fathoms; and in 52° 34′ 45′′, that the length of a degree was 60 823 fathoms; and that the polar diameter of the earth was 7,882 miles; and the equatorial diameter 7,935 miles.

The triangulation has since been extended through Scotland to the Shetland Islands, but the results obtained have not yet been made public.

CLASS XXV.-CHINA, PORCELAIN, EARTHENWARE, &C.

SITUATION OF CLASS.-In the North Transept, Western Galleries, extending Eastward from J. 33 to 36, and Northward to C., occupypying two Galleries.

33

WEST.

China and Earthenware.

NORTH.

34 35 36

C

Pottery

China.

China and Earthenware.

EAST.

Positions of Groups.-The front portions of the Galleries are devoted to Porcelain Manufactures, the Northern parts being reserved for Earthenware and the ordinary manufactures of the potter.

THE introduction to this class properly begins in Class I., since within that section are gathered together the raw materials, of which the beautiful finished manufactures exhibited in the Gallery are formed. There are the clays of which the "bodies of the wares are formed, and the decomposed granite which is now so extensively used to glaze the finest kinds of pottery (see page 41). Amongst

SOUTH.

the more remarkable productions of the potter must be named those very popular statuettes which are formed in the material known as parian, statuary porcelain, &c., to which we would first direct attention.

Statuary Porcelain.-(Exhibitors 1, 2, 6, 10, 11, 14, 26, 47, 60.)—At all times man appears to have adopted clay as a material out of which to fashion likenesses of his fellows and of the animals inhabiting the earth. The earliest inhabitants of the Old and the New World have left us examples of rude forms thus moulded.

In all countries, and through all time, the potter has found a profitable source of his industry has been moulding likenesses of humanity. However, though this feeling to possess, in a cheap material, images, whether for

ornament or superstition, has always prevailed, the production of a material which should realize the desires of the artist, in which we should be enabled to reproduce the choicest works of the sculptor, has been reserved for our own time.

The first idea of imitating marble in ceramic manufacture originated with Mr. Thomas Battam, the artist directing the extensive porcelain manufactory of Mr. Alderman Copeland, at Stoke-upon-Trent, in the commencement of 1842. After a series of experiments he succeeded in producing a very perfect imitation of marble, both in surface and tint. One of the earliest specimens was submitted to His Grace the Duke of Sutherland, who expressed his unqualified admiration of the material, and his high appreciation of the purposes to which it was being applied, and became its first patron by purchasing the example submitted. This was on the 3rd of August, 1842, a date which marks a memorable event, as the commencement of a trade now not only of large commercial advantage to the potteries generally, but fortunately of a class that has most materially advanced the artistic state of English ceramic manufacture. Some groups of Graces and Satyrs for Kaneophoroi, and also large Caryatides for fire-places, and a variety of garden vases and brackets, were also executed. In 1843, amongst other works, the equestrian statuette of Emanuel Philibert, by the Baron Marochetti, was produced; also the Warwick Vase of a large size; and other large vases for conservatory purposes. It was also introduced, in conjunction with coloured and gilt decoration, on ornamental pillars and vases; a copy (reduced size) of the beautiful statuette of the Goatherd,' by the late S. P. Wyatt, R.A., from the marble in the possession of the Duke of Sutherland, was also executed.

Its operations were comparatively confined until 1844, when it was seen by Mr. Gibson, R.A., when that eminent sculptor at once declared it to be "the best material next

to marble," and also expressed his desire to see one of his own works produced on it.

Mr. S. C. Hall's opinion was equally favourable with that of Mr. Gibson; and that gentleman proffered to submit a specimen to the council of the Art Union of London, and to urge their adoption of the material by commissioning a number of copies of some work of acknowledged excellence, to be awarded as prizes to their subscribers. This was done; and Mr. Gibson having expressed a great interest in its progress, generously gave permission for a copy to be made of his marble statue of Narcissus in the Collection of the Royal Academy.

It

The production of the statuettes, vases, &c., exhibited in this material involves the following manipulatory details:-The material is used in a liquid state, technically termed "slip," about the consistency of thick cream. is poured into the moulds forming the figure or group, which being made of plaster, rapidly absorbs a portion of the moisture, and the coating immediately next the mould soon becomes of a sufficient thickness for the cast, when the superfluous "slip" is poured back. The cast remains in the moulds for some time at a high temperature, by which it is (through the evaporation that has taken place) reduced to a state of clay, and sufficiently firm to bear its own weight when relieved from the moulds, which are then opened, and the different portions of the subject taken out. Each figure requires many moulds; the head, arms and hands, legs, body, parts of the drapery, when introduced, and the other details of the subject, are generally moulded separately. In one group, representing "The Return from the Vintage,' consisting of seven figures, there are upwards of fifty moulds, and each of these in several divisions; these parts being removed have then to be repaired, the seams caused by the junctions of the mould cleared off, and the whole put together. This is a process requiring, when well executed, the greatest nicety and judgment, the fragile nature of the material in its

present state rendering considerable practical knowledge necessary to form a perfect union of the different members, and also that they are so disposed as to be in strict accordance with the original model; for, though made from the same moulds, it by no means follows that all the casts will possess equal merit, so much depending upon the taste and skill of the finisher,the figure-maker. Peculiar care is required in putting together nude figures, in which the junction of the parts, generally presenting a level circular surface, requires the decision of an educated eye to fix with accuracy. Surfaces that possess a marked and broken outline, which will only fit together at one particular point, are, of course, exempt from this difficulty. Want of judgment in this respect will often cause such a deviation of outline, as seriously to injure the beauty of the work. The parts are attached together by a “slip,” similar to that used for casting, the surfaces to be joined together being either dipped into it, or the "slip" is applied with a pencil; and according to the discretion with which this is executed, and the neatness with which the sections of the moulds are made to fit, will be the greater or less prominence of the seams which so often disfigure pottery castings. It is possible, with care, that these seams shall be so trifling as to be scarcely perceptible, even upon a close examination; and it is only the want of proper precaution, that the contrary is too often the rule instead of the exception. The "slip" in this case is merely required to soften the surface of the clay of the members which have to be united, just sufficiently to cause adhesion. All that is used beyond that requirement is not only superfluous, but actually detrimental; moistening the part to which it is applied so much that the edges become pliant, and yielding to the pressure while being attached, distort the outline, and by causing unequal shrinking in the process of firing, the junctures become evident and unsightly. This fact cannot be too forcibly impressed upon those engaged in this branch of the art,