. Keramic studio. ation , a slight overfiring or underfiring may spoil thementirely. On account of their tendency to flow, the placingof the ware is complicated. Placing, firing and the prepara-tion of many of the frits and glazes require special, minutecare and a good deal of time. I will mention specially crystal-line and flamme glazes which in every kiln will give only asmall percentage of really good pieces. It is then evident that the porcelain maker who renouncesthe comparatively easy field of painted decoration for themore fascinating work of colored glazes and decoration i
. Keramic studio. ation , a slight overfiring or underfiring may spoil thementirely. On account of their tendency to flow, the placingof the ware is complicated. Placing, firing and the prepara-tion of many of the frits and glazes require special, minutecare and a good deal of time. I will mention specially crystal-line and flamme glazes which in every kiln will give only asmall percentage of really good pieces. It is then evident that the porcelain maker who renouncesthe comparatively easy field of painted decoration for themore fascinating work of colored glazes and decoration inpaste, has before him an arduous path, strewn with almostdisheartening difficulties and disappointments. However,there is one point on which he is more favored than any otherceramist, and this is the quality of his colors, due to the tem-perature of the firing. Around cones 8 to 10 (2330 degreesto 2430 degrees F.), the temperature at which most of theChinese porcelains were fired, the quality of the colors is un-. surpassed and the palette varied and rich. Everybody knows that the palette of ceramic colors,which is practically unlimited at low temperatures, is grad-ually thinned out by the higher firings, until at the high pointsof strictly hard porcelain (cones 14 to 17—2550 degrees to2700 F.) only a few colors subsist. If the Copenhagendecoration is confined to a few shades of blues, greens andgreys, it is not as a result of choice, but simply because noother colors resist the intense heat. Another curious fact, and one which may not be generallynoticed, is that, notwithstanding the wide range of colors atlow temperatures, the most artistic potteries in the historyof the world have confined themselves to a few colors only,and these of subdued and soft tones. In the Boston Museum may admire a magnificent collection of old Japanese Satyrs and Daisies. Vase in Texas for the American Womans League. one potteries, unfortunately very badly displayed. The generalimpre
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Keywords: ., bookcentury1800, bookdecade189, booksubjectdecorationandornament
