180. Harvard College. E. Wood & Sons.

Black print with flower border marked “E. Wood & Sons.”

181. Harvard College. E. W. S.

A clear and beautiful print in medium shade of blue on white ground. The edge has a white beading. The border is a most artistic design of flowers and fruit, with a pretty spray of blackberries. In the centre a well-drawn view of four college buildings. A pond is in the foreground, with tree at right and left. By tradition this platter once formed part of the table-furnishing of the College dining-hall. Mark on back, “Harvard College. E. W. S.”

182. Hoboken. New Jersey.

A view of the old Stevens mansion, marked on the back “View at Hoboken New Jersey.”

183. Hudson, N. Y. Clews.

View of the town of Hudson as it looked in 1823, printed in black, with rose and vine border. On the back or underside of this dish are views of Stockport, a few miles above Hudson. It is said that engravings were sent abroad by Hudson residents, from which these views were copied.

184. Hudson River. Baker’s Falls.

Black print of view of Baker’s Falls.

Hudson River, near Fishkill.

See No. 173.

Independence of Texas.

See No. 254.

Jordan, House of Richard.

See No. 159.

185. Hudson River. Steamboat. E. Wood & Sons.

This is a view in dark blue of a steamboat on the Hudson River taking passengers from the shore in a small boat attached to a rope which is wound around the steamer’s wheel. Accidents became so frequent from this means of transfer that the method was quickly abandoned. There are two of these sets of plates, precisely alike, save that on one on the wheel-house of the boat is the name “Chief Justice Marshal Troy,” and on the other the words “Union Line.” On another flag, which is seen on both plates, are the words “Troy Line.” They are marked “E. Wood & Sons.” I have seen three sizes of plates bearing these designs. One is here shown.

186. Landing of Columbus. Adams.

A plate stamped in pink or black with a pretty design of the landing of Columbus. He stands with his two captains dressed in Spanish costume; Indians peer out from behind the trees; the three Spanish ships lie anchored off the shore. A scroll and flower border inclosing four medallions of quadrupeds. The stamp is “Adams.” The name “Columbus” is on an anchor.

Landing of the Fathers.

See No. 240.

Landing of Mayflower.

See No. 240.

187. Lake George.

A beautiful view printed in dark blue on platters and plates, with shell border. Mark on back “Lake George, State of N. Y.” This is doubtless by E. Wood & Sons.

188. Lake Champlain. Macdonough’s Victory. Wood.

This is a rather confused view of a naval encounter representing the battle of Lake Champlain. It has the clear, beautiful shell border, and the color is invariably rich and dark. It appears on all the pieces of tea and dinner services, and must have been sent to America in large numbers. On a rock in the foreground are the words “Commodore MacDonough’s Victory.” On the back, the impress mark “Wood.” A plate is here shown.

Lawrence Mansion.

See No. 153.

189. Lexington. Transylvania University. E. Wood & Sons.

A plate with a view of Transylvania University in the centre. On either side are rows of stiff poplar-trees, and in the foreground a man and woman walking. The print is in a good shade of dark blue, and has the poor shell border. It is marked on the back with an eagle, shield, and “E Pluribus Unum,” and words “Transylvania University Lexington.” Also the impressed mark of E. Wood & Sons. I have rarely seen this plate—one lot of three only, and all three were rather indistinctly and poorly printed; still they may be plentiful in the South or in the neighborhood of the University.

190. Lexington. Transylvania University.

Transylvania University. A print in black or light blue of a smaller representation of the University and grounds. Apparently quite modern.

Little Falls. Erie Canal.

See No. 170.

191. Louisville. Marine Hospital.

A rich dark blue plate with shell border. Stamp on back, “Marine Hospital, Louisville, Kentucky.” This is doubtless by E. Wood & Sons.

Macdonough Victory.

See No. 188.

Marine Hospital. Louisville.

See No. 191.

192. Maryland. Arms of State. T. Mayer.

A large oval soup-tureen and plates, printed in dark blue, with a handsome and spirited version of the arms of the State of Maryland. The stamp of T. Mayer and the blue mark of an eagle that appear on these pieces are fully described on page 324. The border is a beautiful design of trumpet flowers and roses, while the extreme edge of the plates is ornamented with a conventionalized laurel wreath broken at intervals of about six inches with a star.

Mayflower. Landing of The.

See No. 240.

193. Mendenhall Ferry. Stubbs.

A print in clear dark blue of a landscape with cattle in the foreground and a comfortable house, a story and a half high, a Lombardy poplar and an elm-tree, and a narrow river. In the background, on the opposite side of the river, hills with several dwelling-houses. The main point is the ferry—a cable stretching across the river, and by which boats were taken from side to side. The ferry-boat is shown. The border is a scroll, with eagles with half-spread wings and flowers, such as is shown on page 354. Though these pieces have no maker’s stamp, the impressed mark on pieces bearing the same border is “Stubbs.” The only mark on this piece is the name Mendenhall Ferry in an oval medallion. Mendenhall is an old Pennsylvania name, but I do not know where the ferry was located. Joseph Mendenhall owned a farm of a thousand acres on the Brandywine, below Shadd’s Ford, in Chester County, and it is very probable that the ferry was there.

Merchants’ Exchange. New York.

See No. 204.

194. Millennium.

A plate printed in blue, plum, green, black, and pink. In the centre a design of a lion led by a child, while lions and lambs lie peacefully at their feet. Above, the words, “Peace on Earth,” surmounted by a dove with olive branch. Below, the words, “Give us this day our daily Bread.” The border is a design of wheat sheaves and fruit, broken at the top of the plate by an eye and a Bible open at Isaiah. Mark on back, “Millennium.” One is shown on page 24.

Mitchell & Freeman’s Warehouse.

See No. 154.

195. Mount Vernon.

This view of Mount Vernon is in black on a cup and saucer of white china. It is the front view of the house, and in the foreground a negro is leading a prancing white horse. At the top is this inscription, “Mount Vernon, Seat of the late Gen’l Washington.” Inside the cup is a dotted border. It has no stamp or mark of maker. I have also seen this print upon a cup and saucer of cream-colored Liverpool ware.

196. Mount Vernon.

Landscape in dark blue. Marked “Mount Vernon nr Washington. J. & W. Ridgway.”

197. Mount Vernon.

Dark blue plate with Mount Vernon in foreground and city of Washington in background. Mark, “View of Washington from Mt. Vernon.” Geographical and topographical laws were naught to English potters.

198. Mount Vernon.

Stamped in pink. In the centre a group of visitors at a monument; the border a good floral design. On the back of plate the mark, “Virginia.”

Mount Video.

See No. 176 et seq.

199. Nahant. No. 1. Stubbs.

This plate is ten inches in diameter, of a rich dark blue color, and is very handsome—as are all the plates with its border, a scroll containing alternate eagles and roses. In the centre is a view of the Nahant Hotel, with the ocean and rocks in the foreground. On one rock are a dog, and a man firing a gun; on a second, two women fishing; on a third, a man and woman walking. On the right of the foreground is an old-fashioned curricle with two horses harnessed tandem. On the back of the plate is an oval blue stamp with the words, “Nahant Hotel near Boston.” One of these plates is here shown. This hotel was built of stone in the year 1818, by the Hon. Edward H. Robbins, at a cost of sixty thousand dollars. It was enlarged by a wooden addition until it contained three hundred rooms. It was burnt on September 12, 1861, and has never been rebuilt. The view on the plate shows only the old stone part of the hotel. It has been suggested that these plates were decorated for and used in the hotel. There is no evidence to prove this, nor is it probable. I have never seen any pieces save plates with this design.

200. Nahant. No. 2. R. S. W.

Same view of the hotel at Nahant, with a large tree in the foreground at the left, and no curricle. The border is the oak leaf and acorn design, shown on page 361; the stamp on the back, “Nahant Hotel nr Boston R. S. W.” The plates bearing this design are about an inch less in diameter than the ones described in No. 199.

201. Natural Bridge. Virginia.

A poor and small view of the Natural Bridge, printed in light blue or pink in the centre of a white plate. Sometimes the plate has a weakly drawn flower border.

202. Newburgh, on the Hudson River. W. R.

This is a black print on a white china plate twelve inches in diameter. On the back an impressed shield and eagle, and an oblong stamp surmounted by an eagle and having a pendent festoon of flowers. The name “View from Ruggles House in Newburgh Hudson River,” and the initials W. R., are on the stamp. There is no border. In the centre of the plate is a pretty view of the Hudson River with the familiar mountains in the background. The water is dotted with sloops and little boats, and a large tree is at the left of the foreground.

203. Newburgh, on the Hudson River.

Black print on dinner set of a view of Washington’s Headquarters at Newburgh. Confused rose border.

204. New York Fire, or Ruins of Merchants’ Exchange.

This plate is ten inches in diameter, in a brown or dull blue print. A view of the ruins of the Merchants’ Exchange, with the front still standing, is in the centre of the plate. A safe and books and papers, and a group of persons, are in the foreground, also a squad of four soldiers with an officer. Sentries patrol in front of the Exchange; groups of lookers-on are on either side; and flames and smoke in the background. The border is divided by eight scrolls bearing alternately the words “Great Fire” and “City of New York.” The spaces contain alternate subjects; one a group of old fire-implements, a fire-engine, fireman’s hat and trumpet, and underneath the date, 1833; the other space contains a phœnix with flames behind, against a background of old city buildings, and underneath the date, December 16th. On the back of the plate, the same phœnix over the stamp “Ruins Merchants Exchange,” and in fine letters the mark “Stone-Ware.”

This plate was printed to commemorate the terrible fire which devastated the business portion of New York in 1833, burning over thirteen acres in extent and causing a loss of seventeen million dollars. The fire extended from Coffee House Slip along South Street to Coenties Slip, thence to Broad Street, along William Street to Wall Street, burning down the south side to the East River, with the exception of the buildings from Number 51 to 61. The Merchants’ Exchange was one of the last buildings to yield to the flames.

This beautiful marble building had a front of one hundred and fifteen feet on Wall Street, was three stories high above the basement, and was considered at the time the handsomest building in the United States except the New York City Hall. The Post-Office had been established in its basement in 1827. The letters and mails were removed to a place of safety, but the noble marble statue of Alexander Hamilton, which stood in the Rotunda, was crushed by the falling sidewalls. The Seventh Regiment (then called the National Guard) kept guard over the ruins, and the funny fur-capped sentries shown on the plate are doubtless of this regiment. A fine view of the front and rear of the ruins of the Merchants’ Exchange is shown in William L. Stone’s “History of New York;” but the old stone-ware plates form an equally faithful, and much more curious and interesting, memorial of the great conflagration.

205. New York. Arms of State. T. Mayer.

The arms of New York with seated figures, instead of standing figures as in the present coat of arms; also the motto “Excelsior” and name New York. On the back is printed in blue the American eagle, with motto “E Pluribus Unum,” also the impressed mark of “T. Mayer, Stone, Staffordshire.” Both marks are described on page 324. There were doubtless dinner services with the arms of all the existing States of the Union, but I have seen only the plates and platters with arms of New York, Rhode Island, Pennsylvania, and South Carolina, and the soup-tureen with the arms of the State of Maryland.

206. New York. Arms of State.

I have seen in many collections, the Trumbull-Prime Collection being one of the number, pieces of Lowestoft china bearing a poor and crude rendering of the Arms of State of New York. These must have been decorated in China in large numbers, to be so widespread and numerous.

207. New York Bay. Clews.

This view of the Bay is taken from Castle Garden. In the centre is the fort on Governor’s Island. A side-wheel steamer and frigate are among the shipping. The stamp on back is “View of New York Bay.”

208. New York. Stevenson.

A dark blue print of a view of New York from Brooklyn Heights. In the foreground is a pretty old Dutch homestead view, low sheds, a well, and a man on horseback. On the river is some shipping and a small steamboat. In the background the lower portion of New York, showing Trinity Church spire. The border is a rose pattern. On the back is the mark “View of New York from Brooklyn Heights by (or for), Wm. C. Wall Esq.” Also the impressed mark of “Stevenson Warranted.” A plate with this print is in the rooms of the Long Island Historical Society, in Brooklyn.

209. New York. Jackson.

A view of Castle Garden, with a tree to the right, printed in brown. Marked “Jackson’s Ware.”

210. New York. Scudder’s Museum. Richard Stevenson (?).

A dark blue plate with a design in the centre of the plate of a house with the sign “American Museum,” and a garden in front. The border is a pretty design of oak leaves. On the back, in a scroll, the mark “Scudder’s American Museum R. S.” This museum stood in a garden on the corner of Broadway, where now is the great New York Herald building. It was a famous place of amusement in its day, and afterward passed into the possession of P. T. Barnum; there he laid the foundation of his fame and fortune.

211. New York. City Hall. Jackson.

This is a black or brown print with a flower border. In the centre is the City Hall with flag flying from the staff on the roof; in the foreground a horse and wagon, men and boys. Stamped on the back “City Hall New York;” and “Jackson Warranted.”

212. New York. City Hall. J. & W. Ridgway.

A plate printed in dark blue with a view of the New York City Hall. In the foreground are large trees and a wondrouslyattired man, woman, and child standing facing the building, to which the man points with his cane. The border is the ugly set medallion border of flowers shown on page 319. Mark in blue on the back, “City Hall New York. Beauties of America. J. & W. Ridgway.” The corner-stone of this building was laid in 1803, and the edifice was completed in 1812. It stood with the bridewell on the west, the almshouse behind it, and the jail on the other side. It cost half a million dollars—a most reasonable expenditure when compared with the twelve million dollars for its neighbor the Court-House—and was at that time the handsomest structure in the United States. The “three fronts,” as they were called, are of Stockbridge marble. It is still standing, a good example of pure design and style. A very simple way of dating the various City Hall prints is found in the presence in the design of the clock in the cupola; this was placed in its position in 1830. Some prints show the dial very distinctly.

213. New York. City Hall. Stubbs.

Same view of City Hall as No. 212, but the park in the foreground is intersected with paths and the trees are different. The border is of scrolls, roses, and eagles, shown on page 354. Color, dark blue. Mark on back, “City Hall New York.” This view is taken, I think, from a drawing by W. G. Wall, which was published December 20, 1826.

214. New York. City Hall.

Same view of City Hall as No. 213, with no trees in the foreground. Oak leaf border with outer edge of white. Color dark blue. Probably by Stevenson. A pitcher bearing this view is here shown.

215. New York. Fort Gansevoort.

Printed in dark blue on various pieces of a dinner service. A view of the fort with water and sloop in foreground. A confused leaf border. The pieces I have seen bore no maker’s mark.

216. New York. Almshouse. J. &

A view printed in dark blue of the ugly Almshouse on Blackwell’s Island. One of the Beauties of America set, with same marks and border as shown on page 319.

217. New York. Battery.

A view of the Battery in common black print.

218. New York. City Hotel. R. S. W.

A plate printed in dark blue, with a view looking down Broadway, and including Trinity Church. In the foreground, in the middle of Broadway, in front of a hotel, a man is sawing wood on an old-fashioned saw-buck. The clear oak leaf and acorn border, and scroll mark on back, with R. S. W., as in No. 219.

219. New York. Park Theatre. R. S. W.

A view of the Park Theatre, including the lower end of City Hall Park with its ancient brick posts, where now stands the Post-office. In the distance the spire of the Old Brick Church, where Dr. Spring preached. A clear oak leaf and acorn border, and scroll and leaf mark, with initials R. S. W. A plate is here shown. The first Park Theatre was built in 1797. It stood in Park Row, about two hundred feet from Ann Street. It was opened on January 29, 1798, the first play being “As You Like It;” $1,232 were taken in at the first performance. In May, 1820, it was burned to the ground. In 1821 it was rebuilt, and opened with “Wives as they Were and Maids as they Are.” It was burnt on December 16, 1848. An original water-color drawing of the interior is in the rooms of the New York Historical Society, with a key to the members of the audience, for the figures are portraits. Many of the men are sitting with their hats on. In this theatre appeared Thomas A. Cooper, Charles Mathews, the Keans, Charles and Fanny Kemble, Malibran, Celeste, Fanny Ellsler, Madame Vestris, Clara Fisher, Julia Wheatley, Master Burke, the Ravels, Mr. and Mrs. Wood, Charlotte Watson, Charlotte Cushman, Ellen Tree, Taglioni—what prettier memento of the old New York stage can there be than the old Park Theatre plate?

220. Niagara.

A view of Niagara Falls in a pink print on small plate.

221. Niagara.

Print in medium shade of blue. A large house and trees in foreground and diminutive semi-circular waterfall in background. On back the stamp “Niagara.”

222. Niagara. Table Rock.

This beautiful dark blue plate has the rich shell border of Wood, though it does not bear his impressed mark, and has only the stamp with eagle and motto “E Pluribus Unum” and words “Table Rock Niagara.” The view is taken from the foot of Table Rock looking upward, and is very artistic. Entire dinner services bearing this design were exported to America.

Park Theatre. New York.

See No. 219.

Passaic Falls. Trenton.

See No. 256.

223. Peace and Plenty. Clews.

A medium blue plate decorated with border of fruit and flowers. In centre, a Roman husbandman crowned with grain and surrounded by sheaves of wheat; in his right hand a sickle, and in his left a basket of fruit; by his side a shield with the American eagle and the motto “Peace and Plenty.” Made by Clews. Two plates bearing this design sold at the Governor Lyon sale for three dollars each.

Penn, Wm. Treaty with Indians.

See No. 267.

224. Pennsylvania. Arms of. T. Mayer.

A very spirited and beautiful rendering of the arms of this State, printed in dark blue on platters and plates, with border and marks like No. 190. Marks fully described on page.

225. Pennsylvania Hospital. J. & W. Ridgway.

In dark blue, marked “J. & W. Ridgway. Beauties of America.” Border shown on page 319.

226. Philadelphia. View.

This print is in dark blue upon a plate six inches in diameter. The border is a confused scroll with roses. The spires of two churches are seen, and in the foreground is a wharf with a derrick, and a sloop alongside. Some of the plates have upon the back the stamp “View of the city of Philadelphia.” Also the impressed stamp of a star like the Worcester mark.

227. Philadelphia. Fairmount Park. Stubbs.

A view of Fairmount, with a large tree in the foreground, and a man and woman in the dress of the early part of the century. On the opposite and further shore of the lake are two of the handsome dwelling-houses which stood there at that time. The border is the handsome design of scroll, roses, and eagles. The medallion stamp on back “Fairmount near Philadelphia.” Impressed mark, Stubbs. A plate with this design is here shown.

228. Philadelphia. Upper Bridge. Stubbs.

This is one of the four Fairmount Park views. It bears on the back the impress and the oval blue stamp “Upper Bridge over River Schuylkill.” The border is the same as shown on page 364. On the left of the foreground of the view is a large tree, and under it is a group of persons, one of whom is sketching. At the left is an old covered Pennsylvania wagon with six horses. The view of the ferry bridge is clear and good, and the color is a good blue, though not rich and dark. Impressed stamp on some specimens, Stubbs.

229. Philadelphia. Library. J. & W. Ridgway.

Plate printed in dark blue with set medallion border. In the centre a view of the Library at Philadelphia. Mark on the back, “Philadelphia Library. Beauties of America. J. & W. Ridgway.” One of these plates is shown on page 319.

230. Philadelphia. Stoughton Church. J. & W. Ridgway.

Plate printed in dark blue with set medallion border shown on page 319. In the centre a view of the old church which stood on Filbert Street above Eighth. The church looks like an old Grecian building. Mark on the back, “Stoughton Church. J. & W. Ridgway, Beauties of America.”

231. Philadelphia. Girard’s Bank. Jackson.

A view, printed in pink or black, of Girard’s Bank. Mark on back, “Jacksons Warranted.”

232. Philadelphia. United States Hotel.

A view of the hotel in rich dark blue, with a border composed chiefly of the foliage of two trees standing at the right and left and meeting overhead.

233. Philadelphia. Woodlands. Stubbs.

View of a low building like a lodge and landscape in dark blue. Scroll, eagle, and rose border shown on page 364. Stamp on back, “Woodlands near Philadelphia.”

234. Philadelphia. Washington Church.

235. Philadelphia. Race Street Bridge. Jackson.

Print in black, brown, or pink, marked on back with name of view and “Jacksons Warranted.”

236. Philadelphia. Race Street Bridge. Stubbs.

Eagle, rose, and scroll border like No. 225. Impressed mark, “Stubbs.”

237. Philadelphia. Waterworks. R. S. W.

Low building with dome in centre of the plate, fountain at right, and trees, fence, and an old-time covered emigrant wagon in foreground. Distinct oak leaf and acorn border, like No. 180. Clear dark blue in color. Mark on back in scroll with leaves, “Philadelphia Waterworks. R. S. W.”

238. Philadelphia. Waterworks. Jackson.

Same view as No. 237, but smaller, and printed in black. Mark on back, “Jacksons Warranted.”

239. Philadelphia. Bank of the United States. Stubbs.

A plate in dark blue with street and buildings in the centre. Eagle, rose, and scroll border shown on page 364. This is the bank which was in 1833 forced into bankruptcy by President Andrew Jackson.

240. Pilgrims. Enoch Wood & Sons.

This Plymouth Rock decoration is found on plates and pitchers, and the pieces are perhaps more highly prized than any other historical Staffordshire wares, especially by all descendants from and lovers of the Pilgrims. The print is clear and good, though the blue color is not very dark. In the centre of the plate is a print representing a “rock-bound coast” with the Mayflower and a small boat overfilled with Pilgrim Fathers landing on Plymouth Rock, upon which are inscribed the names Carver, Bradford, Winslow, Brewster, Standish. Two Indians are also perched on the rock. Above this print is the small-lettered inscription “The Landing of the Fathers at Plymouth, Dec. 22, 1620.” The border consists of a handsome design of eagles and scrolls, broken by four medallions or shields. The upper one contains the words “America Independent, July 4, 1776;” the lower the words, “Washington born 1732, died 1799;” on the right a little view of two full-rigged ships with names Enterprise and Boxer (?); on the left a part of the print on No. 128—a steamer, rock, and eagle. On the back is the blue stamp “Enoch Wood & Sons Burslem.” One of these plates is here shown. In spite of the presence of the steamship, the name of Washington, and the date 1799, I have been gravely informed by country owners that these plates were two hundred years old, and once even that they “came over in the Mayflower.” We have often been told that the plates were “made for the dinner at the laying of the corner-stone of Bunker Hill Monument, in 1824, when Daniel Webster spoke.” This account was obviously improbable, since nothing in the design on the plate bore reference to that occasion, and the probability seemed equally clear that the celebration was instead the bicentennial celebration of the Landing of the Pilgrims, which was held in Plymouth in 1820, and at which Webster, clad in silk gown and satin small-clothes, made the address which laid the foundation of his reputation as an orator. I was glad to receive confirmation of my belief from Mr. T. B. Drew, Librarian of Plymouth Hall, at Plymouth. He says, “The Pilgrim plates you refer to were made in England by order of John Blaney Bates, a well-known contractor and builder of his day, who in 1820 was building the Plymouth County Court-House. He had it so nearly completed that the dinner of the celebration was provided in that building. It was, as you say, the bicentennial of the Landing of the Pilgrims, but often termed by us the Webster celebration, on account of Daniel Webster being the orator of the day. There were two sizes of pitchers and two of plates, and one of the plates has on the rock the names as you describe. After the dinner the wares were sold either at auction or private sale, and the different pieces became distributed quite widely through New England. I know of no publication that gives any account of what I have been telling you, but the facts were well known and have been told by aged people who remember the circumstances.” To this information I can add in one respect. There are six sizes of plates, one being deep like a soup-plate. An old lady still living in Plymouth, asserts that while the plates were furnished by Mr. Bates, her husband, seeing their popularity and ready sale, ordered the pitchers, as she remembers, from Holland. As the print on the pitchers varies from that on the plates, being encircled also by a narrow ribbon scroll with the words “The Landing of the Fathers,” and as the former do not bear the stamp of Enoch Wood of Burslem, this reminiscence is probably correct, except possibly the point that the pitchers came from Holland. These plates are usually found one in a family, but from one household, near Worcester, Mass., were purchased by a china hunter eight tea-plates, and from another family two soup-plates, four tea-plates, seven saucers, and ten “cup-plates.” By cup-plates I mean the little flat saucers in which our grandmothers set their teacups when they poured the tea in the deep saucers to cool.

Pine Orchard House.

See No. 160.

241. Pittsburg Penitentiary.

This is upon large and small platters and plates in purplish pink, blue, brown, and black prints. The ware is stone-ware of good quality. The border is a pretty scroll-work design with roses and other flowers and eagles. The edges are slightly scalloped. This Pittsburg plate has a clear unperspectived drawing of the Penitentiary, with high hills at the background. Stiff little houses and trees are scattered around. In the foreground a man in knee-breeches is holding a horse which is harnessed to a chaise. The building in this print is the Western Penitentiary of Pennsylvania, at Alleghany City. It is an enormous stone building of ancient Norman style of architecture, that was built in 1827.

242. Pittsburg.

Print in pale blue, brown, or black of a view of Pittsburg, with the Iron Mountain in the background and two large steamers, named respectively “Home” and “Pennsylvania” in the foreground. Mark on the back, “Picturesque Views, Pittsburg.”

243. Pittsfield. Clews.

A winter view of the town common at Pittsfield, Mass., with the church and other public buildings. In the foreground an elliptical enclosure with a skeleton elm-tree, intended to represent the famous great Pittsfield Elm. The author of “The China Hunters’ Club” quotes from a newspaper of 1864, that the trunk of this tree was made into bowls and other relics, and that “about 1825 Mr. Allen, a merchant of Pittsfield, had a view of the elm and park, as they then appeared, taken and sent to England, where it was reproduced on blue crockery ware.” As the fence which appears in the view on the plate was not placed around the elm until 1825, this date is probably correct. Before that the tree had been entirely unprotected; it was sadly nibbled by the farm horses that were frequently hitched to the iron staples that were driven into its trunk. When the elm fell in 1861, a great number of these staples were found imbedded in the wood. The design of the church appears in four medallions in the border of the plate. It is marked “Clews” and the name “Winter View of Pittsfield Mass.” I have also seen this same view with a vine-leaf border.

Plymouth Landing.

See No. 240.

244. Quebec.

Dark blue print of view of the heights at Quebec. Mark on back in blue scroll “Quebec,” also the impressed stamp of a Greek cross.

245. Quebec. Falls of Montmorency.

Dark blue view of the Falls, with a shell border. Stamp on the back “Falls of Montmorenci near Quebec.” This and the previous number are the only views of Canadian scenery that I have ever seen on old Staffordshire plates. Persons who have gathered china in Canada tell me that they have found no other views there.

246. Rhode Island. Arms of State. T. Mayer.

Dark blue print marked “T. Mayer Stone Staffordshire.” Same border as No. 192. Marks fully described on page 324.

247. Richmond, Va. College.

View of college printed in light blue.

248. Savannah. Bank. J. & W. Ridgway.

View of the Bank at Savannah. It has the same set medallion border shown on page 319. Mark on back “Bank, Savannah, Beauties of America. J. & W. Ridgway.”

Scudder’s Museum. New York.

See No. 210.

249. South Carolina.

A plate with a palmetto-tree in the centre, and a ship in the distance, on either side a flag. A shield with the date July 4th and the motto of the State of South Carolina. Flower border like plates of E. Wood & Sons.

250. South Carolina. Arms of State. T. Mayer.

Dark blue plate. Marked “Stone Staffordshire T. Mayer.” Same marks and border as No. 192, and a very clear rendering of the State arms.

251. States. Clews.

This design is the larger plate shown on page 9. It is found on all the pieces of a dinner service, but I have never seen a tea-set. The dinner plates are exceptionally large. The print is in a rich shade of dark blue. In the centre is a medallion of what is said to be the White House, at Washington, with sheep or cattle grazing in foreground. It is supported on one side by a kneeling figure with plumed helmet and bearing a liberty cap—labelled Independence. On the other side the figure of a woman kneeling on her ankles with the bandage of justice on her eyes, and Masonic emblem on her apron. She holds a portrait medallion labelled Washington. On the pedestal at her ankles, the word “America.” The border is of flowers and a scroll with names of fifteen States, and with fifteen stars. On some pieces these stars are simply crosses. Impressed stamp “Clews Warranted Staffordshire.” On the larger pieces, such as tureens, the centre view is often of an English castle—the White House view not being large enough, apparently, to fill the space. Some of the platters have in the centre a view of a two-story house, while in the foreground are two men and a sheet of water with a sloop. This is sometimes called the Washington Masonic Plate.

252. Steamship.

A dark blue print of a side-wheel steamship, bark rigged, under full sail, and flying the American flag. Impressed mark of “E. Woods & Sons.” This may commemorate the Savannah, the first steamer to cross the Atlantic, in 1819.

Stevens Mansion.

See No. 182.

Stoughton Church.

See No. 228.

Table Rock. Niagara.

See No. 222.

253. Temperance Plate.

This curious and finely printed plate is very rare. It is made of a soft yellowish paste, and the decoration is printed in black. The edges are slightly scalloped and have a little line of black. In the centre of the plate is a shield supported by the figures of a man and woman; the man bearing a banner inscribed with the word “Sobriety,” and the woman a similar banner with the words “Domestic Comfort.” By the side of the man is a small figure of a boy seated reading; on the opposite side that of a girl sewing. The shield is surmounted by a crest—an oak-tree—and above that a scroll containing the motto “Firm as an Oak.” Below the shield are clouds and two shelves of vases and jars of antique shapes; and beneath all a scroll with the motto “Temperance, Sobriety.” The shield is divided by perpendicular lines and transverse bars. In the spaces thus formed are designs. That of a beehive has on the bar beneath it the word “Industry;” that of a farmer working in a field, the word “Health;” that of a sailor, the word “Freedom;” that of a pile of money, the word “Wealth;” that of a cornucopia, the word “Plenty;” that of a snake, the word “Wisdom;” in the lower space are an open Bible and the letters I.H.S. There is no stamp or mark on the back. It is probably a Masonic design, but is called the “Temperance Plate.”

254. Texas. J. B.

English stone-ware with blue or pink prints. Trophies of war in the corners, and on the sides symbolical figures of Peace and Plenty. In the centre, a fight between Texans and Mexicans, marked “Gen. Taylor in Texas.” It was doubtless printed to commemorate the Independence of Texas. Marked on the back with initials J. B. A large platter bearing this design sold in the Governor Lyon sale, in 1876, for $7.50.

255. Texan Campaign.

Plates with a small, poor print in sepia green, red, or black, of a scene with troop of soldiers with mounted commander. Border, a scroll with trophies of arms and flags. Stamp on the back “Texan Campaign.”

Transylvania University.

See No. 189 et seq.

256. Trenton Falls.

This plate is eight inches in diameter, of a rich dark blue. The handsome shell border indicates it to be one of Clews manufacture (as Mr. Prime asserts); the impressed stamp on the back cannot be deciphered. The view in the centre of the plate is a pretty group of pine-trees with the Passaic Falls in the middle. On the back is a blue stamp of an eagle with the scroll and the words “E Pluribus Unum,” and the name “View of Trenton Falls.”

257. Troy. Clews.

A view of Troy, N. Y., from Mount Ida, marked Clews.

Union Line. Steamboat.

See No. 184.

United States Bank.

See No. 239.

United States Hotel.

See No. 232.

Utica.

See No. 167.

Virginia. Natural Bridge.

See No. 201.

Virginia.

See No. 198.

258. Virginia. J. W. Ridgway.

Print in black or brown with floral border. In centre a landscape view. Mark on back “Virginia. J. W. Ridgway.” The house bears a close resemblance to Arlington House.

Wadsworth Tower.

See No. 176.

Washington’s Headquarters.

See No. 203.

Washington, D. C. View of.

See No. 197.

259. Washington, D. C. Capitol. J. & W. Ridgway.

A view of the Capitol in dark blue with man and woman on horseback in the foreground. Medallion border shown on page 319. Marked “J. & W. Ridgway. Beauties of America. Capitol Washington.” This appears usually on large platters.

260. Washington, D. C. Capitol. R. S. & W.