Studio: international art (2.1894)

III: ;

Pdte sur Pdte

quently, very limited. With the body in use at Chinese vase in the Ceramic Museum of Sevres.
Messrs. Minton's, on the contrary, a great variety M. Riocreux, then curator of the Museum,
of colours can be obtained. It is a sort oiParia?i; admired so much the harmonious contrasts formed
the elements entering into its composition are the by the celadon ground of this vase and the thick

FROM A PLAQUE BY M. L. SOLON

same as those used for hard porcelain, but mixed white flowers embossed upon it, that he induced

3ns. Most complicated kinds one of the modellers at the factory, Mr. Fishback,

uced in that body; the biscuit to undertake the necessary trials, in view of

y fired, and during this ope- obtaining similar effects with the Sevres porcelain,

be properly supported in all Curiously enough, no notice was taken of the fact

the glazing is subsequently that, in that particular vase, the celadon tint of the

luch lower temperature. It is field was due to a greenish glaze which was neatly

)rcelain : the highest degree laid between the raised parts, and did not lie at all

ched to bring the glaze into under the reliefs, as it was at first supposed. Under

not be used, as they would this misconception, experiments were made upon a

nd therefore only a certain body coloured in the mass with a small quantity of

attempted. oxide of chrome. The light green ground appear-

china-body, so well adapted ing in delicate shades through the white wherever

ly also be employed; but, as this had been thinly applied, gave a much more

rtiich succeed when used in pleasant result than was even anticipated, and,

Parian are attacked by the indeed, the successful management of those trans-

)ntained in the china-body, parencies now constitutes the principal charm of

isatisfactory results. the process.

lether good effects could not Simple as the method of proceeding has now

eap imitation of " Pate sur become, one must not imagine that the difficulties

ly by means of opaque glass of the first experiments were easily mastered. The

it ground—if an artist were white clay, thickly applied upon a dry surface,

ition to its development. would not adhere to the ground, but insisted on

w decoration on porcelain, curling up or falling off in the firing. To guard

ation of white reliefs upon against such accidents, vases were kept in the wet

not derived, as one might state as long as the work of decoration was being

iod jasper ware, but from a prosecuted. In this way w;is prevented the too