148 
ftERAMIC STUDIO 
pieces had more of the matt wax appearance, and the blues, 
yellows, pinks were quite gaudy but in character. Others had 
a bronze effect, iridescent in color. 
Another novel decorative 
effect is the use of metal in 
combination. Not like those 
dreadful Gorham open work, 
silver decorations which sug- 
gest defects to be covered up, 
but used so as to appear one 
with the vase. The design is 
modeled and painted and 
glazed; then the metal is ap- 
plied over a part only of the 
raised design following it ex- 
actly and ending with a rim or 
a handle so quietly and unos- 
tentatiously that you could al- 
most believe that instead of 
being real metal work, it might 
be some preparation like Roman 
gold, for instance, so imper- 
ceptibly does it join the ware 
itself. 
Some pieces were pierced 
in the upper part of the vase. 
We noticed especially one in 
matt Iris colors, peacock 
feathers, the interstices between the feathers being slightly 
cut out after the style of the Bing au Grondahl porcelain. 
We are not sure we like this pierced effect. It " wont hold 
water" we fear. What most we admire, however, is the spirit 
of progress, the continual reaching after something not only 
new but artistically good. There seems no stagnating self 
satisfaction when one good thing has been achieved, as in 
most foreign potteries. 
There is no limitation to what may be achieved where so 
many artists — not -workmen only — are employed. A hundred 
years hence, seeing a piece of this ware across a salon one can 
not say, " There is a piece of Rookwood," as one says " There 
is Wedgwood, Dresden, Sevres, Delft, Capo Di Monte," etc., 
etc. One can simply say, "There is ^ work of art," and only 
on examination can one declare " Rookwood." We recollect 
once an artist of note saying that no artist could be called 
successful as an artist if one could always recognize his work 
on entering a room where it was on exhibition. 
THROWING. 
If Rookwood is not one of the great names in pottery 
hereafter it will not be for this reason. Another admirable 
thing is the simplicity of the forms, nothing to keep you 
"guessing," still nothing monotonous. Then, too, it is a 
good thing that we are not sure we quite like all the new 
effects. The best things have to " grow upon us," and Rook- 
wood does grow. 
TREATMENT FOR MULBERRIES FOR PITCHER 
Jeanne M. Stewart 
FOR the first firing, paint berries in Yellow Green, Lemon 
Yellow, Ruby Purple, Banding Blue with a touch of 
black in the darkest berries, keeping the high lights very dis- 
tinct. Keep the leaves fiat and simple at first, using Yellow 
Green and Turquoise Green in the light parts, and Olive, 
Brown and Shading Green in the dark tones. 
For the second firing, paint the background in Bright 
Yellow and Browns back of the fruit, toning down to Grey 
Greens with rich touches of the mulberry colors. 
The top of the pitcher is in Ivory Yellow and Turquoise 
Green. Add details to berries and leaves and fire. 
For the third firing, finish with shadowy leaves and 
berries. 
WOULD-BE STUDENT OF ART 
A well-known artist was called upon recently by a young 
woman who said she would like to take half a dozen lessons 
in painting, in case the terms were satisfactory. She asked 
him what he would charge to give her that number of lessons. 
" Well," said he, " have you ever had any instructions or 
practice in drawing or painting?" 
" No," said she, " I have not." 
" Then I must tell you," said he, " that half a dozen 
lessons would be of very little use to you. Before you should 
think of attempting to paint you should learn something of 
drawing." 
" Oh, well," explained the young woman, " I haven't 
any idea of becoming an artist, I only want to learn enough 
so I can teach." — Cincinnati Enquirer. 
