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JACKFIELD POTTERY AND PORCELAIN.

Older even than the Haybrook Mug House are the Pot Works of Jackfield, which, according to the parish register of Stoke-upon-Trent, quoted by Mr. Jewitt and Mr. Chaffers, supplied a race of potters to that great centre of early pot-making in the year 1560. Excavations made too, some years ago, brought to light on a spot near which the present works of Craven, Dunnill & Co., now stand, an oven, or kiln, with unbaked ware, which appeared to have been buried by a land-slip; and in an old pit, which it was said had not been opened for two centuries, a brown mug was discovered, which had upon it the date 1634. If Jackfield supplied early potters for Stoke, Stoke sent pot masters to Jackfield. One of these was Mr. Richard Thursfield, an ancestor of Greville T. Thursfield M.D., who took these works and carried them on in 1713. He was succeeded by his son John, of whom we have spoken as afterwards living at Benthall and carrying on works there. The late Richard Thursfield, Esq., had in his possession some good examples of Jackfield ware. Among them was a handsome jug, gilt, having on it, we believe, the name of one of the family.

In 1772, or soon after, Mr. Simpson carried on the works; and he appears to have further improved the manufacture, for in addition to the "black decanters," as his mugs were called, he made various articles of superior quality, which prior to the breaking out of the war with America found a ready sale there. The old mill turned by the waters of the Severn, where he ground his materials, has just been taken down.

Mr. Blakeway afterwards carried on the works, and was joined by Mr. John Rose, upon leaving Caughley, and, after carrying them on a short time by himself, he removed them, as he did the Caughley Works, to Coalport, on the opposite bank of the river.

The site of the old pottery was on the ground which is now occupied by the Jackfield Encaustic Tile Works, the clays of which are specially adapted for geometrical and encaustic tiles; and such tiles have been made here for a number of years; but since the old works, came into the possession of the present firm of Messrs. Craven, Dunnill and Co., great changes have taken place. The firm took a lease of about four acres of ground, and adjoining the old works built a large and commodious manufactory, which has been in operation for nearly two years. They have since taken down all the buildings of the old works, and have erected on their site and joining up to the new works, large warehouses, show room, offices, and entrance lodge. The plan of the works is very complete, so as in every way to economise in the process of manufacture, and they are now among the most complete works of the kind.

As shewn in the accompanying engraving, the buildings consist of four blocks, one detached and the others connected, each block accommodating a separate branch of the manufacture.

In the detached block the raw materials are reduced to a state ready for the workman.

The second block contains the damping places, where the clays are kept in a certain degree of moisture; pressers' shops for the various colours of geometrical tiles, and the encaustic tile makers' shops, with their stoves.

The next block provides for the drying and firing of the goods and decorating shops.

On the first floor are workshops employed for painting, printing and enamelling, or other decorative purposes.

The fourth block provides for the sorting and stocking of goods and for packing them for despatch; also the offices and showroom.

Near to the detached block first described a small gas-works has been erected, which supplies the whole of the buildings.

CAUGHLEY.

Like the works previously mentioned, those of Caughley were upon the outcrop of the coals and clays of the Shropshire coal-field. They were established about the middle of the 17th century, on the estate of Mr. Brown, who lived at Caughley Hall, and was an ancestor of T. Wylde Brown, Esq., of the Woodlands, near Bridgnorth. An opaque stone china appears to have been made there in the first instance.

"The porcelain manufactory erected near Bridgnorth, in this county, is now quite completed, and the proprietors have received and supplied orders to a very large amount. Lately we saw some of their productions which in colour and fineness are truly elegant and beautiful, and have the bright and lively white of the so much extolled Oriental."

Printing on porcelain appears first to have been introduced by Dr. Wall at the Worcester works, a process soon after taken to Caughley by a person named Holdship, a former partner in the Worcester works, where it was practised as a great secret, with closed doors.

Mr. Chaffers says:--

"Messrs. Chamberlain of Worcester, until the end of 1790, had their porcelain in the white from Thomas Turner of Caughley. He at first mixed all the bodies himself, but afterwards instructed his sister how to do it; subsequently a man named Jones mixed for him."

The other works at Worcester, Grainger & Co., formerly, when first established, merely painted and finished ware manufactured at Caughley. The China so sent was marked with the letter "C." for Caughley; sometimes "S." for Salopian.

Among the chief workmen were the following:--Dontil, painter; Muss and Silk, who afterwards attained great celebrity in London, as painters on enamel, were landscape painters. Thomas Fennell, and Edward Jones flower painters, Thomas Martin Randall, bird painter, Edward Randall, gold decorator, Adams, blue painter, De Vivy and Stephan, modellers.

Perry, one of the workmen who was apprenticed to Mr. Turner, states that in 1797 they had four printing presses at Caughley, introduced by Davis; the patterns at that time and for years previously being birds and blue panels; that Turner had been an engraver at Worcester; that he recollects a slab on the front of one of the arches of the building at Caughley, stating the date of its foundation, 1772, which would be the time he succeeded Mr. Gallimore, and that it was not finished for some time after.

In the Salopian Mag. we gave an engraving of the old works, from a view in the possession of Mr. Hubert Smith, the only lineal descendent of Mr. Turner; and also of a "puzzle jug," now in the possession of Mr. E. Thursfield, of Bridgnorth. It is eight inches in height, and is formed of the usual body of these works. It is decorated with blue sprigs, and bears on its front the name, in an oval border, of

John Geary Cleak of the Old Church Brosley 1789.

On the bottom is written in blue "Mathew th v & 16," though one would fail to see any allusion in the text here referred to either to the vessel or to its purpose.

The first specimens of Caughley are but little removed from earthenware, but the material speedily improved, as did the manipulation or potting; the latter to an extent as regards shape and outline so much so as to render many of them superior to the same class of articles of the present day. Their excellence in this respect is so self-evident as still to render Caughley china a great favourite. Choice articles of this manufacture are carefully guarded by Shropshire families, with whom they have become heirlooms; they are carefully stored in corner cupboards and on kitchen shelves, where they were once kept in countenance by rows of shining pewter, and are only produced at christenings and weddings, and on such red-letter days and rare occasions. Every year will add to their value, to the veneration in which they are held; and at distant periods, and when compared even with the ordinary productions of our factories at the present day, they will serve to show how successful were the well-directed efforts at the Caughley Works to produce a porcelain which should take high rank and maintain it.

The buildings of the old factory have been razed to the ground; the plough passes over where they stood, and a few pitchers turned up now and then are the only indications obtained of these interesting works. But a class of clever men were educated there; some of whom--as the late Herbert Minton's father, John Rose, and others--have done much to raise the character of our English productions.

COALPORT PORCELAIN WORKS.

The first works at Coalport were we believe founded and carried on by William Reynolds, Thomas Rose, Robert Horton, and Robert Anstice; the former William Reynolds, being then Lord of the Manor. The buildings, or a good portion occupied by them are still standing.

Mr. Thomas Rose, and Mr. John Rose, were sons of a respectable farmer living at Sweeney. The latter was a clerk under Mr. Turner, at Caughley, and left him to take the Jackfield works about the year, it is said, 1780. Having carried them on for a few years, in conjunction with Mr. Blakeway, during which time he greatly improved the quality of the article manufactured there, he established the present Coalport works on the side of the canal, then recently opened, and opposite to those of Reynolds, Horton, Thomas Rose, and Robert Anstice. On Mr. Turner retiring from the Caughley works in 1799, Mr. Rose and the new company he had formed purchased them, and by means of increased capital shortly afterwards removed both plant and materials from Caughley and Jackfield to the more advantageous position they now occupy, on the banks of the canal and the Severn. Even the buildings were pulled down and the bricks and timber removed to the opposite side of the Severn, where they were used in constructing the cottages now standing opposite to the present Coalport Works.

A staff of excellent work-people had been obtained from Caughley and Jackfield works combined, but an accident occurred on the night of the 23rd of October in that year by the capsizing of the ferry, as the work-people were crossing the Severn, by which twenty-eight were drowned, some among them being the best hands employed at the works. It was a dark night, the boat was crowded, and the man at the helm, not having been accustomed to put the boat over allowed the vessel to swing round in the channel where, with a strong tide running, it was drawn under by the rope which went from the mast to a rock in the bed of the river. Some managed to scramble out on the Broseley side of the stream; but the following were lost, notwithstanding the efforts of those who rushed to the river side on hearing the despairing cries raised to save them. Jane Burns, Sarah Burns, Ann Burns, Mary Burgess, Elizabeth Fletcher, Mary Fletcher, Elizabeth Beard, Jane Boden, Elizabeth Ward, Sarah Bagnall, Sophia Banks, Mary Miles, Elizabeth Evans, Catherine Lowe, Jane Leigh, Charles Walker, George Lynn, James Farnworth, George Sheat, John Chell, Robert Lowe, William Beard, John Jones, Benjamin Gosnall, Benjamin Wyld, Richard Mountford, Joseph Poole, and another. The twenty-eight lost included some of the best artists; and an unfinished piece of work, left by Charles Walker but a few minutes before he lost his life, was till within a few years ago reverently kept in the warehouse as a memento of the unfortunate event.

The event, as may be expected, created a great sensation at the time, and was thus commemorated, by Mr. Dyas, one of the Coalport workmen:

Alas! Alas! the fated night Of cold October twenty third, In seventeen hundred ninety-nine; What cries, what lamentation heard, The hour nine, when from yon pile, Where fair porcelain takes her form, Where energy with genius joins, To robe her in those matchless charms, A wearied band of artists rose, Males and females, old and young, Their toil suspend, to seek repose, Their homes to gain, they bent along. Sabrina's stream was near to pass, And she her frowning waves upraised, Her mist condensed to darksome haze Which mocked the light; no star appeared. Yon boat, which o'er her bosom rides, Enveloped in the heavy gloom, Convulsive stretch'd along her sides, To snatch the victims to their doom. Soon e'er on board their faltering feet A monster fell who grasped the helm, Hove from the shore the distressed crew, And so the dreadful overwhelm, Swift horror's wings o'er spread the tides, They sink! they rise! they shriek! they cling! Again they sink; alarm soon flies, Along their shores dread clamours rise, But Oh, the bleakest night preventing Every means to save their breath, Helpless, hopeless, life despairing Twenty-eight sunk down in death. Alas small time for Heaven's implorings, Quick sealed their everlasting state, Or, in misery, or in glory, The last tribunal will relate, Here fold, O muse thy feeble wings, Hope where thou canst, but not decide, Dare not approach those hidden things, With mercy, justice, these abide. Return with sympathetic breath, See yon distracted mother stands, Three daughters lost, to heaven she lifts Her streaming eyes and wringing hands, Hark! from those dells how deep the wailings, Fathers, Mothers, join their moans, Widows, orphans, friends and lovers, Swell the air with poignant groans; Recluse in grief, those worthy masters Silent drop the mournful tear. Distress pervades surrounding hamlets, Sorrow weeps to every ear, Sleepless sighings hail the morning, Morning brings no soothing ray.

The author of these verses, Mr. Dyas, was a very clever carver on stone and on wood. He engraved the blocks for a work printed by Mr. Edmonds at Madeley, entitled "Alexander's Expedition down the Hydaspes and the Indus to the Indian Ocean." He was the author too of an invention world-wide in its benefits, that of the printers' roller; an invention second only to the art of printing itself, and infinitely superior to thousands of others out of which vast fortunes have been made.

The felspar porcelain however never equalled the original Nantgarw fret body ware for purity and transparency, a white plate of which would at the present time fetch a couple of guineas. It cannot be said that any new element was introduced by using felspar, because the kaolin, contained in Cornish stone and clay, as discovered by Cookworthy in 1768, had been, and was now used at Plymouth, Derby, Worcester, Caughley, and Coalport; and by a judicious admixture of this and a free use of bone a good serviceable china was produced. The former gave mellowness, and the latter whiteness, which approached in a degree the qualities of old and Oriental china. In fact Mr. Rose, who had the sole management of the works, spared neither pains nor expense in raising the character of the productions of the Coalport Works, which were now by far the largest porcelain works in the kingdom, if not in the world. Like Minton, he was a man of wonderful energy, being strong in body, having a clear head, a cool judgment, and gifted with remarkable perseverance.

The works were now in a state of prosperity; warehouses were opened in Manchester, London, Sheffield, and Shrewsbury, and a large trade was being done with dealers all over the kingdom. There was plenty of employment, and a good understanding generally prevailed between masters and their work people. Both before and after the strike there were at Coalport, as at other works of the kind elsewhere, an intelligent class of men, among potters and painters, as well as in other departments. Painters, especially, had good opportunities for mental culture and obtaining information. Numbers worked together in a room, one sometimes reading for the benefit of the others, daily papers were taken, discussions were often raised, and in politics the sharp features of party were as defined as in the House of Commons itself. The rooms were nicely warmed, and a woman appointed to sweep up, to bring coals, to keep the tables clean, to wash up dishes, peel potatoes, and fetch water for those who, not living near, brought their meals with them. It is not surprising, therefore, that men, having such advantages, should sometimes rise to higher situations. Some became linguists, some schoolmasters, engineers, and contractors; one, breakfasting with a bishop, whose daughter he afterwards married, saw upon the table, some time since, a service painted by himself when a workman at Coalport. Some were singular characters: old Jocky Hill kept his hunter; John Crowther, a very amiable fellow, exceedingly good natured, and always ready to do a favour to any one who asked him, lived quite a recluse, studying algebra and mechanics. He has suggested many improvements in locomotives, steam paddles, breaks, &c., &c., and had the honour of submitting to the Government the plan of terminating annuities, by which money at that time was raised to carry on the war, and by which we have been saved the burden--so far--of a permanent debt; also of making other suggestions, which have been likewise adopted. He also invented a most ingenious almanack applicable to all time.

Coalport men were usually great politicians; Hunt, Hethrington, Richard Carlile, Sir Francis Burdett, and Cobbett, had their disciples and admirers; and such was the eagerness to get the Register, with its familiar gridiron on the cover, that a man has been despatched to Birmingham for it from one of the rooms, his shopmates undertaking to do his work for him whilst he was away.

On the reverse side is the following:

Tribute of respect to his Public and Private Character and to the uncompromising firmness with which he has recently resisted the demands of an illegal conspiracy.

We have lived to see trades unions legalized, and trade combinations adopted by masters as well as men.

The following are the remarks of the Jurors on that occasion:--"Rose J., and Co., Coalbrook Dale, Shropshire , have exhibited porcelain services and other articles, which have attracted the special attention of the Jury. A dessert service of a rose ground is in particular remarkable, not only as being the nearest approach we have seen to the famous colour which it is designed to imitate, but for the excellence of the flower-painting, gilding, and other decorations, and the hardness and transparency of glaze. The same observation applies to other porcelain articles exhibited by this firm. The Jury have awarded to Messrs. Rose and Co. a Prize Medal." The company also obtained medals at the French Exhibition in 1855, and at that of London in 1862.

A good deal has been done of late years in the Sevres style of decoration on vases, the moulds of which came direct from Sevres manufactory. It is a pleasing incident, and one worth mentioning, that some years ago Mr. W. F. Rose in company with Mr. Daniell visited Paris, and of course went to Sevres. Mr. Daniell was at once taken round the works, but Mr. Rose feeling some delicacy remained outside. Mr. Daniell mentioned the delicacy of his friend, and the manager at once sent for him in, and shewed him the greatest respect. He told him he might send his best artists to copy any thing he saw, or employ theirs to do so: and sometime after he sent over the moulds themselves to Coalport.

In 1862 Mr. Pugh became sole proprietor of the works, and continued so to his death, in June 1875. Mr. Charles Pugh, brother of the deceased, and Mr. Edmund Ratcliff, brother-in-law, were left executors; and for an adjustment of claims by them and others the estate was thrown into Chancery and a receiver and manager, Mr. Gelson was appointed. The stock which is immense and had been accumulating for half a century is being brought into the market. Hundreds of dozens of one pattern, "India tree," for example, which had remained out of sight for forty years, are being brought to light. In some instances a hundred dozen or so of saucers, are found stowed away, without cups to match; whilst scores of piles of plates and dishes, sixteen or eighteen feet high, may be seen in others, which had been sorted and put on one side from some defect or other. It speaks well for the quality of the china that the biscuit and glazed are both sound and good. In some cases the floors are literally giving way from the immense weight of stock they have to sustain. In one place a quantity of old Caughley China was discovered; whilst in another were found a number of Caughley copper plates engraved by the late Herbert Minton's father.

It may excite surprise that so large a stock should have been allowed to accumulate, but much was the result of a wish to keep the men employed. The fact of a number of copper plates being found with his name on, confirms what we have previously said about Thomas Minton, who founded the important commercial house bearing his name and that of his son at Stoke, having been employed as an engraver at Caughley. M. Digby Wyatt, also, in his paper read before the Society of Arts and reported in the Society's Journal, May 28th, 1858, on the influence exercised on ceramic art by the late Herbert Minton, says:--"Mr. Thomas Minton was a native of Shropshire, and he was brought up at the Caughley works, near Broseley, as an engraver. He then went to town and worked for Spode, at his London House of business." In 1788 he went to Stoke, bought land, and built the house and works which have since become so celebrated. Up to 1798 however he only made earthenware which was printed and ornamented in blue, similar to that at Caughley.

Mr. Wyatt, in the paper just quoted, speaking of John Rose and of the late Herbert Minton admitted that in the excellent, rapid, and cheap production of porcelain for Mr. Minton to have stood still for a moment would have been to have lost his lead in the trade. And Mr. Daniell, in the discussion which followed, said:--"With reference to Mr. Minton's predecessors in this branch of art, he might remind the society of one whose name was upon their records as the recipient of the society's gold medal for china and porcelain manufactures long before Mr. Herbert Minton's time. He referred to John Rose, of Coalport, who made more china in his day than all those who were mentioned in the paper."

It will be seen from what we have written that Thomas Turner, of Caughley, and J. Rose, of Coalport, were the creators, so to speak, of new industries which drew around them large populations and gave employment to thousands who otherwise might have sought for it in vain, or have found it under less advantageous circumstances. It will be seen also that not only were they benefactors contributing materially to the common stock of national prosperity themselves, but that their energies and abilities inspired others who in turn became industrial organisers, and through various channels carried on the work of progress.

MADELEY CHINA WORKS.

EXCEPTING to the trade, and to some of the old inhabitants, it is not generally known that Martin Randall established China Works at Madeley, and made porcelain similar to that of Nantgarw and little if at all inferior to old Sevres porcelain. He and his brother Edward were Caughley men; he left there to go to Derby. He afterwards went to Pinxton, and thence with Mr. Robins, a Pinxton man, to London, where they entered into partnership and carried on business. They were supplied with Nantgarw white china by Mr. Mortlock, till Mr. Rose cut off the supply from the Welsh Works, by engaging Billingsley and Walker to make it for himself alone at the Coalport Works. They still continued to carry on business at Islington, where they erected buildings suitable, and fired the ware in box kilns with charcoal.

About this time the demand was great with connoisseurs among the aristocracy for old Sevres china; and the London dealers, finding that it was not obtainable in sufficient quantities to meet the demand for highly decorated specimens, hit upon the expedient of employing agents in Paris to buy up Sevres china in white for the purpose of having it painted in London, as Nantgarw had been, and selling it to their customers as the bona fide productions of Sevres. Slightly painted patterns too were procured, and the colours got off with fluoric acid, and rich and expensive paintings, grounds, and gilding substituted.

About the year 1826 they dissolved partnership and Mr. Randall came to Madeley, where he occupied a house in Park Lane, now the residence of the Wesleyan minister. He then took more commodious premises at the lower end of Madeley, where he erected enamelling, biscuit, and other kilns, and made and finished his own ware. Thomas Wheeler, William Roberts, and F. Brewer, were his potters; Philip Ballard, Robert Grey, and the present writer, were painters there, and Enos Raby was ground layer. John Fox of Coalbrookdale, William Dorsett, of Madeley, also were with Mr. Randall for a short time. Not having had experience in the making of china, great mistaken were committed, and heavy losses sustained. We have known a biscuit kiln fired till tea-pots and cups and saucers were melted into a mass before a trial was drawn, crow bars being necessary to remove them; in some instances they assumed the most fantastic forms. At other times the ware would be short fired in the biscuit kiln and would take up so much glaze that on coming out of the glaze kiln it would fly off in splinters. These wastrels were buried, broken up, or thrown into the canal, to be out of sight.

Mr. Randall however, as the result of repeated and persevering experiments, succeeded in producing a fret body with a rich glaze which bore so close a resemblance to old Sevres china that connoisseurs and famous judges failed to distinguish them. He refused however, from conscientious motives, to put the Sevres mark, the initials of Louis. Louis, crossed at the bottom, which was done with less hesitation at Coalport with much more feeble imitations. When introduced on one occasion to a London dealer, of the name of Frost, who had a shop in the Strand, as Mr. Martin Randall's nephew, the dealer in old china observed that the old Quaker made the best imitation of Sevres that ever was made, but added, "he never could be got to put the double L on it, and we cannot sell it as Sevres." We remarked that he was "too conscientious to do so," upon which he replied, "O, d--n conscience; there is no conscience in business."

Mr. Randall had less hesitation however in putting the Sevres mark on what was known to be Sevres; and he did very much for Mortlock, Jarman, and Baldock, who had agents in Paris, attending all sales where old Sevres was to be sold, in redecorating it in the most elaborate and costly manner. The less scrupulous London agents however did not hesitate to pass it off as being really the work throughout of Sevres artists. Indeed they have been known to have boxes of china going up from Madeley, sent on to Dover, to be redirected as coming from France, inviting connoisseurs to come and witness them being unpacked on their arrival, as they represented, from Paris. A little entertainment would be got up, and supposing themselves to be the first whose eyes looked on the rich goods after they left the French capital, where it would be represented, perhaps, that they had been bought of the Duc-de--or of Madame some one, after having been in the possession of royalty, they would buy freely.

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