Some work of a similar character has recently been done in this city, however, in which the ware has been fired and glazed in such a manner as to make it perfectly durable, and, at the same time, great beauty of coloring has been retained. This result is not only important from the fact that it offers opportunity for the production of ornamental wares, but, also, from the consideration that the perfection of the firing and glazing of the ware renders it valuable for articles of use. Nothing could be prettier than sets of tableware made of this cream-tinted clay, decorated in colored, conventional designs. This would, we think, be the perfection of ware for ordinary use, and would form, with the combination of the delicately tinted body and the harmonious colors of the underglaze decoration, a service both pleasing to the eye and very durable. It is not the province of a work on under-glaze painting to enter into the subject of over-glaze decoration, yet as they are frequently combined, mention may be made of some of the varieties of decoration in which the two processes are used. The most common form of the union of the two methods is that in which gilding is used as an adjunct to under-glaze decoration. Gold is always applied over the glaze, as it would be utterly destroyed by the action of the heat necessary in the firing of any hard glaze. That prepared by decorators by dissolving gold in aqua regia may be used, or the “bright” gold, which is obtained in a liquid state. The former is the most durable, and when fired can be burnished or left with a dead finish, which in many cases has the most pleasing effect. The “bright” gold, as its name indicates, becomes bright in the firing and the burnishing is thus rendered unnecessary. On a “smear” glaze the “bright” gold produces a beautiful dead gold effect, owing to the dead surface of the ware to which it is applied. In Japanese wares, dark blue, under-glaze, often appears in conjunction with gold, and also with red, green, or other colors which have been put on over the glaze. One beautiful result of the combination of over and under-glaze painting is seen in the ware painted by Lemonnier. In this the ground is generally painted under the glaze in a manner similar to that described in this chapter for the production of Lambeth faience. The design is then painted with over-glaze “relief” colors, and the high lights laid in heavily, the whole producing an effect which combines the delicacy of the over-glaze colors with the depth of the under-glaze.