46 
KERAMIC STUDIO 
Rodger's bowls of antique copper were most attractive. 
Ralph Randolph Adams and Miss Ellen Starr showed book- 
bindings. Miss M. Little, Miss C. C. Collin and Miss Hicks, 
draperies and rugs; Benjamin Silliman, furniture; Miss F. 
Skinner and Mr. H. Whitbeck had some unique and well made 
silver spoons. Mr. Victor Shinnan ink stand in copper and 
silver. Mrs. H. Froehhch, Emity F. Peacock, Mr. Potter and 
others had attractive and original work in jewelry and enamels. 
ANSWERS TO CORRESPONDENTS. 
M. R. — It is a difficult matter to cover enamel which has come out a bad 
color — every extra fire adds to the risk of chipping ofT. We would not wish 
to advise under the impression that we are sure of results, for in such a case 
we could not be. However, you can try covering your enamel with a mixture 
of Dresden Aufsetzweis, in tubes, and one-fifth Ruby, for a ruby color, iron 
reds can not be mixed in enamels with good effect; or you could make a pink 
by adding a little Carmine or Rose to the Aufsetzweis or a green by adding 
Apple or Royal Green; we are not sure, however, just what effect the under 
enamel would have — possibly the new enamel would cover. 
L. H. W. — You must have misunderstood the mention of Mrs. Frackle- 
ton's name — we have never meiitioned her as a contributor, but we have 
illustrated her very interesting stoneware work. 
As a rule we have not found the paste for gold which comes ready mixed 
in tubes very reliable. There may be some reliable makes but we do not 
know of them. If the tube paste, enamel, or color, is too oily squeeze it out 
on blotting paper and after the oil is absorbed mix with oil of lavender or 
spirits of turpentine as desired. 
L. H. — Roman gold cannot be used advantageously over color tired or 
unfired, but the hard gold can be used either way if the color is thoroughly dry. 
We are not acquainted with the ware you describe. To decorate your 
low fire pottery you will have to purchase underglaze colors and a soft fire 
glaze ready prepared. A very hard over glaze fire might do but possibly more 
heat might be needed. 
L. S. — We should rather prefer the entire set painted in one design of 
gold outlined in black. A cream tint on the ware would add greatly to the 
general effect. Plate nesigns can be enlarged by dividing the large plate 
into the same number of sections as the smaller one, then drawing the orna- 
ment contained in the small section so that it will fit the larger section, see the 
April Keramic Studio. 
B. G. D. — An iron fire pot should be whitewashed as often as it shows 
iron rust or iron spots through the old coat of whitewash, possibly once a 
month. The lime is not likely to injure the china. 
A. W. — A vase which breaks in the kiln usually cracks only, but if it 
falls apart it is likely to break something else, better put your vase where it is 
not likely to fall on anything. It is not likely to explode and scatter pieces — 
but such things are possible, especially with a very imperfect piece. For 
colors in chrysanthemums see Aulich's treatment for his color study in April 
1905 Keramic Studio. 
RED RASPBERRIES— MARY BURNETT 
SHADE blossoms very delicately with Silver Yellow and 
Violet; for centres use Albert's Yellow and Yellow 
Brown and Finishing Brown for stamens. For the middle 
others Moss Green and Dark Green, with a little Red on some 
of them. Keep some of the leaves warm with Ochre and Brown 
and for the others use Moss Green, Brown Green and Dark 
berries use Blood Red and Black, wiping out hghts, and for the Green. 
