ki:ramic studio 
211 
outside the lines. It is well to tiy the colors on a sample of 
leather first, and when it is satisfactory be sure that there is 
enough mixed. When the cases are finished and evenly cut 
line them with a thin leather making a pocket each side. Sew 
these carefully on the machine with the same colored silk. 
lUus. No. 3 Mary Peckham. 
lUus. No. 6 From Miss Barck's Studio. 
The little case for ribbon needles was made in Miss 
Barck's studio. Two pieces are used for this, cut small open- 
ings in the top piece for the needles to slip through and stitch 
both pieces together on the machine. Use the same materials 
and method as given for the card cases. 
The pocketbook (illus. No. 3) was made from^light tan 
colored Russian calf, one [)iece for the back and flap and one 
for the front. Model the design sHghtly and stitch the two 
pieces together on the machine. Fasten with a button or snap. 
ANSWERS TO CORRESPONDENTS. 
M. 0. — Probably the cause of your enamel chipping off in the first fire, 
is the hardness of the French porcelain. You might try using \ flux It is 
always best in using a new tube of Aufsetzweis to squeeze out the amount you 
may wish to use, on a fresh piece of blotting paper which will absoii) the 
superfluous oil, this is also a good thing to do with an old tube where the oil 
has separated from the enamel. There would be less danger of chipping and 
you would probably obtain smoother results by mixing your enamel with oil 
of lavander instead of with spirits of turpentine and breathing on it if it tends 
to spread as with raised paste for gold. An article on the latter .subject 
will be found in this number of Keramic Studio. 
I*. — There is no danger of firing your kiln too slowly — that is not the 
troulile with your paste and enamel. Possibly you are using a very hard 
kind of porcelain which often causes paste and enamel to chip. Read the 
article in this number on raised paste; the same directions apply to enamels 
except that if you use the tube enamel it is not necessary to add fat oil. 
Unfluxed gold is used just in the same manner as the Roman gold but on raised 
paste and over fired color, not on white china. The mat colors are dusted 
on as you dust on any powdered color, sometimes if they come out a little 
rough they are rubbed down with the finest sandpaper. 
M. L. B— You -will find an article in March, 1904, K. S. in regard to the 
decorating of sets of china for table use. As to the price for a set of 140 
pieces it would be impossible to give an estimate without seeing the finished 
work. The price depends upon the amount of work on the design and the 
perfection of its execution. It would range from $150 to |1,000 accord- 
ing to the value of the buyer's ability to pay. 
HOLIDAY GIFTS 
THE ROSE BOOK 
For the China Painter and Student of Water 
Colors, "A combination of beauty and prac- 
ticability'' - - $3.00 postpaid 
The Principles of Desi§:n 
By Ernest Allan Batchelder $3.00 postpaid 
For the Collector 
VoL II, Old China, bound blue cloth - - - 
Vol. Ill, Old China, bound blue cloth - - - - 
Anglo=American Pottery 
A Manual for Collectors. Old English China with American Views. Edwin Atlee Barber, A.M., Ph. D., 
Curator of the Department of American Pottery and Porcelain, Pennsylvania Museum and School of Indus- 
trial Art, Philadelphia, Pa. 
Second edition revised and enlarged with one hundred and thirty-five illustrations - $2.00 postpaid 
William Adams, an Old English Potter 
With an account of his family and their productions, edited by William S. Turner, F, S. S., author of " The 
$2.50 postpaid 
3.50 postpaid 
Ceramics of Swansea and Nantgarw ' 
ZJS postpaid 
Keramic Studio Pub. Co., Syracuse, N. Y. 
