" When the gluts are in a proper condition for re-pressing, they are taken from the racks, picked up carefully one by one, and their faces smoothed over by hand or rubbed lightly with a soft brush. They are then laid on the plunger of the re-press and subjected to uniform and gentle (not over) pressure. After their expulsion from the press die they are carefully picked up by an off-bearer between two thin paddles and re placed again in their position on the racks. Frequently, how_ ever, they are hacked one above another until four or five high and allowed to dry in this manner, or again they are removed on trucks to a drying floor where they are allowed to remain unmolested until ready for the kiln. In any event it is advis able to handle the brick after pressing as little as possible until they become dry.
" A most significant step in the production of fine front brick is setting. This should be done by competent men who will exercise judgment and care that the importance of the work demands. Setting as done by the Royal Brick Company, of Bridgeport, Ohio, is as follows : (I mention this company as one of several with whose manner of working I am familiar, and who have been able to attain a great degree of proficiency in their special line.) " They use, I believe, an up-draft kiln. After the arches are turned the courses are leveled the entire width of the kiln ; so much importance do they attach to this that a spirit level is used for the purpose. The brick must be set, not only per fectly level, but plumb. The settling heat, therefore, if the burning is uniform, is more likely to bring all down regularly and even, which to a great extent will prevent sliding, warping or twisting. Their brick are set one face exactly above an other, neither projecting at the ends or sides. The courses do not extend to the walls of the kiln, but are separated there from by several lengths of common brick.
"They commence to set pressed brick as near above the top of the arches as possible, and extend about fifteen to eighteen courses high in a kiln of forty to forty-five high including all. This they think is as many as can be burned profitably.
" I would not advocate either the setting of the entire kiln so high or the placing of so large a number of courses of pressed brick therein. In many cases it would result disastrously, giv ing an unusual per cent. of salmon or under colored brick by reason of setting too high on the one hand, or hard or over colored brick by proximity to the arches on the other. This question, however, can only be determined in each case by actual results of burning.
" Brick should be thoroughly dry before setting. The courses should be set open at the bottom and closer as they near the top of the kiln, and should be burned as quickly as the nature of your clay will permit. These, I believe, are points about which no controversy exists.
" A matter of serious concern to the manufacturer, and one which sustains a greater relation to profit and loss, to success or failure, is burning. Whatever importance may be attached to this in the production of common brick, it is doubly so in that of pressed and ornamental.
" When the brick have arrived at that state of their produc tion where they are ready to be burned, all labor has been expended upon them. A kiln of brick ready to fire frequently represents from $1,200 to $1,500 invested capital. It matters not what expenditure of money has been made in purchasing the most improved machinery and devices to insure the very highest results in manipulating your clay, it matters not how thoroughly your clay may have been prepared, or how care fully or deftly your brick may have been handled from the machine to the racks, from the racks to the press, from the press to the drying floor, and from the drying floor to the kiln, all is lost unless the burning is successful.
"Does it not behoove us then to use the most improved systems of burning? Should not the highest skill of the burner's art—for it is an art—be called into requisition? "The kind of fuel required and amount thereof consumed, the time required in burning, etc., are largely questions to be determined by experience, and depend upon the chemi cal properties and peculiarities of your clay, and should com mand your best study and thought. I can find no fixed rule applicable to all cases. The main point in burning pressed brick is to obtain a uniform color, which can be done only by uniformity of heat and an even combustion in all parts of the kiln. While these conditions should exist in all burns, they are especially essential to the successful production of fine pressed brick.
" When opening the kiln remove the common brick down to the top course of the pressed brick, sweep or brush these courses carefully, remove the press brick two at a time, toss in pairs and lay on a spring barrow. Use lath between the layers, and load about forty brick to the barrow. Great care must be exercised in handling the brick to prevent chipping or spalling. The faces must not come in contact one with the other, or an ugly scratch or mark will be the result.