Irish Ceramics--Early Pottery of Ireland--The
Cairns--The Crannogs--Mediæval Pottery of
Ireland--Dublin--Delamain--Stringfellow--Grants by
Irish Parliament--Donovan--Delft Ware--Brown Ware
Manufactories--Belfast--Leathes and Smith--Delft Ware--Coates’
Pottery--China Works--Florence Court Pottery--Coal Island
Pottery--Youghall Pottery--Captain Beauclerc’s Terra
Cotta--Larne Pottery Works--Castle Elspie Pottery--Belleek China
and Earthenware Works, &c.
The early pottery of Ireland, although bearing a general resemblance
in many of its characteristics to that of England and other nations,
nevertheless differs from all others in some of its features, both
of form and decoration. As in other countries, the great bulk of
examples of early fictile art that remain to us in Ireland, and upon
which we have to found our knowledge, are the cinerary urns--the clay
vessels in which, when cremation was in vogue, the ashes and burnt
bones of the dead were placed for burial in cairns or otherwise--and
food and drinking-vessels found (when inhumation was observed) in the
grave-mounds of the people. But, in addition to this, the “crannogs,”
or lake dwellings of the Irish people, afford a vast fund of
information upon the form and decoration of the domestic vessels in use
in former ages.
In the first volume of this work I have written much upon early fictile
art, and in other works have treated so fully upon the contents of
the barrows[61] of early ages, that it is not needful to pursue
the subject here. I may, however, with special reference to Irish
examples, quote the words of my late friend, Sir William Wilde--one
of the most painstaking authorities upon Irish antiquities-and then
pass on to a consideration of some of the examples that remain to us.
“Irish cinerary urns have,” Sir William says, “been found under three
circumstances: in small cists, placed without any ostensible mark, at
least at the present day, beneath the surface of the soil, each just
sufficiently large to hold one or two vessels. The chamber is sometimes
occupied with the urn and its contents alone; in other cases, it also
contains charcoal and portions of burned bone; and, in some instances,
the flooring-stones have become vitrified upon the upper surface, thus
leading us to believe that the funeral pyre was lighted over the grave
after it was formed; of this, the charcoal and the vitrification of the
stones afford presumptive proof. These small chambers are sometimes
found near the surface, or on the periphery of the larger tumuli that
usually cover cromlechs or surround extensive sepulchral chambers, and
appear to be of a much more recent date than the original structure
of the tumulus in which they are placed. Such minor interments
may have been those of the family or descendants of the persons
originally interred beneath; or the place--strong in the odour of
sanctity--may have been resorted to as a burial-ground long subsequent
to its original foundation, from that feeling of veneration which
instinctively consecrates the resting-place of the dead. These urns
are also found imbedded in the earth, in which case they are generally
aggregated in cemeteries upon the sides of hills.“ As in England, so in
Ireland, interments both by cremation and inhumation[62] were made,
and, with the latter, vessels of clay of various forms were placed.
[Illustration: Fig. 664.--From Altegarron, near Belfast.[63]]
[Illustration: Fig. 665.--From Ballon Hill, Co. Carlow.]
The material of the early Irish urns is simply coarse clay, but this
varies in different localities. With some sand has evidently been
more or less mixed with the clay, while “in those which show a higher
degree of culture in the makers,” as Sir William Wilde says, “sand
and small fragments of stone, possibly broken for the purpose, were
mixed through the plastic mass, and also rubbed (perhaps to assist in
drying, as well as in giving them stability) upon the inner surface,
especially near the bottom. A micaceous clay here appears to answer
the same end; but in some of the very fine specimens minute particles
of quartz and felspar may be observed coating the interior, which,
from the sharpness of their fracture, would appear to have been broken
specially for the purpose. These fragments of sand or stone may also be
seen in the fracture, but are never observed upon the outer surface.
In colour the Irish urns differ considerably upon the outer and inner
surfaces. The latter is almost invariably blackish or dark brown, the
result of partial torrification, and perhaps from the heated bones and
charcoal placed within them, either when soft or after they had been
sun-baked.[64] The colouring generally passes through four-fifths of
the mass. The outer surface is either a light red, grey, or brown. The
first is most usual, and appears to be the result of the atmosphere,
which was, however, excluded from the interior by the mass of the
contents of the urn. The colour of the exterior usually passes for some
distance within the lip. The drab or clay-coloured urns bear but little
mark of fire, either within or without. The brown belongs only to the
thinnest and hardest description of pottery. Assuming that the majority
of the mortuary urns (except those for very distinguished persons) were
constructed at the grave, the artist was indebted to the clay at hand
in the locality for the materials with which he worked, and hence the
great variety in the composition of our cinerary urns.”
[Illustration: Fig. 666.--From Cairn Thierna, Co. Cork.]
[Illustration: Fig. 667.--From Ballydoolough.]
The ornamentation upon the earliest Irish pottery, both cinerary urns
and otherwise, is extremely varied, both in character and in mode of
arrangement. Sometimes simply a number of dots, or punctures, pretty
nearly cover the surface; at others, these punctures are intermixed in
regular patterns with other ornaments. Sometimes again they exhibit
ridges or raised bands more or less decorated, and at others the usual
herringbone or zigzag patterns produced by incised or impressed lines
are the most prominent feature. Again, in some examples, patterns
produced by pressing a twisted thong into the pliant clay are met with,
while incised or impressed circular, semicircular, and other lines
ornament others. “Many of these lines have a pectinated appearance,
as if indicated with a traverser, or a rowel-like instrument, such
as that used by pastry-cooks” at the present day, and sometimes the
ornament is produced by simple scratches. Other urns are one mass of
ornament, rich in appearance and varied in character; and others have
what may not inaptly be called flat circular medallions on their sides.
Others, again, present a series of “slashes” with intervening impressed
ornaments.
[Illustration: Fig. 668.--From Trillick Barr.]
It is a remarkable fact, as pointed out by Sir W. Wilde, that no
examples, so far as his knowledge went, occurred on which “any trace
of the spire, which characterizes the decorations of some of the very
oldest sepulchral monuments in Ireland,” is to be found; but a peculiar
form of ornamentation, made by straight lines, is identical with that
on some carved stones at the entrance to the most remarkable of these
edifices--that of New Grange.
Fig. 668 is a remarkably elegant urn found in a cairn at Trillick
Barr, Tyrone. In general form it is slightly contracted towards the
mouth, and has two raised encircling bands, and an extended rim at the
base. The lower part of the body is decorated with vertical lines, the
spaces between being here and there filled in with impressed ornaments;
and the portions between the encircling bands are also filled in with
diagonal lines of indentations. These also are continued round the rim
at the mouth, while the raised bands bear a double engrailed pattern.
Fig. 669, five inches in height, was found at Ballybit, Lisnevagh,
county Carlow. Like the last, it contracts slightly towards the mouth.
It has three encircling raised bands, with intervening indented
ones, around its centre, and these are richly ornamented. The upper
portion of the vase bears a border of curved lines--a large species of
engrailing--incised, and the lower portion similarly produced lines
forming herringbone and “crossed” patterns; around the rim and the
upper rib it is elaborately ornamented with impressed points.
[Illustration: Fig. 669.--From Ballybit, Co. Carlow.]
Fig. 670 is of a totally different character, both in form and
ornamentation. It was found in a cist, on the lands of Mackrackens,
in the parish of Leckpatrick, county Tyrone, and is five inches in
height. “At its greatest circumference, it is surrounded by a narrow,
circular groove [much of the same character as some Celtic urns found
in Derbyshire, and this groove is, as it were, clasped by five small
pierced knobs, equidistant from each other. From their shape, and
closeness to the vessel,” continues Mr. Geoghegan, “I cannot think they
were intended for handles. There are no indentations or marks to lead
us to suppose they were designed for that purpose. It appears to me
their use was to retain in the groove a strong cord which twined round
the urn. From this strong cord three strings could be attached, meeting
in a knot, for the purpose of carrying or conveying the urn from the
scene of cremation to the cist in which it was finally to be placed,
or from the place where it was made.” It bears a strong resemblance
in outline to the wooden vessel, Fig. 667. In the museum of the Royal
Irish Academy urns of this same general form are preserved, as are also
examples of almost every known variety. Figs. 671 to 675 are from that
Museum, and tell their own tale, both as to peculiarity of outline
and richness of decoration. An immolation urn, found within a larger
vessel at Mayhora, near Castlecomer, of much the same form as Fig. 671,
has been described by my friend Mr. Graves in the _Archæological
Journal_; the lower part is elegantly ribbed.
[Illustration: Fig. 670.--From Mackrackens, Co. Tyrone.]
Fig. 687, from the “Giant’s Grave,” on the Loughrey demesne, in county
Tyrone, is of globular form, five inches in height, and decorated with
vertical lines of indentations and encircling lines incised in the
clay. Between the encircling lines at the top, as well as those at the
bottom, are rows of square indentations; and inside the mouth is also
ornamented.
[Illustration: Figs. 671 to 675.--From the Museum of the Royal
Irish Academy.]
Urns of a different character of ornamentation were discovered some
years ago at Ballon Hill, between Fenagh and Tullow, county Carlow.
Among these was one, more than fifteen inches in height, about fourteen
inches in width at the mouth, and of “flower-pot” form, very similar
to some English examples. It had two raised encircling ribs, and the
upper part was ornamented with a chevron or zigzag pattern produced
by impressed twisted thongs. Another was of bowl form with raised
bands, and every part elaborately ornamented, the upper and lower parts
bearing saltires alternating with incised lines; it was of much the
same general form as the one engraved on Fig. 687. Another, of more
flowing form, whose outline took a graceful jar-like curve, gradually
swelling outward from the contraction below the mouth and tapering
down to the foot, was ornamented with impressed thongs and incised
lines. Others were found which partook of the same general shapes
as other examples here engraved, and were more or less ornamented
with encircling lines, zigzag and other patterns, and impressed
points, curves, &c.; one or two had raised knobs. One of the richest
of “immolation urns,” about two and three-quarter inches in height
(and filled with small burnt bones when found), of the Irish series,
also brought to light in this interment, is engraved on Fig. 665.
Another remarkable urn (Fig. 666), found at Cairn Thierna, county Cork
(engraved in the _Archæological Journal_), has its outline totally
different from others, and is elaborately and delicately ornamented
over almost its entire surface.
Fig. 664 carefully represents an urn found some years back at a
place called Yellow Jack’s Cairn, in the townland of Altegarron, on
the slopes of Divis Mountain, near Belfast. It was five inches in
height, and six in diameter at the mouth. The whole surface was richly
decorated with incised and impressed lines, and other ornamentation;
these are sufficiently well shown in the engraving, and therefore need
no description.
Occasionally covers made of the same clay as the urns themselves, and
ornamented in a similar manner, have been found. One remarkable example
discovered at Danes Fort had a perfect cover, or lid, with a handle at
the top.
Some of the most curious and certainly most interesting urns which have
come under my notice, were found at Drumnakilly, near Omagh, county
Tyrone, in 1872–3, and have been described and figured by Mr. Wakeman.
The first of these, Fig. 676, 3 feet 6 inches in circumference at the
mouth, and of proportionate height, is elaborately ornamented with
incised lines, “exactly of that class which we find upon the golden
ornaments and other antiquities of pre-historic times preserved in our
museums;” its outline bears a graceful curve from the mouth, swelling
out in the middle, and gradually tapering down to the foot. Around
the upper part is a series of perpendicular broad indentations with
herringbone pattern between; next follow a number of encircling lines,
scoriated between; and the middle part of the urn is ornamented with
zigzag and other lines. Another of pretty much the same general form
(Fig. 679) but devoid of ornament, contained within it an immolation
urn (Fig. 680). Another (Fig. 682) is unique in its ornamentation; “its
neck and lip, though exquisitely proportioned, are devoid of ornament,
while the body of the vessel is encircled by a network pattern executed
in bold relief; the substance of this pattern is different from, and
finer in quality than, that of which the rest of the urn was composed.
It is evident upon even a slight examination that this raised ornament
was added after the formation and fire-hardening of the vessel, from
portions of which it is easily detached.” It contained a smaller
urn, both being as usual filled with burned bones. Fig. 677, 3 feet
9 inches in circumference at the neck, has an overlapping rim with a
remarkably elegant outline. Figs. 681, 683, 685, of much the same form
as Fig. 682, have incised lines round the neck, the body of the latter
being covered with a reticulated ornament. Figs. 681 and 683 are of the
same general form, but extremely rich in ornamentation.
[Illustration: Figs. 676 to 680.--From Drumnakilly, Co. Tyrone.]
[Illustration: Figs. 681 to 686.--From Drumnakilly, Co. Tyrone.]
[Illustration: Fig. 687.--From the Giant’s Grave, Loughrey
Demesne.]
Two unusually fine urns have been brought to my notice by Miss Stokes,
of Carrig Breac, near Dunamase, and are, I believe, now in the R. I.
A. Museum. The larger of the two, which is of the same general form
as the Altegarron urn, Fig. 664, but rather more contracted in the
upper part, has two raised encircling rims around its widest part;
between these the urn is ornamented with a series of diagonal lines
of impressed squares. Round the upper part is a line of curves or
undulations, between elaborate diagonal indented lines as before. The
lower part of the urn has around its upper and lower edges a row of
undulations, and around its centre an encircling border of rude lozenge
formed indentations; the whole of the rest of the surface being covered
with vertical lines of square indentations, same as already described;
these are of the same class as those shown in Figs. 706 and 718. The
other urn in general form of outline resembles the one from Ballon Hill
(Fig. 665); it is richly decorated with encircling bands of herringbone
lines, and three borders, one on its neck and two on the lower part of
chevron ornament.
The pottery found in the Crannogs presents many peculiarities of
pattern. The vessels are considered by Mr. Wakeman, to whom the
antiquarian world is indebted, in many cases, for their discovery,
to be the remains of what have been used for cooking purposes. They
are mostly vessels, sometimes of very large size, wide at the mouth,
contracted in the neck, and gradually, with easy flow of line, tapering
downwards on the sides. Mostly they appear to have had handles at the
top, which take a gradual curve from the rim down to their junction
with the tapering body. They are more or less decorated with punctured,
incised, impressed, or other simple ornaments.
[Illustration: Fig. 688.]
The general form of these crannog vessels will be best understood on
reference to the accompanying engraving, which is a restored example
from fragments found in a crannog in Drumgay Lake, near Enniskillen,
and carefully described by Mr. Wakeman in the Journal of the Royal
Historical and Archæological Association of Ireland. The lake wherein
this crannog was discovered--the “Loch of Drumgay”--is a picturesque
sheet of water, nearly midway between Enniskillen and the village of
Bellinamallard, in the county of Fermanagh. The examination of these
lake dwellings yielded many highly interesting and important results,
and brought to light several fragments of pottery, and many other
objects of antiquity. Some of the patterns of fictile ornamentation are
shown on the Figs. 691 to 704, which are drawn of one half their real
size. One pattern is a simple chevron; another a punched right-line
ornament, very characteristic of this primitive ware; another has a
series of incisions, giving the rim somewhat the effect of a cable
moulding; and another is reticulated, or has what may be described as a
series of saltires, all round the rim.
[Illustration: Fig. 689.]
Some other excellent examples were yielded by the examination, by Mr.
Wakeman, of a crannog in Ballydoolough[65]--a loch of about twenty-four
acres in extent, a few miles from Enniskillen, not far from the old
road to Tempo. The “lake dwelling” where these fragments were found,
is said to be “one of the most instructive yet discovered in Ireland.”
In it, “among other instructive remains, were found a very large
number of fragments of pottery, along with quantities of bones of _bos
longifrons_, _cervus elephas_, _sus scrofa_, _equus asinus_, and other
animals, including the goat, which gave good testimony to their being
portions of cooking vessels.” A restoration of one of these “crocks”
is given on the accompanying engraving, Fig. 689, and its pattern is
shown of a larger size on Fig. 718. “It measures three feet two inches
round the mouth, and is tastefully ornamented on the rim and sides. The
decoration, which was impressed upon the soft clay before the vessel
was burnt, is extremely like that which appears upon silver bracelets
preserved in the Museum of the Royal Irish Academy, and also found
amongst the Cuerdale hoard.” Its colour is drab, or light yellowish
red, and it is of close texture. The pattern is impressed or indented,
and from its chevron character is undoubtedly early. Several varieties
of this pattern occurred. The next examples exhibit simply a series
of zigzag incisions of precisely the same character as is found on
Celtic cinerary urns. Indeed the decoration of many of these domestic
(?) vessels is exactly identical with that of some of the finest
sepulchral urns found in that country. “It may be said further, that in
the numerous designs found upon the crannog vessels there is not one
that is suggestive of the work of Christian times in Ireland; on the
contrary, the greater portion--chevrons and circular depressions--are
expressive of pagan ideas of ornamental art. The log-house at
Ballydoolough is almost precisely of the same size and of the same
style of construction as the celebrated dwelling described by Captain
Mudge in the ‘Archæologia,’ in which was found a stone hatchet.” These
crannog vessels must not, therefore, be assigned to a later period than
pagan times.
[Illustration: Fig. 690.]
[Illustration: Figs. 691 to 704.]
Some other examples from this crannog are of extreme interest.
The “fragment, Fig. 719, bears upon its ear,” says Mr. Wakeman,
“two figures somewhat like a St. Andrew’s Cross, but which here, I
apprehend, need not be regarded as a Christian symbol. Such figures
have been found in Ireland, inscribed on rocks, and upon the walls of
natural or partly artificial caverns, and even within the inclosure
of pagan tumuli, as at Dowth, accompanied in several instances by
‘scorings’ at present unintelligible.” Many appear in the cave of
Lochnacloyduff (the _loch of the dark trench_, or _mound_)
and in the “lettered caves” and the cliffs of Knockmore. These vessels
are “of a dingy brown colour, and their ‘scorings’ are deeply impressed
in what was a paste of unusually gritty matter. It may not be out of
place to state here, once for all, that between the crannog pottery
and the vases found in cairns, and usually styled sepulchral, there
is apparently no difference in style of manufacture. Strange to say,
both classes exhibit the action of fire more strongly upon the interior
than upon the external sides or base. Their colouring upon the whole
is generally similar, varying from a dull red to a dark brown, nearly
black; and in no instance, as far as my observation carries, has
glazing been practised.” (Wakeman.)
[Illustration: Fig. 705.]
[Illustration: Figs. 706 to 715.]
[Illustration: Figs. 716 to 721.]
In another remarkably interesting lake dwelling in Lough Eyes, not
far from Lisbellaw, in the same county of Fermanagh, a variety of
patterns of crocks, along with bones of animals, including the “remains
of _bos longifrons_, or ancient Celtic short-horned ox, of the
red-deer, ass, sheep, goat, and pig,” were found. These were of the
same general form as those already described, and they were more or
less ornamented with indented patterns, sometimes arranged simply
in lines and sometimes in chevron or zigzag designs. It is worthy of
special note too, that several flat discs of the same material as the
crocks were found with them; these were doubtless covers or lids; one
of these is shown on Fig. 703.
A very unusual and clever “provision for the escape of steam during
the process of boiling, or cooking, is observable in several of these
earthen pots. It consists of a small circular hole in the neck or
upper side of the vessel, just below the point where the lid would be
supported or caught;” the lid of course resting on the narrower part
of the neck. Doubtless the contraction of the neck would be formed
for this special purpose. The perforation is shown on the fragments
engraved, Figs. 692 and 716. Figs. 712 and 720 show, very carefully,
two examples of ornamentation on pottery from this crannog; the one
with incisions only, the other with both incisions and impressed
ornaments, the dotted pattern being almost identical with some found in
the lake habitations of Switzerland. The other woodcuts give very clear
representations of other patterns found at Lough Eyes. One of these,
Fig. 706, has both the impressed herringbone and rim patterns; Fig. 700
is simply “notched” on its edge; Fig. 701 has a series of incisions or
“thumb-nail” indentations; Figs. 691 and 699 have the zigzag pattern;
and Fig. 694 a series of lozenge-formed indentations. Figs. 715 and
717 are among the most pronounced examples of herringbone or zigzag
patterns which these lake dwellings have produced, and they are, as
the engravings show, exact counterparts, in appearance, character,
and style, with that which forms so marked a characteristic of Celtic
sepulchral urns of one kind or other.
During mediæval times the pottery of Ireland was much of the same
coarse kind as described under “England” in the first volume; but
little, however, is known concerning either its localities of
manufacture or its general characteristics. Wood (both platters and
noggins) and pewter appear to have been in much more general use for
domestic purposes than earthenware, and the manufacture of the latter
was consequently very small. Later on, manufactories of a finer kind of
ware were established in Belfast, Dublin, and other places; of these
but very meagre particulars are known.
DUBLIN.
_Delamain._--A manufactory of delft-ware existed here in the Strand, in
the early and middle part of last century. Before 1753 the manufactory
had passed into the hands of Captain Henry Delamain, who, as stated by
himself, “when the delft manufactory in this city [Dublin] failed,”
“being convinced that it might be carried on greatly to the advantage
of this nation, took said manufactory into his hands, built workhouses
and kilns, erected a mill to grind flint and metals,” and so forth. In
that year he appears to have had as a confidential manager Mr. William
Stringfellow, who probably had either been the previous owner of the
manufactory or one of the “most knowing persons” of those works. In the
year referred to Capt. Delamain petitioned the Irish House of Commons
for assistance in carrying out his undertaking. His case was thus
stated:
“A.D. 1761. 1st November. Geo. II.[66]
“A Petition of HENRY DELAMAIN the Younger, of the
City of Dublin, Gentleman, Setting forth:--that when the
Delft Manufactory in this City failed, the petitioner being
convinced that it might be carried on greatly to the advantage
of this Nation, took said Manufactory into his hands, built
Workhouses and Kilns, erected a mill to grind flint and Metals,
and discharged debts affecting the old Manufactory, and also
supported the most knowing persons that were employed at the old
Manufactory, while his new one was building, to prevent their
leaving the Kingdom; and purchased the Art of Printing Earthen
Ware with as much Beauty, Strong Impression, and Dispatch as
it can be done on paper. That the Petitioner lived above 20
years abroad, where he acquired a knowledge in the Manufactures
of Delft and Earthen Ware and having taken a Circuit thro’
this Kingdom found that every Province therein is furnished
with proper Materials for making thereof. That the Petitioner
after many repeated experiments has discovered the secrets of
Glazing Delft Ware with Coals, and Painting and Glazing Flint
Ware. That the petitioner employs upwards of 40 families in his
Manufactory, and proposes taking a number of Charter School
Boys apprentice, by which means he will be able to supply New
Manufactories with Artists; and the petitioner is willing not
only to communicate all the secrets of his business to any one
setting them up, but also to assist them in the construction of
their kilns, &c. That the petitioner laid Specimens of the Wares
made by him before the Dublin Society, who were of opinion that
they were as good, and some of them better than any imported
into Ireland; and found on Experiments made, that they stood
boiling water without breaking or Cracking; and as it can be
made near 20 per cent. cheaper than it can be imported, he
apprehends a great benefit will arise, not only by preventing
large sums from going out of the Kingdom for said Manufactures,
but also by exporting it to Foreign Markets, and praying aid to
enable him to carry on the said Manufactory, was presented to
the House and read.
“_Ordered to be reported on by Sir Arthur Gore and a
Committee._”
“Sir A. Gore reported that the Committee considered the
Allegations proved, and that the Petitioner deserved
encouragement.[67]
“_Referred to Committee of Supply._”
“Resolved, That it is the opinion of this Committee that a sum
of £1000 be given to HENRY DELAMAIN the Younger, Manufacturer
of Earthen Ware, for his encouragement, and to enable him more
effectually to carry on the said Manufacture.”[68]
In the same year, 1753, Delamain having discovered a way to use coal
instead of wood in the manufacture of earthenware, applied to the
English Parliament for compensation for making his invention public.
From the Journal of the House it appears his petition, wherein he is
described as “Henry Delamain, gentleman,” was read on the 21st of
January, 1754, and referred to a Committee, where, however, the whole
matter seems to have ended. In it he says that “he has discovered a
method of firing kilns of a particular construction,” “which perfectly
burn and glaze all sorts of white ware with coal in less time and in
larger quantities than the method now practised by burning of wood,
and at one-third of the expense.” In a not very honourable letter,
printed by Owen, Delamain speaks of his intention of applying to
“the Parliament of England for a reward for having burnt and glazed
delft-ware with coals,” instead of wood or turf. In this letter
Delamain writes to Stringfellow that he has seen the Liverpool potters
and told them of the success of his plan, and he desires him to write
how well he has succeeded with the coal; he says, even “suppose it
has happened quite the reverse, do you write what I desire you, for
your own advantage as well as my credit; for I have set them all on
fire to burn their ware with coals, and have come to this agreement
with them, that you are to come over to build their kilns, for which
they will pay you handsomely.” And again he says, “by all means answer
to them by return of post all you can say in its favour, and more if
necessary.” The letter is addressed, “to Mr. Wm. Stringfellow, at the
Delft Manufactory, on the Strand, Dublin,” and dated 19th of December,
1753. Another letter, addressed to his wife, “Mrs. Mary Delamain, at
the India Warehouse, Abbey Street, Dublin,” by Capt. Delamain, is to
the same effect, and runs as follows:--
“_To Mrs. Mary Delamain, at the India Warehouse, Abbey Street,
Dublin._
Tuesday, Liverpool [Jany.] 18th, 1753.
“My D^r Poll,
“Inclos’d I send you a letter to Mr. Stringfellow the purport
of it is to desire him by all means to answer some letters that
will be wrote to him this night from Liverpoole to know how our
large kiln has turned out; send for him on the rec^t of this and
right or wrong beg of him to write it was burnt twice before I
left Ireland and once since, and that it succeeds so well that
not a bit of ware was smoked and that it Glazes the Ware better
than Turf and Wood & makes it harder, less subject to peel,
and that about two Tun or 2 and a half of coals will burn it
off, give him this letter for fear he s^d forget writing them
all the above particulars, let him write the night he receives
mine, for as soon as his letter arrives at Liverpoole the Mayor
Corporation and all the Potters will joyne in a petition for me
to parliament & they will give Mr. Stringfellow a handsome some
of money to build them kilns. I go to London this day and shall
call in my way at Worster to see the fine new China Manufactory.”
To Delamain, doubtless, belonged the credit of introducing the use of
coal in the manufacture of earthenware, and he deserved the recognition
he sought, but did not succeed in obtaining, for his invention from the
English Parliament. In 1755 Capt. Delamain received from the Dublin
Society a grant or “bounty” of £1,100, which he expended in furthering
his manufacture.
Capt. Delamain died on the 10th of January, 1757, and his death is
thus curiously recorded in the _Belfast News Letter_ of that period.
“Dublin, January 15th:” “Monday last, died, universally lamented by
all true lovers of their country, Captain Henry Delamain, formerly
in the Duke of Saxe-Gotha’s service, Master of the Irish Delft Ware
Manufactory, who, by the expense of a large fortune and unwearied
application, brought that ware to such perfection as totally to prevent
the enemies of our country, the French, from draining large sums
yearly from this country for Burgundy and Roan ware. Mary Delamain,
his widow, carries on said manufactory and hopes for the continuance
of the friendship of the nobility, gentry, and whole kingdom.” On the
9th of November, 1759, Mrs. Delamain, his widow, petitioned the Irish
House of Commons for further assistance to enable her to carry on and
extend the business, but nothing seems to have been done for her. Mrs.
Delamain, who survived her husband three years, died in March, 1760,
her death being recorded in the Dublin _Public Gazetteer_ of that date:
“Tuesday last died Mrs. Mary Delamain, widow of the late Captain Henry
Delamain, who was the first that brought the earthenware manufacture
to perfection in this kingdom; and since his decease his said widow
(endowed with all the virtues of a good Christian, tender parent, and
sincere friend,) continued it with such advantage to the purchasers as
to prevent the further importation of foreign wares,” &c. In 1763 the
executors of Mrs. Delamain petitioned the Irish House of Commons for a
further grant. The petition contains many interesting particulars, and
is as follows:--
“A.D. 1761. 6th November. Geo. III.
“A Petition of SAMUEL WILKINSON and _William Delamain_,
Esq^{res}. Executors of Mary Delamain, late of the City of
Dublin, Earthen-Ware Manufacturer, was presented to the House
and read, Setting forth, That the late Henry Delamain erected a
Manufactory for Making of Earthen-Ware in which he discovered
the Art of burning with Coal instead of Wood, and brought it to
such Perfection as not only to excel any thing of the kind ever
attempted in this Kingdom before, but to equal the best Foreign
Ware imported: in which he expended his entire Fortune to the
amount of £6,000, and upwards, as appeared to a Committee of the
late Parliament who were appointed to take his Petition into
consideration.
“That in the Session 1753, the House of Commons did grant him
£1,000 as an encouragement for carrying on said Manufacture,
and the Dublin Society upon Inspection had, and Satisfaction
received of his having expended said Bounty in the Improvement
of said Manufacture, did in the year 1755 confer a further
Bounty on him of £1,100, which sum was also expended with the
best Economy, in improving said Manufacture. That on the Decease
of said HENRY DELAMAIN, his late WIDOW, MARY DELAMAIN, carried
on said Manufacture with Great Success, and declined troubling
Parliament in Session 1757, assured that the Manufacture would
support itself: but finding that the export of the Ware to
Foreign Markets was prevented by the continuance of the War,
she, the said MARY, Petitioned in the Session of 1759, praying
the further Sanction of Parliament, and Proved the Allegations
of her Petition; but in that Session no money was granted to
Private Petitions.
“That the Petitioners, since the Decease of said MARY DELAMAIN,
have carried on the same Manufacture, for the advantage of
the orphans of the said HENRY and MARY, in particular, and of
the Nation in General, with so much success as to prevent the
Import of Foreign Ware, which Annually carried out of this
Country above £10,000 to France, and have supplied Dealers in
every principal Seaport of this Kingdom. That Petitioners by
commencing on a Small Stock are disabled of purchasing Coal and
other Materials in the proper Season requisite for carrying
on the Work, and lowering the price of the Ware, or employing
between 2 and 300 of the poor Natives which the Apparatus is
equal to; and on a Peace, of exporting to Foreign Markets about
£20,000 worth every year, over and above the Home Consumption;
and therefore praying the House to take their Case into
Consideration, and to grant such assistance and relief as shall
seem meet.
“_Referred to a Committee._”[69]
A similar petition appears to have been presented by the same parties
on 9th Nov., 1763, and was referred to a Committee, but no votes in
either case seem to have been taken.
DUBLIN.
_Donovan._--Whether Mr. Donovan, of Poolbeg Street, on the Quay,
Dublin, was a manufacturer or not is uncertain, but I believe not. He
purchased both English and Continental wares in the white and decorated
them in his own place. He amassed a large fortune and purchased estates
in Sussex. In his business he was usually known in Dublin as “The
Emperor of China.” “About 1790 he had a glass manufactory at Ringsend,
near Dublin, and he employed a painter to decorate pottery, and placed
all sorts of fancy and imitation marks on china and earthenware.” His
name sometimes occurs as DONOVAN only, and at others as
_Donovan_ or DONOVAN
_Dublin_ DUBLIN.
[Illustration: _Dublin._
Fig. 722.]
A mark on Delft ware which has come under my notice is a crowned harp
with the word Dublin. It is quite uncertain to whose make this is to be
ascribed.
Two or three brownware manufactories also existed during last century
at Dublin, and produced all the usual commoner kinds of coarse domestic
vessels.
BELFAST.
_Leathes and Smith._--A pottery was established here in the middle
of the seventeenth century by Captain Leathes and Mr. Smith. It is thus
alluded to by William Sacheverell, some time Governor of the Isle of
Man (a descendant of the Sacheverells of Morley, in Derbyshire), who in
1688 made a voyage to I-Columb-Kill, which he printed in his “Survey
of the Isle of Man.” He left Liverpool on the 23rd of June, 1688, on
his way to I-Columb-Kill, and as “it blew very hard for a whole week”
he “took the opportunity of visiting Carrick Fergus and Bellfast,” and
stayed in the latter two nights, being thither invited by “the Earl of
Dunagall, whither he was going with the Earl of Orrery and the Lord
Dungannon.” “Bellfast,” he says, “is the second town in Ireland, well
built, full of people, and of great trade. The quantities of butter
and of beef which it sends into foreign parts are almost incredible; I
have seen the barrels piled up in the very streets. The new pottery is
a pretty curiosity, set up by Mr. Smith, the present sovereign, and his
predecessor, Captain Leathes, a man of great ingenuity;” and, again,
“Captain Leathes, who was chief magistrate of Belfast, and reputed a
man of great integrity.” The pottery is also spoken of at a later date,
1708, by Dr. Molyneux, in his MS. tour to the Giant’s Causeway. “Here,”
at Belfast, he says, “we saw a very good manufacture of earthenware,
which comes nearest to delft of any made in Ireland, and really is not
much short of it. It is very clear and pretty, and universally used in
the north; and, I think, not so much owing to any peculiar happiness in
the clay, but rather to the manner of beating and mixing it up.” The
works were continued for very many years, and produced much useful ware
of good quality.
[Illustration:
M
H * R
_1724_]
The curious example of Belfast pottery engraved on Fig. 723 is highly
interesting as bearing the name of Belfast and the date 1724. It is
a “choppine,” or lady’s high-heeled shoe, and is in Delft ware. It
is six inches in length and the heel is two inches in height, and is
decorated in blue and white, the flowers and foliage being blue on a
white and white on a blue ground. On the sole are the initials M H R, M
being the surname and H and R the Christian names of husband and wife,
with the name and date in writing “Belfast, 1724,” as shown on the
engraving. These are painted under the glaze in blue. For the notice of
this interesting example, in the possession of a lady in Belfast, to
whose grandmother it formerly belonged, I am indebted to Mr. Benn, the
historian of that town.
[Illustration: Fig. 723.]
* * * * *
_Coates’ Pottery._--On an old map of Belfast, published in 1791, a
building marked as “Coates’ Pottery” occurs. This, it is recorded by
Mr. Pinkerton, was “set up by Mr. Victor Coates, at Lagan village, long
before he established the well-known foundry at the same place. Red
ware and a coarse kind of delft were made.”
* * * * *
_China Works._--On the same map of Belfast, engraved in 1791, just
referred to, occurs a building marked “China Manufactory,” close by
“Coates’ Pottery,” “The partners in this Belfast china manufactory,”
says Mr. Pinkerton, “were Thomas Gregg, Samuel Stephenson, and John
Ashmore. That they carried on the manufacture of china there for some
years is certain; for on January 29, 1793, the Earl of Hillsborough
presented a petition from them to the Irish House of Commons. The
original petition may be seen in the Journals of the House. In it the
petitioners state that, recognising the great advantages arising from
a manufacture of Queen’s Ware, and other fine kinds of ware such as
are made in Staffordshire, they united themselves into a company for
producing such wares in Ireland, and by their exertions had carried
this manufacture to a greater perfection in the County of Down, near
Belfast, than was ever known in this kingdom; that they had been at
great expenses in erecting buildings, and importing machinery, and
in bringing workmen from foreign places; that the difference in the
prices of coal between Belfast and Staffordshire had greatly exceeded
their expectations, and they now prayed for pecuniary aid. A committee,
consisting of the Earl of Hillsborough, Mr. Johnson, and others, was
immediately appointed by the House to report on the petition; and on
the 2nd of February they reported that the petitioners had fully proved
their allegations. The report was then ordered to be laid on the table;
but it does not appear that anything was done further in the matter.
FLORENCE COURT, COUNTY FERMANAGH.
There is a manufactory at this place where common red ware is made.
The products are chiefly flower-pots and the coarser kinds of domestic
vessels.
COAL ISLAND, DUNGANNON.
At this manufactory only the coarser kinds of fire-clay and terra-cotta
goods--chimney-pots, flower-pots, vases, &c., are produced.
YOUGHAL.
There was a manufactory of brown ware, for pitchers and common goods,
at this place. It was of old foundation.
LARNE.
_Larne Pottery._--Pottery works were, I am informed by Mr. Patterson,
built close to the small sea-port of Larne, county of Antrim, by James
Agnew, Esq., the proprietor of the estate, and were worked under the
management of his agent, Mr. Walker, from about 1850 to 1855, and
afterwards for two or three years by the Greenock Pottery Company,
since which time the works have been closed. The buildings still
remain, but lie vacant. The goods produced were white and printed
earthenware, cane ware, Rockingham tea-pots, and brown pans, crocks,
and dairy and kitchen utensils of various kinds. Some of the latter
named were made from local clays, and were very good of their kind.
Their rubbish heaps are on the borders of Larne Lough, and the beach
is strewed with fragments of pottery, the little triangular supports,
saggars, &c.
CASTLE ESPIE POTTERY.
At Castle Espie, near Comber, county of Down, Mr. Samuel Minland, J.P.,
some years ago, I am informed by Mr. Patterson, established brick and
tile works. Common pottery is now manufactured there from the local red
clay. The brown glazed ware consists of dairy vessels, tea-pots, flower
vases, and other plain household articles.
[Illustration: Figs. 724 and 725.]
Captain Beauclerc, at the exhibition of 1851, exhibited two terra-cotta
vases, his own modelling, made in Ireland, of Irish material. They were
engraved in the “Art Journal Illustrated Catalogue,” page 257, and are
here reproduced, Figs. 724 and 725. The productions were in two tints;
the body of each vase being of a deep red, and the figures of a lighter
and much yellower clay.
BELLEEK.
The village of Belleek, county Fermanagh, Ireland, is situated on the
banks of the river Erne, near the borders of Donegal and Fermanagh
and on the outskirts of the Donegal highlands. It has a station on the
Enniskillen and Bundoran line; which line communicates with Dublin,
Belfast, and the various other lines of the kingdom. Belleek is within
three miles of Ballyshannon; six of Bundoran; four of Lough Melvin,
renowned for its salmon and trout fishery, and especially famous
for the _Gillaroo_ trout. It is also within short distances of
Pettigo, Garrison, Devenish Island, with its monastic ruins and a
perfect round tower, the beautiful park and grounds of Castle Caldwell,
and many other objects of attraction.
[Illustration: Fig. 726.--The Belleek China Works.]
The manufactory, a view of which is given on Fig. 726, stands on a
small island in a bend of the river Erne. Near the bridge is a large
water-wheel, over 100-horse power, which gives motion to grinding-pans,
lathes, turning-plates, and all the varied and skilfully designed
apparatus of the works. “In the interior, the factory bears all the
appearance of business and bustle. Enormous grinding-pans, in which the
raw material is prepared for the hands of the artisan, rumble and roar,
driven by the irresistible and constant power of the large water-wheel;
the furnaces of the great ovens, in which the moulded clay is baked,
roar by the draught caused by their great height; while in the
workshops the lathes and turning plates whiz noiselessly round, as the
soft, putty-like clay is being deftly moulded by the skilled workman
into many beautiful designs.”
The works at Belleek were established in 1863 by the present
proprietors, Messrs. David McBirney and Robert Williams Armstrong.
Before the establishment of the works, trials were made with the
felspar of the Irish locality with ordinary Cornish china clay, at the
Royal Porcelain Works at Worcester. The results were so satisfactory
that Mr. Armstrong, who at that time was architect to the proprietor,
laid the project for forming a manufactory at Belleek before his
friend, Mr. David McBirney of Dublin, a gentleman well known for his
energy in aiding any movement to advance the prosperity of Ireland,
and he embarked with him in the attempt to produce first-class ceramic
goods in Ireland. The firm, composed of these two gentlemen, trade
under the style of “D. MCBIRNEY & CO.” There are now employed
at the Works about two hundred “hands,” among whom are several skilled
artists; the Art director being the founder and proprietor, Mr.
Armstrong.
The chief peculiarities of the ornamental goods produced at Belleek
are, its lightness of body, its rich, delicate, cream-like, or
ivory tint, and the glittering iridescence of its glaze. “Although
the principal productions hitherto have been formed of this white
ware--which either resembles the finest biscuit (of Buen Retiro or
Dresden), or almost the ivory of the hippopotamus, or shines with a
lustre like that of nacre--local clays have been found which yield
jet, red, and cane-coloured wares. Facsimiles of sea shells, and
of branches of coral, which might well be supposed to be natural,
are among the principal features. The iridescent effect produced is
somewhat similar to that of the ruby lustre of the famous Gubbio
Majolica; that Italian enamelled ware which commands such fabulous
prices, and of which an unrivalled collection is to be seen at the
South Kensington Museum. Lustres were introduced many years ago for
English pottery by Hancock, by Gardner, and by Stennys; and in the
booths of our country fairs, rude inartistic forms, glowing with a gold
or a silver lustre, are often to be seen. The effect of a good lustre
may be compared to that of “shot silk,” or to the changing hues that
adorn the neck of a black or dark blue pigeon, or the crested pride
of a drake. Oil of turpentine, flour of sulphur, gold solution, and
tin solution, constitute the gold glaze, the purple hue being due to
the tin. Platinum, and spirits of tar enter, with oxide of zinc, into
the composition of the silver lustre. But neither of these glazes, any
more than the Italian enamel of which the secret was lost so long ago
as the sixteenth century, can compare with the beauty of the Belleek
ware, an idea of which can only be given by recalling the beautiful
hues of a highly-polished mother-of-pearl shell. We can convey no
idea of it by engravings; and it seems equally difficult to do so by
written description. We may apply to it the common-place expression:
‘It must be seen to be admired;’ and certainly it must be examined to
be estimated. We can, however, with some degree of accuracy, represent
some of the forms produced by this manufactory.”[70] Fig. 727 is the
grounds-basin of a tea-service, made for the Queen (Her Majesty being
one of the early patrons of the Belleek Pottery), and presented by
her to the present Empress of Germany. The basis of the design is the
_echinus_ or sea-urchin, which abounds on the coast of Donegal,
and has, both the native and rarer foreign species, been utilised by
the firm in many of their productions. In this instance it forms the
bowl, and the supports are branches of coral.
[Illustration: Fig 727.--Grounds-Basin: for the Queen’s Service.]
[Illustration: Fig. 728.]
[Illustration: Figs. 729 to 731.]
Besides the “Royal” services--breakfast, dessert, and tea--made
for her Majesty, other services have been made for H.R.H. the Prince
of Wales, and others of the royal family. From the Prince of Wales’s
services the engravings, Figs. 732 to 735 are selected.
[Illustration: Fig. 732.--Ice-Pail: for the Prince of Wales.]
Fig. 732 is the ice-pail. The base is formed of three exquisitely
modelled mermaids, in Parian, who support the shell-formed base of
the vase, around which a group of Tritons and dolphins in high relief
are sporting in the water, with an effective background of aquatic
plants. A wreath of coral surrounds the rim. The effect of the charming
contrast between the dead and the iridescent surfaces is heightened by
gilding the conches of the revellers. The cover or lid is as it were
the boiling surging sea, from which three sea-horses have partially
risen, and in the centre a Triton, riding on a dolphin, forms the
handle.
[Illustration: Fig. 733.--Compotier: for the Prince of Wales.]
Fig. 733 is a compotier, whose base represents the surface of the
sea, upon which float three _cardium_ shells. From between these
spring up three small sea-horses, not, indeed, the _hippocampi_ of the
naturalist, but those of the mythologist, the figures which, in antique
gems and in Italian paintings, are intended to serve as the artistic
embodiment of the roll and the dash of the breaker. A trumpet-shell
forms the central column, which, in its turn, supports the shell that
serves as a fruit-dish.
The tall centre-piece (Fig. 734) is designed on a more ambitious
scale. A triton or merman is blowing a conch; a mermaid is wringing
and dressing her redundant locks; and a sea-horse dashes through
the spray. Between these figures, which thus divide the base
into three compartments, are placed three shells of the species
_hippopus maculata_, which form convenient receptacles for bonbons,
candied fruit, or other smaller delicacies of the dessert-table.
A trumpet-shell is again selected to form the main stem, which is
surrounded with aquatic plants; and three _paludina_ shells are so
introduced as to form suitable vases for sprays of flowers. The
shell-dish, with its beautiful markings and projections, again forms
the cap of the tazza.
[Illustration: Fig. 734.--Centre-piece: for the Prince of Wales.]
The low compotier (Fig. 735) are modelled _en suite_; the idea of
the entire service being that of the combination of natural objects,
selected for their appropriate shape, and for their beauty of form or
of sculpture, with imaginary forms. The shells which are modelled for
the dishes are supported by conventional dolphins.
The tazza vase and pedestal (Fig. 736), on which hangs a wreath of
flowers, dependent from rams’ heads, is a fine specimen of Irish art.
Our next engraving (Fig. 737) is a flower-stand composed of shells
supported by dolphins, and is so iridescent as to have almost an
unearthly appearance of liquid beauty.
[Illustration: Fig. 735.--Low Compotier: for the Prince of Wales.]
“The reproduction of natural forms by Ceramic Art,” says the _Art
Journal_, “is not by any means a novelty. We are familiar with the
fish, the reptiles, and the crustacea of Bernard Palissy, with the
relieved and coloured foliage of Luca and of Andrea della Robbia.
In England we have seen the shells reproduced by the artists of the
Plymouth china, and the delicate leaves and flowers of the old Derby
ware. The designer of much of the Belleek ware has the merit, so far
as we are aware, of being the first artist who has had recourse to
the large sub-kingdom of the _radiata_ for his types. The animals
that constitute this vast natural group are, for the most part,
characterized by a star-shaped or wheel-shaped symmetry; and present
a nearer approach to the verticillate structure of plants, than to
the bilateral balance of free locomotive animals. For, at all events
a portion of their existence, indeed, most of the _radiata_ are fixed
to the earth. The five-fold radiation, which is most common among
dicotyledonous plants, is the usual division assumed by these zoophytic
creatures. From the globular shape of the commonest _echinus_, or
sea-urchin, through the flattened and depressed form of others of
the family, the transition is regular and gradual, to the well-known
five-fingered star-fish, and to those wonderfully branched and foliated
forms which shatter themselves into a thousand fragments when they are
brought up by the dredge from deep water and exposed for a moment to
the air. Under the name of _frutti di mare_, these sea-eggs, covered
as they are with innumerable pink and white spines, form a favourite
portion of the diet of the southern Italians. When the spines, by
which the creature moves, are stripped off, the projections and
depressions of the _testa_, or shell, are often marked by great beauty
of pattern; and it would have been hardly possible to bring into the
service of plastic art a more appropriate group of natural models.
Again, in the fantastic and graceful forms of the mermaid, the nereid,
the dolphin, and the sea-horse, the Belleek art-designer has attained
great excellence of ideality; the graceful modelling is set off, with
the happiest effect, by the contrast between the dead, Parian-like
surface of the unglazed china, and the sparkling iridescence of the
ivory-glazed ground.”
[Illustration: Fig. 736.--Flower Tazza and Pedestal.]
The productions of the Belleek works comprise all the usual
services--dinner, breakfast, tea, dessert, and toilet--in large variety
of patterns and of various styles of decoration, and in addition to
these a vast variety of ornamental goods are produced. Figures and
groups of figures, animals, &c., are also made, and are characterized
by excellent modelling and judicious colouring--the peculiar Belleek
glaze imparting to them a beauty all their own. Boudoir candlesticks
and other choice examples of art also evidence considerable skill on
the part of the artists in the modelling of the flowers and foliage and
in the arrangement of the wreaths.
Among the choicest examples of actual manipulative skill produced by
any manufactory are some cabinet cups and saucers, the extreme delicacy
of which far surpasses the ordinary “egg-shell” china. The cup itself
is the _echinus_, and the saucer is also tastefully modelled from
the same; the body is so thin, and worked to such a degree of nicety,
as to be of little more than the thickness of common writing paper.
This delicate body, either plain, or tinted and gilt and then glazed
with the iridescent glaze so characteristic of the Belleek ware, is
unique in its appearance and matchless in its extreme delicacy. Of the
same filmy body _cardium_ and other shells are also produced, and
are exquisitely tinted.
[Illustration: Fig. 737.--Boudoir Flower Shells.]
Besides the speciality of these works (the “Belleek China”) Messrs.
McBirney and Armstrong manufacture to a large extent white granite
ware services of every variety, and of excellent quality both in body,
in glaze, and in printed, painted, enamelled, and gilt decorations.
Many of the patterns are of more than average excellence, and in every
respect the Irish earthenware equals the ordinary commercial classes of
Staffordshire wares. The dinner-ware is especially serviceable, being
a true felspathic body, semi-vitrified, and hence ranking next to the
true porcelain; smooth and admirably potted. The simple ornamentation
to which it has been subjected is pure in style and Art, while the
article competes as to price with inferior ware in the markets of
England and America. Indeed the trade with America is already large,
and is regularly increasing.
Parian and ordinary white china, as well as ivory body, are also
largely made in a vast variety of styles.
Not only in these home essentials is its place established; Belleek
furnishes largely the “porcelain insulators” (containing 70 per cent.
local felspar) used for telegraph poles, and these have been pronounced
by “authorities” the best. In pestles and mortars the factory has
considerable trade, and of the minor articles of patch-boxes, &c.,
there is enormous produce. For supremacy in these objects it is
indebted to the purity of the clay and felspar, producing a clear
brilliant white, and singular “compactness,” resulting in remarkable
hardness and durability. In sanitary ware, cabinet-stands, plug-basins,
and other articles, form a staple part of the trade of these works.
The marks used by the Belleek Company are the following:
[Illustration: BELLEEK CO. FERMANAGH.
Figs. 738 and 739.]