60 
House & Garden 
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The Past of Crown Derby 
(Continued from page 58) 
“Bloor” and “Derby” below, or a B 
in the center of a sun-like petalled cir¬ 
cle. Bloor’s finest pieces, such as ser¬ 
vices for Royalty, were sometimes 
marked “Robert Bloor & Co., 34 Old 
Bond Street.” 
The later marks have the words 
“Bloor” and “Derby” (1830), Derby in 
a scroll under crown (1830), scroll alone 
with word Derby (1830), or more or 
less elaborate crowns with D below. 
The Locker mark bears Locker’s name, 
and under Stevenson and Hancock the 
batons of Duesbury gave place to 
crossed swords, six dots, the letters “S” 
and “H” either side, D below and a 
crown above. 
Occasionally oriental marks were em¬ 
ployed, as in Bloor’s service for the Per¬ 
sian ambassador, decorated in 1819. 
Early Crown Derby marks were painted 
on the porcelain. Later ones, from 
Bloor’s time, were printed on. Various 
colors were used for the marks, but gold 
was confined almost entirely to Chelsea- 
Derby pieces. One occasionally comes 
upon a fine piece of Crown Derby on 
which the letter “N” or the letters “No” 
in large script are impressed in the piece. 
This was done to indicate fine paste or 
glaze. The Royal Crown Derby porce¬ 
lain of our own time is marked by two 
interlaced script D’s beneath a crown 
with the words “Royal Crown Derby” 
above and “Trade Mark” below. The 
mark of the New Crown Derby Manu¬ 
factory of 1875 had only the crown 
above and the interlaced D’s. 
This brief historical sketch of Crown 
Derby may serve to deepen the interest 
of American collectors in the subject. 
Crown Derby is not, however, to be 
found lurking under a bushel every¬ 
where ! A pair of Mansion House 
Dwarfs in Derby porcelain, decorated 
by Coffee, which cost 18s. at the manu¬ 
factory in 1874, sold at auction for £36 
a few years ago and probably would 
bring much more now. Happy indeed 
will be the collector of old Derby if 
he chances to “discover” such a treas¬ 
ure as the little Derby figure of a 
Dwarf which came into the collection 
of Lieutenant-Colonel Powney, and 
which bore this inscription, “Dr. Fudge- 
heim Will give a course of lectures on 
Phrenology, Astrology & Necromancy. 
By the formation of the skull he will tell 
the Fortune of any Lady present in a 
superior style to any Fortune telling 
Gypsy—lectures on the Brain & will 
prove the strength of the Brain by his 
newly invented Brainometer—Lectures 
on Physiognomy & how to prove good 
and Bad Character. All who attend the 
Lectures must have a gold Ticket or 
they cannot be admitted. Novelty & 
credulity strengthened—Poverty & Com¬ 
mon Sense insulted—Several poor peo¬ 
ples heads wanted—A good stout Resur¬ 
rectionist May have a good situation & 
paid according to merit. Apprentice 
wanted with premium.” 
Such was the humor of early Derby, 
though rare indeed are the pieces of this 
sort which have survived Time’s fickle¬ 
ness. When one is found, a red-letter 
day can well be marked. 
The Axis in Garden Design 
(Continued from page 42) 
to the established main axis of the 
garden by means of lines 4 and 5; their 
intersections forming right angles. If 
the cedar, “H”, were drawn into the 
scheme with still another minor cross 
axis, the garden would be brought too 
far within the heavy shade of the tree 
group; so that it is better to connect it 
to the other cross axes with a line paral¬ 
lel to the main center-line of the garden 
with the hope that this connection may 
be of some value later on. 
Paths, Boundaries and Pool 
The next step in the evolution of this 
particular problem is the shaping up 
and the adding of flesh to the meagre 
carcass, and it is probably the most fas¬ 
cinating step of all. In Plan 4 we see 
how the different elements of the scheme 
have been proportioned and how the 
paths and boundaries have been located 
by means of the axis lines previously 
sketched in. The cross axis of the 
house, line 2, has formed the basis for 
a path which leads from the loggia to 
a pool in the paving of the path, mark¬ 
ing the intersection of the main garden 
axis, then on to a seat, where it termi¬ 
nates at the high boundary of the prop¬ 
erty line. This pool is a sufficient ac¬ 
centuation in the path from the loggia 
to designate convincingly the intersec¬ 
tion of the two axes and to divert the 
attention down the path leading to the 
garden on the line that ends so effective¬ 
ly at the large elm. It is largely a 
matter of taste whether or not to mark 
with some ornament the intersections 
of the cross axes, lines 4 and 5, with 
the main axis of the garden. They 
have served their purpose in defining 
to some extent the limits of the garden 
and in creating the cross paths. Line 6, 
tying in the cedar, “H”, has become the 
reason for the longitudinal path on the 
north side of the garden and, for sym¬ 
metry’s sake, this path has been re¬ 
peated on the opposite side. There is 
a tremendous satisfaction in looking 
along these paths and seeing at their 
ends, centered upon the vistas they 
form, some well established object stop¬ 
ping pleasantly the view. Such plan¬ 
ning gives an enviable air of age to the 
garden and with it a reason for the 
form which it takes. 
It is not always well to take advan¬ 
tage of every opportunity of this sort. 
One falls here so easily into errors of 
commission. And there is an art so 
subtly concealing all evidence of effort 
that the effect is one of having been 
accidentally accomplished. For example, 
in a carefully studied garden scheme, 
the deliberate offsetting of an object 
from the center line of a path or vista 
leading in its direction, is sometimes 
more satisfying in the composition than 
the conventional procedure. This, how¬ 
ever, is a stunt to be carried out with 
a great deal of assurance. For the 
same reason constant repetition of the 
obvious in the designing of a garden 
takes from the result a charming qual¬ 
ity of surprise that might be retained 
if, for instance, a path leading to some 
object on its axis were diverted for a 
space, to return to its original line be¬ 
fore reaching its end; thus breaking the 
monotony of a continuous line, yet 
leaving enough intact to carry the eye 
to its objective. The ability to break 
these rules effectively, however, will 
come only after they can be skillfully 
followed. 
Stevenson has said somewhere in his 
essay on Style that one has a natural 
dislike of tearing apart the methods of 
his craft to expose its first principles, 
and there is a faint touch of a similar 
feeling in a discussion of center lines 
and axes. A garden placed intelligently 
upon its site, making a logical use of 
its surroundings and giving something 
of itself to them, yet all without a feel¬ 
ing of sophistication, is a work of art 
and a successful application of these 
principles. 
