140 THE ESSEX FIELD CLUI!. 



Edward W. Bingham, the eldest son of the proprietor, who seems to have devel- 

 oped a natural aptitude for the finer and more artistic pottery work. A beautifully- 

 formed ewer of blue Majolica ware nears completion under his careful treatment, 

 and on a shelf behind him are finished specimens of a similar kind awaiting their 

 transfer to the kiln. At another wheel a younger son, Richard, is forming various 

 tiny vessels of many shapes, which he appropriately calls 'The Gem Ware,' and 

 their use would seem to be to fill odd corners of bric-a-brac cabinets. These are 

 the sole workers in clay in the Hedingham Pottery, all the processes being carried 

 on by the Bingham family. Mr. Edward W. Bingham models all the articles 

 here made, articles which vary in size from that of a child's thimble to substantial 

 specimens of twenty or thirty inches in height or diameter. Almost everything is 

 modelled by hand, moulds being only used for the cheaper kinds of ware. This 

 necessarily makes the processes slow, but adds to the value of the objects so pro- 

 duced. We glance around at some of the quaint clay vessels that stand on the 

 shelves. Here is a collection of vases and ewers, forms of which the eye would 

 never tire, in Majolica ware. Hard by stands a specimen in imitation of the 

 curious ' Puzzle Jugs ' of 1670. A model of the celebrated Colchester Vase, the 

 most perfect Roman vase kncwn, is shown us. In close proximity are several 

 objects of a different character, in terra-cotta. Among them is a plaque of original 

 design, containing a representation of Hedingham Castle, surrounded by scroll 

 work, on which are written a number of his'orical facts connected with the old 

 Norman stronghold. The old 'slip work 'prevailshere too, and a numberof incis d 

 terra-cotta specimens in two shades are worthy of notice. Here, again, is a solitary 

 specimen of a recent development, original in design. This is what the proprietor 

 terras ' The Essex Jug.' It is a study in itself, and has deservedly won th2 admira- 

 tion of visitors and collectors. Having noted these and many other pieces of art 

 pottery, we are invited to enter the next compartment of the building, used as a 

 drying shed and as a sort of storeroom for the utensils and materials employed in 

 the manufacture and burning of the vessels. Here, again, one is struck with 

 the old-world appearance of everything about the place The building is old; 

 the implements, the tools, utensils, etc., if not old, have all an ancient appear- 

 ance. Here stands a primitive-looking, but now rarely used, machine for forcing 

 the clay into the form required in certain classes of work. An old-world light, 

 too, seems to pervade the place. 'What a light for a Rembrandt! ' as an artist 

 visitor exclaimed on entering the building one day. Here is a pile of 'seggars,' 

 or utensils of peculiar form, in which each object is carefully set when placed in 

 the kiln. These ' seggars,' as well as their contents, are made on the premises. 

 At the end of the shed we arrive at the kiln— a little erection of which the archi- 

 tect is the owner, he and his sons doing all themselves, and adopting, as far as in 

 them lies, the styles and ideas of the Staffordshire Potteries. We are next 

 directed to the show room which we passed on our way through the garden; 

 Here are duplicates of the works which we noticed in their more crude state on 

 shelves in the pottery. The specimens here, however, are in their finished slate, 

 glazed and cclcured. On entering one's attention is instantly directed to a large 

 plaque of some thirty inches in diameter, having on it the arms and badges of 

 the De Veres, and which would have an imposing effect in a hall or librarj'. 

 Another style of large-sized plaque is one with flowers and foliage interspersed 

 with small reptiles, insects, etc., all in high relief. Large and handsome ewers, 

 shaped after Orazia Fontana's and ether early Italian specimens, are prominent 

 objects. Vases of rare old Babylonian shapes ; quaint Egyptian, Greek, and 



