A11T OF COLOURING. 



required, as in flesh tones, for instance. But the difficulty does 

 not end here, for, as a definite heat can alone give to a colour a 

 perfect hue, and, as the colour is continually varying with the 

 different stup-s of graduated heat, another ri^k is incurred that 

 resulting from the liability of its receiving the heat in a greater 

 or less degree, termed "over-fired" and "short-fired." As an 

 instance of its importance we will cite rose-colour, or crimson, 

 which, when used by the painter, is a dirty violet or drab ; during 

 the process of firing it gradually varies with the increase of heat, 

 from a brown to a dull reddish hue, and from that progressively to 

 its proper tint. But if by want of judgment or inattention in the 

 fireman, the heat is .allowed to exceed that point, the beauty and 

 brilliancy of the colour are destroyed beyond remedy, and it 

 becomes a dull purple. On the other hand, should the fire be too 

 slack, the colour is presented in one of its intermediate stages, as 

 already described ; but in this case extra heat will restore it. Nor 

 must we forget to allude to the casualties of cracking and breaking 

 in the kilns by the heat being increased or withdrawn too sud- 

 denly, a risk to which the larger articles are peculiarly liable. 

 These vicissitudes render enamel painting in its higher branches a 

 most unsatisfactory and disheartening study, and enhance the 

 value of those productions which are really successful and 

 meritorious. 



In enamelling, ground-laying is the first process in operating on 

 all designs to which it is applied; it is extremely simple, 

 requiring principally lightness and delicacy of hand. A coat of 

 boiled oil adapted to the purpose being laid upon the ware with a 

 pencil, and afterwards levelled, or as it is technically termed 

 "bossed," until the surface is perfectly uniform; as the deposit 

 of more oil in one part than another would cause a proportionate 

 increase of colour to adhere, and consequently produce a variation 

 of tint. This being done, the colour, which is in a state of fine 

 powder, is dusted on the oiled ground with cotton wool ; a suffi- 

 cient quantity readily attaches itself, and the superfluity is cleared 

 off by the same medium. If it be requisite to preserve a panel 

 ornament, or any object white upon the ground, an additional 

 process is necessary, called "stencilling." The stencil (generally 

 a mixture of rose-pink, sugar, and water) is laid on in the form 

 desired with a pencil, so as entirely to protect the surface of the 

 ware from the oil, and the process of "grounding," as previously 

 described, ensues. It is then dried in an oven, to harden the oil 

 and colour, and immersed in water, which penetrates to the 

 stencil; and, softening, the sugar is then easily washed off, 

 carrying with it any portion of colour or oil that may be upon it, 

 and leaving the ware perfectly clean. It is sometimes necessary, 



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