IO 
YORKSHIRE POTTERIES, ETC. 
were many blendings of colours on plain pottery, and a portion of 
the plain pottery was also artistically treated in “ slip ” colours, 
flowers being the chief decoration. Later on, after much experi¬ 
ment, Anglo-Persian pottery was introduced, the distinguishing 
characteristic being its artistic colouring and effective design. In 
later years a popular demand was met by the production of 
modelled pottery treated in one or more colours of great richness 
of tone. It was a great blow to the artistic side of the productions 
of the city of Leeds that the manufacture had finally to be given 
up for want of financial success, but the pieces now in existence 
are much treasured by their fortunate possessors. The making of 
pottery was discontinued in August 1904. The pottery will all be 
found to be marked as per illustration, meaning “ Burmantofts 
Faience.” 
The works are now employed in making terra-cotta Faience, 
which is a highly glazed and finished terra-cotta, made in all 
colours; ornamental tiles, and glazed bricks in all colours. A new 
kind of terra-cotta called '■ Marmo” was made in 1908, and in 
that year a building was erected in Coppergate, York, under Mr. 
Whincup, faced with this material. 
Since the year 1880 great strides have been made by the 
successful adaptation of Faience to architectural work, and it is 
now largely used for permanent adornment of public buildings, 
principally of the Renaissance style. 
The Burmantofts estate covers an area of about one hundred 
acres, some fifteen of which are occupied by workshops and kilns. 
Both the clay and the coal wherewith to bake it, are obtained on 
the spot, the former lies two feet thick, one hundred yards from 
the surface, under a fourteen inch seam of the Low Moor Better 
Bed coal, and covers about one hundred acres. It is sent up in 
rock-like blocks, requiring to be crushed and sifted by machinery, 
but is extremely plastic and tenacious and contracts but little in 
drying, will bear great heat, and when burnt preserves its hard¬ 
ness and exactness of form, solidity under pressure, and clearness 
of colour. A very large number of hands are employed here in 
the pits and various workshops, and in the studios a staff of 
