screw, in consequence of which the clay is continually passing out
through the perforation, and is cut off in lengths.

Plates are beaten or rolled out of a lump of clay, and are then laid on
a mould turned to the shape of the upper surface of the plate. A
rotatory motion is given to the mould, and an earthenware tool
representing a section of the plate is pressed upon it; thus the plate
is made smooth, has a uniform thickness given to it, and it takes a
perfect cast of the mould. Cups, saucers, and basins, when rough-turned,
are dried on the block to prevent them from warping.

The ware being thoroughly dried, is packed into saggars and burnt in the
furnace to biscuit. Patterns for flat, or nearly flat surfaces, are put
on by printing the pattern from a copper-plate with an ink composed of
oxide of cobalt, oxide of iron, or other colouring matter, mixed with
oil. The impression is taken on soft paper, and is applied to the
surface of the biscuit, and slightly rubbed to make the print adhere:
the biscuit is then soaked in water till the paper may be stripped off,
leaving the print or pattern behind[12]. The ware is then dipped in the
glaze, which is a mixture of flint slip and white lead, and the bibulous
quality of the biscuit causes a sufficient quantity to adhere: the piece
is then dried and again passed into the furnace, which brings out the
colours of the pattern, and at the same time vitrifies the glaze.

[12] This very ingenious method of tranferring printed patterns
to biscuit ware was invented at the Porcelain works at
Worcester.

The finest patterns are applied after the glazing has been completed, by
taking the impressions from the copperplate on a flexible strap covered