1. Harriet Beecher Stowe, Uncle Tom’s Cabin (New York: Bantam, 1981), p. 176. 2. Ibid., p. 58. 3. Although unmarked, the vases can be from no place other than Limoges. Many Limoges factories made decorative wares that featured figures either from popular contemporary literature and drama or of newsworthy appeal such as politicians, preachers, sportsmen, monarchs, and so forth. These were meant to be of momentary fashionable interest, but they were better looking than very cheap fairings. Limoges, more than factories in Paris or Bohemia, produced vases in two sizes. Alice Cooney Frelinghuysen discusses a pair of similar vases from the collection of the Newark Museum, Newark, New Jersey, in her essay “Empire City Entrepreneurs: Ceramics and Glass in New York City,” in Art and the Empire City: New York, 1825–1861, edited by Catherine Hoover Voorsanger and John K. Howat, exh. cat. (New York: Metropolitan Museum of Art, 2000), p. 330, no. 252, color ill. p. 537. Frelinghuysen cites Limoges rather than Paris as the likely place where these vases were made. 4. Harriet Beecher Stowe, La Case de l’Oncle Tom, translated by Louise Swanton-Belloc (Paris: Charpentier, 1853). As Adolphus M. Hart notes in Uncle Tom in Paris, the French rejected the high moral tone of Stowe’s novel, preferring to show the bloodthirsty melodramatic elements of the book; Hart, Uncle Tom in Paris; or, Views of Slavery Outside the Cabin (Baltimore: William Taylor and Company, 1854). Even popular American theatrical interpretations relied on these same elements to draw crowds into their halls. 5. Harriet Beecher Stowe, Pictures and Stories from Uncle Tom’s Cabin (Boston and London: John P. Jewett and Company, 1853). 6. See Dell Upton, “Inventing the Metropolis: Civilization and Urbanity in Antebellum New York,” in Art and the Empire City: New York, 1825–1861, edited by Catherine Hoover Voorsanger and John K. Howat, exh. cat. (New York: Metropolitan Museum of Art, 2000),, pp. 3–45. 7. See ibid., fig. 16, for the illustration of the Haughwout salesroom; the details about the company’s decorating staff can be found in Margaret Brown Klapthor et al., Official White House China, 1789 to the Present, 2nd ed. (New York: Harry N. Abrams, 1998), p. 77. 8. Klapthor, Official White House China, p. 82, says that two services decorated for Abraham Lincoln were completed with imported blanks from various French factories. 9. Alice Cooney Frelinghuysen, American Porcelain, 1770–1920, exh. cat. (New York: Metropolitan Museum of Art, 1989), suggests that the factories founded in America before the last third of the nineteenth century were prevented from enjoying widespread success through a combination of technical, marketing, and management flaws in their businesses. 10. The Bow factory had been making porcelain figures based on contemporary prints of famous actors and actresses since the 1750s, and the Derby factory made twelve bone china representations of William Coombs’s hilarious buffoon Dr. Syntax based on differing episodes in his travels. 11. P. D. Gordon Pugh, Staffordshire Portrait Figures and Allied Subjects of the Victorian Era (London: Barrie and Jenkins, 1970). 12. The plethora of figures and the Dudson find were discussed via email at length with Miranda Goodby, beginning on January 5, 2001. 13. Harriet Beecher Stowe, Uncle Tom’s Cabin (London: J. Cassell, 1852). 14. Obviously, bowers were not and are not exclusively English, but the English held to their garden traditions and associated an orderly garden to an orderly, morally correct life. 15. See www.iath.virginia.edu/utc for a fairly complete list of plates found with Uncle Tom scenes. 16. See ibid. This latter image particularly helped stir moral outrage against slave-holding and assisted Stowe’s abolitionist cause. Stowe herself said she wrote Uncle Tom’s Cabin because the true crime of slaveholders lay in their dividing families and destroying homes. The cabin in the novel is a symbol of good, holy, moral love despite the ignorance of its occupants. 17. For a full discussion of these items, see Sam Margolin, “‘And Freedom to the Slave’: Antislavery Ceramics, 1787–1865,” Ceramics in America, edited by Robert Hunter (Hanover, N.H.: University Press of New England for the Chipstone Foundation, 2002), pp. 80–109. 18. Quoted in Joan D. Hedrick, Harriet Beecher Stowe: A Life (New York: Oxford University Press, 1994), p. 224. 19. “Inexpensive Parian-ware sculptures had become favorite domestic adornments by this period and had proliferated on the market; one advertisement run repeatedly by a Maiden Lane proprietor boasted of more than 400 selections”; Thayer Tolles, “Modeling a Reputation: The American Sculptor and New York City,” in Art and the Empire City: New York, 1825–1861, edited by Catherine Hoover Voorsanger and John K. Howat, exh. cat. (New York: Metropolitan Museum of Art, 2000), p. 161. 20. See Paul Atterbury and Maureen Batkin, eds., The Parian Phenomenon: A Survey of Victorian Parian Porcelain Statuary and Busts (Somerset, Eng.: Richard Dennis, 1989), which includes this wonderful sketch from the factory archives. Although the image is not very distinct, it clearly shows Eva in an almost angelic state on Uncle Tom’s knee. For the pitcher, see www.iath.virginia.edu/utc.