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
In stoneware--which, like every other branch of the ceramic art,
has made great progress during the last twenty or thirty years, and
has been made applicable to scores of purposes never dreamed of by
the potters of old--Messrs. Doulton produce, to a very large extent,
bottles, jars, pitchers, and jugs; troughs and pans; feet, carriage,
bed, and other warmers; barrels and taps; filters, filter-stands, and
drip-pans, and every possible variety of household vessels. Besides
these, force-pumps, retorts, receivers, condensing-worms, still-heads,
evaporating dishes and pans, filtering-funnels, percolators, and
every other conceivable kind of chemical and manufacturing vessels
and apparatus, as well as drain-pipes, gullies, sinks, and sanitary
goods, are largely made.
Many of the productions in this stoneware are of extremely artistic
character, and evince a purity of taste which is highly meritorious.
Some of the jugs and tankards, from antique examples, and which are
produced both in brown, blue, claret, and fine white stoneware, are
remarkably chaste and elegant, and remind one of the best periods of
German and Flemish art. The forms are admirable, and the decorations,
whether foliage or animal, incised or in relief, are always thoroughly
well considered, and especially adapted to the material, the mode
of production, and the use of the object. “There are no affected
imitations of antique types. The spirit of true design is caught with
admirable perception and insight, and when colour is introduced, it is
done sparingly, and with a view to enhance the form of the object and
the natural beauty of the material, rather than to conceal either the
one or the other.”
[Illustration: Fig. 358.--Group of Doulton Ware.]
Public-domain text, read in full here on John Shaqi.
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