PEACTICAL LESSONS IN PAINTING ON CHINA PORCELAIN, EAUÏIIENWARE, FAIENCE AND ENAMEL BY Mme la BARONNE DELAMARDELLE, Professor AND Mr. p. goupil, Pupil of Horace Vernet Figtire-Painter at the Sèvres Mannfactortj ficier d' Académie {services exceptionnels rendus aux écoles gratuites de Dessin) TRANSLATED BY GUSTAVE A. BOUVIER THIBD EDITION LONDON ^ LECHERTIER, BARBE,''& CO. 60 REGENT STEEET, W. 1879 rrice One Cl tilling Digitized by the Internet Archive in 2013 http://archive.org/details/practicallessonsOOdela PEACTICAL LESSONS IN PAINTING ON CHINA POECELAIN, EAETHENWAEE, FAIENCE AND ENAMEL BY Mme la BAROISTNE DELAMARDELLE, Professor AND Mr p. goupil, Pupil of Horace Vernet Figure- Painter at the Sèvres Manufactory Officier Académie {services exceptionnels rendus aux écoles gratuites de Dessin) translated by GUSTAVE A. BOUVIER THIRD EDITION LONDON LECHEETIER, BARBE, & CO. 60 REGENT STREET, W. 1879 LONDON : PRINTED BY SPOTTISWOODE AND CO., NEW-STREET SQUARM AND PARLIAMENT STREET CONTENTS. PAGE Introduction, by M. F. Goupil 1 Prefatory Eemarks, by Mme. E. Delamardelle ... 9 1st Lesson. Preliminaries. — Preparation for AVork . . 11 Painting on Porcelain: — 2nd Lesson. Selection of Pieces for Decoration. — Of Artistic Styles 19 3rd Lesson. Setting the Palette for Monochrome, Figure Subjects, Flowers, Landscape, &c. — Tube Colours .......... 22 4th Lesson. Composition, Use and Mixing of the Colours 28 5th Lesson. Monochrome Painting 40 6th Lesson. Painting the Head in Colours ... 45 7th Lesson. Painting, in the Style of Boucher, Flowers, Fruit, Birds, and Landscape . . . . . 48 8th Lesson. On Backgrounds for Ordinary Muffle . 54 9th Lesson. Painting on Faience, Soft Paste Porcelain, AND Enamel 59 Description and Price List of the Colours and Accessories most requisite for Artists and Amateurs .... 65 INTEODUCTION- By F. GOUPIL. A VERITABLE progress. A great problem solved ! No more time lost, no more tedious and wearisome grinding. Let amateurs and artists rejoice; henceforth, they are spared many a long trouble, thanks to the ingenious invention of Tube Colours. Simple means are generally those which are the most serviceable. They accelerate and facilitate action. What is there more profitable to man than the judicious employment of time, which, we repeat here, is the most jorecious fabric life is made of? Let us not then spend our time without profit or aim, in words which melt in air, nor yet in actions without results. Hollow phrases emit sounds more or less harmonious, but they are empty and fleeting. Let us follow the march of progress : Onward ! Let us popularise art ! Let us popularise science ! No more exclusiveness, no more trade secrets ! Make room for art in the family circle ! May this second religion, delightful consoler that lifts up the soul towards nature and the Creator, take a seat by our fireside ! Aspirations towards the Creative Art, Source of Enjoyment. — Special Attraction to Ceramic Decoration. How many persons, who have never given art a thought, are neverthe- less influenced by the charm of pictures, engravings, handsome buildings, the magnificent productions of industry — without knowing why! They B 2 have the poetic intuition for art; they are sensible to the beauties of nature, which speaks to them a language unknown to the mass, that are less refined and less easily impressed. It is this priceless faculty I wish to diffuse by exalting. For this I shall place my readers before the potter's wheel, the initial implement of ceramic art. Is there anything at once more curious, or more astonishing, than ta follow the work of an experienced potter ? He places a lump of clay on the upper slab of the wheel, the motion of which is regulated at will by means of the impulse given by his foot to the large parallel slab below, and the vase grows by magic from the tips of his fingers. See how many various shapes appear and succeed each other through his agency! One might imagine that they were mysteriously hidden within him ; but the intervention of a sponge and water, and the skilful pressure of the fingers exercised with judgment, are all his secret. The lump of clay has at first a simple and massive form ; rising into a cone, it is next hollowed out to acquire the power of holding ; then, getting thinner by degrees, it becomes elegantly curved, undulating, as you will ; the flower-pot is turned into a bottle, a decanter ; suddenly, a section dex- terously performed by the help of a flat knife, makes another object succeed to the decanter, which now becomes a bowl. This bowl, compressed in its lower part, rises on a thin stem, and, by -a new transformation, becomes and remains finally a cup. A few seconds have sufficed for all these meta- morphoses ; is it not really marvellous ? This attractive spectacle is the perfect image of human education, of whatever kind it be. We are born unconscious of all the faculties of which our intelligence is capable. All the germs of genius are within us in the lump of our brain. Let us place it then on the slab, which we shall call attention, and let us set it in motion on the axis, our will. We shall be surprised to find that our brain, under the impulse of the love of learning, acquires unexpected developments through the good direction of our in- dustrious efforts. The potter's wheel is the simplest, the most necessary, and one of the most ancient instruments of man's industry. The ceramic arts owe it their greatest development throughout the entire world. It offers us a lively image of the creative power of man. By the help of a simple tool, and in an exceedingly limited space of time, he can fashion the rough, inert material, and impose on it the forms created by his imagination. The fire will continue his handiwork : by firing, the moistened dust will become stone. Amateurs and artists will then take possession of the work to embellish and decorate it. They also will create ! To create a work of art, what an ineffible pleasure ! How much happi- 3 ness there is in ornamenting, in decorating your home yourself with the colours, the forms, and the objects you like best ! Dear reader, think on it ! When you have bought an ornamented service in a shop, you have already borne testimony to the superiority of your intellect. But your money alone has procured you a satisfaction, which is common enough after all: that of eating out of everybody's plates and dishes. You will agree with me that he only who has painted his service himself can truly be said to eat out of his own dishes. How much more valuable then will these objects become, whereon you have put your own work, and which you keep round you or give as friendly presents to those you love or by whom you are beloved — objects that no one else could pro- cure at any price ? Facilities for Study and Work. If I have been able to inspire you, kind reader, with the desire to par- ticipate in the easily acquired pleasures of which art is the inexhaustible source, my work is half done. It remains but to warn you against the difficulties you will have to surmount. Let us reduce, let us simplify the means, let us suppress the annoyances, let us facilitate useful and agreeable occupations ! You have drawn but little — never, perhaps. Of our tools and our pro- cesses you are quite ignorant, and know not where to commence. Yet be without fear. Madame la Baronne Delamardelle, to whom I am going to resign my pen, will be your guide. The simplicity, the clearness of her lessons will disperse your fears, and will determine you, no doubt, to try your fortune in first attempts on porcelain, which is and ever will be the queen of heautiful wares, the noblest and worthiest of the admiration of Ceramists and enlightened connoisseurs. Requisites. — M. Lacroix, by the employment of a system of grinding, all the more perfect because it is done by machinery with regularity and rapidity, under the continual superintendence of intelligent foremen, has solved the problem of uniting the useful with the agreeable, and of sparing the artist an immense deal of trouble. The beauty of the colours, which are the choicest, their brilliancy, the facility in the handling, and the finest pos- sible fusion in the firing, to produce uniformity of glaze, a thing so much sought after by Ceramists, have been obtained at last by the talented chemist's labours and care. We cannot do less than give the highest praise to the extent and variety of resources offered those who practise pottery painting, by the ' palette ' of all the colours in tube or powder, manufactured by the firm of M. Lacroix. B 2 4 If painting on china has recruited many adherents in all classes of society, even in its highest ranks, it is mainly owing to the manufacture of enamel colours in tubes, which has saved amateurs the trouble of grinding their own colours, a long, tiresome, and nauseous operation. Tubes econo- mise the colour, and in most cases show what tint it will have after firing. All the appliances which make work easier and are even indispensable in many cases, formerly not to be found, may now be procured : a table with a rest, and all the accessory tools ; boxes filled with colours and all the most necessary articles ; whirling tables for describing curved lines on plates^ vases, &c., &c. We hope that dividers, for dividing plates and other objects intended for symmetrical ornamentation into compartments, will soon be manufactured for the trade. Models for Copying, and Pieces for Decorating. — For the convenience of amateurs, care has even been taken to choose and collect plain pieces of ware for decorating, from the best manufactories of France and other countries. Prints, plain or coloured, are not wanting. At first, before acquiring the knowledge of drawing, one can borrow from these subjects for decoration, which may be grouped, if need be, and transferred to the articles by the simple process of tracing and transferring ; even while study- ing, you will obtain results at once, on flat objects first. We advise those persons who have no idea of the manufacture and de- coration of china to visit the national manufactory at Sevres, the work- shops of which can always be seen, except on Sundays and fête days. They will learn there with their own eyes the successive operations which the porcelain pastes undergo, and their transformation by the different actions of the fire, as w^ell as the processes adopted by the painters for all kinds of painting and decorating, gilding, or otherwise. There is a little handbook (Visitor's Guide to the Manufactory at Sèvres) wherein inquirers and amateurs will finâ a detailed description of the works, joined to an abridged history, full of interest and thoroughly accurate, of all the ceramic potteries. Firing. — Decorators who undertake to fire painted pieces of ware for the public are becoming more and more numerous in Paris and in the country. Where there used to be none, one had to send to a neighbouring town to have anything fired, and even as far as over 60 leagues' distance. A recent pamphlet by M. G-abelle, of Dijon, gives a very simple and highly practical method of firing in your own house all small pieces painted or gilt, on porce- lain, faience, and even on glass ; we have watched with great interest the results of an experiment performed before our eyes, and which was repeated with success at a meeting of the Society for the Encouragement of National Industry, at which M. Dumas, the illustrious perpetual secretary of the Academy of Sciences, presided. 5 With all these material conveniences, and the assistance of the sound precepts and exhaustive teaching of Madame Delamardelle, you may resolutely undertake painting geometrical or ornamental decoration, and monochrome, to get accustomed to the use of the tools, and to try the colours. By degrees you will get launched into polychromie decoration, or that of the various colours. Drawing. In a decorative object, or one capable of being decorated, proportion is everything, as much in the choice and arrangement of ornaments as in their situation. Numéro^ 'pondère et mensura : by the number, the weight or symmetry of the forms, and the measure of the lines, you will succeed in pleasing the eye. Drawing, therefore, is indispensable. The elementary geometrical drawing, which everybody knows without having ever learnt, as M. Jourdain knew prose, will be sufficient to begin with ; no more is required to place properly the tracing or design, or part of it on a piece of ware of simple shape. But it will need some study to attempt more complicated forms, and to be able to adapt designs made on flat surfaces to curved and round shapes, by judiciously cutting with a pair of scissors. By practice in copying good originals, on an enlarged or diminished scale, and by following the gradual series of exercises which lead to the solution of all the difficulties in tracing, you will make rapid progress in the culture of an artistic intelligence. The importance of a thorough knowledge of the perspective appearance of real objects will be readily understood by evident proofs ; we are struck with admiration by the profound science displayed by the great masters of painting and the arts of drawing, in the execution of the ceilings, with which they embellished certain monumental cupolas of churches, covering them with miraculously executed works — miraculous because, by the illusion they produce, they make you forget the material they hide, transforming it into skies, clouds, and sacred personages, that the creative imagination of these masters alone could conceive. Colour. After form the second attraction of painting is colour. Sombre tints are seldom admitted into compositions on porcelain. Freshness, brilliancy, and delicacy of colouring are rather the qualities the intelligent artist seeks to take advantage of; he gives a proof of his talent and pleases the eye by the harmony of his tints, obtained by juxtaposition, or by mixing. 6 This hcirmony is, moreover, a principal study of importance, and common to all possible kinds of painting. We cannot recommend too mncli artists and amateurs to apply their minds to the earnest and profound study of the law of the simultaneous contrast of colours, in the admirable book of the illustrious Chevreul. It is to be regretted that this work, which is rather expensive, is not in the hands of all. Most interesting experimental demonstrations, such as are fit to assist mightily in the choice of the opposition of colours placed side by side, are to be found therein. Complementary colours generally agree well together, whether placed side by side, or round about as in backgrounds, when one of them is darker or deeper in tone than its neighbour. Moreover, here is a list of these colours, according to the natural order of the solar spectrum : — red is green ; yellow is violet ; blue is orange ; violet is lemon yellow ; orange is blue ; green is red ; indigo is ochre ; black is white. To the artist the word comj^lementary signifies that if you place, for example, some red on a white ground, that red produces on the eye an influence which casts a green tinge on all that surrounds it or is in its immediate vicinity; and, vice versa^ green throws a red tinge. Red has a greater intensity by its neighbourhood to green, and green is strengthened in brilliancy by being near red. The more luminous the colours are, the more this contrast of complemen- taries is perceptible. By experimenting on each one of the simple colours in the above list, one will come to comprehend it. Two bands coloured with two complementary colours, placed side by side and looked at in the sun, almost hurt the eye at the line of their contiguity. It is well to place colours on different backgrounds. It will be seen that black grounds lighten the colours placed thereon, and that white grounds, on the contrary, give them more force, or darken them by heightening the value of their tone. All decoration on a white ground should be executed rather pale, in order to avoid harshness. By following up these experiments the following accordance will be confirmed : carmines go well with water-green ; sky-blue always goes well with pale orange ; dark blue with deep orange ; turquoise with violet-blue. The complement of yellow is violet. Pale yellow and lilac, complements The complement of 7 one of the other, do well together. Purple, which partakes of blue, goes well with warm ochrous shades and yellows. Greys go well with every <îolour. In decoration, when ornamental foliage has to be shaded, a good effect is obtained by contrasting cold lights with warm shadows. We call warm shades or colours, those which partake of red, or the ochres, and yellow ; and cold colours, those which partake of black or blue. Broken tints are the simple primitive colours containing grey. Simple colours mixed with grey are also said to be broken. Familiar Esthetics. We are continually rising ; we shall reach the summits. Are they in- accessible ? No ; witness the opinions given by an impartial critic on the works of several' famous artists. It is asserted that Domenichino, that great painter, considered by Poussin as the author of one of the three master-pieces of modern painting, ' owes the high rank he holds among painters, less to the inspirations of genius than to a great perseverance in meditation; which confirms the old adage: Labor omnia vincit.^ (Pree translation : Labour overcomes all obstacles.) Drawing and colouring require observation, knowledge, skill, and taste above all. Thought must also be included, as much for form as for colour, which are both inseparable. In painting, there is thought in the selection of the principal subject, and art consists in giving it interest and beauty. Chateaubriand has said : ' Beauty is the art of choosing and hiding.' liet us never forget this great precept, which is the fundamental basis of all aesthetic knowledge. Let us hide, and let us fly from that which is mean, in order to offer the eye objects worthy of admiration only. The principles of the true and the beautiful are applied, and submitted to our view everywhere in nature, that vast dictionary of the language of forms and colours. Is there anything more lovely than flowers ? Archi- tectural ornamentation has drawn from them all its inventions of roses and foliage, and its happiest inspirations. As people become enlightened, the fine arts improve, and the enjoyments which their study procures, become multiplied and widespread. Let us cultivate the arts, for art raises the mind, and ennobles the soul. Let us proclaim also, very loudly, that the culture of the mind ennobles art in helping to produce works stamped with a higher character, and consequently more lasting, since the genius that shines in the work sends forth its light farther and deeper into the generations that witness its manifestation. 8 After so many misfortunes that have overwhelmed us, and which we owe to the most horrible of wars, and to all the most detestable passions of politics, where can we find a haven from grief, if it be not in artistic meditations and studies, alone capable of restoring peace to the world? Do not the beauties of nature present to us everywhere the image of the immutable order of the divine supreme government ? The artist who- studies them, rests his mind therein with confidence. The culture of art has never begotten civil wars, and has always- enriched our beautiful France. F. GOUPIL. Sèvres: October 1876. PEEFATORY REMARKS. f For the many years I have been teaching, each time a new pupil has come to me I have had to lament the time spent in instructing her in a multitude of things, without which no one can execute the sHghtest painting on pottery, this painting requiring, more than any other, the minutest care, and some previous elementary technical knowledge. The instructions were easy to understand ; but that was not sufficient to make them remembered. How many times have I been obliged to repeat them over and over again ! At last I came to a great determination. I wrote down everything young pupils could learn alone, without a master, and I thought I should get some rest. But I was deceived : I had put off the difficulty without settling it. The demand for copies of my written lessons has been so great, so urgent, and it has been so difficult for me to supply it, that I must now make up my mind to have them printed. I submit them to the public such as I wrote them for the young ladies who followed my classes (which explains their simple and matter-of-fact style), completed, however, thanks to the good advice and counsels of M. F. Goupil, the eminent artist, who has kindly thought fit to confirm the results of my experience by the authority of his talent, and to fill in some loopholes, particularly in that which concerns the manufactory at Sevres, where the exhibition shows some charming works signed with 10 his name. With however little attention bestowed on it, any person will be able to learn from this handbook that which it would be difficult to instil in several lessons, and he may recur to it whenever he has need. These Practical Lessons treat of painting on porcelain (hard or soft ware), faience, and enamel. The colours I use are the tube colours of M. Lacroix, manu- facturing chemist, who has greatly facilitated the study by this happy innovation. I have obtained his authorisation to republish, at the end of my lessons, that portion of his cata- logue of colours and articles accessory to painting which seemed to me to be most particularly useful to artists and to amateur ceramic painters. I think I have done a service in so doing, and contributed to spreading the taste for a most agreeable artistic occupation. Bakonne E. Delamardelle. 144 Avenue des Champs-Elysées, Paris. 11 FIEST LESSON. PRELIMINARIES— PREPARATION FOR WORK. General Preliminaries. The studio of a painter on porcelain should have a good light. Special establishments for decoration are generally built facing the north, and without reflections from walls or exterior build- ings. We advise the ordinary amateur, who is not always at liberty to choose the most suitable situation, to set his table in the best possible light, so that he may have it always from the left, and thus not be hindered by the shadow of the hand at work. Light from the front is fatiguing to the sight on account of the dazzling brightness of the china. Comfort from the first is very important. The most scru- pulous cleanliness and absence of dust are urgently recom- mended in order that the work may be successful. Ladies protect themselves from fluff off their woollen dresses by wearing a calico apron with sleeves. Great care should be taken to avoid damp, particularly that which comes from an open window when it is raining. Damp is unfavourable to the mixing of colours with a palette knife, as the mediums employed do not amalgamate well with the colours, and they remain lumpy beneath the brush; the painting done under these circumstances does not glaze in the firing, which is a serious fault. The temperature should be rather warm than ^cold, from 16° to 18° centigrade on the average. 12 Requisites. In the first place it is necessary, to paint comfortably, that the beginner should have a table devoted to the purpose, as much as possible. It should hold all the implements necessary for this kind of work. Madame Jacotot, who has trained but a limited number of pupils, would not allow anyone to begin without having a complete table. This table may be made of deal just as well as of a more expensive wood : it can be a studio table or a drawing-room table. It is easy to transform any table whatsoever into a pottery painter's bench : it suffices but to add a long and narrow board, with or without a leg, called a * rest.' Fixed outside the table, at a right angle, the ' rest ' furnishes a support for the artisfc's right arm. M. Lacroix has had made, from my directions, a special table of great convenience. It has four legs, and is about 3 feet wide by 2 feet. A raised ledge surrounds it, save in front. The palettes and phials are kept in place by means of hollow cells; a recess receives the brushes; the remaining tools are deposited in a large drawer. The 'rest' is mov- able ; it can be raised or allowed to drop beneath the table as you like. Over all there is placed a cover or lid, as plain or as rich as the amateur may desire, useful and even indispensable to protect the paintings in hand from rubbing and dust. You must have on the table : a small easel, a colour-box, a glass palette, a china palette with recesses for the colours, a steel palette knife to take up the colours of the second and third groups (see the Fourth Lesson for the classification into groups), a horn or ivory knife for the colours of the first group, a small muUer. You place in a long cardboard box : 3 lead pencils, 3 litho- 13 graphie crayons, 1 porcupine qaill, 1 penknife, 1 scraper, red sable and camel-hair brushes, fitch ditto (dabbers). Ton will keep in the table drawer: some végétal tracing paper, black, red, and blue transferring paper, gummed paper for sticking, three small drop bottles, some soft cambric or old cotton rags, and a stick of modelling wax to fix the prick- tracings and transferring paper. Nothing need be said about whirling tables for describing curved lines : they may be bought ready for use. Arrangements of Details. When the pupil is in possession of all these things, which are to be arranged on the table in a manner I am going to describe, she settles herself comfortably, having provided against the fear of interruptions, which are pernicious to the work on account of the dust which the going to and fro raises and fixes on the mediums and painting. She should sit down carefully, rather high than low, and far back in the chair, so as to be supported by the back. The work being long and minute, it is necessary that the body should be at ease, and above all, that the stomach should not suffer from an awkward position. It is necessary to keep an upright position, with the body well balanced. I consider these conditions indispensable for a long work without over- fatigue. The pupil can also paint at the easel, which permits her to work either standing or seated, but for that she must have already had some practice in painting, inasmuch as firm- ness of hand is required to paint in this way. This method is greatly preferable for effects in landscapes. Seated before the table, on the inner side of the ' rest,' 14 which is placed to her right, the pupil leans thereon her fore- arm, acquiring thereby a firm and free handling of the brush for her working hand ; meanwhile, her left hand resting on her left knee (the foot placed on a stool), supports the piece to be decorated, v/hen it is of large dimensions, and presents to the brush one after another the portions of the surface to be painted on. For painting on tiles, as well as on hollow articles, it is important that the hand should rest on a flat or a round ruler, in order to allow the brush only to touch the china, and never the hand or the fingers, which would rub ofiP and spoil all the work you had taken much trouble, and in many cases much time, to do. Once these arrangements made, you place on the easel the original to be copied, and nearer to you the object to be decorated. On your right is the glass slab ; upon the slab are the three small phials containing spirits of turpentine, spirits of lavender, and oil of turpentine. To the right of the slab, the small oblong cardboard box, the contents of which we have stated. On the other side of the object you are painting, the colour-box containing the tubes. At a good dis- tance away from the painting, a phial with a small quantity of spirits of wine. A small rag should be retained by the slab before you. Our pupil is now in her place, ready to begin her painting. She has previously traced her design on the piece she is undertaking to decorate. We owe her some advice and instructions as to the ways of tracing ; we will give them here, as clearly as we can. 15 Tracing the Drawing. For this tracing, details should be left out as much as pos- sible, or at any rate indicated soberly. Direct Outline. — If the pupil can draw well, she will outline her subject lightly on the object she wishes to paint, directly, without tracing, by means of lithographic chalk. It is cut like charcoal, that is to say, the contrary way to lead pencils, the point resting on the index finger ; you must not lean hard, as it is brittle. This chalk being greasy should be rolled up in paper, or placed in an ordinary porte- crayon. It draws on china without any preparation. The false marks are wiped off with a brush slightly wetted with water, or else with a dry rag. Transferring. — "When you want to make a minute and complicated drawing, you are obliged to transfer, to avoid getting double lines on the china. Before transferring, prepare your piece of ware as follows : Pour three drops of oil of turpentine on the plaque or white plate intended for decoration. Then take a small pad formed of pieces of rag of fine material soaked with two or three drops of rectified spirits of turpentine. Pass this rag round and round over the entire surface, so as to leave a sort of film, very thin and misty, which you allow to dry by exposing to the open air for a few minutes. The object of this preparation is to render the tracing visible. You may also have recourse to it to get stronger marks from lithographic chalk. It is very easy to trace on a perfectly flat surface. We shall mention several ways. 1st Method. — Tracing hy ruhhing. — After having traced from the engraving or original model to be reproduced the outline of your subject (figure, ornament, or landscape) with 16 one of Gilbert's ÏÏB blacklead drawing pencils, you reverse tlie tracing over a sheet of white paper, and go over the out- line again very carefully with the same pencil ; this being done, prepare your piece of china with medium, as we have just described. The végétal tracing paper is then fixed, by means of little lumps of modelling wax, on the exact spot the subject is to occupy ; and when that is done you have only to rub all over the outline with an ivory knife, to make the lead that is on the végétal tracing paper convey itself distinctly on to the previously oiled enamel. 2nd Method. — Tracing with a tracing jpoijit. — Take either black, blue, or carmine transferring paper, according to the tint of the painting that is to be done. The carmine gives all security for the success of the painting ; it does not soil it. When the piece of paper has been rubbed with carmine from a soft crayon, after taking great care to remove what is super- fluous, it is cut to the size of the subject, or rather to that of the space you are to paint on. To make sure of tracing on the exact spot, you must draw a horizontal line in the middle of your drawing, one also in the middle of the tracing paper, and one as well on the porce- lain, with crosses and letters at each end as landmarks : two crosses marked A and B on the horizontal line of the enamel, and + + a 5 on the horizontal line of the tracing paper. The piece is prepared with oil of turpentine or spirits of wine. At the end of two or three minutes you place your drawing on the porcelain in accordance with the marks + a taking care to place the middle lines one on the top of the other, a on A, and Z? on B ; you fix the végétal tracing paper by means of small bits of gummed paper, or else with little balls of modelling wax ; the sheet of tracing paper being quite firm, you slide beneath it the piece of paper rubbed with car- 17 mine, blue, or black lead ; you then take a porcupine quill with a fine point, and without leaning too hard you go over all the outline. You must be careful not to press your fingers on the drawing, fi^r it often causes the deposit of powder to be of the same colour as your transferring paper, which spoils the result and prevents careful painting. Before finishing all the work, lift up a corner of the overlying papers to see if the tracing does mark. It will be but an affair of habit to trace well, for it is by experiments frequently repeated that one comes to know exactly the amount of strength to be used so that the trans- ferring paper may mark sufficiently. This paper lasts a long time, and improves as it grows old ; you must prevent it from getting creased. For this, each time it has been used, it should be put away into a brown paper cover, wherein the tracings papers are also placed. 3rd Method. — PricJc-tracing consists in pricking the outline with small holes, and in making what is called a * Poncif.' This can be done by placing the végétal tracing paper on some cloth folded twice or thrice, with a piece of white paper under the drawing ; you prick all the pencil lines with a needle of medium size ; when that is done, turn the piece of white paper, and with a smooth bit of pumice- stone grind away the projections caused on the wrong side by the pricks ; after which you place it on the china, fixing it with lumps of wax, then rub it over with a pad full of scraped black Conté- crayon, or powdered carmine ; the out- line thus becomes dotted over the surface, and you have only to proceed with the painting. General BemarJcs. — For transferring on dark grounds, instead of Conté-crayon or blacklead, you may use starch, carmine, or vermilion in powder ; substances all clearly per- ceptible on the dried coating of oil of turpentine. C 18 If the tracing lias moved, or if, forgetting you liad already passed the point over a line, you have made it double, take the handle of one of your brushes which you have cut to a point, and wetting it, you will be able to remove the useless marks by rubbing them gently. It would be better to keep a very thin stick of white wood for the purpose. You will make use of the same means to correct drawings done in lithographic chalk ; and this chalk has the advantage that it marks again on the place where the wet piece of wood has passed, whereas on china prepared for blacklead, the pencil marks no longer, the stick having removed the preparation while correcting the lines. Spirits of Wine. Experience has proved to me that paintings progressed under greater advantages when the porcelain and faience had been prepared with â few drops of spirits of wine. The pre- paration with oil of turpentine, being a fat substance, attracts dust, and thus does mischief to the painting. I protest against methylated spirits, which smell horribly nasty, and do not give such good results. So little liquid is used, that it is better to have it of the best quality. But you must take great care to cork up the little bottle of spirits of wine hermetically, the contents of which would speedily evaporate. It is in this same small bottle that the brushes and the dabbers are cleaned after each day's work. To preserve these useful instruments it is indispensable never to leave any colour in them ; you must take care to wipe them well after this washing, and even to blow a little on them, to make the spirits of wine evaporate, for if any were to remain it would spoil the colour and take away the painting already finished. With a 19 few drops of spirits of wine, the most loaded palette can be instantaneously cleaned, and the driest painting can be effaced. For this reason I recommend that the little bottle of spirits of wine be kept always far away from you during your work ; if a single drop were to fall on the painting, it would imme- diately smear and obliterate the work done. Cleaning brushes with spirits of wine has to be done every •day. From time to time a more thorough cleaning with soft soap is resorted to : the brushes are steeped in the soap, and are washed the next day only. SECOND LESSON. PORCELAIN.— SELECTION OF PIECES FOR DECORATION OF ARTISTIC STYLES. Choice of Porcelain. There are two kinds of porcelain for artistic decoration : hard paste and soft paste porcelain. Hard porcelain favours the manufacture of articles of the utmost delicacy. We admire, among the innumerable wonders of the Sevres manufactory, certain cups and saucers, currently made and almost to be compared to an eggshell for thinness ; there are some even the surface of which is ribbed beneath the enamel with an undulating guilloche, which adds another charm to the elegance of their form. Hard porcelain has also the advantage of being slightly transparent. c 2 20 The enamel of the Sèvres porcelain is thin, so as to permit the decorator a higher degree of finish, which would lose some- what of its clearness if the enamel were thicker. The plaques manufactured for painting by the trade, at Paris and Limoges, have a rather handsome but thicker enamel, which favours the successful glazing of the colours. It is, therefore, very important that the decorator should well ascertain the effects produced by applying the colours on each kind of china, and making trials or tests, in order to learn to bring about, by combinations and thorough knowledge of the work united, with a view to the firing, the result so much desired, namely^ a very beautiful glazing joined to brilliancy and harmony of colouring. The porcelain to be chosen for painting should be as white as possible, its borders very clean, without any breach in the enamel at the edges, which would spoil the gold lining and burnishing. Porcelain marked With black specks or having other visible defects must be put aside if it is totally impos- sible to conceal them in backgrounds or in the centre of ornaments, where the paint lying over them would prevent them from being as objectionable as if they were on a white ground. Soft "paste, or earthenware, the invention of which preceded that of the hard "paste, is less transparent and of a thicker milky- white enamel. We shall speak of it again in the Mnth Lesson. Pieces of Waee in the Trade. The principal pieces to be found in the trade, and which are suitable for decoration, are the following : Dinner services ; coffee, tea, and breakfast cups ; bowls, with deep blue grounds 21 (greatest heat), imitating Sèvres; vases, with pearly-grey grounds : cups, cachepots, ash pans, drawing-room and bed- room candlesticks, sleeve-links, bonbon boxes, jewel boxes, all kinds of plaques for either portraits, blotting-cases, miniatures, albums, reliquaries, girandoles for lights, pictures, or for furniture; also flower stands, round trays for fancy tables, caskets, &c. Styles for Porcelain. There are several styles in painting. The beginner will know from her previous studies, her tastes, and her aspira- tions, that which she ought to adopt. I shall only recommend her on this point not to mix the styles, which will be easy if she takes care to provide herself with authentic models. The public is becoming enlightened, and faults of this nature pass less and less unperceived. It is also very important not to depart from the style special to each ware : porcelains, faiences, &c. There are serious reasons for this, both of necessity and custom, which it would take too long to explain. By acting contrary, a^nachronisms and bad painting would be the result. On hard paste are painted heads, figure subjects, animals, still life, flowers and fruit, landscape, arabesques, the Boucher style, the Chinese and Japanese styles, heraldry and orna- mented monograms. Especially on porcelain of the Sèvres manufactory, the choice of subjects is much restricted. By conforming with the following suggestions a value and a stamp will be given to your productions. On plates, flowers with brown backgrounds are to be painted in preference ; there are also plates in the style of the 22 First Empire. On small cups : light flowers ; Wattean subjects ; portraits of Louis XVI. and Marie Antoinette as a pair, on backgrounds graduated with a dabber and not quite flat. Long plaques mounted in old silver for sconces ; female figures after E-aphael in grey monochrome will make them charming objects. Oval plaques of smaller size, for reproductions o£ photographs. {See Lessons 5, 6, and 7.) THIRD LESSON. PORCELAIISr AND EAUTHENWARE.— SETTING THE PALETTE FOR THE DIFFERENT STYLES.— TUBE COLOURS. Setting a Palette. We have described hitherto the ceramic painter's prepa- ratory arrangements. We have given her advice with regard to the selection of pieces to be decorated, and the artistic styles it was proper to adopt in preference. We now come directly to the great question of the colours, since drawing for us is actually restricted to tracing and transferring. The best of all palettes is that which contains the richest assortment of colours of excellent manufacture, capable of mixing and firing at the same heat. The Lacroix palette fulfils precisely all these requisites; it is generally adopted^ and nothing more need be said in its praise. We give a list of the colours that compose it on pages 25 to 28. 23 * Comparative Study of the Lacroix Palette and of the Classic F alette of the Sevres Manufactory^'' by M. F. Goupil. * Ivory yellow in tubes corresponds to ivory yellow 47 used for the flesh, that is to say mixed with the carnations and violets of iron of the manufactory. Silver yellow corresponds to the English yellow 41 B of Sèvres. It mixes freely with the 'golden colours, carmines, purples, and violet of gold, and sometimes even with red. It is of a very happy use mixed with greens for lightening, on a warm and luminous scale. Ochre in tubes corresponds to our yellow ochre No. 50 of Sevres. * Brown 108 has some affinity to the sepia brown 75 of Sevres. * Bouge chair No, 1 (Flesh No. 1) corresponds to 13 rosâtre of Sèvres. Capucine red resembles red 62 T of Sèvres, and a little 58 orange red. ' Violets of iron in tubes are altogether the same as those of Sèvres, as well as the beautiful carmines and the beautiful colours of purple gold, rich purple, ruby purple, and violet of gold, ' Pearl grey is equivalent to the very fusible tender grey 14 of Sèvres. ' The rest of the tube colours are very nearly similar to the colours of the Sèvres manufactory.' Tube Colours. M. Lacroix's colours can be obtained in different states : ground in dry powder ; extra ground ; or in metal tubes, con- taining the colour diluted with the necessary mediums, and ready for use. All these colours are of the same composition, and are different only by the grinding and the addition of mediums. 24 We greatly prefer tube colours, which save time, fatigue, trouble, and the colour itself. We might add that doing away with grinding concerns the health, for that operation used to diffuse the smell of the oils throughout the house, which many persons could not endure. The success attained, after having undergone so much discomfort, was besides far from being commensurate with that arrived at by improved machinery, employed in a manufacture on a large scale. Let us also make this remark : When you had to grind by yourself, you felt inclined to exaggerate the quantities ground, so as to have to recur to the process less often, and thus you exposed yourself to the loss of part of the colour prepared ; with the tubes you set out on the palette only just the amount neces- sary ; there is no longer any waste. We shall confirm our opinion with that of two persons of the highest authority on the subject — M. Salvetat, head of the chemical works at the Sèvres manufactory, and M. La- vergne, a painter on glass and a distinguished artist. ' There is no doubt that, in a number of cases, tube colours render great services in studios and schools, in the hands even of people of the world who, wishing to make their leisure moments profitable, add painting on china to the methods and means of spending their time.' — Salvetat. Report to the Society for Encouragement. ' If any practical person were to mistrust tube colours, I should merely and simply ask him to try them. He would soon see that to prevent him from using them would be to do him a great injury.' — Gr. C. Laveegne. Employment of the Tubes. The use of tubes is most agreeable, but it does not dis- pense with the necessity of making careful tests beforehand, 25 to study the effect of tlie mixings ; which tests are always in- dispensable to guide the artist who undertakes a serious work, and the only means of saving him from disappointments and accidents in the firing. A good precaution in using tube colours consists in not laying them back in the box on the same side each time, to prevent the colour from making a deposit by separating from the liquid with which it is -mixed. ^ When poured into- the palette's recesses, it is well to add a few drops of spirit of lavender ; stir well before using. Beware of steel palette knives in certain cases ; for example, they alter carnations and yellows. Setting the Palette. For the different Styles of 'Tainting on Porcelain and Earthenware for ordinary muffle. Used for Monochrome. !CtS, îries. Landscape. Names of the .Colours. Figure Subje Cupids, Drapt Flowers, Fri Birds. Blanc chinois (Chinese white) 5, fixe (permanent ) * ^ Bleu ciel azur (azure sky blue) ^ . ci if „ ciel clair (light sky blue) ^ * . . ."s -X- „ foncé (dark blue) ....... a 5, outremer riche (deep ultrainarine) , o „ riche (deep blue) page 41 5, Victoria ie 29. For earthenware only, scales on porcelain Brun 3 bitume (brown No« 3) , , „ „ 4 foncé ou 17 (brown No. 4) , . . -)«• 26 Used for B jects, peries. 'B Names of the Colours. lochro -2 W ers, F Birds. 03 o to S=l * Figur Cupids Flow a Brun clair (light brown) „ foncé (dark brown) . • • • . „ jaune (yellow brown) . • • • „ M ou 108 (M brown) .... „ rouge riche (deep red brown) . • it sepia (sepia) rom it Carmin tendre A (light carmine A) . o o it „ tendre No. 1 (light carmine No. 1) P3 o „ No. 2 (carmine No. 2) . • • o a- „ No. 3 foncé (deep carmine No. 3) . zrt Fondant général (flux) it Gris No. 1 ou tendre (grey No. 1, light) . 03 O it „ No. 2 (grey No. 2) > •îf „ No. 6 perle (pearl grey No. 6) . „ Noir (neutral grey) ."s it „ de platine (platina grey) .... î=! it „ roux (warm grey) O it Jaune d'argent (silver yellow) • • . . etai it „ fixe (permanent yellow) .... „ d'ivoire (ivory yellow) • • . • o" it „ jonquille (jonquil yellow) . . d) „ M à mêler (yellow for mixing) bD c3 it it „ orangé (orange yellow) • • • . it „ d'urane (uranium yellow) . • it Laque carminée (crimson lake) • . t • Noir corbeau (raven black) • • • • „ d'iridium (iridium black) , . • • „ d'ivoire (ivory black) .... 27 Used for Names of the Colours. Monochrome. Figure Subjects, Cupids, Draperies. Flowers, Fruit, Birds. Xiandscape. Ocre (yellow ochre) <- „ foncé (deep ochre) Pourpre No. 2 (purple No. 2) , . • „ cramoisi (crimson purple No. 2) , M- „ riche (deep purple) .... c5 „ rubis (ruby purple) . . • . o u Belief och Rouge capucine (capucine red) .... „ chair No. 1 (flesh No. 1) . . . of Mon „ „ No. 2 (flesh No. 2) . «} „ foncé (deep flesh) .... ^ „ laqueux (laky red) cc M- M- „ orangé (orange red) . * • . Mr if Vert No. 5 pré (grass green No. 5) . . M M- „ No. 6 brun (brown green No. 6) • .2 M- M „ No. 7 noir (dark green No. 7) . V» a M' M- „ No. 36 T (green No. 36 T) o «3 M- „ bleu riche (deep blue green) . . , *3 Mr M- M- „ chrome 3 B (chrome green 3 B) . ^ ,, chrome riche (deep chrome green) . émeraude (emerald stone green) M^ M- pomme (apple green) .... pag M- M- „ russe (deep green) M^ „ de vessie (sap green) . . • . M- Violet de fer (violet of iron) .... M- „ de fer teinte grise (greyish violet of iron) „ d'or clair (light violet of gold) it „ d'or foncé (deep violet of gold) if 28 LIST OF SPECIAL COLOUES FOE GEOUNDS. Bleu céleste (celestial blue), indien (Indian blue), lavande (lavender blue). „ marin (marine blue). Brun mordoré (golden brown). Café au lait (light coffee). Carmélite. Celadon. Chamois. Corail (coral). Gris d'acier (steel grey). ,, tourterelle (dove colour). Isabelle. Jaune chinois (Chinese yellow). Lilas fusible (fusible lilac). Mai's (maize). Mauve. Eose pompadour (pompadour pink). Saumon (salmon). Turquoise bleu (turquoise blue). „ vert (turquoise green). Yert pour fonds (green for grounds). „ d'eau au cuivre (copper water green). d'eau au chrome (chromium water green). FOURTH LESSON. PORCELAm AND EARTHENWARE. COMPOSITION, USE AND MIXING OP THE COLOURS. General Information. We borrow from M. Lacroix his classification of colours, whicli is very practical with regard to their employment in painting.* This quotation and -several others signed A. Lacroix are taken from a very interesting little book, , entitled : Des Couleurs vitrifiables et de leur emploi pour la Peinture sur Porcelaine, Faience, Vitraux, etc., par A. Lacroix. Notices et Benseignemeuts, par MM. Fragonard, Fontaine et Goupil, de la manufacture de Sèvres ; Kiottot, Charles Houry, Claudius Lavergne, Bourières, Dagron ; 8vo. 1872. 29 * Classification of colours with respect to iron, — Iron plays an important part in the composition of a great many enamel colours ; for this reason I have taken it as a standard for my classification of colours into three groups. ' First Group. — Colours that do not contain any iron : 1st the whites ; 2ndly the blues ; 3rdly the colours from gold. ' A horn or ivory knife is preferable for the use of colours of this group. ' A glass muller is still better than knives. ' Second Group, — Colours with but little trace of iron. This group includes the yellows and greens, several of which colours contain iron in small quantities. * Third Group. — Colours with an iron basis, or of which iron is one of the colouring parts : 1st the reds, fleshes, red browns, and violets of iron ; 2ndly the browns, yellow browns,, ochres, blacks, and a greater part of the greys.' The enamel colours usually designated by the name of iron colours are : all the browns ; the greys, excepting platina grey ; the blacks, minus iridium black ; the ochres ; the reds^ and the violets of iron. The enamel colours said to be with a golden basis are : the carmines ; crimson lake ; the purples, and the violets of gold. Tests. — The amount of flux added to the colouring oxides for the manufacture of enamel colours varies according to the colour ; this difference, joined to the diversity of the chemical elements, causes actions in the firing which may modify cer~ tain colours and even make them disappear entirely : it is said expressively that they have been eateii tcp, devoured by the fire. We shall cite as an example the mixture of ivory yellow with carmine, as one of those which decompose in the firing. Other causes act likewise on enamel colours during firing i 30 the intensity, more or less great, of the heat, the thickness and the amount of oil in the colour, the way it is used, &c. In order to well understand the various influences, and to secure yourself against accidents, you must be continually making tests of the mixtures yourself ; it is the only way to paint with safety. It is indispensable for the test to be double, that is, on two small bits of precisely the same manufacture of china as the piece you wish, to paint. The same mixture is made on both small pieces, they are both dried, and one only is fired in order to be able to judge what change is caused by the firing, by comparing it with the unfired test you have kept by you. Besides, you will be able to make sure of a satisfactory result by comparing your experiments with the test tiles and plates of fired colours. Mixed colours should be stirred with the brush when used ; without this precaution, they would separate : light blue would rise on dark blue, yellow on green, ivory yellow on carnation. Some hints follow which, it will be advantageous to verify and to carry out by tests. They apply generally to painting on porcelain or earthenware for the ordinary muffle. Fusibility, — Hard colours (those which require the greatest heat to make them fuse) spoil and often destroy those of a softer flux (that fuse more easily). The flux added by the manufacturer to the colouring oxide lightens the tint of the colour : dark colours are therefore generally harder than light ones. In the palette of M. Lacroix the colours more fusible than tbe rest, although taking the same time to fire, are : light sky blue, light carmine A, pearl grey, warm or russet grey, and ivory yellow ; all light colours. Thickness, — The tint of enamel colours gets darker when 31 you increase their thickness. But yon must beware of doing it too much. Light and fusible colours used too thick blister in firing ; it is prudent to give them only a medium thickness. You should apply in drops those colours only that are specially designed for the purpose : permanent white, perma- nent yellow, and relief. They hold on earthenware, but their use on porcelain is liable to failure. Mediums. — Experience will prove that if too much oil of turpentine is added to the colours used, which is called adding * fat,' they will craze in the firing. Make some trials by exag- gerating this fault. You will remark nevertheless that colours applied very thin, although with much ' fat,' do not craze. The cracks caused in the firing, by the action of the resin- ous part of the oil, which evaporates and causes the white of the enamel to reappear, are called crazing. Conduct of tlie work. — It is very important in the first painting to use the most fusible light colours and those most easily developed in the first firing, which is the strongest. Commence always on a lighter scale than the final tint, for in pottery painting, any colour made too dark in firing cannot be made light again. When the mixtures have produced, for example, some browns or russet hues which have not glazed in the first firing, the glazing is brought back by a little fusible light grey, applied before the second firing for re- touches. These short general instructions will be resumed and developed in the following lessons. 32 SPECIAL INFORMATION CONCERNING PAINTING COLOURS. Mode of Use. — Mixtures. — Concordance of Enamel with Moist and Oil Colours, and their usual Technical Names. Whites, belonging to the 1st Group, White is obtained by permanent white (for high lights) and Chinese white, a colour of very limited use in painting, it being preferable to keep the white of the china when possible. Permanent w^hite, alone or mixed with other colours for heightening, which is called high light, or relief, requires per- fect grinding, It should be tried by repeated and well-fired tests before using it for important works. It is lifted up with the point of the brush, and laid without spreading. It could not bear two firings ; it is put at the second firing, which is always less powerful. Blues. — (Is^ Group.) In his character as a chemist, M. Lacroix gives us, in his work already quoted, the general reason for excessive care in using blues : * All the blues, with very few exceptions, derive their colour from cobalt. ... As the mixture of cobalt and iron produces, proportionably, tints varying from light grey to black, it is well to take great precautions in painting when blues are used with reds, fleshes, browns, and ochres. It fol- lows as a natural consequence that when you wish to have some beautiful shades of blue you must avoid using brushes which have already served for one of the iron colours, and have not been properly cleaned.' 33 Blues are laid on in very thin coatings, particularly blue green. Ordinary oil medium. The first painting is but little loaded, and is shaded with the same tint in a second coating, added to grey in the last firing for the darkest parts. Here are some notes on the concordance of enamel colours with oil colours and their usual names. Shy blue. — Sky blae. Light blue. — Light sky blue. Blue verditer, — Two-thirds ultramarine blue ; one-third deep blue green. Slight oiling. Barbeau blue, or Smalt. — Victoria blue. Marine blue (in oils). — Half Victoria blue; half carmine No. 2. Cobalt. — Deep ultramarine. Prussian blue. — One-third dark blue ; one-third Victoria blue ; one- third ultramarine ; a touch of grey No. 2 ; a very little touch of purple. Indigo, — Dark blue ; a touch of raven black. Carmines and Purples.— (Is^ Grou;p.) Carmines must be used very thin, lest they should turn yellow in the firing. You must put but little oil to avoid shrivelling. Never touch them with a knife ; the brush must be sufi&cient. It is also recommended, when using purple, to fill the brush well and to turn it round and round to dissolve the little gritty lumps generally found at the opening of the tubes. When a pink colour has had an addition of purple to D 34 it, spirits of lavender with a drop of oil of turpentine stould be preferred to turpentine only. All tlie carmines are shaded with the same tint. Purples are also used for strong shadows, and blues for reflected lights. If light tints of pinks are made with light yellows, these colours must not be spread one over the other, but side by side, otherwise the carmine tints would be injured. In the first painting, carmines and purples are to be laid on very lightly ; it is only in the second ^firing that strengthening touches are made. ' When carmines are fired in the mufile at too low a tem- perature, silver takes the upper hand and the colour has a dirty yellow tint ; if, on the contrary, the temperature is too high, the silver shade is completely destroyed and the carmine becomes lilac or violet, which explains the diflS.culty in firitig carmines. The same thing takes place with purples, but in a considerably less perceptible degree, because of the shade being much darker and cassius being in a larger quantity.' — A. Lacroix. Enamel carmines and purples are equivalent to the oil colours of the same name. Light pinlc. — Carmine A and carmine "N"o. 1. Deeper ^inh. — Carmine No. 2 wifch carmine No, 3. Laky red. — Crimson lake. Furple lake, — Carmine No. 1 and a touch of purple. Peony pifik. — Half ruby purple ; half carmine No. 1. Chinese pink. — Carmine No. 8 ; touch of ruby purple. Lakes (in oils). — Carmines. Crimson lake (in oils). — Parples. Bed purple. — Deep purple. Crimson, — Crimson purple. 35 Lilacs and Violets. {1st Groujp, except the violet of iron, ivMch belongs to the Srd Group.) The same precautions are required in using lilacs as for carmines. Lilac. — Half carmine No. 1 ; half sky blue ; a touch of carmine No. 3. Mauve. — Half carmine A ; half ultramarine. Magenta. — Two-thirds carmine No. 3 ; one-third deep ultramarine ; a touch of ruby purple. Violet. — Light violet of gold. Deep violet. — Deep violet of gold. Light pansy. — Light violet of gold with a touch of deep ultramarine. Beep pansy. — Deep violet of gold, sustained more or less and with an addition of ultramarine. Reds. — (Srd Group, except the purples.) Red, a predominant colour, is nearly always used alone. Thus the reddish tips of green leaves are obtained by placing the red next the green, but not by putting it over. With dark colours, on the contrary, it is red that disappears. Chinese vermilion in oils has an equivalent tint in coral for porcelain applied thin : backgrounds are made of it, but it would be risking a great deal to use it in painting, on account of its extreme sensibility in firing ; besides it suffers no mixing. Scarlet vermilion is approached by adding a touch of flesh No. 1 to capucine red, and laying on this mixture in moderate thickness. Capucine red. — Capucine red. D 2 36 Poppy red, — Half capucine red; half deep purple. A satisfactory result is obtained only at the third application of this mixture, which loses at each firing. Madder. — Capucine red ; a touch of purple and of carmine No. 3. Gules (in heraldry). — Capucine red and a touch of purple. Venetian red (in oils). — Violet of iron (3rd Group), Yellows. — (2nd Group.) Certain yellows greatly destroy the colours mixed with them and even make them disappear entirely. This disad- vantage is perceived when too much ivory yellow is mixed with red, or when that yellow is placed abundantly over other colours. ' The yellow called silver yellow contains no silver ; it is composed of jonquil yellow and orange yellow. Yellows that contain no iron (yellow for mixing and jonquil yellow) are generally preferred for making fresh greens. On the other hand, for mixing with iron colours, yellows that contain already this metal are used.' — A. Lacroix. Light yellows scale very easily ; the dark yellows, being less fusible, need to be used moderately thin in the first paint- ing, for the first fire developes them ; at the second firing they increase in depth, and if they are too heavily loaded they can- not be made lighter again. Avoid using yellows next to blues, which would produce a green tint. For the centres of blue flowers, which necessitate some yellow, the place must be well scraped before putting the colour. Permanent YeVow (half white ard half yellow for mixing) 37 serves for placing lights in drapery and yellow flowers, as weU as high lights in ornaments. Lemon yellow. — Yellow 47 of Sèvres with a touch of silver yellow. Golden yellow, — Half silver yellow ; half jonquil yellow. Saffron yellow. — Two- thirds ivory yellow ; one- third flesh 'Eo. 1 ; a touch of capucine red. Salmon. — Two-thirds ivory yellow ; one-third flesh No. 2 ; a touch of carmine N'o. 3. S traiV' colour. — Yellow for mixing used very lightly. Yellow lake. — Yellow for mixing. Dark chrome yellow. — Silver yellow; a touch of jonquil yellow. Light chrome yellow. — Jonquil yellow. Indian yellow. — Half jonquil yellow ; half ochre. ^ Najples yellow. — Ivory yellow. Orange yellow. — Orange yellow. Maize. — Half ivory yellow ; half orange yellow. Greens. — {2nd Group.) Yellows mixed with the different blues give a great variety of greens. If these greens are found to be too bright, too rank, or too loud, they are made greyer by adding some carmine or some purple, either by mixing them with the palette knife before firing, or by painting over at the second firing for retouches. With a small proportion of grey !N"o. 1, the violent crudity of a green that is too staring or too bright €an be corrected ; this grey contributes also to keep up the glaze. For foliage, it is well to remember that dark tints placed in advance of Hght ones destroy the latter in the firing. 38 All the greens, whether in foliage or in drapery, can be shaded with browns, reds, and carmine tints. By painting over for the second fire, foliage can be made purple or bluish. Dark green, being very powerful, should be used with caution. The blue greens are used for the distance, but then exces- sively light ; they are tinted with capucine red for the horizon. » jEmeraldstone green. — Emeraldstone green. Water green, — Half apple green ; half deep blue green. Veronese green. — One-third apple green; one- third chrome green ; one- third emerald stone green. Malachite. — Apple green ; a touch of emerald stone green. Blue green. — Deep blue green. BarJc green. — Two-thirds chrome green 3 B ; one-third dark green. Bottle green or sajp green. — Sap green. Emerald green, — Two-thirds blue green ; one-third emerald stone green. Browns. — (Srd Group.) The artistic browns for china which steady painters prefer are vigorous browns, fresh when mixed, and resisting well the action of the fire, but which have not the brilliancy of the less colouring browns. The warm browns in oils exist for china. The deep red brown and mixtures of violet of iron and of laky red corre- spend to the red browns. Golden hrown. — Golden brown. VandyJce hrown, — It is impossible to obtain it exactly.. 39 The nearest approach would be by mixing brown 108 with violet of iron. Baw Sienna. — Sepia. Orange Mars. — Uranium yellow, and a touch of purple. Blacks. — (3rd Groujp.) The blacks in oils are represented in the palette for pottery by raven, ivory, and iridium black, which answers all pur- poses. If these blacks fail, others can be composed by mixtures of simple colours, as dark reds and dark blues. It would be better to operate in two firings to avoid crazing. The use of iron reds is not admitted on soft paste ; the blacks are to be made with iridium black, which is ready made, or with purple and dark green. It is rare that black is needed for subjects painted on soft paste. It is sometimes used in decoration for surrounding ornaments with a line, but seldom for backgrounds, excepting on decorative vases of a certain style. Greys. — (3rd Group.) A grey of some kind is always obtained by mixing com- plementary colours : reds with greens, or yellows with violets, violet being a combination of carmine and blue. The greys obtained by mixing greens, ready made or com- posed, with carmine or purple, as required, are very frequently used by flower painters. Experience on this subject can only be acquired by con- tinual trials. Dove colour. — Dove colour. 40 Ash grey. — Light grey used lightly, and a touch of sky blue. Fearl grey, — Pearl grey No. 6. Russet grey, — Warm grey. Brown grey, — Grey and sepia. Colours for Backgrounds. The colours for backgrounds are of special composition and manufacture. They cannot be mixed with the colours for painting, as they are not fired at the same heat. We have given a list of them on page 28. The method of using them is explained with some detail in the Eighth Lesson. FIFTH LESSON. MONOCHROME PAINTING ON PORCELAIN OR EARTHENWARE. We now come to painting. I generally make my pupils begin on porcelain by a plate, and on earthenware by a tile. If the pupil has had no practice either in water colours or in oils, if, in a word, she has no idea as yet of setting a palette, I make her undertake a monochrome, that is to say, a painting done with one colour only, heightened by one or two other tones. Monochromes are made in the following tints : — 41 Grisailles, green, blue green, blue, violet of iron, carmine, purple, capucine red, sepia, red brown, bitumen. Deep red brown and violet of iron are the two colours easiest to be used. Grisaille Monochrome : Light grey No. 1, touched up with brown grey. Greys Nos. 1 and 2 ; mix a little carmine No. 1 to warm up the tints. On porcelain the bodies of Cupids are often done in grisaille, with a little carmine at the extremities. Green : Emeralds tone green and deep green. Bhte Green : Blue green touched up with the same colour. JBlue : Deep ultramarine ; dark blue ; permanent white. Or common blue shaded with itself ; any other blue would spoil it. Violet of Iron : Violet of iron, and the same with a grey tint. Carmine : Light carmine A ; deep carmine No. 3. Furjple : Deep purple, strengthened by the same tint placed at the second firing. Capucine red : Capucine red ; orange red ; sepia. Or orange yellow and capucine red in juxtaposition ; the capucine red touched up with red brown. Sepia : Sepia, touched up with the same shade. Bed brown : Orange yellow for light and distant tints, the foreground deep red brown. Or deep red brown heightened with bitumen. Or else deep red brown and sepia. Bitumen : Yellow brown ; brown No. 3 bitumen ; brown No. 4 or 17. 42 The design having been traced on to the porcelain or china, you take the tube of colour and uncork it with care. Squeezing out the colour from the extreme bottom of the tube, you set about the tenth part of its contents on your glass palette, which should be extremely clean. Grind it with the palette knife (of steel or of ivory, according to the colour) for about a minute. Shetching in is done with the finest pointed of your brushes dipped lightly into the little bottle of spirits of lavender, then filled with a little of the colour taken from the edge of the lump, turning the brush meanwhile between your fingers to get a fine point. It is better still to work with the colour diluted with water and with the addition of a little dextrine, which gives it the^ advantage of resisting the oils. Indicate lightly the nose, the mouth, the lachrymals a little, as well as between the fingers. It will be useless to efiace this sketch. You will then begin to paint the head, taking a larger brush to spread the colour broadly and quickly. Still very little medium. Put a rather light local tint ; while the colour is still wet deepen the tone beneath the arch of the eyebrows, the cheeks, the extremity of the chin, and the parts to be shaded, taking care meanwhile to leave out the bright lights, or those reflected, which should remain of the first tint, in order that the shadows may give an appearance of roundness. Take next a small dabber with a flat top, and holding it perpendicu- larly, dabble lightly before the colour has time to dry. Soften and mix well the two tints, keeping them distinct the while. Do the hair after the flesh tints have been laid on, toning^ the locks more or less. Here, however, no more dabber ; on the contrary, the strokes of the brush must appear and mark the hair. Pass on to the drapery and wash in broadly the prin. 43 cipal shadows wit.li a still bigger brush. It will be effective to preserve the white of the porcelain or china for the lights of the draperies. In the first painting spirits of lavender are used so that the colour may dry less quickly. You must not be afraid to paint the drapery with large strokes of the brush, the effect is all the better for it. Above all, let there be no harsh or dry marks : in painting there are no marks, but shadows and lights. Before retouching, the painting must be allowed to dry, and the medium to evaporate, and you must not work again on it unless, lightly placing the tip of your finger on the painting, you feel scarcely any dampness left ; some, however, must remain, for the colour would easily be removed by retouching if it were in a pulverised state. The desiccation can be hastened by heating, either at a lamp of spirits of wine, or in an oven ; but you must wait until the piece is quite cold again before resuming your work. The first painting must be taken great care of and kept very clean. While it is drying, it should be placed out of the reach of dust and damp ; if it be a plaque, place it in a flat box with a proper lip to it, shutting hermetically. M. Lacroix' s colours being perfectly well prepared, we will not dwell upon the disadvantages offered by the former badly ground colours. The inexperienced beginner used to put too much ' fat ' or too much spirits of lavender. In the former case, the painting crazed in the firing ; it was lost. With too much spirits of lavender the colours ran, fled in the firing. Therefore there must be no excess, but the three mediums must be used with management and discretion. When you retouch your painting, before the first firing, you must model by retouching with flat tints, and you must do it very soberly, very lightly, not to remove what is underneath ; 44 work almost dry, that is, without much soaking the brush in the spirits of turpentine. If the colour does not spread easily, the brush is wetted with the least possible quantity of oil of turpentine, a drop of which has been poured on the palette. Spirits of lavender are of no use for this second performance. To finish the monochrome completely, it is necessary to stipple the shadows, using very little rectified spirits of tur- pentine. If the beginner will master thoroughly the shadows of the original, she will not find it more difficult to paint in monochrome, than to reproduce a drawing either in black chalk or in stump ; the brush will take the place of the stump or chalk ; the only difficulty that can arise being in the use of the mediums and in the lack of time for allowing the painting to dry. I repeat it again, for it is of great importance, that with the colours of M. Lacroix one can work almost dry, once the palette has been set. When the work is finished it is submitted to the firing, either at home (by the Gabelle process) or at a decorator's. According to the result obtained, the parts which lack vigour s^re retouched. In general few raised lights or reliefs are employed. Yet, in accessories, they heighten advantageously the brilliancy of the painting. The paint for raised lights is taken from the palette in a particular way : the brush must lift up a lump of colour at the point, that it may be laid on the easier. Raised lights are placed on small flowers, on jewellery : pearl necklaces, are dark blue, brown, and dark green. The ground is made with ivory yellow (for the lights), bitumen, grey, and a little violet of iron. Trunks of trees are begun with yellow grey, greenish grey, and bitumen. The palette, set complete for figure subjects, includes the following colours : — Chinese white, sky blue, light sky blue, dark blue, deep ultramarine, Victoria blue, blue ISTo. 29 (special for porcelain, scales on earthenware), brown No. 3, bitumen, brown No. 4 or 17. yellow brown, deep red brown, sepia, light carmine A, carmine No. 2, deep carmine No. 3, light grey No. 1, grey No. 2, neutral grey, russet or warm grey, silver yellow, permanent yellow, ivory yellow (47 of Sevres), yellow for mixing (41 of Sevres), crimson lake, raven black, iridium black, yellow ochre, purple No. 2, crimson purple, deep purple, capucine red, flesh No. 1, flesh No. 2, deep flesh, orange red, grass green No. 5, brown green No. 6, dark green No. 7, deep blue green, deep chrome green, apple green, sap green, violet of iron, light violet of gold. 48 SEVENTH LESSON. STYLE OF BOUCHER, FLOWERS, FRUIT, BIRDS, AND LANDSCAPE ON PORCELAIN. Style of Bouchée. To paint in tlie style of Boucher (Cupids) you begin by transferring your design on to the china. Then you sketch with flesh No. 1 the lines of the face, and the fingers and toes. When this sketch is dry, the reflected lights are marked with yellow brown mixed with ivory yellow. The local tint of flesh colour is laid on immediately after, the same as in the preceding lesson ; the dabbling evens the two colours placed side by side, and blends them one into the other. Let it dry, then heighten by half a tone the extremities of the hands, feet, knees, &c. Sketch in the hair and accessories, the clouds and background, while the local tint is drying. Betouching. — When this first painting has lost nearly all its moisture, return to it again ; work the shadows by stip- pling some brown No. 17 mixed with sepia, yellow ochre, light grey, and a touch of blue green for the transparent parts. Where the flesh is brown the reflected lights are made with yellow ochre throughout, and the scale of browns is more used. A touch of violet of iron warms up the shadows and approaches nearer to Vandyke brown in oils. Flowees. To paint flowers well it is necessary that the drawing should be exceedingly correct and sober in its lines, for the 49 tints having to be very light and very pure, too many pencil marks would injure the painting. The little details of the petals are done with the brush, without previous tracing. The pencil must only mark the leaf's contour and central vein : the direction of the brush strokes is enough to indicate the smaller veins. A general rule for the manipulation of the brush in flower painting may be laid down thus : — The handling is always done the way of the petals, converging towards the centre. The leaves composing a rose do not round well unless the brush has been directed with a circular motion. Leaves. — Each plant possesses a particular kind of leaf, and even in the rose the leaves of different varieties are not alike. Thus, for the leaves of the Bengal rose : a semi-bright tint, a shiny appearance without many veins, the young shoots tinged with carmine, or else purple mixed with silver yellow. The king's rose : the leaves of this rose are of a darker green than the preceding ; they are done with grass green No, 5 ; the edges of the older leaves become somewhat russet, the young shoots light green. Red rose : the leaves deep green, heightened with brown, the veins dark green 'No. 7, the serra- tions carmine red, the fading leaves have a reddish brown hue. Yellow roses : shiny leaves inclining to blue green, and retouched with grey mixed with grass green ; the deeper tints made with dark green No. 7. Do not use this last colour too freely. Leaves have a direction ; to paint them properly you must begin them from the top, that is, from the stalk end. Half the leaf is painted at a time, from the principal vein to the edge, making the brush twist in such a manner that the brushmarks and ridges done in the handling may represent the secondary veins. The leaves of bulbs are painted from the top downwards ; so are the leaves of heartsease. The E 50 leaves of nasturtium are made almost of a flat tint, converging to the centre, which, is a light spot ; their colour is a very light blue green, shaded with grey. YoTL must not be afraid to mix purple or carmine with green to shade foliage. Amateurs who have attained a certain degree of proficiency will gather some useful hints from two letters by Messieurs Fragonard and Riottot, published by M. Lacroix (handbook Des Couleurs vitrifiahles) , Fruit. This style is done indiscriminately on porcelain, earthen- ware, enamel, and faience. It is very easy ; the essential point is to match well the different shades of colour and to lay them one over the other while they are still wet. The softener flattens them and helps the tints to mingle. Leaves are not dabbled, nor are the stalks. To describe in detail the manner of painting divers fruit would take too long, and would, in truth, have very little interest. We shall limit ourselves to one example. Painting of a Peach, — Flat yellow tints, graduated into green, and mixed with grey in the shadow. Dabble carefully. Be careful to add more oil to the red part, which is softened afterwards very easily with a dabber, the red blending freely with its neighbouring colour from the efi'ect of the oil. Birds. On faience birds look very well. They are also done on porcelain to imitate Saxony ware. 51 There is nothing particular to be said about bird painting. With regard to fancy birds, the merit consists in the servile copy of ancient and exotic types. Good examples of natural birds are not scarce. General information sufficient for the use of the colours will be found in our lessons. Landscape. Landscape is not traced ; it is drawn very lightly, so that the pencil may form no obstacle to the painting. This is how the painting is proceeded with : — On a square ground-glass slab of moderate size set your ^ palette ' with green tints in the following order : yellow for mixing, yellow ochre, apple green, grass green, chrome green, blue green, brown green, dark green, sepia, bitumen, violet of iron, &c. Take care to leave a space of about three-quarters of an inch between each colour, in order to be able to mix them, for they ought not to be used pure : the effect would be bad and inharmonious. Commence by the sky, using sky blue and excessively light ultramarine ; the lighter parts of ivory yellow, also very thin, and the distance blue green with the slightest touch of carmine. Skies are to be done with a very large brush, and the mixing of blue and yellow, which would produce impos- sible green clouds, is to be avoided. Skies are worked from left to right : they are washed in very rapidly, covering also the place for the trees. A dabber may be used after. The sky being dry, the trees are massed. Inasmuch as light tints would disappear in the firing if they were put beneath dark colours, fresh tints of apple green are commenced first, which are retouched or darkened at once before dabbling. E 2 52 When these tints have been laid and are dry, the foliage is done by manipulating the brush from left to right with little strokes close together, to imitate the leaves. Autumn tints are preferable to greens that are too bright. You obtain them by sepia and the ochres. Trunks of trees ^ light grey and sepia. Branches^ bitumen. For strengthening touches use violet of iron. Souses, ivory yellow mixed with grey ; shadows, violet of iron. Ground, the lights of ivory yellow, and sometimes yellow ochre ; shadows, bitumen ; strong tints, brown mixed with black. Water ia done with very light blue green, re- touched with grey, and occasionally revived with fresher green to reflect grass or trees. Strengthening touches are given at the second firing, and a glaze is passed over the tints altered in the first firing. Setting the Palette. Style of Boucher : — Chinese white, sky blue, light sky blue, dark blue, deep ultramarine, Victoria blue, blue No. 29 (special for earthen- ware, scales on porcelain), brown No. 3, bitumen, dark brown No.4 or 17, yellow brown, deep red brown, sepia, light carmine A, carmine No. 2, deep carmine No. 3, light grey No. 1, grey No. 2, neutral grey, russet or warm grey, silver yellow, per- manent yellow, ivory yellow (47 of Sèvres), yellow M for mixing (41 of Sèvres), crimson lake, raven black, iridium black, yellow ochre, purple No. 2, crimson purple, deep purple, capucine red, flesh No. 1, flesh No. 2, deep flesh, orange red, grass green No. 5, brown green No. 6, dark green No. 7, deep blue green, deep chrome green, apple green, sap green, violet of iron, light violet of gold. 53 Flowers; fruits; birds: — Permanent white, sky bine, light sky blue, dark blue, deep nltramarine, deep blue, Victoria blue, blue No. 29 (special for earthenware, scales on porcelain), brown No. 3, bitumen, dark brown No. 4 or 17, yellow brown, brown M or 108, deep red brown, sepia, light carmine A, light carmine No. 1, deep carmine No. 3, flux, light grey No. 1, grey No. 2, pearl grey No. 6, neutral grey, platina grey, russet or warm grey, silver yellow, permanent yellow, ivory yellow (47 of Sèvres), jonquil yellow, yellow M for mixing (41 of Sevres), orange yellow, crimson lake, ivory black, yellow ochre, deep ochre, purple No. 2, crimson purple, deep purple, ruby purple, relief, capucine red, laky red, orange red, grass green No. 5, brown green No. G, dark green No. 7, green No. 36 T, deep blue green, deep chrome green, emerald green, apple green, deep green, sap green, violet of iron, light violet of gold, deep violet of gold. Landscape :— Sky blue, light sky blue, dark blue, Victoria blue, blue 29 (special for earthenware, scales on porcelain), brown No. 3, bitumen, brown No. 4 or 17, light brown, dark brown, yellow brown, brown M or 108, deep red brown, sepia, light carmine A, carmine No. 2, flux, light grey No. 1, grey No. 2, neutral grey, platina grey, russet or warm grey, silver yellow, ivory yel- low (47 of Sèvres), yellow M for mixing (41 of Sèvres), orange yellow, uranium yellow, yellow ochre, deep ochre, capucine red, laky red, orange red, grass green No. 5, brown green No. 6, dark green No. 7, green No. 36 T, deep blue green, chrome green 3 B, deep chrome green, emerald green, apple green, deep green, sap green, violet of iron, ditto with a grey tinge. 54 EIGHTH LESSON. BACKGROUISTDS FOR ORDINARY MUFFLE OX PORCELAIISr OR EARTHENWARE. Some grounds are laid witb. colours for greatest heat^ and consequently tliey cannot fire in the muffle ; these are generally the blues for greatest heat, or chrome greens. We shall speak here only of those grounds in colours for ordinary muffle which you may wish to make yourself for the usual services, such as plates, cups, dishes, sugar basins, &c., &c.^ dessert plates, breakfast, coffee, tea, or chocolate services. If you wish a composed tint to be made for a ground, and that it should be exactly the same for all the pieces, in that case we recommend you to use M. Lacroix' s colours already ground in powder ; to measure out the quantities, and to make tests beforehand. In other words, you weigh a number of grammes of the colour we shall call c, and the amount of the colour we shall call b. Supposing c is carmine and b blue ; let us say that the mixture is 4 parts of carmine = 10 grammes, and B = 4 grammes, the mixture of c + b = 10 + 4 or 14 grammes. Let us suppose that this quantity, having been thoroughly ground, diluted, and prepared with oil, is sufficient to lay the ground on all the rims or borders of a certain number of plates ; the only question will be how to lay it on with the brush and how to dabble it. This is quite a little business to* learn, certain colours requiring more or less oil of turpentine. For example, blues, carmines, and purples need more ^ fat,** and are less convenient for use. To lay them in, the brush must be rather large and flat, and must be well loaded witb colour equally throughout, the colour having been well pre* 55 pared beforehand ; it is well, when preparing, to put a few drops of spirits of lavender to prevent the colour from drying too quickly, which would not give time for dabbling. You must avoid passing the brush twice over the same place ; the brush strokes should be given circularly on the rim, about three-quarters of an inch in length for each stroke, without returning, depositing each time about the same quantity or thickness of colour; work by contiguity of strokes without much anxiety for the drop made at each touch. The plate is held horizontally or flat ; when once the surface of the rim is covered, wait a moment till the colour settles, then take an ordinary dabber, not too small, the diameter of a sixpence, and begin striking perpendicularly, the dabber being very dry and clean and free from dust. You must strike little strokes, very lightly at first, and never twice in the same place, scarcely grazing the surface and never allowing the dabber to rest with its own weight on the colour. The direction followed by the series of strokes given should form, so to speak, curves like curls circling one in the other : the colour will be seen to get flat and even, while the spots formed by the accumulation of drops which may have collected in some places when first laid with the brush, to the detriment of other places less provided with colour, will be dispersed. As soon as you perceive that the dabber collects a little colour, or that the colour of the ground comes ofi" and adheres to it, you must clean it immediately, and dry it well with a bit of fine muslin rag (not flufly). Colour, when it has sufficient ' fat,* should never stick to the dabber. As the ground gets flatter, press the dabber harder without ever dragging it, but always holding it perpendicularly to the surface on which it is performing. Above all, do not let the piece on which you are laying the ground be damp. You can have a second 56 dabber to refine the grain of the flat tint, twirling it con- tinually ronnd and round, and making the circuit of the rim several times if need be. Avoid specks of dust, drops of water, as well as rain from an open window, and sneezing over your work, for in the firing white spots would be formed. If the whole plate, or an entire piece, has to be laid with the same ground all at once, when you have spread the general coating with your brush, to flatten it, as in the foregoing, take a larger dabber, one of those called askew, its shape per- mitting the circular concave part adjoining the bottom to be smoothed more easily. It will be seen that in the operation of turning manufacturers always leave the flat part in the centre rather uneven, and that the colour consequently accumulates in the hollows, forming little pools as it were. If you practice dabbling intelligently, you will begin by dabbing the softener precisely on these deposits, to remove them at once to the less loaded parts, thus attending diligently to the equal redistribution of colour, which, by the regular striking of the tool or dabber, becomes uniform insensibly and, so to speak, of itself. If you have to lay a large ground on the surface of a vase, you should understand that the operation of laying on ought to be performed with a flat camel-hair brush, large enough for the performance to be done with as few brush strokes as possible, not loading the said brush too much so that the colour in the upper part (you begin at the top) may not overflow the successive zones from the neck to the foot. Sometimes it is necessary that there should be two persons when the vase is of large size, and that they should dabble it all over both at once, commencing with a very big dabber; then, as the coat flattens and adheres by degrees, one of moderate size should be taken to finish smoothing and to close in the colour well. If a vase's ground 67 is to accompany some decoration (whether flowers, fignres, or ornament) for which you want a white place kept to paint on after the firing of the ground, begin, before laying the ground in, by transferring your design on to the white ; go over the outline with Indian ink or carmine, and wash the whole of it with water. The general laying of that ground is done next over every part, covering all, as if the tracing and the wash of water had not been done ; dabble and leave it to dry. As the careful water-colour outline is perfectly visible beneath the tint, the surface of which has been well flattened, take some lake in tube for oil painting ; set it on a glass slab, and add to it a few drops of oil of cloves or spirits of lavender to make it go further ; the oil of cloves is preferable. With this preparation cover, let us say, an entire flower, a leaf, as far as the outHne ; then with a muslin rag, starting from the contour towards the centre, wipe away the colour of the ground diluted at once by the lake, and the silhouette of the parts to be preserved white appears very clearly. You continue to regain successively the parts wherever some white of the enamel is wanted, so that the removal of the reserved spaces with the lake is completed in a very short time. The back- ground is then fired at a gentle heat, called fixing heat, and afterwards the painting on the white enamel may be executed and fired over again when all is washed in properly. There are some grounds laid with unmixed colour and others of which the tones are composed. It is the decorator's business to choose the colour and the shade most suitable to his subject. Some colours for grounds are already prepared, and others are brought to their shade or colour by laying on two coats ; thus the first coat is often prepared of a beautiful light yellow. It is fired the first time, and for the second firing a coat of carmine or purple is laid over it, which gives 58 a vermilion or an orange red tliat could not be obtained hy mixing witb the palette knife and by a single coat. The same for other colours. This study is very attractive. It is well to practise it on defective plates used as tiles for testing. In a smooth sky, starting with pale yellow, and graduated by imperceptible degrees into blue, the blue may be laid directly, and allowed to die away on the white of the china,, the darkest part beginning at the top, and becoming graduated by thinning, which is very easily done with a dabber ; it is fired to fix it, and after this gentle firing the yellow is laid, which is also graduated with a dabber, beginning from the bottom, in such a way that when the white of the china has disappeared, the sky may be fired with the rest of the- painting. You will understand from these details the facility with which, by making an outline in water-colour, which is not removed by the influence of the medium, you may dabble on no matter what object, since you are always sure to find again the place whereon you wish to apply other tints. Removal of colour in the course of the execution of a work, done before firing with bits of white wood carved to a point, or with a flat edge, aflbrds the landscape painter charming resources for foliage. Scraping is also done with a scraper, and pricking witk ivory points or needles of various sizes. On page 28 we have given a list of the colours for grounds on porcelain. 50 NINTH LESSON. PAINTING ON FAIENCE, SOFT PASTE PORCELAIN, AND ENAMEL. Faience. The coarse nature of faience does not admit of painting as careful, or as highly finished, and as true in tone as that on porcelain. Its clay is not fine enough, and its enamel alters certain important colours. It would be losing one's time and trouble to wish to do too well. The same palette of colours is used for faience as for por- celain. But it is quite indispensable to ascertain by numerous tests the efiect of the firing on these colours. Dark blue (blue No. 29) grounds laid with a brush sometimes succeed better without dabbling. The faience clay being more porous than that of porcelain, the management of the work must be modified so that a single firing may suffice. For this reason you must wash in and let it dry ; retouch it, and again let it dry. Finish by strengthen- ing touches ; then have it fired. Flowers are seldom beautiful on faience. Heads in colours and figure subjects never reach natural tones. Landscape is done by mixing browns with greens, over which they predominate. What can be sought from faience is breadth of efiect, which is obtained by a broad handling. The styles which suit it best are animals, and particularly still l^e, large landscapes, and marine subjects, the style of Ghardin, monochrome, the fancy style, arabesques, and armorial bearings. But that which suits it above all is the imitation of the old 60 Delft, Marseilles, and Rouen wares. The designs used for these appHcations having to be reproduced several times, they are traced. The same piece of tracing paper can supply numerous tracings, repeating the original design with irreproachable faithfulness and regularity. Marseilles ware is surrounded by an outline done with a pen and some raven black. When this outline is quite dry, the leaves are tinted with various colours : orange, yellow, green, purple, ultramarine. List of pieces for decoration which may be had in the trade : — Dinner services to imitate the Marseilles, Delft, and Rouen wares ; plates of all sizes for card trays, armorial bearings, and fancy stands ; flower baskets, clocks, candle- sticks, bonbon boxes, jewel boxes, hanging vases, plaques and plates of all sizes, from slabs for placing under dishes up to large plaques for stoves, pictures, and baths. Soft Paste Porcelain. As we have already said, soft paste, compared with por- celain, is less transparent, of a thicker glaze, and milky white. That which has a yellow tone is often inferior. For figure painting avoid taking china with a rosy hue. The * palette' for painting on soft paste ]S more limited, the chemical composition of its enamel being completely opposed to the use of the reds and certain iron colours which are of service on porcelain. To obtain a red you must lay on, at the second firing, some purple over a dark yellow, such as uranium yellow, which has already been burnt in at the first fire. ITot to meet with any disappointment you must always iest the colours beforehand on a small piece of soft paste 61 porcelain of the same paste and manufacture as the piece- for decoration. This is most important. These colours are used still more lightly than in the works we have spoken of hitherto. Set the following tints for the flesh : — Ivory yellow, light carmine, yellow brown, brown No. 4, brown No. 108, and car- mine taking the place of flesh tint on porcelain. It is better that the flat flesh tints to be laid on soft paste or enamel should be, previous to the first firing, rather yellow than car- mine, but very pale ; tints containing too much carmine turn violet at the retouching. Some fine greys for drapery or flowers are obtained by the mixture of greys, carmines, ultramarines, and a slight touch of black or yellow, according to the shade you require. Two firings are generally enough ; but if a difficult work, a portrait for example, requires to be fired a great number of times, there is but little to fear, as the glaze of soft paste bears as many as seven firings ; however, it gets poorer after three or four. The firing should be entrusted to those who make it their special business, for this kind of painting cannot be fired everywhere. Pieces for decoration. — You may be able to find some old Sèvres (cups, cream-jugs, &c.) by rummaging in old curiosity shops. On these articles the following are painted : — Miniature portraits, pastoral subjects (style of Watteau and Boucher), natural flowers, flowers and fruit in the style of old Sèvres, the style of Saxony ware (monochrome). Purple monochromes are quite of the period of old Sèvres ; however simple this style may appear, fail not to test the colour previous to execution. 62 Enamel. Painting in this style is very difficult ; it requires a very large experience and a thorough knowledge of drawing. Ex- cellent eyes are needed for the work of painting on enamel, and those persons who are short-sighted devote themselves to it with less fatigue than artists who have an ordinary sight. By the action of the fire the colours become quite incor- porated with the body of the enamel, whereas porcelain is not so penetrated : the colours remain fixed only on the surface. Painting on soft paste has nearly all the qualities of enamel, and the procedure in executing is the same for both. The * palette ' of the painter on enamel is deceptive ; the colours which compose it do not show their real tint till they are fired. Therefore it will be only after many trials that the knowledge of the principal mixtures will be acquired. Never- theless we are not afraid to assert that a person who has com- menced his artistic studies by painting in oil will progress the more rapidly in the study of enamel-painting, for many of the combinations and methods in use for oil-painting are equally applicable to enamel-painting. F alette. — The colours most in use bear the following names : — Dark blue, ultramarine, light brown, dark brown, light carmine, dark carmine, neutral grey, light yellow, dark yellow, ordinary black, iridium black, crimson purple ; deep purple, chrome green, pale green, and violet of gold. As a general rule the first painting is very slight, and the number of retouches is as unlimited as that of the firings. Enamel takes but a few minutes to fire, in special kilns of small dimensions. The work is applied to the fire again and again until it has got the required glaze. Care must be taken 63 not to place the object recently fired upon cold marble, which would immediately cause a breakage or crack in the enamel ; the plaque should be received on to a little wooden board, near enough to the fire to prevent a sudden accession of cold air. May be had : — Enamel plaques of various sizes, square, round, or oval, for lockets, pocket-books, purses, card cases, blotting cases, reliquaries and other religious articles, opera- glasses, smelling-bottles, bonbon boxes. Small plaques are mounted in jewellery : brooches, ear-rings, chatelaines, neck- laces, bracelets, studs, belt buckles or plaques, clasps, &c. Some rather original hollow cufi'-links have been made lately. The style is adapted, as much as possible, to the purpose of the articles. On plaques you may paint portraits, little Watteau subjects, and the style of the Louis XVI. period ; very delicate grisailles, light grey on various grounds, are quite in the style and in great request. Tiny flowerets are suitable for opera-glasses and bonbon boxes. Mythological and pastoral subjects are done more particularly on smelling-bottles. Heads of animals, monograms and armorial bearings, fleur-de-lis, and little Cupids are reserved for jewellery; little flowers and mythological subjects are also painted on it. We could have extended the details of this chapter, and have added painting for greatest heat. But it appeared to us that its utility to the public of artists and amateurs whom we are addressing is but circumscribed. The great convenience for work, and almost certain success of paintings for ordinary muffle on fine earthenware and porcelain, on porcelain espe- cially, generally make the other kinds of ceramic painting, which offer but poor palettes and very problematical results, to be set aside. LECHEETIEE, BAEBE, & CO. AETISTS' COLOURMEN AND STATIONERS ESTABLISHED 1827 COLOURS AND MATERIALS FOR POTTERY PAINTING AND FOR GLASS PAINTING LONDON" 60 REGENT STREET WHOLESALE, 7 GLASSHOUSE STREET 1879 PARIS UNIVERSAL EXHIBITION, 1878. A SILVER MEDAL AND A BRONZE MEDAL, BOTH AWAEDED TO FOE HIS COLOURS AND CHEMICALS FOR CHINA PAINTING. 67 A. LACROIX'S ORDINARY MUFFLE-HEAT ENAMEL COLOURS For Painting over the glaze on Porcelain or Earthenware, ground in fat oil of hirpentine, ready for use, and placed in compressible tin tubes like moist colours, or reduced in extra-fine powder and placed in glass tubes. The price for either description of tubes is the same. MOIST TUBE. POWDER TUBE. Per tube s, Chinese "White (Blanc chinois) 8 Permanent White (Blanc fixe) 6 Azure Sky Blue (Bleu ciel azur) 8 Light Sky Blue (Bleu ciel clair) 8 Dark Blue (Bleu foncé) 6 Common Blue (Bleu ordinaire) 6 Deep Ultramarine (Bleu outremer riche) 10 Deep Blue (Bleu riche) 8 Brown No. 3 (Brun 3 bitume) 8 Brown No. 4 (Brun 4 foncé) . . 8 Yellow Brown (Brun jaune) 8 Brown M (Brun M) 08 Deep Eed Brown (Brun rouge riche) 8 Sepia (Sépia) 8 Light Carmine A (Carmin tendre A) 8 Light Carmine No. 1 (Carmin tendre No. 1) . . . , .08 Carmine No. 2 (Carmin No. 2) 9 Deep Carmine No. 3 (Carmin No. 3 foncé) 10 Flux (Fondant général) 6 Grey No. 1, light (Gris No. 1 tendre) 8 Grey No. 2 (Gris No. 2) 8 Pearl Grey No. 6 (Gris No. 6 perle) 8 Neutral Grey (Gris noir) 8 LECHERTIER, BARBE, à CO., 60 REGENT STREET, W. F 2 68 Per tube 5. d, Platiflum Grey (Gris de platine) 6 "Warm Grey (Gris roux) 8 Silver Yellow (Jaune d'argent) 6 Ivory Yellow (Jaune d'ivoire 8 Jonquil Yellow (Jaune jonquille) 6 Yellow for Mixing (Jaune à mêler) 6 Orange Yellow (Jaune orange) . . . . . . .06 Crimson Lake (Laque carminée) 10 Eaven Black (Noir corbeau) 8 Ivory Black (Noir d'ivoire 6 Yellow Ochre (Ocre) 8 Purple No. 2 (Pourpre No. 2) 13 Crimson Purple (Pourpre cramoisi) 19 Deep Purple (Pourpre riche) 16 Ruby Purple (Pourpre rubis) 2 Relief (Relief) 6 Capucine Red (Rouge capucine) 6 Plesh No. 1 (Rouge chair No. 1) 8 Flesh No. 2 (Rouge chair No. 2) 8 Deep flesh (Rouge chair foncé) 8 Laky Red (Rouge laqueux) . 9 Orange Red (Rouge orange) 9 Grrass Green No. 5 (Vert No. 5, pré) 8 Brown Green No. 6 (Vert No. 6, brun) 8 Dark Green No. 7 (Vert No. 7, noir) 8 Green No. 36 T (Vert No. 36 T) 8 Deep Blue Green (Vert bleu riche) 10 Chrome Green 3 B (Vert chrome 3 B) 8 Deep chrome green (Vert chrome riche) . . . . • .08 Emerald-stone Green (Vert émeraude) 8 Green H. 24 (Vert H 24) 8 Apple Green (Vert pomme) . . . . . . . .06 Deep green (Vert russe) 8 Sap Green (Vert de vessie) . , . . . . • .08 Violet of Iron (Violet de fer) 8 Light Violet of Gold (Violet d'or clair) 10 Deep Violet of Gold (Violet d'or foncé) 13 Blue No. 29 (Bleu 29), to be used on earthenware only . . .06 Light Brown (Brun clair) 8 Dark Brown (Brun foncé) . . . . . . • .08 LECHERTIER, BARBE, & CO.'S PREPARED GOLD, To BE USED OVER THE GlAZE ON PoRCELAIN OB EaETHENWARE. Oa Glass Slab, and with full directions for use . . . .50 A. Lacroix's prepared platinum, a white preparation for the same usage as gold. Preferable to silver, as it does not turn black. Per sijiall slab .......... 3 6 LECHERTIER, BARBE, 8c CO., 60 REGENT STREET, W. 69 A. LACROIX'S ORDINARY MUFFLE-HEAT ENAMEL COLOURS For Painting over the Glaze on Porcelain or Earthenware, in powder, for large consumers. Chinese White (Blanc chinois) Permanent White (Blanc fixe) Azure Sky Blue (Bleu ciel azur) Light Sky Blue (Bleu ciel clair) Dark Blue (Bleu foncé) Common Blue (Bleu ordinaire) Deep Ultramarine (Bleu outremer riche) Deep Blue (bleu riche) Brown No. 3 (Brun 3 bitume) Brown No. 4 (Brun 4 foncé) Yellow Brown (Brun jaune) Brown M (Brun M) . Deep Ked Brown (Brun rouge riche) Sepia (Sépia) .... Light Carmine A (Carmin tendre A) Light Carmine No. 1 (Carmin tendre No. 1) Carmine No. 2 (Carmin No. 2) . Deep Carmine No. 3 (Carmin No. 3 foncé) Plux (Fondant général) Grey No. 1, light (Grris No. 1, tendre) Grey No. 2 (Gris No. 2) Pearl Grey No. 6 (Gris No. 6, perle) Neutral Grey (Gris noir) . , Platinum Grey (Gris de platine), per dram Is. Warm Grey (Gris roux) Silver Yellow (Jaune d'argent) . Ivory Yellow (Jaune d'ivoire) Jonquil yellow (Jaune jonquille) . " Yellow for mixing (Jaune à mêler) Orange yellow (Jaune orangé) Crimson Lake (Laque carminée) . Raven Black (Noir corbeau) Ivory Black (Noir d'ivoire) . Yellow Ochre (Ocre) . Purple No. 2 (Pourpre No. 2) Crimson Purple (Pourpre cramoisi) Deep Purple (Pourpre riche) Ruby Purple (Pourpre rubis) Relief (Relief) . Capucine Red (Rouge capucine) . Flesh No. 1 (Rouge chair No. 1). Flesh No. 2 (Rouge chair No. 2) . LECHERTIER, BARBE, 8c CO., 60 REGENT STREET, W. Extra fine Single ground ground s. d. s. d. 3 2 6 10 2 6 2 6 2 6 16 2 6 16 4 6 32 3 3 16 3 16 2 6 12 3 20 3 3 3 3 20 3 6 32 4 40 2 6 10 3 3 3 3 3 2 6 12 3 2 6 2 6 6 2 6 5 6 64 3 2 6 16 3 8 90 10 120 9 110 12 2 6 12 3 3 3 Deep Flesh (Eouge chair foncé) . Laky Eed (Rouge laqueux) .... Orange Red (Rouge orangé) Grass G-reen No 5 (Vert No. 6, pré) . Brown Green No. 6 (Vert No. 6, brun) Dark Green No. 7 (Vert No. 7, noir) . areen No. 36 T (Vert No. 36 T) Deep Blue Green (Vert bleu riche) Chrome Green 3 B (Vert chrome 3 B) Deep Chrome Green (Vert chrome riche) Emerald-stone Green (Vert émeraude) OreenH 24 (VertH 24) .... Apple Green (Vert pomme) .... Deep Green (Vert russe) .... Sap Green (Vert de vessie) . . . . Violet of iron (Violet de fer) Light Violet of Gold (Violet d'or clair) Deep Violet of Gold (Violet d'or foncé) Blue No. 29 (Bleu 29), for earthenware only Light brown (Brun clair) .... Dark Brown (Brun foncé) . A. LACROIX' s COLOURS FOR GROUNDS Over the glaze on Porcelain or Earthenware. Prepared same as the above, in moist tubes or powder tubes, and to be used exclusively for grounds. PER TUBE s. d. Indian Blue (Bleu Indien) . . 010 Lavender Blue (Bleu lavande) . 8 Golden Brown (Brun mordoré) 8 Light Coffee (Café au lait) . . 6 Carmelite (Carmélite) . . . . . . . . .06 Chamois (Chamois) 6 Coral (Corail) . . . • 6 Isabelle (Isabelle) 6 Chinese Yellow (Jaune chinois) 8 6 Fusible Lilac (Lilas fusible) 8 Maize (Maïs) . . .08 Mauve (Mauve) u .10 Pompadour Pink (Rose Pompadour) 10 Salmon (Saumon) .......... 8 Turquoise Blue (Turquoise bleue) 10 Turquoise Green (Turquoise verte) 10 Green for Grounds (Vert pour fonds) 8 Copper Water Green (Vert d'eau au cuivre) . , . . .06 Chromium "Water Green (Vert d'eau au chrome) . . . .06 Celadon (Céladon) 8 LECHERTIER, BARBE, & CO., 60 REGENT ÔTREET, W. Extra fine Single ground ground per oz. per lb. s. d. s. d» . 3 . 3 6 . 3 6 . 3 . 3 . 3 . 3 .4 6 42 . 3 .3 22 . 3 . 3 .26 12 .3 22 . 3 .30 24 . 5 . 8 .26 12 .2 6 8 .2 6 8 71 A. LACROIX' S COLOURS FOR GROUNDS 'Over the glaze on Porcelain or Earthenware ; in powder, for large consumers. Extra fine Single ground ground per oz. per lb. s. t?. 5. d, Indian^BIue (Bleu Indien) 4 36 LaA^ender Blue (Bleu lavande) , , • , ,26 12 Golden Brown (Brun mordoré) 3 Light Coffee (Café au lait) 2 6 12 Carmelite (Carmélite) 26 120 Chamois (Chamois) 26 160 Coral (Corail) 26 120 Isabelle (Isabelle) 2 6 12 Chinese Yellow (Jaune chinois) 2 6 16 Fusible Lilac (Lilas fusible) ..... 3 20 Maize (Maïs) 3 20 Mauve (Mauve) 5 50 Pompadour Pink (Rose Pompadour) . . . .4 6 48 Salmon (Saumon) 3 24 Turquoise Blue (Turquoise bleue) . . . .3 24 Turquoise Green (Turquoise verte) . . . .3 6 32 Green for Grounds (Vert pour fonds) . . . .26 160 Copper Water Green (Vert d'eau au cuivre) . . .26 16 Chromium "Water Green (Vert d'eau au chrome) . .26 12 Celadon (Celadon) 26 120 À. LACROIX' S GREAT-HEAT COLOURS For painting tmder the glaze on Porcelain or Earthenware. Ground in fat 'Oil of turpentine^ ready for use, and placed in tin tubes like moist colours, or reduced in extra-fine powder and placed in glass tubes, per tube s, d. King's Blue (Bleu de roi) 8 Violet Blue (Bleu violacé) 8 Yellow Brown (Brun jaune) 8 Platinum Grey (Gris de platine) 6 Light Yellow (Jaune clair) . . . . . . . .06 Deep Yellow (Jaune foncé) 6 Dark Yellow (Jaune obscur) 6 Gold Yellow (Jaune d'or) 10 Manganese (Manganèse) . . 8 Maroon (Marron) 8 Bhick(Noir) 6 Iridium Black (Noir d'iridium) 6 Orange (Orangé) . 8 LECHERTIER, BARBE, à CO., 60 REGENT STREET, W. 72 PEB TUBE • S. d. Pink (Kose) - . . . . 10 T Red (Rouge T) 8 Deep Green No. 1 (Vert foncé No. 1) 9 Light Green (Vert tendre) 8 No. 1 Violet (Violet No. 1) 8 No. 2 Violet (Violet No. 2) a A. LACROIX' S GREAT-HEAT COLOURS For Painting under the glaze on Porcelain or Earthenware ; in powder, for large consumers. Extra fine Single ground ground per oz. per lb. s. d. s. d. King's Blue (Bleu de roi) . . . .19 160 Violet Blue (Bleu violacé) . . . . . .19 160 Yellow Brown (Brun jaune) 16 12 Platinum Grey (Gris de platine), per dram, 1^. Light Yellow (Jaune clair) . . . . . .16 120 Deep Yellow (Jaune foncé) . . . . . .16 120 Dark Yellow (Jaune obscur) . " . . . .16 12 9 Gold Yellow (Jaune d'or) 2 6 40 Manganese (Manganèse) 16 12 Maroon (Marron) 16 120 Black (Noir) 1 6 20 Iridium Black (Noir d'iridium), per dram, Is. Orange (Orangé) 16 120 Pink (Rose) 19 160 T Red (Rouge T) 16 12 Deep Green No. 1 (Vert foncé No. 1) . . . .1 9 20 Light Green (Vert tendre) 16 12 No. 1 Violet (Violet No. 1) 16 12 No. 2 Violet (Violet No. 2) 16 12 A. LACROirS ENAMELS AND FLUXES For Painting on Glass ; prepared in fat oil of turpentine, ready for use, or in extra-fine -powder, like the colours for painting on china, and in single ground fine powder, for large consumers. Per tin tube or glass tube Per lb. s. d. s. d. Pine Blue No. 1 (Bleu fin No. 1 Sèvres) . . .1 3 70 Half-fine Blue No. 2 (Bleu demi-fin No. 2) . . . 10 30 Indigo Blue No. 29 (Indigo No. 29) . . . .0 9 32 0' A Indigo (Indigo A) ....... 8 24 Brown No. 1 (Brun No. 1) 8 20 0' Deep Brown No. 2 (Brun foncé No. 2) . . . .0 8 20 0* LECHERTIER, BARBE, & CO., 60 REGENT STREET, W. 73 Per tin tube or glass tube Per lb. s. d. s. d. M Brown (Brown M) 8 20 Bed Brown J (Brun rouge J) 9 30 Crimson, hard fire (Cramoisi, feu dur) .... 1 9 128 Silver Yellow, strong (Jaune à l'argent, fort) 9 30 Silver Yellow, ordinary (Jaune à l'argent, ordinaire) 8 22 Deep M Yellow, for painting (Jaune foncé M à peindre). This yellow looks like silver yellow : may be used on all glasses, and mixed ..... 10 30 Mat Yellow (Jaune mat) 6 16 Transparent Liffht Yellow (Jaune transparent clair) 6 18 Transparent Deep Yellow (Jaune transparent foncé) 8 20 Eaven Black (Noir corbeau) 8 20 Common Black (Noir courant) 6 18 Intense Black (Noir intense) ..... 9 30 Yellow Ochre (Ocre) ....... 8 20 Crimson Purple (Pourpre carminée) .... 1 90 Crimson Purple, hard fire (Pourpre cramoisie, feu dur) . 1 9 128 Deep Purple (Pourpre riche) 1 6 110 Capucine Red (Rouge capucine) 8 20 Deep Flesh (Rouge chair foncé) 9 30 Bright Orange Flesh (Rouge chair orangé vif) 9 32 Fire Red (Rouge feu) 9 32 Transparent Blue Green (Vert bleu transparent) . 1 40 Intense Transparent Blue Green (Vert bleu intense 1 3 70 Semi-transparent Chrome Green (Vert chrome demi- 8 24 0' Copper Green (Vert de cuivre) 7 12 Transparent Intense Green No. 5 (Vert intense trans- parent No. 5) ....... 1 64 Transparent Intense Green No. 6 (Vert intense trans- parent No. 6) 1 64 Transparent Green No. 1 (Vert transparent No. 1) 10 40 Transparent Green No. 2 (Vert transparent No. 2) 10 32 Light Violet of Gold No. 2 (Violet d'or clair No. 2) Deep Violet of Gold (Violet d'or riche) 1 56 1 96 Brown Tracing Flux (Grisaille demi-fine brune) . 6 6 Black Tracing Flux (Grisaille demi-fine noire) 6 6 Red Tracing Flux D (Grisaille demi-fine D rouge) 6 6 Fine Grisaille A (Grisaille fine à peindre A) 6 8 B ( „ „ B) 6 8 C( „ „ C) . . 6 8 . » D( „ „ D) . . 6 8 Fine Light Bistre Grisaille (Grisaille bistre claire) 6 8 Fine Deep Bistre Grisaille (Grisaille bistre foncée) 6 8 Fine Brown Grisaille (Brun Grisaille) .... 6 8 Colour for Modelling (Couleur à modeler) 6 8 White Roughing (Dépoli blanc) ..... 6 4 Greenish Roughing (Dépoli verdâtre) .... 6 4 LECHERTIER, BARBE, 8c CO., 60 REGENT STREET, W. 74 BOXES FITTED WITH LACROIX' S COLOURS FOE PAINTING ON CHINA OK EARTHENWARE OVER THE GLAZE. £ s. d, COMPLETE JAPANNED TIN BOX, containing 36 tubes, either in moist or powder state, test-tile, glass slab, glass muller, steel palette knife, ivory palette knife, scraper, sketching crayons, 12 camel-hair brushes, 2 fitch dabbers, china palette, rectified turpentine, fat oil of turpentine, spirits of lavender, spirits of tar, and mahogany hand -rest . . 3 10 JAPANNED TIN BOX, containing 36 tubes, either in moist or powder state, palette knife, scraper, sketching crayons, 12 camel-hair brushes, 2 fitch dabbers, glass slab, glass muller, china palette, rectified turpentine, fat oil of turpentine, spirits of lavender, spirits of tar 2 12 6 POTTERY-PAINTING TABLE, constructed and fitted for painting, effectively and with comfort, on vases, plates, tiles, &c 5 5 LECHERTIER, BARBE, 8c CO., 60 REGENT STREET, W. 75 £ 5. FEENCH POLISHED MAHOGANY BOX, containing 16 tubes, either in moist or powder state, rectified spirits of turpentine, fat oil of turpentine, palette knife, sketching crayons, and brushes . . . . . . . .10 BOX FITTED WITH LACROIX'S COLOURS FOR PAINTING ON GLASS. JAPANNED TIN BOX, containing 28 tubes, in either moist or powder state 1130 MEDIUMS FOR PAINTING ON CHINA, Per bottle s. d. Distilled rectified spirits of turpentine . . .06 Fat oil of turpentine . .10 Oil of cloves . . .20 Per bottle 5. d. Prepared gumwater . .06 Spirits of lavender . .10 Spirits of tar . . .10 SKETCHING CEAYONS . . . .per dozen 9 INDIAN INK per stick, 6c?. and 1 LIQUID INDIAN INK . . . .per bottle 1 MODELLING WAX, for fixing tracings down, per stick, Qd, TEST-TILES OF LACROIX'S OVER-GLAZE COLOURS. No. 1, with 29 useful colours burnt in, showing their actual depth s, d, after firing, and with names affixed to each colour . . .66 No. 2, with 29 other colours. This tile, with the above, gives the facility of selecting from the whole set the colours which may- be most useful for the work in hand . . . . .66 No. 3, larger tile containing the 58 colours . . , . . 13 LECHERTIER, BARBE, & CO., 60 REGENT STREET, W. 76 FIRING DONE ONCE OR TWICE A WEEK. Average Prices: — Small tiles, plates, medallions, or plaques. s. a. 6 inches, or under . O O 1 7 If 7 3 8 Q O 4 u 1 (\ iU 10 . 1 6 11 . 1 2 7 12 . 1 4 8 14 . 1 9 10 16 . 2 4 12 18 . 3 14 20 . 4 16 22 . 5 18 24 . 6 20 Small vases, jars, jugs, cups, &c. s. 6 7 8 1 0' 1 3 1 6 2 6 4 6 6 6 9 6 13 6 20 0= 8 1 Tea cup and saucer Breakfast cup and saucer A reduction made for Services, or quantities. Filleting in gold and firing glazed china. Firing and glazing paintings on; biscuit china at equally moderate prices. Messrs. Lechertier, Barbe, d Co. cannot be answerable for breakage, but the utmost care will always be exercised. CHINA PALETTE TOR PAINTING ON CHINA. Size, 6 in. by 4, with 24 small recesses for holding colours, £ s. enclosed in japanned tin case, with protector flap and glass slab, very useful for keeping the colours clean . . .08 The palette only 4 LECHERTIER, BARBE, & CO., 60 REGENT STREET, W. 77 PORTABLE KILNS. FOR FIRING EARTHENWARE, PORCELAIN, GLASS, &c., In a kitchen or other similar fire, and with coal, coke, charcoal, or wood. These kilns or muffles are made of fire-clay, and in the shape of a square box, as shown by the above engraving. A hole is made in the cover for receiving a stopper, and one in the front for receiving a chimney. Previous to using the muffle it should be heated to a temperature higher than that required for the firing of colours (light red heat), in order to get rid of the moisture always retained by porous earth, and when taken out of the fire, left to cool down gradually at a short distance from the grate. The pieces to be fired may then be put in, and in order to pre- vent the smoke or cinders from penetrating, it is better to lute the lid all round with moist clay. See that the fire is well lighted and heaped up together before putting the kiln in, and in the case of coal that it is all ignited and does not emit any more smoke. The kiln should be imbedded in the fuel with not less than two inches of it all round, but there need not be any on the top, and the small hole in the stopper should be kept free in order to allow gases arising from the medium used with the colours to escape. The hole in the chimney should be closed only when the inside of the muffle is turning to redness. The progress of the firing is tested by introducing a chip of the same kind of ware as that which is being fired, with a touch of carmine upon it, through the chimney into the kiln, and by taking it out occasionally, and looking if the colour and glaze of the carmine is perfected. When that is so, the muffle should be removed from the fire, care being taken not to put it in a draught, as sudden cold might cause it to crack. The pieces should be taken out of the muffle only when it has cooled. When the kiln is used in a closed stove, the chimney should be put on the top and the stopper on the side. Less than one hour will be sufficient in most cases for firing after the above indications. LECHERTIER, BARBE, 8c CO., 60 REGENT STREET, W. 78 S. 12 16 Kiln No. 1. Small, inside measure, 3 J in. by 3, and 2f in. deep „ 2. Larger „ 5 „ 4^, „ 3 „ 3. Flat „ 6^ „ 6|, „ 1| „ (Suitable for plaques, tiles, glass, &c.) 20 , 4. Flat inside measure, 9 in. by 8|, and \^ in. deep ^ (For same purposes as No. 3) 24 „ 5. Round, 5J in. diameter inside and 5 in. high (Suitable for cups and small vases) 20 Parts of any of the kilns can be had separately at proportionate prices. Thin strips of china for breaking into * tests ' .... 3 WHITE EARTHENWARE PLAQUES. They are much lighter than ordinary tiles, more pleasant to handle, and glazed on both sides. s. d. s. d. Oval, 6 in. by 4f . . .10 1 Oblong, 7i in. by 5f . .15 Oblong, 6 „ 4i . . . 1 I „ Si „ 6i . . 1 7 MINTON'S WHITE GLAZED EARTHENWARE TILES. 5. d, 8 in. square, glazed 1 side, ea. 1 9 „ M „ „ „ 2 6 12 „ „ „ 6 s. d. 4 in. square, glazed 1 side, ea. 4 5 „ „ „ „ „ 6 6 „ „ „ „ » 6 7 „ „ 3, „ „ 9 Coloured Tiles: Buff, Brown, Olive, Turquoise. OVAL PLAQUES IN WHITE GLAZED PORCELAIN, SLIGHTLY CONVEX. 52, \\ 95, If 73, 1| 37, If 62, 1| 53, 2 34, 2| 81, 3 19, 3i All Lacroix's Colours will fire well on Porcelain Plaques, with excep- tion of Blue No. 29, plain Light Brown, and plain Dark Brown, which will answer on ordinary earthenware only. S. d. s. d. •|, each 3 No. 35, 4i in. by 3f , each . 11 1 „ 3 „ 220, 4| „ H „ . 1 . 3 n 27, 5i „ 3| „ . 1 6 li . 3 „ 29, 5J „ 4 „ . 1 9 If . 3 „ 25, 5| . 2 2 li „ . 3 „ 8, ^ „ 5i „ . 2 6 i| . . 3 „ 7, 6J „ 5i „ . 3 2 „ . 4 „ 5, n „ 5J „ . 4 93 7 „ 7 . 7 6 93. . 9 „ 2B11| V 8f ,, . 10 6 OBLONG PLAQUES IN WHITE GLAZED PORCELAIN. 4 inches by 2| each *2 j» "2 ••••••• '> 6 „ 4i „ d. 9 3 LECHERTIER, BARBE, & CO., 60 REGENT STREET, W. 79 FRENCH ROUND WHITE GLAZED EARTHENWARE TRAYS. To be painted on either the concave or convex side. s. d. s. d. 6 inches diameter . each 10 12 inches diameter . each 2 7 . 1 13 . 3 4 8 . 1 4 14 . 4 9 . 1 8 15 . 5 10 . 1 10 16 . 6 11 » . 2 FRENCH OVAL WHITE GLAZED EARTHENWARE TRAYS. To be painted on either side. 6 inches long 8 10 d. . each 9 12 16 1 1 inches long 12 14 s. d. each 2 2 2 2 8 FRENCH OVAL WHITE GLAZED EARTHENWARE DISHES. For wall decoration, or for laying flat. s. d. inches long 8 10 each 1 3 1 8 2 10 1 1 inches long 12 14 s. d. , each 3 6 „ 4 3 . „ 5 3 FRENCH WHITE EARTHENWARE OBLONG PLAQUES. Glazed both sides. s. d. s. d. . each 2 15 J inches by 12 . . each 8 4 3 6 17i „ 12 . . „ 10 . 6 3 20 „ 14 . . „ 20 12 inches by 6 12 „ 9 14 „ 11 FRENCH WHITE ROUND EARTHENWARE PLAQUES. Grlazed both sides. 6 inches diameter 8 10 s. d. . each 1 6 . „ 2 3 . „ 2 10 12 inches diameter 16 s. d, , each 4 3 ■ „ 7 , „ 10 WHITE GLAZED CYLINDRICAL SPILL VASES. 5J inches high 7 8 s. d. . each 1 3 . „ 2 3 3 6 9 inches high 10 11 5. d. each 3 6 „ 4 6 ,,6 LECHERTIER, BARBE, 8c CO., 60 REGENT STREET, W. 80 MINTON'S WHITE ROUND EARTHENWARE TRAYS. For decorative purposes. S. d. s. d. 7 inches diameter . . each 2 4 14 inches diameter . . each 9 6 Sh » if • . „ 3 15 „ 10 6 9 „ »5 • . 55 8 3 16 „ 55 12 H „ »> • . „ 3 6 17 „ • 5) 13 10 „ 5» • . 5, 4 18 „ • Î5 15 11 „ >J • . „ 5 19 5, 16 12 „ )i • . ,, 6 6 20 „ . „ 19 13 „ 55 • . „ 8 22i „ 5> 20 13i „ il . „ 8 23^ „ • 55 21 GLASS SLABS AND MULLERS. For grinding colours. Slabs set in Slab only Mahogany Frame Glass Slabs — s. d. s. d. 1 in. diameter . each 4 in. by 4 in. each 6 2 H » • J5 6 „ 6 „ 5> 9 3 H „ • 5» 1 8 5 5 8 „ 5J 1 6 4 3 2 • 55 1 10 „ 10 „ 55 2 5 H ,5 5» 2 3 2 „ 12 „ JJ 3 6 3 • }) 2 Grlass Mullers- s. d. 6 PANTOGRAPHS. . For Copying, Enlarging, or Keducing Drawings. £ s. d. No. 4. In ebony, 22-inch each 110 „ 8. „ pear-tree, 18^-inch . . . . . .,,050 „ 12. „ „ , ,,029 WHIRLING TABLE. For describing Circles and Curves, for litmig the Edges of Plates, Moiddings of Vases, Sçc. £ s. d. Small size, to be placed on table 15 Large size, with iron pillar, to stand on floor . . . . 1 10 HAND-REST. £ s. d. la French-polished Mahogany each 2 Bamboo Mahlstick, about 36 in. long . . . .,,008 Portable Mahlstick, to take into three pieces . . . „ 3 LECHERTIER, BARBE, & CO., 60 REGENT STREET, W. 81 PALETTE KNIVES. 2 4 6 8 20 3 inch H inch 4 inch 4i inch 5 inch 5i in. No. s. d. s. d. s. d. I d. s. d. 2. Best steel, cocoa handle, ea. 8 9 10 11 1 1 4 4. Ditto, balance ,,0 11 1 1 1 1 1 2 6. Ditto, askew blade „ „ 1 2 1 3 1 4 1 5 1 6 1 4 8. Ditto Trowel „ „ 2 2 1 2 2 2 4 2 6 2 9 No. 20. Curved Scraper . . 2 inch, Is. 6d. 3 inch, Is, lOd. Spear Head Scraper . 1 J inch, l5. 6(^. Ivory Knife . . 6 inch, Is. 6d. 8 inch, 2^. Od. EXTRA riNE CAMEL HAIR, IN QUILLS. For Painting on China. s. d. No. 1. Pigeon Quill . . each 2 „ 2. Crow „ ..,,02 „ 3. Small Duck Quill „ ^ s, d. No. 4. Large Duck Quill, each 2\ ,, 5. Small Goose ,, ,,0 3 „ 6. Pull „ „ „ 4 WHITE GOAT'S HAIR, IN QUILLS. For Painting on China. 5. d> s. d. No. 1. Pigeon Quill . . each 2 No. 4. Large Duck Quill, each 3^ „ 2. Crow ,,..,,02 „ 5. Small Groose „ „ 5 „ 3. Small Duck Quill „ 3 „ 6. Full „ „ „ 7 LECHERTIER, BARBE, 8c CO., 60 REGENT STREET, W. G 82 EXTRA PINE PITCH HAIR, IN QUILLS. For Painting on China. s. d. s. d. No. 1. Pigeon Quill . . each 2 No. 4. Large Duck Quill, each 3^ ,, 2. Crow „ ..,,02 „ 5. Small Goose „ „ 5 „ 3. Small Duck ..,,03 „ 6. Full „ „ „ 7 EXTRA riNE FITCH HAIR DABBERS, ON HANDLES. For Painting on China. Askew Top s, d. Flat Top s. d. Askew Top s. d. Flat Top 5. d. No. 1 . 9 . each 6 No. 7 2 9 . each 2 3 2 . 1 . „ 9 „ 8 3 3 . » 2 9 „ 3 . 1 3 . » 1 „ 9 3 9 . 3 3 ,» 4 . 1 6 . 1 3 „ 10 4 . 3 9 „ 5 . \ 10 . „ 1 6 „ 11 4 6 . 4 „ 6 . 2 3 . 1 10 „ 12 5 . 4 6 No. 1 is about ~ inch diameter and No. 12 about f inch. LECHERTIER, BARBE, &c CO., 60 REGENT STREET, W. 83 SUPERIOR SABLE BRUSHES, IN QUILLS. Brown Sable s. d. No. 0. Lark Quill ^^^^ — * „ 1. Pigeon Quill " a a „ 2. Crow Quill » ^ ^ • LECHERTIER, BARBE, & CO., 60 REGENT STREET, G 2 Ked Sable s, d. . 4 . 3 . 4 W. 84 Brown Sable Eed Sable s. d. s. d. No. 3. Duck Quill each 6. .06 „ 4. Large Duck Quill . . . . „ 9. .09 „ 5. Groose Quill „ 10. .10 „ 6. Large Goose Quill . . . . „ 13. .13 „ 7. Extra Small Swan Quill . . . „ 2 9. .23 „ 8. Small Swan Quill . . . . „ 3 9. .30 „ 9. Middle Swan Quill . . . . „ 6 3. .39 „ 10. Large Swan Quill . . . . „ 7 6. .46 „ 11. Extra Large Swan Quill . . . „ 9 0. .60 „ 12. Eagle Quill ,,10 6. .76 LONG HAIR SABLE AND CAMEL HAIR. For Outlining, Tracing, Lining, &c. Brown Sable Eed Sable Camel hair Each Each Per dozen s. d. s. d. s. d. Pigeon Quill . . . .06. .06. . .— Crow „. . . .06. .06. . .06 Duck „. . . .09. .09. . .09 Goose „ . . . .16. .16. . .16 5d. 5^d, 6^d. I^d. ^d. \0\d. Is. each. Eed Sables, in Tin, No. 1 2 3 4 5 6 TRACING AND TRANSFER PAPERS. Per Sheet s. d. Transparent Végétal Paper, 28 in. by 21 5 Superior prepared tracing „ 40 „ 30 4 Eed Transfer Paper 22^ „ 17 4 Black „ „ „ „ „ 4 White „ „ „ „ „ 4 Black Lead „ » „ ^ ^ Blue „ „ „ „ „ 4 TRACING POINT. s. d. Ivory Tracer, 4J in. each 1 LECHERTIER, BARBE, & CO.. 60 REGENT f^TREET, W. 86 STAITORDSHIRE COIOÏÏRS, IN ILM POWDER, OF THE MANUFACTURE OF F. EMERY & SONS, As supplied to the leading firms in the Potteries. ENAMEL COLOURS, for painting over the glaze. Per Glass Per Capsule lb. s. d. s. d. Amber, No. 33 8 14 Best Bed 08 80 Best Yellow 08 54 Brown No. 7c 8 10 Chrome Green, No. 10 8 14 „ 11 8 14 „ 12 8 16 Coral Eed, No. 10 8 6 8 Emerald Green 8 32 Enamel Blue, No. 3 8 8 „ 20 8 8 „ 59 8 8 3 Elesh Colour, No. 45 8 16 Elux, No. 8 (general flux) 8 4 Erench Brown, No. 13c 8 22 „ 63c 8 22 Erench Grey, No. 3 8 16 Gordon Green, No. 13 8 10 Jet Black, No. 21 8 14 Lilac (or strong violet) 8 34 Marone, No. 41 1 54 Orange 08 34 Outremer 8 40 Purple Brown 08 54 Purple, No. 1 1 80 Kose, No. 22 8 24 23 (soft) 08 150 Kuby 2 108 Russet Brown . . 8 6 8 Strong Black, No. 2 8 12 Turquoise, No. 39 8 22 40 8 22 43 1 47 Turquoise Green, No. 4 1 40 Violet, No. 1 8 20 White Enamel, No. 100 8 16 Yellow Green 08 34 LECHERTIER, BARBE, &c CO., 60 REGENT STREET, W. 86 UNDBRGLAZE COLOURS. (F. Emeby & Sons.) Per Glass Per Capsule lb. 5. d, 8, d. Black, No. 3 . 8 8 Claret Brown . . 08 39 Cobalt Blue, No. 6 8 16 Coffee Brown 08 24 Dark Brown 08 28 Dark Green 08 40 French Grreen, No. 2 8 5 4 Lilac 08 54 Mat Blue, No. 2 8 6 8 „ 13 8 14 „ 28 8 8 Orange, No. 1 8 3 9 „ „ 2 8 3 4 Peach, No. 1 8 5 4 Pink, No. 9 8 3 4 Purple, No. 3 8 5 4 Ked Brown 08 48 Kusset Brown 08 24 Tile Blue 8 10 8 Victoria Green, No. 2 8 3 4 Violet, No. 2 8 9 4 White Enamel 08 110 Yellow, No. 1 8 3 8 „„ 2 ........ 8 3 4 ENAMEL COLOURS FOR GLASS. (F. Emery & Sons.) Per Glass Per Capsule lb. s. d, s. d. Black, No. 2 8 12 Blue, No. 144 8 34 „ „ 145 2 94 „ „ 146 8 40 Brown, No. 133 8 13 4 ,,134 c. . .08 13 4 Carmine, No. 315 8 47 Celadon, No. 106 8 13 4 Chrome Green, No. 144 8 22 „ „ 146 8 22 Strong Transparent Green, No. 154 . . . . 2 86 Water Green, No. 108 8 13 4 Lilac, No. 27 8 26 8 Purple, No. 1 2 80 LECHERTIER, BARBE, 8c CO., 60 REGENT STREET, W. 87 Per Glass Per Capsule lb. s. d. s. d. 8 16 8 16 8 27 8 21 4 2 80 8 16 8 40 8 40 Eed, No. 107 „ „ 129 Eose, No. 115 „ 117 . Kuby, No. 311 . Transparent Yellow, No. 31 Silver Yellow Violet, No. 28 For all articles relating to water-colour drawing, chalk and pencil drawing, mathematical drawing, modelling, oil painting, tapestry painting, see other catalogues. LESSOirS II POTTERY PAINTna. Appleton, Miss E., 18 Garway Koad, Westbourne G-rove, W. Arnold, Mr. H., 132 Adrian Terrace, Finborough Koad, West Brompton. Beeston, Miss L., 31 Lower Belgrave Street, Eaton Square, S.W. Briggs, Mr. J., 88 King's Koad, Brighton. Causse, Mademoiselle A., 31 Col ville Square, W. Collins, Miss, 50 Bessborough Street, St. G-eorge's Square, S.W. EsMARD, Madame J., 29 Charlotte Street, Portland Place. Harbutt, Mrs., Studio, 5 The Paragon, Bath. Hermans, Mr. A., 38 Gower Place, Euston Square, N.W, Knowles, Mr. J. W., 41 Stonegate, York. Maplestone, Miss E,, 1 Richmond Gardens, Uxbridge Koad, Notting Hill. Millar, Mr., 22 Buchanan Street, Glasgow. Kyland, Mr. Henry (specially figure), 8 Somerset Terrace, Carlton Koad, N.W. TwYNAM, Miss B., 22 Addison Gardens North, Kensington. LECHERTIER, BARBE, & CO., 60 REGENT STREET, W. 88 LECHERTIER, BARBE, & CO. 'S SOCIETY OF AETS ONE SHILLING MOIST WATER-COLOUR BOX Containing Thirteen Colours and Three Brushes, AS recommended by the Society. Honourable Mention, Paris Universal Exifiibition, 1878. " I will have pleasure in recommending it It is the best I have seen at the price. " R. COLLINSON, " Late Painting and Figure Master at the Art Schools, " South Kensington." LECHERTIER, BARBE, & CO/S STUDENTS' MOIST WATER-COLOURS, ONE PENNY EACH. Pure unadulterated pigments, useful for brush notes, artists' first sketches, or students' use. They are enclosed in tin cups and serve to replace those that are used up in the Society of Arts colour box, or for addition to it : — Ivory Black Lamp Black Cobalt French Ultramarine Indigo Permanent Blue Prussian Blue Brown Pink Burnt Umber Kaw Umber Sepia Vandyke Brown Emerald G-reen Hooker's Green, No. 1 „ 2 Olive Green Sap Green Neutral Tint Burnt Sienna Crimson Lake Indian Red Light Red Venetian Red Vermilion Chrome, Light Deep „ Orange Gamboge Raw Sienna Yellow Ochre LECHERTIER, BARBE, 8c CO., 60 REGENT STREET, W. I I i i \ I I I Price. s, d. Painted Tapestry and its Application to Interior Decoration. Practical lessons in Tapestry Painting with liquid colour. By Julien Godon. Translated by B. BucKNAXL, Architect. With coloured plates . 6 A Guide to Modelling in Clay and Wax, and for Terra Cotta, or Sculptural Art made Easy for Beginners. By Morton Edwards, Professor of Modelling .1 Easy Studies in Water-Colour. By K. P. Leitch. 12 plates, each subject in two stages, showing how worked by the Artist . . . . . . 2 A Handbook to the Practice of Pottery Painting. By John C. L. Sparkes, Head Master of the National Art Training School, South Kensington, Director of the Lambeth School of Art 8 6 1 Cassagne*s Method. A series of 61 Drawing Books, on ^ heads, figures, landscape, animals, flowers, ornaments, aiyl marines* Each book contains 16 pages of tinted paper and spaces to draw in, with printed directions to eaQkisketch, and general instruction on drawing . Le Fusain sans maître. Par K. Kobert. Traité complet et pratique sur l'étude du paysage au fusain, suivi de leçons écrites, avec planches reproduites par l'héliogravure, d'après Allongé . . . Traité de la G-ravure à l'eau-forte. Texte et plan- ches par Maxime Lalanne, avec une lettre-préface de Charles Blanc 8 Elementary Artisti^ Anatomy of the Human Body. By Dr. T. Fau. For the use of Art Schools, Colleges, Boarding Schools, &c. Translated and edited by C. Carter Blake, Doct. Sci. . . . . .30 A Course of Sepia Painting. By K. P. Leitch. With 24 plates, in colour . . . .50 A Course of Painting in Neutral Tint, By E. P. Leitch. With 24 plates, in colour . . . ,50 A Course of Water-Colour Painting. By K. P. Leitch. With 24 plates, in colour . . .60 The Art of Pan Painting. By Madame la Baronne Delamardelle. Translated by Gustave A, Bouvier (I/i ji)rejm7'ation) 10 Per post. s. d. 6 5 1 1 2 1 1 1 ^ 6 4 8 4 3 2 5 41 4è 1 1 LECHERTIER, BARBE, 8c CO., 60 REGENT STREET. W. Spottiswoode Jt Co., Printers, New-street Square, London.