ftERAMIC STUDIO 
245 
articles of each exhibitor, as far as practicable, be grouped 
together, marked with his or her name in plain lettering, 
and each article labeled with a specially designed label, and 
tied with neutral colored thread, plainly marked with the 
price; that the number corresponding with the number in 
catalogue be subordinate to these things. Let there be a 
catalogue by all means, but only as an additional aid to the 
public, for whom things cannot be made too easy. 
tP *• 
ANSWERS TO INQUIRIES 
C. P. — Batik is a craft which originated in Java and the natives there 
excel in it. It is a method of covering, in a design, material with melted 
beeswax which is absorbed by the material without running, and when im- 
mersed in the dye bath, prevents the dye from penetrating the covered parts. 
It is allowed to remain in the dye untill the color is thoroughly absorbed 
when it is hung out to dry. When quite dry it is placed in boiling water, which 
melts the wax and causes it to rise to the surface when it is skimmed off for 
use again.. This process is for one color, for several colors separate dippings 
are required. Batik which is to be brown blue and white must have the 
brown and white parts covered with wax. The sheet is put into the blue 
dye, dried and the wax removed. The wax is again applied to those parts 
which have to be white and blue ,the sheet put on the brown dye and again 
dried. This is rather a tedious process and craftsmen usually confine their 
work to two contrasting shades. 
(See articles on the Batik by Theo Neuhuys, May and June issues 1907.) 
C. R. — Niello is a compound which is used as an inlay in all kinds of 
silver articles. It was done principally in Russia where its composition for 
a long time remained a secret. It is said to have been invented by Maso 
Finguerra, an artist, and was found among his belongings after his death. 
It is also claimed that the Egyptians used a similar substance in olden times. 
It first became known in the 15th century in Italy, and was much used by 
the jewelers there. Cellini decorated some choice work with niello. It 
was used by engravers too, who filled copper engravings with it and also used 
it for decorating ecclesiastical vessels. 
It comes in sticks like sealing wax, the silver is heated and the stick 
rubbed in the engraved part until the niello is level with the surface of the 
silver when the whole is polished. Some kinds of niello are very hard and 
will take a high polish. 
ANSWERSiTO CORRESPONDENTS 
A. B. C. — The glaze of Belleek china if over fired, will crawl and absorb 
gold in such a way that it can not be remedied. We hardly think you could 
secure an even surface by applying a thin layer of raised paste over the gold. 
We would suggest making a fine pattern in raised gold and enamel using the 
rough gold band for ground, a fine scroll with enamel flower or jewel ornament 
should hide the roughness fairly well. Use unfluxed gold over the paste. 
J. H. P. — You can put a monogram on a tinted plate by using unfluxed 
gold. You can even put it on the unfired tint if well dried first. But the tint 
must not be heavy. The unfluxed gold ought to be sufficient without going 
over with Roman gold. 
Mrs. A. J. M. — For your dragon handle we would advise first a good coat 
of Dark Green lustre well fired, then a coat, not too heavy, of Ruby lustre. 
If you wish you can use touches of Ruby alone on nostrils, eyes, etc., or if 
you prefer the underside of the dragon lighter, use Yellow lustre over Rose 
which gives an opalescent pearly effect. 
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