Vol. XV. No. 3. 
SYRACUSE, NEW YORK 
July I9I3 
S I sit by the log fire this chilly June 
night scratching and poking around 
in the attic of my brain for an idea 
with which to fill the editorial page, 
it occurs to me that cold and damp 
Junes are not favorable to ceramic 
inspirations — for ceramics are natur- 
ally associated in one's mind with 
hot and exciting moments and the 
only chill is one of nervous tension. 
Of course there is the log fire — but it blazes and flickers, dies 
down and starts again in a most inconsequential way while 
the movement of ceramic heat is one of steady increase up to 
the crucial moment. And even while I cudgel my brains, 
the wood turns to ashes and the chill of the surrounding at- 
mosphere creeps in. Have all my ideas gone out with the fire? 
I believe they have — ^fourteen years of tending the sacred 
flame of the ceramic fire, have consumed them. 
Requiescat in pace — and how can one hope to discover 
a really valuable idea in a brain crammed and jammed with 
such ideas as how to warm up the roast for the fourth time 
in a real disguise; whether to let down Priscilla's gown or 
take it up for Elizabeth; what to plant for succession in the 
bed of Canterbury Bells; how to get the windows washed or 
the floors scrubbed with no help in sight; how to squeeze 
out a moment of mental quietude in which to pursue one's 
ceramic aspirations; whether to try to make up the dummy 
for the next issue of the magazine or go to bed to rest the weary- 
ing turmoil in an individual not cut out for the household 
struggle but forced to keep her nose to the gi-indstone. Lo! 
these weary months of domesticless domesticity. It is only 
left to join the weary world cry of: Help! Help wanted! 
I have on my study table a new book, "Art and Industry 
in Education" — a book illustrative of the principles and 
problems of the Fine and Industrial Arts at Teacher's College, 
published by the Arts and Crafts Club of Teacher's College, 
Columbia University. 
This is a collection of essays on various subjects of inter- 
est to students of arts and crafts by the students of Columbia 
Teacher's College, illustrated interestingly and instructively 
and should be a worth while book to add to one's study li- 
brary. A list of the subjects touched upon will be of interest. 
The Gospel of Ai't — "Work thou for pleasure; paint or 
sing or carve the thing thou lovest though the body starve. 
Who works for gloiy misses oft the goal; who works for money 
coins his very soul; work for the work's sake then, and it may 
be that these things may be added unto thee." — Kenyon Cox. 
Industrial Arts Education at the Dresden Congi'ess. Art 
Principles in \witing and lettering. Blue and Sepia Printing 
as an aid in art Teaching. The International Exhibit of 
modern art. Symbolism in Teaching Art. The field of 
Modern Photogi-aphy. Pottery Plates, a problem in Fine and 
Industrial arts. Manual Training — What's in a name? Wood 
Block Printing. The Decorative use of the Figure in Adver- 
tising Cement and Concrete. Paper Cutting. Design and 
Construction. Use of Museums in school work. Costume 
design in 7th and 8th grades. Good Furniture. The High 
School Annual as a Problem in Art. Experimental work in in- 
dustrial arts as a means of efficiency. Decorations in a Res- 
taurant. Development of Personality in house decoration. 
Apropos of the introduction of Manual and Art Training 
into the gi'aded schools, it would seem that all mothers, 
whether following the call of art or craft or the great occupa- 
tion of home making and rearing of children, or even the new 
woman suffragette, would welcome the movement as a light- 
ening up of their labor and responsibilities. "Satan finds 
some mischief still for idle hands to do" is as true to-day as 
it ever has been and if the children can be led to take an in- 
terest in some line of manual work you can be quite sure that 
while so occupied not only their hands will be out of mischief 
but their busy little brains will be too occupied to make room 
for naughty or mischievous thoughts. So it behooves us all 
to help the good work along. 
It was for this reason mainly that our summer school 
conceived the idea of children's classes in Basketry, Sewing, 
Carpentry, Carving, etc. It has proved a very popular and 
helpful feature. Many mothers who could not otherwise 
leave home, have brought the children along with a lightened 
heart and it is really remarkable to see their interest and the 
work accomplished. It is the solving of much of the worry 
of a mother's life — something for the little hands to do and 
the little mind to enjoy, at the same time training hands and 
minds into useful tools for the future. 
STEIN— F. R. WEISSKOPF (Supplement) 
Treatment by Jessie M. Bard 
THE outline is Black and a little Violet. The deep yellow 
tone is gold. Oil the purple tones forming the bands 
and dust with one part Royal Purple, one part Aztec Blue, 
two parts Ivory Glaze, after which the gold and outline may 
be applied and fired. 
Second Fire — Oil the gi^ey tones in the panels and dust 
with three parts Pearl Grey, one part Palma Rosa Salmon. 
Leaves, head and wings of bird are painted with Violet No. 2 and 
a little Rose. Bright red in tail and on head is Ruby and a 
little Blood Red. Pink in lower part of panel is Rose and a 
little Violet No. 2. Background in flower border is Pearl 
Grey and a little Yellow, back of leaves is Grey for Flesh and 
a very little Ruby. The yellow backgi'ound space is Lemon 
Yellow and a very little Yellow Brown. 
DECORATIVE PLATE (Page 50) 
Pearl Monro 
OUTLINE in Black. Light part of wings a thin wash 
of Yellow Brown shaded into Blood Red. Wide outer 
band Blood Red. Dark part of circles in center of plate and 
the drapery around the face Albert Yellow and a very little 
Brown Green. Space back of circles Carnation. Background 
back of head a soft pink using a very thin wash of Blood Red. 
A very little Yellow Brown and Yellow Red washed over 
shadows in the face and neck. All other parts of design 
Moss Green and a little Shading Gi'een. Large backgi-ound 
cu-cle left white, 
