History of Madeley / including Ironbridge, Coalbrookdale, and Coalport

by John Randall

The Clay Industries of the district.

The very excellent coal-measure clays found on both banks of the Severn, and turned to such good account by the Coalbrookdale Co., by Mr. Legge at the Woodlands, by neighbours too on the opposite bank of the Severn, as well as the celebrity attained by the Coalport works, renders it necessary that we should take a somewhat comprehensive view of the subject. Bricks and tiles and pottery of various kinds appear to have been made from a very early period, but the manufacture of Salopian porcelain dates from the latter end of the last century. The sites of the old pot works were at the outcrops of the coal-measure clays; and it was the advantages the fire-clays and accompanying coals afforded which led to the manufacture of porcelain. The former were situate at Benthall and Jackfield, where advantage is still taken of them, flourishing works being still carried on in places where these very excellent materials are readily procurable; and before noticing the introduction and very successful manufacture of the former at Caughley and Coalport, it may be desirable to devote a few pages to a description of the old pot-works, at Haybrook, the Pitchyard, and at Jackfield.

The art of moulding a plastic substance like clay is, of course, as old as the world, and on the banks of the Severn, as shewn by specimens ascribed to early British and Roman periods, it must not only have existed but been carried to some perfection there. These clays are said to have been used by the Romans, as evinced by the red and grey pottery and tiles discovered at Uriconinum. Jacquemart, in his “History of Ceramic Art,” says that Jackfield is the most ancient site of pottery in Shropshire. And it is added that from a period so early as 1453, the valley of the Severn was famous for ornamental tiles, many specimens bearing that date having been found in Cathedrals and Churches. We have no reliable authority however for fixing the date at which the art was first practised in Shropshire, but it appears tolerably clear that the articles made were of the simplest kind, being almost uniformly domestic: those in daily use, such as milk-pans, dishes, tea-pots, jugs, and mugs. The latter were substitutes for the drinking horns, which later improvements in the plastic and ceramic arts have driven out of use. We have an ancient specimen of one made at the Pitchyard, and a drawing of another made at Haybrook, well potted, and elegant in shape. The latter is the best manipulated, and probably it was from this circumstance that the latter work was called “The Mug-House.”

In evidence adduced sometime since in an Election Scrutiny at Bewdley, a public-house referred to was called the “Mughouse,” which house is situated on the Severn, at a point where the bargemen, who formerly drew the vessels up the river instead of horses, were in the habit of stopping to get mugs of ale. “Tots” were made out of the same kind of clay, but smaller, and were used when the men drank in company; hence a person who had drank too much was supposed to have been with a convivial party, and was said to have been “totty,” a word often found in old works. Tots had no handles, and some of the old drinking cups, more particularly those of glass of Anglo Saxon make, were rounded at the bottom that they should not stand upright, and that a man may empty them at a draught,—the custom continuing till later times gave rise to our modern name of tumbler. The small tots had no handles; the mug had a “stouk,” as it is called, consisting of a single piece of clay, flattened and bent over into a loop. The ware was similar to the famous “Rockingham ware” made on the estate of Earl Fitzwilliam, near Wentworth.

The discovery of a salt glaze took place in 1690, and the manufacture of that kind of ware must have commenced here soon after, as traces of works of the kind are abundant. This method consisted in throwing salt into the kiln when the ware had attained a great heat, holes being left in the clay boxes that contained it in order that the fumes may enter and vitrify the surface. Evidences of the manufacture of these old mugs and tots, together with milk-pans and washing-pans, having been made at an early period, are numerous; and the old seggars in which they were burnt often form walls of the oldest cottages in Benthall and Broseley Wood.

A considerable number of old jars, mugs, and other articles, have from time to time been found in places and under circumstances sufficient to indicate great antiquity; as in mounds overgrown with trees, and in old pits which for time immemorial have not been worked. One large earthern jar, with “George Weld,” in light clay, was found in an old drain at Willey, and is now in the possession of Lord Forester. Mr. John Thursfield, who lived at Benthall hall, was at one time proprietor of these works.

Three quarters of a century ago these works were carried on by a Messrs. Bell & Lloyd; afterwards by Mr. John Lloyd, one of the best and most truly pious men we ever knew, who some time before his death transferred them to a nephew, Mr. E. Bathurst. His son succeeded him, and after a time sold them to the present proprietor, Mr. Allen, who to the ordinary red and yellow ware, which finds a ready sale in North and South Wales, has added articles of use and ornament in other ways, including forcing pots, garden vases, and various terra cotta articles.

Of the Pitchyard works we know little, only that they stood where the late Mr. E. Southorn carried on his Pipe Works, and where we remember them in ruins more than fifty years ago; but the numerous seggars, now found in cottage garden walls, shew that they must have been continued for some considerable time.

But, besides the manufacture of bricks, tiles, and pottery, these clays have been raised to a trade within the past few years in this district which is every day increasing, and which is capable of much further expansion: we refer now to the important department of encaustic or inlaid tiles and mosaics. The art of producing tiles of this description is only recently revived in this country, and is one which in point of antiquity is not to be compared with its sister branches. The first attempt, so far as we are aware, to revive the art in Shropshire, was at Jackfield; but the first designs were crude, quaint, and spiritless, and altogether wanting in those nicer distinctions and qualities which, not being perceived by the mind of the producer, could not be wrought by the hand. In this as in many other branches of fictile art insight into the principles as well as eyesight is required, and the mistake—as in many other instances—was committed of attempting something which, with the expenditure of thought and time, might catch the uneducated eye—the object being to produce quantity rather than quality. But the call made upon the art by the enlightened demands of the age soon gave a wonderful impetus to the improvement, and men of educated artistic taste—like the Mintons and the Maws—soon called to their aid the assistance of the greatest genius and the highest designing talent at command; at the same time that they directed their efforts to definite points in which utility might be made the instrument of beauty, and by which originality and intelligible design might be made to rise out of the most common-place wants. But although the modern manufacture of geometric and encaustic tiles is recent, it already far surpasses the ancients in variety and arrangement, in geometric patterns, and in beauty of design in encaustics as well as in mechanical finish; although it may be doubted whether the same breadth of general effect is studied as in many ancient examples. Mintons, of Stoke, Maw and Co., of Benthall, Hargraves and Craven, of Jackfield, and Mr. Bathurst, of Broseley, have each produced beautiful encaustic tiles for pavements—both for ecclesiastical and domestic use; and there is yet a large field for development of the use of similar tiles to colour and enrich the details of our street architecture, as well as in that of more elaborate and important structures.

The Coalbrookdale Co., have recently manufactured some admirable terra-cotta entablatures, with historical subjects for costly buildings in the metropolis. The erection of the Literary and Scientific Institution also, of different coloured clays shews their adaptation to works of great architectural beauty.