ftERAMIC STUDIO 
29 
AZALEAS— EDITH ALMA ROSS 
(Treatment page 32) 
pieces. When you are through with the sand, pour off the 
water and the sand will soon dry. Put it away out of the 
dust, and when you want it again moisten it with water as 
before. 
An agate polisher is used for producing very high luster. 
It is a difficult tool for most beginners to handle, as it re- 
quires sureness of touch and a steady hand. It is used 
also for chasing designs on the mat gold. 
Most pieces, especially tableware, need two coats of 
gold, and it is applied for the second firing in exactly the 
same way as for the first. It is not necessary to burnish the 
first coat. 
Do not put your brushes away clogged with gold. They 
will harden, and when you attempt to soften them so that 
you can use them again, the delicate hairs will break and 
split, and the. brushes will be useless. Keep your gold 
covered when not in use. In this way you will keep it 
clean and free from dust and dirt. Be sure to dry the gold 
when a piece is all finished, following the method for drying 
tinting explained in the first lesson. Never send out to be 
fired, or attempt to handle before firing, a piece of china 
with half-dry, sticky gold. Dry all pieces thoroughly. 
Use an asbestos mat to stand a piece on when drying it in 
the oven. Then the china need not be touched when 
removing it from the oven. It is quite likely to rub when 
hot, as it does not thoroughly harden until cold. 
Liquid Bright Gold — This is a sort of luster, and is 
gold in a much diluted state. It comes bottled ready for 
use and is a brownish, oily liquid. It is applied by dipping 
the brush directly into the bottle, and applying it just as it is. 
If it becomes too thick, it is diluted with the gold essence, 
which comes with it, or with lavender oil. Turpentine 
should never be used with it, as it stains and ruins it. It 
comes from the firing with a brilliant luster, and does not 
require burnishing. It is exceedingly ugly when used alone, 
but makes a good foundation for mat gold. It is used on 
handles, the lining of cups, etc., and on large surfaces, for 
the first firing. It is then covered with mat gold for the 
second firing. The best way to use it is to combine the two 
golds, using a little more than half mat gold and a little 
less than half bright gold. This makes a fine, hard founda- 
tion gold and wears splendidly. Use lavender only with 
this mixture, as turpentine must not be used with the bright 
gold. 
Green Gold — This is made by adding a small amount 
of mat silver to mat gold, and is very attractive. The 
proportion is about one part of silver to three parts of gold. 
Bronzes — These come in different shades, such as gold 
bronze, green-gold bronze, and red-gold bronze. They are 
mixed and applied in the same manner as mat gold, and 
have a dull mat luster when fired. They are used on 
handles and large surfaces, and are not very practical. 
Their use should be confined to vases and other bric-a-brac, 
as they are unsuitable for tableware. 
Silver — Mat silver is very handsome for tableware. 
It comes prepared on a glass slab like mat gold, but is light 
grey in color. It is mixed thoroughly with lavender oil 
and spread in thin, even coats on the china. It will take 
a hard firing and needs a thorough scrubbing with sand to 
burnish it. Two or three coats will give a beautiful body, 
which will take a high polish. This will tarnish, just as any 
silver will, and needs to be polished occasionally. 
A mixture of gold and silver, about six parts of silver 
to seven parts of gold, makes what the silversmiths call 
"white gold." This is a delightful substance to work with. 
It is as white as silver when fired, but has a yellow cast. 
Liquid bright silver may be used for the first firing, but 
mat silver must be used for the second. 
Liquid Bright Silver — This is of the same nature as 
the bright gold. Turpentine must not be used with either 
