lptor of the Italian Renaissance, while the recumbent effigy of Lydia
Dwight (Victoria and Albert Museum) is one of the most beautiful works
ever executed by an English potter.

Meantime the manufacture of tin-enamelled pottery, in the style of
"Delft," was prosecuted with increasing industry in London on the south
side of the river, and particularly at Lambeth. By the end of the 17th
century the same imitation "Delft" wares were made at Bristol and
Liverpool, continuing until, in the closing years of the 18th century,
tin-enamelled earthenware was abandoned in favour of the perfected
English cream-colour. There is a strong family likeness in all this
English "Delft," whether made at Lambeth, Bristol or Liverpool. The body
of the ware is harder and denser than in the tin-enamelled wares of the
continent, and is not so suitable for its special purpose, as it is
generally deficient in lime. The decoration is usually painted in cobalt
blue of good tone, though inferior in softness and richness of tint to
that of the best Delft pieces; polychrome painting was not so common,
and it differs from that of the Dutchmen in the greater prevalence of a
pale yellow colour and the general absence of any good red like that
found on the polychrome wares of Delft, Rouen, Sic.

German stoneware also received a well-merited share of attention long
before the time of Dwight, and it is often impossible to distinguish the
grey and brown ale-jugs, greybeards, &c., presumably of English
manufacture in the 17th and early 18th centuries, from their German
prototypes. Fulham remained an important centre of this manufacture, and
a fine brown stoneware was largely made at Nottingham as early as 1700;
in each case the manufacture continues in neighbouring districts to this
day.

The development of a native English pottery took place in North
Staffordshire. A growing community of peasant potters, who manufactured
some strongly decorative English wares by very simple means, was
established here from the middle of the 17th century. Rudely fashioned
dishes, jugs, bottles, &c., were shaped in the local red-burning brick
clays, and, while the pieces were still soft, simple but effective
decorative patterns were drawn upon them in diluted white clay (slip),
trailed on through a quill or from a narrow-spouted vessel. This ancient
and world-wide process (for it was used by the Ptolemaic Egyptian, the
Roman and the Byzantine potters) has furnished the peasa