The method of decorating pottery here described is similar in its effects to what is known as the Haviland, or Limoges faience, and is given as the result of numerous experiments made by the writer. The finished work presents the appearance of a painting in oil, to which a brilliant glaze has been applied. This glaze not only renders the colors unchangeable, but gives a beauty and effectiveness which could be acquired in no other way. There is nothing peculiar in regard to this glaze, however, the only requisite being that it should be suited to the body of the ware, and that the latter and its glaze must not require so great a degree of heat in firing that the colors shall be injured. This matter of the glaze has been almost uniformly misrepresented in accounts of the ware which have been published. It has been said that the peculiar effect of the work was due to the glaze, and that the secret of making it was not generally known. This is not at all true, as the results are due solely to the peculiar method of painting, and the glaze is simply the process by which it is finished, and bears the same relation to it as the varnish does to the painting in oil. The work will suffer, of course, if this part of it is not well performed; but the distinguishing feature of the method consists not in the glaze, but in the use of clay, which is mixed with coloring oxides, capable of bearing a high degree of heat in firing, and which gives them body, producing a thick _impasto_ in the painting. The work partakes, therefore, both of the nature of painting and modeling, as the high lights may be laid in so thickly as to produce an actual relief.