RE1RAMIC STUDIO 
18. 
TREATMENT FOR TOAST CUP 
B. Mate Weaver 
AFTER carefully tracing on the design, cover the whole cup 
with Apple Green and pad to an even tint. Now make 
a clouded effect from the base of the cup part way up as far as 
you wish. For this effect use Yellow Green No. I, Yellow 
Green No. 2 and an occasional touch of Russian Green, 
and for the darker parts Shading Green. Be sure and have 
the darkest part come at the bottom of the cup part. 
Blend the colors carefully where they come into the back- 
ground ; do not drag the Shading Green into the other colors, 
but leave the strokes crisp. 
When the background is shaded in an effective manner, 
wash in the leaves and stems as simply as possible, using a 
gradation of color that will always keep the pattern rather 
indistinct, after the style of the Rookwood ware. Lay in the 
sharp points on the leaves with Pompadour and Brunswick 
Black mixed; a touch of this can also be used where the 
leaves fasten onto the stem. The medallion in front can also 
be laid in with plain Pompadour in an even tint. Raise the 
border of golf sticks and balls with paste and cover with gold 
in the second fire. Now carefully scratch out a fine outline of 
the whole design, and all the veins and make the outlines and 
veins with gold. A touch of gold would not be amiss on the 
stems and leaves as shading applied after the style of pen and 
ink work. Lay in the entire blossoms with gold for the first 
fire. 
For the second fire, after bringing up all effects that 
have been lost in firing, draw very fine lines with the 
Pompadour over the gold in the blossoms to carry out the 
effect of the lines used in the study. Also use this color to 
shade the veins and stems, always using a very fine line, 
instead of shading with the side of the brush or a larger brush. 
If a motto or quotation were desired in the medallion, 
that would be very effective put on over the red with hard 
gold, for the second fire. A head or view would be very pretty 
for the medallion instead of the quotation. 
•P •& 
RUSSIAN KERAMICS 
NO country seems to have made more rapid strides 
during the last half century than Russia. A very fine 
recent exhibition in St. Petersburg and the display at Paris 
show how these people are cultivating this art. Their designs 
seem characteristic, and there is a decided richness about 
their fine table porcelain which no other country at present 
excels. At their exhibition, works from other nations were 
admitted which were either distinguished for the originality 
of their design, form, or mode of manufacture, there being a 
jury requiring artistic excellence. 
TREATMENT FOR WILD ASTERS (Supplement) 
Sara Wood Safford 
THE darkest asters are painted in with Royal Blue, Ruby 
and Black ; Banding Blue and Ruby are used in flowers 
of the next deepest shade, and the very light ones are washed 
in with Blue Green and Violet. Leave some of the asters 
almost white for the first firing and soften into the mass with 
washes of thin color in the second painting. Leave all sharp 
strong detail touches for the last firing. 
Blue, Green and Violet are used in the background, and 
carry it, if possible, along with the design, thus avoiding hard 
edges. Wipe the light blossoms out of the background while 
it is in a fresh state; in this way the soft effect is obtained. 
Albert Yellow and Yellow Brown are used in the sunny 
light just back of the dark mass, as a thin wash of Carnation 
is used for deeper warm tones in the last painting. In com- 
bining the Blue, Ruby and Black, use about two-thirds of Blue 
and one of Ruby, with a "touch of black." 
*• *?• 
t, POTTERY AND PORCELAIN OF THE UNITED 
STATES" (Second Edition) 
By EDWIN A. BARBER. 
THE publication of the second edition of " Pottery and Por- 
celain of the United States," by Mr. Edwin A. Barber, 
Curator of the Pennsylvania Museum, Philadelphia, has been 
welcome news to the lovers of Keramic Art in this country. 
The first edition had been exhausted for some time and was 
at a premium, and the reduced price of this second edition, 
thoroughly revised and enlarged, makes it available even to 
people of small means. 
The book is profusely illustrated throughout, and the 
history of American Keramics is reviewed from the earliest 
times of American colonists to the present day. The first 
chapter gives an interesting summing up of the different pro- 
cesses used in the manufacture of pottery and porcelain, and, 
following this, a few pages are devoted to the History of 
Aboriginal Pottery. These two pages form an interesting 
introduction to the book proper. Collectors will find of the 
greatest interest the chapters relating to American pottery of 
the Eighteenth Century and first part of the Nineteenth. The 
slip decorated and sgraffiato wares of the Dutch potters of 
Pennsylvania, with their crude but interesting designs and 
inscriptions, are to-day much sought by collectors, and the 
readers of Keramic Studio will remember some interesting 
illustrations we have given of this old Pennsylvania earthen- 
ware. 
The manufacture of fine china from native clay was un- 
dertaken in Philadelphia as early as 1769. Early in the Nine- 
teenth Century, Abraham Miller's productions had a great 
reputation. He made red, yellow and white ware, also lus- 
tered and silvered ware, and was very successful in experi- 
ments on porcelain, but never produced it for the market. To 
William Tucker, also of Philadelphia, belongs the honor of 
being the first to supply the home market with a purely 
American porcelain, equal to the imported ware. Much in- 
teresting information will be found on the Tucker and Hemp- 
hill products, fine specimens of which are found to-day in 
different collections. 
We would like to have the space to review here exten- 
sively the work done by the numerous potteries of New Jer- 
sey, New England (among the latter, the famous Pottery of 
the United States, of Bennington, Vt.), the Ohio Valley, etc., 
and the wonderful development of keramic manufacturing in 
the last fifty years. 
Readers of Pottery and Porcelain in the United States 
will find in the book an exhaustive study of this development 
up to the fine artistic modern productions of Rookwood, 
Grueby, Dedham, Miss McLaughlin and others. 
We hope to be able to review in next number the long 
promised second edition of Anglo-American Pottery, this in- 
valuable manual to collectors by Mr. Barber. Both books will 
be found in our list of Keramic books on Publishers' Page. 
