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Notes
1. The discussion follows and expands upon a theme presented in a Krannert Art Museum exhibition At Home and Abroad in Staffordshire; installed for the 1988 grand opening of the Krannert Art Museum and Kinkead Pavilion, the exhibition, along with its catalogue, was a two semester's project of the students in the advanced class of the Graduate Program in Museum Studies, funded by a grant from the National Endowment for the Arts and directed by this writer.
2. L. Chavonne Hoyle Gurujal, "The Historical Development of the Staffordshire Transfer Ware Process," in At Home and Abroad in Staffordshire, ed. Eunice Dauterman Maguire (Champaign, 1988), 12-17. Subsequent references to this publication are cited by the abbreviation HAS.
3. HAS, no. 24, illustrated on p. 1. The maker is unknown.
4. Andrew Wilton, Constable's "English Landscape Scenery" (London, [1979]), pl. 7. The text of the original captions accompanies the plates in this book.
5. See the discussion of rainbows in Jonathan Wordsworth, Michael

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C. Jaye, and Robert Woof, William Wordsworth and the Age of English Romanticism (New Brunswick [1987]), 60-68.
6. Wilton, Constable's "English Landscape Scenery," pl. 41.
7. Uvedale Price, Essays on the Picturesque, as compared with the Sublime and the Beautiful, and On the Use of Studying Pictures, for the Purpose of Improving Real Estate, vol. 3 (London, 1810), 87-88.
8. For types of source prints, and the actual supply of prints for transfer, see Maguire, "What's in a Name," HAS 4, and Gurujal, "Historical Development," HAS 15; for travel prints and the interest in travel, see n. 13 below, and the quotation from 1849, Eliza Cook's Journal, with the subsequent discussion by William Butler, "Picturesque Scenes and English Gardens," HAS, 26-29; also Linda Bloom, "Exotic Scenes," HAS 32, and Batya Metzer, "American Scenes," HAS 36.
9. See n. 7 above and vol. 1 (1810), 53-55, where Price continues to require "the study of art with that of nature" and to suggest that Gothic architecture, with its "splendid confusion and irregularity," its "extreme richness and intricacy," is a "triumph of the picturesque."
10. Harriet Martineau, A Complete Guide to the English Lakes (Windermere, [1855]), 45 and 57. Best known as a novelist, she becomes an authoritative guide, pointing out Wordsworth's house and garden and referring to him as arbiter of the view. For Constable, see C. R. Leslie, Memoirs of the Life of John Constable (London, 1949), 230.
11. The 1842 Copyright Act recognized the value of such plates; so does Martineau. In A Complete Guide she credits the plates, "Mr. Aspland's beautiful illustrative views, so finely engraved by Mr. Banks," for contributing to a book "which will not only be in every tourist's hands, but find a place on the library shelves of those who have never visited, and may not contemplate visiting, this district of England." Her praise equating medieval architecture with nature, she finds the view from Skiddaw exciting because it includes medieval buildings with mountains in one prospect. See ii and 93, respectively.
12. Maguire, "What's in a Name," HAS 4, and see Robert Copeland, as cited in HAS 10.
13. Bloom, "Exotic Scenes," HAS 7, with illustration; the pattern is Bosphorus, by R. Hall and Co. (1941-49), HAS no. 30.
14. Thomas Mayer, Olympic Games; Javelin Throwing (1825-35), HAS no. 41.
15. Priory, by Hicks, Mead, and Johnson (c. 1822-35), HAS no. 14; the jug, in a private collection, is unpublished.
16. Maguire, "What's in a Name," HAS 10.
17. [Simond, Louis], Journal of a Tour and Residence in Great Britain during the Years 1810 and 1811, by a French Traveller: with Remarks on the Country, its Arts, Literature, and Politics, and on the Manners and Customs of its

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Inhabitants, vol. 2 (Edinburgh, 1815), 281f.
18. See Butler, "Picturesque Scenes," HAS 26-29, for William Gilpin's definition of the picturesque and its reflection in scenes on nineteenth-century transfer ware.
19. Journal, 65.
20. See n. 11 above and Ralph Waldo Emerson, "History," Essays of Ralph Waldo Emerson, Including Essays, First and Second Series, English Traits, Nature, and Considerations by the Way (New York, n. d.), 7, for the shared identity of the ideal cathedral and the uninhabited mountain.
21. Coburg, by John Edwards (c. 1890-1900), HAS no. 2; for this smeared or flowing line, see Maguire, "What's in a Name," HAS 6, and Gurujal, "Historical Development," HAS 15.
22. Emerson, "History," 3.
23. Henry R. Tuckerman (A Month in England [New York, 1854], 99-100) describes the interruption of his "historical associations" at Windsor by a glimpse of the royal family, with "an air of domestic and rural peace" supported by "the idea of the motherly and conjugal Victoria, and her agricultural lord."
24. Cf. Gauguin's composition in a famous portrait, following a device well enough known in the decorative and illustrative arts to have appeared previously on a transfer-printed coffee cup (Maguire, "What's in a Name," HAS 5).
25. Columbia, by William Adams and Sons (c. 1845-50), HAS no. 9.
26. See HAS 15, no. 33, and 16, no. 30.
27. Xian Min Zhu, "Staffordshire Marks," HAS 40ff. See also the Ridgways mark, 39.
28. Benson J. Lossing, The Hudson; From the Wilderness to the Sea (Troy, N.Y., 1866), 425-26.
29. Pevsner, London (Harmondsworth, 1952), 254.
30. See HAS no. 4, a clobbered piece which won a prize at Crystal Palace, Gurujal, "Historical Development," 16.
31. See lines 1-43.
32. Huck Finn notices such curtains in the parlor windows of a feudal family on the Mississippi, at the end of chap. 7 of Mark Twain's The Adventures of Huckleberry Finn.
33. Sesame and Lilies, ed. J. W. Linn (Chicago, 1906), 140. The text was originally read as a lecture in Manchester, and became one of Ruskin's most popular writings.