Vol. Ill, No. 8 
NEW YORK AND SYRACUSE 
December 1901 
F there is the same improvement this year in decor- 
ation as was shown at last year's keramic exhibi- 
tion over the previous year, there indeed will be 
seen still further the results of the constant 
advice of the KERAMIC Studio. We will gladly 
bear the burden of criticism from those who 
have not studied the principles of decoration, when we see 
the artistic results in the work of the leading keramists, as 
frequently comes within notice; therefore the approaching 
exhibitions are eagerly anticipated. 
One thing that is distinctly noticeable is that the 
Art Schools or Schools of Design are giving more attention 
to designs for keramic forms, cultivating the eye and taste of 
all students; many of them, however, are becoming wildly 
enthusiastic in the designs without really being practical 
decorators, consequently some of the designs are more suit- 
able for underglaze than for overglaze decoration on porce- 
lain ; but in these designs the simplicity and beauty of line 
is forcible, and the Idea gives the overglaze decorator many 
suggestions and plans. 
As one thing leads to another, the wave of interest over 
the country in establishing American schools of pottery and 
porcelain, has led others into the study and has influenced 
the feeling for design ; these designers are eager to see their 
creations in a tangible form of clay and color, which brings 
about a closer study of the subject, uniting the potter and 
decorator. The designer must understand the materials as 
well as the decorator the form to be decorated. All this 
carries us back to the starting point and to our untiring 
appeal, study Design, Beauty of Line, Color and Composition. 
«r *• 
ALFRED SUMMER SCHOOL OF CERAMIC ART 
Marshal Fry 
To The New York Society of Keramic Arts : 
A wish has been expressed by our President that I make 
a few statements about the past season's work of the 'Summer 
School of Ceramic Art' at Alfred University, and, being deeply 
interested in the work of this institution, I am happy in telling 
you about some of the things we enjoyed there this summer. 
The large and splendidly equipped building, situated on 
the college campus at Alfred, and known as the "New York 
State School of Clay Working and Ceramics," was presented 
by the State of New York in order that Americans might be 
taught how American clays and materials may be utilized 
in artistic pottery and fine porcelain as well as in the coarser 
wares of utility and commerce. 
Unlike Germany, England, France and other European 
countries, where schools are provided for the education of the 
people in Ceramics, America has been destitute of advantages 
for study in these branches until now, when, thanks to the 
inspiration and efforts of President Davis, Prof. Binns and 
other good men, the doors of the first American school of 
Ceramics have been thrown open to us. In order to make 
study possible for those otherwise engaged during the regular 
school term, the idea of a summer school suggested itself, and 
was carried into effect this last summer with great success — 
more than fifty pupils having enrolled. 
The course of study began with a series of lectures by 
Prof. Binns, dealing with the technical ceramic problems. 
Later, after making ourselves 'slip bath' proof by overalls or 
aprons, we were initiated into the joys and sorrows of practical 
pottery making — the 'turning' of forms in plaster on the 
'jigger' or lathe, the making of moulds from the plaster 
forms, the preparation of 'slip' (the body of ware in liquid 
form), the casting of pieces in the moulds, the 'throwing' of 
forms on the potter's wheel, the principles of relief decoration 
in 'slip,' carving and later the glazing, etc. 
One of the humorous accidents — sure to happen to the 
novice — is what is known as the ' slip bath.' The moulds are 
usually made in three parts. These are placed together and 
the slip is poured in and allowed to stand until that which 
adheres to the sides of the mould — caused by the absorption 
of the water by the plaster— is of the right thickness, when 
the remaining slip is poured out. In the excitement attend- 
ing the first attempt one is apt to forget to hold the bottom 
on tight, and as a result the creamy contents — a gallon per- 
haps—come pouring out upon the astonished operator, and 
the bench and floor. This catastrophe is extremely humiliat- 
ing to the unfortunate victim, and usually occurs but once, 
but is always witnessed with much enjoyment by the specta- 
tors. 
Each student designs his forms, and is taught the pro- 
cesses of producing them in the ware. Demonstrations of 
the preparation of glazes, and their application to the ware, 
were made in the laboratory, and the students had access to 
formulas and materials with which they could experiment. 
A small test kiln was also at our disposal. The freedom of 
the' place was delightful, and the generosity of Prof. Binns, in 
so freely giving us the benefit of his knowledge and experi- 
ence, was a wonder to us all. 
Once a week the great kiln was fired, sometimes requir- 
ing thirty-six hours of constant watching and stoking, and 
during the process of cooling we could hardly restrain our- 
selves from breaking into the hot kiln, so eager were we to 
know the result. The most exciting thing I know of is the 
unstacking or 'drawing' of the kiln. A child's wild delight 
when examining the contents of his stocking on Christmas 
morning is the only thing that approaches it. If the first 
saggars reveal pleasant surprises the loud chorus of Oh's and 
All's and explosion of adjectives rouses the neighborhood, 
and people rush to the scene from all directions. The pro- 
fessor, as enthusiastic as the rest, will seize a pair of leather 
mittens, make a dash into the hot kiln and rush out with a 
saggar in his arms, while everyone else stands around in 
breathless anticipation. Often the results are happy surprises, 
and again, when success seems certain, the contents of the 
saggars prove bitterly disappointing. Perhaps in this uncer- 
tainty lies the charm. 
A soft body, made from materials found in the vicinity, 
