34 
KERAMIC STUDIO 
THE LINEN PAGE. 
JETTA EHLERS ------ Page Editor 
i 8 East Kinney Street, Newark, N. J. 
A VISIT TO THE EXHIBITIONS 
T^HIS being the season for exhibitions, perhaps the read- 
*- ers of the linen page may be interested in hearing about 
some of the things which were shown. The editor has at- 
tended three exhibitions within the month, each of them making 
a special point of including table linens. The public generally 
showed the keenest interest in the subject. With our own 
club it was the first time an exhibit of the kind had been at- 
tempted. The results were most gratifying, one fact standing 
out, namely: that in no way did the linens detract from the 
interest in the china, some people to the contrary. We watched 
very carefully the attitude of the public on this point, and 
came to the conclusion that our china never before appeared 
to so good an advantage, nor attracted more attention. 
In the various exhibitions visited there were things weird 
and bizarre, to be expected, one presumes, in the development 
of any new idea. Just whether many people could be brought 
around to accepting silk dress goods as a covering for a dinner 
table or not, is a doubtful question. And yet, that was one 
thing seen in making the rounds of the galleries. Wonderful 
color, stunning china and a truly artistic ensemble we grant. 
Perhaps one is terribly materialistic in feeling that in "fitness 
to purpose" it was wrong. The fabric was a beautiful pink 
brocaded crepe-de-chine or some such oriental weave. A 
band of cream colored filet extended the length of the cloth 
through the center, and it was edged with narrow filet, with 
wider bands at either end. A china comport in the center 
held artificial fruit, a luscious looking peach exactly repeating 
the pink of the cloth. 
Another table in the same gallery showed a cloth of a 
dull orange silk crepe. The center piece was a silver bowl in 
which were arranged calendrelas. The bowl reflected in the 
most wonderful way the color of both cloth and flowers. No 
recollection of napkins comes to me with either set. One 
would surely feel staggered at wiping one's mouth with a crepe- 
de-chine napkin. A rather weird effect was attained by the 
combination, on one set, of woodblock and worsted work. It 
was the only one having this treatment seen in any exhibi- 
tion. Here again the question arises of "fitness to purpose." 
Of course one must not be too conservative about these things. 
On the other hand one must not sacrifice all the canons of 
beauty in straining for something ususual. 
This thought persisted, not only in regard to the linens 
but also the china. Another point which may interest you 
is that on many things tassels were used. These were made 
up of colored beads or of painted button molds, in many in- 
stances a combination of both. Some were silvered. These 
were strung together and were perfectly stunning as to color 
and arrangement. They were put on by means of snap fast- 
eners so that they could be removed when the piece was laun- 
dered. Some people admired them immensely, others scoffed. 
I heard within the space of a few seconds one person call them 
"perfectly darling" and another declare them "tawdry." 
Amongst other things was a set of napkins of natural colored 
pongee silk, with charming woodblock in soft pastel colors. 
In one corner an eyelet was worked and into this was caught 
a tassel made of beads. Old fashioned rick-rack braid dyed 
to match the linen was used to finish the edges of a tray set. 
Much of this which has been described would surely shock 
many people. Some of us I am sure need shocking. If I 
have dwelt at too great length upon these ultra-modern things, 
it has been solely to show what the workers are doing that is 
truly novel. 
Along with the extreme things were many beautiful ones, 
thoroughly in the spirit of the new art movement. There 
was little if anything shown that was commonplace; and much 
that was perfectly charming. Some choice Russian things 
with touches of beautiful needlework were seen. A wonder- 
ful set of Italian needlework also was shown. For the most 
part the linens were designed and executed by the various 
members. One of the most refined sets consisted of a runner, 
table mats and napkins of oyster white linen, with a very 
narrow row of what I believe is called cable stitch about a 
half inch from the hem. Upon the mats and runner another 
row was added about two inches from the other at opposite 
ends. The spacing of the whole set was the perfection of 
simple beauty. A set which attracted much attention was 
made of a rather dark blue linen, the centerpiece and doilies 
being round with fringed edges. On this was shown a set 
of wistaria china with blue enamel decoration. This was the 
only thing of its kind seen along the line. 
In looking back over the exhibitions the conviction comes 
that our field of ceramics has broadened wonderfully. In the 
broadening process naturally some things are perpetrated 
which one cannot accept. Do not allow this to stand in the 
way of our appreciation of the good in it all. 
After having seen all this wealth of good things, our little 
napkin of this month's illustration looks rather tame. How- 
ever, one can't live at concert pitch all the time so one needs 
something to "let down" on. This is a good example of how 
cross-stitch may be introduced. One word of advice about 
cross-stitch, unless the stitches are very small and close, "don't." 
To do this use a very fine canvas pulling it out from under 
after the design is completed. As this canvas is not to be had 
now on account of the war, a rather stiff scrim may be used in 
its place and answers fairly well. The other work on the 
napkin is the familiar fagoting, a finish which seems to fit in 
with so many things. 
