RERAMIC STUDIO 
the ordinary glaze, also in the thickness which must be given to 
obtain artistic and pleasing effects. 
The fire does not act here as in the case of flammes. It 
only determines the flowing of boracic glazes and the results 
will be to a great extent unexpected, according to the time of 
firing and the variable thickness of the color. 
First, one or many colored glazes should be applied on the 
raw ware, as evenly as possible. When the piece is thoroughly 
dry, a coat of boracic glaze is applied over the colored glaze, its 
thickness depending on the kind of effect w-hich is looked for. 
Interesting results may also be had by applying a thin coat 
of boracic glaze between two strong coats of colored glazes of a 
different nature. These glazes do not give as good results on 
gres as on porcelain. 
For boracic glazes, as for fiamme reds, it is necessarj^ to 
place the vases on high columns, and to wash these thoroughh' 
with the iiffusible wash [50% calcined alumina, 50% washed 
kaolin (ball clay)]. As for reds also the vase must be thick, 
so as to avoid cracks, which, during firing, might be provoked 
by the thickness of glaze, the latter forming a kind of cuirass 
on the vase. 
The preparation of boracic glazes is made b3^ means of a 
flux to which, in a second fusion, are added the coloring oxides. 
Here is the formula of this flux: 
Feldspar in flour 40 
Sand 40 
Borate of sodium, fused and pulverised 12 
Chalk 18 
This flux being the key to these very simple combinations, 
it is unnecessary to give them in detail. Each person will 
mix with it, to suit his fancy, coloring oxides in the proportion 
of 2 to 4%, and then will frit the mixture mildh'. 
Coloring oxides which give the richest effects are copper, 
manganese and cobalt. The most successful superimpositions 
are boracic glazes with copper or manganese over the black or 
the brown glaze; or boracic glaze with cobalt over the j^ellow 
or the pink glaze. The boracic glazes which I use on my 
pieces contain 4% of coloring matter. These flowing glazes 
develop in an oxidising atmopshere. 
SHOP NOTE 
We are just in receipt of a circular of F. Weber 
Philadelphia, annoiuicing the introduction of a new 
kiln for overelaze decoration. 
& Co., of 
small oil 
CONVENTIONALIZED FROM JACK-IN-THE-PULPIT— HANNAH 
B. OVERBECK 
STUDY OF GOLDEN ROD— MARGARET OVERBECK 
CHRISTENING PRESENTS 
The youngest generation of to-day shares the advantages 
with the elder of the great improvements wiiich have been 
made in the realms of applied art. 
Instead of the ugly silver christening mug of the 70's, 
the most graceful cups and vases are given. The Guild of 
Handicraft is often called upon to execute customers' own 
designs. A favorite pattern is the tall, simply cru'ved cup, 
studded with carbuncles, cornelians, chrysoprases and generall.y 
has the infant recipient's name engraved just below the edge. — 
From the London Daily Mail. 
For many years M. Herbert of Paris interested himself in 
forming a collection of ancient mustard pots, and he succeeded 
in obtaining a unique series of all shapes and sizes in old Sevres, 
Dresden and other porcelains. M. Hebert recently died, and 
Mr. Fitz-Henry bought the collection from M. Hebert 's brother 
for presentation to the Louvre.' These mustard pots will find 
a permanent resting place in the room now occupied by the 
exhibition of the French Vr\m\ti\,ts.— Boston Transcript. 
