The Etrurian Museum, Staffordshire, shows Josiah Wedgwood’s life work from the early Whieldon ware to his perfected Jasper paste.  Josiah’s “trials” or experiments, are the most interesting specimens in the museum, and prove that the effort of his life was “converting a rude and inconsiderable manufactory into an elegant art and an important part of national commerce.”  Yet, although he is acknowledged by all the world to have been the greatest artist in ceramics of his or any period, remember pottery was only one of his interests.  He was by no means a man who concentrated day and night on one line of production.  He occupied himself with politics, and planned and carried through great engineering feats and was, also, deeply interested in the education of his children.

When Wedgwood began his work, all tea and coffee pots were “salt-glazed,” plain, or, if decorated, copies of Oriental patterns, which were the only available models, imported for the use of the rich.  Wedgwood invented in turn his tortoise shell, agate, mottled and other coloured wares, and finally his beautiful pale-cream, known as “Queen’s” ware, in honour of Queen Charlotte, his patron.  It is the “C.C.” (cream colour) which is so popular to-day, either plain or decorated.  He invented colours, as well as bodies, for the manufacture of his earthenware, both for use and for decoration, and built up a business employing 15,000 persons in his factories,—­and 30,000 in all the branches of his business.

In 1896 the census showed 45,914 persons employed in the factories, and at that time the annual amount paid in wages was over two million pounds (ten million dollars).

We must remember that in 1760, the only way of transporting goods to and from the Wedgwood factory was by means of pack-horses.  Therefore Josiah Wedgwood had to turn his attention to the construction of roads and canals.  As Mr. Gladstone put it in his address at the opening of the Wedgwood Institute at Burslem, Staffordshire, “Wedgwood made the raw material of his industry abundant and cheap, which supplied a vent for the manufactured article and which opened for it materially a way to what we may term the conquest of the outer world.”  Yet he never travelled outside his own country; always employed English workmen to carry out his ideas, and succeeded entirely by his own efforts, unaided by the state.  His first patroness was Catherine II of Russia, for whom he made a wonderful table service, and his best customers were the court and aristocracy of France, during that country’s greatest art periods (Louis XV and XVI).  In fact Wedgwood ware became so fashionable in Paris that the Sevres, Royal Porcelain factory, copied the colour and relief of his Jasper plaques and vases.  It is claimed by connoisseurs, that the Wedgwood useful decorative pottery is the only ceramic art in which England is supreme and unassailable.

It has been said at the Wedgwood works, and with great pride, that the copying of Wedgwood by the Sevres factories, and the preservation of many rare examples of his work to-day, in French museums, to serve as models for French designers and craftsman, is a neat compliment to the English—­“those rude islanders with three hundred religions and only one sauce”!