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Experiments were in progress by the early 1770s, but even by 16 September1779 it was not satisfactory, when Wedgwood mentioned it in a letter to Bentley (E.26-18923), The first time it was mentioned in a Catalogue was in 1787, in which it was described as 'bamboo or cane-coloured bisqu\u00e9 porcelain'."},{"value":"The designs for Sportive Love and Charlotte at the tomb of Werther were attributed to Lady Elizabeth Templetown (1747-1823) in the Wedgwood Catalogue of Cameos, Intaglios, medals, Bas-Reliefs, Busts, and Small Statues  . . . . 6th edn, Etruria, 1787, class II, p. 39, nos. 271 and 272. They were probably modelled by William Hackwood. The exact date of the designs is not known, but Wedgwood wrote to her in June 1783 requesting more designs (Wedgwood MS E.26-18958). 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Franklin replied on 5 May 1788, (Yale University Library), see Elizabeth Bryden Adams, \u2018The Dwight and Lucille Beeson Wedgwood Collection in the Birmingham Museum of Art\u2019, Birmingham Alabama, 1992, p. 106, where quoted, and p. 174, note 79."},{"value":"Slavery was abolished in England in 1833 but as it was not formally abolished in the whole of North America until 1865, many English slave owners continued to increase their wealth by selling enslaved people to American traders. Much of the wealth associated with the industrial revolution was directly connected to the trade and labour of enslaved people."},{"value":"The medallions, made in Wedgwood\u2019s famous jasperware (imitating ancient cameos), were incorporated into jewellery, shoe buckles, hairpins and campaign buttons, allowing supporters of the abolitionist movement to publicly demonstrate their support for the cause and help to spread word of the Society and its aims. The image, together with the accompanying phrase, \u2018Am I not a man and a brother?\u2019 became one of the most powerful symbols of the abolitionist cause and it was widely copied and adapted. It can be found painted on ceramic patch boxes, cast in metal medals and even woven and beaded in textile form. Wedgwood distributed these medallions widely, sending 500 to founding member of the Society, Thomas Clarkson, and 400 to Benjamin Franklin in Philadelphia. Franklin gave them to his friends and thanked Wedgwood, writing, \u2018I am persuaded it may have an effect equal to that of the best written pamphlet in procuring honour to those oppressed people\u2019."},{"value":"This badge was used to advocate for the abolition (end of) the trade in enslaved African people. It was produced for the Society for the Abolition of the Slave Trade, formed in 1787, which campaigned vigorously in favour of a new law through the production of widely-distributed pamphlets, books, posters and prints. Famous ceramic manufacturer Josiah Wedgwood had long been a staunch abolitionist and after joining the Society, his factory began to produce medallions depicting this image, which is attributed to sculptor Henry Webber and prepared for production by modeller William Hackwood."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-107437","uid":"adlib-term-107437","uuid":"96f4b0d1-fc11-39ff-ae91-1b23d888d479"},"summary_title":"George III"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-113623","uid":"adlib-term-113623","uuid":"87ef9eaf-54a8-3838-8337-94dbf03aad62"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"England"}],"summary_title":"England","type":"country"}]],"summary_title":"Etruria"}]}]},"materials":[{"note":[{"value":"white and black"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-107483","uid":"adlib-term-107483","uuid":"42cd0dfd-3d96-36f1-910d-7d1da88f245d"},"summary_title":"jasper 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The hemispherical bowl, cover (A), and triangular plinth are rosso antico; the three dolphin feet, the festoons looped over buttons on the body, and other applied relief ornament are in black. The lid is pierced with a radiating lattice pattern, and has a flat button finial with an applied black rosette."}],"identifier":[{"accession_number":"MAR.C.14 & A-1912","primary":true,"type":"accession number","value":"MAR.C.14 & A-1912"},{"priref":"12080","type":"priref","value":"12080"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/12080","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/12080"}],"inscription":[{"description":[{"value":"impressed in extremely faint oblong outline"}],"location":"on the base","method":"impressed","transcription":[{"value":"WEDGWOOD"}],"type":"mark"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"C.B. 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The whole formed in different kinds of porcelain and terra-cotta, chiefly after the antique and the first models of modern artists. By Josiah Wedgwood FRS, potter to Her Majesty, and to His Royal Highness the Duke of York and Albany. 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Squat ovoid body with incurved neck and everted rim, with two elbowed handles, and disk base. Decorated with two scenes separated by bearded male masks below the handles. Reading from left to right: Side 1. Two square pillars supporting an architrave, behind which is a small shrub. In  front of the pillars a nude young man holding a drape behind him in his right hand, steps forward to take the arm of a partly draped  woman who sits on the ground, looking back at him, and has a snake in her lap. Eros, holding a bow in his left hand and a torch in his right, flies overhead looking back to the young man. On the right, a bearded man stands in three-quarter profile to left, with his right foot on a heap of stones in front of a tree. He rests his chin on his right hand and his right elbow on his right thigh. To the right behind him there is a slender tree. Side 2.  A square pillar with a capital, beside which sits a nude young man on a pile of rocks. He has a drape over his right leg, and looks to the right towards a woman, who reclines on pile of rocks in front of a tree.  Her lower body is draped, and she holds a torch pointing downwards in her left hand, and has her right arm bent with the hand on her head. In front of her is a square stone with central hole and chamfered edge. On the right is a nude woman, seated on a separate pile of rocks, looking back towards the other two figures. She is partly draped, and holds a sceptre in her left hand. On the base, there is a spray of foliage above the head of a young man,  in profile to right, wearing a Phrygian cap, and a cloak, and having his right forefinger to his lips. 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VI, September 1804, pl. 391, Nymphaea lotus; The Botanical Magazine, February 1806, pl. 903a & b, Nelumbium speciosum. This and a few other botanical patterns, such as Peony (see C.864-1984) appear to have been introduced at Etruria because of John Wedgwood's interested in botany, and after he withdrew from the firm in 1812, they were not continued."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-106498","uid":"adlib-term-106498","uuid":"272179a1-524b-3f36-aab7-bf342ce484d6"},"summary_title":"19th Century, Early"},{"@link":{"type":"reference"},"admin":{"id":"term-107437","uid":"adlib-term-107437","uuid":"96f4b0d1-fc11-39ff-ae91-1b23d888d479"},"summary_title":"George 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