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 ' 
 
 
 
 
 
China Painting. 
 

 
 
 
^ TP 
 
 hina Painting. 
 
 BY 
 
 FLORENCE LEWIS. 
 
 
 Sixteen Original Coloured Plates. 
 
 C A j3 j3 p C J_< & COMPANY, Incited: 
 
 LONDON , PARIS 6 - iV £ 7 F YORK. 
 
 1883. 
 
 [all rights reserved.] 
 
4 
 
China Painting. 
 
 — oo^jtioo 
 
 CHAPTER I. 
 
 GENERAL INTRODUCTION. 
 
 BLACKBERRYING. 
 
 {By Mrs . S^arkes.) 
 
 commencing the study of China Painting, it will 
 be well if the student starts with the firm determi- 
 nation of completely mastering the use of his ma- 
 terials. Even though he may be proficient in oils 
 or water colours, the technique is so different that 
 it will be necessary to begin at the very beginning. 
 
 If the student knows nothing of pottery paint- 
 ing, by all means let him begin with over-glaze in 
 preference to under-glaze painting. In the former, 
 all faults (for instance, brush marks, insufficient 
 dabbing, the use of too much turpentine, too much 
 or too little oil) are apparent on the surface. They 
 are only too visible the instant they are perpe- 
 trated. There is seen to be something obviously 
 wrong ; and if the student does not know how to 
 remedy it, he feels (if he is a conscientious worker) 
 that the least he can do is to take it out, and hope 
 for more skill in a second attempt. But in under- 
 glaze painting, work often has the appearance of 
 
 A 
 
 % 
 
6 
 
 China PyviNTijNQ. 
 
 being very tolerably well done until it is glazed and fired, when brush marks, bad edges and harsh lines 
 start forth in a manner which is most unexpected and disappointing. As the size of this book will not 
 allow both subjects to be treated, we shall confine our attention entirely to over-glaze painting ; and 
 throughout it must be remembered that the colours mentioned are invariably over-glaze or enamel colours. 
 Enamel colours should be kept carefully apart from under-glaze colours, as the smallest grain of the 
 latter mixed with the former, would completely spoil the effect. The same remark applies to oil paints, 
 and even to the turpentine in which brushes used for them or for under-glaze colours have been 
 rinsed. 
 
 In choosing your earthenware or china, notice that the glaze is smooth and even, without 
 specks of any sort, and not crazed.* There are so many good colour makers, each having some 
 advantage peculiar to himself, that it is difficult at first to know which to choose ; but it is best in a 
 general way to get all one’s colours from the same maker, as they are then more likely to be all fusible 
 at the same degree of heat. It is well also to assure oneself of this by insisting on seeing the maker’s 
 test palette, with all the colours fired at one and the same heat. If, however, you are strongly tempted, 
 as you often will be, by a particular colour of some other make than those you are using, do not 
 finally adopt it without several preliminary trials, as it might be either harder or softer, f and your 
 work would not then appear evenly glazed. 
 
 The colours mentioned in the following pages are manufactured by Messrs. Hancock and Son, 
 Worcester, and M. A. Lacroix, Paris ; and in mentioning the colours of the former, I invariably refer 
 
 * The plates sold by Messrs. Howell and James and stamped at the back with their name and “special make,” are 
 excellent, and leave nothing to be desired. 
 
 f That is, requiring either a greater or less degree of heat in order to fuse it. 
 
7 
 
 CfENER/a Introduction. 
 
 to the new moist water-colours (sold in pans, half-pans, and tubes), which, except in the matter of 
 preparation, are identical with their well-known dry colours ; but I wish students to clearly understand, 
 that if they use Lacroix’s colours, it is much better to have the dry ones, as those which are mixed 
 with oil in the tubes are apt occasionally to become too fat, and to the taste of many people they 
 are not at all times sufficiently ground. 
 
 Both makers have many other colours besides those given below, but I think the beginner may 
 become confused if he has too great a variety, and fail to learn the full value of any of them. It is 
 always easy to enlarge his selection, as time and necessity point out. 
 
 The implements and colours immediately following are absolutely necessary. Those contained in 
 the supplementary list will be found a great convenience after some progress has been made : — - 
 
 i Steel Palette Knife, 
 i Glass Muller, 
 i Hand Rest, 
 i Medium-sized Dabber. 
 i Small Dabber in Quill, 
 i Sable Crow Writer, 
 i Plate (glazed). 
 
 2 or 3 sizes of Camel’s Hair Brushes 
 for China Painting. 
 
 Several 6 in. or 8 in. Tiles (also glazed), 
 to be used for Palettes.* 
 
 Turpentine. 
 
 Fat Oil of Turpentine. 
 
 Spirits of Lavender or Oil of Cloves. 
 
 * If Hancock’s water-colours are being used, an ordinary china water-colour palette is more convenient ; but for dry 
 colours, which require some little grinding, a tile answers best, as it stands more firmly. Also, with the former, 
 Turpentine, Fat Oil, and Spirits of Lavender will not be required. 
 
8 
 
 China PyviNTi^q. 
 
 Hancock’s Moist Watkr-Colours. 
 
 Deep Azure Blue. 
 
 Sepia. 
 
 Royal Purple. 
 
 Outremer Turquoise. 
 
 Vandyke Brown. 
 
 Deep Green. 
 
 German Brown. 
 
 Deep Black. 
 
 Rose-Leaf Green. 
 
 Olive Brown. 
 
 Grey Black. 
 
 Light Sevres 
 
 Brunswick Brown. 
 
 Carmine. 
 
 Dark Orange. 
 
 Pearl Grey. Red. 
 Persian Yellow. 
 Strong Yellow. 
 White Enamel. 
 China Megilp. 
 
 Rouge Orange. 
 Violet de Fer. 
 Noir d’Ivoire. 
 Bleu Riche. 
 
 Lacroix’s Dry Colours (for Beginners). 
 
 Carmin No. 2. 
 Pourpre Riche. 
 Gris Perle. 
 Jaune Orange. 
 
 Ocre. 
 
 Brun No. 4. 
 
 Vert Chrome Riche. 
 Vert Brun. 
 
 Vert Noir. 
 White Enamel 
 (English). 
 
 Supplementary List (for the more Advanced Student). 
 
 Jaune a Meier. 
 
 Vert Bleu Riche. 
 
 Brun No. 3. 
 
 Rouge Chair No. 1. 
 
 Carmin No. 3. 
 
 Evans’ Brown.* 
 
 1 Ivory Palette 
 Knife. 
 
 It has for many years been a great drawback to amateur China painters, that their friends and 
 relatives could not be induced to think the smell of turpentine, and the stickiness of fat oil, agreeable 
 
 May be bought of Messrs. Kennedy and Brown, 13, Oxford Street, W. 
 
Qeneral Introduction 
 
 9 
 
 additions to a sitting room. To these and to many others* the moist waiter-colours prepared by 
 
 Messrs. Hancock and Son will be found a great boon. They are T of course, entirely free 
 
 from smell, nothing but a little water being really necessary for working them, though the specially 
 prepared China Megilp, wffiich takes the place of fat oil, will sometimes be found an assistance, 
 as it serves to keep the colour moist for any length of time, and also keeps the brush 
 in a good condition for working. If too much megilp is used, it will be very difficult to dry your 
 work, which must have a good heat, by placing it in an oven, but r unlike fat oil, however much is 
 used it cannot blister. After the first washes are laid it will always be advisable to dry your painting 
 
 well at a fire before retouching it, as these colours will not dry by merely being exposed to the air. 
 
 Consequently exposure does not in any way injure them on the palette. I have before me now some 
 Red which has been squeezed from the tube for over three months and it is quite fit for use. In 
 another respect they have a great advantage over any others, inasmuch as they may also be used like 
 ordinary water-colours for painting on paper, silk, satin, etc. Students making a design on paper, with 
 a view to carrying it out on china, will be greatly helped' by this,, as it is frequently very difficult to 
 match with ceramic colours the effect which has been produced by ordinary water-colours. For water- 
 colour painting on silk they are very convenient, being slightly opaque, without mixing with any extra 
 white. This opacity is closely allied to their imperishable qualities, for being entirely mineral they 
 will not change in any way. The same colours may also be used ■with water only, as a vehicle to paint 
 upon prepared or unprepared board, canvas, etc., etc., and if they are treated exactly as oil-colours are, 
 i.e., mixing Enamel or Enamel-glazing with them, in place of the ordinary Flake White, and, 
 after thoroughly drying before a fire, varnished with Hancock’s Mineral Varnish, the effect produced 
 is exactly similar to an oil-painting. The Mineral Varnish, which is very cheap, should alone be used, 
 
10 
 
 Chin/, P/inti^q. 
 
 as it enters into the chemical composition of the colours, both being mineral. It has the peculiarity of 
 perfect flexibility, and may therefore be used on very thin materials. It is applied with a large soft 
 brush ; and, if not perfectly level, should be held before the fire for a few minutes, which will cause it 
 to become so. It dries at once, but will not be thoroughly hard for a few days. 
 
 All the colours mentioned in the list will work freely together, with the exception of Brunswick 
 Brown and Red, which will, however, mix together, and with Black or Purple, but not with the 
 other colours.* Working with the moist water-colours will be found very pleasant, and, if they had 
 been brought out some years ago, there is no doubt that many who have abandoned China 
 painting, as too difficult to master, would have been encouraged to continue their efforts. For 
 sketching, use the crayon prepared for the purpose by Mr. Hancock, which, being of an oily 
 nature, will not be washed out by the water-colour passing over it. It will, however, disappear 
 completely in the firing. Let your china be perfectly dry before sketching upon it. The manner 
 of working is very much the same as if the colours were mixed with oil. The brush must be kept 
 square, and the wash of colour may be retouched again and again in order to make it smooth. If 
 a large space is to be covered use the dabber, as described in the letterpress connected with Plate II., 
 which treats of laying a background. More water or megilp may be added as occasion requires ; but too 
 much of the former is apt to produce a very washy appearance, and if too much of the latter is used the 
 colour will take a long while to dry. For a broad sweep of colour, a combination of the two is best. 
 When the ground is laid, if your drawing is of such a nature that you have been obliged to take the colour 
 
 * For full details of the respective peculiarities of each colour, the student cannot do better than refer to the little 
 handbook, “ China Colours and How to Use Them,” written by Mr. Hancock, or his large and comprehensive work, 
 “ The Amateur Pottery and Glass Painter.” 
 
Qeneral Introduction- 
 
 i 1 
 
 over it, you may clear out your design with 
 great ease, by merely washing away the sur- 
 plus colour with a brush just moistened with 
 water, but care must be taken that the brush 
 is not too wet, lest the work should be made 
 messy. The pattern may also be cleared 
 out either with a penknife or with the 
 pointed end of a brush-handle. These 
 colours are perfectly well ground, and free 
 from grit. One of the few technical diffi- 
 culties connected with their use will be 
 overcome if the student will never try to 
 shade his work without drying the first 
 washes at the fire. When these colours are 
 dry they are easy to work upon, but I can- 
 not sufficiently impress upon the student 
 that, as before stated, they will riot dry of 
 their own accord. If the under washes are 
 disturbed, it will show that these remarks 
 have not been attended to. 
 
 With reference to the French colours, 
 it must be borne in mind that the Iron 
 
 DISH, PERSIAN DESIGN. 
 
 ( Painted by Lady K awlinsou. Awarded “ The Countess of Warwick* s'* Prize in 
 the Annual Exhibition of Paintings on China, 1879, held in Messrs. 
 Howell and James' Art Galleries , 5, 7, 9, Regent Street S.IV. 
 
12 
 
 Chin^ Painti^q. 
 
 Reds (all Reds of a brick-dust shade) will mix with each other, or with Black or Violet de Fer, and, 
 to a moderate extent, with Jaune h. Meier, or Jaune d’Ivoire, but not with other colours. If mixed 
 with Carmine, Blue, &c., and fired, the Red would all disappear. However, if a little thought is 
 
 bestowed on the subject, this is no very great disadvantage, as by using Jaune h Meier as a sort of 
 go-between, you may blend or graduate Red into almost any other colour you wish. Say, for example, 
 that you desire to shade Red into Green ; a good Green for the purpose can be made with Noir 
 
 d’Ivoire and Jaune a Meier, both of which colours will mix with Red. Or if a brighter green is 
 
 required, put plenty of oil into your Jaune a Meier, and, with different brushes, wash the Red on to 
 one end of the space to be covered, and the Green on to the other, blending them with Jaune a Meier 
 in the middle. If well done, the effect should be smooth and the gradation uniform ; but if you use 
 too little oil, the colours will join with a harsh line. Ocre is useful for shading Yellow, or, used by 
 
 itself, for the warm glow in a sunset sky ; but it will not mix at all satisfactorily with greens. All the 
 
 other colours will mix freely together ; but after a little experience you will find that Browns are 
 
 very apt to fire out, i. e . , to disappear in the firing, leaving the other colour with which they were 
 
 mixed somewhat of the same tone as if it had been used pure ; you will also find that Blues, 
 
 Purples, and Carmines are very strong in their effect, being apt, when mixed with other colours, 
 
 to show more after they are fired than before.* White Enamel is most useful for little touches 
 
 * Gris Peris and Jaune d’Ivoire are extremely useful for their glazing qualities. If you have used any hard colour 
 
 which looks dull after firing, a pale wash of either of these paints will make it shine on a second firing. They may be 
 
 used in this way if preferred instead of flux ; but the student should notice that, even after they are fired, it is never safe 
 
 to put flux over any of the Iron Reds or over Ocre, nor, with the French colours, over the different Browns. With Han- 
 cock’s colours, enamel-glazing represents flux. 
 
Qeneral Introduction 
 
 13 
 
 of relief, or for painting on terra-cotta. It must be kept scrupulously clean, and a separate palette 
 should be reserved for it, a glass one being preferable to an ordinary tile. Never grind it 
 
 with a steel knife, but use a glass muller or ivory palette-knife ; otherwise it will probably be 
 
 discoloured on firing. If in painting with Enamel you find it is inclined to spread, breathe 
 into the colour on your palette, at the same time mixing it with a little more turpentine. As you 
 require to put it on rather thickly, do not use too much oil. The only Enamels available for 
 amateurs that I have ever found thoroughly satisfactory are those sold by Mr. Battam, Johnson’s Court, 
 Fleet Street,* and those manufactured by Messrs. Hancock and Sons, Worcester. Both makers supply 
 hard and soft enamel. The latter may be used alone in a general way, but if through a hot firing it 
 becomes a little too smooth and soft, or if for any special purpose you wish for some very crisp, sharp 
 touches, make use of the hard enamel in the second painting. The hand-rest, if placed over your work, 
 for your hand to rest on whilst painting, will greatly help you to avoid rubbing or scratching your 
 work, to which beginners are very prone. It will also assist you to acquire a light touch. A table 
 easel is a convenience, as it will save much stooping, and you can also see the general effect of your work 
 better when it is not flat on the table. Probably the most convenient thing of the sort is a little easel 
 
 designed by Mr. Hancock, which has an apparatus (much needed) for keeping the plate steady. Another 
 
 luxury prepared by Mr. Hancock, for the use of China painters, is the “ Vade Mecum.” This is a desk, 
 most conveniently formed, for holding all the necessary apparatus for China painting. At the bottom is 
 a drawer, with divisions for colours, brushes, palette, knife, etc. The lid, on being lifted, displays 
 
 plenty of stowage room, and a stand for pots and bottles. Outside the desk is a movable hand rest, 
 
 * I may here mention that Mr. Battam, and also Messrs. Kennedy and Brown, of No. 13, Oxford Street, undertake 
 the firing of over-glaze paintings. ' ,\ 
 
 B 
 
14 
 
 China Painti^q. 
 
 and at the further end is a space on which to stand a palette, and another for the mediums. 
 
 Whilst painting at the desk, lean your right arm upon the sloping lid, with your wrist on the hand-rest, 
 then with your left hand steady your work, if it is a tile or plate, beneath the projecting ledge. The 
 student will find this to be far more convenient than an ordinary hand-rest, as it combines all the 
 advantages of a painter’s table. Dabbers are used for causing backgrounds and other broad 
 
 washes to lie flat and even, after the colour has been laid with an ordinary brush. In choosing 
 ordinary brushes, select those which are quite square at the end, with the hairs all of an even 
 length. This is most important. The crow-writer is for outlining, as a good line cannot be 
 made with a brush having short hairs. A small sable-hair water-colour brush is the most 
 convenient for stippling, when necessary ; and another for sketching with Indian Ink. Turpentine 
 and fat oil of turpentine are the mediums used in China painting ; and if you wish to 
 lay a very large wash, or for any reason to keep your colours moist for an unusually long 
 time, a few drops of spirits of lavender will be an assistance. This will also cause your painting when 
 quite dry to adhere with great persistency to the China, making it easy to work upon afterwards. The 
 fat oil sold by Messrs. Lechertier, Barbe and Co. is very trustworthy ; but it is far better to make 
 
 your own ; for which purpose pour a little turpentine into a saucer, and leave it exposed to the air, 
 
 when the spirit will evaporate, making the saucer sticky. If you continue to add a little turpentine 
 every few days for about three weeks, you will procure a supply of oil. Occasionally fill a small bottle 
 for use from the saucer, and keep up the supply by adding fresh turpentine every few days. 
 
 If you are painting every day, it is quite sufficient to thoroughly rinse your brushes with turpentine 
 before putting them away, but I cannot too strongly impress upon the student the necessity of keeping 
 them, and also the palettes, scrupulously clean. 
 
Qeneral Introduction. 
 
 15 
 
 A rag is quite indispensable, but let it be of a very smooth nature, say an old silk or cambric 
 handkerchief, otherwise you will be troubled with threads, fluff, and dust on your work. In grinding 
 your colours use turpentine, and either a palette knife or glass muller, and let them be ground 
 thoroughly fine before adding the fat oil ; otherwise you will find it impossible to grind really well ; as, 
 if there is any oil mixed with it, the knife does not grasp the colour. It is a very good plan to 
 grind the colours first with turpentine, then let them dry, and afterwards, when ready to use them, 
 mix them with the fat oil first ; but students are not generally sufficiently willing to take time by the 
 forelock, to do this. Fat oil will cause what at first will seem your chief difficulty, namely, in deter- 
 mining what is the proper quantity to be used. If your painting is to be pale you may use plenty of 
 
 oil with impunity ; but if it is to be dark, and the colour is laid on thickly, too much will make it 
 
 blister in the firing. At the same time, if there is not enough, your paint will hardly adhere to the china; 
 you will have the utmost difficulty in laying a smooth wash, and your work will always look scratchy and 
 messy, full of brush-marks and other imperfections. I find with beginners a great deal more work 
 spoilt for want of oil than by having too much. A great number of students consider that there is 
 something virtuous in trying to work almost without this most necessary medium ; saying, in support 
 of this notion, that they are afraid of their work blistering. The one fault, however, is as bad as 
 the other, and by cherishing it, as students often do, you will never learn what is the right amount. 
 It is a very good plan to keep a little oil made somewhat thinner by the addition of a little 
 
 turpentine, on one corner of your palette, so that w'hen you wish to paint anything which is very pale, 
 
 you may take an extra supply into your brush ; but be careful only to have a small quantity on your 
 palette at a time, otherwise it will be liable to run into your colours. More oil should be used in the 
 first washes than in the shading ; and after a little experience you will be able to tell by the rate at 
 
16 
 
 China Paintijmq. 
 
 which your work dries, whether or not you have enough, too little, or too much. If your painting looks 
 very dry and powdery, almost as soon as it is washed in, it shows that more oil was required ; but if 
 
 after a few hours it looks shiny and sticky, it must, if it is a thick coating of colour, be taken out ; 
 
 for it will be pretty certain to blister in the firing. 
 
 If you have any facility in drawing, I should recommend you to sketch your work with Indian 
 Ink, water-colour Carmine, or Smoke ; and if with the first, let it be of the first quality, or there 
 may be impurities in it which will remain after firing. If the last is used, it is merely necessary 
 to hold a saucer, or tile, over the flame of a candle, and then use the carbon which it collects 
 with a little Turpentine. If your design is very elaborate and you wish to trace it, you may 
 do so by making use of either of the following methods. First and least objectionable is the 
 process known as pouncing. Arrange a piece of tracing paper over your design, and with a fine 
 
 hard pencil make a careful outline of your drawing. When this is complete, place it on a cushion or 
 
 anything soft, and with a fine needle, prick along every line. Finally, arrange your tracing on your 
 plate, secure it at the corners with a wafer ; and dust over it with a little black lead or fine charcoal 
 powder. The drawing will by this means be transferred to your plate in a series of dotted lines. It 
 is then ready to be sketched with Indian Ink. Afterwards remove all the dust with a soft brush or 
 cloth, or it may interfere with your painting. 
 
 The second process is to place a sheet of black-tracing paper on the china, and over it your 
 tracing ; then go over all the lines again with a hard fine-pointed pencil, or the sharp end of a 
 porcupine quill. The pattern so transferred to the china should be strengthened and corrected with a 
 fine brush and Indian Ink. This process is quicker, but it is also dirtier, and you are more likely to 
 lose the delicacy of your drawing, although in simple conventional borders there is no objec- 
 
Qenef^l Introduction. 
 
 17 
 
 tion to this method being used. As the great advantage which amateurs possess over professional 
 China painters is the power of spending unlimited time over the smallest piece of work, they should 
 never run the risk of spoiling their painting by using inferior methods. And before I leave this 
 subject, I must point the attention of amateurs to the fact that everyone, without exception, may be 
 careful if they choose ; they may learn to put on a flat wash of colour ; they may refrain from putting 
 their fingers on it whilst it is wet ; and they may keep within the bounds of their outline. If all 
 students would realise this fact, and act upon it, how much bad work we should be spared ; for in China 
 painting neatness and cleanliness go more than half way towards ensuring a good result. 
 
 Whichever method of tracing you may make use of, do not dispense with the after-sketching. 
 Besides the advantage of correcting the drawing, which will probably be very needful, the dust used in 
 the first process will impede the flow of your colour, and the transfer paper of the second will smear 
 
 in every direction as soon as it is touched by a wet brush. Some China painters make a very 
 
 free use, and with excellent effect, of an ink for which a friend has sent me the following recipe. 
 It can be used with a pen, and is extremely useful for anything that is rather slight, or for Japanese 
 studies. The Italian design in the page devoted to conventional borders would be better copied by 
 making use of the vitrifiable ink than by any other means: — 
 
 Vitrifiable Ink : — “Take any one of the following four colours: Black, Pompadour Red (German), 
 Purple Brown (English), or Bitumen (Brun No. 3). Grind it with a little water, and leave it to dry; 
 then mix with a little evaporated vinegar, and a few drops of solution of gum arabic. This mixture 
 should be put into a small china pot, like those used by chemists for lip salve, and kept thin by 
 occasionally stirring a little vinegar into it. The vinegar used should be previously kept for a few 
 
 days in a bottle without a stopper, in order to allow some of the acidity to evaporate, as strong 
 
China P/untijnq. 
 
 18 
 
 vinegar is liable to make the ink muddy, in which case it does not flow so easily through the pen. 
 Before using, it must be well stirred, as the colour sinks to the bottom. 
 
 “ Before sketching with this ink on china the ware must be prepared thus : — Pour on the plate or 
 dish a little vinegar and three or four drops of gum arabic, which must be rubbed all over the surface, 
 with a clean soft rag, and left to dry. Gum water is sometimes used alone ; but it is best to add 
 some vinegar, as the acidity cleans the glaze and makes the gum adhere more perfectly to the surface. 
 When the plate is perfectly dry, the outline of the picture should be drawn in with lithographic chalk 
 or pencil. The outline completed, cover it and correct it with the vitrifiable ink, applied by means of 
 an etching pen or fine paint brush, taking care to draw the lines of even thickness. Turpentine 
 will not remove the ink, but water will ; a drawing can be painted, and rubbed out with turpentine 
 over and over again, without injuring the outline or altering the drawing.” 
 
 To beginners, who will probably have to rub out their early work, and who have much difficulty 
 in laying a background, this ink will be a great help. An outline in Indian Ink will not generally allow 
 of the ground being rubbed out more than once ; although occasionally, if the Indian Ink sketch is dark, 
 the colour may be removed several times by softening the paint very thoroughly with turpentine, and then 
 rubbing it off with a clean soft rag. In trying to save the sketch, students are apt to leave the china 
 in a smeary condition, which is a fatal fault. Before beginning to paint, always see that the ware is 
 perfectly clean and bright. 
 
 Students making use of this book will probably begin by copying the plates ; but to those who 
 are prepared to choose their own subjects a little advice on the matter will not, I hope, be unaccept 
 able. On the choice of the subject mainly depends the interest of the work. Those who can sketch 
 from nature will probably use their own sketches, and those who have never done so, will do well to 
 
Qeneral Introduction. 
 
 19 
 
 make an attempt, remembering that a study from nature, if it is earnestly and carefully worked out 
 to the best of the student’s ability, will be far more pleasing and meritorious than other people’s ideas at 
 second hand. In beginning the art of China painting, it is much more important to learn something from 
 each thing you undertake, than to perpetuate some feeble design which you or your friends for the 
 moment may imagine more pleasing. Therefore for at least the first six or twelve months, avoid tea- 
 cups and saucers, small toilet-sets, and especially sleeve-links, buttons, smelling-bottles, and other small 
 fancy objects. When you can paint a large plate, you can descend to these trifles or not, as you 
 please ; but they will not help you to paint in a broad style. It is a familiar weakness of students, 
 who have not learnt to lay a flat wash of colour, to wish to paint mignonette, forget-me-nots, maiden- 
 hair fern, or the tiniest heaths and grasses, regardless of the fact that for preliminary lessons these 
 things are, at the best, mere waste of time, and will never bring the beginner a step nearer to per- 
 fection. 
 
 Flags always make an improving study, and for colour they present an infinite variety. Purple, or 
 Purple and White, look very well against a background of pale Ocre shading into Brown ; or the 
 ground may be pale Brown Green (Vert Brun No. 7) shading into the same colour mixed with Brown; or 
 if a ground dark all over is preferred, Black Green, with plenty of Brown No. 4 in it, will look very well. 
 Narcissus, jonquils, and daffodils, either with or without wallflowers, always look well, and come at a 
 time of year when it is rather difficult to find subjects. The same may be said of almond blossom, 
 which is rather apt to be wanting in interest by itself, in the hands of a beginner, but makes a 
 charming companion to other things. One of the most attractive paintings I ever saw by that master 
 of flower painting, M. G. Leonce, represented some pansies, dark and light, and a spray of almond 
 blossom. While I am mentioning the painting of this artist, let me beg the student to lose no 
 
20 
 
 CmNyv P JK\ NTI ]NQ, 
 
 opportunity of studying it. To anyone really anxious to improve, it is well worth while to travel 
 twenty or thirty miles to get an opportunity of examining one of his higher efforts ; of which many 
 examples may be seen at the galleries of Messrs. Howell and James. 
 
 Wild roses, ox-eye daisies, marsh marigolds, lilies of any sort (excepting those of the valley), fox- 
 glove, Virginia creeper, azalea, rhododendron, clematis, hollyhock, gladiolus, chrysanthemum, and many 
 other plants, may be attempted with advantage ; in fact, almost any flower which is simple and of a 
 tolerable size, if well treated, will have a good effect. Roses are too difficult for any excepting those 
 well practised in drawing. Those who wish to paint fuchsias, geraniums, or any sort of pelargoniums, 
 may be advised first to consider well their own capacity for rendering a most uninteresting subject pleasing. 
 Such efforts generally end in being rubbed out. 
 
 If you wish to put a border to a plate, where flowers are represented in the centre, it looks well 
 to conventionalise the same plant for the border. If the border is very wide, it is often improved by 
 little panels reintroducing the natural subject. Whatever you may have in the centre of the plate, be 
 careful to make both the colouring and design of the margin subservient to it, and let the former 
 especially be in the same key. Nothing looks worse than to start an entirely fresh style of colour 
 for the border of the plate. 
 
 If you are inclined to do heads or figure subjects, the remarks I have just made about using 
 your own sketches from nature do not exactly apply, because without a great deal of practice and 
 instruction in drawing, your attempts, however praiseworthy, will naturally be crude and unfinished, and 
 will not work out well. In this case it is best to find a good copy, which is easy enough, as there 
 are numerous excellent photographs and prints to be had for the searching. In doing this, remember 
 that it is far easier to imagine colour than form , or the balance of light and shade. 
 
CJeneral Introduction 
 
 21 
 
 As a rule, students who are inexperienced, if they have not a very decided “ eye ” for colour, are 
 apt to make it too cold. This is a mistake, as warm tints are invariably more pleasing. There 
 are many warm shades of grey: therefore do not make a cold bluish mixture and use it for everything. 
 For instance, the shade on yellow is a warm, greenish hue; and white looks far better it the shadows 
 are somewhat of a pearl grey. It must be also taken into consideration, as I have before remarked, 
 that blues are inclined to fire so very strongly, that paintings are always more liable to look 
 cold, after passing through the kiln than before. The following list of complementary colours 
 may be a help to those who have not thought much on the subject. The primary colours being 
 Red, Blue and Yellow, it is necessary for a good effect of colour that these should be represented 
 with more or less modification. The student will see at a glance that the complementary colour 
 
 provides what is wanting to the primary to make the trio (Red, Blue and Yellow) complete. If 
 
 you consider this a little, you will see the general necessity of warm colouring ; as two of the 
 
 three primaries, Red and Yellow, are decidedly hot: — 
 
 Of Red, the Complement is Green. 
 
 „ Yellow ,, Violet. 
 
 ,, Blue ,, Orange. 
 
 Of course, this list is extremely simple, but the same idea enlarged upon will carry you through 
 many subtle varieties of colour. 
 
 For figures painted in a slight style, such as those done by the followers of Miss Kate 
 
 Greenaway, the vitrifiable ink previously described will be found a great help, as it will assist to 
 
22 
 
 Chin/, PyviNTi^q. 
 
 keep the outline fine and clear. In painting heads, if you have any control over your brush (without 
 which I urgently recommend you to delay starting on figures or heads), endeavour to dabble in 
 the broad shadows as much as possible while the flesh tint is wet, as by this means a rounder 
 effect, and softer gradation of tone is obtained, than by painting the shadows after the first washes 
 are dry. If by these means you suggest a tolerable effect of light and shade, do not do much 
 stippling to the flesh until after the first firing. In anything for which roundness is required, the 
 dabber is an invaluable ally ; for flesh tints, draperies, fruit, and many other things, it is quite 
 indispensable; but I cannot leave the subject without mentioning the fear I always feel on 
 introducing the use of a dabber to students, namely, that they will dabble everything. This practice is a 
 mistake; for in many things, such as leaves, flowers, the plumage of birds, or hair, &c., brush-marks, 
 judiciously left or introduced, greatly help the appearance of texture. Care must especially be taken 
 to make them lie in the right direction. In painting hair, treat it as broadly as possible. 
 Inexperienced pupils are inclined to represent each individual hair, the effect naturally being niggling, scratchy, 
 and unsuccessful. In painting fruit have plenty of colour on your palette of every shade you need; 
 and, as in flesh tints, try to get as much effect as possible whilst the first tint is wet. A few drops 
 of spirits of lavender will help to keep the colour moist, and as long as it remains so, you may 
 constantly touch and retouch it, adding shadow in one place, colour in another, or dabbling off either 
 the one or the other in a third, until your fruit looks almost finished. If for any painting of this 
 kind you are likely to require a second firing, do not touch it when once it is dry, until after it has 
 been fired. Then it may be worked up to something very near perfection by the same means. 
 But in painting heads some stippling is sure to be necessary. 
 
 In painting birds, do not put a pale wash on first, and then work over it, but move your 
 
brush in the direction that the plumage 
 takes, so that every brush-mark may 
 represent a feather. If there are little 
 lights on the plumage, they can easily 
 be removed while the colour is wet, 
 by sharply touching them with a clean 
 brush, in which is as little turpentine as 
 will suffice to keep the hairs together. It 
 is a good plan, before painting the plumage, 
 to draw the outline of the beak, claws, and 
 eyes with Black. 
 
 The same advice as to dabbing which 
 I have offered to those who intend paint- 
 ing figures or fruit, will apply to work of 
 the landscape painter ; especially in the 
 sky, distance, and middle distance ; for the 
 first firing, it is most important to dabble 
 it, and leave it alone. After you have had 
 some practice you can judge for yourself 
 what method to pursue ; but inexperienced 
 students are apt to sit so close over their 
 work that they lose all notion of the general 
 effect. They often put so much shading on 
 
 Introduction 
 
 23 
 
 GATHERING SPRING FLOWERS. 
 (By Miss Linnie Watt.') 
 
24 
 
 C H I Ny\ PyVINTIJMQ. 
 
 to mountains, sky, or distant fields, after the first washes are dry, as to give a prominent appearance 
 to what is intended to lie in the distance. 
 
 Be very careful to keep the foreground quite warm in colour. Coldness will here have a most 
 unpleasing effect, besides tending to throw the foreground backwards. 
 
 CHAPTER II. 
 
 COLOURS. 
 
 In looking through any list of materials for China painting, you will notice many articles which I have 
 not put down, as I go on the principle of teaching my pupils to aim at walking without crutches. But 
 amongst them you will in many lists observe a wheel or whirling-table, which is a great assistance. 
 This was omitted above, first, because amateurs do not generally make very good liners, even if 
 they have a wheel ; and, secondly, because, if you give the order, lines can readily be put to the 
 edge of your plates, vases, &c., when it is sent to be fired. If, however, you have a wheel, use it 
 in the following manner : — Place the centre of your plate exactly over the centre of the wheel, 
 and. to judge whether you have done so, hold your hand perfectly still, with your finger touching 
 the edge of the plate ; then whirl the wheel round, and if the rim continues to touch your finger 
 quite evenly, the position of it is true, and the plate is ready to be lined. Fill your outlining 
 brush with colour (the crow-writer, or, if it is a very large circle that you wish to make, a duck- 
 
c 
 
 OLOURS. 
 
 writer will hold more colour, and so answer 
 your purpose better); then placing your arm 
 on a rest, let the hand which holds the 
 brush be perfectly still ; move the wheel 
 round, so that if the brush just rests on 
 the edge of the plate, a perfect line will 
 be transcribed. To make it perfect will 
 require some practice, for lining, although 
 a very mechanical art, takes some time 
 before it can be done well. 
 
 You will also find that I have not 
 mentioned any of the colours which are to 
 be used solely for backgrounds, as I prefer 
 to recommend those colours which can be 
 used for every purpose. If, however, you 
 find some special colour in the published 
 lists, of which you know the effect, which 
 cannot be produced with what you have, 
 you can procure it, and prepare it for use 
 in exactly the same way as ordinary colours. 
 If, for instance, you wish for a really cream- 
 coloured ground, and are not satisfied with 
 
 SYCAMORE. 
 
 {'By Miss Ada I / anbdryi) 
 
26 
 
 China Paintijmq. 
 
 pale Orange Yellow, pale Mixing Yellow, or pale Ochre, you may have recourse to Chinese Yellow 
 (Jaune Chinois). In the English colours, Orange put on very thinly makes an extremely pleasing 
 Cream or Buff-coloured ground. This is a most useful colour, which has no equivalent among 
 the French colours. It will mix freely with anything excepting red, and is of great service for warm 
 tints in leaves, or for the foliage of trees, &c. Olive Brown is another colour which stands alone, 
 and will endear itself very much to the China painter. Pale Sevres Green, or pale Old Tile Blue, 
 shading into Olive Brown, will be found very attractive for backgrounds. 
 
 Students who are quite near the beginning often wish for a Pink ground ; but this, or Lilac, is a 
 great mistake from a decorative point of view. The nearest approach to Pink which is not unpleasing, 
 is made by very pale Rouge Chair No. i, or Brunswick Brown, which makes a flame colour, and if 
 pale enough has a pretty effect upon quite small pieces of decoration. The accompanying ornament, 
 however, must be kept very subdued in colour. 
 
 For a pale Blue ground, a little Rich Chrome Green added either to Rich Blue or Rich Blue Green 
 will be found to improve the colour ; or a little of any sort of Yellow may take the place of the Green. 
 For a Greyish Blue, add a very little Carmine and Yellow to Rich Blue, but be careful not to overdo 
 the Carmine. With Hancock’s colours, use Old Tile Blue, Blue Green, or Azure Blue, mixed with a 
 little Roseleaf Green. 
 
 Grass Green (Vert Pre) very thin makes a pretty delicate colour ; and for a pale dull Green you 
 may use either Brown Green, Black Green and Brown, or Black with plenty of Yellow in it. The 
 same colours put on thickly will make good dark backgrounds. With the English colours, a thin 
 wash of Sevres Green, Deep Green, and for a warmer colour, Olive Brown, will be found a very pleasant 
 addition to either of these. 
 
Colour. 
 
 27 
 
 For a Dark Peacock Blue, mix with Rich Blue Green, Rich Chrome Green and Black Green ; the two 
 latter without the former make an excellent dark green ground ; or Deep Azure mixed with Roseleaf 
 Green and Deep Green. 
 
 For Chocolate, use Violet of Iron (but be careful to make it very thick, or the effect will be 
 extremely poor), or Flancock’s Chocolate Brown. 
 
 The colour called Rich Red Brown (Brun Rouge Riche) makes a very attractive Dark Red for a 
 background ; also Brunswick Brown, which very much resembles it. Another pretty pale ground is made 
 with Pearl Grey. 
 
 Turquoise Blue — which you may wish to use some day, though I have not even put it down 
 amongst the desirable luxuries — must be used very thickly indeed, or you do not attain the full richness 
 of the colour. Before I leave this subject of backgrounds, I must warn you to keep them quite free 
 from dust, which always seems particularly attracted towards a wet plate. At the same time, if you 
 place it in a drawer, box, or anywhere to keep it free from dust, until it is dry, do not exclude all air, 
 or your work will not dry fast enohgh. If a plate is small, it may be dried by being placed in the 
 oven for a few minutes ; but, if it is too large for that purpose, do not hold it before the fire, as the 
 heat may strike it unevenly, and cause it to split in two, without you gradually warm it, first of all. 
 
 Scratching out a design, if it is at all elaborate, is rather a trial to the patience ; but it is a trial 
 which it is best to endure, until you have had a good deal of practice. Then , if you prefer it, you 
 may erase your pattern by the following means : — - 
 
 Grind some Rouge Orangd, or any other Red, with spike oil instead of turpentine, and, as a substitute 
 for fat oil, mix the colour with a few drops of castor oil, just sufficient to make it flow ; and, when the 
 background is extremely dry, paint carefully over those parts of it which you wish to remove, with the 
 
28 
 
 China Pa |N ti]nq. 
 
 mixture described above, and then leave it to stand 
 for about ten minutes. Finally, wipe a soft rag 
 over the design, and it will come out quite cleanly. 
 It is the spike oil which eats away the colour, the 
 other two ingredients are merely the necessary vehicles 
 for using it. You will not be likely to succeed with 
 this mixture until you feel quite at home with your 
 materials. 
 
 In China painting the best plan is to consider it 
 quite impossible to erase anything after firing ; but if 
 it is ever absolutely necessary to do so, you must 
 use fluoric acid, dipping, say, a long darning needle 
 or the point of a fine penknife, into the bottle of 
 acid, and then hold it exactly on whatever you wish 
 
 to remove. In a few moments it will eat away the 
 
 colour, but its use is very dangerous ; for it will also 
 eat away your hand, or anything else it may touch, 
 if it has the slightest opportunity. I advise the 
 amateur to avoid it altogether. 
 
 One of the few things which may happen to a plate in the firing, which cannot be laid more or 
 less to the account of the artist, is when the glaze bubbles all over, giving the surface of the ware 
 
 much tire appearance of a nutmeg grater. This is apt to happen if the glaze of the plate is too soft 
 
 or if the firing has been too hot : it is usually caused by a combination of both causes. 
 
 THE ANGLER CAUGHT. 
 (By E. Laiigstajffe .) 
 
CHAPTER III. 
 
 PAINTING ON TERRA- 
 COTTA. 
 
 Painting on terra-cotta 
 in oil or water colour 
 is much affected by 
 amateurs, but I incline 
 to think this a spurious 
 form of art. In my 
 opinion, nothing should 
 be added to any sort 
 of pottery except what 
 is capable of becoming 
 a part of itself. 
 
 In painting on terra- 
 cotta it is best to treat 
 your whole subject first 
 of all in light and shade, 
 with white enamel, using 
 it thinly for the shadows, 
 and thickly in the lights. 
 As the unglazed pottery 
 
 CHRYSANTHEMUMS. 
 
 (Bv Miss Florence Lewis.') 
 
30 
 
 CmNyV P yVI NTI JMQ. 
 
 is more absorbent than the glazed, more oil is required in the enamel when used for this purpose 
 than for ordinary work. Remember that the brush must never be filled with enamel, but take as much 
 
 on the tip as it will hold, and you will require to replenish 
 it for every brush-mark. It will not be found at all easy to do 
 this well, as white enamel is difficult to lay on cleanly and 
 smoothly, until the student has had a good deal of practice. 
 When the whole design has been painted in this manner, it 
 must be fired, and then, if the white has been put on suffi- 
 ciently thickly, the design will be glazed. You may then tint 
 it with the ordinary china-painting colours, and have it refired. 
 The chief difficulty in painting on terra cotta will be overcome 
 if your subject is well chosen. Let the flowers be of a 
 simple, open nature, such as daisies, hawthorn, blackthorn, 
 wild roses, any sort of fruit blossom, buttercups, or prim- 
 roses. Any of these and many others are very appropriate, 
 and look well; but if the student attempts anything of a 
 bell-shaped nature, or, worse still, anything elaborate, such 
 as columbine or antirrhinum, success will be most dif- 
 ficult of attainment. Colours should be very subdued on 
 terra-cotta; pale Yellows, White, Dull Greens, and Browns, 
 all look well, with perhaps a little Turquoise Blue. It is 
 best for the student not to paint on terra-cotta until 
 
 LAMBETH FAIENCE VASE. 
 
 ( With Indian Design in reddish-brown and purple, 
 on a ground the natural colour of the ware. 
 Height about 14 inches.) 
 
P^intinq on Terra-Cott^. 
 
 31 
 
 he can conscientiously assure himself that his taste is well trained, and his manipulation 
 good. 
 
 It is quite allowable to mix colours with the enamel for the first firing, but there is no advantage 
 in doing so ; as the enamel makes too rough a surface for shading upon, and it, therefore, requires a 
 second firing before it can be finished. If, however, for anything very simple, you wish to try it, let 
 the proportions be about four of enamel, to one of colour. 
 
 Coloured glazed plates and tiles may also be painted in the manner described for terra-cotta. 
 Beautiful shades are to be had of Celadon, Chocolate, Orange, Blue, Green, and others. 
 
 On glancing through the pages which I have written, I cannot but think how feeble are my words, 
 in comparison with the emphasis which I should wish to give them ; but I hope that the student will 
 believe that everything I have said I absolutely mean, and wish to be carried out; and I firmly believe 
 that by following these rules, the technical difficulties of China painting may be overcome without personal 
 instruction, although I need hardly say that much time and disappointment is saved by having good 
 lessons when the opportunity is at hand. 
 
 I now wish you all success in pursuing this branch of decoration, and as a preliminary lesson 
 will refer you to Plate I. 
 
China PyviNTi^q. 
 
 .°,o 
 
 PLATE I. 
 
 Take some Red, or Rouge Orange , mix it with oil, or megilp, and then practise laying flat 
 washes of different strengths with your largest china-painting brush. You will observe that these brushes 
 are made square at the ends, and in working, it is most important to keep them so. Let your brush 
 be filled evenly with colour, and lay a wash of any strength or size you like ; then with the broad side 
 of your brush touch it lightly in different directions, until you cannot tell which way it was worked. In 
 painting leaves or flowers, always take your brush in the direction of the fibres, veins, etc., as then any 
 brush marks showing will help the texture, which you wish to represent. Any important veins, such as 
 those in the rose-leaf in Plate I., may be taken out whilst the paint is wet, by drawing the sharp side 
 of the brush down the vein. For this purpose the brush must have no colour in it, and only 
 sufficient turpentine or megilp to make the hairs stick together. You will notice that if you keep the 
 brush square, it is like a chisel, broad one way and sharp the other. If the moist colours are being 
 used, the manipulation must be the same, but merely mix the colour with a little water or megilp. 
 Use Red for your preliminary efforts. 
 

 
 

China P/untinq. 
 
 33 
 
 PLATE II. 
 
 Olive Brown, Sevres Green 
 
 Dark Orange 
 
 Sepia 
 
 Vert Brim. 
 Ocre. 
 
 Brim No. 4. 
 
 Plate II. represents the manner of laying in a background; and of all the illustrations this will 
 be the most easily mastered. For the flat grounds, mix Olive Brown and a little Sevres Green, 
 adding plenty of oil or megilp for the paler shade. With your largest brush, wash the colour on 
 just one degree darker than you wish it to remain ; and then, whilst the paint is quite wet, dabble 
 it with your dabber, until it is quite smooth, holding the dabber upright upon the work. If you 
 find that the ground looks messy and sticky, a clean dabber will frequently remedy the evil.* 
 
 For the shaded ground, mix Dark Orange and Sepia with decidedly more megilp, or oil, in the 
 Orange than in the Brown, or Olive Brown and strong Yellow. Wash on the Orange first, and then 
 blend the Brown into it with your broad brush, and in dabbing a shaded ground, remember always 
 to dab the lightest part first. When washing in a graduated tint, it is best to exaggerate the effect of 
 light and depth which you wish to represent, as the dabbing tends to reduce them to the same tone. 
 
 * Let your first background be about 6 in. square ; but if, when you wish to cover a very large surface, you 
 find much difficulty in doing so whilst the colour is moist, some extra megilp or a few drops of Spirits of Lavender 
 will be an assistance. 
 
34 
 
 Chin/. P/gntijnq. 
 
 PLATES III , IV., and V. 
 
 
 Roseleaf Green ... 
 
 Vert Chrome Riche. 
 
 Strong Yellow 
 
 Jaime Orange. 
 
 Vandyke Brown ... 
 
 Ocre. 
 
 German Brown ... 
 
 Brun No. 4. 
 
 Carmine ... 
 
 Car min No. 2. 
 
 Royal Purple 
 
 Pourpre Riche. 
 
 Pearl Grey 
 
 Gris Perle. 
 
 Azure Blue 
 
 Bleu Riche. 
 
 In the study of apple-blossom I show you the first washes, and how it will appear both before 
 and after the firing ; and I have for this purpose chosen a subject introducing Carmine, as in over-glaze 
 
 painting it is the colour which alters more than any other in the firing. You will also notice that 
 
 the Browns are liable somewhat to disappear when mixed with other colours; therefore make your 
 Greens less vivid than you wish them finally to remain. The English Browns, however, are more 
 capable of holding their own, so that the above remark does not so well apply to them. Sketch your 
 spray with Lithographic Chalk, Indian Ink, or Smoke, then lay your background, which may be made 
 with Roseleaf Green and Azure Blue, and plenty of megilp, or oil. You must now put your work 
 
 on one side until the ground is sufficiently dry for you to scratch out the pattern, which, if you 
 

 
 
 
 
 

 
 
 
 V 
 
 
35 
 
 China Painti^q. 
 
 are using the water-colours, will be almost immediately, but with the oils it will probably be by the 
 next day. If the background is hard, breathe well on whatever part you wish to remove, and then 
 
 take it out with your penknife. For the greyish lights on the leaves mix Azure Blue and Strong 
 Yellow. For the brighter greens, Roseleaf Green and Strong Yellow. For the dull greens, add 
 brown to the two last-named colours. For the grey, to shade the flowers, mix Pearl Grey and a 
 little Carmine. 
 
 For shading the green leaves, Roseleaf Green and plenty of German Brown will be principally 
 needed, though a little Strong Yellow may be desirable here and there. For the darkest touches in 
 the Carmine, a little Royal Purple may be added to the Carmine, but let it be most sparingly 
 used, as it is a very strong colour. 
 
 Before leaving the subject of Carmine, I will again remind the student that it is a colour which 
 should always be ground with a glass rnuller, or the purity of the tint will be spoilt. Inexperienced 
 students are generally very unhappy the first time they use Carmine, wishing for the vivid tint bearing 
 that name in water-colours and oils. It is, however, best always to accept necessities with a good 
 grace, and as that full depth cannot be brought out of ceramic colours, do not be led into using the 
 paint too thickly, or the effect will be very unpleasant. The French Carmine, as may be seen in 
 the illustration, is a very good colour, when used pure and properly fired ; and Hancock’s Carmine 
 is deservedly famous for its delicacy and brightness, and looks very well even before firing. 
 
 For the centres of the flowers, lay a wash of Strong Yellow, and, when dry, scratch out 
 the light stamens, and wash them over with a paler coating of the same colour; or, if the 
 student prefers, instead of the wash of paler colour, some white enamel may be mixed with the 
 Yellow, about four parts of the former to one of the latter, and the stamens delicately made out 
 
36 
 
 C H I N y\ PyUNTIJNQ. 
 
 in relief. Afterwards add some dark touches of Vandyke and German Brown. If, when you 
 
 have had your work fired, you find the greens very violent, the carmines harsh, and your work 
 altogether crude and unsatisfactory, finish it up again for a second firing, using any of the colours 
 previously mentioned which will best answer your purpose. If carmine is over-fired it is apt 
 to turn a mauvish colour, and if it is put on too thickly, or not sufficiently fired, it assumes a 
 rusty yellow shade. You will remember that the fine Black outline in Plates III. and IV. represents 
 the Indian Ink sketch, and will fire out. The student will so readily see about how nearly the 
 colours of the different makers correspond to one another, that it will be unnecessary to specify each 
 individual colour. 
 

 
 

 
 
CmNyv Pyu NTI JN Q. 
 
 37 
 
 PLATE VI. 
 
 
 CONVENTIONAL DESIGN. 
 
 
 Deep Black 
 
 Noir Corbeau. 
 
 Strong Yellow 
 
 Jaune Orange. 
 
 Dark Orange 
 
 Ocre. 
 
 Brunswick Brown 
 
 Violet de Fer. 
 
 The same colours will be required for the design for tiles, with 
 
 the addition of the following : — 
 
 Carmine ... 
 
 Carmin No. 2 . 
 
 German Brown ... 
 
 Brim No. 4 .* 
 
 Roseleaf Green ) 
 Azure Blue > 
 
 Vert Bleu Riche. 
 
 When the design is drawn, mix Deep Black and Strong Yellow for the outer part of the back- 
 
 ground ; and although it may seem strange to lay the edge of the ground first, when that same edge 
 is the darker shade, it is best to do so, as if you dab a little pale yellow on to the green it will not 
 greatly signify, but of course green dabbed on to the yellow will be a very obvious mistake. Next, mix 
 
 Dark Orange for the orange divisions in the ground ; and when 
 
 those two colours are dry, Dark 
 
 Orange, used thinly, for the lighter shade will complete it. For the outline and the band of colour 
 
 * The student will notice that the same colours are not always used to represent one another, as they have many little 
 
 varieties. Those are chosen which best answer the purpose in hand. 
 
 j 
 
 D 
 
38 
 
 China Painti)nq. 
 
 at the edge, use Brunswick Brown, and remember that colour for outlining, being thick, must not 
 have much oil, or megilp. If you have not a wheel, the band of colour at the rim had better be 
 done for you when you have the plate fired. The leaves may be painted over the background. 
 
 Design for 5.6 in. tiles, suitable for a flower-box, the back of a washstand, or a fireplace. Use 
 Brunswick Brown, for bands and outlining ; Roseleaf Green and Azure Blue, for grounds of circles ; 
 German Brown, for corners. 
 
 A little Carmine will be useful in the breast of the bird. For the corners, dabble German Brown all 
 over, and when quite dry paint the basket-work in outline over it, and then a little slight shading will 
 complete it. Some White Enamel on the daisies, and on the under-part of the bird’s wing, will be found 
 an improvement. 
 

 
C H I Ny\ P y\l NTI JNG. 
 
 39 
 
 PLATE VII. 
 
 KINGFISHER.— FIRST 
 
 Azure Blue 
 Roseleaf Green ... 
 
 Strong Yellow 
 Vandyke Brown ... 
 
 German Brown ... 
 
 Pearl Grey 
 Deep Black 
 
 STAGE. 
 
 Bleu Riche. 
 
 Vert Chrome Riche. 
 Jaune Orange. 
 
 Ocre. 
 
 Brun No. 4. 
 
 .. ... Gris Perle. 
 
 Noir Corbeau. 
 
 Commence with the blue part of the sky, for which very pale Azure Blue and Roseleaf Green, 
 with plenty of megilp, or oil, will be right. Wash it on, with the left hand side a little darker, and 
 then dabble it. This will most probably rather obliterate the shape of your clouds ; so put a soft 
 rag round the tip of your finger, and with it remove any blue from the clouds, correcting the 
 drawing of them as you do so. When you wish to represent very small clouds, take them out 
 entirely in this way. For the grey in the sky use Pearl Grey. Strong Yellow, with more or less 
 Azure Blue, as the occasion demands, will suffice for the distant landscape and the water, using some 
 Roseleaf Green and German Brown for the shadow in the reeds and for the green reflection in 
 the water. Azure Blue for the tail and flight feathers of the Kingfisher, and different shades of 
 the same colour mixed with Roseleaf Green, for the other parts of the bird, with Vandyke Brown 
 for the breast. For the brown tips to the leaves use German Brown. 
 
40 
 
 China P y\i nti jnq. 
 
 PLATE VIII. 
 
 The same colours will be required as for the preceding plate, with the addition of a little Royal 
 Purple (. Pourpre Riche). 
 
 For the bright green shades, on the wings and back of the bird, use pure Roseleaf Green; and a 
 little Royal Purple, mixed with Azure Blue, for the purplish tints. Shade the breast of the bird with 
 German Brown. A little White Enamel (with respect to which, refer to general directions) will be an 
 improvement to the flowers, and to the white part of the bird. Green and brown will be useful in 
 finishing the water, leaves, and reeds, in proportion as they seem to be required. 
 

 

 
 
 
 
 

4i 
 
 CHINy\ PyMNTIJNQ. 
 
 PLATE IX. 
 
 FIRST WASHES OF PANSIES. 
 
 Sepia ... 
 
 Dark Orange... 
 Strong Yellow 
 Persian Yellow 
 
 Brun No. 4. 
 Ocre. 
 
 Jaime Orange. 
 Jaune a Meier. 
 
 Roseleaf Green 
 Azure Blue . . . 
 Royal Purple... 
 Grey Black . . . 
 
 Vert Chrome Riche 
 Bleu Riche. 
 
 Pourpre Riche. 
 
 Noir Corbeau. 
 
 When the sketch is quite complete, mix the colour for your background. Azure Blue and 
 Strong Yellow, pale, with plenty of megilp, or oil, will serve for the tone behind the clematis. Use 
 Sepia for the dark left hand -corner. Do not forget that the pale part of the background must be 
 dabbled first, and much time and trouble will be saved if, in painting the background, you produce 
 the right tone for the first firing. For the clematis use a pale wash of Persian Yellow. For the 
 yellow pansy, Strong Yellow will be best, painting it light and dark, so as to gain as much effect as 
 possible at once. Dark Orange will be the colour to make use of for the amber touches in all the 
 pansies. For the purple flowers, Royal Purple and Azure Blue will suffice, using more or less blue 
 or purple as the case demands. In all velvety flowefs, you will gain a much richer, softer effect, 
 by drawing the different shades into one another whilst the colours are wet ; but if great delicacy 
 is required, let one colour dry before adding another. In using the oil colours, very little oil should 
 be added to Pourpre Riche ; its tendency is to become fat. For the greyish lights on the leaves, 
 
 mix Azure Blue and Strong Yellow. For the warmer greens, Roseleaf Green and Strong Yellow, 
 with Sepia and Dark Orange, when required. 
 
42 
 
 Chin/ P/intijmq. 
 
 PLATE X. 
 
 SECOND STAGE. 
 
 The same colours must be mixed as for the first painting, with the addition of White Enamel 
 and Grey Black. 
 
 When the leaves are finished, shade the clematis with a greenish grey, composed of Azure Blue 
 and Strong Yellow, and paint in the green and yellow centres. The yellow pansy may be shaded 
 with Grey Black and Strong Yellow and darker touches of the latter. For the dark pansies use 
 the same colours as before. When the shading on the clematis is dry, carefully scratch out all 
 the prominent lights on the stamens, and all those on the petals, which have been necessarily 
 covered in painting. Then, to four parts of Enamel, add one part of Persian Yellow, and paint 
 the stamens with little sharp touches of relief. Do not use much megilp, water, oil, or turpentine, 
 and never fill your brush with Enamel, but take a little touch, sufficient for each stroke, on the tip 
 of it. If you think your background must be repainted for the second firing, do not use the 
 Enamel until after it is fired, as it is most difficult to clean, if you get any paint on it. 
 

C H I Ny\ Py\INTI]NQ. 
 
 43 
 
 PLATE XI. 
 
 AUTUMN-TINTED LEAVES.— FIRST STAGE. 
 
 German Brown ... 
 Vandyke Brown ... 
 Brunswick Brown 
 Deep Green 
 Roseleaf Green ... 
 Strong Yellow 
 
 Grey Black 
 
 Azure Blue 
 Royal Purple . . 
 
 Brun No. 4. 
 
 Ocre. 
 
 Rouge Chair. 
 
 Vert Noir. 
 
 Vert Chrome Riche. 
 
 Jaune Orange, 
 f Noir Corbeau. 
 
 ^ Bleu Riche (very small quantity). 
 Bleu Riche. 
 
 Pourpre Riche. 
 
 For the pale part of the background use pale German Brown. Shade this into the same colour, 
 mixed with a little Deep Green, into a warm olive green. 
 
 For the leaves, put plenty of megilp with Vandyke Brown, used very thinly, and blend the 
 Brunswick Brown into it whilst quite wet. For the orange-coloured leaves use rather darker Vandyke 
 Brown, and tor those of a dull green shade, Roseleaf Green, Strong Yellow, and German Brown. 
 
 For the dark parts of the bird, mix Grey Black, and a very little Royal Purple, but remember 
 that the latter always shows much more after firing. 
 
 For the wild plum, you will require Azure Blue and Royal Purple, and try to get as much 
 
44 
 
 Chin/. PyviNTij^q. 
 
 effect as possible whilst it is quite wet. For this you must have one or two small dabbers in 
 quills. 
 
 Put pure pale blue on the lights, purple and blue on the reflected lights, and purple alone 
 for the shadows. Next, take your little dabber and blend the shades together, beginning with the 
 blue. 
 
 Be very careful not to dabble the shadows all over the lights, and great care must be taken, in 
 order to keep the tones soft, yet quite distinct. To assist in this, the tip of your finger used as a 
 dabber will be found a very efficient instrument. As long as the colours keep moist, you may touch 
 the berries again and again, redabbling after each time. 
 
 The student is advised first, to try a few experiments on a spare tile. 
 

 
 
 
 
 
 
 
 
 
 * 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 V 
 
 
 
 
 
 
 
 
 
 
 
China P/untijmq. 
 
 45 
 
 PLATE XII. 
 
 SECOND STAGE. 
 
 The same colours may be used as for the preceding plate, with the addition of Deep Black. 
 
 In shading the faded leaves, use first of all Brunswick Brown, thicker than in the first painting, 
 and the darkest touches may be put on quite thickly. The dark portions of the bird’s plumage 
 may be shaded with Deep Black, and for the shading of the bird’s breast, and the under side of its 
 wing, make a grey with Azure Blue, Carmine, and Strong Yellow. The leaves painted with Vandyke 
 Brown may be shaded with German Brown, and if there is any prospect of your plate requiring 
 a second firing, do not touch the fruit in the second painting, as you will do it much more easily 
 after it is fired. On the most prominent leaves, a little Strong Yellow, washed on to the Vandyke 
 Brown, will help the effect, but do not let it touch the red. 
 
 E 
 
46 
 
 Chin/. P/intijng. 
 
 PLATE XIII. 
 
 
 HEAD. 
 
 
 Vandyke Brown ... 
 
 Evans' Brown. 
 
 Sepia 
 
 Brun No. 4. 
 
 Brunswick Brown 
 
 Rouge Chair. 
 
 Grey Black 
 
 j Evans' Brown and Bleu Riche 
 ( (in this instance). 
 
 Deep Black 
 
 Noir Corbeau. 
 
 Strong Yellow 
 
 ■ . Jaune Orange. 
 
 Deep Orange 
 
 Ocre. 
 
 Royal Purple 
 
 Pourpre Riche. 
 
 Azure Blue 
 
 Bleu Riche. 
 
 Roseleaf Green ... 
 
 Vert Chrome Riche. 
 
 The head shown in the following illustration is taken, on 
 
 a very reduced scale, from a splendid 
 
 specimen of Messrs. Minton & Co.’s painting on pottery. If the student wishes to attempt something 
 in the same style, an entirely fresh branch of decoration is immediately opened to him, namely, that 
 of gilding ; but, as painting and gilding are generally considered quite distinct trades, the result will 
 probably be much better, if you allow a gilder to lay your background, and also to burnish it after firing. 
 This may be done by giving the order when the plate is sent for the first firing, as in any case, the whole 
 subject should be painted, before the gold is touched. If, however, you are desirous of doing it yourself, the 
 gold may be bought, either among the Worcester colours, or, if you are using Lacroix’s colours, it may be 
 

China Paintijnq. 
 
 47 
 
 obtained ready ground on a little glass palette, of Messrs. Lechertier, Barbe & Co. Do not be tempted into 
 buying the liquid gold in preference to this, as it presents, when fired, an extremely tinselly common 
 appearance. Those who often use gold, reserve the same brush for the purpose, as it saves waste, 
 there being then no necessity for rinsing it out. If it becomes hard, having been used with oil, dip the 
 brush into turpentine and hold it before the fire before using it. The student who is unaccustomed 
 to seeing gold before it is fired, will be surprised to find that it looks black, and after firing a dull 
 yellow, which necessitates its being burnished in the following manner. This, however, should not be 
 done until after the last firing. Mix some silver sand with water until it is of the consistency 
 of paste, and rub it on to the gold with wool. Afterwards, polish it until it is dry, with a clean 
 rag. If you wish to chase a pattern on the gold, you must use an agate burnisher, rubbing it always 
 in the same direction and keeping your hand very steady, as any slip or mistake can only be recti- 
 fied by having the plate refired, which will cause the gold to become dead again. 
 
 Lay the gold on thickly, and as evenly as possible, with a broad brush. It is most important to 
 put it on well, as it cannot possibly be dabbled. 
 
 For the flesh tint put a pale wash of Vandyke Brown, with plenty of megilp in it, over the 
 
 face and neck, and before dabbling it at all, put a little pale Brunswick Brown into each cheek. 
 
 Then dabble the two colours together, being careful to finish the colour on the forehead, neck, 
 chin, and nose, before touching the red with your dabber, otherwise you will have the red all 
 over the face. Let the Brunswick Brown be well blended into the Vandyke Brown, and make it 
 
 a shade darker than you wish it finally to appear, as it invariably becomes paler in the first 
 
 firing. If you have had much practice in using your dabber, you may wash in the broad 
 shadow on the face and neck whilst it is wet, and then blend the colours with your dabber. If you 
 
48 
 
 CHJNyV P yMNTIJNQ. 
 
 feel uncertain as to the result of this, lay the flat wash first, and let them be thoroughly dry before 
 they are retouched. When quite hard, mix some Vandyke Brown for the shadow, and the same 
 colour mixed with a little Grey Black for the half-tones. Then dip your dabber straight into the 
 colour, and put in the shadows without the use of any other brush. To do this successfully 
 requires some little practice, as the effect is very bad if the shadows look spotty. After filling the 
 dabber with colour, always try it on your palette, before touching the face with it. Students who 
 are quite inexperienced, generally find it best to have the flat flesh tint fired, before shading it at 
 
 all. Paint the lips with Brunswick Brown, and the same with a little Black in the darker parts. 
 
 A good deal of stippling will be required before the second firing. 
 
 For the dress, mix Royal Purple, Deep Azure, and Deep Black, and if this colour appears 
 
 too violent after it is fired, a wash of Vandyke Brown will improve it. 
 
 For the ribbon and jewels, mix Azure Blue and Roseleaf Green. The gold may be painted 
 with pale Strong Yellow, shaded with Deep Orange, and a little Vandyke Brown in the darkest parts. 
 
 The hair may be painted with- Vandyke Brown, and shaded with Sepia, and be careful to 
 treat it very broadly. The original of this illustration is painted entirely in underglaze, and presents 
 a richness of colour which cannot be completely achieved in overglaze painting. 
 
China Py\i nti jnq. 
 
 49 
 
 
 PLATE XIV. 
 
 
 
 FIGURE. 
 
 
 Brunswick Brown 
 
 
 / Rouge Chair (for flesh tint). 
 
 ( Brun Rouge Riche (for dress). 
 
 Vandyke Brown ... 
 
 
 Evans' Brown. 
 
 German Brown 1 
 
 
 hi rim Afn a 
 
 Sepia 1 
 
 
 . . . J-J f ll/L XV £/. 
 
 Roseleaf Green 
 
 
 Vert Ciirome Riche. 
 
 Strong Yellow 
 
 
 Jamie Orange. 
 
 Grey Black 
 
 
 j Noir Corheau, and a very little 
 ( Bieu Riche. 
 
 Deep Black 
 
 
 Noir Corheau. 
 
 Plate XIV. is copied from a piece of painting, from the studio of Messrs. Doulton & Co., from 
 a design by Mrs. Sparkes. If the student wishes to do something in a similar style, the colours above 
 mentioned will be the colours to use. 
 
 For the first wash on the background, mix Roseleaf Green and German Brown. In the darkest 
 parts, shade a little extra brown into this. Do not attempt to put in the leaves whilst the ground is 
 wet, but let it have time to thoroughly dry. Then with some Sepia indicate the shapes of the leaves, 
 not too darkly, and when that stage is also dry, wash in the shadows very flatly, with a warm green, 
 being most careful not to disturb the under-coating. For the oranges, use Strong Yellow and Deep 
 
 Orange, and shade them with Vandyke Brown and a little German Brown in the darkest parts. For 
 
50 
 
 China Paintijnq. 
 
 the stonework put a pale wash of Strong Yellow mixed with a great deal of megilp, and while it is 
 quite wet, put in the lighter shades with Grey Black, and dabble them together. The broad dark 
 shadow behind the man may be put in with brown and green, the former predominating. 
 
 For the man’s clothing use Brunswick Brown, and when quite dry, it may be shaded with the 
 same, mixed with a little black. 
 
 The head may be treated in the same way as the head in the preceding plate. 
 
 For the hair mix a little Grey Black. Brunswick Brown and Deep Black, used quite thickly, will 
 make a good outline for the whole figure. 
 

WMMMMI 
 
 
China Painti^q. 
 
 5d 
 
 PLATE XV. 
 
 CONVENTIONAL BORDERS. 
 
 Deep Black 
 Dark Orange 
 Strong Yellow 
 Brunswick Brown 
 Roseleaf Green ... 
 
 Azure Blue 
 Brunswick Brown ( 
 
 Deep Black > 
 
 The greens may all be mixed with Deep Black and Strong Yellow. For the pieces of deep 
 orange use Dark Orange. For the different shades of yellow, Strong Yellow, lighter or darker, as 
 you may require it. For the red background, Brunswick Brown. The same, mixed with Black 
 for the bands of colour, and the same or Deep Black for outlining. Roseleaf Green and Deep 
 Azure, for the brighter shades of peacock. For the dark shade, Roseleaf Green, Deep Azure, and 
 Deep Green. 
 
 The Italian border may be drawn with a pen and Vitrifiable Ink, and the colours washed on 
 afterwards, but this is not a necessity.* Remember always to paint in the dark parts first. In using 
 these borders, do not copy the colouring indiscriminately, as the borders must be made to harmonise 
 with the more prominent parts of the work in hand. 
 
 * See General Introduction. 
 
 Noir Corbeau. 
 
 Ocre. 
 
 Jaune OrangL 
 Brun Rouge Riche. 
 Vert Chrome Riche. 
 Bleu Riche. 
 
 Violet de Fer. 
 
52 
 
 China Py\i nti jn q. 
 
 Deep Green 
 
 FRONTISPIECE. 
 
 Vert Noir. 
 
 Azure Blue 
 
 
 Bleu Riche. 
 
 Roseleaf Green 
 
 
 Vert Chrome Riche. 
 
 Brunswick Brown 
 
 
 Brim Rouge Riche. 
 
 Royal Purple 
 
 
 Pourpre Riche. 
 
 Dark Orange 
 
 
 Ocre. 
 
 German Brown . . 
 
 
 Brun No. 4. 
 
 Although the specimens of pottery represented in the frontispiece are not really over-glaze 
 painting, being pieces of Lambeth Faience, there is no reason why they should not be adapted to 
 over-glaze, with a very good effect. 
 
 The plate should be done on cream-coloured ware, and a mixture of Deep Green, Azure 
 Blue, and Roseleaf Green will match the peacock colour. As the pattern will be elaborate, and 
 the ground dark, it will take a long time to scratch out, therefore this will present a good opportunity 
 for trying the mixture of castor oil and spike oil (see General Directions). When the design is quite 
 clean, wash a little Vandyke Brown over the greater part of it. Lastly, on the clean parts put 
 a few touches of enamel, mixed with Deep Orange. 
 
 For the background of the large vase use Dark Orange, rather 1 pale, and German Brown. For 
 the dark brown on the pilgrim bottle, either Brunswick Brown, or Vandyke Brown and Royal Purple, 
 will look well, but in either case the colour must be used very thickly. The other tints are so 
 obvious that they need no description ; but in working out any design which is on so small a scale, 
 by all means supplement the materials you have before you by sketches from nature. 
 
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