KERAMIC STUDIO 
-d 
41 
esting thought or action or something of special moment. 
This seems to me to be the ultimate expression of the artist 
and something well worth while striving towards. 
COLOR SCHEME FOR BOWL 
r I ^HE bowl for which I have planned a simple design is a 
A Satsuma one to which the Mason soft enamels are ad- 
mirably adapted, the following colors working out an interest- 
ing scheme. 
Wherever black appears in the design use Black enamel. 
For the basket, bands at the top and under the border, lines 
of dots on lower part of the bowl, and one or two small leaves 
in the unit and band at the base of the bowl, use Lavender 
Blue enamel. For the large flower, use Madder Red and for 
the three small flowers, Light Carmine. Broad panels on 
base of bowl, Emerald Green. Leaves and encircling frame, 
equal parts of Florentine and Emerald Green enamel. 
FOR OUR INSPIRATION 
AS I have stated before my thought in having these photo- 
graphs reproduced was to present to our fellow craftsmen 
in our smaller towns and cities some of the best historic exam- 
ples of ceramic art found in museums, that it may assist them 
in forming a collection of reproductions of works of art for 
their study and inspiration. Get from them all that you can, 
they will help you in doing better work. 
The above is one of Delia Robbia's master pieces in the 
National Museum in Florence. The figures are white against 
the usual blue back-ground surrounded by the polychrome 
wreath, in yellows, blues and greens, — the scheme you always 
associate with Delia Robbia's works. 
No worker in ceramics has ever accomplished work com- 
parable with these master pieces. The sentiment, beauty 
and charm of the figures are most eloquent and need no comment. 
THE MADONNA AND CHILD— ANDREA DELLA ROBBIA 
BOWL— MAUD M. MASON 
