The Project Gutenberg EBook of Chats on Old Earthenware, by Arthur Hayden This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you'll have to check the laws of the country where you are located before using this ebook. Title: Chats on Old Earthenware Author: Arthur Hayden Release Date: January 5, 2015 [EBook #47870] Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK CHATS ON OLD EARTHENWARE *** Produced by Chris Curnow, Chris Jordan and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive) VICAR & MOSES. Modelled by RALPH WOOD. About 1750. Marked R. WOOD, BURSLEM. At British Museum. CHATS ON OLD EARTHENWARE BY ARTHUR HAYDEN AUTHOR OF "CHATS ON OLD CHINA," "CHATS ON OLD PRINTS," ETC. WITH A COLOURED FRONTISPIECE AND 150 ILLUSTRATIONS, AND TABLES OF OVER 200 ILLUSTRATED MARKS NEW YORK FREDERICK A. STOKES COMPANY PUBLISHERS 1909 (All rights reserved.) TO MY OLD FRIEND WALTER EASSIE WHOSE FINE ENTHUSIASM HAS BEEN A STIMULANT, AND WHOSE EVER-READY HELP HAS ADDED MANY ARTISTIC TOUCHES TO THIS VOLUME. PREFACE Five years have now elapsed since the publication of my volume, "Chats on English China," and in the interval a great number of readers have written to me suggesting that I should write a companion volume dealing with old English earthenware. It is my hope that this complementary volume will prove of equal value to that large class of collectors who desire to know more about their hobby but are fearful to pursue the subject further without special guidance. It is a matter for congratulation in these days, when so many books have only a short life for one season, to know that, owing to the enterprise of my publisher in making the "Chats" Series for collectors so widely known, the volume dealing with old English China still retains its vitality, and holds its place as a popular guide to collecting with profit. As far as is possible in the limits of this volume, the subject of old English earthenware has been dealt with in order to show how peculiarly national the productions of the potter have been. The collection of old English earthenware, in the main, is still within the reach of those who have slender purses. English china during the last decade has reached prohibitive prices, and there is every likelihood that old English earthenware will in the near future become of unprecedented value. I have carefully refrained from confining my treatment of the subject to rare museum examples which are unlikely to come under the hand of the average collector. It is necessary to have the ideal in view, but it must be borne in mind that such specimens must always be ideal to the larger number of collectors. I have, therefore, without belittling the old potters' art, given considerable attention to the golden mean in the realm of old earthenware to be collected. The two volumes—"Chats on English China," which mainly consists of an outline history of English china, with hints as to its collection, and the present volume, "Chats on English Earthenware," with a faithful résumé of the work of the old English potters—together form a record of what has been done by the potter in England, and are intended to be practical working handbooks for the collector of old English china and English earthenware. The illustrations in this volume have been carefully chosen to illustrate the letterpress, and to enable readers to identify specimens that may come under their observation. Lists of Prices accompany the various sections whenever it has been thought that they may be of practical value. I am indebted for the accuracy of these prices to that useful and authoritative quarterly publication, "Auction Sale Prices," which is a supplement to the Connoisseur, and forms the standard record in the collectors' world of the prices realised at auction. A Bibliography of works on the subject has been given, in order that those who may wish to delve deeper may consult special volumes dealing in detail with special sub-heads of old earthenware. I must here record my thanks for the generous aid I have received from possessors of fine examples who have willingly placed their treasures at my disposal, and by so doing have enabled me to present them as illustrations in this volume. To Colonel and Mrs. Dickson I am especially indebted for many specimens from their interesting collection. Miss Feilden has been good enough to select some typical examples from her fine collection of old earthenware of exceptional interest, and they are here reproduced by her courtesy, and to Mr. Richard Wilson I owe my gratitude for kindly allowing illustrations of some examples of Leeds cream-ware from his remarkable collection. Mr. Robert Bruce Wallis, with fine enthusiasm, has spared no trouble to enable me to present some of his rare examples, and Mrs. Herman Liebstein has kindly supplied some fine pieces from her collection. Mr. W. G. Honey has also kindly contributed several excellent illustrations of specimens in his collection. The illustrations of specimens in the Victoria and Albert Museum are reproduced by permission of the Board of Education, and similar permission has been accorded me by the authorities of the British Museum to illustrate some of the rare examples in that collection. By a like courtesy I am enabled to give an illustration of an exceptional piece of marked Wincanton Delft, and some other examples from the collection at the Royal Scottish Museum, Edinburgh. Messrs. Josiah Wedgwood and Sons, of Etruria have afforded me the pleasure of illustrating some fine specimens in their museum, including examples of the celebrated service made for the Empress Catherine II. of Russia. I am especially indebted to their courtesy in giving me facilities for the reproduction of a fine series of photographs showing the various stages in the manufacture of earthenware, which illustrations should be of practical advantage to the student and of no little interest to the general collector. It should be mentioned that these illustrations have been specially selected to represent the stages through which a piece of old earthenware passed in the hands of the Staffordshire potters. In regard to the illustrations of the rare examples of Leeds and other pieces decorated at Lowestoft, and for the latest details known of this class of ware, I have to acknowledge the particular kindness of Mr. Merrington Smith, fine art expert of Lowestoft, who is known in connection with the excavations conducted a few years ago on the site of the old Lowestoft china factory, and whose detailed research regarding that factory has dissipated many erroneous theories and thrown so much light on its history and achievements. To Mr. Rudd, fine art dealer of Southampton, I am indebted for a considerable fund of information relating to some of the exceptional examples of old English earthenware which have passed through his hands, and I am under a similar obligation to Mr. S. G. Fenton, who has contributed some fine pieces as illustrations to this volume. Mr. James Davies, of Chester, has given me access to his collection, and has added some fine examples which are here [9] [10] [11] [12] [13] included as illustrations. Mr. F. W. Phillips, of Hitchin, has from his fine collection made a generous selection of noteworthy specimens. Mr. A. Duncan, of Penarth, has included photographs of some especially fine Swansea ware. By the kindness of Mr. Hubert Gould, I am reproducing some typical examples of transfer-printed jugs from his collection of old earthenware. To other friends who have generously forborne with my inquiries, and lent me their practical aid in various directions in assisting me to prosecute my researches in attempting to arrive at definite conclusions in regard to points not hitherto determined, I tender my warm appreciation of their kindness. I may say, in conclusion, that a good photographer is a treasure, and no trouble has been spared by Mr. A. E. Smith, the well-known art photographer, to render difficult subjects pictorially attractive in conditions exceptionally detrimental to his art. ARTHUR HAYDEN. March, 1909. CONTENTS PAGE PREFACE 9 LIST OF ILLUSTRATIONS 17 BIBLIOGRAPHY 23 GLOSSARY OF TERMS USED 27 CHAPTER I. HOW TO COLLECT: A CHAPTER FOR BEGINNERS 33 II. EARLY WARE 83 III. ENGLISH DELFT 101 IV. STONEWARE 133 V. EARLY STAFFORDSHIRE WARE—THOMAS WHIELDON; HIS CONTEMPORARIES AND SUCCESSORS 159 VI. SALT-GLAZED WARE, STAFFORDSHIRE 195 VII. JOSIAH WEDGWOOD 221 VIII. THE SCHOOL OF WEDGWOOD 257 IX. LEEDS AND OTHER FACTORIES 287 X. TRANSFER-PRINTED WARE 317 XI. STAFFORDSHIRE FIGURES 353 XII. SWANSEA AND OTHER FACTORIES 395 XIII. LUSTRE WARE 423 XIV. LATE STAFFORDSHIRE WARE 443 INDEX 485 [15] [16] LIST OF ILLUSTRATIONS Frontispiece. Staffordshire Group, Vicar and Moses. Modelled by Ralph Wood about 1750. Marked R. Wood, Burslem. At British Museum. PAGE Chapter I.—How to Collect. Exterior of Works, Etruria 37 A Corner of Old Etruria Works 41 Mill for Grinding Raw Materials 45 The Thrower (showing the Potter's Wheel) 49 The Oven 53 The Dipping House 57 The Enamel Kiln 61 Chapter II.—Early Ware. Mediæval Tiles 85 Toft Dish, dated 1671; Posset Pot, dated 1685 89 Earthenware Jug (late 17th century) 93 Chapter III.—English Delft. Lambeth Delft Jar (with Arms of Apothecaries' Company) 103 Lambeth Delft "Sack" Bottle, dated 1652 107 Bristol Delft Plate, representing Balloon Ascent 107 Lambeth Delft Candlestick, dated 1648 111 Old Dutch Brass Candlestick 111 Bristol Delft Plate and Bowl 115 Bristol Delft Dish, dated 1740 119 Title-page and Illustration, from volume dated 1638 123 Wincanton Delft Dish 127 Chapter IV.—Stoneware. Stoneware Jugs, Bellarmine and other forms 135 Dwight Bust of James II., and Figures of Children Reading 139 Elers Coffee Pot, Mug, and Teapot 143 Astbury Teapots 149 Fulham Stoneware Mug (dated 1725) and Jug 153 Chapter V.—Early Staffordshire Ware. Whieldon Ware Cauliflower Teapot 161 Tortoiseshell Ware Plate 161 Tortoiseshell Ware Teapot and Bowl and Cover 167 Group of Astbury Ware 171 Agate Cat and Salt-glazed Bear Jug 171 Whieldon Tortoiseshell Animals 175 Whieldon Group. St. George and the Dragon 175 Whieldon Toby Jugs 179 Groups of Early Staffordshire Jugs 183 [17] [18] Early Staffordshire Jugs 189 Chapter VI.—Salt-glazed Ware, Staffordshire. Salt-glazed Teapots. Heart-shaped (Lovers') and Camel 197 Group of Salt-glazed Ware 201 Salt-glazed Teapot enamelled in colours 205 Salt-glazed Vase and Punch Bowl enamelled in colours 209 Salt-glazed Jug enamelled in colours 213 Chapter VII.—Josiah Wedgwood. Cream Ware Dessert Basket and Centre-piece 225 Catherine II. of Russia Service—Cream Ware Plates 233 Busts of Rousseau and Voltaire 233 Black Basalt Teapot and Jasper Ware Tea Set 241 Jasper Vase—"The Apotheosis of Virgil" 245 Chapter VIII.—The School of Wedgwood. Turner Jasper Vase—"Diana in her Chariot" 261 Adams Blue and White Jasper Vase 261 Turner Stoneware Teapot and Jug 267 Black Basalt Teapots by Birch and by E. Mayer 271 Stoneware Jugs by Spode and by Davenport 277 Black Basalt Teapot (early 19th century) 277 Chapter IX.—Leeds and Other Factories. Leeds Cream Ware Centre-pieces 291 Leeds Cream Ware Group. Basket, Candlesticks, &c. 295 Mug and Jug. Leeds Cream Ware, decorated at Lowestoft 299 Leeds Cream Ware Plate and Mug 303 Staffordshire Jug, decorated at Lowestoft 303 Rockingham Teapot 307 Castleford Jug—Black Basalt 307 Chapter X.—Transfer-printed Ware. Salt-glazed Plate—"Hercules and the Waggoner" 319 Transfer-printed Jug—"Diana in her Chariot" 319 Transfer-printed Jugs—"Duke of York" and "Success to Trade" 323 Group of Chinese Blue and White Porcelain Plates 327 Spode Under-glaze Blue-printed Plate and Jug 331 Turner Dish with Blue-printed "Willow pattern" 331 Spode Blue-printed Ware, "Tower" pattern 335 Blue-printed Dishes by Rogers and Adams 341 Blue-printed Dishes—one with Claude landscape 345 Chapter XI.—Staffordshire Figures. Salt-glaze Figure and Figure of Cock marked R. Wood 351 Diana and Group, Birth of Venus 355 Group of Staffordshire Figures (Neale & Co.) 355 [19] [20] Eloquence, or St. Paul Preaching at Athens 359 Group Bacchus and Ariadne, and Figures of Venus and Adonis 363 Busts of Bonaparte and Alexander of Russia 367 Figures of Falstaff 371 Staffordshire Figure decorated by Absalon, Yarmouth 375 Staffordshire Figures of Musicians (various) 379 Group of Toby Jugs 383 Cupid and Figures of Flower Boys 387 Figures of Fishwife and Mother Goose 391 Chapter XII.—Swansea and Other Factories. Swansea Plates and Swansea Bulb-pots 397 Cambrian Vase, painted by Pardoe 401 Swansea Jug, painted by Evans 401 Swansea Transfer-printed Ware, Group of 405 Dillwyn's Etruscan Ware, Vase and Tazza 405 Portland Vase in Red Ware (Isleworth) 409 Liverpool Plate and Finely Painted Mug 409 Brown Stoneware Jugs (Isleworth) 413 Chapter XIII.—Lustre Ware. Lustre Goblets and Gold Lustre Mugs 425 Silver Lustre Figures by Wood and Caldwell 431 Silver Lustre Jugs 431 Copper Lustre Mug and Group of Copper Lustre Ware 437 Chapter XIV.—Late Staffordshire Ware. Dessert Plates and Dessert Dish (Mason's Patent Ironstone China) 447 Granite China Vase, marked C J M & Co. 451 Transfer-printed Plates (C. Meigh & Son) 455 Set of Staffordshire Earthenware Vases, richly decorated 455 Group of Nelson Jugs 459 Transfer-printed Plate in Colours, subject—Steam Carriage 463 Old Print, New Steam Coach, dated 1827 463 Transfer-printed Jug, representing Stephenson's Rocket 467 Cyder Mug, Transfer-printed, representing Railway Train 467 Doulton Stoneware Jug, with Bacchanalian subject 471 [21] BIBLIOGRAPHY GENERAL. Catalogue of British Pottery and Porcelain. By T. Reeks and F. W. Rudler. 1876. (Out of print.) (Formerly in the Museum of Practical Geology, Jermyn Street.) Marks and Monograms on Pottery and Porcelain. By W. Chaffers. 12th Edition. 1908. Ceramic Art of Great Britain. By Llewellyn Jewitt. 2 vols. 1878. 2nd Edition. 1 vol. 1883. English Earthenware (made during the 17th and 18th centuries). By Professor A. H. Church, F. R. S. 1905. History of Pottery and Porcelain. By J. Marryat. 1857. History of English Earthenware and Stoneware (to the beginning of the 19th century). By William Burton, F. C. S. (Cassell & Co.) 1904. Catalogue of British Pottery, &c., at the British Museum. By R. L. Hobson. 1903. Art of the Old English Potter. By M. L. Solon. Folio. 2nd Edition. 1885. Old English Pottery. By Mr. and Mrs. Frank Freeth. (Morgan, Thompson, & Jamison.) £2 12s. 6d. net. Catalogue of Pottery and Porcelain. (Willett Collection, at Brighton Museum.) 1905. Pottery and Porcelain. A Guide to Collectors. F. Litchfield. 1900. English Pottery and Porcelain. By E. A. Downman. 1896. History of the Staffordshire Potteries. By S. Shaw. (Hanley.) 1829. Reissue by the Pottery Gazette. 1900. The Chemistry of Pottery. By S. Shaw. (London.) 1837. Reissue by the Pottery Gazette. 1900. Catalogue of English Pottery and Porcelain. (Alexandra Palace.) By R. H. Soden Smith. Destroyed by fire. 1873. Transfer Printing on Enamels, Porcelain, and Pottery. By William Turner. 1907. Examples of Early English Pottery. By J. E. Hodgkin and E. Hodgkin. 1891. Staffordshire Pots and Potters. By G. W. Rhead and F. A. Rhead. 1906. Catalogue of a Collection of English Pottery Figures deposited on loan by Messrs. Frank Falkner and E. J. Sidebotham at the Royal Museum, Peel Park, Salford. (Manchester.) 1906. Chats on English China. By Arthur Hayden. (T. Fisher Unwin.) 4th Edition. 1909. (The concluding chapters contain an outline history of English Earthenware.) PARTICULAR. Staffordshire. Pre-Wedgwood English Pottery. (Solon Collection.) Connoisseur, December, 1901; February, 1902. William Adams, an old English Potter. Edited by W. Turner. 1904. Josiah Wedgwood. By Miss E. Meteyard. 2 vols. 1865–6. Wedgwood and his Works. By Miss E. Meteyard. 1873. Memorials of Wedgwood. By Miss E. Meteyard. 1874. The Wedgwood Handbook. By Miss E. Meteyard. 1875. Josiah Wedgwood, Master Potter. By Professor A. H. Church. 1903. Old Wedgwood (1760–1795). By F. Rathbone. Folio; 65 plates in colour. 1896. [23] [24] Catalogue of Loan Collection of Wedgwood Ware, Liverpool Art Club. (Liverpool.) 1879. Josiah Wedgwood. By Llewellyn Jewitt. 1865. Handbook to the Tangye Collection of Wedgwood Ware. (Birmingham.) By F. Rathbone. 1885. Wedgwood, Josiah—his Catalogue of Cameos, Intaglios, Bas-reliefs, Busts, and Small Statues, with a General Account of Tablets, Vases, Escritoires, and other Ornamental and Useful Articles. (London.) 1787. Wedgwood, Josiah—his "Catalogue" (as above). Edited by Miss E. Meteyard. 1873. John Wesley Busts in Staffordshire Pottery. By C. S. Sargisson. Connoisseur, September, 1907. Catalogue of the Museum at the Etruria Works, Messrs. Josiah Wedgwood & Sons, Ltd. By Frederick Rathbone. 1909. (Mr. Rathbone has arranged the collection of Flaxman's designs, Wedgwood's original pattern models and experimental "trials.") Bristol. Two Centuries of Ceramic Art in Bristol. By H. Owen. 1873. Derby. The Pottery and Porcelain of Derbyshire. By A. Wallis and W. Bemrose. 1870. Liverpool. The Art of Pottery, with a History of its Progress in Liverpool. By J. Mayer. (Liverpool.) 1873. The Liverpool Potteries. By C. T. Gatty. (Liverpool.) 1882. Leeds. Old Leeds Pottery. By J. R. and F. Kidson. (Leeds.) 1892. Catalogue of Exhibition of Works of Art in the Cartwright Memorial Hall, Bradford. 1904. Old Leeds Ware. By Henry B. Wilson. Connoisseur, 1904. Swansea. The Ceramics of Swansea and Nantgarw. By William Turner. [25] GLOSSARY Agate Ware.—Earthenware made either "solid" or in "surface" decoration to resemble the veinings of agate and other natural stones. The "solid" agate ware is produced by layers of different coloured clays being twisted together and cut transversely. The "surface" agate ware is splashed and grained decoration on an ordinary cream body. Astbury Ware.—A generic term applied to specimens in the manner of the Astburys, with raised floral decoration of white on a red unglazed body. Basalt.—Black Basalt, or "Egyptian" ware, is a solid black stoneware of great hardness, made by Wedgwood and by his school of followers. Biscuit.—This term is applied to earthenware and porcelain when it has been fired once. It is after the biscuit stage that decorations in colour are applied, and the specimen goes to the oven a second time (see Chapter I.). Body.—The body of a piece of earthenware is the clay of which it is composed irrespective of the nature or colour of decoration applied to its surface. China.—This term is applied to porcelain of all classes, whether true porcelain of hard paste, e.g., Chinese, Japanese, Meissen, Plymouth, Bristol, &c., or artificial porcelain of soft paste, e.g., Sèvres (pâte tendre), Worcester, Chelsea, Bow, Lowestoft, &c. China Clay.—The whitest clay known. Obtained in England from Devon and Cornwall. Used for porcelain, and also for light-coloured earthenware. China Stone.—Known also as Cornish stone; used in conjunction with the china clay for porcelain, and employed for stoneware bodies. Cream Ware.—This term applies to all light-coloured English earthenware from about 1750 to the present day. It varied in character from the Queen's Ware of Josiah Wedgwood, 1760, to the "chalk body" used by Wilson at the end of the eighteenth century. Cream ware of later date when broken shows a pure white body—a puzzling fact to beginners in collecting. Delft Ware.—A generic term given to earthenware with tin enamelled surface. True Delft ware was made at Delft in Holland after 1600, but it was successfully imitated at Lambeth, Bristol, Liverpool, &c. Earthenware.—All ware may be termed earthenware which when in the biscuit state is too porous for domestic use but requires a coating of glaze. As a rule, earthenware is opaque, differing in this respect from porcelain, which is translucent. Enamel Colours.—The colours applied either in painted or printed decoration over the glaze. Elers Ware.—A generic term used in regard to unglazed red stoneware with applied decoration in the style of the Elers brothers. Glaze.—The glassy coating applied to earthenware and porcelain. Lead-glaze.—The earliest form used in England was known as galena glaze, when sulphide of lead was in powder form dusted on the ware. Later liquid lead glaze was used, into which the vessels were dipped. Salt-glaze.—Common salt was thrown into the kiln, and the resultant vapour deposited a fine layer of glaze on the ware. Over-glaze.—This term applies to painted or printed decoration done after the glaze has been applied to the object—i.e., over the glaze. Under-glaze.—This applies to decoration, painted or printed, done before the glaze is applied to the object —i.e., when completed the decoration is under the glaze. Ironstone China.—An earthenware for which Mason took out a patent in 1813. The body contains a large proportion of flint and slag of ironstone. Jasper Ware.—A fine hard stoneware used by Wedgwood, and imitated by his followers. It is unglazed. Lustre Ware.—Earthenware decorated by thin layers of copper, gold, or platinum (see Chapter XIII.). Marbled Ware.—Ware of a similar nature to agate ware, having its surface combed and grained to imitate various natural marbles or granites. Marks.—In earthenware these makers' names or initials or "trade marks" were usually impressed with a metal [27] [28] [29] [30] stamp. Obviously this must have been done when the ware was in plastic state; therefore it is impossible to add such marks after the ware is made, and when present on old ware they are a sign of undoubted genuineness. Of course a copy can be made bearing an impressed mark. Painted or printed marks sometimes occur on earthenware usually of a later date. Such marks may be under-or over-glaze; the former are not likely to have been added after the piece has been made. Modern.—English earthenware may be termed "modern" when it is of a later date than 1850. Though, as is indicated in Chapter XIV., the modern renaissance in earthenware should be of especial interest to collectors. Over-glaze.—See Glaze. Oven.—The "oven," as the potter terms it, is a specially-built furnace in which the "saggers" containing the ware are placed during the firing (see Chapter I.). Paste.—This is another term for the "body" of the ware. "Resist" Pattern.—A term in silver lustre ware. For detailed description see Chapter XIII. Sagger.—A fire-clay box in which the earthenware is placed when being fired in the oven (see Illustration, Chapter I.). Salt-glaze.—See Glaze, and see Chapter VI. Semi-china. Semi-porcelain.—Terms applied to early nineteenth century earthenware having a very white or chalk body, and having the outward appearance of china or porcelain. Strongly imitative and false to the true qualities of earthenware. It is always opaque. Sometimes it is naïvely termed "opaque china." Slip.—A thick semi-solid fluid composed of clay and water. Spurs. Spur mark.—During the glazing of earthenware "spurs" or "stilts" of fire-clay are used to support the articles and keep them from touching each other. "Spur" or "cockspur" marks are found on the ware where it has rested on these supports (see Chapter IX., p. 298). Stoneware.—A variety of pottery distinct from earthenware, and more nearly approaching porcelain in its characteristics. Earthenware, as has been shown, needs a coating of glaze to protect its porous defects. Stoneware is a hard body needing no glaze. Glazed stoneware is frequently found, and the glaze employed is usually salt. Throwing.—The art of fashioning shapes on the potter's wheel (see Illustration, Chapter I.). Transfer Printing.—Printing employed as a decoration on ware by means of paper which had received a design from a copper-plate, and was transferred to the surface of the ware (see Chapter X.). Under-glaze.—See Glaze. "Wedgwood."—This has become a generic term for one or two classes of ware—e.g., jasper and black basalt, which were made by most of the potters succeeding Josiah Wedgwood. The word has, in common with Boule and Chippendale become popularly and erroneously used. Whieldon Ware.—A generic term covering all classes of ware of a mottled, cloudy, or splashed character—e.g., tortoiseshell plates, vases, figures, &c. [31] [32] I HOW TO COLLECT: A CHAPTER FOR BEGINNERS [33] Chats on Old Earthenware CHAPTER I HOW TO COLLECT: A CHAPTER FOR BEGINNERS Reasons for collecting—What is earthenware?—How earthenware is made—What to collect—Method of studying old earthenware—Forgeries—Table for use in identifying old English earthenware. To attempt to advance reasons for collecting old English earthenware is seemingly to commence this volume with an apology on behalf of collectors. But there are so many persons ready to throw a stone at others who betray the possession of hobbies differing from their own, that it is necessary to state that the reasonable collection of old earthenware is based on sound premisses. Similar reasons may be given for the collection of old English earthenware to those that may be advanced for the collection of old English china. Earthenware may be approached mainly from the æsthetic side and studied with a view to show the development of decorative art in this country and the foreign influences which have contributed to its evolution. The art of the old English potter is of especial interest to students of ceramic art, as many processes were invented in this country, and, in spite of periods of decadence, English earthenware has won for itself a considerable reputation on the Continent from a technical point of view. It may be collected as an adjunct to old furniture by lovers of old furniture who are precisians in regard to harmony in schemes of decoration. They prefer to see china and earthenware of the same period as the furniture. A modern set of vases adorning a Georgian cabinet is like putting new wine into old bottles. So that concomitant with the love for old furniture, old pictures, and old prints is the accompanying regard for contemporary china and earthenware. The "drum and trumpet history" relating the personal adventures of princes and nobles, and the pomp of courts, or the intrigues of favourites, sets no store on the apparent trivialities which mark the social and intellectual progress of a nation. But the scientific student of history cannot afford to ignore the detailed study of social conditions which are indicated by the china-shelf. The due appreciation of the development of costume, of furniture, and of the domestic arts gives life and colour to the written records of byegone days. A mug or a jug with an inscription may tell a story of popular party feeling as pointedly as a broadsheet or a political lampoon. EXTERIOR OF WORKS, ETRURIA: THE MARL BANK. By the courtesy of Messrs. Josiah Wedgwood & Sons. The ordinary man sees in the collection of china and earthenware an interesting hobby. He reads of the prices remarkable specimens bring under the hammer, and he begins to think that his education has been partly neglected since he knows little or nothing concerning these art treasures, which seemingly are attractive to other men of culture and means. "Collecting for profit" is a phrase that tickles the ears of many others. Undoubtedly there have been many who have entered the field of collecting and regarded their purchases solely as investments. It must be borne in mind that this class of collector is not to be despised, inasmuch as when he has mastered his subject (and as there is money in it he very speedily sets to work to do this) he is a very formidable rival. It is absurd to imagine that an amateur, after having given especial study to a subject such as old earthenware, is not in a better position to enter the market as a buyer or a seller than he who comes with little or no training. It is only reasonable that a man should take an intelligent interest in the evolution of the ware in everyday use. But it is to be feared that long rows of cases at the museum with specimens of earthenware behind glass doors must necessarily be a valley of dry bones to the spectator unless he bring the seeing eye and the understanding heart to quicken these dry bones into life. Enough, perhaps, has been said as a prelude to this volume to show that various reasons may be advanced to account for the new spirit of collecting which has become so infectious. It is the hope of the writer that the following chapters, as an outline of the subject of collecting old English earthenware, may point the way to a better appreciation of what is really of value in this field, and will enable the collector in his search to sift the wheat from the chaff, and him who already possesses lares et penates of uncertain age to identify them. What is Earthenware?—To know what is earthenware always puzzles the beginner. A rough-and-ready means of determining the difference between earthenware and porcelain is to apply the light test. Porcelain more nearly approaches glass and is translucent—that is, it clearly shows the shadow of the hand holding it when placed up to the light. But there are occasions when this test fails; for instance, a block of porcelain may, as in a heavy figure, be so thick as to render this experiment impossible. On the other hand, fine stoneware may be partly translucent in the thinner parts. In early nineteenth-century days a class of ware, such as that of Mason, is stamped "ironstone china" or "stone china." [35] [36] [37] [39] [40]