CORNELL 
 
 UNIVERSITY 
 
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<-omell University Library 
 A guide to porcelain painting 
 
 ,. 3 1924 031 306 560 
 
 olin,anx 
 
The original of this book is in 
 the Cornell University Library. 
 
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 the United States on the use of the text. 
 
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A GUIDE 
 
 PORCELAIN PAINTING. 
 
 SIDNEY T. WHITEFORD. 
 
 WITH ILLUSTRATIONS BY THE AUTHOR. 
 
 FIFTH EDITION. 
 
 LONDON : 
 aEORGE EOWNBY AND COMPANY, 
 
 MANUFACTURING ARTISTS' COLOURMEN, 
 
 29, OXFORD STREET, W. ; AND 52, RATHBONB PLACE. 
 
lOHDOIf : 
 
 hewiiEESOu bait, & rESTOir, geueeai. peihtees, 
 
 73 A 74, MAETIEBONE LANE, W. 
 
 CORNELlX 
 
 UNfVE^TSITY 
 \jJCRARV 
 
PREFACE. 
 
 Whilst nearly evjery brahch of Pictorial and Decorative 
 art has been made the subject of numerous handbooks, 
 it is believed that no manual of instructions in the art of 
 paiatiag on Pottery and Porcelain has hitherto appeared. 
 Under its present facilitated conditions, the art, whether 
 cultivated for pleasure or profit, will be found to aiford 
 a highly interesting occupation. The practice of Cer- 
 amic paiuting does not include the varied manipulative 
 processes employed by artists who work upon canvas or 
 paper. There is comparatively Kttle to be taught, some 
 acquaintance with drawing and colouring being pre- 
 supposed in the learner. Painting in enamel colour is 
 more particularly recommended. The surface of the 
 glazed ware is always practically identical in texture, 
 and colours of every hue are available. 
 
 Painting in under-glaze colours is attended by greater 
 difficulties and much more uncertainty ; but it was felt 
 that many persons might wish to decide by actual expe- 
 rience what results can be obtained by each process. 
 Instructions for under-glaze work are therefore given. 
 
 The superior value of personal teaching or supervision 
 is not contested ; but, to those who cannot obtain such 
 aid, this little work is offered, with confidence that atten- 
 tion to its directions will prevent serious mistakes, and 
 
PREFACE. 
 
 greatly advance the attainment of success. The difficul- 
 ties of any art are only OTercome by practice, and some 
 failures must be expected ; but to use a homely proverb, 
 " "WeU begun is half done." The learner may obtain 
 from a book, as well as from a teacher, information, 
 without which first attempts may be hopelessly mis- 
 directed. The thanks of the writer are due to several 
 professional painters for assistance freely and cour- 
 teously given ; little, however, is advanced that has not 
 been tested by actual experience. ^ 
 
INTEODUCTOEY EEMAEKS. 
 
 Painting on Pottery or Porcelain has occasionally been 
 practised with considerable success hy amateurs, but 
 obstacles to the cultivation of the art have hitherto been 
 very numerous. Except for those who resided in the 
 neighbourhood of some factory, it was seldom possible 
 to obtain any instruction in the special technical pro- 
 cesses, and even the purchase of materials and the neces- 
 sary transmission of the painted pieces to the kilns were 
 accompanied by vexatious difficulties and delays. Cul- 
 tivated taste and intelligent interest in the subject of 
 Pottery Decoration being now very widely spread, so 
 many persons have expressed a desire to attempt the 
 practice of the art, that Messrs, Eowney have been 
 induced, with a view to facilitate such endeavours, to 
 prepare complete sets of colours and all requisite 
 materials. They have, made arrangements enabling 
 them to supply glazed and unglazed ware, and to have 
 the painted pieces entrusted to them by their customers 
 carefully glazed and fired. 
 
 Their ivory tinted ware meets a want that has been 
 felt by many painters on Porcelain, to whom the cold 
 whiteness of ordinary china is disagreeable, and a source 
 of difficulty when quiet harmony of tone is desired. 
 
A GUIDE TO PORCELAIN PAINTING. 
 
 CHAPTER I. 
 
 Of those persons who observe with admiration the de- 
 licate colours or sMlMly executed paintings by which 
 the beauty and value of specimens of the Potter's art 
 are so greatly enhanced, very few are accurately, if at 
 all, informed as to the nature of the materials employed 
 or the methods by which colours are applied and fixed 
 on the ware. Some remarks on the subject and brief 
 notice of the progress of Ceramic decorative art in this 
 country will not be out of place by way of introduction 
 to the formal directions which are the chief objects of 
 these pages. 
 
 It must first be observed that the many varieties of 
 ware upon which at different periods the potter's skill 
 has been exercised, are broadly divided into two classes — 
 Pottery and Porcelain. AU the early productions of the 
 factories of Europe were varieties of earthenware or 
 pottery. Porcelain was obtained only from the East, and 
 especially from the country which has given to the ware 
 its familiar name — china. Much confusion arises from 
 misappKcation of these distinctive terms. Dr. Lardner, 
 for example, in his interesting sketch of the History of 
 Pottery, referring to the works of Delia Robbia (15th 
 century), after rightly describing them as Faience, or 
 earthenware, immediately speaks of the opaque glaze as 
 " covering the ill-coloured ground of the porcelain; " and 
 
O A GUIDE TO PORCELAIN PAINTING. 
 
 again in Ms notice of Bernard Palissy, he describes a 
 " Bouteille de chasse " of that artist as " a Porcelain 
 flask." It is true that early in the 15th century Conti- 
 nental makers and vendors of earthenware gave to their 
 choicest articles the term "porcelain," prohahlyas being 
 the best substitute they could offer for the coveted Orien- 
 tal ware. But in these days, when true porcelain is 
 manufactured in all parts of Europe, no such excuse can 
 be offered for the misuse of the name. For earthenware 
 a great variety of clays has at different times been em- 
 ployed, but true " china " or porcelain always consists 
 maialy of a fine white earth, called by the Chinese "ka- 
 olin," and obtained in this country chiefly from Cornwall 
 and Devon under the name " China-clay." Earthenware 
 is always opaque, china transparent in proportion to the 
 fineness of its quality. " The transparency of porcelain 
 arises from the clay body becoming saturated with amass 
 of glassy flux. Under the microscope the two ingredients 
 can be clearly distinguished from each other, the milky 
 mass appearing as a transparent ground mixed with an 
 opaque substance composed of minute globules, arranged 
 in a lineal direction one on the other as articulated 
 threads or little rods, which are interwoven and cross 
 each other in all directions ; the want of absolute trans- 
 parency in the mass being due to the reflection and 
 refraction of light from these crystals. "* 
 
 Manufactured ware of all kinds in its unglazed state 
 is termed " biscuit." 
 
 * Mnspratt's " Chemistry of Arts and Manufactures." Article — Pottery, 
 p. 795. 
 
A GUIDE TO PORCELAIN PAINTING. 9 
 
 Glazes vary in their composition, according to the 
 nature of the body to which they are to be applied. 
 
 The glaze is applied as an opaque creamy fluid, and 
 becomes glassy and transparent when subjected to the 
 ■action of heat — ^technically, " fired" — in the glost, or 
 glazing oven. Occasionally it is laid on with a flat brush, 
 but almost always the biscuit articles are dipped in the 
 fluid glaze, by which process, skilfully managed, they 
 
 • are very rapidly and uniformly covered. 
 
 The colours used in pottery decorations are chiefly 
 metallic oxides, and for enamel painting are combined 
 with substances termed fluxes, which unite them with 
 the glaze. 
 
 Painting is of two kinds — known as " under-glaze," 
 •and ". enamel" or" over-glaze." Under-glaze painting 
 is executed on the biscuit with colours specially prepared 
 and known as "refractory." The coloured design is 
 covered with glaze and fired in an oven raised to great 
 heat. Designs executed by this method are incorporated 
 with the surface, and can perish only with the ware 
 itself ; but much uncertainty attends the process, and a 
 great source of diflElculty is the difierent appearance of 
 colours when applied, and after undergoing the action of 
 the glaze and fire. Dark blue, for instance, is, when 
 
 • applied, a light violet or even a dirty brown. Crimson, 
 is, in its first state, a pale pink ; and other colours show 
 
 • diff'erences of the same kind. 
 
 For enamel painting many colours are available which 
 would not endure the heat, employed to vitrify the glaze. 
 -For this process the colours are fluxed, and the flux 
 
10 A GUIDE TO POECELAIN PAINTING. 
 
 dissolving -under moderate heat, unites tlie colours more- 
 or less intimately with the glaze upon which the paintiag 
 has heen executed. If the glaze is very hard the paint- 
 ing generally has a dry look, and is readily seen to be 
 only superficial ; hut, by the use of a soft glaze, much of' 
 the appearance of under-glaze work can be obtained 
 without its objections. The colours must, however, be 
 well "fired in." 
 
 A general tint is imparted to an object by applying 
 coloured glazes to biscuit ware, or by covering glazed 
 ware with colour in powder. The part to be coloured is. 
 brushed over with a mixture of turpentine and oils, and 
 the powdered colour is dusted on with cotton-wool, ad- 
 hering with sufficient firmness to admit of any super- 
 fluous particles beiag lightly brushed off. This method 
 is' termed "bossing," and the application of a body of 
 uniform colour is known as " grounding," or " ground- 
 laying." 
 
 When it is desired to leave on a coloured ground a 
 white space, for subsequent decoration by paintiag or 
 gilding, such a space is first covered with a mixture, 
 generally of rose pink with sxigar and water. Colour is- 
 then " bossed" on, and fixed by firing. Washing in warm 
 water soon removes colour from those parts that have 
 been protected, or, as it is technically termed, " sten- 
 cUled." For gUding, the gold is prepared with quick- 
 silver and flux, and has the appearance of black du^t. 
 It is mixed with oil and turpentine, as colours are, and 
 laid on with a camel hair pencil. After being flred the 
 gold recovers its proper tint and appears as " dead gold."^" 
 Brilliancy is imparted, when required, by biimishing. 
 
A GUIDE TO PORCELAIN TAINTING. 11 
 
 Patterns upon ware for general use are, when intricate,, 
 almost always printed. Impressions from engraved 
 copper plates are taken upon specially prepared paper 
 and divided into sections. The paper bearing the pat- 
 tern is pressed on the surface of the biscuit ware and 
 rubbed with a boss, or pad of wash-leather, till th& 
 coloured design adheres. The absorbent ground retains 
 it, when the paper is afterwards gently rubbed off by 
 means of a soft wet sponge. 
 
 The history of all the potteries of Ghreat Britain is 
 involved in considerable obscurity ; and, although the 
 manufacture of earthenware was carried on rather ex- 
 tensively in some counties from very early times, such 
 specimens of their productions as stUl exist show that 
 until the middle of the last century they were rude in 
 form and decoration. It is remarkable for how long a 
 period the arts of design in connection with manufac- 
 tures were neglected in this country. The truth appears 
 to be that almost down to our own day the British nation 
 has had no confidence in itself as a competitor in th& 
 fields of art. Foreign painters, sculptors, musicians and 
 sLngerslong held undisputed sway. In productions which 
 required no alliance with taste, in all work for which 
 strength of will and muscle gave especial fitness, some 
 degree of pre-eminence was confessedly attained : but,, 
 whilst popular belief regarded one Briton as a match for 
 many foreign opponents in war, in the peaceful contests 
 of the arts it was assimied that the nations of the Conti- 
 nent alone could hope for laurels. These sentiments, 
 even now far from extinct, were most prevalent until the 
 
12 A GUIDE TO PORCELAIN PAINTING 
 
 ■close of the last eentury, and did not escape the vigorous 
 satire of the inimitable Hogarth, notahly in his well- 
 known caricature entitled " Taste." Upon the potteries, 
 this distrust of native ability acted most injuriously. 
 The potters worked chiefly, if not whoUy, for the humble 
 classes ; their energies were restricted and talent re- 
 mained undeveloped. Itis, perhaps, too flattering to speak 
 of Josiah "Wedgwood (bom 1730) as " the father of the 
 potter's art in England" — " Vixiere fortes ante Agam- 
 menona;" and, as he would have been the first to assert that 
 .good work was done by many of his predecessors and con- 
 temporaries, he will, nevertheless, always be remembered 
 with high honour as the first who boldly followed a path 
 •of independent invention, and forced from the public such 
 Teoognition that the vaunted productions of the French 
 and German factories gave place to his own, thus, t6 quote 
 irom his epitaph, convertiag an inconsiderable manufac- 
 tory into an important part of the national commerce. 
 
 For a long period the decoration of earthenware was 
 oonfined to the enrichment of the surface by ornaments, 
 sometimes incised, at others applied or produced by form- 
 ing the article in a mould. In the next period colours 
 were imparted by the use of coloured glazes, or by com- 
 bining variously coloured clays. As the preparation 
 of metallic colours became better understood, paiutiags 
 in a bold style were occasionally executed. The well- 
 known Faience, or earthenware of Italy, frequently dis- 
 plays fine design and colours, but does not appear to 
 iave been imitated, or to have influenced pottery decora- 
 tion in this country. The factories which produced a 
 
A GUIDE TO POECELAIN PAINTING. 13 
 
 kind of delft — that is, earthenware covered with a soft 
 enamel — and, perhaps, stoneware, at Lambeth and Ful- 
 ham, in the 17th century, were probably imder Dutch 
 direction. The decorations employed were Dutch or 
 Grerman in character, and sometimes copies, with Euro- 
 pean feeling infused, from Chinese patterns and designs. 
 It is with the establishment of the manufacture of porce- 
 lain in Europe that the era of improved pottery decora- 
 tion in colours began. Chiaese porcelain was first 
 introduced in considerable quantities among the "Western 
 nations by the Portuguese, about the year 1518. Its- 
 fine qualities excited general admiration ; and in the 
 course of time a natural desire arose in the countries of 
 Europe to include among the productions of their fac- 
 tories the highly-prized Oriental ware. The attention of 
 chemists and manxifacturers was constantly directed to 
 the subject without leading to the discovery of the true 
 nature of the material. In 1695 a composition of sand, 
 alum, saltpetre, &c., was employed at St. Cloud, near 
 Paris. To the paste thus formed the name Pate tendre, 
 or soft paste porcelain, was given ; and ia its manufac- 
 tured state it had much the appearance of true porcelain, 
 though destitute of all the real constituents — being, in 
 fact, not a clay, but a kind of glass. In England the so- 
 called porcelain factories at Bow and Chelsea, established 
 at the close of the 17th or beginning of the 18th century, 
 fabricated a similar paste, of which the chief components 
 were — sand from Alum Bay, in the Isle of Wight, a 
 fine clay and powdered flint glass. EinaUy, chance gave 
 to Europe what the efforts of learned men had failed to 
 
14 A GUIDE TO PORCELAIN PAINTING. 
 
 ■obtain. About 1709, a fine white earth, found in great 
 •quantities near Aue, in Saxony, was brouglit under the 
 notice of an iron-master named Schnorr, by the simple 
 ■circumstances of its clogging his horse's feet as he rode 
 through the district. He conceived and successfully 
 accomplished a plan to employ this earth as a substitute 
 for the hair powder made from wheat flour, then exten- 
 sively used. The powdered clay was soon in great de- 
 mand, being sold under the name of " Sohnorr's White 
 Earth." John Bottger, the director of the royal potteries 
 at Dresden, happened one day, whilst his valet was 
 dressing his hair, to take up a packet of the new hair 
 powder, and, struck by its great weight, inquired its 
 name and how it was obtained. Being told that it was 
 " Schnorr's White Earth," he at once conjectured that 
 it might prove a valuable material in the fabrication of 
 fine pottery. Experiment soon proved that he was right, 
 the substance being, in fact, the long-sought " kaolin," 
 or true china-clay. The royal porcelain manufactory 
 established at Meissen, near Dresden, was placed under 
 the direction of Bottger; and thus commenced, in 1715, 
 the manufacture of true porcelain in Europe. 
 
 In 1765, kaolin was accidentally discovered ia France, 
 Madame Damet, wife of«a surgeon at St. Yreix, near 
 Limoges, observed in a ravine, not far from the town, a 
 white earth which she thought might prove of use as a 
 substitute for soap. A specimen of the earth was for- 
 warded by her husband to a chemist at Bordeaux. He 
 probably suspecting, though uncertain as to its true 
 character, transmitted it to the celebrated Macquer, who 
 
A GUIDE TO PORCELAIN PAINTING. 15 
 
 tit once recognized the true china-clay. After many ex- 
 periments, and haviQg ascertained that the clay could he 
 procured in abundance at St. Yreix, Macquer established, 
 in 1769, the factory of " hard," or true porcelain, at 
 •Sevres. China-clay appears to have been occasionally 
 used in English factories early in the 18th century, but 
 how it was obtained is imcertain." Probably, small 
 quantities were from time to time imported from China ; 
 but, in spite of the doubtful tradition that native kaolin 
 was obtained from Bovey Tracy, in Devon, as early as 
 1730, the credit of its discovery in this country may be 
 ■safely given to William Cookworthy, of Plymouth. In 
 1755, having found near Helstone, in Cornwall, the earth 
 to which he gave the name " caulin," now so well known 
 as china-clay, he commenced iuvestigations, and estab- 
 lished at Plymouth, about 1760, the first English factory 
 of true or hard porcelain, taking out a patent for the 
 manufacture ia 1768. Four years later, having failed to 
 make the works profitable, Cookworthy sold his patent- 
 right to a merchant named Champion, who transferred 
 the manufactory to Bristol. The Bristol factory proved 
 equally unprofitable, and was closed in 1783, when the 
 patent passed into the hands of the Worcester manu- 
 facturers, Messrs. Flight and Barr. 
 
 In the course of a few years china-clay came into 
 general use, and porcelain factories were established in 
 various parts of Great Britain. It is unnecessary to 
 pursue ' their history, as information can be obtaiaed 
 from many sources by those who desire it. {See 
 Appendix) . 
 
16 A GUIDE TO PORCELAIN PAINTING. 
 
 On the character of the decorations painted upon both 
 useful and ornamental ware in the last century a few 
 words may be said. The early productions of the fac- 
 tories of this country, and of the continent, display in 
 their ornamentation remarkable paucity of invention,, 
 and, in general, a slavish spirit of imitation. As regards 
 style, the paintings alternated between boldness that 
 was really coarseness, and such extreme finish and petty 
 minuteness as were even more misplaced. The influence 
 of Oriental porcelain was great and constant. At Dresden 
 copies of Chinese forms, designs, colours and gilding, 
 were produced so exactly as to deceive even experienced 
 persons. More often Chinese designs were imitated 
 without any perception of their decorative principles. 
 The motif ^io borrow a French art term — was foUowed, 
 but more correct drawing was added, with a loss of aU 
 spirit and character. It seems to have been hardly 
 suspected that good decoration was subject to any prin- 
 ciples, or was the result of a direct gift, like the highest 
 forms of every art. As long as the painting was weB. 
 executed and agreeable in itself, it was accepted as a 
 decoration, without regard to its appropriateness or re- 
 lation to a general result. 
 
 As might be expected, progress was most rapid m. 
 Trance. Artists of repute found employment at Sevres ; 
 and, whatever may be thought of the style of decoration 
 cultivated, it must be admitted that the paintings were 
 executed with much ability. It was better that flowers, • 
 &c., should be rendered with too much fidelity to nature, 
 than that nondescript inventions should be accepted as 
 
A GUIDE TO PORCELAIN PAINTING. 17 
 
 superior in beauty, and the paintiags from subjects by 
 Watteau or Boucher must be preferred to bad imitations 
 of misunderstood Chinese art. With these admissions, 
 and adding that gilding was often introduced with much 
 taste, and the skill of the French chemists suppKed 
 colours of extreme beauty, the assertion must yet be 
 hazarded that the art of pottery decoration has been 
 almost as little comprehended in France as by other 
 European nations. The attempt to justify this position 
 must be reserved — in the form of general remarks on 
 the principles of decorative art — for the conclusion of 
 this chapter. It is difficult to select any description 
 of ornament or painted subjects as typical of the pro- 
 ductions of each European factory. Early pieces from 
 Dresden and Chelsea are so much alike as to be often 
 undistiaguishable, except by the nature of the paste. 
 Groups of Cupids, bouquets, and " conversation pieces," 
 as they are termed, were equally popular everywhere. 
 German paintings were as highly finished as those by 
 French artists, but less spirited, and, perhaps, inferior 
 in colouring. In England, as the factories were un- 
 assisted by the State, a more mercantile spirit prevailed 
 Each manufacturer was content to imitate others, or 
 pursue, ad nauseam, some decorative theme, however 
 tasteless, that had taken the fancy of the pubUc. The 
 attention of Wedgwood was chiefly bestowed on the 
 composition of coloured bodies, which he named Basalt, 
 jasper, &c. These were fine clays combined with other 
 chemical substances, and stained by the addition of 
 coloured oxides. His factory did not produce porcelain. 
 
18 A GUIDE TO PORCELAIN PAINTING. 
 
 and the paintings upon tlie fine earthenware used as a 
 substitute were of the usual character. The border 
 patterns were occasionally tasteful — in what degree may 
 be estimated by the examples figured in Miss Meteyard's 
 " Life of Wedgwood." The refined forms and moulded 
 decorations which distinguish thecelebrated "Wedgwood 
 ware," though truly elegant and perfect in execution, 
 are yet without originality, being, when not direct copies, 
 always strongly influenced by early Etruscan pottery. 
 The attempt, under the altered conditions everywhere 
 accompanying the course of Time, to reproduce in fac- 
 simile the creations of another epoch, or differently con- 
 stituted race, is generally to be regretted, even when 
 made without any intention of fraud. Good art-work is 
 the offspring of national character, and bears the impress 
 of contemporary modes of life and thought. It is scarcely 
 possible that the imitation shall possess the distinctive 
 merits of the original ; and it is probably with a feeling 
 that much of Wedgwood's labour was thus misapplied, 
 that the eminent author of " The History of Ancient 
 Pottery" classes him among producers of forged Etrus- 
 can ware. That he had no intention to deceive is self- 
 evident, for his direct object was to establish the conviction 
 that England could furnish both materials and men for 
 the art of pottery worthy to rank with the best of any 
 period and every country.* Eor the selection of classic 
 models for imitation, Wedgwood's partner, Bentley, was 
 
 * The petition of the Staffordshire potters, supported by Wedgwood, declares 
 that in and around Burslem " not one foreigner is employed in, or any material 
 imported from abroad for, any branch of " their trade. Jewitt's Life of 
 Wedgwood^ p. 163. 
 
A GUIDE TO PORCELATN PAINTING. 19 
 
 probably chiefly responsible, and tbe cboice at least 
 displayed a higher taste than was possessed by other 
 manufacturers. 
 
 It is remarkable that whilst a long list may be made 
 of known artists who worked at Sevres of English painters 
 on pottery or porcelain, scarcely a name is remembered 
 but that of the eminent enameller. Bone, who served his 
 apprenticeship in Cookworthy's factory,, at Plymouth. 
 
 Intimate acquaintance only can give the powers of 
 distiaguishing the decorated ware of each factory with- 
 out the assistance of the recognised factory marks. 
 
 The painters were generally men of humble origin, 
 whose occupation was looked upon rather as a trade 
 than an art. They not unfrequently went from one 
 factory to another ; and their methods and style were 
 transmitted from one generation to another. Thus, such 
 uniformity of resemblance was secured as was certainly 
 striking, though neither interesting nor agreeable. 
 
 The method of transferring to biscuit ware designs 
 printed from copper plates is attributed to Dr. Wall, who 
 established the "Worcester porcelain factory in 1751. 
 The discovery was of great value, and capable of more 
 extended and judicious application than has yet been 
 attempted. In almost all cases the engraved outlines 
 are too fine and rigid, but perfect identity of pattern is 
 not objectionable for ware which is intended to please by 
 general effect, without attracting close attention. At the 
 same time, protest must be made against the prevalent 
 and most unartistic practice of adding to engraved pat- 
 terns shading which is objectionable in any form, but 
 
 B 2 
 
20 A GUIDE TO POKCELAIN PAINTING. 
 
 especially when rendered by tlie net-work of harsh, lines 
 termed " cross-hatching." Printing, of which several 
 kinds are now in use, shotdd be confined to its right 
 purpose — such rapid repetition as is necessary for 
 cheapness of broadly-outhned conventional patterns for 
 colour printing, or clearly-outUned designs to which 
 colours may be afterwards quickly added by hand. 
 
 To what has been said respecting the English pottery 
 decorators should be added that, in spite of Wedgwood's 
 patriotic example, a large number of foreign painters 
 and modellers found employment in this country.* 
 Finally, as showing that the best efforts were not always 
 rewarded by success, reference must be made to the 
 factory on the estate of the Marquis of Rockingham, at 
 Swinton, near Eotherham, in Yorkshire, which produced 
 the ware known as "Rockingham." After a struggliag 
 existence under various owners, the works ceased in 
 1842 ; yet, both in fabrication and decoration, a position 
 appears to have been attained equal, if not superior, to 
 that of rival establishments. " Two magnificent speci- 
 mens exist in "Wentworth House, which are deserving of 
 more than common attention, as denoting the degree of 
 advancement of the art in England. One of these pieces 
 is a copy in enamel colours, made on a porcelain tablet, 
 of a painting by Vandyke. . . . The other . . . 
 is believed to be the largest piece of porcelain that has 
 hitherto (1857) been made in this country. It is a scent 
 
 * The petition of Mr. Champion, of Bristol, for the extension of his patent- 
 right for the manufacture of porcelain, states that " he has spai'ed no expense 
 in encouraging foreign artificers." Jewitt's Life of Wedgwood, p. 241. 
 See also Marryatt's History of Pottery and Porcelain, pp. 281-288. 
 
A GUIDE TO POECELAIN PAINTING. 21 
 
 jar, forty-four inches high, made and fired in one entire 
 piece. The three compartments are painted in enamel 
 colours, from designs by Stothard ; the suhjects taken 
 from Cervantes." * This employment of designs by an 
 English artist deserves particular notice, and for such a 
 purpose Stothard's art was singularly suitable, his drav/- 
 ings having marked individuality, whilst the subjects are 
 often ia character, and nearly always in treatment and 
 feeling, extremely decorative. These remarks do not 
 apply in an equal degree to his paintings ; of colour he 
 does not appear to have obtained complete mastery. 
 
 If this impartial butnecessarily brief survey of Ceramic 
 decorative art in the last centiiry compels the conclusion 
 that little praise can be justly bestowed, an equally un- 
 favourable view must be taken of what was done from its 
 close almost to the date of the first " great exhibition of 
 the works of all nations," which gave such a stimulus to 
 manufactures allied with the arts. Since that day the 
 general spread of information and art education has 
 created a demand for superior ornamentation, which has 
 been energetically met by the eminent firms whose pro- 
 ductions give to this country its present high position in 
 Ceramic art. The writings and influence of intelligent 
 lovers of true decoration have borne good fruit. The 
 schools of art have done much, and the establishment of 
 the South Kensington Museum has been of incalculable 
 benefit, giving to all classes what was before possessed 
 by so few — the power of developing their critical faculties 
 
 •Marryatt's History ofPottenj and Porcelain, 2nd ed., p. 292. 
 
22 A GUIDE TO POECELAIN PAINTING. ' 
 
 by actual observation and comparison of the art-work of 
 different generations and races. That much may yet be 
 done will scarcely be disputed, more especially to popu- 
 larize artistic work ; but this cannot be hoped for until 
 the national taste becomes more cultivated. Our manu- 
 facturers will not produce w^hat the public will not readily 
 buy ; and their experience too often justifies their com- 
 plaint that objects in the best taste are not sufficiently 
 appreciated to be remunerative to the producer, pre- 
 ference being still general for what is merely pretty or 
 eccentric, rather than for what is beautiful. On ' the 
 relations between producers and buyers nothing can be 
 more just and accurate than what was said by Wedg- 
 wood. As a manufacturer and a man of taste, he spoke 
 with knowledge, and his words cannot be too often re- 
 peated or too attentively considered. The quotation is 
 from his catalogue, published in 1775. " A competition 
 for cheapness, and not for excellence of workmanship, is 
 the most frequent and certain cause of the rapid decay 
 and entire destruction of arts and manufactures. The 
 desire of selling much in a little time, without respect to 
 the taste or quality of the goods, leads manufacturers 
 and merchants to ruin the reputation of the articles 
 which they manufacture or deal in ; and, whilst those 
 who buy for the sake of a fallacious saving prefer medio- 
 crity to excellence, it will be impossible for manufacturers 
 either to improve or keep up the quality of their works. 
 This observation is equally applicable to manufactures 
 and the productions of the fine arts, but the degradation 
 is more fatal to the latter than the former ; for, though an 
 
A GUIDE TO POKCELAIN PAINTING. 23 
 
 ordinary piece of goods for common use is always dearer 
 than the best of the kind, yet an ordinary and tasteless 
 piece of ornament is not only dear at any price, but 
 absolutely useless and ridiculous. AU works of art must 
 bear a price in proportion to the skill, the taste, the time 
 the expense and the risk attending the invention and 
 execution. Those pieces that for these reasons bear the 
 highest price, and which those who are not accustomed 
 to consider the real difSculty and expense of making fine 
 things are apt to call dear, are, when justly estimated, 
 the cheapest articles that can be purchased, and such as 
 are generally attended with much less profit to the artist 
 than those that everybody calls cheap. . . . The 
 most successful artists know that they can turn out ten 
 ugly and defective things for one that is beautiful and 
 perfect of its kind. Even suppose the artist has the true 
 idea of the kind of beauty at which he aims, how many 
 lame and unsuccessful efibrts does he make in his design, 
 and every part of it, before he can please himself ; and 
 suppose one piece is well composed and tolerably finished, 
 as in vases and encaustic paintings, for instance, where 
 every succeeding vase and every picture is made, not in 
 a mould, or by a stamp, but separately by the hand, with 
 the same attention and diligence as the first, how diffi- 
 cult must it be to preserve the beauty of the first model ? 
 It is so difficult that, without the constant attention of 
 the master's eye, such variations are frequently made in 
 the form and taste of the work, even while the model 
 is before the workman, as totally to change and de- 
 grade the character of the piece. Beautiful forms and 
 
24 A GUIDE TO PORCELAIN PAINTING. 
 
 composition are not to he made by chance ; and they 
 were never made, and never can be made in any kind, 
 at a small expense." * ' 
 
 The peculiar difficulties attending every effort to obtain 
 a wide circulation for articles displaying the best taste in 
 design or decoration can only be fully understood by 
 those who have given much attention to the subject. 
 
 A recent writer does not hesitate to say, " Europe is 
 too much hampered by its industrial code and prosaic 
 notions to invent purely aesthetic designs and forms. 
 Her taste is either distorted by trade calculations, chilled 
 by the public indifference to beauty, or coolly set aside 
 by the one-sided common sense theory of political 
 economy. Each workman is made the life-long slave of 
 a single fraction of a mechanical whole, the perfection of 
 which consists in its cheap production and exact resem- 
 blance to numberless similar wholes, a system of labour 
 which deadens the mental faculties, power of enjoyment 
 andmanual capacity of the worker, and effectually hinders 
 any wholesome development of taste in the buyer." f 
 In the face of recent progress these views may seem too 
 despondent ; but it cannot be denied that the tide of im- 
 provement has as yet scarcely reached such articles as 
 are moderate in price, and, from their wide diffusion, 
 afford the best indication of the state of national taste, as 
 well as the most powerful means for its instruction and 
 refinement. 
 
 On the subject of Ceramic decoration great diversity 
 
 * Jewitt's JJfe of Wedgwood, pp. 218 and 219. 
 t Art JoiiTtud (1871), p. 262. — " A genuine artistic race." 
 
A GUIDE TO POECELAIN PAINTING. 25 
 
 of opinion exists, and views directly opposed to the judg- 
 ment of the test authorities are so tenaciously held as to 
 be with difficulty combated. Many persons who wiU 
 yield ready assent to certain propositions if applied to 
 other artistic manufactures, refuse to admit that they are 
 ■of equal force when directed to the fabrication and orna- 
 mentation of pottery. Their reasoning, though, perhaps 
 unsuspected, or only half recognized by themselves, 
 appears to be this : The materials at the disposal of the 
 potter and pottery decorator are the same as, or closely 
 resemble, those employed by sculptors and painters, and 
 may, therefore, be used in the same manner and for 
 similar ends. To this the first answer is, that to give 
 durability to the fabricated ware, as to the paintings or 
 other ornaments upon its surface, the action of fire is 
 indispensable — an element always, in some measure, un- 
 manageable and uncertain in its effects. Let it be con- 
 sidered also, that the forms present constantly varying 
 -degrees of convexity and concavity, that the glaze is 
 highly reflective and the material extremely brittle. 
 These are the conditions which regulate the labours of 
 the Ceramic artist, and which render any attempted 
 rivalry with other forms of pictorial or plastic art a mis- 
 taken efifort and occasional comparative success only 
 mischievous in result. The characteristics to be sought 
 in good pottery decoration are first, appropriateness of 
 subject, an agreeable flow of lines and disposition of 
 masses, effective arrangement with fine quality of colour, 
 and lastly, economy of labour, by which is meant, not 
 istint, but wise direction and limitation. 
 
26 A GUIDE TO PORCELAIN PAINTING. 
 
 Not many years ago pictorial art became too dignified 
 to condescend to subjects suggested merely by a fanciful 
 and sportive imagination. A picture tbat did not teacb 
 something was a vanity, and the Horatian maxim was 
 quoted : " Segnius irritant animos quse sunt demissa per- 
 aurem, quam quae sunt oculis subjecta fidelibus" — i.e.y 
 " Sight is a more effectual teacher than hearing." At the 
 present day many of our best artists maintain that every 
 picture ought to be a decoration ; that the lesson it con- 
 veys, and ability with which its story is told — by mastery 
 of expression, light and shade, drawing and arrangement 
 — are matters of secondary importance, the question 
 of real importance being whether it is finely coloured,, 
 and has a decorative eO'ect when hung upon the walls of' 
 such an apartment as the painter would have selected 
 for its reception. The truth lies, probably, between the- 
 two extremes. Neither gravely truthful nor brightly 
 fanciful art can be surrendered ; and painting on potterjr 
 — quite unsuited to the former — is peculiarly well adapted 
 forthe latter, requiriagboth taste and invention in colour- 
 ing and design, in the place of fidelity to nature. Ex- 
 cluding serious and painful or repulsive subjects, every 
 field is open to the painter on pottery. All that is de- 
 manded is a conventionalised treatment, varied according- 
 to his purpose, either to produce a decorative picture on 
 a flat surface, such as panels of vases, or pMques — i.e.,, 
 slabs of soft porcelain or earthenware — or to decorate an 
 object having a concave or convex surface. Mr. Euskin- 
 justifies certain eccentricities of the figures in Turner's, 
 pictures, observing that when composing a grand land- 
 
A GUIDE TO PORCELAIN PAINTING. 27 
 
 scape we may twist about the forms and proportions of 
 human heings as we do hills, trees, bmldiags, and other 
 components of the scene. To the decorator, accurate 
 perspective, strict observance of the relative sizes of 
 objects, truth of colour and exactness of form, are con- 
 siderations of minor importance. His first care is to 
 secure a good^eneral effect, by skilful disposition of light 
 and dark, or by balanced spaces of beautiful colour. At 
 one time he may arrest attention by some startling con- 
 trast, at others he will affect the eye with pleasurable 
 sensations by means which cannot be discriminated 
 without attentive examination. 
 
 For strictly decorative treatment a clear outHne should 
 mark out each important component of the picture, and 
 strong light and shade, as well as all attempts to convey 
 an impression of distance by effects of aerial perspective, 
 should be avoided. Shadows are entirely out of place iu 
 pure ornament ; but, for decorative pictures, some indul- 
 gence may be claimed for their use — not so much to 
 assist in expressrag form as to give agreeable varia- 
 tions of colour. Their absence is, perhaps, less felt 
 when the colouriug is rich and strong than when the 
 paintiag is in a light key ; but they must never be so 
 introduced as to break up the general appearance of 
 flatness. It may be added that slight defects in paint- 
 ings on pottery frequently result from some accident 
 connected with glazing or firing, and can only be expe- 
 ditiously and effectually concealed by the addition of a 
 little colour introduced as shading. 
 
 Archaic forms, or such conventionalized representa- 
 tions of natural objects as are popularly termed Grothic, 
 
28 A GUIDE TO PORCELAIN PAINTING. 
 
 fail to obtain general acceptance, though, delightful when 
 carred in stone and combined with architecture. So, 
 too, the less rude, but quaintly precise treatment known 
 as Mediseval, satisfies only certain minds trained to 
 severe taste. Ornament constructed on mathematical 
 principles — ^by analysis of the construction of natural 
 forms — though admirable for other purposes, such as 
 work in wood or metal, has only a limited number of 
 admirers when used for Ceramic decoration. It is felt 
 to be monotonous ; both eye and mind grow quickly 
 weary of its repetitions ; and it ceases to excite interest 
 or even attract notice when its ingenious composition 
 has been traced out. There is a craving for more easily 
 recognized resemblance to nature that will not be gain- 
 said, and it is possible to meet this want without any 
 sacrifice of the principles of true decoration. 
 
 From the Greeks we may learn appropriate treatment 
 of the human form and drapery; from early Chinese, and 
 more recent Japanese art, we gain in the best form illus- 
 trations of right adaptation of familiar natural beauties 
 to the purposes of ornamentation. 
 
 The Greeks, working with only red, black, yellow and 
 white, relied on their accurate knowledge of the human 
 figure, which they display in perfect beauty, and in every 
 variety of graceful or vigorous action. In their draperies 
 we see grace of line, balanced arrangement of masses, 
 and charming ornamental patterns ; whilst the conven- 
 tionalized folds are beautifully disposed so as to assist or 
 harmonize with the figures as they are in movement or 
 repose. 
 
To face page_28. 
 
A GUIDE TO PORCELAIN PAINTING. 29 
 
 The Chinese and Japanese decorators, revelling in the 
 delights of bright, yet tender, colonx, press earth and 
 air, fire and water, into their service. Nothing is too 
 high or too humhle for them ; from sea and sky, moun- 
 tain and forest, they turned with equal affection to wild 
 creatures, furred or feathered, to plants and flowers, and 
 the tiny insects to which they afford food and shelter. 
 The occupations of civil and military life, and even the 
 dweUiags of different ranks, with their useful and orna- 
 mental contents, are also depicted ; but their representa- 
 tions of the human face and form are too grotesque 
 and distinctly national to be instructive examples for 
 Europeans, though introduced with extreme skill, and 
 showing in the draperies finely varied patterns and 
 beautiful harmonies of colour. These remarks apply 
 only to fine examples of early Chinese art, for the 
 artistic spirit departed long since from the nation — ^per- 
 haps banished by the same destructive influence of 
 European commerce which is already contributing to 
 the evident and rapid deterioration of Japanese art- work. 
 It is a strange and disastrous consequence of intercourse 
 between the Eastern and Western nations, observable 
 in all cases, that the former quickly substitute for artis- 
 tic enthusiasm the trader's love of gain, and the glory 
 of their national art departs. It is, therefore, only to 
 the best decorated work of China and Japan, produced 
 when extensive commerce with other nations was not 
 thought of, and the genuine art instincts of each race 
 had full play, that attention can safely be given by those 
 who would learn how to unite decorative treatment 
 
30 A GUIDE TO PORCELAIN PAINTING. 
 
 ■with fidelity to nature. Wliat is wanted is not a 
 laboured imitation, but the expression in. its simplest 
 form of the essential characteristics of each object repre- 
 sented. The construction, grace and colour of plants 
 and flowers ; the strength or lissomness of trees ; the 
 form, in action or repose, of beasts, birds and fishes; 
 the set and texture of fur, feathers and scales ; the play 
 of limbs, wings and fins ; — in a word, all distinctive 
 properties are shown by the Japanese artists by a few 
 spirited strokes, of which not one is without purpose. 
 A volume would not suffice to illustrate the high art 
 qualities of their commonest productions: and the 
 study and application of their principles — ^which must 
 not be confounded with direct imitation of their work 
 — may be confidently recommended to those who love 
 nature, and cannot accept realistic art as decorative. 
 
10 face page_30. 
 
A GUIDE TO PORCELAIN PAINTIJJG. 31 
 
 CHAPTER II. 
 
 PAINTING ON POTTERY AND PORCELAIN. MATERIALS. 
 
 XTnder-glaze Colours. — Of these it is only necessary 
 to name sucli as are in general use. Most of the large 
 factories possess specialities in colours for biscuit paint- 
 ing, adapted to particular glazes and degrees of furnace 
 heat. The same colours are also frequently known by 
 various names. AH that are really necessary are — pink, 
 dark blue, light blue, dark green, light green, deep 
 yellow, violet, dark brown, light brown, black. 
 
 Light green must be used pure; it is very vivid, and, 
 therefore, only agreeable in small quantities, or in its 
 paler tints. All the other colours may be intermixed 
 for composite hues. 
 
 Pink is a powerful colour. If applied thickly it 
 becomes a deep crimson after firing, and the thinnest 
 Tvash wiU impart a pink tint. As it is subject to less 
 waste than other colours under the action of the fire, it 
 is often added to give stability to dark composite hues. 
 Thus, for outlines, a good mistm-e is dark brown with a 
 little pink and dark yellow. 
 
 Orange is obtained by striking pink, moderately 
 thick, over deep yellow. The result is a better colour 
 than can be produced by mixing. 
 
 For purple, mix dark blue and pink. 
 
32 A GUIDE TO PORCELAIN PAINTING. 
 
 All the other colours lose much substance when fire"d; 
 and the most frequent source of disappointment to inex- 
 perienced persons is the discovery that they have used 
 too much piak and to Httle of all other colours. Much, 
 however, depends on the degree of heat that is necessary 
 to vitrify the glaze. 
 
 For composite greens, russets and olives, yellow, hlack 
 and light brown are mixed in varying proportions with 
 dark green. Only sober greens can be obtained by 
 mixture. Such colouring as is seen in enamel paiatings 
 is unattainable with under-glaze colours. 
 
 Enamel Coloubs.— Of these a great number are pre- 
 pared that are very seldom of use. The list here given 
 includes all that are necessary for subjects of any kind. 
 Others can be obtained if desired; but a larger selection 
 is a source of perplexity rather than an advantage : — 
 
 Red. Yellow. Dark Green. 
 
 Coral Red. Orange. Purple. 
 
 Carmine. Dark Brown. Turquoise. 
 
 Rose. Light Brown. Black. 
 
 Deep Blue. Purple Brown. White Enamel. 
 
 Light Blue. Light Green. 
 
 On the use of these a few remarks are necessary. 
 
 Neither red nor coral red must be mixed with other 
 colours ; and, as they are subject to some change, their 
 use should be deferred, if possible, till the paiatiug has 
 reached such a stage as to require only a final firing. 
 
 Carmine and rose. These are varieties of the same 
 pigment, and are used as test colours. In the process of 
 firing they pass through various conditions of tint till 
 they become a fine crimson or clear rose, when the action 
 
A GUIDE TO PORCELAIN PAINTING. 33 
 
 of the fire must be at once checked. If over-fired they 
 pass to a dull purple, and are spoilt beyond remedy. If 
 not fired enough (technically, "short-fired") their hue is 
 duU red, and may be brought to the proper tint by re- 
 newed firing. It is ordinarily considered that when rose 
 colour has been sufficiently fired, aU other colours used in 
 the painting are properly burnt in. The development of 
 the carmine or rose tint, therefore, serves as a test by 
 which to regulate the action of heat on the painting. 
 
 As the other colours do not change — though they lose 
 substance, and, consequently, depth of tint — they are often 
 subjected to great heat (technically, they are said to be 
 very "hard-fired" or "full-fired"), so as to unite them 
 thoroughly with the glaze. It is often advantageous, when 
 earmiae and rose are used pure and in any quantity, to 
 apply them when the piece is to be fired for the last time. 
 Eose or carmine must not be used for flesh tint at all. 
 The general tint of flesh is best given by red No. 1 or 
 light brown used very pale, and should be fixed by a first 
 firing before shadows are added. For shading touches of 
 blue, orange and light brown may be hatched or 
 stippled on, but shadows should be very delicate. For 
 the lips, &c., carmine or red may be used pure, but the 
 two colours must never be mixed. 
 
 Dark green combined with yellow gives such usefulhues 
 that it is not necessary to use the light green for mixed 
 tints. It is of value pure,havingitsown peculiar character. 
 Purple brown, also, should not be mixed with other 
 colours. For composite tints, rose colour, dark brown, 
 and others suffice. 
 
34 A GUIDE TO POUCELAIN PAINTING. 
 
 Clear red orange is test obtained by passing carmine 
 over orange. The hue obtained by mixing is very different. 
 
 White enamel may be mixed with any of the colours, 
 except the two reds and purple brown. The best course, 
 however, is to apply the enamel first and pass other 
 colours over it. When white enamel has been fixed by 
 firing, reds and all other colours may be passed over it. 
 
 Brushes. — The best are the red sable ; but, as these 
 are vpry expensive, they may be used only for outlines, 
 delicate work and finishing touches. For general pur- 
 poses, good camel hair brushes in quills wiU. suffice. 
 
 Vehicles. — Mixtures of honey, glycerine, &o., have 
 been tried ; but refined turpentine and the preparation 
 termed f at-oiL are considered by professional painters on 
 pottery indispensable for workuponthe glaze. Forunder- 
 glaze, or biscuit painting, the colours may be mixed with 
 gum- water or water colour McGuelp . A drop of oil of spike, 
 •cloves, or aniseed, added to colour mixed with turpentine 
 and fat-oil, prevents it from drying too quickly. For those 
 who find the difficulties of work on the porous biscuit too 
 great, a " dressing " has been provided, which, brushed 
 "thinly over the surface, renders it much less absorbent. 
 
 A table-easel, adapted for flat and hollow pieces, is 
 very useful, and a rest of some kind is indispensable to 
 preserve the hand or sleeve from contact with the paint- 
 ing. Both easels and rests have been prepared, similar to 
 those approved by the experience of professional painters. 
 It wiU be found convenient to have two palette knives, 
 one more tapering and narrow at the point than the 
 other. The colours are so finely ground that they will 
 
A GUIDE TO PORCELAIN PAINTING. 35 
 
 require only nibbing down to smootliness by means of 
 the broad palette knife. The laborious use of the glass 
 slab and muller is unnecessary. 
 
 Palettes. — The palette in general use comprises a 
 number of wells to hold prepared colour, a flat space 
 upon which small quantities of tint can be mixed, and 
 slants for oil and turpentine. Some rim-tiles, or other 
 earthenware slabs are required. Those who prefer to do 
 so win mix each colour with oil and turpentiae when it 
 is wanted ; but a great deal of time and trouble will be 
 ultimately saved by rubbing down, at the first, a sufficient 
 quantity of each colour to fill the wells. The one difficulty 
 is, that the right proportion of fat-oil and turpentiae must 
 be added, or the contents of the wells will soon become 
 unfit for use. The safest course is to put upon a glazedtile 
 a little fat-on, then add colour with the palette knife, so as 
 to form a stiff paste. Letthe colour and oil be well worked 
 together until the oil will take up no more. Turpentine 
 must then be added, so as to bring the pasty colour to a 
 state resembling syrup or refined treacle. It is then fit to 
 betransferredtotheweIls,and, if kept covered, wiU remain 
 fit for use for a long time. The contents of the wells 
 must be examined from time to time, and, if necessary, 
 mixed upagain with turpentine. For this purpose an ivory 
 knitting-needle is well suited, as it is easily cleaned. 
 
 Other requisites are — a tin brush washer for turpentine 
 (which shouldstand,wheninuse,iaaplate or saucer), trac- 
 ing and transfer paper, charcoal, hard black lead pencils, 
 apairof dividers, plenty of soft rag free from Unt; a tracing 
 point, gilt or bone pens, gum water and Indian ink. 
 
 c 2 
 
36 A GUIDE TO PORCELAIN PAINTING. 
 
 CHAPTEE, III. 
 
 PAINTING IN IJNDEE-GLAZE COLOURS. 
 
 For work upon imglazed ware (bisque, or biscuit) the 
 pigments may be used either with water and some me- 
 dium to fix them, or with fat-oil and turpentine, like 
 enamel colours. Each method has its advantages. In 
 the first case they flow readily from the brush, and may 
 be used like ordinary water colours. When dry upon the 
 palette a little water soon softens them; and, if "dressed" 
 with a suitable preparation, the surface of the biscuit is 
 not unlike drawing paper. The diffiQulties are — (1) The 
 colours dry " dead " — that is, without any gloss, and, 
 consequently, are quite unlike what they become after 
 glazing and firing. (2) They are apt to run, and, when 
 floated on, settle unequally. A mottled appearance 
 results, more colour having been deposited on one part 
 than another. (3) It is not easy to lay on a sufficient 
 body of colour to produce tints of full depth, with allow- 
 ance for waste produced by the action of the fire. With 
 practice, however, all these obstacles are overcome, and 
 complete work may be executed with one firing only. 
 Some painters begin with water colour and finish with 
 on. The second painting will not disturb the first ; and 
 afterwork in enamel colour upon the glaze is unneces- 
 sary, imless to repair very slight defects. 
 
A GUIDE TO PORCELAIN PAINTING. 37 
 
 If the painting is executed entirely in coloux mixed 
 "with oil and turpentine the touches are more precise, a 
 greater body of pigment is deposited, and the glossy 
 nature of the medium gives the colours somethiag of the 
 hue and transparency they will have after being fired. 
 
 It must be remembered that the depth of tiuts after 
 filing depends on the quantity of the colour deposited. 
 A painting executed in colours used with water has a 
 dead surface. The different tints appear nearly uniform 
 in depth or force, but the pigment is much thicker upon 
 some parts than on others. Experience is therefore 
 necessary to decide how thickly the pigment must be ap- 
 plied to produce colours in varying degrees of strength. 
 
 Pink and dark blue excepted, all other colours should, 
 as a rule, be applied so thickly as to conceal the surface 
 of the ware, and present, when dry, the appearance of a 
 paiuting iu tempera, as seen iu good specimens of the art 
 of illuminating. Piok applied thus thickly will become, 
 when fired, a fine crimson. For pink tints, and especially 
 in flesh painting, it can scarcely be used too delicately. 
 The thinnest possible layer of colour will suffice. 
 
 TJnder-glaze colours may be mixed at pleasure to pro- 
 duce any variety of compound tints. For general direc- 
 tions as to their use it will be sufficient to explain the 
 method of executing a painting in one colour on the 
 biscuit ; and, for decorative work on a white surface, 
 none can be selected so suitable as the dark blue, known 
 also as " flowing blue." 
 
 A practised draughtsman frequently sketches his sub- 
 ject directly on the biscuit, using either charcoal or 
 
38 A GUIDE TO PORCELAIN PAIJTTING. 
 
 commoii water colours. Those who have less experience 
 will find it preferable to make a design on paper and 
 draw the outhnes firmly and clearly. An exact tracing- 
 from these can be transferred to the biscuit with ordinary 
 red or blue transfer paper. Very light pressure with the 
 tracing point will convey a sufficiently clear impression ; 
 and it is generally advisable to remove some of the 
 colouring matter from the transfer paper by laying it face 
 downwards on a sheet of rather rough paper and rubbing 
 the back with some smoothe implement, such as an ivory 
 knife-handle. Slight corrections may be made in the 
 transferred design with a very hard lead pencil, and rub- 
 bing out or cleaning effected with stale bread. Some of 
 the powder colours must be rubbed down with gum and 
 water, or water colour McGhielp, using enough water 
 to make it flow easily from the pen or brush. 
 
 The outlines may be drawn with a medium-pointed 
 bone or gilt pen, or with a small brush. If a pen is used 
 it must be filled with colour from a brush and the colour 
 stirred frequently. The blue is a powerful colour, and it 
 is impossible to wash out any mark made with it so that 
 no stain shall ultimately appear. The thinnest wash 
 will give a tint when the glazing and firing are com- 
 pleted, and such a thickness of pigment as quite conceals 
 the surface will give a deep blue. Beginners generally 
 apply it too thickly, and it afterwards appears almost 
 black, or shows a sort of filmy irridescence, teehnicaHy 
 termed " ironing," or becoming " ironed." 
 
 For painting, the brush must be fuUy charged, and the 
 colours, if possible, should be run or fioated on or laid 
 
To face page_39 . 
 
A GUIDE TO PORCELAIN PAINTING. 39 
 
 with broad rapid touches. It is desirable to paint light 
 parts with one wash of thin colour, and dark parts with 
 one wash of thick colour, instead of trying to gain depth 
 by several washes one over the other. StUl, colours may 
 be added by small broad touches lightly applied, and the 
 glaze will cause them to flow partially together. A cer- 
 tain amount of irregularity in the depth of the tints, and 
 a blotty look, is not objectionable, and always preferable 
 to a dotted, feeble effect, produced by hatching or stip- 
 pHng. Some skUl is required to wash on a ground tint 
 o,f dark blue over a space of any considerable extent. It 
 may be "bossed " or dabbed on with brushes sold for the 
 purpose. This is best done if the colour is mixed with 
 fat-oil and turpentine ; it will not sink or dry so quickly 
 and can be more easily and deliberately worked. 
 
 If the design includes small forms in white on a blue 
 ground, they can be added in white enamel when the 
 piece has been glazed and fired. It is very difficult to 
 leave them untouched when rapidly laying on colour. 
 
 Designs combining theunder-glaze blue and over-glaze 
 or enamel red are effective. The parts to be coloured 
 red must be left quite white, and the red afterwards 
 applied on the glaze and fixed by the enamelling kiln. 
 
 Under-glaze paintings, before they are glazed, undergo 
 a process termed "hardening on." They are subjected 
 to moderate heat, which expels all the oil and turpentine 
 and attaches the colour to the ware. This is necessary, 
 because the oil would repel the glaze which is mized with 
 water. 
 
 It is important to observe that if under-giaze colours 
 
40 A GUIDE TO PORCELAIN PAINTING. 
 
 are used with oil and turpentine, it is not of mucli conse- 
 quence how much turpentine is added, so long as the 
 colours can be effectiyely worked. If, however, too much 
 fat-oil is used, and the colour when dry looks very glossy, 
 thickly applied colour will almost certainly be spoilt by 
 the boiling of the oil in the hardening Idln. It wiU have 
 a blistered, lumpy look, and can scarcely be repaired, the 
 only remedy being to chip it off, and, having rubbed down 
 remaining roughnesses with pumice-stone, touch on some 
 enamel colour and fire the painting again. 
 
 Thin colour is most easily laid on the biscuit if mixed 
 with a good deal of fat-oil, as it will not sink so quickly 
 into the porous surface, and effects of the fire need not 
 be feared. To regulate the quality of the mixed colour 
 for different portions of the work, the brush is dipped in 
 the fat-oQ or turpentine contained in the slants of the 
 palette. 
 
 All things considered, the use of under-glaze colours 
 with water is most simple, and, with a Uttle experience, 
 perfectly effective. 
 
A GUIDE TO PORCELAIN PAINTING. 41 
 
 CHAPTEE lY. 
 
 FAINTING IN ENAMEL COLOURS. 
 
 The extreme smoothness of the surface is the principal 
 source of difi&culty in work upon the glaze, but will soon 
 cease to embarrass if attention is paid to the preparation 
 ■of the colour. The best method of securing the proper 
 relative proportion of colour, fat-oH and turpentine, has 
 been already indicated (p. 35) , but one or two observations 
 may be made to assist the judgment on this point, right 
 consistency of the pigments being the sitie qua non of 
 successful over-glaze work. 
 
 Before any attempt to paint, some experimental touches 
 should be made on a piece of glazed ware. If the colour 
 is ia a proper state each touch wUl be smooth and definite 
 ia form. The brush will take hold, so to speak, of the 
 surface. If the brush slips and the colour spreads irre- 
 gularly, too much turpentine has been used, and the 
 remedy is the addition of more colour and a little fat-oU. 
 If, on the other hand, the colour clogs the brush, and is 
 stiff and lumpy, it requires thinning with turpentine. 
 The vehicle must be made to carry as much colouring 
 matter as possible, therefore it must be noticed, in thin 
 touches, if the oil is ia excess and its yellowish colour 
 ■observable, in which case more pigment must be added, 
 thoroughly mixed and thinned with turpentine only. 
 
42 A GUIDE TO PORCELAIN PAINTING. 
 
 A tliick body of colour, containing too mucli oil, will, 
 probably be injured by boiling in the kiln. 
 
 A tbin layer of colour cannot be spread evenly if mixed, 
 with too much turpentine. 
 
 The work must be carried on deliberately. Much an- 
 noyance frequently results from a hurried attempt to add 
 a small touch whilst the brush is full of turpentine, and 
 the point only charged with colour. The spirit mingles 
 with and efEaees, not only the touch just added, but also 
 adjacent parts of the painting previously executed. To 
 pottery painting the familiar saying is particularly ap- 
 plicable — " The more haste the less speed." 
 
 If the well-palettes are used, as recommended (p. 36), 
 the palette-knife used to convey colours from the wells to- 
 the tiles must be scrupulously clean ; and, when turpen- 
 tine and oil are added to colour, it is best done, not by 
 pouring from the bottles, but by means of the palette- 
 knife, taking the spirit from the brush-washer and the 
 on from the slant in the palette. 
 
 To draw the first outlines of a design on glazed ware,, 
 a rather dry brush and India ink are generally used. If 
 required, a tracing can be made and the outlines pricked, 
 with a needle, so as to mark out the forms by a close 
 succession of fine holes. The glazed surface having been 
 covered Asdth some adhesive substance, such as honey" 
 or oil and turpentine (applied as thinly as possible), the 
 tracing must be held steadily upon it, or fixed with, 
 wafers. Powdered charcoal, brushed lightly over the- 
 back with a soft leather stump or the fingers, will pass 
 "through the holes and mark out the design on the ware- 
 
A GUIDE TO POKCELAIN PAINTING. 4S 
 
 in tolerably clear dotted lines ; these must be at once 
 gone over with colours. 
 
 Perforated tracings are chiefly useful for patterns, 
 such as borders on which the same forms are several 
 times repeated. A tracing of one section of the design 
 suffices, and does not wear out, as it would if the- 
 tracing-point was passed many times over the liaes. 
 For pictorial designs the best course is, perhaps, to use 
 a tracing to transfer the principal forms, and sketch in 
 details or slight alterations with India ink. 
 
 Colour for outlines may be kept separate on a small 
 palette, and used with glycerine or some water colour 
 medium. The colour mixed with oil and turpentiae, 
 afterwards used for painting, will not disturb the outlines 
 drawn with pigment thus prepared. Honey and glycer- 
 ine, treacle, gum-water and other vehicles, have been 
 used for this purpose. The mixture must not be too 
 thin, lest the fine lines should not have substance 
 enough to allow for waste in firing. 
 
 No particular method of painting can be suggested ; 
 individual taste will a,£Eord the best guide to appropriate 
 execution. Pale flat tints may be produced most easily 
 by " bossing " or dabbing on the colour ; and when the 
 picture has been fired a repetition of the process will give 
 any degree of strength desired. Oross-hatohing and 
 minute-stippling are laborious and produce a poor effect. 
 As far as possible the work should be carried on by 
 broad touches, laid with a fuUy-charged flattened brush. 
 
 Brushes of different sizes are necessary, and, whether 
 for large or fine touches, should be charged, not by 
 
44 A GUIDE TO POKCELAIN PAINTING. 
 
 dipping, but by drawing tbem, flattened, through the 
 colour. To prepare the brushes for use dip them in 
 turpentine and draw them through a little oil in the 
 slant, so as to soften and unite the hair up to the quill. 
 
 If a brush becomes hard, dip it in turpentine and 
 hold it near a flame — warmth will soon soften it. 
 
 Small portions of superfluous colour are easily removed 
 from the paiating with the brush-stick, which should be 
 cut to a flat shape at the end. Thia colour, when dry, 
 can be at once softened by breathing on it ; and slight 
 corrections, such as cleaning up the edges of any patch 
 of colour, will be most readily and neatly done if the 
 colour is first allowed to dry, then slightly softened by 
 the breath. 
 
 After use the brushes must be thoroughly cleansed 
 with turpentine ; and, if not intended to be used for 
 some days, may be laid in a little oil or washed with 
 soap and water. 
 
 The colours on the palette or painting must be kept 
 free from dust or grit of any kind, for, in spite of the 
 destroying power of the fire, even a hair will draw up the 
 colours in the Tfiln and cause an annoying disfigurement. 
 
 All colours will lose some of there strength when fired ; 
 the tints must, therefore, be used darker than they are 
 to appear finally. Colour can, however, be added 
 repeatedly, and the painting fired as often ; bttt it is 
 desirable, both on the grounds of risk and expense, not 
 to rely on more than two or three firings. It is scarcely 
 possible to finish an enamel painting with one firing. 
 
 For small touches white enamel may be put on thick 
 
A GUIDE TO PORCELAIN PAINTING. 45 
 
 at once, but upon large spaces it should be first applied 
 thinly, so as to take a hold on the glaze. When dry, it 
 may be covered at once with a thicker layer ; but the 
 safest course is to defer the addition of the f uU thickness 
 required until the painting has been once fired. 
 
 Turquoise is used precisely in the same manner as 
 white enamel. Both are applied more solidly than 
 other pigments, a considerable body of each being 
 necessary to a proper effect. 
 
 White enamel may be employed Uke ordinary white 
 paint. Colours can be mixed with it, or struck lightly 
 over it when nearly dry. 
 
 A patch of colour applied moderately thick may be 
 made to distribute itself more evenly by breathing on 
 it. Pottery painters, when preparing a little colour on 
 the palette for delicate and precise work, always breathe 
 upon it. The intimate union and smooth flow of the 
 colours and medium seems to be assisted by the slight 
 warmth thus imparted. 
 
 The bottles containing the colours must be kept 
 covered, and a palette-knife wiped each time it is used 
 to take out a different colour. The presence of a 
 very smaU quantity of another colour will spoil the 
 contents of a bottle. 
 
 When colour becomes dry and hard upon the palette- 
 knife or palette, as much as possible should be scraped 
 off, and rag with turpentine used to clean, away the rest. 
 
 After use all implements should be cleaned before the 
 colour has hardened upon them, if no further use is 
 to be made of them for some time ; but colour on the 
 
46 A GUIDE TO POECELAIN PAINTING. 
 
 palette will remain servieeaUe for a day or two if 
 •covered close with a saucer. 
 
 Circular border lines are generally drawn by means of a 
 *' planchette," or wheel — a small revolving table. For ar- 
 tistic work great precision is not required, but the lines 
 may be traced thus : Find the centre and fix upon it 
 with beeswax a bit of thick card. Upon this the point 
 ■of one joint of the dividers or compasses will rest firmly, 
 whilst the other joint carries a brush in place of the 
 usual lead pencil. 
 
 In designs for pottery a multitude of small detached 
 details should be avoided, as destroying unity of effect. 
 Straggling forms are not agreeable in border designs, 
 which, however intricate, should have a certain compact- 
 ness, and not draw the eye forcibly from the painting 
 which they enclose. It is generally sufficient to surround 
 a decorative design with one or two lines of varying 
 width and colour. If the border design is broad and 
 elaborate, it requires to be separated from the central sub- 
 ject by a blank space of considerable width. Such a 
 piece as a saucer-shaped plateau, from nine to twelve 
 inches in diameter, is well suited for decoration, of which 
 the border is the principal part, the balance being re- 
 storedby a small central subj ect strongly coloured. "When 
 nearly the whole available space is filled up bya decora- 
 tive picture, an intricate border is merely wasted labour. 
 
 Beginners will do well not to attempt large paintings 
 at first, and to defer working on the ware until they have 
 prepared on paper an exact coloured design, the outlines 
 of which may be put in firmly with indelible brown ink. 
 
To face page_47. 
 
A GUIDE TO PORCELAIN PAINTIiSIG. 47 
 
 Much assistance will be derived from trials of the colours. 
 A small plaque or a common plate should he covered 
 with patches of gradated colours, hoth pure and in com- 
 posite tints produced by mixture. This trial piece, after 
 being fired, should be always at hand for reference, hav- 
 ing below the patches the initial letters of the colours used, 
 or a number to correspond with a written descriptive list. 
 
 By removing the painting now and then to some dis- 
 tance from the eye, the general effect will be more readily 
 seen. It is especially necessary to do this when bright 
 ■colours are used, for the eye quickly becomes fatigued 
 and loses all power of discrimination. 
 
 Finally, when a painted piece is to be sent to the kiln, 
 it is advisable to dry out the oil by heating it on a stove, 
 or in a common oven. 
 
 For those who cannot originate decorative subjects 
 ihere can be no lack of material in these days of photo- 
 graphy. Modern Grernian woodcuts are often very sug- 
 gestive, being generally simple in treatment and firmly 
 outlined. Early engravings and book plates also some- 
 times afford excellent subjects, and there is abundant 
 room for the exercise of taste and ingenuity in the em- 
 ployment of such materials, not by copying, but by 
 adapting them. All the best works on ornament are 
 accessible, in the national libraries, to residents in Lon- 
 -don and other large towns ; but those who can obtain it 
 will find a work entitled "Examples of Ornament" inex- 
 pensive, and fully illustrative of the styles of ornament 
 ■characteristic of various periods and nations. 
 
 A list of works relating to pottery and pottery decora- 
 
48 A GUIDE TO POKCELAIN PAINTING. 
 
 tion has been added, as an appendix, to tliese pages, in 
 the hope that some readers may be interested in the 
 history as well as in the practice of Ceramic art. 
 
 CONCLUSION. 
 
 Unless condensed and presented in such a form as to be 
 easily mastered, written instructions seldom receive close 
 attention, and make but a faint or confused impression 
 on the reader's memory. It would be easy to expand 
 the simple directions here comprised within a few pages ; 
 but, although an appearance of more importance might 
 thus be given to the work, it is more than'probable that 
 its practical usefulness would be diminished. AH the 
 technical processes in general use have been described, 
 briefly, yet, it is hoped, so that they may be easily 
 understood and remembered. All the difficulties gener- 
 ally encountered at first are noticed, and such advice 
 added on the best mode of overcoming them as the 
 writer's own practice, and famUiarity with the experience 
 of others, has suggested. 
 
 That real assistance may be obtained from his pages, 
 and success speedily attend the efforts of those who 
 accept his guidance is the sincere wish of 
 
 THE WEITEE. 
 
 Stanford Road, Kensington, 
 1873. 
 
A LIST OF WOEKS 
 
 RELATING TO THE 
 
 MANUFACTUEE AND DECOKATION 
 
 OF 
 
 POTTERY AND PORCELAIN. 
 
 Antoine, p. ; ffiuvres Completes de B. Palissy. Paris, 1844. 
 
 Babbet de Jouy : Les Delia Robbia. Paris, 1855. 
 
 Birch, Dr. S. : History of Ancient Pottery. London, 1873. 
 
 BiNNS : A Century of Pottery in the City of Worcester. London, 
 
 1865. 
 Bbongniabt : Traits des Arts Ceramiques. Paris, 1854. 
 Chaefkes, W. : Marks and Monograms on Pottery and Porcelain. 
 
 4th Edition. London, 1874. 
 Clbuziot . De la Poterie Gauloise. Paris, 1872. 
 Demmain : Guide de Amateur de Faiences et Porcelaines. 
 FoBTNUM, E. D. -. Maiolica, &c., in the S.K.M. London, 1873. 
 Graesse : Marks and Monograms. Dresden, 1864. 
 Hamilton, Sir W. : Engraving from Greek Vases. 4 vols. Naples^ 
 
 1791. 
 HoEEMAN : Memoire sur la Porcelain de Japon. Paris, 1856. 
 Jacquemaet : Histoire de la Porcelain. Paris, 1861. 
 JacquBmart, a. ■ Les Merveilles de la Ceramique. Paris, 1868-70. 
 Jacquemabt, a. : History of Ceramic Art. Translated by Mrs. Bury 
 
 Palliser. London, 1873. 
 Jewitt : Notices of English Potteries. Art Journal. 
 Owen, H. : Tvyo Centuries of Ceramic Art in Bristol. London, 1873. 
 Maertatt, J. . History of Pottery and Porcelain. 3rd Edition. 
 
 London, 1868. 
 Mayer : History of the Art of Pottery in Liverpool. 
 Millingen, J. S. ; Greek Vases, &c. London, 1822. 
 Qiot : Histoire de la Porcelain. 
 
 Rebotjlleau : La Peinture sur Porcelain. Paris, 1843. 
 Eis-Pacquot : Histoire des Faiences de Eouen. Amiens, 1870. 
 Salvetat ; Le9ons do Ceramique. Paris, 1857. 
 
GEORGE ROWNEY & CO.'S 
 
 MATERIALS FOR PORCELAIN PAINTING. 
 
 -**<- 
 
 Caddy Lid Box, fitted with the requisite materials 
 Mahogany Box 
 
 Price ;^2 los. 
 ... £i IS. 
 
 The Colours are prepared vioist in tubes and dry in bottles. 
 COLOURS AND MEDIUMS FOR PORCELAIN PAINTING. 
 
 
 Per Tube or Bottle. 
 
 
 s. d. 
 
 Blaeli ... 
 
 6 
 
 Blue 
 
 
 9 
 
 Blue Green 
 
 
 6 
 
 Brown No. i . 
 
 
 6 
 
 Brown No. 2 
 
 
 6 
 
 Carmine ... 
 
 
 9 
 
 Chrome Green 
 
 
 9 
 
 Coral Red 
 
 
 9 
 
 Mat Blue 
 
 
 9 
 
 Orange 
 
 Pinli 
 
 Purple 
 
 Purple Brown ... 
 
 Red 
 
 Rose 
 Underglaze Blue 
 
 Yellow 
 
 Yellow Green ... 
 
 Per Tube or Botde. 
 
 .r. d. 
 
 o 6 
 
 o 6 
 
 2 o 
 
 o 6 
 
 o 6 
 
 o 9 
 
 o 6 
 
 o 6 
 
 o 6 
 
 Enamel White 
 
 Biscuit Ware Dressing 
 
 Fat Oil 
 
 Flux 
 
 Per Bottle. 
 ... I 6 
 ... o 9 
 ... I o 
 ... o 9 
 
 Oil of Spike 
 
 Spirits of Turpentine 
 
 Underglaze Medium 
 
 Per Bottle. 
 ... o 6 
 ... o 6 
 ... I 6 
 
 FITCH DABBERS FOR PORCELAIN PAINTING, bound with wire. 
 
 Crow ... 
 Duck ... 
 Large Duck 
 
 each 
 
 Small Goose 
 Goose 
 
 MINTON'S EARTHENWARE.— Glazed Tile.s. 
 
 Inches. 
 
 5 by 5 each 
 
 6 ,. 6 ,, 
 
 7 ., 7 .. 
 
 s. d. 
 
 o 6 
 
 6 
 
 1 ° 
 I 4 
 
 Inches. 
 9 by 9 each 
 10 ,, 
 
 10 
 12 
 
 J. d. 
 
 each o 4 
 
 ..OS 
 
 s. d. 
 3 4 
 7 o 
 
 12 
 
 9 inches diameter, each 
 'O .. ., ,1 
 
 13} 
 
 Round Plates, 10 inch Earthenware. Each, is. 
 Round Trays, Light Buflf. 
 d. 
 
 6 
 
 6 9 
 
 7 6 
 
 1 6 
 
 2 9 
 
 15 inches diameter, each 
 17 .. 
 19 .. 
 23 ,. 
 
 s. d. 
 If 9 
 25 3 
 29 3 
 33 o 
 
 "GUIDE TO PORCELAIN PAINTING," bySidneyT. Whiteford. Clathandgilt,!s.6d. 
 
 Mahogany Hand Rests, polished, each, as. od. 
 Test Tiles, 3s. 9d. each. 
 
 In ordering Colours, please state which aye required, vipist or dry. 
 
shape. 
 
 A Cocoa Handle 
 
 B Ditto Balance 
 
 A Ebony Handle 
 
 B Ditto Balance 
 
 A Ivory Handle 
 
 B Ditto Balance 
 
 E CocoaHandleTiowel 554 
 
 D Ebony Askew points 557 
 
 C Cocoa Long Shank 564 
 
 4>^ inch. 5 inch. 
 s, d, 
 
 II 
 
 1 2 
 
 II 
 
 1 2 
 
 2 8 
 2 10 
 2 2 
 I 5 
 I 3 
 
 GLASS SLABS AND MULLERS. 
 
 FOR COLOUR GRINDING. 
 
 Glass Slabs 
 
 Size 
 6 inches by 
 
 6 
 
 inches 
 
 Glaw? Set in 
 Slabs Mahogany 
 only. Frames. 
 Each. Each. 
 
 i. d. s. d. 
 
 10 30 
 
 Ditto 
 
 8 „ 
 
 8 
 
 >> 
 
 I 6 
 
 3 9 
 
 Ditto 
 
 10 „ 
 
 10 
 
 )» 
 
 2 3 
 
 4 9 
 
 Ditto 
 
 12 ,. 
 
 12 
 
 )» 
 
 3 6 
 
 6 
 
 Glass MuUers 
 
 
 
 I inch diameter 
 
 S 
 
 Ditto 
 
 
 
 IK 
 
 ditto 
 
 6 
 
 Ditto 
 
 
 
 IM 
 
 ditto 
 
 9 
 
 Ditto 
 
 
 
 2 
 
 ditto 
 
 I 3 
 
 Ditto 
 
 
 
 2% 
 
 ditto 
 
 I 6 
 
 Ditto 
 
 
 
 3 
 
 ditto 
 
 2 
 
"PRIZE MEDALS AWARDED." 
 
 Exhibition of all Nations, 1851, Prize Medal. 
 
 Paris Universal Exhibition, 1855, Two Prize Medals, 
 
 International Exhibition, 1862, Two Prize Medals. 
 
 Dublin International Exhibition, 1865, Prize Medal. 
 
 Paris Universal Exhibition, 1867, Two Silver Medals. 
 
 . Lyons Universal Exhibition, 1872, Two Silver Medals. 
 
 Philadelphia International Exhibition, 1876, Prize Medal. 
 
 Paris Universal Exhibition, 1878, Prize Medal. 
 
 MESSRS. GEORGE ROWNEY & CO. 
 
 HAVE THH Pr.EASUKE TO ANNOUNCE 'JHAT BV THEIH 
 
 SYSTEM OF 
 GRINDING COLOURS BY MACHINERY, 
 
 They are enabled to supply Artists' colours in oilj water, or powder, perfectly 
 fine, at the same prices as hitherto charged for colours less finely ground. 
 
 Messrs. G. R. & Co. feel assured the OIL COLOURS ground by their 
 improved process will be found to \>e,Jiner^ brighter^ less oily^ and to dry quicker 
 than any others at present manufactured ; and that their WATER COLOU RS 
 prepared by the same process, will prove to beyfwtr, brighter, and tojioat mart 
 evenly lolthout granulation than any other colours hitherto produced. 
 
 They therefore solicit a trial in full confidence of giving satisfaction. 
 
 RETAIL DEPARTMENTS: 
 52, RATHBONE PLACE, and 64, OXFORD STREET. W. 
 
GEORGE ROWNEY & CO.'S 
 
 WATER COLOURS, 
 
 GROUND BY MACHINERY. 
 
 
 
 Whole 
 
 
 
 
 
 Cakes, 
 
 Half 
 
 
 
 
 Moist 
 
 Cakes 
 
 Quarter 
 
 LIST OF WATEK 
 
 COLOURS. 
 
 
 or Half 
 
 Cakes. 
 
 
 
 Tubes. 
 
 Pans. 
 
 
 
 
 Hach 
 
 Each 
 
 E^h 
 
 
 
 s. d. 
 
 s. d. 
 
 s. d. 
 
 Ultramarine (Genuine) 
 
 
 21 
 
 .10 6 
 
 5 3 
 
 Deep Rose 
 
 Purple Madder ) 
 
 5 
 
 2 6 
 
 
 Extract Madder Car- 
 
 Smalt ( 
 
 * 
 
 r % 
 
 mine 
 
 Ultra Ash 
 
 ; 
 
 
 
 
 Aureoiin 
 
 Green Oxide of 
 
 
 
 Burnt Cariniue 
 
 Chromium 
 
 
 
 
 
 Carmine 
 
 Intense Blue 
 
 
 
 
 
 Cadmium, Pale 
 
 Madder Lake 
 
 
 
 I 6 
 
 
 Cadmium, Yellow 
 
 Mars Orange 
 
 " 
 
 3 
 
 y 
 
 Cadmium, Orangu 
 
 Pink Madder 
 
 
 
 
 
 Cadmium, Orange Deep 
 
 Pure Scarlet 
 
 
 
 
 
 Dahlia Carmine 
 
 Rose Madder 
 
 
 
 
 
 Gallstone 
 
 ) 
 
 
 
 
 
 Azure Blue 
 
 Lemon Yellow 
 
 
 Cobalt 
 
 Veronese Green 
 
 2 
 
 I 
 
 6 
 
 French Ultramarine 
 
 Violet Carmine 
 
 
 
 
 
 Black Lead 
 
 Mars Yellow 
 
 
 
 Brown Madder 
 
 Neutral OrHnt;e 
 
 
 
 
 
 Chinese Orange 
 
 Orange Verniilion 
 
 
 
 
 
 Cceruleum 
 
 Purple Lake 
 
 
 
 
 
 Crimson T<ake 
 
 Scarlet Vermilinn 
 
 >- 
 
 I 6 
 
 9 
 
 5 
 
 Indian Lake 
 
 Scarlet Lake 
 
 
 
 Indian Yellow 
 
 Sepia 
 
 
 
 
 
 Italian Ultra 
 
 Roman Sepia 
 
 
 
 
 ^ 
 
 Magenta 
 
 Warm Sepia ^ 
 
 
 
 
 
 Mauve 
 
 
 
 
 
 
 Antwerp Blue 
 
 King's Yellow ^ 
 
 
 Bistre 
 
 Lamp Black 
 Light Red 
 
 
 
 
 
 Blue Black 
 
 
 
 
 
 Blue Verditer 
 
 Naples Yellow 
 
 
 
 
 
 Brown Ochre 
 
 Neutral Tint 
 
 
 
 
 
 Brown Pink 
 
 Olive Green 
 
 
 
 
 
 Burnt Sienna 
 
 Orange Orpiment 
 
 
 
 
 
 Burnt Umber 
 
 Payne's Grey 
 
 
 
 
 
 Chinese White 
 
 Permanent Blue 
 
 
 
 
 
 Chrome i, Lemon 
 
 Permanent White 
 
 
 
 
 
 Chrome 2, Yellow 
 
 Prussian Blue 
 
 
 
 
 
 Chrome 3, Orange 
 
 Prussian Green 
 
 
 
 
 
 Chrome 4, ,, Deep 
 
 Purple 
 
 - 
 
 I 
 
 6 
 
 ■3 3 
 
 Cologne Earth 
 
 Raw Sienna 
 
 
 
 
 Dragon's Blood 
 
 Raw Umber 
 
 
 
 
 
 Emerald Green 
 
 Red Lead 
 
 
 
 
 
 Flake White 
 
 Roman Ochre 
 
 
 
 
 
 Gamboge 
 
 Sap Green 
 
 
 
 
 
 Hooker's Green, 1 
 
 Terra Vert 
 
 
 
 
 
 Hooker's Green, 2 
 
 Vandyke Brown 
 
 
 
 
 
 Indian Red 
 
 Venetian Red 
 
 
 
 
 
 Indigo 
 
 Verdigris 
 
 
 
 
 
 Italian Ochre 
 
 Vermilion 
 
 
 
 
 
 Italian Pink 
 
 Yellow Lake 
 
 
 
 
 
 Tvory Black 
 
 Yellow Ochre ; 
 
 
 
 
 
GEO. ROWNEY & CO.'S 
 
 JAPANNED TIN SKETCHING BOXES, 
 
 FILLED WITH MOIST COLOURS. 
 
 i-Pan Box 
 Sepia. 
 
 2-Pan Box 
 
 Sepia and Chinese White. 
 
 3-Pan Box 
 
 Raw Sienna, Indigo, and Sepia. 
 4-Pan Box . . 
 
 Raw Sienna, Sepia, Indigo, and Chinese White. 
 
 LANDSCAPE. 
 6-Pan Box .. .... 
 
 Gamboge, Yellow Ochre, Light Red, Crimson Lalce, Van- 
 dyke Brown, and Prussian Blue. 
 
 LANDSCAPE. 
 lo-Pan Box ., . . . 
 
 Gamboge, Roman Ochre, {\) Lemon Yellow, {^) Chinese 
 Orange, {\) Indian Red, [^) Vermilion, Brown Pink, Sepia, 
 Coeruleum, French Ultramarine, Prussian Blue, and Veronese 
 Green. 
 
 LANDSCAPE. 
 12-Pan Box .... 
 
 Gamboge, Raw Sienna, (i) Lemon Yellow, {^ Pale Cad- 
 mium, [^ Orange Cadmium, {^ Mars Orange, {^ Indian Red, 
 (^) Vermilion, Crimson Lake, Madder Brown, Sepia, Lamp 
 Black, Cobalt, Prussian Blue, and Qlive Green. 
 
 s d. 
 4 8 
 
 lo 9 
 
 + o 
 
LANDSCAPE AND FIGURE. 
 I2-Pan Box .. . 
 
 Yellow 
 Mars Yel 
 
 Ochre, (i) Lemon Yellow, (i) Orange Cadmium, 
 How, Light Red, {{) Scarlet Vermilion, {{) Rose 
 Madder, (1) Carmine, (i) Purple Lake, Vandyke Brown, Madder 
 Brown, C<Hruleum, French Ultramarine, (i) Indigo, {{) hmerald 
 Green, and Veronese Green. 
 
 LANDSCAPE AND FIGURE. 
 i6-Pan Box .. .... .. I 15 o 
 
 Raw Sienna, Indian Yellow, (|) Lemon Yellow, (i) Italian 
 Pink, (i) Cadmium Yellow, (J) Orange Cadmium, Brown 
 Ochl-e, Burnt Sienna, Scarlet Vermilion, Madder Lake, Indian 
 Lake, Raw Umber, Vandyke Brown, Cobalt, French Ultra- 
 marine, Indigo, (i) Ultramarine Ash, © Emerald Green, and 
 Green Oxide of Chromium. 
 
 LANDSCAPE AND FIGURE. 
 i8-Pan Box .. 1 15 o 
 
 Gamboge, Yellow Ochre, Roman Ochre, (i) Aureolin, 
 (i) Italian Pink, .Indian Yellow, (i) Cadmium Yellow, (i) 
 Orange Cadmium, Brown Ochre, Light Red, [{) Indian Red, 
 (i) Scarlet Vermilion, Rose Madder, {{) Indian Lake, (i) 
 Lamp Black, Raw Umber, Sepia, Cobalt, French Ultramarine, 
 Prussian Blue, {{) Emerald Green, {{} Olive Green, and Vero- 
 nese Green. 
 
 LANDSCAPE, FIGURE. 40. 
 
 20-Pan Box ..216 
 
 Gamboge, Yellow Ochre, Roman Ochre, (i) Lemon Yellow, 
 (i) Aureolin, Indian Yellow, (i) Cadmium Yellow, (f) 
 Orange Cadmium, Light Red, (1) Indian Red, (1) Vermilion, 
 (i) Scarlet Vermilion, (J) Carmine, Rose Madder, Madder 
 Brown, Brown Ochre, Vandyke Brown, Sepia, Cobalt, French 
 Ultramarine, Indigo, {\) Emerald Green, {{) Olive Green, (1) 
 Caruleum, (^) Ultramarine Ash, and Veronese Green. 
 
 LANDSCAPE, FIGURE. &c. 
 22-Pan Box .. .. 279 
 
 Gamboge, Yellow Ochre, Raw Sienna, {\) Lemon Yellow, 
 (i) Aureolin, Indian Yellow, (i) Cadmium Yellow, (i) 
 Orange Cadmium, Light Red, (i) Indian Red, {\) Vermilion, 
 [\) Orange Vermilion, (y) Carmine, Rose Madder, Madder 
 Brown, Brown Ochre, Burnt Umber, Sepia, Cobalt, French 
 Ultramarine, Prussian Blue, (^) Emerald Green, [\) Lamp 
 Black, {{) Ctcruleum, {{) Ultramarine, Ash, (i) Smalt, {\) 
 Purple Madder, Olive Green, and Veronese Green. 
 
WATER COLOUR PAINTER'S BOX, 
 
 i6 PANS AND lo HALF PANS. 
 
 E. DUNCAN'S ARRANGEMENT (Sea and Landscape). 
 
 WHOLE PANS. 
 
 Gamboge, Indian Yellow, Yellow Ochre, Roman Ochre, Raw Sienna, 
 Burnt Sienna, Venetian Red, Chinese Orange, Madder Brown, Vandyke 
 Brown, Cceruleum, Cobalt, Prussian Blue, Indigo, Lamp Black, and Sepia. 
 
 HALF PANS. 
 
 Cadmium Yellow, Cadmium Orange, Scarlet .Vermilion, Carmine, Rose 
 Madder, Purple Lake, Extract of Madder Carmine, Violet Carmine, 
 Ultramarine Ash, and Veronese Green. 
 
 Price per box, £z 5s. 6d. 
 
 F. TAYLOR'S ARRANGEMENT (Figure, Animal, & Landscape). 
 
 WHOLE PANS, 
 
 Gamboge, Lemon Yellow, Indian Yellow, Raw Sienna, Brown Pink, 
 Veronese Green, Indigo, French Ultramarine, Cobalt, Cceruleum, Chinese 
 Orange, Burnt Sienna, Indian Red, Scarlet Vermilion, Madder Brown, and 
 Sepia. 
 
 HALF PANS. 
 
 Cadmium Yellow, Orange Cadmium. Yellow Ochre, Olive Grcen,Vandykc 
 Brown, Purple Madder, Purple Lake, Rose Madder, and Ultramarine Ash. 
 
 Price per box, ^2 6s. 6d. 
 
JAPANNED TIN SKETCH BOXES, 
 
 FILLED WITH HALF-PANS OF MOIST COLOURS. 
 
 3-Half-Pan Box .. .. .... 
 
 Gamboge, Light Red, and Cobalt. 
 
 8-Half-Pan Box 
 
 Gamboge, Yellow Ochre, Light Red, Rose Madder, Van- 
 dyke Brown, Cobalt, Prussian Blue, and Veronese Green. 
 
 i2-Half-Pan Box 
 
 Gamboge, Roman Ochre, Lemon Yellow, Chinese Orange, 
 Indian Red, Vermilion, Brown Pink, Sepia, Cceruleum, 
 French Ultramarine, Prussian Blue, and Veronese Green. 
 
 14-Half-Pan Box 
 
 Gamboge, Raw Sienna, Lemon Yellow, Cadmium Yellow, 
 Mars Orange, Indian Red, Vermilion, Crimson Lake, Madder 
 Brown, Sepia, Lamp Black, Cobalt, Indigo, and Olive Green. 
 
 i6-Half-Pan Box 
 
 Yellow Ochre, Lemon Yellow, Orange Cadmium, Mars 
 Yellow, Light Red, Scarlet Vermilion, Rose Madder, 
 Carmine, Purple Lake, Vandyke Brown, Madder Brown, 
 Cceruleum, French Ultramarine, Prussian Blue, Emerald Green, 
 and Veronese Green. 
 
 i8-Half-Pan Box 
 
 Gamboge, Yellow Ochre, Lemon Yellow, Cadmium Pale, 
 Orange Cadmium, Chinese Orange, Light Red, Vermilion, 
 Orange Vermilion, Crimson Lake, Rose Madder, Sepia, 
 Brown Pink, Cobalt, Indigo, Cceruleum, Payne's Grey, and 
 Terra Vej-t. 
 
 ao-Half-Pan Box .. .... 
 
 Gamboge, Yellow Ochre, Aureolin, Cadmium Pale, 
 Orange Cadmium, Chinese Orange, Light Red, Vermilion, 
 Orange Vermilion, Crimson Laice, Rose Madder, Vloiet 
 Carmine, Sepia, Brown Pink, Payne's Grey, Cobalt, Prussian 
 Blue, Cceruleum, Emerald Green, and Veronese Green. 
 
 d. 
 6 
 
 o 10 3 
 
 16 
 
7 
 JAPANNED TIN BOXES OF MOIST WATER COLOURS, 
 
 IN COMPRESSIBLE TUBES, WITH FOLDING PALETTE. 
 
 £ S. d. 
 
 i2-Moist Tube Box ..150 
 
 Gamboge, Roman Ochre, Lemon Yellow, Chinese White, 
 Indian Red, Vermilion, Brown Pink., Sepia, Cceruleum, French 
 Ultramarine, Prussian Blue, and Veronese Green. 
 
 15-Moist Tube Box .. i 14. 3 
 
 Gamboge, Raw Sienna, Aureolin, Cadmium Yellow, 
 Mars Orange, Indian Red, Vermilion, Crimson Lake, Madder 
 Brown, Sepia, Lamp Black, Cobalt, Prussian Blue, Olive 
 Green, and Chinese White. 
 
 20-Moist Tube Box .... .. ... =^53 
 
 Gamboge, Yellow Ochre, Aureolin, Cadmium Pale, 
 Orange Cadmium, Chinese Orange, Chinese White, Light Red, 
 Vermilion, Orange Vermilion, Crimson Lake, Rose Madder, 
 Violet Carmine, Sepia, Brown Pink, Cobalt, Prussian Blue, 
 Cceruleum, Emerald Green, and Veronese Green. 
 
 24-Moist Tube Box .. 2 10 6 
 
 Gamboge, Yellow Ochre, Roman Ochre, Aureolin, 
 Indian Yellow, Orange Cadmium, Light Red, Indian Red, 
 Vermilion, Scarlet Vermilion, Carmine, Rose Madder, Madder 
 Brown, Brown Ochre, Vandyke Brown, Sepia, Cobalt, French 
 Ultramarine, Prussian Blue, Emerald Green, Olive Green, 
 Cceruleum, Veronese Green, and Chinese White. 
 
 30-Moist Tube Box .... ..378 
 
 Gamboge, Yellow Ochre, Naples Yellow, Roman Ochre, 
 Lemon Yellow, Indian Yellow, Orange Cadmium, Aureolin, 
 Light Red, Indian Red, Vermilion, Scarlet Vermilion, Carmine, 
 Rose Madder, Madder Brown, Brown Ochre, Vandyke Brown, 
 Warm Sepia, Brown Pink, Cobalt, French Ultramarine, Prussian 
 Blue,Neutral Tint, Ivory Black, Emerald Green, Veronese Green, 
 Olive Green, Chinese White, Cteruleum, and Ultramarine Ash. 
 
MINIATURE SIZE JAPANNED SKETCH BOXES, 
 
 FILLED WITH QUARTER-PAN QUANTITIES OF MOIST COLOURS. 
 
 This Jlbtstration sheivs the Box, ivitk Twelve Colottrs, two-thirds its size. 
 
 4-Quarter-Pan Box • ■ + 
 
 Raw Sienna, Light Red, Sepia, and Cobalt. 
 
 8-Quarter-Pan Box . . . . . . . . 6 
 
 Raw Sienna, Yellow Ochre, Light Red, Rose Madder, Vandyke 
 Brown, Cobalt, Prussian Blue, and Veronese Green. 
 
 12-Quarter-Pan Box .. .. .. ..8 
 
 Gamboge, Roman Ochre, Lemon Yellow, Chinese Orange, 
 Indian Red, Vermilion, Brown Pink., Sepia, Coeruleum, French 
 Ultramarine, Indigo, and Veronese Gieen. 
 
 i6-Quarter-Pan Box .. .. .. iz 
 
 Yellow Ochrcj Aureolin, Orange Cadmium, Mars Yellow, 
 Light Red, Scarlet Vermilion, Rose Madder, Carmine, Purple 
 Lake, Vandyke Brown, Madder Brown, Cceruleum, French Ultra- 
 marine, Prussian Blue, Emerald Green, and Veronese Green. 
 
 PALETTE BOXES. 
 
 For holding a small supply of Colours for a few days' use j the wells 
 
 to be filled from the tubes 
 Ditto, ditto, with double row of wells 
 
 5 9 
 8 6 
 
SOLID SKETCH BLOCKS, 
 
 WITH AND WITHOUT CASES. 
 
 The Blocks consist of a number of sheets of paper, compressed so as to 
 form a solid mass, each sheet of which is to be separated by inserting a 
 icnife underneath the uppermost one, and passing it round the edge. 
 
 The Cases contain a pocket for carrying the sketches and place for pencil. 
 
 MADE OF WHATMAN'S OR HODQKINSON'S THICK PAPERS. 
 
 32 SURFACES. 
 
 
 SIZE 
 
 
 BLOCKS, 
 s. d. 
 
 BLOCKS 
 WITH CASES. 
 5. d. 
 
 Imperial 32mo 
 
 5 
 
 inches 
 
 by 3^ 
 
 Each I o 
 
 Each I 8 
 
 Royal i6mo 
 
 5^ 
 
 
 4^ 
 
 I 6 
 
 2 3 
 
 Imperial i6mo 
 
 7 
 
 
 5 
 
 ■ 9 
 
 i 9 
 
 Royal 8vo 
 
 9 
 
 
 Si 
 
 2 6 
 
 3 9 
 
 Imperial 8vo 
 
 lO 
 
 
 7 
 
 3 o 
 
 4 6 
 
 Imperial 6mo 
 
 1+ 
 
 
 7 
 
 4 6 
 
 6 3 
 
 Royal 4to 
 
 iH 
 
 
 9 
 
 4 9 
 
 6 8 
 
 Imperial 4to 
 
 1+ 
 
 
 10 
 
 6 o 
 
 7 II 
 
 Imperial 3mo 
 
 20 
 
 
 9r 
 
 8 6 
 
 12 6 
 
 Half Royal 
 
 iS 
 
 
 n{ 
 
 lo 3 
 
 M 6 
 
 Half Imperial 
 
 20 
 
 
 H 
 
 II 9 
 
 i6 3 
 
SOLID BLOCKS, WITH & WITHOUT OASES. 
 
 MADE OF WHATMAN'S OR HODQKINSON'S EXTRA THICK PAPERS. 
 
 32 SURFACES. 
 
 
 SIZE 
 
 
 
 BLOCKS. 
 
 BLOCKS 
 IN CASES 
 
 
 
 
 
 
 S. 
 
 d. 
 
 s. d. 
 
 Imperial i6mo 
 
 7 
 
 inches 
 
 by 5 
 
 Each 
 
 2 
 
 6 
 
 Each 3 4 
 
 Double Elephant l6mo 
 
 9 
 
 
 6 
 
 
 4 
 
 o 
 
 5 6 
 
 Imperial 8vo 
 
 lO 
 
 
 7 
 
 
 4 
 
 3 
 
 5 9 
 
 Imperial 6mo 
 
 14 
 
 
 7 
 
 
 6 
 
 6 
 
 8 4 
 
 Double Elephant Svo 
 
 12 
 
 
 9 
 
 
 7 
 
 6 
 
 9 ° 
 
 Imperial 4to 
 
 14- 
 
 
 lo 
 
 
 9 
 
 3 
 
 10 6 
 
 Imperial 3mo 
 
 20 
 
 
 95- 
 
 
 12 
 
 6 
 
 i6 6 
 
 Double Elephant 4to 
 
 i8 
 
 
 12 
 
 
 15 
 
 o 
 
 19 6 
 
 Half Imperial 
 
 20 
 
 
 '4 
 
 
 ig 
 
 o 
 
 22 6 
 
 SOLID BLOCKS, WITH & WITHOUT CASES. 
 
 MADE OF THICK MACHINE-MADE TINTED CRAYON PAPERS. 
 
 SS SURFACES. 
 
 
 SIZE 
 
 
 BLOCKS. 
 =. d. 
 
 BLOCKS 
 IN CASES 
 
 s. d. 
 
 Imperial 32mo 
 
 5 
 
 nches 
 
 by 3- Each i 
 
 Each 2 3 
 
 Royal i6mo 
 
 5i 
 
 
 4 
 
 I 3 
 
 2 6 
 
 Imperial i6mo 
 
 7 
 
 
 5 
 
 I 6 
 
 2 9 
 
 Royal Svo 
 
 9 
 
 
 Si 
 
 " 3 
 
 3 6 
 
 Imperial 8vo 
 
 lO 
 
 
 7 
 
 2 6 
 
 4 3 
 
 Imperial 6mo 
 
 14 
 
 
 7 
 
 3 6 
 
 6 
 
 Royal 4to 
 
 "i 
 
 
 9 
 
 3 9 
 
 6 3 
 
 Imperial 4to 
 
 14 
 
 
 10 
 
 4 6 
 
 7 6 
 
 Imperial 3mo 
 
 20 
 
 
 9i 
 
 7 3 
 
 12 9 
 
 Half Royal 
 
 iS 
 
 
 "1 
 
 7 9 
 
 13 6 
 
 Half Imperial 
 
 20 
 
 
 14 
 
 9 ° 
 
 15 
 
 SKETCHING PORTFOLIOS, 
 
 WITH JAPANNED TIN FRAME FOR SECURING THE PAPER IN USE, AND 
 WITH POCKET TO CONTAIN THE SKETCHES & A SUPPLY OF PAPER. 
 
 SIZE. 
 
 Imperial 8vo 
 Royal 4to 
 Imperial 4to 
 Half Royal 
 Double Elephant 4to 
 Half Imperial 
 
 II inches by 7 
 9 
 '5 
 19 
 
 18 „ I2l 
 
 22 .. 15 
 
 Each 
 
 15 
 
1 1 
 SKETCH BOOKS. 
 
 MADE OF WHATMAN'S HAND-MADE DRAWING PAPERS. 
 Half-bound, Cloth Sides, Roan Backs, Gilt. Forty Leaves. 
 
 TO FASTEN WITH ELASTIC BAND. 
 
 Imperial 32010 
 Imperial i6mo 
 Demy 8vo 
 Medium 8vo 
 Royal 8vo 
 Imperial 8vo 
 Demy 4to 
 Medium 4to 
 Royal 4to 
 Super-Royal 4to 
 Imperial 4to 
 
 
 SIZE. 
 
 
 5 i 
 
 nches 
 
 by 3^ 
 
 7 
 
 » 
 
 5 
 
 7 
 
 )» 
 
 4^ 
 
 8 
 
 )i 
 
 5 
 
 9 
 
 ,, 
 
 5^ 
 
 10 
 
 ,, 
 
 7 
 
 9k 
 
 jj 
 
 7 
 
 lol 
 
 jj 
 
 g 
 
 "i 
 
 )) 
 
 9 
 
 13 
 
 )) 
 
 9 
 
 H^ 
 
 >) 
 
 10 
 
 Each 
 
 The above arc made of "Hot-pressed" paper, unless "not" is specially ordered. 
 
 POCKET SKETCH BOOKS. 
 
 MADE OF HOLLINQWORTH'S FINE DRAWING PAPERS. 
 
 Quarter-bound, with ** Sketches " in gold mediaeval characters on the cover, 
 
 Cloth sides. Roan Backs, and Elastic Band. Thirty-six Leaves. 
 
 Royal i6mo 
 Royal 8vo 
 
 Each 
 
BLACK LEAD PENCILS. 
 
 PRIZE MEDAL AWARDED INTERNATIONAL EXHIBITION, 1862. 
 
 GEORGE ROWNEY & CO.'S 
 
 IMPROVED DRAWING PENCILS. 
 
 Neatly got up ia Polished Cedarj in ordei: to prevent the lead dust adhering 
 to the Pencil, and consequently soiling the fingers. 
 
 H Hard for Sketching 
 
 HH Harder for Outlines 
 
 HHH Very Hard for Architects 
 
 HHHH Extra Hard for Engineers 
 
 HB Hard and Black 
 
 B Black for Shading 
 
 BB Softer and very Black 
 
 BBB Extra Soft and Black 
 
 BBBB Softer and Very Black, 
 Double Thick Lead 
 
 BBBBBBB Very Broad and 
 Black Lead 
 Firm for Ordinary Drawing 
 Very Firm and Double 
 
 Thick Lead 
 Extra Hard and Black 
 DEHB Ditto, ditto, extra Thick 
 Lead 
 
 F 
 FF 
 
 EHB 
 
 2s. per Dozen. 
 
 Messrs. RowNEV & Co. have every confidence in recommending their 
 IMPROVED DRAWING PENCILS to the notice of the Profession, their 
 moderate price and superior quality being sufficient to give them a decided pre- 
 ference with the public. 
 
 ROWNEY'S EVER-POINTED DRAWING PENCILS. 
 
 H, HB, B & BB. 
 
 Each degree is polished in a different colour, is. each. 
 
 Leads only, zs'. per dozen. 
 
 Cases containing Four Pencils, 4s. per Case. 
 
 The fault of all Pencils of this description has been hitherto their inability to 
 resist the pressure necessary in drawing. The above Pencils are free from this 
 defect, and are exceedingly light in the hand. 
 
•3 
 GEO. ROWNEY & CO.'S 
 
 PENNY DRAWING PENCILS. 
 
 With the view of enabling the working classes to avail themselves of the 
 advantages presented by the many Schools of Design and Classes recently 
 opened for the instruction of Drawing in its various branches, and to supply 
 themselves with good materials at a low price, Messrs. R. & Co. have devoted 
 their attention to the production of a Penny Drawing Pencil, of a quality 
 sufficiently good for general purposes. , The Pencils are manufactured of Four 
 Degrees — Hard, Middle, Soft, and very Soft, in polished and coloured Cedar, 
 
 H Hard, in plain Cedar, polished ". . . . . . 1 
 
 HB Middle, coloured red, ,, . . . . . . I , 
 
 B Soft, coloured dark red, ,, . . .■ . ■ ■ I 
 
 BB Very Soft, coloured black ,, . . . . . . 1 
 
 Each Pencil is stamped in Silver, thus—" GEORGE ROWNEY & CO" 
 Cases, containing Three Pencils, 6d. each. 
 
 G. ROWNEY & CO.'S HALFPENNY PENCIL. 
 
 In Polished and Stained Cedar, stamped in Gold, thus — 
 
 'G. ROWNEY & CO." .. 
 
 6d. per d 
 
 er dozen 
 
 CUMBERLAND BLACK LEAD DRAWING PENCILS, 
 
 MANUFACTURED BY 
 
 GEORGE ROWNEY & COMPANY. 
 
 OF THE GENUINE PLUMBAGO, OR PATENT COMPRESSED LEAD, OF THE 
 FOLLOWING DEGREES 
 
 H 
 
 Hard 
 
 
 
 • ~1 
 
 
 HH 
 
 Harder 
 
 
 
 
 
 HHH 
 
 Very Hard 
 
 
 
 
 
 HHHH 
 
 Extra Hard 
 
 
 
 
 3S. per doz 
 
 HB 
 
 Hard and Black 
 
 
 
 f 
 
 F 
 
 Middling Degree 
 
 
 
 
 
 B 
 
 Black for Shading . . 
 
 
 
 
 
 BB 
 
 Very Black for ditto 
 
 
 
 . 
 
 
 BBB 
 
 Soft Broad Lead 
 
 
 
 ■ \ 
 
 
 EHB 
 
 Extra Hard and Black 
 
 
 
 ■ 
 
 
 FF 
 
 Very Fine 
 
 
 
 . > 
 
 6s. per doz 
 
 DEHB 
 
 
 
 
 
 
 BBBB 
 
 
 
 
 . . 
 
 
GEORGE ROWNEY & CO.'S 
 COLOURED CRAYONS, &C. 
 
 MANUFACTURED OF THE FINEST MATERIALS. 
 
 POINTED CRAYONS. 
 
 These are hard Crayons which work with great evenness and freedom. 
 
 s. d. 
 
 Boxes containing 12 per Box i o 
 
 „ 18 „ I 6 
 
 » ^4 ,1 2 o 
 
 .. 36 .. 3 ° 
 
 IMPROVED CRAYONS. 
 
 These are similar to the Swiss, rather harder, but of medium quality and smaller. 
 
 Boxes containing 36 per Box 4. 6 
 
 1) 7^ „ 9 ° 
 
 _„ '4+ - - - „ 18 o 
 
 Vermilion, Lake, or Cobalt, separately per dozen Cravens 4. 6 
 
 SWISS CRAYONS. 
 
 These are very soft, and the material most in use for Crayon Drawings. 
 They are sold in glass tubes, which prevent the colours mingling. 
 
 Boxes containing 12 each o 6 
 
 ). 24 „ o 10 
 
 " 3^ „ o 15 
 
 >> 7* „ 1 10 
 
 » '44 „ 30 
 
15 
 GEORGE ROWNEY & CO.'S 
 
 BRUSHES FOR WATER-COLOUR DRAWING. 
 
 SABLE HAIR PENCILS. 
 
 S^HWSiff!!" 
 
 R & E DUO. 
 
 ^Z\=i Q003E . 
 
 DOME-POINTED. 
 
 Large eagle 
 
 Red and 
 
 Small eagle 
 
 >) 
 
 Extra large swan 
 
 Blue 
 
 Large swan 
 
 Magenta 
 
 Middle swan 
 
 Green 
 
 Small swan 
 
 Red 
 
 Extra small swan 
 
 Blue 
 
 Extra large goose 
 
 Green 
 
 Large goose 
 
 Red 
 
 Goose 
 
 
 Small goose 
 
 >» 
 
 Large duck 
 
 
 Duck 
 
 )> 
 
 Crow 
 
 ») 
 
 Miniature 
 
 
 each 
 
 RED. 
 
 s d. 
 
 O 
 The prices of Red Sables only are fluctuating. 
 
 BROWN. 
 
 s. d. 
 
 i8 9 
 
 15 o 
 
 7 6 
 
 6 o 
 
 4 6 
 
i6 
 
 BROWN SABLE BRUSHES. 
 
 IN GERMAN SILVER FERRULES, AND POLISHED HANDLES. 
 
 VERY FINE QUALrTY. 
 
 i 
 
 No. 
 
 I Round or flat 
 
 ch o 
 
 Ln 
 
 No, 
 
 4 Round or flat 
 
 5 • J) 
 6 
 
 li'll! 
 
 each 
 
 RED SABLE BRUSHES. 
 
 IN GERMAN SILVER FERRULES. AND POLISHED HANDLES 
 
 VERY FINE QUALITY. 
 
 No. s. d. 
 
 I Round or flat each o lo 
 
 ^ >. „ I I . 
 
 3 I, „ I 4 
 
 The prices of Red Sables only are fluctuating 
 
 No. s. d. 
 
 i}- Round or flat each I c, 
 
 5 >. „ 2 o 
 
 6 „ „ 2 ? 
 
CAMEL HAIR BRUSHES. 
 
 d. each. 
 
 Full Gnnsc Camels 
 
 2d. ea^h. 
 
 Small Ci'ow 
 
 Crow 
 
 Duck 
 
 Large Duck 
 
 Small Goose 
 
 Goose 
 
 Large Goose 
 
 Swan, No. I 
 
 ,, 2 
 
 " 3 
 
 >. 4 
 
 »» 3 
 
 FRENCH CAMEL HAIR BRUSHES. 
 
 Assorted Ties 
 
 Red and Gold Ties 
 Green „ „ 
 
 Magenta „ „ 
 
 Red „ „ 
 
 Green „ ,, 
 
 FRENCH CAMEL HAIR IN TIN. 
 
 No. I 
 
 Each 
 
 FLAT OR ROUND. 
 !. d. 
 
 o 3 j No. 4 
 ° 4 „ 5 
 
 05 „ 6 
 
 Each 
 
 SKETCHING UMBRELLAS. 
 
 Cane Ribs. 
 Each. 
 
 Made of Brown Holland, length nf ribs 28^ inches 
 Ditto, with Fan Joint, length of ribs zSi inches 
 Made of Brown Holland, length of ribs 32 inches 
 Ditto, with Fan Joint, length of ribs 32 inches 
 
 With Bamboo Sticks, 2J. 31/. extra 
 
 Paragon 
 Frames, 
 liach. 
 
 £ s. 
 
PORTABLE SKETCHING EASEL, IN CASE. 
 
 Ash, 5 feet or 6 feet 
 
 Mahogany, or Walnut- Wood, 5 feet 
 
 ° " 
 „ French polished, 5 „ 
 
 6 „ 
 
 each 
 
 5. 
 
 i. 
 
 9 
 
 12 
 
 9 
 6 
 
 1 + 
 
 
 
 17 
 
 3 
 
 19 
 
 
 
 THE GERMAN SKETCHING SEAT & EASEL COMBINED. 
 
 ADAPTED FOR EITHER OIL OR WATER-COLOUR SKETCHING. 
 Price £1 each. 
 
 THE EASEL, OPEN 
 
 The same principle has been adapted for the use of Ladies, and is equally 
 
 serviceable and portable. Price ,^1 13s. od. each. With extra strong leather 
 
 seat, 3s. gd. additional. 
 
 SQUARE SEAT. SIMILAR TO THE ABOVE ILLUSTRATION. 
 Without the Easel, Price lis. gd. each. Extra strong seat 3s. gd. additional. 
 
19 
 
 JAPANNED WATER BOTTLES. 
 
 FOR CARRYING A SUPPLY OF WATER FOR SKETCHlNS, WITH CUPS TO FIT ON THE 
 PALETTE OR BOX. 
 
 No. 
 
 Round, Smai.i. Sizk 
 
 ,, Middle „ 
 
 ,, Large „ 
 Oval, plated inside, Smali 
 
 ,, ,, ,. Large .. 
 
 ■ „ Imitation, platkd in.side. Small 
 
 ,, ,, .. „ Large 
 
 '8. Flat Oval 
 
 s d. 
 each 2 9 
 „ 3 ° 
 „ 3 6 
 ., 5 3 
 „ 6 o 
 .> 3 9 
 .,40 
 ,,40 
 
 RIMMED 
 DIPPER, 
 
 
 revent thh 
 Wai er spilling, 
 IS. gd. 
 
 TOURISTS' SKETCHING BAGS. 
 
 MADE OF SATEEN, AND ARRANGED TO HOLD SKETCHING BLOCK. COLOUR BOX, 
 WATER BOTTLE, SKETCH BOCK, BRUSH POUCH. ETC. 
 
 iMt-KKiAi. Svo., Ji inches by 8 inches 
 
 Imperial 6mo., 15 ,, 8 ,, 
 
 ROVAL 4tO., I2j^ „ 10 ,, 
 
 IMI'K.HTAI .jtO,, 15 „ II „ 
 
 each 16 6 
 i8 9 
 18 y 
 
GEORGE ROWNEY & CO.'S 
 
 PORTABLE TENTS, 
 
 FOR 
 
 SKETCHING TOURS, PIC-NICS, OR SUMMER EXCURSIONS. 
 
 Th= advantages of these Tents, consisting of their portability and light weight when packed, 
 and their strength and spacionsness when pitched, are much appreciated by artists. 
 
 S.ZE OF Sm.,.,. Tent WHEN SET UP 4 FEET SQUARE, 7 KEET , UGH. 
 
 ^''^'^'^^ ■ ■ 4 INCHES BY 4 INCHES, 4 FEET 4 INCHES LONG. 
 
 Weight, about 17 lbs. Price, including Case, £3 3s. 
 Size of Large Teut when set ui- , pkex sv > .^i,.,. « 
 
 7 FEET By 4 FEET 6, 7 FEET HIGH. 
 """*" •• S "^=«KS »V 5 INCHES, 4 FEET 6 INCHES LONG 
 
 Weight, about 22 lbs. Price, including Case, £3 ,Ss, 
 
GEO. ROWNEY &, CO.'S 
 
 TREATISES ON THE Fl-NE A cTS. 
 
 Jfice ra*-h. 
 
 ' s. n. 
 
 •HINTS ON SKETCHING FROM NATURE. Part I. - N.'E. Green ... i o 
 
 •HINTS OX SKETCHING FROM NATURE. Part II. N. E. Grke-; >r... i o 
 
 •HINTS OX SKETCHING FROM HATURE. Part III.' N. E. Green ... i o 
 
 GUIDE TO FIGURE P.XINTIXG IN WATER COLOURS. Svd.vev T. 
 
 WlMTEFORO ... I O 
 
 GUIDE TO SKETCHING FROM NATURE. Leonida.s Clint Mir.ES ... i o 
 
 PRIXCIILES OF PERSPECTIVE. Henry Lewis, B.A i o 
 
 GUIDE TO WATER COLOUR PAINTING. R. P. Noble i o 
 
 HINTS KCiR SKETCHING TREES FROM NATURE, IN WATER 
 
 COLOUR.?. Thomas Hattok i o 
 
 GUIDE TO OIL PAINTING. Part I. J. S. Templeton i o 
 
 GUIDE TO OIL PAINTING. Part II. (Landscape from Nature.) A. Clint i o 
 
 GUIDE TO LIGHT AND SHADE DRAWING. Mrs. M. Mekrifield ... i o 
 
 GUIDE TO PENCIL AND CH.M.K DRAWING. G. Harlev i o 
 
 GUIDE TO PICTORIAL ART. H. O'Neil , o 
 
 GUIDE TO PICTORIAL PERSPECTIVE. B. R. Green , o 
 
 GUIDE TO FIGURE DR.AWING. G. E. Hicks .. j o 
 
 GUIDE TO FLOWER paint: ^"V. IN Water Cm OURS. G. R senbeeg ... . o 
 
 GUIDE TO PAINTING ON GLASS. H. Bielfield i o 
 
 GUIDE TO MINIATURE PAIXTIXG AND COLOURING PHOTOGRAPHS. 
 
 J. S. Templeton ..." . . ... „ ... I o 
 
 ON THE M.ITERIALS USED IN PAINTING, with Remarks on Var- 
 nishing and Cleaning Pictures. Chari.es Martrl i q 
 
 GUIDE TO ANIMAL DRAWING. C. H. Weigall , ^ 
 
 GUIDE TO ILLUMINATING AND MLt^SAL PAINTING. W. and C. 
 
 AUDSLEV ' J ^ 
 
 Ditto, with additional Chromo-Lithographed Illustrations, cloth, gilt ..26 
 
 THEORY OF COLOURING. J.Bacon Cloth and gilt 2 6 
 
 GUIDE TO PORCELAIN PAINTING. Sydney T. Whiteford , o 
 
 Ditto. \\'ith Additional Uiiisirations. Cloth and gilt ... 2 6 
 
 GUIDE TO MODELLING AND THE PRINCIPLES AND PRACTICE 
 
 OF .SCULPTURE. With Illustrations. By George Halse , o 
 
 PRACTICAL MANUAL OF HERALDU ILLUMINAI ION. F. J Baicent 
 
 AND C. J. Kcssrll. Demy 8vo, cloth and gilt ^ ^ 
 
 PRACTK.M. GUIDE TO SCENE PAINTING. F. Lloyds. Cloth and gilt ..,06 
 
 * Three Parts bound in one, cloth and gilt, 5s.