e, though there is little or no sheen and
every detail remains as crisp as when the figure left the hand of its
maker. The most famous of these figures are the portrait medallions and
statuettes of British generals and admirals which were modelled by an
artist named Stephan. Spengler, a Swiss, modelled numerous groups
adapted from the drawings of Angelica Kaufmann, while a workman named
Coffee seems to have modelled only rustic figures and animals.

_Plymouth and Bristol._--The porcelain factories at Plymouth and
Bristol are mainly noteworthy because they were the only English
factories in which a true porcelain strictly analogous to the Chinese
was ever manufactured. William Cookworthy, a Quaker druggist of
Plymouth, was greatly interested in attempting to discover in Cornwall
and Devonshire minerals similar to those which were described in the
letters of Pere d'Entrecolles as forming the basis of Chinese porcelain.
After many years of travel and research he ascertained the nature of the
Cornish stone and Cornish clay, and in 1768 he founded a works at
Plymouth for the production of a porcelain similar to the Chinese from
these native materials. Readers interested in this abortive enterprise,
from which such great results were afterwards to come, can only be
referred to the general histories of English porcelain, for the factory
was removed to Bristol in 1770 and was shortly afterwards transferred to
Richard Champion, a Bristol merchant, who had already been dabbling in
the fashionable pursuit of porcelain making. Champion's Bristol factory
lasted from 1773 to 1781, when the business had to be sold to a number
of Staffordshire potters owing to the serious losses it had entailed.
The Bristol porcelain, like that of Plymouth, was always a true
felspathic porcelain resembling the Chinese, but made from the china
clay and china stone of Cornwall. It is, therefore, harder and whiter
than the other English porcelains, and its cold, harsh, glittering glaze
marks it off at once from the wares of Bow, Chelsea, Worcester or Derby.

The Bristol porcelain resembled that of Meissen quite as much in its
style of decoration as in the nature of its materials. One can point to
nothing distinctly English about it, and if specimens now command very
high prices in the salerooms it is on account of their rarity rather
than of any intrinsic quality or beauty that they possess.

Table ware of various kinds formed the greater part of the pro