Vase-Mania: A Detailed Exploration of 18th Century Classical Obsession

Introduction

In the January 23, 2025 episode of BBC Radio 4's In Our Time, titled "Vase-Mania," host Melvyn Bragg delves into the fervent 18th-century craze for collecting classical vases. This episode unpacks the cultural, social, and economic factors that spurred what is aptly termed "vase mania," highlighting the roles of key figures like Josiah Wedgwood and William Hamilton. Through insightful discussions with expert guests—Jenny Huglo, Caroline McCaffrey Howarth, and Rumi—the program illuminates how this obsession with antiquity symbolized broader societal shifts and influenced art, commerce, and class dynamics.

1. The Rise of Archaeological Enthusiasm

Jenny Huglo sets the stage by outlining the archaeological breakthroughs of the mid-18th century, particularly the excavations of Pompeii and Herculaneum. These discoveries ignited a widespread interest in the classical world beyond the previously Roman-centric focus.

Jenny Huglo [02:36]: "It was an extraordinary, exciting time for excavations... the work started in earnest on Pompeii and Herculaneum."

The public's fascination extended to Greek antiquities, spurred by publications and explorations that emphasized the elegance and mystery of Greek culture. This shift marked a departure from the well-documented Roman past, introducing a rich tapestry of Greek and Etruscan influences into British cultural consciousness.

2. The Grand Tour and Societal Influence

Caroline McCaffrey Howarth discusses the pivotal role of the Grand Tour—a rite of passage for the British elite—that facilitated firsthand exposure to classical sites and artifacts. This educational journey not only enriched the travelers' classical knowledge but also fostered a market for classical-inspired objects back home.

Caroline McCaffrey Howarth [10:58]: "The Grand Tour is really the sort of rite of passage for young men and women... to complete their education, which was absolutely grounded in the classics."

The Grand Tour embedded classical aesthetics into British society, making classical motifs a symbol of education, sophistication, and social status among the upper echelons.

3. The Society of Dilettanti and Print Culture

Rumi elaborates on institutions like the Society of Dilettanti, an exclusive group of aristocrats dedicated to promoting classical art and archaeology. This society not only funded expeditions but also sponsored publications that disseminated classical designs and motifs to a broader audience.

Rumi [07:10]: "It was published at the expense of the Society of Dilettanti... a self-selecting group of rich young who were interested in travel and the classical past."

Caroline McCaffrey Howarth adds that the explosion of print culture allowed even those who couldn't afford the Grand Tour to access classical designs, thereby democratizing classical aesthetics and fueling the vase mania beyond the elite.

Caroline McCaffrey Howarth [14:24]: "There’s a huge increase in print culture... people who cannot afford to or are not able to travel on these grand tours are still able to access the antique."

4. William Hamilton: The Collector Envoy

Jenny Huglo introduces William Hamilton, whose role as a British envoy to the Kingdom of the Two Sicilies was instrumental in fueling vase mania. Hamilton's fervent collection of vases, inspired by his experiences in Naples and the surrounding archaeological sites, became a cornerstone for the burgeoning interest in classical vases.

Jenny Huglo [15:18]: "Hamilton is absolutely the sort of key to a great surge in British interest... he buys from collectors, he goes out and he even unearths some himself."

Hamilton not only amassed an impressive collection but also produced lavish folios showcasing these vases, intended to inspire British manufacturers and assert British cultural taste.

5. Josiah Wedgwood and the Commercialization of Classical Aesthetics

The episode extensively explores Josiah Wedgwood's pivotal role in transforming vase mania into a commercial enterprise. Rumi explains how Wedgwood leveraged William Hamilton's publications to create imitations of classical vases, making them accessible to a wider market.

Rumi [19:42]: "Josiah Wedgwood was one of the leading potters... he realized that the designs could instigate a completely new line of vases in imitation of the ancients."

Wedgwood's introduction of Jasper Ware, a refined earthenware with blue and white motifs, revolutionized the ceramic industry. His innovative techniques, such as encaustic painting, allowed for the mass production of aesthetically pleasing and affordable classical vases.

Caroline McCaffrey Howarth [26:21]: "He develops the method of encaustic painting, which he claimed had been lost since the time of Pliny and he had reinvented it."

6. The Portland Vase and Artistic Innovation

The Portland Vase, originally a Roman artifact, became iconic through Wedgwood's Jasper Ware reproductions. Jenny Huglo details how Wedgwood's dedication to replicating the vase demonstrated both artistic mastery and business acumen.

Jenny Huglo [37:44]: "He wants to create the most famous vase in this material... he has a subscription list of people who subscribe to the first edition of the Portland Vase."

Wedgwood’s ability to combine artistic fidelity with commercial scalability not only popularized the Portland Vase but also cemented his legacy as a pioneer in combining art with industry.

7. Social Impact: Class and Taste

The program delves into how vase mania intersected with social class dynamics. Caroline McCaffrey Howarth highlights how owning a Wedgwood vase became a status symbol among the middle classes, reflecting their aspirations and emulation of aristocratic taste.

Caroline McCaffrey Howarth [32:47]: "Wedgwood is aware that he needs to suit not only the market and the taste of his elite patrons, but also... the growing middle market."

Rumi emphasizes that these vases were not merely decorative objects but markers of social identity and taste, reinforcing class distinctions while also democratizing access to classical aesthetics through more affordable versions.

Rumi [33:40]: "They were under no illusion that they were buying something classical, but they were... a demonstration of their taste."

8. Legacy and Influence on Art and Literature

The episode connects vase mania to broader cultural outputs, notably poetry. Jenny Huglo references John Keats’ "Ode on a Grecian Urn," illustrating how the enduring allure of classical vases permeated literature, encapsulating the timeless beauty and mystery that vases symbolized.

Jenny Huglo [48:21]: "Keats’ 'Ode on a Grecian Urn'... he takes you back into the past... a whole moment, a total world held and suspended in time."

This literary homage underscores the deep-seated influence of vase mania on the Romantic literary movement, where classical motifs became metaphors for enduring beauty and unfulfilled longing.

9. The British Museum and Cultural Capital

Rumi discusses the significance of the British Museum in institutionalizing classical antiquities. William Hamilton's sale of his vase collection to the museum not only enriched its holdings but also set a precedent for the curation of classical art as a guardian of civilization's finest artifacts.

Rumi [40:37]: "When Hamilton sells his collection to the British Museum... it was the first major acquisition of ancient art."

Caroline McCaffrey Howarth notes the tension between collectors and institutions, as Hamilton expressed frustration over the display delays, reflecting the competitive nature of cultural capital during this era.

Caroline McCaffrey Howarth [42:26]: "They don’t put his vase collection on display quickly enough... There's a real connection between the two of them, but also this idea that the museum is... the apex of cultural capital."

10. Enduring Popularity and Artistic Techniques

The discussion concludes with the lasting popularity of Wedgwood's vases and the technical prowess behind their creation. Caroline McCaffrey Howarth highlights Wedgwood's relentless experimentation and innovation, which ensured the vases remained fashionable well into the 19th century.

Caroline McCaffrey Howarth [25:44]: "Wedgwood does thousands of trials to perfect his Jasper ware... he invents a pyrometer, a specific thermometer to check kiln temperatures."

Jenny Huglo and Rumi further elaborate on the aesthetic and technical aspects, emphasizing how Wedgwood balanced artistic fidelity with practical manufacturing techniques to sustain the allure of his classical reproductions.

Conclusion

"Vase-Mania" intricately weaves together threads of archaeology, commerce, art, and social change to portray a society deeply enamored with its classical heritage. Through the expert insights of Jenny Huglo, Caroline McCaffrey Howarth, and Rumi, Melvyn Bragg paints a vivid picture of how an 18th-century obsession with classical vases not only reflected but also shaped the cultural and social landscape of Britain. The episode serves as a testament to the enduring power of classical aesthetics and their profound impact on art, industry, and societal values.

Notable Quotes:

• Jenny Huglo [02:36]: "It was just a sort of a race both to keep up with France and also to prove that you knew about Greek antiquity as well as Roman antiquity."

• Rumi [07:10]: "The Grand Tour... involved traveling across continental Europe... pick up antique sculpture or plaster casts or a souvenir print by Piranesi."

• Caroline McCaffrey Howarth [14:24]: "Print culture... people who cannot afford to or are not able to travel on these grand tours are still able to access the antique."

• Jenny Huglo [15:18]: "He’s constantly going back to the ancient traditions to revive them, but he's doing it with the most up to date ceramic technology."

• Jenny Huglo [48:21]: "Harper's 'Ode on a Grecian Urn'... total world held and suspended in time."

This comprehensive exploration of "Vase-Mania" offers listeners an engaging and nuanced understanding of how classical art objects became pivotal symbols of taste, status, and cultural identity in 18th-century Britain.