RERAMIC STUDIO 
COWSLIPS 
Atistin Rosser 
Use two shades of soft blue. The 
darker spaces and outlines are flat 
enamel which is fired before ground 
laying over entire surface a lighter 
shade of blue. 
CHINESE WORKMANSHIP 
IN the metal room of the Museum of P'ine Arts there has been 
placed on exhibition some remarkable specimens of Chinese 
and Japanese pewters. In these days, when old pewters are 
the rage among collectors, these examples from the orient will 
he indeed a revelation. 
The making of pewter in China extends back to the loth 
century, and in Japan to the i6th century. Its manufacture in 
the latter country was derived from China, but once introduced, 
it was energetically fostered by the rulers of Japan. 
In the present collection, the object which is probably 
most impressive is the great Chinese covered jar in case 9, 
which dates from the King d\niast5', in the 14th centuiy. It is 
eight-sided, and is verj^ graceful in line; slender and narrow at 
the base and gradually widening upward. 
The library incense of three pieces is another remarkable 
piece of work. A supple monkey, dressed in brass pantaloons 
and a collar of leaves, holds aloft a leaf as a tray. The incense 
burner itself is severe in line, by way of contrast. 
There is also a teapot of unusual workmanship, with 
channeled sides, a jade spout, handle and knob. This is from 
the 17th century-. It has an unusual combination of metal 
and stone surfaces. 
In the next case are two inlaid pewter salvers with pictures 
on their surfaces in brass. These pictures represent the great 
Yu, who turned back the waters from primeval China. 
Among the Japanese pewters is a delicate ovoid vase with 
speckled surface, and one in the form of a bamboo stem, with 
iDrass inlaj^s. There is also a double basin bj^ Suzuya Zayemon 
of inimitable surface and color. This dates back to early in the 
1 8th centur^^ — Boston Evening Globe. 
