66 
RERAMIC STUDIO 
cused. If value came of it it might even be commended. 
So much splendid work is being done in city and country 
by those who have chosen "the good part" that the waste 
of the majority is the more apparent. 
The need is simplicity both in home and life and it 
is the mission of the crafts to promote this. 
In the home, perhaps, this is sufficiently obvious but 
it will be well here to point out that the simplification of 
surroundings does not necessarily mean a lessening of cost. 
In fact if one elects to surround himself with a few things 
merely to save money he has altogether missed the point. 
A few things, yes, but each one of the best, each one a 
masterpiece bringing and ever repeating the message of 
a master. These are the works of which one does not tire. 
They become life-long friends and are so fashioned that 
they mellow but do not decay with age. 
Returning to a home so furnished one is, even if alone, 
immediately surrounded by congenial company. Life 
becomes full and satisfaction is complete. 
In this way also the daily life is affected. Surely it 
is not by accident or as a measure of reform only that the 
settlement houses have engaged in the crafts. In the 
development of character craftsmanship is akin to garden- 
ing. One can hardly think of a devoted florist but as a 
gentle, lovable man and any kind of a serious occupation 
which has for its purpose the production of value must 
exercise a potent influence over one who pursues it. 
The worker in the crafts learns by doing. He has real 
and not fictitious standards of value by which to judge his 
work. He cannot now be satisfied with machine finish 
or meretricious display. He demands sincerity in his sur- 
roundings, and almost unconsciously his life grows more 
and more sincere. A love for clean, sound workmanship 
renders one dissatisfied with the distraction of the many 
things and the result is a simplicity of living which leads 
to simplicity of life. 
The mission of the crafts is to teach these things and 
the more firmly they take possession of the American 
people the more persistently will they preach and the more 
patiently will they be heard. 
SUNFLOWER (Page 65) 
BACKGROUND— Cover with tinting oil colored with 
Brown Green ; dust with two parts of Pearl Grey and 
one part Ivory glaze. 
Leaves and stems to be painted over background with 
three parts Grey Green; flower, Meissen Brown and Albert 
Yellow, dust with Pearl Grey and follow tone in study 
closely. 
This study can be applied to a vase. 
If monochrome effect is desired use treatment given for 
cup and saucer, boat motif, in blue. 
For green color scheme, first and second firing, New 
Green ; third firing, use Special tinting oil tinted with Apple 
Green and dust with Ivory glaze. 
CARAVEL ON TILE (Page 64) 
MAKE the black portion of the design very dark; this 
can be done successfully by three firings, La Croix 
Delft Blue being used each time. The white china is left 
for the white portions. 
This design repeated three times makes an attractive 
design for a stein. 
WISTARIA STUDY 
FIRST Firing. Flowers, Violet No. i and 2. Leaves, 
Sea Green and Shading Green. 
Second Firing.' Rub a little Brown Green in enough 
tinting oil to cover entire design, pad well. In 20 hours 
dust with Pearl Grey. 
Third Firing. Strengthen dark leaves with Sea Green 
and Shading Green. On stems lay a very thin wash of 
Shading Brown. Retouch flowers with two-thirds Violet 
No. 2, one-third Blood Red. 
