Vol. V, No. J 
SYRACUSE NEW YORK 
May J903 
HE Fourth Anniversary of the 
Keramic Studio finds the Keramic 
World at last joining the Arts and 
Crafts movement — but with so much 
caution and in such a serious spirit 
that we cannot but feel that the influ- 
ence is to be permanent and not one 
of those passing fads so enthusi- 
astically entered upon and quickly 
dropped by fickle American fancy. 
Entering upon its fifth year KERAMIC STUDIO, in pursu- 
ance of its constant policy of helping serious students as far 
as is in its power, will open a department of Crafts under the 
direction of Miss Emily Peacock of Brooklyn. Practical in- 
struction will be given in every craft which can be practised 
in the home or private studio. Wood carving, pyrography, 
leather and metal work, enameling, basketry, etc., will be 
taught. 
Our readers who are interested are at liberty to ask for 
any desired information on these subjects, which can be 
answered in the magazine. 
With this number we will begin a series of lessons on design 
by Mr. Hugo Froehlich of Pratt Institute, Brooklyn. In 
connection with these articles and under the head of The 
Class Room, opportunity will be given to serious students to 
solve the problems and receive criticism. The practical lessons 
for beginners in pottery, by Prof. Charles Binns of Alfred 
University, will be continued and for the benefit of more ad- 
vanced students and professionals a series of ten papers on 
the keramic movement in Europe with practical instruction in 
hard fire keramics will be given by Taxile Doat of the Manu- 
factory of Sevres. 
Our magazine "Old China" has been ably reinforced 
by the addition to our staff of Mrs. Mary Churchill Ripley. 
For beginners, the Answers to Correspondents page is 
always at their convenience. 
Elaborate plans have been laid for future competitions, 
the details of which will be given in another paragraph. 
Every effort will be made as heretofore to keep the read- 
ers of Keramic Studio in courant of every movement in the 
Keramic World and increasingly benefitted by practical in- 
struction in every new and good thing in Keramic Art. 
These extracts from a letter of Mr. Hugo Froelich of 
Pratt Institute, Brooklyn, will be full of interest to the readers 
of Keramic Studio, announcing, as they do, the awards in 
this year's spring competition, with comments that should be 
invaluable to those who are seriously endeavoring to do good 
work. 
No naturalistic design in black and white worthy of the 
prize having been sent in, it has been decided to defer this 
competition until the fall. Details are given below. 
Keramic Studio and its readers are very much indebted 
to Mr. Froelich for the interest shown in the work, and the 
more than willingness to give helpful hints to designers for 
keramics : 
" I was delighted at the variety and excellence of the work. 
A seriousness of desire for good art was manifested in all. 
On the whole the work is very promising. I would urge 
more care in execution. A few of the sets have that profes- 
sional quality that contrasts strongly with a kind of slip shod 
way and amateur rendering of many of the others. 
Co7iventional Stndv in Colors. First Prvr.e, Af. M. Mason, Nciv 
York. 
" Of the conventional studies in color, Miss Mason easily 
carried the honors. Her sketch has that most precious qitality 
known as individuality. What it is can hardly be expressed 
in words, as it is purely emotional. If for instance, four paint- 
ers make a study of the same flower, we will have four inter- 
pretations; one may give us a color scheme, another a line 
motive, a third the largeness of simplicity, but each dominated 
by a personal quality. I find in the study of Miss Mason 
dignity and restraint ; the shapes are not crowded with detail; 
the parts are so well related that one can take in the design at 
a glance." 
Honorable Mention, Frederick H. Rhead, Tiltonville, Ohio. 
" Mr. Rhead's peacock was a close second, showing by his 
sketch a finely trained mind for harmony of line, massing of 
light and dark shades and especially the color scheme. A 
golden yellow permeated every color note, thereby giving the 
sketch a harmony which the fish design lacked. This treat- 
ment is known as dominant harmony and was employed by 
the Venetian painters of the i6th century a good deal. It 
consists of having some one color dominate all colors used. 
Miss Mason employed this same method by making blue the 
dominant note.*" 
Best Conventional Design in black and white made from one of 
the above subjects, adapted to four forms, etc. First Prize ^ 
Emily Peacock, Brooklyn, N. Y. 
"This set has a severity combined with a refinement that 
gives it an aristocratic quality. There is usually a tendency 
to rush into every empty space and fill it up with anything 
for fear that the object will not seem ornamented, whereas 
good design considers fine proportion and well managed empty 
spaces as an essential and often as the only one. This has 
been observed." 
Seco7id Prize, Margaret Ovcrbeck, Greencastle, Lid. 
"This is very tender and refined and in a delicate color 
scheme ought to make a most delightful effect. Here the 
shapes have been managed to keep the structural lines of the 
form, whether horizontal, vertical or curved. The design 
answers and repeats it in a slight variation. The greys and 
blacks are of such a relation that repose is attained. Origi- 
nality is one of the strongest points in favor of this set." 
Third Prise, Lucia A. Soiile, Melrose, Mass. 
" This set has harmony of line, every movement in one 
part responding to some movement in another part. If there 
had been less of the movement, if fewer forms of larger size 
had been used, the design would have gained in simplicity. 
The originality in treatment of the motive is to be commended. 
*Tlie studies of Miss Mason and Mr. Rlaead will be given later on as 
supplements in color. 
