38 
RERAMIC STUDIO 
with parts of other castings to make the new model. These 
parts are joined together with slip and then the form is 
rounded out or cut out or otherwise changed until the desired 
shape is obtained. A good example of this is found in the 
center vase which was cast in the same mould with the white 
one at its right ; also the white vase at left of center was cast 
in the same mould as the grey blue one at the right end of 
the line. We have written at length about this method of 
casting, thinking it may be of use to other workers; also we 
wish to remind potters that many of the most treasured 
works of ceramic art both of Europe and of the Orient were 
cast or pressed in the mould, and students are not to be 
discouraged from using the casting process by the advocates 
of "all hand work," who have gotten far enough into the 
crafts movement to become enthusiastic, but not far enough 
to recognize necessary limitations. 
Experimental Pottery and Porcelain, by Mrs. A. A. Eobineau. 
DESIGN FOR PITCHER (ARROW HEAD)— CORA WRIGHT 
DOTTED portion and plain part at base, tinted very deli- 
cately with a mixture of Apple and Grey Green 
medium fluxed, producing a Celadon effect. Flowers, Pale 
Pink, Flat Enamel with touch of Yellow in centre. Leaves, 
Green Enamel floated on very thin, composed of Apple and 
Brown Green with touch of Black and % Aufsetzweis. Wide 
bands and centre of handle. Gold with pink flowers; narrow 
bands, portion of handle and outline, black. 
