KERAMIC STUDIO 
THE USE OF AMERICAN WARES BY AMERICAN 
CERAMIC DECORATORS. 
I Address to the Natii 
al League of Mineral Painters.) 
By Charles F. Biuus 
HATEVER may be the skill of the ceramic 
artist involving complete control of ma- 
terial in the way of color and gold and 
implying a knowledge of drawing more or 
less perfect, the question of what porce- 
lain or pottery to employ cannot be a matter of indifference. 
In fact it may be said that the higher the skill the more im- 
portant this question becomes, for though a beginner may use 
almost any class of ware and gain experience in the using, 
when a certain facility is reached and good work is being pro- 
duced the quality of the decorated surface becomes of the 
highest moment. 
Good work demands good ware, and as it is, without 
question, the desire of all those present to produce good work, 
it is only fair that they should be enabled to procure pieces 
upon which their painting will not seem disgraced. 
It is a truism that "the best is none too good," but there 
is often a difference of opinion as to 'what constitutes "the 
best." Some like to use French porcelain and some prefer 
Belleek, but neither of these as at present constituted can be 
considered absolutely satisfactory. The former has a very 
hard glaze and it is not easy to make the colors unite well 
with this. In the latter the glaze is too soft and some colors 
are absorbed and almost destroyed. 
We like to be patriotic, especially since our brilliant and 
victorious war, but some persons evidently think that too high 
a price may be paid for patriotism. We would be glad to use 
American wares provided we are not asked to sacrifice too 
much. Not having any mandate on behalf of patriotism I 
wish to examine critically into the respective merits of im- 
ported and domestic wares, and having done so, to point out 
what improvement may be effected in the latter. Of course, 
none of us have any desire to improve the former. 
Large quantities of French porcelain are sold in this 
country in the white state for the use of decorators, and there 
must be a considerable demand for this ware or it would not 
be found in such abundance. Some of the porcelain is of high 
quality, technically, but there are certain objections to its use. 
The shapes are for the most part French in style, and as such 
demand a French treatment in the decoration. No style is so 
uncompromising as the French, and we do not want our deco- 
rations to look as though they had come across the Atlantic. 
I am aware that to some persons the highest praise that can 
be given to certain art objects is that they are " imported," in 
fact one would sometimes think that this is the only induce- 
ment that a salesman need offer. But I hope and believe that 
this notion is passing away. Here is one matter upon which 
patriotism may have full sway, and nothing will stimulate the 
art manufacture of this country more than for the women of 
America to demand home goods in preference to foreign. 
This is by way of a parenthesis. It is most desirable that 
American artists should cultivate a style of their own. In 
architecture this has to some extent been accomplished, but, 
so far as I am able to judge, it is not the case in any allied art. 
French porcelain, is from the nature of its manufacture, 
invested with an extremely hard glaze, and even in France the 
overglaze work is not, for this reason, entirely successful. The 
consequence of this hard and unyielding surface is that. the 
colors refuse to unite with the glaze at the heat of a decorat- 
ing kiln, and they present, even when hard fired, a dull and 
unpleasing quality. Decorators are therefore tempted to re- 
sort to flux, and various troubles arise therefrom. It is not 
practicable to use various fluxes, and even if it were, few dec- 
orators possess sufficient knowledge to employ them. Every 
color needs a special flux, for what would damage one tint 
will develop another. Flux causes the colors to peel off from 
the glaze and frequently give rise to a scummy and irridescent 
surface. My advice would be shun flux as you would a 
plague, and endeavor to reach your goal by other means. 
At the same time it would be foolish to deny that there 
arc certain advantages in the use of French porcelain. The 
pure white surface, the regularity and uniformity of the glaze. 
These are important points for we know exactly what we are 
doing even though it may not be the very best. 
With regard to Belleek ware, so called, (we must try to 
find a new name, for American Belleek is an absurdity), it has 
likewise its advantages and the reverse. To many the soft 
creamy tone is preferable to a cold white. The ware has a 
pearly translucence and is eminently suitable for dainty treat- 
ment. The shapes available are in great variety and suitable 
for every style of decoration, and in addition to this the ware 
is made in this country. Let it not be imagined, however, 
that I regard Belleek as perfection. It is capable of improve- 
ment and it will be improved. First there is the defective 
glaze. A glaze may be very beautiful to the eye and touch, 
as this is, but-as you are well aware, it is detrimental to some 
of the more delicate tints of color and to gold. In this con- 
nection I am glad to be able to announce that these difficul- 
ties have been overcome. The Ceramic Art Company of 
Trenton are producing a new glaze which exhibits all the 
qualities of a perfect porcelain glaze, such as are found, for 
example on the best English china, gold stands well upon 
it and Will burnish even when well fired. Rose color is pure 
and transparent, and in fact all the colors gain considerably 
in value. At the same time there is none of the harsh 
quality apparent on French porcelain, the colors are perfectly 
united with the glaze and no flux is necessary. It appears to 
me that with the preparation of this glaze almost every disad- 
vantage arising from the use of Belleek is overcome. The 
Ceramic Art Company have had the problem before them for 
some time not only with reference to your work, but for the 
sake of their own decorators also, for the same problems which 
beset you were felt at the manufactory. Now we. for I regard 
myself as identified with this company, feel that we can solve 
many of the problems which at one time beset us. 
In the matter of a fine Belleek body the Ceramic Art 
Company are progressing. Not satisfied to stand still, even 
with the beautiful ware we have we are always trying for 
something better, but it is premature to speak- of things which 
are yet in the laboratory. When we have better goods we will 
tell you and in the meanwhile we have already the best in the 
country. Do not think that I am saying these things for the 
purpose of booming the Ceramic Art Company. I would not 
for any consideration recommend that which I did not believe 
to be good, and, having your interests in mind, I put forward 
that which will, in my belief, give you the best results. 
Presuming your technical troubles to be mitigated by the 
advances of which I have spoken, what of the artistic merit of 
native productions? Unquestionably the home production 
offers the greatest variety in shapes and styles. French por- 
celain has never been remarkable for a great diversity of form. 
In fact the conditions under which French wares are manu- 
factured entirely forbid some shapes which are most favored 
