Vol. XVII, No. 7. 
SYRACUSE, NEW YORK 
November J9I5 
HEN we added to the Magazine last 
fall a naturalistic supplement to sat- 
isfy the many naturalistic decorators 
who complained that Keramic Studio 
was too conventional, some people 
claimed that what they called the con- 
ventional fad was over and that dec- 
orators would come back to the nat- 
uralistic style. We, of course, never 
believed this; we know that the tide 
has turned for good in favor of good, decorative design versus 
senseless copies of nature, and that it is only a question of time 
when the naturalistic heresy will disappear entirely. Evidences 
that conventional decoration grows every day in favor multiply 
everywhere, not only in important exhibitions, where natural- 
istic work is absolutely refused, but in such exhibitions as are 
given at State Fairs and they multiply also in our corres- 
pondence. 
Our experiment of a naturalistic supplement has been in- 
teresting in many ways. First it has stopped entirely the let- 
ters which we received frequently before complaining that we 
did not give any naturalistic designs and that decorators needed 
these designs because buyers wanted them. It seems then that 
our experiment has been successful, and we will continue this 
supplement as long as there is a demand for it. 
Another interesting result is this : Thinking that the nat- 
uralistic decorators would be interested only in the naturalistic 
supplement, we offered subscriptions for the supplement alone 
at a reduced price, and we were surprised that in the whole 
year only seventeen people took advantage of that offer, while 
many old subscribers, who had not taken the Magazine for 
years, have renewed their subscription for the whole Magazine, 
conventional and all, although the majority were evidently nat- 
uralistic decorators. This is a good sign. Gradually these 
people will do what so many others have done already, they 
will educate themselves and at the same time they will educate 
the public to a better style of decoration. 
Meanwhile we continue to receive numerous letters praising 
the stand which Keramic Studio has always taken in favor of 
conventional work. The following is a typical example: 
"I should have written sooner in regard to the duplicate 
copy of Keramic Studio, but our State Fair was about to open, 
and as I was competing I thought I would await results. To 
me the conventional work is far more attractive and suitable 
for the decoration of china than is the naturalistic, and I am 
confining my studies to that line alone, using Keramic Studio 
as a teacher and guide. The exhibits are most helpful in sug- 
gesting ideas and the lessons by Mrs. Paist are what I have 
needed and what I have not been able to find heretofore. I try 
to cull the best. For my reward I have three blue ribbons and 
three red ribbons on six exhibits this year. Will the editor of 
Keramic Studio accept my gratitude for the help to higher 
things? Most sincerely, M. S. J. 
In our last month's editorial we spoke of the situation in 
regard to the European china. We did not mention the Japa- 
nese white china because we preferred to wait until we heard 
from some shipments lately made by the Japanese, but it seems 
evident that they are going to send us an excellent ware for 
amateur decoration. The first shipments were of a poor grade 
of china, full of imperfections, and which came sandy in firing, 
a grade which is used very much in Japan and is very cheap, 
but was not acceptable for American trade. This has evidently 
been changed. We have seen here some very nice shapes of 
that china and tests are absolutely satisfactory. Here is what 
some of the outside dealers write to us: 
"Regarding the Japanese china which we carry, I feel that 
it is all it it is claimed to be. I have sold lots of it and have not 
had a complaint. There was at first a lot on the market which 
was not satisfactory, but it was very different in composition 
from the new shipment, and, when seeking my orders, these 
people claimed that they would keep up and, if possible, imp- 
prove the quality. Their 'selection' is simply splendid, no 
breakage, and nothing like their packing has ever come into 
the store. 
"I did not give my order last winter before I had picked 
several samples at random, painted and fired them. I sub- 
jected the pieces to as hard fire as they would ever have to stand 
in my kiln, and they came out as fine as possible. The pinks 
come out a lovely color and the gold looks as well as on French 
china. The finish of their articles is much better than many 
of the French articles, and it is wav ahead of the German stuff." 
C. C. Filkins. 
"This Jap china is a wonderful proposition and you may 
mention the fact in your news columns that our German and 
French friends will have to look to their laurels if they expect 
to secure all of the future business. The price of the Jap mer- 
chandise is less than the same items in French or German, and 
on top of this we are daily receiving notifications of sharp ad- 
vances from all the French and German manufacturers. You, 
of course, appreciate the fact that the arrivals of German 
china are going to be very scarce from now on. Many of the 
German factories have been forced to shut down, as their goods 
cannot go past Rotterdam, and what the ultimate result will be 
is only conjecture." 
Geo. W Davis & Co. 
However, there is a point about this Japanese china which 
is not settled yet and on which another dealer calls our atten- 
tion. The Japanese potteries are not as large as the European 
potteries, wares are made in different small factories instead of 
in a few large ones. As soon as the Japanese decorated china 
comes again in demand, will the Japanese be able to furnish us 
with the needed quantities of undecorated ware ? This re- 
mains to be seen. So far several orders have been only partly 
filled, only a small proportion delivered. 
We quote below from a circular sent out by the Keramic 
Society of Greater New York: 
"The Keramic Society of Greater New York has been ex- 
ceedingly fortunate in securing Mr. Marshal Fry, of New York, 
and Prof. Grace Cornell, of Teachers' College, New York, as in- 
structors for the coming season. 
"As may be seen from the following, these courses should be 
particularly helpful to all students — amateur or professional — 
in the decoration of porcelain and in applied arts. 
"Classes will meet on Wednesday afternoons from 1.30 to 4 
o'clock in the Lecture Room of the American Museum of Nat- 
ural History, Columbus Avenue and West 77th Street, New 
York City. 
"Prof. Cornell, who has taught design with great success at 
Teachers' College of Columbia University, New York, and 
Pratt Institute, Brooklyn, and who has been the instructor for 
the Society for two years, will give a course of ten lessons on 
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