BY M. LOUISE McLAUGHLIN. CINCINNATI: ROBERT CLARKE & CO. 1880. COPYRIGHT. M. LOUISE McLAUGHLIN. 1880....

It has been with some hesitation that I have undertaken to write a manual on the decoration of pottery under the glaze. This feeling was caused by the fear that I should not be able to treat the subject in as comprehensive, as well as comprehensible, a manner as it deserved. Nevertheless, in an experience of more than two years, chiefly spent in experimenting on different methods of under-glaze decoration, I have learned some things which may be of use to others, and have thought that a treatise

The decoration of pottery under the glaze offers opportunity for the production of work, beautiful and artistic in a high degree, and in its simpler forms gives to those who do not aspire to the higher art, a most fascinating and labor-rewarding study. I can not, however, assure those who wish to enter the domain of decorative art by this interesting road, that they will find the way strewn with roses. On the contrary, discouragements are likely to occur so frequently that it is only by the exer

We will consider in this chapter some facts in regard to pottery, which, although of a very elementary character, are not so generally understood as may be desirable. These facts relate to the substances of which pottery is composed, the processes of its manufacture, and the methods by which it is or can be decorated. Two chemical substances, viz., silica and alumina form the basis of all pottery clays. These substances are themselves infusible (except under the compound blow-pipe), but by admix

Colors for painting under the glaze are specially prepared for the purpose from various metallic oxyds. As mentioned in the previous chapter, the colors used under the glaze have less flux or fusible matter in their composition than those used for painting overglaze: this is necessary, because in the former the colors are expected to bear a much greater degree of heat in firing than in the latter. They are so prepared as not to fuse except at the temperature required in the manufacture of the po

This method of painting on pottery is said to have been discovered by M. Laurin, at Bourg-la-reine , in the year 1873. The process was afterward adopted by M. Haviland, and by him improved in such manner as to materially change the method, as well as the appearance of the painting. Specimens of the ware were first exhibited at the Centennial Exhibition, in Philadelphia, in 1876. The first application of a similar style in the decoration of pottery, in this country, was made by the writer in Cinc

For this method of decoration the ware should be in the “green” state. The more moisture it contains the better, and it will be in proper condition if procured as soon as it leaves the hands of the molder, or as soon as it has become sufficiently dry to retain its shape. Pieces can be kept in this state a considerable length of time, by placing them in a box which has been lined with plaster of paris. This lining should be about an inch thick, and if the inside is occasionally sprinkled with wat

Let us suppose that the artist wishes to paint a vase. A certain tint being selected for the ground, the color, or colors, which are to produce it are mixed in their relative proportions, according to the hints given above. A sufficient quantity should be prepared to paint the whole ground, especially if a mixed tint, which it would be difficult to reproduce in its exact proportions. It will require some little experience to enable the artist to judge how much will be needed, and, perhaps, it wi

When the painting has been completed, it should dry very slowly, and it would be better, if possible, to effect this by placing it in a moist, cool place. It is, however, difficult to handle a piece of ware when wet. The clay is in a very soft state, and a sudden jar might cause the vase to fall to pieces. If the vase has not been in proper condition for painting, or has dried too quickly, it will, after some hours have elapsed, begin to show fine cracks upon the surface of the painting. These m

When the piece decorated is thoroughly dry, it should be fired at a temperature sufficient to make the body durable, and at the same time to perfectly fix the colors of the painting, so that there may be no danger that the glaze will cause them to run in the final firing. This latter defect may also result from an excess of glaze, and where it exists only in a very slight degree, produces a melting softness which is very pleasing. This effect is, however, so likely to be exaggerated to the ruin

Under this head may be comprised the decorative modeling of figures and other designs upon pottery, in various degrees of relief. First, we have figures in relief forming decorations upon vases. These, as well as other designs in high relief, belong properly to the domain of sculpture, and the methods of producing them do not vary essentially from those in use in that art. The final process in this case is the firing, instead of the casting in plaster and cutting in marble. Of the methods of pro

This work can be made very beautiful and effective by those familiar with the use of carving tools. The tools used should be short-handled carving tools, and the ware should be in the “green” state and as for incised work, neither too wet nor too dry. Dry enough for clean cutting with the tools, and yet not so dry as to be brittle. When in just the right state, clay forms a fine substance for carving. As it dries very rapidly, means should be used to keep it sufficiently moist until the work is

This is done upon a very light, cream-colored ware. The method of painting is similar to that described above, with the exception that all colors can be used. In using the weaker colors, and in mixtures, the same rules that have been given before must be observed. Colors which do not stand the fire very well, such as yellow and rose color, must be laid on thickly, while in mixtures, as well as when used alone, the stronger colors should be used sparingly. In the Lambeth or Bennett style of paint