CLAYS OF NEW YOEK 815 



tracing the figure witli a dull point and some coloring matter, which, 

 remains in the depressions of the design. Yellow ware is frequently- 

 ornamented with bands of various colors. 



In majolica the coloring materials are mixed directly with the 

 glaze. 



It is the decoration of white earthenware and china, however, 

 that calls forth the ingenuity and skill of the potter. White wares 

 may be decorated either over the glaze or under it. In the former 

 the decoration is applied after the glaze has been put on and fired; 

 in the latter the decoration is put on the biscuit ware, then fired, 

 then the glaze applied and the ware fired again. 



The advantage of underglaze decoration is that it is more durable, 

 the decoration being protected by the glaze, and oftentimes the 

 effect produced is prettier than when the colors are applied on the 

 glaze. The number of colors which can be used in underglajze 

 decoration is limited, as they have to withstand the effect of the 

 heat required to fuse the glaze. The colors which can thus be used 

 are blue, brown, green, yellow. It is on this account that hard 

 fired porcelains have their delicately tinted decorations applied over 

 the glaze. Pink, for instance, has to be applied in this way, and so 

 does gold. 



An imitation of underglaze work is sometimes made by applying 

 the decoration on the glaze and then firing until the glaze softens 

 and the colors sink into it. 



Underglaze work was the prevalent method of decoration in this 

 country from 1845 to 1850. It was then abandoned for a time, and 

 in the last 10 years the method has been steadily regaining favor. 



All designs and colors were formerly applied by a brush, but 

 the prevalent method now is by printing. The design is engraved 

 or etched on a copper plate; the reversed print is then made on 

 specially prepared fine paper. This is applied to the piece of pottery 

 to be decorated, either on the glaze or on the biscuit ware. The 

 paper is carefully rubbed so that every portion of it shall come in 

 contact with the surface of the ware, and it is then allowed to stand 



