240 
RERAMIC STUDIO 
give a hint of a better though often clumsy style. But frankly, 
the work should be done broadly in flat tints, as is now so 
familiar in the work of the best European and Japanese, as 
well as recent American decorators. Not that the way of 
drawing should be an imitation of some foreign style — to look 
Japanesque or French posteresque, for instance — but the de- 
sign should be kept to the surface of the china, should be 
agreeably composed and handled with simplicity. Buildings 
are peculiarly adapted to such treatment, and all trees and 
masses of foliage can be beautifully suggested by the large 
outline forms, filled in with either plain tint or a texture of 
conventional leafage. Do not regret your pretty technique 
of realistic modeling and minute drawing of all the accidents 
and phenomena discoverable in a week's scrutiny of your sub- 
ject. Great art in any line more often consists in leaving out 
than in lugging in. When great men like Puvis de Chavannes 
and Sargent glory in sacrificing all the sweet little technical 
perfections so easy to their brushes, in order to concentrate 
upon grand harmonies of line and space and color, in colossal 
mural compositions, we can be content to refrain sometimes 
from displaying our skill in realism out of respect for the 
thing we are decorating. 
If the painter does underglaze work, nothing could be 
better suited to it than the designs suggested. Whether 
under or overglaze, monochromatic treatment, in blue, gray 
or maroon, will be effective and of course comparatively easy. 
If a color scheme is adopted it should be in quiet, secondary 
or tertiary tones. Outlining may be delicate or bold, as best 
befits the design and quality and style of dish. If gold or 
lusters are employed confine them to the borders. 
If, in spite of all said above, you must paint realistically, 
put the pictures upon plaques or panels, and hang them on 
the wall. I trust that these suggestions will stimulate many 
to originality in lines indicated. If you do not draw from 
nature, the subjects can be adapted from photographs or en- 
gravings. The designing and execution present no special 
difficulties, and should prove a wholesome variation from roses 
and violets perennial forevermore. 
WILD CHERRIES FOR BERRY PLATE— MISS JEANNE M. STEWART 
VARY the colors of cherries from a light green shaded with 
Ruby Purple to a dark blue the color of blue grapes. 
Use Ruby Purple, Banding Blue and Brunswick Black, with 
Ruby Purple the predominating color. Show very decided 
light and shade in each cherry with a very thin wash of Band- 
ing Blue over the lightest lines of the riper fruits to represent 
the " bloom." Show reflected lights strongly in the first fire, 
and if too light go over with a thin wash of Ruby Purple or 
Yellow Brown in the second fire. 
Keep the leaves strong in color around the most prom- 
inent bunch of fruit, shading to delicate blue greens and 
greys at end of twigs. Background should be applied in 
