i6 
RERAMIC STUDIO 
with far more accuracy than the most careful draughtsman; 
but photography cannot invent, as it is devoid of the mental 
Plate X 
imaginative faculty, for the working of the mind is essential 
to the production of decoration." 
Sir Gardiner Wilkinson expresses himself similarly : " llie 
imitation of natural objects for mere ornamental purposes 
usually disagrees both with the materials used and the place 
where they are introduced; it is also an indication of poverty 
of invention and a deficiency of taste for design. To obtain 
ideas of ornamental art, nature should be carefully studied, and 
the beauties she presents should be fully understood, but she 
should not be directly copied." 
To adapt a motive we must avoid detail, we must simplify 
by rejecting any parts that are accidental or that will interfere 
with an almost symbolic interpretation of the motives as in 
Plates XI and XII. In its use it should never seem to be an 
added thought; that is, it must not be applied, but must be a 
necessary part of the structure. A handle on a vase may ha\'c 
the appearance of being stuck on, or it may be a part of the 
structural plan of the vase. Ornament ought to be considered 
in the latter or structural sense. 
It often happens that the decoration of an object appeals 
to the observer more strongly than the object. In such a case 
the balance has been disturbed. Sometimes this is due to the 
convention of the design, especiall}' when its lines are not con- 
sistent with the structural lines of the object. 
It follows, then, that while some skill is required in select- 
ing the characteristic lines of a motive, and in making a con- 
vention of it, more skill is required in adapting it to some form. 
This ability to adapt the motive to form requires a knowledge 
of consistency of line, adjustment of areas and harmony 
of color. 
'■■> ■'.4. '7 
TIate H 
Plate ST 
LUSTERED POTTERY 
IN one of our popular monthly magazines, a few j^ears ago, 
there was an article on Mexican lustered potter3'. In this 
article it speaks of the famous Italian potter3^ of the 1 6th 
century, decorated with paintings and brilliant lustre. This 
lustre work was iridescent and of remarkable beautj'. The 
art of producing it was borrowed from the Saracens and im- 
proved on by the Italians. This style of pottery decoration 
soon passed out of fashion and the art of making it became lost. 
The nearest approach to it was the copper lustre of the English 
potters in use about a century ago. Of late years much 
money and labor have been expended in trying to learn the 
secret of this lost art, but without success. 
In 1887 Charles Dudley Warner astonished the art world 
b}'' the discovery of a half-dozen specimens of pottery, dec- 
orated in rude relief, but entirety covered with iridescent 
lustre of the same quality as the best old Italian ]iicccs, in 
Mexico. This discovery gave rise to the question: were these 
wares the independent discovery of the Indians who made 
them, or w^as the art transmitted to the new world from Italy? 
This question has not been satisfactorily answered. Since 
then potterj^ of the same description has l^cen found in New- 
Mexico also, made by the Indians. 
STUDIO NOTE 
Mrs. Margaret Sellers of Belle Plaincs, la., will remain in 
Miss Stewart's studio during her absence in Europe and carry 
on her business. 
In the mission furniture group is found a pretty dressing 
table to which is attached a square mirror set in a heavy frame 
of dark oak. On either side of the mirror are sconces for 
holding candles. 
