MANNER OF PAINTING THEM. 325 



The other mode was therefore preferred. The outline being 

 sketched, it was probably next carried to a superior artist, 

 who corrected the proportions, traced the features, &c., and 

 outlined the whole with a very thick line of the black var- 

 nish. 



HENRIETTA. 



Why did he use it so thick? 



MRS. F. 



Probably to afford an easier outline to those who had the 

 task of grounding the vase in black, and who, from careless- 

 ness or inexperience, would (as is often to be seen in the 

 vases) run the color upon the figure, which was left in red, 

 and upon which it was indelible. The thicker, therefore, the 

 outline, the less chance of it being passed; and in some of the 

 vases, it feels quite raised to the touch. The figures and 

 superior part of the drawing being finished, the vase was 

 next passed to another artist, to draw the reverse, and to 

 paint the borders and the minor ornaments; and another 

 probably put in the white, or other tints which were added 

 to the vase. 



HENRIETTA. 



Were there any other colors used? 



MRS. F. 



Yes; besides the black, white, blue, light yellow, bright 

 red, and a very dingy red, were sometimes employed. The 

 decorations being finished upon one vase, nothing remained 

 but the black ground, which being added, the vase was sent 

 to the oven for its second baking, when it was completed. 

 There is a vase in the Museum of Naples which was found 

 unfinished, and from that, and a careful examination of the 

 others in the museum, the above conclusions are formed.* 



ESTHER. 



The modern imitations are easily detected by immersing 



* See the works of the Canonico de Jorio. 

 28 



