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
One class of objects to which attention should be called, presents,
in ordinary clays, adaptations in which is conspicuous all the play
of the chastest Greek contours, with all the forms dear to successive
generations of housewives before the revival set in. Prominent are
claret cups, loving cups, hot and cold water jugs, flower vases,
candlesticks, hunting jugs, pitchers, and inkstands, with a great
variety of other vessels. “What particularly arrests the eye in this
branch of the manufacture is, that each object has a style which now
takes us back to the flowery periods of Doric and Etruscan forms, now
to the days of mediæval hospitalities, or to modern instances, by
vessels of form and capacity which would delight even the hearts of
the notoriously beer-loving _Burschenschaft_ of Jena. And it is
necessary to explain that, as these works are not the results of the
common course of earthenware production, it has cost much thought and
the exercise of much knowledge and ingenuity to appoint a confederacy
of labour so particularly qualified as shall work successfully to this
special end.” The ornament is principally the _sgraffimento_, or
incised outline, which is effected sometimes as soon as the vessel
leaves the wheel, or more generally after it has been allowed partially
to dry to a consistency which will allow of its being handled, though
yet sufficiently soft to admit of being easily worked upon. To the
designs thus engraved in outline, especially to the leafage, colour is
applied with an ordinary water-colour brush, and burnt in. This ware
is called “Doulton ware,” or “Sgraffito ware,” and no two pieces are
formed alike. With regard to the body it will be sufficient to say that
the great strength of stoneware in comparison with that of earthenware,
and also its perfect cleanliness, have secured its adoption, whether
produced by this or any of the other eminent firms who manufacture it,
in all kinds of appliances in connection with drainage and sanitary
engineering; and the perfect resistance it offers to the strongest
acids, proves the material to be admirably fitted for the manufacture
of every kind of vessel and apparatus employed in trades depending in
any degree on chemical operations.
Public-domain text, read in full here on John Shaqi.
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