i6o 
RERAMIC STUDIO 
M. ZSOLNAY 
a mottled effect as of fine discs of white raised slightly on a 
colored ground, usually blue or grey. The Rorstrand (Swe- 
den) exhibit had perhaps the greatest variety of fine crystal- 
line effects, especially noticeable were the crystals in yellow 
and pink not seen elsewhere. The other work in under glaze 
resembled somewhat the Royal Copenhagen. The Bing 
and Grondahl exhibit we were unable to find. 
The Italian exhibit of ceramics was confined mostly to the 
I/'art della Ceramica which was well illustrated in Keramic 
Studio at the time of the Pan American Exposition. 
There is nothing new to add in regard to it except that 
several pieces were in a lower tone and richer in color notably 
a large jar in browns and lustre which was extremely inter- 
esting. 
We regret exceedingly that we were unable to obtain 
photographs from the Japanese exhibit, which contained a 
little of all the finest styles of work found elsewhere. Some 
notable examples were, — A Satsuma incense burner like 
carved ivory, intricately patterned in open work; a pottery 
vase by Ito Josan, a greenish cream ground with a wistaria 
design in violet conventionally arranged in low relief. A 
vase with the same motif by Hayashi Jisaburo with white 
flowers in a violet grey ground; interesting crystalline 
glazes by J. Uno, especially crystalline brown on flamme red, 
green, turquoise and grey. 
M. ZSOLNAY 
Kosan, of the Imperial Court was represented by a curious 
blackish brown bronze with brown crystals like slices of 
agate. Kawara Taro showed some clever pottery of a com- 
TRUITE VA.SE— ROYATj COPENHAGEN 
mon yellow body showing the circling marks of the fingers 
in throwing. The decorations were mostly in browns with 
a broad and sketchy treatment. 
ROYAL COPENHAUEN 
ROYAL COPENHAGEN 
