RERAMIC STUDIO 
CI 
more plaster; in cold weather it gets hard and needs more 
tallow. The cement being ready, take an iron hemispherical 
block six or more inches across, though a block of hard wood 
or a common brick will answer; put on an inch or more of 
the cement on the flat side, a little at a time as it runs easily. 
While the cement is soft put the metal on, press it down, tak- 
ing care that the cement does not cover the edge. Put the 
block under running water for a few minutes so as to harden 
the cement and prevent the metal from lifting. Never work 
on metal when it is loose. Place the rounded surface of the 
iron block on a ring of leather filled with sand, allowing it to 
be easily turned while its own weight keeps it firmly enough 
in the position for working. If the wood or the brick is used 
put a sand bag under the corner on which the work is being 
done. Fig. 3 shows a cut of the tracing hammer, straight 
tracer for lines and round tracer for corners, and in fig. 4 the 
student will see just how the tracer is held. 
Holding the tracer in this way, give gentle and equal 
blows with the hammer; these should be the force that sends 
the tool along, the hand simply guiding it as it travels slowly 
along the line. The beauty of this work depends on how well 
one blow joins its neighbor. 
When one side of the knife is chased, heat with the flame ; 
remove from the cement and wash in kerosene. If the cement 
hardens, heat the metal again and wash as before, repeat on 
the other side. 
The blade part of the knife is bevelled, first with a No. 2 
and then with a No. 3 hand file. Take out the file marks 
with emery cloth and polish with pumice powder and oil. 
(to be continued.) 
000 
PYROGRAPHY 
DRAGON DESIGN FOR BELLOWS 
Aniw E. Magnire 
DESIGN for bellows may be treated in two ways; the design 
may be simply outlined and a deep background burned 
or it may be outlined and a flat background put in and then 
colored. The scales, wings and head, in emerald green and 
blue. The tongue in vermilion with touches here and there 
in the body of the same color; the eyes are colored yellow. 
TECHNICAL ARTICLES ON GRAND FEU CERAMICS 
The first technical article by Taxile Doat, which will 
probably appear in September issue, will be on the prepara- 
tion and composition of hard porcelain and gres. The six 
others about modeling, casting, glazing, construction and pack- 
ing of kilns, formula for colored pastes and glazes, underglaze 
and overglaze grand feu colors, &c., will follow. 
CTUDIO The Chautauqua Institution opens its Art 
Department for 1903 with the Arts and 
NOTES Crafts section under the direction of Mr. 
Henry J. Baker. 
Mr. Hugo Froehlich will occupy the position of Director 
of Fine Arts, and be the leading spirit in directing the study 
of composition and design. It is expected that through this 
leadership there will be expressed a certain unity of ideas that 
can but bear fruit and add its influence in the development of 
a certain style that may be eventually known as American. 
Mr. Charles Volkmar has opened summer classes at his 
pottery, Metuchen, N. J., with his son Leon Volkmar as assist- 
ant. As Mr. Volkmar is himself a practical and successful 
potter he is in every way fitted to make a successful teacher. 
Mrs. Vance-Phillips has added a separate pottery depart- 
ment to her Chautauqua studio. Prof. Franz A. Bischoff and 
Mrs. Sara Wood Safford will assist in the overglaze decoration. 
Mrs. Lucy F. Perkins, well known for her skill in modeling 
and who has been a student of both St. Gaudens and French, 
will give instruction in the building by hand of clay forms. 
Mrs. Vance-Phillips will give instruction in the application of 
clear and marble glazes applied to the clays in use at the 
studio. Mr. Fred E. Walrath, a student at the N. Y. State 
school of clay working, will be the studio assistant, and operate 
the potter's wheel. 
The Summer School of Pottery at Alfred opens again 
with its large corps of teachers — Mr. Marshal Fry being again 
one of the leading spirits. A class in basketry is also to be 
added under the instruction of Miss Marie Witwer. 
Mrs. McGill and Miss Ivory will open a studio at Asbury 
Park for the summer, where they expect to receive pupils in 
porcelain decoration and pyrography. 
Mrs. Anna B. Leonard expects to receive a limited num- 
ber of pupils in Boston during June. 
Mr. A. B. Cobden's pupils in china painting held their 
seventeenth annual exhibition at Philadelphia May 14th and 
15th. 
Miss Mariam L. Candler of Detroit, sailed for Europe on 
May 23 for art study and recreation. 
Miss Jeanne M. Stewart of Chicago, is now in the moun- 
tains of Pennsylvania making studies from nature. 
A neat little folder has just reached us announcing the 
opening of Mr. Bischoff's Summer School at Dearborn, Mich., 
May 15 to July inclusive. 
ANSWERS TO CORRESPONDENTS 
This column is only for subscribers whose names appear upon our list. Please 
do not send stamped envelopes for reply. The editors can answer questions only 
in this column- 
All questions to be answered in the Magazine must be received beiore the 10th 
day of the month preceding issue. 
Mrs. G. E. Tl.. — The study of yellow roses is not crisp enough, the texture 
of the rose petals requires clean crisp treatment. The background color too, is 
rather muddy and uncertain. It is best to decide what colors to use before- 
hand and then use them without scrubbing in one color into another. The 
scrubbing of water colors is all right for some subjects but not for flowers 
which need to be crisp and transparent. An expert might get a good effect 
with that method but it is dangerous for .a beginner. We refer you to our 
advertisements of summer school and the list of books on Publisher's page. 
Hal. — The little sketches of Arbutus are daintily done but a little tight in 
drawing. The clusters are seen too much in detail, when you look at a cluster 
of flowers you do not see every flower in the group, it is only after gazing 
