RERAMIC STUDIO 
251 
use as clay. The two sizes of clay grains are now collected, 
placed in jars and burned at as high a temperature as may l^e 
available. The jars must of course be made of a good refrac- 
tory clay. Such jars or crucibles are always useful and if, 
when practising at the wheel, a dozen or two of these be made 
as trials, they will prove a great satisfaction, they can be used 
many times, 
In using sagger fragments for grog the same process is 
gone through except that the burned clay is harder to crush. 
In this case the dust is useful for various purposes. It can be 
mixed with the clay for lutes or can be worked up with a little 
plastic clay to use as stopping for cracks in the kiln. Of 
course the sagger cla^^ itself can be used for wads but wad clay 
is needed at every burn while sagger clay, when once the 
supply of saggers is made up, may not be required for sometime. 
For saggers the following mixture will be found good ; 
Ground Warrenite 2 parts by measure 
Coarse grog 2 " " 
Tennessee ball clay i 
or 
Ground Christy- claj- I " " 
Tennessee ball clay i " 
Coarse grog 2 " " 
For bats the same mixtures will answer liut fine grog 
should be used. And for lutes or wads the grog is replaced by 
sagger dust. These mixtures cannot well be made as slips in 
the manner recommended for bodies because the grog would 
settle out. The best way is to mix thoroughly in the dry state 
and then to form the clay batch into a ring like the banks of a 
pool. Fill the pool with water and allow it gradually to soak 
into the sides. The clay can thus be worked up into a plastic 
mass without loss and with the minimum of "muss." 
Sagger making is not easy. It demands considerable 
strength and skill but of course it is not impracticable even in 
the studio. M. Doat says the saggers may be thrown upon the 
wheel. The objection to this is the coarse grog which would 
cut the hands badl3^ In practise they are made by rolling a 
sheet of clay around a wooden drum of the right size. Care 
must be taken, however, to see that thej^ are straight and true. 
For this they should be set on the wheel and turned with a steel 
tool. Bats may be either beaten out and cut or pressed into 
plaster molds. These are of course burned before use. Not so 
the porcelain bats upon which delicate pieces are set. The 
essence of these is that they shall contract with and at the same 
rate as the porcelain itself, hence they are made of the same 
clay and used before burning. Soiled scraps of porcelain 
clay should be^set aside for this purpose. The stains and spots of 
impurities will not affect the shrinkage and good clay will he saved . 
DANDELION DESIGN FOR CUP AND SAUCER— HARRIET B. HURD 
THREE tones of grey blue on the white china, with dark 
blue outlines, or treat the design in gold, using Roman 
Gold in dark'est part with a powdering of black dots. Light 
(xreen Gold on part back of flower. Leaves left white, also 
flower; narrow bands Roman Gold; afl outlines Black. A tint of 
hory lustre might be placed all over the china as a background. 
