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bear the highest temperature are first applied, and subsequently those which are brought out at a lower temperature."

It would seem that all the colours are metallic oxides: the rosecolours and purples are made from gold; greens from chromium and copper; yellows from lead, antimony, and tin; red from iron; blue from cobalt. Combinations of different oxides produce a variety of colours. The famous Derby blue-a regal purple-is obtained from pure oxide of cobalt. Cobalt ores are found in Bohemia, Saxony, and France, but more abundantly in Germany, Sweden, and Norway. And here we cannot forbear quoting the following from the "History of Inventions," which is at once instructive, suggestive, and amusing: "The word cobalt seems to be derived from cobalus, which was the name of a spirit that, according to the superstitious notions of the times, haunted mines, destroyed the labours of the miners, and often gave them a great deal of unnecessary trouble. The miners probably gave the name to the mineral out of joke, because it thwarted them as much as the supposed spirit, by exciting false hopes and rendering their labours often fruitless; for as it was not known at first to what use the mineral could be applied, it was thrown aside as useless. It was once customary in Germany to introduce into the Church service a prayer that God would preserve miners and their works from kobalts and spirits." Miners now eagerly search for the ore and gladly welcome its appearance.

Opening the closed door of one of the studios our guide invites us to enter. We do so, and find ourselves in a veritable School of Art. The tables are bright with young faces, all intent upon the work beloved and revered by them beyond any other. Some are painting and others are burnishing.

In another studio every facility is allowed to first attempts, by way of encouragement of original work. It is instructive to watch. the young designers portraying the forms and lines of beauty that represent the aesthetic world of the ideal. The ease with which the circles and many-sided figures are described with the skilfully managed brush, stencil and compasses, is not the least pleasing part of the work executed in this interesting department.

"Time goes," says our guide. "You had better come now into the 'glazing-room.'" We hasten to obey, but the obedience costs us an effort; the studios being highly attractive. As we pass the gilding-room on our way to the glazing-room we look in for a moment. "Laying on the gold" calls for the most minute care. To each gilder a tiny "tot" of gold, equal in value to five

shillings, and appearing as a mere dab on the palette, is allowed at one time. It is expected that a certain amount of work will be accomplished with this allowance; nor do the artists disappoint expectations. Gold, before firing, appears black, and after baking of a dull yellow. It is the work of the burnisher to "bring up the gold," by rubbing the gilded surface with a bloodstone and agate. But now we are in the "glazing" shop. We have already given the constituents of the china-glaze, and as we peer into the wooden tub or vat containing the mixture we observe that it resembles, so far as its appearance goes, ordinary whitewash. Before the tub stands a man in white apparel, and to his right a pile of ghostly plates, waiting for immersion. Fixing on the thumb of his right hand a hook of some three or four inches, he lifts a "piece" with hook and fingers from the bench to the tub, and dexterously twirls it in the glaze, draws it out, wipes his fingers round the edge to remove any slight marks there may be, and places the plate upon a special support, where it remains until it is taken away to be scoured for the second time before the second firing. Of course it is no longer "biscuit" ware. The dexterous movement of the glazer appears as simplicity itself, but appearances are most unreliable. "I was years," says the glazer, "before I could dip a plate properly. I thought the action looked easy enough as I watched others do it, but I found it more difficult than I can tell you."

After glazing and scouring, the plates (other undecorated pieces are dealt with in the same way) are fired for ten, twelve, fourteen, or sixteen hours, as the case may be, in saggers rendered air-tight by clay pressed between each two, and the firing completed, the glazed articles are carried to the "glost "warehouse, and here they are rubbed smooth with sandstone or rubbing-stone, and then distributed to the various studios for decoration. This last applies only to articles decorated "over the glaze."

China printing is also in vogue at the Derby China Works, but there is less demand for printed articles than for hand-painted goods. To effect a high-class print the selected design is skilfully engraved on copper sheets, and these are filled with colour. A sheet of thin tissue paper is damped with size and spread upon each plate, and this again is pressed between flannel rollers. The pressure transfers the pattern from the copper plate to the damped paper which, in its turn, is caused to transfer its design to the vessel it is required to decorate. A fair share of patience and knack are requisite to the successful laying of the damped paper upon the plate or other article.

When it has been accurately placed, frequent measurements having been taken with compasses, dry tissue paper is rubbed over with a brush, until not a crease is visible. A soapy flannel is passed over the surface, and the reverse end of the brush is freely used to rub the pattern well on. A sponge and water remove the paper. The firing incorporates the colour with the glaze. The engraving of the copper plates is a costly undertaking, hence only in the execution of large orders is printing resorted to, it costing less to decorate by hand where a small order is concerned. A separately engraved plate is necessary in each case where the vessel differs in size or form from its predecessors-e.g. the plate used in printing a gravy dish or a meat plate would be useless for printing a vegetable-dish cover, or a gravy tureen.

As we left the ingenious printers, and their careful transfers, we turned in at the "ground-laying" workshop. "This ground-laying is very fashionable just now," observed our instructor.

"You see how

it is managed. The 'colour' is dusted on to the piece, after the latter has been oiled all over. This is followed by a 'firing,' and subsequently by another dusting of 'colour' and a second 'firing,' when the selected tint results."

In conclusion, we pass from an imperfect description of many interesting processes to the general statement that the productions of the Royal Crown Derby Porcelain Works are unsurpassed by any in the kingdom; they are at once highly artistic and useful. Among the most beautiful of the chefs-d'œuvre of the plastic art are the exquisite egg-shell-like cups and saucers, than which we have seen nothing superior. Professor Jewitt thus writes of them : "The 'body' is of a high degree of transparency, of marvellous thinness and of extreme hardness and tenacity, and on some examples, the raised gold-pattern is in the finest and most delicate of lines, and yet without flaw or fault. In whatever style, indeed, the decoration of these choice cabinet specimens is done, there is a studied delicacy and beauty that are in keeping with the apparently fragile body of which they are composed."

Amongst the most ardent admirers of Crown Derby ware are the citizens of the United States and Australia. Few of these who are true lovers of art return to their own country, after visiting England, without making a run into Derbyshire, and selecting trophies of excellence and beauty from the show-room cabinets.

The January of the year 1890 opened brightly for the Derby China Works. By the intervention of His Grace the Duke of

Devonshire, K.G., Lord-Lieutenant of the county, and Lord High Steward of the borough of Derby, the gracious permission of the Queen was accorded to the company to use the title of "Royal" in connection with their manufactures. When it is remembered for how many years royalty has patronised the ceramics of this factory, and that the manufacture of china was commenced here a year earlier than at Worcester, which has long since enjoyed the title, the permission accorded to Derby is no more than is befitting.

JAMES CASSIDY.

NOTES FROM THE

SOUTH.

DO

ON MATTEO, the incomparable host of the Cappucini at Amalfi, lies dead. The loveliest spot in Italy will henceforth lack one great charm for those who have known Amalfi as Don Matteo's guests. "Such a gentleman!" was the description oftenest heard of the courteous, graceful-mannered, lynx-eyed, ever-active

He was versed in all the ingenuities of kindness. Each guest believed himself the host's most favoured. To some one taking care of an invalid he said, "Tell the lady no dish goes up to her room that I don't inspect first myself." And the answer was, "You need not say so. I know that often you lend a hand in cooking for her." Long years ago, a titled Scotchman and his beautiful wife, whose rank was still higher than Milordo's, stayed long at Amalfi. They wanted other fare than that of ordinary travellers-even in those distant days when few but persons of importance made the grand tour. Don Matteo said, "Princes must dine well, even though they have not wherewithal to pay their cheer." Another of his maxims was, "Always give the most exquisite wine, whether or no you can make a profit upon it." His Milordo liked good wine, and a good deal of it. The great lady loved boating in the radiant southern nights. Boats were retained permanently for her use, and for her husband's fishing expeditions. Then there were mountain excursions, with guides and mules; shooting parties, too, in the hills, when sometimes tents had to be carried as well as provisions. Milordo told his host that he had had "some monetary difficulties." Don Matteo paid all the daily expenses. "Ah," he would say, "his lordship attracted me. I love him as one of my own-love the very recollection of him-in spite of everything! Amalfi grew too warm. The foreign guests must depart. But the "monetary difficulties" continued in full force. Some of the hotelkeeper's family suggested that an embargo should be laid on the nobleman's valuables. But Miladi said, "You will let us go away, Matteo, still in your debt." ("She used to call me 'Matteo,' just

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