RERAMIC STUDIO 
187 
chased on with appropriate tools; the chasing completed, the 
cement was heated and taken out, and the cjdindev placed on 
the sqviare of silver; these two were bound together with bind- 
ing wire and fitted so well that light could not come through 
at any point. The seam in the body of the cup already soldered 
was well covered with a mixture of red clay and water, or rouge 
and water and dried. Tt would be well to use solder a grade 
softer for the bottom of the cup, there would be less danger of 
Ellen Parker Day. 
the first solder melting. When the flux and solder was applied 
round the bottom seam, the cup was placed on a flat piece of 
charcoal and the flux dried. The cup was gradually' heated 
until the solder ran smoothly all around the joint. After the 
two pieces were perfectly joined together, the superfluous silver 
W'as cut off and the edge filed. The seams were covered again 
with red clay (excepting where the handle was to be), the 
handle made and soldered on. 
The cup was well polished inside, the outside oxidized with 
a hot solution of liver of sulphur, and the surface rubbed 
gently with a little oil on a chamois skin leaving the deep 
places dark, so giving character to the design. 
lUoi hoi. 
Illustration No. 2 was executed and designed by Emily 
1'^. Peacock. This cup was made in the same way as illustra- 
tion No. I, excepting that the shape was only a trifle larger at 
the bottom, and was made so by leaving the silver about one 
sixteenth of an inch larger each side at the bottom of the 
bodj- part of the cup. The handle (illus. No. 3) was cut out 
with a saw, shaped on the wood block and lined with the piece 
of fine silver. When the cup was put together, the border of 
geese (adapted from a design by Mrs. A. Alsop-Robineau) was 
put on with the steel point, also the name in the band at the 
bottom of the cup. The resist was painted on the design in the 
upper band and some distance up the inside of the cup. When 
dr3^ this part was put in the acid solution long enough to etch 
the background behind the trees slight^. Take the cup out 
of the solution and paint the resist over the etched bacK-ground, 
when that is dry, etch the background behind the geese a little 
longer and cover them, etch the background behind the waves 
deeper still, getting in this way three different depths, and an 
interesting effect. The name in the band at the bottom of 
the cup was etched about the same depth as the trees. Finish 
in the same way as illustration No. I. 
TOOLS 
Solder, flux and blow-pipe, anvil, hammers, chasing tools, 
steel point, chasing ball, cement, charcoal and binding wire. 
a perfect cube of hard wood that just fits the cylinder of silver 
to true it up on, a wood pattern block for the shaping of the 
handle. Nitric acid solution, glass or porcelain dish for the 
solution, red clay and brushes. 
MATERIALS FOR ILLUS. NO. I 
A Strip of silver 20 gauge, Si x gi for the body of the cup- 
A square of silver 20 gauge, S2 x 3A for the bottom of the cup. 
A strip of silver 12 gauge, I x 5 for the handle and a strij) of 
pure silver 24 gauge, I x 4 to line the inside of the handle. 
MATERIALS FOR ILLUS. NO. 2 
A strip of silver 20 gauge, 3f x 9, a square of silver 20 
gauge, 3 X 3, a strip of silver, 12 gauge, i .x 6 and a strip of pure 
silver 24 gauge. 
ANSWERS TO INQUIRIES 
E. Hourau — The price of tools for leather work depends on what kind of 
leather work. If you are a beginner modeling is the simplest method. For 
that you will need two modelers, each having a tool on both ends. One tool 
is sharp and three cornered, called a liner, the others are thumb shaped of 
various sizes, these are used for modeling. The two modelers and knife for 
cutting cost about $1.25; these and the leather can be bought at the Karol 
Shop, 22 East 16th Street, New York. Besides you need a piece of marble or 
glass about 8 x 12 , a T square, triangle and sponge. 
D. W. — A lapped seam, is almost a double seam. One side of the metal 
is beveled on the top and the other side is beveled underneath, .so that the 
two fit together without extra thickness. It is stronger than the seam where 
the straight edges meet. 
K. W. R. — The following is said to be a good composition for soft solder, 
providing the materials are as pure as it is possible to obtain: 
Pure grain tin 2 parts, 
Pure lead I part. 
In melting this composition great care must be taken not to overheat it. The 
lead which has a higher fusing point than tin should be melted first. Heat the 
tin in another vessel, mix the two together and stir gently. The mixture 
should not be poured from the ladle, until it Ijegins to cool. Put a piece of 
paper into the heated mass, if the paper does not ignite, the mixture is ready 
to pour. 
Mrs. S. A. CJreen — Wrought iron nails can be bought at Patterson Bro., 24 
Park Row, New York. They also keep .sheet copper and brass, this should be 
ordered by gauge. 
E. P. — Send all particulars in reference to your monograius to Miss Mary 
H. Peekham, 150 Halsey Street, Brooklyn. 
A. M. Shoemaker — Gilders size is applied to the wood before the gold 
leaf is put on. I If the gold is to be burnished, a preparation of chalk and filler 
must be put on the wood before the size so that all pores in the wood are 
filled up. Both these preparations are sold ready to use. Apply a thin coat 
of shellac to the leather and before it is dry put on the gold leaf. Burnish 
both leather and wood with an agate burnisher. 
Mrs. E. D. G. — You will find an interesting chapter on basl<cti-y in the 
•'Art Crafts for Beginners," just out by Frank G. Sanford. 
H. H. Irving — If the leather you want to color is ooze, use water colors. 
If it is smooth calf use Diamond Dyes. Sometimes a skin is very oil.y, then 
you would have to use a thin coat of oil color. 
Emily P. Peacock. 
