KRUPP'S IRON AND STEEL WORKS AT ESSEN.
One of the largest iron and steel manufacturing establishments in the world is that founded by the late Alfred Krupp, the famous German cannon-founder, whose name is so well known in connection with modern improvements in artillery. His principal works are situated at Essen, in Prussia, in the midst of a district productive of both iron and coal. The town of Essen, which at the beginning of the present century contained less than four thousand inhabitants, has become an important industrial centre, with a population of nearly eighty thousand persons, this increase being chiefly due to the growth of the ironworks, and the consequent demand for labour. In the vicinity of the town, numerous coal and iron mines, many of which are owned by the Krupp firm, are in active working, and furnish employment to the large population of the surrounding district. Much of the output of iron ore and coal from these mines is destined for consumption in the vast Krupp works within the town. Those works had their origin in a small iron forge established at Essen in the year 1810 by Frederick Krupp, the father of Alfred Krupp. The elder Krupp was not prosperous; and a lawsuit in which he became involved, and which lasted for ten years, though finally decided in his favour, reduced him nearly to bankruptcy. He died in 1826, in impoverished circumstances, leaving a widow and three sons, the eldest of whom was Alfred, aged fourteen. The business was continued by the widow, who managed, though with difficulty, to procure a good education for her sons. When the eldest, Alfred, took control of the works in 1848, he found there, as he himself has described, 'three workmen, and more debts than fortune.'
Krupp's subsequent career affords a remarkable instance of success attained, despite adverse circumstances, by sheer force of ability and energy, in building up a colossal manufacturing business from a humble beginning. On his death in 1887 his only son succeeded him. At the present time, Krupp's works within the town of Essen occupy more than five hundred acres, half of which area is under cover. In 1895, the number of persons in his employ was 25,300, and including members of their families, over 50,000. Of the army of workers, about 17,000 were employed at the works in Essen, the remainder being occupied in the 550 iron and coal mines belonging to the firm, or at the branch works at Sayn Neuwied, Magdeburg, Duisburg, and Engers; or in the iron-mines at Bilbao, in Spain, which produce the best ores. In Krupp's Essen works there are one hundred and twelve steam-hammers, ranging in weight from fifty tons down to four hundred pounds. There are 15 Bessemer converters, 18 Martin-furnaces, 420 steam-engines—representing together 33,150 horse-power—and twenty-one rolling trains; the daily consumption of coal and coke being 3100 tons by 1648 furnaces. The average daily consumption of water, which is brought from the river Ruhr by an aqueduct, is 24,700 cubic metres. The electric light has been introduced, and the work ceases entirely only on Sunday and two or three holidays. Connected with the Essen works are fifty miles of railway, employing thirty-five locomotives and over 1000 wagons. There are two chemical laboratories; a photographic and lithographic studio; a printing-office, with steam and hand presses; and a bookbinding room, besides tile-works, coke-works, gas-works, &c.
Though, in the popular mind, the name of Krupp is usually associated with the manufacture of instruments of destruction, yet two-thirds of the work done in his establishment is devoted to the production of articles intended for peaceful uses. The various parts of steam-engines, both stationary and locomotive; iron axles, bridges, rails, wheel-tires, switches, springs, shafts for steamers, mint-dies, rudders, and parts of all varieties of iron machinery, are prepared here for manufacturers. The production is, in Dominie Sampson's phrase, 'prodigious.' In one day the works can turn out 2700 rails, 350 wheel-tires, 150 axles, 180 railway wheels, 1000 railway wedges, 1500 bombshells. In a month they have produced 250 field-pieces, thirty 5.7-inch cannon, fifteen 9.33-inch cannon, eight 11-inch cannon, one 14-inch gun, the weight of the last named being over fifty tons, and its length twenty-eight feet seven inches. Till the end of 1894 the firm has produced 25,000 cannon for thirty-four different states.
Alfred Krupp devoted much attention to the production of steel of the finest quality, and was the first German manufacturer who succeeded in casting steel in large masses. In 1862 he exhibited in London an ingot of finest crucible steel weighing twenty-one tons. Its dimensions were nine feet high by forty-four inches diameter. The uniformity of quality of this mass of metal was proven by the fact that when broken across it showed no seam or flaw, even when examined with a lens. The firm can now make such homogeneous blocks of seventy-five tons weight if required. Such ingots are formed from the contents of a great number of small crucibles, each containing from fifty to one hundred pounds of the metal. The recent developments of the manufacture of steel by the open-hearth process have removed all difficulty in procuring the metal in masses large enough for all requirements, and of a tensile strength so high as thirty-three to thirty-seven tons to the square inch. Crucible steel, however, though more expensive, still holds its place as the best and most reliable that can be produced; and nothing else is ever used in the construction of a Krupp gun. By the perfected methods in use at the Essen works, such steel can be made of a tensile strength of nearly forty tons to the square inch, and of marvellous uniformity of quality. The ores used in the Krupp works for making the best steel are red hæmatite and spathic ore, with a certain proportion of ferro-manganese. The crucibles employed are formed of a mixture of plumbago and fire-clay, shaped by a mould into a cylindrical jar some eighteen inches in height, and baked in a kiln. When in use, they are filled with small bars of puddled metal, mixed with fragments of marble brought from Villmar, on the Lahn. They are then shovelled into large furnaces, whose floors are elevated three or four feet above the ground-level. In the earthen floor of the immense room containing the furnaces are two lines of pits, one set to receive the molten metal, the other intended for the red-hot crucibles when emptied of their contents. When the crucibles have undergone sufficient heating, the furnace doors are opened simultaneously at a given signal, and the attendant workmen draw out the crucibles with long tongs, and rapidly empty them into the pits prepared for the reception of the metal. The empty crucibles when cooled are examined, and if found unbroken, are used again; but if damaged, as is usually the case, are ground up, to be utilised in making new ones.
The production of steel by this method furnishes employment for eight or nine hundred men daily in the Krupp works. The Bessemer process for converting iron into steel is also largely used there for making steel for certain purposes. All material used in the different classes of manufactures is subjected at every stage to extreme and exact tests; the standards being fixed with reference to the purpose to which the metal is to be applied, and any material that proves faulty when suitably tested is rigorously rejected.
The guns originally manufactured by the Krupp firm were formed from solid ingots of steel, which were bored, turned, and fashioned as in the case of cast-iron smooth-bore cannon. With the development of the power of artillery, the greater strain caused by the increased powder-charges and by the adoption of rifling—involving enhanced friction between the projectile and the bore—had the result of demonstrating the weakness inherent in the construction of a gun thus made entirely from one solid forging, and that plan was eventually discarded. Artillerists have learnt that the strain produced by an explosive force operating in the interior of a cannon is not felt equally throughout the thickness of the metal from the bore to the exterior, but varies inversely as the square of the distance of each portion of the metal from the seat of effort. For example, in a gun cast solid, if two points be taken, one at the distance of one inch from the bore, and the other four inches from the bore, the metal at the former point will during the explosion be strained sixteen times as much as that at the distance of four inches. The greater the thickness of the material, the greater will be the inequality between the strains acting at the points respectively nearest to and farthest from the interior. The metal nearest the seat of explosion may thus be strained beyond its tensile strength, while that more remote is in imperfect accord with it. In such a case, disruption of the metal at the inner surface ensues, and extends successively through the whole thickness to the exterior, thus entailing the destruction of the gun.
This source of weakness is guarded against by the construction of what is termed the built-up gun, in which the several parts tend to mutual support. This gun consists of an inner tube, encircled and compressed by a long 'jacket' or cylinder, which is shrunk around the breech portion with the initial tension due to contraction in cooling. Over the jacket and along the chase, other hoops or cylinders are shrunk on successively, in layers, with sufficient tension to compress the parts enclosed. The number and strength of these hoops are proportionate to the known strain that the bore of the gun will have to sustain. The tension at which each part is shrunk on is the greater as the part is farther removed from the inner tube; the jacket, for example, being shrunk on at less tension than the outer hoops. The inner tube, on receiving the expansive force of the explosion, is prevented by the compression of the jacket from being forced up to its elastic limit; and the jacket in its turn is similarly supported by the outer hoops; and on the cessation of the internal pressure the several parts resume their normal position.
This system of construction originated in England, and is now in general use. The first steel guns on this principle were those designed by Captain Blakely and Mr J. Vavasseur, of the London Ordnance Works. At the Exhibition of 1862, a Blakely 8.5-inch gun, on the built-up system, composed wholly of steel, was a feature of interest in the Ordnance section. The plan devised by Sir W. Armstrong, and carried into effect for a series of years at Woolwich and at the Armstrong Works at Elswick, consisted in enclosing a tube of steel within a jacket of wrought iron, formed by coiling a red-hot bar round a mandrel. The jacket was shrunk on with initial tension, and was fortified in a similar manner by outer hoops of the same metal. The want of homogeneity in this gun was, however, a serious defect, and ultimately led to its abolition. The difference in the elastic properties of the two metals caused a separation, after repeated discharges, between the steel tube and its jacket, with the result that the tube cracked from want of support. Both at Woolwich and at Elswick (described on a later page), therefore, the wrought-iron gun has given place to the homogeneous steel built-up gun, which is also the form of construction adopted by the chief powers of Europe and by the United States of America.
The failure of some of his solid-cast guns led Krupp, about 1865, to the adoption of the built-up principle. With few exceptions, the inner tube of a Krupp gun is forged out of a single ingot, and in every case without any weld. The ingot destined to form the tube has first to undergo a prolonged forging under the steam-hammers, by which the utmost condensation of its particles is effected. It is then rough-bored and turned, and subsequently carefully tempered in oil, whereby its elasticity and tensile strength are much increased. It is afterwards fine-bored and rifled, and its powder-chamber hollowed out. The latter has a somewhat larger diameter than the rest of the bore, this having been found an improvement. The grooves of the rifling are generally shallow, and they widen towards the breech, so that the leaden coat of the projectile is compressed gradually and with the least friction. The jacket and hoops of steel are forged and rolled, without weld, and after being turned and tempered, are heated and shrunk around the tube in their several positions, the greatest strength and thickness being of course given to the breech end, where the force of explosion exerts the utmost strain. The completed gun is mounted on its appropriate carriage, and having been thoroughly proved and tested and fitted with the proper sights, is ready for service. The testing range is at Meppen, where a level plain several miles in extent affords a suitable site for the purpose.
For many years all guns of the Krupp manufacture have been on the breech-loading system, and he has devoted much time and ingenuity to perfecting the breech arrangements. The subject of recoil has also largely occupied his attention. In the larger Krupp guns the force of recoil is absorbed by two cylinders, filled with glycerine and fitted with pistons perforated at the edges. The pistons are driven by the shock of the recoil against the glycerine, which is forced through the perforations. In England a similar arrangement of cylinders, containing water as the resisting medium, has been found effective; and in America, petroleum is employed for the same purpose. The advantages of the use of glycerine are that in case of a leak it would escape too slowly to lose its effect at once, and it is also more elastic than water, and is less liable to become frozen.
The resources of Krupp's establishment are equal to the production of guns of any size that can conceivably be required. He has made guns of one hundred and nineteen tons weight. The portentous development of the size and power of modern ordnance is exemplified by these guns and the Armstrong guns of one hundred and eleven tons made at Elswick. Amongst the class of modern cannon, one of the most powerful is Krupp's seventy-one-ton gun. This, like all others of his make, is a breech-loader. Its dimensions are—length, thirty-two feet nine inches; diameter at breech end, five feet six inches; length of bore, twenty-eight feet seven inches; diameter of bore, 15.75 inches; diameter of powder-chamber, 17.32 inches. The internal tube is of two parts, exactly joined; and over this are four cylinders, shrunk on, and a ring round the breech. Its rifling has a uniform twist of one in forty-five. It cannot possibly be fired until the breech is perfectly closed. Its maximum charge is four hundred and eighty-five pounds of powder, and a chilled iron shell of seventeen hundred and eight pounds.
Krupp's 15.6 Breech-loading Gun (breech open).
Krupp did much to promote the welfare and comfort of his workpeople. For their accommodation, he erected around Essen nearly four thousand family dwellings, in which more than sixteen thousand persons reside. The dwellings are in suites of three or four comfortable rooms, with good water-arrangements; and attached to each building is a garden, large enough for the children to play in. There are one hundred and fifty dwellings of a better kind for officials in the service of the firm. Boarding-houses have also been built for the use of unmarried labourers, of whom two thousand are thus accommodated. Several churches, Protestant and Catholic, have also been erected, for the use of his workmen and their families. There have likewise been provided two hospitals, bathing establishments, a gymnasium, an unsectarian free school, and six industrial schools—one for adults, two for females. In the case of the industrial schools, the fees are about two shillings monthly, but the poorest are admitted free. A Sick Relief and Pensions Fund has been instituted, and every foreman and workman is obliged to be a member. The entrance fee is half a day's pay, the annual payment being proportioned to the wages of the individual member; but half of each person's contribution is paid by the firm. There are three large surgeries; and skilful physicians and surgeons, one of whom is an oculist, are employed at fixed salaries. For a small additional fee each member can also secure free medical aid for his wife and children. The advantages to members are free medical or surgical treatment in case of need, payment from the fund of funeral expenses at death, pensions to men who have been permanently disabled by injuries while engaged in the works, pensions to widows of members, and temporary support to men who are certified by two of the physicians as unable to work. The highest pension to men is five pounds monthly, the average being about two pounds sixteen shillings monthly. The average pension to widows is about one pound fourteen shillings monthly.
The firm have made special arrangements with a number of life insurance companies whereby the workmen can, if they choose, insure their lives at low rates. They have formed a Life Insurance Union, and endowed it with a reserve fund of three thousand pounds, from which aid is given to members needing assistance to pay their premiums. An important institution in Essen is the great Central Supply Store, established and owned by the firm, where articles of every description—bread, meat, and other provisions, clothing, furniture, &c.—are sold on a rigidly cash system at cost price. Connected with the Central Store are twenty-seven branch shops, in positions convenient for the workpeople, placing the advantages of the system within the easy reach of all.
The original name, 'Frederick Krupp,' has been retained through all vicissitudes of fortune as the business title of the firm. The small dwelling in which Alfred Krupp was born is still standing, in the midst of the huge workshops that have grown up around it, and is preserved with the greatest care. At his expense, photographs of it were distributed among his workmen, each copy bearing the following inscription, dated Essen, February 1873: 'Fifty years ago, this primitive dwelling was the abode of my parents. I hope that no one of our labourers may ever know such struggles as have been required for the establishment of these works. Twenty-five years ago that success was still doubtful which has at length—gradually, yet wonderfully—rewarded the exertions, fidelity, and perseverance of the past. May this example encourage others who are in difficulties! May it increase respect for small houses, and sympathy for the larger sorrows they too often contain. The object of labour should be the common weal. If work bring blessing, then is labour prayer. May every one in our community, from the highest to the lowest, thoughtfully and wisely strive to secure and build his prosperity on this principle! When this is done, then will my greatest desire be realised.'
Germany has become a formidable competitor to Great Britain in the iron and steel trade, and German steel rails, girders, and wire come in freely to this country. From reports we learn that Great Britain produced in 1882 8½ million tons of iron and 5 million tons of finished iron and steel, while the production of Germany was then less than 3½ and 2½ million tons respectively. English production had fallen to 7½ million tons of iron and 4 million tons of finished iron and steel in 1895, while Germany had risen to 5 million tons and 6 million tons respectively.
Contrary to what has been commonly believed, it appears that the difference all round in wages amongst ironworkers, as between England and Germany, is not great.
Chicago, Pittsburg, Buffalo, and New York are the chief centres of the American iron and steel trade, the production of pig-iron in 1895 being about 9¼ million tons, whereas in 1880 it was well under 4 million. At present over 4 millions of tons are produced of Bessemer pig-iron.
CHAPTER II.
POTTERY AND PORCELAIN.
Josiah Wedgwood and the Wedgwood Ware—Worcester Porcelain.
hen Mr Godfrey Wedgwood, a member of the famous firm of potters at Etruria, near Burslem, Staffordshire, went to work about forty years ago, his famous ancestor and founder of the world-famed Wedgwood ware was still named amongst the workmen as 'Owd Wooden Leg.' A son of Mr Godfrey Wedgwood, now in the firm, is the fifth generation in descent, and the manufactory is still carried on in the same buildings erected by Josiah Wedgwood one hundred and twenty years ago.
One hundred years ago Josiah Wedgwood, the creator of British artistic pottery, passed away at Etruria, near Burslem, surrounded by the creations of his own well-directed genius and industry, having 'converted a rude and inconsiderable manufacture into an elegant art and an important part of national commerce.' His death took place on 3d January 1795, the same year in which Thomas Carlyle saw the light at Ecclefechan, and one year and a half before the death of Burns at Dumfries. During fifty years of his working life, largely owing to his own successful efforts, he had witnessed the output of the Staffordshire potteries increased fivefold, and his wares were known and sold over Europe and the civilised world. In the words of Mr Gladstone, his characteristic merit lay 'in the firmness and fullness with which he perceived the true law of what we may call Industrial Art, or, in other words, of the application of the higher art to Industry.' Novalis once compared the works of Goethe and Wedgwood in these words: 'Goethe is truly a practical poet. He is in his works what the Englishman is in his wares, perfectly simple, neat, fit, and durable. He has played in the German world of literature the same part that Wedgwood has played in the English world of art.'
JOSIAH WEDGWOOD.
Long ago, in his sketch of Brindley and the early engineers, Dr Smiles had occasion to record the important service rendered by Wedgwood in the making of the Grand Trunk Canal—towards the preliminary expense of which he subscribed one thousand pounds—and in the development of the industrial life of the Midlands. Since that time Smiles has himself published a biography of Wedgwood, to which we are here indebted.
More than once it has happened that the youngest of thirteen children has turned out a genius. It was so in the case of Sir Richard Arkwright, and it turned out to be so in the case of Josiah Wedgwood, the youngest of the thirteen children of Thomas Wedgwood, a Burslem potter, and of Mary Stringer, a kind-hearted but delicate, sensitive woman, the daughter of a nonconformist clergyman. The town of Burslem, in Staffordshire, where Wedgwood saw the light in 1730, was then anything but an attractive place. Drinking and cock-fighting were the common recreations; roads had scarcely any existence; the thatched hovels had dunghills before the doors, while the hollows from which the potter's clay was excavated were filled with stagnant water, and the atmosphere of the whole place was coarse and unwholesome, and a most unlikely nursery of genius.
It is probable that the first Wedgwoods take their name from the hamlet of Weggewood in Staffordshire. There had been Wedgwoods in Burslem from a very early period, and this name occupies a large space in the parish registers during the seventeenth and eighteenth centuries; of the fifty small potters settled there, many bore this honoured name. The ware consisted of articles in common use, such as butter-pots, basins, jugs, and porringers. The black glazed and ruddy pottery then in use was much improved after an immigration of Dutchmen and Germans. The Elers, who followed the Prince of Orange, introduced the Delft ware and the salt glaze. They produced a kind of red ware, and Egyptian black; but disgusted at the discovery of their secret methods by Astbury and Twyford, they removed to Chelsea in 1710. An important improvement was made by Astbury, that of making ware white by means of burnt flint. Samuel Astbury, a son of this famous potter, married an aunt of Josiah Wedgwood. But the art was then in its infancy, not more than one hundred people being employed in this way in the district of Burslem, as compared with about ten thousand now, with an annual export of goods amounting to about two hundred thousand pounds, besides what are utilised in home-trade. John Wesley, after visiting Burslem in 1760, and twenty years later in 1781, remarked how the whole face of the country had been improved in that period. Inhabitants had flowed in, the wilderness had become a fruitful field, and the country was not more improved than the people.
All the school education young Josiah received was over in his ninth year, and it amounted to only a slight grounding in reading, writing, and arithmetic. But his practical or technical education went on continually, while he afterwards supplemented many of the deficiencies of early years by a wide course of study. After the death of his father, he began the practical business of life as a potter in his ninth year, by learning the throwing branch of the trade. The thrower moulds the vessel out of the moist clay from the potter's wheel into the required shape, and hands it on to be dealt with by the stouker, who adds the handle. Josiah at eleven proved a clever thrower of the black and mottled ware then in vogue, such as baking-dishes, pitchers, and milk-cans. But a severe attack of virulent smallpox almost terminated his career, and left a weakness in his right knee, which developed, so that this limb had to be amputated at a later date. He was bound apprentice to his brother Thomas in 1744, when in his fourteenth year; but this weak knee, which hampered him so much, proved a blessing in disguise, for it sent him from the thrower's place to the moulder's board, where he improved the ware, his first effort being an ornamental teapot made of the ochreous clay of the district. Other work of this period comprised plates, pickle-leaves, knife-hafts, and snuff-boxes. At the same time he made experiments in the chemistry of the material he was using. Wedgwood's great study was that of different kinds of colouring matter for clays, but at the same time he mastered every branch of the art. That he was a well-behaved young man is evident from the fact that he was held up in the neighbourhood as a pattern for emulation.
Wedgwood at Work.
But his brother Thomas, who moved along in the old rut, had small sympathy with all this experimenting, and thought Josiah flighty and full of fancies. After remaining for a time with his brother, at the completion of his apprenticeship Wedgwood became partner in 1752, in a small pottery near Stoke-upon-Trent: soon after, Mr Whieldon, one of the most eminent potters of the day, joined the firm. Here Wedgwood took pains to discover new methods and striking designs, as trade was then depressed. New green earthenware was produced, as smooth as glass, for dessert service, moulded in the form of leaves; also toilet ware, snuff-boxes, and articles coloured in imitation of precious stones, which the jewellers of that time sold largely. Other articles of manufacture were blue-flowered cups and saucers, and varicoloured teapots. Wedgwood, on the expiry of his partnership with Whieldon, started on his own account in his native Burslem in 1760. His capital must have been small, as the sum of twenty pounds was all he had received from his father's estate. He rented Ivy House and Works at ten pounds a year, and engaged his second-cousin, Thomas, as workman at eight shillings and sixpence a week. He gradually acquired a reputation for the taste and excellence of design of his green glazed ware, his tortoiseshell and tinted snuff-boxes, and white medallions. A specially designed tea-service, representing different fruits and vegetables, sold well, and, as might be expected, was at once widely imitated. He hired new works on the site now partly occupied by the Wedgwood Institute, and introduced various new tools and appliances. His kilns for firing his fine ware gave him the greatest trouble, and had to be often renewed. James Brindley, when puzzled in thinking out some engineering problem, used to retire to bed and work it out in his head before he got up. Sir Josiah Mason, the Birmingham pen-maker, used to simmer over in his mind on the previous night the work for the next day. Wedgwood had a similar habit, which kept him often awake during the early part of the night. Probably owing to the fortunate execution of an order through Miss Chetwynd, maid of honour to Queen Charlotte, of a complete cream service in green and gold, Wedgwood secured the patronage of royalty, and was appointed Queen's Potter in 1763. His Queen's ware became popular, and secured him much additional business.
An engine lathe which he introduced greatly forwarded his designs; and the wareroom opened in London for the exhibition of his now famous Queen's ware, Etruscan vases, and other works, drew attention to the excellence of his work. He started works besides at Chelsea, supervised by his partner Bentley, where modellers, enamellers, and artists were employed, so that the cares of his business, 'pot-making and navigating'—the latter the carrying through of the Grand Trunk Canal—entirely filled his mind and time at this period. So busy was he, that he sometimes wondered whether he was an engineer, a landowner, or a potter. Meanwhile, a step he had no cause to regret was his marriage in 1764 to Sarah Wedgwood, no relation of his own, a handsome lady of good education and of some fortune.
Wedgwood had begun to imitate the classic works of the Greeks found in public and private collections, and produced his unglazed black porcelain, which he named Basaltes, in 1766. The demand for his vases at this time was so great that he could have sold fifty or one hundred pounds' worth a day, if he had been able to produce them fast enough. He was now patronised by royalty, by the Empress of Russia, and the nobility generally. A large service for Queen Charlotte took three years to execute, as part of the commission consisted in painting on the ware, in black enamel, about twelve hundred views of palaces, seats of the nobility, and remarkable places. A service for the Empress of Russia took eight years to complete. It consisted of nine hundred and fifty-two pieces, of which the cost was believed to have been three thousand pounds, although this scarcely paid Wedgwood's working expenses.
Prosperity elbowed Wedgwood out of his old buildings in Burslem, and led him to purchase land two miles away, on the line of the proposed Grand Trunk Canal, where his flourishing manufactories and model workmen's houses sprang up gradually, and were named Etruria, after the Italian home of the famous Etruscans, whose work he admired and imitated. His works were partly removed thither in 1769, and wholly in 1771. At this time he showed great public spirit, and aided in getting an Act of Parliament for better roads in the neighbourhood, and backed Brindley and Earl Gower in their Grand Trunk Canal scheme, which was destined, when completed, to cheapen and quicken the carriage of goods to Liverpool, Bristol, and Hull. The opposition was keen: and Wedgwood issued a pamphlet showing the benefits which would accrue to trade in the Midlands by the proposed waterway. When victory was secured, after the passing of the Act there was a holiday and great rejoicing in Burslem and the neighbourhood, and the first sod of the canal was cut by Wedgwood, July 26, 1766. He was also appointed treasurer of the new undertaking, which was eleven years in progress. Brindley, the greatest engineer then in England, doubtless sacrificed his life to its success, as he died of continual harassment and diabetes at the early age of fifty-six. Wedgwood had an immense admiration for Brindley's work and character. In the prospect of spending a day with him, he said: 'As I always edify full as much in that man's company as at church, I promise myself to be much wiser the day following.' Like Carlyle, who whimsically put the builder of a bridge before the writer of a book, Wedgwood placed the man who designed the outline of a jug or the turn of a teapot far below the creator of a canal or the builder of a city.
In the career of a man of genius and original powers, the period of early struggle is often the most interesting. When prosperity comes, after difficulties have been surmounted, there is generally less to challenge attention. But Wedgwood's career was still one of continual progress up to the very close. His Queen's ware, made of the whitest clay from Devon and Dorset, was greatly in demand, and much improved. The fine earthenwares and porcelains which became the basis of such manufactures were originated here. Young men of artistic taste were employed and encouraged to supply designs, and a school of instruction for drawing, painting, and modelling was started. Artists such as Coward and Hoskins modelled the 'Sleeping Boy,' one of the finest and largest of his works. John Bacon, afterwards known as a sculptor, was one of his artists, as also James Tassie of Glasgow. Wedgwood engaged capable men wherever they could be found. For his Etruscan models he was greatly indebted to Sir W. Hamilton. Specimens of his famous portrait cameos, medallions, and plaques will be found in most of our public museums.
The general health of Wedgwood suffered so much between 1767 and 1768 that he decided to have the limb which had troubled him since his boyhood amputated. He sat, and without wincing, witnessed the surgeons cut off his right leg, for there were then no anæsthetics. 'Mr Wedgwood has this day had his leg taken off,' wrote one of the Burslem clerks at the foot of a London invoice, 'and is as well as can be expected after such an execution.' His wife was his good angel when recovering, and acted as hands and feet and secretary to him; while his partner Bentley (formerly a Liverpool merchant) and Dr Darwin were also kind; and he was almost oppressed with the inquiries of many noble and distinguished persons during convalescence. He had to be content with a wooden leg now. 'Send me,' he wrote to his brother in London, 'by the next wagon a spare leg, which you will find, I believe, in the closet.' He lived to wear out a succession of wooden legs.
Indifference and idleness he could not tolerate, and his fine artistic sense was offended by any bit of imperfect work. In going through his works, he would lift the stick upon which he leaned and smash the offending article, saying, 'This won't do for Josiah Wedgwood.' All the while he had a keen insight into the character of his workmen, although he used to say that he had everything to teach them, even to the making of a table plate.
He was no monopolist, and the only patent he ever took out was for the discovery of the lost art of burning in colours, as in the Etruscan vases. 'Let us make all the good, fine, and new things we can,' he said to Bentley once; 'and so far from being afraid of other people getting our patterns, we should glory in it, and throw out all the hints we can, and if possible, have all the artists in Europe working after our models.' By this means he hoped to secure the goodwill of his best customers and of the public. At the same time he never sacrificed excellence to cheapness. As the sale of painted Etruscan ware declined, his Jasper porcelain—so called from its resemblance to the stone of that name—became popular. The secret of its manufacture was kept for many years. It was composed of flint, potter's clay, carbonate of barytes, and terra ponderosa. This and the Jasper-dip are in several tones and hues of blue; also yellow, lilac, and green. He called in the good genius of Flaxman in 1775; and, for the following twelve years, the afterwards famous sculptor did an immense amount of work and enhanced his own and his patron's reputation. Flaxman did some of his finest work in this Jasper porcelain. Some of Flaxman's designs Wedgwood could scarcely be prevailed upon to part with. A bas-relief of the 'Apotheosis of Homer' went for seven hundred and thirty-five pounds at the sale of his partner Bentley; and the 'Sacrifice to Hymen,' a tablet in blue and white Jasper (1787), brought four hundred and fifteen pounds. The first named is now in the collection of Lord Tweedmouth. Wedgwood's copy of the Barberini or Portland Vase was a great triumph of his art. This vase, which had contained the ashes of the Roman Emperor Alexander Severus and his mother, was of dark-blue glass, with white enamel figures. It now stands in the medal room of the British Museum alongside a model by Wedgwood. It stands 10 inches high, and is the finest specimen of an ancient cameo cut-glass vase known. It was smashed by a madman in 1845, but was afterwards skilfully repaired. Wedgwood made fifty copies in fine earthenware, which were originally sold at 25 guineas each. One of these now fetches £200. The vase itself once changed hands for eighteen hundred guineas, and a copy fetched two hundred and fifteen guineas in 1892.
Portland Vase.
Josiah Wedgwood now stood at the head of the potters of Staffordshire, and the manufactory at Etruria drew visitors from all parts of Europe. The motto of its founder was still 'Forward;' and, as Dr Smiles expresses it, there was with him no finality in the development of his profession. He studied chemistry, botany, drawing, designing, and conchology. His inquiring mind wanted to get to the bottom of everything. He journeyed to Cornwall, and was successful in getting kaolin for chinaware. Queen Charlotte patronised a new pearl-white teaware; and he succeeded in perfecting the pestle and mortar for the apothecary. He invented a pyrometer for measuring temperatures; and was elected Fellow of the Royal Society. Amongst his intimate friends were Dr Erasmus Darwin, poet and physician (the famous Charles Robert Darwin was a grandson, his mother having been a daughter of Wedgwood's), Boulton of Soho Works, James Watt, Thomas Clarkson, Sir Joseph Banks, and Thomas Day.
We have an example of the generosity of Wedgwood's disposition in his treatment of John Leslie, afterwards Professor Sir John Leslie of Edinburgh University. He was so well pleased with his tutoring of his sons that he settled an annuity of one hundred and fifty pounds upon him; and it may be that the influence of this able tutor led Thomas Wedgwood to take up the study of heliotype, and become a pioneer of photographic science, even before Daguerre. How industrious Wedgwood had been in his profession is evident from the seven thousand specimens of clay from all parts of the world which he had tested and analysed. The six entirely new pieces of earthenware and porcelain which, along with his Queen's ware, he had introduced early in his career, as painted and embellished, became the foundation of nearly all the fine earthenware and porcelains since produced. He had his reward, for besides a flourishing business, he left more than half a million of money.