MAK

Volltext: Ceramic art : a report on pottery, porcelain, tiles, terracotta and brick, with a table of marks and monograms ...

PORCELAIN AND FAIENCE. 
45 
lain in celadon, or other color, by the addition of a colored 
mixture, of whioh oxide of chrome is generally the chief 
ingredient; and then, when the piece is still in the clay 
state, to paint oi 1 rather model upou it with a brush, using 
white porcelain body as the pigment, and taking advantage 
of the transparency it will acquire when fired to produce an 
effect similar to that obtained in the Limoges enamels, by 
working the semi-transparent enamel on a black ground. 
Consequently the artist will increase the thickness of the 
white clay for the high lights, and decrease it where the 
color of the gronnd is to be seen through. Much experience 
is required to calculate the etfect, the white clay bcfore firing 
being equally opaque in the thin as in the thick parts. Of 
course any mistake is irremediable, as it can only be seen 
after the piece is iired. It was from studying the Chinese 
celadon that Mr. Ebelman started this kind of porcelain. 
The colors used on account of the high degree of tempera- 
ture arc extremely limited.” To chrome, as a foundation 
color, must be added cobalt, nickel and uranium, which are 
also used to stain the clays when some other tint is wanted 
in addition to the white. 
Düring the late Franco-derman war, the Messrs. Miuton, 
of England, secnred the Service of M. Solon, the artist by 
«tvhom a great success in the pdte-sur-pdte process had been 
achieved; and we now find the results in the beautiful speci- 
mens displayed by the firm at Vienna. Vide p. 235. 
Reference has been made to the impossibility of moulding 
or working The soft paste porcelain by throwing, in the ordi- 
nary. way, owing to its want of plasticity. 
Casting Porcelain Body. 
Since the year 1850, the mcthod of casting, rather than 
of moulding objects, has been in use. The paste being 
mafie thin, so as to flow like water, is poured into the 
plaster moulds, which absorb a part of the water and cause 
a thin film of the paste, or body, to adhere to the sidps. 
The excess is decanted. This gave lightness and per^Sfe- • 
tion of form to the objects, such as cups and small vases, 
but the process did not succeed with large objects, inasmuch 
as in the decantation the paste, adhering to the upper part,
	        
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