114 
House & Garden 
Haviland. China 
T HE charming new pattern illustrated is only 
one of many to be found where Haviland China 
is sold. It may be described as a gracefully arranged 
border of Nasturtiums in natural reds and yellows 
—exceedingly dainty. 
Since 1837 
our china has enjoyed an enviable 
reputation. In purchasing be silre to 
notice carefully the Trade Marks. 
DECORATED QV 
Limoges * 
France 
Unless these Trade Marks appear on 
each piece, you will not be getting the 
Genuine 
Haviland China 
Manufactured at Limoges, France 
Haviland China may be found in a profusion of 
beautiful patterns at all first class China or Depart' 
ment Stores. Write for name of nearest dealer if 
you have any difficulty locating one. 
III 
m 
m ; 
Haviland & C° 
ii East 36th Street;, New York 
Spode Porcelain and Pottery 
(Continued from, page 73) 
their mouths. It is recorded by Simeon china-clay gave a rich quality to the 
Shaw (writing a History of the Staf- porcelain, and an even translucency 
fordshire Potteries in 1829) that they that never degenerated into glassiness, 
waited on Mr. Wedgwood to solicit his Like his father before him, the sec- 
influence in preventing its establish- ond Josiah Spode was forever striving 
ment. We are informed that he re- to improve his wares, and this, com- 
ligiously kept his promise, “I will give bined with sound business instincts 
you my word as a man I have not soon made the Stoke factory a serious 
made, neither will I make any blue rival to the classic works at Derby 
printed earthenware.” and Worcester, which by this time 
But even Wedgwood could not were content with the old traditions, 
check the universal demand for blue- while Spode, as the go-ahead young 
print, and that of Spode’s manufacture firm, seized every chance that offered 
was acknowledged to be the finest; the for new experiment and research, 
designs were exactly to the popular This opaque porcelain was another 
taste. result of this industry and skill; it was 
Willow pattern had not long been launched in 1805 as ironstone china 
started on its endless career by Turner and had an immediate success. Staf- 
from his works at Caughley, before fordshire was already famous among 
Spode took it up. It is indeed em- European potteries, and the new iron¬ 
bodied in some of his first experiments, stone was exported in quantities. The 
The Spode version has a border of French faience could not compete with 
willow and dagger; the pagoda stands it in cheapness and durability, 
to the left, and the fence is short in By this time Copeland had come in¬ 
comparison with the Salopian fence, to the firm; originally a traveler in 
When the impressed “Spode” mark is tea. The two began their acquain- 
found in connection with these points tance by an offer on Copeland’s part 
the collector of willow rejoices in hav- to sell Josiah’s tea-services to his 
ing found one of the earliest speci- clients. This led to the establishment 
mens. The Broseley pattern—which of a huge London branch for the sale 
also emanated from Caughley—was of china-ware, with Copeland (who 
used for tea-services; the “Buffalo” subsequently took over the firm) as 
patterns came somewhat later; it ap- managing partner, 
peared on dessert and dinner services; While the ironstone china was bring- 
it was stippled and shaded, with per- ing more fame and fortune to Spode 
spective drawings of figures, animals, and Copeland, the earthenware was not 
landscape, and architecture in the most neglected. Strongly influenced by 
naturalistic style imaginable. Probably Derby—as were all the Staffordshire 
Thomas Minton had a hand in it; he potteries—Spode now produced a dec- 
was a clever draughtsman and engraver oration for the earthenware in blue, 
and found plenty of opportunities to red, and thick gilding which so closely 
exercise his talents in the Potteries of resembled “Crown Derby Japan” that 
that era. unmarked pieces of Spode may easily 
Josiah Spode the elder died in 1797 be mistaken for it—some patterns ac- 
and the year after his son, Josiah the tually are copied from the Derby 
second, settled in London the better models. The technique was no less 
to carry on the sale of Blue-Print perfect, the gilding was better, richer, 
and the other productions of the fac- and more solid. The subtle differences 
tory—Egyptian Black, which closely in glaze and body may easily escape an 
followed the Wedgwood model, col- unpractised eye. 
ored stoneware and jasper with dec- The taste for the Chinese in ceramic 
orations in relief, and the cream-color decoration persisted long after the 
ware of every-day. A couple of years craze had passed in furniture, and 
later he was back at Stoke, and about from the Willow pattern on, designs 
1800 had embarked upon the manu- of a pseudo-oriental character were 
facture of porcelain, a step which was constantly used by Spode. A favorite 
to have great effect upon the trade, motif has hawthorn blossoms on a 
The introduction of bone-ash into bright blue ground which is geometri- 
the body of English china was not cally patterned to present ice; young 
originated by Josiah Spode, but he love being killed by frosts of adversity 
treated it in a new way. Hitherto the says the Chinese legend. Another has 
bone-ash had been calcined first and birds and gay flowers charmingly 
mixed with some of the other china drawn and colored on a ground-work 
ingredients. Spode was the first to netted all over with a thin pattern of 
add it, without calcining, to the simple cobwebs. 
mixture of china-clay and china-stone, The second Josiah Spode died in 
and the method now typifies the com- 1827, and the third Josiah, a cousin, 
mercial bone-paste in England and only outlived him a few years. The 
abroad. The addition of pure felspar business then passed into the hands of 
was his invention, and this innovation, William Taylor Copeland, who bought 
used with a smaller proportion of the it outright in 1833. 
Wall Papers for Living Rooms 
(Continued jrom page 60) 
bers of the family. To try to give 
definite advice is somewhat like 
trying to answer the questions of 
twelve people at once. Two or three 
points, though, stand out quite clearly. 
For example—the furniture is either 
period in character, part period, or else 
it is a more or less miscellaneous collec¬ 
tion presenting no particular style that 
must be played up to. In the latter 
case the paper should be chosen to 
soften and counteract the effect of so 
many odd pieces of furniture. If the 
lines of these are bad a paper with an 
all-over design or one in a pictorial 
scenic effect will serve to distract the 
eye from the ugly contours of the 
chairs and if the design be sufficiently 
striking in drawing and color it will 
help one to forget the unattractive 
furniture. 
So, if you have a miscellaneous col¬ 
lection of furniture and cannot change 
it, then turn about and study it. If it 
is the contour that is bad, disguise it 
by keeping your wall paper fairly dark 
in tone. Still further pull your room 
together by letting the same colors that 
are in the upholstery show in the paper, 
not in bold, vigorous pattern but in 
soft blended effects. They come in a 
(Continued on page 116) 
