There is more than the money's worth in every good piece of cabinet-work, iron-work, woven fabric, etc.; for with every honest workman's hand goes a part of his soul: he gives it willingly, gladly. BOW--SOFT PASTE.--The small village of Stratford-le-Bow, in Middlesex, now, I think, a part of London, is believed to be the place where a china-factory was first established in England, and some suppose it may have been as early as 1730, though 1744 is the earliest authentic date mentioned. Mr. Chaffers[15] says--and it has some interest to us Americans, as perhaps showing whence the old and great England drew its first porcelain life--"William Cookeworthy, of Plymouth, writing to a friend in 1745, says: 'I had lately with me the person who has discovered the _china-earth_. He had with him several samples of the china-ware, which I think were equal to the Asiatic. It was found on the back of Virginia, where he was in quest of mines; and having read Du Halde, he discovered both the _petunze_ and _kaolin_. It is this latter earth which he says is essential to the success of the manufacture. He is gone for a cargo of it, having bought from the Indians the whole country where it rises. They can import it for thirteen pounds sterling the ton,'" etc. It seems probable or possible that this earth was used to some extent in the earlier productions at Bow, as it is mentioned in the application of the company for patents, and as it appears that some hard porcelain is found among the earlier examples existing, in which this kaolin was perhaps used--called by the natives "unaker." The enterprise at Bow was purely a private one, originating with Edward Heylin, a merchant, and Thomas Frye, a painter. Unlike the works at Meissen, Sèvres, and indeed many others on the Continent, none of the factories in England had the assistance of the Government. The Bow works were afterward carried on by Crowther and Weatherby. In the British Museum is a large punch-bowl, made at Bow and painted by Thomas Craft, which is accompanied with his certificate. This statement shows that the works at Bow at that time (1760) had become extensive, if not profitable, for he mentions, "They employed there three hundred persons; about ninety painters (of whom I was one), and about two hundred turners, throwers, etc." The examples existing, and recently-discovered documents, go to show that the paste or body at Bow was not of supreme excellence, and not at all equal to that made on the Continent at that time. The painting was in a variety of designs, as appears by some memorandum-books, still existing: "Blue Newark pattern," "sets of blue teas," "a dinner-service," "blue and pale as you please." Tea-sets were evidently much made, and "white bud-sprigs," "sprigged tea-sets," and "Dresden sprigs," are mentioned. While all the first work at Bow was hand-painted, it appears that later, about 1756, printed or transfer work was used there; this, of course, secured cheaper sets.