APPLIED ART. 



33 



It must be rct^ardcd as a compliment tcj our local Technical Institution that 

 such a firm, with a world-wide reputation for its artistic production, shcndd liave 

 accepted design work from an Australian student — a true rendering, indeed, 

 of the Empire spirit, for surely our students can receive no greater acknowledg- 

 ment of their tt'cimical talent than this. 



In speaking of ceramics, it may here be mentioned that the Japanese have 

 also placed on the Sydney market, vases, 6ic., decorated with the Waratah. 

 The specimen illustrated under Fig. 2.S can hardly claim artistic merit, but it 

 is of interest, in that the decoration was executed by a Japanese, these speci- 

 mens of china being exported from Japan to Australia. 



It shows that even in that land of Chrysanthemums — we might almost say 

 worship — the artists have turned to the Waratah for inspiration in ornamenta- 

 tion. At the Technological Museum are scnue fine specimens of Waratah decora- 

 tion in china from several artists in the different States of the Commonwealth. 

 The conventionalised decoration of the Waratah in Fig. 27 is the work of a 

 student of the Adelaide Technical College, South Australia. 



Figures 29 and 30 illustrate ceramics from D(julton's. 



IV.-ENAMEL TILES. 



The tile industry is at present only in its infancy in Australia, but designs 

 for such ai tides are not wanting amongst our technical Art students. In 

 Figure 31 Mr. Henry has placed an unconventionalised Waratah as a base, 

 and has brought other samples of our flora to his aid. The ground is 

 royal blue, and on this, radiating from the top Waratah, are two banana 

 leaves in natural tints, which will be readily recognised by all Australians. 

 A spray of Flannel Flowers is })laced parallel with each oblique l)anana leaf, whilst 

 the whole is surmounted by four " flowers " of Slenocaypiis siiiitaliis, placed in 

 varying planes. The semi-circle at the base is in yellow, rayed and shaded, 

 the centre a brick red, whilst the Greek pattern at the base is green. 



In Figure 32 is a group of twelve tiles (Doulton), so designed that, by a very 

 slight conventionalisation, a most effective Waratah pattern is produced. The 

 ground is blue, and the edges of the floral lines and leaves are raised in lightish 

 lines, otherwise the natural colours are reproduced. The whole may be described 

 as a studv of the Waratah in Faience tiles. 



