12 
ttERAMIC STUDIO 
A COURSE IN CHINA DECORATION 
By JETTA EHLERS 
• Courtesy of the American Woman's League) 
(continued) 
SEVENTH LESSON—USE OF LUSTRES 
LUSTRES almost come under the head of "stains," 
bearing much the same relation to the ordinary 
mineral colors, that the varnish stains do to common paint. 
They have a very high brilliant glaze, and are with a few 
exceptions very transparent. 
The use of metallic lustres in the decoration of pottery 
goes back several hundred years. The most celebrated 
wares of this kind being the Saracen, which includes the 
Hispano-Moresque, and that of Gubbio, made in Italy. 
Many fine specimens of these are to be found in the great 
Art Museums. More recently, in the day of our great- 
grandmothers, we find much of it being used on table ware. 
Quaintly flaring cups, with bands of a purple-pink lustre, 
plates with scattered groups of flowers accented with 
dashes of lustre, and many similar pieces, were to be found 
in the "best cup-board" of most homes of that period. 
Pitchers covered with copper lustre, the shapes often very 
fine, were very popular. 
The lustre was frequently relieved and further enhanced 
by the use of bands of solid color, which were often deco- 
rated with gay flowers or tiny figures. Pitchers or mugs of 
this description, in a good condition, bring very good prices, 
being much sought after by collectors or dealers. 
Pieces of the old silver lustre are also highly valued, 
and seem to be more uncommon than the copper. 
These old pieces are very cleverly imitated at the present 
time, and it needs the eye and hand of an expert, to dis- 
tinguish between the real and the imitation. Of recent 
years much lustre has been used in the decoration of por- 
celain, its brilliant glaze and color being especially well 
CRACKER JAR IN LUSTRE— JETTA EHLERS 
