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 those kilns especially, when bags are used, there is no
passage of air through the middle of the kiln; and a vapour, in
spite of all the care that can be taken, will either transpire
through the bags, or be reflected from the crown, which will
smoke and spoil our ware, though it doth not appear to affect
other compositions. How true this remark may be, with regard to
the St. Stephen’s materials I cannot determine, as they have
not yet been tried in a kiln. The only furnace or kiln which
we have tried with any degree of success, is the kiln used by
the potters who make brown stone. It is called the 36-hole
kiln. Wood is the fuel used in it. They burn billets before and
under it, where there is an oven or arch pierced by 36-holes,
through which the flame ascends into the chamber which contains
the ware, and goes out at as many holes of the same dimensions
in the crown of the furnace. The safeguards at bottom stand on
knobs of clay, which won’t melt, about two inches square, and
two inches and a half or three inches high; by which means more
of the holes are stopped by the bottoms of the safeguard, but
the air and flame freely ascend, and play round every safeguard;
by which means those tingeing vapours, which have given us so
much trouble, are kept in continual motion upward, and hindered
from penetrating and staining the ware.
“Experience must determine the best form and way of using this
kiln. ’Tis the only desideratum wanting to the bringing of
the manufacture of porcelain, equal to any in the world, to
perfection in England.
“Caulin pipeclay and a coarse unvitrifiable sand make excellent
safeguards.”
The experiments on the Cornish materials having been perfectly
successful, Cookworthy established himself as a china manufacturer
at Plymouth. The works were at Coxside, at the extreme angle which
juts into the water at Sutton Pool. Some parts of the buildings still
exist, and are used as a shipwright’s yard. They are still known by
the name of the “China House,” and it is really pleasant to find that
a memory of these once celebrated works is yet retained on the spot
where they were carried on. It is strange, however, to think that the
same building which was used for the fabricating of the finest and most
delicate and fragile articles, should now be used for the constructing
of huge seaworthy vessels, which can withstand the force of the waves,
and bear heavy burthens in safety across the seas, whether in calm or
storm.
Public-domain text, read in full here on John Shaqi.
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