A dictionary of architecture and building : biographical, historical, and descriptive . we. Blomfield, Meyiaissance Architecture in Eng-land; Blomfield, The Formal Garden in Enr/land. KEPHISODOTOS. (See Cephisodotus.) KERAMICS. .1. The art and industry ofmaking objects of baked clay. B. Objects made of baked clay taken collec-tively. The arts of baked clay applicable to architec-ture are of two sorts; in one the clay surface,whether flat or modelled, is left without glazeor polish of any kind. (See Brick ; Stoneware ;Terra Cotta; Tile.) In the other, which formsthe subject of the ])resent arti
A dictionary of architecture and building : biographical, historical, and descriptive . we. Blomfield, Meyiaissance Architecture in Eng-land; Blomfield, The Formal Garden in Enr/land. KEPHISODOTOS. (See Cephisodotus.) KERAMICS. .1. The art and industry ofmaking objects of baked clay. B. Objects made of baked clay taken collec-tively. The arts of baked clay applicable to architec-ture are of two sorts; in one the clay surface,whether flat or modelled, is left without glazeor polish of any kind. (See Brick ; Stoneware ;Terra Cotta; Tile.) In the other, which formsthe subject of the ])resent article, the processesof the potter are employed. The most common forms of earthenware inuse in architecture are floor, roof, and wall til-ing, the last having for its primarj object the6G5 KERAMICS protection of buildings by an indestructible sur-face, cajiable of resisting the effects of weatherand changes of temperature. The glaze<l orenaniclleil face which offers most ojjjiortunityfor the characteristic colours of ]iottery in deco-ration is less diuable under friction than bodies. Keramics in Architecture : Cloister of , Bologna. The arches and the superstructure of brick of two colours, castto shape, oud of small tiles. of a semivitreous fracture (such as porcelain orstoneware), and consequently less adapted forfloor tiling than for walls or roofs. When usedfor this purpose on orcUnary earthenware bodies,the floor is slippery so long as the glaze retainsits freshness, and as soon as it is worn down byuse the soft substratum otters little resistance,and in any case its decoration is quickly majolica pavements of the Italian Cinque-cento otter extreme instances of this, as in thefloor of Raphaels Loggie in the Vatican, andthe clnuch of S. Jlaria del Popolo in Rome, asalso in churches at Bologna, Parma, Venice, andSiena, dating from 1480 onwards. The floortiles deijending for hardness on a glazed surfacethat have stood the test of time best are those
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