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In another sense, however, Vincent de Montpetit was recommending an exaggerated version of what colorhouse practice had always maintained: Washing out excess materials that might diminish the goodness of the color was essential to the creation of good color.
By the eighteenth century it was no longer a significant source in the colorhouse but the connection between its colors and ideas about color change and color relationships remained strong, especially to demonstrate red-orange-yellow series of colors. reference
As efforts toward improvement, either activity might call for close studies of chemistry, mineralogy, botany, or current colorhouse practices.
In undertaking his task, Hoofnail assumed a compatibility between natural-philosophical pursuits and activities in the colorhouse.
As porcelain manufacture developed in the West during the eighteenth century, and because of the regular need to establish the quality of materials used in the colorhouse proportions and formulas of coloring materials were always subject to experiment. 24 reference These experiments to reformulate appear to have been more important — to individual investigators and to the production of vitreous colors in general — than the location of new color sources. 25 Josiah Wedgwood's experiment books show constant attention to such details, as do Hellot's records at Vincennes, George Berg's notebooks, and the many publications about ceramics, enamel and glassmaking that appeared throughout Europe in the eighteenth century. 26 reference