the well-known words,

“Say no more on the subject, Mr. Boyle. I will make these

tiles if they cost me a guinea each!” We do not hear that any

other remonstrance followed this rebuke. The late Harriette,

Duchess of Sutherland, was one of the early patrons of the tile

manufacture; and, indeed, the Staffordshire potteries generally

are much indebted to her Grace for the great encouragement she

ever gave, and the interest she ever took in every improvement

calculated to elevate the character of our manufactures,

and advance the prosperity of the district. Her example and

influence amongst the nobility afforded much encouragement to

the British potter, and tended greatly to the attainment of that

success in the art which has been so marked of late years. The

tiles were extensively introduced at Trentham Hall, and some

of the finest of the early specimens are to be found there.

The first work of great importance that was undertaken was the

floor of the Temple Church, London. Lewis N. Cottingham, Esq.,

F.S.A., made an examination of the Chapter House, Westminster,

in January, 1841, in order to procure suitable examples for

the tiles proposed to be used in the restoration of the Temple

Church. On the removal of portions of the boarded floor the

pavement was found to be in a very perfect state, few tiles

being broken, and the colours in many parts as brilliant as

when laid down. Mr. Minton undertook to reproduce the various

designs composing this ancient pavement. It was a work of

great labour and difficulty; but was accomplished to the

satisfaction of the architect, and all others interested in

the work. The charge made was merely nominal, taking into

account the great expenditure necessarily involved at a time

when so many difficulties still attended the manufacture. Mr.

Minton was a diligent collector of old tiles, and friends

amongst the nobility, gentry, and clergy, in all parts of the

country, ministered to his taste, and sent him either examples

or sketches of such as they met with in their travels; nothing

pleased him better than to receive choice specimens and to

superintend their reproduction. The late Mr. Welby Pugin

furnished Mr. Minton with many tile drawings, some of which he

had designed during his many night journeys to Staffordshire,

whilst engaged in the extensive works for Lord Shrewsbury, at

Alton Towers and Cheadle Church.”

[Illustration: Figs. 234 to 239.--Minton’s productions.]

[Illustration: Figs. 240 to 243.]

In June, 1840, Mr. Richard Prosser took out a patent for making a

variety of articles from clay in a powdered state, viz., buttons,

tesseræ, floor tiles, glazed tiles, &c., by pressure; by preference

using screw presses of different powers for articles containing up to

and including fifty square inches of surface in each piece; articles of

larger surface, and of course requiring a greater pressure, being made

by hydraulic press, the pumps of which were worked by steam. Patents

were taken for England, France, and America. That for France lapsed

in consequence of a condition of the French patent law requiring the

process being worked in that country within six months of its date;

the political condition of France at that time, in the opinion of the

patentee, not being safe for the investment of capital. Of this

patent and its application, the following notes, drawn up for me by Mr.

John Turley, are of especial interest.

“The English patent was very early introduced to the firm of

Minton and Boyle, of Stoke-on-Trent. Mr. Minton took a lively

interest in it, but not so Mr. Boyle. Mr. Prosser sold the

half part of the English patent to Mr. Minton. Arrangements

were made for the prompt commencement of making glazed tiles,

tesseræ, and buttons, at Messrs. Minton and Boyle’s works. Two

work-rooms were given up to Mr. John Turley, engineer, who at

first placed six button presses in one, and a large tile-press

in the other, and commenced making white glazed tiles (6 in.)

and buttons in these works in August, 1840. Prior to this

time, white glazed or Dutch tiles (6 in.) could be bought in

the London market for less money than paid to the journeyman

potter for making this article at Stoke. The demand for white

glazed tiles was soon very great, and has subsequently become

a staple article of manufacture in most potting districts by

this process. Buttons, tiles, and tesseræ continued their

progress in numbers manufactured until 1843, when, on March

8th, the process of making tesseræ was exhibited by Mr. Turley

at the Society of Arts, London--Lecture by Cowper; Paper read

by Blashfield--and 290 boxes of buttons, three dozen in each,

given away at the doors. March 11th, 1843, the same press

and process was exhibited by Mr. Turley at the Marquess of

Northampton’s soirée, as President of the British Association--a

brilliant gathering, at which were present Prince Albert, the

Duke of Wellington, Sir Robert Peel, a number of bishops, and

about thirty foreign princes. The late Prince Consort took so

much interest in the process, that Mr. Prosser and Mr. Minton

decided that a description of the process and a drawing of the

press as then seen at work should be prepared forthwith, and

presented to his Highness, which was done, and presented on

the 15th of March, 1843. This paper, with copy of drawing of

the press, was reproduced in Dr. Ure’s ‘Dictionary of Arts and

Manufactures,’ edited by Robert Hunt. After this introduction

to the Society of Arts and the British Association, Mr. J. M.

Blashfield, Digby Wyatt, and Owen Jones, by their designs and

favourable influences, brought the geometrical floor tile with

its many colours, in combination with the encaustic floor tile,

into extensive use in the rebuilding of churches, noblemen’s

mansions, and other public buildings.

“In August, 1840, he commenced making buttons and tesseræ with

six presses, and continued progressing until December, 1841,

when twenty-five presses were at work; September 5, 1842,

sixty-two presses at work; and at March, 1844, ninety presses

at work, with ninety women and one hundred and eighty girls.

The girls working half-days and at school half-days--one girl

being required to place on setters for firing the produce of one

press. The first six months of 1844 the firm received orders for

27,123 great gross, and sold 22,519 great gross. Infringements

were now rife in various directions. Most of them were stopped

on receipt of notice. Two were costly suits: one, by Mr. Thomas

Prosser (who held the American Patent) _versus_ Mr. Henry

Van Wart, as an American merchant, for sending into the States

buttons made in England irrespective of the American patentee;

the other suit was for infringement in making--R. Prosser and

H. Minton _versus_ Chamberlain and Lilly. This trial

ended August 22, 1845, at Bristol, and its issue was, that

Chamberlain and Lilly should work under license. February 3,

1845, an arrangement was made between Minton and Prosser and

Mr. H. Van Wart to close the American suit. The course for the

sale was again clear for buttons, and progress was made in the

manufacture and sale thereof for a few years, when an abrupt

termination took place from the unfavourable surroundings

and the inability of the patentees to agree as to the future

manufacture.

In 1845 were made 33,928 great gross.

„ 1846 „ „ 50,493 „ „

„ 1847 „ „ 26,784 „ „

„ 1848 „ „ 1,289 „ „

when button-making ceased at Stoke.”

In August, 1845, Mr. Michael Daintry Hollins joined Mr. Minton in

the general manufacturing business; and the tile department formed a

separate concern, under the style of Minton, Hollins, & Co. Mr. Hollins

was a nephew of Mr. Minton’s deceased wife (who was Miss Hollins, of

Shelton,) and had been educated for the medical profession. In 1846,

Mr. Samuel Barlow Wright, son of the original patentee, was admitted to

a share in the business of the tile works, under the style of Minton,

Hollins, and Wright. The patent of Mr. Wright was for fourteen years,

and was renewed for seven years in 1844. At that period the works

continued to be conducted at a loss, and but a small amount of business

was done. It may be safely asserted that during the entire existence

of the patent, so far from profit being the result, Mr. Minton had

sacrificed many thousands of pounds to perfect the manufacture; to

say nothing of the extraordinary liberality of his gifts of tiles. In

other hands the manufacture might have proved a pecuniary success at

an earlier period; but Mr. Minton was lavish in his expenditure in

adopting every mechanical or other improvement--hydraulic presses under

Prosser’s patent, Napier’s steam hammer, &c.--that promised further

success.

[Illustration: Figs. 244 to 246. Minton’s Vases.]

[Illustration: Figs. 247 and 248.--Minton’s Majolica.]

Previous to the year 1848, the only process of printing which had

succeeded for the decoration of pottery, was the one from engraved

copper-plates. In this process all the lines that form the picture

are cut into the metal, and these lines were filled in by the printer

with the required colour, which had previously been mixed with boiled

oil. The impression was then taken on tissue paper, at the ordinary

copper-plate printing press, and from the paper transferred to the

ware. In that style the picture or ornament was formed by a succession

of lines, so that it was almost impossible to produce an even layer of

colour, so desirable in flat-surface ornamentation. In 1848, Messrs.

Collins and Reynolds, who had for some years carried on in London the

business of decorative and picture printers, submitted to Mr. Minton

some trials they had made of transferring to pottery impressions taken

on paper from the flat surface of metal or stone, instead of from the

engraved lines; and by that process broad and flat layers of colour

could be produced, and several colours transferred at the same time

to the ware. These first-trials were made with ordinary pigments;

and, therefore, only served to show the power of transferring the

impression from the paper to the ware. Mr. Minton perceived at once

that the process would, in all probability, prove of advantage, and

supplied the proper enamelling colours for further experiments. It

was now found, however, that these colours were much more difficult

of management than the ordinary pigments. This arose from their being

mixed with so large a proportion of glass, which necessitated the

use of stronger oils to carry the colour; and this again caused the

colour, when of sufficient strength, to blister in the kiln. Mr. Minton

was not, however, discouraged; and, believing that the difficulties

would ultimately be overcome, he joined the experimenters in taking out

a patent for the process. The patent is dated the 14th March, 1848, and

is entitled “for improvements in ornamenting china, earthenware, and

glass.” The difficulties so early encountered were very long in being

overcome; months, and even years, of disappointment and loss followed,

and it was only after innumerable trials had shown what particular

oils and of what strength were required for different colours, that

the obstacles were finally surmounted, and the process established as

an additional and improved means of mechanical decoration. The process

was applied to the decoration of earthenware and china generally, both

useful and ornamental; but has proved to be more successful with flat

surfaces. It was at an early period applied to ornamenting glazed

tiles, and quickly supplanted the old and more expensive method of

ground-laying. Mr. Pugin was the earliest patron of these tiles, and

introduced them into the new palace of Westminster; the walls of the

smoke-room of the House of Commons being the first instance of their

use. Numerous specimens were shown at the Exhibition of 1851, and

again at Paris in 1855, on which occasion the inventor and manager

(Mr. Alfred Reynolds) obtained a first-class certificate. And here

it should be remarked that Messrs. Minton took every opportunity of

bringing before the Jury the merits of those in their employ, whom they

considered deserving of distinction for the service they had rendered

to them. There is now a very extensive trade done in these tiles, which

are very beautiful and every variety of design. They are applied to

wall decoration generally, also to hearths, the sides of fire-places,

the making of flower boxes, and to a variety of other useful and

ornamental purposes. In this improvement both beauty and cheapness are

combined. To speak of the merits of these, even briefly, would occupy

a chapter; it is sufficient to say that they are of every possible

variety of design--floral, geometrical, mythological, historical, and

otherwise,--and that the combinations of colours and the arrangement

of the patterns give them a brilliancy all their own. Later on the

partnership with Mr. Hollins terminated, and that gentleman continued

the manufacture of encaustic and other tiles. (See page 213.)

Of the variety of productions of Minton’s works in former, and at the

present times, it is impossible to speak in detail. So varied, so

distinct, and so extensive are they in material, in body, in style,

in decoration, and in uses, that anything like a detailed account

becomes impossible. In stoneware, all the ordinary articles--jugs,

mugs, bottles, &c.--are extensively produced; many of the designs of

the pressed jugs being marked by pure taste and simplicity of design.

In ordinary earthenware, dinner, tea, breakfast, toilet, and other

services, and all the usual articles, are made in great variety, from

the ordinary white and blue printed wares, up to richly enamelled and

gilt patterns.

[Illustration: Figs. 249 and 250.]

One of the processes successfully adopted by Minton’s is that of

_pâte-sur-pâte_, a process in which the artist, instead of using

colour, employs liquid clay, in which he paints, or rather “lays on”

his design; the whole being afterwards glazed. In this process M. Marc

Solon, formerly of Sèvres, is particularly successful, and the trays,

plaques, &c., produced by him are characterised by pure but severe

taste, and masterly treatment. His monogram, the combined letters M and

S, distinguish his best works.

In imitation of bronze Messrs. Minton have succeeded far beyond

anything before attained, in producing not only a perfect colour,

but a thoroughly metallic appearance; their drinking cups and other

articles in bronzed porcelain are well designed and of high character.

The Persian ware also is of the highest class both in point of correct

adaptation of Persian designs and in manipulative treatment.

The pierced or perforated articles are marvels of lightness and of

skill. These, which are among the most difficult tasks for the potter,

are, as emanating from Minton’s, perfect in every minute detail; they

are gems for any cabinet.

[Illustration: Fig. 251.]

In china, besides all the usual services--dinner, tea, breakfast,

dessert, _déjeuner_, toilet, trinket, etc.--an endless variety of fancy

and ornamental goods are produced. Notably among these are vases,

ewers, tazzæ, and other articles of extreme beauty, and of every style

of decoration. A marked feature in these is the embossed gilding

of borders, &c. by a process patented by the firm. In Parian, the

statuary, busts, groups, vases, ewers, and other articles, equal those

of almost any manufactory; while in majolica, della Robia, and other

goods, the productions of this firm stand pre-eminent. The engravings,

Figs. 205 to 264, give a fair idea of the marvellous beauty and variety

of Minton’s goods. Whatever emanates from their factory, indeed, may

safely be pronounced to be perfect and unsurpassed, both in design, in

manipulation, in body, in glaze, and in colouring. Messrs. Minton rank

among the foremost houses throughout the world in those specialities

of manufacture to which they have devoted their unbroken attention.

The richness and elaborate character of some of the designs, and the

faultlessly artistic treatment of others, are shown on the examples I

have selected for illustration.

[Illustration: Figs. 252 to 254.]

[Illustration: Figs. 255 to 258.]

[Illustration: Fig. 259.--Minton’s Productions.]

[Illustration: Figs. 260 to 264.--Minton’s Productions.]

The marks used by Messrs. Minton from time to time are the name

“MINTON” impressed on the body of the ware; the names “MINTON,”

“MINTON & BOYLE,” “MINTON & CO.,” etc., printed on the surface; and

an imitation of the Sèvres double _L_, with the initial M added.

This latter mark, of which two examples are given on Figs. 255 and

256, is pencilled in blue on the ware; it occurs on fine porcelain

tea services, richly painted and gilt, and of remarkably good, and

sometimes very elaborate, design. Sometimes also the letter M alone

(Fig. 221) occurs. Of late years, too, an ermine spot (Fig. 222) in

gold or colours has occasionally been used.

[Illustration: Fig. 265.]

The name MINTON impressed, or “stamped,” in the body of the ware, was

not used until 1861, so that this will be a guide to possessors in

appropriating examples.

[Illustration: Figs. 266 to 270.]

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

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

* * * * *

_Hollins._--The history of the famous works of Messrs. Minton,

Hollins, & Co., and of the rise and development of their manufacture

of encaustic, enamelled, majolica, and other tiles, has already been

given on pages 195 to 206, and therefore need not be repeated. In

1868, as there stated, the partnership ceased, and from that time the

manufacture of tiles passed into the hands of, and has been continued

solely by, Mr. Michael Daintry Hollins, under the old style of “Minton,

Hollins, & Co.” The productions of the works, as of old, consist of

unglazed encaustic, and tesselated, or rather, geometrical, tiles

for pavements; glazed encaustic tiles for fire hearths; majolica and

enamelled tiles for grate cheeks, flower-boxes, wall-linings, &c.; and

plain and painted tiles for various species of decoration. These are

all made from the same moulds, and of precisely the same excellent

quality both in body and decoration as under the old firm; the business

is, indeed, in every respect the same as before the dissolution.

The engravings, Figs. 271 to 282, show some of the designs of Minton,

Hollins, & Co., and are of the highest style of art. The unglazed and

the glazed encaustic tiles for pavements are made of the hardest and

most durable materials that have yet been discovered--far beyond those

of many other makers--and the workmanship as well as the designs are of

a superior order. They are made in the simple red and buff patterns of

mediæval times, as well as in various combinations of colours; among

these are black, white, buff, chocolate, salmon, green, blue, red,

grey, yellow, &c., and these are varied in their combinations to an

almost endless variety.

In majolica tiles, for flower-boxes, many effective and appropriate

designs are made; these are of bold relief and richly coloured. Among

the patterns are tulips and other flowers in high relief, painted true

to nature, and of remarkable richness. Earthenware tiles, printed or

painted, not in relief, are also largely produced for the same purpose.

For wall decoration, fire-place cheeks and linings, and other purposes,

the variety of tiles produced by the firm is very extensive, and

embraces almost every class of design. In these are some with the

patterns (notably the lily) all in very high relief, and the colouring

of the richest and most effective character.

[Illustration: Figs. 271 to 276.--Minton, Hollins & Co.’s Tiles.]

[Illustration: Fig. 277.--Minton, Hollins & Co.’s Tiles,

Philadelphia Exhibition.]

Others have their patterns painted by hand on the flat surface, by

skilled artists; and others, again, are transfer-printed, or a

combination of printing and painting. Some form a more or less rich

diaper, and others are separate or continuous patterns, while others

again form borders of more than usual elegance.

[Illustration: Fig. 278.]

Among special patterns may be named a series of masterly designs of

Morning, Noon, Evening, and Night, represented by well-conceived

figures in blue on a black ground; a series of emblematic designs of

the Seasons, printed in chocolate or other monochrome on the white or

buff surface; and a series of allegorical, mythological, and fabulous

subjects, each treated in the same admirable manner. The body of some

is of fine white earthenware, very hard and durable, and others are

buff, grey, or cream-coloured, and in each of these bodies the tiles

are produced of many patterns and of every degree of finish.

[Illustration: Figs. 279 to 281.--Minton, Hollins & Co.’s Tiles.]

[Illustration: Fig. 282.--Mosaic and Alabaster Reredos by

Minton, Hollins & Co., Philadelphia Exhibition.]

The geometric or tesselated pavements are of every conceivable variety;

the tiles composing them being made of different forms and of all

shades of colour, but all produced with the utmost mechanical nicety so

as to “fit” in ever-changing variety. A notable feature in the tiles of

this firm is the richness, the clearness, and the purity of the colours

and the excellence of the glaze; these features, added to faultless

quality of body, to high-class artistic treatment of patterns, and to

excellence of mechanical workmanship, place them high in estimation.

Messrs. Hollins were very extensive exhibitors at the Philadelphia

Exhibition, 1876, and their productions excited great interest and

admiration. One of their main attractions was a lovely chimney-piece

composed of tiles exquisitely painted with humming birds, &c.,

and over it a lovely painting of a mother and her children executed

with perfect artistic taste and feeling on thirty tiles; this great

achievement in ceramics is shown on Fig. 277. Another notable exhibit

was a reredos in mosaic (Fig. 282), and in mosaic also was a fine head

of Washington. The rest of their exhibits consisted of every possible

variety of tiles, and all of equal excellence. The marks used are

“MINTON HOLLINS & CO. PATENT TILE WORKS, STOKE ON TRENT”; “MINTON & CO.

Patent, STOKE ON TRENT”; “MINTON HOLLINS & CO. STOKE ON TRENT”; “M. H.

& Co.,” &c., at the back of the tiles.

* * * * *

_Trent Pottery._--These works were established in 1861 by Mr. George

Jones, the head of the present firm of “George Jones and Sons.” Messrs.

Jones manufacture all the ordinary description of ordinary earthenware;

from the gaily-decorated articles required in Africa and in South

America, and the spotless white granite for the United States, to

stoneware, and printed, enamelled, and gilt wares, for home use and

for the Colonies. The firm also make a large and striking variety of

articles in majolica, in which they successfully vie with most houses

in the trade. In this they make both useful and ornamental articles,

most of which are of a high order of art, being well modelled,

carefully finished, and of a quality that will bear comparison with

most others. Some of the productions exhibited at Paris in 1867 (when

they obtained a medal), at London in 1871, and at Vienna in 1873,

are shown by Figs. 283 to 306. The imitation Palissy ware is highly

successful. In vases, candelabra, centre and side pieces, flower

shells, and numberless other articles, Messrs. Jones have produced many

striking and good designs. Some of these are shown on the engravings;

others, especially an aquatic centre-piece of four heights, in Cupids,

shells, dolphins, and coral; a flower-pot, in which the magnolia forms

the basis of ornamentation; and an ewer abundantly decorated with

lizards, snakes, &c., are bold, good, and highly effective in design.

The mark used by Messrs. Jones is simply the monogram composed of the

initials G J joined together.

[Illustration: Figs. 283 to 286.--Trent Pottery Majolica.]

[Illustration: Figs. 287 to 306.--Trent Pottery Majolica.]

* * * * *

_Albert Works, and Copeland Street Works._--(Poole, Stanway, &

Wood.)--The business of this firm was established in 1859 in the

Albert Works, Liverpool Road, by Messrs. George Turner, Joseph Emery

Hassall, and William Bromley, as a Parian manufactory only. In

1863, the present much larger works were built. In 1862, Mr. Bromley

retired from the concern, and in 1863 Mr. Thomas Peake joined it, and

the firm continued as “Turner, Hassall, & Peake” until 1871, when the

latter withdrew, and was succeeded by Mr. Poole, when the style became

“Turner, Hassall, and Poole.” In 1873 Mr. Hassall retired, and was

succeeded by Mr. Stanway, and the firm then became “Turner, Poole,

and Stanway.” Later on Mr. Turner also retired from the firm, and

Mr. Josiah Wood, having entered into partnership with the remaining

partners, the style was altered to its present form of “Poole, Stanway,

and Wood.” At first Parian only was made, but after a time the

decoration of china (bought in the white) was added. After this had

been done for about ten years the manufacture of china was commenced,

and is now a large and profitable branch of the business. The present

productions of these works are Parian, principally statuary, of the

higher quality in body, in colour, and in workmanship; china, in which

tea, breakfast, dessert, trinket, and other services, vases, figures,

groups, &c., are made in every style of decoration, and of excellent

quality; majolica, in all the usual varieties of articles; and terra

cotta, in which they produce water-jugs, fern-stands, tobacco-jars,

filters, candlesticks, flower-vases, tea-pots, &c. The speciality of

the works is, however, in Parian, and in this they rank very, and

deservedly, high; in this the novelty was introduced by Mr. Turner

of decorating the Parian body with majolica colours. By this means

a greater clearness and brilliancy as well as softness of colour

is attained, “crazing” is avoided, and a more pleasing effect and

finish gained. The operations of the firm are not confined to the

home markets, but a considerable trade is done with foreign ports.

The terra cotta goods are produced in red and cane colour, and richly

enamelled. The body is remarkably fine and even, and very hard,

compact, and durable. In statuary Parian, a large variety of groups,

single figures, animals, and ornamental pieces are produced. The groups

and figures, both after the antique and original designs by celebrated

modellers, are of a high degree of excellence. Notably among these is

a very charming pair, “Night” and “Morning,” by Carrier. Busts, too,

are produced very extensively, and of various sizes, both copied from

classic models and of modern celebrities. In centre-pieces, compotiers,

&c., Messrs. Poole, Stanway, & Wood are particularly successful. A

set of four, with juvenile figures representing the Seasons, are

peculiarly graceful and elegant, the open-work dishes of these and

others being of admirable design and faultless finish; as is also

another in which the stem is surrounded by three cleverly modelled

Cupids. The tinting of these is pleasing and artistic; the creamy

richness of the body (of course unglazed) giving a peculiar softness to

the flesh, while the drapery and accessories, being delicately coloured

and glazed, impart a finish to the designs that is very charming. A

centre-piece with a pedestal rising from three gracefully modelled

female figures, and supporting an exquisite open-work dish, is of

peculiar elegance; the angles of the tripod base are formed of boldly

modelled sea-horses, whose curled tails rise gracefully up and support

three smaller dishes. A very successful and powerfully conceived design

is a comport in which the base is formed of three young Tritons, who,

surrounding an elegant lyre standard, alternate with the same number of

shells; above them rises the open-work bowl.

It is interesting to add that one of the partners of this firm, Mr.

Josiah Wood, is a worthy descendant of a long line of potters; his

grandfather, Aaron Wood, himself a famous potter, was the son of Aaron

Wood (who was apprenticed to Dr. Thomas Wedgwood), and the brother of

the celebrated Enoch Wood, of whom notices are given in other parts

of this volume. Mr. Stanway, another of the partners, is the son of

William Stanway, whose fifty years’ connection with the Wedgwoods I

have spoken of in my “Life of Wedgwood” and alluded to in another part

of this volume.

* * * * *

_Glebe Street Works_, and _Wharf Street Works_.--These two

manufactories belong to Messrs. Robinson and Leadbeater, and are

entirely confined to the production of Parian goods, of which they

are among the largest and most extensive producers, both for the home

markets and for exportation. The _Glebe Street Works_ were commenced

in 1850, by a clever Italian figure-modeller named Giovanni Meli, who

produced clever groups and single figures, till 1865, when he sold the

entire business, with its plant, moulds, and machinery, to Messrs.

Robinson and Leadbeater, and returned to Italy with the full intention

of there commencing a terra cotta manufactory. This he relinquished,

after a short trial, mainly through the lack of a suitable native

clay or marl for the making of his saggers. Giovanni Meli then went

to Chicago, where he succeeded in his wishes, and established a

manufactory of the kind he had attempted in Italy, and there he

continues to the present time. The _Wharf Street Works_ were commenced

in 1858 by Mr. Leveson Hill, after whose death, which occurred shortly

afterwards, they were carried on by his executors until 1870, when

they were sold to Messrs. Robinson and Leadbeater, who thus became

proprietors of both concerns. By them the works have been considerably

enlarged, and as their business operations are rapidly extending, they

bid fair to rank among the largest in the district.

The operations of the firm are entirely confined to Parian, and in this

they produce statuary groups and figures in large variety; statuettes

and busts, both classical, portrait, and imaginative; vases of endless

form, variety, and size; centre-pieces and comports of elegant design;

flower-stands; brackets and pedestals; bouquet-holders trinket-caskets;

cream-ewers; jugs, and a considerable variety of fancy articles.

By giving their constant and undivided attention to this one branch of

ceramic art (Parian), Messrs. Robinson and Leadbeater have succeeded

in so improving it both in fineness and purity of body and in tone

of colour, as to render their productions of far higher than average

merit. They have studied excellence of body, originality of design, and

cleverness of workmanship, as before that of marketable cheapness, and

in this they have done wisely. In material, they rank with the best

productions of many competing firms, while in fineness of surface and

careful manipulation they are scarcely excelled.

Among the designs produced by this firm are many of more than

average merit, and they are issued, in some instances, of large

size.--“_Clytie_,” a clever reproduction, is a bust of about

twenty-two inches in height, whilst several others (Gladstone,

Disraeli, Cobden, Tennyson, Dickens, and other modern celebrities)

are of various heights. Among their principal groups are “Innocence

Protected,” “Penelope,” “The Power of Love,” “Cupid Betrayed,” “Cupid

Captive,” “Golden Age,” “Rock of Ages,” “Guardian Angel,” “The

Immaculate Conception,” “Christ and St. John,” and “Virgin and Child;”

and in single figures are many well designed and faultlessly produced.

These are all good, and the same remark will apply to the remainder of

the figures and busts. The centre-pieces, comports, and flower-holders,

are characterized by the same good taste in design and the same

excellence in finish; their variety is great, and many of them have

a freshness and originality in conception that is very encouraging.

Messrs. Robinson and Leadbeater are very successful in their original

portrait busts, many of which they have produced, both for private

purposes and for sale. Among the latter, the busts of Abraham Lincoln,

Charles Sumner, and Governor Andrew, have had a very extensive sale

in the United States, to which market, indeed, the greater part of

their general statuary and other goods is sent. An excellent portrait

statuette of Queen Victoria may also be reckoned among their successful

productions. In addition to the States and the home markets, the firm

export largely to Canada, the Colonies, and Germany. They use no mark.

* * * * *

_Copeland Street._--Messrs. Billington & Co. manufacture the commonest

descriptions of china in all the usual services.

* * * * *

_Bridge Works._--Formerly worked by Messrs. Davenport & Co., W.

Adams & Co., Minton, Hollins & Co., Jones & Co., and Grose & Son,

this manufactory is now carried on by Hancock & Whittingham for the

production of the usual useful classes of earthenware.

* * * * *

_Walker & Carter._--The manufactory now carried on by this firm

belonged formerly to Wolf, and next to his son-in-law Hamilton, and

later was worked by Z. Boyle & Co., W. Adams & Co., and Minton, Hollins

& Co. The present firm manufacture the ordinary classes of earthenware.

[Illustration: Figs. 307 to 323.]

* * * * *

_London Road (and Eastwood Vale)._--The works of Mr. William

Henry Goss were commenced in 1858 for the production of Parian,

ivory-porcelain, terra cotta, &c., and their progress from that time

as pure art-productions has been very marked. The most famous of the

specialities of Mr. Goss’s manufacture are porcelain floral jewellery

and dress ornaments, in which brooches, hair-pins, scent-diffusers,

crosses, and other beautiful articles are made; jewelled porcelain, in

which vases, scent-bottles, tazzæ and other ornaments are produced; and

vessels to be filled with perfumes, including illuminated scent-vases,

pomade-boxes, rice-powder jars, pastil and scented ribbon burners,

&c., these latter being made largely for the great Paris and London

perfumehouses. The process of modelling jewelled porcelain, just

alluded to, which is of extreme richness and beauty, is the invention

of Mr. Goss, who, many years ago observing that the enamel jewels on

the old Sèvres porcelain frequently dropped, or were rubbed, off,

turned his attention to the subject. The process adopted at Sèvres

was as follows: a gold foil was stamped into circles, ovals, and

other required forms for the reception of the enamels, which were

then pencilled on, and fired before applying them to the article they

were intended to decorate. After being vitrified into imitations

of uncut rubies, emeralds, &c., they were stuck on to the surface

of the porcelain with a flux, and again fired. The adhesion was by

this process often incomplete, and thus it frequently occurred that

part of the design became rubbed away. The process invented by Mr.

Goss for this mosaic jewellery, is, to indent the designs for the

intended jewelled decoration in the dry or moist clay before baking,

and in these to insert the jewels, which are all previously cut, and

thus attain an increased brilliancy. Being inserted into the hollow

or recess prepared for them, they are made secure. The process is

an extremely delicate but very ingenious and beautiful one, and the

effect produced is richer and finer than is attained by any other

processes. Real pearls are often also introduced by Mr. Goss with

good effect. For this and other purposes Mr. Goss has taken out a

patent “for improvements in manufacturing articles of jewellery, dress

ornaments, dress fastenings, smoke-shades for lamps and gas-burners,

and the handles of cups and other vessels of ceramic materials”--an

invention peculiarly applicable to the “manufacture of brooches,

earrings, the heads of scarf-pins, hair-pins, and shawl-pins, the

trinkets called charms, bracelets, necklaces, stud and ring fittings,”

and a vast number of other articles. The floral brooches, crosses,

&c., are of great beauty, and in delicacy of modelling remind one of

the famous Bristol and Derby floral plaques. Some are produced in pure

white bisqué, others are tinted in the natural colours of the flowers

represented, and others are in ivory-porcelain prepared by a patented

process.

In Parian, for which Mr. Goss ranks deservedly high, busts, statuary,

vases, tazzas, scent-jars, bread-platters, and many other ornamental

goods, are made. Notably among these are admirable busts of Charles

Swain and of myself, the author of this work; this forms the

frontispiece to the first volume. This fine work of Art was modelled

expressly for the purpose in 1875, and is pronounced by those capable

of judging to be a fine and highly successful example of Ceramic Art.

These are modelled by Mr. W. W. Gallimore, under the personal and

artistic supervision of Mr. Goss. They, as are all the busts which

emanate from this combined source, are of the highest style of Art in

point of pose and poetic treatment, and of the most careful character

in manipulative workmanship. As portrait-busts they rank far above

the average, and are, indeed, perfect reproductions of the living

originals. It is not often that this can be said of portrait-busts,

but it has been a particular study of Mr. Goss, and of his coadjutor,

Mr. Gallimore, and they have succeeded admirably.[44] Of Mr. Gallimore

it may be well to say a word or two. He at one time was engaged as

a modeller at the Belleek Works in Ireland, and while there, by the

bursting of a gun, lost his right arm. His modelling has, therefore,

ever since then, been entirely done by his left hand, and, strange as

it may seem, is far better than when he had both.

[Illustration: Figs. 324 to 330.]

One of Mr. Goss’s specialities is ivory porcelain, and this he produces

of the full soft mellow tone which characterizes the finest ivory,

while, from the nature of the body he has by constant experiments and

study succeeded in producing, it is far more lasting and durable,

and capable of more decoration, than the ivory itself. It possesses

all the delicate beauty of the ivory, with, as just stated, more

durability, and, unlike it, is unchangeable. In this material one of

Mr. Goss’s most successful productions is a pierced scent-bottle of the

pilgrim-bottle or puzzle-jug form. Its centre is double pierced in a

very elaborate pattern, and judiciously heightened with lines of gold.

In terra cotta, which is of peculiarly fine quality and rich colour,

water-bottles and all the usual articles are made, a speciality being

the fern-leaves with which they are decorated. All kinds of enamel

colours and lustres are made at these works. The name W. H. GOSS is

sometimes stamped in the ware, and on the other higher class goods the

crest, a falcon rising, ducally gorged, is used.

* * * * *

_London Road._--In 1856 a field on the London Road was found to contain

a valuable mine of red clay, and a manufactory of floor, roof, and

ridge tiles, &c., was commenced. This property was purchased by Mr.

W. Kirkham, who still continues the works. In 1862 Mr. Kirkham built

a manufactory for the production of Parian, terra cotta, and general

earthenware for the home and foreign markets. To this he has more

recently added the making of door-furniture, brass-founders’ fittings,

knobs, mortars and pestles, chemists’ goods, stoneware, &c.; a patent

is also worked for the production of porcelain bottle-stoppers,

feeding-bottles, &c. The terra cotta goods, comprising water-bottles,

ornamental flower-pots and stands, table-jugs, spill-cases,

tobacco-jars, and an infinite variety of other articles, are of a

high degree of excellence, both in body, in form, in colour, and in

style of ornamentation. In colour it is of a deep, rich, full red,

and is remarkably close, compact, hard, and durable in texture. The

ornamentation consists of embossed borders of more than average relief;

printed groups of Etruscan figures, borders, groups of flowers, &c.;

rich enamelling in various colours; and dead and burnished gilding.

Some of the fern decorations are graceful, natural, and elegant; and

those with the Etruscan figures and the enamelled borders are in pure

taste. The table-jugs are of excellent form, many being good examples

of severe Art, and their decorations are faultless.

* * * * *

_The Campbell Brick and Tile Company._--The company to whom this

manufactory belongs was formed in 1875 for the purpose of carrying

on the business of Mr. Robert Minton Taylor, who had till that time

conducted it at Fenton. A new manufactory was, in 1876, erected at

Stoke, when the Fenton business was transferred to it. In addition to

this, new buildings and machinery have been erected for the production

of all kinds of bricks, roofing and other building tiles, &c. The

works were established at Fenton, as just stated, by Mr. Robert Minton

Taylor--nephew to the late Mr. Herbert Minton, and until the past few

years a partner in the firm of Minton, Hollins & Co.--in 1868, on a

dissolution, consequent on effluxion of time, of the old firm. The

productions of these works, as were those at Fenton, are encaustic,

mosaic, geometrical, and majolica tiles, and in these every variety of

design, from the purely ornate to the severe classic, are made.

The encaustic tiles are produced not only in the usually simple red

and buff colours, but also in various combinations of buff, red, blue,

green, yellow, white, black, brown, grey, and every shade of compound

colour. The designs are very effective and pure, and are the result

of considerable study on the part of the artists employed in their

preparation. The geometric tiles are of every conceivable form and of

great variety in colour; they are prepared with mathematical nicety,

and produce remarkably rich and effective pavements.

One of the specialities of these works are majolica and coloured tiles.

These are of the highest possible class of beauty and excellence, and

the richness of the colours and their harmonious combinations cannot be

surpassed: they are perfect works of Art, and are a great and marked

advance upon any which have preceded them. Some have the ornament

in relief--sometimes approaching even to _alto-relievo_--and

exquisitely modelled: the ornament consisting of arabesques, foliage,

flowers, birds, &c., in endless variety. In reproduction of natural

objects, as the hawthorn, the bramble, the violet, the primrose, the

anemone, the lily, and the lilac, Mr. Minton Taylor is particularly

happy: the effect is strikingly beautiful. The tiles, of course,

are adapted for wall decorations of churches, &c., for ceilings,

grate-cheeks, lining of fire-places, flower-boxes, friezes, inlaying in

cabinet work, &c., but not for floors.

[Illustration: Figs. 331 to 338.--Campbell & Co.’s Tiles.]

[Illustration: Figs. 339 and 340.--Campbell & Co.’s Tiles.]

Among the other features of these works are the tesselated pavements,

which are careful reproductions of examples of the Romano-British

period. In these the antique character is well preserved, the designs

copied with scrupulous accuracy, the colours kept strictly to the

originals, and the effect of the rich guilloches admirably preserved.

Tile hearths, too, are a speciality of Mr. Minton Taylor’s, and these

are produced in great variety and of extreme beauty: they are among

the most successful adaptations of ceramic decorative Art to domestic

purposes. The principal designs are by E. Welby Pugin, John Gibbs, J.

Seddon, Dr. Dresser, and others.

The mark used by Mr. Minton Taylor while at Fenton was the name “ROBERT

MINTON TAYLOR, TILE WORKS, FENTON, NEAR STOKE-ON-TRENT,” arranged in

various ways, and impressed or raised on the back; or the initials

^{R M T}_{F T W} used in the same way. That of the present firm (the

proprietor of which is Colin Minton Campbell, Esq., M.P., and the

manager, Mr. Robert Minton Taylor) is a compass W+^N_{S}E encircled by

the words “CAMPBELL BRICK & TILE CO., STOKE-UPON-TRENT.”

* * * * *

_Harrison and Wedgwood._--John Harrison, of Newcastle, and afterwards

of Cliff Bank, Stoke, a man possessed of some means, but little taste,

entered into partnership with Josiah Wedgwood on the latter first

commencing business. He was not a practical potter, but was taken

into partnership by Wedgwood for the advance of capital. They carried

on the business at what was Mr. Aldersea’s pottery, at the top of

Stoke, opposite the works of Hugh Booth. Here, besides agate and other

knife-hafts, they made the ordinary kinds of wares then in demand, both

“scratched” and blue. In 1754 they entered into partnership with Thomas

Whieldon, and later on the works were, I believe, bought and pulled

down by Josiah Spode.

* * * * *

_Bankes._--Mr. R. Bankes and Mr. John Turner, in 1756, made white

stoneware on what, later, formed a part of Josiah Spode’s premises.

In 1762 Mr. Turner removed to Lane End, and about 1780 discovered a

valuable vein of clay at Green Dock; this he turned to profitable and

artistic use in the making of his fine and celebrated cane-coloured and

other wares.

* * * * *

_Aldersea._--John and Thomas Aldersea were makers of tortoiseshell,

clouded, and other wares.

* * * * *

_Hugh Booth_, of Cliff Bank, was one of the leading manufacturers of

the district. His productions were common cream-coloured, mottled, and,

I believe, lustre-wares. He died unmarried in June, 1789, aged 57, and

was succeeded by his brother, Ephraim.

* * * * *

_Ephraim Booth_ (an alderman of Plymouth), who took into partnership

his two sons Hugh and Joseph, and carried on the business under the

firm of “Ephraim Booth and Sons.” The eldest of these sons, Hugh

Booth, married Ann, daughter of Thomas Lovatt, Esq., and died in

1831. This firm was somewhat extensive, and produced blue printed

and other wares. The heading of their bills in 1792 was “Eph^m Booth

& Sons, Potters to His Royal Highness the Duke of Clarence and St.

Andrew’s, in the Kingdom of Great Britain, Earl of Munster, in the

Kingdom of Ireland.” “Stoke, Staffordshire.” At that time (1792) some

of their productions were “barrel-shape” and other jugs, “ewers and

basons,” “cups and saucers, bell-shape handled,” “coffees and saucers,

fluted,” all “printed Dresden pattern;” “tureens and ladles, green

edge, cream-coloured glaze;” sallads, baking dishes, fish-drainers,

oyster-shells, pickle leaves, egg-cups, peppers, mustards, scollop

shells, sauce tureens, all stands either “green edge,” “blue edge,”

or “blue and green;” tea-pots, milks, bread and butter plates, &c.,

“narrow flute, printed Dresden pattern,” &c.

* * * * *

_Wolfe._--Mr. Thomas Wolfe was a very successful manufacturer,

the latter part of last century. He died in 1818, and was, I believe,

succeeded by his son-in-law, Mr. Robert Hamilton, and afterwards by

Messrs. W. Adams and Co.

* * * * *

_Bird._--Daniel Bird, the “flint potter,” as he was called, at Cliff

Bank (afterwards Mayers), made agate-ware knife-hafts and buttons, and

the usual earthenware of the period.

* * * * *

The manufacturers at Stoke in 1829, were, according to Shaw, Spode;

Minton; H. and R. Daniel, who here made only porcelain, their

earthenware works being at Shelton; Adams, in one part of whose works

the first steam-engine for grinding flints is said to have been

erected; Zachary Boyle & Son, near the churchyard, who made both china

and earthenware; Thomas Mayer (Cliff Bank), formerly Daniel Bird’s,

who was called the “flint potter,” through his having ascertained the

exact proportions of flints and clays required “to prevent cracking

in the oven”; and Ward and Forrester. In 1843, there were Spode and

Copelands; Messrs. Mintons; Messrs. William Adams and Co., who at one

time or other had five separate manufactories, three of which had

formerly been Mr. Wolfe’s, the fourth the Bridge Works, and the fifth

Hugh Booth’s; Messrs. Henry and Richard Daniel; Mr. Zachary Boyle;

Messrs. Samuel and George Reade; and Messrs. Lowndes and Hill.

[Illustration: Figs. 341 and 342.--Campbell & Co.’s Tiles.]

[Illustration: Fig. 343.]

[Illustration: Fig. 344.--Campbell & Co.’s Tiles.]