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 usual treatment of clay for glass-house purposes is as follows.
After having been carefully selected, it is broken into small pieces
by women accustomed to its appearance, who throw on one side all
pieces of discoloured and irregular clay; it is finely ground by heavy
edge-runners, and mixed with a certain proportion of ground potsherds
(old broken burnt pots); the proportion of burnt clay varies according
to the purpose for which the clay is to be used; it is then mixed with
water, and tempered with the foot, and allowed to lie a considerable
time--which should not be less than six or seven weeks--when it should
acquire great tenacity before being made into pots.
These pots are built up by hand gradually, great care being taken that
the last layer of clay is not allowed to become hard or dry, or it will
not unite properly; neglect in this respect causing the pot to give way
in the furnace. The pots are dried very gradually, and are seldom fit
for use under six to eight months.
The clay, after the selection of the best pot-clay, is allowed to lie
in large heaps, subjected to the action of the atmosphere, and is then
used in the manufacture of gas-retorts, fire-bricks, &c. The quantity
of bricks made annually in the Stourbridge district is about fifty
millions.
CHAPTER IX.
Salopian Wares--Uriconium--Caughley Works--Thomas
Turner--Introduction of “Willow Pattern”--Worcester Works--Close
of Caughley Works--Marks--Transfer Printing--Hancock and
Holdship--Coalport Works--Jackfield--John Rose--Swansea and
Nantgarw--Productions of the Coalport Works--Marks--“Willow
Pattern” and “Broseley Blue Dragon,” &c.--Broseley
Pipes--Coalbrookdale Iron Works--Terra Cotta--Madeley--Martin
Randall’s China--Jackfield Pottery--Maurice Thursfield--“Black
Decanters”--China--Craven Dunnill & Co.’s Tile
Works--Broseley--Benthall--Maw’s Tile Works--Broseley
Tileries--Benthall Potteries--Coalmoor.
In the midst of one of the most historically interesting districts of
the kingdom--a district abounding in spots rendered famous in various
ages by the events which have occurred within its boundaries, and full
of associations as varied as they are interesting--within a few miles
of Boscobel, and Tong, and numberless other places possessing a sad
interest as connected with the wanderings and the painful vicissitudes
of King Charles II.,--within a short distance of those two glorious
monastic ruins, Buildwas Abbey and Wenlock Priory--not far from the
“English Nineveh,” Uriconium, and within easy distance of Shrewsbury
and Ludlow,--is a group of manufactories whose simple history is as
interesting as that of many of these places.
Public-domain text, read in full here on John Shaqi.
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