a haunting feeling that to take it could be regarded as theft, as it is probably destined for foreign ports, but a paper bagful goes a long way and hasn't noticeably bothered our balance of trade. It is a glaze additive only, its analysis being: 98% pyrite (FeS2) .8% gold 0.14% chalcopyrite (CuFeS2) 0.05% sphalerite (ZnS) As is obvious from its high iron content, it produces a brown speckle effect which is very pleasant in amounts up to 20% by weight in all glazes - except a few copper-loving glazes such as R17C, where it produces that horrible matt-metallic colour typical of a copper overload. I have also used B, B.C. at times in a clay body, instead of grog or silica sand, to give body and colour to the clay. Used this way, un- glazed areas are nicely speckled and the iron bleeds through light- coloured glazed areas, but there is a great disadvantage: during firing choking waves of sulphur gases are released and billow out of every crevice in the kiln, necessitating evacuation of the kiln-room. C.M. T. A more versatile material than B. B.C., this material is spread over acres of land just outside Princeton. The location is familiar to anyone who has driven by, as the now defunct company has posted a large statistical sign on the highway. One simply drives in on the access road, parks on the tailings, and shovels the sandy material into the car. C.M.T. proved to be a good addition to any glaze in any quantity, either sprinkled into them or mixed into a heavy paste. Wedged into clay as grog, it improves the body without the gaseous disadvantages of B.B.C. Applied as a Cone 8, and higher, glaze, it is a variegated brown with little tendency to run. At Cone 8 it has a pleasant, slight ly grainy texture, but at the higher temperatures it smooths out and darkens to a satin matt. Its main drawback is in application. I mix it with very little water and vast quantities of gum or C.M.C. and 12.