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Vol. XX, No. n. 
SYRACUSE, NEW YORK 
March 19 J 9 
ITH this issue of Keramic Studio KERAMIC ART 
we are introducing several features 
which we hope to make permanent. Henrietta Barclay Paist, Ass't Editor 
Beside the excellent article by Mr. [ HAVE been thinking about Keramic Art and the place 
showing, by ** 0CCU P ie s in the scheme of things, and how it can be 
made to come back — become re-established on a practical 
basis and become more than ever a necessity as well as a 
Heckman, we are 
courtesy of the Metropolitan Mu- 
seum, several photographs of pot- 
tery shapes as inspiration for 
potters, with some suggestions by 
the editor; also a page of textiles 
with a lesson on design and a monthly competition, also 
under the direction of the editor. 
These articles will endeavor to form the habit of going 
to the Museums for inspiration, and to show how to derive 
benefit from the study of all kinds of art crafts. We hope 
that not only the beginners, but the advanced workers, will 
send in solutions of these monthly problems, so that their 
work will be a help to others, as the best designs will be 
illustrated monthly with comments by the editor. We expect 
to give illustrations of beautiful things in every craft, as a 
help not only to the china decorator, but to the needle 
worker, potter and artist in leather, metal, wood or any 
other medium. 
K K 
It is always gratifying to receive letters of appreciation 
from our subscribers and we wish that more would feel 
inspired to write kindly words to cheer us on our way. Our 
mail this month brought the following from an old sub- 
scriber and contributor: "When china became so scarce, 
I accepted a position in the art department of one of our 
Public Schools, and my main reason for writing is to tell 
you that I am getting unlimited material for my teaching 
from the old numbers of Keramic Studio. I only wish the 
Public School teachers could know what a benefit these are 
proving to be." — M. L. G. 
It is to such subscribers as these that the photographic 
material from the Metropolitan Museum should be especially 
helpful, and we would be more than pleased to have any 
teachers of design in Public Schools or elsewhere write to us 
their particular needs in inspirational material, or in solv- 
ing any special problem, and we will do all in our power to 
help through the pages of Keramic Studio. 
it a 
We will again remind subscribers that we have an 
"Answers to Correspondents" column, that is always open 
to them for their special needs. Any questions they may 
wish to ask will be quickly answered to the besc of our 
ability. 
» K 
We are glad to see that some important shipments of 
Japanese porcelain are coming in and are taking the place 
of the missing European china. The shapes and quality are 
good, a great improvement on the former Japanese imports. 
joy. 
I feel sure that, as Decorators, we have not been broad 
enough in our interests. The most successful painter is one 
who paints with a purpose broader and deeper than the 
pleasure of reproducing Nature. The most successful 
Decorator studies and appreciates all of the Arts which go 
to make up environment. It is quite apparent that in the 
early days of our experimenting it was necessary to focus 
on the technical side of the work, and it is little wonder 
that we became absorbed in the fascinations of the craft to 
the exclusion of other interests. We probably could not in 
any other way have so mastered the difficulties and acquired 
the technique. It will be necessary for new students to do 
the same — in a measure — although the work is no longer in 
an experimental stage as a whole ; but I am thinking more 
of the professional, who is anxious to re-establish her art as 
a paying proposition — as a livelihood. 
We are now starting on a new lap — beginning a new era 
— an era of prosperity we hope; our activities have been 
suspended for a period, but I believe we should not expect 
to pick up the threads and proceed exactly as if nothing 
had happened. Something has happened — everything has 
not been at a standstill — opinions have undergone a change 
— ideals have changed— the point of view of many is differ- 
ent — we need to study tendencies of the hour, the things 
which will determine the demand of the future. Instead of 
plodding our way back in a leisurely way, we should take 
a plunge in cold water, to stimulate the nerves, clear the 
vision and give us an insight and new courage and enthusi- 
asm. 
One of the strongest tendencies, which is not new, but 
has survived the war, and will, I am sure, grow, and in- 
fluence the demand for art products, is the more orderly 
thought in home furnishings. The time has passed when 
intelligent people furnish their homes by collecting interest- 
ing things from everywhere and huddling them into their 
living rooms regardless of harmonious relation. The 
thought to-day is more logical and orderly. Interior Dec- 
orators and home makers now start with a definite idea 
and try to harmonize all the furnishings ; woodwork, walls, 
draperies, furniture, decorative windows, all carry out some 
definite thought in color and design. This method of house- 
furnishing will more and more create a demand for special 
porcelains — for sets in special design and color. It will be 
better for us to work more for the average home demand 
and less for the connoisseur; more for the table and not so 
much for the purely ornamental. The sun porch, the break- 
fast room, the nursery, the dining room, all call for their 
special service. 
The thing which brings the maximum of joy and the 
(Continued on page 177) 
