Another idea that found many adherents was that a knowledge of chemistry was a preliminary necessity. While a knowledge of the chemical constituents of the materials used, the bases of the colors, the formation and special properties of bodies and glazes, is unquestionable of a great advantage and assistance, a familiarity with these formulas is not an actual requirement for artistic decoration of china. In reality, very few have any acquaintance with the analysis of the materials beyond the vague one comprised in the one word "mineral."
One other prevalent error was, and is, that the colors change very materially during the process of firing.
To a limited extent this is true. The uncertain element of fire must be taken into consideration ; but in reality the most of the colors issue from the kiln with but slight variation in tint. In a short time the novice understands this, and can, with but little experience and observation, calculate to a nicety the exact degree of shade required, and need never be disappointed.
Unquestionably, there are ample opportunities for the humbug ; and if the china-painter has a latent talent that way, there is a wide latitude for him in which to exercise it to the satisfaction of himself, but quite as surely to the detriment of his art.
