Vol. V, No. 4 
SYRACUSE NEW YORK 
August 1903 
E call attention to the prize conven- 
tional flower study by Miss Maud 
/lason, given with this number of 
Keramic Studio, in connection with 
the coming design competition. Of 
this study Mr. Froehlich said in the 
May number: "Of the conventional 
studies in color, Miss Mason easily 
carried the honors. Her sketch has 
that most precious quality known as 
individuality. AMiat it is can hardty be expressed in words, 
as it is purelj' emotional. If for instance, four painters make 
a study of the same flower, we will have foiu- interpretations; 
one may give us a color scheme, another a line motive, a 
third the largeness of simplicit3^, 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." We trust that our workers will studj'^ this design 
carefully before sending in work for competition, thej^ should 
find it exceedingly useful. The regulations for the competi- 
tion will be found on the back cover of this magazine. 
4= 
REVIEW OF THE LEAGUE EXHIBITION 
Mary Chase Perry 
NOW that a little time has elapsed since the first showing of 
the work done by the members of the League during the 
past ye^LX, the exliibit ma^^ be regarded more impersonallj' as a 
whole. At first one is inclined to feel the attraction of individ- 
ual pieces. With the advantage of a little perspective we can 
draw numerous lessons which should be of value and establish 
something of a precedent in similar exhibitions. 
The little gaUerj^ at Taft &: Belknaps proved the fittest set- 
ting and lent a dignitj^ and self respect which has not alwa\'S 
been achieved by "hand-painted dishes." The quiet tone of 
green in the background and shelf covering was unobtrusive, 
yet harmonized charmingly with the color decorations. There 
was no attempt at anything fussy or spectacular in the arrange- 
ment; the pieces were weU placed so that they could be examined 
without the " congregation side " being turned to the wall. 
It was a signal that the superfluous^ dainty showing is no 
longer acceptable and white frilly draperies are relegated to 
show cases and shop furnishings. 
The mere demand for self-respecting accessories proves 
that we have left for ever the forget-me-not and daisy studded 
path which perchance led some of us into the china painting field, 
that we have outlived the instincts of a period of prettiness to 
enter upon the substance of a well considered craft. 
That is one lesson and it is well worth pondering , especiallj' 
in the centers through which this exhibition will pass in its itin- 
erary. Let us bespeak for it in each place an appropriate setting. 
Concerning the exhibition itself, as classified in the httle 
catalogue, there is a greater showing in the comparative branch 
than in the educational. This shows one thing surely — that 
our workers are not dependent upon stimulants in the form of 
medals and honors. 
The comparative class oft'ered the opportunity for observa- 
tion and comment upon specific treatment of certain shapes 
and merely for the benefit to be derived in this way, yet by far 
the greater number of pieces were entered under this head. 
The vases are treated with every scheme of color from dark to 
light, 3^et with the deeper tones predominating and they hold 
their own better too. It seems less easy to make the more 
delicate conceptions feel at home; unless they have some 
especial strength of drawing or design, thej^ seem to lack the 
weight which would keep them on a ]iar with the ideas which 
are expressed more boldly. 
The bowls are something of a novelty, in that their 
shape is not commonplace. A number grouped together 
proves very interesting in showing how utterly unlike the same 
shape appears under dift'erent treatment. It makes a good 
demonstration of the apparent change in dimensions, follow- 
ing the use of varying lines. 
The opportunity for decoration inside, produced some 
interesting results in narrow bands at the top. The shape 
too, seemed to invite mo,st pleasant arrangements of a conven- 
tional order, so that almost without exception, the results carrj?- 
some form of a "pattern " either repeated or distributed in a 
fonnal manner. Those with borders are especially charming 
and are distinctly a growth of the original idea which inspired 
the form. The proportions are perfectly considered, and the 
decorations not at all as an embellishment, or an applied decora- 
tion, but as a part of a preconsidered plan for the whole. 
While each motive shows plainly, the main feature is 
subordination to the general decorative effect, which it goes to 
make up. It retains the character without its being thrust upon 
one with crude realism. In the same way that a pear for in- 
stance, might be intolerable as a decoration if painted with all 
the veracity- of nature, yet, if properh used as a theme or motive, 
the most delightful and appropriate designs can be evolved. 
Conventional decoration is the main thing — that is anotlier 
lesson. 
The plates show much more unifornaitj^ than those of last 
year, suggesting that ideas in general concerning decorative 
principles are less divergent. This is one of the good educa- 
tional results of an exhibition of this nature. Also, note well, 
for aU there were no restrictions in this regard, the plates almost 
as a whole show conventional treatment. Why is it? Not 
because the decorators were obliged to follow certain lines; 
not because there is not still a latent love for the " picture," but 
because our good decorators, and those whose desire it is to be 
well classed, are waking up ! They are recognizing not only the 
possibilities and limits, but also the appropriate application of 
their work. Without coercion the3^ are finding themselves. 
Some of them have been a little ashamed of it, and a little slow- 
to admit and demonstrate their conversion — ^but behold! 
The borders are restful — and such a relief in suggesting a 
vmifomi service. Some of the most simple ones are the most 
pleasing, one or two being made up of a repeated unit, which in 
itself would seem almost inconsequent, but which assumes 
great interest and charming decorative character by repetition. 
Let this be another lesson. 
As a whole, less lavish display of color is in evidence than 
heretofore — especially in combinations. Soft greys and browns 
in monochrome are used on one or two pieces with the happiest 
results, indicating that if the design is good and weU adapted, 
it does not demand numerous colors or great embellishment of 
gold to carry it out. / 
