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Josiah Spode I effectively finalised the formula, and appears to have been doing so between 17. The importance of his innovations has been disputed, being played down by Professor Sir Arthur Church in his English Porcelain, estimated practically by William Burton, and being very highly esteemed by Spode's contemporary Alexandre Brongniart, director of the Sèvres manufactory, in his Traité des Arts Céramiques, and by M. As the understanding of the work of the early potters depends in part on the study of actual specimens, the loss was both aesthetic and scientific.The business was carried on through his sons at Stoke until April 1833.It was light in body, greyish-white and gritty where it was not glazed and approached translucence in the early wares; later Stone-Ware became opaque.Spode pattern books, which record about 75000 patterns, survive from about 1800. Messrs Spode were succeeded in the same business in c.Although the Bow porcelain factory, Chelsea porcelain factory, Royal Worcester and Royal Crown Derby factories had, before Spode, established a proportion of about 40–45 per cent calcined bone in the formula as standard, it was Spode who first abandoned the practice of calcining or fritting the bone with some of the other ingredients, and used the simple mixture of bone ash, china stone and kaolin, which since his time set the basic recipe of bone china.

The bone porcelains, especially those of Spode, Minton, Davenport and Coalport, eventually established the standards for soft-paste porcelain which were later (after 1800) maintained widely.Blue underglaze transfer became a standard feature of Staffordshire pottery.Spode also used on-glaze transfers for other wares.with the introduction of underglaze blue transfer printing on earthenware in 1783–84.The Worcester and Caughley factories had commenced transfer printing underglaze and over glaze on porcelain in the early 1750s, and from 1756 overglaze printing was also applied to earthenware and stoneware.

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