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RERAMIC STUDIO 
was chosen for the first year's work, and some beautiful col- 
ored glaze effects were produced. Among them were mat 
glazes in turquoise and dark green, and bright glazes, similar 
to Rookwood, some of which were flecked with gold, known 
as 'tiger eye.' Many fine bits were fired in the little test kiln 
and subjected to a 'reducing flame,' which acting chemically 
upon the copper in the glaze, makes the latter brilliant in 
color — some of the pieces showing flashes of red, called by 
potters 'beef's blood.' 
At the next exhibition of Keramic Society at the Wal- 
dorf you will see a few specimens of Alfred pottery — only a 
few, unfortunately, as most of the ware produced this sum- 
mer has been scattered from New York to San Francisco (the 
pupils represented sixteen states). 
Much great work has been done in pottery making in 
this country, but the successful production of high, tempera- 
ture porcelain has been rare; and we are promised that by 
next summer preparations will have been made, in the mat- 
ter of kilns and equipment, to give us the opportunity of deal- 
ing with the higher and more difficult problems of manufac- 
turing the finest translucent porcelain, which, because of its 
superiority, in fineness of texture, over the coarser and more 
' masculine' pottery and faience, has been called the 'femi- 
nine body.' 
The ceramic school at Alfred has been started off with 
flying colors, and if the good work continues, and it surely 
will, it will doubtless prove an immense factor in the growth 
of interest and intelligence in ceramic matters in this country. 
Long live the Alfred School and its influence for good ! 
FRACKELTON BLUE AND GREY 
MRS. FRACKELTON is the maker of a new ware, well and 
rightly named "Frackelton, Blue and Grey," which 
received a medal at the Paris Exposition. What Mr. Will- 
iam A. King, member of the Committee on Fine Arts, has 
recently said of her and her work best exemplifies her remark- 
able ability. He says: "'Frackelton' is the name of a ware 
made by Mrs. S. S. Frackelton, of Milwaukee, Wis. This 
gifted woman is one of the foremost workers in the art world 
of the great Northwest. She has taken the despised earthen- 
ware and glorified it into art pottery which delights the soul 
of him who knows. The German critics at the Paris Exposi- 
tion were not lavish in praise of American pottery, yet one of 
the most exacting of them, the Kunst and Handwerk of 
Munich, in its issue for February, 1901, says: "For Germany, 
on the other hand, the collection 'Frackelton' is of especial 
interest. This is a grey ware made by Mrs. Susan Frackelton, 
and is an unusually important attempt to revive the grey 
stone ware of Rhenish character with applied ornaments and 
flowers done in a modern manner." 
Mrs. Frackelton sent some pieces to Buffalo which she 
considered superior to those which she sent to the Paris Expo- 
sition. Among them are two large jars. One of them is 
decorated with bunches of pomegranates modeled in relief, 
the background being incised with a conventionalized decora- 
tion of the same subject. The other jar has luxurious orien- 
tal poppies in relief upon the surface. 
The great French bowl and standard which attracted 
universal attention at Paris, is very large and oval in shape, 
the outside being decorated with heavy clusters of blue grapes 
and foliage, the stalks of the vine forming the strong graceful 
handles. On the inside, about the top, is cut into the clay 
the following inscription "The draught contains no drop of 
sin, if love is only well stirred in to keep it sound and sweet." 
In the bottom is cut " Man wants but little here below, But 
wants that little strong." A quaint jug has the old English 
inscription "Come here my boy if you are dry — The fault's in 
you, and not in I." 
All the "Salt Glaze" pieces exhibited at Buffalo were 
shown in the Wisconsin Building, the Blue and Grey which 
is a different process, with the N. L. M. P. One especially 
graceful piece of Mrs. Frackelton's work, which she has 
kindly loaned to the Wisconsin Building to be used in 
ornamenting the writing room, is a tall lily jar. It is orna- 
mented with long stemmed waterlilies held in place by a 
band, on which is inscribed "They toil not, neither do they 
spin." The top of the jar has perforations through which 
the flower stems may be inserted and when filled forms a 
veritable crown of blossoms. 
TREATMENT FOR CHERRIES 
Mary A It a Morris 
USE Yellow Red on light side, shading in Pompadour and 
Blood Red, Yellow Brown for reflected light, or where 
reflected light is very clear use Albert Yellow for first painting 
and retouch with Yellow Brown. For dark cherries use 
Blood Red and Ruby, adding a little black for darkest part. 
Care must be taken that the reflected light be clearly painted 
and the high light wiped out to get them round and juicy 
looking, though some should be kept rather flat, as they 
appear back of the main ones. For the less ripe ones on the 
lower end of branch, use Yellow Green, Yellow Brown for 
reflected light, shade with Brown Green, use Yellow Red on 
some to show a degree of ripeness. 
The stems of cherries should be taken out light, after- 
wards painting in with yellowish green. For main branch 
use Brown Green, Yellow Brown, Finishing Brown, having 
light tone of Copenhagen Blue in high light. For leaves, 
Moss Green, Brown Green, Shading Green, adding a touch of 
Ruby to green for dark leaves behind cherries. 
The background should be put in with Lemon Yellow, 
adding violet for grey tones nnder branch, blending into 
warmer tones of Yellow Brown and Brown Green, allowing 
some of the ruby and blood red used in cherries to melt into 
background, where darker effects are desired. 
Use same colors for retouching, avoid painting each 
cherry with same idea of roundness and color, allow some to 
remain flat, others may need only dark tone in centre 
strengthened, and if any are too purple use more blood red 
this time. On some of the prominent dark cherries use a 
light wash of Banding Blue on right side near high light. 
The third painting is mostly light washes here and there to 
harmonize the whole with a few strong, sharp touches in 
stems and cherries. 
