KERAMIC STUDIO 
S3 
LEMONADE SET IN GLASS 
D. M. Campana 
THE broad band on the pitcher and the monogram are 
all in solid Roman Gold. 
The small monogram and the fleur-de-lis on the two 
glasses are also in solid Gold. 
The two apple designs on the glasses are in Gold for 
the leaves, outlined in Black on the second firing and the 
fruit in Yellow Red outlined in Black. 
If desired the handles of the glasses could be made in 
solid Gold. 
This set could be used as a Lemonade, Water, Cider, 
or any other set and will be very effective and artistic. 
GLASS FIRING 
D. M. Campana 
IN firing, there is a peculiar difference between china 
and glass, in the fact that when you fire china you 
must be very careful not to allow any air into the Kiln; 
while in firing Glass it does not make any difference if you 
open the door of the Kiln, even when the Kiln is red hot. 
When I fire a Kiln full of glass, and I am uncertain 
if the Enamels or Lustres are correctly fired, I simply open 
the door of the Kiln and look inside, even if the Kiln is 
red hot and in this way I can see if the decorations are 
properly developed. I take a small dry stick and light up 
its point with a match and put it inside the Kiln around 
the different Glasses, inspecting this or that part of the 
Glasses, to see if they are fired enough. I then close the 
door of the Kiln again and keep up with my firing all 
the time, in fact I never interfere with the fire, as I let it 
go all time. 
When I start my fire, I keep my door open for a con- 
siderable time, say one-half an hour or more, and though 
this keeping the door open will hold back the heat, it makes 
my firing safe from breaking. I wish to say though, that 
I very often have started my fire and finished right through, 
but I wish to advise students that the door can be opened 
and closed as many times as they desire. 
Therefore if you have your glasses all placed in the 
proper place in the Kiln, you may begin your firing rather 
slowly, as a quick fire is apt to break the glasses at the 
foot much more than the cold air ; in fact all glasses with 
a heavy foot have a tendency to crack, if your firing is 
too quick in the beginning. 
I do not use any Firing Cones, but when the color in 
the Kiln is dark red glow, I open the Kiln and look inside, 
to see if the Lustres or Enamels are bright and shiny. If 
they are not, I close the door and fire a little longer; and 
if they are, I shut out the fuel and leave the door open, one 
or two inches or more. 
Firing Cones 0.22 can be used when you fire thick 
glass bowls, jars, trays, etc., but they would be a trifle 
hard for delicate stem glasses. It is better to learn to 
fire without cones. When you use them, place them back 
in the Kiln, where the heat is the strongest ; and when they 
barely begin to bend on the side, stop firing and open the 
door. Several decorators have been using them success- 
fully right along, but I consider them dangerous for per- 
sons not well acquainted with Glass Firing. 
In firing Enamels and Colors, I find that a slow fire 
develops them better and more evenly. In order to see 
more clearly inside the Kiln, I take off the isinglass in 
the peephole and put in its place a piece of glass, such as you 
received with the Gold slabs. This glass will crack every 
time you fire but you can replace it with another one. With 
this you can see better when the Kiln begins to become 
red. 
BORDERS, WILD PRIMROSE— RUSSELL GOODWIN 
