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crack, but by coveringboth sides it makes it very stiff and strong. 
The enamel is first pvxt on the back. It does not at all 
matter what color you use in this case, as it will not show 
when the enamel panel is set. If you save your waste enamel 
it will be useful for this backing. Pvit a little gum tragacanth 
with this enamel and cover the back of the plate and dry it 
and let it cool. Do not let it get any more than just dry for 
if 5^ou do the gum will have lost its power. When your plate 
is cool turn it over and coA^er the front with enamel. This 
enamel is to form the background color of j^our design. It 
may be blue or green or whatever yon wish. After the front 
side has been covered, dry it off and place it in a muffle furnace. 
If you had not used gum in the backing enamel it would fall 
oft' at this time. After the plate has been fired we are ready 
to put on the design. 
Let us in this case use blue as our background color. We 
first of all work the design itself in white. This white mvist 
be ground very fine, so fine in fact that it looks like cream. 
You first grind the white as fine as you can in an agate mortar 
as I have described and then with a pestle on a slab of ground 
glass about a foot square grind it still finer. The enamel 
nmst not be washed after it is ]Hit on the ground glass. This 
white enamel is not quite opaque. 
After the white has been ground as fine as possible we are 
ready to put our design on the blue ground. This is done by 
first taking a little of the white on a brush and covering the 
whole of the blue plate wdth as thin a coat as possible. Let 
this white dry. After it is dry, but not fired, yott can place 
a piece of tracing paper over it with the design drawn on this 
paper and go over the outline with a pencil. WTien you take 
the paper off, you will find the pencil has pressed the tracing 
paper against the unfired white enamel and made an impres- 
sion. Take a pointed piece of wood and scrape oft" all of the 
white on the background of the design. 
After this is done you fire the panel, placing it on an iron 
l)late which is covered with tripoli. If the iron plate were not 
covered with tripoli the enamel on the back of the panel 
would stick to the iron. Let it stay in the muffle furnace imtil 
the white is smooth. When you take it out of the furnace 
and it is cool you will find you can just barely see the design. 
This is because the white had to be put on so thinly and be- 
sides the white is not quite opaque so you see the blue through 
the white. This first firing of the white is simply to get 3'our 
design transferred upon the ground enamel. 
Cover the design with another coat of white, then dry oft" 
the water and fire again. After the first firing of the white 
you must put the iron plate into the furnace and get it red 
hot, then take it ovit and slip the panel on it with a knife and 
then put it into the furnace, and let it fuse. If you did not 
get the iron plate red hot, the first coating of white would 
crack. After the second firing the enamel will be much more 
opaque. You can now put on another layer of white and fire 
in the same way, this time it wiU be quite opaque. 
We now have a wliite design worked on a blue ground. 
Grind your transparent colors and place them over the white. 
It is possible to get light and shade in this process bj^ the use 
of the white alone. That is done by putting it on thin in some 
places and thick in others. 
TEANSLUCENT ENAMELS-E. FEUILLATBE 
THE ART OF ENAMELING ON METAL 
Laurin H. Martin 
(CONTINU rd) 
LIMOGES PROCESS 
1I1AVE described the process of engraving out spaces for 
the enamel and soldering on wires, making divisions, also 
transparent enamel without any backuig, and the shaping of a 
sheet of metal in different ways for different effects, and the 
only waj^ left is the Limoges process. In this process the 
]netal does not show in any way. It is enamel fired upon the 
surface of enamel. Copper is as a rule the metal used as the 
base. 
Use very thin metal. No. 26 gauge being a good thick- 
ness. If the design is round, the copper is curved like the 
back of a watch case. In any case the copper is not left flat. 
It must be curved to make it stiff. Both sides of this copper 
plate must be covered with enamel. If you shordd only cover 
one side the plate would twist out of shape and the enamel wovUd 
