"Oh, I went to the Capitol, of course," he answered, "and to the White House, and the Congressional Library; then Dad took me to the Smithsonian Institute and to the Bureau of Printing and Engraving, and ----" "Stop!" cried Mr. Marwood. "I now have found out exactly what I wished to know. So you have seen bank notes engraved?" "Yes, sir." "You remember then how the design is cut on a copper or steel plate?" "Yes, indeed," came promptly from Theo. "I am very glad of that, for it is precisely this method we use when we print designs on china. The difference is that the designs on our money are printed in ink, and those we transfer to our porcelain are done with mineral colors; nor are our plates so finely made. However, the idea underlying the processes is identical. The color is applied to the metal plate, and what is not retained in the engraved depressions of the design is carefully scraped away. Then on a kind of paper expressly prepared for the purpose the picture is made, and while it is moist it is placed against the ware and rubbed in with a piece of soft flannel. When it is awkward to handle the design as a whole it is cut into sections and pieced together on the china itself." "Does one person do the whole thing?" "No. It is the duty of one worker to arrange the design and see that it is in the right place; and the task of the next one to rub it in with the flannel and soap. Then after the china has stood for some time it is put into water and the paper sticking to it is floated off, leaving the colored print on the porcelain." "Is it done before the ware is fired?" asked Theo. "Sometimes it is done on the biscuit ware before it is glazed, and sometimes on the glaze itself. It all depends on the result the decorators wish to obtain. If printed before the porcelain is glazed it is called under-glaze printed ware, and must be put through a kiln, which will take the oils out of the print; if done on the glaze it is fired in order to burn the colors in and blend them with the frit." "It must be hard always to get the designs where you want them," observed Theo meditatively. "I used to trace patterns at school sometimes, and often they slipped and made the spacing wrong." "That is one of the difficulties our designers encounter, too," replied Mr. Marwood. "Sometimes you will see pieces where the spacing is not equal, or where a border does not join. That indicates inaccurate placing of the pattern, or an incorrect estimate of the space." "I don't wonder they get it wrong sometimes," declared Theo. "It isn't so easy. I remember once decorating a card for Mother with some decalcomania pictures. It was mighty hard to get them where I wanted them." "Decalcomania?" exclaimed Mr. Marwood. "We do that kind of work here too. In fact, a great many of our most beautiful gold borders are transferred to the ware by that method. I see you will be quite at home, Theo, in our decorating department."