quadgram

This is a table of type quadgram and their frequencies. Use it to search & browse the list to learn more about your study carrel.

quadgram	frequency
in the collection of	83
the collection of mr	36
the work of the	28
of the eighteenth century	25
in the form of	24
the end of the	24
seems to have been	22
in the united states	21
one of the most	20
colonial national historical park	20
victoria and albert museum	19
it will be seen	19
the beginning of the	19
at the end of	19
there is no doubt	19
in the possession of	18
is no doubt that	18
on the other hand	17
of some of the	17
the surface of the	17
some of the most	16
for a long time	16
the collection of miss	16
is one of the	16
the name of the	16
a good deal of	16
it seems to me	15
to be seen in	15
collection of miss feilden	15
the possession of mr	15
may be said to	14
the body of the	14
a great deal of	14
by the use of	14
into the hands of	14
at the same time	14
are to be seen	13
in the hands of	13
the history of the	13
the bottom of the	13
by the courtesy of	13
in the case of	13
but it is not	13
form derived from a	13
the victoria and albert	13
be seen in the	13
the hands of the	12
a great variety of	12
of the th century	12
it may be said	12
appears to have been	12
in the museum of	12
will be seen that	12
of the nineteenth century	12
of pottery and porcelain	11
the size of the	11
of the work of	11
in the days of	11
the face of the	11
at the bernal sale	11
the pottery of the	11
it is probable that	11
the collection of col	11
we do not know	11
the courtesy of messrs	11
as well as the	11
to have been made	11
in the british museum	11
the production of porcelain	11
the form of a	11
as well as in	11
a great number of	11
is said to have	10
the center of the	10
under the name of	10
of the united states	10
some of the finest	10
in the th century	10
the best work of	10
body of the ware	10
the character of the	10
it is not easy	10
the back of the	10
said to have been	10
the chinese and japanese	10
the use of the	10
the style of the	10
the time of the	9
under the patronage of	9
to be found in	9
be seen that the	9
be borne in mind	9
care must be taken	9
united states national museum	9
on the part of	9
some of the best	9
hard and soft paste	9
it is best to	9
museum of the louvre	9
as far back as	9
in the use of	9
this class of ware	9
at the present time	9
it should not be	9
the collection of the	9
in regard to the	9
are to be found	9
it is difficult to	9
the museum of the	9
what is known as	9
in connection with the	9
the end of this	9
at the present day	9
half of the th	8
at victoria and albert	8
one of the best	8
one of the finest	8
of the right hand	8
but it must be	8
is to be seen	8
this style of work	8
josiah spode the second	8
the patronage of the	8
in imitation of the	8
parcells of of bideford	8
and some of the	8
it was not until	8
in spite of the	8
the part of the	8
it is possible to	8
for the first time	8
to that of the	8
years of the eighteenth	8
in the manufacture of	8
from time to time	8
is not to be	8
in the seventeenth century	8
the art of pottery	8
we illustrate a fine	8
the fingers of the	8
the base of the	8
or it may be	8
supposed to have been	8
the inside of the	8
it is certain that	8
but it was not	8
we give an illustration	8
the best examples of	7
some of which are	7
of the staffordshire potters	7
on the surface of	7
of old english earthenware	7
at the beginning of	7
was one of the	7
must be taken that	7
in the last century	7
at the victoria and	7
to the surface of	7
in the history of	7
and there is a	7
in the same way	7
the site of the	7
in the production of	7
of the seventeenth century	7
the walls of the	7
in the low countries	7
end of this chapter	7
must be borne in	7
the use of a	7
second half of the	7
the skill of the	7
is not easy to	7
fingers of the right	7
a cup and saucer	7
in various parts of	7
the edge of the	7
borne in mind that	7
as a matter of	7
it is well to	7
the second half of	7
the national park service	7
in the style of	7
the treatment of the	7
in the middle of	7
given at the end	7
in the museum at	7
as well as a	7
for the manufacture of	7
of the stone age	6
took out a patent	6
the composition of the	6
is believed to have	6
of china and japan	6
in the chapter on	6
copper or bronze lustre	6
the diameter of the	6
in the shape of	6
dinner and tea services	6
the john howland house	6
to the decoration of	6
so far as i	6
that many of the	6
first half of the	6
that some of the	6
the days of the	6
not to be confounded	6
for the most part	6
platinum or silver lustre	6
a matter of fact	6
the fact that the	6
of the last century	6
it is here that	6
i am glad to	6
now in the museum	6
it is a great	6
with the fingers of	6
seem to have been	6
date ship master to	6
the middle of the	6
it must be borne	6
it must not be	6
in the making of	6
it is believed that	6
the spirit of the	6
it may be well	6
by sadler and green	6
on pottery and porcelain	6
as will be seen	6
at the british museum	6
it is impossible to	6
a pair of vases	6
the form of the	6
have been found in	6
of of bideford earthenware	6
it is easy to	6
may be well to	6
pieces of this work	6
it is better to	6
be said to have	6
believed to have been	6
come down to us	6
it is in the	6
surface of the piece	6
in form and decoration	6
as early as the	6
in accordance with the	6
the best period of	6
imitation of the chinese	6
this type of ware	6
was made in the	6
of the most beautiful	6
from the collection of	6
was given to the	6
the school of wedgwood	6
of which we have	6
he appears to have	6
the mark of the	6
of bideford earthenware subsidy	6
john howland house site	6
the art of the	6
may be attributed to	6
a certain amount of	6
the city of london	5
in the museums of	5
within the reach of	5
which are to be	5
diana in her chariot	5
it is not possible	5
in the treatment of	5
may be divided into	5
the color of the	5
and a half inches	5
a ball of clay	5
of this sort of	5
that it must have	5
in one of the	5
of the same motive	5
of leeds cream ware	5
seems to me that	5
the productions of the	5
of the reign of	5
were found in the	5
we have seen that	5
will be seen in	5
the making of the	5
of the north devon	5
is known as the	5
it is interesting to	5
was the first to	5
keep the hands wet	5
the date of this	5
some of the pieces	5
the south kensington museum	5
it has come to	5
to be confounded with	5
the uses of life	5
must be admitted that	5
of the most perfect	5
jugs and mugs with	5
was made at the	5
not be forgotten that	5
the study of the	5
to the work of	5
one of the earliest	5
of the mold is	5
in the same manner	5
is said to be	5
it is a very	5
the royal scottish museum	5
some of the ware	5
in imitation of chinese	5
motive expressed in different	5
by the fact that	5
metropolitan museum of art	5
the works at meissen	5
is now in the	5
reason to believe that	5
to have been a	5
there is a fine	5
of the greek vases	5
an example of the	5
no doubt that the	5
of the old english	5
glad to see you	5
it is true that	5
is not likely that	5
in some of the	5
as well as of	5
as one of the	5
the top of the	5
may or may not	5
of the time of	5
as soon as the	5
best examples of the	5
the clay must be	5
the discovery of kaolin	5
in the center of	5
the weight of the	5
seems to have had	5
the collection of mrs	5
english pottery and porcelain	5
same motive expressed in	5
the first half of	5
blue and white ware	5
a large number of	5
the same motive expressed	5
but it may be	5
a piece of pottery	5
a fine example of	5
by the addition of	5
on the site of	5
is the same as	5
are given at the	5
may be said that	5
of the clay and	5
to the time of	5
the height of the	5
porcelain was made in	5
the marks of the	5
forms of the same	5
as an example of	5
of the manufacture of	5
it must be admitted	5
maryland parcells of of	5
there is a very	5
be said to be	5
collection of the author	5
of the proper size	5
have been made by	5
in the loan collection	5
in the centre of	5
it would have been	5
of the best examples	5
it is not improbable	5
and it is not	5
is not improbable that	5
i want you to	5
and in some cases	5
it is not likely	5
of the finest pieces	5
in the light of	5
be taken that the	5
similar to that of	5
and much of the	5
i am going to	5
it is not to	5
expressed in different arts	5
with the arms of	5
of form and ornament	5
within the last twenty	5
as well as for	5
is a sort of	5
at a very early	5
it is necessary to	5
the story of porcelain	4
were carried on by	4
to the making of	4
a little practice will	4
it is not until	4
used in combination with	4
it is to be	4
the style of decoration	4
association for the advancement	4
vase of the alhambra	4
and development of form	4
the subject of the	4
and some of it	4
the moors of spain	4
blue and white porcelain	4
to have been the	4
of a fine quality	4
the porcelain of china	4
in the illustration of	4
to some of the	4
with a piece of	4
on account of its	4
with more or less	4
far as i know	4
is found in the	4
that it may be	4
it is found in	4
period of george i	4
that it was made	4
the life of the	4
to a depth of	4
at the philadelphia exhibition	4
the cup of arcesilaus	4
of north devon gravel	4
transactions of the devonshire	4
not only did he	4
in a small way	4
the shores of the	4
of the history of	4
end of the eighteenth	4
glazed pottery and porcelain	4
in china and japan	4
is in the collection	4
in order to secure	4
history of ancient pottery	4
that the chinese and	4
north devon sgraffito ware	4
is now ready for	4
had forgotten all about	4
is due to the	4
the equivalent weight of	4
centennial exhibition at philadelphia	4
by means of a	4
of this class of	4
side by side with	4
must not be forgotten	4
devonshire association for the	4
surface of the ware	4
as in the case	4
are apt to think	4
it is the same	4
the north devon potteries	4
the left hand and	4
he seems to have	4
under the direction of	4
passed into the hands	4
illustration staffordshire established in	4
had been made in	4
of the art of	4
it has not been	4
the manufacture of porcelain	4
give an illustration of	4
applied to the surface	4
of some of these	4
stoneware jugs and mugs	4
blue and white jasper	4
bust of james ii	4
the devonshire association for	4
is pressed into the	4
sporting subjects in relief	4
of the italian renaissance	4
and porcelain in the	4
for a few years	4
chinese blue and white	4
of the ming dynasty	4
i will tell you	4
pottery and porcelain of	4
the case of the	4
may be found in	4
it was to be	4
have already alluded to	4
up to the light	4
of the bronze age	4
as i told you	4
collection of old english	4
upper edge of the	4
hercules and the waggoner	4
the fame of the	4
is supposed to have	4
at a time when	4
the ceramic art is	4
the reason for this	4
of the sgraffito ware	4
of north devon pottery	4
after the death of	4
in a later chapter	4
it may be that	4
the action of the	4
the delicacy of the	4
the period of the	4
have been made in	4
the clay and the	4
it is not necessary	4
the shape of the	4
a coating of glaze	4
center of the wheel	4
the name and fame	4
of the use of	4
much of it was	4
in order to produce	4
the centennial exhibition at	4
bust of john wesley	4
the same amount of	4
up to this time	4
would not have been	4
with some of the	4
in relief in white	4
a work of art	4
form and ornament in	4
of which is a	4
wedgwood wedgwood wedgwood wedgwood	4
the level of the	4
to the united states	4
turned over and the	4
for the production of	4
to have been in	4
as it seems to	4
not easy to distinguish	4
and it will be	4
and it may be	4
of the most elaborate	4
on some of the	4
his father and mr	4
to have been used	4
some of them are	4
will thus be seen	4
end of the last	4
into the possession of	4
museum of art at	4
which is one of	4
of the devonshire association	4
to see that the	4
the bernal sale were	4
the arms of the	4
the most beautiful and	4
some two hundred years	4
it is a good	4
it seems to have	4
cannot do better than	4
the making of porcelain	4
the last twenty years	4
the decoration of china	4
for the sake of	4
the advancement of science	4
of the duke of	4
the henri deux ware	4
the metropolitan museum of	4
do better than to	4
in addition to the	4
of a piece of	4
origin and development of	4
some of these are	4
we have alluded to	4
is held in the	4
of one of these	4
of the old chinese	4
ship master to cargo	4
be removed from the	4
the success of the	4
is not possible to	4
shores of the mediterranean	4
is given in the	4
the different kinds of	4
in possession of mr	4
the foundation of the	4
that this is the	4
to a great extent	4
there is a great	4
we have already alluded	4
as it is to	4
the last quarter of	4
mark used from to	4
beginning of the nineteenth	4
in spite of his	4
the best of the	4
highly prized by collectors	4
to the conclusion that	4
there is nothing to	4
up to the present	4
as well as to	4
in regard to its	4
to the body of	4
be of interest to	4
at the base of	4
on the face of	4
from the museum of	4
eighteenth and early nineteenth	4
he must have been	4
figures of flower boys	4
it will be found	4
work of this kind	4
from the island of	4
that some of these	4
since the days of	4
with a view to	4
from the standpoint of	4
to believe that the	4
and it is believed	4
of two or three	4
pottery of ancient gaul	4
to the manufacture of	4
is ready for the	4
be found in the	4
in addition to these	4
the story of the	4
name and fame of	4
it is not a	4
much of it is	4
but little of it	4
for so long a	4
pottery and porcelain in	4
for the making of	4
is supposed to be	4
has come to be	4
george and the dragon	4
given in the following	4
on the wheel and	4
of the middle ages	4
if it were not	4
report and transactions of	4
the upper edge of	4
the last years of	4
the various classes of	4
has been done in	4
the great exhibition of	4
swansea and other factories	4
it will thus be	4
last quarter of the	4
for the uses of	4
leeds and other factories	4
that there was a	4
by the name of	4
the manufacture of this	4
of the most important	4
some of the old	4
the conclusion that the	4
the time of louis	4
and transactions of the	4
on the bottom of	4
at the time of	4
by wood and caldwell	4
development of form and	4
of the common people	4
arabs and the moors	4
of the first section	4
and other staffordshire potters	4
we shall have to	4
supposed to be the	4
for the advancement of	4
during the time of	4
of the second section	4
the lines of the	4
the glaze may be	4
the illustration of a	4
slipped and glazed on	4
there is a strong	4
that the use of	4
the knowledge of the	4
at the royal scottish	4
of the chinese potter	4
we find that the	4
the thickness of the	4
of capo di monte	4
in the twelfth century	4
the arabs and the	4
is well to have	4
to the fact that	4
and a variety of	4
the nature of the	4
the eyes of the	4
of the house of	4
plaster is poured to	4
this sort of work	4
parts of the country	4
it is doubtful if	4
to compete with the	4
he was a man	3
the proprietors of the	3
produced some of the	3
stamped ornaments in relief	3
a plaster bat and	3
of the staffordshire potteries	3
it is only a	3
and the british museum	3
as soon as possible	3
as they do not	3
collection of old earthenware	3
every splinter of wood	3
it was a great	3
it may be of	3
was destroyed by the	3
need we be surprised	3
century and a half	3
one of the largest	3
on the walls of	3
in the kensington museum	3
colour of the body	3
some of the specimens	3
of the current scroll	3
at the great exhibition	3
but it cannot be	3
in the collections of	3
should be made to	3
and plaster is poured	3
the next step is	3
the free use of	3
well known that the	3
the loan collection of	3
the interior of the	3
may also be used	3
is to be made	3
and are excellent examples	3
many of the finest	3
the product of the	3
the blue of cobalt	3
wedgwood bentley wedgwood bentley	3
in the walls of	3
there seems to be	3
the limits of the	3
form originating in basketry	3
of kaolin and flint	3
upon the subject of	3
no one can fail	3
must have been made	3
a generic term for	3
is a costly process	3
and ornament in ceramic	3
some of them were	3
at that time the	3
something should be said	3
many of them are	3
one of the first	3
should be able to	3
a few words may	3
an imitation of the	3
and it was not	3
the history of this	3
and there is no	3
following is an example	3
so thick as to	3
the united states national	3
the mission of the	3
not only were these	3
devon pottery and its	3
the seventeenth century was	3
of rousseau and voltaire	3
on the other side	3
of this school of	3
in the midst of	3
went to work to	3
the gods and goddesses	3
of which we shall	3
the dresses of the	3
the greeks and romans	3
to those who are	3
paul preaching at athens	3
ceases to be a	3
ornament in ceramic art	3
export to america in	3
only too glad to	3
it is the hope	3
a century and a	3
to go to the	3
fellow of the royal	3
america in the th	3
there is not much	3
far as we know	3
in time to be	3
a small quantity of	3
is reported to have	3
the north devon ovens	3
in blue under the	3
of the most celebrated	3
it must have been	3
the louvre at paris	3
from angelica knoll site	3
i shall have to	3
in the south kensington	3
by the english potters	3
along the shores of	3
delft as early as	3
put aside to dry	3
of which it is	3
do you think of	3
is poured to a	3
the ball of the	3
used every splinter of	3
on the one hand	3
to serve as models	3
it is singular that	3
of the potter to	3
it was used in	3
an example of a	3
the city of king	3
the shape of a	3
should be a little	3
have been able to	3
of which we give	3
the processes by which	3
as a general rule	3
must be remembered that	3
used at the present	3
the paste of the	3
it is not enough	3
applied to the decoration	3
halves of the case	3
the john bowne house	3
an old english potter	3
what has been done	3
and glazed on interiors	3
in the arts of	3
it was about that	3
it would be a	3
is known as a	3
were the first to	3
by the smithsonian institution	3
monograms on pottery and	3
work has been done	3
when the piece is	3
a chapter for beginners	3
the opening years of	3
of interest to collectors	3
the porcelain tower at	3
but it is better	3
in the sense of	3
is derived from the	3
the same sort of	3
the rest of the	3
of the end plates	3
the manufacture of a	3
under the protection of	3
medallion with crown and	3
i am glad you	3
the use of clay	3
may have been an	3
it has to be	3
the introduction of this	3
illustration capo di monte	3
am glad to see	3
only about fifty pieces	3
to the uses of	3
jug with portrait of	3
production of porcelain in	3
of the writer that	3
the attention of the	3
both in form and	3
in the department of	3
it is not so	3
in the vicinity of	3
it is now ready	3
a very fine example	3
a good plan to	3
what do you think	3
the work of one	3
name of the factory	3
does not seem to	3
about the years to	3
of most of the	3
and with the fingers	3
early part of the	3
called by the french	3
should be made of	3
the history of pottery	3
is the product of	3
the aid of the	3
the models of the	3
the fact that in	3
but little is known	3
at the side of	3
is found on some	3
porcelain was made here	3
of the mold and	3
it would be to	3
it seems that the	3
with the initials s	3
under the head of	3
these are in the	3
the fourteenth and fifteenth	3
not be easy to	3
it is one of	3
will be observed that	3
may be regarded as	3
years of the reign	3
and white porcelain plates	3
from the fact that	3
which may or may	3
we are apt to	3
classic figures in relief	3
were made by the	3
silver lustre as a	3
in great variety and	3
the decoration is more	3
the age of the	3
the clay should be	3
white stamped ornaments in	3
transfer printing on enamels	3
in its proper place	3
forgotten all about bed	3
not porcelain at all	3
public library and museum	3
practically the same as	3
in the same field	3
it is known that	3
to say that the	3
a kind of stone	3
by luca della robbia	3
not only were the	3
the fact that they	3
ball of clay is	3
should be used and	3
now in the british	3
servants dug some of	3
over a period of	3
the early stages of	3
it was made in	3
of a practical potter	3
it may have been	3
have been brought to	3
of this early period	3
dug some of the	3
the appearance of the	3
in early staffordshire ware	3
it was not till	3
marks and monograms on	3
a large quantity of	3
of the products of	3
he was one of	3
in the hope that	3
the best of them	3
with white stamped ornaments	3
some of the clay	3
to the collection of	3
and early nineteenth centuries	3
manipulation of the clay	3
was one of those	3
he was known to	3
in the victoria and	3
so long a time	3
the turn of the	3
two halves of the	3
josiah wedgwood and sons	3
the rest of us	3
of the various classes	3
illustration staffordshire established about	3
of the chinese and	3
know of none in	3
the late eighteenth and	3
the work may be	3
to the production of	3
of this may be	3
is now to be	3
very fine example of	3
to do with the	3
for whom they were	3
to a certain extent	3
bottom of the vase	3
of this period are	3
well as in other	3
the making of a	3
fine work of the	3
and interiors of gravel	3
the use of tin	3
we shall speak later	3
when held up to	3
earthenware imitates dresden models	3
in the art of	3
will be found useful	3
one can fail to	3
works went into the	3
with clean water and	3
the wheel is revolved	3
one side of the	3
which for a long	3
is now well known	3
the porcelain made at	3
the production of pottery	3
up the making of	3
modelled by ralph wood	3
on a white ground	3
the colour of the	3
was also made at	3
of the potter and	3
the museums of europe	3
the faces which are	3
the cause of this	3
decorated in enamel colours	3
the same as that	3
is little doubt that	3
as we have seen	3
have been made at	3
of the royal society	3
the hope of the	3
the coming of the	3
pottery and its export	3
after the discovery of	3
under the supervision of	3
within a few years	3
works were carried on	3
hard paste was made	3
vivid green and yellow	3
now and then to	3
were a number of	3
it will be observed	3
of what is known	3
difference between earthenware and	3
as works of art	3
the vicar and moses	3
theo and his father	3
was as good as	3
is found to be	3
we are enabled to	3
to the end of	3
madrid mark in blue	3
art of the old	3
style of decoration is	3
is well known that	3
one nother and then	3
derived from a wooden	3
the rubber belt is	3
the reign of george	3
leeds ware decorated at	3
the other hand it	3
may be mentioned that	3
of them certainly are	3
a small amount of	3
derby mark used in	3
an outline history of	3
are of the same	3
the death of josiah	3
the same kind of	3
the shaping of a	3
was the production of	3
in the eighteenth century	3
not so well known	3
ware was made in	3
safely be attributed to	3
found upon pieces of	3
in which it is	3
plates and dishes of	3
to think that the	3
which is of a	3
the use of blue	3
made on the continent	3
like the rest of	3
so much of the	3
of which are in	3
as that made at	3
of the same subject	3
for the king and	3
but it does not	3
is better to have	3
and in many cases	3
are excellent examples of	3
that he was a	3
used for the manufacture	3
each side of the	3
in his work upon	3
impressed on the ware	3
part of the potter	3
as it is called	3
the cup and saucer	3
the paste and the	3
this is supposed to	3
an account of the	3
between earthenware and porcelain	3
continued to be made	3
of the glaze in	3
is a good plan	3
the number of these	3
is an example of	3
he was not a	3
and its export to	3
a great quantity of	3
hard and soft porcelain	3
illustration liverpool established in	3
the ware is made	3
the pieces are not	3
and some of these	3
but if it be	3
some of these jugs	3
there is not a	3
it is an interesting	3
in addition to this	3
a piece of soft	3
the largest and most	3
of his wife and	3
a large proportion of	3
doccia hard and soft	3
are much sought for	3
are not to be	3
in which they are	3
the glory of the	3
is similar to that	3
the clay can be	3
and care must be	3
throughout the th century	3
much of the best	3
the wife of the	3
as good as his	3
covered with a black	3
may be procured from	3
have been derived from	3
the duke of portland	3
can be made with	3
is removed and the	3
for the purpose of	3
borough of bideford public	3
of the pierced work	3
the list of marks	3
the apotheosis of virgil	3
inches in diameter and	3
ware in imitation of	3
we are indebted to	3
there was a large	3
in the study of	3
pieces of chinese porcelain	3
to the height of	3
great number of pieces	3
walls of the house	3
of the wheel is	3
to be seen a	3
and as a consequence	3
although some of the	3
can be used for	3
as you can well	3
was in full swing	3
may be of interest	3
the same as in	3
is not until the	3
many pieces of the	3
the latter half of	3
for use in identifying	3
the figures of the	3
went into the hands	3
and beauty of form	3
factory was established in	3
i do not mean	3
should be kept in	3
in form and in	3
then it was that	3
the new york museum	3
in blue or red	3
they must have been	3
as the work of	3
and dishes of the	3
loan collection of the	3
of the workmen and	3
i had forgotten all	3
carried on by his	3
fingers of the left	3
a monument to the	3
some of the marks	3
illustrate a fine example	3
john washington house site	3
fine example of this	3
oxide parts cobalt oxide	3
the rim of the	3
of the same period	3
same as in the	3
various parts of the	3
b as a mark	3
and white jasper vase	3
some fine examples of	3
from the days of	3
than those of the	3
be made in a	3
in the province of	3
a fellow of the	3
in detail in chapter	3
is covered with a	3
one hundred and sixty	3
in virginia and maryland	3
the staffordshire potters were	3
this is a present	3
is the hope of	3
the class of ware	3
its export to america	3
printed in deep blue	3
it is supposed to	3
of these have been	3
is open to doubt	3
of oxide of tin	3
it often happens that	3
art at new york	3
a factory was established	3
a number of small	3
illustration staffordshire illustration staffordshire	3
last years of the	3
as far as we	3
bideford public library and	3
of the fictile art	3
the old english potter	3
his servants dug some	3
it is important that	3
english earthenware may be	3
the beauty of the	3
illustration madrid mark in	3
is all that is	3
many of the early	3
the willow pattern in	3
the whole may be	3
i have ever seen	3
it would seem that	3
at the sale of	3
for grinding raw materials	3
the proper size is	3
at the united states	3
far back as the	3
the house of medici	3
late eighteenth and early	3
one and the same	3
of the greek amphora	3
of the left hand	3
at a much lower	3
it should be mentioned	3
new york museum of	3
of the style of	3
croyden paused a moment	3
and this should be	3
this work in our	3
illustration illustration illustration illustration	3
of this sort was	3
broken only by the	3
held up to the	3
is easy to believe	3
mill for grinding raw	3
its adoption in staffordshire	3
were used to decorate	3
is not necessary to	3
in the city of	3
it may be mentioned	3
and much of it	3
be of service to	3
porcelain in the united	3
of bideford public library	3
the province of idsoumi	3
the popular science monthly	3
the heart of the	3
the period when the	3
in such a way	3
i know of none	3
these jugs and mugs	3
the production of the	3
to be used in	3
there will be a	3
may be seen the	3
a blue and white	3
under the guidance of	3
the collection of old	3
exhibition at philadelphia in	3
illustration derby mark used	3
is to be found	3
do not forget that	3
in common with other	3
the manipulation of the	3
tea and coffee pots	3
oxide parts nickel oxide	3
have been due to	3
and some of them	3
of the pottery of	3
of the processes of	3
which seems to have	3
a vast number of	3
well as for the	3
there can be no	3
it does not seem	3
contemporaries and his successors	3
good as his word	3
there is little doubt	3
c j m co	3
adolphus and charles xii	3
is much the same	3
the mark was a	3
it appears that the	3
easy to believe that	3
in the sixteenth century	3
the marks on the	3
the collection of messrs	3
of early staffordshire jugs	3
was no ordinary dog	3
in the time of	3
same sort of clay	3
collection at the victoria	3
dutch east india company	3
it is a costly	3
believed to be the	3
the right hand and	3
it is not always	3
of the wife of	3
some of the finer	3
public and private collections	3
term is applied to	3
of art at new	3
the excellence of the	3
there should be a	3
is of the same	3
gustavus adolphus and charles	3
his contemporaries and his	3
already alluded to the	3
when applied to the	3
at all equal to	3
has come down to	3
figures of this early	3
date of this is	3
an illustration is given	3
the wheel at a	3
of which i have	3
at the centennial exhibition	3
of luca della robbia	3
the interest in the	3
of the fine style	3
it is evident that	3
a given amount of	3
with the use of	3
it was no ordinary	3
is a matter of	3
and at the present	3
to account for the	3
the design may be	3
is by enoch wood	3
as may be seen	3
the following is an	3
is put into a	3
quarter of the eighteenth	3
true porcelain at dresden	3
to any great extent	3
in the list of	3
but it is now	3
whole surface of the	3
of the clay is	3
use in identifying old	3
parts cobalt oxide part	3
in order to make	3
all of these are	3
work of the chinese	3
are of a high	3
but few pieces of	3
chats on english china	3
his plates and dishes	3
the courtesy of mr	3
be attributed to the	3
it may not be	3
found their way into	3
shall have to do	3
ware was made at	3
vessels copied in pottery	3
a style of decoration	3
are known to have	3
little is known of	3
a few examples of	3
the early part of	3
that he was not	3
it was a warm	3
equal to that of	3
porcelain tower at nanking	3
some of the leeds	3
the whole surface of	3
that it is not	3
the end plates and	3
to the action of	3
as some of the	3
the edges of the	3
of this work is	3
you can be the	3
the various types of	3
this term is applied	3
the works were carried	3
an illustration of a	3
with crown and g	3
and cup and saucer	3
the decoration of their	3
some of the vases	3
decorated in relief with	3
with the exception of	3
the empress catherine ii	3
and at that time	3
it was during the	3
the island of rhodes	3
as well as from	3
came into the hands	3
but it is in	3
palissy was one of	3
a long time was	3
whom they were made	3
in the early days	3
the market as a	3
porcelain of china and	3
to america in the	3
it must be remembered	3
opening years of the	3
latter half of the	3
as an adjunct to	3
of this work in	3
it is said that	3
there will be no	3
we are to have	3
in order that the	3
examples of this work	3
the philadelphia exhibition in	3
of soft clay is	3
is a good problem	3
great deal of mystery	3
blue under the glaze	3
that is to say	3
the north walk pottery	3
which the decoration is	3
has been made in	3
if we are to	3
in the habit of	3
illustration worcester used to	3
hope of the writer	3
went into the possession	3
should be mentioned that	3
this is not the	3
commenced to make porcelain	3
in the clay and	3
it is not known	3
set aside to dry	3
and monograms on pottery	3
of the john howland	3
not only to the	3
doubt as to the	3
we be surprised that	3
in the ceramic art	3
of different coloured clays	3
is likely to be	3
is not enough to	3
in blue and white	3
the old chinese potters	3
pieces i have seen	3
the hands of messrs	3
north devon pottery and	3
may be of any	3
name of the wife	3
is a fine example	3
the possession of the	3
by the national park	3
has already been described	3
the crest of the	3
the application of the	3
to that of wedgwood	3
thus be seen that	3
in the progress of	3
upon the ceramic art	3
must be taken to	3
faces which are to	3
of the ware itself	3
he used every splinter	3
raised medallion with crown	3
in the left hand	3
in the latter half	3
nothing of the sort	3
great care must be	3
persian and arabic pottery	3
it may be stated	3
that the chinese had	3
the pottery and porcelain	3
this mark used from	3
to have had a	3
it will be a	3
the contents of the	3
at the back of	3
the two halves of	3
that there is nothing	3
the mold is now	3
out a patent for	3
no doubt that he	3
wife of the director	3
the same diameter as	3
that there should be	3
before the coming of	3
it was not a	3
can be made from	3
of the life of	3
must not be expected	3
fourteenth and fifteenth centuries	3
it may be noted	2
form of the vase	2
how the italians made	2
close to the bat	2
the british museum is	2
color of the clay	2
and i was told	2
the western stoneware company	2
have been in a	2
of the application of	2
figure belonging to this	2
age of the art	2
of the most interesting	2
decoration adopted in staffordshire	2
only by means of	2
you will find some	2
the italians made china	2
quart of water will	2
in their turn were	2
as the greek vase	2
and you can now	2
silver lustre ware of	2
and it is marked	2
to be set into	2
jugs with classic figures	2
his back to the	2
is filled with slip	2
it does not appear	2
and palmer and neale	2
decoration is carried out	2
that the manufacture of	2
the secrets of the	2
which josiah wedgwood is	2
but of course it	2
from about to about	2
of all that is	2
of form by adventition	2
put out his hand	2
that made at the	2
of which have been	2
there are but few	2
bentley wedgwood bentley wedgwood	2
record of north devon	2
into the composition of	2
may be cut in	2
whieldon as a potter	2
is a large punch	2
the vicinity of the	2
who appears to have	2
glimpse of some of	2
of the same sort	2
early mark in blue	2
methods of making tiles	2
it was made at	2
the bacchus and ariadne	2
made and decorated in	2
in colour it was	2
you tell me about	2
the indians of the	2
the composition and use	2
how they made their	2
there are many other	2
a great many of	2
introduced the willow pattern	2
in order to use	2
conquered and subdued the	2
xii swansea and other	2
am glad to hear	2
francisco xanto avelli da	2
with him many of	2
a half inches in	2
and then to be	2
in the bowne house	2
in other parts of	2
it must be allowed	2
each of these methods	2
the position of staffordshire	2
the types from which	2
much is to be	2
or more of these	2
on the back with	2
people cannot get on	2
it was to these	2
they can be handled	2
or adapted by the	2
and it was evidently	2
as that of the	2
is a group of	2
some of it is	2
ware which in the	2
of early english pottery	2
of english pottery and	2
the knowledge of this	2
was known to the	2
in the factory passed	2
it seems to us	2
that is about all	2
drew out his watch	2
a kind of porcelain	2
the capo di monte	2
were made with a	2
on the banks of	2
finest work of the	2
compared with the drawing	2
to the want of	2
to those who read	2
of a great variety	2
marked with the fleur	2
the porcelain of japan	2
into the secrets of	2
appear to have been	2
ideographic elements of decoration	2
the making of this	2
it appears that some	2
tell you some other	2
a sand that is	2
it may be attributed	2
doubt that some of	2
step is to make	2
water is then added	2
a thin piece of	2
production of glazed pottery	2
the production of a	2
being those of the	2
of the bases of	2
is probably not very	2
and plaster poured on	2
the clear water is	2
incidentally it may be	2
on any of the	2
every part of the	2
other hand it is	2
is a generic term	2
to create and to	2
of the porcelain pilgrimage	2
work of the old	2
which are ornamented with	2
which the name of	2
story of lumber the	2
it is an important	2
to do with its	2
is a style of	2
story of glass the	2
one of which we	2
heat may be generated	2
marks are found on	2
the pottery to be	2
is not always possible	2
may have been derived	2
and that the work	2
there must always be	2
a very early day	2
the time of pericles	2
collection of greek vases	2
in the latter case	2
lustre in combination with	2
around the edges of	2
as an adjunct or	2
have a few words	2
of a similar nature	2
is now much prized	2
were advertised for sale	2
the subject of this	2
bernal sale were as	2
of the mediterranean sea	2
form by adventition by	2
for the work to	2
is ready to be	2
came over in the	2
fifteenth and sixteenth centuries	2
should like to see	2
the oriental character of	2
of the whieldon school	2
the franklin institute of	2
detailed history of the	2
the whole surface may	2
is about all we	2
let us suppose that	2
this will reduce the	2
one of the following	2
in different parts of	2
as shown in the	2
is ornamented with the	2
am sorry to say	2
and the effect is	2
black oxide of copper	2
the most part of	2
well known to collectors	2
led the way to	2
by the turn of	2
is liable to be	2
fact that they were	2
they have been subjected	2
be of any shape	2
the color is applied	2
was made a fellow	2
by allen at lowestoft	2
of very good porcelain	2
with portraits of washington	2
a name which seems	2
be seen that this	2
of the english wares	2
vase in red ware	2
is much valued by	2
that they were made	2
piece of soft clay	2
we should get no	2
on the swansea ware	2
some account of the	2
early staffordshire ware thomas	2
red and black ware	2
scroll derived from coil	2
at this time a	2
the banks of the	2
a replica of the	2
is no question that	2
showing the famous rocket	2
should not be forgotten	2
pottery was made in	2
are described in detail	2
from the great and	2
i cannot do better	2
on north devon pottery	2
as to be a	2
in its biscuit state	2
by the duke of	2
such as tea and	2
the body or paste	2
from the block mold	2
porcelains of central europe	2
this porcelain was not	2
may be defined as	2
in date about to	2
marks used by the	2
decorated in blue and	2
enoch wood and sons	2
as the plaster has	2
wedgwood etruria wedgwood etruria	2
zinc oxide feldspar kaolin	2
is the name of	2
would be produced by	2
collection of wedgwood ware	2
the surface of a	2
who introduced the willow	2
of his friends and	2
as well as earthenware	2
to distinguish them from	2
parts of kaolin and	2
well as a great	2
and a great variety	2
little of it was	2
apt to think that	2
the manufacture of stoneware	2
in the process of	2
a group of flowers	2
which is used for	2
the vatican at rome	2
crowd of lesser men	2
the making of pottery	2
a fine plate with	2
a modern set of	2
the last ten years	2
w b as a	2
before it can be	2
doubt exists as to	2
catalogue of british pottery	2
was not until the	2
a glimpse of some	2
or other of the	2
same time it is	2
dutch delft and english	2
but in some cases	2
prizes at the panathenaic	2
have a quaint interest	2
cut off with a	2
the spire of a	2
the rebellion of the	2
so it is with	2
there is the fine	2
to protect it from	2
two or three inches	2
not so good as	2
greeks and romans were	2
in imitation of granite	2
shield of the arms	2
has come to pass	2
a small manufactory of	2
the most perfect of	2
interesting record of the	2
may be produced by	2
in the beginning of	2
as his opinion that	2
and the perfection of	2
the introduction of the	2
the other countries were	2
with the assistance of	2
slip or engobe of	2
you must remember that	2
white coating which cannot	2
the centre of which	2
could not make the	2
a pair of goats	2
was a matter of	2
in the figures of	2
oxide of iron which	2
of plates and dishes	2
the four daughters of	2
a georgian cabinet is	2
you will have to	2
no reason why you	2
volume dealing with old	2
at least some of	2
invented by george stephenson	2
to me that the	2
is placed upon the	2
there are two possible	2
the most beautiful of	2
to fill the kiln	2
mauve flowers and green	2
a tendency to depart	2
schuylkill sixth and chestnut	2
the eyes that met	2
sand that is too	2
laid along the edges	2
and it is evident	2
are quite willing to	2
is not too much	2
to illustration illustration illustration	2
like to think that	2
it is intended to	2
this with the list	2
at that time it	2
the later and more	2
known to have been	2
countries and the german	2
mark in blue or	2
attributed to the period	2
their way into the	2
by permission of the	2
all that is left	2
the inspiration of the	2
pottery of the seventeenth	2
that kind of work	2
by a classical draped	2
o p q r	2
are not the only	2
in a similar way	2
the clay is in	2
you can see that	2
of the body being	2
but the art of	2
ralph toft and thomas	2
be covered with a	2
the description is as	2
it is a remarkably	2
among the most beautiful	2
another form of the	2
of which may be	2
upon some of these	2
may not have been	2
in the first century	2
clay of which it	2
toft and thomas toft	2
use in cream ware	2
it is possible that	2
of the greek potters	2
form derived from basketry	2
and it has a	2
bust of prince rupert	2
in the following list	2
raised platform under a	2
illustration amsterdam mark in	2
that of the other	2
times of louis xiv	2
known as upchurch pottery	2
at the period of	2
is now mixed and	2
pottery had been made	2
the porcelains of central	2
much of our finest	2
we give an example	2
sense of the beautiful	2
in a sort of	2
must have been painted	2
subscribers in the united	2
native sulphide of lead	2
marks used on plymouth	2
it must be granted	2
you think of the	2
base and brown shoes	2
now mixed and poured	2
on top of a	2
checking the size of	2
k o potassium oxide	2
confounded with thomas turner	2
national spirit in earthenware	2
for the possibility of	2
of clay is laid	2
illustrated with several thousand	2
figures by wood and	2
the porosity of the	2
eighteenth century and the	2
works of fictile art	2
knife at the junction	2
to the productions of	2
the result will be	2
of a fritted glaze	2
the works went into	2
with a ground of	2
in order to do	2
to have a number	2
set aside for the	2
porcelain as well as	2
designed the celebrated broseley	2
around the brick drain	2
a voyage to the	2
of glass the story	2
the recent work of	2
earthen vessel given in	2
of the pieces are	2
this war is over	2
made with the use	2
too large for the	2
as a piece of	2
and put aside to	2
of the best work	2
case of the fontana	2
to be made into	2
clays of different colours	2
as tea and coffee	2
called cuve ovale ducereau	2
and the contents of	2
one of which is	2
group of early staffordshire	2
this is well illustrated	2
specimens of this color	2
on which they painted	2
as a decoration on	2
thrust into the ground	2
or class of forms	2
entered into partnership with	2
of artists and workmen	2
over with embers to	2
from the straight lines	2
upon pottery and porcelain	2
painted upon the maiolica	2
at a later period	2
tourney mark in gold	2
is placed on the	2
with a history of	2
enamelling in colours was	2
by neale and palmer	2
to one hundred and	2
and in which the	2
which are in the	2
clay or upon the	2
in some of these	2
dealt with in another	2
we can well believe	2
out how to make	2
variant of the sgraffito	2
silver lustre on a	2
of one in mr	2
was a private enterprise	2
the finest pieces of	2
sand is more effective	2
school of potters and	2
a number of these	2
interesting as showing the	2
them some of the	2
examples of early english	2
most beautiful and most	2
that it should be	2
the time when the	2
as will be described	2
the potters of his	2
the same as the	2
the baking of the	2
which may be called	2
story of wool the	2
the decoration of porcelain	2
the southeast corner of	2
will be well to	2
for a short time	2
in the last quarter	2
ware of a fine	2
in the willett collection	2
this is the usual	2
this will give a	2
applied to the clay	2
pieces were made here	2
that is what i	2
must be prepared to	2
adams and turner and	2
which may be made	2
is laid upon the	2
center to the circumference	2
the north devon potters	2
should be allowed to	2
is laid on the	2
the ends of the	2
from the moors of	2
a large amount of	2
is quite certain that	2
of especial interest to	2
t u v x	2
game in high relief	2
for the secret of	2
orphans on benevolent britons	2
we illustrate two groups	2
which is large enough	2
it is of a	2
no doubt that a	2
be referred to as	2
and so on until	2
of the late eighteenth	2
places along the rhine	2
in the best period	2
by means of the	2
must be weighed out	2
as time went on	2
by other staffordshire potters	2
may be observed in	2
rebellion of the taipings	2
he is a poor	2
dampf wagen von london	2
examples may be seen	2
how to glaze their	2
ground or body of	2
it was inevitable that	2
ware is decorated with	2
is large enough to	2
for china and earthenware	2
was done on the	2
speed of the wheel	2
the porcelains of southern	2
is seen in the	2
have been a great	2
mugs and jugs and	2
it is quite different	2
porcelain may be said	2
corner of schuylkill sixth	2
which is believed to	2
or may not have	2
this result can be	2
those of adams and	2
do not and cannot	2
crest of the palatinate	2
in the hanley museum	2
the work of this	2
with a little soft	2
but it is chiefly	2
tell you about one	2
and other works of	2
many of them bear	2
the potteries of the	2
height of the proposed	2
the potter and his	2
in enamel colours with	2
two or three clay	2
pottery of the stone	2
great number of examples	2
pieces of celestial blue	2
for their own uses	2
such a way that	2
the manufacture of the	2
made by the author	2
there are to be	2
of it was made	2
for the american market	2
for presents to distinguished	2
the authorship of the	2
was at one time	2
stick is held in	2
similar to that illustrated	2
assume a crackled appearance	2
to be highly fired	2
spin the wheel at	2
in collection of author	2
pieces of dresden china	2
found on the back	2
parts of the united	2
i have never seen	2
athens in the year	2
contains in each equivalent	2
that here was a	2
for you to be	2
applied to the making	2
on a small scale	2
on behalf of the	2
colour it was a	2
are still in existence	2
the influence of form	2
style of decoration of	2
the second joint is	2
perhaps it was because	2
has given rise to	2
nearly approaching porcelain in	2
the bowne house historical	2
hand and the point	2
grams of oxide of	2
on account of the	2
on the d of	2
illustration of a fine	2
it would appear that	2
at war with the	2
a considerable number of	2
contributions from the museum	2
earthenware from north devon	2
there is also an	2
doubt that john dwight	2
size of the crackle	2
d e f g	2
tea and coffee ware	2
moulded in form of	2
copied or adapted by	2
porcelains of southern europe	2
a person of experience	2
to be believed that	2
back of the plate	2
associated with the arts	2
if a modeled surface	2
have something to say	2
date from between and	2
modification is given in	2
on the subject of	2
and the edges of	2
of a great number	2
the long line of	2
the enamelling in colours	2
to the knowledge of	2
out of this the	2
applied with a sponge	2
so many of the	2
the smithsonian institution in	2
some twelve miles from	2
one of the principal	2
illustrations in this volume	2
and the result was	2
and the lower part	2
been dealt with in	2
of which i had	2
measuring the foundation of	2
the bottom section is	2
during this period that	2
if the alumina content	2
of the productions of	2
marks used at the	2
applied to the object	2
the latter part of	2
will tell you some	2
this mark is found	2
could not have been	2
in relief of a	2
for it is a	2
in a good degree	2
of such importance as	2
a lot of good	2
even in the days	2
ware may be roughly	2
late th century to	2
an unfritted alkaline glaze	2
it seems a very	2
manufacture of this ware	2
decorated with american views	2
rim of a chamber	2
in one and the	2
the arabs in spain	2
it is pleasant to	2
the collector who has	2
that has been the	2
at the pleasure of	2
museum and the british	2
made by elers and	2
edge of the first	2
of this type of	2
the toque or cap	2
upon the shape of	2
known as the cadogan	2
applied it to the	2
to the philadelphia exhibition	2
of the highest quality	2
of clay by the	2
may have been the	2
and they must have	2
soda ash whiting feldspar	2
is to apply the	2
are going to be	2
the clay will be	2
in white upon a	2
i have told you	2
these have been found	2
was the only thing	2
this is the same	2
fact that in the	2
upon the plain surface	2
of the examples are	2
kensington museum at london	2
form of a barrel	2
the work has been	2
printed jugs and mugs	2
been brought to europe	2
give an example of	2
we may mention as	2
the shield of the	2
be struck with the	2
the two styles of	2
the finest pieces were	2
see them for themselves	2
pellets of the medici	2
as a nation we	2
the same for all	2
was at its best	2
the third famous potter	2
now well known under	2
allowance must be made	2
and is said to	2
and the richness of	2
if the piece be	2
the function of the	2
has the quality of	2
do you find yourself	2
theodore deck of paris	2
it would have taken	2
the reverse of this	2
a bust of john	2
as the clay is	2
the sultan of egypt	2
qualities of the chinese	2
the cape of good	2
to grams of black	2
some of these teapots	2
may be seen in	2
been seen before in	2
of the inside of	2
baking of the paste	2
to establish a porcelain	2
conventional ornament in brown	2
are to have a	2
to stand in the	2
or three clay natches	2
of sir william hamilton	2
interesting to compare the	2
were attempted in the	2
for the collection of	2
and at other points	2
pottery is to be	2
vases adorning a georgian	2
collection was given to	2
employed with great success	2
of a pale yellowish	2
discovery of kaolin in	2
you have been very	2
the work done there	2
to english pottery and	2
copy of the celebrated	2
the lump of clay	2
a few pieces of	2
some of us excel	2
but it is as	2
may recall that i	2
two qualities of hardness	2
raise the right hand	2
father and manuel are	2
vase will be seen	2
the turning tools are	2
one hundred and twelve	2
at the exhibition at	2
coming to an end	2
three dollars per annum	2
in the kiln but	2
the bottoms of the	2
much of the work	2
of the same kind	2
the island of maiorca	2
the days of pericles	2
the reach of the	2
with the addition of	2
do not appear to	2
nations of the world	2
so hard as to	2
it is desirable to	2
the collection was given	2
have time to tell	2
that more and more	2
the finest examples of	2
would seem that the	2
cape of good hope	2
pair of vases of	2
all or nearly all	2
the latter days of	2
the perfection of the	2
mugs and jugs with	2
learn to saw and	2
were also made here	2
in order to insure	2
back to the time	2
and mary college quarterly	2
that in spite of	2
types from which english	2
it was found in	2
ware which is of	2
in the meantime mr	2
much of this was	2
of flint to the	2
daily uses of life	2
now you have been	2
and glazing part i	2
were largely in use	2
three feet in height	2
the early nineteenth century	2
the figures of children	2
so long as you	2
great deal more than	2
of which we write	2
at a number of	2
few pieces of it	2
the height of his	2
which cannot be shaken	2
the supervision of the	2
a modeled surface be	2
epoch to illustration illustration	2
painting of fort caroline	2
appeal to the collector	2
i should think that	2
i j k l	2
but a short existence	2
as late as the	2
in our public and	2
be able to make	2
not equal to the	2
a high degree of	2
william and mary harrison	2
end of the mold	2
a strong family likeness	2
were made in great	2
this consists of a	2
ceramic artists of the	2
among a crowd of	2
are two methods of	2
that of the chinese	2
he wants you to	2
porcelain made at lowestoft	2
and did so for	2
and which is the	2
i never thought of	2
much glaze as possible	2
was practised at worcester	2
one is inclined to	2
made up of many	2
henry hornblower ii and	2
of this early work	2
i am enabled to	2
a pale yellowish tint	2
cream ware was perfected	2
death of josiah wedgwood	2
and is remarkable for	2
it was at one	2
from the center to	2
time was supposed to	2
william and mary college	2
turned out in staffordshire	2
so much so that	2
the story of glass	2
third section in place	2
but the story of	2
these latter are of	2
was not so much	2
in the west of	2
such as mark the	2
and the tin enamel	2
men who conceived it	2
sometimes the letters s	2
on the hard porcelain	2
be attributed to staffordshire	2
name is derived from	2
on the neck of	2
is sometimes found on	2
may safely be attributed	2
the cost of these	2
as well as many	2
and it is found	2
half of the eighteenth	2
adorning a georgian cabinet	2
fine quality of the	2
the neck of the	2
the characteristics of this	2
should be as nearly	2
writers on the subject	2
out of this war	2
ware for domestic use	2
the case with a	2
the belief that it	2
that the faces which	2
i saw in england	2
the decoration is carried	2
form or class of	2
should be covered with	2
collecting old english earthenware	2
the destruction of the	2
a figure of a	2
is like putting new	2
the piece should be	2
passed into other hands	2
about thirteen inches in	2
may be roughly divided	2
at a later stage	2
to the introduction of	2
is in the museum	2
they rose from the	2
the piece is surmounted	2
to which is attached	2
be scratched with a	2
a raised platform under	2
illustration the story of	2
now remains to make	2
chinese made their porcelain	2
then set aside to	2
different from anything the	2
represented by the formula	2
and oven sherd from	2
have been decorated in	2
that the design is	2
illustration limbach another mark	2
go up to the	2
great deal of money	2
of cobalt to whiten	2
and from that time	2
filled in with the	2
taken out and the	2
is known of this	2
as much glaze as	2
not made for sale	2
a classical draped figure	2
of delft in holland	2
exists as to what	2
on the edge of	2
in the early stages	2
may be made in	2
such as that of	2
the collections of the	2
of the same design	2
of chinese and japanese	2
removed from the mold	2
be worked into a	2
just as soon as	2
to the north devon	2
the style of this	2
it may be remarked	2
those who wish to	2
it was capable of	2
be kept in mind	2
of this family has	2
should be as thick	2
with which all the	2
that of the early	2
most of them were	2
the reverse of the	2
of the power of	2
it aids in the	2
excellent examples of this	2
must not be too	2
china drink of which	2
was intended to be	2
years before our era	2
had but a short	2
with the aid of	2
but they are not	2
before it is glazed	2
th century to about	2
not so much in	2
to find his father	2
with the knowledge and	2
a considerable variety in	2
much of it for	2
will have to be	2
from place to place	2
cannot be used in	2
a type of white	2
one half of the	2
the fifteenth and sixteenth	2
has been dealt with	2
into the daily uses	2
of none in this	2
and one of the	2
every effort should be	2
the very essence of	2
the early attempts at	2
the plaster has become	2
and gold lustre mugs	2
of what is called	2
by pressing it into	2
to turn out a	2
applied to its surface	2
from coil of clay	2
nature and properties of	2
it would be too	2
dating as far back	2
result can be secured	2
pieces marked with the	2
wedgwood and his influence	2
point the way to	2
is to be acquired	2
of the details of	2
ware is in the	2
over the surface of	2
would have been a	2
flower of the paulownia	2
have come to light	2
three hundred and fifty	2