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where the painting is done in enamels after the glazed vessel has been fired, before a second lighter firing to fuse it to the glaze. There is also the use of coloured glazes, which often carry painted designs.
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As with underglaze, in-glaze requires pigments that can withstand the high temperatures of the main firing without discolouring. Historically this was a small group. Inglaze works well with
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or "faience" all began using in-glaze or underglaze painting, with overglaze enamels only developing in the 18th century. In French faience, the in-glaze technique is known as
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It contrasts with the other main methods of adding painted colours to pottery. These are
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painting, where the paint is applied before the glaze, which then seals it, and
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was fully polychrome, using the range of in- and underglaze colours available.
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the glaze does not become runny in the course of firing.
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so that it fuses into the glaze in the course of firing.
102:("little fire"). Most styles in this group, such as
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137:. Oxford University Press. pp. 710–.
98:("big fire") and the one using enamels as
90:The very wide range of types of European
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197:An Illustrated Dictionary of Ceramics
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195:Savage, George, and Newman, Harold,
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32:ware by Baldassare Manara, after
166:Savage and Newman, 157; Lane, 1
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199:, 1985, Thames & Hudson,
225:Types of pottery decoration
34:Giovanni Antonio da Brescia
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131:Gerald W. R. Ward (2008).
47:is a method of decorating
192:, 1948, Faber & Faber
110:decoration, but Italian
108:blue and white pottery
92:tin-glazed earthenware
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68:overglaze decoration
20:Italian Renaissance
78:pottery, as unlike
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144:978-0-19-531391-8
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220:Ceramic glazes
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188:Lane, Arthur,
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57:glost firing
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36:, c 1520 -47
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55:before the
214:Categories
205:0500273804
183:References
118:References
80:lead glaze
76:tin-glazed
64:underglaze
104:Delftware
100:petit feu
96:grand feu
30:istoriato
112:maiolica
41:In-glaze
22:maiolica
175:Lane, 1
157:Lane, 1
86:Faience
49:pottery
45:inglaze
203:
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26:Faenza
53:glaze
201:ISBN
139:ISBN
43:or
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24:,
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