Colonial Homes and Their Furnishings

by Mary Harrod Northend

The first tobies were in reality scarcely more than hollow figures to which a handle had been attached, but as time went on they grew more and more like mugs, and while at first the cap or hat lifted off, forming a cover, the succeeding style had the hat incorporated into the mug.

Tobies are broadly classed as Staffordshire, and while this is probably true of a large portion, Dutch and German tobies as well as French ones are not uncommon. A supposed example of the last named is included in the Page collection at Lynn, and is known as the Napoleon toby. It is thought to be French from the fact that the likeness of the little corporal is not a caricature. English potters delighted to depict Bonaparte, but they seldom gave him the attractive countenance of this jug. They made him tall and thin, or short and abnormally fat, and they decked him in queer clothes, and labeled him "Boney." This jug depicts Napoleon in a very pleasant guise, suave of countenance and very well dressed. There is a smoothness of texture and finish about the work which marks it as distinct from the English tobies, which unfortunately frequently lacked these desirable qualities.

English tobies are sometimes classified as young and old tobies. The terms are expressive, for the young toby is a figure standing, as if full of vigor and life, with a jovial, happy-go-lucky expression, while the old toby is represented seated, with a worldly-wise face that has the appearance of having experienced life to the fullest. Both types always carry a mug in one hand, or both hands, from which a foaming liquid is about to issue. The coloring of the old toby is principally yellow, while the young toby is a combination of brown and yellow. Of course, both these colorings are varied with others.

Tobies show considerable variety in modeling and decoration. Some are jovial in appearance, others placid, and still others leering. In fact, every kind of a toby is represented, except a dry one. In addition to depicting the figures of human beings, some tobies represented animals, and not a few were in the form of teapots. The latter were generally finished in blue, with a band of green and a bit of copper luster, and in height they varied from twelve to eighteen inches.

Although these drinking mugs were made in many factories, none bear hallmarks, save those made at Bennington, and, in consequence, those are more highly prized by connoisseurs. A unique specimen among the output of this factory has no mug in the hand, the arms being arranged close to the body, which has the appearance of having no arms at all.

Delft ware, which is at the present time enjoying great favor among collectors, made the country where it originated famous, and its history is in reality the history of Holland's commercial rise.

Besides its age, old Delft has the charm of individuality. As the designs were handworked, the ware lacks the precision in drawing that later stamped pieces have, and shows softened outlines instead of sharply defined pictures. Nor is old Delft ware so intense in coloring as its descendants of to-day. Comparing them side by side on a plate rail, or hanging on the wall, old Delft is told by its soft, beautiful blue. Then there is the charm of association. Coming from a nation of thrift and exemplary housekeeping, Delft, much more than fragile glass, aristocratic china, or curious foreign objects, appeals to the collector as a cheerful, comfortable, homelike thing to collect.

There are undoubtedly many good specimens in this country to-day, but many more are inaccessible. Connecticut, as well as New England generally, has considerable, for the merchant princes who brought so many other treasures to Eastern ports brought also Delft. How much more of this charming old ware is hidden under peaked roofs of story-and-a-half farmhouses in some of the old Dutch settlements along the Hudson and on Long Island, is unknown, but perhaps we shall know in another generation or so.

Among our specimens we find more of the English than the Dutch Delft. The latter, which is the original ware, took its name from the town of Delft, where the ware was first produced, and which, for several centuries, continued to be the chief center of the Delft industry. Although it was probably made as early as the latter part of the fifteenth century, but little is known of it until about one hundred years later. Its origin was an attempt on the part of Dutch potters to imitate, in a cheaper form, Chinese and Japanese wares. At that time were made large importations of Eastern wares, and Holland, as the only European power allowed a port by Japan, had a great variety of types to copy. The first potteries were established at Delft about the year 1600, and almost from its inception the industry was protected by a trust. For nearly one hundred and fifty years, the protection of this trust or "Guild of St. Luke" made Delft an important manufacturing center, giving employment to nearly one twelfth of its inhabitants. The best examples of this old Dutch Delft are beautiful copies of Chinese and Japanese porcelain, which are hardly distinguishable from the Oriental.

A fact worth noting in connection with the rapid rise and great popularity of Delft is that the combination or Guild which was instrumental in the prosperity of the industry was also at least partly responsible for its downfall. In Holland, an independent maker could not flourish, but the progressive English made it very well worth while for workmen to emigrate.