72 
House & Garden 
, 
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The Model Home Electric, Los Angeles, Cal. 
A Refinement in Lighting 
The ceiling fixtures in these rooms are Duplexalites with 
shades which were made by the Decorator. The evening 
illumination is as beautiful as early morning sunlight. 
Most of the light is diffused from the ceiling, just as the 
earth is lighted from the sky. The Duplexalite makes 
everything in the rooms beautiful. 
Our book, “The Light to Live With” illustrates a variety of shades 
for Duplexalites. If you prefer, you may purchase just the Duplex¬ 
alites— the basis of the perfect results — and make suitable shades 
yourself or have them made by your Decorator. We will be glad 
to render every possible assistance in this connection. 
Itisthe Duplexalite 
around the Mazda 
C lamp, inside the 
shade, which ron- 
trols and directs 
the light ravs and 
makes possible the 
beautiful illumina¬ 
tion. 
There are Duplexalite dealers all over the country. Send for a copy of our 
hook, <( The Light to Live With” 
DUPLEX LIGHTING WORKS 
of General Electric Company 
6 West 48th Street, New York City 
Duplex-a-lite 
CHie lUjfit to live wit/d" 
English Ivy as a House Plant 
(Continued from page 70) 
fancy of the maker. A dark brown goes 
well with the green and does not detract 
from the green ivy during the period 
that the trellis is but partly covered. 
Very satisfactory results may be had 
from wood dye and flat varnish, espe¬ 
cially if soft wood is used. If of harder 
wood, such as oak or gum wood, shellac, 
followed by flat varnish will give a 
beautiful effect without rubbing. It 
will be reasonably durable and satisfac¬ 
tory, although most flat varnishes do 
not stand exposure to water without 
turning white. 
Various oil stains, wood fillers, or var¬ 
nish stains may be used; in fact, one 
doesn’t like to buy materials for such a 
small job, so that there is a great temp¬ 
tation to make the best of what is at 
hand. 
Collecting Salt Glaze Ware 
(Continued from page 31) 
the body answers as a receptacle for the of the process of firing salt was thrown 
beverage.” 
Besides the Fulham and Nottingham 
salt glazes there were the coarser, less 
carefully finished wares produced at 
Brampton, Chesterfield and Swinton in 
the 18th Century. 
We are now come to the second great 
class—that of the Staffordshire potters, 
a highly fired ware which is translucent 
in its thinner surfaces. White salt glaze 
wares were also made to a limited ex¬ 
tent at Leeds, Liverpool, Jackfield and 
elsewhere. The Staffordshire salt glaze 
is very hard. According to Sir A. H. 
Church, the Staffordshire salt glazes 
may be divided into four periods: (1) 
Before 1720, impressed or applied orna¬ 
ment on thrown or turned pieces; (2) 
1720-1740, flint added to the body clay, 
producing fine and sharp work in drab 
or white; (3) 1740-1760, colored enam¬ 
els employed for surface decorations; 
(4) basket and pierced work prevailing. 
The ware of the first period was drab 
or white, that of the second white. 
In his “History of the Staffordshire 
Potteries” Simeon Shaw is of the opin¬ 
ion that the Staffordshire salt glazes were 
made of brick earth mixed with sand, 
then can marl and fine sand, later of 
gray coal measure’s clay and fine sand 
and finally (from about 1720) of gray 
clay with ground flint. 
We may consider the fine period of 
Staffordshire salt glaze ware to extend 
from 1720 to 1740. Astbury did much 
in the early years of salt glazes to ad¬ 
vance the qualities of the ware, as like¬ 
wise did the two Ralph Woods and 
Aaron Wood, who cut molds before 
Ralph Daniel of Cambridge introduced 
plaster of Paris molds (1743-17SO), 
whereafter the salt glaze pieces deterio¬ 
rated. Josiah Wedgwood also potted 
salt glaze wares during his time at the 
Ivy House or at the Brick House works 
in Burselm. Teapots in salt glaze ware 
bearing Wedgwood’s name have been 
preserved in English collections. 
The First Color 
Blue was the first color introduced in 
salt glaze ware. One of the earliest 
examples of this soit is the Portobello 
(Admiral Vernon) teapot by Astbury, 
circa 1740. Polychrome decoration soon 
followed and, as has already been 
noted, enamel colors were applied some 
time after 1751. These enameled salt 
glaze pieces exhibited the influence of 
Chinese design. 
The very rare Staffordshire salt glaze 
figurines followed the development of 
other specimens of salt glaze, from the 
white grounds to the enameled colored 
pieces. A little figure of a Turk sold at 
Christies just before the war for over 
thirty-five pounds, while the figure of a 
“Man on Horseback” brought over 
ninety-six the year after. 
The English potters required a very 
high temperature (about 2190°) for salt 
glaze, a temperature that would cause 
most English earthenware clays to soften 
in the kiln. But the clays composing 
the stonewares were of a sort to resist 
this softening. These clays contained a 
large amount of silica. Toward the end 
into the kiln. The vapor, produced by 
the volatilization of this salt at the high 
temperature, united chemically with the 
silica of the body clay, forming a glaze 
of sodiac silicate over the surface of the 
fired ware. As this chemical action was 
coincident with the final firing, the glaze 
was actually incorporated with the body 
of the ware. This salt glazing produced 
a surface having innumerable tiny pit- 
marks (much like those on the surface 
of an orange), which is one of the chief 
characteristics of the ware. Salt glazing 
had the advantage over the earlier lead 
glazing process in that it produced a 
much whiter surface. 
Lambeth Ware 
In passing one may make mention of 
the third and last division of English 
salt glaze wares—the modern brown 
ware of Lambeth. This was first pro¬ 
duced about 1751, with buff or yellowish 
lower portions. Lambeth stoneware jugs 
were popular in the beginning of the 
19th Century and by 1820 several Lam¬ 
beth potters were producing ink bottles, 
beer bottles, hunting jugs, pickle jars 
and like mundane bits. John Doulton 
established a pottery in Lambeth in 
1815 and the celebrated Doulton ware 
came to be the outcome of this experi¬ 
ment. Doulton ware combines several 
processes. Panels of scratched-in deco¬ 
ration are covered with salt glaze; col¬ 
ored enamel bands heighten the effects 
and relief and bossed work are added. 
Of the salt glazed stoneware made in 
America, the earliest products may be 
dated to the first quarter of the 18th 
Century. These old pieces were utili¬ 
tarian in character and rarely were orna¬ 
mented with other than a dash of blue 
now and then, with a bit of incised pat¬ 
tern. In 1735 John Remmey, a German 
potter, established a salt glaze stoneware 
factory near the old City Hall; a map 
of New York City in 1742 shows this 
pottery still in existence. Indeed, the 
pottery works of Remmey & Crolius was 
running until 1820. As early as Janu¬ 
ary 25, 1792, the New Jersey Journal, 
published in Elizabethtown, contained 
this advertisement inserted by the Penn¬ 
sylvania Society for the Encouragement 
of Manufactures and Useful Arts: 
“To such person as shall exhibit the 
best specimen of Earthenware or Pot¬ 
tery, approaching nearest to Queensware 
(Josiah Wedgwood’s English produc¬ 
tion) or the Nottingham or Delft ware, 
of the marketable value of fifty dollars 
—a plate of the value of fifty dollars or 
an equivalent in money. 
“To such persons as shall exhibit the 
best specimens of Stoneware or that 
kind of Earthenware which is glazed 
with salt of the value of fifty dollars, a 
plate of fifty dollar’s value or that sum 
in specie.” 
These early American salt glaze 
stonewares showed strongly the influ¬ 
ence of the stonewares of the Rhine 
Valley. The lovely white English salt 
glaze wares, for which the Staffordshire 
potters were justly famous, were not, 
as far as I have been able to discover, 
attempted in America. 
