We have already pointed out the difficulties with which artists on clay have contended. The action of the fire made the result, in so far as the coloring is concerned, always more or less of a problem. Too much or too little heat changed the entire aspect of the piece. Although, therefore, we find in Italy and elsewhere great painters furnishing designs for the decoration of pottery, we seldom find them actually engaged upon the ware itself. Artists naturally prefer the medium which preserves their individuality of touch and finish. This personality the fire destroyed. All that was distinctive of the individual palette and brush vanished under the heat. What the exact nature of the Havilands’ new process and the composition of their palette may be we have not the means of discovering. We know, however, that the painting is laid upon the clay before it is fired, that the piece is then glazed, and is afterward baked for between twenty and thirty hours. Body, glaze, and colors are therefore subjected to the fire together. The glaze is alkaline, and is similar in its general character to that used on _pate tendre_ porcelain. We need not inquire into the preparation of the colors. It is claimed that the possession of the latter brings the result of any operation within such bounds that it can be calculated with a reasonable approach to certainty. Let it be fully understood what this implies. It means that with palette practically unlimited, any artist can apply himself to the decoration of earthen-ware, and find his work emerging from the furnace stamped as clearly with the individuality of his design and execution as if he had applied it to a painting upon a panel or canvas.