CORNELL 
 
 UNIVERSITY 
 
 LIBRARY 
 
 BOUGHT WITH THE INCOME 
 OF THE SAGE ENDOWMENT 
 FUND GIVEN IN 1 89 1 BY 
 
 HENRY WILLIAMS SAGE 
 
arV18196 
 
 Cornell University Library 
 
 on china: what to paint and how 
 
 3 1924 031 254 570 
 olin,anx 
 
The original of this book is in 
 the Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/cletails/cu31924031254570 
 
PAINTING ON CHINA 
 
 -r 
 WHAT TO PAINT AND HOW TO PAINT IT 
 
 ,A HAND-BOOK OF PRACTICAL INSTRUCTION .^ 
 
 OVERGLAZE PAINTING 
 
 FOR 
 
 AMATEURS IN THE DECORATION OF HARD PORCELAIN 
 
 BY 
 
 JAMES C. BEARD. 
 
 ' Practice, and let Theory take care of itself." — Carlylk. 
 
 NEW YORK: 
 DICK & FITZGERALD, PUBLISHERS. 
 
COPYRIGHT, 1882, BY 
 DICK & FITZGERALD. 
 
CONTENTS. 
 
 Introduction, ~ . . - 5 
 
 Requisite Materials, - - 8 
 
 Table of Colors, 14 
 
 Use of Materials, 19 
 
 Management of Utensils, - 24 
 
 Selection of China, - 32 
 
 Preparation for Work, - 36 
 
 Instructions for Tracing, - 41 
 
 Use of Colors, - - 47 
 
 Subjects Suggested, 58 
 
 Colors for Grounds, 61 
 
 Borders, - 7' 
 
 Etruscan Vases, 79 
 
 Mineral Decalcomanie, - 82 
 
 Spatter Work, - 85 
 
 Gilding, - . _ . 88 
 
 Monochromes, . . . - . gi 
 
 Silhouettes, -.---" 93 
 
 Firing, - - ----- 94 
 
PAINTING ON CHINA. 
 
 INTRODUCTION. 
 
 HIS little work is not only in- 
 tended as a guide to the particular 
 art of china painting, but is especially 
 designed to meet the needs of those 
 who may be unaccustomed to the use 
 of either brush or pencil. 
 
 With this end in view, the strict attention 
 Which will be given to practical detail, and the 
 careful instruction in the rudiments of the art 
 may prove somewhat fatiguing to those who, 
 already experienced in oil and water colors, 
 desire only such instruction as will aid them in 
 the use of mineral colors upon the glazed surface 
 of hard porcelain. 
 
 Let these amateurs in china painting remem- 
 
INTRODUCTION. 
 
 ber that the most skillful artists have failed in 
 attempts at china decoration through ignorance 
 of a few secrets pertaining to this art alone, 
 which, when learned, seem simple enough, but 
 by their intelligent use enable the artist to pro- 
 duce results that add materially to our home 
 decoration. 
 
 First attempts are always more or less dis- 
 couraging. Difficulties, unknown in oil paint- 
 ing, are here encountered at every step ; but these 
 difficulties, insurmountable by the uninitiated, 
 are, after a little careful study, easily over- 
 come. 
 
 For the encouragement of beginners it may 
 also be said that if obstacles are encountered in 
 the first " manipulation " of the vitrifiable colors 
 used in china-painting, so also are more agreeable 
 results possible from the hands of the amateur 
 than in any other branch of art ; and articles in 
 china, decorated by purely mechanical means, 
 sometimes compare favorably with the valuable 
 productions of accomplished artists. 
 
 Success in this art depends greatly upon the 
 
INTRODUCTION. 
 
 patience and perseverance of the decorator, and 
 a proper selection of colors, brushes, etc. It 
 may also be added that perfect order and clean- 
 liness are not only desirable • but positively 
 necessary in order to obtain satisfactory re- 
 sults. 
 
 It would be hard to find an accomplishment 
 more refined or elegant, or that will yield a 
 better return for the time, labor, and thought 
 expended on it, than china painting. 
 
 Many beautiful and original modes of deco- 
 ration, and, it may be added, many novel and 
 interesting artistic ideas, which would otherwise 
 lie dormant, may here find expression as the 
 tyro in this branch of art becomes more profi- 
 cient and better able to finish and perfect the 
 work. Many persons in the great cities earn a 
 comfortable livelihood by practising this branch 
 of art, and, in proportion as they excel, find 
 both profit and delight in its pursuit. 
 
REQUISITE MATERIALS. 
 
 rHE materials used in china paint- 
 ing are few and simple. The list 
 here given contains those in general 
 use : 
 
 I. A set of brushes, consisting of a 
 fine pointed camel's-hair brush for outlining ; two 
 or three brushes, medium size, with good points ; 
 a brush with long hair and square point for gild- 
 ing edges and pointing or gilding narrow bands ; 
 two or three flat brushes, varying in size from a 
 quarter of an inch to one inch in width, for flat 
 tints, tinted grounds, broad bands, etc. ; several 
 large fitch blenders or dabbers, sometimes used 
 for laying flat tints and grounds, but a dabber 
 made by tying a piece of chamois skin over a 
 flattened ball of soft cotton of the size required 
 is preferable. 
 
 2. A slab of ground glass, six inches square, 
 
REQUISITE MATERIALS. 
 
 on which colors are mixed and prepared by rub- 
 bing smooth with oil. 
 
 3. A china palette. 
 
 4. Two palette-knives, one steel, and the 
 other horn or ivory. 
 
 5; Small wire easels, for holding originals 
 which are to be copied on the china. 
 
 6. A large easel for holding large tiles or 
 plaques to be decorated. 
 
 7. A mahl-stick to be used as a support for 
 the right hand in decorating large pieces. It is 
 held in the left hand with the end resting on the 
 article to be painted. 
 
 8. A rest for the hand used in smaller work, 
 and consisting of a strip of wood about three 
 inches wide, and eighteen inches long, and sup- 
 ported at both ends by blocks of wood, each as 
 wide as the strip, and two inches high. 
 
 g, A rest for brushes, consisting of a narrow 
 
 BRUSH KEST. 
 
 Strip of wood a foot long, with notches cut for 
 
lO 
 
 ■PAINTING ON CHINA. 
 
 keeping the brushes from contact with the 
 table. 
 
 lo. ^ box containing a needle fixed in a 
 wooden handle, for removing specks of lint or 
 dust from the painting ; a penknife ; two or 
 three pieces of soft wood with blunt points, 
 which, dipped in turpentine, are used for remov- 
 ing spots of color from the china ; two lead- 
 pencils, Faber's, hard and soft ; also Faber's 
 
 DROP DOTTLE, 
 
 pencil for marking on china ; a small paint dish ; 
 a steel pen ; tracing paper ; red transfer paper ; 
 a stick of modeling wax ; some large wafers ; 
 
REQUISITE MATERIALS. II 
 
 three small drop bottles for measuring oil and 
 spirits ; a stick of India ink. 
 
 11. Alcohol, a quart bottle. 
 
 12. Spirits of turpentine, a quart bottle. 
 
 13. Oil of turpentine, a small bottle./ Al- 
 though "oil of turpentine" and "spirits of 
 turpentine " are usually synonymous, they have 
 a different meaning assigned to them in this work. 
 The oil of turpentine referred to, is prepared by 
 allowing spirits of turpentine to evaporate until 
 it resembles a ''fat oil." This is done by pour- 
 ing a few drops of the spirits into a saucer, and 
 exposing it to the open air, without any aid of 
 artificial heat ; adding a few more drops every 
 day, until a sufficient quantity of fat oil has 
 been obtained. 
 
 1 4. Oil of lavender, a small bottle. 
 
 15. Ox gall, a small bottle. 
 
 16. Plenty of rag without lint. 
 
 1 7. A cup for holding turpentine. 
 
 1.8. Chamois skin for making dabbers, 
 I 1 9. A set of La Croix s tube-colors. These 
 colors are considered the best, and directions for 
 
12 PAINTING ON CHINA. 
 
 using these alone are given in this work. The 
 decorator must be warned that La Croix's colors 
 will not mix with those of any other maker. 
 
 It is very important that the artist should be 
 acquainted with the different minerals used in 
 the composition of these colors. Those con- 
 taining iron will not mix well with other colors, 
 and the colors obtained from gold, silver, and 
 tin require somewhat careful treatment. 
 
 A thorough knowledge of this is essential in 
 the application of colors to china-painting ; colors 
 promiscuously blended, without reference to 
 their composition, may become entirely changed 
 after exposure to a high degree of heat in baking. 
 
 La Croix's classification of colors is as fol- 
 lows : 
 
 First Group. — Colors that do not contain 
 any iron: ist the whites, 2d the blues, 3d the 
 colors from gold. 
 
 Second Group. — Colors with but little trace 
 of iron. This group includes the yellows and 
 greens, several of which colors contain iron in 
 small quantities. 
 
REQUISITE MATERIALS. 
 
 Third Group. — Colors with an iron basis, or 
 of which iron is one of the coloring parts, ist 
 the reds, fleshes, red browns, and violets of iron ; 
 2d the browns, yellow browns, ochres, blacks, 
 and a greater part of the greys. The enamel 
 colors usually designated as iron colors are : all 
 the browns ; the greys, excepting platina grey ; 
 the blacks, except iridium black ; the' ochres ; 
 the reds, and the violets of iron. 
 
 The enamel colors with a golden basis are : 
 the carmines, crimson lake, the purples, and the 
 violets of gold. Whites are usually enamels of 
 tin ; blues have for their basis cobalt ; greens 
 are obtained from chromium. _^ 
 
 The following table is prepared from a care- 
 ful study of the equivalent colors in oil, water, 
 and vitrifiable pigments, so that any manual of 
 instruction in painting in oil or water, can, by a 
 comparison with the list, be made to apply 
 equally well to painting on china. In order to 
 do this, all the colors used in china-painting are 
 mentioned, but a much smaller list of pigments 
 will be given for the use of beginners. 
 
14 
 
 PAINTING ON CHINA. 
 
 TABLE OF LA CROIX'S TUBE-COLORS. 
 
 Oil. 
 
 Cobalt 
 
 Blue verditer. . 
 Marine Blue . . 
 Prussian Blue . 
 
 Indigo Blue . . 
 
 La Ckoix's Tube-Colors. 
 
 Raw Sienna . 
 
 Light Pink . . 
 Deeper Pink., 
 
 Purple L^ke.. , 
 Peony.Pink ... 
 Chinese Pink. 
 
 Bottle or 
 
 Water Green.-. . . . ; 
 Veronese Green . , 
 
 Malachite Green., 
 
 Emerald Green. . . 
 
 Chinese White {Blanc Ckinois) 
 
 Permanent White {Blanc fixi. 
 
 Azure Sky Blue {Bleu del azure) 
 
 Light Sky Blue {Bleu del clair) 
 
 Dark Blue {Bleu fottce) 
 
 Smalt. Victoria Blue {Bleu ordinaire) 
 
 Deep Ultramarine {Bleu outremer riche).. 
 
 Deep Blue {Blejc riche). .. 
 
 § Ultramarine, J Deep Blue Green 
 
 I \ Victoria Blue, ^ Carmine, No. 2 
 
 [ ^ Dark Blue, ^ Victoria, ^ Ultramarine, 
 
 I Grey, No. 2, a touch ofPurple 
 
 Dark Blue with a touch of Raven Black . . j 
 
 Brown, No. 3 {Brun 3, bitunte). 
 
 Brown, No. 4, or 17 (prun, 4, foncti ou 17).. 
 
 Brown M., or loS {Brun M.^ or 108) 
 
 Dark Brown {Brun foncd) 
 
 Deep Red-Brown {Brun rouge riche) 
 
 Light Brown {Brun clair) 
 
 Yellow Brown {Brun jau7ie) 
 
 Sepia {Brun sepia) , 
 
 Light Carmine^ {Carptin tendre^ A) 
 
 Light Carmine, No. i {Carmin tendre^ No. i) 
 Carmine, No. 2 {Carmin\, No. 2) 
 Deep Carmine, No. 3 {Carmin^ No. 3, fond) 
 Light Carmine, A. -and Light Carmine, No. ij 
 
 Carmine, No. 2 (Deep Carmine, No. 3) 
 
 Carnation, No. i {Rjuge Chair ^ No. i) 
 
 Deep Carnation {Rouge Chair fond) 
 
 Purple, No. 2 {Po%rpre^ No. 2) 
 
 Crims-on Lake {Lague Carmiii^ 
 
 Crimson Purple {Pourpre Carmine) 
 
 Deep Red Purple {Pourpre riche) 
 
 Ruby Purple {Pourpre rubis). 
 
 Carmine, No. i, and a touch of Purple 
 
 i Ruby Purple, \ Carmine, No. i 
 
 Carmine, No . 3, and a touch of Ruby Purple 
 Grass Green, No. 4 {Vert^ No. 5, p?S). . . . 
 Brown Green, No. 6 {Veri^ No. 6, brun) 
 
 Dark Green, No. 7 (FeW, No. 7, noir) 
 
 Green, No. 36, T {I^ert, No. 36, T) 
 
 Apple Green {Verl pomme). .: 
 
 Deep Blue-Green {Verf bleu riche) . . . 
 Chrome Green, 3 B {V&rtchrSme^ 3 B) 
 Deep Chrome-Green {Vert ckrSme ric 
 
 Deep Green {Veri russe) 
 
 Emerald-stone Green {Vert emera^tde). ..'.. 
 
 Rap Green {Vert de vessie). 
 
 i Apple Green, \ Deep Blue-Green . V 
 
 ^ Apple Green, J Chrome, 4 Emerald-stone 
 
 Green [ 
 
 A touch of Emerald^tone Green, with ' 
 
 Apple Green j 
 
 S Blue Green, ^ Emerald-stone Green . . . ! J 
 
 O 
 Iron. 
 
 Gold. 
 
 ? riche). . . 
 
 „• Gold. 
 
 oChr'ium. 
 Chromium. 
 
REQUISITE MATERIALS. 
 
 15 
 
 LA CROIX'S TUBE-COhORS—Contmued. 
 
 Oil. 
 
 Russet or. . . , 
 Brown Grey, 
 Ash Grey. . . , 
 
 Mai 
 
 Red.. 
 rRed. 
 
 Naples or 
 
 Light Chrome Yellow. 
 Yellow Lake 
 
 Indian Yellow ... 
 
 Maize 
 
 Dark Chrome Yellow 
 
 Straw Color 
 
 Salmon 
 
 SaflFron Yellow 
 
 Golden Yellow 
 
 Lemon Yellow 
 
 Light Pacsy 
 
 Deep Pansy 
 
 La Croix's Tube-Colors. 
 
 :::[ 
 
 pie and y 
 
 Grey, No. i, Light (Grz's^ No. i, ou tendre).. 
 
 Grey^ No. 2 {firis^ No. a) 
 
 Pearl Grey, No. 6 (Gr/j, No. 6, perle\ 
 
 Neutral Grey {^Gris noir) 
 
 Warm Grey iGris roux) 
 
 Grey and Sepia 
 
 Light Grey, with a touch of Sky Blue 
 
 Platina Grey {Gris de Plaiina) 
 
 Yellow Ochre ipcre) 
 
 Dark Ochre {flcre fond) 
 
 Capucine Red {Rouge capttcine) 
 
 Lakey Red i^Rouge lagueux) 
 
 Orange Red {Rouge orange) 
 
 ■J Capucine Red, \ Deep Purple, No, 
 
 Capucine Red, with a touch of Purpli 
 Carmine, No. 3. 
 
 Violet of Iron {yiolet de fer). 
 
 Grey Violet of Iron {Violet de Jer tinte 
 grise) 
 
 Flesh Tint, No. i {Rouge chair ^ No. x\ 
 
 Flesh Tint, No, 2 {Rouge chair ^ No. 2) 
 
 Dgg'P YXe'iYi. {Rouge chair yonc^) 
 
 Ivory Yellow {Jaune d''ivoire^ 47, de Skvres) 
 
 Jonquil Yellow {^aune Jonguille) 
 
 Yellow for mixing {^aune h nteler^ 41, de 
 Shvres) 
 
 Orange Yellow {Jaune orangS) 
 
 Permanent Yellow {Jaune Jixi) 
 
 Silver Yellow {Jaune d"* argent) 
 
 \ Jonquil Yellow, \ Ochre 
 
 i Ivory Yellow, \ (Grange Yellow 
 
 Silver Yellow, with touch of Jonquil Yel 
 low - 
 
 Light wash of Yellow for mixing 
 
 § Ivory Yellow, J Flesh, No. 2, a touch of ( 
 Carmine, 3 • -. I 
 
 \ Ivory Yellow, \ Flesh, No. i, a touch of 
 Capucine Red I 
 
 \ Sliver Yellow, \ Jonquil Yellow J 
 
 Ivory Yellow, a touch of Silver Yellow 
 
 Deep Violet of Gold {Violet d*or /once) 
 
 Light Violet of Gold {Violet d^or clair). .... 
 
 Light Violet of Gold, a touch of Deep Ul- 
 tramarine ^ 
 
 Deep Violet of Gold, a touch of Ultra- 
 marine 
 
 Raven Black {Noir corbeau) . . . 
 
 Iridium Black {Noir d*iridium) 
 
 Ivory BlackCA^jV^f /»«r^ .■^. 
 
 Basis. 
 
 Com. 
 
 No. Iron. 
 Iron. 
 
 Iron. 
 
 o . 1 
 
 ■ Iron. 
 
 J No Iron, 
 olion. 
 
 Gold. 
 
 Iron. 
 No iron. 
 Iron. 
 
l6 PAINTING ON CHINA. 
 
 This list contains all the vitrifiable colors 
 manufactured for painting upon china, land- 
 scapes, heads, figure subjects, animals, Chinese 
 and Japanese styles, fruits, flowers, etc. A 
 special list of colors that can only be used for 
 grounds will be given under the head of 
 " Grounds." 
 
 The colors most in use for ordinary painting- 
 are — 
 
 Dark blue {Bleu fonci). 
 Ultramarine {Bleu outremer ricke). 
 Light brown {Bleu dairy. 
 Dark brown {Brun fonce). 
 Light carmine A {Carmin tendre A.) 
 Deep carmine, No. 3 {Carmin No. jifoncS). 
 Neutral grey {Gris noir.) 
 Jonquil yellow {Jaune jonquille). 
 Yellow for mixing {Jaune A mUer'). 
 Ivory black {Noir d'ivoire). 
 Crimson purple {Pourpre cramois^ 
 Deep purple {Pourpre riche). 
 Grass green ( Vert No. 5 pre). 
 Chrome green ( Vert chrome, 3 B). 
 Violet of gold ( Violet d'or fonce). 
 Capucine red {Rouge capuciti). 
 
 By a thorough understanding of the colors 
 contained in this last list, and a knowledge of 
 
REQUISITE MATERIALS. \^ 
 
 possible combinations gained from a study of 
 tlie Table of Colors, a great many styles of dec- 
 orations can be successfully attempted. 
 
 It needs practice to know exactly what colors 
 and what proportion of each will result in any 
 desired tint. 
 
 The following list of fifteen colors are those 
 usually required for flower painting : 
 
 Grass green ( Vert No. 5 pr^. 
 
 Capucine red (Rouge capuciii). 
 
 Deep red-brown {Brun rouge riche). 
 
 Brown green ( Vert No. 6 brun). 
 
 Mixing yellow {Jaune d. wiHer). 
 
 Orange yellow Jaune orange). 
 
 Jonquil yellow {Jaune jonquille). 
 
 Deep blue {Bleu riche). 
 
 Sky blue {Bleu cicl azur). 
 
 Deep purple {Pour pre riche). 
 
 Carnation, or flesh red No. 2 {Rouge chair No. 2). 
 
 Dark carmine {Carmin No. ^foncS). 
 
 Golden violet ( Violet d'or). 
 
 Iron violet ( Violet defer). 
 
 Neutral grey {Gris noir). 
 
 Still fewer colors than are here mention- 
 ed will enable the artist to decorate small 
 pieces very prettily and tastefully with a 
 
■l8 PAINTING ON CHINA. 
 
 variety of flowers. The following list for 
 instance : 
 
 Rose pompadour. 
 
 Grass green ( Vert No. 5 prd). 
 
 Brown green ( Vert No. S brun). 
 
 Orange yellow {Jaune oratige). 
 
 Jonquil yellow (Jaune jonquille). 
 
 Rich purple (Pourpre riche). 
 
 Deep blue (Bleu foncd). 
 
 Green No. 1 light (Gris No. i ou tendre). 
 
 These eight colors, properly used, with their 
 combinations, are all that are really necessary 
 for most of the common field flowers, the wild 
 rose, common rose, pansy, columbine, clover 
 buttercup, bluebell, forget-me-not, carnation 
 pink, trailing arbutus, anemone, sunflower, and 
 many others that will be suggested after becom- 
 ing acquainted with the different tints and 
 colors as they appear after firing. All the 
 flowers here mentioned are found on the pretty 
 decorated cards that are now so easily obtained, 
 and after a little practice and study of directions 
 which will be given later for using the colors, the 
 groups of flowers on these cards will be quite 
 readily copied. 
 
USE OF MATERIALS, 
 
 NE of the first and most important 
 secrets of china painting consists in 
 the use of the articles numbered ii, 
 12, 13, 14, 15, in the list of materials 
 given on page 8, etc. 
 A material that assists in the use of a color is 
 called a ''medium-" and in china painting, spir- 
 its of turpentine, oil of turpentine, and oil of 
 lavender are the " mediums" employed. 
 
 The spirits of turpentine is used with the 
 vitrifiable colors in the same manner that water 
 i is used with water-colors. 
 
 It is spirits of turpentine that enables the dec- 
 orator to make the very first success in his work. 
 In attempting to paint a figure, flowers, or 
 fruit, the first thing to be considered, of course, 
 is the sketching in of the outline. Very few, 
 
20 PAINTING ON CHINA. 
 
 unless professional artists or those having ex- 
 perience in drawing, will be able to at once, Math 
 the brush and color, successfully execute this 
 outline, although, if this is possible, it is the 
 better way, particularly in the case of flowers. 
 It is necessary for the beginner, however, to 
 make a carefully-drawn outline of the painting 
 with a pencil and with the aid of tracing pap^r./- 
 (Directions for using this will be found under 
 the head of "Tracing.") But what a miserable 
 failure the pencil-mark is upon the glazed sur- 
 face of the china ! Many have given up in 
 despair because of non-success in this simple 
 experiment. Let these discouraged artists try 
 again, and this time,jbefore attempting to use 
 the pencil, lightly wipe over the surface of the 
 china with a linen rag wet in spirits of tur- 
 pentine; allow this to dry, and then upon the 
 surface thus prepared, try Faber's pencil ^. The 
 result now is satisfactory ; the thin film ^ dried 
 spirits upon the enamel allows each pencil-mark 
 to "take hold." 
 
 After the artist has completed this pencilled 
 
USE OF MATERIALS. 21 
 
 outline, it is necessary at once to go over these 
 easily-erased pencil-marks with somethingmare. 
 permanent. Some one suggests india-ink. Here 
 another difficulty arises : the india-ink refuses 
 to act well upon the china. The remedy in 
 this case is the extract of gall. Two or 
 three drops of this in ajittle india-ink, pre- 
 pared in a small paint dish by rubbing the 
 end of the stick of india-ink in a few drops 
 of water, will bring as surprising results as the 
 use of spirits of turpentine did in the case of 
 lead-pencil marks. 
 
 <r Spirits of turpentine being the medium 
 iKed with vitrifiable colors, as water is used with 
 water-colors, a cup of the spirits must be always 
 kept upon the table, and the brush should 
 always be dipped in this before it is charged 
 with color. " ' 
 
 A color that is stiff can also be thjn ned w ith 
 a few drops of spirits o£tmpentijie added, and 
 then rubbed smooth with the palette knife 
 upon the glass slab. 
 
 Brushes should be repeatedly dipped in the 
 
2 2 PAINTING ON CHINA. 
 
 cup of turpentine to free them from one color 
 before another is used. 
 ^' Color can be removed from the china by 
 ) gently rubbing the spot with the blunt end of a 
 stick, over which is tied a linen rag, wetted with 
 spirits of turpentine. Alcohol can also be used 
 for this purpose, but must be carefully handled, 
 as a drop falling upon the work will immedi- 
 ately remove all trace of color. 
 
 Alcohol must always be used for cleaning the 
 brushes before putting them away. Turpentine 
 injures the hairs if permitted to remain in them, j 
 
 Oil of turpentine is the medium used for 
 preparing the dry powdered colors for use ; but 
 as the La Croix tube-colors recommended in 
 this work are already prepared, the oil will not 
 be generally required, except with whites, blues, 
 and carmines, which always act better after the 
 addition of a drop or two of " fat oil." 
 
 When a color appears stiff and unmanageable 
 add two drops of oil to a bit of color about the 
 size of a small pea, and rub smooth with the 
 palette knife. If too much oil has been used. 
 
USE OF MATERIALS. 23 
 
 the color will refuse to dry well on the china, 
 will look oily, and be apt to spread into the 
 other colors, and when fired the color will blis- 
 ter and " craze," that is, it will crack and show 
 long lines of the white china through the paint- 
 ing. 
 
 If too little oil is used, although no bad re- 
 sults need be feared from the firing, the whole 
 decoration will have a rough, stiff effect, and if 
 considerable oil seems necessary to remedy this 
 rough appearance of the color, a thin wash of 
 the color, prepared with much oil, is less liable 
 to craze and blister in the firing than the same 
 color laid thickly. 
 
 ■ Oil of turpentine in a color will dry rapidly, 
 enabling the artist to work quickly. 
 
 Oil of lavender dries slowly, and is preferable 
 for work that is required to dry slowly, always \ 
 being used for grounds and large tinted surf aces. ] 
 Oil of copaiva and oil of cloves may also be 
 sometimes used for the same purpose. All these 
 spirits and oils should be kept tightly corked. 
 
MANAGEMENT OF UTENSILS. 
 
 'T is a very necessary element of suc- 
 cess, and also of economy, to under- 
 stand the proper management of 
 utensils. Some general directions are 
 here given which are of importance 
 to the amateur. 
 
 Brushes. — To select a good brush you must 
 dip it first in water, flirt lightly to rid it of sur- 
 plus drops, and then try the hairs upon your 
 nail. If the hairs easily spread apart the brush 
 is, worthless. The hairs of a good brush will 
 remain in a fine, smooth point. About nine- 
 tenths of the brushes offered . for sale are good 
 for nothing. If you will sharpen the ends of 
 your brush handles you will find them conveni- 
 ent for removing specks of lint and dust from 
 your work. It is also a convenience to have 
 the handles as nearly the same length as pos- 
 sible. It is well to have three or four of each 
 
MANAGEMENT OF UTENSILS. 25 
 
 kind of brush. If you have but one of each, 
 the greater part of the painting hour will be 
 spent in cleaning brushes. 
 
 Before they are laid away, all brushes, large 
 and small, must be well cleaned in alcohol. 
 Turpentine left in the brush spoils the hairs, 
 and there is always more or less color at the 
 base of the hairs that only the alcohol can re- 
 move. Wash them often also in warm soap 
 and water, as this keeps the hairs very light and 
 fresh. Dry the brushes by shaking and lightly 
 striking against the hand. The small brushes 
 should always , be carefully brought to a fine 
 point. Brushes require to be " educated " in 
 this way. Brushes that have become stiff 
 through carelessness can be cleaned by leaving 
 overnight in a strong warm suds of soft soap 
 and water. 
 
 Much of the success in china painting de- 
 pends upon the brushes being kept in proper 
 condition. They should always be kept in a 
 covered box, as lint or dust in the hairs cause 
 much injury to the work. 
 
26 PAINTING ON CHINA. 
 
 Never lay the brushes in use upon the table, 
 but rest them in the notched stick prepared for 
 that purpose. 
 
 In laying your brushes away be careful that 
 none of the hairs are turned the wrong way, as 
 their shape and points are in this way much in- 
 jured. 
 
 Loose hairs should be kept from the brushes ; 
 a hair in the color will destroy the effect of a 
 decoration by drawing the color in wrinkles 
 about it. 
 
 Palette Knives. — The steel palette knife can 
 be used in mixing the " iron colors." The horn 
 or ivory knife must be reserved for the blues, 
 whites, and all colors from gold — as carmines, 
 purples, and violets of gold. Yellows also are 
 sometimes injured by a steel knife. 
 
 Ground Glass. — This glass can be procured 
 from any glazier, and must be used for all ex- 
 periments in the trying and mixing of the dif- 
 ferent colors. The colors to be prepared with 
 oil or turpentine must be always first squeezed 
 upon the glass. 
 
MANAGEMENT OF UTENSILS. 27 
 
 China Palette. — This must be used only for 
 holding the colors already mixed and prepared 
 for use ; and these colors should be placed at 
 sufificient distances apart, so that one color will 
 not encroach upon another. An iron colof, 
 spreading into a delicate carmine, would com- 
 pletely ruin the latter ; while a blue and yellow 
 spreading together would immediately become 
 green. 
 
 Colors. — The colors should be the La Croix 
 tube-colors unmixed with those of other manu- 
 facture. The tubes should always, when not in 
 use, be kept jn the color-box ; any box with a 
 tightly-fitting cover will answer the purpose, 
 and care should be taken that the top of each 
 tube is screwed tightly down before putting 
 away. A great deal of injury is caused by dust 
 and lint settling in the colors. 
 
 The position of the tubes in the box should 
 be constantly changed to prevent the color 
 from separating from the medium with which it 
 is mixed. The tube-colors should be also kept 
 away from the heat. 
 
28 PAINTING ON CHINA. 
 
 Enough color should be squeezed from the 
 tube to answer for one sitting only. A piece 
 of color the size of a small pea is usually 
 enough for ordinary use. The fat oil in an ex- 
 posed color soon becomes sticky, and, collect- 
 ing dust, is unfit for use. Always squeeze the 
 colors by pressing the bottom of the tube, as 
 there is less waste. If it is necessary that you 
 should leave, your work before it is finished, 
 cover your palette and colors with an inverted 
 plate and place the unfinished painting m a po- 
 sition where dust or dampness can not touch it. 
 
 Some of the colors — whites, blues, and car- 
 mines — will always require a drop or two of the 
 fat oil before they will flow smoothly and freely 
 from the brush. Always squeeze the color first 
 upon the glass slab. Have ready a few drops 
 of the oil in one of the small drop-bottles, and 
 from this measure two drops upon the color. 
 Two drops are usually enough for a piece of 
 color as large as a small pea, unless a thin wash 
 is required. If the color is an "iron color," 
 rub the oil well into it with the steel palette 
 
MANAGEMENT OF UTENSILS. 29 
 
 knife ; if a blue, white, or color from gold, or 
 mixing yellow, use the horn knife. When the 
 color is sufficiently smooth or rendered as thin 
 with turpentine as required, lift it on the point 
 of the knife and deposit it in its place on the 
 palette. China palettes are expensive, varying 
 from seventy-five cents to two dollars. A clean 
 china plate or saucer kept for the purpose will 
 answer as well. 
 
 Always dip the knife in the cup of turpentine 
 and wipe on the 'cloth before touching another 
 color. If you have no horn knife, mix the 
 gold colors with the brush. Remember that 
 the gold colors are the carmines, purples, and 
 violets of gold. 
 
 If the color clogs the brush and is stiff and 
 lumpy, it requires thinning with turpentine. If, 
 on the other hand, the brush slips and the color 
 spreads irregularly, too much turpentine has 
 been used, and the remedy is the addition of 
 more color and a little fat oil. 
 
 Those washes prepared with much oil must 
 always be applied very thinly to the china, as 
 
30 PAINTING ON CHINA. 
 
 they are then less liable to " craze " in the 
 firing. 
 'A deep shade of color is never made by using 
 le'fuU depth of color in the first wash, but by 
 repeated washes, each being perfectly dry before 
 another is laid on ; if the first wash is not dry, 
 and free from moisture, the tint will appear 
 muddy and cloudy 
 
 All mistakes "can be easily remedied before 
 firing, by the aid of turpentine and alcohol, but 
 after that process the matter is not so simple. 
 Sometimes the work can be retouched, and ex- 
 posed to a second firing, but this requires a prac- 
 ticed hand, and it is much better to be quite sure 
 your work is right before being sent to the kiln. 
 Some accidents have occurred in the firing, in 
 spite of the decorator's care, but, as a rule, fail- 
 ures can be traced back to some mistake or care- 
 lessness in the manipulation of the colors. Some 
 artists depend upon two or more firings for 
 completing their work, but the directions for 
 the designs in this work refer to but one firing, 
 unless the contrary is specially indicated, (in 
 
MANAGEMENT OF UTENSILS. 3 1 
 
 case an alteration of part of the work after firing 
 is very desirable, hydrofluoric acid, carefully ap- 
 plied, will remove the color. The best way to 
 apply this is to draw a cloth over a pointed stick 
 of wood, and lightly dip this point, covered with 
 the cloth, into the acid, then apply to the spot 
 of color you wish removed. Great care must be 
 used in handling this acid, as it is very powerful. 
 
 Spirits of turpentine and alcohol applied in 
 this way will remove small spots of color before 
 the firing, but they are perfectly useless v/hen 
 the firing operation has been performed, be- 
 cause the colors have then become vitrified, and 
 nothing but a powerful corrosive acid will have 
 any effect on the surface of the decorated china. 
 
 In the application of paints and colors, the 
 amateur requires a large supply of patience. 
 Each coat of color must be allowed time to get 
 not only dry, but' hard ; it is therefore better to 
 wait a day longer than to proceed with the 
 work an hour too soon. This is one of the few 
 cases in which delays are not dangerous, but all 
 sure gain. 
 
SELECTION OF CHINA. 
 
 • HEN the materials have been pro- 
 cured, the next consideration is the 
 selection, of the china required for 
 decoration. 
 The china of French manufacture 
 is the best, as the articles possess superior trans- 
 lucency and elegance of form. 
 
 Stone china and all other white ware can be 
 decorated and fired, but for elaborate work the 
 delicate translucent china is far superior. 
 
 New china is always prefei-able to old, unless 
 the article has been but little used. 
 
 Butter dishes or plates that have held oil or 
 grease of any kind turn dark in the firing. 
 
 Flowers and fruit, in rich, bright colors, have 
 a beautiful effect upon the creamy tinted Min- 
 ton ware, while the glaring whiteness of the 
 
SELECTION OF CHINA, 33 
 
 Other wares is somewhat objectionable from an 
 artistic point of view. 
 
 Plaques, plates, and tiles are considered the 
 best for a beginner's first attempts. They are 
 much more easily handled than cups, vases, 
 pitchers, or other articles with rounded surfaces. 
 
 In selecting a plaque be sure that no glass has 
 been used in its composition. 
 
 Plaques beautifully decorated by those igno- 
 rant of the injury caused by the presence of 
 glass, have been broken in pieces during the fir- 
 ing, or returned unfired, with the warning that 
 such would be the result if the plaque were ex- 
 posed to the intense heat of the kiln. 
 
 Decorated tiles make very pretty and useful 
 rests for tea and coffee pots. In painting a 
 pair of these rests be careful to use colors on 
 both that require the same intensity of heat in 
 firing, as tiles shrink more or less in firing ac- 
 cording to the amount of heat required for the 
 colors. For instance, if one is painted in light 
 blues, carmine, and light yellow, and the other 
 with darker colors, as the reds, greens, and dark 
 
34 PAINTING ON CHINA. 
 
 shades in yellows, the latter will come out con- 
 siderably smaller than the former, as more in- 
 tense heat was necessary for the dark or " hard " 
 colors. 
 
 Black tiles are very handsome, with rich flow- 
 ers or fruits ; but it is well for the beginner to 
 resist the temptation of trying the decoration of 
 the handsome black tiles, as they have an un- 
 pleasant habit of absorbing the color and leav- 
 ing merely the shadow of fruit or flower. 
 
 Twisted wire stands can be obtained for these 
 tiles, or the tile-rests can be placed flat upon the 
 table. If wire stands are used, they should not 
 be fitted to the tiles until after the firing. 
 
 Plates with scalloped edges decorated with 
 landscapes in monochrome (see " Mono- 
 chromes "), or with outline figures in Chinese or 
 Japanese styles, also make very pretty orna- 
 ments for the drawing-room wall, where they 
 can be easily suspended by the regular wires 
 made for that purpose. 
 
 For the benefit of those unable to obtain 
 these wires, I will here give directions for mak- 
 
SELECTION OF CHINA. 35 
 
 ing a " home-made " plate suspender, copied 
 from one of our Art Journals : 
 
 " Take three dress-hooks, the largest you can 
 find, and put them at equal distances round the 
 edge of the plate, the holes where the hooks are 
 sewn being of course at the back. Pass strong 
 cord or the flexible wire used for picture hang- 
 ing through the two holes of each hook (if cord 
 is used, crossing over several times from one 
 side to the other), fasten off very securely, leav- 
 ing a loop by which it can be suspended." 
 
 In selecting china, examine it very closely, 
 to ascertain that the enamel is pure and free 
 from black specks, as these show plainly after 
 firing unless the spot is well covered with color. 
 
 The edges of articles that are to be orna- 
 mented with gold bands must be smooth and 
 perfect in shape. A breach in the enamel 
 spoils the effect of the gilding, and an imper- 
 fect outline causes the gold band to appear 
 crooked and badly executed. 
 
 China that is soiled can be cleaned before 
 decorating by washing in warm soda and water. 
 
PREPARATION FOR WORK. 
 
 SHORT time devoted to the ar- 
 rangements and preparation for work 
 is never time lost. The following 
 hints are important : 
 
 Table. — The table should be of 
 a convenient size for holding the work. A 
 table, three feet wide and four feet long, makes 
 a comfortable, roomy painting table. 
 
 Other work, such as sewing, etc., must not be 
 laid upon the same table, as lint, dust, and 
 specks of dirt frequently cause great injury to 
 the work. Ladies sometimes make for them- 
 selves long calico aprons with sleeves that not 
 only protect the paint from lint rising from 
 their woolen dresses, but prevent the sleeves 
 from being soiled by accidental contact with 
 the colors, and promote cleanliness generally. 
 
PREPARATION FOR WORK. 37 
 
 Light. — It is desirable to sit in sucii a posi- 
 tion that the light comes from the left, other- 
 wise the right hand casts a shadow upon the 
 work ; sitting with the face to the light will 
 tire the eyes in a short time. 
 
 Chair. — The chair should be high and of 
 such a form that the operator's back is sup- 
 ported. The position should in every way be 
 as easy as possible, for the work is fatiguing, 
 and the steadiness of hand and nerve requisite 
 to a successful painting is impossible in an awk- 
 ward or cramped position. 
 
 Arrangement. — On the table will be usually 
 kept the box containing the colors and the box 
 of small utensils ; these,, with other materials 
 not in immediate use, should be placed at the 
 left of the decorator. On the right, near the 
 end of the table, place the bottles of oils and 
 spirits, the glass slab, and the two palette 
 knives ; nearer the center of the table, still on 
 the right, place the notched stick for holding 
 the brushes, the cup of turpentine, a linen rag, 
 and the palette with the colors prepared for 
 
38 
 
 PAINTING ON CHINA. 
 
 use ; and, nearer still, but in a safe position, the 
 three drop-bottles containing respectively a few 
 drops of spirits of turpentine, oil of turpentine. 
 
 THE PAINTING TABLE. 
 
 and oil of lavender. Directly at the right hand 
 must be placed the wooden rest for the hand ; 
 in front, the article to be decorated ; and back 
 of this, on an easel, the object to be copied. 
 
 A very useful appendage to the table con- 
 sists of a slab about eight inches long and ten 
 inches wide, fastened under the front edge of 
 the table on hinges, so as to drop down out of 
 the way when not in use. This will be found 
 
PREPARATION FOR WORK. 39 
 
 of service in cases where thin washes have to be 
 applied to a hollow surface. The article is held 
 with the left hand tilted against the edge of the 
 table while being operated upon by the right 
 hand holding the brush. The wash can thus be 
 laid on evenly, without any tendency to flow 
 
 toward the center of the hollow, which would 
 be the case if the article were laying in a hori- 
 zontal position. The slab will also come into 
 casual use in many ways which will, occur to the 
 painter in the course of his operations. 
 
 All the materials being in readiness, the fol- 
 lowing general directions will give a clear idea 
 of the best manner to commence operations : 
 
 First — Take the bottle of alcohol and from it 
 partly fill the cup and one of the small drop- 
 
40 PAINTING ON CHINA. 
 
 bottles ; the large bottle is then put aside, as it 
 will be no more needed during this sitting. 
 Take from the box two pencils (Faber's 6H 
 and 2B), with fine smooth points, a piece of 
 tracing paper large enough to cover the design, 
 and cut eight strips of gummed paper each 
 half an inch wide and an inch in length. 
 
 From the brushes select one fine-pointed out- 
 lining brush, two small and two medium sized 
 brushes. 
 
 From each of the tubes containing the colors 
 necessary for the first painting of the design, 
 squeeze out upon the glass slab a piece of color 
 as large as a good-sized pea, more or less of 
 each color as may be deemed necessary. 
 
 Upon all of these colors measure two or 
 three drops of turpentine from the drop-bottle, 
 and with the palette knife rub down each until 
 the color and spirits are well mixed. Dip the 
 knife in the cup of turpentine and wipe on the 
 rag before touching each fresh color, and be 
 careful that the spots of color have been placed 
 far apart. As each color is rubbed smooth, lift 
 
PREPARATION FOR WORK. 4 1 
 
 it upon the point of the knife and deposit it, 
 upon the china palette. This should now be 
 conveniently placed at your right hand, with 
 the brushes near it. 
 
 An artist, or one experienced in drawing, 
 will at once sketch in the figure upon the china 
 with sepia. The safest and best way for ama- 
 teurs is to trace the design. 
 
 One method of tracing, and in some cases 
 the best, is as follows : 
 
 Take a piece of tracing paper large enough 
 to cover the design, and hold it firmly and 
 without wrinkling over the object to be copied. 
 With a pencil (Faber's 6H) cover every line of 
 the design ; then place a piece of the red trans- 
 fer paper on the china over the spot chosen for 
 the decoration. Fasten this paper securely to 
 the china by gumming the edges or with wafers. 
 Now, over this place the paper on which is the 
 tracing, with the tracing toward you ; secure this 
 also with wafers. Then with the hard pencil 
 go over the tracing ; this time pressing as firmly 
 as possible without tearing the paper. The im- 
 
42 PAINTING ON CHINA. 
 
 pression of the design is thus made to show 
 plainly upon the china from the red coloring in 
 the transfer paper. 
 
 A still more simple way (hut this destroys 
 the original) is, after the transfer paper is on 
 the china, place directly over it without tracing 
 the paper on which is the picture you wish to 
 copy, and then go over the lines, as directed be- 
 fore, with the pencil as firmly as possible. The 
 lines by this way are more faithfully reproduced 
 upon the china, but the picture is of course 
 ruined by the marking, while by the first 
 method the original can be used any number of 
 times and still be uninjured. 
 
 Another manner, when transfer paper is not 
 to be obtained, is to trace the outlines, as di- 
 rected, upon the tracing paper with a hard, 
 sharp-pointed pencil ; then turn the paper over 
 and carefully go over the wrong side of the 
 lines showing through the paper v/ith a very 
 soft pencil (Faber's No. i). 
 
 This makes a very fair substitute for the reg- 
 ularly prepared tracing paper. 
 
PREPARATION FOR WORK. 43 
 
 Select -the exact spot on the china for the de- 
 sign, and place upon it, carefully and without 
 rubbing, the tracing paper, with the soft pencil- 
 marks down upon the china. Wet the wafers 
 between your lips, and with them fasten the 
 tracing upon the china. After these have dried, 
 then with the sharp-pointed hard pencil go 
 again very carefully over -every line of the trac- 
 ing. The soft pencil marks will in this way be 
 impressed upon the china. Be careful that 
 every line is pencilled before you disturb the 
 paper, which must be lifted carefully without 
 rubbing the design showing now upon the 
 china. It will make no difference if the wafers 
 remain fast, the tracing paper can be torn away 
 from them. 
 
 In both cases where transfer paper or tracing 
 paper alone has been used, it is necessary at 
 once to secure this easily-erased outline. For 
 this, color is sometimes used when desirable. 
 At other times india-ink is preferable, as the ink 
 lines disappear in firing. 
 
 From the box take the stick of india-ink and 
 
44 PAINTING ON CHINA. 
 
 the small paint dishj and prepare a little liquid 
 india-ink by rubbing the end of the stick in a 
 few drops of water ; when you have enough of 
 the ink, drop into it two drops of the extract of 
 gall, which will cause the ink to " take hold " of 
 the china. Take the small, fine-pointed out- 
 lining brush, dip it in this liquid ink (a steel 
 pen can also be used for this, filling it from the 
 brush), and with it cover the lines inside the 
 outline where color is to be placed, as well 
 as the general outline. This india-ink shows 
 through the color plainly. 
 
 After this is dry, take the fine-pointed brush, 
 dip it in the turpentine, and press it against the 
 rim of the cup, that too much moisture may not 
 remain in it ; turn the point of the brush about 
 in the edge of the vitrifiable sepia upon the pal- 
 ette until the hairs are filled with color. Now 
 try the brush upon your spare piece of china, 
 turning it over and over, and making little 
 "dabs" until the hairs are smooth, and you are 
 able to make a slender line of color as fine as a 
 stroke of a pen. You may now with this go 
 
PREPARATION FOR WORK. 45 
 
 over every pencil-mark or tracing upon the 
 china. As soon as the color ceases to flow 
 freely from the brush (you must not press the 
 hairs, which must be kept at a sharp point to 
 make the desired fine line), it must again be 
 dipped in the turpentme and color, and tried as 
 before until the color flows freely. When this 
 sepia outlme is completed, it must be allowed 
 to dry. 
 
 In the plate representing the flower-piece of 
 daisies the background is made with light gray, 
 used very lightly, and a touch of grass green. 
 To match the exact tint of the background in 
 the original, it will be perhaps necessary to ex- 
 periment a little on a spare piece of china or 
 earthenware. The dabber must be freely used, 
 according to directions on page 65. The flow- 
 ers having been previously drawn in india-ink, 
 according to directions on page 44, will show 
 through the color of the background, of which 
 that part covering the india-ink drawing must 
 be carefully wiped or scraped away. When this 
 is done, the colors for the leaves and petals can 
 
46 PAINTING ON CHINA. 
 
 be painted directly On the white surface of the 
 china. Paint in the leaves and buds and flower 
 stems, etc., with grass-green, shaded with brown 
 green, except those faintly shadowed on the 
 background, which must be painted with light 
 gray, with a touch of green, used a little stronger 
 than the tint used in the background. The blue 
 flowers are painted with ultramarine blue, used 
 rather lightly, with a stronger tint mixed wnth a 
 touch of violet of gold {violet d' or f once). The 
 center of the blue flowers can be made of sepia 
 mixed with carmine No. 3 ; the same color will 
 answer for the closed petals of the topmost bud. 
 The daisies are painted with yellow centers of 
 pure orange yellow for the light, and yellow 
 mixed with, sepia for the shades. The white 
 petals- are formed by loading permanent white 
 upon them. The color should be lifted with the 
 brush and laid on without spreading. 1^^ 
 shadows upon the white petals can be imitated 
 with light gray No. i, used more lightly than in 
 the background. The brown stems are made 
 with sepia, to which is added a little carmine. 
 
DIRECTIONS FOR THE USE OF 
 COLORS. 
 
 ^HITES are used generally in small 
 touches, as a spot for the light in 
 an eye, to heighten the effect of 
 jewels, embroidery, etc. It is laid 
 on thickly by lifting upon the 
 brush. Chinese white will mix well with all 
 other colors. 
 
 Permanent white is sometimes used in con- 
 nection with other color " in relief." 
 
 The white is laid on first in a thick, opaque 
 spot, and, when perfectly dry (a slight firing is 
 safest for this), the color is put over it in a thin 
 wash. 
 
 The high lights in white flowers and drapery 
 are not made with washes of color, but by al- 
 
 « 
 
 lowing the white china to remain uncolored, 
 
48 PAINTING ON CHINA. 
 
 and the shadows are made with the different 
 grays, light or dark, as may be required. 
 
 Blues. — These require to be carefully han- 
 dled. A delicate pure blue is very easily in- 
 jured by contact with yellows, iron colors, pur- 
 ples, or the steel knife. Blues are always laid 
 in thin washes, and the shade deepened by suc- 
 cessive washes. They usually require the addi- 
 tion of more fat oil than the other colors, to 
 render them sufficiently pliable. 
 
 Shadows in blue drapery and flowers are 
 made with a darker shade of blue, or with gray. 
 Platinum gray should be used here, as it con- 
 tains no iron. 
 
 Turquoise blue can be used " in relief " in the 
 same manner as permanent white, and remain 
 opaque above the surface of the china after 
 firing. For this reason it is used with pretty 
 effect for spots on the wings of butterflies, jew- 
 els, small blue star-flowers, and for decoration 
 where a fixed pattern for borders, etc., is de- 
 signed. 
 
 Blue combined with yellow (which should be 
 
USE OF COLORS. 49 
 
 jonquil-yellow or yellow for mixing) makes 
 bright shades of green. A blue sky is im- 
 proved and made, more true to Nature's own 
 blue by the addition of a little light green mixed 
 \)?ith the blue. Blue morning-glories require a 
 shading of light carmine. In blue flowers with 
 a yellow center scrape all color carefully away, 
 that the yellow can be placed directly on the 
 china. 
 
 A blue outline for flowers of lilac color (lilac 
 for grounds, or sky blue with carmine No. i, 
 produce lilac) will very much intensify the lilac 
 tint — an improvement when the flowers are on 
 the white ground of the china. Light sky blue 
 is liable to scale unless it is applied thinly. 
 
 Blue contrasts well with pale orange ; dark 
 blue with deep orange. 
 
 Browns. — Browns can be used as shadings, 
 and contrast well with most colors. In shading 
 colors containing no iron, the brown must not 
 be laid over the color, but directly on the china, 
 the other color having been scraped away from 
 this spot, or the china left unpainted. 
 
50 PAINTING ON CHINA. 
 
 Dark brown is used for ti'unks and branches 
 of trees and for touches of brown in leaves. 
 Brown with a touch of carmine is used for au- 
 tumn leaves. 
 
 Yellow brown is used for earth, shaded with 
 black. 
 
 Brown No. io8 is used for brown hair, varie- 
 ties of tint being made by touches of blue and 
 shaded with black. 
 
 Brown for eyes is also shaded with black ; a 
 little yellow mixed with the brown lightens the 
 tint for the markings next the pupil. 
 
 Carmines. ^-'Y\\.QS& require great care in hand- 
 ling. Too much oil causes them to shrivel in 
 the firing, and they should always be applied in 
 thin washes, as otherwise they are apt to turn 
 yellow in the firing. 
 
 Carmine is sometimes called the " test " color, 
 as it is used for testing the temperature of the 
 kiln. A piece of china colored with carmine is 
 placed so that it can be drawn from the kiln 
 without disturbing the articles firing. In too 
 low a temperature the carmine fires a dirty yel- 
 
USE OF COLORS. 5 1 
 
 low.; a too intense heat turns it purplish. When 
 it comes out a clear rose tint, it is safe to con- 
 sider that the articles fired with it are sufficiently 
 " baked," unless some of the " hard colors " re- 
 quiring the most intense heat are used in the 
 decorations. 
 
 Carmine mixed with purple is used for mak- 
 ing grayish shadows in foliage. 
 
 Carmine is used in painting pink flowers on 
 china, the shadows done with light gray, or a 
 gray made with carmine and apple-green. The 
 strong shadows in carmine are made with pur- 
 ple. A touch of carmine is sometimes used to 
 tone down a green that is too staring. When a 
 " touch " is directed, it is meant that a little car- 
 mine is laid in touches upon the color after it is 
 dry, and not mixed with it. 
 
 Greens. — Carmines and other colors contain- 
 ing no iron can be safely mixed with greens, for 
 they contain little or no iron. The deepest and 
 darkest shadows in green foliage are made with 
 purple and carmine. 
 
 For the leaves necessary in ordinary flower- 
 
52 PAINTING ON CHINA. 
 
 painting, light and dark greens are usually suf- 
 ficient. 
 
 Brown-green is made for the shading of 
 green leaves ; and red touches in green that are 
 placed over the color are safest in brown violet, 
 and the intense red sometimes seen at the tips 
 of leaves must be placed upon the clean 
 china. 
 
 In leaves and foliage always contrast cold 
 lights and warm shadows ; warm shadows are 
 made with the greens combined with reds, ochre, 
 and yellow ; cold colors are where black and 
 blue are used. 
 
 Green is intensified by being in near contrast 
 with red. 
 
 Grass-green is the local tint of foliage ; the 
 lighter shades are made by mixing blue, jonquil 
 or mixing yellow, using more yellow as lighter 
 tints are needed. For the first shadows use 
 brovs^n-green, adding more color as the shadows 
 grow darker ; a dark blue added makes a very 
 dark shadow, and black-green is used for a mass 
 of foliage in a dense shadow. 
 
USE OF COLORS. 53 
 
 For water use apple-green mixed with sky- 
 blue ; for dark reflections and shadows use 
 black-green ; lights on the water are made with 
 grass-green ; foam at the edge of waves or rip- 
 ples as they break against rocks is made with 
 little touches of Chinese white used thick. 
 
 Copper green sometimes turns dark ; chrome 
 green is very permanent. 
 
 Grays. — Grays are often made by combining 
 other colors — reds with greens, carmine and 
 green, blue, brown and pink. Experience 
 shows how to obtain the desired shade. 
 
 Gray is used for outlining flowers, branches, 
 and figures of all kinds. The gray contrasts well 
 with any color, and causes flowers and figures to 
 "stand out" from the background. Gray is 
 used for the shadows in white drapery and flow- 
 ers ; black, to which a little dark gray is added, 
 makes a deep shadow. 
 
 Reds. — These in the vitrifiable colors are red, 
 flesh red or carnation, coral, and violets of iron. 
 
 Coral can only be used slightly and in grounds, 
 as it sometimes changes to yellow. It can be 
 
54 PAINTING ON 'CHINA. 
 
 used with beautiful effect in a ground wiiich re- 
 quires to be fired at a low temperature. 
 
 {For deep crimson and scarlet flowers see 
 purples and vitrifiable colors^ 
 
 Carnation pinks are carnation shaded with 
 violet of iron. 
 
 Roses are made with rose pompadour (a 
 grounding color which is used in this case) for 
 wild rose, and a deeper shade made by repeated 
 washes for common rose. 
 
 For the red in Chinese and Japanese figures 
 and pictures use capucine red. 
 
 The combinations of these reds are explained 
 in the "Table of Colors," (page 15). 
 
 For the red in flesh use the flesh tints, with a 
 thin wash for a pale color. Iron yellow must 
 not be added to make this pale tint, for it de- 
 vours the red in firing ; two or three washes of 
 flesh red No. 2 are used for ruddy tints ; the lips 
 and marking of nostrils are violet of iron. A 
 fainter red is flesh red No. i, retouched with 
 No. 2. 
 
 When the face is high colored, yellow-brown 
 
USE OF COLORS. 55 
 
 can be used with the reds for the local tint, and 
 the cheeks touched with carmine. 
 
 Purples. — Purples in vitrifiable colors are 
 equivalent to crimson lake in oils. 
 
 A rich crimson flower must be painted 
 with crimson purple shaded with the same. 
 The combinations of this color are described 
 in the "Table of Colors." The same care is 
 necessary in the use of purples as with car- 
 mines. 
 
 Yellows. — Ivory yellow will sometimes com- 
 pletely destroy a color with which it is mixed. 
 
 Yellow used for wheat (permanent yellow) 
 can be made to stand out by using the color 
 thick, breathing upon it to soften it. 
 
 If red markings are required in yellow flow- 
 ers the china must be "reserved" — that is, left 
 bare — for the red. 
 
 Yellow flowers are outlined in yellow-brown, 
 or with a darker shade of yellow. Shadows arc 
 made by combining deep yellow and ochre, or a 
 gray made of deeper silver yellow with a touch 
 of purple. 
 
56 PAINTING ON CHINA. 
 
 Mixing yellow combined with a little flesh red 
 makes a flesh tint. 
 
 Blacks. — Black is sometimes used in lines 
 and in regular patterns for borders. 
 
 It can also be used in silhouette figures on a 
 white or cream-colored ground. 
 
 Iridium black should be used in connection 
 with iron colors. 
 
 The blacks are few, and more can be obtained 
 by combining dark reds and blues. 
 
 Black should always be mixed with a little 
 blue when used in thin washes, as it is apt to 
 rub off if used alone. 
 
 The black marking on the wings of blue but- 
 terflies should always be iridium black. 
 ^^r'-'TOl colors will lose some of their strength 
 C when fired ; the tints must, therefore, be used 
 I darker than they are to appear finally. If the 
 / tint after firing is much too faint, another wash 
 jj. can be added and the article refired. 
 \ A patch of color applied moderately thick 
 
 may be made to distribute itself more evenly by 
 breathing upon it. 
 
USE OF COLORS. 57 
 
 A little color on the palette for delicate fine 
 work can be better prepared by breathing upon 
 it to soften and render it pliable. 
 
 The work must not be hurried. A fine dec- 
 oration may be much injured by a hurried at- 
 tempt to add a small finishing touch with the 
 brush full of turpentine, and the point only 
 charged with color. The turpentine will not 
 only prevent the color from flowing evenly, but 
 will spread into colors that have been previously 
 laid and dried, thus causing them again to 
 spread upon still others. 
 
 We must repeat the fact, which artists well 
 know, and amateurs must learn, that patience ' 
 is one of the indispensable elements of success 
 in china decoration. One color may be laid on 
 another before the first is dry and hard, and 
 patching or retouching may not be apparent 
 when done, but they may cause disappointment 
 after firing. 
 
SUBJECTS SUGGESTED. 
 
 SUBJECT selected for a decora- 
 tion should be carefully studied. Of 
 figures, those only should be attempt- 
 ed that are within the scope of the 
 artist's powers. 
 Flowers, butterflies, etc., ' are much easier 
 for the amateur's first attempts. The out- 
 lines of flowers must be correctly and pre- 
 cisely drawn, but the painting of most flowers, 
 if the natural colors are selected, is not beyond 
 the ability of amateurs, while the correct posing 
 of a figure and graceful shading of drapery re- 
 quire artistic knowledge and perception. 
 
 A very easy subject for beginners is a back- 
 ground in gray, with Chinese scenes in blue, 
 sketched with a pen. 
 
 With a metal pen (one not of steel is the 
 best), the color js scratched away from the out- 
 
SUBJECTS SUGGESTED. 59 
 
 lines which have been put in india-ink before 
 the ground was laid. 
 
 Bro'.vn outline figures on cream-tinted ware 
 are also efifective, done in the same way with a 
 pen. Fans, butterflies, and objects copied from 
 Japanese fans are pretty for this style. 
 
 A lavender-tinted cup and saucer, with flock 
 of blackbirds in silhouette, is easily executed 
 by cutting out paper birds from a pattern cor- 
 rectly drawn and pasting the birds on the china. 
 The ground is then put on over all, and, if gum 
 -water is used, the paper will not come oif unless 
 very much pressed. After the ground is per- 
 fectly dry the paper is scraped off and the black 
 coloring applied. 
 
 Common brown glazed earthenware jugs can 
 be made pretty as ornaments by painting clus- 
 ters of cat-tails upon them in darker shades of 
 brown with broad green leaves. 
 
 Chinese white applied as a background for 
 placques gives a very soft effect to flowers 
 painted upon it, the background absorbing the 
 hard lines and producing a soft effect. 
 
6o 
 
 PAINTING ON CHINA. 
 
 This design for a cup and saucer is very 
 graceful either in monochrome or in its proper 
 colors. 
 
 This pattern for ornamenting butter-plates 
 
 is also easy and, if neatly done, very effective. 
 
TUBE-COLORS FOR GROUNDS. 
 
 HE following La Croix colors will 
 not bear mixing : ' 
 
 Celestial blue {Bleu cUesti). 
 
 Indian blue (Bleu indien). 
 
 Lavender blue {Bleu lavandi). 
 
 Marine blue {Bleu mariti). 
 
 Reddisli brown {Brun mordori). 
 
 Chamois brown {Chamois). 
 
 Carmelite {Carmelite). 
 
 Celadon {Celadon). 
 
 Light coffee {Cafi, au lait). 
 
 Chromium water-green ( Vert d'eau au chrome). 
 
 Copper water-green ( Vert d'eau cuivre). 
 
 Grounding green {Vert pour fonds). 
 
 Steel gray {Gris d'acier). 
 
 Turtle dove gray {Gris tourterelle). 
 
 Isabella {Isabelle). 
 
 Fusible lilac {Lilac fusible). 
 
 Mais {Mais). 
 
 Mauve {Mauve). 
 
 Coral red {Cor ail). 
 
 Rose pompadour {Rose pompadour). 
 
 Salmon {Saumori). 
 
 Turquoise blue {Turquois bleu). 
 
 Turquoise green ( Turquois vert). 
 
 Chinese yellow {Jaune Chinois). 
 
62 PAINTING ON CHINA. 
 
 These colors are ready prepared, especially 
 for grounds ; they are fired at a more intense 
 heat than the colors used in the ordinary decora- 
 tion of china. ,^ 
 
 They will not bear mixingi except in the case 
 of rose pompadour, which, used lightly in the 
 painting of wild roses, etc.," seems to be an ex- 
 ception to this rule. 
 
 It is necessary, therefore, that the article dec- 
 orated with fruit or flowers in the ordinary col- 
 ors, upon .a background tinted with ground- 
 ing colors, should be exposed to two firings. 
 The ground alone fired first, and then the 
 center figure painted, and fired at a lower tem- 
 perature. 
 
 The grounding colors are somewhat richer in 
 tint than the others, but when the two firings 
 are inconvenient for the decorator, the ordinary 
 colors can be prepared and used according to 
 the directions that will be given for " Grounds," 
 and by combining two or more of these colors 
 beautiful tints can be obtained. 
 
 More or less color must of course be squeezed 
 
COLORS FOR GROUNDS. 63 
 
 from the tube, according to the size of the arti- 
 cle to be tinted. 
 
 /For a plate of ordinary size, squeeze into the 
 center of the glass slab, which must be clean, a 
 piece of color large enough to cover a cent. 
 Add to this three drops of oil of turpentine and 
 five drops of oil of lavender, and mix well to- 
 gether with the palette knife. (In the case of 
 blue, red, and carmine, more oil is required.) 
 Then add spirits of turpentine until the color is 
 thin enough to flow smoothly and freely. Have 
 ready two or three dabbers made of soft, 
 clean chamois-skin, tied over flattened balls 
 of cotton. For "dabbing" an ordinary sized 
 plate or cup and saucer the flattened side of the 
 dabber should be about the size of a silver half 
 dollar. These dabbers should always be kept 
 clean and free from all color, dust or dampness. 
 The chamois skin can be washed in warm soap 
 and water ; before it is quite dry it should be 
 pulled and stretched until it is soft and flexible. 
 After the color and dabbers are prepared, 
 the china must be well wiped, as moisture or 
 
64 PAINTING ON CHINA. 
 
 dust will injure the tintj If only a tinted sur- 
 face is desired, with no further decoration than 
 perhaps a gilt band, to be supplied by the oper- 
 ator where the article is fired, you may proceed 
 at once to lay on the color. 
 
 Take a clean flat brush, of a size convenient 
 to the shape of the china, and dip it in the cup 
 of turpentine, pressing it against the sides of the 
 cup, that too much liquid may not be taken ; 
 then thoroughly charge the brush with your pre- , 
 pared color. 
 
 Try it first upon a separate piece of china, 
 smooth and straighten the hairs, and when the 
 color flows evenly and well begin the work of 
 tinting. If the article is a plate or saucer, the 
 brush strokes should be given circularly, going 
 round the plate with short, regular strokes, each 
 circle bringing you nearer the center of the 
 plate. If tinting a cup, it must be held bottom 
 upward, and the brush strokes be given straight 
 from the base of the cup downward. 
 
 As soon as the color ceases to flow freely the 
 brush should be charged with more color, each 
 
COLORS FOR GROUNDS. 65 
 
 time trying the freshly charged brush on some 
 other china before proceeding with your tinting. 
 Work as quickly as you can, never touching the 
 same place twice. Pay no attention to the 
 irregularity of your tint, the dabber will remedy 
 all that. This first wash of color should be 
 made quite thin. Darker shades are made by 
 repeated washes of color laid thinly, taking care 
 that each coat is perfectly dry before another is 
 applied, and each worked over with the dabber 
 as in the following directions : 
 
 When the surface of the china is entirely 
 covered with the first wash of color, the article 
 should be wiped where the color has spread over 
 the edges. Lightly try the tinted surface with 
 the tip of your finger, and when it is almost 
 dry, with only a little " sticky " feel, take the 
 dabber and with it strike quick, light little taps 
 over your work, beginning where the first color 
 was laid, and striking oftenest where the color 
 appears thickest, thus making an even, fiat tint. 
 Never rest the whole weight of the dabber 
 upon the work, but the stroke can grow heavier 
 
66 PAINTING ON CHINA. 
 
 as the color dries. As soon as you discover the 
 dabber to be sticky or soiled with color, a fresh 
 one should be taken. The color, if prepared 
 rightly, will not adhere easily to the dabber. 
 The exact quantity of oil to be used in the 
 color can only be determined by repeated ex- 
 periments. If the color dries quickly more oil 
 of lavender is required, for it is necessary in 
 grounds that the first color laid should not be 
 perfectly dry before the entire surface is ready 
 for the dabber, as, if it is, the dabber has na 
 effect in evening and flattening the tint. 
 
 If the color looks oily and refuses to dry, too 
 much oil has been used. If the color comes off 
 on the dabber in spite of apparent dryness, 
 more oil of turpentine must be added. 
 
 When a center figure, flowers, or fruit are to 
 be placed upon the tinted background, the sim- 
 plest and best method is to prepare the china 
 and proceed as in the directions given under the 
 head of " Tracing." 
 
 When the tracing of the design has been com- 
 pleted, the pencil-marks, which can be easily 
 
COLORS FOR GROUNDS. 67 
 
 erased, must be covered with india-ink, which has 
 the advantage of showing plainly through an 
 ordinary wash of color. The stick of india-ink is 
 dipped in water and rubbed upon a small paint 
 dish. When enough of the liquid ink is thus 
 formed in the dish, add to it a drop or two of 
 extract of gall. Then with a fine-pointed brush 
 or steel pen filled with this ink go over all the 
 outline pencilled upon the china. If a pen is 
 used, it can be filled with the ink by charging 
 the brush and pressing the ink from it on the 
 outside as well as the inside of the pen. 
 . Whefi the india-ink outline is perfectly dry, 
 the grounding color can be put over all as di- 
 rected before, the outline beneath showing 
 plainly through the color. When the back- 
 ground is completed, the color inside the india- 
 ink outline must be scraped away with a pen- 
 knife, and that the china inside this space may 
 be entirely free from color, fasten a cloth over 
 the blunt point of one of the soft-wood sticks, 
 and dip the point covered with the cloth in tur- 
 pentine, and with it rub the space within the 
 
68 PAINTING ON CHINA. 
 
 outline until it is perfectly clean. In doing this 
 be very careful that the turpentine does not touch 
 the color outside the outline for your design. 
 
 Any little line of india-ink showing through 
 the color will do no harm, as it will disappear in 
 the firing ; but if the background is encroached 
 upon by either knife or turpentine, the effect of 
 the decoration will be much injured. 
 
 ~H the background is of the special ground- 
 ing colors, nothing more can be done until the 
 china is fired. The center decoration can then 
 be put in for the second firing. If, however, 
 the ordinary colors have been used in the 
 ground, the entire decoration can be completed 
 before sending the article to the kiln. 
 ~ For beginners silhouette figures in mono- 
 chrome or one color are the easiest. 
 Vjt is well to understand that, to make a figure 
 or landscape "stand out" well, it must be in 
 strong contrast with the background; thus, if 
 the design is dark, the backgroumT" must be 
 light ; or if the background is dark,, a design 
 must be chosen requiring light colors. 
 
COLORS FOR GROUNDS. 69 
 
 Red and brown are very manageable for put- 
 ting in grounds. 
 
 A delicate gray ground gives a fine effect to 
 gilding or rich fruit or flowers in the center. A 
 pink background for miniature landscapes in 
 the shape of medallions, placed at equal dis- 
 tances. round the rim of plate or saucer, is very 
 lovely, but must be handled with care, as the 
 carmine producing the pink tint is an uncertain 
 color. 
 
 Where a heavy dark ground is desired, the 
 method is different and much more difficult. 
 For this the La Croix color must be in powder 
 (No. 3 finely ground), a dabber made of raw 
 silk or linen instead of chamois skin, and a large 
 fitch blender. 
 
 Upon the glass slab measure a few drops of 
 oil of turpentine and spirits of turpentine, rub 
 with the palette knife until the oil and spirit are 
 well mixed and smooth ; fill a large flat brush 
 with this and pass it quickly over the surface of 
 the china, being careful that every spot is cov- 
 ered. Then with the dabber go all over this 
 
70 PAINTING ON CHINA. 
 
 oily surface — very lightly indeed, and trying to 
 distribute the oil as evenly as possible. Then 
 take the blender, fill it with as much of the 
 powdered color as it will hold, and lightly dust 
 it over the prepared surface. If more powder 
 falls in spots than is desired, it can be lightly 
 brushed off. This method is difficult, and re- 
 quires experience. The color becomes trans- 
 parent during the firing, and all specks or irreg- 
 ularities in distributing color are made plainly 
 visible. 
 
 The greatest care is therefore necessary to 
 produce a clean, uniform ground color ; noth- 
 ing mars the general effect of decoration more 
 than an uneven, muddy, or speckled back- 
 ground. Any defect in a design may be cor- 
 rected by retouching, but this is almost impos- 
 sible in the case of ground coloring. 
 
BORDERS. 
 
 E should advise, as a rule, that 
 gilded bands, ornamented borders, 
 etc., be left in the hands of the 
 professional gilder. 
 
 A few simple directions will, 
 however, enable the amateur to attempt this 
 work, success in the attempt depending upon 
 the perseverance and dexterity of the operator. 
 In decorating establishments the workmen 
 are only given the colors when they can work 
 successfully in reds. Borders in gold and colors 
 are given them when success has followed all 
 other attempts. 
 
 For plain bands, narrow or wide, in gold or 
 colors, the " turning wheel " described on page 87 
 is used. The brush must be narrow or wide to 
 suit the width of the band, and must be entirely 
 filled with color prepared with oils and turpen- 
 
72 PAINTING ON CHINA. 
 
 tine to flow freely and evenly. If not success- 
 ful with the wheel, a round piece of card-board 
 the size required can be. cut evenly with the 
 help of a compass, and fastened with gum to 
 the center of the plate or saucer. This card- 
 board center-piece will be found useful for a 
 variety of purposes. 
 
 Where two colors, or gold and color, are re- 
 quired in a border, the safer way is to expose 
 the piece to two firings — the plain band of 
 color fired first, and the pattern painted '^over it. 
 In all cases, however, the " hard " color, or that 
 requiring great heat, is fired first. 
 
 Gold requires "soft" colors to be fired with it. 
 
 After the pattern is selected for a border, a 
 plate, or other round article, the question at 
 once arises as to ways and means of transferring 
 this pattern to the rim of the china. The ar- 
 tistic method, of course, is to " lightly sketch it 
 in." For beginners, a simple way is the fol- 
 lowing : 
 
 Turn the article face downward upon a piece 
 of smooth paper — fine wrapping-paper will an- 
 
BORDERS. 73 
 
 swer — and with pencil carefully draw a circle 
 around the china ; next measure the width of 
 your border pattern, and make a pencil-mark on 
 the paper circle accordingly. Now take a com- 
 pass, fix the needle exactly m the middle of the 
 circle, with the pencil on the mark you have 
 made, and carefully describe another circle. You 
 have now a border that should fit your china. 
 Cut this paper rim out and try it. It sometimes 
 happens that the china is of such a shape that a 
 narrower border is necessary. When you have 
 succeeded in fitting the paper border, double it 
 into quarters or eighths of a large size. Now 
 trac^ upon tracing paper, as in Directions for 
 Tracing, endugh from your pattern to cover the 
 quarter or eighth of your folded paper. Place 
 the traced pattern over it, and fasten all securely 
 to a cushion or several thicknesses of blotting- 
 paper. Among your " implements " you should 
 have a needle set in a wooden handle. With 
 this needle prick holes quite closely along the 
 outlined pattern, pushing the needle each time 
 quite through the folds of paper into the cush- 
 
74 PAINTING ON CHINA. 
 
 ion. A sewing-machine with a fine needle is 
 quite useful in this work if proper care is taken 
 in holding the folds firmly. When all is done, 
 a perfect border in small holes will be found 
 upon the unfolded paper. Fasten this border 
 upon the china with bits of wax or gummed 
 paper. Before this is done, however, the china 
 must have been prepared, as described before, 
 for receiving tracing or pencil marks (see page 
 20). Make a "pounce" or wad of soft cotton, 
 cover it with powdered charcoal or any vegeta- 
 ble color (light, if your ground is dark), and 
 dust carefully all the holes in the paper border. 
 Carefully remove the paper, and you have a per- 
 fect outline in fine points of color. This out- 
 line must at once be strengthened in india-ink 
 or water-color, as it may become blurred by 
 handling. 
 
 If the pattern is a simple one, like the first 
 and third in the last line in our page of borders 
 (the reader will understand that these two are 
 straight borders, suitable for panels), the india- 
 ink outline can be covered with the grounding 
 
BORDERS. 75 
 
 color, applied by dusting the powdered color as 
 •already directed. Any powder falling beyond 
 the outlined border can be easily wiped off. As 
 the decorator of course understands that in this 
 case oil should only have been placed upon that 
 part of the china which is to be covered with 
 the border ; or if carmine, turquoise blue, or 
 any color is used that can be applied in a thin 
 wash, the ground can be laid on in tube-color 
 with the brush. In either case the ground must 
 be allowed to dry thoroughly, then the color 
 can be carefully scraped from the outline, leav- 
 ing the white china to receive the color intended 
 for the pattern. If the bands are sent first to 
 be fired, a " hard " color must be chosen, or the 
 second firing might ruin it. If a "soft" color 
 is chosen, the pattern must be the same. 
 
 The patterns given that are painted on the 
 bare china can all be completed at one firing. 
 
 Patterns i and 2 on the first line look better 
 if they can be "sketched" in, but they can 
 easily be traced. 
 
 The yellow-brown band {brun jaune), the mid- 
 
76 PAINTING ON CHINA. 
 
 die pattern of the first line, has very much the 
 same effect as gold, and should be fired before" 
 the pattern is put on. 
 
 Numbers i, 2, and 3 on the second line need 
 but one firing. 
 
 Use turquoise blue and ivory black in the 
 first, and in all cases do the lines and bands first. 
 
 Figure i on the third line can be made very 
 effective by putting on the pattern in gold, and 
 after it is fired (and burnished) at the firing es- 
 tablishment, cover all with a thin wash of car- 
 mine. 
 
 Lovely work of this kind can be done by 
 consulting Owen Jones' " Grammar of Orna- 
 ment," and taking tracings from some of the 
 patterns. Light shades of blue and green are 
 pretty over the gold. A very light wash of 
 light carmine is pink after firing. 
 
 The pattern in blue in center of page is pretty 
 in raised work.; use white enamel for this, ex- 
 cept for the dots : these can be made to stand 
 out with blue alone ; and after firing cover with 
 a wash of light blue, leaving the white as indi- 
 
BORDERS. ']'] 
 
 cated for lights in the pattern. By consulting 
 article on colors the reader will find directions 
 for using enamel, and in putting it on the china 
 as thickly as the pattern in border requires, the 
 warm breath should be used constantly for 
 keeping the color in place on the figures. 
 
 Gold can also be placed over this raised work. 
 Always apply the gold in a thin, even surface. 
 Turpentine must be used more freely than with 
 colors, as it evaporates quickly. 
 
 Burnishing should be left in the hands of the 
 professional decorator. 
 
 Those anxious to experiment will find the 
 " burnishing tool " to consist of a fine blood- 
 stone set in an iron socket with a short wooden 
 handle. This stone is kept smooth by rubbing 
 with soft, thick leather, on which is placed a bit 
 of "burnisher's" putty. 
 
 The colors in the borders here given can be 
 selected to suit the taste of the decorator.. 
 
 Capucine red is a good red, with ivory black 
 in the red and black borders, 
 
 The curved patterns for saucers should have 
 
78 PAINTING ON CHINA. 
 
 straight duplicates for cups, and the straight 
 borders should be duplicated in a curved pattern 
 for saucers. In this page of borders there are 
 none that will answer for cup and saucer, both 
 in the same pattern. 
 
 The above illustration will show the way to 
 apply plain bands to cups and other upright 
 ornaments. 
 
 It is impossible to exactly match the colors 
 in the patterns in mineral paints. We have men- 
 tioned colors near them in shade, but the colors 
 that have been used are necessarily not " china 
 colors." 
 
ETRUSCAN VASES. 
 
 HE method employed for produc- 
 ing these effective ornaments is 
 not difficult, and the following de- 
 scription will make it easily compre- 
 hended : In the specimen here given 
 the colors used are Chinese white, 
 ivory black, and brun sepia. Trace from the 
 pattern, in the manner already described, the 
 lines and outlines of the figures and borders ; 
 but only draw upon the vase the outlines of 
 each. Fill these outlines with brown, laid on 
 as smoothly as possible. Send the vase now to 
 be fired, and carefully preserve the traced pat- 
 terns. 
 
 After the first work has been fired, cover the 
 china between the figures and the large spaces 
 between the borders (the fine filling-up work in 
 black is left until later) with a thin coating of 
 
8o PAINTING ON CHINA. 
 
 fat oil. This must be applied carefully, and if 
 any runs over the outlines of the figures or 
 borders, it must be neatly wiped away with a 
 cloth wet with turpentine. 
 
 The black ground can now be laid as in rule 
 given for laying grounds in powdered colors. 
 This ground can be painted with a brush in 
 tube-colors ; but it is difl&cult to lay smooth 
 when confined to a small space. 
 
 After the ground is smoothly laid, all black 
 must be carefully wiped away where it has 
 spread or fallen upon the brown. This can be 
 done perfectly by holding a cloth wet with tur- 
 pentine over a blunt- stick or end of the finger, 
 in the large figures.' For delicate work a fine- 
 pointed stick is used wet with turpentine. 
 
 When your work is thoroughly. dry, take the 
 original tracings, fasten them upon a cushion, 
 and with a needle prick holes quite closely along 
 all the inner lines of both figures. and borders. 
 
 Take each figure and border separately ; place 
 them upon the similar outline on the vase, fast- 
 en securely with bits of gum (the gum must 
 
:ae/iym:iiJWi^iLi\D}iw^^ 
 
ETRUSCAN VASES. 
 
 only touch the fired color), and with a wad of 
 soft cotton covered with powdered charcoal 
 "pounce" over all these holes. Remove the 
 tracing paper without rubbing, and refoUow the 
 outline thus indicated in charcoal points with a 
 fine " liner" where a fine black line is necessary, 
 and with a larger brush where the work raquires 
 it. The color used for this work must be pre- 
 pared carefully with oil and turpentine to flow 
 freely and evenly, and the brush tried on some- 
 thing else each time it is refilled with color, A 
 single blotted or uneven line would necessitate 
 the entire washing out and retracing of a figure. 
 
 The hair of the old man is done in white, and 
 allowed to dry before the fine black lines are 
 put in about the head, and the fine work at the 
 top is done first, to escape rubbing the figures 
 beneath with the hand. 
 
 These directions will apply equally well for 
 any vase that is decorated with figures and 
 borders. 
 
MINERAL DECALCOMANIE. 
 
 G^ RECIAN heads, allegorical fig- 
 ures, birds, Cupids, etc., in decalco- 
 manie can be very easily and taste- 
 fully combined with the painting 
 upon china, the mineral decalco- 
 manie being prepared for burning 
 in on porcelain, china, white ware, etc. 
 
 The appliances necessary for transferring the 
 pictures are few, consisting of transfer liquid for 
 mineral decalcomanie, rubber rollers, and red- 
 sable hair brush. 
 
 ■ There is a large variety of these pictures ; a 
 few of these are fruit pieces ; children, rococo 
 style ; birds, butterflies, fine sprays of flowers 
 for cups and saucers ; other flowers of all kinds ; 
 autumn leaves ; vines of ivy leaves, etc. 
 
 We will now give the best method for apply- 
 ing these pictures to china, etc. 
 
MINERAL DECALCOMANIE. 83 
 
 Give the picture, as well as the article to 
 which it is to be applied, a thin coat of the 
 " transfer liquid," laid on with the brush pro- 
 vided for that purpose. This coating should 
 cover every spot over which the picture is to be 
 laid. After the varnish has become tacky upon 
 the picture, place it between two sheets of damp 
 blotting paper, leaving it there until the paper 
 becomes soft and pliable. 
 
 Then lay the picture on the space to be dec- 
 orated, and roll it down with the rubber roller 
 from the center to the edges. By this process 
 all blisters will be easily removed, 
 
 Now place the whole in a vessel filled with 
 water, leaving it there until the paper comes off 
 itself. 
 
 A gentle warning must here be given to those 
 who may not have a large stock of patience at 
 their disposal. To amateur artists the old- 
 fashioned oracle, "a watched pot never boils," 
 may be of use. The picture will come off in 
 time, but it m,ust not be helped. To clean the 
 surface of the picture, let a stream of water flow 
 
84 PAINTING ON CHINA. 
 
 over it, and then place the article so as to allow 
 the water to drip off. Should any blisters ap- 
 pear they may easily be pressed down with a 
 damp chamois skin. Small defects may be 
 touched up "with La Croix's tube-colors. It is 
 not necessary to remove the varnish which will 
 show around the picture, as all will disappear by 
 the firing process. Let the article dry for 
 twenty-four hours, when it will be ready for 
 firing. 
 
 It is necessary occasionally to reduce the 
 transfer liquid with spirits of turpentine, as it 
 becomes thick, thus making it difficult to apply 
 thinly and evenly. Sprays of flowers terminat- 
 ing in fine leaves, buds, and grasses are more 
 difficult to handle than pictures with regular 
 outlines, as the fine bits of color sometimes 
 float off in the water before the decorator is 
 aware. 
 
SPATTER-WORK. 
 
 jPATTER-WORK, although "inar- 
 tistic," can be used with excellent ef- 
 fect in backgrounds. 
 
 The process is very simple, thus : 
 Prepare the color thin, as for 
 " Grounds," only using less "fat" and more tur- 
 pentine. Dip a tooth-brush in the color thus 
 prepared, and rub against a comb held directly 
 over the article to be decorated. A little prac- 
 tice is necessary to spatter evenly. 
 
 Beautiful results may be obtained by com- 
 bining two colors in spatter-work. Thus, spat- 
 ter, first, a light shade of red (rose pompadour), 
 and, when this is dry, spatter over it blue, a 
 rich purple is the result. A light red is ad- 
 vised, for, if a dark shade is used, it must be 
 fired before the blue is spattered on it, thus ne- 
 cessitating two firings. The intense heat re- 
 
86 PAINTING ON CHINA. 
 
 quired for a "hard" or dark shade of red com- 
 pletely burns out the light tints. Yellow, spat- 
 tered on blue, makes a bright green ; yellow on 
 red, an orange color. 
 
 If a design is to be painted over this spat- 
 tered ground, the outline of the design must be 
 carefully cut out in paper and pasted on the 
 china before the "spatter" is put on. The 
 color is then spattered over the entire surface ; 
 when dry, the paper can be removed. 
 
 Ferns are very pretty reproduced in this way. 
 A beautiful effect is made by going over the 
 right side of green ferns (dry will answer as 
 well if perfect in form) with a brush filled with 
 very thin gum-water. Only enough is required 
 to make the fern stay in its place a short time. 
 The ferns are then fastened in graceful groups 
 upon a vase or placque in cream-tinted Minton 
 ware. When the fern is quite dry, spatter over 
 all a ground of light sky blue ; and, when this 
 is dry, carefully remove the ferns with the point 
 of a penknife. Any gum remaining on the 
 china will disappear in the firing. 
 
GILDING. 
 
 HEN a fine gilded edge is desired 
 on cup, saucer, or plate, it is bet- 
 ter to leave it to the professional 
 decorator where the article is fired. 
 For this style of decoration a 
 "table-wheel" or turn-table is required. This 
 table can be bought ready for use, and is simply 
 a round, flat slab placed on a pointed iron rod 
 upon which it easily revolves when turned by 
 the hand ; the rod must stand firmly upon a 
 heavy rod or rest. 
 
 A broad band can be placed on a plate, sau- 
 cer, or any flat surface, without the aid of this 
 table. Have ready a pair of. pencil dividers, 
 and in the pencil-holder place a short, sharp- 
 pointed pencil ; Faber's china pencil is prefera- 
 ble, but, if the ordinary lead-pencil is used, the 
 china must be coated with turpentine. 
 
88 ' PAINTING ON CHINA. 
 
 In the exact center of the article fix a bit of 
 modeling wax or a large wafer ; upon this stick 
 a small, round piece of card-board. In the cen- 
 ter of this card, when dry and fast, insert the 
 point of the divider. Decide upon the width 
 of the band to be measured, fix the dividers in 
 position with the pencil touching the -china at 
 the distance from the rim that you wish the 
 width of the band, and carefully describe the 
 circle. Be sure that the pencil marks the china 
 as it revolves. The band thus outlined can be 
 gilded or colored. 
 
 Gold comes ready prepared by La Croix, 
 only needing the addition of a little turpentine. 
 If the powder is obtained it must be prepared 
 with oil and turpentine, as in " Directions for 
 Colors." It looks when ready for use like thin 
 brown paint. The china should be well cov- 
 ered with gilding, not too thin, and as even as 
 possible; any spot thicker than the rest will 
 stand out in relief after firing. 
 
 A fixed pattern for the borders of cups, sau- 
 cers, etc., must be traced upon the china by 
 
GILDING. 89 
 
 "prick tracing." Tiiis is done by preparing a 
 strip of paper the desired length ; on one side 
 draw or trace from the original a small section 
 of the pattern. Fold the paper over and under 
 beneath the tracing with perfect regularity, as 
 a lady folds a paper for cutting the pattern of 
 " scallops." Then with a pin or needle prick 
 holes closely together over the lines of the 
 tracing, each time pushing the pin entirely 
 through the folds of paper ; now paste the strip 
 of paper (on which should be the entire length 
 of the pattern in lines of small holes) upon the 
 rim of the china. With a leather stump or pad 
 covered with powdered charcoal dust over all 
 these holes. When the background is dark, 
 powdered starch or color will do as well. When 
 the paper is torn off the pattern is found upon 
 the china in small points of charcoal or starch. 
 The lines must be immediately drawn with pen- 
 cil, and the color or gold is laid on slowly and 
 with great care. 
 
MONOCHROMES. 
 
 teCORATIONS in "monochrome" 
 are painted in but one color, and 
 for beginners this style is perhaps 
 the most satisfactory. The original 
 is of course first traced, and then 
 copied in one color ; lights and 
 shadows are made with thin washes for the lights, 
 and several washes to deepen the shade when 
 desired ; clouds, ground, and any large surface 
 can be laid on fiat by using the dabber, and the 
 edges of clouds should always be finished in 
 this way ; where white is used in the original or 
 a very high light the china can be left bare. 
 
 For figures in monochrome the Grecian are 
 best, the broad washes of color in the flowing 
 drapery being very effective. 
 
 The old blue crockery used by our grandmo- 
 thers can also be very beautifully reproduced in 
 

MONOCHROMES. 9I 
 
 monochromes of brown, light blue, or coral, the 
 latter being safe to use alone in this case, be- 
 cause it can be fired at a low temperature. 
 
 This same old blue ware, if you are fortunate 
 in possessing articles in good condition, can be 
 made very effective by gilding the edges and 
 outlining all the blue images and figures with 
 gold. A touch here and there of leaf or flower 
 in capucine red adds to the beauty of the dec- 
 oration. This must, of course, be refired, and 
 it will fire well, although this kind of ware is 
 not " china." 
 
 Decoration in Monochrome is of wider ap- 
 plication than might be supposed ; if nicely 
 managed and an appropriate color used, the 
 effect is very pleasing. Amateurs who have 
 not yet mastered the art of blending colors 
 will find this style of decoration more suited 
 to their capabilities than any attempt at designs 
 in colors, which might end in failure. 
 
SILHOUETTES. 
 
 ilRDS, animals, and figures in Japanese 
 styles are extremely pretty in silhou- 
 ette ; and if a Japanese picture is 
 copied, reproduce, as nearly as pos- 
 sible, upon the articles being deco- 
 rated the characteristic confusion of 
 grouping. The figures are all traced upon the 
 china and then filled in with color as nearly as 
 possible. Too much turpentine must not be 
 used, or the color will spread, over the outline, 
 as well as refuse to lie evenly. Any irregular- 
 ity of the edges of silhouettes must not be 
 touched while the paint is wet. After the color 
 is dry, it can be breathed upon and softened ; in 
 this way, by using a clean brush, the artist can 
 even and smooth the outline in a neat manner. 
 
FIRING. 
 
 HEN several firings are required to 
 complete a decoration, and gilded 
 bands and borders are also added, 
 the artist will find that "firing" 
 is quite an expensive item in the 
 summing up of the costs in china painting. 
 
 In this work the directions for painting are 
 given with reference to but one firing, and it is 
 consequently of great importance that the dif- 
 ferent degrees of heat requisite for the success- 
 ful fusing of each color should be well under- 
 stood before the artist selects the colors for his 
 work. 
 
 Care must be taken that the hard colors, 
 those that require the greatest heat to fuse, 
 should not be placed upon the same article with 
 those lighter and more easily fused, as the in- 
 
94 PAINTING ON CHINA. 
 
 tense heat required to properly fire the hard 
 (generally the dark) color, would entirely ruin 
 the more fusible tints, which are light sky blue, 
 light carmine A, pearl gray, warm or sunset 
 gray, ivory yellow, and all the light colors. 
 
 It will therefore be seen that if extremes in 
 colors are desired upon the same article — for in- 
 stance, dark red, with light blue or yellow — the 
 red or hard colors must be placed upon the 
 china first and fired, then the lighter colors are 
 laid, the second firing being at a lower tempera- 
 ture. 
 
 When but few articles are decorated, it is a 
 safe and convenient plan for the amateur to 
 send them for firing to the professional dec- 
 orator, particularly if gilding is desired, for gilt 
 bands are extremely awkward embellishments 
 for beginners to undertake. 
 
 Small kilns for home use, called mufHes, are 
 sometimes used very successfully, and for those 
 living at a distance from firing establishments 
 these muffles are certainly great conveniences 
 for firing small articles. 
 
FIRING. 95 
 
 The Amateur's Miniature Kiln is highily re- 
 commended for this purpose, and can be heated 
 in an ordinary kitchen stove or range. 
 
 This kiln is patented by N. M. Ford, of Port 
 Richmond, New Jersey. 
 
 The process of "firing" in these miniature 
 kilns can in most cases be completed in two 
 hours. This time includes gradual heating and 
 cooling. 
 
 Amateurs who do not understand the use of 
 kilns for firing must first practice with pieces of 
 china having dabs of different colors upon them, 
 in order to gain the experience necessary to 
 " fire " successfully, and thus lessen the chances 
 of spoiling what has cost them time and trouble. 
 
F. W. DEVOE & CO., 
 
 COBNEB FULTON AND WILLIAM STBEETS, NEW YOBK. 
 
 ^ MANUFACTURERS AND IMPORTERS OF 
 
 Artists' Materials: 
 
 SUPPLIES FOR 
 
 OIL AND WATER-COLOR PAINTING; 
 
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 New York City. I Newark, N. J. 
 
RECITATIONS AND READINGS 
 
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 Each Number contains about i8o Pages of Reading 
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 Fourteen Numbers of the above Series are now 
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 DICK & FITZG-'ERALD, Publishers, 
 Box 2975. isie:"w "sroRiK:. 
 
IDICIC'S 
 
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 Practical Receipts and Processes, 
 
 rRINTED ON FINE TONED PAPER. 
 
 CorLtaxn.in.g- S,-422 IFractica,! JEleceipts. 
 
 Written in a plain and popular manner, and illustrated with explanatory 
 wood-cuts. Being a comprehensive Book of Reference for the Merchant, 
 Manufacturer, Artisan, Amateur, and Housekeeper, embracing valuable in- 
 formation in the Arts, Professions, Trades, Manufactures, including .Medi- 
 cine, Pharmacy, and Domestic Economy. It is certainly the most useful 
 book of reference for practical information pertaining to the wants of every- 
 day life ever printed. THE SCIENTIFIC American says: "It is worthy 
 of a place in the library of any home, work-shop, factory, or laboratory." 
 Prominent among the immense mass of subjects treated of in the book, are 
 the following : 
 
 The Art of Dyeing. 
 
 Hard, Soft and Toilet Soaps. 
 
 Tanning. 
 
 Distillation. 
 
 Imitation Liquors. 
 
 Wines, Cordials, and Bitters. 
 
 Cider. 
 
 Brewing. 
 
 Perfumery. 
 
 Cologne Water and Perfumed Spirits. 
 
 Flavoring Essences, etc. 
 
 Cosmetics. 
 
 Hair Dyes and Washes. 
 
 Pomades and Perfumed Oils. 
 
 Tooth Powders, etc. 
 
 Syrups. 
 
 Alcohol and Alcoholmetry. 
 
 Petroleum and Kerosene. 
 
 Bleaching and Cleaning. 
 
 Scouring and Cleansing. 
 
 Vinegar. 
 
 Sauces, Catsups, and Pickles. 
 
 Receipts for the Garden. 
 
 To Remove Stains, Spots, etc. 
 
 The Extermination of Vermin. 
 
 Pyrotechny and Explosives. 
 
 Cements, etc. 
 Soluble Glass. 
 Waterproofing. 
 Artificial Gems ; 
 Inks and Writing Fluids. 
 Aniline Colors. 
 Liquid Colors. 
 Paints and Pigments. 
 Drying Oils and Dryers. 
 Painting and Paper-hanging. 
 Kalsomine and Whitewash. 
 Oil and Spirit Varnishes. 
 Varnishing and Polishing. 
 Lubricators. 
 
 Japanning and Lacquering. 
 Boot and Harness Blacking. 
 Photography. 
 Metals and Alloys. 
 Soldering and Welding. 
 Amalgams. 
 
 Gilding, Silvering, etc. 
 Electrotyping, Electroplating, etc. 
 Medicinal Preparations. 
 Patent Medicines. 
 Medical Receipts. 
 I Weights and Measures. 
 
 607 pages, royal octavo, cloth, .- - $5.00 
 
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 DICK & FITZGERALD, Publishers, 
 Vox «n7.'i. TSr'E'VT' "yoi?^^- 
 
■F. W. Devoe & Co., 
 
 COR. FULTON AND WILLIAM STS., NEV/ YORK. 
 
 MANUFACTURERS AND IMPORTERS OF 
 
 MATERIALS FOR 
 
 Porcelain and China Painting. 
 
 Lacroix's Vitrifiable Colors — Tubes ; Vitrifiable 
 Colors — Powder ; Colors for Grounds ; Relief Colors. 
 
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 pared Gold" ; Plaques for Decoration ; Tiles for Dec- 
 oration. 
 
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 Hair, Round, for Grounds ; Camel Hair, Flat, Chisel- 
 ed Edge, for Grounds ; Fitch, Angular Points, for 
 Blending ; Red Sable ; Russian Sable. 
 
 F. W. D. & Co.'s Pencils.— Camel Hair, for 
 Grounds ; Camel Hair, Short Hair, Square ; Camel 
 Hair, Short Hair, Pointed ; Camel Hair, Long Hair, 
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