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One of the most common earthenwares found on American archaeological sites dating from the 1780s until the 1830s has a bluish tint to its glaze.

It is generally known by the term “pearlware,” a name adopted from Josiah Wedgwood’s Pearl White, which he introduced in 1779.

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The pursuit of the arcanum was spurred on by Johann Friedrich Böttger’s success in producing a Chinese-style porcelain in Meissen, Germany, in 1710.

The solution to the mystery of porcelain became clearer when the Jesuit missionary Père D’Entrecolles provided detailed descriptions of the production process and the materials used by the Chinese.

Most pieces bear an impressed WEDGWOOD mark in small letters.

In 1860, Wedgwood also added a system of date codes, consisting of three capital letters.

The other Staffordshire potters, however, called this ware “China glaze” and appear to have begun producing it as early as 1775.

This paper explores what led to the development of China glaze, and how its name disappeared from general usage until the mid-twentieth century.

These designs are meticulously documented in pattern books housed in the Wedgwood Museum.

However, the vast majority of majolica output was of decorative and functional wares, leaving the production of large scale fountains and animal figures to Minton.

In 1841 the firm came under the control of grandsons Josiah III and Francis at which point the pottery was in financial peril after decades of poor management.

Francis briefly partnered with John Boyle, a former associate of Herbert Minton, who raised capital needed for modernization of the factory.

Du Halde incorporated this information into his history of China, published in English in 1725.

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