It is for these reasons, rather than for its intrinsic beauty, that most English porcelain is so eagerly desired. It is not generally remarkable for perfection of form or of paste, or for originality or beauty of color and ornament; but in some cases all of these are to be found. The early paste of the older factories, such as Bow and Chelsea, is considered inferior to the best Chinese and Japanese, and to the early Dresden and Sèvres. Afterward the paste was greatly improved, until now that made at the porcelain-works at Worcester, and at some other of the English factories, is not surpassed anywhere. It seems to me that the English modelers have not cultivated that sense of perfection of form and grace of line which was so wonderful in Greece, and in which the French modelers excel the English. It may be that the desire for strength, which seems to inspire most English porcelain, has demanded the sacrifice of that delicacy, thinness, and niceness, which have for a long time prevailed in France. But the English porcelain is noted for its strength and wearing quality; it is certainly superior in this respect to most of the French work.
Whoever has interest enough in the subject should visit, when in England, the porcelain-works at Worcester, now conducted by Mr. Binns. Here he can see all the processes going on, by means of which the teacup and the dinner-plate are brought to perfection. It is not a simple matter. Several kinds of clays are to be got together—some from England; some, perhaps, from elsewhere. These are ground to such an impalpable fineness that they are floated away in water, and are allowed to settle into tanks, from which, when in the right condition, they are taken to the moulder for use. The collecting, the mixing, the grinding of these clays is the result of much brain and hand work—a great deal more than most men are obliged to use in getting into Congress or Parliament, or in writing a book.
As the dexterous potter moulds upon his wheel the forms of the Greek amphora or the Chinese teacup, they seem to spring under his hand as if touched by the fairy’s wand.
I think no one can see this work grow without a feeling of surprised pleasure; and, after witnessing it, no one can fail to have a greater satisfaction at seeing and using the various objects of use and beauty, to be found now in every house—a satisfaction increased by knowledge. Even in the ordinary mug or jug which costs a sixpence, are often to be detected great knowledge, much art. We do not give the workman half his due when we fail to feel how much we owe to him. An eye to see the beautiful, the good, the true, is to be prayed for.
When the turner and modeler has perfected his pot, it has to go through its firings, glazings, paintings, until it comes to us a perfected work, which we too often hardly look at. It is only a jug!
There is more than the money’s worth in every good piece of cabinet-work, iron-work, woven fabric, etc.; for with every honest workman’s hand goes a part of his soul: he gives it willingly, gladly.
Bow—Soft Paste.—The small village of Stratford-le-Bow, in Middlesex, now, I think, a part of London, is believed to be the place where a china-factory was first established in England, and some suppose it may have been as early as 1730, though 1744 is the earliest authentic date mentioned. Mr. Chaffers[15] says—and it has some interest to us Americans, as perhaps showing whence the old and great England drew its first porcelain life—“William Cookeworthy, of Plymouth, writing to a friend in 1745, says: ‘I had lately with me the person who has discovered the china-earth. He had with him several samples of the china-ware, which I think were equal to the Asiatic. It was found on the back of Virginia, where he was in quest of mines; and having read Du Halde, he discovered both the petunze and kaolin. It is this latter earth which he says is essential to the success of the manufacture. He is gone for a cargo of it, having bought from the Indians the whole country where it rises. They can import it for thirteen pounds sterling the ton,’ ” etc.
It seems probable or possible that this earth was used to some extent in the earlier productions at Bow, as it is mentioned in the application of the company for patents, and as it appears that some hard porcelain is found among the earlier examples existing, in which this kaolin was perhaps used—called by the natives “unaker.”
The enterprise at Bow was purely a private one, originating with Edward Heylin, a merchant, and Thomas Frye, a painter. Unlike the works at Meissen, Sèvres, and indeed many others on the Continent, none of the factories in England had the assistance of the Government. The Bow works were afterward carried on by Crowther and Weatherby. In the British Museum is a large punch-bowl, made at Bow and painted by Thomas Craft, which is accompanied with his certificate. This statement shows that the works at Bow at that time (1760) had become extensive, if not profitable, for he mentions, “They employed there three hundred persons; about ninety painters (of whom I was one), and about two hundred turners, throwers, etc.”
The examples existing, and recently-discovered documents, go to show that the paste or body at Bow was not of supreme excellence, and not at all equal to that made on the Continent at that time. The painting was in a variety of designs, as appears by some memorandum-books, still existing: “Blue Newark pattern,” “sets of blue teas,” “a dinner-service,” “blue and pale as you please.” Tea-sets were evidently much made, and “white bud-sprigs,” “sprigged tea-sets,” and “Dresden sprigs,” are mentioned.