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The South Bank Lion, on Westminster Bridge. Modelled by William F. Woodington and Grade II* listed by English Heritage. (See "South Bank Lion" section below)

Twickenham Stadium Lion gate, (R.F.U.)
Originally paired with the "South Bank Lion" at the Lion Brewery on the Lambeth bank of the River Thames.
(See "Twickenham Stadium Lion" below)

Admiral Lord Nelson's Pediment, Old Royal Naval College, Greenwich.
(See "Nelson Pediment" section below)

Eleanor Coade's home, Belmont House, in Lyme Regis, Dorset, with Coade stone ornamental façade.
(See "Belmont House" section below)

Coade and Sealy's Gallery of Sculpture,
Westminster Bridge, 1799.
(See adjacent "Coade and Sealy gallery section")

Coade stone or Lithodipyra or Lithodipra (Ancient Greek: λίθος/δίς/πυρά, lit. 'stone fired twice') is stoneware that was often described as an artificial stone in the late 18th and early 19th centuries. It was used for moulding neoclassical statues, architectural decorations and garden ornaments of the highest quality that remain virtually weatherproof today.

Coade stone features were produced by appointment to George III and the Prince Regent for St George's Chapel, Windsor; The Royal Pavilion, Brighton; Carlton House, London; the Royal Naval College, Greenwich; and refurbishment of Buckingham Palace in the 1820s.[1][2]

Coade stone was prized by the most important architects such as: John Nash-Buckingham Palace; Sir John Soane-Bank of England; Robert Adam-Kenwood House; and James Wyatt-Radcliffe Observatory.[3]

The product (originally known as Lithodipyra) was created around 1770 by Eleanor Coade, who ran Coade's Artificial Stone Manufactory, Coade and Sealy, and Coade in Lambeth, London, from 1769 until her death in 1821.[1] It continued to be manufactured by her last business partner, William Croggon, until 1833.[1][4]

History

[edit]
Main article: Eleanor Coade

In 1769, Mrs Coade[a][b][c][d] bought Daniel Pincot's struggling artificial stone business at Kings Arms Stairs, Narrow Wall, Lambeth, a site now under the Royal Festival Hall.[2][7] This business developed into Coade's Artificial Stone Manufactory with Coade in charge, such that within two years (1771) she fired Pincot for "representing himself as the chief proprietor".[1][2][8]

Coade did not invent artificial stone. Various lesser-quality ceramic precursors to Lithodipyra had been both patented and manufactured over the forty (or sixty)[4] years prior to the introduction of her product. She was, however, probably responsible for perfecting both the clay recipe and the firing process. It is possible that Pincot's business was a continuation of that run nearby by Richard Holt, who had taken out two patents in 1722 for a kind of liquid metal or stone and another for making china without the use of clay, but there were many start-up artificial stone businesses in the early 18th century of which only Coade's succeeded.[7][9][10]

The company did well and boasted an illustrious list of customers such as George III and members of the English nobility.[e] In 1799, Coade appointed her cousin John Sealy (son of her mother's sister, Mary), already working as a modeller, as a partner in her business.[10] The business then traded as Coade and Sealy until his death in 1813, when it reverted to Coade.

In 1799, she opened a showroom, Coade and Sealy's Gallery of Sculpture, on Pedlar's Acre at the Surrey end of Westminster Bridge Road, to display her products.[1][2][12][13](See adjacent "Coade and Sealy gallery" image)

In 1813, Coade took on William Croggan from Grampound in Cornwall, a sculptor and distant relative by marriage (second cousin once removed). He managed the factory until her death eight years later in 1821[13] whereupon he bought the factory from the executors for c. £4000. Croggan supplied a lot of Coade stone for Buckingham Palace; however, he went bankrupt in 1833 and died two years later. Trade declined, and production came to an end in the early 1840s.

Material

[edit]

Lion Gate, Kew Gardens
Lion Gate (above), an entrance into Kew Gardens, with its Coade stone lion statue on top. Coade stone unicorn statue (below) atop Unicorn Gate, another entrance.
(See "Kew Lion and Unicorn gates" below)
Unicorn Gate, Kew Gardens

Description

[edit]

Coade stone is a type of stoneware. Mrs Coade's own name for her products was Lithodipyra, a name constructed from ancient Greek words meaning 'stone-twice-fire' (λίθος/δίς/πυρά), or 'twice-fired stone'. Its colours varied from light grey to light yellow (or even beige) and its surface is best described as having a matte finish.

The ease with which the product could be moulded into complex shapes made it ideal for large statues, sculptures and sculptural façades. One-off commissions were expensive to produce, as they had to carry the entire cost of creating a mould. Whenever possible moulds were kept for many years of repeated use.

Formula

[edit]

The recipe for Coade stone is claimed to be used today by Coade Ltd.

Its manufacture required extremely careful control and skill in kiln firing over a period of days, difficult to achieve with its era's fuels and technology. Coade's factory was the only really successful manufacturer.

The formula used was:

This mixture was also referred to as "fortified clay", which was kneaded before insertion into a 1,100 °C (2,000 °F) kiln for firing over four days[11] – a production technique very similar to brick manufacture.

Depending on the size and fineness of detail in the work, a different size and proportion of Coade grog was used. In many pieces a combination of grogs was used, with fine grogged clay applied to the surface for detail, backed up by a more heavily grogged mixture for strength.

Durability

[edit]

One of the more striking features of Coade stone is its high resistance to weathering, with the material often faring better than most types of natural stone in London's harsh environment.[citation needed] Prominent examples listed below have survived without apparent wear and tear for 150 years. There were, however, notable exceptions.[f] A few works produced by Coade, mainly dating from the later period, have shown poor resistance to weathering due to a bad firing in the kiln where the material was not brought up to a sufficient temperature.[citation needed]

Demise

[edit]

Coade stone was only superseded after Mrs Coade's death in 1821, by cast stone products using naturally exothermic Portland cement as a binder. It appears to have been largely phased out by the 1840s.

Map all coordinates using OpenStreetMap Download coordinates as KML

Examples

[edit]

Over 650 pieces are still in existence worldwide.[18][19]

Metropolitan Museum of Art
The Met - New York City
Faith - 'Overpainted Coade stone'
by John Bacon the Elder. 1791
(See Metropolitan Museum section)
Frankland Monument, Stanmer Park Brighton
Croome Court, Upton-upon-Severn. South staircase guarded by two Coade stone sphinxes.

"Statue of Hygieia", St Bernard's Well, by the Water of Leith, Edinburgh
Memorial to Frances Brown, daughter in law of Lancelot "Capability" Brown. (Fenstanton)

Father Thames, by John Bacon, in the grounds of Ham House
The Gibberd Garden, Harlow, Essex, created by Sir Frederick Gibberd

The Medici Vase, Kew Gardens, from a pair ordered by George IV.

George III at Lincoln Castle

1802 statue by Charles Rossi - Britannia or Minerva atop Liverpool Town Hall.
(See Liverpool Town Hall)
  • LiverpoolTown Hall. 1802 statue by Charles Rossi - Britannia or Minerva atop Liverpool Town Hall. Minerva, the goddess of wisdom, or Britannia. She is holding a spear, which is a common replacement for Britannia's trident, but that is usually in her right hand. Minerva is commonly depicted with an owl, but she is also the goddess of strategic warfare, so a spear makes sense. Both wear Corinthian helmets. Who is it? - Neither Rossi's own list of commissions, nor a (non-existent) Royal Academy contemporary list of his worksare available, so both Historic England and Pevsner hedge their bets saying "Britannia or Minerva".

Portobello Beach, three Coade Stone columns in the community garden at 70 Promenade (John Street), rescued from the garden of Argyle House

Lord Hill's Column, Shrewsbury. A 17 ft (5.2 m) tall statue of General Rowland Hill, 1st Viscount Hill, modelled in Coade stone by Joseph Panzetta

- The lion which originally stood over one of the brewery gates is now painted gold and located at the west-gate entrance of Twickenham Stadium, the home of English rugby. (See Twickenham Stadium Lion section below)
- The lion from the roof of the brewery, now known as the "South Bank Lion", was moved to Station Approach Waterloo, placed on a high plinth, and painted red as the symbol of British Rail. When removed, the initials of the sculptor William F. Woodington and the date, 24 May 1837, were discovered under one of its paws.[4] In 1966,[89] it was moved from outside Waterloo station to the south end of Westminster Bridge.[90] (51°30′03″N 0°07′10″W / 51.500836°N 0.119581°W / 51.500836; -0.119581 (South Bank Lion at the south end of Westminster Bridge)), (See South Bank Lion image at Top of article)
Captain William Bligh's Tomb surmounted by an eternal flame. Church of St Mary-at-Lambeth, (now the Garden Museum).

- 'The Oxford Gates'.[97] The central piers were designed by William Kent in 1731[98] Pavilions at either end were added in the 1780s to the design of the architect Vincenzo Valdrè. The piers have coats of arms in Coade stone.
Stowe Park
'The Cobham Monument'
The plinth is surmounted by Coade stone lions holding shields. (1778)
- 'The Gothic Cross' erected in 1814 from Coade stone on the path linking the Doric Arch to the Temple of Ancient Virtue. It was erected by the 1st Duke of Buckingham and Chandos as a memorial to his mother Lady Mary Nugent. It was demolished in the 1980s by a falling elm tree. The National Trust rebuilt the cross in 2017 using several of the surviving pieces of the monument.
- 'The Cobham Monument' is the tallest structure in the gardens. It incorporates a square plinth with corner buttresses surmounted by Coade stone lions holding shields added in 1778.[99]
- 'The Gothic Umbrello' also called the Conduit House a small octagonal pavilion dating from the 1790s. The coat of arms of the Marquess of Buckingham, dated 1793, made from Coade stone are placed over the entrance door.

Restored gateway to St Mary's Church Tremadog

- Sundial, 1825. The sundial in the grounds of the hall is in Coade stone, and is 1 metre (3 ft 3 in) high. It has a triangular plan with concave sides. At the bottom is a plinth with meander decoration on a circular base, the sides are moulded with festoons at the top, in the angles are caryatids, and at the top is a fluted frieze and an egg-and-dart cornice.[109] (52°41′33″N 2°17′04″W / 52.69258°N 2.28442°W / 52.69258; -2.28442 (Sundial, Weston Park, Staffordshire))
- Two urns and planting basin, 1825. The urns and planting basin are in Coade stone, and are to the southwest of the 'Temple of Diana'. The basin has a diameter of 2 metres (6 ft 7 in), with a cabled rim to the kerb. The urns are on a base, and each has a short stem, and a wide body with guilloché decoration and carvings of lions' heads.[110] (52°41′28″N 2°16′55″W / 52.69121°N 2.28204°W / 52.69121; -2.28204 (Two urns and planting basin, Weston Park, Staffordshire))
The triumphal arch at Park Crescent, Worthing

Birkbeck Image library

[edit]

In 2020, the library of Birkbeck, University of London, launched the Coade Stone image collection online, consisting of digitised slides of examples of Coade stone bequeathed by Alison Kelly, whose book Coade Stone was described by Caroline Stanford as "the most authoritative treatment on the subject".[3][115]

[edit]

Coade Ltd

[edit]

Coade Ltd produces original stone castings and does reproduction work in workshops in Wilton, Wiltshire.[116] It began business in 2000.[citation needed]

See also

[edit]
Wikimedia Commons has media related to Coade stone.

Notes

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Coade stone

View on Grokipedia
from Grokipedia
Coade stone is a durable artificial stone material, actually a type of fired , developed in the late for architectural and ornamental use, prized for its weather resistance and ability to replicate fine sculptural details. Invented around 1769 by Eleanor Coade (1733–1821), a pioneering Georgian businesswoman, the material was produced at her manufactory in , , initially in partnership with Daniel Pincot before she assumed sole control in 1771. Coade refined an existing formula, possibly derived from earlier artificial stone experiments, and marketed it under names like "Lithodipyra" before standardizing as Coade stone, with production continuing under her leadership and successors until the 1840s. The composition consists primarily of approximately 70% ball clay, 10% crushed fired clay () for texture, 5–10% grains, and ground soda-lime glass, which was mixed into a , poured into molds, and fired at temperatures exceeding 1,100°C for several days to achieve uniform shrinkage and hardness. This process, kept as a closely guarded secret during Coade's lifetime, resulted in a frost-proof far more resilient than natural stone or contemporary terracotta, allowing for intricate casts that withstood outdoor exposure. Widely employed by leading architects such as , , and Lancelot "Capability" Brown, Coade stone adorned neoclassical buildings, gardens, and monuments across Britain and beyond, including friezes, urns, statues, and gate piers; notable surviving examples include the lion sculptures at Stowe Landscape Gardens, decorative elements at , and the statue in Weymouth. It received royal warrants from and , underscoring its prestige, and hundreds of pieces remain extant today, highlighting its enduring legacy in . The recipe was rediscovered in the late , enabling modern reproductions.

Overview

Description

Coade stone is a type of fired , also known as Lithodipyra—a term derived from Greek words meaning "stone twice fired"—developed as a durable artificial alternative to natural stone for architectural and sculptural purposes. This material, composed primarily of clay, crushed terracotta, silicates, and , was molded and fired to create intricate forms that replicated the appearance and texture of quarried stone. Physically, Coade stone exhibits a pale yellow to cream coloration, sometimes with pinkish tones, and features a polished finish that enhances its stone-like realism. Its fine-grained texture allows for highly detailed molding, enabling the reproduction of complex designs while mimicking the visual qualities of , a popular natural . The material's smooth, impermeable surface contributes to its key advantage of exceptional durability against weathering. During the late 18th and early 19th centuries, Coade stone found primary application in neoclassical statues, architectural decorations such as friezes, pediments, and urns, as well as ornaments and funerary monuments, adorning buildings and landscapes in the Georgian style. Its versatility supported elaborate ornamental work by leading architects, transforming public and private spaces with weather-resistant embellishments. Over 650 pieces survive worldwide today, underscoring its widespread role in era-defining architectural enhancements.

Historical Significance

Coade stone played a pivotal role in the advancement of during the late 18th and early 19th centuries by providing an affordable medium for creating intricate replicas of classical motifs, thereby making elaborate ornamentation accessible for public buildings, private estates, and royal projects commissioned under . This material's ability to mimic the fine details of antique sculptures and architectural elements democratized high-end design, allowing architects to incorporate sophisticated pediments, friezes, and figurative elements without the prohibitive costs or limitations of natural stone. The material garnered significant patronage from nobility, prominent architects such as John Nash, and various institutions, elevating its status as a hallmark of British craftsmanship amid the Industrial Revolution's emphasis on innovative techniques. Royal warrants from and the Prince Regent further underscored its prestige, with commissions highlighting its integration into emblematic structures that symbolized national progress and aesthetic refinement. On a broader scale, Coade stone contributed to the enduring visual character of urban and rural landmarks across and other regions, its exceptional durability ensuring that these neoclassical embellishments have persisted as tangible evidence of 18th- and 19th-century advancements in synthetic building materials. Produced primarily from the 1770s to the 1840s, it exemplified how industrial-era innovations could blend artistry with practicality to shape the . Additionally, the enterprise's success under represented a rare instance of female entrepreneurship in a male-dominated field, fostering economic independence and challenging gender norms during the . Her management of the manufactory not only sustained a thriving but also positioned women as capable innovators in industrial production.

History

Invention and Early Development

Eleanor Coade, born in 1733 in to a family of wool merchants, entered the artificial stone industry following her father's death in 1769. Initially involved in the linen trade after moving to in the mid-1760s, she acquired a struggling manufactory at King's Arms Stairs in from Daniel Pincot, establishing Coade's Artificial Stone Manufactory that year. Coade quickly took full control by 1771 after dissolving the partnership with Pincot, whom she dismissed due to the business's poor performance. Coade stone's invention built on earlier artificial stone experiments in Britain, such as John Dwight's pioneering production at Fulham in 1672 and Pincot's production of fired ceramic artificial stone starting in 1767. However, these predecessors often suffered from and poor weather resistance, limiting their architectural use. Coade perfected her proprietary formula around through iterative experimentation, enhancing and moldability while maintaining secrecy akin to a to protect the . This resulted in a frost-resistant material suitable for intricate casting, marking a significant advancement over prior techniques. Early challenges included refining the firing process to achieve consistent strength without cracking, as the material required high-temperature to vitrify the clay-based mixture. Coade addressed this by focusing on small-scale ornaments and decorative elements initially, allowing for testing and refinement. By , her improved product gained rapid adoption among architects and sculptors, with collaborations such as employing John Bacon enabling production of finer works like garden statues. This phase established Coade as a pioneering inventor and entrepreneur in a male-dominated field, laying the foundation for the material's widespread use in .

Business Expansion and Operations

During its peak in the late 18th and early 19th centuries, the Coade manufactory underwent significant commercial growth, establishing a dedicated showroom known as Coade's Gallery in 1799 at the Lambeth Pottery site near Westminster Bridge to display neoclassical sculptures, architectural elements, and ornaments to prospective clients and architects. This expansion facilitated direct engagement with the design community, building on the factory's relocation and enlargement in the 1790s. The operation relied on a team of skilled artisans, including renowned modelers such as John Bacon, who served as chief designer from the 1770s until his death in 1799, and John Charles Felix Rossi, whose contributions included medallions and plaques for prominent commissions. Eleanor Coade provided steady leadership and continuity for the business from its early years until her death in 1821, navigating partnerships such as that with her cousin John Sealy from 1799 to 1813 to sustain production. Following Sealy's death, William Croggon, a longtime employee, assumed management around 1814 and formally acquired the firm from Coade's heirs after her death, operating it under his name from ; the business continued production until the . This succession ensured operational stability during a period of high demand, with Croggon overseeing the factory's premises on Belvedere Road, which he leased and expanded. The manufactory's operations centered on creating molds derived from architects' specifications, enabling the production of hundreds of pieces annually for prestigious projects across Britain and abroad. Exports extended to , America, , , and , underscoring the material's international appeal for durable architectural features. At its height, the business supplied over 650 documented surviving items, reflecting a robust scale supported by labor-intensive molding and firing processes tailored to custom orders. Marketing efforts bolstered the company's reputation, beginning with the issuance of illustrated catalogues in that listed nearly 800 stock designs, allowing clients to select or adapt motifs for . These publications, along with the gallery's guided tours and entry fees, promoted the stone's precision and reliability, earning praise in contemporary architectural literature for its weatherproof qualities and neoclassical fidelity. Royal warrants from and further enhanced its prestige among elite patrons.

Composition and Production

Materials and Formula

Coade stone was composed primarily of a mixture designed for durability and moldability, consisting of approximately 60% white potter's ball clay sourced from in southwest , 10% grog, 10% crushed flint, 10% fine river sand, and 10% soda glass. The ball clay provided the base for forming, while the other components contributed to the material's structural integrity and firing behavior. The stoneware grog, derived from calcined and finely crushed fragments of previously fired Coade stone, comprised about 10% of the mix and played a key role in reducing shrinkage during drying and firing, thereby preventing cracking and enabling the production of intricate, detailed molds without distortion. Crushed flint and sand added siliceous aggregates for strength, while the soda glass—likely recycled from glasshouses—acted as a to lower the melting point during firing and enhance weather resistance. Unlike later artificial stones that incorporated , Coade stone relied solely on these natural and recycled ingredients, avoiding hydraulic binders. The exact proportions of the formula were a closely guarded , known only to senior partners in the Coade firm and passed down through family lines, which contributed to its competitive edge over rivals. Post-production analyses in the late 20th and early 21st centuries, using techniques such as and scanning electron microscopy, confirmed the as a high-alumina (around 30% Al₂O₃) and low-iron (about 1.3% Fe₂O₃) clay-based , with dominant silica content (57-60% SiO₂) promoting stability and longevity. These analyses revealed minor variations over time, possibly due to changes in raw sources, but the core high-alumina, low-iron profile remained consistent for its frost-resistant properties.

Manufacturing Process

The manufacturing process of Coade stone was a labor-intensive technique that transformed a clay-based slip into durable, stone-like components suitable for architectural and ornamental use. It began with the preparation of a fine slip—a liquid suspension of approximately 60% ball clay, 10% crushed fired clay (), 10% crushed flint, 10% fine river sand, and 10% ground soda glass—designed to minimize shrinkage during drying and firing. This slip was poured into multi-part molds to form the pieces, with the molds often constructed to be reversible, enabling repeated use for of standardized designs from a catalog of over 700 items. For particularly intricate sculptural details, slip-casting methods were applied, allowing the liquid mixture to settle against the mold walls and capture fine textures before excess was drained. Once cast, the pieces were allowed to dry slowly to prevent cracking, after which they were demolded and any rough edges or imperfections were hand-worked by skilled artisans to refine the surface. Large-scale elements, such as statues or friezes up to 6 feet in height, were typically produced in modular sections to accommodate constraints and facilitate on-site assembly with mortar joints. The core of the process was a single, prolonged firing in large updraft s, where the greenware was heated continuously for four days and nights to temperatures ranging from 1,000°C to 1,150°C. This achieved partial —a glassy fusion of the surface—without full , resulting in a frost-resistant, impermeable finish that mimicked natural stone. Firemen monitored the kilns manually, adjusting fuel based on experience, as mechanical thermometers were unavailable. Post-firing, the pieces were air-cooled gradually within the kilns to avoid , then inspected and hand-finished to address any minor distortions or surface irregularities, sometimes including painting to simulate materials like or wood. was rigorous but challenging; only flawless items proceeded to finishing and delivery, underscoring the process's reliance on empirical skill and the factory's specialized workforce.

Properties and Durability

Coade stone possesses high comparable to that of natural , enabling its use in load-bearing architectural elements such as columns and cornices. This strength arises from its composition, fired at temperatures exceeding 1,100°C, which induces and creates a dense, stone-like matrix. The material's low , achieved through this process, renders it virtually impermeable to and significantly reduces absorption rates compared to porous natural stones. These properties confer exceptional resistance to frost damage, as minimal uptake prevents freeze-thaw expansion, and to atmospheric , where the inert silicate-based structure (approximately 57% SiO₂) avoids chemical dissolution unlike materials. Durability is evidenced by the survival of most artifacts produced between 1770 and 1830, which remain largely intact after more than 200 years of outdoor exposure, including in harsh urban environments. For instance, large-scale pieces like the Coade stone lions from the Lion Brewery, located near the site of the former , endured decades of industrial smog in with minimal degradation. This longevity surpasses that of , which suffers erosion from formed by and oxides in polluted air, while Coade stone's non-reactive surface maintains structural integrity. Despite these advantages, limitations include occasional cracking in some 19th-century examples, attributed to inconsistent under-firing that compromised or to overly ambitious large-scale molding leading to internal stresses during cooling. Additionally, while the body itself resists direct penetration, the material is not entirely waterproof without protective sealants, as can enter through mortar joints or attachment points, exacerbating issues like from embedded iron fixings. In comparative terms, Coade stone outperformed contemporary terracotta, which often exhibited higher and frost susceptibility, and , which lacked inherent resistance altogether. Modern analytical tests, including X-ray diffraction and chemical composition studies, confirm that the high silica and alumina content (around 30% Al₂O₃) enhances its long-term stability relative to these alternatives.

Decline

Factors Leading to Demise

The decline of Coade stone production in the 19th century was driven primarily by technological advancements that introduced cheaper alternatives, rendering the labor-intensive ceramic process less competitive. From the 1820s onward, Portland cement-based cast stone emerged as a viable substitute, allowing for faster production without the need for prolonged kiln firing, which significantly reduced manufacturing time and costs compared to Coade stone's multi-stage firing at high temperatures. This shift was exacerbated by Coade stone's inherent high production expenses, including substantial labor for hand-pressing molds and considerable fuel for firing, which became unsustainable amid rising industrial efficiencies. Economic pressures intensified following the death of Eleanor Coade in 1821, when William Croggon acquired the business from her heirs and initially maintained operations, including major commissions for . However, Croggon's mismanagement, including diversification into unprofitable side ventures and failure to recover large unpaid debts—such as over £20,000 from the Duke of York's projects—led to his in 1833. After Croggon's death in 1835, his son Thomas briefly refounded the firm, but it struggled under ongoing financial strain, producing minimal output by the late 1830s. Market changes further eroded demand as Victorian architectural tastes shifted away from neoclassical styles toward Gothic Revival and other eclectic forms that favored iron, glass, and new synthetic materials for their structural versatility and modern aesthetic. This reduced the need for Coade stone's fine ornamental details, once prized in Georgian designs. By the early , the original manufactory ceased full operations, with remaining stock and molds sold off in 1843, marking the end of production until a 20th-century revival.

Post-Production Legacy

Following the closure of the original Coade manufactory in 1843, surviving examples of Coade stone have been recognized for their historical and architectural value, with many incorporated into Grade I and II listed structures across the . For instance, the statue of King George III in Weymouth is designated Grade I listed, while the tomb of Admiral in , , holds Grade II* status, underscoring the material's integration into nationally significant heritage sites. These protections highlight the enduring craftsmanship of the original productions, which continue to adorn Georgian and Regency-era buildings despite exposure to environmental stresses. Conservation efforts for original Coade stone emphasize non-invasive techniques tailored to its composition, including with biocides to remove surface dirt and biological growth, refixing with dowels and resins, and casting infill replacements from molds of undamaged sections. Lime-based mortars are preferentially used for repairs to ensure compatibility with the stone's and to avoid damage from incompatible modern cements. In the 21st century, notable projects include the 2023 restoration of the Coade stone at the , where nine sections were meticulously cleaned and reassembled, and the 2024 conservation of the Four Graces statues at the , involving detailed assessment and protective treatments to safeguard against further weathering. Academic interest in Coade stone has grown since the late , with Alison Kelly's comprehensive study Mrs Coade's Stone () serving as a foundational reference, cataloging over 650 surviving pieces and detailing their production context. Recent chemical analyses, such as a 2022 spectroscopic examination published in Archaeometry, have confirmed the material's high-fired nature—consisting primarily of ball clay with , crushed flint, sand, and ground glass—while comparing it to earlier artificial stonewares and revealing subtle variations in 18th- and 19th-century batches. A , Coade Stone: A History and Analysis by Howell G. M. Edwards and Christopher J. Brooke, further advances this scholarship through new scientific investigations, emphasizing the material's high-fired nature and its distinction from cement-based imitators. Eleanor Coade's role as a pioneering entrepreneur has received in feminist histories of and , positioning her as an outstanding 18th-century figure who managed a successful manufactory amid barriers. As a symbol of Georgian-era ingenuity, Coade stone influenced subsequent artificial materials in , demonstrating the viability of molded, durable terracotta alternatives that inspired 19th-century producers of cementitious stone and glazed ceramics for neoclassical and Victorian designs.

Notable Examples

Architectural Applications

Coade stone found extensive application in architectural facades and public structures during the late 18th and early 19th centuries, valued for its ability to replicate fine stone detailing in durable, weather-resistant forms suitable for large-scale integrations. Architects such as incorporated it into neoclassical designs, including friezes and cornices at , where its precision casting allowed for intricate ornamental work that enhanced building elevations. Similarly, Sir employed Coade stone for architectural elements like caryatids, capitals, and cornices in projects such as the , appreciating its capacity to withstand exterior exposure while maintaining sharp sculptural details. Prominent examples include the South Bank Lion, a monumental sculpture by William Frederick Woodington cast in 1837 and originally positioned on the parapet of the Lion Brewery in , now relocated to the southern approach of as a key feature of London's riverside infrastructure. At the in Greenwich, the Nelson Pediment (1809–1812), depicting the of Admiral Lord Nelson, integrates Coade stone into the tympanum of the King William block, serving as a grand facade ornament that commemorates naval history. Other notable architectural uses encompass the Lion Gate at (1791), where a Coade stone surmounts the entrance arch, contributing to the estate's neoclassical gateway design. Balustrades and decorative elements at , commissioned under John Nash, further demonstrate its role in royal facades, providing robust yet ornate railing systems. The material's global reach extended beyond Britain through exports to the and , supporting architectural projects such as and ornamental facades in and various neoclassical structures across the continent, reflecting its international appeal for durable exterior applications.

Sculptural and Ornamental Works

Coade stone's application in sculptural and ornamental works extended beyond architectural integration, enabling the creation of freestanding statues, features, and memorials that captured neoclassical and mythological themes with exceptional to detail. One early example is the colossal figure of Father Thames, a river god holding an , sculpted by John Bacon in 1775 and installed at in Richmond upon Thames. This piece exemplifies the material's suitability for outdoor sculptures, as its frost-resistant properties have preserved the intricate modeling of the bearded figure and flowing water elements for over two centuries. Similarly, at in , Coade stone copies of the antique Borghese and Medici Vases, produced by the Coade manufactory, serve as monumental ornaments on plinths, demonstrating the material's ability to replicate classical forms at a fraction of the cost. Garden estates across Britain featured Coade stone ornaments that enhanced landscape designs, including vases, pedestals, and figurative seats. At Stowe Landscape Gardens in , four Coade stone lions, added in 1778, guard the Cobham Monument, their dynamic poses contributing to the site's theatrical vistas. Humorous or whimsical pieces also emerged, such as the cat monument at Shugborough Estate in , believed to commemorate a pet and crafted around 1770 to evoke classical tomb motifs in a playful manner. These garden features often drew from sources, with the material's ensuring survival against weathering, as seen in the floral-embellished urn at Killerton in . Artistic collaborations elevated Coade stone's sculptural output, with leading figures like John Flaxman providing designs that showcased the medium's precision. Flaxman, who began modeling for the Coade factory in the 1770s, contributed neoclassical reliefs and busts, such as a portrait bust modeled after E.H. Baily now in the , highlighting the material's capacity for fine facial details and drapery. Full tombs and monuments further demonstrated this versatility; the chest tomb of Vice Admiral in the Garden Museum, , features symbolic naval motifs and an inscription panel executed in Coade stone, enduring since the early 19th century. At in , a sculpted over the west entrance merges heraldic elements from the Brownlow and Cust families, illustrating the material's role in personalized ornamental commissions. Many surviving examples reside in museum collections, underscoring Coade stone's artistic legacy. The holds over 30 pieces, including the 1800 monument to Sir William Hillman by John Sealy and Eleanor Coade, a depicting the deceased in classical attire that retains its sharp contours. Other notable survivals include the lion statue on , a sentinel figure that has withstood urban exposure since the late , and the statue of in Weymouth, painted to mimic and celebrating royal patronage. Recent conservation efforts, such as the 2024 restoration of Coade stone figures at the , continue to preserve these works. These works, totaling over 650 documented pieces nationwide, highlight how Coade stone facilitated accessible, high-quality for estates, public spaces, and memorials.

Modern Revival

Coade Ltd Operations

Coade Ltd was founded in 2000 by sculptor Stephen Pettifer, who trained at the City & Guilds of Art School and drew on his experience in restoration and conservation to revive the production of Coade stone. Initially based in a studio in Kensal Rise, , the company relocated in 2005 to premises on the estate in , where it continues to operate. Pettifer refined the original 18th-century formula through extensive trials, adapting it for modern use while preserving its core composition of clay, , and silicates to create a highly durable, weather-resistant terracotta. The production process blends traditional molding and firing techniques with contemporary adaptations, such as for accurate scaling of complex sculptures, enabling precise replication of intricate details. This approach supports both restoration work on historic pieces and new commissions, with a focus on neoclassical and ornamental designs that echo the material's Georgian origins. Coade Ltd's operations center on heritage conservation and architectural applications, including repairs to period structures and the creation of garden replicas and decorative elements. Notable projects encompass restorations for royal sites, such as urns at , and sculptural works like a large statue commissioned for International's headquarters in , highlighting the company's global reach through exports. These efforts underscore the firm's role in sustaining Coade stone's practicality for enduring outdoor installations.

Digital Archives and Resources

In 2020, the library of , launched an online image collection dedicated to Coade stone, digitizing 771 slides bequeathed by art historian Averill Alison Kelly. These images document architectural, monumental, and sculptural applications of the material across the and beyond, enabling researchers to study its historical use and condition without physical access to the originals. The offers a searchable online catalog of Coade stone artifacts in its holdings, encompassing 32 objects such as reliefs, pedestals, and decorative elements, with high-resolution images and detailed provenance information available for public consultation. Complementing this, maintains technical conservation guidance on Coade stone, last updated in November 2021 to mark the bicentenary of Coade's death, which covers deterioration mechanisms like and rusting, alongside repair strategies including mortar infills and cast replacements. The also provides an interactive map pinpointing hundreds of known Coade stone sites in , facilitating geospatial analysis and site-specific research. Recent advancements include the application of and modeling in restoration projects, such as the 2017 recreation of a Gothic at Stowe Landscape Gardens, where digital models informed the fabrication of replacement sections to match original dimensions and shrinkage rates. These digital tools, often shared as open-access resources, support precise material analysis through non-invasive techniques like , enhancing conservation efforts for surviving works. All listed archives and databases are freely accessible online, promoting scholarly examination of Coade stone's composition, patterns, and cultural significance.

References

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