Josiah Wedgwood himself died on January 3, 1795. He bequeathed to his second son Josiah his share in the factory and an estate of 363 acres in Stoke and Hanley, and to his other children a fortune of about £160,000.[109] Mr Burton sums up the result of his work as follows: “His influence was so powerful, and his personality so dominant, that all other English potters worked on the principles he had laid down, and thus a fresh impulse and a new direction was given to the pottery of England and of the civilized world. He is the only potter of whom it may truly be said that the whole subsequent course of pottery manufacture has been influenced by his individuality, skill and taste.”[110] [Illustration: MAP OF HANLEY IN 1800] CHAPTER VII. AT THE END OF THE EIGHTEENTH CENTURY. Wedgwood’s financial success with his Jasper and Black Etruscan ware, a success hitherto quite unique in the experience of the Potteries, led every potter of any capacity to attempt the same lines. They cannot be blamed for trying to imitate what was demanded by the fashionable market. The whole progress of the industry had been based upon the copying of successful processes, and Wedgwood did not patent his patterns or methods, even could he have done so. All over the Potteries they followed in his steps, content to reap with little trouble the advantages of his past labours—reproducing his patterns and avoiding all dangerous novelty. Invention died and the wares, tamely and ignorantly copied by inartistic workmen, sank artistically throughout the next half century. The copyist, imitator or rival, who annoyed Wedgwood most in his lifetime was Humphrey Palmer of Hanley. Most of the Palmer and Neale ware we now know of seems original enough—and good enough—but from 1769-1776 Wedgwood regards him as a copyist of the most objectionable description.[111] It must be said however that he always stamped his imitations with his own name and not Wedgwood’s; a precaution which is not always observed at this present day, even with a patent law to enforce a man’s right to his own trade-mark. It is noticeable too that when Wedgwood did, in 1771, patent the method of painting with an encaustic red on the Black Etruscan ware, Palmer produced the same results and forced him to share the patent rights.[112] Palmer however got into financial difficulties, in 1776, and his business was taken over by his brother-in-law Henry Neale. Neale, in conjunction later on with David Wilson, continued the same style of ornamental ware, and so excellent are some of his granitic ornamental pieces now in museums that he must take rank as a rival rather than as an imitator of Wedgwood. Both Neale and Palmer had married daughters of that Thomas Heath who tried to make Delft ware at Lane End early in the century. Another daughter is said to have married Mr Pratt, a potter of Lane Delf, whose descendants have ever since continued to make pottery