In painting on the biscuit white paint is sometimes used. This can be procured of English manufacture, but is not, I believe, made by M. Lacroix. The colors manufactured by Messrs. Hancock & Sons, Worcester, England, are also very satisfactory. The tints of these and the colors of other English manufacturers corresponds with those of M. Lacroix, which have been mentioned. The latter manufacturer, however, furnishes a much greater variety of colors, and the reds especially are superior to any English reds I have seen. M. Lacroix’s list includes at least three reds, one of which, _Rouge T._, can be relied upon to produce as good a scarlet as is possible under the glaze, when used under the proper conditions. The English carmines are very satisfactory. The English green, called French green, corresponds in tint to that of M. Lacroix, called _Vert foncé_, No. 1, while mazarine blue, of the Worcester and Phillips manufactures, and Cobalt blue of others corresponds to the _Bleu de Roi_ of the French, and for work on biscuit white ware stands the fire rather better. The Victoria green, of the Worcester colors, is especially to be commended for a light green which stands the fire remarkably well. Phillips’ English colors are also very good. His mazarine blue, especially, is one of the finest blues I have ever met with. Emery’s and Harrison’s colors fire very well, but are not so finely ground as the first mentioned. [Illustration: Decoration] CHAPTER III. PAINTING ON POTTERY AFTER THE MANNER OF THE HAVILAND OR LIMOGES FAIENCE. This method of painting on pottery is said to have been discovered by M. Laurin, at _Bourg-la-reine_, in the year 1873. The process was afterward adopted by M. Haviland, and by him improved in such manner as to materially change the method, as well as the appearance of the painting. Specimens of the ware were first exhibited at the Centennial Exhibition, in Philadelphia, in 1876. The first application of a similar style in the decoration of pottery, in this country, was made by the writer in Cincinnati, in October, 1877. This method of decorating pottery, although not involving the use of any new principle, was yet so entirely novel an application of principles already in use, as to entitle M. Laurin to all the credit attaching to a very original and important discovery. It places in the hands of the painter of pottery a method at once so artistic, and so thoroughly in accord with the modern school, as to awaken a profound interest in the minds of all lovers of art. It is probable that there are capabilities in this art that have not yet been brought out. It is still in its infancy, and that there are in it possibilities of much importance to the artistic world, can hardly be doubted.