. Keramic studio . ovel forms, both by itself and in combinationwith other decorative methods. M. Solon, in his article in theLondon Studio, wonders whether a painter or a sculptor willsucceed the more quickly in discovering the way of drawingout of the process all that it may yield under proper its decorative range is wider than has yet been demon-strated is unquestionable. I have myself made one or twoessays in its application, which go far to show that the pos-sibilities are extensive. The plaque illustrating The Flattererand the Net, from Bunyans Pilgrims Progress, is anampl
. Keramic studio . ovel forms, both by itself and in combinationwith other decorative methods. M. Solon, in his article in theLondon Studio, wonders whether a painter or a sculptor willsucceed the more quickly in discovering the way of drawingout of the process all that it may yield under proper its decorative range is wider than has yet been demon-strated is unquestionable. I have myself made one or twoessays in its application, which go far to show that the pos-sibilities are extensive. The plaque illustrating The Flattererand the Net, from Bunyans Pilgrims Progress, is anamplification of the ordinary methods, inasmuch as the back-ground is polychromatic. The sky is yellow and low tonedred, the foliage and the rest of the landscape is quiet myrtle,olive and bronze tones, while the flatterer is wrapped in asemi-transparent red cloak. The figures of the captives underthe net and the punishing angel are in pure white. Althoughthis plaque was done purely as an experiment the eflect is quite. legitimate, and not at all bizarre. I have also another plaquewith a figure of Giant Despair cased in armour. The land-scape backgi^ound in this is also done in colours, but the tintsare subdued so that at a little distance the general effect isalmost monochromatic. The face and hands are modelled inwhite, and the giant has wisps of lank hair falling from underhis helmet in black. He has green pupils in his eyes, and thesetouches of color in combination with the whiteness of his face,give him an unearthly appearance, in keeping with his titleand character. His armour was etched with hydro-fluoric acid in elaboratepatterns and gilt and scoured. I have mentioned these examples to show that the use ofthis method of decoration need not be confined to the ordinarycameo-like effects, but may be extended to fit the ingenuityof an enterprising craftsman. The idea of pate-sur-pate, was not founded, as might besupposed, on the Wedgwood Jasper wares. The resemblanceis only sup
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Keywords: ., bookcentury1800, bookdecade189, booksubjectdecorationandornament
