International studio (36.1908/1909(1909))

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building high up from the street tha.t every singie
piece of this band shali be exact in shape or coior,
but in interior decoration and detail work which is
examined closely, unless the color is absolutely
harmonious and unless each piece matches the
other exactly in shape, the effect will be spoiled. It
does not pay the companies which are turning out
material on a tonnage basis and doing large work
to change their methods in order to hre some small
piece to a stronger color value. The faience com-
panies are endeavoring to do just this work. Where
a panel or border is wanted of exceptionally strong
color or a great variety of color, the faience manu-
facturer is equipped and can afford to devote the
time and trouble necessary to get the proper artistic
result. For this reason it seems to me that rather
than conflict, the terra cotta companies and the
faience companies can be of a material benefit to
one another by working harmoniously.
A piece of faience should have the earmark of
the personality of the craftsman upon it. Any
article which is turned out in large quantities must
necessarily lose something of the originality and the
personality of the artist. Therefore, let us keep in
mind that by glazed terra cotta we understand a
glazed material for the exterior or interior decora-
tion of a building, which will be technically made
as weli, but which will not give the depth or variety
of color, or the individual characteristics of the
artist, to the extent that can be produced in a piece
of faience.
About twelve years ago faience was hrst pro-
duced in this country, and the three companies
interested in its manufacture have had considerable
trouble impressing the architects and public with
this difference. It is very gratifying at the present

time that there is a much better understandingof the
material and a very much keener interest than
formerly. If one suggested, a fewyears ago,putting
strong color on our buildings, he was laughed at
and told that color in Italy or the southern coun-
tries was well enough, but that America, for climatic
and temperamental reasons, could not appreciate
color on its buildings. This is a fallacy. There is
no reason why color cannot be employed to beautify
the exterior of buildings here as well as in Italy.
It is only a question of using that color correctly.
When we see such buildings as the new Brooklyn
Academyof Music, and others, werealize that there
is beginning to be felt a desire for more color in the
decoration of our buildings.
A held which opens up the greatest possibilities
for the use of colored faience is for the decoration of
concrete and stucco buildings. The chief objec-
tion to a concrete house is the monotony of its ap-
pearance. When a few bits of color are added its
monotony is broken, and by the use of panels,
friezes, bands and other architectural members in
strong color, concrete buildings can be made ex-
tremely beautiful, for the dull gray of the con-
crete is a perfect background for the color of the
faience. This fact was appreciated by the Della
Robbias in Italy, where you find their faience on
so many stucco buildings. The only thing neces-
sary for a satisfactory result is that not too much
color be used, but just enough to give the touch of
color which will break the monotony and make
a harmonious result.
Faience is manufactured by mixing hre clays
together with water into a plastic state. The
material is then formed into the desired shapes.
It is then allowed to dry in dryers and is placed in a
kiln or oven and hred to an ex-
tremely high heat. At this stage
of the process it is a hard buS-
colored material and ready to be
glazed. The glazes are made
by chemicals which in heating
melt and form a material of a
glassy nature. These glazes are
applied in the liquid state, the
material being either dipped in
them or the glaze painted or
sprayed on. When dry it forms
a coating of about one-eighth of
an inch inthickness, and the piece
is then ready to be put into the
kiln a second time for the gloss
burning; from this second burn-
ing this giaze comes out practi-


SUBWAY STATION
PANEL AND FRIEZE

DESIGNED BY
HEINS AND LAFARGE

XX