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His first innovation was a method known as “Barbotine” or slip-painting, in which coloured clays were used “impasto,” often in considerable thickness, so that after the work had been fired and glazed it bore some resemblance to an oil painting.

Underglaze or Barbotine colours should be used, and they should be put on in thin washes.

In the last named were found traces of a fire that had been lit above the tomb, and some pottery was picked up ornamented with hollow lines, filled with some white matter not unlike barbotine.