Copeland! Stop a moment. Was it yesterday I visited Copeland's works, and saw them ****** plates? In the confusion of travelling about, it might be yesterday or it might be yesterday month; but I think it was yesterday. I appeal to the plate. The plate says, decidedly, yesterday. I find the plate, as I look at it, growing into a companion.
Don't you remember (says the plate) how you steamed away, yesterday morning, in the bright sun and the east wind, along the valley of the sparkling Trent? Don't you recollect how many kilns you flew past, looking like the bowls of gigantic tobacco-pipes, cut short off from the stem and turned upside down? And the fires - and the smoke - and the roads made with bits of crockery, as if all the plates and dishes in the civilised world had been Macadamised, expressly for the laming of all the horses? Of course I do!
And don't you remember (says the plate) how you alighted at Stoke - a picturesque heap of houses, kilns, smoke, wharfs, canals, and river, lying (as was most appropriate) in a basin - and how, after climbing up the sides of the basin to look at the prospect, you trundled down again at a walking-match pace, and straight proceeded to my father's, Copeland's, where the whole of my family, high and low, rich and poor, are turned out upon the world from our nursery and seminary, covering some fourteen acres of ground? And don't you remember what we spring from:- heaps of lumps of clay, partially prepared and cleaned in Devonshire and Dorsetshire, whence said clay principally comes - and hills of flint, without which we should want our ringing sound, and should never be musical? And as to the flint, don't you recollect that it is first burnt in kilns, and is then laid under the four iron feet of a demon slave, subject to violent stamping fits, who, when they come on, stamps away insanely with his four iron legs, and would crush all the flint in the Isle of Thanet to powder, without leaving off?
And as to the clay, don't you recollect how it is put into mills or teazers, and is sliced, and dug, and cut at, by endless knives, clogged and sticky, but persistent - and is pressed out of that machine through a square trough, whose form it takes - and is cut off in square lumps and thrown into a vat, and there mixed with water, and beaten to a pulp by paddle-wheels - and is then run into a rough house, all rugged beams and ladders splashed with white, - superintended by Grindoff the Miller in his working clothes, all splashed with white, - where it passes through no end of machinery-moved sieves all splashed with white, arranged in an ascending scale of fineness (some so fine, that three hundred silk threads cross each other in a single square inch of their surface), and all in a violent state of ague with their teeth for ever chattering, and their bodies for ever shivering! And as to the flint again, isn't it mashed and mollified and troubled and soothed, exactly as rags are in a paper-mill, until it is reduced to a pap so fine that it contains no atom of 'grit' perceptible to the nicest taste? And as to the flint and the clay together, are they not, after all this, mixed in the proportion of five of clay to one of flint, and isn't the compound - known as 'slip' - run into oblong troughs, where its superfluous moisture may evaporate; and finally, isn't it slapped and banged and beaten and patted and kneaded and wedged and knocked about like butter, until it becomes a beautiful grey dough, ready for the potter's use?
