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points out that kilns like Hareplain would
only have had a short life.5 If the potters at
Hareplain were the same as those at Lamb’s Cross, were they
forced to move or did they choose to be nearer to potentially
more profitable markets like Bayham Abbey and Maidstone?
Of the very small number of sherds from Lamb’s
Cross (there are only twenty two sherds from Brookside and the
Kiln site), jugs of both types are best represented: for a type
I rim ( the waster) cf. Hareplain fig. 2,2; for a type II
rim cf. fig. 2,11; bung-holes ( cf. fig. 3,17-18)
and handles both strap and oval-sectioned are the commonest
sherds. Other diagnostic sherds are from rims of bowls/dishes ( cf.
figs. 3,26 and 4,33); there is also a damaged rim fragment
from a cooking pot with a deep-seated ledge for a lid, but of a
type not found at Hareplain, so the Lamb’s Cross potter(s)
were probably, given the short life of the kilns, but not
certainly the same as the Hareplain ones. The clay must have
been similar to that used at Hareplain.
Brookside ( TQ 791483 ) is situated on the east
side of a triangular area of land bounded by three minor roads
and the Lamb’s Cross Kiln is within this area, centred around
TQ 790483.
Acknowledgements. The writer is grateful to
Mr Giles Guthrie, Keeper of Human History at Maidstone Museum,
for his help in checking and providing references and for
allowing him to retain the sherds for examination.
D.B. KELLY
1 ‘Medieval and Later Ceramic Production and
Distribution in South-East England : a study in
ceramic archaeology and historical geography’,
unpublished doctoral thesis, University of
Southampton, September 1987.
2 D.B. Kelly, ‘An Early Tudor Kiln at
Hareplain, Biddenden’, Archaeologia Cantiana, 87
(1972),
159-176.
3 Ibid, 161and fig. 1.
4 A.D.F. Streeten, ‘Craft and Industry:
Medieval and Later Potters in South-East England’, in
H. Howard and E.L. Morris (eds), Production
and Distribution: a Ceramic Viewpoint,
BAR International Series 120 (1981) 323-346.
5 Ibid., 340.
EDWARD CRESY, F.S.A.: A KENTISH ARCHITECT
Edward Cresy (1792-1858) is today best remembered for his books,
the first two of which were the product of the Grand Tour, made
largely on foot between 1817 and 1819, with his co-author and
life-long friend George Ledwell Taylor.1 The two
splendid illustrated volumes of The Architectural Antiquities
of Rome were published in 1821-2, followed
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