Dickens, the Dodo and the Dinner Plate

On 1 April 1852, the writer Charles Dickens wrote a letter to his wife Kate informing her ‘We think of going on tonight from Birmingham to Stoke upon Trent.’ Despite worries about the trains, it seems that he and a travelling companion arrived in Stoke the next morning. Here after gazing with some fascination at the town before him, the famous author (who at the time was also writing up weekly instalments of his longest book, Bleak House) spent a few hours at the Spode factory which was at that period owned by W. T. Copeland. Here he apparently watched a thrower and his attendant swiftly and skilfully fashion a breakfast set for his amusement, watched jiggerers and pressers making bowls and basins and saw Parian statuettes being produced in moulds. He then explored the factory kilns, seeing the saggars being stacked prior to firing and mused on the constant cycle of heating and cooling that accompanied the manufacture of pottery. This was followed by visits to see transferers and decorators at work, producing willow pattern wares or fancier stuff, before moving on to the dipping shop for glazing and then to the placers carefully loading the ware into the appropriate saggers prior to them being loaded into the kilns he had seen earlier. Dickens seems to have enjoyed his tour and it was doubtless a thrill for the workers at the Copeland works to meet, albeit briefly, one of the biggest celebrities of the Victorian age and show him their own impressive skills. Armed with all he had seen and imbibing a good working knowledge of the history and process of pottery making, Charles Dickens moved on the next day to Stafford.

Compared to the grime and industry of the Potteries that evidently spoke to his imagination, Dickens was bored with Stafford and rather rude about the place, ‘it is as dull and dead a town as any one could desire not to see’ he wrote tartly. He lodged at the Swan Inn, which he disparagingly nicknamed ‘the Dodo’ and where he apparently seemed doomed to spend a very dull evening indeed. According to the tale he told, though, he chanced to look at the bottom of a plate and saw the name ‘COPELAND’, which set him to musing on the previous day’s events. Employing a literary conceit, he then let the plate ‘remind’ him of all he had seen at Copeland’s pot bank, telling the story outlined above as a journey through its creation. The plate’s ‘recollections’ got Dickens through the evening, so he claimed, though one might suppose that he was actually quite busy putting his recollections down on paper. His clever bit of writing, ‘A Plated Article’, was published in the magazine Household Words, on 24 April 1852. 

Wind-Stars for Mr Wells

Norman Saunder's illustration showing the
Time Traveller rescuing Weena from the
Morlocks in The Time Machine.
(Wikimedia Commons)

In early 1888, 22 year old Herbert George Wells was recovering from an illness, some disorder of the lungs, and went to stay with an old college friend and his wife at their terraced house in Basford for a few months where he was apparently a troublesome and petulant house guest; perhaps as a result he also spent some time lodging at the Leopard Inn in Burslem. The future ‘father of science fiction’ had lived most of his life in rural or semi-rural districts and the Potteries was the first industrial landscape he had encountered. As he later wrote to local author Arnold Bennett, ‘the district made an immense impression on me’ and his memories of the area later found their way into his works. 

In the 1890s, Wells wrote a short essay entitled ‘How I Died’, in which he seemed to recount his recovery at this period. He described how after four months lying ill and convinced that he was dying, he staggered out one early spring morning to get some fresh air and take a last look at the sky before expiring, when he encountered a young girl who had got her dress caught by a bramble whilst climbing a hedge. After helping her free, the invalid stood chatting with the girl about this and that and he noted that she carried a small bunch of wood anemones that she called ‘wind-stars’. Wells was charmed by the pretty name that the innocent youngster gave her flowers and by his account the meeting - if genuine - bucked him up and he grew bored with the idea that he was dying and decided at that point to put all gloomy thoughts aside and get on with his life. It has been suggested that this pleasant meeting was the model for the time traveller’s first encounter with the childlike Eloi Weena in Wells’ first novel, The Time Machine, who presents a bunch of flowers to him for saving her life, then sits with him as he tries to communicate with her. Also in The Time Machine, a friend of the time traveller refers to a conjuror he had once seen in Burslem, while the spectacle of the Potteries at night with its numerous kilns and furnaces casting a fiery glow into the sky, is famously referenced early on in his next novel, The War of the Worlds, to describe the destruction wrought by the Martian war machines.

In addition to these famous examples there were lesser tales of his that owed something to the Potteries. In 1895, the same year that The Time Machine was published and he began work on The War of the Worlds, Wells had a short macabre horror story The Cone published, which was set in a fictional forge in Etruria, and was probably based on Earl Granville’s iron works. That story was all that remained of what Wells had originally planned to be a larger dramatic novel set in the area, but he went on to produce another work, the slightly scandalous science fiction novel (because it advocated free love) In the Days of the Comet, published in 1906, which was also set in a fictional version of the Potteries.

See a Fine Lady upon a White Horse

Between 1697 and 1702, partly from a wish to improve her health and from an equally strong desire to see more of her native land, Lady Celia Fiennes (whom some claim was the fine lady at Banbury Cross from the children's nursery rhyme) undertook a series of journeys around England. In the summer of 1698, her peregrinations brought her into North Staffordshire. Here, after admiring the as yet unsullied landscape, she was keen to visit the Elers Brothers' factory at Bradwell, but as she notes in her diary she was unsuccessful; the potters had temporarily run out of clay and were not working.

'..and then to Trentum, and passed by a great house of Mr Leveson Gore, and went on the side of a high hill below which the River Trent ran and turn’d its silver stream forward and backward into s’s which Looked very pleasant Circling about ye fine meadows in their flourishing tyme bedecked with hay almost Ripe and flowers. 6 mile more to NewCastle under Line.'

After ruminating briefly on the 'coals to Newcastle' adage, she continued. 

'… I went to this NewCastle in Staffordshire to see the makeing of ye fine tea potts. Cups and saucers of ye fine red Earth in imitation and as Curious as yt wch Comes from China, but was defeated in my design, they. Comeing to an End of their Clay they made use of for yt sort of ware, and therefore was remov’d to some other place where they were not settled at their work so Could not see it;'

Reference: Celia Fiennes, Through England On a Side Saddle in the Time of William and Mary, pp.146-147.

Elijah Fenton

Elijah Fenton

Elijah Fenton, poet, biographer and translator, was born at Shelton on 25 May 1683. His father John Fenton, an attorney at law, and one of the coroners for the county of Stafford, was of an ancient family and possessed of a sizeable estate, while his mother Catherine Meare claimed direct descent from an officer in the army of William the Conqueror. Elijah was the youngest of their twelve children, and not being likely to inherit any of the family estate he was destined from an early age to be placed into some form of employment. He was an intelligent child  and the church was therefore chosen as his future profession. Accordingly, after being educated locally, on 1 July 1700 he was admitted as a pensioner of Jesus college, Cambridge, where he earned a reputation as a diligent student. He gained his B.A., in 1704, but being an adherent of the old Stuart dynasty he denied himself the chance of taking holy orders by declining to take the required oaths of allegiance to the Crown. 

Seeking out alternative employment, Fenton became first an usher in the school of a Mr Bonwick, in Headley in Surrey, but was soon afterwards patronised by the representative of the noble Boyle family. He was subsequently appointed as secretary to Charles, 4th Earl of Orrery and later tutor to his son Lord Boyle. The Boyles were residing in Flanders and it was during his time there that Fenton produced some of his early poetry.

On returning to England, he opened a grammar school at Sevenoaks in Kent. Though this added to his growing reputation as an able tutor to the gentry, the school was not a success and Fenton turned to publishing a series of verses. These received some favourable notices and he attracted the patronage of Henry St. John (later 1st Viscount Bolingbroke) and resigned his teaching post in 1710. This connexion, together with his abilities and amiable manners, brought him to the attention and earned him the friendship of the great and learned of his day, most notably one of the great British poets of the 18th century, Alexander Pope, who became a lifelong friend. 

Fenton's friendship with Pope seems to have energised him and over the next few yeas he produced a series of poems. Pope also managed to get his friend additional patrons, first as private secretary to the politician James Craggs and after the latter's death he secured him the patronage of Lady Trumbull who appointed Fenton as tutor to her eldest son. He was to enjoy the lady's patronage until his death nine years later.

During this period he produced further poems and a tragedy Mariamne, which though deemed unfit for performance by the then poet laureate, went on to earn Fenton over £1,000. There was also a profitable collaboration with Alexander Pope, who asked Fenton if he would assist in a translation of The Odyssey. Fenton duly translated books 1, 4, 19, and 20, his style apparently being so similar to Pope's that it is difficult to tell them apart.  Fenton also wrote the Life of John Milton, a biography that continued to be reprinted into the 19th century. His last significant work was an edition of the poems of Edmund Waller. 

Though seen today as a minor 18th century poet, at the time Fenton's skills were highly regarded by his contemporaries and may indeed have improved were it not for by his habitual idleness. One of Fenton's early biographers, none other than Dr Samuel Johnson of dictionary fame, touched on this in an amusing pen portrait of his fellow Staffordshireman.

'Fenton was tall and bulky, inclined to corpulence, which he did not lessen by much exercise; for he was very sluggish and sedentary, rose late, and when he had risen sat down to his book or papers. A woman, that once waited on him in a lodging, told him, as she said, that he would "lie a-bed, and be fed with a spoon." This, however, was not the worst that might have been prognosticated, for Pope says, in his Letters, that "he died of indolence;" but his immediate distemper was the gout.'

But, Johnson notes further, Fenton's faults were outweighed by his intelligence and the kindliness of his character.

'Of his morals and his conversation the account is uniform: he was never named but with praise and fondness, as a man in the highest degree amiable and excellent. Such was the character given him by the earl of Orrery, his pupil; such is the testimony of Pope; and such were the suffrages of all who could boast of his acquaintance.

By a former writer of his Life a story is told, which ought not to be forgotten. He used, in the latter part of his time, to pay his relations in the country an yearly visit. At an entertainment made for the family by his elder brother he observed that one of his sisters, who had married unfortunately, was absent, and found upon enquiry that distress had made her thought unworthy of invitation. As she was at no great distance he refused to sit at table till she was called, and, when she had taken her place, was careful to shew her particular attention.'

Fenton died at the age of 47 on 16 July 1730, in Easthampstead, Berkshire, most likely from health problems related to gout and is buried in the churchyard of St Michael and St Mary Magdalene's Church, Easthampstead, with an epitaph by his friend Alexander Pope. It reads:-

To the memory of Elijah Fenton of Shelton in Staffordshire,

who dyed at Easthampstead Anno 1730, aged forty seven years.

In honour of his great integrity & Learning.

William Trumbell Esq erected this monument.

This modest stone what few vain marbles can

May truly say, here lies an honest man

A poet blest beyond the poets fate

Whom heav'n left sacred from the proud and great

Foe to loud praise and friend to learned ease

Content with science in the vale of peace

Calmly he look'd on either life & here

Saw nothing to regret, or there to fear

From natur's temp'rate feast rose satisfy'd

Thank'd heav'n that he had liv'd and that he dy'd.

A. POPE

Reference: John Ward, The Borough of Stoke-Upon-Trent (1843); Samuel Johnson: Lives of the English Poets (1779-81); ed., Hill (1905), 2:257-66

Illustrations: John Ward, The Borough of Stoke-Upon-Trent (1843)

Thomas Cooper Sparks the Pottery Riots

One of the least known literary associations with Staffordshire, is that of Charles Kingsley's novel Alton Locke. Tailor and Poet, which was published in 1851. The story of the rise and fall of a self-taught working man who is eventually imprisoned for rioting, is based upon a real person and a real incident. The person was the Chartist leader, Thomas Cooper, who was arrested and sentenced to two years in prison, for the events he had prompted in the Staffordshire Potteries.

Thomas Cooper was born in Leicester to a working class family and from an early age displayed a precocious intelligence, the development of which was only limited by the fact that most of his lessons were self-taught. Occasionally, he had been known to immerse himself so deeply into his studies that the sheer mental effort he put forth ended on one occasion, at least, in him being physically ill. He worked at various jobs, mostly as a teacher, lay preacher and journalist, but eventually, appalled by the conditions endured by many factory and workshop workers, he became a convinced Chartist, a member of that Victorian working class movement which supported the introduction of a People's Charter, which called for fair representation for the working population. The Charter's six points demanded votes for all men at 21, annual general elections, a secret ballot, constituencies regulated by size of population, the abolition of property qualifications for MP's and the payment of MP's. Most of these points eventually became laws of the land and form a part of the state we live in today, but none of these things came into being until the latter half of the nineteenth century, long after the Chartist movement itself had collapsed.

There were two bodies of the Chartist movement, the physical and the moral-force Chartists, who sought to bring about social change by revolutionary or evolutionary means. In his early days, Cooper was a supporter of the former faction. He was a fire and brimstone type of preacher, who like all great orators could move people with his speeches. This power comes through in Cooper's autobiography, which is widely regarded as one of the finest working class 'lives' written during the Victorian age. The book, though,written in Cooper's later years after he had become a convinced moral-force Chartist, tends to carefully skate around his fiery physical-force youth and he presents himself as a far more reasonable man than he actually was in August 1842, when he arrived in the Potteries. Only by bearing in mind, that Cooper at this time advocated revolution of sorts, do the events he inspired in the Potteries make sense. Though he says in his book that he proclaimed, 'Peace, law and order', the resulting riots that left one man dead, dozens wounded or injured and many buildings burnt or ransacked, indicated that he said more than he was letting on.

Cooper arrived in the Potteries, after a tour of several major towns and cities in the Midlands, and here he was to make a number of speeches before moving on to Manchester. The area was in the grip of a wage dispute. In June, 300 Longton miners whose wages had been drastically cut had gone on strike. By July, the strike had expanded to all of the pits in north Staffordshire, and hundreds of miners were on the streets, begging for money, and with the pits being closed, the potteries through lack of coal, could not fire their kilns and were also closed. By early August, the dispute had attracted widespread attention, certainly the Chartists expressed sympathy for the miners' action, but contrary to later claims that the subsequent riots were Chartist inspired, it was mostly miners and not Chartists who did the rioting. The Potteries were a powder keg, ready to explode and Cooper's arrival, as he himself admitted was 'the spark which kindled all into combustion'.

Thomas Cooper addresses the crowd at Crown Bank, Hanley

Standing on a chair in front of the Crown Inn, a low thatched building at Crown Bank in Hanley, on Sunday, 14 August, Cooper addressed a crowd of upwards of 10,000 people, delivering a brilliant Chartist speech to his audience. He look for his text the sixth commandment, 'Thou shalt do no murder'. Throwing his net wide, he drew on examples of kings and tyrants from history, such as Alexander, Caesar and Napoleon, who had violated this commandment against their own people, even as their own government would be prepared to do. The next day, he addressed an equally sizeable crowd and moved a motion, 'That all labour cease until the People's Charter becomes the law of the land'. What followed, Cooper later regretted. As the crowd dispersed. rioting started around the Potteries towns in all except Tunstall and the borough town of Newcastle. Police stations were attacked, magistrate's houses ran­sacked and burned, as were Hanley Parsonage and Longton Rectory. By the 16th, the chaos had lasted a day and a night, but on that day, the most famous, or infamous incident of the uprising occurred, what is known locally as 'the battle of Burslem'. Following the rioting in Stoke, Shelton, Hanley and Longton, a great crowd moved towards Burslem, there to meet a crowd coming from Leek. Here, though, the authorities played their hand, when a troop of mounted dragoons stopped the crowd from Leek. The magistrate in charge read the Riot Act, then tried to reason with the men, but when it was clear that they were bent on trouble, the soldiers were ordered to fire. One man from Leek was killed and many injured, the crowd was routed and the disturbances ended overnight, but for many weeks afterwards, the Potteries were full of troops and vengeful magistrates arresting rioters and Chartist leaders.

Cooper, horrified at the events he had unleashed, had tried to escape, but he was arrested and eventually tried and sentenced to two years in Stafford Gaol, on charges of arson and rioting. Here, he spent his time profitably, learning Hebrew and writing his book, The Purgatory of Suicides. On leaving prison, though, his views were found to differ considerably from the new mainstrean in Chartist thought, and he became increasingly a moral-force activist and remained so for the rest of his life.

It was in the two or three years after leaving prison, that Cooper was interviewed by the Rev. Charles Kingsley, whose Christian Socialist movement had inherited many of the Chartist beliefs. Kingsley had sought out several old Chartists and educated working men on whom he wished to base the life of the major character in the novel he was preparing. Thomas Cooper, was obviously the chief amongst these, certainly his autobio­graphy, written many years after Kingsley had published Alton Locke, shows many striking similarities between Cooper's life and that of his fictional alter ego. The riot that Alton inspires in the book, for which he too is committed to the prison, takes place in the countryside, amongst agricultural labourers, but behind it there is the faintest echo of the struggle in the Potteries, that one historian has considered the nearest thing to a popular revolution that the Victorian age saw.

After 1845, Thomas Cooper turned his talents mainly to writing, but he also lectured on subjects such as history, literature and photography. In this capacity, he made a number of return visits to the Potteries, to the place where on that day many years before, he had 'caught the spirit of the oppressed and discontented', in seeking to establish the basis of a democratic society.

Reference: Charles Kingsley, Alton Locke. Tailor and Poet (1851); Thomas Cooper, Life of Thomas Cooper, written by Himself, (1872).

Jane Austen and the Clay of Staffordshire.

Through the efforts of potters such as Thomas Whieldon, Josiah Wedgwood, Josiah Spode and many others less well known, between 1750 and 1800 the local pottery industry had undergone a tremendous revolution. In 1762 when Wedgwood was just beginning his career as a major manufacturer, there were 150 potteries in the district employing over 7,000 people. By 1800, the figures for both had doubled. The improvement in trade was matched by technical developments and the use of new resources which improved the quality of the products produced. Thus the salt-glazed wares of one decade had been displaced in turn by creamwares and porcelains and by the turn of the century by bone china. All in all it had been quite an achievement in so short a time, As the words of the Wedgwood Memorial had it, these enterprising potters had 'converted a rude and inconsiderable manufacture into an elegant art and an important branch of national commerce.'

It was an improvement noted by none other than that great observer of her age, the novelist Jane Austen. Jane never visited the Potteries and had only a vague notion of its location (she thought it was near Birmingham and may have been confusing the district with the Black Country). She was, however, part of the genteel social set that these new, finer, highly decorative wares were aimed at, for whom buying the latest thing in pottery became something of a craze.

In her letters Jane writes of visiting the Wedgwood showrooms in London and in one gleeful missive to her sister Cassandra in June 1811, she writes 'I had the pleasure of receiving, unpacking, and approving our Wedgwood ware' and anticipates the arrival of a new Wedgwood breakfast set for their mother, 'I hope it will come by the waggon to-morrow; it is certainly what we want, and I long to know what it is like'. 

A decade earlier, though, her enthusiasm for Staffordshire pottery found a release in one of her early novels. Though not published until after her death, Jane Austen's Gothic conceit, Northanger Abbey, was revised and finished between 1801 and 1804. In chapter 22, there is a short witty passage that may be the first literary appreciation of the Staffordshire Potteries and their rising status amongst the ceramic capitals of the world. 

'The elegance of the breakfast set forced itself on Catherine’s notice when they were seated at table; and, luckily, it had been the general’s choice. He was enchanted by her approbation of his taste, confessed it to be neat and simple, thought it right to encourage the manufacture of his country; and for his part, to his uncritical palate, the tea was as well flavoured from the clay of Staffordshire, as from that of Dresden or Seve. But this was quite an old set, purchased two years ago. The manufacture was much improved since that time; he had seen some beautiful specimens when last in town, and had he not been perfectly without vanity of that kind, might have been tempted to order a new set.'

Though the line about a breakfast set made two years earlier being 'quite old' is a touch of Austen wit, it nevertheless reflects the real situation at that time, when local manufacturers were working day in, day out to keep their wealthy clients happy with newer and more exciting goods.

Reference: Letters of Jane Austen (1884); Northanger Abbey (1817)

News and a Narrowboat

On 1 September 1939, Tom Rolt and his wife Angela were travelling along the Trent and Mersey canal aboard their narrowboat, Cressy. Arriving at Trentham Bridge to take on some fuel they were hailed by a boatman at the tiller of a passing barge, who told them that Germany had invaded Poland. That day they passed through the Potteries, and the Harecastle Tunnel on into Cheshire, where two days later they heard the announcement that war had been declared.

Rolt, a future campaigner for preservation of Britain's neglected canal system and one of the founders of the Inland Waterways Association, later wrote a lyrical account of their journey entitled Narrow Boat, which sparked a post-war resurgence of interest in this by-then woefully neglected transport network. A traditionalist at heart, Rolt was dismissive of many of the towns and cities they passed through, but devoted two short chapters to their brief passage through the Potteries. His appreciation of the area and its people stemmed from the fact that he had some years earlier partially served his engineering apprenticeship at Messrs Kerr, Stuart and Co, locomotive engineers in Stoke.

Reference: L.T.C. Rolt, Narrow Boat pp. 115-129; Landscape With Canals, p.3.