Most pieces of Cookworthy manufacture were copied from the Chinese, and are still well known by the name of Plymouth porcelain. At Bristol, Champion used the same clay to produce a softer kind of ware, and his materials began to be employed at Bow and other places. The Staffordshire potters soon became anxious to take advantage of the discovery, and in 1777 a company was formed by Jacob Warburton to obtain a licence for their use. This was granted by Champion, but with this singular restriction--that, although they were allowed to use a certain quantity of china clay and china stone, they were not to make porcelain. This restriction, however, did not last long, and Champion himself came for a short time to Shelton to superintend some works. Amongst the names of Warburton's associates, we notice some well known in Staffordshire, such as S. Hollins, of Shelton; Antony Keeling, of Tunstall; Turner, of Lane End, and a few others. To these gentlemen we must give credit for the earliest attempts to introduce the manufacture of china into the Potteries. However, their porcelain was inferior to that made at Worcester and Derby, and it is doubtful whether they would have persisted, if the matter had not been settled by Josiah Spode, the second of that name, who, by adding calcined bones to the body of the ware, made a new kind of porcelain, distinct from the hard or the soft previously made. On that account Spode deserves to be considered as the creator of the English porcelain. There is this peculiarity in the use of bones, that the phosphate of lime which enters into their composition is not decomposed by the silicates with which it is mixed, and, as it is infusible, its admixture in the body allows the ware to stand without injury the temperature at which the felspar is vitrified. This hardening of the bones does not exclude a certain amount of transparency, and they possess, besides, a very great advantage in preventing the oxides of iron which exist in the clays, producing that brownish or imperfect transparency, noticeable in the old Derby or Worcester ware. I have already said that the adaptation of the glaze for each kind of pottery is one of the greatest difficulties that the maker has to overcome; in this case, however, there was very little, and the glazing of English porcelain may be considered as exceptionally easy. Most of the glazes which had been used for the soft porcelain could be adapted to this one, a property which was of great service when the pieces had to be decorated. I have already explained, that when paintings executed on the surface of the ware are submitted to a moderate red heat, if the glaze is soft enough to undergo an incipient fusion, the vitreous colours with which they are executed will sink into it and attain, by their incorporation, an amount of glossiness and brilliancy which cannot be got on the surface of hard glazes. This is particularly illustrated by the old SA"vres ware, which possesses this quality in