. The potter's craft: a practical guide for the studio and workshop . the pale seagreen named celadon by the French. This color inChina was called the sky after rain and was con-sidered both rare and valuable. The porcelain of Copenhagen is the product of scien-tific skill and artistic taste. In the studios attachedto the Royal Manufactory there has grown up a tra-dition of work and criticism which is fostered byladies of birth and position. Many of these paint uponthe porcelain themselves and so constitute a schoolwhich has become world famous. Natural objects are, for the most part, chosen a
. The potter's craft: a practical guide for the studio and workshop . the pale seagreen named celadon by the French. This color inChina was called the sky after rain and was con-sidered both rare and valuable. The porcelain of Copenhagen is the product of scien-tific skill and artistic taste. In the studios attachedto the Royal Manufactory there has grown up a tra-dition of work and criticism which is fostered byladies of birth and position. Many of these paint uponthe porcelain themselves and so constitute a schoolwhich has become world famous. Natural objects are, for the most part, chosen and,as the pallette of colors is, owing to the intense fire,quite limited and low in key, a tone of quiet atmos-phere pervades the painting. This is accentuated bythe use of the air-brush to distribute a ground colorupon the ware in graduated strength. At the National Manufactory of Sevres there hasbeen some attempt to follow the Copenhagen methodbut to a greater extent the work is along the lines ofconventionalized form. In this treatment the French I36J > n 05. THS NEW YOR|:l PUBUC LMSRARf ttLMM P«UM«ATt««4«. The Potters Craft artists excel, being wonderfully accurate—almost tooaccurate—in their lines and spacing. Several indi-vidual workers in France have also pursued this plan,designing and executing the pieces which have madethe French artist-potters famous. In the porcelains of Berlin the quahty lies largelyin the complete mastery of technical details. The workis, as would be expected, German in style, but thepaste is pure and the colors are well prepared. From this brief review it will be seen that the inter-est in the manufacture of porcelain lies not so muchin variety as in the value of individual results. In thepottery described in the previous chapter a great manydifferent clays were used and each one proved sug-gestive to the potter. In porcelain, on the other hand,the body clay is almost identical wherever prepared,the requirement of a white translucent
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