PORCELAIN AND FAIENCE.
253
lain in celadon, or other color, by the addition of a colored mixture, of which oxide of chrome is generally the chief ingredient; and then, when the piece is still in the clay state, to paint or rather model upon it with a brush, using white porcelain body as the pigment, and taking advantage of the transparency it will acquire when fired to produce an effect similar to that obtained in the Limoges enamels, by working the semi-transparent enamel on a black ground. Consequently the artist will increase the thickness of the white clay for the high lights, and decrease it where the color of the ground is to be seen through. Much experience is required to calculate the effect, the white clay before firing being equally opaque in the thin as in the thick parts. Of course any mistake is irremediable, as it can only be seen after the piece is fired. It was from studying the Chinese celadon that Mr. Ebelman started this kind of porcelain. The colors used on account of the high degree of temperature are extremely limited.” To chrome, as a foundation color, must be added cobalt, nickel and uranium, which are also used to stain the clays when some other tint is wanted ui addition to the white.
During the late Franco-German war, the Messrs. Minton, °f England, secured the service of M. Solon, the artist by w honi a great success in the jpdte-sur-pdte process had been achieved ; and we now find the results in the beautiful specimens displayed by the firm at Vienna. Vide p. 235.
Deference has been made to the impossibility of moulding ° r Working the soft paste porcelain by throwing, in the ordi- uary way, owing to its want of plasticity.
Casting Porcelain Body.
Since the year 1850, the method of casting, rather than °1 moulding objects, has been in use. The paste being made thin, so as to flow like water, is poured into the Piaster moulds, which absorb a part of the water and cause a thin film 0 f the paste, or body, to adhere to the sides. The excess is decanted. This gave lightness and perfec- |mn of form to the objects, such as cups and small vases, ut the process did not succeed with large objects, inasmuch as m the decantation the paste, adhering to the upper part,