HlERAMIC studio 
'73 
the marvelous changes produced by a few degrees more or 
less in temperature, render the effects which can be produced 
practically unlimited. During my experiments I have often 
been astonished at the results in color produced by very slight 
changes in body and glaze. Indeed these facts render the 
work of the experimenter extremely difficult. While my own 
experience, however, was very trying during its progress, I 
cannot regret it altogether now. It has been absorbingly in- 
teresting and has led at last to the production of a ware 
which at least, has a distinct character. It has been compared 
to the old Chinese "soft paste," but while "soft paste" in 
contradiction to its name is really a hard body, it is invested 
with a soft glaze. 
The Losanti ware is, however, hard both in body and 
glaze, being fired at a temperature of over twenty-five hun- 
dred degrees Fahrenheit. The glaze is applied to the raw 
body and fired without the usual previous "biscuit" firing. 
The name as perhaps, should be explained, has been 
given in reference to the place where it is made, the original 
name of_Cincinnati having been Losantiville. 
The ware has a tenacious, cream white body, very trans- 
lucent and susceptible of decoration, having a considera- 
ble range of color from the usual high temperature colors, 
the blues, greens, blacks and browns, to the more delicate reds 
and pinks. The entire range of color has not yet been shown 
in exhibited pieces, but more recent experiments have deter- 
mined the possibilities of color decoration very satisfac- 
torily. The first exhibition of ware at the spring exhibit of 
the Cincinnati Art Museum in 1899, was entirely different in 
character, the body and glaze having both been changed since 
then. 
A dozen pieces were sent to Paris in 1900 to form part of 
the exhibit of the Mineral Painters' League at the Exposition; 
a part of these only were of the body now used. 
The exhibit at the Pan-American Exposition is the first 
exhibit of the body and glaze now used, and that exhibit 
contains some pieces of other experimental bodies. The 
details of the work which have so far been settled are a prac- 
ticable working body and glaze and the temperature at which 
it can be matured, the rest is yet to be evolved. 
F. M. M. 
L. B. T. 
DESIGN FOR PLATE— ANNA B. LEONARD 
THE bands are in dark blue enamel, so also the blossoms 
outlined in black, the background in blue grey lustre 
with the wavy lines in gold. The color scheme of the bands 
and the blossoms may be changed any number of ways — for 
instance, instead of an old blue plate, the blossoms may be 
in pink with the many lines in a dull green, and also the nar- 
row bands in dull green. Then again the design will look 
well in all red and gold. 
It may also be carried out in flat gold with either a red 
or black outline, or the blossoms would look well in gold only 
slightly in relief (with paste.) The design is very simple and 
can be used by beginners. 
