“Third. The flux of carmines is made of 1 part red lead, 3 parts of Etampes sand, and 5 parts of pulverized borax. “Fourth. The flux of purple is made with 3 parts of red lead or of litharge, 1 part of Etampes sand, and 5 parts of crystallized boracic acid. “Fifth. The flux of violets is made of 27 parts of litharge or red lead, 2 parts of Etampes sand, and 11 parts of crystallized boracic acid. “Sixth. The flux of greens employed, as well as the two preceding M. Salvetat, was prepared by him with 8 1-9 parts of red lead or litharge, 1 part of Etampes sand, and 2 parts of crystallized boracic acid. “Seventh. Last the flux of the metallic substances, which is of sub-nitrate of bismuth, obtained by decomposing in water the nitrate of the acid of bismuth, to which is added 1-12 of borax.” These fluxes are mixed with the basic oxyds in greater or less proportion, according as the colors are intended for work, which will require a greater or less degree of heat in firing. Underglaze colors in powder suitable for painting on pottery, can be procured of several different manufactures. As mentioned before, the variety of these colors is not so great as is to be found in overglaze colors, but as they can be readily mixed the number is sufficient for all practical purposes. In my own work I have made almost exclusive use of French colors, those manufactured by M. Lacroix. These colors are finely ground and of considerable variety of tint. A list of those which have been tried and found to give satisfactory results, may be given here: Blues—_Bleu de Roi_ (King’s blue). _Bleu violacé_ (violet blue). Light blue—_Bleu myosotis_ (Forget-me-not blue). Reds—_Rouge T._ (Red T.) and _Rouge P. W._ Carmine—_Rose_ (or Pink). Greens—_Vert foncé_, No. 1 (dark green). _Vert tendre_ (light green). Black—_Noir_. Browns—_Brun foncé_ (dark brown). _Brun_ No. 5 (Brown No. 5). _Brun jaune_ (yellow brown). Yellow—_Jaune foncé_ (dark yellow). Grey—_Gris clair_ (light grey). There are many others, but these are mentioned as among those that have been tried and found to fire well, and the colors given in this list will be sufficient for the production of all the tints needed in underglaze painting. In faience painted after the Haviland method, fine white clay takes the place of white.