LUSTRE POTTERY.
MO THE EDITon OP THE " SPECTATOIL'I SiR,—I shall be grateful if you will allow me to refer to Mr. William Burton's letter in your issue of the 11th inst., in which he informs me that " I should have reviewed my beliefs before I penned my ideas of the lustre process of pottery decoration." May I state that my "beliefs" were, and 'till are, reviewed in the actual clay of the potter, and are for ever expressed by the intense heat of the furnace? It is there that one distinguishes the more true lustres that are fired at a high temperature from the lustres applied on the glaze and fired at a low temperature. It is there that one learns the real value of intense relativity—the intense relativity, that Mr. Burton in his letter informs me, " is evidently too much for me to grasp." In the review of Lady Evans's book reference was made to modern lustre pottery, and it was stated that the lustres were applied on the glaze. But, while we know that much lustre is so applied, I have to point out—as Mr. Burton writes that my statement that the truer, more durable, and beautiful lustres are applied on the biscuit and under the glaze "is not borne out by the facts"—that my statement is the outcome of actual production. As this development of lustre pottery was not referred to in, the review, it occurred to me it might be of some interest to other readers of Lady Evans's most interesting book.—I am, Sir, Sc.,
Previous page
