32 
KERAMIC STUDIO 
MRS. HENRIETTA BARCLAY PAIST - Page Editor 
2298 Commonwealth Ave., St. Paul, Minn. 
THE unit of design shown is from the high bush cranberry 
and is intended to be shown in different scale. The col- 
oring is in two shades of green and scarlet with black outlines 
and will be effective repeated on bowls, vases, jardinieres, etc., 
and if reduced can be made to fit any shape or size of piece. 
THEORY OF COLOR LECTURE 
THE last of a series of six evening lectures under the 
auspices of the Twin City Keramic Club was given in 
Minneapolis, April 12th, by Lauros Phoenix of the Minnea- 
polis School of Art. 
Mr. Phoenix explained his system of teaching color har- 
mony by the use of the musical scale — arranging the colors 
(hues) according to their vibratory relation to the musical 
notes; and finding his analogy for color chords in the musical 
chords of the scale. It is a system which involves the study 
of the fundamentals of music and depends for its logic on a 
science which is to say the least in its infancy (in a hypothet- 
ical stage). As an arbitrary system it affords a definite method 
of selecting color schemes, and every attempt to rescue the 
subject of color from the chaotic methods of the past and to 
formulate a system based on color values and color intensity 
is an effort worthy of our consideration and study, and the 
fact that modern musical systems are looking to color for 
analysis, are based on the relation of color to sound, shows 
that science has sensed an underlying truth and is working 
towards a solution. 
COLLECTION OF PORCELAIN AND POTTERY 
THE Twin City Keramic Club (St. Paul and Minneapolis) 
held the last of a series of luncheons Friday, April 13th, 
followed by a visit to the T. B. Walker Art Galleries, Minne- 
polis, and a talk on keramics by the Curator of the Galleries. 
The collection embraces Chinese, Korean, Japanese. 
Greek, Old Persian and Rakka ware and Wedgwood. The 
Chinese forms the major portion of the collection and embraces 
no less than eight dynasties. There are three cabinets of 
magnificient "Lang-yao" or "Sang de boeuf," one of rich 
"Peach bloom," one of beautiful "Hawthorne," several cabi- 
nets of blue and white, two of ornamented "mirror black" 
one of blues and one of greens. Nearly all from the great 
ceramic period covered by the reigns of "ChienLung" (1736- 
1795), "Yang Cheng," (1723-1736), "Kang-hsi (1662-1723). 
There are splendid examples of Old Fer Ting of Sung and 
Ming dynasties; Taoist sacrifice vessels of the Southern Lung 
dynasty; and Cochin china and other wares of the Yuan dy- 
nasty. 
The collection of old Ming fills a number of cabinets and 
embraces three immense reticulated (or pierced) Temple jars. 
One cabinet contains a grand collection of porcelain, earthen- 
ware and mosaic idols in crackle, plain white and ornamented 
glazes and other specimens too numerous to mention. 
The reducing heat process in firing by which the coloring 
of the glaze is affected and different colors and effects are 
produced was explained by the Curator in an interesting and 
instructive manner. 
There is one cabinet each of Korean and Japanese ware 
and while Korea is supposed to have learned the art from China 
many centuries before the Christian era, the specimens showed 
little characteristic resemblance to the Chinese. The art is 
supposed to have been introduced into Japan through Korea 
about 200 A. D., however excavations in burial grounds in 
Japan, dating as early as the sixth century B. C, have pro- 
duced examples of crude pottery. 
It was during the period of Tokergawa Shoguns (1603-1868) 
