Candlestick: Unique specimen. Height 6". Bell-shaped base with flange and shaft above with socket at top. Handle from bottom of socket to bottom of shaft. Upper portion slipped, decorated, and glazed. Ripple-edged, shallow dish: Unique specimen. Diameter 9-1/4". Concave, rimless dish or plate with edge crimped as for a pie or tart plate. Upper surface slipped, decorated, and glazed. DECORATION Technique: (1) Incising through wet slip into paste with pointed tool for linear effects. (2) Excising of small areas to reveal paste and to strengthen tonal qualities of designs. (3) Incising with multiple-pointed tools having three to five points, to draw multiple-lined stripes. (4) Stippling with same tools. Motifs: The motifs are varied and never occur in any one combination more than once. There are two general categories of design, geometric and floral, although in some cases these are joined in the same specimen. In the geometric category, the majority of plate rims are decorated with hastily drawn spirals and _guilloches_. The centers may have circles within squares, circles enclosing compass-drawn petals, circles within a series of swags embellished with lines. Triple-lined chevrons decorate the border of one plate. A chamber pot is decorated with diagonal stripes of multiple lines, between which wavy lines are punctuated by small excised rectangles. Some cups, jugs, and the candlestick are simply decorated with vertical stripes, between which are wavy lines, stippling, and excised blocks. The floral category includes elaborate and intricate stylized floral and vine motifs: tulips, sunflowers, leaves, tendrils, hearts, four-petaled flowers. One plate (fig. 11) combines the geometric feeling of the first category with the floral qualities of the second in its swag-and-tassel rim and swagged band, which encloses a sunflower springing from a stalk between two leaves. The design motifs are unique in comparison with those found on other English pottery of the 17th century. The geometrical patterns and spiral ornaments, which also occur in Hispanic majolica, have a Moorish flavor. Christian symbols--especially tulips, sunflowers, and hearts--are recurrent, as they are on contemporary West-of-England furniture, pewter, and embroidery and on the carved chests, and crewel work of Puritan New England. There is considerable reason to believe that there was a connection between North Devon sgraffito-ware manufacture and design on the one hand and the influx of Huguenot and Netherlands Protestant artisans into southern and southwestern England on the other. Low Country immigrant potters were responsible for two other ceramic innovations elsewhere in England--stoneware and majolica. [Illustration: FIGURE 22.--Slip-coated porringers and drinking bowl (center). Colonial National Historical Park.]