a KQiD^ Cbroiuib tbe IRosal lp>oi'cdatn MoiUs, TlXHoi’Ccster. 25ntcicb at ‘Stationery lhalL Btnabliebeb 1751. ROYAL PORCELAIN WORKS. IPhb Re¥pL PeReBLpm E. P. EVANS, Manager and Secretary. THE PRODUCTIONS OF THE IRo^al lp)orcelain Morks MAY BE OBTAINED OF THE {principal Cbitia S)ealer8 THROUGHOUT THE WORLD. The Public is particularly requested to observe that the productions of THE ROYAL PORCELAIN WORKS bear this REGISTERED TRADE MARK, either impressed in the Ware or printed upon the Glaze. The words, “THE ROYAL PORCELAIN WORKS,” “THE ROYAL PORCELAIN WORKS, WORCESTER,” “THE WORCESTER ROYAL PORCELAIN WORKS,” “ROYAL WORCESTER,” and “ROYAL WORCESTER VITREOUS,” are also registered as Trade Marks. For Marks on Worcester Porcelain see Page 42, The Old Worcester Crescent and Square Marks and the letter W, are Registered Trade Marks of The Royal Porcelain Works, THE GETTY CE I soriAOv/ In consequence of the increasing number of Visitors desirous of seeing the process of China Manufacture^ it has become necessary to re-arrange the conditions under which they can do so. Since April ist^ 1880, a charge of Sixpence has been made for each Visitor^ who is entitled to a Guide Book." This arrangement is made solely with a view to secure better attention for Visitors^ and to remove any pretence for the acceptance of Gratuities by the Employes of the Company^ who are strictly forbidden to receive any fee or reward. Any complaint of inattention or incivility addressed to the Manager will be promptly dealt with. VIEW OF DESCRIPTION OF ILLUSTRATIONS. The View of the Works is based on a photograph taken from the tower of the Cathedral. The site is that of the establishment founded by Messrs. Chamberlain, some portion of which at one time belonged to Dr. Wall when a partner in Warmstry House. Of the buildings erected by Messrs. Chamberlain some still remain, but the greater part have been replaced by larger workshops and warehouses, to meet extended business and modern requirements. The first important addition was made in 1840, when the union took place between Flight and Barr and Chamberlain ; the next in 1851-52-53, under Kerr and Binns ; and more recently and much more extensively under the present Company since 1862. The Museum contains specimens of Worcester Porcelain of all periods arranged chronologically, from the commencement of 1751 to the present time. Also a collection of Japanese Pottery and Porcelain, Enamels and Bronzes, to illustrate some peculiarities of Japanese manufacture. The Mill. — The first floor is shown where the large pans for grinding stone and flint, and also the glaze and colour pans, are placed. Slip House. — The Slip House arrangements may appear to the Visitor rather complicated, from the number of pumps, sifters, and presses which are employed ; but the description we have given of the process will, we trust, be sufficient to make it understood. The Thrower. — We have given two illustrations of this branch of the art. The Egyptian thrower is copied from the Theban mural painting as given by Hirch, Brongniart, and other authorities. The English thrower shows the present English system. The Pressing Shop gives a general view of one of the workshops in The Royal Porcelain Works. All kinds of pressed and ordinary useful wares are made here; souj) tureens and covered dishes, &c., for dinner services, comi)orts for dessert services, teapots, jugs, and the various etceteras for the V)reakfast table, all belong to this department. 8 DESCRIPTION OF ILLUSTRATIONS. Ornamental Pottery. — This definition includes figure making, vase making, and the countless variety of decorative works which come under this head, including flower making and piercing. The Oven is always a subject of interest to the scientific observer, particularly when the great heat required in a porcelain furnace is explained. To judge and control this power requires much experience, nerve, and skill. The Interior of the Oven is very instructive, as it shows the position suitable for the various wares. Some will bear more fire than others, and are consequently put in hotter places. Plates will bear more fire than cups, cast ware than pressed ware. It is the business of the fireman to see that each seggar is put in its proper place. The Dipping Room. — The illustration shows the ordinary process in glazing useful wares. All ornamental goods are subject to the same treatment, requiring somewhat more careful trimming afterwards. The ware having been dipped is placed in a stove to dry. It is then taken by the trimmer, who removes any superfluous glaze, after which it is fired. The Painting and Gilding Room. — This room is selected as being easy of access, and the workmen being typical of a large number of other parts of the manufactory. The Printing Room shows the printers at their presses ; the transferrers, who place the prints on the wares ; and the cutters, who prepare the paper for them. The Burnishing Room, where the ware is received from the Enamel Kilns, shows the women at work in this department. '' INTRODUCTION. HE extraordinary mania for Pottery at the present time is not peculiar to our age. d'he liistory of our art throughout the world teaches us that it has been cultivated in all ages and under every variety circumstances, and at times under the most distin- guished patronage. 'Phere are many reasons why this im[)ortant and truly beautiful art should engage the attention of the people. 'The learned Brongniart says, ( “ Traite des Arts Cerami([ues,'’) “1 know ot no art which presents in the study of its jiractice, its theory, and its history, so many interesting and varied ('onsiderations as the Ceramic Art.” We regard it as the graphic medium of anticjuity. 'The clay so sensitive in the hands of the jiotter exhiliits the most subtile expression of the actor’s will, and presents to us the mind and character of ancient [)eo[)les who may have left no other trace behind. Birch says “ d'he history of the art of working in cla)', from its rising amongst the oldest nations of antic piity till the jiresent time, re.solves itself into two great diN'isions, which have engaged the attention of two distinct classes of enc|uirers, namely, the technical or scientific jiart, ('ompri.sing all the details of material, manipulation and [irocesses ; and secondl\, the historical portion. 10 INTRODUCTION. which embraces not only the history of the art itself, and the application of ancient literature to its elucidation, but also on account of the light thrown by monuments in clay on the history of mankind.”* The study, therefore, is neither deficient in dignity, nor limited to trifling investigations, nor rewarded with insufiEicient results. A knowledge of the origin and progress of any branch of art must always be of immense importance to its future development and improvement. This is particularly true of the art of working in clay, both from its universal diffusion and from the indestructible nature of its products. Entirely sympathising with these sentiments, the present brochure has been written, not with the idea of giving a history of porcelain manufacture in its technical or scientific details, nor the history of the art with reference to nations, but for the purpose of answering the questions so frequently put by visitors, respecting the various processes of manufacture at The Royal Porcelain Works. Everyone being interested in the manufacture of porcelain, it is our desire to explain the processes in the most simple manner, and to endeavour to make a visit instructive as well as interesting, and possibly to direct attention to the geological, chemical, and technical studies which are involved in its practice. The manufactures of The Royal Porcelain Works embrace the following varieties : — I*'ine Porcelain. Ivory Porcelain, a speciality. Vitreous Stone Ware (semi-porcelain), a speciality. Parian. Majolica. d'erra Cotta. &c., cVc., &c. * Birch’s “Ancient Pottery and Porcelain.” INTRODUCTION. II The raw materials consist of : — China Clay, from Cornwall. China Stone „ Cornwall. Felspar „ Sweden. Fireclay ,, Stourbridge. Do. ,, Broseley. Marl ,, Broseley. Flint ,, Dieppe. Calcined Bones, both home and American. &c,, &c., &c. The styles of decoration in use at The Royal Porcelain Works embrace all those usual on pottery and porcelain. The following are specialities more or less peculiar to the Works : — Perforated Porcelain. Ivory Porcelain. Raphaelesque Decoration. Bronze and Metallic Decorations, in various styles. Jewelled Porcelain. Enamels on Royal Blue (Worcester enamels). Modelled and Coloured Golds. Oriental Renaissance Decorations, in a variety of new styles in ivory, gold, and colours. Visitors to The Royal Porcelain Works desirous of seeing the processes of manufacture are conducted over the Works in the following order : — I'he Throwing and I'urn- The Mill. ing Room. Figure Making Room. Biscuit Oven. Dipping Room. Glost Oven. Painting and Gilding Rooms. Burnishing Room. The Museum. THE MILL. HIS department consists of a boiler-house, engine- house, and the mill, a three-storied building. On the ground floor are placed the washing-pans which receive the materials from the upper stories, and the cs where the ground substances are stored. On the first floor are large pans for grinding flint, felspar, Cornish stone, &c., &c., also pans for grinding the glazes, and a series of smaller ones for colours. Adjoining these is the- Mixing Room. C)n the upper story are similar large pans for grinding calcined' bones, a substance extensively used in the manufacture of china,, mills for grinding gold, and a .series of pans for grinding colours.. I'he room adjoining is the Laboratory. 'The [)ans are all formed on the same model, but vary in size- according to the material for which they are recjuired. Thev average about lo feet in diameter, and 3 feet in depth. The.se- vats or })ans, which are very firmly hooped together, are paved with small l)locks of hard chert stone, cemented together with* ground china or similar material ; in the centre moves an upright shaft, to which are fixed four very strong arms radiating in curved lines, and which move the runners or grinding stones. When the- materials to be ground are thrown into the pan, water is supplied to the depth of several inches, and on the mill being put in motion the particles are abraded against each other and between the runners and pavers until they are reduced to the consistency of thi('k cream. THE MILL H THE MILL. As the future beauty of the porcelain depends to a great extent on the proper grinding of the materials, much attention is paid to this department. The time necessary for grinding the different materials varies from twelve hours to six days : an idea of the fineness required in the grinding may be understood from the inspection of the silk lawn, which numbers about 4,000 meshes to the square inch, and through which every particle of the material used in the body or glaze must pass in the process of mixing. The principal substances used in the manufacture of porcelain are china clay, china stone, calcined flints, felspar, and calcined bones ; for the glazes, — borax, lead, flint, Cornish stone, &c., &c. CHINA CLAY. — Kaolin was first discovered in England by Cookworthy in 1768. It is the felspar of decomposed granite rock, and is found in Cornwall. According to analysis its average composition is : — Silica, 46. Alumina, 40. Lime and Potash, 4. Water, 10. It is washed from the decomposed rock and allowed to settle in large vats, from which it is cut in blocks when dry and packed on board ship or in transport to the potteries. CORNISH STONE. — Petuntse is the decomposed granite rock found in Cornwall. It is composed of quartz, felspar partially decomposed, and a talcose material. It is quarried at St. Stephen’s, in Cornwall, and is sent to the various potteries without any preparation. FLINTS, although they may not be used in the body of the porcelain, are necessary in the manufacture. For pottery purposes boulder flints are preferred, as they are generally more free from lime than chalk flints. In order to prepare them they are placed in a kiln constructed for the purpose and calcined at a red heat ; when cool they become perfectly white ; in this state they are crushed and ground like the other materials. THE MILL. 15 CALCINED BONES are largely used in the manufacture of English porcelain. For this purpose ox bones only are suitable. They are brought in large quantities from South America. Home prepared bones are also used in certain proportions. These latter still retain a proportion of carbon which gives a dark colour to the porcelain clay, but all this disappears in the burning of the ware. The use of bones is peculiar to English porcelain, and constitutes the great difference between it and the porcelain made on the continents of Europe and Asia. From the fact of this material being used, the English ware may be called a soft or tender porcelain, and that of France, Germany, and China, hard porcelain.* For most purposes the artificial or tender porcelain is the better article, particularly for the finer branches of ornamental work and for richly decorated services. FELSPAR, one of the materials which is much employed, is brought from Sweden in its purest state. It is found in many parts of England and Ireland, but is too often stained with iron. This spar in its raw state is of a salmon-red tint, but becomes pure white on being calcined. It is then ground as we have described. The materials for the GLAZE of English porcelain are ground flint, Cornish stone, borax, lead, &c. These having been weighed out in proper proportions are put in a melting furnace, called a fritt kiln. When perfectly melted together they form a glass, which, in a melted state, is allowed to run into a reservoir of water, which disintegrates the mass, and allows the grinding to be more easily performed. A certain proportion of this fritt powder is used along with borax and other materials, which are all ground together, requiring sometimes ten days for the process. Adjoining the Mill are the Clay Sheds and Mixing House or Slip House. * Brongniart divides soft porcelain into two classes — naturally soft, and artificially soft. The early pastes of Bow and Chelsea, St. Cloiul, and Sevres were naturally soft ; those of England at the present time are artificially soft. THE SLIP THE SLIP HOUSE. 17 'I'lie CLAY SHED contains stocks of the various clays which do not require grinding, hut which are sufficiently pulverised in the state in which tlicy are received. In this shed are several vats containing blungers, which are worked by machinery. These vats are supplied with the different materials, and when sufficiently blunged so as to form a uniform mass like thick cream, the slip, (as it is called) is allowed to run into the arks or reservoirs pre- pared for its reception in the next room, which is called the Mixing Room or SLIP HOUSE. Underneath tlie floor of this building are large arks, which act as reservoirs for the substances from the mill and clay house. Here are the mixing pots, into ivhich the ground materials are thrown by pumps. In the mixing pot is a shaft from which radiate arms having arranged on them rows of magnets which work tlirough the materials so as to remove any particles of iron that may by accident or abrasion have got into them. From the mixing vat the material passes through a series of sieves worked by machinery. It is tlien pumped into the clay press. This is a machine where the slip is received into a number of chambers lined with linen I)ags, and where by hydraulic pressure the water is expressed until the mass assumes the consistency of paste. The clay from the press, feeing in a state of paste or dough, is taken to a vault or clay cellar, where it is regularly l^eaten and, turned over and again beaten and kneaded to make it tough. When the })roper consistency and homogeneity have thus been imparted to the dough, it is ready for the workman. The usual methods of manufacture are three : “ throwing,” “ pressing,” and “casting,” the two former with the clay in a state of paste, the latter when in a state of slip. VUE 'LH ROWER --LHE POd’dTIR’S WHEEL. Idain circular articles, such as cups and l:)Owls, and in some cases, jugs and tea])ots, (See., are made on the potter’s wheel by the thrower. This apparatus is of great antiquity. It is certainly the oldest meclianical contrivance in connection with the art of pottery. i8 THE THROWER. In the tombs at Thebes (dating about 3,800 years ago) have been discovered drawings which exhibit the potter’s art in a variety of forms, the kneader of the clay, the bailer, and the thrower, The man who works at the potter’s wheel is called the thrower. He receives from his assistant a ball of clay, which he throws upon the head of the wheel or horizontal lathe before him and presses it with both hands ; the rotary movement causes the clay to rise in the form of a stalk or cone which he then depresses and again allows to rise. When the clay is thus made ready he inserts his thumlj into the mass, moulding and fashioning the outsides with the other hand. In this way cups and bowls are formed. In the drawing to which we have alluded the action of the thrower is precisely the same as at the present time, the only difference being in the motive power which turns the wheel. In Egypt it was given by the left hand applied directly to the wheel. In China the motion is given in various ways — by the hand, by the foot, and by a loose strap ; on the Continent of Europe, by the foot of the workman. THE NEXT ILLUSTRATION shews the usual English system. At The Royal Porcelain Works, and at most of the large manufactories, steam power is now used, and the thrower regulates the speed of the wheel by a motion of his foot. THROWING AND TURNING ROOM. 20 'J'HE TURNER. I'orniLTl}' all cups and hollow pieces, as jugs and teapots, were made on the wheel ; in modern times the greater part of these objects are made in moulds, which not only ensure correctness of size, but admit of patterns being embossed on the surface without extra labour to the workman. 'THE THROWhlR having formed the cup, or “ lining as it is called, afterwards presses it into a mould. In a short time this mould will have absorbed sufficient moisture from the clay to allow it to become detached ; it is then taken out and is ready for d^HE TURNER. d'HE 'i'URNER fixes the ware upon his lathe and treats it much the same as he would a piiece of wood or metal. He finishes the edge and foot, and if necessary the outside surface. Having completed the form of the cup it is passed to the Handler. Handles are pressed in moulds, and, whether for teacups or ^•ases, undergo the same process of trimming and fitting, which is speedily done by the workman, who next proceeds to fix it on the cup Vvuth a little liquid clay called slip. This clay acts as a cement, and, being of the same material, unites the two parts when burnt in the oven. All objects with handles go through a similar process. 'The manufacture of plates and dishes is called Flat Pressing, and the jirocess is very different from that just described. For plates the clay is weighed into balls, which are beaten out into flat circles like pancakes. The mould that gives the form to the face of the plate or saucer is fixed on a horizontal lathe called a jigger. It is then covered with a disc of clay which is pressed firmly on to the mould whilst it revolves very quickly. The workman then takes a tool called a profile fitted to the edge of the The Articles formed l)y the Thrower in the presence of visitors are made to show the power and working of the Potter’s Wheel, but are of no use as manufactured articles, cups being made -in moulds, and Saucers by a process afterwards described as Flat Pressing. PRESSING ROOM 22 PRESSING. mould, and which on being pressed in the centre causes the foot to rise in a perfect circle. The mould, with the plate upon it, is next placed in the stove to dry. When the heat causes the plate to contract from the mould, it is taken off and finished in a semi-dry state. The plate is then ready to be burned, and the mould is ready to receive another charge. 'Fhe manufacture of soup tureens, covered dishes, ewers, basins, &c., is called Hollow Ware Pressing. These objects are all made in moulds. The workman first prepares a slab of clay, and having carefully placed it in the mould he bosses it with a wet sponge, and presses it into every line of the pattern. The mould after a little time absorbs sufficient moisture to allow the clay to contract, and the piece is easily removed. ORNAMENTAL PRESSING ROOM. ORNAMENTAL POTTERY. CASdTNG, one of the most interesting processes of potting, is shown in t’ne Figure Making Department.. ORNAMENTAL PRESSING. 23 When a figure of any size or shape has been finished by the modeller, it is cut into pieces to be moulded. The mould-maker is most careful to arrange that each part shall be delivered from the mould in perfect condition and with as little seam as possible A figure when thus cut up and moulded may be represented by from twenty to thirty moulds, each containing a separate part. The china for this process of manufacture is not used in a clay state, but as a liquid slip like thick cream. This is poured into the orifice of the mould, left for the purpose, and then allowed to stand for a short time ; when sufficient slip has adhered to the mould the remainder is poured back into the casting jug. The slip having remained in the mould for some minutes becomes sufficiently solid to enable the workman to handle it. He next proceeds to arrange all the pieces on a slab of plaster before him. He then trims the superfluous clay from each, and applies some liquid slip to the parts and so makes a perfect joint, each part being fitted to its proper place, until the whole figure is built up as it was before it was moulded ; as each joint is made, the superfluous slip is removed with a camel’s hair pencil. 'J'he object is next propped with various strips of clay having exactly the same shrinkage, and is then ready for the oven. d'his shrinkage or contraction to which we have alluded is one of the most important changes, as well as one of the greatest difficulties encountered in the art of pottery. 'The change will be more or less, according to the materials used, and the process employed in making. Thus, earthenware will not contract so much as porcelain, and a pressed piece will not contract so much as a cast one.* The contractions are sufficiently well known to the modeller, and he makes allowance * The shrinkage arises from two causes ; first, from the loss of water wliich in a highly plastic jiaste may cause contraction to the extent of upwards of 15 per cent. ; and secondly, if the hody he fcjrmed of readily fusible sul)stances, a further diminution of hulk arises Irom the closer juxta|)osition of the component particles by incipient fusiijii, and this amounts frequentl) to from 10 to 15 per cent. 24 BISCUIT KILN AND PLACING HOUSE. in the model accordingly, the design being fashioned so much larger than is actually required ; the shrinkage from the original model to the finished object being sometimes equal to 25 per cent. 'hhe ware up to this point in all the stages of manufacture we have described is most tender, and can only be liandled with the greatest care. • BISCUIT KILN AXI) FLACIN(i HOUSE. '['he manufactured objects being now ready for baking are taken to the placing house of the biscuit oven, where may be seen some hundreds of seggars, of all shapes and sizes. These seggars, which are made of fire-clay and are very strong, are the cases in which the ware is to be burnt. Common brown wares, when the fire is comparatively easy, may be burned without any protection, as the fire or the smoke cannot injure them ; but for porcelain or white earthenware these cases are necessary. 'I'he seggars are made of various shapes to suit the different wares Flat round ones are used for plates, each china plate THE MODE OF FIRING. 25 requiring its own seggar and its own bed in it, made of ground flint very carefully prepared ; for the china plate will take the exact form made in the bed of flint. Cups and bowls are placed, a number of them together, in oval seggars, ranged on china rings to keep them straight. These rings must be properly covered with flint to prevent them adhering to the ware burned upon them. The seggars when full are piled one over the other most carefully in the oven, so as to allow the pressure to be equalised as much as possible ; this is absolutely necessary, as, when the oven is heated to a white heat, the least irregularity of bearing might cause a pile to topple on one side and possibly affect the tiring of the whole oven, causing a great amount of loss. INTERIOR OF BISCUIT OVEN. Calcined flint is used for the })urj)ose of making beds for the ware because being pure silica it has no melting properties, and will not adhere to the china. 26 THE MODE OE EIRING. The form of the china oven seems to have been much the same in all ages, viz., that of a cone or large bee-hive. A china oven is generally about 14 feet in diameter inside. It is built of hre-bricks, and is encased several times round with bands of iron to prevent too great expansion from the heat inside. There are generally eight fireplaces round the oven, with flues which lead directly into the oven in different directions. A china oven takes about forty hours to fire ; it is then left to cool for about forty-eight hours. In order to test the burning, the fireman draws small test cups through holes in different parts of the oven made for the purpose. These tests show both by contraction and the various degrees of translucency the progress of the fire. The test holes are carefully stopped wfith bricks so that cold air cannot be drawn into the oven. The porcelain having been burnt is now in a state called biscuit ; it is translucent and perfectly vitreous. Having had the flint rubbed off the surface and been carefully examined it is sent into THE DIPPING ROOM. The dipping room is supplied with large tubs of the variou glazes suitable to the different kinds of ware. The glaze is really a glass, which is so chemically prepared of borax, lead, flint, &c., &c., that when burned it will adhere to the porcelain and will not craze or crackle on the surface. This glaze is ground very fine (being on the mill for about ten days) until it assumes the consistency of cream. The process of glazing is simple, but requires a practised hand, so that every piece may be equally glazed and the glaze itself equally distributed over the surface. THE GLAZING DEPARTMENT. 27 THE DIPPING ROOM. From the dipping room the ware is brought into the drying stove, where the glaze is dried on the ware. It is then taken by women into the trimming room, where any superfluous glaze is taken off and defective places are made good. From this room it is taken to the glost oven placing house, where the greatest care and cleanliness are required, as should any dust or foreign substance get on the glaze, it will adhere in the fire and very likely spoil the piece. The glost oven is of the same construction as the biscuit. It takes sixteen hours to fire, and the tests are made in the same manner as in the biscuit oven. In aliout 36 hours the oven will be sufliciently cool for the ware to be removed. It is then sent into the White Warehouse, where it is sorted and stored until required for decoration by the painters and gilders. Visitors generally look forward with pleasure to the mysteries of the Decorating Department. It is interesting to watch the painters, some engaged on landscapes, others on birds, or flowers, 28 THE DECORATING DEPARTMENT. or butterflies. All are interested in their work, which to the uninitiated may appear at first sight to be very unpromising, the colours being dull and the drawing unfinished. As the work advances it will be better understood. After the first “ wash in has been burned and the painter has worked upon it for the second fire, the forms and finish both in style and colour begin to appear. The colours used are all made from metallic oxides ; thus, copper gives green and black ; cobalt, blue ; gold, purple ; iron, red ; &c. The painters are trained from about 14 years of age under^ special instructors ; they thus acquire a facility of drawing and general manipulation of the colours which it is found almost impossible to attain at a later period in life. The gilding process is carried on in rooms adjacent to the painting. The elaborate and finely executed patterns in gold are all traced by the hand. The workmen require special training for this department also, correct drawing and clean finish being absolutely necessary. For the purpose of getting correct circles, and speedy finish on circular pieces, a simple mechanical con- trivance is used. A small table or stand with a revolving head receives the plate, or saucer, or cup, which is carefully centered, so> as to run truly. The workman then having filled his pencil with gold, fixes his hand upon the rest, applies the pencil to the edge of the piece, and gently turns the table head round ; the edge is. thus formed in a moment in the most perfect manner. The gold used for decorating porcelain is the purest that can be obtained from the assayer. It is supplied to the factory in brown grains like ground coffee. The chemist then mixes with it a little flux to make it adhere to the ware, and a proportion of' quicksilver (which all flies off in the kiln) to reduce it for grinding. It is next ground on a mill for about thirty hours, and it is ready for the workman. DECORATING ROOM. 30 THE DECORATING DEPARTMENT. As seen in use it looks more like printer’s ink than precious gold ; its true character is revealed after it has passed through the enamel kiln. As nearly every process of decorating porcelain is performed on the glazed surface of the ware, special kilns are arranged for burning the colours and gold, that they may adhere or sink into- the glaze. In proportion as this operation is properly performed, so will the colours be more or less bright or beautiful. The kilns used for this purpose may properly be called muffles, as they are similar in principle to those used by goldsmiths, only much larger in size. They are heated on the reverberating principle, the fire- places (which vary in number according to the size of the kiln) being at the side, and the flues going round the kiln. Great care is required in placing the ware in its finished state,, as any particle of dirt, or the mark of a dirty finger, or a rub on colour or gold will all be shown on drawing the ware, and will necessitate another firing and consequent additional risk. The Worcester Porcelain AVorks were the first to introduce printing on porcelain with any amount of success. The process has been continued ever since the year 1756, but the character of the work has been to some extent altered. In the early days of its introduction it \vas principally used to print patterns in cobalt blue in imitation of Chinese painted patterns. It was also much used, and probably in its earliest days, as a means of decorating objects with fine line engravings in black or red, and in such cases the object came finished from the printer’s press. Printing is still used in this manner for common wares ; but in the Worcester Works it is generally employed to give the outline to a pattern, and by this means save the trouble in drawing, the colouring of the pattern being done by other hands, principally females. Printed patterns pass through the enamel kiln fire like other decorative processes. I'he time required for enamel kiln firing is about six hours. PRINTING ROOM. 32 THE BURNISHING ROOM. BURNISHING AND CHASING. \\3ien the ware is drawn from the enamel kiln it is carefully- sorted. d'hat which has to be repainted or re-gilt is sent to its proper destination and that which is finished is sent into the Burnishing Room, where it is distributed to a number of women who perform this last operation. The gold is now of a dull yellow colour, but after it has been carefully cleaned and a burnisher of bloodstone or agate has been quickly rubbed over it, it assumes the beautiful Lwight appearance of burnished gold. AMren patterns are chased upon the gold, a tool with a fine point formed of agate is used, by which only those parts to be polished are touched, leaving the dead gold to show a relief in colour. From the burnishing room the ware is sent into the warehouse, where it is distriljiited to the various orders for which it has been made. It is then papered up and packed. d'he visitors liaving now been conducted through the various representative^ departments of the manufactory, and having seen how the meanest material in nature, “ clay,” can be made to assume the most beautiful forms, and by the application and comlhnation of science and art to become more valuable than the precious metal itself, will, we feel assured, be more ready to appreciate the finished article, whether in the form of a simple cup and saucer or plate, or the most elaborately decorated vase. Shaw, when writing on Staffordshire pottery, says : “To give our readers some idea of the various ramifications of a single piece of earthemvare before it arrives at completion, we may note that at the present day to produce the commonest painted bowl used by the poorest peasant wife to contain the breakfast for her rustic * The workshops exhibited are selected as being the most likely to interest, whilst they are types of many others. The rooms in which the higher classes of decoration are carried on are not shown, as the interruption of visitors would disturb the artists at their work. THE BURNISHING ROOM, 34 THE NUMBER OF PROCESSES. husband, the clays of Dorset and Devonshire, the flints of Kent, the granite of Cornwall, the lead of Montgomery, the manganese of Warwickshire, and the soda of Cheshire must be conveyed from their respective districts, and by the ingenious processes, the results of unnumbered experiments, be made to combine with other substances apparently as heterogeneous, obtained from other nations. “ An ordinary piece of ware will pass through, on the average, at least i8 different hands or processes, after the materials arrive on the ground, before it can be sent out in a perfect state, viz., the miller, the slip maker, the preparer of clay, the bailer, the thrower, the carrier, the turner, the handler, the biscuit fireman, the scourer, the dipper, the glost fireman, the sorter, the printer, the painter, the gilder, the enamel fireman, the burnisher.” yistepieal Sketel^ OF Tl^e ^©yal Sepeelaii^ Wepks. The issue of a new edition of our (kiide Book affords us the opportunity to say a few words on the History and productions of our Manufactory. Founded by Dr. Wall, as a Joint Stock Company, for the purpose of making ji7ie poi'celain^ it has been the aim of the different firms composing the uninterrupted set[uence of projirietors to maintain the high character obtained on its establishment. In the early part of the last century, the manufacture of Porcelain had engaged the attention of the Princes of luirojic ; it was becoming famous in England both at Bow and Chelsea, at the latter place, under the fVench director Sprimont, producing fancy articles of a very high class as well as richly decorated services all more or less of a French character. 3 ^ WORCESTER PORCELAIN. It was at this period, in 1751, that Doctor Wall invented the porcelain for which Worcester became so celebrated. No porcelain in the country has surpassed the early specimens in that fineness of texture, translucency of paste, and perfect homogeneity of body and glaze which are the special features required in a true [)orcelain. Worcester had neither coals, nor clay, nor skilled hands ; but this talented physician, who was also a clever chemist and an accomplished artist, by his scientific skill, produced one of the most beautiful porcelains in Europe. d'he introduction of soap-rock constituted a new feature, and continued to be a Worcester speciality up to the end of the last century. A variety of fine porcelains have been made at various times, notably that called “ The Regent ” for the services made for King George IV. when Prince Regent. d'he porcelain body at present in use at the manufactory is a special composition, the result of many years’ experience. In a large manufactory like The Royal Porcelain Works, there are great varieties of wares always in process of manufacture, and visitors will probably notice the ornamental objects as the most attractive ; nevertheless, the variety of styles and patterns in the Service department will be found worthy of attention. Between forty and fifty years ago, a semi-porcelain was intro- duced by Messrs. Chamberlain, and having undergone many changes and improvements it is now established under the name of ‘‘‘‘ Royal Worcester Vitreous WareV It is used for the Royal Navy, Clubs, and Messes, and all kinds of useful services requiring strength and duralhlity ; it will not craze, and the fracture being vitreous will not a 1 )Sorb grease or moisture. “ Ivory Porcelain^^ which has become so celebrated, was invented at The Royal Porcelain Works, and introduced for the production of decorative objects, vases, figures, &c. The great success of this material has been owing to the delicate ivory tone of the body, which harmonizes in a singularly beautiful manner WORCESTER PORCELAIN. 37 with the coloured gold and bronzes that form a leading feature in “ Royal Worcester ” decorations. The decoration of Porcelain, assuming as it does a character- istic style, has always excited considerable interest, and Worcester wares are not an exception. At an early period the manufactory copied the Oriental styles so exactly, that it is even now difficult to tell the one from the other. The proprietors were at all times ready to welcome inventions which would add to the popularity of their wares, and the first which seems to have attracted attention was the invention of Transfer Printing. This invention, which has done so much to popularize pottery throughout the world, and is now being applied to so many purposes and materials, was first used in the decoration of porcelain at Worcester. Assiduous antiquarian research has shown that the invention was introduced in the enamel works at Battersea, which establish- ment was closed in 1756, and both the art and the artist were thrown upon the world. The principal artist, as far as can be ascertained, was R. Hancock, and he found a congenial home at Worcester, his high-class work being quite in accord with the refined taste of the managers of that establishment. The styles ado])ted at Worcester were very varied, but were generally selected from the finest exanqfies of Japanese and Chinese and Dresden manufacture, as well as the very beautiful wares of Sevres and Chelsea; but whatever style was ])roduced, it was made to bear a Worcester character, and, with tlie exc'cption of Chelsea, no English works bear evidence of so mucli loving care in their production. It is certain that from about 1760 to 1775 some extremely beautiful wares were produced, both in \ ases and services. The specimens which have lately been brought to light have never been excelled in Ihigland. Doctcr Wall died in 1776, and the remaining partners ('arried on the works with s[)irit and success until th.e year 1 78 5, when the 38 WORCESTER PORCELAIN. whole establishment was sold to their agent, Mr. Flight, of London. The business was conducted l)y his two sons, Joseph and John, till I 792. In 1788 George III. visited the Worcester works, and granted his warrant permitting the establishment henceforth to be called “ Royal.” In 1793 Mr. Barr joined the concern, and the firm of Flight and Barr commenced. It continued wuthout variation until 1807, when Mr. Barr, jun., was taken into partnership, and the title was altered to Barr, Flight, and Barr, and lasted until 1813. On the death of Mr. Barr, sen., a younger son was taken into partnership, and the firm changed to Flight, Barr, and Barr, which was continued till 1840, although Mr. Flight had died in 1829. d’he establishment was united to that of Messrs. Chamberlain in the former year (1840). Mr. Chamberlain, who had been engaged with the original company under Dr. AVall, left the works when they were sold to Mr. Flight, and commenced business on his own account. The firm from 1786 to 1798 was Robert Chamberlain, sen., Humphrey Chamberlain, and Richard Nash (sleeping partner) ; from 1798 to 1804 the firm was Humphrey Chamberlain and Robert Chamberlain, jun. ; from 1804 to 1811, Humphrey Chamberlain, Robert Chamberlain, and Grey Edward Boulton (sleeping partner); from 1811 to 1827, Humphrey Chamberlain and Robert Chamberlain ; from 1827 to 1840, Walter Chamberlain and John Lilly. The united firms in 1840 were constituted a Joint Stock Company: Walter Chamberlain, John Lilly, Martin Barr, George Barr, and Fleming St. John, Managing Directors. The Company was dissolved in 1848, and the firm was again Walter Chamberlain and John Lilly. WORCESTER PORCELAIN. 39 In 1850 another change was made, and the style became Walter Chamberlain, Frederick Lilly, and W. H. Kerr. From 1852 to 1862, W. H. Kerr and R. W. Finns. In 1862, commenced the present Joint Stock Company. In the early part of the present century Worcester had few competitors in the manufacture of first-class porcelain. The patronage of the King and Royal Family, which was liberally accorded, stimulated the production of both fine porcelain and artistic decorations. Messrs. Chamberlain entered largely into the manufacture of porcelain buttons made of dry clay by pressure, but a dispute about the patent in 1850 and the introduction of a similar article from France put an end to the business. The manufacture of encaustic tiles was also introduced by IVIessrs. Chamberlain. These had a great and deserved success. This business was transferred to Messrs. Maw in 1851, and by them shortly after removed to Broseley, where the establishment has been greatly extended, and has obtained a very high position from the artistic character of its productions. The second century of The Royal Porcelain Works commenced with a new proprietorship ; Mr. Kerr, who had been a partner in the former firm with Mr. Chamberlain and Mr. Lilly, was now joined by Mr. Finns ; the buildings of the manufactory were largely extended and considerable progress was made in giving a higher tone to its productions, which received high praise at tlie hixhibitions of 1853, 1855, and 1862; in the latter year the business was formed into a Joint Stock Company, since which time further large additions have been made to the Works, which now employ more than 600 persons, and increased reputation has attended their productions. The highest award (ddie Diploma of Flonour) was obtained at Vienna, and at Paris the Cold Medal. 40 WORCESTER PORCELAIN. T'he Partnership Deed of The Worcester Porcelain Company in 1751. The original Deed relating to the formation of this Company in 1751 has recently been discovered. It is very interesting, both in giving the names of the original proprietors, and the terms upon which the company was formed. ROYAL VISITS. The visit of King George III. and Queen Charlotte to the Porcelain Works commenced a new era in the history of the manu- factory. The King granted his warrant, and having recommended that an establishment should be opened in London, the Royal Family and the Nobility generally speedily availed themselves of the facilities thus offered. The interesting specimens in the Museum bear evidence to the extent of that patronage. The following Royal visits are on record : — King George III. Queen Charlotte. George PYederick, Prince of Wales. The Duke of Gloucester. I'he Duke of Sussex. The Duchess of Kent. The Princess Victoria. Queen Adelaide. The Duke of Cambridge. The Princess Christian. Albert Edward, Prince of Wales. The Princess of Wales. The Queen of the French. The Duke de Nemours. WORCESTER PORCELAIN. 41 ROYAL APPOINTMENTS. The Royal Porcelain Works have also been honoured with numerous appointments from the Royal Family, among them being the following : — 1789. — His Majesty George the Third. 1807. — H.R.H. The Prince of Wales. 1808. — H.R.H. The Princess of Wales. 1814. — -H.R.H. The Princess Charlotte of Wales. 1830. — H.R.H. The Duchess of Kent. 1834. — Their Royal Highnesses The Duchess of Kent and The Princess Victoria. HER MAJESTY THE QUEEN. And also a special appointment to His Majesty The Emperor of Austria and the Imperial Court at Vienna. ®/flaFks 0n WeFeestep Bepeelain. ter"* , value. i.s marked it is of hi^h value. publishing the marks on Worcester Porcelain we desire to state, for the benefit of collectors, that many of the best specimens are not marked, and a large num])er bearing marks of repute are of little It does not therefore follow, that because a piece Advantage has been taken of the popular demand for certain marks, and they are freely manufactured l)oth at home and abroad. The marks we give have been found upon old Worcester porcelain, but many of them are only copies of Oriental devices. The painter, in copying the patterns from some Oriental piece, has completed his work by copying the device on the back also. But it is evident that such mark was not intended to deceive, as in many cases the Worcester crescent is placed along with it. d'he old Worcester marks, the crescent, the square, and the letter W, are registered trade marks of The Royal Porcelain Works MARKS ON WORCESTER PORCELAIN. 43 Nos. I, 2, 3, appear on all kinds of Worcester china from 1752 to about 1800. The crescent is the true Worcester mark ; it was taken from one of the quarterings in the WTrmstry arms. Nos. 4 and 5. — The crescents with addition are not common ; they are generally on blue ware. Nos. 6, 7, 8, 9, 10. — The W mark is found on a great variety of patterns of early date. Nos. II, 12, 13, are the square marks so much sought after, and at present so freely forged. Nos. 14, 15. — Also square marks, but not so common. Nos. 16 to 22 are copies of Chinese and Japanese patterns, and generally appear on wares of that class. Nos. 23 and 24, and 28 and 29, are imitations of the Dresden mark, but they appear on many styles of ware, sometimes even on black print. Nos. 25, 26, 27, appear only on l)lack transfer prints between 1756 and 1774. No. 30 has been found impressed in the ware 1783 to 1791. No. 31. — In blue under gla/c for the same period. No. 32 appears on the Royal scrvic'c made for the Duke of Clarence. No. 33.- 'riiis letter is found scratched in the ('lay after Mr. Rarr was taken into partnership; fi'om 1793 to about i Soo. No. 34 — IVom 1793 to 1807. Nos. 35 and 37. — From 1807 to 1813. Nos. 36 and 38. — ITom 1813 to 1840. 44 MARKS ON WORCESTER PORCELAIN. c i; ; 8 9 10 yir ww fj n So as /s' a »X« M T 6 fg 20 » t tf til 5/^ 23 24 ^5 ^KancvcKj-eftt 28 26 Hl.lA^rcestfr 3/ ^ fU 32 2 p XX 33 5 /. 35 36 Ci? FlighiBarr{/Barf "yiijh^ &^/ 2 am 37 33 . BarrFi ight^Barr. Royal FoTcelaiaWorks. WORCESTER L onion House. RTCoVeutry Street. MARKS ON WORCESTER PORCELAIN. 45 CAamlerlauiH) 4 ? Chamhn'lmr:^ WnrcfsJer &• 62 f Piccadilly j Londm. Clminberhiirij'^ jHeoevt CJiiiuL^ ^/VorcesUr ^ 155^ Ntw BondShttf London, ChtLmljtrlcLTi^ Worcester Lr- ' NevrBond Street. LondoTt ojat Poreelani Mam^acturers. 43 CHAMBERLAIW CO,, Chumberhtn 'I'HE FOLLOWING COMMENDATION FRO.M M. LAMEIRE, ( Com/nission of I uslruclion anJ the Fine Arts). “ \Vc must plcTCC here, highest in rank, the productions of the Worcester Manufactory, d'hey are distinguished from all others by skill and accurate judgment in Ceramic Art, and by great [lerfection in the execution.” Worcester Printed by W. E. Tucker & Co., 15, High Street. r V