172 
KERAMIC STUDIO 
ART OF PYROGRAPHY OR BURNT WOOD ETCHING 
O. A. Van der Leeden 
HE discovery of many odd and quaint 
specimens, ornamented with dots, lines, 
etc.,— the first rude efforts of a half- 
civilized people, far removed from the 
refining influences of art,— leads us to 
think that their implements must have been of a very primi- 
tive order. Their work, probably done by applying burning 
pieces of wood, or heated metals, in various positions, to the 
articles of decoration,— many examples of which may be 
found in the Ethnographical Gallery of the British Museum- 
shows little resemblance to the conceptions of Pyrography in 
the present. 
In times of early history, also, when art and conviviality 
were linked closely together, and the old European taverns 
were the places of gathering on cold winter evenings, the 
maidens seated in picturesque groups around their spinning 
wheels, weaving tales of beauty and romance to the music of 
their wheels, the weary travellers gathered around the glow- 
ing fires, enjoying their pipes and entertaining each other with 
marvelous tales of adventure, it was the wont of each to leave 
as a memento of the festive time, sketches created by their 
fancy or the tales they had discussed. 
Perchance it happened that among this large and oddly- 
assorted group, there may have been a few who, in the com. 
pany, were yet not a part of it. These, lost in dreams, -for- 
getful of the company, the place, or the fast-fleeting time, 
upon being roused, lit their pipes, by the aid of a hot poker, 
and afterward, idly toying with the instrument, traced with it 
upon the woodwork of the fireplace. In such a manner did 
the idea of sketching by fire first originate in European 
countries. The owner of a country house in England has had 
" The Legend of Sleepy Hollow " done in tin's manner with a 
hot poker, on the woodwork of a fireplace, the rich sepia tints 
being calculated to bring out the best in this beautiful tale. 
Pokers, varying in size and shape, and said to be espec- 
ially fitted for producing different effects, were sold in sets, 
but the rudeness of the implements and the difficulties attend- 
ant upon their use, owing to the inability of obtaining con- 
tinuous heat, prevented the art from becoming well known. 
Through the invention of the platinum point, this industry 
has been revolutionized, and has now attained to such a degree 
of perfection as to be classed with the arts of painting, etch- 
ing, etc. 
After becoming thoroughly familiar with the uses of the 
point, the most beautiful effects may be produced, varying 
and mural decorations, an illustration of the latter being given 
in this issue of the KERAMIC Studio. 
The implements now in general use are the point, a metal 
handle covered with cork, wood, or anything that does not 
conduct heat, a loose length of tubing, a small bottle for ben- 
zine and one for alcohol, a rubber bellows with tubing attached, 
and a forked metal stopper to which the tubings are fastened. 
Many different and much more complicated outfits are now 
made, but I would suggest that the student use the simple 
apparatus mentioned above, and shown in accompanying 
illustration. 
For decorating wood — if the student intends to do much 
work — about three points are necessary. The chief point, 
and the one with which I do nearly all my work, is a medium 
point, slightly curved (Fig. i). By holding this point in 
different positions, various lines are produced. The second 
from the rough and dark lines, to the soft fine touches of an 
etching. Of subjects for decoration, there is almost no limit, 
although the work is especially adapted to furniture, interior 
Fig ^ 
point needed is the scorching or hot air point, open at the 
end, and used chiefly for shading (Fig. 2). The third point 
a flat point, is generally used for heavy outlining and plain 
backgrounds ( Fig. 3). For leather work, I would suggest the 
use of a separate point, round pointed at the end, as shown in 
Fig. 4. 
Platinum, of which the point is composed, is a perfect 
metal, very valuable, and is the only metal suitable for pyro- 
graphic purposes, because it has the property of absorbing 
the vapor emitted from the benzine, thus keeping the required 
amount of heat in the point. The interior arrangement of 
the point is quite complicated, being composed of a very fine 
coiled platinum wire, partially protected by a platinum sheath, 
which in its turn is covered by another sheath. Amateurs 
should not attempt to discover the internal mechanism of the 
point, for it will probably prove a disastrous undertaking. 
[TO BE CONTINUED.] 
LUSTRES 
Ruby needs an extra hard fire, otherwise it will rub off. 
It is a beautiful rich color painted on twice. Used for flower 
work it is simply gorgeons, ruby alone being very effective ; 
with orange over it, the result is a deep scarlet; with green 
over it, it has a greenish opalescent effect. Ruby over silver 
makes a very rich combination, also over copper. Used thin 
or padded, this makes a prettier pink than Rose. 
