Relief-work can be finished with a full glaze, a very slight glaze, or can be left unglazed. As a general thing it may be said that the modeling in a design in high relief will look best with but a slight glaze, or none at all. The slight glaze is called by potters a “smear” glaze, and is effected by firing the work in a “seggar,” which is glazed upon the inside. The unglazed ware absorbs enough glaze from the glazed surface to give it a semi-glazed appearance, which is very pleasing. Work in partial relief, as well as articles in full relief, can also be finished by the application of colored glazes. This is the method by which the ware known at the present time as majolica is produced. Blue and green glazes of this kind are frequently to be obtained in potteries in this country, where they may be applied to work which has been modeled. Other colors in majolica glazes are to be had from the dealers, and if the colors desired can not be applied at the pottery, the artist can apply them with a brush in the same manner as paint is used upon the biscuit. The effect of work of this kind can also be enhanced by gilding put on over the glaze. CHAPTER VI. INCISING AND CARVING IN CLAY. These are two of the simplest as well as most effective methods of decorating pottery. We will treat first of incised work in clay. The piece of ware to be decorated must, of course, be in the “green” state; not too wet, yet not dry enough to be brittle. An outline drawing can then be executed upon its surface with a pointed modeling tool, not too sharp, and perfectly rounded at the point. If any burr is thrown up in the course of the lines, it must not be brushed off until the piece has become partially dry. The drawing can then be brushed over with a stiff camel’s-hair brush, leaving the lines free. These lines can now be filled with dark (under-glaze) paint (black is best), mixed with a little gum arabic and water. In going over the lines some of the paint will extend over the edges; this can be scraped off, when the clay is dry, with the edge of a sharp steel blade, two or three inches long, held between the fingers and thumb. A broken knife-blade will do for the purpose. This scraping must be very lightly and carefully done, to avoid injuring the surface of the ware. The surface may afterwards be rubbed over with the very finest sandpaper, when entirely dry.