History of clay roof tiles

It is believed that the first single lap clay roof tiles were formed from baked earth or clay around 2700 BC. The Romans were the first to make and use fired clay tiles in England but the practice died shortly after their occupation ceased. 

In 1212 AD King John issued building by-laws for London that required combustible roof coverings to be replaced with clay tiles. At about the same time the Archbishop of Canterbury banned the use of thatch on buildings near the Cathedral.  From this time clay tiles have never been out of production.

King Edward IV standardised the size of a plain tile in 1477 AD. The dimensions were 10½ inches by 6¼ inches by 5/8 ths of an inch thick.  The British Standard for clay plain tiles was published in 1935 and with minor adjustments it remained in force until it was replaced by the European Standard in 1999. 

Britain's architectural diversity and the distinctive characteristics of villages, towns and  regions has arisen as a result of local preferences and traditions and the local availability of building materials.   

Such historic limitations in material choice have given rise to each region’s particular style, which local planning authorities like to preserve.  Dictating the general design of buildings is one way to keep new developments in character. Another is to use traditional materials that retain the aesthetic characteristics of buildings in that area.

Historically, although clay tile manufacture existed nationwide where clay tile deposits were available, it was acknowledged that the strongest tiles were made in the Midlands from Etruria Marl.

Traditionally, tiles manufactured in North Staffordshire were placed in the kilns in "bungs" stacked one on top of the other.  This prevented the face of the tiles being exposed to the kiln gases.  To obtain a colour other than red it was necessary to apply a coloured sand to the surface.  In South Staffordshire, Shropshire and the West Middlands however, tiles were set in the kiln on edge, held apart by their nibs, allowing the kiln atmosphere to react with the iron in the clay.  This produced a variety of natural brindle clay colours on the tile surface, ranging from red to brown to deep Staffordshire blue. 

Whilst this was a more expensive method of production. the superior aesthetic qualities obtained, commanded a premium price.  It is frequently not understood that precisely the same raw material is used in the manufacture of red tiles as blue tiles and that the different colours produced are wholly attributable to kiln control.

The use of three nibs, instead of two, gave extra support, holding the "edge set" tiles apart when they were in the kiln and were thus important to the manufacturing process.  The use of kiln furniture now makes the additional nib unnecessary.

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