Digitized by the Internet Archive in 2016 https://archive.org/details/practicalinstrucOOIacr PRACTICAL INSTRUCTIONS FOR PAINTING ON CHINA, EARTHENWARE, GLASS AND ENAMEL; WITH ANALYSIS OF VITRIFIABLE COLOURS, TRANSLATED FROM THE FRENCH OF “ DES COULEURS VITRIFIABLES ” OF A. LACROIX, CHEMIST, FORMERLY PUPIL IN THE LABORATORIES OF M. PELOUZE AND OF THE SEVRES MANUFACTORY. WITH ADDITIONS By AURAL. bonbon : LECHERTIER, BARBE & Co., ARTIS TS' Colourmen anb Stationers, 60, Regent Street ; and 7, Glasshouse Street, W. PRINTED I dOtfS rok LONDON ; SAMUEL GOLBOURN, 76 , PRINCES STREET, COVENTRY STREET, W. CONTENTS. PAGB Introduction to the First Edition, by the Author ... 7 General Remarks - - . - - 10 Colouring Materials and Fluxes of Vitrifiable Colours - - 10 Firing 11 Test - 12 Verifiable Colours, from a Chemical point of view - - 13 Colours containing no Iron (First Group) - - - - 14 Gold Colours 15 Second Group of Colours - - 16 Third Group „ 17 Colours for grounds and fine Earthenware - - - - 17 Colours for common Earthenware 18 Composition of Palettes 19 No. 1, for China and fine Earthenware 19 No. 2, for Grounds 20 No. 3, for coarse Earthenware 21 No. 4, for China Soft Paste ....... 22 Advice to Beginners in China Painting 24 CONTENTS. PAGE 25 iv To Trace the Design Painting in One Colour Easy Subjects Experiments in Colours, Birds, Butterflies .... Instructions for Painting roses, blue flowers, lilac flowers, white flowers, red flowers, green leaves, and stems, by M. Biottot Instructions for Painting Heads, by M. Fragonard Figures, by Madame de Cool Draperies, &c. Palette for Enamel. Instructions for Painting on Enamel, by Madame de Cool Window Glass Painting — Palette — Instructions by M. Claudius Lavergne Appendix .......... Addresses for Firing, &c., in London 26 27 27 29 33 35 36 39 41 45 57 59 in Paris PREFACE. The great superiority of Monsieur Lacroix’s tube colours for cbina painting as well as for glass and enamel, has induced me, in the interest of artists and amateurs, to translate his book entitled Des Couleurs Vitrifables, et de leur emploi pour la peinture sur porcelaine faience , vitrauc r, <^c., par A. Lacroix , chimiste , ex eleve des laboratoires de M. Pelouze et de la Manufacture de Sevres. Many of the instructions contained in the French edition being in the form of letters, one, not only confusing to the pupil, but involving useless repetition, I have, with Monsieur Lacroix’s sanction, made considerable altera- tions in the arrangement of the work, condensing the substance as much as possible, without sacrificing any of the matter, and giving separate extracts from the letters of MM. Fragonard, Fontaine, and Goupil, of the manu- factory of Sevres, and those of MM. Charles Houry, Claudius Lavergne, Bourieres, and Dagron, well known Parisian artists. yi PREFACE. For several useful hints on both china and enamel painting I am indebted to the “ Traite de peinture ” of Madame Delphine de Cool (of the Sevres manufactory and director of an endowed school). Monsieur Lacroix and Madame de Cool have also kindly assisted me, by con- tributing the notes, additions, and corrections preparing for their second edition. In furnishing test-plates of his tube colours M. Lacroix has done away with one of the greatest difficulties with which amateurs have hitherto had to contend — that of not % knowing how the colours appear when burnt. The advan- tage of liquid colours, affording each shade ready prepared, over the English ones, which have to be mixed and rubbed down with their diluent before they are fit for use, is too obvious to need remark ; the former may be left on the palette, covered up with a sheet of glass, and put away without injury, and will be ready to use when again required. Addresses are given at the end of the book for the firing pf both china and glass. INTRODUCTION TO THE FIRST EDITION. BY THE AUTHOR. Numerous artists and amateurs desirous of painting on porcelain, earthenware, and glass, come to me daily, asking information with regard to the colours, as to their use, powers of fusion, the temperature necessary for their de- velopment, and, above all, for instruction as to the grinding, which has always been the stumbling block of beginners; many have discontinued a style of painting which not only occasioned great loss of time, but also necessitated a most tedious operation, in addition to which, the colours, from not being sufficiently pulverized, did not in firing, take that brilliancy and freshness, which is one of the greatest attrac- tions of vitrified painting. Amongst those who habitually use colours, are many talented artists whose works are highly valued in the market, and to them the grinding and preparation of the colours, which, for greater security, they undertake person- ally, is an expense which largely increases the price which they imagine themselves to be paying for them. At the time of our first exhibition, in 1865, the verifiable French colours were still sold simply pounded ; that is, in powder more or less fine, and with the hardness of grains of sand. The importation of English colours for china painting 8 INTRODUCTION. took place towards this period, to a certain extent, partly on account of their cheapness, but principally because their previous pounding was a source of great economy in the final grinding, thus already half accomplished. It was on this account that I first established the system of grind- ing by hand, which enabled me from the year 1858 to furnish witrifiable colours as finely pulverized as the English ones, without any increase in price. In 1865 I substituted steam for hand work in the pre- paration of the colours. In 1869 the manufactory of the Rue Parmentier was able to deliver water colours, pulverized to an impalpable consistency, which had never till that time been done in the trade. These, though sold at a slightly increased price, are decidedly more economical than those which require grinding in the studio. Notwithstanding this, many artists educated for ceramic painting, as well as even a greater number of amateurs, preferred painting in oil and water colours to continuing a style of art which required such a long and tedious process in the preparation of their colours. With the view of overcoming this great objection, as well as to save amateurs from many of the difficulties to which beginners are subject, I have had tin tubes filled with colours completely ground and diluted with turpentine. These preserve their tints almost unaltered in working. A coloured paper on each tube shows approximately the shade which it contains. Finally, to increase the facilities for their employment, I have put myself in communication with all the most import- ant artistic depots in Paris, as well as in the principal towns of France, Italy, Belgium, and England. INTRODUCTION. 9 Test-tiles, with samples of the colours fired, may also be obtained. The verifiable colours in tubes are sold at all these depots at a certain fixed price, as well as in the provinces and abroad, with the addition of a small percentage for the cost of carriage. Fearing that I bad not still sufficiently provided for the reasonable demands of artists and amateurs, I have been persuaded to write this little book. Several artists, ceramic, enamel, and glass painters having testified their readiness to assist me in writing, both to express their approval of my labours, and also in giving advice to those wishing to paint in verifiable colours, I have thought it best, for greater accuracy, to reproduce their letters literally, although many of them are expressed in terms only too flattering to me. September, ]872. A. Lacroix. GENERAL REMARKS. COLOURING MATERIALS AND FLUKES OF VERIFIABLE COLOURS. All mineral colours which are vitrified by the action of heat are usually comprised under the general head of vitrified colours. Verifiable colours are generally composed of two parts, the colouring matter and the vitreous matter. 1st. The colouring matter, properly so called, sometimes contains only metal, or metallic colouring oxide, such as cobalt for blues, copper for water-greens, iron for reds, &c., &c. 2ndly. The vitreous matter, whose part it is to fix the colouring matter and make it adhere to the object painted, known under the general name of “ flux.” These are principally composed of sand (silica, silex, &c.,) and of lead (red lead, orange lead, litharge, &c.,) to which borax, or boric acid, are often added. The flux at the same time that it fixes the colouring matter under the action of the fire, ought to impart the brilliancy and glitter, as well as the durability of crystal. When the colours are fired at a very high temperature — hard porcelain fire — the softening of the glaze is, in certain COLOURING MATERIALS FIRING. 11 cases, enough to fix the colouring matter with a very small quantity of flux, and sometimes, but rarely, without other than the colour itself. M. Salvetat, head of the chemical works at the Sevres manufactory, divides verifiable colours for china-painting into three classes. 1st. The colours for the ordinary muffle, those of the usual painting palette. 2nd. The colours for medium heat — hard colours. These colours have the advantage of bearing, after the first pre- liminary firing, a second painting in soft colours (as well as gilding), without changing in a second firing, in the common muffle. 3rd. Colours for greatest heat. These colours burn in the kiln, with the glaze of the china. FIRING. All objects which have been painted should be dried as slowly as possible, and kept in a dry place, from which dust is excluded, till they are fired. Many artists are anxious to fire for themselves, but the expense of the necessary fittings, the loss of time, and many impediments which present themselves and have to be over- come, before a good result can be obtained, cause those who inhabit Paris, where, thanks to the decorative painters of the trade, firing can be easily and economically done at a trifling cost, to relinquish the idea. (The addresses for both London and Paris are given at the end.) 12 PRECAUTIONS NECESSARY IN FIRING TEST. PRECAUTIONS NECESSARY IN FIRING. The muffle should be perfectly dry ; those that haye been most frequently used are the best, if not cracked. When a muffle has been out of use for some time, it is desirable before using it, to heat it to a higher degree than will be necessary in the burning, so as to secure it against giving out any vapour which might act disadvantageously on the colours. TEST. However accustomed the eye may be to judging the intensity of the fire, it is still desirable to have a u test,” that is a small piece of china, glass, or earthenware, according to the quality of the objects about to be fired, painted (a small patch is enough) with one or two of the most sensitive colours that have been used in the latter. When the heating begins, this should be taken out from time to time, that the state and development of the colours may be ascertained, and the fire put out when desirable. For firing porcelain, car- mines are generally used as tests ; in France the carmine No. 2, in England No. 1. For fine earthenware ( terre de pipe) the heat for carmine No. 1 is preferable. To avoid mistakes in colours, with regard to their powers of fusion, &c., it is always better for the artist who has no TEST VERIFIABLE COLOURS. 13 regular palette, to lay in a stock of colours, and to make experiments by some touches on broken bits, which he should have baked before he begins any regular work. As all vitrified colours, even of good quality, may not mix if they are by different manufacturers, each employing a different flux and process, it is desirable that the artist should choose that manufactory in which he feels most con- fidence, and procure all his colours there ; he will thus be more secure as to the result of his paintings, as the colours will have a power of fusion and assimilation which will insure their producing the same effects at a given temperature. VITRIFIABLE COLOURS From a Chemical point of view. To avoid certain discrepancies which may occur in burning, from the mixture of the different tints, it is useful to know something of their chemical composition. I shall therefore briefly indicate the colouring oxides of the different groups, without describing the fluxes, whose colouring power is much less marked. These hints on verifiable colours for the muffle apply more particularly to the palette No. 1. See following chapter. 14 CLASSIFICATION COLOURS CONTAINING NO IRON. CLASSIFICATION OF THE COLOURS WITH REGARD TO IRON. Iron plays an important part in the composition of many of the verifiable colours, I have, therefore, taken it as a starting point in my classification of them in three groups. 1st Group. — Colours without Iron. 1st, the whites ; 2nd, the blues ; 3rd, the colours con- taining gold. For these colours a horn or ivory knife should be used, or, better still, a glass muller. 2nd Group. — Colours containing but little Iron. This group is composed of the yellows and the greens, of which several contain a little iron. 3rd Group. — Colours principally composed of Iron, or OF WHICH IT FORMS PART OF THE COLOURING MATTER. 1st. The reds, flesh tints, red browns, and iron violets. 2nd. The browns, brown yellows, ochres, blacks, and the greater part of the greys. FIRST GROUP. COLOURS CONTAINING NO IRON. 1. The Whites. — Whites owe their colouring almost entirely to tin, or phosphate of lime. 2. The Blues.- — All blues, with very few exceptions, owe their colouring to cobalt. COLOURS CONTAINING NO IRON. 15 Cobalt is used as a colouring matter, in two conditions. 1st, in the condition of silicate, it gives dark blue, which is heightened or subdued by infusion by zinc, sodium, or potash, and thus may be varied to grey blue or indigo blue. 2nd, in the condition of aluminate, cobalt produces shades of blue green, ultramarine, and turquoise. The mixture of cobalt and iron gives, according to the preparations used, tints varying from light grey to black, it naturally follows that to insure good blue tints the use of brushes which may have served for any of the iron colours, must be carefully avoided, until they have been thoroughly cleaned. 3. Gold Colours. — The foundation of the painting colours containing gold, is purple of cassius, which is made of gold and tin. Alone, it gives tints which vary from lilac to dark violet ; modified by silver and different fluxes, it produces carmines and purples. All the lilacs, the carmines, red lake, mauve, the crimsons, ruby, purple carmine, all other purples, rose colours, and violets, called golden violets, are classified under the name of gold colours. When the carmines are fired at a low temperature the silver predominates, and the tints assume a dirty yellow shade. If, on the contrary, the temperature is too high, the silver colouring is destroyed, and the carmine changes to lilac and violet, which explains the difficulty of burning carmines. Purples are affected in the same way, but to a much less degree, the shade being darker, and the cassius in larger proportion. B 16 COLOURS CONTAINING A SMALL QUANTITY OF IRON. SECOND GROUP. COLOURS CONTAINING ONLY A SMALL QUANTITY OF IRON. 1. The Yellows. — Painting-yellows owe their colouring principally to antimony, to which, according to the shade required, zinc and iron in different states of oxidation are added. Two yellows are exceptions to this rule, those employed in glass and crystal painting, namely, silver yellow and uranite yellow. Silver yellow made with silver will not mix in painting ; it must always be used alone. The yellow only called silver yellow ( jaune d’argent) contains no silver ; it is made of jonquil yellow and orange yellow. For obtaining bright greens, the yellows without iron are usually preferred (mixing yellow, or jonquil yellow) ; to mix with iron colours on the contrary, the yellows which contain it should be used. 2. Greens. — All the greens, particularly for the palette No. 1, are made of chromium modified by cobalt and alumina ; these are often mixed, both at the manufactory, and with the antimonial yellows in painting. COLOURS WHOSE BASE IS IRON. 17 THIRD GROUP. COLOURS WHOSE BASE IS IRON, AND OF WHICH IT FORMS PART OF THE COLOURING MATTER. 1. Reds. — Flesh tints, brown reds, and iron violets. These colours are obtained by means of oxides of iron more or less calcined. The flesh reds are so called because they are frequently used for the flesh tints in figures. 2. Browns. — Yellow browns, ochres, blacks, and a large portion of the greys. The greater part of the browns owe their tints to the mixture of cobalt and of iron, in different states of com- bination ; they frequently contain zinc also ; the yellow browns and the ochres are generally produced by the mixture of iron and zinc. The palette No. 1 is composed of these. The best blacks are usually made of cobalt and iron, like the browns, only in the former case the cobalt predominates. Blacks may also be obtained by adding copper, or even manganese, to the iron, in order to diminish the quantity of cobalt ; but these blacks are less intense. All the greys, with the exception of platina grey (a base de platine ), are made by mixing the colours of the different groups — blacks, blues, reds, — according to the tints required. COLOURS FOR GROUNDS ON CHINA AND FINE EARTHENWARE. (Ordinary Muffle Heat.) The colours specially adapted to grounds, are not used in painting, and their composition is, therefore, of less importance, b 2 18 COLOURS FOR GROUNDS. They are sometimes formed by mixtures of colours, and sometimes by the addition of the flux to the palette colours. I will only mention the corals and water greens. Coral. — Coral colour (2nd Group) is never used in painting ; the colour is derived from chromate of lead. Chromate of lead is soon destroyed by heat ; it is there- fore obvious that this colour has little permanency, and at a high temperature it often changes to yellow, or even to green, the natural colour of chromium. Water Greens. — The water greens are not used in jDainting ; they are generally made from copper (1st Group). There are also blue greens made from chromium (2nd Group) ; these are less delicate than those made from copper, but they have the advantage of being less susceptible to heat, which, with them, never produces that greyish black shade which the copper greens sometimes take. COLOURS FOR COMMON EARTHENWARE. (Greatest Heat.) These colours are different in their composition to the vitrifiable colours for ordinary muffle heat. Thus the violets are usually made from manganese, the pinks from chromium and tin (Chromate of tin), some of the greens with copper, which, under the influence of potash and sodium, give beautiful turquoise blue shades. COMPOSITION OF PALETTES. 19 COMPOSITION OF PALETTES. No. 1 PALETTE (GENRE SEVRES) FOR CHINA AND FINE EARTHENWARE. (Ordinary Muffle Heat) Almost all these colours are employed indiscriminately on china (hard paste), and on the fine earthenware manufac- tured in England, and at Creil, Montereau, Choisy Le Roi, and Sarreguemines. They may also be used on Gien ; the reds and browns however are more affected by the heat on this paste. Paintings executed on earthenware should be fired at the heat of carmine No. 1 (so called), a rather lower tempera- ture than that used for hard paste. All the colours of No. 1 palette, though specially prepared for painting, may also be used for grounds. Whites. — Chinese white (blanc Chinois ), permanent white (plane fixe.) Blues. — Sky (ciel), azure (azur), light sky (del clair), dark (fonce), ordinary (ordinaire), deep ultramarine ( outremer riche), deep blue (bleu riche), which are all particularly adapted to fine earthenware. Browns. — No. 3 or bitumen (brun bitume), No. 4 dark (fonce) or 17, yellow brown (brun jaune) ; M. or 108 ; red brown (b run rouge), rich (riche) ; sepia. Carmines. — Light A. (tendre), light No. 1, No. 2, dark (fonce). 20 COMPOSITION OF PALETTES. GENERAL FLUX. Greys. — No. 1 or light ( tendre ), No. 2 pearl ( perle ), grey black ( gris noir), reddish grey ( gris roux). Yellows, — Silver ( jaune d’ argent), ivory ( ivoire), mixing (a meler ), orange {orange). Crimson. — Lake {laque carminee). Black. — Raven ( corbeau ), ivory { d'ivoire ). Purples. — Ruby (pourpre rubis), crimson {cramoisi), deep {riche). Relief. Reds. — Capucine {rouge capucine), flesh No. 1 {chair No. 1), flesh No. 2 deep ( fonce ), lake {laqueux), orange {orange). Greens. — Grass {vert pre ), brown ( brun ), black {noir) y No. 36, T, rich blue {vert bleu riche), chrome, 3 B, rich chrome {chrome riche), emerald { emeraude ), H 24, apple { pomme ), Russian {Busse). Violets. — Iron {de fer ), light gold {d’or clair), dark gold {d* or fonce). No. 2 PALETTE, For Grounds on. China, Hard Paste, and Fine Earthenware. These colours must always be used alone, for grounds only ; never for painting, otherwise they might destroy all the harmony of the work. COMPOSITION OF PALETTES. 21 Maize (ma'is).— This colour has one great peculiarity, when fired it acts exactly like a glaze, on which other colours can be laid without disturbing the surface. The following colours are more particularly adapted for grounds : — Light Coffee (cafe au lait ), carmelite, chamois, coral (corail), Isabelle, Chinese yellow (jaune Chinois), lavender ( lavande ), fusible lilac (lilac fusible ), maize (i mais ), mauve, rose Pompadour, salmon (saumon), turquoise blue (bleu turquoise ), turquoise green (turquoise vert), chrome water- green (vert d'eau au chrome), copper water-greens (verts d’eau au cuivre), No. 36, No. 1, M. J. PALETTE FOP COARSE OR STOVE EARTHENWARE. (Ordinary Heat.) Many competent artists are of opinion that the foregoing palettes are equally applicable to common earthenware at ordinary heat. Some remarks to this effect will be found further on. This opinion is also expressed by a most competent judge, M. Charles Houry. No. 3 PALETTE FOR COARSE OR STOVE EARTHENWARE. (Greatest Heat.) Two palettes correspond to this number, one over, and the other under glaze ; (or bisque). 22 COMPOSITION OF PALETTES. Blues. — Light ( clair ), and deep ( fonce ). Browns. Yellows. — Light (clair), dark (fonce), golden (jaune d’or). Black. Pinks.— P ink (rose), rose (rose rouge). Red. — Ancient (ancien). Greens. — Light (clair), and deep (fonce). Violet. No. 4, FOR CHINA SOFT PASTE, Genre Old Sevres . Palette for Painting. White. Blues. — Light (clair), rich (riche), ultramarine (outremer). Browns. — No. 17, No. 108, yellow brown (brun jaune). Carmine. — Rich (riche). Crimson, or purple crimson (pourpre cramoisi). Yellows. — Ivory (jaune d’ivoire), jonquil (jaune jon- quille), orange (orange'), uranium. Bi jacks. — R aven (noir corbeau), ivory (noir d’ivoire). Ochre. Greens. — Blue green (vert bleu), chrome green (vert chrome), H green (vert H), grass green (vert pre), Russian ditto (vert Russe). Violet. — Iron (de fer). COMPOSITION OF PALETTES. 23 No. 5, FOR CHINA SOFT PASTE, Genre Old Sevres. Palette for Grounds. Light Blue (bleu tendre ), hard blue ( bleu dur ), pink (rose), turquoise green (turquoise vert), turquoise blue (turquoise bleu), green (vert). No. 6 Palette for Stained Glass — see page AO. No. 7 PALETTE FOR CRYSTAL AND OPAL GLASS. Painting Colours. White Relief (blanc relief). Blue. — F or ultramarine ( F ou outremer ), dark blue (bleu fonce), light blue (bleu clair). Browns. — No. 4 (brun No. 4), bitumen (bitume), yellow brown (brun jaune) , red brown (brun rouge). Carmines. — Ordinary (carmin ordinaire), deep (carmin fonce). General flux for glass (fondant general pour cristal). Yellows. — Deep (jaune fonce), mixing yellow (jaune a meler). Blacks ( noirs ). Purples. — Light (pourpre clair), deep (pourpre fonce). Red. — Capucine (rouge capucine). 24 COMPOSITION OF PALETTES ADVICE. Greens. — Blue ( vert bleu), brown ( brun vert), chrome water green {vert d’eau). Violets. — Of iron ( de fer), of gold (cfor). Colours for Grounds. Chamois, coral (corail), Chinese yellow (jaune Chinois), rose, light red ( rouge clair), salmon ( saumon ), turquoise blue (bleu turquoise). No. 8 Palette for Enamelling — see page 39. ADVICE TO BEGINNERS. Beginners in the art of china painting are strongly re- commended to make their first attempts in one colour only ; red or black are perhaps the best, being easy to work with, and incurring no risk in firing. A flat surface, such as a white tile, will be found the most convenient. The subject should depend on the previous experience of the pupil in other styles of drawing or painting, some knowledge of which is most useful, although in china painting a good deal may be done with tracing paper. Landscapes, birds, flowers, or figures are all available as subjects, and a good choice of copies in coloured tiles may be had at Minton Taylor’s, 206, Great Portland Street, where plain tiles can also be procured ; and these are applicable to many purposes for which very delicate painting is unnecessary, such as flower pots and window boxes, for ADVICE TO BEGINNERS. 25 which the large eight inch tiles must be chosen, while the smaller six inch ones may be used for fire places, or single ones for tea pot, or hot water stands. A wooden bar, made of half inch deal, an inch and a-half wide, about twelve inches long, with a foot at each end an inch and a-half high, is very useful to support the hand in painting, the strokes coming much finer when made perpen- dicularly. All china and earthenware should be carefully washed with warm water and a little soda in the first instance, and it is then desirable to wipe over the part about to be painted with a little spirits of turpentine, which makes the colour lie better, the china then admits of a pencil being used upon it if required. TO TRACE THE DESIGN. For this purpose a piece of tracing paper should be cut a little larger than the subject, which must be carefully traced through upon it with a pencil, no detail being omitted. A piece of red oiled paper must then be placed face downwards on the plain tile, the traced outline over it, and so fixed with modelling wax or wafers, or weights may be used, but they are liable to slip ; an ivory or agate pointer should then be taken, and the outline and detail carefully gone over as before. When the paper is removed the design, ought to appear in clear red lines on the object. Should the pupil be a good draughtsman this tedious process will be unnecessary, 26 TO TRACE THE DESIGN. as he can sketch in his subject with the colour itself, mistakes being easily wiped out with a soft rag, which must always be at hand. (The red traced outline may be left, it will disappear in firing) . If a geometrical shape is required as a framework to the subject it may be cut out in thick paper, laid down on the tile, and the outline pencilled round with a soft charcoal pencil, the painting may be begun. A palette, colour, brashes, &c., being all ready, the palette should be (for fine earthenware) selected from No. 1. In painting on earthenware, from the enamel being softer, and also from its being fired at a higher temperature than hard paste, the colours require to be more thickly laid on. White can also be mixed with them if preferred, which cannot be done when painting on hard paste. I will suppose that the pupil has selected red as the colour for his first essay. Squeeze a small quantity of brun rouge riche into the first hole of the palette, and proceed to work by mixing with it only as much rectified turpentine as is absolutely necessary to make the colour flow ; if the latter is too thick it peels off with the glaze in firing, whilst if too much turpentine is added the painting blisters ; one drop will usually be found enough. The highest lights are left plain ; the outline should first be delicately gone over with a fine brush ; the light shading next laid on smoothly with red. If a large very smooth surface is required (as a wall in landscape) the colour may be dabbed over with a stumpy brush, flat at the end, but this is apt to give a woolly appearance to the work, unless TO TRACE THE DESIGN. 27 done sparingly. A granulated effect may be attained in the same way, by moving tbe brush in any direction required. The medium tints being all got in, the painting must be put away in a dry place, protected from dust, until the first colour is quite hard. This delay is a great drawback to amateurs, w T ho, having usually only one work in hand, are unreasonably anxious to finish it off ; but no speedy drying process is good; holding before the fire fails utterly. Madame de Cool suggests the use of a spirit lamp in moments of great haste, I can only, though reluctantly, advocate patience. The first colour being, as we have said, quite dry, the red remaining on the palette should be mixed with about twice the quantity of dark brown ; this is to shade with, and the mixed colour should be used for all the darker parts, which must be touched in, lightly and quickly, so as not to disturb the previous colour. Before firing, this must again be allowed to dry; it can be packed in cotton wool for travelling. For tiles one firing ought to suffice, but should the darks not come out with sufficient distinctness, they can be retouched, and the tile fired again. For a second firing the colour should be laid on less thickly. Many of the butterflies are good subjects for the beginner, some being most effective, while requiring but few colours, such as the delicate mynes lecis from Guinea, many of which are almost entirely shaded in grey, with occasionally, in some varieties, a little orange or pale yellow. The terinos taxiles of the East Indies, whose colouring of brown shading into orange presents few difficulties; and the New Holland 28 TO TRACE THE DESIGN. species ( eurycus cressida ), black and white, with a few brown and red spots. These, as well as numerous other varieties, make good subjects for practice, both in acquiring steadiness of hand and knowledge of the principal shadings. For painting on bisque, it is necessary to varnish the surface about to be painted with a thin coat of gum arabic, which must dry before the colours are laid on ; this is to prevent their being too much absorbed by the paste. Bisque painting requires great accuracy of touch, as, unlike over-glaze painting, the colour once laid on cannot be wiped out without leaving a blot. The absorbing qualities of the unglazed surface also require that the colours should be laid on boldly and flatly, as in fresco painting, which this style of china painting resembles. Bisque paintings are frequently retouched and fired again after being glazed. The amateur having gained some experience by his experiments in one colour, may now make up his palette for more ambitious undertakings. After tiles, plates will be found the least troublesome to paint, cups, basins, &c., being inconvenient to hold and fix, as well as more difficult to sketch upon. For painting plates, the centre should always be finished first, otherwise it is almost impossible to avoid rubbing the edge or border. I am inclined to recommend birds as easier in the first instance than flowers ; and although as a rule in china painting the light colours are laid in first, it will be necessary in painting birds the size of nature, to mark in carefully with black, or brown, or grey, all the principal features, such as the bill, eye, and wings, which should first be traced according to previous directions. The masses of TO TRACE THE DESIGN. 29 colour can then be laid on, and the delineation of the feathers and their markings left till the first colours are dry. Small birds are painted in the same way as flowers and the following directions of Monsieur Riottot apply in a general way equally to both. The palette is selected from that for Porcelain No. 1. It will have been remarked from the chemical analysis before given that extreme caution is required in mixing the colours. The pupil must bear in mind that the iron colours, reds, flesh tints, red browns, yellow browns, ochres, black, iron violets, and greys (with the exception of platina grey), may be mixed together, and with other colours containing iron , and that a steel spatula will not affect them, whilst the carmifies, carmine purples, blues, and whites, will not bear the steel knife. The greens may be mixed together and with most of the other colours, but not with the reds ; they work well with the mixing yellow ( jaune a meler ) and jonquil yellow ( jaune jonquille) for greater brilliancy. The carmines are very easily affected by the fire, and are altogether the least easy to manage. They appear grey in the working, and it is therefore difficult to judge of the intensity of the tints employed. FOR BLUE AND LILAC FLOWERS. Colours Required. Bleu Victoria (Victoria blue). Bleu de del (sky blue). 30 BLUE AND LILAC FLOWERS. Violet de fer (iron yiolet). Bleu ordinaire (ordinary blue). Bleu riche (deep blue). Carmin 1 and 2. The lightest shade should be put in first ; afterwards the dark shades and the centre. The Victoria blue is very valuable ; it is used for blue flowers, and can be made light as required by the addition of sky blue. The lilac and mauve shades are made by adding the carmines, in various quantities, according to the shade necessary. The violet de fer may be mixed freely with the blue, to which it imparts a very delicate tint. The bleu ordinaire and riche are both powerful colours, and mixed with purple produce tints of great intensity. WHITE ROSES AND WHITE FLOWERS GENERALLY. Colours Required. Blanc fixe ^permanent white). Jaune d'ivoire (ivory yellow). Jaune clair (light yellow). Jaune fonce (deep yellow). Gris tendre (light grey). Gris fonce (dark grey). Gris d’ivoire (ivory grey). WHITE ROSES AND FLOWERS. 31 Gris roux (reddish grey). Rouge chair (flesh red). Rouge fonce (deep red). Rouge capucine (capucine red.) Violet de fer (iron violet) In white roses, and white flowers generally, the white of the china is reserved for the extreme lights. The flowers should be sketched in with jaune a meler , which also gives the light shade ; then for the next darker tint us q jaune fonce and ochre. For shading, instead of using ochre, which has a hard effect, I recommend a very valuable colour — gris pour jaune, which is principally composed of yellow : it is made of jaune fonce, or silver yellow, to which is added a touch of purple or violet de fer, and a very small quantity of blue green ; as with carmine, it is desirable to make some pre- liminary experiments in firing this colour, of which the tint changes in the kiln. The yellow greens glaze very well when used as a second shade to the yellows. Care must be taken that the greens are so composed as to harmonize with the latter, otherwise a space must be left for them. RED FLOWERS. Colours Required. Rouge capucine (capucine red). Rouge chair (flesh red). c 32 RED FLOWERS GREEN LEAVES’* Violets de fer (iron violets). Gris roux (reddish grey). Jaune d’ivoire (ivory yellow). For the lights rouge chair should be used ; violets de fer and gris roux for the darker shades ; to be retouched with red. Yellow {jaune d’ivoire ) may be added in small quantities to the red, to assist the glazing, and gris roux to the purple to give brilliancy. GREEN LEAVES AND STEMS. Colours Required. Vert bleu (blue green). Vert chrome (chromium green). Vert emeraude (emerald-stone green). Jaune clair (light yellow). Bleu de del (sky blue). Jaune fonce (deep yellow). Ocres (ochres). Brun 108 (No. 108 brown). Greens for leaves are composed of yellow greens, made with vert bleu , light and dark yellow. Grey greens, made with sky blue, light yellow, and vert bleu ; only a small proportion of the latter being used. Smooth, broad touches are sketched in with chrome green, emerald green, and ochre, delicately retouched with a light CAREEN LEAVES PAINTING FACES. 33 shade, which is produced by mixing chrome green, ochre, and yellow. For the dark touches emerald green mixed with ochre, or even with brown (108), should be used. The leaves are completed by a glaze of vert (green), chrome riche (deep chromium green), hleuatre (bluish green), and the ochres. FOR PAINTING HEADS. {By Monsieur Fragonard .) Colours Required. Jaune pale (pale yellow). Jaune hrillant (brilliant yellow). Ocre (ochre). Rouge carmin (carmine red). Rouge sanguin (blood red). Rouge orange (orange red). Violet de fer (iron violet). Gris hleuatre (bluish grey). Gris roux (reddish grey). Brun de hois (wood brown). Bleu de del (sky blue). Bleu d'azur (azure blue). Vert hleuatre (bluish green). Vert pre (grass green). Violet d'or (iron violet). Gris fonce (dark grey. ) . 34 PAINTING HEADS. The preceding palette has soft tints, which mix with, and impart brilliancy to the more decided ones ; purples and carmines would not harmonize with it, and should never be used in flesh tints. Thus pale yellow, bluish grey, sky blue, and red grey, are soft tints without body, which it would be dangerous to put on too thickly, as they would peel in firing ; whilst dark grey, wood brown, and blue green are, on the contrary, hard, — that is, they do not take a glaze unless aided by the others. The advantage of these colours is that they may be mixed without risk. As the soft tints easily lose colour while the hard ones gain in strength, there results a certain want of harmony after the first firing. This should cause no uneasiness, as the second one being less powerful than the first, its effects may be calculated with certainty. One of the incidents most disheartening to beginners, is seeing the colour glide away on the shining enamel, making all execution impossible. To avoid this it is necessary to cover the plate with a light neutral tint, which, when thoroughly dry, is easy to paint upon, though care is required that the ground-work is not disturbed, as it would then become useless. Pale yellow, with a touch of iron violet and sky blue, make a favourable tint, which even imparts brilliancy to the colours laid over it. On this the sketch may be boldly and flatly laid ; and as soon as the second colour is dry, the shadows should be added. The middle tints must next be delicately and carefully painted in ; but it is useless to do too much before the preliminary firing. The less the surface PAINTING PTGtTB.ES. 35 is worked upon the better. In repainting after firing, the design being fixed, all difficulties are removed. Madame Delphine de Cool gives the following instructions for figure painting : — (Colours required, the same as in the preceding.) Mark in slightly with pure flesh red the nose, the mouth, and slightly the lachrymals, so as not to lose the outline ; then put in the bright lights with ivory yellow, adding a little flesh red, mixed with a touch of yellow brown, for the local tints. The colours must be laid on quickly and broadly, so as not to allow of their drying. While still moist, put in the pink of the cheeks with flesh red alone, and for the warm tints mix with it a little yellow ochre, grey, and red, the yellow ochre and red in such proportion as to keep the flesh tints sufficiently light. If the colour is still tolerably moist, add the grey tints ; but should it have hardened, stipple gently, - — that is, let the stippling brush fall perpendicularly, so as to melt the colour moistened with turpentine. It is, however, always best in flesh tints to dispense as much as possible with stippling at this stage. In copying a very dark-toned picture, such as those of Rembrandt and Rib)[era, the flesh lights should be made with the same (ivory) yellow and capucine red. Spirits of lavender is the best to use for the first wash, so that the colour may dry as soon as possible;* and the pupil should endeavour to acquire certainty of touch, the least hesitation entailing much loss of time. * I prefer turpentine with the tube colours. — T ranslator. 36 PAINTING FIGURES DRAPERIES — -SKIES, It is necessary to paint boldly, and to unite the colours where they meet. When the first coating of colour is dry the design must be accurately marked out, the shadows deepened, and the medium tints harmonized. The painting must be finished as much as possible with flat tones, laid on lightly, so as not to soak through the dark ones. For the last touches of the flesh tints stippling is indispensable. DEAPERIES. On this subject Madame de Cool continues : — Draperies are painted more broadly than the face, and are more easily executed without stippling. The principal folds should be indicated by a few pencil marks on the white china ; and it is advisable to begin only as much as can be finished at one time. First paint in the lights, then the local tints in the lightest shade; afterwards the darkest parts of the same tint, and finally depending on the copy, the medium tints, which are obtained by mixing the original colour with the darker shades. The draperies should be gone over again, in the same way as the face, that is, when completely dry, but with as little retouching and stippling as possible. SKIES. The sky presents no great difficulty, but it is necessary to avoid very cold grey shades, as in firing they become green ; ■SKIES SECOND FIRINGS-. 37 stippling with a flat brush will soften the clouds in a great measure. Landscapes, animals, &c., are painted in the same manner as described for figure painting. In distant landscapes a touch of purple with chrome green, and a little silver yellow (_ jaune cT argent), and black, gives a hazy distant effect. SECOND FIBINGr, After the first firing it is instructive and useful to con- sider the results obtained. All the warm tints are softened. The greys, if they have been wrongly composed, or not well worked in, have assumed a greenish tinge. The carmines have changed to purple. The painting should now be lightly rubbed with very fine emery paper, or with fine pounce and a cork, to remove all the roughnesses. For the next firing less colour will be required, as if it is put on too thickly it will not (from the comparative coolness of the second kiln) glaze. The whole painting should now be be gone over, that is, painted in the parts which have lost their first coating, and the full depth of colour finally required, or even more, should be given. The carmines, which sometimes come out a little strong, \, may be subdued with a slight glaze of grey black or ultra- marine ; and every part should be so finished off as to require the second only, as a final firing. Almost all the colours of the palette may be used, if not too thickly laid on, and the whole effect should be complete at this stage. If 38 THIRD FIRING PALETfM, the second firing is successful the faults of the first will be corrected, and the work will be finished. The under part, without haying been so completely changed, as in the pre- liminary baking, should, however, have reacted on the after painting, so as to produce the perfect harmony of the copy, and have at the same time acquired the glaze, which gives it the effect of oil painting. Should it happen, as sometimes occurs, that either the fire has not been stopped in time, by which the painting loses, or that the original tints have not been corrected by the second firing, which produces a want of harmony ; or again, that the firing has not been continued sufficiently long, which is equally fatal, as the colours will not have been properly developed, leaving a heavy dull tint, most unpleas- ing in this style of painting — in any of these cases, it is necessary to have recourse to a THIRD FIRING. Proceed for this as you have done for the second, except that the colour should be put on even less thickly. If the firing has been insufficient, the light glazing colours must be laid on everywhere ; on those parts where they appear not to be deficient, a little oil of turpentine may be used. No. 8 PALETTE (FOR ENAMEL). Blues. — Light ( bleu clair ), deep ( bleu fonce ), deep ultra- marine ( outremer riche ) . PALETTES— -PAINTING ON ENAMEL. 39 Browns. — Light ( brun clair ), dark ( brun fonce). Carmines.— Light ( carmin clair), deep (fonce). Yellows. — Light (jaune clair), deep (jaune fonce). Blacks. — K ayen (noir corbeau), ivory ( noir d’ivoire). Purple.— D eep (pourpre riche). Beds. — B y mixing yellows and carmines. Greens. — Light ( vert tendre), chrome green ( vert chrome). Violet. — Of gold ( d’or ). PAINTING ON ENAMEL. (By Madame de Cool.) Enamel is painted in exactly the same way as soft paste, as with that, white may be mixed in all the colours, though I myself prefer painting with the pure colour only. The firing differs essentially from that of china — both hard and soft paste. Enamel is fired in small ovens, heated with charcoal or coke, and is baked for a few minutes only. It may be fired as often as is necessary, and it is best to do it yourself. Ovens may be bought ready made, and can be placed in any chimney. When the oven is heated, the enamel is placed in it by means of long tongs, on a tile of the same clay as the oven, and covered with red ochre. It may be taken out from time to time, and replaced until the colours become bright, and the enamel appears sufficiently baked. 40 ENAMELS FOR STAINED GLASS* No. 6 PALETTE.— ENAMELS AND BLOWN FLUXES FOB STAINED GLASS. 1. — Coloured Enamels. (All the following enamels are used in painting, with the exception of copper green). Blues. — Fine, \ fine, C L R indigo, A indigo. Browns. — No. 1, No. 2, M brown, J red brown ( brun rouge J). Yellows. — Dull, i dull, M for painting (jaune M a peindre ), light transparent ( transparent clair), deep trans- parent ( transparent fonce ), strong silver yellow {jaune a V argent fort J, ordinary silver yellow {jaune a V argent ordinaire ). Black. — Baven {corbeau). Ochres. Purples. — Carmine {pourpre carmin) , deep {pourpre riche). Beds. — Capucine ( capucine ), deep flesh ( chair fonce ), L flesh ( chair L), bright orange flesh ( chair orange vif), fire {feu). Greens. — Transparent blue green {vert bleu transparent ), semi-transparent chromium {chrome transparent) , copper {de cuivre), transparent No. 1, transparent No. 2. Violets. — Deep gold {d’ or fonce'), light gold {d’or clair). 2. — Ordinary Brown Fluxes for Outlining. Brown fluxes {grisailles ordinaires), dark grey {grisaille noir), brownish {grisaille brune), reddish {grisaille rouge). Black outlining. — D black {noir D) works red. PAINTING ON WINDOW GLASS. 41 3.— Fine Brown Fluxes for Painting and Etching. A Black (grisaille noire), B intense brown ( brune intense ), C violet (violacee), D brown (brune). Flesh-coloured flux (grisaille teinte de chair). Fluxes L. — Black (grisailles noir ), brown (grisaille brune). Shading colour (couleur a modeler). Bistre. — Light bistre (bistre clair ), dark bistre ( bistre fonce). Whites. — For light work. Boughings. — White roughing ( depoli blanc), greenish roughings (depolis verddtres). PAINTING ON WINDOW GLASS. (By M. Claudius Lavergne.) The first operation of painting on window glass necessitates a sketch on cardboard of the same size as the design about to be executed. The use of this is to show the places where the lead will be placed, and by that means the outline of each piece of glass ; this outline, which must be repeated on a piece of thick paper and afterwards cut out, gives what is called “ the compass,” and is used to facilitate cutting out the glass in the required shape. It is also useful in making the outline, which is done like a tracing, by laying the glass on the cardboard itself, placed horizontally. In placing the pieces of glass on the drawing, care must be taken to leave between them the space required for the body of the leads, which space should have been left in 42 PAINTING ON WINDOW GLASS. cutting out the paper, so as to avoid distortions. A moderate sized pointer should then be taken, and the different lines of the drawing traced out, giving the necessary delicacy and variety* For this purpose a particular grey tint is used, brown flux for outlining ( grisaille a trail ), which must he diluted with a little gum arabic (two parts vinegar and one water), the longer this colour is prepared beforehand, the better. After this has been done the glass is temporarily mounted in lead. Some glass painters simply unite the pieces on sheets of glass with wax ; but this process prevents the panels being turned so as to paint behind them, and frequently occasions accidents. The panels being mounted in lead and placed before the windows, the operation of sketching begins. A grey tint sufficiently diluted with gum water to make it manageable is spread on the glass over the tracing (which, if done over-night, will not suffer) by means of a thick, long hogs’-hair brush ; it must be stippled so as to give a grain varying in fineness, and if it is desirable to soften it still more, it can be swept over in different directions with a soft badger brush. When this flat tint is perfectly dry, the lights are taken out with dry brushes of different thicknesses, or for delicate touches with a steel point. If this tint is well prepared, neither too thick nor too thin, and is used with the caution of a sculptor cutting out from a valuable block, an almost perfect design may by this means be acquired. If it should be necessary to mark out any part more distinctly, or to renew any of the outline, it may be skilfully retouched, by using on a glass palette a little of the liquid PAINTING ON WINDOW GLASS. 43 with which the flat tint was laid on, mixed with water ; but it is far easier to retouch the design with brown flux and essence. It is here that the metal tubes are so valuable, as they furnish different shades of the flux {grisaille), always ready for use, which can be mixed with capucine red, browns, black, and in short most of the iron colours. This process of painting with essence admits of a con- siderable amount of work being laid over the first tint with- out its being affected, and allows the outline to be softened and harmonized to as great an amount as in oil painting ; but the artist must be careful to moisten the part which he is about to paint with essence of lavender and a little fat oil. It is fresco painting in the fullest acceptation of the term, for if you wait till the coat of essence is dry before painting, in moistening it, you disturb the grey tint with which it has united in drying, and thus make a hopeless mess*. It is obvious from the details I have given, that glass painting requires great care as well as method ; nor is this all, for in applying the enamels on the wrong side of the glass, several simple but essential chemical rules must be borne in mind. For instance, no two enamels can be mixed whose properties would subject them to change or disagreement in firing ; this is one stumbling block, as it would probably entail a dis- agreement in the different tints, were it not that we have the resource of painting them over each other, which, from their transparency, produces the same effect ; this is the saving clause, always supposing that the necessary rules are fully understood. If the enamels are to be laid over each other, the most fusible one must be put under ; thus placed, it serves as an 44 PAINTING ON WINDOW GLASS. adhesive between the glass and the upper enamel ; placed differently, it would penetrate and eat up the less fusible enamel, and the worst results would ensue in firing. Nothing is pleasanter than retouching a window which has been coloured according to rule, and has gone through the first firing. The temporary lead frame is more than ever required at this stage for properly effecting the retouching. Before painting, the cleanliness of the fired pieces must be ascer- tained, and any of the enamel which may unfortunately be rough, should be lightly rubbed over and polished with a pumice stone and water. It should then be fired again, and should there be any doubt as to the appearance of the glass, it must be again framed, to be touched up once more, and those parts which require it be fired a third time. APPENDIX, REPORT MADE BY M. SALYETAT IN THE NAME OF THE COMMITTEE OF CERAMIC ART (Societe d' Encouragement pour V Industrie Rationale'), Founded in 1801, and legally recognized as an Institution of public utility. ON THE MANUFACTURE OF VITRIFIABLE COLOURS. ( Presented by M. Lacroix , of Paris.') Gentlemen, — M. Lacroix, a member of the Society, and manufacturer of yitrifiable colours, has claimed from yon the examination of his productions. The daily increasing extension of the art of decorating porcelain and earthen- ware, and the continual development of glass painting, impart an ever increasing interest to the manufacture of vitrifiable colours. This manufacture, which formerly required care and attention, rather than space and capital, has of late years become a great employer of labour, and the materials used 46 APPENDIX. in it have assumed all the importance of a real manufactory. The usages of trade require from the manufacturer a system of crushing, which, though for many years done only by means of hand labour and the pestle, cannot be accomplished with any regard to economy, except by the systematic employment of machinery. The two appliances — chemical preparation and machinery — used in combination for the pulverization of the colours, renders the old system hence- forth useless. The late treaty of commerce between France and England has, contrary to the fears of many, extended the exportation of our china, whilst on the other hand it has introduced the English colours into France. The price of the latter is much lower than that of the French ones, more particularly of those made in Paris. M. Lacroix, anxious to rival such formidable competitors as the English, has, with this object, utilized the chemical knowledge which he acquired in the laboratories of M. Pelouze, completed by a residence in the laboratory of the Royal Manufactory of Sevres, to which he adds a great habit of business, as well as the assistance of an hereditary property. M. Lacroix has also felt the necessity of furnishing the consumer with everything which his trade requires, and has allowed no personal feelings to influence him, having kept for a time a depot for English colours, as well as for his own productions, and in the end, undertaking to reproduce them at a low remunerative price, and without any diminution in quality. English colours are not prepared for hard paste, they are intended for the decoration of the artificial china made APPENDIX. 47 in England, to the exclusion of the hard paste, which imitates the oriental style, and for this reason they do not possess all the qualities which we require here, though they are more than sufficient for the purpose of cheap decorations ; hence their general use in Paris, at Limoges, and Bordeaux. In the decoration of valuable china and for highly-finished paintings, other tints, prepared for hard paste, are required, at the risk of seeing the work of months, destroyed by the fire. Both palettes may be had from M. Lacroix, he alone has learnt to prepare colours in the English style. Those obtained by means of the purple of cassius should be particularly noticed. M. Lacroix was initiated at the laboratory of Sevres in the mode of preparing these hard and permanent colours, they are indispensable for attaining with certainty, the nearest approach to perfection in the reproduction on china of the chef d’ oeuvres of oil painting. The warm browns obtained by means of oxide of nickle, and the cooler shades made with oxide of cobalt, are of excellent quality. In order to give to this report a greater interest than would result simply from our appreciation of M. Lacroix’s productions, your Committee considers that the description of some processes of manufacture might with advantage be placed before the readers of the Bulletin , and we proceed, with M. Lacroix’s permission, to describe the means employed to prepare the browns, whose beauty we before remarked upon. The process is that of dissolving in one liquid the substances which in fusion form the colour, while their precipitation by the same agent completes their combination, and the carrying out of this idea in the D 48 APPENDIX. preparation of the greater part of the oxides has been produc- tive of great results ; it may be made available in the manufacture of blues and green of all shades by modifying the proportions. Iron, zinc, cobalt, and nickel are dissolved in hydrochloric acid, and the filtered solution precipitated with carbonate of soda. The oxide thus formed is washed, then dried, and made red hot in a roasting tube. It is mixed with three times its weight of flux, composed of sand 100, minium 600, crystallized boraic acid 300 ; it is melted down, run, and pounded. Hydrate of alumina 300 parts, and carbonate of soda 100, gives a beautiful blue, which glazes well with three times the weight of the flux already given. Oxide of chromium employed in the condition of chrome alum, united in infinitesimal proportions with carbonate of cobalt, and precipitated (after the usual process with chloric acid) by carbonate of soda, dried and calcined, gives a blue green which may be mixed with light yellows to make yellow greens of great brilliancy. M. Lacroix’s authorization of the publication of these recipes is most disinterested, and enables your Committee to prove that the manufacturers of the present time are no longer narrow-minded, like the inventors of other days, whose recipes, though often worthless, were preserved with the greatest secrecy. M. Lacroix has modified, in a very successful way, the process by which he obtains his purple of cassius. In working by measure instead of by weight he insures great APPENDIX. 49 rapidity, while preserving the same accuracy of proportion ; he has materially diminished the price of purple, which is sold at as low a price as 200 francs the kilog., although containing 3 parts in 100 of gold. M. Lacroix’s machinery for pulverization appears to us most complete. A steam engine works different machines, of which some crush or pound, and others break and grind the raw materials, flux or colour. We saw (as crusher) a machine exactly imitating handwork, and which has an advantage in the concussion produced by its stamper. The material to be operated upon is placed in the bottom of the mortar, and gathered together by means of two rakes, attached to the same vertical stem, which moves the pestles, these are guided by a kind of check, whose office it is to raise and depress them alternately. Additional weights are used to regulate the action of the machine according to the work required. A Herman’s granite crusher, turning wheels like those at Sevres, and porcelain mills working mechanically, insure perfection and cleanliness in the crushing. We have seen the whole of M. Lacroix’s establishment with great interest; it is a model for the kind of work which he undertakes ; crushing in the way he does it, becomes lucrative. From the complete assortment of colours which M. Lacroix keeps for all kinds of china and glass painting, glass painters are spared the necessity of making their own preparations, as M. Lacroix sells both roughing white and brown flux, which they could not make of good quality, at a cheaper rate, and they are thus saved all risks of damage or of fire. d 2 50 APPENDIX. The Committee on chemical art, appreciating the results obtained by M. Lacroix, and foreseeing those in store for him, propose — 1st. To thank M. Lacroix for his communication. 2nd. To vote the insertion of this report in the Bulletin of the Society. (Signed) SALVETAT, Reporter. (Approved at the sitting— §th August , 1865.) TESTIMONIALS. To M. LACROIX. VITRIFIABLE PHOTOGRAPHS. Paris , 14 June, 1872. Sir, — We are happy to be able to inform you that the colours you have sent us are most suitable. They have the advantage of being well ground, and are easy to use. Nothing can be more convenient than the form in which they are sent, in tubes. These colours leave nothing to be desired ; we employ them with the greatest success in retouching our verifiable photography. Allow us most sincerely to compliment you upon them. (Signed) Yours, &c., M. Lacroix. DAGRON. (Officially entrusted with the reproduction — photo- microscopically — of the dispatches sent by carrier pigeons during the siege of Paris.) M. Bourieres writes : — I can, from the large quantities of your colours which I have used, testify to their permanent and vitrifying powers. Our windows will not share the fate of those of Jean Cousin, and of so many other glass painters of his time, in which the colours have changed by the action of the atmosphere, like those in the cathedral of Sens, &c. 52 TESTIMONIALS. M. Charles Houry writes : — Your greens (Russe and H) are very powerful. Your ultramarine is most valuable, because it unites with all the other tints and gives them delicacy, with the exception of the reds, which are almost invariably destroyed in contact with greens and blues. I have tried your tube colours and am perfectly satisfied with them. This is an immense gain for artists and amateurs, when you spare the tiresome and difficult task of painting and preparing the colours, a work which was seldom efficiently done, and which, therefore, had imperfect results, By means of your process all these difficulties are smoothed, and the artist can paint as well on earthenware as in oils or water colours. You thus render a great service to ceramic art, which can only gain by being made practicable by all. Your tube colours are particularly well prepared, and come out admirably from firing on fine, as on coarse earthenware. I am delighted with the results I have obtained, and for my own part congratulate you most sincerely. (Signed) C. HOURY. .2 M. Lacroix, Chimiste. 10 May , 1872. M. Goupil (figure painter on the staff of the Seyres manu- factory) writes : — Sir, — I think that you render a great service to artists and amateurs who are engaged in all kinds of vitrifiable painting on china, enamel, earthenware, and glass, by the happy innovation of tube colours, so easy and pleasant to use, and which do away with the most tedious of ennuis — the long and fatiguing grinding of the colours. “ Time is the material of which life is made : ” It should not be consumed in occupations unworthy of human intelligence. Such improvements cannot be sufficiently praised TESTIMONIALS, 53 and encouraged; and it is most important that they should be made generally known, as much in the interest of the artist who creates, as in that of the manufacturer who produces for the multitude — “for the million,” as the English say. Be assured that had I sooner been acquainted with your colours, I should not have failed to recommend their employment in my treatise on verifiable painting, in which I took care to quote your house as to be recommended. Believe, dear Sir, that I feel I cannot do better than to quote it again, with an additional special mention, in our forthcoming edition. I am, Sir, A M. Lacroix. (Signed) FRED. GOUPIL. M. Fontaine, flower painter at the manufactory at Sevres, who has for some months used the tube colours, authorizes M. Lacroix to announce his complete appreciation of them. Madame de Cool writes : — To obviate the grinding, which is a more difficult under- taking than is generally believed, I strongly recommend M. Lacroix’s tube colours. I find them excellent, well ground, and I seriously advocate the use of them. A little spirits of lavender added to the colour in the tube is all that is needed. Notice of the “ Bulletin du Bouquiniste,” 18 Nov., 1873. Many artists and amateurs who paint in oil, chalks, and water colours, have been tempted to make experiments in vitrifiahle painting on china and earthenware, but have been prevented, both by the difficulty of preparing the colours, and of knowing where to send their work to be fired. In the present moment of enthusiasm 54 TESTIMONIALS. for china, this obstacle has been overcome. M. Lacroix, chemist, pupil of the laboratories of M. Pelouze, and of the manufactory of Sevres, has devoted himself to the work of perfecting verifiable colours, which he delivers in tin tubes, similar to those used for oil colours. These colours being completely ground and diluted with turpentine, give evidence of great progress, for until the year 1869 the manufacture only extended to colours imperfectly pounded, which deterred artists from employing them, as they preferred painting in oil or water colours to losing time in pulverizing ceramic, colours. This drawback being obviated, M. Lacroix writes, in reply to a number of questions which have been addressed to him by china painters, artists, and glass painters, painters from the manufactory of Sevres, have com- pleted their work by his recipes and advice. We have read this pamphlet with pleasure. It will interest collectors of china as well as everyone who has handled a palette; and we will conclude by pointing out a number of different hints which will be found at the end of the little book, and which will develope more than one vocation for this seductive branch of art. In his appendix M. Lacroix gives the names and addresses of different professors in painting on china, earthenware, and glass, residing in Paris, as well as the addresses of those establishments where paintings may be fired. (Signed) H. BORDEAUX. Report made by the National Agricultural and Commercial Academy of Manufacture, by Emile Hervet, Secretary to the Committee of Fine Arts, 1873 : — Two things are valuable in M. Lacroix’s manufactory of verifiable colours : 1st. The improvement which he has introduced in their form. 2nd. Their quality. TESTIMONIALS. 55 M. Lacroix’s colours are all ready for use — that is, completely pulverized and diluted with turpentine. They are in tin tubes, in the same form as colours intended for oil painting. In order to do justice to this innovation, it must be remembered that until now no vitrifiahle colours have been found in the market except those simply, and, more or less effectually, ground. The artist was forced himself to undertake this very long and tiresome operation of grinding. It occasioned great loss of time ; and from the materials being generally extremely hard, it often occurred that want of experience or the desire of hastening this tedious work convinced the operator that it was finished long before it could be effectually done. For amateurs this was a serious pitfall, and even if professional artists were able to escape it, it was only by the loss of many precious hours ; whilst if from want of skill or patience they were content with an imperfect preparation of their colours, and they came out badly in the fire, it entailed losing in one moment the labour of weeks if not of months. What miscalculation and despair ! Many, no doubt, have been disheartened by the ennuis and difficulties of the grinding and other preliminaries of painting on china, earthenware, enamel, and glass. ****** After detailing the perfections of M. Lacroix’s system of preparation, the report continues :■ — It is owing to these tubes that painting on china, glass, &c., is now practicable for all. * * * * The advantages are so evident that we need not dwell on them. With regard to quality, M. Lacroix’s productions occupy a distinguished place, as well from the colouring materials employed, as from the perfection of his pounding. Having ourselves witnessed the results obtained with his colours, we do not hesitate in recom- mending them to artists and amateurs. We will conclude by adding that by his success in introducing 56 TESTIMONIALS. very moderate prices ; in carrying the pulverization further than had yet been done ; and finally and above all, in producing colours ready for use, M. Lacroix has, in a great measure, diminished the obstacles which have, up to the present time, surrounded an admirable branch of art. In consequence of this report, M. Lacroix was presented with the silver medal of 1873. fist of presses fur Jfiring, fa. ADDRESSES IN LONDON, Artists who give Lessons in Painting on China, Cazin, Mr, C., Holly Lodge, Fulham, S.W.. Battam, Mr., Johnson’s Court, Gough Square, Fleet Street, E.C, Hermans, Mr., 60, Regent Street, W. White China, Bisque, and Earthenware. (For Painting on.) Goode, T. & Co., 19, South Audley Street, W. Lechertier, Barbe & Co., 60, Regent Street, W. Mortlock, T., 203 & 204, Oxford Street, W. Taylor, Robert Minton— Gray, manager— (tiles), 206, Great Portland Street, W. 58 ADDRESSES FOR FIRING, ETC. Firing. Bailey, C. J. C., The Pottery, Fulham, S.W. Battam, J. & Sons, Johnson’s Court, Gough Square, Fleet Street, E.C. Lechertier, Barbe & Co., 60, Regent Street, W. James, W., Glass Works, Pratt Street, Camden Town. Glass of all kinds, and Glass Firing. Powell, T. & Sons, Temple Street, Whitefriars, E.C. Lacroix’s Vitrifiable Colours, and all requisites. London . . Lechertier, Barbe & Co., 60, Regent Street, W. Paris . . . Lacroix, 186, Avenue Parmentier. Limoges . . Lacroix, 22, Route de Paris. Amsterdam . Regrand. Brussels . . Deswarte, 21, Rue de l’Amigo. Geneva . . Geisendorf, 4, Bel Air. Turin . . . Alman, Felice. ADDRESSES FOR FIRING, ETC. 59 ADDRESSES IN PARIS. PROFESSORS. Porcelain and Fine Earthenware. Madame Baudoinn, Boulevard Yoltaire. Madame de Cool, 89, Rue de Rennes, Painter of the Sevres Manufactory, and Director of an Endowed School. Baroness Delamardelle, 3, Rue Lafitte. M. Fontaine, of the Sevres Manufactory, 133, Rue Vielle du Temple. M. Frederic Goupil, Figure Painter on the Permanent Staff of the Sevres Manufactory, 164, Grand Rue de Sevres. M. Riottot, formerly pupil of M. Fontaine, 21, Rue St. Quentin. Window Glass Painters. M. E. Bouriere, Window Glass Painter, Church and other Windows, 8, Rue des Petits Hotels. 60 ADDRESSES FOR FIRING, ETC. Firing. The Firing of China and Fine Earthenware ( terre de pipe ) done at the following addresses: — M. Caille, 44, Rue du Faubourg du Temple (soft paste). M. Celliere, 22, Rue de la Sarbonne. For Coarse Earthenware. M. Lcebnitz, 4, Rue Pierre Lev6e. For Window Glass. M. Tiercelin, Rue Vandamme, 39 and 41, Rue Amelot. (Artists and Amateurs will find here an oven measuring 3 feet by 3£). Muffles of all kinds. M. Go YARD, 119, Rue de la Folie-Mericourt. Glass for Windows. M. Archin ard Rouvier & Fort, 65, Rue Oberkampf. a^cbo. f ooo7 LITHOGRAPHIC STUDIES. Razd s Drawing Book, in six numbers of 4 plates each, pro- gressing from mdiriients - to complete landscapes, 10 in. by 7 in. . . ’ . . . . . ‘ . 1 . each book 0 Razo’s Small Sketches, easy landscapes for beginners, in bold style, two on one sheet, 6 plates, 15 in. by 11 in. . per plate 0 Razo’s Sketches by the Waterside, more adyanced than the above, 12 plates, 15 in. by 11 in. .... per plate 0 Razd’s Easy Landscape Studies, drawn from nature, on tinted paper, in black and white, easy for the pupil to copy, 12 plates, 15 in. by 11 in. . . . . . . . per plate 0 Raze’s New Sketches, on tinted paper, in black and white, 12 plates drawn; from nature, chiefly Italian scenery, with name attached, 22 in. by 15 in. . . . . per plate 1 Cassagne’s Drawing Book. An. ..extensive. series, comprising 5 books on the A B C of drawing, 12 on landscape, 12 on heads and figures, 5 on rustic and fancy figures, 4 on flowers and fruit, 6 on animals, and 12 on ornaments. A good, though a cheap, publication. Each book contains 16 pages of drawing paper, with spaced to. draw in, and directions are given with each sketch and general instructions on the cover. 12 in. . by 9 in . ., per book 0 Julien's Elementary Course. Studies of heads graduated from the first elements to academy and draped figures. Drawn from nature, and from works of eminent artists. White h paper, 14 in. by 10 | in. . . . . . per plate 0 Julien’s Small Studies of Heads, in black and white crayons, after ancient and modern masters, on tinted paper, 19 in. by 12^ in- • • P er P late 1 Bargue’s Studies on Figure Drawing. A high-class publication, from the antique, on stumping paper, 23 in. by 17 4 in. per plate 2 Calame’s Lessons on Drawing in Landscape, from elements to advanced drawings,, and including foregrounds, foliages, rocks, &c., 204 in. by 14 in. . . ... . . per plate 1 Hubert’s Elementary Course on Landscape. On whitepaper, 14 in. by 104 in. . . . V . . .per plate 0 Rosa Bonheur’s Studies of Animals, drawn from nature, useful to artists and students, On white paper, 20 in. by 14 in. per plate 1 De Dreux’s Horses, 6 plates on white paper, £0in. by 15 in. per plate 1 Petit’s Architecture. Plans and elevations of buildings. Tinted in Indian ink, 19 in. by 12 in. .; per plate 1 F. A.’s Mecbahical Drawings, including locomotive engines and parts of machinery, full coloured, 19 in. by 124 m. per plate 1 d. 6 6 6 6 0 8 8 6 6 6 8 6 0 0 6 Printed by Samuel Golbourn, 76, Princes Street, Coventry Street, W.