Chamberpot, practical and humble, and sometimes decorated

Press, 28 December 1989, Page 17

Chamberpot, practical and humble, and sometimes decorated

One of the most useful domestic utensils over the centuries has been the chamberpot, its familiar form evolving- in medieval Europe.

Pottery chamberpots have been extensively -manufactured throughout the centuries in England and Europe. Pewter, brass and tin-glazed earthernware

along with solid silver chamberpots bearing the crests of the aristocracy were widely produced during the seventeenth and eighteenth centuries, but are rarely found today. A variety of more unusual chamber pots included the glass pot with furlined rim owned by Cardinal Jules Mazarin (1602-1661), the chief minister of King Louis XIV of France.

Oblong pots called bourdalou were preferred in France and generally made of porcelain. More rarely they were of silver, faience (the French name for tin-glazed earthenware) and “japanned” (a hard, durable, black varnish) metal. These small eighteenth century chamberpots for female use were introduced about 1710 and produced until the 1850 s by leading Continental porcelain factories, some of the finest examples coming from Meissen and Sievres. Such pots were also manufactured in England by Bow, Derby and Worcester in porcelain, and in cream coloured ware by Wedgwood and Leeds. For the export trade China and Japan also produced the pot, usually with a cover. These often delicately decorated bourdalous (sometimes mistaken for sauceboats) are generally thought to have derived their name from the famous French Jesuit preacher Louis Bourdaloue (1632-1704) at the Court Of Louis XIV. Such was the popularity, of his sermons that his congregation assembled hours in advance-to attend the service. That combined with the length of the sermon made it necessary- for the ladies to carry the bourdalou concealed in their muff,, discreetly flipping the utensil > under the skirt when required — Versailles having been built without lavatories. Late, examples of the bourdalou were .generally intended for travelling. Wedgwood classi-

fied such objects as coach-pots, and were also known in nineteenth century England as the “crinoline slipper.” Chamberpots of eighteenth century England were often decorated with the reigning monarch’s monogram or portrait. As long as the decoration was shown on the outside of the pot no disrespect was intended, but that was not always the case; in particular, King George 111, the Duke of Wellington, and Napoleon Bonaparte were subjected to having their small pottery busts appearing on the bottom of the inside of the chamberpot, reflecting the patriotic fervour of the time in America, France and Britain.

Ornamentation took a variety of forms — from the seventeenth century pious mottoes, crests, dates and initials were popular along with lewd verses often used to adorn two-handled bridal pots. An array of frogs and lizards decorating the interior were frequently used as well as couplets around the rim. Inscriptions similar to “Pick me up and use me well,” or “Oh, me, what do I see,” were also to be found on the continent. From Victorian times hotels and railways also ornamented chamberpots with emblems or monograms. Decoration . reflected contemporary tastes, and ornamentation generally associated with tableware was popular, such as the willow pattern, scene transfers and floral motifs which became stock lines manufactured by the potteries.

. Although chamberpots were generally . produced without a cover, lidded earthernware pots complete with wickerwork carrying basket for the traveller were in use during the nineteenth century.

Chamberpots were also produced in matched pairs, sets of various sizes, or as singles to complement toilet sets.

By

JULI O’BRIEN