12 
MAUD M. MASON - 
218 East 59th Street, New York City 
KERAMIC STUDIO 
Page Editor 
FOR OUR INSPIRATION 
FOR our inspiration this month, we have two fine old Italian 
apothecary jars. These jars date about the fourteenth 
or fifteenth century and were used as receptacles for the medi- 
cines of ancient time and are always most interesting in form 
and decoration. In the larger jar the distribution of the 
ornament and the spacing of the bands are especially worthy 
of study. In the vertical decoration we have a leading motif 
alternating with a subordinate one, this giving an interesting 
rhythmic repetition of vertical bands, the whole decoration 
strengthening rather than weakening the form. 
These jars are covered with a grey white opaque glaze and 
the decoration is something in polychrome, rich blues, greens 
and yellows and again in blues and many very beautiful ones 
are decorated in lustre. They are much sought after to-day 
by collectors and the prices of fine examples run into the 
hundreds. 
Those who have been experimenting with some of the 
coarser wares will find the treatment of the small jar especially 
suggestive. In my class in the Fawcett Industrial School in 
Newark, some of the pupils have had very interesting re- 
sults with enamels on some dull yellow bowls for which they 
paid ten cents. 
Jar of Enameled Earthenware painted in Dark Blue and Manganese 
Purple — Italian, first half of 15th Century. 
Old Italian Jar of Enameled Earthenware 
K* IT 
ANSWERS TO CORRESPONDENTS 
A subscriber answers B. J.'s inquiry in the February magazine which 
was as follows : 
/ have painted on a variety of materials but I met my Waterloo in dealing 
■with parchment. It wrinkles and crinkles in spile of all efforts. What will 
prevent this? What, varnish is used and is varnish ever applied before applying 
colors? What black is used as a background? 
I think the trouble is too wet paint, try wiping your brush quite dry ami 
flat before taking up the color, then take a little at a time on the flat of the 
brush and work on the surface of the parchment. Water colors will not ad- 
here to varnish. Ivory Black is a good Black. 
F. J . C. — I have a quantity of gold and silver leaf in little paper bunks such 
as used by sign painters and gold letters on glass. Is there any way 1 ran US< 
it on cliiua.' 
2. Have a bonbonniere dusted in 1 grey green, 1 dark green, \ brawn 
green, jorgot to pad the oil smooth and it came out cloudy. Can I do anything 
to cover the cloudy part? It is also loo green. 
8. How shall I slack a 13 in. punch bowl, shall I fire it alone? 
4. Can you assist me to find a color study showing desert, pyramids una 
sphinx with camels, caravan, etc., in moonlight. 
1. Unless you had a very large amount it would not pay you to bother 
with it for a sheet contains very little of the metal and it would have to be 
dissolved in acid and go through quite a little process. 
2. The only thing would be to oil it again and dust if but this would 
make it still darker. You might try dusting it with 1 part Dark Grey for 
Flesh and 1 part Pearl Grey. This may soften the green. 
3. Stand the bowl on edge with the base against the side of the kiln 
and put some supports under the base .to keep it in place. It need not be 
fired alone. Fire slowly. 
4. We do not know of any study that would have all the things in you 
mention. 
(Continued on page 21) 
