ii8 
reramic studio 
TEA CADDY 
Emily F. Peacock 
THE tea caddy illustrated is made of copper and brass, the 
body part, practically two bowls soldered together. 
MATERIALS REQUIRED 
A circle of copper 6 inches in diameter, 20 gauge, a circle 
of brass 6 inches in diameter, 20 gauge. For the lid a circle of 
brass 2^ inches in diameter and a strip i x yj inches of the 
same material, also a knob of copper or brass. 
TOOLS 
Pattern block and hammer as given in the June issue, 
page 47. Pattern block Fig. i, page 70, July issue. Anvil, 
round steel punch, steel compass and point, silver solder, flux, 
blowpipe and flame, etching acid, glass or porcelain dish, files, 
emery cloth and sand bag. 
fSvRthf^ 
jSujv(^ 
£H. 
^uT^HK 
METHOD 
To form the lower part of the tea caddy hammer the 
circle of copper two inches from the centre out to the edge oh 
the wood pattern, see Fig. i, page 47, June issue. Keep the 
bottom of the bowl perfectly flat and the sides rather straight. 
When the bowl is the proper shape make the edge very true 
with a file and emery cloth. Place the bottom of the bowl on 
cement or on a sand bag and with the steel punch repousse 
from the inside three small feet at equal distances. The brass 
bowl or upper part of the tea caddy is hammered on a pattern 
block into a gradual curve (see July issue, page 70). Com- 
mence to hammer the circle of brass one inch from the centre 
and continue until the bowl assumes a good shape and fits well 
over the lower bowl. The next step is to make the opening for 
the lid. Mark a circle with the steel compass in the centre of 
the brass bowl 2 inches in diameter, and another circle outside 
this one almost a quarter of an inch larger. Saw out the 
smaller circle with a hand saw, hold the edge of the larger 
circle against the anvil and with a rounding hammer beat back 
the metal along the marked line very gradually. This process 
should make a straight neck for the lid to fit over. 
To make the lid, slightly curve the small circle of brass 
and Ijend the narrow strips to fit round it, this must also fit the 
neck of the tea caddy. Solder the ends of the strips together, 
making a ring, wire this to the top part, and solder from the 
inside. The knob can either be soldered or riveted, in the 
exact centre of the lid. Arrange the Japanese signs for Spring, 
Sunmier and Autumn around the top part of the tea caddy and 
mark them in with a steel point. Put the sign for Winter on 
the lid. Etch these in with nitric acid, as given in July, 1903, 
Keramic Studio. 
When the etching is done the two bowls are soldered to- 
gether. Atmosphere gives the best tones to the outside of the 
tea caddy but a silver plated lining inside adds to its value. 
THE PRIMITIVE ARTS CLUB 
A LITTLE over a year ago the "Primitive Arts Club" was 
organized in Brooklyn, N. Y., and became permanent in 
the fall of 1902 with resident officers, and a board of directors 
chosen partly from the out of town membership. Miss Lena 
Eppendorff, the promotor, was elected president, Miss Mary 
White, vice-president, and Miss Eloise Prentice financial sec- 
retary. A meeting place was generously offered by the Misses 
Griswold and all meetings but one have been held at their 
studio, 221, Washington avenue, Brooklyn. 
The idea of the club was to bring together handworkers in 
various lines, especially those experimenting with raw materials 
and the simpler processes of construction (without use of mach- 
inery) that all might be benefitted by the experience of each 
other and the labor of investigation economized. Scientific 
accuracy in naming and testing could not be ignored although 
no exhibit would be considered complete without labelled 
specimens of raw materials and the finished article attesting 
beauty of color, form and design in useful articles. 
In March, 1903, the meeting for the discussion of basketry 
was very enthusiastic. Miss Marie Perrin, of the Ethical Culture 
School, gave an account of the children's delight in all these 
early stages of art work. Miss Mary White read a paper on 
Indian basketry, explaining the stitches, the materials and the 
significance of the work to the makers. Miss Helene V. John- 
son of Providence spoke on mat making among the South Sea 
Islanders. She told also of her studies among the Western In- 
dians of North America and how she won them as friends before 
they could be persuaded to be her teachers. 
