KERAMIC STUDIO 
an enclosed space, one bearing a naval emblem and the other 
the initial of the city. So many of these city views have 
lately turned up that we may expect to hear of others. Thus 
far they have been found exclusively on large platters, and 
they form some of the most attractive of the early designs in 
dark blue. Edwin A. Barber. 
o o o 
Mr. Edwin A. Barber has promised us an article on 
Lowestoft china with some new and interesting information 
on the subject. We expected to publish this article in our 
May number, but as the illustrations were not ready in time, 
we will give it in one of the next issues, probably June. 
One of the earliest arts attained by mankind, and of 
which we have any knowledge, was that of pottery-making. 
The Egyptians had, in the time of Herodotus, who lived and 
wrote nearly five hundred years before Christ, so lost the 
knowledge of when they first became acquainted with this art, 
that they, as is usual with a semi-civilized people, ascribed its 
origin to the teaching of some divinity. In Egypt the 
Hebrews were kept at brick-making, and in their escape from 
the land of bondage they unquestionably carried with them 
the knowledge of this art and its allied manufacture of pottery. 
The frequent use in the Old Testament of the terms taken 
from this industry show that the manufacture was well estab- 
lished among the Jews. 
Timmiir 
DESIGN FOR PLATE 
Caroline Bonsai 
TINT the entire plate with a mixture of two parts yel- 
low green and one part Marsching's Gouache Min- 
ton Green. After firing burnish the surface, which will 
take the appearance of a light golden green bronze. 
Transfer the design and fill in the panels between the 
leaves with green lustre. The result after firing will be 
a delicate iridescent violet. Paint the flowers with yellow 
gold and the leaves and stems with green gold. If the 
plate is intended for decorative use, the design may be 
carried out in raised gold. 
Another treatment would be to transfer the design 
to the white china, tint the panels between the leaves 
with a light green lustre and the rest of the plate with a 
light yellow lustre and then paint in the design with 
metals. Treated in this way, the plate could be decor- 
ated in one firing. 
SECOND PRIZE, MODERN DESIGN 
BOUILLON CUP AND SAUCER 
Emily F. Peacock 
FOR enamels, use green in leaves, 
shading them, in flower, yellow, 
pink or violet, tinting the back- 
ground to harmonize. Use gold in 
bands and on the handles, making 
them plain if preferred, or leaving 
the white figure as in illustration. 
For lustres, use for first fire, 
light green in leaves and ruby in 
flower. The bands and handles can 
be gold with the figure in ruby, or 
light green lustre with figure in gold. 
For second fire, shade leaves 
with light green, and put orange 
over ruby in flower, outline in black 
or flat gold. 
