214 
RERAMIC STUDIO 
taking its place. Much splendid material has been wasted 
without any other tangible result than adding to our 
vocabulary some more Indian names, which are perhaps 
characteristic when the shapes are considered as abori- 
ginal. If we are at the point where the roads are cross- 
ing, let us decide which path we shall follow, progression 
or retrogression. Let those with crude, primitive, or 
perverted ideas choose for themselves and let them|stand 
the consequences, but let those who can rightfully lay 
claim to good taste, refinement and artistic skill shun the 
way of evil doers and proceed on the road which has made 
other nations great. We need not necessarily copy from 
other nations. Indeed if we could develop a style of our 
own, it would be desirable and laudable but such develop- 
ment should be along the lines of beauty and true Art, 
which is never ugly. Art is satisfying to a cultured taste, 
not sickening and repulsive. It is particularly sad to find 
decidedly bad productions emanating from Art potteries 
from which we have a right to expect only good work and 
which a few years ago would not allow a single piece to go 
out unless it had real merit. Have these now been spoiled 
by the perverted taste of would-be potters? Or are they 
influenced by the all absorbing commercialism as to what 
will sell, rather than what is beautiful? It is not enough 
to rely on the beautiful glazes and truly artistic decoration 
of which many of us are capable, both over and under 
the glaze. In this we are not much, if any, behind the 
Europeans. It is even possible that in some of these lines 
we actually excel. Shall it be said that we do not dare 
to undertake a reformation of the shapes, the bringing 
out of new beautiful designs which are truly artistic, or 
shall we allow the foreigner to sneer at us though he has not 
the inclination to tell us wherein we are at fault. Whether 
we succeed in producing anything in the way of original 
American Art or a refined Renaissance matters very little, 
but let us have something better than we have now. It 
has been said: "Read in pottery the progress of the race." 
Should this not mean that we should at least try to create 
out of our plastic material the most noble creations of 
which we are capable, as the first Divine Potter molded 
out of the same material His most noble work." 
S. LiNDEROTH. 
Architect. 
o o o 
In a letter to Mrs. Belle Vesey, the President of the 
League, Mr. S. Linderoth made the following remarks 
in regard to criticism of designs submitted to him: 
"Ask your members to draw in outline, not in per- 
spective, so that I can clearly understand their meaning. 
Something good will surely come out of your endeavor. I 
need not say that my humble opinion shall be perfectly 
fair and impartial, especially as I do not know the members 
nor even by their initials as marked on designs submitted. 
All I shall look for is good, practical and artistic designs 
with some meaning in them. If there is an idea of orig- 
inaHty I shall try to make such suggestions as will lead to a 
development of such conception. 
"While I can not invite correspondence in general, 
as my time is very limited and my correspondence al- 
ready large, I shall be glad indeed if I can answer inquiries 
regarding particularly knotty problems in the line of 
pottery, as far as I am able." 
Very truly, 
S. Linderoth. 
Architect. 
THE CLASS ROOM 
The articles on Lustres will be continued in the March 
number, as there is too much matter for one number. 
coo 
LUSTRES 
First Prize— Mrs. G. B. Straight, Cazenovia, N. Y. 
EXPERIENCE is a great educator. There is nothing 
intricate in the manner of painting with lustres, 
but success largely depends upon the skill and deftness 
with which they are appHed, judgment as to the appro- 
priateness of the decorations attempted, familiarity with 
the necessar}^ tools, and excessive neatness. To be "pain- 
fully neat" is a virtue in lustre painting. 
Lustres are sold in small vials, mixed with a medium 
ready for use. These vials should be kept tightly corked, 
as lustres evaporate rapidly, and if exposed to the air soon 
grow thick and unmanageable and adhere to the glass. 
Lustres when in good condition for use are as thin as 
liquid bright gold. If too thick and sticky they may 
be thinned by adding oil of lavender or the essence that 
comes specially for the purpose. A good substitute 
for the latter is a medium made of turpentine, fat oil, and 
lavender. 
Whether a thinning medium has been used or not, 
the vial should be thoroughly shaken before the lustre is 
used, as the heavier portion always settles at the bottom. 
Lustres are not brilliant and glistening before being 
fired, and when unfired look so distractingly near alike, 
usually presenting a dingy, yellowish gray appearance 
resembling an unpleasing color tint, that when one is 
decorating several articles in different lustres at the same 
time it is well to mark them in some way to avoid confu- 
sion, if color is to be used to harmonize with the lustres. 
A large number of satisfactory lustres are on the 
market, ranging in color from white and delicate opals 
through intermediate tints and shades of reds, blues, greens 
and browns, to black. These colors vary in different 
makes, especially the greens and opals, concerning Avhich 
further mention will be made. 
If one is unfamiliar with the different colors of lustres 
it is well to make tests on a trial piece of china before 
applying to an important article, though experience proves 
them to be about equally reliable. 
Occasionally lustres are freaky when subjected to 
kiln heat and produce most unexpected effects. A violet 
holder painted with opal, where the entire piece was del- 
icately lustrous, and on which, beginning at the bottom 
and extending nearly to the top, were smoke shaped wreaths 
of beautiful clear pinks and greens blended in an in- 
describably charming manner, is an example. 
The best china for lustre decoration is that presenting 
a deeply fluted surface, preferably one with many indent- 
tations or raised querls, though any curved or crinkly 
surface is good. As the chief beauty in lustre lies in its 
high glaze, it may readily be seen that this property is 
heightened by the tiny reflections from curved surfaces, 
even when as large as is found on the low Napoleon jug. 
USES OF LUSTRES. 
Lustres are especially well adapted to borders and 
linings and are suitable for any decorative work, es- 
peciall)^ where conventional or semi-conventional de- 
signs are used. 
Belleek or some other piece of fine china will invaria- 
