RERAMIC STUDIO 
65 
Ellen Parker Day, Pratt Institute, 
Mary E. Peckham, Pratt Institute. 
E. J. Pratt, Pratt Institute. 
TREATMENT FOR VIOLETS (Page 66) 
Henrietta Barclay Paist 
IN the first painting of violets be very careful not to get them 
too purple. For any of the prepared violets a little blue is 
needed. In mixing a color for violets use Dresden Carmine 
Blue 4-5, and Ruby Purple 1-5, strengthening only the 
stronger portion in the second painting. For the shadowy 
effect use Copenhagen Blue and Gold Grey. The greens are 
Brown Green, Dark Green and Moss Green J., Lacroix, Fry and 
Mason colors, the Dark Green and Brown Green for modeling 
and the Moss Green for glazing in second painting. Carry out 
the color scheme by using Russian Green, Albert Yellow, 
Pompadour, Yellow Brown and Brown Green for the back- 
ground colors. Beginning at the upper left hand comer with 
Russian Green work down in the yellow and yellow brown 
effect, using a little flush of Pompadour between the blue and 
yellow to prevent a greenish tone. Warm up the lower right 
hand corner as much as desired with the Yellow Brown, Pompa- 
dour and Brown Green, a touch of Yellow in the center and 
prominent flowers only, and a little touch of stronger violet at 
either side of the center. If the violets are not already purple 
enough in the second painting a little Rose can be flushed across 
the shadow side of the bunches — blending into the background. 
Much depends on the shadowy effects — do not bring out too 
many in detail. 
Mr. Charles L. Pendleton of ProA'idence, has given to the 
Rhode Island School of Design the art collection which he has 
gathered through a great many years of collecting. His col- 
lection comprises eighteenth-century English and colonial fur- 
niture, pictures, antique Chinese porcelains, Chinese china of 
the eighteenth-century, early eighteenth-century English pot- 
tery, antique rugs and sixteenth-century textiles. 
