Chemistry in colour: Ceramics and glass in 18th-century Britain

Endeavour

Volumn 26, Issue 3, 2002, Pages 102-106

  Lowengard, Sarah ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

ENAMELS; GLASS CERAMICS; GLASS MANUFACTURE;

ARTISANS;

CHEMISTRY;

EID: 0036380656     PISSN: 01609327     EISSN: None     Source Type: Journal    
DOI: 10.1016/S0160-9327(02)01427-8     Document Type: Review

References (23)

1. Josiah Wedgwood to Thomas Bentley, dated Etruria 17 March 1779, Wedgwood MS E18881-26
2. Eklund, J. (1975) The Incompleat Chymist: Being an Essay on the Eighteenth-Century Chemist in His Laboratory, with a Dictionary of Obsolete Chemical Terms of the Period. Smithsonian Studies in History and Technology, No, 33, Smithsonian Institute Press, available online at http://dbhs.wvusd.k12.ca.us/Chem-History/Obsolete-Chem-TermsTOC.html
3. Coleby, L.J.M. (1939) A history of Prussian blue. Ann. Sci. 4, 206-211
4. This type of visual display to explain chemical combination was not inherently unique; several similar systems were suggested at about the same time.
5. Waltire was an itinerant lecturer in natural philosophy. Wedgwood noted his expected arrival to Bentley in a letter dated 17 February 1779. Wedgwood MS E18877-25
6. Chaldecott, J.A. (1975) Josiah Wedgwood (1730-95) Scientist. Br. J. Hist. Sci. 8, 1-16
7. Schofield, R. (1959) Josiah Wedgwood, industrial chemist. Chymia 5, 180-192
8. Lowengard S. (2001) Colour quality and production: testing colour in eighteenth-century France. Journal of Design History 14.2, 91-103
9. Partington, J.R. (1957) A Short History of Chemistry, Macmillan
10. Rappaport, R. (1961) Rouelle and Stahl - the phlogistic revolution in France. Chymia 7, 73-102
11. The calx of a metal is, in essence, a metallic oxide.
12. Josiah Wedgwood Commonplace Book, pp. 290-292, dated 30 January 1779. Wedgwood MS 39-28408
13. There is a cosiderable quantity of modern writing about theories of affinity, including its development throughout the 18th century and its working. A general description may be found in Partington (above); a more recent general article about these concepts is Duncan, A.M. (1988) Particles and eighteenth-century concepts of chemical combination. Br. J. Hist. Sci. 21, 447-453
14. Lowengard, S. (1999) Colours and colour making in the eighteenth century. In Consumers and Luxury: Consumer Culture in Europe 1650- 1850 (Berg M. and Clifford, H., eds), Manchester University Press
15. This is demonstrated by the premiums offered by the Society for the Encouragement of Arts (SEA) and discussed regularly at the Chemistry Committee between 1760 and 1764, as well as the submissions for that prize and the often animated discussions that ensued.
16. One notable exception is the premium for a substance to make white enamel without using lead, which was offered - to little avail - by the SEA.
17. Dossie, R. (1764) Preface to The Handmaid to the Arts, UK, pp. xxvi-xxvii, London
18. Peckitt, W. (1731-1795) based his treatise on at least 40 years' work and experiment; among the sources he cites is The Handmaid to the Arts. For further biographical information see Knowles, J.A. (1927-1928) William Peckitt, glass painter, The Seventeenth Volume of The Walpole Society 17, 45-60
19. Peckitt, W. (1731-1795) based his treatise on at least 40 years' work and experiment; among the sources he cites is The Handmaid to the Arts. For further biographical information see Knowles, J.A. (1927-1928) William Peckitt, glass painter, The Seventeenth Volume of The Walpole Society 17, 45-60
20. Peckitt, W. (1793) The Principals of Introduction into that Rare but Fine and Elegant Art of Painting and Staining of Glass. Unpublished MS at the York City Art Gallery, York, UK, f. 13r
21. Peckitt, W. MS f. 6v-7r
22. Peckitt, W. MS f. 22v
23. Peckitt, W. (1794) The Wonderful Love of God to Men: or, Heaven Opened in Earth, York, UK