THE GETTY CENTER LIBRARY 
 

Digitized by the Internet Archive 
 in 2016 
 
 https://archive.org/details/guidetoporcelainOOwhit 
 
A GUIDE 
 
 TO 
 
 PORCELAIN PAINTING. 
 
 BY 
 
 (SIDNEY T. WHITEFORD. 
 
 WITH ILLUSTRATIONS BY THE AUTHOR. 
 
 ComS. 
 
 o S 
 
 LONDON : 
 
 GEORGE ROWNEY AND COMPANY, 
 
 MANUFACTURING ARTISTS’ COLOURMEN, 
 
 52, RATHBONE PLACE, AND 29, OXFORD STREET, W. 
 
GETTY CENTER U u ,,,.„; 
 
PREFACE. 
 
 -a-ESSA*- 
 
 Whilst nearly every branch of Pictorial and Decorative art 
 has been made the subject of numerous hand-books, it is 
 believed that no manual of instructions in the art of paint- 
 ing on Pottery and Porcelain has hitherto appeared. 
 Under its present facilitated conditions, the art, whether 
 cultivated for pleasure or profit, will be found to afford a 
 highly interesting occupation. The practice of Ceramic 
 painting does not include the varied manipulative processes 
 employed by artists who work upon canvas or paper. 
 There is comparatively little to be taught, some acquaint- 
 ance with drawing and colouring being presupposed in the 
 learner. Painting in enamel colour is more particularly 
 recommended. The surface of the glazed ware is always 
 practically identical in texture, and colours of every 
 hue are available. 
 
 Painting in under-glaze colours is attended by greater 
 difficulties and much more uncertainty ; but it was felt 
 that many persons might wish to decide by actual experi- 
 ence what results can be obtained by each process. 
 Instructions for under-glaze work are therefore given. 
 
 The superior value of personal teaching or supervision 
 is not contested ; but, to those who cannot obtain such 
 aid, this little work is offered, with confidence that atten- 
 tion to its directions will prevent serious mistakes, and 
 
 A 2 
 
4 
 
 PREFACE. 
 
 greatly advance the attainment of success. The difficul- 
 ties of any art are only overcome by practice, and some 
 failures must be expected ; but, to use a homely proverb, 
 “Well begun is half done.” The learner may obtain 
 
 from a book, as well as from a teacher, information,, 
 
 without which first attempts may be hopelessly mis- 
 directed. The thanks of the writer are due to several 
 
 professional painters for assistance freely and cour- 
 teously given; little, however, is advanced that has not 
 been tested by actual experience. 
 
INTRODUCTORY REMARKS. 
 
 — — 
 
 Fainting on Pottery or Porcelain has occasionally been 
 practised with considerable success by amateurs, but 
 obstacles to the cultivation of the art have hitherto been 
 very numerous. Except for those who resided in the 
 neighbourhood of some factory, it was seldom possible to 
 obtain any instruction in the special technical processes, 
 and even the purchase of materials and the necessary 
 transmission of the painted pieces to the kilns were 
 accompanied by vexatious difficulties and delays. Cul- 
 tivated taste and intelligent interest in the subject of 
 Pottery Decoration being now very widely spread, so 
 many persons have expressed a desire to attempt the 
 practice of the art, that Messrs. Rowney have been 
 induced, with a view to facilitate such endeavours, to 
 prepare complete sets of colours and all requisite 
 materials. They have made arrangements enabling 
 them to supply glazed and unglazed ware, and to have 
 the painted pieces entrusted to them by their customers 
 carefully glazed and fired. 
 
 Their ivory tinted ware meets a Want that has been 
 felt by many painters on Porcelain, to whom the cold 
 whiteness of ordinary china is disagreeable, and a source 
 of difficulty when quiet harmony of tone is desired. 
 

 
 
A 
 
 Guide to Porcelain Painting. 
 
 
 
 CHAPTER I. 
 
 Of those persons who observe with admiration the de- 
 licate colours or skilfully executed paintings by which the 
 beauty and value of specimens of the potter’s art are so 
 greatly enhanced, very few are accurately, if at all 
 informed as to the nature of the materials employed or 
 the methods by which colours are applied and fixed on 
 the ware. Some remarks on the subject and brief notice 
 of the progress of Ceramic decorative art in this country 
 will not be out of place by way of introduction to the 
 formal directions which are the chief objects of these 
 pages. 
 
 It must first be observed that the many varieties of 
 ware upon which at different periods the potter’s skill 
 has been exercised, are broadly divided into two classes — 
 Pottery and Porcelain. All the early productions of the 
 factories of Europe were varieties of earthenware or 
 pottery. Porcelain was obtained only from the East, and 
 especially from the country which has given to the ware 
 its familiar name — China. Much confusion arises from 
 
8 
 
 A GUIDE TO PORCELAIN PAINTING. 
 
 misapplication of these distinctive terms. Dr. Lardner, 
 for example, in his interesting sketch of the History of 
 Pottery, referring to the works of Della Robbia (15th 
 century), after rightly describing them as Faience, or 
 earthenware, immediately speaks of the opaque glaze as 
 “covering the ill-coloured ground of the porcelain;” and 
 again in his notice of Bernard Palissy, he describes a 
 “ Bouteille de chasse” of that artist as “a Porcelain 
 flask.” It is true that early in the 15th century Conti- 
 nental makers and vendors of earthenware gave to their 
 choicest articles the term “porcelain,” probably as being 
 the best substitute they could offer for the coveted Orien- 
 tal ware. But in these days, when true porcelain is 
 manufactured in all parts of Europe, no such excuse can 
 be offered for the misuse of the name. For earthenware 
 a great variety of clays has at different times been em- 
 ployed, but true “china” or porcelain always consists 
 mainly of a fine white earth, called by the Chinese “ka- 
 olin,” and obtained in this country chiefly from Cornwall 
 and Devon under the name “ China-clay.” Earthenware 
 is always opaque, china transparent in proportion to the 
 fineness of its quality. “The transparency of porcelain 
 arises from the clay body becoming saturated with a mass 
 of glassy flux. Under the microscope the two ingredients 
 can be clearly distinguished from each other, the milky 
 mass appearing as a transparent ground mixed with an 
 opaque substance composed of minute globules, arranged 
 in a lineal direction one on the other as articulated 
 threads or little rods, which are interwoven and cross 
 each other in all directions; the want of absolute trans- 
 
A GUIDE TO PORCELAIN PAINTING. 
 
 9 
 
 parency in the mass being due to the reflection and 
 refraction of light from these crystals.”* 
 
 Manufactured ware of all kinds in its unglazed state is 
 termed “biscuit.” 
 
 Glazes vary in their composition, according to the 
 nature of the body to which they are to be applied. 
 
 The glaze is applied as an opaque creamy fluid, and 
 becomes glassy and transparent when subjected to the 
 action of heat — technically, “fired” — in the glost, or 
 glazing oven. Occasionally it is laid on with a fiat brush, 
 but almost always the biscuit articles are dipped in the 
 fluid glaze, by which process, skilfully managed, they 
 are very rapidly and uniformly covered. 
 
 I The colours used in pottery decorations are chiefly 
 metallic oxides, and for enamel painting are combined 
 with substances termed fluxes, which unite them with 
 the glaze. 
 
 Painting is of two kinds, known as “ under-glaze,” 
 and “enamel” or “over-glaze.” Under-glaze painting 
 is executed on the biscuit with colours specially prepared 
 and known as “ refractory.” The coloured design is 
 covered with glaze, and fired in an oven raised to great 
 heat. Designs executed by this method are incorporated 
 with the surface, and can perish only with the ware 
 itself; but much uncertainty attends the process, and a 
 great source of difficulty is the different appearance of 
 colours when applied, and after undergoing the action of 
 the glaze and fire. Dark blue, for instance, is when 
 
 * Muspratt’s “Chemistry of Arts and Manufactures.” Article — 
 Pottery, p. 795. 
 
IO 
 
 A GUIDE TO PORCELAIN PAINTING. 
 
 applied, a light violet, or even a dirty brown. Crimson 
 is, in its first state, a pale pink ; and other colours show 
 differences of the same kind. 
 
 For enamel painting many colours are available which 
 would not endure the heat, and are employed to vitrify the 
 glaze. For this process the colours are fluxed, and the flux, 
 dissolving under moderate heat, unites the colours more 
 or less intimately with the glaze upon which the painting 
 has been executed. If the glaze is very hard, the paint- 
 ing generally has a dry look, and is readily seen to be 
 only superficial; but, by the use of a soft glaze, much of 
 the appearance of undeuglaze work can be obtained 
 without its objections. The colours must, however, be 
 well “ fired in.” 
 
 A general tint is imparted to an object by applying 
 coloured glazes to biscuit ware, or by covering glazed 
 ware with colour in powder. The part ^ be coloured is 
 brushed over with a mixture of turpentine and oils, and 
 the powdered colour is dusted on \\uth_ cotton-wool, ad- 
 hering with sufficient firmness to admit of any super- 
 fluous particles being lightly brushed off. This method is 
 termed “ bossing,” and the application of a body of uniform 
 colour is known as “ grounding,” or “ ground-laying.” 
 
 When it is desired to leave on a coloured ground a 
 white space, for subsequent decoration by painting or 
 gilding, such a space is first covered with a mixture, 
 generally of rose pink with sugar and water. Colour is 
 then “bossed” on, and fixed by firing. Washing in warm 
 water soon removes colour from those parts that have 
 been protected, or, as it is technically termed, “ sten- 
 
A GUIDE TO PORCELAIN PAINTING. 1 1 
 
 cilled.” For gilding, the gold is prepared with quick- 
 silver and flux, and has the appearance of black dust. 
 It is mixed with oil and turpentine, as colours are, and 
 laid on with a camel hair pencil. After being fired the 
 gold recovers its proper tint, and appears as “ dead gold.” 
 Brilliancy is imparted, when required, by burnishing. 
 
 Patterns upon ware for general use are, when intricate, 
 almost always printed. Impressions from engraved 
 copper plates are taken upon specially prepared paper 
 and divided into sections. The paper bearing the pat- 
 tern is pressed on the surface of the biscuit ware and 
 rubbed with a boss, or pad of wash-leather, till the 
 coloured design adheres. The absorbent ground retains 
 it, when the paper is afterwards gently rubbed off by 
 means of a soft wet sponge. 
 
 The history of all the potteries of Great Britain is 
 involved in considerable obscurity ; and, although the 
 manufacture of earthenware was carried on rather ex- 
 tensively in some counties from very early times, such 
 specimens of their productions as still exist show that 
 until the middle of the last century they were rude in 
 form and decoration. It is remarkable for how long a 
 period the arts of design in connection with manufac- 
 tures were neglected in this country. The truth appears 
 to be that almost down to our own day the British nation 
 has had no confidence in itself as a competitor in the 
 fields of art. Foreign painters, sculptors, musicians and 
 singers long held undisputed sway. In productions which 
 required no alliance with taste, in all work for which 
 strength of will and muscle gave especial fitness, some 
 
12 
 
 A GUIDE TO PORCELAIN PAINTING. 
 
 degree of pre-eminence was confessedly attained : but 
 whilst popular belief regarded one Briton as a match for 
 many foreign opponents in war, in the peaceful contests 
 of the arts it was assumed that the nations of the Conti- 
 nent alone could hope for laurels. These sentiments, 
 even now far from extinct, were most prevalent until the 
 close of the last century, and did not escape the vigorous 
 :satire of the inimitable Hogarth, notably in his well- 
 known caricature entitled “Taste.” Upon the potteries, 
 this distrust of native ability acted most injuriously. 
 The potters worked chiefly, if not wholly, for the humble 
 classes; their energies were restricted, and talent re- 
 mained undeveloped. It is, perhaps, too flattering to speak 
 of Josiah Wedgwood (born 1730) as “the father of the 
 potter’s art in England” — “ Vix'ere fortes ante Agam- 
 menona and, as he would have been the first to assert 
 that good work was done by many of his predecessors and 
 contemporaries, he will, nevertheless, always be remembered 
 with high honour as the first who boldly followed a path 
 of independent invention, and forced from the public such 
 recognition that the vaunted productions of the French 
 and German factories gave place to his own, thus, to quote 
 from his epitaph, converting an inconsiderable manufac- 
 tory into an important part of the national commerce. 
 
 For a long period the decoration of earthenware was 
 confined to the enrichment of the surface by ornaments, 
 .sometimes incised, at others applied or produced by form- 
 ing the article in a mould. In the next period colours 
 were imparted by the use of coloured glazes, or by com- 
 bining variously coloured clays. As the preparation 
 
A GUIDE TO PORCELAIN PAINTING. 1 3 
 
 of metallic colours became better understood, paintings 
 in a bold style were occasionally executed. The well- 
 known Faience, or earthenware of Italy, frequently dis- 
 plays fine design and colours, but does not appear to 
 have been imitated, or to have influenced pottery decora- 
 tion in this country. The factories which produced a 
 kind of delft — that is, earthenware covered with a soft 
 enamel — and, perhaps, stoneware, at Lambeth and Ful- 
 ham, in the 17th century, were probably under Dutch 
 direction. The decorations employed were Dutch or 
 German in character, and sometimes copies, with Euro- 
 pean feeling infused, from Chinese patterns and designs. 
 It is with the establishment of the manufacture of porce- 
 lain in Europe that the era of improved pottery decora- 
 tion in colours began. Chinese porcelain was first 
 introduced in considerable quantities among the Western 
 nations by the Portuguese, about the year 1518. Its 
 fine qualities excited general admiration; and in the 
 course of time a natural desire arose in the countries of 
 Europe to include among the productions of their fac- 
 tories the highly-prized Oriental ware. The attention of 
 chemists and manufacturers was constantly directed to 
 the subject without leading to the discovery of the true 
 nature of the material. In 1695 a composition of sand r 
 alum, saltpetre, &c., was employed at St. Cloud, near 
 Paris. To the paste thus formed the name Pate tendre , 
 or soft paste porcelain, was given; and in its manufac- 
 tured state it had much the appearance of true porcelain, 
 though destitute of all the real constituents — being, in 
 fact, not a clay but a kind of glass. In England the so 
 
14 
 
 A GUIDE TO PORCELAIN PAINTING. 
 
 called porcelain factories at Bow and Chelsea, established 
 at the close of the 17th or beginning of the 18th century, 
 fabricated a similar paste, of which the chief components 
 were — sand from Alum Bay, in the Isle of Wight, a 
 fine clay, and powdered flint glass. Finally, chance gave 
 to Europe what the efforts of learned men had failed to 
 obtain. About 1709, a fine white earth, found in great 
 quantities near Aue, in Saxony, was brought under the 
 notice of an iron-master named Schnorr, by the simple 
 circumstance of its clogging his horse’s feet as he rode 
 through the district. He conceived and successfully 
 accomplished a plan to employ this earth as a substitute 
 for the hair powder made from wheat flour, then exten- 
 sively used. The powdered clay was soon in great de- 
 mand, being sold under the name of “ Schnorr’s White 
 Earth.” John Bottger, the director of the royal potteries 
 at Dresden, happened one day, whilst his valet was 
 dressing his hair, to take up a packet of the new hair 
 powder, and, struck by its great weight, inquired its 
 name and how it was obtained. Being told that it was 
 “ Schnorr’s White Earth,” he at once conjectured that 
 it might prove a valuable material in the fabrication of 
 fine pottery. Experiment soon proved that he was right, 
 the substance being, in fact, the long-sought “kaolin,” 
 or true china-clay. The royal porcelain manufactory 
 established at Meissen, near Dresden, was placed under 
 the direction of Bottger; and thus commenced, in 1715, 
 the manufacture of true porcelain in Europe. 
 
 In 1765, kaolin was accidentally discovered in France. 
 Madame Darnet, wife of a surgeon at St. Yreix, near 
 
A GUIDE TO PORCELAIN PAINTING. 
 
 15 
 
 Limoges, observed in a ravine, not far from the town a 
 
 j white earth which she thought might prove of use as a 
 
 \ substitute for soap. A specimen of the earth was for- 
 ( warded by her husband to a chemist at Bordeaux. He 
 \ probably suspecting, though uncertain as to its true 
 character, transmitted it to the celebrated Macquer, who 
 / at once recognised the true china-cfay. After many ex- 
 periments, and having ascertained that the clay could be 
 procured in abundance at St. Yreix, Macquer established, 
 in 1769, the factory of “hard,” or true porcelain, at 
 / Sevres. China-clay appears to have been occasionally 
 
 ( used in English factories early in the 18th century, but 
 
 | how it was obtained is uncertain. Probably, small 
 j quantities were from time to time imported from China ; 
 / but, in spite of the doubtful tradition that native kaolin 
 j was obtained from Bovey Tracey, in Devon, as early as 
 1730, the credit of its discovery in this country may be 
 safely given to William Cookworthy, of Plymouth. In 
 1755, having found near Helstone, in Cornwall, the earth 
 to which he gave the name “caulin,” now so well known 
 as china-clay, he commenced investigations, and estab- 
 lished at Plymouth, about 1760, the first English factory 
 of true or hard porcelain, taking out a patent for the 
 manufacture in 1768. Four years later, having failed to 
 make the works profitable, Cookworthy sold his patent- 
 right to a merchant named Champion, who transferred 
 the manufactory to Bristol. The Bristol factory proved 
 equally unprofitable, and was closed in 1783, when the 
 patent passed into the hands of the Worcester manu- 
 facturers, Messrs. Flight and Barr. 
 
1 6 
 
 A GUIDE TO PORCELAIN PAINTING. 
 
 In the course of a few years china-clay came into 
 general use, and porcelain factories were established in 
 various parts of Great Britain. It is unnecessary to 
 pursue their history, as information can be obtained from 
 many sources by those who desire it. ( See Appendix). 
 
 On the character of the decorations painted upon both 
 useful and ornamental ware in the last century a few 
 words may be said. The early productions of the fac- 
 tories of this country, and of the continent, display in 
 their ornamentation remarkable paucity of invention, 
 and, in general, a slavish spirit of imitation. As regards 
 style, the paintings alternated between boldness that 
 was really coarseness, and such extreme finish and petty 
 minuteness as were even more misplaced. The influence 
 of Oriental porcelain was great and constant. At Dresden 
 copies of Chinese forms, designs, colours and gilding,, 
 were produced so exactly as to deceive even experienced 
 persons. More often Chinese designs were imitated 
 without any perception of their decorative principles. 
 The motif - — to borrow a French art term — was followed,, 
 but more correct drawing was added, with a loss of all 
 spirit and character. It seems to have been hardly 
 suspected that good decoration was subject to any prin- 
 ciples, or vras the result of a direct gift, like the highest 
 forms of every art. As long as the painting was well 
 executed and agreeable in itself, it was accepted as a 
 decoration, without regard to its appropriateness or re- 
 lation to a general result. 
 
 As might be expected, progress was most rapid in 
 France. Artists of repute found employment at Sevres; 
 
A GUIDE TO PORCELAIN PAINTING. 1 7 
 
 and, whatever may be thought of the style of decoration 
 cultivated, it must be admitted that the paintings were 
 executed with much ability. It was better that flowers, 
 &c., should be rendered with too much fidelity to nature, 
 than that nondescript inventions should be accepted as 
 superior in beauty, and the paintings from subjects by 
 Watteau or Boucher must be preferred to bad imitations 
 of misunderstood Chinese art. With these admissions, 
 and adding that gilding was often introduced with much 
 taste, and the skill of the French chemists supplied 
 colours of extreme beauty, the assertion must yet be 
 hazarded that the art of pottery decoration has been 
 almost as little comprehended in France as by other 
 European nations. The attempt to justify this position 
 must be reserved — in the form of general remarks on 
 the principles of decorative art — for the conclusion of 
 this chapter. It is difficult to select any description 
 of ornament or painted subjects as typical of the pro- 
 ductions of each European factory. Early pieces from 
 Dresden and Chelsea are so much alike as to be often 
 undistinguishable, except by the nature of the paste. 
 Groups of Cupids, bouquets, and “ conversation pieces,” 
 as they are termed, were equally popular everywhere. 
 German paintings were as highly finished as those by 
 French artists, but less spirited, and, perhaps, inferior 
 in colouring. In England, as the factories were un- 
 assisted by the State, a more mercantile spirit prevailed. 
 Each manufacturer was content to imitate others, or 
 pursue, ad nauseam , some decorative theme, however 
 tasteless, that had taken the fancy of the public. The 
 
 n 
 
i8 
 
 A GUIDE TO PORCELAIN PAINTING. 
 
 attention of Wedgwood was chiefly bestowed on the 
 composition of coloured bodies, which he named Basalt, 
 jasper, &c. These were fine clays combined with other 
 chemical substances, and stained by the addition of 
 coloured oxides. His factory did not produce porcelain, 
 and the paintings upon the fine earthenware used as a 
 substitute were of the usual character. The border 
 patterns were occasionally tasteful — in what degree may 
 be estimated by the examples figured in Miss Meteyard’s 
 “Life of Wedgwood.” The refined forms and moulded 
 decorations which distinguish the celebrated “Wedgwood 
 ware,” though truly elegant and perfect in execution, 
 are yet without originality, being, when not direct copies, 
 always strongly influenced by early Etruscan pottery . 
 The attempt, under the altered conditions everywhere 
 accompanying the course of Time, to reproduce in fac- 
 simile the creations of another epoch, or differently con- 
 stituted race, is generally to be regretted, even when 
 made without any intention of fraud. Good art-work is 
 the offspring of national character, and bears the impress 
 of contemporary modes of life and thought. It is scarcely 
 possible that the imitation shall possess the distinctive 
 merits of the original; and it is probably with a feeling 
 that much of Wedgwood’s labour was thus misapplied 
 that the eminent author of “ The History of Ancient 
 Pottery” classes him among producers o f forged Etru s- 
 canjj^e. That he had no intention to deceive is self- 
 evident, for his direct object was to establish the conviction 
 that England could furnish both materials and men for 
 the art of pottery worthy to rank with the best of any 
 
A GUIDE TO PORCELAIN PAINTING. 
 
 19 
 
 period and every country.* For the selection of classic 
 models for imitation, Wedgwood’s partner, Bentley, was 
 probably chiefly responsible, and the choice at least dis- 
 played a higher taste than was possessed by other manu- 
 facturers. 
 
 It is remarkable that, whilst a long list may be made of 
 known artists who worked at Sevres, of English painters 
 on pottery or porcelain, scarcely a name is remembered 
 but that of the eminent enameller, Bone, who served his 
 apprenticeship in Cookworthy’s factory, at Plymouth. 
 
 Intimate acquaintance only can give the powers of 
 distinguishing the decorated ware of each factory with- 
 out the assistance of the recognised factory marks. 
 
 The painters were generally men of humble origin, 
 whose occupation was looked upon rather as a trade 
 than an art. They not unfrequently went from one 
 factory to another; and their methods and style were 
 transmitted from one generation to another. Thus, such 
 uniformity of resemblance was secured as was certainly 
 striking, though neither interesting nor agreeable. 
 
 The method of transferring to biscuit ware designs 
 printed from copper plates is attribute d to D r. Wall, who 
 established the Worcester porcelain factory in 1751. 
 The discovery was of great value, and capable of more 
 extended and jucidious application than has yet been 
 attempted. In almost all cases the engraved outlines 
 
 * The petition of the Staffordshire potters, supported by Wedgwood, 
 declares that in and around Burslem ‘ ‘ not one foreigner is employed 
 in, or any material imported from abroad for, any branch of” their 
 trade. Jewitt’s “Life of Wedgwood,” p. 163. 
 
20 
 
 A GUIDE TO PORCELAIN PAINTING. 
 
 are too fine and rigid, but perfect identity of pattern is 
 not objectionable for ware which is intended to please by 
 general effect, without attracting close attention. At the 
 same time protest must be made against the prevalent 
 and most unartistic practice of adding to engraved pat- 
 terns shading, which is objectionable in any form, but 
 especially when rendered by the net-work of harsh lines 
 termed “ cross-hatching.” Printing, of which several 
 kinds are now in use, should be confined to its right 
 purpose — such rapid repetition as is necessary for cheap- 
 ness of broadly-outlined conventional patterns for colour 
 printing, or clearly-outlined designs to which colours 
 may be afterwards quickly added by hand. 
 
 To what has been said respecting the English pottery 
 decorators should be added that, in spite of Wedgwood’s 
 patriotic example, a large number of foreign painters 
 and modellers found employment in this country A 
 Finally, as showing that the best efforts were not always 
 rewarded by success, reference must be made to the 
 factory on the estate of the Marquis of Rockingham, at 
 Swinton, near Rotherham, in Yorkshire, which produced 
 the ware known as_ “Jiockingham.” After a struggling 
 existence under various owners, the works ceased in 
 1842; yet, both in fabrication and decoration, a position 
 appears to have been attained equal, if not superior, to 
 that of rival establishments. “ Two magnificent speci- 
 
 * The petition of Mr. Champion, of Bristol, for the extension of his 
 patent-right for the manufacture of porcelain, states that “he has 
 spared no expense in encouraging foreign artificers.” Jewitt’s “Life of 
 Wedgwood,” p. 241. See also Marryatt’s “History of Pottery and 
 Porcelain,” pp. 281 — 288. 
 

To face page . 21. 
 
 From a design by StotharcL 
 
A GUIDE TO PORCELAIN PAINTING. 
 
 2 l 
 
 mens exist in Wentworth House, which are deserving of 
 more than common attention, as denoting the degree of 
 advancement of the art in England. One of these pieces 
 is a copy in enamel colours, made on a porcelain tablet, 
 of a painting by Vandyke. . . . The other . . . 
 is believed to be the largest piece of porcelain that has 
 hitherto (1857) been made in this country. It is a scent 
 jar, forty-four inches high, made and fired in one entire 
 piece. The three compartments are painted in enamel 
 colours, from designs by Stothard ; the subjects taken 
 from Cervantes.” * This employment of designs by an 
 English artist deserves particular notice, and for such a 
 purpose Stothard’s art was singularly suitable, his draw- 
 ings having marked individuality, whilst the subjects are 
 often in character, and nearly always in treatment and 
 feeling extremely decorative. These remarks do not 
 apply in an equal degree to his paintings ; of colour he 
 does not appear to have obtained complete mastery. 
 
 If this impartial but necessarily brief survey of Ceramic 
 decorative art in the last century compels the conclusion 
 that little praise can be justly bestowed, an equally un- 
 favourable view must be taken of what was done from its 
 close almost to the date of the first “ Great Exhibition of 
 the Works of all Nations,” which gave such a stimulus to 
 manufacturers allied with the arts. Since that day the 
 general spread of information and art education has 
 created a demand for superior ornamentation, which has 
 been energetically met by the eminent firms whose pro- 
 
 * Marryatt’s “ History of Pottery and Porcelain,” 2nd ed., p. 292. 
 
22 
 
 A GUIDE TO PORCELAIN PAINTING. 
 
 ductions give to this country its present high position in 
 Ceramic art. The writings and influence of intelligent 
 lovers of true decoration have borne good fruit. The 
 schools of art have done much, and the establishment of 
 the South Kensington Museum has been of incalculable 
 benefit, giving to all classes what was before possessed 
 by so few — the power of developing their critical faculties 
 by actual observation and comparison of the art-work of 
 different generations and races. That much may yet be 
 done will scarcely be disputed; more especially to popu- 
 larise artistic work ; but this cannot be hoped for until 
 the national taste becomes more cultivated. Our manu- 
 facturers will not produce what the public will not readily 
 buy; and their experience too often justifies their com- 
 plaint that objects in the best taste are not sufficiently 
 appreciated to be remunerative to the producer, pre- 
 ference being still general for what is merely pretty or 
 eccentric, rather than for what is beautiful. On the 
 relations between producers and buyers nothing can be 
 more just and accurate than what was said by Wedg- 
 wood. As a manfacturer and a man of taste, he spoke 
 with knowledge, and his words cannot be too often re- 
 peated or too attentively considered. The quotation is 
 from his catalogue, published in 1775. “A competition 
 for cheapness, and not for excellence of workmanship, is 
 the most frequent and certain cause of the rapid decay 
 and entire destruction of arts and manufactures. The 
 desire of selling much in little time, without respect to 
 the taste or quality of the goods, leads manufacturers 
 and merchants to ruin the reputation of the articles 
 
A GUIDE TO PORCELAIN PAINTING. 
 
 2 3 
 
 which they manufacture or deal in; and, whilst those 
 who buy for the sake of a fallacious saving prefer medio- 
 crity to excellence, it will be impossible for manufacturers 
 either to improve or keep up the quality of their works. 
 This observation is equally applicable to manufactures 
 and the productions of the fine arts, but the degradation 
 is more fatal to the latter than the former, for, though an 
 ordinary piece of goods for common use is always dearer 
 than the best of the kind, yet an ordinary and tasteless 
 piece of ornament is not only dear at any price, but 
 absolutely useless and ridiculous. All works of art must 
 bear a price in proportion to the skill, the taste, the time, 
 the expense and the risk attending the invention and 
 execution. Those pieces that for these reasons bear the 
 highest price, and which those who are not accustomed 
 to consider the real difficulty and expense of making fine 
 things are apt to call dear, are, when justly estimated, 
 the cheapest articles that can be purchased, and such as 
 are generally attended with much less profit to the artist 
 
 than those that everybody calls cheap The 
 
 most successful artists know that they can turn out ten 
 ugly and defective things for one that is beautiful and 
 perfect of its kind. Even suppose the artist has the true 
 idea of the kind of beauty at which he aims, how many 
 lame and unsuccessful efforts does he make in his design, 
 and every part of it, before he can please himself? and 
 suppose one piece is well composed and tolerably finished, 
 as in vases and encaustic paintings, for instance, where 
 every succeeding vase and every picture is made, not in 
 a mould, or by a stamp, but separately by the hand, with 
 
24 A GUIDE TO PORCELAIN PAINTING. 
 
 the same attention and diligence as the first, how diffi- 
 cult must it be to preserve the beauty of the first model ? 
 It is so difficult that, without the constant attention of 
 the master’s eye, such variations are frequently made in 
 the form and taste of the work, even while the model is 
 before the workman, as totally to change and degrade 
 the character of the piece. Beautiful forms and com- 
 position are not to be made by chance ; and they were 
 never made, and never can be made in any kind, at a 
 small expense.”* 
 
 The peculiar difficulties attending every effort to obtain 
 a wide circulation for articles displaying the best taste in 
 design or decoration can only be fully understood by 
 those who have given much attention to the subject. 
 
 A recent writer does not hesitate to say, “ Europe is 
 too much hampered by its industrial code and prosaic 
 notions to invent purely aesthetic designs and forms. 
 Her taste is either distorted by trade calculations, chilled 
 by the public indifference to beauty, or coolly set aside 
 by the one-sided common sense theory of political 
 economy. Each workman is made the life-long slave of 
 a single fraction of a mechanical whole, the perfection of 
 which consists in its cheap production and exact resem- 
 blance to numberless similar wholes, a system of labour 
 which deadens the mental faculties, power of enjoyment 
 and manual capacity of the worker, and effectually hinders 
 any wholesome development of taste in the buyer. ”+ 
 
 * Je witt’s “ Life of Wedgwood,” pp. 218 and 219. 
 
 + “Art Journal” (1871), p. 262. — “A genuine artistic race.’"' 
 
A GUIDE TO PORCELAIN PAINTING. 
 
 2 5 
 
 In the face of recent progress these views may seem too 
 despondent ; but it cannot be denied that the tide of im- 
 provement has as yet scarcely reached such articles as 
 are moderate in price, and, from their wide diffusion, 
 afford the best indication of the state of national taste, as 
 well as the most powerful means for its instruction and 
 refinement. 
 
 On the subject of Ceramic decoration great diversity 
 of opinion exists, and views directly opposed to the judg- 
 ment of the best authorities are so tenaciously held as to 
 be with difficulty combatted. Many persons who will 
 yield ready assent to certain propositions if applied to 
 other artistic manufactures, refuse to admit that they are 
 of equal force when directed to the fabrication and orna- 
 mentation of pottery. Their reasoning, though perhaps, 
 unsuspected, or only half recognised by themselves, 
 appears to be this : The materials at the disposal of the 
 potter and pottery decorator are the same as, or closely 
 resemble, those employed by sculptors and painters, and 
 may, therefore, be used in the same manner and for 
 similar ends. To this the first answer is that, to give 
 durability to the fabricated ware, as to the paintings or 
 other ornaments upon its surface, the action of fire is 
 indispensable — an element always, in some measure, un- 
 manageable and uncertain in its effects. Let it be con- 
 sidered, also, that the forms present constantly varying 
 degrees of convexity and concavity, that the glaze is 
 highly reflective and the material extremely brittle. 
 These are the conditions which regulate the labours of 
 the Ceramic artist, and which render any attempted 
 
26 
 
 A GUIDE TO PORCELAIN PAINTING. 
 
 rivalry with other forms of pictorial or plastic art a mis- 
 taken effort and occasional comparative success only 
 mischievous in result. The characteristics to be sought 
 in good pottery decoration are, first, appropriateness of 
 subject, an agreeable flow of lines and disposition of 
 masses, effective arrangement with fine quality of colour; 
 and lastly, economy of labour, by which is meant, not 
 stint, but wise direction and limitation. 
 
 Not many years ago pictorial art became too dignified 
 to condescend to subjects suggested merely by a fanciful 
 and sportive imagination. A picture that did not teach 
 something was a vanity, and the Horatian maxim was 
 quoted : “ Segnius irritant animos quae sunt demissa per 
 aurem, quam quae sunt oculis subjecta fidelibus” — *>., 
 “ Sight is a more effectual teacher than hearing.” At the 
 present day many of our best artists maintain that every 
 picture ought to be a decoration ; that the lesson it con- 
 veys, and ability with which its story is told — by mastery 
 of expression, light and shade, drawing and arrangement 
 — are matters of secondary importance, the question 
 of real importance being whether it is finely coloured, 
 and has a decorative effect when hung upon the walls of 
 such an apartment as the painter would have selected 
 for its reception. The truth lies, probably, between the 
 two extremes. Neither gravely truthful nor brightly 
 fanciful art can be surrendered ; and' painting on pottery 
 — quite unsuited to the former — is peculiarly well adapted 
 for the latter, requiring both taste and invention in colour- 
 ing and design, in the place of fidelity to nature. Ex- 
 cluding serious and painful or repulsive subjects, every 
 
A GUIDE TO PORCELAIN PAINTING. 27 
 
 field is open to the painter on pottery. All that is de- 
 manded is a conventionalised treatment, varied according 
 to his purpose, either to produce a decorative picture on 
 a flat surface, such as panels of vases, or plaques — i.e. r 
 slabs of soft porcelain or earthenware — or to decorate an 
 object having a concave or convex surface. Mr. Ruskin 
 justifies certain eccentricities of the figures in Turners 
 pictures, observing that when composing a grand land- 
 scape we may twist about the forms and proportions of 
 human beings as we do hills, trees, buildings, and other 
 components of the scene. To the decorator, accurate 
 perspective, strict observance of the relative sizes of 
 objects, truth of colour and exactness of form, are con- 
 siderations of minor importance. His first care is to 
 secure a good general effect, by skilful disposition of light 
 and dark, or by balanced spaces of beautiful colour. At 
 one time he may arrest attention by some startling con- 
 trast, at others he will affect the eye with pleasurable 
 sensations by means which cannot be discriminated 
 without attentive examination. 
 
 For strictly decorative treatment a clear outline should 
 mark out each important component of the picture, and 
 strong light and shade, as well as all attempts to convey 
 an impression of distance by effects of aerial perspective, 
 should be avoided. Shadows are entirely out of place in 
 pure ornament ; but, for decorative pictures, some indul- 
 gence may be claimed for their use — not so much to 
 assist in expressive form as to give agreeable varia- 
 tions of colour. Their absence is, perhaps, less felt 
 when the colouring is rich and strong than when the 
 
28 
 
 A GUIDE TO PORCELAIN PAINTING. 
 
 painting is in a light key; but they must never be so 
 introduced as to break up the general appearance of 
 flatness. It may be added that slight defects in paint- 
 ings on pottery frequently result from some accident 
 conected with glazing or firing, and can only be expe- 
 ditiously and effectually concealed by the addition of a 
 little colour introduced as shading. 
 
 Archaic forms, or such conventionalised representa- 
 tions of natural objects as are popularly termed Gothic, 
 fail to obtain general acceptance, though delightful when 
 carved in stone and combined with architecture. So, 
 too, the less rude, but quaintly precise treatment known 
 as Mediaeval, satisfies only certain minds trained to 
 severe taste. Ornament constructed on mathematical 
 2^rinciples — by analysis of the construction of natural 
 forms — though admirable for other purposes, such as 
 work in wood or metal, has only a limited number of 
 admirers when used for Ceramic decoration. It is felt 
 to be monotonous ; both eye and mind grow quickly 
 weary of its repetitions ; and it ceases to excite interest 
 or even attract notice when its ingenious composition 
 has been traced out. There is a craving for more easily 
 recognised resemblance to nature that will not be gain- 
 said, and it is possible to meet this want without any 
 sacrifice of the principles of true decoration. 
 
 From the Greeks we may learn appropriate treatment 
 of the human form and drapery ; from early Chinese, and 
 more recent Japanese art, we gain in the best form illus- 
 trations of right adaptation of familiar natural beauties 
 to the purposes of ornamentation. 
 
To face page_28 
 
A GUIDE TO PORCELAIN PAINTING. 29 
 
 The Greeks, working with only red, black, yellow and 
 white, relied on their accurate knowledge of the human 
 figure which they display in perfect beauty, and in every 
 variety of graceful or vigorous action. In their draperies 
 we see grace of line, balanced arrangement of masses, 
 and charming ornamental patterns ; whilst the conven- 
 tionalised folds are beautifully disposed so as to assist or 
 harmonise with the figures as they are in movement or 
 repose. 
 
 The Chinese and Japanese decorators, revelling in the 
 delights of bright, yet tender, colour, press earth and air, 
 fire and water, into their service. Nothing is too high or too 
 humble for them ; from sea and sky, mountain and forest, 
 they turned with equal affection to wild creatures, furred 
 or feathered, to plants and flowers, and the tiny insects 
 to which they afford food and shelter. The occupations 
 of civil and military life, and even the dwellings of dif- 
 ferent ranks, with their useful and ornamental contents, 
 are also depicted ; but their representations of the human 
 face and form are too grotesque and distinctly national 
 to be instructive examples for Europeans, though intro- 
 duced with extreme skill, and showing in the draperies 
 finely varied patterns and beautiful harmonies of colour. 
 These remarks apply only to fine examples of early Chi- 
 nese art, for the artistic spirit departed long since from 
 the nation — perhaps banished by the same destructive 
 influence of European commerce which is already con- 
 tributing to the evident and rapid deterioration of 
 Japanese art work. It is a strange and disastrous con- 
 sequence of intercourse between the Eastern and Western 
 
3 ° 
 
 A GUIDE TO PORCELAIN PAINTING. 
 
 nations, observable in all cases, that the former quickly 
 substitute for artistic enthusiasm the trader’s love of 
 gain, and the glory of their national art departs. It is, 
 therefore, only to the best decorated work of China and 
 Japan, produced when extensive commerce with other 
 nations was not thought of, and the genuine art instincts 
 of each race had full play, that attention can safely be 
 given by those who would learn how to unite decorative 
 treatment with fidelity to nature. What is wanted is not 
 a laboured imitation, but the expression in its simplest 
 form of the essential characteristics of each object repre- 
 sented. The construction, grace, and colour of plants 
 and flowers ; the strength or lissomness of trees ; the 
 form, in action or repose, of beasts, birds and fishes; the 
 set and texture of fur, feathers, and scales ; the play of 
 limbs, wings, and fins ; — in a word, all distinctive proper- 
 ties are shown by the Japanese artists by a few spirited 
 strokes, of which not one is without purpose. A volume 
 would not suffice to illustrate the high art qualities of 
 their commonest productions ; and the study and appli- 
 cation of their principles — which must not be confounded 
 with direct imitation of their work — may be confidently 
 recommended to those who love nature, and cannot 
 accept realistic art as decorative. 
 

 
 
A GUIDE TO PORCELAIN PAINTING. 
 
 CHAPTER II. 
 
 PAINTING ON POTTERY AND PORCELAIN. — MATERIALS. 
 
 Under-glaze Colours. — Of these it is only necessary 
 to name such as are in general use. Most of the large 
 factories possess specialities in colours for biscuit paint- 
 ing, adapted to particular glazes and degrees of furnace 
 heat. The same colours are also frequently known by 
 various names. All that are really necessary are — pink, 
 dark blue, light blue, dark green, light green, deep yellow, 
 violet, dark brown, light brown, black. 
 
 Light green must be used pure ; it is very vivid, and, 
 therefore, only agreeable in small quantities, or in its 
 paler tints. All the other colours may be intermixed for 
 composite hues. 
 
 Pink is a powerful colour. If applied thickly it becomes 
 a deep crimson after bring, and the thinnest wash will 
 impart a pink tint. As it is subject to less waste than 
 other colours under the action of the fire, it is often 
 added to give stability to dark composite hues. Thus* 
 for outlines, a good mixture is dark brown with a little 
 pink and dark yellow. 
 
 Orange is obtained by striking pink, moderately thick 
 over deep yellow. The result is a better colour than can 
 be produced by mixing. 
 
 For purple, mix dark blue and pink. 
 
3 2 
 
 A GUIDE TO PORCELAIN PAINTING. 
 
 All the other colours lose much substance when fired 
 and the most frequent source of disappointment to inex- 
 perienced persons is the discovery that they have used 
 too much pink and too little of all other colours. Much, 
 however, depends on the degree of heat that is necessary 
 to vitrify the glaze. 
 
 For composite greens, russets, and olives, yellow, black 
 and light brown are mixed in varying proportions with 
 dark green. Only sober greens can be obtained by mix- 
 ture. Such colouring as is seen in enamel paintings is 
 unattainable with under-glaze colours. 
 
 Enamel Colours. — Of these a great number are pre- 
 pared that are very seldom of use. The list here given 
 includes all that are necessary for subjects of any kind. 
 Others can be obtained if desired; but a larger selection 
 is a source of perplexity rather than an advantage : — * 
 
 Red. 
 
 Coral Red. 
 
 Carmine. 
 
 Rose. 
 
 Deep Blue. 
 Light Blue. 
 
 Yellow. 
 
 Orange. 
 
 Dark Brown. 
 Light Brown. 
 Purple Brown, 
 Light Green. 
 
 Dark Green. 
 Purple. 
 Turquoise. 
 Black. 
 
 White Enamel. 
 
 On the use of these a few remarks are necessary. 
 
 Neither red nor coral red must be mixed with other 
 colours ; and, as they are subject to some change, their 
 use should be deferred, if possible, till the painting has 
 reached such a stage as to require only a final firing. 
 
 Carmine and rose. These are varieties of the same 
 pigment, and are used as test colours. In the process of 
 firing they pass through various conditions of tint till 
 they become a fine crimson or clear rose, when the action 
 
A GUIDE TO PORCELAIN PAINTING. 
 
 OO 
 
 of the fire must be at once checked. If over-fired they 
 pass to a dull purple, and are spoilt beyond remedy. If 
 not fired enough (technically, “ short-fired ”) their hue is 
 dull red, and may be brought to the proper tint by re- 
 newed firing. It is ordinarily considered that when rose 
 colour has been sufficiently fired all other colours used in 
 the painting are properly burnt in. The development of 
 the carmine or rose tint, therefore, serves as a test by 
 which to regulate the action of heat on the painting. 
 
 As the other colours do not change — though they lose 
 substance, and, consequently, depth of tint — they are often 
 subjected to great heat (technically, they are said to be 
 very “ hard-firecj ” or “ full-fired ”), so as to unite them 
 thoroughly with the glaze. It is often advantageous, when 
 carmine and rose are used pure and in any quantity, to 
 apply them when the piece is to be fired for the last time. 
 
 Rose or carmine must not be used for flesh tint at all. 
 The general tint of flesh is best given by red No. i or 
 light brown used very pale, and should be fixed by a first 
 firing before shadows are added. For shading touches of 
 blue, orange, and light brown — may be hatched or 
 stippled on — but shadows should be very delicate. For 
 the lips, & c., carmine or red may be used pure, but the 
 two colours must never be mixed. 
 
 Dark green combined with yellow gives such useful hues 
 that it is not necessary to use the light green for mixed 
 tints. It is of value pure, having its own peculiar character. 
 
 Purple_J)rown, also, should not be mixed with other 
 colours. For composite tints, rose colour, dark brown, 
 and others suffice. 
 
 c 
 
34 
 
 A GUIDE TO PORCELAIN PAINTING. 
 
 Clear red orange is best obtained by passing carmine 
 over orange. The hue obtained by mixing is very different. 
 
 White enamel may be mixed with any of the colours, 
 except the two reds and purple brown. The best course, 
 however, is to apply the enamel first and pass other 
 colours over it. When white enamel has been fixed by 
 firing, reds and all other colours may be passed over it. 
 
 Brushes. — The best are the red sable; but, as these 
 are very expensive, they may be used only for outlines, 
 delicate work, and finishing touches. For general pur- 
 poses, good camel hair brushes in quills will suffice. 
 
 Vehicles. — Mixtures of honey, glycerine, &c., have 
 been tried ; but refined turpentine and the preparation 
 termed fat-oil are considered by professional painters on 
 pottery indispensable for work upon the glaze. For under- 
 glaze, or biscuit painting, the colours may be mixed with 
 gum-water or water colour McGuilp. A drop of oil of spike, 
 cloves, or aniseed, added to colour mixed with turpentine 
 and fat-oil, prevents it from drying too quickly. For those 
 who find the difficulties of work on the porous biscuit too 
 great, a “ dressing ” has been provided which, brushed 
 thinly over the surface, renders it much less absorbent. 
 
 A table-easel, adapted for flat and hollow pieces, is 
 very useful, and a rest of some kind is indispensable to 
 preserve the hand or sleeve from contact with the paint- 
 ing. Both easels and rests have been prepared, similar to 
 those approved by the experience of professional painters. 
 
 It will be found convenient to have two palette knives, 
 one more tapering and narrow at the point than the 
 other. The colours are so finely ground that they will 
 
35 
 
 A GUIDE TO PORCELAIN PAINTING. 
 
 require only rubbing down to smoothness by means of 
 the broad palette knife. The laborious use of the glass 
 dab and muller is unnecessary. 
 
 Palettes. — The palette in general use comprises a 
 number of wells to hold prepared colour, a flat space 
 upon which small quantities of tint can be mixed, and 
 slants for oil and turpentine. Some rim-tiles, or other 
 earthenware slabs, are required. Those who prefer to do 
 so will mix each colour with oil and turpentine when it 
 is wanted; but a great deal of time and trouble will be 
 ultimately saved by rubbing down, at the first, a sufficient 
 quantity of each colour to fill the wells. The one difficulty 
 is, that the right proportion of fat-oil and turpentine must 
 be added, or the contents of the wells will soon become 
 unfit for use. The safest course is to put upon a glazed tile 
 a little fat-oil, then add colour with the palette knife, so as 
 to form a stiff paste. Let the colour and oil be well worked 
 together until the oil will take up no more. Turpentine 
 must be then added, so as to bring the pasty colour to a 
 state resembling syrup or refined treacle. It is then fit to 
 be transferred to the wells, and, if kept covered, will remain 
 fit for use for a long time. The contents of the wells 
 must be examined from time to time, and, if necessary, 
 mixed up again with turpentine. For this purpose an ivory 
 knitting-needle is well suited, as it is easily cleaned. 
 
 Other requisites are — a tin brush washer for turpentine 
 (which should stand, when in use, in a plate or saucer), 
 tracing and transfer paper, charcoal, hard black lead 
 pencils, a pair of dividers, plenty of soft rag free from lint, a 
 lacing point, gilt or bone pens, gum water and Indian ink. 
 
 c 2 
 

 A GUIDE TO PORCELAIN PAINTING. 
 
 CHAPTER III. 
 
 PAINTING IN UNDER-GLAZE COLOURS. 
 
 For work upon unglazed ware [bisque, or biscuit) the 
 pigments may be used either with water and some me- 
 dium to fix them, or with fat-oil and turpentine, like 
 enamel colours. Each method has its advantages. In 
 the first case they flow readily from the brush, and may 
 be used like ordinary water colours. When dry upon the 
 palette a little water soon softens them ; and, if “ dressed 5r 
 with a suitable preparation, the surface of the biscuit is 
 not unlike drawing paper. The difficulties are — (i) the 
 colours dry “dead 57 — that is, without any gloss, and, 
 consequently, are quite unlike what they become after 
 glazing and firing; (2) they are apt to run, and, when 
 floated on, settle unequally. A mottled appearance 
 results, more colour having been deposited on one part 
 than another. (3) It is not easy to lay on a sufficient 
 body of colour to produce tints of full depth, with allow- 
 ance for waste produced by the action of the fire. With 
 practice, however, all these obstacles are overcome, and 
 complete work may be executed with one firing only. 
 Some painters begin with water colour and finish with 
 oil. The second painting will not disturb the first ; and 
 afterwork in enamel colour upon the glaze is unneces- 
 sary, unless to repair very slight defects. 
 
A GUIDE TO PORCELAIN PAINTING. 
 
 37 
 
 If the painting is executed entirely in colour mixed 
 with oil and turpentine the touches are more precise, a 
 greater body of pigment is deposited, and the glossy 
 nature of the medium gives the colours something of the 
 hue and transparency they will have after being fired. 
 
 It must be remembered that the depth of tints after 
 firing depends on the quantity of the colour deposited. 
 A painting executed in colours used with water has a 
 dead surface. The different tints appear nearly uniform 
 in depth or force,, but the pigment is much thicker upon 
 some parts than on others. Experience is therefore 
 necessary to decide how thickly the pigment must be ap- 
 plied to produce colours in varying degrees of strength. 
 
 Pink and dark blue excepted, all other colours should, 
 as a rule, be applied so thickly as to conceal the surface 
 of the ware, and present, when dry, the appearance of a 
 painting in tempera , as seen in good specimens of the art 
 of illuminating. Pink applied thus thickly will become, 
 when fired, a fine crimson. For pink tints, and especially 
 in flesh painting, it can scarcely be used too delicately. 
 The thinnest possible layer of colour will suffice. 
 
 Under-glaze colours may be mixed at pleasure to pro- 
 duce any variety of compound tints. For general direc- 
 tions as to their use it will be sufficient to explain the 
 method of executing a painting in one colour on the 
 biscuit ; and for decorative work on a white surface, 
 none can be selected so suitable as the dark blue known 
 also as “ flowing blue.” 
 
 A practised draughtsman frequently sketches his sub- 
 ject directly on the biscuit, using either charcoal or 
 
3 § 
 
 A GUIDE TO PORCELAIN PAINTING. 
 
 common water colours. Those who have less experience 
 will find it preferable to make a design on paper and 
 draw the outlines firmly and clearly. An exact tracing 
 from these can be transferred to the biscuit with ordinary 
 red or blue transfer paper. Very light pressure with the 
 tracing point will convey a sufficiently clear impression ; 
 and it is generally advisable to remove some of the 
 colouring matter from the transfer paper by laying it face 
 downwards on a sheet of rather rough paper and rubbing 
 the back with some smooth implement, such as an ivory 
 knife-handle. Slight corrections may be made in the 
 transferred design with a very hard lead pencil, and rub- 
 bing out or cleaning effected with stale bread. Some of 
 the powder colours must be rubbed down with gum and 
 water or water colour McGuilp, using enough water to 
 make it flow easily from the pen or brush. 
 
 The outlines may be drawn with a medium-pointed 
 bone or gilt pen, or with a small brush. If a pen is used 
 it must be filled with colour from a brush and the colour 
 stirred frequently. The blue is a powerful colour, and it 
 is impossible to wash out any mark made with it so that 
 no stain shall ultimately appear. The thinnest wash 
 will give a tint when the glazing and firing are com- 
 pleted, and such a thickness of pigment as quite conceals- 
 the surface will give a deep blue. Beginners generally 
 apply it too thickly, and it afterwards appears almost 
 black, or shows a sort of filmy irridescence, technically 
 termed “ ironing,” or becoming “ ironed.” 
 
 For painting, the brush must be fully charged, and the 
 colours, if possible, should be run or floated on, or laid 
 
A GUIDE TO PORCELAIN PAINTING. 
 
 39 
 
 with broad rapid touches. It is desirable to paint light 
 parts with one wash of thin colour, and dark parts with 
 one wash of thick colour, instead of trying to gain depth 
 by several washes one over the other. Still, colours may 
 be added by small broad touches lightly applied, and the 
 glaze will cause them to flow partially together. A cer- 
 tain amount of irregularity in the depth of the tints, and 
 a blotty look, is not objectionable, and always preferable 
 to a dotted, feeble effect, produced by hatching or stip- 
 pling. Some skill is required to wash on a ground tint 
 of dark blue over a space of any considerable extent. It 
 may be “ bossed” or dabbed on with brushes sold for the 
 purpose. This is best done if the colour is mixed with 
 fat-oil and turpentine ; it will not sink or dry so quickly, 
 and can be more easily and deliberately worked. 
 
 If the design includes small forms in white on a blue 
 ground, they can be added in white enamel when the 
 piece has been glazed and fired. It is very difficult to 
 leave them untouched when rapidly laying on colour. 
 
 Designs combining the under-glaze blue and over-glaze 
 or enamel red are effective. The parts to be coloured 
 red must be left quite white, and the red afterwards 
 applied on the glaze and fixed by the enameling kiln. 
 
 Under-glaze paintings, before they are glazed, undergo 
 a process termed “hardening on.” They are subjected 
 to moderate heat, which expels all the oil and turpentine 
 and attaches the colour to the ware. This is necessary, 
 because the oil would repel the glaze which is mixed with 
 water. 
 
 It is important to observe that if under-glaze colours 
 
40 
 
 A GUIDE TO PORCELAIN PAINTING. 
 
 are used with oil and turpentine it is not of much conse- 
 quence how much turpentine is added, so long as the 
 colours can be effectively worked. If, however, too much 
 fat-oil is used, and the colour when dry looks very glossy, 
 thickly applied colour will almost certainly be spoilt by 
 the boiling of the oil in the hardening kiln. It will have 
 a blistered, lumpy look, and can scarcely be repaired, the 
 only remedy being to chip it off, and, having rubbed down 
 remaining roughnesses with pumice-stone, touch on some 
 enamel colour and fire the painting again. 
 
 Thin colour is most easily laid on the biscuit if mixed 
 with a good deal of fat-oil, as it will not sink so quickly 
 into the porous surface, and effects of the fire need not 
 be feared. To regulate the quality of the mixed colour 
 for different portions of the work, the brush is dipped in 
 the fat-oil or turpentine contained in the slants of the 
 palette. 
 
 All things considered, the use of under-glaze colours 
 with water is most simple, and, with a little experience, 
 perfectly effective. 
 
A GUIDE TO PORCELAIN PAINTING. 
 
 41 
 
 CHAPTER IV. 
 
 PAINTING IN ENAMEL COLOURS. 
 
 The extreme smoothness of the surface is the principal 
 source of difficulty in work upon the glaze, but will soon 
 cease to embarrass if attention is paid to the preparation 
 of the colour. The best method of securing the proper 
 .relative proportion of colour, fat-oil, and turpentine, has 
 been already indicated (p. 35), but one or two observations 
 may be made to assist the judgment on this point, right 
 •consistency of the pigments being the sine qua non of 
 successful over-glaze work. 
 
 Before any attempt to paint, some experimental touches 
 should be made on a piece of glazed ware. If the colour 
 is in a proper state each touch will be smooth and definite 
 in form. The brush will take hold, so to speak, of the 
 surface. If the brush slips and the colour spreads irre- 
 gularly, too much turpentine has been used, and the 
 remedy is the addition of more colour and a little fat-oil. 
 If, on the other hand, the colour clogs the brush, and is 
 stiff and lumpy, it requires thinning with turpentine. 
 The vehicle must be made to carry as much colouring 
 matter as possible, therefore it must be noticed, in thin 
 touches, if the oil is in excess and its yellowish colour 
 observable, in which case more pigment must be added, 
 thoroughly mixed and thinned with turpentine only. 
 
42 
 
 A GUIDE TO PORCELAIN PAINTING. 
 
 A thick body of colour, containing too much oil, will 
 probably be injured by boiling in the kiln. 
 
 A thin layer of colour cannot be spread evenly if mixed 
 with too much turpentine. 
 
 The work must be carried on deliberately. Much an- 
 noyance frequently results from a hurried attempt to add 
 a small touch whilst the brush is full of turpentine, and 
 the point only charged with colour. The spirit mingles 
 with and effaces, not only the touch just added, but also 
 adjacent parts of the painting previously executed. To 
 pottery painting the familiar saying is particularly ap- 
 plicable — “ The more haste the less speed.” 
 
 If the well-palettes are used, as recommended (p. 35). 
 the palette-knife used to convey colours from the wells to 
 the tiles must be scrupulously clean; and, when turpen- 
 tine and oil are added to colour, it is best done, not by 
 pouring from the bottles, but by means of the palette- 
 knife, taking the spirit from the brush-washer and the oil 
 from the slant in the palette. 
 
 To draw the first outlines of a design on glazed ware 
 a rather dry brush and India ink are generally used. If 
 required, a tracing can be made and the outlines pricked 
 with a needle, so as to mark out the forms by a close 
 succession of fine holes. The glazed surface having been 
 covered with some adhesive substance, such as honey 
 or oil and turpentine (applied as thinly as possible), the 
 tracing must be held steadily upon it, or fixed with 
 wafers. Powdered charcoal, brushed lightly over the 
 back with a soft leather stump or the fingers, will pass 
 through the holes and mark out the design on the ware 
 
A GUIDE TO PORCELAIN PAINTING. 4J 
 
 in tolerably clear dotted lines; these must be at once 
 gone over with colours. 
 
 Perforated tracings are chiefly useful for patterns, such 
 as borders on which the same forms are several times 
 repeated. A tracing of one section of the design suffices, 
 and does not wear out, as it would if the tracing-point 
 was passed many times over the lines. For pictorial 
 designs the best course is, perhaps, to use a tracing to 
 transfer the principal forms, and sketch in details or 
 slight alterations with India ink. 
 
 Colours for outlines may be kept separate on a small 
 palette, and used with glycerine or some water colour 
 medium. The colour mixed with oil and turpentine, 
 afterwards used for painting, will not disturb the outlines 
 drawn with pigment thus prepared. Honey and glycerine,, 
 treacle, gum-water and other vehicles, have been used 
 for this purpose. The mixture must not be too thin, lest 
 the fine lines should not have substance enough to allow 
 for waste in firing. 
 
 No particular method of painting can be suggested ; 
 individual taste will afford the best guide to appropriate 
 execution. Pale flat tints may be produced most easily 
 by “bossing” or dabbing on the colour; and when the 
 picture has been fired a repetition of the process will give 
 any degree of strength desired. Cross-hatching and 
 minute-stippling are laborious and produce a poor effect. 
 As far as possible the work should be carried on by broad 
 touches, laid with a fully-charged flattened brush. 
 
 Brushes of different sizes are necessary, and whether 
 for large or fine touches should be charged, not by 
 
44 
 
 A GUIDE TO PORCELAIN PAINTING. 
 
 dipping, but by drawing them, flattened, through the 
 colour. To prepare the brushes for use dip them in turpen- 
 tine and draw them through a little oil in the slant, so 
 as to soften and unite the hair up to the quill. 
 
 If a brush becomes hard, dip it in turpentine and hold 
 it near a flame — warmth will soon soften it. 
 
 Small portions of superfluous colour are easily removed 
 from the painting with the brush-stick, which should be cut 
 to a flat shape at the end. Thin colour, when dry, can be 
 at once softened by breathing on it ; and slight corrections, 
 such as cleaning up the edges of any patch of colour, will 
 be most readily and neatly done if the colour is first 
 allowed to dry, then slightly softened by the breath. 
 
 After use the brushes must be thoroughly cleansed with 
 turpentine ; and, if not intended to be used for some days, 
 may be laid in a little oil or washed with soap and water. 
 
 The colours on the palette or painting must be kept 
 free from dust or grit of any kind, for, in spite of the 
 destroying power of the fire, even a hair will draw up the 
 colours in the kiln and cause an annoying disfigurement. 
 
 All colours will lose some of their strength when fired ; 
 the tints must, therefore, be used darker than they are to 
 appear finally. Colour can, however, be added repeatedly, 
 and the painting fired as often ; but it is desirable, both 
 on the grounds of risk and expense, not to rely on more 
 than two or three firings. It is scarcely possible to finish 
 an enamel painting with one firing. 
 
 For small touches white enamel may be put on thick 
 at once, but upon large spaces it should be first applied 
 thinly, so as to take a hold on the glaze. When dry, it 
 
A GUIDE TO PORCELAIN PAINTING. 
 
 45 ; 
 
 may be covered at once with a thick layer ; but the 
 safest course is to defer the addition of the full thickness- 
 required until the painting has been once fired. 
 
 Turquoise is used precisely in the same manner as white 
 enamel. Both are applied more solidly than other pig- 
 ments, a considerable body of each being necessary to a 
 proper effect. 
 
 White enamel may be employed like ordinary white 
 paint. Colours can be mixed with it, or struck lightly 
 over it when nearly dry. 
 
 A patch of colour applied moderately thick may be 
 made to distribute itself more evenly by br eathing on it. 
 Pottery painters, when preparing a little colour on the 
 palette for delicate and precise work, always breathe 
 upon it. The intimate union and smooth flow of the 
 colours and medium seems to be assisted by the slight 
 warmth thus imparted. 
 
 The bottles containing the colours must be kept co- 
 vered, and the palette-knife wiped each time it is used to- 
 take out a different colour. The presence of a. very 
 small quantity of another colour will spoil the contents- 
 of a bottle. 
 
 When colour becomes dry and hard upon the palette- 
 knife or palette, as much as possible should be scraped 
 off, and a rag with turpentine used to clean away the rest. 
 
 After use all implements should be cleaned before the 
 colour has hardened upon them, if no further use is to be 
 made of them for some time ; but colour on the palette 
 will remain serviceable for a day or two if covered close 
 with a saucer. 
 
46 
 
 A GUIDE TO PORCELAIN PAINTING. 
 
 Circular border lines are generally drawn by means of a 
 “planchet,” or wheel — a small revolving table. For ar- 
 tistic work great precision is not required, but the lines may 
 be traced thus : Find the centre, and fix upon it with bees- 
 wax a bit of thick card. Upon this the point of one joint of 
 the dividers or compasses will rest firmly, whilst the other 
 joint carries a brush in place of the usual lead pencil, 
 
 In designs for pottery a multitude of small detached 
 details should be avoided, as destroying unity of effect. 
 Straggling forms are not agreeable in border designs, 
 which, however intricate, should have a certain compact- 
 ness, and not draw the eye forcibly from the painting 
 which they enclose. It is generally sufficient to surround 
 a decorative design with one or two lines of varying width 
 and colour. If the border design is broad and elaborate, 
 it requires to be separated from the central subject by a 
 blank space of considerable width. Such a piece as a 
 saucer-shaped plateau, from nine to twelve inches in 
 diameter, is well suited for decoration, of which the 
 border is the principal part, the balance being restored 
 by a small central subject strongly coloured. When 
 nearly the whole available space is filled up by a decora- 
 tive picture, an intricate border is merely wasted labour. 
 
 Beginners will do well not to attempt large paintings 
 at first, and to defer working on the ware until they have 
 prepared on paper an exact coloured design, the outlines 
 of which may be put in firmly with indelible brown ink. 
 Much assistance will be derived from trials of the colours. 
 A small plaque or a common plate should be covered 
 with patches of gradated colours, both pure and in com- 
 
'fJfJr- 1 /'/ 
 

 
 
 
 
 
 
 
 
 
 
To face page_47. 
 
A GUIDE TO PORCELAIN PAINTING. 
 
 47 
 
 posite tints produced by mixture. This trial-piece, after 
 being fired, should be always at hand for reference, hav- 
 ing below the patches the initial letters of the colours used, 
 or a number to correspond with a written descriptive list. 
 
 By removing the painting now and then to some dis- 
 tance from the eye, the general effect will be more readily 
 seen. It is especially necessary to do this when bright 
 •colours are used, for the eye quickly becomes fatigued 
 and loses all power of discrimination. 
 
 Finally, when a painted piece is to be sent to the kiln, 
 it is advisable to dry out the oil by heating it on a stove, 
 or in a common oven. 
 
 For those who cannot originate decorative subjects 
 there can be no lack of material in these days of photo- 
 graphy. Modern German woodcuts are often very sug- 
 gestive, being generally simple in treatment and firmly 
 outlined. Early engravings and book plates also some- 
 times afford excellent subjects, and there is abundant 
 room for the exercise of taste and ingenuity in the em- 
 ployment of such materials, not by copying, but by 
 adapting them. All the best works on ornament are 
 accessible, in the national libraries, to residents in Lon- 
 don and other large towns ; but those who can obtain it 
 will find a work entitled “ Examples of ^Qxnament ” inex- 
 pensive, and fully illustrative of the styles of ornament 
 characteristic of various periods and nations. 
 
 A list of works relating to pottery and pottery deco- 
 ration has been added, as an appendix, to these pages, in 
 the hope that some readers may be interested in the 
 .history as well as in the practice of Ceramic art. 
 
4 S 
 
 A GUIDE TO PORCELAIN PAINTING. 
 
 CONCLUSION. 
 
 L^nless condensed and presented in such a form as to be 
 easily mastered, written instructions seldom receive close 
 attention, and make but a faint or confused impression 
 on the reader’s memory. It would be easy to expand 
 the simple directions here comprised within a few pages ; 
 but, although an appearance of more importance might 
 thus be given to the work, it is more than probable that 
 its practical usefulness would be diminished. All the 
 technical processes in general use have been described, 
 briefly, yet, it is hoped, so that they may be easily 
 understood and remembered. All the difficulties gener- 
 ally encountered at first are noticed, and such advice 
 added on the best mode of overcoming them as the 
 writer’s own practice, and familiarity with the experience 
 of others, has suggested. 
 
 That real assistance may be obtained from his pages, 
 and success speedily attend the efforts of those who 
 accept his guidance, is the sincere wish of 
 
 THE WRITER. 
 
 Stanford Road , Kensington , 
 i §73- 
 
 Henderson, Rait, & Fenton, Printers, 73 & 74, Marylebone Lane, London, W. 
 
A 
 
 LIST OF WORKS 
 
 RELATING TO THE 
 
 MANUFACTURE AND DECORATION 
 
 OF 
 
 POTTERY AND PORCELAIN. 
 
 Antoine, P. : CEuvres Completes de B. Palissy. Paris, 1844. 
 
 Barbet de Jouy : Les Della Robbia. Paris, 1855. 
 
 Birch, Dr. S. : History of Ancient Pottery. London, 1873. 
 
 Binns : A Century of Pottery in the city of Worcester. London, 
 1865. 
 
 Brongniart : Traite des Arts Ceramiques. Paris, 1854. 
 
 Chaffers, W. : Marks and Monograms on Pottery and Porcelain 
 4th Edition. London, 1874. 
 
 Cleuziot : De La Poterie Gauloise. Paris, 1872. 
 
 Demmain : Guide de Amateur de Faiences et Porcelaines. 
 
 Fortnum, E. D. : Maiolica, &c., in the S. K. M. London, 1873. 
 Graesse : Marks and Monograms. Dresden, 1864. 
 
 Hamilton, Sir. W. : Engraving from Greek Vases. 4 vols. Naples, 
 1791. 
 
 Hoffman : Memoire sur la Porcelaine de Japon. Paris, 1856. 
 Jacquemart : Histoire de la Porcelain. Paris, 1861. 
 
 Jacquemart, A. : Les Merveilles de la Ceramique. Paris, 1868-70. 
 Jacquemart, A. : History of Ceramic Art. Translated by Mrs. Bury 
 Palliser. London, 1873. 
 
 Jewitt : Notices of English Potteries. Art Journal. 
 
 Owen, H. : Two Centuries of Ceramic Art in Bristol. London, 1873. 
 Marryatt, J. : History of Pottery and Porcelain. 3rd Edition. Lon- 
 don, 1868. 
 
 Mayer : History of the Art of Pottery in Liverpool. 
 
 Millingen, J. S. : Greek Vases, &c. London, 1822. 
 
 Qiot : Histoire de la Porcelain. 
 
 Reboulleau : La Peinturesur Porcelain. Paris, 1843. 
 
 Ris-Pacquot : Histoire des Faiences de Rouen. Amiens, 1870. 
 Salvetat : Le9ons de Ceramique. Paris, 1857. 
 
PRIZE MEDALS AWARDED.” 
 
 i t 
 
 Exhibition of all Nations, 1851, Prize Medal. 
 
 Paris Universal Exhibition, 1855, Two Prize Medals. 
 International Exhibition, 1862, Two Prize Medals. 
 
 Dublin International Exhibition, 1865, Prize Medal. 
 
 Paris Universal Exhibition, 1867, Two Silver Medals. 
 
 Lyons Universal Exhibition, 1872, Silver Mf.dal. . 
 Philadelphia International Exhibition, 1876, Prize Medal. 
 Paris Universal Exhibition, 1878, Prize Medal. 
 
 MESSRS. GEORGE ROWNEY & CO. 
 
 HAVE THE PLEASURE TO ANNOUNCE THAT BY THEIR 
 
 SYSTEM OF 
 
 GRINDING COLOURS BY MACHINERY, 
 
 They are enabled to supply Artists’ colours in oil, water, or powder, perfectly 
 fine, at the same prices as hitherto charged for colours less finely ground. 
 
 Messrs. G. R. & Co. feel assured the OIL COLOURS ground by their 
 improved process will be found to be finer , brighter , less oily , and to dry quicker 
 than any others at present manufactured ; and that their WATER COLOURS 
 prepared by the same process, will prove to be finer , brighter , and to fioat more 
 evenly without granulation than any other colours hitherto produced. 
 
 They therefore solicit a trial in full confidence of giving satisfaction. 
 
 RETAIL DEPARTMENTS: 
 
 52, RATHBONE PLACE, and 29, OXFORD STREET, W. 
 
2 
 
 GEORGE ROWNEY & CO.’S 
 
 WATER COLOURS, 
 
 GROUND BY MACHINERY. 
 
 
 
 
 Whole 
 
 
 
 
 
 
 Cakes, 
 
 Half 
 
 
 LIST OF WATER 
 
 COLOURS. 
 
 
 Moist 
 
 Cakes 
 or Half 
 
 Quarter 
 
 Cakes. 
 
 
 
 
 Tubes. 
 
 Pans. 
 
 
 
 
 
 Each 
 
 Each 
 
 Each 
 
 
 
 
 s. d. 
 
 s. d. 
 
 s. d. 
 
 Ultramarine - 
 
 
 
 21 0 
 
 10 6 
 
 5 3 
 
 Deep Rose 
 
 Purple Madder 
 
 
 
 
 
 Extract Madder Car- 
 
 Smalt 
 
 (. 
 
 5 0 
 
 I 2 6 
 
 1 3 
 
 mine 
 
 Ultra Ash 
 
 j 
 
 
 
 
 Aureolin 
 
 Green Oxide of 
 
 ''l 
 
 
 
 
 Burnt Carmine 
 
 Chromium 
 
 
 
 
 
 Carmine 
 
 Intense Blue 
 
 
 
 
 
 Cadmium, Pale 
 
 Madder Lake 
 
 ! 
 
 
 
 
 Cadmium, Yellow 
 
 Mars Orange 
 
 } 
 
 "1 3 0 
 
 1 6 
 
 0 9 
 
 Cadmium, Orange 
 
 Pink Madder 
 
 
 
 
 
 Cadmium, Orange Deep 
 
 Pure Scarlet 
 
 
 
 
 
 Dahlia Carmine 
 
 Rose Madder 
 
 
 
 
 
 Gallstone 
 
 
 ) 
 
 
 
 
 Azure Blue 
 
 Lemon Yellow 
 
 
 
 
 1 
 
 Cobalt 
 
 V eronese Green 
 
 ( 
 
 2 O 
 
 
 0 6 
 
 French Ultramarine 
 
 Violet Carmine 
 
 i 
 
 
 I O 
 
 
 Black Lead 
 
 Mauve 
 
 
 
 
 
 Brown Madder 
 
 Mars Yellow 
 
 
 
 
 
 Chinese Orange 
 
 Orange Vermilion 
 
 
 
 
 
 Coeruleum 
 
 Purple Lake 
 
 | 
 
 
 
 
 Crimson Lake 
 
 Scarlet Vermilion 
 
 ! 
 
 16 
 
 I 0 9 
 
 0 5 
 
 Indian Lake 
 
 Scarlet Lake 
 
 1 
 
 
 
 1 
 
 Indian Yellow 
 
 Sepia 
 
 
 
 
 
 Italian Ultra 
 
 Roman Sepia 
 
 ] 
 
 
 
 
 Magenta 
 
 Warm Sepia 
 
 ; 
 
 
 
 
 Antwerp Blue 
 
 King’s Yellow 
 
 
 
 
 
 Bistre 
 
 Lamp Black 
 
 
 
 
 
 Blue Black 
 
 Light Red 
 
 
 
 
 
 Blue Verditer 
 
 Naples Yellow 
 
 1 
 
 
 
 
 Brown Ochre 
 
 Neutral Tint 
 
 
 
 
 
 Brown Pink 
 
 Olive Green 
 
 
 
 
 
 Burnt Sienna 
 
 Orange Orpiment 
 
 
 
 
 
 Burnt Umber 
 
 Payne’s Grey 
 
 1 
 
 
 
 
 Chinese White 
 
 Permanent Blue 
 
 
 
 
 
 Chrome i, Lemon 
 
 Permanent White 
 
 
 
 1 
 
 
 Chrome 2, Middle 
 
 Prussian Blue 
 
 
 
 
 
 Chrome 3, Orange 
 
 Prussian Green 
 
 
 
 
 
 Chrome 4, Deep 
 
 Purple 
 
 >■ 
 
 1 0 
 
 0 6 
 
 0 3 
 
 Cologne Earth 
 
 Raw Sienna 
 
 
 
 
 
 Dragon’s Blood 
 
 Raw Umber 
 
 
 
 
 
 Emerald Green 
 
 Red Lead 
 
 
 
 
 
 Flake White 
 
 Roman Ochre 
 
 
 
 
 
 Gamboge 
 
 Sap Green 
 
 
 
 
 
 Hooker’s Green, 1 
 
 Terra Vert 
 
 
 
 
 
 Hooker’s Green, 2 
 
 Vandyke Brown 
 
 
 
 
 
 Indian Red 
 
 Venetian Red 
 
 
 
 
 
 Indigo 
 
 Verdigris 
 
 
 
 
 
 Italian Ochre 
 
 Vermilion 
 
 
 
 
 
 Italian Pink 
 
 Yellow Lake 
 
 
 
 
 
 Ivory Black 
 
 Yellow Ochre 
 
 ) 
 
 
 
 
3 
 
 GEO. ROWNEY & CO.'S 
 
 JAPANNED TIN SKETCHING BOXES, 
 
 FILLED WITH MOIST COLOURS. 
 
 £ s. d. 
 
 1- Cake Box .. .. .. .. .. ..048 
 
 Sepia. 
 
 2- Cake Box .. .. .. .. ..058 
 
 Sepia and Chinese White. 
 
 3- Cake Box 070 
 
 Raw Sienna, Indigo, and Sepia. 
 
 4- Cake Box .. .. .. .083 
 
 Raw Sienna, Sepia, Indigo, and Chinese White. 
 
 LANDSCAPE. 
 
 6-Cake Box . . 0109 
 
 Gamboge, Yellow Ochre, Light Red, Crimson Lake, Van- 
 dyke Brown, and Prussian Blue. 
 
 LANDSCAPE. 
 
 10-Cake Box .. .. .. .. .. .. .. .. o 19 o 
 
 Gamboge, Roman Ochre, ({) Lemon Yellow, (|) Chinese 
 Orange, (^) Indian Red, (£) Vermilion, Brown Pink, Sepia, 
 
 Cceruleum, French Ultramarine, Prussian Blue, and Veronese 
 Green. 
 
 LANDSCAPE. 
 
 12-Cake Box .. .. .. .. .. I 40 
 
 Gamboge, Raw Sienna, (|) Lemon Yellow, (i) Pale Cad- 
 mium, (|) Orange Cadmium, (±) Mars Orange, (i) Indian Red, 
 
 (i) Vermilion, Crimson Lake, Madder Brown, Sepia, Lamp 
 Black, Cobalt, Prussian Blue, and Olive Green. 
 
4 
 
 LANDSCAPE AND FIGURE. 
 
 12-Cake Box .. 
 
 Yellow Ochre, ( 4 ) Lemon Yellow, (^) Orange Cadmium, 
 
 Mars Yellow, Light Red, (|) Scarlet Vermilion, ( 4 ) Rose 
 Madder, (^) Carmine, (|) Purple Lake, Vandyke Brown, Madder 
 Brown, Coeruleum, French Ultramarine, (^) Indigo, (^) Emerald 
 Green, and Veronese Green. 
 
 LANDSCAPE AND FIGURE, 
 
 i6-Cake Box .. .. .. I 15 0 
 
 Raw Sienna, Indian Yellow, (|) Lemon Yellow, ( 4 ) Italian 
 Pink, (|) Cadmium Yellow, (f) Orange Cadmium, Brown 
 Ochre, Burnt Sienna, Scarlet Vermilion, Madder Lake, Indian 
 Lake, Raw Umber, Vandyke Brown, Cobalt, French Ultra- 
 marine, Indigo, (|) Ultramarine Ash, (^) Emerald Green, and 
 Green Oxide of Chromium. 
 
 LANDSCAPE AND FIGURE. 
 
 18-Cake Box 1150 
 
 Gamboge, Yellow Ochre, Roman Ochre, ( 4 ) Aureolin, 
 
 (|) Italian Pink, Indian Yellow, ( 4 ) Cadmium Yellow, (|) 
 
 Orange Cadmium, Brown Ochre, Light Red, (^) Indian Red, 
 
 (^) Scarlet Vermilion, Rose Madder, (^) Indian Lake, (|) 
 
 Lamp Black, Raw Umber, Sepia, Cobalt, French Ultramarine, 
 
 Prussian Blue, ( 4 ) Emerald Green, (^) Olive Green, and Vero- 
 nese Green. 
 
 LANDSCAPE, FIGURE, &c. 
 
 20-Cake Box .. .. .. .. ..216 
 
 Gamboge, Yellow Ochre, Roman Ochre, (|) Lemon Yellow, 
 
 (^) Aureolin, Indian Yellow, (|) Cadmium Yellow, (^) 
 
 Orange Cadmium, Light Red, (-|) Indian Red, (•!■) Vermilion, 
 
 (|) Scarlet Vermilion, ( 4 ) Carmine, Rose Madder, Madder 
 Brown, Brown Ochre, Vandyke Brown, Sepia, Cobalt, French 
 Ultramarine, Indigo, (^) Emerald Green, (^) Olive Green, (^) 
 
 Coeruleum, (^) Ultramarine Ash, and Veronese Green. 
 
 LANDSCAPE, FIGURE, &c. 
 
 22-Cake Box .. .. .. .. .. .. .. .. .. 27 9 
 
 Gamboge, Yellow Ochre, Raw Sienna, (y) Lemon Yellow, 
 
 ( 4 ) Aureolin, Indian Yellow, (^) Cadmium Yellow, (|) 
 
 Orange Cadmium, Light Red, (^) Indian Red, (^) Vermilion, 
 
 (i) Orange Vermilion, ( 4 ) Carmine, Rose Madder, Madder 
 Brown, Brown Ochre, Burnt Umber, Sepia, Cobalt, French 
 Ultramarine, Prussian Blue, (^) Emerald Green, ( 4 ) Lamp 
 Black, (y) Coeruleum, (^) Ultramarine Ash, (|) Smalt, (|) 
 
 Purple Madder, Olive Green, and Veronese Green. 
 
 £ s. d. 
 1 5 6 
 
5 
 
 WATER COLOUR PAINTER’S BOX, 
 
 id CAKES AND 10 HALF CAKES. 
 
 E. DUNCAN’S ARRANGEMENT (Sea and Landscape). 
 
 WHOLE PANS. 
 
 Gamboge, Indian Yellow, Yellow Ochre, Roman Ochre, Raw Sienna, 
 Burnt Sienna, Venetian Red, Chinese Orange, Madder Brown, Vandyke 
 Brown, Cceruleum, Cobalt, Prussian Blue, Indigo, Lamp Black, and Sepia. 
 
 HALF PANS. 
 
 Cadmium Yellow, Cadmium Orange, Scarlet Vermilion, Carmine, Rose 
 Madder, Purple Lake, Extract of Madder Carmine, Violet Carmine, 
 Ultramarine Ash, and Veronese Green. 
 
 Price per box, £2 5s. 6d. 
 
 F. TAYLOR’S ARRANGEMENT (Figure, Animal, & Landscape). 
 
 WHOLE PANS. 
 
 Gamboge, Lemon Yellow, Indian Yellow, Raw Sienna, Brown Pink, 
 Veronese Green, Indigo, French Ultramarine, Cobalt, Cceruleum, Chinese 
 Orange, Burnt Sienna, Indian Red, Scarlet Vermilion, Madder Brown, and 
 Sepia. 
 
 HALF PANS. 
 
 Cadmium Yellow, Orange Cadmium, Yellow Ochre, Olive Green, Vandyke 
 Brown, Purple Madder, Purple Lake, Rose Madder, and Ultramarine Ash. 
 
 Price per box, £2 6s. 6d. 
 
6 
 
 JAPANNED TIN SKETCH BOXES, 
 
 FILLED WITH HALF-PANS OF MOIST COLOURS. 
 
 3-Half-Cake Box 
 
 Gamboge, Light Red, and Cobalt. 
 
 8-Half-Cake Box o io 3 
 
 Gamboge, Yellow Ochre, Light Red, Rose Madder, Van- 
 dyke Brown, Cobalt, Prussian Blue, and Veronese Green. 
 
 12-Half-Cake Box .. .. .. .. .. .. .. .. 013 9 
 
 Gamboge, Roman Ochre, Lemon Yellow, Chinese Orange, 
 
 Indian Red, Vermilion, Brown Pink, Sepia, Cceruleum, 
 
 French Ultramarine, Prussian Blue, and Veronese Green. 
 
 14-Half-Cake Box .. .. .. .. .. .. .. .. 016 9 
 
 Gamboge, Raw Sienna, Lemon Yellow, Cadmium Yellow, 
 
 Mars Orange, Indian Red, Vermilion, Crimson Lake, Madder 
 Brown, Sepia, Lamp Black, Cobalt, Indigo, and Olive Green. 
 
 16-Half-Cake Box .. ..103 
 
 Yellow Ochre, Lemon Yellow, Orange Cadmium, Mars 
 Yellow, Light Red, Scarlet Vermilion, Rose Madder, 
 
 Carmine, Purple Lake, Vandyke Brown, Madder Brown, 
 
 Cceruleum, French Ultramarine, Prussian Blue, Emerald Green, 
 and Veronese Green. 
 
 18-Half-Cake Box .. .. .. .. .. .. .. .. 1 10 
 
 Gamboge, Yellow Ochre, Lemon Yellow, Cadmium Pale, 
 
 Orange Cadmium, Chinese Orange, Light Red, Vermilion, 
 
 Orange Vermilion, Crimson Lake, Rose Madder, Sepia, 
 
 Brown Pink, Cobalt, Indigo, Cceruleum, Payne’s Grey, and 
 Terra Vert. 
 
 20-Half-Cake Box .. .. .. .. .. .. .. .. 140 
 
 Gamboge, Yellow Ochre, Aureolin, Cadmium Pale, 
 
 Orange Cadmium, Chinese Orange, Light Red, Vermilion, 
 
 Orange Vermilion, Crimson Lake, Rose Madder, Violet 
 Carmine, Sepia, Brown Pink, Payne’s Grey, Cobalt, Prussian 
 Blue, Cceruleum, Emerald Green, and Veronese Green. 
 
 o ^ 
 
JAPANNED TIN BOXES OF MOIST WATER COLOURS, 
 
 IN COMPRESSIBLE TUBES WITH FOLDING PALETTE. 
 
 £ s. d. 
 
 12-Moist Tube Box I 5 ° 
 
 Gamboge, Roman Ochre, Lemon Yellow, Chinese White, 
 
 Indian Red, Vermilion, Brown Pink, Sepia, Cceruleum, French 
 Ultramarine, Prussian Blue, and Veronese Green. 
 
 15-Moist Tube Box .. .. .. .. .. 1 14 3 
 
 Gamboge, Raw Sienna, Aureolin, Cadmium Yellow, 
 
 Mars Orange, Indian Red, Vermilion, Crimson Lake, Madder 
 Brown, Sepia, Lamp Black, Cobalt, Prussian Blue, Olive 
 Green, and Chinese White. 
 
 20-Moist Tube Box .. .. .. ..253 
 
 Gamboge, Yellow Ochre, Aureolin, Cadmium Pale, 
 
 Orange Cadmium, Chinese Orange, Chinese White, Light Red, 
 
 Vermilion, Orange Vermilion, Crimson Lake, Rose Madder, 
 
 Violet Carmine, Sepia, Brown Pink, Cobalt, Prussian Blue, 
 
 Cceruleum, Emerald Green, and Veronese Green. 
 
 24-Moist Tube Box 2 IO 6 
 
 Gamboge, Yellow Ochre, Roman Ochre, Aureolin, 
 
 Indian Yellow, Orange Cadmium, Light Red, Indian Red, 
 
 Vermilion, Scarlet Vermilion, Carmine, Rose Madder, Madder 
 Brown, Brown Ochre, Vandyke Brown, Sepia, Cobalt, French 
 Ultramarine, Prussian Blue, Emerald Green, Olive Green, 
 
 Cceruleum, Veronese Green, and Chinese White. 
 
 30-Moist Tube Box 3 7 % 
 
 Gamboge, Yellow Ochre, Naples Yellow, Roman Ochre, 
 
 Lemon Yellow, Indian Yellow, Orange Cadmium, Aureolin, 
 
 Light Red, Indian Red, Vermilion, Scarlet Vermilion, Carmine, 
 
 Rose Madder, Madder Brown, Brown Ochre, Vandyke Brown, 
 
 Warm Sepia, Brown Pink, Cobalt, French Ultramarine, Prussian 
 Blue, Neutral Tint, Ivory Black, Emerald Green, Veronese Green, 
 
 Olive Green, Chinese White, Cceruleum, and Ultramarine Ash. 
 
8 
 
 MINIATURE SIZE JAPANNED SKETCH BOXES, 
 
 FILLED WITH QUARTER-CAKE QUANTITIES OF MOIST COLOURS. 
 
 This Illustration shews the Box, with Twelve Colours, two-thirds its size 
 
 s. d. 
 
 4-Quarter-Cake Box . . . . . . . . - - . . . . , . . 40 
 
 Raw Sienna, Light Red, Sepia, and Cobalt. 
 
 8 Quarter-Cake Box . . . . ..60 
 
 Raw Sienna, Yellow Ochre, Light Red, Rose Madder, Vandyke 
 Brown, Cobalt, Prussian Blue, and Veronese Green. 
 
 12-Quarter-Cake Box .. .. .. .. .. .. ..83 
 
 Gamboge, Roman Ochre, Lemon Yellow, Chinese Orange, 
 
 Indian Red, Vermilion, Brown Pink, Sepia, Coeruleum, French 
 Ultramarine, Indigo, and Veronese Green. 
 
 16-Quarter-Cake Box 12 o 
 
 Yellow Ochre, Aureolin, Orange Cadmium, Mars Yellow, 
 
 Light Red, Scarlet Vermilion, Rose Madder, Carmine, Purple 
 Lake, Vandyke Brown, Madder Brown, Coeruleum, French Ultra- 
 marine, Prussian Blue, Emerald Green, and Veronese Green, 
 
 PALETTE BOXES. 
 
 For holding a small supply of Colours for a few days’ use 5 the wells 
 
 to be filled from the tubes . . . . . . . . . . 5 9 
 
 Ditto, ditto, with double row of wells . . . . ..86 
 
9 
 
 SOLID SKETCH BLOCKS & TABLETS. 
 
 The Blocks consist of a number of sheets of paper, compressed so as to 
 form a solid mass, each sheet of which is to be separated by inserting a 
 knife underneath the uppermost one, and passing it round the edge. 
 
 The Tablet :s a block fixed in a case, with a pocket for carrying the 
 sketches and place for pencil. 
 
 MADE OF WHATMAN'S OR HODGKINSON'S THICK PAPERS. 
 
 32 SURFACES. 
 
 Imperial 32010 
 Royal i 6 mo - 
 Imperial i 6 mo 
 Royal 8 vo 
 Imperial 8 vo - 
 Imperial 6 mo 
 Royal 4X0 
 Imperial 4X0 
 Imperial 3010 
 Half Royal 
 Half Imperial 
 
 SIZE. 
 
 - 
 
 5 
 
 inches by 3 ^ 
 
 - 
 
 r I 
 
 5 2 
 
 99 
 
 4$ 
 
 - 
 
 7 
 
 99 
 
 5 
 
 - 
 
 9 
 
 99 
 
 
 - 
 
 10 
 
 99 
 
 7 
 
 - 
 
 14 
 
 99 
 
 7 
 
 - 
 
 1 *2 
 
 99 
 
 9 
 
 - 
 
 14 
 
 99 
 
 10 
 
 - 
 
 20 
 
 „ 
 
 9k 
 
 - 
 
 l8 
 
 „ 
 
 
 - 
 
 20 
 
 99 
 
 14 
 
 SOLID SOLID 
 
 BLOCKS. TABLETS. 
 
 S. d. S. d. 
 
 Each 1 3 Each 2 6 
 
 19 30 
 
 26 39 
 
 3 0 +3 
 
 3 9 5 6 
 
 4 9 7 6 
 
 4 9 7 6 
 
 76 10 6 
 
 9 9 J 5 3 
 
 10 3 16 3 
 
 14 3 20 3 
 
IO 
 
 SOLID SKETCH BLOCKS AND TABLETS. 
 
 MADE OF WHATMAN’S OR HODGKINSON'S EXTRA THICK PAPERS. 
 
 32 SURFACES. 
 
 SOLID 
 BLOCKS. 
 S. d. 
 
 SOLID 
 TABLETS 
 S. d. 
 
 Imperial i6mo 
 
 7 
 
 inches by 5 
 
 Each 3 
 
 0 
 
 Each 4 
 
 3 
 
 Double Elephant i6mo - 
 
 9 
 
 99 
 
 6 
 
 4 
 
 6 
 
 6 
 
 0 
 
 Imperial 8vo 
 
 10 
 
 99 
 
 7 
 
 5 
 
 3 
 
 6 
 
 9 
 
 Imperial 6mo 
 
 14 
 
 99 
 
 7 
 
 7 
 
 0 
 
 9 
 
 9 
 
 Double Elephant 8vo 
 
 12 
 
 99 
 
 9 
 
 8 
 
 3 
 
 1 1 
 
 3 
 
 Imperial 4to 
 
 14 
 
 99 
 
 10 
 
 10 
 
 0 
 
 !3 
 
 0 
 
 Imperial 31x10 
 
 20 
 
 99 
 
 9 k 
 
 *3 
 
 0 
 
 18 
 
 9 
 
 Double Elephant 4to 
 
 18 
 
 99 
 
 12 
 
 16 
 
 6 
 
 22 
 
 0 
 
 Half Imperial 
 
 20 
 
 99 
 
 14 
 
 19 
 
 9 
 
 25 
 
 9 
 
 SOLID SKETCH BLOCKS AND TABLETS. 
 
 MADE OF THICK MACHINE MADE TINTED CRAYON PAPERS. 
 
 32 SURFACES. 
 
 SOLID 
 
 BLOCKS. 
 
 SOLID 
 
 FABLETS. 
 
 Imperial 321x10 
 
 5 inches 
 
 b y 3f 
 
 S. 
 
 Each 1 
 
 d. 
 
 O 
 
 Each 2 
 
 d. 
 
 3 
 
 Royal i6mo 
 
 - » 
 
 42 
 
 1 
 
 3 
 
 2 
 
 6 
 
 Imperial i6mo 
 
 7 
 
 5 
 
 1 
 
 6 
 
 2 
 
 9 
 
 Royal 8vo 
 
 9 
 
 5* 
 
 2 
 
 3 
 
 3 
 
 6 
 
 Imperial 8vo 
 
 - 10 >, 
 
 
 2 
 
 6; 
 
 4 
 
 3 
 
 Imperial 6mo 
 
 14 >, 
 
 7 
 
 3 
 
 6 
 
 6 
 
 0 
 
 Royal 4to 
 
 - iif » 
 
 9 
 
 3 
 
 9 
 
 6 
 
 3 
 
 Imperial 4to 
 
 J 4 55 
 
 10 
 
 4 
 
 6 
 
 7 
 
 6 
 
 Imperial 31x10 
 
 2° ,, 
 
 9 k 
 
 7 
 
 3 
 
 12 
 
 9 
 
 Half Royal 
 
 18 „ 
 
 ll k 
 
 7 
 
 9 
 
 *3 
 
 6 
 
 Half Imperial 
 
 2° ,, 
 
 14 
 
 9 
 
 0 
 
 15 
 
 0 
 
 SKETCHING PORTFOLIOS, 
 
 WITH JAPANNED TIN FRAME FOR SECURING THE PAPER IN USE, AND 
 WITH POCKET TO CONTAIN THE SKETCHES & A SUPPLY OF PAPER. 
 
 SIZE. 
 
 Imperial 8vo 
 Royal 4_to 
 Imperial /(.to 
 Half Royal 
 Double Elephant 4to 
 Half Imperial - 
 
 1 1 inches by 7 
 
 12 „ 9 
 
 15 >» 11 
 
 19 „ 12 
 
 18 „ 12$ 
 
 22 „ 1$ 
 
 - Each 
 
 7 0 
 
 11 3 
 
 12 o 
 
 15 0 
 
1 1 
 
 SKETCH BOOKS. 
 
 made of Whatman’s hand-made drawing papers. 
 Half-bound, Cloth Sides, Roan Backs, Gilt. Forty Leaves. 
 
 TO FASTEN WITH ELASTIC BAND. 
 
 Imperial 32010 
 
 5 i: 
 
 nches by 3^ 
 
 Each 1 
 
 6 
 
 Imperial i6mo 
 
 7 
 
 
 5 
 
 2 
 
 3 
 
 Demy 8vo 
 
 7 
 
 99 
 
 4 -i 
 
 1 
 
 9 
 
 Medium 8vo 
 
 8 
 
 99 
 
 5 
 
 2 
 
 3 
 
 Royal 8vo 
 
 9 
 
 99 
 
 
 2 
 
 9 
 
 Imperial 8vo 
 
 10 
 
 99 
 
 7 
 
 3 
 
 9 
 
 Demy 4to 
 
 9 \ 
 
 99 
 
 7 
 
 3 
 
 0 
 
 Medium 4to 
 
 - icf 
 
 99 
 
 8 
 
 3 
 
 9 
 
 Royal 4to 
 
 - iif 
 
 99 
 
 9 
 
 4 
 
 6 
 
 Super-Royal 4to 
 
 - 13 
 
 99 
 
 9 
 
 5 
 
 0 
 
 Imperial 4to 
 
 - 141 
 
 99 
 
 10 
 
 6 
 
 6 
 
 The above are made of “Hot-pressed” paper, unless “not” is specially ordered. 
 
 POCKET SKETCH BOOKS. 
 
 MADE OF HOLLINGWORTH'S fine drawing papers. 
 
 Quarter-bound, with “Sketches” in gold mediaeval characters on the cover, 
 Cloth sides, Roan Backs, and Elastic Band. Thirty-six Leaves. 
 
 Royal i6mo 
 Royal 8vo 
 
 SIZE. 
 
 inches by 4^ 
 9 „ Si 
 
 Each 
 
 d. 
 
 o 
 
 6 
 
 >9 
 
I 2 
 
 BLACK LEAD PENCILS. 
 
 PRIZE MEDAL AWARDED INTERNATIONAL EXHIBITION, 1862. 
 
 GEORGE ROWNEY &> CO.’S 
 
 IMPROVED DRAWING PENCILS. 
 
 Neatly got up in Polished Cedar, in order to prevent the lead dust adhering 
 to the Pencil, and consequently soiling the fingers. 
 
 H Hard for Sketching HB 
 
 HK Harder for Outlines B 
 
 HHH Very Hard for Architects BB 
 
 HHHH Extra Hard for Engineers F 
 
 zs. per Dozen. 
 
 EXTRA LETTERS, MOST CAREFULLY PREPARED 
 EHB Extra Hard and Black ) 
 
 DEHB Ditto, ditto, extra Thick Lead 
 FF Very Firm and Double Thick Lead 
 
 BBB Softer and Very Black, Double Thick Lead 
 BBBB Extra Soft and Black, 6d. each, or 5s. 6d. per dozen. 
 BBBBBBB Very Broad and Black Lead, is. each, or 10s. per dozen. 
 
 Hard and Black 
 Black for Shading 
 Softer and very Black 
 Firm for Ordinary Drawing 
 
 4s. per dozen. 
 
 THE IMPROVED PENCILS. 
 
 MAY BE HAD IN SETS. AS FOLLOWS : 
 
 3 Pencils in Roan Case 
 
 4 Ditto in ditto 
 
 7 Ditto in ditto 
 
 7 Ditto in ditto, divided and lettered 
 7 Ditto in Embossed Gilt Morocco Case 
 12 Pencils, a Full Set, comprising 4 extra letters, in Roan Case, 
 
 divided and lettered .. .. .. .. each 5 
 
 12 Ditto, a Full Set, in Embossed Gilt Morocco Case . . ,, 1 1 
 
 each 
 
 Messrs. Rowney & Co. have every confidence in recommending their 
 IMPROVED DRAWING PENCILS to the notice of the Profession, their 
 moderate price and superior quality being sufficient to give them a decided pre- 
 ference with the public. 
 
 ROWNEY’S EVER-POINTED DRAWING PENCILS. 
 
 H, HB, B & BB. 
 
 Each degree is polished in a different colour, is. each. 
 
 Leads only, 2s. per dozen. 
 
 Cases containing Four Pencils, 4s. per Case. 
 
 The fault of all Pencils of this description has been hitherto their inability to 
 resist the pressure necessary in drawing. The above Pencils are free from this 
 defect, and are exceedingly light in the hand. 
 
 PENCIL MANUFACTURERS TO HER MAJESTY’S STATIONERY OFFICES AND SCHOOLS 
 OF DESIGN. 
 
13 
 
 GEO. ROWNEY & CO.'S 
 
 PENNY DRAWING PENCILS. 
 
 With the view of enabling the working classes to avail themselves of the 
 advantages presented by the many Schools of Design and Classes recently 
 opened for the instruction of Drawing in its various branches, and to supply 
 themselves with good materials at a low price, Messrs. R. & Co. have devoted 
 their attention to the production of a Penny Drawing Pencil, of a quality 
 sufficiently good for general purposes. The Pencils are manufactured of Four 
 Degrees — Hard, Middle, Soft, and very Soft, in polished and coloured Cedar. 
 
 H Hard, in plain Cedar, polished 
 HB Middle, coloured red, ,, 
 
 B Soft, coloured dark red, ,, 
 
 BB Very Soft, coloured black ,, 
 
 Each Pencil is stamped in Silver, thus — “ GEORGE ROWNEY & CP” 
 Cases, containing Three Pencils, 6d. each. 
 
 is. per doz. 
 
 G. ROWNEY & CO.’S HALFPENNY PENCIL, 
 
 In Polished and Stained Cedar, stamped in Silver, thus — 
 
 “G. ROWNEY & CO.” 6d. per dozen. 
 
 CUMBERLAND BLACK LEAD DRAWING PENCILS, 
 
 MANUFACTURED BY 
 
 GEORGE ROWNEY & COMPANY, 
 
 OF THE GENUINE PLUMBAGO, OR PATENT COMPRESSED LEAD, OF THE 
 FOLLOWING DEGREES: 
 
 H 
 
 Hard 
 
 HH 
 
 Harder 
 
 HHH 
 
 Very Hard . . 
 
 HHHH 
 
 Extra Hard . . 
 
 HB 
 
 Hard and Black 
 
 F 
 
 Middling Degree 
 
 B 
 
 Black for Shading . . 
 
 BB 
 
 Very Black for ditto 
 
 BBB 
 
 Soft Broad Lead 
 
 EHB 
 
 Extra Hard and Black 
 
 FF 
 
 Very Fine 
 
 DEHB 
 
 
 BBBB 
 
 
 I 
 
 y 3s. per doz. 
 
 6s. per doz. 
 
H 
 
 GEORGE ROWNEY & CO.’S 
 COLOURED CRAYONS, &C., 
 
 MANUFACTURED OF THE FINEST MATERIALS. 
 
 POINTED CRAYONS. 
 
 These are hard Crayons which work with great evenness and freedom. 
 
 s. 
 
 Boxes containing 12 _______ per Box 1 
 
 „ 18 ----- - „ I 
 
 „ 24 ----- - ,,2 
 
 >» 36 ----- - „ 3 
 
 IMPROVED CRAYONS. 
 
 These are similar to the Swiss, rather harder, but of medium quality and smaller. 
 Boxes containing 36 ------ per Box 4 6 
 
 „ 7 2 ----- ,,90 
 
 ,, I44 ------ „ 18 o 
 
 Vermilion, Lake, or Cobalt, separately - per dozen Crayons 4 6 
 
 SWISS CRAYONS. 
 
 These are very soft, and the material most in use for Crayon Drawings. 
 They are sold in glass tubes, which prevent the colours mingling. 
 
 Boxes containing 12 
 77 24 
 
 „ 36 
 
 „ 72 
 
 7, 144 
 
 each 
 
GEORGE ROWNEY & CO.’S 
 
 BRUSHES FOR WATER-COLOUR DRAWING. 
 
 SABLE HAIR PENCILS. 
 
 MINIATURE. 
 
 
 CROW. 
 
 DUCK. 
 
 LARGE DUCK. 
 
 DOME-POINTED, TIED WITH GOLD WIRE. 
 
 Large eagle 
 Small eagle 
 Extra large swan 
 Large swan 
 Middle swan 
 Small swan 
 Extra small swan 
 Extra large goose 
 Large goose 
 Goose 
 Small goose 
 Large duck 
 Duck 
 Crow 
 Miniature 
 
 each 
 
 RED. 
 
 5. d. 
 
 BROWN. 
 
 s. d. 
 
 1 8 9 
 
 IS o 
 7 6 
 6 o 
 4 6 
 3 o 
 2 3 
 
 i 6 
 
 1 3 
 
 i o 
 
 ° 9 
 
 o 8 
 o 6 
 o 4 
 o 4 
 
 o 
 
i6 
 
 BROWN SABLE BRUSHES. 
 
 IN GERMAN SILVER FERRULES, AND POLISHED HANDLES. 
 
 VERY FINE QUALITY. 
 
 No. 
 
 1 Round or flat 
 
 2 ,, 
 
 3 
 
 each 
 
 55 
 
 55 
 
 s. d. 
 o 7 
 o 9 
 
 o 1 1 
 
 No. 
 
 4 Round or flat 
 
 5 
 
 6 
 
 each 
 
 55 
 
 55 
 
 I 
 
 I 
 
 i 
 
 d. 
 
 2 
 
 3 
 
 6 
 
 RED SABLE BRUSHES. 
 
 IN GERMAN SILVER FERRULES, AND POLISHED HANDLES. 
 
 VERY FINE QUALITY. 
 
 Round or flat 
 
 s. d. 
 each o io 
 
 No. 
 
 4 Round or flat 
 
 each 
 
 s. d. 
 i 9 
 
 
 55 1 1 
 
 5 
 
 >> 
 
 2 0 
 
 
 „ i 4 
 
 6 
 
 93 
 
 2 3 
 
1 7 
 
 CAMEL HAIR BRUSHES 
 
 Large Swan Quill Camels 
 
 Small Swan Quill Camels 
 
 Extra Small Swan Quill Camels 
 
 - 4d. each. 
 
 3d. each. 
 
 2d. each. 
 
 Full Goose Camels 
 
 A 
 
 B 
 
 C 
 
 D 
 
 E 
 
 F 
 
 G 
 
 H 
 
 I 
 
 J 
 
 K 
 
 L 
 
 FRENCH CAMEL HAIR 
 
 Small Crow 
 
 Crow 
 
 Duck 
 
 Large Duck 
 Small Goose 
 Goose 
 
 Large Goose 
 Swan, No. 1 
 „ 2 - 
 
 4 - 
 
 5 - 
 
 BRUSHES. 
 
 - each 
 
 99 
 
 99 
 
 95 
 
 99 
 
 S. d. 
 ° 
 
 ° 
 
 O 2 
 O 2 
 O 2 
 O 2 
 
 0 3 
 
 0 8 
 
 1 o 
 
 1 4 
 
 1 8 
 
 2 5 
 
 No. 1 
 
 „ 2 
 
 „ 3 
 
 FRENCH CAMEL HAIR IN 
 
 FLAT OR ROUND, 
 s. d. I 
 
 Each o 3 j No. 4 - 
 
 ” 0 4 I „ 5 - 
 
 „ 0 5 I „ 6 - 
 
 TIN. 
 
 Each 
 
 s. d. 
 o 6 
 o 7 
 o 8 
 
 SKETCHING UMBRELLAS. 
 
 Cane Ribs. 
 Each. 
 
 Made of Brown Holland, or Teannette, length of 
 
 ribs 28^ inches - - _ _ . -140 
 
 Ditto, with Fan Joint, length of ribs 28J inches -179 
 
 Made of Brown Holland, &c., length of ribs 32 inches 163 
 
 Ditto, with Fan Joint, length of ribs 32 inches -193 
 With Bamboo Sticks, 2s. 3 d. 
 
 Paragon 
 
 Frames. 
 
 Each. 
 
 £ s. d. 
 
 I 8 6 
 
 III 6 
 
 1109 
 1 r 3 9 
 
1 8 
 
 PORTABLE SKETCHING EASEL, IN 
 
 Ash, 5 feet or 6 feet ------ 
 
 Mahogany, or Walnut-Wood, 5 feet - 
 
 French polished, 
 
 CASE. 
 
 s. 
 
 d. 
 
 - each 
 
 9 
 
 9 
 
 99 
 
 12 
 
 6 
 
 ?? 
 
 14 
 
 0 
 
 5 ? 
 
 I 7 
 
 3 
 
 ?? 
 
 l 9 
 
 0 
 
 THE GERMAN SKETCHING SEAT & EASEL COMBINED. 
 
 ADAPTED FOR EITHER OIL OR WATER-COLOUR SKETCHING. 
 
 Price £1 each. 
 
 CLOSED. 
 
 The same principle has been adapted for the use of Ladies, and is equally 
 serviceable and portable. Price ,£1 13s. od. each. With extra strong leather 
 seat, 3s. 9d. additional. 
 
 KNAPSACK EASEL. 
 
 Similar to the German Easel, with the addition of a waterproof case and 
 straps. The interior has sufficient space to contain the requisites of a walking 
 tour. Price £2 9s. 6d. each. 
 
 SQUARE SEAT, SIMILAR TO THE ABOVE ILLUSTRATION, 
 Without the Easel, Price 11s. 9d. each. Extra strong seat 3s. 9d. additional. 
 
*9 
 
 JAPANNED WATER BOTTLES. 
 
 FOR CARRYING A SUPPLY OF WATER FOR SKETCHING, WITH CUPS TO FIT ON THE 
 
 No. t 
 ,, 2 
 ,, 3 
 
 4 
 
 5 
 
 „ 6 
 ,, 7 
 „ 8 
 
 PALETTE OR BOX. 
 
 s. 
 
 Japanned Water Bottles and Cups .. .. each 2 
 
 ,, Middle size ditto .. .. .. .. •• 3 
 
 ,, Large size ditto .. .. .. .. .. .. 3 
 
 Oval ditto, plated inside .. .. .. ,, 5 
 
 Ditto, ditto, larger .. .. .. .. ,, 6 
 
 ,, Ditto, DITTO, IMITATION, PLATED INSIDE, SMALL ,, 3 
 
 ,, ,, ,, LARGE ,, 4 
 
 ,» ,, FLAT ,, 4 
 
 d. 
 
 9 
 
 o 
 
 6 
 
 3 
 
 o 
 
 9 
 
 o 
 
 o 
 
 RIMMED 
 
 DIPPER, 
 
 TO PREVENT THE 
 
 Water spilling, 
 is. gd. 
 
 TOURISTS’ SKETCHING BAGS. 
 
 MADE OF SATEEN, AND ARRANGED TO HOLD SKETCHING BLOCK, COLOUR BOX, 
 WATER BOTTLE, SKETCH BOOK, BRUSH POUCH, ETC. 
 
 Imperial 8vo., ii inches by 8 inches 
 
 Imperial 6mo., 15 ,, 8 ,, 
 
 Royal 4to., 12% ,, 10 ,, 
 
 Imperial 4to., 15 ,, 11 ,, 
 
 s. d. 
 each 16 6 
 
 ,, 18 9 
 
 ,, 18 9 
 
 >> 20 3 
 
20 
 
 GEORGE ROWNEY & CO.’S 
 
 The advantages of these Tents, consisting of their portability and light weight when packed, 
 and their strength and spaciousness when pitched, are much appreciated by artists. 
 
 -Size of Smali. Tent when set up 
 
 ,, ,, ,, PACKED 
 
 Weight, about 12 lbs. 
 
 4 FEET SQUARE, 7 FEET HIGH. 
 4 INCHES BY 4 INCHES, 4 FEET 4 INCHES LONG. 
 
 Price, including Case, £3 3s. 
 
 Size of Large Tent when set up 
 ,, ,, ,, packed 
 
 Weight, about 20 lbs. 
 
 7 FEET BY 4 FEET 6, 7 FEET HIGH. 
 5 INCHES BY 5 INCHES, 4 FEET 6 INCHES LONG. 
 
 Price, including Case, ,£3 18s. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ✓ 
 
 
 
 
 \ 
 
 
 
 
 
 
 
 

GETTY CENTER LIBRARY CONS 
 
 NK 4605 W59 1877 BKS 
 
 c. 2 Whiteford. Sidney T. 
 
 A guide to porcelain painting / 
 
 3 3125 00358 6449