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Pot Spot: Cistercian Wares

Page history last edited by Tess Barrett 13 years ago

 

Once more in convivial mood, Potspot turns its attentions to Cistercian Ware, which is most often found in the form of mugs or cups in a fine red fabric with a treacle-coloured glaze. The type was first singled out by J.T. Micklethwaite amongst the destruction levels associated with the Dissolution in the Cistercian monasteries of Yorkshire. In 1895, he published a paper on the subject in the Proceedings of the Society of Antiquaries and for some time the opinion was held that this pottery was made specifically for the wealthy religious houses. However, the increase of excavation and research in recent years has shown that it was in use on a wide variety of sites, though the monastic name survives as a convenient label.

 

Cistercian ware appears to have been introduced sometime in the late fifteenth century, yet its origins are still mystifying. Excavated kiln sites have produced no evidence of its development, though the manufacture of these vessels requires an expertise in throwing glazing and firing, which was far beyond that of the average medieval potter. The smooth red clay was thrown in a variety of shapes, and glazed both inside and out with a rich brown or black blaze made from raw galena (lead sulphide). Decoration was occasionally applied under the glaze in the form of strips or pellets but sometimes with moulded or stamped figures, executed in contrasting cream clay. Often pots were thrown in cream clay with red clay applique designs, and are referred to as ‘reversed’ Cistercian ware. In the kiln these fine wares had to be created with special care. They were placed in staggers, large pottery buckets which acted as a protection from the direct heat of the fire. Inside these, quartz sand or small shards used as props prevented the pot from sticking should the glaze run.

 

It has been suggested that it was the influence of products from the Rhineland stoneware factories (see Potspot, INTERIM vol 2 no 4) which led to this turning point in the English ceramics industry. Immigrant potters from the Netherlands have also been postulated as the innovators. Nevertheless, the widest range of forms has been found in large numbers in Yorkshire and it may be that it was first made here. Kiln sites have been uncovered in the Leeds and Wakefield areas which specialised in these wares, though it is feasible that other workshops could have produced limited quantities. There were other production sites elsewhere notably at Nuneaton Warwickshire and Ticknall in Derbyshire. Cistercian ware is distributed mainly north of a line from Bristol to London: it is interesting to note that only one shard was recovered from the medieval excavations in Southhamton.

 

The shapes most commonly found are cylindrical beakers with two handles (1), and cups also with two handles but with a belles rim and a squat spherical body (2). There are several variations on this theme, the number of handles, for example, ranging from three (3) to eight. Another frequently occurring type is the posset pot, equipped with a close fitting lid (4). Posset itself was a popular beverage in the sixteenth and seventeenth centuries, consisting basically of hot milk or cream, eggs and Sack. When freshly made it was possible to drink this concoction, but as the eggs slowly solidified the imbiber had to resort to a spoon to scoop up the last of this extremely intoxicating snack. Basket pots (5) were another novelty, but their use is somewhat obscure. The flasks (6) were most probably used to hold liquor, the two lugs on either side used as anchor points when tying down the stopper. They were stored buried up to their necks in sand: a vigorously fermenting bottle of home-brew could be as lethal as a hand grenade! The last illustration (7) is the upper portion (side view) of a figurine of a lady in contemporary costume. She wears a Tudor bonnet all ruff and no doubt a high-waited dress with ruched sleeves. She is modelled in cream clay with dark brown dots of slip for her features and to embellish her headgear. This particular example is in the Yorkshire Museum, yet only Ticknall was known to have made them.

 

Acknowledgement is due to P.C.D. Brears who unwittingly provided most of the information for this article.

 

Jane Holdsworth

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