92 
RERAMIC STUDIO 
ware first appeared in England near the middle of the seven- 
teenth century and continued to be made at numerous English 
potteries until about the end of the eighteenth century. Occa- 
sionally fine pieces turn up in the Middle States and further 
south. A beautiful example recently found in Pennsylvania, 
is a large plate or meat dish, twelve inches in diameter, which 
is here shown. 
The Doultons of Lambeth, England, still manufacture 
salt glaze stoneware, although they have combined this style 
of glazing with colored enamels. The body of their ware is 
of a browner color than the older product and they have ele- 
vated it to a place beside the finest art wares now produced. 
Usually the salt glazing is confined to certain parts of a piece 
such as panels, bearing incised designs, while the remainder 
of the surface is covered with "dipped glazes," of various 
colors, blue, green, red, brown, olive, etc., in raised or outlined 
ornamentation. 
famous during the last twenty-five years as a delineator of 
animals. A loving cup, here produced, is a good illustration 
of her incised work, which first attracted attention at the 
Centennial Exposition in 1876. Several fine vases exhibited 
then in Philadelphia are owned by the Pennsylvania Museum 
of that city. 
Among the foremost decorators in this style at the Doul- 
ton Works, is Miss Hannah B. Barlow, who has become 
NEW YORK FROM STATBN ISLAND. 
A RARE VIEW OF NEW YORK 
THIS illustration is a view of New York from Staten Island, 
which we think has not been mentioned and listed before 
in books on historical china. As will be seen by the fruit 
border, generally called blackberry spray border, this platter 
belongs to the Wood series of Celtic China, marked E. W. & 
S. The city of New York is shown in the distance (that is, 
on the platter; it has almost disappeared in the photographic 
reproduction.) The color is the same fine medium blue which 
is found on a Harvard College plate of the same series, well 
kno^wn to collectors. This interesting platter is in the collec- 
tion of Mr. Otis M. Bigelow of Baldwinsville, N. Y. 
jt J- 
COLOR AS A FACTOR 
THERE is nothing in the pottery line more valuable than 
the quality of color. Shape, glaze, quality, are all mat- 
ters of intrinsic value, but color is the essential which appeals 
to a mind like the rhythm of sweet music. Think of a make 
of pottery that has ever achieved distinction and you will find 
it is not only the glaze, it is the color that is good, and it is a 
great pity that the potters cannot study more closely the 
great examples in the museums, for out of them they would 
discover many styles well worth copying. In the fifth century 
there was a form of reddish pottery that was well worth 
copying. Some of it was recently discovered at Megara, in 
Greece, and occupies a prominent place in the National 
Museum at Athens. It has eight lines of Greek which gives 
the Lord's Prayer, varying a trifle from the accepted text, but 
the reddish character of the ware is what attracts everyone's 
attention, it is so distinctive. — Glass and Pottery Review. 
A new glass has just been invented by an English chemist. 
This ware bears the euphonious name of " Verre-sur-verre," 
and is said to be a dream of iridescent beauty. While here- 
tofore it has been deemed impossible to obtain more than three 
colors on a flint base, this glass is said to yield no less than 
twenty-seven distinct colors, including the long lost Burmah 
ruby-red, used by the Monks in the twelfth century. — Glass 
and Pottery Review. 
