CHAPTER V.
Pottery in England in the eighteenth century—Delft ware—Posset pots—Billin’s patent—Redrich and Jones’s patent—Benson’s patents—Ralph Shawe’s patents—Trial of right—The Bow works—Heylyn and Frye’s patents—The Fulham works—White’s patent—The Count de Lauraguais’ patent—Staffordshire wares—The Plymouth works—William Cookworthy’s patent—Josiah Wedgwood—Crease’s, and other patents—Ralph Wedgwood’s patents—Progress of the art during the century.
Fig. 336.—Posset Pot.
Fig. 337.
At the commencement of the eighteenth century, the ceramic art in this country was beginning to expand in a remarkable degree, and many important strides for its improvement were taken. The brown-ware dishes, tygs, and other vessels for domestic use, were still made as before, and stoneware bottles, ale pots, and other articles continued to be produced; but, beyond these, some much finer kinds of earthenware were introduced, which gradually took their place. Among these were Delft ware and Crouch ware, to which I have referred, and the white ware, which has frequently, but erroneously, been called “Elizabethan ware,” which was probably introduced about this time. A good specimen of the brown ware of this period, which will be seen to be identical in character with the dishes and tygs and cradle before spoken of, is the posset pot shown on Fig. [336]. It bears the loyal motto, “GOD : SAVE : THE : QVEEN : 1711,” and is ornamented in the usual way with slip. It is of much the same character as a wassail or gossips’ bowl, bearing the name “RICHARD MEIR,” in the Liverpool Museum. It is shown on Fig. [337]. The form of Fig. [336] is somewhat different from the usual later shape of posset pots, as will be shown on engravings which will follow. As posset and posset pots are local matters, a few words concerning them will here be interesting. Posset pots have been made and regularly used in Derbyshire and the neighbouring counties from an early period until the present time. “Posset” is an excellent mixture of hot ale, milk, sugar, spices, and sippets, or, perhaps, more correctly speaking, dice, of bread or oat-cake. In these counties this beverage was formerly almost, if not quite, universal for supper on Christmas-eve; and the “posset pot” was thus used but once a year, and often became an heirloom in the family. A small silver coin and the wedding-ring of the mistress of the family were generally dropped into the posset when the guests were assembled, and those who partook of it took each a spoonful in turn as the “pot” was handed round. Whichever of the party fished up the coin was considered certain of good luck in the coming year, while an early and happy marriage was believed to be the enviable fate of the lucky individual who fished up the ring. Other posset pots will be found engraved in other parts of this volume, under the heads of Nottingham and Brampton.
It is clear that about this time the art of pot-making began to make rapid strides; for in the space of twenty-seven years—from 1722 to 1749—no less than nine separate patents were taken out, and were followed in rapid succession by others. In 1722, Richard Holt and Samuel London, gentlemen, took out a patent for “a certain new composicon or mixture (without any sort of clay) for making of white ware, which is formed and moulded in a method hitherto not known or practised, and far surpasses the finest of delf ware, or any other sort made in any part of Europe, and also by their new method of impression make the fabrick of earthenware of a more exquisite shape than the present method of turning could ever perform or arrive to, by which meanes our subjects will be able to excell all Europe, and not only employ a great many of our own poor, to the great benefit of trade and the manufactures of our kingdom, but also prevent the clandestine running of delf ware, &c., from foreign parts into Great Brittain;” granted “for the term of fourteen years.” It does not say of what materials the composition is made, except that it is without any sort of clay, nor does it describe any method of impression.
In the same year, Thomas Billin, having “by many long, laborious, and chargeable experiments found out and invented a method for making the most refined earthenware, with help of clay and other materials found within this kingdom, which ever yet appeared in this part of Europe, of a nature and composicon, not only transparent, but so perfect in its kind, and of principles so firmly vnited, as (contrary to the nature of all other earthenwares) to resist almost any degree of heat, by which qualities it is more valuable, and of greater vse and ornament than all other kinds ever yet invented or practised in this kingdom, and capable of being wrought into vessels and ornaments for any vse; and for the working of the same invention he hath invented particular and proper engines and tools.” No description is given of the mode of manufacture, or of the engines or tools mentioned in the title of the invention.
In 1724 Robert Redrich and Thomas Jones had a patent granted them for “a new art or method, as well for staining, veining, spotting, clouding, damasking, or otherwise imitating the various kinds of marble, porphyry, and other rich stones, and tortoiseshell, on wood, stone, and earthenware, and all and every such goods, wares, utensils, and things as are made, cut, or fashioned thereout, as for the making, marbling, veining, spotting, staining, clouding, and damasking any linen, silks, canvas, paper, and leather.”