AN EARLY WEST VIRGINIA POTTERY. 515 



chests of toa and oxidized over the fire in an iron pan formed the basis 

 of liis lead glaze; other materials had to be brought long distances 

 over the mountains. 



On ever}^ hand there was call for the inventive spirit in the potter 

 and skill in handling all sorts of tools and doing odd jobs. If a tool 

 was needed there was nothing tt) do but to make it; brushes of human 

 liair served for decorating the ware; bits of stick were whittled into 

 modeling tools, or objects from various sources, if they had the proper 

 form, were pressed into service. Clay was to be dug and worked in 

 the rude mill of the potter's maiuifacture, the masonry kiln was to be 

 laid up, and wood hauled and chopped with which to burn the ware. 

 In the "shop" abounded evidences of the potter as jack of all trades; 

 the wheel, the pieces of wood held in the hand for forming the vessels 

 (Plate 8), the slip pump, carriers for removing the green ware, molds, 

 stamps (Plates 0-18), and many other things that he had made with 

 his own hands. A picture of the resourceful handicraftsman's labora- 

 tory and workshop in the period of independent trades is full of 

 interest. Also the products have an individuality that is denied to 

 the products of cooperative labor, though the latter be more in touch 

 with art ideas difiused at the present time. 



The first ware made at Morgantown was porous terra-cotta covered 

 with a yellow lead glaze. Teapots, cups and saucers, dishes, and other 

 tableware were turned out. Unfortunately, no specimens of this 

 ware remain, but fragments from the site of the old pottery show its 

 character. 



Following this came " red ware," or terra-cotta, covered with trans- 

 parent lead glaze. At this period (1800) a number of glazes began to 

 be used, such as dark-brown lead glaze, black iron or manganese 

 glaze, gray "china glaze," greenish-gray and white, the surviving 

 specimens being interesting and beautiful. They show decided artistic 

 merit in the glaze and a quaintness of form that is pleasing and well 

 worth the study of modern ceramists. 



Lead glaze wares went into disuse on account of a belief that such 

 glazes are unwholesome, which is true. It was observed, also, that 

 the preparation and firing of lead glazes had a bad effect on the health 

 of the potter. 



With the disappearance of the ware having a lustrous glaze there 

 ended a most interesting period of the pottery at Morgantown, The 

 traditions and training that had given form and character to the art 

 during more than fifty -five years and produced results that were com- 

 menda])le could not survive the introduction of heav}', unresponsive 

 material like stoneware, which was produced in the second period. 



In the second period, by the mixture of clays, securing the fusil)le 

 and infusible elements which stand high heat in the kiln, stoneware 



