,transcriber's ,note    ,italic text    
displayed as3 italic                    
,,pottery ,,decoration      ,,under     
,,the ,,glaze4      ,,by    ,m4 ,,louise
 ,mc,l,a,u,g,h,l,i,n4                   
,,cincinnati3    ,,robert ,,clarke      
,,co4    #ahhj4            ,,copyright4 
,m4 ,,louise ,mc,l,a,u,g,h,l,i,n4       
#ahhj4            ,,contents4           
,,preface4            v                 
,,introduction4     vii    ,,chapter ,i4
       xiii    ,,chapter ,,ii4          
#bh    ,,chapter ,,iii4       #cf       
,,chapter ,,iv4        #da    ,,chapter 
,v4         #fh    ,,chapter ,,vi4      
#gi    ,,chapter ,,vii4       #he       
,,preface4      ,it has been with some  
hesitation that ,i have undertaken to   
write a  manual on the decoration of    
pottery under the glaze4 ,this feeling  
was  caused by the fear that ,i should  
not be able to treat the subject in  as 
comprehensive1 as well as               
comprehensible1 a manner as it deserved4
    ,nevertheless1 in an experience of  

more than two years1 chiefly spent  in  
experimenting on different methods of   
under-glaze decoration1 ,i  have learned
 some things which may be of use to     
others1 and have  thought that a        
treatise upon the subject from an       
unprofessional1  yet practical          
standpoint1 might have its place in the 
literature of  ceramics which has now   
become so extensive4    ,let it be      
understood1 however1 that in the        
following pages there has  been no      
attempt to deal with the occult         
mysteries of the potter's  art1 but     
simply to give an account of results    
attained and facts  acquired1 every one 
of which can be vouched for as a record 
of actual  experience4    ,i would like 
here to express my sense of indebtedness
 to the potters  who have1 by their     
courtesy and attention1 contributed to  
these  results1 and particularly to ,mr4
 ,joseph ,bailey1 ,sr41 of the pottery  
of ,mr4 ,frederick ,dallas1 whose       
intelligent co-operation and valuable   

advice have been of the greatest        
service4      ,walnut ,hills4           
,cincinnati1 ,may1 #ahhj4               
,,introduction4      ,the decoration of 
pottery under the glaze offers          
opportunity for the  production of work1
 beautiful and artistic in a high       
degree1 and in  its simpler forms gives 
to those who do not aspire to the higher
 art1  a most fascinating and           
labor-rewarding study4 ,i can not1      
however1  assure those who wish to enter
 the domain of decorative art by this   
interesting road1 that they will find   
the way strewn with roses4  ,on the     
contrary1 discouragements are likely to 
occur so frequently  that it is only by 
the exercise of a considerable amount of
 patience  and perseverance that any    
advance can be made4 ,but such are the  
attractions of the work that its        
enthusiastic votaries will not be       
deterred from its prosecution by any    
difficulties in the way1 and  if        
immediate and perfect success can not be

 assured1 an exceedingly  interesting   
occupation will be revealed to the      
learner1 and to the  earnest worker can 
be promised the reward of faithful      
labor4    ,i would like here to insist1 
however1 upon the necessity of a        
thorough and serious study of drawing as
 a preparation for this as  well as for 
all decorative work1 and to enter a most
 emphatic protest  against the theory   
which seems to prevail in some quarters1
 that  any one can paint upon pottery   
acceptably4 ,with little preparation    
other than the possession of some       
colors1 brushes1 clays1 and pieces  of  
pottery1 the devotee of art enters upon 
the work of decorating  787 pottery4    
,alas6 disfiguring it1 for it is a      
lamentable fact that  of the pottery now
 being painted by amateurs 7some of the 
work  by professional decorators might  
also be included7 a very large          
proportion has its value diminished     
rather than enhanced by the work  put   
upon it4    ,this would not be so       

frequently the case if the scope of the 
work  were limited to the capacity of   
the worker4 ,we see every day1          
attempts1 in which the failure to reach 
the point aimed at is  absurdly obvious1
 where1 if the effort had been less     
ambitious in its  aim1 the result would 
not only be less an object of ridicule1 
but of  far more intrinsic value4    ,in
 other departments of human handiwork1  
some natural capacity1  as well as a    
certain amount of training1 is          
considered necessary  to successful     
practice1 but1 in art1 such is the      
ignorance of the  general public1 any   
one is thought eligible to the          
profession of an  artist1 and much      
passes under the name of art1 which has 
no claim to  that honorable title4    ,i
 do not wish to discourage those who are
 willing to enter into this  pursuit as 
humble1 patient learners1 but to warn   
those1 who are eager  to obtain at once 
the rewards only given to years of      
faithful study1  of the futility of     

their desires4 ,it is perhaps idle1     
however1 to  warn or to advise them4    
,the consciousness of their folly will  
only  come to them after experience1 and
 knowledge gained from failure1  shall  
have given them some comprehension of   
the difficulties which  their ignorance 
prevented them from seeing4    ,in art1 
as in all other pursuits1 there is no   
royal road to  excellence1 and those who
 do not think it necessary to learn the 
rudiments before attempting the higher  
branches1 will learn to their  cost1 if 
they are capable of learning any thing1 
that nothing was  gained by leaving out 
these stepping stones in their progress4
    ,the time is never misspent which is
 devoted to honest1 well-directed       
efforts in acquiring the art of drawing4
 ,the excuse so often offered1  that the
 practice of the art is only intended as
 an amusement1 and  that therefore it is
 unnecessary to undergo the drudgery of 
learning  it thoroughly1 is one which is
 unworthy4 ,to those who offer it ,i    

would say1 pray amuse yourselves with   
something else rather than an  art1 into
 which1 to obtain even an insight1      
demands the best that any  one can give4
    ,these remarks apply as well to the 
decoration of pottery as to any  other  
department of art work4 ,although from  
its peculiar nature and  various uses   
this material yields itself to many and 
varied styles of  decoration1 yet this  
decoration1 however simple1 must be     
planned and  executed according to sound
 principles1 to be of any artistic      
value4  ,the best preparation for the   
work of decorating pottery1 therefore1  
is a thorough knowledge of drawing and  
an understanding of the laws  which     
govern all decorative art4    ,sources  
of information upon these subjects1     
drawn from competent  instruction1 books
 and periodicals1 are daily becoming    
more numerous  and accessible1 and one  
who desires to practice the kind of     
decorative art we are now considering1  
should cultivate his taste  and augment 

his skill by these means1 and especially
 by close study  of nature in all its   
various forms4 ,it is only in this way  
that the  student will be enabled to    
accomplish work which will be a source  
of  pleasure and profit to himself and  
others4          ,,pottery ,,decoration 
,,under ,,the ,,glaze4                  
,,chapter ,i4    ,,pottery4      ,we    
will consider in this chapter some facts
 in regard to pottery1  which1 although 
of a very elementary character1 are not 
so generally  understood as may be      
desirable4 ,these facts relate to the   
substances  of which pottery is         
composed1 the processes of its          
manufacture1 and  the methods by which  
it is or can be decorated4    ,two      
chemical substances1 viz41 silica and   
alumina form the basis of  all pottery  
clays4 ,these substances are themselves 
infusible 7except  under the compound   
blow-pipe71 but by admixture with other 
materials  more susceptible to the      
action of heat1 they are made useful to 

the  potter's art1 and1 when subjected  
to a high temperature1 fuse and  form   
the hard1 insoluable combination with   
which we are all familiar4              
,porcelain1 and the finer kinds of      
earthen-ware1 are made from clays       
artificially combined of various natural
 elements1 in such a manner  as to      
produce the qualities desired1 while the
 coarser wares are  generally made from 
clays in a natural or unmixed state4    
,these clays  agree in their essential  
characteristics1 but contain other      
elements  which cause certain           
differences of color1 susceptibility to 
heat1  plasticity1 etc4 ,the            
differences1 therefore1 which exist     
between the  many kinds of pottery      
manufactured1 may be said to be due1 not
 so  much to a diversity of the         
materials used1 as to the changes       
produced  by the combination of the same
 materials in varying proportions4      
,it is unnecessary that we should here  
enter into the details of the  mixture  

of different pottery clays1 for which   
each manufactory has  its own formula4  
,a few words1 indicating1 in a general  
way1 the  causes of certain             
easily-recognizable qualities1 will     
suffice4    ,the peculiar beauty and    
translucency of fine porcelain1 is due  
to an excess of silica1 or the vitreous 
element of pottery1 in  its composition4
 ,this is attained by the use of kaolin1
 a fine1  white clay1 produced through  
the agency of natural causes in the     
decomposition of feldspar1 which is     
itself a silicate of alumina1 and  one  
of the principal ingredients of granitic
 rocks4 ,in porcelain1 it  may be said1 
that the proportion of silica to alumina
 is about three  to one1 and the other  
ingredients1 such as iron1 potash1      
chalk1 and  soda1 exist only in such    
quantities as are necessary to cause the
  fusion of the two first-mentioned     
elements4 ,it is fired but slightly  the
 first time4 ,this leaves the body of   
the ware very soft and  porous1 and upon

 the application of the glaze the latter
 is absorbed  into the body1 and by its 
action upon the materials composing it1 
produces a translucent effect4    ,we   
refer1 here1 to ,french porcelain4 ,in  
the manufacture of ,english  china1 the 
process is radically different4 ,the    
last-mentioned ware  is sometime spoken 
of as 8bone china40 ,this term has      
reference to  the use of bones from     
which the lime required in its          
manufacture is  obtained4 ,this element 
produces a translucent quality in the   
body of  the ware independently of the  
action of the glaze1 which in this case 
forms merely a coating upon the surface 
of the previously hard baked  body4     
,earthenware possesses less of the      
vitreous element1 and the first  firing 
is continued until the ware becomes so  
dense that it will not  absorb the      
glaze1 and the body remains opaque4     
,the term pottery1 is more strictly     
applicable to the kind of ware  last    
mentioned4 ,it is to this that especial 

reference will be made  in the following
 pages1 in describing methods of        
manufacture and  decoration4            
,earthenware is of various colors1      
ranging from pure white1 through  the   
cream white and cream-colored wares to  
decided yellow1 and lastly  red4 ,the   
clays can also be artificially colored1 
and changes in color  are also produced 
by different degrees of temperature in  
firing4  ,ordinarily the process of     
firing produces a material change in the
  color of clay4 ,thus1 a grey-tinted   
clay will assume a bright1 yellow       
color1 and a dull brown1 green1 or blue 
will be changed to a bright  brick-red1 
under the action of the fire4    ,the   
heat used in firing should produce      
partial vitrification4 ,if a  piece of  
ware has not been fired sufficiently to 
produce that effect1  it is said to be  
8soft-baked40    ,white earthenware     
requires the greatest degree of heat in 
firing4 ,in  regard to the wares made   
from clays retaining the colors produced

 by  the elements which they contain1 in
 a natural state1 it may be said  that  
the amount of heat necessary for proper 
firing1 decreases with  the depth of    
color4 ,this rule1 although it may      
accurately indicate  the temperature at 
which any given clay should be fired1 is
 simply  artificial1 except in so far as
 the depth of color shows the presence  
of an amount of foreign matter1 which by
 its action increases the  fusibility of
 the clay4    ,red clay1 being very     
susceptible to heat1 is commonly used as
 a test  in the firing of white ware4   
,the same clay will change in the       
process  from light red to dark brown1  
and so enable the experienced fireman   
to determine the degree of heat existing
 in the kiln4    ,clays should be       
prepared for the making of pottery by   
careful  sifting1 dissolving in water1  
and1 as a final precaution1 straining   
through sieves made of fine1 silk lawn4 
,in this way all foreign  particles are 
removed1 and the clay1 having attained  

the consistency  of dough1 is ready to  
be molded into the shapes desired4 ,this
 is done  in molds made of plaster of   
paris1 or it is 8thrown0 by the hands of
  the potter on a turning-wheel1 or1    
again1 by a combination of these        
processes4    ,before firing1 the ware  
is said to be in the 8green state10 in  
which  condition it passes from 8wet0 to
 8hard green10 and finally to  8white10 
when it is ready to be fired4 ,if fired 
before it has become  sufficiently dry1 
it will be liable to crack1 or scale1   
from the  sudden expansion of the       
moisture confined in the clay4 ,when    
dry1 it  is placed in 8seggars10 or     
boxes1 made of fire-clay1 which are     
piled  upon each other in a kiln1       
constructed for the purpose of firing   
the  ware4    ,during the process of    
drying and firing1 the clay loses a     
certain  portion of its bulk4 ,the      
amount of this shrinkage varies in      
different  clays1 but ordinarily may be 
said to be about one-eighth4 ,a piece   

of ware1 therefore1 made from clay which
 exhibits this degree of  shrinkage1    
would be one-eighth smaller after firing
 than before4  ,the shrinkage is also   
modified by the degree of heat to which 
the  clay has been subjected in firing1 
and there will sometimes be a           
perceptible difference in the size of   
two pieces of ware1 made from  the same 
clay1 and of equal size before firing1  
after having been  fired at different   
temperatures4    ,the length of time    
consumed in firing1 varies with the     
qualities of  the different wares4 ,in  
the manufacture of white earthenware1   
the  firing lasts from thirty to forty  
hours1 while the more common kinds  of  
ware require less time4 ,in kilns of    
ordinary size1 a thousand  dozen pieces 
of ware are frequently fired at once4   
,of course1  considerable time is       
required to place the seggars containing
 the  ware in the kiln4 ,some hours must
 elapse before the kiln and its         
contents will become cool enough to     

permit its being opened with  safety1 so
 that the firing of hard-baked pottery  
may require two or  three days for its  
completion4    ,the first firing        
completed1 the ware is said to be in the
 8biscuit10  and is then ready to be    
glazed4 ,this matter of glazing is a    
very  important one1 and the success of 
the whole very largely depends  upon the
 manner in which the operation is       
performed4 ,to insure  a successful     
result there must be the nicest         
adaptation of the  materials composing  
the glaze to the body of the ware4 ,the 
glaze for  each kind of ware must be    
suited to its especial characteristics1 
and  it can therefore be imagined that  
the number of glazes in use is very     
large4 ,each pottery has its own glaze  
and the variety is infinite4    ,the    
glaze used upon the finer kinds of      
earthenware consists of  materials      
similar to those of which the body of   
the ware is made1  with the addition of 
boracic acid 7a powerful flux71 which   

with a  little lead renders the glaze   
fusible4 ,in the lower grades of ware a 
larger amount of lead is used for a     
flux1 and this causes the glaze  to fuse
 at the comparatively low temperature at
 which these wares  are fired4 ,a glaze 
made of materials that fuse at an       
unusually low  temperature is called a  
8soft0 glaze4 ,some glazes are so soft  
that1  when fired1 they can be easily   
scratched by the point of a steel       
instrument4 ,the glaze of good and      
durable wares is1 however1 so hard1     
that the point of the sharpest knife    
will make no impression on its  surface4
    ,the materials of which the glaze is
 made1 are combined in the proper       
proportions and diluted to form a liquid
 of about the consistency and  the      
appearance of cream4 ,the piece of ware 
is then dipped carefully  into the      
liquid1 and so skillfully manipulated   
that it is completely  covered with a   
coating of the glaze of the necessary   
thickness4    ,after having been covered

 with the glaze1 which1 before firing1  
has  the appearance of an opaque white  
paint1 the ware is ready for the  second
 firing4 ,this is done in what is called
 the 8gloss0 kiln1 in  which the heat is
 not brought to such a high degree as in
 the biscuit  kiln1 but is sufficient to
 fuse the glaze1 and cause it to form a 
glassy1 transparent surface1 which      
should completely cover the body  of the
 ware1 and present an equally brilliant 
appearance in every  part4    ,if the   
glaze is not suited to the body of the  
ware1 and does not  shrink equally with 
it1 its surface will soon present a     
network of  fine cracks4 ,a glaze in    
this condition is said to be 8crazed40  
,this1  among potters1 is considered a  
serious fault1 and in ware intended  for
 cooking or table use1 is certainly very
 undesirable4    ,old ,japanese         
crackle-ware1 in which this condition is
 a  distinguishing feature1 is1 however1
 much esteemed1 and many1 indeed1  the  
majority of the ,japanese earthernwares1

 both ancient and modern1  display a    
surface of fine-crackled glaze1 which   
may not be said to  detract from their  
value as articles of ornament4    ,a    
similar effect is also seen in old      
pieces of glazed ware which have  seen  
long service as cooking utensils1 in    
which case it has been the  natural     
result of the usage to which they have  
been subjected4    ,in some modern      
wares1 both ,french and ,english1       
decorated under  the glaze1 this defect 
is seen4 ,in these cases it has been    
caused  by the use of a softer glaze    
than the body of the ware demanded4     
,this expedient has been resorted to in 
order that the brilliancy  and beauty of
 the colors might be preserved4 ,these  
articles being  intended only for       
ornament1 beauty is more of an object   
than  durability1 and this defect of    
glaze may be permissible as the means   
of obtaining more brilliant effects4 ,in
 certain methods of decoration  this may
 be a necessity1 but these cases are    

exceptional and  experience leads me to 
believe that it is possible to obtain   
beauty  of coloring with a glaze which  
will remain intact4 ,it is to be  hoped1
 however1 that with the improvements in 
making colors the time  may come when it
 will be possible to obtain colors which
 will retain  their beauty under the    
degree of heat necessary to the         
production of  an article which a       
practical potter would call a perfect   
piece of  ware4    ,pottery can be      
decorated either under the glaze1 with  
the glaze1  as in the case of majolica1 
in which the color is effected by the   
use of colored glazes and in the        
decoration of soft porcelain            
7pte-tendre71 where the painting is     
executed upon the unbaked  glaze1 and1  
lastly1 over the glaze4 ,we will concern
 ourselves only  with the first of these
 methods4 ,a few words1 however1 may not
 be  out of place here1 upon the        
differences between over and under glaze
  painting1 which are frequently        

compared and as frequently mistaken  for
 each other4    ,over-glaze painting1 as
 is well known1 is executed upon the    
glazed  surface of the finished ware    
with vitrifiable colors having enough   
flux or fusible material in their       
composition to cause them to  fuse at a 
comparatively low temperature1 and so   
become attached  to the glaze4          
,under-glaze decoration is effected by  
the use of  colors which contain less   
flux1 and consequently require a higher 
temperature for their fusion4 ,it can be
 executed either upon the  ware in the  
8green0 state1 or1 as is more commonly  
the case1 in the  biscuit4 ,these two   
methods of painting differ materially in
 their  effects4 ,any one familiar with 
these effects can readily discover      
whether a piece of pottery has been     
decorated over or under the  glaze4     
,those who are not practically          
conversant with the two methods  can be 
easily misled1 and mistakes are         
frequently made by those who  should    

know better1 as to the method employed  
in the case of a piece  of ware in      
question4    ,a certain delicacy of tint
 and firmness of outline characterizes  
overglaze painting1 which is easily     
recognized by experts1 but those  who   
can not distinguish between the two     
methods by this means may  ascertain to 
which class the decoration belongs by   
looking aslant  the surface4 ,the glaze 
upon the painted portions of a piece of 
ware  decorated over the glaze1 will    
not1 even after the most perfect        
firing1 equal the glaze upon the        
uncovered portions in brilliancy1  and  
there will probably be certain          
inequalities of surface between  the    
painted and unpainted parts which will  
be revealed to the touch4    ,if the    
decoration has been executed under the  
glaze the surface will  be uniformly    
covered with a brilliant glaze4 ,of the 
two1 underglaze  painting is probably   
the most difficult1 as the colors are   
more  liable to change under the action 

of the great heat to which the ware     
must be subjected1 and the final results
 being1 therefore1 somewhat  uncertain1 
can not be accurately counted upon1     
until experience has  been gained from  
repeated failures4 ,on the other hand1  
overglaze  painting1 while not subject  
to the changes produced by the fire1 to 
so great an extent1 is more difficult as
 regards the manipulation  of the       
painting upon the glazed surface4 ,the  
facilities for the  practice of         
overglaze painting are greater than     
those afforded for  painting under the  
glaze1 which last1 requires not only the
 handling  of an artist who has acquired
 facile use of the brush and some       
experience of pottery clays and colors1 
but also the assistance of an           
intelligent and skillful potter4    ,let
 us not1 however1 laud one method of    
painting at the expense of  the other4  
,both are good in their way1 and        
confined within their  proper limits1   
have beauties peculiarly their own4     

,overglaze painting  possesses a        
delicacy of effect and a variety of     
color which the  underglaze decoration  
can not rival4 ,the latter is1 however1 
the most  artistic as well as the most  
effective1 and lends itself more readily
  to the uses of decorative art and to  
the modern taste in color4    ,it is    
this latter method of decorating pottery
 which we will now  consider in some of 
its various forms4          ,,chapter   
,,ii4    ,,colors ,,for ,,painting      
,,under ,,the ,,glaze4      ,colors for 
painting under the glaze are specially  
prepared for the  purpose from various  
metallic oxyds4 ,as mentioned in the    
previous  chapter1 the colors used under
 the glaze have less flux or fusible    
matter in their composition than those  
used for painting overglaze3  this is   
necessary1 because in the former the    
colors are expected to  bear a much     
greater degree of heat in firing than in
 the latter4 ,they  are so prepared as  
not to fuse except at the temperature   

required in  the manufacture of the     
pottery to which they are applied4 ,the 
variety  of underglaze colors is less   
than that to be found in overglaze      
colors1 as the oxyds from which colors  
may be made which will stand  so great a
 degree of heat1 are few in number4     
,the oxyds from which the colors are    
prepared are called the bases of  these 
colors4 ,the colors used in underglaze  
painting are made from  the following   
bases3    ,blue from the oxyd of cobalt4
 ,co4 ,o4    ,green from the sesquioxyd 
of chromium4 ,cr#b4 ,o#c4    ,browns    
from the sesquioxyd commonly called the 
peroxyd of iron1 ,fe#b4  ,o#c41 and from
 the sesquioxyd of manganese4 ,mn#b4    
,o#c4    ,yellow from the compound of   
titanium with oxygen1 called titanic    
acid4 ,ti4 ,o#b4    ,black from the oxyd
 of uranium4    ,red from the suboxyd1  
or red oxyd of copper4 ,cu#b4 ,o4    ,we
 may add1 upon the authority of ,m4     
,debette1 that 8pure black is  obtained 
by taking #a part of oxyd of uranium    

diluted in #bb parts of  glaze2 ordinary
 black with oxyd of manganese or oxyd of
 iridium2  bluish black with a mixture  
of oxyd of cobalt and of manganese1 and 
smoky grey with chloride of platinum4   
,rose is obtained by diluting1  in      
glaze1 gold which has been dissolved in 
aqua regia4 ,for the blues1  oxyd of    
zinc and alumina may be mixed with the  
oxyd of cobalt4 ,for  greens may be     
mixed oxyd of cobalt and oxyd of        
chromium40    ,the fluxes used for these
 bases are given in the following       
paragraphs1 translated from the         
,encyclopdie-,roret3    8,the matters   
which enter into the composition of the 
fluxes and which  cause the adherence of
 the metallic oxyds are quartz1         
feldspar1 borax  and boracic acid1      
nitre1 the carbonates of potash and of  
soda1 red  lead and litharge1 and oxyd  
of bismuth4 ,at ,sevres1 they employ1   
for  under-glaze painting1 seven kinds  
of fluxes1 which suffice for all  the   
colors4 ,the majority of these fluxes   

are composed of quartz1  oxyd of red    
lead and of boracic acid1 and to some is
 added a small  quantity of carbonate of
 soda4    8,the seven fluxes of ,sevres 
are1 first1 the flint flux1 which is    
prepared by melting quickly in a        
crucible and then flowing upon a        
metallic plate a mixture of #c parts of 
red lead or of litharge1 and #a  part of
 ,etampes sand4    8,second4 ,the flux  
of greys prepared with #f parts of red  
lead or  litharge1 #b parts of ,etampes 
sand1 and #a part of pulverized borax4  
8,third4 ,the flux of carmines is made  
of #a part red lead1 #c parts of        
,etampes sand1 and #e parts of          
pulverized borax4    8,fourth4 ,the flux
 of purple is made with #c parts of red 
lead or of  litharge1 #a part of        
,etampes sand1 and #e parts of          
crystallized boracic  acid4    8,fifth4 
,the flux of violets is made of #bg     
parts of litharge or red  lead1 #b parts
 of ,etampes sand1 and #aa parts of     
crystallized boracic  acid4    8,sixth4 

,the flux of greens employed1 as well as
 the two preceding  ,m4 ,salvetat1 was  
prepared by him with #h #a-i parts of   
red lead or  litharge1 #a part of       
,etampes sand1 and #b parts of          
crystallized boracic  acid4             
8,seventh4 ,last the flux of the        
metallic substances1 which is of        
sub-nitrate of bismuth1 obtained by     
decomposing in water the nitrate  of the
 acid of bismuth1 to which is added     
#a-ab of borax40    ,these fluxes are   
mixed with the basic oxyds in greater or
 less  proportion1 according as the     
colors are intended for work1 which will
  require a greater or less degree of   
heat in firing4    ,underglaze colors in
 powder suitable for painting on        
pottery1 can  be procured of several    
different manufactures4 ,as mentioned   
before1  the variety of these colors is 
not so great as is to be found in       
overglaze colors1 but as they can be    
readily mixed the number is  sufficient 
for all practical purposes4    ,in my   

own work ,i have made almost exclusive  
use of ,french colors1  those           
manufactured by ,m4 ,lacroix4 ,these    
colors are finely ground and  of        
considerable variety of tint4 ,a list of
 those which have been  tried and found 
to give satisfactory results1 may be    
given here3      ,blues--,bleu de ,roi  
7,king's blue74           ,bleu violac  
7violet blue74      ,light blue--,bleu  
myosotis 7,forget-me-not blue74         
,reds--,rouge ,t4 7,red ,t47 and ,rouge 
,p4 ,w4      ,carmine--,rose 7or ,pink74
      ,greens--,vert fonc1 ,no4 #a 7dark
 green74            ,vert tendre 7light 
green74      ,black--,noir4             
,browns--,brun fonc 7dark brown74       
,brun ,no4 #e 7,brown ,no4 #e74         
,brun jaune 7yellow brown74             
,yellow--,jaune fonc 7dark yellow74     
,grey--,gris clair 7light grey74        
,there are many others1 but these are   
mentioned as among those that  have been
 tried and found to fire well1 and the  
colors given in this  list will be      

sufficient for the production of all the
 tints needed in  underglaze painting4  
,in faience painted after the ,haviland 
method1  fine white clay takes the place
 of white4    ,in painting on the       
biscuit white paint is sometimes used4  
,this can  be procured of ,english      
manufacture1 but is not1 ,i believe1    
made  by ,m4 ,lacroix4 ,the colors      
manufactured by ,messrs4 ,hancock       
,sons1  ,worcester1 ,england1 are also  
very satisfactory4 ,the tints of these  
and the colors of other ,english        
manufacturers corresponds with those  of
 ,m4 ,lacroix1 which have been          
mentioned4 ,the latter manufacturer1    
however1 furnishes a much greater       
variety of colors1 and the reds         
especially are superior to any ,english 
reds ,i have seen4 ,m4 ,lacroix's  list 
includes at least three reds1 one of    
which1 ,rouge ,t41 can be  relied upon  
to produce as good a scarlet as is      
possible under the  glaze1 when used    
under the proper conditions4 ,the       

,english carmines  are very             
satisfactory4 ,the ,english green1      
called ,french green1  corresponds in   
tint to that of ,m4 ,lacroix1 called    
,vert fonc1 ,no4  #a1 while mazarine    
blue1 of the ,worcester and ,phillips   
manufactures1  and ,cobalt blue of      
others corresponds to the ,bleu de ,roi 
of the  ,french1 and for work on biscuit
 white ware stands the fire rather      
better4 ,the ,victoria green1 of the    
,worcester colors1 is especially to  be 
commended for a light green which stands
 the fire remarkably well4    ,phillips'
 ,english colors are also very good4    
,his mazarine blue1  especially1 is one 
of the finest blues ,i have ever met    
with4 ,emery's  and ,harrison's colors  
fire very well1 but are not so finely   
ground as  the first mentioned4         
,illustration3 ,decoration              
,,chapter ,,iii4    ,,painting ,,on     
,,pottery ,,after ,,the ,,manner ,,of   
,,the ,,haviland ,,or ,,limoges         
,,faience4      ,this method of painting

 on pottery is said to have been        
discovered  by ,m4 ,laurin1 at          
,bourg-la-reine1 in the year #ahgc4 ,the
 process  was afterward adopted by ,m4  
,haviland1 and by him improved in such  
manner as to materially change the      
method1 as well as the appearance  of   
the painting4 ,specimens of the ware    
were first exhibited at  the ,centennial
 ,exhibition1 in ,philadelphia1 in      
#ahgf4 ,the first  application of a     
similar style in the decoration of      
pottery1 in this  country1 was made by  
the writer in ,cincinnati1 in ,october1 
#ahgg4    ,this method of decorating    
pottery1 although not involving the use 
of any new principle1 was yet so        
entirely novel an application of        
principles already in use1 as to entitle
 ,m4 ,laurin to all the credit          
attaching to a very original and        
important discovery4 ,it places in  the 
hands of the painter of pottery a method
 at once so artistic1  and so thoroughly
 in accord with the modern school1 as to

 awaken a  profound interest in the     
minds of all lovers of art4 ,it is      
probable  that there are capabilities in
 this art that have not yet been        
brought out4 ,it is still in its        
infancy1 and that there are in it       
possibilities of much importance to the 
artistic world1 can hardly be  doubted4 
,if it were not for the technical       
difficulties which surround all work  on
 pottery1 and this style in particular1 
it would offer facilities  for the      
production of works of art unequaled by 
any method heretofore  in use4 ,it is   
the hope of the writer that the         
following description  of the method of 
decorating pottery1 in this manner1 may 
throw some  light upon these technical  
difficulties1 and also that artists of  
ability may be induced to try it1 and so
 demonstrate the capability  it         
undoubtedly possesses4    ,the mere     
knowledge of the materials used will1   
however1 no more  produce artistic work1
 than a box of ,winsor  ,newton's       

colors1 in  the hands of a beginner1    
will enable him to paint a picture1     
equal  to one by ,titian4 ,to produce   
good work in this method1 there must be 
a certain amount of skill at the command
 of the painter1 just as the  same      
degree of skill is requisite in the     
production of a good picture  by any    
other method4 ,there is a certain       
boldness of effect produced  by the very
 nature of the materials and process1   
which probably would  not be seen in the
 work of the same person in other       
methods1 yet the  lack of artistic      
feeling and ability will be as painfully
 apparent in  this as in any other4     
,colors may be daubed upon pottery1 as  
they are1 alas6 upon canvas1  by those  
whose training and whose feeling for art
 would hardly fit  them to become good  
house painters2 but the result will not 
be good  art1 nor will it ever be its   
own excuse for being4 ,if other branches
  of decorative art require taste1      
knowledge1 and practical skill1  so much

 the more does this1 when it offers     
scope for the highest  capacity4 ,to the
 artist of ability sufficient to make   
use of it1 it  furnishes a palette      
which1 although not of the same range as
 that of  oil colors1 yet affords an    
almost unlimited scale of colors1 each  
of which is enhanced to the fullest     
degree by the brilliant glaze1  with    
which the work is finished4 ,the        
painting executed with these  beautiful 
colors1 moreover1 is practically        
unchangeable1 and none of  the ravages  
of time1 short of the destruction of the
 piece of ware  itself1 can affect it4  
,in decorations for buildings1 or for   
ordinary  use in portraiture1 or the    
higher forms of art1 it offers1 what has
  long been desired among artists and   
art lovers1 a method of making  works of
 art indestructible and beyond the      
possibility of change4    ,the ware     
known among dealers under the name of   
8barbotine10 has some  resemblance to   
that which we have been considering4 ,it

 has a light  body1 which has been      
subjected to a very slight fire1 and is 
covered  with a soft glaze1 which       
ensures great brilliancy of coloring4   
,the  ware1 however1 has no durability1 
and is a substance that would not  stand
 the action of the elements1 if used in 
external decoration4    ,illustration3  
,decoration          ,,chapter ,,iv4    
,,method ,,of ,,painting ,,faience      
,,under ,,the ,,glaze ,,with ,,the ,,use
 ,,of ,,body ,,color4      ,the method  
of decorating pottery here described is 
similar in its  effects to what is known
 as the ,haviland1 or ,limoges faience1 
and is  given as the result of numerous 
experiments made by the writer4    ,the 
finished work presents the appearance of
 a painting in oil1 to  which a         
brilliant glaze has been applied4 ,this 
glaze not only renders  the colors      
unchangeable1 but gives a beauty and    
effectiveness which  could be acquired  
in no other way4 ,there is nothing      
peculiar in  regard to this glaze1      

however1 the only requisite being that  
it  should be suited to the body of the 
ware1 and that the latter and its  glaze
 must not require so great a degree of  
heat in firing that the  colors shall be
 injured4 ,this matter of the glaze has 
been almost  uniformly misrepresented in
 accounts of the ware which have been   
published4 ,it has been said that the   
peculiar effect of the work was  due to 
the glaze1 and that the secret of making
 it was not generally  known4 ,this is  
not at all true1 as the results are due 
solely to the  peculiar method of       
painting1 and the glaze is simply the   
process  by which it is finished1 and   
bears the same relation to it as the    
varnish does to the painting in oil4    
,the work will suffer1 of course1  if   
this part of it is not well performed2  
but the distinguishing  feature of the  
method consists not in the glaze1 but in
 the use of  clay1 which is mixed with  
coloring oxides1 capable of bearing a   
high  degree of heat in firing1 and     

which gives them body1 producing a      
thick impasto in the painting4 ,the work
 partakes1 therefore1 both  of the      
nature of painting and modeling1 as the 
high lights may be  laid in so thickly  
as to produce an actual relief4    ,it  
is somewhat difficult1 indeed1 almost   
impossible1 to give a  correct idea of  
the palettes to be used in this kind of 
painting4  ,if colors could be procured1
 already prepared for use1 as oil       
paints are1 and these colors had the    
same appearance after firing  as before1
 it would be comparatively an easy task4
 ,as it is1 the  colors must be mixed   
with clays in certain proportions1 and1 
on  account of the change produced by   
firing1 the proportions necessary  to   
produce the intensity of color desired1 
can only be determined  from experience4
 ,the result1 after the work is         
finished1 differs from  its appearance  
before firing to a greater extent than  
in any other  kind of decoration upon   
pottery4 ,as a rule1 it may be said that

 the  colors are intensified by firing4 
,this is also true of other kinds  of   
under-glaze painting1 but not in so     
great a degree as in the case  in       
question4 ,the harmonies and contrasts  
of color can be kept only  in the mind  
of the artist1 and every part of the    
work must be done  with a view to the   
result when finished1 which1 as has been
 said1  will differ materially from its 
appearance during the progress of  the  
painting4 ,experience only1 can give an 
accurate idea of these  changes4 ,this1 
however1 is not an insurmountable       
difficulty2 care and  patience added to 
the requisite artistic ability1 will    
soon lead to  satisfactory results4     
,before describing the method of        
painting1 it may be well to consider    
the kind of clay of which the body of   
the ware should be made1 and  the state 
in which the painting should be applied4
 ,as to the clay  forming the body of   
the ware1 it must be of such a nature as
 to  adapt itself to a glaze            

sufficiently soft to preserve the       
colors4 ,as  the clay used in the       
painting must1 of necessity1 in most    
cases1 be  white1 in order that the     
purity and beauty of the colors may not 
be  affected by admixture with it1 a    
body of the same1 or very nearly        
resembling it1 would1 in some respects1 
be the best1 one reason for  this being 
that the applied clay would be more     
certain to adhere  firmly to the body1  
both having the same qualities4 ,the    
proper glaze  for such a body would1    
however1 require too great a degree of  
heat  in the firing1 and none but the   
strongest colors could bear it  without 
injury4    ,in order1 therefore1 that   
the glaze may be perfectly adapted to   
the  body of the ware1 and yet require  
no greater degree of heat than  the     
colors used in the painting will bear1  
it is best to use a body  formed from   
materials which do not need to be fired 
at a very high  temperature4 ,this      
desired quality is found in some of the 

natural  colored clays4 ,a mixture      
partaking of the qualities of both      
yellow  and red clay1 without the       
unpleasant color of the former1 and     
possessing greater strength than the    
latter1 has been found to be the  best4 
,,the ,,state ,,of ,,the ,,ware ,,in    
,,which ,,the ,,painting ,,should ,,be  
,,applied4    ,for this method of       
decoration the ware should be in the    
8green0  state4 ,the more moisture it   
contains the better1 and it will be in  
proper condition if procured as soon as 
it leaves the hands of the  molder1 or  
as soon as it has become sufficiently   
dry to retain its  shape4 ,pieces can be
 kept in this state a considerable      
length of  time1 by placing them in a   
box which has been lined with plaster of
  paris4 ,this lining should be about an
 inch thick1 and if the inside  is      
occasionally sprinkled with water1 it   
will remain moist1 and keep  the clay in
 good condition4 ,a box of this kind is 
really invaluable  for all work1 where  

it is necessary to keep clay moist4     
,within  certain limits the clay is     
improved rather than injured by keeping 
in this way2 the effect upon it being   
that it becomes tougher and  more       
plastic4 ,if kept too long1 it becomes  
8rotten10 and the plastic  quality is   
lost1 but it will keep a reasonable     
length of time1 even  two or three      
months4 ,if the box can not be had1 the 
pieces may be  covered by a rubber      
cloth1 which should be kept from        
touching them  by a frame of wood or    
galvanized iron wire1 damp cloths having
 been  placed around them to produce    
sufficient moisture4    ,it is necessary
 to exercise this care in keeping the   
ware moist1  in order to prevent the    
clay1 which is applied to the surface in
  painting1 from cracking during the    
process of drying4 ,it must always  be  
borne in mind that the material made use
 of in painting is simply  clay1 which  
has been artificially colored1 and1 as  
clay1 becomes  subject to the rules     

which govern all work of this kind1     
whether it  is making pottery1 modeling1
 or painting faience4    ,to produce    
depth and richness of effect1 the       
painting should have  a heavy impasto1  
and the high lights should be laid on in
 such a  manner as almost to present the
 appearance of modeling in relief4      
,when this is done1 there is a tendency 
in the applied clay to crack  in drying1
 if the conditions are not right4 ,in   
applying one piece  of clay to another1 
it is requisite that both should be of  
the same  consistency1 to ensure equal  
contraction4 ,in this case1 however1 the
  clay is used as paint1 and must be of 
such consistency as will permit  its    
manipulation with the brush4 ,its       
application1 then1 to a body  of clay   
that has lost much of its moisture1 is  
attended with some  risk1 and the fact  
that the coating of clay is             
comparatively thin1  alone renders it   
possible to defy one of the conditions  
which govern  the use of this material4 

,when the piece of ware1 upon which this
  painting is applied1 has previously   
become too dry1 the moisture in  the    
coating of clay is very quickly absorbed
 into the body1 and this  causes it to  
shrink unequally with the body1 and thus
 to crack4 ,when  the body and the      
applied clay are more nearly in the same
 condition1  and the former still       
retains considerable moisture1 it does  
not  absorb that of the clay on the     
surface so rapidly1 and they shrink  and
 dry together4    ,the drying of the    
clay used in painting can1 however1 be  
retarded  by the use of gum tragacanth1 
which may be mixed with it4 ,it would1  
perhaps1 be better always to take the   
precaution to use this medium1  although
 when1 as remarked before1 the body of  
the ware is still  quite soft1 and the  
condition of the atmosphere such as to  
prevent  too rapid drying1 the painting 
may be executed simply with the use of  
water4    ,just here a caution as to the
 use of gum tragacanth may be given1    

and that is1 that it is better not to   
mix the gum with more of the  colored   
clay prepared for painting than is to be
 used at once4 ,when  mixed only with   
water1 the clay after becoming dry1 can 
be easily  rubbed down again with water2
 but if gum tragacanth has been used in 
the mixture1 and it has been allowed to 
dry upon the palette1 the  gum will not 
re-dissolve readily under the action of 
water and the  palette knife1 and the   
mixture will be full of small particles 
of  undissolved gum1 which will render  
it unpleasant to work with4 ,to  prepare
 gum tragacanth for use1 it is dissolved
 in water1 to which  may be added a drop
 of salicylic acid to keep it from      
turning sour4    ,the clay1 which is to 
form a body for the colors1 must be     
dissolved  in water until of a proper   
consistency for painting4 ,it should be 
a  little thicker than the diluted clay 
used by potters and technically  called 
8slip40 ,as to the quality of the clay1 
the desideratum is  that it shall be    

colorless and not inclined to crack in  
drying4 ,the  clay used in the          
manufacture of white granite ware is    
probably the  best clay for this        
purpose1 generally accessible4 ,this can
 be mixed  with all the colors without  
injury to the tint of any4 ,parian clay 
produces the most beautiful effects1    
and1 where it is possible to  procure   
it1 forms the best medium for this      
painting4 ,more care must1  however1 be 
exercised in its use1 as it is very     
liable to crack in  drying1 and from the
 translucency produced in the body by   
the action  of the fire1 must be laid on
 more thickly than clays which have     
greater opacity1 to produce the effect  
desired4    ,in the case of yellow1     
which does not always stand the fire    
well1  it is best to mix the color with 
a yellow-tinted clay to ensure a        
successful result4 ,c4 ,c4 clay1 which  
is a cream-tinted white1 will  effect   
this4 ,if a darker yellow is desired1   
clay which in firing  acquires a decided

 yellow-tint may be used4    ,a light   
cream-tinted clay1 such as ,c4 ,c41 or  
8stilt0 clay1 may be  used with yellows 
therefore1 with advantage1 with browns  
and blues  without disagreeable effects2
 but in the case of scarlet1 pink1 or   
crimson and greens1 nothing but white   
clay must be used1 if purity  of tint is
 desired4 ,the reason for this is that  
the presence of iron  in the            
yellow-tinted clays injures the colors  
mentioned4    ,the clay can be procured 
from the pottery in broken pieces1 or1  
better1 in a semi-pulverized state from 
the trimming in making the  wares4 ,when
 in this state it is easy at any time to
 dissolve enough  for use4 ,it is1      
perhaps1 better to prepare it just      
before it is to be  used1 as the longer 
clay stands1 after it has been mixed    
with water1  the more compact it        
becomes4 ,when it has just been         
dissolved1 it  still retains air among  
its particles1 and this renders the     
mixture  more porous and less liable to 

crack4 ,it soon dissolves in water and  
can be stirred until smooth4 ,it may be 
strained through a sponge1  alternately 
allowing the sponge to absorb the       
diluted clay and then  squeezing it4    
,probably the most convenient way is to 
rub the clay in  a mortar until all the 
lumps are dissolved4 ,if a very small   
quantity  only is needed it may be      
rubbed down upon the palette with the   
palette knife as it is wanted4    ,a    
palette or a slab of glass may be used  
for mixing the colors and  clay4 ,the   
latter is the best1 as it can be        
procured of large size1  and as in this 
kind of work a considerable quantity of 
paint is  necessary1 there should be    
ample room to mix the colors4 ,a slab of
  ,french plate glass1 at least twenty  
by twenty-four inches1 may be  procured4
 ,this can be imbedded in plaster of    
paris1 which will make  it stronger1 as 
well as furnish a white surface upon    
which the colors  will show to better   
advantage4    ,the powdered colors as   

procured are not perfectly pulverized1  
and  must be well rubbed down with a    
muller and palette knife4 ,it is even   
more necessary in this than in other    
kinds of painting upon pottery  that the
 color should be well ground4 ,if not   
rubbed down sufficiently  before being  
mixed with the clay1 particles of color 
which are  scarcely apparent before     
firing1 will show when the work is      
glazed1  forming specks in what should  
be1 a perfectly uniform tint4 ,if the   
color is mixed with the clay before it  
has been perfectly dissolved1  it will  
not afterward be possible by any rubbing
 down to remove the  specks from the    
mixture4    ,the colors1 after being    
thoroughly ground1 can be mixed with    
clay in  such proportions as may be     
desired4 ,the white clay takes the place
  of white1 and is used to lighten every
 tint1 as well as to form a  body for   
the colors4 ,it is a good plan1 where   
experience has rendered  it possible to 
do it with judgment and certainty of    

result1 to mix  the various tints in    
water with clay1 in quantities1 and then
 allow  them to dry4 ,when dry1 they can
 be pulverized and the colored powder   
can be put away in bottles for future   
use4 ,this saves time when  painting1   
and also ensures a like result from the 
use of a mixture  which has already been
 tested and found to be satisfactory4   
,it is  only1 however1 after            
considerable experience in mixing       
colors1 and  verifying their results1   
that this can be safely done4    ,as in 
other kinds of underglaze painting1 it  
may be given as a  general rule1 that   
the colors are intensified in firing1 in
 this1  however1 much more than in other
 methods4 ,all the stronger colors  are 
intensified to a degree difficult to    
realize before experience  has taught   
the artist what to expect4 ,they all    
become several shades  darker1 and1 in  
the case of blues1 blacks and greens1 it
 is more  difficult to obtain delicacy1 
than depth of tint4    ,in the use of   

scarlet1 crimson and yellow1 a          
considerable amount  of the color in    
proportion to the clay must be used for 
the darker  portions to give sufficient 
depth4 ,only enough clay must be taken  
to give body to the paint1 and the      
mixture should then be applied  very    
thickly4 ,the painter must also bear in 
mind the fact that the  stronger color  
will overpower the weaker in mixtures1  
even when the  latter is in such degree 
as to give the color to the mixture     
before  firing4 ,after firing1 the      
stronger color will appear in excess4   
,in  making such mixtures1 therefore1   
the stronger color should be used  very 
sparingly1 if it is desired that the    
other should predominate in  the tint   
when fired4 ,otherwise1 the colors may  
be found after firing  to be entirely   
different from what was intended4       
,,method ,,of ,,painting4    ,let us    
suppose that the artist wishes to paint 
a vase4 ,a certain  tint being selected 
for the ground1 the color1 or colors1   

which are  to produce it are mixed in   
their relative proportions1 according to
  the hints given above4 ,a sufficient  
quantity should be prepared to  paint   
the whole ground1 especially if a mixed 
tint1 which it would  be difficult to   
reproduce in its exact proportions4 ,it 
will require  some little experience to 
enable the artist to judge how much will
  be needed1 and1 perhaps1 it will be   
somewhat difficult for any one          
accustomed to painting in other methods1
 to realize the quantity of  paint used 
in this4 ,it is better to have too much 
mixed than too  little1 as it can be    
kept and used another time4    ,the     
color1 or colors1 for the ground having 
been rubbed down until  perfectly       
smooth1 as directed before1 may be mixed
 with more or  less clay1 according to  
the shade of color desired4 ,the first  
tint  may be made to represent the      
darkest shade in the ground1 and a      
comparatively small amount of clay      
should be used4 ,after the color  has   

been mixed with the clay1 it can be     
placed on one side of the  palette4 ,by 
taking portions from it and adding more 
clay1 other  shades of the same color   
may be made4 ,first1 a light tint may be
  prepared for the first coat upon the  
vase4    ,before commencing to lay on   
the ground1 it is well to wash the      
surface of the vase with a thin solution
 of glaze 7such as is used  for         
finishing the ware71 or with borax      
water4 ,this is to ensure the  adhesion 
of the clay1 of which the painting is to
 consist1 to the  clay of which the vase
 is made4 ,previous to this1 the vase1  
if not  already in good condition1      
should be washed over with a brush1 or  
with a sponge dipped in water1 or       
sprinkled until it has absorbed  water  
enough to keep the clay1 which is to be 
applied to its surface1  from drying too
 quickly4    ,a broad1 flat camel's-hair
 brush may then be charged with the     
light tint1 and the surface of the vase 
covered with it as evenly  as possible1 

and so thickly as to completely obscure 
the body4 ,this  done1 another tint1    
darker than the first1 in a degree      
sufficient to  permit their being       
distinguished from each other1 may be   
mixed4 ,this  will form the middle tint 
of the ground1 and is to be laid on over
  the first4 ,the reason for applying   
two coats is1 that1 although it  might  
be possible to paint one with the degree
 of thickness necessary  to prevent the 
shrinkage of the applied clay in the    
firing1 from  revealing the body of the 
vase1 still the beginner is very likely 
to be deceived as to the thickness of   
the impasto1 judging by the  eye alone4 
,potters dip pieces of ware in colored  
slips1 and the  thickness of the        
covering thus formed is all sufficient4 
,in the case  of painting1 however1 it  
is impossible to lay the clay on as     
evenly1  and there will be1 in all      
probability1 some places too thinly     
covered  to stand the fire1 but which   
would not be revealed before4 ,it is    

better1 therefore1 to apply two coats1  
so that one may cover up the            
deficiencies of the other4 ,the reason  
for having these two coats of  different
 tints is1 that it is then possible to  
be assured that the  surface is covered 
completely1 it being easy to distinguish
 the first  tint laid from the body of  
the vase1 and in the second painting1 to
  observe that it entirely covers the   
first4    ,the second coat finished1 a  
lighter tint should be mixed1 with which
  the ground is varied by touches here  
and there1 making the highest  light of 
the ground1 while touches of the first  
tint mixed1 give the  darker shades4    
,there should be difference enough in   
tone between the  middle tints of the   
ground1 and these lighter and darker    
tints1 to  produce a good effect of     
light and shade1 and these touches      
should  be laid on with a free hand1 and
 then softened into the ground1 care    
being taken that the lights and shadows 
should not end too abruptly4    ,in     

these touches1 as in all the painting1  
there must be a certain  thickness in   
reality1 as well as in appearance1 to   
make the work  effective when finished4 
,the clay shrinks and seems to be       
dissipated  in the process of firing1   
and if applied too thinly1 in any part1 
will reveal the body of the ware1 or    
some under-tint1 perhaps  spoiling the  
appearance of the whole4 ,the           
transparent effect1  produced by a thin 
layer of clay1 which1 after firing1     
shows the  under-tint through1 is       
sometimes very beautiful in certain     
parts  of a design4 ,it is1 however1    
difficult to judge by the eye of the    
requisite degree of thickness necessary 
to produce this effect1 and  the heat of
 the firing may be so great as to cause 
that portion of  the painting to        
disappear entirely4 ,it can not1 then1  
be safely  counted upon1 and the best   
way is to depend solely upon the lights 
and shades of the painting for the      
effects desired4    ,the ground         

finished1 the decorative design may be  
painted upon it4  ,this should not be   
outlined upon the surface1 but should   
simply be  painted with a free hand1 and
 without too much attention to detail1 a
  brilliant effect of light1 shade1 and 
color being the object aimed at  in this
 style of painting4    ,we will suppose 
that a floral design is to be painted   
upon the vase4  ,the middle tint of the 
flowers can first be laid1 the shadows  
are  then put in1 and lastly the high   
lights1 laid on heavily1 almost  giving 
the effect of relief4 ,leaves and other 
accessories of the  design may be       
treated in the same manner4 ,the edge of
 the design  must be softened into the  
background1 to avoid a hard effect after
  the work is glazed4 ,the process of   
glazing has a tendency to soften  and   
melt the tints into each other1 but this
 effect must be enhanced  by judicious  
use of the middle tints and shadows of  
the painting1  and by leaving the edges 
thin4 ,one of the greatest beauties of  

this  kind of painting1 when well done1 
is the effect of the rich colors        
melting into each other1 with a charming
 indistinctness1 which leaves  something
 to the imagination of the beholder4    
,those who have not been accustomed to  
the use of color in such  masses1 will1 
perhaps1 be embarrassed at first by the 
difficulty of  painting with clay4 ,this
 will soon be overcome by practice1 but1
 as  has been said before1 it should    
always be remembered that it is clay    
which is used1 and1 therefore1 the work 
is subject to the conditions  which     
govern the use of that material4    ,it 
is unnecessary to enter further into    
details1 as it is only  intended here1  
to give some instruction as to the      
method of painting1  leaving the manner 
of it to the artist1 it being taken for 
granted  that any one desiring to       
practice this kind of painting should   
have  already attained some proficiency 
in the use of colors1 and should  have  
acquired a knowledge of the rules which 

govern art4    ,to such there will      
simply be the difficulty of learning to 
work with  a new material4 ,if this     
knowledge does not exist1 it will be no 
easier to succeed in accomplishing any  
thing1 worth the doing1 in  this1 than  
in other kinds of art work4    ,with    
regard to the colors to be used1 it is  
enough to say that a  sufficient number 
can be obtained to produce by admixture1
 in various  degrees1 tints for the     
production of any subject required4 ,it 
is  only necessary to remember1 as said 
before1 that in these mixtures  the     
stronger colors must not be in such     
proportion as to overpower  the weaker4 
,a list of useful colors has been given 
in a previous  chapter4 ,in regard to   
the mixtures of these colors a few words
 may be  of use4    ,black is a very    
useful color for shadows1 making1 in its
 admixture  with white clay1 numerous   
pleasing tints of grey1 which may be    
varied  by the addition of any other    
color which may be desired4 ,as black is

  one of the strongest colors1 however1 
it must be very sparingly used  where a 
light tint is needed4 ,in the mixture of
 blue and green1 the  former must exist 
in a much smaller proportion than the   
latter1 if  the mixture is to have a    
greenish tint4 ,experience alone can    
give  success1 but enough has been said 
to prevent the beginner from making     
very disastrous mistakes4    ,the       
painting must1 of course1 be executed   
while the clay is wet1 and  should be   
finished in one sitting4 ,if this is not
 possible1 it may be  kept wet in the   
way described for keeping the ware      
before painting4    ,in describing the  
method of painting a vase1 we have taken
 for our  model1 one decorated with     
flowers4 ,decorations can1 however1 be  
as varied in regard to subjects as      
paintings on canvas4 ,floral            
decorations seem to be the best adapted 
to vases1 or other objects  having      
rounded surfaces4 ,plaques and vases1   
such as pilgrim jars1  which afford flat

 surfaces1 may also be decorated with   
landscapes  or figures4 ,for these      
subjects somewhat different treatment   
may be  adopted1 but enough has been    
said to indicate the requirements of the
  material1 and each artist will find a 
manner suited to himself4               
,decorations of a similar character can 
be produced upon ware of  different     
colors1 leaving the color of the clay   
for a ground4 ,this  has a very good    
effect when done upon cream-tinted clay 
in suitable  colors4 ,as this kind of   
ware should be fired at a higher        
temperature  than the deeper tinted and 
coarser clays1 the colors are liable to 
fade in the firing4 ,this is not        
undesirable1 however1 as the faded      
tints harmonize with the light ground   
much better than darker colors4  ,some  
beautiful effects can be produced by    
decoration of this kind1  which can be  
supplemented by carving and gilding4    
,the same method can be used on a ground
 of dark red clay by the  selection of  

colors which will harmonize with the    
ground4 ,yellow  flowers look well upon 
a ground of this character1 and the     
yellow  color can be produced1 as we    
have said before1 by the use of yellow  
clay1 either alone or as an adjunct to  
the color4    ,monochrome decorations   
can also be produced1 by the use of     
natural  clays of various colors1 in the
 same manner as that pursued in the  use
 of the artificially tinted clay of     
which we have been treating4  ,good     
effects can be produced in this way1    
with the advantage that the  colors will
 be fully retained in the firing4 ,red1 
or brown and white1  in various degrees 
of combination1 can be used to produce a
 design  with every effect of light and 
shade4 ,also1 red1 with cream-tinted    
clay1 or the three colors--red1 yellow  
and white--can be used together4  ,these
 designs can be produced upon grounds of
 cream1 red1 or yellow  clay4           
,,drying4    ,when the painting has been
 completed1 it should dry very slowly1  

and  it would be better1 if possible1 to
 effect this by placing it in a  moist1 
cool place4 ,it is1 however1 difficult  
to handle a piece of  ware when wet4    
,the clay is in a very soft state1 and a
 sudden jar  might cause the vase to    
fall to pieces4    ,if the vase has not 
been in proper condition for painting1  
or has  dried too quickly1 it will1     
after some hours have elapsed1 begin  to
 show fine cracks upon the surface of   
the painting4 ,these may be  stopped1   
before they have gone too far1 by       
passing a modeling tool  over them1 or1 
if the crack has become too deep for    
this treatment1  it may be filled with  
clay as nearly as possible in the state 
at  which the body of the ware has      
arrived4 ,if the cracks are allowed  to 
go too far it will be difficult to stop 
them1 as they may have  extended into   
the body of the ware4    ,if the piece  
is permitted to go to the firing with   
any cracks1  however small upon its     
surface1 they will become widened in the

  firing1 and1 especially after the     
glazing1 will show very distinctly4     
,in the biscuit1 they may be stopped by 
filling them with powdered  clay mixed  
with gum water4 ,but an ounce of        
prevention is worth a  pound of cure1   
and the safest method is to prevent     
their appearance  in the first place4   
,if this can not be done1 they must be  
stopped as  soon as they appear4 ,the   
finer clays seem to have a greater      
tendency  to crack in drying1 and when  
the cracks have appeared1 they are more 
difficult to stop than in other clays4  
,,firing4    ,when the piece decorated  
is thoroughly dry1 it should be fired at
 a  temperature sufficient to make the  
body durable1 and at the same time  to  
perfectly fix the colors of the         
painting1 so that there may be no       
danger that the glaze will cause them to
 run in the final firing4  ,this latter 
defect may also result from an excess of
 glaze1 and where  it exists only in a  
very slight degree1 produces a melting  

softness  which is very pleasing4 ,this 
effect is1 however1 so likely to be     
exaggerated to the ruin of the work that
 it is best not to run any  risk of the 
kind in firing1 and to depend upon the  
painting alone for  the harmonious      
blending of the tints4    ,the          
temperature at which the work is to be  
fired1 must1 of course1  depend upon the
 qualities of the clay of which the     
piece of ware is  made4 ,as has been    
said before1 this clay should be one    
that does  not require an excessive     
degree of heat in firing4 ,the exact    
degree  can be estimated by the potter  
who understands the requirements of  the
 clay which has been used in the        
manufacture of the particular  piece of 
ware in question4 ,it may be said that  
the temperature at  which ,rockingham   
ware is fired is suitable for this work1
 and that a  glaze such as that used    
upon that kind of ware can be used with 
good  results4 ,it is possible to have a
 glaze so adapted to the body of the    

ware as to prevent it from crazing1 and 
yet preserve the brilliancy  of the     
colors4          ,,chapter ,v4          
,,modeling ,,in ,,relief4      ,under   
this head may be comprised the          
decorative modeling of figures  and     
other designs upon pottery1 in various  
degrees of relief4 ,first1  we have     
figures in relief forming decorations   
upon vases4 ,these1  as well as other   
designs in high relief1 belong properly 
to the  domain of sculpture1 and the    
methods of producing them do not vary   
essentially from those in use in that   
art4 ,the final process in this  case is
 the firing1 instead of the casting in  
plaster and cutting in  marble4    ,of  
the methods of producing floral designs 
in relief1 a few  suggestions may be of 
use4 ,these1 as well as the painting    
described  in the previous chapter1 must
 be executed when the body of clay1 to  
which they are applied1 is very wet1 and
 the applied clay must in  this case be1
 as nearly as possible1 in the same     

condition4 ,if the  clay is not in the  
proper condition1 the work will crack in
 drying4    ,the vase which is to be    
decorated being in the right state1 a   
lump of  clay1 having the plasticity    
necessary for modeling1 is procured4    
,this  may be of ,c4 ,c41 a deeper cream
 color1 or red1 according to the color  
desired4 ,white granite is not plastic  
enough1 and is1 besides1 liable  to     
crack in drying4 ,but of all white      
clays1 parian forms the most  beautiful 
substance for this kind of modeling4    
,leaves and petals of  flowers can be   
shaped from pieces of clay1 which have  
been flattened  to the required         
thickness1 either by pressing upon a    
slab of plaster  of paris1 by means of a
 weight1 such as potters use2 or1 if the
 work  is not on a large scale1 the clay
 can be shaped in the palm of the  hand4
 ,the forms can then be cut with a sharp
 modeling tool4 ,if there  is more      
moisture in these pieces of clay than in
 that which forms the  body of the vase1

 they should be allowed to remain a     
short time upon  a dry plaster slab4    
,the plaster will quickly absorb the    
moisture in  the clay4 ,when ready1 the 
pieces can be placed in position on the 
vase1 the places where they are to be   
applied having been previously  washed  
with clay and water 7technically called 
8slip071 or with  glaze water1 to make  
them adhere4 ,stems are made by rolling 
pieces  of clay between the palms of the
 hands1 or upon a flat surface of  wet  
plaster or wood4 ,they are afterwards   
allowed to dry1 and when  in proper     
condition1 applied in the same manner as
 the flowers and  leaves4 ,delicate     
touches may be put in with a brush      
dipped in clay1  of a proper consistency
 for painting4 ,the forms of the design 
can be  shaped and finished after they  
have been applied to the vase by the    
use of modeling tools1 and1 finally1    
with a camel's-hair brush4 ,the  design 
may also be brushed over with a sponge1 
moistened with water1  which will also  

be found very useful in restoring the   
smooth surface  of the ground1 if it has
 been injured in the process of         
modeling4    ,after the modeling has    
been completed1 the work should be gone 
over  with a modeling tool1 and in      
places where a mass of clay has been    
attached to the surface1 the edges      
should be under-cut4 ,this will  prevent
 cracking4 ,if this precaution is not   
taken1 a crack thus  produced may extend
 into the body of the vase and render it
 unfit for  firing4 ,where a large mass 
of clay occurs in the modeled design1 it
  is better to hollow out the projection
 from the inside of the vase1  to       
prevent the cracking or warping of the  
whole in firing1 caused by  the unequal 
thickness4    ,cracks1 which may appear 
in drying1 should be filled1 or1 if     
possible1 be pressed out with a modeling
 tool1 before the piece is  fired4 ,if  
the crack is so deep that it is         
necessary to fill it1 the  place should 
be cut open with a modeling tool1       

moistened with water1  and filled with  
clay1 as nearly as possible in the same 
condition as  that upon the vase4       
,flowers can be modeled in parian clay  
upon a creamy-tinted ground  with good  
effect4 ,various colors of deeper tinted
 natural clays1 or  clay which has been 
artificially colored in the body1 can be
 used as  the ground of such            
decorations4 ,light grounds are         
sometimes colored  after the first      
firing1 in the biscuit2 or a ground can 
be painted  in the method described in  
the previous chapter1 while the vase is 
soft1 and the modeled decoration can    
then be applied instead of the          
painting4    ,decorations of this       
character in high relief are frequently 
colored  in natural tints1 either under 
the glaze1 in the biscuit2 or over the  
glaze4 ,the taste of this manner of     
finishing relief-work is somewhat       
questionable1 and the same objection    
might apply to it as to colored         
sculpture4 ,that it has received the    

sanction of the best factories in  the  
world is no proof of its being in accord
 with correct taste1 as  the many       
7artistic7 atrocities of ,dresden and   
,capo di ,monte testify4  ,some of the  
later ,haviland faience1 however1 having
 a ground in the  usual style of that   
ware with decoration in high relief1    
colored  with subdued tints1 harmonizing
 with the grounds1 is so artistically   
done that one can hardly think it open  
to this objection1 although it  can not 
be considered an improvement upon the   
earlier work of this  establishment in  
which the colored decorations were      
simply painted  upon the surface4    ,it
 is only to the use of colors which     
imitate those of nature upon  modeled   
decorations that there could be any     
objection4 ,relief-work  may be         
conventional in its form1 or colored    
conventionally1 in one  color or many1  
or gilded1 with perfect taste4 ,the     
latter method  produces a fine effect1  
but1 to make it successful1 the color of

 the  ground should be well chosen1 and 
the design simple in form and not  too  
much detached from the surface4 ,the    
gilding looks best when left            
unburnished1 and should only be rubbed  
enough to give the effect of  dead gold4
    ,next1 we have applied designs in   
low relief4 ,these are made in  several 
different ways1 according to the effects
 desired4 ,work of  this kind is more   
commonly executed by the method used in 
the  production of ,wedgwood-ware4 ,the 
designs to be applied are first  modeled
 in clay4 ,casts are then taken of the  
models in plaster of  paris4 ,clay of   
the kind desired for the relief designs 
is then  pressed in the mold and the    
edges trimmed off4 ,the design can be   
removed from the mold by the aid of a   
flat1 steel instrument1 with  a short1  
broad blade2 or a palette knife1 which  
when pressed upon  the clay adheres to  
it and detaches it from the mold4 ,it   
can then be  transferred to the piece of
 ware to be decorated1 to which it is   

made  to adhere by the use of 8slip10 as
 described before4    ,this method is   
very useful1 indeed1 indispensable in   
the manufacture  of such wares          
commercially1 when the same designs are 
to be repeated  many times1 but it is   
hardly to be recommended for artistic   
work1  except for conventional designs1 
borders1 etc4 ,this method of casting   
the forms in a mold may be useful1      
however1 in the reproduction of  leaves 
of intricate outline1 which can be made 
of various sizes1  and1 from the        
plasticity of the clay1 can be          
infinitely varied in  position according
 to the taste of the worker4    ,when   
objects of delicate and intricate form1 
such as threads1  spider's webs1 nets1  
and sometimes leaves1 are to be         
represented in  work of this character1 
it can be accomplished by dipping       
threads1 or  nets of cotton1 or1 if     
leaves1 the natural leaves themselves1  
into  8slip40 ,the clay adheres to the  
threads1 or forms1 and after it has  set

 sufficiently1 they can be placed upon  
the object to be decorated4  ,on firing1
 the substance inclosed within the clay 
is dissipated and  the clay only1       
remains4 ,some very wonderful and       
beautiful effects may  be produced in   
this way2 but1 as these delicate forms  
are necessarily  very fragile1          
especially if much detached from the    
surface1 they are  only suitable for    
articles intended solely for ornament4  
,designs in low relief can also be      
applied with the brush in the  forms    
desired1 which may afterward be shaped  
and finished by the  use of modeling    
tools1 or1 when dry1 carved with steel  
instruments4  ,this latter is said to be
 the method by which ,m4 ,solon executes
 his  exquisite designs in fine white   
clay upon ware which has been colored   
in the body4 ,one of the greatest       
beauties of ,m4 ,solon's work is the    
transparent effect produced where the   
clay has been left so thin as  to show  
the colored ground through4    ,work in 

the very slightest relief can be done   
with the brush alone4  ,care must be    
observed in this1 however1 that the     
application of  clay is not so very     
slight as to produce complete           
transparency upon  firing4 ,by a        
judicious mixture of work in which the  
clay is so  heavily laid on as to remain
 opaque after the firing1 and of that   
which is applied so thinly as to become 
transparent1 very delicate  and         
beautiful effects can be produced by the
 use of white clay upon  colored        
grounds4    ,the colored grounds in the 
,wedgwood and ,solon ware are produced  
by  the use of a fine clay body1 which  
has been artificially colored           
throughout1 which1 in the case of       
,wedgwood1 is finished by a very  slight
 glaze1 and in the ,solon ware1 by a    
full glaze1 by which  the transparent   
effects of certain parts of the work are
 brought  out4 ,the colors used in the  
body of these wares are blues1 dark     
greens1 and olives1 and also black4     

,where it is not possible for the       
amateur1 for whom these hints are       
written1 to obtain such wares for       
decoration1 very pretty work can be     
produced1 as has been mentioned  before1
 by the use of a body of naturally      
colored clay upon which  white or a     
light-colored clay can be applied4      
,relief-work can be finished with a full
 glaze1 a very slight glaze1  or can be 
left unglazed4 ,as a general thing it   
may be said that  the modeling in a     
design in high relief will look best    
with but a  slight glaze1 or none at    
all4 ,the slight glaze is called by     
potters  a 8smear0 glaze1 and is        
effected by firing the work in a        
8seggar10  which is glazed upon the     
inside4 ,the unglazed ware absorbs      
enough  glaze from the glazed surface to
 give it a semi-glazed appearance1      
which is very pleasing4 ,work in partial
 relief1 as well as articles  in full   
relief1 can also be finished by the     
application of colored  glazes4 ,this is

 the method by which the ware known at  
the present  time as majolica is        
produced4 ,blue and green glazes of this
 kind  are frequently to be obtained in 
potteries in this country1 where  they  
may be applied to work which has been   
modeled4 ,other colors in  majolica     
glazes are to be had from the dealers1  
and if the colors  desired can not be   
applied at the pottery1 the artist can  
apply them  with a brush in the same    
manner as paint is used upon the        
biscuit4  ,the effect of work of this   
kind can also be enhanced by gilding put
  on over the glaze4          ,,chapter 
,,vi4    ,,incising ,,and ,,carving ,,in
 ,,clay4      ,these are two of the     
simplest as well as most effective      
methods of  decorating pottery4 ,we will
 treat first of incised work in clay4   
,the piece of ware to be decorated must1
 of course1 be in the 8green0  state2   
not too wet1 yet not dry enough to be   
brittle4 ,an outline  drawing can then  
be executed upon its surface with a     

pointed modeling  tool1 not too sharp1  
and perfectly rounded at the point4 ,if 
any burr  is thrown up in the course of 
the lines1 it must not be brushed off   
until the piece has become partially    
dry4 ,the drawing can then be  brushed  
over with a stiff camel's-hair brush1   
leaving the lines  free4 ,these lines   
can now be filled with dark             
7under-glaze7 paint  7black is best71   
mixed with a little gum arabic and      
water4 ,in going  over the lines some of
 the paint will extend over the edges2  
this can  be scraped off1 when the clay 
is dry1 with the edge of a sharp steel  
blade1 two or three inches long1 held   
between the fingers and thumb4  ,a      
broken knife-blade will do for the      
purpose4 ,this scraping must be  very   
lightly and carefully done1 to avoid    
injuring the surface of the  ware4 ,the 
surface may afterwards be rubbed over   
with the very finest  sandpaper1 when   
entirely dry4    ,the finish of this    
work must not be a full glaze1 but the  

8smear0  glaze1 described in the last   
chapter4 ,a full glaze would fill up the
  lines1 and so injure the appearance of
 the work4 ,in order that the  black    
lines may be effective1 the ground of   
the decoration should be  rather light  
in color4 ,the best colors for the body 
of wares to be  decorated in this way   
are light cream color1 or a mixture of  
cream  color and red clay1 producing a  
light brick-red2 or1 if they can  be    
procured1 any light colored clays which 
have been artificially  tinted in the   
body4 ,a colored ground for this work   
can be procured by  having the piece of 
ware dipped in colored slips4 ,the      
design is then  incised upon the        
surface1 after it has become dry enough1
 in the same  manner as before4 ,the    
lines are cut through to the body of the
 ware  beneath1 showing a color         
contrasting with that upon the surface  
with  good effect4 ,work of this kind is
 also executed upon stoneware4 ,that  of
 ,miss ,hannah ,barlow will be          

remembered as an instance of incised    
work1 in black lines1 upon a red or     
light brown body4 ,incised work  also   
appears upon the ,lambeth stoneware4 ,it
 is here used upon grey  stoneware1 with
 raised dots in white1 and colored with 
blue glaze4  ,incised decorations can   
also be executed upon earthenware in    
this  way4 ,white ware may be used1 and 
the design drawn upon it in the  8green0
 state4 ,the piece may then be finished 
with colored glaze1  which sinks into   
the depressions formed by the lines1 and
 so gives  them a darker color than the 
rest of the surface4 ,carved work can   
also be introduced with good effect as  
an accessory to incised work1  and a few
 words as to this kind of decoration    
will now be in place4      ,,carving    
,,in ,,clay4    ,this work can be made  
very beautiful and effective by those   
familiar  with the use of carving tools4
 ,the tools used should be short-handled
  carving tools1 and the ware should be 
in the 8green0 state and as  for incised

 work1 neither too wet nor too dry4 ,dry
 enough for clean  cutting with the     
tools1 and yet not so dry as to be      
brittle4 ,when in  just the right state1
 clay forms a fine substance for        
carving4 ,as  it dries very rapidly1    
means should be used to keep it         
sufficiently  moist until the work is   
finished4    ,the outline can be drawn  
upon the clay with a sharp-pointed      
modeling  tool1 and the carving can be  
executed with gouges1 chisels1 and      
parting tools of the various shapes and 
sizes necessary4 ,veining can  be done  
with a pointed modeling tool1 and dots  
can be readily incised  by pressure on  
the surface4 ,raised dots can be made   
with softer clay  which has been dipped 
up in a quill of the required size1     
which is  then pressed upon the surface 
at the place where the dot is desired4  
,carved work can be finished by the use 
of sand paper1 a camel's  hair brush1   
and water1 or a sponge2 but these should
 not be used  very freely1 as they will 

injure the sharpness and cleanness of   
the  cutting1 which it is desirable to  
preserve4 ,carving looks best when      
finished with a 8smear0 glaze4          
,another variety of carved work can be  
produced upon a vase which has  been    
previously dipped in colored 8slip40    
,the design is then cut  through the    
covering to the ground beneath1 which   
should be of a  contrasting color4      
,another method by which many varied and
 beautiful effects can be  produced is  
that of incising lines1 and cutting or  
pressing designs  into the soft clay1   
which are then filled with various      
colored slips4  ,the lines or other     
designs should be deeply cut1 moistened 
with water  and filled with the colored 
clays1 which should be pressed into the 
depressions and allowed to dry4 ,when   
dry1 the surface can be scraped  in a   
similar manner to that made use of in   
finishing incised work4 ,it  should be  
noted that in this latter work the body 
of the clay should  be in a softer state

 than would be necessary for other      
carved or  incised work4    ,carving in 
clay1 as well as modeling and incising  
can be glazed with  the colored majolica
 glazes with excellent effect4          
,,chapter ,,vii4    ,,painting ,,upon   
,,the ,,biscuit4      ,after the ware   
has been fired once and is in what is   
called the  8biscuit10 it can be        
decorated by the use of underglaze      
colors1 in  the form of thin washes     
resembling water-color painting4 ,ware  
used  for this purpose should be made of
 white1 or very light cream-colored     
clay1 as the colors1 being used in      
transparent washes1 would be  dimmed1   
and would have their tints sullied by   
use upon a ground of  dark color4    ,on
 white ware those colors should be used 
which will best stand the  heat         
necessary in the firing and glazing of  
this ware4 ,for this  reason painting   
executed on white is usually in         
monochrome1 and  only the strongest     
colors are used1 such as blue1 black1 or

 brown4  ,the best effect is produced by
 the use of blue4 ,this style of work   
is familiar from the numerous pieces of 
,japanese ware1 of porcelain  or white  
earthen-ware1 painted in blue1 which are
 brought to this  country4    ,the      
method of painting is simple and not    
likely to prove difficult or  uncertain 
as to its results in the hands of one   
familiar with the use  of water colors4 
,the color generally used is dark blue1 
and there are  several different blues  
which furnish very fine tints4 ,among   
these  might be mentioned ,emery's      
cobalt blue1 which is excellent and does
  very well upon the white ware         
manufactured here4 ,phillips' mazarine  
blue and ,harrison's ,persian blue are  
also very rich1 deep colors1 the  latter
 having a purplish tint4 ,one of the    
best blues1 as reliable and  pleasing in
 color as any1 has been prepared by ,mr4
 ,joseph ,bailey1 of  the ,hamilton     
,road ,pottery4    ,the color must be   
rubbed down until perfectly smooth1 and 

should  be mixed with water and enough  
gum arabic to keep it from rubbing  off 
in the necessary handling before firing4
 ,the design having  been sketched upon 
the ware to be decorated1 with a lead   
pencil1  the first washes may be put in 
with a light tint of the blue4 ,these   
should be laid on with a free hand and  
without retouching before  they have    
dried4 ,the darker tints may then be    
laid in1 and lastly  the deepest        
shadows4 ,these should be painted       
thickly and sharply to  give the proper 
depth of color4 ,if necessary they may  
be painted over  a second time2 care    
should be taken1 however1 not to have an
 excess  of paint in any part1 as that  
would prevent the glaze from adhering   
to the ware4 ,the lines should be       
particularly clear and sharp1 as  they  
generally spread more or less in the    
glazing1 and if they are  not well      
defined and the shadows are not dark    
enough1 the effect  will be blurred and 
indistinct4 ,in this kind of work       

clearness and  distinctness are to be   
desired4 ,if the painting is carefully  
executed  and the various degrees of    
light and shade are well preserved1     
something of the effect of a painting in
 water colors will be  produced4        
,monochromes in brown and black are done
 in the same way1  only that in the case
 of the latter color it is better to mix
 a very  little blue with it1 as that   
will make it stand the fire better4     
,before glazing1 the ware should be     
fired once to 8harden on0 the  colors4  
,if the color should run in the glazing1
 the painting may be  repaired by the   
use of gilding over the glaze1 by which 
the blurred  outlines may be concealed4 
,when1 from the perfection of the       
firing1  this is unnecessary1 work of   
this kind1 and especially that in blue1 
may be very much enhanced by a judicious
 use of gilding4      ,,painting ,,in   
,,the ,,lambeth ,,or ,,bennett ,,style4 
,this is done upon a very light1        
cream-colored ware4 ,the method of      

painting is similar to that described   
above1 with the exception that  all     
colors can be used4 ,in using the weaker
 colors1 and in mixtures1  the same     
rules that have been given before must  
be observed4 ,colors  which do not stand
 the fire very well1 such as yellow and 
rose  color1 must be laid on thickly1   
while in mixtures1 as well as when  used
 alone1 the stronger colors should be   
used sparingly4 ,in the  ,lambeth or    
,bennett style of painting upon faience1
 the designs are  either wholly or      
partly conventional4 ,the grounds are   
either left the  natural color of the   
ware or painted4 ,the designs usually of
 flowers  are in natural colors very    
slightly shaded and surrounded by a dark
  outline4    ,the design having been   
drawn upon the surface with a lead      
pencil1  the ground1 if it is to be     
colored1 may be laid on with some color1
  or mixture of colors1 which will      
harmonize with the decoration4 ,as  it  
is impossible to paint it smoothly with 

a brush1 or to do it by  any of the     
methods in use for over-glaze painting1 
the ground must  be 8dabbled0 on1 either
 with a small blending brush1 or better1
 a  sponge1 which has been cut to the   
proper shape and size1 and which  may be
 fastened in a quill and used as a      
brush4 ,this is dipped in the  color    
which has been mixed upon the palette1  
and with it the color  is applied to the
 surface of the vase1 producing a       
mottled ground1  which may be shaded    
from light to dark1 by the application  
of more  or less color1 as desired1 and 
also may be varied by the introduction  
of other colors which will harmonize    
with each other1 and with the           
decoration4 ,the design may then be     
painted in flat washes1 which  should be
 laid on freely1 with the shadows boldly
 defined4 ,this done1  a line1 either of
 black or dark olive green1 made from   
dark brown  and a little green1 may be  
painted around the design1 outlining and
  relieving it against the ground4      

,the painting finished1 the piece should
 then be fired to fix the  colors4 ,if  
necessary1 it can be touched up in any  
places which are  thought to need deeper
 tints after this firing1 and before the
 final  process of glazing4 ,it must be 
remembered1 however1 that the effect  of
 the glazing will be to deepen the      
colors1 and1 unless the result  of this 
process has been learned from           
experience1 the tendency will  rather be
 to get them too dark than too light4   
,the most important  thing is1 to keep  
the relative value of the lights and    
shadows4 ,if  this is done1 the effect  
will not be bad1 even if the colors     
should  fade a little in firing4        
,another very important item in         
under-glaze painting1 which has been    
mentioned before1 is1 that the colors   
must be in proper condition for  use1   
and to that end1 must be carefully      
rubbed down with a muller or  palette   
knife4 ,inattention to this detail has  
caused much work of  rude and rough     

appearance to be produced1 which might  
otherwise have  been fairly good4    ,in
 the ,lambeth and ,bennett ware the     
charming effect of color will  generally
 be found to have been produced by a    
system of burning which  would scarcely 
be considered legitimate1 according to  
the strict  rules of the potter's art4  
,the ware is not fired in the biscuit as
  hard as such ware is usually fired1   
and the glaze applied is softer  than   
the body of the ware demands4 ,this soft
 glaze is used to save  the colors1 and 
not being suited to the body of the ware
 will1  generally1 be found to be badly 
crazed4 ,in this case1 however1 lovers  
of beautiful and harmonious colors1 in  
the decoration of pottery1  will think  
that the ends justifies the means1 and  
as the articles  are wholly adapted for 
ornamental purposes1 this defect of     
glaze  detracts but little from their   
value4    ,some work of a similar       
character has recently been done in this
 city1  however1 in which the ware has  

been fired and glazed in such a manner  
as to make it perfectly durable1 and1 at
 the same time1 great beauty  of        
coloring has been retained4 ,this result
 is not only important from  the fact   
that it offers opportunity for the      
production of ornamental  wares1 but1   
also1 from the consideration that the   
perfection of the  firing and glazing of
 the ware renders it valuable for       
articles of  use4 ,nothing could be     
prettier than sets of tableware made of 
this  cream-tinted clay1 decorated in   
colored1 conventional designs4 ,this    
would1 we think1 be the perfection of   
ware for ordinary use1 and  would form1 
with the combination of the delicately  
tinted body and  the harmonious colors  
of the underglaze decoration1 a service 
both  pleasing to the eye and very      
durable4    ,it is not the province of a
 work on under-glaze painting to  enter 
into the subject of over-glaze          
decoration1 yet as they are  frequently 
combined1 mention may be made of some of

 the varieties  of decoration in which  
the two processes are used4 ,the most   
common  form of the union of the two    
methods is that in which gilding is     
used as an adjunct to under-glaze       
decoration4 ,gold is always applied     
over the glaze1 as it would be utterly  
destroyed by the action of  the heat    
necessary in the firing of any hard     
glaze4 ,that prepared  by decorators by 
dissolving gold in aqua regia may be    
used1 or the  8bright0 gold1 which is   
obtained in a liquid state4 ,the former 
is  the most durable1 and when fired can
 be burnished or left with a  dead      
finish1 which in many cases has the most
 pleasing effect4 ,the  8bright0 gold1  
as its name indicates1 becomes bright in
 the firing  and the burnishing is thus 
rendered unnecessary4 ,on a 8smear0     
glaze  the 8bright0 gold produces a     
beautiful dead gold effect1 owing to the
  dead surface of the ware to which it  
is applied4 ,in ,japanese wares1  dark  
blue1 under-glaze1 often appears in     

conjunction with gold1 and  also with   
red1 green1 or other colors which have  
been put on over the  glaze4    ,one    
beautiful result of the combination of  
over and under-glaze  painting is seen  
in the ware painted by ,lemonnier4 ,in  
this the ground  is generally painted   
under the glaze in a manner similar to  
that  described in this chapter for the 
production of ,lambeth faience4  ,the   
design is then painted with over-glaze  
8relief0 colors1 and the  high lights   
laid in heavily1 the whole producing an 
effect which  combines the delicacy of  
the over-glaze colors with the depth of 
the  under-glaze4    ,we have tried to  
indicate1 in the preceding chapters1 the
 principal  methods employed in the     
decoration of pottery under the glaze4  
,these  various methods are combined    
with each other and with over-glaze     
work in so many ways that it is         
difficult for any but an expert to      
distinguish in a given piece of ware the
 many processes which may  have combined

 to produce the result4 ,this renders   
the subject more  difficult to treat    
comprehensively1 and these various      
ramifications  of the art of under-glaze
 painting can here be but indicated4 ,it
  is hoped1 however1 that the           
suggestions given may be sufficient to  
afford the student of ceramic decoration
 an idea of the various forms  and of   
the possibilities of the art4           
,illustration3 ,finis                   
,transcriber's ,notes      pg #dd       
,changed3 glaze sufficiently soft to    
perserve               to3 glaze        
sufficiently soft to preserve      pg   
#di ,changed3 may be added a drop of    
salycilic acid               to3 may be 
added a drop of salicylic acid      pg  
#eg ,changed3 in colored slips1 and the 
thicknesss               to3 in colored 
slips1 and the thickness      pg #ib    
,changed3 delicately tinted body and the
 harmonions               to3 delicately
 tinted body and the harmonious         
,table of ,contents was created by the  

transcriber4