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s the above image shows detail from nash s illustration giving a feel of the size of the torchères compare the men standing by them spode s making record of the jars detail and how they fit in the torch è res jar is an old word for vase in this case a jar was a fundamental part of the each torchère the image above shows the upright jar with some of its making instructions from a shape book of c1820 another document records that the jars were made in april 1818 the shape book includes the note this jar is thrown in 4 parts the measurements you can see are instructions for the thrower also included were measurements for the turner which were smaller and the finished article would be smaller still after shrinkage in firing all were carefully calculated by those expert potters the record also notes that the jars were made from spode s stone china robert copeland explained that down one side of the room banqueting room the torchères were fitted into long side tables whilst on the window side of the room they were free standing these were further embellished with carved and gilt wood dolphins at the base these torchères consist of circular drums of wood carrying tall jars richly mounted in ormolu borders top and bottoms with dragon handles the tails supporting a ground glass painted lotus the lamps are 9ft 9in high approx 300cm the jars and the drums are royal blue in colour and it is about the jars that i copeland am interested because they were made by spode who not only held the prince s warrant but was also regarded as one of the leading porcelain manufacturers in europe at the time visitors to the royal pavilion may be overawed by the magnificence of the banqueting room and its extraordinary decoration they may note the unusual lamps but a potter will marvel not only at the size of the jars which are 36 inches approx 91 5cm tall but especially at the evenness of blue over the whole surface cobalt blue tends to run in the glaze and it is exceptionally difficult to apply evenly by hand held brush ground laying was the method which would have been the most likely to yield an even distribution but how did josiah spode ii s craftsmen solve the problem following a chance find at spode of a copper plate stipple punched all over i e covered neatly with dots copeland was curious as to its use as he remarked it would have made a very dull pattern it reminded him of a sheet pattern and the closest i can find of something similarly dull is an engraved apprentice copper apprentice copper plate detail in his article copeland states that he later found a reference in an old recipe book it reads blue for printing the upright jars 36in made apl 1818 for the king 3 banding blue 2 white lead for the first time over when hardened printed again with common blue many many different blues were used at spode copeland continued i believe that the stipple sheet copper was used to apply an even coating of blue to these great jars the formula for banding blue was 10lb best blue calx 2lb flint glass banding blue was for the blue bands on a pot normally applied by pencil the potters name for a brush this blue was also used for groundlaying after transferring the stipple sheet the jars were hardened on in a kiln at about 650ᵒc this firing was to fasten the colour to the pot then they were printed again with common blue 10lb of blue calx 18lb cornwall stone when the transfer paper could be placed over any joins which showed from the first printing they the jars would have to be hardened on again before the glaze was applied and then fired at about 1050ᵒc to develop the rich blue colour of cobalt silicate after this some gilded ornamentation was added at the base to link up with the ormolu mounts this gilding would require a decorating kiln fire of about 720 ᵒc followed by burnishing to render the gold shiny burnishing tools can be seen at staffordshire past track for clarification the 1050ᵒc firing was the glost firing in total the jars had at least 5 firings biscuit 2 hardening on glost and decorating kiln all it bottle ovens spode factory and bottle ovens c1800 copeland then goes on to discuss the making of the jars the shaping of the jars was by throwing in four parts which were then joined carefully by the thrower later they were turned and because of their great size i suppose they would have been turned in an upright position the norm would have been to turn objects in a horizontal position see image below the exact measurements to be observed by the thrower and the turner are recorded in two shape books one of these gives turner s measurements for two different bodies one of which is marked s china stone china turning a cup at spode c1975 other parts of the t orch è res were made by other craftsmen including by vulliamy who also worked on the oil lamps and pagodas mentioned in my previous two posts these then are just some of the items made for the royal pavilion by spode copeland mentions that spode also supplied 4 oval blue china vases for celerets these measured approx 82cm wide by 56cm high and 56cm across they were ordered on 5th jan 1822 according to copeland citing the royal pavilion requisitions book oval blue china vase for celerets copeland also mentions spode panels with painted flowers on an imperial yellow ground set into wooden pedestals on which chinese figures holding banners stood spode ceramic panels in wooden base ____________________ acknowledgments and notes taken from my lecture the josiah spodes pottery pioneers my huge thanks to robert copeland 1925 2010 who sparked my interest in and researched and wrote about this subject sharing his knowledge with me in particular his work on this subject around the 1970s 1980s culminating in his article jars for the king published in the spode society s recorder although a member of the family who owned spode copeland served 3 years at the bench gaining experience of all the processes of ceramic manufacture on the factory floor later this gave him an advantage as a ceramic historian to understand the techniques of pottery production i continue to be deeply grateful to copeland who generously shared his spode researches with me we often did a swap and amalgamation of finds he would be thrilled i know to be a part of the blogosphere see below for a selection of his publications and also look at my booklist here in his article copeland gives his thanks to jessica rutherford then principal keeper at the royal pavilion his references include the making of the royal pavilion brighton designs and drawings by j morley sotheby 1984 the royal pavilion brighton by john dinkel philip wilson 1983 t he banqueting room at the royal pavilion from john nash s views of the royal pavilion 1826 brightonmuseums on twitter brighton_museums on instagram the majority of the pieces in the spode shape books of this period are for items solely made by throwing and in bone china so when there is an exception to this a note is usually included the technical details included are for the thrower measurements on the left hand page and for the turner measurements on the right hand page shape books can be seen online at spode exhibition online more on the previous blogpost click here pattern decoration could be applied by transfer printing method using hand engraved copper plates the copper plates were simply referred to as coppers at the spode factory for more on ceramic blues see spode s willow pattern other designs after the chinese 3rd edition by robert copeland studio vista 1999 isbn 0 289 80177 x opposite page 70 other indispensable books by robert copeland manufacturing processes of tableware during the eighteenth nineteenth centuries northern ceramic society 2009 isbn 978 0 9563159 0 8 much is illustrated from his photographs at spode spode copeland marks other relevant intelligence studio vista 2nd edition 1997 isbn 0 289 80069 2 parian copeland s statuary porcelain antique collectors club 2007 isbn 10 1 85149 499 5 isbn 13 1 85149 499 6 the new pocket cyclopædia contains a report of the prince s visit to spode in 1806 please see terry woolliscroft s potbank dictionary for explanation of words associated with the pottery industry thanks to pat halfpenny with whom i swapped notes images information and enthusiasm about this subject royal pavilion history click here royal pavilion objects in the royal collection trust rct click here hm king george iv 1762 1830 regent 1811 1820 king 1820 1830 hm king george iv by thomas lawrence posted by pam woolliscroft at 14 08 27 march 2021 spode the royal pavilion part 2 porcelain pagodas this blogpost follows spode the royal pavilion part i oil lamps an old chinese vase which has my information on the background and introduction to the main players in this story for more click here antique chinese porcelain pagodas impressive but are they really big enough chinese porcelain pagodas seem to have been something of a thing in the early 1800s and several some in sets are in the royal collections rct i confess to getting a bit confused early on in this research with so many similar porcelain pagodas in the top photo you can see 4 magnificent 518cm 17ft high pagodas in situ at the royal pavilion brighton which was the seaside pleasure palace for hm king george iv they are also described by rct as colossal chinese towers which i rather like and they use the word pyramid for other pagodas in their collections too pagoda 17ft high rct no rcin1 to make the original pagodas which were already pretty impressive even taller and to fit in with the scale of rooms in the royal pavilion bases were added the blue scagliola double plinths were by henry westmacott josiah spode ii potter to the king was commissioned to make the chinese landscape panels for the main part of the new bases these beautiful panels are decorated with transfer printed borders in a blue fretwork pattern which surrounds the handpainted chinese scenes they show the great technical skill of spode s early 19th century ceramic manufacture the gilded metal work was by benjamin vulliamy detail of spode panels for the base spode s ceramic panels are likely to have been made from their stone china body which was developed to imitate and match chinese porcelain in look feel and quality it was in production by 1812 but the exact date of introduction is unknown certainly some of the other pagodas in the royal pavilion have bases which are marked with the stone china backstamp mark which is in the style of a pseudo chinese seal backstamp used on another set of pagodas rct no rcin2400 together with this set of four pagodas two more pairs are in the rct rcin812 and rcin 2400 and were installed at the royal pavilion these also had ceramic base panels made by spode the two other pairs of chinese porcelain pagodas were of different designs and had different panels made by spode for their bases detail of spode panels made for the base rct no rcin2400 pagoda bottom 2 tiers by spode rct no rcin812 all these pagodas can be viewed in detail on the rct website here you can also find other spode items as well as those made at a later date when the company was owned by the copeland family which are in the rct to view them use the link at the end of this post then use the search option and search on spode select the tab what to find the details of the various spode objects including the pagoda sets unfortunately it is not possible to link directly to the spode pagodas if you would like to marvel at the skill of how to put a pagoda together from all its component parts please click assembling a pagoda and page down to watch a time lapse film which is great fun _________________ acknowledgments and notes taken from my lecture the josiah spodes pottery pioneers thanks to robert copeland 1925 2010 who sparked my interest in and researched and wrote about this subject sharing his knowledge with me in particular his article jars for the king published in the spode society s recorder more about the jars will appear in the next instalment benjamin lewis vulliamy 1780 1854 succeeded his father as head of the firm and clockmaker to the king although his formal education is unknown he evidently received a thorough training in both the theoretical and practical aspects of the business by 1800 he was already helping to run the firm and after he became a partner in 1801 his involvement rapidly increased so there was little immediate change in the firm s direction when he took over in 1811 the new pocket cyclopædia contains a report of the prince s visit to spode in 1806 terry woolliscroft s potbank dictionary for explanation of words associated with the pottery industry thanks to pat halfpenny with whom i swapped notes images information and enthusiasm about this subject royal pavilion history click here royal pavilion objects in the royal collection trust rct click here thank you to patricia ferguson for the photo showing pagodas in situ at the royal pavilion patricia is on instagram vasemadness more images from another blog called rosemaryandporkbelly here and specifically spode here hm king george iv 1762 1830 regent 1811 1820 king 1820 1830 hm king george iv by thomas lawrence posted by pam woolliscroft at 15 33 older posts home subscribe to comments atom favourite quote the spode factory was without doubt the most important factory in the 19th century antoinette fay hallé curator sèvres author pam woolliscroft loves pots a lot once upon a time worked in museums including curator of the spode museum blogger author fond of archives encourages a wild garden draws a bit blogs spode history and spode abc which have been accepted by the uk web archive which preserves selected uk websites also blogs an english garden and a royal signals sergeant instagram pamelawoolliscroft view my complete profile your spode questions research the spode archive deposited at the stoke on trent city archives is accessible to the public enquiries should be emailed to stoke archives stoke gov uk please visit my page the spode archive for full information on how to find out about your spode and copeland pieces and any spode research you may wish to undertake how many visitors to spode history most popular pages dating your spode pieces putting a date to your spode pieces can be difficult here are some tips using the spode archive and published books you can learn spode s christmas tree pattern it s december so only one pattern must be featured here spode s christmas tree since this blog was first published i have writte spode and italian pattern catalogue page c1900 one of spode s most famous patterns the italian pattern also known as blue italian and spode s italian w spode and italian backstamps plate earthenware italian pattern number 2614 c1818 1 backstamp for italian pattern c1891 1970 illustration 1 shows a spode recommended reading 3 spode copeland marks by robert copeland my copy of the book with robert s thoughtful dedication spode copeland marks and other releva...