KLERAMIC STUDIO 
-77 
STONEWARE 
The enamels of Feuillatre were seemingly inlaid in 
gold wire after the manner of the Japanese cloisonne. 
The Springs, hard porcelain dish, TaxileDoat. Cameo on green background. Center, 
clouded red of copper. Rim, yellow brown with flowing white streaks. 
DELAHERCHE 
They were fine in color and artistic in design and effect. 
They have been recently illustrated in the crafts depart- 
ment of Keramic Studio. The work of Mess. Naudot and 
Thesmar was in each case enamels inlaid in porcelain, but 
quite different in every other respect. M. Naudot is 
celebrated for his reproduction of the famous pate tendre 
de Sevres of the i8th century and of the rose du Barry so 
often quoted as impossible to reproduce. In this p4te 
tendre, M. Naudot inlays transparent enamels in open 
work designs. His designing is not a strong point but the 
technique is marvelous and consequently specimens are 
much sought for and purchased at enormous prices for 
every museum of note. 
The work of M. Thesmar is also the inlaying of trans- 
parent enamels in open work designs in porcelain, but the 
porcelain is very different in texture being apparently of a 
much harder fire. M. Thesmar is stronger in design than 
M. Naudot and each piece is a gem — one small cup being 
valued at about $400.00. 
The Sevres exhibit at Le Petit Trianon was a revelation 
to ceramists. The fine texture and soft colors of the mat 
glazes on porcelain — something hitherto unknown inAmerica 
except on low fire pottery, the wonderful crystalline 
glazes, so talked about since the Paris Exposition of 1900 
but never shown here before, the entire lack of what has 
always been considered as particularly Sevres like in style, 
i. e. : little roses and gold scrolls, etc., and the substitution 
STONEWARE 
DALPAYRAT 
