Cover iiEustrutiun Two fine eanhenware coffee-pots. Contents The left-hand one is painted with enamels; Melbourne, Derbyshire, about 1770. The other is colour-glazed ware, -cast 1. INTRODUCTION 5 as a cauliflower, or Yorkshire, about 1760s. Both about two-fifths actual size. 2. LOCAL 7 (Photograph: Northampton Museum.)

Illwrration on rille page 3. 15 - Bear of Nott~nghamstoneware, about 1740s (height 252 mrn) About two-fifths actual slze. 4. 25 - (Photograph: Nonhampton Museum.) 5. 33 6. FINE EARTHENWARES 41 - 7. CREAMWARE 47 - 8. 53

9. AN EARLY EIGHTEENTH-CENTURY PIT GROUP 51 10. FURTHER READING 60 11. MUSEUMS 62 INDEX 63 Published by SHIRE PtJBLICAnONS LTD Cromwell House, Church Street. Princes Risborough. Aylesbury. Bucks. WP17 9AJ, UK. Series Editor: James Dyer

Copyright Jo Draper, 1984

All nghts resewed No pan oith~s publication may be reproduced or transmitted in any form or by any means. electron~cor mechanical. includtng photocopy, recording, or any information storage and rerrieva! svstem, without perrn~ssionin wiring from the publishers.

First published I984 Set in 11 paint Times and printed in Great Britain by C. I. rhomas R. Sons (Haverfordwest) Ltd. Press Buildings. Merlins Bridge. Havedordwest. Dyfcd.

6 Posr- Medieval Porierv

century. of creamware, which was exported and prized all over Europe and beyond, as the best reasonably priced of the period. Britain had been a backwater for production. Local earthenwares British were influenced by conrinen tal developments and seldom achieved the quality of, for example, tin-glazed Archaeofogically local earthenwares are often called coarse- produced in Europe. wares, but by comparison with earlier ots the are not coarse. Bw comparison with delft and the later Pine eart r;enwares they do sekm so, however. Long before 1650 almost all potters were using a fine. fairly hard fabric w~tha little fine sand temper, which is very sophisticated by comparison with much medieval and earlier pottery tempered with large atit or $round shell. Almost_ -_- a11 wots were at least partia!l_vglj~cd,whereas in the medieval period only jugs and finer vesseIs werc glazed. Metal cooking vessels were very common and had completcl?; replaced the simple ceramic cooking pot, which had been the commonest pottery form made from the neolithic period onwards. There was no reduction in the amount of pottery in circulation. because during the Iate sixteenth century . when t hc cooking pot was superseded, many new pottery forms such as dishes, plates, bowls (some handled), cups, and specialised cooking vessels Iike skillets and chafing dishes came ~ntocommon use. The orher very common medieval form - the jug, or pitcher - continued in production, as did large storage vecsels. Almost all post-medieval earthenwares are oxidised and hlearthenware handled bwh. hthcrcaratcd in Dorchesrer In 154h 3. Plain greeny therefore red, becausc they were fired in a with plenty of air, orange plaze (helpht M mmm). 4. With lr h~tcrl~p decorat~on (d~arneter 132 mm). Probablv or rather ox gen, available. Many medieval wares were black or earl! eigh~ecnthccntup Boz h also111one-! h~rdactual slzc ( Dotxt Uountv Museum.) . dark brown iecnuse they were fired in a reducing atmosphere, in Chamber-pols. a form rarclv reprcwnrrd in collccrions 5. W~thsl~p decoration, lrom the a sealed kiln where the supply of free oxygen was limited. group ~llustratcdin chaptct'9; early tlghrcen~hcenrury (he~ght148 mml. 6. Olive green Ime ~ns~deand spla~hcsoutside. prahahly her c~ghrcenthcentury. local eanhenware All forms were made in metal. but the pottery equivalent was f hc~ph~155 mm). Rorh ahour a quancr actual s~zc.(Dorset County Museum ) much cheaper. Even more economical were wooden bowls, drinking vessels and trenchers. Neither metal nor wooden vessels are well represented in archaeological deposits because wood rots away and the metal vessels were recycled by being melted down when broken beyond repair. Probate inventories (lists of possessions made after death) show the low value placed on earthenwares since they rarely mention them at all. They do, however, clearly indicate the great variety of the more valuable metal cooking and serving vessels. An inventory of a 'gentleman' in Yetminster, borsez, in 1686 lists '1 furnace pan, 2 brass pots, 2 kettles, 2 skillets, 2 skimmers, 2 brass ladles, a pestle and morter, 2 brass candlesticks and 2 chaffindishes' (chafing dishes) and '18 pewter disks, 12 plates, 12 pewter porringers, 3 pewter candlesticks an8",;:; 8 Posr- Medieval Ponery Local earthen wares 9 small pewter salts and drinking holes, 4 pewter chamber pots, a bed pan and closestool pan', w hi 1st any pottery he possessed must be included with 'other lumber goods'. This rich inventory gives a goad idea of the variety of brass and pewter used, but any wooden vessels present would have been too cheap to be listed. A later inventor), of a yeoman from Leigh. Dorset, does however list '5 trenchers and one cage'. presumably because of the 'cage' or stand. This inventory of 1760 includes bell-metal, pewter and iron vessels. and '3 stone plates and some cups . . . 1 tea pot and tea dishes'. which are probably included because they are not common local: earthenware. Earthenwares were used. broken and discarded, so that thev rarely survived to be collected, and coIlectors tended to concentrate on decorated wares. Local earthenwares therefore are mostly known through the archaeolo~icalrecord. and here they appear in huge quantities. Even pit goups of the rnld nineteenth century incIude a few local Earthenware pots with an won-nch sl~punder the glaze. 9. A veT crude jug (height IR2 bowls or other kitchen wares. whilsr in cgroups of the seventeenth (height 246 mm) The shp can be seen extcndlng below the and eighteenth centuries they predominate (chapter 9). century. Both about a quarter actual sizc. (Northampton Many of the local were small family concerns. and often pottery making was only a part-time occupation. Surviving Mu s II. With a dutl green glaze, from the grou illustrated in chapter 9 (hcight 172 mm). accounts. w~llsand ~nventoriesshow that the potters were often U.kc buff fabric with a streaky blow? plsrc &eight 131 rnrn). Both canhenware, earl etghreen~hcentury, with bands of ndg~ngreminisent of metal or uwdcn vc~reb.Doll small farmers as well. Local was used. dug from as dose to shout two-fifths actual size. (12: Northampton Museum.) the kiln and workshop as possible. Some of these clays needed weathering in the frost or mixing with fine sand. whllst others were suitable for firing without any addition. All. however. had to have any stones or gravel removed, sometimes by diluting the clay with water until it was a slip and then sieving it. After the clay

7. Plain cvcwda\ eanhcn*are bowl. wth a brow-flecked oranpcy glaze ~nstde:probably cightccnth ccntur). Iheight 153 mm). 8. A very s lend~dtwclve-handled Mwl glazed ~rten&hrcllau overall: canhcnvuc, probably ma& at Vewd(Doncl), and pcrhnps c~~htccn~hrcnturv (hcight l.U mm). Bo~habout une-sixth actual stte. (Donet Counry Mutvum ) 10 Posf-Medieval Portery Local earthen wares 11

had been trampled or mixed and then kneaded to remove air pockets it was ready for use, Almost all local eanhenwares were thrown on the wheel, that is, formed by placing a suitably sized lump of clay on a small circular platform (wheel) and shaping the pot as this revolves. Early wheels were powered bv the potter's feet, but during the eighteenth centusy wheels came into use that were directly cranked by another worker or driven like a lathe by cord and pulley from a large hand-turned wheel. When the main par? of the pot was leather hard the handles were attached. Pottery needs to be dry before it is fired because any water left in the body will mnkc it shatter in the kiln. In the simplest potteries vesseIs were dried outside in the sun. but many had dryine,- - sheds, some us in^ a low artificial heat. Glazing made the pots less porous and more attractive. 13. An uncl.~ir~,cL3rihenware hrc pot, wbluh would k f~llrdwrth hot .~

orange. or atchy, glazes were produced by the same pottery. Instead o !+ being applied as a slip, iron could be added directlv to the glaze. and manganese was also used in this way, producing a dark brown speckled and streaked effect (12 and 21). A very good green was produced by using copper filings in the glaze, hut during this period they were mostly used for very sparse flecks of green on , especially sgraffito. Besides forms which are still made and used today, these potters were producing some vessels (particularly for liquids) which are less familiar. Puzzle jugs (15) of various shapes, bur all 19. Splendidly proport~onedemhenware jug w~than iron-nch FIIFproiuiang a vey dark brown laze, late seventeenth or early eighreenth cenNp (hr~ghr1-8 mml. 20. Slipware using the principle of a concealqd tube bypassing the pierced jug wahd iifh a vh~tcrip and with brown sI~pdixorarlon, prohahi! Sullordrhtri. lare neck. were commonly made in both local and fine earthenwares. seventeenth century (herght 174 mm). Both abut one-th~rdacrual sue (Norrhampron Fuddling cups, formed of several conjoined cups (17) made in Museum.) slipware. earthenware or delft. were also designed to drench the same kiln, as this book does, might be considered silly, but dnnker. Posset pots. for the popular drinks made from spiced hot sorting pots into their different types does aid our understanding milk with wine. beer or honey, were commonly made in delft, of them. Fine earthenware factories also produced several types slipware and local earthenwares during the seventeenth and side by side. earlier eighteenth centuries (16. 25, 26 and 37). In some cases the Iocal earthenware potters and the fineware Many of these local potteries were also producing slip- potters both made the same forms, such as plain bowls (73 and decorated wares in the same basic fabric as the plain earthenware chamber ots (5 and 61, but generally the fineware potlers of the (2. 13 and 29). Distinguish~nga simple slip-decorated vessel from eighteentg century concentrated on the more sophisticated one which has no slip but wh~chmight well have been fired in the forms, like tea and coffee wares, whilst the local potters supplied heavy utilitarian cheap pots. Throughout this period the local 17. Brown dazed earthenware fuddling cup wth enrenmntd handles, rohahlv made En wiltrh~re.purchased In West hrrel rn IK%'(he~_ehrS2 rnrn). 18. Eartknwari skilEet In potters retained much of the market in baking. brewing and tine buff fabnc wth a ven smooth glaze vaning from dark yetlow to pale olive preen cheesemaking utensils, which were very heavy to transport. he@! 51 mm) Both probably scvrn€crnth ccntuw. abut one quartcr actual slze Dorset County Muxm ) Archaeological groups indicate that they also supplied almost all I of the kitchen wares. Slip-decorared oots are not necessarilv better than the plain earthknwases. as demonstrated by the juis above. Local earthenwares are occasionally dull, heavy or even ill suited to their function, but many are handsome objects, made by t, master craftsmen who produced huge quantities of simple cheap vessels for everyday use, highly functional, very beautiful and the epitome of good design. These qualities result from the great experience and skill of the individual potters, from the long tradition of pottery making, and perhaps from the direct contact between many of these pottcrs and their customers.

I 16 Post- Medieval Pott~ry I Slip ware 17

27. Very Iarge slipare dish with a coating of white sli and trailed dekration in dart brown slip '-ewelled' with white and xiti ran slip infill- ing; Staffordshire. about 1670-80 (diamekr 450 mm). About one-sixth actual slze. (Fltmilliarn Museum, Cam. bndge.)

23. Wrotham sl~pwarety [handled drinking vcsscl), ulirh pads 01 u hltt clsr dnd rra~led rh~reshp. laited red aniwh~teclay on the handler, and dark brown glaze: I! har rnltmlr and 15 dat~Z1667(height 187 mm). 24. Mctropll~anst~pwarc jug with the mscnplron FOR EARTH [AM, m~dserentcenth centuv (h~?phl127 mrn). Both about anc-th~rdactual size. (F~umll~amMuseum. .) simple trailed patterns and sonlc have inscriptions. Many are and plates were made in this elaborate style. Many are dated and religious - FEARE GOD 1630. FAST ANIS PRAY 1659 - bear initials which must be those of the potters as the same ones although some are secular - BE MERE AND \PIS. recur. Slipware was one of the first stages through which North Manv simpler orange-bodied slipware pots have been found in Staffordshire became the largest pottcry-producing area in the and so are called 'Metropolitan' slipware. This was made world. During the early to mid seventeenth century earthenwares at Harlow and elsewhere from the early seventeenth century. made there were d~stributedover :In increasingly large area, and Fc;C"z Dishes. jugs (24). tygs and chamber pots were decorated with from around 1660 quantities of sophisticntcd slipware wese produced. Staffordshire slipware pmw! W. E. With a coating of dark brown slip and whitc Many of the Staffordshire sl~pwares(and the very similar wares decorat~on,and lnscribrd RIC~~RDMPER 1699 (heieht 124 rnm). 26. Wrth a coatine of made in Brfstol) have :I cornplctc coating of slip, with the whltc dip end drrk hrow dccorarion, and tnscnkd GOD BLESS OVEN AtViV, who rc~pncdfrom 17112 to 1711 (he~phtIU mm] Both are abour one quartcr actual s~zc decoration in a second colour. 'I'ht. most magnificent have three [Northampton Muscum.) colours, like the huge Georgc 'Taylor dish (271, which is also 'jeweiled', that is, many of thc lirlcs of slip have dots of white slip on them. This jewelling is iilso found on simpler vessels (26). The very large d~sheslike 27 are the peak of the slipware potters' art. They are very difficult to throw on the wheel because they are so large, and the tralted decoration shows complete mastery of this awkward technique. Thomas Toft is the most famous name associated with these dishes, but there are several other names which recur. It is unclear whether the names axe the owners' or the potters', but the latter seems probable. They date from about 1680 until just into the eighteenth century. j 18 Post-Medieval Potrery Slip ware I

The Toft type dishes ate the most elaborate slipwares eves made, but they were only a tiny proportion of production. Even in Staffordshire the bulk of slipware produced was fairly simple. Many dated or inscribed pots were made, however, including simple mugs, model cradles (presumably christening gifts), posset pots like 25 and 26 (at least some of which originally had domed lids) and dishes. Simpler slipware without the overall wash was also made in Staffordshire but was not distributed over such a wide area. Staffordshire coated slipwase is found all over Britain and occurs in almost every archaeological group of appropriate date, but there were manv other kilns producing slipware. Indeed. by the middle of the seventeenth century, simple locally produced slipwares are found in most excavated groups. They are mostlv utilitarian wares with only sparse decoration. As everyday pots they are used, broken and discarded in large quantities, and they did not survive to be collected. Ticknall in Derhyshire is known from documentary sources to Moulded sl~pwarrdiqhu*, hor11 ir ~rtltra~led uhite shp. 19. I Iugc sln~plerectangular d~sh, have produced much slipware, but this only be distinguished el hreenth or nrneteenth cL,nrury. white sl~pmer dark hrnan sl~p(433 mm across longest can I from Staffordshire products if, like 30. the pot is known to have SI~CI.30. Charmme r~rcul.~r~ilih, early clghrccnth rcn~ur~,houghr near Ticknrll about 1 KW; urh~teslrp d~rccrlyon rhe bod! (diametcr 312 mm). Both ahout one-sixth actual SIX. been purchased near Ticknall. This is not a satisfactory method of (Northampton Museum.) idenrification. Slipware cups and dishes remarkably similar to Sraffotdshire wares were produced in Bristol from about 1680 31. Slipware dish made In an elaboiare mould, coated with whFte slip and partially I decorated wirh dark brown and ran slips which arc restra~nedby rht moulded lines and are commonly found in the south-west of . (dlameter435 mm). SM on the panel in rhc ccntre is probably the mould maker's iaitia2s. During the eighteenth century many local kilns produced Staffordshcre, early to mid e~ghteenthcenlur! Abul one-sixth ac~ualsize. (Fimilllam slipware, some decorated with slip lines or simply coated with hTuseum. Cambridge.) slip, some with more complex decoration. and others. particular- ly simple dishes, with swirled or combed decoration. These were produced in great quantities alongside plain east henwares, throushout the eighteenth century and well into the nineteenth.

28. Staffordshire sli ware dish. covered In dark Rrown slip w~rb stranst hounds ' traded on In pccnish grey sltp, further round the pot are a stag and hare (he~phr 130 mm) Ahour 171W Abut one-thtrd actual s~zc(FI!zwI~- l~amMuxum. Cambndse.) /I Post-Medie vnl Pottery I Slip ware long after Staffordshire had turned to making far more sophisti- cated pots and fabrics. The pots produced by the local kilns were mostly for the kitchen or dairy, not for the table, although some of the dishes and bowls may have been used for serving. Many simple slipware dishes were made by pressing thick sheets of clay over moulds. Th~sis called press-moulding and was used for many localty produced slipwares well into the nineteenth century. Most dishes produced this way were smooth inside and decorated with marbled or combed slip, but in Staffordshire moulds were used to produce a raised or embossed pattern on the inside of the dishes, which confined the several coloured slips within the specific areas they were applied (311, producing a very neat effect. A few of the Fired clay moulds survive.

Sgraffito slipware A different type of slipware is produced by completely covering a vessel with slip and then scratching the decoration through it, so that when glazed the surviving areas of slip and the revealed body of the par contrast with one another. It is easier to control the result by this method than by trailing the slip, but often the naive drawing of the patterns produces strange results (33). Scratched or incised decoration without a slip coating was common in the medieval period, and sgraffito slipware was imported from

32. Staffordshire. or Somerser sgraffiro dish. coal- cd in whitt. slip and dated 1753 (diameter 368 mm). 33. North Devon sgraffita harvest lug with the ro al coat of arms and the inscri tion on There are smudges c~tweeny the other side: HARVIS IS COM ALL HISSE$ I NOW IN MACKIN OF &OUR I blue in rhe glaze. Ahut one- BARLY MOW WHEN MEN DO I LABER HARD AND SWET GOOD I ACE IS FAR filth actual size. (North- BETTER THAN MET/ BIDEFORD APRIL 28rh 1774 M-tW (heinht 377 mml. About a ampton Muwum.) half actual size. (Royal Albert Memoriat Museum. ~xeter.)'

24 Post-Medieval Pottery tion was impressed into the ot and then filled with slip. Printers' 4 type was used to impress t ge inscriptions (39, and a neat and Delft effective finish was achieved. Only a limited range of slip- decorated vessels was produced - most commonly spirit flasks It would be more correct to call delft Ein-glazed earthenware, but (33, small beet barrels and tobacco jars. A characteristic the term 'delft' is succinct and convenient and also the traditional inscription is Otions of Brandy and Rivers of Wine Planrecion oj name taken from the Dutch town, even though tin-glaze making Tea and a Garie to my mind. These potteries were also producing started there long after it did in England. For delft, the usual lead a normal range of plain earthenwares. glaze is made white and opaque by the addition of tin oxide, which gives a good surface on which to paint. It disguises the thick earthenware body of the pot and makes it look like porcelain. Delft was the first white ware and the first painted coloured pottery to be produced in England. It was more complicated to produce than the common earrhenwases. The pots were fired once, unglazed ( firing), and then dipped in the liquid glaze. The absorbent clay took up the water, and after the biscuit dried the decoration was painted an to the surface. The difficulty of erasing a brush stroke once ir had been put on added to the problems and accounts for the crudeness of some of the decoration. The pots were fired for a second time at a higher temperature zo fix the colours and fuse the glaze. For this second firing the glazed vesseIs were placed in a large cylindrical vessel called a to protect them from direct contact with the heat. Plates and dishes were kept separate from each other by triangular spurs placed between them, or later they were supported by pegs projecting inside the saggar. This prevented the glaze from fusing the vessels together. Small marks in the glaze, particular1 on plates. show where these supports were used (47 and 49{ The tin needed for the glaze was supptied from Cornwall, not only to the English delft potters but to those in Holland and Italy as well. A punch bowl, probably made in Bristol and dated 1731, has the inscripZion John Udy of Ltlxillion 1 his tin wm so fine 1 it DelR showlng Chlnesc ~nflu- ence. 36. palnted in two glidered this punch bowl I and made it to shine . . . Luxulyan is in shades of blue wuth romc south Cornwall. bnght yellow, In a common Glaze including tin oxide was used in the MiddIe East from at pattern found on srvcral dllfe- rent-shaped plates; Enpl~sh. least as early as the ninth centur!. AD, and it was first used in lfrHDs (diameter 192 mm) 37. Europe in the twelfth century in Italy for very simple painted Posset pot w~th a rl~ghtl bluey glaze painted wth dad wares. From the thirteenth century it was used in Spain for exotic outlining and ~woshades or lustre ainted wares. The Itall;~n tin-glaze wares () blue. English. 1700s (height gradua fly gained in sophistication until the early sixteenth century 203 rnm) Borh about a quar- ter acrual we. (Northampton when and especially dishes were produced with painted Muxurn. ) decoration, often biblical or classical scenes or portraits, all of

t Post- Medieval Porrery IY Delfi so-called 'blue-dash* chargers began to be made. decorated with - -- frui!. portraits - often royal (48). flowers - especially tulips (47). or Adam and Eve (49). These peculiarly English dishes continued to be made until the 1730s and are named after their hluc-paiinred borders. The main decoration was painted in several colours. Until the 1690s the cheaper lead glaze was commonly used lor the backs of these chargers. Dunng !he eighteenth centurv the greatest influence on delft was Chinese porcelain. resulting in many slightly altered and adapted Chinese patterns (54). Dishes and plates continued to be the most common vessels made. but punch bowls were made rather than posset pots. and jugs and mugs changed shapes, often hiratin2 silver vessels. Fashionable tea and coffee wares were produced. Names and other inscriptions are found (533, some- times relatins to current events such as elections. Bucolic inscriptions continued to appear. particularly on punch bowls. plates and puzzle jugs, for example. on a punch howl dated 1728, 53. Delft , painted in bIu~ I?>L ~tdlngthe inscr~pttonMARY TC'R'vEH AGED 2 YMKS I4 DAYS SEP{TE.MdEjfi .' and a red I~nron the nm ~he~ght95 mm). Drink fatre / Dont Sware. Probably Bnstol Ahout half actual 5rze (F~uwilhamhlwum, Carnbrldyc ) 54. Delft Decoration ainted in two ihades of blue, sometimes after plate pa~ntedwth a common Chinew style In tan. green. yellow. maneanew and dark abour 1680 wit1 dark blue-green outlining, is very common and hlue (d~arnet~r228 mm). Lambe~h.mtd ei~hreenthcenlury. About onc quarter actual often copies Chinese patterns. From the middle of the eighteenth ;lzr. i~ortharn~ton~u"seurn.) century English and landscapes and figures were about 1740 another Chinese style. 'powder' ground colour, with painted in blue and are especially effective on plates (51). From areas reserved on, or protected from, the ground calour and then painted with a pattern. was used usually in blue or manganese, and rarely green or brown (52). 51. Bnstol drth late wth a charrnlng chino~scr~e(Chinese-~nsplrcd) sccnc palnfcd In tuo Delft were made from the Iate sixteenth century onwards, shadcr ol blue (Pameter 170 mm) A wnpt I.? K patnred in hluc on ,he hale, ahout 17Hl One-third actual sue. 52. lnrcnstly sptted pale coftrc-hrown ground w~lhrcscwes but the bulk of the surviving tiles are eighteenth-century. They panted In rwo shades of blue (d~amtter2'2 mm). Larnbtth, about 1750-75 Abnur were painted, or decorated with prints by the specialist printing one quancr actual sue. (Nonhampton Museum.) firm of Sadler and Green in Liverpool from the 1750s (see pages 47 and 48), but this technique was only very rarely used on delft vesse 1s. There is a great deal of dated delft but very little has inscri~tionsor anv form of identification to indicate where it was made: ~owever,'therehave been excavations at many of the factories and, together with the few ieces which do identify themselves by inscriptions, research FI as made it possible to attribute many pieces to their factory. The many dated vesseIs and the fact that much delft followed contemporary Chinese imports or silver shapes in style or decoration make datlng a piece easier than attribut~ngit. Imports from the continent of Europe, of both high uality intricately decorated wares and simpler vessels, continue! even after delft was made in Britain, especially during the seventeenth

Post-Medievnl Pottery Stoneware

i commemorating marriages were made throughout the eighteenth century (60). Many vessels were decorated with incised patterns, often flowers, and lines of rouletting produced by running n patterned wheel over the surface: occasionally the whole pattern was rouletted. Charming mugs in the shape of bears were produced (see title page) with thc fur suggested by 'bread crumbs' of clay. This technique was ;~lsaused on simpler vessels. Similar were madc at several places in Derbyshire from around 1700. and there wcre also factories elsewhere in the north, and po~~ibiyin Scotland. during the eighteenth century. Staffordshire produced brawn stoneware from around 1680, mainly mug and cups. Often only the upper past of the vessel was covered with the brown wash, leaving the lower half grey. Red stoneware Red stoneware looks different from the brown stonewares already discussed, but it is similar in being tired to a high temperature and in being very hard. It looks like a fine red unglazed earthenware. Red stoneware was imported from China alongside porcelain in the later seventeenth century, and John

4 Q 1 < 5R. Stoocwarc pickle Iar w~rh\pr~mrd decoratton and ~nc~rcdrn\~rlprl%)rl ( ~r r)r,rt Brrrnlron Dwight succeeded in copying it. as well as other types of und Saralr .%OL 28 1752 (hc~ghl273 mm). About one quarter .i~tu.ilwe. Madc In stoneware. The Elers brothers soon made this ware in London London IFltmlllam Muwum. Cambridge.) 59. Huge stoncw,wc mug w~thspnmed and then in Staffordshire, and it is difficult to distinguish between dccorar~onand impressed tnwnptlon Thomur Triplerr 17hE (hcbpht 23mm). Made In London. Ahour one-rh~rdactual sue. (Nonhamptan Museum ) London and Staffordshire products, both made in the 1690s. Globular mugs rather like 51 hut plain, mugs like 63, beakers and teapots were the principal forms made, and they were often ornamented with 'sprigged' prunvs flowers or other designs (63). is applied decoration which is made in small moulds 61. Doublc-walled 'carved' Nottlngham qtoncware mug. about 1690-1705 (height 1M mm). 62. Small stoneware bottle, pcrh:~psmade in London in the early eighteenth century (hcighr 103 mm). 63. An un lazctt scd ctoncware mug with spnggecl figures and flowers madc In London or ~taflorckhirc abut 17CU (heiphr 105 mm) r\but one-third actual 517C (Northampton Museum.) 60. Nomngham stone- ware martla e cup mth roulcntc! bands around, comb-inc~sed decoratron. and [he insctlptlon W & Marhot Borbtr C. T. Currrrl~usTofi 17,77;& hand, repeated par- ttallv on the o pite sld<(hctght 24g mm) About a quarter actual size. (North- ampton Mwurn.) 36 Post - Medieval Porrery Sfoneware and then attached to the vessel, or. as with these early vessels. small moulds pressed on ro the pot (58 and 59). (See page 41 for eighteenth-century red stoneware.)

White stoneware 4 + 5 John Dwight succeeded in making white stoneware (along with many other varieties) in London in the late seventeenth century. using 'ball' clay from Dorset. This fine white clay was already being uscd to make clay pipes. However. Dwight onIy produced small quantities. and production on a commercial scale did not take lace until the 1720s. and then in Staffordshise, not London. The Pirst attempts at a white stoneware were made of the usual grey stoneware fabric dipped into the white clay. The earliest of these had the common brown wash over the top half of the vessels, often mugs. so that only the lower half was white. These were soon fotlowed by vessels on which the white dominated (65). The dipped wares continued to be made until the 1760s hccavse they were much cheaper, using local clay for the bulk of the pot and the expensive imported white clay only for the coating. Another economical stoneware. drab ware, made during

Wh~zcstoneware. 64. ChocoEare pot enamelled in a Chrnese srvlc In several colourr (hctpht 14h mmf. Sraffor&hlrr. abut 17Mk Ithe Itd is a rrstoratlon). 65. Sroncwarc mug wlth whhrr dl pcd surface and a brown band on the nm [hriyht I26 mm). Sralfordsh~rc, abut I720 &rrvatcd in Nunhamp~on.Both a l~lrlcunder half rcrual xizc ixnrtharnpton Muwurn ) >.-F -. TF- - --*.. Wh~testoneware holttles. 66. Plan whlte. 1;ithc-~urncd(hc~ght 266 mm). 67. Scratch blue decorated (helghr 223 mm) Both Statfordct>~rc,mid ciphtccnth century About one-third actual size. (Northampton Museum.) the 1720s and 1730s from a local Staffordshise clay which fired grey, was decorated with white clay sprigging. White stoneware, with the whole ot made from white clay. was developed around

1720. Calcined rburnt) ground flint was uscd in the fabric instead ~ of sand and made the vessels very strong and light. White stoneware. like the brown. was glazed with salt. This new lightweight pottery must he seen in relation to its contemporaries. The only comparable ceramics available were imported Chinese or conzinent;il porcelain, which was white but very expensive. and delft. cithcr English or continental, which had an almost white appear;mce but was heavy and easily chipped. White stoneware was 1clcii8 for the growing middle-class market for newly fashionable aea wares, and for tabke pottery generally. Its sophistication is in masked contrast to the contem- porary Staffordshire slipwares and stonewares, and its shapes 38 Posr- Medieval Por~ery Sroneware 39

teapots in the form of houses. ships or camels. The uality of slip-cast vessels ultimately de ended on the carved Block from which the mould was maB e and on the condition of the working mould, whilst press-moulded vessels depended on the quality of the mould. With these methods, skilled work was re uired from the block cutter or mould maker, rather than from tX e potter himself. White salt-glaze was also decorated in colour . Scratched decoration was infilled with blue stained clay (67) and occasional- 9 lv with brown, and sometimes blue or brown sprigs were used. dccasionally vessels were completely covered with dark blue. i From about I750 salt-glaze was enamelled (painted with co!ours) in imitation of contemporary Chinese or English porcelain. The fired vessel had to be refired at a lower Wh~tcsalt-glaze 68,69. Smatl starfish d~shesmade ubcr J, unc-plccc [nould (hoth 7 I mm Temperature to fix the enamels. was also used from a across) 70. Wan-~hapcdplcklt tray, slbp-cast (hc~ghr13 mm). 71. h rlnv plpkln, thrown was and turned on thc la~hc(hcrght 61 rnrn). All Stalfordsh~re,mid e~ghteenthrenrury. Abur slightly earlier date and fixed at a still lower temperature. onc-thtrd aciual slzr (Norrhampton Muwurn.) White salt-glaze took enamels very well, the crisp bright colours contrasting with the clean wh~fcbody. and much of the painting relate more to contemporary silver than to the traditional shapes was of a very high standard (63). While much enamelled ware was stipwarc white of and earthenware. Large-scale production of produced in Staffordshire. it is likely that plain Staffordshire stoneware preceded porcelain manufacture in England by some vessels were also sent to he decorated elsewhere. twenty-five years. Staffordshire was the largest produccr of white salt-glaze, but it Many of the early white stonewares were thrown on the wheel was made in many other areas - Dcrhyshire, Yorkshire and and then, when Peather hard, turned on a lathe (66). Some were Liverpool, for example - bu~attribution to a particular factory is then decorated with sprigged ornaments. Much excavated white difficult. salt-glaze is plain and it includes fine tankards with simple By around 1770 white salt-g3azod stoneware was losing its ribbing. plain bowls and large jugs. as well as tea wares. popularity in the face of cornpctition from the newly refined Press-moulding and slip-casting. two mass-production methods cream-coloured earthcnwarc dcvelopcd in Staffordshire, known employed on white stoneware. were introduced during the 1740s. as crearnwase. The results are similar, in effect producing the pot, or part of the Wh~tesalt-glaze teapots. 72. Painled wth .c~+r~rralcoloured enamels. and wth a crabstack pot. complete with its decoration in one operation, but the handle and spout; Statfordsh~rc.17Mk he~ght128 mrnl. 73. Heart-shapd sltp-cast teapot wtth vine decoration and a snakc hc.id or1 II~spout, Srafford5hire. P74Q or 1750s (he~ght techniques are different. mm). For press-moulding. a thin sheet of clay was pressed into a 132 Both abut a quarrcr acru,~t ~rc.IUorrhsmp!on Muwurn.) single mould or was squeezed between the upper and lower parts of a two-part mould. White stoneware was so strong that very lthin vessels could be produced in this way. and the thin salt-glaze did not blur the moulded details. Slip-casting means that slip or liquid ciay was poured into a plaster of mould, which absorbed the water from the slip so that the vessel could be removed. With a complicated object such as a teapot the main bdy and the other parts - the spout, handle and foot-ring (~fany) - would all be cast separately and then assembled. Exotic shapes were made by this method, including -

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44 Posr- Medie val Potrery I Fine earthen wnres 45. $4. Jasper teapot (height 230 rnm), white body with a sage Whieldon or colour-glaze ware freen dip and white sprigs. An almost white earthenware, made with the same ingredients corn a series called 'Domestic as white stoneware, was made in Staffordshire alongside the Ernptoyment': this one is ''. Stri s have been coloured-bodied earthenwares and white stoneware. It was fired turned thraux to the white to a lower temperature than stoneware and was glazed with lead, Wytowards the base. Im- not It is not was but was pressed WEDGWOQD on salt. certain when this ware first made it the hasc. Staffordshire, 1780s. in production in the 1740s. About one-third actual size. Colour-glaze ware, and its direct descendant the whiter (Temple Newsam House. .) creamware, can be considered the ultimate development of the lead-glazed tradition of English potting. However, white stone- ware was the first to use the ingredients of white and ground flints, and it is possible to see colour-glaze and creamware 85. Very pla~nrlass~cal as simply the lead-glazed equivalent of the stoneware, since they basaltes teapot (he1 ht k35 were made from the same recipe. All these white wares were the mm). Impressed ~VEDC- British pottery industry's response to imported white porcelain. WOOD Staffordsh~re,about 17W0-1810. About a quarter Thus the origins of creamware are complex. actual sue (Northampton Much of this ware was decorated with almost translucent Museum ) colours actually in the glaze, produced by dusting on metallic oxides. These ran during firing (861, producing a rather blurred, messy effect unless they were used quite densely, as in 88, to produce what has been known as tortoiseshell ware. A beautiful green glaze, refined around 1760, was used to splendid effect on vessels modelled as cauliflowers, pineapples and other fruits (89 86. Colour-glazed coffee-pt, mth spngytd rnot~fssplashed mth green. hrown and yellow in, the laze (he~ght168 mm].Ident~cal pots are knoun In salt-glaze. Staffordshire. 1740s and 93). 81. ~o%ur-~lazeor lono~eshellrare mvercd jug ulth a streaky brown jlaze ouir~de {helght 176 mm). Stnftordshlre. 174h or 1750s Both about one-third actual sue. Nonhampton Museum ) 88. Hexa onal teapot, slip-cast w~tha Chlnzse pattern, mostly green, with yellow, brown and grey the& 116 rnrn). Sraffordshlre. 1760s, perha 5 . 89. A cauliflower lea caddy, with grccn-glazed leaves (hclyhl 114 mm) 5% -casr. Staflordihire, 1760s. Both abou~one-third actual six. (Northampron Museum 7 - . * "

I Creamware The colour-glazed wares gradually evolved towards the fine white creamware, which became the most successful pottery ever made in England. It excelled porcelain in lightness and rivalled it in decoration, but it was much cheaper. Its success virtually put the potters out of business even on the continent of Europe. Salt-glaze and other fine earthenwares had been exported from Britain, but creamware was sent to Europe and America vast quantities. Colour-glazed plaits. all lmttatrng siker Eoms and drcorat~on.90. Grey-blue glaze w~th in splashes of black. green and yellow. 91. Octagonal. brown glaze w~thlarge spots of green Creamware made from Devon and Dorset ball clays, and and yellow. 92. Black wth much green and yellaw. 90 and 92 are pcssrbly Yorkshirc. 91 decorated like the salt-glaze with enamel colours over the glaze, StafTordsh~re. all abour 17605 or I77Rs (diameter ol all three about 240 mm). About one-sixth actual azc, (Nonhampton Museum.) was being made in the 1750s alongside colour-glazed wares, in Staffordshire and elsewhere. Several Staffordshire potters were As with white salt-glaze, some shapes imitated metal proto- trying to improve it and make it paler. Wedgwood introduced t es - the three lion's masks and claw feet on 87 for example. Cornish china clay, which made the ware much whiter, and in %hrtock handles and spouts, imitating branches of trees, were 1765 Queen Charlotte ordered a creamware tea service from him: common in all fine earthenwares as well as white salt-glaze (72). Wedgwood renamed his creamware 'Queen's Ware'. Colour-glazed wares avoided the extremes of salt-glaze: the Creamware was made in many other laces besides Stafford- cauliflower and chinoiserie (Chinese-inspired) slip-cast designs, shire. The was the largcst.xEolour-$azed and other although exotic. are very pretty. fine earthenwares had been made there from around the middle Calour-glaze has been called Whieldon ware because Thomas of the eighteenth century, and from the 1780s quantities of very Whieldon was known to have made it, along with almost every fine creamware were produced. Commonly Leeds handles on other type of fine earthenware and white stoneware. However, teapots and such like were double and intertwined, with small he was only one of the many potters making colour-glaze wares. s ngged flowers concealing the junctions of the handle and body As with all the fine earthenwares, production was not restricted (84,95 and 97), but similar types were also used in Staffordshire. to Staffordshire. In common with all the fine earthenwares of the There were also several smaller creamware factories in - mid eighteenth century, table wares, especially those for serving shire, two in Derbyshire (941, and others elsewhere, including tea, coffee and chocolate, were common colour-glaze products. Newcastle and Bristol. In Liverpool the Herculaneum Pottery Plates and shallow dishes Iikc 90 to 92 must have been produced made creamware, amongst other wares, and Sadler and Green in huge quantities, since great numbers survive and they are printed designs on Wedgwood creamware from Staffordshire. common excavated finds. Liverpool was very well placed for the large export trade to America. Unlike salt-glaze, creamware had a smooth surface, very suitable for . It seems strange to print on pottery, but b this method complex designs could be reproduced easily and cB eaply. Intaglio copper plates were used: the plate was filled with colour, a mixture of metallic oxides, fluxzs and oil: the impression was taken an to a piece of , applied to an already fired and glazed pot, and then fired on. Much creamware, particularly plates, was decorated by this Cream ware 49

Creamware teapots. 95. Painred wtlh c01ourt.d cn,imelz In a rsplcnl creamwart stble (hetght 144 mm). Impresed WEDGIq.'OOP on the haw. Stalford

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a-rn , oc g 2 .g g 22 I Further reading

Deln Garner, F. H., and Archer. Michael. En~lishDelfiware. Faber and Faber, 1972. Further reading Ray, Anthony. English De!frwnre Pottery . . . in the Ashmol~an Museum, . Faber and Fabcr, 1968. There is a large number of publicarions on pottery and only a small selection can be given here. Many of the books listed Stoneware contain extensive bibliographies. Lockett, T. A., and Half enny. B. A. (editors). Stonewares and Stone Chinas of Noxi Prpnl England to 1851. Stoke-on-Trent General Museum, 1982. Charleston, Robert J. World Ceramics: An Illustrated Hkfory. Mountford, AmoId co Staffordshire Hamlyn. 1968. R. The Illw~rated Guide J., Salt-Glazed Stonewarp. Barrie and Jenkins. 1971. Charleston, Robert and Towner, Donald. English Ceramics Oswald, Adrian, Holdyard, R. J. C., and Hughes, R. G. Engl~~h 1580-1830. Sotheby Parke Bernet, 1997. Brown Stoneware. Faber and Faber, 1982. Godden, Geoffrey A. British Pottery: An Illuslrared Gnide. Rarrie and Jenkins. 1973. Creamware Lawrence. Heather. Yorkshir~Pots and Potteries. David and The Castleford Potrery Parterrz Book 1796. EP Publishing Ltd, Charles. 1974. repinzed 1973. Rackham. Bernard. Catalogue of the Glaisher Collection. 1934. Towner, Donald. Creamware. Faber and Faber, f 978. Rackham, Bernard, and Read. Herbert. English Pottery. 1924; Walton, Peter. Creamware nnd Other English Pottery at Temple reprint EP Publishing Etd. 1972. Newsam Home, Seeds. Manningham Press, 1976. Rado, Paul. An Inrroducti~n to she Technology of Portery. Pergamon Press, 1969. Porcelain Rhodes, Daniel. Kilns: Design, Consrrucrion and Operotion. Godden, Geoffrey A. Brisish Porc~lnin:An Illustrated Guide. Cilton. 1968. Barrie and Jenkins. 1974. Weat herill, Lorna. The Potrery Trade and North Stoffordshire Gadden, Geoffrey A. Sraffordshir~ Porcelain. Granada, 1983. 1660-1760. University Press. 1971. Halfpenny, Pat, and Lockett, Terry (editors). Staffordshire Museum, Local earthenwares Porcelain 1740-1831. Stoke-on-Trent 1982. English Sandon, Henry. The Illustrated Gldirle lo Wnrcesrer Porcelain. Brears, Peter C. D. The Collector's Book of Country Herbert Jenkins, 1969. Pottery. David and Charles. 1974. Srnit h, Sheenah. Lowestoft Porcelain in the Norwich Castle Brears, Fetes C. D. The EngIish Country Pottery. David and Museum. Norfolk Museums Service, 1975. Charles. 1471. Jenniogs, Sarah. Eighteen Centuries of Purrery from Norwich. The pottery inscriptions quoted all come from Early English East Anglian Archaeology, 1981. Porrery: Named, Dated and Snsrrihed. (1591 ; EP Publishing Ltd , Lewis, J. M. The Ewenny Poneries. National Museum of Wales, reprint 1973) by J. E. and E. Hodgkin. The inventories are taken 1982. from Probate Inventories and :Munnriol Excer ts of Chelnole, Archaeological journals, especially Post-Medieval Archaeology Leigh and Yetminster (Brisrol University, 19765)by R. Machin. and the county journals. For marks see Encyclop~dioof British Potfery and Porcelain Marks (Bame and Jenkins. 1964) by Geoffrey A. Godden. Slipware Cooper. R. G. English Slipware Dishes. Tiranti. 1958. Grant, Alison. North Devon Potrery. Exeter University, 1983. 11 Index

Museums Agate ware 22, 41 Drying 10 The museums listed here have very good displays of post- Archaeological groups 5, 13 Dublin delft 26 Archaeological p~tgroup 5h-9 Dwight, John: stonewares 7, 33, 35, medieval pottery, Asrhury ware 41 3h and most have local Ball clay 36. 45, 47 Earthenwares, Id5, 7-14, 56-9 are advised to check Barnstaple 22 Emtian Black 43 journey. Basaltes 43 Elers brothers: red stoneware 35 Bellarmines 33-4 Enamelling 39, rt8 Bideford 22 Engine turning 44 Ashmolean Mrcreum of Arr and Archaeology, Beaumont Street, Biscuit finng 25 Ewenng slipware 2.3 Oxford OX1 2PH. Telephone: Oxford (0865) 512651. Blocks 39 Fire pot I1 Castle Mrcreurn, Norwich, Norfolk NRl 3JU. Telephone: Nor- Blue-dash chargers 28-30 Finns 7, 10 wich (W3) 61 1277. extension 279, Blue painted decoration 30, 48. 53. 54 Fuddling cups 12 Bowls, handled 7 Galena 10 Fi~zwillkmMweum, Trumpington Street, Cambridge CB2 1RB. Bow porcela~n53 Glasgow 26 Telephone: Carnbrid e (0723) 6950t. Br~sllnpton 26 Glaze colour 11. 12, 46 Mnnchesrer City Art Gaf? ~ty,MosFey Street. Manchester M2 3JL. Rristol: creamware 47 Glazes 10 Telephone: 061-236 9322. delft 26 Green glaze 12. 45 53 Norlhampron Central Museum arrd Arr Gaile~,Guildhall Road, porcelain Hard-paste porcelain 53 slipware 18, 56 Harvest jugs 21, 23 Northampton NN 1 1 DP. Telephone: Northampton (0604) stoneware 33 Imports: Chinese 28. 30, 35, 53 34881, extension 391. Buckley slt ware 23 Dutch 15, 26 Royal Albert Memorial Mwerim, Queen Street. Exeter. Devon Canewart S3 German 33, 58 EX4 3RX. Telephone: Exe~er(0392) 56724. Chargers, blue-dash 28-30 Jackfield ware 41 Chelsea porcela~n53 Jasper ware 43 Stoke-on- Trenr City Mweum and Art Gallery, Broad Street, Ch~nesc~rnports 28. 30, 35, 53 Jewelling 17 Hanky, Stoke-on-Trent, Staffordshire ST1 4HS. Telephone: Clamp fir~ng10 Kilns 10 Stoke-on-Trent (0782) 29h 1 1. Clay preparation 8 Lambeth delft 26 Temple Newsam House, Leeds LSl5 OAE (5 miles south-east of Cobalt 48 Lathe turning 38 Leeds). Telephone: Leeds (0532) 647321 or M1358. Cnlour-glazed ware 45-6 Leeds 43 Colour glazing 45-6 Leeds Pottery 47, 48-9, 51 Victoria and Albert Museum, Crornwell Road, South Kensington. Combed slip 15 Litharpe 10 London SW7 2RL. Telephone: 01-589 6371. Cooking pots 7 Liverpool: creamware 47 Corn~shchina clay 43 delft 26, 31 Corn~shtrn 25 porcelatn 53 Crabstock handles and spouts 4h prinitrng 31, 48 Creamware 41-51 stoneware 39 Delft: Dutch 26 London: deIft 26 Engl~sh25-32, 56 stoneware 33 imports 26 Malliny ware Zt, tdes 31 Manganese 12. 31 Derbysh~re:creamware 47 Marketmy 14 slipware 18, 19 Marks 50-1 stoneware 33, 35 53 white stoneware 39 Metal vessels 5, 30 Donyatt 23 Metropolltan slipware 16 Drab ware 36-7 Newcastle creamware 47 Drug jars 27, 28 New Mall porcelain 54 Drug-pots 27 Nottingham stoneware 33 '1 1 - 0 1,- -c G L *A4817 227q53 post-Medieval Pottery

Oxidisation 1 1-12 Spnpng 31;6 Pattern hks51 Sta. nrdsh~re. creamware 47, 49 Pearlware 51 fine eanhenwares 41-6 Plymouth porcelain 53 ongins of indust 14. 17 Porcclaln 3. 25. 30. 37. 39. 48. 52-3 slipware 15-20. 2. 56 Posset pts 11. 11. 24 stoneware 35 Potters. \ma1 8 white stoneware 36-40 Powder grounds 31 Stoneware: brown 33-5 Pratt ware 51 German 33 Press-moulding 20, 38-9 red 35-6. 41. 43 Printing 31. 47-8 white 3630 Probate inventones 7 Sussex sl~pware23-3 Puzzle ju s 11. 12 Ticknall. slipware 18 Queen's bare 47 Tinglaze see Delft Red stoneware 35. 31 Toft-type slipware 17 Reduction l 1- I2 Transfer pnnting 31. 47-8 Vauxhall delft 26 'Rosso Antico' 43 . . Sadler and Green, Liverpool 31. 48 Yewood 8 Saggars 25 Wedgwood. Josiah 43-4, 47. 48. 51 Saltglaze 33 Wheel throwing 10 Scratch blue 39 Whieldon, Thomas 43. 45-6 S afito 20-3, 57 Wincanton delft 26 sf rn~ng. black ware 41 Wbocten vessels 7 Shropshtre 41. 42 Worcester porcelain 53 Shp casting 38-9 Wrotham slipware 15. 16 Sli ware 15-23 Yorkshire: creamware 47 paste porcelain 53 white stoneware 39 Post-Medieval Potte~1650-1 800

and the porcelain lactorres. This book cornbrnq!~the art-h~stor~calor colldor's approach wtt h an apprec~ationof archaeologically excav lted pottery Collectors end to concentrate on the f~neror more decorated wares. whe eas archaeologlcally rhe less fine, locally produced wares are much more common. fhese everyday %\ares discussed and ~llustrared,lncludin a small p~tgr:rrF 34 c:;dnd 1710 wh~chshowssomr~ otFF?mTi3T&5er and shapes to be Yound. SI~~*uare,delft, stoneware, frne earthenwavtls, crrsrnware and porcela~nare all descrtbed, and their h~storyIS outl~ned.Methods of produzt~onaitl decorat~onare expla~ned,and contemporary imports d~scuss~rlOver a hundred pots are ~llustratedas photographs, and a further read~ngI~st rs given. About the author 1 Jo Draper was born In Hanlpsh~reand became rnvolved in arctia~r~logyat an early age. She has dbrected several excavatrons In Dorch~star,Doaser, and has p~hllshedthese lo~ntly whth her husband. She has also publhshed other archaeologbcal reports, and art~clesrn 1 Dorchester's topography and h~story.Archaeolo ~cilllv~xcavated pottery led lo an Intere3t ' In ell cernrnlcs, part~cularlythose of the post-rnejrP.dl pel,( 1 She worked on the extensiv~ t collec.tions at Northampton Museum and puhlr~,~edcatalogue! of dated pottev, mugs, jug5 1 and same of the tea ots there She 1s edrtor 11 the Proceedings of the Dorset Natural History and ~rchaeologicar~ociety.' I! ' Shire Archaeology t TtEm in tl $ series, with :heir series nurr~bers, are: Aer a8 Arc-, ,r, Er~r,,,., 7 1' Rm7, Metl~rv.~lPo!tov ~n Brltaln Jnremy Hdsbm 161 Amen, Agw,jlrura lr,?plmentr, f , s !1 51 M~4~rvrlRoads 5nnn Paul H~ndle126) I h~t-4 53.315 Pa? ,VrC a1 I:.', V.J,,( r->u~l~qvjlPor!cw l650.1800 Jo Orr7per 140) k,abSaxrn Mrc?st. : e Mary rmd ,bqoI Kcrr I 181 Purrrmr, In Rurnan Ur~ralnNv~erl G Sv/bo 13: I -%%on 9rwh Om? r ~cnlerr~(5l f'rb~h~slor~cAsrruncn~y and Rlrual Aubrey Burl 1321 kw~rvdRmms .n kr-wkq b"wma~Mzr~arelLo// 1331 Ptrnsrfor~c Stona Clrclm Aubmy Burl (91 Arihdmq of G,tO..,% ch3hn5h ,r Tavfcr Ill, b-,I? l:o~n,pgr In Orlraln F' J Cdsey llZl 1 Ba'ro.~s r Erqhf . L Wdes r ."r I, Gnn .:rr ~9n 61, r ,,* Crhl~,,3mi Il&15rr1~5 Alan McWh~rr(/dl Brcnze beMe'a .v! or %them '* tabn Svwr W F?:~h-cr.171 F1,lrr.m bonr ~n 3rlt,,#nCa~d J Breeze (37) Desenw: Y,lqes-Trevw *c>%rcv. -2 :V3d ,?3' Ii,.n>.l?M81.rrry Tornt~srqnes Al~slatr Smrt Arldersoo ,I!?! ! Femqagare Fmmc,s mt '201 H .r-n*Rr,e~sh Mowcs Celrt Jflhnson (251 I F'S-: :-nplemen's o-Ih~ Q!d PC.F \ql. Ppy* :.**(rl. r-#-&'?re$ R i'~',;i1.V 33q5t8Jwe 1101 C;:;Js o' Rornar it srasn .\l -.arc,? ;C-F.;. !, n,;. :- 'L , j.; 173. 81 L.. Jt7hng:~? (1 I: Greek Ccr&r ?' h' 9yi:pr i??l 'i..,c, cq i :mi ~:?gyI$ 51:?i)l:Is James Uver I )YI I H~Il~ofl$or hgt-r: a\,? W'.llr:. J.?.lnu.> hc. ;:l;' ' ri* L .I ->i.~>p.?..I~,P jc!.dn 5ennc:t ('3) Larer 1mnlcncr.r ,\4.,..b+rm II ''.r:. ,'48 , rqr 9.16; E' i- .. ,/c%rrr 127 ..+ A<..>,,- A; !17: UW!EVA'"t'd5 '