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
guests were assembled, and those who partook of it took each a spoonful
in turn as the “pot” was handed round. Whichever of the party fished
up the coin was considered certain of good luck in the coming year,
while an early and happy marriage was believed to be the enviable fate
of the lucky individual who fished up the ring. Other posset pots will
be found engraved in other parts of this volume, under the heads of
Nottingham and Brampton.
It is clear that about this time the art of pot-making began to make
rapid strides; for in the space of twenty-seven years--from 1722
to 1749--no less than nine separate patents were taken out, and
were followed in rapid succession by others. In 1722, Richard Holt
and Samuel London, gentlemen, took out a patent for “a certain new
composicon or mixture (without any sort of clay) for making of white
ware, which is formed and moulded in a method hitherto not known or
practised, and far surpasses the finest of delf ware, or any other sort
made in any part of Europe, and also by their new method of impression
make the fabrick of earthenware of a more exquisite shape than the
present method of turning could ever perform or arrive to, by which
meanes our subjects will be able to excell all Europe, and not only
employ a great many of our own poor, to the great benefit of trade
and the manufactures of our kingdom, but also prevent the clandestine
running of delf ware, &c., from foreign parts into Great Brittain;”
granted “for the term of fourteen years.” It does not say of what
materials the composition is made, except that it is without any sort
of clay, nor does it describe any method of impression.
In the same year, Thomas Billin, having “by many long, laborious, and
chargeable experiments found out and invented a method for making the
most refined earthenware, with help of clay and other materials found
within this kingdom, which ever yet appeared in this part of Europe, of
a nature and composicon, not only transparent, but so perfect in its
kind, and of principles so firmly vnited, as (contrary to the nature of
all other earthenwares) to resist almost any degree of heat, by which
qualities it is more valuable, and of greater vse and ornament than all
other kinds ever yet invented or practised in this kingdom, and capable
of being wrought into vessels and ornaments for any vse; and for the
working of the same invention he hath invented particular and proper
engines and tools.” No description is given of the mode of manufacture,
or of the engines or tools mentioned in the title of the invention.
Public-domain text, read in full here on John Shaqi.
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