Clay (Vol. 6, p. 472), by Dr. J. S. Flett, describes the occurrence, composition and properties of the various clays used in ceramics.

Terracotta (Vol. 26, p. 653), illustrated, by William Burton and H. B. Walters, of the British Museum, deals with the artistic use to which baked clay is put, while Tile (Vol. 26, p. 971), illustrated, also by William Burton, has great practical value for the present-day manufacturer.

Kaolin (Vol. 15, p. 672), by F. W. Rudler, of the Museum of Practical Geology, London, deals specifically with china clay and its preparation for the market. Gilding (Vol. 12, p. 13) contains material on the subject of the gilding of pottery and porcelain, and Painting has a section Painting with Coloured Vitreous Pastes (Vol. 20, p. 484), by Prof. G. B. Brown, of Edinburgh University, which describes the use of these pastes in ceramics. Enamel (Vol. 9, p. 362), illustrated, by Alexander Fisher, yields equally valuable information for those concerned with the decoration of china.

In Mural Decoration, by Walter Crane and William Morris, there is a section devoted to Wall-Linings of Glazed Brick or Tiles (Vol. 19, p. 17). Material of great archaeological interest relating to earthenware, etc., will be found in such articles as Aegean Civilization (Vol. 1, p. 245), illustrated, by D. G. Hogarth, of the Ashmolean Museum, Oxford; Crete, Archaeology (Vol. 7, p. 421), illustrated, by Arthur J. Evans, the famous Cretan explorer, and Greek Art (Vol. 12, p. 470), illustrated, by Percy Gardner, the classical archaeologist.

The following is a partial list in alphabetical order of articles and subjects in this field treated in the Britannica.

ALPHABETICAL LIST OF ARTICLES AND SUBJECTS IN THE ENCYCLOPAEDIA BRITANNICA OF SPECIAL INTEREST TO THOSE IN METAL, HARDWARE, GLASS AND CHINA MANUFACTURE AND TRADE

CHAPTER VIII
FOR MERCHANTS AND MANUFACTURERS OF FURNITURE

Art and Industry

When you think of your home, making a picture in your mind of the familiar surroundings associated in your memory with your greatest pleasures, you are really thinking of furniture. Tradition makes the dwelling itself the tangible symbol of home, because when a primitive tribe ceased to be wanderers, the walls that excluded wild beasts and inclement weather and gave privacy were conspicuous evidences of a change for the better. But in our higher civilization our way of thinking has changed. Nothing seems to us more desolate than the bleak surfaces and harsh angles of an unfurnished house. Colour and softness and the curved lines which we instinctively love because they suggest softness come into the dwelling with furniture, and culture has progressed so far that the chair or bed must be a delight to the eye as well as to the weary limbs, that the dinner table and the bookcase must be so designed as to enhance the satisfaction we find in refreshing body and mind. You would not get so much pleasure as you do from your Encyclopaedia Britannica if its paper and print and pictures and the colour and texture of the bindings did not make it one of the chief adornments of your home; the volumes might be just as useful in a less pleasing guise, but you would not feel the same affection for the book.