The various marks used by the Masons are given at the end of this chapter. In 1851 the pottery was purchased by Francis Morley, and it was incorporated with Ridgway, Morley, Wear & Co., and at a later date passed into the hands of Messrs. C. E. Ashworth and Taylor Ashworth, who to this day revert to the original patterns of the Mason jugs which have become so deservedly popular. Most of these old patterns are being produced, although of course they have not the charm for the collector whose interest ends with the original period under Mason.
"Stone china" became a term used by many other potters who produced strong and durable earthenware, heavy in weight, and extremely suitable for domestic use. Mintons had a series of patterns in this ware decorated in Oriental style in colour. The most popular of these is one termed "Amherst, Japan," following the old anglicised versions of Japanese Imari designs and colours. This was at the date when Lord Amherst was in the public eyes. It will be remembered that he headed an embassy to China, and was requested to perform the _ko-tou_, or act of prostration, nine times repeated with the head touching the ground. Sir George Staunton and other members of the Canton Mission protested, and the mission was admitted to the Emperor's presence on their own terms, which consisted of kneeling upon a single knee. Lord Amherst was later appointed Governor-General of India. There are a great many potters whose names are found on earthenware of mid-Victorian days. They cannot be said to exhibit much originality in design, and their value as collectors' specimens is infinitesimal.
PLATES, TRANSFER-PRINTED IN BLUE UNDER-GLAZE. Impressed mark "IMPROVED FELSPAR. C. MEIGH & SON." (Date 1850.)
SET OF STAFFORDSHIRE EARTHENWARE VASES. Floral decoration in gold on rich blue ground. Flowers in enamel colours on white panels in imitation of Derby porcelain style.
We illustrate two finely-potted stoneware plates, by Messrs. C. Meigh and Sons, made about 1850. They are printed in blue with designs of English primroses twined with peacock feathers! Here is East and West in strange combination. Fortunately the plates are not in colours or the result might have been disastrous; as it is they are very pleasing for the blue is of a very excellent tone. There is nothing hasty about the potting; the finish and the minor details suggest work of the old days long gone. It is evident that in the treatment of the design the inspiration came from the Japanese potter whose influence was beginning to make itself felt in pictorial art even so far back as the middle of the nineteenth century. Whistler's peacocks and the dawn of the later æstheticism were at hand.