TERRA-COTTA is to-day the most available material used for the construction of buildings of all classes and forms. It is, in fact, the concrete part of them. It is, as well, indispensable in every assemblage of artistic architectural ornamentation and has virtually taken the place of stone, and is now used in the completion of seven-tenths of the structures erected. The use of terra-cotta dates prior to the time to which our histories reach—in fact, it is said, " that the children of Seth, the son of Adam, built two pillars, one of brick and one of stone, and they inscribed upon each of them the discoveries they made con cerning the heavenly bodies, so that their preserved to mankind and not be lost before they became suf ficiently known." Brick was the building material of the ante diluvian days. The word terra-cotta was then unknown, but after all it is but a refined baked clay, and some large stones must have been used in order to have models or inscriptions placed on them. In 1765 an old well was opened, accidentally, by some workmen at the Porta Latina, at Rome. In it were found Egyptian and Roman statues in terra-cotta, which were taken to England. Bas-reliefs were also exhumed at the same time. Among the features of Roman ceramic art are its metopes and historic friezes. The exquisite bas-reliefs of Luca della Robbia are known to all lovers of the beautiful.
Terra-cotta, a name in itself Italian, was first applied by Ital ians more to the purposes of ornamentation than of construc tion. The clay was plastic and easily treated.
Terra-cotta has great lasting qualities when made of the proper mixture of clays and when well fired. It will not vege tate as stone will, often causing decay. It is interesting to examine a piece of this material in cold weather under a mag nifying glass. It will be found to contain almost infinitesimal icicles, but the strength of the composition is so great that it will withstand the natural expansion without injury. In beauty of color it has an advantage over stone, for by the use of chemi cals almost any color can be produced, and they are found to be less apt to change under atmospheric influences. In terra
cotta we can find a scope for freedom, with a capability of sup plying the increasing demand for decoration in the most dur able material. The beauty of all things decorative should grow, and as terra-cotta is comparatively cheap, it has become an ornamental factor.
It is an interesting sight to stand in a studio of a modern terra-cotta factory and witness the work of the artists in this material, who with intelligence stand before large easels sup porting masses of clay, carving bas-reliefs from sketches. Many of them seem to love their work. One often finds a small boy at his easel moulding some simple device. A model having been perfectly prepared, a piece mold is then taken of it in such manner as to allow of its being easily withdrawn without injury to the model. Much skill is required in making the plaster molds to fit the model ; great practical knowledge and experi ence are required. Bungling in this is sure to prove fatal to the work, and men of superior ability are usually assigned the task. The clay is not forced in en masse, but deftly pressed against the sides of the mold. It is really impressive to see the transformation of this plastic material into a substance which is more imperishable than granite.
The modelers should possess great dignity of thought and imagination, and it has been suggested that the work should be given the artist's personal attention—in fact, that the mold ing of the model should be executed by his own hands, that it may not lose his individual conception of the subject and that in not doing the work the standard of artistic excellence is being rapidly lowered.
Terra-cotta is now used in every feature of decoration ; it forms the facing of walls in interiors ; it paves floors. Bas reliefs, piers, capitals, arches, shafts, corbels, chancels and arcades are composed of it.