Safe^L B 
 

 
 
 
 
 
 
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A 
 
 MISS S. C. BREWER. 
 
 GUIDE TO 
 
 Painting on Porcelain and 
 Earthen-ware. 
 
 BY 
 
 MADAME £ EASIER DE LA VAUGUYON. 
 
 PUBLISHED BY 
 
 MLLE. TAN T 1 6 T . 
 
 BOSTON: 
 
 J. E. FARWELL & COMPANY, 
 45 Pearl Street. 
 
 1 8 77. 
 
COPYRIGHTED 
 
 1877, 
 
 By L. H. Brasier de la Vauguyon. 
 
 THE GETTY CENTER 
 
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Digitized by the Internet Archive 
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INTRODUCTION. 
 
 L’ceil est le vrai compas de l* ideal, prenant pour guide 
 la nature et le genie de Cart. 
 
 I have Ions: hesitated about writing this little artistic 
 brochure; being devoid of all literary pretensions, it 
 has but one aim — to render service bv aiding students 
 in their studies, and to make their task easier. Passion- 
 ately loving my art, I write as an artist, and for artists. 
 
 The advice which I shall give in this book is the 
 result of a long practice in the Ceramic art, and of con- 
 stant research. 
 
 I work con amore, and write only for those who, like 
 myself, love art, and work constantly with the desire of 
 obtaining a progress which can only be sure and true, 
 as the artist is conscientious. I write from my con- 
 victions : keeping them religiously, but imposing them 
 on no one. 
 
 L. II . Brasier de la Vauguyon. 
 
 16 Jain, 1877. Boston. 
 
 v 
 
Guide to Painting on Porcelain and 
 on Earthen-ware. 
 
 CHAPTER I. 
 
 The first condition for painting well, on porcelain or 
 earthen-ware, should be the care which one takes in the 
 choice of colors, brushes, palettes, etc., etc. 
 
 The colors should be well prepared (in their chemi- 
 cal state) and well ground, and be sure that you pur- 
 chase only those which come in small glass bottles, and 
 not in pasteboard boxes, for the more they are pre- 
 served from contact with the air or dampness, the 
 longer will they be likely to keep pure and intact. 
 
8 
 
 PAINTING ON PORCELAIN AND EARTHEN-WARE. 
 
 Let your essences be well purified, and your brushes 
 of good quality, that is, they should be soft and fine, 
 and very straight from the extremity of the point. 
 Your palettes should be of ground glass, and rather 
 thick. 
 
 CHAPTER II. 
 
 To work simply is a great art ! 
 
 Yes, work simply, use but few colors, and have them 
 good ; but little essence and have it pure. 
 
 Before beginning to paint, draw the subject carefully, 
 using a Xo. 3 Faber’s pencil. If the point does not 
 mark black enough on the enamel, moisten it in a little 
 spirits of turpentine.. 
 
 As I have said before, draw with care, and always be 
 very exact in the first work, for the merit of a .painting 
 on china or pottery, varies according to the greater 
 or lesser degree of decision and clearness in the 
 drawing. 
 
PAINTING ON PORCELAIN AND EARTHEN -WARE. 
 
 9 
 
 In painting, use two essences only : the spirits of 
 turpentine, and the fat oil of turpentine ; a greater vari- 
 ety is useless, and only serves to make the work more 
 complicated and dry. 
 
 You should use the spirits of turpentine on china or 
 earthen-ware, as you use water, in water-colors ; for a 
 painting on porcelain is nothing else but a water-color 
 painting ; instead of water, you use spirits ; instead of 
 paper, you use enamel ; instead of colors mixed with 
 gum, or honey, you use ground minerals ; but the style 
 of painting is the same. 
 
 Use the fat oil of turpentine moderately, it is very 
 dangerous in its results in the firing ; it is useful only to 
 render work easier in the use of colors. 
 
 CHAPTER HI. 
 
 THIS IS THE LIST WHICH FORMS 31 Y PALETTE. 
 Colors for the Flesh Tints. 
 
 Blanc de Chine — Chinese white. 
 
 Blanc d' email — Enamel 3vhite. 
 
10 PAINTING ON PORCELAIN AND EARTHEN-WARE. 
 
 Jaune d’iyoire — Ivory yellow. 
 
 Jaune d? argent — Pale yellow. 
 
 Ocre jaune — Yellow ochre. 
 
 Jaune brillant — Brilliant yellow. 
 
 Brun rouge — Reddish brown. 
 
 Brun jaune — Yellow brown. 
 
 B ithume — Bitumen . 
 
 Noir d’ivoire — Ivory black. 
 
 Bleu fixe — Permanent blue. 
 
 Bleu de France — French blue. 
 
 ( ou de Sevres — or Sevres blue). 
 
 Bleu Victoria — Victoria blue. 
 
 Violet de fer — Violet of iron. 
 
 Vert bleu — Blue green. 
 
 Vert noir — Black green. 
 
 Vert emeraude — Emerald green. 
 
 (ou Vert brillant — or Brilliant green). 
 Carmin No. 1 — Carmine No. 1. 
 
 Carminfin — Fine carmine. 
 
 Carmin extra-fin — Extra-line carmine. 
 Carmin No. 3 — Carmine No. 3. 
 
 Pourpre — Purple. 
 
PAINTING ON PORCELAIN AND EARTHEN-WARE. 11 
 
 THIS IS THE PALETTE FOR LANDSCAPES . 
 
 To the above colors add the following : 
 
 Rouge capucine — Capucine red. 
 
 Rouge corail — Coral red. 
 
 Vert jaune — Yellow green. 
 
 Bleu clair — Light blue. 
 
 With these twenty-six colors you can find every 
 variety of tints for working from nature, or for copying 
 the works of the masters. 
 
 CHAPTER IV. 
 
 When the drawing is done, and well finished, that is, 
 the outlines well marked out, the shadows lightly indi- 
 cated in pencil, you take up a little bitumen on the 
 point of the palette knife (use a horn knife, it is pre- 
 ferable to any other for this kind ^ of painting) , and 
 broadly lay in all your work with this single tint ; bitu- 
 men is a very good color, and can serve as a groundwork 
 for every tint in the shadows. Grind it on your palette 
 
12 PAESTING OX PORCELAIN AND EARTHEN-WARE . 
 
 before making use of it, using for this purpose a little 
 glass muller, and to make your color easier to handle, 
 put into it, as you grind it, spirits of turpentine, and 
 one or two drops of fat oil of turpentine. When 
 your color is well ground, sketch in your subject. 
 
 CHAPTER Y. 
 
 Before continuing further the indications to be fol- 
 lowed in the work, I will designate the colors which 
 ought to be used alone, and those which can be mixed. 
 For the fire is a terrible enemy to the artist, one with 
 which he must always contend. Often your painting 
 before firing seems to you charming, you have worked 
 on it with great pleasure, and executed it with care, you 
 are enchanted with yourself and your work, you give 
 this piece of work which has cost you a thousand cares 
 and much study, to the Firer ; you anxiously await the 
 result of the firing of the painting which you have 
 worked on with so much love and patience ; it went 
 
PAINTING ON PORCELAIN AND EARTHEN-WARE. 13 ' 
 
 from your hands, fresh, brilliant, and pretty in all its 
 parts, it is returned to you red , where you wished it 
 gray, green , where you wished it pink. What a decep- 
 tion, alas ! Well, and all this often, because you have 
 not known how to use your colors ! 
 
 Here, then, is the list of colors that can be mixed 
 together : 
 
 Greens can be mixed with yellows, browns, blues, 
 capucine red, white, and black. 
 
 Yellows with blues, whites, reds, greens. 
 
 White with all the colors. 
 
 Black almost always alone and used very sparingly ; 
 this color is dangerous in its effects, the fire gives it 
 much force, its action is increased by fire ; and often 
 other colors near it — if they are put on thickly — 
 become black. 
 
 The violet of iron can be mixed with blues, whites, 
 greens, browns. 
 
 Browns can be mixed with bitumens, greens, yellows, 
 blues, and violet of iron. 
 
 The bitumens can be used with browns, blues, 
 yellows, greens, carmines. 
 
 Carmines, as a general thing, ought only to be used 
 
♦ 14 PAINTING ON PORCELAIN AND E ARTHEN-WARE . 
 
 alone, — with but few exceptions ; when one wishes to 
 obtain very light pinks, the carmines can be mixed with 
 white, and when one wishes very deep shadows in 
 carmine, one can mix it with bitumen. 
 
 Purple is a very beautiful color, almost the most 
 beautiful on the palette, it must be used alone ; in fact, 
 it will not bear to be mixed except with blue, and in a 
 very small quantity. Capucine red can be mixed with 
 yellows, greens, and browns, but in a very small 
 quantity. 
 
 CHAPTER VI. 
 
 Here is a question which has often been put to me. 
 Can one have the same painting fired several times? 
 Yes; even five or six times, — this is done with the 
 manufacture of Sevres in France, in order to obtain 
 those fine, delicate flesh tints which excite our admira- 
 tion, and a legitimate admiration it is, indeed, for works 
 of the greatest merit are produced in the manufacture 
 of Sevres. 
 
PAINTING ON PORCELAIN AND EARTIIEN-WARE. 15 
 
 Painting on china is, besides, an excellent work to 
 develop an artist’s taste for color, and to give him at 
 the same time dexterity and lightness of touch. 
 
 Several of our great painters commenced their 
 artistic career with this kind of work : Hamon, 
 
 Hebert, Decamps, Diaz, and a number of others; and 
 many other painters of the present day show mueh 
 talent in this branch of art. We should never be 
 astonished at the difference in price for two paintings 
 on porcelain representing the same subject, and of the 
 same size ; one will be sold for 10 francs, or 20 francs ; 
 the other for 200 francs, 500 francs, 1000 francs ; 
 but look at the work over the signature, and if you are 
 an artist, or a veritable amateur with good taste, you 
 will understand the difference in the price. 
 
 What is talent ? What is genius ? What is love of 
 art? Genius is a spark from the Divine Spirit im- 
 planted in the heart of man by God himself. For the 
 love of art elevates the soul, and gives us strength to 
 struggle on this earth, and the courage to support great 
 trials when God sends them to us ; the love of art 
 holds us between Heaven and earth, we draw near to 
 Heaven when we know how to admire what is truly 
 beautiful, truly grand. 
 
1 PAINTING ON PORCELAIN AND EARTHEN-WARE. 
 
 CHAPTEE VII. 
 
 HOW TO TREAT A HEAD IN PAINTING ON PORCELAIN. 
 
 Make your drawing first, and with great care, with a 
 pencil cut very fine, then when the drawing is done, 
 and is very clear in the outlines, lay in your shadows 
 according to the flesh tints of your model ; if it is a 
 blonde woman, lay in the shadows with yellow ochre and 
 lightly with capucine red ( rouge capucine ) ; for very 
 deep shadows, use brown; lay on the color of the hair 
 according to the complexion, leave the luminous parts 
 to be produced by the white surface of the enamel, 
 sketch the shadows with bitumen; if you wish a deep 
 shade of light hair use yellow brown ; if you wish to 
 render pale light hair, yellow. If, in your subject, you 
 have stuffs, draperies and furniture, lay in your 
 shadows also with bitumen; be sure, however, that in 
 this first work you well understand their value, by com- 
 paring them one with the other, and use bitumen more 
 
PAINTING ON PORCELAIN AND EARTIIEN-WARE. 17 
 
 or less strong according to effects. Have very little 
 color in the details of the backgrounds, reserve all the 
 strength, both in shadows and in tints, for the principal 
 subject. 
 
 After this first work, have the first firing, if the use 
 of your colors has been light, and if you have used but 
 little fat oil of turpentine your sketch ought to be good. 
 Then go over the work again, begin with the back- 
 ground ; work lightly, and almost always in neutral 
 gray; do in the same way, stuffs, draperies, furniture, 
 etc., etc., over all these accessories pass what is called 
 a flat tint, that is to say, that which determines the color 
 or the tone of your effect ; and if you have thoroughly 
 understood the shadows for those effects, if they are in 
 their place, and rightly drawn, if their tonality is good, 
 your general effect after this flat tint must be pretty, and 
 nearly completed. 
 
 You should next do the head ; and you should in the 
 same way, put a flat tint all over the face, avoiding each 
 time passing the tint over the white of the eyes. 
 
 This flat tint ought to be composed of ivory yellow 
 and a little white, according to the complexion of the 
 face ; if that of a brunette , a little capucine red ; if a 
 
18 PAIXTIXG OX PORCEEAIX AXD EARTHEX-WAEE . 
 
 blonde, a little, very little extra-fine carmine. Then you 
 mark out the eyes according to the color of the model ; 
 if they are blue, you sketch them with a little violet of 
 iron, and finish off with blue ; if they are black, sketch 
 them with black and blue, and finish off with black and 
 bitumen. Carefully preserve the luminous parts, and 
 always treat the eye with great lightness of touch, 
 using but little color, to avoid that hard, cold look 
 which gives such a disagreeable expression to the face, 
 and which entirely destroys the harmony of a head. 
 Pass the flat tint in the same way over the hair, accord- 
 ing to its color, then have a firing; but, above all, let 
 this first work be light, for the last tints have not yet 
 been begun ; and you are to end your work with a demi- 
 tint. If the result of your work is good, after the 
 first filings, you finish with gray or demi-tints. 
 
 For the face, demi-tints are composed of white, blue, 
 violet of iron, and very little emerald green ; or bril- 
 liant greens for the complexions of blondes ; these grays 
 or demi-tints should be put around the brow to harmon- 
 ize the tones of the flesh with those of the hair, also 
 near the nose, to gradually blend the shadows with the 
 lights, and under the eyelashes, to give more expression 
 
PAINTING ON PORCELAIN AND EARTHEN-WARE. 19 
 
 to the glance, near the chin to determine the model- 
 ling, and to soften the form. 
 
 Put this gray also between the shadows and the lights 
 on the neck ; finally, use skill and art in laying on 
 demi-tints to soften the effects of contrast, aud to arrive 
 gradually and without abruptness from the strong 
 shadows to the hio'h lights. 
 
 Before having a third firing, you can go over all the 
 strong shadows of the face, the expression, the hair, 
 and all the accessories — background, drapery, stuffs, 
 furniture, etc., etc. Then you can have it fired, and 
 very often after the third firing the work will be com- 
 pleted ; that depends always on your drawing, for if 
 your touches are well given, with the sentiment of the 
 form; if the flat tints have been well laid on, following 
 the model ; if the demi-tints are well placed and in har- 
 mony, uniting without too much abruptness the lights 
 to the demi-tints, and the demi-tints to the shadows, 
 you will not need to have a firing the fourth time. If 
 not, if your work does not satisfy you, you must go 
 over all the defective parts, and by successive firings 
 you will give it more strength in the color, and more 
 clearness in the drawing. 
 
 All the first tints must be softened by the badger. 
 
20 PAINTING ON PORCELAIN AND EARTHEN-WARE. 
 
 CHAPTER VHI. 
 
 LANDSCAPE ON PORCELAIN. 
 
 This kind of painting may be decided and well fin- 
 ished with one single firing. 
 
 The palette which I have given above is rich enough 
 in all its variety of colors , to permit the artist to render 
 all the effects so harmonious and varied, under which 
 nature shows herself in a beauty, which, in itself, is 
 always harmonious and varied. 
 
 Distances do not bear great admixture of all tints 
 and colors, they ought always to be of gray, composed 
 of violet of iron, blue (light), and lightly with pale 
 green. But the sky, the ground, and the foliage, so 
 rich in its hues, can be made by mingling all the colors 
 together. 
 
 To render the impressions of the artist, painting on 
 china especially, leaves a great freedom in the execu- 
 tion, and that freedom is, in itself, an attraction which 
 
PAINTING ON PORCELAIN AND EARTHEN- WARE. 21 
 
 captivates the mind of the artist and holds the eye of 
 the spectator ; he understands and admires all that the 
 artist has dreamed, seen, and rendered by the illusion 
 of color, and the boldness of his skilful brush ; the sky 
 can be true and brilliant without being hard or cold ; 
 heavy, and charged with rain or storm, without being 
 dull or too black. Finally, with the palette given 
 above, one can render the sunsets so splendidly gor- 
 geous, where the sun disappears from our planet, envel- 
 oping itself in the dazzling pomp of light and of gold. 
 
 CHAPTER IX. 
 
 PAINTING ON CHINA. 
 
 Au grand feu — Brisk Jire , so called. 
 UNDER-GLAZE OR BISCUIT-PAINTING IN ENGLISH. 
 
 This kind of painting exacts more knowledge and 
 more practice than the other. An artist accustomed to 
 
PAIXTIXG- OX PORCELAIX AXD E AETHEX -WARE . 
 
 22 
 
 paint in oil, will succeed in this work with much less 
 trouble, and much more talent than an artist whose 
 specialty is water-colors, or painting on porcelain. 
 
 Painting on china ( an grand feu ) — strong fire, as it is 
 called — ought always to be treated broadly , using rather 
 thick brushes, somewhat of the shape used in oil-paint- 
 ing. The colors, or minerals are not the same as those 
 used in painting on porcelain or ordinary china. I will 
 give the names in the list below, and also the name and 
 address of a merchant in London who has these colors, 
 of very good quality, and who sells them at a very 
 moderate price. 
 
 These minerals, or colors can be mixed one with the 
 other (the colors used for every kind of painting on 
 porcelain and china are all minerals ( emaux — enamels, 
 literally) ; one can therefore use indifferently the word 
 minerals or colors), by adding always a little white. 
 They ought to be ground and used with water in which 
 you dissolve a little gum of tragacanth. 
 
 Landscape, flowers, and still life, that is, fruits , birds, 
 etc., etc., succeed always very well in this kind of 
 painting. Heads are always more difficult, complexions 
 being more delicate, and exacting more demi-tints, 
 
PAINTING- ON PORCELAIN AND EARTHEN-WARE. 23 
 
 which makes the work dryer ; nevertheless in our last 
 Industrial Exposition, a few artists of talent have exhib- 
 ited several works of this kind, executed with great 
 
 skill. 
 
 Painting on cameo is very pretty work, and is usual- 
 ly executed with blue alone ; when the washes are well 
 graduated, the shadows vigorous, and the lights pre- 
 served bright and transparent, the general effect of this 
 work is always pretty, whatever the subject may be, and 
 this blue tint always produces effects that are extremely 
 harmonious to the eye. But the drawing should be 
 made with the utmost purity of form and outline. 
 
 Here is a list of colors or minerals, to be employed in 
 this kind of painting (aw grand feu ) — strong lire, so 
 called — the technical term in English, Biscuit-painting. 
 
 Turquoise — T urquoise . 
 
 Bleu ( mat ) — Blue (pale). 
 
 Bleu Indien — Indian blue. 
 
 Bleu fonce — Dark blue. 
 
 Bleu Mazarin — Mazarine blue. 
 
 Chocolat — Chocolate . 
 
 Brun ( ordinaire ) — Common brown. 
 
24 PAINTING ON PORCELAIN AND EARTHEN- WARE . 
 
 Brun (No. 2) — Brown No. 2. 
 
 Vtrt Frangais — French green. 
 
 Vert clair — Light green. 
 
 Orange — Orange . 
 
 Jaune — Yellow. 
 
 Cramoisi — Crimson . 
 
 Gris — Gray. 
 
 Blanc — White. 
 
 Noir— Black. 
 
 The blue colors can all he mixed one with another, 
 but the most beautiful shadows can be obtained by 
 turquoise blue and Indian blue. Dark blue is very 
 beautiful, and can be employed very well in back- 
 grounds. 
 
 Greens can be mixed with browns, blacks, yellows, 
 and blues. 
 
 Chocolate color should be used without any ad- 
 mixture. 
 
 Coral, too, can be used more safely without being 
 mixed with other colors. 
 
 Carmine ought to be used alone or with a little white. 
 
 Gray ought to be used alone. 
 
 Yellow can be mixed with blues, greens, and browns ; 
 
PAINTING ON PORCELAIN AND EARTIIEN-WARE. 
 
 25 
 
 however, turquoise blue is always prettier when used 
 alone. 
 
 This kind of painting is done on earthen- ware, that 
 is, on the forms before being glazed (they say in 
 English, unglazed), or on a clay called Biscuit. 
 
 Colors obtained at Mr. AY. P. Gr. Phillips, London, 
 England, 356 Oxford Street. 
 
 Those seeking pottery paints, or blank ware in Faience 
 or porcelain, will find a good variety to choose from, 
 at Jones, McDuffee & Stratton’s, who were the first to 
 import the paints and ware several years ago, and who 
 have increased this branch to a commendable assort- 
 ment ; the large plaques recently landed are especially 
 good. 
 
 CHAPTER X. 
 
 FLOWERS. 
 
 Are the colors used in painting flowers the same as 
 those used in painting Iliads and landscapes? How 
 many times this question has been asked me ! Cer- 
 
26 PAINTING ON PORCELAIN AND EARTHEN-WARE. 
 
 tainly they are the same, only they are used in a 
 different manner, and are mixed differently. 
 
 I will now give a few examples and indicate the 
 flowers which are generally used for models in painting 
 on porcelain. 
 
 ROSES. 
 
 Great care should be taken in the drawing of roses , 
 they should be outlined on the porcelain in as pure and 
 correct a manner as possible, by one stroke of the 
 pencil, and with great precision and delicacy. 
 
 If the rose selected for a model is fresh and delicate, 
 lay on first a flat tint, with extra fine carmine, with an 
 admixture of enamel white, or Chinese white, (both 
 are good) . The more of pale carnation there is in the 
 color of the rose, the more white you should put in 
 your first wash, which should be laid on the petals of 
 the flower, by closely following the form and outlines. 
 And especial care should be taken to preserve the 
 effects of light on each petal ; for this work, it is 
 necessary to use the brush called stippling brush which 
 seems to soften and blend the tints in the direction of 
 the high lights. The brush should be held in a 
 
PAINTING ON PORCELAIN AND EARTHEN-WARE. 27 
 
 perfectly vertical position. Give an even stroke 
 reaching beyond the painting, so that the wash may be 
 perfectly united and of light tone ; the longer it is 
 blended in the direction of the lights, the clearer and 
 more delicate the tint will be made. 
 
 When this first wash is dry, the shadows must be 
 marked out by adding carmine by degrees. In the 
 wash used for the first tint, the darker one wishes the 
 shadows the more carmine one should use. 
 
 If the model is a red rose use carmine No. 3 and 
 add sepia in a small quantity for the strongest shadows. 
 If the rose is of a purplish red hue, add a little dark 
 blue and even a little black in the strongest shadows. 
 
 In roses where there are luminous tints or shadows, 
 it is necessary to insert between the shadows and lights, 
 the demi-tint which is always rendered by grays made 
 with a very little extra fine carmine, white, light blue, 
 and a very little ivory black. 
 
 In rendering these grays some artists use a color 
 which comes prepared, called light gray, but I prefer to 
 form the tone with the colors I have mentioned above. 
 I find that the demi-tint harmonizes better with the 
 general tone when the artist composes his grays. The 
 
28 PAINTING ON PORCELAIN AND EARTHEN-WARE. 
 
 pistils of flowers are usually rendered by silver yellows, 
 touched up in the shadows with browns, and when they 
 are of u very warm yellow a little capueine red is added 
 to the shadows. 
 
 Blue flowers are treated like roses by adding white 
 to the first tint, and the shadows are obtained with blue. 
 If the flowers are dark blue, but cold, that is to say, 
 of a greenish blue, add ivory black to the blue, for the 
 strongest shadows. If, on the contrary, the flower is of 
 a warm blue, that is to say, approaching lilac in color, 
 add carmine to the blue for the shadows. 
 
 If one wishes to paint a great many lilac or violet 
 flowers, for the violet the verifiable colors can be used, 
 the same as in painting in water-colors ; that is to ‘say , 
 by the mixture of carmines and blues. There are violet 
 colors which are sold all prepared. I always prefer to 
 prepare my tints myself, and with no other resources 
 than those afforded by my palette — shadows in this way 
 are more artistically rendered. 
 
 Flowers composed of purple produce a pretty effect ; 
 but this color ought always to be used without being 
 mixed with any other, unless it be a little white in the 
 first tint, called flat tint, that with which your work 
 
PAINTING ON PORCELAIN AND EARTHEN-WARE. 29 
 
 should always be begun, since it is that which not only 
 disposes the lights, but which determines the tone of 
 the flower. 
 
 White flowers require great softness in their tones, 
 and, above all, great simplicity, if one wishes to be true 
 in one’s work ; therefore, lilies and white roses are treated 
 almost in the same manner; the interior of the flowers, 
 the pistils, or what is commonly called the heart of the 
 flower, should be rendered in effect with yellow border- 
 ing on green, composed of ivory yellow, and a little, 
 very little brilliant green, touched up in the shadows 
 with light browns, mixed with a little green. 
 
 The shadows of white petals ought to be composed 
 of a little ochre mixed with brilliant yellow, these 
 shadows ought always to be light and transparent, for 
 the great merit in painting flowers is to paint them 
 simple in tone, fresh and true ; for this, do not multiply 
 the tints and shading, and never let your work be con- 
 ventional, with heavy, false tones. 
 
 Grays or the demi-tints are for white flowers, and 
 are generally light and delicate, and ought to blend 
 without harshness with the white of the petals ; it is 
 necessary then to treat them according to the tint of 
 
30 PAINTING ON PORCELAIN AND EARTHEN-WARE. 
 
 the flower, if that is of a yellow white the de mi-tint 
 should be made of violet of iron, and a very little blue. 
 
 If, on the contrary, the flower is of a greenish white, 
 the demi-tints should be made with dark blue > and a 
 very little reddish brown. 
 
 Yellow flowers are treated according to their general 
 shade of color. If the flowers are light yellow, use 
 ivory yellow ; if dark yellow, use silver yellow, 
 brilliant yellow, and even coral red. If the flowers 
 are of a warm yellow, the shadows should be made 
 with yellow-brown, ochre, sepia, and even bitumen for 
 the darkest shadows ; the demi-tints in these yellow 
 tones ought to be composed of ivory yellow and a very 
 little blue for a greenish demi-tint ; ochre and reddish 
 brown to obtain the demi-tint in a warm yellow tone. 
 Sometimes one can finish one’s work with a glazing, , 
 that is by a very light wash in capucine red or even 
 coral red ; but these colors which I indicate here for 
 glazing, should only be used alone, and passed very 
 lightly over the work to bring out the tone, and not to 
 destroy it, which is inevitably the case if the wash or 
 tint is not laid on with extreme lightness and skill. 
 
 The greens for the leaves of the flowers are com- 
 
 O 
 
PAINTING ON PORCELAIN AND EARTHEN-WARE. 31 
 
 posed the same as for foliage in the Chapter on Land- 
 scapes. In the same way use yellows in the luminous 
 greens, and browns and bitumen in the shadows of 
 dark greens. 
 
 If this brochure can aid the artist by making his task 
 easier, and his work less arduous, my end is attained, 
 and I shall feel very happy if I have in any degree con- 
 tributed to his success with these few suggestions. 
 
 L. H. B. V. 
 
TIHEIEl! 
 
 POTTERY AND GLASSWARE 
 
 OF ALL COUNTRIES. 
 
 JONES, MCDUFFEE & STRATTON, 
 
 have continually coming forward, importations from original sources. 
 English, French, German, Chinese and Japanese novelties; comprising a 
 stock of useful and ornamental pottery, excelled by none on this continent, 
 which is offered for sale in large or small lots, at lowest market prices 
 always. 
 
 We call Special Attention 
 
 TO OUR STOCK OF 
 
 PAINTS FOR DECORATING POTTERY, 
 
 together with blank ware; American red brisque and oil polished; white 
 French and German Faience; white French and Austrian Porcelain, etc. 
 from the smallest pieces to the largest plaques. Having been first in the 
 States to import supplies of Pottery Paints and Blanc Ware, suitable for 
 amateurs, we feel a special interest in having the art promoted. 
 
 JONES, MCDUFFEE & STRATTON, 
 
 (Late Otis Norcross & Co.) 
 
 51 to 59 FEDERAL STREET, & 120 FRANKLIN STREET. 
 
 BOSTON, MASS. 
 
 N. B. Specimens of the Chelsea (Mass.) Pottery just placed upon our 
 tables ; including incised or carved decorations similar to Miss Barlovr’s 
 woik on Doulton Ware, to which we call attention. Also to an importa- 
 tion of genuine Doulton from Lambeth, together with Bourg la Reine , 
 and Haviland Rimoges Faience. Also attractive bric-a-brac from Minton’s, 
 Copeland, and a large Japanese importation. 
 
TILiES 
 
 FROM ALL PARTS OF THE WORLD. 
 
 TILES OF EVERY SIZE AND COLOR, 
 
 FOR DECORATION- 
 
 HOUSEHOLD ART ROOMS, 
 
 171 TREMONT STREET. 
 
 LACROIX’S COLORS, 
 
 And all Materials used in Decorating 
 
 CHINA, TILES, &e. 
 
 FOUND AT 
 
 FROST & ADAMS, 
 
 IMPORTERS OF ARTISTS’ MATERIALS, 
 
 33 and 35 Cornhill, 
 BOSTON. 
 
XDecora.tixig: on OlaiziSL. 
 
 The subscriber with twenty-five years* practical experience, 
 is enabled to execute orders for' 
 
 DECORATED CHINA WARE 
 
 of every description, to pattern or original designs. A full 
 assortment of Lacroix tube colors always on hand. Also 
 French and English colors in powder ; Plain Tiles and China 
 for decoration ; small wheels for putting on circles and lines ; 
 Hand Rests ; Ground-glass Palettes ; Mullers ; Brushes ; Fat 
 Oil ; Oil of Lavender, and everything necessary for painting 
 on China. Gold in powder or moist ready for use. Sample 
 Tiles with all the Enamel Colors. Amateur work fired twice 
 a week. 
 
 The subscriber will also give instructions in Painting on 
 China, at moderate terms. Address or apply at the 
 
 China Decorating Rooms, 
 
 JS T o. 16 Newton JPlcice, 
 
 OFF BEACH ST., NEAR WASHINGTON, BOSTON. 
 
 THEODORE WALTER. 
 
 db SONS, 
 
 MANUFACTURERS OF ART WORK, 
 
 LONDON -NEW YORK CITY. 
 
 12 West Street, IBoston. 
 
 Public and Private Buildings Furnished. 
 
 Designs, Estimates and Catalogues on Application. 
 
 H. EDGAR HARTWELL, 
 
 coisrsxji-iTxnsro designer. 
 
ELEMENTARY INSTRUCTION IN WOOD CARVING, 
 
 By SAMUEL HAYWARD, 
 
 DOMESTIC ARCHITECT. 
 
 Household Furniture Designed and Executed in order with the 
 Surroundings. Upholstery and Hangings treated 
 ^Estlieticall.y, according to requirements 
 and conditions. 
 
 No. 43 West Street, Boston. 
 
 PROCTOR & MOODY. 
 
 WEDDING AND j CARDS AND 
 
 VISITING I ENVELOPES. 
 
 Notes and Cards Artistically Illuminated in 
 
 SEPIA AND COLORS. 
 
 37 West Street, Boston, 
 
 Orders by Mail Solicited . 
 
 H. H. CARTER, 
 
 ar|d fViqtef, 
 
 3 BEACON STREET, BOSTON. 
 
 Choice English and French Stationery in all the Delicate Tints. 
 
 NOVELTIES in RUSSIA LEATHER GOODS. 
 
 Card Cases, Memorandum Books, Purses, 
 Photograph Cases, Sec. 
 
 Exquisite Wedding Stationery a Specialty. 
 
COLERIDGE’S 
 
 RIME OF THE ANCIENT MARINER. 
 
 20 full page illustrations by 
 
 J. NOEL PATON, R. S. A. 
 
 ELEGANT HOLIDAY GIFT. 
 
 Extra Folio Size. Gilt Edge $7.5 0 
 
 CHRISTMAS AND NEW YEAR CARDS. 
 
 Over 1,000,000 Exported to Europe this Season. 
 
 We have also an immense variety of Reward of 
 Merit — Motto — Hymnal — Sentiment and Good 
 Device Cards for Sunday and Day 
 Schools . Attractive Show Cards 
 supplied ivith every order . 
 
 \ 
 
 Illustrated Catalogue of our celebrated Itheo- 
 type Engravings and Crayons 9 furnished free. 
 
 J. H. BUFFORD’S SONS, PUBLISHERS. 
 
 ILLUSTRATED WORKS AND NOVELTIES IN 
 
 IF 1 ! HXTIE] .A.IFLTS, 
 
 141 Franklin Street, Boston. 
 
^IFLT 
 
 NOVELTIES CONSTANTLY RECEIVED 
 
 From all Celebrated Houses of Europe. 
 
 013 3D PIECES OF 
 
 ' JAPANESE AND CHINESE GOODS. 
 
 IF 1 . 13. TOPPAN, 
 
 19 and 23 West Street. 
 
 MISS CAROLINE NOLEN, 
 INTO- 40 Stuidio BiaildiLLg*, 
 
 110 Tremont Street, Boston, Mass. 
 
 Teacher in the Art of 
 
 Decorating Faience Ware and Tiles. 
 
 Special Designs for Plaques, &e., &c., 
 
 Made to Order. 
 
 Artists 9 Boxes for Colors , Brushes and Tiles , 
 Constantly on hand. 
 
 AMEDEE GROIBIE 
 
 Specialty of Watch Cases and Jewelry Decorations, 
 
 ZMZOTNTO GRAMS, 
 
 Steel and Copper Plate Engraving, 
 
 309 Washington Street, 
 
 (ROOM 9,) BOSTON, MASS. 
 
STRONG & KIMBALL, 
 
 Successors to 
 
 GEO. CROOMB db 00_ 7 
 
 525 Washington Street, 
 
 BOSTON. 
 
 NOVELTIES IN ART FURNITURE 
 
 AND INTERIOR DECORATIONS. 
 
 New and Rare Designs in Upholstery 
 
 Goods of our own Importations. 
 
 WM. STRONC. 
 
 J. WAYLAND KIMBALL. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
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GETTY CENTER LIBRARY 
 
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 3 3125 0014C 
 
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 2474