PeterH

For those that haven't seen it:
 

A few Artista threads; there are at least three long time Forum regulars who own(ed) and use(d) an Artista:
Artista Potter's Wheel Question - Equipment Use and Repair - Ceramic Arts Daily Community
Speedball Artista Potters Wheel - Equipment Use and Repair - Ceramic Arts Daily Community
Speedball Artista Pottery Wheel - Good Or Not ? - Studio Operations and Making Work - Ceramic Arts Daily Community
 

For those that haven't seen it:
 

Hi and welcome!
Stains are fun to work with, especially for us dark clay users. And the reference chart you’ve already found is a very good reference is this section of Digitalfire. Tony identifies the stain by number, which is a good practice as there are 3 different numbered stains with the name “dark red” and they all have slightly different chemistry.Tony’s got examples of the Canary Yellow and Turquoise in a magnesium matte glaze base, so you can see how those 2 respond, at least.
Speaking of recipes: the second  link you’ve shared comes back as a “does not exist” error. If this is a recipe on your own page, make sure it’s published so we can see it. 
Zircopax won’t make the colours pastel: glaze colour theory doesn’t work the same as paint. If anything, it’ll make it brighter and more saturated, because more of the colour is reflected back to your eyes. 
 

... and presumably the "house" wiring needs to be rated for the new breaker size. Which might be an issue for some retro-fitters.

Some ideas on the causes & avoidance of problems in:
Microwave safe
https://community.ceramicartsdaily.org/forum/23-clay-and-glaze-chemistry/
PS Pedantically in the USA:
... although I expect that -- like many stress tests -- this only implies safe at the point of test rather than lifelong safety. [Unless you re-test after representative "wear and tear" such as crazing and chips.]

... and presumably the "house" wiring needs to be rated for the new breaker size. Which might be an issue for some retro-fitters.

Ya probably already know this but worth mentioning I think. Breakers fail because they are old but also because they overheat. Here in the US the breakers you buy should not exceed 80% of the rating stamped on the breaker.  For kilns which are considered continuous loads by code, per code they require a breaker at least 125% of the kiln full load and not more than 150%. 
For a kiln that draws 40 amps, minimum breaker size is 50 amps (40X 1.25), maximum breaker size is 60 amps (40X1.5). I mention because electricians often get this wrong. The rule is there to prevent the breaker from overheating and failing prematurely. Often this is not common knowledge so I think worth passing along since you just experienced a worn out breaker on this kiln.

In a nutshell to pass the ASTM for "Microwave Safe for Reheating" there is mention of "no metallic surfaces" but no threshold limit  for porosity or absorption of the claybody. Ware must show no degradation after the test nor exceed specific temperatures after a set amount of time at full power.
I would hazard a guess that those discoloured areas on the plate have let moisture into the body which resulted in the plate getting hot when your son removed it from the microwave. Agree with you, that is one well fitting glaze to stand up for catering use then your home use for 20 years.

Good question.
ASTM article (formerly $48) https://www.astm.org/c1607-12r20.html
Mr. Hansen's article Microwave Safe (digitalfire.com)
A Forum thread on the subject: Microwave safe. - Clay and Glaze Chemistry - Ceramic Arts Daily Community
The ASTM article may include a standard/industry definition, idk.
This is where I am with it: "...not melt or otherwise lose form, not leach bad stuff, not get too hot to touch after one minute in the waver [microwave oven] ...anything that gets more than pleasantly warm (empty, clean) is not microwave safe...!"
I still have microwave test clean dry wares on my "to do" list.
I have an inexpensive infrared thermometer now...

Some ideas on the causes & avoidance of problems in:
Microwave safe
https://community.ceramicartsdaily.org/forum/23-clay-and-glaze-chemistry/
PS Pedantically in the USA:
... although I expect that -- like many stress tests -- this only implies safe at the point of test rather than lifelong safety. [Unless you re-test after representative "wear and tear" such as crazing and chips.]

I was interested to find this Australian article
https://sydneynorthshoreelectrician.com.au/electrical-service-panel-how-to-calculate-electrical-load-capacity/
... which contains these sentences
It is commonly recommended that the load never exceeds 80 per cent of the capacity of an electrical service panel.
and
The National Electric Code recommends that the overall capacity of the load does not exceed 80 per cent, ...
Which suggest to me that there is no regulation  demanding "over-rating" of breakers (at least in that region of Australia). But there are both informal and formal recommendations that this be done - apparently for both continuous and non-continuous  loads.

If the crackle was pretty dense and it does re-craze it might be worth considering an "iron wire and golden thread" effect.

 

If the crackle was pretty dense and it does re-craze it might be worth considering an "iron wire and golden thread" effect.

 

I agree strongly.  India ink enhanced crazing can be very dramatic and beautiful.  If you or the gallery owner can't live with the result, the ink will burn off if you refire the piece.

Re-reading Digitalfire the second paragraph seems relevant..
Glaze Shivering
https://www.digitalfire.com/trouble/glaze+shivering
Shivering is the opposite of glaze crazing, the fired glaze is under compression and wants to flake off the body, especially at edges. However the route cause is a mismatch in the thermal expansions of body and glaze, thus the process of resolving it is similar as for crazing. It it much less common because glazes tend to have a higher thermal expansion than bodies and because they can tolerate being under compression much better than being under tension. Of course, if a glaze is under compression on the inside of a vessel, the body will be under tension and this can cause failure of the piece.
When the body-glaze interface is not well developed an overly compressed glaze will be able to release itself much more easily, especially on the edges of contours. This can be the case, not only with low fired ware, but where engobes or slips are being used under the glaze. If the engobe does not contain enough flux to firmly adhere it to the body and develop hardness, it will not be able to bond to the glaze well.
PS Time for some rim-shaped test-tiles?

Great question, and as you see, there are reasons for different answers.  I dip all of my test tiles, so the are the same on both sides. Then I use small shot glass type testers to see if the glazes interact with each other in weird ways. . . . why the shot glasses?  Easy to throw off the hump, simulate a pot form and allows me to test inside and outside combinations. Finally if there are any weird interactions from different glazes that may cause the pot to crack, craze, shever or anything else, the shot glass shape is more stable and will keep the glaze from doing too much to the kiln. Lots of them can be fired as extras in any load.
 
best,
Pres

I haven't seen that, and would be interested if you have a ref.
But I have seen occasional references to needing to let the pot dry sufficiently between glazing one surface and the other.
... this seems to be more of an issue with dipped glazes than painted ones.

At the top RHS of the green stripe near the top of the page.
BUT the inbuilt search only looks at "active" threads. The only way I know to search closed threads is via a normal search engine.
PS
Personally I use google with something like this
site:community.ceramicartsdaily.org aubergine
... which only gives 3 hits.
BTW the site: directive works for google, but not for DuckDuckGo. No idea about other search engines.
The search site: community.ceramicartsdaily.org gas kiln gave "About 2,740 results" for me. Although the exact number probably depends on the vagaries of the internet.
Needless to say I usually only look at the first few hits (and other posts in the same thread). Frequently using their contents to refine the search terms - as I did when looking into manganese "violets".

I haven't seen that, and would be interested if you have a ref.
But I have seen occasional references to needing to let the pot dry sufficiently between glazing one surface and the other.
... this seems to be more of an issue with dipped glazes than painted ones.

"...Is it ok to test glazes both on the front and the back of standing tiles?"
Good question!
My first thought was - it makes for the tests to mimic the intended applications - then, huh! ...ok, I'm going to think about that a while*...
You might try side by side comparisons, set of tiles with glaze on one side only, another set with different glazes on both sides?
It's possible that glazes that have dissolved materials could influence the other side...
I liner glaze almost everything but have never set up test tiles with liner on one side and "outside" glaze on the other side; just dipping about halfway in at a forty-five degree angle, where second dip overlaps in the middle as Bill alluded to.
My test tiles check a new glaze against clays I'm using, else glazes I'm using against new clay, looking for:
   fit - no crazing or shivering
   coverage - no crawling
   color
   fizzing/bubbles
   pinholes
   how it works applied thinly, thickly
   ...
*I pour in and out the ware interiors, and dip the exterior, with a full dry in between.
So, my test tiles don't reflect how I'm glazing wares, with liner on one side and color on the other.
When I do a set of test tiles, almost always I'll also fire a small ware or two of the test case(s) that are liner glazed.
 

Hi Dot,
Welcome to the Forum!
Crazed wares, almost certainly weaker*, and liquids can be a concern, particularly where the fired clay's absorption rate is "high"...
For sculpture (and other non-food ware), however, crazing may be ok?
Reversing crazing, that may not be possible.
My understanding is that crazing occurs when the clay and glaze COE** are different enough, and that can only be corrected by changing the glaze and/or clay.
If the clay matures at a higher cone (than 04, in your case), the fit may change when fired higher, but not necessarily a better fit!
Check back for more responses...
 
*A well fitted glaze makes for stronger ware
**Coefficient Of Expansion
Co-efficient of Thermal Expansion (digitalfire.com)
see also Mr. Hansen's articles on glaze crazing, glaze fit, glaze compression 

I haven't seen that, and would be interested if you have a ref.
But I have seen occasional references to needing to let the pot dry sufficiently between glazing one surface and the other.
... this seems to be more of an issue with dipped glazes than painted ones.

Good find Peter.
When I look at the analysis for both there are other differences too though. Definitely a fragile mechanism to get the green. Reitz Green with Gillespie doesn't need the lithium carb and dolomite additions when I played around with altering the recipe, the silica is a tiny bit higher in the Gillespie version but given the differences in the Floating Blue recipe that might or might not be consequential, I don't know. 
A simple addition of iron with a reduction of cobalt would be simple to test Hansen's theory if it translates to Reitz Green also. I suppose RIO would be the logical material to add as long as speckles don't become an issue. Or black iron oxide might be better if you have it. 

Any relevance?
https://digitalfire.com/material/gerstley+borate
... at the bottom of the page, discussing substituting  Gillespie Borate  for Gerstley Borate ...
Clearly, the Floating Blue itself is firing greener than usual. And the Gillespie Borate version is much bluer. You may be used to something in between these two. The green tones could likely be restored by a reduction in the cobalt and increase in the iron oxide.