_Over_-glaze painting, as is well known, is executed upon the glazed surface of the finished ware with vitrifiable colors having enough flux or fusible material in their composition to cause them to fuse at a comparatively low temperature, and so become attached to the glaze. _Under_-glaze decoration is effected by the use of colors which contain less flux, and consequently require a higher temperature for their fusion. It can be executed either upon the ware in the “green” state, or, as is more commonly the case, in the biscuit. These two methods of painting differ materially in their effects. Any one familiar with these effects can readily discover whether a piece of pottery has been decorated over or under the glaze. Those who are not practically conversant with the two methods can be easily misled, and mistakes are frequently made by those who should know better, as to the method employed in the case of a piece of ware in question. A certain delicacy of tint and firmness of outline characterizes overglaze painting, which is easily recognized by experts, but those who can not distinguish between the two methods by this means may ascertain to which class the decoration belongs by looking aslant the surface. The glaze upon the painted portions of a piece of ware decorated over the glaze, will not, even after the most perfect firing, equal the glaze upon the uncovered portions in brilliancy, and there will probably be certain inequalities of surface between the painted and unpainted parts which will be revealed to the touch. If the decoration has been executed under the glaze the surface will be uniformly covered with a brilliant glaze. Of the two, underglaze painting is probably the most difficult, as the colors are more liable to change under the action of the great heat to which the ware must be subjected, and the final results being, therefore, somewhat uncertain, can not be accurately counted upon, until experience has been gained from repeated failures. On the other hand, overglaze painting, while not subject to the changes produced by the fire, to so great an extent, is more difficult as regards the manipulation of the painting upon the glazed surface. The facilities for the practice of overglaze painting are greater than those afforded for painting under the glaze, which last, requires not only the handling of an artist who has acquired facile use of the brush and some experience of pottery clays and colors, but also the assistance of an intelligent and skillful potter. Let us not, however, laud one method of painting at the expense of the other. Both are good in their way, and confined within their proper limits, have beauties peculiarly their own. Overglaze painting possesses a delicacy of effect and a variety of color which the underglaze decoration can not rival. The latter is, however, the most artistic as well as the most effective, and lends itself more readily to the uses of decorative art and to the modern taste in color.