The importance of pottery manufacture

TO GREAT BRITAIN, a principal manufacturing and commercial Nation, the Art of making Pottery and Porcelain, is truly important; whether viewed as conducing to augment the national wealth, by increasing the value of the mineral productions many hundred fold, providing for national Exports to the amount of more than a Million sterling annually; or as affording unto a large population of mechanics and artizans, a compensation for labour and skill, enabling them with their families to live in comfort, and thereby in some degree increasing the sum of general happiness.

At several places on the European continent, during more than 300 years, have been made the Common Stone ware, glazed with nuriate of soda, and white enamel, whose glaze is a real glass opacous by white oxide of tin. And we ought not to exclude our countrymen from all merit in this department; for numerous tiles still exist, formed in the latter part of the 15th century, which evince that the processes were well known, and that their manufacture was connected with that of Pottery.

There exist documents which imply, that during many centuries, considerable quantities of common culinary articles were manufactured, of red, brown, and mottled Pottery; easily made from a mixture of different. Clays found in most parts of the district; and a fine sort is found in Hanley and Shelton, which for a long while served the various purposes of the Newcastle tobacco-pipe makers.

Sun Kiln Potteries

The manufactories, in early times, were situated at the junction of public roads, for the two-fold purpose of publicity and room; and the fact is demonstrable, that wherever one of these Sun Kiln Potteries was situated, a spacious and commodious opening of the road remains; witness in Hanley, and Shelton, Burslem, and Lane End. How long anterior to 1600, these Sun Kiln Potteries existed, cannot now be ascertained; but there were two at Bagnall, Golden Hill, Tunstall, Brownhills, Holden Lane, Sneyd Green, Botteslow, Penkhull, Fenton, and Longton Lane, besides others in the (present) towns. A few of these yet remain in operation, (making the large red brick like milk pans, flower pots, and other coarse vessels;) one is near the Meir Lane Furnace; another near to the Hanley Market-Hall; a third rather modernized at, Golden Hill; a very old one at New Oxford, near Chell, and in other places also.

The Sun Kiln is formed usually square, 10 to 20 feet in extent each way, and about 18 inches deep; having at one corner, a smaller place, deeper, and lined with slabs or flags. 

The Clay, after being brought out of the mine is spread abroad on the adjoining ground, and frequently turned over by the spade during two or three seasons, that it may be well exposed to the action of the atmosphere, (called weathering.) -

In to the smaller vat a quantity of clay is thrown, and by a proper tool blunged in the water by agitation, till all the heavier particles and small stones sink to the bottom; the fluid mass is next poured into a sieve, thro' which it runs into the largest vat, or Sun Kiln, until the whole surface is covered to the depth of three or four inches, which is left to be evaporated bv solar action. 

When this is partially accomplished, another layer and a third, and fourth are added, until the mass is from 12 to 18 inches deep; and the whole is then cut out, and placed in a damp cellar for use—

In China the clay is left exposed many years, that the materials may be completely disintegrated and decomposed; and after it is prepared, the custom is to let it remain many years before it is employed in the manufacture. Indeed, sometimes the clay used, was first prepared by the grandfather; and frequently by the father.—

The properties of the various Clays observed by the early Potters, and the purposes for which they were employed, supply us with the Roman Names— 

Tasconium the kind used for Crucibles; 
Leucargillion, a white kind for Furnaces; 
Argil, the brown clay for common Pottery; and 
Terra Sigillaris, the finest grained kind, for sealing, as already described.

Tho' the names are Roman, we are not to regard that, people as our first Potters; because of the numerous proofs to the contrary.

Types of Clay

Porcelain Clay, is generally redish white, also greyish and yellowish white, without lustre, or transparency. It occurs either friable or compact, stains the fingers; adheres to the tongue; is soft, but meagre to the feel; and is easily broken. Specific gravity about 2.3. It falls to pieces in water, and by kneading becomes partially ductile. 

The Cornish porcelain clay consists of 60 per cent, alumina, and 40 silex, originates from the decomposition of felspar, and has the particles of quartz, mica, and talc, separated by eleutriation. 

The Chinese kaolin also contains mica, and is probably of the same origin as the Cornish. The same remark may be applied to the French, &c. 

It is, however, by no means certain, that all porcelain clay is derived from felspar, as it varies considerably in its composition and fusibility; all the kinds indeed are infusible at any temperature less than a white heat; but some, especially the Japanese, are refractory in the most powerful furnaces. 

Magnesian, or Stealitic Clay, is almost cream colour; its texture is minutely foliated; it has a slight greasy lustre, takes a polish from the nail. It stains the fingers, is very friable, and to the touch smooth and unctuous. When laid on the tongue it dissolves into a smooth pulp, without any gritty particles. It is very plastic, and has a strong argillaceous odour. It occurs in nodules, in a hard cellural horn-stone, called soap rock, that forms large mountainous masses near Conway, in North Wales, and originates from the decomposition of indurated steatite. 

Clay from Slate, is ash-grey, passing into ochre-yellow; its texture is foliated; it has a smooth unctuous feel, and its siliceous particles are so small as to occasion scarcely any grittiness between the teeth. It occurs in thin beds lining the bottoms of the peat-mosses, of a white ash colour, deprived of iron and carbon by the acid of the peat. Also in thicker beds at the foot of the mountains, but of a darker colour, and less plastic. 

Clay from Shale,— varies from greyish blue to bluish black : its texture is foliated; it has a smooth unctuous feel, takes a polish from the nail, is excessively tenacious and ductile, with but a slight degree of grittiness. 

It occurs abundantly in all collieries. 

A sandy clay, greyer, and more refractory, is procured from the decomposition of the indurated clay that forms the floor of the coal, and is provincially called clunch. 

The Stourbridge clay, from which crucibles, glass-house pots, &c. are made, is of this kind. 

Marly Clay, is bluish, or brownish red: either compact or foliated: it has a soft unctuous feel, takes a polish by friction with the nail, is very plastic, more or less gritty, though less so man the common alluvial clay. 

It burns to a brick of a buff or deep cream colour, and at a high heat is readily fused. It effervesces strongly with acids, and contains from ¼ to ½ of carbonate of lime. It is largely employed as a manure, and when the calcareous part does not exceed 10 or 12 per cent, is esteemed as a material for bricks. 

Alluvial Clay, contains a large proportion of quartz sand, and rounded pebbles of various kinds, showing it to have been carried from its native situation, and mingled in its progress with a variety of extraneous bodies. 

Three kinds may be distinguished; viz. Pipe clay, potter's clay, and chalky clay. 

Pipe clay is of a greyish or yellowish white colour, an earthy fracture, and a smooth greasy feel: it adheres to the tongue; is very plastic and tenacious; when burnt is of a milk-white colour; is with difficulty fusible, though much more so than porcelain clay, from which it is further distinguished by superior plasticity, and containing sand. It is manufactured into tobacco-pipes, and is the basis of the white or queen's-ware pottery. 

Potter's clay is red, blue, or green; with a fine earthy fracture, and a soft, often greasy, feel; it adheres to the tongue, and is very plastic; burns to a hard, porous, red brick; and in a higher heat runs into a dark-coloured slag. When tempered with water, and mixed with sand, it is manufactured into bricks: the varities most free from pebbles, are made into tiles and coarse red pottery."—AIKEN.

Butter Pots & Burslem

Solely thro entire forgetfulness, or total disregard, of the number of sites of Potteries which have been exposed at different times in various parts of the district, can the opinion be entertained, that the whole employment of the people was making Butter Pots, only once used, and then discarded, or diverted to other purposes; and being comparatively of little value, were not likely to be either very fine in the material, or excellent in the manufacture. 

Neither are the facts of their being formed of the coarsest clay, and in the rudest manner, proofs that the Butter pot claims priority of date; because vessels for immediate use would always be invented before others for mere convenience. 

Whoever will be at the trouble to read the accounts formerly given of this district, will find that at Burslem was a manufactory, called the Butter Pottery, because Butter Pots were made there. 

And Dr. Plott mentions that the greatest Pottery is at Burslem, for making their several sorts of pots. — We therefore conclude, that Butter pots were only one branch of the manufacture. There is some incongruity on stating first, that few persons were employed; — the quantity of goods manufactured was so inconsiderable;—that Butter pots chiefly were made;—and that the great sale of the goods was to crate men; — as Dr. Plott asserts.

Materials used

Curiosity properly so called, does not remain satisfied with mere survey of the surfaces of objects; it strives to pry into their conformation, and comprehend their properties; and rarely does the trouble fail of being amply compensated. In examining Specimens, to illustrate the progress of the Art in this district, we find all the materials are the produce of the vicinity; the Clays are those on the surface, and near the strata of Coal, and the fine sand is from the hilly parts of Baddeley Hedge and Mole Cob. At different successive times the Potters, at pleasure, have varied these, and introduced others; from the coarsest brick clay, only much improved by weathering, blunging, sifting, and drying upon the Sun Kiln, made into vessels, that were without any glaze; to the finer clays formed into other vessels, with a smooth surface, on the inside of which pulverized lead ore was dusted from a linen bag, and the ardent heat of the oven partially vitrified it.

Potters Wheel

Pliny mentions that Anacharsis the Scythian formed the Potter's Wheel, and taught Greece the Art of Pottery. This may be true, yet not prove that he invented the machine. There is little doubt, that he would learn this Art, in his progress to acquire information by travelling. There is also mention of Potters many ages prior to the time of Anacharsis; and the Potter's wheel was used in Egypt anterior to Greece being colonized. See 1 Chron. IV. 22, 23—

There is some probability that the Potter's Wheel mentioned in Sacred Scripture was much similar to that early employed in this district, and now used at the coarse ware potteries for throwing the large jowls, &c. of common clay, which are circular and have a plain surface. 

This very simple machine remained unimproved, until about 1750, when a person named Alsager, one of the most ingenious mechanics of the neighbourhood, desirous of rendering the workman able to operate with greater precision and neatness, added those parts which remain to distinguish the present from the ancient wheel.

No research has ascertained the time, or the person, to whom must be assigned the truly important improvement of Turning on the Lathe. There has been mention, that it was suggested by the method of turning Ornaments from Spar in Derbyshire; and another suggestion is, that Messrs. Elers, (hereafter mentioned,) introduced it about 1692; but as there remain specimens, formed by being turned on the lathe, long anterior to their time, it is deemed proper to leave the subject as we found it.

Early glazing

There are some fractured specimens with partially glazed or vitrified surfaces, which, from the places whence they were obtained under the foundations of old potteries, destroyed almost a century ago— evidently were made in some period long prior to any of those whose era is clearly ascertained. 

Other specimens fabricated about 1600, are large vessels for liquids, Jowls, Drink-steins, with a hole in the lowest and narrow end, for a spigot or tap; Bottles, Jars, and Common Butter Pots, of very coarse and inelegant workmanship, and highly vitrified on their surface to prevent their being porous.

Saggars

By what means the manufacturers produced this partial glazing or vitrification, we have not been able to learn satisfactorily; but the fact is undisputable. It also causes an opinion that a kind of Saggar was occasionally employed, to protect the finer ware. One idea here presents itself. The antiquity of the name Sagger, (from the Heb. sagar to burn; and to this day applied as segar, to a rolled leaf of tobacco for burning while its fumes are inhaled,) proves a very early employment of this utensil, tho' for what specific purpose we are not now informed. Yet as the name denotes their use, it is extremly probable that use has long existed, altho' the proportions of the component materials requisite to bear the high temperatures of our bisquet ovens, have been ascertained in comparatively recent days.

Value of experiments

Few if any branches of Manufacture equal that of the Potter in affording opportunities for the exercise of ingenuity and research. Great are the advantages of making experiments, to persons of observant habits; and most of them conduce to general benefit, altho' not wholly pertinent to the primary purposes of enquiry; hence we may reasonably suppose that very great improvements would have resulted, had the early manufacturers possessed a share of that knowledge of Chemistry of late so much sought after and cultivated.

A Porrenger, made in 1606, exemplifies the ability of the thrower, and stouker. It is formed of the fine brown clay, with two loop handles neatly bended; the sides are ornamented with spots of whitish clay, impressed with a rude cross, formed by the end of a stick. 

A Jug which will hold three pints, it formed of the clay from the coal mines, which improves in colour by being fired; but is of inferior workmanship to the preceding. The crosses on this are of coarse brown clay. Tho bottoms of both shew that they were placed on something while in the oven; and their glaze is from lead ore powder, sprinkled or from a linen bag dusted on the vessels while in clay. There is no proof that they were fired in saggers. 

A Water Jug, of six quarts, is formed of the Brown Clay, in the shape of Lambeth Brown ware; glazed with lead ore in some particular manner; and from its singular appearance regarded as anterior to the Reformation. On various parts, very thin lengths of clay, are affixed at the taste of the workman; on each side is a cross of clay of a different colour; and in the-front, over a cross in a circle, is a human face, with a long beard, of either a monk or a druid.

Ornamentation

These exhibit the early attempts at ornaments; and are regarded as suggesting the method which still exists, of applying loaves, sprigs, flowers, medallions, &c. in relief, and formed of a different coloured clay. 

The Stouker (a vulgarism from stick, to place or fasten,) was the workman who affixed handles, spouts, and other appendages, for utility or ornament; and the Potter who could then (and even till within the last 50 years) throw, stouk, lead, and finish, was a good workman; very few indeed being expert at more than two or three of these branches. 

The different vessels for domestic use, are variously ornamented, with several loop handles stouked to the sides. The Drink Cups, shaped like tall ale glasses, have two handles on the prop; and all are glazed with lead ore. 

The Butter Pots of this date are devoid of every kind of ornament, and only some are partially glazed on the inside.

One Jug exhibits the mixture of Lead ore with the clay; the handles are better formed and fixed; but the whole has a palpable roughness, altho' it has evidently been subjected to a very high degree of heat. The bright appearance of the surface might suggest that salt had been some way introduced while in the oven; but the idea vanishes, when we reflect that the consequent decomposition of the argillaceous particles would have rendered the surface more smooth than it is. 

Two Butter Pots, of 1640, made of the common clay, without any glaze, have CARTWRIGHT, in rude letters, on a relief 2 inches in diameter. This was a warranty that the Pots were of a proper depth and weight; for at this time, some were made to answer nefarious purposes, and deceive the dealers.

Laws regulating Butter Pots

The common people of the district at the present day, call Irish Tub Butter, Pot Butter. The porous pots would imbibe the moisture of the butter, and lessen its weight; and those which were too heavy would similarly defraud the purchaser. So that about 1670, Government officially interfered to compel all manufacturers of Butter Pots, at Burslem, (most unauthorizedly called the Butter Pot Manufactory, in a Map of the county published in 1757; tho' neither Speed, Camden, nor Erdeswick so name;) to make them hard in quality, and in quantity to contain not less than fourteen pounds avoirdupois, under a serious penalty for non-observance.

This person, Cartwright, cannot have deserved the epithet of "a poor Butter pot maker," by Plott applied to some of those he visited; for there is the proof to the contrary still existing, in his handsome donation of twenty pounds yearly to the poor of Burslem. forever, from the year 1658. Tho' we must not suppose all others equally affluent, we cannot help believing, from this bequest, at such a period, that Burslem contained other potters who were not poor men,

"The butter they (the factors) buy by the Pot, of a long cylindrical form, made at Burslem of a certain size, so as not to weigh above six pounds at most, and to contain at least fourteen pounds of butter, according to an Act of Parliament made about fourteen or sixteen years ago, for regulating the abuses of this trade in the make of the pots, and false packing of the butter; which before sometimes was laid good for a little depth at the top, and had at the bottom; and sometimes set in rolls only touching at the top, and standing hollow below at a great distance from the sides of the pot; to prevent these little country Moorelandish cheats (than whom no people whatever are esteemed more subtile) the factors keep a surveyor all the summer here, who if he have good ground to suspect any of the pots, tryes them with an instrument of iron made like a cheese taster, only much larger and longer, called an auger or butter boare, with which he makes proof (thrusting it in obliquely) to the bottom of the pot; so that they weigh none) (which would be an endless business) or very seldom; nor do they bore it neither, where they know their customer to be a constant fair dealer." PLOTT, p. 108, 109.

Quart Drink Mug

On Tuesday in Whitsun week, 1824, the late Mr. John Riley, accompanied the author to inspect a curious and beautiful specimen of Brown ware, made at the Green head, Burslem, and in the family of Mr. Richard Keys, almost a century:— The vessel is a QUART DRINK MUG, of a cylindical shape, rather widened but not flanged at the top, with a thin edge. [The body is common clay, with a silecous mixture, (tho' almost a century prior to the introduction of flint,) obvious especially in the handles.] This is by the four handles asperated into four compartments, and four persons might use it, yet each drink from his own place.

The four handles are double looped, and remarkably well slouked on; the outer surface has a deep groove, in which is laid a twisted band ot the red and whitish clays, the bend of each has a button of whiter clay, & of this is also a hat shaped ornament on the top of each upper loop, near the brim; and under is a small hole for the rarefied air to escape, to prevent each being split while in the oven, between the handlel are ornaments, formed by either white clay slip, left to dry, and afterwards impressed with a carved stick or tool; or else stuck on with a stick, and trimmed to its present form. 

These are in embossed squares, GR above a dog, 1642 above a deer, MH above a rosette, and a well made fleur-de-lis over a seal of a face; and many drops of a white clay slip on the other parts. The Initials warrant the conjecture that the vessel was designed for being presented by one to the other party. The glaze is chiefly of lead, and much like that used for common Cream Colour; only the excess of quantity gives to the white clay a yellowish teint, much like the inside of gloss saggers.

Mr. Riley remarked, that such pottery as this, cannot be fired in an open oven; and as the bottom exhibits marks of bits of broken pots, on which it was placed in the oven, we must indulge the opinion that it was fired in a sagger.

At no very distant period, it was the custom for the whole of a company to drink out of the same vessel; and this specimen forcibly recalled the usage. William of Malmsbury says 

"Formerly the vessels was regularly divided; for, to prevent quarrels, King Edgar commanded the drinking vessels to be made with knobs on the inside at certain distances from each other; and decreed, that no person, under a certain penalty, should either himself drink, or compel another to drink, at one draught, more than from one of these knobs to another." Book II. p. 31.

Decoration with glazes and clays

The specimens just described may have been placed within larger vessels for firing, and it is possible that the high degree of heat needful to fire the latter, may have so affected as to vitrify the silecious particles along with the lead. It is now well known that lead and silex will form glass; the lead increasing the fusibility of the silecious materials, and improving their brightness. The introduction of one article after another, is usual in all manufactures; custom soon renders confident the workman who at first was timid; and experience quickly makes him familar with the proportion of the kinds of clay, and other materials required by the different sorts of Pottery.

The employment of different clays for the ornaments, soon suggested their mixture, in this manner: on a piece of clay laid on his bench, the workman very forcibly slapped down anotherpiece, differing in colour, and at times a third piece; the mass was frequently cut thro' with a thin wire (usually brass) and slapped together, until the whole had a beautiful scrolled appearance. And several fractured specimens shew that these mixed clays, often had addition of ochre, manganese, and fine sand, to vary the colour. 

Some of the specimens of Dishes, Drinking Mugs, Candlesticks, &c. formed of these mixed clays, have great beauty of teint from the mixture, and are rather curious in workmanship, the edges being ornamented much similarly to the old pattern of marble paper.

 

A well shaped half-pint, with a handle evincing much ingenuity and taste, as well as a common shaped Drinking Cup, prove the ability of the workman. The body is elegantly and delicately streaked by the mixture of the different clays; but a rough surface shews that neither had been turned in the lathe, to smooth the outer, nor had there been any attempt to polish the inner surface. The articles made were not as level as those now manufactured, especially the Flat Ware; warranting the opinion that saggers were not generally employed. 

Two circular 20- inch dishes, made in 1650, have Thomas Sans, Thomas Toft, in rude letters of different clay. They evince much improvement in the quality and ornaments of the ware. The body is of the common brown and whitish clay; the ledge has a neat border of reticulated shreds of clay, the lower whitish, the upper brown; the central parts have other coloured figures; the intervals are coloured by manganese; and the upper surface only of the whole is glazed with lead ore.

Discovery of Salt Glaze

About 1680, the method of GLAZING WITH SALT, was suggested by an accident; and we give the names of the parties as delivered down by tradition. In this as in many other improvements in Pottery, a close investigation of one subject has frequently reflected fresh light upon another; something altogether unexpected has been presented to notice; and not unfrequentlv from an incident comparatively trivial has resulted a discovery of paramount importance. At Stanley Farm, (a short mile from the small Pottery of Mr. Palmer, at Bagnall, five miles east of Burslem,) the servant of Mr. Joseph Yates, was boiling, in an earthen vessel. a strong lixivium of common salt, to be used some way in curing pork; but during her temporary absence, the liquor effervesced, and some ran over the sides of the vessel, quickly causing them to become red hot; the muriatic acid decomposed the surface, and when cold, the sides were partially glazed. Mr. Palmer availed himself of the hint thus obtained, and commenced making a fresh sort— the common BROWN WARE of our day; and was soon followed by the manufacturers in Holden Lane, Green Head, and Brown Hills; the proximity of their situation to the Salt-Wyches, affording great facility for procuring the quantity of Salt required for their purposes.

Lead Glaze & Saggers

At this period, 1670, pulverized lead ore became very commonly used for glazing the vessels; and to prevent the ornamental parts being injured by the fire, and the glaze being discoloured by the sulphureous vapour from the coals, the employment of SAGGERS became general; but they were not prepared of determinate proportions of marl. This was a discovery of much later date.—

TILES glazed in this manner, having the initials of persons' names, and dates from 1670 to 1700, may be seen in the fronts of old houses, in the district.

Stone Ware

About 1685, Mr. Thomas Miles, of Shelton, mixed with the whitish clay found in Shelton, some of the fine sand from Baddeley Hedge, and produced a rude kind of WHITE STONE WARE; and another person of the same name, of Miles's Bank, Hanley, produced the BROWN STONE WARE of that day, by mixing the same kind of sand with the Can Marl obtained from the coal pits. Other manufacturers soon followed and various kinds of Pottery resulted. Some of the specimens are glazed with lead ore, and others with salt; some have only the inside, others have both sides glazed; and all of them manifest considerable improvement in quality, shapes, and ornamental workmanship.

A Jar has a medallion of William and Mary, red and white roses, some trees, and a yeoman of the guard on each side. 

A four quart jug has in relief a Bacchanalian scene, a bull bait, a fox hunt, and some trees. 

The middle part of a punch bowl has four fishes, two Lions, and a flower; and the border is ornamented with three rows of square bits of white clay, placed regularly to fiirm a chequer band. 

A deep flour Mug, with two handles, has been coated with whitish clay, and then a zigzag scroll, flowers, leaves, and fruits, have been formed bv scraping off the other coating. These are of white Stone Ware. 

The Specimens of the other kind, Brown, are vessels, with the sides ornamented by medallions, and the Initials, WM. WR. AR. beneath a crown.

Crouch Ware

These improvements caused attention to be given in reference to body, glaze, and workmanship, by the Burslem Manufacturers; and in consequence we find CROUCH WARE first made there in 1690. Indeed we may mention, to their credit, that almost every new kind of Pottery was first made by them, and the successive improvements are mere results of introducing materials of a different kind with most or all of those previously used. 

In making Crouch Ware, the common Brick Clay, and fine Sand from Mole Cob, were first used; but afterwards the Can Marl and Sand, and some persons used the dark grey clay from the coal pits and sand, for the body; and Salt glaze; to each bushel the principal Potters added a pint of Red Lead powder. 

The specimens are jugs, cups, dishes, &c. some of them so well finished, as to induce the opinion that the Turning Lathe was now beginning to be employed. 

The different clays are used to form figures of animals, &c. with considerable taste and elegance, as already described; and in this manner is ornimented and painted a twenty inch circular Dish, with W, RICH, 1702. 

None of these have however those neat and varied shapes adopted in the next stage of improvement this kind of Pottery possesses several excellent properties; tho' not manufactured now in this District. It is cleanly in appearance, of a very compact texture, durable, and not easily affected by change of temperature. There are some curious specimens of vessels fused accidently by the increased temperature after the salt had been cast into the oven. The loss occasioned by the too high vitrification, for some time prevented the observation that an inferior kind of Porcelain was thus unintentionally produced; for the thinnest pieces have semi-transparence, but were regarded as of little value because sooner affected than the other by increase, or sudden change, of heat. 

Before Lathes were used, the very vulgar epithet of Arsing was given to the method of getting the clay out of the under part of mugs, bottles, &c. which was effected by placing the chum on the wheel block, and then while in motion the workman cut it out.

Salt Glazing

Up to the conclusion of the 17th century, all the kinds of Pottery, whether glazed with lead ore, or with salt, was fired only once. The oven was always adapted to the quantity of Articles made during each week; and no manufacturer of that period fired more than one oven full weekly, commencing on the Thursday night, and finishing about mid-day on Saturday. There were about twenty-two ovens then in Burslem, and its vicinity, each with eight mouths, at equal distances; and around those used for Crouch ware, was a scaffold, on which the fireman stood to cast in the salt. 

This proves the inaccuracy of the statement in Parkes's Chemical Catechism, p. 102,— "this method of glazing earthenware with salt, was introduced into England by two Brothers from Holland, of the name of ELERS, about the year 1700. They settled in the neighbourhood of the Staffordshire Potteries; and it is remarkable that the alarm occasioned by the fumes which spread over the country, obliged them to leave it." 

It had long been well known, that Common Table Salt, or Muriate of Soda, is immediately decomposed on being gradually poured into a fire; and it was easily believed, and successfully proved, that the result would be similar, was it to be poured into a potter's oven, at a certain stage of the process during a high excess of temperature. The Saggers were therefore adapted to the purpose, by being formed with holes in their sides to admit the vapours, and the ware was so placed in them, that every part might be affected. The muriatic acid, evolved by the intense heat, from the soda, in the form of vapour highly charged with alkaline particles was dispersed all through every interstice of the oven and its contents of saggers and ware, completely covering all, and acting on the small portion of silica, and the alumina of the body, partially decomposed the latter, to which the former united while in a state of liquefaction, and the surface of all the vessels became wholly vitrified. Of most bodies, great heat causes the particles to expand and occupy a larger space; but the fact is indisputable, that the particles of vessels of Pottery, on cooling, are more closely united, and the dimensions of the mass diminished.

The employment of salt in glazing Crouch Ware, was a long time practised before the introduction of White Clay and Flint. 

The vast volumes of smoke and vapours from the ovens, entering the atmosphere, produced that dense white cloud, which from about eight o'clock till twelve on the Saturday morning, (the time of firing-up, as it is called,) so completely enveloped the whole of the interior of the town, as to cause persons often to run against each other; travellers to mistake the road and strangers have mentioned it as extremely disagreeable, and not unlike the smoke of Etna and Vesuvius. 

But a murky atmosphere is not regarded by the patriotic observer, who can view thro' it, an industrious population, employed for the benefit of themselves and their country, and behold vast piles of national wealth enhanced by individual industry. 

This temporary inconvenience entailed on the district, the character of being unhealthy, but fhe contrary is the fact; as may he seen every day in the very old persons living; and proved by consulting iiie Bilks of Mortality. It. is now fruitful, but old people regard il as less so than when glazing with salt was practised. The vapours destroyed the insects pernicious to ve¬getation; and altho' fruit wa's covered with carbona¬ceous filaments, the labour of cleaning it was amply compensated by the superabundance,

Dr. Plott

Being now arrived at the date when Dr. Plott visited this district, it is very probable we should incur censure, were we to omit his comprehensive detail of the Processes then practised; we therefore give them verbatim. 

"'The greatest Pottery (says Dr. Plott, History of Staffordshire, chap iii. sees. 23-29) they have in this County, is carryed on at Burslem, near Newcastle-under-Lyme, where for making their several sorts of Pots, they have as many different sorts of Clay, which they dig round about the Towne, all within half a mile distance, the best being found nearest the coale, and are distinguish't by their colours and uses as followeth: 

clays

Bottle Clay, of a bright whitish streaked yellow colour. 

Hard Fire Clay, of a duller whitish colour, and fuller intersperst with a dark yellow, which they use for their black wares, being mixt with the Red Blending Clay, which is of a dirty red colour.

White Clay, so called it seems though of a blewish colour, and used for making yellow-coloured ware, because yellow is the lightest colour they make any Ware of; 

all which they call throwing clays, because they are of a closer texture, and will work on the wheel; 

slips

which none of the three other clays, they call Slips, will any of them doe, being of looser and more friable natures; these mixed with water they make into a consistence thinner than a Syrup, so that being put into a bucket it will run out through a Quill, this they call Slip, and is the substance wherewith they paint their wares; 

whereof the first sort is called the Orange Slip, which before work't, is of a greyish colour mixt with orange balls, and gives the ware (when annealed) an orange colour. 

The White Slip; this before it is work't, is of a dark blewish colour, yet makes the ware yellow, which being the lightest colour they make of, they call it (as they did the clay above) the white Slip. 

The Red Slip, made of a dirty reddish clay, which gives wares a black colour; 

preparing the clay

neither of which clays or Slips must have any gravel or Sand in them; upon this account, before it be brought to the wheel they prepare the clay by steeping it in water in a square pit, till it be of a due consistence; then they bring it to their beating board, where with a long Spatula they beat it well it be well mix't; then being first made into great squarish rolls, it is brought to the wageing board, where it is slit into flat, thin pieces with a Wire, and the least stones or gravel pick't out of it. This being done, they wage it, i.e. knead or mould it like bread, and make it into round balls proportionable to their work, and then 'tis brought to the wheel, and formed as the Workman sees good.

applying decoration

"When the Potter has wrought the clay either into hollow or flat ware, they are set abroad to dry in fair weather, but by the fire in foule, turning them as they see occasion, which they call whaving: when they are dry they stouk them, i.e. put Ears and Handles to such Vessels as require them: 

These also being dry, they then Slip or paint them with their several sorts of Slip, according as they designe their work, when the first Slip is dry, laying on the others at their leasure, the Orange Slip making the ground, and the white and red, the paint; which two colours they break with a wire brush, much after the manner the doe when they marble paper, and then cloud them with a pensil when they are pretty dry. 

After the vessels are painted, they lead them, with that sort of Lead Ore they call Smithum which is the smallest Ore of all, beaten info dust, finely sifted and strewed upon them; which gives them the gloss, but not the colour; all the colours being chiefly given by the variety of Slips, except the Motley colour, which is procured by blending the Lead with Manganese, by the Workmen call'd Magnus. But when they have a mind to shew the utmost of their skill in giving their wares a fairer gloss than ordinary, they lead them then with lead calcined into powder, which they also sift fine and strew upon them as before, which not only gives them a higher gloss, but goes much further too in their work, than Lead Ore would have done.

Firing in the Oven

"After this is done, they are carried to the Oven, which is ordinarily above eight foot high, and about, six foot wide, of a round copped forme, where they are placed one upon another from the bottom to the top: 

if they be ordinary wares such as clylindricall Butter-pots, &c. that are not leaded, they are exposed to the naked fire, and so is all their flat ware though it be leaded, haveing only parting-shards, i.e. thin bits of old pots put between them, to keep them from sticking together: 

But if they be leaded hollow-wares, they do not expose them to the naked fire, but put them in shragers, that is, in coarse metall'd pots, made of marle (not clay) of divers formes according as their wares require, in which they put commonly three pieces of clay called Bobbs for the ware to stand on, to keep it from sticking to the Shragers: as they put them in the shragers to keep them from sticking to one another (which they would certainly otherwise doe by reason of the leading) and to preserve them from the vehemence of the fire, which else would melt them down, or at least warp them. 

In twenty four hours an Oven of Pots will he burnt, then they let the fire goe out by degrees, which in ten hours more will be perfectly done, and then they draw them for Sale, which is chiefly to the poor Crate-men, who carry them at their backs all over the Country, to whom they reckon them by the piece, i.e. Quart, in hollow ware, so that six pottle, or three gallon bottles make a dosen, and so more or less to a dosen, as they are of greater or lesser content.

The flat wares are also reckon'd by pieces and dosens, but not (as the hollow) according to to their content, but their different bredths."

Ware discovered at Litlington

As some labourers were digging for gravel in the open fields of Litlington, in this county, a few years ago, they discovered the foundation of a wall, that enclosed a quadrangular area of 34 yards by 24, running parallel with, and at the distance of about ten yards from that ancient Roman road, called the Ashwell Street, the line of communication between the Roman stations at Ashwell and Chesterford. 

Within this area were found a number of quite perfect earthenware urns, of various sizes and forms, containing human hones and ashes; also a variety of pateræ, patellæ, simpula, some with one handle, others with two, ampullæ and lacrymatories of different sizes and shapes. 

Some of the urns are composed of a red, and others of a blck argillaceous earth; those of the red being much the hardest and most durable; many of the black being in a stale of great decay, and some of them when disturbed by the spade of the labourer, fell to pieces. 

There was only one coin found, with the head of Trajan on one side, and on the reverse Brittannia leaning on a shield, above the letters BRIT. 

The spot of ground upon which this discovery was made, is called, in ancient deeds "Heaven's Walls," and lies at the bottom of a hill, on the summit of which is a tumulus, called "Limbury," and sometimes "Limbloe-hill."

Potteries at Red Street

For more than a Century prior to Dr. Plott's visit, at the two Potteries at Red Street, were made considerable quantities of all kinds of Vessels then used; and during the early part of the eighteenth century, the manufacturers there, named Elijah Mayer, (who perished near Ulverston,) and Moss, fabricated greater quantities ol Pottery than any others of the whole district. 

A descendant of one family, subsequently in possession of one of these Manufactories, much wished to impress the notion, that these two had made more than all other Potters conjointly. We may allow a little latitude for family partiality; but having positive proofs of the mistaken views of our correspondent, we can do justice to the merits ol the parties.