RERAMIC STUDIO 
135 
sents more neaiiy than any other the local art tmaffected by 
foreign influence. 
The glaze used in some of the Indian Schools of Art is 
made of white quartzose rock (twenty -five parts), pure soda 
(six parts), pure borax (three parts), and a little sal ammoniac. 
When finelj' powdered, these ingredients are mixed with water 
and made up into balls about as large as oranges. These are 
heated, cooled down, ground and sifted. The material is then 
placed in a furnace, and when melted, clean-picked saltpetre is 
stirred in, resulting in a foam on the surface, which is skimmed 
off and set aside for use in glazing. 
Oxides of lead, tin, zinc and copper supply the colors. 
TREATMENT OF PANSIES 
(September Supplement by Miss Jenkins) 
Mrs. Sara Wood Safford 
IN the first painting use Pearl Grey and Violet for shadows in 
white pansies, Yellow and Violet in shadows of yellow 
pansy and Yellow Brown and Violet in deeper shadows of 
same flower. For dark purple pansies use Banding Blue, 
Ruby and Black (this same combination of colors may be used 
in the dark centre markings of the white flowers) . For centre 
of yellow pansy use Blood Red and Ruby. Be careful to pre- 
serve clear, clean lights in the first painting, for instance, the 
white marking and very heart of the pansy in both purple 
and white flowers. Apple Green greyed with Violet and 
Shading Green with Violet would produce greens of this cool 
tone, and in very dark green parts of background a tovtch of 
the purple mixture may be used with Shading Green. Blood 
Red and Ruby might have been used in the inore red part of 
background in the first painting and Violet tones washed over 
it in the second and third paintings. Violet, Yellow and 
Violet and Yellow combined and deepened with Yellow 
Brown could be used in lighter tones of background. 
Paint simply — use flat touches broad and clear. Leave 
sharp detail until last painting. 
BAYBERRY DIPS 
FIRST ainong the primitive peoples came the torch, for 
which purpose the pine knot was utilized; then the saving 
and hoarding of every bit of suet and fat from the wild animals 
killed for food of which to make the tallow candle; and then 
drawing from unused stores the berries of the plant Myrica, 
which yielded wax for finer candles. In the South it is called 
the Candleberry, more often the Myrtleberry, and again the 
Waxberry; but in New York and on Long Island it is called the 
Bayberry. It is rightfully Myrica; it belongs to the Bayberry 
family. The candles made from the berries of this bush were 
cherished by the pioneer housewives, and one wishes that this 
domestic industry still lived. When Kalm, the Scandinavian 
naturalist came to this country in the middle of the Eighteenth 
Century, he was delighted with these candles, and describes 
verj^ fully the process of boiling the berries, and refining the 
wax. The pure flame, the fragrance and the faint green tinge 
all excited his interest. Beverly, the historian of Virginia, 
says: "These candles are never greasie to the touch, nor 
melt with lighting in the hottest weather. Neither does the 
snuff of these ever offend the smell like that of a tallow candle; 
but, instead of being disagreeable, if an accident puts a candle 
out, it yields a pleasant fragrancy to all that are in the room, 
insomuch that nice people often put them out on purpose to 
have the incense of the expiring snuff." 
The industry of making these Bayberry Dips has been 
revived by the Hingham Society of Arts and Crafts. These 
dips are suitable not only for household use but are especially 
appropriate for Colonial teas. Thanksgiving celebrations 
and occasions which seek to recall the earlj^ history of New 
England. 
TILES— ROOKWOOD MOULTON 
