i6 
RERAMIC STUDIO 
pots. Too often our growing plants are set in a crude red pot 
or if this must be concealed it is set within a colored and gilt 
jardiniere, which in most instances, is the embodiment of all 
that is horrible. Flower pots are easily made. The common 
brick clays that abound on every hand are well adapted for 
the purpose and a very low heat is all that is necessary, for 
they are all the better if porous. Then the table, the porch 
and even the lawn may be equipped with a series of personal 
ideals, each one imperishable and an ever living pleasure. 
At this point a warning note must be sounded. Most 
persons who have made anything with their own hands are in- 
ordinately vain of the fact and of the object. " 'Tis a poor 
thing but 'tis mine own" is the thought and sometimes the 
word, especially the latter half. For anyone to acquire a repu- 
tation for the production of high grade works it is necessary 
to cultivate two things — the ability to distinguish the good 
from the bad and the courage to destroy that which does not 
satisfy. These are both rare and the possession of them has 
contributed in no small degree towards the production of the 
finest works of industrial art in the world. 
It is perfectly natural that one .should regard with parental 
aflection a piece of pottery upon which thought and care have 
been lavished, but the attempt must be made to see it with 
the eyes of others. Separated from one's own personality 
there will often appear some fault or deficiency. Suppose 
such a piece were made by another, perhaps by a rival and 
competitor — the one who does such crude work, you know — 
What would be our opinion of it? Because, so surely as that 
example of our skill goes out to the world, it will be met by 
hostile criticism. To disarm this criticism every worker 
should be his own critic and should look at his work with dis- 
interested eyes. To take it in detail, What of the style? 
Has it any? Can it be connected with any known period or 
school? Or is it simply a nameless shape? Does it fairly 
represent its style? Is it homogeneous ? Not an Indian body 
with an Italian foot or a Greek handle on a British shape. 
How is it made? Does it bear evidence of careful thought 
and conscientious handling, or can it be said that it is slovenly 
or slip-shod in execution? 
If such questions as these can be answered with satisfac- 
tion, it may be safe to send forth the much tried work to the 
judgment of a censorious world, but if there be dissatisfaction, 
it is sure that this will be more deeply felt outside. 
But what about destroying that which does not perfectly 
please — it is good for something, can it not be kept just for 
this purpose or that? Keeping inferior things is like the 
morphia habit, it grows. If these unsatisfactory examples are 
allowed to lie around they will speedily deteriorate the stand- 
ard of excellence. But the trouble should be detected before 
burning and then the clay can be saved and used over. The 
unflinching destruction of a piece or two is a great educator. 
One can cultivate the faculty, and courage will increase. The 
result of this will always be satisfaction. The work can be 
sent out with conscious calm, knowing that it is good. It may 
meet with objection and even condemnation at the hands of a 
careless community, but so much the worse for the community. 
TREATMENT FOR JONQUIL STUDY 
Mariaiii L. CmuUcr 
AFTER carefully sketching in the design, model the flowers 
for the first firing with a light wash of Albert's Yellow 
for the outer petals, reserving the high lights. 
In the center of the flowers use Orange Red and Yellow 
Brown for the darkest parts. Wash in the shadow leaves and 
blossoms in Copenhagen Blue, adding a little pink for warmth. 
Keep the leaves in the blue green tones, using Turquoise 
Green, Yellow Green, Yellow Brown and Shading Green. 
The background should be light at the top, gradually 
darkening to the base or bottom of the vase, using Ivory 
Yellow, blending into Lavender Glaze and Copenhagen Blue 
near the blossoms, then Yellow Brown, Violet of Iron, Choco- 
late Brown and Shading Brown. All harmoniously blended 
makes a very rich and effective background; for second firing 
use same colors, strengthening where necessary. When nearly 
dry use the powder color over the background. Repeated 
firings give depth of coloring. 
•f ^ 
NATIONAL LEAGUE 
THE two events of importance to the League and its friends, 
during the month of May, are the coming exhibition 
and the annual meeting. The following is a copy of the 
notices sent out. 
EXHIBITION. 
The coming exhibition of the National League of Mineral 
Painters, based on the course of study prepared by Miss Perry, 
Chairman of the Educational Committee, will be held at the 
International Gallery, i E. 40th St., New York, from May 4th 
to 9th inclusive. 
All china must be received not later than May 2nd. sent 
addres.sed National League of Mineral Painters, care Taft & 
Belknap, I E. 40th St., New York. 
The League will pay express charges on articles sent, and 
will prepay charges in returning them. 
The President of each club is requested to see that each 
exhibitor is advised of these dates and the address; also to 
see that each piece bears the name, address and club on the 
under side. 
It is especially urged that no piece shall be sent which 
does not fulfill the terms of the requirements, as they cannot 
be admitted. Presidents will please emphasize this fact. 
Ida a. Johnson, Pres. N. L. M. P. 
Myra Boyd, Cor. Secy. 
It should also be stated that pieces complying with the 
conditions, but not in competition, may be so entered. 
The annual meeting of the N. L. M. P. will take place on 
Thursday, May 7, 1903, at 10 a. m., at the International Gal- 
lery, No. I E. 40th St., New York. 
There will be an election of six members of the Advisory 
Board. Each club will be represented by a delegate and alter- 
nate for each twenty-five members and fraction thereof. 
With the opening of the new exhibition and its start 
upon its journey, the League is confronted with the problems 
of last year, but with experience back of it, it is hoped that 
the old mistakes at least will be avoided. The committee 
consists of Mrs. Evannah Price, Mrs. W. P. Hibler, Mrs. L. 
Vance Phillips. This committee has prepared an itinerary 
with dates taking in all the clubs of the League, which will 
bring the exhibit back to the members in time for the Christ- 
mas exhibitions, instead of keeping it ten months on the 
road as was the case with the last. 
An efTort is being made to have the next year's course of 
study announced at the annual meeting, as several clubs wish 
to incorporate it in their work, and it may also be an advan- 
tage to have a longer time to prepare for the next exhibition, 
which in all probability will be at the St. Louis Exposition. 
Ida L. Johnson, President. 
