The ceramic art of Great Britain from pre-historic times down to the present day, Volume 1 (of 2) : $b being a history of the ancient and modern pottery and porcelain works of the kingdom and of their productions of every classJewitt, Llewellynn Frederick William
History
The ceramic art of Great Britain from pre-historic times down to the present day, Volume 1 (of 2) : $b being a history of the ancient and modern pottery and porcelain works of the kingdom and of their productions of every class
Jewitt, Llewellynn Frederick William
Pottery, British -- History
The Coades are said to have come from Lyme Regis, in Dorsetshire, and
probably it was for the purpose of turning their native clay to good
account in London that induced them to establish this manufactory.
Bacon, Flaxman, Banks, Rossi, and Panzetta, the sculptors, were
employed to model for these works, and many of the old mansions
and public buildings in London and in the country, as well as
abroad--including the bas-relief in the pediment over the western
portico of Greenwich Hospital, representing the death of Nelson,
designed by Benjamin West, and modelled by Bacon and Panzetta; and the
rood-screen of St. George’s Chapel, Windsor; the statue of Britannia
on the Nelson monument at Yarmouth, &c.--were executed at these works.
The works principally produced at Coades were capitals of columns,
statues, vases, bassi-relievi, monuments, coats of arms, keystones,
angle rusticated blocks, balustrades, &c. They were of durable quality
and excellent manufacture.
Another person employed at Coades was William John Coffee, who
afterwards attained some celebrity as a modeller at the Derby China
Works, and as a terra cotta maker, for a short time, at Derby. I
believe he was employed as a fire-man at Coades, and here, no doubt,
being a clever fellow, picked up his knowledge of modelling and of
mixing bodies. The following curious letter and “information,” from
the originals in my own possession, give some highly interesting
particulars regarding Coades’ and Sealy’s manufactory in 1790:--
“_The information got from the fire-man that worked at the
Artificial Stone Manufactory, Lambeth_:--There is three kilns,
the largest is 9 feet diameter and about 10 feet high, the other
two are sizes under; they have only three fire-holes to each,
and they are about 14 inches in the clear. They make use of
no saggers, but their kilns are all muffled about two inches
thick, which was always done by this fire-man. They always was
four days and four nights of fireing a kilns, and the moment
the goods are fire’d up he always took and stop’d the kilns
intirely close from any air whatever without lowering the fires
at all. He has been use to fire intirely with coal (which are
call’d Hartley coals--they are not much unlike yours at Derby).
He never made use of any thermometer, but depended intirely on
his own knowledge. The composition shrinks about half an inch
in a foot in the drying, and about the same in the firing. A
great deal of the ornaments are 4 inches thick when fired, and
he has fired figures 9 feet high. This man has had the intire
management of building the kilns, setting and firing them for
many years; his wages was one guinea per week, and for every
night when he fired he had 2_s._ 6_d._ for the small kiln, 3_s._
for the next size, and 3_s._ 6_d._ for the largest.
Public-domain text, read in full here on John Shaqi.
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