hension of the attributes of flux, it is equally expedient to understand the quality of the glaze on the war, whether hard or soft, as an excess of flux is rather more of a defect than its absence, when used indiscriminately.
This nice adjustment of color and flux to the ware can only be attained by observation and experiment.
Firing is another element that enters into successful fluxing, as the less flux the more heat required to fuse. A well-fluxed color will vitrify at a much lower temperature than a color deficient in this quality.
There is a way to avoid using flux, should any doubt exist as to proportions, or until greater familiarity is acquired with the various features connected with its intelligent use ; and that is to introduce, in its stead, some one of the soft colors. Very nearly the same results may be those obtained -- sometimes even richer effects, as a color highly fluxed must, or necessity, change its tint somewhat. It does not exactly impair it ; but the additional flux certainly acts in the nature of an adulterant, and dilutes the color a trifle.
Pearl gray possesses this peculiarity to a high degree, and is always satisfactory. It will not materially change any colors, and fires away very considerably.
