What to Collect.—This is largely a question of personal predilection. In general the field of English earthenware may be divided into nine classes, and the collector who wishes to specialise will have his individual taste for one or more of these, according as its technical or artistic qualities appeal to him. This arrangement is mainly chronological, but obviously one class will overlap others in point of time. These classes are further summarised in detail in the table intended for use in identifying old earthenware given at the end of this chapter.

I.Early English pottery.
II.Delft ware.
III. Stoneware (including Staffordshire salt-glaze ware). Prior to the inventions of Josiah Wedgwood.
IV. Variegated ware—agate and clouded ware.
V. Cream ware—
(1) Plain. (2) Decorated by painting. (3) Transfer-printed. By far the largest variety of English earthenware, including domestic ware and figures. Made by all potters.
VI. Classic ware—the school of which Josiah Wedgwood is the founder.
VII. Figures (mainly Staffordshire).
VIII. Lustre ware.
IX. Opaque china }
Semi-porcelain } Nineteenth century.
Ironstone china }

Method of studying old Earthenware.—To those readers who peruse this volume without any definite idea of the standpoint of the collector it should not be left unsaid that the proper study and collection of old English earthenware require a considerable amount of reading and, what is of much greater importance, a very practical examination of some hundreds of specimens. It is this practical experience which alone can give the beginner the training he requires. It is a complex subject bristling with unexpected difficulties in regard to technical points and crowded with apparent contradictions. The bibliography given on [pp. 23–25] will enable readers to pursue special studies in greater detail.

The next best thing to handling the actual specimens is to see them. It cannot here be impressed upon the beginner too strongly that it is absolutely necessary, in order to educate his eye, that the finest known examples in the particular classes should be frequently seen. The national museums, the Victoria and Albert and the British, in London, both contain splendid collections classified in a very thorough manner. In the provinces, the following museums among others contain fine collections, often of richer interest in special subjects than the aforementioned. For instance, the Public Museum at Liverpool contains the most representative collection of the various classes of Liverpool ware. The fine Art Gallery at Leeds is rich in typical examples of the finest productions in Leeds earthenware. At the Royal Scottish Museum, Edinburgh, and at the Science and Art Museum, Dublin, there are finely arranged collections of pottery. At the Castle Museum, Nottingham, at York, at Norwich, at Bath, at Bristol, at Swansea, at Cardiff, at the Weston Park Museum, Sheffield, at the Pitt-Rivers Museum, Farnham, North Dorset, at the Grosvenor Museum, Chester, at Maidstone, at Bury St. Edmunds, and at Saffron Walden, there are collections which can be studied.

THE DIPPING HOUSE.
Showing how the ware is glazed.

By the courtesy of Messrs. Josiah Wedgwood & Sons.