140
THE ESSEX FIELD CLUB.
Edward W. Bingham, the eldest son of the proprietor, who seems to have devel-
oped a natural aptitude for the finer and more artistic pottery work. A beautifully-
formed ewer of blue Majolica ware nears completion under his careful treatment,
and on a shelf behind him are finished specimens of a similar kind awaiting their
transfer to the kiln. At another wheel a younger son, Richard, is forming various
tiny vessels of many shapes, which he appropriately calls 'The Gem Ware,' and
their use would seem to be to fill odd corners of bric-a-brac cabinets. These are
the sole workers in clay in the Hedingham Pottery, all the processes being carried
on by the Bingham family. Mr. Edward W. Bingham models all the articles
here made, articles which vary in size from that of a child's thimble to substantial
specimens of twenty or thirty inches in height or diameter. Almost everything is
modelled by hand, moulds being only used for the cheaper kinds of ware. This
necessarily makes the processes slow, but adds to the value of the objects so pro-
duced. We glance around at some of the quaint clay vessels that stand on the
shelves. Here is a collection of vases and ewers, forms of which the eye would
never tire, in Majolica ware. Hard by stands a specimen in imitation of the
curious 'Puzzle Jugs' of 1670. A model of the celebrated Colchester Vase, the
most perfect Roman vase known, is shown us. In close proximity are several
objects of a different character, in terra-cotta. Among them is a plaque of original
design, containing a representation of Hedingham Castle, surrounded by scroll
work, on which are written a number of historical facts connected with the old
Norman stronghold. The old 'slip work 'prevails here too, and a number of incis d
terra-cotta specimens in two shades are worthy of notice. Here, again, is a solitary
specimen of a recent development, original in design. This is what the proprietor
terms ' he Essex Jug.' It is a study in itself, and has deservedly won the admira-
tion of visitors and collectors. Having noted these and many other pieces of art
pottery, we are invited to enter the next compartment of the building, used as a
drying shed and as a sort of storeroom for the utensils and materials employed in
the manufacture and burning of the vessels. Here, again, one is struck with
the old-world appearance of everything about the place The building is old ;
the implements, the tools, utensils, etc., if not old, have all an ancient appear-
ance. Here stands a primitive-locking, but now rarely used, machine for forcing
the clay into the form required in certain classes of work. An old-world light,
too, seems to pervade the place. 'What a light for a Rembrandt!' as an artist
visitor exclaimed on entering the building one day. Here is a pile of 'seggars,'
or utensils of peculiar form, in which each object is carefully set when placed in
the kiln. These 'seggars,' as well as their contents, are made on the premises.
At the end of the shed we arrive at the kiln—a little erection of which the archi-
tect is the owner, he and his sons doing all themselves, and adopting, as far as in
them lies, the styles and ideas of the Staffordshire Potteries. We are next
directed to the show room which we passed on our way through the garden.
Here are duplicates of the works which we noticed in their more crude state on
shelves in the pottery. The specimens here, however, are in their finished state,
glazed and coloured. On entering one's attention is instantly directed to a large
plaque of some thirty inches in diameter, having on it the arms and badges of
the De Veres, and which would have an imposing effect in a hall or library.
Another style of large-sized plaque is one with flowers and foliage interspersed
with small reptiles, insects, etc., all in high relief. Large and handsome ewers,
shaped after Orazia Fontana's and ether early Italian specimens, are prominent
objects. Vases of rare old Babylonian shapes; quaint Egyptian, Greek, and