RERAMIC STUDIO 
33 
this fragment of the Ceramic Palace, the dimensions of 
which, about 38 feet high and 31 feet wide, were very imposing. 
This construction could not be undertaken with the 
known materials and a special grfes was -necessary, of a more 
common and less expensive clay than porcelain, but easier to 
work and fire than the stoneware of Provence, of the Beau- 
vaisis or of the Rhine country. Mr. Vogt, the technical di- 
rector, solved the problem by inventing a grhs of very fine 
paste, yielding easily to the thumb of the sculptor, keeping a 
long time its dampness, easy to throw and model, impervious 
to water and consequently not liable to crack, resisting strong 
pressure, receiving well the most varied coloration, and, most 
Mantel-piei 
a grfes in the Museum of Decorative Arts, Paris. 
precious quality, making possible the execution of large 
pieces. This point being acquired, there remained to find the 
mat or semi mat glazes and the enamels, which firing at the 
same temperature as this new, material, would make a har- 
monious whole with it, without any danger of crackling and 
scaling. This was the work of the chemist Mr. Giraud. 
After numerous experiments and trials, the architectural 
fragment enriched with the flammes and crystallized effects of 
the new grand feu palette, was piece by piece erected on the 
Esplanade des Invalides. 
Having heard of the creation of this new material, the 
architect Mr. Thomas asked the factory to model in gres his 
frieze of the Palais dcs Beaux Arts, 77ie History of Art, the 
designs of which had been made by Mr. Joseph Blanc of the 
Institute. The sculptor Barrias executed in relief this large 
composition, an apotheosis of Art since prehistoric times, and 
at the proper time the 4,500 pieces, covering a surface of over 
400 square yards, left the kilns to play their part in the deco- 
tion of this monument consecrated to Art. The figures are 
in relief on a turquoise background and display the wonderful 
variety of grand feu colored glazes. 
Another important work was a monumental mantelpiece 
over twenty feet high, ordered by the Minister of Beaux Arts 
and executed by Mr. Sedille, and which showed that gres 
cerame, created for outside architectural decoration, was also 
very suitable to the more delicate interior decoration. 
While these architectural works were being carried out, 
the chemists completed the series of colored glazes, of grand 
feu colors over and under the glaze, red, blue, yellowLsh green, 
brown and black, the crystalline glazes which had been so 
successfully used at Copenhagen, and gradually the mufHe 
firing was entirely replaced by the grands feux, rapid, rational, 
the only ceramic firing. However at this same time the old 
porcelaine tendre was reconstituted, with its rich translucid 
enamels (domain of muffle firing). 
In 1895, Mr. Coutan having resigned, Mr. Sandier became 
Director of the Works of Art. He discarded all the old 
forms which had become unpleasant because they had pleased 
too long, and replaced them by a number of new shapes of 
all sizes. For decoration, he substituted for the illogical prin- 
ciple of covering with opaque colors the white surface of the 
porcelain, the more sensible one of using colors only to 
bring out better the brilliancy of the white and precious clay. 
After his own designs, he directed the execution of a 
monumental gres fountain, of more than 30 feet at the base, 
with a main column over 20 feet high, rising from a large 
basin, above which are three dancers by Mr. Boucher. A 
combination of many small basins and columns decorated with 
turtles, fishes, shells, water lilies, etc., and covered with the 
richest crystalline glazes, produced with the play of water a 
most pleasing effect. 
[TO BE CONTINUED.] 
NASTURTIUMS— (Supplement) 
M. M. Mason 
FOR first firing the nasturtiums are painted with Yellow 
Red for the light ones, Carnation for the deeper ones, 
and Blood Red with the addition of a little Ruby for the 
darkest flowers. The dark markings are put in with Carna- 
tion in the light flowers and Blood Red and Ruby in the 
darker ones. 
The background is laid in with Albert Yellow, Yellow 
Brown, Black Green and a little of the deepest flower color. 
When dry, the paint is dusted with the same colors used 
in painting, allowing some of the Blood Red to go over the 
leaves. 
Retouch the yellow flower with a wash of Albert Yellow. 
The same colors used in laying in are used for strengthening 
and modeling the others. The same colors are also used in 
retouching the leaves as were used in the first painting, with 
the addition of a little Yellow Brown in places. 
It is desirable to keep the color scheme as brilliant and 
glowing as possible, using washes of Yellow Brown, Black- 
Green, Carnation and Ruby. 
