192 
HJEJVAMIC STUDIO 
After the thick oil is worked in, thin with lavender oil, 
breathing into the mixture and turning and grinding it 
until, when tested, it works smoothly and freely without 
flattening or spreading. For this purpose it is best to 
avoid using a very oily lavender. It may be thinned with 
turpentine if too oily. Fat oil may be used in the same 
manner as the thick oil, but as these oils are very thick 
and heavy, the danger of chipping is much greater. This 
is one of the reasons for which the tar oil method is to be 
preferred, as paste mixed with this oil as directed rarely 
chips. Of course firing plays some part in this, as paste 
which is underfired will chip, as is also the case with paste 
which has had a very hard firing. The ordinary "rose" 
heat, and that is the average firing, is the proper fire for 
paste work. 
With this lesson there are two problems given to be 
worked out. The design for the small bon-bon box com- 
bines flatly modeled flower forms and straight lines. The 
other design for a bread and butter plate combines dots 
and flower forms which are to be more highly built up 
than those of the other design. To proceed with the bon- 
bon box, divide the cover accurately into six sections. 
Carry the line well up on the cover, using the china pencil. 
Next measure and place the width of the band, and then 
gauge them with either the china pencil or keramic gauge 
as explained in a previous lesson. 
Prepare the paste as directed with the tar oil and 
turpentine. Remove some of it to one side on the glass 
slab and thin this considerably with turpentine. It must 
be thin enough to flow easily from the brush without 
spreading on the china. The idea in this flat treatment 
is to have the paste only slightly raised. After it has been 
gilded it will appear much higher. In mixing paste to 
this consistency the student may get it too thin. If that 
is the case breathe on the mixture and keep turning it 
over and over with the palette knife. This will serve to 
hold it together. The turpentine will evaporate as you work, 
so it is necessary to frequently add more to keep it in good 
working condition. When the roses are laid in proceed with 
the lines which suggest stems. 
The paste for lines as previously explained must be 
somewhat stiffer. To some of the mixture you have been 
using for the flowers add a little saliva. This will make 
splendid lines, the saliva seeming to give it just the "stringy" 
quality needed. Much practice is needed to handle paste 
HONEY JAR— WINIFRED S. GETTEMY 
(Treatment page 204) 
well, and one must learn by experience how to overcome 
its difficulties. The box may be carried out in several 
different ways. It may be covered both top and bottom 
to within an eighth of an inch of the border with gold, 
leaving a white line showing at each side of the border. 
Or the entire band, paste and all, may be gilded and 
the rest of the box tinted in some delicate tone. Tint the 
box first, and then when very dry apply the gold. The 
slight ridge where the cover and the bottom join will 
look well done in gold. Be sure and clean off any tinting 
which might be there, before applying the gold. The 
design could be carried out in lustres, with the back- 
ground of the border filled in with tiny gold dots. Try 
the same unit on something else, experimenting with the 
distances between them, the width of bands, etc. It could be 
HONEY JAR— WINIFRED S. GETTEMY 
(Treatment page 204) 
