John Pollen - British Manufacturing Industries - Pottery, Glass and Silicates, Furniture and Woodwork.

France, which had not as yet any ideas about the process for imitating the Italian majolica, created towards the same time two new sorts of pottery, one of which is the Palissy ware, the other the faïence d'Oiron. Palissy, a very inquisitive and intelligent man, is said to have been possessed by a strong desire to reproduce some Italian ware, which he had the opportunity of seeing; whether it was a piece of majolica or of graffito, is not known. Left to his own resources – for there was nobody to instruct him – he succeeded by perseverance and industry in finding out the process for making the different coloured glazes that the Moors had used long before him. There was no discovery in this, but the talent which he displayed in the mixing and blending of these vitreous colours, combined with the incontestable originality of his compositions, have made this ware very difficult to imitate.

The time of its production was limited to the life of Palissy, for there is not really a single good piece which can be traced to his successors. In the faïence d'Oiron, incorrectly called Henri Deux ware, we find a real cream-coloured earthenware taking precedence of two hundred years over our own. It was made between the years 1524 and 1567, and we have now every proof that three persons co-operated in this invention: Heléne de Hangest, who had been formerly entrusted by François I. with the education of his son, afterwards Henry II.; her potter at Oiron, named François Charpentier; and her secretary Jehan Bernart. The charming pieces resulting from the combination of these three intellects were few, and only intended to be offered as presents to the friends of the noble lady at court. This sufficiently explains the monograms and devices, which are found associated with the elaborate ornaments profusely spread over their surface. No ware was ever made before or after this, which required more care and delicate manipulation, and this explains why the highest prices paid in our generation for an article of pottery have been freely given for several of these curiosities. Their principal feature consists in inlaying differently coloured clays one into the other, a process not quite new, as it had been extensively used in mediæval times for making encaustic tiles for the flooring of our churches, but they were so minutely and neatly executed, and the designs so well distributed, that they are justly considered as marvels of workmanship. In speaking of these faïences d'Oiron, we can hardly admire sufficiently the variety in the productions of this period of the Renaissance; and if we select four of these specimens, such as a piece of Faenza ware, one of stoneware, one of Palissy, and another of Oiron, they may fairly stand as good illustrations of the ingenuity of man.

The progress realized in these times seems to have undergone a sort of lull, and if we accept the French and Delft faïences, which were a transformation of majolica, we find that the greatest portion of the seventeenth century was not marked by any new discovery or decided improvement. Towards its close, however, we begin to notice in Germany and the western countries of Europe several attempts at making a ware, possessing the three standard qualities of whiteness, hardness, and transparency of the Chinese, and these were the precursors of the great movement which occupied the whole of the eighteenth century. As might be expected, inquiries made in different countries by persons unacquainted with each other, brought different results; and if they failed in so much, that a porcelain identical to the Oriental was not reproduced, all of them succeeded in making a white ware of their own, adapted to the materials which they had at their disposal. And thus arose in each country the source of a prosperous trade.

It is only at that period, that England began to take her position amongst the producers of pottery, at least in a manner deserving of that name. Up to that time, if we were to judge by the quality of her work, she did not seem fitted for it, no more than for any sort of manufacture which required taste or a certain knowledge of the arts of design. In fact, it is easy to notice in looking at our collections of art manufactures, that the English samples are deficient in many respects; they may be gaudy without harmony of colour, or elaborate without refinement, exhibiting a certain amount of roughness in execution, when placed side by side with Italian, French, or German specimens of the same class. It is likely, with certain exceptions, that the Anglo-Saxon race did not feel much the want of all those niceties, and did not make great exertion to excel in the practice of those arts, for the appreciation of which its mind was not yet sufficiently cultivated. It has been remarked, that as the progress of art was constantly from East to West, the geographical position of England might account in some respects for her backwardness. However, like children of slow growth whose understanding does not seem quick or acute, but who afterwards derive the benefit of their reserved strength, England, coming almost the last in the production of pottery, seems as though she did so for maturing her capabilities. In this, as in the practice of other arts, she is slow, and her first steps are clumsy. Experimenting for some time, with mixed or indifferent success, she seems to hesitate, till she begins to feel that she holds the thing in her grasp, and then the day soon comes when she teaches the world what she can make of it. We can scarcely give her credit in the preceding review for some Staffordshire pottery made with the yellow or red marl, thickly glazed with the galena extracted from the Derbyshire mines, the decoration of these pieces being effected by pouring the light clay on the dark one in a symmetrical manner. This pottery was in use from the time of Queen Elizabeth down to the year 1775, the date of the latest specimen that I have seen. Some pieces preserved in the British Museum, in the Museum of Geology, and in M. Solon's collection, are to be noticed for their quaintness.

Up to the eighteenth century, no other clays than those extracted from the coal measures seem to have been used in Staffordshire; and the advantages derived from an abundant supply of both clay and fuel must have powerfully contributed to the settlement of this industry in that county. In Shaw's 'History of the Staffordshire Potteries,' which with Plot's 'History of Staffordshire,' are the only books to afford information on the then state of this trade, and whose most interesting extracts have been given by Sir Henry de la Beche in his excellent catalogue of the pottery exhibited in the Museum of Practical Geology, we gather this fact, that so far back as 1661, an Act of Parliament regulated the dimensions and quality of earthen vessels manufactured at Burslem, for holding the butter brought to the markets.

Towards 1680, a radical change seems to have taken place in the way of making the ware, by substituting common salt for the galena in the glazing process. This new production was called crouch ware , and there is every probability that the substitution was first made by a person acquainted with the manufacture of the German and Flemish stoneware, which at a former period had been tried in England. At that time Burslem possessed twenty-two ovens, and Shaw says, that when these were at work, the vapours emanating from the salt were such as to produce a dense fog in the town. These assertions leave no doubt as to the date of the commencement of this manufacture in Staffordshire, and that Burslem was its first seat.

Two German brothers, of the name of Elers, who settled near this town in 1688, seem to have been the first to try to produce pottery of a better class than the crouch ware. Their first attempt resulted in the production of a well finished red stoneware, which probably resembled the red ware made in Saxony by Bottger at the same time. Those who have left any written information about it, say that for general appearance and careful execution, it was quite equal to any similar article made by the Chinese; but I must confess, that the specimens that I had the opportunity of seeing are rather porous and far from being highly baked. These foreigners paid also great attention to the improvement of the white ware, and they were the first to employ the plastic clay from Dorsetshire for the purpose of whitening the cane marl of the locality. Their ware was generally light and well-shaped, and though the plaster moulds were wholly unknown at the time, and were only introduced fifty years later, the impressions taken from metal moulds are neat, and show the ornaments standing sharply out from the surface. This, combined with the peculiar appearance given to the surface by the sublimation of the salt, and its light colour, are the principal feature of the Burslem ware, which continued in existence till 1780, although before that date more perfected articles had found their way to the market. The brothers Elers used to make a great secret of their mixtures, and left the district as soon as the other manufacturers became acquainted with them. Astbury, who had been instrumental in robbing them of their processes, was one of the most intelligent amongst these potters, and it was he who, in 1720, introduced the flint, calcined and ground, for whitening the body of the ware, one of the greatest improvements in the making of earthenware. He seems to have been a thoughtful and persevering man, and it is said that the idea of this new material was suggested to him, by seeing a shoeing smith calcining a flint, for the purpose of blowing the dust into the eyes of his horse, suddenly afflicted with a kind of blindness. This is probably only a fiction, as the idea must have originated from witnessing the change undergone by flint when brought to a red heat.