The Story of Porcelain Part 9

Theo was much amused.

"Afterward for quite a long time dishes of brown stoneware were in vogue; and then as an improvement on those came a coa.r.s.e greenish-yellow type of ware. It was about 1645 that into England strayed a few Dutch potters who began to make a reproduction of Delft pottery. In the meantime in quite another part of the country a salt-glazed stoneware of far better quality than any previously manufactured made its appearance. To this the name _porcellane_ was given, and although the product was in reality simply a gres the fact is interesting because it is the first time that we have the word applied to china. It probably came from the Italian noun _porcellana_, meaning a sh.e.l.l, which the thinness of the new ware may have suggested; or the term may have been derived from the French word _pourcelaine_, a word used for any material from which a sculptor models his statues. We are not certain which of these theories is correct. Nevertheless we have the name, although at this particular date it was incorrectly applied."

"But the English had nothing at that time but pottery to give the name to," objected Theo.

Mr. Croyden chuckled.

"Exactly! So they shouldn't have used the term at all," he said, "because they have confused a lot of good people since then. From this period on England went steadily forward with its china-making.

Earthenware of various kinds covered with salt glaze were made at Fulham, Stoke-on-Trent, and Staffords.h.i.+re. It was about 1750 that the second of the great potters made his advent."

"Ah!" cried Theo, "now we are going to hear who he was!"

Mr. Croyden paused a moment as if thinking just how he should best tell the story. Then he began:

"The name of this second pottery-maker to whom the world owes a mighty debt was Josiah Wedgwood. He was a man who came naturally by his skill at pottery-making, for, not only was he himself a potter, but he also had several ancestors who had followed the trade. He was a conscientious workman of limited education, but a person to whom a thorough, careful piece of work, done as well as it was possible to do it, was a satisfaction and delight. Remember that fact, for it had much to do with Wedgwood's subsequent success. He also loved beauty of form, and probably had he been able to choose he would have turned his entire attention to making a cla.s.sic type of pottery. But being one of thirteen children he was poor, and his common sense told him that there were far more necessary things to be done in the world than to give all one's time to articles that were not useful. So he put his dream behind him, like the practical fellow he was, and looked about to see what his contemporaries needed, and what he could do to aid his generation."

"I should think that if he could have made some dishes it would have helped as much as anything," a.s.serted Theo emphatically.

"That was precisely what he decided," answered Mr. Croyden. "Accordingly he went to work to apply his knowledge of pottery to the improvement of English earthenware. First he made a kind of cream-white pottery which he dubbed Queen's Ware in honor of Queen Charlotte; and which in spite of the fact that it boasted no decoration, became very popular in England because of its moderate price. From this simple beginning Wedgwood got money to experiment further, and work out other varieties of china. In 1773 he began his famous dinner-set for Empress Catherine II of Russia, which had upon it over twelve hundred enameled views of English estates, and for which she paid three thousand pounds. For two months before this set was packed and sent away it was on exhibition in London, where it was the marvel of every one who saw it."

"I'd like to have seen it!" interjected Theo.

"And I too," echoed Mr. Croyden. "By this time Wedgwood had money enough to carry out some of his dreams. He was fortunate in having the friends.h.i.+p of several Englishmen of wealth and through one of them, Sir William Hamilton, he obtained a chance to take impressions of rare cameos from Italy and Pompeii; later the Duke of Portland, who you may recall outbid him at the sale of the world-famed Portland Vase, allowed him to copy it. It was a very generous thing for an art-lover to do, and I think it must have cost the duke a wrench. It took Wedgwood a whole year to copy this vase, and when he had succeeded in doing so he made fifty more copies. The venture cost him not only his time but a small fortune as well; but it proved far from a waste of hours or money, since the feat brought to the manufacturer a familiarity with Grecian art which had its outcome in his well-known Jasper ware."

Theo glanced up questioningly.

"Surely you have seen this ware, Theo," a.s.serted Mr. Croyden. "It comes in blue sage-green, or purple, and has upon it Grecian figures in white."

Instantly a flash of recognition came into Theo's face.

"Oh, I know it now!" he e.j.a.c.u.l.a.t.ed. "Mother has a teapot of it at home."

"That is more than likely," came cordially from Mr. Croyden. "At first, however, Wedgwood did not put the white figures on this ware; he merely mixed the coloring matter with the clay and got as a result a dull, opaque ware of green. Afterward he conceived the idea of making the pottery in other colors and decorating it with the Grecian, Italian, or Roman figures of which he had long before taken impressions. As this venture took form sculptors became interested in the project and lent their aid, so that by and by an entirely original ware was developed which has come down through history as one of the significant art contributions of the age. In addition to his Queen's ware, and Jasper ware, Wedgwood also made a black Egyptian-like ware called Basalt; another variety of cream-colored ware known as Bamboo; and a kind of terra-cotta that imitated granite."

"Well, I should certainly think Wedgwood did his bit!" declared Theo.

"Ah, but this was not all he did," retorted Mr. Croyden quickly. "His most important work I have not yet mentioned."

"What was that?"

"He invented two things of widely different nature which have been of the greatest practical value to our civilization ever since. One was a hard biscuit porcelain such as is used in laboratories, and for chemist's and pharmacist's utensils. This meant far greater convenience in the mixing and preparation of drugs and medicines."

"And the other?"

"The other was the glazing of common earthenware or terra-cotta drain-pipes. This non-aesthetic product was perhaps Wedgwood's greatest contribution to his time, for it revolutionized sanitation, and was a mighty step toward better living conditions. Surely no one can say that Josiah Wedgwood did not let his art serve his generation both from an artistic and a practical standpoint."

[Ill.u.s.tration]

CHAPTER VII

PORCELAIN AT LAST

Progress toward health now became quite rapid, for Theo, being a normal boy, the injured bone knit quickly, and before long Dr. Swift said:

"I have sent for some crutches for you, son, and as soon as they come I see no reason why you should not be up and about. Of course you cannot expect to go hiking off over these rough trails; but you can certainly get out of bed and move about the camp."

Theo's eyes sparkled.

"My, but won't it seem good!" he sighed.

"I am sure it will," answered the Doctor. "You have been very patient, Theo."

"Going to get the invalid up, Doctor?" questioned Mr. Croyden, who had just poked his head in at the door.

"Yes, just as soon as the crutches I have ordered from New York arrive."

Mr. Croyden looked rueful.

"That means I shall be losing my lecture audience," he mourned playfully. "You will no longer be a spoiled child, Theo, after those crutches come. We shan't serve all your meals in your room, nor give you the biggest fish in the catch. You will have to come down to common fare like the rest of us."

"You won't find me doing any fussing on that score," laughed Theo. "As for the lectures--why, I have a season ticket, and shall expect a lecture every day."

"Mercy on us!" gasped Mr. Croyden. "Do you realize, young man, that I came into these woods to rest? If I am to make pottery and porcelain with you every day I might just as well be at home."

Nevertheless it was plain that the elder man was pleased.

"Well, so long as you have secured a season ticket in advance I suppose there is no help for it," he added with a comic expression of resignation. "When, by the by, does the next lecture come?"

Theo pretended to produce an imaginary ticket from his pocket and consult it.

"The next lecture seems to be listed for this evening just after dinner," he replied gravely.

"It does, does it!" exclaimed Mr. Croyden. "Very well; the lecturer will be ready at seven sharp. I make it a point never to disappoint an audience."

With a good-natured laugh he was gone.

"I hope I don't bother Mr. Croyden too much, Father," observed Theo reflectively, after the older man was out of hearing.

"I guess you don't," answered the Doctor. "At first I was afraid you might be taking too much of his time, so I asked him; but I soon found he enjoyed these talks quite as much as you. He is a good talker, and like the rest of us finds it pleasant to discuss his hobby. I begged him to be frank and tell you whenever he was too tired or busy to talk, and he promised he would."

"He has been mighty good to me."