The China Painter Instruction Book

by George Erhart Balluff

The China may be stacked in any manner which is convenient. Trays and plates may be placed on edge with small stilts between, although the expert firer may stack safely on edge without stilts as long as the glazed surface of one piece is touched only by an unglazed bottom or rim of the one next. If plates are piled one above the other, it is always safer to have medium sized stilts between them. In case of a large Jardiniere, Vase, or Punch Bowl, place a large stilt beneath. It is frequently convenient to stack large pieces on the side, in which case they may be raised a little in the same way. Stack the china so that it will not wedge at any place, and so that ventilation of air may circulate about the pieces. Cups and saucers and small articles may be stacked in any possible position separated by small stilts. If you wish to use the shelves place the supports in the kiln so that they rest securely, and place the shelves upon them. Very few firers make use of them after they have become accustomed to stacking without.

It is not necessary to heat the kiln each time before firing, as moisture is not expelled from fire-brick into the oven as it is from an iron firepot. Allow the oil to flow in a small or broken stream for about 15 minutes, and then increase a little. The main point is to feed the oil very slowly at first until the burner has become hot, when it may be increased gradually. The first red will show in about 40 minutes. From this time on, the oil may be increased as fast as the burner will consume it without overflowing. After the interior of the kiln has been thoroughly red for some time it will grow paler in tone and a glow commonly called Sunshine will spread over it. This is the point to turn off the oil, and stop the fire. You can see whether the gold has changed color, and whether the pieces are glazed, especially any dusted tints. If your colors come out dull, and if your rose or carmines are brick color instead of a clear pink, or if your gold rubs off, you may know that you have not fired long enough. If your pinks or carmines have turned purple, you have overfired. A few trials will enable you to know for yourself, just the right length of time.

It takes from one hour and fifteen to an hour and thirty to forty-five minutes. The time varies, depending upon the draught and the way the oil has been fed.

The mistake is too often made, of firing by time entirely, instead of being guided by the appearance of the kiln. After having fired several times, one will have ascertained pretty nearly just how long their kiln takes to fire, and this time is not apt to vary greatly. Yet on some days, depending upon different conditions, it may take a trifle longer or less time, and so let your reason, rather than the clock, dictate the proper firing.

The hole under the door is intended for a peep hole, to see the condition of the fire in the combustion chamber, and should be left closed. When the chimney draft is not good a carbon may form over the burner in this combustion chamber, and by the use of a small poker through this hole it may be removed and taken out through the burner without stopping the firing.

If the kiln does not seem to respond properly, and in a reasonable length of time, you will, doubtless, find that there in insufficient draught in the chimney. This is a most important consideration, and if there is any cause, such as a stove, or fire-place connected with the same flue which cuts the draught, it must be removed. If attached to the same flue as a furnace or stove, the latter must be entirely cut off when the fires are out in the summer.

Sometimes it is necessary to have the chimney lengthened or pipe added to the top, especially if there are tall buildings or trees nearby. The chimney or additional pipe should not have a hood or covering of any kind. In every case, an imperfect draught is the only cause which prevents perfect success from the start. When these conditions are right, little or no carbon will be formed. If an accumulation of carbon forms in the chamber above the burner, it is because the draught is poor, and must be increased. By continuing to fire with a poor draught, you run the risk of filling the tubes and choking the kiln, which must then be cleared out before firing again, even if the draught is remedied.

After firing a few times, frequently after the first firing, small heat checks or cracks will appear in the different tubes or linings of your kiln. This occurs in all fire-brick kilns and has no serious significance. With kerosene oil as a fuel, no injurious gases are formed, and no harm will come to the most delicate ware. You may fire it with perfect safety, even if the small cracks are not filled. After a time as the cracks become larger, and seem of some consequence, they may be filled with a paste made of fire-clay and water. Do not merely plaster this paste over the outside, but force it well into the cracks. In this way the kiln will last indefinitely. Cracks are less liable to come if a little care is exercised not to cool the kiln too fast, and not to open the door while it is hot.

About three or four hours should be allowed for cooling, and in opening the door be careful not to subject the china to a sudden cool draught. Open the door only very gradually, leaving a mere crack at first, then a little larger space, etc. The sudden draught of cool air might cause the china to craze and crack.

A piece of soft glazed ware, if taken from the kiln while still too warm, is apt to show a crackled or crazed glaze, and you will hear the little crackling sound produced by the sudden contraction of the glaze.