The list of pieces of pottery and porcelain which exhibit the name or portrait of Washington is longer than that of ceramics bearing any other American design, and includes specimens both of the deep blue pottery of Staffordshire manufacture and of the black-printed yellow wares of Liverpool. Numerous prints of his face, some seemingly imaginary, others copies of well-known paintings, are reproduced; his home at Mount Vernon is pictured; his monument; his tomb and funeral urn; the names of the States which he called into being are festooned with stars about his portrait; the dates of his birth and death are intertwined with symbols of his patriotic warfare and with emblems of the glorious reward hereafter, to which his deeds entitled him. Indeed, judging from the number and variety of Washington views, the English potters took pleasure in honoring the gallant and successful foe of their own Empire.
The first illustration is from the sugar bowl belonging to a deep blue tea-service, and presents Washington in Continental uniform standing upon the lawn of his estate at Mount Vernon, his favorite mount nearby held by a groom. Upon a similarly shaped tea-set of Staffordshire, Washington is presented upon the same lawn with an open scroll, doubtless the Declaration of Independence, in his hand, the columned veranda of the old mansion in the background of both sketches appearing the same as at the present day. The fact that the features of Washington accompany the portraits of Jefferson, Clinton and Lafayette upon specimens of ware made to commemorate the opening of the Erie Canal is judged by some persons proof that the potters held vague and oft-times incorrect notions of American affairs, another proof offered being "Boston" and "Tenasee" among the number of early States. But George Washington was the idol of young America, so it would seem but natural to link his memory with the others upon memorials of the nation's greatest enterprise.
Another Washington design which originated in the potteries of Staffordshire is known as the "States" pattern, and from the number of important circumstances it records this may be said, as was remarked of the first flag of Stars and Stripes, "to embody a whole national history." The eye is attracted first to the charming bit of landscape in the center, set in a graceful frame of scrolls, the beholder seeming to gaze out of a window upon the brilliantly illumined scene—a dignified mansion said to represent the President's House at Washington, with its well-kept lawn shaded by beautiful trees sloping, as in l'Enfant's original plan of the capital city, to the shore of the Potomac River. Two figures, a man and woman, stand upon the bank of a stream, and a small boat flying a very large flag rests upon the water. Supporting the frame upon the right hand side and gazing upon the scene it encircles, kneels a female figure crowned with a many-plumed head-dress and bearing aloft a Liberty cap, the word "Independence" appearing upon the platform beneath her. At the left stands blindfolded Justice, the decoration of the Order of the Cincinnati upon her skirt being in honor of George Washington, whose medallion portrait hangs suspended from her right hand. Flowers and fruits complete the design, and, enclosing all, a ribbon is festooned, each loop of which bears the name of one of the fifteen States of the Union, Kentucky and Vermont having joined the sisterhood of the original thirteen at the time the device was made; fifteen stars mark the intervening spaces of the festoons.
An illustration from a Staffordshire specimen which is reproduced in the chapter upon Lafayette presents a fanciful Tomb marked "Washington," set in a brilliant sunset-lighted landscape, and before it, in an attitude of sorrow, reclines the figure of Washington's devoted French friend.
Numerous are the portraits and eulogies of our first President which the black-printed yellow pitchers and punch bowls of Liverpool manufacture exhibit, some of the portraits being fair likenesses, others with features "leaning all awry," and suggesting the queries: "What! did the Hand then of the Potter shake ?" or, "Was there malice prepense in the heart of the fashioning artist?" At the same time, the flattering sentiment ascribed to Washington by the English potters at a period coincident with extreme international bitterness, and even open warfare, are astonishing revelations of British methods of securing trade with the colonies and the infant States. The Metropolitan Museum of Art in New York City contains a number of ceramic likenesses of Washington, by both artists and amateurs (one painted in China, with almond-shaped eyes, hair in oriental mode and mandarin coat!), the best known being copies of the Savage, Trumbull, Peale and Stuart portraits; the last named, the Stuart portrait with the lawn ruffles which is here reproduced, presenting the great American as we know him best and admire him most. An especially poor portrait is the next illustration, the face in profile, over which a cherub holds a wreath inclosing the word "Washington." Justice and Liberty are on either side, while Victory kneels before him offering the laurel branch. A ribbon scroll bears the names of fifteen States and shelters fifteen stars.
But—was it by reason of the secret, but suppressed, satisfaction they felt in the incident ?—the designs which present Washington upon his monument or mounting to heaven upon a shaft of light, in the Apotheosis of Glory, borne aloft by winged seraphs and a choir of cherub angels, reveal the fancy of the potter-historians full and unrestrained. "Washington in Glory" we read at the top of one old pitcher, and at the bottom, "America in Tears"; a dignified delineation of the national hero, surmounted with a laurel wreath and urn, adorns the monument, with the dates of his birth and death beneath: "George Washington, Born February 22, 1732, Died December 17, 1799." Below the inscription is the Coat of Arms of the Washington family—a shield bearing five bars in chief three mullets—and the crossed swords of the dead warrior. The new Republic, represented by a female figure, leans in sorrow upon the base of the shaft, while an eagle, also typifying America, droops his wings and head in symbol of the mourning of a nation; abundant weeping willows, without which no memorial design of the early nineteenth century was complete, lighted with streaming rays of glory from on high, form the background for the monument. Upon the front of the pitcher, under the nose, is the design of the Seal of the United States, while upon the reverse, Ceres and Pomona stand at either side of a cannon upon which an American eagle perches in attitude of proclaiming to the world the successful achievement of Washington, inscribed as: "Peace, Plenty and Independence" ; an early design of the national flag is an interesting detail of the background of this decoration.
Another monument pitcher gives a crude drawing of a shaft adorned with Washington's bust, the line, "Washington in Glory" above, and below, "America in Tears," accompanied by the historic dates, while a weeping figure and weeping willow again symbolize the nation's sorrow. Still other Washington pitchers record such eulogistic legends in honor of him and of the freedom he achieved as, "First in War, First in Peace, First in Fame, First in Victory," "He is in Glory, America in Tears," "His Excellency General Washington,"
"My love is fixed,"Patria," "May Columbia flourish," "E Pluribus Unum," the following lines to Liberty:
I cannot range;
I like my choice
Too well to change,"
"O Liberty! thou goddessalso, the design of a harp in the hands of a soldier of the United States, who is standing before Liberty, presumably assuring her, as the legend states, that the instrument is "Tun'd to Freedom for our Country."
Heavenly bright,
Profuse of bliss,
And pregnant with delight;"
A number of pottery devices associate the memory of Washington with that of previous or contemporary historical incidents, a pitcher of especial interest, which is reproduced and described in a former chapter, bearing what is known as the "Map" design. This decoration, in addition to its valuable map of the United States, assembles, like the "States" patterns, several important historical records, for example—Washington and Franklin are examining the territory their judgment and deeds did so much to acquire; Liberty, the goddess of their inspiration, stands by Washington's side; while History, the muse who will record their acts, looks down upon Franklin, Fame sounding a trumpet on high and holding aloft a wreath inscribed, "Washington." A very clear representation of the pine-tree flag, one of the earliest emblems of the Colonies (the significance of which is explained in a subsequent chapter) forms an especially valuable part of the Map device. Another Washington pitcher exhibits, on the reverse side, a female figure holding the American flag and facing two Indians, while in the background are several would-be portraits labeled, "Raleigh, Columbus, Franklin, Washington," together with the legend, "An Emblem of America."
A pitcher marked, "Proscribed Patriots," presents the portraits of Samuel Adams and John Hancock, the fiery Boston leaders of Revolutionary times, side by side in a medallion, surrounded with the following inscription, "In Memory of Washington and the Proscribed Patriots of America. Liberty, Virtue, Peace, Justice, and Equity to All Mankind." Below is the patriotic couplet,
Columbia's Sons Inspired by Freedom's Flame,
Live in the Annals of Immortal Fame.
Upon the upper part of the device may be read, "Sacred to the Memory of G. Washington, who Emancipated America from Slavery and Founded a Republic upon such Just and Equitable Principles that it will," etc. Upon another Liverpool jug, a soldier of the new nation is seen standing with his foot on the head of a British Lion, while below is his explanation of the unwonted attitude, "By Virtue and Valor we have freed our Country, extended our Commerce, and laid the foundation of a Great Empire"—strange words to put into the mouth of one's successful foe!
A large yellow punch bowl in possession of the Connecticut Historical Society exhibits Washington in full uniform upon a battlefield, mounted upon a spirited horse, with the accompanying inscription: "His Excellency General Washington, Marshal of France, and Commander in Chief of the North American Continental Forces." It is recorded that, in order to overcome a difficulty which arose over Washington's absolute control of the united French and patriot armies in America, the Count de Rochambeau being a lieutenant-general of France and therefore only to be commanded by the King or Marechal de France, Washington was made a French Marechal, the French officers at Yorktown addressing him as Monsieur le Marechal. The reverse of the bowl has the fur-cap portrait of Benjamin Franklin which is shown in a later chapter, with the legend: "By virtue and valor we have freed our Country."
Our description of the Liverpool series of Washington designs closes with the "Apotheosis," in which the great American may be seen ascending to Heaven from his tomb, somewhat after the manner of the saved in early Italian frescoes of the Resurrection. Our first President is supported by Father Time, an angel holds his hand, at the same time pointing to rays of glory which mark the path to the upper regions, while charming winged cherubs, which would not have disgraced Raphael's hand, frame the top of the device; upon the tomb may be read, "Sacred to the Memory of Washington ob 17 December, A. D. 1799, ae 68." A fitting epitome of the fulsome praise accorded by the English potters to the memory of the great American is recorded in the oftfound expressions, "Peace and Prosperity to America," "America! Whose militia is better than standing armies," as well as in the alarming portent: "Deafness to the ear that will patiently hear, and dumbness to the tongue that will utter a calumny against the immortal Washington!"
In addition to tableware, a variety of busts, statuettes and medallions of Washington were produced both in England and in France, made of jasper and basalt, some of the last being exquisite works of art and intended for use as seals. Mirror knobs, or "Lookeing Glass Nobs," as ante-Revolutionary advertisements made mention of them, were much in evidence supporting the heavy mirrors in old-time Colonial homes, many of them being portrait heads of Washington in a cocked hat, or of Franklin with bald head and spectacles.
Several of the presidents who followed Washington likewise figure in a limited number of decorations turned out from the English potteries. "John Adams, President of the United States," is found under the portrait of Washington's successor in office. A "Proscribed Patriot" pitcher is described by Mrs. Earle in her delightful book, "China Collecting in America," as bearing, among others, the following inscription, descriptive of American policy at the close of the Revolution: "Peace, Commerce and Honest Friendship with all Nations, Entangling Alliance with none. Jefferson. Anno Domini 1804;" while upon another pitcher appear these stanzas to Jefferson:
"Sound, Sound the trump of Fame,Portraits of Jefferson also accompany those of Washington, Clinton and Lafayette upon the pottery designed to celebrate the completion of the Erie Canal. President Madison, the War President of 1812, appears upon one of a series of Liverpool pitchers illustrating that last armed conflict with Great Britain, while "Major General Andrew Jackson," who fought and won the final battle of the War of 1812, and later on became President of the United States, was not overlooked by the English artists, a globose pitcher preserving a print of his features. About the year 1840, John Tarns, a potter at Longton, turned out two souvenir designs, one of them in honor of General W. H. Harrison, the other, of Henry Clay. Both are portraits, the first accompanied with symbols of warfare and the words, "Hero of the Thames, 1813;" the second, with the legend, "Star of the West." The log-cabin campaign of 1840, which placed the western hero in the presidential chair, likewise furnished decorations for the potters, a log cabin with its barrel of cider by the open door, and portraits of Harrison, being printed upon punch bowls and pitchers.
Let Jefferson's great name
Ring through the world with loud applause
As the firm friend of Freedom's cause.
Let every clime to freedom dear
Now listen with a joyfull ear.
With honest pride and manly grace
He fills the Presidential place.
"The Constitution for his guide,
And Truth and Justice by his side,
When hope was sinking in dismay,
When gloom obscured Columbia's day,
He mourn'd his country's threaten'd fate
And saved it ere it was too late."
American industries were likewise noted and made subject for decoration, the Salem, Massachusetts Historical Society preserving a punch bowl of Liverpool make which bears the date 1800, together with two prints representing scenes of timber-rolling and ship-building, intended no doubt to commemorate the important Colonial industry of that town. Below the prints are the lines:
"Our mountains are covered with Imperial OakBrave words! which imply not only knowledge of the spirit that imbued the colonists, but acquaintance as well with the physical conditions of the American wilderness.
Whose Roots like our Liberties Ages have nourish'd;
But long ere our Nation submits to the Yoke
Not a Tree shall be left on the Field where it flourish'd.
"Should Invasion impend, Every Tree would Descend
From the Hilltops they shaded Our Shores to defend;
For Ne'er shall the Sons of Columbia be Slaves
While the Earth bears a plant, or the Sea rolles its waves."
George Washington was fond of having china in his home, and, after the close of the War, imported ware, much of it gifts to himself and his wife, took the place of pewter upon the table at Mount Vernon. The "Cincinnati" and other sets which he owned are described in Supplementary Chapter A of this volume.
A piece of the "Martha Washington States" set of china which was decorated for, and presented to, the wife of our first President is here presented. A number of pieces of this famous set are now in the National Museum of the Smithsonian Institution at Washington. Around the rim of the plate is a chain of fifteen links, each link inclosing the name of one of the first fifteen States. In the center is the interlaced monogram of Martha Washington—"M. W."—in a wreath of laurel and olive leaves, beneath it being a ribbon scroll upon which is inscribed in clearly traced letters, "Decus et tutamen ab illo." From the wreath spring rays of gold, and what at first glance appears to be a stripe around the extreme edge of the plate is in reality a gold serpent with its tail in its mouth—a symbol of eternity.
(From The Blue-China Book by Ada Walker Camehl, 1916.)
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